Datasets:

rohitsaxena

/

MovieSum

like 7

8MM_1999

tt0134273

<script> <scene> <stage_direction>INT. MIAMI AIRPORT, TERMINAL -- DAY</stage_direction> <scene_description>Amongst the weary tourist families and solitary businessmen sits TOM WELLES , middle - aged , hair neat , suit crisp and gray . He 's eating crackers from a cellophane package , sipping soda from a paper cup , watching an ARRIVAL GATE . AT THE GATE PASSENGERS arrive : the paunchy , graying men of First Class leading the pack , except for a handsome YOUNG REPUBLICAN poster boy hurrying along . ACROSS THE TERMINAL Welles gets up and FOLLOWS .</scene_description> </scene> <scene> <stage_direction>EXT. MIAMI AIRPORT, CURBSIDE -- DAY</stage_direction> <scene_description>Welles comes outside , squinting in the sun , moving down the sidewalk , looking back over his shoulder . The Young Republican is lead to a waiting LIMO by a DRIVER . Welles moves to the nearby TAXI STAND .</scene_description> </scene> <scene> <stage_direction>INT. TAXI -- DAY</stage_direction> <scene_description>Welles gets in , turning in his seat to watch behind .</scene_description> <character>CAB DRIVER</character> <dialogue>Where to?</dialogue> <scene_description>Welles keeps watching , sees the limo pull away and pass .</scene_description> <character>WELLES</character> <dialogue>Follow that limousine. Do n't get too close, do n't let it get too far away. Just keep with it.</dialogue> <character>CAB DRIVER</character> <dialogue>You kidding?</dialogue> <character>WELLES</character> <dialogue>Nope.</dialogue> <scene_description>The cab set in motion . Welles takes out cigarettes , lighting one , takes out a small NOTEPAD and makes notations .</scene_description> <character>CAB DRIVER</character> <dialogue>Uh, listen. you're not supposed to be smoking in here. I'm sorry, that's company policy.</dialogue> <character>WELLES</character> <dialogue>How about this. every cigarette I smoke, I give you five dollars?</dialogue> <character>CAB DRIVER</character> <dialogue>Okay. okay, yeah, that'd be good.</dialogue> </scene> <scene> <stage_direction>EXT. MIAMI BEACH, "GOLD COAST" -- DAY</stage_direction> <scene_description>In front of an Art Deco hotel , the driver opens the limousine door and the Young Republican steps out . ACROSS THE STREET Welles watches from inside the double - parked taxicab .</scene_description> </scene> <scene> <stage_direction>EXT. MIAMI BEACH MOTOR LODGE -- DAY</stage_direction> <scene_description>Not exactly four - star . `` AD LT MOVIES EVERY ROOM . ''</scene_description> </scene> <scene> <stage_direction>INT. MIAMI BEACH MOTOR LODGE -- DAY</stage_direction> <scene_description>Welles is asleep on the bed , full dressed , hands folded across his stomach , snoring lightly , sweaty .</scene_description> </scene> <scene> <stage_direction>INT. MIAMI BEACH MOTOR LODGE, RESTAURANT -- DAY</stage_direction> <scene_description>Welles sits alone at the bar , eating a sandwich , bored . He watches some fuzzy ESPN on the t.v. , looks at his watch .</scene_description> </scene> <scene> <stage_direction>EXT. MIAMI BEACH MOTOR LODGE -- DAY</stage_direction> <scene_description>Welles walks across the parking lot , gets into his RENTAL CAR , starts it and drives away .</scene_description> </scene> <scene> <stage_direction>EXT. MIAMI BEACH DISCOTHEQUE -- NIGHT</stage_direction> <scene_description>Young Republican and a GAUDY WOMAN exit the disco , MUSIC THROBBING out from the doors behind them . They join hands , drunk , heading to the street , looking for their limo . DOWN THE STREET Welles is seated in his parked rental car , raises a CAMERA with TELEPHOTO LENS : whir , CLICK , whir , CLICK , whir , CLICK . Welles lowers the camera , letting out a yawn .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE, COACH -- NIGHT</stage_direction> <scene_description>The familiar DRONE of flight . Welles is shoehorned into his aisle seat , using tiny utensils to eat his tiny meal . An OLDER WOMAN arrives in the aisle . Welles picks up his tray , closes his tray table , unbuckling his seatbelt , struggling to get up . finally successful , balancing his tray , letting the woman in to the window seat .</scene_description> <character>OLDER WOMAN</character> <dialogue>Thank you.</dialogue> <scene_description>Welles nods , forcing a smile , sitting back down . He returns to toiling over his miniature supper .</scene_description> </scene> <scene> <stage_direction>EXT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT</stage_direction> <scene_description>Welles ' AIRPLANE ROARS down with a SCREECH , landing lights gleaming . The airport is small , relatively isolated . TITLE : Harrisburg , Pennsylvania</scene_description> </scene> <scene> <stage_direction>INT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT</stage_direction> <scene_description>Passengers arrive . Welles is with them , searching the few PEOPLE waiting in the terminal hallway . Welles smiles . Welles ' wife , AMY , smiles when she sees him . She 's plain and pretty , holding one hand on a BABY STROLLER beside her . Welles comes to her , embracing her , appreciating her .</scene_description> <character>AMY</character> <dialogue>Welcome home.</dialogue> <character>WELLES</character> <dialogue>Do you know how much I missed you?</dialogue> <scene_description>They kiss , but Amy pulls away , sniffs him .</scene_description> <character>AMY</character> <dialogue>What's this. have you been smoking?</dialogue> <character>WELLES</character> <dialogue>Smoking? I'm not smoking.</dialogue> <character>AMY</character> <dialogue>Your clothing reeks of it.</dialogue> <character>WELLES</character> <dialogue>You know, Amy, I've been sitting around in bars and everywhere following this guy. I mean, is this what I get first thing? Before you even `` hello,'' you accuse me?</dialogue> <character>AMY</character> <dialogue>I'm not accusing you.</dialogue> <character>WELLES</character> <dialogue>Well, I'm not smoking, okay?</dialogue> <character>AMY</character> <dialogue>Okay, I believe you.</dialogue> <character>WELLES</character> <dialogue>We've been all through that. I've been on my best behavior.</dialogue> <scene_description>Welles bends to the stroller , picks up his infant daughter , CINDY , and hoists her in the air , overjoyed .</scene_description> <character>WELLES</character> <dialogue>Hello, pumpkin - head, did you miss me? I sure missed you.</dialogue> <scene_description>He kisses the happy child , holding her in one arm .</scene_description> <character>WELLES</character> <dialogue>Let's get my bags and get the hell out of here.</dialogue> <scene_description>Welles pulls Amy close and kisses her again , leads the way . Amy follows , pushing the stroller .</scene_description> <character>AMY</character> <dialogue>How's the detective business?</dialogue> <character>WELLES</character> <dialogue>Business was fine. I'll tell you what, you could n't pay me enough to live down there.</dialogue> <character>AMY</character> <dialogue>You better not be smoking, that's all I can say.</dialogue> <character>WELLES</character> <dialogue>Honey, I'm not, please.</dialogue> <scene_description>Amy takes Welles hand , smiling at him .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BEDROOM -- NIGHT</stage_direction> <scene_description>Welles and Amy make love in the darkness . Standard , missionary position sex , little passion . They slow to a finish , uneventfully , holding each other . Their breathing quiets . Their daughter CINDY can be HEARD CRYING elsewhere . Welles kisses his wife again , rolls off of her and sits on the edge of the bed . Amy covers herself .</scene_description> <character>AMY</character> <dialogue>I love you.</dialogue> <character>WELLES</character> <dialogue>I love you.</dialogue> <scene_description>He looks towards her in the dark . He gets up , gets a towel from the bathroom and wraps it around him .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT</stage_direction> <scene_description>Cindy 's crying . Welles enters , goes to lean into the crib .</scene_description> <character>WELLES</character> <dialogue>What's all the trouble, Cinderella? What are you crying about, huh?</dialogue> <scene_description>He lifts and cradles Cindy , comforting her .</scene_description> </scene> <scene> <stage_direction>EXT. HARRISBURG CITYSCAPE -- ESTABLISHING --DAY</stage_direction> <scene_description>A small city of moderate architecture facing the Susquehanna .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE -- DAY</stage_direction> <scene_description>An old money office with windows over the river . A well - to - do POLITICIAN looks unhappily through PHOTOS on his desk . Welles sits by the Pennsylvania state flag , watching . PHOTOS show the Young Republican and Gaudy Woman in Miami : leaving the Art Deco hotel , the Discotheque , a restaurant .</scene_description> <character>WELLES</character> <dialogue>Your son - in - law dealt with the dry cleaning franchise during the day, saw that woman every night.</dialogue> <parenthetical>( clears his throat . )</parenthetical> <dialogue>The specifics are in the report, and information about the woman. It's unpleasant, I know. I apologize.</dialogue> <character>POLITICIAN</character> <dialogue>None too discreet, is he?</dialogue> <character>WELLES</character> <dialogue>No, sir, he is not.</dialogue> <character>POLITICIAN</character> <dialogue>He's an imbecile. I tried to warn my daughter, but what can you do?</dialogue> <scene_description>The politician shakes his head in disgust . Welles rises .</scene_description> <character>WELLES</character> <dialogue>The um. you'll find my invoice in the envelope. If that's all.</dialogue> <character>POLITICIAN</character> <dialogue>Yes, Mister Welles, thank you.</dialogue> <character>WELLES</character> <dialogue>Certainly, Senator. If I can ever be of further assistance.</dialogue> <scene_description>Welles leaves , glances back , shuts the door .</scene_description> </scene> <scene> <stage_direction>EXT. HARRISBURG STREETS -- DAY</stage_direction> <scene_description>Welles drives his plain Ford past the CAPITAL BUILDING .</scene_description> </scene> <scene> <stage_direction>EXT. HARRISBURG, BRIDGE -- DAY</stage_direction> <scene_description>Welles ' car crosses the Susquehanna , leaving the city .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE, BACKYARD -- DAY</stage_direction> <scene_description>Sunny day . Welles wears tan khakis , T - shirt and fishing cap , mowing his lawn with his ROARING lawnmower . Welles ' yard is modest , surrounding his modest split level suburban one in a neighborhood of similar homes and similar yards . Welles turns the lawnmower , stopping to mop his brow . One of his neighbors is repainting a back porch . The neighbor waves . Welles waves , resumes mowing .</scene_description> </scene> <scene> <stage_direction>INT. BOWLING ALLEY -- NIGHT</stage_direction> <scene_description>MUSIC 'S LOUD . League Night . Every lane full . Welles is with his team in BOWLING SHIRTS . Welles hoists his ball , preparing to bowl . He takes three steps , releases . Down the lane , PINS SCATTER . One pin remains standing . Welles balls up his fists and curses , walks back towards his rowdy , mocking teammates . He shouts back at them , laughing , grabbing his beer and drinking , waiting at the ball return .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, KITCHEN -- NIGHT</stage_direction> <scene_description>Dinner . Welles and Amy eat at the kitchen table with Cindy in a high chair . Amy feeds Cindy between bites . Welles is still in his league shirt .</scene_description> <character>AMY</character> <dialogue>You think you'll have time for the water heater this weekend?</dialogue> <character>WELLES</character> <dialogue>Sure. I'll call the guy.</dialogue> <character>AMY</character> <dialogue>You're not using the same guy who tried to fix it?</dialogue> <character>WELLES</character> <dialogue>I'm not using him again for anything. He was worthless.</dialogue> <parenthetical>( eating . )</parenthetical> <dialogue>You have bridge here Saturday?</dialogue> <character>AMY</character> <dialogue>Betty's out of town so we're playing next week.</dialogue> <scene_description>Welles nods , eating . He watches Amy feed Cindy . The PHONE starts RINGING . Welles goes to answer it .</scene_description> <character>WELLES</character> <parenthetical>( into PHONE . )</parenthetical> <dialogue>Hello. Yes. could you hold on a minute?</dialogue> <scene_description>Welles hands the phone to Amy , pats Cindy 's head as he heads downstairs , through the LIVING ROOM .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, OFFICE -- NIGHT</stage_direction> <scene_description>Welles enters his well kept OFFICE , turns on a light at the desk . The room is filled with FILE CABINETS and shelves of BOOKS , hundreds of PHONE BOOKS and a COPY MACHINE . Welles picks up the phone and cups the receiver .</scene_description> <character>WELLES</character> <parenthetical>( shouts upstairs . )</parenthetical> <dialogue>Okay, I've got it.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello. sorry, I was switching phones. It's a pleasure to make your acquaintance, Mrs. Christian.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Yes. Yes, I understand. tomorrow evening should be fine.</dialogue> <scene_description>Welles listens , clears space on his desk , taking notes .</scene_description> </scene> <scene> <stage_direction>EXT. CHRISTIAN COMPOUND -- DUSK</stage_direction> <scene_description>A huge OLD WORLD MANSION is situated at the center of acres of Pennsylvania forest and vast gardens . Welles ' car heads down a long tree lined drive , to the dark mansion .</scene_description> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, HALLWAY -- NIGHT</stage_direction> <scene_description>Welles follows a BUTLER down a long hall .</scene_description> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, LIBRARY -- NIGHT</stage_direction> <scene_description>The butler shows Welles in , shuts the door . Towering SHELVES of BOOKS are serviced by ladders . Far across the room , an old , sad woman , MRS. CHRISTIAN , sits waiting with a tall , thin , sinister ghoul of a LAWYER .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>Mister Welles. You're very prompt.</dialogue> <character>WELLES</character> <dialogue>I try to be.</dialogue> <scene_description>Welles crosses towards them . It takes a while .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>I appreciate your coming on such short notice.</dialogue> <scene_description>Mrs. Christian holds out her hand and Welles takes it .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>This is Mister Longdale, my late husband's attorney.</dialogue> <scene_description>Welles shakes Longdale 's limp hand , looking him over .</scene_description> <character>WELLES</character> <dialogue>Uh huh, pleasure.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Apparently Mr. Longdale has something he feels he simply must say before you and I speak.</dialogue> <character>LONGDALE</character> <dialogue>Yes, I do have something to say. I insisted on being here as soon as I heard Mrs. Christian contacted you.</dialogue> <character>WELLES</character> <dialogue>I'm listening.</dialogue> <character>LONGDALE</character> <dialogue>As Mr. Christian's attorney and one of the executors of his estate, it concerns me that a meeting of this sort should take place without my being asked to attend.</dialogue> <character>WELLES</character> <dialogue>Of what sort?</dialogue> <character>LONGDALE</character> <dialogue>You are a private investigator?</dialogue> <character>WELLES</character> <dialogue>That's right.</dialogue> <character>LONGDALE</character> <dialogue>Well, whatever reasons Mrs. Christian has for engaging the services of a private investigator, I should certainly be a party to. But, since she feels differently, I can only go on the record as having expressed my adamant disapproval.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Yes, how theatrical. So you've gone on the record, and now perhaps you should just be gone.</dialogue> <scene_description>Longdale 's irritated , but has no choice . He walks away .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>Have a pleasant evening.</dialogue> <parenthetical>( to Welles . )</parenthetical> <dialogue>Will you have tea, Mister Welles?</dialogue> <character>WELLES</character> <dialogue>Thank you.</dialogue> <scene_description>Mrs. Christian begins pouring tea from the service on a table . Welles watches Longdale exit .</scene_description> <character>WELLES</character> <dialogue>He's odd.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>He's a lawyer.</dialogue> <parenthetical>( offers tea . )</parenthetical> <dialogue>Please, sit, here.</dialogue> <scene_description>Welles accepts a dainty tea cup and saucer , taking a seat .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>I've spoken to friends of mine and my husband's, in Harrisburg, in Lancaster and Hershey. Asking about you. I must say you have friends in influential places.</dialogue> <character>WELLES</character> <dialogue>I've been privileged to provide services for people I admire.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>You are highly recommended. Praised for your discretion. your strict adherence to confidentiality.</dialogue> <scene_description>Welles nods , sipping tea .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>As you know, my husband passed away recently. Two weeks ago now.</dialogue> <character>WELLES</character> <dialogue>My condolences.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>His passing has left me with. something of a dilemma. A terrible, terrible dilemma.</dialogue> <character>WELLES</character> <dialogue>I'll do whatever I can to help.</dialogue> <scene_description>Mrs. Christian studies Welles .</scene_description> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- NIGHT</stage_direction> <scene_description>Mrs. Christian and Welles enter . This office has been lived in for a lifetime . Giant DESK . AMERICAN FLAG . Walls covered in old b + w PHOTOGRAPHS and ACHIEVEMENTS . A large , baked enamel sign nailed up , `` CHRISTIAN STEEL . ''</scene_description> <character>MRS CHRISTIAN</character> <dialogue>His inner sanctum.</dialogue> <scene_description>Welles looks up at the OIL PAINTING over the fireplace : MR. CHRISTIAN , a powerful , old man , posed with a dark , teeming , industrial landscape behind him .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>Not many people have been inside this room.</dialogue> <scene_description>Welles examines PHOTOS of Mr. Christian visiting various STEEL PLANTS , COAL MINES and ground - breaking ceremonies , shaking hands with WORKMEN , with POLITICIANS .</scene_description> <character>WELLES</character> <dialogue>Pittsburgh?</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Mostly. That's where he started his empire building.</dialogue> <parenthetical>( looks up at portrait . )</parenthetical> <dialogue>He was a good man. Notorious as an eccentric, but that was something he cultivated. He wanted to be legendary.</dialogue> <character>WELLES</character> <dialogue>He succeeded.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>We were married forty - five years. Hard even for me to imagine. We had our troubles. There were plenty of places for him to be other than here, but he was always loyal to me, and I to him. I loved him deeply.</dialogue> <scene_description>Welles waits .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>Do you carry a gun, Mr. Welles?</dialogue> <character>WELLES</character> <dialogue>I wear a gun when I can tell a client expects me to. Other than that, there's never any reason.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Just curious.</dialogue> <scene_description>Mrs. Christian crosses to take down a PICTURE , revealing a WALL SAFE . The safe is ajar , burnt and scarred , broken into .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>My husband was the only one with the combination to this safe. I knew about it, but as far as I was concerned it was none of my business. Not till now, that is.</dialogue> <character>WELLES</character> <dialogue>You hired someone to open it. I'll bet the lawyer loved that.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>There was nothing he could do. My husband left everything to me.</dialogue> <parenthetical>( looks at safe . )</parenthetical> <dialogue>I prevented anyone from seeing the contents. I felt these were my husband's private things. I did n't. I did n't realize.</dialogue> <character>WELLES</character> <dialogue>Do you want to tell me what you found?</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Cash, stock certificates, and this.</dialogue> <scene_description>She takes something from her pocket , puts it on the desk : a plastic bag containing a short 8MM FILM on a plastic reel .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>It's a film. of a girl being murdered.</dialogue> <character>WELLES</character> <dialogue>I'm afraid I do n't.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>This is a movie showing a girl being murdered. She's sitting on a bed, and a man rapes her. and he begins to cut her with a knife.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I only watched what I could.</dialogue> <scene_description>Welles picks up the film , looks at it .</scene_description> <character>MRS CHRISTIAN</character> <dialogue>I did n't know what to think. I ca n't tell you how horrible it's been, to know this belonged to my husband. To know that he watched this. this atrocity. But, I ca n't go to the police.</dialogue> <character>WELLES</character> <dialogue>Mrs. Christian. please, will you sit down a moment?</dialogue> <parenthetical>( leads her to a chair . )</parenthetical> <dialogue>I want you to listen carefully. What you're talking about is a `` snuff film.'' But, from what I know, snuff films are a kind of. urban myth. Like, red light district folklore. There's no such thing, I can assure you.</dialogue> <scene_description>Mrs. Christian shakes her head .</scene_description> <character>WELLES</character> <dialogue>Please, believe me. This is probably a stag film. Simulated rape. Hard to stomach, and it might seem real, but there are ways of making it look realistic. fake blood and special effects.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>No.</dialogue> <character>WELLES</character> <dialogue>If you were to study it you'd see the camera cutting away. you'd see the tricks they can play.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>I'm telling you it's not that.</dialogue> <character>WELLES</character> <dialogue>I'm sure it is.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>It's probably something your husband was given as a bad joke. More than likely he never even watched it.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Will you watch it and see for yourself?</dialogue> <character>WELLES</character> <dialogue>Of course. But, I'm certain it's nothing to worry about.</dialogue> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, DINING ROOM -- NIGHT</stage_direction> <scene_description>An 8MM PROJECTOR faces a wall . Welles looks back to Mrs. Christian in the doorway . Mrs. Christian leaves , shuts the door . Darkness . Welles turns on the projector and sits . The PROJECTOR CLATTERS , shooting bright images . ON THE WALL : FLASH FRAMES , over exposure , then . the grainy FILM is HAND HELD , constantly in motion , showing a skinny GIRL , 16 or 17 , in a negligee , sitting on a bed in a nondescript room with little furniture . Looks like a hotel room . We only ever see three walls . The once beautiful girl looks worn , drugged , dark circles under her eyes , staring blankly . The CAMERA 'S tungsten SPOTLIGHT casts long , shifting shadows as the camera moves , but the girl still stares oblivious . The bed is wrapped in PLASTIC and DUCT TAPE . The floor is covered by PLASTIC SHEETING . Welles watches , crossing his arms , already uncomfortable . ON THE WALL : a door opens behind the girl , looks like a bathroom , and a MASKED MAN enters . The Masked Man wears a garish , Mexican WRESTLING MASK with eye holes and a mouth . The mask covers his entire head . He 's naked except for red shorts , his body scrawny , oiled , pale . The man goes to stand in front of the girl . He seems to be saying something to her , but the film is silent and the ONLY SOUND is the PROJECTOR 'S LOUD sprocket hole CLATTER . It 's all one long take . The CAMERA MOVES to favor the girl . Welles sits straight in his chair , wary . ON THE WALL : Masked Man raises his open hand and SLAPS the girl , knocking her back on the bed . Welles grimaces . ON THE WALL : Masked Man pulls the girl back to a seated position . The girl 's like a rag doll , face reddened , eyes closed , but she remains upright . Masked Man uses his thumbs to open her unseeing eyes . He touches her mouth with his fingers , presses his lips to hers . Then , Masked Man backs away , leaving frame , till the CAMERA MOVES to find Masked Man standing at a table with THREE large BOWIE KNIFES laid out . Masked Man runs his fingers over the blades . Welles rises slowly , still watching . ON THE WALL : Masked Man selects a huge Bowie knife and moves back towards the girl . Welles crosses his arms tight , disbelieving , fearful . WE WILL NEVER SEE WHAT HAPPENS NEXT IN THE FILM , but Welles does . In the flickering , reflected light , Welles backs involuntarily away from the horrible images , holding his fist to his mouth , breathing hard . Welles keeps backing away , till he 's backed against a wall . The PROJECTOR 'S CLATTERING . Welles is sickened , sweating , still watching , till he finally shuts his eyes .</scene_description> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, ADJOINING ROOM -- NIGHT</stage_direction> <scene_description>Silence . Mrs. Christian sits waiting , troubled . The door to the dining room opens and Welles enters from the dark , visibly shaken . Mrs. Christian watches him , her sorrow now shared .</scene_description> <character>WELLES</character> <dialogue>You. you need to go to the police.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>I told you I ca n't, not yet.</dialogue> <character>WELLES</character> <dialogue>You do n't have any other choice.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( stands , shakes her head . )</parenthetical> <dialogue>No. For me to live with the ruin of my husband's name, I need know that whoever did this will be punished. If you can find them, I will take their names to the police. I'll say my husband confessed on his death bed. I'll say I did n't have courage to come forward at first.</dialogue> <character>WELLES</character> <dialogue>It wo n't work like that.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Any evidence you collect can be given to the police later, anonymously. I've thought about it and there's no other way. If you ca n't find them. if the only thing that comes from this film is that this is all my husband will be remembered for, well I ca n't let that happen. I'm telling you I wo n't. If there's no chance that poor girl's memory can be served, then I'll just have to spend my last days trying to forget her.</dialogue> <scene_description>Welles sits , rests his head in his hands .</scene_description> <character>WELLES</character> <dialogue>I deal in divorce cases. Corporate investigations.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>You've found missing persons before.</dialogue> <character>WELLES</character> <dialogue>Nothing remotely like this.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>I know what I'm asking. Your compensation will be appropriate to the risk. You'll need cash to buy information, and I'll provide it.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I feel responsible, Mr. Welles.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You saw what he did to her.</dialogue> <scene_description>Welles stands , torn apart and uncertain , looks back to the dining room where the projector sits idle .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT</stage_direction> <scene_description>Cindy is sound asleep in her crib . Welles is seated near , staring at his sleeping child .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BEDROOM -- NIGHT</stage_direction> <scene_description>Welles digs in piles of SHOEBOXES and BOOKS on the floor of his cluttered closet , finds what he wants : a LOCK BOX .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, KITCHEN -- NIGHT</stage_direction> <scene_description>Welles twists the lock box dial 's combination , opens the box to reveal his GUN , HOLSTER and CLEANING SUPPLIES . Welles takes out the gun , cleaning it . Amy watches .</scene_description> <character>WELLES</character> <dialogue>This is the mortgage. This is Cindy's college money.</dialogue> <character>AMY</character> <dialogue>I understand.</dialogue> <character>WELLES</character> <dialogue>Sometimes you ca n't know what I'm doing. It's better that way.</dialogue> <character>AMY</character> <dialogue>I know.</dialogue> <character>WELLES</character> <dialogue>It's a missing persons case. a long shot. I'll give it two months, two months at most, then I'll be back. We'll take a vacation.</dialogue> <character>AMY</character> <dialogue>Why the gun?</dialogue> <character>WELLES</character> <dialogue>I'm not gon na need it. I wo n't even wear it. It's a precaution.</dialogue> <parenthetical>( cleaning gun . )</parenthetical> <dialogue>Do n't worry about me.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, OFFICE -- NIGHT</stage_direction> <scene_description>Welles looks through one file cabinet . He pulls out a FILE . It contains all sorts of POLICE ARTIST SKETCHES . Welles finds one of a TEENAGE GIRL with dark hair , looks at it . Welles positions the sketch on his COPY MACHINE , hits copy .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE, DRIVEWAY -- MORNING</stage_direction> <scene_description>Welles loads BOXES and a SUITCASE into his car 's back seat . Welles puts the lock box in the car 's trunk , in a hiding place beside the spare tire . He places a brown BRIEFCASE on top , covers them both with carpet . He closes the trunk .</scene_description> </scene> <scene> <stage_direction>EXT. PENNSYLVANIA TURNPIKE -- MORNING</stage_direction> <scene_description>Little traffic . Welles ' Ford races down the highway .</scene_description> </scene> <scene> <stage_direction>EXT. CLEVELAND CITYSCAPE -- ESTABLISHING -- DAY</stage_direction> <scene_description>City skyline , overcast . Looks like rain . TITLE : Cleveland , Ohio</scene_description> </scene> <scene> <stage_direction>EXT. CLEVELAND STREETS -- DAY</stage_direction> <scene_description>Welles ' car moves slowly in a not - so - great neighborhood . Welles leans forward , peering through the windshield . An APARTMENT BUILDING 'S crooked SIGN lists `` WEEKLY RATES . ''</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM, CLEVELAND -- DAY</stage_direction> <scene_description>Dingy room . Welles locks the door , puts the chain on . His suitcase and boxes are on the bed . He begins unpacking , taking a PHOTO ENLARGER from one box and an 8MM PROJECTOR .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM, BATHROOM -- DAY</stage_direction> <scene_description>The developer 's on the toilet . DEVELOPING PANS are on the floor , developer bath , stop bath and fixing bath , with BOTTLES of CHEMICALS and packages of PHOTO PAPER . Welles uses tape and ALUMINUM FOIL to black - out a window .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- DAY</stage_direction> <scene_description>Pizza box on the bedside table . Welles ' suits hang in the closet . Welles sits facing a small REEL TO REEL on a desk . He wears white gloves , handles the 8MM FILM , careful to hold it by the edges , holding it up to the light , squinting . Welles puts in a magnifying EYEPIECE , leaning close . WELLES ' P.O.V. THROUGH MAGNIFYING LENS : studying the first few inches of exposed film , coming upon TINY LETTERS printed just below the sprocket holes : `` SUPRAlux 544 . ''</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM, BATHROOM -- DAY</stage_direction> <scene_description>RED BULB in the light socket . Welles threads the 8MM FILM into his enlarger , still in white gloves . He flicks the enlarger on , projecting a sideways IMAGE down onto the enlarger 's baseboard , FOCUSING . it 's the girl sitting on the bed , early in the snuff film . Welles makes an adjustment to the enlarger 's lens ; framing tighter on the girl 's face , REFOCUSING .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT</stage_direction> <scene_description>Welles comes out of the makeshift darkroom , holding a PHOTO of the girl . He props the photo up on a dresser , stands looking at it . Sad girl , staring forward . Welles goes to pick up his CELLULAR PHONE , dials .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello, honey, it's me.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>I'm fine, how are you?</dialogue> <scene_description>Welles listens . He turns to look at the girl 's photo .</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY</stage_direction> <scene_description>Nondescript . `` U.S. Resource Center for Missing Persons . ''</scene_description> </scene> <scene> <stage_direction>INT. MISSING PERSONS ARCHIVE, OFFICES -- DAY</stage_direction> <scene_description>Small . Cubicles . Employees work phones and computers . BULLETIN BOARDS are covered in FAMILY PHOTOS , Polaroids and familiar `` HAVE YOU SEEN ME ? '' missing person/children POSTERS . IN ONE CUBICLE , Welles opens his billfold , shows his identification : a laminated `` LICENSED INVESTIGATOR , Commonwealth of Pennsylvania '' , with WELLES ' PHOTO . The DIRECTOR of the center , a tired looking official in bifocals , studies the card . Welles sits .</scene_description> <character>DIRECTOR</character> <dialogue>What can I do for you, Mr. Welles?</dialogue> <character>WELLES</character> <dialogue>Call me Tom.</dialogue> <character>DIRECTOR</character> <dialogue>Alright, Tom.</dialogue> <character>WELLES</character> <dialogue>What I'd like, very simply, is access to your archive. And, now I understand this is n't something you normally do for private citizens.</dialogue> <character>DIRECTOR</character> <dialogue>There are reasons for the way we do things here.</dialogue> <character>WELLES</character> <dialogue>Absolutely. Of course I'll abide by whatever decision you make, but I'd appreciate if you'll hear me out.</dialogue> <scene_description>The director sits back in his chair .</scene_description> <character>WELLES</character> <dialogue>Few days ago, I was contacted by a couple living in Philadelphia, a doctor and his wife. What happened was they picked up a young girl hitchhiking off 81, which heads into Philadelphia, started up a conversation with this girl, she looked homeless, seemed about eighteen maybe. They convinced her to let them buy her a meal in the city. Nice kid, mature, did n't have much to say, but they got a sense she's a runaway, so all through dinner the doctor's working on her, trying to convince her that at the very least she should pick up a telephone. Not surprisingly, she ate her food, excused herself.</dialogue> <parenthetical>( snaps fingers . )</parenthetical> <dialogue>That's the last they saw her. The reason they came to me for help, the reason I'm coming to you, is we had a friend of mine in the department work up a sketch.</dialogue> <parenthetical>( shows the POLICE ARTIST SKETCH he photocopied . )</parenthetical> <dialogue>They want to see if I can I.D. this girl, somehow pass along a message to let the parents know the kid's alive, doing alright.</dialogue> <character>DIRECTOR</character> <dialogue>Why not go to the N.C.I.C. or N.C.M.E.C?</dialogue> <character>WELLES</character> <dialogue>I figured you share information.</dialogue> <character>DIRECTOR</character> <dialogue>We do.</dialogue> <character>WELLES</character> <dialogue>For whatever reasons I thought you might be more receptive.</dialogue> <character>DIRECTOR</character> <dialogue>Why do n't they come to me?</dialogue> <character>WELLES</character> <dialogue>This doctor and wife, they're nice people, but they do n't want to get too involved. They're not trying to have the parents come looking for the girl either. You and I both know sometimes, not often, but sometimes there's real reasons why a kid'll run. Molestation, whatever. Besides that, the girl's probably eighteen, so she's legal.</dialogue> <character>DIRECTOR</character> <dialogue>I'm not so sure about this.</dialogue> <character>WELLES</character> <dialogue>They're putting themselves in place of this kid's parents and thinking they'd want to hear their girl's okay, even if that's all they hear.</dialogue> <character>DIRECTOR</character> <dialogue>I can give you my card, if your clients want to call me.</dialogue> <scene_description>Welles accepts a CARD , disappointed .</scene_description> <character>WELLES</character> <dialogue>They were pretty clear they did n't want this coming back on them.</dialogue> <character>DIRECTOR</character> <dialogue>Well, that's all I can do. Sorry.</dialogue> <scene_description>Welles looks at the director , stands , hangs his head .</scene_description> <character>WELLES</character> <dialogue>Who knows. maybe she's already given her parents a call, right?</dialogue> <scene_description>Welles leaves .</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY</stage_direction> <scene_description>Welles comes out the front doors , pissed .</scene_description> <character>WELLES</character> <dialogue>Fuck.</dialogue> <scene_description>He tears the card in half and drops it as he heads for his car . After a moment , the director comes out after him .</scene_description> <character>DIRECTOR</character> <dialogue>Excuse me. Tom, hold on.</dialogue> <scene_description>Welles looks back , walks back , glances down . makes sure he stands on the torn card , hiding it underfoot .</scene_description> <character>DIRECTOR</character> <dialogue>Listen, maybe I can help after all. Why do n't you come on back in. we'll see what we can do.</dialogue> </scene> <scene> <stage_direction>INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY</stage_direction> <scene_description>Director leads Welles into this RESEARCH ROOM , a small library with long tables , old COMPUTERS , lots of FILE CABINETS and CARD CATALOGS . Secretaries tend to the files .</scene_description> <character>DIRECTOR</character> <dialogue>This is it. It's not much.</dialogue> <parenthetical>( points at computers . )</parenthetical> <dialogue>We've got less than five percent on computer and we lose that funding in December. I'll have someone show it to you anyway. Other than that, I'm afraid it's the wet thumb method.</dialogue> <scene_description>Welles looks to the many , many file drawers .</scene_description> <character>DIRECTOR</character> <dialogue>Files are mostly by state and year of disappearance. We try to keep the children and adults separate. No eating or smoking in here, but there's a coffee machine in the hall.</dialogue> <character>WELLES</character> <dialogue>Any good?</dialogue> <character>DIRECTOR</character> <dialogue>It's horrible, but it'll be your best friend after a few days. I hope you realize what kind of long shot you're chasing after.</dialogue> <character>WELLES</character> <dialogue>You're gon na be seeing a lot of me. You're sure you do n't mind?</dialogue> <character>DIRECTOR</character> <dialogue>It's good what you're doing.</dialogue> <scene_description>The director puts out his hand . Welles looks , shakes .</scene_description> </scene> <scene> <stage_direction>INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE</stage_direction> <scene_description>ON A COMPUTER SCREEN : files open and close - PICTURE after PICTURE of a MISSING CHILDREN , mostly teenagers , each with physical description , age , date of disappearance , etc. . Lost souls , although these are posed portraits , high school yearbook photos and vacation photos , so the children are mostly smiling , happy and healthy . But , all `` MISSING . '' Welles works the computer keyboard and mouse . ON THE SCREEN : the FACES of TEENAGERS , boys and girls , one after the other , MISSING . MISSING . MISSING .</scene_description> </scene> <scene> <stage_direction>INT. CLEVELAND PUBLIC LIBRARY -- DAY -- MONTAGE</stage_direction> <scene_description>Welles searches the SHELVES of the LIBRARY . He begins taking down various books . `` Motion Picture Photography . '' `` Film Stocks and Physical Characteristics . '' `` Super 8 Filmmaking . ''</scene_description> </scene> <scene> <stage_direction>INT. CLEVELAND PUBLIC LIBRARY -- LATER -- MONTAGE</stage_direction> <scene_description>In Welles ' notepad : `` SUPRAlux 544 . '' Welles sits paging through technical photography books .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles has the 8MM FILM threaded through the projector . He turns the CLATTERING projector on and sits , watching . ON THE WALL : FLASH FRAMES , then . the skinny GIRL in a negligee , sitting on the bed . The CAMERA 'S SPOTLIGHT casts long shadows . The girl stares , oblivious . ON THE WALL : a door opens behind the girl , looks like a bathroom , and the MASKED MAN enters , wearing the ghastly WRESTLING MASK . The man goes to stand in front of the girl . He seems to be saying something . The FILM halts . Welles sits forward , hand on the projector . He 's seen something . He PLAYS the FILM in REVERSE . ON THE WALL : the Masked Man walks backwards , away from the girl , backwards into the bathroom , door shutting . Welles stops the projector , not taking his eyes from the image . He ADVANCES the film FRAME BY FRAME . FRAME BY FRAME . as the bathroom door opens , and the Masked Man enters . FRAME BY FRAME . as the Masked Man moves forward . door closing behind him . STOP . FREEZE FRAME : a THIRD MAN is reflected in the bathroom mirror . Grainy and blurred , but he 's in the room with the girl , standing there , captured in the mirror in this one brief instant just before the bathroom door closes . Welles walks to take a closer look , studying the almost ethereal image of the Third Man .</scene_description> </scene> <scene> <stage_direction>EXT. CLEVELAND STREET CORNER -- DAY -- MONTAGE</stage_direction> <scene_description>Welles is in a PHONE BOOTH , feeds many quarters into the phone , waiting , looking at his notepad .</scene_description> <character>WELLES</character> <parenthetical>( into PHONE . )</parenthetical> <dialogue>Hello, Mrs. Christian? Tom Welles. Here's where we stand. I checked the film stock and it's called Supra - lux 544. The company that made that stock discontinued it in'92.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Yeah, about five or six years ago. Anyway, do what you can to dig up your husband's old financial records, look for anything out of the ordinary.</dialogue> </scene> <scene> <stage_direction>INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE</stage_direction> <scene_description>Welles is back at the computer , alone , drinking coffee . ON THE COMPUTER : endless PHOTOS of MISSING CHILDREN . The PHONE CALL CONTINUES in VOICE OVER :</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>Nobody really uses eight millimeter film anymore, so we can assume there are reasons our guys did. First, they could develop it themselves if they had any sort of expertise. Obviously, this is n't the kind of movie you can just drop off at the one - hour photo.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles just stands , staring at the PHOTO of the GIRL .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>Second, the film that went through the camera is what we've got. There's no negative. Unlike video, it was n't meant to be duplicated. No reason for them to risk having more than one copy of their murder floating around.</dialogue> </scene> <scene> <stage_direction>INT. CLEVELAND BAR -- NIGHT -- MONTAGE</stage_direction> <scene_description>Local bar . Welles sits drinking with the archive 's director , talking , smiling at something the director said .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>There do n't seen to be many fingerprints on the film itself, but I'm going to have to be careful to leave them intact.</dialogue> </scene> <scene> <stage_direction>INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY -- MONTAGE</stage_direction> <scene_description>Welles is tired , unshaven . He 's moved on to the physical files , at one table , looking through HUNDREDS of MISSING PERSON BULLETINS . Secretaries tend to other files .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>It's okay for yours and your husbands fingerprints to be on the film, but you'll have to use me as a middleman if you go to the police. That way I do n't have to explain why my prints are on it.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- DAY -- MONTAGE</stage_direction> <scene_description>Welles sits with the PROJECTOR ON , watching the film again .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>There were three men. Two are obvious ; the man in the mask and the man running the camera, but I caught a glimpse of a third man in a mirror. It's nothing that can be used for identification, but he was there, watching.</dialogue> <scene_description>ON THE WALL : Masked Man touches the girl 's mouth , presses his lips to hers . Masked Man backs away , leaving frame , till the CAMERA MOVES to find Masked Man standing at a table with THREE large BOWIE KNIFES laid out . Welles notices something , puts the projector on FREEZE FRAME .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>So, there were three. They would have kept it small, would n't have let anyone in on it they did n't have to. That's all for now. except, I feel I should tell you. with this looking like it happened at least five or six years ago.</dialogue> <scene_description>Welles walks to the frozen IMAGE on the wall . It shows the Masked Man 's hands in frame , fingering the blades .</scene_description> <character>WELLES</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>Well, it's not very likely we'll ever find out who this girl was.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>I will, I'll keep trying. Goodbye.</dialogue> <scene_description>V.O. PHONE CALL ends with the SOUND of the PHONE HANGING UP . ON THE WALL : there 's a DARK SPOT on Masked Man 's hand , on the arch between his index finger and thumb . Grainy and hard to make out , but looks like a small TATTOO .</scene_description> </scene> <scene> <stage_direction>INT. WELLES ROOM, BATHROOM -- NIGHT -- END MONTAGE</stage_direction> <scene_description>Welles has the 8MM FILM threaded into his photo enlarger , projecting the IMAGE we just saw down onto the baseboard . He re - frames , CLOSER ON the masked Man 's hand , REFOCUSING . the black spot is a little clearer , looks like a small STAR tattoo on the back of Masked Man 's hand .</scene_description> </scene> <scene> <stage_direction>INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY</stage_direction> <scene_description>Welles sits hunched over the card catalog , still unshaven , drinking coffee , flipping through smaller PICTURES of MISSING CHILDREN in one drawer , one by one by one . Welles rolls his neck . He looks to see the archive 's director in the doorway . The director nods , leaving . Welles gets back to it , stooped over the catalog . TITLE CARD : three weeks later</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING, MISSING PERSON ARCHIVE -- DAY</stage_direction> <scene_description>In the lot , Welles gets wearily from his car , smoking . He tosses the cigarette , gets a Thermos off the front seat .</scene_description> </scene> <scene> <stage_direction>INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY</stage_direction> <scene_description>Welles pulls out a card catalog drawer labeled `` North Carolina 1992 , '' flipping through picture cards . The FACES of TEENAGERS : a happy BOY with blue eyes . a red headed GIRL with freckles . a ruddy faced BOY . a pretty GIRL with a ribbon in her hair . a black GIRL in a pink dress . a blonde haired BOY with curly hair . Welles furrows his brow . He backtracks to the pretty GIRL with the ribbon in her hair . Welles sits straight . He reaches into his pocket , hands shaking a little , takes out and unfolds the PHOTO he printed of the girl from the snuff film . It 's her . Welles compares the two pictures . She 's prettier in the card catalog photo , but it 's her . Welles ca n't believe it , looks around . Secretaries at other files do n't even know he 's there . Welles pulls out his notepad , scribbling down INFORMATION off the card . Writing the girl 's name : `` Mary Anne Matthews . ''</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE HIGHWAY -- NIGHT</stage_direction> <scene_description>Welles , car races past , alone on the dark freeway .</scene_description> </scene> <scene> <stage_direction>EXT. FAYETTEVILLE CITYSCAPE -- ESTABLISHING -- DAY</stage_direction> <scene_description>Another small city . Blue skies above . TITLE : Fayetteville , North Carolina</scene_description> </scene> <scene> <stage_direction>EXT. PUBLIC LIBRARY -- ESTABLISHING -- DAY</stage_direction> <scene_description>Suburban library . Kids play hop - scotch in the parking lot .</scene_description> </scene> <scene> <stage_direction>INT. FAYETTEVILLE LIBRARY, MICROFICHE ROOM -- DAY</stage_direction> <scene_description>Welles works the MICROFICHE MACHINE , scrolling through old issues of the LOCAL NEWSPAPER , finds an ARTICLE headlined `` Search Continues for Local Teen . '' There 's a PICTURE of the GIRL , Mary Anne Mathews ; the same picture Welles found in the Missing Person Archive . Welles reads the article , writing on a LEGAL PAD . NEWSPRINT SCROLLS past on the MICROFICHE MACHINE , till . `` No Leads in Girl 's Disappearance . '' Same picture . The date at the top : `` July 12 , 1992 . '' NEWSPRINT BLURS past . stops on a page of OBITUARIES . Top of the page : `` September 4 , 1993 . '' CLOSE ON : `` Mathews , Robert Steven , 1948 - 1993 . '' `` Dead in an apparent suicide , Robert Mathews was discovered yesterday morning in the basement of . ''</scene_description> </scene> <scene> <stage_direction>EXT. MATHEWS HOUSE, FAYETTEVILLE SUBURB -- DAY</stage_direction> <scene_description>A tree - lined street of poor , boxy homes . Welles ' car parks in front of one HOUSE with a neglected lawn . IN THE CAR Welles , clean shaven , picks a CLIPBOARD with a file folder and his legal pad on it , thumbs pages . He drums his fingers , opens the glove compartment , pulls out the car 's registration , other papers and `` Jiffy - Lube '' service reports , uses them to pad the file . Welles takes a BOTTLE of COLOGNE from his pocket . He considers it , opens the bottle , applies cologne to his neck .</scene_description> </scene> <scene> <stage_direction>EXT. MATHEWS HOUSE, FRONT PORCH -- DAY</stage_direction> <scene_description>Welles knocks , clipboard in hand . A sad , middle - aged woman answers , MRS. MATHEWS , looking through the screen door .</scene_description> <character>MRS MATHEWS</character> <dialogue>Yes?</dialogue> <character>WELLES</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Hello, Mrs. Mathews, my name's Thomas Jones, I'm a state licensed investigator.</dialogue> <scene_description>Welles holds up his identification only long enough for Mrs. Mathews to see it looks official .</scene_description> <character>WELLES</character> <dialogue>I've been hired as an independent contractor by the U.S. Resource Center for Missing Persons as part of an internal audit. If you have any time over the next few days, I'd like to make an appointment to ask some questions about the disappearance of your daughter.</dialogue> <character>MRS MATHEWS</character> <dialogue>I do n't understand, who are?</dialogue> <character>WELLES</character> <dialogue>I'm sorry, let me explain, the R.C.M.P. is a support organization and archive, not unlike the Center for Missing and Exploited Children in Washington. I'm sure you've dealt with them before?</dialogue> <character>MRS MATHEWS</character> <dialogue>Yes, but.</dialogue> <character>WELLES</character> <dialogue>These volunteer organizations are sort of interconnected, functioning hand in hand with law enforcement. The R.C.M.P. brought me in to review their investigations.</dialogue> <parenthetical>( holds up clipboard . )</parenthetical> <dialogue>. fact - check their records, see if there's anything they missed, anything they should be doing different. I'm here for a few days, before I head back up to Virginia. These reports go to the Justice Department eventually. I spoke to your F.B.I. contact a few days ago, uh.</dialogue> <scene_description>Welles pretends to look for the name on a Jiffy Lube page .</scene_description> <character>WELLES</character> <dialogue>What was the name? I've got it here somewhere.</dialogue> <character>MRS MATHEWS</character> <dialogue>Neil. Neil Cole.</dialogue> <character>WELLES</character> <parenthetical>( pretends he found it . )</parenthetical> <dialogue>Right, Agent Cole told me he'd call and let you know to expect me. He did n't call?</dialogue> <character>MRS MATHEWS</character> <dialogue>No.</dialogue> <character>WELLES</character> <parenthetical>( looking on legal pad . )</parenthetical> <dialogue>Well, I'm following up on your daughter, Mary, height ; five four, weight ; hundred ten pounds, brown eyes, blonde hair. Born April 24, 1976. Missing June 11th, 1992. A runaway, that's how she's listed. Is this information correct?</dialogue> <scene_description>Mrs. Mathews stares , nods .</scene_description> <character>WELLES</character> <dialogue>I'm sorry, I know this is n't easy. Is there a more convenient time?</dialogue> <parenthetical>( looks at watch . )</parenthetical> <dialogue>Can I buy you lunch, would that be alright?</dialogue> <scene_description>Mrs. Mathews looks him up and down .</scene_description> </scene> <scene> <stage_direction>EXT. DAIRY QUEEN RESTAURANT -- DAY</stage_direction> <scene_description>Welles and Mrs. Mathews eat at a PICNIC TABLE on the patio .</scene_description> <character>WELLES</character> <dialogue>It's very important you do n't let this raise your expectations. It's not going to effect any ongoing efforts. All I'm saying is, please know, I'm not here to create any false hope.</dialogue> <character>MRS MATHEWS</character> <dialogue>They hired you. You're like, a private detective?</dialogue> <character>WELLES</character> <dialogue>That's exactly what I am.</dialogue> <scene_description>Mrs. Mathews chews , staring off into the distance .</scene_description> <character>MRS MATHEWS</character> <dialogue>I did n't think there were private detectives anymore, except on TV.</dialogue> <character>WELLES</character> <dialogue>You probably expect me to be wearing a trench coat and a hat. Drinking whiskey, chasing women and getting beaten up by guys with broken noses. Want to know what it's really like? It's sitting in a car and staring at a hotel window for three days straight, pissing in a plastic bottle, pardon me, because some guy thinks his wife's cheating on him. Glamorous, huh? And the guy who hired you, he has a hair - lip, dandruff and crooked teeth, and you could have told him the minute you laid eyes on him his wife's cheating, and you do n't blame her.</dialogue> <scene_description>Mrs. Mathews smiles .</scene_description> <character>WELLES</character> <dialogue>It's refreshing to actually sit down and meet someone face to face, someone nice like you.</dialogue> <scene_description>Welles smiles . Mrs. Mathews takes out a cigarette . Welles lights her , joins her in smoking , refers to his clipboard .</scene_description> <character>WELLES</character> <dialogue>So, she did n't leave a note? She never gave any indication where she might go, before she left?</dialogue> <character>MRS MATHEWS</character> <dialogue>No.</dialogue> <character>WELLES</character> <dialogue>She just seemed. depressed?</dialogue> <character>MRS MATHEWS</character> <dialogue>She did n't seem herself. For months there never was any way to get her to talk about it. One night we went to bed. the next morning she was gone. She took some clothes.</dialogue> <character>WELLES</character> <dialogue>What was she running from?</dialogue> <character>MRS MATHEWS</character> <dialogue>I do n't know.</dialogue> <character>WELLES</character> <dialogue>If there's anything you feel uncomfortable talking about, tell me, but I have to ask. Your husband. he committed suicide?</dialogue> <character>MRS MATHEWS</character> <dialogue>Yes.</dialogue> <character>WELLES</character> <dialogue>September 4th, 1993. About a year after Mary disappeared.</dialogue> <character>MRS MATHEWS</character> <dialogue>We were divorced by then. Things fell apart. he was living with a friend.</dialogue> <character>WELLES</character> <dialogue>Why do you think he did it?</dialogue> <character>MRS MATHEWS</character> <dialogue>It got to be too much for him.</dialogue> <character>WELLES</character> <dialogue>You have to forgive me, but in these circumstances. with your daughter.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Were there any indications of. any sort of abuse?</dialogue> <character>MRS MATHEWS</character> <dialogue>There was n't anything like that. The police and the FBI people asked, but there was n't anything happened like that, never. My husband. his heart broke when Mary left.</dialogue> <character>WELLES</character> <dialogue>I did n't mean to.</dialogue> <character>MRS MATHEWS</character> <dialogue>You try going through what we did. Bob could n't take it, that's all. Christ, there's times when it still seems like I ca n't either.</dialogue> <character>WELLES</character> <dialogue>I had to ask. I apologize.</dialogue> <character>MRS MATHEWS</character> <dialogue>No one knows what it's like. You ca n't even imagine how much it hurts.</dialogue> <scene_description>Welles is miserable . A few CUSTOMERS walk past , looking at Mrs. Mathews . She tries not to notice then noticing .</scene_description> <character>MRS MATHEWS</character> <dialogue>People remember me from the news.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Can you drive me back now?</dialogue> <character>WELLES</character> <dialogue>Of course.</dialogue> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, MARY'S ROOM -- DAY</stage_direction> <scene_description>Mrs. Mathews enters . Welles follows . This was the girl 's room , exactly as she left it - POSTERS of ACTORS on the wall , many STUFFED ANIMALS on the pink sheets of the carefully made bed . Perfectly preserved .</scene_description> <character>MRS MATHEWS</character> <dialogue>This is her room.</dialogue> <scene_description>Welles looks around , uncomfortable . Shelves have PICTURES of MARY with female friends , a collection of CERAMIC FIGURINES of CLOWNS and ANIMALS .</scene_description> <character>MRS MATHEWS</character> <dialogue>The police made a wreck of it, but I put it back exactly how it was. Just how she likes it.</dialogue> <scene_description>Welles takes a few steps into the room , looks down at a DESK where there are SIX brightly wrapped GIFTS .</scene_description> <character>MRS MATHEWS</character> <dialogue>Those are for her birthday. One for every year she's missed. They'll be waiting for her when she comes back.</dialogue> <scene_description>Welles is nearly overwhelmed by sadness , struggling to hide it . He backs to the door , looks at his watch .</scene_description> <character>WELLES</character> <dialogue>I. I should n't take anymore of your time. Maybe we can finish tomorrow. I'll call tomorrow.</dialogue> <character>MRS MATHEWS</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>EXT. MATHEWS HOUSE -- DAY</stage_direction> <scene_description>Welles escapes to his car , climbing in . He starts it up . IN THE CAR Welles drives , tears welling up in his eyes . He has to pull over and park , wiping his tears , fighting for composure .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT</stage_direction> <scene_description>Welles has unpacked . He 's on the bed , on his CELLULAR .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>You should be able to take a shower and still have hot water left, honey.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Call him back and tell him I said so. The goddamn thing's still under warranty.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>I'm okay. It's hard here. It's hard.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>I've got a lead I have to follow through. To be honest, I do n't think I'm going to get very far. I miss you. I love you.</dialogue> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, KITCHEN -- MORNING</stage_direction> <scene_description>Welles sits at the kitchen table . Mrs. Mathews makes coffee . The home 's decor is cheap and flowery .</scene_description> <character>MRS MATHEWS</character> <dialogue>We were n't religious. We never forced religion down her throat, like I've seen some parents do to their kids. We never made her go to church. But, after Mary was gone, that's when I got religious.</dialogue> <scene_description>Mrs. Mathews brings two cups of coffee , sits .</scene_description> <character>MRS MATHEWS</character> <dialogue>Does n't make much sense, does it? When everything's happy, when life's fine and you have every reason to believe there's a God, you do n't bother. Then, something horrible happens. that's when you start praying all the time. That's when you start going to church.</dialogue> <character>WELLES</character> <dialogue>We're all like that.</dialogue> <character>MRS MATHEWS</character> <dialogue>Are you religious?</dialogue> <character>WELLES</character> <dialogue>No.</dialogue> <character>MRS MATHEWS</character> <dialogue>You should be.</dialogue> <scene_description>Mrs. Mathews drinks coffee , stares into the cup .</scene_description> <character>WELLES</character> <dialogue>I've got what I need for my report. There is. there is one thing that bothers me though.</dialogue> <character>MRS MATHEWS</character> <dialogue>What?</dialogue> <character>WELLES</character> <dialogue>It's not really my place, but it's not easy for me to set aside the private detective part of me either. See, I know a little about missing persons. When kids run, they almost always leave a note. It's guilt. They want to say goodbye.</dialogue> <character>MRS MATHEWS</character> <dialogue>There was n't one. The police looked.</dialogue> <character>WELLES</character> <dialogue>Do you think the police did a good job?</dialogue> <character>MRS MATHEWS</character> <dialogue>I do n't know. I think so.</dialogue> <character>WELLES</character> <dialogue>It is possible. and I know this is n't something you want to hear. Your daughter may have tried to hide a note where she thought you would eventually find it, but where she knew your husband would never find it. She might have wanted to tell you something.</dialogue> <character>MRS MATHEWS</character> <dialogue>No. You do n't have any reason to think that.</dialogue> <character>WELLES</character> <dialogue>If the police focused their search in her room, her belongings, well that'd be only natural, but they may have been looking in the wrong place.</dialogue> <scene_description>Mrs. Mathews is getting upset .</scene_description> <character>MRS MATHEWS</character> <dialogue>How. how can you say that to me?</dialogue> <character>WELLES</character> <dialogue>Will you let me look?</dialogue> <character>MRS MATHEWS</character> <dialogue>My husband never laid a hand on her. She would have told me. she would have told me.</dialogue> <character>WELLES</character> <dialogue>You're probably right, and I probably wo n't find anything. I do n't have a right to ask this, and you can kick me out of your house if you want, but this is my profession and there's a part of me that ca n't let it go. Police are just as human as you or I. They could have missed something. They probably did n't.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Would n't you rather know?</dialogue> <scene_description>Mrs. Mathews thinks about it , tortured , shakes her head sadly .</scene_description> <character>MRS MATHEWS</character> <dialogue>Go ahead and look if you want. I do n't care what you do.</dialogue> <scene_description>Mrs. Mathews gets up and walks out of the room .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE -- SEARCH MONTAGE -- DAY</stage_direction> <scene_description>- In MRS. MATHEWS ' BEDROOM , Welles looks through DRESSER drawers , methodically , replacing everything as it was . searches hat boxes and shoe boxes in a CLOSET . takes BOOKS off SHELVES , fanning the pages , shaking them out . - In a BATHROOM , Welles examines the contents of a MEDICINE CABINET , examining old prescription bottles . opens CABINETS under the sink . - In the LIVING ROOM , Mrs. Mathews sits slumped in a chair , staring at a soap opera on TELEVISION , a BOTTLE of scotch on TV tray beside her , drink in hand . - In the KITCHEN , Welles stands on a chair , searches high CABINETS . looks through low CABINETS , on his knees , pulls out pots and pans . fans the pages of COOK BOOKS . - Welles stands in the doorway of MARY 'S ROOM , just stares . He takes a few steps back into the HALLWAY , looks up at the ceiling . There 's an ATTIC DOOR there . Welles reaches to the door 's handle , opens it , unfolds the portable stairs . - In the small ATTIC , Welles uses a penlight FLASHLIGHT , crouched under the low ceiling , looking through dusty BOXES of PHOTOGRAPHS ; old photos of a wedding , of grandparents . Welles moves to pull back dusty sheets , finds a large WICKER BASKET and broken BICYCLE underneath . Welles opens the basket , takes out BLANKETS and QUILTS in mothballs . He finds a wide VELVET BOX , takes it out , opens its hinged lid to reveal a set of good SILVERWARE . He touches the tarnished silverware , lifts out the top tray . Underneath , resting on top of more silverware , is a DIARY . Welles opens the DIARY , finds written : `` Mary Anne Mathews . '' Welles turns pages . The DIARY 'S about half - full of feminine , cursive handwriting . After the last written page , a PAGE has been TORN OUT . Welles fingers the ragged edge , flips through the blank pages till he comes to the very last page , a GOODBYE NOTE . Welles sits and reads .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( emotionless monotone . )</parenthetical> <dialogue>`` Dear mom. If you're reading this, it means I called you from Hollywood, California and told you where to find my diary. I do n't think I'll be able to tell you this when I talk to you, so I'm writing it down here. You know I have n't been happy for a long, long time. For a long time now dad's been doing things I could n't tell you. He's been touching me and it's getting worse. I ca n't stay anymore. I know you and I have n't always gotten along sometimes, but please do n't blame yourself. There is n't anything you can do. I'm going to make a whole new life in California. Maybe someday you'll see me on TV or in magazines. Do n't worry about me. Love, Mary Anne.''</dialogue> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- DAY</stage_direction> <scene_description>Welles shuts the attic door , takes the DIARY from his pocket , hides it in his waistband at the small of his back .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, LIVING ROOM -- DAY</stage_direction> <scene_description>Welles enters . Mrs. Mathews looks up from the TV .</scene_description> <character>WELLES</character> <dialogue>You were right.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I did n't find anything. I'm going to run and get something to eat. Are you hungry?</dialogue> <character>MRS MATHEWS</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. COPY SHOP -- LATE DAY</stage_direction> <scene_description>Welles uses a self - serve COPY MACHINE , flattening the DIARY on the glass , photocopying the DIARY as quickly as he can .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles sits picking at fast food in front of him . Mrs. Mathews ' food is n't even unwrapped . She 's numb from her drink , watching a GAME SHOW , smoking .</scene_description> <character>WELLES</character> <dialogue>Do you ever consider. do you realize that Mary may never come back?</dialogue> <scene_description>Mrs. Mathews looks to Welles , looks back at the TV .</scene_description> <character>MRS MATHEWS</character> <dialogue>I think about it everyday. But, every time the phone rings. every single time, I still think it's her.</dialogue> <character>WELLES</character> <dialogue>It's been six years.</dialogue> <character>MRS MATHEWS</character> <dialogue>What am I supposed to do? Forget her? Time heals all wounds, right?</dialogue> <parenthetical>( misery building . )</parenthetical> <dialogue>She's all I think about, and I've learned to live with that. But, you want the truth. the real truth? If I had a choice. if I had to choose, between her being out there, living a good life and being happy, and me not knowing ; never finding out what happened to her.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>. or her being dead and me knowing.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I'd choose to know.</dialogue> <scene_description>Mrs. Mathews stares into the TV , wipes tears . Welles takes a deep breath and holds it . He watches her a long moment , motionless . Finally he stands , voice unsteady .</scene_description> <character>WELLES</character> <dialogue>Excuse me, I have to use your bathroom.</dialogue> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- NIGHT</stage_direction> <scene_description>Welles comes to the attic door , quietly pulls it open .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, ATTIC -- NIGHT</stage_direction> <scene_description>Welles uses his penlight , digs out the DIARY from the hiding place in his waistband , replaces it in the box of silverware , closes the box .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, MARY'S ROOM -- NIGHT</stage_direction> <scene_description>Welles enters , takes a PICTURE FRAME off one shelf , opens the back and takes out the PHOTO of MARY from inside .</scene_description> </scene> <scene> <stage_direction>INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT</stage_direction> <scene_description>Mrs. Mathews still gazes into the TV . Welles passes the doorway , not looking in , heading to the front door , opening the door and walking out . Mrs. Mathews does n't even notice , does n't look up .</scene_description> </scene> <scene> <stage_direction>EXT. MATHEWS HOUSE -- NIGHT</stage_direction> <scene_description>Welles crosses the front lawn , not looking back , heading to the street , getting into his car , starting his car , doing a U - turn , driving away down the street .</scene_description> </scene> <scene> <stage_direction>EXT. FAYETTEVILLE AIRPORT, LONG TERM PARKING -- MORNING</stage_direction> <scene_description>Welles ' boxes of belongings are piled in the back seat of his car . Welles covers them with a blanket , shuts the door . Welles opens the trunk of his car , pulls back the carpeting . He opens the brown BRIEFCASE . The briefcase is full of CASH , about $ 10,000 , twenties and fifties in bundles . Welles transfers half the money into a carry - on bag , shuts the briefcase , covers it , closes the trunk .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE, COACH -- NIGHT -- MONTAGE</stage_direction> <scene_description>The cabin 's half - full , dark . Passengers sleep . Under the only illuminated reading light , Welles reads the PHOTOCOPIED DIARY . MARY 'S VOICE is a again a flat monotone .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( as Welles reads . )</parenthetical> <dialogue>`` Dear diary. I have a big math test tomorrow. I have to get better grades. How come everybody does better than me? Kathy does n't even study and she gets B's. Two boys got in a fight after school today. One boy knocked the other boy's tooth out, at least that's what it looked like. His nose and mouth were bleeding all over the place.''</dialogue> </scene> <scene> <stage_direction>EXT. LOS ANGELES INTERNATIONAL AIRPORT -- MORNING -- MONTAGE</stage_direction> <scene_description>An airplane ROARS downwards , heading in for a landing .</scene_description> </scene> <scene> <stage_direction>EXT. LA CITYSCAPE -- ESTABLISHING -- DAY -- MONTAGE</stage_direction> <scene_description>An ugly city . `` HOLLYWOOD '' sign on the smoggy horizon .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD HOTEL -- DAY -- MONTAGE</stage_direction> <scene_description>A cheap , stucco hotel in a wounded Hollywood neighborhood .</scene_description> </scene> <scene> <stage_direction>INT. HOLLYWOOD HOTEL -- DAY -- MONTAGE</stage_direction> <scene_description>Welles ' suitcase is open on the bed . Welles sits in a chair with his feet up , sweating in the heat , reading the DIARY .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( as Welles reads . ) ''</parenthetical> <dialogue>. We're reading The Great Gatsby in English class. It's the story of this guy who has lots of fancy parties and all his friends come around and party with him, but later when he dies nobody comes to his funeral. Someone said there's a movie about it, but I looked in the video store and it was n't there.''</dialogue> <scene_description>Welles flips pages , further back in the DIARY .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( as Welles reads . )</parenthetical> <dialogue>`` Dear diary. I started my first job last week working part time at Price Mart department store.''</dialogue> </scene> <scene> <stage_direction>INT. LOS ANGELES BANK, SAFE DEPOSIT VAULT -- DAY -- MONTAGE</stage_direction> <scene_description>Welles and a BANK EMPLOYEE both put keys into a SAFE DEPOSIT BOX , unlocking it and sliding out the metal drawer .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. The people I work with are all old and fat. All they live for is their next coffee break so they can smoke.''</dialogue> </scene> <scene> <stage_direction>INT. BANK, PRIVACY BOOTH -- DAY -- MONTAGE</stage_direction> <scene_description>Welles is alone , opens the empty safe deposit drawer , takes the 8MM FILM from his pocket and puts it in the drawer .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. They eat lunch at the snack counter. Hot dogs and soft pretzels. Nachos with that orange cheese that comes out of a pump. I do n't know what I'd do if I'm still working there when I get old.''</dialogue> </scene> <scene> <stage_direction>EXT. YOUTH HOSTEL -- ESTABLISHING -- DAY -- MONTAGE</stage_direction> <scene_description>A large NEON CROSS identifies this HOSTEL in mid - Hollywood .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. I want to be a singer or an actress. I know it's a stupid dream, but I know I can do it if I get a chance.''</dialogue> </scene> <scene> <stage_direction>INT. YOUTH HOSTEL -- DAY -- MONTAGE</stage_direction> <scene_description>Welles talks to the MAN behind the counter , shows the PICTURE of MARY taken from Mrs. Mathews ' house .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. Everyone's always telling me how pretty I am. I do n't think I am. When I look in the mirror I wonder who they're talking about.''</dialogue> <scene_description>The MAN behind the counter shakes his head .</scene_description> </scene> <scene> <stage_direction>INT. HOMELESS SHELTER -- DAY -- MONTAGE</stage_direction> <scene_description>A run - down shelter . Welles shows the PICTURE of MARY to the PROPRIETOR , explaining . The proprietor shakes his head .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. I went out with Bob today, the cute boy in my science class. He took me to a movie.''</dialogue> </scene> <scene> <stage_direction>EXT. YWCA, LIVING QUARTERS -- DAY -- MONTAGE</stage_direction> <scene_description>Welles continues his trek , standing in the dank hallway of a YWCA DORMITORY , showing the PICTURE to a COUNSELOR .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. It was the middle of the day, but we held hands. I think he likes me. I really like him. He has black hair and grey eyes.''</dialogue> </scene> <scene> <stage_direction>EXT. LA FREEWAY -- DUSK -- MONTAGE</stage_direction> <scene_description>Welles sits in his rental CAR , in a massive TRAFFIC JAM .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. He opened the car door for me and paid for the movie. When he took me home he said we should go out again soon. I hope he calls.''</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD, RED LIGHT DISTRICT -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles drives , looking out the windshield . at decaying `` PEEP SHOWS , '' an `` ADULT BOOKSHOP '' and `` SEX SHOP . ''</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. Janet says she slept with her boyfriend. I ca n't believe it. She says they did it last weekend while her parents were out of town.''</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD, SUNSET BOULEVARD -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles drives , watching overweight PROSTITUTES and tall , muscular TRANSVESTITES prowling the sidewalks in mini - skirts and stained , tight spandex pants .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. She said she liked it, but she did n't seem too happy. She did n't tell me many details. She said he used a condom.''</dialogue> </scene> <scene> <stage_direction>EXT. SANTA MONICA BOULEVARD -- NIGHT -- MONTAGE</stage_direction> <scene_description>Teenaged MALE PROSTITUTES hang out in front of a PIZZA PARLOR . A few have their shirts off , crewcut and muscular .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. If I save enough money to go to community college maybe I can get good enough grades for a scholarship somewhere else.''</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD BOULEVARD -- DAY -- MONTAGE</stage_direction> <scene_description>A tribe of HOMELESS TEENAGERS sits on the sidewalk in front of SOUVENIR SHOPS . They beg money off pedestrians .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. I've never been anywhere else. I do n't think mom wants to let me go. Every time I try to talk about it she says it'll cost too much or she changes the subject.''</dialogue> </scene> <scene> <stage_direction>EXT. CHURCH, SOUP KITCHEN -- DAY -- MONTAGE</stage_direction> <scene_description>A long line of HOMELESS PERSONS trails out the door . Welles stands out front , showing the PICTURE to a VOLUNTEER with a broom , and a PRIEST .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. Something terrible happened today when dad and I were alone. I ca n't tell anyone. I feel sick. What did I ever do to make this happen to me?''</dialogue> <scene_description>The volunteer and priest ca n't help . Welles is weary , futility beginning to wear on him , walks to his car .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. My stomach hurts all the time. I just want to go to sleep and never wake up. I want to get out of my head and stop hearing myself think.''</dialogue> </scene> <scene> <stage_direction>INT. WELLES' RENTAL CAR -- IN MOTION -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles smokes , driving , blankly watching the road ahead .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. Grandma fell and broke her leg last week. We drove down to visit her in the hospital. Hospitals smell like dead people.''</dialogue> </scene> <scene> <stage_direction>EXT. FREEWAY -- HELICOPTER SHOT -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>FOLLOW Welles ' car speeding along .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. It's happening all the time now. There s nothing I can do. I'm all alone. Everything is bad. I used to have lots of dreams and I'd remember them when I woke up, but that does n't happen anymore.''</dialogue> <scene_description>PULL BACK : still FOLLOWING WELLES ' CAR , over the FREEWAY .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . )</parenthetical> <dialogue>`` Dear diary. If I can get to California, I'll be okay. I've got money saved. I can work as a waitress till I get something better. Billy says he and his family went to California once on vacation. He says it never rains. They stayed near the beach and he went swimming in the ocean.''</dialogue> <scene_description>CONTINUE TO PULL BACK - till Welles ' car is very , very far below - REVEALING the staggering size of the City of Los Angeles , where the lights go on forever and forever .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles is seated , elbows on his knees , reading the DIARY .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O. , cont . ) ''</parenthetical> <dialogue>. I hope I can be an actress. I hope I can be happy. I'll probably have to go to acting school. I wish I knew someone who lived there. I'll miss my friends, but at least I'll be far away where no one can ever find me.''</dialogue> <scene_description>Welles has come to the end of the writing in the DIARY . The next PHOTOCOPIED PAGE shows an image of the TORN RAGGED EDGE of the diary 's missing page .</scene_description> </scene> <scene> <stage_direction>EXT. VIDEO PORN SHOP -- DAY</stage_direction> <scene_description>Welles enters this `` ADULT VIDEO '' storefront .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO PORN SHOP -- DAY</stage_direction> <scene_description>The CLERK is a sleazy forty - year - old man with rings in his pierced nose and lips , behind a counter by the door . He watches Welles pass . Welles looks around , uncomfortable . A few of the other CUSTOMERS , all men , sneak glances at Welles . Display shelves run floor to ceiling , full of hundreds of shrink - wrapped XXX PORNO TAPES . Welles pretends to browse . Handmade signs above each section identify content : `` ANAL , '' `` BIG TITS , '' `` CUMSHOTS , '' `` BONDAGE and FETISH , '' etc . Welles looks back at the clerk , who stares at Welles . Welles feels obligated to pick up a box and act like he 's considering it . He glances at other customers . Each man keeps his eyes forward on the pornography . One guy has his arms full of about ten videos . Welles puts the tape back , walks to the front counter . The clerk watches him the whole time .</scene_description> <character>WELLES</character> <dialogue>Is this pretty much it?</dialogue> <scene_description>The clerk just stares at Welles .</scene_description> <character>WELLES</character> <dialogue>Just. just videos?</dialogue> <character>PIERCED CLERK</character> <dialogue>What are you looking for?</dialogue> <scene_description>Welles considers , decides to leave , exiting .</scene_description> <character>WELLES</character> <dialogue>Nothing.</dialogue> <character>PIERCED CLERK</character> <dialogue>Fuck - head.</dialogue> </scene> <scene> <stage_direction>INT. ADULT BOOKSTORE -- DAY</stage_direction> <scene_description>Welles comes in through the blacked - out door . This place is larger than the last . TWO CLERKS are behind the counter . One clerk 's pricing porn , the other , MAX , 25 , reads a porno - novel . Max has long hair , colorful tattoos covering his forearms , has a HIGHLIGHTER MARKER in his mouth . Welles browses . There 's a huge video bargain bin . Walls are covered in videos , sex toys , inflatable women , etc. . CUSTOMERS , again all wary males , follow proper porn - shop etiquette ; look at the porn , not your fellow shopper . There are `` PEEP SHOW '' booths in the back . A MAN looks around , trying to be nonchalant , sweating profusely , slipping behind one curtain . Welles pretends to read the packaging on a triple - pack of dildos , looks towards the front . Behind the register , Max takes a look to make sure the other clerk is busy , takes the cap of his Highlighter pen and highlights a section in the book he 's reading . Welles notes this . He goes to the substantial MAGAZINE RACK , picks up a porn tabloid , pages through it . He selects sex MAGAZINES and NEWSPAPERS , choosing about twenty - five . Welles takes this pile up to Max , gets out his wallet . Max starts ringing everything up .</scene_description> <character>MAX</character> <dialogue>Big date tonight?</dialogue> <character>WELLES</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>Yeah. guess so.</dialogue> <character>MAX</character> <dialogue>Can I interest you in a battery operated - vagina?</dialogue> <character>WELLES</character> <dialogue>Pardon me?</dialogue> <character>MAX</character> <dialogue>My boss tells me I have to do more suggestive selling.</dialogue> <character>WELLES</character> <dialogue>Well, it's tempting, but no thanks.</dialogue> <character>MAX</character> <dialogue>It's your call, but you're gon na be sorry when you're in one of those everyday situations that call for a battery - operated vagina and you do n't have one.</dialogue> <character>WELLES</character> <dialogue>I'll risk it.</dialogue> <scene_description>Max shoves everything into a bag and hands it over .</scene_description> <character>MAX</character> <dialogue>Thank you for shopping at Adult Bookstore. Have a nice day.</dialogue> <scene_description>Welles takes the bag . Max returns to his book . Welles is leaving , but stops at the end of the counter .</scene_description> <character>WELLES</character> <dialogue>What are you reading?</dialogue> <scene_description>Max holds up the book , `` ANAL SECRETARY . ''</scene_description> <character>MAX</character> <dialogue>Once you pick it up you ca n't put it down.</dialogue> <character>WELLES</character> <dialogue>Catchy title. What are you really reading?</dialogue> <parenthetical>( off Max 's look . )</parenthetical> <dialogue>Hard to believe that book's got any parts worth highlighting.</dialogue> <scene_description>Max takes a glance at the other clerk , opens the pages of the book and shows it to Welles . `` Music for Chameleons . ''</scene_description> <character>WELLES</character> <dialogue>Truman Capote.</dialogue> <character>MAX</character> <dialogue>I tear off the cover and paste this one on.</dialogue> <parenthetical>( nods towards clerk . )</parenthetical> <dialogue>You know how it is.</dialogue> <character>WELLES</character> <dialogue>Would n't want to embarrass yourself in front of your fellow perverts.</dialogue> <character>MAX</character> <parenthetical>( smiles , shrugs . )</parenthetical> <dialogue>Might get drummed out of the pornographer's union, and then where would I be?</dialogue> <scene_description>Another CUSTOMER clears his throat , waiting at the register . Max turns to help him . Welles heads out .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT</stage_direction> <scene_description>Welles is at a table , porn publications spread out before him , looking through the back of a PORNO TABLOID . Turning pages of HARDCORE ADVERTISEMENTS : `` Adults Only , '' `` She Male Films , '' `` Amateur Sex Videos , '' `` Women and Animals - you 've got to see it to believe it . '' Welles moves on to the next MAGAZINE , turning to the back , again , page after page : `` Watersports and Fisting Specialists , '' `` 100 's of Anal Films , '' `` Asian Sex . '' HUNDREDS of 900 NUMBER ads with naked women urging callers to pick up the phone . EROTIC CLASSIFIEDS ; hundreds of amateur photos of naked men and women with faces and genitalia blacked over . `` Men Seeking Women , '' `` Women Seeking Women '' , `` Men Seeking Men , '' `` Transvestites . '' It is endless . More CLASSIFIEDS : `` Sex Slaves Wanted , '' `` ACTRESSES WANTED , '' `` Underground Films , '' `` SPECIALTY FILMS OFFERED , '' `` S+M and BONDAGE , '' `` Fetish Videos . '' Welles leaves it , overwhelmed , goes to lay down on the bed . He picks up his cellular phone , dialing .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hi, honey, how are you? How's Cindy?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>The way it's going I'm about ready to pack my bags.</dialogue> </scene> <scene> <stage_direction>INT. NONDESCRIPT ROOM -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>In a dark room , we do n't know where , a DARK FIGURE of a MAN is silhouetted . He wears HEADPHONES , listening .</scene_description> <character>WELLES' VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphones . )</parenthetical> <dialogue>. I've got a feeling the person I'm looking for came out here and got swallowed up by the place.</dialogue> <character>AMY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphone . )</parenthetical> <dialogue>Come back now. Just drop it and come back.</dialogue> <character>WELLES' VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphone . )</parenthetical> <dialogue>I would if I could. I'll be home soon, believe me. It wo n't be long.</dialogue> <character>AMY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphone . )</parenthetical> <dialogue>I miss you.</dialogue> </scene> <scene> <stage_direction>INT. WELLES ROOM -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>Welles shuts his eyes , still on the cellular .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I miss you too. I love you very much. Give Cinderella a kiss for me and tell her I love her, alright?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Goodnight.</dialogue> </scene> <scene> <stage_direction>INT. ADULT BOOKSTORE -- DAY</stage_direction> <scene_description>Max is at the register . A crewcut WOMAN in overalls works behind the counter with him . Welles approaches .</scene_description> <character>WELLES</character> <dialogue>Remember me?</dialogue> <character>MAX</character> <dialogue>Came back for that battery - operated vagina, right? Told you you would.</dialogue> <scene_description>Welles shows his IDENTIFICATION , lets Max get a good look .</scene_description> <character>WELLES</character> <dialogue>I need some information. Thought you might be able to help.</dialogue> <character>MAX</character> <parenthetical>( of identification . )</parenthetical> <dialogue>Thomas Welles. Nice picture.</dialogue> <scene_description>Welles takes out an ENVELOPE , puts it on the counter .</scene_description> <character>WELLES</character> <dialogue>I'll be outside having a cigarette.</dialogue> <scene_description>Welles leaves . Max watches him go . Max opens the envelope , takes out two fifty dollar bills , pockets them .</scene_description> <character>MAX</character> <parenthetical>( to other clerk . )</parenthetical> <dialogue>Cover me, Beth. I'm taking a break.</dialogue> </scene> <scene> <stage_direction>EXT. ADULT BOOKSTORE -- DAY</stage_direction> <scene_description>Welles stands down the sidewalk , smoking . Max comes out from the porn shop , walks to Welles , looking around .</scene_description> <character>MAX</character> <dialogue>I do n't know what you're looking for, mister, but so we're clear from the start, I'm straight.</dialogue> <character>WELLES</character> <dialogue>Good for you.</dialogue> <scene_description>Welles and Max walk down the block , past HOMELESS MEN with shopping carts overflowing with junk .</scene_description> <character>WELLES</character> <dialogue>How long you been working there?</dialogue> <character>MAX</character> <dialogue>Three, four years.</dialogue> <character>WELLES</character> <dialogue>What's your name, if you do n't mind me asking?</dialogue> <character>MAX</character> <dialogue>Max.</dialogue> <character>WELLES</character> <dialogue>Well, here's the deal, Max. This thing I'm on right now has something to do with underground pornography. Stuff that's sold under the counter, illegally.</dialogue> <character>MAX</character> <dialogue>There's not much illegal.</dialogue> <character>WELLES</character> <dialogue>Well, whatever there is, whoever's dealing, however it's done, I want to know. I want a good look, so if you've got that kind of connection, great. If not, speak now.</dialogue> <character>MAX</character> <dialogue>You're not a cop, are you? If I ask and you are, you have to tell me.</dialogue> <character>WELLES</character> <dialogue>I'm not a cop.</dialogue> <character>MAX</character> <dialogue>You're a private eye. Like Shaft.</dialogue> <character>WELLES</character> <dialogue>Not quite.</dialogue> <character>MAX</character> <dialogue>From Pennsylvania. P.I. from PA.. What are you doing out here?</dialogue> <character>WELLES</character> <dialogue>Well, there's the thing ; you're not gon na know anything about what I'm doing, but you can make some money.</dialogue> <character>MAX</character> <dialogue>How much?</dialogue> <character>WELLES</character> <dialogue>How much do you make now?</dialogue> <character>MAX</character> <dialogue>Four hundred a week, off the books.</dialogue> <character>WELLES</character> <dialogue>Okay, let's pretend I live in the same fantasy world where you make four hundred a week in that dump. I'll give you six hundred for a few days.</dialogue> <character>MAX</character> <dialogue>Sounds good, pops.</dialogue> <character>WELLES</character> <dialogue>Here's my number if you need it.</dialogue> <parenthetical>( writes on scrap paper . )</parenthetical> <dialogue>When can you start?</dialogue> <character>MAX</character> <dialogue>Tomorrow night, I get off at eight.</dialogue> <character>WELLES</character> <dialogue>See you then. Oh, and, do n't call me `` pops.''</dialogue> <scene_description>Welles walks away .</scene_description> </scene> <scene> <stage_direction>INT. WELLES ROOM -- NIGHT</stage_direction> <scene_description>Welles sleeps , despite the stead SOUND of TRAFFIC racing by his window . The PHONE RINGS , waking him . Welles looks at the clock radio , 2:23 am , reaches to answer the phone .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>. Hello?</dialogue> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Wake up, pops. Your education begins tonight.</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN -- NIGHT</stage_direction> <scene_description>Against the backdrop of downtown LA 's bright skyscrapers , Welles ' rental car heads into the lower bowels of the city , smaller , older , darker buildings .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN STREETS -- NIGHT</stage_direction> <scene_description>The only people on the street are HOMELESS and SHADY CHARACTERS . Welles ' car makes its way to a big deserted PARKING LOT . There are a few cars parked in one corner . Welles parks near the other cars and gets out . Max stands against a chain link fence . Welles goes to meet him .</scene_description> <character>MAX</character> <dialogue>Come on.</dialogue> <scene_description>Max leads the way , across the lot , towards dark alleyways .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN ALLEYWAY -- NIGHT</stage_direction> <scene_description>Max and Welles move through this filth strewn alley between decaying brink buildings . They cone to a STAIRWELL leading down to pitch dark .</scene_description> </scene> <scene> <stage_direction>INT. OLD BUILDING -- NIGHT</stage_direction> <scene_description>Max enters through a crooked door , heads into a narrow , labyrinth hallway lit by bare bulbs . Welles follows . They come to another STAIRWAY leading down . At the bottom , a thick - necked GOON stands guarding double doors .</scene_description> <character>GOON</character> <dialogue>Are you a law enforcement agent or in any way affiliated with law enforcement?</dialogue> <character>MAX</character> <dialogue>Fuck you, Larry.</dialogue> <scene_description>Max heads to the double doors , waits for Welles .</scene_description> <character>GOON</character> <parenthetical>( to Welles . )</parenthetical> <dialogue>Are you a law enforcement?</dialogue> <character>WELLES</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT -- NIGHT</stage_direction> <scene_description>Max and Welles enter through the double doors , into a kind of small , underground porn flea market . It 's incredibly quiet . About fifteen CARD TABLES are set up in rows . The MEN behind the tables and the thirty or so `` CUSTOMERS '' looking through the merchandise make those in the previous porn shops look like high society . These are MIDDLE - AGED MEN , most balding , some with pot bellies , in shorts and tube socks , in sweatpants and Members Only jackets : plain men , but with a look of desperation in their eyes , glancing around nervously , greasy and afraid .</scene_description> <character>ONE DEALER</character> <dialogue>We're shutting down in fifteen minutes. Fifteen minutes.</dialogue> <scene_description>Welles makes his way to the tables , wary . One table is covered in dirty cardboard boxes , filled with HUNDREDS of PHOTOS of young children , mostly boys , naked . Each photo is wrapped in plastic , censored by masking tape . Welles swallows back disgust . The next table is piled high with used pornographic MAGAZINES . There are baggies with COLORFUL PILLS laid out . X - rated Polaroids wrapped in rubberbands . Max follows behind , unaffected , smokes a cigarette . Another table offers VIDEO TAPES with no identifying marks other than hand written labels with numbers written out , `` two , '' `` sixteen , '' `` five . '' And many bootleg VIDEOS with grainy , homemade labels showing WOMEN in extreme BONDAGE . Welles watches out the corner of his eye as the PLUMP MAN beside him pays for a thick stack of kiddie porn pictures . Welles waits till the man moves on , addresses the angry looking DEALER who 's counting money .</scene_description> <character>WELLES</character> <parenthetical>( points to numbered videos . )</parenthetical> <dialogue>What are these?</dialogue> <character>ANGRY DEALER</character> <dialogue>Mixed hard bondage. Rape films. Sick shit. Buy five, get one free.</dialogue> <scene_description>Welles looks around , wipes sweat off his top lip .</scene_description> <character>WELLES</character> <dialogue>Anything harder?</dialogue> <character>ANGRY DEALER</character> <dialogue>There's nothing harder.</dialogue> <character>WELLES</character> <dialogue>Snuff?</dialogue> <character>ANGRY DEALER</character> <dialogue>What you see is what I got, mister.</dialogue> <character>WELLES</character> <dialogue>You know where I can get it? I have a lot of money to spend.</dialogue> <character>ANGRY DEALER</character> <dialogue>There ai n't no such thing as snuff. Why do n't you fuck off?</dialogue> <scene_description>The dealer sits and keeps counting cash . Welles moves on Beyond the tables there 's a CURTAINED DOORWAY . Welles walks to it , enters . INSIDE THE CURTAIN Folding chairs face a SCREEN . A PROJECTOR shows a silent movie ; a BUXOM WOMAN in nurses uniform prepares an enema bag and tube . A hairy , overweight MAN lays face down on an examination table , naked , arms tied behind his back . In the darkness , a MAN shifts in his chair , grunting , obviously masturbating . A few chairs away , a man is bent over , moving his head in the lap of SOMEONE in a BLONDE WIG . A LARGE MAN approaches Welles from the dark .</scene_description> <character>LARGE MAN</character> <dialogue>You have to pay to come in here.</dialogue> <scene_description>Welles backs away , shuts the curtain .</scene_description> </scene> <scene> <stage_direction>INT. ALL-NIGHT COFFEE SHOP -- NIGHT</stage_direction> <scene_description>Not many people in the place . Welles drinks coffee . Max eats a huge breakfast .</scene_description> <character>MAX</character> <dialogue>You've got Penthouse, Playboy, Hustler, etc.. Nobody even considers them pornography anymore. Then, there's mainstream hardcore. Triple X. The difference is penetration. That's hardcore. That whole industry's up in the valley. Writers, directors, porn stars. They're celebrities, or they think they are. They pump out 150 videos a week. A week. They've even got a porno Academy Awards. America loves pornography. Anybody tells you they never use pornography, they're lying. Somebody's buying those videos. Somebody's out there spending 900 million dollars a year on phone sex. Know what else? It's only gon na get worse. More and more you'll see perverse hardcore coming into the mainstream, because that's evolution. Desensitization. Oh my God, Elvis Presley's wiggling his hips, how offensive! Nowadays, Mtv's showing girls dancing around in thong bikinis with their asses hanging out. Know what I mean? For the porn - addict, big tits are n't big enough after a while. They have to be the biggest tits ever. Some porn chicks are putting in breast implants bigger than your head, literally. Soon, Playboy is gon na be Penthouse, Penthouse'll be Hustler, Hustler'll be hardcore, and hardcore films'll be medical films. People'll be jerking off to women laying around with open wounds. There's nowhere else for it to go.</dialogue> <character>WELLES</character> <dialogue>Interesting theory.</dialogue> <character>MAX</character> <dialogue>What you saw tonight, we're not talking about a video some dentist takes home over the weekend. We're talking about stuff where people get hurt. Specialty product.</dialogue> <character>WELLES</character> <dialogue>Child pornography.</dialogue> <character>MAX</character> <dialogue>There's two kinds of specialty product ; legal and illegal. Foot fetish, shit films, watersports, bondage, spanking, fisting, she - males, hemaphrodites. it's beyond hardcore, but legal. This is the kind of hardcore where one guy's going to look at it and throw up, another guy looks at it and falls in love. Now, with some of the S+M and bondage films, they straddle the line. How are you supposed to tell if the person tied up with the ball gag in their mouth is a consenting or not? Step over that line, you're into kiddie porn. Rape films, but there are n't many. I've never seen one.</dialogue> <character>WELLES</character> <dialogue>Snuff films.</dialogue> <character>MAX</character> <dialogue>I heard you asking. That guy was n't yanking you around. There's no such thing.</dialogue> <character>WELLES</character> <dialogue>What other ways are there to get illegal films? Who do you see?</dialogue> <character>MAX</character> <dialogue>First of all, basement sales like tonight are n't gon na last much longer. It's too risky, one, and two, everything's going on the internet. Anyone with a computer and enough patience can find anything he wants. It's heaven for those degenerate chicken - hawks. They're swapping pictures back and forth as fast as their modems can zap'em. But, there's still some weird shit under the counter where I work sometimes. No one knows where it comes from. That's local underground, where information spreads by word of mouth. Those are zombies, hardcore junkies. Their hands are permanently pruned. They go out in the sun they do n't burn, they blister. Other than that, all I know about is the mail. Classified ads in the paper with hidden codes. Secret couriers. Credit card orders to dummy corporations. Interstate wire transfers. Revolving P.O. boxes. But, if you're asking me who do you go to to get illegal shit. who knows? That's the whole point - the seller stays as far away from the buyer as possible, and vice versa, and cops ca n't trace the deal. There's ways to do it so nobody knows who anybody is.</dialogue> <scene_description>Welles watches Max eat .</scene_description> <character>WELLES</character> <dialogue>How old are you?</dialogue> <character>MAX</character> <dialogue>Twenty - five.</dialogue> <character>WELLES</character> <dialogue>Where are your parents?</dialogue> <character>MAX</character> <dialogue>I do n't know, where are yours?</dialogue> <character>WELLES</character> <dialogue>I do n't mean any offense. but what are you doing mixed up in all this?</dialogue> <character>MAX</character> <dialogue>I'm not mixed up in anything, hayseed. What are you talking about?</dialogue> <character>WELLES</character> <dialogue>You just strike me as smart enough to be doing something else.</dialogue> <character>MAX</character> <dialogue>Yeah, I'm a real genius. What choices have I got? Fuck, just because I know about stuff like tonight does n't mean I deal it. I work a job. It beats pumping gas, beats making hamburgers.</dialogue> <character>WELLES</character> <dialogue>You're telling me it does n't get to you?</dialogue> <character>MAX</character> <dialogue>You ca n't sit there all day watching the parade of losers that comes into that place without going numb. So what? Am I gon na go off and be a race car driver? Go to Harvard? Run for President? What about you, pops?</dialogue> <character>WELLES</character> <dialogue>What about me?</dialogue> <character>MAX</character> <dialogue>I see a ring on your finger. You have any kids?</dialogue> <character>WELLES</character> <dialogue>A daughter.</dialogue> <character>MAX</character> <dialogue>So, you have a wife and kid waiting for you in Pennsylvania. what are you doing mixed up in all this?</dialogue> <character>WELLES</character> <dialogue>Good question.</dialogue> </scene> <scene> <stage_direction>EXT. ALL NIGHT COFFEE SHOP -- NIGHT</stage_direction> <scene_description>Max and Welles comes out to the sidewalk , talking . ACROSS THE STREET INSIDE A PARKED CAR , through the windshield , SOMEONE watches Max and Welles say goodnight . Max walks to a waiting taxi . It 's the sinister lawyer watching , LONGDALE , the late Mr. Christian 's attorney , watching Welles go to his rental car .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT -- MONTAGE</stage_direction> <scene_description>Welles is seated , PROJECTOR RUNNING , watching the 8MM film . The last of the film makes its way through , threading out . The take - up reel spins , the film 's tail flapping . Welles stares at the blank white square of light projected onto the wall . CELLULAR PHONE is HEARD RINGING . Welles finally looks to the projector , turns it off . The PHONE 'S RINGING . Welles goes to sit on the bed , looking at the cellular phone on the bedside table . RINGING . Welles lets it RING . RINGING . RINGING . till it finally stops . Welles lays back on the bed and shuts his eyes .</scene_description> </scene> <scene> <stage_direction>INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- DAY</stage_direction> <scene_description>Mrs. Christian is behind the desk , surrounded by BOXES of BANK RECORDS and FINANCIAL STATEMENTS , on the PHONE .</scene_description> <character>MRS CHRISTIAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>My husband had five cash accounts he used to temporarily hold stock profits. Between November of 1991 and March of 1992, he wrote one check out to cash from each account. He wrote these himself.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH, HOLLYWOOD -- DAY -- CONTINUOUS</stage_direction> <scene_description>Welles is in the booth , listening .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Okay.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>My husband never dealt with money personally, certainly not cash.</dialogue> <character>WELLES</character> <dialogue>I'm not positive this means anything.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The checks were for odd amounts.</dialogue> </scene> <scene> <stage_direction>INT. MR CHRISTIAN'S OFFICE -- DAY -- CONTINUOUS</stage_direction> <scene_description>Mrs. Christian has the amounts written out on paper .</scene_description> <character>MRS CHRISTIAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>One was for two hundred thousand, one dollar and thirteen cents. Another was for three hundred thousand, six hundred fifty four dollars and seventy six cents.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Okay, I follow you so far.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Totalled together, these five checks from five different accounts, they equal one million dollars.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- DAY -- CONTINUOUS</stage_direction> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>You're joking.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>To the penny. Exactly one million dollars in cash.</dialogue> <scene_description>Welles considers this , lost in thought .</scene_description> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hello?</dialogue> <character>WELLES</character> <dialogue>I'm here.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you think the film could have cost that much?</dialogue> <character>WELLES</character> <dialogue>For a human life. murder on film, no statute of limitations. Who knows? It sure could have. I'd like you to overnight me a copy of those checks, then put them in a safe deposit box.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Okay.</dialogue> <character>WELLES</character> <dialogue>Send it to me through the post office like we arranged. No return address. You dug this up all by yourself?</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You told me to look, so I looked.</dialogue> <character>WELLES</character> <dialogue>You're one hell of a detective, Mrs. Christian.</dialogue> </scene> <scene> <stage_direction>EXT. MISSION YOUTH HOSTEL -- DAY</stage_direction> <scene_description>TEENAGERS work cleaning this large DORMITORY , sweeping and mopping the floor , making the bunk beds , washing windows . Welles stands with an elderly , black NUN in plain clothing .</scene_description> <character>WELLES</character> <dialogue>Her name was Mary Anne Mathews.</dialogue> <scene_description>Welles hands the woman the PICTURE of MARY . The woman puts on her glasses , looks at the picture . looks at Welles .</scene_description> <character>NUN</character> <dialogue>Yes. I remember Mary</dialogue> <character>WELLES</character> <dialogue>You. you do? You're sure? Please, Sister, will you take another look, make sure.</dialogue> <character>NUN</character> <parenthetical>( examines picture . )</parenthetical> <dialogue>Yes. I remember her.</dialogue> </scene> <scene> <stage_direction>INT. MISSION YOUTH HOSTEL, STORAGE AREA -- DAY</stage_direction> <scene_description>In a basement corner , Welles watches as the nun uses keys to open the door of a chain - link STORAGE CAGE . The cage is full of junk , BOXES , LAMPS , stacks of CHAIRS .</scene_description> <character>NUN</character> <dialogue>She lived here for only about a month, if I recall correctly. She did n't return one night. She never came back. I did n't know what to think.</dialogue> <scene_description>The nun enters the cage , pushes old BOXES out of her way , looks up a cob - web covered METAL SHELVES .</scene_description> <character>NUN</character> <dialogue>Do you know what happened to her?</dialogue> <character>WELLES</character> <dialogue>I'm trying to find out. She was a runaway. I'm looking into it for her parents.</dialogue> <scene_description>The nun sees what she wants , finds a STEP LADDER , tries to open it . Welles comes to help her .</scene_description> <character>NUN</character> <parenthetical>( pointing on shelf . )</parenthetical> <dialogue>Can you get that down for me?</dialogue> <scene_description>Welles climbs the ladder , points at boxes .</scene_description> <character>NUN</character> <dialogue>No, the next shelf. there.</dialogue> <scene_description>Welles takes down a small SUITCASE . It 's covered in dust . He climbs down the ladder with it .</scene_description> <character>WELLES</character> <dialogue>What is this?</dialogue> <character>NUN</character> <dialogue>Those are her belongings.</dialogue> <character>WELLES</character> <dialogue>Her belongings?</dialogue> <character>NUN</character> <dialogue>That's her suitcase. I had forgotten it, till you showed me her picture.</dialogue> <scene_description>Welles puts the suitcase down , examines the LUGGAGE TAG : `` Mary Anne Mathews , '' no address . Welles looks to the nun .</scene_description> <character>WELLES</character> <dialogue>Whatever possessed you to keep this all this time?</dialogue> <character>NUN</character> <dialogue>She was the kindest, sweetest girl you'd ever want to meet. Oh, I adored her. I supposed I always hoped she'd be back. After a time, all I could do was pray she had moved on to better things. Can you get this suitcase to her parents, if you think it's appropriate?</dialogue> <character>WELLES</character> <dialogue>I'll do what I can.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' ROOM -- NIGHT</stage_direction> <scene_description>Welles puts Mary 's SUITCASE on the bed , opens it . He takes out some of Mary 's clothing , examines it , lays it aside . He takes out a ROSARY , more CLOTHING . Resting on a SWEATER are two CERAMIC FIGURINES ; a teddy bear and kitten . Welles examines them , frowning , puts them aside . He takes out yellowed NEWSPAPER ; Help Wanted CLASSIFIEDS , `` July 2 , 1992 . '' Several job possibilities circled , others crossed out . He finds baggie containing a few old JOINTS . All that 's left are more items of CLOTHING , a TOOTHBRUSH and an ADDRESS BOOK . Welles examines the address book , finds a folded piece of paper in the blank pages , unfolds it . it 's the TORN DIARY PAGE , a POEM written in Mary 's hand .</scene_description> <character>MARY'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( as Welles reads . )</parenthetical> <dialogue>`` Star light, star bright, First star I've seen tonight, Wish I may, wish I might, Have this wish I wish tonight.''</dialogue> <scene_description>Welles goes to a drawer , takes out the photocopy of Mary 's DIARY . He turns to the ragged edge of the torn page , puts the DIARY PAGE against it . Perfect match . Welles stands looking at the poem . He turns the page over , finds written , in cursive : Models Wanted 213 - 555 - 6643</scene_description> </scene> <scene> <stage_direction>EXT. PHONE BOOTH -- DAY</stage_direction> <scene_description>Welles dials the number off the back of the torn diary page , phone to his ear . It RINGS , RINGS , RINGS .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Celebrity Films.</dialogue> <scene_description>Welles hangs up , begins searching the booth 's YELLOW PAGES .</scene_description> </scene> <scene> <stage_direction>EXT. WILSHIRE OFFICE BUILDING -- DAY</stage_direction> <scene_description>A poverty stricken business section of Wilshire . Welles gets out of his parked car , looks up at a decaying Art Deco building that 's painted blue top - to - bottom . Welles crosses through traffic .</scene_description> </scene> <scene> <stage_direction>INT. WILSHIRE OFFICE BUILDING, LOBBY -- DAY</stage_direction> <scene_description>Welles studies the REGISTRY , finds `` Celebrity Films . ''</scene_description> </scene> <scene> <stage_direction>INT. WILSHIRE OFFICE BUILDING, STAIRWELL -- DAY</stage_direction> <scene_description>Paint 's peeling . Walls are water stained . Welles climbs stairs , winded , sweating , up the stairwell .</scene_description> </scene> <scene> <stage_direction>INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY</stage_direction> <scene_description>Welles comes out a stairwell DOOR , catching his breath . A couple of SECRETARIES wait for the elevator . Welles moves down the hall , around a corner . Each office door has a window of pebbled , translucent glass . There 's a `` Dental Office , '' `` Wilson Travel Cruises , '' and at the end of the hall , `` Celebrity Films Inc. , Eddie Poole , Professional Casting and Distribution , Suite 804 . '' Welles heads back the way he came .</scene_description> </scene> <scene> <stage_direction>EXT. WILSHIRE OFFICE BUILDING -- DAY</stage_direction> <scene_description>Welles crosses back to the other side of the street , goes to stand near his car . He looks up at the blue office building , counting up floors , counting windows across . Satisfied , he turns , backing up , looking up at the tall OFFICE BUILDING across from the blue building . There 's a sign on this adjacent building , `` OFFICE SPACE AVAILABLE . ''</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE, 9TH FLOOR -- DAY</stage_direction> <scene_description>Empty office . Welles is let in by a disinterested LANDLORD . Welles gives a cursory look around , goes to the windows and opens the blinds . These windows afford an excellent view of the blue building across the street , at about 8th floor level .</scene_description> <character>WELLES</character> <dialogue>This is better.</dialogue> <parenthetical>( turns to landlord . )</parenthetical> <dialogue>This will be fine.</dialogue> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- NIGHT</stage_direction> <scene_description>Welles has transferred most of his belongings here , SUITCASE open on the floor , CARD TABLE set up with fast food on it , an ARMY COT against one wall . Welles sits in a chair at the window , looks through BINOCULARS on a TRIPOD . WELLES ' P.O.V. , THROUGH BINOCULARS : searching up the dark floors of the blue building , as Welles counts under his breath . Moving over . stopping on one window , FOCUSING . Welles locks the tripod . He goes to sit on the army cot , picks up his CELLULAR . He looks at the phone , deciding . He puts down the phone . He turns off the LAMP on the floor , lays back in the cot , going to sleep .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- DAY</stage_direction> <scene_description>WELLES ' P.O.V. , THROUGH BINOCULARS : watching the window of Celebrity Films Inc. . We can see most of the office from here . It 's crowded with junk , BOXES , piles of VIDEO TAPES . There 's a disorganized DESK by the window . Welles sits looking through the binoculars . THROUGH BINOCULARS : a pudgy man , EDDIE POOLE , in a loud , print shirt , comes to sit at the desk , looks through mail . He smells sleazy even from here , lots of jewelry , Lots of rings . He drinks coffee , answers the phone . He talks into the phone , looking for something on his desk , agitation growing , till he 's shouting , then slams the phone down . Welles rises . He looks to the wall where THREE PHOTOGRAPHS culled from the snuff film are pinned up ; the picture of Mary , the picture of Masked Man 's tattooed hand , and . the grainy image of the Third Man in the mirror . Welles comes to study this third photo .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- DAY</stage_direction> <scene_description>THROUGH BINOCULARS : Eddie packs VIDEO TAPES into a box , covering them with Styrofoam peanuts , sealing the box .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- DAY</stage_direction> <scene_description>THROUGH BINOCULARS : Eddie finishes a call and hangs up . He sits back in his chair . He starts looking in his desk drawers , finds a MAGAZINE and opens it on the desk . It 's porn . Eddie turns pages , looking at naked women . He sits back in his chair , begins unbuckling his belt . Welles pulls back from the binoculars in disgust .</scene_description> <character>WELLES</character> <dialogue>No thank you.</dialogue> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- NIGHT</stage_direction> <scene_description>THROUGH BINOCULARS : Eddie 's on the phone , pouring himself a drink from the liquor bottle on his desk , finishing the call , hanging up . He shakes his head in disgust , drinks the drink , walks out of view . After a moment , the lights go out .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD HILLS -- NIGHT</stage_direction> <scene_description>An old , dented CAR makes its way up the tight , twisting roads of the Hollywood Hills . Eddie 's at the wheel . Not far behind , Welles ' rental car follows . FURTHER ON Eddie 's car pulls into the driveway under the porch of a ramshackle HOUSE , parks . Welles ' car passes by . FURTHER , AROUND A CURVE Welles ' car slows once it 's out of sight , turns around , moving back down the hill , slowly .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS</stage_direction> <scene_description>Welles turns out his headlights , coming around the curve just far enough so the ramshackle house is in view . Welles watches Eddie walk up the stairs to the house .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- DAY</stage_direction> <scene_description>THROUGH BINOCULARS : Eddie has a visitor . There 's a pretty GIRL , wearing a tube top , in a chair facing his desk . Eddie 's talking , gesticulating , smiling , cajoling . Welles watches through binoculars . THROUGH BINOCULARS : Eddie 's still taking , stands , coming around the desk and placing a hand on the girl 's shoulder . The girl says something . Eddie responds . The woman shakes her head , getting up to leave . Eddie seems to be asking her to stay , following as she moves out of view . Eddie comes back alone , sits at his desk , picks up the phone .</scene_description> </scene> <scene> <stage_direction>INT. ESPIONAGE SHOP -- DAY</stage_direction> <scene_description>Ultra high tech for sale . Welles examines items on the sales counter as the SALESPERSON watches : a pair of sma1l , round LISTENING DEVICES , a complicated RECEIVER/TAPE RECORDER , and a TONE DECODER with LED window .</scene_description> <character>WELLES</character> <dialogue>Okay, I'll take it all.</dialogue> <character>SALESPERSON</character> <dialogue>Excellent. we accept MasterCard and American Express.</dialogue> <character>WELLES</character> <dialogue>Cash.</dialogue> <scene_description>Welles takes out a thick wad , starts counting .</scene_description> <character>SALESPERSON</character> <dialogue>Alright.</dialogue> <parenthetical>( at register . )</parenthetical> <dialogue>May I have your phone number, area code first?</dialogue> <character>WELLES</character> <dialogue>No, you may not.</dialogue> <character>SALESPERSON</character> <dialogue>Okay. Fine.</dialogue> <scene_description>Welles lays the money on the counter . The salesperson takes the money , recounting .</scene_description> <character>SALESPERSON</character> <dialogue>I'm required by state law to inform you that, while it's perfectly legal for you to purchase these items, it is illegal for you to use them for any sort of.</dialogue> <character>WELLES</character> <dialogue>Yeah, I know the spiel. If you could bag it, I'll be on my way, thank you.</dialogue> <character>SALESPERSON</character> <dialogue>Certainly, sir.</dialogue> <scene_description>The salesperson starts punching keys on the register .</scene_description> </scene> <scene> <stage_direction>EXT. WILSHIRE OFFICE BUILDING -- NIGHT</stage_direction> <scene_description>The blue building sits completely dark .</scene_description> </scene> <scene> <stage_direction>INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- NIGHT</stage_direction> <scene_description>Welles comes quietly out from the stairwell , wears gloves . He moves down the hall to the door of `` Celebrity Films Inc. '' He kneels , begins using LOCK - PICKING TOOLS on the door .</scene_description> </scene> <scene> <stage_direction>INT. CELEBRITY FILMS OFFICE -- NIGHT</stage_direction> <scene_description>Welles enters , shuts the door and locks it . He takes out his penlight . There are POSTERS for cheap PORN FILMS on the wall that we could n't see through binoculars . Titles like `` Sex Doctor , '' `` Deep Ass , '' and `` Penal Colony . '' There a two FILE CABINETS . Welles pulls a few drawers , finds them locked . VIDEO CASSETTES are everywhere , on the cabinets , on shelves , piled high on the floor . Welles goes to Eddie 's desk , looking in drawers . One drawer is full of X - RATED MAGAZINES . Another 's stuffed with paperwork , call sheets , contracts . Welles picks up Eddie 's phone , unscrews the earpiece . He takes the small , round LISTENING DEVICE from his pocket , peels off backing to expose adhesive . He attaches the listening device inside the phone , puts it back together . Welles moves towards the door , sweeps the room with the penlight . He stops at the file cabinets , takes his lock - picking tools out , begins working on one file 's lock . He turns the lock , opens a file drawer . Empty . He opens another . Inside : piles of CHILD PORNOGRAPHY . Welles clenches his jaw . Faces of children . Shirtless boys . Girls in pigtails .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT OFFICE -- DAY</stage_direction> <scene_description>Welles ' RECEIVER/TAPE RECORDER 'S set up by the window , recording , with the TONE DECODER plugged into it . Welles LISTENS through HEADPHONE , looking through binoculars .</scene_description> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphones . )</parenthetical> <dialogue>. half a dozen. This is good stuff, Jimbo.</dialogue> <scene_description>THROUGH BINOCULARS : Eddie 's at his desk , on the PHONE .</scene_description> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You know how my tapes sell. People eat this stuff up.</dialogue> <character>MALE VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>I had three jerkoffs trying to return your tapes last month. Do you know how bad a skin flick has to be for some jackass to come back into my place with a fucking receipt, and try to fucking return it?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Maybe there's something wrong with the scumbag customers coming into your place, ever think of that?</dialogue> <character>MALE VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The only thing wrong is the cheap, softcore crap you're peddling, Eddie. Where do you get this stuff?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Look, you cocksucker.</dialogue> <character>MALE VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Get together some upscale product where the girls still have teeth in their head. Till then, fuck you.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Fuck you!</dialogue> <scene_description>THROUGH BINOCULARS : Eddie slams down the phone . He CAN NOT BE HEARD any longer . He 's cursing , shuffling paperwork . Welles takes off headphones , picks up his cellular phone . He drinks soda , opens the phone , dials , nervous , then looks back through the binoculars . He waits , clears his throat . The PHONE 'S RINGING . RINGING . On the floor , the REELS of the tape recorder are TURNING . THROUGH BINOCULARS : Eddie answers the phone .</scene_description> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Celebrity Films.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Eddie.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah, who's this?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I know what you did.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I know what you did.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Who is this.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You murdered that girl, Eddie. Six years ago.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What the fuck are you?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You killed that girl and you put it on film. You and your pals, you're fucked. You fucked up real good.</dialogue> <scene_description>Welles hits disconnect , still looking through binoculars . THROUGH BINOCULARS : Eddie 's slow to hang up the phone . He stands , looking down at the phone , frozen . Finally , he runs his hands through his hair , looks around the room , sits back down . He gets out his bottle and pours himself a drink . Welles watches through binoculars , puts headphones back on .</scene_description> <character>WELLES</character> <dialogue>Come on, Eddie.</dialogue> <scene_description>THROUGH BINOCULARS : Eddie sits motionless .</scene_description> <character>WELLES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>come on.</dialogue> <scene_description>THROUGH BINOCULARS : Eddie picks up the phone , DIALS a NUMBER . We hear the PHONE RING in the HEADPHONES</scene_description> <character>MAN'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphones . )</parenthetical> <dialogue>. Hello?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through headphones . )</parenthetical> <dialogue>Dino, it's Eddie. Eddie Poole.</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What do you want?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I just got a call. two seconds ago, some motherfucker called. says he knows about the loop.</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The loop! The girl we did, what the fuck do you think I'm talking about?! This guy calls and says he knows about the fucking loop.</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Bullshit.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm telling you.</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Blow me, you paranoid fuck, that's impossible. Why are you bothering me with this?</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Because somebody just fucking called me and fucking laid it out!</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There's nothing there, you brain - dead cunt. Think about it. There's absolutely no way in this world to connect us to anything. I want you to hang the phone up, and if you call me about this again I'm going to send a friend of mine out there and have him crack you open with a fucking rib spreader.</dialogue> <character>EDDIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Dino.</dialogue> <character>DINO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Nobody knows anything.</dialogue> <scene_description>THROUGH BINOCULARS : as DINO is HEARD HANGING UP , Eddie reacts , picks up his phone and throws it across the office . Welles sits back , trying to accept the realization that he 's found them . He looks to the PHOTO of the Third Man .</scene_description> <character>WELLES</character> <dialogue>That is you, is n't it, Eddie?</dialogue> <scene_description>Welles goes to the RECORDER , turns on the TONE DECODER . Its LED window LIGHTS UP . Welles hits STOP , REWIND , PLAY .</scene_description> <character>WELLES VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from recorder . )</parenthetical> <dialogue>. and your pals, you're fucked.</dialogue> <scene_description>Hits FAST FORWARD . hits PLAY , watching the TONE DECODER . From the RECORDER , the SOUND of EDDIE DIALING a NUMBER on his touch tone phone . and as EACH TONE is HEARD , a corresponding NUMBER appears on the DECODER 'S LED readout : . 1 212 555 9906 . The recorder continues , REPLAYING the CONVERSATION between Eddie and Dino , while Welles studies the green LED digits .</scene_description> <character>WELLES</character> <parenthetical>( quiet , to himself . )</parenthetical> <dialogue>Two one two.</dialogue> </scene> <scene> <stage_direction>EXT. MANHATTAN CITYSCAPE -- ESTABLISHING -- NIGHT</stage_direction> <scene_description>The brilliant lights of New York 's peerless skyscrapers .</scene_description> </scene> <scene> <stage_direction>EXT. 59TH STREET BRIDGE -- NIGHT</stage_direction> <scene_description>FOLLOW Welles ' Ford as it moves along with traffic , crossing the 59th Street Bridge , into the heart of Manhattan .</scene_description> </scene> <scene> <stage_direction>EXT. BANK -- ESTABLISHING -- DAY</stage_direction> <scene_description>`` Chase Manhattan Bank , '' mid - town .</scene_description> </scene> <scene> <stage_direction>INT. CHASE MANHATTAN BANK, SAFE DEPOSIT BOOTH -- DAY</stage_direction> <scene_description>Welles puts the 8MM FILM into SAFE DEPOSIT DRAWER , shuts it .</scene_description> </scene> <scene> <stage_direction>INT. NY PUBLIC LIBRARY, REFERENCE -- DAY</stage_direction> <scene_description>Busy and crowded , but quiet . Welles places a massive tome down on a table : `` Haines Criss - Cross Directory . '' Welles sits , takes out his notepad , referring to the phone number written : '' -LRB- 212 -RRB- 555 - 9906 . '' He opens the reference book , searching pages . Thousands of TELEPHONE NUMBERS are LISTED in SEQUENCE , each with an address . Welles runs his finger down the page .</scene_description> </scene> <scene> <stage_direction>EXT. SOHO STREETS -- DAY</stage_direction> <scene_description>PEDESTRIANS everywhere . Streets are clogged with DELIVERY TRUCKS loading and unloading . Cars horns blow . Welles walks to an old , WAREHOUSE BUILDING shoulder to shoulder with other buildings , labeled `` 1204 '' in burnished steel . Welles climbs the stairs , examines the buzzers . The top button 's labeled `` Greystone Imports , '' the bottom button reads `` Lang Interior Design , by appt . '' The middle button is labeled only by a drawing of a BLACK WIDOW SPIDER . Welles looks up at the building .</scene_description> </scene> <scene> <stage_direction>EXT. 1204 WAREHOUSE, SOHO -- LATER DAY</stage_direction> <scene_description>The sun is low . Less activity on the street . Welles leans against a car down the street , smoking a cigarette . TWO WOMEN walk this way , both in spiked high heels , dressed in cheap , short , formfitting skirts , both carrying duffel bags . They start up the stairs of 1204 . Welles throws his cigarette , walks to follow . The women hit the center button . A BUZZER sounds as they head inside . Welles hurries up the stairs , catching the door before it closes .</scene_description> </scene> <scene> <stage_direction>INT. 1204 WAREHOUSE, ELEVATOR -- DAY</stage_direction> <scene_description>Welles follows the women into a decrepit ELEVATOR . One woman hits `` 2 . '' Welles hits `` 3 , '' steps back in the corner . Elevator doors creak closed . The two women are heavily made up , pretty , but worn , eyes dull . Welles looks down at the leg of one woman , noticing bruises through her fishnet stockings , poorly covered by make - up . Elevator doors open on the SECOND FLOOR . The two women get out and walk down a grey hallway , towards DOUBLE DOORS painted black . Welles stops the elevator door from closing . The women push the INTERCOM at the black doors . Another dull BUZZ is HEARD as the women enter . The low rumble of HEAVY METAL MUSIC is HEARD , SILENCED as doors swing shut . Welles lets the elevator close .</scene_description> </scene> <scene> <stage_direction>EXT. 1204 WAREHOUSE -- DAY</stage_direction> <scene_description>The elevator opens on the FIRST FLOOR . Welles gets out , instead of leaving the way he came , heads towards the rear . FOLLOW him down a hallway , past a SERVICE ELEVATOR .</scene_description> </scene> <scene> <stage_direction>EXT. 1204 WAREHOUSE -- DAY</stage_direction> <scene_description>Welles comes out BACK DOORS into an sunless alleyway with fire escapes above . There 's a TRASH DUMPSTER , overflowing . Rats scatter upon Welles , arrival . Welles looks to make sure he 's alone . He starts tearing open GARBAGE BAGS . Flies swarm . One bag 's filled with empty food containers and old newspapers . Welles tears open another bag , finds burnt out FLORESCENT LIGHTBULBS , digs out a handful of empty PHOTO PAPER PACKAGES , bottles of DEVELOPING CHEMICALS . He pulls out a few MAGAZINES ; Time , Newsweek , etc . The magazines are cut up , falling apart , with pictures chopped out from many pages . Welles examines ADDRESS LABELS : `` Dino Velvet/D . V. Films 1204 Keller Street New York , NY 10049 ''</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH, NYC STREETS -- NIGHT</stage_direction> <scene_description>Welles is on the PHONE . The city bustles past .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>What do you know about a guy called Dino Velvet? Dino Velvet Films?</dialogue> </scene> <scene> <stage_direction>INT. ADULT BOOKSTORE -- DAY -- INTERCUT</stage_direction> <scene_description>Max is on the phone by the register , ringing purchases .</scene_description> <character>MAX</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Dino Velvet. yeah, he's like the John Luc Godard of S+M flicks, supposed to be a real weirdo.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>A weirdo making S+M films? Who'd have thought it?</dialogue> <character>MAX</character> <parenthetical>( into phone . )</parenthetical> <dialogue>His stuff comes out of New York. Bondage and fetish videos, Gothic Hardcore. Definitely not for the squeamish.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Specialty product.</dialogue> <character>MAX</character> <dialogue>You're learning.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Where does he sell it?</dialogue> <character>MAX</character> <dialogue>Out of the back of bondage magazines mostly, but you can find it on the street if you look. He'll also do commissions, for enough money.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- DAY -- CONTINUOUS</stage_direction> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Nothing illegal, it's always borderline. Like if some freak wants to see a transvestite in a full rubber immersion suit getting an enema from a.</dialogue> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Alright, I get the picture.</dialogue> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <dialogue>He cuts all kinds of other stuff into his movies ; photographs, newsreel footage, subliminal images. Thinks he's making art.</dialogue> <character>WELLES</character> <dialogue>Well, I'm in New York now. What do you say to flying out and giving me a hand?</dialogue> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm a working stiff, pops.</dialogue> <character>WELLES</character> <dialogue>Take a vacation. I'll pay you four hundred a day, plus expenses.</dialogue> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You want me to come out there and play private eye?</dialogue> <character>WELLES</character> <dialogue>Consider it. Meanwhile, dig up whatever Dino Velvet films you can. Get receipts. I'll call back.</dialogue> <character>MAX</character> <parenthetical>( V.O . )</parenthetical> <dialogue>See ya.</dialogue> <scene_description>Welles hangs up , starts feeding quarters into the phone .</scene_description> </scene> <scene> <stage_direction>INT. MRS. CHRISTIAN'S BEDROOM -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>Mrs. Christian 's in bed , pale and sickly . The PHONE RINGS . Mrs. Christian reaches for it .</scene_description> <character>MRS CHRISTIAN</character> <parenthetical>( into phone , weakly . )</parenthetical> <dialogue>Hello?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Mrs. Christian, Tom Welles here.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( coughing . )</parenthetical> <dialogue>How are you? Having any luck?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I do n't know if luck's the word. Are you feeling alright?</dialogue> <character>MRS CHRISTIAN</character> <dialogue>I've been ordered into bed. The doctor says I've gotten the flu, or some other wretched ailment.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I hope it's nothing serious.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>Nothing more than a bother. Have you any news for me?</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- DAY -- CONTINUOUS</stage_direction> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I've made progress. I'm in Manhattan. Once a few more pieces fall into place, I'll drive to you and give you an update.</dialogue> <character>MRS CHRISTIAN</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Fine.</dialogue> <scene_description>MRS. CHRISTIAN is HEARD COUGHING . Welles waits .</scene_description> <character>WELLES</character> <dialogue>I've got about five thousand left in cash, but I'll need another thirty, if you approve.</dialogue> <character>MRS CHRISTIAN</character> <dialogue>How will I get it to you?</dialogue> <character>WELLES</character> <dialogue>If you have a pencil and paper, I'll tell you how to send it.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL, HELL'S KITCHEN -- NIGHT</stage_direction> <scene_description>A TAXI pulls over in front of this flea - bag motel . Max gets out with a SUITCASE , looks at the dubious accommodations .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL, MAX'S ROOM -- NIGHT</stage_direction> <scene_description>Max enters with Welles , turns on a light and throws his suitcase on the bed . The room is disgusting .</scene_description> <character>MAX</character> <dialogue>You did n't say it was gon na be this luxurious.</dialogue> <character>WELLES</character> <dialogue>It's their Presidential Suite.</dialogue> <character>MAX</character> <dialogue>Great.</dialogue> <scene_description>Max looks in the bathroom .</scene_description> <character>MAX</character> <dialogue>Oh, come on, man, what are we doing in this flea bag?</dialogue> <character>WELLES</character> <dialogue>It's cheap, and people know to mind their own business. What have you got for me?</dialogue> <scene_description>Max opens his suitcase , takes out THREE VIDEO TAPES . He hands them to Welles . The boxes are covered in jumbled PHOTO COLLAGES : American flag , S+M men and women , a skull , mannequins , a scorpion , cut - outs of arms , legs and eyeballs .</scene_description> <character>MAX</character> <dialogue>Dino Velvet.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' MOTEL ROOM -- NIGHT</stage_direction> <scene_description>Welles is lit by the flicker from the TELEVISION SCREEN . WE SEE NOTHING . We HEAR the rhythmic MUFFLED MOANS of a WOMAN from the TV , ca n't tell if it 's pleasure or pain . Max is asleep in the bed , PIZZA BOX near his feet . Welles drinks beer , gets up and ejects the CASSETTE from a VCR , tosses it aside , tired . He picks another Dino Velvet TAPE , puts it in , sits . ON TV : GOTHIC ROCK is HEARD over old , scratchy IMAGES : of Klansmen around a burning cross . Dracula menacing a sleeping woman . a man in a Devil costume dancing . Welles opens another beer . ON TV : a WOMAN is tied up , arms in the air , hanging from the ceiling , gagged and blindfolded , in a dungeon lit by candelabras . Then , glimpsed IMAGES : worms writhing in slime . gargoyles . a guillotine falling . Then , the bound woman , struggling . A MASKED MAN in a leather jacket enters . He wears a LEATHER MASK with zipper eyes and mouth . This focuses Welles ' attention . ON TV : the Masked Man circles the captured woman .</scene_description> <character>WELLES</character> <dialogue>Max. wake up.</dialogue> <scene_description>Max awakens , rolling over , groggy .</scene_description> <character>MAX</character> <dialogue>Wha?</dialogue> <character>WELLES</character> <parenthetical>( points at TV . )</parenthetical> <dialogue>Who is this, in the mask? Who is he?</dialogue> <scene_description>Max tries to see , eyes barely open .</scene_description> <character>MAX</character> <dialogue>He's one of the lunatics Dino uses. He's in a bunch of these.</dialogue> <scene_description>Welles watches . On the TV , Masked Man takes off his jacket shirtless , reveals an impossibly muscled body . Huge arms , thick chest , oiled , dotted in pimples .</scene_description> <character>MAX</character> <dialogue>Why? He have something to do with whatever you're into?</dialogue> <scene_description>Still watching the behemoth on TV , Welles is less sure . ON TV : the bulging Masked Man flexes , ripped .</scene_description> <character>WELLES</character> <dialogue>No. it's nothing. that's not him.</dialogue> <scene_description>Welles rubs his eyes , sits back . Max sits up , watching . ON TV : Masked Man pulls the bound woman 's head back by her hair , licks her face with his thick tongue . CLOSE ON : Masked Man grips the woman 's head , still licking . He pulls down the woman 's blindfold . Welles sits forward , realizing , horrified . Welles goes to the VCR , hits PAUSE . The IMAGE on TV FREEZES . Welles goes back , FRAME by FRAME . to the CLOSE UP where Masked Man grips the woman 's face . FREEZE FRAME . On Masked Man 's hand : a TATTOO , on the arch between his forefinger and thumb , same as the scrawny Masked Man in the snuff film . A PENTAGRAM TATTOO .</scene_description> <character>WELLES</character> <dialogue>Who is he?</dialogue> <character>MAX</character> <dialogue>I told you, he's one of Dino Velvet's stock players.</dialogue> <character>WELLES</character> <dialogue>Who is he, his name?</dialogue> <character>MAX</character> <dialogue>Nobody knows his name. That's his thing. He always wears a mask. You never see his face. He calls himself `` Machine,'' that's what they call him. Machine.</dialogue> <scene_description>Welles hits PLAY . On TV , Masked Man runs his hands up and down the woman 's body . The woman 's eyes are filled with fear . Welles sits , unnerved , watching .</scene_description> <character>MAX</character> <dialogue>They say he's half brain - dead from all the steroids he's using.</dialogue> <scene_description>Max rolls over , trying to get back to sleep .</scene_description> <character>MAX</character> <dialogue>He's a brutal motherfucker, man. He loves what he does for a living.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' MOTEL ROOM -- DAY</stage_direction> <scene_description>Welles enters , carries an OVERNIGHT PACKAGE and his LOCK BOX . At the desk , he tears open the package , opens the MANILA ENVELOPE inside ; finds FIFTY THOUSAND DOLLARS in thousand dollar bills , wrapped in plastic and masking tape . Welles takes the lock box to the bed and works the combination , opens it . He takes out the holster , stands looking down at the gun . He puts the holster on .</scene_description> </scene> <scene> <stage_direction>EXT. 1204 WAREHOUSE -- DAY</stage_direction> <scene_description>Welles ' Ford waits with turn signal on . A car pulls out of a parking space . Welles takes the space .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- DAY</stage_direction> <scene_description>Max is in the passenger seat . Welles looks to 1204 .</scene_description> <character>WELLES</character> <dialogue>You do n't need to be here.</dialogue> <character>MAX</character> <dialogue>What kind of Junior P.I. would I be if I did n't go with you?</dialogue> </scene> <scene> <stage_direction>INT. 1204 WAREHOUSE, SECOND FLOOR -- DAY</stage_direction> <scene_description>Welles and Max get off the elevator , moving down the grey hall , to the black doors . Welles pushes the INTERCOM BUTTON . After a moment , the INTERCOM CRACKLES .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from intercom . )</parenthetical> <dialogue>Who is it?</dialogue> <scene_description>Welles waits , presses the button again .</scene_description> </scene> <scene> <stage_direction>INT. DINO VELVET STUDIO -- DAY</stage_direction> <scene_description>The doors BUZZ and Welles and Max warily enter this large , dark , converted warehouse . Square pillars shoot from floor to ceiling . Shafts of light cut down from high windows . A large THUG in a pinstripe suit crosses from a far DESK .</scene_description> <character>THUG</character> <dialogue>You're in the wrong place.</dialogue> <character>WELLES</character> <dialogue>We're looking for Mr. Velvet.</dialogue> <character>THUG</character> <dialogue>He's not here.</dialogue> <scene_description>Welles looks around , at piles of PROPS ; a huge faux - stone ANGEL and GARGOYLES , elaborate CANDELABRAS , a huge BIRDCAGE , massive WOODEN CROSS , NAZI FLAGS .</scene_description> <character>WELLES</character> <dialogue>Why do n't you tell him we're here to give him a large sum of money. If he's not interested, we'll go.</dialogue> <character>THUG</character> <dialogue>You should leave now, before I have to remove you.</dialogue> <scene_description>Welles just stands looking at the thug . A VOICE is HEARD .</scene_description> <character>DINO VELVET'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from SPEAKERS . )</parenthetical> <dialogue>Show them in, Milo.</dialogue> <scene_description>Welles and Max look up . There are SPEAKERS mounted high up on the pillars , and SURVEILLANCE CAMERAS looking down .</scene_description> <character>WELLES</character> <dialogue>You heard the boss, Milo.</dialogue> <scene_description>The disgruntled thug starts back across the studio towards a distant DOOR . Welles and Max follow . They notice an elaborate set built in one corner , a TORTURE CHAMBER , complete with RACK and IRON MAIDEN .</scene_description> </scene> <scene> <stage_direction>INT. DINO VELVET'S OFFICE -- DAY</stage_direction> <scene_description>Thug opens the door and lets Welles and Max in . The office is huge , windowless walls covered in thousands of PICTURES from every conceivable source , torn and cut , pinned up to form an indecipherable collage . A tall LADDER leans against one wall , near three TELEVISIONS . DINO VELVET rises behind his desk , a small , bird - like man , wearing a black suit and bad hairpiece .</scene_description> <character>DINO VELVET</character> <dialogue>Come in. Make yourself comfortable.</dialogue> <scene_description>Welles shakes Dino 's hand . Max looks up at the walls . IMAGES ; porn pictures , news photos , world leaders , autopsy photos , armies and insects , the naked and the dead .</scene_description> <character>WELLES</character> <dialogue>It's an honor to meet you. Thank you for seeing us.</dialogue> <character>DINO VELVET</character> <dialogue>What can I do for you today?</dialogue> <scene_description>Welles sits . Shelves behind Dino 's desk are piled high with VIDEO CASSETTES , old MOVIE CAMERAS , big REELS of 16mm FILM . VIDEOS and MAGAZINES are stacked everywhere .</scene_description> <character>WELLES</character> <dialogue>I'd like to commission a work. I'm a great admirer of yours.</dialogue> <character>DINO VELVET</character> <dialogue>Flattering. And, who's your colorful little chum?</dialogue> <character>WELLES</character> <dialogue>A fellow investor.</dialogue> <character>DINO VELVET</character> <dialogue>Hmm.</dialogue> <character>MAX</character> <dialogue>You're the only one still shooting film and transferring it to video. Nobody appreciates that kind of integrity anymore. the grain, the gritty look you get.</dialogue> <character>DINO VELVET</character> <dialogue>Well, I'm glad you appreciate it.</dialogue> <parenthetical>( to Welles . )</parenthetical> <dialogue>What would you say is your favorite piece?</dialogue> <scene_description>Welles considers . Max glances over , looks back to the walls .</scene_description> <character>MAX</character> <dialogue>I know if I had to pick, it'd be `` Choke,'' or `` Devil.''</dialogue> <character>WELLES</character> <dialogue>`` Devil'' frightened me as much as it excited me, but I'd be hard pressed to choose a favorite.</dialogue> <scene_description>Dino grins , showing yellowed teeth .</scene_description> <character>DINO VELVET</character> <dialogue>You said something about money.</dialogue> <character>WELLES</character> <dialogue>Yes. What we're looking for is rather specific.</dialogue> <scene_description>Welles takes out an ENVELOPE , puts it on the desk .</scene_description> <character>WELLES</character> <dialogue>That's five thousand dollars.</dialogue> <character>DINO VELVET</character> <dialogue>Is it?</dialogue> <character>WELLES</character> <dialogue>Five thousand now, five thousand on delivery. Two women, one white and one black, as long as they have large breasts. Hard bondage, or course. Other than that, trusting your artistic interpretation, I have only two stipulations.</dialogue> <character>DINO VELVET</character> <dialogue>And they are?</dialogue> <character>WELLES</character> <dialogue>I want to watch you work.</dialogue> <character>DINO VELVET</character> <dialogue>I'll consider it.</dialogue> <character>WELLES</character> <dialogue>And the other performer. it has to be that monster you use. the man in the mask.</dialogue> <character>DINO VELVET</character> <dialogue>Machine.</dialogue> <character>WELLES</character> <dialogue>If it's not him, there's no deal.</dialogue> <scene_description>Dino drums his painted fingernails on his lips .</scene_description> <character>DINO VELVET</character> <dialogue>He might be interested. but it would mean another five thousand.</dialogue> <character>WELLES</character> <dialogue>We can do that.</dialogue> <character>DINO VELVET</character> <dialogue>Well, well, I'll have to put my thinking - cap on about all this. You'll leave the money as a deposit?</dialogue> <parenthetical>( off Welles ' nod . )</parenthetical> <dialogue>Very good.</dialogue> <scene_description>Dino stands , picks up a still CAMERA off his desk and comes to look at Welles , studying him .</scene_description> <character>DINO VELVET</character> <dialogue>You have a beautiful face. the way the light hits it. I'd like to take your picture. You do n't mind?</dialogue> <character>WELLES</character> <dialogue>I'd rather you did n't.</dialogue> <character>DINO VELVET</character> <dialogue>What's the problem?</dialogue> <character>WELLES</character> <dialogue>I'm camera shy.</dialogue> <character>DINO VELVET</character> <dialogue>You trust me to keep your money, but not to take your picture?</dialogue> <character>WELLES</character> <dialogue>Those are two different kinds of trust.</dialogue> <parenthetical>( stands . )</parenthetical> <dialogue>Thank you for your time. I hope we can do business.</dialogue> <scene_description>Welles leaves . Max goes with him . Dino watches them leave .</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN STREET -- NIGHT</stage_direction> <scene_description>HORNS BLARE . TWO CARS have collided head - on . A large CROWD gathers . One windshield 's shattered , blood spattered . The driver is slumped over the wheel , gushing blood . On a nearby street corner , Welles in on a PAY PHONE . HEAVY METAL can be HEARD filtered through the receiver .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>So, what do you say?</dialogue> </scene> <scene> <stage_direction>INT. DINO VELVET'S OFFICE -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>Dino 's stands in the middle of his office , naked , his back to us , 8MM camera in hand , on the phone . A NAKED WOMAN dances for Dino . A Heavy Metal MUSIC VIDEO plays on a TV .</scene_description> <character>DINO VELVET</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I'll do this for you. Fifteen thousand dollars.</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Machine's in?</dialogue> <character>DINO VELVET</character> <parenthetical>( into phone . )</parenthetical> <dialogue>He's in. It will be his pleasure.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT -- CONTINUOUS</stage_direction> <character>DINO VELVET</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Be at 366 Hoyt Avenue, three o'clock, tomorrow.</dialogue> <scene_description>Welles digs out his notepad , writing .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Where's that?</dialogue> <character>DINO VELVET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Brooklyn. Do n't be late.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL COURTYARD, POOL -- NIGHT</stage_direction> <scene_description>HORNS and TRAFFIC are HEARD . Max and Welles sit in lawn chairs at the tiny pool . Welles smokes . Max drinks beer . They watch an ELDERLY WOMAN in a one piece bathing suit climb from the pool and walk to the diving board , diving in .</scene_description> <character>MAX</character> <dialogue>What's next?</dialogue> <character>WELLES</character> <dialogue>I'm trying to figure that out myself. I have to see Machine without his mask.</dialogue> <character>MAX</character> <dialogue>Still do n't want to tell me what you're doing?</dialogue> <character>WELLES</character> <dialogue>Nope.</dialogue> <scene_description>The old woman climbs out and heads back to the diving board . Welles takes out a thick ENVELOPE , hands it to Max .</scene_description> <character>WELLES</character> <dialogue>This is for you.</dialogue> <scene_description>Max does n't understand , opens the envelope , finds about fifteen thousand dollars in the envelope .</scene_description> <character>MAX</character> <dialogue>What's this?</dialogue> <character>WELLES</character> <dialogue>It's money. People use it to purchase goods and services.</dialogue> <scene_description>Max looks at it again , ca n't believe it .</scene_description> <character>MAX</character> <dialogue>Look. that's awful generous and everything.</dialogue> <character>WELLES</character> <dialogue>It's not my money. The woman I got it from is never going to give it a second thought. Let's not make a big deal out of this, okay?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Go be a race car driver. Go run for President. Whatever.</dialogue> <scene_description>Welles puts his cigarette out , stands .</scene_description> <character>WELLES</character> <dialogue>I'll see you around.</dialogue> <scene_description>Welles walks away , heading to his room . Max watches him go , does n't know what to say , looks in the envelope . The old woman climbs out and heads back to the diving board .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREETS -- DAY</stage_direction> <scene_description>A deserted , war zone neighborhood of abandoned , graffittied buildings . A few burnt out cars on the street . Welles drives through , watchful . Welles drives past a huge TWO - STORY WAREHOUSE , does a u - turn . He parks the car .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- DAY</stage_direction> <scene_description>Welles checks his gun , returns it to his holster .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN WAREHOUSE -- DAY</stage_direction> <scene_description>Welles climbs crumbling concrete stairs , looking all directions , crossing a LOADING DOCK towards a DOOR .</scene_description> </scene> <scene> <stage_direction>INT. BROOKLYN WAREHOUSE -- DAY</stage_direction> <scene_description>Welles enters slowly , trying to get his eyes to adjust to the darkness . A vast , empty space looms before him . In the middle of the warehouse , Dino Velvet stands , in a powder blue suit , holding an archery BOW and ARROW .</scene_description> <character>DINO VELVET</character> <dialogue>There you are. Come join us.</dialogue> <scene_description>There 's a wrought IRON BED not far from Dino . MACHINE is seated on the mattress , a huge man , wearing a leather S+M harness and the same WRESTLING MASK as in the snuff film . Welles gathers his courage , walks towards them . Dino pulls back on the bow , aiming away across the warehouse . He stands by a TABLE with a QUIVER of ARROWS propped up . He shoots an arrow toward a large TARGET . Strikes the target dead center , BULL 'S - EYE . As Welles gets closer , he notices several things . a 16MM CAMERA mounted on a TRIPOD , facing the bed , along with several movie LIGHTS . several BOWIE KNIFES are laid out on the table , beside a pair of HANDCUFFS . Machine is watching him as he approaches . Welles stops , not far from Dino and Machine , but keeping his distance . Dino 's still firing arrows at the target . Machine 's still staring at Welles .</scene_description> <character>WELLES</character> <parenthetical>( to Machine . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>Machine just stares at him with bloodshot eyes .</scene_description> <character>DINO VELVET</character> <dialogue>You brought the money?</dialogue> <character>WELLES</character> <parenthetical>( takes out envelope . )</parenthetical> <dialogue>Right here.</dialogue> <scene_description>Dino lets fly another arrow . another bull 's - eye , then turns to look at Welles with a smile .</scene_description> <character>DINO VELVET</character> <dialogue>Excellent.</dialogue> <character>WELLES</character> <dialogue>Where are the women?</dialogue> <character>DINO VELVET</character> <dialogue>They should be here any minute.</dialogue> <scene_description>Welles comes forward slowly , places the envelope on the table , beside Bowie knifes . He 's sweating .</scene_description> <character>WELLES</character> <parenthetical>( of the knifes . )</parenthetical> <dialogue>What are these for?</dialogue> <character>DINO VELVET</character> <dialogue>Hmm? Oh, the knifes? They're just props. Nice, are n't they?</dialogue> <character>WELLES</character> <dialogue>Sure.</dialogue> <scene_description>Dino walks across towards the target .</scene_description> <character>DINO VELVET</character> <dialogue>Machine and I were just talking about knifes. The beauty of knifes.</dialogue> <scene_description>Dino pulls arrows from the target .</scene_description> <character>DINO VELVET</character> <dialogue>He was saying how fascinated he is by their simple ability to be sharp. The ability of a piece of metal to be so thin that it is almost nothing.</dialogue> <scene_description>Dino walks back to the table , replaces the arrows in the quiver , cueing another arrow in is bow .</scene_description> <character>DINO VELVET</character> <dialogue>So close to nothingness that it cuts with minimum effort, because it's so non - intrusive. Flesh is fooled. It blooms open as the blade widens, but by then it's too late, because the knife's already doing its pure, simple damage.</dialogue> <scene_description>Dino shoots another arrow to the target . A CLATTER attracts Welles attention . Far across the warehouse , a DELIVERY DOOR rolls upwards . A CAR with tinted windows drives in . The MAN who opened the door , silhouetted in sunlight , stays behind to close the door as the car pulls forward .</scene_description> <character>DINO VELVET</character> <dialogue>Ah, ours guests have arrived.</dialogue> <scene_description>Machine stands . He is a giant . Welles takes a few steps back , wary , sweating hard now . The car parks across the warehouse , not far from the target . Dino puts another arrow in his bow , pulls it taunt , aims at the target . turns , aims the arrow at Welles .</scene_description> <character>DINO VELVET</character> <dialogue>Mister Welles. would you be so kind as to remove any firearms from your person?</dialogue> <character>WELLES</character> <dialogue>What are you?</dialogue> <character>DINO VELVET</character> <dialogue>Take out your gun!</dialogue> <scene_description>Welles brings his hand towards his holster .</scene_description> <character>DINO VELVET</character> <dialogue>Slowly. Let me see it.</dialogue> <scene_description>Welles takes out his gun , looks across the warehouse . The SILHOUETTED MAN is walking this way . Ca n't tell who he is yet . Machine heads the direction of the parked car .</scene_description> <character>DINO VELVET</character> <dialogue>Empty the gun onto the table, very carefully.</dialogue> <character>WELLES</character> <dialogue>Look, I do n't know what this.</dialogue> <character>DINO VELVET</character> <dialogue>Shut up, cunt! Do exactly as I say, or I'll put this arrow through your throat.</dialogue> <scene_description>Welles obeys , helpless , dumps the bullets out on the table . The SILHOUETTED MAN 'S getting closer . It 's Eddie Poole .</scene_description> <character>EDDIE</character> <dialogue>Is that him?</dialogue> <character>DINO VELVET</character> <parenthetical>( to Welles . )</parenthetical> <dialogue>Put the gun down, take the handcuffs. Handcuff yourself to the bed.</dialogue> <scene_description>Welles obeys , walks to the bed . Welles attaches one cuff to the bed 's iron rail , fastens the other cuff around his wrist . Dino puts down the bow and arrow .</scene_description> <character>DINO VELVET</character> <parenthetical>( still to Welles . )</parenthetical> <dialogue>Did n't know what to make of you at first, and you certainly had Eddie on pins and needles. But, lo and behold, from out of the blue came an old business acquaintance to explain everything.</dialogue> <scene_description>Welles looks across to the car . The sinister lawyer , Longdale , gets out from behind the wheel and hands the keys to Machine , walks this way .</scene_description> <character>EDDIE</character> <dialogue>This is the fucker? Motherfucker, does n't look like anything.</dialogue> <scene_description>Eddie walks around the bed , studies Welles . Welles watches him . Eddie goes to stand behind Welles , rushes forward . PUNCHES Welles in the side of the head . Welles goes down , clutching his face .</scene_description> <character>EDDIE</character> <dialogue>Does n't look like shit.</dialogue> <scene_description>Eddie pulls Welles to his feet , throws him against the bed , frisking him from head to toe . Longdale comes to stand beside Dino , nervous , taking out a tiny HANDGUN and pointing it at Welles . Welles looks up , holding his head , afraid , sits on the bed .</scene_description> <character>DINO VELVET</character> <parenthetical>( to Welles . )</parenthetical> <dialogue>You remember Mr. Longdale, do n't you?</dialogue> <character>WELLES</character> <dialogue>I remember him.</dialogue> <character>LONGDALE</character> <dialogue>Let's get this over with.</dialogue> <character>DINO VELVET</character> <dialogue>Fine idea.</dialogue> <scene_description>Dino comes to sit on the bed beside Welles .</scene_description> <character>DINO VELVET</character> <dialogue>You're going to go get the film you received from Mrs. Christian, bring it here and put it in my hand. And to save time, so we make this as efficient as possible, there's an incentive.</dialogue> <scene_description>Dino puts his fingers in his mouth , lets out a sharp WHISTLE . Across the warehouse , Machine uses the car keys to open the trunk of the car , pulls SOMEONE out . It 's Max , beaten bloody , bound , face swollen , gagged , hardly conscious . Machine throws him to the floor .</scene_description> <character>WELLES</character> <dialogue>No.</dialogue> <scene_description>Welles tries to go towards Max , yanked back by the handcuffs , pulls the bed a few inches , but it 's heavy .</scene_description> <character>DINO VELVET</character> <dialogue>Friend of yours?</dialogue> <character>WELLES</character> <dialogue>Look, he's got nothing to do with this. let him go.</dialogue> <character>DINO VELVET</character> <dialogue>Can you guess what I'm going to say next?</dialogue> <character>WELLES</character> <dialogue>He does n't know anything. he's got nothing to do with this.</dialogue> <character>DINO VELVET</character> <dialogue>Bring the film, or we kill him.</dialogue> <scene_description>Sorrow and rage rises up in Welles , but there 's no choice .</scene_description> <character>WELLES</character> <dialogue>I'll get it. It's in a safe deposit box, in the city.</dialogue> <character>DINO VELVET</character> <dialogue>How cooperative. Longdale will keep you company.</dialogue> <scene_description>Dino takes out HANDCUFF KEYS , throws them to Longdale . Longdale approaches Welles carefully , unlocking him .</scene_description> <character>DINO VELVET</character> <dialogue>Do n't let Longdale's questionable choice of weapon give you any ideas. If his fey little gun puts enough little holes in you, you'll be just as dead. and so will Max.</dialogue> <character>EDDIE</character> <dialogue>Move it, dirtbag!</dialogue> <scene_description>Eddie comes to SHOVE Welles . Welles stumbles to the ground , gets to his feet . Welles walks , takes one last glance back towards Max . Longdale follows .</scene_description> <character>DINO VELVET</character> <parenthetical>( watching them go . )</parenthetical> <dialogue>Do hurry.</dialogue> </scene> <scene> <stage_direction>EXT. MANHATTAN STREETS -- DAY</stage_direction> <scene_description>Welles ' car moves in the slow flow of traffic into mid - town .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS</stage_direction> <scene_description>Welles is at the wheel . Longdale is in the passenger seat , gun held in his lap .</scene_description> <character>WELLES</character> <dialogue>You were the middleman, am I right? Old man Christian was n't about to go shopping for a snuff film himself.</dialogue> <character>LONGDALE</character> <dialogue>Would n't exactly have been possible for a man of his stature.</dialogue> <character>WELLES</character> <dialogue>So, he sent you, gave you the money, his errand - boy. And if you refused, it was n't like you could tell anyone your pervert boss just asked you to get him a snuff film. That's the beauty of lawyer/client privilege.</dialogue> <character>LONGDALE</character> <dialogue>That's trust. Mr. Christian trusted me implicitly.</dialogue> <character>WELLES</character> <dialogue>Must have paid you a lot, for you to risk everything. Would've had to have cut yourself a real nice piece of money.</dialogue> <character>LONGDALE</character> <dialogue>I was well compensated.</dialogue> <character>WELLES</character> <dialogue>That's why you got scared when Mrs. Christian hired me. You knew about the film, figured it had to be in that safe. How'd you find me?</dialogue> <character>LONGDALE</character> <dialogue>Never mind how I found you.</dialogue> <character>WELLES</character> <dialogue>Followed me. must have freaked out when you saw me closing in on your buddies.</dialogue> <character>LONGDALE</character> <dialogue>They're no friends of mine.</dialogue> <character>WELLES</character> <dialogue>Except, you're willing commit murder with them.</dialogue> <character>LONGDALE</character> <dialogue>None of this would be happening if you would have left it alone. If you were n't digging up a girl who died six years ago. A girl no one even remembers.</dialogue> <character>WELLES</character> <dialogue>Mary Anne Mathews, that was her name. Her mom remembers her.</dialogue> <scene_description>Welles looks at Longdale .</scene_description> <character>WELLES</character> <dialogue>You found these smut dealers and asked to buy a snuff film, right? Wanted them to find you one. Well, they did n't find you one, Longdale, they went out and made you one.</dialogue> <character>LONGDALE</character> <dialogue>Shut up.</dialogue> <character>WELLES</character> <dialogue>Mary Anne Mathews was alive till you paid money to have her murdered.</dialogue> <character>LONGDALE</character> <dialogue>Shut your mouth and drive!</dialogue> <character>WELLES</character> <dialogue>Did it get him off, huh, watching them cut her up? Tell me, because I really want to understand. Did he jerk off to it? You watch it with him, sit there giving him a handjob while you both watched?</dialogue> <scene_description>Longdale jams the gun against Welles ' side .</scene_description> <character>LONGDALE</character> <dialogue>You're making me very angry.</dialogue> <character>WELLES</character> <dialogue>Just tell me. Tell me some more of the secrets you and Christian shared. What kind of degenerate pervert was he really? What the fuck did he want with a snuff film?</dialogue> <character>LONGDALE</character> <dialogue>You're asking me why?</dialogue> <character>WELLES</character> <dialogue>I'm asking.</dialogue> <scene_description>Longdale sits back , wipes sweat from his face .</scene_description> <character>LONGDALE</character> <dialogue>A man like Mr. Christian, a great man. all his money, all his power. a man who attained everything there was to attain.</dialogue> <character>WELLES</character> <dialogue>Why did he buy a film of some poor, lost girl getting butchered?</dialogue> <character>LONGDALE</character> <dialogue>Is n't it incredibly obvious?</dialogue> <character>WELLES</character> <dialogue>Enlighten me.</dialogue> <character>LONGDALE</character> <dialogue>Because he could. He did it because he could.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What other reason were you looking for?</dialogue> <scene_description>Welles tightens his grip on the wheel , numbed .</scene_description> </scene> <scene> <stage_direction>EXT. CHASE MANHATTAN BANK -- DAY</stage_direction> <scene_description>Welles double parks , puts his hazard lights on .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS</stage_direction> <scene_description>Longdale sits forward , looks to the bank .</scene_description> <character>LONGDALE</character> <dialogue>You've got four minutes till I call Mr. Velvet and let him know there's a problem.</dialogue> <scene_description>Longdale takes a CELLULAR PHONE from his pocket , shows it . Welles climbs out , heading to the bank .</scene_description> </scene> <scene> <stage_direction>INT. BANK, SAFE DEPOSIT VAULT -- DAY</stage_direction> <scene_description>Welles and the SAFE DEPOSIT MANAGER enter . They go to put their KEYS in one drawer , unlocking it a pulling it out .</scene_description> <character>MANAGER</character> <dialogue>May I show you to a booth.</dialogue> <character>WELLES</character> <dialogue>No, I've got it.</dialogue> <scene_description>Welles pulls the drawer open , takes the 8MM film out and hands the empty drawer to the manager , exiting .</scene_description> </scene> <scene> <stage_direction>INT. BANK -- DAY</stage_direction> <scene_description>Welles comes out from the SAFE DEPOSIT VAULT , pocketing the film , crossing towards the entrance , looking around . at other CUSTOMERS waiting on line . at a GUARD with a GUN at his side . Welles detours , toward one of the LOAN DESKS . The BANK EMPLOYEE behind the desk is occupied , on the phone . As Welles moves past the desk , he grabs a PAIR of SCISSORS from a pencil holder and palms it , heading to the door .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- DAY</stage_direction> <scene_description>Welles gets behind the wheel . Longdale looks at his watch .</scene_description> <character>LONGDALE</character> <dialogue>You almost went over your limit.</dialogue> <character>WELLES</character> <dialogue>Fuck you.</dialogue> <scene_description>Welles puts the car in gear and drives .</scene_description> <character>LONGDALE</character> <dialogue>Give me the film.</dialogue> <character>WELLES</character> <dialogue>You'll get it when we get there.</dialogue> <scene_description>Longdale puts the gun to the side of Welles ' head .</scene_description> <character>LONGDALE</character> <dialogue>Give me the film.</dialogue> <character>WELLES</character> <dialogue>Go ahead, shoot me. Then try driving to Brooklyn with my brains all over the windshield.</dialogue> <scene_description>Welles keeps driving . Longdale sits back , stewing .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE -- DAY</stage_direction> <scene_description>The door is kicked open . Welles enters , takes the 8MM FILM out and holds it in his hand . Longdale follows . As Welles moves forward , his face goes slack . Machine is seated on the bed , Eddie and Dino stand smoking cigarettes , and further on , Max is tied to the target , slumped over , three arrows in his chest . Dead .</scene_description> <character>WELLES</character> <dialogue>No!</dialogue> <scene_description>Welles runs towards Max , crying out , tears in his eyes . Machine rises , goes to intercept Welles , grabbing him . Welles tries to break free , but Machine lifts Welles up and throws him brutally to the ground . Welles scrambles to get up .</scene_description> <character>WELLES</character> <dialogue>You fuckers!</dialogue> <scene_description>Eddie comes to KICK Welles in the face . Welles is sent sprawling , blood gushing from his nose . He lays there , stunned , weeping . Eddie pries the 8MM FILM from Welles ' hand , tosses it . Dino catches the film . Machine comes to drag Welles towards the bed . Dino unspools the film , holding it up to examine it . Machine handcuffs Welles to the metal bedframe . Welles falls to his knees , holding his face . Eddie PUNCHES Welles in the head .</scene_description> <character>EDDIE</character> <dialogue>You're a dead man.</dialogue> <character>DINO VELVET</character> <dialogue>Leave him alone.</dialogue> <character>EDDIE</character> <dialogue>Fuck off.</dialogue> <scene_description>Eddie PUNCHES Welles in the kidney . Welles tries to protect himself . Eddie raises his fist to punch again , but Machine catches Eddie 's fist , throws Eddie back .</scene_description> <character>EDDIE</character> <dialogue>What the fuck!</dialogue> <character>DINO</character> <dialogue>I promised him to Machine.</dialogue> <scene_description>Eddie looks up at Machine , who towers over him .</scene_description> <character>EDDIE</character> <dialogue>sorry.</dialogue> <character>DINO VELVET</character> <dialogue>First things first. You might want to watch this, Mr. Welles.</dialogue> <scene_description>Welles looks up through tears . Dino drops the 8MM FILM on the floor , takes a small bottle of lighter fluid from his pocket . Longdale comes to watch . Welles watches helpless , agonizing .</scene_description> <character>WELLES</character> <dialogue>Do n't. please.</dialogue> <scene_description>Dino drops the film to the floor , sprays it with fluid , takes out matches , light one , drops it . The 8MM FILM goes up in flame . Welles watches , quaking , hysterical , trying to pull himself towards the flame , dragging the bed . The film is destroyed by flame . Welles gives up , presses his face to the floor , eyes shut .</scene_description> <character>DINO VELVET</character> <dialogue>And so it ends. It's as if she never existed.</dialogue> <scene_description>Welles falls back , gasping , wiping blood and tears and spittle from his face , getting slowly , to his feet .</scene_description> <character>DINO VELVET</character> <dialogue>Do n't blame yourself. You were in way over your head.</dialogue> <scene_description>He looks to Max 's corpse , to the smoldering film . Swallowing back his fear , panic and rage .</scene_description> <character>WELLES</character> <dialogue>Motherfuckers. Small time, motherfuckers! Tell me something.</dialogue> <scene_description>Welles spits blood , hangs onto the bed for support .</scene_description> <character>WELLES</character> <dialogue>I know why you did it, Dino, Eddie. but, why'd the lawyer do it? Must have been a helluva lot of money, right? One fuckload of money.</dialogue> <scene_description>Welles sits on the bed , eyes burning with fury .</scene_description> <character>WELLES</character> <dialogue>So, what are you all still doing small time, huh? What are you still doing in the sewer, Eddie?! Christian gave Longdale a million dollars to find him a snuff film. How much did you ever see?</dialogue> <scene_description>Eddie and Dino look to Longdale .</scene_description> <character>EDDIE</character> <dialogue>What's he talking about?</dialogue> <character>WELLES</character> <dialogue>One million dollars, Dino. How much did he tell you he had.</dialogue> <scene_description>Longdale 's getting very nervous .</scene_description> <character>LONGDALE</character> <dialogue>He's lying.</dialogue> <character>WELLES</character> <dialogue>Look at him. You think he played it square? How much did he give you, how much did he keep for himself?</dialogue> <scene_description>Eddie walks towards Longdale .</scene_description> <character>EDDIE</character> <dialogue>What the fuck's he talking about?</dialogue> <scene_description>Longdale takes out his gun , aims it at Machine , Dino and Eddie , scared .</scene_description> <character>LONGDALE</character> <dialogue>Stay away from me.</dialogue> <character>DINO VELVET</character> <dialogue>What's going on, Longdale? Did this happen?</dialogue> <character>EDDIE</character> <dialogue>You sell us short, you fuck?</dialogue> <character>LONGDALE</character> <dialogue>Stay back! You have a gun, Eddie, show it to me. Now!</dialogue> <scene_description>Eddie slowly takes out his gun , seething .</scene_description> <character>LONGDALE</character> <dialogue>Put it on the ground, kick it here.</dialogue> <scene_description>Eddie puts the gun down , kicks it . Longdale picks it up , throws it far away .</scene_description> <character>EDDIE</character> <dialogue>You fucking lawyer.</dialogue> <character>LONGDALE</character> <dialogue>Move back! All of you. move!</dialogue> <scene_description>Machine , Dino and Eddie stand between Longdale and the car with tinted windows parked across the warehouse .</scene_description> <character>DINO VELVET</character> <dialogue>What were you thinking?</dialogue> <scene_description>Welles watches as Machine , Dino and Eddie back slowly away from Longdale . Longdale 's gun hand is shaky . Welles tries to drag himself towards the table where his gun and bullets are , dragging the bed , inch by inch . Longdale back away , trying to angle around the menacing trio so he can get to the car .</scene_description> <character>LONGDALE</character> <dialogue>Back off! Everything's been taken care of, and I'm leaving now.</dialogue> <character>DINO VELVET</character> <dialogue>You're not going anywhere if you fucked us, lawyer.</dialogue> <character>LONGDALE</character> <dialogue>I'm leaving.</dialogue> <character>EDDIE</character> <dialogue>You got the guts, tough guy? Gon na kill us all, is that it?</dialogue> <character>DINO VELVET</character> <dialogue>You betrayed us.</dialogue> <character>LONGDALE</character> <dialogue>Stay where you are!</dialogue> <scene_description>Machine edges forward , holding his hands in the air . Longdale brandishes the gun .</scene_description> <character>LONGDALE</character> <dialogue>Keep back!</dialogue> <scene_description>Machine , Eddie and Dino are held at bay .</scene_description> <character>DINO VELVET</character> <dialogue>You're not gon na live through this.</dialogue> <scene_description>Welles still tries to get to the table , wrist bleeding in the cuff , bed screeching across the floor . Machine , hands up , slowly reaches behind his shoulder , touches the handle of a huge KNIFE sheathed to his back .</scene_description> <character>LONGDALE</character> <dialogue>Our business is done, I'm leaving, no one's going to stop me.</dialogue> <scene_description>Longdale glances towards the car , seems like he 's about to make a run for it . Dino Velvet takes a step forward .</scene_description> <character>DINO VELVET</character> <dialogue>Fuck you!</dialogue> <scene_description>Machine unsheathes the KNIFE and THROWS . THUNK ! The knife imbeds to the hilt in Longdale 's chest and Longdale 's gun FIRES . Dino Velvet flies backwards , shot in the face ! Dino hits the ground , screaming , writhing , hands to his face , blood pouring out between his fingers . Longdale falls back onto his ass , sitting there , eyes bugged out in surprise . He looks down at the knife in his chest . Machine lets out a SCREAM , runs to Dino . Machine falls to his knees and grips Dino , tries to hold him . Dino 's screaming , squirming frantically . Longdale sits looking down at the knife in his chest , looks up , and gallons of blood pour from his mouth .</scene_description> <character>EDDIE</character> <dialogue>Fuck.</dialogue> <scene_description>Eddie comes to look down at the Longdale . Longdale falls back , dead , blood still flowing from his maw . Welles drags the heavy bed , getting closer to the table . Eddie spins , looks across to see Welles struggling . Dino breaks free from Machine , runs blindly , still holding his gushing face , falls , tries to get back up . Eddie runs towards Welles . Dino stumbles forwards , writhing , then suddenly lays still . Machine rises , looking at Dino . Tears come out from Machine 's eyes and roll down his mask . One last gasp and shudder from Dino 's body ; death rattle . Welles pulls the bed , practically pulling his arm from the socket , desperately clawing towards the table . The table is mere feet away . Eddie arrives , KICK Welles in the ribs . Welles recoils . Eddies KICKS again . Welles curls into a ball . Eddie KICKS again .</scene_description> <character>MACHINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>NO!</dialogue> <scene_description>Eddie stops , looks to Machine .</scene_description> <character>MACHINE</character> <dialogue>He's mine!</dialogue> <scene_description>Machine strides over the Longdale 's corpse , puts his foot on Longdale 's chest , yanks out the knife . Machine starts this way . Eddie backs from Welles . Welles looks up , trying to shake off unconsciousness , sees Machine coming . Welles bows down , on his knees , as if to accept his fate . Reaching his free hand into his suit pocket .</scene_description> <character>WELLES</character> <dialogue>No, no, no. please, do n't kill me. please!</dialogue> <scene_description>Machine arrives , knife in hand , lifts Welles ' head back by the hair , brings the knife hand back .</scene_description> <character>EDDIE</character> <dialogue>Do him good.</dialogue> <scene_description>Welles rises suddenly , arm shooting forward , STABBING SCISSORS deep in Machine stomach . Machine ROARS , falling back , pitching forward . Machine 's knife clatters to the ground . Eddie 's eyes go wide . Machine hits the floor , clutching his guts . Welles pushes upwards with all he 's got left , turns the iron bedframe onto its side , flipping the mattress off . Eddie moves forward , furious . Welles grabs Machine 's knife , wielding it , holding Eddie off .</scene_description> <character>WELLES</character> <dialogue>Back off, Eddie.</dialogue> <scene_description>Welles drags the now lightened bed frame towards the table . Eddie 's sorely tempted , but keeps away . Eddie turns , looks across the warehouse . There 's his gun , lying there , far away . Eddie runs for the gun . Welles pulls himself to the table , reaches for the gun , knocks the table over . He 's got the gun , but . Bullets hit the floor as the table falls . Welles struggles to open his gun with his sole free hand , gets it open , holds it between his knees . Welles grabs a bullet . Eddie 's running toward his gun , gasping for air . Machine 's on his knees , pulling the scissors out with trembling hands . Welles puts the bullet in the gun , flips it shut , rises , taking aim across the warehouse .</scene_description> <character>WELLES</character> <dialogue>Stop Eddie!</dialogue> <scene_description>Eddie 's running .</scene_description> <character>WELLES</character> <parenthetical>( pulls back the hammer . )</parenthetical> <dialogue>I swear to Christ I'll shoot you in the back!</dialogue> <scene_description>Eddie stops , hands up , about ten feet from his gun . Machine stays on his knees , holding his bleeding stomach . Welles points his gun at Machine .</scene_description> <character>WELLES</character> <dialogue>Come back, or I put a hole in him.</dialogue> <scene_description>Eddie 's looking at his gun , so close , so far away .</scene_description> <character>WELLES</character> <dialogue>You might make it to your gun, but not before I shoot Machine. And if I have to shoot him because of you, and I do n't kill him, right after he kills me, he's gon na kill you.</dialogue> <scene_description>Eddie turns , starts walking back .</scene_description> <character>WELLES</character> <parenthetical>( to Machine . )</parenthetical> <dialogue>Take off the mask.</dialogue> <scene_description>Machine shakes his head .</scene_description> <character>WELLES</character> <dialogue>Take it off!</dialogue> <character>MACHINE</character> <dialogue>You got one bullet.</dialogue> <scene_description>Welles looks to see Eddie heading back , keeps the gun on Machine , backs away , dragging the bed frame , looks to the DOOR behind him .</scene_description> <character>MACHINE</character> <dialogue>The only choice you have now, is which one of us kills you.</dialogue> <scene_description>Welles backs away , drags the bedframe . Eddie 's getting close . Welles points the gun at Eddie . Eddie slows . Welles points the gun at Machine , points the gun at Eddie . Welles puts the gun to the chain of his handcuffs , FIRES . breaks the handcuff chain . Welles bolts to the door .</scene_description> <character>MACHINE</character> <dialogue>Get the gun!</dialogue> <scene_description>Eddie runs back towards his gun . Machine rises with a grunt of pain , moves towards the door , but agony doubles him back over to his knees .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN WAREHOUSE -- DAY</stage_direction> <scene_description>Welles shoves out into daylight , fleeing down the stairs , running towards his car .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles climbs in , gets out his keys , starts the car . He pulls away , TIRES SCREECHING . Behind , Eddie gives chase , running , FIRING his gun . Welles ducks as BULLETS SLAM the car , SHATTERING WINDOWS .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles ' car picks up speed , takes a turn , BURNING RUBBER . Behind , Eddie curses , runs back to the warehouse .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles glances back , ENGINE ROARING . He tries to keep from crying , steers with one hand , holds his bleeding face .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles ' car races away .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOME, KITCHEN -- DAY</stage_direction> <scene_description>Amy looks tired , like she has n't slept . She feeds Cindy . PHONE RINGS . Amy goes to answer it .</scene_description> <character>AMY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello?</dialogue> <character>WELLES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Amy, it's me. Listen very carefully.</dialogue> <character>AMY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Tom? Where have you been?</dialogue> </scene> <scene> <stage_direction>INT. WELLES' CAR -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles drives , face caked in dried blood , cellular phone to his ear . The HIGHWAY rushes past out the car window .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Amy, just listen. Take Cindy and get out of the house. Do it now. Go to a hotel and stay there.</dialogue> <character>AMY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>What's wrong? Are you alright?</dialogue> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I'm okay. Please, honey, I ca n't explain. Do n't use the phone, just pack a bag and get out. I'm on my way. I'll be back at the house in three hours. Call me from the hotel when you get there</dialogue> <character>AMY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What's going on?</dialogue> <character>WELLES</character> <dialogue>Just do it, Amy, please, go.</dialogue> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, KITCHEN -- CONTINUOUS -- DAY</stage_direction> <scene_description>Amy hangs up , scared . She goes to grab Cindy up into her arms , hurrying out of the kitchen and going upstairs .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY -- CONTINUOUS -- DAY</stage_direction> <scene_description>Welles ' car tears down the freeway , passing other cars .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' NEIGHBORHOOD -- NIGHT</stage_direction> <scene_description>Suburban streets . Welles ' car arrives , parks . Welles gets out , starts across a neighbor 's yard , cuts between houses .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE, BACKYARD -- NIGHT</stage_direction> <scene_description>Welles enters his backyard , slowing , taking out his gun . He keeps behind shrubbery , surveying his dark house .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, DOWNSTAIRS LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles uses a key to unlock the SLIDING GLASS DOOR , opens it slow , enters , gun up , searching the darkness .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, OFFICE -- NIGHT</stage_direction> <scene_description>Welles pushes the door open , checks this room .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BEDROOM -- NIGHT</stage_direction> <scene_description>Welles makes sure the bedroom 's empty , looks in the bathroom . He puts his gun away , leaves the lights off . He goes to the PHONE on the bedside table , unscrews the earpiece . He removes a small , wire - mesh BUGGING DEVICE .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, KITCHEN -- NIGHT</stage_direction> <scene_description>Dark . Welles picks up the cordless phone , struggles to pry the receiver open . He discovers another small BUG . He drops the BUGS to the floor , crushes them under foot . He puts the phone back together and is replacing it when it RINGS LOUDLY . Welles is startled , drops the phone . Welles takes a breath , trying to shake off the jitters . He picks up the RINGING PHONE , answers it .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Honey?</dialogue> <character>MACHINE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Not quite.</dialogue> <scene_description>Welles stiffens .</scene_description> <character>MACHINE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Nothing like getting home after a rough day. Home sweet home.</dialogue> <scene_description>Welles moves into the HALL , towards the front door .</scene_description> <character>MACHINE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Walk away. Pack your bags, put the wife and kid in the car and find a place to hide. If you're lucky, you'll never see me again.</dialogue> <scene_description>Welles takes out his gun , opens the front door , looking out . The street in front of the house is empty . CRICKETS CHIRP .</scene_description> <character>WELLES</character> <dialogue>I do n't know if I can do that.</dialogue> <character>MACHINE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I know who you are. I know where you live. I know everything I need to know to find you.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Who am I?</dialogue> <scene_description>MACHINE is HEARD HANGING UP the phone .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- NIGHT</stage_direction> <scene_description>Cindy 's crying . Amy opens the door with the chain on , sees Welles , lets him in . Amy and Welles embrace , kissing . Amy touches Welles damaged face , worried .</scene_description> <character>AMY</character> <dialogue>What happened to you?</dialogue> <character>WELLES</character> <dialogue>I'm okay, honey, I'm okay. Are you alright?</dialogue> <character>AMY</character> <dialogue>What's going on, Tom? What happened?</dialogue> <character>WELLES</character> <dialogue>I ca n't tell you, Amy. You know I ca n't. You have to trust me.</dialogue> <character>AMY</character> <dialogue>Tom.</dialogue> <character>WELLES</character> <dialogue>It has to be this way for now. It wo n't be long.</dialogue> <scene_description>Welles goes to pick up Cindy , tries to comfort her , kisses her red face as she keeps crying .</scene_description> <character>AMY</character> <dialogue>Why have n't you called? Why do n't you answer your phone?</dialogue> <character>WELLES</character> <dialogue>I do n't know. I'm sorry.</dialogue> <character>AMY</character> <dialogue>You're sorry? What was I supposed to think?</dialogue> <scene_description>Amy comes to take Cindy from him .</scene_description> <character>AMY</character> <dialogue>You owe me an explanation. You ca n't treat me like this.</dialogue> <character>WELLES</character> <dialogue>I wanted to call. I could n't.</dialogue> <character>AMY</character> <dialogue>You could n't?</dialogue> <character>WELLES</character> <dialogue>You do n't understand.</dialogue> <character>AMY</character> <dialogue>No, I do n't, because you're not telling me anything!</dialogue> <character>WELLES</character> <dialogue>I was in hell. If I called you. if I heard your voice. it would have been so easy for me to quit. I could n't do that.</dialogue> <scene_description>Tears comes to Amy 's eyes .</scene_description> <character>AMY</character> <dialogue>You should have.</dialogue> <character>WELLES</character> <dialogue>Amy, I'm not going to let anything happen to us.</dialogue> <character>AMY</character> <dialogue>Look where we are. Look at yourself. You son of a bitch, you do n't have any idea what you're putting me through.</dialogue> <character>WELLES</character> <dialogue>I do n't know what to say</dialogue> <character>AMY</character> <dialogue>You're killing me.</dialogue> <character>WELLES</character> <dialogue>Do n't.</dialogue> <character>AMY</character> <dialogue>What was I supposed to think happened to you?!</dialogue> <character>WELLES</character> <dialogue>Amy.</dialogue> <scene_description>Welles goes to Amy , but she pulls away . She sits on the bed . Cindy 's still crying . Welles sits beside Amy , puts her arms around her .</scene_description> <character>WELLES</character> <dialogue>Forgive me.</dialogue> <scene_description>Amy cradles Cindy . Welles rests his head on Amy 's shoulder , places one hand on Cindy .</scene_description> <character>WELLES</character> <dialogue>We have to stay here a few days. I'll get more clothing from the house if I can. I'm sorry.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>We're going to be okay.</dialogue> <scene_description>Welles rises . He goes to the PHONE , starts dialing . Amy looks at him , wipes tears .</scene_description> <character>AMY</character> <dialogue>Who are you calling?</dialogue> <character>WELLES</character> <dialogue>Mrs. Christian.</dialogue> <character>AMY</character> <dialogue>What?</dialogue> <character>WELLES</character> <dialogue>She's all I've got. She's the only witness.</dialogue> <character>AMY</character> <dialogue>Tom. she's dead.</dialogue> <scene_description>Welles looks to Amy .</scene_description> <character>AMY</character> <dialogue>She died in her sleep three days ago. It was in the paper.</dialogue> <character>WELLES</character> <dialogue>I just talked to her.</dialogue> <scene_description>Cindy 's crying . Welles sits into a chair , trying to understand this , his mind racing . He hangs up the phone .</scene_description> <character>AMY</character> <dialogue>How could you not know?</dialogue> <scene_description>Misery pulls down the corners of Welles ' mouth . He tries to find words , but none come . He sits forward and hides his face in his hands , overwhelmed . Cindy 's crying .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- LATER NIGHT</stage_direction> <scene_description>Cindy sleeps , encircled by pillows and blankets on the bed . Amy watches her , runs her hand gently across Cindy 's head . Amy rises , turns out the light , goes to a BALCONY DOOR .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL ROOM, BALCONY -- NIGHT</stage_direction> <scene_description>Welles sits with his feet up on the balcony rail , looking into the parking lot . Amy joins him , sits .</scene_description> <character>AMY</character> <dialogue>Promise you'll stay.</dialogue> <scene_description>Welles looks at Amy .</scene_description> <character>WELLES</character> <dialogue>Promise you wo n't go back there, wherever you were. Whatever it was, forget it.</dialogue> <scene_description>Welles takes a deep breath , nods his head .</scene_description> <character>AMY</character> <dialogue>Promise me.</dialogue> <scene_description>Welles looks out into the night sky of stars .</scene_description> <character>WELLES</character> <dialogue>I promise.</dialogue> <scene_description>Amy comes to kiss Welles . Welles wraps his arms around her and holds her tight . She holds him .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- LATER NIGHT</stage_direction> <scene_description>Amy is asleep on the bed beside Cindy . Welles comes out from the bathroom in a fresh shirt and suit , turns off the bathroom light . He stands looking at Cindy and Amy .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL -- NIGHT</stage_direction> <scene_description>Welles exits the hotel , heading to his Ford .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- NIGHT</stage_direction> <scene_description>Welles drives , staring ahead . Through the windshield , the headlights illuminate the endless roadway .</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY AIRPORT -- NIGHT</stage_direction> <scene_description>Airplanes take flight . Manhattan glitters in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. WILSHIRE OFFICE BUILDING -- DAY</stage_direction> <scene_description>Eddie Poole 's building . A typically bright , sunny LA day . In the street , Welles parks a rental car , gets out .</scene_description> </scene> <scene> <stage_direction>INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY</stage_direction> <scene_description>ELEVATOR doors open and Welles gets off . He moves down the hall , around a corner , heading to `` Celebrity Films . '' Welles tries the door knob , finds it locked . He looks around , takes two steps back , KICKS forward . SMASHES the translucent glass of the door .</scene_description> </scene> <scene> <stage_direction>INT. CELEBRITY FILMS OFFICE -- DAY</stage_direction> <scene_description>Welles pushes broken glass out of the way , reaches in to open the door . The office has been cleaned out , trash on the floor , desk drawers hanging open and empty , shelves empty , posters gone . Welles grabs one of the file cabinets , pulls it open , finds it empty , pulls it all the way out and throws it .</scene_description> </scene> <scene> <stage_direction>INT. 8TH FLOOR HALLWAY -- DAY</stage_direction> <scene_description>People peer out from other offices , worried . Welles exits Eddie 's office , ignoring them , goes around the corner , straight to the STAIRWELL , heading downstairs .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD HILLS -- DAY</stage_direction> <scene_description>Welles rental car parks down the hill . Welles climbs out , walking up the hill , heading for Eddie 's ramshackle HOUSE .</scene_description> </scene> <scene> <stage_direction>EXT. EDDIE'S HOUSE, GARAGE -- DAY</stage_direction> <scene_description>Under the stilts of the porch , Welles passes Eddie 's car , looks in to see it loaded with BOXES and belongings . Welles moves on to a door at the back of the garage . He takes out LOCK - PICKING TOOLS .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S HOUSE, STAIRWAY -- DAY</stage_direction> <scene_description>Welles enters slow , pockets the tools , takes out his gun . FOLLOW him up the stairs , into a hallway , past a LAUNDRY ROOM with washer and dryer , into a LIVING ROOM . Welles sweeps the room with his gun , wired . Eddie 's house is predictably a trash heap , strewn with VIDEOS , MAGAZINES , dirty DISHES and fast food remnants . Welles moves on .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S BEDROOM -- DAY</stage_direction> <scene_description>Eddie 's throwing clothing into a suitcase , hurried . Welles comes into the doorway , taking aim , edging forward .</scene_description> <character>WELLES</character> <dialogue>Hello, Eddie.</dialogue> <scene_description>Eddie spins , startled .</scene_description> <character>WELLES</character> <dialogue>Put your hands on your head.</dialogue> <scene_description>Eddie looks out of the corner of his eye . to his GUN .</scene_description> <character>WELLES</character> <dialogue>Put your hands behind your head, lock your finger together, get down on your knees.</dialogue> <scene_description>Eddie does as commanded , gets to his knees . Welles moves towards him , very nervous , white - knuckling the gun . He KICKS Eddie in the stomach , doubles him over .</scene_description> <character>WELLES</character> <dialogue>I owe you a few.</dialogue> <scene_description>Welles KICKS again .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S KITCHEN -- DAY</stage_direction> <scene_description>Welles enters the filthy kitchen , carrying Eddie 's gun . At the sink , Welles pops the gun 's clip . He pushes the bullets out into his palm , one by one . He dumps the bullets into the GARBAGE DISPOSAL , drops the clip in , turns it on . The DISPOSAL makes a terrible GRINDING NOISE , straining , till it finally goes dead .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S LIVING ROOM -- DAY</stage_direction> <scene_description>Welles goes to the picture window and closes the curtains . He turns on a lamp , goes back towards the bedroom . After a moment , he returns , dragging Eddie on the floor . Eddie 's bleeding out his nose , hands DUCT - TAPED together behind his back , legs bound at the ankle , dragged by a belt around his neck , choking . Welles drops the belt , undoes it from Eddie 's neck . Eddie gasps for air . Welles pulls him up , puts him on the couch .</scene_description> <character>WELLES</character> <dialogue>Do n't go anywhere.</dialogue> <scene_description>Welles heads for the stairs .</scene_description> </scene> <scene> <stage_direction>EXT. EDDIE'S GARAGE -- DAY</stage_direction> <scene_description>Welles goes to Eddie car , tries the door , it 's unlocked . IN THE CAR Welles takes the thick THOMAS GUIDE map book off the dash .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S LIVING ROOM -- DAY</stage_direction> <scene_description>Welles returns . Eddie 's on the floor , wriggling . Welles drops the Thomas Guide on the coffee table , picks Eddie up , throws him back onto the couch .</scene_description> <character>EDDIE</character> <dialogue>I'm gon na kill you.</dialogue> <character>WELLES</character> <dialogue>Do n't bore me with that bullshit.</dialogue> <character>EDDIE</character> <dialogue>How'd you find me here?</dialogue> <scene_description>Welles PUNCHES Eddie in the ear .</scene_description> <character>WELLES</character> <dialogue>Do n't ask questions.</dialogue> <character>EDDIE</character> <dialogue>Fuck you!</dialogue> <scene_description>Welles PUNCHES Eddie in the same ear . Eddie 's hurting . Welles rubs his aching knuckles .</scene_description> <character>WELLES</character> <dialogue>Starting to recognize a pattern?</dialogue> <character>EDDIE</character> <dialogue>What do you want?</dialogue> <character>WELLES</character> <dialogue>Who is Machine?</dialogue> <character>EDDIE</character> <dialogue>I do n't know.</dialogue> <character>WELLES</character> <dialogue>I want his name.</dialogue> <character>EDDIE</character> <dialogue>I told you, I do n't know.</dialogue> <character>WELLES</character> <dialogue>I will never get tired of hurting you, Eddie, so you might want to change your attitude.</dialogue> <character>EDDIE</character> <dialogue>What the fuck am I gon na protect that freak for? He was Dino's boy, not mine. He shows up with his mask on, leaves with his mask on. Nobody knows.</dialogue> <scene_description>Welles kicks junk off a chair , sits , takes out his gun .</scene_description> <character>WELLES</character> <dialogue>Okay, we'll come back to that. So, six years ago a guy contacts you, through the classifieds, over the phone, however he does it. It's Longdale, looking for a snuff film. And you, entrepreneur that you are, tell him you can hook him up.</dialogue> <character>EDDIE</character> <dialogue>Yeah, the fucking lawyer.</dialogue> <character>WELLES</character> <dialogue>Told him you could get him a snuff film.</dialogue> <character>EDDIE</character> <dialogue>Yeah.</dialogue> <character>WELLES</character> <dialogue>How much did he pay you?</dialogue> <character>EDDIE</character> <dialogue>Thirty thousand each, that fucking cocksucker.</dialogue> <character>WELLES</character> <dialogue>That's all? Thirty each. That's all it took for you to murder her?</dialogue> <character>EDDIE</character> <dialogue>It was a lot of fucking money.</dialogue> <scene_description>Welles stands and paces , despairing . He picks up a LAMP and throws it , SHATTERS a MIRROR , keeps pacing .</scene_description> <character>WELLES</character> <dialogue>So. you brought Dino in, and he brought Machine. And, one day, a girl walked into your office because you had an ad in the paper for models. And she never walked out.</dialogue> <character>EDDIE</character> <dialogue>Something like that.</dialogue> <character>WELLES</character> <dialogue>What did you do, knock her out, shoot her up?</dialogue> <character>EDDIE</character> <dialogue>What the fuck do you want from me?</dialogue> <character>WELLES</character> <dialogue>I want to know. I want to know exactly what you did to her!</dialogue> <character>EDDIE</character> <dialogue>Fuck you then, you want to know? I talked her up, told her how beautiful she was, told her she was gon na be a star. I told her I was gon na get her a screen test, and while I'm doing that, I got her a soda and dropped a mickey. When it was dark enough, I rang Dino and told him it was go time, I put her in the trunk of my car and we went and we fucking did it. That's what happened. She's dead. She's been dead a long fucking time. Nobody fucking cares!</dialogue> <scene_description>Welles puts down his gun , picks up the Thomas Guide , holding it in both hands , SWINGS - SLAMS Eddie across the face . Eddie 's stunned , lips bleeding . He faces forward .</scene_description> <character>EDDIE</character> <dialogue>You wanted to know, now you know.</dialogue> <scene_description>Welles SWINGS the Thomas Guide - POUNDS Eddie 's face again . Welles drops the Thomas Guide in a chair , picks up his gun , leaves the room .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S KITCHEN -- DAY</stage_direction> <scene_description>Welles enters , starts looking through DRAWERS , searching . He finds SILVERWARE , selects a serrated STEAK KNIFE .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S LIVING ROOM -- DAY</stage_direction> <scene_description>Welles returns , goes to grasp Eddie by the shirt collar , drags him to the floor , face down . Welles stands on Eddie 's neck , uses the knife to cut the duct tape on Eddie 's hands .</scene_description> <character>EDDIE</character> <dialogue>That's right, motherfucker, cut me loose. Be a man.</dialogue> <scene_description>Welles tosses the knife , gun trained on Eddie , picks up the Thomas Guide and throws it at Eddie .</scene_description> <character>WELLES</character> <dialogue>Show me!</dialogue> <scene_description>Eddie , hands now free , pushes himself to a seated position , looks at the Thomas Guide .</scene_description> <character>WELLES</character> <dialogue>Show me where you did it, on the map, exactly where you did it.</dialogue> <character>EDDIE</character> <dialogue>Why?</dialogue> <character>WELLES</character> <dialogue>Because we're going there.</dialogue> </scene> <scene> <stage_direction>EXT. 134 FREEWAY -- DAY</stage_direction> <scene_description>Welles ' rental car SPEEDS down the highway , east towards Pasadena , leaving the City of Los Angeles on the horizon .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN HIGHWAY -- DAY</stage_direction> <scene_description>Welles ' car travels a winding HIGHWAY that serpentines up into the scenic , forested SAN BERNADINO MOUNTAINS .</scene_description> </scene> <scene> <stage_direction>EXT. BIG BEAR -- DUSK</stage_direction> <scene_description>The sun is low . Big Bear Lake is vast , surrounded by wilderness on all sides . Welles ' car follows a TWO - LANE ROADWAY that runs along the lake 's southern shore . Welles ' car passes sporadic SUMMER HOMES and CABINS .</scene_description> </scene> <scene> <stage_direction>EXT. DESERTED ROADWAY -- NIGHT</stage_direction> <scene_description>Heavy forests border close to the road . Welles ' car travels alone , headlights on , slowing as it comes to an overgrown gravel DRIVEWAY with a rusty CHAIN strung across it . IN THE CAR Welles leans forward to look up at an old SIGN of broken neon and peeled paint : `` Big Bear Motor Lodge . '' Welles pulls forward , puts the car in reverse . ON THE ROADWAY Welles ' car backs up , angling , till the rear bumper comes against the chain , BACKING . till the CHAIN SNAPS . Welles ' car pulls forward across the empty roadway , turns around . accelerates down the overgrown driveway .</scene_description> </scene> <scene> <stage_direction>EXT. BIG BEAR MOTOR LODGE -- NIGHT</stage_direction> <scene_description>Welles ' car comes down the driveway , into a small LOT . IN THE CAR THROUGH THE WINDSHIELD : headlights reveal what 's left of the abandoned MOTOR LODGE , a REGISTRATION OFFICE at the center with attached wings of rooms on both sides . The LEFT WING of rooms is a fire ravaged , burnt - out skeleton . What remains of the OFFICE and RIGHT WING is boarded over , falling apart . No window has gone unbroken . IN THE LOT Welles turns out headlights and parks . He gets out , walks to look up the driveway . A CAR is HEARD . HEADLIGHTS can be seen a good distance away through the forest as the CAR PASSES . Welles goes to his car , unlocks the trunk and opens it . Eddie 's lying in there , arms and legs bound , gagged .</scene_description> </scene> <scene> <stage_direction>INT. MOTOR LODGE ROOM -- NIGHT</stage_direction> <scene_description>The door is shoved inward , hanging crooked by one hinge . Eddie enters first , hands still bound behind him . Welles pushes Eddie forward , gun out . Welles turns on his penlight FLASHLIGHT , shining it into the room . There dead leaves all over the floor . The room 's empty except for a CHAIR lying on its side . Welles sweeps the room with the inadequate light . This is where Mary Anne Mathews died , vaguely recognizable from the snuff film , without the furniture .</scene_description> <character>EDDIE</character> <dialogue>What are we doing here?</dialogue> <scene_description>Welles goes to the bathroom door , keeping the gun trained on Eddie , pushes the bathroom door open with his foot . The bathroom 's cracked MIRROR reflects the penlight and Welles ' palely lit face .</scene_description> <character>WELLES</character> <dialogue>That night. you did n't have to be in the room, but you were.</dialogue> <parenthetical>( looks to Eddie . )</parenthetical> <dialogue>Why? Why did you watch?</dialogue> <scene_description>Eddie goes to the chair , tips it upright with his foot , sits .</scene_description> <character>EDDIE</character> <dialogue>I do n't know. I felt like it. I never saw anyone get done before.</dialogue> <character>WELLES</character> <dialogue>You enjoy it?</dialogue> <character>EDDIE</character> <dialogue>Made me sick, but what did I care? What did I care if some hump wants to beat off to that. It was just something I was doing for money.</dialogue> <character>WELLES</character> <dialogue>Tell me what happened.</dialogue> <character>EDDIE</character> <dialogue>What do you want to know? You saw it, you saw the loop.</dialogue> <character>WELLES</character> <dialogue>Nobody saw you bring her in?</dialogue> <character>EDDIE</character> <dialogue>There was n't nobody around. This place was a shit - hole. I backed up the car to the door and we carried her in, like groceries. Dino made her eat a bunch of pills, we laid out the plastic, put film in the camera and Machine went to work.</dialogue> <character>WELLES</character> <dialogue>What did you do with her body?</dialogue> <character>EDDIE</character> <dialogue>Took it out the bathroom window. Buried it in the woods.</dialogue> <character>WELLES</character> <dialogue>Show me.</dialogue> </scene> <scene> <stage_direction>EXT. BIG BEAR MOTOR LODGE -- NIGHT</stage_direction> <scene_description>Eddie and Welles come around the corner of the abandoned motel , Eddie leading the way , Welles following with gun and flashlight , into the dense forest .</scene_description> <character>EDDIE</character> <dialogue>What are you thinking you're gon na do?</dialogue> <scene_description>Welles shoves Eddie ahead .</scene_description> <character>WELLES</character> <dialogue>Keep moving.</dialogue> <character>EDDIE</character> <dialogue>Where do you think you're taking this, huh? Gon na be a big hero, avenge that little girl's death? Gon na make everything right with the world? How you gon na do that?</dialogue> <scene_description>FURTHER ON Welles and Eddie come over a hill , deeper into the forest .</scene_description> <character>EDDIE</character> <dialogue>You ca n't go to the cops. All you can do is cut me loose and walk away, because you got nothing.</dialogue> <character>WELLES</character> <dialogue>Stop talking.</dialogue> <character>EDDIE</character> <dialogue>You got absolute zero.</dialogue> <character>WELLES</character> <dialogue>Show me where you buried her.</dialogue> <character>EDDIE</character> <dialogue>I do n't know.</dialogue> <parenthetical>( nods to forest . )</parenthetical> <dialogue>. out there somewhere.</dialogue> <character>WELLES</character> <dialogue>Where? Show me where.</dialogue> <character>EDDIE</character> <dialogue>I fucking do n't know. What do you think. we were n't burying treasure. We did n't pace it out so we could come back and get it. We dug a hole and we put her in it. Your guess is as good as mine.</dialogue> <scene_description>Welles walks ahead of Eddie , distraught , shining his flashlight ahead across the indecipherable forest floor .</scene_description> <character>EDDIE</character> <dialogue>You'll never find her. Nobody ever will, and even if they did, it does n't mean nothing. Bring in the cops, bring in the F.B.I., fuck'em all. Without the film, it never happened. Do n't you get it? It's over. You ca n't do anything.</dialogue> <scene_description>Welles turns , aims his gun at Eddie , furious .</scene_description> <character>WELLES</character> <dialogue>I can kill you. I can leave you out here, just like you left her.</dialogue> <scene_description>Eddie 's not backing down .</scene_description> <character>EDDIE</character> <dialogue>Do it.</dialogue> <character>WELLES</character> <dialogue>Do n't think I wo n't.</dialogue> <character>EDDIE</character> <dialogue>Do it! Put me out of my misery so I do n't have to listen to you whining anymore. You think it's so easy?</dialogue> <character>WELLES</character> <dialogue>Easy enough for you.</dialogue> <character>EDDIE</character> <dialogue>I never killed anyone.</dialogue> <character>WELLES</character> <dialogue>That's right, you just stood there and watched, because you `` felt like it.'' Almost makes you worse.</dialogue> <character>EDDIE</character> <dialogue>What do you want? You want me to fall to my knees and start crying like a baby?</dialogue> <scene_description>Eddie walks towards Welles . Welles backs away .</scene_description> <character>EDDIE</character> <dialogue>Where you going? You're the one with the gun. Are n't I defenseless enough? Come on.</dialogue> <scene_description>Eddie comes ahead , defiant , the gun inches from his face .</scene_description> <character>EDDIE</character> <dialogue>Go ahead and kill me. Kill me with that gun, your gun, right, registered in your name? Dig the hole yourself, with your bare hands, bury the body with your bullets in it. Fucking do it!</dialogue> <scene_description>Welles step forward , presses the gun against Eddie 's forehead , pulls back the hammer . Eddie just stares back at Welles with hatred in his eyes . Welles is terrified , unsure . trying to muster the courage to do it . gun hand trembling . finger on the trigger .</scene_description> </scene> <scene> <stage_direction>INT. MOTOR LODGE ROOM -- NIGHT</stage_direction> <scene_description>Eddie 's thrown face down to the floor . Welles comes to sit on Eddie 's back , facing Eddie 's feet , holsters his gun , takes out duct tape and grabs Eddie 's feet , wrapping them .</scene_description> <character>EDDIE</character> <dialogue>You pussy.</dialogue> <scene_description>Welles keeps going around Eddie 's ankles with the duct tape , till Eddie 's securely bound . He rips the tape roll free and gets up , walking out .</scene_description> <character>EDDIE</character> <dialogue>Fucking pussy!</dialogue> </scene> <scene> <stage_direction>EXT. MOTOR LODGE -- NIGHT</stage_direction> <scene_description>Welles pulls the door closed behind him , walks to his car . IN THE CAR Welles opens the passenger door and sits , shaken , at his wit 's end . He opens the glove compartment , finds cigarettes , digs one out and lights it . He looks back to the motel room . He looks down to the glove compartment , at his CELLULAR PHONE . After a moment , Welles picks up the phone , looks at it in his hand . IN THE LOT Welles gets out of the car , gets up on the hood , lays back , staring at the sky . He closes his eyes , smokes . Welles opens the phone , looks at the illuminated numbers . He digs in his suit jacket pocket , takes out his notepad , pages through , studies one page . Welles sits up . He gathers himself , throws his cigarette , dials a number , puts the cellular to his ear , afraid .</scene_description> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>Hello?</dialogue> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Mrs. Mathews? It's Thomas. Do you remember, I was there a few weeks ago. asking about your daughter.</dialogue> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( from phone . )</parenthetical> <dialogue>I remember. You just left.</dialogue> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I have to tell you something. It wo n't be easy for you to hear. It's about your daughter. Mary Anne.</dialogue> <parenthetical>( struggling . )</parenthetical> <dialogue>When I. when I was there with you, her diary, in your attic, in silverware. If you read it, you'll know what I'm telling you is true.</dialogue> <scene_description>Welles climbs off the car , paces , aching with misery .</scene_description> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>WELLES</character> <dialogue>She went to California, to Los Angeles. she wanted to start over. She wanted to be an actress.</dialogue> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What?</dialogue> <scene_description>Tears comes to Welles ' eyes . It 's the hardest thing he 's ever had to do in his entire life .</scene_description> <character>WELLES</character> <dialogue>Mrs. Mathews, your daughter is dead. She's dead.</dialogue> <character>MRS MATHEWS</character> <dialogue>Who is this?</dialogue> <character>WELLES</character> <dialogue>Someone. some men, they took your daughter and they drugged her, and they took her to a motel room. they did terrible things to her.</dialogue> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Who are you?</dialogue> <character>WELLES</character> <dialogue>They brought her into the room. one man, he put a knife to her throat and he raped her.</dialogue> <character>MRS MATHEWS</character> <dialogue>No.</dialogue> <character>WELLES</character> <dialogue>He raped her and. and. and he murdered her. he cut her up with knifes.</dialogue> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No. no. no.</dialogue> <character>WELLES</character> <dialogue>They killed her, and they took her out in the forest somewhere and they buried her.</dialogue> <character>MRS MATHEWS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Why. why are you doing this to me?</dialogue> <character>WELLES</character> <dialogue>They murdered her, Mrs. Mathews, I'm sorry. It happened a month after she ran away. She's been dead all this time.</dialogue> <scene_description>MRS MATHEWS is HEARD SCREAMING , letting out a CHOCKING SOB . Welles falls back against the car , holds his head , weeping .</scene_description> <character>WELLES</character> <dialogue>I'm sorry, I'm so sorry. there was n't anything anyone could do.</dialogue> <scene_description>Welles pushes disconnect , lowers the phone , drops it to the ground , utterly drained . He puts his forearm over his eyes , gasping , sucking air . He looks to the motel room , tamping down his sorrow , willing it to fuel his rage . He takes out his gun , hands unsteady , determined , opens the gun and pours the bullets out . He closes the gun and walks towards the motel room .</scene_description> </scene> <scene> <stage_direction>INT. MOTOR LODGE ROOM -- CONTINUOUS</stage_direction> <scene_description>Welles SHOVES the door aside . The door 's hinge breaks and the door falls . Eddie sits propped up against one wall , turns to look . The door SLAMS to the floor . Welles moves forward , enraged , closing on Eddie , raising his arm with the gun grasped by the butt . Eddie 's eyes go wide with fear . Welles SWINGS the gun down at Eddie 's head .</scene_description> </scene> <scene> <stage_direction>EXT. MOTOR LODGE -- NIGHT -- CONTINUOUS</stage_direction> <scene_description>The only SOUNDS come from the NIGHT FOREST . CRICKETS and distant BIRDS . We ca n't see anything but the TOTAL DARKNESS through the open door of the room . A CAR is HEARD , getting LOUDER as it passes , FAINTER as it gets further away . Finally , Welles comes to the doorway , in shock , steadying himself against the door frame , shirt and suit spattered red . His gun hand and gun are soaked with dripping blood . Welles looks back into the room , backing away . He turns and goes to his car . IN THE CAR Welles climbs in the driver 's side , shoves his bloody gun into his holster , tries to wipe blood from his hand onto his shirt , revolted . He starts the car .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S HOUSE, LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles enters and crosses through .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S KITCHEN -- NIGHT</stage_direction> <scene_description>Welles goes to the kitchen sink , turns on the water , starts scrubbing his bloody hands , using dishwashing liquid , scrubbing his hands desperately under running water .</scene_description> </scene> <scene> <stage_direction>EXT. EDDIE'S GARAGE -- NIGHT</stage_direction> <scene_description>Welles comes out of the house , goes to open the rear door of Eddie 's car , looking through BOXES of Eddie 's belongings .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles comes up the stairs with a BOX , dumps the contents onto the living room floor : it 's CHILD PORNOGRAPHY , Eddie 's collection from the office , HUNDREDS of PHOTOS .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S KITCHEN -- NIGHT</stage_direction> <scene_description>Welles pulls open Eddie 's cabinets , searching . He finds POTS and PANS , choosing a few of the largest .</scene_description> </scene> <scene> <stage_direction>EXT. EDDIE'S GARAGE -- NIGHT</stage_direction> <scene_description>Welles uses a cut piece of GARDEN HOSE , siphoning GAS out from Eddie 's car , filling several kitchen POTS .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles comes up the stairs , carries POTS of gasoline , dumps the gasoline onto the pile of PHOTOGRAPHS .</scene_description> </scene> <scene> <stage_direction>INT. EDDIE'S BEDROOM -- NIGHT</stage_direction> <scene_description>Welles dumps gasoline over Eddie 's bed .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM -- NIGHT</stage_direction> <scene_description>Welles stands at the pile of gasoline soaked photos , taking out a MATCHBOOK , lighting one , lighting the whole book .</scene_description> </scene> <scene> <stage_direction>EXT. EDDIE'S HOUSE -- NIGHT</stage_direction> <scene_description>Welles walks down the dark hill , heading to his car . He gets in , starts the car and drives downhill , leaving the headlights off . BEHIND , the windows of Eddie 's ramshackle HOUSE grow bright as FIRE SPREADS and CURTAINS BURN .</scene_description> </scene> <scene> <stage_direction>INT. LOS ANGELES AIRPORT -- NIGHT</stage_direction> <scene_description>Welles stares ahead , in fresh shirt and suit , waiting at a CHECK - IN COUNTER . The female AIRLINE AGENT behind the counter types in her COMPUTER , stamps his ticket . Welles shifts his gaze , something catches his eye . Beside a stapler on the counter , a PAIR of SCISSORS .</scene_description> <character>AGENT</character> <dialogue>There you are, Mr. Welles, confirmed through to Kennedy. Gate 32B.</dialogue> <scene_description>Welles stares , fixated on the SCISSORS .</scene_description> <character>AGENT</character> <dialogue>Mr. Welles?</dialogue> <scene_description>Welles looks to the agent holding up the ticket .</scene_description> <character>AGENT</character> <dialogue>Gate 32B.</dialogue> <scene_description>Welles accepts the ticket .</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN MOTEL -- NIGHT</stage_direction> <scene_description>The Empire State Building in the distance says NYC , and a CAMERA PAN DOWN says another seedy MOTEL .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM -- NIGHT</stage_direction> <scene_description>Welles sits at a small desk , looking through a PHONE BOOK , white pages , finds . `` HOSPITALS . '' Welles picks up the PHONE , chooses a number , dials it .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello, can you connect me with the duty nurse?</dialogue> <parenthetical>( waits . )</parenthetical> <dialogue>Hello, this is Lieutenant Anderson down here in the Thirteenth Precinct. I've got a helluva problem I was hoping you could give me a hand with. We had a stabbing incident a couple of days ago, and it looks like the supposed victim gave us a false name and address. Can you tell me if you had an adult male with an abdominal wound in you ER in the last forty - eight hours?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>You'd remember this guy ; a body - builder, real big guy, five foot eleven, with acne all over his chest and back.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Alright, thanks for your help.</dialogue> <scene_description>Welles hangs up , uses a pen to cross out a number in the phone book , starts dialing the next number .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM -- LATER NIGHT</stage_direction> <scene_description>Welles lies on the bed , on the phone , rubbing his eyes .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>. guy sticks out like a sore thumb. Five foot ten or eleven, body - builder, bad acne.</dialogue> <parenthetical>( listen . )</parenthetical> <dialogue>Okay, thanks anyway.</dialogue> <scene_description>Welles gets up , hangs up , brings the phone back to the desk .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM -- MORNING</stage_direction> <scene_description>The PHONE BOOK 'S open on the desk with nearly a hundred hospital phone numbers crossed out .</scene_description> <character>WELLES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>abdominal wound. You'd know him if you saw him.</dialogue> <scene_description>Light cuts into the room from between the curtains . Welles paces , carrying the phone with him , weary .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>He's a body - builder, stands just under six feet.</dialogue> <scene_description>Welles stops in his track , listening , suddenly attentive .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>That's right. covered in acne. That's him, that's the guy. Listen, we, uh. we think he filed a bogus report on this stabbing, gave us a false name and address.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Yes, I'll hold.</dialogue> <scene_description>Welles goes to the desk , takes out his notepad . He starts feeling his pockets for his pen , ca n't find it , telephone book , searching , looks under the desk . Welles ducks under the desk to grab the pen off the floor .</scene_description> <character>WELLES</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yes. yes.</dialogue> <parenthetical>( sits , writing in pad . )</parenthetical> <dialogue>Christopher Higgins. Thirty - fifteen, Thirty Fifth Street. Where? Astoria, Queens.</dialogue> <scene_description>Welles is scribbling all this down in his notepad .</scene_description> </scene> <scene> <stage_direction>EXT. QUEENS STREET -- DAY</stage_direction> <scene_description>A relatively quiet residential street . HOMES are small , two story affairs , close together , each very much like its neighbor , some with tiny yards fenced in by brick walls . Welles ' Ford comes slowly down the street . CHILDREN in school uniforms are heading off for the day in groups . Welles parallel parks . IN THE CAR Welles turns off the engine . He 's watching a HOUSE on the other side of the street . The house is brick on the bottom , aluminum siding on top , quaint , with brick staircase from the front door down to a GARAGE underneath , plastic PINK FLAMINGOS on the small lawn . Cars pass in the street . Welles watches school children pass on the near sidewalk . He slumps down a little in his seat , adjusting the rearview mirror , adjusting his side mirror , rolling up the window . Welles takes a cautionary look around , takes out his gun , pours bullets out and pockets them . He picks up a PAPER BAG off the passenger seat and opens it . He takes out a long , thin metal FILE , pulling off the shrink wrap packaging , feels the file with his thumb . Keeping his open gun low under the steering wheel , Welles slides the file into the barrel , scraping gently all along the gun 's inner barrel .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- LATER DAY</stage_direction> <scene_description>Welles sits smoking a cigarette , watching the quaint house . He looks in his side mirror . There 's a large CAR coming down the block with its turn signal on . Welles slumps a little lower . The car passes , slowing . The GARAGE DOOR of the quaint house begins to open . Welles watches . Ca n't really see the driver of the car except for the back of his head , but he 's huge . It 's a good bet it 's Machine . Beside him in the passenger seat is a GREY HAIRED OLD WOMAN . The car pulls into the darkness of the quaint house 's garage . After a moment , the OLD WOMAN comes from the garage , walks with a cane , wears glasses . She goes to the sidewalk , checks her MAILBOX , finds it empty . Welles watches . The old woman goes back to the garage . She goes inside . The garage door closes behind her .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- NIGHT</stage_direction> <scene_description>Welles still watches the house . There 's a light on in one of the second floor windows , curtains closed . Welles yawns , shaking his head , trying to stay awake . At the quaint house , a light comes on in the front picture window . Looks like a living room or dining room . The old woman comes to sit at a table . Welles takes binoculars off the front seat . THROUGH BINOCULARS The old woman says something to someone we can not see . She 's at the dinner table , with a place setting in front of her . After a moment , someone joins her . It 's Machine , you can tell by his bulk , by his huge forearms . The lacy curtains of the window block part of our view , so we never see his face . IN THE CAR Welles lowers the binoculars , still watching . Through the window across the street , Machine can be seen putting a plate of food in front of the old woman . The old woman smiles up at him , says something . Machine goes to light two candles on the table with matches , then goes back to stand beside the old woman . Machine is seen from behind , bends to give the old woman a kiss on the cheek , then leaves the room . The old woman starts to eat .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' CAR -- DAY</stage_direction> <scene_description>Dawn light is just breaking . Welles has fallen asleep , slumped low behind the wheel , snoring lightly . Welles awakens with a start , looking around , confused . He calms , rubbing his eyes , wiping sweat from his features . ACROSS THE STREET The quaint house 's garage door begins to rise . IN THE CAR Welles sees this , keeps low , watching . The big car backs out into the street . The old woman 's behind the wheel , wearing a hat , driving away , alone . Welles watches the car head away in the rear view mirror . ON THE STREET Welles gets out of his car , shuts the door quietly behind him . He starts walking towards the quaint house , looks all directions , making sure no one 's around . Ahead , the garage door begins to close . Welles picks up the pace , trying not to look too conspicuous . The garage door 's halfway down . Welles runs towards the garage , has to dive and roll to get there , but he makes it under the door just as it closes . ABOVE In ONE WINDOW of the quaint house , an eyeball is peering out from lacy curtains , then moves away and curtains fall shut .</scene_description> </scene> <scene> <stage_direction>INT. QUAINT HOUSE, GARAGE -- DAY</stage_direction> <scene_description>Welles gets up , takes out his gun , brushing off . The garage is dark , full of BOXES and JUNK . Welles moves towards the door to the house .</scene_description> </scene> <scene> <stage_direction>INT. QUAINT HOUSE, BEDROOM -- DAY</stage_direction> <scene_description>Machine , in T - shirt and jeans , seen only from behind , comes to a DRESSER and opens a bottom drawer . His huge hands push clothing aside , digging deep to the bottom of the drawer , taking out the WRESTLING MASK . Machine stands straight , pulling the mask down over his head .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT -- DAY</stage_direction> <scene_description>Welles enters from the garage , gun up . The dank basement is small . A PILE of LAUNDRY lies on the floor near a WASHING MACHINE . SHEETS hang off several CLOTHES LINES strung across two metal poles . Welles leads with his gun . He moves around the sheets , looking behind them . There 's a WOODEN STAIRCASE leading upstairs . Welles starts up , treading lightly , trying not to make a sound .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- DAY</stage_direction> <scene_description>Welles slowly opens the door to the kitchen , pointing his gun . No one here . The decor is feminine , neat and tidy . It 's grandma 's house , and it shows , with gaudy PRINT WALLPAPER everywhere , every shelf displaying HUMMEL FIGURINES or COLLECTORS PLATES . Very Home Shopping Network .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM/LIVING ROOM -- DAY</stage_direction> <scene_description>Welles slowly opens the swinging door , entering from the kitchen , sweeping the room with his gun . No sign of Machine . The whole house is dead quiet . He passes the dining room TABLE where he watched the old woman eat last night . passes fake PAINTINGS on the walls , of waterfalls and sunset mountain landscapes . moves into the living room area . Yellow shag CARPET . A pink SOFA is covered in clear plastic , facing an old TELEVISION in faux - wooden cabinet . Welles heads for a staircase leading to the second floor . Welles creeps up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALLWAY -- DAY</stage_direction> <scene_description>Welles comes up from the stairs , arrives at a closed DOOR . He opens the door . It 's a linen closet , with TOWELS and SHEETS on shelves , and a shelf of MEDICINE . Welles shuts the door and moves on . There are TWO DOORS ahead , both closed . Welles takes the one to the right .</scene_description> </scene> <scene> <stage_direction>INT. MACHINE'S BEDROOM -- DAY</stage_direction> <scene_description>Welles pushes the door in , enters warily . There 's a constant SCRATCHING HEARD . The room is like a child 's , except the BED is huge . Shelves are full of BOARDGAMES and COMIC BOOKS . A DANZIG POSTER on the wall . There 's a RECORD PLAYER with LP RECORDS beside it . A record turns on the turntable , the needle caught at the center , SCRATCHING . Welles eases his way over to the closet . reaching . Pulls it open , steps back , gun up . Nothing . Just clothing .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALLWAY -- DAY</stage_direction> <scene_description>Welles crosses , opens the door across the hall , enters . DOWN THE HALL , very slowly , Machine 's head rises on the stairs , in the garish wrestling mask , peering .</scene_description> </scene> <scene> <stage_direction>INT. GRANDMA'S ROOM -- DAY</stage_direction> <scene_description>Welles stays near the door , looks around . There 's a fuzzy sky - blue COMFORTER on the bed , fuzzy blue SLIPPERS nearby . Lots of bottles of MEDICINE on the bedside table . Welles lowers his gun , takes a step back , into the hall .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALLWAY -- DAY</stage_direction> <scene_description>Welles turns . Machine charges down the hall , screaming with rage , BOWIE KNIFE raised to kill . Welles brings his gun up , but Machine 's upon him , stabbing . Welles catches Machine 's hand , stops the knife . Machine grips Welles ' gun hand , shoving him back . Welles is SLAMMED against the wall , grappling , gun hand pinned . Welles GUN GOES OFF , once . twice . BLOWING HOLES in the ceiling . Machine 's grunts , pushing the knife forward . closer to Welles , face . closer . Welles struggles , overpowered . The tip of the horrible knife is inches away . Welles bends his knees , crouching , trying to gain distance from the blade . Machine pulls Welles gun hand lower , brings it against the swinging LAUNDRY CHUTE DOOR built into the wall , begins twisting Welles ' hand back , trying to pry the gun loose . Welles looks out the corner of his eyes to his gun . Welles turns his gun hand , slowing struggling to aim the gun towards the knife , but it 's awful close to his face . The knife 's shaking , less than an inch from Welles ' cheek . Welles shuts his eyes and turns his head , letting out a CRY , FIRES his gun . The bullet BLASTS Machine 's knife , knocks it away ! Machine recoils for a millisecond , but brings his now free hand to Welles ' throat , choking him . Welles ' face reddens , bleeding from bullet fragments . Welles tries to pry Machine 's fingers from his throat . Machine works on Welles ' gun hand with violent , renewed effort - SLAMS Welles ' hand against the laundry chute . SLAMS it . SLAMS it . till Welles DROPS the GUN . The gun can be HEARD CLATTERING down the chute . Machine brings his hand to join the other around Welles ' throat . Welles ca n't break the grip . Welles PUNCHES Machine 's face , till blood runs out from the mask 's nose hole , but it 's having no effect . Welles brings his KNEE UP HARD - into Machine 's stomach ! Machine falls to his knees with a ROAR , holds his already wounded stomach , bleeding through his shirt . Welles falls , clutching his throat , gasping . He struggles to his feet , leaps past , headlong towards the stairs . Machine rises , charging after . ON THE STAIRCASE Welles is TACKLED from behind . Welles and Machine TUMBLE down the stairs , SMASHING the wooden railing , toppling a BOOKSHELF . LANDING HARD . Welles PUNCHES and KICKS , breaking free , running across the living room . Machine rises to give chase . Welles grabs a dining room CHAIR and THROWS it . Machine knocks the chair aside , keeps coming . Welles grips another chair , uses it to hold Machine off . Machine grips the chair by the legs . Welles SHOVES forward , pushes Machine back , letting go . Welles dives under the dining table , crawling on his hands and knees , scrambling . Machine throws the chair , runs , leaps . Machine lands on the table , crawls to the far edge , GRABBING down with his meaty fists as Welles moves forward . Under the table , Welles jerks back , avoiding , then rises , extending his knees , PUSHING upwards from underneath . Welles FLIPS the table , throwing Machine to the floor . Welles charges towards the kitchen door , falls , gets up . Machine gets to his feet . IN THE KITCHEN Welles SHOVES through the swinging door . Machine BURSTS through , catching Welles , TACKLING him . Welles hits the floor with Machine on top . Machine begins to rein PUNCHES down on Welles , head and back . Welles tries to cover up , taking a real beating . Machine rises , gripping Welles , LIFTING him , THROWS him . Welles SMASHES into shelves of knick - knacks over the kitchen sink , SHATTERING a WINDOW , landing on the sink and counter . Machine comes to grip Welles again , drags him across the counter , KNOCKING EVERYTHING to the floor . Machine SWINGS Welles , releases him . Welles SLAMS the refrigerator and slumps to the ground , tries to stay conscious , trying weakly to get back up . Machine comes to Welles , gets on his knees . Machine wraps his arm around Welles ' neck from behind , gets him in a CHOKE HOLD , tightens his grip , cutting off Welles airway with his forearm . Welles tries to break Machine 's impossible grip with one hand , begins searching the floor with his other hand . frantically feeling for anything he can use . Welles ' face is blood red . Welles ' hand grasps desperately . finds a FORK , grips it . Welles SWINGS the fork back , STABS it into Machine 's thigh ! Machine SCREAMS , releases Welles and falls back , reaching around to the fork . Welles gets to his knees , sucking air , turns to look . Machine crawls away , pulls the fork out with trembling fingers . Beyond him , there 's the BASEMENT DOOR . Welles gets to his feet , looking . He grabs a FRYING PAN off the counter , gripping it in both hands and moving towards Machine . Machine 's getting up . Welles BASHES Machine in the face with an upward swing of the frying pan . Machine is sent backpedaling , CRASHING into the oven ! Welles drops the pan , leaps over Machine , to the door . IN THE BASEMENT Welles comes down the stairs , falls when he gets to the bottom , barely has any strength left . He looks all directions , sees the LAUNDRY CHUTE in the ceiling . Welles gets up , stumbling , falls to his knees at the PILE of dirty LAUNDRY , starts digging through it , searching desperately , throwing clothing aside . Behind , Machine comes down the stairs , a bloody mess . Welles searches the laundry pile . Machine reaches the bottom of the stairs , heading for Welles . Welles turns , has the GUN in hand , FIRES TWICE . HITTING Machine in the shoulder and stomach , knocking Machine a few steps backwards . Welles FIRES . Machine 's HIT in the CHEST , falling back , into hanging laundry , pulling down the clothes line and sheets . Machine hits the ground , wrapped in sheets . Welles stands , still aiming the gun , pulls the trigger on an empty chamber . Out of bullets . Machine 's trying to pull free from the sheets , trying to get back up to his feet . Welles lets out a sob , drops the gun , walking to Machine . Welles climbs onto Machine from behind , takes clothing line in hand , starts wrapping the cord around Machine 's throat . Welles pulls back on the clothes line , pulling it tight . Machine tries to get his fingers around the cord . Welles stands , pulling tighter , putting a foot on Machine 's back , pulling the clothes line with all his might . The cord 's cutting into Welles ' hand , drawing blood . Machine , face down , lets out a gurgling sound , struggling , struggling . till he finally stops moving . Welles releases the cord , takes a step back , breathing hard , trembling . He looks around the basement . Welles walks to pick up his gun , replaces the gun in his holster . He stands looking at Machine . Welles walks to Machine , bends , grasps Machine wrestling mask , pulling it off . He rolls Machine over . Welles stares down at Machine . We never see Machine 's face .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- DAY</stage_direction> <scene_description>Welles comes up from the basement , slow , hurting . He looks around at the damage done , looks down to see he 's still holding Machine 's mask . He drops it .</scene_description> </scene> <scene> <stage_direction>EXT. QUAINT HOUSE -- DAY</stage_direction> <scene_description>Welles crosses the street , going to his car . He gets into his car , starts it , pulls out and drives away .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE -- DAY</stage_direction> <scene_description>BIRDS SING . KIDS are kicking around a soccer ball down the street . Welles ' Ford arrives , pulls into the driveway .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, FRONT HALLWAY -- DAY</stage_direction> <scene_description>Welles comes in the front door , still a horrible mess .</scene_description> <character>WELLES</character> <dialogue>Hello?! Amy?</dialogue> <scene_description>He waits . The house is quiet . No one home .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE -- LATER DAY</stage_direction> <scene_description>Dusk . A CAR comes down the street , slows . IN THE CAR Amy sits forward , seeing Welles ' car in the driveway . Cindy 's in a child safety seat in back .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, FRONT HALLWAY -- DAY</stage_direction> <scene_description>Amy comes in the front door , carrying Amy .</scene_description> <character>AMY</character> <dialogue>Tom?!</dialogue> <scene_description>No answer .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BEDROOM -- DAY</stage_direction> <scene_description>Any pushes the bedroom door open and looks in . Welles is asleep on the bed , still in his clothing and shoes . Amy watches him sleep , sad . Amy backs out of the room , pulls the door shut .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, BEDROOM -- NIGHT</stage_direction> <scene_description>Dark . Welles sleeps , still in bloody clothing . He 's restless , shifting , MUTTERING under his breath . Bad dreams . Welles suddenly sits bolt upright in the bed , looking around the dark room , breathing hard .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, KITCHEN -- NIGHT</stage_direction> <scene_description>Cindy 's in her high - chair by the table . Amy 's at the KITCHEN SINK , washing vegetables , peeling potatoes . Welles comes to stand in the doorway behind her . Amy turns to look at him . It breaks her heart to see him so wounded , but she forces herself to continue working in the sink .</scene_description> <character>AMY</character> <dialogue>How much forgiveness do you think I have in me?</dialogue> <scene_description>Welles comes into the kitchen , stands beside Cindy , puts his hand out and clasp 's Cindy 's tiny hand .</scene_description> <character>WELLES</character> <dialogue>I ca n't talk about it yet. not yet.</dialogue> <scene_description>Amy keeps peeling potatoes , refuses to look at him . Welles looks down at Cindy , pats Cindy 's head , looks back at Amy . He stands looking at Amy for a long moment .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE, BACKYARD -- DAY</stage_direction> <scene_description>Welles wears his fishing cap , pushing his lawn mower , mowing his yard . He has done some healing , though his face is still swollen and terribly bruised .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- NIGHT</stage_direction> <scene_description>Welles feeds Cindy with one hand , eating his own dinner with the other . Amy 's across the table , eating , watching them .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT -- DAY</stage_direction> <scene_description>Welles works on the WATER HEATER , wrench in hand , reading an instruction sheet . He puts the sheet aside , uses the wrench to begin loosening one of the pipe fittings .</scene_description> </scene> <scene> <stage_direction>EXT. WELLES' HOUSE -- NIGHT</stage_direction> <scene_description>Welles drags two GARBAGE CANS from the garage to the street , leaving them by the mailbox , walking back to the house .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM -- NIGHT</stage_direction> <scene_description>Welles and Amy are in bed . Amy 's asleep , on her side , facing away from Welles . Welles lays awake , on his back , staring up at the ceiling .</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET AISLE -- DAY</stage_direction> <scene_description>Welles pushes a cart down one aisle . He looks at his LIST , takes a BOX of CEREAL off one shelf , puts it in the cart .</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET CHECK-OUT -- DAY</stage_direction> <scene_description>Welles waits in line with his cart . It 's a long line . He takes out his wallet , opens it . In the fold of the wallet , there 's a PHOTO folded into quarters . Welles unfolds it and looks at it dolefully . It 's the PHOTO of Mary Anne Mathews , the image Welles printed from early in the snuff film . Sad girl . Welles folds in back up , puts it in another pocket . He looks forward in the line to see if it 's moving .</scene_description> </scene> <scene> <stage_direction>EXT. SUPERMARKET -- DAY</stage_direction> <scene_description>Welles transfers BAGS of GROCERIES from the shopping cart into the back seat of his Ford .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' FORD -- DAY</stage_direction> <scene_description>Welles drives on the HIGHWAY , groceries in back . He watches the roadway ahead . There 's little traffic . Welles glances down , turns on the RADIO . Some CLASSICAL MUSIC PLAYS . Welles stares forward through the windshield . After a moment , Welles turns the RADIO OFF . He drives . The ONLY SOUND is the DRONE of the ENGINE and TIRES . Welles is suddenly overwhelmed by emotion , eyes filling with tears . He tries to fight it , but ca n't help himself . His face contorts with sorrow and he can not stop crying , letting out a loud WAIL of misery .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY -- DAY -- CONTINUOUS</stage_direction> <scene_description>Welles ' car moves to the shoulder , brakes to a sudden HALT .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' FORD -- DAY -- CONTINUOUS</stage_direction> <scene_description>Welles takes great deep breathes and lets them out , over and over again , wiping at his tears . He lets out a little high - pitched WHINE from far back in his throat .</scene_description> <character>WELLES</character> <dialogue>Why. why?</dialogue> <scene_description>He 's wracked by SOBBING .</scene_description> </scene> <scene> <stage_direction>INT. WELLES' HOUSE, CINDY'S ROOM -- DAY</stage_direction> <scene_description>Amy 's in a chair , reading a BOOK , not far from Cindy 's crib . Cindy 's asleep . The FRONT DOOR of the house is HEARD OPENING and CLOSING from far off in the house . Amy looks up momentarily , then returns to reading . FOOTSTEPS can be HEARD coming through the house , getting CLOSER . Amy looks up from her book . The bedroom door 's open a crack . The door slowly pushes open . Welles stands there , eyes red from crying .</scene_description> <character>AMY</character> <dialogue>Tom?</dialogue> <scene_description>Welles comes into the room , stands before Amy . He gets to his knees , puts his head in Amy 's lap , wraps his arms around her waist . Amy holds him , worried , eyes filling with tears .</scene_description> <character>WELLES</character> <dialogue>I have to tell you. I have to tell you what happened. I have to tell you everything, but we ca n't tell anyone else. No one else can ever know.</dialogue> <scene_description>Amy runs her fingers through his hair , bends down to rest her head on his back , holding him with her eyes closed . Welles holds tighter .</scene_description> <character>WELLES</character> <dialogue>You're all I've got. You're all I've ever had.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You're the only one who can save me.</dialogue> <scene_description>the end .</scene_description> </scene> </script>

Private investigator Tom Welles is contacted by Daniel Longdale, attorney for wealthy widow Mrs. Christian, whose husband has recently died. While clearing out her late husband's safe, she and Longdale find an 8mm movie which appears to depict a real murder of a girl, but Mrs. Christian wants to know for certain. Welles is bound by obligation from both Longdale and Mrs. Christian not to reproduce the film in any way, and that only they need to know about the investigation. After looking through missing persons files, Welles discovers the girl is Mary Ann Mathews and visits her mother, Janet Mathews. While searching the house with her permission, he finds Mary Ann's diary, in which she says she went to Hollywood to become a film star. He asks Mrs. Mathews if she wants to know the truth, even if it is the worst. She says that she wants to know what happened to her daughter. In Hollywood, with the help of an adult video store employee called Max California, Welles delves into the world of underground (and sometimes illegal) fetish pornography. He attempts to find out if snuff is indeed real, or if there was anyone in this underworld who was connected to this film. Contact with a sleazy talent scout named Eddie Poole leads them to director Dino Velvet, whose violent pornographic films star a masked man known as "Machine". To gain more evidence, Welles pretends to be a client interested in commissioning a hardcore bondage film to be directed by Velvet and starring Machine. Velvet agrees and arranges a meeting in New York City. The meeting turns out to be an ambush. Longdale and Poole appear and hold Welles at gunpoint. Longdale tipped off Velvet and Poole that Welles was on to them. It's now clear that the film was real; Mr. Christian contacted Longdale to procure a snuff film, and being unable to find one, he commissioned Velvet and Poole to make one. Velvet and Machine produce a bound and beaten California, whom they abducted to force Welles to bring them the only surviving copy of the illegal film. Longdale and Welles go to Welles' car to retrieve the film, in which Longdale admits that he never thought Welles would get as far as he did, and just wanted to placate Mrs. Christian with the investigation. Once he delivers it, they burn it and kill California. As they are about to kill Welles, he tells them that Mr. Christian paid $1 million for the film. Velvet, Poole, and Machine received $50,000 and that Longdale kept the major portion. In an ensuing fight, Velvet and Longdale are both killed; Welles wounds Machine and escapes. Welles calls Mrs. Christian to tell her his discoveries and recommends going to the police, to which she agrees. Arriving at her estate, Welles is told that Mrs. Christian committed suicide after hearing the news. She left envelopes for the Mathews family and Welles: it contains the rest of his payment and a note reading; "Try to forget us". Welles warns his already frantic wife of the impending danger and to seek shelter in a location known only to them, and hands her his half of the money. Welles decides to seek justice for the murdered girl by killing the remaining people involved. Tracking down Poole, Welles takes him to the shooting location and tries to kill him. He can't bring himself to do it amid Poole's taunting, and steps out of the house. He calls Mrs. Mathews to tell her about her daughter and asks for her permission to punish those responsible; "Just tell me that you loved her". Mrs. Mathews breaks down in hysterics once presented with the truth, but affirms that she loved her daughter. With that, Welles returns and beats Poole to death with his pistol, burning his body and the pornography from his car. Welles traces Machine and attacks him at his home. Welles unmasks him, revealing a bald, bespectacled man named George. He reveals to Welles that he has no ulterior motive for his sadistic actions; he does them simply because he enjoys it. They struggle, and Welles kills him. After returning to his family, Welles breaks down in front of his wife as he tries to process all of the evil that he had seen over the course of the investigation. Months later, Welles receives a letter from Mrs. Mathews, thanking him and suggesting he and she were the only ones to care about Mary Ann.

The Iron Lady_2011

tt1007029

<script> <scene> <stage_direction>INT. SHOP. NR CHESTER SQUARE. LONDON. PRESENT. DAWN.</stage_direction> <scene_description>The HUM of a large refrigerator just audible over the sound of Indian music - MARGARET , briefly glimpsed pondering cartons of milk . The electronic PEEP of the cash til . A man on a mobile phone pushes past MARGARET , who takes her place second in the queue . The female shopkeeper piles newspapers on the counter in front of MARGARET . Distracted by images of the bombed hotel on the TV , she hesitates for beat .</scene_description> <character>MAN BEHIND THE COUNTER</character> <dialogue>One forty - nine please.</dialogue> <character>MARGARET</character> <dialogue>How much is the milk?</dialogue> <character>MAN BEHIND THE COUNTER</character> <dialogue>Forty - nine pence.</dialogue> <parenthetical>( taking the change . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>MARGARET turns to leave , jostled by a tall young man wired into an ipod .</scene_description> </scene> <scene> <stage_direction>EXT. STREET. CHESTER SQUARE. LONDON. PRESENT. DAWN.</stage_direction> <scene_description>MARGARET heads down the busy street , shopping bag in hand .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>MARGARET sits at breakfast with her husband DENIS , sipping tea . DENIS butters his toast . MARGARET shakes her head .</scene_description> <character>MARGARET</character> <dialogue>Too much. Much too much butter.</dialogue> <character>DENIS</character> <dialogue>I like butter.</dialogue> <character>MARGARET</character> <dialogue>Milk's gone up.</dialogue> <scene_description>MARGARET reaches for a jug , pouring milk into it , sliding it down on a table .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>49p a pint.</dialogue> <character>DENIS</character> <dialogue>Good grief! We'll have to economise. I suppose we could always sell the car.</dialogue> <parenthetical>( chuckles . )</parenthetical> <dialogue>Or take in paying guests!</dialogue> <scene_description>He scoops up the newspaper and glances towards the door -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Watch out. She's on the prowl.</dialogue> <scene_description>MARGARET looks beyond DENIS to a a sense of growing commotion . A concerned POLICE GUARD coming up the stairs meeting JUNE -LRB- early 60 's -RRB- MARGARET 's carer , along a distant corridor , steady on the approach .</scene_description> <character>MARGARET</character> <parenthetical>( to DENIS . )</parenthetical> <dialogue>Eat your egg.</dialogue> <scene_description>JUNE smiles with visible relief on seeing MARGARET , now sitting tapping open her egg .</scene_description> <character>JUNE</character> <dialogue>Goodness! There you are.</dialogue> <scene_description>JUNE 's look of quiet concern .</scene_description> <character>MARGARET</character> <dialogue>Yes.</dialogue> <scene_description>MARGARET eats her egg .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here we are.</dialogue> <scene_description>But for JUNE , she is entirely alone .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR CHESTER SQUARE. PRESENT. DAY.</stage_direction> <scene_description>WHISPERING -</scene_description> <character>JUNE</character> <dialogue>I do n't understand how it happened, how could she possibly have got out? It's very very important -</dialogue> <scene_description>MARGARET looks out of the kitchen . Her POV down the corridor of JUNE and the POLICEMAN and a CLEANER .</scene_description> <character>JUNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Please just make it really clear. Who's on after you?</dialogue> <character>POLICE GUARD</character> <dialogue>Dixon.</dialogue> <scene_description>MARGARET slips away .</scene_description> </scene> <scene> <stage_direction>INT.HALL. CHESTER SQUARE. DAY.</stage_direction> <scene_description>MARGARET hurries through the hall .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAY.</stage_direction> <scene_description>A wide cupboard - MARGARET 's eyes move back along the rail in front of her , her fingers touch hanger after hanger of brown tweed and grey twill . JUNE goes over to the curtains , pulling them back , letting in the sunlight -</scene_description> <character>JUNE</character> <dialogue>Beautiful day. Oh, you've made a start. Carol's coming soon, I'll get some bags. Anything you want to go to Mark, I'll bring up a suitcase for it.</dialogue> <scene_description>The smell of smoke lingering . Suddenly DENIS ' hand reaches across , wavering between jackets of brown tweed and grey twill - He reaches for a suit .</scene_description> <character>MARGARET</character> <dialogue>No no no no. The grey.</dialogue> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You sure?</dialogue> <scene_description>The swipe of a clothes brush , briefly seen , drawn across one sleeve -</scene_description> <character>MARGARET</character> <dialogue>Yes.</dialogue> <scene_description>Distant footsteps -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Definitely the grey.</dialogue> <scene_description>JUNE returns , oblivious -</scene_description> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Righty ho. Boss knows best.</dialogue> <scene_description>JUNE spies the newspaper , sees the photos of twisted carnage on the front page .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't let her take my paper away.</dialogue> <scene_description>JUNE reaches one hand out to scoop it up in passing -</scene_description> <character>MARGARET</character> <dialogue>Oh, I have n't had a chance to look at that yet, dear.</dialogue> <character>JUNE</character> <dialogue>Sorry.</dialogue> <scene_description>JUNE hesitates , leaves the newspaper resting on the bed as she heads off with the suit on a hanger .</scene_description> <character>DENIS</character> <dialogue>Atta - girl.</dialogue> <scene_description>DENIS smiles as he stands in the bathroom doorway , soaping his face with shaving cream - He hums to himself as he resumes shaving until -</scene_description> <character>DENIS</character> <parenthetical>( O.S ; CONT 'D . )</parenthetical> <dialogue>Damn.</dialogue> <scene_description>MARGARET looks up , DENIS has nicked his chin -</scene_description> <character>MARGARET</character> <dialogue>Blot it. Blot it.</dialogue> <scene_description>She turns , sees JUNE , through the ajar door , standing in the corridor , looking back at her</scene_description> <character>JUNE</character> <dialogue>Sorry?</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>A comfortable drawing room , filled with the photographs and memorabilia of a former political life . MARGARET stands by the window , half a dozen of DENIS ' ties in her hand . Pulling back the net curtain , MARGARET peers out - Two POLICEMAN stand down below next to a Police BMW car . They are lost in conversation , pointing to the door , clearly concerned . One POLICE MAN nods to the other , a sense of the changing of the guard as he drives off in the BMW . SUDDENLY from behind -</scene_description> <character>DENIS</character> <dialogue>Now look what you've done. Are they to keep the loonies out or you in?</dialogue> <scene_description>MARGARET eyes DENIS , looking at her with wry smile -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll be off then.</dialogue> <character>MARGARET</character> <dialogue>Wear your scarf. There's a chill out there.</dialogue> <scene_description>Suddenly looming over her and grinning down as if at the top of a tunnel SUSIE , MARGARET 's personal secretary carrying a cardboard box .</scene_description> <character>SUSIE</character> <dialogue>Good morning Lady Thatcher. Are you alright?</dialogue> <parenthetical>( concerned . )</parenthetical> <dialogue>How are you feeling?</dialogue> <character>MARGARET</character> <dialogue>I'm fine, thank you Susie.</dialogue> <character>SUSIE</character> <dialogue>I've just been reading about the bombings.</dialogue> <character>MARGARET</character> <dialogue>Yes. Frightful.</dialogue> <scene_description>SUSIE 's mobile goes off . She fumbles in her bag to switch it off .</scene_description> <character>SUSIE</character> <dialogue>Sorry.</dialogue> <character>SUSIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>These are the books for you to sign. I brought as many as I could find. Shall we go through your appointments?</dialogue> <scene_description>MARGARET looks at her still nonplussed .</scene_description> <character>SUSIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We said we'd go through them today.</dialogue> <scene_description>MARGARET nods -</scene_description> <character>MARGARET</character> <dialogue>Yes, of course, dear. Today.</dialogue> <character>SUSIE</character> <dialogue>The invitation has come from Downing Street for the unveiling of your portrait. I'll put it on the mantelpiece, and there's an invitation from Lord Armstrong for lunch on the first Friday of next month.</dialogue> <scene_description>The murmur of SUSIE 's voice , a kind of white noise -</scene_description> <character>SUSIE</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>I said no because you've got a concert that afternoon but if you'd like to?</dialogue> <scene_description>SILENCE -</scene_description> <character>SUSIE</character> <parenthetical>( O.S ; CONT 'D . )</parenthetical> <dialogue>. It looks like a very interesting programme.</dialogue> <scene_description>MARGARET 's listens , oddly distracted -</scene_description> <character>MARGARET</character> <dialogue>What are they playing?</dialogue> <scene_description>SUSIE looks at her momentarily at a loss then scrabbles back through the diary -</scene_description> <character>SUSIE</character> <dialogue>I think they said Rogers and Hammerstein.</dialogue> <scene_description>` SHALL WE DANCE ' FROM ` THE KING &amp; I '' SUDDENLY BREAKING THROUGH AS IF FROM ANOTHER TIME CARRYING INTO .</scene_description> </scene> <scene> <stage_direction>INT. SADLER'S WELLS. LONDON. 1950. NIGHT.</stage_direction> <scene_description>An orchestra in full flight - A programme for THE KING &amp; I on a woman 's lap . A man 's hand reaches in and her hands slips into his .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>Whilst SUSIE shuffles through the arrangements at the desk in the background , MARGARET stands at the window .</scene_description> <character>MARGARET</character> <dialogue>Silly man.</dialogue> <scene_description>MARGARET 's gaze , seeing DENIS just visible in the street below . He looks up , smiles ,</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He has n't got his scarf on.</dialogue> <scene_description>MARGARET throws DENIS a half wave . In return , he twirls his umbrella and does a couple of steps of a Chaplin walk for her benefit before passing the Postman who is shuffling through his letters as he approaches the front step , below . SUSIE looks on with quiet concern .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>MARGARET ' is at her desk signing a stack of her memoirs , The Downing Street Years . MARGARET opens one , reaching for a pen . The curve of inky handwriting as she begins to sign them , Margaret Thatcher . Close on the swoop of the pen . Without missing a beat , she writes the name Margaret Roberts . The insistent blare of an air raid siren from another time cuts through -</scene_description> </scene> <scene> <stage_direction>INT. BACK PARLOUR. SHOP. GRANTHAM. 1943. DUSK.</stage_direction> <scene_description>The rumble of an approaching air raid overhead - The STEADY SHAKE of the table legs all around pulls out to reveal - BEATRICE ROBERTS -LRB- early 50 's -RRB- austere , crouched next to MARGARET under a wide kitchen table along with ALFRED ROBERTS -LRB- early/mid 50 's -RRB- a cumbersome man and MURIEL ROBERTS -LRB- 21 yrs -RRB- . The sound of an air - raid siren .</scene_description> <character>ALFRED</character> <dialogue>Did someone cover the butter?</dialogue> <scene_description>All look at one another in a panic .</scene_description> <character>MARGARET</character> <dialogue>I'll go.</dialogue> <scene_description>Suddenly MARGARET scrabbles out from under the table , all look on with horror -</scene_description> <character>BEATRICE</character> <dialogue>Leave it.</dialogue> <character>ALFRED</character> <parenthetical>( CALLING AFTER . )</parenthetical> <dialogue>Margaret -</dialogue> </scene> <scene> <stage_direction>INT. SHOP. GRANTHAM. 1943. DUSK.</stage_direction> <scene_description>MARGARET scooping up the butter cover slamming it quickly over the thin slice of butter left in the butter dish before sliding it into the cold cupboard underneath the counter . SUDDENLY the shop illuminates - A DISTANT EXPLOSION . MARGARET momentarily paralyzed before , running back towards the back parlour to resume her place under the table .</scene_description> </scene> <scene> <stage_direction>INT. BACK PARLOUR. SHOP. GRANTHAM. 1943. DUSK.</stage_direction> <scene_description>MARGARET scrabbles underneath . ALFRED surreptitiously pats her arm .</scene_description> <character>ALFRED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good girl.</dialogue> <scene_description>She shrugs , flushing with pride .</scene_description> <character>ALFRED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tomorrow, no matter what they do, it'll be business as usual.</dialogue> <scene_description>The DRONE of the air raid dissolving away -</scene_description> </scene> <scene> <stage_direction>INT. SHOP, GRANTHAM. 1945. DAY.</stage_direction> <scene_description>A boy and girl look on as MARGARET measures flour on the shop scales .</scene_description> <character>CUSTOMER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Two of the small beef, Mr. Roberts.</dialogue> <scene_description>MARGARET glances up at her father serving further down the counter .</scene_description> <character>ALFRED</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What is the life blood of any community? It's business.</dialogue> </scene> <scene> <stage_direction>INT. HALL. GRANTHAM. 1943. DAY</stage_direction> <scene_description>ALFRED on a small town hall stage behind a makeshift podium .</scene_description> <character>ALFRED</character> <dialogue>Not just big business but small businesses, like mine.</dialogue> <scene_description>The SOFT press of MEN all around , MARGARET , a lone woman amongst them , peering over shoulders .</scene_description> <character>BEATRICE</character> <parenthetical>( passing/hushed aside . )</parenthetical> <dialogue>Margaret!</dialogue> <scene_description>BEATRICE tuts , shoving a tray in her hand .</scene_description> <character>BEATRICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>CUPS!</dialogue> <scene_description>MARGARET sinks a little , taking the tray , and glances back at ALFRED just visible on a stage .</scene_description> <character>ALFRED</character> <dialogue>We on this island are strong. We're self - reliant. Sometimes we're plain bloody minded.</dialogue> <scene_description>NOW AT THE BACK OF THE HALL , holding a tray loaded with dirty cups , MARGARET watches her father , back turned to the kitchen filled with WOMEN and YOUNG GIRLS making tea and washing up cups .</scene_description> <character>ALFRED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But we also believe in helping each other. And I do n't mean by state hand - outs.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. GRANTHAM. 1943. DAY.</stage_direction> <scene_description>MARGARET sweeps outside the shop , glancing across the street at - THREE PRETTY GIRLS dolled up for the evening and arms linked , crossing on the other side of the pavement .</scene_description> <character>PRETTY YOUNG WOMAN 1</character> <dialogue>Margaret, do you want to come to the pictures?</dialogue> <scene_description>MARGARET 's eyes catch on the glitter of a broach in passing . They turn to look at her WHISPERING and GIGGLING .</scene_description> <character>PRETTY YOUNG WOMAN 2</character> <dialogue>She ca n't come, she's got to study.</dialogue> <scene_description>The FLUSH of MARGARET 'S skin -</scene_description> <character>PRETTY YOUNG WOMAN 2</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Miss Hoity Toity!</dialogue> <scene_description>The STING OF EMBARRASSMENT . THE SENSE OF THE PRETTY GIRLS WHISPERING ABOUT HER , EYES TRAVELLING OVER her disparagingly .</scene_description> <character>ALFRED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Never run with the crowd, Margaret. Go your own way.</dialogue> <scene_description>The SWAY of a SKIRT as they walk away .</scene_description> <character>ALFRED OOV</character> <parenthetical>( close to . )</parenthetical> <dialogue>Open it then.</dialogue> </scene> <scene> <stage_direction>INT. SHOP. GRANTHAM. 1943. DAY.</stage_direction> <scene_description>Close on a telegram addressed to MARGARET ROBERTS , 1 - 3 North Parade , Grantham . MARGARET 'S father ALFRED , watching .</scene_description> <character>MARGARET</character> <parenthetical>( looking up . )</parenthetical> <dialogue>I've got a place at Oxford.</dialogue> <scene_description>ALFRED bear - hugs MARGARET awkwardly .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>MARGARET at her desk , the ghost of a smile .</scene_description> </scene> <scene> <stage_direction>INT. SHOP. GRANTHAM. 1943. DAY</stage_direction> <character>ALFRED</character> <dialogue>Do n't let me down Margaret.</dialogue> <scene_description>The CHINK of a teacup - MARGARET looks down the corridor in expectation at BEATRICE standing at the sink working the SQUEAK of the cloth against a stubborn tea stain .</scene_description> <character>MARGARET</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Mother?</dialogue> <scene_description>BEATRICE comes down the corridor into the shop , wiping her hands on a cloth . ALFRED goes to hand BEATRICE the letter .</scene_description> <character>BEATRICE</character> <parenthetical>( shakes head . )</parenthetical> <dialogue>My hands are still damp.</dialogue> <scene_description>BEATRICE turns and walks back to where she came from . MARGARET looks back at the letter , heart bursting , trying to contain her joy .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>MARGARET looks down , pen in hand , the words Margaret Roberts newly signed in the front cover . She tears the page out .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAY.</stage_direction> <scene_description>MARGARET napping in bed . The still of the bedroom , caught in the half light of a late afternoon - A hand slides a teacup onto the bedside table - The flicker of MARGARET 's eyelids - QUICKFLASH -</scene_description> <character>BEATRICE</character> <parenthetical>( passing/hushed aside . )</parenthetical> <dialogue>Margaret!</dialogue> <scene_description>BEATRICE tuts , shoving a tray in her hand .</scene_description> <character>BEATRICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>CUPS!</dialogue> <scene_description>PRESENT - MARGARET stirs again , blinking awake . DENIS sits by the window . He is bent over a pair of spectacles , wrapping wire around one of the arms with a pair of pliers . Other items of clothing of his are on Margaret 's couch .</scene_description> <character>DENIS</character> <parenthetical>( without taking his eyes of the job . )</parenthetical> <dialogue>They're talking about you again.</dialogue> <scene_description>The murmur of JUNE on the phone -</scene_description> <character>MARGARET</character> <dialogue>What time is it?</dialogue> <character>DENIS</character> <dialogue>Sun's not quite over the yard arm. Time for tea.</dialogue> <scene_description>A phone rings , O.S. MARGARET considers DENIS now wearing a pink turban and confronts the extraordinary head - gear .</scene_description> <character>MARGARET</character> <dialogue>What have you got on your head?</dialogue> <scene_description>DENIS smiles , throwing back his head , the swathe of pink fabric from his turban hanging down ridiculously -</scene_description> <character>DENIS</character> <dialogue>Found it in the cupboard and thought bugger it, it's Friday, why not fancy dress?</dialogue> <scene_description>MARGARET sits drinking her tea , JUNE 's hushed tones almost audible .</scene_description> <character>MARGARET</character> <dialogue>You look ridiculous.</dialogue> <scene_description>MARGARET strains to hear -</scene_description> <character>DENIS</character> <dialogue>Bosslady no like?</dialogue> <scene_description>She makes a shushing motion .</scene_description> <character>MARGARET</character> <parenthetical>( as if to a bad dog . )</parenthetical> <dialogue>No, Denis, Bosslady no like.</dialogue> <scene_description>MARGARET resumes listening . The door ajar , the sounds of life just audible outside -</scene_description> <character>JUNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's taken Carol so long to get her to agree to this. She's been so reluctant to let his things go.</dialogue> <scene_description>DENIS sinks onto the bed , bored .</scene_description> <character>MARGARET</character> <parenthetical>( without looking . )</parenthetical> <dialogue>Feet.</dialogue> <scene_description>He tuts and adjusts his legs so that his shoes do n't dirty the bedspread . MARGARET stands , ear pressed close to the open door -</scene_description> <character>JUNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You can never be sure she's taking her medication. I think sometimes she hides them.</dialogue> <character>DENIS VO</character> <dialogue>Oh, rumbled!</dialogue> <scene_description>MARGARET looks back at her cup of tea , spots two pills resting in the tea cup . She considers the pills , pops them in her mouth , drinks .</scene_description> <character>JUNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>She's definitely more distracted than usual today.</dialogue> </scene> <scene> <stage_direction>INT/EXT. BEDROOM. CHESTER SQUARE. PRESENT. DAY.</stage_direction> <scene_description>A shout in the street . A woman 's voice .</scene_description> <character>CAROL OOV</character> <dialogue>Can I suggest you remove the sticker from the back of your car.</dialogue> <scene_description>Margaret looks through the net curtains and sees CAROL THATCHER -LRB- early 50 's -RRB- just visible stepping out of a taxi , remonstrating with the driver , clutching her purse and waving her credit card at him with rising irritation .</scene_description> <character>CAROL OOV</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well then take the sticker off! I call that false advertising! I would say keep the change, but there is n't any change.</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>A scotch being poured . The cap not quite going back on the whisky bottle . A frantic fumble for the remotes for the tv .</scene_description> <character>CAROL OOV</character> <dialogue>Hello June, any news? I've brought every bag I could find.</dialogue> <scene_description>High shot of MARGARET sitting in a chair watching TV . As if she has been there a while . CAROL enters with suit carriers in her arms .</scene_description> <character>CAROL</character> <dialogue>Hello Ma. Bloody taxi driver. Would n't take my card. I said do n't have a sticker saying you take Visa and then insist on cash. Can you believe it? I was rummaging around the bottom of my bag. He did n't get a tip.</dialogue> <character>MARGARET</character> <dialogue>I did n't know that you were dropping by today, dear.</dialogue> <character>CAROL</character> <parenthetical>( Dumping her stuff all over the place . )</parenthetical> <dialogue>Yes, you said yesterday. You wanted to make a start on Dad's things. The cupboards? Then I can help you dress.</dialogue> <scene_description>MARGARET , nonplussed .</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You've got Michael and -</dialogue> <character>MARGARET</character> <dialogue>Jaqueline.</dialogue> <character>CAROL</character> <dialogue>Coming for dinner tonight.</dialogue> <character>MARGARET</character> <dialogue>Of course.</dialogue> <parenthetical>( turning up the TV . )</parenthetical> <dialogue>We're having halibut.</dialogue> <scene_description>On TV , images of a bombed street ,</scene_description> <character>CAROL</character> <dialogue>Oh God. Is n't it terrible?</dialogue> <scene_description>MARGARET nods , both silently listening to the drone of the newscaster -</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They think it's Al Quaida -</dialogue> <scene_description>The charred remains of cars , desperate people running , a rescue operation midway - MARGARET blinks , inwardly reeling from the images -</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Denis!</dialogue> <scene_description>Quick Flash : Denis in pyjamas , brushing his teeth in a hotel bathroom , glances at her through the open door .</scene_description> <character>DENIS</character> <dialogue>It'll be fine. Come on, get your head down, it's ten to three, for God's sake.</dialogue> </scene> <scene> <stage_direction>EXT. GRAND HOTEL. BRIGHTON. 1984. NIGHT.</stage_direction> <scene_description>Chaos outside the Grand Hotel in the aftermath of the bomb . The injured are pulled through the rubble .</scene_description> <character>NEWS READER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>At ten to three this morning an explosion extensively damaged the Grand Hotel in Brighton, scene of the Conservative Party conference.</dialogue> <character>NEWS READER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Where the Prime Minister and a number of her cabinet were staying. They escaped unhurt -</dialogue> <scene_description>The WHIR of SIRENS - The BLUR of FIRE ENGINE LIGHTS - The image of a BODY being stretchered out of the rubble by FIREFIGHTERS .</scene_description> <character>NEWS READER 3</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Five people have died, many others are injured, some critically. The IRA have claimed responsibility.</dialogue> <scene_description>DENIS and MARGARET sit in their coats covering MARGARET 's evening dress and DENIS pyjamas . Both looking out in silent shock at the devastated Grand hotel , reflected on the glass of the car windows . MARGARET looks on with quiet , sobering despair , still numb with shock . DENIS looks at her . He grips her hand . They sit , fingers locked .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>Close on MARGARET 's hand and whisky glass . Shaking .</scene_description> <character>MARGARET</character> <parenthetical>( standing up . )</parenthetical> <dialogue>We must release a statement, offering our condolences.</dialogue> <character>CAROL</character> <dialogue>I'm sure they've already -</dialogue> <character>MARGARET</character> <dialogue>We must never, ever, ever give in to terrorists.</dialogue> <scene_description>MARGARET sees JUNE and CAROL exchange looks of ` oh dear . '</scene_description> </scene> <scene> <stage_direction>INT.BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DUSK.</stage_direction> <scene_description>MARGARET sits in a dressing gown at a dressing table , staring at her reflection . CAROL stands behind her , holding up several dresses .</scene_description> <character>CAROL</character> <dialogue>Now ma, are we going long or just below the knee tonight?</dialogue> <character>MARGARET</character> <dialogue>Oh, below the knee I should think.</dialogue> <scene_description>She watches , irritated , as CAROL reaches to move a pile of DENIS ' clothes -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No! Do n't move those. I have n't finished sorting them.</dialogue> <scene_description>CAROL settles beside her on a chair .</scene_description> <character>CAROL</character> <dialogue>I hear you went out today. You must n't go out on your own Mummy. We've talked about that.</dialogue> <character>MARGARET</character> <dialogue>There was no milk.</dialogue> <character>CAROL</character> <dialogue>Call Robert he'll get it for you if June's not up -</dialogue> <character>MARGARET</character> <dialogue>I am not for the knackers yet.</dialogue> <scene_description>From behind -</scene_description> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Now take it easy, Margaret.</dialogue> <scene_description>DENIS just visible , perched on the bed , looks up from doing the crossword in the newspaper -</scene_description> <character>CAROL</character> <dialogue>No one is saying that.</dialogue> <character>MARGARET</character> <dialogue>If I ca n't go out to buy a pint of milk then what is the world coming to. Really Carol, please do n't fuss about it. You've always been like this, fuss fuss fuss. You must find something better to do with your time. It's most unattractive in a woman. When I was your age the last thing I wanted to do was fuss around my mother.</dialogue> <scene_description>Silence - CAROL , inwardly stung quietly busying herself , forcing all emotion away . MARGARET hesitates catching DENIS ' eye , with quiet warning .</scene_description> <character>DENIS</character> <dialogue>Four down, 9 letters.</dialogue> <scene_description>DENIS withdraws into his crossword .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Something b something t something n. something something somthing. Refusal to change course -</dialogue> <character>MARGARET</character> <dialogue>Obstinate.</dialogue> <scene_description>DENIS writes , pleased . CAROL looks up , with quiet bemusement -</scene_description> <character>CAROL</character> <dialogue>What?</dialogue> <scene_description>MARGARET deflects , pointing to a necklace in CAROL 's hands .</scene_description> <character>MARGARET</character> <dialogue>Pearls. I'll wear the pearls.</dialogue> <scene_description>CAROL slips them onto MARGARET 'S neck and fastens them .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There they are. My little twins. Thank you, dear.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. CHESTER SQUARE. LONDON. PRESENT. EVENING.</stage_direction> <scene_description>The murmur of conversation - CAROL tails MARGARET , steady on the approach towards the drawing room .</scene_description> <character>CAROL</character> <dialogue>It's nearly all familiar faces, William, Michael and his lovely wife -</dialogue> <character>MARGARET</character> <dialogue>Jacqueline.</dialogue> <scene_description>CAROL smiles , clearly reassured -</scene_description> <character>CAROL</character> <dialogue>And then there's Peter, James R and James T and that very nice man -</dialogue> <scene_description>DISTANT LAUGHTER</scene_description> <character>MARGARET</character> <dialogue>Yes -</dialogue> <character>CAROL</character> <dialogue>- we met last year.</dialogue> <character>MARGARET</character> <dialogue>Yes I remember -</dialogue> <character>CAROL</character> <dialogue>I think he's bringing his new lady friend just to mix it up a bit. We're rather short on women - but I'm sure we'll manage -</dialogue> <character>MARGARET</character> <dialogue>I've always preferred the company of men -</dialogue> <scene_description>CAROL gestures ahead , MARGARET nods , reticent , yet forcing herself on , she hesitates at the door , her hand trembling on the handle .</scene_description> <character>CAROL</character> <dialogue>Ma?</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR.DARTFORD. 1949. EVENING.</stage_direction> <scene_description>Close up of a shoe being rubbed on a calf . A young hand hesitating on a door handle .</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM. HOUSE. DARTFORD. 1949. EVENING.</stage_direction> <scene_description>A 1950 's drinks party - A bank of stuffy GREY SUITED MEN pontificating and their WIVES lost in a separate polite conversation -</scene_description> <character>GREY SUITED MAN</character> <dialogue>Ah, Miss Roberts. Hoping to be chosen as our candidate for parliament.</dialogue> <scene_description>A young MARGARET -LRB- 24yrs -RRB- stylish in a suit , straight from work , stands clutching her handbag , oddly out of place amidst the neat 50 's chintz . A bank of sporting prints collage a wall . A bespectacled YOUNG DENIS THATCHER -LRB- 30 's -RRB- glances up from his drink , taking her in .</scene_description> </scene> <scene> <stage_direction>INT.DINING ROOM. CHESTER SQUARE. LONDON. PRESENT.EVENING.</stage_direction> <scene_description>The MURMUR of dinner party conversation -</scene_description> <character>MARGARET</character> <dialogue>Well I do n't like coalitions, never have.</dialogue> <scene_description>MARGARET 's POV of her fingers absently grazing a confusing array of cutlery laid out in place setting in front of her . Her confused face .</scene_description> <character>DENIS VO</character> <dialogue>Start on the outside.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM. HOUSE. DARTFORD. 1949. EVENING.</stage_direction> <scene_description>DENIS whispers .</scene_description> <character>DENIS VO</character> <dialogue>and work your way in.</dialogue> <scene_description>A long table packed with silverware . She looks back at her ornate and rather hideous starter , a tiny wobbling savoury confection in aspic .</scene_description> <character>PORTLY HOST</character> <dialogue>Attlee has his sights set on the steel industry, you mark my words.</dialogue> <character>GREY SUITED MAN</character> <dialogue>They'll be nationalizing the bloody air next.</dialogue> <character>MALE GUEST</character> <dialogue>Yes, hold your breath, sir, that's government property!</dialogue> <character>PORTLY HOST</character> <dialogue>So was your father a political man, too, Miss Roberts?</dialogue> <character>MARGARET</character> <dialogue>Oh, yes, to his core. And Mayor of Grantham.</dialogue> <character>PORTLY HOST</character> <dialogue>And a grocer as well!</dialogue> <character>MARGARET</character> <dialogue>Yes.</dialogue> <scene_description>Ears prick up around the table . The Host is lost for something to say .</scene_description> <character>HOSTESS</character> <dialogue>And did you help, err, in the. shop?</dialogue> <character>MARGARET</character> <dialogue>Oh, yes. It was a family business.</dialogue> <character>GREY SUITED MAN</character> <dialogue>A very good starting point for the political life, I'm sure.</dialogue> <character>MARGARET</character> <dialogue>That and a degree from Oxford.</dialogue> <scene_description>The put - down , though not intentional , causes Denis to smile . MARGARET catches the smile . She remains unruffled and goes back to her food , picking up a knife and fork , working her way in , teasing her hors d'oeuvres .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM. CHESTER SQUARE.LONDON.PRESENT.EVENING.</stage_direction> <scene_description>MARGARET sits oddly removed , hand instinctively covering her wine glass , as a WINE WAITER hovers .</scene_description> <character>MARGARET</character> <parenthetical>( hushed aside to WAITER . )</parenthetical> <dialogue>Whisky.</dialogue> <scene_description>The MURMUR of conversation all around -</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM. HOUSE. DARTFORD. 1949. EVENING.</stage_direction> <scene_description>Pudding is on the go and Margaret is warming to her theme .</scene_description> <character>MARGARET</character> <dialogue>What I do think is that a man should be encouraged to stand on his own two feet. Yes we help people of course we help people. But for those that can do, they must just get up and do. And if something's wrong, they should n't just whine about it, they should get in there and DO something about it, change things.</dialogue> <scene_description>The female guests exchange glances . A half - chuckle from someone .</scene_description> <character>PORTLY HOST</character> <dialogue>With all due respect, Miss Roberts, what may have served in Grantham -</dialogue> <character>MARGARET</character> <dialogue>Can serve very well for the people of Dartford too.</dialogue> <character>MALE GUEST</character> <dialogue>Really?</dialogue> <scene_description>A general sense of quiet incredulity .</scene_description> <character>MARGARET</character> <dialogue>I know much more than those who have never lived on a limited income. Just like the man or woman on the street, when I am short one week, I have to make economies the next.</dialogue> <character>GREY SUITED MAN</character> <dialogue>Nothing like a slice of fiscal responsibility.</dialogue> <character>MARGARET</character> <dialogue>A man might call it fiscal responsibility, a woman might call it good housekeeping.</dialogue> <character>MALE GUEST</character> <dialogue>I'm not sure a home economics lesson is quite what the Dartford constituents need. They see industry being nationalized, the unions on the up, the pound on the slide. whoever can sort that lot out - he's my man.</dialogue> <character>MARGARET</character> <dialogue>Or woman?</dialogue> <scene_description>Denis lets out a spontaneous guffaw as the host and hostess exchange looks . He signals ` Get them out of here ' . The men rise .</scene_description> <character>HOSTESS</character> <dialogue>Ladies shall we?</dialogue> <character>PORTLY HOST</character> <dialogue>Miss Roberts, do join the ladies.</dialogue> <scene_description>The ladies scurry to the sitting room . Margaret is the last to leave .</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM. DARTFORD. 1949. EVENING.</stage_direction> <scene_description>As Margaret closes the door to the dining room -</scene_description> <character>PORTLY HOST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well. That's told us!</dialogue> <scene_description>The men laugh raucously . She turns to the ladies who are regrouping at the fireplace and regarding her with suspicion .</scene_description> </scene> <scene> <stage_direction>INT.DINING ROOM. CHESTER SQUARE. LONDON. PRESENT. EVENING.</stage_direction> <scene_description>The aftermath of the muted dinner party - MARGARET at the helm , a small whisky just visible nestled next to her wine glass . She is flushed and nicely mellow surrounded by mainly MALE GUESTS -</scene_description> <character>MICHAEL</character> <dialogue>So, Margaret, how would you have dealt with this if you'd been Prime Minister?</dialogue> <scene_description>MARGARET looks at him , her flicker of bemusement . slowly registering across the faces of her FRIENDS and COLLEAGUES including CAROL .</scene_description> <character>MARGARET</character> <dialogue>Where?</dialogue> <character>CAROL</character> <dialogue>The bombings, mummy. Today?</dialogue> <scene_description>MARGARET still lost</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We were just talking about them?</dialogue> <scene_description>MARGARET deflects , reaching for her glass , it trembles unsteady in her grasp .</scene_description> <character>MARGARET</character> <dialogue>No, uhm, yes - we have always lived alongside evil. But it has never been so patient, so avid for carnage, so eager to carry innocents with it into oblivion.</dialogue> <character>MALE GUEST</character> <dialogue>So, would you -</dialogue> <character>MARGARET</character> <dialogue>Western civilization must root out this evil, wherever it hides, or she risks defeat at the hands of global terror in a nuclear age. Unimaginable!</dialogue> <scene_description>Appreciative murmur of agreements amongst the listening party -</scene_description> <character>PETER</character> <dialogue>The Prime Minister gave a very good statement I thought.</dialogue> <character>MARGARET</character> <dialogue>Yes. Clever man. Quite a smoothie.</dialogue> <scene_description>Laughter -</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET says final farewells to a guest . He walks away as another couple approach .</scene_description> <character>MARGARET</character> <dialogue>You do n't mind if I sit down.</dialogue> <scene_description>Sitting down on a nearby chair , MARGARET looks with feigned recollection at the FEMALE GUEST as she sinks down on the ground in front of her , gripping MARGARET 's hand .</scene_description> <character>FEMALE GUEST</character> <dialogue>I heard you speak at conference in 1984 in Brighton just after the IRA bombed the Grand Hotel. You were remarkable. I hope you appreciate what an inspiration you have been for women like myself.</dialogue> <scene_description>MARGARET hesitates , smiles , nods to herself , considering -</scene_description> <character>MARGARET</character> <dialogue>It used to be about trying to do something. Now its about trying to be someone.</dialogue> <scene_description>The FEMALE GUEST nods and scrambled to her feet , clearly concerned , shooting a look to her HUSBAND standing beside her , waiting to depart .</scene_description> <character>FEMALE GUEST</character> <dialogue>Well anyway, I. thank you.</dialogue> <character>MARGARET</character> <dialogue>Good night to you.</dialogue> <scene_description>MARGARET sits alone . In the background , the chatter of Carol saying final farewells .</scene_description> <character>CAROL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Great to see you, thank you very much for coming.</dialogue> <character>MALE GUEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh, thank you. It was lovely, absolutely lovely. And I'm so pleased to see your mother looking so well.</dialogue> </scene> <scene> <stage_direction>INT. DRESSING ROOM. HOUSE. CHESTER SQUARE. PRESENT.NIGHT.</stage_direction> <scene_description>A mirror lined dressing room - CAROL helps MARGARET with her shoes .</scene_description> <character>CAROL</character> <dialogue>OK. hold on to me. that's right.</dialogue> <scene_description>MARGARET struggles with the catch on her pearls</scene_description> <character>MARGARET</character> <dialogue>Can you do the clasp, I ca n't quite -</dialogue> <scene_description>CAROL hurries to help her , MARGARET quietly concedes . Fingers fumble to unclasp the pearls -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>CAROL drops the pearls into a jewelry box , close to MARGARET , staring back at their reflections .</scene_description> <character>CAROL</character> <dialogue>You've got an eyelash.</dialogue> <scene_description>CAROL catches the stray eyelash on the tip of her finger , holding it close to MARGARET , with a smile -</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Make a wish.</dialogue> <scene_description>MARGARET , closes her eyes until - MARGARET blows . She opens them smiles . CAROL smiles .</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I spoke to Doctor Michael today -</dialogue> <scene_description>MARGARET glances away , deflecting .</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He is very good and very expensive -</dialogue> <scene_description>MARGARET ignores her -</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know you're not due to see him for another month but I've spoken to him and he can fit you in tomorrow.</dialogue> <scene_description>SILENCE -</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Just for a check up.</dialogue> <parenthetical>( silence . )</parenthetical> <dialogue>Ma please -</dialogue> <character>MARGARET</character> <dialogue>What does Mark think about it?</dialogue> <character>CAROL</character> <dialogue>Mark?</dialogue> <character>MARGARET</character> <dialogue>Yes. Tell him to come up. I want to talk to him about it.</dialogue> <scene_description>CAROL , hesitates , with concern -</scene_description> <character>CAROL</character> <dialogue>Mark's with Sarah and the children.</dialogue> <scene_description>MARGARET nods , heading through into the bathroom .</scene_description> <character>MARGARET</character> <dialogue>Well tell him to come up and see me after he's kissed them good night, would you Carol darling?</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM. CHESTER SQUARE. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET , sitting on her bed , glances expectantly towards the door . Carol sits down beside her .</scene_description> <character>CAROL</character> <dialogue>He's not here Mummy.</dialogue> <scene_description>MARGARET hesitates , CAROL using all her might , not to crumble under MARGARET 's cool gaze -</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mark lives in South Africa.</dialogue> <scene_description>MARGARET inwardly flinches .</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>you are not Prime Minister anymore and Dad is. Dad is dead -</dialogue> <scene_description>Silence -</scene_description> <character>MARGARET</character> <dialogue>You look exhausted, dear. You really must try to get some sleep. Taxis'll be few and far between at this hour.</dialogue> <character>CAROL</character> <dialogue>Righty - ho. Night night Ma. Sleep well.</dialogue> <character>MARGARET</character> <dialogue>Good night, dear.</dialogue> <scene_description>The slam of a door . MARGARET sits , alone .</scene_description> </scene> <scene> <stage_direction>INT. SADLERS WELLS. LONDON. 1950. NIGHT.</stage_direction> <scene_description>MARGARET 'S POV of Denis turning to her in the theatre . He smiles . MARGARET 's FINGERS absently grazing over the programme , in time with the music - SUDDENLY a closed fist reaches out , then opens to reveal a sugar mouse . Margaret 's fingers reach for it , but it 's teasingly withdrawn . Finally , she takes its . She turns to smile at DENIS , her face is glowing with happiness -</scene_description> </scene> <scene> <stage_direction>INT. TOWN HALL 1950. NIGHT.</stage_direction> <scene_description>MARGARET sits on the edge of a trestle table , scrunching a rosette in her hand . The Town Hall is empty save for a couple of Volunteers stacking chairs and sweeping the floor . The litter of election night is everywhere .</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>Twenty - four - year - old Miss Margaret Roberts lost her bid to win a seat in Parliament today, but she has put new life into the Dartford Conservative Association. Winning candidate Mr Dodds had better watch out, this bright young woman is on his tail.</dialogue> <scene_description>DENIS appears in the doorway , carrying fish and chips . He slides them down in front of her .</scene_description> <character>DENIS</character> <dialogue>Eat!</dialogue> <scene_description>MARGARET almost smiles . Then sinks once more into misery .</scene_description> <character>MARGARET</character> <dialogue>Disaster.</dialogue> <character>DENIS</character> <dialogue>Hang on. Hang on. Hang on.</dialogue> <scene_description>DENIS fishes in his pocket pulling out a hip flask . An impromptu supper made . MARGARET takes in the aftermath of rosettes , the whiff of defeat all around .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You shaved thousands off their majority. You did splendidly.</dialogue> <character>MARGARET</character> <dialogue>Not splendidly enough.</dialogue> <character>DENIS</character> <dialogue>Ah I see. Self pity.</dialogue> <scene_description>MARGARET eyes him , mid chip -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No one is saying you do n't need a safe seat. You deserve a safe seat. But it does not come unless you learn to play the game a little.</dialogue> <character>MARGARET</character> <dialogue>What game?</dialogue> <scene_description>She is fuming but he regroups with a big breath .</scene_description> <character>DENIS</character> <dialogue>You are a grocer's daughter -</dialogue> <character>MARGARET</character> <parenthetical>( fiercely . )</parenthetical> <dialogue>- And proud of being -</dialogue> <scene_description>He grabs her hand , silencing her .</scene_description> <character>DENIS</character> <dialogue>- in their eyes. A single grocer's daughter. But if you were to become the wife of a moderately successful businessman -</dialogue> <scene_description>For the first time , we see MARGARET taken by surprise .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You'd get to parliament, and I'd get to be the happiest man in - in wherever they select you.</dialogue> <parenthetical>( SILENCE . )</parenthetical> <dialogue>Margaret, will you marry me?</dialogue> <scene_description>She is genuinely stunned .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well?</dialogue> <scene_description>She is frozen . Then she begins to smile and nod her head and smile .</scene_description> <character>MARGARET</character> <dialogue>Yes. Yes!</dialogue> <scene_description>He leans over and kisses her , long and passionately until -</scene_description> <character>DENIS</character> <dialogue>What?</dialogue> <character>MARGARET</character> <dialogue>I love you so much but. I will never be one of those women Denis - who stays silent and pretty on the arm of her husband. Or remote and alone in the kitchen doing the washing up for that matter.</dialogue> <character>DENIS</character> <parenthetical>( trying to retain the moment . )</parenthetical> <dialogue>We'll get a help for that.</dialogue> <scene_description>He leans forward to kiss her again but she pulls away a little .</scene_description> <character>MARGARET</character> <dialogue>No - one's life must matter, Denis. Beyond the cooking and the cleaning and the children, one's life must mean more than that - I can not die washing up a tea cup.</dialogue> <scene_description>He sits up and stares as if seeing her for the first time .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean it Denis, say you understand.</dialogue> <character>DENIS</character> <dialogue>That's why I want to marry you, my dear.</dialogue> <scene_description>She kisses him . A CHINK of a TEACUP - They pull apart . FLUSHED and GIGGLING on seeing - A LONE WOMAN enters the hall , cleaning up the last of the tea cups , and generally tidying .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now eat.</dialogue> <scene_description>MARGARET smiles her joy at him as ` SHALL WE DANCE ' swells . And now she 's in his arms as they dance , swirling through the election debris , eyes only for each other .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET now on all fours , struggling with her glasses . A pile of DVD 's on the floor , The KING and I amongst them momentarily catching her eye until - A DVD with hand - written scrawl that we ca n't quite read . MARGARET flicks open the box , struggling to get the DVD out . Fiddling with the DVD player , MARGARET puts in the disc and considers , squinting at the remote , trying to make the DVD player work until , suddenly . Super 8 footage - 1959 Children on a beach in wind - swept , grainy super 8 . Denis with a golf club and ping pong balls practicing his drive from a tee , sending ball after ball skying into the sea . Mark and Carol charge into the water to retrieve them .</scene_description> <character>MARGARET</character> <dialogue>There they are, my little twins. Mark.</dialogue> <scene_description>DENIS approaches the camera laughing and appears to take hold of it . MARGARET is seen sitting on a wobbly camping stool , hardly dressed for the beach , surrounded by papers weighed held down by pebbles . She merrily returns to her work .</scene_description> <character>DENIS</character> <dialogue>Cornwall, was n't it? Bloody hell. Look at'em, little imps. You never really got golf, did you?</dialogue> <scene_description>DENIS sits behind her on the sofa in a dressing gown , watching the footage . She sips her whisky .</scene_description> <character>MARGARET</character> <dialogue>You look happy.</dialogue> <character>DENIS</character> <dialogue>Yes, I do, do n't I? You're drinking too much.</dialogue> <scene_description>MARGARET ignores him .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whatcha doing?</dialogue> <scene_description>DENIS looks at MARGARET , unwavering . She resumes a search -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Not like you. Looking back.</dialogue> <scene_description>MARGARET SUDDENLY presses rewind on the remote , clutched in her hand .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't want to dig around too deep, M. Do n't know what you might find.</dialogue> <scene_description>The rapid rewind of Denis swinging his golf club .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You can rewind it, but you ca n't change it.</dialogue> <scene_description>She freezes the image of him turning to camera , laughing .</scene_description> <character>MARGARET</character> <dialogue>They grow up so fast.</dialogue> <scene_description>Margaret turns with something to say , but Denis does n't seem to be there anymore .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT.NIGHT.</stage_direction> <scene_description>Now on the screen , Mark on a swing . MARGARET 'S face softens .</scene_description> <character>MARGARET</character> <dialogue>Mark.</dialogue> <scene_description>He turns and rushes towards the camera , whooshing past it . Without breaking step , suddenly , he 's in the room , running past Margaret , still cheering and whooping . MARGARET 's hand , just skimming MARK 's golden curls . As he moves on , MARGARET 's curiosity caught following him out and down the corridor of Chester Square , seeing the Mark and Carol disappear round a corner .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY. HOUSE. FARNBOROUGH. KENT. 1959. DAWN.</stage_direction> <scene_description>The view beyond -</scene_description> <character>SPEAKER VO</character> <dialogue>Mr Eric Deakins, Labour. 13,437.</dialogue> <scene_description>The CRUNCH of gravel as CAROL and MARK race across the drive towards a blue ford car , covered with Tory blue streamers and a VOTE FOR THATCHER poster scrawled with the words Victory .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET now on all fours , struggling with her glasses . A pile of DVD 's on the floor , The KING and I amongst them momentarily catching her eye until - A DVD with hand - written scrawl that we ca n't quite read . MARGARET flicks open the box , struggling to get the DVD out . Fiddling with the DVD player , MARGARET puts in the disc and considers , squinting at the remote , trying to make the DVD player work until , suddenly . Super 8 footage - 1959 Children on a beach in wind - swept , grainy super 8 . Denis with a golf club and ping pong balls practicing his drive from a tee , sending ball after ball skying into the sea . Mark and Carol charge into the water to retrieve them .</scene_description> <character>MARGARET</character> <dialogue>There they are, my little twins. Mark.</dialogue> <scene_description>DENIS approaches the camera laughing and appears to take hold of it . MARGARET is seen sitting on a wobbly camping stool , hardly dressed for the beach , surrounded by papers weighed held down by pebbles . She merrily returns to her work .</scene_description> <character>DENIS</character> <dialogue>Cornwall, was n't it? Bloody hell. Look at'em, little imps. You never really got golf, did you?</dialogue> <scene_description>DENIS sits behind her on the sofa in a dressing gown , watching the footage . She sips her whisky .</scene_description> <character>MARGARET</character> <dialogue>You look happy.</dialogue> <character>DENIS</character> <dialogue>Yes, I do, do n't I? You're drinking too much.</dialogue> <scene_description>MARGARET ignores him .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whatcha doing?</dialogue> <scene_description>DENIS looks at MARGARET , unwavering . She resumes a search - MARGARET fingers brush dark panelled walls , making her way along endless corridors . Gothic arches , venerable busts , wood panelling and stone . MARGARET 's pov as she stays to the side of the impressive corridor . She passes men in suits and groups . Others come towards her and notice her . Her POV as she pushes open a first door ` TEA ROOM ' - a circle of men turn round in chorus as if something with three heads has appeared . POV of a second opening door marked MEMBERS . A row of urinals . Two headless bodies come towards the camera , scrambling to zip up their flies . POV of the promise of sanctuary . LADY MEMBERS . The door opens onto a cupboard sized space . An ironing board . A sea of men 's Oxford shoes from ground level . A pair of woman 's shoes appear amongst them . They go on tip toe . From above we see Margaret 's hat amongst the sea of mens heads and shoulders . Margaret is carried along in the sea of MALE MP 's OXFORD SHOES . AIREY NEAVE -LRB- Extremely dapper , friendly 43 -RRB- approaches MARGARET .</scene_description> <character>AIREY NEAVE</character> <dialogue>Mrs Thatcher! Airey Neave. Welcome to the madhouse. Follow me.</dialogue> <scene_description>The doors swing open -</scene_description> </scene> <scene> <stage_direction>INT. HOUSE OF COMMONS CHAMBER. 1974. DAY</stage_direction> <scene_description>MARGARET , now SECRETARY OF STATE FOR EDUCATION , on the front bench , wearing a neat blue suit and a hat , a phalanx of MINISTERS sitting beside and around her , BLUE and GREY SUITED MEN , almost at first glance indistinguishable , with PRIME MINISTER EDWARD HEATH -LRB- late 50 's -RRB- , neat , effete , slumped rather forlornly on the bench . MARGARET , her speech and papers in her hand is fighting hard but the OPPOSITION LABOUR BENCHES scent blood - and they literally bray , getting to their feet and shaking their order papers in her face . The SPEAKER tries to control the chamber but his VOICE is almost lost in the bedlam .</scene_description> <character>SPEAKER</character> <dialogue>The Right Honourable Lady the Secretary of State for Education.</dialogue> <character>MARGARET</character> <dialogue>The right honourable gentleman knows that we have no choice but to shut down the schools!</dialogue> <scene_description>Cries of ` Shame ! ' From the opposition . The chamber reduced to a bear - pit . HEATH glum and offering no help to MARGARET whose voice becomes increasingly shrill .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Because his union paymasters have called a strike deliberately to cripple our economy. Teachers can not teach when there is no heating, no lighting in their classrooms. And I ask the honourable gentleman, whose fault is that?</dialogue> <character>SHADOW MINISTER</character> <dialogue>Methinks the Right Honourable lady doth screech to much. If she wants us to take her seriously she must learn to calm down!</dialogue> <scene_description>The OPPOSITION BENCHES love that , rocking in their seats , laughing . falsely of course . But MARGARET is aware that there are many MEN behind her , on the government benches , who are also sniggering in agreement .</scene_description> <character>MARGARET</character> <dialogue>If the right honorable gentleman could perhaps attend more closely to WHAT I am saying, rather than HOW I am saying it, he may receive a valuable education in spite of himself!</dialogue> <scene_description>Her opposite number Shadow Minister looks almost smug : smiling , pointing a finger at her .</scene_description> <character>SHADOW MINISTER</character> <dialogue>Why has this Conservative government failed? Why has it forced so many in the public sector into taking strike action to save their own jobs?</dialogue> <scene_description>It brings the OPPOSITION benches to their feet , shouting , applauding , stamping .</scene_description> </scene> <scene> <stage_direction>EXT. WESTMINSTER STREET. 1974. DAY</stage_direction> <scene_description>MARGARET walking with AIREY NEAVE towards Downing Street for a Cabinet Meeting . All around , heaped high on either side as far as the eye can see are bags of rubbish . But not neatly stacked , just thrown there , many of them rotting down , spilling their filthy , putrid contents onto the street .</scene_description> <character>SHADOW MINISTER VO</character> <dialogue>Minister, the breakdown of essential public services - transport, electricity, sanitation is not the fault of the trades unions but of this Conservative government in which you so shamefully serve!</dialogue> <scene_description>The stench is awful - and MARGARET 'S expression reflects that as she picks her way through .</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM. DOWNING STREET. 1974. NIGHT.</stage_direction> <scene_description>The ranks of BESPECTACLED GREY - SUITED MINISTERS at the Cabinet table , including GEOFFREY HOWE .</scene_description> <character>HEATH</character> <dialogue>So these power cuts will continue unless we can reach a compromise.</dialogue> <scene_description>EDWARD HEATH is in mid - flow .</scene_description> <character>HEATH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The miners are asking for a 35 % increase in wages. Obviously we ca n't go anywhere near that. The unions are not our enemies and never have been. We want - and have always wanted - the broadest consensus.</dialogue> <scene_description>The MINISTERS nod . MARGARET determinedly edges a little forward so that she is in equal line with the other MALE MINISTERS .</scene_description> <character>HEATH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sure we are all in agreement that we must do nothing for the moment that will further inflame the current situation.</dialogue> <character>MINISTER 1</character> <dialogue>Hear hear, Prime Minister.</dialogue> <scene_description>MARGARET leans forward for a better view , trying to catch his eye . HEATH wavers , mid - speech . All turn to look at MARGARET - who sits unwavering . HEATH resumes .</scene_description> <character>HEATH</character> <dialogue>- the fact of the matter is, it's absolutely crucial that we are seen by the public to be acting as conciliators and not aggressors.</dialogue> <parenthetical>( Finally acknowledging Margaret . )</parenthetical> <dialogue>Yes, Education Secretary.</dialogue> <character>MARGARET</character> <dialogue>Yes.</dialogue> <scene_description>All eyes TURN on her again , hearing the reservation in her voice .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Prime Minister, with the Miners' leader calling today for the army to mutiny in support of the strikes, this seems the wrong time for conciliation.</dialogue> <scene_description>SUDDENLY ALL THE LIGHTS GO OUT . A lot of ` bloody hell ' ` oh for god 's sake ' .</scene_description> <character>HEATH</character> <dialogue>Be patient. They'll come back on in a minute.</dialogue> <scene_description>A beam of light cuts through , just for an instant picking out HEATH 'S moon - like face surrounded by darkness . MARGARET holds the small torch .</scene_description> <character>HEATH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank you, Margaret.</dialogue> <scene_description>A snigger , then the lights flicker back on .</scene_description> <character>HEATH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Your thoughts are duly noted.</dialogue> <scene_description>MARGARET turns of the torch and clicks her handbag shut in satisfaction . Heath 's words echo in her head , ` compromise . compromise . compromise . ' An inward look as she 's caught by a memory .</scene_description> <character>ALFRED</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We on this island are strong. We're self - reliant. Napoleon called us a nation of shopkeepers.</dialogue> </scene> <scene> <stage_direction>INT. TOWN HALL. 1949. NIGHT.</stage_direction> <scene_description>The packed town hall , ALFRED ROBERTS in full flow on stage .</scene_description> <character>ALFRED</character> <dialogue>He meant it as an insult but to me it's a compliment. That's why he could n't beat us, and that's why Hitler ca n't beat us.</dialogue> <scene_description>The crowd of men applaud . The lone woman in their midst , YOUNG MARGARET watches her father , face aglow .</scene_description> <character>ALFRED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We Conservatives believe in giving people the freedom and opportunity to fulfil their own potential, especially the young. There's no good in pretending we're all equal, we're not all the same, never have been, never will be. We should encourage our children to aspire to achieve more than we have, for our children today will be the leaders of tomorrow.</dialogue> </scene> <scene> <stage_direction>INT. CAR. STREET. CENTRAL LONDON. 1974. DAWN</stage_direction> <scene_description>CAROL and MARGARET seated , driving steadily along a deserted street . MARGARET thoughtful as the radio plays .</scene_description> <character>VOICE ON THE RADIO</character> <dialogue>It's 1974 and you'd think it was WWII. Blackouts, no petrol. It's a mess. Heath should resign now and make way for someone who's not afraid to tackle the unions.</dialogue> <scene_description>CAROL 'S nervous prattle begins to break through .</scene_description> <character>CAROL</character> <dialogue>I swear, it's all gone completely out of my head. My driving instructor thinks I should pass but I feel as if I've hardly had any lessons. Ridiculous is n't it? Maybe third time lucky.</dialogue> <character>MARGARET</character> <dialogue>Right. The only thing you should remember is that everyone else is either reckless or inept. And often both.</dialogue> <scene_description>MARGARET eyes the road , gesturing CAROL to move forward .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>One must be brave if one is to take the wheel -</dialogue> <character>CAROL</character> <dialogue>Right - o.</dialogue> <character>MARGARET</character> <dialogue>Move over. Move to your right a little bit.</dialogue> <character>CAROL</character> <dialogue>But if I move to the right are n't I on the wrong side of the road?</dialogue> <character>MARGARET</character> <dialogue>Carol!</dialogue> <character>CAROL</character> <dialogue>Well he's in the way!</dialogue> <character>MARGARET</character> <dialogue>To the right. Move to the right!</dialogue> <scene_description>A yelp from CAROL as the car swerves a little , narrowly missing a lone CYCLIST -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So sorry! Terribly sorry!</dialogue> <scene_description>MARGARET throws a wave from the wound down window . The CYCLIST swerves on recognizing her , watching as the car goes round and round the square , almost balletic .</scene_description> <character>CAROL</character> <dialogue>Hey, look at me, driving!</dialogue> <scene_description>CAROL 's squeals of delight , let loose on the open road . The tyres screech on the corner .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. FLOOD STREET. LONDON. 1974. DAWN.</stage_direction> <scene_description>Laughter - VOICES on the approach -</scene_description> <character>CAROL</character> <dialogue>Thanks Ma, that was terrific! I really feel I've got a handle on it now.</dialogue> <scene_description>CAROL and MARGARET entering kitchen , still giddy from their adventure .</scene_description> <character>CAROL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You should have seen us, Pa..</dialogue> <scene_description>DENIS in his dressing gown burning toast and attempting to make breakfast -</scene_description> <character>MARGARET</character> <dialogue>Have you been trying to make breakfast? For Goodness sake, Denis!</dialogue> <scene_description>DENIS scrapes down the toast , eggs boiling in the pan .</scene_description> <character>DENIS</character> <dialogue>I can boil a bloody egg.</dialogue> <character>CAROL</character> <dialogue>Mummy took me for a test drive - We went absolutely everywhere. All over the place -</dialogue> <character>MARGARET</character> <parenthetical>( sudden/cutting in . )</parenthetical> <dialogue>I've decided. I'm going to run.</dialogue> <scene_description>MARGARET smiles , a growing resolution gripping her .</scene_description> <character>DENIS</character> <dialogue>What for?</dialogue> <character>MARGARET</character> <dialogue>I'm going to run for Leader of the Party.</dialogue> <scene_description>CAROL 'S utter disappointment on seeing she has lost MARGARET already .</scene_description> <character>CAROL</character> <dialogue>Silly me!</dialogue> <scene_description>CAROL storms out of the kitchen .</scene_description> <character>DENIS</character> <parenthetical>( calling after . )</parenthetical> <dialogue>Good luck!</dialogue> <character>CAROL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>All the time I thought I was having a driving lesson, it was all about my mother, just for a change!</dialogue> <character>MARGARET</character> <dialogue>What's she on about?</dialogue> <character>DENIS</character> <dialogue>It's her driving test this morning!</dialogue> <character>MARGARET</character> <dialogue>Oh, right. Of course.</dialogue> <scene_description>A BEAT .</scene_description> <character>DENIS</character> <dialogue>Are you saying you want to be Prime Minister?</dialogue> <character>MARGARET</character> <parenthetical>( with false patience . )</parenthetical> <dialogue>What I'm saying is that someone must force the point, say the unsayable. None of these men have the guts.</dialogue> <scene_description>MARGARET sees the burnt toast and energetically starts clearing up and putting more bread under the grill .</scene_description> <character>DENIS</character> <dialogue>The Prime Minister has been very loyal to you, MT.</dialogue> <scene_description>He tries , with a trembling hand , to scoop boiled eggs from the pan .</scene_description> <character>MARGARET</character> <dialogue>But he's weak, and he's weakened the party. One must know when to go.</dialogue> <parenthetical>( glancing at him . )</parenthetical> <dialogue>You're shaking.</dialogue> <scene_description>She reaches out .</scene_description> <character>DENIS</character> <dialogue>I can do it!</dialogue> <scene_description>DENIS pulls his arm away , sending boiled eggs flying . SILENCE .</scene_description> <character>MARGARET</character> <dialogue>Goodness me! What is the matter with everyone this morning?</dialogue> <scene_description>A beat . He looks utterly fragile .</scene_description> <character>DENIS</character> <dialogue>I've told you what the matter is. The business is a bit rocky at the moment and the Doctor thinks I need a rest.</dialogue> <character>MARGARET</character> <dialogue>And do you need a rest?</dialogue> <scene_description>It 's almost challenging . He does n't answer and she does n't notice .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We both know that it's highly unlikely that I would ever be elected leader, I'll never be elected leader. But I will run. I will run. Just to nip at their heels and make them reaffirm the principles on which the Conservative Party must stand. There's so much to do.</dialogue> <scene_description>She smiles .</scene_description> <character>DENIS</character> <parenthetical>( sotto voce . )</parenthetical> <dialogue>You're insufferable, Margaret, do you know that?</dialogue> <character>MARGARET</character> <dialogue>Denis, you married someone who is committed to public service, you knew that. And it is my duty -</dialogue> <character>DENIS</character> <parenthetical>( interrupts . )</parenthetical> <dialogue>Do n't call it duty. It's ambition which has got you this far. Ambition. And the rest of us, me, the children, we can all go to hell!</dialogue> <scene_description>The SLAM of the door , DENIS gone -</scene_description> <character>DENIS</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>Do n't worry about me, I'll be fine!</dialogue> </scene> <scene> <stage_direction>INT. SITTING ROOM. CHESTER SQ. PRESENT. NIGHT</stage_direction> <scene_description>MARGARET and DENIS sit on the sofa .</scene_description> <character>MARGARET</character> <dialogue>Where did you go?</dialogue> <character>DENIS</character> <dialogue>South Africa.</dialogue> <character>MARGARET</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN. FLOOD STREET. LONDON. 1974. DAWN</stage_direction> <scene_description>MARGARET eats breakfast alone , engrossed in the newspaper .</scene_description> <character>DENIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>How many days passed before you realized I was gone? Probably had to ask the cleaning woman where I was.</dialogue> </scene> <scene> <stage_direction>INT. SITTING ROOM. CHESTER SQ. PRESENT. NIGHT</stage_direction> <scene_description>MARGARET grips her whiskey , shaking her head .</scene_description> <character>MARGARET</character> <dialogue>When did I lose track of everyone?</dialogue> <character>DENIS</character> <dialogue>Too busy climbing the greasy pole MT.</dialogue> <scene_description>Cutting in -</scene_description> <character>INTERVIEWER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mrs Thatcher I understand you recently visited the United States of America.</dialogue> <scene_description>MARGARET 'S attention is caught by an old interview , playing on the TV . She leans forward . On screen , she sits in a neat hat , leaning forward eagerly .</scene_description> <character>INTERVIEWER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What was it you took away from that visit which may be of value here in Great Britain?</dialogue> </scene> <scene> <stage_direction>INT. STUDIO. LONDON. 1975. NIGHT</stage_direction> <scene_description>MARGARET perched on a chair , smiling at the TV INTERVIEWER -</scene_description> <character>MARGARET</character> <dialogue>Oh that's rather easy to answer, actually. They are unafraid of success.</dialogue> </scene> <scene> <stage_direction>INT. REECE'S OFFICE. LONDON. 1975. DAY</stage_direction> <scene_description>MARGARET is watching the same interview on a TV monitor . She is watching herself intently , as are REECE and AIREY NEAVE . They are polar opposites , REECE flamboyant to NEAVE 's bluff . She sounds very plummy , like a Conservative party wife from the shires . And she wears a hat .</scene_description> <character>MARGARET ON TELEVISION</character> <dialogue>We in Great Britain and in Europe are formed mainly by our history. They on the other hand are formed by their philosophy. Not by what has been, but by what can be. Oh, we have a great deal that we can learn from them, yes. Oh yes!</dialogue> <scene_description>MARGARET is trapped in the moment - but the two men exchange a glance . NEAVE freezes the picture . MARGARET smiles uneasily , like someone expecting a compliment . REECE considers her , long and hard . It is a little unsettling until -</scene_description> <character>REECE</character> <dialogue>Well er. For a start, that hat has got to go. And the pearls. In fact I think all hats may have to go. You look and sound like a privileged Conservative wife and we've already got her vote. You've got lovely hair but we need to do something with it - to make it more -</dialogue> <character>AIREY NEAVE</character> <dialogue>Important.</dialogue> <character>REECE</character> <dialogue>Yes. Give it more impact. But the main thing is your voice. Its too high. It has no authority.</dialogue> <character>AIREY NEAVE</character> <dialogue>Methinks the Lady doth screech too much</dialogue> <character>REECE</character> <dialogue>People do n't want to be harangued by a woman or hectored. Persuaded yes. That ` oh yes' at the end of the interview, that's authoritative, that's the voice of a leader.</dialogue> <scene_description>MARGARET stares at him .</scene_description> <character>MARGARET</character> <dialogue>It's all very well to talk about changing my voice, Mr Reece, but for some of my colleagues to imagine me as their leader would be like imagining, I do n't know, being led into battle by their chambermaid. It's my background, and my sex. No matter how I've tried, and I have tried, to fit in, I will never be truly one of them.</dialogue> <scene_description>Both REECE and NEAVE are aware that she has spoken very nakedly - and is thus extremely vulnerable .</scene_description> <character>REECE</character> <dialogue>If I may say so - I think that's your trump card. You're flying in the face of everything the Tories have been thus far. It's really very exciting. One simply has to maximise your appeal, bring out all your qualities and make you look, and sound, like the leader that you could be.</dialogue> <character>NEAVE</character> <dialogue>You've got it in you to go the whole distance.</dialogue> <character>REECE</character> <dialogue>Absolutely.</dialogue> <character>MARGARET</character> <dialogue>Prime Minister?! Oh no. Oh no no no. In Britain? There will be no female Prime Minister here, not in my lifetime. No. And I told Airey, I do n't expect to win the leadership, but I am going to run. Just to shake up the party.</dialogue> <scene_description>NEAVE moves in intently -</scene_description> <character>NEAVE</character> <dialogue>Respectfully, Margaret, I disagree. If you want to change this party, lead it. If you want to change the country, lead it. What we're talking about here today is surface. What's crucial is that you hold your course, and stay true to who you are. Never be anything other than yourself.</dialogue> <scene_description>MARGARET , though flattered , looks sceptical .</scene_description> <character>REECE</character> <dialogue>Leave us to do the rest.</dialogue> <scene_description>A BEAT</scene_description> <character>MARGARET</character> <dialogue>Gentlemen, I am in your hands. I may be persuaded to surrender the hat. But the pearls were a gift from my husband on the birth of our twins and they are absolutely non - negotiable.</dialogue> <scene_description>MARGARET smiles at them .</scene_description> </scene> <scene> <stage_direction>INT. REHEARSAL ROOM. NATIONAL THEATRE. LONDON. 1975. DAY</stage_direction> <scene_description>MARGARET stands humming , a THEATRICAL COACH presses her hand to MARGARET 'S stomach .</scene_description> <character>THEATRICAL VOICE COACH</character> <dialogue>And. bring it down.</dialogue> <scene_description>MARGARET hums lower , tries to project her voice .</scene_description> <character>MARGARET</character> <dialogue>Maaaaaaaaaaaa.</dialogue> <character>THEATRICAL VOICE COACH</character> <dialogue>Good, I think we can loose the handbag, Mrs Thatcher. Hands down the sides. Because this is n't really about the voice, it's about belief. A nice deep breath.</dialogue> <scene_description>REECE and NEAVE are watching and monitoring the performance . DENIS , though present , is having a crafty fag by the window .</scene_description> <character>THEATRICAL VOICE COACH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you're calling Mr Thatcher, how would you do that?</dialogue> <scene_description>MARGARET looks over at him .</scene_description> <character>MARGARET</character> <parenthetical>( calls . )</parenthetical> <dialogue>Denis.</dialogue> <scene_description>He does n't react .</scene_description> <character>THEATRICAL VOICE COACH</character> <dialogue>Yes, I want more authority, I want conviction, I want -</dialogue> <character>MARGARET</character> <parenthetical>( a little more authority . )</parenthetical> <dialogue>Denis.</dialogue> <character>THEATRICAL VOICE COACH</character> <dialogue>That's right, one more time, deep breath -</dialogue> <scene_description>She puts on her new , lower voice .</scene_description> <character>MARGARET</character> <dialogue>Denis.</dialogue> <scene_description>And DENIS reacts immediately , like a guilty thing surprised , stabbing out his cigarette , turning quickly towards her .</scene_description> <character>DENIS</character> <dialogue>Yes MT!</dialogue> </scene> <scene> <stage_direction>EXT. YARD. ICE CREAM FACTORY. DAY.</stage_direction> <scene_description>MARGARET makes her way through a crowd of applauding workers in crisp white uniforms . Like them , she wears a white cap on her head .</scene_description> <character>MARGARET</character> <dialogue>You are the backbone of our nation! Small firms like Loveday's Ice Cream. How are you? So nice to meet you ladies.</dialogue> <scene_description>General merriment as MARGARET , now inside an ice - cream van , has a go at dispensing an ice cream from the machine .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll just have a small one, because I'm watching my figure.</dialogue> <parenthetical>( handing the cone out . )</parenthetical> <dialogue>That's for you young man!</dialogue> </scene> <scene> <stage_direction>INT. HAIR SALON. LONDON. 1975. DAY</stage_direction> <scene_description>MARGARET is having new hair colour and the colourist is 75 percent through putting her hair in foil .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I passionately believe it's the growth of small businesses into larger ones that is critical for Britain's future.</dialogue> <scene_description>REECE and NEAVE are sitting nearby , both of them reading the Financial Times .</scene_description> </scene> <scene> <stage_direction>EXT. YARD. ICE CREAM FACTORY. DAY.</stage_direction> <scene_description>MARGARET among the ladies again .</scene_description> <character>MARGARET</character> <dialogue>It has to be something icy on a stick for Denis.</dialogue> <scene_description>Laughter .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( returning to her subject . )</parenthetical> <dialogue>That's the only way we will produce jobs, real jobs, jobs that sustain.</dialogue> </scene> <scene> <stage_direction>INT. HAIR SALON. LONDON. 1975. DAY</stage_direction> <scene_description>MARGARET sitting under the dryer , cooking her new hair , still correcting paperwork while REECE and NEAVE look on , twiddling their thumbs .</scene_description> </scene> <scene> <stage_direction>EXT. FACTORY. LONDON. 1975. DAY</stage_direction> <scene_description>MARGARET is standing on an impromptu stage outside a factory . She has a hard hat on her head .</scene_description> <character>MARGARET</character> <dialogue>The Trade Union Movement was founded to protect workers. Now it persecutes them. It stops them from working. It is killing jobs and it is bringing this country to its knees. I say enough. It's time to get up. It's time to go to work. It's time to put the Great back into Great Britain!</dialogue> </scene> <scene> <stage_direction>INT. HAIR SALON. 1975. DAY</stage_direction> <scene_description>The bouffant is now apparent . REECE AND NEAVE watch in awe .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE. CONFERENCE HALL. BRIGHTON. 1979. DAY</stage_direction> <scene_description>A darkened backstage . MARGARET , clutching her speech , goes over her lines . A FEMALE AIDE sprays her hair . She looks up , starts to move towards the light . AIREY NEAVE is suddenly next to her .</scene_description> <character>NEAVE</character> <dialogue>Give'em hell!</dialogue> <scene_description>He looks her up and down , with a smile .</scene_description> <character>NEAVE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You look magnificent. Next stop Prime Minister.</dialogue> <character>MARGARET</character> <dialogue>Oh Airey.</dialogue> <scene_description>As from the stage -</scene_description> <character>ANNOUNCER</character> <dialogue>The leader of the Conservative Party, Margaret Thatcher!</dialogue> <scene_description>MARGARET pushes back her shoulders and walks into battle to the sound of GROWING APPLAUSE .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HALL. CONFERENCE HALL. BRIGHTON. 1979. DAY</stage_direction> <scene_description>BRITAIN NEEDS THE CONSERVATIVES bannered overhead and hung with Union Jacks . MARGARET a swathe of blue , as she passes through her GREY SUITED CABINET . From behind she stands , arms outstretched , accepting the applause , a shock of bright blonde hair as she stands before a sea of CONSERVATIVE DELEGATES holding up letter cards WE LOVE YOU MAGGIE ! Wedges of fanatical party faithful on their feet in a kind of rapture . The blessed Margaret ! DENIS just visible with REECE , HOWE , PYM , HESELTINE and several other GREY SUITED MINISTERS of her cabinet , seated close behind now jumping to their feet , with obvious relief and delight - RAPTUROUS APPLAUSE , FLASH BULBS POPPING MARGARET smiles , glorious , catching DENIS ' eye . He is brimming with pride . AIREY NEAVE beams at his protegee .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. HOUSE. CHESTER SQUARE. PRESENT. DAY.</stage_direction> <scene_description>Close on a photograph of MARGARET and AIREY NEAVE . MARGARET sits looking at it , her coat on , her handbag on her lap .</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CAR PARK. HOUSE OF COMMONS. 1979. EVE.</stage_direction> <scene_description>MARGARET is loading papers and files into the boot of her car . AIREY NEAVE drives towards her , winding down his window .</scene_description> <character>NEAVE</character> <dialogue>Good night Margaret. My money's on the filly to win!</dialogue> <character>MARGARET</character> <dialogue>Oh, thanks Airey. Goodnight.</dialogue> <scene_description>He laughs and drives towards the exit of the car park . As MARGARET closes the boot and opens the door to get in the car suddenly there 's a MASSIVE EXPLOSION , the sound magnified by being in the cavernous underground . For a few seconds we do n't know what 's happened . Through the smoke we see MARGARET running up the ramp towards us .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No. No, no! Airey!</dialogue> <scene_description>Her POV of the fireball of Neave 's car . As Margaret looks in horror at the scene . Her shattered face .</scene_description> <character>NEWS V.O.</character> <dialogue>The Irish National Liberation Army has claimed responsibility for the death of Airey Neave, Margaret Thatcher's spokesman on Northern Ireland.</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE HALL. NIGHT.</stage_direction> <scene_description>MARGARET on the conference podium , blinking back tears . Behind her , Denis ' face etched with the same sorrow .</scene_description> </scene> <scene> <stage_direction>INT. STEPS. HOUSE OF COMMONS. DAY</stage_direction> <scene_description>MARGARET walks alone down the grand stairway , sombre , deep in thought .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. CHESTER SQUARE. PRESENT. DAY.</stage_direction> <scene_description>MARGARET looks up from the photograph , tears in her eyes .</scene_description> <character>AIREY NEAVE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>If you want to change the party, lead it.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>AIREY NEAVE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>If you want to change the country, lead it. You've got it in you to go the whole distance!</dialogue> <scene_description>On MARGARET as memories flood in . A TV headline announces : ELECTION 1979 .</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE HALL. NIGHT</stage_direction> <scene_description>MARGARET on the podium .</scene_description> <character>MARGARET</character> <dialogue>Now, as the test draws near, I ask your help. That together we can shake off the shackles of socialism and restore to greatness this country that we love so much. And the only way is for the Conservative Party to win!</dialogue> <scene_description>The black streak of MARGARET 'S car , a blur of colour , faces , waving flags - TV footage of polling night . Swingometers , pollsters , impressionistic snatches of reported speech . More footage of PEOPLE coming out of polling stations . Jubilant crowds applauding . MARGARET , silhouetted in her iconic stance , arms aloft .</scene_description> </scene> <scene> <stage_direction>INT. CAR. DOWNING STREET. LONDON. 1979. DAY.</stage_direction> <scene_description>MARGARET peering out of the window , hands sunk in the lap , a flash of the Royal blue fabric of her skirt , clenched in fingers .</scene_description> <character>NEWS READER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's Friday the 4th of May, an historic day for Britain, a Conservative government led by Mrs. Thatcher is set to lead -</dialogue> <character>NEWS READER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Mrs Ghandi in India, but never in the West has there been a woman Prime Minister.</dialogue> <character>NEW READER 3</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The place that she has secured in British history, as the first woman ever to be invited to form a government.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>NEW READER 3</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>The bonus of one of the most famous addresses in the world, Number 10 Downing Street.</dialogue> <scene_description>NOISE . FLAGS . BANNERS read ` We LOVE YOU MAGGIE ' blur through the window , an abstract cacophony of noise and colour -</scene_description> <character>DENIS</character> <dialogue>This is it, steady the buffs old girl.</dialogue> <scene_description>He clasps her hand for a moment as MARGARET smiles at him . The door swings open -</scene_description> </scene> <scene> <stage_direction>EXT. DOWNING STREET. LONDON. 1979. DAY.</stage_direction> <scene_description>The CAMERA from behind on MARGARET rising up out of the car , to face a waiting PRESS CORP. . The jostle of a POLICE OFFICER , DENIS and OTHERS press her either side -</scene_description> <character>MARGARET</character> <dialogue>I should just like to say that I take very seriously the trust the British people placed in me today, and I will work hard every day to live up to that responsibility. And now, I should like to share with you a prayer of St Francis of Assisi : Where there is discord may we bring harmony. Where there is error may we bring truth. Where there is doubt may we bring faith. Where there is despair may we bring hope.</dialogue> <scene_description>The CAMERA rises up , high above MARGARET until she is just a blue dot , on the dark tarmac , a lone woman standing facing the circle of cameras and microphones . The door of Number 10 looms ahead .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. DOWNING STREET. LONDON. 1979. DAY.</stage_direction> <scene_description>The cheers go over . The CABINET gathering for a group shot -</scene_description> <character>MARGARET</character> <dialogue>Shoulders back, tummies in!</dialogue> <scene_description>Laughter . Michael Heseltine , standing behind MARGARET , reaches out to smooth a stray lock of her hair .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh. Thank you, Michael.</dialogue> <scene_description>MARGARET seated at the heart of her entire CABINET , as if she is royalty . The FLASH of the CAMERA - the image frozen .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. HOUSE. CHESTER SQUARE. PRESENT. DAY.</stage_direction> <scene_description>The same image , framed on a side table beside MARGARET . The distant hum of a hoover .</scene_description> <character>MARGARET</character> <dialogue>I'm perfectly healthy. There's no need for any of this.</dialogue> <scene_description>Denis appears , his hand inside his shoe , polishing it vigorously .</scene_description> <character>DENIS</character> <dialogue>Just let them look under the bonnet, MT. Check everything is hunky dory.</dialogue> <scene_description>MARGARET hesitates . She sits in silence until -</scene_description> <character>MARGARET</character> <dialogue>Really it's becoming quite tiresome.</dialogue> <character>DENIS</character> <dialogue>What is?</dialogue> <character>MARGARET</character> <dialogue>You.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I was on my own for twenty four years before I met you and I can manage perfectly well without you now. So will you please go away and stop bothering me.</dialogue> </scene> <scene> <stage_direction>INT. CONSULTING ROOM. HARLEY STREET. LONDON. PRESENT.DAY</stage_direction> <scene_description>A distinguished consulting room - MARGARET sits silent , as an EMINENT DOCTOR checks her blood pressure . The beep of the machine , steady and monotonous until -</scene_description> <character>DOCTOR</character> <dialogue>Just look straight at me, straight ahead, that's it.</dialogue> <scene_description>The DOCTOR scribbles some notes , considering -</scene_description> <character>DOCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you noticing night sweats?</dialogue> <character>MARGARET</character> <dialogue>No</dialogue> <character>DOCTOR</character> <dialogue>Hallucinations?</dialogue> <scene_description>MARGARET hesitates . She shakes her head .</scene_description> <character>MARGARET</character> <dialogue>No.</dialogue> <character>DOCTOR</character> <dialogue>Sleep?</dialogue> <character>MARGARET</character> <dialogue>Yes, I sleep. Four, five hours a night.</dialogue> <character>DOCTOR</character> <dialogue>So you wake early?</dialogue> <character>MARGARET</character> <dialogue>And I stay up late. I always have.</dialogue> <scene_description>She looks at him as if he really should know this about her . The DOCTOR notes this down .</scene_description> <character>DOCTOR</character> <dialogue>We just want to keep abreast of it.</dialogue> <character>MARGARET</character> <dialogue>Yes. Of course.</dialogue> <character>DOCTOR</character> <dialogue>Grief is a very natural state.</dialogue> <character>MARGARET</character> <dialogue>My husband has been gone for years. Cancer.</dialogue> <character>DOCTOR</character> <dialogue>Carol says you've decided to let his things go. Probably a good thing.</dialogue> <character>MARGARET</character> <dialogue>Yes. It was my idea. To Oxfam. Perfectly good stuff. People can use these things.</dialogue> <character>DOCTOR</character> <dialogue>Still it must be a bit disorientating. You are bound to be feeling.</dialogue> <character>MARGARET</character> <dialogue>What? What am I ` bound to be feeling'?</dialogue> <scene_description>The DOCTOR looks up from his note taking , hearing the quiet challenge in MARGARET 's voice .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>People do n't ` think' any more. They ` feel'. ` How are you feeling?' ` Oh I do n't feel comfortable with that' ` Oh, I'm so sorry but we, the group were feeling.' D'you know, one of the great problems of our age is that we are governed by people who care more about feelings than thoughts and ideas.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now thoughts and ideas. That interests me.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Ask me what I am thinking -</dialogue> <scene_description>The DOCTOR hesitates , letting MARGARET settle until -</scene_description> <character>DOCTOR</character> <dialogue>What are you thinking, Margaret?</dialogue> <scene_description>MARGARET looks at the DOCTOR , quietly struggling with a fury , threatening to unleash -</scene_description> <character>MARGARET</character> <dialogue>Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny. What we think, we become. My father always said that.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And I think I am fine.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>But I do so appreciate your kind concern.</dialogue> <scene_description>The sudden and persistent buzz of an intercom -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, do please answer that.</dialogue> <scene_description>MARGARET holds his gaze , with quiet unwavering steel unsettling the DOCTOR a little .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It might be someone who needs you.</dialogue> <scene_description>The DOCTOR reluctantly answers his intercom -</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR CHESTER SQUARE. PRESENT. DUSK.</stage_direction> <scene_description>JUNE heads up the stairs , MARGARET following behind .</scene_description> <character>JUNE</character> <dialogue>I'll give Carol a quick ring, let her know we're back, then I'll put your electric blanket on.</dialogue> <scene_description>MARGARET nods . Looking through the bannisters , her eyes fall on - A golf ball running along the floor . MARGARET considers , looks up -</scene_description> <character>DENNIS OOV</character> <dialogue>Steady, steady, steady! Damn. Fore!</dialogue> <scene_description>The ball bounces down the wooden stairs .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DUSK.</stage_direction> <scene_description>MARGARET opens the fridge . A cold plated lunch resting on a shelf .</scene_description> <character>DENIS</character> <dialogue>What about that medicine man, eh? Ah. Cold supper. Standards are slipping Margaret.</dialogue> <scene_description>MARGARET ignores DENIS taking out the plate unwrapping the cellophane off it and placing it on a table , already laid ready for her to eat .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well you really gave it to that quack did n't you, darling? Just like the old days! Hallucinations my eye!</dialogue> <scene_description>DENIS picks up a piece of cucumber from her plate . She absently smacks at his hand .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How dare he?</dialogue> <scene_description>DENIS smiles .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But then you give us all the run around, do n't you?</dialogue> <scene_description>MARGARET looks at him , silently infuriated .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK.</stage_direction> <scene_description>MARGARET pours herself a whiskey . DENIS looms close , serves a splash of soda .</scene_description> <character>DENIS</character> <dialogue>I know you can hear me, sweetheart, so there's no use pretending you ca n't.</dialogue> <scene_description>MARGARET turns , ignoring him .</scene_description> <character>MARGARET</character> <dialogue>Enough. Denis, enough!</dialogue> <character>DENIS</character> <parenthetical>( saluting . )</parenthetical> <dialogue>Dismissed!</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK.</stage_direction> <scene_description>MARGARET sits reading DENIS ' spy novel .</scene_description> <character>DENIS</character> <dialogue>She does it in the end. Kills him -</dialogue> <scene_description>MARGARET slams the book closed .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I do n't know why you're being so scratchy.</dialogue> <scene_description>MARGARET 's eyes dart to the clock .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's not as if you've got anyone else to talk to.</dialogue> <scene_description>Shaking her head , MARGARET tries to block him out .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>When the Himalayan peasant meets the he - bear in his pride -</dialogue> <character>DENIS</character> <dialogue>You know, it's a marvel to me that you can still quote huge chunks of Kipling but try remembering the name of that woman who's just made you that godawful cold collation. No? Come on. you can do it. month of the year. one syllable. rhymes with moon.</dialogue> <character>MARGARET</character> <parenthetical>( sudden/like a lightbulb . )</parenthetical> <dialogue>June.</dialogue> <scene_description>MARGARET turns to DENIS , a quiet appalling victory .</scene_description> <character>DENIS</character> <dialogue>June! Bingo. Knew you'd get there in the end. `` When the Himalayan peasant meets the he - bear in his pride, He shouts to scare the monster, who will often turn aside, but the she - bear thus accosted rends the peasant tooth and nail. For the female of the species is more deadly than the male.''</dialogue> <scene_description>As he continues , MARGARET reaches for the remote , turns the television on . She moves onto the radio . Then the stereo . She moves on , talking to herself - A gradual growing cacophony of sound -</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. CHESTER SQUARE. PRESENT. DUSK.</stage_direction> <scene_description>MARGARET flicks on mixers , radios , toasters -</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. PRESENT. DUSK.</stage_direction> <scene_description>The noise almost unbearable now - MARGARET turns on a hi - fi , the TV now on -</scene_description> <character>MARGARET</character> <dialogue>If I ca n't hear you then I ca n't see you. And if I ca n't see you then you are not here.</dialogue> <scene_description>MARGARET closes her eyes .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And if you are not here, I am not going mad. I will not. I will not go mad.</dialogue> <scene_description>She opens them and suddenly freezes on seeing an image of herself , bewildered and leaving Harley Street , caught on the TV -</scene_description> <character>BBC VOICEOVER</character> <dialogue>Baroness Thatcher made an apparently routine visit to her doctor today. Although rarely seen in public, Lady Thatcher, the longest serving Prime Minister of the twentieth century, remains a controversial figure.</dialogue> <scene_description>MARGARET turns up the volume to full , trying to hear over the cacophony of noise the changing images on the TV illuminating her pale face .</scene_description> <character>JUNE</character> <dialogue>Margaret -</dialogue> <scene_description>MARGARET barely sees her , eyes riveted to the TV .</scene_description> <character>BBC VOICE OVER</character> <dialogue>Almost lovingly dubbed by the Soviets The Iron Lady, she's also credited, with her friend Ronald Reagan, with a decisive role in the ending of the Cold War. Her supporters claim she transformed the British economy and reversed the country's post - war decline. Her detractors blame her savage public spending cuts and sweeping privatization of -</dialogue> <scene_description>JUNE moves like a dervish through the house , muting the television and turning off the last of the appliances - A gradual silence descends until - MARGARET takes in the image of herself on the mute screen , standing bewildered on the steps of Harley Street .</scene_description> <character>MARGARET</character> <parenthetical>( almost to self . )</parenthetical> <dialogue>I do n't recognize myself.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM. CHESTER SQUARE. PRESENT. NIGHT.</stage_direction> <scene_description>The shelf of a bathroom cabinet . Shaving brush . Razor . Medicaments . MARGARET begins to pull them all off the shelves .</scene_description> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Am I out of the doghouse yet?</dialogue> <scene_description>Then a pair of glasses . More gently , MARGARET 'S hand reaches into the cupboard and takes the glasses in her hand .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. HOUSE.CHESTER SQUARE.PRESENT.NIGHT.</stage_direction> <scene_description>MARGARET lies in bed , book in her lap , DENIS beside her reading the paper . She closes the book and pulls off her reading glasses .</scene_description> <character>MARGARET</character> <dialogue>They're unveiling that portrait of me at Number 10 next month. The invitation's on the mantelpiece. So there'll be Churchill, Lloyd George and me. Just the three of us.</dialogue> <scene_description>SILENCE -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said I did n't want any big fuss but they insisted.</dialogue> <scene_description>SILENCE - Lovely little article in The Telegraph . The Woman Who Changed the Face of History . SILENCE - Voices from the past intrude -</scene_description> <character>FOOT VO</character> <dialogue>Less than two years ago, the Prime Minister quoted St. Francis and talked about bringing faith, hope and harmony to this country.</dialogue> <scene_description>MARGARET suddenly reaches out a hand , her hand shaking -</scene_description> <character>MARGARET</character> <dialogue>Denis?</dialogue> <scene_description>She turns in bed . Sudden panic , DENIS is gone - A HECKLING CHAMBER RISING THROUGH -</scene_description> </scene> <scene> <stage_direction>INT. CHAMBERS. HOUSE OF COMMONS. 1980. DAY.</stage_direction> <scene_description>A HECKLING chamber as MARGARET sits , facing LABOUR OUTRAGE , the labour leader , FOOT , grips his paper , mid speech -</scene_description> <character>FOOT</character> <dialogue>Can the Right Honourable Lady deny, that having brought about the highest level of unemployment since 1934 -</dialogue> <scene_description>MARGARET bides her time on the front bench , waiting her turn , surrounded by her CABINET MINISTERS including HOWE , PYM and HESELTINE -</scene_description> <character>FOOT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The biggest fall in total output in steel and coal production in one year since 1931. And the biggest collapse in industrial production since 1921.</dialogue> <scene_description>MARGARET remains seemingly calm and serene , and yet one hand quietly grips the bench , her wedding ring tapping against the wood nervously .</scene_description> <character>FOOT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can she also accept that her free market economics designed to create a growing middle class ensures that the rich get richer and the poor are irrelevant!</dialogue> </scene> <scene> <stage_direction>INT. CAR. STREETS. LONDON. 1980. DAY</stage_direction> <scene_description>A rising roar of voices -</scene_description> <character>PROTESTORS</character> <dialogue>Maggie Maggie Maggie! Out Out Out! Maggie Maggie Maggie! Out Out Out!</dialogue> <scene_description>MARGARET in her car driving through the blur of furious PROTESTORS .</scene_description> <character>PROTESTOR 1</character> <dialogue>You're supposed to be a mother! You're not a mother, you're s monster! You're a monster!</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. DOWNING STREET. 1980. EVENING.</stage_direction> <scene_description>CLOSE UP on a button - The STEADY IN and OUT of a needle pulling taut on a thread . MARGARET stands , swathed in a glittering long dinner dress , a SEAMSTRESS stitching a stray button on the front of the bodice on her dress . Geoffrey Howe stands nearby in a dinner jacket .</scene_description> <character>HESELTINE</character> <dialogue>May we have a word, Prime Minister?</dialogue> <scene_description>A bank of MINISTERS , including HESELTINE , PYM , PRIOR , HOWE and GILMOUR , gather before her .</scene_description> <character>MARGARET</character> <dialogue>Yes, but in order to arrive at the palace on time, Geoffrey and I are will be walking out of that door in 15 minutes. As you can see -</dialogue> <character>HESELTINE</character> <dialogue>I know you're running late Margaret, but we have to address this situation in light of tomorrow's blistering press coverage. Blistering! The knives are out. Your draft budget's been leaked, Geoffrey, they are baying for our blood!</dialogue> <character>HOWE</character> <dialogue>Michael we ca n't possibly buckle at the first sign of difficulty.</dialogue> <scene_description>The SCRATCH of PRIOR 's hand on unkempt hair -</scene_description> <character>HESELTINE</character> <dialogue>No one is saying we have to buckle.</dialogue> <character>PRIOR</character> <dialogue>But is this really the time to make these spending cuts in the middle of one of the deepest recessions this country has ever experienced?</dialogue> <character>HESTLETINE</character> <dialogue>We need a plan of action, Margaret.</dialogue> <character>PYM</character> <dialogue>Absolutely. A strategy.</dialogue> <character>GILMOUR</character> <dialogue>We must be armed.</dialogue> <character>PRIOR</character> <dialogue>Agreed.</dialogue> <scene_description>MARGARET stiffens , the needle momentarily hovering mid stitch as MARGARET shifts a little - The SEAMSTRESS resumes sewing -</scene_description> <character>PRIOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's a perception, Margaret rightly or wrongly, that we are now completely out of touch with the country.</dialogue> <scene_description>The patronizing tone inflames her .</scene_description> <character>MARGARET</character> <dialogue>Really.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>How much is a pack of Lurpak?</dialogue> <character>PYM</character> <dialogue>Lurpak?</dialogue> <character>MARGARET</character> <dialogue>Butter, Francis.</dialogue> <parenthetical>( silence . )</parenthetical> <dialogue>Forty two pence. Anchor butter is forty pence. Flora margarine, still the cheapest, is thirty eight pence. I can assure you I am not out of touch.</dialogue> <scene_description>Another MINISTER - GILMOUR - whispers the words : `` Grocer 's Daughter '' - as a put down . The men smirk . MARGARET has caught the moment . A sudden flash of the pretty girls in the Grantham Street long ago , laughing at her .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What - did you say?</dialogue> <scene_description>GILMOUR makes a gesture .</scene_description> <character>GILMOUR</character> <dialogue>Nothing. Nothing, Prime Minister.</dialogue> <scene_description>MARGARET is furious .</scene_description> <character>MARGARET</character> <dialogue>Do n't try to hide you opinions. Goodness me, I'd much rather you were honest and straightforward about them - instead of continuously and damagingly leaking them to the press. Well?</dialogue> <scene_description>MOMENTARILY SILENT - MARGARET 's eyes travel around the room in waiting -</scene_description> <character>PYM</character> <dialogue>Well, people ca n't pay their mortgages.</dialogue> <character>GILMOUR</character> <dialogue>The manufacturing industry is practically on its knees.</dialogue> <character>PYM</character> <dialogue>Honest, hard - working, decent people are losing their homes. It's terribly shameful.</dialogue> <character>GILMOUR</character> <dialogue>The point is, Prime Minister, that we must moderate the pace -</dialogue> <character>HESELTINE</character> <dialogue>- if we're even to have a hope of winning the next election -</dialogue> <character>PYM</character> <dialogue>Quite right.</dialogue> <character>MARGARET</character> <dialogue>Ah. Worried about our careers, are we?</dialogue> <scene_description>They make noises - to the effect that nothing could be further from the truth . But MARGARET has their measure .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gentlemen, if we do n't cut spending we will be bankrupt. Yes the medicine is harsh but the patient requires it in order to live. Shall we withhold the medicine? No! We are not wrong. We did not seek election and win in order to manage the decline of a great nation.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The people of this country chose us because they believe we can restore the health of the British economy and we will do just that! Barring a failure of nerve.</dialogue> <scene_description>The SNAP OF COTTON - MARGARET looks at them in a cold fury .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anything else?</dialogue> <scene_description>SILENCE - MARGARET nods to the seamstress , dismissing her -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank you. You saved the day once again, Crawfie, you're an angel.</dialogue> <scene_description>MARGARET straightens her cuff , testing the button , as the meeting slowly disbands and the MINISTERS move away .</scene_description> <character>HOWE</character> <dialogue>You ca n't close down a discussion because it's not what you wish to hear.</dialogue> <character>MARGARET</character> <dialogue>I do n't expect everyone just to sit there and agree with me. But what kind of leader am I if I do n't try to get my own way - to do what I know to be right.</dialogue> <character>HOWE</character> <dialogue>Yes. But Margaret, one must be careful of testing one's colleagues' loyalty too far.</dialogue> <scene_description>MARGARET glances up watching the MINISTERS disappearing , in whispered conversation , like conspirators . -LRB- ARCHIVE FOOTAGE -RRB- Rioting in Brixton , burning cars , huge civil unrest -</scene_description> <character>TV JOURNALIST</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We are now one split nation, with a huge gulf dividing the employed from the unemployed.</dialogue> <scene_description>-LRB- ARCHIVE FOOTAGE -RRB- Protest marches , ` People 's March for Jobs ' , ` No pit closures '' -</scene_description> <character>UNION ACTIVIST</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Thatcher plan is to break the Trade Union movement.</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There must be closures of uneconomic coal mines, we seek only an efficient industry.</dialogue> <scene_description>-LRB- ARCHIVE FOOTAGE -RRB- violent clashes between protesting miners and police -</scene_description> <character>MINER'S WIFE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The miners are being starved back to work, the need is desperate!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. HOUSE OF COMMONS. 1981. DAY.</stage_direction> <scene_description>MARGARET sweeping along an endless corridor , surrounded by her cabinet , hard on her heels . HOWE , HESELTINE , PYM , PRIOR and OTHERS . MARGARET talking , they hang on her every word .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There are those who would say hold back, there are those who would make us retreat -</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE CENTRE BRIGHTON. 1980.</stage_direction> <scene_description>Margaret mid speech .</scene_description> <character>MARGARET</character> <dialogue>But we shall never give in to them. We shall never waver, not for a second, in our determination to see this country prosper once again.</dialogue> <scene_description>The party faithful erupt in cheers , seconded by all Margaret 's courtiers on the platform . PYM , PRIOR , HESELTINE , HOWE and above all DENIS , applauding as if their lives depended on it .</scene_description> </scene> <scene> <stage_direction>INT. LADIES. HOUSE OF COMMONS. 1980. DAY.</stage_direction> <scene_description>MARGARET sits clutching the sink , a light sweat breaking across her forehead . She looks up -</scene_description> <character>NEWS READER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>A car bomb has exploded outside Harrods department store, killing six people and injuring 71.</dialogue> <character>NEWS READER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Eleven soldiers died today when two bombs were detonated during military parades in Hyde Park and Regent's Park. Seven horses also died in the blasts.</dialogue> <scene_description>INTERCUT -LRB- ARCHIVE FOOTAGE -RRB- bombed buildings , horses lying dead in the street , an IRA banner .</scene_description> <character>NEWS READER 3</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The IRA have claimed responsibility.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET lost in restless sleep - INTERCUT -LRB- ARCHIVE FOOTAGE -RRB- IRA graffiti scrawled on a wall , paramilitaries fire guns , sirens wail .</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE CENTRE BRIGHTON. 1980.</stage_direction> <scene_description>Margaret on the podium .</scene_description> <character>MARGARET</character> <dialogue>And now, it must be business as usual.</dialogue> <scene_description>THE BRIGHTON GRAND HOTEL .</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM. SUITE. GRAND HOTEL. 1984. NIGHT.</stage_direction> <scene_description>DENIS in pyjamas , brushes his teeth in the bathroom . He glances at MARGARET through the open door as she sits , still in evening dress , working on her speech .</scene_description> <character>DENIS</character> <dialogue>Come on love, get to bed. I do n't know why you do this to yourself every year, it's a speech at conference, not the Magna Carta!</dialogue> <scene_description>She looks up , distracted .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Time to call it a day, darling. It's ten to three, for God's sake.</dialogue> <character>MARGARET</character> <dialogue>I know, I'm coming DT. Nearly there -</dialogue> <scene_description>BOOM ! An almighty explosion rips through the room ; wood , glass , furniture splinters , curtains flay from the walls . The fall of plaster , devastating , the hotel room obliterated , reduced to a smoking , dusty rubble . MARGARET stands ghostlike , covered in debris .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( calling out . )</parenthetical> <dialogue>Denis!</dialogue> <scene_description>MARGARET searching through the haze of fallen plaster , covered with dust , slowly clearing to reveal -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( more desperate . )</parenthetical> <dialogue>Denis - there you are. Are you alright?</dialogue> <scene_description>DENIS ghostlike , covered in dust , still in his pyjamas , holding up an obliterated pair of shoes .</scene_description> <character>DENIS</character> <dialogue>My shoes!</dialogue> <scene_description>Beyond , the wall of the bathroom entirely blown away - The CAW of gulls -</scene_description> </scene> <scene> <stage_direction>EXT. GRAND HOTEL. BRIGHTON. 1984. NIGHT.</stage_direction> <scene_description>Chaos outside the Grand Hotel in the aftermath of the bomb . The WHIR of SIRENS - DENIS and MARGARET sit in their car , looking out in silent shock at the devastated Grand hotel , reflected on the glass of the car windows .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That's when I thought I'd lost you.</dialogue> <scene_description>A TELEPHONE RINGS CUTTING THROUGH FROM ANOTHER TIME .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. HOUSE. CHESTER SQUARE. PRESENT. NIGHT.</stage_direction> <scene_description>MARGARET wakes with a start , confused and fumbles for the telephone by her bed -</scene_description> <character>MARGARET</character> <parenthetical>( picking up phone . )</parenthetical> <dialogue>Mark? Hello darling. No, I'm fine. I'm very well.</dialogue> <scene_description>MARGARET squints , fingers fumbling for DENIS ' watch .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How is. How's. Sarah? And the children?</dialogue> <scene_description>MARGARET sits up -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh. You ca n't. That's a pity. I was hoping to see you. No really darling. That's fine. Of course. another time. Lovely Darling. Ca n't wait. Yes.</dialogue> <scene_description>MARGARET suddenly relents , a flicker of sudden and urgent need , caught in her eyes -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( beat . )</parenthetical> <dialogue>Mark?</dialogue> <scene_description>Silence - MARK gone . MARGARET hangs up , stares at - I Whistle A Happy Tune from the King and I just audible -</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM.CHESTER SQUARE.PRESENT.NIGHT.</stage_direction> <scene_description>MARGARET stands in the doorway , a jaunty `` I Whistle A Happy Tune '' seeping from the television .</scene_description> <character>MARGARET</character> <dialogue>That was Mark. Not able to come.</dialogue> <character>DENIS</character> <parenthetical>( cutting in . )</parenthetical> <dialogue>Boy's always going AWOL.</dialogue> <character>MARGARET</character> <dialogue>Well it costs him a great deal to fly everyone up here.</dialogue> <character>DENIS</character> <dialogue>There you go, making excuses for him. Now look where it's got you.</dialogue> <scene_description>DENIS stands dressed in dinner jacket and bow tie as he reads the back of `` The King and I '' DVD .</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Did you know Yul Brynner was a gypsy from Vladivostok?</dialogue> <character>MARGARET</character> <dialogue>Yes. He moved to Paris when he was fourteen. He played the King of Siam 4,625 times on the London and Broadway stages. What are you doing?</dialogue> <character>DENIS</character> <parenthetical>( turning round shaking a cocktail . )</parenthetical> <dialogue>One likes to make an effort. A snifter?</dialogue> <character>MARGARET</character> <dialogue>You're dead, Denis.</dialogue> <character>DENIS</character> <dialogue>Ah. Well, if I'm dead. who are you talking to? Shall we dance?</dialogue> <scene_description>He takes Margaret in his arms . The music changes to ` Shall we Dance ' from ` The King and I ' as DENIS takes a confused MARGARET in his arms and begins an expansive waltz round the room . The room turns . YOUNG DENIS dancing with the YOUNG MARGARET . Now its OLD DENIS dancing with OLD MARGARET again . DENIS loses his footing , and MARGARET lurches towards the desk where her eyes fall on figurines of Falklands soldiers . She stares hard .</scene_description> <character>NEWS READER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Falkland islands, the British Colony in the South Atlantic, has fallen. Argentina claims its marines went ashore this morning as a spearhead to capture key targets, including the capital, Port Stanley.</dialogue> </scene> <scene> <stage_direction>INT. STUDY. DOWNING STREET. LONDON. 1982. DAY.</stage_direction> <scene_description>MARGARET sits , composed , staring up at a phalanx of military men and her ministers .</scene_description> <character>MARGARET</character> <dialogue>Gentlemen, the Argentinian Junta - which is a fascist gang - has invaded our sovereign territory. This can not be tolerated. May I make plain my negotiating position. I will not negotiate with criminals or thugs. The Falkland islands belong to Britain, and I want them back. Gentlemen, I need you to tell me today if that is possible.</dialogue> <character>ADMIRAL LEACH</character> <dialogue>Possible. just, Prime Minister. We can have a Task Force ready to sail in forty - eight hours.</dialogue> <scene_description>MARGARET is visibly stunned .</scene_description> <character>MARGARET</character> <dialogue>Forty - eight hours?</dialogue> <character>ADMIRAL LEACH</character> <dialogue>But -</dialogue> <character>MARGARET</character> <dialogue>But?</dialogue> <character>ADMIRAL LEACH</character> <dialogue>We have a very narrow weather window. We ca n't fight in winter down there. Nobody can. If we are going, we have to go now.</dialogue> </scene> <scene> <stage_direction>INT. STUDY. DOWNING STREET. LONDON. 1982. DAY.</stage_direction> <scene_description>MARGARET at her desk .</scene_description> <character>MARGARET</character> <dialogue>Why were the islands left without any naval protection?</dialogue> <character>JOHN NOTT</character> <dialogue>In the last round of Defence cuts we judged the risk of invasion to be small.</dialogue> <character>MARGARET</character> <dialogue>Did we?</dialogue> <character>JOHN NOTT</character> <dialogue>And if you remember, Prime Minister, you agreed that we should reduce the naval presence in the area to an absolute minimum.</dialogue> <scene_description>MARGARET taps her fingers against the map , with growing irritation .</scene_description> </scene> <scene> <stage_direction>INT. CABINET. DOWNING STREET. DAY.</stage_direction> <scene_description>MARGARET sits alone .</scene_description> </scene> <scene> <stage_direction>INT CORRIDOR.. CORRIDOR. DOWNING STREET. LONDON. 1982. DAY</stage_direction> <scene_description>MARGARET is under attack .</scene_description> <character>HOWE</character> <dialogue>Margaret, the cost of sending 28,000 men and a hundred ships twelve thousand miles, almost to Argentina, will be absolutely crippling.</dialogue> <character>MARGARET</character> <dialogue>I do n't think we should be worrying about money at this point, Geoffrey.</dialogue> <character>GEOFFREY HOWE</character> <dialogue>We ca n't afford to go to war.</dialogue> </scene> <scene> <stage_direction>INT. STUDY. LONDON. 1982. NIGHT.</stage_direction> <scene_description>MARGARET sits alone .</scene_description> <character>ADMIRAL LEACH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We have to go now.</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The government has now decided that a large task force will sail, as soon as all preparations are complete.</dialogue> <scene_description>INTERCUT -LRB- ARCHIVE FOOTAGE -RRB- the Task Force sets sail .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM. DOWNING STREET. LONDON. 1982. DAY</stage_direction> <scene_description>MARGARET paces , deep in thought .</scene_description> <character>MP 1</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Prime Minister we do still have three weeks before our ships reach the islands.</dialogue> <character>MP 2</character> <parenthetical>( O.S . )</parenthetical> <dialogue>All we're saying is that we should n't give up on trying to find a diplomatic solution.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. DOWNING STREET. LONDON. 1982. DAY.</stage_direction> <scene_description>A tea trolley and an American entourage surge down a Downing Street corridor .</scene_description> <character>MP 1</character> <dialogue>The U.S. Secretary of State has arrived, Prime Minister.</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. DOWNING STREET. LONDON. 1982. DAY</stage_direction> <scene_description>Haig and Margaret sit facing each other , flanked by senior ministers .</scene_description> <character>GENERAL HAIG</character> <dialogue>So you are proposing to go to war over these Islands. They're thousands of miles away, a handful of citizens, politically and economically. insignificant, if you'll excuse me -</dialogue> <character>MARGARET</character> <dialogue>Just like Hawaii, I imagine.</dialogue> <character>GENERAL HAIG</character> <dialogue>I'm sorry?</dialogue> <character>MARGARET</character> <dialogue>1941, when Japan attacked Pearl Harbour. Did America go cap in hand and ask Tojo for a peaceful negotiation of terms? Did she turn her back on her own citizens there because the islands were thousands of miles from mainland United States? No, no, no! We will stand on principle or we shall not stand at all.</dialogue> <character>GENERAL HAIG</character> <dialogue>But Margaret with all due respect when one has been to war.</dialogue> <character>MARGARET</character> <dialogue>With all due respect sir, I have done battle every single day of my life, and many men have underestimated me before. This lot seem bound to do the same but they will rue the day.</dialogue> <scene_description>BEAT MARGARET turns to a tea trolley close by -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, shall I be mother?</dialogue> <scene_description>HAGUE looks confused , MARGARET lifting the teapot -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tea, Al, how do you take your tea? Black or white?</dialogue> </scene> <scene> <stage_direction>INT. CENTRE OF OPERATIONS. 1982. DAY.</stage_direction> <scene_description>NAVAL MEN murmuring messages quietly to NAVAL ATTACHES . Male lips to male ears , something MARGARET has seen all her life . FRANCIS PYM and JOHN NOTT stand near MARGARET . INTERCUT -LRB- STOCK FOOTAGE -RRB- the naval fleet sails towards the Falklands . A map of South Georgia and the Falkland Islands . Model boats sit on the water , flags sit on the islands . Argentinian flags . MARGARET stares at the map . A whispered message to one of the ATTACHES . He moves a model boat on the map a few inches , leading a fleet of smaller model boats .</scene_description> <character>NAVAL ATTACHE 1</character> <dialogue>The Argentinian ship the General Belgrano and her escorts are pursuing course 273 degrees toward the Argentinian mainland. We are tracking it with our submarine HMS Conqueror.</dialogue> <scene_description>He points to a model submarine at some distance from the Argentinian boats .</scene_description> <character>MARGARET</character> <dialogue>Is this ship a threat?</dialogue> <character>ADMIRAL FIELDHOUSE</character> <dialogue>Both of these ships are carrying Exocet missiles, Prime Minister. Just yesterday they launched - then aborted - an attack inside the exclusion zone. There is a risk they could try it again.</dialogue> <character>FRANCIS PYM</character> <dialogue>The Belgrano is sailing directly away from the islands. Can it really be regarded as a threat?</dialogue> <character>ADMIRAL FIELDHOUSE</character> <dialogue>She's been changing course continually. There's a strong possibility that they're attempting a pincer movement on our carrier group.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>ADMIRAL FIELDHOUSE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I advise that we engage them : hit the Belgrano as a warning to the others. Send them all back to port.</dialogue> <scene_description>MARGARET turns to JOHN NOTT and FRANCIS PYM .</scene_description> <character>FRANCIS PYM</character> <dialogue>It'll play badly internationally. We'll be seen as aggressors.</dialogue> <scene_description>She stares at the map once more . One of the men supervising the map moves the model of the Belgrano a fraction further North .</scene_description> <character>JOHN NOTT</character> <dialogue>This will be an escalation, Prime Minister.</dialogue> <scene_description>She looks to LEACH .</scene_description> <character>LEACH</character> <dialogue>If there is to be an escalation, it's better that we start it.</dialogue> <character>MINISTER</character> <dialogue>It is steaming away, Prime Minister.</dialogue> <scene_description>Everyone is staring at MARGARET . Even the ASSISTANTS bustling in the background have stopped and are listening . Male faces turned to her . She herself seems caught in a pincer movement between the politicians and the servicemen .</scene_description> <character>MARGARET</character> <dialogue>Sink it.</dialogue> </scene> <scene> <stage_direction>INT. DOWNING STREET. 1982. NIGHT</stage_direction> <scene_description>TV Footage A flash of a torpedo cutting through the water . A thunderous explosion . Flashes of television images - striated and blurry - the Belgrano listing in the water . Reports of the sinking read out by the MOD 's Announcer .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM.CHESTER SQUARE.PRESENT.NIGHT.</stage_direction> <scene_description>MARGARET and the Falklands figurine , silhouetted against the dawn light .</scene_description> </scene> <scene> <stage_direction>INT. DOWNING STREET. 1982. NIGHT</stage_direction> <scene_description>TV Footage CLOSE now - we see a man on fire , burning . VOICES mixing in and out .</scene_description> <character>TV JOURNALIST V.O.</character> <dialogue>HMS Sheffield, a Type 42 destroyer, was attacked and hit late this afternoon by an Argentine missile.</dialogue> <character>TV JOURNALIST V.O.</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>it is seen as a retaliation for the sinking of the General Belgrano, in which over 300 Argentinian sailors died.</dialogue> <scene_description>MARGARET 'S eyes shining , as if with tears . A soft knocking at the door . She dabs them away quickly .</scene_description> <character>JOHN NOTT</character> <dialogue>Prime Minister -</dialogue> <scene_description>JOHN NOTT enters .</scene_description> <character>JOHN NOTT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Latest casualty figures from the Sheffield.</dialogue> <scene_description>He hands her a piece of paper .</scene_description> <character>MARGARET</character> <parenthetical>( sotto voce . )</parenthetical> <dialogue>I must write to them.</dialogue> <character>JOHN NOTT</character> <dialogue>Prime Minister?</dialogue> <character>MARGARET</character> <dialogue>The families. I must write to them.</dialogue> </scene> <scene> <stage_direction>INT. DOWNING STREET. STUDY. 1982. NIGHT.</stage_direction> <scene_description>MARGARET at her desk , looks up at Pym .</scene_description> <character>MARGARET</character> <dialogue>Foreign Secretary.</dialogue> <character>PYM</character> <dialogue>I've just been briefed by Admiral Fieldhouse.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>PYM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He told me bluntly that if the Argentinians are prepared and willing to risk their aircraft, they have enough missiles to cripple most of our fleet.</dialogue> <scene_description>A beat .</scene_description> <character>JOHN NOTT</character> <dialogue>President Reagan and President Bellaunde of Peru have some new proposals for the peace plan -</dialogue> <character>MARGARET</character> <parenthetical>( sharply . )</parenthetical> <dialogue>The peace plan? There will be no appeasement. This is a war. A war they started and by God, we will finish. Shall I tell you what I'm going to write to every single one of these families, these heartbroken families? I am going to tell them that no British soldier will die in vain for the Falklands.</dialogue> <scene_description>INTERCUT -LRB- STOCK FOOTAGE -RRB- muddy mass graves as the Falklands dead are buried .</scene_description> <character>MILITARY VOICE</character> <dialogue>Lieutenant Colonel Jones. Captain Wood. Captain Dench. Lieutenant Farlaine. Corporal Hardman. Corporal Sullivan. Corporal Briar.</dialogue> <scene_description>MARGARET writes to each of the families .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>As the only Prime Minister in the history of our country who is also a mother with a son of my own, I can imagine your agony, and your grief.</dialogue> <scene_description>INTERCUT -LRB- STOCK FOOTAGE -RRB- troops march through barren landscapes , helicopters hover , a British flag .</scene_description> <character>MINISTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Prime Minister, we have secured the beachhead -</dialogue> <character>NEWS ANNOUNCERS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Argentinian troops are demoralized and ill equipped. The paratroops have taken Goose Green.</dialogue> <character>RADIO VO</character> <dialogue>Shortly after dark last night, our forces executed what our Commander in Chief has called a brilliant surprise night attack.</dialogue> <scene_description>MARGARET sits at a desk in Downing Street , listening to the news reports . A hand turns off the radio .</scene_description> <character>DENIS</character> <dialogue>Thatcher, bed.</dialogue> <scene_description>He heads down the hall , MARGARET following behind .</scene_description> <character>RADIO</character> <dialogue>From their new positions, our forces can see large numbers of Argentine soldiers retreating and streaming back into Port Stanley. Our forces are moving forward to exploit their success.</dialogue> <scene_description>INTERCUT -LRB- ARCHIVE FOOTAGE -RRB- Victory ! The Union Jack is raised over Port Stanley . The task force return to England to scenes of jubilation . Embraces , balloons , joyful embraces .</scene_description> </scene> <scene> <stage_direction>INT. CAR. DOWNING STREET. LONDON. 1982. DUSK.</stage_direction> <scene_description>MARGARET peering out , a sea of union jacks and bunting . Cheers , the street lined as the car pulls into Downing Street - The blur of noise , cheering , jostling banners THEN the shroud of black uniforms suddenly encasing the car , blocking out the light - The jaunty distant sound of a military band playing -</scene_description> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well done, M.</dialogue> <scene_description>The car door swings open - A CACOPHONY of CHEERS , APPLAUSE , just audible far off , as MARGARET steps out into the street , the CAMERA follows her out peering up at - DOWNING STREET STAFF leaning out of No 10 windows , waving flags and cheering - MARGARET 's gaze lingering on HOWE and PYM amongst them , smiling with congratulations , clearly now part of the victory celebrations .</scene_description> <character>MARGARET</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We congratulate the men and women of the armed Forces for their skill, bravery and loyalty to this country.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF COMMONS CHAMBER PARLIAMENT. 1982.</stage_direction> <scene_description>Prime Minister 's Questions . MARGARET is at the Dispatch Box fighting it out with MICHAEL FOOT . GEOFFREY HOWE IS BESIDE HER .</scene_description> <character>MARGARET</character> <dialogue>We were faced with an act of unprovoked aggression and we responded as we have responded in times past : with unity, strength and courage, sure in the knowledge that though much is sacrificed, in the end, right will prevail over wrong.</dialogue> <scene_description>Huge cheers and `` hear hears '' from the Conservative benches . MICHAEL FOOT shifts uncomfortably on the benches opposite . She is unstoppable .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And I put it to the Honourable Member opposite that this is not a day for him to carp, find fault, demand inquiries - they will happen I can assure him of that for we have nothing to hide - no, this is a day to put difference aside, hold one's head high and take pride in being British.</dialogue> <scene_description>Barnstorming cheers . We see MICHAEL FOOT , utterly outmaneuvered by her speech . The Labour benches sit silent .</scene_description> </scene> <scene> <stage_direction>INT. CHESTER SQUARE. LONDON PRESENT. NIGHT</stage_direction> <scene_description>DENIS springs in the air wearing a paper union jack hat , blowing a party hooter .</scene_description> <character>DENIS</character> <dialogue>GOTCHA! Well that paid off old girl! Your ratings soared! From the most hated Prime Minister of all time to the nation's darling. The world was at your feet, and Britain was back in business!</dialogue> </scene> <scene> <stage_direction>INT. BALLROOM. WHITE HOUSE. WASHINGTON. 1981. NIGHT.</stage_direction> <scene_description>QUICKFLASH : A glittering ballroom - MARGARET waltzing , caught in REAGAN 's arms , fleetingly passing - DENIS looking on , from the sidelines , drink in hand . INTERCUT -LRB- STOCK FOOTAGE -RRB- MARGARET 'S motorcade streaks through the rainy street , Union Jack flying . MARGARET shakes hands with Indira Ghandi . Denis is presented with the pink turban . Newspaper headlines scream PROFITS , PROFITS , PROFITS ! MARGARET , triumphant on the podium at party conference . MARGARET shakes hands with Gorbachev . The Berlin Wall comes down .</scene_description> <character>NEWS READER</character> <dialogue>The Berlin Wall has fallen. The gates have opened! The police are making no attempt to stop people as they go through.</dialogue> <scene_description>Headlines : BOOMING BUSINESS ! MAGGIE 'S MILLIONAIRES !</scene_description> </scene> <scene> <stage_direction>INT. EMBASSY BALLROOM. 1979. NIGHT</stage_direction> <scene_description>MARGARET dancing with KENNETH KAUNDA of ZAMBIA , DENIS stands on the touchlines toasting them - a fruity cocktail in his hand .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE OF COMMONS STAIRWAY, 1990. DAY.</stage_direction> <scene_description>MARGARET hurries down the stairs , her cabinet in tow .</scene_description> <character>MARGARET</character> <dialogue>I do n't agree in any measure!</dialogue> <character>GEOFFREY HOWE</character> <dialogue>But Prime Minister the question of the European single currency will come up.</dialogue> <character>MARGARET</character> <dialogue>I do n't think the country is ready for it yet.</dialogue> <character>GEOFFREY HOWE</character> <dialogue>But we can not bury our heads in the sand.</dialogue> <character>NEWS JOURNALIST</character> <parenthetical>( V.O . )</parenthetical> <dialogue>A lot of Conservative MP's and Ministers are saying -</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE OF COMMONS. LONDON. DAY.</stage_direction> <scene_description>A journalist stands outside the Commons making his report .</scene_description> <character>NEWS JOURNALIST</character> <dialogue>- that there must be a change in that style of management. That Mrs Thatcher must listen more, and on occasion, give in.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF COMMONS HALLWAY, 1990. DAY.</stage_direction> <scene_description>MARGARET moving swiftly down the hall , leaving her cabinet in her wake .</scene_description> <character>PYM</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The point is, Prime Minister, I do n't think we can sell the idea of a tax that asks everyone to pay the same.</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Our policies may be unpopular, but they are the right policies.</dialogue> <character>MINISTER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Prime Minister I just do n't think we can ask the poorest of the poor to pay the same amount of tax as a multi - millionaire.</dialogue> </scene> <scene> <stage_direction>INT. CABINET ROOM. DOWNING STREET. 1990. DAY</stage_direction> <scene_description>MARGARET , seated at the wide cabinet table surrounded by a subdued CABINET . Most of the familiar old faces - PYM , HESELTINE , etc. . All now gone . HOWE the last enduring minister . She casts a gimlet - eye over the GREY - SUITED MEN around her .</scene_description> <character>MARGARET</character> <dialogue>There it is again! Why not?</dialogue> <character>MINISTER 1</character> <dialogue>Because -</dialogue> <character>MINISTER 2</character> <dialogue>Because people. on the whole. think that the tax is manifestly unfair.</dialogue> <character>MARGARET</character> <dialogue>Nonsense. Arrant nonsense. This is a simple proposition. In order to live in this country, you must pay for the privilege - something, anything! If you pay nothing, you care nothing. What do you care where you throw your rubbish? Your council estate is a mess, your town, graffiti, what do you care? It's not your problem, it's somebody else's problem - it's the government's problem! YOUR problem is, some of you, is that you have n't got the courage for this fight. You have n't had to fight hard for anything. It's all been given to you - and you feel guilty about it! Well, may I say, on behalf of all those who HAVE had to fight their way up.</dialogue> <parenthetical>( and who do n't feel guilty about it . )</parenthetical> <dialogue>we resent those slackers who take, take, take, and contribute nothing to the community!</dialogue> <scene_description>SILENCE .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And I see the same thing, the same cowardice in our fight within the European Union, to retain British sovereignty of Britain, the integrity of the pound! Some of you want to make concessions. I hear some of you agree with the latest French proposals.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Well, why do n't you get on a boat to Calais? Yes, why do n't you put on a beret, and pay 85 % of your income to the French government!</dialogue> <scene_description>She has subdued them utterly . The silence is terrible .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Right. What can we realistically hope to achieve by the end of session, Lord President?</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And why have we not made more progress to date? What is that? Is that the timetable? I have n't seen that. May I see it?</dialogue> <character>HOWE</character> <dialogue>Here it is, Prime Minister. Of course.</dialogue> <scene_description>HOWE pushes the papers over to her . She picks up a pencil , starts to read . The MINISTERS watch as , quickly , she starts to score through the words .</scene_description> <character>MARGARET</character> <dialogue>The wording is sloppy here, and here.</dialogue> <character>HOWE</character> <dialogue>If you say so.</dialogue> <character>MARGARET</character> <dialogue>I do say so.</dialogue> <character>HOWE</character> <dialogue>It's merely a first draft.</dialogue> <scene_description>MARGARET looks down at the paperwork .</scene_description> <character>MARGARET</character> <dialogue>This is ridiculous. There are two `` T's'' in `` committee''!</dialogue> <scene_description>She presses so hard that her pencil breaks , so she shoves the paper back towards him , stabbing a finger at the offending word .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is shameful. Shameful! I ca n't even rely on you for a simple timetable! Are you unwell? Yes you are unwell. Give me the pencil, give it to me!</dialogue> <scene_description>MARGARET snaps her fingers at HOWE , gesturing for his pencil , scratching away , ringing the offending word again and again . The MINISTERS stare at the scene appalled , utterly and wretchedly embarrassed .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If this is the best you can do I had better send you to hospital, and I shall do your job as well as my own and everyone else's. Gentlemen.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>As the Lord President has come to cabinet unprepared, I am obliged to close this meeting.</dialogue> <scene_description>She waits for them to take their leave , but they sit there , frozen .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good morning!</dialogue> <scene_description>Slowly , the men gather their papers and file out of the room , leaving MARGARET alone . She sits , gathering herself , hands shaking . THE ROAR OF PROTEST SURGES THROUGH - -LRB- ARCHIVE FOOTAGE -RRB- A HUGE MACABRE PAPIER - MACHE THATCHER HEAD , grimacing with one eyeball blinded and the other detached and hanging bloody on a cheek .</scene_description> <character>ANGRY CROWD</character> <parenthetical>( chanting . )</parenthetical> <dialogue>Ca n't pay, wo n't pay! Ca n't pay, wo n't pay! Ca n't pay, wo n't pay!</dialogue> </scene> <scene> <stage_direction>INT. CAR. DOWNING STREET. LONDON. 1990. DAY.</stage_direction> <scene_description>MARGARET peering out - ANGRY PROTESTORS slapping the glass as they pass , the sense of the car being attacked . The smear of smashed egg against the window screen .</scene_description> <character>PROTESTORS</character> <dialogue>Out. Out. Out.</dialogue> <scene_description>MARGARET sinks back into her seat as the car , is jostled either side by a blur of colour , the bang of fists against glass , the roar of the crowd -</scene_description> </scene> <scene> <stage_direction>EXT. TRAFALGAR SQUARE. LONDON. 1990. DAY</stage_direction> <scene_description>-LRB- ARCHIVE FOOTAGE -RRB- Relentless images of violence over this . Mass riots . PROTESTORS charging POLICE LINES . POLICE on HORSEBACK trying to force the PROTESTORS back . One of them - a GIRL - caught out , goes down with her placard , is trampled beneath the horses ' hooves , horribly . RIOTERS with blood streaming down their faces . Banners - DEATH TO MAGGIE . OFF WITH HER HEAD .</scene_description> <character>PROTESTORS</character> <dialogue>Maggie. Maggie. Maggie. Out. out. out.</dialogue> <scene_description>With a WHOOSH of flames the north side of Piccadilly Circus goes up in flames . Smoke and blood and fire everywhere .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE DOWNING STREET. 1990. DAY</stage_direction> <scene_description>Late afternoon - MARGARET sits , silently working . HOWE enters , MARGARET barely looks up from working -</scene_description> <character>MARGARET</character> <dialogue>Geoffrey -</dialogue> <character>GEOFFREY</character> <dialogue>My letter of resignation.</dialogue> <scene_description>HOWE slides a letter down on her desk - MARGARET looks down at the thick envelope . SILENCE</scene_description> <character>GEOFFREY HOWE</character> <dialogue>Our differences, I'm afraid, can not be reconciled.</dialogue> <scene_description>MARGARET resumes working - HOWE waits and waits and waits - The SCRATCH of MARGARET 's pen , she works on , refusing to stop for him .</scene_description> </scene> <scene> <stage_direction>INT. CHAMBERS. HOUSE OF COMMONS. LONDON.</stage_direction> <scene_description>Howe stands in Parliament , reading his resignation speech :</scene_description> <character>HOWE</character> <dialogue>I have done what I believe to be right for my party and my country. The time has come for others to consider their own response to the tragic conflict of loyalties with which I have myself wrestled for perhaps too long.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAYS. HOUSE OF COMMONS. LONDON.</stage_direction> <scene_description>MARGARET walks alone down the hall .</scene_description> <character>MINISTER 1</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Geoffrey's speech in the House of Commons was devastating.</dialogue> <character>MINSTER 2</character> <parenthetical>( O.S . )</parenthetical> <dialogue>- just could n't take any more of the bullying.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - HOUSE OF COMMONS. LONDON. 1990. DAY.</stage_direction> <scene_description>MARGARET 's POV as she moves along the corridors of power .</scene_description> <character>MINISTER 3</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He was almost inviting someone to challenge her for leadership of the party.</dialogue> <scene_description>Fellow CABINET MINISTERS , unfamiliar backbenchers , the men in suits , all seem to avoid her gaze . then PYM in conversation with HOWE , abruptly terminated , as both men acknowledge her .</scene_description> <character>MINISTER 4</character> <parenthetical>( O.S . )</parenthetical> <dialogue>She behaved appallingly. I would n't have spoken to my gamekeeper like that.</dialogue> <character>MINISTER 1</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't think she can survive this.</dialogue> </scene> <scene> <stage_direction>INT. STUDY. DOWNING STREET. LONDON. 1990. NIGHT.</stage_direction> <scene_description>MARGARET stands , watching the evening news , HESELTINE just visible on the TV screen -</scene_description> <character>HESELTINE ON TV</character> <dialogue>I'm here to announce my decision to put my name forward as leader of the Conservative party. I have nothing but admiration for our Prime Minister, Margaret Thatcher, but I believe our party and our country need a new leader.</dialogue> <scene_description>MARGARET turns to DENIS , who stands , clearly shocked , worst fears confirmed .</scene_description> <character>TV JOURNALIST</character> <dialogue>It's extraordinary. The rules of the Conservative Party make it possible for Conservative MP's to depose a sitting Prime Minister.</dialogue> <scene_description>MARGARET and DENIS on the sofa . She unwraps a sweet , eyes locked on the TV .</scene_description> <character>MARGARET</character> <dialogue>I am the Prime Minister.</dialogue> <scene_description>Turning to Denis .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( offering the packet . )</parenthetical> <dialogue>Sweetie?</dialogue> <scene_description>-LRB- STOCK FOOTAGE -RRB- WESTMINSTER in the moonlight -</scene_description> <character>NEWS JOURNALIST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>As Conservative MP's gather in Westminster to discus who they will back in the leadership contest, the Prime Minister said she would not be diverted from critical international affairs</dialogue> </scene> <scene> <stage_direction>EXT. PARIS STREET. NIGHT</stage_direction> <scene_description>With the Eiffel Tower illuminated behind him , Trevor MacDonald makes his report .</scene_description> <character>TREVOR MACDONALD</character> <dialogue>Tonight in Paris Mrs Thatcher is among thirty four world leaders who came together to celebrate the end of the Cold War and herald the start of a peaceful new age of East/West cooperation.</dialogue> </scene> <scene> <stage_direction>INT. GRAND HALL. PARIS. NIGHT.</stage_direction> <scene_description>A magnificent painted hallway - MARGARET sweeping away from a dining room , regal in evening dress . INTERCUT - PARIS - A news journalist makes his report .</scene_description> <character>NEWS JOURNALIST</character> <dialogue>There's a general feeling that Mrs Thatcher is going to win on the first ballot. We're going to put it to bed tomorrow night, is how one of her campaign staff puts it.</dialogue> </scene> <scene> <stage_direction>INT. GRAND HALL. PARIS. NIGHT</stage_direction> <scene_description>MARGARET walks through a grand hall with her fellow PRESIDENTS and PRIME MINSTERS of the world , a lone woman amongst a sea of men .</scene_description> <character>DENIS ON PHONE</character> <dialogue>M, I really think you should come home and defend yourself old girl. Heseltine is campaigning ferociously.</dialogue> <character>MARGARET ON PHONE OOV</character> <dialogue>I do think my time is best spent seeing an end to the Cold War, do n't you? After all this time they know what I stand for.</dialogue> <scene_description>PARIS -</scene_description> <character>TREVOR MACDONALD</character> <dialogue>Will she, or will she not, be in the job tomorrow?</dialogue> <scene_description>A GRAND HALL - a formal dinner , MARGARET flanked by bow - tied Prime Ministers and Heads of State .</scene_description> <character>HEAD OF STATE 1</character> <dialogue>Margaret, they ca n't touch you.</dialogue> <scene_description>LONDON STREETS - CABINET MINISTERS walking along trying to hide their features from prying eyes .</scene_description> <character>NEWS READER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mrs Thatcher has failed to win enough votes to secure an outright win in the leadership contest and must now decide whether to put her name forward for the second round.</dialogue> <character>NEWS READER 2</character> <dialogue>As Mrs Thatcher leaves Paris for London to make a last ditch attempt to pull together support for her leadership, the ship may have sailed.</dialogue> </scene> <scene> <stage_direction>INT.DINING ROOM.CHESTER SQUARE.PRESENT.</stage_direction> <scene_description>MARGARET pushes through the double doors into her dining room .</scene_description> <character>MARGARET</character> <dialogue>Treachery!</dialogue> <scene_description>Her cabinet are all around her dining room table . There is no seat for her . She moves round the table .</scene_description> <character>MINISTER 1</character> <dialogue>We will never win another election led by that woman.</dialogue> <character>MINISTER 2</character> <dialogue>We need a leader who listens.</dialogue> <character>MINISTER 3</character> <dialogue>This is n't about her, it's about the party.</dialogue> <character>MINISTER 4</character> <dialogue>One must know when to go.</dialogue> <character>MINISTER 1</character> <dialogue>The question is, how does anyone put it to her?</dialogue> </scene> <scene> <stage_direction>INT. DRAWING ROOM. CHESTER SQUARE. LONDON. PRESENT.</stage_direction> <scene_description>Close on a minister 's face in the dim light .</scene_description> <character>MINISTER</character> <dialogue>If you were to stand, I of course would vote for you Prime Minister -</dialogue> <scene_description>She is at her desk in the PRESENT in Chester Square as one minister after another in interchangeable glasses slide into the chair in front of her .</scene_description> <character>MINISTER 2</character> <dialogue>- of course would vote for you Prime Minister but I do n't think you can win. The loyalty of my colleagues can not be counted upon.</dialogue> <character>MARGARET</character> <dialogue>It was the people who put me here -</dialogue> <character>MINISTER 3</character> <dialogue>The loyalty of my colleagues can not be counted upon.</dialogue> <character>MARGARET</character> <dialogue>- it's up to them to tell me when to go.</dialogue> </scene> <scene> <stage_direction>INT. STUDY. DOWNING STREET. LONDON. 1990. NIGHT.</stage_direction> <scene_description>MARGARET stands , watching the evening news .</scene_description> <character>DENIS</character> <dialogue>Margaret, you ca n't let them do this to you. Please, boss.</dialogue> <scene_description>MARGARET looks at DENIS , with quiet surprise , hears the desperation in his voice , the crack -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They'll destroy you.</dialogue> <scene_description>MARGARET looks at DENIS , sees he is near to tears -</scene_description> <character>DENIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Throw in the towel now, love. Do n't let those bastards see you humiliated. You just wo n't win, darling. Not this time.</dialogue> <character>MARGARET</character> <dialogue>Oh Denis.</dialogue> <scene_description>DENIS , fingers touch hers , she looks at him , sees the tender concern in his eyes . MARGARET smiles , determinedly steely under his gaze .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I am the Prime Minister.</dialogue> <scene_description>On her face as CASTA DIVA breaks through .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE OF COMMONS. DAY</stage_direction> <scene_description>MARGARET sits alone on the front bench . A stream of voices from the past -</scene_description> <character>SPEAKER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Order! Order!</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Right Honourable gentleman is afraid!</dialogue> <character>NORTHERN VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is a naked strategy of closing some coal mines and then selling off -</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They believe in striking, I believe in working!</dialogue> <character>IRISH VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is the woman who's watched ten men on hunger strike starve themselves to death and never flinched!</dialogue> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Despicable and cowardly -</dialogue> <character>MALE VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Cynical Falklands war -</dialogue> <character>MINISTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>More homeowners, more shareholders, more savings -</dialogue> <scene_description>The voices begin to blend into one another , white noise .</scene_description> </scene> <scene> <stage_direction>INT. DOWNING STREET STUDY. 1990. EVENING</stage_direction> <scene_description>MARGARET sips a whisky .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I offer my resignation after eleven and a half extraordinary years -</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. DOWNING STREET. LONDON. 1990. DAY.</stage_direction> <scene_description>MARGARET descends the stairs like an operatic heroine , her hand gripping the banister of the staircase . Below the Downing St staff waiting to say goodbye . Many are in tears .</scene_description> <character>MARGARET</character> <dialogue>- proud to have left Britain in a much better state than when we took office.</dialogue> <scene_description>She passes the photographs of her predecessors and stops to receive a gift , opening it -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's this then? A radio. How useful.</dialogue> <scene_description>She moves down the receiving line of staff . The floor is carpeted with roses . Men 's wet eyes . The door ahead . She is crying . Finally reaching the door , MARGARET stands bracing herself . Denis 's hand on her shoulder standing behind .</scene_description> <character>DENIS</character> <dialogue>Steady, MT.</dialogue> <scene_description>MARGARET nods , bracing herself . A hand on the door handle . As it swings open -</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. CHESTER SQUARE. LONDON. PRESENT. NIGHT</stage_direction> <scene_description>MARGARET stands staring at herself in the mirror .</scene_description> <character>DENIS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The greatest Prime Minister since Churchill deposed by a bunch of spineless pygmies!</dialogue> <character>MARGARET VO</character> <dialogue>All those years of taking the tough decisions, does any of it matter now?</dialogue> <character>DENIS</character> <dialogue>It's all been turned to mush!</dialogue> <character>MARGARET</character> <dialogue>What?</dialogue> <scene_description>DENIS lies on the bed behind her with the newspaper .</scene_description> <character>DENIS</character> <dialogue>By these fools! These lily - livered pinkos!</dialogue> <character>MARGARET</character> <dialogue>These inept placators.</dialogue> <character>DENIS</character> <dialogue>Very good! These vacillators.</dialogue> <character>MARGARET</character> <dialogue>Vacillators! Poll takers.</dialogue> <character>DENIS</character> <dialogue>Popularity seekers.</dialogue> <character>MARGARET</character> <dialogue>So busy taking the pulse of the public!</dialogue> <character>DENIS</character> <dialogue>Weak -</dialogue> <character>MARGARET</character> <parenthetical>( pulling down a rack of Denis 's black oxford shoes onto the floor . )</parenthetical> <dialogue>These. weak. weak. weak. wea. weak. Men!</dialogue> <scene_description>DENIS 's clothes are all over the room and the main cupboard is open and empty apart from shoes . There are several bin liners already filled with clothes .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't they know if you take the tough decisions, yes people will hate you today but they'll thank you for generations.</dialogue> <character>DENIS</character> <dialogue>Or forget you entirely and chuck you out with the rubbish!</dialogue> <scene_description>MARGARET turns away from this thought and opens a last big chest of drawers .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( seizing shirts and jerseys and putting them on the floor . )</parenthetical> <dialogue>All I wanted was to make a difference in the world.</dialogue> <character>DENIS</character> <dialogue>And you did, love, you did.</dialogue> <scene_description>She sits at the end of her bed and opens a box she has found in Denis 's cupboard . There is a programme from ` The King and I ' and a faded blue rosette from some long forgotten election campaign . A small flyer ` Margaret Roberts . Conservative Candidate for Dartford ' and some childrens cards `` to the world 's greatest Daddy love Mark and Carol . ''</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>All I wanted was for my children to grow up well and be happy - happier than I was certainly. And I wanted you to be happy of course. Were you happy, Denis? Tell me the truth.</dialogue> <scene_description>There is no response . MARGARET is momentarily lost in the room . Then , seized by some compulsion , she begins to pull out the rest of his clothes , shoving them into black bags . As shirts and trousers go in , quick flashes of Denis - His youthful face , smiling at her at the opera . Laughing on the beach in Cornwall . At the door of Number 10 , smiling at her . Sharing her bed . MARGARET looks up . Denis 's suitcase is on the bed . His coat and hat lying beside it . She folds his dressing gown - the one from the bathroom hook - tenderly and puts it on the top of the case .</scene_description> <character>MARGARET</character> <dialogue>Denis? Denis?</dialogue> <scene_description>And there he is by her side .</scene_description> <character>MARGARET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Here's your bag. You're all packed, sorted.</dialogue> <scene_description>She walks him to the bedroom door and gives him a gentle kiss . DENIS starts to walk away .</scene_description> <character>MARGARET</character> <parenthetical>( seeing he is walking away in his socks . )</parenthetical> <dialogue>Denis wait. Where are your shoes? You ca n't go without shoes! Not yet.</dialogue> <scene_description>DENIS straightens his hat .</scene_description> <character>DENIS</character> <dialogue>Steady.</dialogue> <character>MARGARET</character> <dialogue>Yes. Steady.</dialogue> <character>DENIS</character> <dialogue>Steady the buffs -</dialogue> <character>MARGARET</character> <dialogue>Steady. Steady the buffs.</dialogue> <scene_description>DENIS heading out .</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>NO. Not yet. Denis. Wait. I said I do n't want you to go yet.</dialogue> <scene_description>The endless corridor , MARGARET calling after DENIS -</scene_description> <character>MARGARET</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Denis. Please. No. Not. Do n't. NO. I do n't. I do n't want to be on my own.</dialogue> <scene_description>DENIS turns back for a moment -</scene_description> <character>DENIS</character> <dialogue>You're going to be fine on your own, love.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You always have been.</dialogue> <scene_description>MARGARET calling out as DENIS reaches the window at the very far end of the house and appears to disappear into the white light -</scene_description> <character>MARGARET</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Denis!</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM. HOUSE. CHESTER SQUARE. LONDON. PRESENT.DAWN</stage_direction> <scene_description>From above we see MARGARET lying dead asleep on the bed on a pile of DENIS ' clothes . The bed is surrounded by bulging black bin bags .</scene_description> <character>CAROL OOV</character> <dialogue>Mummy -</dialogue> <scene_description>CAROL looming over Margaret , looking horrified .</scene_description> <character>CAROL</character> <dialogue>My God, Mum. Are you alright?</dialogue> <parenthetical>( opening the curtains . )</parenthetical> <dialogue>Mummy you should have called for help, silly old sausage. Have you not even been in your bed properly? You've done all this?</dialogue> <character>MARGARET</character> <dialogue>Yes, all sorted. Finished.</dialogue> <scene_description>MARGARET looks around her .</scene_description> <character>CAROL</character> <dialogue>Yes well do n't worry about all this. June and I will crack on with it.</dialogue> <character>MARGARET</character> <dialogue>I was just going to get dressed.</dialogue> <character>CAROL</character> <dialogue>Shall I call someone, see if anyone can come over and do your hair?</dialogue> <scene_description>MARGARET looks at her warmly .</scene_description> <character>MARGARET</character> <dialogue>Oh. No, you do it.</dialogue> <scene_description>CAROL reacts , surprised but pleased .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. CHESTER SQUARE. LONDON. PRESENT. DAY.</stage_direction> <scene_description>MARGARET sit finishing a cup of tea . Hears Carol 's bustle in the downstairs hallway .</scene_description> <character>CAROL OOV</character> <dialogue>Right, I'm off June.</dialogue> <character>JUNE</character> <dialogue>OK. ` Bye.</dialogue> <scene_description>She stands , picking up the cup . From behind -</scene_description> <character>JUNE</character> <parenthetical>( O.S ; CONT 'D . )</parenthetical> <dialogue>Oh let me do that, Margaret.</dialogue> <scene_description>MARGARET 's turns for a moment - It is JUNE . MARGARET shakes her head .</scene_description> <character>MARGARET</character> <dialogue>No, dear, I'll do it.</dialogue> <character>JUNE</character> <dialogue>Carol said you might go to the House of Lords today?</dialogue> <character>MARGARET</character> <dialogue>No no. I'm not going anywhere.</dialogue> <scene_description>The sound of hot water running . CHINK of a teacup - MARGARET stands , washing up a tea cup . The SQUEAK of her wet cloth , working on a stubborn tea stain , puncturing the silence . The sound of birdsong and children playing drifts from the street outside . MARGARET sets the cup aside , turns and walks out of the room , and out of sight . THE END</scene_description> </scene> </script>

In flashbacks, the audience is shown a young Margaret Roberts working at the family grocer's shop in Grantham, listening to the political speeches of her father, whom she idolised – it is also hinted that she had a poor relationship with her mother, a housewife – and announcing that she has won a place at Somerville College, Oxford. She remembers her struggle, as a young lower-middle-class woman, to break into a snobbish male-dominated Conservative Party and find a seat in the House of Commons, along with businessman Denis Thatcher's marriage proposal to her. Her struggles to fit in as a "Lady Member" of the House, and as Education Secretary in Edward Heath's Cabinet are also shown, as are her friendship with Airey Neave, her decision to stand for Leader of the Conservative Party and eventual victory, and her voice coaching and image change. Further flashbacks examine historical events during her time as Prime Minister, after winning the 1979 general election, including the rising unemployment related to her monetarist policies and the tight 1981 budget (over the misgivings of "wet" members of her Cabinet – Ian Gilmour, Francis Pym, Michael Heseltine, and Jim Prior), the 1981 Brixton riot, the 1984–1985 UK miners' strike, and the bombing in Brighton of the Grand Hotel during the 1984 Conservative Party Conference, when she and her husband were almost killed. We also see (slightly out of chronological sequence) her decision to retake the Falkland Islands following the islands' invasion by Argentina in 1982, the sinking of the ARA General Belgrano and Britain's subsequent victory in the Falklands War, her friendship with U.S. President Ronald Reagan and emergence as a world figure, and the economic boom of the late 1980s. By 1990, Thatcher is shown as an imperious but aging figure, ranting aggressively at her cabinet, refusing to accept that the "Poll Tax" is unjust, even while it is causing riots, and fiercely opposed to European integration. Her deputy, Geoffrey Howe, resigns after being humiliated by her in a cabinet meeting, Heseltine challenges her for the party leadership, and her loss of support from her cabinet colleagues leaves her little choice but reluctantly to resign as Prime Minister after eleven years in office. A teary-eyed Thatcher exits 10 Downing Street for the last time as Prime Minister with Denis comforting her. She is shown as still disheartened about it almost twenty years later. Eventually, Thatcher is shown packing up her late husband's belongings, and telling him it's time for him to go. Denis' ghost leaves her as she cries that she actually is not yet ready to lose him, to which he replies "You're going to be fine on your own... you always have been" before leaving forever. Having finally overcome her grief, she contentedly washes a teacup alone in her kitchen.

Adventureland_2009

tt1091722

<script> <scene> <scene_description>AdVeNtUrElAnD by Greg Mottola revised August 5, 2007 all rights reserved registered WGAw WE'RE CLOSE ON THE FACE OF JAMES BRENNAN, 22. He's gazing at someone off-screen, eyes filled with longing. THERE'S NO SOUND. Behind him, OUT OF FOCUS, college kids at a rollicking party... THE SOUND FADES IN SLOWLY Shouted, drunken conversation competes with a stereo blasting "Bastards of Young" by The Replacements. A couple wear graduation mortarboards. REVERSE ON a pretty young woman, ARLENE. She's avoiding James's gaze. They're in a lived-in off-campus house. They hold cocktails in plastic cups. He leans in close.</scene_description> <character>JAMES</character> <dialogue>Hey, you want to get out of here-</dialogue> <character>ARLENE</character> <parenthetical>(hasn't heard him)</parenthetical> <dialogue>What a rager, huh?</dialogue> <character>JAMES</character> <dialogue>Yeah. Yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Isn't it weird? That this all...this happened right at the end of the semester? You and...me.</dialogue> <scene_description>She finally looks at him.</scene_description> <character>JAMES</character> <dialogue>And we'll both be in Manhattan come September.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm really...fond of you.</dialogue> <character>ARLENE</character> <dialogue>You're sweet.</dialogue> <parenthetical>(beat, thinking)</parenthetical> <dialogue>James.</dialogue> <character>JAMES</character> <dialogue>Yeah?</dialogue> <character>ARLENE</character> <dialogue>I don't think I can see you anymore.</dialogue> <parenthetical>(stunned)</parenthetical> <dialogue>You don't...? What do you...?</dialogue> <character>ARLENE</character> <dialogue>We're graduating...it's...</dialogue> <scene_description>She sighs heavily and looks away. James watches her, waiting for more of an explanation. Instead:</scene_description> <character>ARLENE</character> <parenthetical>(muttering)</parenthetical> <dialogue>sorry.</dialogue> <scene_description>She walks away.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, OFF-CAMPUS HOUSE - LATER</stage_direction> <scene_description>James stands with two friends, ERIC (unkempt and shaggy- haired, yet radiates a casual air of privilege) and BRAD, who's mixing a drink from the dregs of whatever liquor bottles he can find.</scene_description> <character>ERIC</character> <dialogue>Women are mercurial, man.</dialogue> <character>BRAD</character> <dialogue>You did just start dating last week.</dialogue> <character>JAMES</character> <dialogue>I know, but...I thought that she got me...</dialogue> <character>ERIC</character> <dialogue>You didn't tell her about the 'scarlet V'?</dialogue> <character>JAMES</character> <dialogue>That has nothing...</dialogue> <character>ERIC</character> <dialogue>You did. Brennan, you promised me!</dialogue> <character>JAMES</character> <dialogue>Look, I don't lie to people I care about.</dialogue> <character>ERIC</character> <dialogue>But you could've just left it out of the narrative! You don't want 'virgin' to be your signifier!</dialogue> <character>JAMES</character> <dialogue>Jesus, he takes one semiotics class...</dialogue> <scene_description>Brad hands the 'cocktail' to James. Drink up.</scene_description> <character>ERIC</character> <dialogue>Listen. You need to bed down the next plain-looking, insecure depressive who throws herself at you and get it over with.</dialogue> <character>JAMES</character> <dialogue>I've had ample opportunities to get laid, if I just wanted to get it over with-</dialogue> <character>BRAD</character> <dialogue>Or a hooker. In New York, I hear the Asian ones are the best value.</dialogue> <character>JAMES</character> <dialogue>Right, that was in Consumer Reports? Jesus. I know most people have low standards, but I'm different.</dialogue> <character>ERIC</character> <dialogue>We'll find you a girl. When we're on the Continent.</dialogue> <scene_description>An OBNOXIOUS CLASSMATE joins their group, picking up all the liquor bottles, looking for one that's not empty.</scene_description> <character>OBNOXIOUS CLASSMATE</character> <dialogue>So you guys are going to Europe? Even you, Brennan?</dialogue> <character>JAMES</character> <dialogue>Yeah. My graduation present.</dialogue> <character>ERIC</character> <dialogue>Forget about Arlene.</dialogue> <character>OBNOXIOUS CLASSMATE</character> <dialogue>She dumped you? Ouch. Another one.</dialogue> <character>JAMES</character> <dialogue>You've checked the Beefeater three times, Steve. All the bottles are empty.</dialogue> <character>ERIC</character> <dialogue>James, focus on the trip. It's going to be a transformative experience. Transformative.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, OFF-CAMPUS RENTAL HOUSE - LATER</stage_direction> <scene_description>The party has entered another phase. Brad sits in a circle of pot-smokers, passing around a pipe. Eric is making out with a girl. James stands alone, in a corner. friends. She's clearly talking about him. Humiliated, he skulks out of the room.</scene_description> </scene> <scene> <stage_direction>EXT. LONG ISLAND EXPRESSWAY/SURROUNDING STREETS - DAY</stage_direction> <scene_description>A newish, 80s-model sky blue Plymouth Reliant rolls down the highway, James's bicycle strapped to the roof. James is slumped against the window, sharing the back seat with some duffel bags and crates of records.</scene_description> <character>WE PASS BY</character> <dialogue>strip malls and chain stores... a high school, looking a little worse for the wear... suburban homes, varying only slightly from one another...</dialogue> <character>THE CAR APPROACHES</character> <dialogue>a young man on a bicycle. The back of his orange t-shirt reads:</dialogue> <character>ADVENTURELAND</character> <dialogue>As the car passes, we see the biker, a wiry, goofy-looking 20- year-old. His name is TOMMY FRIGO.</dialogue> <dialogue>Frigo recognizes James. He grins and gives him the finger.</dialogue> <character>SUPERTITLE</character> <dialogue>SUMMER, 1987</dialogue> <scene_description>MUSIC STARTS: "EVERYBODY KNOWS THIS NOWHERE" by NEIL YOUNG. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S BEDROOM, BRENNAN HOUSE - DAY</stage_direction> <scene_description>The EQ on the Neil Young song changes -- IT'S PLAYING ON JAMES'S BOOMBOX. He sits in his bed, writing on a legal pad.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, BRENNAN HOUSE - DUSK</stage_direction> <scene_description>Cocktail hour in the Brennan household. COUNT BASIE swings on the stereo, as James's father (MR. BRENNAN) is finishing off a frozen daiquiri, preparing another. MRS. BRENNAN sips white wine, while reading a paperback copy of "Iacocca: An Autobiography". James enters, clutching the legal pad, looking determined.</scene_description> <character>JAMES</character> <dialogue>Okay, so I need to talk to you guys about-</dialogue> <parenthetical>(putting down her book)</parenthetical> <dialogue>Now what do you want for dinner? I can make a roast, burgers, minute steaks?</dialogue> <character>JAMES</character> <dialogue>Wow. I, uh-</dialogue> <character>MRS. BRENNAN</character> <parenthetical>(crossing to the fridge)</parenthetical> <dialogue>...or leftover lamb stew.</dialogue> <character>JAMES</character> <dialogue>Any of that sounds-</dialogue> <character>MRS. BRENNAN</character> <dialogue>And I even got that frozen manicotti, the kind you like.</dialogue> <character>MR. BRENNAN</character> <dialogue>He loves that.</dialogue> <character>JAMES</character> <dialogue>Sure. Let's have that. So...the trip is going to cost a tiny bit more than we discussed.</dialogue> <character>MRS. BRENNAN</character> <dialogue>What are we talking about?</dialogue> <character>JAMES</character> <dialogue>Um, my Europe trip? So my original estimate for the whole trip was 1,568 dollars. But I've researched more youth hostels and the median cost is a bit higher than I thought, by seven dollars and sixty-eight cents, multiplied by forty-two days is $322.56. But the good news is I still qualify for a student eurail pass, which saves us $143.45. But I also think my emergency fund is unrealistic at $100, I should make it $150. So, with the 768 dollars I have from grandma's trust fund, plus the 800 you guys are already giving me, I will need another 229 dollars and eleven cents. It makes the total for you guys 1,029 dollars and eleven cents.</dialogue> <character>MRS. BRENNAN</character> <dialogue>One-thousand and twenty-nine dollars.</dialogue> <character>MR. BRENNAN</character> <dialogue>And eleven cents.</dialogue> <scene_description>Silence. James's parents exchange a look. James, your father has been transferred to a different department.</scene_description> <character>JAMES</character> <dialogue>Really? That's great-</dialogue> <character>MRS. BRENNAN</character> <dialogue>It's not a better department. We'll be making less money. Considerably less.</dialogue> <character>JAMES</character> <dialogue>Wh...what happened?</dialogue> <character>MR. BRENNAN</character> <dialogue>It's not a big deal, they just, they reorganized a bit. It's temporary.</dialogue> <character>MRS. BRENNAN</character> <dialogue>We hope. I'm sorry, honey, I know we said we thought we could help with your trip. We can't.</dialogue> <character>JAMES</character> <dialogue>But it's my graduation present.</dialogue> <character>MRS. BRENNAN</character> <dialogue>I know, but we don't have it. We can't spare a penny for Europe. And we can't spare a penny for grad school, either.</dialogue> <character>JAMES</character> <dialogue>What? You were going to help me with rent?</dialogue> <character>MRS. BRENNAN</character> <dialogue>James, we cancelled our week in Montauk. We can barely make the house payments. We're clipping coupons.</dialogue> <character>MR. BRENNAN</character> <dialogue>Sorry, kiddo.</dialogue> <character>JAMES</character> <dialogue>What am I gonna do?</dialogue> <character>MRS. BRENNAN</character> <dialogue>If you decide you really want to go to graduate school, you'll commute from here.</dialogue> <character>JAMES</character> <dialogue>But...Eric and I are getting an apartment in Manhattan...</dialogue> <scene_description>If you want to eventually move into the city, you better get a job.</scene_description> <character>JAMES</character> <dialogue>A summer job?</dialogue> <character>MRS. BRENNAN</character> <dialogue>Better start looking. Most of the good ones are grabbed up. Here.</dialogue> <scene_description>Mrs. Brennan hands James the classified ads. James stares at the paper as if there's a dead fish in it. Mr. Brennan starts the blender -- but he hasn't affixed the lid properly. The blender sprays daiquiri all over a cabinet.</scene_description> <character>MR. BRENNAN</character> <dialogue>Whoa, Nelly!</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - DAY</stage_direction> <scene_description>James, dorky in a button-down shirt and knit tie, stands in front of a RESTAURANT MANAGER, handing him documents.</scene_description> <character>JAMES</character> <dialogue>I really haven't had many jobs, per se... But here's my academic record and my extracurricular activities. I wrote for the literary journal, 'The Gordian Knot'. And in high school, I got a 750 on the math SATs, so I'd be good at tabulating checks-</dialogue> <character>RESTAURANT MANAGER</character> <dialogue>These are the only jobs you've had?</dialogue> <character>JAMES</character> <dialogue>I also used to rake leaves for some neighbors, the Palmieri's. I have their letter of recommendation-</dialogue> <character>RESTAURANT MANAGER</character> <parenthetical>(brusquely)</parenthetical> <dialogue>Fill this out. I'll call you if anything comes up.</dialogue> </scene> <scene> <stage_direction>EXT. BRENNAN HOUSE - DAY</stage_direction> <scene_description>James is mowing his parents' lawn, a look of self-pity on his face.</scene_description> <character>SUDDENLY</character> <dialogue>Tommy Frigo comes tearing down the street on his ten-speed. He rolls up on the lawn, jumps off the bike and sprints at James, a crazed look in his eyes.</dialogue> <scene_description>Nad attack! Frigo throws a punch at James's groin. James manages to partially deflect the blow.</scene_description> <character>JAMES</character> <dialogue>Frigo! Quit it!</dialogue> <scene_description>The two young men start swinging wildly at each other.</scene_description> <character>FRIGO</character> <dialogue>Watch out, the lawn mower!</dialogue> <scene_description>James turns for a second. Frigo wallops him directly in the privates. James falls to the lawn, moaning.</scene_description> <character>JAMES</character> <dialogue>I'm going to fucking kill you, Frigo...</dialogue> <scene_description>Frigo hops back on his bike.</scene_description> <character>FRIGO</character> <dialogue>Ha-hah, Brennan! Don't choke on your own goo!!</dialogue> <scene_description>Frigo pedals away, cackling maniacally. We see that he's once again wearing his orange 'Adventureland' shirt.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERSIDE DRIVE, MANHATTAN - DAY</stage_direction> <scene_description>James and Eric stroll down the sidewalk. Eric wears his "bohemian uniform": painter's pants, tie-dyed shirt, shell necklace and a kerchief over his head. James glances around anxiously as Eric brazenly smokes a joint.</scene_description> <character>ERIC</character> <dialogue>Home all summer. On Long Island. Fuckin' harsh.</dialogue> <character>JAMES</character> <dialogue>It's a nightmare. I mean, I'm a romantic! I actually read poetry for pleasure. Out where I grew up, if I tell someone that, they'll beat me to death with a table leg.</dialogue> <character>ERIC</character> <dialogue>You still thinking about graduate school?</dialogue> <character>JAMES</character> <dialogue>Yeah.</dialogue> <scene_description>Total mistake. What do you need another degree for? Did Henry Miller need a degree? Or Samuel Beckett?</scene_description> <character>JAMES</character> <dialogue>Actually, Beckett went to Trinity College and after that he was an assistant for James Joyce. Which is a story I always wanted to turn into a two-character play-</dialogue> <character>ERIC</character> <dialogue>Yeah, shut up, my point is -- you don't come from money. Graduate school's gonna require massive loans. Three more years of school, then, what, a decade or two of paying them off? Why not blow your brains out now?</dialogue> <character>JAMES</character> <dialogue>But if something's worth doing...</dialogue> <character>ERIC</character> <dialogue>Take some time to picture the narrative of your life. Needing it or wanting money is the fundamental trap of humankind.</dialogue> <parenthetical>(putting a hand on James's shoulder)</parenthetical> <dialogue>Look, I want you to know you'll be with me in spirit this summer. Take this...</dialogue> <scene_description>From a coat pocket, Eric produces a baggie that contains several thin, poorly-rolled joints.</scene_description> <character>JAMES</character> <dialogue>But, you know...I get a little crazy-</dialogue> <character>ERIC</character> <dialogue>Take it.</dialogue> <scene_description>James nervously jams the bag into his pocket.</scene_description> <character>ERIC</character> <dialogue>You think you don't like weed. You will.</dialogue> <character>JAMES</character> <parenthetical>(worried, won't drop it)</parenthetical> <dialogue>But how am I going to break into journalism if I don't go to grad school?</dialogue> <character>ERIC</character> <dialogue>Brennan, you'll be with me! In a few short months we'll be in New York City. We'll be living the adventure together!</dialogue> <scene_description>Mrs. Brennan reads a library copy of a biography of Pope John Paul II. James sits across from her, hunched over the classifieds section, grunting as he reads.</scene_description> <character>JAMES</character> <dialogue>What can I get?! I'm not even qualified for manual labor.</dialogue> <parenthetical>(reading down column)</parenthetical> <dialogue>carpenter...dishwasher...mechanic... septic waste removal -- they won't even hire me. The only place I know I can get a job is where Frigo's working.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Adventureland? You can do better. You have to try harder.</dialogue> <character>JAMES</character> <dialogue>I'm 'O' for twenty-two. I majored in comparative literature and Renaissance studies. Unless someone needs help restoring a fresco, I'm screwed!</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - DAY</stage_direction> <scene_description>TRACK WITH James on his bicycle, pedaling along with morning traffic.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>James rolls into a large parking lot, passing under an arched sign that reads "ADVENTURELAND". A gangly young man (RICH) approaches him. He uses a yellow plastic wiffle ball bat to direct traffic.</scene_description> <character>RICH</character> <dialogue>Right here, sir! Right here!</dialogue> <scene_description>Rich waves James toward a bicycle rack. Rich's shirt reads: "Parking Captain".</scene_description> <character>RICH</character> <dialogue>Have a funtastic day and come again!</dialogue> <character>JAMES</character> <dialogue>Uh, okay.</dialogue> <scene_description>James, making eye contact, realizes that Rich is mentally challenged.</scene_description> </scene> <scene> <stage_direction>INT. SNACK BAR, ADVENTURELAND - DAY</stage_direction> <scene_description>James stands with PAULETTE, 40s. Her badge reads "MANAGER". I don't have much work experience, per se- Paulette's walkie-talkie emits a LOUD BEEP.</scene_description> <character>PAULETTE</character> <parenthetical>(into walkie)</parenthetical> <dialogue>G'head.</dialogue> <character>VOICE OVER WALKIE (O.S.)</character> <dialogue>Li'l Red's down again.</dialogue> <character>PAULETTE</character> <dialogue>Okay, there in a sec.</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>Bobby! Get over here!</dialogue> <scene_description>BOBBY, 40, moustache, bad tinted glasses, crosses over from the snack bar counter. His badge: "JR. MANAGER".</scene_description> <character>PAULETTE</character> <dialogue>This kid's applying for a games job.</dialogue> <character>JAMES</character> <dialogue>Actually, I'd rather work rides if that's-</dialogue> <character>PAULETTE</character> <dialogue>Nah, you're a games type. Here's the number one rule. No freebies. No free turns to your friends, no free upgrades, no free stuffed animals. Anyone wins a giant-ass pandas, you're fired. Got it?</dialogue> <scene_description>Paulette hands Bobby some forms and exits.</scene_description> <character>BOBBY</character> <dialogue>Here, have a seat.</dialogue> <scene_description>They sit in a booth.</scene_description> <character>JAMES</character> <dialogue>So what positions are presently open-</dialogue> <character>BOBBY</character> <dialogue>Games. You're hired. Fill this out.</dialogue> <scene_description>Bobby slides a start form across the table. As James starts to fill it out, Bobby stares out the window, checking out some teenage girls in short shorts and tube tops. He sighs. At a nearby booth, a kid starts puking on the table. Geez. Kid, can't you do that outside? (yelling) Doreen! We got a puker!</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - DAY</stage_direction> <scene_description>We are greeted by a cacophony of pinball, skee ball, air hockey, Whac-a-Mole, Ms. Pac Man, Dig Dug, Zaxxon, etc. James now wears a light blue t-shirt -- stacked in descending size, it reads: "Games, Games, Games, Games". He stands with JOEL SCHIFFMAN, 22, who has glasses, curly reddish-brown hair and some scraggly chin growth.</scene_description> <character>JOEL</character> <dialogue>Okay, let's get this over with-</dialogue> <scene_description>Joel notices a bratty KID with a runny nose who's slamming his fists down on the buttons of an old-fashioned "Bimbo the Dancing Clown" machine.</scene_description> <character>JOEL</character> <dialogue>Hey, retard. Stop pounding on Bimbo.</dialogue> <character>RUNNY-NOSE KID</character> <dialogue>This game sucks. It doesn't do nothin'.</dialogue> <character>JOEL</character> <dialogue>It kicks your ass if you don't get the fuck away from it.</dialogue> <scene_description>The kid scurries away. Joel smiles. The kid runs up to his burly, mean-looking father.</scene_description> <character>RUNNY-NOSE KID</character> <dialogue>Dad!</dialogue> <parenthetical>(pointing at Joel)</parenthetical> <dialogue>He said the f-word at me!</dialogue> <character>JOEL</character> <dialogue>Fuuuck. Let's go.</dialogue> <scene_description>Joel hustles James out the door.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - MOMENTS LATER</stage_direction> <scene_description>Joel is marching James up the midway. We get our first good look at "Adventureland" -- it's a ramshackle place, a lot closer to Coney Island than to Disney World. "Rock Me Amadeus" by Falco echoes across the park (top forty radio plays loudly all day long, every day).</scene_description> <character>JOEL</character> <dialogue>F.Y.I., Paulette and Bobby are married, so watch what you say.</dialogue> <scene_description>Chopper". The little animals are always spewing and dropping boogers on your head.</scene_description> <character>FRIGO (O.S.)</character> <dialogue>Brennan, you loser!</dialogue> <scene_description>James looks toward the "Antique Cars" ride and sees Frigo hanging out the side of a buggy car, driving it for two small children.</scene_description> <character>FRIGO</character> <dialogue>Ha-hahhhh! They put you on games, you pussy loser! Brennan's a pussy!</dialogue> <scene_description>The children shriek as Frigo rear-ends another buggy car.</scene_description> <character>JOEL</character> <dialogue>You know that demented person?</dialogue> <character>JAMES</character> <dialogue>Yeah. He used to be my best friend. Then I turned four.</dialogue> </scene> <scene> <stage_direction>EXT. "LAUGHING CLOWN" BOOTH, ADVENTURELAND - LATER</stage_direction> <scene_description>Joel and James are at the ubiquitous carnival game wherein contestants squirt water into a plastic clown-head's mouth, inflating a balloon until it pops.</scene_description> <character>JOEL</character> <dialogue>The trick here: you've got a better chance of winning if you pick a clown with a new balloon. The old balloons have already been stretched out. Less likely to pop. You can share this info with cute girls at your discretion.</dialogue> <character>JAMES</character> <dialogue>I appreciate that.</dialogue> <character>JOEL</character> <dialogue>No sweat, new guy.</dialogue> </scene> <scene> <stage_direction>EXT. "HATS OFF TO LARRY" BOOTH, ADVENTURELAND - LATER</stage_direction> <scene_description>This booth features an elaborate painted street scene. Revolving through doorways are creepy fiberglass dummies wearing black felt hats. Joel hits a button and the dummies stop moving.</scene_description> <character>JOEL</character> <dialogue>The object is to try and knock the hat off the dummy with a softball.</dialogue> <character>JOEL</character> <dialogue>Except half the hats are glued on.</dialogue> </scene> <scene> <stage_direction>EXT. "THE FLIGHING DUTCHMAN!" BOOTH, ADVENTURELAND - LATER</stage_direction> <scene_description>Joel and James are approaching another game booth.</scene_description> <character>JOEL</character> <dialogue>This game is inexplicably called "The Flying Dutchman". Even more inexplicable is how they decided to spell it. Morons.</dialogue> <scene_description>The sign reads: "THE FLIGHING DUTCHMAN!" They enter the game, which is a platform with forty or so large milk bottles. Very large stuffed panda bears are dangling over them.</scene_description> <character>JOEL</character> <dialogue>One dollar buys five rings. If the ring lands on one of the red bottles, they win one of these giant-ass pandas.</dialogue> <character>JAMES</character> <dialogue>That is a giant-ass panda.</dialogue> <character>JOEL</character> <dialogue>It's the best prize in the park. And that's because this game is unwinnable. Observe. I'll drop the ring from three inches away.</dialogue> <scene_description>Joel holds a plastic ring right above a bottle. He drops it. The ring bounces off.</scene_description> <character>JAMES</character> <dialogue>Nobody ever wins?</dialogue> <character>JOEL</character> <dialogue>If they do, it's because you weren't being vigilant and they reached over and placed the ring on the bottle. Someone wins a giant-ass panda bear on your watch? Go home, you're fired.</dialogue> </scene> <scene> <stage_direction>EXT. "FREE THROW" BOOTH, ADVENTURELAND - LATER</stage_direction> <scene_description>They stand at a booth with five basketball hoops.</scene_description> <character>JOEL</character> <dialogue>If you stand directly below a hoop you will see that it's been hammered into an oval shape. But back here, the sucker can't tell.</dialogue> <character>JAMES</character> <dialogue>It barely fits. That's...so wrong.</dialogue> <character>JOEL</character> <dialogue>A criminal abuse of the laws of perspective.</dialogue> <character>JAMES</character> <dialogue>Well, people are getting ripped off-</dialogue> <character>JOEL</character> <dialogue>Yeah, yeah, Trotsky, let's get you a booth.</dialogue> <parenthetical>(he walks away, James follows)</parenthetical> <dialogue>So, your life must be utter shit or you wouldn't be here.</dialogue> <character>JAMES</character> <dialogue>Yeah. I want to be in Manhattan. But to make enough to cover rent and actually save anything seems so hard.</dialogue> <character>JOEL</character> <dialogue>Wait til your parents start charging you rent. My dad even makes me pay utilities.</dialogue> </scene> <scene> <stage_direction>EXT. "THE FLIGHING DUTCHMAN!" BOOTH, ADVENTURELAND - DUSK</stage_direction> <scene_description>It's the hour when the park starts getting overrun with teenagers and young adults. Blaring from the many loudspeakers is "Something About You" by Level 42. James's booth is getting crowded. A hyperactive guy in a faded MOLLY HATCHET T-SHIRT is demanding his attention:</scene_description> <character>MOLLY HATCHET T-SHIRT</character> <dialogue>Yo! Guy! How many rings for a ticket?</dialogue> <character>JAMES</character> <dialogue>Five per ticket.</dialogue> <character>MOLLY HATCHET T-SHIRT</character> <dialogue>Give me five. How usually does someone win here?</dialogue> <character>JAMES</character> <dialogue>Actually, I just started-</dialogue> <character>MOLLY HATCHET T-SHIRT</character> <dialogue>I heard that some big fat lady fell off the Paratrooper a couple of weeks ago.</dialogue> <scene_description>Really? Was she okay?</scene_description> <character>MOLLY HATCHET T-SHIRT</character> <dialogue>I don't know. Give me ten. No, give me fifteen. I heard she was a big, fat, really fat lady...</dialogue> <scene_description>James notices that the customer's eyes are darting to something behind him. Just as James turns to look, he sees a DRUNK DAD (wearing a Scorpions concert tee) holding his six- year-old child over the milk bottles. The boy places a ring on a red bottle and the man quickly pulls him back.</scene_description> <character>DRUNK DAD</character> <parenthetical>(slurring drunkenly)</parenthetical> <dialogue>He won! Check it out! Look, my kid won! Check it out! Awright, Dom!</dialogue> <character>JAMES</character> <parenthetical>(lowering his voice)</parenthetical> <dialogue>Sir, I saw you holding him over the bottles. That's cheating.</dialogue> <character>DRUNK DAD</character> <dialogue>What?! He won square-and-fair! Give him the prize!</dialogue> <character>MOLLY HATCHET T-SHIRT</character> <dialogue>I saw the kid throw it!</dialogue> <character>JAMES</character> <dialogue>C'mon, guys, give me a break-</dialogue> <character>MOLLY HATCHET T-SHIRT</character> <parenthetical>(for passersby to hear)</parenthetical> <dialogue>This faggot's trying to cheat a kid! Give the kid his prize!</dialogue> <scene_description>James glances over to a fellow employee in the adjoining booth, a pint-size, funny-looking 15-year-old, MUNCH (his nickname, short for "Munchkin"). He shrugs.</scene_description> <character>JAMES</character> <dialogue>Guys, fellas, I could lose my job-</dialogue> <character>DRUNK DAD</character> <parenthetical>(leaning close)</parenthetical> <dialogue>Give my kid the fuckin' panda.</dialogue> <scene_description>The dad shows James a hunting knife he's concealing by his hip. Suddenly, a young woman in a "GAMES" t-shirt, EM LEWIN, enters from the other side. She pulls down a panda and gives it to the man. Here you go.</scene_description> <character>DRUNK DAD</character> <dialogue>Yeah, thank you. That faggot was trying to rip off a kid.</dialogue> <scene_description>The drunk dad stumbles off with his son, joined by the Molly Hatchet t-shirt guy, who snickers. James turns to Em. She's cute -- no makeup, dark hair, pale skin, intelligent eyes.</scene_description> <character>JAMES</character> <parenthetical>(anxious)</parenthetical> <dialogue>Am I gonna get in trouble? Nobody's ever supposed to win a giant-ass panda?</dialogue> <character>EM</character> <dialogue>Is it worth getting knifed over? I'm Em.</dialogue> <character>JAMES</character> <dialogue>Hi. James.</dialogue> <character>EM</character> <dialogue>Nice to meet you. Sucks you're gonna get fired your first day.</dialogue> <character>JAMES</character> <parenthetical>(panicky)</parenthetical> <dialogue>No, shit, I need this job-</dialogue> <character>EM</character> <dialogue>Relax, man. I'm kidding.</dialogue> <scene_description>BEHIND THEM, Munch cups his hands over his mouth.</scene_description> <character>MUNCH</character> <dialogue>Yo, Connell!</dialogue> <scene_description>STRIDING TOWARD CAMERA IS MIKE CONNELL. He's in his 30s, wears an ankle-length black coat. His attractive features are framed by sunglasses and a mass of unkempt hair. He carries a guitar case that's emblazoned with the logo for a metal band: ANIMUS.</scene_description> <character>MUNCH</character> <parenthetical>(flashing the "devil sign")</parenthetical> <character>ROCK OOOOONNN!!</character> <dialogue>Em watches Connell as he passes.</dialogue> <character>JAMES</character> <dialogue>Who's that?</dialogue> <scene_description>That's Connell. One of the maintenance guys. As Connell continues through the park, employees hoot and rebel-yell to him...</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - NIGHT</stage_direction> <scene_description>James hands his ticket apron to Bobby. Frigo is punching out. A trashy-looking DRUNK WOMAN is slumped in a chair. Paulette talks into a loudspeaker microphone.</scene_description> <character>PAULETTE</character> <parenthetical>(reverberating across park)</parenthetical> <dialogue>Ashley, your mother is looking for you. She's waiting for you in the manager's office, next to the snack bar.</dialogue> <character>DRUNK WOMAN</character> <dialogue>Where is that little shit?!</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - LATER</stage_direction> <scene_description>James is riding his bicycle home. A Mercedes swerves close as it passes, honking -- the occupants, rich teenagers, laugh at him. James scowls. Another car is rolling up beside him, a cinnamon-colored Pacer. Em is driving. They exchange a look... she drives off.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, BRENNAN HOUSE - NIGHT</stage_direction> <scene_description>A glum James eats with his family.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Why don't you call one of your old friends? Dave? Gerry?</dialogue> <character>JAMES</character> <dialogue>And tell them I work as a carny? No thank you.</dialogue> <scene_description>Mrs. Brennan looks at her husband. He shrugs.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - MORNING</stage_direction> <scene_description>James once again pedaling his bike alongside heavy morning traffic. And it's raining. He looks miserable.</scene_description> </scene> <scene> <stage_direction>EXT. "KENTUCKY DERBY" GAME, ADVENTURELAND - LATER</stage_direction> <scene_description>STILL A GRAY, RAINY DAY. To make matters worse, "Pac-Man Fever" by Buckner &amp; Garcia plays over the PA. each other by using a lever to flip a ball into a hole, which advances a mechanical horse.</scene_description> <character>JAMES</character> <parenthetical>(into a microphone, lackluster)</parenthetical> <dialogue>Okay. And the race is on.</dialogue> <scene_description>He rings a bell and the contestants begin racing. He stares absently off at a kid who is picking his nose and wiping the snot on the booth wall. A bell goes off.</scene_description> <character>JAMES</character> <dialogue>And we, uh, have a winner. The blue horse. Yellow is second. Purple is third. Congratulations.</dialogue> <scene_description>As he gives a stuffed animal to the girl who won, James sees Bobby walking quickly toward him, shaking his head.</scene_description> <character>BOBBY</character> <dialogue>James! Come on! I told you! You need to make it exciting!</dialogue> <character>JAMES</character> <dialogue>Maybe, um, I'm not the right guy to run this game?</dialogue> <character>BOBBY</character> <dialogue>No. You do the job or you lose the job. You already lost me one giant-ass panda. C'mon, haven't you ever seen a horse race?</dialogue> <character>JAMES</character> <dialogue>Harness racing or the normal kind?</dialogue> <character>BOBBY</character> <dialogue>Who cares?! Just make it fun! Jesus.</dialogue> <scene_description>James nods. He collects tickets for the next race.</scene_description> <character>JAMES</character> <parenthetical>(attempting some enthusiasm)</parenthetical> <dialogue>Okay, ladies and gentleman, put down your mint juleps and welcome to the Kentucky Derby! The horses are at the starting gate! Are you ready?!</dialogue> <scene_description>The contestants stare at him with blank expressions.</scene_description> <character>JAMES</character> <dialogue>Okay. And they're off!</dialogue> <scene_description>He rings the bell. (building steam) And Red, uh, Red bolts out of the gate, taking an early lead! But look out! Here comes Green, issuing a challenge from the outside lane! Green runs well on a muddy track, folks, so today's conditions give him a slight edge. And Yellow is dead last! What a disappointment after Yellow's strong showing at Saratoga last spring. Wait a second! Out of nowhere, Orange has broken ahead of the pack! In the backstretch, it's Orange and Green! Orange and Green! And Orange takes it by a nose! Green places and Red shows. Please come to the window to collect your winnings! Once more, the contestants stare at James with blank expressions.</scene_description> <character>ADULT CONTESTANT</character> <dialogue>What window?</dialogue> <character>JAMES</character> <dialogue>Nothing. Forget it. Here you go.</dialogue> <scene_description>As James hands out a few crappy stuffed animals, he glances across the midway, where Em is working in another booth. She gives him a commiserative half-smile.</scene_description> </scene> <scene> <stage_direction>EXT. "REMOTE CONTROL BOATS", ADVENTURELAND - NEXT DAY</stage_direction> <scene_description>"These Dreams" by Heart plays on the loudspeaker AS WE CRANE DOWN TO James, on a bench, reading a Penguin paperback. He's on a break. Behind him is a concrete pond where kids are operating radio-controlled miniature speedboats. PETE O'MALLEY (19, tall, athletic, freckled, red-haired Irish- American) is walking by with a few buddies. They all wear "RIDES" t-shirts. Pete turns to James.</scene_description> <character>PETE O'MALLEY</character> <dialogue>Hey, you're new, right?</dialogue> <character>JAMES</character> <dialogue>Yeah. Started a few days ago.</dialogue> <character>PETE O'MALLEY</character> <dialogue>Cool. What are you reading?</dialogue> <character>JAMES</character> <parenthetical>(hesitantly)</parenthetical> <dialogue>It's a Henry Miller book... 'Quiet Days In Clichy'.</dialogue> <character>JAMES</character> <dialogue>He was an American author who lived a long time in Paris. It's a wonderful novella about the bohemian life in France in the thirties.</dialogue> <character>PETE O'MALLEY</character> <dialogue>Oh, yeah? Can I see?</dialogue> <character>JAMES</character> <dialogue>Sure. Of course.</dialogue> <scene_description>Pete looks at the book for a moment, nodding...</scene_description> <character>THEN</character> <dialogue>he tosses it into the pond. His buddies double over in hysterics.</dialogue> <character>PETE O'MALLEY</character> <parenthetical>(grinning)</parenthetical> <dialogue>Seeya, dork.</dialogue> <scene_description>The boys lope away. James, looking humiliated, watches his floating book being attacked by remote-control boats.</scene_description> </scene> <scene> <stage_direction>INT. DEN, BRENNAN HOUSE - NIGHT</stage_direction> <scene_description>James is prone on the couch, watching the classic prison movie "Cool Hand Luke" on TV. James nods in exaggerated empathy as Strother Martin breaks Paul Newman's spirit... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. "GOLD FISH BOWL" BOOTH, ADVENTURELAND - ANOTHER NIGHT</stage_direction> <scene_description>Over the park, Falco once again chants "Rock Me, Amadeus". James and Joel are working an unpopular booth. James is hunched over a legal pad and the New York Times classifieds.</scene_description> <character>JAMES</character> <dialogue>I am amazed at how tiny my paychecks are. I mean, I've been working doubles.</dialogue> <character>JOEL</character> <dialogue>Well, we are doing the work of pathetic, lazy morons.</dialogue> <character>JAMES</character> <dialogue>I figured out that I'll probably need three to four hundred a month for my share of the apartment. If I can save up twelve hundred dollars this summer, that's three or four months of rent.</dialogue> <dialogue>Sure. As long as you can eat for under thirty-seven cents a day. James, we're both on the losing side of supply-side economics. My dad's been laid off three times in the last couple of years. I got into Cornell, but the financial aid wasn't enough. So it's been state school for me.</dialogue> <scene_description>As they mull over their realities, a group of pretty teenage girls walk by with their muscle-bound boyfriends.</scene_description> <character>JAMES</character> <dialogue>All these pretty girls. Going out with troglodytes. This is the last place on Earth anyone would find me desirable.</dialogue> <character>JOEL</character> <dialogue>You have a girlfriend at college?</dialogue> <character>JAMES</character> <dialogue>I did. Then I didn't. You?</dialogue> <character>JOEL</character> <dialogue>The last girl I kissed was my tenth grade chem lab partner. She had braces. Fourteen stitches on my tongue.</dialogue> <scene_description>They stand for a moment, while we hear:</scene_description> <character>FALCO SINGS (OVER LOUDSPEAKER)</character> <dialogue>Amadeus, Amadeus...AMADEUS! Oh oh oh...Amadeus!</dialogue> <character>JAMES</character> <dialogue>Jesus! They play this song, like, twenty fucking times a day.</dialogue> <character>JOEL</character> <dialogue>Fucking sadists.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - LATER THAT NIGHT</stage_direction> <scene_description>The park is closing. "Who's Johnny" by El Debarge (the hit song from "Short Circuit") plays as patrons exit. TRACK WITH James as he walks. He stops abruptly. He leans down to pick up:</scene_description> <character>A CHAINED BICYCLE WHEEL</character> <dialogue>that is no longer attached to a bicycle.</dialogue> <dialogue>James, carrying the wheel, walks over to Frigo, who's closing the ride down for the evening.</dialogue> <character>JAMES</character> <dialogue>Frigo. Can I get a ride with you? Someone stole my bike. Well, three- quarters of it.</dialogue> <character>FRIGO</character> <dialogue>Ha-ah, Brennan! You're such a nutsack!</dialogue> <character>JAMES</character> <dialogue>Should I interpret that as a yes?</dialogue> <scene_description>Frigo moves behind a little booth, unzips his pants and starts pissing.</scene_description> <character>JAMES</character> <dialogue>What are you doing, Frigo?</dialogue> <character>FRIGO</character> <dialogue>I can't hold it. So lend me five bucks.</dialogue> <character>JAMES</character> <dialogue>Why?</dialogue> <character>FRIGO</character> <dialogue>You want a ride home?</dialogue> <scene_description>James sighs as he reaches for his wallet.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - MOMENTS LATER</stage_direction> <scene_description>James and Joel stand with a group of co-workers, including Frigo and Munch. Joel takes a pipe out of his pocket. He stuffs it with tobacco and lights it.</scene_description> <character>JOEL</character> <parenthetical>(off of James's look)</parenthetical> <dialogue>I know it's a revolting affectation, but it relaxes me.</dialogue> <scene_description>Em saunters over to them. She has changed into a concert tee for the punk band "The Damned". She leans close to reveal that she has a PINT BOTTLE OF BACARDI in her coat pocket.</scene_description> <character>EM</character> <dialogue>Want some?</dialogue> <character>JAMES</character> <dialogue>Sure.</dialogue> <scene_description>Suddenly, the nearby co-workers scream loudly. (in unison) Wet Fart! Wet Fart! Wet Fart!</scene_description> <character>MUNCH</character> <dialogue>No it wasn't!</dialogue> <character>FRIGO</character> <dialogue>Check his undies!!</dialogue> <scene_description>James is at his breaking point:</scene_description> <character>JAMES</character> <dialogue>I'm...I'm supposed to be in the Caravaggio room at the Uffizi or running with the bulls in Pamplona! Who swapped lives with me? How did I end up here?!</dialogue> <character>EM</character> <dialogue>Welcome to the fucked. Cheers.</dialogue> <scene_description>Frigo turns his attention to James.</scene_description> <character>FRIGO</character> <dialogue>Hey, Brennan, did you know about Connell?!</dialogue> <character>JAMES</character> <dialogue>What about him?</dialogue> <character>MUNCH</character> <dialogue>He once friggin' jammed with Neil Young!</dialogue> <character>JAMES</character> <dialogue>Seriously?</dialogue> <scene_description>SUE O'MALLEY, a tall, cute-ish, red-haired girl, pipes in.</scene_description> <character>SUE O'MALLEY</character> <dialogue>It's totally true! Connell is so friggin' excellent!</dialogue> <character>MUNCH</character> <dialogue>...friggin' major!</dialogue> <character>JAMES</character> <dialogue>He played with Neil Young?! Tell me-</dialogue> <character>FRIGO</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Brennan, did you know Connell's got a rock band? They're called 'Enemas'.</dialogue> <character>MUNCH</character> <parenthetical>(pointing at his t-shirt)</parenthetical> <dialogue>It's 'Animus', you moron. Uh-doy.</dialogue> <dialogue>Shut up, Munch, you munchkin! I bet Connell gets tons of pussy!</dialogue> <character>SUE O'MALLEY</character> <dialogue>He's married, you perv!</dialogue> <scene_description>As this illuminating discussion continues, a rusty blue Pinto pulls up beside them. Pete O'Malley, the jerk who threw James's book into the boat pond, leans his head out a window.</scene_description> <character>PETE O'MALLEY (TO JOEL)</character> <dialogue>Nice pipe, grandpa!</dialogue> <scene_description>Pete throws something out of the car. It nails Joel in the head.</scene_description> <character>JOEL</character> <dialogue>Ow. I think that was a corn dog.</dialogue> <character>SUE O'MALLEY</character> <dialogue>Sorry, Joel. My brother's kind of a douche.</dialogue> <scene_description>An enormous puke-colored Cutlass Supreme pulls into the lot. In the driver's seat is MRS. FRIGO, a squat Italian woman. Rosary beads dangle from the rear-view mirror.</scene_description> <character>FRIGO</character> <dialogue>Brennan, you panty stain! Let's go!</dialogue> <character>JAMES</character> <parenthetical>(sighing to Em)</parenthetical> <dialogue>That's my cue.</dialogue> <character>EM</character> <dialogue>I can give you a lift.</dialogue> <character>JAMES</character> <dialogue>Really?</dialogue> <parenthetical>(turning)</parenthetical> <dialogue>Hey, Frigo, I got a ride.</dialogue> <character>FRIGO</character> <dialogue>You got a ride?</dialogue> <character>JAMES</character> <dialogue>Yes, I got a ride.</dialogue> <character>FRIGO</character> <dialogue>Why don't you ride this?</dialogue> <scene_description>Frigo punches James in the groin. James crumples to the ground. Frigo cackles as he skitters away. What the hell was that?</scene_description> <character>JAMES</character> <parenthetical>(through the pain)</parenthetical> <dialogue>It's just my life.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - LATER</stage_direction> <character>A CASSETTE IS PUSHED INTO A CAR STEREO</character> <dialogue>The proto-punk classic "Roadrunner" by Jonathan Richman &amp; The Modern Lovers starts playing. Em and James are driving in her Pacer. She cranks the music up.</dialogue> </scene> <scene> <stage_direction>EXT. BRENNAN HOUSE - LATER</stage_direction> <scene_description>Em pulls up to the curb.</scene_description> <character>JAMES</character> <dialogue>Well...thanks for the ride.</dialogue> <scene_description>James starts to get out of the car.</scene_description> <character>EM</character> <dialogue>You in a hurry?</dialogue> <character>JAMES</character> <dialogue>No. I'm...no.</dialogue> <parenthetical>(awkward beat)</parenthetical> <dialogue>So, did Connell really jam with Neil Young?</dialogue> <character>EM</character> <dialogue>Yeah, he did. At a club in the city. Connell's actually really talented. Want some?</dialogue> <scene_description>She hands him the Bacardi. He glances toward the house.</scene_description> <character>JAMES</character> <parenthetical>(looking toward his house)</parenthetical> <dialogue>Oh, Jesus.</dialogue> <character>JAMES'S P.O.V.</character> <dialogue>His mother squints at him through a window.</dialogue> <character>JAMES</character> <dialogue>My mother. She's very nosy. She used to read my journals. I had to start writing them in French. Okay, she's gone.</dialogue> <scene_description>He slugs down some Bacardi. Joel told me that you're going to grad school. Columbia? What for?</scene_description> <character>JAMES</character> <dialogue>Journalism.</dialogue> <character>EM</character> <dialogue>Oh, really?</dialogue> <character>JAMES</character> <dialogue>I want to be, like, a travel essayist. Report on the real state of the world. Like, okay, Charles Dickens wrote what you might call 'travel books' -- but he visited prisons and mental asylums.</dialogue> <character>EM</character> <dialogue>That's cool.</dialogue> <character>JAMES</character> <dialogue>Well, we don't have to accept the world as it is. We can shine a light on, y'know, cruelty, disparity. We can say: I'm not settling for this crap. Things can be better.</dialogue> <scene_description>Em nods -- not entirely convinced, though.</scene_description> <character>JAMES</character> <dialogue>You're going into your senior year, right? What's your major?</dialogue> <character>EM</character> <dialogue>It'll probably be art history. It doesn't matter. I mean, I can't really picture myself in a profession. I don't really like being part of...anything.</dialogue> <character>JAMES</character> <dialogue>You're a lone wolf.</dialogue> <character>EM</character> <dialogue>Yeh. That's me.</dialogue> </scene> <scene> <stage_direction>EXT. DANNY'S BAR, STRIP MALL - LATER</stage_direction> <scene_description>Em is driving alone. She slows down, looking over at DANNY'S, an undistinguished nightclub/bar. A back-lit sign (missing some letters) reads: TONIG T:</scene_description> <character>ROL ING STONES TRIBUT</character> <dialogue>TUMBLING DIC</dialogue> <character>BAND</character> <dialogue>EM'S P.O.V. -- a green Plymouth Duster in the parking lot.</dialogue> <dialogue>bar and enters.</dialogue> <dialogue>MUSIC: "Tops" by the Rolling Stones starts to play...</dialogue> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - DAY</stage_direction> <character>THE CAMERA TRACKS WITH</character> <dialogue>an unusually buxom and shapely 19-year-old woman. She has olive skin, flowing jet black hair and striking dark eyes. She wears tight jeans and an orange "RIDES" shirt that is tied off to expose her midsection. She's LISA P.</dialogue> <character>MICK JAGGER SINGS</character> <dialogue>...Cause I'll take you to the top, baby...I swear we're never going to stop, baby...I'll take you to the top...</dialogue> <scene_description>VARIOUS MALES REACT TO HER -- a group of boy scouts ogle and punch each other, a dad furtively checks her out, an awkward teen stumbles into a cotton candy cart.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>James works the arcade. Munch scurries up to a co-worker.</scene_description> <character>MUNCH</character> <dialogue>Lisa P.'s back!</dialogue> <character>CO-WORKER</character> <parenthetical>(astonished)</parenthetical> <scene_description>GET OUT?!:</scene_description> <character>MUNCH</character> <parenthetical>(running toward James)</parenthetical> <dialogue>Brennan! Lisa P.'s back!</dialogue> <character>JAMES</character> <dialogue>Who's Lisa P.?</dialogue> <character>MUNCH</character> <dialogue>Holy mother of crap! Who's Lisa P.?!</dialogue> <scene_description>James watches quizzically as Munch runs on to the next male to pass along the news.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - NIGHT</stage_direction> <scene_description>Lisa P. is holding court with several co-workers. Her presence has them electrified.</scene_description> <character>REVERSE ON</character> <dialogue>Joel behind the counter of the "milk can toss" booth. James stands outside the booth. They're staring at Lisa P.</dialogue> <scene_description>Look at the shape of her ass. It's a Platonic ideal. That ass is a higher truth. Look, look! See how there's that little portal of light just below her crotch. Where the thigh meets the pudendum.</scene_description> <character>JAMES</character> <dialogue>Pudendum?</dialogue> <character>JOEL</character> <dialogue>...I'm telling you, I've had dreams about that diamond-shaped portal... Shit, she's coming over here! Be cool!</dialogue> <character>JAMES</character> <dialogue>You're telling me to be cool?</dialogue> <scene_description>As Lisa P.'s group breaks up, she saunters toward Joel and James, along with her friend, KELLY, a blonde girl. They're eating sno-cones.</scene_description> <character>LISA P.</character> <dialogue>Hey, Joel.</dialogue> <character>JOEL</character> <parenthetical>(nervously)</parenthetical> <dialogue>Hey, Lisa. I didn't expect to see you back.</dialogue> <character>LISA P.</character> <dialogue>Oh, man, I had my whole summer, like, mapped out. Beach by day, dancing by night. But my dad, he got sick. He had this whole, like, heart operation. I mean, I need to help out, y'know?</dialogue> <character>JOEL</character> <dialogue>I'm sorry to hear that.</dialogue> <parenthetical>(apropos of nothing)</parenthetical> <dialogue>My mom has shingles.</dialogue> <character>LISA P.</character> <dialogue>Oh.</dialogue> <character>KELLY</character> <dialogue>So does anyone ever win this game?</dialogue> <character>JAMES</character> <dialogue>The trick is to underhand it, with your palm toward you. It gives you backspin.</dialogue> <character>LISA P.</character> <dialogue>Yeah?</dialogue> <scene_description>Then when the ball hits the lip of the milk can, it catches. Like this. James tosses a ball. It bounces off the lip of the milk can and doesn't go in.</scene_description> <character>JOEL</character> <parenthetical>(into a microphone, loudly)</parenthetical> <dialogue>And we have a loser.</dialogue> <character>JAMES</character> <dialogue>I mean, it takes a few tries. Ha.</dialogue> <character>LISA P.</character> <dialogue>Well, we gotta go run the 'Love Machine'. Don't want Paulette bitchin' me out my first night back.</dialogue> <parenthetical>(to James, with a little smile)</parenthetical> <dialogue>I'm Lisa.</dialogue> <character>JAMES</character> <dialogue>James.</dialogue> <scene_description>The boys watch as Lisa P. walk away. Joel looks like he might cry.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - LATER</stage_direction> <scene_description>James stands beside Joel as he plays a video game.</scene_description> <character>JOEL</character> <parenthetical>(narrating his play)</parenthetical> <dialogue>Ah-ha! The smart bomb! Fuuuck! See, okay, yes, observe. I have two options. I could play it safe, cower back here and pick off marauders...</dialogue> <parenthetical>(starts tapping buttons wildly)</parenthetical> <dialogue>Or I could rush into the breach, guns blazing... Make a run right at the cortex!!</dialogue> <character>JAMES</character> <dialogue>Your shields are almost gone...</dialogue> <character>JOEL</character> <dialogue>...And bombs away!</dialogue> <scene_description>An explosion sound -- Joel's 'strategy' has succeeded.</scene_description> <character>JOEL</character> <dialogue>Audentis Fortuna Iuvat. Fortune favors the bold. Virgil said that.</dialogue> <scene_description>I'm sure Virgil had 'Bionic Commando' in mind. As Joel attacks the next level, James notices two burly, TOUGH TEENAGE BOYS playing a nearby video game. A sweet- looking, RUNTY BOY, is trying to watch.</scene_description> <character>RUNTY BOY</character> <dialogue>Can I play?</dialogue> <character>TOUGH TEENAGER</character> <dialogue>Fuck off.</dialogue> <character>RUNTY BOY</character> <dialogue>Can I have a quarter?</dialogue> <character>TOUGH TEENAGER</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>Ah, shit! Eat fire-dick, sucka!!</dialogue> <character>RUNTY BOY</character> <dialogue>But Dad said-</dialogue> <character>TOUGH TEENAGER</character> <dialogue>I said fuck off!</dialogue> <scene_description>The runty boy wanders off, pouting. James takes out his wallet, pulls out a few singles. He stuffs them into his change apron, counts out a bunch of quarters.</scene_description> <character>JAMES</character> <parenthetical>(to the kid)</parenthetical> <dialogue>Hey, kid. Here, have some fun.</dialogue> <scene_description>James holds out his hand. The kid looks confused.</scene_description> <character>JAMES</character> <dialogue>It's okay. Go nuts.</dialogue> <scene_description>The kid grins and takes the money. He runs back to his brother and shows him the quarters. The older boy looks over at James, suspicious and annoyed. He takes the quarters from the kid and pockets them. The runty boy looks stricken.</scene_description> <character>JAMES</character> <dialogue>Fuck.</dialogue> <parenthetical>(walking toward the kids)</parenthetical> <dialogue>Hey, that money is his.</dialogue> <scene_description>The teenager turns toward James. He looks pissed.</scene_description> <character>TOUGH TEENAGER</character> <dialogue>What?</dialogue> <scene_description>Joel looks up from the game, surprised. I...I just gave him that money. The teenager starts toward James, menacingly.</scene_description> <character>TOUGH TEENAGER</character> <dialogue>Are you accusing me?</dialogue> <character>JOEL</character> <parenthetical>(to himself)</parenthetical> <dialogue>Fuuuck.</dialogue> <scene_description>The teen's expression is borderline psychotic. People have turned to watch -- INCLUDING EM, who has just entered from the snack bar. James can see her, over the teen's shoulder.</scene_description> <character>TOUGH TEENAGER</character> <parenthetical>(still moving forward)</parenthetical> <dialogue>I'm gonna fucking beat you. You hear me? I'm gonna hurt you. Right now.</dialogue> <character>JAMES</character> <dialogue>Okay. I can't win a fight with you. I know that.</dialogue> <parenthetical>(turning to Joel)</parenthetical> <dialogue>If I have a seizure, get the syringe from my locker. It has insulin. If I don't have the insulin, it could be fatal.</dialogue> <character>TOUGH TEENAGER</character> <dialogue>What? What the fuck?!</dialogue> <character>JAMES</character> <parenthetical>(turning back)</parenthetical> <dialogue>I have a condition.</dialogue> <character>TOUGH TEENAGER</character> <parenthetical>(confused and irritated)</parenthetical> <dialogue>You have...you have...I...?</dialogue> <parenthetical>(almost helpless)</parenthetical> <dialogue>You fuckin' pussy.</dialogue> <scene_description>He turns and walks away. Joel exhales, deeply relieved.</scene_description> <character>JOEL</character> <parenthetical>(aside to James)</parenthetical> <dialogue>You made that up? I mean, we don't have lockers...</dialogue> <character>JAMES</character> <dialogue>What do you think?</dialogue> <character>MUNCH</character> <dialogue>Heh-heh! Brennan's got a condition!!</dialogue> <scene_description>sympathetic look.</scene_description> </scene> <scene> <stage_direction>EXT. BUMPER CARS - LATER</stage_direction> <scene_description>MUSIC: Generation X's punk rock cover of John Lennon's "Gimme Some Truth". The camera is mounted to the "hood" of a bumper car and ZOOMING TOWARD James, a sitting duck in his bumper car. THE CAMERA IS JOLTED as James is sent spinning, sparks raining down. Em grins as she drives away from the scene of the crime. James gives pursuit. He's about to hit Em, when she veers at the last second. James slams into a FRECKLED KID. The kid stares him down as he drives off. Em taunts James from afar, driving in circles. James catches up to her ... BUT THEN: the freckled kid is coming straight at him. They CRASH. James is thrown forward. A split- second later, he's WHIPLASHED BACKWARD as another kid hits him. Then another. And another. Em laughs as every kid on the ride pummels James...</scene_description> </scene> <scene> <stage_direction>EXT. "SHOOT OUT THE STAR" GAME - ANOTHER DAY</stage_direction> <scene_description>General Public's "Tenderness" plays as three LOUD KIDS are fighting over the BB gun.</scene_description> <character>LOUD KID #1</character> <dialogue>C'mon, it's my turn, fartstain!</dialogue> <character>LOUD KID #2</character> <dialogue>No it's not, dickweed!</dialogue> <character>LOUD KID #3</character> <parenthetical>(holding his head)</parenthetical> <dialogue>That ride made me dizzy! Did that ride make you dizzy...?!</dialogue> <scene_description>James yawns. Beside him, Connell is repairing one of the guns.</scene_description> <character>JAMES</character> <dialogue>So I heard that you jammed with Neil Young.</dialogue> <character>CONNELL</character> <dialogue>Don't believe everything you hear.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'll tell you about it some time.</dialogue> <dialogue>Where does your band play?</dialogue> <character>CONNELL</character> <dialogue>Usual places. But I need better players. I'm gonna start a new band. Out in Los Angeles.</dialogue> <character>JAMES</character> <dialogue>Los Angeles?</dialogue> <character>CONNELL</character> <dialogue>It's the best rock/metal scene in the world. Motley Crue, Poison, Ratt, Tesla. And punk, too. Black Flag, X, Circle Jerks... Shit's happening out there. Goin' this winter-</dialogue> <character>LOUD KID #1 (O.S.)</character> <dialogue>NASTY!</dialogue> <scene_description>James turns to see that the ride-sick kid is vomiting. He turns and sprays puke right at James, who gets splashed before he can escape.</scene_description> <character>CONNELL</character> <dialogue>Bummer.</dialogue> <scene_description>James grabs a roll of brown paper towels and starts cleaning himself. Em walks over to the counter.</scene_description> <character>EM</character> <dialogue>Party at my house tonight. My dad -- and his consort -- are in Martha's Vineyard.</dialogue> <character>JAMES</character> <dialogue>I'm invited?</dialogue> <character>EM</character> <dialogue>Yes, that's why I'm telling you. Connell?</dialogue> <scene_description>Connell gives Em a long look. He smiles at her.</scene_description> <character>CONNELL</character> <dialogue>Sounds kick-ass. You kiddies have fun.</dialogue> <scene_description>Connell grabs his toolbox and walks off.</scene_description> </scene> <scene> <stage_direction>INT. DEN, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>Em, in a worn Buzzcocks t-shirt, is pouring Jack Daniels into James's glass. Behind them, a group of ten or so Adventureland employees, including Joel and Frigo, are drinking beer in the living room. Em's house is noticeably bigger and swankier than the Brennan home. Nice digs. I have to ask you... Why are you working at Adventureland?</scene_description> <character>EM</character> <dialogue>I worked there a few summers during high school. I could've spent the summer with college friends. I don't know...I was kinda sick of them. Adventureland sucks, but it gets me out of the house.</dialogue> <scene_description>James nods. She seems to be telling only part of the story.</scene_description> <character>JAMES</character> <dialogue>Hey, I brought this.</dialogue> <scene_description>James reaches into his wallet. He removes a sad, misshapen joint.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, LEWIN HOUSE - LATER</stage_direction> <scene_description>"Born To Lose" by Johnny Thunders is blasting on the stereo. THE CAMERA FOLLOWS the joint being passed around the table: Sue takes a tentative puff, then passes it to Joel. He takes his ridiculous tobacco pipe out of his mouth to have a toke, before handing it to Frigo, who laughs maniacally while filling a giant cup with bourbon. Meanwhile, Em and James sit on the kitchen counter.</scene_description> <character>EM</character> <dialogue>I'm going for a swim. Anyone want to join me?</dialogue> <parenthetical>(nobody's going for it)</parenthetical> <dialogue>Brennan?</dialogue> <character>JAMES</character> <dialogue>I don't have a bathing suit.</dialogue> <character>EM</character> <parenthetical>(shrugging)</parenthetical> <dialogue>You're a guy. You don't need to wear anything.</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD, LEWIN HOUSE - MOMENTS LATER</stage_direction> <scene_description>Em dives into the pool. She surfaces and looks up at James who stands shirtless, tentative about disrobing further.</scene_description> <character>EM</character> <dialogue>Come on.</dialogue> <scene_description>James quickly slips off his jeans, leaving nothing but his white cotton briefs. He's not going any further. He jumps into the pool. After he emerges, Em swims up to him. Hey, do you have any more of that pot?</scene_description> <character>JAMES</character> <dialogue>Yeah, at home. Why?</dialogue> <character>EM</character> <dialogue>My connections have all dried up. You ever make pot cookies? It's really fun. Though last semester my friend Gary ate way too many and went nuts. Actually checked himself into a psych ward.</dialogue> <character>JAMES</character> <dialogue>I've always wanted to have a psychotic break!</dialogue> <character>EM</character> <dialogue>Don't be a pussy!</dialogue> <scene_description>Em pushes James underwater. He re-emerges, grabbing her. She shrieks as he drags her under. They pop back up, laughing. They play fight for a few moments, then stop. They look like they're getting aroused.</scene_description> <character>EM</character> <dialogue>I think I need a cocktail.</dialogue> <scene_description>Em gets out of the pool. James steals a glance at her bathing suit-clad body.</scene_description> <character>EM</character> <dialogue>You coming?</dialogue> <character>JAMES</character> <parenthetical>(weirdly)</parenthetical> <dialogue>Um. In a sec. You go ahead.</dialogue> <character>EM</character> <parenthetical>(not sure why)</parenthetical> <dialogue>Oh-kay.</dialogue> <scene_description>Em enters the house, James sheepishly gets out of the pool and "adjusts himself".</scene_description> <character>FRIGO (O.S.)</character> <dialogue>Ah-hah!</dialogue> <scene_description>Frigo stands in the doorway to the kitchen.</scene_description> <character>FRIGO</character> <dialogue>Brennan's got a boner!!</dialogue> <scene_description>Some of the others rush to the window. James panics and hurls himself back into the pool. "Taking Tiger Mountain" by Brian Eno spins on the record player. From the kitchen we can hear the others playing a boisterous drinking game. Em, towel wrapped around her waist, enters with two cocktails. She hands one to James, who's also in a towel. He's flipping through her records.</scene_description> <character>JAMES</character> <dialogue>Eno, Lou Reed, Replacements... Good stuff.</dialogue> <character>EM</character> <dialogue>Here, give me your underwear. I'll throw it in the dryer.</dialogue> <scene_description>James awkwardly slides his underwear off from beneath the towel. He hesitates before handing them over.</scene_description> <character>EM</character> <dialogue>Don't worry, you'll get them back.</dialogue> <scene_description>As James sips his drink, he notices a gold-framed photo of a dark-red-haired woman wearing a somewhat maniacal smile.</scene_description> <character>EM</character> <dialogue>That's my stepmother.</dialogue> <character>JAMES</character> <dialogue>Oh.</dialogue> <character>EM</character> <dialogue>My mother died two years ago.</dialogue> <character>JAMES</character> <parenthetical>(caught off guard)</parenthetical> <dialogue>I'm...sorry.</dialogue> <character>EM</character> <dialogue>My dad got remarried last year.</dialogue> <parenthetical>(sneering at the photo)</parenthetical> <dialogue>Her name is Francy. See that unholy abomination on her head? It's a wig.</dialogue> <character>JAMES</character> <dialogue>Really?</dialogue> <character>EM</character> <dialogue>She had some kind of nervous breakdown when her first husband divorced her. Her hair fell out. I'd feel sorry for her if she wasn't such a pathetic, status- obsessed witch.</dialogue> <scene_description>Em finishes her cocktail, cracking the ice in her teeth. I'm buzzed. Are you?</scene_description> <character>JAMES</character> <dialogue>Kind of.</dialogue> <scene_description>She's smiling a little. She leans over and kisses him. They start to make out. Something out the window catches James's eye It's his mother. Mrs. Frigo stands behind her.</scene_description> <character>JAMES</character> <dialogue>Christ!</dialogue> <character>EM</character> <dialogue>What?</dialogue> <character>MRS. BRENNAN</character> <dialogue>James Brennan, meet me at the door!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>Frigo is taking a hit off James's tiny joint.</scene_description> <character>JAMES</character> <parenthetical>(entering, confused)</parenthetical> <dialogue>Frigo. Our moms are outside.</dialogue> <character>FRIGO</character> <parenthetical>(coughing on the joint)</parenthetical> <dialogue>Holy shit! If she smells marijuana on me, I'm dead!</dialogue> <scene_description>Frigo jumps up from the table.</scene_description> <character>FRIGO</character> <dialogue>Last time I got caught smoking weed, my father made me get into a bathtub filled with ice!</dialogue> <character>JAMES</character> <dialogue>That was eighth grade-</dialogue> <character>FRIGO</character> <dialogue>I gotta get outta here!</dialogue> <character>FRIGO</character> <parenthetical>(starting out of the room)</parenthetical> <dialogue>Frigo. Come on. Act like an adult...</dialogue> <scene_description>Frigo suddenly jumps out an open window and scampers off into the night. Or not.</scene_description> </scene> <scene> <stage_direction>EXT. LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>James opens the door. His mother and Mrs. Frigo are on the porch.</scene_description> <character>MRS. BRENNAN</character> <parenthetical>(sternly)</parenthetical> <dialogue>What is this?</dialogue> <character>SHE HOLDS OUT</character> <dialogue>a thin joint. Em is watching from the foyer. Down the hall, some of the others have gathered.</dialogue> <character>JAMES</character> <dialogue>Eric...he liked to roll his own cigarettes. It must've gotten into my stuff when I packed-</dialogue> <character>MRS. BRENNAN</character> <dialogue>Oh, this is a cigarette?</dialogue> <character>JAMES</character> <dialogue>I think so...</dialogue> <character>MRS. BRENNAN</character> <dialogue>Well, I found this cigarette on the floor of your room. Are you doing drugs?</dialogue> <character>JAMES</character> <dialogue>No, I'm not doing them. I'm dealing them. Right out of the house. Cut open my mattress, you'll find a kilo of hashish.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Oh, you're some comedian. You're a real David Brenner.</dialogue> <character>JAMES</character> <parenthetical>(stepping forward)</parenthetical> <dialogue>Mom, couldn't this wait? I'm at a party. I'm not-</dialogue> <scene_description>As James moves toward his mother, his towel starts to fall off. James grabs it in a panic, spilling his cocktail all over the porch.</scene_description> <character>JAMES</character> <parenthetical>(clutching the towel)</parenthetical> <dialogue>I'm not a child. I'm a grown man.</dialogue> <dialogue>Is that so?</dialogue> <scene_description>Mrs. Brennan looks at Em, who holds a drink in one hand and James's wet underwear in the other.</scene_description> <character>MRS. FRIGO</character> <dialogue>Where's Tommy?! He stole liquor!</dialogue> <character>JAMES</character> <dialogue>He went with some of the guys to get pizza, Mrs. Frigo.</dialogue> <character>MRS. BRENNAN</character> <dialogue>You better not be getting mixed up in any shenanigans, young man. Put on some pants. And underwear.</dialogue> <scene_description>HOLD ON the embarrassed James as his mother walks off.</scene_description> </scene> <scene> <stage_direction>EXT. TREE-LINED ROAD - LATER</stage_direction> <scene_description>Em's Pacer rolls slowly down a dark road. Em drives, while James leans out the window, squinting.</scene_description> <character>JAMES</character> <dialogue>Frigo! You out there?! ... You idiot! ... Frigo!</dialogue> <scene_description>He turns to Em and shrugs.</scene_description> <character>EM</character> <dialogue>I can drive you home?</dialogue> <character>JAMES</character> <dialogue>Okay.</dialogue> <scene_description>He turns away from her, embarrassed by his mother's visit, defeated. Em puts a cassette on. "There Is A Light That Never Goes Out" by The Smiths plays. After a few beats, James turns and glances at Em. She's lost in the song. Her hair is being tossed around by the wind. She's beautiful. He turns back to the road.</scene_description> <character>THE TREES SEEM TO BE FLOATING</character> <dialogue>as the headlights hit them on the twisting road.</dialogue> <dialogue>James looks back at Em. His anxiety seems to fall away...</dialogue> <dialogue>James lies on his bed. He turns to his pillow, a goofy love-struck look on his face. He pulls it over his face.</dialogue> <character>JAMES</character> <parenthetical>(as if kissing Em)</parenthetical> <dialogue>Mmm...</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, LEWIN HOUSE - LATER</stage_direction> <scene_description>As Em cleans up, the phone rings. She answers.</scene_description> <character>EM</character> <parenthetical>(familiar tone)</parenthetical> <dialogue>Hey...No, they're gone. Party broke up pretty early...</dialogue> <parenthetical>(tentatively)</parenthetical> <dialogue>Um, so... want to come over?</dialogue> </scene> <scene> <stage_direction>INT. FOYER, LEWIN HOUSE - LATER</stage_direction> <scene_description>Em peers out a window beside the front door. HER P.O.V. -- pulling up to the curb is the same green Plymouth Duster we saw in the parking lot at Danny's Bar. A man gets out of the driver's seat. It's Connell.</scene_description> </scene> <scene> <stage_direction>INT. DEN, LEWIN HOUSE - MOMENTS LATER</stage_direction> <scene_description>Connell flips through the same stack of records James had been looking at earlier. Em enters with two Bourbons. She hands one to Connell.</scene_description> <character>EM</character> <dialogue>So how long do we have? Five minutes?</dialogue> <character>CONNELL</character> <dialogue>A little more than that. But I don't see any point in wasting time.</dialogue> <scene_description>Connell moves closer to her, sipping his drink.</scene_description> <character>CONNELL</character> <dialogue>Can I see some of your body?</dialogue> <character>EM</character> <dialogue>Depends on what you want to see.</dialogue> <character>CONNELL</character> <dialogue>What do you want to show me?</dialogue> <scene_description>Beat. Em takes off her shirt. She stands before Connell in a light blue bra. Oh, God. You're beautiful. I wonder... Do your panties match? Em unbuttons her jeans. She slides them off. Her underwear is black.</scene_description> <character>EM</character> <dialogue>They don't.</dialogue> <scene_description>He moves close to her. Connell begins to kiss her neck. He arrives at her lips. They kiss for a moment.</scene_description> <character>CONNELL</character> <dialogue>Give me your hand. Do you feel what you've done to me?</dialogue> <character>EM</character> <parenthetical>(quietly)</parenthetical> <dialogue>Indeed.</dialogue> <scene_description>Connell lifts Em up and puts her on the back of a couch. He kisses her neck as he undoes his jeans.</scene_description> <character>CLOSE ON EM'S FACE</character> <dialogue>She wraps her arms around him as they begin to have sex.</dialogue> </scene> <scene> <stage_direction>INT. SNACK BAR, ADVENTURELAND - LATER</stage_direction> <scene_description>James and Em are waiting on line. He hands her a cassette.</scene_description> <character>JAMES</character> <dialogue>I made you a tape. My favorite bummer songs. Truly miserable, pit-of-despair- type songs. You'll love it.</dialogue> <character>EM</character> <dialogue>Cool. Thanks.</dialogue> <scene_description>Two PREPPY GUYS in front of them on line are bickering:</scene_description> <character>PREPPY GUY #1</character> <dialogue>...Eat me! Pay for your own food!</dialogue> <character>PREPPY GUY #2</character> <dialogue>Come on, just pay for me! Don't be a Jew! You're such a Jew...</dialogue> <character>EM</character> <parenthetical>(piping in)</parenthetical> <dialogue>Hey, I'm a Jew.</dialogue> <character>PREPPY GUY #2</character> <dialogue>What?</dialogue> <dialogue>I just wanted to warn you that my Jew germs are probably getting all over your sloppy joe here. I wouldn't want you to catch Jew-berculosis.</dialogue> <character>PREPPY GUY #2</character> <parenthetical>(moving away)</parenthetical> <dialogue>What's your problem, freak?</dialogue> <scene_description>The two preppies hurry off.</scene_description> <character>JAMES</character> <dialogue>What assholes.</dialogue> <scene_description>Em looks at James. She's pissed, but likes that he's taken her side.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - SAME NIGHT</stage_direction> <scene_description>Em and James drive in her Pacer.</scene_description> <character>JAMES</character> <dialogue>Where are you taking me?</dialogue> <scene_description>Em simply wags her eyebrows at him. She pulls into the parking lot of Danny's Bar. The illuminated sign reads: TO IGHT:</scene_description> </scene> <scene> <stage_direction>INT. DANNY'S BAR - CONTINUOUS</stage_direction> <scene_description>A DORKY TEENAGER screeches into a microphone:</scene_description> <character>DORKY TEENAGER</character> <parenthetical>(a la David Lee Roth)</parenthetical> <dialogue>...I ain't the worst you've seen...! Ah, can't you see what I mean?! Ah, might as well jump...JUMP! Go ahead an' jump...JUMP!...</dialogue> <scene_description>WIDER -- a Van Halen tribute band comprised of adolescents. They're wearing sleeveless t-shirts and sweatbands. The bar is half-filled. Em and James are sitting at a table in the back. They throw back Jack Daniels shots, followed by Budweiser chasers.</scene_description> <character>JAMES</character> <dialogue>I feel I should, um, tell you...</dialogue> <character>EM</character> <dialogue>What?</dialogue> <parenthetical>(overly earnest)</parenthetical> <dialogue>I, uh, had my heart broken recently. I just thought...I don't know...I should tell you.</dialogue> <character>EM</character> <dialogue>That sucks. Who broke your heart?</dialogue> <character>JAMES</character> <dialogue>A girl at school. I really thought there was something there, that she and I had potential. I think she was afraid.</dialogue> <character>EM</character> <dialogue>Afraid of what?</dialogue> <character>JAMES</character> <dialogue>The real thing.</dialogue> <character>EM</character> <dialogue>Ah. Was the sex good?</dialogue> <character>JAMES</character> <parenthetical>(evasively)</parenthetical> <dialogue>She was very sexy.</dialogue> <character>EM</character> <dialogue>Have you slept with a lot of girls?</dialogue> <character>JAMES</character> <dialogue>Um. We're talking about intercourse?</dialogue> <character>EM</character> <dialogue>Uh...yeah.</dialogue> <character>JAMES</character> <dialogue>Well, okay, um... There were a few times that I could've done that. But none of those times were quite right.</dialogue> <character>EM</character> <dialogue>Wait. Brennan. Are you telling me that you're a virgin?</dialogue> <character>JAMES</character> <parenthetical>(defensively)</parenthetical> <dialogue>There were circumstances. For instance, okay, junior year I dated this girl, Sue Hornick. Sue was kind of a prude. One day, I was reading some Shakespeare and realized -- I don't really love this person...</dialogue> <character>EM</character> <dialogue>...Shakespeare told you that?</dialogue> <scene_description>It was one of the sonnets. Y'know, about authentic love. I thought, this isn't it, I have to break up. I went straight to Sue's house and was literally about to tell her -- and that's the night she said she finally wanted to have sex. Can you believe it? That was the night!</scene_description> <character>EM</character> <dialogue>And you didn't just fuck her anyway?</dialogue> <character>JAMES</character> <parenthetical>(as if this hadn't occurred to him)</parenthetical> <dialogue>Um. Well. No.</dialogue> <parenthetical>(looking down)</parenthetical> <dialogue>So what about you? And intercourse?</dialogue> <character>EM</character> <dialogue>Could you stop using the word 'intercourse'? You sound like my sex ed teacher, Mr. Pincus. My first was a guy in high school.</dialogue> <parenthetical>(vaguely)</parenthetical> <dialogue>And I saw some guys at college.</dialogue> <character>JAMES</character> <dialogue>Were you in love with any of them?</dialogue> <character>EM</character> <dialogue>Hell, no. They were all dicks.</dialogue> <character>JAMES</character> <dialogue>Dicks. Gotcha.</dialogue> <parenthetical>(something catches his eye)</parenthetical> <dialogue>Oh, hey. It's Connell.</dialogue> <scene_description>Em turns around. Connell is walking right toward her, accompanied by a pretty woman with long, tawny hair.</scene_description> <character>JAMES</character> <dialogue>Hey, Connell!</dialogue> <scene_description>Connell stops short when he sees Em.</scene_description> <character>JAMES</character> <dialogue>Do you know this place?</dialogue> <character>CONNELL</character> <dialogue>Yeah. This is my joint.</dialogue> <scene_description>Connell turns to the long-haired woman. These guys work at the park. (turning back) This is Ronnie.</scene_description> <character>EM</character> <parenthetical>(tersely)</parenthetical> <dialogue>Hey.</dialogue> <character>CONNELL</character> <dialogue>We're meeting some friends.</dialogue> <scene_description>Connell leads his wife away.</scene_description> <character>JAMES</character> <dialogue>Is that Connell's wife? She's good looking.</dialogue> <character>EM</character> <parenthetical>(irritated)</parenthetical> <dialogue>Yeh.</dialogue> </scene> <scene> <stage_direction>INT. DANNY'S BAR - LATER</stage_direction> <character>A CABLE IS PLUGGED INTO AN ELECTRIC GUITAR</character> <dialogue>TILT UP TO REVEAL that Connell holds the guitar. He has joined the band onstage. Nearby, a rowdy group are clapping and hooting -- all except Connell's wife, who yawns and checks her watch.</dialogue> <dialogue>The drummer starts a propulsive beat. Connell winks at his wife, then starts shredding, Eddie Van Halen-style. His friends go berserk.</dialogue> <dialogue>Connell shoots a look over at James and Em. He looks a little irritated...</dialogue> </scene> <scene> <stage_direction>EXT. DANNY'S BAR - LATER</stage_direction> <scene_description>James follows Em out of the bar.</scene_description> <character>JAMES</character> <dialogue>Are you sure you want to go?</dialogue> <character>EM</character> <dialogue>Yes. I don't need to hear the entire Van Halen oeuvre.</dialogue> <scene_description>They cross to her car.</scene_description> <character>JAMES</character> <dialogue>I don't want the night to be over. Let's go somewhere.</dialogue> <scene_description>Em hesitates. She nods, then gets into her car. Em and James, on a beach, drinking cans of beer, tossing driftwood onto a fire. Em presses down the play button on an old-school cassette player/recorder. Through the plastic door we see, hand- written on the cassette: J'S FAVORITE BUMMER SONGS. A stark, solo acoustic version of Neil Young's "Cowgirl In The Sand" starts to play... LATER: Em and James are lying on a blanket, staring at the night sky. Em suddenly stands and walks away. James looks up, bemused. He gets up, follows her as she enters a nearby wooded area. She glances back, then goes into a run. The Neil Young song slowly grows less tinny, more intimate. James enters the dark tree area. He glances around for Em, who's disappeared. He looks a bit spooked.</scene_description> <character>A SLASH OF LIGHT</character> <dialogue>crosses Em's face, as she emerges from the dark. She pushes James into a tree, moving her lips to his. They kiss and grope, hungry and breathless.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. "LAUGHING CLOWN" BOOTH, ADVENTURELAND - DAY</stage_direction> <scene_description>Once again, "Rock Me, Amadeus" is blasting. James mans the booth, trapped beneath a loudspeaker. Connell is in the booth, repairing one of the mechanical clown heads.</scene_description> <character>JAMES</character> <dialogue>Do you have an ice pick I can jam into my ears? I can't listen to this song again!</dialogue> <character>CONNELL</character> <dialogue>No, but I have this.</dialogue> <scene_description>Connell opens his tool box and tosses James a can of beer.</scene_description> <character>CONNELL</character> <dialogue>Be cool with that. So, were you on a date the other night?</dialogue> <scene_description>James ducks under the counter to drink some of the beer.</scene_description> <character>JAMES</character> <dialogue>Um. I wouldn't call it a date.</dialogue> <character>CONNELL</character> <dialogue>Not into Em?</dialogue> <dialogue>No, she's great. But I'm not really looking for a girlfriend. I'm getting over a broken heart.</dialogue> <character>CONNELL</character> <dialogue>You didn't tell her that, did you?</dialogue> <character>JAMES</character> <dialogue>Um, why?</dialogue> <character>CONNELL</character> <parenthetical>(rolling his eyes)</parenthetical> <dialogue>Christ. Girls don't want to hear about your broken heart.</dialogue> <character>JAMES</character> <dialogue>Wh-why not?</dialogue> <character>CONNELL</character> <dialogue>Because women don't want a guy who's all confused and torn up over someone else. Look, I'm not saying you should never be vulnerable in front of a girl. But you don't play that card first.</dialogue> <character>JAMES</character> <dialogue>It's a card? Like a...card?</dialogue> <character>CONNELL</character> <dialogue>There's a science to it all. You should like that, I bet you're good at science.</dialogue> </scene> <scene> <stage_direction>EXT. FERRIS WHEEL, ADVENTURELAND - NIGHT</stage_direction> <scene_description>James and Em are in a ferris wheel gondola, making out. They rise above the park's twinkling lights. Springsteen's "I'm On Fire" plays. James slides his hand up Em's shirt. He struggles with her bra... THERE'S A LOUD SCREECH and the ferris wheel jerks to a halt.</scene_description> <character>EM</character> <dialogue>What the fuck?!</dialogue> <scene_description>The gondola is swinging back-and-forth. Em and James look below -- Frigo mans the controls. Em is fixing her bra.</scene_description> <character>FRIGO</character> <parenthetical>(into a bullhorn, singing the billy squier song)</parenthetical> <dialogue>Stroke me, stroke me!</dialogue> <scene_description>Employees are staring up at the couple -- INCLUDING JOEL. Frigo starts up the ferris wheel... and then stops it again. Other customers on the ride start yelling down at him. Frigo! Cut it out!</scene_description> <character>FRIGO</character> <dialogue>Sorry! I won't do it again!</dialogue> <scene_description>Frigo starts the ride...and stops.</scene_description> <character>EM &amp; JAMES</character> <dialogue>FRIGO!</dialogue> <character>FRIGO</character> <dialogue>Last time! I swear!</dialogue> <scene_description>He does it again, cracking himself up...</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - NIGHT</stage_direction> <scene_description>Bobby sits with two exhausted-looking TEENS who are bloodied and bruised, noses and eyes swollen.</scene_description> <character>BOBBY</character> <dialogue>Guys. You can't just come to a family amusement center and beat the shit out of each other. And you're both wasted. Who can I call to come pick you up? C'mon.</dialogue> <scene_description>Em and James enter and begin to punch out...</scene_description> <character>TEEN #1</character> <parenthetical>(to his friend)</parenthetical> <dialogue>Um...can your mom hear the phone ring... when she's being gangbanged?</dialogue> <scene_description>The other teen lunges and suddenly the two dudes are beating the shit out of each other again.</scene_description> <character>EM</character> <parenthetical>(couldn't care less about the fight)</parenthetical> <dialogue>I have to run to the rest room.</dialogue> <character>JAMES</character> <dialogue>I'll wait for you in the arcade.</dialogue> <scene_description>They exit as Bobby struggles to pry the two kids apart.</scene_description> </scene> <scene> <stage_direction>INT. SNACK BAR, ADVENTURELAND - MOMENTS LATER</stage_direction> <scene_description>Em exits the ladies room. Connell is waiting for her.</scene_description> <character>CONNELL</character> <parenthetical>(quietly)</parenthetical> <dialogue>I want to see you. Tonight.</dialogue> <dialogue>Really?</dialogue> <character>CONNELL</character> <dialogue>I just miss you. Have I lost you?</dialogue> <scene_description>He's looking at her with genuine vulnerability. Em seems affected by this. She looks into the arcade where James and Joel are playing a video game together, shoving each other, acting like kids.</scene_description> <character>EM</character> <dialogue>Where can we go? That's not the backseat of your car.</dialogue> <character>CONNELL</character> <dialogue>Meet me at Crazy Benny's.</dialogue> <scene_description>Em walks away from Connell. Through the glass, we see her approach James.</scene_description> <character>EM</character> <dialogue>Hey, let's go. I can give you a lift, but I'm too beat to hit the diner...</dialogue> </scene> <scene> <stage_direction>EXT. CRAZY BENNY'S LIQUOR STORE - NIGHT</stage_direction> <scene_description>Connell's Duster sits in the parking lot of a discount liquor store. Em's Pacer pulls in. She drives right up to his driver's side window.</scene_description> <character>CONNELL</character> <dialogue>Follow me.</dialogue> <scene_description>He pulls away. She does a u-turn and follows... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREETS/CONNELL'S MOTHER'S HOUSE - LATER</stage_direction> <scene_description>WE'RE WITH Em, in her car, as she follows Connell's Duster down a tree-lined street. Connell pulls over and Em does the same. Without speaking, Em follows Connell toward an older-looking home. They walk around to a side yard...</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD, CONNELL'S MOTHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Em watches as Connell unlocks the back door...</scene_description> </scene> <scene> <stage_direction>INT. DEN, CONNELL'S MOTHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>CONNELL'S MOTHER sleeps on a couch, under a crochet blanket. She's conspicuously overweight. The TV plays loudly. Hey, ma, it's me... She awakens.</scene_description> <character>CONNELL'S MOTHER</character> <parenthetical>(feeble, sickly)</parenthetical> <dialogue>Mikey...? That you...? It's so late...</dialogue> <character>CONNELL</character> <parenthetical>(entering)</parenthetical> <dialogue>You know me. I'll keep it down.</dialogue> <scene_description>He gives her a kiss on the cheek.</scene_description> <character>CONNELL'S MOTHER</character> <dialogue>Okay, honey...</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD, CONNELL'S MOTHER'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Connell reappears at the back door. He lets Em into the house.</scene_description> </scene> <scene> <stage_direction>INT. MUD ROOM, CONNELL'S MOTHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>They quietly cross to the basement doorway and enter...</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT, CONNELL'S MOTHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>They descend into a wood-panelled basement, his adolescent sanctuary -- rock posters, an air hockey table, a weight bench, a few guitars. He clicks on the radio.</scene_description> <character>CONNELL</character> <dialogue>Want a beer?</dialogue> <character>EM</character> <dialogue>Got anything stronger?</dialogue> <scene_description>He holds up a bottle of Jack Daniels. She nods. Connell opens a small fridge, to get ice. He pours two drinks.</scene_description> <character>EM</character> <dialogue>What excuse did you give your mother for coming down here? Gotta pump some midnight iron?</dialogue> <character>CONNELL</character> <dialogue>Sometimes I come over here to practice. Give Ronnie a break.</dialogue> <scene_description>He leans in and kisses her neck. She pulls back.</scene_description> <character>EM</character> <dialogue>Are you still hot for your wife? What's the sex like?</dialogue> <dialogue>Don't. Don't be mean.</dialogue> <character>EM</character> <dialogue>Geez, you're sensitive.</dialogue> <character>CONNELL</character> <dialogue>Em, I'm serious. Let's not make it like all the other shit out there. When we're together, we're good to each other. Let's not ruin it.</dialogue> <scene_description>They stare at each other for a few tense moments.</scene_description> <character>EM</character> <dialogue>Okay.</dialogue> <scene_description>She moves into his arms, burying her head into his chest.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - DAY</stage_direction> <scene_description>Paulette, looking grouchy in an Uncle Sam hat, points park-goers toward a sign that reads:</scene_description> <character>HEY, U.S.A., HAPPY B-DAY!!</character> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>Lisa P. plays "Pole Position", a sit-down race car video game. She notices James at the adjacent game, trying to clean some gum out of a coin slot with a popsicle stick.</scene_description> <character>LISA P.</character> <dialogue>Hey, James.</dialogue> <character>JAMES</character> <dialogue>Bonus lap. Kudos.</dialogue> <character>LISA P.</character> <parenthetical>(lowering her voice)</parenthetical> <dialogue>I heard you might have some weed?</dialogue> <character>JAMES</character> <parenthetical>(trying to be cool)</parenthetical> <dialogue>I've got a stash. You like the ganja?</dialogue> <character>LISA P.</character> <dialogue>Sometimes.</dialogue> <character>JAMES</character> <dialogue>Hold on.</dialogue> <scene_description>He looks around, acting suspicious. He takes out his wallet. He slips Lisa P. a small, crumpled joint. I can have this?</scene_description> <character>JAMES</character> <dialogue>No prob.</dialogue> <character>LISA P.</character> <parenthetical>(smiling)</parenthetical> <dialogue>Nice. Maybe we should go on break?</dialogue> </scene> <scene> <stage_direction>EXT. ANTIQUE CAR RIDE - SOON AFTER</stage_direction> <scene_description>Off to the side of the ride, are some broken down antique buggies. James sits in the front seat of one, Lisa P. lies across the back seat, discreetly smoking the joint.</scene_description> <character>JAMES</character> <dialogue>...I was supposed to go to Europe. It was a graduation present from my parents. Then my dad's company had all these cutbacks, he got demoted, they couldn't afford it anymore. So, here I am.</dialogue> <character>LISA P.</character> <parenthetical>(takes a toke, beat)</parenthetical> <dialogue>My dad's really sick.</dialogue> <character>JAMES</character> <dialogue>I'm sorry.</dialogue> <character>LISA P.</character> <dialogue>Want some?</dialogue> <character>JAMES</character> <dialogue>Uh, yeah. Okay.</dialogue> <scene_description>He takes a tiny toke.</scene_description> <character>LISA P.</character> <dialogue>It's hard to see him like that. Not for me, for him. He doesn't like being seen that way. Y'know, weak.</dialogue> <character>JAMES</character> <dialogue>Men are very proud.</dialogue> <character>LISA P.</character> <dialogue>Yeah. Exactly. Do you believe in God?</dialogue> <character>JAMES</character> <parenthetical>(caught off guard)</parenthetical> <dialogue>Um. Wow. Theology usually doesn't come up around here a lot.</dialogue> <dialogue>Yeah, but you see someone you love get really sick, you think about that.</dialogue> <character>JAMES</character> <dialogue>Right, see -- I'm not a devout Catholic, but I believe in love. That there's something divine in the human capacity to love.</dialogue> <character>LISA P.</character> <dialogue>That's pretty cool.</dialogue> <parenthetical>(nodding thoughtfully, then)</parenthetical> <dialogue>I'm majorly high.</dialogue> <character>JAMES</character> <parenthetical>(worried)</parenthetical> <dialogue>Oh, shit. Me, too.</dialogue> <scene_description>She starts to giggle like crazy.</scene_description> </scene> <scene> <stage_direction>EXT. "THE FLIGHING DUTCHMAN!" BOOTH - THAT NIGHT</stage_direction> <scene_description>Crowds have gathered for the fireworks. Em and Sue O'Malley work the booth, James stands outside the booth, reading a newspaper. He's manic from getting stoned:</scene_description> <character>JAMES</character> <dialogue>Secord admitted that they were shredding documents after the investigation began!</dialogue> <character>EM</character> <parenthetical>(incensed)</parenthetical> <dialogue>No fucking way!</dialogue> <character>JAMES</character> <dialogue>That's what he testified! Those fuckers!</dialogue> <character>EM</character> <dialogue>Scumbags!</dialogue> <character>SUE O'MALLEY</character> <dialogue>What are you guys talkin'...?</dialogue> <character>JAMES</character> <dialogue>Iran-contra hearings.</dialogue> <scene_description>Sue shrugs, no idea what he's talking about. Something catches both Em and James's attention:</scene_description> <character>CONNELL AND HIS WIFE</character> <dialogue>are strolling along the midway. She's dressed in a tacky-yet- sexy cocktail waitress get-up. She holds their baby boy.</dialogue> <scene_description>Why is she dressed like that?</scene_description> <character>EM</character> <dialogue>She works at that lame disco, Razzmatazz.</dialogue> <character>SUE O'MALLEY</character> <parenthetical>(partially overhearing)</parenthetical> <dialogue>You don't like Razzmatazz?! A bunch of us are going the tuesday after next. It's two-fer tuesday. Two drinks for the price of one!! You guys gotta go.</dialogue> <scene_description>Sue gets called away by a customer.</scene_description> <character>EM</character> <parenthetical>(still watching Connell's wife)</parenthetical> <dialogue>It's kinda sad.</dialogue> <character>JAMES</character> <dialogue>What? Razzmatazz?</dialogue> <character>EM</character> <dialogue>No. Their marriage. He didn't really want it. Now he's trapped.</dialogue> <character>A LOUD WHISTLE AND BOOM!</character> <dialogue>The first volley of fire works have begun.</dialogue> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>Bobby fumbles with an audio cassette.</scene_description> <character>BOBBY</character> <dialogue>Shit! I wasn't ready!!</dialogue> <scene_description>He jams the cassette into a player and hits play.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>OVER THE LOUDSPEAKERS, we hear Meco's disco-fied version of the "Star Wars Theme". James, Em and Sue stare up at the fireworks as the crowd ooh's and ah's. Em subtly looks over at Connell. He turns and locks eyes with her. HOLD ON this loaded exchange of looks... SUPER WIDE ON the park, fireworks exploding above...</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - NIGHT</stage_direction> <scene_description>The parking lot is empty, except for Em's Pacer. crotch. He jumps.</scene_description> <character>EM</character> <dialogue>Sorry.</dialogue> <character>JAMES</character> <dialogue>No, no -- no reason to be sorry.</dialogue> <character>EM</character> <parenthetical>(looking right at him)</parenthetical> <dialogue>Can I touch you?</dialogue> <character>JAMES</character> <dialogue>Absolutely.</dialogue> <scene_description>She "touches" him, while they kiss. A WIFFLE BALL BAT raps at the window.</scene_description> <character>EM &amp; JAMES</character> <dialogue>Ah!</dialogue> <scene_description>Rich, the parking lot attendant, is peering down at them. James covers himself up as Em rolls down the window.</scene_description> <character>EM</character> <dialogue>Rich, you scared the hell out of us.</dialogue> <scene_description>He's looking past James, at Em.</scene_description> <character>RICH</character> <dialogue>The park's closed. Em.</dialogue> <character>EM</character> <dialogue>I know, Rich.</dialogue> <character>JAMES</character> <dialogue>Rich, it's me, James.</dialogue> <character>RICH</character> <dialogue>The park's closed, James.</dialogue> <character>JAMES</character> <dialogue>Yeah, we're leaving soon.</dialogue> <character>RICH</character> <dialogue>You better leave now. I don't want you to get in trouble. The park's closed.</dialogue> <character>EM</character> <dialogue>Okay. Gotcha. Good-night, Rich.</dialogue> <scene_description>They drive off. ON A TV SCREEN Oliver North, fervently testifying before the senate... MEANWHILE James is on top of Em, making out, fully dry-humping. They are practically exploding with hormones.</scene_description> <character>EM</character> <parenthetical>(leaning close)</parenthetical> <dialogue>I think we should get naked.</dialogue> <character>JAMES</character> <parenthetical>(beat)</parenthetical> <dialogue>Yes. Yes, I concur. Upstairs?</dialogue> <character>EM</character> <dialogue>Here. Now.</dialogue> <scene_description>Em unbuttons James's pants. She starts to pull them down.</scene_description> <character>JAMES</character> <dialogue>Wait. Shoes.</dialogue> <scene_description>He starts to get his shoes off. She does the same. From the other room, we hear a DOOR OPEN.</scene_description> <character>EM</character> <dialogue>Fuck! They're early!</dialogue> <scene_description>Em pushes James off -- he rolls onto the floor with a THUD. He struggles to pull up his pants as fast as possible. Em reaches to turn on a lamp, knocking it over -- she catches it just in time and sets it right. James hops onto the couch beside Em, pulling a pillow over his lap to hide his hard-on just as MR. LEWIN enters. He's followed by Em's stepmother, FRANCY, gaunt, with a big, fake smile. They're dressed up. James is wearing only one sneaker.</scene_description> <character>FRANCY</character> <parenthetical>(with creepy enthusiasm)</parenthetical> <dialogue>Heeeyyy, Kiiids!</dialogue> <character>MR. LEWIN</character> <parenthetical>(brusquely)</parenthetical> <dialogue>Hey. What's going on?</dialogue> <character>EM</character> <dialogue>Dad, this is my friend, James.</dialogue> <scene_description>James starts to get up -- but his erection makes it awkward. (halfway standing) Hello. Sir.</scene_description> <character>FRANCY</character> <dialogue>Hi, James. Nice to meet you.</dialogue> <scene_description>Mr. Lewin stares blankly at the TV screen for a moment. James tries to not stare at Francy's wig.</scene_description> <character>MR. LEWIN</character> <dialogue>Well, I need to do some work before bed. Good-night.</dialogue> <scene_description>He trudges out.</scene_description> <character>FRANCY</character> <dialogue>So it was a lovely party at the Melnicks. They've done a beautiful job on their backyard. Added a fountain. And a pergola. Just gorgeous.</dialogue> <character>EM</character> <parenthetical>(couldn't give a shit)</parenthetical> <dialogue>Sounds magical.</dialogue> <character>FRANCY</character> <dialogue>Their daughter, Lori, is lovely. She said you two used to be best friends?!</dialogue> <character>EM</character> <dialogue>In junior high. She used to sleep over.</dialogue> <character>FRANCY</character> <dialogue>How nice.</dialogue> <scene_description>EM (to James) Lori Melnick once violated our cat, Gypsy, with a ballpoint pen.</scene_description> <character>FRANCY</character> <dialogue>Emily!</dialogue> <character>EM</character> <dialogue>She was just, like, 'hey, check this out' and started to pleasure the cat. It was kinda weird. Does that make me an accessory to cat rape?</dialogue> <character>FRANCY</character> <dialogue>Young lady! That's enough!</dialogue> <scene_description>Francy huffs with disgust as she exits. (irritated) Ugh. Let's get out of here.</scene_description> </scene> <scene> <stage_direction>EXT. LARGE FIELD - MOMENTS LATER</stage_direction> <scene_description>We're in a field that's crisscrossed by colossal high-tension wire towers. Em sits on the hood of the car and lights a cigarette. James throws back some Bacardi. "Willpower" by The Replacements plays from the car.</scene_description> <character>EM</character> <dialogue>I don't give a shit about the Melnicks and their fucking pergola! She can't imagine that people might value something in this world other than money and the ugly shit that it buys! I just can't believe that's who my dad would choose to be with!</dialogue> <scene_description>Em takes the bottle from James and drinks.</scene_description> <character>EM</character> <parenthetical>(hesitantly)</parenthetical> <dialogue>When my mom got sick -- really sick -- my dad suddenly started going to temple. Like every night. He was never serious about his faith. But, you know, he was gonna buddy up to God, ask him to save my mother.</dialogue> <parenthetical>(laughing bitterly)</parenthetical> <dialogue>But he wasn't at temple. He was actually having...relations with that creature.</dialogue> <scene_description>She looks off, doesn't want to make eye contact with James.</scene_description> <character>EM</character> <dialogue>My mom lost her hair because of chemo. And my father started sleeping with a bald woman.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Fucking weird.</dialogue> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - DAY</stage_direction> <scene_description>As the disco classic "Rock Your Baby" by George McCrae plays, Lisa P. and her friend Kelly do a sultry dance in front of the Gravitron ride. Every male within a hundred yards is gawking at this show.</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>Bobby stares out the window, looking wistful. He's watching Lisa P.'s gyrating ass. He gulps from a can of beer. It's nice when Paulette's got a day off, huh? So I can put on the disco station. Connell sits near Bobby, making some repairs on the P.A. system.</scene_description> <character>BOBBY</character> <dialogue>Tell me one of your stories...</dialogue> <character>CONNELL</character> <dialogue>Oh, christ...</dialogue> <character>BOBBY</character> <dialogue>Wait, tell me trifecta day again! Which one did you do first? The brunette babe with bangs and the white shorts and the birth mark right inside her thigh, right?</dialogue> <character>CONNELL</character> <dialogue>Bobby, you know these stories better than I do.</dialogue> <scene_description>James enters. Bobby nearly falls out of his chair, trying to hide his beer.</scene_description> <character>BOBBY</character> <dialogue>Hey, Brennan.</dialogue> <character>JAMES</character> <parenthetical>(handing over ticket apron)</parenthetical> <dialogue>I'm on break.</dialogue> <scene_description>The phone rings. BOBBY (into phone) Hello? (to Connell) It's your mother. Connell sighs. He takes the phone. We faintly hear a distressed-sounding voice on the other end.</scene_description> <character>CONNELL (INTO PHONE)</character> <dialogue>Hey, ma...it's okay...I'll...alright, ma, I'll come over...don't...I know, I know...I gotta...I'll be right there.</dialogue> <scene_description>He hangs up, shakes his head.</scene_description> <character>CONNELL</character> <dialogue>I gotta go.</dialogue> <parenthetical>(nods to James to follow him)</parenthetical> <dialogue>Jimbo.</dialogue> <scene_description>James follows Connell out of the office.</scene_description> <character>CONNELL</character> <dialogue>You got one of those little baby joints on you?</dialogue> <character>JAMES</character> <dialogue>I do.</dialogue> <character>CONNELL</character> <dialogue>I could use that. Let's go for a ride.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - DAY</stage_direction> <scene_description>James drives with Connell in the Duster. Connell lights up the joint.</scene_description> <character>JAMES</character> <dialogue>Your mom okay?</dialogue> <character>CONNELL</character> <parenthetical>(lighting up)</parenthetical> <dialogue>My mother's over three hundred pounds, half-blind from diabetes. She's also got arthritis and emphysema. And now she can't control her bowels. Personally, I'd rather be dead.</dialogue> <character>JAMES</character> <dialogue>I'm sorry...</dialogue> <scene_description>Connell hands the joint to James, who takes a hit. He holds in the smoke, determined to not cough. James waits a beat, as if to see if he's stoned already. He slowly takes in the song on the radio -- it's a languorous, guitar-heavy Neil Young song. James turns the volume up.</scene_description> <character>CONNELL</character> <parenthetical>(listening to the song)</parenthetical> <dialogue>That's cool...</dialogue> <character>JAMES</character> <dialogue>It's Neil Young.</dialogue> <character>CONNELL</character> <dialogue>Oh. Right.</dialogue> <character>JAMES</character> <dialogue>Cortez the Killer.</dialogue> <character>CONNELL</character> <dialogue>Yeh-yeh.</dialogue> <character>JAMES</character> <dialogue>You gotta tell me your Neil Young story. He's, like, a real hero to me. Oh, shit-</dialogue> <scene_description>James suddenly ducks down in his seat.</scene_description> <character>CONNELL</character> <dialogue>What the fuck are you doing?</dialogue> <character>JAMES</character> <dialogue>Cop car.</dialogue> <character>CONNELL</character> <dialogue>Uh, desperado, it's a driving school car.</dialogue> <character>JAMES</character> <parenthetical>(sitting back up)</parenthetical> <dialogue>Oh. So you going tonight?</dialogue> <character>CONNELL</character> <dialogue>Razzmatazz? Not really my scene. How goes it with Em?</dialogue> <character>JAMES</character> <dialogue>It's going...she's...it's been...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I think I'm in love with her.</dialogue> <scene_description>Connell, surprised, looks over at James, who obliviously takes another hit...then starts coughing up his lungs.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - LATER</stage_direction> <scene_description>Em is making change for some gruff, chain-smoking old women who are playing "Fascination", a Bingo-like game. Em spots Connell close by, repairing a skee ball machine. She strolls toward him as he pitches some balls to test the machine.</scene_description> <character>CONNELL</character> <dialogue>I was hanging with your boyfriend today.</dialogue> <character>EM</character> <dialogue>He's not my boyfriend.</dialogue> <character>CONNELL</character> <dialogue>He told me that he's in love with you.</dialogue> <character>EM</character> <parenthetical>(surprised by this)</parenthetical> <dialogue>What?</dialogue> <character>CONNELL</character> <dialogue>He said: "I think I'm in love with her".</dialogue> <dialogue>Excuse me! Miss! Young lady!</dialogue> <scene_description>One of the old ladies is frantically waving some dollars at Em. She walks to her, a bit perturbed.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD - NIGHT</stage_direction> <scene_description>MUSIC: "LET THE MUSIC PLAY" by SHANNON A TRACKING SHOT of a fast-moving caravan of cars. Em's car is the leader of the pack.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT, "RAZZMATAZZ" DANCE CLUB - NIGHT</stage_direction> <scene_description>A shopping mall parking lot, beneath a glowing sign that reads "RAZZMATAZZ".</scene_description> <character>THE CAMERA FOLLOWS</character> <dialogue>James, Em, Joel and Sue O'Malley as they pass through the front doors of the nightclub.</dialogue> </scene> <scene> <stage_direction>INT. "RAZZMATAZZ" DANCE CLUB - CONTINUOUS</stage_direction> <scene_description>The club is packed, the music (Shannon still) is very loud. Every surface is either carpeted, mirrored or painted black. Em is taking it all in. She notices the slack-jawed faces of Pete O'Malley and his pals -- they're hypnotized by Lisa P., who's on the dance floor, doing a synchronized hip-swaying dance with Kelly.</scene_description> <character>EM</character> <dialogue>This place is vile.</dialogue> <scene_description>As they cross to the bar, Em spots Connell's wife nearby. She's serving cocktails to a table of smitten guys. As she moves away from the table, she recognizes James and Em. She puts on a smile, but it takes some effort:</scene_description> <character>RONNIE</character> <dialogue>Hey, it's Adventureland night! What can I get ya?</dialogue> <character>JAMES</character> <dialogue>Four gin and tonics.</dialogue> <character>RONNIE</character> <dialogue>Four g-and-t's...</dialogue> <character>EM</character> <dialogue>Make it eight.</dialogue> <parenthetical>(off the others' looks)</parenthetical> <dialogue>It's two-fer night.</dialogue> <scene_description>We find the foursome in a big, curved booth littered with cocktail glasses. Joel is in conversation with Sue.</scene_description> <character>SUE O'MALLEY</character> <dialogue>What are you majoring in?</dialogue> <character>JOEL</character> <dialogue>Russian literature and Slavic languages.</dialogue> <character>SUE O'MALLEY</character> <dialogue>Wow. That's interesting. What career track is that?</dialogue> <character>JOEL</character> <dialogue>Cabbie. Hot dog vendor. Marijuana delivery guy. The world's my oyster.</dialogue> <scene_description>A NEW SONG STARTS: "I CAN'T WAIT" by NU SHOOZ Around them, there's a rush to the dance floor. Sue drunkenly jumps up from her seat.</scene_description> <character>SUE O'MALLEY</character> <dialogue>C'mon! Let's dance! Em!</dialogue> <scene_description>Em doesn't look enthused. James stands, taking her hand.</scene_description> <character>JAMES</character> <dialogue>Come on.</dialogue> <scene_description>Em doesn't budge.</scene_description> <character>JAMES</character> <dialogue>Come on!</dialogue> <scene_description>James pulls the reluctant Em up from the booth and onto the dance floor. As they start to dance, James surprises Em by grabbing her hand and spinning her into his arms.</scene_description> <character>EM</character> <dialogue>Whoa.</dialogue> <character>JAMES</character> <dialogue>Marci Feingold, ninth grade, taught me that one.</dialogue> <scene_description>Lisa P. is right beside them.</scene_description> <character>LISA P.</character> <dialogue>Nice moves, Brennan.</dialogue> <scene_description>Joel stumbles alongside the very wasted Sue, who's doing silly jazz dance moves.</scene_description> <character>SUE O'MALLEY</character> <dialogue>Razzmatazz! Razzma-tazzzzzz!</dialogue> <character>EM</character> <dialogue>Come on, Razzmatazz, I'm driving you home.</dialogue> <character>SUE O'MALLEY</character> <dialogue>We love you, Razzmatazz!</dialogue> <scene_description>She spins around and falls down.</scene_description> <character>SUE O'MALLEY</character> <parenthetical>(as if cursing)</parenthetical> <dialogue>Razzmatazz!</dialogue> <scene_description>Joel helps her up.</scene_description> <character>JOEL</character> <dialogue>You okay?</dialogue> <character>SUE O'MALLEY</character> <dialogue>Ooh. You're strong...ish. That's so...Razzmatazz.</dialogue> <scene_description>She leans on Joel as they walk toward Em's car.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH PARKING LOT - NIGHT</stage_direction> <scene_description>In the back seat of Em's parked car: Joel and Sue are sloppily making out. Out on the beach, James and Em sit on the lifeguard stand. He wears a drunk, fretful look.</scene_description> <character>JAMES</character> <dialogue>I need to tell you something.</dialogue> <character>EM</character> <dialogue>Okay.</dialogue> <character>JAMES</character> <dialogue>I know I said...we both said...I've changed my...I feel differently...about you, about us...</dialogue> <scene_description>Em looks off at the surf. Her expression clouds over.</scene_description> <character>EM</character> <dialogue>I don't know...</dialogue> <character>JAMES</character> <dialogue>What don't you know?</dialogue> <dialogue>There's a lot of shit in my life, James. You have no idea...</dialogue> <character>JAMES</character> <dialogue>Em, I think I do. I...I want to be there for you.</dialogue> <scene_description>She looks at him, so much happening in her eyes.</scene_description> <character>JAMES</character> <dialogue>You think you can do everything alone. But you don't have to... I know you must be so disappointed with your father-</dialogue> <character>EM</character> <dialogue>It's late.</dialogue> <scene_description>With that, she hops off the lifeguard stand and heads back to the car. He follows, a few steps behind.</scene_description> <character>JAMES</character> <dialogue>Em...?</dialogue> <scene_description>She looks at him, then gets in the car.</scene_description> </scene> <scene> <stage_direction>EXT. "HATS OFF TO LARRY" BOOTH, ADVENTURELAND - DAY</stage_direction> <scene_description>PSSSHHHHH... An aerosol can sprays toward camera. WIDER -- Paulette is spraying adhesive on one of the "Larry" mannequin heads. She glues a hat on it. It's morning at Adventureland. James walks past, drinking some coffee. He sees Lisa P., struggling to drag a heavy wooden sign -- it's a cut-out of a a cartoon pirate, saying: "MATEYS MUST BE THIS TALL TO RIDE".</scene_description> <character>JAMES</character> <dialogue>Here, let me help.</dialogue> <scene_description>He puts down his coffee and helps her move the sign to the front of the entrance to the "Enterprise" ride.</scene_description> <character>LISA P.</character> <dialogue>Thanks.</dialogue> <character>JAMES</character> <dialogue>How's your dad?</dialogue> <character>LISA P.</character> <dialogue>Slow going, but he's hanging in there. Thanks.</dialogue> <scene_description>starts up the ride engine, which makes some disturbing scraping, clanking sounds.</scene_description> <character>JAMES</character> <parenthetical>(concerned)</parenthetical> <dialogue>These rides are safe, right?</dialogue> <character>LISA P.</character> <dialogue>Supposedly. I definitely wouldn't fuck around on any of 'em. Last summer, some drunk idiot was goofing around on the Galaxy, trying to kick his buddy. They found his Reebok in the parking lot. With his foot in it.</dialogue> <scene_description>Pete O'Malley saunters over, eating a breakfast slice of pizza.</scene_description> <character>PETE O'MALLEY</character> <dialogue>Hey, Lisa. We're partners today.</dialogue> <scene_description>He gives James a disinterested nod.</scene_description> <character>PETE O'MALLEY</character> <dialogue>So it's official. My friend Boomer's hooking me up with a job at the Mercedes dealership on Jericho Turnpike. I'm totally psyched.</dialogue> <character>LISA P.</character> <parenthetical>(unimpressed)</parenthetical> <dialogue>Uh-huh.</dialogue> <character>PETE O'MALLEY</character> <dialogue>I get a car right away. Way under list price, payments deducted from my check. I'm gonna go for a 560, convertible, in gold, with leather interior, all the options. I'm even gonna get a compact disc player. Gonna be insane.</dialogue> <character>LISA P.</character> <dialogue>To the max.</dialogue> <character>PETE O'MALLEY</character> <dialogue>So, hey, Lise -- you wanna go see Judas Priest at Nassau Coliseum? My friend Fitzy can get me floor seats.</dialogue> <character>LISA P.</character> <dialogue>That's okay. Take Boomer. I don't mind. And go tell Bobby we need to hose down the dried puke over there.</dialogue> <scene_description>You don't like Priest?</scene_description> <character>LISA P.</character> <dialogue>I'm busy that night.</dialogue> <character>PETE O'MALLEY</character> <dialogue>I didn't tell you what night.</dialogue> <character>LISA P.</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>James, you and I should go out some night.</dialogue> <scene_description>James is speechless. So is Pete.</scene_description> <character>PETE O'MALLEY</character> <parenthetical>(cracking up)</parenthetical> <dialogue>I get it! Funny one! Psych!!</dialogue> <character>LISA P.</character> <parenthetical>(looking at James)</parenthetical> <dialogue>Just let me know. Pete -- dried puke.</dialogue> <scene_description>Pete gives James a dirty look as he walks off.</scene_description> <character>LISA P.</character> <dialogue>I'm serious. I wouldn't mind hanging out with a nice guy for a change.</dialogue> <character>JAMES</character> <dialogue>Cool. That would be very cool.</dialogue> <scene_description>He turns and walks right into the pirate sign. He steadies it, smiles at Lisa P. and walks away.</scene_description> </scene> <scene> <stage_direction>EXT. "SKY CHOPPER" RIDE, ADVENTURELAND - A BIT LATER</stage_direction> <scene_description>Connell is attempting to repair the "Sky Chopper" ride, hunched over the motor casing. James stands beside him, lost in thought. Customers are starting to trickle in.</scene_description> <character>CONNELL</character> <dialogue>Give me the needle-nose.</dialogue> <scene_description>James fishes through a toolbox, hands over the pliers.</scene_description> <character>JAMES</character> <dialogue>Can I ask you something?</dialogue> <character>CONNELL</character> <dialogue>Sure.</dialogue> <character>JAMES</character> <dialogue>Lisa P. just asked me if I wanted to go out with her some time-</dialogue> <parenthetical>(incredulous)</parenthetical> <dialogue>Lisa P.?</dialogue> <character>JAMES</character> <dialogue>Yeah. I know. She may've been trying to piss off Pete O'Malley, but...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...can you imagine any universe in which she'd get with a guy like me?</dialogue> <character>CONNELL</character> <dialogue>Do you own a Corvette or, like, a publishing empire?</dialogue> <character>JAMES</character> <dialogue>I'm taking that as a no.</dialogue> <character>BOBBY (O.S.)</character> <dialogue>Connell!</dialogue> <scene_description>ANGLE ON Bobby, who mans the nearby ride controls.</scene_description> <character>BOBBY</character> <dialogue>Let's try again.</dialogue> <character>CONNELL</character> <dialogue>I don't know. I think we should maybe wait until we can get Monty down here-</dialogue> <character>BOBBY</character> <dialogue>I'm gonna start it.</dialogue> <scene_description>Connell backs away from the motor. Bobby starts the ride. The "chopper" gondolas are hoisted into the air...</scene_description> <character>BOBBY</character> <dialogue>See. It's fine. Would be dumb to shut this baby down. A solid ticket-seller.</dialogue> <scene_description>Connell looks at James.</scene_description> <character>CONNELL</character> <dialogue>Look, my attitude is you never know. She asked you out? You're a fucking idiot if you don't at least go. She's Lisa P.</dialogue> <character>JAMES</character> <dialogue>But it's crazy. I don't have a shot.</dialogue> <character>CONNELL</character> <dialogue>You never know. She's a Catholic prude. Your sensitive guy bullshit might help for a change. But don't be too nice.</dialogue> <scene_description>But what about Em?</scene_description> <character>CONNELL</character> <dialogue>What about her?</dialogue> <character>JAMES</character> <dialogue>Well, I...I can't do that to her.</dialogue> <character>CONNELL</character> <dialogue>She doesn't need to know. Look, are you getting all of your needs met by Em?</dialogue> <character>JAMES</character> <dialogue>Uh. I guess not.</dialogue> <character>CONNELL</character> <dialogue>Right. You see a beautiful young thing, every cell in your body screams at you to go after her. That's how we're wired. It's stupid to deny it.</dialogue> <character>JAMES</character> <dialogue>But my feelings for Em are...vast.</dialogue> <character>CONNELL</character> <parenthetical>(rolling his eyes)</parenthetical> <dialogue>Good for you. But James. Imagine it. Lisa P.</dialogue> <character>JAMES</character> <dialogue>Right. Lisa P.</dialogue> <character>SUDDENLY</character> <dialogue>A DEAFENING SCREECH, followed by the METALLIC THWACK of a cable snapping. A fiberglass gondola comes crashing to the ground just a few yards from them. Various patrons are frozen in their tracks, a child bursts into tears.</dialogue> <character>BOBBY</character> <dialogue>It's okay, folks! Ha ha! Ride's closed for repairs! Go about your fun! Lots of other fun, everywhere you look! Hooray!</dialogue> </scene> <scene> <stage_direction>EXT. SNACK BAR, ADVENTURELAND - MORNING</stage_direction> <scene_description>Joel, carrying a few paperbacks, tentatively approaches Sue as she eats a pretzel and french fry breakfast. "(I Just) Died In Your Arms" by Cutting Crew plays.</scene_description> <character>JOEL</character> <dialogue>Hey.</dialogue> <character>SUE O'MALLEY</character> <dialogue>Joel. Hey.</dialogue> <dialogue>I brought you this. One of my favorite writers. Gogol. Russian. Lost his mind, burned the only copy of final book, nine days later died of self-starvation. A real fun guy.</dialogue> <scene_description>He laughs awkwardly as he hands her the book.</scene_description> <character>SUE O'MALLEY</character> <dialogue>Oh. Thanks.</dialogue> <character>JOEL</character> <dialogue>Um, so, maybe you want to see a dumb movie or something, some time?</dialogue> <character>SUE O'MALLEY</character> <parenthetical>(uneasily)</parenthetical> <dialogue>Well, the thing is, I, uh...I did something kinda stupid?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I told my brother that we made out.</dialogue> <character>JOEL</character> <dialogue>Oh. That's...bad? Does he want to... hurt me?</dialogue> <character>SUE O'MALLEY</character> <dialogue>No, no. But he, uh, he told my parents.</dialogue> <scene_description>Joel doesn't follow.</scene_description> <character>SUE O'MALLEY</character> <dialogue>Well...we're Catholic.</dialogue> <parenthetical>(beat, spelling it out)</parenthetical> <dialogue>Pete told my parents that you're Jewish.</dialogue> <character>JOEL</character> <dialogue>But...but I'm an atheist. More of a pragmatic nihilist, I guess. An existential pagan, if you will-</dialogue> <character>SUE O'MALLEY</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>Yeah, my parents are kinda really strict. I'm sorry.</dialogue> <scene_description>Sue walks away, leaving behind the Gogol book.</scene_description> </scene> <scene> <stage_direction>EXT. "ENTERPRISE" RIDE, ADVENTURELAND - DAY</stage_direction> <scene_description>Pete O'Malley straps the last patrons into a car, gives Lisa P. a thumbs-up. She starts the ride. REVERSE ON James, watching, steeling himself. (to himself) Fortune favors the bold. James strides over to Lisa P. ...</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - LATER</stage_direction> <scene_description>James looks highly anxious as he stands beside Joel, who's mastering another video game.</scene_description> <character>JOEL</character> <dialogue>The mutant knights are particularly vulnerable to rear attacks... Bam! Ha, child's play...</dialogue> <character>JAMES</character> <dialogue>Okay, look, you can't tell anyone. I'm going out with Lisa P. tonight.</dialogue> <character>JOEL</character> <dialogue>You're what?</dialogue> <character>JAMES</character> <dialogue>This morning, she asked me if I wanted to hang out some night.</dialogue> <scene_description>Joel is dumbfounded.</scene_description> <character>JOEL</character> <parenthetical>(quietly)</parenthetical> <dialogue>fuuuck.</dialogue> <character>JAMES</character> <dialogue>Look, nothing's going to happen. But then again, you never know, right? I mean, I have to try. It's Lisa P.</dialogue> <character>JOEL</character> <parenthetical>(a little bitter)</parenthetical> <dialogue>I can't even get the time of day from Sue O'Malley and you already have Em... Wow. You're quite the swain.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - LATE AFTERNOON</stage_direction> <scene_description>James stands with Frigo, waiting for their ride. James looks twitchy and impatient.</scene_description> <character>JAMES</character> <dialogue>Where's my mom?!</dialogue> <character>FRIGO</character> <dialogue>What's the rush? You got a date with a jar of vaseline and a dildo?</dialogue> <dialogue>Funny.</dialogue> <parenthetical>(can't keep it to himself)</parenthetical> <dialogue>You can't tell anyone, Frigo. But I do have a date tonight. With Lisa P.</dialogue> <character>FRIGO</character> <dialogue>Yeah, and I can crap golden eggs.</dialogue> <character>JAMES</character> <dialogue>Fine. Don't believe me.</dialogue> <character>FRIGO</character> <dialogue>Where are you going?</dialogue> <character>JAMES</character> <dialogue>The Velvet Touch.</dialogue> <character>FRIGO</character> <parenthetical>(still doesn't believe him)</parenthetical> <dialogue>Eat my dick cheese, Brennan.</dialogue> <character>JAMES</character> <dialogue>I enjoy our little talks.</dialogue> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE &amp; HALLWAY., ADVENTURELAND - LATER</stage_direction> <scene_description>Em is punching in. As she exits the office, she sees Joel stacking boxes down the hall.</scene_description> <character>EM</character> <dialogue>Hey. How did it go with Sue?</dialogue> <scene_description>Joel looks down, humiliated.</scene_description> </scene> <scene> <stage_direction>INT/EXT. SNACK BAR, ADVENTURELAND - LATER</stage_direction> <scene_description>Em &amp; Joel stand in the snack bar. She looks outraged.</scene_description> <character>JOEL</character> <dialogue>Don't...don't say anything!</dialogue> <character>EM</character> <dialogue>Fuck that!</dialogue> <character>JOEL</character> <dialogue>C'mon. Worse things have happened to the Jews.</dialogue> <scene_description>Em crosses to the door, pushes it open, and marches up to Sue O'Malley, who sits at an outdoor table with friends. Joel hides behind the door, watching.</scene_description> <character>EM</character> <dialogue>You know what?! You don't deserve to date Joel!</dialogue> <scene_description>What, do you hate gay people, too? Do you support apartheid? Sue is speechless. She coughs on her soda.</scene_description> <character>EM</character> <dialogue>You're not my friend.</dialogue> <scene_description>Em turns and exits.</scene_description> </scene> <scene> <stage_direction>EXT. WINE &amp; CHEESE BAR, STRIP MALL - NIGHT</stage_direction> <scene_description>An illuminated "faux-classy" sign over a storefront restaurant reads:</scene_description> <character>THE VELVET TOUCH</character> <dialogue>James, looking like the staid college guy in a pressed button- down oxford, opens the door for Lisa P. She's in a low-cut halter top and skin-tight jeans. They're a mismatch.</dialogue> </scene> <scene> <stage_direction>INT./EXT. WINE &amp; CHEESE BAR - LATER</stage_direction> <scene_description>Various men and waiters are ogling Lisa P. as he nervously scans the menu.</scene_description> <character>JAMES</character> <dialogue>So, I, uh, would prefer if we didn't tell a lot of people about tonight. There's someone at the park who has a little thing for me, I wouldn't want to make her feel bad.</dialogue> <character>LISA P.</character> <dialogue>You mean Em?</dialogue> <character>JAMES</character> <dialogue>Uh. Yeah.</dialogue> <character>LISA P.</character> <dialogue>So you guys aren't going out?</dialogue> <character>JAMES</character> <dialogue>No, just friends.</dialogue> <parenthetical>(faux cocky)</parenthetical> <dialogue>A little more than friends, but we're not a couple.</dialogue> <character>LISA P.</character> <dialogue>Uh-huh.</dialogue> <character>JAMES</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>I saw Connell play a few weeks ago. He's really talented.</dialogue> <scene_description>That guy has some problems.</scene_description> <character>JAMES</character> <dialogue>What do you mean?</dialogue> <character>LISA P.</character> <dialogue>Last summer, he was having this thing with this girl who worked in the snack bar. He used to take her to his mother's basement, so they could have sex. His mother's basement. How gross is that?</dialogue> <character>JAMES</character> <dialogue>But he's married.</dialogue> <character>LISA P.</character> <dialogue>Didn't stop him from hitting on me.</dialogue> <character>JAMES</character> <dialogue>I...wow...</dialogue> <scene_description>Just as James begins to ponder this disturbing information:</scene_description> <character>MALE VOICE (O.S.)</character> <dialogue>Yo, Brennan!</dialogue> <scene_description>James and Lisa P. turn around. FRIGO STANDS AT THE DOOR.</scene_description> <character>FRIGO</character> <parenthetical>(mouthing)</parenthetical> <dialogue>Holy shit!</dialogue> <character>LISA P.</character> <dialogue>Is that Frigo?</dialogue> <character>JAMES</character> <dialogue>What's he doing here?</dialogue> <scene_description>James hurries over to Frigo.</scene_description> <character>FRIGO</character> <dialogue>Holy shit! Holy shit! That's Lisa P.!</dialogue> <character>JAMES</character> <parenthetical>(faking surprise)</parenthetical> <dialogue>What are you doing here, Frigo?!</dialogue> <character>FRIGO</character> <dialogue>Promise me you'll suck those titties!</dialogue> <scene_description>James grabs Frigo and ushers him out the door</scene_description> <character>JAMES</character> <dialogue>What the fuck are you doing here?</dialogue> <character>FRIGO</character> <dialogue>I thought you were full of crap!</dialogue> <character>JAMES</character> <dialogue>Get lost, Frigo! And you can't tell anyone about this!</dialogue> <character>FRIGO</character> <dialogue>What's it worth to you?</dialogue> <character>JAMES</character> <dialogue>You're shaking me down?!</dialogue> </scene> <scene> <stage_direction>INT. WINE &amp; CHEESE BAR, STRIP MALL - CONTINUOUS</stage_direction> <scene_description>Lisa P. is still reading the menu. Behind her, we see James hand a twenty to Frigo. As James puts his wallet away, Frigo punches him in the nuts. James collapses out of sight. Frigo runs off. After a moment, James rises slowly into frame. He re-enters the restaurant, walking oddly. He forces a smile as he sits re-joins Lisa P.</scene_description> <character>JAMES</character> <parenthetical>(swallowing the pain)</parenthetical> <dialogue>What a coincidence! Frigo was going to Carvel and saw us through the window.</dialogue> <parenthetical>(picking up the menu)</parenthetical> <dialogue>I wonder how the fondue is?</dialogue> </scene> <scene> <stage_direction>EXT. NORTHPORT HARBOR - NIGHT</stage_direction> <scene_description>James and Lisa P. stand on a pier. She's lighting one of his paltry joints.</scene_description> <character>JAMES</character> <dialogue>After Columbia, who knows. I want a job that takes me places. I want to travel all over the country, all over the world, and write about it. We don't have to accept the world as it is, right? For instance, Charles Dickens wrote all about his travels and-</dialogue> <character>LISA P.</character> <parenthetical>(hasn't been listening)</parenthetical> <dialogue>Would you rather have a sailboat or a speedboat?</dialogue> <dialogue>Um. Gee...</dialogue> <character>LISA P.</character> <dialogue>Sailboats are probably cooler. They're, like, more classic. But I bet speedboats are way more fun. I really want to join the Oyster Bay Yacht Club some day. That would rule.</dialogue> <parenthetical>(handing him the joint)</parenthetical> <dialogue>What were you saying?</dialogue> <character>JAMES</character> <dialogue>Ah, just babbling...</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET NEAR LISA P.'S HOUSE - LATER</stage_direction> <scene_description>James, very high, is hunched over the wheel, driving slowly.</scene_description> <character>LISA P.</character> <dialogue>It's a few houses down.</dialogue> <character>JAMES</character> <dialogue>Where?!</dialogue> <character>LISA P.</character> <parenthetical>(glancing at speedometer)</parenthetical> <dialogue>You won't miss it at seventeen miles-an- hour.</dialogue> <scene_description>She starts digging through her purse.</scene_description> <character>LISA P.</character> <dialogue>I just need to, like, get normal before I go inside. I'm gonna put on some perfume, cover the smell...</dialogue> <scene_description>She accidentally knocks her lipstick onto the floor by James's feet. James reaches down to get it.</scene_description> <character>JAMES</character> <dialogue>What the hell is this?</dialogue> <scene_description>He hoists up a half-filled bottle of Cutty Sark whiskey.</scene_description> <character>LISA P.</character> <dialogue>That yours?</dialogue> <character>JAMES</character> <parenthetical>(a little disturbed)</parenthetical> <dialogue>No. I guess it's my dad's...</dialogue> <character>LISA P.</character> <dialogue>Here, pull over here.</dialogue> <scene_description>James pulls over. Lisa P. applies some perfume. Can you smell the pot? James leans over to sniff her. The combination of perfume and proximity to her overwhelms him.</scene_description> <character>JAMES</character> <dialogue>You smell...amazing.</dialogue> <character>LISA P.</character> <dialogue>Thanks for tonight. It was fun.</dialogue> <character>JAMES</character> <parenthetical>(almost surprised)</parenthetical> <dialogue>Yeah. It was.</dialogue> <scene_description>She lets out a stoned laugh. James does, too. She bites her lower lip. He leans forward and kisses her.</scene_description> <character>LISA P.</character> <dialogue>Hm. Fondue.</dialogue> <scene_description>James reaches up to her ample bosom. He undoes a few buttons and kisses her breasts.</scene_description> <character>LISA P.</character> <dialogue>Whoa, tiger.</dialogue> <scene_description>He backs off.</scene_description> <character>LISA P.</character> <dialogue>I have a curfew. Another time.</dialogue> <scene_description>She gives him a tender kiss, then exits the car.</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S BEDROOM, BRENNAN HOUSE - LATER</stage_direction> <scene_description>James lies in bed, staring at a photograph, his marijuana- altered mind racing. THE PHOTO -- a snapshot of Em in her Buzzcocks t-shirt, wearing a lopsided grin, looking both tough and cute.</scene_description> <character>JAMES</character> <parenthetical>(sighing)</parenthetical> <dialogue>Fuck.</dialogue> <scene_description>He gets up and crosses to a shelf that displays a few scholastic achievement trophies. He unscrews the bottom of the biggest trophy. From a cavity in the base, he removes the baggie of joints.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE - NEXT DAY</stage_direction> <scene_description>James, clutching a brown paper bag, traverses the arcade, walking toward Em, who plays pinball. (tentatively) Hey.</scene_description> <character>EM</character> <dialogue>Hey.</dialogue> <character>JAMES</character> <dialogue>I brought you something.</dialogue> <scene_description>Em turns and looks at him quizzically. He gives her the paper bag. She opens it and she peers in.</scene_description> <character>EM</character> <dialogue>Is that a couple of joints?</dialogue> <character>JAMES</character> <dialogue>For pot cookies.</dialogue> <scene_description>Em grins, surprised. She snatches the bag from him and hides it in her change apron.</scene_description> <character>EM</character> <dialogue>Tomorrow night.</dialogue> <character>JAMES</character> <dialogue>Tomorrow night.</dialogue> <scene_description>He walks off.</scene_description> </scene> <scene> <stage_direction>EXT. SNACK BAR, ADVENTURELAND - NEXT DAY, DUSK</stage_direction> <scene_description>"Shout At The Devil" by Motley Crue is blasting ... WIDE SHOT -- The park is aswarm with suburbanites.</scene_description> </scene> <scene> <stage_direction>EXT. SNACK BAR, ADVENTURELAND - CONTINUOUS</stage_direction> <character>TRACK BY</character> <dialogue>Em, Joel and James, who nod and smile too much toward camera.</dialogue> <character>REVERSE</character> <dialogue>Paulette is walking by. She fake-smiles back at them.</dialogue> <character>EM</character> <parenthetical>(the coast is clear)</parenthetical> <dialogue>Okay. Let's do this.</dialogue> <scene_description>She produces the paper bag, removes three large chocolate chip cookies and distributes them. They each take a bite.</scene_description> <character>JOEL</character> <dialogue>Walnuts? Want to see me go into anaphylactic shock?!</dialogue> <character>EM</character> <dialogue>Are you guys eating the whole thing?</dialogue> <character>JAMES</character> <parenthetical>(confidently)</parenthetical> <dialogue>Sure. Pot hardly fazes me.</dialogue> </scene> <scene> <stage_direction>EXT. "KENTUCKY DERBY" GAME, ADVENTURELAND - NIGHT</stage_direction> <scene_description>James is WILDLY, CRAZILY STONED. He's calling a race for a group of small children who are completely inept -- nobody's horse is making any progress.</scene_description> <character>JAMES</character> <dialogue>And red has a slight lead. Yeah. Uhhh...and red still has a slight lead. Looks like blue is...not moving. Looks like nobody's moving. Time is frozen...like a prehistoric insect, suspended in amber...</dialogue> <scene_description>He trails off. His eyes wander around the vicinity...</scene_description> <character>SLO-MO SHOTS OF VARIOUS CUSTOMERS</character> <dialogue>A mixture of faces. Laughing, bored, enchanted, queasy...</dialogue> <dialogue>THE CAMERA LANDS ON Bobby. Staring at James.</dialogue> <dialogue>He lifts the microphone quickly -- it flies out of his hand.</dialogue> <character>JAMES</character> <parenthetical>(retrieving the microphone)</parenthetical> <dialogue>And what a race we have here today, ladies and gentleman! Hoo boy! And...nobody is in the lead! In fact, what is so mind-blowing about this particular race is how evenly matched these competitors are. Yellow is dead last. I don't think Yellow has moved once. This is a fall from grace for the this once-great stallion. In fact, Yellow has inseminated over a thousand foals in his lifetime...which might explain his exhaustion. Ha ha...</dialogue> <scene_description>James realizes that Bobby is now right beside him. He jumps.</scene_description> <character>BOBBY</character> <dialogue>What the hell is wrong with you?! That's how you call a race?!</dialogue> <dialogue>I've run out of things to say. These kids can't get the horses to move. They're very uncoordinated.</dialogue> <character>BOBBY</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Have you been toking up?</dialogue> <character>JAMES</character> <dialogue>What? No.</dialogue> <character>BOBBY</character> <parenthetical>(sniffing him)</parenthetical> <dialogue>Hm. You sure? Your eyes are red...</dialogue> <character>JAMES</character> <dialogue>Well, I, I feel kinda sick. I think I ate a bad corn dog.</dialogue> <character>BOBBY</character> <dialogue>Between us -- never ever eat the corn dogs. Okay, I'll put you somewhere else.</dialogue> </scene> <scene> <stage_direction>EXT. "HATS OFF TO LARRY" BOOTH, ADVENTURELAND - NIGHT</stage_direction> <scene_description>James giggles like a moron while he chases after a ball. Overhead, Taco is "Puttin' on the Ritz". Meanwhile, Joel and Em are up front, dealing with a large crowd of customers. James runs up, depositing the softballs in a barrel beside Joel, who now starts cracking up for no particular reason.</scene_description> <character>MALE VOICE (O.S.)</character> <dialogue>Yo! I've been waiting forever!</dialogue> <scene_description>Joel turns to see a scary-looking guy (NICKY), early 20s, who stands with his girlfriend and two "Guido" pals.</scene_description> <character>JOEL</character> <dialogue>Sorry, sir. Here you go.</dialogue> <scene_description>Joel hands Nicky some softballs.</scene_description> <character>NICKY</character> <parenthetical>(staring Joel down)</parenthetical> <dialogue>I want some free balls for waitin' so long.</dialogue> <character>JOEL</character> <parenthetical>(complying)</parenthetical> <dialogue>The customer's always right. Ha.</dialogue> <scene_description>Nicky tosses a ball. He hits a dummy square on the head. The hat doesn't budge. What?! I hit that thing dead-on!</scene_description> <character>JOEL</character> <dialogue>Yet he still retains his chapeau-</dialogue> <character>NICKY</character> <dialogue>This is bullshit! That was a perfect throw!</dialogue> <character>NICKY'S GIRLFRIEND</character> <dialogue>Nicky, that's bullshit...</dialogue> <scene_description>Meanwhile, James scampers after loose balls. As he stands: WOOSH! A softball whizzes past his head.</scene_description> <character>NICKY</character> <dialogue>Hey, get out of the way, homo!</dialogue> <character>NICKY'S PAL #1</character> <dialogue>Hit 'em, Nicky!</dialogue> <scene_description>Nicky launches another pitch toward James. Trying to evade the throw, James runs smack into one of the rotating "Larrys". The fiberglass dummy snaps off at its base -- James and the mannequin tumble to the ground. Nicky and his friends howl with laughter. Then Nicky notices something odd -- the dummy is still wearing a hat.</scene_description> <character>NICKY</character> <dialogue>What the fuck...</dialogue> <scene_description>Nicky jumps over the counter.</scene_description> <character>JOEL</character> <dialogue>Whoa. Okay, let's pick you out a prize!</dialogue> <scene_description>Nicky crosses to the broken dummy and yanks on the hat. It's stuck to the dummy's head.</scene_description> <character>NICKY</character> <parenthetical>(charging at Joel)</parenthetical> <dialogue>It's glued on! The thing is glued on!</dialogue> <character>JOEL</character> <parenthetical>(waving at stuffed animals)</parenthetical> <dialogue>What would you like? A, uh, puffin? A polar bear in lederhosen?</dialogue> <scene_description>Joel wears an awkward, marijuana-induced smile. Nicky grabs him by the shirt.</scene_description> <character>NICKY</character> <dialogue>What's so fucking funny?!</dialogue> <scene_description>Leave him alone! The customers (some of whom are drunk) are angrily siding with Nicky. A few even start throwing their softballs at James. He gets beaned by a few. Joel tries to stop smiling -- but he can't. Nicky suddenly slams his fist into the side of Joel's head, knocking his glasses off. Joel stumbles backwards, holding his face. Em rushes at Nicky. James follows her.</scene_description> <character>EM</character> <dialogue>You asshole!</dialogue> <character>NICKY</character> <dialogue>Back off, slut!</dialogue> <scene_description>Nicky shoves her away. She loses her footing on the gravel and falls.</scene_description> <character>JAMES</character> <dialogue>HEY!</dialogue> <character>NICKY</character> <parenthetical>(getting in James's face)</parenthetical> <dialogue>What are you gonna do about it, faggot?</dialogue> <scene_description>James, much to his own surprise, roundhouses Nicky in the groin. Nicky crumples to the gravel. Nicky's pals jump over the counter.</scene_description> <character>NICKY'S PAL #1</character> <dialogue>GRAB HIM!!</dialogue> <character>NICKY'S PAL #2</character> <dialogue>YOU'RE FUCKIN' DEAD!</dialogue> <scene_description>James makes a run for it. He hops over the counter and sprints away. Nicky's pals pursue him.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - CONTINUOUS</stage_direction> <character>TRACKING FAST WITH JAMES</character> <dialogue>weaving through customers. Running for his life.</dialogue> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>James barrels through the doorway. He glances back to see one of Nicky's pals gaining on him. His way is blocked by a group of senior citizens. James hurdles over a railing.</scene_description> <character>HE LANDS BADLY</character> <dialogue>and stumbles into Munch, who falls down.</dialogue> <dialogue>Quarters spill from his apron.</dialogue> <dialogue>CHILDREN SQUEAL as they rush for the coins.</dialogue> </scene> <scene> <stage_direction>INT. SNACK BAR, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>James dashes into the snack bar.</scene_description> <character>SWISH PAN</character> <dialogue>to Nicky's other buddy rushing in through another door. James makes an about-face and hauls ass into the manager's office.</dialogue> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - NIGHT</stage_direction> <scene_description>James enters and slams the door behind him. Bobby jumps, once again trying to hide his can of beer.</scene_description> <character>BOBBY</character> <dialogue>What the hell?! What are you doing?!</dialogue> <character>JAMES</character> <dialogue>People are trying to kill me.</dialogue> <scene_description>James holds the door as Nicky's friend is KICKING IT.</scene_description> <character>NICKY'S PAL #1 (O.S.)</character> <dialogue>Come out of there, fuck-face!</dialogue> <character>BOBBY</character> <parenthetical>(sighing)</parenthetical> <dialogue>Oh, Christ.</dialogue> <scene_description>Bobby picks up an aluminum baseball bat and opens the door.</scene_description> <character>A CRAZED LOOK IN HIS EYES</character> <dialogue>as he winds up the bat like a baseball player.</dialogue> <character>BOBBY</character> <dialogue>Get the fuck away from my office door, motherfucker! Give me a reason! Give me a reason! YOU DON'T KNOW WHAT I'M CAPABLE OF!!</dialogue> <scene_description>hurries off.</scene_description> <character>JAMES</character> <parenthetical>(a little freaked by Bobby)</parenthetical> <dialogue>Uh...thanks.</dialogue> <character>BOBBY</character> <parenthetical>(still a wide-eyed psycho)</parenthetical> <dialogue>Sure, buddy.</dialogue> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - LATER THAT NIGHT</stage_direction> <scene_description>Patrons stream out as Paulette announces over the loudspeaker that the park is closed...</scene_description> </scene> <scene> <stage_direction>EXT. SNACK BAR, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>A group has assembled around James.</scene_description> <character>MUNCH</character> <dialogue>I wish I coulda seen you wail on him!</dialogue> <character>FRIGO</character> <dialogue>Did you hit him like this?!</dialogue> <scene_description>Frigo snaps his fist toward James's groin. James flinches.</scene_description> <character>FRIGO</character> <dialogue>Psych!</dialogue> <scene_description>As the others talk excitedly, Em leans close to James.</scene_description> <character>EM</character> <dialogue>Come with me a second.</dialogue> <scene_description>She takes his hand and leads him away. Joel stands slightly away from the others. He examines his eyeglasses, which have been snapped in two, while dabbing at a cut near his eye. He holds up one eyeglass lens and squints. He watches Em and James slip off behind the arcade building...</scene_description> </scene> <scene> <stage_direction>EXT. LOT BEHIND ARCADE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>Em and James enter a fenced-in lot filled with amusement park debris -- broken-down go-carts, rusted rocket ship pods, a sinister sun-bleached clown statue, etc. Lou Reed's romantic "Coney Island Baby" is playing on the loudspeakers. The park lights shut off, one-by-one...</scene_description> <character>EM</character> <dialogue>Thanks for sticking up for me, Brennan.</dialogue> <character>EM</character> <dialogue>I think you might be the coolest and cutest guy I've ever met.</dialogue> <scene_description>She nuzzles up against his chest.</scene_description> <character>EM</character> <dialogue>But then again, I am still incredibly high.</dialogue> <scene_description>He pulls her close.</scene_description> <character>EM</character> <dialogue>I can feel you...</dialogue> <character>JAMES</character> <dialogue>How does this feel?</dialogue> <scene_description>He's touching her.</scene_description> <character>EM</character> <dialogue>Pretty...good.</dialogue> <scene_description>He reaches into her jeans...</scene_description> <character>EM</character> <dialogue>Oh, yeah...Oh, God...oh...</dialogue> <scene_description>She leans into his neck...</scene_description> <character>EM</character> <dialogue>Don't stop...don't...</dialogue> <scene_description>Em starts to breath in shallow, rhythmic bursts... In the near-darkness, WE HEAR Em having an orgasm... The moans transform into quiet sobs.</scene_description> <character>JAMES</character> <dialogue>Are you...are you okay?</dialogue> <scene_description>We see a glint of light reflecting off of the tears on Em's cheek. He holds her against him.</scene_description> <character>EM</character> <dialogue>James?</dialogue> <character>JAMES</character> <dialogue>Yeah?</dialogue> <character>EM</character> <dialogue>I...I don't want to lose you.</dialogue> <scene_description>You won't. Another set of park lights shut off. James and Em are no longer visible. All we see is the distant ferris wheel. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. REMOTE-CONTROL BOATS, ADVENTURELAND - NEXT DAY</stage_direction> <scene_description>Joel sits on a bench, reading Philip Roth's "Portnoy's Complaint". He wears really dorky eyeglasses, an older pair to replace the ones broken in the fight.</scene_description> <character>A BODY WALKS INTO FRAME</character> <dialogue>blocking Joel's view. Joel looks up. It's Sue O'Malley's brother, Pete. He yanks the book out of Joel's hand and tosses it into the boat pond.</dialogue> <character>PETE O'MALLEY</character> <dialogue>Stay away from my sister. And we're not anti-semites. She just doesn't like you.</dialogue> <scene_description>He stares Joel down as he stalks away.</scene_description> <character>PETE O'MALLEY</character> <dialogue>I cried in "Yentl".</dialogue> </scene> <scene> <stage_direction>EXT. SNACK BAR, ADVENTURELAND - DAY</stage_direction> <scene_description>"Fresh" by Kool &amp; The Gang plays above the throngs of amusement-seekers. Bobby stands by the entrance to the snack bar, bobbing his head to the music.</scene_description> <character>BOBBY</character> <parenthetical>(getting lyrics wrong)</parenthetical> <dialogue>She's my baby...um, lady...one that I really want to...know... I, um, I got to let my feelings grow...show...</dialogue> <parenthetical>(building, dancing a little)</parenthetical> <dialogue>She's fresh! Exciting! She's so exciting to me! She's fresh! ex...cit...ing...</dialogue> <scene_description>He trails off as Paulette trudges by, pushing a handcart stacked with frozen burgers. She stops and glares at him. He meekly takes the handcart from her and exits. He passes by James.</scene_description> <character>BOBBY</character> <dialogue>Brennan. You want to pick up some more shifts?</dialogue> <character>JAMES</character> <dialogue>Yeah, sure.</dialogue> <dialogue>Good. 'Cause Joel just quit.</dialogue> <character>JAMES</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>EXT. SCHIFFMAN HOUSE - NEXT DAY</stage_direction> <scene_description>James drives his mother's car. He pulls over and parks in front of a smallish, drab-looking house. CUT TO -- James ringing the doorbell. After a moment, Joel comes to the door.</scene_description> <character>JOEL</character> <dialogue>Whoa. What are you doing here?</dialogue> <character>JAMES</character> <dialogue>You didn't call me back.</dialogue> <character>JOEL</character> <dialogue>Well, um, okay... Look, I can't abide the humiliation of having you see the inside of my house. The vile plastic slipcovers, the 'art fair' paintings...</dialogue> <parenthetical>(shudders)</parenthetical> <dialogue>Meet me 'round back.</dialogue> <scene_description>Joel shuts the door in James's face.</scene_description> </scene> <scene> <stage_direction>EXT. JOEL'S BACKYARD - MOMENTS LATER</stage_direction> <scene_description>Joel and James sit in lawn chairs in the small backyard. Joel lights his pipe. The oversized eyeglasses, the pipe and his slumped posture all add up to give Joel the appearance of a weary old man trapped in a young man's body.</scene_description> <character>JAMES</character> <dialogue>Is it because of Sue? I mean, she doesn't deserve you. You're a great guy-</dialogue> <character>JOEL</character> <dialogue>James. I'm not good-looking. And I'm poor. With all these yuppies around, women aren't gonna go near a poor guy.</dialogue> <character>JAMES</character> <dialogue>That's ridiculous.</dialogue> <scene_description>Joel grunts. He turns away, chews on his pipe.</scene_description> <character>JOEL</character> <dialogue>I know you think you're really deprived because you didn't go to Europe this summer.</dialogue> <scene_description>you don't have to pay rent to your parents, you're going off to Columbia fucking University. So, Margaret Mead, you're stuck with us low-lifes for one summer, but you get to leave.</scene_description> <character>JAMES</character> <dialogue>Joel, all I was trying to say was that not all women are shallow like that. Em isn't like that.</dialogue> <character>JOEL</character> <dialogue>Em! That's...fuck...</dialogue> <parenthetical>(emotions overcoming him)</parenthetical> <dialogue>I don't even know if you even appreciate what you have?! I mean, you're chasing after Lisa P.?! When Em's right there! This incredible, beautiful person is right fucking there! I mean, I can't watch it...I can't be around it anymore...</dialogue> <scene_description>Even this small release of feeling is excruciating to Joel.</scene_description> <character>JOEL</character> <parenthetical>(quietly)</parenthetical> <dialogue>That's why I quit. I can't be around you two anymore. I feel like a...hypocrite.</dialogue> <scene_description>Joel looks away. James finally gets it -- Joel's in love with Em.</scene_description> <character>JAMES</character> <dialogue>I...I had no idea.</dialogue> <character>JOEL</character> <dialogue>Because you're too...fucking...selfish. Fuck this. Fuck everything.</dialogue> <scene_description>Joel flings his pipe down on the ground, then walks to the house. The rickety screen door clatters behind him, leaving James alone in the yard.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - DAY</stage_direction> <scene_description>Em works the arcade. She sees Sue O'Malley conferring with a FEMALE CO-WORKER, watching her. Sue exits and the co-worker walks over to Em.</scene_description> <character>FEMALE CO-WORKER</character> <dialogue>Did you hear?</dialogue> <character>EM</character> <dialogue>Hear what?</dialogue> <scene_description>James went on a date with Lisa P.</scene_description> <character>EM</character> <dialogue>What did you say?</dialogue> <character>FEMALE CO-WORKER</character> <parenthetical>(defiantly)</parenthetical> <dialogue>You heard me. Frigo saw them at some restaurant in Northport.</dialogue> <scene_description>Beat.</scene_description> <character>EM</character> <dialogue>Yeah, right, I'm sure that happened.</dialogue> <scene_description>Em turns and walks away, her look changing to one of consternation.</scene_description> </scene> <scene> <stage_direction>INT. DEN, LEWIN HOUSE - NIGHT</stage_direction> <scene_description>Em is lying on the couch, staring at the TV, which shows the Run-DMC video "It's Tricky". From the other room, she can hear Francy, who speaks in a clipped, near-hysterical tone:</scene_description> <character>FRANCY (O.S.)</character> <dialogue>...I can't take it! And you just let her run rampant! Coming in at all hours! Treating me with disrespect! Blatant disrespect...</dialogue> <scene_description>Em moves slowly toward the doorway to hear better.</scene_description> <character>FRANCY (O.S.)</character> <dialogue>...And when she's here, she just lies around on the couch all day! You have to do something! You never do anything! I can't take it any more...!</dialogue> <character>MR. LEWIN (O.S.)</character> <dialogue>Okay, okay...Maybe...I...Maybe she needs to go see Dr. Schlagel again...</dialogue> <character>FRANCY (O.S.)</character> <dialogue>She has to do something! Something has to change! Or else!</dialogue> </scene> <scene> <stage_direction>INT. EM'S BEDROOM, LEWIN HOUSE - MOMENTS LATER</stage_direction> <scene_description>Em pulls open a dresser drawer. She removes a wig. Unlike Francy's red fright wig, this one is straight and sandy blonde. Em stuffs it into her bag. ATTRACTIVE WOMAN IN HER THIRTIES. She looks a bit like Em and has sandy-colored hair -- like the wig Em just left with.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, LEWIN HOUSE - MOMENTS LATER</stage_direction> <scene_description>Em comes down the stairs. She can hear Francy still bitching about her:</scene_description> <character>FRANCY (O.S.)</character> <dialogue>You know she works at that trashy park just to embarrass us. Do you have any idea what people think, Ike?</dialogue> <character>IKE (O.S.)</character> <dialogue>Look, I tried to give her money to travel this summer... I can't force her out of the house...</dialogue> <character>FRANCY (O.S.)</character> <dialogue>Oh, yeah? Well, maybe you can.</dialogue> <character>IKE (O.S.)</character> <dialogue>Francy...</dialogue> <character>EM</character> <parenthetical>(loudly)</parenthetical> <dialogue>Hey, I'm going out. Gonna meet James for a late movie...</dialogue> <character>MR. LEWIN (O.S.)</character> <dialogue>Oh. Okay. Drive carefully, sweetheart.</dialogue> <scene_description>Em hurries out of the house.</scene_description> </scene> <scene> <stage_direction>EXT. BUMPER CARS - NIGHT</stage_direction> <scene_description>James, on break, drinks a soda and watches the bumper cars.</scene_description> <character>FRIGO (O.S.)</character> <dialogue>Brennan!</dialogue> <scene_description>James turns to see Frigo scampering across the midway with Rich, who is clutching a bag of candy.</scene_description> <character>FRIGO</character> <dialogue>Brennan, you gotta hear this!</dialogue> <parenthetical>(turns to Rich)</parenthetical> <dialogue>Tell him what you told me!</dialogue> <character>RICH</character> <dialogue>I ate too many circus peanuts.</dialogue> <character>FRIGO</character> <dialogue>Not that, retard! The thing about Em.</dialogue> <dialogue>Frigo! Wait, what thing about Em?</dialogue> <character>RICH</character> <dialogue>I saw Em and Connell. In his car.</dialogue> <character>FRIGO</character> <dialogue>Yeah, and what did you tell me they were doin'?</dialogue> <character>RICH</character> <parenthetical>(uneasy about the memory)</parenthetical> <dialogue>I don't know. Connell was doing push ups on Em. He didn't have no pants.</dialogue> <character>FRIGO</character> <dialogue>They were doin' it!!</dialogue> <character>JAMES</character> <dialogue>Shut up. When, Rich?</dialogue> <character>RICH</character> <dialogue>It was a while ago...like...a while ago.</dialogue> <character>FRIGO</character> <dialogue>I bet she's lubing up Connell's boner right now.</dialogue> <character>JAMES</character> <dialogue>Shut up, you idiot.</dialogue> <character>RICH</character> <dialogue>Here, James, I don't want any more.</dialogue> <scene_description>He hands James his bag of circus peanuts.</scene_description> <character>JAMES</character> <dialogue>Uh. Thanks, Rich.</dialogue> </scene> <scene> <stage_direction>EXT. CONNELL'S HOUSE - LATER</stage_direction> <scene_description>Connell's green Duster pulls into the driveway of Connell's smallish house. He steps out of the car.</scene_description> <character>EM (O.S.)</character> <dialogue>Hey.</dialogue> <scene_description>Connell turns. He sees Em (in wig and sunglasses), sitting in her car, parked across the street.</scene_description> <character>CONNELL</character> <parenthetical>(whispering)</parenthetical> <dialogue>What the fuck?!</dialogue> <parenthetical>(hurrying toward her)</parenthetical> <dialogue>Are you crazy?!</dialogue> <dialogue>I need to talk to you.</dialogue> <character>CONNELL</character> <dialogue>You know you can't come here.</dialogue> <character>EM</character> <dialogue>But I wore a disguise.</dialogue> <character>CONNELL</character> <dialogue>Go home. Now.</dialogue> <character>EM</character> <dialogue>Where were you?</dialogue> <character>CONNELL</character> <dialogue>Christ, now I have two wives! Go home!</dialogue> <character>EM</character> <parenthetical>(bursting into tears)</parenthetical> <dialogue>I can't do this anymore! I can't...I feel...I hate myself...fuck...</dialogue> <character>CONNELL</character> <parenthetical>(suddenly in caretaker mode)</parenthetical> <dialogue>Okay, okay. Look, my wife probably just heard me pull in. Let's talk somewhere. I'll make an excuse. Park over by my mom's house and wait. Okay?</dialogue> <scene_description>Em, staving off tears, nods. He hurries back toward his house as she starts her car and drives away.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, LEWIN HOUSE - LATER</stage_direction> <scene_description>Mr. Lewin is in bed, going over some legal briefs, classical music playing low. The phone rings.</scene_description> <character>MR. LEWIN</character> <parenthetical>(answering phone)</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. OFFICE HALLWAY, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>INTERCUT Mr. Lewin and James, who stands in a hallway, Frigo hovering over him.</scene_description> <character>JAMES</character> <dialogue>Hi, Mr. Lewin, it's James. Is Emily there?</dialogue> <character>MR. LEWIN</character> <dialogue>Isn't she with you? She said she was going out to meet you.</dialogue> <dialogue>Oh. I think we got our wires crossed...</dialogue> <scene_description>James hangs up.</scene_description> <character>FRIGO</character> <dialogue>What'd he say?</dialogue> <scene_description>PUSH IN ON James, anxiety welling up in him.</scene_description> <character>JAMES</character> <dialogue>Can you get your mother's car?</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT, CONNELL'S MOTHER'S HOUSE - NIGHT</stage_direction> <scene_description>Em sits on the couch, her wig and sunglasses beside her. Connell starts to pour them two bourbons.</scene_description> <character>EM</character> <dialogue>I don't want a drink.</dialogue> <scene_description>He shrugs and combines the drinks in one glass for himself.</scene_description> <character>CONNELL</character> <dialogue>You know James went out with Lisa P. last week.</dialogue> <character>EM</character> <dialogue>I heard. I can't exactly judge him now, can I?</dialogue> <scene_description>Connell crosses to her and sits.</scene_description> <character>CONNELL</character> <dialogue>You do know that it's possible to be in love with two people at the same, don't you?</dialogue> <character>EM</character> <parenthetical>(pissed off)</parenthetical> <dialogue>You think I think this is about love?</dialogue> <character>CONNELL</character> <dialogue>I don't know what word you'd use. And I don't really care. I just know how you make me feel.</dialogue> <character>EM</character> <dialogue>Oh, yeah? How do I make you feel?</dialogue> <character>CONNELL</character> <dialogue>Alive.</dialogue> <scene_description>Beat (quietly) Give me a fucking break.</scene_description> <character>CONNELL</character> <dialogue>I don't want to give you up. But I will, if you tell me to.</dialogue> <scene_description>They look at each other for a long beat. He leans forward and kisses her. She surrenders to it, melting into his arms as they kiss. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. FRIGO'S HOUSE - LATER</stage_direction> <scene_description>James is hiding behind a bush. Frigo comes hurrying out of his house.</scene_description> <character>FRIGO</character> <dialogue>I got the keys. Push me out...</dialogue> <scene_description>Frigo hops into the car. James grunts as he pushes the massive car toward the street ...</scene_description> </scene> <scene> <stage_direction>EXT. STREETS NEAR CONNELL'S MOTHER'S HOUSE - LATER</stage_direction> <scene_description>Frigo and James are driving. The Cutlass passes by "Crazy Benny's Liquor Store".</scene_description> <character>JAMES</character> <dialogue>Turn here.</dialogue> <scene_description>Frigo turns onto a street.</scene_description> <character>JAMES</character> <dialogue>Slow down.</dialogue> <character>THEY PASS BY A LINE OF CARS</character> <dialogue>ending on Em's Pacer.</dialogue> </scene> <scene> <stage_direction>EXT. STREET BY CONNELL'S MOTHER'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>The car is parked. James broods.</scene_description> <character>FRIGO</character> <dialogue>I got an aluminum bat in the trunk if you want to smash in her windows?</dialogue> <character>JAMES</character> <dialogue>Let's just wait.</dialogue> <scene_description>DISSOLVE TO: WIDE ON the street. We hear a fence gate opening and shutting. From beside the house, Em emerges from the darkness. She crosses to her car.</scene_description> <character>JAMES (O.S.)</character> <dialogue>Hey.</dialogue> <scene_description>Em turns around. James is in the street. He looks stricken.</scene_description> <character>EM</character> <dialogue>James? What are you doing here?</dialogue> <scene_description>Beat. An unbearable silence.</scene_description> <character>JAMES</character> <dialogue>Are you...? Connell?</dialogue> <scene_description>She looks away.</scene_description> <character>EM</character> <parenthetical>(quietly)</parenthetical> <dialogue>It started back in June. Before you and I even met. How did you find me here?</dialogue> <character>JAMES</character> <dialogue>Frigo heard that Connell used to take some other girl here. To his mother's basement.</dialogue> <scene_description>Another blow to Em.</scene_description> <character>JAMES</character> <parenthetical>(incredulous)</parenthetical> <dialogue>I just don't understand how...why you would...I just don't understand...</dialogue> <character>EM</character> <parenthetical>(pained, pitiful)</parenthetical> <dialogue>I...I came here to...</dialogue> <scene_description>Em stops herself. She feels she is beyond redemption.</scene_description> <character>JAMES</character> <parenthetical>(bitterly angry)</parenthetical> <dialogue>You just think I'm some fucking pussy, someone to kill time with, while you were waiting for Connell.</dialogue> <character>EM</character> <dialogue>I...no...look, I was...you deserve better than me, okay? Just don't tell anyone, okay? Please don't tell anyone...for Connell's sake...</dialogue> <scene_description>You're worried about Connell? You think he's worried about you?! (heartbroken) I would've...I... James is being devoured by the hurt. He turns and walks quickly to the Cutlass. He gets in. Frigo revs the engine and peels out.</scene_description> <character>EM</character> <parenthetical>(pitifully)</parenthetical> <dialogue>James...</dialogue> <scene_description>He gets in the car. Frigo revs the engine and peels out.</scene_description> <character>FRIGO</character> <parenthetical>(honking as he passes Em)</parenthetical> <dialogue>You're a whore!</dialogue> <scene_description>Em runs to her car, gets in. As she drives away, she sees Connell watching her from a bay window in his mother's house.</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S BEDROOM, BRENNAN HOUSE - CONTINUOUS</stage_direction> <scene_description>James is going through a box of his college notebooks and papers. On his clock radio, WE HEAR a concerned CALLER to a talk show:</scene_description> <character>RADIO CALLER (V.O.)</character> <dialogue>...I mean, think of how the country reacted to Watergate. The outrage...there just isn't the same level with Iran-Contra...</dialogue> <scene_description>He stops at one. CLOSE ON the title: The Birth of Romanticism in Shakespeare's "Winter's Tale" (and the Tragicomedies) James tosses the paper into a garbage bag.</scene_description> </scene> <scene> <stage_direction>EXT. BRENNAN HOUSE - CONTINUOUS</stage_direction> <scene_description>James's father sits in the living room, reading the paper, sipping a cocktail.</scene_description> <character>RADIO CALLER (V.O., CONTINUED)</character> <dialogue>...which is arguably, y'know, a bigger betrayal. Is there a shift in the country? Are we becoming more cynical? Are we becoming cold-hearted?</dialogue> <scene_description>Out the bay window, we see James lugging an overstuffed garbage bag to the curb. He drops it into a garbage can. James is punching in with other employees. As he exits, he hears:</scene_description> <character>VOICE</character> <parenthetical>(whispering O.C.)</parenthetical> <dialogue>James!</dialogue> <scene_description>James turns. Connell hides behind a stack of soda crates.</scene_description> <character>CONNELL</character> <dialogue>I have to talk to you.</dialogue> <scene_description>Connell exits out a back door. James follows.</scene_description> </scene> <scene> <stage_direction>EXT. LOT BEHIND ARCADE, ADVENTURELAND - CONTINUOUS</stage_direction> <scene_description>Connell and James enter the lot. Connell looks agitated.</scene_description> <character>CONNELL</character> <dialogue>I talked to Em. I know you know...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look, I can't expect you to be happy about any of this. But will you hear me out?</dialogue> <scene_description>James shrugs.</scene_description> <character>CONNELL</character> <dialogue>You're a smart guy. You know that it's possible to love two people at the same time, right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I love my wife. I really do. I don't want to hurt her. I fucking despise the idea of her getting hurt. And I don't think she has to.</dialogue> <scene_description>Beat.</scene_description> <character>JAMES</character> <dialogue>I won't tell anyone.</dialogue> <character>CONNELL</character> <dialogue>Thank you.</dialogue> <character>JAMES</character> <dialogue>What about Frigo?</dialogue> <character>CONNELL</character> <dialogue>He won't tell anyone. I gave him fifty bucks. Are we cool?</dialogue> <character>JAMES</character> <dialogue>Yeah.</dialogue> <scene_description>WIDE ON James alone in the lot. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. "LAUGHING CLOWN" BOOTH, ADVENTURELAND - NIGHT</stage_direction> <scene_description>"One Night In Bangkok" by Murray Head is playing. It's a sweltering August night. A BALLOON POPS. The winning customer, a WEALTHY PREPSTER, throws his arms in the air, surrounded by his buddies and their pretty girlfriends.</scene_description> <character>WEALTHY PREPSTER</character> <dialogue>I won! Yeah! I am the champion! To the victor go the spoils!</dialogue> <scene_description>James rolls his eyes, then gives the guy his prize -- a worthless little banana-shaped plush toy with two black dots glued on for eyes. He wipes the sweat off his brow.</scene_description> <character>WEALTHY PREPSTER</character> <dialogue>What? This piece of crap is first prize? What is this? Is it a banana?</dialogue> <character>JAMES</character> <parenthetical>(not in the mood)</parenthetical> <dialogue>It's a banana with eyes.</dialogue> <character>WEALTHY PREPSTER</character> <dialogue>Fuck that. Give me the bulldog.</dialogue> <character>JAMES</character> <dialogue>You have to win five times for the prizes in that row.</dialogue> <character>PREPSTER'S GIRLFRIEND</character> <parenthetical>(mocking him)</parenthetical> <dialogue>You have to win five times for the prizes in that row.</dialogue> <character>JAMES</character> <dialogue>Good one. You really got me.</dialogue> <character>WEALTHY PREPSTER</character> <parenthetical>(staring James down)</parenthetical> <dialogue>Hey. I'd watch my mouth if I were you, carnival boy.</dialogue> <scene_description>The prepster throws the banana at James and walks away, his friends chortling as they follow. CLOSE ON James seething, wanting to fight back. But he doesn't. James is traversing the midway. THE LOUD, BAD POP MUSIC, THE SQUEALING YOUNGSTERS, THE CRUSHING HEAT -- it's all deeply irritating to him. As James approaches the "Hats Off To Larry" booth, he sees Em is working there. He changes directions.</scene_description> </scene> <scene> <stage_direction>INT. "GAMES PALACE" ARCADE, ADVENTURELAND - MOMENTS LATER</stage_direction> <scene_description>James passes by the race car video game -- Lisa P. sits in the cockpit. He leans in.</scene_description> <character>JAMES</character> <dialogue>Hey.</dialogue> <character>LISA P.</character> <dialogue>What's up?</dialogue> <scene_description>James pauses, trying to manufacture some confidence.</scene_description> <character>JAMES</character> <dialogue>Wanna hang out tonight?</dialogue> </scene> <scene> <stage_direction>EXT. BEACH PARKING LOT - NIGHT</stage_direction> <scene_description>James and Lisa P. walk on the beach. James stops and looks wistfully at the lifeguard stand where he and Em had been a few weeks prior. He then turns to Lisa P., holding up a crooked joint.</scene_description> <character>JAMES</character> <dialogue>This is my last one. I found it at the bottom of my wallet.</dialogue> <character>LISA P.</character> <dialogue>Mint.</dialogue> <scene_description>Lisa takes it and lights up.</scene_description> <character>LISA P.</character> <dialogue>Hey, so, hey...so what did happen with you and Em?</dialogue> <character>JAMES</character> <parenthetical>(unsure)</parenthetical> <dialogue>I can't... I made a promise I wouldn't talk about it.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PATIO, "THE RIPTIDE" - NIGHT</stage_direction> <scene_description>Away from the raucous frat boy types, James and Lisa P. are sharing a chaise. They're high and drunk. (in an astonished whisper) No way! Em was sleeping with Connell? Like, doing it?!</scene_description> <character>JAMES</character> <parenthetical>(nodding)</parenthetical> <dialogue>Can you believe it?</dialogue> <character>LISA P.</character> <dialogue>Whoa. I mean... Whoa.</dialogue> <character>JAMES</character> <parenthetical>(condescendingly)</parenthetical> <dialogue>You know...I just feel sorry for them. I mean, having to sneak around, lie to everyone. It's pathetic.</dialogue> <character>LISA P.</character> <dialogue>It's, like, so pathetic! He's a married man...</dialogue> <character>JAMES</character> <dialogue>You can't tell anyone. Ever.</dialogue> <character>LISA P.</character> <dialogue>Of course. I would never.</dialogue> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - LATE AFTERNOON</stage_direction> <scene_description>Em is arriving for her shift. As Em passes a game booth, a few employees whisper something to each other...</scene_description> </scene> <scene> <stage_direction>EXT. REMOTE-CONTROL BOATS, MIDWAY, ADVENTURELAND - NIGHT</stage_direction> <scene_description>Em is making change for kids. Munch strolls over.</scene_description> <character>MUNCH</character> <dialogue>Hey, Em, what's up?</dialogue> <character>EM</character> <dialogue>Just loving life.</dialogue> <character>MUNCH</character> <dialogue>You know, I, uh, play drums.</dialogue> <character>EM</character> <dialogue>Oh. I didn't know that.</dialogue> <character>MUNCH</character> <dialogue>I did this really killer drum solo at the senior talent show once. I did 'Limelight' by Rush? I sang, too!</dialogue> <scene_description>He air-drums as he sings in an unpleasant falsetto: Living on a lighted stage, approaches the unreal, for those who think and feel... In touch with some reality, beyond the gilded cage! Bidalah-bum, bidalah-bum- bum, tikka-tikka-POW-POW! (etc.)... He finally stops and grins at her. Em stares at him, aghast.</scene_description> <character>MUNCH</character> <dialogue>You like musicians, right?</dialogue> <parenthetical>(leaning close)</parenthetical> <dialogue>Don't put on an act. Everyone knows about you and Connell.</dialogue> <scene_description>A look of true horror comes over Em. She pushes by him.</scene_description> <character>EM</character> <dialogue>Get the fuck away from me!</dialogue> <scene_description>She runs away.</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - LATER</stage_direction> <scene_description>Bobby is doing some paperwork. Em enters, looking pale and miserable.</scene_description> <character>BOBBY</character> <dialogue>Em. What's up?</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT, ADVENTURELAND - LATER</stage_direction> <scene_description>James rides with his mother. As they pull into the parking lot, he sees Em's car speeding out of the lot. Her tires screech as she whips onto the street...</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE, ADVENTURELAND - DAY</stage_direction> <scene_description>James enters the office as Paulette and Bobby are mid- conversation:</scene_description> <character>PAULETTE</character> <parenthetical>(disbelieving)</parenthetical> <dialogue>She didn't give a reason?!</dialogue> <character>BOBBY</character> <dialogue>No. The summer's almost over, what would make her quit now?</dialogue> <character>PAULETTE</character> <dialogue>It was probably your dancing.</dialogue> <scene_description>She crosses to the shift board. James punches in, lingering.</scene_description> <character>PAULETTE</character> <dialogue>They're dropping like flies...</dialogue> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - SOON AFTER</stage_direction> <scene_description>James is walking past the carousel.</scene_description> <character>CONNELL (O.C.)</character> <dialogue>Brennan!</dialogue> <scene_description>James turns to see Connell bearing down on him.</scene_description> <character>CONNELL</character> <dialogue>What did you tell Lisa P.?!</dialogue> <character>JAMES</character> <dialogue>Connell, look, I...</dialogue> <character>CONNELL</character> <dialogue>What did you tell Lisa P.? Did you tell her everything?</dialogue> <character>JAMES</character> <parenthetical>(beat)</parenthetical> <dialogue>I think so.</dialogue> <character>CONNELL</character> <dialogue>You think so?! This is my life, James! You're just fucking around for a summer!! Ronnie's coming to the park tonight!</dialogue> <character>JAMES</character> <dialogue>I'm...I'm sorry.</dialogue> <scene_description>Connell rubs his forehead. He look up at James, his eyes filled with worry -- and fear.</scene_description> <character>CONNELL</character> <dialogue>I don't know...if she...I don't know what I would...</dialogue> <scene_description>Connell, at a complete loss, walks away.</scene_description> </scene> <scene> <stage_direction>EXT. LOVE MACHINE RIDE - LATER</stage_direction> <scene_description>James approaches Lisa P., who's taking tickets. Kelly is up on the ride platform, locking people into their seats.</scene_description> <character>JAMES</character> <parenthetical>(distressed)</parenthetical> <dialogue>Lisa, I don't know what to say... But everyone's talking about Em and Connell.</dialogue> <character>LISA P.</character> <dialogue>Kelly has such a big f-ing mouth.</dialogue> <parenthetical>(softer, contritely)</parenthetical> <dialogue>I'm sorry 'cause I gave you my word.</dialogue> <scene_description>hide nothing from Kell. She moves closer to James, puts on a kittenish look.</scene_description> <character>LISA P.</character> <dialogue>Are you mad at me?</dialogue> <character>JAMES</character> <dialogue>It's just...Connell's freaked out...Em quit...</dialogue> <character>LISA P.</character> <dialogue>I feel bad about Connell. I have a hard time feeling sorry for Em.</dialogue> <scene_description>James gives her a quizzical look.</scene_description> <character>LISA P.</character> <dialogue>Guys can't help themselves.</dialogue> <character>JAMES</character> <dialogue>But he's the married one.</dialogue> <character>LISA P.</character> <dialogue>Yeah! Em's a friggin' homewrecker!</dialogue> <scene_description>James is amazed at this attitude.</scene_description> <character>JAMES</character> <dialogue>But he was cheating on his wife.</dialogue> <character>LISA P.</character> <dialogue>I can't believe you're defending her!</dialogue> <character>JAMES</character> <dialogue>Cause, what? Guys can be shitty, but women can't?</dialogue> <character>LISA P.</character> <parenthetical>("you're a freak" look)</parenthetical> <dialogue>Whoa.</dialogue> <scene_description>Lisa P. shakes her head as she turns and walks over to Kelly, who's been watching from the ride controls. A NEW SONG COMES OVER THE LOUDSPEAKERS "Rock Me Amadeus" (of course). Lisa P. and Kelly squeal and begin to dance together.</scene_description> <character>LISA P. &amp; KELLY</character> <parenthetical>(singing along)</parenthetical> <dialogue>Amadeus, Amadeus...AMADEUS! Amadeus, Amadeus...AMADEUS! Oh oh oh, Amadeus!!!</dialogue> </scene> <scene> <stage_direction>EXT. "SHOOT OUT THE STAR" GAME - THAT NIGHT</stage_direction> <scene_description>As James collects tickets from some kids, he notices a couple walking up the midway. It's Connell and his wife. Ronnie carries their son.</scene_description> <character>CLOSER ON THEM</character> <dialogue>She's animated and upbeat, doing all the talking. As she focuses on the baby, Connell and James make momentary eye contact. We see how he's trying to hide his anxiety.</dialogue> <character>RONNIE</character> <dialogue>Take Mikey. I gotta pee.</dialogue> <scene_description>Ronnie hands Connell the baby, then kisses him. As she exits, he breathes a sigh of relief.</scene_description> </scene> <scene> <stage_direction>INT. LADIES ROOM, ADVENTURELAND - NIGHT</stage_direction> <scene_description>Ronnie enters a stall and closes the door. She sits down on the toilet.</scene_description> <character>WRITTEN ON THE STALL DOOR</character> <dialogue>EM LEWIN FUCKED CONELL</dialogue> <scene_description>Underneath, someone else has written</scene_description> <character>FUCKIN SLUT!</character> <dialogue>Ronnie stares at the graffiti. She knows it must be true.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, BRENNAN HOUSE - NIGHT</stage_direction> <scene_description>As they eat dinner, James's parents watch a small black and white TV news report on the continuing Iran-Contra hearings.</scene_description> <character>JAMES</character> <dialogue>Hey, dad, can I borrow the car tonight? Going to see a movie with Joel.</dialogue> <character>MR. BRENNAN</character> <parenthetical>(looking at tv)</parenthetical> <dialogue>Sure. Do you think he knew they were doing all that?</dialogue> <scene_description>Reagan is on the TV screen.</scene_description> <character>MRS. BRENNAN</character> <dialogue>They should leave Ronnie alone. As if his job isn't hard enough.</dialogue> <scene_description>James drives. On the radio -- some rock deejay's moronic patter. James snaps it off.</scene_description> </scene> <scene> <stage_direction>EXT. DANNY'S BAR - NIGHT</stage_direction> <scene_description>James pulls into the parking lot. The sign reads:</scene_description> <character>T MORR W!</character> <dialogue>AEROS ITH TRIBU BA D</dialogue> </scene> <scene> <stage_direction>INT. DANNY'S BAR - NIGHT</stage_direction> <scene_description>James drops quarters into the jukebox and chooses a song. Neil Young's feedback-heavy "Hey, Hey, My, My (Into The Black)" starts to play. James sits at the bar and knocks back the last gulp of a bourbon-on-the-rocks.</scene_description> <character>JAMES</character> <parenthetical>(motioning to the bartender)</parenthetical> <dialogue>Another, please.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD NEAR BEACH - NIGHT</stage_direction> <scene_description>Em's Pacer is pulled off the road. Em stares out at the water, zombie-like.</scene_description> </scene> <scene> <stage_direction>INT. FOYER/LIVING ROOM, LEWIN HOUSE - NIGHT</stage_direction> <scene_description>Em enters the house. As she passes the living room, a few extra faces turn toward her. Her dad and Francy are entertaining two other couples.</scene_description> <character>FRANCY</character> <dialogue>Emily. You know the Waldsteins and the Ostrows.</dialogue> <scene_description>Em nods slightly. She walks over to the sideboard and pours herself a Scotch. Francy gives Mr. Lewin an incensed look.</scene_description> <character>MRS. OSTROW</character> <parenthetical>(to fill the awkward moment)</parenthetical> <dialogue>Oh, Francy, I love the new pieces. The lamps! And that wonderful sideboard in the foyer!</dialogue> <character>FRANCY</character> <dialogue>I can't believe you noticed!</dialogue> <character>EM</character> <dialogue>Oh, really? I thought the house was a lot nicer the way my mom used to have it.</dialogue> <parenthetical>(indicating the decor)</parenthetical> <dialogue>Pretty barfarific, if you ask me.</dialogue> <scene_description>Stunned silence.</scene_description> <character>MR. LEWIN</character> <dialogue>Emily, you can't say things like that.</dialogue> <character>EM</character> <parenthetical>(trembling)</parenthetical> <dialogue>That's right. I can't say what I'm thinking and feeling every fucking day!</dialogue> <scene_description>Tears rushing to her eyes, she hurries out.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, LEWIN HOUSE/CONNELL'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Em enters, an irate Francy dogging her steps. Em turns around.</scene_description> <character>EM</character> <dialogue>Do yourself a favor and leave me alone.</dialogue> <scene_description>Francy halts, tongue-tied. Em sips her Scotch.</scene_description> <character>EM</character> <dialogue>You have no domain over me.</dialogue> <character>FRANCY</character> <parenthetical>(exploding)</parenthetical> <dialogue>Who the fuck do you think you are?! You think you can talk to me like that?! Ike!...It's...Ike! Gimme that-</dialogue> <scene_description>NEIL YOUNG'S "HEY, HEY, MY, MY" FADES BACK IN, underscoring Francy and Em scuffling. Francy grabs Em's drink.</scene_description> <character>FRANCY</character> <dialogue>No-No-No!! You will do what I-</dialogue> <scene_description>Em suddenly reaches up and yanks on Francy's wig. Francy shrieks. Em makes a getaway with the wig in her hand.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>Em sprints up the stairs.</scene_description> <character>FRANCY (O.S.)</character> <parenthetical>(losing it)</parenthetical> </scene> <scene> <stage_direction>INT. EM'S BEDROOM, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>Em enters and locks the door. Em. Open that door! Em pauses for a split second...</scene_description> <character>MR. LEWIN (O.S.)</character> <dialogue>Em, I'm not kidding. This is unacceptable! Em, open the door!</dialogue> <character>FRANCY (O.S.)</character> <dialogue>...I'm going to kill you, you LITTLE FUCKING BITCH!!!</dialogue> <scene_description>Em tosses the wig out her open window. It sails into the pool.</scene_description> </scene> <scene> <stage_direction>EXT. DANNY'S BAR - LATER</stage_direction> <scene_description>The Neil Young song continues over the action as James stumbles out of the bar and toward his dad's car.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREETS - LATER</stage_direction> <scene_description>James's father's Reliant comes over a hill. It's raining hard. As he winds through suburban neighborhoods, James reaches under the seat and pulls out his father's hidden Cutty Sark bottle. He gulps from it. Tears sting his eyes.</scene_description> <character>THE CAR</character> <dialogue>speeds up. RATTLES LOUDLY over some bumps.</dialogue> <character>THE GLOWING RAINDROPS</character> <dialogue>fly toward the headlights.</dialogue> <character>MUSIC: NEIL YOUNG ATTACKS HIS GUITAR -- THE NOTES THUNDER AND</character> <dialogue>SHRIEK AS HE WRENCHES THEM FROM THE COILED STRINGS...</dialogue> <dialogue>James takes a corner too fast. The car begins to skid.</dialogue> <dialogue>He slams on the brakes and the car goes into a spin.</dialogue> <dialogue>It careens onto a lawn, clumps of dirt and grass flying in its wake.</dialogue> <dialogue>The car bumpily slides to a halt. No sound but rain thudding on the car roof.</dialogue> <dialogue>It takes James a moment to ascertain that he hasn't hit anything, that he's okay. He laughs bitterly.</dialogue> <dialogue>He slowly drives off the lawn. He rolls past a few houses and pulls into his driveway.</dialogue> <dialogue>We're looking up at Mrs. Brennan, who's rapping on a window.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Rise and shine.</dialogue> <scene_description>REVERSE ON James, jolted awake. He has passed out in the front seat of the car. It's morning.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Get out of the car.</dialogue> <scene_description>James opens the car door. He vomits on the driveway.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Jesus.</dialogue> <scene_description>James steps out of the car, looking miserable.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Come here.</dialogue> <scene_description>Mrs. Brennan leads James around to the other side of the car. He is surprised to see Mrs. Frigo standing there, a scowl on her face. Mrs. Brennan points down -- there are large scrapes from the bumper to door.</scene_description> <character>AND A SIZEABLE SHRUB IS JAMMED INTO THE CAR'S WHEEL WELL.</character> <dialogue>MRS. BRENNAN</dialogue> <scene_description>Care to explain how Mrs. Frigo's hydrangea got here?</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, BRENNAN HOUSE - LATER</stage_direction> <scene_description>James sits at the kitchen table across from his parents.</scene_description> <character>MRS. BRENNAN</character> <dialogue>So explain this, mister?</dialogue> <scene_description>Mrs. Brennan puts the bottle of Cutty Sark on the table. James looks at his father.</scene_description> <character>JAMES</character> <dialogue>That's...not...mine.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Ha! Don't give me that!</dialogue> <scene_description>Mr. Brennan is frozen. James sighs -- he's not going to let the cat out of the bag. What is wrong with you?! The drinking, that cigarette you claim wasn't marijuana. You're acting like a juvenile delinquent. I think it's that Adventureland. You're quitting that job.</scene_description> <character>JAMES</character> <parenthetical>(quietly)</parenthetical> <dialogue>I never want to go there again.</dialogue> <character>MRS. BRENNAN</character> <dialogue>How much have you saved up?</dialogue> <character>JAMES</character> <dialogue>One thousand, three hundred and twenty- two dollars. Give or take.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Well, that might cover the damage. You're paying for Gloria's shrub, too.</dialogue> <character>JAMES</character> <dialogue>But...that's my rent money. For New York City. Like, three months rent and the security deposit.</dialogue> <character>MRS. BRENNAN</character> <dialogue>Not anymore.</dialogue> <scene_description>James looks inconsolable. His father sees an escape opening.</scene_description> <character>MR. BRENNAN</character> <dialogue>I better check on those sprinklers!</dialogue> <scene_description>He hurries out of the room.</scene_description> </scene> <scene> <stage_direction>EXT. BRENNAN HOUSE - DAY</stage_direction> <scene_description>Another stifling, humid day. James is mowing the lawn, drenched with sweat, looking more despondent than ever. Mr. Brennan comes to the front door.</scene_description> <character>MR. BRENNAN</character> <dialogue>James! You have a call!</dialogue> <scene_description>James turns off the lawn mower</scene_description> <character>MR. BRENNAN</character> <dialogue>It's that girl. Emily.</dialogue> <scene_description>As James enters, Mr. Brennan gives him a sheepish look. Mrs. Brennan looks up from her library book as James enters. He crosses to the phone receiver, which lies on a counter. He stares at it, deliberating. James takes the receiver and hangs it up.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Good. She's a troubled young lady.</dialogue> <scene_description>James looks at her quizzically.</scene_description> <character>MRS. BRENNAN</character> <dialogue>Mrs. Frigo told me about her and the married man. You don't need a girl like that in your life.</dialogue> <scene_description>James takes this in. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. MANHATTAN-BOUND LONG ISLAND RAIL ROAD TRAIN</stage_direction> <scene_description>James rides the train, listening to his Walkman. He wears an oxford shirt, pressed black pants and dress shoes.</scene_description> </scene> <scene> <stage_direction>INT. HARVARD CLUB, MANHATTAN - DAY</stage_direction> <scene_description>As James enters the Ivy League alumni club, Eric jumps up from an armchair. His hair is shorter, he wears a finely tailored suit.</scene_description> <character>ERIC</character> <parenthetical>(hugging James)</parenthetical> <dialogue>James! Sit, sit.</dialogue> <character>JAMES</character> <dialogue>How the hell are you?</dialogue> <character>ERIC</character> <parenthetical>(to waiter)</parenthetical> <dialogue>Two Glenlivets, neat, please.</dialogue> <parenthetical>(to James)</parenthetical> <dialogue>I'm fine. Thoroughly fine. So you have a job interview?</dialogue> <character>JAMES</character> <dialogue>It's a training session, really. I'd work on a trial basis. Legal proofreading.</dialogue> <character>ERIC</character> <parenthetical>(doesn't give a shit)</parenthetical> <dialogue>Huh.</dialogue> <scene_description>Tell me about Europe.</scene_description> <character>ERIC</character> <dialogue>This trip changed me, Brennan.</dialogue> <character>JAMES</character> <dialogue>Really?</dialogue> <scene_description>The waiter arrives with their Scotches. Eric takes a sip of his, pausing dramatically.</scene_description> <character>ERIC</character> <dialogue>It was revelatory. There I was, going from one incredible city to the next...the ruins, the cathedrals, the endless procession of art treasures...And I realized something.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Screw the old world. I want the new world. And I want it now. Right now.</dialogue> <character>JAMES</character> <dialogue>What? What do you mean?</dialogue> <character>ERIC</character> <dialogue>I saw myself, five, six years from now, still dicking around, trying to 'find myself'. But these are the years we can't waste, Brennan. We're young, we're vital. Now's my moment and I'm taking it.</dialogue> <character>JAMES</character> <dialogue>Yes. Absolutely.</dialogue> <character>ERIC</character> <dialogue>I'm going to Harvard Business.</dialogue> <character>JAMES</character> <dialogue>You, what...? You're applying?</dialogue> <character>ERIC</character> <dialogue>I'm in. Strings were pulled, wheels greased, destiny's been set in motion.</dialogue> <character>JAMES</character> <dialogue>I'm...I'm surprised.</dialogue> <character>ERIC</character> <dialogue>James, forget about the naive, utopian crap we used to talk about. The world has changed. It's winner-take-all. The great minds, the great artists of our time are the entrepreneurs. Society's their canvas.</dialogue> <scene_description>You're a smart guy, Brennan. If you remain passive, just bumble along like you always do, you'll be on the sidelines. You'll just be commenting on the people who are doing. Eric fixes a serious look on James for a beat -- then sits back and sips his Scotch. James is dumbstruck.</scene_description> <character>ERIC</character> <dialogue>So, did you finally get laid this summer or what?</dialogue> </scene> <scene> <stage_direction>INT. LAW OFFICE, MANHATTAN - LATER</stage_direction> <scene_description>PAN ACROSS rows of cubicles, where people are hunched over documents and computers. WE END ON a cubicle where James sits with a late 20s, out-of-shape, TIRED-LOOKING GUY. He's showing James some legal documents.</scene_description> <character>TIRED-LOOKING GUY</character> <dialogue>If you have half a brain, the job's easy. Unbearably, soul-crushingly dull. But easy.</dialogue> <character>JAMES</character> <dialogue>How's the night shift? I'll have classes during the day.</dialogue> <character>TIRED-LOOKING GUY</character> <dialogue>The night shift is fucking awful. It's a fucking stake through your brain. But after one a.m. pays double-time.</dialogue> <character>JAMES</character> <dialogue>Double-time?</dialogue> <character>TIRED-LOOKING GUY</character> <dialogue>Why else would I do it? Okay...</dialogue> <parenthetical>(sorting some papers)</parenthetical> <dialogue>Fuck...It's amazing how many of these fucking Ivy League grads can't write a single coherent sentence. I read this stuff -- it's like what a lunatic might write on an asylum wall with his turd.</dialogue> <scene_description>James laughs.</scene_description> <character>TIRED-LOOKING GUY</character> <dialogue>You sure you want this job?</dialogue> <character>JAMES</character> <dialogue>Fuck it. Sure.</dialogue> <scene_description>Okay. Fuck it. Let's get started.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN BOULEVARD</stage_direction> <scene_description>Mr. Brennan drives James home, swing music on the radio.</scene_description> <character>MR. BRENNAN</character> <dialogue>Overnight shift?</dialogue> <character>JAMES</character> <dialogue>It pays double-time.</dialogue> <character>MR. BRENNAN</character> <dialogue>Your mother's not going to like that.</dialogue> <scene_description>Beat. James turns to his father.</scene_description> <character>JAMES</character> <dialogue>Do you have a problem with it?</dialogue> <character>MR. BRENNAN</character> <parenthetical>(non-committal)</parenthetical> <dialogue>Me? I...I might. I don't...we'll talk about it at home.</dialogue> <scene_description>His father turns up the radio. James turns the radio down.</scene_description> <character>JAMES</character> <dialogue>I'm taking the job, dad. I've made my decision.</dialogue> <character>MR. BRENNAN</character> <dialogue>But your mother...</dialogue> <character>JAMES</character> <dialogue>She'll live.</dialogue> <scene_description>James's father looks over at his son, surprised.</scene_description> <character>MR. BRENNAN</character> <parenthetical>(warmly)</parenthetical> <dialogue>Okay, kiddo.</dialogue> <character>JAMES</character> <dialogue>I need to stop by the park. I have to get my last paycheck.</dialogue> <scene_description>James turns the music back up.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - DAY</stage_direction> <scene_description>Junior's "Mama Used To Say" plays as James walks through the park, avoiding eye contact with anyone. As he turns a corner, he overhears a familiar voice: ...it was a little club. In Manhattan, in the Village... James comes around a game booth to find Connell standing in front of a kiddie ride. He has the rapt attention of three young women, 18-19 years old.</scene_description> <character>CONNELL</character> <dialogue>...The shows were always wild, people partied like crazy, we'd jam 'til five in the morning. So, one of these nights, halfway through our last set, I'm noticing that everyone in the place keeps turning around, looking at this guy who just came in. He's standing in the back with a couple of buddies. Then I realize it's fucking Neil Young.</dialogue> <character>PRETTIEST GIRL</character> <dialogue>Holy shit.</dialogue> <character>CONNELL</character> <dialogue>I knew he was playing the Garden the next night. So Neil gives me a little friendly musician nod. We finish our song and some guy from their group comes up to me and asks, is it okay if Neil sits in for a few?</dialogue> <character>PRETTIEST GIRL</character> <parenthetical>(all she can say)</parenthetical> <dialogue>...Holy shit! Holy shit!...</dialogue> <character>CONNELL</character> <dialogue>So Neil comes up on the stage. We shake hands. Just say hello and shit. Puts on a guitar. And we did a whole fucking set of his songs. We did 'Southern Man'...'Cinnamon Girl'...'My My, Hey Hey'...'Corvette Killer'...'Like a Hurricane'...</dialogue> <character>GIRLS</character> <parenthetical>(simultaneously)</parenthetical> <dialogue>...Oh my God!...What a pisser!...Holy shit!...</dialogue> <scene_description>Connell grins. Then he notices James standing nearby.</scene_description> <character>CONNELL (TO JAMES)</character> <dialogue>Hey, I want to talk to you.</dialogue> <parenthetical>(to the girls)</parenthetical> <dialogue>Ladies, hold on a sec.</dialogue> <scene_description>Connell crosses to James. He lowers his voice. You're fucking lucky. The whole thing's blown over. Ronnie's calmed down. Mostly.</scene_description> <character>JAMES</character> <dialogue>Well. I'm glad... How's Em? Do you know if she's okay?</dialogue> <character>CONNELL</character> <dialogue>Em? She's young and pretty, she comes from money. I think she'll be okay.</dialogue> <scene_description>Beat. James gets an agitated look.</scene_description> <character>JAMES</character> <dialogue>It's Cortez the Killer.</dialogue> <character>CONNELL</character> <dialogue>What?</dialogue> <character>JAMES</character> <dialogue>It's not 'Corvette Killer'. The Neil Young song is 'Cortez the Killer'. Cortez. He was a Spanish conqueror. Overthrew the Aztecs.</dialogue> <scene_description>Connell looks tongue-tied. James turns and walks away, passing by Bobby, who is singing along with the music:</scene_description> <character>BOBBY</character> <parenthetical>(mangling the lyrics)</parenthetical> <dialogue>Mama used to say, take your tie off, man! Mama used to say, don't you brush to get gold! Mama used to say-</dialogue> <parenthetical>(sees James)</parenthetical> <dialogue>Hey, Brennan!</dialogue> <character>JAMES</character> <dialogue>Hi, Bobby. How are you?</dialogue> <character>BOBBY</character> <dialogue>Ah, you know, it's Labor Day weekend. The season's almost over...</dialogue> <parenthetical>(really getting wistful)</parenthetical> <dialogue>I always get kinda sad, y'know? I guess there's always gonna be that part of me that thinks of summer as this magical time, you know what I mean? Anyway, you're a good kid, Brennan. I hope it all works-</dialogue> <scene_description>SUDDENLY a fair amount vomit comes pouring down on Bobby. You've got to be shitting me. Bobby looks up at the "Sky Chopper" gondolas overhead.</scene_description> <character>BOBBY</character> <dialogue>Which one of you little shits...!</dialogue> <parenthetical>(hurries off)</parenthetical> <dialogue>This fucking place! What kind of fucking life is this...fuck...mother...goddamn...</dialogue> </scene> <scene> <stage_direction>EXT. BOULEVARD NEAR ADVENTURELAND - A BIT LATER</stage_direction> <scene_description>Mr. Brennan's car rolls up to a traffic light and stops. James is looking out the window.</scene_description> <character>ON THE CORNER</character> <dialogue>a rusty old Dodge Dart has just pulled over. And Joel is getting out of it, looking furtive, not wanting to be associated with his father and his battered car.</dialogue> <character>JAMES</character> <parenthetical>(to Mr. Brennan)</parenthetical> <dialogue>Um. Wait for me at the corner.</dialogue> <scene_description>James hops out of the car. The Dart sputters away as Joel starts walking.</scene_description> <character>JAMES</character> <parenthetical>(jogging across the street)</parenthetical> <dialogue>Hey! Joel!</dialogue> <scene_description>Joel turns around. He's wearing his "games" shirt.</scene_description> <character>JOEL</character> <dialogue>Oh. Hey.</dialogue> <character>JAMES</character> <dialogue>You're back.</dialogue> <character>JOEL</character> <dialogue>Yeah. Cash flow problems.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I heard about all the shit that went down. Sorry.</dialogue> <character>JAMES</character> <dialogue>Fucked up my dad's car. Lost every cent I made this summer.</dialogue> <character>JOEL</character> <dialogue>Well. We're both losers then. I better go, I'm late...</dialogue> <dialogue>Okay.</dialogue> <parenthetical>(starts away then turns back)</parenthetical> <dialogue>Hey. You should come to the city. To hang out.</dialogue> <character>JOEL</character> <dialogue>Oh. Okay.</dialogue> <character>JAMES</character> <dialogue>I'm serious. If you don't come, I'll come out here and drag you out of this place.</dialogue> <scene_description>Joel smiles.</scene_description> <character>JOEL</character> <dialogue>Hopefully won't come to that. I'll call you tomorrow.</dialogue> <character>JAMES</character> <dialogue>Sounds good.</dialogue> <scene_description>Joel nods, then heads down the sidewalk, toward the park.</scene_description> </scene> <scene> <stage_direction>INT. BACKYARD, BRENNAN HOUSE - LATER, EARLY EVENING</stage_direction> <scene_description>James stands in his backyard, taking in the evening.</scene_description> <character>A PIERCING WHISTLE</character> <dialogue>echoes from a field behind his house. James sees a few bottle rockets shoot into the sky. He climbs over the fence and heads toward the group of young men shooting the fireworks. Frigo runs toward James:</dialogue> <character>FRIGO</character> <dialogue>Brennan! We stole a case of Schlitz from Zeblisky's garage!!</dialogue> </scene> <scene> <stage_direction>EXT. FIELD BEHIND BRENNAN HOUSE - ALMOST NIGHT</stage_direction> <scene_description>Frigo runs around with a roman candle, pointing it like a rifle, as it shoots fireballs.</scene_description> <character>AN EMPTY SCHLITZ CAN</character> <dialogue>is tossed into a pile of cans. James, sitting under a tree, opens another beer.</dialogue> <dialogue>He lies on the ground, staring up. He watches an errant bottle rocket ricochet into the branches above his head.</dialogue> <dialogue>WE MOVE IN CLOSE ON his pensive face.</dialogue> <character>JAMES'S MEMORY.</character> <dialogue>roller coaster at Adventureland. She's feigning boredom as</dialogue> <character>THERE IS NO SOUND.</character> <dialogue>the ride swoops and dips recklessly behind her.</dialogue> <scene_description>MORE QUICK CUTS OF OTHER IMAGES OF EM: - At Danny's Bar, giving the camera a devilish look as she throws back a shot of bourbon - A moment at a game booth, where Em turns away from an irritating customer and shoots us a "save me from this hell" look - Looking at James, sitting on the hood of her car, at the beach at night, her eyes filled with sadness and fear - Driving in her car, at dusk, singing along with the radio - In her pool, at night, staring at us JAMES'S DAYDREAMING is broken by Frigo, who stands over him:</scene_description> <character>FRIGO</character> <dialogue>Don't fall asleep, Brennan.</dialogue> <character>JAMES</character> <dialogue>Why?</dialogue> <character>FRIGO</character> <dialogue>Cause I'll jack off on your face.</dialogue> <scene_description>Frigo giggles like a lunatic.</scene_description> <character>JAMES</character> <dialogue>What on earth is wrong with you?</dialogue> <scene_description>James stands up. He's come to a decision:</scene_description> <character>JAMES</character> <dialogue>Look, can you get your mom's car again? Right now? I'll give you twenty bucks.</dialogue> <character>FRIGO</character> <dialogue>Thirty.</dialogue> <character>JAMES</character> <dialogue>Fine.</dialogue> <character>FRIGO</character> <dialogue>Forty.</dialogue> <scene_description>James shakes his head. He gets out his wallet, removes two twenties and hands them over. privates. Frigo collapses onto the grass.</scene_description> <character>JAMES</character> <parenthetical>(as he walks off)</parenthetical> <dialogue>Even.</dialogue> </scene> <scene> <stage_direction>EXT. FRIGO'S HOUSE - NIGHT</stage_direction> <scene_description>Once again, Frigo is behind the wheel of his mother's Cutlass as James pushes the car out of the driveway.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET/LEWIN HOUSE - LATER</stage_direction> <scene_description>The Cutlass rumbles down a street. As they approach Em's house, they see that there are a few cars in the driveway and several more parked on the street.</scene_description> <character>JAMES</character> <dialogue>Huh.</dialogue> <scene_description>Frigo stops the car.</scene_description> <character>FRIGO</character> <dialogue>I'll wait for you.</dialogue> <character>JAMES</character> <dialogue>No, don't.</dialogue> <scene_description>Beat. Frigo looks sympathetically at James.</scene_description> <character>FRIGO</character> <dialogue>Hope it works out.</dialogue> <character>JAMES</character> <parenthetical>(surprised &amp; a little touched)</parenthetical> <dialogue>Thanks, Frigo.</dialogue> <scene_description>James, surprised and a little touched by Frigo, gets out of the car and crosses toward the front door. He rings the bell. He turns back toward Frigo. He's not in the car -- instead, he's over on the side of Em's lawn, urinating on a tree.</scene_description> <character>FRIGO</character> <dialogue>I can't hold it!</dialogue> <scene_description>James hears the door open and turns back. Em stands there. Behind her we can hear an adult cocktail party in progress. Em stares at James, tongue-tied.</scene_description> <character>JAMES</character> <dialogue>Hey, I wanted to talk to you. My timing sucks as usual.</dialogue> <dialogue>Um. Come in. Hurry.</dialogue> <scene_description>She ushers him inside.</scene_description> </scene> <scene> <stage_direction>INT. FOYER/STAIRS, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>Em leads James past the living room, where oblivious adults are clustered, talking loudly. They hurry up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. EM'S BEDROOM, LEWIN HOUSE - CONTINUOUS</stage_direction> <scene_description>James enters the room. Em follows, shutting the door. They look at each other for an awkward beat.</scene_description> <character>EM</character> <dialogue>This is pretty weird.</dialogue> <character>JAMES</character> <dialogue>Yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look. I'm here to apologize. First of all, I'm sorry I hung up on you that day. Worse, it's my fault everyone found out about you and Connell. I told Lisa P. And...while you and I were seeing each other...I went on a date with Lisa P. Nothing really happened. We kissed a little. But I...I don't know...I feel bad about that.</dialogue> <character>EM</character> <dialogue>I heard you guys went out.</dialogue> <character>JAMES</character> <dialogue>You did? You never said anything.</dialogue> <character>EM</character> <parenthetical>(looking down)</parenthetical> <dialogue>What could I say?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry if I hurt you. I...I don't know what's wrong with me.</dialogue> <scene_description>Beat.</scene_description> <character>JAMES</character> <dialogue>The only thing wrong is that you need to find someone you can trust.</dialogue> <scene_description>She looks up at him for a long beat.</scene_description> <character>EM</character> <dialogue>Are you nominating yourself?</dialogue> <scene_description>As long as you don't mind trusting a guy who clearly doesn't have a fucking clue about anything. Em moves to James. She pulls his shirt off. He leans forward and kisses her. Without abandoning her lips, he slides off her t-shirt. They kick off their shoes, pull off socks, then help each other out of their pants. Em takes off her bra. They both slide off their underwear. They stand facing each other, naked. Their eyes are nervous and searching. James caresses her cheek and smiles. Em laughs, blinking away a few tears. We hold on them for a long moment.</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY, ADVENTURELAND - DUSK</stage_direction> <scene_description>It's right after sunup. Nobody is here yet.</scene_description> <character>IN SEPARATE SHOTS, THE CAMERA PULLS BACK FROM THESE THINGS:</character> <dialogue>The empty midway; a rusty cotton candy vending cart; the snack bar menu sign that hasn't changed for years and is missing letters; the dark and silent video arcade; the "Bimbo the Clown" machine, with an "OUT OF ORDER" sign; the moronically grinning "Hats Off To Larry" mannequin; racks of stuffed "bananas with eyes"; empty Chopper ride gondolas, creaking and swaying...</dialogue> <dialogue>WE END ON A SHOT THAT CRANES INTO THE AIR, showing a wide view of the shabby little park. A desolate wind blows through Adventureland. Another summer's almost over.</dialogue> <dialogue>END CREDITS OVER "Ever Fallen In Love" by The Buzzcocks.</dialogue> </scene> </script>

In 1987, James Brennan plans to have a summer vacation in Europe after graduating from Oberlin College. His parents inform him that their current finances will not permit them to support him and he will have to spend the summer working instead. James gets a job working the carnival games at Adventureland, a local amusement park in his hometown of Pittsburgh, Pennsylvania, where his childhood friend Tommy Frigo works. Another games worker, Emily "Em" Lewin, saves James from being stabbed by a cheating customer and offers him a ride home that night. With her father and stepmother out of town, Em throws a party. At the party, Em and James discover they share a similar taste in music. Em persuades James to join her in her swimming pool, but an unfortunately timed erection humiliates him in front of everyone. After the party, Mike Connell, who is married and has been having an affair with Em, comes over and they have sex. As the love triangle between Mike, Em, and James continues to develop, other romances blossom between their coworkers at Adventureland. James also has a brief romance with rides worker Lisa P. Another of James' coworkers tells James that one night, he saw Em and Connell doing "pushups without any pants on" in the back of Connell's car. Frigo drives James to Connell's mother's house and they see Em leaving. James tells Lisa about the affair and asks her not to tell anyone, but she tells her friend Kelly and soon afterwards the news spreads throughout the park. Em quits and moves back to New York. James gets drunk, crashes his father's car into their neighbor's tree, and passes out. The next morning, James' prospective grad school roommate decides to go to Harvard Business School instead, leaving him with nowhere to live in New York. James heads to New York City and waits outside Em's apartment in the rain. When she arrives, she invites him in and they reconcile.

Napoleon_2023

tt13287846

<script> <scene> <character>NAPOLEON</character> <dialogue>By</dialogue> <scene_description>David Scarpa</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - AUGUST 10, 1792</stage_direction> <character>TITLE: REVOLUTION</character> <dialogue>CAMERA RUNNING BEHIND MARIE-ANTOINETTE LIKE A HORROR FILM</dialogue> <dialogue>with her two children, ushered by guards. NATIONAL GUARD (REBELS, REVOLUTIONARY MOB) storm the palace. They are met with GUNFIRE from the Swiss Guards. Hundreds of people are killed but the MOB keeps coming... ANGLE, MARIE ANTOINETTE Stay with her and the kids locked in a room. SOUNDS building...getting closer...unruly mob smashes the door down and comes for her, they take her, they pull her away from the children....</dialogue> </scene> <scene> <stage_direction>EXT. PLACE DE CONCORDE - DAY</stage_direction> <scene_description>MARIE-ANTOINETTE goes straight into a wagon. Peripheral threatening violence. Stay with them in the streets into Place de Concorde....</scene_description> <character>NAPOLEON (VO)</character> <dialogue>Those at the top are poor creatures. It must be admitted when you see things at first hand, that the people are not worth the trouble taken in winning their favor....</dialogue> <scene_description>In the crowd of people, NAPOLEON BONAPARTE.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>You have to see things close to realize that enthusiasm is but enthusiasm and the French are an old nation without ties......</dialogue> </scene> <scene> <stage_direction>EXT. PLACE DE CONCORDE - DAY</stage_direction> <scene_description>Marie-Antoinette lead up to the guillotine.</scene_description> <character>ROBESPIERRE (VO)</character> <dialogue>She was guilty of three charges against you. Depletion of the national treasury, conspiracy against the internal and external security of State and high treason for acting in the interest of the Enemy.</dialogue> <scene_description>They cut off her head. Sanson holds her head up, PEOPLE CHEER.</scene_description> <character>TITLE: THE REPUBLIC</character> <dialogue>ROBESPIERRE (VO)</dialogue> <scene_description>...Indulgence of the Royalists, cry certain men, mercy for the villains! No! Mercy for the innocent, mercy for the weak, mercy for the unfortunate, mercy for humanity....</scene_description> </scene> <scene> <stage_direction>INT. JACOBIN CLUB - DAY</stage_direction> <scene_description>Robespierre is giving a speech. Napoleon and his friends Saliceti and Junot are in the crowd, listening.</scene_description> <character>ROBESPIERRE (VO)</character> <dialogue>Society owes protection only to peaceable citizens. Terror is nothing other than justice. Prompt, severe, inflexible: it is therefore an emanation of virtue....</dialogue> <scene_description>Above, in the gallery sits PAUL BARRAS (male 30s, effeminate) Lucien and Barras see each other, motions him to an upstairs gallery.</scene_description> </scene> <scene> <stage_direction>INT. JACOBIN CLUB - UPSTAIRS - LATER</stage_direction> <scene_description>A corner heated by a stove. Robespierre speech heard OC. Barras meets Napoleon and Lucien. Barras is gossiping with them:</scene_description> <character>PAUL BARRAS</character> <dialogue>The New Republic has promised to assist all people who rise up against their rulers which has put us to war with all Europe and the English. I believe we have shown that we are incompetent to wage a war against anyone. Don't you......?</dialogue> <scene_description>REVEAL: NAPOLEON, is standing next to his brother LUCIEN and they are listening to Barras. Napoleon doesn't answer.</scene_description> <character>LUCIEN</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>It is clear to The New Committee and Anyone Else that we are incompetent - I'm not saying anything impressive, I'm just possessing an honest appraisal of the Current Situation - You were posted in Auxonne during the Revolution?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>Suppressing local food riots?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>You organized a volunteer National Guard in Corsica?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>The English now occupy your home of Corsica?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>Mmhm. Where is your family?</dialogue> <character>NAPOLEON</character> <dialogue>Marseilles.</dialogue> <character>PAUL BARRAS</character> <dialogue>Dependent on your pay?</dialogue> <character>NAPOLEON</character> <dialogue>yes.</dialogue> <character>LUCIEN</character> <dialogue>Citizen Bonaparte as artillery officer has organized heated shots for the coastal batteries to fire at English ships.</dialogue> <character>PAUL BARRAS</character> <dialogue>Mmmm. Heated shots. The British Navy have taken the port of Toulon. Half the French fleet is trapped there.</dialogue> <dialogue>Lucky for us, Admiral Pitt sent the bulk of his English army to die in the West Indies of yellow fever so there are only two thousand English troops in Toulon.</dialogue> <dialogue>But we are short of artillery and we are led by a General who was a court painter. A painter. Fruit.</dialogue> <character>NAPOLEON</character> <dialogue>It's not necessary to recapture Toulon itself. The town is not a town. The town is a port.</dialogue> <dialogue>If the harbour is untenable to the English fleet, the town must surrender.</dialogue> <character>PAUL BARRAS</character> <dialogue>and how do you take the Harbour?</dialogue> <character>NAPOLEON</character> <dialogue>Take the Fort that dominates the Harbour and you have the city.</dialogue> <character>PAUL BARRAS</character> <dialogue>I, for one, think we should despair and abandon the whole Provence to the English Invader...</dialogue> <scene_description>(\*\*\*ALTERNATIVE LINE: FORTHCOMING\*\*\*):</scene_description> </scene> <scene> <stage_direction>5A EXT. PORT OF TOULON - MORNING</stage_direction> <scene_description>Napoleon and Junot ride in.</scene_description> </scene> <scene> <stage_direction>INT. FRENCH WAR BASE NEAR TOULON - MORNING</stage_direction> <scene_description>PULL BACK to see French General JEAN-FRANCOIS CARTEAUX, painting a still life of fruit. We're in his quarters within an old fort. Napoleon stands, unnoticed and watches him paint. General Carteaux motions without turning.</scene_description> <character>GEN. CARTEAUX</character> <dialogue>You're in my light....pass the burnt umber…</dialogue> <character>CU. NAPOLEON</character> <dialogue>Seeing the situation. (passes the burnt umber)</dialogue> </scene> <scene> <stage_direction>EXT. PORT OF TOULON - MORNING</stage_direction> <scene_description>Napoleon walking amongst/over his shabby troops. French INFANTRYMEN lie on the ground.</scene_description> </scene> <scene> <stage_direction>EXT. PORT OF TOULON - DAY</stage_direction> <scene_description>A WIDE SHOT that reveals the geography of the situation...it's a large port blockaded by British Naval Vessels with a FORT L'EGUILETTE occupying the promontory. There are British Flags everywhere.</scene_description> </scene> <scene> <stage_direction>INT. TOULON WAR CAMP - ARTILLERY ROOM - DAY</stage_direction> <scene_description>Napoleon pulls back a tarp to survey the RUSTED OUT CANNONS in the back of an oxcart....</scene_description> </scene> <scene> <stage_direction>EXT. TOULON - DAY</stage_direction> <scene_description>Napoleon, dressed in the clothes of a carpenter, rides an old work-horse as British troops strut past him. He stops and casts a surreptitious glance over his shoulder to be sure he isn't being watched. He pulls out a spyglass. HIS POV: the main fort overlooking the city, FORT L'EGUILETTE, with British and Bourbon flags flying overhead.</scene_description> </scene> <scene> <stage_direction>EXT. FORT L'EGUILETTE - DAY</stage_direction> <scene_description>Napoleon rides along the wall beneath the great fortress. High above, along the fortress wall, British SOLDIERS are running out and panning the great LONG CANNONS. Napoleon watches closely, unnoticed. As Napoleon watches closely, one of the soldiers steps on the wall -- -- and sends a scree of loose stone tumbling down below, making Napoleon's workhorse whinny and dance.</scene_description> <character>BRITISH SOLDIER</character> <dialogue>Sorry about that, mate!</dialogue> </scene> <scene> <stage_direction>EXT. MUDDY BANK/ BEACH - MONTAGE -- DAY</stage_direction> <scene_description>A RIVER BANK, pockmarked with blast craters from cannon and mortar fire. Napoleon plunges a shovel into the mud -- -- and finds it buried within: an old CANNONBALL, warped out of shape by the force of impact. He tosses it into a wheelbarrow full of scrap metal. His men are doing the same, digging up rusty mortars and other metal debris. A DONKEY tethered to a rope pulls a rusted old anchor from the river bank where it is buried.</scene_description> </scene> <scene> <stage_direction>EXT. WAR CAMP - DAY</stage_direction> <scene_description>The men build LADDERS wide enough for two men to climb abreast.</scene_description> </scene> <scene> <stage_direction>INT. BLACKSMITH'S FORGE - MONTAGE - DAY</stage_direction> <scene_description>Piles of stolen scrap iron are poured out of brigands' bags into the great glowing forge, where they melt into molten taffy -- -- which is poured into a series of molds in the shape of CANNONS and cannonballs. MORTARS are assembled -- small cannons, three feet long, that can be carried and swiveled to lob grenades. We PUSH IN on Bonaparte standing at the center of it all, drenched in sweat as he pours the molten iron into the molds. A HISS OF STEAM as water is poured over the cannon molds to cool them. Bonaparte reaches in with a set of heavy tongs and picks up one of the glowing 2-pound balls.</scene_description> </scene> <scene> <stage_direction>EXT. FORGE -- TOULON - CAMP -- DAY</stage_direction> <scene_description>A line of freshly forged MORTARS stand before us on wooden tripods. Napoleon takes a new mortar casting of at least 80 pounds and rests it in its cradle. Takes a pinch of powder and saltpeter... points to the distant wall... then inserts an explosive ball. Napoleon drives a RAMMER SHAFT into the bore of a cannon, demonstrating for a group of raw recruits. Barras, Carteaux and Junot are in conference in the BG nearby. The mortar FIRES and clears the wall.</scene_description> </scene> <scene> <stage_direction>EXT. FORT L'EGUILETTE -- NIGHT (DECEMBER 16, 1793)</stage_direction> <scene_description>Napoleon and his men move under cover of darkness. THIRTY MORTAR CREWS, each consisting of three men apiece, maneuver the mortars into position on the battlefield. In the distance, British GUARDS carouse and sing songs on the Fortress rooftop not 200 yards away. A drunken guard appears and urinates off the parapet. A muster of 200 FRENCH TROOPS are ready: thirty three-man MORTAR CREWS, each with its own mortar on a tripod, along with 100 MARKSMEN with bayonets and rifles waiting by the large door to be blown up. The ladder troops wait at the ready. A SAPPER has set a keg of powder by the back door to the fortress. He rolls a coil of fuse away into darkness. Napoleon signals -- and a FLAGMAN using two white flags uses semaphore to signal the Sapper. The fuse is lit -- the fuse runs down -- -- and the Fortress door is BLOWN OPEN in a huge EXPLOSION -- -- as all the mortars are launched simultaneously at the fortress, killing many of the guards on the roof.</scene_description> </scene> <scene> <stage_direction>INT. CASTLE BARRACKS -- SAME</stage_direction> <scene_description>British MARINES grab their rifles from beside their bunks and run outside in their stocking feet and long underwear --</scene_description> </scene> <scene> <stage_direction>EXT. FORTRESS ROOFTOP -- NIGHT</stage_direction> <scene_description>-- and charge outside onto to the rooftop, blindly returning fire into the darkness. The French Infantry are already at the wall with their ladders. They scale the ladders two abreast, gaining access to the fortress roof. Barras, Carteaux and Junot watch from the rear as - Napoleon trots forward alongside them with his foot soldiers. Everywhere there is shouting, smoke.</scene_description> <character>NAPOLEON</character> <dialogue>Cease Fire.</dialogue> <scene_description>A soldier uses SEMAPHORE to signal his cannon crews to cease fire as the grenadiers break onto the roof and set about the British. BULLETS whizz around Barras and Carteaux. Napoleon's horse dances nervously amidst the gunfire. Barras and Napoleon have a moment amidst the chaos together:</scene_description> <character>NAPOLEON</character> <parenthetical>(at last I am at war)</parenthetical> <dialogue>Napoleon spurs his horse towards the wall. At that moment a random 2-pound CANNONBALL from the parapet hits Napoleon's horse full in the chest. The animal practically liquefies, disintegrating in pieces beneath him, before it spins &amp; falls, pinning Napoleon's leg to the ground. Barras and Junot leap off their horses, taking Napoleon by the arms and pulling him out from under the liquefied horse. Barras and Napoleon look at one another, stunned. Barras and Napoleon are covered in blood. He gets up… Napoleon has drawn his saber and charges the fort on foot. Barras watches as Napoleon climbs the ladder, then disappears into the bloody chaos Napoleon appears on the battlement, his saber drawn. All is smoke and chaos. A RED-FACED IRISH SERGEANT charges him with his bayonet, roaring with anger, or more likely, terror. Napoleon assumes his best fencer's stance and parries his blade -- -- but the Irishman swings around and comes back with his rifle butt. Napoleon ducks the bayonet, slashing at the Irishman's side, opening up a huge wound. Napoleon returns to his stance, saber drawn, and offers the hemorrhaging Irishman his scarf.</dialogue> <character>IRISHMAN</character> <dialogue>Little Ponce! Fecking shite on yer rag!</dialogue> <scene_description>The Irishman makes a charge and gores Napoleon in the leg. Napoleon instantly collapses. The Irishman raises his bayonet to spear Napoleon -- -- as a footsoldier sweeps past, killing the Irishman with his saber. The Irishman falls dead beside him, their faces inches apart. Napoleon struggles to his feet and limps to the wall of the Fort overlooking the Toulon harbor -- -- where the heavy guns are being taken over. The British guards are being thrown from the walls. The mortars are now off loading onto the small French fleet moored below the Castle. Napoleon stands beside the big guns.</scene_description> <character>NAPOLEON</character> <dialogue>Fire cannons!</dialogue> <scene_description>The CANNONS FIRE at Hood's Fleet offshore --</scene_description> </scene> <scene> <stage_direction>18A EXT. PORT OF TOULON - HARBOUR</stage_direction> <scene_description>See the fleet offshore, clearly in chaos</scene_description> </scene> <scene> <stage_direction>EXT. FORT L'EGUILETTE -- NIGHT</stage_direction> <scene_description>Napoleon stalks up and down the line of cannons, he rolls a cannonball to one of the crews. A big fellow picks it up to load. Barras and Generals Carteaux and Junot are watching from the castle platform as Napoleon directs the fire, drenched in blood, backlit with the fire he created. The British ships are pulling away from the harbor moorings. Some are burning and setting fire to other ships. Napoleon walks back to the line of mortars. In the BG, one of Hood's ship EXPLODES as its magazine is struck by a cannonball. Barras sees Napoleon with new eyes.</scene_description> <character>BARRAS</character> <dialogue>That man has a gift.</dialogue> </scene> <scene> <stage_direction>EXT. TOULON - DAY</stage_direction> <scene_description>Napoleon is awarded title of Brigadier-General in a small, make-shift ceremony of some kind that's very low budget and thrown together. Junot and Carteaux are here chosen as Aides. Barras presents him with a ribbon and a fraternal hug.</scene_description> <character>PAUL BARRAS</character> <parenthetical>(Into Napoleon's ear)</parenthetical> <dialogue>Whether you're a madman or a genius...</dialogue> <character>PAUL BARRAS</character> <parenthetical>(To the Crowd)</parenthetical> <dialogue>On behalf of The National Convention and the Committees, I award you the rank of Brigadier-General.</dialogue> <character>NAPOLEON</character> <dialogue>I promised you brilliant successes, and I have kept my word.</dialogue> <character>OFF NAPOLEON....</character> <dialogue>JACQUES LOUIS-DAVID</dialogue> <scene_description>Who has visited you?</scene_description> <character>LITTLE HORTENSE</character> <dialogue>My Aunt.</dialogue> <character>JACQUES LOUIS-DAVID</character> <dialogue>What letters have you received?</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BEAUHARNAIS - PARIS</stage_direction> <scene_description>A YOUNG HORTENSE BEAUHARNAIS (10 yrs) is being interrogated by Jacobin thugs: CITIZEN LACOMBE &amp; JACQUES. Five of them crowd a small kitchen. JOSEPHINE BEAUHARNAIS is kept quiet, scared off to the side watching her daughter under questioning.</scene_description> <character>JOSEPHINE</character> <dialogue>She's a child - stop it, I will tell you what you want - stop talking to her and talk to me --</dialogue> <character>JACQUES LOUIS-DAVID</character> <dialogue>Don't look at your Mother, look at me. (to Guards) Take her in the other room....</dialogue> <character>JOSEPHINE</character> <dialogue>I'm here, my love, I'm in the next room, I can hear you --</dialogue> <character>JOSEPHINE</character> <dialogue>It's alright, my love....</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>Do you know your Father's under arrest?</dialogue> <character>HORTENSE</character> <dialogue>He's a prisoner.</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>Do you know why?</dialogue> <character>HORTENSE</character> <dialogue>Because he's a noble.</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>What do you want to do to his jailers?</dialogue> <character>HORTENSE</character> <dialogue>I want him to come back.</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>Are you a Noble?</dialogue> <character>HORTENSE</character> <dialogue>Yes?</dialogue> <scene_description>ON JOSEPHINE, crying in the other room.</scene_description> <character>CITIZEN LACOMBE (OC)</character> <dialogue>Do you love Liberty?</dialogue> <character>HORTENSE</character> <dialogue>Yes.</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>What do your parents say about Royalty?</dialogue> <character>HORTENSE</character> <dialogue>....</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>Come now, don't be shy, what do they say when they speak about Louis and Marie-Antoinette.</dialogue> <character>HORTENSE</character> <dialogue>My father is for the Revolution. So Am I.</dialogue> <character>CITIZEN LACOMBE</character> <dialogue>Don't lie to me or I will hurt you: What will your Mother do to your Father's jailer....?</dialogue> </scene> <scene> <stage_direction>EXT. CHATEAU DE BEAUHARNAIS - PARIS - SAME</stage_direction> <scene_description>Josephine is arrested and pulled away, calling back to the children who are left with Lucille....</scene_description> <character>JOSEPHINE</character> <dialogue>STAY MY CHILDREN. STAY SAFE, STAY IN</dialogue> <character>THE HOME. I WILL RETURN.</character> <dialogue>She struggles into the cart and is taken off.</dialogue> </scene> <scene> <stage_direction>EXT/INT. CARMES PRISON - DAY</stage_direction> <scene_description>Establish shot that brings Josephine and other aristocrats and clergy to Carmes Prison. They are herded inside. Josephine stands before a Female Warder who takes her rings and yanks her earrings off.</scene_description> <character>FEMALE WARDER</character> <dialogue>Show me your hands. Open your mouth.</dialogue> <scene_description>Reveal Josephine's Teeth, pale, grey and decayed.</scene_description> <character>JOSEPHINE</character> <dialogue>I am a citizen of the Republic. I have a right to a trial.</dialogue> <scene_description>She is moved along, comes into a courtyard and finds an old friend: THERESA CABARRUS. They embrace.</scene_description> </scene> <scene> <stage_direction>INT. CARMES PRISON - LATER</stage_direction> <scene_description>Theresa and Josephine in a hallway, sat on the floor, people crowded around. An open door nearby has a couple having sex. Josephine looks to Theresa trying to understand.</scene_description> <character>THERESA CABARRUS</character> <dialogue>They won't execute a pregnant woman.</dialogue> <character>CU. JOSEPHINE</character> <dialogue>THERESA CABARRUS</dialogue> <scene_description>And men never need a reason to fuck, do they?</scene_description> </scene> <scene> <stage_direction>INT. CARMES PRISON -- COURTYARD -- DAY</stage_direction> <scene_description>The condemned aristocrats are all socializing in the courtyard. Their clothes are dirty, their wigs askew, but they continue to act as if it's a garden party. Josephine, seated with Theresa who has a short hair cut and gestures to that:</scene_description> <character>THERESA CABARRUS</character> <dialogue>They say the blade of the guillotine can get caught in your hair.....</dialogue> <character>JOSEPHINE</character> <dialogue>It's true. I watched them behead the King. The blade got stuck in his neck.</dialogue> <character>THERESA CABARRUS</character> <dialogue>His neck was fat. You have the neck of a swan, you won't feel a thing.</dialogue> <character>JOSEPHINE</character> <dialogue>The head falls in the basket, and the executioner holds it up for the crowd. The eyes blink, and the lips move. Everybody listens to hear what they're saying. Is that the last thing you see? The crowd looking back at you, laughing?</dialogue> <character>THERESA CABARRUS</character> <dialogue>...</dialogue> <character>JOSEPHINE</character> <dialogue>I need a knife. Can you get one?</dialogue> <character>THERESA CABARRUS</character> <parenthetical>(firmly)</parenthetical> <dialogue>I'm not going to die. I'll do what it takes. If that means getting pregnant, so be it.</dialogue> <scene_description>Theresa turns and glances across the courtyard, where the young men are gathered.</scene_description> <character>THERESA CABARRUS</character> <dialogue>You can die like a lady. Or you can live, like me.</dialogue> <scene_description>Theresa rises and crosses the courtyard to join the men. Amongst them is LAZARE HOCHE, a handsome young military officer. Josephine's gaze meets Hoche's... and in him she glimpses a way to stay alive.</scene_description> </scene> <scene> <stage_direction>INT. CARMES PRISON - JOSEPHINE'S CELL - NIGHT</stage_direction> <scene_description>She picks up a knife and begins to cut off all her hair.</scene_description> </scene> <scene> <stage_direction>INT. CARMES PRISON -- CORRIDORS - NIGHT</stage_direction> <scene_description>Josephine walks through the halls, past the cells of the condemned.</scene_description> </scene> <scene> <stage_direction>INT. CARMES PRISON - LAZARE HOCHE'S CELL - NIGHT</stage_direction> <scene_description>She appears. Lazare Hoche sits up and sees her. She removes her dress..... 29 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. PLACE DE CONCORDE - DAY</stage_direction> <scene_description>Condemned people wait in the tumbrels to be executed. A group of Nuns is amongst them, praying. The Eldest Nun is walked up and the Crowd falls quiet at the sight of this..... As she climbs up, she begins to sing Veni Creator Spiritus.. She is executed. The other Nuns are singing. Finally, there is one young Nun left, she fearlessly kneels and lays her head on the block, singing. She gets her head chopped off and everyone is quiet.......</scene_description> <character>VOICE</character> <dialogue>ENOUGH.....</dialogue> <scene_description>Lots of murmurs and sadness. "ENOUGH" calls here and there.</scene_description> </scene> <scene> <stage_direction>30A INT. BARRAS OFFICE - NIGHT</stage_direction> <scene_description>Napoleon sits in a hush-hush conversation with Barras over a glass of brandy.</scene_description> <character>BARRAS</character> <dialogue>I would say the current leadership of France has passed from enthusiasm to reckless ambition..........and that the public perception of the guillotine is lawless passion led by Robspierre. He is unfit to rule...and if it is not his head in a basket, then sooner or later it will be any one of us who have served under his title..........</dialogue> <scene_description>Napoleon stays quiet and still.</scene_description> </scene> <scene> <stage_direction>30B INT. JACOBIN CLUB - DAY (JULY 27, 1794)</stage_direction> <scene_description>Robespierre's moment has come. He is sat and silenced. His main associates in the reign of terror are nearby: Wheelchair Couthon, Pretty Boy Saint-Just and Brother Augistin Robespierre, Le Bas. Plotters attack his character and his thirst for power. BARRAS sits and watches the chaos unfolding. EVERYONE IS SHOUTING ON TOP OF EACH OTHER, ROBSPIERRE is not allowed to speak:</scene_description> <character>PLOTTER</character> <dialogue>It is has become increasingly clear, Citizen Robespierre that your motivations are to use this blade to your ultimate power.</dialogue> <character>ROBESPIERRE</character> <dialogue>Let me speak, let me speak, sir, no man in this room has objected to my methods - if you say I'm guilty, you are all guilty.</dialogue> <character>PLOTTER</character> <dialogue>You are Roman tyrant…worse than Ceaser.</dialogue> <character>CROWD</character> <dialogue>VARIOUS AD LIBS. TYRANT. CAESAR.</dialogue> <character>ROBSPIERRE</character> <dialogue>YOU are the traitors. YOU ARE, ALL OF YOU THE TRAITORS, LET ME SPEAK.</dialogue> <character>BARRIS</character> <dialogue>YOU ARE NOT THE ONLY DEFENDER OF</dialogue> <character>FREEDOM. YOU HAVE DEEMED YOURSELF</character> <dialogue>JUDGE, JURY AND EXECUTIONER, HAVE</dialogue> <character>YOU NOT? HAVE YOU NOT? ANSWER MY</character> <dialogue>QUESTION.</dialogue> <character>HE STANDS AND LOOKS TO HIS DEPUTIES:</character> <dialogue>ROBSPIERRE</dialogue> <scene_description>I am appealing to you, men of purity, men of virtue - defend my name -</scene_description> <character>BARRAS</character> <dialogue>ARREST HIM.</dialogue> <scene_description>Robespierre starts to move away and then makes a RUN FOR IT AND BEDLAM COMES QUICKLY: Barras and Crowd are hot on Robespierre's heels, following him up stairs and into a balcony. Wheelchair Couthon goes down a flight of stairs. Barras and the Jacobins trample Couthon as they run upstairs.</scene_description> </scene> <scene> <stage_direction>30C INT. JACOBIN CLUB -- GALLERY -- SAME</stage_direction> <scene_description>Barras barges a door to find Robespierre standing there with a pistol. Robespierre aims the pistol at Barras' heart. Robespierre FIRES one of the guns which doesn't go off...he takes the other and aims at his own head -- -- the bullet enters at an off-angle, shooting him in the jaw. There's cloud of smoke and blood. Robespierre collapses to the ground, writhing.</scene_description> <character>BARRAS</character> <dialogue>You missed.</dialogue> <scene_description>Barras turns to the Jacobins.</scene_description> <character>BARRAS</character> <dialogue>Take him.</dialogue> <scene_description>Half his jaw has been blown off, he's still alive.</scene_description> </scene> <scene> <stage_direction>30D EXT. PLACE DE CONCORDE -- DAY (JULY 28, 1794)</stage_direction> <scene_description>And so it is that Maximilien Robespierre is delivered up to his own guillotine. His shattered jaw is bandaged. Jacques- Louis David is there, sketching Robespierre in his sketchbook. Sanson slides Robespierre's head into the Lunette and tears off the bandage on his jaw. Robespierre SCREAMS. The Lunette is closed, the lever pulled. The blade falls.</scene_description> </scene> <scene> <stage_direction>EXT. CARMES PRISON -- DAY</stage_direction> <scene_description>The gates of the prison are opened. Josephine and Theresa walk outside into the silent streets of Paris, followed by a procession of bewildered aristocrats. Everywhere grand homes are in ruins, stripped for firewood. Outside them, homeless Parisians cook food over campfires of burning paintings and antiques.</scene_description> </scene> <scene> <stage_direction>EXT. PARIS STREETS - MORNING</stage_direction> <scene_description>It's the very sad morning after in the Paris streets. Empty and lonely in transition. Small figure cross an empty square.</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BEAUHARNAIS - PARIS</stage_direction> <scene_description>Josephine comes back home to an empty home.....stripped of valuables and full of refuse. She moves through every room.....calling out for her children....... The dog scampers down to her, recognizing his mistress. Lucille, her maidservant appears, carrying an axe. She nearly takes a swing at Josephine when they recognize each other. Young Hortense and Young Eugene emerge from the attic where they've been hiding.</scene_description> <character>HORTENSE/EUGENE</character> <dialogue>Mama!</dialogue> <scene_description>An emotional reunion. MUSIC UP OVER:</scene_description> </scene> <scene> <stage_direction>EXT. PARIS STREETS - DUSK - SUMMER 1794</stage_direction> <scene_description>The streets are alive with music floating from open windows and couples dancing the waltz -- the latest craze. Street musicians play; vendors sell their wares; people get drunk at street cafes. Into this scene drifts Napoleon, in his Brigadier General's uniform with his comrade Junot. THREE WOMEN drift down the street, wearing diaphanous Romanesque tunics that reveal every curve of their bodies. The entire street parts for the women as they approach. They wear red ribbons around their throats and their hair cut as if for the guillotine.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>The ladies are everywhere and the men are mad about them. Men think of nothing else and live only for and through them. A woman needs six months in Paris to know what is her due and her Empire......</dialogue> <scene_description>35 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BAL DES VICTIMES/THE VICTIM'S BALL - NIGHT</stage_direction> <character>TITLE: PARIS, SUMMER, 1794</character> <dialogue>Napoleon and Junot step into a party of candle-lit decadence and champagne. People gamble, smoke, drink and waltz. Women in transparent gowns. Lavish and pleasure. Junot wanders off. Napoleon finds his way to a long table and watches from a safe distance: Music is being played by a naked quartet.</dialogue> <dialogue>THERESA CABARRUS cavorts before PAUL BARRAS at the head of a table. She is wearing a tiger's pelt belted at her waist.</dialogue> <character>PAUL BARRAS</character> <dialogue>May I ask you a question?</dialogue> <character>THERESA CABARRUS</character> <dialogue>Yes, Citizen Barras.</dialogue> <character>PAUL BARRAS</character> <dialogue>Does Your Dress Bite?</dialogue> <character>THERESA CABARRUS</character> <dialogue>Yes, it does bite.</dialogue> <character>PAUL BARRAS</character> <dialogue>Would it devour me?</dialogue> <character>THERESA CABARRUS</character> <dialogue>Yes I believe it would if you tried to touch it..... Would you like to tempt it?</dialogue> <character>PAUL BARRAS</character> <dialogue>Does your beast have a name?</dialogue> <scene_description>BEAT: Theresa settles on his lap</scene_description> <character>THERESA CABARRUS</character> <dialogue>No, my beast does not have a name. But you may name her "Government Property" if you like.</dialogue> <scene_description>Napoleon watches the scene……he drifts away… ANOTHER ROOM: A Gavotte is being played, couples dance and others play cards for high stakes. Napoleon finds himself standing looking at a nearby card table………… ……here sits a woman wearing a translucent dress that reveals the curves of her body, powdered makeup, and a red ribbon around her throat. It is JOSEPHINE. She's playing cards for high stakes and losing. Napoleon stares at her, Josephine plays and loses, catches Napoleon's eye from time to time, staring creepy at her…The dealer turns over a card.</scene_description> <character>DEALER</character> <dialogue>A seven, Madame.</dialogue> <character>JOSEPHINE</character> <dialogue>Deal again.</dialogue> <character>DEALER</character> <dialogue>Seven again.</dialogue> <scene_description>She loses. Josephine's money is removed by the Dealer, people standing around watching murmur and hide amusement of the loss. Napoleon watching, Josephine gives him a last flick of her eyes and then back to speaking with her young female companion as she leaves the group and walks straight to him:</scene_description> <character>JOSEPHINE</character> <dialogue>Why are you staring at me?</dialogue> <character>NAPOLEON</character> <dialogue>Why are you wearing that costume?</dialogue> <character>JOSEPHINE</character> <dialogue>This is the Victim's Ball. We drink and make love because we're about to die.</dialogue> <scene_description>Napoleon gazes at Josephine.</scene_description> <character>JOSEPHINE</character> <dialogue>What is your costume?</dialogue> <character>NAPOLEON</character> <dialogue>Madame, this is a uniform.</dialogue> <character>JOSEPHINE</character> <dialogue>Your uniform?</dialogue> <character>NAPOLEON</character> <dialogue>I am a Brigadier General. I led the French victory at Toulon.</dialogue> </scene> <scene> <stage_direction>INT. BAL DES VICTIMES/THE VICTIMS' BALL -- LATER</stage_direction> <scene_description>Guests seated to watch a performance. Onstage, the actors perform a burlesque song-and-dance for a rapt audience. A woman dressed as Death wearing skull makeup, a black cowl and nothing else is flirting with a man dressed as the Devil. Napoleon and Junot watching the show. Napoleon sees, across the room, Barras exchanging kisses with a woman on his lap that, on second glance, is a man in a woman's clothing. Josephine is seated next to Barras and gazes at Napoleon. He leans over and whispers something to her, then looks back to the stage. Onstage the burlesque stage has turned to a sex show. Josephine gives Napoleon one last quick look, then leaves with Barras and the trans-woman - a threesome.</scene_description> </scene> <scene> <stage_direction>37A INT. CHATEAU DE BEAUHARNAIS - NIGHT</stage_direction> <scene_description>A couple has loud sex, there are mirrors strategically arranged, the woman astride the man; GROANS, then laughter. The woman rolls onto her back, spent -- it's Josephine and Paul Barras is her lover. He offers her a sip from his glass of champagne.</scene_description> <character>JOSEPHINE</character> <dialogue>I met the strangest man tonight. Your Bonaparte.</dialogue> <character>BARRAS</character> <dialogue>He may be odd, but he has a way with cannonballs. He thinks like an artist, really. I've taken him under my wing.</dialogue> <character>JOSEPHINE</character> <dialogue>You're sure he's a genius?</dialogue> <character>BARRAS</character> <dialogue>I'm betting on it. Speaking of which, you ran up a debt at cards tonight. I'll pay it this time, but --</dialogue> <character>JOSEPHINE</character> <dialogue>I need more than that. You know my situation.</dialogue> <character>BARRAS</character> <dialogue>You live fashionably.</dialogue> <character>JOSEPHINE</character> <dialogue>I have to remain fashionable. To have me as a lover -- it's made your reputation in the salons, Paul. I should really ask for more.</dialogue> <scene_description>Barras mulls this over. Josephine's killing his mood.</scene_description> <character>BARRAS</character> <dialogue>This will keep you afloat for now --</dialogue> <scene_description>He reaches for his billfold and offers her a sheaf of Assignat notes -- then snatches it away.</scene_description> <character>BARRAS</character> <dialogue>-- but you should get to know Bonaparte better.</dialogue> <scene_description>She takes the money, counts it, and tucks it away; she's all business.</scene_description> <character>JOSEPHINE</character> <dialogue>Maybe I will.</dialogue> </scene> <scene> <stage_direction>INT. NAPOLEON'S BARRACKS - DAY</stage_direction> <scene_description>Napoleon at work. Maps, papers, etc. Half dozen Military Aides. JUNOT enters.</scene_description> <character>JUNOT</character> <dialogue>General Bonaparte, there is a very young man who wishes to see you, his name is Eugene Beauharnais.</dialogue> <scene_description>Napoleon looks up as the 13 year old EUGENE enters the room</scene_description> <character>EUGENE</character> <dialogue>General Bonaparte.</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>EUGENE</character> <dialogue>I am Citizen Eugene Beauharnais.</dialogue> <character>NAPOLEON</character> <dialogue>What do you want?</dialogue> <character>EUGENE</character> <dialogue>My father's saber. It was taken from him before he was arrested and executed.</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>EUGENE</character> <dialogue>It would mean a great deal to me, and to my mother, if it were returned to us. It's all we have of him.</dialogue> <character>NAPOLEON</character> <dialogue>The sword is a weapon. I cannot allow citizens of Paris to have weapons in their possession.</dialogue> <character>EUGENE</character> <dialogue>The sword is a keepsake for me to remember my dear late father.</dialogue> <character>NAPOLEON</character> <dialogue>Perhaps, but it is a weapon nevertheless. Why are you here, young man?</dialogue> <character>EUGENE</character> <dialogue>My mother said that you were the only man of authority to retrieve the sword.</dialogue> </scene> <scene> <stage_direction>INT. COMMITTEE OF PUBLIC SAFETY -- STORAGE ROOM -- DAY</stage_direction> <scene_description>Napoleon throws open the door. The room is filled with hundreds of tarnished Republican Army Sabers -- in piles, in great bins, on shelves. They are all identical.</scene_description> <character>CLERK</character> <dialogue>All of these are from officers who were sentenced to die.</dialogue> <character>NAPOLEON</character> <dialogue>Does no one think to attach a name to any of them?</dialogue> <scene_description>Indeed, some clerk did as he gestures to hundreds of sabers.</scene_description> <character>NAPOLEON</character> <dialogue>Bring me a feather and Indian ink.</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BEAUHARNAIS - DAY</stage_direction> <scene_description>Napoleon is waiting in the foyer holding the saber. Eugene comes to see him. Napoleon presents the saber to Eugene. The boy's eyes well up with tears. Until Eugene draws the blade to see another name. He looks at Napoleon who imperceptibly shakes his head, as if to say, 'don't.' Napoleon looks up to see Hortense, watching from the second floor. He bows. She nods her head. He says:</scene_description> <character>NAPOLEON</character> <dialogue>Come down here.</dialogue> <scene_description>She comes down....</scene_description> <character>NAPOLEON</character> <dialogue>Is there reason to introduce myself?</dialogue> <character>JOSEPHINE (O.S.)</character> <dialogue>No, General.............</dialogue> <scene_description>He looks back up to the top of the stairs and sees: Josephine</scene_description> <character>NAPOLEON</character> <dialogue>Good.</dialogue> <scene_description>Josephine comes down, Napoleon bows gallantly.</scene_description> <character>NAPOLEON</character> <dialogue>My compliments to the chef of this fine family.......</dialogue> </scene> <scene> <stage_direction>EXT. PARIS SQUARE - EVENING</stage_direction> <scene_description>The park is filled with flaneurs, homeless peasants and prostitutes, upper class are venturing out. Nonetheless, the trees are in full bloom as Napoleon and Josephine take a seat at a cafe table.</scene_description> <character>NAPOLEON</character> <dialogue>I don't feel the need to fill this space with words.......</dialogue> <character>JOSEPHINE</character> <dialogue>........no............</dialogue> <scene_description>She stares at him. He leans in to kiss her. 42 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BEAUHARNAIS - BEDROOM - EVENING</stage_direction> <scene_description>Josephine sits in the twilight at her bedroom makeup table. Her foundation makeup is made of lead paint, as all makeup was at the time. A candelabra is brought to the table by LUCILLE, seeing the painted face as harsh. She smiles -- her teeth are grey, decayed from a childhood spent sucking on sugar cane. She touches them painfully. Josephine takes turpentine solution to remove the makeup, reveals her face unpainted, very beautiful.</scene_description> <character>JOSEPHINE</character> <dialogue>Should I look like I'm in love?</dialogue> <character>LUCILLE</character> <dialogue>I cannot say.</dialogue> <character>JOSEPHINE</character> <dialogue>You would know.</dialogue> <character>LUCILLE</character> <dialogue>Do you find him without appeal?</dialogue> <character>JOSEPHINE</character> <dialogue>No.</dialogue> <character>LUCILLE</character> <dialogue>Then perhaps that is enough.</dialogue> <character>JOSEPHINE</character> <dialogue>I am indifferent and lukewarm. But he will take me....and in a fight he will win...and no matter what my charms have been in the past to men, I'm afraid I won't be able to hold this one's attraction.</dialogue> <character>LUCILLE</character> <dialogue>Don't underestimate your grace.</dialogue> <character>JOSEPHINE</character> <dialogue>I can see the future....and in it, he will need more than I can provide......</dialogue> <scene_description>She turns back to the mirror and we start her VOICE OVER HERE:</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>If after our union he should cease to love me, will he not reproach me with what he will have sacrificed for my sake?</dialogue> </scene> <scene> <stage_direction>INT. RUE DU MAIL - 2ND ARRONDISSEMENT - DAY</stage_direction> <scene_description>Napoleon receives a card written in Josephine's flowing script: an invitation to her home. He holds it to his nose and breathes her perfume.</scene_description> </scene> <scene> <stage_direction>EXT. CHATEAU DE BEAUHARNAIS - DAY</stage_direction> <scene_description>The door opens. Napoleon bows deeply. Josephine awaits him, her face painted, dressed in her lace. They meet.</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BEAUHARNAIS - BEDROOM - DAY</stage_direction> <scene_description>Napoleon and Josephine staring at each other, tea in front of them. Lucille tinkers with some crockery and then leaves</scene_description> <character>JOSEPHINE</character> <dialogue>Do you see an aristocrat when you look at me?</dialogue> <character>NAPOLEON</character> <dialogue>No.</dialogue> <character>JOSEPHINE</character> <dialogue>My husband had more than one lover and when his head was cut off his mistresses watched. When I was in Prison I was told the only way to survive was to get pregnant. So....General..... Do I need to warn you of my indiscretions?</dialogue> <character>NAPOLEON</character> <dialogue>No, madame.</dialogue> <character>JOSEPHINE</character> <dialogue>Does where I have been concern you?</dialogue> <character>NAPOLEON</character> <dialogue>No, madame.</dialogue> <character>HOLD. SILENT MOVIE SCENE. LOOKS.</character> <dialogue>JOSEPHINE</dialogue> <scene_description>If you look down, I will show you a surprise… and once you see it you will always want it. He looks down and she opens her legs........</scene_description> </scene> <scene> <stage_direction>EXT. PARIS STREET - DAY</stage_direction> <scene_description>Napoleon and Junot in the streets, walking past a growing gathering of Royalist's making SPEECHES, HOLDING SIGNS, GROWING LOUDER. "Long Live The King!"</scene_description> <character>ROYAL SUPPORTER</character> <dialogue>THEY HAVE PROVEN CORRUPT. UNABLE TO</dialogue> <character>SEE THE POWER THAT THEY HOLD.</character> <dialogue>CITIZENS OF PARIS, DON'T BE FOOLED.</dialogue> <character>THERE ARE MORE OF US. WE CAN OCCUPY</character> <dialogue>THIS CONVENTION.</dialogue> <character>ROYAL SUPPORTER</character> <dialogue>THE ARE INEPT, CORRUPT AND IGNORANT.</dialogue> <character>THEIR TROOPS WILL NOT TAKE US FROM</character> <dialogue>THESE STREETS. LONG LIVE THE KING!</dialogue> <scene_description>Napoleon and Junot head down the street, past the mob --</scene_description> </scene> <scene> <stage_direction>INT. BARRAS OFFICE - DAY</stage_direction> <scene_description>Paul Barras is very concerned, Napoleon comes in...</scene_description> <character>PAUL BARRAS</character> <dialogue>What took so long? Come in, sit down - are you alone?</dialogue> <character>NAPOLEON</character> <dialogue>Junot is just outside. We are alone.</dialogue> <character>PAUL BARRAS</character> <dialogue>Listen to me, the situation seems to be growing.</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>There is a belief amongst the Committee that there is an attack on the Council coming by this mob.... General Menou has been dismissed of his command. and I have been asked to Defend it....</dialogue> <character>NAPOLEON</character> <dialogue>....yes....so how may I help you? Paul, you must tell me more information to help you.</dialogue> <character>PAUL BARRAS</character> <dialogue>I don't know the slightest place to start. I have less than 4,000 troops and very little in the way of weapons.</dialogue> <character>NAPOLEON</character> <dialogue>There are 40 cannons at Sablons. I can have them here in three hours.</dialogue> <character>PAUL BARRAS</character> <dialogue>Yes, but mathematically...this mob is 20,000 strong.</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>PAUL BARRAS</character> <dialogue>What would you intend to do if this assignment of defense was transferred to you? As my second in command, of course...</dialogue> <character>NAPOLEON</character> <dialogue>I accept on the condition that I command this as I see fit without interruption. I will not lead as second-in-command.</dialogue> </scene> <scene> <stage_direction>EXT. PARIS STREET - DAY</stage_direction> <scene_description>A standoff outside the Convention. A mob of 20,000 vs. Napoleon's 40 cannons and General Davout awaiting orders. At the slightest movement......... Napoleon gives the order to fire, in what seems to come completely out of the blue. He has instantly killed many hundreds of Royalists and everyone else runs away.</scene_description> </scene> <scene> <stage_direction>INT. BARRAS OFFICE - LATER THAT NIGHT</stage_direction> <scene_description>Drinks all around, everyone's happy, Napoleon speaks:</scene_description> <character>NAPOLEON</character> <dialogue>...to a mob who are ignorant of firearms, it is the worst possible policy to start out by firing blanks. Hearing a great noise - they are frightened - but looking around and seeing no one killed or wounded - they begin to despise you. They become twice as insolent and rush without fear. It then becomes necessary to kill ten times the number of men. It would have been a waste of life to fire blanks.</dialogue> <scene_description>Barras silently toasts Napoleon, a penny for his thoughts...</scene_description> </scene> <scene> <stage_direction>INT. CIVIL MARRIAGE SERVICE - PARIS - DAY (MARCH 9, 1796)</stage_direction> <scene_description>The marriage of Napoleon and Josephine. Civil service. Witnesses are: Paul Barras, Hortense and Eugene. The registrar is CHARLES LECLERC reading civic-vows. Napoleon's brother: LUCIEN is here with JUNOT, THERESA and LUCILLE.</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>Will he not regret a more brilliant marriage which he might have contracted?</dialogue> <character>JOSEPHINE (VO)</character> <dialogue>What shall then I reply? I shall weep. And this will serve no end........</dialogue> <character>NAPOLEON (VO)</character> <dialogue>May my good genius surround you, enfold you, while I face my fate unguarded. May your soul be free from worries, as your body from illness....</dialogue> <scene_description>As they are announced man and wife, congratulations and kisses all around, Napoleon sweeping up Eugene and Hortense as his own.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>Every moment separates me further from you, my beloved, and every moment I have less energy to exist so far from you. To live for Josephine, that is the history of my life.</dialogue> </scene> <scene> <stage_direction>EXT. MILAN DUOMO - DAY (MAY 15, 1796)</stage_direction> <scene_description>Napoleon and Junot together, leading their ARMY OF ITALY arrive at Milan's cathedral. Grandly acknowledging the crowds. (The arrival of the Nazi's). Italians furiously wave flags of the French Republic from their windows, anxiously welcoming their conquerors. TITLE: CONQUEST OF ITALY - 1796</scene_description> <character>NAPOLEON (VO)</character> <dialogue>I am struggling to get near you, I am dying to be by your side, fool that I am, I fail to realize how far off I am, that lands separate us.</dialogue> </scene> <scene> <stage_direction>INT. MILAN DUOMO - DAY</stage_direction> <scene_description>Napoleon with defeated Italian (Austrian?) army officials. Dozens of paintings by Correggio, da Vinci, Raphael, Titian, Giorgione, Veronese and others....(THIS WAS PART OF THE PEACE OFFERING) Napoleon points to a painting "The Lady With An Ermine," by Leonardo da Vinci. Two soldiers hold the large work.</scene_description> <character>NAPOLEON</character> <dialogue>This Corregio for France, this Raphael, Giorgione, the Veronese...</dialogue> <scene_description>French soldiers are crating up the masterpieces to be shipped.</scene_description> <character>MILANESE ARCHBISHOP</character> <dialogue>General, these are Italian paintings. They belong to Italy. We are proud people, General.</dialogue> <character>NAPOLEON</character> <dialogue>Yes, you are a proud people, but you have not shown skill to defend yourself. How can you be trusted to defend this artwork?</dialogue> <scene_description>54 OMITTED 55 OMITTED 56 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - DINING ROOM - NIGHT</stage_direction> <scene_description>A dinner to celebrate Napoleon's victory in Italy. Napoleon is at the table, listening to Hippolyte tell a joke/story. He is a skilled mimic. Josephine listens avidly...Hippolyte is very entertaining.</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - BEDROOM - NIGHT</stage_direction> <scene_description>Napoleon humping Josephine like a rabbit....he finishes quickly and triumphantly says:</scene_description> <character>NAPOLEON</character> <dialogue>Let that work make us a son!</dialogue> <character>ANGLE, LATER</character> <dialogue>They lay together:</dialogue> <character>JOSEPHINE</character> <dialogue>is this what will happen from now on?</dialogue> <character>NAPOLEON</character> <dialogue>what?</dialogue> <character>JOSEPHINE</character> <dialogue>I will marry you and you will leave, And each time you leave, I have no assurance of your return.</dialogue> <character>NAPOLEON</character> <dialogue>My sweet Josephine, the only thing you can depend on in this world is my return.</dialogue> <scene_description>59 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. EGYPTIAN DESERT - DAY (JULY 1798)</stage_direction> <scene_description>Napoleon stands alone atop his white charger beneath a towering Sphinx. He gazes up at it with wonder, REVERSE ANGLE: The great desert beyond. REVEAL 60,000 FRENCH TROOPS marching in columns behind him. GENERALS DUMAS, DESAIX, KLEBER and Josephine's son: EUGENE (now 20 years old)</scene_description> <character>NAPOLEON</character> <dialogue>Where is my boy??</dialogue> <scene_description>Eugene rides up next to Napoleon. They share the wonder together.</scene_description> <character>NAPOLEON</character> <dialogue>I wish your Mother could see what we are seeing. I cherish this time with you.</dialogue> </scene> <scene> <stage_direction>EXT. THE PYRAMIDS - DAY</stage_direction> <scene_description>Thousands of MAMELUKES -- an assemblage of Mid-eastern and Ukrainian mercenaries on horseback -- have assembled at the foot of the pyramids. Napoleon and his troops are arrayed at 300 meters opposite the Mamelukes. They are greatly outnumbered. Napoleon and JUNOT, his second- in-command. The Mameluke CHIEFTAIN has broken from his own front line. He raises his scimitar over his head and swings it in great circles as he gallops backwards and forwards - a ferocious, intimidating display. Finally, he points his sword at Napoleon, much grandstanding.</scene_description> <character>NAPOLEON</character> <dialogue>Fire one and two.</dialogue> <scene_description>Two LARGE CANNONS FIRE from behind the Napoleon. As the cannonballs sail over the heads of the Mamelukes -- -- and clips the tops of the Pyramids, removing the peaks of the ancient monument. The Mameluke's HORSE bucks, nearly dismounting him. They gaze up at their vandalized pyramids and a HUSH falls over them.</scene_description> </scene> <scene> <stage_direction>61A INT. NAPOLEON'S TENT -- DAY</stage_direction> <scene_description>CLOSE ON Napoleon's pocketwatch. He snaps the watch closed. He is sitting in a camp chair, waiting. From a box, a PORTER brings Napoleon a glass of shaved ice. Napoleon waits for it to melt -- quickly in this heat. He drinks his ice water. He is in no hurry. He rises from his chair --</scene_description> </scene> <scene> <stage_direction>61B EXT. NAPOLEON'S TENT -- DAY</stage_direction> <scene_description>-- and emerges from his tent to find the Mameluke chieftain and a half-dozen of his men waiting for him, standing in the heat. One has fainted - and is left where he fell. The Chieftain unsheathes his scabbard and walking to Napoleon, presents it in token of surrender. As one, the Mamelukes bow down before him. Napoleon waves them off. He gazes at the Pyramids in the distance.</scene_description> <character>NAPOLEON (V.O.)</character> <dialogue>In this land there is nothing but beauty, but in every beautiful thing I see only reflections of you.</dialogue> </scene> <scene> <stage_direction>INT. SALON - PARIS - NIGHT</stage_direction> <scene_description>Josephine at card tables, gambling. Hippolyte is here, telling jokes and being very attractive socially. They flirt with eyes very openly.</scene_description> </scene> <scene> <stage_direction>INT. PARIS STORE - DAY</stage_direction> <scene_description>Josephine's shopping habit. Josephine shops for bonnets and clothes. We see her purchasing a "Destiny" necklace. Hippolyte is here. Her friends Paul Barras and Theresa see them. Bad influence. They are ok with this affair.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>My dear Josephine, away from you there is no joy. You have robbed me of more than my soul; you are the one thought of my life. We won a great conquest today. I am very tired. I know not if you want money, for you never speak to me of business. If you do, will you ask my brother for it - he has 200 Louis of mine.</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - JOSEPHINE'S BEDROOM -- DAY</stage_direction> <scene_description>Hippolyte Charles is in Josephine's mirrored bedroom. He is showing her how good he is at tying the perfect cravat.</scene_description> <character>HIPPOLYTE (TYING THE CRAVAT)</character> <dialogue>You see what most men do not understand… what they haven't the slightest comprehension of how to do………is to make sure that the pleats……overlap the knot…it must……overwhelm the knot, don't you agree?</dialogue> <scene_description>He kisses her. She is slow coming around, but kisses back. They have sex in the mirrored room.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>"You never write me, you don't care for your husband, you know the pleasure your letters give him, and you write him barely half a dozen lines. How, then, do you spend the livelong day, madam? What business of such importance robs you of the time to write your very kind lover?"</dialogue> <scene_description>IMAGE: Hippolyte leaving Josephine's bedroom, casually, quietly, no real attempt to hide it. He walks past LUCILLE, and out the door. She hides her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. FOOT OF A PYRAMID - DAY</stage_direction> <scene_description>A collection of scientists, archaeologists, linguists, painters, and clerics are here at Napoleon's command. Some are drinking champagne. It has the air of a cocktail party. Napoleon appears, freshly groomed and brushed. A PHARAOH's CASKET has been unearthed from beneath the pyramids and is standing upright under a shade-- At his gesture, the Porters gently pry the lid off the coffin. The Pharaoh's mummy lies within. Napoleon makes a circular gesture with his finger -- "unwrap it." The Porters obey -- -- and slowly, the 2500-year-old face is unveiled. A HUSH comes over the crowd. Napoleon steps in CLOSER -- -- and touches the Pharaoh's face in his hands. It slowly crumbles away even as he stands before it. He gazes into the ancient face as you would a long-lost parent. His hand drops from the Pharaoh's face.</scene_description> </scene> <scene> <stage_direction>INT. PARIS SALON - NIGHT (AUGUST 1799)</stage_direction> <scene_description>Josephine playing cards, looking far-off and lost. Hippolyte nearby telling jokes with Barras and Theresa here.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>"Josephine, what inclination in you stifles the affectionate love you promised me? I am uneasy getting no news from you. Write me four pages immediately and some of those charming remarks which fill my heart with the pleasure of your imagination. Be vigilant, Josephine, one fine night the doors will be broken in and I shall be before you....."</dialogue> </scene> <scene> <stage_direction>EXT. NAPOLEON'S TENT - EGYPT - EVENING</stage_direction> <scene_description>Napoleon stands at a map-strewn table in his command tent sitting with Junot.</scene_description> <character>JUNOT</character> <dialogue>are there limits to what I can tell you?</dialogue> <character>NAPOLEON</character> <dialogue>there shouldn't be.</dialogue> <character>JUNOT</character> <dialogue>Should I tell you something at the risk of giving you personal pain?</dialogue> <character>NAPOLEON</character> <dialogue>yes.</dialogue> <character>JUNOT</character> <dialogue>Your wife has taken a lover, named Hippolyte Charles.</dialogue> <character>LONG PAUSE.</character> <dialogue>NAPOLEON</dialogue> <scene_description>Do you expect me to believe this?</scene_description> <character>JUNOT</character> <dialogue>Yes.</dialogue> <character>NAPOLEON</character> <dialogue>That my wife would treat me this way?</dialogue> <character>JUNOT</character> <dialogue>yes.</dialogue> <character>NAPOLEON</character> <dialogue>Junot, you are not only mistaken you are very wrong to have mentioned this. I will forget that you have said this to me.</dialogue> <character>NAPOLEON</character> <dialogue>You are dismissed.</dialogue> </scene> <scene> <stage_direction>INT. EGYPT - TENT - EVE</stage_direction> <scene_description>Junot is washing the heat off before bed, Napoleon enters.</scene_description> <character>NAPOLEON</character> <dialogue>how do you know this?</dialogue> <character>JUNOT</character> <dialogue>Her dresser is my lover. I still receive letters from her.</dialogue> <character>CUT BACK WIDE - SILENT - NAPOLEON HITTING HIMSELF IN THE</character> <dialogue>FACE, CUT BACK IN CLOSE:</dialogue> <character>NAPOLEON</character> <dialogue>prepare two frigates and two smaller vessels in the greatest secrecy……I am heading back home.</dialogue> <character>JUNOT</character> <dialogue>This can be called desertion.</dialogue> <character>NAPOLEON</character> <dialogue>General Kléber will be informed of his succession to command after I have left. Skillfully navigated, I will be back to France in six weeks.</dialogue> <scene_description>69 OMITTED</scene_description> </scene> <scene> <stage_direction>69A EXT. PORT OF MARSIELLES - DAY</stage_direction> <scene_description>A ship docked, Napoleon comes down the gangplank into one of the waiting coaches. Dumas, Junot, Eugene get into a separate carriage.</scene_description> </scene> <scene> <stage_direction>INT. NAPOLEON'S CARRIAGE -- DAY</stage_direction> <scene_description>Napoleon rides alone, reviews his mail and newspapers to find cartoons. CU. NEWSPAPER CARTOON - Josephine has sex with Hippolyte Charles under Napoleon's war table.</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - PARIS - DAY</stage_direction> <scene_description>He arrives back home, fuming and ready for a fight. The house is quiet. LUCILLE greets him.</scene_description> <character>NAPOLEON</character> <dialogue>where is my wife? (she?)</dialogue> <character>LUCILLE</character> <dialogue>she has left to greet you in Lyon, General.</dialogue> <character>NAPOLEON</character> <dialogue>Lyon??</dialogue> <character>LUCILLE</character> <dialogue>yes, sir</dialogue> <character>NAPOLEON</character> <dialogue>she doesn't know of my arrival? The whole world knows of my arrival, but not my wife?</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - BEDROOM - NIGHT</stage_direction> <scene_description>Napoleon eating dinner alone. LUCILLE, her maid enters.</scene_description> <character>NAPOLEON</character> <dialogue>My wife has humiliated me and I need comfort, Lucille.</dialogue> <character>LUCILLE</character> <dialogue>yes, I'm sure that you do, General.</dialogue> <character>NAPOLEON</character> <dialogue>What do you suggest would give me comfort?</dialogue> <character>LUCILLE</character> <dialogue>I can draw you a hot bath, General.</dialogue> <character>NAPOLEON</character> <dialogue>…</dialogue> <character>LUCILLE</character> <dialogue>I can prepare you dinner and console you.</dialogue> <scene_description>73 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. CHATEAU DE BONAPARTE - DAY</stage_direction> <scene_description>It's days later and pouring with rain. All of Josephine's belongings have been put out in the street. It's raining. She arrives back by carriage.... She moves to the front door. It's locked. She knocks over and over again...</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - THAT MOMENT</stage_direction> <scene_description>Napoleon hearing her knock. Trying to ignore it.</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - LATER</stage_direction> <scene_description>Josephine is in tears and soaked through, we are someplace mid-discussion.. Eugene and Hortense are in the next room, over-hearing it through a closed door.</scene_description> <character>NAPOLEON</character> <dialogue>You can't help yourself. It is impossible for most men to control their passions. You're a beast and I feel sorry for you.</dialogue> <character>JOSEPHINE</character> <dialogue>Please don't leave me.</dialogue> <character>NAPOLEON</character> <dialogue>...(It Won't Be Me Who Is Going Anywhere.)</dialogue> <character>JOSEPHINE</character> <dialogue>Promise me you won't leave me.</dialogue> <character>NAPOLEON</character> <dialogue>A promise is nothing.</dialogue> <character>JOSEPHINE</character> <dialogue>You don't have to forgive me, just promise me you won't leave.</dialogue> <character>NAPOLEON</character> <dialogue>You're crying only proves my point. There is no use building this marriage on a false assumption that mankind is good.</dialogue> <dialogue>I am not built like other Men and I am not subject to petty insecurities.</dialogue> <character>JOSEPHINE</character> <dialogue>Did you have affairs while you were away?</dialogue> <character>NAPOLEON</character> <dialogue>Yes I did.</dialogue> <character>JOSEPHINE</character> <dialogue>did you love them?</dialogue> <character>NAPOLEON</character> <dialogue>no I did not.</dialogue> <character>JOSEPHINE</character> <dialogue>were they pretty?</dialogue> <character>NAPOLEON</character> <dialogue>some of them. and they served their purpose.</dialogue> <character>JOSEPHINE</character> <dialogue>prettier than me?</dialogue> <character>NAPOLEON</character> <dialogue>they cried less. which made them more attractive.</dialogue> <scene_description>Napoleon walks to the door to see Eugene &amp; Hortense:</scene_description> <character>NAPOLEON</character> <dialogue>As for you...you shall not bear the burden of your mother's faults. You shall always be my son: I will keep you with me.</dialogue> <character>EUGENE</character> <dialogue>No, no, General. I must share ill fortune with my mother. And from this moment I say farewell to you.</dialogue> <scene_description>Napoleon opens his arms to Eugene and holds him. Hortense goes to his feet and embrace his knees. And then, all is forgiven.</scene_description> </scene> <scene> <stage_direction>INT. LUXEMBOURG PALACE - DAY</stage_direction> <scene_description>This scene establishes the players in the Coup and Power of France. Five Directors: Barras, Sieyes, Moulins, Gohier and Roger- Ducos meet in the Palace amidst the other main players: Talleyrand and Police Minister Fouche.</scene_description> <character>GOHIER</character> <dialogue>What is it that made you desert your troops in Egypt?</dialogue> <character>NAPOLEON</character> <dialogue>I am assuming there is humour in that question, Citizen Gohier. Egypt was left with General Kleber.</dialogue> <character>GOHIER</character> <dialogue>I assume you've read your reviews in the Newspapers? Your very popular.</dialogue> <character>NAPOLEON</character> <dialogue>News was very hard to come by in Egypt, Citizen Gohier...</dialogue> <character>GOHIER</character> <dialogue>Yes, but you have been back for nearly three days, have you not had a moment to read of your popularity?</dialogue> <character>NAPOLEON</character> <dialogue>I have returned to France to find her bankrupt, printing money that is spent within hours, the Austro- Russian overrun of Italy, the Anglo- Russian occupation of Holland and what seems to be the imminent Invasion of France herself at any moment...added to which the discovery that my wife is a slut.</dialogue> <scene_description>CU. SIEYES looking at Napoleon...</scene_description> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - DINING ROOM - MORNING</stage_direction> <scene_description>Josephe SIEYÉS and Napoleon over breakfast. This meeting has been arranged by Talleyrand and Napoleon's brother Lucien who sit quietly.</scene_description> <character>SIEYÉS</character> <dialogue>The only thing every French Citizen can agree on is that you are our Ceasar.</dialogue> <character>NAPOLEON</character> <dialogue>What do you want?</dialogue> <character>SIEYÉS</character> <dialogue>The people will accept my rule if I have your support...It is only a military dictatorship that will save this country from a restoration of the Monarchy...seizure is possible with your help at the right time....and this is the time.</dialogue> <character>NAPOLEON</character> <dialogue>...the support that you need is the Minister of Police, without Citizen Fouche you have very little chance of success....so you expect me to be your "sword"?</dialogue> <character>SIEYÉS</character> <dialogue>I expect that a coup d'etat, well- timed and executed can place power to Three Consuls - Myself, Ducos and you....I'm Inviting You To The Winning Side.</dialogue> </scene> <scene> <stage_direction>INT. SALON - DAY</stage_direction> <scene_description>A casual meeting of NAPOLEON, LUCIEN, SIEYES, ROGER-DUCOS and TALLEYRAND.... JOSEPH FOUCHE, Minister Of Police, enters, greets everyone. They sit down.</scene_description> <character>SIEYÉS</character> <dialogue>My proposal is to persuade the 5 Directors to resign under threat of an imminent sieze of power. We create this threat. Myself and Ducos resign first, followed by Barras, Gohier, and Moulin.....this will create an opening to transfer power......</dialogue> <character>NAPOLEON</character> <dialogue>I like Barras but he is corrupt and isolated. I should think that under the proper threat, he will quickly make the right decision...I cannot say the same about Gohier and Moulin.</dialogue> <character>FOUCHE</character> <dialogue>There are ways to dissuade them from resistance.</dialogue> <character>SIEYÉS</character> <dialogue>Yes, but this may not become a military or violent matter....</dialogue> <character>FOUCHE</character> <dialogue>It will be a police matter. And don't expect that you won't get your hair ruffled, Citizen Sieyes.....</dialogue> <character>SIEYÉS</character> <dialogue>Yes.....so......Lucien....as Governor of the Council of 500....you will persuade both Councils...in an emergency session.....that there is a Jacobin coup at hand.....and that the only safe place is out of the city, away from the Paris mob, at St. Cloud.......where a vote of emergency power to from the Council of the Elders to a new Council of Three will save them from threat....</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE -- NIGHT</stage_direction> <scene_description>NAPOLEON and his brother LUCIEN and JOSEPHINE. Napoleon has outlined his own plan of attack at St. Cloud.... She raises very practical questions about the plan:</scene_description> <character>JOSEPHINE</character> <dialogue>The flaw in Sieyès plan is the interval between the two votes. The opposition will have time to grow wise to what you're doing....</dialogue> <character>NAPOLEON</character> <dialogue>You are right. You are right my little General. The interval can't be helped. But the shorter the interval between two votes the greater the chance for success.......</dialogue> <character>JOSEPHINE</character> <dialogue>What is the outcome of this if you don't succeed?</dialogue> <character>NAPOLEON</character> <dialogue>That's not a consideration.</dialogue> <character>JOSEPHINE</character> <dialogue>It should be. (Why not?)</dialogue> <character>NAPOLEON</character> <dialogue>To consider it is to imagine that it may happen - I don't see the point in imagining anything but success.</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE BONAPARTE - NIGHT</stage_direction> <scene_description>Napoleon puts TWO PISTOLS by his bedside table and gets into bed with Josephine...she sees them....</scene_description> <character>NAPOLEON</character> <dialogue>From this moment on...all friends that you have had...Barras, Tallien, any one from the society of the Directory may not be trusted. ......by this time tomorrow you will be sleeping with the First Consul of France. And I will stick it to you......</dialogue> <scene_description>She nods, 'yes' and he gobbles her up.</scene_description> </scene> <scene> <stage_direction>INT. BARRAS APARTMENT - MORNING</stage_direction> <scene_description>TALLEYRAND comes to BARRAS door with TWO GUARDS. Barras looks like he had a late night with some boys and girls and he's hungover</scene_description> <character>TALLEYRAND</character> <dialogue>Good morning, Paul....I'm Going To Make This Easy For You. I have documents announcing your resignation from the Council.....</dialogue> <character>BARRAS</character> <dialogue>I return with joy to the ranks of simple citizen.</dialogue> <character>TALLEYRAND</character> <dialogue>You will retire before you have your breakfast....</dialogue> <scene_description>Two More Guards Step in the door. TIME CUT TO: Barras is signing away his Council seat.</scene_description> </scene> <scene> <stage_direction>INT. GOHIER'S RESIDENCE - MORNING</stage_direction> <scene_description>Gohier is still in his pajamas and he's screaming at General Moreau.</scene_description> <character>GOHIER</character> <dialogue>I'M NOT SIGNING ANYTHING. YOU CAN</dialogue> <character>PISS BEFORE I SIGN AWAY ANYTHING.</character> <dialogue>WHO'S DONE THIS? WHAT OUTLAW HAS</dialogue> <character>DONE THIS???</character> <dialogue>THE GUARDS COME TOWARDS HIM AND HE STARTS THROWING BOOKS AND</dialogue> </scene> <scene> <stage_direction>INT. MOULIN'S RESIDENCE - MORNING</stage_direction> <scene_description>Moulin is dragged from his house protesting. His wife is screaming and crying hysterically.</scene_description> <character>MOULIN</character> <dialogue>NO! NO! NO! HOW DARE YOU! I AM</dialogue> <character>EATING MY BREAKFAST. I AM ENJOYING A</character> <dialogue>SUCCULENT BREAKFAST. THIS IS</dialogue> <character>OUTRAGEOUS. I WILL FINISH MY</character> <dialogue>BREAKFAST BEFORE YOU TOUCH ME. A</dialogue> </scene> <scene> <stage_direction>EXT. CHATEAU DE SAINT-CLOUD - DAY</stage_direction> <scene_description>700 Troops are here stationed around the grounds. A procession of COUNCIL OF ANCIENTS and the COUNCIL OF THE 500...arriving...... They wear bizarre Togas with purple belts. It's an odd and comical sight. Napoleon watching them as they arrive and enter. Napoleon is flanked by Roger Ducos, Talleyrand and Sieyes, who see Bonaparte's army beginning to assemble around the existing Troops. Napoleon nods toward Junot, who stands with the army. Sieyes begins to panic, uncertain of Napoleon's plan...</scene_description> <character>SIEYÉS</character> <parenthetical>(What is the meaning of this?)</parenthetical> <dialogue>Napoleon ignores him.</dialogue> <character>SIEYÉS</character> <dialogue>Bonaparte?</dialogue> <character>NAPOLEON</character> <dialogue>Stop your sniveling, you should be thrown in a lake, you expect to be First Consul...you're not fit to wash a dish........</dialogue> <scene_description>Napoleon storms toward the entrance.</scene_description> <character>SIEYÉS</character> <dialogue>Where are you going? What are you doing?</dialogue> </scene> <scene> <stage_direction>INT. CHATEAU DE SAINT-CLOUD - VOTING HALL - DAY</stage_direction> <scene_description>The Council has assembled in their weird Robes and Togas and purple outfits... Milling about, there is the general sense of confusion and unease.....Lucien brings the meeting to order..... A pompous looking Jacobian: CITIZEN GILBERT is surrounded by his fellow Jacobians' and they are speaking about how suspicious this all is.....</scene_description> <character>CITIZEN GILBERT (TO LUCIEN)</character> <dialogue>Director....Director......I believe the time has come to demand an explanation......</dialogue> <character>LUCIEN</character> <dialogue>This Emergency Session is to draw a list of Nominations for a New Directory to deal with the threat of the Royalists --</dialogue> <scene_description>Murmurs and crowd growing restless. Citizen Gilbert drips with sarcasm:</scene_description> <character>CITIZEN GILBERT</character> <dialogue>We are being asked to pass a resolution forming a provisional government to three counsuls - General Bonaparte and Citizens Sieyes and Roger-Ducos -- where are the Five members of the Directory? Have they magically disappeared? And we are here, surrounded by troops - isolated far from Paris --</dialogue> <scene_description>Crowd is rumbling.</scene_description> <character>LUCIEN</character> <dialogue>Order. Order.</dialogue> <character>CITIZEN GILBERT</character> <dialogue>This is becoming increasingly clear.......That Your Brother, Napoleon Bonaparte.....with his show of Military Might is acting as an Outlaw......and that this is a ridiculous and poorly executed take over --</dialogue> <character>LUCIEN</character> <dialogue>.... A vote will settle this matter.</dialogue> <character>CITIZEN GILBERT</character> <dialogue>.... He is a Power Hungry Upstart....who By some miracle of timing has now eliminated......Barras, Moulin....Gohier....</dialogue> <scene_description>Napoleon finally steps forward through the growing melee: IF THERE IS ANY QUESTION OF WHAT IS: HAPPENING HERE I WILL ANSWER: YOU, YOURSELVES HAVE VIOLATED THE: CONSTITUTION AND TARNISHED THIS: REPUBLIC BEYOND RECOGNITION. YOU ARE: SITTING ON A VOLCANO.:</scene_description> <character>CITIZEN GILBERT</character> <dialogue>So says the Outlaw......</dialogue> <scene_description>Pointing toward Napoleon. OUTLAW! OUTLAW! DEATH TO THE: TYRANT. DOWN WITH THE DICTATOR.:</scene_description> <character>NAPOLEON</character> <dialogue>"I walk with the god of victory and the god of war!"</dialogue> <parenthetical>(then)</parenthetical> <dialogue>("Let those who love me follow me!")</dialogue> <scene_description>They ATTACK HIM. Some draw daggers and pistols. He is surrounded by a hostile crowd. NAPOLEON'S GUARDS have to push and shove their way to him -- they try to surround him -- BUT THE CROWD CLAWS AND SCRATCHES HIS FACE. He's BLOODY.</scene_description> <character>LUCIEN</character> <dialogue>"The president of the Council of Five Hundred declares to you that the great majority of the council is, at this moment, terrorized by certain deputies armed with daggers.</dialogue> <character>LUCIEN</character> <dialogue>These madmen have outlawed themselves by their attempts upon the liberty of the Council."</dialogue> <scene_description>Lucien pulls his sword and holds it to his brother's throat:</scene_description> <character>LUCIEN</character> <dialogue>I will Kill My Brother if he violates the freedom of the French people.</dialogue> <scene_description>The Guards of the Council are overcome as A COLUMN OF GRENADIERS enters into the hall of the Five Hundred. Deputies panic, jump out of windows and get away into the gardens. BEDLAM. 87 OMITTED 88 OMITTED 89 OMITTED 90 OMITTED 91 OMITTED</scene_description> </scene> <scene> <stage_direction>91A EXT. TUILERIES - DAY</stage_direction> <scene_description>Establishing shot, as Napoleon and Josephine arrive at the Tuileries Palace.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - NAPOLEON'S BEDROOM - NIGHT</stage_direction> <scene_description>Napoleon and Josephine get in bed together. TITLE: FIRST CONSUL, 1800 The first night that they spent there he said to her:</scene_description> <character>NAPOLEON</character> <dialogue>Come, little Creole, get into the bed of your masters....</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - NAPOLEON'S BEDROOM - DAY</stage_direction> <scene_description>Another day and Napoleon is going over wardrobe for the First Consul and his staff...VARIOUS STUFF:</scene_description> <character>NAPOLEON</character> <dialogue>Each should wear a red coat, made in Winter in velvet, in Summer some other material...embroidered in gold.</dialogue> <scene_description>He is standing with two officials CAMBACERES and LE BRUN, elderly, powdered, lace ruffles, and sword, etc...</scene_description> <character>NAPOLEON</character> <dialogue>It is not every one who has the right to be plainly dressed.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - NIGHT</stage_direction> <scene_description>Cocktail Party with Josephine's children and Napoleon and his family. Very jovial, celebratory. We are introduced here to Napoleon's mother: LETIZIA. She is introduced to Josephine for the first time and is very cold to Josephine. They share the most basic greetings. Josephine bows to her. Napoleon moves Letizia around the room to meet more people, leaving Josephine alone......</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - NAPOLEON'S OFFICE - DAY</stage_direction> <scene_description>Napoleon in his office having a golden directoir desk, signing documents and dictating letters, etc....</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>"I still sometimes tremble at the strange and dizzy ascent to supremacy....this Wild Pastime of Ambition may over-leap itself if not careful..."</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - SALON ROOM - DAY</stage_direction> <scene_description>Josephine remained at home in the morning, receiving an immense number of visitors, chiefly women. Most are Nobles/Aristocrats who've come for "erasures" or restitutions. She receives them with perfect grace. She promised everything. (NOTE: Will provide dialogue for these scenes)</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - DINNER TABLE - NIGHT</stage_direction> <scene_description>Dignitaries seated at a long dinner table. Josephine at the head of the table. Napoleon walks around the table, never really sits down or stays in one place too long. He's quite flirty with the women, especially in front of their husbands. See TALLEYRAND at work around the edges, constantly hovering....</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - BATHROOM - MORNING</stage_direction> <scene_description>Napoleon is shaving and dictating a letter to his secretary, BOURRIENNE. He is addressing George III....</scene_description> <character>NAPOLEON</character> <dialogue>Your royal highness....</dialogue> <character>BOURIENNE</character> <dialogue>Your majesty....</dialogue> <character>NAPOLEON</character> <dialogue>"......France and England are wasting their prosperity. I am not ashamed to take the initiative. I have, I think, sufficiently proved to the whole world that I do not fear the chances of war. Peace is my heartfelt wish between England and France.........."</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - DAY</stage_direction> <scene_description>ARMAND-AUGSTIN-LOUIS de CAULAINCOURT is quite the noble gentleman. He is fluent in many languages and was Napoleon's AIDE-DE-CAMP. He enters, there are all kinds of greetings and pleasantries.</scene_description> <character>CAULINCOURT</character> <dialogue>I have notified all foreign powers of your accession to the Consul. I have adressed letters to all Diplomatic agents abroad and I understand you have made friendly overtures of peace to England.</dialogue> <character>NAPOLEON</character> <dialogue>What I would like from you is a better understanding of the Russian Tsar Alexander. Would you consider the Tsar an ally to France or England?</dialogue> <character>NAPOLEON</character> <dialogue>Citizen Caulincourt, as you know I have notified all foreign powers of my accession to the Consul. I have addressed letters to all Diplomatic agents abroad. I have made friendly overtures of peace to England and I would like your help in obtaining a better picture of the Russian Tsar Alexander.....would You consider the Tsar an ally of England or France?</dialogue> <character>CAULINCOURT</character> <dialogue>I would think that his trade with England is more beneficial to him than his trade with France.</dialogue> <character>NAPOLEON</character> <dialogue>Do you have a sense of British influence in the Russian Courts?</dialogue> <character>CAULINCOURT</character> <dialogue>I do not, but I imagine it's quite robust.</dialogue> <character>NAPOLEON</character> <dialogue>What kind of a man is Alexander?</dialogue> <character>CAULINCOURT</character> <dialogue>He is young, he is vain, he is popular and his wishes to remain so. His greatest fear is to be killed in his bed, unlike his Father. This makes him dangerously fickle to whoever last has his attention.</dialogue> <character>NAPOLEON</character> <dialogue>It sounds to me like he needs an ally that he can can also call a friend......</dialogue> <scene_description>100 OMITTED 101 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING CLUB - NIGHT</stage_direction> <scene_description>Talleyrand bumps accidentally/on purpose into the AUSTRIAN AMBASSADOR.</scene_description> <character>TALLEYRAND</character> <dialogue>Ah! What a surprise! How good to see you out --</dialogue> <character>AUSTRIAN AMBASSADOR</character> <dialogue>Good evening....I'm just trying to loose some money....</dialogue> <character>TALLEYRAND</character> <dialogue>Come join me after this hand?</dialogue> <character>AUSTRIAN AMBASSADOR</character> <dialogue>That's a lovely idea.</dialogue> </scene> <scene> <stage_direction>INT. GAMBLING CLUB - A CORNER - NIGHT</stage_direction> <character>TALLEYRAND</character> <dialogue>Did you hear that your Majesty received a letter of peace from the first council today?</dialogue> <character>AUSTRIAN AMBASSADOR</character> <dialogue>I was just informed of that.....</dialogue> <scene_description>Talleyrand is getting the Ambassador a little drunk....</scene_description> <character>TALLEYRAND</character> <dialogue>First Consul Bonaparte would like to make it clear to the Austrian Emperor that he will negotiate for Peace only on the basis of the Campo Formio Treaty.....</dialogue> <character>AUSTRIAN</character> <dialogue>Msr. Talleyrand, while my ears hear you with great appreciation - if I may be honest, Austria's coalition with England is in such a strong position against France that these peace overtures are clearly only for your handling of French Public Opinion.</dialogue> <character>TALLEYRAND</character> <dialogue>You know me so well…yes, it's true…it is public opinion Napoleon is after…and my warning to you is that he is as hungry for it as any man in the history of the world: So my suggestion, with respect, is take this offering of Peace from him or suffer the consequences of a Man Bent On Peace At Any Cost. He has sent a peace offering to King George and heard nothing in reply. I suggest that you do not make the same mistake......</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - SALON - DAY</stage_direction> <scene_description>Napoleon is on the floor, playing with his young NEPHEW (1 year old) surrounded by close family. Josephine is getting dressed. Good-humour. A BOURNIENNE enters and announces:</scene_description> <character>BOURIENNE</character> <dialogue>The English Ambassador, Lord Whitworth has arrived.</dialogue> <scene_description>CU. NAPOLEON, playing with the baby. His entire face changes. He stands up, he walks out of the room..........Josephine notices......and Follows.....</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - CORRIDOR - DAY</stage_direction> <scene_description>Napoleon walking towards the reception, down the long hall........walking with purpose......</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION ROOM - TUILERIES - DAY</stage_direction> <scene_description>A reception of great pomp. Dignitaries mingle, socializing at an official function. Napoleon makes his way through the room and finds his way to: AMBASSADOR LORD WHITWORTH (pompous, English, George Sanders type).</scene_description> <character>NAPOLEON</character> <dialogue>DO NOT LOOK AT MY FACE AS IF YOU</dialogue> <character>DON'T KNOW WHAT I AM ABOUT TO SAY.</character> <dialogue>LORD WHITWORTH</dialogue> <character>....</character> <dialogue>The party stops. Josephine enters. Silence and then:</dialogue> <character>NAPOLEON</character> <dialogue>ARE YOU AWARE OF MY LETTER OF PEACE</dialogue> <character>TO YOUR KING?</character> <dialogue>LORD WHITWORTH</dialogue> <scene_description>I am not.</scene_description> <character>NAPOLEON</character> <dialogue>SHALL I REPEAT IT?</dialogue> <character>LORD WHITWORTH</character> <dialogue>If You Wish.</dialogue> <character>NAPOLEON</character> <dialogue>I will not waste my breadth. Take this as a warning to your King: I will keep you guessing and scared. You will watch your borders and your back and your manners are bound, sooner or later, to be French. I will offer no more letters of peace and I will take the lack of a swift reply as an act of dis-respect. As for you, Lord Whitworth, I would offer you a glass of champagne but I am out of piss and vinegar.</dialogue> <scene_description>Napoleon storms out of the room.</scene_description> <character>LORD WHITWORTH</character> <dialogue>It is a shame such a great man should have no manners.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - MAP ROOM -- DAY (SPRING 1800)</stage_direction> <scene_description>OVERHEAD SHOT: A VAST MAP OF Europe is being painted by Jacques-Louis David himself, consisting of stitched-together canvases. The paint is still wet. There are CHESS TYPE PIECES THAT SHOW THE CAMPAIGNS MOVEMENTS (details in research) Napoleon comes down off a high ladder gazing down upon it....</scene_description> <character>DAVID</character> <dialogue>Take care, the paint is wet.</dialogue> <scene_description>His Marshals -- Davout, Berthier, Ney, Dumas -- are in attendance. His Generals - Jacques Chambarlhac, Kellerman, Lannes are here. Talleyrand watches Napoleon approach the map, getting on his hands and knees. He moves his fingers across the wet paint, smearing it. He approaches a vast mountain range -- the ALPS.</scene_description> <character>NAPOLEON</character> <dialogue>St. Pierre. St. Bernard and then over the great crest of the Alps with reduced artillery. Let us forward then and restore what France lost while I was away....</dialogue> <scene_description>The impossibility of this approach registers with his Marshals and Generals.</scene_description> <character>DAVOUT</character> <dialogue>...the Austrians have consolidated their forces there, First Consul...to secure control of the peninsula's northern half...</dialogue> <scene_description>They all watch Napoleon, lost in the map.</scene_description> <character>BERTHIER</character> <dialogue>...South of Alessandria. In Marengo.</dialogue> <scene_description>Napoleon's fingers circle the wet paint on 'Marengo.'</scene_description> <character>DAVOUT</character> <dialogue>Their military are very well- provisioned for battle...</dialogue> <character>NAPOLEON</character> <dialogue>This is not a military battle. This is a political battle.</dialogue> <scene_description>108 OMITTED 109 OMITTED 110 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - JOSEPHINE'S BEDROOM - NIGHT</stage_direction> <scene_description>He's dressed for the Opera, he comes to see Josephine, she's half-dressed. Ladies-in-waiting around. FADE UP TITLE: CHRISTMAS EVE, 1800</scene_description> <character>NAPOLEON</character> <dialogue>mmmmmmmmmmnmnmnmnmnnumnumnumnum..</dialogue> <character>JOSEPHINE</character> <dialogue>my hair has just been set.</dialogue> <character>NAPOLEON</character> <dialogue>mmmmm</dialogue> <character>JOSEPHINE</character> <dialogue>no, no, filthy man. we will be late and my hair has been set ---</dialogue> <scene_description>She pulls him into a side room and closes the door for privacy.</scene_description> <character>JOSEPHINE</character> <dialogue>alright then come back here from behind me --</dialogue> <character>NAPOLEON</character> <dialogue>I have the most beautiful wife</dialogue> <character>JOSEPHINE</character> <dialogue>yes you do, my love, and you can hold this…</dialogue> <scene_description>She lifts up her skirt, and bends over on leans her elbows on a firm elbow and turns to him and says:</scene_description> <character>JOSEPHINE</character> <dialogue>hold it with your hands to warm it…</dialogue> <scene_description>He reaches between her legs. CU. JOSEPHINE turns and looks back at him.</scene_description> <character>JOSEPHINE</character> <dialogue>Hold it because it's yours.</dialogue> <scene_description>NAPOLEON, hearing this, is ready to go. He attacks her from behind.</scene_description> </scene> <scene> <stage_direction>111A POST SEX - INT. CARRIAGE - NIGHT</stage_direction> <scene_description>Napoleon and Josephine riding in the carriage.</scene_description> <character>JOSEPHINE</character> <dialogue>You're a rabbit……………a hummingbird……buzzy bee.</dialogue> <character>NAPOLEON</character> <dialogue>….mmmmmm…………I can smell you down there……</dialogue> <character>THE CARRIAGE WINDOWS BLOW OUT, THE CARRIAGE FLIPS ON IT'S</character> </scene> <scene> <stage_direction>111B EXT. PARIS STREET - NIGHT</stage_direction> <scene_description>The aftermath of an explosion, assassination attempt. The Driver of the carriage has been killed, horses, people scatter and run…the explosion was a near miss. Napoleon helping Josephine from the carriage. Guards are either dead or riding behind come over to help.</scene_description> </scene> <scene> <stage_direction>111C INT. TUILERIES - NAPOLEON'S OFFICE - NIGHT</stage_direction> <scene_description>Napoleon in emergency session with Talleyrand, Fouche, Caulaincourt and Lucian.</scene_description> <character>NAPOLEON</character> <dialogue>This conspiracy of Royals against me is clear - all exiled Bourbon's whose single aim is to overthrow my rule and re-instate their filthy perfume-Monarchy. The Prince de Conde is smuggling out plotters and his grandson, Louis, the Duke d'Enghein is on the frontier solely for that purpose. I want this man seized and I want him brought swiftly to justice.</dialogue> <character>TALLEYRAND</character> <dialogue>Where is this man?</dialogue> <character>FOUCHE</character> <dialogue>He is in Baden.</dialogue> <character>CAULAINCOURT</character> <dialogue>First Consul, I know this man. He is not a conspirator against you. He is a brave and excellent officer much loved by the soldiery.</dialogue> <character>NAPOLEON</character> <dialogue>He is a Bourbon weasel who will punished for his part in this plot against me.</dialogue> <character>CAULINCOURT</character> <dialogue>If you proceed to Baden, you will be operating outside of France and so far outside of the law that it will be impossible for anyone to ignore.</dialogue> <character>NAPOLEON</character> <dialogue>I have always profited from your judgement and now it's time to profit from watching you close your mouth.</dialogue> <parenthetical>(to Fouche)</parenthetical> <dialogue>Seize the Duke.</dialogue> <scene_description>Fouche leaves the room to make this happen.</scene_description> <character>JOSEPHINE</character> <dialogue>you're letting your hatred make your decision --</dialogue> <character>NAPOLEON</character> <dialogue>I'm not capable of acting from revenge. I am sweeping an obstacle from my path. You would complain if I struck a weaker blow and you would look at me with even more contempt than you are now - I suggest you change your look.</dialogue> <character>JOSEPHINE</character> <dialogue>No I would not complain about a weaker blow and no I will not contort my face for your pleasure.</dialogue> <character>NAPOLEON</character> <dialogue>In a years time - you will regard this execution as a great act of policy and you will kiss my mouth with those words.</dialogue> <scene_description>She stands up and leaves.</scene_description> </scene> <scene> <stage_direction>111D EXT. MIDDLE OF A FIELD SOMEPLACE - DUSK</stage_direction> <scene_description>The DUKE is brought by Fouche's secret police…and a bag is pulled from his head and he faces a firing squad…..he is proud…</scene_description> <character>THE DUKE</character> <dialogue>You are Frenchman - at least you will do me the service not to miss your aim!!!</dialogue> <character>DUMAS</character> <dialogue>You're charged with bearing arms against France. Proceed to Ready. Aim. Fire.</dialogue> <scene_description>They shoot him dead. 111E OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - DAY</stage_direction> <scene_description>Talleyrand and Napoleon are walking around a private courtyard, their guards are present. Silence, then:</scene_description> <character>TALLEYRAND</character> <dialogue>Are you pleased?</dialogue> <character>NAPOLEON</character> <dialogue>Yes, why?</dialogue> <character>TALLEYRAND</character> <dialogue>Because when you are not pleased you are not always pleasant.</dialogue> <character>NAPOLEON</character> <dialogue>Are you about to tell me something that will make me angry?</dialogue> <character>TALLEYRAND</character> <dialogue>I am going to suggest something that has been a long time arriving. I suggest that you abandon your role as First Consul of France in exchange for the title of "Victorious Consul." By another name, King.</dialogue> <scene_description>After a long, long time thinking, he says:</scene_description> <character>NAPOLEON</character> <dialogue>That is your word, "King." That title is worn thin. It would make me an heir and I will be an heir to no one. The title that I bear is a grander one, somewhat vague and leaves something to the imagination....</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - SMALL DINING ROOM - MORNING</stage_direction> <scene_description>Breakfast. Josephine and Napoleon speaking. CU. NAPOLEON</scene_description> <character>NAPOLEON</character> <dialogue>Why aren't you pregnant?</dialogue> <character>JOSEPHINE</character> <dialogue>Is that a question or an accusation of me?</dialogue> <character>NAPOLEON</character> <dialogue>It is a very clear question.</dialogue> <character>JOSEPHINE</character> <dialogue>I have seen Dr. Covisar and he has no answer for me. Only the suggestion that I do what Mdme de Chocolate Souffle has done....</dialogue> <character>NAPOLEON</character> <dialogue>Which is?</dialogue> <character>JOSEPHINE</character> <dialogue>Along with hopeful thinking and red wine, he suggested I take the waters at Aix-la-Chappelle.</dialogue> <character>NAPOLEON</character> <dialogue>Then why haven't you?</dialogue> <character>JOSEPHINE</character> <dialogue>As wife of the First Consul, I haven't found the time. I spend many hours cleaning up after you.</dialogue> <character>NAPOLEON</character> <dialogue>find the time. I don't need to explain to you the importance of this, or do I?</dialogue> <character>JOSEPHINE</character> <dialogue>I know that you will anyway.</dialogue> <character>NAPOLEON</character> <dialogue>....</dialogue> <character>JOSEPHINE</character> <dialogue>you will want a son/heir.</dialogue> <character>NAPOLEON</character> <dialogue>It's quite simple, yes.</dialogue> <character>JOSEPHINE</character> <dialogue>We have a son…</dialogue> <character>NAPOLEON</character> <dialogue>It's not enough to crown Eugene. He is my son in every respect with one exception that cannot be overlooked.</dialogue> <character>JOSEPHINE</character> <dialogue>You have alarmed me by your ambition; return to moderation. If you crown yourself - Kings will despise you as an upstart, the people will hate you as a usurper, your equals as a tyrant --</dialogue> <scene_description>114 OMITTED 115 OMITTED 116 OMITTED 117 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. NOTRE-DAME CATHEDRAL -- DAY (DECEMBER 2, 1804)</stage_direction> <scene_description>An audience of five thousand fills the pews. A CHOIR of FOUR HUNDRED SINGERS is singing "Handel's Messiah." The pews are packed with Napoleon's military officers -- many of whom are passing wineskins and jugs of beer. They are already drunk; in a minute they'll start a soccer chant. The scene is being drawn by Jacques-Louis David -- the same painter who Josephine had pointed out to Napoleon at the Bal des Victimes. Napoleon wears an eighty-pound coronation mantle of red velvet lined in ermine; beside him Josephine wears a similar mantle covered with embroidered golden bees. Napoleon's sisters resentfully carry her train. Napoleon's brother is here, all our principal cast so far. Hortense, Eugene, Mother Letizia Napoleon, etc. Napoleon and Josephine kneel before the Pope.</scene_description> <character>POPE PIUS VII</character> <dialogue>May God affirm you on his throne and Christ give you to rule with him in his eternal kingdom.</dialogue> <scene_description>THE HERALD OF ARMS appears holding a red velvet pillow with a crown placed upon it. The Pope moves to crown Napoleon who takes it from his hand, as rehearsed and says:</scene_description> <character>NAPOLEON</character> <dialogue>I found the crown of France in the gutter and I placed it atop my head.</dialogue> <scene_description>A second pillow is brought forth: this one has a smaller crown upon it. He places the crown gently upon her head.</scene_description> <character>POPE PIUS VII</character> <dialogue>The most glorious, the most august Napoleon, Emperor of the French, is crowned and enthroned. Long Live The Emperor.</dialogue> <character>CROWD</character> <dialogue>Vive l'Empereur!</dialogue> <character>TALLEYRAND/BARRAS</character> <dialogue>Emperor!</dialogue> <scene_description>Emperor and Empress Napoleon and Josephine proceed down the aisle. A handsome hussar we recognize stands during the procession: HIPPOLYTE CHARLES. His eyes meet Josephine's. Napoleon catches this.</scene_description> </scene> <scene> <stage_direction>INT. MILITARY BARRACKS -- DAY</stage_direction> <scene_description>Hippolyte Charles stands at attention in an empty barracks entrance. Through the doors outside, a small group of RIFLE CORPS INFANTRY -- enough to make up a firing squad, perhaps -- go through maneuvers. Rifles are fired. Hippolyte flinches as a junior officer summons him to follow. Hippolyte enters. Junot is here, Napoleon motions for Hippolyte.</scene_description> <character>NAPOLEON</character> <dialogue>Captain Charles, come in.</dialogue> <scene_description>Hippolyte comes in and salutes.</scene_description> <character>NAPOLEON</character> <dialogue>You know my SUCH AND SUCH Junot.</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, your Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Captain Charles, in which division do you serve?</dialogue> <character>HIPPOLYTE</character> <dialogue>The Nineteenth, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Leclerc's division.</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>In Haiti.</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Yellow fever is a dishonorable and painful way to die.</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Do you believe the Haitians placed a curse on him?</dialogue> <character>HIPPOLYTE</character> <dialogue>I don't know.</dialogue> <character>NAPOLEON</character> <dialogue>Do you believe in vodou?</dialogue> <character>HIPPOLYTE</character> <dialogue>No, Your Majesty, I do not.</dialogue> <character>NAPOLEON</character> <dialogue>Neither do I.</dialogue> <scene_description>Long pause, then:</scene_description> <character>NAPOLEON</character> <dialogue>I must confess something to you in the greatest secrecy, Captain Charles...may I do that?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, your Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>It is indiscreet and I hope you will not blush....</dialogue> <scene_description>...:</scene_description> <character>NAPOLEON</character> <dialogue>Do you have children?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty. I have three sons.</dialogue> <character>NAPOLEON</character> <dialogue>My wife is unable to conceive a child for me. I have tried for many years and it is becoming clear to me that I am unequipped to finish what I have started. If you please, may I ask you something personal?</dialogue> <character>HIPPOLYTE</character> <dialogue>Of course, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>When you have sex (make love) with your wife, is she beneath you?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes.</dialogue> <character>NAPOLEON</character> <dialogue>Always?</dialogue> <character>HIPPOLYTE</character> <dialogue>Not always, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Sometimes she is on top of you?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>And sometimes you are behind her?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>And sometimes you are gentle with her?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>And sometimes you are rough with her?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Tell me: which does she prefer?</dialogue> <character>HIPPOLYTE</character> <dialogue>She prefers for me to be happy, your Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>So whatever mood you are in, she will obey...</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>This is a good woman. Tell me, when you made your wife pregnant did you spend much time?</dialogue> <character>HIPPOLYTE</character> <dialogue>I don't remember, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>If you were to guess.</dialogue> <character>HIPPOLYTE</character> <dialogue>We sometimes take 30 minutes....</dialogue> <character>NAPOLEON</character> <dialogue>....and other times?</dialogue> <character>HIPPOLYTE</character> <dialogue>Sometimes we take only a few moments.</dialogue> <character>NAPOLEON</character> <dialogue>A few minutes?</dialogue> <character>HIPPOLYTE</character> <dialogue>Yes. Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Which does she prefer?</dialogue> <character>HIPPOLYTE</character> <dialogue>She has told me that she enjoys our love making to take some time.</dialogue> <character>NAPOLEON</character> <dialogue>This is important, for I have thought that sex is merely a transaction between two people that need only last a few moments. Perhaps my wife is unsatisfied and therefore incapable of giving me a child. Do you think this is possible?</dialogue> <character>HIPPOLYTE</character> <dialogue>Perhaps.....</dialogue> <character>NAPOLEON</character> <dialogue>Are you excellent at satisfying her?</dialogue> <character>HIPPOLYTE</character> <dialogue>........my wife is satisfied, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>And do you think this is what your secret is to having a son?</dialogue> <character>HIPPOLYTE</character> <dialogue>I cannot say for certain, Majesty. I love my wife.</dialogue> <character>NAPOLEON</character> <dialogue>So do I. And I want to see her happy, so tell me -- is it important for a man to pleasure his wife in anticipation of entering her?</dialogue> <character>HIPPOLYTE</character> <dialogue>...I don't know what you mean, your Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>Don't be shy, Captain. Tell me...if I wanted a son, do you think I should spend time with my mouth down between my wife's legs?</dialogue> <character>HIPPOLYTE</character> <dialogue>I would assume, your highness...that the more pleasure your wife gets, the more likely she is to conceive, but I am not a doctor. I have no evidence to support this.</dialogue> <character>NAPOLEON</character> <dialogue>No, of course not, I know. I should like to thank you for your honesty in talking about such uncomfortable matters, but I sought your advice as a man of notable cocksmanship and stature. You have a pretty face and a hair-dresser's elegance.</dialogue> <character>HIPPOLYTE</character> <dialogue>Thank you, Majesty.</dialogue> <character>NAPOLEON</character> <dialogue>You're dismissed.</dialogue> </scene> <scene> <stage_direction>EXT. GULF OF TRAFALGAR - NIGHT</stage_direction> <scene_description>Horrific image of French Ship Destroyed. Clear victory. Showing the brutal loss of life and honor by French Navy.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - NAPOLEON'S OFFICE - DAY</stage_direction> <scene_description>Napoleon hearing the news about the defeat at Trafalgar.</scene_description> <character>GENERAL DAVOUT</character> <dialogue>In the English fleet, 450 were killed and 1200 wounded. In the French fleet, 3000 were killed and 2000 wounded.</dialogue> <character>NAPOLEON</character> <dialogue>I don't consider this verdict final.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - DINING ROOM - NIGHT</stage_direction> <scene_description>At the dinner table, Napoleon says to Josephine: MOM is here, sisters too and Lucien. Family dinner. Everyone is very quiet as Napoleon is in a temper that is boiling at the dinner table. Finally, he aims at Josephine:</scene_description> <character>NAPOLEON</character> <dialogue>I must warn you....but Without a Time Limit (for that is my prerogative)...that if you don't bear me a child There Will Be A Divorce.</dialogue> <character>JOSEPHINE</character> <dialogue>There isn't sufficient love-making in this home to bear a child.</dialogue> <character>NAPOLEON</character> <dialogue>Yes there is. There have been years of it - and with more than just me - and still -- you are empty.</dialogue> <character>JOSEPHINE</character> <dialogue>And you are fat.</dialogue> <character>NAPOLEON</character> <dialogue>I enjoy my meals. Destiny has brought me here..... Destiny has brought me this lamb chop.</dialogue> <scene_description>She becomes emotional.</scene_description> <character>NAPOLEON</character> <dialogue>Ahhh yes. tears. That will do it. That will make me an heir. TEARS. Two things that look good on a woman: tears and rouge.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - JOSEPHINE'S BEDROOM - MORNING</stage_direction> <scene_description>Napoleon is dressed for the day, Josephine is awake, in bed...he apologizes.</scene_description> <character>NAPOLEON</character> <dialogue>I'm sorry. I didn't believe what I said to you.</dialogue> <scene_description>She nods.</scene_description> <character>NAPOLEON</character> <dialogue>I love your talents and taste. And when I am not with you I think of your grace and dignity. You will be in command of our Kingdom while I am away.......and I will come back to you.</dialogue> <scene_description>He kisses her.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - NAPOLEON'S OFFICE - DAY</stage_direction> <scene_description>Josephine speaks with Talleyrand.</scene_description> <character>JOSEPHINE</character> <dialogue>As you know, the Emperor has asked me in his absence to give audience to the Senate and the different authorities. Without too fine a point, I am here to translate the meaning of his wishes.......that While He Is Away At Battle, we will keep the planning of his demise to a minimum....and that begins with you, Msr. Talleyrand.</dialogue> <character>TALLEYRAND</character> <dialogue>Yes, Empress.</dialogue> </scene> <scene> <stage_direction>EXT. SNOWFIELD, AUSTERLITZ - DAY (DECEMBER 2, 1805)</stage_direction> <scene_description>A vast snowfield. A lonely peasant crosses on foot leading an old donkey, carrying a bundle of firewood on his back. The peasant's moth-eaten coat is two sizes too large. Look closer: the rider is Napoleon. He takes out a spyglass and looks out across the snowfield at a war camp approximately 3/4 miles away. In the near distance, a company of three RUSSIAN SCOUTS is on patrol. One is urinating in the snow, while the other is cleaning his rifle. He sights the rifle -- And sees: Napoleon in his peasant garb at distance. The Russian gestures. Napoleon smiles, waves in greeting. The Russian sights Napoleon again, thinks to himself, hesitates.... The other Russians are leaving. He closes the hammer of his rifle and walks off. Napoleon pulls out his scope and looks.... HIS POV THROUGH THE SCOPE: a flurry of activity, then the arrival of a royal procession. The troops, who were shaving, singing songs, boot-blacking, look up........</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN/AUSTRIAN CAMP - SAME</stage_direction> <scene_description>Hundreds of Russian Troops stand at attention as a team of plumed horses approaches -- -- and they catch a glimpse of the cherished Tsar Alexander as his flotilla canters elegantly to the Imperial Tent..... ANGLE, UNDERCOVER PEASANT NAPOLEON watching the two Emperor's meet and greet and hug each other in all Royal-ness on the battlefield. HIS POV - THROUGH THE SCOPE Alexander and Francis look like best friends.... Undercover Peasant Napoleon turns away and rides off.</scene_description> </scene> <scene> <stage_direction>INT. RUSSIAN/AUSTRIAN CAMP - DAY</stage_direction> <scene_description>Tsar Alexander and Francis are sitting together.</scene_description> <character>FRANCIS II</character> <dialogue>I can't fool you, Alexander. Until your arrival here, this Battle against him has been brutal and terrifying. The loss of Vienna is more than I can bear. To have you here means we can begin refreshed.</dialogue> <character>ALEXANDER</character> <dialogue>I am....always Here for you, Francis. And I am over-whelmed with the excitement of the Battlefield! It is thrilling to smell the danger! When do we begin?!</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY</stage_direction> <scene_description>Napoleon arrives and is greeted by his officers. A small village is being evacuated: troops are leading the villagers away from their homes. As he makes his way through the village, Bonaparte removes his moth-eaten coat and puts on his splendid overcoat. MONTAGE: The cannons are wheeled in. The troops are digging shallow trenches. Others are making slots in the stone walls, breaking away masonry to create firing positions, turning the village into a fortress. Night is falling: Napoleon sees it's time. Snow is falling.</scene_description> <character>NAPOLEON</character> <dialogue>Tell the men to light those campfires and keep them burning. I'll be in my tent.</dialogue> <scene_description>On Napoleon's orders, CAMPFIRES are lit along the snowfield.</scene_description> </scene> <scene> <stage_direction>INT. NAPOLEON'S TENT - NIGHT</stage_direction> <scene_description>Napoleon sleeps on a camp bed by lamplight in the small tent.</scene_description> </scene> <scene> <stage_direction>EXT. SNOWFIELD - NIGHT</stage_direction> <scene_description>At one mile, two COSSACK SCOUTS stop in the dark to light a cheroot. They smell the smoke from the camp. They ride toward it -- and discover the encampment of Bonaparte's French Troops. At a distance they see an encampment (ten thousand men) of Napoleon's troops warming themselves by their fires by the village. They turn their horses around and canter away.</scene_description> </scene> <scene> <stage_direction>EXT. FRENCH WAR CAMP, AUSTERLITZ - NIGHT</stage_direction> <scene_description>A signalman sees the Cossacks and semaphores a message. The other signalman rushes to Napoleon's tent.</scene_description> </scene> <scene> <stage_direction>INT. TENT - NIGHT</stage_direction> <scene_description>The signalman runs in to wake Napoleon.</scene_description> <character>SIGNALMAN</character> <dialogue>We are discovered, your majesty. They'll be here in the morning.</dialogue> <character>NAPOLEON</character> <dialogue>Wake me then.</dialogue> </scene> <scene> <stage_direction>EXT. MONTAGE - EARLY DAWN</stage_direction> <scene_description>French signalman and scouts watch and wait in the bitter cold.</scene_description> </scene> <scene> <stage_direction>EXT. FRENCH WAR CAMP, AUSTERLITZ - MORNING</stage_direction> <scene_description>A SIGNALMAN looking down sees the combined RUSSIAN AND AUSTRIAN ARMIES -- almost 60,000 troops -- coming round the edge of the snowfield. The Signalman sends a message by semaphore to the camp below to warn everyone that the Russo-Austrian troops are advancing. MONTAGE: Trenched Rifle FUSILIERS emerge from under their snow-covered tarps while remaining hidden from view. The tarps are pulled back from cannons, revealing their muzzles. MONTAGE FROM HERE - SAME TIME THE RUSSO-AUSTRIAN TROOPS, organized in military formation, appear through a shroud of morning fog. FRENCH CAVALRY are preparing themselves in a misty forest. A DISTANCE FROM THE FRENCH BASE - SAME The Russo-Austrian troops muster, with lines of fusiliers as a front line. The French Camp is still shrouded in mist and smoking fires. MONTAGE: French RIFLEMEN behind the stone walls ready to fire. Austrians and Russians sound the bugle to advance. ANGLE, TSAR ALEXANDER and AUSTRIAN EMPEROR FRANCIS watching their troops head into battle. The fusiliers moves as a regiment in lines of 200 men as the French open fire - surprisingly ready - NOW NAPOLEON"S POV - PRECISION FROM ABOVE.</scene_description> <character>NAPOLEON</character> <dialogue>Fusiliers!</dialogue> <scene_description>This is relayed by troops as.... THE FRENCH FUSILIERS emerge from their position beneath the tarps and discard in double-time, racing down the hill to engage the Russo-Austrians below, attacking them from the left flank.</scene_description> <character>FRANCIS II</character> <dialogue>Cavalry.</dialogue> <scene_description>THE RUSSIAN/AUSTRIAN CAVALRY gallop into the attack through the chaos from their concealed position in the trees.</scene_description> <character>NAPOLEON</character> <dialogue>Cavalry.</dialogue> <scene_description>Now the French Cavalry appear from their respective positions, converge on the enemy from the left rear guard... This movement forces the Russo-Austrian troops to fall back and retreat in the direction left for them: THE WHITE EXPANSE BEYOND. THE RUSSO-AUSTRIANS scramble and fall back onto the expanse, turning and firing on their pursuers as they go. But on a few faces we see the dawning realization that the French aren't following them. They turn and return fire. NAPOLEON stands on his hilltop position, watching the scene. His arm is raised in the air to signal his cannons -- then he drops it, giving the signal to fire:</scene_description> <character>NAPOLEON</character> <dialogue>Cannons.</dialogue> </scene> <scene> <stage_direction>EXT. FRENCH CANNON BATTERY -- SAME</stage_direction> <scene_description>The hidden French battery launches a FUSILLADE of CANNONBALLS toward the white surface which reveals itself as a frozen lake. ANGLE, FRANCIS AND ALEXANDER watching this happen.</scene_description> </scene> <scene> <stage_direction>EXT. SATSCHAN LAKE -- DAY</stage_direction> <scene_description>The glowing cannonballs streak through the sky towards us. The ice is shattered -- great cracks race across its surface, spiderwebbing beneath the feet of the retreating soldiers -- a chasm opens up as the ice disintegrates. Sheets of ice break away as men and horses slide into the water. -- and the combined armies of Russia and Austria are plunged en masse into the freezing depths.</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN POSITION -- DAY</stage_direction> <scene_description>Francis II looks on from a vantage point.</scene_description> </scene> <scene> <stage_direction>EXT. SATSCHAN LAKE -- DAY</stage_direction> <scene_description>Russian troops, horses, cannons -- most of the army -- slides away into the depths of the lake.</scene_description> </scene> <scene> <stage_direction>EXT. HILLTOP -- AUSTERLITZ -- DAY</stage_direction> <scene_description>Napoleon watches the scene from high above.</scene_description> </scene> <scene> <stage_direction>EXT. SATSCHAN LAKE -- EVE</stage_direction> <scene_description>After a few moments, the scene goes quiet: the allied armies have been swallowed up by the freezing lake. A small mascot dog is left barking at the edge of the black water. Other troops have surrendered and are kneeling in the snow on solid ice.</scene_description> </scene> <scene> <stage_direction>EXT. HILLTOP -- AUSTERLITZ -- EVE</stage_direction> <scene_description>Napoleon slowly folds up his telescope.</scene_description> </scene> <scene> <stage_direction>EXT. NAPOLEON'S BATTLEFIELD TENT - NEXT DAY</stage_direction> <scene_description>EMPEROR FRANCIS arrives and comes to Napoleon's Tent. Greetings are pleasant, then they go inside tent....</scene_description> <character>NAPOLEON</character> <dialogue>Francis! So nice to finally meet you. You must forgive me, this has been my only palace for the last two months.</dialogue> <character>FRANCIS II</character> <dialogue>You make such good use of it! Seems very agreeable...</dialogue> <character>NAPOLEON</character> <dialogue>Well, of course, we do what we can on the battlefield.</dialogue> <character>FRANCIS II</character> <dialogue>Yes we, don't we?</dialogue> <character>NAPOLEON</character> <dialogue>Please come closer to the fire....</dialogue> <character>FRANCIS II</character> <dialogue>Ah, yes, thank you.</dialogue> <character>NAPOLEON</character> <dialogue>Brandy...</dialogue> <character>FRANCIS II</character> <dialogue>Thank you...</dialogue> <scene_description>They are both poured brandy, toast to the Battle...</scene_description> <character>NAPOLEON</character> <dialogue>To a well fought battle...</dialogue> <character>FRANCIS II</character> <dialogue>To a well fought battle, yes...</dialogue> <character>NAPOLEON</character> <dialogue>Where, may I ask is Alexander? Are we waiting for his arrival before we get started?</dialogue> <character>FRANCIS II</character> <dialogue>No, I don't believe he will be joining us, he's down the road....perhaps a bit shaken by the events....and He's....he Sends His Best Wishes for a fine battle....</dialogue> <character>NAPOLEON</character> <dialogue>I will need to speak with him.</dialogue> <character>FRANCIS II</character> <dialogue>Yes, yes.</dialogue> <character>NAPOLEON</character> <dialogue>Perhaps I can send General Davout....?</dialogue> <character>FRANCIS II</character> <dialogue>.....if you wish.</dialogue> <scene_description>Napoleon sends General Davout....then back to Francis II:</scene_description> <character>NAPOLEON</character> <dialogue>Now....You know as we sit here....I realize that I must compliment you for making me commit an enormous error.</dialogue> <character>FRANCIS II</character> <dialogue>An error?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <character>FRANCIS II</character> <dialogue>What error have you made?</dialogue> <character>NAPOLEON</character> <dialogue>To be speaking with you here and accepting this interview for peace....I have not followed up my victory....I could have taken the whole Russian and Austrian army prisoners....</dialogue> <character>FRANCIS II</character> <dialogue>....yes.....</dialogue> <character>NAPOLEON</character> <dialogue>....but after all, there will be less tears....and now I have left you more subjects, Emperor Francis.</dialogue> <scene_description>143 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - NIGHT</stage_direction> <scene_description>Napoleon is back, he sits by candlelight with his mother Letizia.</scene_description> <character>LETIZIA</character> <dialogue>It is time to put this mystery to rest, Emperor. I want to know if it is you or Josephine. To this end, we will conduct a practical experiment. At the end of the Hallway, waiting for you, undressed and ready to receive, is 18 year old Éléonore Denuelle de La Plaigne. She is a brunette with brown eyes. The object of this hardly unpleasant task is see if you can father a child. And then we will have an answer to this nagging question of who is keeping who from an heir to the throne of France.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - HALLWAY - NIGHT</stage_direction> <scene_description>LETIZIA walks Napoleon down the hall by candlelight and leaves him. Napoleon opens the door.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - BEDROOM - THAT MOMENT</stage_direction> <scene_description>18 year old Elenore is waiting naked for Napoleon under the covers. He enters the room.</scene_description> </scene> <scene> <stage_direction>INT. NEW YEARS EVE PARTY - MONTHS LATER</stage_direction> <scene_description>JOSEPHINE at the party, talking with friends. She sees something across the room.... LETIZIA comes across the party to find Napoleon and whisper something private into his ear (the news that Elenore is pregnant.) Napoleon looks overjoyed. ("My son is strong. And has full use of his artillery. You will have a child.") JOSEPHINE, across the room, sees LETIZIA'S conversation with her very happy son and she knows what's what.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - MONTAGE</stage_direction> <scene_description>Napoleon &amp; Josephine are masked and dancing the waltz surrounded by a party. All this over:</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>He is contrary to all his usual customs. He is at all functions well past his usual bedtime. I asked him to wear a disguise and appear among the dancers at the Masked Ball and he did so without hesitation.</dialogue> <scene_description>SEE NAPOLEON in disguise amongst the dancers.</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>I have heard, that when he is removed from my presence, he loses the ease and quiet and displays impatience.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - FIREPLACE ROOM - NIGHT</stage_direction> <scene_description>Napoleon and Josephine just sitting by the fire, talking for hours about nothing, enjoying each other.</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>I am a flower that opens it petals and smiles to the sunshine, unconscious that the storm is near which will lay me low and scatter leaves to the heavens.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - BATH - DAY</stage_direction> <scene_description>Napoleon is in the steaming hot bath. Josephine sits with him. The Secretary is here writing dictation.</scene_description> <character>NAPOLEON</character> <dialogue>On the matter of twins....for purposes of inheritance...which should be considered the first born? The first in or the first out?</dialogue> <character>JOSEPHINE</character> <dialogue>The first out.</dialogue> <character>NAPOLEON</character> <dialogue>But the last out was the first in.</dialogue> <character>JOSEPHINE</character> <dialogue>The first in would have been the first to be conceived..........</dialogue> <scene_description>He looks at her. She comes to him and kisses him. HOLD.</scene_description> <character>JOSEPHINE (VO)</character> <dialogue>In all the power, in all the attention to me or the lavish honours he bestows on Eugene…I can see my own dark destiny………</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - OFFICE - MORNING</stage_direction> <scene_description>He is awake early and working. She is still dressed for bed, watching him work. She says:</scene_description> <character>JOSEPHINE</character> <dialogue>When will you insist on a Divorce…?</dialogue> <character>NAPOLEON</character> <dialogue>isn't that rich? From the only woman I have ever loved and given what I've conquered...</dialogue> <character>JOSEPHINE</character> <dialogue>I'm too desperate and I'm too old to wait for you to tell me what I know is coming....</dialogue> <character>NAPOLEON</character> <dialogue>then if you insist……</dialogue> <character>JOSEPHINE</character> <dialogue>I'll make it easy for you…… I know that you have a bastard child. I live in this world, and I am not as blind as I pretend to be.</dialogue> <scene_description>Napoleon storms out of his office.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - OFFICE - DUSK</stage_direction> <scene_description>Napoleon sits with his DR. COVISART.</scene_description> <character>NAPOLEON</character> <dialogue>If I succeed in making the birth of a boy who shall be my own son, I want you, as a witness to pretend the confinement of the Empress........</dialogue> <character>DR. COVISART</character> <dialogue>Your Highness, You are asking me to lie about the status of the Mother of your heir…</dialogue> <character>NAPOLEON</character> <dialogue>That is another way of putting it, yes.</dialogue> <character>DR. COVISART</character> <dialogue>Emperor, it is my duty and my honor to do what you require of me. I promise secrecy but……if asked……I cannot contain what I know to be the truth.</dialogue> <character>DR. COVISART</character> <dialogue>As painful as it is, the truth is that the Empress is no longer capable of bearing you a child.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - DAY</stage_direction> <scene_description>Napoleon is watching his STAND-IN get his portrait painted. He looks like Napoleon, is wearing his Emperor's outfit and is sitting quite still. Napoleon is moody and sullen and Talleyrand and Fouche are trying to speak with him:</scene_description> <character>NAPOLEON</character> <dialogue>I am not an instigator. I'm not born of a Tigress. You suggest divorce after years of debate - you can see that it has me divided - I am NOT ambitious. I have never EVER picked a quarrel with anyone.</dialogue> <character>TALLEYRAND</character> <dialogue>You are the greatest leader in the history of the World and the World's Only Chance At Peace. There is NO DOUBT that will be achieved. This measure…………is about what happens ONCE we are there…The Security of the Empire depends on an heir.</dialogue> <character>NAPOLEON</character> <dialogue>I didn't threaten the Prussians when they forced me to go and dethrone them at Jena!!!!!</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - SMALL DINING ROOM - NIGHT</stage_direction> <character>TITLE: DIVORCE</character> <dialogue>Napoleon &amp; Josephine are eating dinner. She's already been crying and knows what's coming. They eat in silence.</dialogue> <character>NAPOLEON</character> <dialogue>Josephine, my good Josephine, you know how I have loved you. It is you, to you alone, that I owe the few moments of happiness I have known in this world. My destiny is more powerful than my will: My affections must yield to the interests of France.</dialogue> <scene_description>She cannot control herself.</scene_description> <character>JOSEPHINE</character> <dialogue>I expected this; I understand and feel for you........</dialogue> <scene_description>Napoleon goes to leave and calls to the Servant:</scene_description> <character>NAPOLEON</character> <dialogue>Carry her Majesty to her apartment. She will need her daughter and her Doctor.</dialogue> <scene_description>We HEAR JOSEPHINE SCREAMING AND CRYING LIKE AN ANIMAL. 155 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - JOSEPHINE'S BEDROOM - MORNING</stage_direction> <scene_description>A near comatose Josephine in lays in bed. Hortense by her side, Eugene is reading the terms of divorce.</scene_description> <character>EUGENE</character> <dialogue>3,000,000 Francs a year. Malmaison and its revenues. The Élysée Palace in Paris. The rank of empress. The title of "Majesty" and the right to use the imperial coat of arms and to have your carriage drawn by eight horses. Your present debts of 2,000,000 francs to be paid as an advance against future revenues.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - HALLWAY - DAY</stage_direction> <scene_description>Josephine walking down a corridor in a beautiful gown followed by her entourage and Hortense.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - THRONE ROOM - DAY</stage_direction> <scene_description>A divorce ceremony. Napoleon stood with his arms crossed and motionless and speechless. A writing apparatus of gold lay upon a small table in the midst of the apartment and before it an arm chair is placed.... Josephine enters the room with Hortense. All our main players are here to watch, Barras, Talleyrand, etc, etc. Cambaceres reads the decree:</scene_description> <character>CAMBACERES</character> <dialogue>Article I. The marriage contracted between the Emperor Napoleon and the Empress Josephine is dissolved. Article II. The Empress Josephine shall preserve the title and rank of Empress Queen Crowned.</dialogue> <scene_description>The Articles are continued to be read as Josephine melts, signs the official paper..........Cambaceres FADES OUT ON THE SOUNDTRACK.....CU. JOSEPHINE. It's a few moments later and she is required to read the declaration of divorce:</scene_description> <character>JOSEPHINE</character> <dialogue>"With the permission of my dear husband, I must declare that, with no hope of having children, I have the pleasure of giving him the greatest proof of attachment and devotedness that was ever given......"</dialogue> <scene_description>She cannot continue to read it. Cambaceres reads it for her.</scene_description> <character>CAMBACERES</character> <dialogue>"In consenting to the dissolution of a marriage which is now an obstacle to the happiness of France....."</dialogue> </scene> <scene> <stage_direction>INT. MALMAISON -- DAY</stage_direction> <scene_description>Josephine arriving and moving in to her new home. VARIOUS IMAGES OF JOSEPHINE making her home, fighting depression.</scene_description> <character>CAMBACERES (VO)</character> <dialogue>".....by depriving it of the blessing of being governed by the descendants of this great man, who was raised up by providence to efface the evils of a terrible revolution and to restore to the altar, the Throne and Social Order."</dialogue> <scene_description>She watches TWO SWANS on the lake whose home is a small oriental temple. NAPOLEON comes to visit, watches her at a distance. NAPOLEON letter to her at this time. This could be him a scene between them, face to face:</scene_description> <character>NAPOLEON (VO)</character> <dialogue>You have shown great courage so far and you should maintain it. You must not permit yourself to fall into melancholy.</dialogue> </scene> <scene> <stage_direction>INT. MALMAISON - DUSK</stage_direction> <scene_description>He sits with her, by the fire, holding off emotion, he says:</scene_description> <character>NAPOLEON</character> <dialogue>You must take care of your health because it is precious to me. Will you write me tomorrow?</dialogue> <character>JOSEPHINE</character> <parenthetical>(nods yes)</parenthetical> <character>NAPOLEON</character> <dialogue>Every day?</dialogue> <character>JOSEPHINE</character> <parenthetical>(nods yes)</parenthetical> <dialogue>He leaves.</dialogue> </scene> <scene> <stage_direction>INT. TREATY OF TILSIT - TENT - LOCATION TBD - DAY</stage_direction> <scene_description>Finally....the Meeting Of Two Great Leaders. Alexander and Napoleon meeting, it's been going great…… DIALOGUE ACKNOWLEDGING BATTLE TO BE ADDED.</scene_description> <character>ALEXANDER</character> <dialogue>I never expected that our friendship would bring me such joy....</dialogue> <character>NAPOLEON</character> <dialogue>...and laughter! The misunderstandings that man has, with age, can be seen as Comedies, don't you think? We are linked. It is Us against Britain. They are what keeps us apart and yet, the joke of it - it is WE who are connected - and THEY who are separate. And the cruel irony? It is THEY who command the Seas. So, how is that - that these pale and crook'd teeth'd Salamanders should keep us apart?</dialogue> <character>ALEXANDER</character> <dialogue>May I call you Brother?</dialogue> <character>NAPOLEON</character> <dialogue>Wouldn't that Be Right? There is a way to call me Brother. Last night at dinner...I was charmed by your Sister....is she spoken for?</dialogue> <character>ALEXANDER</character> <dialogue>……she is to be married to the Duke of Oldenburg.</dialogue> <character>NAPOLEON</character> <dialogue>……what about her younger sister, Anna. Is there a formal offer for Anna?</dialogue> <character>ALEXANDER</character> <dialogue>She is fifteen years old.</dialogue> <character>NAPOLEON</character> <dialogue>yes, I see. that is a detail.</dialogue> <scene_description>BEAT, THEN: (Alexander begged off with Religious differences between them.)</scene_description> <character>NAPOLEON</character> <dialogue>Our friendship is built on our mutual distrust of England! When we hold to the Continental Blockade we choke them from the trade and fight for our most sacred rights. That is what is important between us! I've just thought of something....should I tell you?</dialogue> <character>ALEXANDER</character> <dialogue>What is it?</dialogue> <character>NAPOLEON</character> <dialogue>Imagine an army of fifty thousand men - Russians, Frenchmen and...perhaps even Austrians - marching by way of Constantinople into Asia would have only to reach the Euphrates in order to make England tremble and bring her down on her knees before the Continent.</dialogue> <character>ALEXANDER</character> <dialogue>Your mind works so fast, Emperor! Sometimes it's hard to gain breathing space!</dialogue> </scene> <scene> <stage_direction>INT. GAMBLING CLUB - NIGHT</stage_direction> <scene_description>The Austrian Ambassador engrossing in a hand....Caulaincourt stands at the table.</scene_description> <character>CAULAINCOURT</character> <dialogue>.......His Majesty, The Emperor Bonaparte, would like to make a formal offer to Austria and His Majesty Francis for the hand of Archduchess Marie-Louise, his eldest daughter. This...union...would unite Austria and France in an unbreakable matrimonial bond………</dialogue> <character>AUSTRIAN AMBASSADOR</character> <dialogue>.......are you joking?</dialogue> <character>CAULAINCOURT</character> <dialogue>I may find it humorous but his Majesty does not.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - RECEPTION ROOM - DAY</stage_direction> <scene_description>The doors are open for the ceremonial arrival of Napoleon's new wife: 19 year old Austrian MARIE-LOUISE. Napoleon crosses to greet her and sweep her into a bedroom upstairs...</scene_description> <character>NAPOLEON</character> <dialogue>How do I look to you? Do I resemble my portrait?</dialogue> <character>MARIE-LOUISE</character> <dialogue>Oh yes. And even more handsome. And strong.</dialogue> <character>NAPOLEON</character> <dialogue>And you are even more beautiful. Would you like to see the bedroom?</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - HALLWAY - DAY</stage_direction> <scene_description>A long, long hallway. It's months later. A NURSE and COURTIER walk down the hallway holding a small bundle. They arrive at a door and a guard allows them inside....(Note: Is this accurate?)</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - RECEPTION ROOM - DAY</stage_direction> <scene_description>The NURSE and COURTIER enter and cross the room. Napoleon sees them and moves to them and takes the baby from them. Holds the baby up.</scene_description> </scene> <scene> <stage_direction>EXT. PARIS LOCATION - DAY</stage_direction> <scene_description>A hundred and one gun salute to the birth of Napoleon's son. TITLE: March 20, 1811</scene_description> </scene> <scene> <stage_direction>INT. COACH - DAY</stage_direction> <scene_description>Napoleon and the new BABY and a NANNY are traveling to the country.</scene_description> </scene> <scene> <stage_direction>EXT. MALMAISON -- DAY</stage_direction> <scene_description>Josephine steps outside. Hortense and her Maids stay back. The carriage arrives. Napoleon and the Nanny and the Baby step out. Napoleon brings the baby to Josephine and shares with her. Josephine takes the baby, embraced by Napoleon.... Josephine walks away, cradling the baby. They go for a long walk. Napoleon and everyone else watching and giving distance. Josephine speaks to the child:</scene_description> <character>JOSEPHINE</character> <dialogue>Sweet child, one day you will know what I have sacrificed for you.</dialogue> </scene> <scene> <stage_direction>INT. TSAR ALEXANDER'S PALACE - NIGHT</stage_direction> <scene_description>A sinister and very clear meeting of Alexander with Russian Court and Nobility (aka Gangsters) who are speaking the truth to Alexander:</scene_description> <character>RUSSIAN COURT MEMBER</character> <dialogue>What's good for your friend Napoleon is not good for Russia....and If It Is Not Good For Russia....it can not be good for His Majesty.</dialogue> <scene_description>Alexander begins to see the full scale of the situation.</scene_description> <character>RUSSIAN COURT MEMBER</character> <dialogue>It is the Timber Trade with Britain that makes Russia great....... Your Father made the regrettable mistake of placing Russia behind himself. I don't want to see his Majesty become unpopular with the Russian people.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - MAP ROOM - DAY</stage_direction> <scene_description>Napoleon is watching his one-year-old son, Napoleon The King Of Rome play on the map of Europe painted on the floor.</scene_description> <character>NAPOLEON</character> <dialogue>A battle will dispose of the fine resolutions of your friend Alexander and his fortifications of sand. He is false and feeble.</dialogue> <character>CAULAINCOURT</character> <dialogue>Your majesty, his fortifications are not sand - they are Snow and Winter.</dialogue> <character>NAPOLEON</character> <dialogue>He is false, feeble and sickly.</dialogue> <character>CAULAINCOURT</character> <dialogue>Do not underestimate his staff.</dialogue> <character>NAPOLEON</character> <dialogue>Thank you for your advice. And now, I would like you go and tell the Russian Ambassador that we must ask for his passport and to leave Paris. If he needs an explanation, please let him know that we will be terminating the fatal influence Russia has exercised over Europe these last fifty years....don't worry, Old friend...I am only waging a political war against Alexander...we can soon agree when he negotiates.</dialogue> <character>CAULAINCOURT</character> <dialogue>You cannot ignore my warnings about what the Russian winter is capable of --</dialogue> <character>NAPOLEON</character> <dialogue>-- you're frozen already, my Old Friend. Remember this: Alexander is a young man, he longs for a taste of glory, and like all children, he wants to go a different way from his Father....he will negotiate once I take Moscow.</dialogue> </scene> <scene> <stage_direction>EXT. RUSSIAN LANDSCAPE - DAY</stage_direction> <scene_description>Napoleon assembling the biggest Army he's ever commanded. TO BE WRITTEN: NAPOLEON'S ARMY ON THE WAY TO MOSCOW.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>.....My dearest Josephine.....we are 600,000 men marching into Russia. We are 250,000 horses..... ..Italians, Neapolitans, Poles, Bavarians, Saxons.........my Father- In-Law Francis has provided 40,000 men for operations........and I think of you all the while. I Have Come To Finish Once And For All With The Colossus of the Barbarian North. Despite careful organization, there have been break downs in supply. We are suffering sickness, desertion and famine. By the time we reached Vilna, twenty thousand horses died. This wastage is the equivalent of two large battles. I sacrificed my most precious weapon: Mobility. We are large in numbers but we suffer because of it....The Russians continue to retreat. I have made my Generals too rich.</dialogue> <character>NAPOLEON (VO)</character> <dialogue>They think only of pleasures, of hunting, of rolling through Paris in their magnificent carriages. They have grown sick of war. The very danger pushes us on to Moscow. The die is cast. Victory will justify and save us. My striking force has been reduced to 160,000. Moscow is now only 200 miles away. To halt the campaign at this stage would mean a humiliating retreat. Tomorrow, we will resume our advance. We found Russians entrenched on the banks of the river Moskva near Borodino. This was the most terrible of all my battles. My guard showed themselves worthy of victory and the Russians worthy of being invincible.....</dialogue> </scene> <scene> <stage_direction>EXT. MOSCOW - CITY SUBURBS - DAY</stage_direction> <scene_description>The army is already a mess, having suffered terrible losses in battle on the way here....They are sick, hungry, tired and expecting a fight in Moscow. They are half the size of when the started in men and horses. This view of Moscow is beautiful for a moment but something is missing. CU. NAPOLEON he looks at the chimneys. There is no smoke coming from any of the chimney stacks.....</scene_description> </scene> <scene> <stage_direction>EXT. THE KREMLIN - MOSCOW - DAY (OCTOBER 1812)</stage_direction> <scene_description>They stop in front of the Kremlin gates which are wide open. Surprisingly, the sun is shining. It's a warm and pleasant day. Napoleon rides his white charger through the empty streets of Moscow, flanked by CAULAINCOURT, EUGENE and Marshals BERTHIER, NEY and DAVOUT, and his Imperial Guard. An eerie silence pervades. The windows of the surrounding buildings are empty. TITLE: MOSCOW, OCTOBER 1812</scene_description> <character>NAPOLEON</character> <dialogue>Three hundred thousand souls live in this city. And they've just left.....?</dialogue> <scene_description>We PULL BACK to take in a vista of the Kremlin and the onion domes of St Basil's. The city is abandoned.</scene_description> </scene> <scene> <stage_direction>INT. THE KREMLIN - THRONE ROOM - LATE AFTERNOON</stage_direction> <scene_description>A door has been left open into the darkened Kremlin. Napoleon and his Marshals enter and walk through the darkness. The Tsar's gilded rooms are empty, abandoned. Napoleon's footsteps echo in the vast empty chamber.</scene_description> <character>NAPOLEON</character> <dialogue>Your Highness Alexander....come-out, come-out wherever you are....peek-a- boo......</dialogue> <scene_description>No answer. He walks to the window, gazing out on the empty city.</scene_description> <character>NAPOLEON</character> <dialogue>It's not very sporting, is it? For his honor and Russia's, not mine. There's dignity to be had in defeat.</dialogue> </scene> <scene> <stage_direction>INT. KREMLIN ROOM - THRONE ROOM- LATER</stage_direction> <scene_description>Napoleon and Staff looking over MAPS.</scene_description> <character>NAPOLEON</character> <dialogue>He's hiding in St. Petersburg....we will take fight to St. Petersburg...</dialogue> <character>DAVOUT</character> <dialogue>Your Majesty, we are lucky to have made it to Moscow. There is barely enough to get us back to Poland, let alone another assault.</dialogue> <scene_description>One of Napoleon's Guards emerges with a case of wine from the Tsar's cellar.</scene_description> <character>GUARD</character> <dialogue>Chateau Lafoy. He's drinking our wine.</dialogue> <scene_description>One of the Guards uncorks a bottle and begins to fill glasses.</scene_description> <character>NAPOLEON</character> <dialogue>We can wait longer. He will come.......</dialogue> </scene> <scene> <stage_direction>INT. THE KREMLIN -- TSAR ALEXANDER'S CHAMBER -- NIGHT</stage_direction> <scene_description>Napoleon awakes in Tsar Alexander's bed. He sits up in bed, pulls back the heavy curtains... ....and there, on the skyline behind St. Basil's, he sees a strange orange GLOW. Then another. Napoleon looks closer...piecing it together....EUGENE enters.</scene_description> <character>EUGENE</character> <dialogue>(Father), they've set the fires.</dialogue> <character>NAPOLEON</character> <dialogue>Who?</dialogue> <character>EUGENE</character> <dialogue>It has been started by the Russians.</dialogue> <character>NAPOLEON</character> <dialogue>No it hasn't - they're not to burn their own city, be sensible - who has started these fires -- ?</dialogue> </scene> <scene> <stage_direction>EXT. MOSCOW STREETS - FRENCH CAMP - CONTINUED</stage_direction> <scene_description>Napoleon and Eugene emerge into the streets. The whole grand army stand staring at the huge fire..... Suddenly....those few flurries of snow fall....Russian Winter has arrived. Napoleon thinks:</scene_description> <character>BERTHIER</character> <dialogue>We can remain only long enough to reorganize. We march back to Paris.</dialogue> <character>NAPOLEON</character> <dialogue>There is no reason. Alexander will negotiate.</dialogue> <character>BERTHIER</character> <dialogue>He is not, your Majesty. And you must face the harsh view of this situation.</dialogue> <dialogue>We have let too much time slip away...we will be marching into the Russian winter, with horses who are not raised for this weather.</dialogue> <character>NAPOLEON</character> <dialogue>Winter? This is the Winter they promised us? He will come. He will negotiate for he is much more embarrassed than I am.</dialogue> <scene_description>Napoleon moves back inside....</scene_description> <character>BERTHIER (CALLING OUT)</character> <dialogue>If we go back to Poland, we can wait out the winter months.......</dialogue> <character>BERTHIER (CALLING OUT)</character> <dialogue>These horses are not bred for this weather! A French horse will die within weeks!</dialogue> <character>NAPOLEON</character> <parenthetical>(So we will eat them)</parenthetical> </scene> <scene> <stage_direction>EXT. KAGULA ROAD - OUTSIDE MOSCOW - DUSK</stage_direction> <scene_description>CAMERA behind the grand army as it marches across a BRUTAL SNOW STORM with temperatures well below freezing. TITLE: NOVEMBER 6 Napoleon rides with Davout and Berthier. Caulaincourt and Eugene nearby......they see something on the horizon....</scene_description> </scene> <scene> <stage_direction>EXT. KAGULA ROAD - ANOTHER DAY</stage_direction> <scene_description>Cossacks walk in the woods and flank the Grand Army as it marches along the road........waiting to swoop down and kill them or waiting for them to move into the woods to look for food...........</scene_description> </scene> <scene> <stage_direction>EXT. CAMPFIRE ON THE ROAD - NIGHT</stage_direction> <scene_description>Men around a campfire, eating horse meat. Cossacks swoop down....some Men don't even fight back....some Fire the guns at the Cossacks...... NAPOLEON and EUGENE and CAULAINCOURT around a fire. The fighting is just a hundred yards away but they don't even look at it or react....... Caulaincourt looks at him.</scene_description> <character>NAPOLEON</character> <dialogue>All will be well when we arrive at Minsk.</dialogue> <scene_description>IMAGE: Moving past more dead bodies, horses......Wolves Have come down to finish off the remains leaving blood streaks along the snow...... IMAGE: Corpses are stripped of their clothes by those who are alive and cold. So now we see a line of dead naked bodies on the road.........</scene_description> </scene> <scene> <stage_direction>INT. ZANIVIKI TOWN - NIGHT</stage_direction> <scene_description>A small town is overrun with soldiers to get inside the wood shacks to get any kind of warmth. Soldiers go wild and dismantle the homes to use for fire wood.</scene_description> <character>A FIRE STARTS IN ONE OF THE HORSE BARNS, TRAPPING MEN INSIDE</character> <dialogue>AS THE DOORS ARE LOCKED FROM THE OUTSIDE.</dialogue> </scene> <scene> <stage_direction>EXT. RUSSIAN TUNDRA -- DAY</stage_direction> <scene_description>AERIAL SHOT: as the Grand Armeé marches. The Hussars are marching on foot now, wrapped in the hides of their slaughtered horses: they have eaten their cavalry. Only Napoleon and his Generals ride on horseback. Napoleon takes out his pocket scope. THEIR POV: far off in the distance, they are being stalked by a group of riders -- COSSACKS in heavy papaha fur hats.</scene_description> </scene> <scene> <stage_direction>EXT. CAMP - RUSSIAN PINE FOREST - NIGHT</stage_direction> <scene_description>The WIND HOWLS off the steppes. The grenadiers huddle in their horse hides for warmth around a dying campfire. They have been reduced to cavemen. A CORPORAL'S eyes have drifted closed. One of the grenadiers is eyeing the very weakened soldier.</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN TUNDRA -- DAY</stage_direction> <scene_description>The corpse of the Grenadier lies splayed out in the snow, its thigh stripped clean of flesh, next to the embers of the campfire where he was cooked and eaten. Napoleon, himself haggard and bearded, blanches as he gazes down at the human carcass. Napoleon to Caulaincourt ride off.....</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN VILLAGE - DAY</stage_direction> <scene_description>In a small Russian village. What's left of the French Army is very slight. ......a SLEIGH is found in a barn...... Caulaincourt to Napoleon.</scene_description> <character>CAULAINCOURT</character> <dialogue>Your Majesty, it is time for you to leave this misery and return to Paris and I have found a way.....</dialogue> <scene_description>Napoleon sees the sleigh....</scene_description> </scene> <scene> <stage_direction>INT. BARN - RUSSIAN VILLAGE - LATER</stage_direction> <scene_description>Napoleon meets with Eugene, Berthier.</scene_description> <character>NAPOLEON</character> <dialogue>General Berthier you are left in command. I am well pleased with the fine spirit you have all shown.....Caulaincourt will be coming with me. That is what will happen.</dialogue> <scene_description>He makes his way to Eugene and kisses him.</scene_description> <character>NAPOLEON</character> <dialogue>Good bye, my son. Take care.</dialogue> <scene_description>Guards are mid-transfer of rugs and arms and his toilet equipment. Napoleon stops it all, gets in and they roll --</scene_description> </scene> <scene> <stage_direction>INT. SLEIGH - MOVING</stage_direction> <scene_description>The Emperor and Caulaincourt moving fast.</scene_description> <character>NAPOLEON</character> <dialogue>Now we will make time. Our disasters will make a great sensation in France - but my arrival will counter- balance Europe's bad efforts. We will show the French people, that the Enemy is Russia.</dialogue> <character>CAULAINCORUT</character> <dialogue>As a matter of fact, Your Majesty, it is you that they fear. It is your Majesty who is the cause of everyone's anxiety and prevents them from seeing the other dangers. A World State run by you is not what they want -</dialogue> </scene> <scene> <stage_direction>EXT. RUSSIAN TUNDRA - DUSK</stage_direction> <scene_description>The sleigh traveling...............</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN TUNDRA - BORODINO BATTLEFIELD - A SLED - DAY</stage_direction> <scene_description>The sleigh is flying across the landscape. He looks out and glimpses something in the snow that startles him.</scene_description> <character>NAPOLEON</character> <dialogue>Stop. Stop!</dialogue> <scene_description>The sleigh driver obeys. Napoleon stands up in the sled -- -- all around him are ONE HUNDRED THOUSAND BODIES, French and Russian soldiers and their horses, frozen in the snow.</scene_description> <character>NAPOLEON</character> <dialogue>Where are we?</dialogue> <character>SLEIGH DRIVER</character> <dialogue>Borodino, majesty.</dialogue> <character>NAPOLEON</character> <dialogue>How long ago was it that we fought this battle?</dialogue> <character>SLEIGH DRIVER</character> <dialogue>Three months.</dialogue> <scene_description>Napoleon climbs down from the sled. He walks into the battlefield -- -- RAVENS are plucking out the eyes of the dead; wolves are fighting over their bones. A frozen French soldier gazes up at Napoleon accusingly.</scene_description> <character>NAPOLEON</character> <dialogue>Why am I not allowed to weep?</dialogue> <scene_description>190 OMITTED 191 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TREATY OF FONTAINEBLEAU</stage_direction> <scene_description>Talleyrand reading Napoleon's fate to him:</scene_description> <character>TALLEYRAND</character> <dialogue>You have been exiled. In no uncertain terms. The Allied Coalition of Austria, Prussia, Russia and England and with the agreement of The French Council will grant you Sovereignty of the island of Elba. With a revenue of 2 million francs from the French funds, pensions for the Bonaparte family, and the Empress Marie-Louise. It also provides for Empress Josephine to retain all her properties and an allotted annual income of one million francs. With provisions for her two children Eugene and Hortense....</dialogue> <scene_description>BEAT. Napoleon about to sign the agreement in front of him.</scene_description> </scene> <scene> <stage_direction>EXT. MALMAISON - DAY</stage_direction> <scene_description>Josephine and her staff awaiting a Royal Procession arriving at her home....A Carriage coming protected by 12 Riders.</scene_description> <character>...THE DOOR OPENS FROM THE COACH TO REVEAL THE VISITOR:</character> <dialogue>CZAR ALEXANDER OF RUSSIA. The very man who defeated Napoleon is now calling on Josephine....he's weak demeanor previously is now fluffed up on some ego....</dialogue> <character>JOSEPHINE</character> <dialogue>Your Highness.</dialogue> <character>ALEXANDER</character> <dialogue>Empress....</dialogue> </scene> <scene> <stage_direction>EXT. MALMAISON - VARIOUS</stage_direction> <scene_description>They're walking or sitting....</scene_description> <character>JOSEPHINE</character> <dialogue>I am afraid of the criticism that will come to me for opening my house to the very man who humbled my country and my husband.....</dialogue> <character>ALEXANDER</character> <dialogue>I understand your fear. If it brings you any comfort, it's because of me that he has retained his title, been given 2 million francs. He is neither in prison nor dead. Have you seen him?</dialogue> <character>JOSEPHINE</character> <dialogue>No.</dialogue> <character>ALEXANDER</character> <dialogue>I can think of a great many men that would like to come and visit with you, starting with the Prussian King....you don't have to lock yourself away because he is not here...your charms are your own and (company) available without him....</dialogue> </scene> <scene> <stage_direction>INT. SMALL ROOM ON ELBA - DAY</stage_direction> <scene_description>Napoleon is fat and sweaty. TITLE UP: ELBA A FEW IMAGES SHOW US NAPOLEON'S DAILY LIFE ON ELBA: He sits at a desk, sorts through letters. He writes letters, reads newspapers. A scruffy Tunisian Boy helps him in his daily life. Monty Python shot. All of his movements around the Island have a sad/faded Majestic air. NOTE: He is kept here by BRITISH TROOPS.</scene_description> </scene> <scene> <stage_direction>INT. MALMAISON -- NIGHT</stage_direction> <scene_description>Josephine is WALTZING with Alexander................</scene_description> </scene> <scene> <stage_direction>EXT. ELBA - DAY</stage_direction> <scene_description>Napoleon and his young Houseboy are fencing, getting some of the old moves back…but he's winded, overweight.</scene_description> <character>NAPOLEON</character> <dialogue>Enough. That's all for today.</dialogue> <character>BOY</character> <dialogue>Water?</dialogue> <character>NAPOLEON</character> <dialogue>Yes.</dialogue> <scene_description>Boy runs to get Napoleon some water. Napoleon watching from a cliff's edge with a spyglass seeing SHIPS in the small harbour. Newspapers arrive. Napoleon gets to the paper. He is reading news that is approximately seven days old. He reads something that doesn't sit well with him. A news item about Alexander and Josephine. Or is this in the form of a letter from someone else?</scene_description> <character>NAPOLEON</character> <dialogue>Boy. What day is it?</dialogue> <character>BOY</character> <dialogue>Tuesday.</dialogue> <character>NAPOLEON</character> <dialogue>17?</dialogue> <character>BOY</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN ON ELBA - DAY</stage_direction> <scene_description>Napoleon and his mother Letizia eating lunch. He is moody and quiet………she says:</scene_description> <character>LETIZIA</character> <dialogue>It brings me no great joy to sit with my son and have him moody and sullen.</dialogue> <character>LETIZIA</character> <dialogue>If you're incapable of enjoying a lovely lunch that I have cooked than it is time for a change. BEAT, THEN: You were not meant to die on this island, my son.</dialogue> <character>NAPOLEON</character> <dialogue>My wife is entertaining the Russian Emperor. In my home.</dialogue> </scene> <scene> <stage_direction>EXT. SEA OFF ELBA - NIGHT</stage_direction> <scene_description>Napoleon and a group of ten-man rowboats head towards The Inconstant.</scene_description> </scene> <scene> <stage_direction>EXT. THE INCONSTANT - SHIP'S DECK - NIGHT</stage_direction> <scene_description>The Inconstant's BRITISH (FRENCH?) crew has been taken by surprise, overwhelmed by the Hussars. The white flag of the Bourbons has been taken down and is being replaced by the Tricolor of the Republic. Napoleon appears on deck:</scene_description> <character>NAPOLEON</character> <dialogue>Good evening. I am here to dissuade you from resistance. You know who I am. You don't have to fear me if you don't provoke me. I have been delivered by Providence. Louis XVIII/Royalty has driven France to failure and ruin. With this little army, we will march into Paris.</dialogue> <scene_description>201 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MALMAISON - JOSEPHINE'S BEDROOM - SAME</stage_direction> <scene_description>Dr. Covisart is examining Josephine who is weak and pale.</scene_description> <character>DR. COVISART</character> <dialogue>Your chest is congested. Your throat is inflamed. My suggestion is to stay in bed.</dialogue> <character>JOSEPHINE</character> <dialogue>Alexander is coming tonight....</dialogue> <character>DR. COVISART</character> <dialogue>I would suggest that you cancel that visit. It would be unwise to accept visitors....</dialogue> <scene_description>Hortense stands nearby.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH -- GOLFE-JEAN -- DAY (MARCH 1, 1815)</stage_direction> <scene_description>Napoleon and his troops arrived from Elba. We are on the beach that extends between Cannes and Antibes. The INCONSTANT is anchored 100 yards off shore and boats are bringing Napoleon and his men ashore... Leathery FISHERMEN watch him arrive. It's all very awkward and ungraceful...</scene_description> <character>NAPOLEON</character> <dialogue>You know me. I am your Emperor.</dialogue> </scene> <scene> <stage_direction>INT. MALMAISON - JOSEPHINE'S BEDROOM - DAY</stage_direction> <scene_description>Josephine is having trouble breathing. She is surrounded by Hortense, Eugene and her ladies in waiting.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD -- GRASSE -- DAY</stage_direction> <scene_description>Napoleon on the move. They march, 500 of them, with Napoleon leading the way atop a decent chestnut horse brought over on the boat from Elba. The villagers all come out and look. Napoleon takes off his cocked hat and waves it at them like it's some kind of parade. A LITTLE BOY breaks free of the villagers and falls in alongside Napoleon's horse. He marches mockingly along with them, and the villagers LAUGH. Napoleon reaches down, lifts the boy up, and gives him a ride on the horse. Some of the villagers fall into step as well, singing and marching: somebody beats a washboard like a drum.</scene_description> </scene> <scene> <stage_direction>INT. TUILERIES - DINING ROOM -- DAY</stage_direction> <scene_description>A MESSENGER arrives in the presence of the new French King....Louis XVIII, the portly Bourbon, who has been restored to the throne in Napoleon's absence, who is in the middle of his breakfast. The messenger bows his head.</scene_description> <character>LOUIS XVIII</character> <dialogue>You may speak.</dialogue> <character>MESSENGER</character> <dialogue>Bonaparte, your Majesty.</dialogue> <scene_description>Louis chews slowly on a boiled egg.</scene_description> <character>MESSENGER</character> <dialogue>He has returned. A ship landed on the beach in Antibes this morning and they are on the march.</dialogue> <character>LOUIS XVIII</character> <dialogue>Who's marching where?</dialogue> <character>MESSENGER</character> <dialogue>Napoleon Bonaparte is marching towards Paris.</dialogue> <scene_description>Nervous laughter. Louis XVII wipes his mouth and slowly stands up....</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD, LAFFREY - MORNING</stage_direction> <scene_description>Napoleon leads his army on this cold morning. We come over a rise, and the procession stops...... REGIMENT OF GOVERNMENT TROOPS BLOCK THE ROAD A FEW HUNDRED YARDS AWAY. It's a stand off. A young COLONEL CHARLES LA BÉDOYÈRE is sent ahead full gallop to speak with Napoleon.</scene_description> <character>LA BÉDOYÈRE</character> <dialogue>Your Majesty. General Marchand, in defense of the Royal Government of King Louis XVIII, requests that you surrender your weapons and cease your march so that you may be arrested and returned to your island.</dialogue> <character>NAPOLEON</character> <dialogue>Good afternoon to you, Colonel. Would please inform General Marchand that I will come and speak with him. I have no fight with my own 5th Army.</dialogue> <scene_description>La Bedoyere gallops back and speaks with General Marchand From Napoleon's POV - General Marchand ignores this information and shouts direction to his 5th Army. The 5th Army front line kneels with its muskets so that the second line may fire over their shoulders, multiplying the amount of ammunition that can be fired per square foot. General Marchand and his Lt. Cambronne steel themselves for the volley of hot lead that is to come. Napoleon rides his horse towards the 5th Army...... ....getting closer....100 Ft away...... General Marchand calls out:</scene_description> <character>GENERAL MARCHAND</character> <dialogue>Make ready!</dialogue> <scene_description>500 muskets are simultaneously cocked. The 5th awaits the command to fire -- Napoleon is upon them....a few yards away. He dismounts. He gazes into the eyes of the regiment before him.</scene_description> <character>GENERAL MARCHAND</character> <dialogue>FIRE!!!!!</dialogue> <scene_description>No one fires.</scene_description> <character>NAPOLEON (TO TROOPS)</character> <dialogue>Soldiers of the 5th Regiment...do you recognize me?</dialogue> <character>VOICES</character> <dialogue>Yes...Emperor.....yes.....</dialogue> <character>NAPOLEON</character> <dialogue>Soldiers of the 5th Regiment....will you join me in reclaiming France? I have missed you and I am melancholy for my home and our victories together. I want to come home to Paris. Will you join me?</dialogue> <character>VOICES</character> <dialogue>Vive L'Empereur!</dialogue> </scene> <scene> <stage_direction>EXT. TUILERIES -- DAY</stage_direction> <scene_description>PANIC. LOUIS is fleeing the scene with his two dogs and heading towards a waiting Grand Coach. VALETS and CHAMBERMAIDS they scurry behind him burdened with luggage......</scene_description> <character>LOUIS XVIII</character> <dialogue>out. out. OUT!!!!!!!!!</dialogue> </scene> <scene> <stage_direction>EXT. TUILERIES - DAY</stage_direction> <scene_description>Napoleon's arrival, days later. Exhausted but triumphant. CROWDS fill the gardens of the Fontainebleau now. The white fleur-de-lis Bourbon flag is taken down and the hand-sewn tricolor is raised. Napoleon ascends the steps of the Palace. Marshals Ney, Davout and Talleyrand are there to greet him. They embrace.....something important is unsaid between them.</scene_description> </scene> <scene> <stage_direction>INT. MALMAISON - BEDROOM - DAY</stage_direction> <scene_description>Napoleon over Josephine's empty bed. Hortense in the corner. He holds the bed.</scene_description> </scene> <scene> <stage_direction>INT. MALMAISON - DINING ROOM - DAY</stage_direction> <scene_description>Napoleon is sitting with Hortense.</scene_description> <character>NAPOLEON</character> <dialogue>And no one thought to notify me?</dialogue> <character>HORTENSE</character> <dialogue>No.</dialogue> <character>NAPOLEON</character> <dialogue>I want my letters that I wrote her. Do you know where she keeps them?</dialogue> <character>HORTENSE</character> <dialogue>They were stolen by her Valet.</dialogue> <character>NAPOLEON</character> <dialogue>Where did she keep them?</dialogue> <character>HORTENSE</character> <dialogue>In the cupboard in her bedroom, next to her bed.</dialogue> <character>NAPOLEON</character> <dialogue>What did he do with them?</dialogue> <character>HORTENSE</character> <dialogue>He sold them.</dialogue> <character>DUKE OF WELLINGTON (VO)</character> <dialogue>He is an Enemy of the Human Race....</dialogue> </scene> <scene> <stage_direction>INT. THE CONGRESS OF VIENNA - DAY</stage_direction> <scene_description>The Powers of Europe, great and small, have assembled here for one purpose: to destroy Napoleon. Duke of Wellington, Tsar Alexander, Archduke Charles of Austria, the monarchs of Spain, Sweden, Portugal, and Louis XVIII. And, most importantly: TALLEYRAND. NEED MORE ACCURATE WORDING HERE, SKETCH:</scene_description> <character>DUKE OF WELLINGTON</character> <parenthetical>(reads aloud)</parenthetical> <dialogue>"Napoleon Bonaparte has destroyed the only title on which his existence depended. As an enemy and disturber of the tranquility of the world, he has rendered himself liable to public vengeance." This congregation of Allies will string along the French/Belgian border an army of 70,000 troops from England and 120,000 troops from Prussia...Majesty?</dialogue> <character>ALEXANDER</character> <dialogue>The Russian Army will bring 400,000 Men.</dialogue> <character>DUKE OF WELLINGTON</character> <dialogue>This blow should have been stuck long ago. This man has held the world hostage by his ego, his blind abuse of power and his lack of manners. We will all sleep again without him. I believe that I speak for all of us when I say that the one regret we all share is that we allowed this man's existence.</dialogue> </scene> <scene> <stage_direction>INT. TUILERIES - MAP ROOM - DAY</stage_direction> <scene_description>A VAST MAP OF THE KINGDOM OF THE NETHERLANDS (now Belgium) is laid out on the floor. Napoleon walks upon it, surrounded by his Marshals, including Marshals NEY and La Bédoyère, who has joined Napoleon's staff.</scene_description> <character>NAPOLEON</character> <dialogue>Strike quickly against Wellington and Blucher - defeat them separately. Disallow them from uniting forces...here. This is what Britain does not know how to do that I know....this is a fight on land. They have not treated me as the Royalty that I am. Treating me by a standard they would not apply to themselves.</dialogue> <scene_description>He indicates a point on the map with the toe of his boot.</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD - BRITISH POSITION - DAY (JUNE 18,</stage_direction> <character>1815)</character> <dialogue>TITLE: WATERLOO</dialogue> <scene_description>The mist rises off a great expanse, with three small FARMHOUSES arranged around a gentle hillock. The DUKE OF WELLINGTON walks that hill with his officers. We PUSH PAST him, to reveal a line of British REDCOATS digging trenches along the ridge.</scene_description> </scene> <scene> <stage_direction>INT. NAPOLEON'S TENT -- DAY</stage_direction> <scene_description>Napoleon sits on a copper field toilet, his pants around his ankles. He is doubled over and in great pain. He rises, pulls up his pants, and glances in the toilet. Inside is a half-pint of blood. A hemorrhage.</scene_description> </scene> <scene> <stage_direction>215A INT. NAPOLEON'S TENT -- DAY</stage_direction> <scene_description>Napoleon enters as his Marshals stand waiting. Marshal Ney is anxious to begin.</scene_description> <character>NAPOLEON</character> <dialogue>I'm not ignoring your warning about the fire power of the English infantry - I am disagreeing with it and feel that a frontal attack is a stronger strategy.....</dialogue> <character>MARSHAL NEY</character> <dialogue>He has positioned himself on higher ground, Emperor. Defense is Wellington's strength--</dialogue> <character>NAPOLEON</character> <dialogue>And it's his only one...The Duke is simply not that accomplished...except at defense.</dialogue> <scene_description>...:</scene_description> <character>NAPOLEON</character> <dialogue>He's an ordinary thinker who is adept at doing nothing unless it is done for him...</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- DAY</stage_direction> <scene_description>Napoleon walks the battlefield. He feeds bread to his troops as he rallies them, wishing them good luck and victory.(In the BG, a boy exits the tent and empties Napoleon's toilet when no one's looking.) The ground is damp and soft; his boots are muddy. Napoleon evaluates the wet ground with two officers.</scene_description> <character>NAPOLEON</character> <dialogue>We are in no hurry to start this battle.</dialogue> <character>NAPOLEON</character> <dialogue>We can wait until mid-day when the ground is drier. We cannot move our heavy artillery into place on this mud.</dialogue> <scene_description>Napoleon extends his spyglass and peers across the battlefield at the British digging their trenches.</scene_description> </scene> <scene> <stage_direction>216A EXT. WATERLOO BATTLEFIELD -- BRITISH POSITION -- DAY</stage_direction> <scene_description>Wellington checks the mud that has accumulated on the bottom of his pristinely polished boots. He evaluates the same wet ground, as his men dig trenches in perfect British unison. They are organized and ready.</scene_description> <character>WELLINGTON</character> <dialogue>Well done, men! Now's your time! Now's your time!</dialogue> <scene_description>He walks further, encouraging the troops.</scene_description> <character>WELLINGTON</character> <dialogue>Patience shall win the day today. Hold this ground.</dialogue> <parenthetical>(sotto voce)</parenthetical> <dialogue>Let him come to us...</dialogue> <scene_description>217 OMITTED 218 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BELGIAN ROAD -- DAY</stage_direction> <scene_description>A lone ENGLISH HORSEMAN with a pair of horses blazes across a rough road through open country as he comes in sight of: PRUSSIAN INFANTRY, led by General Gebhard von BLÜCHER on horseback. 110,000 men in unison, moving like a machine. They spread out in a vast army of men. The English rider, a scout, halts before Blucher's advance officers. There is an exchange. At a distance, this is witnessed by a-- FRENCH SCOUT, similarly equipped with two horses. He studies this through a small telescope. (Footnote: These riders were the most effective form of distant communication during battle. A pony express, in effect.)</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- DAY</stage_direction> <scene_description>The French troops wait for their orders. Napoleon paces in the mud. La Bédoyère receives the news of Blucher's imminence from the French Scout behind him with two winded horses.</scene_description> <character>LA BÉDOYÈRE</character> <dialogue>Prussian troops have been sighted on the road, sire. Twenty miles.</dialogue> <scene_description>Napoleon studies the rider and lathered horses.</scene_description> <character>NAPOLEON</character> <parenthetical>(shouts)</parenthetical> <dialogue>You are certain?</dialogue> <scene_description>The rider nods, thrilled to be addressed by Napoleon.</scene_description> <character>NAPOLEON</character> <dialogue>Then, they're out of the battle....</dialogue> <scene_description>La Bédoyère looks doubtful. Napoleon takes out his spyglass again. HIS POV THROUGH THE SCOPE: at the other end of the battlefield, Wellington is pacing too.</scene_description> <character>NAPOLEON</character> <dialogue>I want reports of Blucher's progress every two hours...get on with it.</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- BRITISH POSITION -- DAY</stage_direction> <scene_description>Wellington stakes out a place beneath a great tree and gazes back at the French position, unable to locate Napoleon. He is surrounded by a handful of LIEUTENANTS. The BRITISH EXPRESS RIDER has arrived. He dismounts on the run. (He is slower than the French rider.)</scene_description> <character>BRITISH EXPRESS RIDER</character> <parenthetical>(saluting)</parenthetical> <dialogue>Blucher at twenty miles, sir.</dialogue> <scene_description>Wellington looks at his pocket watch. He then extends his spyglass toward the French side, clearly scoping Napoleon.</scene_description> <character>WELLINGTON</character> <parenthetical>(sotto voce)</parenthetical> <dialogue>He appears to be...just waiting.</dialogue> <scene_description>There is the feeling of two gunslingers, waiting to see who will draw first. Wellington's Lieutenants await patiently. It is still raining, although only a soft drizzle.</scene_description> <character>WELLINGTON</character> <dialogue>He's excellent at everything...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But the one thing he cannot resist is an attack...</dialogue> <character>WELLINGTON</character> <parenthetical>(sotto voce)</parenthetical> <dialogue>Let us see how this General can attack our position.</dialogue> <scene_description>A row of BRITISH SNIPERS, rifles resting on rods with forks, are set-up a few yards from Wellington. One has bound a small scope to his rifle and is peeking through it. He calls out:</scene_description> <character>BRITISH SNIPER</character> <parenthetical>(excited)</parenthetical> <dialogue>There's Bonaparte, sir. I think I can reach him. May I fire?</dialogue> <character>WELLINGTON</character> <parenthetical>(irritated)</parenthetical> <dialogue>No, no! Generals commanding armies have better things to do than to shoot at one another.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hold your fire, soldier.</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- DAY</stage_direction> <scene_description>It has stopped raining. Napoleon grimaces with pain, but conceals it from his Marshals. Then, abruptly, as if trying to distract from the pain:</scene_description> <character>NAPOLEON</character> <dialogue>Fire cannons.</dialogue> <scene_description>THE FRENCH CANNONS FIRE -- a volley more powerful than any we have heard before. The Boy covers his ears as he watches the cannon batteries, spellbound.</scene_description> </scene> <scene> <stage_direction>EXT. BELGIAN ROAD -- DAY</stage_direction> <scene_description>The cannon fire can be heard from twelve miles away; the Prussian troops are unsettled by the sound. Blucher looks concerned, but they remain stoic and march onward.</scene_description> <character>BLUCHER</character> <dialogue>We must increase the pace. On the double!</dialogue> <character>PRUSSIAN OFFICER</character> <parenthetical>(calls out; relayed)</parenthetical> <dialogue>On the double!</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- BRITISH POSITION -- DAY</stage_direction> <scene_description>The British troops take cover at the French cannon fire --</scene_description> <character>BRITISH LIEUTENANT</character> <dialogue>Take cover!</dialogue> <scene_description>-- they burrow in their newly-dug trenches as the cannonballs whistle overhead -- -- and SMASH into the stand of trees behind their lines.</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- EVENING</stage_direction> <character>GUNNERY SERGEANT</character> <parenthetical>(bellows; agitated)</parenthetical> <dialogue>Lower range! Lower the range!</dialogue> <scene_description>The CANNON BATTERIES work in precisely-timed formation, firing in unison for maximum effect. But, they are still hitting the ramparts above the trenches -- with only minor damage to those dug into the trenches. Napoleon signals and the cannons cease firing. SILENCE. He gazes through his spyglass: a cloud of wet particles and debris rises from the British position. Only a few Redcoats are visible.</scene_description> <character>MARSHALL NEY</character> <parenthetical>(impatient)</parenthetical> <dialogue>Calvary! Now! Emperor, now!</dialogue> <character>NAPOLEON</character> <dialogue>Ney! Silence, damnit! Send in the infantry. The ground is still too soft. We need the higher position...</dialogue> <scene_description>Ney is furious at being called out in front of officers.</scene_description> </scene> <scene> <stage_direction>EXT. THE FRENCH INFANTRY - BATTLEFIELD</stage_direction> <scene_description>Forward orders are given by BUGLE. The French Battalion marches across the muddy battlefield in tightly packed lines. The British slowly emerge from their trenches. They raise their muskets, steady arms resting on the ridge of the trenches -- -- and FIRE. As French soldiers fall, the surrounding troops stoically close ranks and continue to advance.</scene_description> </scene> <scene> <stage_direction>EXT. BELGIAN ROAD -- DAY</stage_direction> <scene_description>The Prussian troops march on, toward Waterloo. This is very bad. Blucher can now hear the GUNFIRE.</scene_description> <character>BLUCHER</character> <dialogue>Faster, men! Double time now.</dialogue> <character>PRUSSIAN OFFICER</character> <dialogue>That would not be possible, sire!</dialogue> </scene> <scene> <stage_direction>227A EXT. BELGIAN ROAD -- DAY</stage_direction> <scene_description>The ENGLISH SCOUT blazes up to Blucher's army, that are now on the double. He receives info, wheels his pair of horses around and races back towards Waterloo. AS:</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- DAY</stage_direction> <scene_description>The French Scout appears, leaps off his horse, and reports to an officer who runs to Ney. Napoleon stands nearby.</scene_description> <character>NAPOLEON</character> <dialogue>How far?</dialogue> <character>MARSHAL NEY</character> <dialogue>Five miles. Or less.</dialogue> <character>NAPOLEON</character> <dialogue>Damnit. Damnit.</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- BRITISH POSITION -- DAY</stage_direction> <scene_description>A VOLLEY OF RIFLE and CANNON FIRE from the British trenches. More French soldiers fall. Wellington watches it all from beneath his tree.</scene_description> <character>WELLINGTON</character> <dialogue>Where's Blucher?</dialogue> <character>BRITISH LIEUTENANT</character> <dialogue>Less than two hours, sir.</dialogue> <character>WELLINGTON</character> <dialogue>Which will come first? Nightfall or the Prussians?</dialogue> <scene_description>The scene on the field below is grim. Smoke, bodies, the Earth rent by cannon fire.</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION/BRITSH POSITION -</stage_direction> <character>- EVENING</character> <dialogue>The sky is black with smoke. Napoleon is in pain. In the BG, Marshals Ney and La Bédoyère are arguing. Ney canters up, gesturing violently at Napoleon, who is doubled-over from the pain.</dialogue> <character>NAPOLEON</character> <dialogue>Very well. Charge. Charge!</dialogue> <scene_description>Ney rides to the French Soldiers, addressing them.</scene_description> <character>MARSHALL NEY</character> <dialogue>Calvary! Follow the brave of the braves! Charge!</dialogue> <scene_description>THE FRENCH CAVALRY CHARGE across the battlefield toward the British position, led by Marshal Ney himself. Wellington sees them coming. They hit soft ground. Wellington gleefully watches horses wallow and slow down in the mud. He bellows order:</scene_description> <character>WELLINGTON</character> <dialogue>Fix bayonets!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Wait until you feel their horses' breath.</dialogue> <scene_description>In unison, we see the British Army fix bayonets to their rifles in the hundreds. The British, now like a machine, a fortress in motion, form up into INFANTRY SQUARES, their bayonets pointing outward -- -- as Ney's cavalry storms the British trenches, riding in and across the French position.</scene_description> <character>WELLINGTON</character> <parenthetical>(bellows from horseback)</parenthetical> <dialogue>Stand fast to the last man. We must not be beat or what will they say in England. We must hold our ground!</dialogue> <scene_description>As the French riders hit on the squares with their sabers, the British repel and spook the horses with their bayonets. But the bayonets spook the horses and they rear up. Ney is forced to wave off his riders, sounding the signal of the BUGLE'S RETREAT. 231 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- FRENCH POSITION -- EVENING</stage_direction> <scene_description>Napoleon breeches are stained with blood. He sees the defeated cavalry returning. He rises and telescopes his spyglass, and slowly PANS the horizon, when he sees -- BLÜCHER's PRUSSIAN TROOPS approaching.</scene_description> <character>LA BÉDOYÈRE (O.S.)</character> <dialogue>They're here. The Prussians. First over the rise, Emperor.</dialogue> <scene_description>Napoleon lowers his scope. La Bédoyère is grim-faced.</scene_description> <character>LA BÉDOYÈRE</character> <dialogue>When our infantry sees them coming there'll be panic--</dialogue> <character>NAPOLEON</character> <parenthetical>(cuts him off)</parenthetical> <dialogue>Tell them they're ours. Send the word to the field. Tell them they're reinforcements.</dialogue> <character>LA BEDOYERE</character> <dialogue>No one is going to believe that, Emperor--</dialogue> <character>NAPOLEON</character> <dialogue>Go! They are in blue...Tell them! Muddy blue is blue, damnit!</dialogue> <parenthetical>(Script Note: RS isn't sure if he believes this beat above about NB lying to his own army. Let's please review.)</parenthetical> <dialogue>The Boy is watching the disaster unfolding around him. Scattered FIRES burn; the dead and wounded are everywhere. Cannons FIRE seemingly at random. Horses are bleeding.</dialogue> <character>NAPOLEON</character> <dialogue>Bring me my horse!</dialogue> <scene_description>His horse is led around. The Boy watches as Napoleon mounts his horse. The Imperial Guards surround Napoleon as they ride onto the field. Napoleon visibly sways in the saddle as he rides. Napoleon sees-- THE PRUSSIANS, are now seen on the rise. They are coming at us from across the field, rifles poised.</scene_description> <character>NAPOLEON</character> <dialogue>Charge!</dialogue> <scene_description>The Imperial Guard struggles on ground that is still muddy and soft. The Prussians fire, now engaging from the southeast. Bullets HISS and whiz around us. Napoleon looks disoriented as the Guard and the Prussians clash. The bullets strike the bodies of the men around him. The order begins to collapse, and the Prussians stream past them. A tight scrum of loyal Guards surrounds Napoleon like a bodyguard as the Prussians smash into them. The regular infantry turns to see the Prussians in full attack mode -- and they panic.</scene_description> <character>FRENCH INFANTRYMAN</character> <dialogue>We're lost, boys! You're on your own now!</dialogue> </scene> <scene> <stage_direction>EXT. WATERLOO BATTLEFIELD -- BRITISH POSITION -- EVENING</stage_direction> <scene_description>Wellington finally has the moment he's been waiting for:</scene_description> <character>WELLINGTON</character> <dialogue>Now.</dialogue> <scene_description>His orders are echoed and bellowed as the BRITISH INFANTRY emerges from its trenches and CHARGES, formidably marching - The French Infantry tries to flee. One of the Imperial Guards raises his sword to attack the fleeing infantryman.</scene_description> <character>IMPERIAL GUARD</character> <dialogue>The Guard dies, it does not surrender!</dialogue> <scene_description>He is sabered by a BRITISH CAVALRY OFFICER. Chaos. A melee of panicking infantry, wild-eyed horses, charging Prussians, circling cavalry. From out of the melee, we find Marshal Ney shouting above the din, his face streaked with blood, his eyes and hair wild. He is fighting with a broken saber, as it has been snapped in half from the battle.</scene_description> <character>MARSHAL NEY</character> <dialogue>Lancers! Where are my lancers? Come see how a Marshal of France dies!</dialogue> <scene_description>Napoleon, still delirious, watches Marshal Ney. He grabs Ney by the collar, both on horseback.</scene_description> <character>NAPOLEON</character> <parenthetical>(shouts)</parenthetical> <dialogue>Marshal. You are relieved of duty.</dialogue> <scene_description>Ney wrestles free from Napoleon and rides off into the night. One of Napoleon's Guards sees Napoleon reeling in his saddle and turns to his comrades:</scene_description> <character>IMPERIAL GUARD</character> <dialogue>The Emperor! Get him out!</dialogue> <scene_description>The six-man scrum of Imperial Guards escorts Napoleon from the battlefield, back towards his tent. Napoleon looks nearly unconscious in his saddle. One of the Guards takes a bullet to the head and falls from his horse. Napoleon's horse bolts with Napoleon listing to one side.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD -- EVE</stage_direction> <scene_description>NAPOLEON'S HORSE races Bonaparte away from the field of battle, its eyes wild, its nostrils flaring. The glow of the distant battle lights up the night sky behind them........</scene_description> </scene> <scene> <stage_direction>234A EXT. WATERLOO BATTLEFIELD</stage_direction> <scene_description>As Wellington now sits atop his horse. He watches the French side in chaos.</scene_description> <character>WELLINGTON</character> <dialogue>The battle is mine; there will be an end of the war.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD -- AWAY FROM BATTLEFIELD -- EVE</stage_direction> <scene_description>Napoleon sits on the grass, sheltering in a grouping of young, thin trees. He is slightly bleeding. His horse mills around him, untethered. PRE-LAP SOUND OF CRISP CLACK OF SHOES ON WOOD FLOOR.....</scene_description> <character>WELLINGTON (OC)</character> <dialogue>Good afternoon, Your Majesty....</dialogue> <character>NAPOLEON (OC)</character> <dialogue>Good afternoon......</dialogue> </scene> <scene> <stage_direction>INT. ENGLISH SHIP BELLEROPHON, OFF ROCHEFORT - DAY</stage_direction> <scene_description>Napoleon is kept in the belly of this British Warship. He is fraternizing with his captors, eating a full English Breakfast. They are enamored by him, fully engaged....there's a pause and they stand to attention as DUKE OF WELLINGTON arrives to speak with Napoleon: DIALOGUE TO BE ADDED FOR NAPOLEON &amp; SHIPMEN</scene_description> <character>WELLINGTON</character> <dialogue>Would you like a glass of water?</dialogue> <character>NAPOLEON</character> <dialogue>The hospitality and forgiveness of the British people is what I admire in the face of the European hostility. I imagine I will love the Cotswolds, soft rolling hills and gentle light......</dialogue> <character>WELLINGTON</character> <dialogue>It is by only a narrow margin of opinion that you have been spared the fate of being shot.</dialogue> <scene_description>CU. NAPOLEON this is not the news he was expecting and it's difficult for Lord Keith to deliver....</scene_description> <character>WELLINGTON</character> <dialogue>Politically, it is impossible for the English government to keep you in England. You are permitted to take three officers and 12 servants into Exile.</dialogue> <character>NAPOLEON</character> <dialogue>...</dialogue> <character>WELLINGTON</character> <dialogue>Exile will be contained to the island of St. Helena. At the residence of Longwood.</dialogue> <character>NAPOLEON</character> <dialogue>St. Helena.</dialogue> <character>WELLINGTON</character> <dialogue>St. Helena is 1000 miles away from the Mainland of Africa. Your correspondences will be read. Your presence will be checked twice daily by the orderly officer....</dialogue> <character>NAPOLEON</character> <dialogue>Who would suppose that all this would be decided so quickly? One must also not forget that I am only a man, after all.</dialogue> </scene> <scene> <stage_direction>EXT. SOUTH ATLANTIC OCEAN - DAY</stage_direction> <scene_description>Napoleon seeing his final home from a distance. It's a volcanic rock of an island.</scene_description> </scene> <scene> <stage_direction>EXT. ST. HELENA - OLIVE ORCHARD - DAY</stage_direction> <scene_description>Daily life is pleasant but dull. There are a few families on the island. Napoleon is warmer, more reflective. He befriends a few of the family's YOUNG GIRLS. He sits around, joking with them:</scene_description> <character>NAPOLEON</character> <dialogue>What is the capital of France?</dialogue> <character>GIRL</character> <dialogue>Paris.</dialogue> <character>NAPOLEON</character> <dialogue>Of Russia?</dialogue> <character>GIRL</character> <dialogue>Petersburg. And Moscow before.</dialogue> <character>NAPOLEON</character> <dialogue>Who burnt it?</dialogue> <character>GIRL</character> <dialogue>I don't know, sir.</dialogue> <character>NAPOLEON</character> <dialogue>It was I who burnt it.</dialogue> <character>ANOTHER GIRL</character> <dialogue>I believe, sir, the Russians burnt it to get rid of the French.</dialogue> <scene_description>He laughs and laughs and corrects her.....</scene_description> </scene> <scene> <stage_direction>INT. ST HELENA HOME - BEDROOM</stage_direction> <scene_description>NAPOLEON laying in bed, looking at a picture across the room of Josephine.</scene_description> <character>NAPOLEON (VO)</character> <dialogue>I have beaten the enemy. I am tired to death. I send you a thousand kisses. I am in bed, hopefully I will dream of you.</dialogue> </scene> </script>

In 1793, amid the French Revolution, young army officer Napoleon Bonaparte watches Marie Antoinette beheaded by the guillotine. Later that year, Revolutionary leader Paul Barras has Napoleon manage the Siege of Toulon; he successfully storms the city and repels the British ships with artillery. After Maximilien Robespierre is deposed and executed at the end of the Reign of Terror, French leaders, including Napoleon, attempt to restore stability. Again employing artillery, Napoleon suppresses the royalist insurrection on 13 Vendémiaire in 1795. Napoleon woos aristocratic widow Joséphine de Beauharnais and the two eventually marry. Despite their vigorous sex life, they bear no children. In Egypt, he prevails again at the Battle of the Pyramids in 1798, but rushes home when he hears Joséphine has an almost 10-year younger lover, Hippolyte Charles. The Directory criticises him for abandoning his troops, but he condemns them for their poor leadership of France and, alongside several collaborators such as Talleyrand, Fouché, Sieyès and Ducos, overthrows them in a coup and becomes First Consul. Napoleon is crowned Emperor of the French by the pope in 1804, during which he audaciously puts the crown on his own head. Foreign Minister Talleyrand suggests to Austria an alliance, though the Austrians dismiss the idea. A year later, Napoleon outmanoeuvres and defeats the Austrians and Russians at the Battle of Austerlitz, forcing them to retreat over frozen lakes before bombarding the ice and drowning them. Afterwards, he invites Austrian Emperor Francis II for wine—which Russian Tsar Alexander I declines to attend—and tells Francis that since he did not totally destroy their armies, he expects the latter to be grateful. Napoleon's mother has him impregnate a mistress, proving that Joséphine is infertile. He divorces her in 1810, publicly slapping her in the face when she initially refuses to read her portion of the decree, but the two remain on good terms and continue exchanging friendly letters. Napoleon marries Marie Louise of Austria, who bears a son one year later. In 1812, Napoleon invades Russia after Alexander reneges on a peace treaty with France. He prevails, despite bloody guerrilla resistance by Don Cossack forces, at the Battle of Borodino, but finds Moscow empty and later set aflame. Napoleon retreats during the winter to France, having lost about half a million men. In 1814, the Coalition force Napoleon's abdication and exile him to Elba. In 1815, upon hearing that Joséphine is unwell, Napoleon escapes the island and returns to power in France. She, having been forced into reclusion at the Château de Malmaison, dies before he arrives. King Louis XVIII sends the Fifth Regiment to stop Napoleon, but he charms them into joining him. At the Battle of Waterloo in June, Napoleon, having amassed more troops, confronts the British army under the Duke of Wellington. French cavalry charges are repulsed by British infantry squares, and a desperate Napoleon urges his remaining soldiers forward, but this advance is decimated by re-formed lines of enemy infantry. The forces of Prussian Marshal Blücher arrive to reinforce Wellington, and the French are broken. As Napoleon retreats, he salutes Wellington. Napoleon is exiled, this time to the island of Saint Helena in the middle of the Atlantic Ocean, and is seen bantering with children, writing his memoirs that would become a worldwide best-seller, and presenting to his listeners a version of history where he is always right. Napoleon dies in 1821, hearing Joséphine beckon him to meet her again. An epilogue notes that roughly 3 million people died in the Coalition Wars (1792–1815).

Kubo and the Two Strings_2016

tt4302938

<script> <scene> <character>KUBO</character> <dialogue>... AND THE TWO STRINGS</dialogue> <scene_description>Screenplay by Marc Haimes Chris Butler Story by Shannon Tindle Marc Haimes January 5, 2016 Director: Travis Knight Studio: Laika (0100 PRO) PROLOGUE</scene_description> <character>BLACK</character> <dialogue>A child's whispered voice HISSES through the darkness...</dialogue> <character>CHILD'S VOICE (V.O.)</character> <dialogue>If you must blink, do it now!</dialogue> <scene_description>A full moon fills the screen like a giant, unblinking eye. \* An eerie wind HOWLS through the night sky, and a wave \* suddenly rises in front of the moon, eclipsing it from view. Another giant wave swells and we CUT WIDER to reveal--</scene_description> <character>EXT. OCEAN - STORMY NIGHT</character> <dialogue>A tiny wooden fishing boat comes into view, tossed about by enormous waves, cresting hundreds of feet high.</dialogue> <dialogue>That's when we hear it, weaving throughout the howls of wind. \* Hopeful, inexplicable MUSIC. A sweet, chromatic MELODY. \*</dialogue> <dialogue>It is being played by the boat's lone passenger. A beautiful \* Japanese woman with long black hair whipping in the wind. She \* kneels as she plays a stringed shamisen instrument. \*</dialogue> <character>CHILD'S VOICE (V.O.) \*</character> <dialogue>Pay careful attention to everything \* you see and hear...No matter how \* unusual it may seem. \*</dialogue> <scene_description>On the woman's back we catch a glimpse of a woven bag embroidered with the image of a beetle. Before we can get a better look, our attention turns to a tsunami-sized wave, rising up silently in front of the boat, threatening to consume everything in its path. The woman raises her hand, strikes the strings on her shamisen, and the sea literally parts in front of her, allowing safe passage clean through the center of the chaos. The boat floats onward, approaching a rocky coastline beneath high windswept cliffs, and at the sight of land the woman gives an almost imperceptible smile.</scene_description> <character>CHILD'S VOICE (V.O.)</character> <dialogue>And please be warned. If you fidget. If you look away.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>CHILD'S VOICE (V.O.)</dialogue> <scene_description>If you forget any part of what I tell you, even for an instant, then \* our hero will surely perish. \* Before the narrator can finish his sentence, another wave, larger than the others, surges menacingly behind the woman...</scene_description> <character>EXT. ROCKY BEACH</character> <dialogue>Propelled by that huge wave, the fishing boat violently rams into the rocky shore, throwing the woman from the boat.</dialogue> <dialogue>Tossed through the turbulent undercurrent, the woman's head smashes hard against a rock.</dialogue> <dialogue>And as the ocean recedes, she's left lying in the sand, her body limp and unmoving and blanketed by her tangled hair. \*</dialogue> <dialogue>And then another sound. The CRYING of an infant.</dialogue> <dialogue>The woman's eyes snap open.</dialogue> <dialogue>Slowly, painfully, she begins crawling across the sand towards the crying. It's coming from inside that woven bag. \*</dialogue> <character>CHILD'S VOICE (O.S.) \*</character> <dialogue>His name is Kubo. His grandfather \* stole something from him. \*</dialogue> <scene_description>As she reaches the bag and draws back the folds of cloth, we \* see the face of a baby underneath. We can see his head is \* wrapped in a bloodied bandage, covering his missing left eye. \* We watch them from a HIGH ANGLE, like we're standing \* somewhere up on those cliffs, as the narrator adds... \*</scene_description> <character>CHILD'S VOICE (O.S.)</character> <dialogue>And that really is the least of it.</dialogue> <scene_description>CUT TO: (0200 BRK) BREAKFAST WITH MOM</scene_description> <character>BLACK</character> <dialogue>GHOSTING IN TITLE: KUBO</dialogue> <character>THEN: ... AND THE TWO STRINGS</character> <dialogue>CREDITS ROLL as we slowly FADE IN, coming face to face with --</dialogue> <character>A MONKEY</character> <dialogue>DRAFT: 01.05.16</dialogue> <scene_description>A serious monkey. Staring right at us. Fixed expression. That's because this monkey is actually a carved wooden charm, also known as a netsuke, standing about four inches high. Next to it a young boy, perhaps ten years old, sleeps on a thin mat on the floor. He is curled up within a robe emblazoned with the crest of a beetle, just like the one we saw on the bag earlier. The boy rolls over, revealing his left eye is covered in a patch. He is the baby from the prologue, grown into a wiry youth, with thick black hair tugged into a messy topknot. He is our hero. KUBO.</scene_description> </scene> <scene> <stage_direction>INT. KUBO'S CAVE - EARLY MORNING (PRE DAWN) \*</stage_direction> <scene_description>Kubo gets up and begins to tidy up the place, picking up \* dozens of strewn pieces of paper that inexplicably litter the \* ground. The paper is creased and wrinkled as if it has been \* repeatedly folded and unfolded. He smooths each sheet out, \* then stacks it and places it back on a shelf. \* By the light of the full moon outside, Kubo walks to a little kitchen area and strikes a flint, starting a fire. He gracefully pours and heats a pot of water, preparing both \* rice and tea for two place settings on the ground. \* He then turns to regard a sleeping woman, lying on a mat in the corner of the cave, barely noticeable in the dark. The folds of her gown move gently as she sleeps. Kubo steps over and kneels down by her side, and we see this is the same woman from our prologue, only now she seems older and paler. Her face is creased and wrinkled like the crumpled paper scattered around her, and her long black hair is streaked with silvery grey. She is Kubo's MOTHER. Kubo watches her for a moment, then gathers himself and extends a hand to gently push her hair out of her face. Her eyes flutter open. She sees Kubo, kneeling there, and he gives her a small smile. An unspoken "good morning." \* Kubo helps her up and to the mat where the rice and tea are waiting, her movements are slow and feeble. \*</scene_description> </scene> <scene> <stage_direction>INT. DINING AREA KUBO'S CAVE - EARLY MORNING</stage_direction> <character>DRAFT: 01.05.16</character> <dialogue>Kubo serves his mother rice, even blowing on it to cool it for her.</dialogue> <dialogue>His Mother eats just a little. A bit of rice falls onto her chin.</dialogue> <dialogue>Kubo uses his chopsticks to gently put the grains of rice back into her mouth. There is clearly something wrong with his mother. \*</dialogue> <character>INT. ENTRANCE KUBO'S CAVE - EARLY MORNING \*</character> <dialogue>Kubo walks his mother over and she kneels on a mat in the \* shadow of the cave entrance, staring down at the angry white crests of the waves.</dialogue> <dialogue>Kubo sits beside her. He works intently, folding those sheets of paper he stacked earlier into an assortment of origami figures.</dialogue> <dialogue>There is a tiger, a deer, and a snake, each as impressive as the next. His nimble hands make swift and expert work of it. It's kind of incredible.</dialogue> <dialogue>Kubo leans forward, grinning from ear to ear as he plays with \* a paper samurai, showing it to his unresponsive mother. \*</dialogue> <dialogue>But then Kubo stops, and gets closer to lean on his mother's \* shoulder as the sun rises. \*</dialogue> <dialogue>A BELL CHIMES in the distance, triggering him instantly into \* action.</dialogue> <dialogue>As the orange light of dawn begins to fill the cave, he \* hurries over to where the shamisen leans against the wall and \* scoops it up with one hand. He grabs the netsuke and all his \* origami figures, hastily packs them into his bag and it over \* his shoulder. \*</dialogue> <dialogue>Before he leaves he notices a strand of hair has fallen in \* front of his mother's face. He gently reaches out and pushes \* it back into place.</dialogue> <dialogue>Kubo looks at his mother's staring empty eyes and rests his \* hand on her shoulder for a moment before running off. \*</dialogue> <scene_description>(0300 JTV) JOURNEY TO THE VILLAGE</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>EXT. MOUNTAIN PATH - DAWN</dialogue> <dialogue>Kubo scrambles down the rocky path with practiced ease, his shamisen occasionally smacking against his hip with a dull harmonic BUMP, like when you jostle a guitar.</dialogue> <dialogue>In the distance a cluster of buildings peek out from behind a brightly ornate gateway. Kubo plays with his origami samurai \* as he walks. \*</dialogue> <dialogue>Kubo continues along the path over a bridge into the village, \* to a hubbub of activity beyond -- \*</dialogue> <scene_description>(0400 STT) STORY TIME</scene_description> <character>EXT. CENTRAL AVENUE - DAY</character> <dialogue>It's later in the morning and the main thoroughfare has become a vibrant pageant of peasantry and peddlers celebrating the second day of the Obon Festival.</dialogue> <dialogue>- A puppeteer operates an elaborate dragon marionette over the heads of SQUEALING CHILDREN.</dialogue> <dialogue>- FISHERMEN proudly waggle their pungent produce. Crustaceans crawl over each other in open crates.</dialogue> <dialogue>- A PATIENT DAD AND HIS YOUNG DAUGHTER browse the lanterns being crafted by skilled artisans.</dialogue> <dialogue>-HIGH CLASS LADIES barter and haggle for the most fashionable festival garments.</dialogue> <dialogue>- MERCHANTS pitch their wares to VILLAGERS from dusty carts.</dialogue> <dialogue>- MEN gamble on elaborate tile games. Two old curmudgeons sit in stony-faced contemplation over a chess-like game of Shoji.</dialogue> <dialogue>And lining the street is the feudal Japanese equivalent of the Venice Beach boardwalk. A row of BEGGARS and STREET PERFORMERS, competing for coins, handouts, and attention:</dialogue> <dialogue>- A hunched beggar woman, KAMEYO sits in the street, with a \* bowl in front of her.</dialogue> <dialogue>She smiles warmly when she sees Kubo walking toward her. She miraculously straightens up and seems much less woeful.</dialogue> <character>KAMEYO</character> <dialogue>Well hello, Kubo!</dialogue> <scene_description>He slides his shamisen off his shoulder and sits down next to her. Kubo peeks over the lip of the bowl.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>How is it today?</scene_description> <character>KAMEYO</character> <dialogue>Not a bad crowd. I got two pennies and a lint ball.</dialogue> <scene_description>She fishes around in the bowl and pulls out a clump of fluff.</scene_description> <character>KAMEYO</character> <dialogue>This is pretty good lint.</dialogue> <scene_description>Kubo CHUCKLES and the old woman turns to him.</scene_description> <character>KAMEYO</character> <dialogue>And what do you have planned today?</dialogue> <character>KUBO</character> <dialogue>Oh, you know. The usual.</dialogue> <character>KAMEYO</character> <parenthetical>(grins)</parenthetical> <dialogue>Monsters?</dialogue> <character>KUBO</character> <dialogue>Of course.</dialogue> <character>KAMEYO</character> <dialogue>You think you can work in a fire breathing chicken?</dialogue> <scene_description>Kubo fixes her with a look.</scene_description> <character>KUBO</character> <dialogue>The chicken again?</dialogue> <character>KAMEYO</character> <parenthetical>(defensive)</parenthetical> <dialogue>The chicken is funny.</dialogue> <scene_description>Kubo rolls his eye, but he's clearly enjoying this.</scene_description> <character>KAMEYO</character> <dialogue>A touch of comedy to balance the whole thing out. They're going to be throwing money at you, I just know it.</dialogue> <parenthetical>(thinks this over)</parenthetical> <dialogue>Or they'll throw something at you, I don't know.</dialogue> <character>KUBO</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>Okay, I'll see what I can do.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Kubo stands to leave, but the old woman has one more thing.</dialogue> <character>KAMEYO</character> <dialogue>And do you plan on finishing the story this time, young man?</dialogue> <scene_description>Kubo just smiles and walks into the center of the square. In one graceful motion, Kubo drops his bag of origami \* creatures on the ground and spins his shamisen around. He grabs the bachi pick from his belt and raises it into the air, ready to strike.</scene_description> <character>KUBO</character> <dialogue>IF YOU MUST BLINK, DO IT NOW!</dialogue> <scene_description>He then brings it down across the strings, striking a beautifully resonant chord. With this, the entire dynamic of the marketplace changes. - Mid-haggle, merchants and their customers GASP. - The Shoji players look up from their game. One takes advantage of the distraction and cheats a winning move while the other is facing the other way. - Children watching the puppeteer look over and the puppeteer turns the head of his dragon, to see what is going on before the children cheer and run towards Kubo. SHOUTING ceases, CHATTER trails off. Even the TRILLING of \* songbirds in their cages and a distant dog's BARKING stop. Everything is silent. All heads are turned. Kameyo moves through the gathering onlookers, pushing a man aside. Kubo stands confidently in the center, his shamisen gleaming in the sun. Excited WHISPERS ripple through the crowd.</scene_description> <character>KUBO</character> <dialogue>PAY CAREFUL ATTENTION TO EVERYTHING</dialogue> <character>YOU SEE AND HEAR. NO MATTER HOW</character> <dialogue>UNUSUAL IT MAY SEEM!</dialogue> <scene_description>As he paces, Kubo sizes up the circle forming around him.</scene_description> <character>KUBO</character> <dialogue>AND PLEASE BE WARNED. IF YOU</dialogue> <character>FIDGET. IF YOU LOOK AWAY. IF YOU</character> <dialogue>FORGET ANY PART OF WHAT I TELL YOU,</dialogue> <character>EVEN FOR AN INSTANT...</character> <dialogue>DRAFT: 01.05.16</dialogue> <scene_description>And by this point, there's really no more need for Kubo to shout. The entire crowd has fallen still and silent. He points to a woman and WHISPERS dramatically.</scene_description> <character>KUBO</character> <dialogue>Then our hero will surely perish!</dialogue> <scene_description>He suddenly shifts into a dramatic pose, plucking his shamisen like a rock star. He strums a simple theme, and a red blur shoots from his pack, somersaulting the full length of the circle before landing at Kubo's feet. The crowd CHEERS at the appearance of this origami hero. Kubo puts up a hand to silence them again, and continues:</scene_description> <character>KUBO</character> <dialogue>Hanzo was a mighty samurai. But he was alone; his family taken from him, his kingdom in ruins, and his \* army destroyed by the dreaded Moon King! You may recall, Hanzo was roaming the distant Farlands in search of a magical suit of armor; the only weapon in the whole world that could protect him from the power of the Moon King. This armor was made up of three pieces. The first...</dialogue> <scene_description>Kubo pauses waiting for the audience to participate and spins suddenly, pointing to a group of children. HASHI is standing behind them, pushes his way through to answer.</scene_description> <character>HASHI</character> <dialogue>Oh, oh, oh!!! I know! I know! The Sword Unbreakable!</dialogue> <scene_description>Kubo smiles and continues to play. A sheet of paper shoots from his bag and forms into a samurai sword that hovers in the air before the crowd. Kubo sprints over to an adorable little girl, skidding to a halt in front of her.</scene_description> <character>KUBO</character> <dialogue>The second...?</dialogue> <character>MARI</character> <dialogue>The Breastplate Imp...</dialogue> <parenthetical>(struggling)</parenthetical> <dialogue>Impen...</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Her father, HOSATO leans down and WHISPERS something into her ear.</dialogue> <character>MARI</character> <dialogue>Impen-a-truh-bubble! Yeah!</dialogue> <scene_description>The crowd LAUGHS and APPLAUDS the little girl whose cheeks bloom red with pride. Kubo plucks the second string and we see an ornate breastplate form and hover next to the sword.</scene_description> <character>KUBO</character> <dialogue>And finally, the third weapon, the final piece of the armor...</dialogue> <character>KAMEYO</character> <dialogue>I know this one! Pick me!</dialogue> <scene_description>Kubo nods at her.</scene_description> <character>KAMEYO</character> <dialogue>The Helmet Invulnerable!</dialogue> <scene_description>The expectant crowd turn to Kubo for affirmation. He plucks the third string and a beautiful helmet forms. The crowd CHEERS. He begins circling the audience, building the tension.</scene_description> <character>KUBO</character> <dialogue>Before Hanzo could claim the armor and unite the pieces to reveal their true power, he was attacked by the Moon King's beasts! \*</dialogue> <scene_description>Kubo plucks a dissonant chord and spins suddenly. A sheet of paper shoots up, folding in mid air, transforming into a monstrous spider. \* The spider creature springs forward and Hanzo charges to meet it, slashing at its legs with his little paper sword. The crowd cheers.</scene_description> <character>KAMEYO</character> <dialogue>Whoa! Ha Ha Ha!</dialogue> <scene_description>Kubo launches into a dizzying display, playing his shamisen like a demon. He's good! MONTAGE In a series of quick cuts we catch various glimpses of Kubo's story... one fantastical battle after another, an incredibly violent display of origami theatrics, with paper body parts raining like confetti around the square. - A FEROCIOUS SHARK swallows Hanzo whole, until he slices it open from inside, shredding it into ribbons. - An over-excited samurai grasps the shoulders of two women.</scene_description> <character>HASHI</character> <dialogue>Oh yes!</dialogue> <scene_description>- A FIRE-BREATHING CHICKEN forms and belches paper flames at Hanzo. - The Beggar Woman CLAPS and CACKLES uncontrollably.</scene_description> <character>KAMEYO</character> <dialogue>HA HA! Kill the chicken! Rip it to pieces!</dialogue> <scene_description>- Hanzo runs and turns into a flat piece of paper again shooting under the chicken's legs to escape. The paper folds back into Hanzo to the cheers of the crowd. - Hanzo gets hit by a flying paper egg shot at him by the chicken. Hanzo turns, runs, and back-flips over the chicken, lopping off its head with one swipe of his sword. - The patient dad covers the eyes of his young daughter, who moves his hands, not wishing to miss a beat. \*</scene_description> <character>HOSATO</character> <dialogue>Oh my!</dialogue> <scene_description>- The day grows later. Hashi cheers wildly and another man gags as Kubo continues to entertain the crowd with his performance with Hanzo.</scene_description> <character>KUBO</character> <dialogue>Hanzo was filled with rage, his soul tormented by the grief of a family stolen from him...</dialogue> <scene_description>Kubo begins playing a more ominous tune and paper creeps out of his pack, folding as it rises into the air, forming the dark silhouette of the Moon King. There's a gravitas to Kubo as he continues.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>At last, our hero was face to face with his nemesis, The Moon King! The two paper figures fly up in the air at each other poised \* for battle, then as they reach fighting distance...</scene_description> <character>BONG! BONG!</character> <dialogue>Kubo turns and sees the ringing bell. He lowers his hand and the origami figures instantly unfold and glide back into his pack.</dialogue> <character>KUBO</character> <parenthetical>(smiling brightly)</parenthetical> <dialogue>So be sure to come back tomorrow!</dialogue> <scene_description>He hurriedly gathers up his belongings and collected coins as the crowd behind him realize that's all they're going to get today. They give a MURMUR of disappointment.</scene_description> <character>HASHI</character> <dialogue>What? Oh come on! People like an ending, please! Where are you going? No....You can't leave!</dialogue> <scene_description>(0600 FDM) FADED MEMORY</scene_description> <character>INT. ENTRANCE KUBO'S CAVE - EVENING</character> <dialogue>Just as the bell finishes chiming, Kubo arrives breathlessly at the entrance to the cave, to find his mother still sitting there like she hasn't moved at all.</dialogue> <dialogue>He smiles gently and sits next to her. They both stare out at the setting sun, sinking down behind the ocean. The last rays creep down their faces until shadow covers them completely. Then, Mother slowly blinks awake.</dialogue> <character>MOTHER</character> <parenthetical>(whispers)</parenthetical> <dialogue>Kubo.</dialogue> <scene_description>Kubo's Mother looks around the cave.</scene_description> <character>MOTHER</character> <dialogue>Kubo.</dialogue> <character>KUBO</character> <dialogue>Yes, Mother, I'm here.</dialogue> <scene_description>Kubo smiles softly and takes her by the hand. She smiles at him.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>Hungry? She smiles and nods.</scene_description> </scene> <scene> <stage_direction>INT. DINING AREA KUBO'S CAVE - EVENING</stage_direction> <scene_description>CLOSE ON A BOWL.</scene_description> <character>MOTHER (V.O.)</character> <dialogue>And even though he could barely see his own hand in front of his face, Hanzo and his army of loyal samurai pressed on through the blizzard.</dialogue> <scene_description>They've finished dinner and Kubo, the monkey, and little paper samurai sit next to each other watching his mother. She moves freely now, reminding us of Kubo during his story time. We can see where Kubo inherited his talents as she pretends to step through the deep snow, her arm in front of her face protecting her from imaginary winds. Kubo stares intently like a child watching his favorite show.</scene_description> <character>MOTHER</character> <dialogue>And suddenly, as quickly as it had started, the storm cleared before him. Hanzo breathed a sigh of relief, for he was home!</dialogue> <character>KUBO</character> <dialogue>His fortress?! The Beetle Clan Castle?!!</dialogue> <character>MOTHER</character> <dialogue>Yes! At the very edge of the Farlands, hidden from the Moon King by powerful magic...</dialogue> <character>KUBO</character> <dialogue>And then what happened? When he got to the castle?</dialogue> <character>MOTHER</character> <dialogue>When who got to the castle?</dialogue> <character>KUBO</character> <dialogue>Hanzo, my father.</dialogue> <scene_description>She is genuinely confused.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MOTHER</dialogue> <scene_description>Hanzo... Hanzo was at the castle? He... Just give me a second...I'm...no, no...its gone. I can't...I'm sorry, Kubo. Perhaps I could recall a different story? This obviously happens a lot... her memory is deteriorating. Kubo tries to play it down.</scene_description> <character>KUBO</character> <dialogue>Mother, what was father like?</dialogue> <character>MOTHER</character> <parenthetical>(smiles)</parenthetical> <dialogue>Oh, this one is easy. Hanzo was a mighty warrior, skilled with sword and bow...</dialogue> <character>KUBO</character> <dialogue>No. What was he really like? When he wasn't fighting... when he was with us.</dialogue> <scene_description>She pauses, caught off guard, then smiles softly. For the first time, she seems really lucid.</scene_description> <character>MOTHER</character> <dialogue>He was just like you.</dialogue> <scene_description>Kubo smiles.</scene_description> <character>KUBO</character> <dialogue>Like me?</dialogue> <character>MOTHER</character> <dialogue>Strong and clever and funny. And oh so handsome!</dialogue> <scene_description>She leans over and playfully grabs his cheek. Embarrassed, Kubo squirms and GIGGLES and pushes her away.</scene_description> <character>KUBO</character> <dialogue>Ugh, Moth-er!</dialogue> <character>MOTHER</character> <dialogue>Aw, Come on!</dialogue> <scene_description>She gets more serious.</scene_description> <character>MOTHER</character> <dialogue>Never forget how much he loved you, \* Kubo. He died protecting us.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Kubo hesitates, wondering if he should ask the next question.</dialogue> <character>KUBO</character> <dialogue>Did the Moon King--</dialogue> <character>MOTHER</character> <dialogue>Your Grandfather.</dialogue> <character>KUBO</character> <dialogue>Did Grandfather and your sisters really kill my father? It can't be true, can it? They're family!</dialogue> <scene_description>His mother is now deadly serious and grabs Kubo's shoulders.</scene_description> <character>MOTHER \*</character> <dialogue>No, they are monsters! Grandfather and my sisters stole your eye, Kubo! They must never find you again! NEVER! You must always stay hidden from the night sky, or they will find you and they'll take you away from me! Promise me you will never let this happen. Promise me Kubo!</dialogue> <scene_description>Kubo looks into Mother's eyes and nods timidly. She realizes she has gone too far and calms a little, backing away. She has a thought and reaches down to the ground, grabbing the little monkey statue. She holds it up to Kubo and speaks in a funny voice.</scene_description> <character>MOTHER</character> <dialogue>Don't be sad Kubo. Kubooo...</dialogue> <scene_description>Kubo looks up with the hint of a grin. Sariatu continues with the voice.</scene_description> <character>MOTHER</character> <dialogue>Remember what you must do, Kubo? Re- \* mem-ber?</dialogue> <character>KUBO</character> <dialogue>Keep you with me at all times, Mr. Monkey.</dialogue> <character>MOTHER</character> <dialogue>Aaand...?</dialogue> <character>KUBO</character> <dialogue>And keep father's robe on my back at all times.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MOTHER</dialogue> <scene_description>Yes Kubo. And there's one more thing. Never, EVER, stay out after dark. She leans across and tickles Kubo with the netsuke.</scene_description> <character>MOTHER</character> <parenthetical>(in monkey voice)</parenthetical> <dialogue>Re-mem-ber?</dialogue> <character>KUBO</character> <dialogue>Yes, Mr. Monkey</dialogue> <character>MOTHER</character> <dialogue>Good boy.</dialogue> <scene_description>They LAUGH together, until his mother's brow suddenly creases and she stops and yawns. It's clear whatever lucidity was there before has gone. Kubo sees this every night, but it never gets easier.</scene_description> <character>KUBO</character> <dialogue>Bedtime.</dialogue> <scene_description>Kubo walks her over to her mat and lays her down. She looks up at him, innocent as a child. He sits for a moment longer, watching as his mother drifts off to sleep, and then he blows out the candle.</scene_description> <character>FADE TO BLACK.</character> <dialogue>A beat, and then:</dialogue> <scene_description>(0700 MON) MOTHER'S NIGHTMARE</scene_description> <character>INT. KUBO'S CAVE - NIGHT</character> <dialogue>A SKITTERING sound. Kubo's origami paper starts flying off the cave shelf over Kubo, lying fast asleep.</dialogue> <dialogue>Kubo blinks his bleary eye. Sits up.</dialogue> <dialogue>CUT WIDE to reveal the roof of the cave is swimming with origami. A constellation of paper bodies, magically twisting and animating all around him in the air.</dialogue> <dialogue>He looks over to see his mother on her mat, tossing and MUMBLING in her sleep, clearly in the midst of an intense dream.</dialogue> <dialogue>Suddenly awake, he runs to his mother.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>Mother, wake up! You're dreaming.</scene_description> <character>MOTHER</character> <dialogue>No...</dialogue> <scene_description>As she wakes almost instantly the paper throughout the cave rains down, unfolded and crumpled, onto the floor.</scene_description> <character>MOTHER</character> <dialogue>Kubo! Kubo, is that you?</dialogue> <character>KUBO</character> <dialogue>Yes, Mother. I'm here.</dialogue> <scene_description>This seems to comfort her. A confused look comes across her face.</scene_description> <character>MOTHER</character> <dialogue>Kubo, what happened to your eye?</dialogue> <scene_description>Kubo just looks at her sadly and she goes back to sleep. Kubo is left staring at the mess of strewn paper, just as before, and now we understand exactly how it all got there. (0800 OBF) OBON FESTIVAL</scene_description> <character>EXT. CENTRAL AVENUE - DAY</character> <dialogue>We see the market square is once again bustling with \* activity. Everyone wears their finest clothes and the \* buildings all around have been decorated with colorful Japanese lamps. The Festival is underway.</dialogue> <dialogue>Many of the village women are participating in an elaborate line dance made up of sweeping movements and subtle gestures. They weave and skip past camera, revealing a busy festival scene.</dialogue> <dialogue>Kubo stands watching all of this. He rubs his eye and YAWNS.</dialogue> <character>KAMEYO (O.S.)</character> <dialogue>Paper boy! Here! Here! \*</dialogue> <scene_description>Kubo turns to see that same old woman. She gives a gummy grin and looks suspiciously like she may have washed her face.</scene_description> <character>KAMEYO</character> <dialogue>C'mon, c'mon. Come sit next to me. \* I got us a good spot here.</dialogue> <scene_description>Kubo ambles sleepily in her direction and sits next to her. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KAMEYO</dialogue> <scene_description>What do you think? I got myself all spruced up for the big day. \* Kubo awkwardly grins at her. \*</scene_description> <character>KAMEYO</character> <dialogue>Ahhh... I do so love the festival. \* A time to celebrate. Y'know, it's a \* shame you never stay past sundown. There's fireworks and singing and \* dancing and feasting of course... \*</dialogue> <scene_description>She playfully tickles Kubo.</scene_description> <character>KAMEYO</character> <dialogue>But the best part of all... \*</dialogue> <scene_description>The beggar woman grabs Kubo about the shoulder, drawing him in close as she gestures around the square.</scene_description> <character>KAMEYO</character> <dialogue>Do you see those lamps and altars? We use those to speak to the loved ones that left us behind.</dialogue> <scene_description>Kubo hears this and his eye widens a little.</scene_description> <character>KAMEYO</character> <dialogue>We listen to their tales and guide their safe return to the blissful pure land. \*</dialogue> <character>KUBO</character> <dialogue>Really? Did you speak to someone? \*</dialogue> <character>KAMEYO</character> <dialogue>Yes I did. My husband! His voice \* was as clear and loud as the one you use for your stories.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>In seventy two years he never had a thing to say. Now he's gone, I \* can't shut him up.</dialogue> <scene_description>She LAUGHS fruitily and Kubo's eye widens more as her words sink in. In the background, the dance concludes to the CHEERS of the spectators.</scene_description> <character>KAMEYO</character> <dialogue>You have someone you'd like to talk to, huh?</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>Very much!</scene_description> <character>KAMEYO</character> <dialogue>Well, what's stopping you? \*</dialogue> <scene_description>Kubo looks around at all the elaborately ornamented altars.</scene_description> <character>KUBO</character> <dialogue>Don't I need a lamp?</dialogue> <character>KAMEYO</character> <dialogue>Well... \*</dialogue> <scene_description>She CACKLES conspiratorially into his ear.</scene_description> <character>KAMEYO</character> <dialogue>I bet you could make a really nice \* one with that paper folding... thing... you do.</dialogue> <scene_description>Kubo realizes what she's getting at. His eye darts this way and that as his mind fills with the possibilities.</scene_description> <character>KAMEYO</character> <dialogue>Y'see? Not just a pretty face, huh?</dialogue> <scene_description>She grins broadly and gives him a friendly nudge.</scene_description> <character>KAMEYO</character> <dialogue>Now hurry along! Go! There's still time before dark! Go! Get out of \* here. \*</dialogue> <scene_description>Smiling excitedly, Kubo runs away through the crowd, pausing only to wave at the old woman. \* (0900 MEA) MEETING ANCESTORS</scene_description> <character>EXT. CEMETERY - DAY</character> <dialogue>Carrying his bag and lamp, Kubo emerges from a wooded road \* that opens onto a serene cemetery beside a river. Replete with beautiful plants and flowers, there's nothing macabre about this peaceful place.</dialogue> <dialogue>Dozens of families are gathered among the grave markers, setting up lamps and altars. Nearby, a HOSATO is teaching \* MARI. \*</dialogue> <character>HASHI (O.S.)</character> <dialogue>It's so great to hear your voice.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>VILLAGER 2 (O.S.)</dialogue> <scene_description>We'll never forget you.</scene_description> <character>VILLAGER 3 (O.S.)</character> <dialogue>It's time to go.</dialogue> <character>VILLAGER 4</character> <dialogue>We missed you so much.</dialogue> <character>HOSATO</character> <dialogue>Place the lamp at the Alter. Ha, very good.</dialogue> <character>MARI</character> <dialogue>What do we do next, Daddy?</dialogue> <character>HOSATO</character> <dialogue>Next we pray. We ask her spirit to honor us with its light</dialogue> <character>MARI</character> <parenthetical>(loudly)</parenthetical> <character>GRANDMA, WILL YOU PLEASE HONOR...</character> <dialogue>HOSATO</dialogue> <parenthetical>(smiling)</parenthetical> <dialogue>Shhh. Softly, softly!</dialogue> <scene_description>Kubo finds some space and fashions a rough altar from stones. \* He dumps the origami out of his bag, then creates a simple \* yet beautiful lamp from an ivory sheet of paper as he watches \* the patient dad discuss the ritual with his daughter. Then, copying the family, he gets on his knees and begins to \* pray. He speaks quietly, awkwardly, under his breath.</scene_description> <character>KUBO</character> <dialogue>Hello, father.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I hope you're well. Uh. I mean, I know you're dead, but I hope everything is... okay...</dialogue> <scene_description>Kubo thinks about that opening for a moment. He hates everything that just came out of his mouth. He starts over, raising his arms and gesturing to his baggy robe.</scene_description> <character>KUBO</character> <dialogue>Look. It's your robe! Mother says I'll grow into it.</dialogue> <parenthetical>(after a moment)</parenthetical> <dialogue>She says you were a great leader \* who died protecting me.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>Saving one of my eyes. Two would've been ideal, but... thanks anyway. He smiles to indicate he is joking again, and then feels immediately wretched. He decides to get right to the point.</scene_description> <character>KUBO</character> <dialogue>Father, I'm worried about mother. With every day that goes by, she drifts further away. She talks a \* lot about you, but... but I just don't know. I don't think she remembers what's real anymore. I don't know what's real anymore...</dialogue> <character>KUBO</character> <dialogue>I just wish you were here. So I could... could talk to you... see you... find out what I should do.</dialogue> <scene_description>Kubo's prayer is interrupted by a gleeful SHOUT.</scene_description> <character>MARI</character> <dialogue>Daddy! Daddy! She's here! Grandma \* is here! \*</dialogue> <scene_description>Kubo looks over at the family to see the wick of their lamp suddenly burst into flame. \*</scene_description> <character>HOSATO</character> <dialogue>Now it's time for the final part. We have to help her get back to the spirit world.</dialogue> <character>MARI</character> <dialogue>Oh! But she just got here. \*</dialogue> <character>HOSATO</character> <dialogue>Come on.</dialogue> <scene_description>Kubo stares back at his lamp for a moment. Then he looks back up into the air.</scene_description> <character>KUBO</character> <dialogue>Father? Hellooo?</dialogue> <scene_description>He purses his lips. Folds his arms impatiently.</scene_description> <character>KUBO</character> <dialogue>Any time. \*</dialogue> <scene_description>The family then brings their lit lantern down to the river, \* placing it in the water and watching it float out to sea. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Time passes...</dialogue> <dialogue>Still Kubo's lamp remains steadfastly unlit. The cemetery is practically deserted by now. Behind Kubo in the river, dozens of lit lamps are slowly floating out to sea as the village bell begins RINGING out the fall of night.</dialogue> <dialogue>Kubo just stands there defiantly. He glares at his altar, patience spent. He grabs his unlit lamp and crumples it up, tossing it angrily to the ground.</dialogue> <character>KUBO</character> <dialogue>Fine! I don't need you anyway!</dialogue> <scene_description>The sun sets behind the mountains. \*</scene_description> <character>INT. DINING AREA KUBO'S CAVE - EVENING \*</character> <dialogue>Kubo's Mother's eyes snap open. \*</dialogue> <character>MOTHER \*</character> <dialogue>Kubo! \*</dialogue> <character>EXT. CEMETERY - DUSK \*</character> <dialogue>The bell stops RINGING, and Kubo has a change of heart. His \* contorted face softens and he reaches down to scoop up the broken lamp. Feeling vile and foolish he does his best to unfold and smooth out the paper.</dialogue> <character>KUBO</character> <parenthetical>(softly)</parenthetical> <dialogue>I... I'm sorry.</dialogue> <scene_description>(1100 MTS) MEET THE SISTERS!</scene_description> <character>EXT. CEMETERY - WOODS OUTSIDE KUBO'S VILLAGE \*</character> <dialogue>Instantly, all along the river, each and every lamp is silently extinguished.</dialogue> <dialogue>Wisps of smoke curl from the charred wicks, joined by a seeping fog that rolls across the surface of the river from the far bank. This cheerful place has become dark and eerie.</dialogue> <character>WHISPERED VOICE (O.S.)</character> <dialogue>Kuuuuboooooo!</dialogue> <scene_description>The voice is eerily melodic. It tingles in the air, seemingly from several directions at once.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>WHISPERED VOICE (O.S.)</dialogue> <scene_description>Kubo! Kubo looks around, heart racing. He follows the direction of the voice and sees, across the river, a lone woman clad in flowing robes, billowing in the breeze. She has long black hair and wears a wide-brimmed peasant's hat pulled low so we cannot see her face. In her bone white hand she holds a long wooden pipe. This is a SISTER.</scene_description> <character>THE SISTERS</character> <dialogue>Little boy. What happened to your eye?</dialogue> <scene_description>Kubo takes a step backwards, sensing something is very, very wrong here. The strange woman with the hidden face LAUGHS. A horrible, high-pitched sound, joined by another nightmarish GIGGLE as a second woman emerges from the shadows, her face also obscured by a wide-brimmed hat. This one is the other SISTER. \*</scene_description> <character>KUBO</character> <dialogue>Who are you? How do you know my name?</dialogue> <character>THE SISTERS</character> <dialogue>We're your family, Kubo. Your mother's sisters. And we've been looking for you for so long.</dialogue> <scene_description>Kubo's eye widens and he takes another step back.</scene_description> <character>THE SISTERS</character> <dialogue>It is so lovely to meet you, Kubo. Face to face.</dialogue> <scene_description>As they say these words, they raise their heads in unison and look up at Kubo to reveal their faces are covered by the blank features and fixed smiles of terrifying "NOH" masks.</scene_description> <character>THE SISTERS</character> <dialogue>Come, Kubo. Come to your aunties.</dialogue> <scene_description>Kubo stands frozen and horrified as they begin gliding like the mist across the river towards him.</scene_description> <character>THE SISTERS</character> <dialogue>No reason to be afraid, Kubo. We just need your other eye. Your grandfather admires it so.</dialogue> <scene_description>Kubo runs.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>The sisters GIGGLE as they watch him bolt along the path toward the village, then one of the Sisters leisurely brings her long pipe up to the mouth hole of her mask and takes a deep puff.</dialogue> <dialogue>The smoke she exhales twists and coalesces into horrible shapes that grow and move of their own accord. They are the DEMONS OF THE PIPE, and they're after Kubo.</dialogue> <dialogue>Kubo tears up the path leading back to the village, SHOUTING at the top of his lungs.</dialogue> <character>KUBO</character> <dialogue>HELP! HELP! SOMEBODY HELP! HELP!</dialogue> <scene_description>(1200 SMD) SMOKE DEMONS</scene_description> <character>EXT. CENTRAL AVENUE - CONTINUOUS</character> <dialogue>Kubo staggers through the gate, leaning against it as he finds his breath. He goes to YELL, but his warnings are swallowed up by SHRIEKING EXPLOSIONS of fireworks as the festival ends in noisy celebration.</dialogue> <character>KUBO</character> <dialogue>RUN!</dialogue> <scene_description>And then it is too late. As Kubo races through the market, the demonic smoke breaks off from its pursuit of him, rolling like a bank of fog into the throng of celebrating villagers. In a storm of smoke, fire, and terrified SCREAMS, the demons \* tear through the square, destroying everything in their path. (1300 MSD) MOTHER SAVES THE DAY \*</scene_description> <character>EXT. MOUNTAIN PATH - CONTINUOUS</character> <dialogue>Kubo runs for his life up the long path towards his cave. Breath coming in fevered GASPS, he risks a look over his shoulder.</dialogue> <dialogue>His village is ablaze, consumed in that terrible smoke, tendrils of which are slithering up the hill in his direction.</dialogue> <dialogue>Kubo stumbles and falls, and before he can scramble back onto \* his feet he is surrounded by the demons.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Through their writhing, ethereal bodies he catches sight of his masked aunts, inexorably gliding up the path toward him.</dialogue> <character>THE SISTERS</character> <dialogue>We're here, Kubo. Your family has come for you.</dialogue> <scene_description>Kubo recoils in horror, but has nowhere left to run. And then a hand appears out of nowhere, pulls Kubo's shamisen out of his bag and strikes the strings! The notes reverberate, rippling out through the demons like a shock wave. Kubo turns to see his mother standing over him.</scene_description> <character>MOTHER</character> <dialogue>KUBO!</dialogue> <character>KUBO</character> <dialogue>MOTHER!</dialogue> <character>MOTHER</character> <dialogue>KUBO, YOU MUST FIND THE ARMOR! IT'S</dialogue> <character>YOUR ONLY CHANCE! REMEMBER THIS!</character> <dialogue>She gives him the shamisen and smacks the beetle crest on the back of his robe, causing two flapping beetle wings to emerge magically from the robe's folds!</dialogue> <dialogue>The wings pump furiously, lifting Kubo up into the air!</dialogue> <dialogue>Kubo clutches at his mother, accidentally tearing out a few strands of her hair as he rises up into the sky.</dialogue> <dialogue>The flapping wings take him higher and higher, away from the \* village and towards the ocean. All Kubo can do is watch as below, the two masked aunts advance on his mother, one pulling a bladed chain from her robes, the other drawing a menacing sword.</dialogue> <dialogue>Mother narrows her eyes and squares off against them, and there's a strength and power to her that we've never seen before. She pulls her own sword from her robes and raises it \* defiantly.</dialogue> <dialogue>And then, as if to conceal the horrors from him, Kubo's robe envelopes him, cocooning his body and face. The last thing it covers is his one eye, taking us to --</dialogue> <scene_description>(1400 MKY) MEET MONKEY</scene_description> </scene> <scene> <stage_direction>EXT. SNOW-COVERED TERRAIN - BLIZZARD</stage_direction> <scene_description>SILENCE, eventually broken by the sound of a rising wind, \* creeping from a WHISPER to a WAIL as we slowly FADE TO: A MONKEY. A serious monkey. Staring right at us. Fixed expression. This \* isn't another netsuke charm, but an actual living, breathing \* 4-foot tall monkey, and it SHOUTS at him over the wind in a female voice...</scene_description> <character>MONKEY</character> <dialogue>KUBO! KUBO! CAN YOU HEAR ME, KUBO?</dialogue> <scene_description>Kubo stares at the monkey, blinking. He immediately shuffles backward through snow.</scene_description> <character>MONKEY</character> <dialogue>I SAID, YOUR MOTHER IS GONE! YOUR</dialogue> <character>VILLAGE IS DESTROYED! BURNED TO THE</character> <dialogue>GROUND! \*</dialogue> <scene_description>Monkey advances slowly.</scene_description> <character>MONKEY</character> <dialogue>WE LANDED HERE IN THE FARLANDS.</dialogue> <character>YOUR ENEMIES AREN'T FAR BEHIND! WE \*</character> <dialogue>MUST SEARCH FOR SHELTER BEFORE YOUR \*</dialogue> <character>GRANDFATHER COMES. \*</character> <dialogue>He backs right into his shamisen. He looks around, dazed and \* disoriented. \*</dialogue> <dialogue>As Monkey delivers this rather glum state of the union, Kubo happens to look down and realizes he is actually sitting on a</dialogue> <dialogue>giant sheet of snow-covered ice. \*</dialogue> <character>MONKEY</character> <dialogue>We need to go, now. \*</dialogue> <scene_description>She turns, offering Kubo her back. \*</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>COME ON. GET UP. LET'S GO. \*</dialogue> <scene_description>Kubo stands for a second, still in shock, then gathers up his shamisen and climbs onto Monkey's back. And as Monkey races through the snow with Kubo on her back, \* we PULL WIDER and WIDER and it becomes clear that shelter might not be so easy to find, because all we can see is ice and snow for hundreds of miles in every direction. (1500 SFS) SHELTER FROM THE STORM</scene_description> <character>EXT. GLACIER'S EDGE - DUSK</character> <dialogue>Monkey and Kubo stand in the snow, staring at something.</dialogue> <character>MONKEY</character> <dialogue>Once we're inside, you might be tempted to complain about the odor.</dialogue> <scene_description>CUT TO a giant whale carcass, lying ahead of them on the ice.</scene_description> <character>MONKEY</character> <dialogue>Keep in mind, my sense of smell is ten times stronger than yours.</dialogue> <scene_description>With that, as the sun begins to set behind distant mountains of ice, Monkey motions for Kubo to follow her inside.</scene_description> <character>INT. WHALE CARCASS - NIGHT</character> <dialogue>Night has long since fallen, and they've made camp inside the whale's belly, lit by a shaft of moonlight and a small fire.</dialogue> <dialogue>Kubo looks less than thrilled as he huddles amidst frozen innards. \*</dialogue> <dialogue>With a knitted brow, Kubo sits and watches Monkey as she \* tends to a large conch shell balanced over a small cooking fire. She uses a splinter of bone to stir at a cloudy liquid simmering inside.</dialogue> <character>MONKEY</character> <dialogue>You have questions. I can tell.</dialogue> <scene_description>Kubo nods his head. He opens his mouth to speak and Monkey puts her hand up, interrupting him.</scene_description> <character>KUBO</character> <dialogue>Who-</dialogue> <scene_description>She holds up three fingers.</scene_description> <character>MONKEY</character> <dialogue>You get three.</dialogue> <character>KUBO</character> <dialogue>I think I have more.</dialogue> <character>MONKEY</character> <dialogue>Three. But first you're gonna eat. \*</dialogue> <scene_description>DRAFT: 01.05.16:</scene_description> <character>KUBO</character> <dialogue>Why only three?</dialogue> <scene_description>She holds up one finger.</scene_description> <character>MONKEY</character> <dialogue>Okay, that was your first question. \*</dialogue> <character>KUBO</character> <dialogue>What?! I don't understand what's \* happening. Who are you?!</dialogue> <character>MONKEY</character> <dialogue>You don't recognize me. \*</dialogue> <scene_description>Kubo stares. She stops stirring and turns to assume a pose, \* exactly like his netsuke.</scene_description> <character>MONKEY</character> <dialogue>All these years you had to keep me in your pack. Now you know why.</dialogue> <character>KUBO</character> <dialogue>But you were a wooden charm!</dialogue> <parenthetical>(gesturing)</parenthetical> <dialogue>You were this big!</dialogue> <scene_description>He scowls suspiciously.</scene_description> <character>KUBO</character> <dialogue>I called that charm Mr. Monkey.</dialogue> <character>MONKEY</character> <dialogue>If I were alive at that point, I might have found that insulting. Look, your mother used the last of \* her magic to save you and bring me to life.</dialogue> <scene_description>For a moment, Kubo doesn't have anything to say. He simply stares down at the ground with his one eye, glassy in the moonlight. Whatever thoughts are running through his head, he keeps them in. Whatever emotions might be at work, he buries. Monkey watches him thoughtfully and then returns to the fire and pours some of the mystery stew into a scavenged clam shell. She holds it in front of Kubo.</scene_description> <character>MONKEY</character> <dialogue>Here. Drink.</dialogue> <scene_description>Kubo stares at the murky liquid.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>It smells. \*</scene_description> <character>MONKEY</character> <dialogue>Everything in here smells. Drink it. \*</dialogue> <character>KUBO</character> <dialogue>I don't want it.</dialogue> <scene_description>Monkey moves in closer.</scene_description> <character>MONKEY</character> <dialogue>I said drink it.</dialogue> <scene_description>Kubo stares right back at her.</scene_description> <character>KUBO</character> <dialogue>You're a mean monkey, aren't you?</dialogue> <character>MONKEY</character> <dialogue>Yes. Yes, I am. And that's three. \* You're out of questions now, so just listen. I'm here to protect you, Kubo, and that means you have to do as I say. So, if you don't \* eat you'll be weak. If you're weak, \* you'll be slow. If you're slow, \* you'll die. \*</dialogue> <scene_description>Kubo seems to accept this. She holds the shell out to Kubo \* again. This time he takes it from her. He sips from the bowl. \*</scene_description> <character>KUBO \*</character> <dialogue>It's too hot.</dialogue> <scene_description>A little annoyed, Monkey takes the conch from Kubo. Blows on it pointedly. Hands it back to him.</scene_description> <character>MONKEY</character> <dialogue>Drink. \*</dialogue> <scene_description>Kubo takes another sip of the soup, SLURPING it loudly, provoking a peeved look from Monkey. He feigns innocence.</scene_description> <character>KUBO</character> <dialogue>Oh, excuse me. \*</dialogue> <scene_description>Kubo takes another sip, deliberately SLURPING louder, and Monkey full on glares at him. Daggers.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY \*</dialogue> <scene_description>Okay, You better start taking this \* seriously, Kubo. This is real. This \* is not a story. Those things, your \* aunts, they never get hungry. They \* never sleep. They will find you and \* if we're not prepared... they'll \* kill me and take your other eye. \* Kubo speaks, but more timidly now.</scene_description> <character>KUBO</character> <dialogue>What are we going to do?</dialogue> <scene_description>Monkey is silent for a second.</scene_description> <character>MONKEY</character> <dialogue>We're going to find the armor. It's the only thing that can protect you.</dialogue> <character>KUBO</character> <dialogue>So it's real. Really real. \*</dialogue> <scene_description>Monkey nods. Kubo notices a strand of hair from his mother on his robe and \* picks it off. Monkey crosses over to Kubo and tries to grab \* it. He instinctively jerks away. Monkey holds her hand out.</scene_description> <character>MONKEY</character> <dialogue>Don't worry. I'm not going to keep it.</dialogue> <scene_description>Kubo hands it to her.</scene_description> <character>KUBO</character> <dialogue>I pulled that from her head. I \* didn't mean to.</dialogue> <scene_description>Monkey nimbly twists and knots the hair into a beautiful woven bracelet. \*</scene_description> <character>MONKEY</character> <dialogue>Your mother was very powerful. She blessed your robes so that when the need was most they would fly you away. She used the last of that power to bring me to life. This bracelet, her hair, it's a memory. Memories are powerful things, Kubo. \* Never lose it.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>She begins tying it around Kubo's wrist and looks right into \* his eye. \*</dialogue> <dialogue>She crosses to the other side of the fire as Kubo stares at the woven hair.</dialogue> <dialogue>They sit there, silent silhouettes, shadows flickering off the sides of their strange shelter.</dialogue> <character>KUBO</character> <dialogue>One more question?</dialogue> <scene_description>Monkey shakes her head, admiring Kubo's guts.</scene_description> <character>MONKEY</character> <dialogue>Last one.</dialogue> <character>KUBO</character> <dialogue>Do you know where it is? The armor?</dialogue> <scene_description>Monkey pokes at the fire with a splinter of whalebone.</scene_description> <character>MONKEY</character> <dialogue>No. No I don't.</dialogue> <scene_description>Kubo finally realizes the severity of their situation. The uncertainty on his face betrays his age and vulnerability.</scene_description> <character>MONKEY</character> <dialogue>Now go to sleep. \*</dialogue> <scene_description>With a SIGH, Kubo lies down and rolls away from the fire. \*</scene_description> <character>KUBO</character> <parenthetical>(softly)</parenthetical> <dialogue>Good night, Monkey.</dialogue> <scene_description>Monkey watches him for a moment, her stern face finally softening now that Kubo can't see her. \* (1600 WHE) WHALE ESCAPE</scene_description> <character>INT. WHALE CARCASS - DAWN \*</character> <dialogue>Kubo's eye blinks open to see Monkey through the first \* strains of sunlight, filtering in through the blow hole.</dialogue> <character>MONKEY \*</character> <dialogue>Kubo...You were talking in your \* sleep. You were dreaming...calling \* out to your father. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <scene_description>And then the paper flew out of your \* bag and folded itself into... him. \* She is pointing at a figure, standing smartly to attention at Kubo's feet. It is LITTLE HANZO, only bigger, fashioned out of several sheets of paper folded together. Still a bit puzzled, Kubo steps over to inspect the origami.</scene_description> <character>MONKEY</character> <dialogue>He's been standing there for hours. Quietly judging us. I'm not even sure this counts as origami. I could swear scissors were involved.</dialogue> <scene_description>Kubo reaches out to touch the origami, but Little Hanzo parries his hand, blocking it with his paper sword before \* marching away somewhat huffily.</scene_description> <character>KUBO</character> <dialogue>Ow! Back home in the cave, it was \* my mother's dreams that did this. And the paper always unfolded itself by morning.</dialogue> <scene_description>They both look over as Little Hanzo climbs on top of Kubo's bag and strikes a regal pose, pointing his sword in the direction of the blow hole.</scene_description> <character>MONKEY</character> <dialogue>What's that about?</dialogue> <scene_description>Struck by an impulse, Kubo suddenly reaches forward and turns the bag that Little Hanzo is standing on slightly, so that \* the figure is now pointing his sword in a different direction. Little Hanzo immediately moves back into his \* previous position, pointing his sword in the direction of the \* blow hole. \* Kubo moves the origami again, so he's pointing away from the \* blow hole. And again, Little Hanzo immediately moves back \* into his previous position, pointing his sword in the \* direction of the blow hole. \*</scene_description> <character>KUBO \*</character> <dialogue>What are you doing? \*</dialogue> <scene_description>Little Hanzo gives Kubo the origami equivalent of an exasperated glance, then points his sword at Kubo, and then \* towards the blow hole again. He then GESTURES impatiently \* with his sword, as if to say, "Come on already, let's go!" \* Kubo and Monkey share a glance, realizing what this means.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>I guess this is how my father answered me. Monkey takes a breath.</scene_description> <character>MONKEY</character> <dialogue>I'm tempted to say that entrusting our fate to the guidance of a small paper man seems like a bad idea.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>But it's the best bad idea we have. \*</dialogue> <scene_description>Their diminutive guide climbs up and out of the blow hole \* first, followed closely by Kubo and Monkey. \* (1700 PMP) PRACTICE MAKES PERFECT \*</scene_description> <character>EXT. FOOTHILLS - DAY</character> <dialogue>Little Hanzo remains perched on Kubo's shamisen, pointing the way beyond the glacier's broken edge. The ground rises and rolls through a series of foothills stepping up to a mountainous wall of cliffs, upon which snow blazes bright in the midday sun.</dialogue> <dialogue>Kubo looks up at the sound of melodic CHIRPING above him and spies a bird, fluttering overhead. \*</dialogue> <dialogue>Kubo has never seen anything quite like it and lags behind, taking up his shamisen.</dialogue> <dialogue>As Kubo plucks the strings, a few sheets of paper spring up out of his bag, folding themselves into a paper duplicate of the live bird, which soars up to greet its twin. \*</dialogue> <dialogue>Kubo gives a joyous LAUGH that makes Monkey stop in her tracks. She turns, scowling, only to see the boy skipping and GIGGLING through the snow as he plays his shamisen. A contented child, concerns momentarily forgotten.</dialogue> <dialogue>She sits down to watch, allowing him this moment of relief.</dialogue> <dialogue>Exhilarated, Kubo plays faster on his instrument, and more paper shoots out of his bag, spiraling up and forming a glorious cloud of paper birds in the sky. Startled, the bird darts away into the clouds.</dialogue> <dialogue>Kubo's birds fly and frolic at his command, glittering in the sunlight, pirouetting through the air in a dazzling dance of paper wings.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Kubo is thrilled, and from her perch across the way, Monkey is also mesmerized.</dialogue> <dialogue>Kubo falls on his back, CACKLING, facing up into the bright blue sky as his magnificent flock flutters overhead.</dialogue> <dialogue>And then Monkey's face is looking down on him. Serious, of course, but also a little curious.</dialogue> <character>MONKEY</character> <dialogue>You're growing stronger.</dialogue> <scene_description>Kubo LAUGHS. He feels it.</scene_description> <character>MONKEY</character> <dialogue>You might not want to look quite so pleased about that.</dialogue> <scene_description>She sits him up, ushering him onto his feet and brushing down his robe.</scene_description> <character>MONKEY</character> <dialogue>We grow stronger. The world grows more dangerous. Life has a way of keeping things balanced.</dialogue> <scene_description>Kubo reacts to this cynical wisdom by making a face.</scene_description> <character>KUBO</character> <dialogue>Monkey, do you ever say anything encouraging?</dialogue> <character>MONKEY</character> <dialogue>I encourage you not to die. \*</dialogue> <scene_description>Monkey licks her hand, smooths down Kubo's hair and walks \* away. \*</scene_description> <character>KUBO \*</character> <dialogue>(Mocking under his breath) \*</dialogue> <scene_description>I encourage you not to die. \* As Kubo follows Monkey, something spies on them from behind a \* nearby rock. Something big and spiky with freakish claws. Its gaze seems to be fixed on Hanzo Origami. Unaware, Kubo is hatching a mischievous idea. As he walks behind Monkey he delicately PLUCKS the strings on his shamisen, and one of his paper birds stealthily breaks away from the flock and dives down from the sky, nipping Monkey playfully on her backside. Monkey whirls around, searching for the culprit. But the bird has already soared up and into the clouds again.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Monkey gives Kubo a suspicious look. Kubo stares back innocently. Swats his neck as if killing a bug.</dialogue> <character>KUBO</character> <dialogue>Mosquitos. Annoying.</dialogue> <scene_description>With no evidence to convict, Monkey turns back around. But now Kubo notices that, unbidden by him, more birds are \* swooping down for a second assault on Monkey, and as they dive down they reform into three huge paper mosquitos. \* They're already circling Monkey, but just as they get close enough to strike, Monkey springs into action. Without turning around, she shoots out an arm and snatches the first mosquito, grabs the second with her foot and launches into an amazing back flip to finish off the third. She approaches Kubo, smoothing out the crumpled paper.</scene_description> <character>KUBO</character> <dialogue>Wasn't me. I swear.</dialogue> <scene_description>She returns the paper to Kubo's bag.</scene_description> <character>MONKEY</character> <dialogue>Paper runs out. As does patience. \*</dialogue> <character>KUBO</character> <dialogue>I didn't ask them to do that. \*</dialogue> <parenthetical>(mutters)</parenthetical> <dialogue>The second time.</dialogue> <scene_description>Monkey gives Kubo a skeptical look.</scene_description> <character>KUBO</character> <dialogue>I didn't. At least, not exactly. I mean, I felt it, but...</dialogue> <character>MONKEY</character> <dialogue>Magic is not meant to be easy. You need to learn control. Concentrate on what you're doing. And always remember...</dialogue> <scene_description>She leans in real close.</scene_description> <character>MONKEY</character> <dialogue>Don't mess with the Monkey.</dialogue> <scene_description>She raises her eyebrows by way of punctuation but remains staunchly straight-faced. A beat, and then she nonchalantly turns and resumes walking.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>EXT. CLIFFSIDE - DAY</dialogue> <dialogue>Fragmented remnants of colossal statues that once guarded the cliffs litter the landscape, dwarfing Monkey and Kubo as they approach, Monkey endlessly lecturing. Enormous heads peek out of snowdrifts. Ancient broken limbs reach among the rocks.</dialogue> <character>MONKEY</character> <dialogue>Tread carefully, Kubo. This isn't one of your stories.</dialogue> <scene_description>Kubo doesn't like hearing this. He lags behind, clambering up the broken nose to the eye socket of a wind-worn face. \*</scene_description> <character>KUBO</character> <dialogue>How do you know? Maybe it is. And I'm the valiant hero. And you're the mean monkey. \*</dialogue> <scene_description>Her back to him, Monkey just continues walking.</scene_description> <character>MONKEY</character> <dialogue>You may think you're the great hero, but heroes come and go. Any \* moment, something terrible could come out of nowhere and...</dialogue> <scene_description>She turns her head to confront Kubo and trails off. The huge eye socket is empty and Kubo is nowhere to be seen.</scene_description> <character>KUBO (O.S.) \*</character> <dialogue>MONKEYYY! \*</dialogue> <scene_description>Hearing Kubo in danger, Monkey gives a YELL of primal fury, \* and darts across the rocks toward the statue. \*</scene_description> <character>MONKEY</character> <dialogue>Kubo! \*</dialogue> <scene_description>She peers down into the hollow head, catching a glimpse of \* Kubo, twenty feet below, being dragged down a sheer bank of ice descending into the shadowy bowels of the earth. \* Monkey doesn't hesitate and jumps down into the darkness \* after him. \* (1800 MEB) MEET BEETLE</scene_description> <character>INT. UNDERGROUND TUNNELS - CONTINUOUS</character> <dialogue>Monkey slides down the incline into a series of ancient caverns carved with the faces of gods long since forgotten.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Spotting Kubo and kidnapper in the distance, she takes off again, a breakneck pursuit through a dank, crumbling labyrinth that hasn't heard footfalls for hundreds of years.</dialogue> <dialogue>Eventually, Monkey turns a corner and skids to a sudden stop.</dialogue> </scene> <scene> <stage_direction>INT. BEETLE'S CAMP - CONTINUOUS</stage_direction> <scene_description>Crouching in front of her is the creature. Part giant beetle, part human, shell mimicking the silhouette of samurai armor. Monkey gives a furious ROAR and rushes toward the creature.</scene_description> <character>KUBO</character> <dialogue>MONKEY! WAIT!</dialogue> <scene_description>Kubo suddenly steps out of the darkness right in front of her, hands raised, causing her to stop in her tracks.</scene_description> <character>KUBO</character> <dialogue>He wasn't trying to hurt me. He just wanted... Hanzo.</dialogue> <scene_description>Kubo motions down to the beetle and it becomes clear the creature was not crouching low to fight, but to get a better look at Little Hanzo, there on the ground.</scene_description> <character>BEETLE</character> <parenthetical>(muttering to himself)</parenthetical> <dialogue>Hanzo? Hanzo...</dialogue> <scene_description>Monkey, still wild-eyed and catching her breath, glares from Kubo to the creature.</scene_description> <character>MONKEY</character> <dialogue>I still think I am going to stab him.</dialogue> <scene_description>They watch as Beetle, utterly transfixed, reaches out a claw to gently touch Hanzo Origami. The figure seems to like him, strolling right on to his arm.</scene_description> <character>KUBO</character> <dialogue>Why must you always assume the worst?</dialogue> <character>MONKEY</character> <dialogue>Well, pardon me for misjudging this giant, spiky, insect-monster that just kidnapped you.</dialogue> <scene_description>Kubo ignores her. He's watching Beetle intently.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Hanzo! Yes! I remember him. I think maybe... he was my master!</scene_description> <character>KUBO</character> <dialogue>What? What did you say?</dialogue> <scene_description>For the first time, Beetle appears to register Kubo and Monkey's presence. He looks up at them, and there's something a little unhinged about his eyes.</scene_description> <character>BEETLE</character> <dialogue>We had a crest! A samurai crest!</dialogue> <scene_description>He suddenly leaps up and enthusiastically digs into the pile of scavenged objects, pulling loose the fabric which he flourishes in front of Kubo and Monkey. It's a large samurai war banner, emblazoned with the familiar beetle emblem.</scene_description> <character>BEETLE</character> <dialogue>Have you seen this crest before?</dialogue> <scene_description>Wordlessly, Kubo turns to show Beetle the same crest on the back of his robe. Beetle's eyes light up with excitement.</scene_description> <character>BEETLE</character> <dialogue>THIS IS A MIRACLE! YOU HAVE OUR</dialogue> <character>ROBES! YOU'RE WEARING OUR ROBES!</character> <parenthetical>(suddenly suspicious)</parenthetical> <dialogue>Why are you wearing our robes?</dialogue> <scene_description>Before Kubo can answer, Monkey interrupts.</scene_description> <character>MONKEY</character> <dialogue>He doesn't have to answer your questions. Anyway, who are you?</dialogue> <character>BEETLE</character> <dialogue>Many years ago I was cursed, trapped in this cursed state. Cursed to wander the Farlands. Cursed! Or Cur-sed.</dialogue> <scene_description>As Beetle talks, Kubo casts a curious eye over the scattered objects. Many have the beetle crest on them. He admires a bow and arrow leaning against the wall.</scene_description> <character>BEETLE</character> <dialogue>No comrades. No master. Not even a name or a single memory of the noble warrior I once was.</dialogue> <character>KUBO</character> <dialogue>You used to be a man?</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Not just any man... a samurai! I mean, I'm pretty certain. Look, I have the stuff. (trails off) I mean, I'm either a samurai or a really bad hoarder. (rallies) Either way, inside my thorax beats the heart of a warrior!</scene_description> <character>MONKEY</character> <parenthetical>(still suspicious)</parenthetical> <dialogue>If you have no memory, how can you be certain of anything?</dialogue> <character>BEETLE</character> <dialogue>Because I get... flashes. They come about from objects I find on my travels. Or sometimes it's a sound. Or a smell.</dialogue> <scene_description>Monkey SNIFFS the air.</scene_description> <character>MONKEY</character> <parenthetical>(mutters)</parenthetical> <dialogue>You must get a lot of flashes.</dialogue> <scene_description>Beetle looks sadly at Little Hanzo on his shoulder.</scene_description> <character>BEETLE</character> <dialogue>But the memories, they fade, and all I'm left with is the sense that I was once part of something much greater.</dialogue> <scene_description>Kubo looks up at Beetle sympathetically, and then turns to Monkey with a pleading face.</scene_description> <character>KUBO</character> <dialogue>Monkey! Can I tell him?</dialogue> <character>MONKEY</character> <dialogue>I really don't think that's a good idea...</dialogue> <scene_description>RAPID CUTTING between Kubo and Monkey:</scene_description> <character>KUBO</character> <dialogue>He has a right...</dialogue> <character>MONKEY</character> <dialogue>Absolutely not!</dialogue> <character>KUBO</character> <dialogue>But...</dialogue> <character>MONKEY</character> <dialogue>No buts!</dialogue> <character>KUBO</character> <dialogue>I...</dialogue> <character>MONKEY</character> <dialogue>No!</dialogue> <scene_description>Kubo opens his mouth. Monkey holds up a finger.</scene_description> <character>BEETLE</character> <dialogue>What? Tell me what?</dialogue> <scene_description>Kubo turns very deliberately to face Beetle.</scene_description> <character>KUBO</character> <dialogue>Hanzo was my father.</dialogue> <character>MONKEY</character> <dialogue>KUBO!</dialogue> <scene_description>Beetle's eyes are wide.</scene_description> <character>BEETLE</character> <dialogue>Ha! This is a miracle! I HAVE FOUND THE SON OF MY MASTER!</dialogue> <scene_description>Beetle scoops Kubo up into an ecstatic hug, dancing him around in a circle, then goes to do the same with Monkey.</scene_description> <character>MONKEY</character> <dialogue>Don't even.</dialogue> <scene_description>He decides against it and goes and hugs Kubo again instead, then abruptly drops to his knee in front of the boy.</scene_description> <character>BEETLE</character> <dialogue>Whatever brings you to these lands, whatever your quest, it is now my quest too. I will join you. I'll give my life for you if necessary!</dialogue> <character>KUBO</character> <dialogue>Wow. You will?</dialogue> <character>BEETLE</character> <parenthetical>(nodding vigorously)</parenthetical> <dialogue>What? Do you think that's possible? I mean, I know how quests go. People die all the time. They drop like flies. But that doesn't matter, because I have a feeling \* this... is my destiny!</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <scene_description>No it isn't! We can't trust anything you say, because you can't \* trust anything you say! We don't know anything about you! Kubo plucks a few notes on his shamisen and a paper bird flies in between Monkey and Beetle to get their attention.</scene_description> <character>KUBO</character> <dialogue>Monkey, you said it yourself, our quest is a difficult one. A samurai, even a cursed one with no memory that looks like a bug, could be helpful.</dialogue> <character>BEETLE</character> <dialogue>Yes, I am certain I could be helpful! Indispensable!</dialogue> <character>MONKEY</character> <dialogue>In what way?!</dialogue> <scene_description>Snatching up his bow &amp; arrow, Beetle suddenly launches an arrow into the wall.</scene_description> <character>MONKEY</character> <dialogue>Firing an arrow into a wall is hardly what I'd call...</dialogue> <scene_description>Beetle fires four more arrows rapidly, splitting the first down the middle.</scene_description> <character>MONKEY</character> <dialogue>...Impressive.</dialogue> <character>BEETLE</character> <dialogue>Oh, look at that. Literally the \* first time I've ever done it.</dialogue> <scene_description>He drops to his knee in front of Kubo, all earnest.</scene_description> <character>BEETLE</character> <dialogue>Just tell me of our quest, and I will quickly demonstrate my numerous... "indispensabilities."</dialogue> <character>KUBO</character> <dialogue>Well, that's kind of a long story.</dialogue> <character>BEETLE</character> <dialogue>You've got my attention. I promise I won't even blink.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>I actually don't even think I can blink. Do I have eyelids? Monkey rolls her eyes and takes a breath, knowing she isn't going to win this one.</scene_description> <character>MONKEY</character> <dialogue>Fine. Walk and talk. Hanzo has \* found a path.</dialogue> <scene_description>She gestures at the little origami guide, who has positioned himself further along the tunnel and is pointing the way with his sword.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND TUNNELS, DEAD END</stage_direction> <scene_description>As they make their way through the labyrinthine tunnels, we catch up on the end of Kubo's story. Beetle is obviously enjoying what he's hearing. Monkey, less so.</scene_description> <character>BEETLE</character> <dialogue>So you used to be a toy monkey?!</dialogue> <character>MONKEY</character> <dialogue>Kubo, I really don't see how this part is important to the story.</dialogue> <character>KUBO</character> <dialogue>Yes! I kept her in my pocket. She was only, like, this big...</dialogue> <character>MONKEY</character> <dialogue>Kubo, that's enough.</dialogue> <character>KUBO</character> <dialogue>Tiny. And she was called Mr. Monkey.</dialogue> <character>MONKEY</character> <parenthetical>(sulky)</parenthetical> <dialogue>I wasn't a toy, I was a charm.</dialogue> <scene_description>Beetle barks out a LAUGH.</scene_description> <character>BEETLE</character> <dialogue>Of course you were.</dialogue> <scene_description>Suddenly, Little Hanzo leaps from Kubo's shoulder, runs ahead to a bend in the tunnel and slips through a crack in the wall.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Beetle breaks through the wall to follow him, but as they round the corner a horrifying monument is revealed: a giant \* and grotesque relief carved into the rock wall. It's a dead end, but Hanzo continues to point steadfastly ahead.</dialogue> <character>BEETLE</character> <dialogue>Well, that doesn't look good.</dialogue> <scene_description>Kubo approaches the wall, squinting his eye. Beetle is close behind him, but Monkey holds back.</scene_description> <character>MONKEY</character> <dialogue>Don't touch anything!</dialogue> <scene_description>But Beetle is already running his hand over the rock, and \* beside him Kubo is prodding his finger into the conspicuous empty eyehole of one of the carved creatures. There's an ominous CLICK. Beetle and Kubo turn to Monkey, guilt written all over their faces. Beetle points at Kubo. \*</scene_description> <character>BEETLE</character> <dialogue>He did it.</dialogue> <scene_description>And then the floor falls away beneath them and they plummet \* into darkness. (2100 ODO) ODOKURO</scene_description> <character>INT. HALL OF BONES - CONTINUOUS</character> <dialogue>In a confusion of limbs and SCREAMS they hit solid ground.</dialogue> <dialogue>A beat, and then Kubo and Monkey slowly begin to extricate themselves from a heap on the ground.</dialogue> <dialogue>Kubo hears a series of GRUNTS behind him. Beetle is lying on his back, rocking back and forth on his carapace like a stranded turtle in a futile effort to get back on his feet.</dialogue> <character>BEETLE \*</character> <dialogue>Okay... \*</dialogue> <scene_description>Monkey SIGHS and walks away, leaving Kubo to offer a helping hand. Beetle waves him away.</scene_description> <character>BEETLE</character> <dialogue>No, no, no! \*</dialogue> <scene_description>He rocks back and forth a few more times. He'd be red in the face if he wasn't already.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Yes. \* Kubo reaches over and helps him up.</scene_description> <character>MONKEY \*</character> <dialogue>Kubo, look! \*</dialogue> <scene_description>They catch up with Monkey and the three take in their surroundings -- The chamber is vast, with a shadowy vaulted ceiling above and a floor covered in a wall to wall carpet of enormous bleached bones. Tibias, fibulas, ulnas, all piled on top of each other in a tangled heap. Whatever creature they belonged to was huge. In the center of the chamber, glowing balefully under a \* shaft of light, is a giant disembodied skeletal hand, and on \* its palm rests a beautiful golden sword.</scene_description> <character>KUBO</character> <dialogue>The Sword Unbreakable!</dialogue> <scene_description>Kubo steps forward towards the hand, but Monkey reaches out \* and holds him back. \*</scene_description> <character>MONKEY</character> <dialogue>It could be a trap.</dialogue> <character>BEETLE</character> <dialogue>Allow me. \*</dialogue> <scene_description>Kubo backs away as Beetle scuttles toward the hand.</scene_description> <character>MONKEY</character> <parenthetical>(hisses)</parenthetical> <dialogue>What? It's not a trap if you do it?!</dialogue> <character>BEETLE</character> <dialogue>Stealth is my middle name. \*</dialogue> <character>MONKEY</character> <dialogue>You don't even have a first name!</dialogue> <character>BEETLE</character> <dialogue>Don't worry! I got this!</dialogue> <scene_description>Reaching the hand he carefully reaches across the bony palm, \* and with an impressive amount of dexterity manages to grasp the sword's hilt. He raises the sword triumphantly and turns to Kubo.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Ha, ha, ha, HA! The mighty Beetle \* is victorious! \* Almost instantly, the fingers of the hand start to move and \* close. \*</scene_description> <character>BEETLE</character> <dialogue>AH! \*</dialogue> <scene_description>An eerie CLICKING sound echoes through the chamber as the ground beneath Beetle's feet begins to shake. The bones are twisting and jittering of their own accord and rising up. \* Monkey and Kubo hop around trying to retain their balance as the bones lurch and dance under them. \* Beetle hurries back to his companions, who are staring up over his shoulder into the shadows of the ceiling. Two fires are floating high above them... the burning eyes of a giant skull, peering down as the other bones lock together and begin to form a horrifying skeletal body, many storeys high.</scene_description> <character>BEETLE</character> <dialogue>I don't got this....I don't got this...</dialogue> <scene_description>Fully formed, the Odokuro comes to life with a bloodcurdling SHRIEK, and turns his attention to the three trespassers.</scene_description> <character>MONKEY</character> <dialogue>Oh, for crying out loud. \*</dialogue> <scene_description>She snatches the sword from Beetle, and rushes forward.</scene_description> <character>MONKEY</character> <dialogue>I INVOKE THE SWORD UNBREAKABLE!</dialogue> <scene_description>Monkey leaps, bringing the sword down across the Odokuro's leg in an impressive slashing movement, but the blade of the "unbreakable" sword shatters into a thousand pieces. Monkey lands stunned, staring at the empty hilt.</scene_description> <character>MONKEY</character> <dialogue>It broke. \*</dialogue> <character>BEETLE</character> <dialogue>So does it just mean the handle, \* or..? I'm a little disappointed \* with the magic sword... \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <scene_description>It's not the right sword, you idiot! \* Poking out of Kubo's bag right beside his ear, Little Hanzo points his sword up to the top of the Odokuro's skull.</scene_description> <character>KUBO</character> <dialogue>Look! \*</dialogue> <scene_description>Kubo points, as the Odokuro SCREAMS and the flames in his eyes explode with fury, fully illuminating his head. For the first time, everyone sees his ghoulish crown: dozens of swords lodged Excalibur-style in his skull. \*</scene_description> <character>BEETLE</character> <dialogue>The Sword! It's in his head. Hey! \* I've got a bone to pick with you!</dialogue> <parenthetical>(To Monkey)</parenthetical> <dialogue>You see, because he's made of bones.</dialogue> <character>MONKEY</character> <dialogue>You're an embarrassment. \*</dialogue> <scene_description>Beetle lets loose a stream of arrows, one after the other, \* but they bounce harmlessly off its bones or just fly straight through the gaps.</scene_description> <character>BEETLE</character> <dialogue>Uh. This is problematic. \*</dialogue> <scene_description>Odokuro's outstretched hand reaches down and scoops Monkey up \* into the air. Beetle unleashes another volley of arrows. They zip past \* Monkey's head as she is lifted higher.</scene_description> <character>MONKEY \*</character> <dialogue>Enough with the arrows!</dialogue> <scene_description>Monkey grabs at swords from the Odokuro's skull and smashes \* them against the hand that is holding her. Each sword \* shatters on impact. \* Odokuro dangles Monkey over his awful maw, SCREAMING in triumph, but before he can swallow her there's another sound. A melodic BIRD SONG, like we heard earlier, and it signals an \* entire flock of paper birds, fluttering out of the shadows and circling Odokuro's head in an angry squall. Below on the temple floor, Kubo plays his shamisen for all he is worth, maneuvering the origami assault while Beetle watches on in disbelief.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Odokuro stomps its giant feet down, narrowly missing Kubo. \* Beetle draws back his bow and challenges the creature.</dialogue> <dialogue>The paper birds dive and swoop and Odokuro SHRIEKS with frustration, swiping and swatting at them. \*</dialogue> <dialogue>Odokuro waves his arms, swatting birds out of the air. He flails madly, dancing back and forth across the temple floor.</dialogue> <dialogue>Kubo is in danger of being crushed by Odokuro's stomping feet, but Beetle throws himself through the air, covering \* Kubo as the Odokuro's foot comes down. \*</dialogue> <character>BEETLE \*</character> <dialogue>Oh, foot! \*</dialogue> <scene_description>A beat, and then both Beetle and Kubo realize they're hovering a few feet above the floor. They are stunned to see a pair of wings BUZZING out from beneath Beetle's shell.</scene_description> <character>KUBO</character> <dialogue>You can fly?!</dialogue> <character>BEETLE</character> <dialogue>Apparently, yes!</dialogue> <scene_description>Beetle is no less surprised but doesn't waste any time. With a quick flex of his new wing muscles, he rockets them further up into the air, careening wildly towards the beast. \* Monkey watches, dumbfounded, as they crash upon the skull beside her. \* Odokuro ROARS in outrage, as Kubo and Beetle pull at the \* remaining swords, frantically trying to find the real deal.</scene_description> <character>BEETLE</character> <dialogue>Are you sure it isn't the Sword Unfindable?</dialogue> <scene_description>Beetle's hand grabs a hilt that will not budge. He gives it a tug, but the blade is stuck tight. \*</scene_description> <character>BEETLE</character> <dialogue>I think I found it!</dialogue> <scene_description>He pulls at it again. And again. With increasing effort. He \* turns over his shoulder and YELLS, his voice cracking.</scene_description> <character>BEETLE</character> <dialogue>A HAND HERE!?! ANYONE!?</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>And suddenly Odokuro's skeletal hand obliges, snatching him \* up in its bony fingers, leaving Kubo alone upon the \* creature's skull. \*</dialogue> <character>BEETLE (CONT'D) \*</character> <dialogue>Ah! That's not what I meant. \*</dialogue> <scene_description>Odokuro gleefully squeezes Beetle and Monkey in each hand, giving a victorious HOWL as it lifts them towards its opening mouth. \* Kubo reaches for the sword but is thrown into the air by the \* Odokuro's movements. \*</scene_description> <character>MONKEY</character> <dialogue>Kubo!</dialogue> <scene_description>As Kubo is flying through the air, an arrow zips by and pins \* his robe to the wall, saving him from the fall. \* Kubo's robe starts to rip and he begins to fall again. Monkey \* frees herself from the beast's grip and races up the skeleton \* to save Kubo. Just before she gets to him, the Odokuro's hand \* grabs her again. \*</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>Kubo! \*</dialogue> <character>KUBO \*</character> <dialogue>Monkey! \*</dialogue> <scene_description>Kubo's robe rips fully and he falls towards the ground far \* below. \*</scene_description> <character>MONKEY \*</character> <dialogue>No! \*</dialogue> <character>BEETLE \*</character> <dialogue>Kubo! \*</dialogue> <scene_description>Kubo falls and lands on the Odokuro's skull. He begins \* smashing every hilt lodged in the skull until he finds the \* Sword Unbreakable and gives it a hard pull, finally yanking \* it free. Odokuro suddenly stops in his tracks, looking confused. Both Monkey and Beetle look up and see Kubo standing victorious, the Sword Unbreakable in his hand. \*</scene_description> <character>BEETLE</character> <dialogue>Thank goodness that's over.</dialogue> <scene_description>The Odokuro begins coming apart, bone by bone, as if the sword was the linchpin that was holding it all together!</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Kubo's smile of satisfaction quickly fades as he realizes the monster is literally crumbling beneath his feet, and he's a really long way up...</dialogue> <dialogue>In a rain of broken bones that CRASH to the ground, our \* heroes topple helplessly down. \*</dialogue> <scene_description>(2200 ATS) ARGUMENT ON THE SHORE \*</scene_description> <character>EXT. THE LONG LAKE SHORE - DAY</character> <dialogue>Beetle, carrying Monkey and Kubo, flies out of the Hall of Bones and crash lands on the beach below.</dialogue> <dialogue>Beetle lies on his side as Monkey squats behind him, slapping mud and leaves onto his wounded wings as a bandage. Little Hanzo sits on the horned crest of his helmet, swaying every time Beetle winces.</dialogue> <dialogue>They are on the shore of a vast lake that stretches so far into the distance that it's hard to pick out the horizon from the sky. All around, great barnacle-encrusted driftwood wrecks tell tales of feckless fishermen dashed against the rocks.</dialogue> <character>BEETLE</character> <dialogue>Everything...turning...black...</dialogue> <character>MONKEY</character> <dialogue>Then open your eyes.</dialogue> <character>BEETLE</character> <dialogue>Uh oh. I can't feel my wings.</dialogue> <character>MONKEY</character> <dialogue>You didn't even know you had them five minutes ago. Stop wriggling. There... is that feeling better?</dialogue> <scene_description>Beetle squirms under her touch, like she's giving him a massage.</scene_description> <character>BEETLE</character> <dialogue>Yeah, a little to the left. Down just a bit. Right there. That's good.</dialogue> <scene_description>A surprising thought dawns on him.</scene_description> <character>BEETLE</character> <dialogue>You're being nice to me.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <scene_description>Shh. Don't tell anyone. Seeing Beetle is awake, Kubo runs excitedly along the water's edge, waving the Sword Unbreakable above his head and shouting.</scene_description> <character>KUBO</character> <dialogue>We did it, Beetle! We got the sword!</dialogue> <scene_description>Monkey eyes him sidelong as she finishes dressing Beetle's wounds.</scene_description> <character>MONKEY</character> <dialogue>Put that down, it's sharp.</dialogue> <scene_description>Kubo makes a face behind her back and kicks his feet through the loose pebbles at the water's edge.</scene_description> <character>MONKEY</character> <dialogue>Okay. We're done here. Get up.</dialogue> <scene_description>She slaps Beetle gently on the back and he winces with pain.</scene_description> <character>MONKEY</character> <dialogue>We have a lot of walking to do.</dialogue> <character>BEETLE \*</character> <dialogue>You can't be serious.</dialogue> <character>MONKEY \*</character> <dialogue>I'm always serious.</dialogue> <scene_description>Kubo GROANS.</scene_description> <character>KUBO</character> <dialogue>Are you two going to fight again?</dialogue> <character>MONKEY</character> <dialogue>Of course not! We just need to have a grown-up conversation.</dialogue> <character>KUBO</character> <dialogue>You're going to fight again.</dialogue> <character>BEETLE</character> <dialogue>Kubo, just go over there and... uh... play with something.</dialogue> <scene_description>Kubo picks up the Sword Unbreakable.</scene_description> <character>MONKEY</character> <dialogue>Not that.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>He grabs his shamisen instead and stomps away, sitting down upon a rock where he PLUCKS moodily at the strings.</dialogue> <dialogue>Beetle turns back to Monkey and HISSES quietly.</dialogue> <character>BEETLE</character> <dialogue>Monkey, this is the Long Lake. We can't walk around it! We need to swim across. I can carry Kubo...</dialogue> <scene_description>Monkey cuts him off.</scene_description> <character>MONKEY</character> <dialogue>"Carry Kubo"?! That's your better idea? Look, I appreciate your help, I really do, but when it comes to the boy, I know what's best.</dialogue> <character>BEETLE</character> <dialogue>Is that right?</dialogue> <character>MONKEY</character> <dialogue>And what's best is to not be \* fielding ideas from a talking \* cockroach. \*</dialogue> <character>BEETLE</character> <dialogue>This coming from the talking \* monkey.</dialogue> <character>KUBO (O.S.)</character> <dialogue>I can still hear you, y'know. \*</dialogue> <character>MONKEY</character> <dialogue>Then play louder.</dialogue> <scene_description>Kubo scowls. His fingers dance across the strings. Unseen by \* Monkey and Beetle, some of the scattered leaves and twigs \* begin to wobble and shift and rise off the ground.</scene_description> <character>MONKEY</character> <dialogue>This conversation is over. Monkeys don't swim.</dialogue> <character>BEETLE</character> <parenthetical>(grinning)</parenthetical> <dialogue>Not to worry. Monkey see, monkey do!</dialogue> <scene_description>Monkey GROWLS, shaking her head.</scene_description> <character>MONKEY</character> <dialogue>How long have you been waiting to say that?</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE (ALT)</dialogue> <scene_description>Ever since I met you. What were we 'grown-up conversation'-ing about?</scene_description> <character>MONKEY</character> <dialogue>You're ridiculous, you're just absolutely ridiculous. Ridiculous! Crossing the lake is a ridiculous \* idea. It's not your fault... there's no sense left in your head. \*</dialogue> <character>BEETLE</character> <parenthetical>(frowns)</parenthetical> <dialogue>I think I resent that.</dialogue> <parenthetical>(an afterthought)</parenthetical> <dialogue>And I may not know everything...</dialogue> <character>MONKEY</character> <dialogue>Anything.</dialogue> <character>BEETLE</character> <dialogue>Anything. But I do know Kubo is more capable than you think he is! You're being a tiny bit overprotective here. \*</dialogue> <character>MONKEY</character> <dialogue>I'm being a lot overprotective \* here. It's my job to make sure Kubo is safe. And that...</dialogue> <parenthetical>(points to the lake)</parenthetical> <dialogue>...is not safe. You...</dialogue> <parenthetical>(points at Beetle)</parenthetical> <dialogue>... are not safe!</dialogue> <scene_description>Bigger pieces of debris are shifting now. Hunks of rotten driftwood and uprooted bushes. They float and twist behind Monkey's back toward Kubo as he continues playing.</scene_description> <character>MONKEY</character> <dialogue>Kubo is just a child!</dialogue> <character>BEETLE</character> <dialogue>And an incredibly gifted one! He just saved our lives!</dialogue> <character>MONKEY</character> <dialogue>Yes, he is very powerful, but he still has much to learn!</dialogue> <scene_description>Monkey stops. Beetle is staring over her shoulder with his mouth open.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <character>WHAT?</character> <dialogue>She turns around to see what he's looking at.</dialogue> <dialogue>Drifting out from the shallows behind the rocks is a huge and magnificent "origami" boat, created entirely out of magically beach combed detritus!</dialogue> <character>BEETLE</character> <dialogue>Fast learner.</dialogue> <scene_description>He nudges Monkey, whose jaw is also hanging open. Hanzo Origami eyes the boat up and down, then gives his seal of approval by confidently pointing his sword at the deck.</scene_description> <character>BEETLE</character> <parenthetical>(to Kubo)</parenthetical> <dialogue>Did you know you could do that?</dialogue> <scene_description>Kubo thinks for a beat. Then, he plucks a final note and a massive sail woven from leaves and grass suddenly unfurls, billowing in the morning breeze. Monkey looks at Kubo. She's not smiling exactly, but there's a hint of pride.</scene_description> <character>MONKEY</character> <dialogue>Show off.</dialogue> <scene_description>One by one our heroes hop aboard the great boat. And as the sun rises higher in the sky, the boat sails away across the water. (2300 KUB) KUBO'S BOAT</scene_description> <character>EXT. KUBO'S SAIL BOAT - THE LONG LAKE - AFTERNOON</character> <dialogue>We can tell our heroes have been sailing for some time now. The boat is a tiny speck on the vast lake.</dialogue> <dialogue>Beetle and Kubo stand near the side of the boat. Beetle is leaning over Kubo's diminutive shoulders, helping him draw back his bow and take aim.</dialogue> <character>BEETLE</character> <dialogue>Okay now, take a deep breath. Clear your mind... guess I got that part covered.</dialogue> <scene_description>He throws Kubo a wink. Kubo grins.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Now draw back slowly. That's it. Now close one eye... guess you've got that part covered... Kubo GIGGLES and gives Beetle a mock shove with his elbow.</scene_description> <character>BEETLE</character> <dialogue>Concentrate on what is directly in front of you and let everything else fall away... aaand... release!</dialogue> <scene_description>ANGLE ON a fish swimming just under the surface of the water as it is suddenly speared by one of Beetle's arrows.</scene_description> <character>BEETLE</character> <dialogue>Perfect shot! Perfect shot! \*</dialogue> <scene_description>Monkey knuckles up behind Beetle and sits down, smirking.</scene_description> <character>MONKEY</character> <dialogue>Not bad. And what's your plan for getting the fish into the boat so we can actually eat it?</dialogue> <scene_description>We see the fish float past camera, then sink into the water. Beetle looks a little deflated but rallies with his typical bravura.</scene_description> <character>BEETLE</character> <dialogue>Well, I said I was teaching him how \* to shoot, not fish. Fishing is, uh, \* tomorrow's lesson. \*</dialogue> <scene_description>Still smirking, Monkey swipes another arrow out of his hand.</scene_description> <character>MONKEY</character> <dialogue>Give me that.</dialogue> <character>BEETLE</character> <dialogue>Woah, grabby Monkey. \*</dialogue> <scene_description>Monkey reaches into Kubo's pack pulling out a length of rope which she ties to the arrow, grinning slyly and clearly enjoying herself.</scene_description> <character>MONKEY</character> <dialogue>Now try it.</dialogue> <scene_description>Beetle takes the arrow off her, then reaches around to help Kubo draw back the bow.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Okay, now pull back and... Zip! Bullseye! Another fish harpooned. Kubo and Beetle both let out a CHEER.</scene_description> <character>BEETLE</character> <parenthetical>(to Monkey)</parenthetical> <dialogue>The rope was a pretty good idea!</dialogue> <scene_description>The rope on the arrow tightens and Beetle yanks the fish into the boat.</scene_description> <character>MONKEY</character> <dialogue>And you're not an awful shot.</dialogue> <scene_description>Kubo eyes the two of them, smirking.</scene_description> <character>KUBO</character> <dialogue>Okay, now you two are being weird.</dialogue> </scene> <scene> <stage_direction>EXT. BOAT DECK-MINUTES LATER</stage_direction> <scene_description>Beetle and Kubo drop their haul of fish onto the deck. Beetle starts looking around, like he's trying to find something.</scene_description> <character>BEETLE</character> <dialogue>We're gonna need something to cut this wi--</dialogue> <scene_description>There's a SWISH of air and the fish is transformed into perfectly cut sashimi. Beetle and Kubo stare at Monkey. She shrugs.</scene_description> <character>MONKEY</character> <dialogue>Sword Unbreakable.</dialogue> <scene_description>They all sit down together. It's a nice, quiet, gentle moment. Our three heroes, eating under the sun. Kubo sits right between Beetle and Monkey, but he isn't really eating. Beetle, on the other hand, is stuffing his face. Hanzo Origami stands on his lap, using his tiny paper sword to lance chunks of fish from a makeshift plate and toss them up into Beetle's open mouth. \* Monkey watches sourly.</scene_description> <character>MONKEY</character> <dialogue>Must you play with your food?</dialogue> <scene_description>She grimaces as Beetle replies with a full mouth.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>Yes. He notices Kubo looking at them with an odd look on his face.</scene_description> <character>BEETLE</character> <dialogue>What's the matter, Kubo? You act like you've never had a meal sitting between a monkey and a beetle before.</dialogue> <character>KUBO</character> <dialogue>I've never had a meal sitting between anyone before.</dialogue> <scene_description>Monkey's face softens.</scene_description> <character>MONKEY</character> <dialogue>Come on. Eat. You need energy. And \* this is much better than whale soup.</dialogue> <scene_description>Kubo smiles. Takes a bite of food. Beetle chews thoughtfully as he stares at Kubo now, clearly thinking about his comment.</scene_description> <character>BEETLE</character> <dialogue>Kubo, question: before you started on your heroic quest, what were you like? \*</dialogue> <character>KUBO \*</character> <dialogue>Well, I looked after my mother, \* mostly. And I told stories. About mighty warriors seeking revenge, with battles and monsters and magic. I was pretty good at telling them. Not so good at ending them.</dialogue> <scene_description>There's silence for a moment and Kubo seems lost in recollection.</scene_description> <character>KUBO</character> <dialogue>Sometimes I would tell my mother stories about little things. Like skimming rocks across the river. Or catching fireflies in the mulberry fields. \*</dialogue> <scene_description>Both Monkey and Beetle have stopped eating and listen intently as Kubo goes on, his voice quieter.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>And when I told those stories I could see her eyes were mostly clear. I could tell she saw me, really saw me. And I could see her too. Her real self. Her spirit. Trying to find its way out. It was \* beautiful. Monkey &amp; Beetle look at each other, not quite sure how to respond to this. Finally, it is Beetle who offers...</scene_description> <character>BEETLE</character> <dialogue>You know something, Kubo? Back when \* you just told stories...Before you \* went on this great adventure, you \* were still very much a hero.</dialogue> <scene_description>Kubo looks up at Beetle, liking the sound of that. Monkey does too. She gives Beetle an approving nod. They go back to eating. Sitting a bit closer together now. We hold on the moment, savoring it, until... ...it's interrupted by the distant sound of THUNDER. Monkey turns sharply and leaps onto the mast. She clambers to the top where she sits like a silent sentinel. Mountainous thunderclouds roll across the distant horizon; a \* black smudge beneath a vast fiery sky. A storm is coming and the sun is sinking into the ocean.</scene_description> <character>MONKEY</character> <dialogue>We're going to have to head for \* shore. Find a hiding place. And...</dialogue> <scene_description>Monkey has now switched focus to the bow of the ship. \* Monkey drops down to the deck as Kubo and Beetle turn to see \* Hanzo Origami standing on the very end of the ship pointing into the dark waters. Kubo and Beetle walk towards Hanzo. \*</scene_description> <character>KUBO</character> <dialogue>The second piece of armor! \*</dialogue> <character>MONKEY</character> <dialogue>The breastplate - it's down there?</dialogue> <character>BEETLE \*</character> <dialogue>Okay, I got it. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Immediately, Beetle turns, about to leap into the ocean.</dialogue> <character>KUBO</character> <dialogue>Beetle, wait!</dialogue> <character>BEETLE</character> <dialogue>Don't worry, beetles can hold their breath underwater for a very long time.</dialogue> <character>MONKEY</character> <dialogue>What?! Since when? \*</dialogue> <character>BEETLE \*</character> <dialogue>It's a well known fact, Monkey. \*</dialogue> <character>MONKEY \*</character> <dialogue>You don't remember anything at all, but beetles swimming... that's what sticks in there? \*</dialogue> <character>KUBO</character> <dialogue>No, Beetle. My mother told me a \* story about the Long Lake. There's \* something under the water. \*</dialogue> <character>BEETLE</character> <dialogue>Oh, yeah? What kind of something?</dialogue> <character>KUBO</character> <dialogue>She said there was a Garden of Eyes. Eyes that stare into you. Into your soul. They show you secrets, things to keep you down there with them... forever!</dialogue> <scene_description>Beetle and Monkey stare at him a moment. Beetle resumes his swagger, a little hesitantly.</scene_description> <character>BEETLE</character> <dialogue>Okay. Well, I won't look directly into anyone's eyes. Even if I'm being incredibly sincere.</dialogue> <scene_description>Before he leaps in, he looks at Monkey and winks.</scene_description> <character>BEETLE</character> <dialogue>You're gonna miss me, Monkey. \*</dialogue> <scene_description>And then he's gone, disappearing under the waves with a SPLASH. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <parenthetical>(quietly)</parenthetical> <dialogue>Be careful.</dialogue> <scene_description>(2350 HSU) HUNTERS SPLIT UP</scene_description> <character>EXT. SNOW-COVERED TERRAIN - DUSK</character> <dialogue>A tiny fragment of cloth flutters in the wind, obscured by a \* squall of snow. We ANGLE DOWN to follow its erratic path, \* revealing where we are --</dialogue> <dialogue>It's the same spot where Kubo and Monkey first crash-landed.</dialogue> <dialogue>The scrap of cloth is abruptly speared by a metal spike attached to a long chain. At the other end of it are the sisters, drifting through the blizzard.</dialogue> <dialogue>A Sister winds in the scrap of Kubo's robe and nods.</dialogue> <character>SISTER 1</character> <dialogue>He's searching for the armor. Just \* like his insolent father.</dialogue> <character>SISTER 2</character> <dialogue>Yes, sister. Then we must ensure he does not find what remains.</dialogue> <scene_description>They nod to each other and turn away, lifting off into the shadows in opposite directions. (2400 ABB) ABOVE/BELOW</scene_description> <character>EXT. KUBO'S SAIL BOAT - THE LONG LAKE - NIGHT</character> <dialogue>Rain is pouring down now, building into a full blown storm.</dialogue> <dialogue>Kubo stares down at the water while Monkey stares up at the moon, barely visible behind the RUMBLING clouds. Both are clearly concerned.</dialogue> <character>KUBO</character> <parenthetical>(shouting)</parenthetical> <character>MONKEY, I THINK HE'S IN TROUBLE. WE \*</character> <dialogue>SHOULD HELP HIM. \*</dialogue> <scene_description>Monkey stares upwards as lightning CRACKLES far above them.</scene_description> <character>MONKEY</character> <dialogue>KUBO, YOUR AUNTS ARE STILL OUT</dialogue> <character>THERE. I'M SORRY, BUT WE HAVE TO \*</character> <dialogue>HEAD FOR SHORE.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>There's a SPLASH of water behind her, and when she turns around Kubo has vanished.</dialogue> <character>MONKEY (CONT'D) \*</character> <dialogue>Kubo! \*</dialogue> <scene_description>Monkey grabs the Sword Unbreakable, then she too moves to \* dive off the boat. As she jumps something snags her ankle and yanks her violently back across the deck. Her leg is ensnared in a chain, and a flash of lightning reveals the grim silhouette of a masked Sister, holding the other end of it as she floats above the boat. The Sister stares down at Monkey, her WHISPERS inexplicably audible over the sounds of the storm.</scene_description> <character>SISTER \*</character> <dialogue>Look at this. I come fishing and \* all I reel in is a stinking ape. \*</dialogue> <scene_description>She glides closer. \*</scene_description> <character>SISTER</character> <dialogue>How pathetic that this filthy \* creature is all that's left of my \* sister's magic. \*</dialogue> <character>MONKEY \*</character> <dialogue>This filthy creature will tear you \* apart! \*</dialogue> <scene_description>She suddenly springs forward, attacking with the Sword \* Unbreakable. \* UNDERWATER \* Kubo swims through columns of kelp and schools of flitting \* fish. They scatter as lightning FLASHES far above. \* An unnatural light, glowing between the inky strands, beckons \* Kubo deeper. \* He pushes his way through the kelp and there, suspended in \* the sea, is the second piece of armor! A golden, shimmering \* breastplate, unmoved by the current; a white hot beacon in \* the black abyss. \* Kubo swims faster, reaching out for the breastplate. He then \* slides his body into it, the armor magically shrinking to fit \* him. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>He turns to swim back to the surface, but as he does, a \* second, more sinister glow glints off the breastplate. \*</dialogue> <dialogue>It's a giant, luminous eye atop a serpentine stalk that \* undulates with a thousand legs. \*</dialogue> <dialogue>Before he can stop himself, Kubo is staring directly into it. \* His eye widens. His limbs fall limp by his side. He is \* transfixed. \*</dialogue> <dialogue>The sea creature's body slithers closer and its dreadful arms \* open to embrace him. \*</dialogue> <scene_description>WATER'S SURFACE \* The storm RAGES. As does the battle on the boat between \* Monkey and the Sister. Lightning and THUNDER tear apart the \* sky as Monkey dodges blow after blow of The Sister's terrible \* chain. \* Beneath their feet the boat's deck is beginning to crack and \* unfold, the magic binding it together starting to fade. \*</scene_description> <character>MONKEY \*</character> <dialogue>Kubo! \*</dialogue> <scene_description>The Sister's chain flies out and wraps around Monkey. The \* Sister reels her in. \*</scene_description> <character>SISTER</character> <dialogue>I have crushed creatures who could \* fit this world on their fingernail. \* This victory brings me no honor. \*</dialogue> <scene_description>As the Sister moves to strike, Monkey kicks her and frees \* herself from the chain. \*</scene_description> <character>MONKEY \*</character> <dialogue>Imagine how you're going to feel \* when you lose. \*</dialogue> <scene_description>Monkey "parkours" herself onto the mast, flipping over the \* Sister's head and landing right beside the Sword Unbreakable. \*</scene_description> <character>SISTER</character> <dialogue>I felt loss only once. \*</dialogue> <scene_description>Monkey grabs the Sword and immediately launches into a \* frenzied assault of her own. \*</scene_description> <character>SISTER</character> <dialogue>Eleven years ago, I lost my sister. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>The Sister is now the one dodging the blows, desperately \* trying to regain the offensive. \*</dialogue> <character>SISTER</character> <dialogue>She fell in love with a fool and \* betrayed our father. \*</dialogue> <scene_description>They remain locked in combat, the boat's slow disintegration \* forcing them to become increasingly acrobatic. \*</scene_description> <character>SISTER</character> <dialogue>She was an ungrateful coward! \*</dialogue> <scene_description>Monkey moves to strike a death blow, but the Sister suddenly \* vanishes into the darkness of the torrential rain. \* Monkey turns on the spot, surrounded by echoing GIGGLES, as \* lightning flashes reveal strobing glimpses of the Sister \* through the whipping sails. \*</scene_description> <character>MONKEY \*</character> <dialogue>Who's the coward now? \*</dialogue> <scene_description>The Sister's familiar porcelain mask slowly rises into frame \* directly behind Monkey... \* The Sister lunges at her with a ROAR. Monkey pivots and \* raises her sword but as she parries one piece of the broken \* chain, the other coils around her body and drives her into \* the deck. \* Beetle emerges from the water, triumphantly holding an arrow \* above his head. It's the one with the fish impaled upon it. \*</scene_description> <character>BEETLE \*</character> <dialogue>I got it! I got it. \*</dialogue> <scene_description>Monkey and the Sister look up as Beetle clambers onto the \* deck, proudly wielding his skewered fish. \*</scene_description> <character>MONKEY \*</character> <dialogue>Beetle! What happened? Where's \* Kubo? \*</dialogue> <character>BEETLE \*</character> <dialogue>Ummm.... \*</dialogue> <scene_description>The Sister takes advantage of Monkey's distraction and \* attacks. The sword is flung from Monkey's hand and lodges in \* the side of the boat near Beetle with a TWANG. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>Beetle frowns, clearly confused. The Sister has turned her \* attention to him, gliding across the deck. He casts aside the \* arrow and pulls free the Sword Unbreakable, squaring his \* shoulders and ready to fight. \*</dialogue> <dialogue>The Sister attacks Beetle and disarms him before she is lassoed by her own chain with Monkey wielding the other end. \* Monkey furiously whips the Sister through the air, hitting \* her against the mast. \*</dialogue> <character>MONKEY \*</character> <dialogue>Get back down there! He's in \* trouble! \*</dialogue> <character>BEETLE \*</character> <dialogue>I got it. \*</dialogue> <scene_description>Beetle takes one last, deep breath, and dives off the boat \* back into the water. \* UNDERWATER \* The Ningen drags Kubo down deeper and deeper into the water, \* its eerie light illuminating Kubo's face while indecipherable \* WHISPERS chatter through the gloom. As they descend, the \* light reveals a massive form beneath them; a giant mouth, \* rimmed with thousands of razor sharp teeth, surrounded by \* dozens more of those staring eyes. \* WHISH! An arrow punctures the glowing eye, and the lake is \* filled with SCREAMS as Beetle appears through the water. He \* follows up with a volley of arrows, spearing one eyeball \* after another. \* Kubo is suddenly released from the Sea Creature's grasp, and \* blinks himself awake, but he's out of air and fading fast. \* With a last exhalation of bubbles, his eye rolls back in his \* head. \* Beetle sees this and swims towards Kubo. \*</scene_description> </scene> <scene> <stage_direction>EXT. KUBO'S SAIL BOAT - THE LONG LAKE - RAGING STORM \*</stage_direction> <scene_description>The boat is in shambles now, torn into little more than \* stepping stones for Monkey and the Sister as they fight. \*</scene_description> <character>SISTER</character> <dialogue>It never fails to amaze me, how the \* creatures down here fight so hard, \* just to die another day. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY \*</dialogue> <scene_description>Down here, there are days worth \* fighting for. \*</scene_description> <character>SISTER</character> <dialogue>There is nothing down here worth \* anything! \*</dialogue> <scene_description>Monkey sees the Sword Unbreakable at the other end of the \* boat and runs for it. Just as she reaches it, the Sister's \* chain ensnares her. She continues to crawl towards the sword \* and a thin trickle of blood begins to stain the white of her \* fur. \*</scene_description> <character>SISTER</character> <dialogue>It's pathetic what happened to my \* sister. I looked up to her. She was \* so strong. Love made her weak. \*</dialogue> <character>MONKEY \*</character> <dialogue>No. It made me stronger. \*</dialogue> <scene_description>Monkey takes advantage, and with a savage burst of strength \* she springs into the air, and raises the Sword Unbreakable \* for its killing blow... \* UNDERWATER \* Beetle is just a few feet from the surface, dragging the \* unconscious Kubo when he sees the Sister's cracked mask sink \* down past him, disappearing into the darkness of the water. \* WATER'S SURFACE \* Beetle's head breaks the surface, and he looks around to see \* the scattered and fragmented remains of Kubo's boat. \*</scene_description> <character>MONKEY (O.S.) \*</character> <dialogue>OVER HERE! \*</dialogue> <scene_description>Monkey is crouched on a floating chunk of boat, no more than \* a few feet wide, waving her arms to get Beetle's attention. \* Beetle drags Kubo through the water over to Monkey and hauls \* his limp body up onto the wreckage of the boat. \* Monkey shakes him by the shoulders but he doesn't stir. \*</scene_description> <character>BEETLE</character> <dialogue>The eyes. It was the eyes! They had him in a trance.</dialogue> <scene_description>DRAFT: 01.05.16:</scene_description> <character>MONKEY \*</character> <dialogue>No, no, No! Come on, come on, Kubo! \* Wake up! Please wake up! Please, \* please, wake up. It's gonna be \* alright. It's gonna be alright. I'm \* here. I'm right here.</dialogue> <scene_description>Then, slowly but steadily, Beetle and Monkey notice the \* pieces of the boat are beginning to reassemble around them. \* Realizing what this means, they both look down at Kubo again. \* He COUGHS weakly, his eye closed, and mutters as if caught in \* a dream. \*</scene_description> <character>KUBO \*</character> <dialogue>I saw... \*</dialogue> <character>BEETLE \*</character> <dialogue>What? What did you see? \*</dialogue> <scene_description>Kubo opens his eye and looks directly up at Monkey. \*</scene_description> <character>KUBO \*</character> <dialogue>I saw...Mother. \*</dialogue> <character>MONKEY</character> <dialogue>My son.</dialogue> <scene_description>Monkey just reaches down and pulls Kubo up into an enormous, \* tearful hug. \* Beetle watches this embrace with an almost comical level of \* astonishment as the boat continues to fold back together, and \* as that magnificent sail unfurls, once again... \* (2500 SYS) MOTHER &amp; HANZO'S STORY</scene_description> <character>EXT. THE LONG LAKE SHORE - NIGHT</character> <dialogue>The storm has finally come to an end as Kubo's boat calmly reaches the shore of the Long Lake.</dialogue> <character>BEETLE (O.S.) \*</character> <dialogue>So you must look more like your dad \* then? \*</dialogue> </scene> <scene> <stage_direction>INT. CAVE THAT REMINDS US OF HOME - NIGHT</stage_direction> <scene_description>Kubo, and Beetle sit around a campfire, their attention is fixed on Monkey as she fusses around the cave, trying to avoid eye contact. After a while the weight of their collective gaze provokes a \* response.</scene_description> <character>MONKEY</character> <dialogue>You're staring. Let me guess. You \* have questions. \*</dialogue> <scene_description>Monkey SIGHS and stops what she's doing. Kubo and Beetle nod \* their heads in unison.</scene_description> <character>KUBO</character> <dialogue>Why- \*</dialogue> <character>BEETLE</character> <dialogue>I'll start. First question, if I'm \* Beetle, and you're Monkey, why isn't he called "Boy"?</dialogue> <character>MONKEY</character> <dialogue>Oh boy. Questions can wait. We need sleep.</dialogue> <scene_description>Monkey spots Kubo's eye on her and for a moment she holds his gaze. She smiles, but it is tinged with sadness, as though she would like to explain further but can't find the words.</scene_description> <character>KUBO</character> <dialogue>Tell us your story. Then we can sleep. Please?</dialogue> <scene_description>Hearing this last word, Monkey hesitates. She smiles and \* relents, shaking her head in defeat as she knuckles closer.</scene_description> <character>MONKEY</character> <dialogue>Okay. Perhaps you can help me...</dialogue> <scene_description>She takes Kubo's shamisen from beside his bag and slides it across the ground toward him. He picks it up, and plucks a couple of notes.</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>The night I met your father...</dialogue> <scene_description>She hesitates.</scene_description> <character>KUBO</character> <dialogue>Mother?</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Monkey takes a deep, solemn BREATH.</dialogue> <character>MONKEY</character> <dialogue>My sisters and I went to the Temple of Bones to kill Hanzo. \*</dialogue> <scene_description>A moment of stunned silence. Kubo is still staring, in shock, \* bachi pick poised upon the shamisen strings. Monkey raises her eyebrows at him and clears her throat. \*</scene_description> <character>KUBO</character> <dialogue>Oh. Right.</dialogue> <scene_description>He begins plucking the shamisen strings again, and a delicate tune begins to play. Immediately all around the cave, pebbles and twigs and fish bones and stalactites all begin to tremble and move. Just like when the sail boat formed, they dance and weave through the air to illustrate her story, becoming a kind of makeshift planetarium depicting the night sky.</scene_description> <character>MONKEY</character> <dialogue>At the bidding of the Moon King, my \* sisters and I had come down from the night sky and killed many noble warriors. Your grandfather told us that any man who found the magical armor would grow too powerful and be a threat to the heavens. That night I arrived at the Temple before my sisters. And there he was. The mighty Hanzo.</dialogue> <scene_description>The objects of the cave form an elaborate tableau of Hanzo first meeting Mother in the Temple of Bones.</scene_description> <character>MONKEY</character> <dialogue>"You have offended my father," I told him. "Now you must die."</dialogue> <character>BEETLE</character> <dialogue>Yeah, that's so you.</dialogue> <scene_description>Kubo nudges him with his elbow.</scene_description> <character>KUBO</character> <dialogue>Beetle! Shhh!</dialogue> <scene_description>The tableau Hanzo faces Mother, sword drawn. She falls upon him with her own sword, robe and hair writhing about her.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY</dialogue> <scene_description>We fought. Hanzo was strong. But \* then he stopped. He looked into my eyes and uttered four simple words. \* These words changed everything. A breathless beat.</scene_description> <character>BEETLE</character> <dialogue>"I love you... Monkey?" \*</dialogue> <character>MONKEY \*</character> <dialogue>"You are my quest," he whispered. I had seen the wonders of the \* universe, but the warmth of his gaze as I looked into his eyes... That I had never known. It was his humanity I saw. And it was more powerful than anything in my cold realm!</dialogue> <scene_description>Hanzo and Mother dance, holding each other closely.</scene_description> <character>MONKEY</character> <dialogue>In recognizing his compassion I recognized my own. I spared his life. He gave me mine.</dialogue> <scene_description>Kubo stares at the new tableau that has formed: Mother &amp; Hanzo holding baby Kubo in their arms.</scene_description> <character>MONKEY</character> <dialogue>And then he gave me you. \*</dialogue> <scene_description>Meanwhile, baby Kubo smiles happily, blinking both his bright eyes. Whatever happened to his eye, hasn't gone down yet.</scene_description> <character>MONKEY</character> <dialogue>But your Grandfather found us.</dialogue> <scene_description>The Origami family falls lifeless into Monkey's hand. \*</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>His rage at my betrayal shook the heavens. \*</dialogue> <scene_description>And then the floating debris suddenly stops in place, rolling \* gently in the air a beat before unraveling and falling \* lifeless to the cave floor. Kubo has stopped playing the \* shamisen. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MONKEY (CONT'D) \*</dialogue> <scene_description>Your father and his army gave their \* lives, allowing me to escape with \* you in my arms. \* Kubo looks at the shredded paper in front of him. \*</scene_description> <character>KUBO</character> <dialogue>Why does Grandfather hate me?</dialogue> <scene_description>Monkey strokes her hand through his hair.</scene_description> <character>MONKEY</character> <dialogue>Oh, Kubo. He doesn't hate you. He \* wants to make you just like him. Blind to humanity, as I once was. Only then can you take your place beside him as part of his family... cold and hard and "perfect".</dialogue> <scene_description>Kubo closes his eye tight.</scene_description> <character>KUBO</character> <dialogue>I'll never be like him! Never! \*</dialogue> <character>MONKEY</character> <dialogue>I know.</dialogue> <scene_description>They sit in silence and, after a moment, Monkey realizes he has fallen asleep in the safety of her arms. She rises and carries him over to a corner where she uses his robes to tenderly tuck him in.</scene_description> <character>MONKEY</character> <dialogue>He's exhausted.</dialogue> <character>BEETLE</character> <dialogue>Me too.</dialogue> <character>MONKEY</character> <dialogue>I'm not tucking you in.</dialogue> <scene_description>Beetle smiles as Monkey pads back over to the fire. He notices the blood staining her fur and her pained expression as she sits.</scene_description> <character>BEETLE</character> <dialogue>You're hurt.</dialogue> <scene_description>He reaches out to her.</scene_description> <character>MONKEY</character> <dialogue>Just a scratch.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>She slaps his hand away, but there's no malice in it.</dialogue> <character>BEETLE</character> <parenthetical>(gently)</parenthetical> <dialogue>Monkey? Why didn't you tell him sooner... who you really are?</dialogue> <character>MONKEY</character> <dialogue>The magic that keeps me here... it's fading. Soon I'll be gone, and then Kubo will be alone again.</dialogue> <character>BEETLE</character> <dialogue>Not alone. He is the son of Hanzo. I will do everything I can to keep him from harm.</dialogue> <scene_description>Monkey appreciates this.</scene_description> <character>MONKEY</character> <dialogue>Thank you, Beetle. To know Kubo has someone to watch over him when I'm gone. That would be a fine way to end my story.</dialogue> <scene_description>Beetle considers this.</scene_description> <character>BEETLE \*</character> <dialogue>Your story will never end.</dialogue> <scene_description>Monkey is surprised and a little moved by his sentiment. He looks over at Kubo as he continues. \*</scene_description> <character>BEETLE</character> <dialogue>It will be told by him. And by the people he shares it with. And by the people they share it with. And by the people they share it with. And by the people they share it with...</dialogue> <scene_description>It's starting to get a little awkward.</scene_description> <character>MONKEY</character> <dialogue>Beetle...</dialogue> <character>BEETLE</character> <dialogue>The point is, your story will live \* on. In him. \*</dialogue> <scene_description>And Monkey really likes the sound of that. She smiles. \* Kubo lies in the corner of the cave on his side, sleeping soundly.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BLACK</dialogue> <dialogue>Kubo's eye blinks open.</dialogue> <scene_description>(2600 KUD) KUBO'S DREAM</scene_description> <character>EXT. TWISTED RIVER - CONTINUOUS</character> <dialogue>Kubo is lying in long grass beside a river similar to the one at the cemetery near his home. Somewhere close by, the plucked notes of a shamisen are playing a BEAUTIFUL SONG.</dialogue> <dialogue>Kubo sits up and looks around and sees a figure next to him.</dialogue> <dialogue>It appears to be a sweet old man with a smile on his face. He plays a shamisen.</dialogue> <character>OLD MAN</character> <dialogue>Hello, my young friend. Why don't you join in my song?</dialogue> <character>KUBO</character> <dialogue>But how did you..? You're...</dialogue> <character>OLD MAN</character> <dialogue>Even blinder than you?</dialogue> <scene_description>The old man smiles to let Kubo know he is being light- hearted. Never one to back down, Kubo adds...</scene_description> <character>KUBO</character> <dialogue>Twice as much. To be precise.</dialogue> <character>OLD MAN</character> <dialogue>Which means I see double the truth.</dialogue> <character>KUBO \*</character> <dialogue>This is all a dream.</dialogue> <parenthetical>(wary)</parenthetical> <dialogue>Is this a good dream or a bad one?</dialogue> <character>OLD MAN</character> <dialogue>See for yourself.</dialogue> <scene_description>The man gestures across the river, which has suddenly expanded into a giant moat, beyond which a majestic stone fortress rises out of the mist.</scene_description> <character>KUBO</character> <dialogue>My father's fortress.</dialogue> <character>OLD MAN</character> <dialogue>Yes.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>The tableau continues to shift before Kubo's eye, dissolving into rows of SAMURAI wearing the beetle crest on their armor, standing frozen like statues. They are guarding a dazzling golden helmet, floating in the air.</dialogue> <character>KUBO</character> <dialogue>The last piece of armor! It's here?</dialogue> <character>OLD MAN</character> <dialogue>Follow the setting sun and you'll find it. In the place that might have been your home. Claim your birthright, Kubo! Give this story... a happy ending!</dialogue> <scene_description>And with that, the old man plucks a single VERY LOUD NOTE --</scene_description> </scene> <scene> <stage_direction>INT. CAVE THAT REMINDS US OF HOME - DAWN</stage_direction> <scene_description>Kubo sits up, wearing a look of epiphany on his face. He turns to look at his companions. He rushes over to shake Monkey awake. Then a groggy Beetle.</scene_description> <character>KUBO</character> <dialogue>Mother! Beetle! Wake up! \*</dialogue> <character>MONKEY</character> <dialogue>I'm up. I'm up.</dialogue> <character>BEETLE</character> <parenthetical>(groaning)</parenthetical> <dialogue>I'm down.</dialogue> <character>MONKEY</character> <parenthetical>(to Beetle)</parenthetical> <dialogue>Ugh. Get off.</dialogue> <scene_description>Beetle stretches, a pained expression on his face.</scene_description> <character>BEETLE</character> <dialogue>I think I slept on something...</dialogue> <scene_description>He reaches down and pulls out the sheathed Sword.</scene_description> <character>BEETLE</character> <dialogue>"Sword Uncomfortable".</dialogue> <character>KUBO</character> <dialogue>The Helmet. I know where it is. I saw it in a dream, Beetle!</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>A dream? Well that doesn't mean anything, in particular. I dreamt I fought a giant skeleton with swords in its head.</scene_description> <character>MONKEY</character> <dialogue>That really happened.</dialogue> <character>BEETLE</character> <dialogue>Oh. Yeah.</dialogue> <character>KUBO</character> <dialogue>Beetle, Come on! This way!</dialogue> <scene_description>Kubo picks up Little Hanzo and pops him into his bag, fastening the flap over the top as he slings it over his shoulder. Kubo motions to the others. Beetle and Monkey exchange curious glances and follow him. (2700 ETF) ENTER THE FORTRESS</scene_description> <character>EXT. THE FARLANDS - SUNRISE</character> <dialogue>An epic panoramic landscape. The waking sun breaks through boundless banks of cloud, and paints the landscape beneath a blazing red. Dwarfed by the immensity of this vista are our heroes, but their shadows grow and multiply out from the horizon like an infinite family of paper dolls.</dialogue> <character>EXT. MOUNTAIN PASS - THE FARLANDS - LATE AFTERNOON</character> <dialogue>Our heroes hike a trail through the mountains. As they traverse a particularly steep bluff, Beetle gamely lifts Kubo up by his collar and plonks him onto his shoulder.</dialogue> <dialogue>As they near the top of the mountain ridge they play a cheerful game, spirits high.</dialogue> <character>KUBO \*</character> <dialogue>I spy with my one eye, something beginning with... "S." \*</dialogue> <character>BEETLE</character> <dialogue>"Snow."</dialogue> <character>KUBO</character> <dialogue>No.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>"Snowflake."</scene_description> <character>KUBO</character> <dialogue>No.</dialogue> <character>BEETLE</character> <dialogue>Okay... "Snow-covered trees."</dialogue> <character>MONKEY</character> <dialogue>Nothing to do with snow.</dialogue> <character>BEETLE</character> <parenthetical>(looks at Monkey)</parenthetical> <dialogue>How about "serious?" \*</dialogue> <character>MONKEY</character> <parenthetical>(mutters)</parenthetical> <dialogue>"Stupid." \*</dialogue> <scene_description>Kubo frowns. From his perch on top of Beetle he hears a sound. Soft, indistinct, but strangely familiar.</scene_description> <character>BEETLE</character> <dialogue>Okay, I got it. "Snow." \*</dialogue> <character>MONKEY</character> <dialogue>He said it wasn't snow.</dialogue> <scene_description>Kubo looks up into the sky.</scene_description> <character>KUBO</character> <dialogue>It's a song.</dialogue> <character>BEETLE</character> <dialogue>Well, that's not fair! How do you see a song?</dialogue> <scene_description>Kubo leans over and gently tilts Beetle's head.</scene_description> <character>KUBO</character> <dialogue>You look.</dialogue> <scene_description>Above them a hundred-strong flock of birds glide beneath the \* canopy of cloud. They look like herons but glow with a magical blue light and sing a symphonic version of the song from Kubo's own dream.</scene_description> <character>MONKEY</character> <dialogue>Golden Heron. It's believed they hold the souls of the departed, carrying them over to wherever they may need to go.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE</dialogue> <scene_description>What are they singing?</scene_description> <character>KUBO</character> <dialogue>It's beautiful. \*</dialogue> <character>MONKEY</character> <dialogue>Many say the song's about what happens when we die. How we don't just... disappear.</dialogue> <character>BEETLE</character> <dialogue>We don't? So what happens to us?</dialogue> <character>MONKEY</character> <dialogue>Like Kubo's paper, we shift. We transform. So we may continue our story to another place. The end of \* one story is merely the beginning of another...</dialogue> <scene_description>And at that they crest the top of the ridge to see the heron flying over a pair of monumental stone faces, dozens of feet high, carved into the likenesses of Hanzo and Mother. Cracked and forlorn, they have fallen in against one another, foreheads touching to create a crumbling arch. A bridge painted with the beetle crest runs between them, leading to the dark ruins of a massive island fortress. We saw this once-majestic place before, in Kubo's dream. Only now it lists into the water, walls and rooftop shattered and overgrown with wild bamboo. A broken home. \* (2800 MEM) MEMORIES</scene_description> <character>INT. ENTRY HALLWAY BEETLE FORTRESS - DUSK</character> <dialogue>Torn banners displaying the beetle crest flap in the evening wind as the trio moves through the ruins. \*</dialogue> <character>BEETLE</character> <dialogue>I remember this place. \*</dialogue> <scene_description>It's clear this place was once splendid, filled with weapons \* and armor and beautiful works of art. Now all that remains is \* covered over in dust and encroaching weeds and bamboo. \*</scene_description> <character>INT. STUDY BEETLE FORTRESS - CONTINUOUS</character> <dialogue>Kubo slides open a door into a room overflowing with papers, scrolls, and maps.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>There are drawings of Ningen and Odokuro, even sketches of \* the armor itself. It seems this place was entirely dedicated to Hanzo's search for the armor.</dialogue> <character>KUBO</character> <dialogue>This was where my father prepared for his quest. \*</dialogue> <scene_description>Our heroes walk through it, gazing around in wonder at the various memories of their journey. Monkey examines up a piece \* of paper with an image of the Helmet on it. Kubo spies a stand of intricately printed screens in front of a doorway across the room. Upon one of them is an illustration of an amazing golden helmet, just as in Kubo's dream! The sweeping lines of the helm curve around an elegant war mask that mimics the facial features of Hanzo. \* Kubo excitedly pushes through the screens. \* (2900 UND) UNITED/DIVIDED</scene_description> <character>INT. COURTYARD BEETLE FORTRESS - NIGHT \*</character> <dialogue>Moonlight seeps through a tangle of high bamboo growing out \* of the ragged remains of a once grand courtyard. Kubo runs \* out across a floor strewn by the broken remnants of hundreds \* of pieces of ornate samurai armor. \*</dialogue> <character>BEETLE \*</character> <dialogue>There's something I don't \* understand...Why would the helmet \* be here? \*</dialogue> <character>MONKEY \*</character> <dialogue>Kubo! \*</dialogue> <scene_description>Monkey and Beetle are right behind him, but already smoke is \* seeping amongst the shattered armor, thin tendrils snaking up \* beneath breastplates, gauntlets, and greaves. \* Fingers of smoke slither up around our heroes, constricting \* and hoisting them into the air. Beetle's bow falls from his \* hand and CLATTERS to the ground. \* A familiar LAUGH echoes through the courtyard. \* The other Sister, stark and ominous against the full moon, \* floats down in front of her captives, smoking pipe in hand. \*</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>Release us! \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>She floats closer. \*</dialogue> <character>SISTER</character> <dialogue>Oh, Sister. I remember how we \* looked up to you. Of all of us, you \* shone the brightest. Such a waste. \* All we ever wished was to be a \* family... in our home among the \* stars. \*</dialogue> <character>MONKEY \*</character> <dialogue>I think we have very different \* definitions of family. \*</dialogue> <scene_description>The Sister reaches out to Kubo. \*</scene_description> <character>BEETLE \*</character> <dialogue>Don't you touch him, you witch! \*</dialogue> <scene_description>The Sister turns her horrible NOH mask to face him. \*</scene_description> <character>SISTER</character> <dialogue>And then there's you. The thieving \* insect who stole my sister's soul. \*</dialogue> <character>MONKEY \*</character> <dialogue>What? \*</dialogue> <scene_description>Noticing the confusion in Beetle's and Monkey's eyes, the \* Sister throws back her head and GIGGLES again. \*</scene_description> <character>SISTER \*</character> <dialogue>Oh, this is precious! You've been \* together all this time and you \* haven't even realized? \*</dialogue> <scene_description>A beat of stunned silence. \* A puff of smoke drifts from the Sister's pipe across the \* ground to Hanzo Origami, and lifts him into the air. She \* speaks directly to Beetle as she motions to Monkey. \*</scene_description> <character>SISTER</character> <dialogue>You took her from us. It was only \* fitting we took something from you! \* How swiftly those memories spilled \* from your head. Wiping out all \* recollection of your obscene union, \* HANZO. \*</dialogue> <scene_description>The smoke turns Little Hanzo in the air. Folding. Reforming. \* Until the paper samurai has become an exact replica of Beetle \* himself. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE \*</dialogue> <scene_description>What..? \* Monkey turns to Beetle, confused. \*</scene_description> <character>MONKEY \*</character> <dialogue>Hanzo..? \*</dialogue> <scene_description>Kubo wriggles and strains against his smoke bonds. \* Beetle turns to Monkey. Neither can believe what they're \* hearing. \*</scene_description> <character>BEETLE \*</character> <dialogue>I didn't know... \*</dialogue> <scene_description>Monkey looks at him with sympathy. \* The Sister CACKLES, finding this scene perversely enjoyable, \* and throws Beetle into a wall. \*</scene_description> <character>MONKEY \*</character> <dialogue>No! \*</dialogue> <scene_description>And then she notices Kubo, frantically struggling behind her. \*</scene_description> <character>SISTER</character> <dialogue>(laughing) \*</dialogue> <scene_description>I'm forgetting what I came here \* for... \* As the Sister glides toward him, Kubo is finally able to \* reach into the back of his belt. With a blur of his hand he \* slashes at her with his bachi pick, cracking her mask in half \* and breaking the pipe! \* The smoke demons disappear, the source of their power \* destroyed, dropping Monkey and Beetle to the ground. \* The Sister SCREAMS into Kubo's face, the lower half of her \* mask broken away. \* She tosses him across the courtyard, knocking him \* unconscious. \* Monkey hefts her sword and launches herself at the Sister. \* Just as her blade is about to make contact, the Sister spins \* and produces two crescent-shaped blades seemingly from \* nowhere. Sparks flash across their faces as weapons collide. \* The two spin, strike and dodge, a beautiful dance illuminated \* by the light of their magical blades. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>The Sister's assault is relentless, and Monkey's wound is \* hampering her defense. Slowly but surely the Sister is \* gaining the upper hand. \*</dialogue> <dialogue>She rains down blow after blow, forcing the sword from \* Monkey's hand, LAUGHING as she gains the advantage. \*</dialogue> <dialogue>Nearby, Kubo begins to come to, groggy and disoriented. He \* suddenly CRIES out... \*</dialogue> <character>KUBO \*</character> <dialogue>Mother! \*</dialogue> <scene_description>Monkey sees Kubo and crawls towards him. \* And then, as the Sister floats into the air preparing to \* deliver a fatal blow, a rusted sword spins at her, knocking \* her to the ground. \* The projectile came from Beetle, and he grabs more swords \* from the pile of armor around him. \* Beetle runs to where Kubo is comforting Monkey. \*</scene_description> <character>KUBO (CONT'D) \*</character> <dialogue>Shhh...it's okay. I'm here. \*</dialogue> <scene_description>Kubo looks up to Beetle. \*</scene_description> <character>KUBO (CONT'D) \*</character> <dialogue>Father! \*</dialogue> <character>BEETLE \*</character> <dialogue>My son. \*</dialogue> <character>MONKEY \*</character> <dialogue>(weakly) \*</dialogue> <scene_description>Seems I'm married to a bug. \* She hesitates as she looks him up and down. \*</scene_description> <character>BEETLE \*</character> <dialogue>Yeah. A samurai bug. \*</dialogue> <scene_description>She smiles grimly, holding onto Beetle's arm. \*</scene_description> <character>BEETLE</character> <dialogue>You are my quest. You always have been.</dialogue> <character>MONKEY \*</character> <dialogue>Hanzo. Keep him safe. No matter \* what. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>BEETLE \*</dialogue> <scene_description>I promise I will. \* Suddenly, Beetle YELLS in agony as the Sister appears behind \* him and plunges her blade deep into his back. \*</scene_description> <character>MONKEY \*</character> <dialogue>NO! \*</dialogue> <scene_description>Beetle slumps down beside Monkey, who looks up, dazed and \* horrified, as the Sister stands over them. \* She raises her blade above Monkey's head. \* Monkey looks over to Kubo. \*</scene_description> <character>MONKEY (CONT'D) \*</character> <dialogue>Fly home, Kubo. \*</dialogue> <scene_description>Time seems to slow down. The only sound we hear is the quiet \* THUMPING of Monkey's weakened heartbeat. \*</scene_description> <character>THUMP... THUMP... \*</character> <dialogue>Kubo races towards the shamisen, reaching out his hands. \*</dialogue> <character>THUMP... THUMP... \*</character> <dialogue>The Sister's sword carves through the air toward Monkey's \* neck. \*</dialogue> <character>THUMP... THUMP... \*</character> <dialogue>Kubo grabs the shamisen, raking his bachi across the strings \* so violently that two of them actually snap in half, and the \* REVERBERATING SOUND of the shamisen swallows up everything \* with a shockwave of blinding white light. \*</dialogue> <scene_description>(3000 KUC) KUBO CRIES</scene_description> <character>INT. COURTYARD BEETLE FORTRESS - NIGHT \*</character> <dialogue>DISSOLVE THROUGH to find Kubo on hands and knees, blinking \* his eye as he tries to get his bearings. \*</dialogue> <dialogue>Around him are pieces of the Sister's broken mask. In front \* of him lies the netsuke statue. It is broken in half. \* Beetle's broken bow lies next to him.</dialogue> <dialogue>Out of silence we gradually become aware of the slight but steady PLUCKING of a string. Dull. Empty.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Kubo kneels, cradling the shamisen with the two broken strings in his lap as a steady stream of teardrops fall from his face and repeatedly strike the one remaining string.</dialogue> <dialogue>Behind him, with the sound of each tear, shredded scraps of paper surge up into a tiny blizzard. Within it a pathetic, flimsy version of Little Hanzo begins to take shape.</dialogue> <dialogue>Sensing something, Kubo turns to see the figure there. A pitiful, torn version of its former self.</dialogue> <dialogue>But Hanzo Origami is not giving up. Using all of his strength, he drags himself across the floor and points his sword again.</dialogue> <dialogue>He slowly rises and goes over to the place where Hanzo fell, and sees the diminutive figure, damaged but undeterred, pointing with his sword and staring up at Kubo beseechingly.</dialogue> <dialogue>Finally, Kubo turns to see what he was pointing at. It's an illustration of the Helmet Impenetrable. Only from here it looks exactly like the bell in Kubo's village.</dialogue> <dialogue>CLOSE ON his face, staring as realization dawns.</dialogue> <dialogue>Kubo packs his bag with the sword, Hanzo Origami, and the broken netsuke. He ties the straps of the breastplate onto the side and then steps over Beetle's broken bow. He pauses for a moment as he looks at it. Then he kneels down and takes the bowstring from the shattered wood and wraps it around his wrist alongside his mother's bracelet.</dialogue> <dialogue>And then he picks up his shamisen, closes his eye, and stands for a moment in the center of the courtyard, the only sound the FLAPPING of the frayed beetle banners as they billow in the wind.</dialogue> <dialogue>Kubo plays one last note, PLUCKING the string as hard as he can, snapping it completely.</dialogue> <dialogue>With a RUSTLING, the beetle banners flutter more violently, twisting and folding and breaking off their mounts. The banners envelope him, intertwining with his own robe to become a magnificent pair of wings that lift him up into the air, soaring above the ruins...</dialogue> <scene_description>(3200 RTT)</scene_description> <character>EXT. CENTRAL AVENUE - DAY \*</character> <dialogue>The bell rings above the village ruins. It has been utterly \* decimated, like a bomb went off. The once lively and colorful \* place has been burned to the ground. \*</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>Kubo's new wings fly him across the landscape and land him on \* central avenue near the bell tower. \*</dialogue> <dialogue>Kubo struggles to his feet and stares up at the bell. \*</dialogue> <dialogue>Kubo steps over to the blackened wooden scaffold of the bell tower. It's quiet enough to hear his footsteps CRUNCH as he walks. And then, face determined, he starts hitting the \* broken tower until it crashes down with the bell. \*</dialogue> <dialogue>Kubo reaches in the rubble and frees the helmet. \*</dialogue> <character>KAMEYO (O.S.) \*</character> <dialogue>Kubo? Is that you? \*</dialogue> <scene_description>The voice surprises him. He turns around. \* From somewhere across the other side of the main street, a soot-stained face peeks out from the charred ruin of a house. It is Kameyo, and she watches the unfolding scene with wide eyes. \* Behind Kameyo are Hosato with Mari, and other familiar faces \* looking at him with awestruck curiosity. \*</scene_description> <character>KUBO \*</character> <dialogue>You have to leave this place. The \* Moon King, he is coming. \*</dialogue> <scene_description>The survivors see the look on his face and don't ask questions. They hurry through the market place toward the gate out of town. Kubo waits a moment for them to leave, puts on the helmet and \* then takes a deep breath. His hand tightens its grip on the \* sword hilt, and he looks up at the full moon hanging \* ominously in the sky. Unblinking. \*</scene_description> <character>KUBO</character> <dialogue>GRANDFATHER! IT'S ME! KUBO! I KNOW</dialogue> <character>YOU CAN SEE ME!</character> <dialogue>There's a moment of silence as the echoes of his shout dissipate, and Kubo whirls around to confront the BLIND OLD MAN from his dream. Now he wears regal robes that glow in the moonlight.</dialogue> <character>GRANDFATHER</character> <dialogue>Hello, Grandson. It's so good to see you at last. So to speak.</dialogue> <scene_description>He CHUCKLES. Gentle. Winsome. Utterly insincere. \* Kubo picks up a rock. \*</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>GRANDFATHER (CONT'D) \*</dialogue> <scene_description>And I see you found the armor. Seems your mother had a reason to \* bring you to this dreadful place after all. Kubo throws the rock at Grandfather. \* Grandfather's hand snatches the rock out of the air as it \* comes at him. \*</scene_description> <character>GRANDFATHER (CONT'D) \*</character> <dialogue>I see. \*</dialogue> <scene_description>His face still placid, he calmly squeezes up his fist and \* crushes the projectile to dust. \*</scene_description> <character>KUBO</character> <dialogue>I know you do. That's how this all began. You finally saw me. That was my fault. I should have listened to my parents. \*</dialogue> <character>GRANDFATHER</character> <dialogue>Kubo, we both want the exact same \* thing.</dialogue> <character>KUBO</character> <dialogue>You want to take my other eye. That's what you want.</dialogue> <character>GRANDFATHER</character> <dialogue>Well, yes, but do you know why I want it?</dialogue> <character>KUBO \*</character> <dialogue>Because you're old, and mean, and \* cruel. \*</dialogue> <scene_description>He takes a breath and smiles affably.</scene_description> <character>GRANDFATHER</character> <dialogue>Oh now, that's a little harsh. As \* long as you cling to that silly, useless eye, you can't come up to live with me in the heavens.</dialogue> <scene_description>Grandfather keeps moving closer to Kubo as he speaks.</scene_description> <character>GRANDFATHER</character> <dialogue>You'll be stuck down here in this hell. Staring with that lonely eye at hate and heartache and suffering and death.</dialogue> <scene_description>DRAFT: 01.05.16:</scene_description> <character>GRANDFATHER</character> <dialogue>Where I want to take you we have \* none of those things. It will just be you with your family. Where you belong.</dialogue> <character>KUBO</character> <dialogue>My family is gone. You killed them. \*</dialogue> <character>GRANDFATHER \*</character> <dialogue>No! They brought their fates upon \* themselves. They disgraced me and \* upset the order of everything.</dialogue> <character>KUBO</character> <dialogue>That's how your story goes.</dialogue> <character>GRANDFATHER</character> <dialogue>Oh, Kubo. When you're up there with me you will be beyond stories. You will be immortal. You will be... infinite. \*</dialogue> <character>KUBO \*</character> <dialogue>No, you're wrong. Not infinite. All \* stories have an end. \*</dialogue> <scene_description>Grandfather narrows his eyes. We get the sense he will only play this game so long. He's starting to look a little pale \* and more... wrinkly... than before. Grandfather's skin is \* slowly taking on the appearance of a milky cataract-like shell. Cracks on his face splinter across the surface like shattered glass. \*</scene_description> <character>GRANDFATHER</character> <dialogue>Is that right? And how does this \* story end? \*</dialogue> <scene_description>Kubo fixes his grandfather with a look filled with fire.</scene_description> <character>KUBO</character> <dialogue>I kill you!</dialogue> <scene_description>Kubo raises up his sword, ready for battle.</scene_description> <character>GRANDFATHER \*</character> <dialogue>Oh, very well. Is this your wish? \* To do battle with the hideous \* monster who ruined your life? To \* prove your worth like your doomed \* father? How mortal. \*</dialogue> <scene_description>(3400 SHO) SHOWDOWN</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL AVENUE - NIGHT</stage_direction> <scene_description>Grandfather throws open his arms and his entire body breaks apart like a cocoon. We see the blur of a hideous head trailing a long serpentine body as it launches a hundred feet into the air. Seeming smaller than ever, Kubo stands there looking up at this towering beast. The Moon Beast LAUGHS, shaking the very foundation of the devastated village. Kubo YELLS, and runs at the beast, sword held high. It lunges down at him, fangs bared. Kubo leaps, spinning over its head and slashing at its pearly white flesh. The sword connects with a flash of sparks, like metal on metal. The beast recoils, but whether it's out of pain or surprise is not immediately clear. Kubo is upon it again, a dazzling barrage of blows forcing the monster further back. Gaining the advantage, Kubo lunges with his sword, slicing deep into the creature's vast white eye. The beast ROARS and thrashes, its enormous tail decimating a scorched building behind it. Furious, the beast twists around and comes at Kubo. He ducks through a charred doorway and somersaults out of a window, the creature bulldozing the entire building behind him. Kubo jumps and weaves as the monster lashes out. Each time he evades its claws or maw, he scores a hit with his sword. The beast relentlessly pursues him through the blackened shells of ruined homes. Despite his agility and tenacity, Kubo is running out of breath. It seems he's fighting a losing battle. Exhausted, he stumbles, and the beast's jaws lock down around his body. The armor buckles and cracks around him, and Kubo is spat out, SMASHING through the remains of a wall. Painfully, Kubo crawls back onto his feet, bruised and bloodied. The creature snaps its tail like a whip, coiling around Kubo's body and pulling him up in front of its terrible face. The spiky tip of its tail hooks under the lip of Kubo's helmet and flips it off his head. Giant tendrils of saliva fly out of its mouth as it hisses...</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>MOON BEAST</dialogue> <scene_description>You want to be human? Then share their weakness! The tail around Kubo squeezes tight, crushing him.</scene_description> <character>MOON BEAST</character> <dialogue>Suffer their humiliation!</dialogue> <scene_description>The spiky tail tears the patch off Kubo's face.</scene_description> <character>MOON BEAST</character> <dialogue>Feel their pain!</dialogue> <scene_description>The beast throws Kubo contemptuously to the ground. He lands in the dust beside the Sword Unbreakable. As Kubo goes for it the Moon Beast strikes him with its enormous tail, flinging him like a rag doll through the air. (3500 T2S) THE 2 STRINGS</scene_description> <character>EXT. CEMETERY - CONTINUOUS</character> <dialogue>Kubo CRASHES through branches and bushes, cartwheeling through the undergrowth leading down to the riverside cemetery outside the village.</dialogue> <dialogue>He eventually comes to a stop, barely conscious. His bag lands nearby, its contents strewn around him.</dialogue> <dialogue>In the distance we hear the Moon Beast ROAR as it smashes through the village on its way to finish Kubo off.</dialogue> <dialogue>Kubo blinks. Slowly pulls himself off the ground.</dialogue> <dialogue>He reaches out for his sword. From beneath his robe sleeve the two bracelets around his wrist are exposed. His mother's hair and Beetle's bow string.</dialogue> <dialogue>Kubo's fingers pause over the top of the sword hilt. And then withdraw.</dialogue> <dialogue>And then, as quickly as he can, he deftly begins re-stringing his shamisen, using both string and hair.</dialogue> <dialogue>The Moon Beast thunders closer through the woods.</dialogue> <dialogue>Two strings in place, Kubo stares at the empty space where the final string should go.</dialogue> <dialogue>The Moon Beast appears, and finds Kubo kneeling on the ground, shamisen in hand.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>MOON BEAST</dialogue> <scene_description>This is the end of your story. Now take one last look with that lonely eye. One last look at this wretched place you call home. Kubo stands up. Defiant.</scene_description> <character>KUBO</character> <dialogue>I'm not leaving.</dialogue> <scene_description>He then reaches up and plucks out a hair from his own head, and stretches it across the shamisen. The Moon Beast CACKLES.</scene_description> <character>KUBO</character> <dialogue>For every horrible thing down here there's something far more beautiful. My mother saw it. So did my father. I see it, even with just one eye.</dialogue> <scene_description>The Moon Beast SNARLS, no longer finding this amusing.</scene_description> <character>MOON BEAST \*</character> <dialogue>Then I'll just have to rip it out of your head again, won't I?</dialogue> <scene_description>As the Moon Beast goes to strike, Kubo plucks the first string on the shamisen, producing a single BOOMING NOTE.</scene_description> <character>KUBO</character> <dialogue>IF YOU MUST BLINK, DO IT NOW!</dialogue> <scene_description>The Moon Beast stops, surprised. All the dead paper lanterns in the river suddenly ignite again, a trail of light snaking from the river all the way to the broken lanterns scattered throughout the marketplace.</scene_description> <character>KUBO</character> <dialogue>I know why you want my eye. Because without it I can't look into the eyes of another and see their soul. Their love.</dialogue> <character>MOON BEAST</character> <dialogue>Everything you loved is gone! Everything you knew has been taken from you!</dialogue> <scene_description>When Kubo speaks, his voice is stronger than ever.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>No. It's in my memories. The most powerful kind of magic there is. Kubo plucks the second string. And now, emerging from behind trees and grave markers, come the surviving villagers. They hold glowing lanterns as they march to take their place alongside Kubo. Kubo plucks the final string, producing a NOTE that echoes endlessly, and the Moon Beast stares down with an expression of shock. Yet more figures are joining the ranks of Kubo's army, but these are glowing with the same otherworldly light that we saw surrounding the blue herons. These are the spirits of the dead. He gestures to his army.</scene_description> <character>KUBO</character> <dialogue>It makes us stronger than you'll ever be. These are the memories of those we have loved and lost. And if we hold their stories deep in our hearts, then you will never take them away from us.</dialogue> <scene_description>Kubo stands there defiantly, looking up at the Moon Beast, who has clearly heard enough. The beast rears back and strikes down at Kubo like an enormous snake. But as his fanged head lunges at Kubo's army, it is deflected by a field of blue light that has appeared around them, just like the glow that protected Mother's boat in the prologue. The Moon Beast is stunned. Shakes his head. Then he strikes again. And again. Each time he is repelled by the field which keeps on growing larger and brighter.</scene_description> <character>KUBO</character> <dialogue>And that really is the least of it.</dialogue> <scene_description>With that, he brings his hand down on his shamisen, STRUMMING all three strings at once. The blue glow explodes, and everything is swallowed up in a blinding white light. (3700 GRR) GRANDFATHER REBORN</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY</stage_direction> <scene_description>The glare slowly dissipates, and in front of Kubo now stands the sweet-faced old man from Kubo's dream. He looks around, confused.</scene_description> <character>OLD MAN</character> <dialogue>Where am I?</dialogue> <scene_description>Kubo approaches him and kneels down.</scene_description> <character>KUBO</character> <dialogue>Hello, Grandfather.</dialogue> <scene_description>The old man stares at Kubo. Genuinely puzzled.</scene_description> <character>OLD MAN</character> <dialogue>Hello. What happened to your eye?</dialogue> <scene_description>Kubo stares at his grandfather, a little uncertain.</scene_description> <character>KUBO</character> <dialogue>Don't you remember?</dialogue> <scene_description>The old man shakes his head.</scene_description> <character>OLD MAN</character> <dialogue>I'm sorry, young man. But I seem to have forgotten my story. Can you help me?</dialogue> <scene_description>It takes a moment for this to sink into the crowd, and then Kamekichi pushes forward.</scene_description> <character>KAMEYO</character> <dialogue>I'll tell him. No, we'll all tell him. We'll tell him everything he needs to know.</dialogue> <scene_description>As Kubo watches, the old woman approaches the old man, warily at first, as if testing the water.</scene_description> <character>KAMEYO</character> <dialogue>You... are the kindest, sweetest man to ever live in this village.</dialogue> <scene_description>The old man seems surprised.</scene_description> <character>OLD MAN</character> <dialogue>Oh... Oh really?</dialogue> <scene_description>Kameyo breaks into a grin and nods vigorously.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KAMEYO</dialogue> <scene_description>Yes! Other villagers around her are starting to get the idea.</scene_description> <character>MARI</character> <parenthetical>(stepping forward)</parenthetical> <dialogue>Every day, you walk around smiling and handing out coins to children... like me!</dialogue> <character>KAMEYO</character> <dialogue>And old women!</dialogue> <character>OLD MAN</character> <parenthetical>(unsure)</parenthetical> <dialogue>Oh...</dialogue> <scene_description>Soon, each of the villagers is shouting out details of the old man's "story."</scene_description> <character>VILLAGER 1</character> <dialogue>You... you taught my kids to swim!</dialogue> <character>HOSATO</character> <dialogue>And... you give blankets to the poor!</dialogue> <character>HASHI</character> <dialogue>You're a good man.</dialogue> <character>VILLAGER 3</character> <dialogue>You fed the hungry.</dialogue> <character>VILLAGER 4</character> <dialogue>You always lend a helping hand!</dialogue> <character>VILLAGER 5</character> <dialogue>You're a great example!</dialogue> <character>OLD MAN</character> <dialogue>Oh. Turns out I'm pretty selfless.</dialogue> <character>YOUNG DAUGHTER</character> <dialogue>That's why we love you!</dialogue> <scene_description>Kameyo leans in close to the Old Man.</scene_description> <character>KAMEYO</character> <dialogue>You know, we have something in common. We both adore your grandson.</dialogue> <scene_description>She gestures to Kubo.</scene_description> <character>DRAFT: 01.05.16</character> <dialogue>KAMEYO</dialogue> <scene_description>His name is Kubo.</scene_description> <character>OLD MAN</character> <dialogue>Kubo....I'm sorry, but I don't remember.</dialogue> <character>KAMEYO</character> <dialogue>Well, your grandson's a storyteller. He'll tell you all the stories you've forgotten.</dialogue> <character>OLD MAN</character> <dialogue>Really?</dialogue> <scene_description>She winks at Kubo.</scene_description> <character>KUBO</character> <dialogue>Of course.</dialogue> <scene_description>DISSOLVE TO: (3800 FIP) FINAL PRAYER</scene_description> <character>EXT. PATH DOWN TO CEMETERY - WOODS OUTSIDE VILLAGE - NIGHT</character> <dialogue>Under the tiniest sliver of moon, a long procession of villagers heads down the forest path leading to the river. They hold glowing paper lanterns as they move along solemnly. Their departed loved ones walk alongside, identifiable by a subtle "spirit glow" emanating from them in the moonlight.</dialogue> <dialogue>When they reach the river, farewells are said and lit lanterns set adrift once more.</dialogue> <character>EXT. CEMETERY - NIGHT</character> <dialogue>The last of the remaining villagers file back up the path as Kubo assembles his new altar. On it, he places two unlit lamps, then gets to his knees, facing them. He begins speaking quietly.</dialogue> <character>KUBO</character> <dialogue>Hello, Mother. Father. I know my stories can tend to get a little, um, long. So I'll keep this brief.</dialogue> <scene_description>Kubo pauses, thinking what he wants to say.</scene_description> <character>KUBO</character> <dialogue>I am very grateful. I have had the chance to meet you both.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>KUBO</dialogue> <scene_description>Hear your wisdom. Feel your kindness. Even eat a meal sitting between you. This was a happy story. (a beat) But...It could still be a whole lot happier. Kubo leans closer to the altar, losing some formality now.</scene_description> <character>KUBO</character> <dialogue>And I don't know exactly what the rules are or how this works. But if there were any way to... y'know. I still need you. So I could say this has been a happy story. Or I could feel it. We could all feel it. And then we could end this story... together.</dialogue> <scene_description>A beat, and then he looks up again in growing wonder as a light spills across his face.</scene_description> <character>CUT TO:</character> <dialogue>BLACK</dialogue> <dialogue>A long silence, and then we start to hear the first few notes The Song of the Dead.</dialogue> <scene_description>(3900 UNI) UNITY</scene_description> <character>THE MOON</character> <dialogue>Reflected in the river. Glowing blue heron sail in front of it, singing their sweet song.</dialogue> <dialogue>We TILT UP across the surface of the water to find where the herons are coming from...</dialogue> <character>EXT. CEMETERY</character> <dialogue>Floating along the river, heading out to sea, paper lamps are refolding themselves and rising up out of the water, their light swelling brighter and brighter as they transform into glowing blue heron.</dialogue> <dialogue>The newly-formed paper birds then flap their wings and rise up off the water to join the rest of their flock in the sky.</dialogue> <character>DRAFT: 01.05.16</character> <dialogue>This wondrous sight is witnessed by three figures standing in shadow at the river's edge. The shortest of the figures looks up into the moonlight. It is Kubo, his face still partially hidden in shadow, but we can see he's wearing a huge smile. And now we see why...</dialogue> <dialogue>Standing on either side of him, their hands resting gently on his shoulders are HANZO &amp; MOTHER, young and resplendent. If there is a "spirit glow" around them, we can't quite see it in this light. They seem as alive and tangible as Kubo himself.</dialogue> <dialogue>His eye sparkles in the moonlight as he looks up at the heron \* soaring above the sea in the night Sky. \*</dialogue> <character>KUBO'S VOICE (V.O.)</character> <dialogue>The end.</dialogue> <scene_description>WHITE ROLL END TITLES.</scene_description> <character>DRAFT: 01.05.16</character> </scene> </script>

In feudal Japan, a 12-year-old boy with only one eye named Kubo tends to his ill mother in a mountain cave near a village. He earns their living by magically manipulating origami with music from his shamisen for the village folk, telling the tale of his missing father Hanzo, a samurai warrior. Kubo is never able to finish his story, as he does not know what happened to Hanzo and his mother cannot recall the end due to her deteriorating mental state. His mother warns him not to stay out after dark as her sisters Karasu and Washi, as well as his grandfather, the Moon King (who took his eye when he was a baby) will find him and take his remaining eye. One day, Kubo learns of the village's Bon festival allowing them to speak to deceased loved ones. Kubo attends but is angry that Hanzo does not appear from his lantern, and forgets to return home before sunset. Karasu and Washi quickly find him and attack, but his mother suddenly appears and uses her magic to send Kubo far away, telling him to find his father's armor. Kubo wakes up in a distant land to find Monkey, his wooden snow monkey charm, has come alive. Monkey tells him his mother is gone and the village destroyed. With help of "Little Hanzo", an origami figure based on Kubo's father, they set out to find the armor. Along the way, they meet Beetle, an amnesiac samurai who was cursed to take the form of a stag beetle/human hybrid but believes himself to have been Hanzo's apprentice. Kubo, Monkey, and Beetle reclaim the "Sword Unbreakable" from a cave guarded by a giant skeleton. They cross the Long Lake in a leaf boat to locate the "Breastplate Impenetrable" deep underwater. Kubo and Beetle swim down to retrieve it and encounter a sea monster, the "Garden of Eyes", who first uses its many eyes to entrance its victims by showing them visions of secrets, then eats them while they are distracted. Kubo is caught in the creature's sight, but while entranced, comes to realize that Monkey is the reincarnated spirit of his mother. Beetle rescues the unconscious Kubo and obtains the Breastplate, but on returning to the boat, they find that Monkey has been badly wounded fighting and vanquishing Karasu. They go to shore to recover, where Monkey explains that she and her Sisters were ordered by the Moon King to kill Hanzo, but she instead fell in love with him, and the Moon King branded her an enemy. That night, Kubo dreams of meeting a blind elderly man, who points him towards the "Helmet Invulnerable" in Hanzo's abandoned fortress. They travel there the next day but realize too late it is a trap set by the Moon King and Washi, the latter of which reveals that Beetle is Hanzo, whom they cursed for taking their sister away from them, and kills Hanzo. Monkey sacrifices herself, buying Kubo the time to use his shamisen to vanquish Washi, breaking two of the three strings on it. Little Hanzo provides insight to Kubo that the Helmet is actually the bell at the village, and Kubo breaks the last string to quickly travel there. At the village, Kubo meets the old man from his dream, who is revealed as the Moon King. He offers to take Kubo's other eye to make him immortal, but Kubo refuses. The Moon King transforms into a giant Dunkleosteus-like dragon, the Moon Beast, and pursues Kubo and the remaining villagers into its cemetery. When the armor proves ineffective, Kubo removes it and restrings his shamisen using his mother's hair, his father's bowstring, and his own hair. With the instrument, he summons the spirits of the villagers' loved ones, who show the Moon King that memories are the strongest magic of all and can never be destroyed. Kubo and the spirits' magic protect themselves and the villagers from the Moon King, stripping him of his powers and leaving him a mortal human without any memories. Spurred on by Kubo's stories, the villagers choose compassion and tell him he was a man of many positive traits, accepting him into the village. Kubo is able to speak to his parents' ghosts during the subsequent Bon ceremony, as they watch the deceased villagers' lanterns transform into golden herons and fly to the spirit world.

The Woman King_2022

tt8093700

<script> <scene> <character>THE WOMAN KING</character> <dialogue>by</dialogue> <scene_description>Dana Stevens Story by Maria Bello and Dana Stevens TRISTAR PICTURES Welle Entertainment JuVee Productions Jack Blue, Inc.</scene_description> <character>BLACK SCREEN</character> <dialogue>A text crawl sets the stage for an epic tale to unfold.</dialogue> <character>WEST AFRICA 1823</character> <dialogue>The African Kingdom of Dahomey is at a crossroads. A new king, Ghezo, has taken power, just as his enemy, the powerful Oyo Empire, begins to kidnap and sell his people to the European slave ships. The Oyo army is large and powerful, but the young king has his own fearsome weapon: an elite force of female soldiers, the Agojie, led by a general, Nanisca. Now, they are all that stand between the Oyo and their annihilation...</dialogue> </scene> <scene> <stage_direction>INT. HUT - NIGHT</stage_direction> <scene_description>A TEENAGE GIRL. Her sweet face frozen with fear. This is FUMBE. WOMEN AND CHILDREN, crammed into the small hut, some with haunted looks, clothing bloody and torn. Fumbe turns to a WOUNDED WOMAN, shivering, her thin cloth garment wet with fresh blood. Her halting breaths whisper --</scene_description> <character>FUMBE</character> <dialogue>Mother...</dialogue> <scene_description>Her mother can barely open her eyes.</scene_description> <character>MOTHER</character> <dialogue>Fumbe. When the men come, do not look at them...</dialogue> <scene_description>Fumbe stares, terrified, at the hut's entrance, covered with a thin fabric curtain. Beyond it, firelight flickers. Men are heard, talking, laughing...</scene_description> </scene> <scene> <stage_direction>EXT. HUT - SAME TIME</stage_direction> <scene_description>SIX MEN sit around a small fire, drinking, and oiling their weapons; knives, hatchets, machetes. Behind them, a small village, maybe thirty huts, perch like sitting ducks on the African plain. ONE OF THE MEN hears something. His head whips to look. He gestures for silence and stands, hand gripping his machete. The other men peer out at the GRASSLANDS... The bright full moon shines down. The grasslands stretch off in every direction. They seem to be waving in the breeze. An IMPALA leaps up from the grass, spooked, disappears into the darkness. The men make fun of their skittish comrade. Return to their drinking and laughter. A BIRD CALL... ON THE MEN, hearing this... exchanging glances and then... AGOJIE TROOPS RISE FROM THE GRASS. THIRTY soldiers, ALL WOMEN. And at the forefront, NANISCA. A General, eyes steely, her CHISELED body SCARRED from endless battles. She wears a necklace of shark's teeth, jagged and sharp. Standing beside her, her right hand, AMENZA, long and lithe, taut with adrenaline. To her left, IZOGIE, a young lieutenant, with the swagger of an elite athlete, her eyes unblinking. The Guard looks at his compatriots -- they are in deep shit. NANISCA WHIPS UP HER MACHETE! The female soldiers start screaming, undulating their voices in a terrifying battle cry... Eh-le-leh-m'elele! THEY CHARGE! Nanisca, Amenza and Izogie quickly overwhelm the Guards, swinging their machetes with more skill, more speed. IN THE MAHI VILLAGE, MEN, half dressed, rush out of their huts with axes and picks, to find they are overrun by the Agojie, tearing down doors and walls, routing the occupants. These women soldiers have no fear, dispatching challengers, no matter their size. Ferocious, unrelenting, they CUT DOWN this one, slice that one. The VILLAGE WOMEN huddle in terror, but are not touched by the Agojie.</scene_description> </scene> <scene> <stage_direction>INT. PRISONER HUT - SAME TIME</stage_direction> <scene_description>Fumbe hears the fighting. The captive women are fearful...</scene_description> </scene> <scene> <stage_direction>EXT. ENEMY VILLAGE - SAME TIME</stage_direction> <scene_description>NANISCA grapples with a man. He is strong, BUT SHE AND HER SOLDIERS OIL THEIR SKIN FOR BATTLE. Nanisca's arms and legs are glowing, slick, he cannot hold her. She spins away, gets behind him, holds her machete to his neck.</scene_description> <character>NANISCA</character> <dialogue>You challenge the King of Dahomey?</dialogue> <character>VILLAGE LEADER</character> <dialogue>No! We are farmers, we did nothing!</dialogue> <character>NANISCA</character> <dialogue>Where have you taken our people?</dialogue> <character>VILLAGE LEADER</character> <dialogue>We took nothing!</dialogue> <character>AMENZA</character> <parenthetical>(calling Nanisca by her title of General)</parenthetical> <dialogue>Miganon!</dialogue> <scene_description>Amenza yanks down the fabric door of the prisoner hut. THE DAHOMEY CAPTIVES stare back in fear, including Fumbe, holding her mother... Nanisca's eyes grow cold. She turns back to the village leader and SLITS HIS THROAT, dropping him to the ground.</scene_description> </scene> <scene> <stage_direction>EXT. ENEMY VILLAGE - DAWN</stage_direction> <scene_description>Smoke from dying fires drifts over the grasslands. Nanisca, blood smeared on her battle gear, walks with Amenza through the battered village, post-battle. She spots a discarded arc of metal on the ground, A CRUDE HORSESHOE which she hooks and raises with her machete, showing Amenza.</scene_description> <character>NANISCA</character> <dialogue>Horses. That can only be Oyo soldiers.</dialogue> <scene_description>She frowns, looking out at the casualties... her warriors and others. HER POV: An Agojie warrior, TARA, kneels at the dead body of one of her comrades. She takes a tiny metal charm from a small leather pouch attached to her belt. She lays the charm on the dead warrior's forehead. Nearby, the girl, Fumbe, hangs over her dead mother, crying. A shadow falls over her. NANISCA stands there, weary, fierce.</scene_description> <character>NANISCA</character> <dialogue>Who is she?</dialogue> <character>FUMBE</character> <dialogue>My mother.</dialogue> <character>NANISCA</character> <dialogue>We will take you back to your village. Perhaps your father...</dialogue> <character>FUMBE</character> <dialogue>They killed him. And my brothers. They killed them all.</dialogue> <scene_description>Nanisca glowers. The low sun, red in the smoke, rises behind her. She takes in the sight of the rescued Dahomey women, brutalized by their captors, their eyes haunted and empty. Izogie walks over to Nanisca and Amenza.</scene_description> <character>IZOGIE</character> <dialogue>Miganon. The prisoners are ready to march.</dialogue> <scene_description>Nanisca glares at the three surviving Guards, bloodied, their hands tied with rope. Behind them, MAHI MEN AND WOMEN, now captives of the Agojie. NANISCA's face is cold, practical, eyes falling across the dead Agojie. To Amenza and Izogie --</scene_description> <character>NANISCA</character> <dialogue>Bring me stronger warriors.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - EARLY MORNING</stage_direction> <scene_description>Out of a mud house comes a young woman, NAWI -- 19. Small, skinny, toughened by a life of neglect. Her fingers are working, braiding her own hair. She pauses in the shadows, sitting on a small stool to finish braiding before she performs a long list of chores: AT A WELL... she hoists a heavy bucket of water... She piles a cord of wood from a larger stack. Wraps it in a blanket. Lifts it ONTO HER BACK. Walks back to the house with the heavy load. There is no joy in her movements, muscle memory from years of hardship. She hefts a long stick in her hand, throws it up into a tree, knocking its high-hanging fruit to the ground. Gathers it... Takes meat from bread fruit, feeds the goats. She tosses corn to the chickens, enclosed in a pen...</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - SHORT TIME LATER</stage_direction> <scene_description>In the cooking area, Nawi lights the stove fire. Boils the water. Cooks porridge from the seeds. Corrals two children, a girl and a boy -- LIDA AND BOTHI.</scene_description> </scene> <scene> <stage_direction>7A EXT. FARMHOUSE - SHORT TIME LATER 7A</stage_direction> <scene_description>Nawi feeds the children breakfast. A plump, lumbering woman walks out from the farmhouse; the children call her "Mama." This is YDANDE. The children embrace her, loving her girth. She pushes a large empty basket into Nawi's hands, regarding her coldly.</scene_description> <character>YDANDE</character> <dialogue>Go to the market, Nawi.</dialogue> </scene> <scene> <stage_direction>EXT. CITY OF ABOMEY - LATE MORNING</stage_direction> <scene_description>The Dahomey capital. A thriving CITY, with broad dirt avenues and mud-walled buildings, humming with various industry: BLACKSMITHS, all men, pound molten metal. An open-air REFINERY -- women boiling nuts to make palm oil. Large weaving LOOMS employ men producing fabrics; there's a POTTERY STUDIO, a BATHHOUSE, a BROTHEL...</scene_description> </scene> <scene> <stage_direction>EXT. CITY OF ABOMEY - OPEN MARKET - SAME TIME</stage_direction> <scene_description>Merchants sell vegetables, oils, cloth, chickens, baskets, metal statues and fetishes, beads, dolls... NAWI, shopping with her friend, DAYO, softer than she. As they pay a merchant with the local currency, cowrie shells, a SHOPKEEPER calls out --</scene_description> <character>SHOPKEEPER</character> <dialogue>Nawi, tell your mother to see me for the dress!</dialogue> <character>NAWI</character> <dialogue>What dress?</dialogue> <character>SHOPKEEPER</character> <dialogue>Your wedding dress! I will make you beautiful. Tell her!</dialogue> <scene_description>Nawi frowns, as Dayo gives her a wide-eyed smile.</scene_description> <character>DAYO</character> <dialogue>They have made you another match?</dialogue> <character>NAWI</character> <dialogue>I don't know what she's talking about...</dialogue> <scene_description>Then they hear THE SONOROUS CALL OF A CONCH SHELL. Nawi brightens for the first time.</scene_description> <character>NAWI</character> <dialogue>They're coming!</dialogue> <scene_description>She grabs Dayo's hand and leads her in a run.</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD IN FRONT OF THE PALACE - SHORT TIME LATER</stage_direction> <scene_description>Citizens of Abomey gather, CHEERING, SINGING, across from the Abomey palace, which is surrounded by a HIGH WALL, stretching the length of the town. The wall is topped with forbidding HORNS and SKULLS, grimacing at all who enter. Nawi and Dayo are in the front, watching the freed Dahomey women returning from their fight. Relatives cry with joy and RUN INTO THE ROAD, hugging their mothers and daughters who have been returned. One of the female Mahi captives, ODE, bound behind them, watches. ON FUMBE...alone, in the midst of the tearful reunions. There is no family for her. Low, gonging BELLS ring out. A group of EUNUCHS stand at the gates, solemn, tolling rustic hand bells, calling...</scene_description> <character>EUNUCHS</character> <dialogue>Ago! Ago!</dialogue> <scene_description>Nawi cranes her neck to see, but Dayo hits her arm... all around them, people LOOK DOWN, averting their eyes. A MOTHER tugs at her CURIOUS CHILD...</scene_description> <character>CURIOUS CHILD</character> <dialogue>I want to see.</dialogue> <character>MOTHER</character> <parenthetical>(whispers --)</parenthetical> <dialogue>The King does not allow us to look upon the Agojie.</dialogue> <scene_description>The AGOJIE TROOPS march toward the towering, wooden gates of the palace. The women have majesty and swagger, their weapons clang and swing from their hips. Their skin shines. NAWI LIFTS HER EYES to get one glance at them, fascinated by their confidence, their power. Nanisca and Amenza walk together. Nanisca's face is dark, pensive. Amenza tries to cheer her.</scene_description> <character>AMENZA</character> <dialogue>Nanisca, it is a victory, they cheer for you.</dialogue> <character>NANISCA</character> <dialogue>They do not know an evil is coming.</dialogue> <character>AMENZA</character> <dialogue>They know you will protect them.</dialogue> <scene_description>Amenza gestures at the refugees. Nanisca sees A MOTHER RE- UNITED WITH HER BABY, DAUGHTERS WITH THEIR FATHERS, WIVES WITH THEIR HUSBANDS, holding them, weeping. Some kind of determination comes into her face. As she passes through the open gates of the palace, she turns to the HEAD EUNUCH, TANONU, bald, in feminine make-up and a purple robe.</scene_description> <character>NANISCA</character> <dialogue>I wish to speak to the King.</dialogue> <character>TANONU</character> <dialogue>He is only seeing wives today.</dialogue> <character>NANISCA</character> <dialogue>Tell him. I will wait.</dialogue> </scene> <scene> <stage_direction>EXT. FARM ROADS OUTSIDE ABOMEY - DAY</stage_direction> <scene_description>Nawi and Dayo wander home, carrying their full baskets.</scene_description> <character>NAWI</character> <dialogue>What do you think it's like? In the palace?</dialogue> <character>DAYO</character> <dialogue>All the King's wives wear opals and rubies, and dresses of silk from the foreign ships. They drink from golden cups as delicate as a leaf.</dialogue> <character>NAWI</character> <dialogue>Not the Agojie. They drink from the skulls of the men they have killed.</dialogue> <character>DAYO</character> <dialogue>No...</dialogue> <scene_description>Nawi grabs up a broken branch, brandishes it like a machete. Slices the top off of a tall TERMITE MOUND. Termites scatter.</scene_description> <character>NAWI</character> <parenthetical>(morbid fun --)</parenthetical> <dialogue>Yes. They cut off their heads and melt off the skin in boiling hot cauldrons. They make necklaces out of their teeth.</dialogue> <scene_description>Dayo makes a face. Nawi laughs. They reach Nawi's farm. The children run to greet her.</scene_description> <character>CHILDREN</character> <dialogue>Nawi! Come see! Nawi!</dialogue> <character>LIDA</character> <dialogue>We have a visitor! A rich man from Cana!</dialogue> <scene_description>Dayo looks at Nawi, whispers --</scene_description> <character>DAYO</character> <dialogue>Maybe he is handsome.</dialogue> <scene_description>Nawi's father, MORU, rushes to her. Eager.</scene_description> <character>MORU</character> <dialogue>Where have you been? You are late!</dialogue> <character>NAWI</character> <dialogue>Mother didn't tell me...</dialogue> <scene_description>He takes her basket...</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - CONTINUOUS</stage_direction> <scene_description>Moru brings Nawi to an outdoor area with a table, drinks poured -- Ydande fawns over the SUITOR, his back to us. Nawi sees the man, watches him turn... HER FACE FALLS. He is in his 50's, an old man in her world. She presses down her revulsion as he comes toward her, in his cloth caftan and cowrie-strand necklaces, signifying wealth.</scene_description> <character>MORU</character> <dialogue>This is Master Abade. His wife has died. He seeks a new bride who is strong enough to bear him new children.</dialogue> <parenthetical>(to Abade)</parenthetical> <dialogue>As you can see, she is healthy.</dialogue> <scene_description>Abade walks around Nawi, examining her physique. He lifts her arm, coldly judging.</scene_description> <character>ABADE</character> <dialogue>Skinny.</dialogue> <character>MORU</character> <dialogue>If she is not with child by the rains, bring her back.</dialogue> <scene_description>Abade notices another flaw, a bumpy white SCAR on the flesh of her back upper arm. Thumbs it.</scene_description> <character>ABADE</character> <dialogue>What is this?</dialogue> <character>MORU</character> <dialogue>She was an active child.</dialogue> <character>ABADE</character> <dialogue>A disobedient child?</dialogue> <scene_description>There's a certain relish in the way he says this.</scene_description> <character>ABADE</character> <dialogue>Leave us alone for a moment.</dialogue> <scene_description>Moru escorts Ydande away, into the house, leaving Nawi alone. She swallows, fearful. Abade steps closer.</scene_description> <character>ABADE</character> <dialogue>I own three fields of palm trees. You will work.</dialogue> <scene_description>She doesn't answer.</scene_description> <character>ABADE</character> <dialogue>You do not talk to your husband?</dialogue> <scene_description>He SLAPS her across the face. Nawi, shocked, YELPS in pain.</scene_description> <character>ABADE</character> <dialogue>In my house you will learn to obey.</dialogue> <scene_description>He GRABS HER ARM. She SHOVES HIM, a reflex action. He SHOUTS, falling back into the table, knocking things over. A pitcher of juice spills on his caftan. Her eyes widen... Moru and Ydande rush out from the house, shocked by the scene. Moru quickly goes to Abade, who slaps Moru's hand away as he rises, GLARING.</scene_description> <character>ABADE</character> <dialogue>The whispers were right, this girl is worthless. I will let it be known. No one will pay for this wife.</dialogue> <scene_description>He leaves the yard. Moru turns to Nawi, fury in his eyes.</scene_description> </scene> <scene> <stage_direction>EXT. ABOMEY STREETS - SHORT TIME LATER</stage_direction> <scene_description>Moru DRAGS NAWI, his hand gripping her arm. The children run after him, crying.</scene_description> <character>LIDA</character> <dialogue>No, Papa! She's sorry, Papa!</dialogue> <scene_description>Ydande, breathless, hastens after them, realizing where Moru is going... They are at THE PALACE WALLS. Moru marches up to the WOODEN GATES, Nawi in his grasp. Pounds on it. Calls --</scene_description> <character>MORU</character> <dialogue>I wish to give my daughter to the King!</dialogue> <scene_description>THE GATES OPEN and an Agojie, IZOGIE, who we saw at the rescue, looks down at Nawi.</scene_description> <character>IZOGIE</character> <dialogue>What is she good for?</dialogue> <character>MORU</character> <dialogue>A soldier, a slave. I do not care. She brings shame on our family! No husband will have her!</dialogue> <character>NAWI</character> <dialogue>I will not marry an old man who beats me!</dialogue> <scene_description>Izogie raises a brow. Maybe they can use this girl.</scene_description> <character>MORU</character> <dialogue>Go to war then. You will understand what pain is.</dialogue> <scene_description>Nawi steals a look at Izogie then looks down... remembering the rule that they must not look at the Agojie. Izogie sees this gesture of respect. She opens the door, holding it...</scene_description> <character>IZOGIE</character> <dialogue>Enter.</dialogue> <scene_description>Nawi looks at Ydande and Moru, hurt in her eyes. She turns, and walks inside. THE GATES CLOSE...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - CONTINUOUS</stage_direction> <scene_description>Nawi lifts her eyes, looks around, her heart racing.</scene_description> <character>IZOGIE</character> <dialogue>Come.</dialogue> <scene_description>Nawi follows. She is agog at everything around her, the life of the mysterious palace she has always wondered about.</scene_description> <character>IZOGIE</character> <dialogue>Close your mouth. You look like a fish.</dialogue> <scene_description>Nawi claps her mouth shut as they walk through THE VAST space. In one area, A LARGE GROUP OF AGOJIE WOMEN practice fighting with machetes led by TARA. The heavy weapons ring out with each hit. Another LARGE GROUP in a drill; lunging, spinning, shouting with spears, lead by a young, muscular soldier named ESI. And ANOTHER GROUP working on their hand-to-hand combat, led by a strong Agojie named CINDRA. At the opposite end of the grounds, a LARGE GROUP OF MALE SOLDIERS move through grappling drills. Further along, LARGE WOODEN VATS... fires lit beneath them. Older women use long wooden paddles to stir as STEAM RISES.</scene_description> <character>NAWI</character> <dialogue>What's in there?</dialogue> <character>IZOGIE</character> <dialogue>Indigo dye.</dialogue> <character>NAWI</character> <dialogue>Oh.</dialogue> <scene_description>The women lift out pantaloons.</scene_description> <character>IZOGIE</character> <dialogue>What did you think it was?</dialogue> <character>NAWI</character> <dialogue>...Heads.</dialogue> <character>IZOGIE</character> <parenthetical>(scoffing)</parenthetical> <dialogue>No.</dialogue> <scene_description>They walk on.</scene_description> <character>IZOGIE</character> <dialogue>Those are the heads.</dialogue> <scene_description>She points to a low-burning fire, sending black smoke upward to three skulls, impaled on tall bamboo poles.</scene_description> <character>IZOGIE</character> <dialogue>The men who raided our village. They disrespect King Ghezo. They pay a steep price.</dialogue> <scene_description>Nawi glances at a group of MEN, in robes, in discussion, in front of the group of MALE MAHI CAPTIVES, still bound. They drop their eyes as they pass.</scene_description> <character>IZOGIE</character> <dialogue>The rest will be sold. In Ouidah.</dialogue> <scene_description>A long wall of pillars and dried PALM FRONDS, woven together, separates the private quarters from the public space, stretching across the end of the parade ground.</scene_description> <character>IZOGIE</character> <dialogue>No men but the eunuchs are allowed in the palace after dark. Beyond this wall... this is a palace of women.</dialogue> <scene_description>Nawi can see people moving, the music of WOMEN'S VOICES. Izogie leads them into...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - CONTINUOUS</stage_direction> <scene_description>It is different here, more inviting. A small marketplace where WOMEN are cooking food -- balls of akasa and fried yam cakes. Selling handicrafts. There are women potters, others sew, others string cowrie shells. There are CHILDREN, giggling, chasing each other with abandon... Izogie moves through another pass way. Nawi follows...</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - CONTINUOUS</stage_direction> <scene_description>A low, open building, with a large grassy courtyard at its center. The Agojies' private quarters. Some are here, relaxing, braiding hair, tending to wounds. Nawi sees the bond of their sisterhood. Izogie points to an area of mats, lined up close together. A GROUP OF THIRTY WOMEN are there -- among them, Dahomey rescues like Fumbe, and Mahi captives like Ode from the village.</scene_description> <character>IZOGIE</character> <dialogue>Trainees sleep there. Find yourself a space.</dialogue> <scene_description>Izogie calls out to the group --</scene_description> <character>IZOGIE</character> <dialogue>Bathe yourselves. Add your clothes to the fire. You will no longer need them.</dialogue> <scene_description>Izogie walks away. Nawi looks around, still anxious.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - KING'S PRIVATE CHAMBERS - SAME TIME</stage_direction> <scene_description>A LINE OF WOMEN sit in an assortment of gilt European chairs. They are different ages, all beautiful, and adorned in colorful jewelry, coral and cowries weaved into their hair. At the end of this line of chairs, we find NANISCA, standing, still in her blood-smeared clothing. KING GHEZO -- 28, enters the room, accompanied by Tanonu. Ghezo is handsome, youthful, at the beginning of his reign. He wears a long robe embroidered with crocodiles. The only ornament, a small gold chain of European manufacture. He walks as if the earth were honored by its burden. All the women get on their knees and touch their heads to the ground. Nanisca, too. From her vantage point on the ground, she sees the KING'S FEET, the only feet we have yet seen wearing SANDALS, a royal affectation. He stops before her.</scene_description> <character>GHEZO</character> <dialogue>Nanisca. Come with me.</dialogue> <scene_description>The other women's eyes follow them out. A beautiful wife, SHANTE, speaks to Tanonu.</scene_description> <character>SHANTE</character> <dialogue>Why does he favor her? She shows no respect. Comes here filthy...</dialogue> <character>TANONU</character> <dialogue>She fought for him during the coup. Put him on the throne. What did you do? Locked yourself in a cupboard.</dialogue> <scene_description>Shante watches Nanisca disappear down the hall, jealous.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Nanisca falls in step with the young king.</scene_description> <character>GHEZO</character> <dialogue>Why do you wait with the wives?</dialogue> <character>NANISCA</character> <dialogue>I need to speak to you before the council convenes.</dialogue> <parenthetical>(then --)</parenthetical> <dialogue>The Mahi tribe did not raid our village alone. They had help.</dialogue> <parenthetical>(shows him the horseshoe)</parenthetical> <dialogue>From the Oyo.</dialogue> <scene_description>He takes the horseshoe.</scene_description> <character>NANISCA</character> <dialogue>They attack our people, in alliance with the Mahi. They have broken the treaty.</dialogue> <character>GHEZO</character> <parenthetical>(angry)</parenthetical> <dialogue>It is not my treaty. My brother bowed to them. Paid them their blood money.</dialogue> <character>NANISCA</character> <dialogue>They are testing the new King.</dialogue> <character>GHEZO</character> <dialogue>So we will do as they do. Raid the Oyo villages, sell their people.</dialogue> <scene_description>A subtle fury flickers on Nanisca's face.</scene_description> <character>NANISCA</character> <dialogue>And who does that help? The white traders, not us.</dialogue> <character>GHEZO</character> <dialogue>It shows them we are no longer afraid.</dialogue> <character>NANISCA</character> <dialogue>You know of the changes at our port in Ouidah. The English are gone. They will no longer trade in captives.</dialogue> <character>GHEZO</character> <dialogue>Empty words. Americans, Portuguese, Dutch, they will never stop the trade.</dialogue> <character>NANISCA</character> <dialogue>And this is why the Oyo wish to conquer us.</dialogue> <character>GHEZO</character> <parenthetical>(disbelief)</parenthetical> <dialogue>Conquer us?</dialogue> <character>NANISCA</character> <dialogue>They test you, to see if we will fight back. And if we do not, they will mount a larger attack, perhaps even here, on our capital.</dialogue> <scene_description>This hits Ghezo hard.</scene_description> <character>NANISCA</character> <dialogue>We must end the Oyo, and end the trade. For all of us.</dialogue> <scene_description>Ghezo reacts. This is a radical shift.</scene_description> <character>NANISCA</character> <dialogue>I fought for you against your brother because I knew you cared for our people.</dialogue> <character>GHEZO</character> <dialogue>And now you counsel me to take them to war?</dialogue> <character>NANISCA</character> <dialogue>Some things are worth fighting for.</dialogue> <scene_description>A moment between them...</scene_description> </scene> <scene> <stage_direction>INT. PALACE - THRONE ROOM - SHORT TIME LATER</stage_direction> <scene_description>The ministers notice that Nanisca and Ghezo have entered together. She takes her seat among Dahomey's ministers -- MEN AND WOMEN. Nanisca, called the Miganon (General) with her male counterpart, the MIGAN; an old male religious leader, AJAHE, and his counterpart, Nanisca's lieutenant Amenza; the male head of logistics for the palace, the MEU, the female head, the MEUNON, and so on. Sitting just behind the King, is his favored wife, Shante, there to attend to him. Ghezo takes his seat on an ornately carved wooden throne. The eunuchs try to serve him English tea in a cup and saucer, but he waves them off. He TOSSES THE HORSESHOE. It lands with a thud.</scene_description> <character>GHEZO</character> <dialogue>The Oyo have entered our lands. They have broken the peace. When they come for the tribute, we will not pay it.</dialogue> <scene_description>The council reacts. The male general, the Migan, glances harshly at Nanisca -- what the hell has she said to him?</scene_description> <character>MIGAN</character> <dialogue>That would mean war.</dialogue> <character>GHEZO</character> <dialogue>We have been under the foot of the Oyo since before my father's time. Because we feared their might. But who are we as a people if we allow fear to control us?</dialogue> <character>MIGAN</character> <dialogue>My king, I agree. But we are not ready for such a war. They are a nation twice our size, with horses and more muskets. We need time to plan, and prepare our armies.</dialogue> <character>NANISCA</character> <dialogue>The Agojie are ready.</dialogue> <character>MIGAN</character> <dialogue>How many did you lose in this last battle? Against the lowly Mahi?</dialogue> <scene_description>Nanisca sees Ghezo listening to him.</scene_description> <character>MEUNON</character> <dialogue>Dahomey has prospered in the peace, and the Oyo as well...</dialogue> <character>NANISCA</character> <dialogue>The slave trade is the reason we prosper. But at what price? It is a poison, slowly killing us. And the Europeans know it. They come to our lands for their human cargo.</dialogue> <character>MEUNON</character> <dialogue>They come to trade. We sell them what they want.</dialogue> <character>AMENZA</character> <dialogue>But why do we sell our captives? For muskets. To capture more people, to sell for more muskets. It is a circle with no end. A spiral, leading into darkness. This is not the way. Fa seeks light.</dialogue> <character>NANISCA</character> <dialogue>We have other things to sell. Gold. Palm oil. They need it for lamps, their cookfires, for their pulleys and machines. We can double our harvest. This is our advantage over the Oyo and their desert lands...</dialogue> <scene_description>Shante scoffs at this.</scene_description> <character>SHANTE</character> <dialogue>She wants to make us a nation of peasants.</dialogue> <character>NANISCA</character> <dialogue>I want Dahomey to survive.</dialogue> <scene_description>Shante lays her feminine, bejeweled hand on Ghezo's arm.</scene_description> <character>SHANTE</character> <dialogue>The Gods have brought us a new king. A King to be feared.</dialogue> <parenthetical>(to Nanisca)</parenthetical> <dialogue>No one fears a farmer.</dialogue> <character>MIGAN</character> <dialogue>She is right. And even if we could defeat the Oyo, there will be losses, and that leaves us vulnerable.</dialogue> <character>AMENZA</character> <dialogue>The ancestors will protect us. A defeat of the Oyo will please them.</dialogue> <character>MEU</character> <dialogue>We have already started to gather the tribute. Perhaps we pay, to buy us time.</dialogue> <scene_description>Ghezo feels the pressure. Long beat, then --</scene_description> <character>GHEZO</character> <dialogue>I promise, it will be our last.</dialogue> <parenthetical>(beat)</parenthetical> <character>GHEZO</character> <dialogue>As for the palm oil, show me, Nanisca. Show me how much you can produce. And we will see.</dialogue> <scene_description>He leaves with Shante. The Migan turns to Nanisca in anger.</scene_description> <character>MIGAN</character> <dialogue>You speak in secret to the King? You seek to cut me out?</dialogue> <character>NANISCA</character> <dialogue>If the King respects me, it is because I have earned it.</dialogue> <scene_description>Nanisca walks away.</scene_description> </scene> <scene> <stage_direction>EXT. ENEMY VILLAGE - DUSK</stage_direction> <scene_description>Across the grasses, thundering hoofs of THIRTY OYO WARRIORS arriving at the ruins of the Mahi village. Their leader, OBA ABUA, riding in the lead, pulls up his horse and HOLDS UP HIS ARM. They come to a stop. Oba, in long red cloth robes and English boots, swings off his horse and strides into the near empty village. A protective scarf covers all but his piercing eyes. He is followed by his second-in-command, BOMA. He comes to the corpse of an Agojie, uses his foot to kick her face-up. He turns to his assembled warriors, enraged.</scene_description> <character>OBA</character> <dialogue>Do you see this? Your comrades murdered! By women!</dialogue> <scene_description>He turns to Boma.</scene_description> <character>OBA</character> <dialogue>The Dahomey grow too bold under their new King.</dialogue> <character>BOMA</character> <dialogue>No more peace?</dialogue> <character>OBA</character> <dialogue>Peace is for the weak.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE COURTYARD - DUSK</stage_direction> <scene_description>THE AGOJIE eat a meal, sitting in small groups on the ground, their weapons piled against the walls. The Recruits, including Fumbe, now dressed in a simple uniform, sit together. The MAHI CAPTIVES WHISPER to each other anxiously. One of them, ODE, is athletic, steely. Takes in their surroundings. Her eyes fall on... Nawi, sitting alone, still in the clothes she arrived in. She's entranced by the Agojie, their weapons, the thick metal jewelry on their arms and wrists, the easy way they laugh and chat, Izogie and Tara among them. She creeps over to the pile of spears, touches one spike.</scene_description> <character>ESI (O.C.)</character> <dialogue>Do not touch another soldier's weapon.</dialogue> <scene_description>A young, muscular woman, ESI, glares at her. Nawi quickly pulls her hand away. Izogie walks up.</scene_description> <character>IZOGIE</character> <dialogue>Especially that one. It is cursed. Esi couldn't hit an elephant in a stampede.</dialogue> <scene_description>She laughs. Esi grins back.</scene_description> <character>ESI</character> <dialogue>Turn your back and see how true my aim is.</dialogue> <scene_description>She walks away. Izogie picks up her own machete, holds it out. Nawi touches it, it CUTS HER FINGER. Izogie smiles.</scene_description> <character>IZOGIE</character> <dialogue>Spent all my liberties walking the river till I found the perfect whetstone, shaped smooth, by a waterfall. Sharpens to a thorn.</dialogue> <scene_description>Izogie sees Nawi staring at her FINGERNAILS. Izogie has sharpened them to points, like talons. She jabs two fingers forward...</scene_description> <character>IZOGIE</character> <dialogue>Pop out their eyeballs, fight is over.</dialogue> <scene_description>Izogie makes an eyeball sucking sound. Nawi grins.</scene_description> <character>IZOGIE</character> <dialogue>They are also useful in keeping the trainees in line.</dialogue> <scene_description>Nawi's grin fades.</scene_description> <character>IZOGIE</character> <dialogue>Why are you not in uniform?</dialogue> <character>NAWI</character> <dialogue>I let the others bathe first.</dialogue> <character>IZOGIE</character> <dialogue>The first rule of training? Always obey Izogie.</dialogue> <scene_description>Nawi nods. Doesn't move. Izogie looks at her. Taps her fingernails on her spear.</scene_description> <character>IZOGIE</character> <dialogue>I am Izogie.</dialogue> <scene_description>Nawi gets it, quickly walks out.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - BATHS - SHORT TIME LATER</stage_direction> <scene_description>Nawi moves down the stairs into the dimly lit underground cavern where natural springs create pools of water. A fire burns hot in a clay oven. She removes her dress. Puts it into the oven, watches it catch fire. She steps into one of the baths, feeling the heat of the water sink into her bones. WATER AND MOVEMENT. Nawi is startled. ANOTHER WOMAN is there, at the far end. Through the steam, we recognize NANISCA. Nawi starts to get out...</scene_description> <character>NAWI</character> <dialogue>I'm sorry...</dialogue> <character>NANISCA</character> <dialogue>You may stay.</dialogue> <scene_description>Nawi sinks back down in the water, modest. Nanisca cleans her arms, her head. She still wears the shark tooth necklace. Nawi takes in her taut physicality, her scars. Enamored.</scene_description> <character>NAWI</character> <dialogue>Are you a soldier?</dialogue> <character>NANISCA</character> <parenthetical>(curt)</parenthetical> <dialogue>What do you think?</dialogue> <scene_description>A beat. Nawi begins to wash, too.</scene_description> <character>NANISCA</character> <dialogue>You are one of the captives we freed?</dialogue> <character>NAWI</character> <dialogue>No. My father brought me. As a gift to the King.</dialogue> <character>NANISCA</character> <parenthetical>(disdainful --)</parenthetical> <dialogue>Is your father rich?</dialogue> <parenthetical>(before she answers --)</parenthetical> <dialogue>He must be. If he were poor he would have sold you to a rich husband.</dialogue> <character>NAWI</character> <dialogue>He tried. I don't want a husband. I want to be a soldier. An Agojie.</dialogue> <character>NANISCA</character> <dialogue>And what does that mean to you?</dialogue> <character>NAWI</character> <dialogue>It means you are admired. You are unafraid. You are somebody.</dialogue> <character>NANISCA</character> <dialogue>Some of those things are true.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>How old are you?</dialogue> <character>NAWI</character> <dialogue>I have nineteen years.</dialogue> <character>NANISCA</character> <dialogue>That is old for a recruit.</dialogue> <character>NAWI</character> <dialogue>I will work hard. Harder than anyone...</dialogue> <character>NANISCA</character> <dialogue>Many obstinate daughters are dumped at the palace. They usually fail.</dialogue> <scene_description>Nawi's rebellious nature awakens. She eyes Nanisca.</scene_description> <character>NAWI</character> <dialogue>All our lives, they tell stories of the Agojie. That you have magic. But you look like a regular old woman to me.</dialogue> <character>NANISCA</character> <dialogue>Fighting is not magic. It is skill. We will see if you have any.</dialogue> <scene_description>She gets out of the bath. Amused.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE COURTYARD - NIGHT</stage_direction> <scene_description>Torches light the area. DRUMS PLAY. Nawi, Fumbe, Ode and the other recruits watch as the AGOJIE sing and dance in a victory celebration. They see Izogie, Amenza, also TARA, from the opening battle, and CINDRA. The warriors dance in unison, the footwork kickass, perfectly matched as they move. Strong. Joyful. Izogie and Amenza lead, as two by two, they go to the center -- dance together, laughing, forehead to forehead. Nawi watches, firelight illuminating her smile. This joy is a feeling so foreign to her. A DRUM HIT STOPS THE MUSIC. Nawi notices the LEADER of the Agojie walking through the ranks, regal in her shark's tooth necklace and a breastplate made of hundreds of cowrie shells. Nawi realizes it is... NANISCA, the woman Nawi was rude to in the baths. Nanisca turns, LOOKS AT NAWI as she passes. Nawi is mortified. Nanisca steps up to a raised platform. Amenza STAMPS A SPEAR.</scene_description> <character>AMENZA</character> <dialogue>Gboje!</dialogue> <scene_description>The Agojie, in unison, turn toward her, hands behind their backs. Amenza calls out to the Recruits.</scene_description> <character>AMENZA</character> <dialogue>I am Amenza. You come to the palace of Ghezo, the ninth monarch of the Dahomey people, descendants of the leopard, Agasu. Beloved of the twin gods, Mawu and his sister, Leesa.</dialogue> <scene_description>Nanisca steps forward, looking out over the women, their faces in conflict, fearful of what awaits them.</scene_description> <character>NANISCA</character> <dialogue>You are called to join the Agojie. We claim victory, or we claim death.</dialogue> <scene_description>The women react.</scene_description> <character>NANISCA</character> <dialogue>Our scars are our pride. They tell our story. Of how we were stronger. Of how we survived.</dialogue> <scene_description>ON NAWI... taking this in.</scene_description> <character>NANISCA</character> <dialogue>We fight. For Dahomey, for our sisters. For our great king. You will be revered. You will be paid for your work. Your opinion will be heard. No tribe or kingdom in all of Africa shares this privilege. Women, toiling in the fields, nursing children, sleeping in their husband's beds, will know of your battles and sing your praise and wish they could be you.</dialogue> <scene_description>ON NAWI -- these words affecting her.</scene_description> <character>NANISCA</character> <dialogue>For this honor, we live out our lives in these palace walls. We will take no husband. We will bear no children.</dialogue> <parenthetical>(then --)</parenthetical> <dialogue>I offer you a choice. Any woman who does not wish to stay may leave. No harm will come to you.</dialogue> <scene_description>The Recruits glance at each other. The Mahi captives look at Ode. She looks back. After a moment, a few start to walk out of the courtyard. Then a few more. They look back at her. Ode remains... NANISCA looks at Nawi. Their EYES MEET, Nanisca expecting Nawi to walk away. NAWI plants her feet. Stands like the Agojie, hands behind her back, chest high. You couldn't pry her away. Fumbe looks at the young women leaving, thinking... Then she sees Nawi... and decides to stay. Nanisca looks out over the remaining women.</scene_description> <character>NANISCA</character> <dialogue>Show me you are worthy.</dialogue> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - LATE NIGHT</stage_direction> <scene_description>Nawi picks up a mat, looks around for a spot. She sees Ode making a space for herself, alone. She sees Fumbe sitting on her mat, weeping. Nawi lays her mat down next to her.</scene_description> <character>NAWI</character> <dialogue>What's your name?</dialogue> <character>FUMBE</character> <dialogue>Fumbe.</dialogue> <character>NAWI</character> <dialogue>Why do you cry?</dialogue> <character>FUMBE</character> <dialogue>I am not a soldier.</dialogue> <character>NAWI</character> <dialogue>Then why did you stay?</dialogue> <character>FUMBE</character> <dialogue>I have nowhere else to go.</dialogue> <scene_description>Nawi sits down next to her.</scene_description> <character>NAWI</character> <dialogue>So we are the same.</dialogue> <scene_description>Ode has been listening. Nawi looks over.</scene_description> <character>NAWI</character> <dialogue>You are Mahi. Why did you stay?</dialogue> <character>ODE</character> <dialogue>Here, I will be the hunter, not prey.</dialogue> <scene_description>Nawi lays down. The three girls stare up, wondering what lies in store...</scene_description> </scene> <scene> <stage_direction>EXT. ROAD OF REEDS - EARLY MORNING</stage_direction> <scene_description>A road carved through a sea of six foot tall reeds. The trainees, in their matching uniforms, RUN barefoot in the deep red dirt. Nawi sprints ahead, determined to be first, but burns herself out and starts to drag. Ode catches her first. Passes her. Then the rest. Nawi struggles to keep up. Izogie appears, running alongside.</scene_description> <character>IZOGIE</character> <dialogue>Too slow! The Oyo will catch you! Hang you up by your feet to cut your throat!</dialogue> <scene_description>Nawi tries to run faster. She THROWS UP.</scene_description> </scene> <scene> <stage_direction>EXT. DRY RIVERBED - DAY</stage_direction> <scene_description>The exhausted trainees are lined up, pulling sacks filled with heavy stones up a rocky incline. Nawi is dripping with sweat as she struggles to lift her sack. She notices they are monitored by the high brass, Nanisca and Amenza... The trainees trudge forward, strain under the weight. Barefoot, hitting rocks and sharp twigs. Izogie confronts a tearful Ode, whose feet are bloody and cut.</scene_description> <character>IZOGIE</character> <dialogue>We are feared because we do not fear pain! The more you welcome it, the less you will feel.</dialogue> <scene_description>Ode struggles back to her feet. Izogie shadows Nawi, who is losing ground.</scene_description> <character>IZOGIE</character> <dialogue>You move like a sloth!</dialogue> <scene_description>She does a funny impression of a sloth in slow motion. Nawi grits her teeth. Uses her firewood trick. Shifts the bag onto her back like a backpack. She can run now, gaining speed...</scene_description> <character>IZOGIE</character> <dialogue>Yes! Yes!</dialogue> <scene_description>Nawi passes Ode, reaches the top! She smiles. But her smile fades as she sees FUMBE far behind, tears in her eyes, TRUDGING, one slow, painful step at a time.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>The trainees are given their ammo belts. They are excited, fastening them around their waists. Nanisca paces.</scene_description> <character>NANISCA</character> <dialogue>Today you receive your first weapon.</dialogue> <scene_description>Each is given... A COIL OF ROPE. Nawi frowns. She holds it up, letting it fall limply. LATER... They practice tying KNOTS. Nanisca comes along, pulling to see if they come undone. Fumbe's holds fast. Nanisca nods in approval and Fumbe flushes, pleased. Nanisca yanks Nawi's knot and it PULLS LOOSE.</scene_description> <character>NANISCA</character> <parenthetical>(already walking away)</parenthetical> <dialogue>Again.</dialogue> <character>NAWI</character> <parenthetical>(under her breath --)</parenthetical> <dialogue>A rope is not a weapon.</dialogue> <scene_description>Nanisca turns.</scene_description> <character>NANISCA</character> <dialogue>You wish for a different weapon?</dialogue> <scene_description>Nawi reacts -- "shit." Nanisca takes her own machete out of her belt. Hands it to Nawi. Gestures to the TWIG DUMMIES set up in a row twenty feet away.</scene_description> <character>NANISCA</character> <dialogue>Go. Attack the soldier. Take his head.</dialogue> <scene_description>Nawi is embarrassed. Everyone is watching her. The machete is much heavier than she realized. She has to back down.</scene_description> <character>NAWI</character> <dialogue>I apologize...</dialogue> <character>NANISCA</character> <dialogue>Do not apologize. Do it.</dialogue> <scene_description>Nawi meets Nanisca's eyes. Then she draws herself tall, raises the machete and rushes at the dummy, swinging at its neck with a HUGE SWIPE. The blade gets STUCK... barely one inch deep into the neck. She hears LAUGHTER from the assembled group. Nawi tries to free the machete. She cannot. NANISCA comes forward and easily frees her machete. Then, she step-turns and with little effort SLICES OFF THE HEAD. It rolls on the ground. She looks at Nawi.</scene_description> <character>NANISCA</character> <dialogue>I would work on that rope.</dialogue> <scene_description>She walks away. Nawi almost growls as she ties the shit out of the damned rope.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - NIGHT</stage_direction> <scene_description>The trainees wait in line for their rations. Ode takes hers and moves to eat alone. Nawi takes hers as Izogie approaches.</scene_description> <character>IZOGIE</character> <dialogue>Hey, Tse-tse.</dialogue> <character>NAWI</character> <dialogue>Who is Tse-tse?</dialogue> <character>IZOGIE</character> <dialogue>You. Little fly, always buzzing around, full-speed. But you don't know where you're going!</dialogue> <character>IZOGIE</character> <dialogue>We need smart warriors. The dumb ones die quickly.</dialogue> <character>NAWI</character> <dialogue>I am not dumb.</dialogue> <character>IZOGIE</character> <dialogue>Then show me. You have to train different. The drills are a game. It is play. Like when you were a child...</dialogue> <character>NAWI</character> <dialogue>I was never allowed to play. I was made to work.</dialogue> <character>IZOGIE</character> <dialogue>I was born in a brothel. When I had fourteen years, my mother put a sign out to sell my virginity.</dialogue> <scene_description>Izogie looks at her. There's a coolness, a distance.</scene_description> <character>IZOGIE</character> <dialogue>The first man came, and I cried for my mother. But she didn't come. The second man came, and complained of my tears. My mother whipped me. The third man came and I burned him with an ember I plucked from the fire with my bare hand.</dialogue> <scene_description>She shows Nawi a scar on her palm.</scene_description> <character>IZOGIE</character> <dialogue>Your father was cruel. As was my mother. It is enough to make you cry. But it is better to laugh, yes? You have a new family now.</dialogue> <scene_description>As Nawi thinks, a Dahomey song begins under the images...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>Izogie smoothes oil from a bowl onto her skin as she faces Nawi in a wrestling circle. Ode, Fumbe and the other trainees look on. Nawi tries to get a grip on Izogie, but can't, her head drops as she struggles with the taller woman.</scene_description> <character>IZOGIE</character> <dialogue>Eyes up!</dialogue> <scene_description>Nawi looks at Izogie...</scene_description> <character>IZOGIE</character> <dialogue>Never look away.</dialogue> <scene_description>Nawi's eyes bore into Izogie's and then... IZOGIE grins slightly, slips around her and FLIPS her to the ground. Nawi grows frustrated. Grabs one of the bowls of oil and POURS IT OVER HER HEAD, drenching herself. Izogie laughs as Nawi faces her, oil dripping down her face and chest. This time, Izogie is the one who cannot get a hold on Nawi's glistening limbs. Soon both are laughing...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>With new MACHETES in hand, Nawi, Ode, Fumbe and the rest of the trainees stand behind Izogie. The trainees follow her movements as she slices through a machete drill. Nawi is focused, but the machete is unwieldy. Izogie comes to her.</scene_description> <character>IZOGIE</character> <dialogue>Do not hold the sword. Be the sword.</dialogue> <scene_description>Nawi flows with the machete, using strength from her thighs, her middle, to become the sword.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - LATE NIGHT</stage_direction> <scene_description>The grounds are empty. Save for two women at the line of training dummies. Nanisca grips her machete, charges down the line in a dance of brutal efficiency as she spins, slices, stabs, cuts down dummy after dummy. Her athleticism, her intensity is a sight to behold. Izogie charges down the line, following Nanisca's rhythm, beat for vicious beat. In the shadows, Nawi watches, studies their relentless practice...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>Drills. Esi leads the staff training. Spinning her spear with incredible skill and speed. The trainees dive to the ground, jump back up, runs forward to where the SPEARS stand, pitted into the dirt. They pick them up and HURL THEM FORWARD... Most of the spears fall to the ground, but Nawi's HITS the target...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>The trainees fight in pairs as Izogie watches. Nawi fights with Ode. Nawi struggles to force Ode out of the circle, but Ode is strong. She gets a grip on Nawi, is about to pull her out. Suddenly, Nawi uses Izogie's move to slip around her and SLAM her to the ground. Ode and Izogie are shocked...</scene_description> </scene> <scene> <stage_direction>EXT. SHOOTING RANGE IN THE RED DESERT - DAY</stage_direction> <scene_description>MALE SOLDIERS shoot at clay pot targets against the blood red mountains of red earth. A LARGE MOUND OF GUN POWDER sits atop an open wagon. The female trainees, in a line, load and fire rusty old muskets. A MALE SOLDIER guides them. It's a lengthy set of steps: tear open a small fabric pouch of gun powder with their teeth, pour powder in the mizzen. Stuff a musket ball down the shaft with a wand. Raise it to their shoulders. FIRE! ON NAWI... THE KICK IS STRONG. It pushes her back into the arms of the male soldier guiding her. She laughs a little, surprised. There's a an undeniable moment of flirtation as he helps her regain her footing. Picks up the musket and puts it in her hands. He touches her hips and shows her how to find strength in her body as she fires the powerful weapon. NANISCA, watching the drill, sees this...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>Two LARGE CROWDS of Agojie warriors and male soldiers face off. The energy is aggressive, boastful, vocal. They yell out competing chants:</scene_description> <character>MALE SOLDIERS</character> <dialogue>Men of Dahomey feel no pain! We take a bullet and shoot again!</dialogue> <character>AGOJIE WOMEN</character> <dialogue>Men of Dahomey run away! Agojie women stand and fight! We pluck out hearts! Show Ghezo's might!</dialogue> <scene_description>In the middle of the warring factions, Izogie stands opposite a LARGE MALE SOLDIER. A short double edged spear separates them, THE BLADES BURIED INTO EACH OTHER'S SHOULDERS. They stare at each other, daring the other to break. Izogie stares blankly, the only sign of the excruciating pain is the wetness in her eyes. The Male Soldier grimaces but holds his ground. NANISCA and the MIGAN stand together, watching their troops, each rooting for their fighter to win. Nawi, Fumbe, Ode and the trainees look on in awe and excitement. And then, Izogie TAKES A STEP FORWARD, burying the blades even deeper. The Male Soldier stares back...then steps back in defeat. Izogie snatches the blade from her bleeding shoulder, pounds her chest with a PRIMAL YELL. The Agojie go nuts. Even Nanisca applauds. Nawi, Fumbe, Ode and the trainees jump up and down, joining in the exuberant CHANT...</scene_description> </scene> <scene> <stage_direction>EXT. ROAD TO DAHOMEY - SUNSET</stage_direction> <scene_description>The trainees walk together, talking and laughing, starting to be a unit. Silhouetted against the sun, Nawi drapes an arm over Fumbe's shoulder...</scene_description> <character>NAWI</character> <dialogue>Show me how to tie the rope.</dialogue> <character>FUMBE</character> <dialogue>Never. It is the only thing I can do better than you.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - LATE NIGHT</stage_direction> <scene_description>All is quiet. Everyone is asleep. Nawi leads Fumbe and other trainees SNEAKING OUT. Ode sees them. Nawi meets her eyes. She nods her head, "Come on." Ode hesitates, then follows. They dash across the grounds... AT THE STAND OF DUMMIES, they pause. Nawi hands out little gunpowder sachets. Each trainee sets about coating the necks of the dummies with the gunpowder. They laugh quietly...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - MORNING</stage_direction> <scene_description>Izogie and Tara are going to demonstrate the proper head- chopping technique to the trainees. WATCHING AT THE SIDE, Nawi, Fumbe and Ode share an excited glance. Izogie and Tara run at the dummies. As their swords hit the necks sparking the gunpowder, THE HEADS EXPLODE off the bodies. Izogie and Tara stumble back. The trainees stifle their laughter. Nanisca peers at Nawi...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - SHORT TIME LATER</stage_direction> <scene_description>Nawi, Fumbe, Ode and four other trainees stand before Nanisca. Izogie and Tara watch.</scene_description> <character>NANISCA</character> <dialogue>Which of you designed this trick?</dialogue> <scene_description>None of the girls speak up.</scene_description> <character>NANISCA</character> <dialogue>Then you will all be punished.</dialogue> <character>NAWI</character> <dialogue>I did it.</dialogue> <scene_description>Her friends start to object.</scene_description> <character>FUMBE</character> <dialogue>We all did it --</dialogue> <character>NAWI</character> <dialogue>No. It was me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I apologize.</dialogue> <character>NANISCA</character> <dialogue>Once again.</dialogue> <scene_description>Nanisca gestures to Fumbe, Ode and the others.</scene_description> <character>NANISCA</character> <dialogue>Go back to the barracks.</dialogue> <scene_description>They leave as fast as they can. Izogie and Tara follow. Nawi is alone now in front of the General.</scene_description> <character>NANISCA</character> <dialogue>How did you make this... explosion?</dialogue> <character>NAWI</character> <dialogue>You don't need a gun to use gunpowder. You just need a spark...</dialogue> <character>NANISCA</character> <dialogue>But you like the guns. You enjoy practicing with the young men in the infantry? I see you flirting.</dialogue> <character>NAWI</character> <dialogue>This is not allowed?</dialogue> <character>NANISCA</character> <dialogue>You know it is not.</dialogue> <character>NAWI</character> <dialogue>The men who are soldiers have wives, children. But the Agojie cannot? It doesn't seem fair.</dialogue> <scene_description>Nanisca is consistently surprised by Nawi.</scene_description> <character>NANISCA</character> <dialogue>Were you this arrogant with your family? No wonder they gave you away.</dialogue> <scene_description>This cuts Nawi. She lashes back.</scene_description> <character>NAWI</character> <dialogue>I think it is you who are arrogant.</dialogue> <character>NANISCA</character> <dialogue>I am a General. I have earned it.</dialogue> <parenthetical>(done with her)</parenthetical> <dialogue>I should put you out --</dialogue> <character>NAWI</character> <dialogue>No, please...</dialogue> <character>NANISCA</character> <dialogue>I have watched soldiers die because they were not disciplined. Their easy life did not prepare them --</dialogue> <character>NAWI</character> <dialogue>I did not have an easy life!</dialogue> <parenthetical>(tears form in her eyes)</parenthetical> <dialogue>I want to be here. With my sisters. I want to fight for my King...</dialogue> <scene_description>Nanisca doesn't do well with emotion.</scene_description> <character>NANISCA</character> <dialogue>Your tears mean nothing. To be a warrior, you must kill your tears.</dialogue> <scene_description>Nawi's eyes burn with pride...she bites back her emotion. Nanisca gestures for her to leave. When Nawi is gone, Nanisca breathes deeply, sighing. It is hard to have "killed her tears" for an entire life.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE COURTYARD - NIGHT</stage_direction> <scene_description>The Agojie eat. Ode goes to sit near a group of Agojie including the fierce Tara, who blocks her from sitting.</scene_description> <character>TARA</character> <dialogue>You are a Mahi prisoner, and that is all you will ever be.</dialogue> <scene_description>Wounded, Ode turns to go, but Amenza, who has overheard the exchange, steps in.</scene_description> <character>AMENZA</character> <dialogue>What did you say?</dialogue> <character>TARA</character> <dialogue>She should be my slave, not a warrior.</dialogue> <character>CINDRA</character> <dialogue>Dahomey women are the true Agojie.</dialogue> <character>AMENZA</character> <dialogue>I also came here a captive. Do you think yourself better than me?</dialogue> <character>TARA</character> <parenthetical>(beat, then --)</parenthetical> <dialogue>No Ajahi.</dialogue> <character>AMENZA</character> <dialogue>If you make it through the final test, you are one of us. No matter where you come from.</dialogue> <scene_description>Tara walks away. Ode stares down. This has been hard for her.</scene_description> <character>AMENZA</character> <dialogue>I was once enslaved. I served the Miganon. And now I sit at the King's council. You are what you believe you are.</dialogue> <scene_description>Ode nods. She marches into the barracks.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - SAME TIME</stage_direction> <scene_description>NAWI sits on her mat, alone, when Ode comes and takes her bedding up, moving it to another place.</scene_description> <character>NAWI</character> <dialogue>Where are you going?</dialogue> <character>ODE</character> <dialogue>You are trouble, and I already have enough of that.</dialogue> <scene_description>As Ode goes off, Nawi notices Izogie, pulling on her weapons belt. Attaches a knife. She sees Nawi.</scene_description> <character>IZOGIE</character> <dialogue>Eat up, Tse-tse. Nanisca favors the strong.</dialogue> <scene_description>Nawi doesn't move.</scene_description> <character>IZOGIE</character> <dialogue>What is the first rule of training?</dialogue> <character>NAWI</character> <parenthetical>(beat, then --)</parenthetical> <dialogue>Always obey Izogie.</dialogue> <scene_description>She stands. Reluctantly. Izogie looks at her, then --</scene_description> <character>IZOGIE</character> <dialogue>Come with me.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE WALLS - SHORT TIME LATER</stage_direction> <scene_description>Izogie and Nawi exit a secretive door in the Agojie compound, taking them to the street. They walk toward the city lights of Abomey ahead. Izogie pulls a flask from her belt. Takes a drink. Holds it out to Nawi.</scene_description> <character>IZOGIE</character> <dialogue>Drink.</dialogue> <character>NAWI</character> <dialogue>What is it?</dialogue> <character>IZOGIE</character> <dialogue>The only thing the white men bring worth having. They call it "whiskey."</dialogue> <scene_description>Nawi tries it. Chokes. It tastes awful to her. Izogie laughs.</scene_description> <character>IZOGIE</character> <dialogue>There. We finally found a way to quiet you. Your tongue will get you kicked back to your village. Why do you challenge the Miganon?</dialogue> <character>NAWI</character> <parenthetical>(beat, then --)</parenthetical> <dialogue>If I'm quiet, she won't see me.</dialogue> <character>IZOGIE</character> <dialogue>Do you think she has time to think about you? She's thinking about... the world. She may one day be the Kpojito.</dialogue> <character>NAWI</character> <dialogue>The Woman King? But we have not had one for so many years.</dialogue> <scene_description>People in the street drop their eyes or turn away at the sight of Izogie.</scene_description> <character>IZOGIE</character> <dialogue>His brother did not honor it, but King Ghezo believes in tradition. In the twin Gods, Mawu and Leesa. Man and woman. Male soldiers and female. Ghezo will name a Woman King. For the Gods. And the people.</dialogue> <character>NAWI</character> <dialogue>Is that what Nanisca wants?</dialogue> <character>IZOGIE</character> <dialogue>I cannot say. But in the palace, she is a legend. She was captured as a young soldier. Given up for dead. But she returned, with the Oyo bastards kofes hanging from her belt.</dialogue> <scene_description>Nawi takes this in.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - NANISCA'S CHAMBERS - LATE NIGHT</stage_direction> <scene_description>Nanisca lies on her mat, in fitful sleep. She wakes up, shouting, covered in sweat. In a moment, AMENZA steps into her chamber. Nanisca pants, still breathless from the dream. Amenza takes a European-style silver flask from her pocket, pours spirits into a cup -- mixes in herbs from a leather pouch around her waist.</scene_description> <character>NANISCA</character> <dialogue>Uch, Menza, you know I hate that drink...</dialogue> <character>AMENZA</character> <dialogue>The King drinks anything I give him.</dialogue> <character>NANISCA</character> <dialogue>The King is young. He brings that silly wife to the council.</dialogue> <character>AMENZA</character> <dialogue>Shante? She is ambitious. She wants to be the first among the King's women. Maybe even the Kpojito.</dialogue> <character>NANISCA</character> <dialogue>The Kpojito must have a vision.</dialogue> <scene_description>Amenza sits on the bed with her.</scene_description> <character>AMENZA</character> <dialogue>Tell me the dream. It dispels its magic if you say the words.</dialogue> <scene_description>Nanisca locks eyes with her for a long moment.</scene_description> <character>NANISCA</character> <dialogue>I am in the jungle. And something is out there, in the darkness... a beast, angry... I try to hide, but it finds me...</dialogue> <character>AMENZA</character> <dialogue>Perhaps the dream is a warning. Let us throw a chain.</dialogue> <scene_description>Amenza picks up a cloth bag that rattles with palm nots, clacking together...</scene_description> <character>NANISCA</character> <dialogue>Not the nuts...</dialogue> <character>AMENZA</character> <dialogue>Do not call them "nuts," they are sacred.</dialogue> <scene_description>Amenza places a circular tray on the floor. The tray has carved symbols all around it, and is covered with white sand in the middle. She shakes ONE PALM NUT out of the bag and onto the sand -- draws a circle around it. Nanisca picks up the cup of sleeping medicine and drinks it.</scene_description> <character>NANISCA</character> <dialogue>With any luck I'll be asleep on the third toss.</dialogue> <scene_description>MINUTES LATER THE TRAY now has sixteen palm nuts thrown, with circles around them to connect a CHAIN. Amenza points to a section.</scene_description> <character>AMENZA</character> <dialogue>You have enemies gathering.</dialogue> <character>NANISCA</character> <dialogue>I could have told you that.</dialogue> <character>AMENZA</character> <dialogue>I see fire. Fire and smoke... something or someone from your past...</dialogue> <scene_description>Nanisca's hand suddenly shoots out and messes the board -- the chain of circles disappears and the palm nuts roll.</scene_description> <character>AMENZA</character> <dialogue>So impatient.</dialogue> <character>NANISCA</character> <dialogue>It's nonsense. And your medicine too. I'm not even tired.</dialogue> <character>AMENZA</character> <dialogue>Go to the altar. Leave gifts for the dead. If you do not respect the chain, respect your own dream.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - SHORT TIME LATER</stage_direction> <scene_description>Nanisca walks the empty courtyard, carrying a cloth bag... SHE HEARS SOMETHING... the panting breath of someone moving, the whipping sound of a machete slicing sharply THROUGH AIR. She looks through the open palm curtain, seeing... NAWI. While the other women sleep, she practices her moves like she watched Nanisca and Izogie do. Two hands, one hand, jabs forward. She has no idea she is being watched... ON NANISCA... watching...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>Tribute Day. The grounds are full of people... MALE DAHOMEY WARRIORS IN FORMATION. The Agojie and the trainees. SERVANTS AND WORKERS buzz around the tribute. The MEU and MEUNON count the items. There's a basket of brass-plated figures. Baskets of polished coral. Farmers bring SACKS OF GRAIN and urns of palm oil. Muskets are stacked in a pile. KING GHEZO, Shante and other wives are on the raised platform, shielded from the sun by large, colorful UMBRELLAS. Amenza and the other Council Members are there. Nearby, a group of male VIP's, among them the owner of the brothel, AGIDIGBI. He glares at the WOMEN who left his charge, and now stand with the trainees. Nanisca motions for Izogie to step out of formation. Izogie moves to her.</scene_description> <character>IZOGIE</character> <dialogue>Yes Miganon.</dialogue> <scene_description>Nanisca speaks quietly.</scene_description> <character>NANISCA</character> <dialogue>You went into the city last night?</dialogue> <character>IZOGIE</character> <dialogue>Yes Miganon. To recruit.</dialogue> <character>NANISCA</character> <dialogue>Agidigbi is a friend of the court. You know he is protected.</dialogue> <character>IZOGIE</character> <dialogue>And who protects the women?</dialogue> <scene_description>Nanisca stares at her, then --</scene_description> <character>NANISCA</character> <dialogue>You are my best soldier. But when you anger the King, even I cannot protect you.</dialogue> <scene_description>Beat, then, chastised, Izogie simply nods. She stands tall, moves back in formation. THE SOUND OF MUSKETS FIRING... THE MEN AND WOMEN SOLDIERS hit their chests and SHOUT OUT COMPETITIVE CHANTS AS A SALUTE TO GHEZO. He smiles at the adoration. Then, his attention is drawn to... THE OYO CONTINGENT, arriving in the palace. There are twenty men on horseback, and in the lead, two we recognize: OBA and his lieutenant, BOMA. Galloping in, they make a formidable entrance, reining in their horses and dismounting. Oba walks forward, most of his face covered by the scarf, Boma slightly behind him... Ghezo, with Nanisca and the Migan just behind him, meets them in the center of the Parade Ground, in a traditional ritual, the gathered army and palace royalty watching.</scene_description> <character>OBA</character> <dialogue>I am General Oba Ade. My lieutenant, Boma. I bring King Ghezo the esteemed regard of the Alafin of Oyo.</dialogue> <scene_description>Oba says the words, but his lack of respect is evident. He unwraps his scarf, revealing his face... fierce, marked by tattooed lines on his cheeks in a wave-like pattern, his earlobe elongated by a RAVEN'S BEAK pierced into it. CLOSE ON NANISCA... her eyes CHANGE as she looks at his face. She knows this man. ON NANISCA... frozen. We SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>FLASHBACK - INT. DARKENED TENT - NIGHT</stage_direction> <scene_description>Nanisca's POV, Oba's face, over hers, grunting. He RAPES HER, the Raven's beak in his ear open and taunting her. Her legs are shackled. SMASH BACK TO:</scene_description> </scene> <scene> <stage_direction>PRESENT - EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>NANISCA. Still as a post, stunned and shook, as the King finishes his words...</scene_description> <character>KING GHEZO</character> <dialogue>...gifts for the Alafin, as is tradition. My general Nanisca will accompany us.</dialogue> <scene_description>But Nanisca is frozen, eyes glued to Oba, unable to speak. His eyes fall on her, and his lips curl in a belittling smile. They walk toward the collection of goods. Nanisca does not move.</scene_description> <character>KING GHEZO</character> <parenthetical>(under)</parenthetical> <dialogue>Nanisca.</dialogue> <scene_description>Nanisca straightens and follows, on her guard. Amenza watches, concerned, having clocked the moment. Each Oyo officer examines a gift. Oba picks up a musket and examines it. Boma notes to his superior:</scene_description> <character>BOMA</character> <dialogue>Old and broken.</dialogue> <character>MEU</character> <dialogue>This is what the traders bring us.</dialogue> <character>OBA</character> <dialogue>This is less than ever before. Did you think we would not see?</dialogue> <character>GHEZO</character> <dialogue>Did you think we would not see your hand in the raid on our village?</dialogue> <scene_description>Oba smiles coolly.</scene_description> <character>OBA</character> <dialogue>To make up for your shortcomings I will accept an addition to your tribute.</dialogue> <scene_description>He points at...THE AGOJIE WARRIORS.</scene_description> <character>OBA</character> <dialogue>Forty Agojie. Not too old. We will march them to Ouidah.</dialogue> <scene_description>ON NANISCA... she finds her voice.</scene_description> <character>NANISCA</character> <dialogue>For what purpose?</dialogue> <character>OBA</character> <dialogue>We will use them as... guards.</dialogue> <scene_description>Nanisca holds in the desire to bury her dagger in his gut. Ghezo remains calm, political.</scene_description> <character>GHEZO</character> <dialogue>And if I refuse?</dialogue> <character>OBA</character> <dialogue>You may no longer use the port in Ouidah for your trade.</dialogue> <character>GHEZO</character> <dialogue>The port belongs to Dahomey.</dialogue> <character>OBA</character> <dialogue>We have taken control. It is our port now.</dialogue> <scene_description>Ghezo is trapped. Feels the eyes of his people on him. Then --</scene_description> <character>GHEZO</character> <dialogue>I'm surprised you bring your horses here to the plateau. If they are bitten by the flies, they will die of sleeping sickness. Sometimes a mouse can bring down the elephant.</dialogue> <character>OBA</character> <dialogue>Do you threaten the Oyo, Little King?</dialogue> <character>OBA</character> <dialogue>Your brother was weak enough for you to kill, but we are an Empire.</dialogue> <character>MIGAN</character> <parenthetical>(anger flaring)</parenthetical> <dialogue>You will respect the King!</dialogue> <scene_description>He goes to draw his machete, but Oba's TWO GUARDS, ever at his side, step forward. Ghezo holds up a hand.</scene_description> <character>GHEZO</character> <dialogue>Migan. This "general" attempts to bate us. But we will not jump at his foolishness.</dialogue> <scene_description>Ghezo draws Nanisca and the Migan away. They confer in private. SHANTE, on the dais, watches, unable to hear. ANGLE ON NAWI, FUMBE, the other Agojie wait. Ghezo and his generals return to Oba.</scene_description> <character>GHEZO</character> <dialogue>Twenty Agojie. Of our choosing. We will march them to Ouidah and surrender them. And the port remains open to us for our trade.</dialogue> <scene_description>Amenza is completely taken aback. Nanisca has agreed?</scene_description> <character>OBA</character> <dialogue>We have a deal. I will leave Boma to enjoy the feast you have prepared.</dialogue> <scene_description>One of Oba's soldiers brings him his horse, which he mounts.</scene_description> <character>OBA</character> <dialogue>In Ouidah, I will be waiting.</dialogue> <scene_description>He turns and rides away. Ten soldiers on horseback follow, while others load the tribute onto their horses. Nanisca walks to her assembled Agojie, begins to hand-pick the women she will send to Ouidah. With a wave of her hand, each one is separated off from the larger group. ON NAWI... her eyes widen as Nanisca looks at Izogie for a moment then waves her hand. Izogie glances toward Agidigbi in the VIP section, then marches to the discard group, showing no emotion. Nanisca moves to the trainees. She sees Fumbe but passes her by. Nanisca eyes Ode. Ode is resigned to be chosen. But then, Nanisca's eyes move on to Nawi. Nawi holds her breath... Nanisca waves her hand. Nawi must go. Her face falls. Nanisca returns to Ghezo. He turns to Boma and the three other officers.</scene_description> <character>GHEZO</character> <dialogue>Now we feast.</dialogue> <scene_description>SERVANTS bring out platters piled high with food and drink. Boma and the Oyo officers move to the dais. Nanisca follows, her face full of anger.</scene_description> </scene> <scene> <stage_direction>EXT. RITUAL GARDEN - NIGHT</stage_direction> <scene_description>In a secluded, fenced area, a large tree creates a canopy over an altar. Brass and wooden figures, faces of the gods, called Vodun, decorate the space. This word, Vodun, will someday transform into the English word -- Voodoo. Nanisca walks in. The garden is empty, candles are lit. She kneels, bows to the statues.</scene_description> <character>NANISCA</character> <dialogue>Ghosts of the dead. Help us. Help... me...</dialogue> <scene_description>Her eyes close, and when they open again, we see EMOTION, TEARS BRIMMING. She pushes it back. Rises defiantly. Then, a voice startles her...</scene_description> <character>AMENZA (V.O.)</character> <dialogue>Nanisca.</dialogue> <scene_description>Nanisca whirls. Amenza has entered.</scene_description> <character>AMENZA</character> <dialogue>What happened? At the tribute today? I have never seen that look from you.</dialogue> <character>NANISCA</character> <dialogue>Your chain was finally right.</dialogue> <scene_description>Nanisca leaves the garden.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - NIGHT</stage_direction> <scene_description>Nawi dresses for the journey -- attaching to her belt her machete, and a small drawstring bag in which the Agojie carry good luck charms -- fetishes. Fumbe watches.</scene_description> <character>FUMBE</character> <dialogue>I have never been to Ouidah.</dialogue> <character>NAWI</character> <dialogue>Nor I.</dialogue> <scene_description>Fumbe takes Nawi's rope from her belt. She shows her friend how to tie the proper knot.</scene_description> <character>FUMBE</character> <dialogue>Over. Under. Around. Down.</dialogue> <scene_description>She hands it to Nawi. The two young friends look at each other, both emotional at this parting... they embrace. EST. SHOT - BAY OF OUIDAH - DAY The waters of the huge bay are choppy and inhospitable. European tall ships anchor outside the bay. Long ROWBOATS overcome the waves to take cargo to and from the ships, piloted by KRUMEN -- Dahomey men who work the port.</scene_description> </scene> <scene> <stage_direction>EXT. BAY OF OUDIAH - SAME TIME</stage_direction> <scene_description>A ROWBOAT is rowed by FOUR KRUMEN. Their passengers from the tall ship are TWO YOUNG MEN in their mid-twenties, dressed in European fashion, white pants tucked into tall boots, high- collared shirts and jackets. One is a ship's captain, SANTO FERREIRA, a Brazilian of European decent, empowered by his stature. The other is a light-skinned Black man, MALIK DIALLO. They speak in PORTUGUESE --</scene_description> <character>FERREIRA</character> <parenthetical>(subtitled --)</parenthetical> <dialogue>Hang on! You don't want to fall in!</dialogue> <scene_description>Ferreira, Malik and the Krumen splash into the surf as their boat is pulled onto the sand. Other boats are also pulled ashore, their cargo unloaded by long assembly lines of men throwing boxes. Malik steps firmly with his boots onto dry ground. He takes a long look around. Speaks in Portuguese --</scene_description> <character>MALIK</character> <parenthetical>(subtitled --)</parenthetical> <dialogue>I can't believe it. I'm really here.</dialogue> <scene_description>Ferreira claps his old friend on the back.</scene_description> <character>FERREIRA</character> <dialogue>It is a savage place. I'm afraid you will not find it to your liking after the comforts of your upbringing.</dialogue> <character>MALIK</character> <dialogue>I can say the same for your ship.</dialogue> <scene_description>Ferreira feels his friend's judgment.</scene_description> <character>FERREIRA</character> <dialogue>Slave ships are the only kind that come to these shores. This is my first crossing as Captain, but I intend to run the ship as my father ran it. You of all people understand, those ties are not easily slipped.</dialogue> <scene_description>Ferreira and Malik grew up together, but now they are men, with a wedge between them.</scene_description> <character>FERREIRA</character> <dialogue>Come, I'll show you the city.</dialogue> <scene_description>Malik follows him.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF OUIDAH - SHORT TIME LATER</stage_direction> <scene_description>Ouidah town is dominated by a LARGE FORT. At high tide, the sea washes right up to the walls. The port is crowded, dirty, smelling of fish and sewage. Goods are carried in large baskets on the heads of Africans; baskets full of squirming fish, sacks of grain, tobacco -- WHITE MEN -- sailors and slave traders, hairy, dirty, greet each other in the open-air entrances to bars and brothels. There is a palpable air of immorality. MANY LANGUAGES are spoken; English, Portuguese, French, Dutch. We find Malik and Ferreira walking here. They enter...</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE - CONTINUOUS</stage_direction> <scene_description>A gathering area, full of people, rimmed by balconies of the rooming houses, the white fort LOOMING behind it, its arched entrance on the square. A spiked portcullis gate hovers like daggers above the fort entrance. ON MALIK, taking it all in, his eyes drawn to... The SLAVE MARKET, and the BARRACOONS, open, pen-like prisons, full of AFRICAN MEN AND WOMEN. There's misery in every eye he meets. WHITE TRADERS examine the captives and barter. Ferreira sees Malik's face... his shock and dismay.</scene_description> <character>FERREIRA</character> <dialogue>You have seen the same markets in Brazil.</dialogue> <scene_description>Malik now notices, on the other side of the Barracoons... A LINE OF WOMEN... THE TWENTY HAND-PICKED AGOJIE WARRIORS, straight and proud, marching into the square, led by Nanisca and Amenza. Two of the Agojie carry a LARGE BASKET. Malik watches them, mesmerized, and then, he sees... NAWI whose eyes are glued to the miserable barracoons. She has his same look of shock and horror on her face and then... SHE SEES MALIK. He looks ridiculous, an African man all buttoned-up in the heat. As for Malik, he is utterly fascinated by the Agojie, their pride, their swagger.</scene_description> <character>MALIK</character> <dialogue>Are they...?</dialogue> <character>FERREIRA</character> <dialogue>The Dahomey Amazons. Virgin soldiers. Bloodiest bitches in Africa.</dialogue> <scene_description>Nawi turns away as her comrades pass A SMALL GROUP OF OYO WARRIORS on horses, watching the AGOJIE with leers. The Agojie line up across the square, in one long row, twenty women stretching almost to the fort's gate. The scores of people in the square can't help but watch the events unfold. Nanisca and Amenza step forward. The Agojies place the basket in front of them, step back into the line. An OLDER MAN, an Oyo Bureaucrat in robes, approaches.</scene_description> <character>NANISCA</character> <dialogue>We bring tribute from King Ghezo.</dialogue> <scene_description>ON NAWI... near to the fort's gate, one of the last in the line. She has fear in her eyes as she scans the courtyard. In various alcoves she sees traders and bureaucrats, money changing hands, parchments being signed with quill pens. Sees all the men's eyes crawling over her and her comrades. The Oyo Bureaucrat gestures and Nanisca follows his arm to see A GROUP OF SIX OYO SOLDIERS walking toward them. Leading them is OBA. There's a feeling of a standoff, the basket stands alone in the space between Nanisca and Oba, who sneers at the Agojie.</scene_description> <character>OBA</character> <dialogue>Dahomey has no soldiers man enough. They have to arm their women. Little girls playing soldier. I'm sure my men will find plenty of use for them.</dialogue> <scene_description>He laughs. It pierces Nanisca. ON NAWI... she hears a rumble of movement. Closest to the fort's entrance she sees... some distance away, but coming -- TWO COLUMNS OF OYO SOLDIERS...</scene_description> <character>OBA</character> <parenthetical>(ordering soldiers)</parenthetical> <dialogue>Disarm the women.</dialogue> <scene_description>ON NAWI, looking at Izogie, trying to gain her attention. Izogie turns, and sees the danger too... ON NANISCA -- eyes boring into Oba's.</scene_description> <character>NANISCA</character> <dialogue>These soldiers are not your tribute. This is your tribute!</dialogue> <scene_description>She lifts her foot, KICKING OVER THE BASKET. FOUR HUMAN HEADS roll out. Their death grimaces still visible, frozen in rigor mortis. The four Oyo officers left in Abomey; they never rode out alive. ON OBA... he knows one of these heads... his comrade, BOMA. He looks in red anger at NANISCA. Knows he has been set up.</scene_description> <character>NANISCA</character> <dialogue>You disrespect our King in his own house, now we will kill you in yours.</dialogue> <scene_description>In the square, there is shouting, the Bureaucrat calling for soldiers!</scene_description> <character>NANISCA</character> <parenthetical>(yells to her soldiers --)</parenthetical> <dialogue>Eh-dabo!</dialogue> <scene_description>The Agojie take off sprinting for an alcove, led by Izogie. Nawi follows. NAWI glances back, is shocked to see Nanisca DRAW HER WEAPON! Oba draws as well. Their eyes are alight with fury, squaring off to fight... Nawi looks back at the Agojie who disappear up a stairwell. Then, she turns, races back to the FORT ENTRANCE! The Oyo soldiers have almost reached the gate as: Nawi draws her machete and CUTS THE ROPE that suspends the spiked portcullis gate... THE IRON GATE FALLS, spikes plummeting... trapping them inside. The soldiers swarm the gate, get their hands on the bars -- strain to LIFT IT... ON NANISCA AND OBA... their blades clashing. Nanisca intends to kill this man. But her rage, rather than her skill is driving her movements, making her sloppy.</scene_description> <character>NAWI (O.C.)</character> <dialogue>Miganon!</dialogue> <scene_description>Nanisca turns to see NAWI, who points at the fort entrance, where the soldiers have lifted the gate and are POURING THROUGH... Distracted, Oba pounces, KNOCKING HER MACHETE OUT OF HER HAND... Oba SMILES... Nanisca will surely be captured. ON NANISCA, furious, but resigned, motions to Nawi...</scene_description> <character>NANISCA</character> <dialogue>Go!</dialogue> <scene_description>The two Agojie plunge into the crowd, fighting their way to the alcove. OBA and his soldiers PURSUE. MALIK sees this, looks at Nawi and Nanisca, wishing them escape. Nanisca and Nawi sprint into the shadowy alcove... CAMERA STAYS WITH THEM as they follow the stairs to the high wall that edges the cliffs...They can HEAR the thunder of footsteps behind them... They scramble up the wall and LEAP!</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>Nanisca and Nawi drop from the DIZZYING HEIGHT, crash into the ocean below, pop to the surface. FOUR CANOES are held steady in the water by FOUR MALE DAHOMEY WARRIORS with long poles. The boats are filled with the other Agojie. Izogie and Amenza stand on a nearby canoe. Amenza pulls Nanisca in. Nawi struggles against the waves. IZOGIE flings out a rope...</scene_description> <character>IZOGIE</character> <dialogue>Grab on!</dialogue> <scene_description>Nawi lunges to catch the rope. Grips it, gritting her teeth, as Izogie pulls. NANISCA stands in a canoe. Above, Oba and his soldiers can only watch. They raise their muskets. FIRE! Bullets splash the water around them.</scene_description> <character>NANISCA</character> <dialogue>Push off!</dialogue> <scene_description>Nawi, breathless, holds on.</scene_description> </scene> <scene> <stage_direction>EXT. SECLUDED SHORELINE - LATE DAY</stage_direction> <scene_description>The canoes are pulled onto shore by the male soldiers. The exhausted, but exhilarated Agojie slosh through the surf, fall onto the sand. NAWI is bent over, breathless, and then... NANISCA steps before her.</scene_description> <character>NANISCA</character> <dialogue>Why did you not follow the plan? You were to go to the boats!</dialogue> <character>NAWI</character> <dialogue>The soldiers were coming. If I did not move when I did --</dialogue> <character>NANISCA</character> <dialogue>So you are the hero? You can act on your own, without orders?</dialogue> <character>NAWI</character> <dialogue>You would never have escaped!</dialogue> <scene_description>Izogie shoots her a look.</scene_description> <character>IZOGIE</character> <dialogue>Nawi.</dialogue> <scene_description>A beat between them. Nanisca fights off a stab of feeling.</scene_description> <character>NANISCA</character> <dialogue>We are Agojie. We do not act alone. We move together. With one purpose. Alone, you are vulnerable. Alone you are killed, or worse. It is you who faced capture, by disobeying my orders.</dialogue> <scene_description>Nawi looks down. Amenza hears this... knows Nanisca is speaking of her own past. Nanisca speaks to all the soldiers.</scene_description> <character>NANISCA</character> <dialogue>Now you have seen the barracoons. A captured Agojie is a slave.</dialogue> <character>NANISCA</character> <dialogue>Used by men. Sold to a ship where human beings are piled up like fish. To rot. It is better to die. To cut your own throat.</dialogue> <scene_description>Nanisca walks away. Nawi swallows, overwhelmed. Amenza follows after Nanisca. Speaks softly.</scene_description> <character>AMENZA</character> <dialogue>I will never question you in front of others. But it is you who did not follow the plan.</dialogue> <scene_description>Nanisca silences her with a wave of her hand and strides away. Swallows back the emotion, the memories... CUT TO:</scene_description> </scene> <scene> <stage_direction>PRESENT - EXT. PALACE - INNER COURTYARD - NIGHT</stage_direction> <scene_description>The Agojie have returned and are home, on the other side of the palm curtain, greeting their comrades. Fumbe embraces Nawi, helps her with her weapons, thrilled her friend is home again. Nawi smiles, but her eyes follow Nanisca as she enters, alone...</scene_description> </scene> <scene> <stage_direction>INT. PALACE - KING'S CHAMBERS - SHORT TIME LATER</stage_direction> <scene_description>CAMERA tracks Nanisca as she walks down the hall. She passes an open archway where she looks in to see... THE KING'S WIVES AND CHILDREN. Shante is with the other young wives, lounging. One of them, INIYA, NURSES A BABY, a young prince, on her breast. Nanisca is drawn to the mother and child. Shante catches her eye and gestures her inside.</scene_description> <character>SHANTE</character> <dialogue>I hear you have had a victory.</dialogue> <character>NANISCA</character> <dialogue>A small victory in a large war.</dialogue> <character>SHANTE</character> <dialogue>Nanisca. I think we have... started on a wrong foot. I wish to be your friend. I can help you. I have the King's ear. We should work together, to serve our king, to ensure he grows only more powerful...</dialogue> <character>NANISCA</character> <dialogue>It is you who wants to be powerful. To stay safe and rich in your fine palace...</dialogue> <character>SHANTE</character> <dialogue>Too much change can be dangerous. I have said this much to my husband.</dialogue> <character>NANISCA</character> <dialogue>Then we will soon understand who truly has his ear.</dialogue> <scene_description>Nanisca leaves the chamber. Shante watches after her.</scene_description> </scene> <scene> <stage_direction>EXT. OUIDAH - TOWN SQUARE - MORNING</stage_direction> <scene_description>Oba and his advisors stand outside the barracoons, talking with a few ship captains, among them, Ferreira. Malik stands nearby, listening in. Oba speaks to the Captains a man translates his words into Portuguese, murmuring behind him.</scene_description> <character>OBA</character> <dialogue>Dahomey is an abomination, with an army of whores. We will march to their city. And we will take it.</dialogue> <character>FERREIRA</character> <parenthetical>(in Portugese subtitled)</parenthetical> <dialogue>Tell him I know Ghezo. He will fight to the end for his people.</dialogue> <scene_description>The interpreter starts to tell Oba, but Oba waves him off.</scene_description> <character>OBA</character> <dialogue>I know what he said. Ghezo is a usurper. He stole the crown. The Mahi, the Egbo, they will join us. Dahomey is the only tribe in Africa with women soldiers, and women in the council room. It is against the gods. We will put the women of Dahomey in their place.</dialogue> <scene_description>ON MALIK... overhearing this. Oba smiles at the slave ship captains...</scene_description> <character>OBA</character> <dialogue>More cargo for your ships. The Agojie sell high at the markets.</dialogue> <parenthetical>(to his interpreter)</parenthetical> <dialogue>Tell them. Ouidah is open for business.</dialogue> <scene_description>Oba leaves, heading for the entrance to the fort with his retinue. Ferreira turns to Malik. In Portuguese --</scene_description> <character>FERREIRA</character> <dialogue>You wish to see Abomey? Then we must go now. With gifts for the King. Before it is no more.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE TRAIL - LATE DAY</stage_direction> <scene_description>Miles of lush jungle. We spot the travelers slowly picking their way through it. A LINE OF PORTERS carry a strange assortment of GIFTS on their heads: a gilt end table, a long bolt of deep pink silk. A crate of whiskey and rum. A large, ornate clock. Malik and Ferreira bring up the rear, slogging in the heat...</scene_description> </scene> <scene> <stage_direction>EXT. PALM FOREST - LATE DAY</stage_direction> <scene_description>ROWS AND ROWS OF PALMS, the fields full of WORKERS, men high in the trees, picking the nuts. Women on the ground, carrying baskets full of nuts on their heads toward: AN AREA WITH LARGE CALDRONS... fires lit beneath them. The nuts are loaded from the wheelbarrows into the vats. The oil is separated off the top of the cauldrons by large metal ladles. WOMEN do the hot work of ladling the oil into CLAY POTS. Nanisca shows Ghezo the operation.</scene_description> <character>NANISCA</character> <dialogue>The oil must cool in the ground for several days, and then it will be ready for transport.</dialogue> <scene_description>WOMEN carry the pots to a cleared area, dotted with HOLES dug in the ground, round pools, rimmed with dirt. The women POUR THE OIL in the holes. Steam rises up. Then they lay large palm fronds over the holes. Further away, MEN dig more pools as the operation WIDENS.</scene_description> <character>NANISCA</character> <dialogue>This field alone produces hundreds of barrels. If we harvest many fields each year, we will have a continuous supply to trade.</dialogue> <scene_description>Ghezo is impressed.</scene_description> <character>GHEZO</character> <dialogue>I did not see a path before, Nanisca. But now I do.</dialogue> <character>NANISCA</character> <dialogue>Vision is seeing what others do not.</dialogue> <scene_description>Ghezo takes this in. Then --</scene_description> <character>GHEZO</character> <dialogue>I see our greatness. We will conquer the Oyo, and then expand our territory. We will be the greatest empire in Africa.</dialogue> <character>NANISCA</character> <dialogue>Yes, my king. But let us not be an empire who sells its people. Let us be an empire who loves its people.</dialogue> <character>GHEZO</character> <dialogue>My brother sold our own. I would never do that.</dialogue> <character>NANISCA</character> <dialogue>Even if they are not Dahomey, they are still our people.</dialogue> <parenthetical>(then --)</parenthetical> <dialogue>The white man has brought immorality here. They will not stop until the whole of Africa is theirs to enslave.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE COURTYARD - NIGHT</stage_direction> <scene_description>The Agojie eat in small groups, around fires. Nawi's attention is drawn to two of the soldiers, who sit together. In the shadows of the firelight, there's a subtle intimacy. Nawi takes this in, as Fumbe, Ode and the other recruits start to go into the barracks. They are stopped by an order:</scene_description> <character>IZOGIE</character> <dialogue>Trainees! A final test is being prepared! You will be pitted against each other, to perform your battle skills before the King. Those who pass the test will become Agojie. And those fail will leave the palace, never to return.</dialogue> <scene_description>Nawi and Fumbe exchange glances. This is it. They will be in... or out.</scene_description> <character>IZOGIE</character> <dialogue>Look to your weapons. Tomorrow is the day.</dialogue> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - LATE NIGHT</stage_direction> <scene_description>Nawi sits on her bed roll, her dagger and machete laid out and shining. But it is the rope knot she carefully practices.</scene_description> <character>NAWI</character> <parenthetical>(under)</parenthetical> <dialogue>Over. Under. Around. Down.</dialogue> <scene_description>She looks over at ODE, who sharpens her machete with a leather strap. Ode tests the blade. Does a few moves, handling her machete with ease. Her eyes meet Nawi's. Game face on. Nawi feels her own weapon... it is dull.</scene_description> </scene> <scene> <stage_direction>EXT. ABOMEY PALACE - FIRST LIGHT OF DAWN</stage_direction> <scene_description>Nawi sneaks through the secret door Izogie showed her...</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - EARLY MORNING</stage_direction> <scene_description>Nawi jogs in the jungle, she HEARS something in the brush... a majestic cheetah strolls past. Nawi watches, then resumes her jog...</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - WATERFALL - SHORT TIME LATER</stage_direction> <scene_description>Nawi finds a waterfall. She bends to pick out black stones from the water's edge. Finds one smooth as silk. She uses the whetstone to sharpen her machete, scraping it along the blade, then she hears... VOICES. Male voices. Speaking in Portuguese. She takes the stone and her machete and DISAPPEARS into the foliage... MALIK appears, just awakening from their night camp, his breaches and shirt open, barefoot. He goes to the water's edge. Splashes his face, fills his canteen. Malik looks out at the shimmering water. Then, he TAKES OFF ALL HIS CLOTHES; shirt, breeches... he is soon naked. He immerses himself, swimming out into the center. He lays back, takes in the beauty surrounding him... LATER Malik's wet feet step over stones to reach the place where he left his clothes and -- THEY'RE GONE. He starts muttering in Portuguese. Peering into the trees, sensing a rat.</scene_description> <character>MALIK</character> <parenthetical>(in Portuguese --)</parenthetical> <dialogue>Santo! This isn't funny!</dialogue> <scene_description>And then... HE SEES NAWI, stepping out, near the tree line, dagger in hand. He quickly covers himself with his hands.</scene_description> <character>MALIK</character> <parenthetical>(subtitled)</parenthetical> <dialogue>Do you speak Portuguese?</dialogue> <scene_description>Nawi glares at him.</scene_description> <character>NAWI</character> <dialogue>Go back to Ouidah, Slaver. Naked like the people you sell.</dialogue> <scene_description>Malik surprises her by answering her in Fonbe.</scene_description> <character>MALIK</character> <dialogue>I am not a slaver.</dialogue> <character>NAWI</character> <dialogue>You understand me?</dialogue> <character>MALIK</character> <dialogue>My mother was Dahomey.</dialogue> <character>NAWI</character> <dialogue>Where is she now?</dialogue> <character>MALIK</character> <parenthetical>(beat, then --)</parenthetical> <dialogue>She is gone.</dialogue> <scene_description>Nawi is taking all this in, her curiosity peaked.</scene_description> <character>NAWI</character> <dialogue>You do not look like Dahomey.</dialogue> <character>MALIK</character> <dialogue>My father is white.</dialogue> <character>NAWI</character> <dialogue>So you are... Dahomey... but not. And white man, but not.</dialogue> <character>MALIK</character> <dialogue>Yes.</dialogue> <scene_description>They stare at each other. Then --</scene_description> <character>MALIK</character> <dialogue>Do you think I could have my pants now?</dialogue> <scene_description>Nawi still wary, tucks her blade back into her belt, tosses the clothes to Malik. He pulls them on.</scene_description> <character>NAWI</character> <parenthetical>(still wary)</parenthetical> <dialogue>I saw you, in Ouidah. Why are you here? In the jungle?</dialogue> <character>MALIK</character> <dialogue>My name is Malik. I am going to Abomey. The place my mother told me so much about.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Perhaps I will see you, too?</dialogue> <character>NAWI</character> <dialogue>If you are allowed into the palace.</dialogue> <scene_description>She sees a crucifix on his bare chest. Reaches for it, then pulls her hand back. He takes it off and hands it to her. She examines it.</scene_description> <character>NAWI</character> <dialogue>One of the King's wives worships this Vodun. I believe in Legba.</dialogue> <character>MALIK</character> <dialogue>Who is Legba?</dialogue> <character>NAWI</character> <dialogue>He is the trickster. My life has been full of tricks, so I believe in him.</dialogue> <scene_description>THEY HEAR VOICES -- men approaching. She drops the crucifix.</scene_description> <character>MALIK</character> <dialogue>Wait!</dialogue> <scene_description>She disappears as Ferreira appears.</scene_description> <character>FERREIRA</character> <parenthetical>(in Portuguese)</parenthetical> <dialogue>There you are.</dialogue> <scene_description>They go to fill their canteens. Malik collects his chain.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF ABOMEY - DAY</stage_direction> <scene_description>Malik, Ferreira and their party make their way up the crowded streets. Malik takes it all in. He has never seen a thriving city of African people; artisans, farmers, music, trade. The people happy and prosperous. FREE. It thrills him. Malik, Ferreira and the women bearing the gifts lead the way toward THE PALACE, the huge double gates opened by a coterie of brightly clad Eunuchs. Malik is welcomed by the Dahomey people -- smiling, accepting him. It feels like a homecoming as he passes through to...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - CONTINUOUS</stage_direction> <scene_description>A riot of color. Umbrellas waving and flags flying. Ghezo sits on a large dais, surrounded by AGOJIE GUARDS. The porters bearing gifts are swarmed by his wives, also on the dais; they argue over the pink silk. Malik hangs back with Ferreira. In Portuguese --</scene_description> <character>MALIK</character> <parenthetical>(subtitled --)</parenthetical> <dialogue>You say it is savage. But it is magnificent.</dialogue> <character>FERREIRA</character> <dialogue>You see it through rose-colored glasses. Why do you think the King's Guards are all women? Because he trusts no man.</dialogue> <scene_description>Malik looks at Ghezo, who turns his attention to NAWI and the other trainees, armed and ready, oiled for battle, their skin shining. Ghezo addresses the trainees. This is the closest they have ever been to their charismatic and handsome King.</scene_description> <character>GHEZO</character> <dialogue>There will be one last test. A war game. We will see which of you are fit to be called Agojie.</dialogue> <scene_description>He gestures to an obstacle course set up; a wall of HUGE BRAMBLES, the size of cars, A FENCE OF THORNS, and behind it a mud pit -- rising out of that, A WALL of soil and stone, fifteen feet high. ON NAWI... her heart stopping. She has to do that? Malik watches Izogie and Tara lead the trainees off, and now it is Ferreira's turn to present to the King. Ghezo embraces his old friend. They speak in Portuguese --</scene_description> <character>GHEZO</character> <dialogue>Too long, Santo! You hide yourself!</dialogue> <character>FERREIRA</character> <dialogue>Your Portuguese is flawless, Your Majesty. You have been practicing.</dialogue> <scene_description>Nanisca and the Migan, Amenza and her male counterpart, the AJAHE -- all watch this reunion of Ferreira and Ghezo. The Migan leans in to Nanisca.</scene_description> <character>MIGAN</character> <dialogue>I do not like this Captain. Puffed up like a banty rooster.</dialogue> <character>NANISCA</character> <dialogue>Finally we agree.</dialogue> <scene_description>The generals share a look, as Ferreira makes a showy bow and offers HIS SPYGLASS as a gift to the King. Malik bows as well -- offers an ORNATE ENGLISH SWORD.</scene_description> <character>FERREIRA</character> <dialogue>This is Malik. His mother was taken from Dahomey as a captive and enslaved in my country.</dialogue> <scene_description>Ghezo is stricken by this. He speaks to Malik in Fonbe.</scene_description> <character>GHEZO</character> <dialogue>My mother was also taken. Sold away by my own brother. I have men in your country searching for her. They will bring her back. Perhaps they can bring your mother too...</dialogue> <character>MALIK</character> <dialogue>My mother is dead.</dialogue> <parenthetical>(this affects Ghezo)</parenthetical> <dialogue>It was her dying wish that I come here, to her home. The only place that she was ever free.</dialogue> <character>GHEZO</character> <parenthetical>(sobered)</parenthetical> <dialogue>Then it is also your home. We welcome you.</dialogue> <character>MALIK</character> <dialogue>Your majesty, we have seen the Oyo overrun the port at Ouidah...</dialogue> <character>GHEZO</character> <dialogue>We know what kind of men the Oyo are. But they cannot defeat my Agojie. We show you today.</dialogue> <scene_description>He gestures for the men to sit down on pillows that have been laid out. A chorus of DRUMBEATS begins...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - SHORT TIME LATER</stage_direction> <scene_description>A HUSH falls over the crowd as drums play, an ominous beat. THE AGOJIE TRAINEES, including Nawi, Fumbe and Ode, march to the start of the obstacle course, machetes on their belts. ON THE DAIS Malik spots Nawi. He leans forward... ON THE PARADE GROUND Fumbe swallows nervously. Nawi glances at her foe, Ode, who refuses to look at her. Izogie stands before her trainees. Slowly removes her own magnificent machete.</scene_description> <character>IZOGIE</character> <dialogue>Relentlessly we will fight.</dialogue> <scene_description>Nawi meets her eyes. Izogie winks. Nawi raises her chin, stares at the obstacle course as she takes her place at the starting line. Her eyes are drawn to the dais, where she sees MALIK, with Nanisca and the King, watching her. Malik raises a hand to her...IZOGIE SEES THIS. Looks out at Nawi. AT THE STARTING LINE Nawi is hit with a rush of adrenaline and nerves. Izogie raises her machete and BRINGS IT DOWN... Drums BANG, A MUSKET SHOOTS OFF! The race begins! The trainees sprint toward the obstacle course. Nawi, Ode and three other girls are in the lead -- they LAUNCH THEMSELVES ONTO THE BRAMBLES climbing through but THORNS tear at their flesh and sink into their skin. They ignore the pain, scrambling over and into... THE OOZING MUD. They struggle to push through, slipping and falling. MALIK is blown away by Nawi's athleticism. She is light on her feet and stays upright. Nanisca watches the display with critical eyes. Nawi reaches the wall first, tries to climb, but her feet slip. She takes her rope, the knot pre-tied and THROWS IT UP, LOOPING IT ONTO A SPIKE AT THE TOP OF THE WALL! She yanks it tight and starts climb it up, leaving Ode and the other's in the mud, behind, but as she looks down, she sees... FUMBE tries to copy her. Fumbe throws her rope, but HER KNOT SLIPS FREE, and she falls back into the mud. NAWI, near the top of the wall, sees her friend... ON IZOGIE, watching from the sideline.</scene_description> <character>IZOGIE</character> <parenthetical>(mutters --)</parenthetical> <dialogue>No, no...</dialogue> <scene_description>ON NAWI. She wants to win, so badly, but she calls out to Fumbe, motions to her to throw her rope. Fumbe does. Nawi LEANS OUT.. FINGERS BARELY CATCHING IT. She quickly ties the knot and loops it around a spike as Ode reaches the top! ON THE DAIS...Nanisca sees her do this. Sees fumbe now climning up... Nawi turns to continue her own race...ODE IS NOW AHEAD, clamoring down the wall. Nawi ignores her rope, LEAPS down, crashing to the ground hard. Stunned, she lays there. Ode lands safely, takes off running. Nawi scrambles up, RACES through an open area where male soldiers pretend to be enemy soldiers and PELT THE TRAINEES with rocks. They both take the hits, but Nawi has caught up. THEY ARE NECK AND NECK. Nawi and Ode face one more task at the end of the clearing... Nawi's old nemesis, THE ROW OF DUMMIES, with their stick heads. Nawi finds another level of speed, sprinting hard, taking the lead over Ode. She draws her machete... she spins, the machete in her two hands as she SLICES OFF THE HEAD. Cleanly. It goes FLYING through the air, rolls in the dirt. Nawi stalks over, lifts the dummy head and HOLDS IT UP TO THE CROWD. NAWI WINS THE RACE. THE WATCHING CROWD of Agojie, townsfolk and male soldiers CHEER. Malik is dumbstruck. Completely taken by this young woman so different from what he has ever known. ON NAWI... the victor. She stands, still breathless, sweat glistening on her skin. She glances back... AT THE WALL, two trainees who failed the test are weeping, as Esi escorts them away. Nawi turns back, as the handsome Ghezo walk down the steps from the dais, crossing to her. She gulps. She has never been this close, to the young king who she and her people adore.</scene_description> <character>NAWI</character> <parenthetical>(bows)</parenthetical> <dialogue>My King.</dialogue> <character>GHEZO</character> <dialogue>Tell me your name.</dialogue> <character>NAWI</character> <parenthetical>(such a moment)</parenthetical> <dialogue>I am Nawi.</dialogue> <scene_description>ANGLE ON MALIK... hearing her name.</scene_description> <character>GHEZO</character> <dialogue>You are as beautiful as you are fierce. If you were not so skilled at warfare, I would have made you a wife.</dialogue> <scene_description>Some laughter from the assembled dignitaries. He gestures and Tanonu steps forward. He has a machete on a fabric cushion. Ghezo takes it in two hands presents it to Nawi. It has a beautifully carved handle.</scene_description> <character>GHEZO</character> <dialogue>To the victor.</dialogue> <scene_description>She takes the weapon, honored, and catches eyes with... NANISCA, who nods her approval. A CONNECTION. Nawi feels a surge of happiness, of acceptance, as she turns to walk away, allowing a huge smile to bloom on her face.</scene_description> <character>GHEZO</character> <parenthetical>(to all the trainees --)</parenthetical> <dialogue>You have done well. All of you.</dialogue> <scene_description>ON ODE... watching with jealousy, still breathless. Nawi sees her. She goes to her and they EMBRACE, honoring each other.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - LATE DAY</stage_direction> <scene_description>The trainees are helped by servants, and comrades who tend to their wounds. Nawi lays on a mat, as Izogie tries to dig out a thorn. Nawi winces and moves her foot.</scene_description> <character>IZOGIE</character> <dialogue>Be still!</dialogue> <scene_description>Nawi grits her teeth. Izogie pulls out the thorn, LONG AND SHARP.</scene_description> <character>IZOGIE</character> <dialogue>Why did you return to help Fumbe? You could have lost...</dialogue> <character>NAWI</character> <dialogue>Fumbe is my friend. I want her to stay. To stay she must pass the test.</dialogue> <scene_description>Nanisca and Amenza, appearing behind Izogie.</scene_description> <character>NANISCA</character> <dialogue>To be useful, she must stand on her own.</dialogue> <character>NAWI</character> <parenthetical>(nodding toward Amenza)</parenthetical> <dialogue>You would not help your friend, Miganon?</dialogue> <character>NANISCA</character> <dialogue>Amenza? I would step on her head to win a foot race.</dialogue> <scene_description>Amenza laughs a little, but then wonders. Nanisca crouches in front of Nawi. She picks up her arm, examining the cuts.</scene_description> <character>NANISCA</character> <dialogue>Your first scars. The mark of a warrior.</dialogue> <scene_description>She holds out her own arm, matching it to Nawi's.</scene_description> <character>NANISCA</character> <dialogue>You see? You will have many more.</dialogue> <scene_description>Nawi drinks in the closeness like oxygen. Amenza watches, surprised by Nanisca's attention. Nanisca shows Nawi's cuts to Izogie...</scene_description> <character>NANISCA</character> <dialogue>Make sure all the thorns come out. Here, and here...</dialogue> <scene_description>She turns the arm and then... stops. She sees something. She holds Nawi's arm, stretched out...</scene_description> <character>NANISCA</character> <dialogue>What is this?</dialogue> <scene_description>ON THE SIDE OF NAWI'S ARM... HER SCAR. We've seen it before. Mr. Abade touched it when he examined her to be his bride.</scene_description> <character>NAWI</character> <dialogue>My father called it the devil's mark. It was there when he chose me in the orphanage.</dialogue> <scene_description>Nanisca looks at Nawi's face. Searching it now, as if it's the first time she's really looked at her.</scene_description> <character>NANISCA</character> <dialogue>You are an orphan? But your father...</dialogue> <character>NAWI</character> <dialogue>Took me in. I guess I didn't turn out to be the daughter they wanted.</dialogue> <scene_description>Nanisca drops Nawi's arm. Nawi touches the scar, not noticing that... Nanisca has left, walking out of the barracks. Past servants, wives, eunuchs, but she sees none of them.</scene_description> </scene> <scene> <stage_direction>PRESENT - INT. NANISCA'S CHAMBERS - SHORT TIME LATER</stage_direction> <scene_description>Nanisca bursts into her room. With a shaking hand she pours herself some water... but doesn't drink. Amenza joins her.</scene_description> <character>AMENZA</character> <dialogue>Nanisca, the festival continues, the King requests your presence...</dialogue> <scene_description>Nanisca looks at her. Amenza can see something is very wrong.</scene_description> <character>NANISCA</character> <dialogue>What did you do with it?</dialogue> <scene_description>Amenza is frozen for a moment... and then she knows.</scene_description> <character>AMENZA</character> <dialogue>You told me never to tell you.</dialogue> <character>NANISCA</character> <dialogue>I am asking...</dialogue> <character>AMENZA</character> <dialogue>You said you would ask, and you made me swear never to tell you...</dialogue> <character>NANISCA</character> <dialogue>Amenza!!</dialogue> <scene_description>Nanisca pounds her fist on the table. Amenza raises her chin.</scene_description> <character>AMENZA</character> <dialogue>I am not your servant.</dialogue> <scene_description>Beat.</scene_description> <character>AMENZA</character> <dialogue>I took her to the missionaries. You saw them. We passed them on the road, when we were marching.</dialogue> <character>NANISCA</character> <dialogue>Which way were they going?</dialogue> <character>AMENZA</character> <dialogue>I don't remember! I did what you asked, you told me to take the child and I chose to give her away!</dialogue> <scene_description>Nanisca sits on the bed.</scene_description> <character>AMENZA</character> <dialogue>Why do you ask these questions, after so many years?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...because Nawi is an orphan? You can't possibly think...</dialogue> <character>NANISCA</character> <dialogue>...no. Of course not.</dialogue> <scene_description>The two old friends look at each other.</scene_description> <character>AMENZA</character> <dialogue>The Gods are not that cruel.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE - PARADE GROUND - DUSK</stage_direction> <scene_description>Tanonu escorts Malik around, showing him wares -- pottery, beautiful appliquéd robes and delicate metal figurines, all shown to him by proud artisans. ON THE DAIS Ghezo and Ferreira drink together, alone.</scene_description> <character>FERREIRA</character> <parenthetical>(in Portuguese)</parenthetical> <dialogue>What is this talk of stopping the slave trade?</dialogue> <character>GHEZO</character> <dialogue>Speak my language when you are in my palace. You have the words.</dialogue> <scene_description>Ferreira is on his heels. Not so confident in the language.</scene_description> <character>FERREIRA</character> <dialogue>Your wife said you seek an end to slaving.</dialogue> <character>GHEZO</character> <dialogue>She does not speak for me. And she will be punished for thinking she does.</dialogue> <character>FERREIRA</character> <dialogue>Your Agojie general wishes this.</dialogue> <character>GHEZO</character> <dialogue>My generals obey my wishes.</dialogue> <character>FERREIRA</character> <dialogue>So you wish to sell... palm oil?</dialogue> <character>GHEZO</character> <dialogue>I want my people to prosper, as those in your lands do.</dialogue> <character>FERREIRA</character> <parenthetical>(forgetting himself)</parenthetical> <dialogue>But the slave trade makes you rich! As rich as the King of England. If you stop the trade...the money goes. The captains will take their business to another king.</dialogue> <character>GHEZO</character> <dialogue>Their business of selling Africans?</dialogue> <character>FERREIRA</character> <dialogue>Not all the white captains are your friend. You will be unprotected.</dialogue> <scene_description>Ghezo hears this. A small, hard smile appears on his face.</scene_description> <character>GHEZO</character> <dialogue>I am under no illusions that you see us as anything but commerce. But I am a king. This is my land. And if you do not come to my shores to trade what I wish to trade, it is you who are unprotected.</dialogue> <scene_description>Ferreira quickly backs off, realizing that to anger Ghezo in this palace could mean imminent death.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - THE PALM CURTAIN - DUSK</stage_direction> <scene_description>Malik outside it, curious, walking its length. HIS POV: The shadow world behind it... women walking, children playing, distant drums; feminine laughter. He catches the scent of their food. He can see Agojie dancing... ONE OF THEM IS NAWI. She glimpses him peering in. ON MALIK... his hand touches the fronds, ruffling them. As he is about to pass to the end, HE HEARS A WHISPERED VOICE.</scene_description> <character>NAWI (V.O.)</character> <dialogue>Malik.</dialogue> <scene_description>A HAND part the curtain. NAWI'S dark eyes peer out at him.</scene_description> <character>MALIK</character> <dialogue>How are you? Are you hurt?</dialogue> <character>NAWI</character> <dialogue>Why should you care if I am hurt?</dialogue> <character>MALIK</character> <dialogue>May I come in?</dialogue> <character>NAWI</character> <dialogue>No. No man may cross the palm line. In Brazil foreign men may look on the King's women?</dialogue> <character>MALIK</character> <dialogue>In Brazil, women cover their bodies. Long sleeves. Long skirts.</dialogue> <character>NAWI</character> <dialogue>Then how do they run?</dialogue> <scene_description>They both laugh a little. BELLS START TO RING -- night approaches. Malik looks over his shoulder to see Ferreira preparing to leave.</scene_description> <character>MALIK</character> <dialogue>We make camp outside the walls tonight. Come to see me...</dialogue> <character>NAWI</character> <dialogue>Tonight we take our blood oath.</dialogue> <character>MALIK</character> <dialogue>Afterward.</dialogue> <character>NAWI</character> <dialogue>If you wish a girl to come to your tent, they have girls you can pay in the market...</dialogue> <character>MALIK</character> <dialogue>What? No... I just... want to talk.</dialogue> <character>NAWI</character> <dialogue>You can talk to your friend.</dialogue> <character>MALIK</character> <parenthetical>(laughs)</parenthetical> <dialogue>No. To you. I want to...</dialogue> <parenthetical>(feeling so drawn)</parenthetical> <dialogue>...talk to you.</dialogue> <scene_description>Nawi feels something she's never felt before. Something powerfully intoxicating. She feels... wanted. The CONCH SHELL blows, Malik looks behind him -- THE GATES OPEN... Ferreira waves to him. He turns back to her.</scene_description> <character>MALIK</character> <dialogue>Come to the waterfall. I will be waiting.</dialogue> <scene_description>She smiles. He smiles back. He turns around, running backward, waves to her. She watches him go...</scene_description> </scene> <scene> <stage_direction>INT. PALACE - THRONE ROOM - NIGHT</stage_direction> <scene_description>Ghezo paces. He sees Ferreira's gifts; the pink fabric, the spy glass. A bottle of spirits. He hears his wives in the hallway, talking, laughing. He frowns and then... HE TAKES HIS ARM AND SWEEPS THE GIFTS, sending them clattering to the ground. SHANTE appears in the doorway.</scene_description> <character>SHANTE</character> <dialogue>Is everything alright, my love?</dialogue> <scene_description>He glares at her.</scene_description> <character>GHEZO</character> <dialogue>You are not welcome.</dialogue> <scene_description>She frowns, this is new. She waits a beat, then comes to stand behind him. She carefully lays her hands on his shoulders, begins to knead his muscles, carefully uses her delicate fingers to find the relief he seeks...</scene_description> <character>SHANTE</character> <dialogue>I understand. You have the weight of our people on your shoulders.</dialogue> <scene_description>He says nothing, but allows her to touch him.</scene_description> <character>SHANTE</character> <dialogue>You are the leader they seek. They see you as a savior, from the ills of your brother. From the Oyo murderers. They want to see Oyo suffer, to see every Oyo bound and chained on a slave ship. That is the victory you will give them. You will make Dahomey richer and more feared than any king before you. We sell captives to protect our own people from being sold. This is what you know because you are a King. And the woman who stands beside you, the Kpojito, must honor and protect you always.</dialogue> <scene_description>She moves before him, looks up into his eyes.</scene_description> <character>SHANTE</character> <dialogue>Listen to no one but your heart, my king.</dialogue> <scene_description>She puts her hand on his heart. He kisses her with passion.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE INNER COURTYARD - NIGHT</stage_direction> <scene_description>The trainees stand in a line. HOLD OUT THEIR FOREARM. AMENZA uses a dagger to make a SLICE in the soft flesh of the inside of their arms. When she cuts NAWI'S ARM, she looks at her face... could this be the infant that she herself chose to give to the mission? When she could have left her to die? She CATCHES Nawi's BLOOD into a brass bowl, mixing it with the other trainees. NANISCA steps forward. Cuts her own arm, adds HER OWN BLOOD, her forearm scarred with dozens of nicks. Nanisca stands before them. Nawi looks at her, expecting to see in her eyes what she saw before... a connection, the favorite. But she is surprised to see NANISCA'S EYES ARE EMPTY. She simply studies Nawi as she gives the oath.</scene_description> <character>NANISCA</character> <dialogue>Do you dedicate your life to your King and to your Agojie sisters?</dialogue> <character>ALL</character> <dialogue>I do.</dialogue> <character>NANISCA</character> <dialogue>Will you lay down your life for the people of Abomey, foreswearing all others, children, family, the company of men?</dialogue> <scene_description>Nawi's eyes search, waiting for Nanisca to meet them, but Nanisca's eyes do not return to her. Amenza pours a clear-colored spirit from a pottery pitcher into the bowl. Sprinkles a powder inside it. Mixes the liquid. The women all stand together, each in turn SIPPING FROM THE BOWL. The new Agojie chant with Amenza...</scene_description> <character>AMENZA</character> <dialogue>Blood of our sisters.</dialogue> <character>RECRUITS</character> <dialogue>Blood of our sisters.</dialogue> <character>AMENZA</character> <dialogue>Make us invincible.</dialogue> <character>RECRUITS</character> <dialogue>Make us invincible.</dialogue> <character>AMENZA</character> <dialogue>You live for me, and I for you.</dialogue> <character>RECRUITS</character> <dialogue>You live for me, and I for you.</dialogue> <scene_description>NANISCA says the words, but her eyes are distant. NAWI is upset, confused.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - NIGHT</stage_direction> <scene_description>The Agojie women prepare for bed, laughing, feeling good. Fumbe and Ode sit together, comparing their new scars. Nawi sits on her mat. Izogie sits behind her, braiding her hair.</scene_description> <character>IZOGIE</character> <dialogue>You are now my sister, my equal. I will be proud to fight with you.</dialogue> <character>NAWI</character> <dialogue>I want you to teach me, as Nanisca teaches you. I want to be great.</dialogue> <character>IZOGIE</character> <dialogue>You must focus. There can be no distractions...</dialogue> <character>NAWI</character> <dialogue>I will.</dialogue> <character>IZOGIE</character> <parenthetical>(beat --)</parenthetical> <dialogue>At the test. I saw the man from Brazil wave to you.</dialogue> <character>NAWI</character> <dialogue>I met him, in the jungle.</dialogue> <character>IZOGIE</character> <dialogue>And you... like him?</dialogue> <character>NAWI</character> <dialogue>I have no way to know if I like him or not.</dialogue> <scene_description>Beat.</scene_description> <character>NAWI</character> <dialogue>Why can we not love and be soldiers, too?</dialogue> <character>IZOGIE</character> <dialogue>It makes us weak.</dialogue> <character>NAWI</character> <dialogue>Have you not felt love?</dialogue> <character>IZOGIE</character> <dialogue>I do not think about love. I think about greatness. I want to be Miganon one day.</dialogue> <character>NAWI</character> <dialogue>And that is enough?</dialogue> <character>IZOGIE</character> <dialogue>It is a hard life we have chosen. We survive in our own way. You must find yours.</dialogue> <scene_description>Nawi takes in her words...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - LATE NIGHT</stage_direction> <scene_description>Nawi walks along the wall, shadowed from the moonlight. She comes to the door Izogie once led her through, sneaking out...</scene_description> </scene> <scene> <stage_direction>EXT. WATERFALL - SHORT TIME LATER</stage_direction> <scene_description>Malik and Nawi walk near the waterfall, talking.</scene_description> <character>MALIK</character> <dialogue>As a boy, my mother told me about Africa. About this place. And the women warriors.</dialogue> <character>NAWI</character> <dialogue>What did she say about us?</dialogue> <character>MALIK</character> <dialogue>That you were proud and strong. And feared. I thought they were just stories.</dialogue> <character>NAWI</character> <dialogue>I grew up with those stories, too. It made me dream that one day I could matter.</dialogue> <character>MALIK</character> <dialogue>My mother was a slave. That is all I knew of African people. I never dreamed that we were warriors, and kings. Now... I see the majesty. The beauty.</dialogue> <scene_description>He looks at Nawi. She feels his gaze.</scene_description> <character>NAWI</character> <dialogue>You did not see the beauty in her?</dialogue> <scene_description>He looks away. Ashamed.</scene_description> <character>MALIK</character> <dialogue>My father's blood gave me my freedom. Made me feel that I was different... But I am my mother's child. That is who I am. Who I want to be.</dialogue> <character>NAWI</character> <dialogue>I think you are a good man. You must not ally yourself with slavers like Ferreira.</dialogue> <character>MALIK</character> <dialogue>We grew up together.</dialogue> <character>NAWI</character> <dialogue>Does he see our beauty as you do?</dialogue> <scene_description>Malik takes this in. Quiet for a moment. Then --</scene_description> <character>MALIK</character> <dialogue>Nawi. The Oyo are coming...</dialogue> <character>NAWI</character> <dialogue>We are ready...</dialogue> <character>MALIK</character> <dialogue>Not just the Oyo. Other tribes, too. I heard their general.</dialogue> <scene_description>This makes her grow solemn.</scene_description> <character>NAWI</character> <dialogue>I must tell the Miganon. We must go back...</dialogue> <scene_description>She rises to go. He catches her hand.</scene_description> <character>MALIK</character> <dialogue>Wait. Tomorrow, we will be gone.</dialogue> <scene_description>She looks at his hand on her skin.</scene_description> <character>NAWI</character> <dialogue>You will return...</dialogue> <character>MALIK</character> <dialogue>I want to.</dialogue> <scene_description>She opens the little leather bag at her waist, and takes out a small charm.</scene_description> <character>NAWI</character> <dialogue>This is Ogou, he is courage and strength. Perhaps he will bring you back to us.</dialogue> <character>MALIK</character> <dialogue>I have nothing for you.</dialogue> <scene_description>Beat, then she puts her hand on his hip... and relieves him of A DAGGER IN A SHEATH on his belt. He smiles a little. She smiles back. She leans in and kisses him, on the lips. Surprising them both. She looks down, feeling a surge of attraction that makes her heart ache. She's shy again. He holds out his hand to her, to help her on the slippery rocks.</scene_description> <character>MALIK</character> <dialogue>I'll take you back.</dialogue> <scene_description>This gentlemanly gesture is foreign to her. She smiles and walks over the rocks with ease herself. He follows.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - BATHS - SHORT TIME LATER</stage_direction> <scene_description>Moonlight shines off the water. Nawi comes in, looking for Nanisca... She sees her, sitting at the edge, legs immersed. Nawi moves next to her. The water soothes her aching feet.</scene_description> <character>NAWI</character> <dialogue>Miganon. I have heard something. The man, with Ferreira. His name is Malik. He heard the Oyo General speak of a plan to grow his army with other tribes...</dialogue> <scene_description>Nanisca knows who this must be.</scene_description> <character>NANISCA</character> <dialogue>The Mahi, and Egbo. The Oyo have given them courage.</dialogue> <scene_description>Beat, then --</scene_description> <character>NANISCA</character> <dialogue>Malik. You sneak out on the night you take your blood oath to meet with a slaver?</dialogue> <character>NAWI</character> <dialogue>He is not a slaver...</dialogue> <character>NANISCA</character> <dialogue>You defend him?</dialogue> <character>NAWI</character> <dialogue>His mother was Dahomey!</dialogue> <character>NANISCA</character> <dialogue>Come here.</dialogue> <scene_description>Nawi steps into the water.</scene_description> <character>NANISCA</character> <dialogue>You do not understand the dangers you face, you disobey the rules!</dialogue> <character>NAWI</character> <dialogue>What do you want from me?! I have beaten them all, I showed I am the best!</dialogue> <character>NANISCA</character> <dialogue>It is not enough to be the best!</dialogue> <character>NAWI</character> <dialogue>Why? Because you were captured? That will never be me!</dialogue> <scene_description>A pause.</scene_description> <character>NANISCA</character> <dialogue>I was raped. Many times each night. I knew nothing of the ways of men. When they would come, I wished only to die.</dialogue> <scene_description>Nawi listens, moved.</scene_description> <character>NANISCA</character> <dialogue>And when I escaped, I was with child. The child of those men. I took a drink, a potion that... takes the child away. But the drink did not work. I did not want to leave the palace -- I hid my belly. I bathed alone. I asked for distant missions... and one day, the baby came.</dialogue> </scene> <scene> <stage_direction>FLASHBACK - EXT. JUNGLE - NIGHT</stage_direction> <scene_description>In the jungle, Young Nanisca gives birth, squatting, holding onto a thick, low tree branch. Amenza is with her. She has a flask with liquor, she cleans a dagger... Young Nanisca pushes, bearing down. Fights her SCREAM. The baby slips out, bloody, crying.</scene_description> <character>NANISCA (V.O.)</character> <dialogue>It was a girl. I told Amenza to take it away.</dialogue> <scene_description>Young Amenza severs the cord between her and the baby.</scene_description> <character>NANISCA</character> <dialogue>But the blood, it kept coming. She left me alone, with the baby, and went in search of something to stop the bleeding...</dialogue> </scene> <scene> <stage_direction>FLASHBACK - EXT. JUNGLE - NIGHT</stage_direction> <scene_description>Young Nanisca looks at the little creature, a baby born of violence and pain. The baby opens her toothless mouth to CRY, her little face scrunched and then... her eyes open. She looks right into Nanisca's eyes. Nanisca feels a pull, her body, her mind, drawn to this child.</scene_description> <character>NANISCA (V.O.)</character> <dialogue>And in that moment, I did something. I made a mark. A cut. On the left arm.</dialogue> <scene_description>Nanisca sees AMENZA'S DAGGER lying near. She picks it up, brings the knife to the baby's skin and makes a small CUT, on the side of the infant's upper arm. THE BABY CRIES. Young Nanisca drops the knife. Her hand, trembling, reaches to her shark's tooth necklace. She YANKS OFF A SMALL TOOTH, PRESSES IT into the cut and under the skin. The baby shrieks. Nanisca scoops up a fistful of mud and PATS IT ON THE ARM, pressing it, stopping the blood.</scene_description> <character>NANISCA (V.O.)</character> <dialogue>Into the flesh I pressed a tooth. A shark's tooth.</dialogue> </scene> <scene> <stage_direction>PRESENT - INT. BATHS - LATE NIGHT</stage_direction> <scene_description>Nawi's eyes go to Nanisca...to the NECKLACE SHE WEARS...</scene_description> <character>NANISCA</character> <dialogue>She had to know. That someday, if she met a girl... a girl who had this scar, she could cut the flesh and see if the tooth is inside.</dialogue> <scene_description>ON NAWI. Almost unconsciously, her hand goes to her arm -- And then, with a rustle of water, she moves to go. Nanisca stops her, GRABS HER WRIST. Nawi's arm stretches between them, their eyes are glued.</scene_description> <character>NAWI</character> <parenthetical>(whispers)</parenthetical> <dialogue>It isn't me.</dialogue> <scene_description>Nawi now sees Nanisca's dagger on the stone edge of the bath... it has been lying there, all this time. Nanisca picks it up. Nawi swallows. She relaxes, ever so slightly. She does want to know. She grits her teeth as Nanisca presses the dagger to the white mark of the scar and slices it open... Nanisca presses her fingers INTO THE CUT, and Nawi yelps, WRENCHES HER ARM AWAY. Nawi sits on the edge of the bath and with a growl SQUEEZES HER ARM... Blood pours from the wound, dripping out in huge droplets onto the wet stone rim... as the blood mixes with the thin film of water, they see it, lying there...something WHITE, glinting, swimming in the red. Nanisca stares down at the TOOTH, mesmerized. Nawi does, too. Then she looks up at Nanisca. Nanisca looks back at her. THE TRUTH, PALPABLE BETWEEN THEM. Nawi struggles to find her words. And then -- Nawi leaves. She stumbles out of the baths, overcome with emotions, and even fear at this impossible truth. NANISCA is spent. She holds the shark's tooth, guilt and conflict in her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE SQUARE - LATE NIGHT</stage_direction> <scene_description>Nawi, in her wet shift, walks across the empty courtyard, the bravado she summoned leaving her like a breath, as tears come. Alone now, she lets the true feelings hit her. She is lost. Broken. A RAINDROP. Splashes off her hand. Another splats on her head. Then she sees the rain, all around, huge drops pock the dusty ground... Nawi looks back, at her home, the palace. A long beat, and then... she sinks to the ground. Burying her head in her arms, as the rain turns the dust around her to mud...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE COURTYARD - DAWN</stage_direction> <scene_description>Nawi awakens, lying on the ground by the palace gates. For a moment, peace. And then the truth rushes back to her. She stands. Her hair and face crusted with mud. She walks toward the inner courtyard, feeling empty, abandoned...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - SHORT TIME LATER</stage_direction> <scene_description>Nawi comes through the palm curtain. There is no one outside. As she passes under the thatched awning... NANISCA IS THERE... standing some distance away. Their eyes meet, and then...NAWI feels anger. She has to turn away, going within. Camera holds on Nanisca, swallowing back any feeling.</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE - DAY</stage_direction> <scene_description>A scouting party, Nanisca with Amenza and Izogie, as well as the Migan and TWO OF HIS MEN, hide in the rocks at the tip of a slope, peering out to the valley below. The Migan uses Captain Ferreira's spyglass to look out over the fields. SPYGLASS POV: IT'S MISTY, hard to make out details.</scene_description> <character>NANISCA</character> <dialogue>What do you see?</dialogue> <character>MIGAN</character> <dialogue>A field of men.</dialogue> <scene_description>SPYGLASS POV: In his glass... men marching, on foot and on horseback. Enslaved men pulling cannons. It's a huge invading army. Nanisca takes the glass from him and looks herself...</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS - SAME TIME</stage_direction> <scene_description>The infantry fly the flag of Oyo, the colors of Mahi and the Egbo tribe as well.</scene_description> <character>NANISCA (V.O.)</character> <dialogue>They will be here in one day's time.</dialogue> </scene> <scene> <stage_direction>EXT. HILLSIDE - SAME TIME</stage_direction> <scene_description>Nanisca hands Migan the spy glass.</scene_description> <character>NANISCA</character> <dialogue>They will set up camp at the foot of the plateau. It is the only place for such an enormous army, with marsh surrounding us.</dialogue> <character>MIGAN</character> <dialogue>We are greatly outnumbered.</dialogue> <character>NANISCA</character> <dialogue>Their size makes them arrogant. And slow. Clumsy, like their weapons... the guns don't work at all if the powder is wet.</dialogue> <scene_description>The Migan looks at her...starting to see.</scene_description> <character>MIGAN</character> <dialogue>We drive them back to the marsh, yes, but how?</dialogue> <scene_description>Nanisca bends, squatting to a NEARBY TERMITE MOUND. She fingers the red powder, thinks of Nawi.</scene_description> <character>NANISCA</character> <dialogue>You don't need a gun to use gunpowder.</dialogue> </scene> <scene> <stage_direction>EXT. OPEN FIELDS AT FOOT OF PLATEAU - DAY</stage_direction> <scene_description>The MIGAN directs DAHOMEY MEN. They DIG HOLES in the open fields at the bottom of their plateau. An assembly line of MALE SOLDIERS pass pots with steaming palm oil from person to person, DOWN THE HILL. Elsewhere, women with pouches sprinkle a powder into the termite mounds that dot the field.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE COURTYARD - SAME TIME</stage_direction> <scene_description>The Agojie prepare for battle. Excitement in the air. A woman plays a dance beat on the drum to keep the spirits high. Izogie SINGS, and the others answer in chant-like fashion. Angle on Ode, Fumbe, chanting with the others.</scene_description> <character>IZOGIE</character> <dialogue>We drink the blood of the Oyo!</dialogue> <character>ALL</character> <dialogue>We smash the heart of the Oyo!</dialogue> <character>IZOGIE</character> <dialogue>We take the head of the Oyo!</dialogue> <character>ALL</character> <dialogue>We eat the heart of the Oyo!</dialogue> </scene> <scene> <stage_direction>EXT. AGOJIE BARRACKS - SAME TIME</stage_direction> <scene_description>IN A DARKER PLACE, QUIET... Someone prepares for battle. CLOSE SHOTS: A HAND, with thickened nails, being lifted from a bowl of brine. The nails are FILED with a crude metal file to SHARP POINTS... like talons. TWO CUFFS clasp onto both wrists. HANDS smear oil from a pottery bowl onto dark skin; arms, belly, legs, feet. A small cloth bag, filled with fetishes and charms, is tied to the belt. A BEAUTIFULLY CARVED MACHETE, tested by fingers for sharpness, slides into a BELT at the waist, next to MALIK'S DAGGER. We finally reveal this warrior's face... IT'S NAWI. She looks fierce and coldly confident...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - NIGHT</stage_direction> <scene_description>The FULL ARMY OF AGOJIE stand in formation. Nanisca stands on the dais before them. Ghezo and his wives stand behind.</scene_description> <character>NANISCA</character> <dialogue>For ninety years, Dahomey has lived under the thumb of the Oyo!</dialogue> <scene_description>CAMERA PANS THE FACES OF THE AGOJIE. Finds Nawi, eyes dark as steel, her face blank as stone, painted with dried mud.</scene_description> <character>NANISCA</character> <dialogue>Will we allow our nation to die in the hull of ships bound for distant shores? Or will we rise up?! And stride into battle screaming to those who would enslave us...No more! We fight now, for those who will come after us. For the future of our kingdom! We are the sword of victory. We are the blade of freedom! We are Dahomey!!!</dialogue> <scene_description>The Agojie raise their weapons and cheer, shout and holler. Except Nawi. She stands in cold silence. Drums begin to play, the PALACE GATES are pulled open by the Eunuchs. Ghezo stands before Nanisca, his hand clasps her shoulder.</scene_description> <character>GHEZO</character> <dialogue>You are my champion.</dialogue> <character>NANISCA</character> <dialogue>By next sundown, victory will be yours.</dialogue> <character>OUTSIDE THE GATE...</character> <dialogue>A LARGE FORCE OF MALE WARRIORS led by the Migan waits.</dialogue> <dialogue>Nanisca takes her place at the forefront of the Agojie, begins a TROT, on foot, out of the castle. Amenza, Izogie, Tara, Nawi, Fumbe, Ode and all their comrades follow, feet pounding the dirt. The men FALL IN BEHIND...</dialogue> </scene> <scene> <stage_direction>EXT. OYO ENCAMPMENT - DAWN</stage_direction> <scene_description>The Oyo have indeed made a massive encampment at the foot of the plateau. Tents are everywhere, and dotted throughout, something these tribes are used to seeing everywhere; TERMITE MOUNDS. The army is just beginning to stir. A few Oyo soldiers carry pales of oats and water toward THE HORSES, kept in a makeshift pen, standing together, scores of them. NAWI and IZOGIE creep amongst the horses, who seem to sense them. They stamp, breath steaming from their nostrils. Izogie gets the gate of the pen open. Nawi shoos the horses out, making them run... TOWARD THE TREELINE... THE GROOMSMEN CALL AN ALARM -- but their voices are drowned in the drum of the HOOF BEATS. THE HORSES ARE POURING OUT, Nawi and Izogie run with them, dodging the LARGE TERMITE MOUNDS THAT DOT THE OPEN FIELD... Soldiers rush from their tents. People shout, a guard fires a MUSKET which only scares the horses more. They RUN AWAY, into the dawn... Izogie and Nawi run into the bank of trees, where they find THE FOREST IS FULL OF DAHOMEY TROOPS waiting. THEIR COMRADES... HIDING THERE. Hundreds. There are both Agojie troops, led by Nanisca, and behind them... the male soldiers, the Migan leading them in his own leather armor. Nanisca stands there, watching the Oyo encampment mustering.</scene_description> </scene> <scene> <stage_direction>EXT. ENCAMPMENT - SAME TIME</stage_direction> <scene_description>The Oyo soldiers quickly arm themselves. Oba strides through them, loading his musket, throwing it over his shoulder...</scene_description> <character>GROOMSMEN</character> <dialogue>The horses!</dialogue> <character>OBA</character> <dialogue>Forget the horses, we march!</dialogue> <scene_description>The massive army starts forward toward the tree line.</scene_description> </scene> <scene> <stage_direction>EXT. BOTTOM OF THE PLATEAU - SAME TIME</stage_direction> <scene_description>NANISCA is handed a torch. It illuminates her face, for a brief moment, and then... she touches it to the ground where a small pool of palm oil sits. The OIL IGNITES. A WOOSH OF FLAME! Oil trails have been set, the fire follows the fuel, racing in trails to...</scene_description> </scene> <scene> <stage_direction>EXT. OYO ENCAMPMENT - SAME TIME</stage_direction> <scene_description>The TERMITE MOUNDS! Which have been planted with gunpowder. When the fire hits these, they IGNITE AND EXPLODE like bombs! The mustering Oyo and Mahi forces SHOUT in terror. Their tents ignite, their ammunition. Explosions! Men catch fire. A chaotic melee...</scene_description> <character>OBA</character> <dialogue>To the marsh!</dialogue> <scene_description>The Oyo race toward safety, coughing from the oily black smoke. They leave behind crates of ammunition, which begin to EXPLODE from the heat and sparks. MEN ARE SENT FLYING!</scene_description> </scene> <scene> <stage_direction>EXT. MARSH - MOMENTS LATER</stage_direction> <scene_description>The Oyo forces break through the tree-line, a huge loud mass of men, scrambling into the mud and water of the marsh, struggling, their weapons dripping in the water.</scene_description> </scene> <scene> <stage_direction>EXT. TREELINE - SAME TIME</stage_direction> <scene_description>Amenza, Nawi and the others wait...</scene_description> <character>THEIR POV:</character> <dialogue>Across the marsh, they see NANISCA appear, raising her machete...</dialogue> <character>NANISCA</character> <dialogue>Eh-lele m'eh-le-le!</dialogue> <scene_description>Her Agojie warriors answer, in a roar of women's voices...</scene_description> <character>AGOJIE WARRIORS</character> <dialogue>Eh-lele m'eh-le-le!</dialogue> <scene_description>The whole AGOJIE army CHARGES INTO THE MARSH. They ATTACK the gasping Oyo. The Migan and the MALE DAHOMEY WARRIORS appear behind them. In the wet marsh, MUDDY FROM THE PREVIOUS RAIN, the Oyo's muskets are rendered useless. And the fire has cut off any escape. The marsh becomes a sea of humanity, men and woman FIGHTING TO THE DEATH in hand to hand combat. ANGLE ON OBA... In the middle of the fray, seeing his men are in trouble. He starts SLICING THROUGH BODIES. IN THE FIELD Nanisca and Amenza battle men behind and in front of them, both covered with mud and blood. THROUGH SMOKE that fills the wet air... we see the MIGAN, fighting alongside his male soldiers, swinging his machete with ferocity... Oyo soldiers, savage in their desperation, KEEP COMING AT THEM, hurling themselves. OBA is a mountain of fury, swinging his sword at the Agojie in his path. He cuts down TWO WARRIORS when ESI raises her spear against him. He swings at her, and she blocks the blade, counters and cuts him. Enraged, he catches her spear as she swings again, breaks it across his knee. She rushes at him...and catches his blade in her chest. She drops to her knees, dying. Not satisfied, he raises his machete to sever her from her life for good... ANOTHER AREA... FUMBE... fighting for her life. An Oyo soldier overpowers her, knocking away her machete. As the man is about to STRIKE HER DOWN, Fumbe finds within her the fight. She ducks the machete and RUSHES the man, knocking him down. With her BARE HANDS she shoves his FACE DOWN INTO THE MUDDY MARSH, holding it there, with all her strength. He twitches and struggles. ANOTHER OYO soldier is BEHIND HER, he raises his axe to slice her wide open when...a BLADE suddenly punches through the front of his chest. BLOOD SPURTS FROM HIS MOUTH and he FALLS. IZOGIE is there. She pulls her machete from the man's back, takes the deadman's axe and throws it to Fumbe, who has to turn immediately to block a blow from a new foe... FIND NAWI, slicing the men in her way with a RAGE and FEARLESSNESS. SMALL AND FAST. Seemingly untouchable. And then she is grabbed from behind by a HUGE OYO SOLDIER, lifted into the air and slammed to the ground. Her head RINGS from the impact... HER POV: The Huge Oyo warrior heads toward her... Nawi stays low as he nears. She suddenly WHIPS HER MACHETE across his legs and he stumbles, bringing him to his knees... she slices through his chest and he FALLS, pinning her under his girth. She grunts, using her arms to push, STRUGGLING to get free... BUT WHEN OYO SOLDIERS APPROACH, she stops. FEIGNS DEATH, closing her eyes, stilling her breath. Oyo feet stomp around her. Then, one pair of feet slows. An OYO SOLDIER CROUCHES, looking down at her. He takes out his dagger to slit her throat when... Nawi's eyes SNAP OPEN! His eyes go wide with fright, and in that frozen instant, Nawi JABS TWO SHARP FINGERNAILS INTO HIS EYES! He grabs his face, blinded. Drops his dagger. She catches it, SLITS HIS THROAT. He slumps and dies in the mud. Nawi resumes her attempt to get free, digging with her hands at the mud...</scene_description> </scene> <scene> <stage_direction>EXT. A ROCKY OUTCROPPING - SAME TIME</stage_direction> <scene_description>A few Oyo soldiers have found a hiding place that gives them time and space to load and fire MUSKETS, but we see, just as Nanisca has always said, how unwieldy the weapons are, how SLOW the men are to reload. As they fumble and shout at each other, they see, emerging through the smoke of the oil fires... A LONE WARRIOR, machete in hand. NANISCA. One of the Oyo finishes loading a weapon, gets it to his shoulder, tries to aim his shot, but the KICKBACK is tremendous... Nanisca, with reflexes honed from many battles, ducks as THE MUSKET BALL whizzes past her head. THE SHOOTER CAN'T BELIEVE IT... he sees her RISING AGAIN. She starts to run toward them. The shooter YELLS at the others to load. ON A SOLDIER... gun jamming from the moisture of the marsh. In other words, HE'S FUCKED. Nanisca is ON THEM, KICKING the gun out of one soldier's hand while SLICING OFF THE HEAD of another. The third one drops his gun and tries to run... NANISCA THROWS HER DAGGER and lodges it between his shoulder blades. She picks up the muskets and TOSSES THEM to male Dahomey soldiers approaching behind her. Together they continue their drive TOWARD THE BURNING ENCAMPMENT. ODE comes upon a CANNON unmanned. She struggles to move the heavy beast, TURN IT AROUND, point it at a group of approaching OYO SOLDIERS. The men FIRE ON HER... Ode takes a BULLET to the SHOULDER, just as Tara and a group of Agojie run forward, in danger from the row of Oyo snipers. Ode cranks the cannon in their direction and LIGHTS IT! Just as the Oyo raise their guns, THE CANNON EXPLODES. The Oyo soldiers are BLOWN INTO THE AIR. Tara sees what Ode's done and raises a fist to her...</scene_description> <character>TARA</character> <dialogue>Yes!</dialogue> <scene_description>She raises her machete, leads her soldiers after the retreating Oyo. Ode charges with them... but no one sees HER SUDDENLY STUMBLE, FALL TO HER KNEES, TRYING TO BREATHE, the fight chaotic all around her. WIDE VIEW OF THE MARSH... the Agojie are winning, we see many soldiers with cowrie breastplates standing over the foe. ELSEWHERE we follow NANISCA... on a mission. She grabs wounded Oyo soldiers, brings them to her face.</scene_description> <character>NANISCA</character> <dialogue>General Oba? Where?</dialogue> <scene_description>One man points to A LITTER being carried by enslaved men. Nanisca runs to it. SHOVING two men out from under it, sending it CRASHING DOWN. Nanisca SLASHES at the fabric to reveal the man inside...IT'S NOT OBA.</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE MARSH - SAME TIME</stage_direction> <scene_description>Oba is here, finding dead men flopped over the cannon, seeing a horse in the distance, eyes scanning the marsh to realize it is mostly Agojie still standing. Rage and defeat in his eyes. A soldier runs up to him...</scene_description> <character>SOLDIER</character> <dialogue>General, we've found your mount! Through here...</dialogue> <scene_description>Oba looks out and waves his arm.</scene_description> <character>OBA</character> <dialogue>Fall back! Fall back!</dialogue> </scene> <scene> <stage_direction>EXT. THE MARSH - SAME TIME</stage_direction> <scene_description>The DAHOMEY warriors see THE OYO ARE DROPPING THEIR WEAPONS and falling back, running away. They begin to cheer...</scene_description> <character>AMENZA</character> <dialogue>They are retreating!</dialogue> <scene_description>Nanisca looks around the fields of the dead, sees the Migan coming toward her, flanked by his male warriors. She sees his look of triumph.</scene_description> <character>MIGAN</character> <dialogue>We have vanquished the Oyo!</dialogue> <scene_description>The brave Dahomey soldiers, men and women, begin to CHEER with relief and triumph! Nanisca allows herself some pride in this moment.</scene_description> </scene> <scene> <stage_direction>EXT. CORNER OF THE MARSH - DAY</stage_direction> <scene_description>Nawi hears the distant cheers. She FREES HERSELF from under the dead Oyo. She can barely stand, finding herself in a SEA OF THE DEAD. She draws her machete... begins to move, hearing the cheers of her comrades. Then she hears a sound... like a woman's voice, muffled. She tries to place it, the sound is not too far off... she turns toward a dark stand of trees, where she thinks the sound is coming from. It comes again. Nawi moves toward the TREES. Her eyes scanning, enters the area, eerily quiet. She hears...A GUN COCKING. Several Oyo men step out from behind the trees. Among them, OBA. The men grab Nawi, who starts kicking and screaming... As she fights, biting, getting hit, a foot smashes against her back and PRESSES HER TO THE GROUND. Nawi FINDS STRENGTH to still FIGHT, until THEY SMASH HER HEAD with the butt of a musket. Everything goes BLACK.</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS - LATE DAY</stage_direction> <scene_description>SOUNDS... a rattling, the thumping of horse's hooves...NAWI as her eyes OPEN... her face is cut and her eyes swollen. She turns her head to see... A DEAD AGOJIE... her glassy eyes staring. Nawi lies in a SHALLOW WAGON with six other Agojie, feet bound, and hands bound to each other. Nawi tries to LIFT HER HEAD to see. HER POV: Two horses pull the flatbed wagon. An Oyo soldier drives the carriage, whipping the horses. Beyond the carriage she can make out another flatbed wagon, and FOUR MORE OYO SOLDIERS on horseback, galloping ahead. NAWI tries to shift her body. She stifles a gasp as A HAND, dangling a rope, comes across the dead body to touch her. She hears a whispered voice --</scene_description> <character>FUMBE (O.C.)</character> <dialogue>Nawi.</dialogue> <scene_description>The hand pats her. Fumbe's FACE appears, peering over the dead woman to see Nawi. The two stare at each other. THE WAGON RATTLES ON. The girls speak in the quietest way, almost reading each other's lips.</scene_description> <character>FUMBE</character> <dialogue>I failed.</dialogue> <character>NAWI</character> <dialogue>No. You stayed alive.</dialogue> <scene_description>Nawi, though her face is swollen and bloody, is able to give her an encouraging smile. Then, she sees the dangling rope on Fumbe's arm.</scene_description> <character>NAWI</character> <dialogue>You are not tied to anyone.</dialogue> <scene_description>Fumbe shakes her head.</scene_description> <character>NAWI</character> <dialogue>What is behind you?</dialogue> <scene_description>Fumbe shakes her head, she can't hear.</scene_description> <character>NAWI</character> <dialogue>The edge? Are you at the edge?</dialogue> <scene_description>Fumbe looks behind her. She is at the edge of the wagon, against a wooden lip, about six inches. She turns back to Nawi and nods. The wagon RUMBLES over rocks, causing it to JUMP before settling again. Nawi and Fumbe's eyes are glued.</scene_description> <character>NAWI</character> <dialogue>Go over the side.</dialogue> <scene_description>Fumbe realizes what she's saying. She shakes her head, no...</scene_description> <character>NAWI</character> <dialogue>You want to live?</dialogue> <scene_description>The wagon rattles.</scene_description> <character>NAWI</character> <dialogue>Do it. When I say.</dialogue> <scene_description>Fumbe breathes, scared. They HIT ANOTHER BUMP, joggle...</scene_description> <character>NAWI</character> <parenthetical>(emphatic whisper --)</parenthetical> <dialogue>Now.</dialogue> <scene_description>Fumbe's eyes go wide and she ROLLS TO HER LEFT, violently, shoving herself OFF of the wagon with all her strength. AS THE WAGON bounces back down with a rattle, Nawi's eyes stare toward the muddy, rocky road. She sees FUMBE lying in the road. Her form RECEDES as the WAGON hurtles away. Nawi rests her head back, breathing with relief.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - NIGHT</stage_direction> <scene_description>The Agojie soldiers, bloody but victorious, return through the huge open doors of the palace. Ghezo stands in the center of the parade ground, in magnificent kingly robes, awaiting their return, beaming with pride, Shante nearby. He sees... NANISCA entering the palace. He strides to her. Puts his hands on her shoulders.</scene_description> <character>GHEZO</character> <dialogue>You have brought Dahomey a victory for the ages. Your name will be remembered, songs will be sung.</dialogue> <scene_description>She bows her head, accepts his praise, as he moves past her to embrace the Migan... Wounded Agojie and male soldiers are everywhere, having their wounds tended by the Eunuchs and the palace doctors. NANISCA walks through the throng of soldiers, her eyes scanning the faces of the injured Agojie warriors... HER POV: Tara is kneeling at the corpse of Ode. She takes a fetish from her bag and lays it on the forehead of this young soldier who saved her life. Nanisca watches Ode being honored, when Amenza approaches.</scene_description> <character>AMENZA</character> <dialogue>The mighty Oyo have run away in defeat!</dialogue> <scene_description>Nanisca is not celebrating. Amenza notes her general's eyes searching...</scene_description> <character>AMENZA</character> <dialogue>She is not here. No one has seen her.</dialogue> <scene_description>Nanisca looks down. Amenza touches her back, but Nanisca shirks off the tender touch and walks away. EST. SHOT - OUIDAH - DAWN The tall ships are anchored in the bay.</scene_description> </scene> <scene> <stage_direction>EXT. BARRACOONS - DAWN</stage_direction> <scene_description>The gate of a barracoon is opened. Oba and his men shove the captured Agojie, including Nawi, into the crowded pen.</scene_description> <character>OBA</character> <dialogue>Clean them up. We need to sell them, to buy passage on a ship.</dialogue> <character>OYO SOLDIER</character> <dialogue>We are not going home?</dialogue> <character>OBA</character> <dialogue>At home, we are dead men.</dialogue> <scene_description>Oba peers at the bounty of his otherwise lost battle. Even bloody and tired, the Agojie, muscular and proud, stand out amongst the other people in the crowded barracoon. He points to the group.</scene_description> <character>OBA</character> <dialogue>Dress the Agojie in their uniforms. The bids will be higher for soldiers.</dialogue> <scene_description>His men pull the Agojie out. But not Nawi. Small enough to blend in with the other captives.</scene_description> </scene> <scene> <stage_direction>EXT. BARRACOONS - LATE NIGHT</stage_direction> <scene_description>Torches lit. A NEW GROUP OF CAPTIVES are pushed into the overcrowded pens already filled with men and women. They are SPLASHED with buckets of water. BUCKETS OF YAM are set along the open rails of the pen. The captives RUSH at it, their hands reaching through the bars, scrambling for the food. NAWI lets the people rush around her and away from her. She doesn't care to eat. She realizes there is one other person like her in the pen, just standing there, not caring -- the person is far down, at the other end. Their heads turn to look at each other... IT IS IZOGIE. Nawi walks toward her. Izogie is wounded, her arm BROKEN and hanging at a strange angle. Nawi embraces her. Izogie winces from the pain. Nawi leans Izogie against the fence. She leaves for a moment, then comes back with a piece of yam. Izogie refuses it. The light seems to have gone from her eyes.</scene_description> <character>NAWI</character> <dialogue>Eat. We need our strength if we're going to escape.</dialogue> <scene_description>A dry bark of laughter escapes Izogie's throat.</scene_description> <character>IZOGIE</character> <dialogue>I know what I must do. What the Miganon said. We will slit our throats.</dialogue> <character>NAWI</character> <parenthetical>(firm)</parenthetical> <dialogue>You will do no such thing.</dialogue> <scene_description>Izogie hears a deep reserve of toughness in Nawi.</scene_description> <character>NAWI</character> <dialogue>We are Agojie! Relentlessly we will fight.</dialogue> <character>NAWI</character> <dialogue>...my arm is broken...</dialogue> <character>NAWI</character> <dialogue>We do not give up.</dialogue> <scene_description>Izogie looks at her. Long beat, then --</scene_description> <character>IZOGIE</character> <dialogue>Take my arm.</dialogue> <scene_description>Nawi stretches it out. Izogie winces, then, she feels for the ends of the broken bone. She motions for Nawi to take over.</scene_description> <character>IZOGIE</character> <dialogue>Push it back together.</dialogue> <scene_description>Nawi finds the ends. Pushes them back into realignment. Izogie CHOKES BACK A SCREAM OF PAIN. She falls back. The arm looks straighter, undamaged.</scene_description> <character>IZOGIE</character> <dialogue>You're strong for a little bug.</dialogue> <scene_description>A slight laugh. They're both overwhelmed by the moment, the necessity, the bind they are in.</scene_description> <character>NAWI</character> <dialogue>Now what?</dialogue> <scene_description>Izogie looks all around them, taking everything in. The SLAVE MARKET beyond the pens. It is an open dirt square.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD TO ABOMEY - EARLY MORNING</stage_direction> <scene_description>A cock crows somewhere. A SHEPHERD herds a few long horn cattle down the mostly empty streets when he peers, seeing something, a site that almost scares him... A FIGURE is stumbling down the road, plastered in mud, A FILTHY ROPE still attached to her arm... IT'S FUMBE. We see her face, determined, she opens her mouth to call to the man but her voice comes out in a croak. She falls on her knees. The Shepherd runs to help her.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - AGOJIE BARRACKS - MORNING</stage_direction> <scene_description>Fumbe lies on her mat, medicine women applying poultices to her wounds. Amenza oversees, laying a cloth on her forehead. Agojie peering at Fumbe suddenly part, making way for Nanisca, who comes to the mat, looking down at Fumbe.</scene_description> <character>NANISCA</character> <dialogue>You were taken captive.</dialogue> <character>FUMBE</character> <dialogue>By Oyo men. One was a general...</dialogue> <character>NANISCA</character> <dialogue>Oba?</dialogue> <character>FUMBE</character> <dialogue>Yes. That is the name.</dialogue> <character>NANISCA</character> <dialogue>How many others?</dialogue> <character>FUMBE</character> <dialogue>Six or seven. Nawi said to throw myself off the wagon...</dialogue> <character>NANISCA</character> <dialogue>...Nawi?</dialogue> <character>FUMBE</character> <dialogue>They were taking us to the barracoons.</dialogue> <scene_description>This hits Nanisca hard. Her eyes meet Amenza's. Before she can speak, Tanonu appears.</scene_description> <character>TANONU</character> <dialogue>Miganon. The King requests you.</dialogue> </scene> <scene> <stage_direction>INT. PALACE - THRONE ROOM - SHORT TIME LATER</stage_direction> <scene_description>Nanisca enters, surprised to see ALL THE KING'S WIVES sitting, waiting. Shante is the only one who turns to look at Nanisca. After a moment, Ghezo appears, attended by servants and Tanonu, who carries a three-legged stool, a portable throne that he sets down for Ghezo.</scene_description> <character>GHEZO</character> <dialogue>The women in this room are the best Dahomey has to offer. The women the King has chosen to hold close to his heart. I have brought you here because tomorrow I am going to make an announcement.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I have chosen my reign mate, the Kpojito.</dialogue> <scene_description>Shante smiles to herself.</scene_description> <character>GHEZO</character> <dialogue>The Kpojito is beloved of the people. She must be deserving of their admiration, their trust. And we must share a vision for our future. A bold vision. For this reason, I have chosen... Nanisca.</dialogue> <scene_description>ON NANISCA... quietly struck, her eyes meeting Ghezo's. He smiles at her. But Shante is livid. She rises.</scene_description> <character>SHANTE</character> <dialogue>She is a common soldier!</dialogue> <character>GHEZO</character> <dialogue>Wife! You will sit down.</dialogue> <scene_description>She stamps out of the room. The other wives exchange glances.</scene_description> <character>GHEZO</character> <parenthetical>(to Tanonu)</parenthetical> <dialogue>Go to her.</dialogue> <parenthetical>(to the wives)</parenthetical> <dialogue>Kelu, Iniya, you will aid Nanisca. Make her robes. We will put on a great feast. Invite the city into the palace. In three days time, we will announce it. And announce an end to the trade.</dialogue> <scene_description>The other wives go out, leaving only Ghezo and Nanisca. A beat.</scene_description> <character>NANISCA</character> <dialogue>My king. It is a great honor. But perhaps... it is too soon. When we have lost so many soldiers, and the people are grieving...</dialogue> <character>GHEZO</character> <dialogue>Grieving? No one is grieving. We have won, we have thrown off the yoke! We must declare it, far and wide, we must let the people know.</dialogue> <character>NANISCA</character> <dialogue>My king. I wish to seek our lost Agojie. Some were taken captive.</dialogue> <character>GHEZO</character> <dialogue>How many?</dialogue> <character>NANISCA</character> <dialogue>Six or seven.</dialogue> <scene_description>Ghezo looks at her, surprised.</scene_description> <character>GHEZO</character> <dialogue>If they were captured, they are weak.</dialogue> <scene_description>He sees the hesitation in her eyes.</scene_description> <character>NANISCA</character> <dialogue>They will be sold. Used by the men.</dialogue> <character>GHEZO</character> <dialogue>Nanisca. The moment you seek is upon us. The few have been sacrificed for the many. We must now move forward --</dialogue> <character>NANISCA</character> <dialogue>I can go alone. Let me try...</dialogue> <scene_description>Ghezo's eyes grow hard.</scene_description> <character>GHEZO</character> <dialogue>Do not mistake my admiration for weakness. I am the King. You will not seek these captives. You will stay by my side and take the honor I bestow you.</dialogue> <scene_description>She meets his eyes. Nanisca bows and leaves the chamber.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Amenza is waiting. She's been eavesdropping.</scene_description> <character>AMENZA</character> <dialogue>You are the Kpojito!</dialogue> <scene_description>She hugs Nanisca to her. But we see in Nanisca's eyes... she isn't able to feel the accomplishment.</scene_description> </scene> <scene> <stage_direction>EXT. THE BARRACOONS - DAY</stage_direction> <scene_description>Men with muskets guard the pens, always vigilant. Oba comes in, to choose the next group to be lead to the block. Nawi and Izogie stand, watching him.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>We will be marched out of the barracoon in small groups.</dialogue> <scene_description>Oba walks through the crowded barracoon, touching the arms of the ones he wants taken to the block. He touches the shoulder of Izogie. His men grab her roughly and take her out. She grits her teeth, trying not to show any pain as they yank her about.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>We must stay together. We cannot be separated.</dialogue> <scene_description>Oba looks further, walking RIGHT PAST Nawi, not choosing her - - perhaps the plan will be foiled at the outset -- then he passes Nawi again. SHE LOOKS HIM IN THE EYE. Could this man be her father? Her flesh and blood? He feels her eyes burning into him. He taps her shoulder. Nawi's eyes never leave Oba as the men take her away.</scene_description> </scene> <scene> <stage_direction>EXT. MARKET AREA - SHORT TIME LATER</stage_direction> <scene_description>The chosen captives now stand in a line against a wall. Men come along and rip their tops off. NOTE: There will be no frontal nudity.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>From this moment on, we will have our legs. We will not be tied or chained.</dialogue> <scene_description>Guards kneel and UNTIE THEIR LEGS. Then their hands. Both men and women are ordered to WASH THEMSELVES with buckets of water and tallow soap, guns held on them. Nawi and Izogie are not shy or humiliated. They wash their wounds, their faces. Their eyes surreptitiously take in the scene.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>We must have patience.</dialogue> <scene_description>Enslaved women approach with their uniforms. Dress them.</scene_description> </scene> <scene> <stage_direction>EXT. MARKET AREA - LATER</stage_direction> <scene_description>At the blocks, the slave ship captains, three Europeans, among them FERREIRA, poke and prod the captives, who now wear simple sleeveless frocks. They lift their lips to look at their teeth, test their muscles. IZOGIE takes her place on the block, looking proud in her battle uniform.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>We must not let them see my arm is broken.</dialogue> <scene_description>The three captains are impressed by Izogie's athletic body. The fierceness of her gaze. Ferreira lifts one arm over her head, then takes the BROKEN ARM and lifts it over her head. ON NAWI... holding her breath. She sees Izogie's jaw clench, pushing down the pain. Showing no flinch to the white men. He puts down her arm. Squeezes her breast. Ferreira and a French captain both want to buy Izogie. In an animated discussion, they one-up each other on price. Oba smiles at this. Just as he thought, the Agojie are valuable.</scene_description> <character>IZOGIE (V.O.)</character> <dialogue>You will make a distraction. That will be the moment. We will each disarm a guard, and run. Don't stop until you reach the lagoon.</dialogue> <scene_description>Nawi and Izogie trade glances. Ferreira makes the final bid for Izogie, and wins. As they come to take Izogie, Nawi gets ready to launch into her distraction....</scene_description> <character>MALIK</character> <dialogue>Nawi!</dialogue> <scene_description>The slavers turn -- MALIK strides into the market area. Yells at Ferreira in Portuguese --</scene_description> <character>MALIK</character> <parenthetical>(subtitled --)</parenthetical> <dialogue>What the hell are you doing!</dialogue> <character>FERREIRA</character> <dialogue>What I came here to do!</dialogue> <character>MALIK</character> <dialogue>You call them savages? It is you who is savage!</dialogue> <character>FERREIRA</character> <dialogue>Stay out of this! Count yourself lucky you are not on the block!</dialogue> <scene_description>This comment from Ferreira shocks Malik. ON IZOGIE... realizing the whole plan is about to falter. She bashes an ELBOW TO THE FACE of the white slaver to her right. She rips off his musket... all around her, other captives take advantage of the shouting and chaos. Izogie RUNS out of the market, musket on her back... Nawi runs after her when FERREIRA GRABS HER...</scene_description> <character>NAWI</character> <dialogue>Let go! Let go!</dialogue> <scene_description>ON IZOGIE... she's made it out of the market, she's home free, but hearing Nawi shout, she hesitates. Not following her own rule, she TURNS BACK. She shoves people out of the way to get back to Nawi. Nawi sees her, shakes her head NO! Malik pulls Ferreira off Nawi. Nawi gets up, is about to run to Izogie when A SHOT RINGS OUT! THEN TWO MORE! ON IZOGIE... blood blooms across her chest...she CRUMPLES TO THE GROUND.</scene_description> <character>NAWI</character> <dialogue>No!</dialogue> <scene_description>Nawi RUNS to her, kneeling at her body.</scene_description> <character>NAWI</character> <dialogue>Izogie...</dialogue> <scene_description>Izogie struggles to rise but her body slumps. She coughs up blood.</scene_description> <character>IZOGIE</character> <dialogue>Tse-tse. You run like a sloth.</dialogue> <character>NAWI</character> <parenthetical>(tears springing)</parenthetical> <dialogue>Please...</dialogue> <scene_description>Izogie grips her hand, trying to rise...</scene_description> <character>IZOGIE</character> <dialogue>Be the sword.</dialogue> <scene_description>Nawi nods, throat choked as Izogie's grip loosens. She can't go on. She dies. Nawi weeps, the commotion now elsewhere, as guards chase down the other runaways in the dissipating smoke from the muskets. Malik comes to Nawi. Ferreira is not far behind. Nawi yells at them, anger and grief in her eyes.</scene_description> <character>NAWI</character> <dialogue>Get away! Get away from her!</dialogue> <scene_description>She covers Izogie's body with hers. Oba looks at Malik.</scene_description> <character>OBA</character> <dialogue>You want this one? It's one hundred réals.</dialogue> </scene> <scene> <stage_direction>INT. PALACE - NANISCA'S CHAMBERS - SAME TIME</stage_direction> <scene_description>Nanisca sheaths her machete, opens her small fetish bag and places her charms inside. This time, adding a new one: NAWI'S SHARK TOOTH. She ties the fetish bag on her belt. And then Amenza appears in the doorway. She's shocked to see Nanisca in battle gear...</scene_description> <character>AMENZA</character> <dialogue>What are you doing?</dialogue> <character>NANISCA</character> <dialogue>Move aside.</dialogue> <character>AMENZA</character> <dialogue>If you leave you are defying your king. He will expel you. Or worse.</dialogue> <scene_description>Nanisca looks at her friend. Tries to make her understand.</scene_description> <character>NANISCA</character> <dialogue>Amenza. I know what it is, in the dream -- the thing I'm so frightened of...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It is me. It is the girl who was silenced in those shackles, by those men. I have hidden her away, I have denied her pain... but I am going to hear her now.</dialogue> <parenthetical>(swallowing emotion)</parenthetical> <dialogue>I have to try to save her.</dialogue> <scene_description>Nanisca moves past Amenza and goes out.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - INNER COURTYARD - SHORT TIME LATER</stage_direction> <scene_description>Nanisca walks toward the secret door. Through an opening of the palm curtain, the Migan sees her. Knows what she is about to do. Is he going to stop her? Sound the alarm? She disappears from his sight...</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE PALACE WALLS - CONTINUOUS</stage_direction> <scene_description>The secret door closes. Nanisca stands there a moment, completely alone, hearing the air move in the trees. She starts her run, even, strong, heading to the coast...</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE TRAIL - DAWN</stage_direction> <scene_description>CLOSE ON NANISCA as the early sun starts its rise... still she runs, determined, free. And then, she hears OTHER FEET, pounding the dirt. She turns to see behind her, cresting over a hill...AMENZA and a SQUAD OF TWENTY AGOJIE, among them FUMBE AND TARA, run toward her. And behind them... the MIGAN. They catch up, and join her, running with her. Nanisca allows herself a feeling of relief. She runs, with her fellow warriors, to battle... 134 EST. SHOT BOARDING HOUSE - OUIDAH TOWN SQUARE - EARLY MORNING</scene_description> </scene> <scene> <stage_direction>INT. BOARDING HOUSE - MALIK'S ROOM - SAME TIME</stage_direction> <scene_description>Nawi on the floor. Motionless. Staring at Izogie's blood, dried on her hands. KEYS clank in the door and it is opened... MALIK ENTERS. Nawi rises, glowers at him.</scene_description> <character>NAWI</character> <dialogue>Do you own me now?</dialogue> <character>MALIK</character> <dialogue>Nawi...</dialogue> <character>NAWI</character> <dialogue>Get out.</dialogue> <character>MALIK</character> <dialogue>I'm trying to protect you.</dialogue> <character>NAWI</character> <dialogue>By locking me in?</dialogue> <character>MALIK</character> <dialogue>Do you know what these Oyo would do to you! I have to lock you in!</dialogue> <scene_description>He takes her hand and LAYS THE DOOR KEY inside it.</scene_description> <character>MALIK</character> <dialogue>There. You have the key now. You can choose when the lock is turned.</dialogue> <scene_description>Her bloodied fingers close around it. She stares at it. Beat, then Malik reaches for the washing bowl. He pours water from a pitcher, gently washes the blood from her hands with his. As she watches their hands, she slowly softens.</scene_description> <character>MALIK</character> <dialogue>My mother guided me here, to find myself. And I found you.</dialogue> <parenthetical>(then --)</parenthetical> <dialogue>I won't set foot again on a slave ship. I have booked passage on a cargo ship bound for England.</dialogue> <parenthetical>(searching her eyes)</parenthetical> <character>MALIK</character> <dialogue>Come with me. We can find a new life, where we don't have to fight...</dialogue> <character>NAWI</character> <dialogue>Such a place does not exist.</dialogue> <character>MALIK</character> <dialogue>Then we will make it. Nawi, don't you see? It was... God's design, or Legba's, that you and I, in all the vastness of the world, should find each other.</dialogue> <character>NAWI</character> <dialogue>My sisters...</dialogue> <character>MALIK</character> <dialogue>They are not here. I am here.</dialogue> <scene_description>She finally looks up.</scene_description> <character>NAWI</character> <dialogue>My heart has many scars.</dialogue> <scene_description>Tears pool in Nawi's eyes. She so deeply yearns for love.After a moment, her mouth finds his.</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - DAY</stage_direction> <scene_description>The celebration is being prepared -- the dais is built for the King and his wives. The King's throne is carried out. As Ghezo oversees this, Shante and Tanonu appear, walking to him. He frowns as Shante bows low.</scene_description> <character>SHANTE</character> <dialogue>Husband. Please, accept my deepest apologies for questioning your will.</dialogue> <character>GHEZO</character> <parenthetical>(wary)</parenthetical> <dialogue>What do you want?</dialogue> <character>SHANTE</character> <dialogue>The wives are whispering. I came to Tanonu to tell him what they say. And he has asked me to tell it to you.</dialogue> <character>GHEZO</character> <parenthetical>(to Tanonu)</parenthetical> <dialogue>I don't want you discussing my business with the Tasi.</dialogue> <character>TANONU</character> <dialogue>My lord. Forgive me, but it is too important. Nanisca has gone to Ouidah.</dialogue> <character>TANONU</character> <dialogue>With the Migan and a number of her soldiers.</dialogue> <scene_description>Ghezo seethes with fury.</scene_description> <character>GHEZO</character> <dialogue>We must postpone the feast.</dialogue> <scene_description>Tanonu and shante exchange glances.</scene_description> <character>SHANTE</character> <dialogue>No. The people gossip and share rumors. You cannot postpone it without looking weak. That may be Nanisca's intent.</dialogue> <character>GHEZO</character> <dialogue>What are you saying?</dialogue> <character>SHANTE</character> <dialogue>My only thought is for you. Perhaps she is looking for more than Kpojito. She led a coup for you. The Agojie will do whatever she says. Can she truly be trusted?</dialogue> <scene_description>Ghezo stares at Shante, with both rage and suspicion... she keeps her head down, eyes low.</scene_description> </scene> <scene> <stage_direction>EXT. OUIDAH - TOWN SQUARE - THE BARRACOONS - NIGHT</stage_direction> <scene_description>The square is alive with DRUNKEN SAILORS and general mayhem, MEN from different countries boisterously arguing, laughing. IN THE BARRACOONS, the captives try to sleep, some coughing, a few weeping. A TEENAGE GIRL, alone in the pen, holding her knees to her chest, unable to sleep. MORE GUARDS are posted since the escape attempt of Izogie and Nawi. Both Oyo and White Slavers. Two men with blunderbusses at each of the barracoons, and two more in the center market. The men watch the revelry in the lit-up saloons, jealous. One of the guards lights a hand-rolled cigarette. SLAP -- a hand comes over his mouth and his THROAT IS SLIT before he utters a sound. His partner meets the same fate. They slump to the ground, dead eyes staring through the bars of the barracoon at THE TEENAGE GIRL. Shocked, she looks up... NANISCA puts a finger to her mouth -- motioning the girl to be quiet. ANOTHER BARRACOON. One of the guards is HIT WITH A SPEAR in his chest. He clutches his heart, his fellow guard, shocked, starts to scream, getting out HALF OF A YELL before HE IS SMASHED IN THE FACE with the butt of AMENZA'S spear. The remaining TWO GUARDS now shout and raise their weapons, but they are too late. The MIGAN and TARA STAND from their hiding place and FIRE THEIR MUSKETS. The guards crumple, dead on impact.</scene_description> </scene> <scene> <stage_direction>EXT. OUIDAH - TOWN SQUARE - STABLES - SAME TIME</stage_direction> <scene_description>Oba and a few of his men eating and drinking outside the horse stables. Oba hears what sounds like musket fire...</scene_description> <character>OBA</character> <dialogue>What is that?</dialogue> <character>OYO SECRETARY</character> <dialogue>Just drunken sailors blowing off steam. It happens every night.</dialogue> <scene_description>But Oba rises...</scene_description> </scene> <scene> <stage_direction>EXT. OUIDAH - TOWN SQUARE - THE BARRACOONS - SAME TIME</stage_direction> <scene_description>The AGOJIE SOLDIERS work quickly, knowing the gunfire will bring more men. The captive Agojie bow their heads in deference and thanks to Nanisca. They are handed weapons. They free the rest of the captives -- the stronger men and women are handed the muskets and other weapons of the fallen guards. Nanisca searches their faces.</scene_description> <character>NANISCA</character> <dialogue>Where are the others?</dialogue> <character>CAPTIVE AGOJIE</character> <dialogue>Izogie was killed, Miganon. Nawi has not returned.</dialogue> <scene_description>A flicker of emotion in her eyes, and then NANISCA hardens. She and three others pull unlit TORCHES and set them into the dying fire of the guards. THEY BURST TO LIFE. IN THE SQUARE... the WHITE SAILORS and SLAVE DEALERS see the approaching hoard of former captives, led by Nanisca and the Agojie, who set aflame anything they pass, barrels, hay bales, piles of wood. PEOPLE run shouting, frightened. Men start to battle them! But their panicked aggression is no match for the balletic brutality of the Agojie. Nanisca and Amenza cut down man after man, before they can even raise their muskets. ON THE ROOF of the buildings around the square are OYO SHOOTERS, gunshots RING OUT! Several people are killed. Nanisca points to the Oyo Shooters and freed captives rush toward them... AT THE FORT ENTRANCE... the thunder of horse's hooves can be heard. Oba has gathered his last Oyo troops and they RIDE INTO THE MELEE.</scene_description> </scene> <scene> <stage_direction>INT. BOARDING HOUSE - BED CHAMBER - SAME TIME</stage_direction> <scene_description>Malik and Nawi lay in bed. Malik jumps up, waking from the commotion.</scene_description> <character>MALIK</character> <dialogue>Stay here.</dialogue> <scene_description>But Nawi rises, hearing the shouts, rushes onto the BALCONY overlooking the square. HER POV: She sees Agojie warriors battling the slave dealers. She sees Oba and his men on horseback, unable to move amidst the crush of savage fighting. ON NAWI'S FACE... she can't believe it. Her sisters have come to the rescue. Shaking with emotion and relief, she rushes back into the room. She looks around. Lying on the bed is a DRESS in European style. She picks it up. She sees the white lace pantaloons and camisole that are meant to go underneath. She pulls on the pantaloons and the white camisole. She sees Malik's pistol in a leather belt, draped over a chair. She takes it and buckles it around her waist.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE THE BED CHAMBERS - SAME TIME</stage_direction> <scene_description>Ferreira, half-dressed and terrified, rushes to Malik.</scene_description> <character>FERREIRA</character> <parenthetical>(Portuguese --)</parenthetical> <dialogue>We must go! To the ship! Forget the cargo, they'll kill us all!</dialogue> <scene_description>Ferreira hears the cocking of a pistol. He turns. NAWI POINTS THE PISTOL AT THEM...</scene_description> <character>NAWI</character> <dialogue>Move.</dialogue> <character>MALIK</character> <dialogue>Do not go Nawi, you'll be killed!</dialogue> <scene_description>Ferreira pulls Malik back and Nawi moves past, down the stairs.</scene_description> <character>MALIK</character> <dialogue>Nawi!</dialogue> <scene_description>She keeps going...</scene_description> </scene> <scene> <stage_direction>EXT. OUIDAH - TOWN SQUARE - SAME TIME</stage_direction> <scene_description>The savagery of the battle is the most intense we have seen. The freed captives' anger propels them onto the sailors and slavers. No one is safe. As soon as they kill, they grab the dead man's weapon and toss it to another fighter. ON OBA, his horse afraid of the flames starting to climb up the walls of the boarding house and customs buildings... Oba takes a whip from his belt and SLAPS HIS HORSE on the flank... the horse surges forward. ON NANISCA... killing a shooter. Through the smoke, through the scrum of fighting bodies and screaming men, she HEARS the pounding of HORSE'S HOOVES. HER POV: Oba has turned his horse and is trying to retreat to the safety of the fort.</scene_description> <character>NANISCA RUNS TOWARD THE FORT'S GATE...</character> <dialogue>OBA ON HORSEBACK, about to gain his freedom when he sees... NANISCA STEPPING UP TO BLOCK the entrance to the fort, her machete drawn...</dialogue> <dialogue>Oba smiles... DIGS INTO THE FLANKS OF THE HORSE... He's galloping DIRECTLY TOWARD HER. He intends to run her over with the terrified beast.</dialogue> <scene_description>ON NANISCA... she holds, holds, the hoofbeats thumping... At the last possible moment, she does her spin move and SLICES THE CHEST OF THE HORSE with the machete before SLIDING AWAY ON HER KNEES, just avoiding being trampled. THE WOUNDED HORSE REARS UP, BUCKING OFF OBA! He flies off, hitting the ground with a crunch of broken bones. The HORSE runs away, crazed. Nanisca stalks to Oba, who is on all fours, struggling to crawl away. He sees a KNIFE on the ground near him, reaches for it... NANISCA GRABS HIM by his leather coat and TURNS HIM AROUND. HE HAS THE KNIFE. He attacks, STABBING IT INTO HER SHOULDER, all the way up to the hilt. She stands there. He smiles. The knife is just below her shoulder, in the chest. Did he hit a fatal blow? Blood starts to trickle down her cowrie breast plate. But Nanisca's face registers nothing. No pain, no fear. She uses her fist to grab the knife and YANK IT FROM HER FLESH, then she takes one step and PLUNGES IT INTO OBA'S GUT. They stand there, like that, close together, their blood co- mingling. She grits her teeth.</scene_description> <character>NANISCA</character> <dialogue>You do not remember me.</dialogue> <scene_description>Oba shakes his head, no...</scene_description> <character>NANISCA</character> <dialogue>Now you will never forget.</dialogue> <scene_description>She stabs him again, he grunts in pain. She KICKS HIM AWAY. He falls backward, to the ground, eyes staring up... DEAD. Nanisca stands, breathless, looking down at the still body of her tormentor. Then she hears the click of a musket. She turns. AN OYO SOLDIER stands before her, A MUSKET at his hip. He raises his weapon to shoot Nanisca and then... A SHOT! A bullet explodes out of his chest as he falls, face down, revealing... NAWI, her rescuer, lowering the pistol. Nawi, for the first time, sees that Nanisca, her mother, has come to rescue her. This time, NANISCA DOESN'T LOOK AWAY. So much passes between them, but before they can say even one word to each other... WHITE SLAVERS APPROACH, running toward them, on either side. The two Agojie warriors, mother and daughter, turn and fight, back to back, dispatching them with almost balletic grace. As the men fall, they exchange a look. Nawi tosses Nanisca a blunderbuss from one of the dead men. Nanisca looks at it. The source of so much horror. She tosses it with disdain. Grips her machete. Calls to her warriors.</scene_description> <character>NANISCA</character> <dialogue>Eh-dabo, Agojie!</dialogue> </scene> <scene> <stage_direction>EXT. OUIDAH SHORELINE - DAWN</stage_direction> <scene_description>The shore is chaos, the town square in flames. A Portuguese sailor from the ship frantically waves Ferreira and Malik onto his rowboat as they march with their enslaved captives. Malik stares at the bound men and women. Then he rises, knife in hand and cuts the rope that binds them! The Krumen as well as the now-freed Africans pour back toward shore, pulling the Slavers into the water with them. FERREIRA TRIES TO ESCAPE. THEY SHOUT AND GRAB HIS ARMS, HIS LEGS...</scene_description> <character>FERREIRA</character> <dialogue>No! Malik!</dialogue> <scene_description>Malik turns away. Splashes into the water toward a long boat bobbing there. Two Krumen are suddenly beside him. He thinks they are going to drag him back, but they get into the boat.</scene_description> <character>AFRICAN KRUMEN</character> <dialogue>Come brother! You cannot stay here!</dialogue> <scene_description>Malik gets in, as Ferreira is swallowed up into the violent crowd, screaming...</scene_description> </scene> <scene> <stage_direction>EXT. BAY - CONTINUOUS</stage_direction> <scene_description>Malik rows with the Krumen. He sees NAWI some distance away, with Nanisca and other Agojie women, standing on the rocks. THEIR EYES MEET. They do not know what the future holds, but for now they must follow their own paths. Nawi nods to him. He nods back. HIS POV: He sees Nawi turn to escape the town, running with her Agojie sisters.</scene_description> </scene> <scene> <stage_direction>EXT. HILLS ABOVE OUIDAH - MORNING</stage_direction> <scene_description>The Agojie and the Migan lead the escaped captives on a march. At the head of the ragtag group, Nawi and Nanisca walk, side by side. Amenza is behind them, looking at their body language, how similar they are as they walk in front of her. Nawi looks out to sea. A SHIP FLYING THE FLAG OF SPAIN, sails billowing, catches the trade winds that will carry it away from the slave coast. The Agojie veer away from the freed captives, who march in another direction, heading for their homes. As the Agojie fall in together, THE TEENAGE GIRL from the Barracoons runs to them, to Nawi.</scene_description> <character>TEENAGE GIRL</character> <dialogue>Take me with you. I want to be an Agojie.</dialogue> <scene_description>Nawi allows her to fall in step with her, bringing her along with this tribe of fierce women.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF ABOMEY - DAY</stage_direction> <scene_description>The small, wounded band of Agojie, and the Migan. As they trudge down toward the palace, all around them, the Dahomey people gather. A cheer begins to ripple through the crowd, started by village women, but picked up by all.</scene_description> <character>PEOPLE OF ABOMEY</character> <dialogue>Miganon! Miganon!</dialogue> <scene_description>In the crowd, Nawi sees some familiar faces... her friend Dayo, full of pride. Her adoptive parents, Moru and Ydande, amazed at her transformation. ON NAWI... feeling pride and a sense of belonging that no one can take away from her. She sees ABADE, the man who would be her husband, in the crowd. She raises her chin in triumph. He sees her, then casts his eyes down, as is the custom. She smiles. ON NANISCA AND AMENZA... they notice the gates to the palace are open, they notice flags flying. They move inside, followed by the Agojie women in the rescue party...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PALACE SQUARE - CONTINUOUS</stage_direction> <scene_description>They see lines of Agojie warriors, male warriors assembled. The dais is occupied with the wives of the King. SHANTE IS THERE, ARRAYED MAGNIFICENTLY IN THE PINK SILK ROBE, HER HAIR PILED HIGH. And then, she hears the commotion of Nanisca and the band of rescuers entering the courtyard... ON GHEZO, in his throne, frowning to see Nanisca's return. He is surprised to hear the people cheering as they flow into the courtyard behind the Agojie, chanting. "Na-nis-ca! Na-nis- ca!" And more significantly, "Kpo-ji-to!" ON THE DAIS, Ghezo stands, with his wives, with all of his ministers from the cabinet. He looks around, the cheering for Nanisca echoing in his ears. Shante stares daggers at the crowd. She is ready for her own cheers, but they do not come. The Migan takes his place among the assembled male warriors. Nanisca walks forward. She takes off her machete and lays it on the ground. She bows to King Ghezo, laying her head down into the dirt. Ghezo walks down the steps and comes to stand in front of her. He speaks to her -- only her.</scene_description> <character>GHEZO</character> <dialogue>You disobeyed your king.</dialogue> <character>NANISCA</character> <dialogue>I will resign my command.</dialogue> <scene_description>A beat. He reaches down and picks up her machete. It is heavy in his hands. ON NAWI... concerned, not sure what will happen. ALL AROUND... THE PEOPLE TAKE UP THEIR CHANT AGAIN... Na-nis-ca, Na-nis-ca! Ghezo rises to the dais. He turns toward the assembled troops and palace retinue. EVERY SOLDIER IN THE PARADE GROUND drops to a knee and bow their heads.</scene_description> <character>GHEZO</character> <dialogue>We have ended the rule of the Oyo Empire!</dialogue> <scene_description>A chant begins, low and rhythmic, in the male corps...</scene_description> <character>MALE SOLDIERS</character> <dialogue>Ghezo, Ghezo, Ghezo!</dialogue> <character>GHEZO</character> <dialogue>Many never thought it possible. But others had a vision.</dialogue> <scene_description>Ghezo looks at Nanisca.</scene_description> <character>GHEZO</character> <dialogue>That is what makes a great leader. Seeing what others do not.</dialogue> <scene_description>Nanisca reacts.</scene_description> <character>GHEZO</character> <dialogue>What the Europeans and the Americans have seen is that to hold a people in chains, one must first convince them they are meant to be bound. We have joined them in becoming our own oppressors. No more. No more.</dialogue> <scene_description>Murmurs throughout the crowd. His council look at each other.</scene_description> <character>GHEZO</character> <dialogue>We are a warrior people. There is power in our minds, our culture, our unity. We are limitless if we understand our power. I will lead with this vision. A vision that is shared.</dialogue> <scene_description>Ghezo looks at Nanisca.</scene_description> <character>GHEZO</character> <dialogue>Heroes of Dahomey! Behold, the bravest of the brave, chosen of Ghezo, elevated in his name to the sacred title of Kpojito! Nanisca, the Woman King!</dialogue> <scene_description>The crowd CHEERS. He holds out his hand. Nanisca rises and walks up the steps to the dais. She stands with Ghezo, who LIFTS HER ARM. Louder CHEERS erupt! Music plays. Shante sinks to seated, disappointed, but unable to deny the will of the people. ON NANISCA'S FACE, there is weariness, pride. She acknowledges the King, the people. She sees Nawi disappearing out of the crowd.</scene_description> </scene> <scene> <stage_direction>INT. PALACE - RITUAL GARDEN - LATE DAY</stage_direction> <scene_description>Nawi comes into the garden, still wearing her soiled lace garments, now torn. She kneels at the altar of the ancestors. Lays out an offering of food... Behind her, someone enters the chamber, comes to kneel beside her. It is Nanisca. They stay there, together, in silence.</scene_description> <character>NAWI</character> <dialogue>An offering. For Izogie.</dialogue> <character>NANISCA</character> <dialogue>She does not want that fruit. She wants this.</dialogue> <scene_description>Nanisca puts a bottle of whiskey on the altar. Nawi stares at the whiskey, feeling the loss of her friend, and much more.</scene_description> <character>NAWI</character> <dialogue>In my blood is the blood of a killer. A man who brought great pain to you...</dialogue> <character>NANISCA</character> <dialogue>You are an Agojie.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It is not your fault. What happened to me. You are not the thing that hurt me.</dialogue> <scene_description>Nawi's eyes fill. Wishes she could believe her.</scene_description> <character>NANISCA</character> <dialogue>You survived, because you are meant to be here. You are... Nawi. My daughter. But I do not have the right to claim that...</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>My comrade. Perhaps we can start from there.</dialogue> <scene_description>Nanisca does not kill her tears. Nawi, overwhelmed and emotional, gets up and leaves. Nanisca stays within...</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - AGOJIE COURTYARD - NIGHT</stage_direction> <scene_description>A HUGE CELEBRATION of dancing. Nanisca, as usual, stays on the sidelines as Agojie dance with abandon, then she sees... NAWI, coming out from the barracks. She wears her Agojie breastplate. The dirt and wounds have been cleaned. Nawi sees Fumbe and smiles, joining her in the dance. Nanisca smiles, relieved. And then Nawi breaks free from the dance. Agojie chant, Mi-ga-non, Mi-ga-non. Nawi comes to Nanisca. She leans in, whispers in her ear --</scene_description> <character>NAWI</character> <dialogue>Mother. Will you dance?</dialogue> <scene_description>Nanisca feels Nawi's gesture of acceptance, and forgiveness. She TAKES NAWI'S HAND... The women PAIR OFF. As is their custom, they hold each other's faces. Nawi lays her two hands on NANISCA'S FACE. Nanisca does the same to her. They dance together, forehead to forehead. EYES UP. NEVER LOOKING AWAY. The triumphant music floats up...</scene_description> </scene> <scene> <stage_direction>EXT. HILLS ABOVE OUIDAH - DAY</stage_direction> <scene_description>A GROUP OF AGOJIE look out over the ocean, Nawi and Nanisca at the head of them. Nanisca looks through the spyglass, hands it to Nawi to look through. HER POV: The last of the tall ships, leave the coast of Africa, fading into the distance.</scene_description> <character>NAWI</character> <dialogue>They are leaving.</dialogue> <character>NANISCA</character> <dialogue>For now. They will return.</dialogue> <character>NAWI</character> <dialogue>And we will be ready.</dialogue> <scene_description>The two women look out to sea as we...</scene_description> <character>SMASH TO BLACK.</character> </scene> </script>

In the West African kingdom of Dahomey in 1823, General Nanisca, leader of the all-female tribe of warriors, the Agojie, liberates Dahomean women who were abducted by slavers from the Oyo Empire. This provokes King Ghezo of Dahomey to prepare for an all-out war with the Oyo. Nanisca begins to train a new generation of warriors to join the Agojie to protect the kingdom. Among these warriors is Nawi, a strong-willed girl who was offered by her father to the king after refusing to marry men who would beat her. Nawi befriends Izogie, a veteran Agojie. She also reveals to Nanisca that she is adopted and shows a scar on her left shoulder, shocking Nanisca. Portuguese slave traders led by Santo Ferreira and accompanied by the half-Dahomean Malik arrive as part of an alliance with the Oyo, led by General Oba Ade. Nawi encounters Malik while the latter is bathing, and the two become friends. Shortly after graduating from training to become a full-fledged Agojie, Nawi sneaks off to speak with Malik and learns that the Oyo are planning to attack. She reports this to Nanisca, who tells her off for her recklessness. Amidst a heated argument between the two, Nanisca reveals that in her youth, she was captured by Oba, raped, and impregnated. After giving birth to a daughter, Nanisca embedded a shark tooth in her left shoulder before giving her away. Nanisca helps Nawi extract the tooth, confirming that she is her biological daughter. Nanisca leads the Agojie in an attack on the Oyo. The attack is successful, but Oba escapes and Nawi, Fumbe and Izogie are captured. With Nawi's advice, Fumbe escapes and reports the others' fate to Nanisca. Ghezo prepares to bestow the title of Woman King, his partner and equal in ruling Dahomey, upon Nanisca, but refuses to authorise a rescue mission for the captive Agojie. Meanwhile, Izogie is killed in an escape attempt and Malik buys Nawi to protect her. Nanisca defies orders and sets out with a group of like-minded warriors to rescue the captives. The chaos allows Nawi to escape and rejoin Nanisca. Malik frees several other slaves who drown Ferreira, and Nanisca kills Oba in single combat. The triumphant Agojie return to Dahomey, where Ghezo privately and briefly admonishes Nanisca for disobeying him, before crowning her the Woman King. After the festivities, Nanisca and Nawi privately acknowledge their familial relationship.

What They Had_2018

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<script> <scene> <character>WHAT THEY HAD</character> <dialogue>by</dialogue> <scene_description>Elizabeth Chomko Somewhere, a clock ticks. We are CLOSE on a black and white PHOTOGRAPH. In a simple frame, it is nestled among the evergreen needles of a moonlit Christmas tree. It's the summer of '61. A YOUNG MAN stands in front of a movie theatre, holding a YOUNG WOMAN in his arms. Her legs hang limp over his forearm. They grin madly at us. With the tick of the clock, another photo on the tree: The same couple. 1962. She beams from an armchair in dark taffeta; he rests on the chair arm in Navy dress blues. A tiny diamond on her hand. A cane against her skirt. Another tick, another photo: Black and white, 1968. He's dashing in a suit and Buddy Holly glasses. She's stunning, a strapless gown and opera gloves. They are BERT AND RUTH KELLER. And this is a love story.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>The same clock ticks here too. A PAIR OF FEET touch down on blue shag carpeting. The feet are small, old, the toes polished red. The feet pad softly over the carpet. In the silvery moonlight, blue veins peek through translucent skin.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - LIVING ROOM - NIGHT</stage_direction> <scene_description>ON THE TREE -- Three more photos: 70s, black and white. An INFANT in a Christening gown. 70s, color. The same child, now 3, on a darling white rocker, wearing a darling yellow dress. 70s, color. A Christmas Card. The child is 6 now, holding her baby brother. Bert and Ruth sit on either side. She is BRIDGET. And this love story belongs to her.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>RUTH, now late 60s, sits on a chair, her leg silhouetted in the moonlit window as she pulls on silk knee-highs. She is thinner now, but not frail. She is still very beautiful.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - NIGHT</stage_direction> <scene_description>ON THE TREE -- A series of early 80s wedding portraits: Bridget is a young bride, in head to toe lace, smiles lovingly at EDDIE, handsome, top hat and tails. Bert bursts with joy as he gives his father-of-the-bride speech, scotch in one hand, cigarette in the other.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Ruth selects pearl earrings from a jewelry box. A rosary is draped over the mirror, funeral cards tucked into it's frame. In the bed behind her, BERT, now 70s, is sound asleep. ON THE TREE: 1990s. Bridget looks down at an INFANT of her own. 1990s. Her brother, NICK, graduation gown, stands on the lawn of a midwestern college, flanked proudly by Bert and Ruth. 1990s. Two Polaroids, framed side by side. In one, Nick sits in a canoe holding a huge rainbow trout. In the other, Bert is in the same canoe, holding a tiny minnow.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - NIGHT</stage_direction> <scene_description>In the moonlight, Ruth steps to a long antique mail table. She fluffs her hair in the mirror above it. ON THE TREE: 1990s. Bridget walks down a Chicago street, beaming at us, holding the hands of TWO LITTLE GIRLS.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - NIGHT</stage_direction> <scene_description>Ruth pulls a short jacket from the hall closet and drapes it over her shoulders. She lifts her purse from the table and starts down the hall. ON THE TREE: 2005. Bert sits in a hammock, Ruth on his lap. She kisses him like she means it, dislodging his rose-tinted glasses. He grins at us like the Cheshire Cat. As the clock ticks, we pull slowly back, and back, and back. There are lights on this tree. A garland of stars. But no ornaments. Just the pictures we've seen and a dozen others. We pull back further. Sheer white curtains float in a breeze, framing SLIDING GLASS DOORS, open just wide enough for... Ruth to stand between them. She faces the snowy night. Her purse dangles at her side. Under the jacket, her white nightgown glows in the moonlight. In her sensible heels, she steps into the snow.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - BACK ALLEY - NIGHT</stage_direction> <scene_description>Ruth walks away from us, framed by the alley, through the immaculate blanket of snow. And then, slowly, the image of her fades from frame. Until her footprints are the only evidence she was there at all. TITLE CARD: WHAT THEY HAD:</scene_description> </scene> <scene> <stage_direction>EXT. MENLO PARK SUBDIVISION - NIGHT</stage_direction> <scene_description>Gray light is just beginning to crack over the horizon. BRIDGET, now 40s, in athletic gear, sprints down a street of basically identical houses, basically identically decorated for the holidays with tidy strings of white lights. She picks up her pace, racing now, faster and faster, hitting agony, pushing past it, around the corner into a cul-de- sac... She comes to a stop in front of another basically identical house, the only one with colored lights strung out front. Chest heaving, she puts her hands on her knees and recovers.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>EDDIE, now late 40s, in a bathrobe, pours himself cereal in their high-ceilinged, well-appointed kitchen. Bridget comes in with the newspaper. In silence, she pours coffee. They weave around each other, a chilly, well-practiced dance. They settle on either side of the counter with coffees and breakfast. He peruses the Business section, she the Arts. Without looking up from their papers:</scene_description> <character>EDDIE</character> <dialogue>You're picking up Emma?</dialogue> <character>BRIDGET</character> <dialogue>Yep.</dialogue> </scene> <scene> <stage_direction>INT. DORM - EMMA'S FLOOR - DAY</stage_direction> <scene_description>At the end of a long, near-deserted dorm hallway, Bridget knocks on a door. There's no answer. She knocks harder. Halfway down the hall, an RA stands with two GIRLS, who sit on a couch with suitcases, whispering in Bridget's direction.</scene_description> <character>RA</character> <dialogue>Is she not answering?</dialogue> <scene_description>Bridget looks at her and shakes her head. The RA approaches and puts her master key in Emma's dorm room door.</scene_description> </scene> <scene> <stage_direction>INT. EMMA'S DORM ROOM - CONTINUOUS</stage_direction> <scene_description>The curtains are closed; the room is dark. Bridget hurries in, past the tidy side belonging to Emma's roommate, and into Emma's filthy half of the room. Her suitcases are packed up. There's a lump in bed. Bridget yanks away pillows, revealing EMMA, 20, sleeping in headphones. Bridget shakes her awake.</scene_description> <character>BRIDGET</character> <dialogue>Emma.</dialogue> <scene_description>Emma cracks open her eyes and blinks at her mother.</scene_description> </scene> <scene> <stage_direction>INT. EMMA'S DORM ROOM/HALLWAY - DAY</stage_direction> <scene_description>Emma and Bridget pull a CART packed with Emma's belongings into the hall. Bridget notices something written on the dry- erase board hanging on her door. For a good time... KNOCK Bridget moves swiftly to erase it, but Emma has already seen it. She stares, punched in the gut. Bridget marches down the hall toward the two girls. Emma follows, knowing exactly what her mother is about to do.</scene_description> <character>EMMA</character> <dialogue>Mom. Mom.</dialogue> <scene_description>Bridget ignores her and steps up to them, furious. She glares at the girls. They stare back at her.</scene_description> <character>BRIDGET</character> <dialogue>Shame on you girls. What is the matter with you?</dialogue> <scene_description>She turns toward Emma, who waits, mortified, by the elevator. As Bridget walks up, Emma glares at her.</scene_description> <character>BRIDGET</character> <dialogue>What? You have to stand up for yourself, you have to fight back. Show some self-respect, don't be a doormat --</dialogue> <character>EMMA</character> <dialogue>Shhhhhh!</dialogue> <character>BRIDGET</character> <dialogue>Oh whatever, you're kicked out of this stupid dorm anyway. Drug and Alcohol Free, it's college for chrissakes.</dialogue> <scene_description>The elevator doors open. Emma ducks inside. Bridget struggles to push the cart in. The girls giggle from the couch. Bridget gives them the finger as the doors close.</scene_description> <character>EMMA</character> <dialogue>Mom!</dialogue> </scene> <scene> <stage_direction>EXT. DORM - FRONT ENTRANCE - DAY</stage_direction> <scene_description>Bridget pushes the cart out the door. Emma follows behind, furiously digging through her backpack. Emma stops to light a cigarette. Bridget whirls around.</scene_description> <character>BRIDGET</character> <dialogue>You should not be smoking. It is terrible for you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What is going on with you?</dialogue> <character>EMMA</character> <dialogue>Nothing.</dialogue> <scene_description>Bridget watches Emma puff awkwardly on the cigarette.</scene_description> <character>BRIDGET</character> <dialogue>You look absolutely ridiculous.</dialogue> <character>EMMA</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BATHROOM - DAY</stage_direction> <scene_description>Bridget changes into nicer clothes. Eddie brushes his teeth.</scene_description> <character>EDDIE</character> <dialogue>Maybe she shouldn't go back.</dialogue> <character>BRIDGET</character> <dialogue>Don't even go there, Eddie.</dialogue> <character>EDDIE</character> <dialogue>Why? She's a mess, let's take a semester off and regroup.</dialogue> <character>BRIDGET</character> <dialogue>Because she'll never go back, that's why, and then she'll be kicking herself. Just encourage her, would you please?</dialogue> <scene_description>Bridget spots headlights in the driveway out the window.</scene_description> <character>BRIDGET</character> <dialogue>That's them.</dialogue> <scene_description>She hustles out of the room into --</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET/EDDIE'S HOUSE - HALLWAY/EMMA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Emma's door has a NOTE on it that reads: HOW IT WORKS YOU: Knock ME: "Come in" YOU: Enter Bridget disregards these directions, knocking and entering in one fluid motion.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - EMMA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Emma is changing. She holds her shirt to cover her chest.</scene_description> <character>EMMA</character> <dialogue>Mom!</dialogue> <character>BRIDGET</character> <dialogue>Sorry. Mary and Daniel are here.</dialogue> <character>EMMA</character> <dialogue>David.</dialogue> <character>BRIDGET</character> <dialogue>David! David David David --</dialogue> </scene> <scene> <stage_direction>EXT. BRIDGET AND EDDIE'S HOUSE - FRONT DOOR - NIGHT</stage_direction> <scene_description>Bridget heads toward MARY, her eldest, who is stepping away from her fiancee DAVID'S BMW, parked on the curb. A diamond sparkles on her finger.</scene_description> <character>BRIDGET</character> <dialogue>You made it!</dialogue> <scene_description>They embrace. As they pull away, Bridget's eyes go straight for Mary's hair.</scene_description> <character>MARY</character> <dialogue>Stop looking at my hair.</dialogue> <character>BRIDGET</character> <dialogue>I'm not.</dialogue> <scene_description>Behind Mary, David is pulling a SHOPPING BAG of gifts and a platter out of the trunk of the BMW.</scene_description> <character>DAVID</character> <dialogue>Merry Christmas, Bridget.</dialogue> <character>BRIDGET</character> <dialogue>Merry Christmas!</dialogue> <scene_description>Mary quietly reminds Bridget:</scene_description> <character>MARY</character> <dialogue>David.</dialogue> <character>BRIDGET</character> <dialogue>I know.</dialogue> <parenthetical>(loudly, to David)</parenthetical> <dialogue>David! Nice to see you!</dialogue> <scene_description>David approaches. She hugs him around the platter.</scene_description> <character>DAVID</character> <dialogue>Thanks for having me. I brought crab.</dialogue> <character>BRIDGET</character> <parenthetical>(to Mary)</parenthetical> <dialogue>He brought crab!</dialogue> <character>DAVID</character> <dialogue>Well but I know you're a chef and everything so -</dialogue> <character>BRIDGET</character> <dialogue>Oh I'm sure it's very good.</dialogue> <character>MARY</character> <dialogue>It is, it's very good.</dialogue> <character>BRIDGET</character> <dialogue>Good!</dialogue> <scene_description>An beat, then:</scene_description> <character>DAVID</character> <dialogue>Shall we?</dialogue> <character>BRIDGET</character> <dialogue>Yes! Well. I'll be - right there - I just have to grab something --</dialogue> <scene_description>Mary and David head toward the front door as Bridget trots to her SUV, parked in the driveway and opens the driver's door and leans across the driver's seat. She fishes through the pennies in the cup holder, then:</scene_description> <character>BRIDGET</character> <dialogue>Shit.</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>We are back in that condo with the ticking clock. Bert sleeps in bed. A distant train horn rouses him. His eyes open. He reaches for the other side of the bed. Feeling it empty, he sits up and reaches for his glasses. His gray comb-over stands on end.</scene_description> <character>BERT</character> <dialogue>Ruth.</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - NIGHT</stage_direction> <scene_description>Bert flips on the light and squints into the brightness. A gold crucifix glints in his salt and pepper chest hair. He feels a draft and stiffens. Walks into the LIVING ROOM. The sliding door is open. The curtains wave in the breeze.</scene_description> <character>BERT</character> <dialogue>Goddammit!</dialogue> <scene_description>He sprints, panicked, for the door.</scene_description> </scene> <scene> <stage_direction>EXT. CONDO BUILDING - BACK ALLEY - NIGHT</stage_direction> <scene_description>Bert, in slippers and a robe, stands a few paces down the walkway, scanning the landscape urgently. He spots Ruth's footprints in the blanket of snow.</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BASEMENT - NIGHT</stage_direction> <scene_description>NICK, now 45, sleeps on an air mattress in a corner. On the floor beside it, his phone rings with the ALARM ringer, the one that sounds like an accident in a nuclear power plant. He pries himself awake and squints down at the phone on the ground, next to a stack of books and a bottle of booze. He reaches for the phone and answers it.</scene_description> <character>NICK</character> <dialogue>Dad.</dialogue> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Mary stands in front of the mirror, wearing Bridget's wedding dress. Emma buttons the zillion buttons. The dress is lace and satin, long sleeved, high necked. Bridget sits on the bed, trying to feign enthusiasm.</scene_description> <character>MARY</character> <dialogue>Pretty, right? If I get rid of the sleeves?</dialogue> <character>EMMA</character> <dialogue>Or the whole thing.</dialogue> <character>MARY</character> <dialogue>I like it.</dialogue> <character>EMMA</character> <dialogue>Just get your own dress.</dialogue> <character>MARY</character> <dialogue>I wanna wear Mom's.</dialogue> <character>BRIDGET</character> <dialogue>I didn't even pick it out.</dialogue> <character>EMMA</character> <dialogue>Who picked it out?</dialogue> <character>BRIDGET</character> <dialogue>Grama. There was this other one, it was off the shoulder, it had these ribbons... I loved that dress.</dialogue> <character>EMMA</character> <dialogue>So where the hell is it?</dialogue> <character>BRIDGET</character> <dialogue>Grama thought it was too revealing.</dialogue> <character>MARY</character> <dialogue>Well. I want to wear a family dress, so.</dialogue> <character>BRIDGET</character> <dialogue>You could get married in winter. It's more appropriate for winter.</dialogue> <character>MARY</character> <dialogue>We're getting married in June. We already have a venue. Undo me.</dialogue> <scene_description>Mary backs up to Emma for her to undo her.</scene_description> <character>BRIDGET</character> <dialogue>You don't get married because you have a venue.</dialogue> <character>MARY</character> <dialogue>I'm getting married because I wanna get married, Mom.</dialogue> <scene_description>Bridget tries to drop it but can't help herself.</scene_description> <character>BRIDGET</character> <dialogue>He's a lot older than you, Mare.</dialogue> <character>EMMA</character> <dialogue>Mom.</dialogue> <character>BRIDGET</character> <dialogue>What? What's the big rush? Why not be engaged for a couple of years?</dialogue> <character>MARY</character> <dialogue>Can we not talk about this right this second?</dialogue> <character>BRIDGET</character> <dialogue>It's just - lot of people have a long engagement, it's really not a big deal, it's --</dialogue> <character>MARY AND EMMA</character> <dialogue>Mom.</dialogue> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Bridget and Eddie are in bed. She's awake, staring up at the ceiling. Her cellphone on the night stand rings. Eddie rouses as Bridget reaches for it. It's Nick.</scene_description> <character>BRIDGET</character> <dialogue>Nicky?</dialogue> <scene_description>She listens.</scene_description> <character>BRIDGET</character> <dialogue>What do you mean she's gone?</dialogue> </scene> <scene> <stage_direction>EXT. O'HARE AIRPORT/NICK'S RANGE ROVER - DAY</stage_direction> <scene_description>It's still snowing. Chicago news radio reports the snowstorm in Nick's used Range Rover. He's driving through O'Hare arrivals -- until he gets stuck behind an empty car. It's OWNERS make out by it's open trunk. Cranky, Nick lays on the horn, startling them apart. Nick pulls up to the curb and turns down the radio, spotting Bridget and Emma coming out of the airport doors. He leans out the open window.</scene_description> <character>NICK</character> <dialogue>Yo dickheads!</dialogue> </scene> <scene> <stage_direction>INT./EXT. NICK'S RANGE ROVER - DAY</stage_direction> <scene_description>Bridget sits in front, Emma in back. Nick hands out lattes.</scene_description> <character>NICK</character> <dialogue>Here's your ten dollar coffees. Where's Eddie?</dialogue> <character>BRIDGET</character> <dialogue>He had to work. Where's Dad?</dialogue> <character>NICK</character> <dialogue>He's looking for her, looking everywhere, every single place she's ever been in her life.</dialogue> <character>EMMA</character> <dialogue>Did you check the hospitals?</dialogue> <character>NICK</character> <dialogue>Hospitals, St. Giles, the Rotary Club, even went by the nursing home in case she thought she was still working there.</dialogue> <character>EMMA</character> <dialogue>Did you call the police?</dialogue> <character>NICK</character> <dialogue>'Course I called the police.</dialogue> <scene_description>His tone is sharper than he means it to be. She makes a face.</scene_description> <character>BRIDGET</character> <dialogue>They have Dad's number?</dialogue> <character>NICK</character> <dialogue>Dad's, mine, yours, yours, the condo and Marion Down The Hall's.</dialogue> <parenthetical>(then; shaking his head)</parenthetical> <dialogue>Dad's goin' outta his mind, Bitty, he's white as a ghost. When he called I thought he was having another heart attack.</dialogue> <scene_description>Bridget looks out the window and sips her latte, taking in the gray of her hometown. It looks very, very cold.</scene_description> <character>NICK</character> <dialogue>I knew this was gonna happen. Been tellin' him for years, figure out what you wanna do with Mom when the time comes, 'cause we all know it's coming, we all know how this thing works.</dialogue> <character>BRIDGET</character> <dialogue>It's hard for him.</dialogue> <character>NICK</character> <dialogue>You know what's gonna be hard for him? Her turnin' up next week in a goddamn block of ice.</dialogue> <scene_description>Emma and Bridget's stomachs drop.</scene_description> <character>NICK</character> <dialogue>It's over. She cannot be at the condo anymore. She's goin' to a place and he's gonna haveta let her.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>If I hear one goddamn peep about freakin' Florida, I swear to God.</dialogue> <scene_description>He fishes a pack of Pall Mall's out of his parka pocket.</scene_description> <character>BRIDGET</character> <dialogue>What happened to quitting?</dialogue> <character>NICK</character> <dialogue>Life, Bitty. Life happened to quitting.</dialogue> <character>BRIDGET</character> <dialogue>Don't smoke in here, I'm chemically sensitive.</dialogue> <character>NICK</character> <dialogue>You're who?</dialogue> <character>EMMA</character> <dialogue>Chemically sensitive.</dialogue> <character>NICK</character> <dialogue>What kinda California bullshit is that?</dialogue> <scene_description>Nick's phone rings. ALARM ringer. They all jump.</scene_description> <character>BRIDGET</character> <dialogue>That's your ringer?</dialogue> <character>NICK</character> <dialogue>For Dad it is.</dialogue> <parenthetical>(into the phone)</parenthetical> <dialogue>Dad.</dialogue> </scene> <scene> <stage_direction>INT. RUSH HOSPITAL - ER HALLWAY - DAY</stage_direction> <scene_description>Bert is at a desk filling out paperwork. He looks up to see Bridget, Nick, and Emma scurrying down the hall. He scowls.</scene_description> <character>BERT</character> <parenthetical>(to Nick)</parenthetical> <dialogue>I toldja not to call her.</dialogue> <parenthetical>(to Bridget)</parenthetical> <dialogue>It's Christmas Day, Bitty, you aughta be with your family.</dialogue> <character>BRIDGET</character> <dialogue>Is she all right?</dialogue> <character>BERT</character> <dialogue>She's fine.</dialogue> <scene_description>Bert and Bridget kiss on the lips. It's a midwestern thing.</scene_description> <character>BERT</character> <parenthetical>(to Emma)</parenthetical> <dialogue>Hello Squeaks.</dialogue> <character>EMMA</character> <dialogue>Hi Gramps, you okay?</dialogue> <scene_description>As Emma and Bert embrace, he glares at Nick and waves his hand in front of his face.</scene_description> <character>BERT</character> <dialogue>Dammit, Nicholas, knew you'd be smokin' again with that bar.</dialogue> <character>BRIDGET</character> <parenthetical>(to Bert)</parenthetical> <dialogue>Are you okay? Have them check your blood pressure.</dialogue> <character>NICK</character> <dialogue>What'd the doctor say?</dialogue> <character>BERT</character> <dialogue>He hasn't been in yet.</dialogue> <character>NICK</character> <dialogue>Then how do you know she's fine?</dialogue> <character>BERT</character> <dialogue>'Cause she's fine! Go look at her!</dialogue> </scene> <scene> <stage_direction>INT. RUSH HOSPITAL - RUTH'S ROOM - DAY</stage_direction> <scene_description>Ruth sits on the exam table in her nightie, a blanket over he shoulders, legs swinging like a kid. Bridget walks in. Ruth doesn't recognize her.</scene_description> <character>BRIDGET</character> <dialogue>Mom?</dialogue> <scene_description>Ruth suddenly lights up.</scene_description> <character>RUTH</character> <dialogue>Is that my baby?</dialogue> <scene_description>She jumps off the table and throws her arms around Bridget. Nick walks in behind them.</scene_description> <character>RUTH</character> <dialogue>Oh, I'm so happy to see you --</dialogue> <character>NICK</character> <dialogue>You all right, Mom?</dialogue> <character>RUTH</character> <dialogue>And this baby too?</dialogue> <scene_description>Ruth throws her arms around Nick, then sees Emma behind him.</scene_description> <character>RUTH</character> <parenthetical>(re: Emma)</parenthetical> <dialogue>Honey!</dialogue> <character>EMMA</character> <dialogue>Hi Grama.</dialogue> <scene_description>She throws her arms around Emma, then holds her by the shoulders as Bert enters.</scene_description> <character>RUTH</character> <dialogue>You need some money? Let me getcha some money.</dialogue> <character>BERT</character> <dialogue>See? She's fine.</dialogue> <character>RUTH</character> <dialogue>Where's my purse?</dialogue> <character>BERT</character> <dialogue>You don't need your purse.</dialogue> <character>RUTH</character> <dialogue>Oh, I do too, you turkey.</dialogue> <character>NICK</character> <dialogue>Where the heck was she?</dialogue> <character>BERT</character> <dialogue>Aurora.</dialogue> <character>NICK AND BRIDGET AND RUTH</character> <dialogue>Aurora?</dialogue> <character>BERT</character> <dialogue>Got on the commuter. Rode the damn thing back and forth 'til the conductor screwed his eyeballs in.</dialogue> <character>RUTH</character> <dialogue>Did she really?</dialogue> <character>NICK</character> <dialogue>Where'd she get on at?</dialogue> <character>BERT</character> <dialogue>Berwyn.</dialogue> <character>NICK</character> <dialogue>She walked to Berwyn in a snowstorm?</dialogue> <character>BERT</character> <dialogue>She's fine, Nicholas.</dialogue> <character>RUTH</character> <parenthetical>(re: Bridget)</parenthetical> <dialogue>Well she doesn't look fine to me.</dialogue> <scene_description>Ruth puts her hand on Bridget's forehead.</scene_description> <character>NICK</character> <dialogue>She's fine, Mom.</dialogue> <character>BERT</character> <dialogue>She's fine, Ruth.</dialogue> <character>RUTH</character> <parenthetical>(to Bert; indignant)</parenthetical> <dialogue>Excuse you, I spent thirty years in geriatrics, thank you very much.</dialogue> <scene_description>Ruth pulls Bridget down in a chair and rubs her shoulders. Bert is eying Bridget's empty left hand.</scene_description> <character>BERT</character> <parenthetical>(to Bridget)</parenthetical> <dialogue>Where's your diamond?</dialogue> <character>BRIDGET</character> <dialogue>Oh, I - forgot it.</dialogue> <character>BERT</character> <dialogue>Whaddya mean you forgot it?</dialogue> <character>EMMA</character> <dialogue>She doesn't wear it.</dialogue> <character>BRIDGET</character> <dialogue>I do too, I just take it off for work.</dialogue> <character>BERT</character> <dialogue>How come?</dialogue> <character>BRIDGET</character> <dialogue>'Cause I got my hands in raw poultry all day.</dialogue> <scene_description>Ruth is going to town on Bridget's shoulders.</scene_description> <character>BRIDGET</character> <dialogue>Ow, Mom.</dialogue> <scene_description>Ruth moves the massage up to Bridget's head. Her hair flops in her face.</scene_description> <character>BERT</character> <dialogue>You go to Mass last night?</dialogue> <character>BRIDGET</character> <dialogue>No, we were - gonna go today.</dialogue> <character>EMMA</character> <dialogue>We were?</dialogue> <character>BRIDGET</character> <dialogue>Yes.</dialogue> <character>NICK</character> <dialogue>You were?</dialogue> <character>BRIDGET</character> <parenthetical>(shut up)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>There's a knock at the door. Quickly:</scene_description> <character>BRIDGET</character> <dialogue>Come in!</dialogue> <scene_description>DR. ZOE, 30s, pops her head in. Ruth lights up.</scene_description> <character>DR. ZOE</character> <dialogue>Are we ready for a pelvic exam?</dialogue> <character>RUTH</character> <parenthetical>(to Dr. Zoe)</parenthetical> <dialogue>Is that my baby?</dialogue> </scene> <scene> <stage_direction>INT. RUSH HOSPITAL - HALLWAY - MOMENTS LATER - DAY</stage_direction> <scene_description>Nick, Bridget, Emma and Bert stand around Dr. Zoe.</scene_description> <character>DR. ZOE</character> <dialogue>They are safer in memory care, but they also often improve. They're more relaxed, less anxious, they often feel more at home with peers than they do with family.</dialogue> <scene_description>They all turn to look at Bert's reaction. He is staunch, arms folded stubbornly across his chest. She tries another tactic.</scene_description> <character>DR. ZOE</character> <dialogue>Look, the reason I did a pelvic exam is... during wandering episodes, women are often - assaulted. Sexually.</dialogue> <scene_description>Their eyes all widen.</scene_description> <character>DR. ZOE</character> <dialogue>I don't see evidence of that today. But given how affectionate she is, I think that's very lucky.</dialogue> </scene> <scene> <stage_direction>INT. RUSH PARKING GARAGE - 2ND FLOOR - DAY</stage_direction> <scene_description>Bert slams through the door of the garage and marches in. Bridget trots after him, followed by Nick, holding Ruth's purse, and Ruth, wearing Nick's parka and holding Emma's arm.</scene_description> <character>NICK</character> <dialogue>Dad!</dialogue> <scene_description>Bert and Bridget stop and turn to them.</scene_description> <character>BERT</character> <dialogue>What!</dialogue> <character>NICK</character> <dialogue>I'm this way.</dialogue> <character>BERT</character> <dialogue>So go then!</dialogue> <scene_description>Nick heads off with Ruth and Emma. Bert marches down the aisle of cars. Bridget trots up along side him.</scene_description> <character>BERT</character> <dialogue>Goddamn hospital. Goddamn teenage doctors.</dialogue> <scene_description>He pulls his keys out and approaches a black '59 4-seat Thunderbird Convertible and opens the trunk. Bridget gapes.</scene_description> <character>BRIDGET</character> <dialogue>What happened to the Camry?</dialogue> <character>BERT</character> <dialogue>I'm 75 years old, Bitty. Fuck the Camry.</dialogue> <scene_description>He pulls a down parka from the trunk and chucks it at her.</scene_description> </scene> <scene> <stage_direction>INT/EXT BERT'S THUNDERBIRD - DUSK</stage_direction> <scene_description>The top is down. Elton John's Amoreena on the radio. They cruise downtown Chicago, lit elegantly for Christmas. Bridget, wrapped in the borrowed parka, watches her hometown pass.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - FOYER - NIGHT</stage_direction> <scene_description>Bert and Bridget enter. Bert carries Chinese take-out.</scene_description> <character>BERT</character> <dialogue>Ho ho ho!</dialogue> <scene_description>Nick bee-lines around the corner into the foyer. His eyes are wide as saucers.</scene_description> <character>BERT</character> <dialogue>Where's your mother?</dialogue> <character>NICK</character> <dialogue>In with Emma.</dialogue> <scene_description>As Bert takes the bag into the kitchen:</scene_description> <character>BERT</character> <dialogue>Gotcha a loo mein, Nicholas.</dialogue> <scene_description>Bridget hangs the parka up in the coat closet. Nick stares at her, eyes huge, like he's seen a ghost.</scene_description> <character>BRIDGET</character> <dialogue>Whassa matter with you?</dialogue> <character>NICK</character> <parenthetical>(grave; quiet)</parenthetical> <dialogue>She hit on me.</dialogue> <character>BRIDGET</character> <dialogue>What?</dialogue> <character>NICK</character> <dialogue>She - she - put her hand on my leg, batted her eyes, she - hit on me.</dialogue> <character>BRIDGET</character> <dialogue>Who?</dialogue> <character>NICK</character> <dialogue>Who?</dialogue> <scene_description>Like she even had to ask.</scene_description> <character>BRIDGET</character> <dialogue>Mom? What'd you do?</dialogue> <character>NICK</character> <dialogue>Whaddya mean, what'd I do, I just - kept callin' her Mom, thanks Mom, had a nice time too Mom, real glad you birthed me, Mom --</dialogue> <scene_description>Bridget can't help it. She starts to laugh. Nick is appalled.</scene_description> <character>NICK</character> <dialogue>You're laughing?</dialogue> <scene_description>Which makes her laugh harder.</scene_description> <character>NICK</character> <dialogue>Don't laugh, asshole, it's not funny. I'm freakin' traumatized.</dialogue> <scene_description>Bridget is dying.</scene_description> <character>BRIDGET</character> <dialogue>Your face -- when we walked in, you shoulda seen your face --</dialogue> <scene_description>Finally Nick can't help himself. He laughs.</scene_description> <character>NICK</character> <parenthetical>(through laughs)</parenthetical> <dialogue>It's not funny.</dialogue> <character>BERT (O.C.)</character> <parenthetical>(from the kitchen; angry)</parenthetical> <dialogue>Goddamn Oriental places, how you s'posed to eat rice with a stick?</dialogue> <scene_description>Which makes them both hysterical.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - NIGHT</stage_direction> <scene_description>Emma lays on one side of the antique double bed, headphones on, computer open in her lap. Bridget sticks her head in.</scene_description> <character>BRIDGET</character> <dialogue>Wanna come for a drive with Uncle Nicky?</dialogue> <character>EMMA</character> <dialogue>No. Uncle Nicky's a dick.</dialogue> <character>BRIDGET</character> <dialogue>No he isn't. Don't say that.</dialogue> <scene_description>A beat, then:</scene_description> <character>BRIDGET</character> <dialogue>Did you apply for a new dorm?</dialogue> <character>EMMA</character> <dialogue>Yeah.</dialogue> <character>BRIDGET</character> <dialogue>You did?</dialogue> <character>EMMA</character> <dialogue>Yes.</dialogue> <character>BRIDGET</character> <dialogue>Oh. You're okay here by yourself?</dialogue> <scene_description>Emma glares.</scene_description> <character>BRIDGET</character> <dialogue>Well. I have my cell.</dialogue> <character>EMMA</character> <dialogue>Oh, you do? Really? Great, I'll call you, we'll chat.</dialogue> <scene_description>Bridget closes the door and steps into the --</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - NIGHT</stage_direction> <scene_description>Bridget heads down the hall toward the back door. She stops at the ajar bathroom door and peers in.</scene_description> <character>BERT (O.C.)</character> <parenthetical>(in the bathroom; gently)</parenthetical> <dialogue>Wait, honey, take your nightie off.</dialogue> <scene_description>In the mirror, Ruth's arms are in the air, like a child. Bert gently pulls her nightie over her head. She giggles. Bridget watches, touched by his care, until: The back door opens. Nick pokes his head in.</scene_description> <character>NICK</character> <dialogue>Let's go, dickie-doodle.</dialogue> </scene> <scene> <stage_direction>INT. NICK'S RANGE ROVER - NIGHT</stage_direction> <scene_description>Nick drives west on 290. Bridget sits shotgun in her borrowed parka, looking at the Chicago skyline ahead.</scene_description> <character>NICK</character> <dialogue>Jimmy Laciak sits on the board of the best memory place in Chicago, got a waiting list a mile long. He can get Mom in there February one and Dad in a two bedroom on the same campus on the 15th.</dialogue> <character>BRIDGET</character> <dialogue>They can't be together?</dialogue> <character>NICK</character> <dialogue>Memory care's lock down, dementia only. It's a bunch of loons, he'd be ripping his hair out in there anyway.</dialogue> <scene_description>She looks out. They're downtown now, driving along the El.</scene_description> <character>NICK</character> <dialogue>Assisted living's fifty yards away, he can walk over whenever he feels like it.</dialogue> <character>BRIDGET</character> <dialogue>Dad's doesn't want assisted living.</dialogue> <character>NICK</character> <dialogue>It's not daycare, Bit, they don't wipe his ass. It's great, they do his laundry, give him a meal plan, he gets chest pains he pushes a button.</dialogue> <scene_description>Nick parks the car at a meter on Division Street.</scene_description> <character>BRIDGET</character> <dialogue>Where are we?</dialogue> <character>NICK</character> <dialogue>Where do you think, dumdum?</dialogue> <scene_description>She doesn't know. They get out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. DIVISION STREET - NIGHT - CONTINUOUS</stage_direction> <scene_description>They walk down deserted Division.</scene_description> <character>BRIDGET</character> <dialogue>What about a live-in person?</dialogue> <character>NICK</character> <dialogue>Insurance doesn't cover it.</dialogue> <character>BRIDGET</character> <dialogue>It doesn't cover memory care either.</dialogue> <character>NICK</character> <dialogue>It covers some of it, then they sell the condo.</dialogue> <character>BRIDGET</character> <dialogue>He's not gonna sell the condo.</dialogue> <character>NICK</character> <dialogue>What's he gonna do, take it with him?</dialogue> <scene_description>Nick pulls keys from his parka and goes to a door. She's confused for a moment, then it hits her.</scene_description> <character>BRIDGET</character> <dialogue>Oh! Oh my god!</dialogue> <scene_description>She looks at the sign, awed. It reads NICK'S.</scene_description> <character>BRIDGET</character> <dialogue>Is that you? Are you Nick?</dialogue> <character>NICK</character> <dialogue>That's the other owner. His name's Nick too.</dialogue> <character>BRIDGET</character> <dialogue>Oh.</dialogue> <character>NICK</character> <dialogue>Whassa matter with you? Of course it's me, dingleberry.</dialogue> </scene> <scene> <stage_direction>INT. NICK'S BAR - NIGHT - CONTINUOUS</stage_direction> <scene_description>The walk in the bar, Bridget's eyes wide. It's a gorgeous space, high ceilings, long copper bar, gorgeous mural on one wall, tastefully decorated with curated antiques.</scene_description> <character>BRIDGET</character> <dialogue>Wow. My god, it's gorgeous.</dialogue> <character>NICK</character> <dialogue>Yeah, see? It's not some shitty dive.</dialogue> <character>BRIDGET</character> <dialogue>Who said it was a shitty dive?</dialogue> <scene_description>Nick looks pointedly at her - who does she think?</scene_description> <character>BRIDGET</character> <dialogue>Well has he been here?</dialogue> <character>NICK</character> <dialogue>Of course he hasn't been here.</dialogue> <character>BRIDGET</character> <dialogue>Did you invite him?</dialogue> <character>NICK</character> <dialogue>I shouldn't have to invite him.</dialogue> <scene_description>Nick walks along the bar to the back and disappears down the stairs to the basement. Bridget follows slowly, taking it all in, then follows him down into --</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BAR - BASEMENT - NIGHT</stage_direction> <scene_description>Nick sifts through the mess on the desk -- stacks of paperwork, bottles of corked wine, a well-worn book: The Best Friend's Approach to Alzheimer's Care. In the corner of the basement is an unmade twin blow up bed.</scene_description> <character>BRIDGET</character> <dialogue>Somebody's living here.</dialogue> <character>NICK</character> <dialogue>You're one sharp cookie, Bit.</dialogue> <character>BRIDGET</character> <dialogue>Who?</dialogue> <character>NICK</character> <dialogue>The other owner.</dialogue> <scene_description>Nick retrieves a folder from the mess and heads out of the office with it. Bridget follows. As they head up the steps:</scene_description> <character>BRIDGET</character> <dialogue>You're living here? What about Rachel?</dialogue> <scene_description>Nick waves her off.</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BAR - NIGHT - A MOMENT LATER.</stage_direction> <scene_description>Nick steps behind the bar and tosses a cocktail menu at her.</scene_description> <character>NICK</character> <dialogue>What do you wanna drink?</dialogue> <character>BRIDGET</character> <parenthetical>(reading from the menu)</parenthetical> <dialogue>Norbert's Manhattan?</dialogue> <character>NICK</character> <dialogue>Best manhattan you'll have in your life, you'll shit your pants.</dialogue> <scene_description>He mixes her manhattan and pours it in front of her.</scene_description> <character>NICK</character> <dialogue>Emma's a real peach these days, huh?</dialogue> <character>BRIDGET</character> <dialogue>I think she hates me.</dialogue> <character>NICK</character> <dialogue>For what?</dialogue> <character>BRIDGET</character> <dialogue>I dunno. She doesn't talk to me.</dialogue> <scene_description>She sips her manhattan as Nick rinses the shaker.</scene_description> <character>BRIDGET</character> <parenthetical>(uh-oh)</parenthetical> <dialogue>Shit.</dialogue> <character>NICK</character> <dialogue>What?</dialogue> <character>BRIDGET</character> <dialogue>In my pants.</dialogue> <character>NICK</character> <dialogue>Right? That thing's won awards.</dialogue> <character>BRIDGET</character> <dialogue>Norbert would be very proud.</dialogue> <scene_description>Nick pours himself neat Irish whiskey.</scene_description> <character>BRIDGET</character> <dialogue>What happened with Rachel?</dialogue> <character>NICK</character> <dialogue>Oh who knows. All of a sudden she's bursting into tears over a hamburger 'cause I haven't proposed.</dialogue> <character>BRIDGET</character> <dialogue>She's been waiting for you to want to marry her, dummy. Nobody wants to ask to be proposed to.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You gotta be intuitive, it's like Eddie, right, I'm constantly telling him how chefs hate kitchen gadgets and what does he put under the tree for me every year?</dialogue> <character>NICK</character> <dialogue>That's cause you open it and go wow! A coconut roaster! Oh my god thank you I love it!</dialogue> <character>BRIDGET</character> <dialogue>Well what am I supposed to say?</dialogue> <character>NICK</character> <dialogue>No thanks, where's the receipt?</dialogue> <character>BRIDGET</character> <dialogue>I can't say that.</dialogue> <character>NICK</character> <dialogue>Why not?</dialogue> <character>BRIDGET</character> <dialogue>I'm not gonna make him feel bad in front of the girls.</dialogue> <character>NICK</character> <dialogue>You know what you're saying to the girls? His feelings matter, mine don't.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>That's exactly what this world needs, two more women who don't tell you what's really going on. Two more Rachels.</dialogue> <character>BRIDGET</character> <dialogue>She told you what's going on. Go over there. Bring her flowers.</dialogue> <character>NICK</character> <dialogue>I'm not goin' over there. She hasn't even called.</dialogue> <character>BRIDGET</character> <dialogue>She shouldn't have to call.</dialogue> <scene_description>Nick frowns. Touche.</scene_description> <character>NICK</character> <dialogue>Yeah, well, now she's trying to get full custody of her kid, so.</dialogue> <character>BRIDGET</character> <dialogue>So?</dialogue> <character>NICK</character> <dialogue>So what am I, gonna go be a parent?</dialogue> <character>BRIDGET</character> <dialogue>Why not?</dialogue> <character>NICK</character> <dialogue>Why not? What do you think I got goin' on here? I got my life savings is dumped into this business and I'm barely making payroll, I got the fire department and the health department double, triple fining me for the same shit I didn't even do, I got a barback stealing tips and then - and then - I'm filling Mom and Dad's prescriptions. I'm picking up their dry cleaning. I'm taking 'em to church.</dialogue> <scene_description>He downs his drink.</scene_description> <character>NICK</character> <dialogue>She knows I don't want kids, that's the whole reason we broke up six years ago. Here.</dialogue> <scene_description>He tosses the folder from his office across the bar to her.</scene_description> <character>NICK</character> <dialogue>I filled it all out, all he's gotta do is sign.</dialogue> <scene_description>The folder reads THE REMINISCENCE NEIGHBORHOOD. Beaming OCTOGENARIANS sit by a fire around a Parcheesi board. She opens it. Inside is a brochure and stack of paperwork.</scene_description> <character>BRIDGET</character> <dialogue>The Reminiscence Neighborhood?</dialogue> <character>NICK</character> <dialogue>They're all called shit like that.</dialogue> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - ALLEY - NIGHT</stage_direction> <scene_description>Bridget and Nick step out of Nick's car. He lights a smoke and tosses the Reminiscence folder across the hood to her.</scene_description> <character>NICK</character> <dialogue>Here we go now. Put your big girl pants on.</dialogue> <character>BRIDGET</character> <dialogue>Just - don't get how you get.</dialogue> <character>NICK</character> <dialogue>What do you mean, how I get? Don't get how you get.</dialogue> <character>BRIDGET</character> <dialogue>How do I get?</dialogue> <character>NICK</character> <dialogue>You can't even tell him you're not a Catholic anymore. What's he gonna do, pray for you?</dialogue> <character>BRIDGET</character> <dialogue>I just didn't want any more of the third degree.</dialogue> <character>NICK</character> <dialogue>You know what I do when Dad gives me the third degree?</dialogue> <scene_description>Nick thrusts two middle fingers into the air.</scene_description> <character>BRIDGET</character> <dialogue>See? That's how you get.</dialogue> <character>NICK</character> <dialogue>Least I'm not lying to him.</dialogue> <character>BRIDGET</character> <dialogue>I'm not lying to him.</dialogue> <character>NICK</character> <dialogue>You are too.</dialogue> <character>BRIDGET</character> <dialogue>I am not.</dialogue> <scene_description>They go through the back gate of the condo into the courtyard toward the condo's back steps.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - LIVING ROOM - NIGHT</stage_direction> <scene_description>Bert sits in his recliner, scotch in hand, staring at the tree. When he hears the sound of the back door opening, he quickly grabs the paper and pretends to read it. Bridget walks in. Bert looks over and sees Nick behind her, wrinkles his nose and waves the paper in front of his face.</scene_description> <character>BERT</character> <dialogue>Smell like an ashtray, Nicholas.</dialogue> <character>NICK</character> <dialogue>Took you four heart attacks to quit.</dialogue> <character>BERT</character> <dialogue>Rachel must wanna throttle you.</dialogue> <character>BRIDGET</character> <dialogue>They broke up.</dialogue> <scene_description>Nick glares at Bridget. She shrugs. Pointedly:</scene_description> <character>BRIDGET</character> <dialogue>Just being honest.</dialogue> <character>BERT</character> <dialogue>I don't blame her. Been on and off since high school, shit or get off the pot.</dialogue> <character>NICK</character> <dialogue>Gee, Dad, thanks.</dialogue> <character>BRIDGET</character> <dialogue>Dad?</dialogue> <character>BERT</character> <dialogue>You know what your problem is, waiting for some feeling. There's no bells and whistles. You pick somebody you can stand and you make a commitment.</dialogue> <character>BRIDGET</character> <dialogue>Dad.</dialogue> <character>BERT</character> <dialogue>Have her meet us at Mass in the morning. Marion Down The Hall's coming over with a corned beef.</dialogue> <character>BRIDGET</character> <dialogue>Dad.</dialogue> <character>BERT</character> <dialogue>What.</dialogue> <character>BRIDGET</character> <dialogue>We need to talk about Mom.</dialogue> <scene_description>Bert scowls and puts down the footrest of his recliner.</scene_description> <character>BERT</character> <dialogue>Goddamn teaching hospitals, that little girl shouldn't have been allowed anywhere near your mother.</dialogue> <character>NICK</character> <dialogue>What little girl?</dialogue> <character>BERT</character> <dialogue>The teenager calling herself a doctor. Your mother's doing fine.</dialogue> <character>NICK</character> <dialogue>Wandering off in the middle of the night's doing fine?</dialogue> <character>BERT</character> <dialogue>Well I gave her too much scotch, if you wanna know, which I never do but it was Christmas Eve so I said what the hell.</dialogue> <character>NICK</character> <dialogue>So what, she walked off 'cause she was drunk?</dialogue> <character>BERT</character> <dialogue>Can't drink hardly at all on her medications.</dialogue> <character>NICK</character> <dialogue>No. She walked off 'cause that's what happens with stage six.</dialogue> <character>BERT</character> <dialogue>Oh those stages are horse shit, everybody's brain is different and everybody knows it.</dialogue> <character>NICK</character> <dialogue>Everybody except the doctor?</dialogue> <character>BERT</character> <dialogue>She was not a doctor!</dialogue> <scene_description>Bridget shoots Nick a look and steps in to peace-keep.</scene_description> <character>BRIDGET</character> <dialogue>So, okay, we get a second opinion.</dialogue> <character>BERT</character> <dialogue>Got an appointment next week with her geriactrician down in Florida, I'll let you know what he says.</dialogue> <scene_description>Nick gets loud.</scene_description> <character>NICK</character> <dialogue>Goddammit, Dad, you're not goin' to Florida.</dialogue> <character>BRIDGET</character> <dialogue>Shh!</dialogue> <character>BERT</character> <dialogue>We are too going to Florida --</dialogue> <character>BRIDGET</character> <dialogue>You're gonna wake Mom.</dialogue> <character>BERT</character> <dialogue>I already put down a deposit!</dialogue> <scene_description>Bridget puts a hand up to Nick, telling him to back off.</scene_description> <character>BRIDGET</character> <dialogue>Dad, listen. There's this - place Nicky found, it looks --</dialogue> <character>BERT</character> <dialogue>I am not putting your mother in a nursing home, she worked thirty years in nursing homes, they're horrible and I'm not doing it to her.</dialogue> <character>NICK</character> <dialogue>It's not a nursing home. It's a Reminisce Neighborhood.</dialogue> <character>BERT</character> <dialogue>A what?</dialogue> <scene_description>Nick holds the folder out to Bert. He doesn't take it.</scene_description> <character>NICK</character> <dialogue>It's great. They got Mass twice a week, a restaurant, art classes, a Jacuzzi --</dialogue> <character>BERT</character> <dialogue>A Jacuzzi? Your mother can't swim, you wanna drown her?</dialogue> <scene_description>Nick chucks the folder on the coffee table.</scene_description> <character>NICK</character> <dialogue>She's not gonna drown in a Jacuzzi.</dialogue> <character>BERT</character> <dialogue>She's terrified of water, Nicholas.</dialogue> <character>NICK</character> <dialogue>She used to be terrified of Berwyn too, now she's walkin' down there in a nightie.</dialogue> <scene_description>Bert rolls his eyes and starts to get up.</scene_description> <character>NICK</character> <dialogue>Two bedroom next door for you, fifty feet away in assisted living.</dialogue> <scene_description>Bert leaps to his feet.</scene_description> <character>BERT</character> <dialogue>Are you outta your mind?</dialogue> <character>NICK</character> <dialogue>Bitty feels the same way.</dialogue> <character>BERT</character> <dialogue>Don't you tell me what Bitty feels, how the heck do you know what she feels?</dialogue> <scene_description>Nick looks expectantly at Bridget.</scene_description> <character>BRIDGET</character> <dialogue>I - Dad, I think this is a good solution that is worth considering.</dialogue> <character>BERT</character> <dialogue>Well, I spent the last eight years considering it and the answer's no. Thanks for the suggestion, Merry Christmas, I'm going to bed.</dialogue> <scene_description>Bert heads toward the hall. Nick flails toward Bridget, demanding her to speak. She flails back at him. She spoke.</scene_description> <character>NICK</character> <dialogue>She is wandering off in the middle of a fucking snowstorm.</dialogue> <scene_description>Bert has overheard. From down the hall:</scene_description> <character>BERT (O.S.)</character> <dialogue>Doesn't snow in Florida.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And mind your language.</dialogue> <scene_description>Nick glares at Bridget. He turns and heads down the hall, pulling out his smokes. Bridget grabs an afghan from the couch and follows him.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - BACK PORCH - NIGHT - SECONDS LATER</stage_direction> <scene_description>Nick smokes on the back porch. Bridget is next to him, wrapped in the afghan.</scene_description> <character>BRIDGET</character> <dialogue>We can't force him.</dialogue> <character>NICK</character> <dialogue>You know why she wound up in Aurora? That's the train used to run to Amboy. Her dad worked that train.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>She was trying to go home.</dialogue> <scene_description>It takes Bridget's breath away.</scene_description> <character>NICK</character> <dialogue>She thinks she's a little kid. Thinks her parents are worried sick about her.</dialogue> <scene_description>He drags on his cigarette and looks out.</scene_description> <character>NICK</character> <dialogue>All she wants is to get back to her poor mother. She can't figure out why she's stuck here, all alone with some strange old man.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What the hell do you think power of attorney is for?</dialogue> <scene_description>Emotional, Nick hops the railing and heads toward his car.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - NIGHT</stage_direction> <scene_description>Bridget slips into the dark guest room. Emma's in bed. The Reminiscence folder has been shoved under the door. Bridget puts it with her belongings and pulls out pajamas.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - LIVING ROOM - NIGHT</stage_direction> <scene_description>Bridget is in the living room looking at all the pictures on the tree. She bends down to see the two gifts underneath. One is marked TO RUTH FROM BERT, the other TO BERT FROM RUTH in the exact same block handwriting. Bert enters in his pajamas and robe, surprised to see her.</scene_description> <character>BRIDGET</character> <dialogue>Thought you went to bed.</dialogue> <character>BERT</character> <dialogue>I did. I got back up.</dialogue> <character>BRIDGET</character> <dialogue>Nice tree.</dialogue> <character>BERT</character> <dialogue>Your mother likes the pictures.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>She put the ornaments somewhere, so. I got creative.</dialogue> <character>BRIDGET</character> <dialogue>Both these presents have your handwriting.</dialogue> <character>BERT</character> <dialogue>Wouldn't want her thinking she forgot to get me something.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>C'mon, I'll let you win a game.</dialogue> <character>BRIDGET</character> <dialogue>You're not too tired?</dialogue> <character>BERT</character> <dialogue>For my daughter who never visits?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - BREAKFAST ROOM - NIGHT</stage_direction> <scene_description>Bert and Bridget sit on chairs-on-wheels at the table, playing a game of Chinese Checkers.</scene_description> <character>BERT</character> <dialogue>Emma said she got kicked outta her dorm.</dialogue> <character>BRIDGET</character> <dialogue>She got caught drinking, it was so stupid. You know what her problem is? She's negative. She doesn't get any exercise.</dialogue> <character>BERT</character> <dialogue>Her problem is she's not a student. College is a waste of money if you're not a student.</dialogue> <character>BRIDGET</character> <dialogue>Well. She's gotta get a degree.</dialogue> <character>BERT</character> <dialogue>Oh she does not, she'll figure it out, look at you, you figured it out.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Why can't you sleep?</dialogue> <scene_description>He's asking out of concern, but she sees her in. Pointed:</scene_description> <character>BRIDGET</character> <dialogue>Why can't you sleep?</dialogue> <character>BERT</character> <dialogue>I can.</dialogue> <scene_description>He's defensive. He doesn't want to talk about it.</scene_description> <character>BRIDGET</character> <dialogue>You take great care of her. I aughtta be here more.</dialogue> <character>BERT</character> <dialogue>Oh you're here plenty. You got a family, the girls need you, Eddie needs you, you got that job. You're halfway across the country for chrissake.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We're fine. Marion Down The Hall takes her on poker night and so forth. Two peas in a pod, the two of 'em, both battier than hell.</dialogue> <character>BRIDGET</character> <dialogue>Still. It's gotta be hard on you.</dialogue> <character>BERT</character> <dialogue>Nah. She was always a pain in the ass. Gettin' her Irish up, stompin' around all red in the face about God knows what.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>No bells and whistles. Love is commitment. Better or worse, sickness and health, death do you part. That's the promise.</dialogue> <scene_description>Bridget nods. Treading carefully:</scene_description> <character>BRIDGET</character> <dialogue>She's gonna get worse, Dad.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>She's gonna forget everything.</dialogue> <scene_description>He stares down into his scotch for a long moment.</scene_description> <character>BERT</character> <dialogue>She's my girl, Bit. You can't take my girl away from me.</dialogue> <scene_description>It breaks her heart. He rises from the table, emotional.</scene_description> <character>BERT</character> <dialogue>Turn the tree off.</dialogue> </scene> <scene> <stage_direction>INT. ST. GILES CATHOLIC CHURCH - DAY</stage_direction> <scene_description>A CHOIR leads the congregation in "Joy To The World." MARION DOWN THE HALL is among them. She's Italian, dyed black hair, huge yellow tinted glasses. Bert, Ruth, Emma, Nick and Bridget stand in a pew near the front. They all sing. The PROCESSIONAL walks the aisle. ALTAR BOYS fling Holy Water from palm fronds. Ruth looks skyward and holds out her palm.</scene_description> <character>RUTH</character> <dialogue>It's raining in here.</dialogue> <scene_description>A CRANKY OLD COUPLE in front turns around to give Ruth a dirty look. She flips them the bird. Bert snatches her hand.</scene_description> </scene> <scene> <stage_direction>INT. ST. GILES CATHOLIC CHURCH - LOBBY - DAY</stage_direction> <scene_description>Mass has ended. Bert, Nick and Marion chat by the Holy Water with the ANCIENT PRIEST. Bridget walks up the aisle and approaches the ALTAR. She stops at it and stares at the Virgin Mary.</scene_description> <character>A VOICE (O.C.)</character> <dialogue>Bitty Keller?</dialogue> <scene_description>THE VOICE -- is walking toward her from the left side of the church. He's 40s, Irish, built.</scene_description> <character>THE VOICE</character> <parenthetical>(pointing at himself)</parenthetical> <dialogue>It's Gerry! Hoffsteader! Dommie's little brother?</dialogue> <scene_description>Dommie's little brother never looked like that before.</scene_description> <character>GERRY</character> <dialogue>What the heck're you doing here?</dialogue> <character>BRIDGET</character> <dialogue>Oh, I'm just, I'm, you know...</dialogue> <scene_description>She gestures at the altar. He clocks that she's ring-less.</scene_description> <character>BRIDGET</character> <dialogue>Hanging out, me and Mary.</dialogue> <scene_description>Gerry nods, smiling like he gets that answer.</scene_description> <character>BRIDGET</character> <dialogue>Gosh, you look - really great.</dialogue> <character>GERRY</character> <parenthetical>(nodding)</parenthetical> <dialogue>Construction. I took over for Dad.</dialogue> <scene_description>His eyes mist. He looks toward the altar reverently.</scene_description> <character>GERRY</character> <dialogue>Death comes for everybody, as it turns out.</dialogue> <scene_description>Bridget nods like she gets that comment. IN THE BACK OF THE CHURCH - Nick stands in the aisle, near the back doors, watching them.</scene_description> <character>NICK</character> <dialogue>Bitty!</dialogue> <scene_description>Bridget and Gerry turn to him.</scene_description> <character>GERRY</character> <dialogue>Hey Nick.</dialogue> <character>NICK</character> <dialogue>Hey Ger.</dialogue> <scene_description>Bert marches in, cranky. Emma trots behind him.</scene_description> <character>BERT</character> <parenthetical>(to Nick)</parenthetical> <dialogue>Get your sister.</dialogue> <scene_description>He turns and marches out. Nick looks at Emma.</scene_description> <character>EMMA</character> <dialogue>Grama drank the Holy Water.</dialogue> </scene> <scene> <stage_direction>EXT. CHURCH - SIDEWALK - DAY</stage_direction> <scene_description>Nick's SUV is parked a ways up the street. The family walks towards it, Emma holding Ruth's purse. Gerry trots behind them, then crosses to his truck.</scene_description> <character>GERRY</character> <dialogue>Um. Bye.</dialogue> <scene_description>Bridget and Nick turn and wave.</scene_description> <character>NICK</character> <dialogue>See ya Ger.</dialogue> <character>BERT</character> <dialogue>Who is that?</dialogue> <character>NICK</character> <dialogue>Gerry Hoff-sniffer.</dialogue> <character>BRIDGET</character> <dialogue>Don't call him that.</dialogue> <character>NICK</character> <dialogue>He used to beat off smelling his sister's Barbie dolls.</dialogue> <character>BRIDGET</character> <dialogue>Says who?</dialogue> <character>NICK</character> <dialogue>Says Dommie.</dialogue> <character>RUTH</character> <dialogue>Where's my purse?</dialogue> <character>EMMA</character> <dialogue>I have it, Gram.</dialogue> <character>BRIDGET</character> <parenthetical>(re: Gerry)</parenthetical> <dialogue>He was so tubby in junior high.</dialogue> <character>BERT</character> <dialogue>So were you.</dialogue> <character>NICK</character> <dialogue>Old Big Butt Bitty.</dialogue> <character>EMMA</character> <dialogue>Nicky.</dialogue> <character>RUTH</character> <dialogue>Does somebody have my purse?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - DINING ROOM - DAY</stage_direction> <scene_description>Marion sits grandly at one end of the table, holding court. Ruth is next to her. Nick and Bert read the paper at the other end.</scene_description> <character>MARION</character> <dialogue>So I said to Margie, I said Margie honey he's a toddler, one day he likes pancakes, next day he won't touch the things, it's normal --</dialogue> <scene_description>Bridget brings in two plates of corned beef and cabbage and sets them down in front of Nick and Bert.</scene_description> <character>MARION</character> <dialogue>Bridget, honey, you're so skinny, don't they feed you in California?</dialogue> <scene_description>Bridget heads back into the KITCHEN and hovers over Emma as she slices the corned beef.</scene_description> <character>BRIDGET</character> <dialogue>Thinner. Thinner.</dialogue> <scene_description>Emma slams the knife down and glares at her mother. Emma grabs two completed plates and goes into the dining room. Bridget slices the last piece and brings the two last plates into the DINING ROOM. She sits next to Emma.</scene_description> <character>MARION</character> <dialogue>I said honey, this age is where it starts, it's all about control --</dialogue> <character>BERT</character> <parenthetical>(quickly, monotone)</parenthetical> <dialogue>Bless us O Lord for these thy gifts which we are about to receive from thy bounty through Christ our Lord amen.</dialogue> <character>ALL</character> <dialogue>Amen.</dialogue> <scene_description>Bert leans over to Ruth and begins cutting her meat.</scene_description> <character>MARION</character> <dialogue>Now Emma, you got a boyfriend or what?</dialogue> <character>NICK</character> <dialogue>She's got a few.</dialogue> <character>BRIDGET</character> <dialogue>Cool it, Nicky.</dialogue> <character>BERT</character> <dialogue>Just as easy to love a rich one as a poor one, Squeaks. No bells and whistles.</dialogue> <character>MARION</character> <dialogue>You know my Frankie died seventeen years ago and I never remarried even though I had plenty of chances and you know why? 'Cause hand to God, Frankie never left, every single night he's right there next to me, hand to God.</dialogue> <scene_description>Bridget and Emma are looking at Marion intensely. Then, in unison, they look at their plates, hiding the same wound.</scene_description> <character>RUTH</character> <dialogue>That's right. He's out there, and when he finds you, watch out, he's never gonna let you go.</dialogue> <character>MARION</character> <dialogue>So I said to Margie, I said that kid's gonna be big as house if you don't watch it, but you know Margie, not a word about it.</dialogue> <character>RUTH</character> <dialogue>You know, I'm having a baby.</dialogue> <scene_description>Everybody looks at Ruth -- except Marion, who drones on, oblivious.</scene_description> <character>MARION</character> <dialogue>Kid's gonna wind up with dia-bee- tus.</dialogue> <scene_description>Bridget and Emma both sputter laughter - the kind that's just neighboring tears. Marion looks at them, indignant.</scene_description> <character>MARION</character> <dialogue>Heck's a matter with you two?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Ruth's arms are raised in the air as Bridget pulls a fresh nightie over her head. Ruth's big eyes look at her.</scene_description> <character>RUTH</character> <dialogue>Why did I get on that train?</dialogue> <scene_description>Bridget pulls the bedsheets down. Ruth gets into bed.</scene_description> <character>RUTH</character> <dialogue>I live here. I don't know what's the matter with me.</dialogue> <scene_description>Then she remembers. She does know what's the matter with her.</scene_description> <character>RUTH</character> <dialogue>Oh. Oh. Yes I do.</dialogue> <parenthetical>(looking up at Bridget)</parenthetical> <dialogue>Should I be in a home, do you think?</dialogue> <scene_description>Both of them want to take advantage of Ruth's lucidity.</scene_description> <character>BRIDGET</character> <dialogue>What do you think?</dialogue> <character>RUTH</character> <dialogue>I don't know. I don't know.</dialogue> <scene_description>Ruth's brow is furrowed for a moment. Then her eyes go blank. Her mind has reset. She smiles up at Bridget, like a child.</scene_description> <character>RUTH</character> <dialogue>'Night, Mama.</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - NIGHT</stage_direction> <scene_description>Bridget paces the guest room, on the phone with Eddie. Her eyes wash over the framed family photographs on the wall.</scene_description> <character>EDDIE</character> <dialogue>How's it going there?</dialogue> <character>BRIDGET</character> <dialogue>Terrible. Dad won't even consider it.</dialogue> <character>EDDIE</character> <dialogue>I don't blame him. Nobody wants to be alone for the rest of their life.</dialogue> <scene_description>Bridget's eyes stop on a picture of Bert and Ruth.</scene_description> <character>EDDIE</character> <dialogue>Hello?</dialogue> <character>BRIDGET</character> <dialogue>I'm here.</dialogue> <character>EDDIE</character> <dialogue>What's going on with Emma?</dialogue> <character>BRIDGET</character> <dialogue>Nothing. She's fine.</dialogue> <character>EDDIE</character> <dialogue>She didn't register for next semester.</dialogue> <scene_description>Bridget stops pacing.</scene_description> <character>BRIDGET</character> <dialogue>What?</dialogue> <character>EDDIE</character> <dialogue>Her advisor called this morning asking if she was coming back.</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - KITCHEN / PANTRY / DINING - NIGHT</stage_direction> <scene_description>Bridget comes into the kitchen and through the pantry. Nick stands at the counter, picking at the corned beef with his fingers.</scene_description> <character>BRIDGET</character> <dialogue>Gross. Get a fork.</dialogue> <scene_description>He makes a face at her. Bridget continues into the DINING ROOM. Emma and Bert play Chinese Checkers at the table. Bridget leans against the door, waiting for a moment to interrupt.</scene_description> <character>BERT</character> <dialogue>... we always did road trips and that, she loves a good road trip. We're driving down to Florida, then across the country, be over by you right in time for Mary's wedding.</dialogue> <scene_description>Nick appears in the doorway behind Bridget, agape, with a fistful of beef.</scene_description> <character>NICK</character> <dialogue>What're you, Thelma and Louise?</dialogue> <character>BRIDGET</character> <dialogue>Shh. Mom's in bed.</dialogue> <character>BERT</character> <dialogue>She does great in Florida, Nicholas, every year she's better.</dialogue> <character>NICK</character> <dialogue>No she isn't.</dialogue> <character>BERT</character> <dialogue>How do you know?</dialogue> <character>NICK</character> <dialogue>'Cause that's not how it works! How it works is she gets worse. No matter where you take her, she gets worse.</dialogue> <scene_description>Ruth has entered.</scene_description> <character>RUTH</character> <dialogue>Who?</dialogue> <character>BRIDGET AND NICK</character> <dialogue>Nobody, Mom.</dialogue> <character>BERT</character> <dialogue>Nobody, Ruth. Go back to bed.</dialogue> <scene_description>Emma gets up to take her back to bed.</scene_description> <character>EMMA</character> <dialogue>I'll take you, Grama.</dialogue> <character>NICK</character> <dialogue>Hang on Emma.</dialogue> <scene_description>He taps Ruth's arm and points to Bert.</scene_description> <character>NICK</character> <dialogue>Who is that?</dialogue> <character>BRIDGET AND EMMA</character> <dialogue>Nicky.</dialogue> <character>BERT</character> <dialogue>Oh, what is that?</dialogue> <character>NICK</character> <parenthetical>(to Ruth)</parenthetical> <dialogue>Do you know who that is?</dialogue> <character>BERT</character> <dialogue>Of course she knows.</dialogue> <character>RUTH</character> <parenthetical>(pointing at Bert)</parenthetical> <dialogue>Him?</dialogue> <character>BERT</character> <dialogue>You know who I am, honey --</dialogue> <character>NICK</character> <dialogue>Shh!</dialogue> <scene_description>They all wait for Ruth to answer. She looks coyly at Bert.</scene_description> <character>RUTH</character> <dialogue>He's my boyfriend.</dialogue> <character>BERT</character> <dialogue>See?</dialogue> <character>NICK</character> <dialogue>Whaddya mean see, are you her boyfriend?</dialogue> <character>BRIDGET</character> <dialogue>Well he's not not her boyfriend.</dialogue> <character>NICK</character> <dialogue>No he isn't!</dialogue> <character>RUTH</character> <dialogue>Who?</dialogue> <character>EMMA</character> <dialogue>He kinda is.</dialogue> <character>NICK</character> <dialogue>He is not, Emma, for chrissake --</dialogue> <character>EMMA</character> <dialogue>He is too, Nicky.</dialogue> <character>RUTH</character> <dialogue>Who're you talking about?</dialogue> <character>BERT</character> <dialogue>(to Ruth)</dialogue> <character>BRIDGET</character> <dialogue>(to Ruth)</dialogue> <scene_description>You. Dad.</scene_description> <character>EMMA</character> <dialogue>He's your husband, Grama.</dialogue> <character>NICK</character> <dialogue>Well don't tell her, dammit --</dialogue> <character>BERT</character> <dialogue>She knows I'm her husband.</dialogue> <character>RUTH</character> <dialogue>I know he's my husband.</dialogue> <character>NICK</character> <dialogue>No you don't.</dialogue> <character>EMMA</character> <dialogue>Yes she does.</dialogue> <character>BRIDGET</character> <parenthetical>(to Nick)</parenthetical> <dialogue>Well now you're telling her.</dialogue> <character>NICK</character> <dialogue>No I'm not.</dialogue> <character>EMMA</character> <dialogue>Yeah you are.</dialogue> <character>BERT</character> <dialogue>You just told her she doesn't know I'm her husband.</dialogue> <character>NICK</character> <dialogue>'Cause she doesn't!</dialogue> <character>RUTH</character> <dialogue>Who?</dialogue> <character>BERT</character> <dialogue>She just toldja she did!</dialogue> <character>NICK</character> <dialogue>'Cause Emma told her!</dialogue> <scene_description>The home phone rings.</scene_description> <character>RUTH</character> <dialogue>I'll get it.</dialogue> <scene_description>Ruth disappears into the kitchen and reaches for the phone.</scene_description> <character>NICK</character> <dialogue>She's flippin' off people in church for chrissake, she's drinking the holy water!</dialogue> <character>EMMA</character> <dialogue>So?</dialogue> <character>NICK</character> <dialogue>Wouldja stay out of it, Emma, you're a kid for chrissake!</dialogue> <character>RUTH (O.S.)</character> <dialogue>Hello? Hello!</dialogue> <scene_description>The phone is still ringing. They look over toward the kitchen doorway.</scene_description> <character>RUTH (O.S)</character> <dialogue>Hello? This damn thing.</dialogue> <scene_description>She wanders out toward them, jabbing at a stapler. She puts it back to her ear.</scene_description> <character>RUTH</character> <dialogue>Hello?</dialogue> <parenthetical>(to them; shaking her head)</parenthetical> <dialogue>Damn thing never works.</dialogue> <scene_description>They all stare at her.</scene_description> <character>EMMA</character> <dialogue>Grama.</dialogue> <character>RUTH</character> <dialogue>What.</dialogue> <character>EMMA</character> <dialogue>It's a stapler.</dialogue> <scene_description>She looks down at it. Then she snorts laughter.</scene_description> <character>RUTH</character> <dialogue>What the heck am I doing with this?</dialogue> <scene_description>She's cracking up. Emma starts to laugh, and then Bridget, and suddenly the three of them are in hysterics. Bert and Nick are not amused. Finally:</scene_description> <character>NICK</character> <dialogue>Yeah, yuk it up, it's all so hilarious, life's just one big riot.</dialogue> <scene_description>He's had it. He turns on his heel and goes.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - BACK PORCH / COURTYARD - NIGHT</stage_direction> <scene_description>Nick marches down the steps and stops to light a smoke. Bridget appears in the door behind him and steps onto the porch.</scene_description> <character>BRIDGET</character> <dialogue>Hey!</dialogue> <scene_description>Nick turns.</scene_description> <character>NICK</character> <dialogue>Lemme ask you something. What'd you fly all the way out here for?</dialogue> <character>BRIDGET</character> <dialogue>Because Mom was missing.</dialogue> <character>NICK</character> <dialogue>No. Because I asked you to. I asked you to. Which I never do. I need some help.</dialogue> <character>BRIDGET</character> <dialogue>I'm working on it.</dialogue> <character>NICK</character> <dialogue>You don't have time to work on it! You rip the bandaid off, Bit, you say guess what, we're coming in with moving boxes.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Jimmy Laciak is holding spots. It's a big ass favor, he was supposed to have the paperwork two days ago.</dialogue> <character>BRIDGET</character> <dialogue>Okay.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>He turns and walks to his car. She goes in.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - DAY</stage_direction> <scene_description>Grey light peeks over the curtains. Bridget, dressed in her running gear, sits on the edge of Emma's side of the bed and shakes her awake.</scene_description> <character>BRIDGET</character> <dialogue>Emma.</dialogue> <scene_description>Emma squints at her.</scene_description> <character>BRIDGET</character> <dialogue>Come for a run with me.</dialogue> <scene_description>Emma blinks at her, one hundred percent not having it.</scene_description> <character>BRIDGET</character> <dialogue>You'll feel great afterward, I'm telling you, you just have to --</dialogue> <scene_description>Emma grabs one of Bridget's pillows and whacks Bridget in the face with it as she turns and covers her head. Bridget gets up and goes for the door. Then she notices Emma's computer laying on the floor by her bedside. She tiptoes over, grabs it, and carries it out of the room.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK STREET - DAY</stage_direction> <scene_description>Bridget runs down Oak Park Avenue, picking up her pace, sprinting faster and faster, as fast as she can for as long as she can. Something catches her eye. She slows and stops. A HOFFSTEADER CONSTRUCTION pickup is parked at the curb. She stares at it a moment, looks around for its owner, then continues on at a jog.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - DINING ROOM - DAY</stage_direction> <scene_description>Ruth sits at the table sipping coffee, a towel draped over her shoulders. A bottle of Ensure sits on the table. Bert is behind her, dying her roots, in a frilly apron. Road Runner cartoons play on a small TV in the corner. Bridget enters from her run. Ruth starts to get up.</scene_description> <character>RUTH</character> <dialogue>There's my baby!</dialogue> <character>BERT</character> <dialogue>Sit down Ruth, you got dye all over you. Drink your Ensure.</dialogue> <scene_description>She sticks her tongue out at him.</scene_description> <character>RUTH</character> <dialogue>My boyfriend. Mr. Bossy.</dialogue> <scene_description>Bridget gets a mug from the cabinet and sits. She pours coffee from a carafe on the table.</scene_description> <character>RUTH</character> <dialogue>Do you need anything?</dialogue> <character>BERT</character> <dialogue>She's fine. Drink your Ensure.</dialogue> <scene_description>Bridget moves the Ensure closer to Ruth.</scene_description> <character>BRIDGET</character> <dialogue>Here, Mom.</dialogue> <scene_description>She drinks the Ensure.</scene_description> <character>BERT</character> <dialogue>See? Tastes just like a chocolate malt.</dialogue> <character>RUTH</character> <dialogue>You wouldn't know a chocolate malt if it bit you in the tush.</dialogue> <parenthetical>(to Bridget)</parenthetical> <dialogue>See, I was a fountain girl, in...</dialogue> <character>BERT</character> <dialogue>Amboy.</dialogue> <character>RUTH</character> <dialogue>Amboy, and consequently... my Dad works on the trains, he's a...</dialogue> <character>BERT</character> <dialogue>An engineer.</dialogue> <character>RUTH</character> <dialogue>An engineer, that's right, he'd get off the trains and bring me chocolate malts 'cause I was sick, I was very sick, I had...</dialogue> <character>BERT</character> <dialogue>Polio.</dialogue> <character>RUTH</character> <dialogue>Polio, mm-hmm, and all I did was drink chocolate malts all day, and consequently...</dialogue> <character>BERT</character> <dialogue>You got fat.</dialogue> <character>RUTH</character> <dialogue>I got fat.</dialogue> <character>BRIDGET</character> <dialogue>Dad.</dialogue> <character>BERT</character> <dialogue>What?</dialogue> <character>BRIDGET</character> <dialogue>She was not fat.</dialogue> <character>BERT</character> <dialogue>She was too fat.</dialogue> <character>RUTH</character> <dialogue>No, I was, I was very fat.</dialogue> <scene_description>Bert pulls the gloves off and washes his hands.</scene_description> <character>RUTH</character> <dialogue>And then I was a housewife, and consequently --</dialogue> <character>BRIDGET</character> <dialogue>You were not.</dialogue> <character>BERT</character> <dialogue>You were a career woman, Ruth, two- time administrator of the year.</dialogue> <character>RUTH</character> <parenthetical>(impressed)</parenthetical> <dialogue>Holy shit.</dialogue> <scene_description>Bert sits down at the table and pours himself coffee. He grabs his paper. Bridget picks up the arts section.</scene_description> <character>RUTH</character> <parenthetical>(re: Bert and Bridget)</parenthetical> <dialogue>And how do you two know each other?</dialogue> <scene_description>Bridget and Bert look up from their papers.</scene_description> <character>BERT</character> <parenthetical>(a touch sharp)</parenthetical> <dialogue>She's our daughter, Ruth. For chrissakes.</dialogue> <scene_description>Ruth blushes at his tone. Her face twists anxiously.</scene_description> <character>RUTH</character> <dialogue>Lemme get my purse.</dialogue> <character>BERT</character> <dialogue>Don't touch anything.</dialogue> <character>RUTH</character> <dialogue>I'm not gonna touch anything, I'm gonna get my purse!</dialogue> <scene_description>Ruth exits. Bert goes back to his paper.</scene_description> <character>BERT</character> <dialogue>We're going to Edna's for supper.</dialogue> <scene_description>Bridget makes a face. Bert eyes her over his paper.</scene_description> <character>BERT</character> <dialogue>Wanna do me a favor?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BATHROOM - DAY</stage_direction> <scene_description>The mirrors are fogged. Over the sound of the shower:</scene_description> <character>BRIDGET (O.C.)</character> <dialogue>Keep rinsing.</dialogue> <scene_description>A nightie and set of panties are a puddle on the floor. IN THE SHOWER -- Ruth, naked, thin, stands in the stream of water, letting it run over her hair. Bridget soaps her own body.</scene_description> <character>RUTH</character> <dialogue>Your turn.</dialogue> <character>BRIDGET</character> <dialogue>Gimme your hand.</dialogue> <scene_description>Ruth does. Bridget squeezes shampoo into Ruth's hand. Ruth stares at it, not sure what to do.</scene_description> <character>BRIDGET</character> <dialogue>Rub it on your hair.</dialogue> <scene_description>Ruth does, wide-eyed. Bridget steps into the water and wets her own hair. Shampoo drips down Ruth's forehead.</scene_description> <character>BRIDGET</character> <dialogue>Close your eyes, Mom.</dialogue> <scene_description>Bridget wipes the dripping shampoo with a washcloth.</scene_description> <character>RUTH</character> <dialogue>It's so nice of you to do this for me.</dialogue> <character>BRIDGET</character> <dialogue>You did it for me. Rinse your head.</dialogue> <scene_description>Bridget shampoos her own hair. As Ruth rinses her head, her face relaxes. She has a memory.</scene_description> <character>RUTH</character> <dialogue>I did, didn't I? Oh Nicky hated the bath, he kicked and screamed, I said to hell with it, let him stay dirty. But you were always a good girl.</dialogue> <scene_description>She opens her eyes and looks at Bridget with concern.</scene_description> <character>RUTH</character> <dialogue>I shoulda been a better mother.</dialogue> <character>BRIDGET</character> <dialogue>You were a great mother.</dialogue> <scene_description>Ruth searches for more, behind her closed eyes, then her face goes slack. Her eyes pop open, blank.</scene_description> <character>RUTH</character> <dialogue>Do I need to wash my hair?</dialogue> <character>BRIDGET</character> <dialogue>You did already. Here.</dialogue> <scene_description>Bridget puts a bar of soap into Ruth's hand.</scene_description> <character>BRIDGET</character> <dialogue>Wash your whoo-ha.</dialogue> <scene_description>Ruth does. Bridget rinses her own head, then turns to rinse her face. Ruth begins to soap Bridget's back.</scene_description> <character>RUTH</character> <dialogue>You have a boyfriend?</dialogue> <character>BRIDGET</character> <dialogue>I have a husband.</dialogue> <character>RUTH</character> <dialogue>Are you happy?</dialogue> <scene_description>Bridget, as usual, opens her mouth to lie. Then realizes: she doesn't have to. Ruth won't remember.</scene_description> <character>BRIDGET</character> <dialogue>I'm lonely.</dialogue> <scene_description>Ruth blinks. She stares at the soap, lost.</scene_description> <character>RUTH</character> <dialogue>Do I need to wash my hair?</dialogue> <character>BRIDGET</character> <dialogue>Rinse your whoo-ha, Mom.</dialogue> <scene_description>Ruth rinses her whoo-ha and gasps in delighted discovery.</scene_description> <character>RUTH</character> <dialogue>Whoo!</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM CLOSET - DAY</stage_direction> <scene_description>Bridget, one towel around her torso, another wrapped around her head, stands with Ruth, fully dressed, in front of a pair of shoes. Down the hall, Marion can be heard droning on to Bert.</scene_description> <character>RUTH</character> <dialogue>I don't want her to be upset.</dialogue> <character>BRIDGET</character> <dialogue>Who?</dialogue> <character>RUTH</character> <dialogue>Whoever's shoes those are.</dialogue> <character>BRIDGET</character> <dialogue>They're your shoes, Mom.</dialogue> <character>RUTH</character> <dialogue>They are not. Ugliest things I ever saw in my life.</dialogue> <scene_description>Nick comes in.</scene_description> <character>NICK</character> <dialogue>Put your shoes on, Mom. Marion's waiting for you.</dialogue> <parenthetical>(to Bridget)</parenthetical> <dialogue>Go get the folder.</dialogue> <character>BRIDGET</character> <dialogue>Just - lemme get dressed.</dialogue> <scene_description>Bridget heads down the hall, passing yammering Marion, passing Bert, who's eyes are crossed listening to her.</scene_description> <character>BERT</character> <parenthetical>(to Bridget)</parenthetical> <dialogue>Hurry up, we're gonna be late.</dialogue> <scene_description>And on down the hall into the -</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - DAY</stage_direction> <scene_description>Emma sits on the bed, arms crossed, fuming.</scene_description> <character>EMMA</character> <dialogue>Did you go into my computer and log into my school account?</dialogue> <scene_description>Bridget ignores her. She rifles through her suitcase, looking for clothes.</scene_description> <character>EMMA</character> <dialogue>Somebody did. Somebody went in and signed me up for a bunch of random classes. That wasn't you?</dialogue> <character>BRIDGET</character> <dialogue>No.</dialogue> <character>EMMA</character> <dialogue>Liar.</dialogue> <character>BRIDGET</character> <dialogue>Well you lied to me. You told me you filled out the dorm application. How does it feel?</dialogue> <character>EMMA</character> <dialogue>'Cause I didn't want you on me, okay, I didn't feel like dealing with your bat shit hovering.</dialogue> <scene_description>Emma starts to get dressed.</scene_description> <character>BRIDGET</character> <dialogue>Were you ever going to do it?</dialogue> <character>EMMA</character> <dialogue>Yes.</dialogue> <character>BRIDGET</character> <dialogue>When?</dialogue> <character>EMMA</character> <dialogue>When I decided whether or not I was going back, okay?</dialogue> <scene_description>Nick knock/barges in. Bridget hikes up her towel. Emma hugs her shirt to her chest.</scene_description> <character>EMMA</character> <dialogue>Doesn't anybody know how to knock?</dialogue> <character>NICK</character> <dialogue>Where's the folder?</dialogue> <character>BRIDGET</character> <dialogue>Do you mind?</dialogue> <scene_description>Nick spots the Reminiscence folder and grabs it.</scene_description> <character>NICK</character> <parenthetical>(to Bridget)</parenthetical> <dialogue>Get out here, Bitty, wouldja?</dialogue> <character>BRIDGET</character> <dialogue>Just a minute, Nick.</dialogue> <scene_description>Nick goes.</scene_description> <character>EMMA</character> <dialogue>I am a grown up, okay? You make me feel like there's something wrong with me.</dialogue> <character>BRIDGET</character> <dialogue>There's nothing wrong with you.</dialogue> <character>EMMA</character> <dialogue>I know!</dialogue> <scene_description>Emma gets her boots.</scene_description> <character>BRIDGET</character> <dialogue>I would have killed to go to college, Emma. Killed.</dialogue> <character>EMMA</character> <dialogue>I know.</dialogue> <character>BRIDGET</character> <dialogue>You have no perspective. You have no idea how lucky you are.</dialogue> <scene_description>Emma turns to her, suddenly angry.</scene_description> <character>EMMA</character> <dialogue>Do you think I'm trying to hate school? You think I wanna not get out of bed in the morning, that I like laying there feeling like this giant loser for blowing it, for wasting Dad's money? Laying there thinking about how much you wanted to go until I wanna throw myself out the window, you think that's fun for me?</dialogue> <scene_description>It's a gut punch for Bridget. Outside their door, voices begin to raise.</scene_description> <character>EMMA</character> <dialogue>Telling me I just need to come on your stupid runs. Like you're not a fucking mess.</dialogue> <character>BRIDGET</character> <dialogue>I am not a mess.</dialogue> <scene_description>Emma scoffs laughter as she steps into her boots. The voices down the hall grow louder. Bridget opens the door. Nick and Bert are yelling down the hall. Bridget grits her teeth, hikes up her towel, and heads down the HALLWAY into the -- FOYER. Emma follows. Nick and Bert are going at it. The Reminiscence Folder is on the mail table. Bert is pulling his coat from the closet.</scene_description> <character>NICK</character> <dialogue>It's the best goddamn memory care in Chicago! Jimmy skipped a six month waiting list for you!</dialogue> <scene_description>Bert turns. As he pulls his coat on:</scene_description> <character>BERT</character> <dialogue>Lemme tell you something. Those pictures on the tree in there? Tellin' her how she takes her coffee, how many ice cubes she likes in her scotch? That's memory care. I was there for every damn memory she made the last sixty years, and if I wasn't there I had to hear about it thirty-seven times. So I'm the best memory care in Chicago. I bathe her, I feed her, I give her her pills, I wipe her ass and I do it a helluva lot better than some aide who doesn't give one goddamn hoot about who she spent 60 years becoming.</dialogue> <scene_description>He puts his cap on.</scene_description> <character>BERT</character> <parenthetical>(to Bridget)</parenthetical> <dialogue>Get your clothes on, we're late.</dialogue> <parenthetical>(re: the folder)</parenthetical> <dialogue>And put that thing away before your mother sees it.</dialogue> <scene_description>He goes. The front door closes behind him. Silence. And then Emma bursts into tears.</scene_description> <character>NICK</character> <dialogue>Whassa matter with you?</dialogue> <scene_description>Bridget and Emma both turn to him, dumbfounded.</scene_description> <character>BRIDGET</character> <dialogue>It's sad!</dialogue> <character>EMMA</character> <dialogue>It's sad, Nicky, God!</dialogue> <scene_description>Emma plops on the couch. Nick disappears into the guest bath. Bridget leans down and tries to put her arm around Emma, but she swats it away. Nick re-enters with a wad of toilet paper and holds it out to Emma. She glares at him but takes it.</scene_description> <character>EMMA</character> <parenthetical>(to Nick)</parenthetical> <dialogue>What are you, dead inside?</dialogue> <character>NICK</character> <dialogue>Almost.</dialogue> <scene_description>Bridget sits heavily in the chair next to Emma.</scene_description> <character>NICK</character> <dialogue>Watch the towel, huh, we don't wanna see your whoo-ha.</dialogue> <scene_description>Bridget adjusts the towel. Emma blows her nose. Then, suddenly resolved:</scene_description> <character>BRIDGET</character> <dialogue>I don't wanna go to Edna's. I hate Edna. All she ever talks about is her stupid hip replacement.</dialogue> <character>NICK</character> <dialogue>Then don't go.</dialogue> <character>BRIDGET</character> <parenthetical>(to Emma)</parenthetical> <dialogue>Do you wanna stay here with me?</dialogue> <character>EMMA</character> <dialogue>No.</dialogue> <character>NICK</character> <parenthetical>(to Emma)</parenthetical> <dialogue>C'mon Emma.</dialogue> <parenthetical>(to Bridget)</parenthetical> <dialogue>We'll tell Dad you got menopause.</dialogue> <scene_description>Emma and Nick head for the foyer. The door closes. Bridget is alone. She sits for a few moments. Then she goes to the BAR in the corner and pours herself a drink.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - KITCHEN - DAY</stage_direction> <scene_description>Bridget, still in her towel, holding a scotch, stands at the kitchen table, looking down at the open Yellow Pages. The cordless house phone is to her ear.</scene_description> <character>BRIDGET</character> <dialogue>Hi, is this -- Hoffsteader Construction?... Is this Gerry? Hi, it's - Bitty Eberhardt!... Hi! Listen, you don't do locks, do you?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST BATH - DAY</stage_direction> <scene_description>Bridget looks in the mirror, fiddling with her frumpy sweater.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - DAY</stage_direction> <scene_description>Bridget, in her bra and jeans, shuffles through her mother's closet. She pulls out a ivory blouse in a plastic dry cleaning bag.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - BOUDOIR - A MOMENT LATER</stage_direction> <scene_description>Bridget buttons the blouse in the mirror. It's sheer; her bra shows through. She rifles through her mother's slips in a dresser drawer and pulls out an unopened TV dinner. The doorbell RINGS.</scene_description> <character>BRIDGET</character> <dialogue>Shit.</dialogue> <scene_description>She grabs one of her mother's lipsticks and swipes it on her lips, then makes a horrified face at it's brightness. She blots vigorously, pulls her hair out of it's messy bun and races out toward the front door.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - FOYER - DAY</stage_direction> <scene_description>Bridget, in the blouse, bra showing underneath, stands at the open door with Gerry, who is on a knee, examining it.</scene_description> <character>BRIDGET</character> <dialogue>I was thinking a lock with a key but the key on the inside, you know?</dialogue> <character>GERRY</character> <dialogue>Right, so you can lock it and hide the key from her.</dialogue> <character>BRIDGET</character> <dialogue>Exactly.</dialogue> <character>GERRY</character> <dialogue>Smart. Back door too?</dialogue> <character>BRIDGET</character> <dialogue>Yeah, if you have time, that'd be - good.</dialogue> <character>GERRY</character> <dialogue>For you? I got all the time in the world.</dialogue> <scene_description>An awkward beat, then Gerry covers nervously.</scene_description> <character>GERRY</character> <dialogue>I mean 'cause it's an easy thing to do. Things. Two doors are things. With an s. Take me twenty minutes, half hour tops, so.</dialogue> <character>BRIDGET</character> <dialogue>Great.</dialogue> <scene_description>Another awkward beat, then:</scene_description> <character>BRIDGET</character> <dialogue>Do you want some coffee?</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - KITCHEN - DAY</stage_direction> <scene_description>Bridget pulls the crock of corned beef out of the fridge and makes Gerry a sandwich as he pours coffee into mugs.</scene_description> <character>GERRY</character> <dialogue>Sorry about your mom.</dialogue> <character>BRIDGET</character> <dialogue>Oh, thanks. That's okay.</dialogue> <character>GERRY</character> <dialogue>No. No it isn't.</dialogue> <scene_description>His unwillingness to dismiss things people generally dismiss catches her off guard.</scene_description> <character>GERRY</character> <dialogue>Dad's been gone two years, Mom eleven Easter Sunday. Still not okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Doesn't matter how old you are. Life is just harder when you don't have parents.</dialogue> <scene_description>A beat, then:</scene_description> <character>GERRY</character> <dialogue>Do you have sugar?</dialogue> <character>BRIDGET</character> <dialogue>Sugar? Sugar.</dialogue> <scene_description>She opens the cabinet to the left of the sink. A bag of sugar is high on a shelf. She jumps for it.</scene_description> <character>GERRY</character> <dialogue>Here.</dialogue> <scene_description>He comes behind her and reaches over her for it, his other hand on the small of her back. There is nothing forward or inappropriate about this, but something about him behind her, his smell, his touch... Her knees begin to buckle. She literally swoons. She steps away before her knees give completely, and fumbles, light-headed, to steady herself on the counter.</scene_description> <character>GERRY</character> <dialogue>You all right?</dialogue> <character>BRIDGET</character> <dialogue>Mm-hmm!</dialogue> <scene_description>Utterly flustered, she pulls her blouse away from her chest.</scene_description> <character>BRIDGET</character> <dialogue>Sorry, I just - got hot, is it hot? I have low blood pressure. Blood sugar. I think I'm starving.</dialogue> <scene_description>A beat, then Gerry points, obviously, at the sandwiches. She grabs a bagel from the plate from this morning and pulls the insides out and eats the edges.</scene_description> <character>BRIDGET</character> <dialogue>I don't eat... things.</dialogue> <character>GERRY</character> <dialogue>California girl.</dialogue> <scene_description>She nods, mortified. He picks up his coffee and smiles knowingly at her.</scene_description> <character>GERRY</character> <dialogue>I get it, you know? I'm divorced too.</dialogue> <character>BRIDGET</character> <dialogue>What?</dialogue> <character>GERRY</character> <dialogue>I have a radar. Like gay-dar. Divorce-dar. Plus no ring, so.</dialogue> <scene_description>She waits for herself to correct him... but is suddenly mute. He blushes, thinking he's overstepped.</scene_description> <character>GERRY</character> <dialogue>So, I'll just - get started.</dialogue> <scene_description>He takes his coffee and plate with the sandwich and goes.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALF BATH OFF KITCHEN - DAY</stage_direction> <scene_description>The distant sound of drilling over Led Zeppelin. Bridget paces the small bathroom off the kitchen.</scene_description> <character>BRIDGET</character> <parenthetical>(rehearsing)</parenthetical> <dialogue>I am married, I lost my ring and. I'm still married. I'm actually still married. I'm... you have beautiful biceps but I'm...</dialogue> <scene_description>She slaps herself in the face. She's stoic, then:</scene_description> <character>BRIDGET</character> <dialogue>Ow.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm married. It was a joke.</dialogue> <parenthetical>(laughing)</parenthetical> <dialogue>Gotcha! Funny!</dialogue> <parenthetical>(sobering)</parenthetical> <dialogue>No. Not funny. I didn't say anything because I, I --</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>You don't need to explain, he doesn't need to know, who is he, he's Dommie's little brother, Dommie's tubby little junior high brother, who cares what he thinks.</dialogue> <parenthetical>(resolved)</parenthetical> <dialogue>I'm married. Can I get you more coffee?</dialogue> <scene_description>She takes a deep breath, steps out into the foyer.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - DAY - LATER</stage_direction> <scene_description>Bridget, glass of scotch in hand, talking a mile a minute, is rifling through Emma's suitcase, rambling loudly.</scene_description> <character>BRIDGET</character> <dialogue>'Cause he's a wonderful guy, he really is, we don't fight, we don't cheat, we don't - do anything, actually, he's just -</dialogue> <scene_description>She finds what she's looking for: Emma's cigarettes. She grabs them and heads out into the --</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - DAY</stage_direction> <scene_description>Gerry stands by the back door, holding a scotch of his own and an afghan for her. Bridget comes out of the guest room, still rambling.</scene_description> <character>BRIDGET</character> <dialogue>He's a checklist person, you know? College, check, corporate law, check, wife, kids, check check check.</dialogue> <scene_description>She pulls at the back door as he drapes the afghan over her shoulders.</scene_description> <character>BRIDGET</character> <dialogue>Which is fine, it's just that I'm not, I'm a mess, I'm messy, I'm -</dialogue> <scene_description>The door isn't opening.</scene_description> <character>BRIDGET</character> <parenthetical>(re: the door)</parenthetical> <dialogue>What is this, why is this...</dialogue> <scene_description>Gerry reaches over her shoulder and turns the new key in the lock at the back door. Bridget gets the door open. They head out the door and up the steps onto the landing.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - PORCH - DAY - CONTINUOUS</stage_direction> <character>BRIDGET</character> <dialogue>I was just so young when we got married, I mean, 20, God, Emma's 20, she can barely tie her shoes, and Mary, at 20 Mary thought she was a lesbian, which - good for her! She should still be experimenting, she's got the rest of her life to make sacrifices for - what's his face - Daniel. David! David? David. David David David.</dialogue> <scene_description>She opens Emma's pack of cigarettes. There are two left. She hands him one.</scene_description> <character>BRIDGET</character> <dialogue>Anyway, what I'm trying to say is that - I'm... I'm...</dialogue> <character>GERRY</character> <parenthetical>(reminding her)</parenthetical> <dialogue>You're a mess, you're messy...</dialogue> <character>BRIDGET</character> <dialogue>I'm a mess, I'm messy, and I'm...</dialogue> <character>GERRY</character> <parenthetical>(suggesting)</parenthetical> <dialogue>You - work out?</dialogue> <character>BRIDGET</character> <dialogue>I work out, I work out, I run, I'm a runner, I run...</dialogue> <scene_description>He lights her cigarette for her, then his own. She inhales.</scene_description> <character>BRIDGET</character> <dialogue>I haven't smoked in twenty years. I don't smoke. I don't drink. I don't eat things.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You know, everybody thinks being alone is so bad, so lonely, no, you know what's lonely? Laying awake in the middle of the night thinking this is it, this is the rest of my life, this is as good as it gets, and then looking over at the man I spent twenty five years with, thinking - he must be awake too, thinking the same thing I am, he must be.</dialogue> <parenthetical>(dragging on her cigarette)</parenthetical> <dialogue>Looking over to see him sleeping like a baby?</dialogue> <scene_description>She exhales.</scene_description> <character>BRIDGET</character> <dialogue>That is loneliest thing. That.</dialogue> <scene_description>There are tears in Gerry's eyes.</scene_description> <character>GERRY</character> <dialogue>Jesus Christ, Bitty, goddamn.</dialogue> <character>BRIDGET</character> <dialogue>Alone? Alone is great! I went from my father's house to my husband's house, I was never alone my whole life. You have your coffee in the morning, in your little - Victorian, with soul, with a porch swing, you have your coffee, do a little writing, a little meditating...</dialogue> <scene_description>She drags on her cigarette.</scene_description> <character>GERRY</character> <dialogue>See, I knew you were a writer.</dialogue> <character>BRIDGET</character> <dialogue>I'm... a writer, a lover, a fighter, I'm a nurturer, I'm - I'm -</dialogue> <character>GERRY</character> <dialogue>You're sexy as all get out.</dialogue> <scene_description>She blinks, rocketed back to planet Earth.</scene_description> <character>BRIDGET</character> <dialogue>What?</dialogue> <scene_description>He gets on his knees and comes to her.</scene_description> <character>BRIDGET</character> <dialogue>Oh! No. No no no, listen I --</dialogue> <scene_description>She leans back as he gets very close to her and... sniffs.</scene_description> <character>GERRY</character> <dialogue>God you smell good, you always smelled so fucking good.</dialogue> <scene_description>She did not think this through. She tries to push him back.</scene_description> <character>BRIDGET</character> <dialogue>Uhh... I'm sorry, I'm not, I'm still-</dialogue> <scene_description>Suddenly, he is kissing her. She freezes, paralyzed. And then... she lets herself have one second, just one tiny, tiny second before she pushes him away, just as:</scene_description> <character>NICK (O.S.)</character> <dialogue>Bitty!</dialogue> <scene_description>Bridget turns slowly toward the voice, praying it's not Nick standing in the courtyard with a clear view. But it is, of course. In his parka, cigarette lit.</scene_description> <character>NICK</character> <dialogue>Whoops.</dialogue> <character>GERRY</character> <dialogue>Hey Nick.</dialogue> <character>NICK</character> <dialogue>Hey Ger.</dialogue> <character>BRIDGET</character> <dialogue>What - what - what about Edna?</dialogue> <character>NICK</character> <dialogue>She's dead. Died this morning.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What, d'ja change the locks? They're standing at the front door, you dope, go let them in!</dialogue> <scene_description>Bridget stares, holding her cigarette, paralyzed. Gerry quickly disappears down the stairs to let them in the front. Bridget's eyes go wide. She chases after Gerry.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY - SECONDS LATER</stage_direction> <scene_description>The Zeppelin plays on a boom box on the mail table. Gerry appears in the back doorway and heads down the hall toward the front door. Bridget chases after him, panicked, still holding the cigarette, hissing at him:</scene_description> <character>BRIDGET</character> <dialogue>Wait! Wait!</dialogue> <scene_description>Gerry turns.</scene_description> <character>BRIDGET</character> <dialogue>Can you go - go - in the --</dialogue> <character>GERRY</character> <dialogue>What?</dialogue> <scene_description>She gestures he goes down into the living room.</scene_description> <character>BRIDGET</character> <dialogue>Down -- down -- the --</dialogue> <character>GERRY</character> <parenthetical>(re the cigarette)</parenthetical> <dialogue>Did you want that in here?</dialogue> <scene_description>Bridget realizes she's still holding the cigarette. She races back down to the back door and flings it out wildly as Gerry walks into the living room. She races back down the hallway, waving the smoke away, and shuts off the music. The new dead bolt locks the door from the inside; the key is in the lock. Bridget turns it and opens the door - to an incredibly pissed off Bert. Emma and Ruth sit on the steps in the hallway behind him.</scene_description> <character>BERT</character> <dialogue>What the heck's going on in here?</dialogue> <character>BRIDGET</character> <dialogue>Nothing, Dad, sorry, the music --</dialogue> <scene_description>Bert sniffs the air.</scene_description> <character>BERT</character> <dialogue>You're smoking in here?</dialogue> <character>RUTH</character> <dialogue>Is that my baby?</dialogue> <character>BERT</character> <dialogue>You're smoking in my house?</dialogue> <character>BRIDGET</character> <dialogue>No.</dialogue> <character>BERT</character> <dialogue>You are too smoking in my house.</dialogue> <scene_description>Ruth throws her arms around Bridget.</scene_description> <character>RUTH</character> <dialogue>I'm so happy to see you!</dialogue> <character>BERT</character> <dialogue>What the heck're you wearing?</dialogue> <character>BRIDGET</character> <dialogue>Hi Mom.</dialogue> <character>BERT</character> <dialogue>Is that your mother's good blouse?</dialogue> <character>RUTH</character> <dialogue>Whose mother?</dialogue> <character>BERT</character> <dialogue>That I just had dry cleaned?</dialogue> <scene_description>Ruth spots Gerry, who is loitering in the living room.</scene_description> <character>RUTH</character> <dialogue>Who's that?</dialogue> <character>BERT</character> <dialogue>Who's who?</dialogue> <scene_description>Bert rounds the corner and spots Gerry. He freezes.</scene_description> <character>BRIDGET</character> <dialogue>It's... Gerry. Gerry Hoffsteader, remember, from Mass?</dialogue> <scene_description>Bert is staring at Gerry, stone-faced.</scene_description> <character>GERRY</character> <dialogue>Nice to see you again, Mr. Eberhardt.</dialogue> <scene_description>Gerry approaches and extends his hand. Bert doesn't take it.</scene_description> <character>BRIDGET</character> <dialogue>Dad! It's Gerry! He's Dommie's little brother, he's a construction guy!</dialogue> <scene_description>Bert is stone-faced. So is Emma.</scene_description> <character>BRIDGET</character> <dialogue>You didn't see his truck in the lot? The - Hoffsteader Construction truck, he's a construction guy!</dialogue> <scene_description>Nick enters the foyer, having come in the back door. He grabs a sandwich from the mail table and watches the show.</scene_description> <character>BRIDGET</character> <dialogue>He's Dommie's little brother, we haven't seen each other since --</dialogue> <parenthetical>(to Gerry)</parenthetical> <dialogue>-- God, you were in junior high, right? Except for Mass.</dialogue> <scene_description>Gerry doesn't reply, putting together pieces of his own. Nick looking Bridget up and down.</scene_description> <character>NICK</character> <dialogue>Is that Mom's blouse?</dialogue> <character>BRIDGET</character> <dialogue>We were just catching up, he finished the locks, and --</dialogue> <character>NICK</character> <dialogue>Dad just had that dry cleaned.</dialogue> <character>BRIDGET</character> <dialogue>-- 'cause that's why I called him, to put locks in like they have at the Reminiscence Community --</dialogue> <character>NICK</character> <parenthetical>(mouth full)</parenthetical> <dialogue>Reminiscence Neighborhood. Neighborhood.</dialogue> <character>BRIDGET</character> <dialogue>That way she can't get out and you guys can stay here!</dialogue> <character>NICK</character> <dialogue>What?</dialogue> <character>BRIDGET</character> <parenthetical>(to Nick)</parenthetical> <dialogue>For now! As long as they don't go to Florida.</dialogue> <scene_description>Ruth has a sudden realization of who Gerry is.</scene_description> <character>RUTH</character> <parenthetical>(to Bridget; re Gerry)</parenthetical> <dialogue>Oh! Your husband!</dialogue> <parenthetical>(to Gerry)</parenthetical> <dialogue>Oh honey!</dialogue> <scene_description>She goes to Gerry and throws her arms around him. Emma turns and marches down the hall. Bridget goes after her.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - CONTINUOUS</stage_direction> <scene_description>Bridget walks into the guest room -- just in time to see Emma disappear into the GUEST BATH and slam the door behind her. Bridget goes to it and knock / barges. The door is locked.</scene_description> <character>BRIDGET</character> <dialogue>Emma.</dialogue> <scene_description>Emma doesn't answer.</scene_description> <character>BRIDGET</character> <dialogue>Emma!</dialogue> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - PARKING LOT - DAY</stage_direction> <scene_description>Gerry loads his tools into the bed of his pick-up. Bridget stands nearby, coat-less, mortified, holding her checkbook.</scene_description> <character>BRIDGET</character> <dialogue>Can I just pay you? Lemme just pay you, what do I owe?</dialogue> <scene_description>He closes the tail of the pickup and eyes her.</scene_description> <character>GERRY</character> <dialogue>So you're not divorced.</dialogue> <character>BRIDGET</character> <dialogue>No.</dialogue> <scene_description>He chews on this.</scene_description> <character>GERRY</character> <dialogue>Are you a writer?</dialogue> <character>BRIDGET</character> <dialogue>I'm a part-time demo chef in a kitchen showroom.</dialogue> <scene_description>He chews on that.</scene_description> <character>GERRY</character> <dialogue>Do you wanna have sex?</dialogue> <scene_description>Despite this being a fair question, Bridget is taken aback and a little insulted.</scene_description> <character>BRIDGET</character> <dialogue>No.</dialogue> <character>GERRY</character> <dialogue>She blinks at him.</dialogue> <character>GERRY</character> <dialogue>Includes materials.</dialogue> <scene_description>She waits for him to say he's kidding. He doesn't. She bends over her checkbook.</scene_description> <character>GERRY</character> <dialogue>Gerry with a G... H-o-f-f...</dialogue> <scene_description>As she writes, he gets close to her and takes one last sniff.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - BUILDING SIDE DOOR - DAY</stage_direction> <scene_description>Nick smokes in front of the side door, overseeing the above. Gerry's truck pulls out, Zeppelin blasting. Bridget walks up, shivering, waving Nick's smoke away.</scene_description> <character>NICK</character> <dialogue>Chemically sensitive, huh?</dialogue> <character>BRIDGET</character> <dialogue>Lemme in, I'm freezing.</dialogue> <character>NICK</character> <dialogue>Nice bra.</dialogue> <character>BRIDGET</character> <dialogue>Let me in.</dialogue> <scene_description>His eyes narrow at her.</scene_description> <character>NICK</character> <dialogue>They can stay? They can stay?</dialogue> <scene_description>She turns and marches around the building toward the front entrance. He marches after her.</scene_description> <character>NICK</character> <dialogue>Who the hell do you think you are?</dialogue> <character>BRIDGET</character> <dialogue>The person with power of attorney.</dialogue> <character>NICK</character> <dialogue>Oh right, Queen Bitty, ladies and gentlemen, spends three days, three fucking days, gets it all figured out, throws in a lock, what a genius, why didn't I think of that?</dialogue> <scene_description>She whirls on him.</scene_description> <character>BRIDGET</character> <dialogue>Who do you think you are? I'm not ten minutes off the plane, you're telling me what to do before I even had a chance to evaluate the situation.</dialogue> <character>NICK</character> <dialogue>Who am I? Who am I? I'm the one who is here!</dialogue> <scene_description>She's startled by his sudden rage.</scene_description> <character>NICK</character> <dialogue>Me! I'm the one getting phone calls in the middle of the night. I'm the one with her geriactrician on speed dial --</dialogue> <scene_description>She turns and storms up the front walkway. He follows.</scene_description> <character>NICK</character> <dialogue>The fact that he gave you power of attorney is the biggest, stinkiest piece of favoritist bullshit I ever heard!</dialogue> <scene_description>She opens the front door into the --</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - VESTIBULE - DAY</stage_direction> <scene_description>VESTIBULE -- and pulls on the second set of doors leading into the condo lobby. They're locked. There's a keypad and a list of a zillion residents on the wall.</scene_description> <character>NICK</character> <dialogue>Oh, you don't know the code? Isn't that funny.</dialogue> <scene_description>She squints at the tiny print of residents' names.</scene_description> <character>NICK</character> <dialogue>Let's get Gerry back here, have him change the lock, I'll take Emma to the mall, you two can go at it.</dialogue> <character>BRIDGET</character> <dialogue>You know why I got power of attorney? 'Cause you're an asshole, that's why. You're an asshole.</dialogue> <character>NICK</character> <dialogue>You got power of attorney 'cause you're a chicken shit. He knew you'd never use it. You been letting him tell you what to do your entire life.</dialogue> <character>BRIDGET</character> <dialogue>I have not.</dialogue> <character>NICK</character> <dialogue>Yeah? Why'd you marry Eddie?</dialogue> <scene_description>She's caught and it makes her furious.</scene_description> <character>BRIDGET</character> <dialogue>Because I didn't know who I was, that's why, 'cause Mom had her big career and I was the housekeeper.</dialogue> <character>NICK</character> <dialogue>Oh my god.</dialogue> <character>NICK</character> <dialogue>Who got dinner on the table? Who ironed your Fenwick shirts?</dialogue> <character>NICK</character> <dialogue>Who put a gun to your head?</dialogue> <character>BRIDGET</character> <dialogue>Somebody had to do it, I was the girl.</dialogue> <character>NICK</character> <dialogue>Oh gimme a break, it was woman's lib, Mom was running around in a power suit.</dialogue> <character>BRIDGET</character> <dialogue>And Dad's home raising me like it's 1945 on the farm, telling me to lose ten pounds and learn how to cook.</dialogue> <character>NICK</character> <dialogue>Who told you to listen?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You're not some victim, some martyr, nobody made you obey. Grow up, don't be so terrified, don't be such a liar.</dialogue> <character>BRIDGET</character> <dialogue>I'm not a liar.</dialogue> <character>NICK</character> <dialogue>You've been lying so long you can't even tell the difference between the truth and what you want everybody to think is the truth.</dialogue> <scene_description>An ELDERLY NEIGHBOR LADY comes into the Vestibule from the outside and eyes them suspiciously as she puts in her key.</scene_description> <character>BRIDGET</character> <dialogue>Our father lives here.</dialogue> <character>NICK</character> <dialogue>She doesn't know the code.</dialogue> <character>NEIGHBOR LADY</character> <parenthetical>(shaming her)</parenthetical> <dialogue>Oughtta visit him once in a while.</dialogue> <character>NICK</character> <parenthetical>(to the lady)</parenthetical> <dialogue>Hey. What are you, the guiltmonger?</dialogue> <character>BRIDGET</character> <dialogue>Nicky.</dialogue> <scene_description>The lady's eyes narrow at Nick as they step into the LOBBY.</scene_description> <character>NEIGHBOR LADY</character> <dialogue>I know you. You're the one who smokes so close to my rosebushes.</dialogue> <character>NICK</character> <dialogue>Oh, go sit on your rosebushes.</dialogue> <scene_description>The lady walks down the hall in a huff.</scene_description> <character>BRIDGET</character> <dialogue>Nicky.</dialogue> <parenthetical>(calling to the lady)</parenthetical> <dialogue>I'm so sorry.</dialogue> <character>NICK</character> <dialogue>For what? What are you sorry for?</dialogue> <scene_description>Bridget glares at him and starts down the hall. Then she spins back on him.</scene_description> <character>BRIDGET</character> <dialogue>You know, just because I don't bulldoze people, I'm not some bully, talk about chicken shits, bullies are the biggest chicken shits around, going you, you, you, lemme tell ya what's wrong with you so you don't see everything wrong with me! At least I'm not blaming Mom and Dad for all my bullshit.</dialogue> <character>NICK</character> <dialogue>What? You just blamed them for your entire shitty 20 year marriage!</dialogue> <character>BRIDGET</character> <dialogue>At least I had the guts to try, to try to love somebody, let somebody love me. At least I have something.</dialogue> <character>NICK</character> <dialogue>Oh I got plenty, honey, believe me.</dialogue> <character>BRIDGET</character> <dialogue>Yeah. You got a bar.</dialogue> <scene_description>Bert storms out the door, furious.</scene_description> <character>BERT</character> <dialogue>Get. In. The house.</dialogue> <scene_description>Nick marches past Bridget and steps up to Bert into the CONDO FOYER. Bridget watches from out in the hall.</scene_description> <character>NICK</character> <dialogue>Why is Bitty power of attorney?</dialogue> <character>BERT</character> <dialogue>'Cause you're a hothead like your mother.</dialogue> <character>NICK</character> <dialogue>'Cause you're selfish. You know why they improve in the memory places? Cause they don't have people like you in their face going don't forget me Ruth, don't forget me, don't forget, you're losing your mind.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The one blessing of this disease is they don't remember that they don't remember. Until you go and tell them.</dialogue> <scene_description>Bert's jaw sets. His eyes narrow at Nick.</scene_description> <character>BERT</character> <dialogue>You think you're a doctor? What the hell do you know, you're a bartender for chrissake, almost graduated from college, almost.</dialogue> <character>NICK</character> <dialogue>I am a bar owner, Dad.</dialogue> <character>BERT</character> <dialogue>Do you tend the bar?</dialogue> <character>NICK</character> <dialogue>I own the bar! I own it!</dialogue> <character>BERT</character> <dialogue>Do you tend it or not?</dialogue> <character>NICK</character> <dialogue>Yes! Yes! I tend it! I tend it! I tend the bar that I own.</dialogue> <dialogue>I know it's a real bummer, I hear you loud and clear Pop, it's a real shit fucking deal you gotta admit that to your poker buddies.</dialogue> <character>BERT</character> <dialogue>Watch your language.</dialogue> <scene_description>Nick glares, waiting for Bert to say more. He doesn't.</scene_description> <character>NICK</character> <dialogue>She hit on me the other night. She hit on me. I had to tell her she was hitting on her own son, you shoulda seen the look on her face.</dialogue> <scene_description>Nick turns to Bridget.</scene_description> <character>NICK</character> <dialogue>I'm done. They're all yours, Bit, godspeed.</dialogue> <scene_description>She watches him head down the hall, pulling out his smokes. Then she looks into the Condo. Bert has disappeared into it. She looks back down the hallway, empty except Neighbor Lady, outside her door, hands on hips, giving her a dirty look.</scene_description> <character>BRIDGET</character> <dialogue>What are you lookin' at?</dialogue> <scene_description>Bridget goes in the condo.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - HALLWAY/GUEST ROOM - CONTINUOUS</stage_direction> <scene_description>Bridget heads down the hallway, eyes peeled for Emma. She heads into the GUEST ROOM. It's empty. The bathroom door is open; it's empty too.</scene_description> <character>BRIDGET</character> <dialogue>Emma?</dialogue> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO/NICK'S RANGE ROVER (PARKED) - DUSK</stage_direction> <scene_description>Nick storms up from the sidewalk by the condo, cigarette in hand, and climbs into his Range Rover. He puts his head back for a moment. Then he turns the ignition. Emma jumps into the front seat and closes the door behind her.</scene_description> <character>NICK</character> <dialogue>What're you doin'?</dialogue> <character>EMMA</character> <parenthetical>(re: his cigarettes)</parenthetical> <dialogue>Gimme one.</dialogue> <character>NICK</character> <dialogue>No.</dialogue> <character>EMMA</character> <dialogue>Mom smoked mine.</dialogue> <character>NICK</character> <dialogue>Good. You shouldn't smoke.</dialogue> <character>EMMA</character> <dialogue>Either should you.</dialogue> <scene_description>He caves and tosses her his Pall Malls. She takes one and lights it. They smoke in silence a moment. He watches her puff awkwardly on the cigarette.</scene_description> <character>NICK</character> <dialogue>Well if you're gonna do it at least look cool for chrissake. Here.</dialogue> <scene_description>He adjusts the cigarette in her fingers. She tries it.</scene_description> <character>NICK</character> <dialogue>There you go, now you don't look like an asshole.</dialogue> <scene_description>They smoke.</scene_description> <character>EMMA</character> <dialogue>I cannot deal with her.</dialogue> <character>NICK</character> <dialogue>Nothing happened with that dude. Your mom's a pain in the ass but she's one loyal duck.</dialogue> <character>EMMA</character> <dialogue>She's a hypocrite.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I hate watching her hate herself. But it's like if I don't see her nobody else does.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>It's like I'm stuck there. On their glacier. The third wheel in their silent treatment.</dialogue> <scene_description>Bridget comes into view on the sidewalk, looking for Emma. She doesn't see them.</scene_description> <character>EMMA</character> <dialogue>Can I go with you?</dialogue> <character>NICK</character> <dialogue>I don't have anywhere to put you. I'm living in the basement of my bar.</dialogue> <scene_description>Emma looks at him.</scene_description> <character>EMMA</character> <dialogue>Hate yourself too, huh?</dialogue> <character>NICK</character> <dialogue>Go on, get outta here, you're spoiling my big exit.</dialogue> <scene_description>Emma gets out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - SIDEWALK - A MOMENT LATER</stage_direction> <scene_description>Emma walks up to Bridget, still holding the cigarette. They stop a few feet away from each other. Neither of them say a word. And then Emma holds out her cigarette, sly, pointed, offering it to Bridget. She doesn't take it. Emma tosses it and walks past her toward the condo. Bridget's eyes meet Nick's, who has been watching from the car. He flips her the bird and pulls off.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - NIGHT</stage_direction> <scene_description>Bridget and Emma sleep in bed. The door is open. Ruth, in her white nightie, passes by the doorway several times as she paces the dark hall, wringing her hands. Finally she peers into the guest room and goes to the bed. Bridget starts awake. Ruth's face is inches away.</scene_description> <character>RUTH</character> <dialogue>There's a man in my bed.</dialogue> <character>BRIDGET</character> <dialogue>It's Dad.</dialogue> <character>RUTH</character> <dialogue>I sleep with our Dad?</dialogue> <scene_description>Bridget opens her mouth to correct Ruth. Then she remembers what Nick said.</scene_description> <character>BRIDGET</character> <dialogue>Yeah.</dialogue> <scene_description>Ruth's face relaxes. She pads softly out of the room.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Ruth crawls into bed, rousing Bert.</scene_description> <character>BERT</character> <dialogue>Stay in bed, honey.</dialogue> <character>RUTH</character> <dialogue>You're a turkey.</dialogue> <character>BERT</character> <dialogue>You're the turkey.</dialogue> <scene_description>He pulls her close. Bridget watches from the doorway.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - GUEST ROOM - DAY</stage_direction> <scene_description>Bridget and Emma sleep. On the night stand, her cell phone vibrates. Bridget reaches over and grabs it. It's Eddie. She sends it to voicemail.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - BATHROOM - DAY</stage_direction> <scene_description>Bridget brushes her teeth. Her phone is on the counter, playing Eddie's voicemail on speaker.</scene_description> <character>EDDIE'S VOICEMAIL</character> <dialogue>Hi, um, your father just called.</dialogue> <scene_description>Bridget stops brushing and stares at the phone.</scene_description> <character>EDDIE'S VOICEMAIL</character> <dialogue>He said you're coming home tonight? Gimme a call.</dialogue> <scene_description>Bridget stares at the phone. Then she chucks the toothbrush at the mirror and marches DOWN THE HALL.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - FOYER / LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Bridget peers in, looking for Bert. Ruth is peering at pictures on the tree. She sees Bridget.</scene_description> <character>RUTH</character> <dialogue>Is that my baby?</dialogue> <scene_description>Bridget ignores her and heads around the foyer corner into the KITCHEN DOORWAY. Bert is pouring a cup of coffee. Bags of groceries sit on the counter. Bridget stands in the doorway and seethes at him. He holds the coffee out to her.</scene_description> <character>BRIDGET</character> <dialogue>I don't want it.</dialogue> <character>BERT</character> <dialogue>It's coffee.</dialogue> <character>BRIDGET</character> <dialogue>I don't want it.</dialogue> <character>BERT</character> <dialogue>A course you want it. Here.</dialogue> <scene_description>She explodes.</scene_description> <character>BRIDGET</character> <dialogue>I am a grown-up! If I don't want the coffee I don't want the coffee!</dialogue> <scene_description>He plops the coffee on the counter and goes to his groceries.</scene_description> <character>BRIDGET</character> <dialogue>What did you tell him?</dialogue> <scene_description>Ruth wanders in.</scene_description> <character>RUTH</character> <dialogue>Who?</dialogue> <character>BERT</character> <dialogue>Nobody. Go turn on the Road Runner.</dialogue> <scene_description>Ruth wanders out.</scene_description> <character>BERT</character> <dialogue>I told him I bought you plane tickets and to pick you up at the airport, that's what I told him.</dialogue> <scene_description>He unpacks his groceries angrily, shaking his head.</scene_description> <character>BERT</character> <dialogue>Floozin' around with some construction bozo, I don't even know who you are.</dialogue> <character>BRIDGET</character> <dialogue>He put locks on, Dad, and you're welcome by the way.</dialogue> <scene_description>Bert slams down a can of peas.</scene_description> <character>BERT</character> <dialogue>What am I, some horse's ass?</dialogue> <scene_description>He returns to his groceries.</scene_description> <character>BERT</character> <dialogue>Eddie is as much a son to me as your brother is.</dialogue> <character>BRIDGET</character> <dialogue>I think you like Eddie more than you like me. And my brother, for that matter.</dialogue> <character>BERT</character> <dialogue>Oh for chrissake, Bitty, what kinda thing is that to say?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Go get packed, we're leavin' in an hour.</dialogue> <scene_description>He exits the kitchen. She follows him down the HALL -- past the DEN, where Ruth watches the Road Runner -- and into the</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - DAY</stage_direction> <scene_description>She shuts the door behind her.</scene_description> <character>BRIDGET</character> <dialogue>All my life you've been telling me, there's no bells and whistles, there's no bells and whistles.</dialogue> <character>BERT</character> <dialogue>There isn't.</dialogue> <character>BRIDGET</character> <dialogue>How can you say that? You have more bells and whistles than anybody.</dialogue> <dialogue>She's losing her mind and you still can't live without her. Didn't you want that for me?</dialogue> <character>BERT</character> <dialogue>Of course I wanted that for you, that's all I want for you, why do you think I'm sending you home?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Love is commitment, Bit, you work at it.</dialogue> <character>BRIDGET</character> <dialogue>I been working at it for 20 years.</dialogue> <character>BERT</character> <dialogue>Well you work at it 20 more if you want what we got. Go home and think about why you married him in the first place.</dialogue> <character>BRIDGET</character> <dialogue>I married him because you told me I couldn't do better.</dialogue> <character>BERT</character> <dialogue>You couldn't! Eddie's a home run! Your wedding was the best day of my life, walking you down the aisle to a man who might deserve you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You know what your problem is? California, that's what, everybody out there flowin' in the wind, re- inventing, what the heck is that? You are who you are. I'm a husband, a father, a Catholic, I know it 'cause I am it and I never had to think about it. You go home to your husband or you go stay with your brother. There's no reason to be unhappy in a perfectly good marriage.</dialogue> <scene_description>The only thing she can think of to make him understand is:</scene_description> <character>BRIDGET</character> <dialogue>Why were you unhappy in your perfectly good Camry?</dialogue> <scene_description>He looks at her, appalled at the comparison.</scene_description> <character>BERT</character> <dialogue>I don't wanna look at you. Go sit with your mother.</dialogue> <character>BRIDGET</character> <dialogue>I never said I was leaving, I'm saying I don't have what you have.</dialogue> <character>BERT</character> <dialogue>You do too! You think we didn't have rough patches? You aughtta go talk to a priest.</dialogue> <character>BRIDGET</character> <dialogue>I'm not a Catholic anymore.</dialogue> <character>BERT</character> <dialogue>Well there's your problem right there.</dialogue> <scene_description>Bridget explodes.</scene_description> <character>BRIDGET</character> <dialogue>How do you know?</dialogue> <scene_description>He looks at her, startled.</scene_description> <character>BRIDGET</character> <dialogue>How did you always know what my problem was? Do I do that to you? Did I march in here saying Mom's going in a home, if you don't like it, go talk to a priest?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I listened to you, Dad. I asked you what you wanted and I fought like hell to get it for you because you matter to me, what you want matters to me, why don't I matter to you?</dialogue> <parenthetical>(losing it)</parenthetical> <dialogue>Why did I never matter? I'm capable, I coulda done something, I- - Mom was a feminist for chrissake, didn't it occur to anybody to ask me what I wanted?</dialogue> <scene_description>Bert is astonished.</scene_description> <character>BERT</character> <dialogue>We did, honey. We did ask you. You said you couldn't wait to be a mother.</dialogue> <scene_description>It lifts something massive from Bridget's shoulders. There is a still moment. The Road Runner wafts from down the hall. And then - there's a knock/barge at the door. It's Emma.</scene_description> <character>EMMA</character> <dialogue>Is Grama in here?</dialogue> <scene_description>Bridget and Bert's eyes go wide. They race out into the HALLWAY and look into the doorway of the DEN. It's empty. They race to the FOYER. The front door is wide open. Bert sprints through it. Bridget throws her feet into a pair of Bert's shoes and races after him. Emma sprints the other way, down the building hallway.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - BUILDING ENTRANCE - CONTINUOUS</stage_direction> <scene_description>Bert bolts out the doors and scans the landscape for Ruth. She's nowhere. He sprints off toward the elevated tracks. Bridget flies out the building doors and down the walkway, hand over her eyes, scanning into the sun.</scene_description> <character>BRIDGET</character> <dialogue>Mom!</dialogue> <scene_description>There is no sign of Ruth. Bridget sprints across the lawn. A moment later, Emma races down the walkway behind her.</scene_description> <character>EMMA</character> <dialogue>Mom!</dialogue> <scene_description>Bridget whips around to Emma.</scene_description> <character>EMMA</character> <dialogue>I got her! She's at Marion's!</dialogue> <scene_description>Bridget whips around to Bert. He is kneeling on the ground, head down.</scene_description> <character>BRIDGET</character> <dialogue>Dad!</dialogue> <scene_description>Bridget races to him, clumsy in his too-big shoes. He doesn't move. She arrives at him and kneels, terrified. He is sweating, head down, shoulders shaking.</scene_description> <character>BRIDGET</character> <dialogue>Is it your heart?</dialogue> <scene_description>Then she realizes: he is crying.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - DINING ROOM - DAY</stage_direction> <scene_description>The clock ticks. Bridget and Bert sit at the table. His head is down, but he's recovered.</scene_description> <character>BRIDGET</character> <dialogue>I'll stay. I'll stay and help.</dialogue> <scene_description>He is still for a long moment. Then he rises and leaves the room. Moments later, he returns, carrying the Reminiscence Folder. He sits, opens it, and pulls out a pen.</scene_description> </scene> <scene> <stage_direction>EXT. O'HARE AIRPORT - NIGHT</stage_direction> <scene_description>The T-Bird idles on the curb. Bert and Emma pull suitcases out of the trunk. Emma watches Bridget and Ruth embrace. When they part, Ruth's eyes are filled with tears.</scene_description> <character>BRIDGET</character> <dialogue>It's okay, Mom. I'll be back in a couple weeks.</dialogue> <character>RUTH</character> <dialogue>Oh, I won't be here.</dialogue> <scene_description>She's so earnest that Bridget can't help smiling.</scene_description> <character>BRIDGET</character> <dialogue>Yeah? Where you going?</dialogue> <scene_description>As though it were the most obvious thing in the world:</scene_description> <character>RUTH</character> <dialogue>I expect my mother'll want me home by then.</dialogue> <scene_description>Bridget and Emma stare, haunted. Bert goes to get in the car.</scene_description> <character>BERT</character> <dialogue>Let's go, Ruth, it's cold.</dialogue> <scene_description>Bert gets in. Emma helps Ruth into the front seat.</scene_description> <character>BERT</character> <dialogue>Love you, Bit.</dialogue> <character>BRIDGET</character> <dialogue>Love you, Dad.</dialogue> <scene_description>They watch the car pull off, then head into O'Hare.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>Bridget, Eddie and Emma sit at the dining table, Emma in between her parents, eating the dinner Bridget has made. They eat in silence for a long moment. And then:</scene_description> <character>EDDIE</character> <dialogue>So? How was it?</dialogue> <character>BRIDGET</character> <dialogue>Fine.</dialogue> <scene_description>Eddie nods and looks at Emma.</scene_description> <character>EMMA</character> <dialogue>Fine.</dialogue> <scene_description>And it occurs to Bridget that Nick might be right, that she's raising two women not to say what's really going on.</scene_description> <character>EDDIE</character> <dialogue>Are they all set? Your dad signed everything?</dialogue> <character>BRIDGET</character> <dialogue>Mm-hmm. Yes. I have to go back in a couple week, help them get moved.</dialogue> <character>EDDIE</character> <dialogue>Sure. It's good. It was time.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Nick's gotta be pretty happy. Being right for once in his life.</dialogue> <scene_description>They eat. Eddie looks at Emma.</scene_description> <character>EDDIE</character> <parenthetical>(to Emma)</parenthetical> <dialogue>Did you register for classes?</dialogue> <scene_description>Bridget looks down, guilty.</scene_description> <character>EMMA</character> <dialogue>Mm-hmm.</dialogue> <character>EDDIE</character> <dialogue>Oh. Well. Good.</dialogue> </scene> <scene> <stage_direction>INT. NICK'S BAR - DAY</stage_direction> <scene_description>Sun bounces off the copper bar. TWO QUIET REGULARS watch the muted Bears game on the flat screen. Nick is behind the bar with a clipboard, doing inventory. The front door opens. Bert enters, in his coat and hat, newspaper under his arm. He checks it all out as he takes a seat at the bar. Nick goes over. Puts a cocktail napkin down and looks at Bert expectantly. He's not saying the first word.</scene_description> <character>BERT</character> <dialogue>You do a Manhattan?</dialogue> <scene_description>Nick turns and mixes it expertly. This very moment is the reason he's perfected his manhattan. Bert reads his paper. Nick strains the manhattan into a martini glass in front of him, then rinses the shaker. He pretends not to watch Bert take his first sip.</scene_description> <character>BERT</character> <dialogue>Damn good manhattan, Nicholas.</dialogue> <scene_description>Head down, cleaning, Nick smiles.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Bridget lies awake. Eddie sleeps soundly beside her. Quietly, she gets out of bed.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - EMMA'S ROOM - NIGHT</stage_direction> <scene_description>Emma sleeps in her bed. Bridget tiptoes into the room and crawls into bed beside her. Emma moans.</scene_description> <character>EMMA</character> <dialogue>What are you doing?</dialogue> <character>BRIDGET</character> <dialogue>Just - let me.</dialogue> <scene_description>Emma lets her crawl in beside her. Bridget touches her hair tenderly.</scene_description> <character>BRIDGET</character> <dialogue>I'm sorry. I just look at you... and all I see is my baby.</dialogue> <character>EMMA</character> <dialogue>I know.</dialogue> <character>BRIDGET</character> <dialogue>You don't have to go back if you don't want.</dialogue> <character>EMMA</character> <dialogue>I can't stay here, Mom.</dialogue> <scene_description>Emma closes her eyes. Bridget watches her sleep.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - LIVING ROOM - NIGHT</stage_direction> <scene_description>The clock ticks. Ruth sits cross-legged on the floor, looking at the pictures on the tree. Bert hands her a scotch.</scene_description> <character>RUTH</character> <dialogue>Is it Christmas?</dialogue> <character>BERT</character> <dialogue>You got drunk on Christmas.</dialogue> <character>RUTH</character> <parenthetical>(pious)</parenthetical> <dialogue>I did not.</dialogue> <character>BERT</character> <dialogue>Get the presents.</dialogue> <scene_description>She picks up the two presents as he sits in his recliner.</scene_description> <character>BERT</character> <dialogue>Here. I'll go first.</dialogue> <scene_description>He takes the gift he bought himself. She looks on anxiously.</scene_description> <character>RUTH</character> <dialogue>Who got you that?</dialogue> <character>BERT</character> <dialogue>You did, you turkey.</dialogue> <scene_description>She wrings her hands, hoping she got him something good.</scene_description> <character>BERT</character> <dialogue>Macadamias!</dialogue> <character>RUTH</character> <dialogue>Oh! You love those!</dialogue> <character>BERT</character> <dialogue>Thank you honey.</dialogue> <scene_description>She smiles at him as he leans down and kisses her.</scene_description> <character>BERT</character> <dialogue>Your turn. Open up.</dialogue> <scene_description>She looks down at the box, not sure what to do. Bert reaches down and gently pulls open a flap.</scene_description> <character>BERT</character> <dialogue>Now rip it.</dialogue> <scene_description>She starts to, unsure.</scene_description> <character>BERT</character> <dialogue>Just rip it, honey.</dialogue> <scene_description>She does. Inside is a long skinny jewelry box.</scene_description> <character>BERT</character> <dialogue>Open it up.</dialogue> <scene_description>She does, carefully, and gasps. It's an antique locket on a silver chain.</scene_description> <character>RUTH</character> <dialogue>Oh!</dialogue> <character>BERT</character> <dialogue>C'mere, now, lemme show you.</dialogue> <scene_description>She shuffles to Bert spryly on her knees. He opens the locket and shows her the picture inside.</scene_description> <character>BERT</character> <dialogue>You know who that is?</dialogue> <scene_description>She stares at it hard for a moment. Then she remembers.</scene_description> <character>RUTH</character> <dialogue>That's you 'n me.</dialogue> <character>BERT</character> <dialogue>That's right. You 'n me.</dialogue> <scene_description>He struggles not to get emotional.</scene_description> <character>BERT</character> <parenthetical>(brightly)</parenthetical> <dialogue>So when you forget, you can just look at it. All right?</dialogue> <scene_description>Tears well in her eyes. She knows exactly what he means. She throws her arms around him and holds him tight.</scene_description> <character>RUTH</character> <dialogue>I'm so sorry, Bertie.</dialogue> <scene_description>He blinks back tears and holds her just as tightly.</scene_description> <character>BERT</character> <dialogue>It's all right, honey. I'm all right.</dialogue> </scene> <scene> <stage_direction>EXT. RANCH HOUSE - WHEATON, ILLINOIS - DAY</stage_direction> <scene_description>Nick, freshly shaven, approaches the front door of a small house, holding a bouquet of flowers and a wrapped gift. He rings the bell and messes with his hair nervously. The door opens slowly. A tow-headed four year old is behind it. This is NATE. He beams up at Nick, delighted.</scene_description> <character>NATE</character> <dialogue>Hey Nicky.</dialogue> <character>NICK</character> <dialogue>Hey Natey.</dialogue> <scene_description>The door opens wider, revealing RACHEL, 40s. She stares at Nick. And then she smiles just a little.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - LIVING ROOM - NIGHT</stage_direction> <scene_description>It's New Year's Eve. Ruth's soprano hums Auld Lang Syne. In the light of the tree, Bert and Ruth slow dance, her cheek on his chest.</scene_description> </scene> <scene> <stage_direction>INT. MARY AND DAVID'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mary and David are curled up on the couch. The Ball Drop plays on the TV. She is fast asleep on his chest. He gently kisses her forehead as the countdown begins.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Bridget, Emma and Eddie sit on the couch, Emma between her parents. The ladies sip champagne. Eddie dozes with the remote in his hand. As the countdown hits midnight, Emma nudges Eddie awake.</scene_description> <character>EDDIE</character> <dialogue>Happy New Year.</dialogue> <character>BRIDGET</character> <dialogue>Happy New Year.</dialogue> <scene_description>Over Emma, they share a perfunctory kiss.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Bridget reclines in bed with cookbooks, copying recipes into a notebook. Eddie comes in and begins to get ready for bed.</scene_description> <character>EDDIE</character> <dialogue>Who is Gerry Hoffsteader?</dialogue> <scene_description>Bridget looks up and catches her breath, caught.</scene_description> <character>BRIDGET</character> <dialogue>I don't know.</dialogue> <character>EDDIE</character> <dialogue>You don't know?</dialogue> <character>BRIDGET</character> <dialogue>I don't know.</dialogue> <scene_description>Eddie turns to her.</scene_description> <character>EDDIE</character> <dialogue>You didn't write him a check for 1500 bucks?</dialogue> <character>BRIDGET</character> <dialogue>Oh! Yes. Yes. He's a construction guy. He did some work on my parents' locks.</dialogue> <scene_description>Eddie stares at her.</scene_description> <character>EDDIE</character> <dialogue>What'd, he replace every lock in the building?</dialogue> <scene_description>He gets up and heads into his closet. Bridget breathes. He returns with a nicely wrapped box and hands it to her.</scene_description> <character>EDDIE</character> <dialogue>Merry Christmas.</dialogue> <scene_description>She unwraps it. It's a fancy cheese grater, packaged in it's rectangular box.</scene_description> <character>BRIDGET</character> <dialogue>Oh!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Um. I think you got me this already.</dialogue> <character>EDDIE</character> <dialogue>Did I? Open it, they said it was new.</dialogue> <character>BRIDGET</character> <dialogue>Oh. Maybe it has a new feature or --</dialogue> <scene_description>She opens the lid of the box. Inside, nestled in tissue paper, is a sizable diamond ring in an open jewelry box.</scene_description> <character>EDDIE</character> <dialogue>Figured if I had the diamond upgraded you might stop leaving it with the pennies in the car.</dialogue> <scene_description>She's speechless, eyes glued to the diamond. Then, incredibly moved:</scene_description> <character>BRIDGET</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAWN</stage_direction> <scene_description>Bridget jogs along her tree-lined path. She picks up her pace, speeding, sprinting -- And then, all of a sudden, she is crying. She stops, sits on a curb, puts her head down and lets it all go.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - MASTER BEDROOM - DAWN</stage_direction> <scene_description>Eddie wakes. It isn't until he sits up that he realizes Bridget is not in bed beside him.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - DINING AREA - DAWN</stage_direction> <scene_description>Eddie stops at the foot of the stairs. Bridget is sitting quietly at the table.</scene_description> <character>EDDIE</character> <dialogue>Are you all right?</dialogue> <character>BRIDGET</character> <dialogue>You are such a good man. That was one of the most romantic gestures I can imagine.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The problem is... what is so, so awful is... how much worse I feel now than before you gave it to me.</dialogue> <scene_description>Eddie shakes his head, endlessly frustrated.</scene_description> <character>EDDIE</character> <dialogue>I have no clue what to do for you. You are never happy, never.</dialogue> <character>BRIDGET</character> <dialogue>Do you want to leave?</dialogue> <character>EDDIE</character> <dialogue>No. I made a promise. I'm a loyal person.</dialogue> <character>BRIDGET</character> <dialogue>So am I. That's the thing. There are such good reasons to keep the promise, to get up day after day, keep going the way we've been going, and that's why I have this... weight on my chest, this... terror that next week or next year or five years from now, there's gonna come a night where I lay in that bed next to you, wide awake long enough that I get up, walk out the door and disappear like a ghost.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>How do I live with that?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Somewhere, there is a woman who would make you feel like such a good man without you having to do a thing.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>How do I live with that? How do you? Don't you want to find her?</dialogue> <character>EDDIE</character> <dialogue>I thought I did.</dialogue> <character>BRIDGET</character> <dialogue>When?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You married me for the same reason I married you. I checked the boxes.</dialogue> <character>EDDIE</character> <dialogue>I'm okay with that.</dialogue> <character>BRIDGET</character> <dialogue>I know.</dialogue> <scene_description>Bridget takes a deep breath.</scene_description> <character>BRIDGET</character> <dialogue>And I'm not.</dialogue> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Eddie, Bridget, Mary and Emma sit at the kitchen table in silence. Emma looks down, picking at a place mat. Mary is glaring from one parent to the other. She scoffs angrily.</scene_description> <character>MARY</character> <dialogue>You guys really have timing.</dialogue> <scene_description>Neither parent says anything. Mary gets up and leaves the table. A second later, the front door slams shut. Bridget looks at Eddie. He shrugs, angry.</scene_description> <character>EDDIE</character> <dialogue>Don't look at me.</dialogue> </scene> <scene> <stage_direction>EXT. BRIDGET AND EDDIE'S HOUSE - NIGHT</stage_direction> <scene_description>Bridget hustles out the front door as Mary marches toward her Golf in the driveway.</scene_description> <character>BRIDGET</character> <dialogue>Mary. Mare!</dialogue> <scene_description>Mary stops and glares at her.</scene_description> <character>MARY</character> <dialogue>What? What? You want me to congratulate you? Way to go, Mom.</dialogue> <dialogue>Way to finally deal with the elephant in the room, your timing is impeccable. I'm wearing your fucking wedding dress.</dialogue> <character>BRIDGET</character> <dialogue>I'm sorry.</dialogue> <scene_description>Mary starts toward her car, enraged. Bridget follows.</scene_description> <character>MARY</character> <dialogue>Yeah, well, put that in the divorce announcement. We'll stick it in with the wedding invitations. Save a stamp.</dialogue> <scene_description>Mary starts to lose it. It's not about her wedding or their divorce. She turns back to Bridget.</scene_description> <character>MARY</character> <dialogue>You're sorry? I'm sorry. I'm sorry you have regrets or whatever, I wish it were different for you, I really do.</dialogue> <scene_description>Mary opens the door to the Golf, gets in, and starts the ignition. Bridget opens the passenger door and gets in. IN THE GOLF --</scene_description> <character>MARY</character> <dialogue>What are you doing?</dialogue> <character>BRIDGET</character> <dialogue>Listen to me.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You have every right to be pissed at me. And you can be as pissed as you are for as long as you need to be. But do not ever question that you and your sister are the best things that will ever happen to me. I do not have a single regret. Not a single one. Do you understand?</dialogue> <character>MARY</character> <dialogue>Can you please just get out?</dialogue> <scene_description>Bridget takes that in, then opens the door to the car.</scene_description> <character>BRIDGET</character> <dialogue>I love you. Drive safely.</dialogue> <scene_description>Bridget gets out of the car and watches Mary speed off.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGET AND EDDIE'S HOUSE - EMMA'S ROOM - DAY</stage_direction> <scene_description>Bridget knocks and enters. Emma is on her bed, with her computer, in headphones. A beat, then:</scene_description> <character>BRIDGET</character> <dialogue>Are you all right?</dialogue> <character>EMMA</character> <dialogue>I'm fine.</dialogue> <character>BRIDGET</character> <dialogue>Talk to me.</dialogue> <character>EMMA</character> <dialogue>Are you gonna tell me I'm wrong?</dialogue> <character>BRIDGET</character> <dialogue>No.</dialogue> <scene_description>Emma sighs and pulls her headphones off.</scene_description> <character>EMMA</character> <dialogue>Do you think this is some big shock or something?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You've been pleasing other people for 40 years. The next 40 years should belong to you.</dialogue> <scene_description>Bridget stands there, processing the wisdom of her daughter.</scene_description> <character>EMMA</character> <dialogue>I wanna move to Chicago. Nicky needs a barback. And I need a life.</dialogue> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>That clock ticks. Ruth and Bert sleep. His eyes open. He blinks a few times, then looks over at Ruth. She is still. He watches her for a long moment.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - KITCHEN - NIGHT</stage_direction> <scene_description>Bert sits in a kitchen chair in his bathrobe. With shaking hands, he dials 911 on the land line.</scene_description> </scene> <scene> <stage_direction>EXT. OAK PARK CONDO - FRONT ENTRANCE - NIGHT</stage_direction> <scene_description>Bert walks into the vestibule, still in his bathrobe, holding the phone. He slides down the glass and sits on the ground against it and listens as sirens grow in the distance.</scene_description> </scene> <scene> <stage_direction>INT. RACHEL'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Nick sleeps with Rachel beside him, her arm around his waist. His cell phone rings on the side table. Rachel moans. He grabs for the phone and sits up.</scene_description> <character>NICK</character> <dialogue>Hello.</dialogue> <scene_description>As he listens, he drops his head into his hands.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bridget is asleep. Her cell phone rings on the night table. She reaches for it.</scene_description> <character>BRIDGET</character> <dialogue>Hello?</dialogue> <scene_description>She lays for a long time, listening, expressionless, until:</scene_description> <character>BRIDGET</character> <dialogue>Okay.</dialogue> <scene_description>She hangs up. She slowly rises and sits at the edge of the bed, absolutely still for a very long moment.</scene_description> </scene> <scene> <stage_direction>INT. FUNERAL HOME - VIEWING ROOM - DAY</stage_direction> <scene_description>It's a large viewing room, and it's full. The whole family stands in front of a casket, receiving a long line of guests. At the end of the line is Ruth. She's beautiful, in a black suit, greeting guests, truly remembering everybody or doing a darn good job of faking it. Nate scampers around with a LITTLE GIRL, both in Sunday best. Marion is nearby, holding court to a cleaned up Gerry Hoffsteader. Nick walks up and gives Gerry a stare-down. In a corner, a SCREEN plays OLD SUPER 8 FAMILY FOOTAGE.</scene_description> </scene> <scene> <stage_direction>INT. FUNERAL HOME - VIEWING ROOM - NIGHT</stage_direction> <scene_description>It's later. Quieter. Bridget and Nick stand at the casket, greeting the stragglers. Eddie, Mary and David sit nearby. In a corner, Emma sits with Ruth, who stares down at a folded paper program. On the cover is a recent picture of Bert. Ruth looks up from the program and looks around, anxious.</scene_description> <character>RUTH</character> <dialogue>This looks like a wake. Is this a wake?</dialogue> <character>EMMA</character> <dialogue>Yes.</dialogue> <character>RUTH</character> <dialogue>See, that's what I thought it was.</dialogue> <scene_description>She looks down at the program again. Bridget walks over.</scene_description> <character>BRIDGET</character> <parenthetical>(quietly to Emma)</parenthetical> <dialogue>How we doing?</dialogue> <scene_description>Emma shakes her head. Bridget sits on the other side of Ruth.</scene_description> <character>EMMA</character> <parenthetical>(quietly to Bridget)</parenthetical> <dialogue>Should we take her home?</dialogue> <character>BRIDGET</character> <dialogue>You ready to go, Mom?</dialogue> <scene_description>Ruth is concentrating on the picture of Bert on the program.</scene_description> <character>RUTH</character> <dialogue>I just - I can't figure out for the life of me whose wake this is.</dialogue> <scene_description>She opens the program and puts her finger on the name inside. Traces along as she reads the words out loud.</scene_description> <character>RUTH</character> <dialogue>Norbert. Ivan. Keller.</dialogue> <scene_description>She inhales sharply. She understands.</scene_description> <character>RUTH</character> <dialogue>Oh.</dialogue> <scene_description>She looks out distantly at the room.</scene_description> <character>RUTH</character> <dialogue>How could I have forgotten that?</dialogue> </scene> <scene> <stage_direction>EXT. FUNERAL HOME - PARKING LOT - NIGHT</stage_direction> <scene_description>Bridget comes out of the funeral home carrying a flower arrangement. Nick sits on a curb, smoking a cigarette. She joins him. They sit quietly. And then Nick loses it. She puts her arms around him and holds him as he cries.</scene_description> </scene> <scene> <stage_direction>INT. ST. GILES'S CATHOLIC CHURCH - DAY</stage_direction> <scene_description>Bert's casket is closed at the altar, American Flag draped over the top. Sunlight streams in the stained glass. Bridget stands at the podium.</scene_description> <character>BRIDGET</character> <dialogue>My dad grew up on a farm in a small town called Amboy. He met Ruth O'Shea at an ice cream social and had a thing for her ever since - even though she wouldn't give him the time of day. After high school, Dad went off to Korea. When he came home on leave, his mother told him poor Ruthie O'Shea had gotten polio and hadn't been out of bed in six months. Dad marched over there, picked her up out of bed and carried her, in his arms, to the movies.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>That was that. He never let her go.</dialogue> </scene> <scene> <stage_direction>EXT. AMBOY CEMETERY - DAY</stage_direction> <scene_description>The mourners are huddled. It's a bitter cold day in Amboy. An ANCIENT VETERAN, light blue jacket over his dress blues, plays Taps on a trumpet. An AIR FORCE OFFICIAL hands Ruth Bert's American Flag. The final note of Taps hangs over the endlessly flat snow. TWO OFFICERS fire their weapons once, and then again. There is silence. And then the creaking of the casket being lowered into the ground.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>In the moonlight, Bridget tucks herself quietly into Bert's side of the bed. Bert's smell is everywhere. She turns to the side. Ruth's eyes are open, looking at her.</scene_description> <character>RUTH</character> <dialogue>It was the perfect time.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Any later, I'd have forgotten him. Any earlier, I'd a missed him too much. Right now is perfect. I'll hardly ever know the difference.</dialogue> <scene_description>It takes Bridget's breath away. She looks at Ruth, and Ruth at her, until Ruth's eyes close.</scene_description> </scene> <scene> <stage_direction>INT. CONDO BUILDING - STORAGE CLOSET - DAY/NIGHT</stage_direction> <scene_description>An overhead bulb clicks on. Bridget stands in a small storage closet packed floor to ceiling with her parents' life. She takes a deep breath and starts scouring boxes. She opens one labelled VA PAPERWORK. It's full of Christmas ornaments. She moves it aside and keeps searching. She finds what she's looking for: a box labelled RUTH. She opens it, pulls out old clothes and, at the bottom, a box with a see-through cover. Inside that box is Ruth's wedding gown.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Bridget buttons the back of the dress on Mary. It's enormous.</scene_description> <character>BRIDGET</character> <dialogue>Geez. I guess she was fat then.</dialogue> <character>MARY AND EMMA</character> <dialogue>Mom.</dialogue> <character>EMMA</character> <dialogue>She was not fat.</dialogue> <character>MARY</character> <dialogue>Lemme see it.</dialogue> <scene_description>Mary walks to the full-length mirror. The dress is huge on her, and kind of hideous, but it's perfect.</scene_description> <character>BRIDGET</character> <dialogue>I will never understand how he could look me in the eye and tell me there's no bells and whistles when they had what they had.</dialogue> <character>MARY</character> <dialogue>Well how would he know? She was the only person he ever tried to love. He didn't know he hit the jackpot. He thought it'd be that good with anybody.</dialogue> <scene_description>Bridget stands there, mind totally blown.</scene_description> </scene> <scene> <stage_direction>INT. OAK PARK CONDO - DINING ROOM - DAY</stage_direction> <scene_description>Nick and Bridget stare each other down over reading glasses. The table is strewn with a sea of documents and coffee cups.</scene_description> <character>BRIDGET</character> <dialogue>You hate the car.</dialogue> <character>NICK</character> <dialogue>I don't hate the car.</dialogue> <parenthetical>(then; relenting)</parenthetical> <dialogue>How would you even get it to California?</dialogue> <character>BRIDGET</character> <dialogue>I'm gonna drive it.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>With Mom.</dialogue> <scene_description>Nick blinks at her.</scene_description> <character>BRIDGET</character> <dialogue>It's my turn. And if you wanna fight about it we can fight about it but at the end of the day I got power of attorney, so.</dialogue> <scene_description>They stare each other down. Until:</scene_description> <character>NICK</character> <dialogue>Did somebody find the big girl pants?</dialogue> <character>BRIDGET</character> <dialogue>Shut up.</dialogue> <character>NICK</character> <dialogue>Hope you got Triple A.</dialogue> </scene> <scene> <stage_direction>INT. BERT'S THUNDERBIRD - DAY</stage_direction> <scene_description>The top is down. The car heads into the sun along California wine country, pulling a small U-Haul behind. Bridget drives. Ruth is in the front seat, a scarf on her head. Mary is in back.</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGET'S NEW HOUSE - FRONT DOOR - DAY</stage_direction> <scene_description>Ruth waits in the doorway of Bridget's modest house. Bridget joins her with two cups of coffee.</scene_description> <character>RUTH</character> <dialogue>See I was a fountain girl, in...</dialogue> <character>BRIDGET</character> <dialogue>Amboy.</dialogue> <scene_description>Bridget hands Ruth her coffee. They walk off the front stoop and down the garden path.</scene_description> <character>RUTH</character> <dialogue>In Amboy, my father would come home on the trains, he was a - a...</dialogue> <character>BRIDGET</character> <dialogue>An engineer.</dialogue> <character>RUTH</character> <dialogue>An engineer, and bring me chocolate malts 'cause I had...</dialogue> <character>BRIDGET</character> <dialogue>Polio.</dialogue> <character>RUTH</character> <dialogue>Polio, and consequently...</dialogue> <character>BRIDGET</character> <dialogue>You got fat.</dialogue> <character>RUTH</character> <dialogue>I got fat, mm-hmm.</dialogue> <scene_description>They sit side by side in the garden, sipping their coffees.</scene_description> <character>RUTH</character> <dialogue>Who are we missing? Are we missing somebody?</dialogue> <scene_description>Bridget takes Ruth's locket, opens it and puts it in her hands. Ruth looks at the picture.</scene_description> <character>RUTH</character> <dialogue>My boyfriend.</dialogue> <scene_description>Ruth snaps the locket closed.</scene_description> <character>RUTH</character> <dialogue>He's home. He's waiting for me. He's always hanging around, that turkey.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You got a boyfriend?</dialogue> <character>BRIDGET</character> <dialogue>No.</dialogue> <character>RUTH</character> <dialogue>Watch out. Once he finds you, he is never gonna let you go.</dialogue> </scene> <scene> <stage_direction>INT. NURSING HOME - LONG HALLWAY - DAY</stage_direction> <scene_description>Bridget and Ruth walk arm in arm down a long hallway toward a set of double doors. A keypad is on the wall next to them. Bridget punches in the code. The doors open with a click.</scene_description> </scene> <scene> <stage_direction>INT. NURSING HOME - MEMORY NEIGHBORHOOD - CONTINUOUS</stage_direction> <scene_description>It is bright and cheery. On one wall, a BUS STOP sign sits above a bench. A LADY sits primly on it, purse in her lap. A FEMALE AIDE walks through a doorway and smiles at Ruth.</scene_description> <character>RUTH</character> <dialogue>Is that my baby?</dialogue> <scene_description>She throws her arms around the aide. The aide hugs her back, waving at Bridget over Ruth's shoulder. Bridget watches as Ruth takes the aide's arm and guides her down the hall. At the end, THREE LADIES come out and greet her. They chatter like schoolgirls, all of them battier than hell, and disappear in a gaggle down the hall. Ruth doesn't once look back at Bridget. It never gets easier to be forgotten.</scene_description> </scene> <scene> <stage_direction>EXT. NURSING HOME - PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>Bridget walks to the Thunderbird, parked in the lot with the top down. She gets in and starts the engine. She looks over her shoulder and backs out of the parking space, then puts the car in drive, faces forward, and gasps. An enormous WILD TURKEY stands directly in front of the car. It is staring right at her. She stares back at it. They square off for a long moment. And then the turkey steps out of her way. Bridget, in the T- Bird, smiles, revs the engine and disappears down the road. THE END.:</scene_description> </scene> </script>

When Alzheimer's-stricken Ruth Everhardt wanders into the streets during a blizzard on Christmas Eve, her daughter, Bridget Ertz, travels back to her hometown to help her brother, Nicky, convince their father, Norbert, to put Ruth in a nursing home and face the end of their life together. Ruth returns home with her family and discussions ensue about her future. Nicky has secured a spot for Ruth in one of the premiere assisted care facilities in Chicago, yet Norbert insists that he alone can provide the best care for her. Nicky looks to Bridget for help, but her time away from her parents makes this a challenge to address. Bridget is dealing with her own immediate family issues as she's never connected with her husband, Eddie, while her daughter, Emma, suffers from anxiety and has stopped attending college. Nicky continues arguing with Norbert over Ruth's future and leaves afterwards. Bridget discusses her father's interference in her life just as they notice that Ruth has again disappeared. She is quickly found, but Norbert finally realizes that Ruth must leave for the assisted care facility. Norbert reconciles with Nicky by visiting his tavern. Shortly thereafter, Norbert dies from a heart attack, leaving Nicky devastated. Bridget spends time with Ruth at the care facility and sees how well the staff are treating her. She leaves the facility with a restful smile on her face.

Synecdoche, New York_2008

tt0383028

<script> <scene> <scene_description>SYNECDOCHE, NEW YORK by Charlie Kaufman Darkness. The sound of a radio and pots and pans clanging fades in. Caden, 40, opens his eyes in bed, and groggily looks at himself in the bureau mirror. The bedside clock reads 7:45.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - SAME</stage_direction> <scene_description>Adele, 40, in t-shirt and sweats, mixes a bowl of instant oatmeal, puts it in the microwave.</scene_description> <character>RADIO VOICE</character> <dialogue>... a Labor Day luncheon today --</dialogue> <character>OLIVE (O.S.)</character> <dialogue>Mommy!</dialogue> <character>RADIO VOICE</character> <dialogue>Done!</dialogue> <character>ADELE</character> <dialogue>Okay!</dialogue> <character>RADIO VOICE</character> <dialogue>-- in downtown Schenectady --</dialogue> <scene_description>Adele leaves the kitchen. Caden, also 40, enters as she's leaving. He's dressed in a ratty terrycloth robe.</scene_description> <character>CADEN</character> <dialogue>Morning.</dialogue> <character>ADELE</character> <dialogue>Morning. you.</dialogue> <character>CADEN</character> <dialogue>Thanks. You didn't. I was just --</dialogue> <scene_description>As Caden's voice goes under, we follow Adele into --</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS</stage_direction> <scene_description>Olive, 4, sits on the toilet. Adele enters, rips some toilet paper off the roll and proceeds to wipe Olive. The phone rings in the kitchen.</scene_description> <character>ADELE</character> <dialogue>Caden, could you get that?</dialogue> <character>CADEN (O.S.)</character> <dialogue>It's Maria. I don't want to.</dialogue> <character>ADELE</character> <dialogue>Ugh. Caden!</dialogue> <parenthetical>(looks at bright green smear on toilet paper)</parenthetical> <dialogue>That's weird.</dialogue> <scene_description>The phone stops ringing.</scene_description> <character>OLIVE</character> <dialogue>Is something wrong with my poop?</dialogue> <scene_description>No, honey. It's just green. Hi, it's me. Where are you? Maybe you ate something I'll try you on your cell. green.</scene_description> <character>OLIVE</character> <dialogue>I didn't! What's wrong with me?!</dialogue> <scene_description>A cellphone rings in the other room.</scene_description> <character>ADELE</character> <dialogue>Honey, I have to get this. You're going to be fine.</dialogue> <character>OLIVE</character> <dialogue>But, Mommy --</dialogue> <scene_description>Adele runs into --</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - CONTINUOUS</stage_direction> <scene_description>She rifles through her purse, grabs her cellphone, answers.</scene_description> <character>ADELE</character> <dialogue>Hey.</dialogue> <parenthetical>(laughing)</parenthetical> <dialogue>Oh, wiping Olive's ass. You?</dialogue> <scene_description>Caden is pouring himself a cup of coffee. He sips it and stares out the window. It's raining.</scene_description> <character>ADELE</character> <dialogue>You're kidding! Holy fuck!</dialogue> <scene_description>Caden exits with his coffee, annoyed about the phone call.</scene_description> <character>CADEN</character> <dialogue>I don't feel well.</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS</stage_direction> <scene_description>Caden passes the bathroom. Olive is staring into the toilet bowl. Adele can be heard chatting in the background.</scene_description> <character>OLIVE</character> <dialogue>Daddy, my poop is green.</dialogue> <scene_description>Caden enters the bathroom, looks into the bowl at the green feces and smeared toilet paper. He seems freaked out.</scene_description> <character>OLIVE</character> <dialogue>Am I going to be okay?</dialogue> <scene_description>Of course, honey.</scene_description> <character>OLIVE</character> <dialogue>Did you have green poop when you were little?</dialogue> <character>CADEN</character> <dialogue>I'm sure I did, honey.</dialogue> <character>OLIVE</character> <dialogue>Am I going to die?</dialogue> <character>CADEN</character> <dialogue>Of course not. You probably ate something --</dialogue> <character>OLIVE</character> <dialogue>I didn't! green!</dialogue> <character>CADEN</character> <dialogue>It'll be fine, sweetie. I'll be back in a minute.</dialogue> <character>OLIVE (O.C.)</character> <parenthetical>(calling)</parenthetical> <dialogue>Is poop alive?</dialogue> </scene> <scene> <stage_direction>EXT. CADEN AND ADELE'S HOUSE - FALL 2005 - MORNING</stage_direction> <scene_description>Caden steps out the front door in his bare feet and hurries down the driveway in the rain. He picks up the newspaper, pulls the mail from the box. As he heads back inside, he flips through the mail. There's a magazine called Attending to your Illness addressed to Caden. A diseased person on the cover. Across the street a gaunt man watches Caden, unseen.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - MORNING</stage_direction> <scene_description>Caden sits at the kitchen table with his coffee, reading the paper, dated Friday, October 14, 2005.</scene_description> <character>ADELE</character> <dialogue>All right, baby. See you then.</dialogue> <scene_description>Adele clicks off her cellphone.</scene_description> <character>CADEN</character> <dialogue>Harold Pinter died!</dialogue> <character>ADELE</character> <dialogue>Yeah? Huh. old, right?</dialogue> <character>CADEN</character> <dialogue>Well, he was Prize. Good for him.</dialogue> <character>OLIVE (O.S.)</character> <dialogue>Mom!</dialogue> <scene_description>What?! Do you need to come look at my poop again?!</scene_description> <character>ADELE</character> <dialogue>No, Olive, it's fine. flush.</dialogue> <character>OLIVE (O.S.)</character> <dialogue>Just I kill it? It's green! Like</dialogue> <scene_description>plants!</scene_description> <character>ADELE</character> <dialogue>It's not alive, honey.</dialogue> <character>CADEN</character> <dialogue>God, remember that production of The Dumbwaiter I did at Albanyfest?</dialogue> <scene_description>The toilet is flushed.</scene_description> <character>OLIVE (O.S.)</character> <dialogue>Everything's alive. Everything grows big. That's how you know.</dialogue> <scene_description>Olive enters.</scene_description> <character>ADELE</character> <dialogue>I have your oatmeal, honey.</dialogue> <character>OLIVE</character> <dialogue>I want peanut butter and jelly.</dialogue> <character>ADELE</character> <dialogue>Olive, c'mon. You told me oatmeal. This isn't a restaurant.</dialogue> <character>OLIVE</character> <dialogue>I don't want oatmeal.</dialogue> <scene_description>Adele growls, grabs the oatmeal, dumps it in the sink.</scene_description> <character>OLIVE</character> <dialogue>Sorry, Mommy! I'm sorry!</dialogue> <character>CADEN</character> <dialogue>(looking at paper)</dialogue> <scene_description>They found Avian flu in Turkey. In the country Turkey not turkeys. It's in chickens. Adele is making a peanut butter sandwich for Olive.</scene_description> <character>OLIVE</character> <dialogue>Can I watch TV till school?</dialogue> <scene_description>Caden clicks the remote for Olive and goes back to his paper. A cartoon cow talks to a cartoon sheep. There is a secret, something at play under the surface, growing like an invisible virus of thought. The sheep nods. Caden pours himself some more coffee, opens the milk carton to pour some in, then sniffs at the spout. He checks the date on the carton. It's October 20.</scene_description> <character>CADEN</character> <dialogue>Man.</dialogue> <character>COW</character> <dialogue>Milk's expired.</dialogue> <scene_description>it. Second by second. Every breath counts off time. Caden goes back to his paper. Adele puts a peanut butter sandwich in front of Olive.</scene_description> <character>ADELE</character> <dialogue>Here. Now you better eat this.</dialogue> <character>OLIVE</character> <dialogue>I will.</dialogue> <character>CADEN</character> <dialogue>The first black graduate of the University of Alabama died. Vivian Malone Jones. Stroke. Only 63.</dialogue> <scene_description>Adele stares out the window at the rain.</scene_description> </scene> <scene> <stage_direction>INT. DENTIST'S OFFICE - FALL 2005 - DAY</stage_direction> <scene_description>Caden is in the dentist's chair, a bloody bib around his neck. The dentist, in surgical mask, probes his open mouth, calls out numbers to an assistant, who records them.</scene_description> <character>DENTIST</character> <dialogue>2, 2, 1. 3, 4, 2. 3, 4, 4.</dialogue> <parenthetical>(to Caden)</parenthetical> <dialogue>Family coming for Thanksgiving?</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BATHROOM - WINTER 2005 - NIGHT</stage_direction> <scene_description>Caden shaves. A faucet explodes and smacks him in the forehead. He is sent staggering backwards with a yelp, into the far wall, his razor flying and blood pouring from a jagged cut above his right eyebrow. Off-screen, we hear the pounding footsteps of someone running toward us. Half of Caden's face is covered with shaving cream. Rivulets of blood intermingle with it. Water shoots out where the tap was, spraying the mirror, which is spattered with blood. Adele, dressed in heavily paint-splattered clothes, hurries in and takes in the scene: the wet, the mess, the blood. Jesus! Caden! What the fuck -- ?! Olive, in a nightgown, stands quietly in the doorway, her curled toes clenched. She holds a large stuffed owl.</scene_description> <character>CADEN</character> <dialogue>Um.</dialogue> <character>ADELE</character> <dialogue>I was shaving and -- head!</dialogue> <scene_description>Dumbly, Caden tries to look up at his forehead, then squints nervously at himself in the mirror.</scene_description> <character>ADELE</character> <parenthetical>(to Olive)</parenthetical> <dialogue>Honey, don't look.</dialogue> <scene_description>Olive turns around.</scene_description> <character>ADELE</character> <dialogue>Put pressure. Press. Press!</dialogue> <character>CADEN</character> <dialogue>Do I press above or below it?</dialogue> <character>ADELE</character> <dialogue>I don't know! Just... both!</dialogue> <scene_description>Caden sits on the toilet, presses a towel to his head. Adele squats, goes into a spasmodic coughing fit, finishes, opens the cabinet under the sink, pushes her arm through bottles of cleaning products, old sponges, old toothbrushes, toilet paper rolls and other junk to the shut-off valves.</scene_description> <character>ADELE</character> <dialogue>I can't turn it! It's gonna flood!</dialogue> <scene_description>Olive hugs the owl tightly and it speaks.</scene_description> <character>OWL</character> <dialogue>Whooo. you?</dialogue> <character>ADELE</character> <dialogue>Whooo. Whooo are</dialogue> <scene_description>Adele turns off the water. Olive looks back into the room.</scene_description> <character>OLIVE</character> <dialogue>Mommy, Daddy has blood.</dialogue> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM - WINTER 2005 - NIGHT</stage_direction> <scene_description>Caden sits on a metal table. The room has some meager Christmas ornaments. A doctor stitches Caden's forehead. his work. In the background we hear another patient.</scene_description> <character>PATIENT (O.S.)</character> <parenthetical>(crying)</parenthetical> <dialogue>Please, please, please...</dialogue> <scene_description>Caden sees a nurse shoving a tube far up into a man's nose. Another nurse wipes away the blood leaking out his nostril.</scene_description> <character>CADEN</character> <dialogue>Will there be a scar?</dialogue> <character>DOCTOR</character> <dialogue>Probably. It looks like a mudflap.</dialogue> <character>CADEN</character> <dialogue>I prefer there not be a scar.</dialogue> <character>DOCTOR</character> <dialogue>That fellow is annoying. He's in here every week. Like clockwork.</dialogue> <scene_description>The off-screen patient continues to whimper. The doctor finishes his work on Caden.</scene_description> <character>DOCTOR</character> <dialogue>There. I think that should --</dialogue> <scene_description>He looks at Caden's eyes, turns off the bright lamp and looks again. He turns the lamp back on and looks once more.</scene_description> <character>CADEN</character> <dialogue>What?</dialogue> <scene_description>The doctor feels Caden's pulse, then listens to his heart. He presses hard against the glands in Caden's neck.</scene_description> <character>DOCTOR</character> <dialogue>Changes in bowel movements?</dialogue> <character>CADEN</character> <dialogue>A little more yellow than usual. What?</dialogue> <character>DOCTOR</character> <dialogue>I'd like you to see an ophthalmologist.</dialogue> <character>CADEN</character> <dialogue>A neurologist?</dialogue> <scene_description>What? No, an ophthalmologist. I said, ophthalmologist.</scene_description> <character>CADEN</character> <dialogue>Oh.</dialogue> <scene_description>The doctor stares blankly at Caden for a long moment, then looks suspiciously in Caden's ears.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S CAR - WINTER 2006 - NIGHT</stage_direction> <scene_description>Adele drives and coughs spasmodically. The car swerves a bit. Caden has a bandaged head and a prescription in his hand. Olive, in her car seat, sings. Caden sees revelers in winter coats and party hats outside a house. They blow noisemakers and yell "happy new year!"</scene_description> <character>OLIVE</character> <parenthetical>(singing)</parenthetical> <dialogue>It's a beautiful day and the sun is shining and yellow. And the world is too big to understand and today is Tuesday and --</dialogue> <parenthetical>(speaking)</parenthetical> <dialogue>Mom, is today Tuesday?</dialogue> <character>ADELE</character> <dialogue>No, it's Friday, honey.</dialogue> <character>OLIVE</character> <parenthetical>(singing)</parenthetical> <dialogue>And today is Friday and...</dialogue> <scene_description>Olive's singing continues but goes under.</scene_description> <character>ADELE</character> <dialogue>So what exactly did he say?</dialogue> <character>CADEN</character> <dialogue>My pupils weren't properly dilating and, um, not doing the opposite ...</dialogue> <character>ADELE</character> <dialogue>Constricting.</dialogue> <character>CADEN</character> <dialogue>No.</dialogue> <character>ADELE</character> <dialogue>Yes.</dialogue> <character>CADEN</character> <dialogue>He doesn't know. Maybe. He said he doesn't think so. But maybe. But he doesn't know. But --</dialogue> <scene_description>Okay. I got it. Jesus. Sorry. I'm a little anxious.</scene_description> <character>OLIVE</character> <dialogue>Did you have to get a shot, Daddy?</dialogue> <character>CADEN</character> <dialogue>No, honey.</dialogue> <parenthetical>(to Adele)</parenthetical> <dialogue>It's the start of something awful.</dialogue> <character>OLIVE</character> <dialogue>Do I have to get a shot?</dialogue> <character>CADEN</character> <dialogue>What? No. Of course not.</dialogue> <parenthetical>(pause, to Adele)</parenthetical> <dialogue>This is really fucked timing.</dialogue> <character>ADELE</character> <dialogue>Caden.</dialogue> <character>CADEN</character> <dialogue>Sorry.</dialogue> <character>OLIVE</character> <dialogue>Bad timing. poop?</dialogue> <character>ADELE</character> <dialogue>Remind me to call the plumber, would you? I need a to-do list. Caden!</dialogue> <character>CADEN</character> <dialogue>(realizing) I have rehearsal! Fuck!</dialogue> <character>CADEN</character> <dialogue>Sorry.</dialogue> <character>OLIVE</character> <dialogue>How many years till I have to get more shots?</dialogue> <character>ADELE</character> <dialogue>Not for a long time, honey.</dialogue> <scene_description>Caden pulls out a cell phone and dials.</scene_description> <character>OLIVE</character> <dialogue>A million years?</dialogue> <character>ADELE</character> <dialogue>Remember Dr. Woodman said after the last vaccination --</dialogue> <character>OLIVE</character> <dialogue>Dad, what's a plumber?</dialogue> <character>CADEN</character> <dialogue>He's the man who --</dialogue> <scene_description>Or woman, Dad. Right. He's the man or woman who fixes sinks and toilets and... do you know what pipes are?</scene_description> <character>OLIVE</character> <dialogue>No.</dialogue> <character>CADEN</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hey, Jim. I know. I'm sorry. I had an accident. No, I'm okay.</dialogue> <character>OLIVE</character> <dialogue>Like to smoke out of?</dialogue> <character>CADEN</character> <dialogue>Different kind of pipe.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>Just run lines. I'll be there soon. 'kay.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>Houses have pipes. They're, like, tubes and they're behind walls and under the floor everywhere and --</dialogue> <scene_description>Olive begins to whimper in horror.</scene_description> <character>ADELE</character> <dialogue>What's wrong, baby?</dialogue> <character>OLIVE</character> <parenthetical>(hushed anxious whisper)</parenthetical> <dialogue>Every-single-where?</dialogue> <character>CADEN</character> <dialogue>It's okay. They just carry water to and from sinks and bathtubs and toilets. It's like in your body you have veins and ... um...</dialogue> <character>ADELE</character> <dialogue>Capillaries.</dialogue> <character>CADEN</character> <dialogue>And they're filled with blood.</dialogue> <scene_description>Olive is crying in earnest now.</scene_description> <character>OLIVE</character> <dialogue>I don't want blood. I have blood?</dialogue> <parenthetical>(to Caden)</parenthetical> <dialogue>What are you doing? Jesus.</dialogue> <character>CADEN</character> <dialogue>I'm trying to explain plumbing.</dialogue> <character>ADELE</character> <dialogue>Well, stop it.</dialogue> <parenthetical>(to Olive)</parenthetical> <dialogue>It's okay, honey.</dialogue> <character>OLIVE</character> <parenthetical>(weeping)</parenthetical> <dialogue>I don't want blood. Will it hurt? Will it hurt, Daddy?!</dialogue> <character>CADEN</character> <dialogue>No, honey, you're fine.</dialogue> <character>OLIVE</character> <dialogue>I don't want blood! I don't want blood! I don't want blood...</dialogue> <character>CADEN</character> <dialogue>(holding head) I can't do this now.</dialogue> <character>ADELE</character> <dialogue>You don't have to worry, baby. You don't have blood.</dialogue> <character>CADEN</character> <dialogue>Well, I don't think you should tell her she doesn't have blood.</dialogue> <character>ADELE</character> <dialogue>Caden, stop it!</dialogue> <scene_description>Olive cries. Adele coughs. Caden stares out the window. It's dark, but his pupils are pinpricks.</scene_description> </scene> <scene> <stage_direction>INT. OPHTHALMOLOGIST'S OFFICE - WINTER 2006 - DAY</stage_direction> <scene_description>An ophthalmologist examines Caden's eyes. An eyeglass calendar on the wall is open to March 2006.</scene_description> <character>CADEN</character> <dialogue>Thanks for getting me in right away.</dialogue> <scene_description>The doctor touches Caden's eye repeatedly with a small probe.</scene_description> <character>CADEN</character> <dialogue>Is it the bump to the head?</dialogue> <scene_description>No. (writes in chart, then:) Could be. But I think we need to get you to a neurologist. Nothing urgent.</scene_description> <character>CADEN</character> <dialogue>A neurologist?</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>Yes, a brain expert.</dialogue> <character>CADEN</character> <dialogue>I know what a neurologist is.</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>Fine. I just thought from</dialogue> <scene_description>the way you asked --</scene_description> <character>CADEN</character> <dialogue>I thought maybe you said urologist. Why do I need to see a neurologist?</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>For a look-see. The eyes are part of the brain, after all.</dialogue> <character>CADEN</character> <dialogue>That's not true, is it?</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>Why would I say it if it weren't true?</dialogue> <character>CADEN</character> <dialogue>It just doesn't seem right.</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>Like morally correct? Or right as in accurate?</dialogue> <character>CADEN</character> <dialogue>I'm not sure. Accurate, I guess.</dialogue> <character>OPHTHALMOLOGIST</character> <dialogue>Hmm. Interesting.</dialogue> <scene_description>The doctor writes in Caden's chart.</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER - 2006 - DAY</stage_direction> <scene_description>Caden sits in the almost empty theater. A few people with note-pads are scattered around. Centerstage, a 1948 Dodge Business Coupe. The car is surrounded by various rooms from that period: a kitchen, bedrooms, etc. Claire, the actress playing Linda Loman, sits in the set's bedroom. Davis, the actor playing Biff, lies on the top bunk of a bunk bed upstage. A fourth actor, playing Happy, lies on the bottom bunk.</scene_description> <character>CLAIRE (AS LINDA)</character> <dialogue>Willy, you coming up!!!!</dialogue> <character>TOM (AS WILLY)</character> <dialogue>Sssssh!!</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>Willy?</dialogue> <scene_description>Tom climbs in the car.</scene_description> <character>CLAIRE (AS LINDA)</character> <dialogue>Willy? Answer me!...Willy!</dialogue> <scene_description>Tom starts the car and guns the engine. A brick wall off stage speeds into the car, accompanied by crashing and screeching sound effects.</scene_description> <character>CLAIRE (AS LINDA)</character> <dialogue>No!!!</dialogue> <character>DAVIS (AS BIFF)</character> <dialogue>Pop!!</dialogue> <scene_description>The wall continues to be pulled past the car crashing into the rest of the set, knocking walls over, creating havoc. A lamp post falls and hits Claire, knocking her over. (running to stage) Yeah yeah, I'm fine. It's no Oh crap, Claire, are you big deal. okay?</scene_description> <character>CADEN</character> <dialogue>David, what's happening here?</dialogue> <character>DAVID</character> <dialogue>(looking back from seat)</dialogue> <scene_description>Sorry, Caden. Hold on. David runs on stage to deal with the mess.</scene_description> <character>CADEN</character> <dialogue>It's too late in the game to be having these problems, David.</dialogue> <parenthetical>(to Claire)</parenthetical> <dialogue>You're sure you're okay?</dialogue> <character>CLAIRE</character> <dialogue>God yes, it was funny.</dialogue> <character>DAVID</character> <dialogue>I know, Caden. I'm sorry. We'll get it.</dialogue> <scene_description>Tom emerges from the car, covered with stage blood.</scene_description> <character>CADEN</character> <dialogue>Please.</dialogue> <parenthetical>(to Tom)</parenthetical> <dialogue>That was good, Tom.</dialogue> <character>TOM</character> <dialogue>Yeah? I was trying something different. I was crashing differently. Ambivalently.</dialogue> <character>CADEN</character> <dialogue>I saw that. I like it.</dialogue> <scene_description>Caden meets Tom at the foot of the stage. Behind them a group of technicians are lifting the wall and trying to re- set it. Claire primps in the bureau mirror.</scene_description> <character>CADEN</character> <dialogue>Try to keep in mind that a young person playing Willy Loman thinks he's only pretending to be at the end of a life full of despair. But the tragedy is that we know that you, the young actor, will end up in this very place of desolation.</dialogue> <character>TOM</character> <parenthetical>(taking this in)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Great. Let's try it again. (calling) How long, David?</scene_description> <character>DAVID</character> <dialogue>I think fifteen.</dialogue> <character>CADEN</character> <dialogue>Why don't you get cleaned up, Tom, and we'll go again.</dialogue> <scene_description>Tom exits. Caden rubs his temples, then heads to the back of the house, pulling out his cell phone. He exits the theater.</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER LOBBY - 2006 - DAY</stage_direction> <scene_description>Caden passes the box office. Hazel, 35, sits inside, reading a novel. She looks up, smiles warmly, and waves.</scene_description> <character>HAZEL</character> <dialogue>I just heard the death of the salesman.</dialogue> <character>CADEN</character> <dialogue>In more ways than one.</dialogue> <character>HAZEL</character> <parenthetical>(compassionately)</parenthetical> <dialogue>Oh no.</dialogue> <parenthetical>(then:)</parenthetical> <character>CADEN</character> <parenthetical>(holding up cell phone)</parenthetical> <dialogue>In search of elusive signal.</dialogue> <scene_description>Signal's good here, oddly. She pats her lap in a friendly manner.</scene_description> <character>CADEN</character> <dialogue>That is odd.</dialogue> <character>HAZEL</character> <dialogue>I know! Cell phones, they're crazy!</dialogue> <character>CADEN</character> <dialogue>(chuckles)</dialogue> <character>HAZEL</character> <dialogue>(back in her book)</dialogue> <scene_description>See you in a few. Yup.</scene_description> </scene> <scene> <stage_direction>EXT. SCHENECTADY THEATER - 2006 - DAY</stage_direction> <scene_description>Caden has the phone to his ear. He's squinting in the bright sunlight, pupils dilated. The gaunt man watches him unseen.</scene_description> <character>CADEN</character> <dialogue>Dr. Heshborg said I should see Dr. Scariano. My pupils don't work.</dialogue> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER BOX OFFICE - 2006 - CONTINUOUS</stage_direction> <scene_description>Hazel reads the first page of Swann's Way. The other volumes of In Search of Lost Time are stacked neatly nearby. She looks up and sees Caden standing outside the box office window watching her.</scene_description> <character>HAZEL</character> <dialogue>I keep reading the first line. It's a good line, I think. But I don't know much about literature.</dialogue> <character>CADEN</character> <dialogue>Maybe you should read the first line of another series of books.</dialogue> <character>HAZEL</character> <dialogue>I'm trying to better myself, Caden. Recommend me something. You're a genius; you must've read nearly a dozen books.</dialogue> <character>CADEN</character> <dialogue>Exactly twelve. Have you read Kafka?</dialogue> <scene_description>Um, I've read his name. A lot! I swear! His whole name?</scene_description> <character>HAZEL</character> <dialogue>Okay, not his entire name. Heinz?</dialogue> <character>CADEN</character> <parenthetical>(laughs)</parenthetical> <dialogue>You should read The Trial, maybe.</dialogue> <character>HAZEL</character> <dialogue>If you say so, I will. Can't wait till Wednesday. I'm so excited to see it.</dialogue> <character>CADEN</character> <dialogue>I hope you like it.</dialogue> <character>HAZEL</character> <dialogue>It's pretty impossible that I won't, you know. I mean...</dialogue> <scene_description>She trails off, shrugs. They smile at each other. Caden exits. Hazel looks at her book, re-reads the first sentence.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BATHROOM - 2006 - NIGHT</stage_direction> <scene_description>Caden sits on the toilet. He finishes, looks in the bowl. His bowel movement is dark and loose.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BEDROOM - 2006 - NIGHT</stage_direction> <scene_description>Adele lies in bed asleep. Caden steps out of the bathroom and climbs into bed.</scene_description> <character>CADEN</character> <dialogue>I think I have blood in my stool.</dialogue> <scene_description>Adele looks over, half asleep.</scene_description> <character>ADELE</character> <dialogue>That stool in your office?</dialogue> </scene> <scene> <stage_direction>INT. THERAPIST'S OFFICE - 2006 - DAY</stage_direction> <scene_description>Caden and Adele sit across from Madeline, 40's, their therapist. Silence. Adele has a coughing fit. Then:</scene_description> <character>ADELE</character> <dialogue>When I was pregnant with Olive...</dialogue> <character>MADELINE</character> <dialogue>What was it like?</dialogue> <scene_description>Um... I don't know. Hopeful or something. Like something was going to change.</scene_description> <character>MADELINE</character> <dialogue>Something did, no?</dialogue> <character>ADELE</character> <dialogue>Yes, of course.</dialogue> <character>CADEN</character> <dialogue>Yes.</dialogue> <character>ADELE</character> <dialogue>Maybe not as much as I had hoped. That's a terrible thing to say.</dialogue> <character>MADELINE</character> <dialogue>There are no terrible things to say in here. Only true and false.</dialogue> <character>ADELE</character> <dialogue>I feel alone sometimes. I feel exhausted. Can I say something awful?</dialogue> <character>MADELINE</character> <dialogue>Yes. Please do.</dialogue> <character>ADELE</character> <dialogue>I've fantasized about Caden dying and being able to start again. Guilt free. I know it's terrible.</dialogue> </scene> <scene> <stage_direction>EXT. SCHENECTADY THEATER - 2006 - DAY</stage_direction> <scene_description>Caden sits sadly on the steps; drinks coffee. He watches as Hazel pulls into the parking lot, gets out of her car. The gaunt man is behind the trash bin. She sits next to Caden.</scene_description> <character>CADEN</character> <dialogue>It's a nightmare in there.</dialogue> <character>HAZEL</character> <dialogue>The car crash?</dialogue> <character>CADEN</character> <dialogue>Well... not only.</dialogue> <character>HAZEL</character> <dialogue>Sorry. So I'm reading The Trial.</dialogue> <character>CADEN</character> <dialogue>Yeah? You like?</dialogue> <scene_description>Love. I'm such an idiot for not knowing about this book. (conspiratorial whisper) It's famous, it turns out.</scene_description> <character>CADEN</character> <dialogue>You're not an idiot.</dialogue> <scene_description>Pause.</scene_description> <character>HAZEL</character> <dialogue>Then you say, in fact, you're very bright, Hazel. And I love your eyes.</dialogue> <character>CADEN</character> <dialogue>In fact, you're very bright, Hazel. And I love your eyes.</dialogue> <character>HAZEL</character> <dialogue>(playing charmed) Oh, am I? Oh, do you?</dialogue> <scene_description>darling!</scene_description> <character>CADEN</character> <dialogue>Then what do I say?</dialogue> <character>HAZEL</character> <dialogue>I can't say what then you say.</dialogue> <character>CADEN</character> <dialogue>Why?</dialogue> <character>HAZEL</character> <dialogue>Cause it's dirty.</dialogue> <scene_description>A whistling noise turns their heads. In the distance a man with an unopened parachute is plummeting.</scene_description> <character>HAZEL</character> <dialogue>Oh my God! Jesus!</dialogue> <scene_description>They watch as the man falls behind a building. A scream. A screech of brakes.</scene_description> <character>HAZEL</character> <dialogue>He's gotta be dead. Right?</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BATHROOM - 2006 - DAY</stage_direction> <scene_description>Caden enters. The plumber is working on the sink.</scene_description> <character>PLUMBER</character> <dialogue>Go ahead. I've seen boy parts.</dialogue> <scene_description>The studio is a mess, the floor covered with paint. Adele, in her paint-spattered clothing, works on a tiny canvas, an inch square. She paints with a single-hair brush while looking through a magnifying glass. Caden pokes his head in.</scene_description> <character>CADEN</character> <dialogue>Can I piss in your sink?</dialogue> <character>ADELE</character> <dialogue>Um, yeah, I guess.</dialogue> <scene_description>Caden pisses in the sink in the corner of the studio. His urine is amber. He finishes and peeks over Adele's shoulder, through the magnifying glass at the painting. It's an amazingly detailed and angrily colored painting of a woman in a state of profound despair, screaming to the heavens, while standing in a field of flames.</scene_description> <character>CADEN</character> <dialogue>It's gorgeous, Ad.</dialogue> <character>ADELE</character> <dialogue>Thanks. How was rehearsal?</dialogue> <character>CADEN</character> <dialogue>Awful. We have five hundred and sixty lighting cues. I don't know why I made it so complicated.</dialogue> <character>ADELE</character> <dialogue>It's what you do.</dialogue> <character>CADEN</character> <dialogue>Yeah. Anyway, we got through it. I think you'll be impressed.</dialogue> <character>ADELE</character> <dialogue>Caden, listen, I'm really sorry. I just can't go tonight.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>I'm sorry. I've got to get two canvases ready to ship. By tomorrow. I know it sucks.</dialogue> <character>CADEN</character> <dialogue>But it's opening night.</dialogue> <character>ADELE</character> <dialogue>I know. I'm sorry. go if I could.</dialogue> <character>CADEN</character> <dialogue>I have to get ready.</dialogue> <scene_description>I'll go tomorrow! We'll make I mean, I can't take a dump tomorrow like the premiere! in your sink! What am I supposed to do? I have to get ready!</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER - 2006 - NIGHT</stage_direction> <scene_description>The theater is full. Caden stands nervously in the back. The lights dim. Hazel looks back from her seat at Caden and mouths the word "yay." He smiles. The curtain rises on a dark stage. Tom, as Willy, gets out of the car parked center stage and walks into the kitchen.</scene_description> <character>TOM (AS WILLY)</character> <dialogue>Oh boy, oh boy.</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>Willy!</dialogue> <character>TOM (AS WILLY)</character> <dialogue>It's all right, I came back.</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>Why? What happened?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Did something happen, Willy?</dialogue> <character>TOM (AS WILLY)</character> <dialogue>No, nothing happened.</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>You didn't smash the car, did you?</dialogue> <character>TOM (AS WILLY)</character> <dialogue>I said nothing happened. Didn't you hear me?</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>Don't you feel well?</dialogue> <character>TOM (AS WILLY)</character> <dialogue>I'm tired to death. I couldn't make it. I just couldn't make it, Linda.</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>Where were you all day? You look terrible.</dialogue> <character>TOM (AS WILLY)</character> <dialogue>I got as far as a little above Yonkers. I stopped for a cup of coffee... maybe it was the coffee.</dialogue> <scene_description>What?</scene_description> <character>TOM (AS WILLY)</character> <dialogue>I suddenly couldn't drive any more. The car kept going off onto the shoulder, y'know?</dialogue> <scene_description>The audience is rapt. Caden relaxes.</scene_description> </scene> <scene> <stage_direction>INT. QUINCY'S, BACK ROOM - 2006 - NIGHT</stage_direction> <scene_description>The cast party is in full swing. The opening was a success. Lots of drinking. Caden chats with Claire. Hazel watches from across the room.</scene_description> <character>CLAIRE</character> <parenthetical>(scrunching her nose)</parenthetical> <dialogue>Ugh, I hated myself tonight. Plus I'm so bloated and enormous.</dialogue> <scene_description>No. You looked great. You I thought Tom was amazing! were great. I was very pleased.</scene_description> <character>CADEN</character> <dialogue>Yeah. Absolutely.</dialogue> <parenthetical>(squints suddenly)</parenthetical> <dialogue>Sorry. I have a bit of a headache.</dialogue> <character>CLAIRE</character> <parenthetical>(kisses his forehead)</parenthetical> <dialogue>I just want to thank you for everything. You've been absolutely brilliant and it's going to be miserable going ahead without you.</dialogue> <character>CADEN</character> <dialogue>I'll be around. I'll check in.</dialogue> <scene_description>She gets teary, gives him a kiss on the cheek.</scene_description> <character>CLAIRE</character> <dialogue>God, I'm such a baby.</dialogue> <scene_description>She just looks at him and smiles and nods.</scene_description> <character>CLAIRE</character> <dialogue>I'm going to get drunk, that's what.</dialogue> <character>CADEN</character> <dialogue>Ok, Claire.</dialogue> <scene_description>She backs away and gets lost in the crowd. Caden massages his temples. Suddenly Hazel is next to him.</scene_description> <character>HAZEL</character> <dialogue>I figured I'd better get in fast.</dialogue> <character>CADEN</character> <dialogue>Hey!</dialogue> <character>HAZEL</character> <dialogue>I loved it! And, by the way, Claire is trouble. And not terribly bright.</dialogue> <scene_description>Caden laughs.</scene_description> <character>HAZEL</character> <dialogue>Just wanted you to know the word on the street.</dialogue> <scene_description>So you liked it?</scene_description> <character>HAZEL</character> <dialogue>Are you kidding? I cried for like fifteen minutes after. I loved every minute of it. Except Claire. I thought she was weak.</dialogue> <character>CADEN</character> <dialogue>Easy on the eyes.</dialogue> <character>HAZEL</character> <dialogue>Oh, Caden, not you, too. What I want to know is why she started crying in her last monologue, right after she had the line, 'I can't cry for you Willy...'?</dialogue> <character>CADEN</character> <parenthetical>(laughing)</parenthetical> <dialogue>She felt very strongly that it was right.</dialogue> <scene_description>They sip their drinks.</scene_description> <character>HAZEL</character> <dialogue>Where's el wife-o?</dialogue> <character>CADEN</character> <dialogue>Had to work. Her Berlin show is in two weeks. We're going to spend like a month there.</dialogue> <character>HAZEL</character> <dialogue>Ah.</dialogue> <character>CADEN</character> <dialogue>Ah.</dialogue> <character>HAZEL</character> <dialogue>Ah.</dialogue> <character>CADEN</character> <dialogue>Choo!</dialogue> <character>HAZEL</character> <dialogue>Hooray! We've still got it!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'll miss you.</dialogue> <character>CADEN</character> <dialogue>Yeah, me too.</dialogue> <scene_description>You're going to miss you? Yeah, that's it.</scene_description> <character>HAZEL</character> <parenthetical>(pause)</parenthetical> <dialogue>Why do I like you so much?</dialogue> <scene_description>I couldn't begin to guess.</scene_description> <character>HAZEL</character> <parenthetical>(sighing)</parenthetical> <dialogue>Me neither. It must be that you're married. Do you get high, my friend?</dialogue> <character>CADEN</character> <dialogue>Y'know. Sometimes.</dialogue> <character>HAZEL</character> <dialogue>You want to now? With me. In my car.</dialogue> <character>CADEN</character> <dialogue>I don't know.</dialogue> <character>HAZEL</character> <dialogue>Come on, it's a party.</dialogue> <character>CADEN</character> <dialogue>I get kind of... something when I'm stoned.</dialogue> <character>HAZEL</character> <dialogue>What does something mean?</dialogue> <character>CADEN</character> <dialogue>I don't know. Bothered?</dialogue> <character>HAZEL</character> <dialogue>What does bothered mean?</dialogue> <character>CADEN</character> <dialogue>Y'know... bothered. Horny.</dialogue> <character>HAZEL</character> <dialogue>And me with a station wagon and all. Could be dangerous.</dialogue> <character>CADEN</character> <parenthetical>(laughing)</parenthetical> <dialogue>Yeah, it really could.</dialogue> <character>HAZEL</character> <dialogue>You're absolutely zero fun.</dialogue> <character>CADEN</character> <dialogue>You know I wish I could.</dialogue> <character>HAZEL</character> <dialogue>Jesus, I like you. I'm going.</dialogue> <character>CADEN</character> <dialogue>You're not staying for the reviews?</dialogue> <scene_description>I know it's brilliant. I don't need some dope with elbow patches telling me. She smiles, gives him a hug, and heads toward the door.</scene_description> </scene> <scene> <stage_direction>INT. HAZEL'S CAR - 2006 - NIGHT</stage_direction> <scene_description>Hazel drives down a dark street, crying. People watch her passing car from various windows. There's a run-over dog, lit by a streetlight, glistening on the side of the road.</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL SCHENECTADY STREET - 2006 - A FEW MOMENTS</stage_direction> <character>LATER</character> <dialogue>Hazel studies the dog. It's a bloody, gutty mess, squashed flat. Against all odds, it's still alive. Its head is lolling. She bends down to pet it.</dialogue> <character>HAZEL</character> <dialogue>You're not going to make it, baby.</dialogue> </scene> <scene> <stage_direction>INT. HAZEL'S BATHROOM (APARTMENT) - 2006 - NIGHT</stage_direction> <scene_description>Hazel takes off her make-up, hair back in a clip. She watches herself blankly in the mirror, somewhat erased without eye make-up. The run-over dog is sleeping in a box on the floor.</scene_description> </scene> <scene> <stage_direction>INT. QUINCY'S, BACK ROOM - 2006 - ABOUT DAWN</stage_direction> <scene_description>The party has thinned out. The remaining people are sitting around a table, drinking. Claire, next to Caden, rests her head, sleepily drunk, against his shoulder. Caden studies a series of lumps under the skin of his arm.</scene_description> <character>CLAIRE</character> <dialogue>What are you going to do now?</dialogue> <character>CADEN</character> <dialogue>I'm going to Berlin for a month for my wife's show. Then I don't know.</dialogue> <character>CLAIRE</character> <dialogue>I wish I was your wife or a wife or had a wife. Or was German even. I'm so lonely with none of those things.</dialogue> <scene_description>A man walks in with a bunch of newspapers. Yay or nay?</scene_description> </scene> <scene> <stage_direction>EXT. BURNING HOUSE - 2006 - DAY</stage_direction> <scene_description>Hazel gets out of her car and walks up to a neat little house on a street of neat little houses. Faint swirls of smoke escape from the windows. She rings the doorbell. The button is hot; Hazel pulls her finger away.</scene_description> </scene> <scene> <stage_direction>INT. BURNING HOUSE - 2006 - A FEW MOMENTS LATER</stage_direction> <scene_description>The rooms are hazy. The realtor coughs a little. Hazel surveys the scene.</scene_description> <character>HAZEL</character> <dialogue>I've always loved this house.</dialogue> <character>REALTOR</character> <dialogue>Yes.</dialogue> <character>HAZEL</character> <dialogue>It's a wonderful place.</dialogue> <scene_description>imagined I could afford it.</scene_description> <character>REALTOR</character> <dialogue>The sellers are very motivated now.</dialogue> <character>HAZEL</character> <dialogue>It's a scary decision. I never thought I'd buy a house alone. But, y'know, I'm 36, and I wonder what I'm really waiting for.</dialogue> <character>REALTOR</character> <dialogue>Home-buying is always scary.</dialogue> <character>HAZEL</character> <dialogue>But I mean with the fire and all especially.</dialogue> <character>REALTOR</character> <dialogue>It's a good size though, twenty-two hundred square feet. Not including the partially-finished basement</dialogue> <character>HAZEL</character> <dialogue>I don't know. I'm thinking I should go.</dialogue> <character>REALTOR</character> <dialogue>It's a perfect size for someone alone.</dialogue> <character>HAZEL</character> <dialogue>I like it, I do. But I'm really concerned about dying in the fire.</dialogue> <character>REALTOR</character> <dialogue>It's a big decision, how one prefers to die. Would you like to meet my son? Derek?</dialogue> <character>DEREK</character> <dialogue>Hey, Mom.</dialogue> <character>REALTOR</character> <dialogue>Derek's living in the basement since his divorce. If that's okay.</dialogue> </scene> <scene> <stage_direction>INT. ADELE AND CADEN'S LIVING ROOM - 2006 - DAWN</stage_direction> <scene_description>Caden enters. Adele sits at the table across from Maria, 40. They are drunk and eating nachos.</scene_description> <character>ADELE</character> <dialogue>Hey.</dialogue> <character>CADEN</character> <dialogue>Hey.</dialogue> <character>MARIA</character> <dialogue>Hi, Caden. How'd it go?</dialogue> <character>CADEN</character> <dialogue>Hi. It's late.</dialogue> <character>ADELE</character> <dialogue>Maria came over to keep me company and we lost track. I'm sorry I missed the play. But I got everything done here. How'd it go?</dialogue> <character>CADEN</character> <dialogue>We're a hit. Reviews are great. New York Times said it was brilliant to cast young actors as Willy and Linda.</dialogue> <character>ADELE</character> <dialogue>Great.</dialogue> <character>MARIA</character> <dialogue>That's great, Caden! for you!</dialogue> <character>ADELE</character> <dialogue>I'll see it tomorrow. Tonight!</dialogue> <scene_description>Adele and Maria laugh.</scene_description> <character>MARIA</character> <dialogue>Jesus, it is late. Early! I'd love to see it, too.</dialogue> <character>ADELE</character> <dialogue>Can we get a ticket for Maria?</dialogue> <scene_description>Adele smiles.</scene_description> <character>CADEN</character> <dialogue>Are you stoned?</dialogue> <scene_description>A little. I don't know. Y'know? I mean, are you happy with it? Yeah. Love to know what you think.</scene_description> <character>ADELE</character> <dialogue>It doesn't matter what I think.</dialogue> <character>MARIA</character> <dialogue>Absolutely! It's all about your artistic satisfaction, Caden.</dialogue> </scene> <scene> <stage_direction>EXT. RESIDENTIAL SCHENECTADY STREET - SPRING 2006 - DAY</stage_direction> <scene_description>Caden and Olive walk along. Caden holds a tax envelope. His face has pustules on it. The gaunt man follows.</scene_description> <character>OLIVE</character> <dialogue>What's wrong with your face, Daddy?</dialogue> <character>CADEN</character> <dialogue>It's pustules. It's called sycosis. Spelled differently than psychosis, but it sounds the same.</dialogue> <character>OLIVE</character> <dialogue>I don't know what that means.</dialogue> <character>CADEN</character> <dialogue>Well, there's two different kinds of psychosis. They're spelled differently. P-s-y is like if you're crazy and s-y is like these things on my face.</dialogue> <character>OLIVE</character> <dialogue>You could have both though.</dialogue> <character>CADEN</character> <dialogue>I could. But I don't.</dialogue> <character>OLIVE</character> <dialogue>Okay, pretend we're fairies. I'm a girl fairy and my name is ... La-ru...lee. And you're a boy fairy and your name is Teeteree.</dialogue> <character>CADEN</character> <dialogue>Ok.</dialogue> <character>OLIVE</character> <dialogue>What's my name again?</dialogue> <character>CADEN</character> <dialogue>La-ru-lee.</dialogue> <scene_description>No. I said ... La-ru-la...ay.</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY POST OFFICE - SPRING 2006 - CONTINUOUS</stage_direction> <scene_description>Caden and Olive are at the back of the long line of people.</scene_description> <character>OLIVE</character> <dialogue>Pretend we fight each other. And I say stop hitting me or I'll die. And you say okay, but you're fibbing. And you hit me again.</dialogue> <character>CADEN</character> <dialogue>Okay.</dialogue> <character>OLIVE</character> <dialogue>Okay. Let's go. Hit me.</dialogue> <scene_description>They pretend to hit each other. Olive makes hissing and roaring noises. She stops.</scene_description> <character>OLIVE</character> <dialogue>Okay. You have to stop hitting me now or I will die.</dialogue> <character>CADEN</character> <dialogue>Okay.</dialogue> <scene_description>He stops.</scene_description> <character>OLIVE</character> <dialogue>No! Pretend you're fibbing! Remember?</dialogue> <scene_description>He mock hits her again. She falls.</scene_description> <character>OLIVE</character> <dialogue>Now I have to die.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Pretend you say you don't want me to die.</dialogue> <character>CADEN</character> <dialogue>I don't want you to die.</dialogue> <character>OLIVE</character> <parenthetical>(compassionate whisper)</parenthetical> <dialogue>But I have to.</dialogue> <character>CADEN</character> <dialogue>But I'll miss you.</dialogue> <scene_description>I have to. And you'll have to wait a million years to see me again. Caden tears up at this and tries to conceal it.</scene_description> <character>OLIVE</character> <dialogue>And I'll be put in a box. And all I'll need is a tiny glass of water. And lots of -- tiny pieces of pizza. And the box will have wings, like an airplane.</dialogue> <character>CADEN</character> <dialogue>Where will it take you?</dialogue> <character>OLIVE</character> <parenthetical>(thinks)</parenthetical> <dialogue>Home.</dialogue> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER - SPRING 2006 - NIGHT</stage_direction> <scene_description>Performance in progress. There is now a cemetery on stage. Linda, Biff, and other characters stand around a gravesite. Caden sits in the audience between Adele and Maria and his parents. He glances over at Adele's stony face. Maria is drunk and blurry.</scene_description> <character>DAVIS (AS BIFF)</character> <dialogue>Let's go, Mom.</dialogue> <character>CLAIRE (AS LINDA)</character> <dialogue>I'll be with you in a minute. Go on, Charley. I want to, just a minute.</dialogue> <scene_description>The other characters exit the stage.</scene_description> <character>CLAIRE (AS LINDA)</character> <parenthetical>(talking to the grave)</parenthetical> <dialogue>I never had a chance to say good- bye. Forgive me, dear. I can't cry.</dialogue> <parenthetical>(begins to cry)</parenthetical> <dialogue>I don't understand it; I can't cry. It seems to me that you're just on another trip. I keep expecting you. Willy, dear, why did you do it? I search and search and I search, and I can 't understand it, Willy. I made the last payment on the house today. Today, dear. And there'll be nobody home. We're free and clear… We're free… We're free… We're free…</dialogue> </scene> <scene> <stage_direction>EXT. URBAN-ISH SCHENECTADY STREET - SPRING 2006 - NIGHT</stage_direction> <scene_description>Caden, Adele, Maria, and his parents walk along. I just -- I don't know what it matters what I think.</scene_description> <character>CADEN'S MOTHER</character> <dialogue>I loved the story. So interesting.</dialogue> <character>CADEN</character> <dialogue>Because your opinion is --</dialogue> <character>ADELE</character> <dialogue>It was good. It was well done. It was very ... successful.</dialogue> <character>MARIA</character> <dialogue>Oh, I thought it was wonnnderful!</dialogue> <character>CADEN'S FATHER</character> <dialogue>Why were the old people so young?</dialogue> <character>CADEN</character> <dialogue>It was a choice, Dad.</dialogue> <character>ADELE</character> <dialogue>I'll</dialogue> <scene_description>explain later. (pause) (to Adele) I can't get excited about But? your restaging someone else's old play. There's nothing personal in it.</scene_description> <character>CADEN</character> <dialogue>I put my soul into that thing.</dialogue> <character>CADEN'S FATHER</character> <dialogue>I mean, they were younger than their kids. That doesn't make sense.</dialogue> <character>ADELE</character> <dialogue>Do you really believe that tripe?</dialogue> <character>CADEN</character> <dialogue>Wow.</dialogue> <character>CADEN'S MOTHER</character> <dialogue>It's not tripe.</dialogue> <scene_description>were so young. It was interesting.</scene_description> <character>ADELE</character> <dialogue>Ok, fine. But it's not you. It's not anyone. It's not real.</dialogue> <character>CADEN</character> <dialogue>People come out crying, saying their lives are changed and --</dialogue> <character>ADELE</character> <dialogue>Great. Be a fucking tool of suburban blue-hair regional theater subscribers. But what are you leaving behind? You act as if you have forever to figure it out.</dialogue> <scene_description>Why are you being like this? Adele has a coughing fit. I'm not being like anything. Are you seeing someone else?</scene_description> <character>ADELE</character> <dialogue>Is that your entire frame of reference for relationship problems?</dialogue> <character>CADEN</character> <dialogue>No. I don't know. It's a stressful time. Our shows. The whole health thing.</dialogue> <character>ADELE</character> <dialogue>Oh, you're fine.</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S LIVING ROOM - SPRING 2006 - MORNING</stage_direction> <scene_description>Caden, in shorts and t-shirt, tiptoes past his parents, sleeping on the fold-out couch.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S KITCHEN - SPRING 2006 - MORNING</stage_direction> <scene_description>Adele sits at the kitchen table with Olive. She drinks coffee and talks on the phone. Olive eats cereal and watches a cartoon. Caden enters. Olive doesn't look away from her show. A cartoon jackal talks to a man who looks like Caden.</scene_description> <character>JACKAL</character> <dialogue>When you are dead there is no time. The world is a timeless rock.</dialogue> <scene_description>Caden pours a cup of coffee, sits down at the table.</scene_description> <character>CADEN</character> <dialogue>I think I might have arthritis.</dialogue> <scene_description>Adele continues to talk on the phone.</scene_description> <character>ADELE</character> <dialogue>No, I know. Exactly.</dialogue> <scene_description>Caden picks up the newspaper. It's dated May 25th, 2006. He flips through, finds the obituaries and starts to read.</scene_description> <character>ADELE</character> <dialogue>Ok. All right. Yeah. Ok, bye.</dialogue> <scene_description>Adele hangs up the phone, looks at the paper.</scene_description> <character>CADEN</character> <dialogue>My joints are stiff. Who was that?</dialogue> <scene_description>Maria.</scene_description> <character>CADEN</character> <dialogue>Right. It's been three hours since you spoke.</dialogue> <character>ADELE</character> <dialogue>Caden, I think I want to go to Berlin with just Olive.</dialogue> <scene_description>Caden looks up.</scene_description> <character>ADELE</character> <dialogue>I think it would be good for us.</dialogue> <scene_description>Silence. Caden's father appears in the doorway.</scene_description> <character>CADEN'S FATHER</character> <dialogue>Morning, kiddos.</dialogue> <character>CADEN</character> <dialogue>(to Adele)</dialogue> <scene_description>Christ. Is this about last night? Caden's father smiles, nods, and exits.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BEDROOM - SPRING 2006 - NIGHT</stage_direction> <scene_description>Adele packs. Caden sits on the bed.</scene_description> <character>CADEN</character> <dialogue>Can I ask you a question, Ad?</dialogue> <scene_description>She looks up at him.</scene_description> <character>CADEN</character> <dialogue>Have I disappointed you somehow?</dialogue> <scene_description>She starts to cry, hugs him.</scene_description> <character>ADELE</character> <dialogue>Caden. I don't know. Y'know? I don't know what I'm doing. It's just a little time apart.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>We'll talk when I get back. Everyone is disappointing. The more you know someone. The whole romantic love thing is just projection. Right? I don't know.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm sorry. I love you. I don't know what I'm doing. We'll talk when I get back.</dialogue> <scene_description>Cobwebs. The room is long abandoned. Caden slumps against a wall and stares into space. He starts to cry and can't stop. Later: Caden watches a paint-spattered TV. A commercial: diffused images of people flying kites, having picnics, watching sunsets. A shot of Caden among them.</scene_description> <character>ANNOUNCER</character> <dialogue>Flurostatin TR allows you to live life when it's your turn to face the challenges of chemotherapy. Ask your doctor if it's right for you.</dialogue> <scene_description>He feels the bumps on his arm, which have grown. He writes down Fluorostatin TR. He starts to clean Adele's studio. Later: The room is sparkling. No more paint anywhere. Caden is on his knees, scrubbing the last bit of dirt. He is sweaty and focused.</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER BOX OFFICE - 2006 - DAY</stage_direction> <scene_description>Caden, neatly groomed, leans on the counter chatting with Hazel. Her crushed dog sleeps on the floor in a box.</scene_description> <character>HAZEL</character> <dialogue>We should get a drink. Be fun.</dialogue> <character>CADEN</character> <dialogue>Be weird.</dialogue> <character>HAZEL</character> <dialogue>I like weird. I like you. See?</dialogue> <scene_description>He doesn't say anything.</scene_description> <character>HAZEL</character> <dialogue>Anyway. I don't want to make you uncomfortable. I just thought it would be a fun diversion. Okay, I do want to make you uncomfortable.</dialogue> <character>CADEN</character> <parenthetical>(laughs)</parenthetical> <dialogue>Oh, Haze. I wish I could.</dialogue> <character>HAZEL</character> <dialogue>You can, Cade. You can!</dialogue> <scene_description>I have an appointment.</scene_description> <character>HAZEL</character> <dialogue>Crease.</dialogue> <character>CADEN</character> <dialogue>What do you mean?</dialogue> <character>HAZEL</character> <dialogue>It's just a word. Don't get all bent out of shape. Jeez.</dialogue> <character>CADEN</character> <dialogue>I won't. Sorry.</dialogue> </scene> <scene> <stage_direction>INT. DENTIST'S OFFICE - 2006 - DAY</stage_direction> <scene_description>The masked dentist probes Caden's mouth. 3, 3, 3. 3, 3, 5. 3, 4, 3. 3, 4,: 4. 5, 3, 3. 2, 4, 3.: (to Caden) Some fives this time. Not good. Keep with the flossing. We'll see in three months.</scene_description> </scene> <scene> <stage_direction>INT. THERAPIST'S OFFICE - DAY</stage_direction> <scene_description>Caden sits across from Madeline.</scene_description> <character>CADEN</character> <dialogue>I'm lonely.</dialogue> <character>MADELINE</character> <dialogue>Yes.</dialogue> <scene_description>Caden notices Madeline's feet in too-small shoes. There are visible blisters and band-aids on her feet.</scene_description> <character>CADEN</character> <dialogue>I'm hurt.</dialogue> <character>MADELINE</character> <dialogue>Yes.</dialogue> <character>CADEN</character> <dialogue>I think Adele's right when she says I'm not doing anything real.</dialogue> <character>MADELINE</character> <dialogue>What would be real?</dialogue> <character>CADEN</character> <dialogue>I'm afraid I'm going to die. They don't know what's wrong with me. I want to do something important. While I'm still here.</dialogue> <scene_description>That would be the time to do it, yes. I have a book that might help you get better.</scene_description> <character>CADEN</character> <dialogue>Better?</dialogue> <character>MADELINE</character> <dialogue>Yes. It's called Getting Better.</dialogue> <character>CADEN</character> <dialogue>Who wrote it?</dialogue> <character>MADELINE</character> <dialogue>I did.</dialogue> <character>CADEN</character> <dialogue>Oh.</dialogue> <parenthetical>(goes to full bookcase) (looking at titles)</parenthetical> <dialogue>All of these. Wow. I never knew that.</dialogue> <character>MADELINE</character> <dialogue>Wow. Yes, wow. Wow indeed.</dialogue> <scene_description>She hands Caden the very thick book. He flips through it, catching words and snippets here and there: Clairaudience ... vaginal juices... The echo began ... Plumbing ... Cats eat rats ... Me who am as a raw nerve ... Crease.</scene_description> <character>MADELINE</character> <dialogue>That's forty-five dollars. Wow.</dialogue> </scene> <scene> <stage_direction>INT. CADEN'S OFFICE - 2006 - NIGHT</stage_direction> <scene_description>Caden finds a website online for Madeline Gravis. Amazing graphics. She is touted as one of the foremost psychologists in the world, a sought-after public speaker, advisor to world leaders. Her book Getting Better has sold millions of copies and is translated into fifteen languages. In a box at the bottom is a photo of a smiling Caden; it reads: Theater Director Caden Cotard says, "It'll change my life!"</scene_description> </scene> <scene> <stage_direction>INT. DENTIST'S OFFICE - 2006 - DAY</stage_direction> <scene_description>The dentist probes Caden's mouth. The Hygienist writes the numbers.</scene_description> <character>DENTIST</character> <dialogue>5, 6, 5. 5, 5, 6. 4, 6, 5.</dialogue> <parenthetical>(to Caden)</parenthetical> <dialogue>I'm going to recommend a periodontist. He'll probably recommend gum surgery.</dialogue> <scene_description>Caden is on the phone. His legs are elevated and his pant legs are rolled up, revealing swollen, discolored calves.</scene_description> <character>CADEN</character> <dialogue>I'm looking for... I'm sorry, I don't speak German. No. I'm --</dialogue> </scene> <scene> <stage_direction>INT. QUINCY'S - 2007 - NIGHT</stage_direction> <scene_description>Caden sits by himself in a booth, reading the self-help book.</scene_description> <character>VOICE</character> <dialogue>We must live in the present moment. The now. The now. The now.</dialogue> <scene_description>Caden tries to be in the present moment as a women sings about gingivitis on a small stage in the back. \*</scene_description> <character>SINGER \*</character> <dialogue>How do you know if you've got \* gingivitis? / Here's an experiment, \* Go ahead try this: / Brush your \* teeth, then spit in the sink / Does \* it come out red? / Do they say your \* breath stinks? \*</dialogue> <dialogue>It'll only get worse, that's just \* the beginning / Your mouth will be \* cursed, there's no hope of winning \* / Necrotizing ulcerative gingivitis \* is next / Also called trench mouth, \* / you'll never get sex. \*</dialogue> <scene_description>Later: Caden nurses a beer. He seems unwell.</scene_description> <character>SINGER (CONT'D) \*</character> <dialogue>(throughout) \*</dialogue> <scene_description>I'm just a little person \* One person in a sea \* Of many little people \* Who are not aware of me. \* I do my little job \* And live my little life \* I eat my little meals \* Miss my little kid and wife. \* And somewhere \* Maybe someday \* Maybe somewhere \* Far away \* Who will look at me and say \* I know you \* You're the one \* I've waited for \* Let's have some fun \* Life is precious \* Every minute \* And more precious \* With you in it. \* So let's have some fun. \* Let's take a road trip \* Way out west \* You're the one \* I like the best. \* I'm glad I found you \* Like hanging 'round you \* You're the one \* I like the best. \* Hazel plops down across from him. She has a smudge of soot on her nose.</scene_description> <character>CADEN</character> <dialogue>Hey! Thanks for meeting me.</dialogue> <scene_description>He points to his nose. She wipes at the soot on hers.</scene_description> <character>HAZEL</character> <dialogue>God, I'm delighted. Thought you'd never ask. You did ask, right?</dialogue> <character>CADEN</character> <dialogue>I didn't want to be alone.</dialogue> <character>HAZEL</character> <dialogue>Who does?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You don't look like you feel well.</dialogue> <character>CADEN</character> <dialogue>I'm going through some things.</dialogue> <character>HAZEL</character> <dialogue>You want to tell me about it?</dialogue> <character>CADEN</character> <dialogue>I can't really. But I'm meditating and running and taking vitamins.</dialogue> <scene_description>say any more. It's ... Ok. Tell me something else.</scene_description> <character>CADEN</character> <dialogue>You tell me something. Oh. I've cut out wheat.</dialogue> <character>HAZEL</character> <dialogue>Um, I bought this really nifty sweater today. On sale. Fifty dollars reduced from three hundred!</dialogue> <character>CADEN</character> <dialogue>It's beautiful.</dialogue> <character>HAZEL</character> <dialogue>It's cashmere. So very soft. You must feel it.</dialogue> <scene_description>Hazel holds her arm out. Caden touches it.</scene_description> <character>CADEN</character> <dialogue>What do we do with all this, Hazel?</dialogue> <character>HAZEL</character> <dialogue>I don't know. We fuck? We continue to sort of flirt? You divorce your wife and marry me and I make you happy for the very first time in your life and all your symptoms disappear?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We call it a day?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Don't choose the last one. I just said that one for effect.</dialogue> <character>CADEN</character> <dialogue>Do I have to choose at all?</dialogue> <character>HAZEL</character> <dialogue>No, I suppose not. Choosing is not your strong suit. You want to come over to my place, Cotard?</dialogue> <character>CADEN</character> <dialogue>Um ...</dialogue> <character>HAZEL</character> <dialogue>I'm won't let you off the hook by saying "never mind" this time.</dialogue> <character>CADEN</character> <dialogue>Adele is only on vacation.</dialogue> <scene_description>She hasn't called you since she left. You've left countless messages. It's been a year. It's been a week.</scene_description> <character>HAZEL</character> <parenthetical>(stares at him, then:)</parenthetical> <dialogue>I'm going to buy you a calendar.</dialogue> <scene_description>Caden rips a cocktail napkin into little pieces.</scene_description> <character>CADEN</character> <dialogue>Okay, just for one drink.</dialogue> <scene_description>Hazel smiles and stands. She scoops up the torn napkin pieces and puts them in her purse.</scene_description> <character>HAZEL</character> <dialogue>Scraps for my scrapbook.</dialogue> <scene_description>Caden watches her ass as she turns to leave.</scene_description> </scene> <scene> <stage_direction>INT. HAZEL'S CAR - 2007 - NIGHT</stage_direction> <scene_description>Hazel drives. Caden follows in his car. We see him in her rearview mirror, peering into her car. Hazel hikes her skirt and causally begins to play with herself with her right hand.</scene_description> </scene> <scene> <stage_direction>INT. BURNING HOUSE - KITCHEN - 2007 - NIGHT</stage_direction> <scene_description>Hazel fixes drinks, mixes them with her right index finger. She hands Caden one.</scene_description> <character>CADEN</character> <dialogue>I really can't drink very much because of my condition.</dialogue> <character>HAZEL</character> <dialogue>Caden's mysterious condition. Well, have one sip, anyway.</dialogue> <character>CADEN</character> <dialogue>Did you put something in it?</dialogue> <character>HAZEL</character> <dialogue>Would you like me to have? A little love potion, perhaps?</dialogue> <character>CADEN</character> <dialogue>Sure, why not?</dialogue> <character>HAZEL</character> <dialogue>If that's what it takes, consider it done. Poof! Love potion number 69.</dialogue> <character>CADEN</character> <dialogue>It's good.</dialogue> <scene_description>She takes a sip of her drink. Caden drinks some more of his.</scene_description> <character>HAZEL</character> <dialogue>Does it make you want to kiss me?</dialogue> <character>CADEN</character> <dialogue>Yeah. Kind of.</dialogue> <character>HAZEL</character> <dialogue>Tell me why?</dialogue> <character>CADEN</character> <dialogue>Um, I feel a lot of longing.</dialogue> <character>HAZEL</character> <dialogue>Hmm. Beg a girl, why dontcha.</dialogue> <character>CADEN</character> <dialogue>Um, okay. me --</dialogue> <character>HAZEL</character> <dialogue>Please, Hazel, let</dialogue> <character>CADEN</character> <dialogue>What?</dialogue> <character>HAZEL</character> <dialogue>I'd like you to beg me on your knees for a kiss. Just for fun.</dialogue> <scene_description>Dumbly, Caden gets down on his knees.</scene_description> <character>CADEN</character> <dialogue>Why am I doing this?</dialogue> <character>HAZEL</character> <parenthetical>(smiling warmly)</parenthetical> <dialogue>For fun, baby.</dialogue> <character>CADEN</character> <dialogue>You'll help me forget my troubles?</dialogue> <character>HAZEL</character> <dialogue>Oh, kiddo, you don't even know.</dialogue> <character>CADEN</character> <dialogue>I have a wife.</dialogue> <character>HAZEL</character> <dialogue>You have me. And I adore you.</dialogue> <scene_description>Caden and Hazel have violent sex. Hazel watches Caden's contorted face. They finish and lie there. Caden starts to weep.</scene_description> <character>HAZEL</character> <dialogue>What? What is it?</dialogue> <character>CADEN</character> <dialogue>I don't know. I'm sorry.</dialogue> <character>HAZEL</character> <dialogue>What?</dialogue> <character>CADEN</character> <dialogue>I'm just so confused. I'm sorry. I'm really sick. I think I'm dying. I have a kid. I'm married.</dialogue> <character>HAZEL</character> <dialogue>Oh, Jesus.</dialogue> <character>CADEN</character> <dialogue>Oh, fuck me. know.</dialogue> <character>HAZEL</character> <dialogue>Yeah. I just thought this might change things. I hoped. Ugh.</dialogue> <character>CADEN</character> <parenthetical>(still crying)</parenthetical> <dialogue>I had a good time. I think you're a very nice person. Really.</dialogue> <character>HAZEL</character> <dialogue>That is just the wrong thing to say right now, Caden. You should go.</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S LIVING ROOM - 2008 - NIGHT</stage_direction> <scene_description>Caden is on the phone.</scene_description> <character>CADEN</character> <parenthetical>(crying)</parenthetical> <dialogue>I'm so glad I finally got you.</dialogue> </scene> <scene> <stage_direction>A50 INT. ADELE'S BERLIN APARTMENT - 2008 - SAME A50</stage_direction> <character>ADELE (PHONE VOICE)</character> <dialogue>Hello? Hello? Who is this?</dialogue> <character>CADEN</character> <dialogue>It's Caden!</dialogue> <scene_description>Ellen?</scene_description> <character>CADEN</character> <dialogue>Caden! I can't wait to see you and Olive on the 12th. um... I went someplace without you tonight, Ad. I went some place you couldn't come with me. I'm sorry.</dialogue> <character>ADELE (PHONE VOICE)</character> <dialogue>What? Who is this? Oh, I have to go. There's a party. I'm famous!</dialogue> <character>CADEN</character> <dialogue>Oh. Ok. Great. Have fu --</dialogue> <scene_description>The connection is lost. Caden sits there, looks at the 2007 tax form in front of him, goes into convulsions. He manages to grab the phone, his hand flopping all over the dial.</scene_description> <character>OPERATOR (PHONE VOICE)</character> <dialogue>911. What's the problem, ma'am?</dialogue> <character>CADEN</character> <dialogue>I'm sick.</dialogue> <character>OPERATOR (PHONE VOICE)</character> <dialogue>We're out of ambulances, miss, but we'll send a taxi. Please wait in front of your house, miss.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - 2008 - NIGHT</stage_direction> <scene_description>Caden waits on a plastic chair in a dimly lit hallway, his beat-up suitcase at his feet. He reads a very old Vogue and opens to a spread about his wife. She seems glamorous. There are photos of her in Berlin, her work, her flat. She is the toast of the art world. Photos of her with two men, and also with Olive, who seems somewhat Nazi Youth-like now.</scene_description> <character>NURSE</character> <dialogue>Mr. Cotard?</dialogue> <scene_description>He looks up, having forgotten where he was. He grabs his suitcase and follows the nurse down a dismal hallway: gurneys against dirty walls, empty wheelchairs. Skinny man takes a flash picture of Caden. Nurses drinking coffee out of paper cups eye him. Puddles of vomit on the floor. They arrive at the end of the hall. A doctor pokes his head out of a room. He studies a file and doesn't look up.</scene_description> <character>DOCTOR</character> <dialogue>Mr. Cotard?</dialogue> </scene> <scene> <stage_direction>INT. SMALL EXAMINING ROOM - 2008 - CONTINUOUS</stage_direction> <scene_description>The doctor never looks up from the files. You've had a seizure of sorts.</scene_description> <character>CADEN</character> <dialogue>What does that mean?</dialogue> <character>DOCTOR</character> <dialogue>Seems to be some synaptic degradation. Fungal in origin. Autonomic functions going haywire.</dialogue> <character>CADEN</character> <dialogue>It's serious?</dialogue> <character>DOCTOR</character> <dialogue>We don't know but yes.</dialogue> <scene_description>They both sit there in silence for a long while.</scene_description> <character>DOCTOR</character> <dialogue>We'll get you enrolled a biofeedback program. Maybe you can learn some sort of manual override.</dialogue> </scene> <scene> <stage_direction>INT. SCHENECTADY POST OFFICE - WINTER 2008 - DAY</stage_direction> <scene_description>Caden waits in line, holding a big wrapped box, addressed to Olive in Germany.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S LIVING ROOM - WINTER 2008 - NIGHT</stage_direction> <scene_description>Caden sits on the couch, wheezing and reading a dictionary entry for the word "crease." The definition is "n. a fold." He squirts artificial saliva in his mouth. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PERIODONTIST'S OFFICE - WINTER 2008 - DAY</stage_direction> <scene_description>Caden is having periodontal surgery. It's bloody.</scene_description> </scene> <scene> <stage_direction>INT. SCHENECTADY THEATER LOBBY - WINTER 2008 - NIGHT</stage_direction> <scene_description>Caden, with swollen lower face and bleeding mouth, approaches the box office with a gift-wrapped box. Hazel looks up. The damaged dog barks.</scene_description> <character>HAZEL</character> <dialogue>Be quiet, Squishy.</dialogue> <character>CADEN</character> <dialogue>Hi.</dialogue> <character>HAZEL</character> <dialogue>Caden, I won't be yet another woman you feel guilty about.</dialogue> <scene_description>Okay. Thank you anyway.</scene_description> <character>HAZEL</character> <dialogue>Here. Take this. I got like five for Christmas. Goddamn Christmas.</dialogue> <scene_description>She hands him a 2009 calendar. It features photos of Adele.</scene_description> </scene> <scene> <stage_direction>INT. CADEN'S OFFICE - SPRING 2009 - NIGHT</stage_direction> <scene_description>Adele calender on wall, open to March. Caden reads Getting Better:</scene_description> <character>VOICE</character> <dialogue>Now. Now. Now! Be here now!</dialogue> </scene> <scene> <stage_direction>A59 INT. ADELE'S BERLIN APARTMENT - 2009 - SAME A59</stage_direction> <scene_description>Adele feeds a piece of paper into a fax machine. A fax starts to come in. Caden watches as the words appear, fuzzy as if there is some interference in the process. Olive wanted me to ask you not to read her diary. She left it under her pillow by mistake. Glglf n mesr-siy. Hewz wec.</scene_description> </scene> <scene> <stage_direction>INT. OLIVE'S ROOM - 2009 - NIGHT</stage_direction> <scene_description>Caden lifts the bed pillow and finds a kid's diary. He studies it, puts it back. There's a knock at the front door.</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S LIVING ROOM - 2009 - NIGHT</stage_direction> <scene_description>Caden opens the front door. A man hands him an envelope.</scene_description> </scene> <scene> <stage_direction>INT. THERAPIST'S OFFICE - 2009 - DAY</stage_direction> <scene_description>Madeline's feet are swollen and bloody. So I just got this MacArthur Oh, Caden! Grant last night.</scene_description> <character>CADEN</character> <dialogue>Yeah.</dialogue> <character>MADELINE</character> <dialogue>A lot of money. to do with it?</dialogue> <character>CADEN</character> <dialogue>A theater piece. Something big and true and tough. Y'know, finally put my real self into something.</dialogue> <character>MADELINE</character> <dialogue>Oh, Caden! What is your real self, do you think?</dialogue> <character>CADEN</character> <dialogue>I don't know yet. The MacArthur is called "the genius grant." And I want to earn it.</dialogue> <character>MADELINE</character> <dialogue>That's wonderful. God bless! I guess you'll have to discover your real self. Right?</dialogue> <character>CADEN</character> <dialogue>Yeah, I mean, yeah. Oh, I wanted to ask you, how old are kids when they start to write?</dialogue> <character>MADELINE</character> <dialogue>Varies.</dialogue> <character>CADEN</character> <dialogue>Could a four year old keep a diary?</dialogue> <character>MADELINE</character> <dialogue>Listen, there's an absolutely brilliant novel written by a four year old.</dialogue> <character>CADEN</character> <dialogue>Really?</dialogue> <character>MADELINE</character> <dialogue>Little Winky. By Horace Azpiazu.</dialogue> <character>CADEN</character> <dialogue>Aww. Cute.</dialogue> <character>MADELINE</character> <dialogue>Hardly. Little Winky is a virulent anti-Semite.</dialogue> <scene_description>into the Klan, his immersion in the pornographic snuff industry and his ultimate degradation at the hands of a black ex-convict named Eric Washington Jackson Jones... Johnson... Jefferson, with whom he embarks on a brutal homosexual affair.</scene_description> <character>CADEN</character> <dialogue>Wow. Written by a four year old?</dialogue> <scene_description>Azpiazu killed himself at five.</scene_description> <character>CADEN</character> <dialogue>That's horrible.</dialogue> <character>MADELINE</character> <dialogue>He would've written so much more had he lived. They developed a method -- some software -- to determine what he would've written had he lived to ten, twenty, thirty, etcetera.</dialogue> <character>CADEN</character> <dialogue>Is that possible?</dialogue> <character>MADELINE</character> <dialogue>Which part?</dialogue> <character>CADEN</character> <dialogue>Any of it. Why did he kill himself?</dialogue> <character>MADELINE</character> <dialogue>I don't know, why did you?</dialogue> <character>CADEN</character> <dialogue>What?</dialogue> <character>MADELINE</character> <dialogue>I said, why would you?</dialogue> <character>CADEN</character> <dialogue>Oh. I don't know.</dialogue> </scene> <scene> <stage_direction>INT. OLIVE'S ROOM - 2009 - NIGHT</stage_direction> <scene_description>Caden paces nervously. He sits on Olive's bed and jimmies open her diary with a screwdriver. He reads:</scene_description> <character>VOICE</character> <dialogue>Deer Diry. Thank you for being my new best frend. My name is Olive Cotard. I am for yers old. I like choclit and --</dialogue> </scene> <scene> <stage_direction>INT. SCHENECTADY TOY STORE - 2009 - DAY</stage_direction> <scene_description>Caden looks at the toys.</scene_description> <character>VOICE</character> <dialogue>-- my favorite color is pink.</dialogue> <scene_description>Can I help you?</scene_description> <character>CADEN</character> <dialogue>I'm looking for a Christmas present for my daughter. Something pink.</dialogue> <character>CLERK</character> <dialogue>How about this?</dialogue> <scene_description>The clerk holds up a pink box with a picture of a nose on it.</scene_description> <character>CADEN</character> <dialogue>Yes. That's good.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. QUINCY'S - 2009 - DAY</stage_direction> <scene_description>Caden sits with Hazel. She seems somewhat distant.</scene_description> <character>CADEN</character> <dialogue>The idea is to do a massive theater piece. Uncompromising, honest. I don't know what it is yet or how to do it, but it'll come. It'll reveal itself.</dialogue> <character>HAZEL</character> <dialogue>Huh.</dialogue> <scene_description>Pause.</scene_description> <character>CADEN</character> <dialogue>Here's what I think theater is: it's the beginning of thought. The truth not yet spoken. It's a blackbird in winter. The moment before death. It's what a man feels after he's been clocked in the jaw. It's love... in all its messiness. And I want all of us, players and audience alike, to soak in the communal bath of it, the mikvah, as the Jews call it. We're all in the same water, after all, soaking in our very menstrual blood and nocturnal emissions. This is what I want to try to give people, Hazel. And I want your help.</dialogue> <scene_description>Hazel just stares. The food arrives. Caden looks at his plate and concentrates. What are you doing?</scene_description> <character>CADEN</character> <dialogue>Salivating.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I have to concentrate.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Biofeedback training.</dialogue> <character>HAZEL</character> <dialogue>Huh.</dialogue> <character>CADEN</character> <dialogue>So I was wondering if you'll help.</dialogue> <character>HAZEL</character> <dialogue>In your box office?</dialogue> <character>CADEN</character> <dialogue>No. Like as my assistant.</dialogue> <character>HAZEL</character> <dialogue>I'm not sure I can work with you, Caden. I'm kind of angry.</dialogue> <character>CADEN</character> <dialogue>I just want to normalize it, Hazel. I think we'd have fun together.</dialogue> <scene_description>He swallows some food then concentrates. She watches him.</scene_description> <character>CADEN</character> <dialogue>I miss you.</dialogue> <scene_description>He concentrates some more. She stares at him.</scene_description> <character>CADEN</character> <dialogue>I'm digesting.</dialogue> <character>HAZEL</character> <dialogue>It's really disturbing.</dialogue> </scene> <scene> <stage_direction>INT. TINY, CRAMPED REHEARSAL HALL - 2009 - DAY</stage_direction> <scene_description>Caden, beads of sweat on his forehead, sits with a large group of actors, Tom, Claire, and Davis from Salesman among them. No one speaks. Finally, Caden clears his throat.</scene_description> <character>CADEN</character> <dialogue>We'll start by talking honestly. Out of that a piece of theater will evolve. I'll begin.</dialogue> <scene_description>I've been thinking a lot about dying lately.</scene_description> <character>CLAIRE</character> <dialogue>You're going to be fine, sweetie.</dialogue> <character>CADEN</character> <dialogue>I appreciate that, Claire, but --</dialogue> <character>CLAIRE</character> <dialogue>Well, you are. You poor thing.</dialogue> <character>CADEN</character> <dialogue>regardless of how this particular thing works itself out, I will be dying. So will you.</dialogue> <character>CLAIRE</character> <dialogue>Caden!</dialogue> <character>CADEN</character> <dialogue>So will everyone here. want to explore that unflinchingly.</dialogue> <scene_description>There is a long silence as everyone looks uncomfortable.</scene_description> <character>CADEN</character> <dialogue>We are all hurtling toward death.</dialogue> <parenthetical>(silence)</parenthetical> <dialogue>Yet here we are, for the moment, alive. Each of us knowing we will die; each of us secretly believing we won't.</dialogue> <scene_description>Nobody says anything for a long moment.</scene_description> <character>CLAIRE</character> <dialogue>It's brilliant. It's brilliant. It's everything. It's Karamazov.</dialogue> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S BEDROOM - WINTER 2010 - NIGHT</stage_direction> <scene_description>Caden is in bed, reading Olive's diary.</scene_description> <character>VOICE</character> <dialogue>Dear diary. Germany is wonderful! So many friends here. My new dads are great and handsome. And brilliant directors of theater.</dialogue> <scene_description>Caden grimaces in pain for a moment. His mouth bleeds. He dials the phone.</scene_description> <character>HAZEL'S ANSWERING MACHINE</character> <dialogue>It's Hazel. Leave a message or don't. Your dime.</dialogue> <scene_description>Hi. I haven't heard from you so I thought I'd say hi. Hi, Hazel! He giggles crazily, coughs, then hangs up, embarrassed, grimaces once more, then dials again.</scene_description> <character>CLAIRE (PHONE VOICE)</character> <dialogue>Hello?</dialogue> <character>CADEN</character> <dialogue>Hi, Claire, it's Caden.</dialogue> <character>CLAIRE (PHONE VOICE)</character> <dialogue>Hi! I was just thinking about you!</dialogue> <character>CADEN</character> <dialogue>Yeah? Um, I was calling to say hi, chat about today maybe.</dialogue> <character>CLAIRE (PHONE VOICE)</character> <dialogue>Hi! Here you are, on my phone!</dialogue> <character>CADEN</character> <dialogue>Yeah. Do you maybe want to get a drink or something? It's late so --</dialogue> <character>CLAIRE</character> <dialogue>Yeah! Yeah yeah yeah!</dialogue> </scene> <scene> <stage_direction>INT. QUINCY'S - 2010 - NIGHT</stage_direction> <scene_description>Caden waits in a booth, nursing a martini, watching people walk in, but not Claire. After a bit, Hazel enters with Derek from the burning house. She's laughing and doesn't see Caden. He slinks back into the booth. They sit at a table not far from Caden, who can hear their conversation.</scene_description> <character>HAZEL</character> <dialogue>(giggly)</dialogue> <character>DEREK</character> <dialogue>I'm just asking.</dialogue> <scene_description>Stop!</scene_description> <character>HAZEL</character> <dialogue>You are so obnoxious!</dialogue> <character>DEREK</character> <dialogue>You're so obnoxious.</dialogue> <character>HAZEL</character> <dialogue>Yeah, well, you find it awfully charming. My obnoxiousity.</dialogue> <character>DEREK</character> <dialogue>Obnoxiousity is not a word.</dialogue> <scene_description>You don't want to cross me.</scene_description> <character>DEREK</character> <dialogue>Don't I?</dialogue> <character>HAZEL</character> <dialogue>No. Because you like me so much.</dialogue> <character>DEREK</character> <dialogue>True. I like your obnoxiousity.</dialogue> <character>HAZEL</character> <dialogue>And my use of the word "obnoxiousity."</dialogue> <character>DEREK</character> <dialogue>Yes.</dialogue> <character>HAZEL</character> <dialogue>Yes. You're delicious in your acquiescence.</dialogue> <scene_description>Claire enters, looks for Caden. She spots Hazel first.</scene_description> <character>HAZEL</character> <dialogue>Hi, Claire.</dialogue> <character>CLAIRE</character> <dialogue>Hi...!</dialogue> <character>HAZEL</character> <dialogue>Hazel.</dialogue> <character>CLAIRE</character> <dialogue>Of course. Hazel. I knew that! Duh! The box office.</dialogue> <character>HAZEL</character> <dialogue>Yes, I'm the box office.</dialogue> <character>CLAIRE</character> <dialogue>How are you?</dialogue> <character>HAZEL</character> <dialogue>Wonderful! You?</dialogue> <character>CLAIRE</character> <dialogue>Fine, thanks. I was supposed to meet Caden here. You know Mr. Cotard, right?</dialogue> <scene_description>Yes, I recall Mr. Cotard. Hazel looks around now, too. Both spot Caden at the same time. He smiles and waves and approaches.</scene_description> <character>CADEN</character> <dialogue>Oh, hey.</dialogue> <character>HAZEL</character> <dialogue>Hi, Caden.</dialogue> <character>CLAIRE</character> <dialogue>Hi, Caden.</dialogue> <character>CADEN</character> <dialogue>Hi, Hazel. Hi, Claire.</dialogue> <character>HAZEL</character> <dialogue>This is Derek.</dialogue> <character>CADEN</character> <dialogue>Hi, Derek.</dialogue> <character>CLAIRE</character> <dialogue>Hi, Derek.</dialogue> <character>HAZEL</character> <dialogue>Hi, Derek.</dialogue> <character>DEREK</character> <dialogue>Hi.</dialogue> <character>CADEN</character> <dialogue>How's everything, Haze... ul?</dialogue> <character>HAZEL</character> <dialogue>Great, Cade. En.</dialogue> <character>CADEN</character> <dialogue>Good.</dialogue> <character>CLAIRE</character> <dialogue>It's good to see you.</dialogue> <scene_description>Reunion night! How lovely!</scene_description> <character>HAZEL</character> <dialogue>Yes.</dialogue> <character>HAZEL</character> <dialogue>So --</dialogue> <character>CADEN</character> <dialogue>We'll leave you be.</dialogue> <character>HAZEL</character> <dialogue>Yeah, okay. Thanks. Derek and I --</dialogue> <character>CADEN</character> <dialogue>No, of course. It was nice seeing you.</dialogue> <character>HAZEL</character> <dialogue>Take care.</dialogue> <scene_description>Caden and Claire go to Caden's booth. That was awkward.</scene_description> <character>CADEN</character> <dialogue>Yeah, I guess.</dialogue> <scene_description>Caden steals glances at Hazel, chatting animatedly, throughout his conversation with Claire. He hears occasional snippets.</scene_description> <character>CLAIRE</character> <dialogue>Let's talk about our project. I'm so excited about it.</dialogue> <character>CADEN</character> <dialogue>Really? Why?</dialogue> <character>CLAIRE</character> <dialogue>I just think it's... brave. I feel like I'm going to be part of a revolution. I keep thinking Artaud. I keep thinking Krapp's Last Tape. Grotowski, for Christ's sake!</dialogue> <character>CADEN</character> <dialogue>I don't know what I'm doing.</dialogue> <character>CLAIRE</character> <dialogue>But that's what's so refreshing. I mean, how much prepackaged ...</dialogue> <character>HAZEL</character> <dialogue>... cryptology...</dialogue> <character>CLAIRE</character> <dialogue>... theater can we take as a country? Y'know? Knowing that you don't know is the first and most essential step to knowing. Y'know?</dialogue> <character>CADEN</character> <dialogue>I don't know.</dialogue> <character>CLAIRE</character> <dialogue>I'm proud of you.</dialogue> <character>HAZEL</character> <dialogue>Ptolemy was the first to divide the day into 24...</dialogue> <character>CLAIRE</character> <dialogue>So tell me what you want from me?</dialogue> <character>CADEN</character> <dialogue>Hmm?</dialogue> <character>CLAIRE</character> <dialogue>From my character.</dialogue> <scene_description>Oh. Well, we'll build it over time together. Find a real person, maybe, to model it after.</scene_description> <character>CLAIRE</character> <dialogue>That sounds fun.</dialogue> <character>HAZEL</character> <dialogue>...hairstyle called a beaver tail. It's a loop of hair...</dialogue> <character>CLAIRE</character> <dialogue>That Hazel girl is kind of interesting, maybe. As a model.</dialogue> <character>CADEN</character> <dialogue>Um, yeah. Something to think about. Sure. Although --</dialogue> <character>CLAIRE</character> <dialogue>Y'know, why is she still working in a box office at her age?</dialogue> <character>CADEN</character> <dialogue>I don't know. Probably not that interesting.</dialogue> <character>CLAIRE</character> <dialogue>There's got to be a story there. Did she want to be an actress but lacked confidence? distracted.</dialogue> <character>CADEN</character> <dialogue>Yeah. Could be. We'll talk about it. You seem</dialogue> <character>CADEN</character> <dialogue>No. I have these health issues.</dialogue> <character>CLAIRE</character> <dialogue>It's late.</dialogue> <character>HAZEL</character> <dialogue>... and the jet, it exploded, and she was sent plummeting.</dialogue> <character>CADEN</character> <dialogue>Um...</dialogue> <character>CLAIRE</character> <dialogue>Well, we can talk more tomorrow maybe.</dialogue> <character>CADEN</character> <dialogue>I'm sorry.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>When I get tired I have to remember to breathe. It's a new thing. My autonomic functions are failing.</dialogue> <character>CLAIRE</character> <dialogue>Poor darling. It's fine.</dialogue> <scene_description>I'm just ... (grabbing his hand) Shh. Shh. Shh. Shh. Shh. Claire leads Caden past Hazel and Derek, deep in conversation, heads close together.</scene_description> <character>HAZEL</character> <dialogue>Whitrow says, "If a mind is regarded to be a memory-based process of integration..."</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN SCHENECTADY STREET - WINTER 2010 - NIGHT</stage_direction> <scene_description>Caden and Claire walk. It's bitterly cold. They pass a store window advertising a Presidents Day sale. The female mannequins are dressed as Lincoln and Washington. Caden glances at their star-spangled bikini-bottomed crotches.</scene_description> <character>CLAIRE</character> <dialogue>My mother died last night.</dialogue> <character>CADEN</character> <dialogue>My God. I'm so sorry. What are you doing out?</dialogue> <character>CLAIRE</character> <dialogue>Ugh, I couldn't deal with my sisters. It's like living in a Heironymous Bosch painting.</dialogue> <character>CADEN</character> <dialogue>Oh. I see. Well, um, What happened to your mother, if I could ask? I mean, God, that's an awful thing to ask. I'm sorry. I don't mean to -- It's just that, I'm --</dialogue> <character>CLAIRE</character> <dialogue>Oh, this is me. No, it's okay. She fell. Slipped in her bathroom. Hit her head. It actually split in half. Horrible.</dialogue> <scene_description>They stop at a small hatchback with a cow painted on it.</scene_description> <character>CADEN</character> <dialogue>In half?</dialogue> <character>CLAIRE</character> <dialogue>Yes. Well, it was nice meeting you. Did I say "meeting"? Ugh, I'm such an idiot.</dialogue> <scene_description>Slip of the tongue is all. Freudian slip.</scene_description> <character>CADEN</character> <dialogue>I don't know how it's Freudian.</dialogue> <character>CLAIRE</character> <dialogue>Y'know. Like "meet"? To meet?</dialogue> <character>CADEN</character> <dialogue>Oh. Well, I'm sorry about your mother. In half?</dialogue> <character>CLAIRE</character> <dialogue>It's okay. It's life. It's --</dialogue> <scene_description>Claire's face contorts into a horrifying, paralyzed grimace.</scene_description> <character>CADEN</character> <dialogue>What is it? What?</dialogue> <scene_description>She weeps silently, with gaping mouth. Caden awkwardly embraces her. She remains stiff.</scene_description> <character>CADEN</character> <dialogue>Do you want me to drive you home?</dialogue> <scene_description>She shakes her head "no" over and over. Then she looks in at her reflection in the car window.</scene_description> <character>CLAIRE</character> <dialogue>Sometimes when I cry, I watch myself so I can remember how it looks for future roles. It's horrible. I hate myself.</dialogue> <character>CADEN</character> <dialogue>It's okay. Everyone does that. It's -- is there anything I can do?</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - 2010 - DAY</stage_direction> <scene_description>Caden sits with Claire and a large congregation. She rests her hand on Caden's.</scene_description> <character>MINISTER</character> <dialogue>...there she met Ralph Keene. They fell in love, married, and soon their first child, Claire was born.</dialogue> <scene_description>The minister's voice goes under. (crying whisper to Caden) I used to be a baby. I'm so sorry.</scene_description> <character>CLAIRE</character> <dialogue>I was a baby girl with hair of spun gold, the prettiest baby anyone had ever seen. One day the townsfolk, who were jealous of my beauty, decided to steal me away.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM (SCHENECTADY APT.) - 2010 - DAY</stage_direction> <scene_description>Curtains drawn, the room glows with afternoon sunlight. Caden sits on the bed. Claire enters naked from the bathroom, brushing her teeth and talking.</scene_description> <character>CLAIRE</character> <dialogue>There was a knock at the door.</dialogue> <character>CADEN</character> <dialogue>God, you're beautiful.</dialogue> <character>CLAIRE</character> <parenthetical>(sits on bed next to him)</parenthetical> <dialogue>It was a bearded old man.</dialogue> <scene_description>Caden can hold out no longer. He kisses her. They fall back on the bed. He kisses her all over as she continues to tell the story. Her voice becomes irresistibly melodious.</scene_description> <character>CLAIRE</character> <dialogue>He said to me, "young lady, I have in my satchel a ring. Whomever possesses it will receive all the magic of the woodland sprites."</dialogue> <character>CADEN</character> <dialogue>(eyes blurring, head</dialogue> <character>CLAIRE</character> <dialogue>(spreading her legs)</dialogue> <scene_description>lolling, breathing her "You can have this ring if in) you promise me one thing." I have to fuck you. I have "Anything," I whispered in to. his ear. Caden and Claire are having sex now.</scene_description> <character>CLAIRE</character> <dialogue>He said, "There is one more thing. You must never tell anyone what you promised me. If you do, you will die."</dialogue> <scene_description>Claire sits on the toilet and pees.</scene_description> <character>CLAIRE</character> <dialogue>So I used my new power to kill all the townsfolk. Horrible, humiliating deaths. I was reunited with my family. And I lived happily ever after, doing only good with my new powers.</dialogue> <scene_description>Caden cries and rests his head on her thigh.</scene_description> <character>CLAIRE</character> <dialogue>Why are you crying, honey?</dialogue> <character>CADEN</character> <dialogue>I'm so in love with you.</dialogue> <scene_description>Claire smiles, strokes his hair.</scene_description> <character>CADEN</character> <dialogue>I have problems, Claire. I'm still attached to my wife. I have also -- I have also -- feelings for Hazel.</dialogue> <character>CLAIRE</character> <parenthetical>(wiping)</parenthetical> <dialogue>Really? Hazel? Oh. Really? Our Hazel? That's really interesting. I must've picked that up unconsciously. Wow. Boy. Gosh.</dialogue> <character>CADEN</character> <dialogue>I've left them behind. I've gone somewhere without them. I'm guilty of so much.</dialogue> <character>CLAIRE</character> <dialogue>It's okay. We'll be fine. You're with me now. We'll be good.</dialogue> </scene> <scene> <stage_direction>EXT. PARK - 2010 - DAY</stage_direction> <scene_description>Caden and Claire get married. Caden is saying his vows.</scene_description> <character>CADEN</character> <dialogue>There will be no other before you.</dialogue> <scene_description>Caden stands in line with a gift-wrapped box addressed to Olive. The clerks at the counter wear Santa hats and beards.</scene_description> </scene> <scene> <stage_direction>INT. TINY, CRAMPED REHEARSAL HALL - 2011 - DAY</stage_direction> <scene_description>Actors piled in. Claire sits at a makeshift "box-office." Davis approaches. Caden circles the action. There are ponderous pauses.</scene_description> <character>DAVIS</character> <dialogue>I'd like to buy a ticket.</dialogue> <character>CLAIRE</character> <dialogue>Okay. That'll be forty dollars.</dialogue> <character>DAVIS</character> <dialogue>Okay.</dialogue> <character>CLAIRE</character> <dialogue>Forty dollars it is.</dialogue> <character>CADEN</character> <dialogue>Okay, hold it. We're not really -- I think we need to work on your characters individually. We need to investigate, to really discover the essence of each being. Davis, I'll start with you.</dialogue> <scene_description>Caden walks off with Davis. Claire seethes.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S KITCHEN (SCHENECTADY APT.) - WINTER 2011 -</stage_direction> <character>NIGHT</character> <dialogue>Claire chops vegetables. Caden feeds a baby. Christmas decorations are up.</dialogue> <character>CLAIRE</character> <dialogue>Davis, I'll start with you. There's a difference between favoring me and pretending we've never met. I mean, we had Ariel, I think people know we've fucked.</dialogue> <scene_description>That's not the point. Apparently not. I would've guessed you were sleeping with Davis.</scene_description> <character>CADEN</character> <dialogue>We'll talk about your character after we get Ariel to bed. Okay?</dialogue> <character>CLAIRE</character> <dialogue>Maybe you are. I just want to feel what we used to feel. Y'know?</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM (SCHENECTADY APT.)- WINTER 2011 -</stage_direction> <character>NIGHT</character> <dialogue>Claire sits on the bed and seems almost in a trance. She looks haggard and her cheeks are tear-stained.</dialogue> <character>CLAIRE</character> <dialogue>She's 36. Works in a theater box office. She had acting aspirations but lacked the confidence to pursue them. Her life is passing by. She is alone. She's old and ugly --</dialogue> <character>CADEN</character> <dialogue>I think you should pick another subject. Other than Hazel.</dialogue> <character>CLAIRE</character> <dialogue>Sacred ground?</dialogue> <character>CADEN</character> <dialogue>No. It's just. I don't feel like there's enough there.</dialogue> <scene_description>Claire thinks for a moment.</scene_description> <character>CLAIRE</character> <dialogue>I suppose not. She is limited. Okay. There's this single mother who lives downstairs. I find her really deep and sad.</dialogue> <character>CADEN</character> <dialogue>Tell me.</dialogue> <character>CLAIRE</character> <dialogue>I'm 42. I have a small child and no husband. I work long hours as a cashier at a mini-mart. Sometimes I worry my child will not even recognize me when I come home --</dialogue> <scene_description>Claire cries like she did when her mother died. Ariel cries. Check on her. Please, sweetie. I'm arriving at something.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S LIVING ROOM (SCHENECTADY APT.) - WINTER 2011 -</stage_direction> <character>NIGHT</character> <dialogue>Ariel sleeps in a crib in the corner of the living room. Caden sits on a tiny chair, thumbing through a magazine.</dialogue> <scene_description>"Flower Girl", featuring a photo of a naked Olive, smiling, her body covered from neck to ankle in tattoos of flowers. The article begins, "Ten year old Olive Wittgart of Berlin is the first child in human history with a full body tattoo... " Caden stares in disbelief. Claire pokes her head in. Her eyes are red.</scene_description> <character>CLAIRE</character> <dialogue>Caden, I've made a breakthrough. This woman is beautiful. I've got --</dialogue> <character>CADEN</character> <dialogue>I have to go find my daughter.</dialogue> <character>CLAIRE</character> <dialogue>Your daughter is right here.</dialogue> <character>CADEN</character> <dialogue>My real daughter.</dialogue> <character>CLAIRE</character> <dialogue>What?</dialogue> <character>CADEN</character> <dialogue>My first daughter. Olive. I've got to find her.</dialogue> <character>CLAIRE</character> <dialogue>Please don't do this to us.</dialogue> <character>CADEN</character> <dialogue>She's tattooed!</dialogue> <character>CLAIRE</character> <parenthetical>(revealing massive tattoo on back)</parenthetical> <dialogue>Everyone's tattooed!</dialogue> <character>CADEN</character> <dialogue>I've never seen that before.</dialogue> <character>CLAIRE</character> <dialogue>You have responsibilities.</dialogue> <character>CADEN</character> <dialogue>I'll be quick. I'll do it quick.</dialogue> <character>CLAIRE</character> <dialogue>Everyone's tattooed. Please.</dialogue> </scene> <scene> <stage_direction>INT. PLANE - 2011 - NIGHT</stage_direction> <scene_description>It's dark; most people are sleeping. Caden reads Getting Better.</scene_description> <character>VOICE</character> <dialogue>Redundancy is fluid. Life moves to the south. There is only the now.</dialogue> <scene_description>Hi. He sees Madeline sitting across the aisle. She is different, sexier in make-up and a tight dress.</scene_description> <character>MADELINE</character> <dialogue>When you cancelled, it freed me up. So I'm traveling, too! Yippee!</dialogue> <character>CADEN</character> <dialogue>I'm not sure I'm getting the book.</dialogue> <character>MADELINE</character> <dialogue>But it's getting you. You're almost non-recognizable now.</dialogue> <scene_description>Madeline spreads her legs a bit and smiles at Caden. He nervously grins, goes back to his book. He reads:</scene_description> <character>VOICE</character> <dialogue>I offer my flower to you and you deny it. This book is over.</dialogue> <scene_description>He turns the page. Blank. The rest of the book is blank. He looks over at Madeline. She is watching a movie.</scene_description> </scene> <scene> <stage_direction>EXT. BERLIN STREET - 2011 - DAY</stage_direction> <scene_description>Caden wanders a dirty store-front street looking for an address. He finds it. An art gallery. He enters.</scene_description> </scene> <scene> <stage_direction>INT. GALLERY - 2011 - DAY</stage_direction> <scene_description>The walls are hung with hundreds of Adele's tiny paintings.</scene_description> <character>CADEN</character> <dialogue>I don't speak German.</dialogue> <character>GERMAN WOMAN</character> <dialogue>I was -</dialogue> <scene_description>- Mister?</scene_description> <character>CADEN</character> <dialogue>I'm looking for Adele Cotard.</dialogue> <character>GERMAN WOMAN</character> <dialogue>Yes. We must not give addresses or other personal informations.</dialogue> <character>CADEN</character> <dialogue>I'm her husband.</dialogue> <character>GERMAN WOMAN</character> <dialogue>No. You are not her husbands, which is named Gunther und Heinz.</dialogue> <scene_description>Caden sits nursing a coffee. Maria approaches and sits down.</scene_description> <character>CADEN</character> <dialogue>You're here, too?</dialogue> <character>MARIA</character> <dialogue>I live with Adele and Olive and Gunther und Heinz and Uschi and Britt. I'm everyone's nanny.</dialogue> <character>CADEN</character> <dialogue>I want to see my daughter.</dialogue> <character>MARIA</character> <dialogue>They sent me.</dialogue> <character>CADEN</character> <dialogue>They? And who the fuck are Uschi and Britt?</dialogue> <character>MARIA</character> <dialogue>They decided it's not time to see you yet.</dialogue> <character>CADEN</character> <dialogue>Maria, I can't believe Adele got her tattooed like that. I mean --</dialogue> <character>MARIA</character> <dialogue>I did that. Olive's my project.</dialogue> <character>CADEN</character> <dialogue>She's a four year old!</dialogue> <character>MARIA</character> <dialogue>She's almost over eleven now. She's my muse. I love her.</dialogue> <scene_description>Caden stares at her for a moment, then lunges. He punches her repeatedly as she tries to get away. She throws a punch which connects with the side of his head and knocks him down. She hurries off.</scene_description> <character>CADEN</character> <dialogue>What'd you do to my family? What'd you do to my daughter?</dialogue> <character>MARIA (IN GERMAN)</character> <dialogue>Screw you, Caden. Faggot! FAGGOT!</dialogue> <scene_description>She turns down an alley. Caden, a half-block behind, hurries to the alley. She's gone. He walks through, looking for her. It's dark. Trash cans and garbage. He spots an unopened box next to the trash. It's pink with a picture of a nose on it. Caden drops to his knees and weeps. No tears come out. His eyes are dry and red. He pulls a vial of artificial tears from his pockets and moistens his eyes. Suddenly his breathing becomes wildly erratic. Caden limps up to the hospital.</scene_description> </scene> <scene> <stage_direction>INT. GERMAN HOSPITAL ROOM - 2015 - DAY</stage_direction> <scene_description>German words painted on the walls. Caden, in his underwear, lies on a metal table in a cold room, while an old man in white military jacket examines him, pressing on his body in various places. The man is silent except for slow, long inhalations and exhalations through his nose. When he is through he leaves the room without saying a word. Caden lies there, not sure what he's supposed to do. After a while, he gets up and opens the door, looks both ways down the empty hall. He closes the door, sits in a plastic chair and waits.</scene_description> </scene> <scene> <stage_direction>INT. PLANE - 2015 - NIGHT</stage_direction> <scene_description>Caden sits. A tube runs from his nostril to a small whirring machine on his lap. A frail old man sits next to him.</scene_description> <character>OLD MAN</character> <dialogue>Death comes faster than you think.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET - 2015 - DAY</stage_direction> <scene_description>Caden, walking with a realtor, approaches a warehouse in a very old, decrepit, and abandoned-looking part of town.</scene_description> <character>CADEN</character> <dialogue>Yeah, I want to bring my production to New York. To get it seen. By people, you know, who matter. The sooner the better.</dialogue> <character>REALTOR</character> <dialogue>Well, this theater is centrally located. Heart of the theater district. So... great for plays.</dialogue> <character>CADEN</character> <dialogue>Yeah?</dialogue> <character>REALTOR</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - 2015 - DAY</stage_direction> <scene_description>It's massive, empty, old, and dirty. Caden inspects it while the agent watches from a distance.</scene_description> <character>REALTOR</character> <parenthetical>(echoey and far away)</parenthetical> <dialogue>Lots of room for seats over here.</dialogue> <scene_description>OMITTED It's been scrubbed. There are small squared-off "apartment" \* areas, with actors in each, going about their days. A couple \* sleeps in a bed in one, in another there is a conversation \* between people over dinner, a man watches television alone in \* one, etc. There are at least fifteen configurations of \* people with a reel-to-reel tape recorders in each set-up. \* Caden walks from one to the other, eavesdropping, followed by \* an assistant, Michael. \*</scene_description> <character>PATIENT (IN ONE "APARTMENT") \*</character> <dialogue>(to doctor) \*</dialogue> <scene_description>And then he said he couldn't see me \* anymore. Just like that. I don't \* understand. I... I mean, he just \* told me two days before how much he \* loves me. Everything's spinning out \* of control. \* He stops at Claire's "apartment." She is ironing and \* watching a daytime soap, which is a closed-circuit TV. The \* actors in the soap are across the warehouse in another \* apartment. \*</scene_description> <character>JENNIFER (SOAP OPERA ACTRESS) \*</character> <dialogue>Dr. Williams, that was your last \* patient for the day. \*</dialogue> <character>DR. WILLIAMS (SOAP OPERA ACTRESS) \*</character> <dialogue>Jennifer, let's stop this charade. \*</dialogue> <character>JENNIFER \*</character> <dialogue>I don't know what you're talking \* about, Doctor. \*</dialogue> <character>DR. WILLIAMS \*</character> <dialogue>The chemistry between us is \* palpable. You and I both know that. \*</dialogue> <character>JENNIFER \*</character> <dialogue>Dennis... I can't. \*</dialogue> <character>DR. WILLIAMS \*</character> <dialogue>Why not? It's the way God made us. \*</dialogue> <character>JENNIFER \*</character> <dialogue>I can't because Jerry came back \* last night. \*</dialogue> <character>DR. WILLIAMS \*</character> <dialogue>Jerry, but he's dead. I'm certain \* of that because... \*</dialogue> <scene_description>Because what? Because what, Dennis? \*</scene_description> <character>DR. WILLIAMS \*</character> <dialogue>Because I'm certain, that's all. \*</dialogue> <scene_description>Ariel sits in a highchair and plays with a bowl of Cheerios. \* She is about two and a half. \*</scene_description> <character>ARIEL</character> <dialogue>Daddy!</dialogue> <character>CADEN</character> <dialogue>Daddy is mine!</dialogue> <character>CLAIRE \*</character> <dialogue>Daddy doesn't live with us anymore, \* baby. He had to find himself. \*</dialogue> <scene_description>Claire shoots daggers at Caden and goes back to ironing. \* Nearby, Tom and Davis rehearse their scene in another \* "apartment." \*</scene_description> <character>DAVIS (AS CUSTOMER) \*</character> <dialogue>I like it but it's a little tight \* in the toe. Don't you think? \*</dialogue> <character>TOM (AS CLERK) \*</character> <dialogue>No. It's right. This is how they're \* supposed to fit. They're French. \*</dialogue> <character>DAVIS \*</character> <dialogue>Oh. French, huh? Okay. \*</dialogue> </scene> <scene> <stage_direction>EXT. BUS SHELTER (NEAR WAREHOUSE) - 2016 - NIGHT</stage_direction> <scene_description>Caden sits in the fluorescent shelter. He looks at a poster for a movie called Little Winky and Caden, which features Caden in an embrace with a muscular skinhead. The movie is "Posthumously Written" by The Late Horace Azpiazu. Caden's leg starts to twitch, and he goes into convulsions. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM - 2017 - NIGHT</stage_direction> <scene_description>An old doctor examines Caden's shaking leg.</scene_description> <character>DOCTOR</character> <dialogue>I can't argue with further testing.</dialogue> <character>CADEN</character> <dialogue>Ok, you're a doctor, right? Am I dying? Can you tell me that?</dialogue> <scene_description>No.</scene_description> <character>CADEN</character> <dialogue>No, you can't tell me?</dialogue> <scene_description>I can't tell you.</scene_description> <character>DOCTOR</character> <dialogue>You can't tell me if you can't tell me?</dialogue> <character>DOCTOR</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. NYC STREET - 2017 - DAY</stage_direction> <scene_description>Caden walks along, his leg shaking. He spots Hazel looking in a store window. He just watches her for a while. She sees him in the store window reflection. She turns.</scene_description> <character>HAZEL</character> <dialogue>Caden! I was wondering if I was going to bump into you!</dialogue> <scene_description>She gives him a hug, notices his shaking leg.</scene_description> <character>CADEN</character> <dialogue>What are you doing here? You look great.</dialogue> <character>HAZEL</character> <dialogue>Oh, thanks.</dialogue> <character>CADEN</character> <dialogue>You... I --</dialogue> <character>HAZEL</character> <dialogue>Um, yeah. For a while now.</dialogue> <character>CADEN</character> <dialogue>What are you doing in New York?</dialogue> <character>HAZEL</character> <dialogue>Oh. I'm here with Derek and the boys. Mini-vacation! You know.</dialogue> <character>CADEN</character> <dialogue>The boys?</dialogue> <character>HAZEL</character> <dialogue>Yeah. I thought you knew.</dialogue> <character>CADEN</character> <dialogue>Ah.</dialogue> <character>HAZEL</character> <dialogue>Congratulations.</dialogue> <character>CADEN</character> <dialogue>How old?</dialogue> <scene_description>Five. Twins. Robert and Daniel and Allan.</scene_description> <character>CADEN</character> <dialogue>Ah. Yes.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Nice names. Where are they?</dialogue> <character>HAZEL</character> <dialogue>Oh. Derek took them to Natural History. So I could shop.</dialogue> <character>CADEN</character> <dialogue>Ah.</dialogue> <character>HAZEL</character> <dialogue>Nice to see you, Caden. How are things?</dialogue> <character>CADEN</character> <dialogue>Y'know. I was with Claire. We have a daughter, but we're separated now. How about with you?</dialogue> <character>HAZEL</character> <dialogue>Good. The kids are wonderful. I have a great job at Lens Shapers.</dialogue> <character>CADEN</character> <dialogue>Great. You wear a lab coat?</dialogue> <character>HAZEL</character> <dialogue>It's so good to see you. I should run. I want to get some shopping in. We're meeting back at the hotel at three. Then sushi!</dialogue> <character>CADEN</character> <dialogue>Okay. Good seeing you, Hazel.</dialogue> <scene_description>Hazel smiles and waves and turns to head into the store. Caden watches after her.</scene_description> </scene> <scene> <stage_direction>A95 EXT. HOTEL TERRACE - 2017 - DAY A95 \*</stage_direction> <scene_description>Caden watches Hazel and her family, laughing and enjoying \* each other on the terrace. The gaunt man sits with them. \* When they head to the pool, Caden just continues, without \* hesitation, to the edge of the roof, and begins to climb \* over. A passing lifeguard sees Caden, grabs him and wrestles \* him to the ground. \*</scene_description> </scene> <scene> <stage_direction>INT. CADEN AND ADELE'S HOUSE - 2017 - NIGHT</stage_direction> <scene_description>Caden pulls Olive's journal from under his pillow and reads from somewhere in the middle.</scene_description> <character>OLIVE'S VOICE</character> <parenthetical>(with German accent)</parenthetical> <dialogue>How I love Maria! She is so much more of a father than Caden ever was, with his drinking and unfortunate body odor and rotting teeth. I could only loathe him and perhaps pity him. But Maria!</dialogue> <scene_description>Caden blots his sopping brow and gums, sniffs under his arms.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY (CLAIRE'S NYC APT.) - FALL 2018 - NIGHT</stage_direction> <scene_description>Caden, now walking with a cane, approaches an apartment door. There's a sad pilgrim cut-out taped to it. He knocks.</scene_description> <character>CLAIRE (O.S.)</character> <dialogue>Yes?</dialogue> <character>CADEN</character> <dialogue>It's me.</dialogue> <character>ARIEL (O.S.)</character> <dialogue>Daddy, Daddy!</dialogue> <character>CLAIRE (O.S.)</character> <dialogue>What, Caden?</dialogue> <character>CADEN</character> <dialogue>I want to come back. I want to take care of you and Olive. Ariel.</dialogue> <scene_description>There's silence then the door opens. Claire is crying.</scene_description> <character>CLAIRE</character> <dialogue>I just want you to love us.</dialogue> <scene_description>Caden hugs her. Ariel hugs Caden's good leg. Why does you have a canes, Daddy?</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2018 - NIGHT</stage_direction> <scene_description>Caden and Claire in bed having sex. The gaunt man stands on the fire escape peering in. Ariel watches from the doorway. clock. The gaunt man and Ariel both step out of view.</scene_description> <character>CLAIRE</character> <dialogue>It's 3:30. For crying out fuck.</dialogue> <scene_description>Caden answers the phone.</scene_description> <character>CADEN</character> <dialogue>Hello? What's wrong? Okay. Okay.</dialogue> <scene_description>Caden hangs up. Claire kisses Caden's neck.</scene_description> <character>CADEN</character> <dialogue>My father died.</dialogue> <character>CLAIRE</character> <dialogue>Oh, baby.</dialogue> <character>CADEN</character> <dialogue>His body was riddled with cancer. He didn't even know. He went in because his finger hurt.</dialogue> <character>CLAIRE</character> <dialogue>It's okay, baby. It's going to be okay. Let me make you feel better.</dialogue> <scene_description>Claire begins kissing her way down Caden's chest.</scene_description> <character>CADEN</character> <dialogue>They said he suffered horribly. That he called out for me right before he died. They said he said he regretted his life. They said he said a lot of things. Too many to recount. They said it was the longest and saddest deathbed speech any of them had ever heard.</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - 2018 - DAY</stage_direction> <scene_description>Caden, Claire, and Ariel stand with Caden's mother as a child- sized coffin is lowered into the ground.</scene_description> <character>MOTHER</character> <dialogue>There was so little left of him. They had to fill the coffin with cotton balls to keep him from rattling around.</dialogue> <scene_description>Crowded with mourners. People chat and eat. Claire and Caden, on the couch holding hands, chat with a fat lady.</scene_description> <character>CADEN</character> <dialogue>Excuse me, I have to use the bathroom.</dialogue> </scene> <scene> <stage_direction>EXT. CADEN'S MOTHER'S BACK DECK - 2018 - A FEW MOMENTS</stage_direction> <character>LATER</character> <dialogue>Caden dials his cell phone.</dialogue> <character>CADEN</character> <dialogue>Hey.</dialogue> </scene> <scene> <stage_direction>A101 INT. BURNING HOUSE - 2018 - SAME A101</stage_direction> <scene_description>Hazel is on her phone.</scene_description> <character>HAZEL (PHONE VOICE)</character> <dialogue>Caden?</dialogue> <character>CADEN</character> <dialogue>I had to talk to you. My father died.</dialogue> <character>HAZEL</character> <dialogue>Oh no. Oh, Caden. I'm so sorry.</dialogue> <character>CADEN</character> <dialogue>Thanks.</dialogue> <character>HAZEL</character> <dialogue>I know.</dialogue> <character>CADEN</character> <dialogue>Yeah. With Claire and Ariel.</dialogue> <character>HAZEL</character> <dialogue>Oh.</dialogue> <character>CADEN</character> <dialogue>I see.</dialogue> <scene_description>Pause.</scene_description> <character>HAZEL</character> <dialogue>Yes, I got that.</dialogue> <character>CADEN</character> <dialogue>I'm sorry.</dialogue> <character>HAZEL</character> <dialogue>What are you sorry about?</dialogue> <character>CADEN</character> <dialogue>I don't know. You got quiet. I thought I should say something.</dialogue> <scene_description>You thought you should say something. That's lovely. That's what makes our relationship so special. The obligation.</scene_description> <character>CADEN</character> <dialogue>What am I supposed to do, Hazel? I have a kid with her. You have twins with Derek. Three twins. It's confusing!</dialogue> <character>HAZEL</character> <dialogue>You're not supposed to do anything.</dialogue> <character>CADEN</character> <dialogue>I really miss you.</dialogue> <character>HAZEL</character> <dialogue>Yeah, I guess that's what happens when you have a kid with somebody else. You having sex with her?</dialogue> <character>CADEN</character> <dialogue>Hazel...</dialogue> <character>HAZEL</character> <dialogue>I'm asking you a question. Did you have sex with her now that you're back together?</dialogue> <character>CADEN</character> <dialogue>Yes. Of course. I mean, what --</dialogue> <character>HAZEL</character> <dialogue>I have to go. I'm sorry about your dad. That's awful news.</dialogue> <character>CADEN</character> <dialogue>Hazel, please, I can't bear it if you go.</dialogue> <character>HAZEL</character> <dialogue>I have to. I'm going out. I have to get ready. Everything's fine.</dialogue> <character>CADEN</character> <dialogue>I need to use a cane now.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Okay. Take care.</dialogue> <scene_description>Hazel hangs up. Caden sits there. OMITTED OMITTED A rehearsal in progress. The shells of apartment buildings have been built. The actors, who previously had been spread out on the floor of the warehouse, are now perched on scaffolding in various apartment spaces. Caden, followed by Michael, surveys the scene by climbing up and down ladders. It's difficult to manage with his cane.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE KITCHEN (NYC APARTMENT) - 2021 - LATE NIGHT</stage_direction> <scene_description>Caden reads Olive's diary.</scene_description> <character>OLIVE'S GERMAN VOICE</character> <dialogue>Today I felt a wetness between my legs. Maria explained to me now I am a woman. And being a woman is wonderful with Maria to guide me.</dialogue> </scene> <scene> <stage_direction>EXT. BERLIN STREET - 2022 - DAY</stage_direction> <scene_description>Overcast. Caden wanders. Walls are plastered with posters of "Flower Girl." It's Olive, early 20's, very sexy and naked. There is an address and a date. Seems to be some sort of concert.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - 2022 - NIGHT</stage_direction> <scene_description>Caden waits on a long line behind a bunch of men. INT DARK SMALL ROOM - NIGHT Caden sits by himself in a cramped space. A light switches on behind scarred Plexiglas. Olive dances naked. Caden tries to get her attention by banging on the glass but she can't see him. A bouncer enters and beats Caden up.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2022 - MORNING</stage_direction> <scene_description>Caden, bruised, lies in bed while Claire hurries past, getting dressed.</scene_description> <character>CLAIRE</character> <dialogue>Get out of bed.</dialogue> <character>CADEN</character> <dialogue>I'm depressed.</dialogue> <character>CLAIRE</character> <dialogue>The cry of the North American Caden.</dialogue> <character>CADEN</character> <dialogue>I'd just like a little sympathy.</dialogue> <scene_description>I'll save my sympathy for the eighty million people with avian flu, the Tsunami victims in Puerto Rico, the countless millennia dead from... how fucked it all is.</scene_description> <character>CADEN</character> <dialogue>Millennia dead? What? And since when do you care about anything?</dialogue> <character>CLAIRE</character> <dialogue>I care every day about things! I care about us! ... Y'know?!</dialogue> <character>ARIEL</character> <dialogue>Why do Daddy be sad now?</dialogue> </scene> <scene> <stage_direction>EXT. BURNING HOUSE - 2023 - DAY</stage_direction> <scene_description>The neighborhood seems abandoned and overgrown. Caden is parked down the block and watches Hazel's house. Soon Hazel and Derek walk by. Derek says something and Hazel laughs delightedly. Caden is in agony. He rolls down his window.</scene_description> <character>CADEN</character> <dialogue>Hazel!</dialogue> <scene_description>Hazel and Derek turn.</scene_description> <character>HAZEL</character> <dialogue>Caden, what are you doing here?</dialogue> <character>CADEN</character> <dialogue>Sorry. Can I talk to you? Please?</dialogue> <scene_description>Hazel kisses Derek, whispers something in his ear. They share a giggle. Derek waves at Caden and heads into the burning house. Hazel approaches Caden's car.</scene_description> <character>CADEN</character> <dialogue>Tell me what to do.</dialogue> <character>HAZEL</character> <dialogue>Caden, everyone has to figure out their own life. Y'know?</dialogue> <character>CADEN</character> <dialogue>I want you to look at me like you used to.</dialogue> <character>HAZEL</character> <dialogue>Oh, honey, I can't anymore.</dialogue> <character>CADEN</character> <parenthetical>(crying)</parenthetical> <dialogue>I'm sorry. I'm sorry. I screwed everything up. I don't have any courage. I'm sorry.</dialogue> <scene_description>It's okay. I'm okay.</scene_description> <character>CADEN</character> <dialogue>I don't want you to be okay. I mean, I do but it rips my guts out.</dialogue> <character>HAZEL</character> <dialogue>I'll always be your friend. I'll help you through any way I can.</dialogue> <character>CADEN</character> <dialogue>I'll help you through, too.</dialogue> <character>HAZEL</character> <dialogue>Caden, I'm fine. I have Derek.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - 2023 - DAY</stage_direction> <scene_description>Caden stands with his cane before the group of seated actors. The actors wait patiently as Caden finishes a coughing fit.</scene_description> <character>CADEN</character> <dialogue>I won't settle for anything less than the brutal truth. Brutal! Each day I'll hand you a scrap of paper. It'll tell you what happened to you that day. "You felt a lump in your breast. You looked at your wife and saw a stranger." Etcetera.</dialogue> <character>TOM</character> <dialogue>Caden, when are we going to get an audience in here? It's been seventeen years.</dialogue> <character>CADEN</character> <dialogue>And I'm not excusing myself from this either. I will have someone play me, to delve into the murky, cowardly depths of my lonely, fucked-up being. He'll get notes, too. And they will correspond to the "notes" I truly get each day from my God.</dialogue> <scene_description>The actors glance uncomfortably at Claire. She smiles apologetically. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HAZEL'S CAR - 2024 - DAY</stage_direction> <scene_description>Hazel sits in her parked car and talks on her cellphone. Little kids in costumes walk by. A little girl walks by in a "nude" body suit with Olive's tattoos all over it.</scene_description> <character>HAZEL</character> <dialogue>They fired me. I caused an outbreak of conjunctivitis. I didn't wash my hands. I had pink eye hands! Pink hands!</dialogue> </scene> <scene> <stage_direction>A114 INT. WAREHOUSE - 2024 - SAME A114</stage_direction> <scene_description>Caden sits at his desk, talking on his cell phone.</scene_description> <character>CADEN</character> <dialogue>Oh God.</dialogue> <character>HAZEL</character> <dialogue>I didn't wash my hands! I'm a stupid cow! I don't have anything to show for being on this planet. And this fucking private Christian school is killing us. It's not cheap. It's Derek's thing. I don't believe in that shit. Y'know? Try to be a good person. That's all there is. I'm sorry. I'm talking too much. Do you have anything for me, Caden?</dialogue> <scene_description>Um, I have an assistant, Please, Caden. Everything is Hazel. And there's no box falling apart. I miss you. office yet. There are problems at home. I'm worthless. I'm fat. What am I going to do? Nobody laughs at my jokes the way you did.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - AUDITION CORNER - 2025 - LATER</stage_direction> <scene_description>The actors are in their apartments living their lives. Caden is in the far corner of the space, at a little sectioned-off area. There are a half-dozen actors sitting on folding chairs outside the partition. They all resemble Caden, except one very tall one. Hazel steps around the partition.</scene_description> <character>HAZEL</character> <dialogue>Sammy Barnathan?</dialogue> <scene_description>Sammy Barnathan stands. He is the gaunt man we've seen following Caden. Hazel leads him to Caden. Caden stands.</scene_description> <character>HAZEL</character> <dialogue>This is Sammy Barnathan.</dialogue> <character>SAMMY</character> <dialogue>I don't have a resume or picture. I've never worked as an actor.</dialogue> <character>CADEN</character> <dialogue>Good. Tell me why you're here.</dialogue> <character>SAMMY</character> <dialogue>I've been following you for twenty years. So I knew about this audition. Because I follow you.</dialogue> <scene_description>Caden, hiding is nervousness, nods.</scene_description> <character>SAMMY</character> <dialogue>I've learned everything about you by following you. Hire me and you will see who you truly are.</dialogue> <scene_description>Caden stares at Sammy. Sammy stares back. There's fear in Caden's eyes but he doesn't drop his gaze.</scene_description> <character>SAMMY</character> <dialogue>Peek-a-boo.</dialogue> <scene_description>Sammy transforms effortlessly into Caden. Okay, Hazel, I don't think we need to talk to anyone else. This guy has me down. I'm going to cast him right now. Then maybe you and I can get a drink and we can try to figure out this thing between us. Why I cried. I've never felt about anyone the way I feel about you. I want to fuck you until we merge into a Chimera. vagina eternally fused, two pair of eyes that look only at each other, lips ever touching and one voice that whispers to itself.</scene_description> <character>CADEN</character> <dialogue>Yes, okay. You've got the part.</dialogue> <scene_description>Sammy nods and exits. Hazel follows him with her eyes.</scene_description> <character>HAZEL</character> <dialogue>He's good, Caden.</dialogue> <character>CADEN</character> <dialogue>Please don't fall in love with him.</dialogue> <character>HAZEL</character> <dialogue>I only have eyes for you, dear.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - 2025 - A FEW MOMENTS LATER</stage_direction> <scene_description>Caden limps with his cane and a backpack toward the men's room door. His eyes are rheumy. He pushes open the door.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - MEN'S ROOM - 2025 - CONTINUOUS</stage_direction> <scene_description>The room is filthy. Flies buzz. The urinals are covered with slime. Caden enters a stall, pulls down his pants, and sits. He strains. When he is done, he looks at his stool. It's gray. He wipes and flushes, pulls up his pants and exits the stall. Sammy stands there.</scene_description> <character>SAMMY</character> <dialogue>I've never seen your shit gray.</dialogue> <character>CADEN</character> <dialogue>It's new.</dialogue> <scene_description>Sammy jots a note. Caden places his backpack on a sink. He looks at himself in the mirror, stalling.</scene_description> <character>SAMMY</character> <dialogue>I know it's pill time. You don't need to hide from me.</dialogue> <scene_description>Caden opens his pack and pulls out a baggie full of pills. He takes them, one-by-one. Sammy watches and counts. When it's over, he speaks.</scene_description> <character>SAMMY</character> <dialogue>You're missing your Fosonex.</dialogue> <scene_description>No. Check your bag. Caden pulls out books and notebooks and a sweater. The pill falls out of the sweater onto the grimy floor.</scene_description> <character>SAMMY</character> <dialogue>Fosonex, 2.5 mg.</dialogue> <scene_description>Caden picks the pill up off the floor. It's got grime on it.</scene_description> <character>SAMMY</character> <dialogue>Swallow it anyway. It's important. Go on, sweetie.</dialogue> <scene_description>Caden looks at Sammy and swallows the pill.</scene_description> <character>SAMMY</character> <dialogue>Good boy.</dialogue> </scene> <scene> <stage_direction>EXT. NYC CITY STREET - 2025 - EVENING</stage_direction> <scene_description>Caden exits the warehouse with Claire and Ariel, who is now five. Sammy walks alongside. There is a long line of people waiting to find out about tickets for the show.</scene_description> <character>MAN</character> <dialogue>When is it opening?</dialogue> <character>CADEN</character> <dialogue>When it's ready.</dialogue> <character>MAN</character> <dialogue>We need to get in. It's bad out here.</dialogue> <scene_description>They move on, passing poor people waiting in line for food distributed from a military truck. There are sick people being herded into a scary bus marked "Fun Land." The guards wear surgical masks.</scene_description> <character>CADEN</character> <dialogue>I was thinking of calling it Simulacrum. What do you think?</dialogue> <character>CLAIRE</character> <dialogue>I don't know what it means.</dialogue> <character>ARIEL</character> <dialogue>Can me have a nickel if I doesn't play with my pee-pee no more?</dialogue> <scene_description>A hovercraft glides down the street with searchlights. How about The Flawed Light of Love and Grief?</scene_description> <character>CLAIRE</character> <dialogue>I'm not sure.</dialogue> <scene_description>Sammy jots something in his book.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2025 - NIGHT</stage_direction> <scene_description>Caden and Claire have sex. Sammy watches from a chair in the corner. Ariel sits on his lap. They finish and Caden glances at Sammy.</scene_description> </scene> <scene> <stage_direction>EXT. CLAIRE'S FIRE ESCAPE (NYC APARTMENT) - WINTER 2025 -</stage_direction> <character>LATER</character> <dialogue>Caden and Sammy watch the city: fires in the distance. Human wailing. Christmas decorations in windows across the way. Occasional explosions. Claire pokes her head out.</dialogue> <character>CLAIRE</character> <dialogue>I'm going to work in my journal. You guys need anything?</dialogue> <character>CADEN</character> <dialogue>No, thanks.</dialogue> <character>SAMMY</character> <dialogue>No, thanks, Claire.</dialogue> <character>CADEN</character> <dialogue>Claire? I want you to drop your study of Mrs. Kranstein.</dialogue> <character>CLAIRE</character> <dialogue>Caden --</dialogue> <character>CADEN</character> <dialogue>I want you to play yourself. Sammy's going to move into your apartment set as me.</dialogue> <character>CLAIRE</character> <dialogue>It's just that I've made such enormous strides as Jocelyn and --</dialogue> <character>CADEN</character> <dialogue>As the vision reveals itself, we all have to be willing to adapt, honey.</dialogue> <character>SAMMY</character> <dialogue>It'd be my honor to play your husband, Claire. You're an amazing actress. I saw you in Bernarda Alba last year at The Roundabout.</dialogue> <character>CLAIRE</character> <dialogue>Yeah? That was a fun play. Emotionally tough, but fucking fulfilling.</dialogue> <scene_description>strong female actresses. Ugh, Lorca's a genius. Okay. I'm going to start thinking about myself. Claire exits.</scene_description> <character>SAMMY</character> <dialogue>Start, huh?</dialogue> <scene_description>Caden chuckles.</scene_description> <character>SAMMY</character> <parenthetical>(beat)</parenthetical> <dialogue>Why did we leave Adele, Caden?</dialogue> <character>CADEN</character> <dialogue>She left us. You know that better than anyone. Except me.</dialogue> <character>SAMMY</character> <dialogue>Amazing artist though. The best living artist. There's no one who stares the truth in the face like she does. A sweet pussy, too.</dialogue> <scene_description>Caden looks at Sammy, confused.</scene_description> <character>CADEN</character> <dialogue>How do you know that?</dialogue> <character>SAMMY</character> <dialogue>Oh. I read it.</dialogue> <character>CADEN</character> <dialogue>Anyway, I don't know where she is.</dialogue> <scene_description>A strange dirigible flies very low overhead.</scene_description> <character>SAMMY</character> <dialogue>Maybe she's got a sublet in New York. Maybe the Met's doing a retrospective. Maybe, baby.</dialogue> <scene_description>He hands Caden a slip of paper.</scene_description> <character>CADEN</character> <dialogue>Why are you giving this to me?</dialogue> <character>SAMMY</character> <dialogue>I want to follow you there and see how you lose even more of yourself. Research. For the part. Partner.</dialogue> <scene_description>Dark, deserted part of town. The wind blows wet leaves. A kid walks by in a Hallowe'en costume, looking lost. Caden finds the address: an old, narrow, very tall, very dark building. There's a piece of looseleaf paper with the handwritten note "Death in family. God relieve our grief." taped to the front door. He approaches the tenant buzzers and buzzes 31Y. The name on the apartment is Capgras. The door buzzes. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR (31Y BUILDING) - 2026 - MOMENTS LATER</stage_direction> <scene_description>It's small. The walls are panelled with ancient, scarred wood. Caden presses "31." The doors close; the elevator ascends, swaying and creaking. The doors open on 17; nobody gets on. As they begin to close:</scene_description> <character>FAINT FARAWAY VOICE</character> <dialogue>Hold it. Hold it, please.</dialogue> <scene_description>Caden reaches for the "door open" button but doesn't press it. The doors close and the elevator continues its shaky ascent. The doors open on 31 and Caden exits.</scene_description> </scene> <scene> <stage_direction>INT. 31ST FLOOR HALLWAY (31Y BUILDING) - 2026 - CONTINUOUS</stage_direction> <scene_description>Sound of the elevator descending. Caden heads down the long hall, looking at apartment numbers. He gets to the end and is only at 31J. He turns and heads back. The elevator is ascending again. As he passes the elevator door, it opens and a very old, feeble-looking man or woman steps out.</scene_description> <character>OLD PERSON</character> <dialogue>I asked you to hold the door.</dialogue> <character>CADEN</character> <dialogue>I'm sorry. I pressed it, but</dialogue> <character>OLD PERSON</character> <dialogue>You didn't press it.</dialogue> <scene_description>I think it was too late. Caden continues to walk down the hall. The old person walks behind him. Caden looks behind him and smiles awkwardly.</scene_description> <character>CADEN</character> <dialogue>Have a good night.</dialogue> <scene_description>He picks up his pace, trying to be casual about it. He arrives at 31Y, glances over and sees the old person knocking feebly on a door down the hall. Frances, I need to go to the clinic. Something's terribly wrong with my nose. Caden knocks on 31Y. No answer. He knocks again. Down the hall, the door opens and another old person steps out into the hall. This person examines the first old person's nose.</scene_description> <character>OLD PERSON #2</character> <dialogue>Oh yes. I see.</dialogue> <scene_description>Old Person #2 squints over at Caden.</scene_description> <character>OLD PERSON #2</character> <dialogue>Are you Ellen? Ellen?!</dialogue> <character>CADEN</character> <dialogue>What?</dialogue> <character>OLD PERSON #2</character> <parenthetical>(approaching)</parenthetical> <dialogue>Are you Ellen Bascomb? I'm to give the key to 31Y to Ellen Bascomb.</dialogue> <character>CADEN</character> <parenthetical>(beat)</parenthetical> <dialogue>Yes, I'm Ellen.</dialogue> <scene_description>Old Person #2 fishes a key out of the overcoat pocket.</scene_description> <character>OLD PERSON #2</character> <dialogue>She said you should just go in and get started. She said, don't forget to change the sheets.</dialogue> <character>CADEN</character> <dialogue>Ok. Thank you.</dialogue> <scene_description>Old Person #2 turns and heads back down the hall to Old Person #1, whose nose has started to bleed.</scene_description> <character>OLD PERSON #2</character> <dialogue>Oh dear.</dialogue> <scene_description>Caden enters the apartment.</scene_description> </scene> <scene> <stage_direction>INT. 31Y - 2026 - CONTINUOUS</stage_direction> <scene_description>An expansive, well-decorated place. Someone was just here: there's a steaming cup of coffee on the kitchen table. Clothing strewn about. There's a handwritten note on the night table. He reads it:</scene_description> <character>ADELE'S VOICE</character> <dialogue>Hi Ellen. Be a doll and do the sheets and whatever is in the hamper. Your money is under the toaster. Kisses, Adele. ps. bag of stuff in bedroom closet for Goodwill. Take what you want.</dialogue> </scene> <scene> <stage_direction>INT. 31Y BATHROOM - 2026 - LATER</stage_direction> <scene_description>Caden scrubs the filthy toilet bowl.</scene_description> </scene> <scene> <stage_direction>INT. 31Y BEDROOM - 2026 - DAWN</stage_direction> <scene_description>Caden folds laundry and puts it away. He spots the bag of clothing and goes through it. There are several blouses and skirts, a red beret, and some lingerie.</scene_description> </scene> <scene> <stage_direction>EXT. 31Y APARTMENT BUILDING - 2026 - MORNING</stage_direction> <scene_description>Caden exits with bag of clothing. Several Latina and Eastern European cleaning ladies are exiting buildings also.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE APARTMENT (NYC APARTMENT) - 2026 - LATER</stage_direction> <scene_description>Caden enters. Claire is in her bathrobe, worried and angry.</scene_description> <character>CADEN</character> <dialogue>I went for a walk. I had to think.</dialogue> <character>CLAIRE</character> <dialogue>All night? You smell weird. Are you wearing lipstick?</dialogue> <character>CADEN</character> <dialogue>No! What do I smell like? Like bad? Like an old person?</dialogue> <character>CLAIRE</character> <dialogue>I don't know. Like mold? I don't know. Like mold and ... cleaning products? Like you're menstruating? I don't know!</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S BATHROOM (NYC APARTMENT) - 2026 - MORNING</stage_direction> <scene_description>Caden is scrubbing himself raw in the shower. The actors are in their "apartments" and rehearsal is in progress. Caden walks along the scaffolding followed by Hazel. He hands scraps of paper to each actor he passes, then turns his attention to Sammy and Claire. She's in her underwear and getting dressed. Sammy comes up behind her and rubs her ass.</scene_description> <character>CLAIRE</character> <dialogue>I don't like that guy you got to play you.</dialogue> <character>SAMMY</character> <dialogue>You don't like Sammy? Why? I think he's good.</dialogue> <character>CLAIRE</character> <dialogue>I think you need to fire him.</dialogue> <scene_description>Caden hands her a scrap of paper.</scene_description> <character>CLAIRE</character> <parenthetical>(reading, then to Caden)</parenthetical> <dialogue>Oh, fuck you. I'm forty-five years old. I don't want to do this shit anymore.</dialogue> <character>SAMMY</character> <dialogue>I'm not firing him, Claire. He's the best thing in the show. Next to you.</dialogue> <character>CLAIRE</character> <dialogue>He's coming on to me. He's feeling my ass during rehearsal.</dialogue> <character>SAMMY</character> <dialogue>He's your husband.</dialogue> <scene_description>Claire turns to the real Caden and screams.</scene_description> <character>CLAIRE</character> <dialogue>He's not my Godamn husband! You are! What is wrong with you?</dialogue> <scene_description>The actor underneath them pounds on his ceiling. Good, Jimmy! (to Claire) It's for the play. We're getting at something real here.</scene_description> <character>CLAIRE</character> <dialogue>Ugh! I'm going to rehearsal.</dialogue> <scene_description>She grabs her coat, tosses the note into the trash, and storms out and down the stairs.</scene_description> <character>CADEN</character> <dialogue>That's great, you guys.</dialogue> <scene_description>Sammy sits at the table and starts to write on scraps of paper. Hazel hovers behind him, watching.</scene_description> <character>CADEN</character> <dialogue>Beautiful, Sammy.</dialogue> <scene_description>Caden leaves the set and steps onto his platform.</scene_description> <character>SAMMY</character> <dialogue>Caden, time out?</dialogue> <character>CADEN</character> <dialogue>What's up?</dialogue> <character>SAMMY</character> <dialogue>I feel we need a Hazel in here. There's a whole side of Caden I'm not able to explore without a Hazel.</dialogue> <scene_description>Caden looks over at Hazel. Claire watches Caden from the street corner.</scene_description> <character>CADEN</character> <dialogue>I guess, yeah.</dialogue> <scene_description>Claire walks off in a huff.</scene_description> <character>HAZEL</character> <dialogue>I get to be a character? Hooray!</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR (31Y BUILDING) - 2026 - NIGHT</stage_direction> <scene_description>Caden rides up. The elevator stops. Old Person #1 gets on with a big bloody bandage covering his nose.</scene_description> <character>OLD PERSON</character> <dialogue>Hello, Ellen.</dialogue> </scene> <scene> <stage_direction>INT. 31Y BEDROOM - 2026 - NIGHT</stage_direction> <scene_description>Caden looks at the unmade bed, an imprint of a female form in the sheets. He touches it. He gets a melancholy look on his face. He lies on his back in the form. He sees a note on the night table:</scene_description> <character>ADELE'S VOICE</character> <dialogue>Hi Ellen. Crackerjack job last night! Would you do sheets again? We had quite a fuck last night and it's musky and gross. Kisses, A.</dialogue> <scene_description>Caden smells the sheets, strips the bed. A134 OMITTED A134</scene_description> </scene> <scene> <stage_direction>INT. 31Y KITCHEN - 2026 - MORNING</stage_direction> <scene_description>Caden sips coffee at the kitchen table. He's writing a note:</scene_description> <character>CADEN'S VOICE</character> <dialogue>Hi Adele. Relined the cabinets. Just wanted to let you know I won a MacArthur Grant and I'm mounting a play, which I think is going to be pure and truthful. Best --</dialogue> <scene_description>Caden hesitates for a moment, then signs it "Ellen."</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - CLAIRE'S APARTMENT SET - 2026 - DAY</stage_direction> <scene_description>Caden and Hazel watch as Claire waits in her bathrobe in the kitchen and Sammy enters the "apartment."</scene_description> <character>CLAIRE</character> <dialogue>Caden, what are you doing at night? I have a right to fucking know.</dialogue> <character>SAMMY</character> <dialogue>I've been going to Adele's place. And cleaning it.</dialogue> <scene_description>Long pause. Caden rubs his eyes.</scene_description> <character>CLAIRE</character> <dialogue>Do you know what I've given up for you? For this. For you. For you.</dialogue> <scene_description>I'm sorry. I -- I thought I wanted to be just a working stage actress. But, y'know, I'm watching all the young girls crowding me out and it's -- There's a knock on the door. Sammy just stands there.</scene_description> <character>CLAIRE</character> <dialogue>Get the door. Please. Just...</dialogue> <scene_description>Sammy opens it. Tammy, playing Hazel, stands there.</scene_description> <character>TAMMY</character> <dialogue>Uh-oh. This looks serious. Am I interrupting?</dialogue> <character>SAMMY</character> <dialogue>What's going on, Hazel?</dialogue> <character>TAMMY</character> <dialogue>Just wanted to tell you the girl playing me is able to start today.</dialogue> <character>SAMMY</character> <dialogue>Oh, good.</dialogue> <character>CLAIRE</character> <dialogue>That's good. here, two Hazels.</dialogue> <character>TAMMY</character> <dialogue>Okay. I'll take that as my cue.</dialogue> <scene_description>Tammy closes the door and leaves.</scene_description> <character>CLAIRE</character> <dialogue>Maybe you can clean her toilet.</dialogue> <character>SAMMY</character> <dialogue>Maybe I will.</dialogue> <character>CLAIRE</character> <dialogue>It's over, Caden.</dialogue> <character>SAMMY</character> <dialogue>Claire, no.</dialogue> <character>CLAIRE</character> <dialogue>I'm not talking to you.</dialogue> <scene_description>Claire turns to Caden. I didn't say I was going to clean Hazel's toilet. He did.</scene_description> <character>CLAIRE</character> <dialogue>But you thought it.</dialogue> <scene_description>There's a silence. Hazel watches Caden closely.</scene_description> <character>CADEN</character> <dialogue>I thought it. But I didn't say it.</dialogue> <scene_description>Claire packs up her stuff.</scene_description> <character>CLAIRE</character> <dialogue>I got an offer to do Needleman in a Haystack and I'm going to take it. I want you out of the apartment. The real one. You can keep this one.</dialogue> <scene_description>Claire heads down the stairs.</scene_description> <character>CADEN</character> <dialogue>Jesus. Claire! Please!</dialogue> <character>HAZEL</character> <dialogue>Already put out a call for a Claire replacement. Would you really clean my bathroom?</dialogue> <character>CADEN</character> <parenthetical>(beat, sadly)</parenthetical> <dialogue>Yeah.</dialogue> <character>HAZEL</character> <dialogue>God, Caden, it's all so fucked.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - BATHROOM - 2026 - DAY</stage_direction> <scene_description>Caden digs in his bag, pulls out a sponge, gets on his hands and knees and scrubs the floor.</scene_description> </scene> <scene> <stage_direction>INT. METROPOLITAN MUSEUM OF ART - 2026 - DAY</stage_direction> <scene_description>Caden, wearing a pair of magnifying glasses that flip up and down, enters a crowded gallery of people wearing similar glasses. The paintings are microscopic. Museum visitors use the special glasses to study the paintings. There's a wall inscribed "Small Miracles: The Paintings of Adele Lack." Biographical info is under. Caden squeezes his way to the wall to look at paintings. He sees one of an African female genital mutilation ceremony; woman. He comes to a wall titled: "Women I Love." He sees a self-portrait of Adele, a portrait of Maria, a portrait of Olive, naked and covered in tattoos. Then he comes to a portrait entitled "Ellen Bascomb." He steps back for a second, unable to look. The people behind him are impatient. Finally he flips the glasses and studies the painting. Ellen appears to be a chubby, 40 year old white woman, her mousy brown hair tied back in a kerchief. She is naked and spreading her vulva for the viewer. She has a kind face and what appears to be an appendectomy scar.</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S KITCHEN (NYC APARTMENT) - 2026 - DAY</stage_direction> <scene_description>Caden moves boxes. Claire sits at the kitchen table with an actor. They are rehearsing lines from Needleman in a Haystack. \*</scene_description> <character>CLAIRE (AS REBA) \*</character> <dialogue>Oh, Needleman, you had such \* potential. But I'm afraid I'm \* going to have to move on. \*</dialogue> <character>ACTOR (AS NEEDLEMAN) \*</character> <dialogue>Just like that? You don't give a \* guy even a chance? \*</dialogue> <character>CLAIRE (AS REBA) \*</character> <dialogue>I'm not a chance-giving girl. I'm \* a fun-loving girl. Remember? \*</dialogue> <character>ACTOR (AS NEEDLEMAN) \*</character> <dialogue>I try to be fun-loving. See? \*</dialogue> <scene_description>Needleman makes a funny face. Reba doesn't react. \*</scene_description> <character>CLAIRE (AS REBA) \*</character> <dialogue>My analyst says you have complexes. \*</dialogue> <character>ACTOR (AS NEEDLEMAN) \*</character> <dialogue>Once you enjoyed Needleman's \* complexes. \*</dialogue> <character>CLAIRE (AS REBA) \*</character> <dialogue>That's before my analyst taught me \* that my enjoyment of them was a \* sign of my suppressed non- \* enjoymnent of them. \*</dialogue> <character>ACTOR (AS NEEDLEMAN) \*</character> <dialogue>I hate your analyst. \*</dialogue> <scene_description>She told me your hatred of her is a \* sign of your latent homosexuality. \*</scene_description> <character>CADEN</character> <dialogue>This is the end of my stuff.</dialogue> <character>CLAIRE</character> <dialogue>Bye.</dialogue> <character>ACTOR</character> <dialogue>Bye.</dialogue> <scene_description>Caden heads out the apartment door.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT HALLWAY (CLAIRE'S NYC APT.) - 2026 -</stage_direction> <character>CONTINUOUS</character> <dialogue>Caden enters the apartment next door and closes the door.</dialogue> </scene> <scene> <stage_direction>INT. CADEN'S APARTMENT - 2026 - CONTINUOUS</stage_direction> <scene_description>It's filled with boxes. Caden hears laughter coming from next door. He puts his ear against the wall to listen.</scene_description> </scene> <scene> <stage_direction>EXT. CADEN'S APARTMENT BUILDING - 2026 - DAY</stage_direction> <scene_description>Caden exits, crosses the street, and looks up, trying to see in Claire's window. He sees her walk by, then nothing.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - 2026 - DAY</stage_direction> <scene_description>Caden sits with Hazel at a table facing the giant, open apartment building structure. An actress plays Claire. She sits at the kitchen table of her apartment with an actor playing the actor. They both hold scripts and read from Needleman in a Haystack. Sammy is in front of the building, looking up. Caden looks troubled. Tammy sits to the side of Hazel and studies her. Every once in a while, Hazel self- consciously glances over at Tammy, who does not avert her gaze. This is a lie! Caden paces. The actors stop what they're doing, sit with their legs dangling off the edge of their apartments, wait for instructions. Caden limps off to the set designer's office.</scene_description> </scene> <scene> <stage_direction>A143 INT. WAREHOUSE - WILL'S OFFICE - 2026 - CONTINUOUS A143</stage_direction> <scene_description>Caden enters the office. Will, the production designer, looks up from his drafting table.</scene_description> <character>CADEN</character> <dialogue>Wall it up.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - CITY SET - 2028 - DAY</stage_direction> <scene_description>Sammy stands across the street from the walled-up apartment building, an exact replica of the real one. He looks up at Claire's lighted window. Caden watches, pleased.</scene_description> </scene> <scene> <stage_direction>INT. CADEN'S APARTMENT - 2029 - NIGHT</stage_direction> <scene_description>Caden, hooked up to pumps, tries to sleep on the floor, surrounded by boxes. He listens to Claire having sex next door. He detaches his pumps, gets dressed.</scene_description> </scene> <scene> <stage_direction>INT. 31Y BEDROOM - 2029 - NIGHT</stage_direction> <scene_description>Caden sits on the bed and reads a note from Adele:</scene_description> <character>ADELE'S VOICE</character> <dialogue>Good for you with your grant! Listen, I fixed up the walk-in as a sort of bedroom if you want. We'd love to have you and you wouldn't have to schlep all the way to Queens. Just a thought. Kisses. A.</dialogue> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET - 2029 - NIGHT</stage_direction> <scene_description>Caden sees an unmade cot in the corner and a few cardboard boxes marked "Stuff for Olive." The "Olive" is crossed out and replaced with "Caden."</scene_description> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET - 2029 - LATER</stage_direction> <scene_description>The boxes are empty as Caden finishes making the bed. The room is decorated in a girly manner. Pink bedspread. Girly lamps and furniture. Girly prints on the walls. Sammy, walking with a cane, exits his apartment building set and walks down the street. Caden and Hazel follow. Sammy passes people, nods hello to some. He stops at a newsstand and buys a paper. The set seems to go on forever.</scene_description> </scene> <scene> <stage_direction>A149 EXT. WAREHOUSE STREET (INT. WAREHOUSE SET) - 2031 - A149</stage_direction> <character>CONTINUOUS</character> <dialogue>Eventually Sammy arrives at a warehouse that looks exactly like the warehouse they are in. He enters.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE) - 2031 -</stage_direction> <character>CONTINUOUS</character> <dialogue>Inside it looks exactly like the warehouse, including a duplicate city set. Sammy hands little scraps of paper to people, then dumps his pack on the table where Tammy sits. Hazel and Caden watch.</dialogue> <character>SAMMY</character> <dialogue>Morning, Haze.</dialogue> <character>TAMMY</character> <dialogue>Hi, Caden. How was your night?</dialogue> <character>SAMMY</character> <dialogue>Okay. Yours?</dialogue> <character>TAMMY</character> <dialogue>Eh. Philip was colicky. I was up all night.</dialogue> <scene_description>Caden looks over at Hazel for confirmation. She nods, slightly freaked out.</scene_description> <character>CADEN</character> <dialogue>Sorry.</dialogue> <character>SAMMY</character> <parenthetical>(to Tammy)</parenthetical> <dialogue>Sorry. Everybody here?</dialogue> <character>TAMMY</character> <parenthetical>(looking at clipboard)</parenthetical> <dialogue>Sammy's not here. Jimmy called and said there's some subway problem.</dialogue> <scene_description>Jimmy rushes into the warehouse. Sorry. Sorry, sorry, sorry. (sweetly) Hi, Hazel.</scene_description> <character>TAMMY</character> <dialogue>Hi, Sammy.</dialogue> <character>SAMMY</character> <parenthetical>(to Tammy)</parenthetical> <dialogue>Sammy likes you.</dialogue> <scene_description>Caden looks at Hazel. She nods.</scene_description> <character>SAMMY</character> <dialogue>Hazel, could you get everyone situated? I need to speak to Will about some new sets.</dialogue> <scene_description>Sammy pulls some Polaroids out of his backpack.</scene_description> <character>TAMMY</character> <dialogue>Yeah. We'll take it from June 9th?</dialogue> <scene_description>Sammy nods, heads toward the set designer's office.</scene_description> <character>CADEN</character> <dialogue>Oh, shit. I need to do that, too. Haze, keep an eye on things?</dialogue> <character>HAZEL</character> <dialogue>Yup. June 9th?</dialogue> <scene_description>Caden nods, rushes out the door of the warehouse set. OMITTED</scene_description> </scene> <scene> <stage_direction>A151 EXT. UNFINISHED BRICK BUILDING (BROOKLYN BRIDGE PARK)(INT. A151</stage_direction> <character>WAREHOUSE) - 2031 - CONTINUOUS</character> <dialogue>Caden finds Will up on some scaffolding, working on the set.</dialogue> <character>CADEN</character> <dialogue>Will, I need you to build this.</dialogue> <scene_description>Caden hands Will shots of the exterior and interiors of Adele's building and of apartment 31Y. Caden sits at his desk. There are several overweight women waiting on the other side of the partition. Hazel ushers one in. She's a ringer for the painting of Ellen.</scene_description> <character>CADEN</character> <dialogue>Hazel, what do you think of this title: Unknown, Unkissed, and Lost?</dialogue> <character>HAZEL</character> <dialogue>Eh. Caden this is Millicent Weems.</dialogue> <character>CADEN</character> <dialogue>Hi, Millicent. Have a seat. How are you at cleaning?</dialogue> <character>MILLICENT</character> <parenthetical>(sitting)</parenthetical> <dialogue>I'm very, very good at it.</dialogue> <character>CADEN</character> <dialogue>Because this part requires a lot of it. You'd play a cleaning lady.</dialogue> <character>MILLICENT</character> <dialogue>I played Egga the cleaning lady in Hedda Gabler at the Roundabout.</dialogue> <character>CADEN</character> <dialogue>Great.</dialogue> <character>MILLICENT</character> <dialogue>Okay. Dub at the Pantages.</dialogue> <character>CADEN</character> <dialogue>You're weirdly close to what I've visualized for this character.</dialogue> <character>MILLICENT</character> <dialogue>Glad to be weirdly close.</dialogue> <scene_description>Millicent and Caden study each other.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREETS (INT. WAREHOUSE SET) - 2032 - DAY</stage_direction> <scene_description>Caden heads to the warehouse set. He hands paper scraps to shopkeepers, pedestrians, a guy sweeping the street.</scene_description> <character>CADEN</character> <dialogue>Good work, everyone.</dialogue> <scene_description>Nobody acknowledges him. Caden enters the warehouse set. Tammy sits alone at the card table. There's activity on the street and movement can be seen in various windows.</scene_description> <character>CADEN</character> <dialogue>Where're Sammy and Hazel?</dialogue> <scene_description>Tammy jerks her head to the left. Caden sees that Sammy has Hazel with her back against a wall. They are talking intimately. Caden approaches.</scene_description> <character>CADEN</character> <dialogue>Hey, Sammy, what are you doing?</dialogue> <scene_description>Sammy and Hazel look over casually.</scene_description> <character>SAMMY</character> <dialogue>Hi, Caden. I'm being you. You like Hazel; I like Hazel.</dialogue> <character>CADEN</character> <dialogue>This Hazel doesn't exist for you. If you want to like a Hazel, like that one.</dialogue> <scene_description>Caden points indicates Tammy. Sammy squints over.</scene_description> <character>TAMMY</character> <dialogue>That's what I tried to tell him!</dialogue> <character>HAZEL</character> <dialogue>Aw, no harm, no foul, Caden. It's Equity break anyway.</dialogue> <parenthetical>(loud)</parenthetical> <dialogue>Ten minutes, everybody!</dialogue> <scene_description>The actors playing the people on the street immediately stop what they're doing. Actors pour from apartment buildings and shops, lighting cigarettes and talking on cell phones. Sammy goes off.</scene_description> <character>CADEN</character> <dialogue>Hazel.</dialogue> <character>HAZEL</character> <dialogue>What?</dialogue> <character>CADEN</character> <dialogue>You don't like him, do you?</dialogue> <character>HAZEL</character> <dialogue>Kind of. He reminds me of you.</dialogue> <character>CADEN</character> <dialogue>I'm me. You don't need someone to remind you of me.</dialogue> <scene_description>Don't worry, Caden. I like you more. I do. Sammy's just fun.</scene_description> <character>CADEN</character> <dialogue>I'm fun.</dialogue> <character>HAZEL</character> <dialogue>Oh, sweetie. No, you're not.</dialogue> <scene_description>Caden's cell phone rings. He answers it.</scene_description> <character>CADEN</character> <dialogue>Yes?</dialogue> <character>VOICE</character> <dialogue>Is this Caden Cotard?</dialogue> <character>CADEN</character> <dialogue>Yes.</dialogue> <character>VOICE</character> <dialogue>This is Officer Mark Mellman of Schnectady P.D.</dialogue> <character>CADEN</character> <dialogue>Yes?</dialogue> <character>VOICE</character> <dialogue>I'm sorry to inform you, your mother has been the victim of a home invasion.</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - 2032 - DAY</stage_direction> <scene_description>A funeral is in progress. Caden stands with Tammy and his father as his mother's coffin is lowered into the ground. The coffin is banged up and crumbling.</scene_description> </scene> <scene> <stage_direction>INT. CADEN'S MOTHER'S HOUSE - 2032 - DAY</stage_direction> <scene_description>Lots of mourners. Caden sits on the couch with Tammy.</scene_description> <character>CADEN</character> <dialogue>Was my father standing with us?</dialogue> <character>TAMMY</character> <dialogue>I don't know what he looks like.</dialogue> <character>CADEN</character> <dialogue>He's dead. He looks dead, I guess.</dialogue> <character>TAMMY</character> <dialogue>Probably wasn't him then.</dialogue> <character>CADEN</character> <dialogue>A little moustache?</dialogue> <scene_description>She shrugs.</scene_description> <character>CADE</character> <dialogue>Anyway, Thanks for coming with me.</dialogue> <scene_description>It's okay.</scene_description> <character>CADEN</character> <dialogue>I asked Hazel but she was busy tonight and you're the next best thing. I mean, it isn't that you're the next best thing but because you play her, it feels comforting. Does that make sense? Although the thing is offstage you're nothing like her. You play her very well though. Did Hazel mention what she was doing tonight because I called her house before we left and her husband said she wasn't going to be back till late and I thought that was weird because she told me Philip was sick.</dialogue> <character>TAMMY</character> <dialogue>She's going to dinner with Sammy.</dialogue> <character>CADEN</character> <parenthetical>(calmly)</parenthetical> <dialogue>That's interesting.</dialogue> <character>TAMMY</character> <dialogue>He's supposed to like me.</dialogue> <character>CADEN</character> <dialogue>I'll have another talk with him. Can you excuse me. I need to use the bathroom.</dialogue> <scene_description>Caden gets up and turns to leave.</scene_description> <character>TAMMY</character> <dialogue>Don't forget your phone.</dialogue> <character>CADEN</character> <dialogue>Thank you, Yammy.</dialogue> <scene_description>Caden takes the phone and limps off.</scene_description> </scene> <scene> <stage_direction>EXT. CADEN'S MOTHER'S BACK DECK - 2032 - DAY</stage_direction> <scene_description>Caden talks on his cell.</scene_description> <character>CADEN</character> <dialogue>Hey. What you up to?</dialogue> <character>INTERCUT WITH:</character> <dialogue>Hazel's driving while talking on her cell.</dialogue> <character>HAZEL'S VOICE</character> <dialogue>In my car. Heading to dinner with Sammy.</dialogue> <character>CADEN</character> <dialogue>Why didn't you tell me that before?</dialogue> <character>HAZEL</character> <dialogue>Caden. I don't want to say things that are going to make you sad.</dialogue> <character>CADEN</character> <dialogue>It mostly makes me sad that it doesn't make you sad.</dialogue> <character>HAZEL</character> <dialogue>You want me to be sad that someone's taking me out to dinner? I don't know how to do that.</dialogue> <character>CADEN</character> <dialogue>I want you to be sad that we had something really special and it's going away!</dialogue> <character>HAZEL</character> <dialogue>It just happened, Caden. I didn't plan it. You were with Claire. This probably isn't going to go anywhere, sweetie. I'm still your girl.</dialogue> <character>CADEN</character> <dialogue>Oh, Haze.</dialogue> <character>HAZEL'S VOICE</character> <dialogue>C'mon. stories! It just seems fun.</dialogue> <character>CADEN</character> <dialogue>He has stories about me!</dialogue> <character>HAZEL</character> <dialogue>Caden, I know everything about you and it's all adorable. I love you and I always will. So don't worry. I gotta go, I'm there.</dialogue> <scene_description>Hazel hangs up. Caden stands there for a minute. The house has emptied out. Caden and Tammy straighten.</scene_description> <character>CADEN</character> <dialogue>Did you always want to be an actress?</dialogue> <character>TAMMY</character> <dialogue>Every girl wants to be an actress.</dialogue> <character>CADEN</character> <dialogue>Is that true?</dialogue> <character>TAMMY</character> <dialogue>I did. So I figure everyone does.</dialogue> </scene> <scene> <stage_direction>INT. CADEN'S MOTHER'S BEDROOM - 2032 - LATER</stage_direction> <scene_description>Looks like there's been a horrible struggle. The bed is covered with blood. Caden and Tammy stare at it.</scene_description> <character>CADEN</character> <dialogue>I thought someone would've cleaned it up.</dialogue> <character>TAMMY</character> <dialogue>Who?</dialogue> <character>CADEN</character> <dialogue>I don't know! Someone.</dialogue> </scene> <scene> <stage_direction>INT. CADEN'S CHILDHOOD ROOM - 2032 - LATER</stage_direction> <scene_description>It's a kid's room. Caden and Tammy stand there.</scene_description> <character>CADEN</character> <dialogue>This is my room. You can sleep here.</dialogue> <character>TAMMY</character> <dialogue>Where will you sleep?</dialogue> <character>CADEN</character> <dialogue>The living room couch.</dialogue> <character>TAMMY</character> <dialogue>Don't you want to sleep with me?</dialogue> <scene_description>Um... It's just sex.</scene_description> <character>CADEN</character> <dialogue>Okay. If you think it's okay.</dialogue> <scene_description>Tammy laughs, matter-of-factly gets undressed in front of Caden. He just stands there uncomfortably.</scene_description> <character>CADEN</character> <dialogue>How can you be like that?</dialogue> <character>TAMMY</character> <dialogue>I get undressed every day.</dialogue> <character>CADEN</character> <dialogue>In front of someone is different.</dialogue> <character>TAMMY</character> <dialogue>I don't see why.</dialogue> <character>CADEN</character> <dialogue>Maybe because you have a beautiful body. Maybe that makes it easier.</dialogue> <character>TAMMY</character> <dialogue>I suppose it might. Do you want to fuck?</dialogue> <character>CADEN</character> <dialogue>I do. Yes. Um. Do you?</dialogue> <character>TAMMY</character> <dialogue>It'd be fine.</dialogue> <scene_description>Caden starts to cry.</scene_description> <character>CADEN</character> <dialogue>I'm sorry. I'm very lonely. I don't know what's wrong. I just -- I'm sorry. Can you understand? Do you understand loneliness?</dialogue> <character>TAMMY</character> <dialogue>Yeah, I mean, I don't know. I feel okay mostly. Fucking might help.</dialogue> <character>CADEN</character> <dialogue>I'm sorry.</dialogue> <character>TAMMY</character> <dialogue>It's okay. I don't mind. Take your clothes off.</dialogue> <scene_description>You're very pretty. Thanks.</scene_description> <character>CADEN</character> <dialogue>Sometimes I wish I were pretty like that.</dialogue> <character>TAMMY</character> <dialogue>You wish you were a chick?</dialogue> <character>CADEN</character> <parenthetical>(long pause)</parenthetical> <dialogue>Sometimes I think I might've been better at it.</dialogue> <character>TAMMY</character> <dialogue>Interesting. It's kind of a drag in a lot of ways. You like guys?</dialogue> <character>CADEN</character> <dialogue>No. No. I like women. I only like women.</dialogue> <character>TAMMY</character> <dialogue>Well, I'm getting cold.</dialogue> <scene_description>She climbs into bed.</scene_description> <character>TAMMY</character> <dialogue>Take off your clothes.</dialogue> <scene_description>Caden does, awkwardly and shyly. He then stands there naked. Tammy smiles sweetly at him.</scene_description> <character>TAMMY</character> <dialogue>Pretty Caden.</dialogue> <character>CADEN</character> <dialogue>Thanks. Thank you for saying that.</dialogue> <character>TAMMY</character> <dialogue>Come to bed, Pretty Caden.</dialogue> <scene_description>Caden turns off the lights and climbs into the twin bed with Tammy. She looks at his face, then kisses him.</scene_description> </scene> <scene> <stage_direction>INT. CADEN'S CAR - 2032 - MORNING</stage_direction> <scene_description>A residential street in Schenectady. Caden drives and Tammy sits in the front passenger seat. What is attractive? How are attractive people treated, how do they feel? How do unattractive people feel, how are they treated? How do attractive people feel about unattractive people, how do unattractive people feel about attractive people? How do unattractive people feel about other unattractive people? How do attractive people feel about other attractive people? How do unattractive men feel about unattractive women? How do unattractive men feel about attractive women? How do attractive men feel about unattractive women? How do attractive women feel about unattractive men? How do old people feel about attractive people? How do attractive people feel about old people? This is my study. Caden slows down.</scene_description> <character>CADEN</character> <dialogue>That's Hazel's house.</dialogue> <scene_description>Caden points to the house with smoke seeping out the windows.</scene_description> <character>TAMMY</character> <dialogue>Huh. Do you think we should have a Hazel's house on the set for me?</dialogue> <character>CADEN</character> <dialogue>Um...</dialogue> <character>TAMMY</character> <dialogue>It would be verisimilitudinous.</dialogue> <character>CADEN</character> <dialogue>Yeah. I don't know. I have to speak to the fire marshal.</dialogue> <character>TAMMY</character> <dialogue>It would be very verisimilitudinous if you could.</dialogue> <scene_description>Hazel drives a golf cart along a fake highway. Caden and Tammy sit in back. Hazel eyes them in the rearview mirror. They seem cozy. Hazel scowls. Technicians are on the side of the road putting in plants and trees.</scene_description> <character>CADEN</character> <dialogue>I think both of you Hazels are going to like this. Turn off here.</dialogue> <scene_description>Hazel rolls her eyes, drives down an exit ramp.</scene_description> </scene> <scene> <stage_direction>EXT. BURNING HOUSE STREET (INT. WAREHOUSE SET) - 2032 - DAY</stage_direction> <scene_description>Hazel drives the golf cart down the street in a state of near completion. She stops in front of a replica of her house.</scene_description> <character>CADEN</character> <dialogue>Hank! Okay!</dialogue> <scene_description>The house begins to smoke.</scene_description> <character>TAMMY</character> <dialogue>My house!</dialogue> <scene_description>Tammy kisses Caden on the cheek and runs into the house.</scene_description> <character>HAZEL</character> <dialogue>Is there no end to your pussy kissing?</dialogue> <character>CADEN</character> <dialogue>It's verisimilitudinous. I'm thinking of that as a title.</dialogue> <character>HAZEL</character> <dialogue>Whatever. I've got work to do. Tell your girlfriend to get out here if she wants a ride back.</dialogue> <character>CADEN</character> <dialogue>She's not my girlfriend.</dialogue> <character>HAZEL</character> <dialogue>Give it a rest, Caden. I can smell her on your breath.</dialogue> <character>CADEN</character> <parenthetical>(beat)</parenthetical> <dialogue>Tammy! We have to get back.</dialogue> <scene_description>Sammy walks down the hall followed by Tammy. He stops at various doorways and listens to conversations or other noises within the apartments. They are followed by Caden and Hazel.</scene_description> <character>SAMMY</character> <dialogue>Jeremy is playing to us. Tell him he simply needs to talk to Donna. We'll hear what we hear.</dialogue> <scene_description>Tammy takes down the note.</scene_description> <character>CADEN</character> <dialogue>Sammy's explaining too much. Feels expository. Needs to be shorthand, like, "Jeremy big."</dialogue> <scene_description>Hazel writes that down. They all continue down the hall.</scene_description> <character>TAMMY</character> <dialogue>Caden? Can we stop for a second?</dialogue> <character>CADEN</character> <dialogue>Sure.</dialogue> <character>TAMMY</character> <dialogue>If Hazel's in love with Sammy and Caden's in love with Hazel, there would be a dramatic confrontation, where Caden turns to me and says, "It's obvious he's a substitute for me." I think then Hazel could have a good moment where she cries or gets angry. I'm not sure which yet, but it feels dramatically sound.</dialogue> <character>HAZEL</character> <dialogue>That didn't happen, Caden.</dialogue> <character>TAMMY</character> <dialogue>I think Hazel would do that, Hazel.</dialogue> <character>HAZEL</character> <dialogue>But Hazel hasn't done it, Tammy.</dialogue> <scene_description>Caden? What do you think? I think we could try it.</scene_description> <character>TAMMY</character> <dialogue>Great!</dialogue> <character>HAZEL</character> <dialogue>Fuck. I'm going out for a smoke.</dialogue> <scene_description>They watch her go. Caden turns back to the others.</scene_description> <character>CADEN</character> <dialogue>Let's try it. Maybe it could happen at the director's table.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE SET) - 2032 - DAY</stage_direction> <scene_description>Caden and Hazel sit at the director's table. The street life of the play is going on around them.</scene_description> <character>CADEN</character> <dialogue>Tammy was right. I don't understand why you're with Sammy.</dialogue> <character>HAZEL</character> <dialogue>He's nice. He's available. He fucks me without crying.</dialogue> <character>CADEN</character> <dialogue>That happened one time! You fucked him?</dialogue> <character>HAZEL</character> <dialogue>Yes! And you and I only fucked one time that's why you only cried one time! I give you endless opportunities.</dialogue> <character>CADEN</character> <dialogue>What do you mean, he's available? Since when are you available?</dialogue> <character>HAZEL</character> <dialogue>Derek left. Because of you!</dialogue> <character>CADEN</character> <dialogue>When? How come you never told me?</dialogue> <character>HAZEL</character> <dialogue>I don't know, Caden. How come a lot of things? It's not like we can start fresh, like Sammy and I can. There's all this pressure on us. We're finally both free and there's all this fucking pressure.</dialogue> <scene_description>Fuck. I have to let the actor who plays Derek go. What is his name? That's such a romantic response. I'm touched.</scene_description> <character>CADEN</character> <dialogue>It's not my response. It just crossed my mind. We have enormous budgetary concerns here.</dialogue> <character>HAZEL</character> <dialogue>Ugh. Forget it.</dialogue> <parenthetical>(looking in book)</parenthetical> <dialogue>Derek is played by Joe --</dialogue> <character>CADEN</character> <dialogue>Stop, okay.</dialogue> <character>HAZEL</character> <dialogue>Just stop. nothing like me. How can you like her? Joe Abernathy.</dialogue> <character>CADEN</character> <dialogue>She looks like you. And --</dialogue> <character>HAZEL</character> <dialogue>No she does not.</dialogue> <character>CADEN</character> <dialogue>-- and she offered to have sex with me. Abernathy?</dialogue> <character>HAZEL</character> <dialogue>Yes. Was it good?</dialogue> <character>CADEN</character> <dialogue>I don't know. Yeah. It was nice.</dialogue> <character>HAZEL</character> <dialogue>Ugh.</dialogue> <character>CADEN</character> <dialogue>I'm just trying to be honest. It was nice. Not earth- shattering.</dialogue> <character>HAZEL</character> <dialogue>Did you cry?</dialogue> <character>CADEN</character> <dialogue>No!</dialogue> <character>HAZEL</character> <dialogue>You're making progress.</dialogue> <character>CADEN</character> <dialogue>Okay, I cried a little before.</dialogue> <parenthetical>(long pause)</parenthetical> <dialogue>Hazel, you've been part of me forever. Don't you know that? I breathe your name in every exhalation.</dialogue> <parenthetical>(stops)</parenthetical> <dialogue>Oh, Caden. Oh, fuck. What the fuck are we doing?</dialogue> <character>CADEN</character> <dialogue>I don't know.</dialogue> <scene_description>Hazel latches her pinky around Caden's. Sammy has been watching the whole thing from behind a pillar. Caden glances at his watch.</scene_description> <character>CADEN</character> <dialogue>Crap, Ellen's October 23rd scene!</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR (31Y BUILDING) (INT. WAREHOUSE SET) - 2032 -</stage_direction> <character>DAY</character> <dialogue>Millicent, Hazel, and Caden wait in the elevator. The elevator begins to ascend. Instead of a motor, the sound of grunting men is heard. The elevator stops short and sways a little bit.</dialogue> <character>WORKER (O.S.)</character> <dialogue>Sorry, everybody!</dialogue> <scene_description>Caden pulls off a wall panel, and sticks his head through.</scene_description> </scene> <scene> <stage_direction>A165 INT. ELEVATOR SHAFT (31Y BUILDING) (INT. WAREHOUSE SET) - A165</stage_direction> <character>2032 - SAME</character> <dialogue>Caden looks down the shaft. Five guys hold the elevator with a rope and pulley system.</dialogue> <character>CADEN</character> <dialogue>What's going on, Maurice?</dialogue> <character>MAURICE</character> <dialogue>Sorry. We have a couple of new guys on and we're not in sync yet.</dialogue> <character>CADEN</character> <dialogue>Okay. Are we good to go?</dialogue> <character>MAURICE</character> <dialogue>Yup.</dialogue> </scene> <scene> <stage_direction>B165 INT. ELEVATOR (31Y BUILDING) (INT. WAREHOUSE SET) - 2032 - B165</stage_direction> <character>SAME</character> <dialogue>Caden replaces the panel. The elevator continues its ascent to the sound of grunting men.</dialogue> <scene_description>C165 OMITTED C165</scene_description> <character>INT. 31ST FLOOR HALLWAY (31Y BUILDING) (INT. WAREHOUSE SET)</character> <dialogue>- 2032 - CONTINUOUS</dialogue> <dialogue>The elevator doors close. Millicent, Old Person, Caden, and Hazel walk down the hall. Old Person knocks on a door, which is opened by Old Person #2 (actor version).</dialogue> <character>OLD PERSON #2 (ACTOR)</character> <parenthetical>(to Millicent)</parenthetical> <dialogue>Are you Ellen? Ellen?!</dialogue> <character>MILLICENT</character> <dialogue>Shit. Line, please.</dialogue> <character>HAZEL</character> <dialogue>"What?"</dialogue> <character>MILLICENT</character> <dialogue>Right. What?</dialogue> <character>OLD PERSON #2</character> <dialogue>Are you Ellen Bascomb? I'm to give the key to 31Y to Ellen Bascomb.</dialogue> <character>MILLICENT</character> <parenthetical>(beat)</parenthetical> <dialogue>Yes, I'm Ellen.</dialogue> <scene_description>Old Person #2 fishes a key out of the overcoat pocket.</scene_description> <character>OLD PERSON #2</character> <dialogue>She said you should just go in and get started. She said, don't forget to change the sheets.</dialogue> <character>MILLICENT</character> <dialogue>Ok. Thank you.</dialogue> <scene_description>Old Person #2 looks back to Old Person #1, whose nose has started to bleed.</scene_description> <character>OLD PERSON #2</character> <dialogue>Oh dear.</dialogue> <scene_description>Millicent puts the key in the lock. It doesn't turn.</scene_description> <character>MILLICENT</character> <dialogue>Wrong key.</dialogue> <character>OLD PERSON #2</character> <dialogue>What?</dialogue> <scene_description>It's the wrong key. It doesn't turn.</scene_description> <character>OLD PERSON #2</character> <parenthetical>(fishes in pockets)</parenthetical> <dialogue>It's the one they gave me.</dialogue> <character>ADELE'S VOICE</character> <dialogue>I'm jumping in the shower. Make some coffee, would ya?</dialogue> <character>CADEN</character> <parenthetical>(to Hazel)</parenthetical> <dialogue>Did you hear that?</dialogue> <character>HAZEL</character> <dialogue>What?</dialogue> <character>CADEN</character> <dialogue>Did we hire an Adele?</dialogue> <character>HAZEL</character> <dialogue>I'm sure I would've remembered that. No.</dialogue> <scene_description>The shower turns on. Caden grabs the key from Millicent.</scene_description> <character>MILLICENT</character> <dialogue>Caden, you're breaking the fourth wall. I get to open the door.</dialogue> <scene_description>He tries to turn the key in the lock. It won't budge.</scene_description> <character>CADEN</character> <dialogue>This is the wrong key, Sandy.</dialogue> <character>OLD PERSON #2</character> <dialogue>It isn't.</dialogue> <scene_description>Caden bangs on the door.</scene_description> <character>CADEN</character> <dialogue>Adele! Adele, are you in there?</dialogue> <character>OLD PERSON #1</character> <dialogue>Maybe it's the wrong key.</dialogue> <character>CADEN</character> <dialogue>Adele?</dialogue> <character>HAZEL</character> <dialogue>Caden, there's no one in there. You've got to let go of her. She's not here anymore. I'm here.</dialogue> <scene_description>Yeah, okay. Can we just get the right key, so we can do the scene? Please, somebody?</scene_description> <character>HAZEL</character> <dialogue>Yeah, we'll get the right key.</dialogue> <scene_description>OMITTED Caden and Hazel walk past the set of the hotel she had stayed \* at with her family. \*</scene_description> <character>CADEN \*</character> <dialogue>Look familiar? \*</dialogue> <character>HAZEL \*</character> <dialogue>Oh my God! It's an exact replica of \* the Tethered Maiden Terrace! Derek \* and the kids and I had so much fun \* on that trip! \*</dialogue> <character>CADEN \*</character> <dialogue>Listen, I built this because I \* wanted to show you what happened -- \*</dialogue> <character>SAMMY \*</character> <dialogue>(calling) \*</dialogue> <scene_description>After me, Caden, there's no one \* left to watch you. \* They look up. Sammy stands on the ledge above them. \*</scene_description> <character>HAZEL</character> <dialogue>(running off)</dialogue> <character>SAMMY</character> <dialogue>There's nothing to talk</dialogue> <scene_description>Oh fuck! Sammy, Just stay about, Hazel! This is not right where you are! I'm your fault! \* coming up!</scene_description> <character>CADEN \*</character> <dialogue>No fair, Sammy! She wouldn't see \* you jump. She never saw me! You're \* not being authentic. \*</dialogue> <character>SAMMY \*</character> <dialogue>This is where we part ways. This is \* authentic. This is what the real \* Caden would do. This is what real \* love looks like. \*</dialogue> <scene_description>Sammy leaps. The actors below scatter. Sammy hits hard, \* breaks through the fake cement, and is dead. Blood \* everywhere. \*</scene_description> </scene> <scene> <stage_direction>EXT. NYC CEMETERY - 2032 - DAY</stage_direction> <scene_description>Sammy is buried. An enormous crowd there: all the actors from the play, Caden and Hazel in front. Hazel weeps. Caden looks at the assembled group, from face to face. I know how to do it now. There are nearly thirteen million people in the world. Try to imagine that many people! None of those people is an extra. They're all the leads of their own stories. They have to be given their due.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - CEMETERY SET - 2035 - DAY</stage_direction> <scene_description>The actor playing Sammy is in the coffin. There's an enormous crowd. Tammy plays Hazel and weeps. A stand-in for Sammy as Caden stands next to her. Caden and Hazel watch from the director's table.</scene_description> <character>CADEN</character> <dialogue>Do you see what I'm saying?</dialogue> <scene_description>Hazel has her head in her hands. She looks over at Caden, imploringly.</scene_description> <character>HAZEL</character> <dialogue>Come over tonight? Please?</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BURNING HOUSE - BEDROOM - 2035 - NIGHT</stage_direction> <scene_description>The smoke is thick and there are flames. Hazel, in a robe, walks around lighting candles. Caden unpacks his pumps and monitors and places them next to the bed.</scene_description> <character>CADEN</character> <dialogue>We could get a place together. We could get a loft.</dialogue> <character>HAZEL</character> <dialogue>God, Caden, that sounds nice. I miss my daughter. Maybe she could come live with us.</dialogue> <character>CADEN</character> <dialogue>Yeah. I miss Olive. And the other one. The retarded one.</dialogue> <character>HAZEL</character> <dialogue>I'm a bad person.</dialogue> <scene_description>No you're not. I'm a bad I am. I should never... have person. gone out with Sammy. I was just trying to get to you.</scene_description> <character>CADEN</character> <dialogue>You can't cause someone to kill himself. He was troubled.</dialogue> <character>HAZEL</character> <dialogue>I'm so ashamed of myself.</dialogue> <scene_description>Caden walks over to her and touches her shoulder.</scene_description> <character>HAZEL</character> <dialogue>Oh, Caden. I wish we had this when we were young. And all the years in between. So many years, so fast.</dialogue> <parenthetical>(crying)</parenthetical> <dialogue>What did we do?</dialogue> <scene_description>Caden kisses Hazel's forehead. She coughs and smiles up at him, then cranes her neck and kisses him on the lips.</scene_description> <character>CADEN</character> <dialogue>My heart aches so much for you.</dialogue> <character>HAZEL</character> <dialogue>We're here, Caden. I'm here.</dialogue> <character>CADEN</character> <dialogue>I'm aching for it being over.</dialogue> <character>HAZEL</character> <dialogue>Yeah. The end is built in to the beginning. What can you do?</dialogue> <character>CADEN</character> <dialogue>God. You're just perfect.</dialogue> <character>HAZEL</character> <dialogue>I'm a mess. But we fit, don't we.</dialogue> <scene_description>They kiss, then Hazel climbs into bed.</scene_description> <character>CADEN</character> <dialogue>It doesn't always happen for me now. Because of the medication and everything. I take a lot of pills.</dialogue> <character>HAZEL</character> <dialogue>I don't care. It's okay.</dialogue> <parenthetical>(climbing into bed)</parenthetical> <dialogue>I'm embarrassed. I just want you to know it's not you. And it's not me. It's the medication.</dialogue> <scene_description>They are tender and quiet and intensely focused. The smoke in the room is dense. When it's over, they lie there quietly, with the occasional cough from both of them. Caden cries quietly.</scene_description> <character>CADEN</character> <dialogue>I'm sorry.</dialogue> <character>HAZEL</character> <dialogue>It's okay. It's different crying this time. I can tell. I'm crying, too. And I cried last time. After you left. I never told you. But I cried, too.</dialogue> <scene_description>Caden kisses her again.</scene_description> <character>CADEN</character> <dialogue>I have a title. The Obscure Moon Lighting an Obscure World.</dialogue> <character>HAZEL</character> <dialogue>I think it might be too much.</dialogue> </scene> <scene> <stage_direction>INT. BURNING HOUSE - KITCHEN - 2035 - MORNING</stage_direction> <scene_description>Caden agitatedly paces through the dense smoke. He passes a scrapbook on the table. It's open to a page with ripped-up napkin pieces glued to it. He's crying hard. There's mumbling, quiet conversation coming from somewhere. He walks into --</scene_description> </scene> <scene> <stage_direction>INT. BURNING HOUSE - BEDROOM - 2035 - CONTINUOUS</stage_direction> <scene_description>Hazel lies in bed. A medic hovers over her, swabs in her mouth and pulls out cotton black with soot.</scene_description> <character>MEDIC</character> <dialogue>Might be smoke inhalation.</dialogue> <scene_description>Caden just nods his head for a long time.</scene_description> </scene> <scene> <stage_direction>INT. CADEN'S CAR - 2041 - DAY</stage_direction> <scene_description>Caden drives. He stops at a school crossing as a group of young children are led across the street in front of his car. A young girl with red hair is among them. young Olive. Suddenly the passenger door opens and Maria gets in the car. He glances over at her, then looks back out the windshield.</scene_description> <character>MARIA</character> <dialogue>Olive wants to see you. God knows why; the way you abandoned her.</dialogue> <character>CADEN</character> <dialogue>Oh, shut up.</dialogue> <character>MARIA</character> <dialogue>She's had a fucked-up life with issues, thanks to you.</dialogue> <character>CADEN</character> <dialogue>You're insane.</dialogue> <character>MARIA</character> <dialogue>She's dying, asshole. Is that insane enough for you?</dialogue> <character>MARIA</character> <dialogue>Anyway, she wants to say goodbye to you. God knows the fuck why.</dialogue> </scene> <scene> <stage_direction>INT. NYC HOSPITAL ROOM - 2041 - DAY</stage_direction> <scene_description>Maria leads Caden into the room. Olive, 40, lies in bed, emaciated and pale. Maria and Olive speak only in German.</scene_description> <character>MARIA</character> <dialogue>Hello, darling.</dialogue> <character>OLIVE</character> <dialogue>Hi.</dialogue> <character>MARIA</character> <dialogue>This is him.</dialogue> <character>OLIVE</character> <dialogue>Hello.</dialogue> <character>CADEN</character> <dialogue>Hi, Olive. so much.</dialogue> <character>OLIVE</character> <dialogue>Maria, would you leave us?</dialogue> <scene_description>Maria kisses Olive again on the forehead.</scene_description> <character>MARIA</character> <dialogue>In heaven, my darling.</dialogue> <scene_description>Maria exits.</scene_description> <character>OLIVE</character> <parenthetical>(broken English)</parenthetical> <dialogue>Forgive me but no longer remember English. Speak German?</dialogue> <scene_description>No. I'm sorry. I had hope you have learned. Weakly, Olive points to a headset on her night table. She pantomimes putting it on. Caden puts it on. Olive puts on her own. There follows a slightly delayed and staticky translation, in an accented male voice, of everything Olive says, with a delay between what Caden says and Olive's response, as she listens in translation.</scene_description> <character>OLIVE</character> <dialogue>I'm dying, as I'm sure Maria told you. The flower tattoos have become infected and they're dying. So I am, as well. This is life.</dialogue> <scene_description>Olive pulls down her hospital gown a bit to show Caden the now sickly and decayed flower tattoos.</scene_description> <character>CADEN</character> <dialogue>It's Maria. She did this.</dialogue> <character>OLIVE</character> <dialogue>Maria gave me reason to live once you left. The flowers defined me.</dialogue> <character>CADEN</character> <dialogue>Your mother and Maria took you away. I tried for years to find you. I didn't leave you.</dialogue> <character>OLIVE</character> <dialogue>You did something.</dialogue> <scene_description>Caden is affected by this. It resonates.</scene_description> <character>OLIVE</character> <dialogue>I want to talk to you about your homosexuality.</dialogue> <character>CADEN</character> <dialogue>What? I'm not a homosexual!</dialogue> <character>OLIVE</character> <dialogue>Maria said you would deny it.</dialogue> <character>CADEN</character> <dialogue>She's lying to you.</dialogue> <character>OLIVE</character> <dialogue>I had the same struggle when I first fell in love with Maria and we began to have dirty, aching sex.</dialogue> <scene_description>Maria is your lover?</scene_description> <character>OLIVE</character> <dialogue>Of course. She introduced me to myself. To my vagina and to hers.</dialogue> <character>CADEN</character> <dialogue>You have no idea how evil she is.</dialogue> <character>OLIVE</character> <dialogue>I need to forgive you before I die, but I can't forgive someone who has not asked for forgiveness.</dialogue> <character>CADEN</character> <dialogue>I --</dialogue> <character>OLIVE</character> <dialogue>I have no time! I need you to ask for forgiveness!</dialogue> <character>CADEN</character> <parenthetical>(long pause)</parenthetical> <dialogue>Can you ever forgive me?</dialogue> <character>OLIVE</character> <dialogue>For what?</dialogue> <character>CADEN</character> <dialogue>For abandoning you.</dialogue> <character>OLIVE</character> <dialogue>"For abandoning you to have anal sex with my homosexual lover Eric."</dialogue> <character>CADEN</character> <dialogue>For abandoning you to be have anal sex with my homosexual lover Eric.</dialogue> <character>OLIVE</character> <parenthetical>(long hesitation)</parenthetical> <dialogue>No. No, I'm sorry, I cannot.</dialogue> <scene_description>Olive dies. Dead flower petals slip from her hospital gown. Caden sits there. Maria hurries rushes to Olive's side.</scene_description> <character>MARIA</character> <dialogue>I hope you're happy, faggot.</dialogue> <scene_description>Caden gets up and leaves. It's sweltering. Caden sits on his stoop, holding some dead flower petals, watching the world pass by. People are sick, angry. Some people wear gas masks. Government vehicles with strange symbols and gun turrets drive by. A woman walks a naked man on a leash. He defecates on the sidewalk. A wild- eyed man in a white t-shirt and Santa hat attacks Caden. As he knocks Caden to the ground and wrestles with him, Caden sees the t-shirt has a little dot: a painting from Adele's show. It's a moment in time, a street scene very much like the one Caden's in. In the painting, a man in a white t- shirt and Santa hat beats up a man who looks like Caden. The flower petals blow away. Caden tries to limp after them.</scene_description> </scene> <scene> <stage_direction>EXT. NYC STREET - 2045 - DAY</stage_direction> <scene_description>Caden dials his cell phone.</scene_description> <character>HAZEL'S ANSWERING MACHINE</character> <dialogue>It's Hazel. Leave a message or don't. Your dime.</dialogue> <character>CADEN</character> <dialogue>My love. I know how to do the play. It'll take place over the course of one day. The day will be the day before you died, the happiest day of my life. I'll be able to relive it forever.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE SET) - 2048 - NIGHT</stage_direction> <scene_description>Caden weeps inconsolably at the director's table, Michael the pre-Hazel assistant is back, neat and efficient-looking, but old now. Hazel's dog, Squishy, sleeps on the floor. The scene in the play is dull. People walk back and forth aimlessly. Various passersby on the street have hacking coughs. Tammy steps out of the bathroom, meanders over to the director's table. Hazel's sweater is on Michael's chair- back. She casually pulls it off and tries it on. Caden watches. She looks so much like Hazel now, it's unbearable. He looks away. Millicent walks by carrying a mop and bucket.</scene_description> <character>CADEN</character> <dialogue>I need a Caden for my Hazel.</dialogue> <character>MILLICENT</character> <dialogue>I... I'd very much like to play Caden.</dialogue> <character>CADEN</character> <dialogue>Um...</dialogue> <scene_description>I know it would be non-traditional casting, but I think I'm right for it. I think I understand Caden.</scene_description> <character>CADEN</character> <dialogue>I don't understand him.</dialogue> <character>MILLICENT</character> <dialogue>Caden Cotard is a man already dead, living in a half-world between stasis and antistasis. Time is concentrated and chronology confused for him. Up until recently he has strived valiantly to make sense of his situation, but now he has turned to stone.</dialogue> <character>CADEN</character> <dialogue>Okay. That sounds good.</dialogue> <character>MICHAEL</character> <dialogue>She's right? I didn't see that at all. I saw it all as more hopeful.</dialogue> </scene> <scene> <stage_direction>INT. NYC WIG STORE - 2050 - DAY</stage_direction> <scene_description>Caden and Michael look at a wig called "The Director."</scene_description> <character>MICHAEL</character> <dialogue>Any thoughts for today's rehearsal?</dialogue> <character>CADEN</character> <parenthetical>(beat)</parenthetical> <dialogue>I have a new title, maybe. Infectious Diseases In Cattle.</dialogue> <character>MICHAEL</character> <dialogue>Huh.</dialogue> <character>CADEN</character> <dialogue>The title is about a lot of things. You'll see. It's about a lot.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Are you gay, Michael?</dialogue> <character>MICHAEL</character> <dialogue>Yes. I don't see what that has to do with anything.</dialogue> <character>CADEN</character> <dialogue>Do you know someone named Eric?</dialogue> <parenthetical>(defensively)</parenthetical> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - CEMETERY SET - 2050 - DAY</stage_direction> <scene_description>Caden, in "Director Wig," and Michael watch Millicent, dressed Caden-esque, sitting at the director's table. Tammy, in Hazel's sweater, sits next to her. They watch the "Sammy Funeral" scene replayed with actors playing Tammy playing Hazel and an actor playing the stand-in for Sammy playing Caden. Tammy has her head in her hands. She looks over at Millicent, imploringly.</scene_description> <character>TAMMY</character> <dialogue>Come over tonight? Please?</dialogue> <character>MILLICENT</character> <dialogue>I'd like that.</dialogue> <character>CADEN</character> <dialogue>Ok, take off the sweater.</dialogue> <scene_description>Tammy takes off the sweater, puts it on the chair back.</scene_description> <character>TAMMY</character> <dialogue>I'm hot.</dialogue> <character>MILLICENT</character> <dialogue>Yes, you are.</dialogue> <character>CADEN</character> <dialogue>Smile shyly at each other.</dialogue> <scene_description>They do. It lingers. Millicent looks over at the funeral scene. It's dull and static.</scene_description> <character>MILLICENT</character> <dialogue>This is tedious. This is nothing.</dialogue> <scene_description>Millicent touches Tammy's hand, heads over to the funeral scene. She whispers things to some actors, has longer conversations with others.</scene_description> <character>MICHAEL</character> <dialogue>What's she doing?</dialogue> <character>TAMMY</character> <dialogue>He's directing.</dialogue> <scene_description>She's not getting the feel of you, Caden. You don't move around. You don't talk to people. It's not --</scene_description> <character>MILLICENT</character> <dialogue>Okay, folks, let's run it!</dialogue> <scene_description>The scene comes alive with specific activity: weeping Hazel, \* a little boy in the back playing with dirt clods, a man and a \* woman eyeing each other flirtatiously from a distance, an old \* woman with Parkinson's fiddling with Rosary beads, a well- \* dressed woman squatting and peeing near a gravesite. A \* minister addresses the mourners. \*</scene_description> <character>MINISTER \*</character> <dialogue>Everything is more complicated than \* you think. You only see a tenth of \* what is true. There are a million \* little strings attached to every \* choice you make; you can destroy \* your life every time you choose. \* But maybe you won't know for twenty \* years. And you'll never ever trace \* it to its source. And you only get \* one chance to play it out. Just try \* and figure out your own divorce. \* And they say there is no fate, but \* there is: it's what you create. \* Even though the world goes on for \* eons and eons, you are here for a \* fraction of a fraction of a second. \* Most of your time is spent being \* dead or not yet born. But while \* alive, you wait in vain, wasting \* years, for a phone call or a letter \* or a look from someone or something \* to make it all right. And it never \* comes or it seems to but doesn't \* really. And so you spend your time \* in vague regret or vaguer hope for \* something good to come along. \* Something to make you feel \* connected, to make you feel whole, \* to make you feel loved. \*</dialogue> <scene_description>the truth is I'm so fucking sad, \* and the truth is I've been so \* fucking hurt for so fucking long \* and for just as long have been \* pretending I'm ok, just to get \* along, just for, I don't know why, \* maybe because no one wants to hear \* about my misery, because they have \* their own, and their own is too \* overwhelming to allow them to \* listen to or care about mine. \* Well, fuck everybody. \* Amen. \* Soon it starts to rain. Thunder rumbles. People pull out \* umbrellas. Caden looks up, surprised that such a system is \* rigged here. \*</scene_description> </scene> <scene> <stage_direction>EXT. BURNING HOUSE STREET (INT. WAREHOUSE SET) - 2050 -</stage_direction> <character>NIGHT</character> <dialogue>Caden sits with Michael at the director's table and stares into space. The actors are doing what they've always done, milling, walking to and fro. Millicent, holding hands with Tammy, heads up the walk to the Hazel's house set.</dialogue> <character>CADEN</character> <dialogue>Millicent.</dialogue> <scene_description>She turns. He waves her over. Tammy sits on the stoop.</scene_description> <character>CADEN</character> <dialogue>That was ... spectacular.</dialogue> <character>MICHAEL</character> <dialogue>It really was! Delightful!</dialogue> <character>MILLICENT</character> <dialogue>Thanks.</dialogue> <character>CADEN</character> <dialogue>I'm out of ideas. I'm dead.</dialogue> <character>MILLICENT</character> <dialogue>Oh. I... could take over... as you... for a bit. Until you feel refreshed.</dialogue> <character>MICHAEL</character> <dialogue>Yes! Yes!</dialogue> <scene_description>Caden, looks sideways at Michael, remains silent. I think you're tired, Caden. Yes. I think you just need All these years of creative some time. To regroup. work.</scene_description> <character>CADEN</character> <dialogue>I need to keep my hand in.</dialogue> <character>MILLICENT</character> <dialogue>Well, Ellen needs to be filled.</dialogue> <character>CADEN</character> <dialogue>Filled? You mean...?</dialogue> <character>MILLICENT</character> <dialogue>Her role.</dialogue> <character>MICHAEL</character> <dialogue>Just for a bit. until you're refreshed.</dialogue> <character>CADEN</character> <parenthetical>(beat)</parenthetical> <dialogue>I do like to clean.</dialogue> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 - NIGHT</stage_direction> <scene_description>Caden sits on the unmade bed and reads the note:</scene_description> <character>ADELE'S VOICE</character> <dialogue>Ellen, Olive has died. It's a time of overwhelming grief so please forgive my mess; I haven't been able to get out of bed. Until today. Much affection, A.</dialogue> <scene_description>Caden crosses to the window and looks up at the night sky, even though it's clearly the ceiling of the warehouse. A tiny plane flies by.</scene_description> </scene> <scene> <stage_direction>INT. 31Y HALLWAY (INT. WAREHOUSE SET) - 2050 - NIGHT</stage_direction> <scene_description>Caden walks down the hall carrying a bag of garbage to the incinerator chute, dumps it in, and turns back to apartment 31Y. Old Person #2 (actor version) is standing there.</scene_description> <character>OLD PERSON #2 (ACTOR)</character> <dialogue>Ellen? Is your name Ellen?</dialogue> <character>CADEN</character> <dialogue>Yes?</dialogue> <character>OLD PERSON #2 (ACTOR)</character> <dialogue>Caden asked me to give you this. You're to keep it in all the time.</dialogue> <scene_description>Caden examines it. Old Person #2 (actor) points to his own ear, in which he wears one. Caden sticks it in his ear.</scene_description> <character>MILLICENT'S VOICE</character> <dialogue>... touched by the sadness of Adele's neighbor. So close to death. Reminds me of granny. I should really call her. Remember how Granny Bascomb bounced me on her knee pretending to be a horsie. I loved that so much. Say thank you to Adele's neighbor.</dialogue> <character>CADEN</character> <dialogue>Thank you.</dialogue> <character>OLD PERSON #2 (ACTOR)</character> <parenthetical>(pause, listens, then:)</parenthetical> <dialogue>You're very welcome, young lady.</dialogue> <character>MILLICENT'S VOICE</character> <dialogue>Now say, have a very good day.</dialogue> <character>CADEN</character> <dialogue>Have a very good day.</dialogue> <character>OLD PERSON #2 (ACTOR)</character> <parenthetical>(pause, listens, then:)</parenthetical> <dialogue>I will indeed.</dialogue> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 - NIGHT</stage_direction> <scene_description>It's dark. Caden lies in bed, attached to his pumps.</scene_description> <character>MILLICENT'S VOICE</character> <dialogue>... miss him. Why did he have to get bored with me? Everyone gets bored with me. I'm not very bright. And since I put on that weight, I don't get the looks I used to. It's not that bad. Lots of people have it worse. I've got a job and place to stay. Adele is nice to me. And so smart and talented. I don't understand her artwork, but that's just me. I wish I'd gone to college. I feel stupid around educated people like Adele. Eric was too smart for me, too. We didn't talk at all near the end.</dialogue> <scene_description>and he'd get this far away look in his eyes. I kind of felt sorry for him; he seemed so miserable with me. I guess -- Caden drifts off to sleep.</scene_description> </scene> <scene> <stage_direction>INT. ELLEN'S KITCHEN - (2050) - MORNING</stage_direction> <scene_description>A tenement apartment. Ellen, in a terrycloth robe, is at the stove making scrambled eggs. Toast pops from the toaster and Ellen crosses to get it. She passes a mirror, glances at herself, seems momentarily surprised, pushes a wisp of hair behind her ear and continues to the toaster. Eric enters. He's an unhealthily thin middle-aged man. He doesn't acknowledge her, nor she him. He pours himself coffee.</scene_description> <character>ELLEN</character> <dialogue>I'm making eggs.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Is everything okay, Eric?</dialogue> <character>ERIC</character> <dialogue>Everything's everything.</dialogue> </scene> <scene> <stage_direction>INT. ELLEN'S BEDROOM - (2050) - MORNING</stage_direction> <scene_description>Ellen sits on the bed with a cup of coffee and stares out the window. There's a city park across the street and she watches kids play basketball. She begins to weep.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - (2050) - DAY</stage_direction> <scene_description>It's spring and a ten year old girl watches her mother as she lays out a picnic on a blanket on the ground.</scene_description> <character>MOTHER</character> <dialogue>Ellen, why do you look so serious?</dialogue> <character>ELLEN</character> <dialogue>I'm going to remember this moment for the rest of my life, mama. And in exactly twenty years, come here with my daughter and have exactly the same picnic.</dialogue> <character>MOTHER</character> <dialogue>Baby, that's the loveliest thing I've ever heard.</dialogue> <scene_description>Ellen lies in bed watching Eric sleep next to her.</scene_description> <character>ELLEN</character> <dialogue>There was supposed to be something else. I was to have something. A calm. A love. Children. A child, at least. Children. Meaning. I am always on the verge, never more than a tiny shove from tears. I can feel them in my chest now. That squeezing pressure. And it is so tempting to let go, but I am afraid, the next time maybe, I will never stop crying. I miss my husband even though he is lying here. He hates me. Oh God. I have disappointed him and he hates me. The one person who should be able to see me and he won't look. He will never look again.</dialogue> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 -</stage_direction> <character>MORNING</character> <dialogue>Caden lies on his back, and opens his eyes. His pumps drone.</dialogue> <character>CADEN</character> <parenthetical>(quietly, mournfully)</parenthetical> <dialogue>Eric.</dialogue> <scene_description>Caden looks over. No note from Adele. He gets out of bed, glances in the mirror, seems surprised by his reflection.</scene_description> </scene> <scene> <stage_direction>INT. 31Y BATHROOM (INT. WAREHOUSE SET) - 2050 - MORNING</stage_direction> <scene_description>Caden sits on the toilet and pees. He wipes himself.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT 31Y (INT. WAREHOUSE SET) - 2051 - MORNING</stage_direction> <scene_description>Caden vacuums the hall.</scene_description> <character>MILLICENT'S VOICE</character> <dialogue>My period is late this month. I wonder what's going on. I'm bloated. I wish it would come.</dialogue> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2051 - NIGHT</stage_direction> <scene_description>Caden lies in bed reading a Judith Krantz novel. I can't believe she said that to him! She's a slut, anyway. He sticks a bookmark in the book, puts it on the night table, turns off the light, and lies on his back with his eyes open.</scene_description> <character>MILLICENT'S VOICE</character> <dialogue>Maybe I can ask Adele for a raise. It's been three years. I do a good job. God, I'm so tired tonight. I'm getting old. I'm lonely here.</dialogue> <scene_description>A192 OMITTED A192 A193 OMITTED A193 B193 OMITTED B193</scene_description> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2051 -</stage_direction> <character>MORNING</character> <dialogue>Caden awakens. He switches off his pumps.</dialogue> <scene_description>Get up. Look at the night table for a note from Adele. Caden gets up and glances at the night table. A type-written note:</scene_description> <character>MALE VOICE</character> <dialogue>Adele died of lung cancer last night. You may stay on if you like.</dialogue> <character>MILLICENT'S VOICE</character> <dialogue>Look shocked. Weep.</dialogue> <scene_description>Caden looks shocked, then weeps.</scene_description> <character>MILLICENT'S VOICE</character> <dialogue>Go into the kitchen and --</dialogue> <scene_description>The voice stops. Caden stops. He waits. Nothing. He takes out the earpiece and looks at it, shakes it, then slips it back in his ear. Nothing. He waits. In the distance he hears wailing and gun shots.</scene_description> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2053 - NIGHT</stage_direction> <scene_description>The lights are out. Caden sits on the bed, still waiting.</scene_description> </scene> <scene> <stage_direction>INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2055 - DAY</stage_direction> <scene_description>Caden sits on the bed, his head slumped against the headboard, sleeping. Distant explosions wake him. He opens his eyes and sits up straight, and waits. He taps his ear.</scene_description> </scene> <scene> <stage_direction>INT. 31Y HALLWAY (INT. WAREHOUSE SET) - 2055 - NIGHT</stage_direction> <scene_description>The hall is very dark. Caden exits apartment 31Y. Old person #2 (actor) stands in the hallway and faces away, unmoving. Caden walks past and nods. Old person #2 does not respond. Caden presses the elevator button. There's nobody running it anymore. Caden looks at Old Person #2 and nods.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - 31Y BUILDING STAIRWELL - 2055 - CONTINUOUS</stage_direction> <scene_description>Dark. The unfinished, back-of-a-facade of the set is apparent. Caden walks down endless plywood stairs. The bowels of the building: fake water pipes, electrical cords.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE SET) - 2055 - MORNING</stage_direction> <scene_description>No lights. Vague daylight drifts in from high warehouse windows, from which cardboard has fallen. Deadly quiet, abandoned. Caden passes the occasional body on the street. Fires smolder in buildings. The streets are flooded with sewer water. Buildings are draped with massive tarps. Behind a fence are piles of bodies.</scene_description> </scene> <scene> <stage_direction>A199 EXT. BURNING HOUSE (INT. WAREHOUSE SET) - 2055 - MORNING A199</stage_direction> <scene_description>He passes the Hazel's House set, burnt to the ground.</scene_description> </scene> <scene> <stage_direction>B199 EXT. WAREHOUSE STREET (INT. WAREHOUSE SET) - 2055 - MORNINGB199</stage_direction> <scene_description>He arrives at the warehouse set and enters.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE SET) -</stage_direction> <character>2055 - MORNING</character> <dialogue>Deserted here too. The same occasional fires, flooding, dead bodies.</dialogue> </scene> <scene> <stage_direction>A200 EXT. WAREHOUSE STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE SET)A200</stage_direction> <character>- 2055 - MORNING</character> <dialogue>Caden walks, soon arriving at the warehouse set within the warehouse set. He enters.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE-WITHIN-</stage_direction> <character>WAREHOUSE SET) - 2055 - MORNING</character> <dialogue>Another dark, deserted street, more bodies, fires, floods. Caden panics. He pulls out his earpiece, shakes it, and puts it back. He walks.</dialogue> </scene> <scene> <stage_direction>A201 EXT. WAREHOUSE STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE- A201</stage_direction> <character>WITHIN-WAREHOUSE SET) - 2055</character> <dialogue>He arrives at the warehouse within the warehouse within the warehouse. He enters.</dialogue> <character>WAREHOUSE-WITHIN-WAREHOUSE SET) - 2055 - DAY</character> <dialogue>Deserted. Caden walks. He gets in a golf cart and drives through the deserted street sets.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH (INT. WAREHOUSE-WITHIN-WAREHOUSE-WITHIN-</stage_direction> <character>WAREHOUSE-WITHIN-WAREHOUSE SET) - 2055 - CONTINUOUS</character> <dialogue>Caden reaches the beach set, and drives the cart on the sand. He sees footprints. He gets out and follows them, spots a woman ahead walking with a suitcase. He hurries as much as he can with his limp, his weakness, his ancient body, to catch up with her.</dialogue> <character>CADEN</character> <dialogue>Hello.</dialogue> <scene_description>The woman turns. She's middle-aged, face radiating kindness.</scene_description> <character>CADEN</character> <dialogue>Where is everybody?</dialogue> <character>WOMAN</character> <dialogue>Mostly dead. Some have left.</dialogue> <character>CADEN</character> <dialogue>Would you sit with me for a moment? I'm very tired. And lonely.</dialogue> <scene_description>The woman smiles at Caden. They sit on a log.</scene_description> <character>CADEN</character> <dialogue>I feel like I know you.</dialogue> <character>WOMAN</character> <dialogue>I was the mother in Ellen's dream. Perhaps from there.</dialogue> <character>CADEN</character> <dialogue>Yes! That's it. Yes. You seem a bit older than I remember.</dialogue> <character>WOMAN</character> <parenthetical>(chuckling)</parenthetical> <dialogue>That dream was quite a while ago.</dialogue> <scene_description>He's silent. The woman touches his hand.</scene_description> <character>CADEN</character> <dialogue>I didn't mean to say you look old.</dialogue> <scene_description>I know.</scene_description> <character>CADEN</character> <dialogue>Everyone's dreams in all those apartments. All those secrets we'll never know. That's the truth of it -- all the thoughts nobody will ever know.</dialogue> <character>WOMAN</character> <dialogue>It's true.</dialogue> <character>CADEN</character> <dialogue>I'm sorry the experiment didn't work. I wanted it to with all my heart. I wanted to do that picnic with my daughter. I feel I've disappointed you terribly.</dialogue> <character>WOMAN</character> <dialogue>No. No. I am so proud of you.</dialogue> <scene_description>Caden starts to tear up.</scene_description> <character>CADEN</character> <dialogue>All I want is someone to see me, someone to look at me with kindness. For me to be the most special person in the world to just one person.</dialogue> <character>WOMAN</character> <dialogue>I know, baby. I know.</dialogue> <scene_description>He looks at her tentatively. She's looking into his eyes directly, clearly, kindly. She smiles.</scene_description> <character>WOMAN</character> <dialogue>You're going to be fine.</dialogue> <scene_description>Caden starts to weep so hard he chokes. Strings of snot pour from his nose. The woman holds him, gently takes off his wig, and strokes his sparse hair. He looks out over her shoulder at the dark empty city at the far end of the warehouse. His rheumy eyes light up.</scene_description> <character>CADEN</character> <dialogue>I know what to do with this play now. I have an idea. I think --</dialogue> <scene_description>The screen goes black fast.</scene_description> </scene> </script>

Theater director Caden Cotard finds his life unraveling. He suffers from numerous physical ailments and has been growing increasingly alienated from his artist wife, Adele. He hits bottom when Adele leaves him for a new life in Berlin, taking their four-year-old daughter, Olive, with her. After the success of his production of Death of a Salesman, Caden unexpectedly receives a MacArthur Fellowship, giving him the financial means to pursue his artistic interests. He determines to use it to create an artistic piece of brutal realism and honesty, into which he can pour his whole self. Gathering an ensemble cast into an enormous warehouse in Manhattan's Theater District, he directs a celebration of the mundane, instructing the cast to live out their constructed lives. As the mockup inside the warehouse grows increasingly mimetic of the city outside, Caden continues to seek solutions to his personal crises. He is traumatized as he discovers Adele has become a celebrated painter in Berlin and Olive is growing up under the questionable guidance of Adele's friend Maria. After a failed attempt at a fling with Hazel (the woman who works in the box office), he marries Claire, an actress in his cast, and has a daughter with her. Their relationship fails, and he continues his awkward relationship with Hazel, who is now married with children and working as his assistant. Meanwhile, an unknown condition is systematically shutting down his autonomic nervous system. As the years rapidly pass, the continually expanding warehouse is isolated from the deterioration of the city outside. Caden buries himself ever deeper into his magnum opus, blurring the line between reality and the world of the play by populating the cast and crew with doppelgängers. For instance, Sammy Barnathan is cast in the role of Caden in the play after Sammy reveals that he has been obsessively following Caden for 20 years, while Sammy's lookalike is cast as Sammy. Sammy's interest in Hazel sparks a revival of Caden's relationship with her, leading Sammy to commit suicide. Shortly after Caden and Hazel finally get together, Hazel dies of smoke inhalation in her constantly burning house. As he pushes against the limits of his personal and professional relationships, Caden lets an actress take over his role as director and takes on her previous role as Ellen, Adele's custodian. He lives out his days in the model of Adele's apartment under the replacement director's instruction while some unexplained calamity occurs in the warehouse leaving ruins and bodies in its wake. Finally, he prepares for death as he rests his head on the shoulder of an actress who had previously played Ellen's mother, seemingly the only person in the warehouse still alive. As the scene fades to gray, Caden begins to say that now he has an idea of how to do the play, when the director's voice in his ear cuts him off with his final cue: "Die."

Black Christmas_2006

tt0454082

<script> <scene> <scene_description>BI,ACK CHRISTMAS by Glen Morgan Based on the film "Bfack Christ 1!r! s ober t9, 2005 red Draft</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - NIGHT - (1970)</stage_direction> <scene_description>Falling snow drifts upon the Mansard rooftop of a large, isolated, and decrepit New England colonial. Paned windows in the gables are cracked and broken. Worn stone steps lead to a rotting open porch. An equally ragged '48 Chevy Aerosedan sits in the driveway. Behind the house lies a void of evergreen and leafless birch. Far down the road, lies a lone neighborhood house. There are only two houses on this street. Here, Christmas lights are strung, but many of the fat bulbs are burned out. The building appears like a haunted house on Christmas Eve. The windows are dark, except for a pale blue light in the living room...</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT - CLOSE - A TREE ORNAMENT</stage_direction> <scene_description>A reflection of a bassinet and an eerie blue light wraps around a silver and gold glass bulb celebrating "Baby's First Christmas - 1970." A BASSINET BILLY'S FATHER, early 20's, lights a cigarette while hunched at the foot of a second hand bassinet, hooded by worn blankets. A gooseneck office lamp, shining a purplish light, arcs over the crib... EXTREMELY CLOSE - ZIPPO LIGHTER Across the lid of a well worn lighter: Khe Sanh '67-'68. On the base: PVT. LENZ. FRANK is above a Marine Corp Chesty Bulldog and an inscription: "Not afraid, just lonely." THE FATHER Lifts his eyes, lined with dark circles, and reaches out to peel back the edge of a blanket, checking inside the bassinet. CAMERA PUSHES PAST the FATHER to the bassinet, MOVING INTO the opening of the blankets to REVEAL the eyes of a newborn. Although not demonic or supernatural, the eyes are unsettling; inhuman. Yellowed with a chronic jaundice, the eyes are much too focused and intense for a newborn. BILLY'S MOTHER slumps in the corner of the couch, back to father and son, as if imagining herself as far from them as possible. An empty bottle of Tanqueray sits on the coffee table. She turns toward her husband and child looking at them, blank. She stands, drunk, and moves toward the Evergleam pink aluminum Christmas tree. The mother reaches out... CHRISTMAS ORNAMENT "Baby's First Christmas - 1970" is plucked off the tree... THE MOTHER Eyes the father... CLOSE - THE MOTHER'S HAND Crushes the ornament; glass cutting her skin... THE FATHER Glares at his wife, then, turns his eyes down to the floor... THE HEARTH Shards of the broken bulb are dotted with blood. Flames from the fireplace are reflected in the shattered glass... FADE OUT:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - (1975)</stage_direction> <scene_description>A plate of cookies for Santa ENTERS FRAME... WIDER - OVER THE MOTHER'S SHOULDER Billy's mother sits in the corner of the couch, cigarette in one hand, a Screwdriver in a highball glass in the other. The room is lit only by the lights of the Christmas tree. In the b.g., the bassinet is long gone. Billy's father, appearing haggard, helps his five year old son, BILLY, place the plate beneath the pink aluminum Christmas tree. Billy's back is to CAMERA and partially obscured by the tree branches. He wears long sleeve pajamas. REVERSE - BILLY'S MOTHER CAMERA IS LOW MOVING TOWARD her as she glares at them with disgust. She appears anxious; jittery. The years have not been good to her, either...</scene_description> <character>BILLY'S MOTHER</character> <dialogue>Why you bothering putting with those cookies? Santa ain't comin' to see you.</dialogue> <character>THROUGH THE TREE BRANCHES</character> <dialogue>The young boy turns his head toward her, REVEALING the yellowed irises, staring at her with icy lifelessness. REVERSE - BILLY'S MOTHER CAMERA CONTINUES as she smiles cruelly at her own joke...</dialogue> <character>BILLY'S MOTHER</character> <dialogue>Russians shot his sleigh down. Santa... Claus... is dead.</dialogue> <character>BILLY'S EYES</character> <dialogue>His lids subtly flinch as he holds his stare on his mother. BILLY'S FATHER Glares at his wife as he lights a cigarette with the Zippo lighter. He leans down to his son. CAMERA PUSHES IN CLOSE to his lips and Billy's jaundiced ear. The father WHISPERS... BILLY'S EYES Ease and quickly turn away... STAIRWAY CAMERA IS BEHIND THE BOY as he charges up the darkened stairs. THE MOTHER as she brings the cigarette to her lips, she averts her eyes.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S ROOM - NIGHT (1975)</stage_direction> <scene_description>The door swings open. Billy moves directly toward the closet.</scene_description> </scene> <scene> <stage_direction>INT. CLOSET - NIGHT (1975)</stage_direction> <scene_description>A flashlight FLARES INTO CAMERA REVEALING the closet acts as the boy's hidden "fort." IN THE FLASHLIGHT BEAM In the corner of the closet is a six inch triangular hole where wood has rotted or been damaged by termites. A space exits between the closet wall and the inner exterior wall. The boy's hand reaches into the hole and removes a gift enwrapped with cheap Christmas paper.</scene_description> <character>CLOSE - A GIFT TAG</character> <dialogue>"To Billy. From Santa." CLOSE - BILLY'S EYES Subtly smile as, O.S., paper tears... CLOSE - GIFT An Aurora plastic model of the Apollo-Soyuz Mission. The date is marked in the artwork. "July 17, 1975" CLOSE - BILLY'S EYES Well with tears as he looks down at the closet floor. CLOSE - BILLY'S HANDS chronically jaundiced, move past the model box and holds the gift tag from Santa Claus whom he knows to be his father.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S ROOM - NIGHT - (1975)</stage_direction> <scene_description>CAMERA IS LOW to the floor as it moves toward the closet door, slightly ajar. Outside, a winter wind HOWLS As CAMERA REACHES THE CLOSET the argument is broken by a TOPPLING of a NIGHT STAND. Glass shatters. An adult male MOANS; another. Then, abruptly... SILENCE. In the darkness of the closet, Billy's yellow eyes appear, looking out as if listening with his sense of sight.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - (1975)</stage_direction> <scene_description>CAMERA REMAINS LOW to the ground CREEPING DOWN THE HALLWAY as Billy, thin and spidery, crawls cautiously toward his parents' bedroom door. Once there, he lowers his head and places his face flush against the worn carpet to look beneath the door.</scene_description> </scene> <scene> <stage_direction>INT. PARENTS' BEDROOM - NIGHT - BASE OF THE BEDROOM DOOR</stage_direction> <scene_description>One of Billy's yellowed eyes peers into the room... REVERSE - BILLY'S POV His mother's bare feet stand on the carpet beside a blood stained clawed hammer and a large green Hefty lawn trash bag. His father's body lies dead on the floor. Another pair of male shoes, those of his mother's LOVER, ENTER FRAME. The bag is picked up the bag. As it SNAPS OPEN... BASE OF THE BEDROOM DOOR Billy's eyes vanish as he runs off...</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S ROOM - NIGHT - (1975)</stage_direction> <scene_description>The closet door is closed. The room, silent.</scene_description> </scene> <scene> <stage_direction>INT. CLOSET - NIGHT</stage_direction> <scene_description>Total darkness for a beat... then a faint light appears from the hole in the floor of the closet. Frightened, Billy, his back against the far wall, looks to the hole. Then... deep within the house... more clearly audible from the hole in the closet... a RUSTLE... plastic CRACKLES and DRAGS... strained BREATHS. CAMERA PUSHES TO THE HOLE as Billy leans closer, listens. After a beat, CAMERA ARCS until the HOLE FILLS FRAME. Billy's hand reaches out and pulls at the wood, creating a larger hole. As he tears at the wood... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BENEATH BILLY'S HOUSE - NIGHT - (1975)</stage_direction> <scene_description>Under the house, a flashlight shines REVEALING Billy's mother and her LOVER, a fat hairy sweaty man digging a hole in the ground. INT. BENEATH BILLY'S HOUSE - NIGHT - (1975) The flashlight beam rolls onto the bloodied face of Billy's father, in the plastic bag which has torn from being dragged. His skull has been crushed by a blunt object across the eyes. His Vietnam Zippo lighter has slipped out of his shirt pocket. LOW ANGLE - BILLY'S MOTHER blood soaked hair clings to her face as she pulls up dirt. CAMERA PUSHES PAST her toward the base of the far wall... Exhales of human breath jet from the interior of the wall and into the area beneath the house. Climbing down within the wall... Billy's dark figure reaches the surface.</scene_description> <character>BILLY'S MOTHER</character> <dialogue>Hearing the SOUND, she spins the flashlight beam toward... BILLY'S EYES - IN THE FLASHLIGHT BEAM Her son's eyes; watching her. Witnessing. BILLY'S MOTHER CAMERA PUSHES IN as she starts toward him... BILLY flashlight beam whipping over him, moves back into the wall... INT. BENEATH BILLY'S HOUSE - NIGHT The mother pauses... then races off...</dialogue> </scene> <scene> <stage_direction>INT. INTERIOR OF THE WALL - NIGHT</stage_direction> <scene_description>CAMERA LOOKS DOWN THE WALL as the boy begins to scale upwards; awkward and strained, yet motivated by fear...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Billy's mother and lover, covered with wet mud and blood, hustle into the living room. Within the walls... MOVEMENT.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - BILLY'S HOUSE - NIGHT</stage_direction> <scene_description>A board is POUNDED, then CRACKS allowing the dark form of the boy to appear over the lip of the floor and into the attic...</scene_description> </scene> <scene> <stage_direction>EXT. UPSTAIRS HALLWAY - NIGHT - CLOSE - ATTIC DOOR</stage_direction> <scene_description>A combination lock SNAPS, imprisoning Billy inside the attic. HIGH ANGLE - BILLY'S MOTHER AND HER LOVER primordial, breathing hard; eyes, locked on the attic door. FADE OUT: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - BILLY'S HOUSE - NIGHT - BILLY - (1982)</stage_direction> <scene_description>CAMERA MOVES ALONG the attic floor. Half of the area is uncovered and beamed, filled with aging loose-fill rock wool. The floor constructed of wood lathe and plaster. Boxes and furniture have been stored precariously across the beams. A path of wood planks leads to a ten foot area of solid floor. BILLY'S FORM ENTERS FRAME, older now; malnourished. CAMERA PUSHES IN as he sits in a rocking chair at the attic window. Older, now, twelve, or so... and, although, seemingly lifeless, Billy is, in fact, a ticking bomb. O.S., MUTED but discernible grotesque female GRUNTS and SIGHS are HEARD THROUGH THE ATTIC DOOR...</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - NIGHT</stage_direction> <scene_description>The area is dark and shadowy except for the spill of the fireplace light in the living room below. Billy's Mother is straddled over her heavy sweaty drunken lover who lies on the first landing of the stairway. She is grinding, but he is frustratingly unresponsive. Not dead, just passed out. After a moment, she stops; breathing HARD. She shakes her lover but his response is... unresponsive. She looks at him hatefully. O.S., in the attic... Billy's ROCKING CHAIR CREAKS. CAMERA PUSHES IN ON HIS MOTHER as her eyes turn upward... ATTIC DOOR initially, this appears to be the MOTHER'S POV, as the door is partially visible in the dark shadows. CAMERA, however, INCHES BACK just before Billy's mother, bottomless, back to CAMERA, ENTERS FRAME and holds below the door. She looks up. As she moves toward the ladder leading to the attic... FADE OUT: In the darkness... a baby CRIES... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY - A BASSINET - (1983)</stage_direction> <scene_description>A newborn pink baby, AGNES, lies swaddled in a white wicker bassinet, sleeping beneath a soft amber night light.</scene_description> <character>LOW ANGLE - BILLY'S MOTHER &amp; STEP FATHER</character> <dialogue>The couple peer over the crib INTO CAMERA...</dialogue> <character>BILLY'S MOTHER</character> <dialogue>She's my family, now.</dialogue> <scene_description>O.S... above... FOOTSTEPS. Billy's mother pauses. With a hard expression, her eyes turns up toward the ceiling. As the cheap overhead chandelier begins to sway... FADE OUT: In the darkness, Tchaikovsky's "Arabian Dance" RISES... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - BILLY'S</stage_direction> <character>EYES</character> <dialogue>FILL THE FRAME, slashed with noir shadows, only of color, from a string of spare Christmas lights lining the attic wall. CAMERA PULLS BACK, LOW to the FLOOR, REVEALING the spiked tipped legs of a cheap tripod. CAMERA RISES, REVEALING a used Tasco telescope atop the unstable tripod; all in, twenty- five bucks. A bow is stuck on the top along with an envelope.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - (1991)</stage_direction> <scene_description>Billy's step-father and mother climb down the attic ladder. She closes the door and secures the combination lock...</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - AN ENVELOPE</stage_direction> <scene_description>tears open. A Rite-Aid calibre Christmas card displays Santa checking an open scroll with graphics reading, "Be good for goodness sake!" Signed; "Mommy &amp; your step dad." THE WINDOW The telescope ENTERS FRAME and looks out over the neighborhood. Only a few houses with large yards decorated for Christmas populate the area. REVERSE - END OF THE TELESCOPE A house reflects over Billy's magnified eye...</scene_description> </scene> <scene> <stage_direction>22PT EXT. NEIGHBORHOOD HOME - DUSK - TELESCOPE MATTE 22PT</stage_direction> <scene_description>A family gathers for Christmas appearing like a Norman Rockwell painting. Americana. Warm. Filled with happiness and love. A teenage girl opens a present and reacts, overwhelmed. She moves to her mother and father and gives them a hug. TELESCOPE CAMERA PUSHES DOWN THE BARREL TO BILLY'S CLOSED EYE. Once IT FILLS FRAME, the lid opens exposing the yellowed iris...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - (1991)</stage_direction> <scene_description>Lies passed out on the couch, two empty bottles of wine on the floor; a bong on the table. Behind him, a console radio plays, the source of "The Nutcracker"... AGNES eight years old, tears Christmas wrapping off a box revealing a knock off Cabbage Patch doll. BILLY'S MOTHER Barefoot, in an worn nightgown, reacts with animated joy, however, as if she has received a gift she's always wanted. As her daughter doesn't match the enthusiasm, however, the mother's expression turns hard. O.S... UPSTAIRS... MOVEMENT. Agnes looks up, curious...</scene_description> <character>AGNES</character> <dialogue>'S that Santa's reindeer?</dialogue> <scene_description>Her mother takes a drink from her highball glass while gathering wrapping paper and stuffing it in a Hefty bag.</scene_description> <character>BILLY'S MOTHER</character> <dialogue>There's... nothing... up there.</dialogue> <scene_description>She reaches back and grabs the pack of cigarettes, puts one in her mouth, then feels blindly behind her. She looks back, but cannot find a lighter for her cigarette. Drunk, the mother leans into Agnes with a babying tone...</scene_description> <character>BILLY'S MOTHER</character> <dialogue>Want a Christmas cookie? You're my cookie and I could eat you up.</dialogue> <scene_description>As the mother stands and moves off toward the kitchen, CAMERA CREEPS IN on Agnes. O.S., an ORNAMENT TINKLES. Agnes turns toward the tree... AGNES' POV - CHRISTMAS TREE CAMERA IS MOVING TOWARD a branch rhythmically trembling which causes the ornaments to KNOCK together. CAMERA CONTINUES... INTO THE TREE... TO FIND... behind the tree... a pair of yellow eyes, looking at Agnes.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - (1991)</stage_direction> <scene_description>The counter is littered with Christmas cookies baking material and supplies; baking utensils, flour and sprinkles. She tosses some cookies onto a plate for Agnes, then moves to the stove, ignites a gas burner and lights her cigarette. The phone, a yellowed wall mounted princess phone... RINGS. The mother reacts, curious as to who could be calling. She picks up the phone and before she can answer... a chilling voice emits from the tiny speakers...</scene_description> <character>CALLER (V.O.)</character> <dialogue>She's my family, now.</dialogue> <scene_description>The mother drops the phone. CAMERA LEADS HER OUT of the kitchen as she races toward the living room...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT (1991)</stage_direction> <scene_description>Billy's mother approaches, pausing in the threshold of the kitchen door. CAMERA PUSHES IN AS she takes an anxious step...</scene_description> <character>BILLY'S MOTHER</character> <dialogue>Agnes?</dialogue> <character>BILLY'S MOTHER'S POV - THE FLOOR</character> <dialogue>Agnes is gone, as is the plastic Hefty bag. The wrapping paper, removed and left on the floor. BILLY'S MOTHER looks to her husband... BILLY'S MOTHER'S POV - THE COUCH Billy's step-father awakens from his stoned sleep...</dialogue> <character>LOWER ANGLE - BILLY'S MOTHER</character> <dialogue>Anxiously steps into the room and reacts to a sharp pain under her foot. She looks down... CLOSE - BILLY'S MOTHER'S FOOT The ripped out eyes of the knock off cabbage patch doll are stuck to the underneath of her foot... BILLY'S MOTHER - LOWER ANGLE CAMERA now SWEEPS INTO HER. Then, with the timbre heard in the disturbing phone calls...</dialogue> <character>BILLY'S MOTHER</character> <dialogue>Bill-lly!</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - (1991)</stage_direction> <scene_description>CAMERA IS LOW TO THE GROUND, MOVING RAPIDLY ALONG the hallway as Billy's mother and step-father OUTRACE CAMERA and ENTER FRAME. CAMERA CONTINUES as they run to the attic ladder...</scene_description> <character>MOTHER</character> <dialogue>What have you done?!</dialogue> <scene_description>As she climbs, the step-father pauses. Puzzled by... STEP FATHER'S POV - THE COMBINATION LOCK Remains locked from the outside. The mother's fingers, agitated, frightened, and drunk, fumble with the lock...</scene_description> <character>STEP-FATHER (O.S.)</character> <dialogue>What your mother and I must know...</dialogue> </scene> <scene> <stage_direction>INT. ATTIC - BILLY'S HOUSE - NIGHT - (1991) - TRAP DOOR</stage_direction> <scene_description>BANGS open!</scene_description> <character>STEP-FATHER</character> <dialogue>Is Where did you put the baby?</dialogue> <scene_description>Billy's mother rises into the attic.... BILLY'S MOTHER'S POV - THE ATTIC Vacant. Billy is nowhere in sight. BILLY'S MOTHER AND STEP FATHER Are stunned. Then, O.S., downstairs, Agnes SCREAMS!</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - (1991)</stage_direction> <scene_description>CAMERA IS WIDE as the parents run toward the stairs...</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - NIGHT - EXTREMELY LOW ANGLE - THE</stage_direction> <character>PARENTS</character> <dialogue>bound down the stairs, CAMERA RISES to Billy's mother...</dialogue> <character>BILLY'S MOTHER</character> <dialogue>Billy!? What have you done?!</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <character>THE FAR WALL</character> <dialogue>Billy's shadow clutches Agnes's struggling, choking silhouette; shifting and distorting with the blink of the Christmas tree lights. EXTREMELY CLOSE - A 10 FRAME CUT - BILLY'S EYES turn toward his mother, exposing their yellow tint... CLOSE - A 10 FRAME CUT - BILLY'S LEFT HAND Holds a briloette ornament, blood dripping tip facing out... CLOSE - A 10 FRAME CUT - BILLY'S MOUTH opens. An eyeball, iris bright blue, is placed inside... BILLY'S MOTHER SCREAMS! BILLY'S STEP-FATHER Charges Billy... BILLY Backlit against the Christmas lights, reaches out for Agnes... A 10 FRAME CUT - AGNES CAMERA SWEEPS TOWARD HER struggling for life, the black plastic Hefty bag over her head... one hole in the bag over her right eye indicating Billy has removed one eye, so far...</dialogue> <character>CHRISTMAS TREE</character> <dialogue>The Step-father ENTERS FRAME, reaching for Agnes. BILLY'S HAND THRUSTS the tear shaped ornament outward. REVERSE - STEP-FATHER the back of his skull erupts. Dangling at the end of the impaling ornament, with the consistency of an egg yolk, the step father's eye; pushed through the skull. He falls... THE CHRISTMAS TREE TOPPLES! CRASHES! covering Agnes and Billy's step- father... BILLY'S MOTHER A string of Christmas tree lights quickly wrap around her neck. Her hands whip to her throat, clutching the cord...</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - (1991)</stage_direction> <scene_description>Billy drags his struggling mother into the kitchen... CLOSE - COUNTER Billy grabs a rolling pin, coated with flour... A PLATE OF CHRISTMAS COOKIES CAMERA INCHES on a plate of freshly baked cookies while, in the dark background, Billy raises the rolling pin above his head. The cookies shake from the unseen impact. CAMERA CONTINUES as the cookies tremble with each THUD... ON THE COUNTER Billy's hand finds an angel shaped cookie cutter... BILLY'S MOTHER The back of her lifeless head lies on the floor. The angel shaped cutter ENTERS FRAME. As it presses to her face... CLOSE - OVEN A silhouette against the glowing red coils inside the oven, Billy ENTERS FRAME with a cookie sheet, dripping blood... As the oven opens... the hollow radio plays the beautiful flowing harp strings of "The Nutcracker's" "Intrada..." CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - (1991)</stage_direction> <scene_description>Silence. After a beat, the front door opens. POLICE OFFICERS, BLUDWORTH and COLQUITT enter, weapons drawn, alarmed, yet cautious. Colquitt moves directly toward the fallen Christmas tree, attending to Agnes. Bludworth continues to the kitchen. Bludworth freezes, expression mortified. CAMERA PULLS BACK REVEALING Billy sitting at the table in the dark; drinking a glass of milk and eating... his Christmas cookies, appearing like shapes of charred jerky with frosting and sprinkles. As Billy calmly finishes his snack, CAMERA CRANES DOWN until the corpse of his mother ENTERS THE F.G... CUT TO:</scene_description> <character>OVER BLACK... A TITLE CARD RISES... CENTER FRAME...</character> <dialogue>"BLACK CHRISTMAS"</dialogue> <scene_description>Then... a stand up bass with harmonica accents begins a bouncing ball tempo, introducing Mitch Miller and his Orchestra's rendition of "I Saw Mommy Kissing Santa Claus." As the male chorus begins singing, the TITLE CARD FADES...</scene_description> <character>CHORUS (V.O.)</character> <dialogue>I saw Mommy kissing Santa Claus...</dialogue> </scene> <scene> <stage_direction>EXT. FRONT YARD - SORORITY HOUSE - NIGHT</stage_direction> <character>CLOSE - A PAIR OF EYES - COMPOSED FAR LEFT OF FRAME</character> <dialogue>A pair of plastic female eyes on an internally illuminated Nativity figure, presumably Mary, appears afraid; trembling in the freezing wind of a Winter storm...</dialogue> <character>CHORUS (V.O.)</character> <dialogue>... Underneath the mistletoe last night...</dialogue> <scene_description>WIDER - A MANGER Icy rain streaks past a Magus standing in the snow amongst animals gazing upon a haloed baby in a straw crib beneath His mother and an illuminated angel extending above the tableau.</scene_description> <character>CHORUS (CONT'D, V.O.)</character> <dialogue>She didn't see me creep down the stairs to have a peep...</dialogue> <scene_description>CLOSE - A STRING OF OUTDOOR CHRISTMAS LIGHTS Line the rain gutter of a sorority house. Green, red, and white bulbs shudder and TINK in the storm.</scene_description> <character>CHORUS (CONT'D, V.O.)</character> <dialogue>She thought that I was tucked up in my bedroom fast asleep...</dialogue> <scene_description>Counter to the storm's threat, GIRLS can be heard, O.S., INSIDE, having a PARTY; warm, inviting, plenty of laughter and CLINKING glasses...</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT</stage_direction> <scene_description>The Nativity and the lights decorate the front yard of the New England colonial that was once home to the Lenz family. ACROSS THE LOWER LEFT OF FRAME, A TITLE CARD INDICATES...</scene_description> <character>FIFTEEN YEARS LATER</character> <dialogue>The exterior of the house, including the gabled windows and Mansard roof, has been significantly restored in the last twenty-five years, reflecting the money and privilege of the present day occupants.</dialogue> <dialogue>Tonight, pools of color glow in the snow and reflect off the ice from decorative Christmas lights. The interior pulses with a warm amber glow from a fireplace while long thick icicles hang like crystalline fangs from the lip of the roof.</dialogue> <character>CHORUS (CONT'D, V.O.)</character> <dialogue>Then, I saw Mommy tickle Santa Claus/Underneath his beard so snowy white...</dialogue> <scene_description>A '66 Pontiac Parisienne tuna boat is parked in the driveway, just before the garage door. Above, gray smoke floats out the chimney, to be whipped by an angry wind.</scene_description> <character>CLOSER - BESIDE THE FRONT DOOR</character> <dialogue>Greek letters identify the Phi Kappa Sigma sorority.</dialogue> <scene_description>33PT THE FRONT WINDOW 33PT Inside, a silver and gold Victorian Christmas tree glitters. Discernible behind the tree, a few sorority sisters are drinking, gossiping, and celebrating the Holidays. Now... CAMERA MOVES... not a hand-held wide angle subjective "killer's P.O.V.," but, rather, on TRACKS along the front facade. The MOVEMENT'S texture remains voyeuristic... CAMERA eerily, unexpectedly, begins RISING... toward the second story... REVEALING windows of individual bedrooms.</scene_description> <character>CHORUS (CONT'D, V.O.)</character> <dialogue>What a laugh it would have been/ if daddy had only seen/Mommy kissing Santa Claus last night!</dialogue> <scene_description>CAMERA TRACKS parallel to the rooms, REVEALING a window in which hangs a small holly wreath with white micro lights. MEGAN HELMS, 23, can be seen pacing angrily while on her cell phone. Although furious with whomever is on the receiving end, Megan is clearly trying to keep her voice DOWN. She pulls the phone away and flips it off before hanging up. CAMERA MOVES PAST HER WINDOW just as Megan sits at her desk before an open laptop and looks sickened, at the monitor. The next room is dark, yet not vacant. Attractive and urban, LAUREN HANNON, 21, leans out over the sill of her open window smoking a cigarette. CAMERA CONTINUES as she shudders at the mounting storm and exhales, somewhat sad, before dropping the butt into a beer bottle. CAMERA CONTINUES TO the next room in which CLAIR CROSBY, 20, appears excited, yet anxious while pacing with a sheet of high quality gift wrapping paper, cellophane tape, ribbons and scissors. As she sits, Clair disappears from view... CAMERA BEGINS RISING... toward the third story, while also PUSHING IN ON a gabled window framed with Christmas lights on the top level of the house. Behind the weathered mutins stands an illuminated plastic Santa Claus. The window is ajar; softly KNOCKING against the sill... From the dim spill of the decorative lights, it is apparent the large area behind the window is not a living space, but, rather, the attic which was once Billy Lenz's room.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - SORORITY HOUSE - NIGHT</stage_direction> <scene_description>Cardboard cartons and furniture are stacked and dusty. Behind these, appearing to rise from the floor and within the wall, streams of strained breaths are visible in the cold. The breathing stops... beat... then... with a startling SCREECH an old rocking chair is placed at the window and released. The vacant chair gently rocks... INT. ATTIC - SORORITY HOUSE - NIGHT - THE KILLER'S P.O.V. WIDE ANGLE and HAND HELD, arrhythmic human breaths jet from behind CAMERA as it CREEPS TOWARD a closed square door in the floor, partially framed by faint light seeping from below.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - ATTIC TRAP DOOR</stage_direction> <scene_description>CAMERA MOVES THROUGH a corridor of dark wood walls and hardwood floors lit with a string of Christmas lights. The sconces are turned off. CAMERA PUSHES past Clair's room and toward a corner of the ceiling at the shadowy end of the hall, REVEALING an attic trap door. The door lifts. CREAKS...</scene_description> </scene> <scene> <stage_direction>INT. CLAIR'S ROOM - NIGHT - CLOSE - A WINE CORK</stage_direction> <scene_description>Is PLUCKED from a bottle... EXTREMELY CLOSE - A SMALL GIFT BOX wrapped with tasteful paper and great care sits on the floor amongst scraps of paper and ribbon. The wine cork drops INTO FRAME followed by the CORKSCREW. At this IMAGE SIZE, the corkscrew appears like a threatening auger bit. Thick. Sharp. CLAIR CROSBY Unaware of the presence outside her door, Clair appears mixed with dreaded apprehension and excited anticipation as she opens a blank Christmas card and gathers her thoughts. The first being, her thoughts could use some wine. She pours the Pinot into a glass. OUTSIDE, the storm is a CONSTANT presence. ON THE BED a couple travel bags are packed, but open. CAMERA INCHES TOWARD her cell phone; red power indicator light blinking... IN THE OPEN CLOSET Hang two dry cleaned outfits, wrapped in clear plastic, appearing like body bags in the closet shadows... ON THE FLOOR behind Clair; plastic shopping bags and a store wrapped gift. CLOSE - STORE WRAPPED GIFT The tag reads "To: Lauren Fr: Secret Santa." CLOSER - ANOTHER GIFT Enwrapped with different paper; special. The tag reads... "To: My big sister, Leigh. Fr: Her baby sister, Clair." CLOSE - THE WINE BOTTLE Is set down beside her, alongside a pair of open scissors. Ominous; a potential tool of murder... CLOSE - ON THE FLOOR - A FOUNTAIN PEN The nub, sharp. Ink; blood red. It is picked up... CLOSE - CLAIR Considers... CLOSE - BLANK CHRISTMAS CARD She writes... "Leigh..." CLAIR SIGHS, then takes a long sip of wine... THE FOUNTAIN PEN Is returned to the floor... CLOSE - CLAIR the dry cleaning plastic RUSTLES. She turns, startles... CLAIR'S POV - THE DRY CLEANING PLASTIC BAGS Flutter... the forms appearing like corpses in a morgue... CLAIR Composes, smiles at her startle, then looks to... CLAIR'S POV - BASE OF THE FLOOR Air wisps through the heating vent... CLAIR takes another sip of wine before her expression conveys she has caught hold of some words for which she has been searching to express complex emotions. She quickly sets down the wine glass and reaches back for the pen... CLOSE - THE FLOOR Clair reaches for the pen, but it is no longer there... CLOSE - CLAIR Puzzled, turns a quarter and looks to the floor... CLAIR'S POV - THE FLOOR The pen is gone. A shadow approaches... CLAIR As she turns to see which of her sorority sisters has entered... a clear plastic bag whips over her head. CLOSE - CLAIR'S MOUTH Like a vacuum, the plastic CLASPS to her face; mouth wide with horror and pain as she takes her last GASP... CLOSE - THE FOUNTAIN PEN Is THRUST through the bag and into her eye. THE BED As colored shadows struggle over the bed... CAMERA PUSHES IN to REVEAL Clair's cell phone is gone... OVERLAPPING...</scene_description> <character>MS. MAC (O.S.)</character> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - UNDER THE TREE</stage_direction> <scene_description>Christmas gifts wrapped in holiday paper are rummaged by a pair of female hands...</scene_description> <character>MS. MAC (O.S.)</character> <dialogue>I don't see Billy's present under the tree, here.</dialogue> <character>WIDER</character> <dialogue>The Phi Kappa Sigma house mother, MRS. MacHENRY, late fifties to early sixties, is on her knees wearing a Santa Claus hat beneath the Christmas tree.</dialogue> <character>MS. MAC</character> <dialogue>Can't start the secret Santa without Billy's present.</dialogue> <scene_description>Ms. Mac looks to the gathered sorority sisters... REVERSE - PHI KAPPA SIGMA SISTER Several hang out on sofas, in chairs, and on the floor. Each with a glass of wine, beer, or a shooter. The sisters are not as into this tradition as the house mother. The interior decor is tasteful and reflects the upper economic class of its members. Comfortable and inviting, the room is warmed by an amber glow from a fire in the hearth. The house feels safe and Christmassy. CAMERA BEGINS CREEPING... ARCING... while the girls LAUGH, buzzed from the alcohol and holiday respite from college.</scene_description> <character>MS. MAC</character> <dialogue>Who drew Billy's name?</dialogue> <scene_description>HEATHER LEE, 20, a Charleston, South Carolina blonde, not a hair out of place and a touch self righteous, appears uncomfortable with Ms. Mac's search for Billie's present... MELISSA KITT, 20, Asian, sits with her feet propped on the coffee table.</scene_description> <character>MELISSA</character> <dialogue>Um... dude... it's a secret Santa.</dialogue> <scene_description>DANA MATHIS, 20, a daddy's girl ice princess, keeps her eyes focused on painting her nails a tasteful Christmas red...</scene_description> <character>DANA</character> <dialogue>Who cares about him? Can we just get on with this?</dialogue> <character>DANA</character> <dialogue>I've got the red eye to JFK so I can get home and party for a few days before having to deal with family on Christmas.</dialogue> <character>MELISSA</character> <dialogue>Red eye? Dude, you ain't goin' anywhere. Look outside. It's raining hail the size of Yao Ming's testicles.</dialogue> <character>DANA</character> <dialogue>Really?</dialogue> <character>MELISSA</character> <dialogue>I know you never watch any news, so, just look outside...</dialogue> <scene_description>Dana sits up on the couch and stretches to look out while KELLI PRESELY, the youngest member of the sorority who is treated like everyone's little sister, pulls aside the curtains for Dana to look outside.</scene_description> <character>DANA</character> <dialogue>Can't see.</dialogue> <character>MELISSA</character> <dialogue>Then, just listen.</dialogue> <scene_description>They listen to the intense rhythmic thumping on the roof. Melissa gestures as if, "well?"</scene_description> <character>DANA</character> <dialogue>It'll stop. The party gods won't allow me to be here on Christmas break by myself.</dialogue> <scene_description>Melissa laughs and shakes her head as she looks to Kelli...</scene_description> <character>KELLI</character> <dialogue>I'll be here, Dana. They're making me work next week.</dialogue> <character>DANA</character> <dialogue>Oh yeah, right. Hmmm... let's see... get home and go to Ivanka Trump's Christmas party... or... hang here with you and your townie boyfriend, Kyle, and watch "Monster Garage Christmas." Hmmm...</dialogue> <character>MELISSA</character> <dialogue>You have to work? Dude, that sucks. Everyone should be home for Christmas.</dialogue> <character>KELLI</character> <dialogue>Yeah, well, kind of expensive to go home. Just saw my mom and dad at Thanksgiving. And, you know, I never had any sisters or brothers to share Christmas with, so...</dialogue> <parenthetical>(to Dana)</parenthetical> <dialogue>I'll be your family, now...</dialogue> <scene_description>A touch tone house phone ENTERS FRAME... It RINGS; AMPLIFIED to create a startle...</scene_description> <character>DANA</character> <dialogue>Want me to treat you like I do my sister?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Get the phone.</dialogue> <scene_description>Kelli moves to the phone and answers...</scene_description> <character>KELLI</character> <dialogue>Phi Kappa...</dialogue> <scene_description>CAMERA CREEPS IN as she reacts, absently tilting her head as if this will help her understand the caller...</scene_description> <character>KELLI</character> <dialogue>What..? Who?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh, hey, Darin... you kept breakin' up... Storm's bad where you are, huh? Sorry, she's gone home for Christmas break. Try her cell... Merry Christmas.</dialogue> <scene_description>As Kelli hangs up, a MUTED, RINGTONE plays "JINGLE BELLS." MELISSA lifts her behind and removes a cell phone from her back pocket...</scene_description> <character>MELISSA</character> <dialogue>Hello... Hey!</dialogue> <character>DANA</character> <dialogue>That is so gay.</dialogue> <scene_description>Melissa throws Dana a "like I care what you think" shrug. She believes the ringtone is cheesy cool. So does Kelli who removes her phone...</scene_description> <character>KELLI</character> <dialogue>I have the same phone, but mine plays "Dance of the Sugar Plum Fairy."</dialogue> <scene_description>She hits a button and the ring tone begins the tinkling introduction of "The Dance of the Sugar Plum Fairy" as she heads back toward the stairs...</scene_description> <character>DANA</character> <dialogue>I'm so sad for you.</dialogue> <character>KELLI</character> <dialogue>Doesn't your phone do anything?</dialogue> <scene_description>Dana holds up her Blackberry...</scene_description> <character>DANA</character> <dialogue>Validates me.</dialogue> <scene_description>Ms. Mac moves away from the tree, flustered.</scene_description> <character>MS. MAC</character> <dialogue>Who's not here?</dialogue> <character>KELLI</character> <dialogue>Like... everybody.</dialogue> <character>MS. MAC</character> <dialogue>Chelsea?</dialogue> <character>KELLI</character> <dialogue>Went home, this morning.</dialogue> <scene_description>Melissa hangs up her call...</scene_description> <character>MS. MAC</character> <dialogue>Greer?</dialogue> <character>MELISSA</character> <dialogue>That was her on the phone. She and Erin and Taylor are on that ski trip with with all the A.D.G. guys next door.</dialogue> <character>MS. MAC</character> <dialogue>Didn't I see Clair, earlier?</dialogue> <character>KELLI</character> <dialogue>Isn't she upstairs writing a card to her sister?</dialogue> <character>MELISSA</character> <dialogue>No, I think that, maybe, Clair's sister might've already picked her up. Remember, this is that... "occasion for Clair and her sister and her mom to bury the hatchet and rediscover each other."</dialogue> <character>DANA</character> <dialogue>I'd like to bury the hatchet with my sister... right in her head.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - SORORITY HOUSE - NIGHT</stage_direction> <scene_description>CAMERA LOOKS OUT THE ATTIC WINDOW. Suddenly! Clair's dead body ROCKS INTO and FILLS FRAME. The clear plastic shopping bag clings to her frozen bloody horrified expression; skull- like as her eye sockets are empty. As the chair slowly rocks... CREAK... CREAK... CREAK... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Ms. Mac sighs, considers, before she calls out to Kelli...</scene_description> <character>MS. MAC</character> <dialogue>Kelli, can you run upstairs and bring down whoever's up there? As Kelli hustles off toward the stairs...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>CAMERA IS MOVING past the blinking Christmas lights in the dark vacant hallway. Lauren exits and steps into the dim hallway as Kelli bounds up the stairs...</scene_description> <character>KELLI</character> <dialogue>We're opening presents. Can you see if Clair's in her room?</dialogue> <scene_description>Lauren turns back down the hall toward Clair's room as Kelli KNOCKS on Megan's door. The response is terse..</scene_description> <character>MEGAN (O.S.)</character> <dialogue>What?</dialogue> <scene_description>Kelli appears concerned by Megan's tone...</scene_description> <character>KELLI</character> <dialogue>Megan... it's Kelli.</dialogue> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Megan tenses with dread, mouthing "fuck!"</scene_description> <character>MEGAN</character> <dialogue>What?</dialogue> <character>KELLI</character> <dialogue>We're gonna open presents, downstairs.</dialogue> <scene_description>Once again, Megan tenses...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Kelli listens by the door...</scene_description> <character>MEGAN (O.S.)</character> <dialogue>Start without me.</dialogue> <character>KELLI</character> <dialogue>But, you're going to come down, right?</dialogue> <character>MEGAN (O.S.)</character> <dialogue>I don't know, Kelli! If I do, I do. Just start without me.</dialogue> <scene_description>Kelli looks up, down the hall toward Lauren. LAUREN Reacts incredulous and impatient with Megan's behavior...</scene_description> <character>LAUREN</character> <dialogue>I realize you're an only child, so let me explain... Christmas is just Darwin. The weak get eaten.</dialogue> <scene_description>Lauren POUNDS on Clair's door. Then, like a Marine Corp D.I.</scene_description> <character>LAUREN</character> <dialogue>We're opening presents, NOW! If you're not down there, your gifts will be mine.</dialogue> <scene_description>Lauren walks away from Clair's door without awaiting a response. She tosses to Kelli... AT MEGAN'S DOOR Kelli sighs with derision at Lauren's method as she passes enroute to the stairway. Kelli TAPS politely on Megan's door.</scene_description> <character>KELLI</character> <dialogue>Megan... you okay?</dialogue> <character>MEGAN (O.S.)</character> <dialogue>Yes... no... just... FUCK CHRISTMAS! FUCK IT!</dialogue> <scene_description>Kelli is taken aback. Concerned, she considers knocking again, however, turns and moves off toward the stairs... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Ms. Mac continues rummaging through the presents while Heather remains anxious and somewhat guilty...</scene_description> <character>HEATHER</character> <dialogue>Ms. Mac, why don't you open the present we got you?</dialogue> <character>MS. MAC</character> <dialogue>Billy always gets his present first. Fifteen year Phi Kappa Sigma tradition.</dialogue> <scene_description>In the b.g., Lauren moves down the stairs into the living room, followed by Kelli...</scene_description> <character>LAUREN</character> <dialogue>He's gonna be pih-issed, then come back here and eat us.</dialogue> <scene_description>Ms. Mac reacts to the residue smell of cigarettes left in Lauren's wake.</scene_description> <character>MS. MAC</character> <dialogue>Not as pissed as I'm gonna be if you've been smoking in your room.</dialogue> <scene_description>Lauren shakes her head with feigned innocence as she swipes someone's full glass of red wine and as she takes a sip...</scene_description> <character>LAUREN</character> <dialogue>Must've been Billy's ghost.</dialogue> <character>MELISSA</character> <dialogue>Don't think he's dead. Is he?</dialogue> <scene_description>HEATHER Watches, then sighs, confessional...</scene_description> <character>HEATHER</character> <dialogue>Okay, look... I drew "that name."</dialogue> <scene_description>LIVING ROOM beneath the tree, Ms. Mac looks to Heather. Lauren pauses mid sip of wine. Dana eyes Melissa, flashes a catty grimace, and mouths "oops." Heather, sitting upright, inches up on the edge of the sofa; posture defensive...</scene_description> <character>HEATHER</character> <dialogue>Can I just say... I'm sorry, but, I am very not okay with any of this. I mean, buying a Christmas present for a serial killer?</dialogue> <character>MELISSA</character> <dialogue>Serial killers murder repeatedly for sexual thrill. Billy Lenz was a spree killer. Dude just fuckin' lost it!</dialogue> <character>HEATHER</character> <dialogue>What-ever. I'm just offended by a... pagan sacrifice... to ward off evil spirits on Christmas.</dialogue> <scene_description>Ms. Mac moves toward the fireplace and picks up a foot and a half long, two pronged barbecue fork. As she sticks a marshmallow on the end and places it over the fire...</scene_description> <character>MS. MAC</character> <dialogue>Come on, Heather, it's just a bit of fun...</dialogue> <scene_description>Lauren cuts her off...</scene_description> <character>LAUREN</character> <dialogue>Christmas is more about warding off evil spirits than Halloween.</dialogue> <scene_description>WIDER - LIVING ROOM At the top of the staircase, looking through the rails of the dark wood banister. CAMERA is INCHING FORWARD, as if the P.O.V. of an unidentified person... watching.</scene_description> <character>DANA</character> <dialogue>Let it go, Heather. Just be happy you had to buy a present for a serial killer instead of Lauren.</dialogue> <scene_description>CLOSER - LIVING ROOM Heather is rattled and not as good at rancorous debate as Lauren, who knows it...</scene_description> <character>LAUREN</character> <dialogue>What Christmas shit in this room reflects anything Christian? Huh?</dialogue> <scene_description>The girls pause, then look about the room as Lauren randomly points at various Christmas decorations...</scene_description> <character>LAUREN</character> <dialogue>It's all neo-pagan magik. Christmas tree's a magical rite ensuring the return of the crops. Mistletoe is a conception charm...</dialogue> <character>MELISSA</character> <dialogue>Then, get it away from me.</dialogue> <scene_description>Kelli smiles. Lauren's momentum picks up...</scene_description> <character>LAUREN</character> <dialogue>Fifth century Christians jacked a Roman winter festival. Twelve days in December when the nights were long and the earth was roamed by the demons of chaos.</dialogue> <character>MELISSA</character> <dialogue>I saw them, yesterday, at Wal-Mart.</dialogue> <character>LAUREN</character> <dialogue>And fuckin' Santa Claus? This voyeur that watches you all year and determines if you've behaved to his standards of decency before breaking into your house in the middle of the night? And that's different from what Billy did, how?</dialogue> <scene_description>Ms. Mac smiles as she pulls a toasted marshmallow off the fork and into her mouth as she returns to the tree...</scene_description> <character>MS. MAC</character> <dialogue>He didn't break in. Billy lived here.</dialogue> <scene_description>THE HOUSE PHONE Large in the f.g., RINGS! LOUD! Startling. Kelli knows she will be called upon and moves toward the phone... THE RECEIVER CAMERA RISES with the receiver as Kelli lifts it to her ear...</scene_description> <character>KELLI</character> <dialogue>Phi Kappa.</dialogue> <scene_description>CAMERA CREEPS TOWARD HER...</scene_description> <character>KELLI</character> <dialogue>Hello?</dialogue> <scene_description>She listens, then smirks, bemused...</scene_description> <character>KELLI</character> <dialogue>Need to work on it, Kyle.</dialogue> <scene_description>Then quickly, Kelli grows alarmed. She pulls away from the phone and turns to the other girls...</scene_description> <character>KELLI</character> <dialogue>I think someone's in trouble...</dialogue> <scene_description>She quickly presses the "hold" button, sets the receiver in the cradle and hits the "speaker" button. CAMERA TILTS DOWN to the PHONE which FILLS THE FRAME... The SOUND emitting through the speaker is like the low wailing of a wounded animal, yet with an edge of unsettling perversity. Although not discernibly obscene, it is quite sexually chilling. LIVING ROOM The SOUND freezes the girls with collective anxiety. They are absently drawn together; listening...</scene_description> <character>LAUREN</character> <dialogue>Yeah, he's in trouble. Dude's whackin' off with egg nog lube.</dialogue> <scene_description>Melissa GIGGLES and begins adding to the joke, until... The PHONE ERUPTS with a nightmarish cacophony of VOICES; women, men, a crying baby. INSANE and DEMONIC; intertwined with one another. GROANS, DISTANT SHRIEKS, CACKLES; it SOUNDS as if a Dore etching of Hell could speak. Meanwhile, Bing Crosby's rendition of "I'll Be Home For Christmas" plays low on the living room C.D. Meant to be comforting, it subliminally adds to the tension... CAMERA SLOWLY CIRCLES the stunned Phi Kappa sisters' FACES listening to the awful SOUNDS emitting from the phone. Then, cutting through the STATIC of eerie VOICES... yet remaining distant... a VOICE... neither male or female, yet an absolutely crone-like cackle...</scene_description> <character>CALLER (V.O.)</character> <dialogue>Bill-ly! What have you done?!</dialogue> <scene_description>The girls are rattled. A MALE VOICE begs...</scene_description> <character>CALLER (V.O.)</character> <dialogue>What your mother and I must know, Billy... is what did you do with the baby?</dialogue> <scene_description>A COARSE, GRAVELLY male voice, intense, insanely lascivious, and yet, mischievous, like an pre-pubescent boy, JUMPS THROUGH the speakers...</scene_description> <character>CALLER (V.O.)</character> <dialogue>Where is Agnes?</dialogue> <character>CALLER (V.O.)</character> <dialogue>...She's our family, now.</dialogue> <scene_description>An eerie, pathetic and sad child asks...</scene_description> <character>LAUREN</character> <dialogue>Hey, shouldn't you get goin'? Don't you have lots of toys to deliver tonight to good little boys and girls?</dialogue> <scene_description>While Melissa LAUGHS, Dana and Ms. Mac gesture for Lauren to hang up. Lauren gestures, as if, "don't worry." The voice lowers an octave with insane intensity and, most chilling, extremely matter of fact...</scene_description> <character>CALLER (V.O.)</character> <dialogue>I'm going to kill you.</dialogue> <scene_description>Heather quickly disconnects. The room turns deathly SILENT. The girls look to one another, rattled...</scene_description> <character>HEATHER</character> <dialogue>Call the police.</dialogue> <character>LAUREN</character> <dialogue>Puh-lease. Police ain't gonna do shit about one whack job phone call.</dialogue> <character>MELISSA</character> <dialogue>Campus security is down to, like, one guy 'til after Christmas.</dialogue> <character>LAUREN</character> <dialogue>Campus security? That's probably who just called.</dialogue> <character>KELLI</character> <dialogue>That couldn't have been one person.</dialogue> <character>MELISSA</character> <dialogue>What was the caller I.D.? Was it on campus?</dialogue> <character>KELLI</character> <dialogue>Sorry, didn't even look. My brain was on Kyle...</dialogue> <character>DANA</character> <dialogue>Dial \*69.</dialogue> <character>MELISSA</character> <dialogue>That just calls him back. Unless there's something you need him to clarify...</dialogue> <scene_description>AT THE TOP OF THE STAIRS A figure steps INTO the F.G., remaining at the top of the darkened stairwell... watching the others. Melissa taps some buttons on the phone, Heather returns to the gathered group of girls, remaining angry at Lauren...</scene_description> <character>HEATHER</character> <dialogue>You shouldn't provoke someone like that.</dialogue> <scene_description>MELISSA reacts, puzzled, while looking at the phone.</scene_description> <character>MELISSA</character> <dialogue>Call log says Clair's cell.</dialogue> <scene_description>WIDER The information goes unregistered as everyone is focused on the rising confrontation. Lauren glares at Heather...</scene_description> <character>LAUREN</character> <dialogue>What would you know about dealing with anyone other than a NASCAR dad?</dialogue> <scene_description>Heather's eyes flare with anger. She steps aggressively toward Lauren. Kelli places a restraining hand on Heather...</scene_description> <character>HEATHER</character> <dialogue>I'm going home.</dialogue> <scene_description>Disgusted, Heather starts toward the stairs...</scene_description> <character>LAUREN</character> <dialogue>Yeah, yeah, run to daddy.</dialogue> <character>DANA</character> <dialogue>Is that a problem?</dialogue> <scene_description>Heather stops, then turns, pointedly, at Lauren...</scene_description> <character>HEATHER</character> <dialogue>Least my family wants me to come home.</dialogue> <scene_description>From Lauren's reaction, Heather has gone straight for the heart and scored a bull's-eye. The other girls know it...</scene_description> <character>KELLI</character> <dialogue>Guys, c'mon... it's, like, Christmas time.</dialogue> <scene_description>Desperate to break the increasing tension, Ms. Mac returns to the idea of Christmas cheer...</scene_description> <character>MS. MAC</character> <dialogue>Yeah. Heather, what about your present?</dialogue> <character>HEATHER</character> <dialogue>Give it to Billy.</dialogue> <scene_description>The figure steps directly in front of Heather, who stops cold. LOWER ANGLE - EVE In sorority terms, EVE GUARALDI, 23, is a "mistake." A quiet girl whom events in her life could have caused her either to blossom into a social butterfly or a sullen creepy misfit. The latter is the case. The lenses of her glasses are thick, suggesting a past injury rather than merely vision dysfunction. Eve's physical features could pass for an adult Agnes. Wearing a coat and duffel bag over her shoulder, Eve appears ready to leave. She extends a present, wrapped in newspaper, to Heather.</scene_description> <character>EVE</character> <dialogue>Merry Christmas, Heather.</dialogue> <scene_description>As Eve looks up and smiles... CAMERA INCHES IN... unnerving.</scene_description> <character>EVE</character> <dialogue>Merry Christmas, everyone.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're all, like... my family, now.</dialogue> <scene_description>KELLI &amp; HEATHER Heather looks to Kelli, acknowledging the similarity of Eve's statement with the last comment made during the phone call. Heather forces a smile and takes the present without looking at Eve.</scene_description> <character>HEATHER</character> <dialogue>That's... so sweet, Eve.</dialogue> <scene_description>CLOSE - GIFT The newspaper tears away REVEALING a piece of bric-a- brac; a glass unicorn. The horn is six inches long and sharp. THE GIRLS Don't quite know what to make of Eve's tacky gift...</scene_description> <character>EVE</character> <dialogue>I know you like the Bible 'n' stuff.</dialogue> <scene_description>The others exchange "she is so weird" glances. Ms. Mac seizes upon the gift exchange goodwill, albeit a creepy one, to get things back to a lighter mood...</scene_description> <character>MS. MAC</character> <dialogue>That's the Christmas spirit! Come on, let's keep it rolling.</dialogue> <scene_description>HEATHER AND EVE Heather continues up the stairs while Eve starts down, averting her eyes, as if sad and troubled as Heather passes... LIVING ROOM Eve continues through the living room while Ms. Mac hands out presents from under the tree...</scene_description> <character>MS. MAC</character> <dialogue>Melissa... Here, Dana. Is Megan coming down? Let me find yours, Eve...</dialogue> <character>NEAR THE DOOR - EVE</character> <dialogue>CAMERA FOLLOWS EVE toward the front door. She pauses near the tree. CAMERA INCHES IN ON EVE as she turns back one quarter, ambiguous as to if she's interested in her present or checking if anyone is watching her...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT - THE HOLLY WREATH</stage_direction> <scene_description>Megan sits at her desk, balled up; feet on the chair, arms hugging her knees. Her eyes are red from crying as she stares at her open laptop screen which is AWAY FROM CAMERA; the specifics on the monitor cannot be seen.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - MS. MAC AND THE GIRLS</stage_direction> <scene_description>The girls tear off the wrapping and react with proper warm smiles and appreciation...</scene_description> <character>MS. MAC</character> <dialogue>I don't see one for Lauren.</dialogue> <character>DANA</character> <dialogue>Just give her a tequila shot, wish her "Happy Holidays," and she's good to go.</dialogue> <scene_description>Lauren smiles, agrees...</scene_description> <character>MS. MAC</character> <dialogue>Eve, is Lauren's present under the tree?</dialogue> <scene_description>Ms. Mac turns to check Eve, then reacts, puzzled... MRS. MAC'S POV - BY THE CHRISTMAS TREE The area in which Eve paused at the tree, is vacant...</scene_description> <character>MS. MAC (CONT'D, O.S.)</character> <dialogue>What, did she leave, already? She just kind of snuck out.</dialogue> <character>RETURN - MRS. MAC &amp; THE GIRLS</character> <dialogue>The girls look around. Not spotting Eve on a perfunctory glance, they shrug.</dialogue> <character>MELISSA</character> <dialogue>Did Eve have someplace to be?</dialogue> <character>DANA</character> <dialogue>The Island of Misfit Toys.</dialogue> <character>MS. MAC</character> <dialogue>Her mother is a legacy.</dialogue> <character>DANA</character> <dialogue>And? Her mother's dead. She'd never know if we threw her out. Father's... wherever. No boyfriend. No family. Like, where does she have to go?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT</stage_direction> <scene_description>CAMERA IS IN MOTION... along the front of the house through the freezing rain driven by howling winds. The movement reflecting the P.O.V. of a hurried, intense, individual. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Melissa takes pity on Lauren who sits with a glass of wine and no Christmas present...</scene_description> <character>MELISSA</character> <dialogue>Hey, I understand this is a "secret Santa" thing, but, I know Clair drew your name.</dialogue> <character>LAUREN</character> <dialogue>She get me anything good?</dialogue> <character>MELISSA</character> <dialogue>A music box.</dialogue> <scene_description>Lauren winces...</scene_description> <character>MELISSA</character> <dialogue>Kelli, can you go see if it's in her room?</dialogue> <scene_description>Kelli starts toward the stairs...</scene_description> <character>LAUREN</character> <dialogue>Hey, Mel... um... this music box deal? Is there, like, a cigarette inside it, or anything?</dialogue> <character>MELISSA</character> <dialogue>Plays "Dance of the Sugar Plum Fairy."</dialogue> <character>LAUREN</character> <dialogue>Oh, hell no!</dialogue> <scene_description>But Kelli starts up the stairs. Lauren sighs, drunken...</scene_description> <character>LAUREN</character> <dialogue>I'm startin' to see sugar plum fairies, I don't need to hear the little fuckers, too.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT</stage_direction> <scene_description>CAMERA MOVES ALONG the base of the house, then TILTS up along a lattice, covered with bare Winter vines, running the height of the house seemingly to Megan's second level window with the small holly wreath and white micro lights, yet, also, the plastic Santa stands entry just above in the attic window. A gloved hand reaches out and takes hold of the lattice. CAMERA RISES, as the unseen figure begins to climb... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>49PT CAMERA IS LOW, near the floor and obliquely angled; 49PT voyeuristic. The texture within THE FRAME is grainy and coarse. A bed is in the b.g., the lighting is low. Visible IN FRAME, a poster of "Alex de Large," Malcolm McDowell in "Clockwork Orange," false eyelash accentuating his maniacal eye, is set directly over the bed with clear push pins. Megan ENTERS FRAME and sits on the bed... CAMERA BEGINS PULLING BACK REVEALING CAMERA has actually been watching Megan's laptop monitor. An Quicktime file plays beside a fileshare website entitled: EYEJACK. The name of the file is... "CLEMENT UNIVERSITY BITCH IN SORORITY ROOM." CAMERA PANS OFF THE MONITOR just as a MALE FIGURE ENTERS FRAME. Megan's VOICE emits from the speakers but it is unintelligible. But, the male's response is clear...</scene_description> <character>MALE FIGURE (V.O.)</character> <dialogue>How's she ever gonna find out, 'less one of us tells her?</dialogue> <scene_description>CAMERA PANS ACROSS the dark room FINDING Megan at her desk, crying, ashamed and angry. 49PT MONITOR 49PT The boy turns over onto his back REVEALING KYLE AUTRY, mid twenties. As he begins unbuttoning his jeans... MEGAN Shuts her eyes, intense with regret. O.S., a subtle THUMP; location, indiscernible. On reflex, Megan stops the media player. She holds, listens; afraid of being busted.</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - LATTICE</stage_direction> <scene_description>As the climber's foot steps on the lattice, the woods BREAKS.</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Megan reacts to the O.S. SOUND, stretching toward her window to look out at the source... until FOOTSTEPS APPROACH and she stops, turns looks toward her door... MEGAN'S POV - BASE OF THE DOOR Red and green light spills from the hall beneath the closed doorway. The colors turn to shadows as feet pass... MEGAN Holds, listens. O.S., a muted KNOCK. KNOCK. KNOCK.</scene_description> <character>KELLI (O.S.)</character> <dialogue>Clair?</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Kelli knocks at a door two rooms down from Megan's...</scene_description> <character>KELLI</character> <dialogue>Clair?</dialogue> <scene_description>She listens, then, as she cautiously turns the doorknob... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - LATTICE</stage_direction> <scene_description>The gloved hand reaches INTO FRAME and grabs the wood... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CLAIR'S ROOM - NIGHT</stage_direction> <scene_description>Kelli's darkened figure stands in the threshold.</scene_description> <character>KELLI</character> <dialogue>Clair? It's Kelli. You in here?</dialogue> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Megan listens to Kelli's MUTED VOICE. O.S., another THUMP. O.S... the MUTED tinkle of a music box playing "DANCE OF THE SUGAR PLUM FAIRY" begins. Megan holds, listening to locate its origin. Then, as suddenly as it began... the MUSIC stops.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Clair's door opens. Kelli exits, her figure dark in the hallway. She turns and starts toward the stairs...</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT - BASE OF THE DOOR</stage_direction> <scene_description>Kelli's feet create shadows as they pass... MEGAN Waits for Kelli to move off, then returns to the window... The MUSIC starts, again. Puzzled, Megan listens. She moves away from the window and toward the center of the room. The ghostly SOUND seems to emanate from within the wall. The MUSIC begins travelling, up the wall and to the ceiling. OVERHEAD ANGLE CAMERA LOOKS DIRECTLY DOWN on Megan following the MUSIC. As she reaches her door and turns the knob...</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT</stage_direction> <scene_description>Having steadied and composed, the climbing figure begins ascending toward Megan's window...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>As Megan opens her door, the MUSIC turns silent. She holds in the doorway, listening. Nothing. SILENCE. Then, down the hall... "The Dance of the Sugar Plum Fairy" begins, again. CAMERA PUSHES INTO MEGAN as she turns toward... MEGAN'S POV - CEILING The MUSIC is behind the attic trap door... MEGAN Moves toward the dark end of the hallway... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HEATHER'S ROOM - NIGHT</stage_direction> <scene_description>A duffel bag sits on Heather's bed as she packs. Behind her, the local news plays from an internet feed on her laptop...</scene_description> <character>WEATHERMAN (V.O.)</character> <dialogue>Ice accumulations are expected to be three to four inches in most areas. Again... in most areas.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Kelli returns to the living room. She shrugs as she sits...</scene_description> <character>KELLI</character> <dialogue>Couldn't find it.</dialogue> <character>LAUREN</character> <dialogue>Damn! If I don't hear "The Sugar Plum Fairies," I'll just die!</dialogue> <scene_description>OVERLAPPING... the afore-mentioned MUSIC begins... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - OVERHEAD</stage_direction> <scene_description>Megan steps INTO FRAME looking up... MEGAN'S POV - TRAP DOOR Lit only by Christmas lights at the opposite end of the hall.</scene_description> <character>MEGAN</character> <dialogue>not afraid, but quite curious. The crystalline MUSIC continues. Megan reaches out and grasps a rung on the wood ladder. She begins climbing...</dialogue> </scene> <scene> <stage_direction>INT. ATTIC - SORORITY HOUSE - NIGHT</stage_direction> <scene_description>The open window TAPS from the wind. Spill light from the illuminated plastic Santa in the window brings a dim red cast to the usually pitch black room. The trap door opens. Megan rises into the attic, her breath exhaust can be seen in the cold. The MUSIC BOX sounds clean; definitely in this room. MEGAN'S POV - IN THE SPILL LIGHT A tiny ballerina twirls within an open box, reflecting glass and rhinestone. DOWNSTAIRS, O.S., a RAUCOUS LAUGH ERUPTS... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Dana wiggles a Jeff Stryker silicon dildo. She eyes Lauren...</scene_description> <character>DANA</character> <dialogue>Hmm. Wonder who drew my name?</dialogue> <scene_description>As Lauren smirks and raises her glass in a toast... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - SORORITY HOUSE - NIGHT - THE MUSIC BOX</stage_direction> <scene_description>"Dance of the Sugar Plum Fairy" warbles; SLOWING... MEGAN'S EYES turn from the figurine and into the red light tinted room...</scene_description> <character>MEGAN</character> <dialogue>Alright... who's fucking with me?</dialogue> <character>O.S., CREAK... CREAK... CREAK. CAMERA PUSHES IN ON HER...</character> <dialogue>MEGAN'S POV - THE ROCKING CHAIR</dialogue> <dialogue>A dark figure, silhouetted against the illuminated Santa Claus, rocks in the creaking chair...</dialogue> <character>MEGAN</character> <dialogue>remaining with only her head and shoulders through the attic trapdoor, she absently leans closer for a better look...</dialogue> <character>MEGAN</character> <dialogue>Clair..? What are you doing?</dialogue> <scene_description>From the darkness, a Hefty trash bag WHIPS over Megan's head. The FRAME TURNS BLACK, as if having CUT TO BLACK, however, MEGAN'S HORRIFIED BREATHS remain amplified and intensely PRESENT. Then, a sickening THRUST RIPS a hole in the bag... A tear erupts in the upper corner of FRAME, exposing the back of the illuminated plastic Santa. ANOTHER THRUST! RIP! A second tear slashes ACROSS FRAME... THRASHING, CAMERA, through the two puncture holes, CATCHES flashes of the killer's legs... macabre sparkles of tinsel... the posed dead body of Clair placed in the rocking chair... The silhouetted killer reaches out as if holding Megan still. The other arm cocks backward with a clawed hammer and slings toward the bag... THE ILLUMINATED SANTA CLAUS IN THE WINDOW Is spackled with blood. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HEATHER'S ROOM - NIGHT - HEATHER</stage_direction> <scene_description>pauses, as if reacting to the subtle THUMP of the closing attic door, however, she is actually considering the news...</scene_description> <character>WEATHERMAN (V.O.)</character> <dialogue>Wireless services report several microwave relay stations are off- line. Now, a relay station sends calls out of the area, so, that is why, your cell may work on local calls, but not long distance...</dialogue> <scene_description>As she sighs, LAUGHTER ERUPTS from the living room...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Ms. Mac sheepishly displays Victoria's Secret lingerie against her body. The drunken girls APPLAUD and LAUGH while Ms. Mac playfully looks inside the gift box...</scene_description> <character>MS. MAC</character> <dialogue>Does it come with a man to wear it for?</dialogue> <scene_description>More LAUGHS, until Kelli, concerned Ms. Mac may think the joke present is actually the Christmas gift, moves to the tree and searches for another wrapped box.</scene_description> <character>KELLI</character> <dialogue>Here's our real present.</dialogue> <scene_description>She grabs a professionally decorated present and as she hands it to Ms. Mac... the house phone RINGS. Everyone tenses. Melissa moves cautiously toward the phone and checks the caller I.D... MELISSA'S POV - CALLER I.D. Megan Helms. RETURN Melissa smiles nervously and breathes a sigh of relief...</scene_description> <character>MELISSA</character> <dialogue>It's just Megan.</dialogue> <scene_description>As she hits the speaker phone button...</scene_description> <character>MELISSA</character> <dialogue>Where are you?</dialogue> <scene_description>Her question is cut off by a horrific SCREAM above a tormented cackle....</scene_description> <character>CALLER (V.O.)</character> <dialogue>Billl-ly!!</dialogue> <scene_description>Everyone freezes. Shocked. Horrified.</scene_description> <character>CALLER (CONT'D, V.O.)</character> <dialogue>WHAT HAVE YOU DONE?!</dialogue> <scene_description>Within the call, a heartbroken wail. Suddenly an older male, voice coarse from cigarettes and whiskey, intensely WHISPERS.</scene_description> <character>CALLER (V.O.)</character> <dialogue>What I must know is... where did you put the baby?</dialogue> <scene_description>Kelli looks to the others and mouths a sincere "Fu-hck!" From the phone, a harsher, commanding tone...</scene_description> <character>CALLER (V.O.)</character> <dialogue>Where did you put Agnes, Billy?</dialogue> <scene_description>Then, present during the first call, but much more pronounced... an eerie man-child voice...</scene_description> <character>CALLER</character> <dialogue>They're my family, now.</dialogue> <scene_description>Upon reflex, Melissa cuts off the call. The CRACKLE of the FIRE is the only SOUND. Kelli breaks the SILENCE as she starts toward the stairs...</scene_description> <character>KELLI</character> <dialogue>What is up Megan's butt, anyway?</dialogue> <scene_description>Melissa and taps a speed dial button.</scene_description> <character>MELISSA</character> <dialogue>That was not Megan.</dialogue> <scene_description>She sighs upon receiving a recording...</scene_description> <character>CAMPUS SECURITY (V.O.)</character> <dialogue>You have reached the main menu of Clement University campus security. During the Christmas break, our office will be closed from six p.m. December 21st until nine a.m. December 26...</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - LOW ANGLE - HEATHER</stage_direction> <scene_description>Exits her room, closes the door, and starts down the dark hallway. CAMERA HOLDS on the attic door as she PASSES FRAME...</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - NIGHT</stage_direction> <scene_description>Kelli hustles up the stairs...</scene_description> <character>KELLI</character> <dialogue>Megan?</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Heather continues toward the stairway as Kelli passes...</scene_description> <character>KELLI</character> <dialogue>Megan in her room?</dialogue> <character>HEATHER</character> <dialogue>I don't know. I was packing.</dialogue> <scene_description>Kelli opens Megan's door and is startled by a dark figure. Kelli and Heather SCREAM!</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The SCREAMS can be HEARD downstairs. The girls and Ms. Mac immediately race toward the stairs. Lauren stands, but drunkenly swoons, before moving toward the stairs.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Stepping nervously out of the shadows and into the dim hallway light, wearing the climber's gloves, is the boy in the video with Megan KYLE AUTRY, mid twenties. Although lacking the polish of a frat brother, Kyle is no dope. He's bad boy handsome; blue collar smarts. In the b.g., Megan's window is closed. Kelli reacts, puzzled, while Heather catches her breath...</scene_description> <character>KELLI</character> <dialogue>Kyle? What are you doing in there?</dialogue> <scene_description>He appears rattled, eyes Heather, then leans in and to whispers rapidly to Kelli...</scene_description> <character>KYLE</character> <dialogue>I wanted to spend the night with you and I knew that mama son and your "sisters" would kick me out, so I was tryin' to sneak into your room, but, the window wasn't open. I saw Megan's was and it was dark, so I figured she was gone and I climbed up to get to your room.</dialogue> <scene_description>Kelli smiles, touched and believing. Her sorority sisters appear at the top of the stairs and take in the situation...</scene_description> <character>HEATHER</character> <dialogue>Is Megan in there?</dialogue> <character>KYLE</character> <dialogue>I don't know.</dialogue> <scene_description>As Kelli moves toward the doorknob, Kyle subtly blocks her.</scene_description> <character>MS. MAC</character> <dialogue>You climbed up into in her room and you don't know if she's in it?</dialogue> <character>KYLE</character> <dialogue>It's dark.</dialogue> <character>LAUREN</character> <dialogue>You think we're fuckin' stupid? You were in Megan's room. The call just came from from Megan's cell.</dialogue> <scene_description>Unaware of the recent phone calls, Kyle assumes this is an accusation of infidelity and tenses, acts innocent...</scene_description> <character>KYLE</character> <dialogue>What call?</dialogue> <scene_description>The girls remain suspicious. With Kyle distracted, Kelli reaches out, turns the knob, and moves past Kyle. He tenses, but realizes restraining her would look bad...</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Megan's laptop sits on her desk in the f.g., turned toward CAMERA and AWAY from the door. A paused image of Megan and Kyle having sex is frozen on the website. Kelli turns on a light. Megan is nowhere to be seen. Kelli moves toward the open closet and peeks inside. Filled with clothes, but no Megan...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Kyle keeps a cautious eye on Kelli inside the room while Lauren keeps a suspicious eye on Kyle...</scene_description> <character>MELISSA</character> <dialogue>Can I just say, I'm sorry, but that call was not Megan or Kyle. That was the fucking devil. And they weren't talking to us. They were talking to Billy.</dialogue> <scene_description>A beat of tension, no one denies this...</scene_description> <character>KYLE</character> <dialogue>Billy? Billy Lenz, the guy that lived in this house?</dialogue> <scene_description>Melissa nods.</scene_description> <character>KYLE</character> <dialogue>Well, then, you're definitely gettin' punked, 'cause he's dead.</dialogue> <character>DANA</character> <dialogue>Creep-y. Creep-y. Creep-y!</dialogue> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT - MEGAN'S DESK</stage_direction> <scene_description>Kelli starts toward Megan's desk. Just as she reaches the desk, the screensaver kicks in. The monitor turns black while a winged eyeball flies around the screen. Kelli searches the desk for Megan's cell, but it is not in sight. She closes the open window, while looking outside...</scene_description> </scene> <scene> <stage_direction>75PT EXT. SORORITY HOUSE - NIGHT - KELLI'S POV 75PT</stage_direction> <scene_description>HAIL and SLEET rain violently upon the house, shrouding the Christmas lights and icicles, which have doubled in size. Accumulated ice causes a branch to SPLIT from the trunk of an oak tree. It hangs precariously over the street... INT. MEGAN'S ROOM - NIGHT - KELLI As she twists the window lock...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Lauren's eyes burn a hole in Kyle. Her tone, accusatory...</scene_description> <character>LAUREN</character> <dialogue>Where did you hear that he's dead?</dialogue> <character>KYLE</character> <dialogue>Where have you been that you didn't?</dialogue> <character>LAUREN</character> <dialogue>Oh, yeah, you're right. Billy Lenz is my life.</dialogue> <scene_description>Kyle eyes her with resentment and dislike...</scene_description> <character>KYLE</character> <dialogue>You spoiled bitches come here for a couple of years, then leave, I grew up here. I stay here. I played on this street before they turned 'em into Frat houses. This was the house that scared the shit out of us...</dialogue> <parenthetical>(pointed to Lauren)</parenthetical> <dialogue>My whole life.</dialogue> <character>MS. MAC</character> <dialogue>What happened to him? How'd he die?</dialogue> <scene_description>As CAMERA INCHES INTO KYLE... as he tells the following as if around a campfire on Christmas Eve...</scene_description> <character>KYLE</character> <dialogue>You mean, after he washed down his Christmas cookies with a glass of milk?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. INSTITUTIONAL FACILITY - NIGHT - (1999)</stage_direction> <scene_description>CAMERA MOVES ALONG a decrepit institution....</scene_description> <character>KYLE (O.S.)</character> <dialogue>Billy was declared insane. Sent him away to the Clark sanitarium.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. INSTITUTIONAL HALLWAY - NIGHT - (1999)</stage_direction> <scene_description>CAMERA MATCHES THE SPEED OF THE PREVIOUS MOVE... then TURNS into a doorway to find a figure sitting in a rocking chair in the dark, presumably Billy...</scene_description> <character>KYLE (CONT'D, O.S.)</character> <dialogue>Paramedics saved his sister, Agnes, but she lost her right eye. All scarred up, her parents dead, brother a fucking psycho, she was sent to an orphanage. Like, what hope did she ever have that a foster family would take her?</dialogue> <scene_description>CAMERA PANS... REVEALING, however, AGNES in a rocking chair. Sixteen years old, but appearing forty. Behind thick black rimmed glasses, her prosthetic eye is cheap and colorless and, therefore, eerie as it stares straight ahead while the natural bright blue eye looks at an object in her lap...</scene_description> <character>KYLE (CONT'D, O.S.)</character> <dialogue>They kicked her out when she turned eighteen... No one's seen her since...</dialogue> <scene_description>CAMERA TILTS to Agnes' lap, finding her lovingly stroking the hair of the eye-less knock off Cabbage Patch doll. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. INSANE ASYLUM - NIGHT - (2005)</stage_direction> <scene_description>CAMERA MOVES ALONG a Hellish prison-like institution; high walls encased by rusty razor wire, while snow falls outside. CAMERA CONTINUES until finding a room, set apart from the others, outlined by a string of colored Christmas lights. Inside, a figure, Billy's silhouette, stands in the window.</scene_description> <character>KYLE (CONT'D, O.S.)</character> <dialogue>Last Christmas Eve, Billy used cleaning fluid and a string of Christmas lights, decorating his cell... to set himself on fire.</dialogue> <scene_description>Suddenly, the lights turn off. Inside, the room erupts with violent orange flame. The figure vanishes within the fire...</scene_description> <character>KYLE (CONT'D, O.S.)</character> <dialogue>The fire was so hot, the attendants couldn't open the cell. All that was found of Billy, were ashes.</dialogue> </scene> <scene> <stage_direction>EXT. ASYLUM CEMETERY - NIGHT (2005)</stage_direction> <scene_description>CAMERA TRACKS ACROSS several unmarked gravestones until STOPPING on one.</scene_description> <character>KYLE (CONT'D, O.S.)</character> <dialogue>And, now, that's his home. Where he'll be spending the rest of his Christmases. Alone, in an unmarked grave in the asylum cemetery.</dialogue> <scene_description>Snow falls gently on Billy's lonely tombstone. After a beat... a form ENTERS and holds over the grave. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SORORITY HOUSE - NIGHT - (PRESENT)</stage_direction> <scene_description>HAIL and SLEET rain violently upon the nativity figures now encased with ice which causes their images to appear out of focus. The gusting WIND blows a figure over...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>The girls are unnerved by the story. Kyle eyes them, aware of the effect. Outside, the STORM is strong.</scene_description> <character>MELISSA</character> <dialogue>They ever find out from him why... he killed his family?</dialogue> <scene_description>Kyle eyes them...</scene_description> <character>KYLE</character> <dialogue>It seemed to him... that's how his family showed their love.</dialogue> </scene> <scene> <stage_direction>EXT. SORORITY HOUSE - NIGHT - (PRESENT) - A TREE BRANCH</stage_direction> <scene_description>BREAKS and collapses... sounding exactly like a GUNSHOT!</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>The CRACKING SOUND OVERLAPS. The girls flinch, increasingly anxious; growing afraid...</scene_description> <character>KYLE</character> <dialogue>Just a tree branch.</dialogue> <scene_description>Dana removes a cell phone from her pocket and speed dials...</scene_description> <character>DANA</character> <dialogue>Well, I have something in common with Billy... I won't be home for Christmas, either.</dialogue> <scene_description>The line BEEP BEEP BEEPS, like a busy signal...</scene_description> <character>DANA</character> <dialogue>Shit. Daddy is going to be so worried.</dialogue> <scene_description>As she dials, again, downstairs, the front door CLOSES. The girls look at one another as if, "who's that?" Ms. Mac moves to the top of the stairs, followed by Dana</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - MRS. MAC'S POV - MOVING</stage_direction> <scene_description>The hallway wall acts as a WIPE as CAMERA APPROACHES the top of the stairs... REVEALING... in the living room... a mysterious figure; BACK to CAMERA, wearing a long dark coat, gloves, and covered head, looking toward the Christmas tree. INT. TOP OF THE STAIRS - NIGHT The girls tense at the sight of a stranger in the house. With a cautious tone, Ms. Mac calls down the stairs...</scene_description> <character>MS. MAC</character> <dialogue>Can we help you?</dialogue> <character>INT. LIVING ROOM - NIGHT - CLOSE - THE FIGURE</character> <dialogue>CAMERA PUSHES IN ON the back of the figure's head as it turns toward CAMERA and removes the hood REVEALING a beautiful brunette woman in her early thirties; noir-dark and with an edge of mystery. She is LEIGH CROSBY and doesn't appear very enthused about being here. Her voice is sensual and husky...</dialogue> <character>LEIGH</character> <dialogue>She was supposed to call.</dialogue> <character>LOWER ANGLE - TOP OF THE STAIRS</character> <dialogue>The girls eye one another, uncertain. Suspicious. RETURN - LEIGH CAMERA STOPS as LEIGH is in CLOSE-UP...</dialogue> <character>LEIGH</character> <dialogue>I'm Claire's sister.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where is she?</dialogue> <character>THE GIRLS AND MS. MAC</character> <dialogue>Their alarm heightens, as Clair is now officially "missing."</dialogue> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Kyle steps halfway into the room, appearing impatient with Kelli as she continues searching Megan's room...</scene_description> <character>KYLE</character> <dialogue>What're you doin'? I almost killed myself trying to be with you. Let's go.</dialogue> <character>KELLI</character> <dialogue>I'm kinda worried about Megan.</dialogue> <character>KYLE</character> <dialogue>Who knows what her deal is? Can we just go to my apartment?</dialogue> <character>KELLI</character> <dialogue>Well, she was kinda weird, before; she was, like, a bitch to me, and that's never happened. Then, we've been getting these weird calls, one from her phone and, now, her window's open, her car is still here, but she's just gone in the middle of this weather?</dialogue> <scene_description>Kelli continues searching. Kyle tenses as he steps further into Megan's room...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Leigh eyes the room with an expression of one returning to a location purposefully blocked from memory. Melissa, Heather, and Dana remain guarded.</scene_description> <character>LEIGH</character> <dialogue>Never thought I'd be back here.</dialogue> <character>MS. MAC</character> <dialogue>You're a legacy? What year?</dialogue> <character>LEIGH</character> <dialogue>I don't know. '93? '94? I started college, late. Quit it, early.</dialogue> <scene_description>Ms. MacHenry reacts, suspicious...</scene_description> <character>MS. MAC</character> <dialogue>Really? 93's the year I started as house mother, here. I don't remember...</dialogue> <character>LEIGH</character> <dialogue>I mean, this was suppose to be such a big fucking weekend for her and I blew off a trip to Vale with this Cardiologist and I drive all the way over here in this shitty weather? Now, where the fuck is she?</dialogue> <scene_description>The sisters look at one another, unable to answer.</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Kelli is at Megan's closet while Kyle, cloaking his anxiety, can't help but pace.</scene_description> <character>KYLE</character> <dialogue>What, exactly, are you looking for?</dialogue> <character>KELLI</character> <dialogue>Like, some note or something that says she's okay. All her stuff is still there. Her car is out there.</dialogue> <scene_description>CAMERA FOLLOWS KELLI as she moves toward the desk and sits in front of the laptop. The winged eyeball continues flying across the dark screen...</scene_description> <character>KYLE</character> <dialogue>Call her cell.</dialogue> <scene_description>CAMERA CONTINUES over Kelli's shoulder as she considers, then removes her own cell phone from her back pocket. CAMERA CONTINUES teasingly TOWARD the laptop... yet... once at the computer, CAMERA unexpectedly CONTINUES MOVING... veering toward the wall which RAKES ACROSS FRAME...</scene_description> <character>KELLI (O.S.)</character> <dialogue>Voice mail...</dialogue> <scene_description>CAMERA CONTINUES, then SKEWS, TILTING to the ceiling. CAMERA CROSSES THE CEILING, passing beneath the poster of Malcolm McDowell in "Clockwork Orange" directly over Megan's bed. CAMERA PUSHES TO a clear push-pin tack in the poster's upper left corner. As the pin FILLS FRAME...</scene_description> <character>KELLI (O.S.)</character> <dialogue>Hey, Meg, it's Kell. Just wondering what happened to you and if you're okay and stuff. Call me. I'm on my cell. Bye.</dialogue> <scene_description>Then, from a motionless state... subtly... slightly... the tack begins to move; wiggles, as if being worked from the other side of the ceiling. Then... quietly... it falls.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Put upon, Leigh holds out a wallet toward Ms. Mac who checks the driver's license...</scene_description> <character>MS. MAC</character> <dialogue>Clair's last name is Crosby. This says Colvin.</dialogue> <character>LEIGH</character> <dialogue>Divorce'll be final in March.</dialogue> <scene_description>No one responds. Leigh sighs...</scene_description> <character>LEIGH</character> <dialogue>What else you need? Can't tell you any secrets about my sister 'cause I don't really know her. Don't know much else about this place 'cause I fucking hated it.</dialogue> <scene_description>Leigh gestures beneath the tree.</scene_description> <character>LEIGH</character> <dialogue>I see Billy still gets his Christmas present.</dialogue> <scene_description>Everyone looks at Heather who recoils, then shakes her head. Ms. Mac appears puzzled as Leigh reaches down and picks up a box wrapped in plain newspaper...</scene_description> <character>MS. MAC</character> <dialogue>That wasn't there, before.</dialogue> <character>LEIGH</character> <dialogue>This is new. It's not for Billy. It's for Phi Kappa... from Billy.</dialogue> <scene_description>Leigh tears the paper to find an Apollo-Soyuz model box. As she opens it, CAMERA PUSHES IN TO REVEAL its contents... a knock off Cabbage Patch doll; eyes ripped out. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT - COMPUTER MONITOR</stage_direction> <scene_description>The taunting eyeball screen saver flaps across the monitor... WIDER Although she and Kyle are alone, Kelli lowers her voice...</scene_description> <character>KELLI</character> <dialogue>What if there's something on her computer, an e-mail, or something, that says where she is?</dialogue> <scene_description>Kyle takes an anxious, unconscious step toward her...</scene_description> <character>KYLE</character> <dialogue>You know, I don't feel comfortable... um... whatever... invading... someone's privacy, like that. Try the police again.</dialogue> <scene_description>As she lifts her cell phone... O.S... a subtle THUMP; outside the house... or... possibly... within the wall. Kelli freezes and looks to Kyle...</scene_description> <character>KELLI</character> <dialogue>What was that?</dialogue> <scene_description>O.S., the WIND and HAIL intensify, overwhelming the ability to discern or locate any subtle sounds...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - CLOSE - DOLL</stage_direction> <scene_description>Eye-less, macabre, and threatening, lies encased in newspaper.</scene_description> <character>MS. MAC (O.S.)</character> <dialogue>How'd it get under the tree?</dialogue> <character>WIDER</character> <dialogue>The girls keep their distance from the doll. Each, too anxious to sit. Except Lauren, whose eyes are red and unfocused from drinking. She points to Leigh...</dialogue> <character>LAUREN</character> <dialogue>She must of put it there. She "found" it.</dialogue> <character>LEIGH</character> <dialogue>You're giving me shit when none of you can tell me where my sister is?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where's her room?</dialogue> <scene_description>The girls eye one another until Melissa sighs and gestures for Leigh to follow...</scene_description> <character>MELISSA</character> <dialogue>Upstairs...</dialogue> <scene_description>As Leigh follows Melissa toward the stairs, Heather picks up the newspaper that enwrapped Eve's gift to her...</scene_description> <character>HEATHER</character> <dialogue>Lookit, same paper as the present she gave me.</dialogue> <scene_description>Ms. Mac looks at both papers and immediately tenses as she looks at the aged paper which wrapped the gift from Billy.</scene_description> <character>MS. MAC</character> <dialogue>This newspaper is dated December 25... 1983.</dialogue> <scene_description>She passes the paper off to Melissa who examines it...</scene_description> <character>HEATHER</character> <dialogue>Eve lives in Billy's room.</dialogue> <character>DANA</character> <dialogue>They kept him in the attic.</dialogue> <character>HEATHER</character> <dialogue>Before that. Remember? She wanted to move in there. Maybe she's obsessed with him.</dialogue> <scene_description>Melissa sighs, skeptical.</scene_description> <character>DANA</character> <dialogue>Eve was by the tree before she left. She could've put it there.</dialogue> <character>MS. MAC</character> <dialogue>No, it wasn't there, even a half hour ago. I'm positive.</dialogue> <scene_description>Heather starts toward the stairs...</scene_description> <character>HEATHER</character> <dialogue>I'm going to see if there's any of that old newspaper, or anything, in her room.</dialogue> <scene_description>Heather starts up the stairs...</scene_description> <character>DANA</character> <dialogue>The whole thing only freaks us out if we know the Billy story. And none of us really cared. Eve couldn't've known Kyle was going to tell us all about Billy.</dialogue> <character>LAUREN</character> <dialogue>But... Kyle did.</dialogue> <scene_description>Heather holds on the stairway as everyone considers... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>Kelli listens in the center of the room... while Kyle's anxiety over being caught intensifies. O.S., another THUMP. They both pause. She eyes him...</scene_description> <character>KYLE</character> <dialogue>You know what it is? The attic window is open.</dialogue> <character>KELLI</character> <dialogue>What? Think she's up there?</dialogue> </scene> <scene> <stage_direction>INT. CLAIR'S ROOM - NIGHT - THE FLOOR</stage_direction> <scene_description>The light from the hallway stretches across the room upon the wrapping paper and half empty glass of wine as the door opens... WIDER - MELISSA &amp; LEIGH Leigh's eyes take in the decor and Clair's personal effects as if looking at the room of a stranger...</scene_description> <character>LEIGH</character> <dialogue>There a boyfriend, something, she could have gone to?</dialogue> <scene_description>Melissa shrugs, then shakes her head, "no."</scene_description> <character>MELISSA</character> <dialogue>Clair sticks to herself. It's like her to leave and not tell anyone. But, she'll be back.</dialogue> <scene_description>Leigh picks up the gift, looking at it anxiously; sadly... INSERT - GIFT "To: My big sister, Leigh. Fr: Her baby sister, Clair."</scene_description> <character>MELISSA &amp; LEIGH</character> <dialogue>Leigh's eyes remain on the gift...</dialogue> <character>LEIGH</character> <dialogue>You know her better than I do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm her half-sister. Twelve years older. Clair was in second grade when I moved in here. This room.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Weird how, at this age, twelve years seems like nothing. 'N fact, she seems older. She was the one who wanted to bridge that time... finally get to know each other.</dialogue> <parenthetical>(softly)</parenthetical> <dialogue>While we could...</dialogue> <scene_description>Leigh is unsettled by her choice of words...</scene_description> <character>LEIGH</character> <dialogue>While we can.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>She must have had second thoughts and bailed.</dialogue> <scene_description>Leigh begins unwrapping the paper until Melissa stops her...</scene_description> <character>MELISSA</character> <dialogue>No... wait 'til she gets back.</dialogue> <scene_description>Leigh forces a cautious smile and places the gift in her pocket...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Dana, Heather, Lauren and Ms. Mac weigh their suspicions about Kyle...</scene_description> <character>LAUREN</character> <dialogue>Kyle was in Megan's room. That last call came from Megan's cell. What more do you want?</dialogue> <character>MS. MAC</character> <dialogue>Kyle... did... tell that story like we were at a campfire.</dialogue> <character>DANA</character> <dialogue>And he grew up in town.</dialogue> <character>HEATHER</character> <dialogue>What's that got to do with it?</dialogue> <character>DANA</character> <dialogue>He's not one of us.</dialogue> <scene_description>Heather starts up the stairs, again...</scene_description> <character>HEATHER</character> <dialogue>Either is Eve.</dialogue> <scene_description>Suddenly, Lauren VOMITS on the coffee table. As the girls leap back...</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>While, the living room breaks into COMMOTION, Kelli, near the desk, has the window open and is trying to look out and up toward the attic. The weather impedes her view...</scene_description> <character>KELLI</character> <dialogue>Can't tell.</dialogue> <character>KYLE</character> <dialogue>I'm tellin' you, it's the window. Let's go to the attic and I'll close it.</dialogue> <scene_description>Heather passes Megan's open doorway enroute to Eve's room. Then... suddenly... the power decreases fifty percent; like a brown out. Kyle instinctively looks to the lights... KELLI Pulls away from the window and turns toward the room. The corner of her eye catches... 95PT COMPUTER MONITOR 95PT The surge causes the computer to switch to battery power, the screen saver vanishes REVEALING a frozen website image of Kyle on Megan's bed having sex. KELLI As CAMERA SWEEPS IN on her reaction of shock and anger... all the electrical power in the house goes out...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Dana and Ms. Mac help Lauren up the dark stairs. Orange fireplace light creates long, wavering, macabre shadows.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Heather holds in the hallway just outside Eve's room. She reaches into her pocket, removes her cell, and opens it. The light from the display acts as a make-shift flashlight. THE DOOR What was once Billy's bedroom door is lit with the cold bluish circle of light from Heather's cell. The door opens.</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT - KELLI</stage_direction> <scene_description>Kyle appears guilty and, somewhat, relieved...</scene_description> <character>KYLE</character> <dialogue>I'm sorry. I'm really sorry, Kelli. You're really different than these other girls...</dialogue> <character>KELLI</character> <dialogue>I don't... what? Did Megan do this to you?</dialogue> <scene_description>Kelli's innocent confusion only makes Kyle feel worse...</scene_description> <character>KYLE</character> <dialogue>No. No, she just found out about this being on the fileshare site, tonight.</dialogue> <scene_description>Kelli considers, her realization is crushing...</scene_description> <character>KYLE</character> <dialogue>Look, that was before you came here. I didn't put it on the net. A guy at work got pissed off at me and stole my tapes...</dialogue> <character>KELLI</character> <dialogue>My... tapes?! How many are there? YOU FUCKING LIAR! I can't believe this person is you. I can't... compute... how you, Kyle, could do such a thing. I never... ever... saw this was in you. I saw you so differently...</dialogue> <scene_description>He averts his eyes, guiltily...</scene_description> <character>KYLE</character> <dialogue>No one is what other people think they are..</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EVE'S ROOM - NIGHT</stage_direction> <scene_description>Heather moves around Eve's dark room by the light of her cell phone display. She opens some drawers in the bureau and subtly rifles through some underwear and t-shirts.</scene_description> <character>KELLI (O.S.)</character> <dialogue>GET OUT! GET OUT!</dialogue> <scene_description>She moves toward Eve's desk, searches the surface, then opens a drawer. As she rifles through the spiral notebooks and loose papers... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Melissa and Leigh exit Clair's room, reacting to Kelli's screams while Ms. Mac and Dana hustle Lauren toward the bathroom until blocked by Kelli and Kyle storming into the hallway.</scene_description> <character>KELLI</character> <dialogue>AM I GOING TO SHOW UP ON THERE? Isn't sex enough? You need a little visual trophy to get your thrills?</dialogue> <scene_description>Facing total humiliation before the outnumbering girls, Kyle turns indignant and defensive. He steps toward her, aggressively and violently; temples and eyes flaring, frightening the others...</scene_description> <character>KYLE</character> <dialogue>SHUT THE FUCK UP! I'M SORRY! I'M</dialogue> <character>FUCKED UP. I GET IT!</character> <dialogue>Kelli begins crying. Ms. Mac moves to her while Melissa holds onto Lauren, who RETCHES, but holds in from puking...</dialogue> <character>MELISSA</character> <dialogue>I got her, Ms. Mac...</dialogue> <scene_description>As Melissa moves Lauren past Leigh, Dana Kelli and Kyle as Ms. Mac holds Kelli... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EVE'S ROOM - NIGHT - CLOSET</stage_direction> <scene_description>With a startle, the CLOSET DOOR slides open. The contents inside are disheveled... HEATHER Shines her cell phone light on the mess and reacts with a disgusted wince at the mess. She crouches and begins rifling through the contents... HEATHER'S POV - BASE OF THE CLOSET As she pushes aside some worn shoes and boxes, an irregular hole is REVEALED in the closet wall. It is as if the hole had once been repaired, yet, someone has found its vulnerable area and once again pulled out the wood. It is, perhaps, half a foot wide and so deep as to see the rotted wood of the support beams on the outer wall. The corner of a box, hidden within the wall protrudes out of the hole... HEATHER Reaches toward the hole... HOLE IN THE CLOSET By the light of her cell phone, Heather's hand reaches into the hole. She pulls on the shoebox. It doesn't remove easily. She pulls again. Again. Finally, the box slides from the hiding place. Just at the moment, the box is removed and Heather's dim blue light pans away from the hole to the box... the light catches a teasing hint of movement within the wall. As if a figure is rising up to watch her... HEATHER Opens the box and removes computer print outs and photocopied newspaper reports. She holds her cell to the sheets of paper... INSERT - PAPERS eerie in the cold cell phone light, a collection of reports regarding Billy's massacre twenty-five years ago. HEATHER Sickened, digs deeper into the box, removing some papers, she slightly SCREAMS... EXTREMELY CLOSE - INSIDE THE BOX The detached eyes of a doll look up at her... HEATHER As CAMERA PUSHES IN to her reaction of shock, her cellphone BEEPS, a warning that her battery is about to die. As the cell light goes out and Heather is cast into darkness... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Kyle takes a step toward the stairs to leave, then pauses and eyes Kelli...</scene_description> <character>KYLE</character> <dialogue>I'm sorry, Kelli. I like you so much. I don't blame you for hating my guts but... I wasn't dealing or knocking over 7-11s. I didn't hurt anybody.</dialogue> <character>DANA</character> <dialogue>I'll email you a Quicktime of her crying herself to sleep.</dialogue> <character>KYLE</character> <dialogue>Fuck all you bitches.</dialogue> <character>MS. MAC</character> <dialogue>Leave, Kyle.</dialogue> <scene_description>Kyle starts down the hall toward the stairs. He can't move as fast as he'd like because of the darkness... The house mother holds Kelli, comforting her, as do Kelli's sorority sisters. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>The room is dark. The door opens, adding a bit of light. Melissa guides Lauren to her knees over the toilet basin. Lauren holds in that position as Melissa moves to the counter, feels for some matches, and begins lighting candles. LAUREN CAMERA IS BEHIND HER, ON the FLOOR as she vomits. An amber glow fills the room. Lauren's vomiting is intense. Her toes curl against the floor of old black and white octagon tiles. As her toe inadvertently flips one loose... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'S ROOM - NIGHT</stage_direction> <scene_description>While Ms. Mac and Dana comfort Kelli in the b.g. Leigh looks out the window, puzzled. O.S., DOWNSTAIRS Kyle marches across the living room and SLAMS the door.</scene_description> </scene> <scene> <stage_direction>104PT1 EXT. FRONT YARD - NIGHT - HIGH ANGLE - LEIGH'S POV 104PT1</stage_direction> <scene_description>Kyle storms out of the house and into the storm, charging across the front yard. RETURN - LEIGH Dana moves to the desk and looks at the laptop. She closes the lid, disgusted with Kyle.</scene_description> <character>DANA</character> <dialogue>How fucked up was that?</dialogue> <scene_description>Leigh gestures out the window...</scene_description> <character>LEIGH</character> <dialogue>How fucked up is it that the only other house on this street has power... and this one doesn't?</dialogue> <scene_description>104PT2 REVERSE - OUT THE WINDOW 104PT2 Outside, the streetlights are on. The frat house down the road, although for the most part, dark and vacant, indeed displays functioning exterior Christmas lights. DANA AND LEIGH As they look to one another...</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Even in the candle light, Lauren is pale and clammy as she sits back on her haunches and catches her breath.</scene_description> <character>LAUREN</character> <dialogue>Mel... you're a better sister to me than my sister...</dialogue> <scene_description>Aware Lauren's sentiments derive from intoxication, Melissa smiles...</scene_description> <character>MELISSA</character> <dialogue>Dick fucking Cheney's a better sister to you than your sister.</dialogue> <character>LAUREN</character> <dialogue>You know what I'm sayin'...</dialogue> <character>MELISSA</character> <dialogue>I feel the same way 'bout you, Lauren, but... you reek, dude. You need a shower. Can you handle it?</dialogue> <scene_description>Lauren nods. Melissa helps Lauren pull off her vomit stained shirt and tosses it aside, then lifts Lauren to her feet. As they unfasten Lauren's jeans, Lauren wobbles, then grimaces. Having stepped on something, Lauren looks to the floor... THE FLOOR Lauren lifts her foot. She has stepped on the loose tile. MELISSA Squats and picks up the tile; tests several others. She studies the bad condition of the floor, sighs, and stands... CLOSE - THE COUNTER the tile CLACKS as Melissa tosses it on the counter... LAUREN &amp; MELISSA Lauren removes her bra, then begins pulling down her jeans...</scene_description> <character>MELISSA</character> <dialogue>I'll go put a trash can next to your bed.</dialogue> <scene_description>LAUREN'S FEET She lifts a foot and pulls off her jeans, then the other foot. Lauren kicks off her pants and steps OUT OF FRAME toward the shower... REVEALING... beneath the floor... in the octagonal hole from the displaced tile... a yellow eye. THE EYES' POV - LAUREN Encircled by a dark frame, Lauren is partially obscured as she head under the cold stream... THE EYE Recedes into the darkness beneath the floor... THE FLOOR - WIDE CAMERA IS JUST OUTSIDE THE SHOWER STALL, A FEW DEGREES ABOVE the floor. After several beats... a tile... closer to CAMERA and the shower... begins rising... slowly... TAP TAP TAP, until the tile pops out of the floor... THE EYES' POV - LAUREN Unobstructed and unaware, stands nearly over CAMERA...</scene_description> <character>THE EYES</character> <dialogue>As they watch her...</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>A circle of flashlight shines INTO CAMERA as Leigh and Dana move down old stairs into the basement...</scene_description> <character>DANA</character> <dialogue>Megan and Clair were upstairs together. I wonder if Megan, like, 'fessed up to Clair and broke down and is hiding in one of the rooms, so she doesn't have to face Kelli. Or whatever.</dialogue> <character>LEIGH</character> <dialogue>I'll check the rooms after we get the lights on. My first thought was Kyle turned 'em off but, he was in the house when they went out.</dialogue> <character>DANA</character> <dialogue>Eve wasn't.</dialogue> <scene_description>Leigh finds the fuse box, opens the metal door and resets a circuit breaker... LEIGH &amp; DANA Are underlit by the flashlight. The power does not return...</scene_description> <character>DANA</character> <dialogue>Main breaker's under the house.</dialogue> <scene_description>Leigh looks to Dana, uncertain. Dana reacts, defensive.</scene_description> <character>DANA</character> <dialogue>You know, I'm not the totally hopeless daddy's girl princess these bitches make me out to be.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT - A TOWEL</stage_direction> <scene_description>Is grabbed... LAUREN As she dries off, the bathroom door OPENS and Melissa returns.</scene_description> <character>MELISSA</character> <dialogue>You okay?</dialogue> <character>MELISSA'S FOOT</character> <dialogue>Stops before the hole. The eye retreats into the darkness. CAMERA, however, DIVES TOWARD and ENTERS the hole... At floor level, the heavily MUTED voices of LEIGH and DANA can be HEARD...</dialogue> <character>DANA (O.S.)</character> <dialogue>I'll go out. I know where it is. Then we can, at least, turn the alarm on.</dialogue> <character>LEIGH (O.S.)</character> <dialogue>I'll go with you.</dialogue> </scene> <scene> <stage_direction>INT. BENEATH THE BATHROOM FLOOR - DAY</stage_direction> <scene_description>CAMERA CONTINUES through the hole and into an area under the floor... until... HOLDING on a dim, nearly indiscernible human outline, alarmingly skeletal; hair, long and filthy with partial dreadlocks.</scene_description> <character>DANA (O.S.)</character> <dialogue>What for? It'll take two seconds. Why should we both freeze our asses off? Go check the rooms.</dialogue> <scene_description>The height between floor and ceiling is, perhaps, twelve inches. There is no room for the figure to maneuver from its back to its stomach. Like a macabre crab, the human form crawls on its back, clearly adept at this unnerving quick arachnidan movement.</scene_description> </scene> <scene> <stage_direction>INT. IN THE WALL - NIGHT</stage_direction> <scene_description>CAMERA IS IN THE WALL of the house LOOKING DOWN 25-30 feet as the form appears, limbs outstretched like a spider descending the wall between the support studs and rotted insulation toward the area beneath the house...</scene_description> </scene> <scene> <stage_direction>INT. BENEATH THE HOUSE - NIGHT</stage_direction> <scene_description>Plumbing pipes, rocks, sheets of screen, and discarded rusted tools create a surreal and nightmarish underground. At the base of the wall... bare feet appear, crawling down from within the wall. With no room to turn over, the figure traverses on its back across the dirt base toward the lattice along the porch area... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT - HIGH ANGLE - BILLY'S POV</stage_direction> <scene_description>Melissa guides Lauren, dressed in t-shirt and thong underwear, into her bed. Melissa pulls up the covers...</scene_description> <character>MELISSA</character> <dialogue>Dude... there's a trash can, just right here, 'kay?</dialogue> <scene_description>Lauren MOANS her understanding, then turns and curls into a fetal position.</scene_description> <character>MELISSA</character> <dialogue>Merry fucking Christmas.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PORCH - PHI KAPPA HOUSE - NIGHT - A BUTANE LIGHTER</stage_direction> <scene_description>Ignites, but is whipped violently by the wind... DANA Sharp icicles cling to the porch overhang. The rain and snow continue falling. As she raises the lighter to the tip of her cigarette, beneath her... MOVEMENT. SCUTTLING. EXTREMELY CLOSE - PORCH CEILING A drop of water falls... DANA It hits her cigarette with a bull's-eye, extinguishing it...</scene_description> <character>DANA</character> <dialogue>Of course.</dialogue> <scene_description>She sighs then looks down, dropping the extinguished butt into a knot hole...</scene_description> </scene> <scene> <stage_direction>INT. BENEATH THE PORCH - NIGHT</stage_direction> <scene_description>The form SHIFTS, evading the cigarette butt...</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - NIGHT</stage_direction> <scene_description>Hearing the SHIFT, Dana aims the flashlight into the hole... 114PT DANA'S POV - THROUGH THE KNOT HOLE 114PT A flash... a glint... of an eye... moving out of view. DANA considers, turns her flashlight on, then proceeds to the porch steps... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>MATCHING MOVEMENT WITH Dana's flashlight, a beam cuts ACROSS FRAME as Leigh turns exits a room and turns into the hallway. She continues to the next door and KNOCKS...</scene_description> <character>LEIGH</character> <dialogue>Clair? Megan?</dialogue> <scene_description>She opens the door and shines the light. As she CLOSES it and moves on. As her light CROSSES FRAME, again... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - NIGHT - FRONT PORCH STEPS</stage_direction> <scene_description>Dana moves down the steps. Slipping on the ice and frozen snow, she proceeds toward the side of the porch, kneels to the lattice, and aims her flashlight under the house...</scene_description> </scene> <scene> <stage_direction>INT. BENEATH THE PORCH - NIGHT</stage_direction> <scene_description>The area is illuminated by the tube of light; nothing but debris; rusted tools, discarded cans, and rotting boxes.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - NIGHT - ON THE SIDE OF THE PORCH</stage_direction> <scene_description>About to abandon the search... Dana holds. CAMERA INCHES IN on her... squinting...</scene_description> </scene> <scene> <stage_direction>INT. BENEATH THE PORCH - NIGHT - DANA'S POV</stage_direction> <scene_description>To the side, under the house, rather than the porch... breath exhaust... HUFFS... with a strained rhythm from an unseen person just behind a wall.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - NIGHT - SIDE OF THE PORCH - DANA</stage_direction> <scene_description>moves off toward the rear side of the house... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - NIGHT</stage_direction> <scene_description>Leigh moves up the stairs and into the dark hallway. She moves to a door, KNOCKS, and opens it.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>She is met by a form. Leigh startles, but the flashlight REVEALS a large plastic Santa Claus head. Eerie in the low angle flashlight.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>As Leigh closes the door and moves on...</scene_description> <character>LEIGH</character> <dialogue>Fuck you, Santa Claus.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF THE HOUSE - NIGHT</stage_direction> <scene_description>Dana quickly scoots along the side of the house, pausing before a trap door, leading under the house... She tests the door, which pulls out. She crouches; eases her head inside...</scene_description> <character>DANA</character> <dialogue>Eve, you crazy bitch, I see your breath.</dialogue> <scene_description>WHACK! A 1" diameter lead pipe strikes across the bridge of Dana's nose. Blood squirts. She crumbles. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>COVERING any SOUNDS below the house, Heather MARCHES down the stairs into the living room. Kelli is on the couch, crying, seated beside an increasingly anxious Ms. Mac. Leigh pokes at the logs with an improvised tool, milking all the light and heat out of the fire. Kelli takes a drink from any available alcohol on the table as Heather moves to the headless imitation Cabbage Patch doll wrapped in newspaper. She picks it up, then displays Eve's photocopied news stories about Billy.</scene_description> <character>HEATHER</character> <dialogue>Found these.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And this. In the wall of the closet.</dialogue> <scene_description>The girls reacts with alarm as Heather opens her palms and displays a pair of doll's eyes...</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF THE HOUSE - NIGHT - OVERHEAD</stage_direction> <scene_description>Dana's limp body extends from the trap door; her head, just inside. Her body drags; stops. Drags; stops. It finally disappears beneath the house.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>A FAINT, MUTED, O.S., GROAN causes the girls to pause, listen. They eye one another. Melissa sighs...</scene_description> <character>MELISSA</character> <dialogue>There goes Lauren, again.</dialogue> </scene> <scene> <stage_direction>INT. BENEATH THE HOUSE - NIGHT - DANA</stage_direction> <scene_description>Face soaked with blood, her eyes flutter; an animal functioning on lizard brain defenses. She pushes her arm forward with all her strength attempting to escape; pulling her body forward with the strength in her arms, as if swimming in a dirt lake. THE FIGURE Holding a rusted 1/2" thick wire support rod, the dark form lays across Dana's legs. CLOSE - DANA'S HANDS Desperately pull along the dirt. CAMERA MOVES BACK, REVEALING a rusted, pronged, hand cultivator. Dana inches toward it. THE FIGURE Grips the rod, but, before it can swing it toward Dana, she manages to grab the cultivator. She blindly swings her hand backward...</scene_description> <character>UNDER THE HOUSE</character> <dialogue>The tool plunges above the killer's knee. It reacts, muffling a GROAN OF PAIN. It pulls the prongs from its leg... DANA pulls her hand back and continues trying to get away... CLOSE - DANA'S HANDS Dig at the dirt, exposing several teeth of a mummified, decomposed skull previously buried in a shallow grave. THE FIGURE Scuttles ahead of Dana and drives the cultivator into Dana's skull. A prong breaks off from the impact. A sick DULL CRACK and Dana's body turns motionless. Dead. CAMERA INCHES BACK as Dana's murderer, blood stained, exhausted, HUFFS like an animal. CAMERA PUSHES IN as the form moves; left arm extends as the left leg bends, pulls forward, then shifts as the right side repeats the move. Lizard like, the form CLEARS FRAME... As CAMERA TILTS to the ground... a skull FILLS FRAME. An impact fracture splits the skull across the brow. Beside the skull lies a Vietnam Zippo lighter with the name PVT. LENZ. FRANK. ACROSS THE AREA The form reaches up through an open section at the base of the floor and into a vertical space between the walls. Squirming; pulling upward and disappearing OUT OF FRAME...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - CLOSE - DOLL</stage_direction> <scene_description>Is pulled out of the box; fabric torn. Eyes, empty.</scene_description> <character>MELISSA (O.S.)</character> <dialogue>This doll is new.</dialogue> <character>WIDER</character> <dialogue>The fire is nearly dead. Outside, the freezing rain HOWLS and intermittently, the roof is pelted with HAIL. Melissa examines the discovered doll's eyes, then points at the doll found tonight under the tree...</dialogue> <character>MELISSA</character> <dialogue>These eyes are aged. They're not from the same doll.</dialogue> </scene> <scene> <stage_direction>INT. EVE'S ROOM - NIGHT</stage_direction> <scene_description>CAMERA is in Eve's room as the door opens and Leigh enters. The girls muted VOICES are barely audible...</scene_description> <character>HEATHER (O.S.)</character> <dialogue>What if those are from Agnes' doll? Twenty-five years ago? Eve could've found them. She lives in Billy's old room.</dialogue> <scene_description>The energy in the empty room is unsettling and haunting. Leigh is quick to turn and leave. As she closes the door...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh is at the end of the hallway. She pauses, having run out of rooms. HAIL begins to pummel the roof. Leigh looks up toward the ceiling...</scene_description> <character>MS. MAC (O.S.)</character> <dialogue>'Lot of girls have lived in that room, before Eve.</dialogue> <character>LEIGH'S POV - THE ATTIC DOOR</character> <dialogue>As CAMERA RISES UPWARD...</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Outside, the STORM INTENSIFIES... HAIL RIDDLES the ROOF. Heather, Ms. Mac, Melissa, and Kelli are in the dark living room. Their anxiety, intensifying. Delivery, faster, hurried and often whispered.</scene_description> <character>HEATHER</character> <dialogue>What if she's the first to get it in her head that she's like him? Doesn't have a family, just like him.</dialogue> <character>MELISSA</character> <dialogue>He had a family.</dialogue> <character>MS. MAC</character> <dialogue>It was pretty random when she said... "we're her family."</dialogue> <scene_description>CAMERA BEGINS TO CREEP... ARCING IN THE ROOM until the house phone ENTERS FRAME...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh moves under the attic trap door, studying it. As she takes a step onto the first rung...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>CAMERA CONTINUES TO ARC... The house PHONE FILLS nearly three quarters of THE FRAME. The girls hold, silhouettes against the window...</scene_description> <character>MELISSA</character> <dialogue>Eve was here when we got the calls.</dialogue> <character>KELLI</character> <dialogue>The calls came from Clair and Megan's cells. They're both missing.</dialogue> <character>HEATHER</character> <dialogue>She could have stolen Clair and Megan's cell phones...</dialogue> <character>MS. MAC</character> <dialogue>But we didn't get a call from Eve.</dialogue> <character>MELISSA</character> <dialogue>She doesn't own a cell phone.</dialogue> <character>HEATHER</character> <parenthetical>(accusatory)</parenthetical> <dialogue>And she didn't disappear. She left.</dialogue> <scene_description>In the b.g., a cell RINGTONE goes off... "Dance of the Sugar Plum Fairy." THE WOMEN Tense. Kelli eases, then uneasy...</scene_description> <character>KELLI</character> <dialogue>Must be Kyle...</dialogue> <scene_description>She pulls out her cell and checks the caller I.D... KELLI'S CELL PHONE DISPLAY - CALLER I.D. DANA MATHIS CELL. KELLI A raw nerve, Kelli battles to maintain composure... she nearly screams...</scene_description> <character>KELLI</character> <dialogue>Oh my God... Dana!</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh hears Kelli and the others' reaction. Leigh's head turns toward the stairs...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Frightened... Kelli engages the "send" button.</scene_description> <character>KELLI</character> <dialogue>Dana?</dialogue> <scene_description>A witch-like CRY blares from the phone; Billy's mother.</scene_description> <character>CALLER (V.O.)</character> <dialogue>BILL-LY!</dialogue> <scene_description>Kelli pulls the phone away, breathing hard. Ms. Mac SCREAMS...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh steps off the ladder and hustles toward the stairs...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The others crowd around, listening. Leigh appears in the background moving down the stairs. What SOUNDS like Billy's step father GROWLS...</scene_description> <character>CALLER (CONT'D, V.O.)</character> <dialogue>What did you do with the baby?</dialogue> <scene_description>Kelli closes her eyes as if that could shut out the sound. Leigh quickly approaches the others...</scene_description> <character>HEATHER</character> <dialogue>I KNOW IT'S YOU, EVE!</dialogue> <character>CALLER (V.O.)</character> <dialogue>They're my family, now.</dialogue> <scene_description>The caller disconnects. No DIAL TONE. SILENCE, except for the CRACKLE of the dying fire. CAMERA PUSHES IN ON KELLI, realizing, then alarmed...</scene_description> <character>KELLI</character> <dialogue>Dana!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT</stage_direction> <scene_description>Crisscrossing flashlight beams backlight a falling sheet of hail and ice as the storm intensifies. Kelli, Melissa, Heather, and Leigh, hustle down the front steps.</scene_description> <character>MELISSA</character> <dialogue>Dana?! Dude, where you at?</dialogue> <scene_description>Melissa slips and falls on the treacherous icy surface. The others help her to her feet. Leigh looks over the ground. The girls must shout in the storm...</scene_description> <character>KELLI</character> <dialogue>No footprints. Iced over.</dialogue> <character>LEIGH</character> <dialogue>She went around back to the control box.</dialogue> <scene_description>As Melissa, flashlight in hand, and Kelli start off, gingerly, but with haste... CAMERA INCHES INTO HEATHER, flashlight in her hand, looking with suspicion, O.S. HEATHER'S POV - UP THE STREET An '89 Toyota Corolla with a replaced front end side panel painted primer gray, is parked about fifty feet down the street from the front of the sorority house... HEATHER &amp; LEIGH Heather reacts, puzzled and incredulous...</scene_description> <character>HEATHER</character> <dialogue>Eve's car. She never left.</dialogue> <scene_description>She moves off. Leigh steps INTO FRAME, annoyed with Heather...</scene_description> <character>LEIGH</character> <dialogue>Find Dana, first.</dialogue> <scene_description>Leigh checks Melissa and Kelli, who have advanced along the side of the house. Not wanting anyone to be out here alone, Leigh sighs and starts after Heather...</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF THE HOUSE - NIGHT</stage_direction> <scene_description>Kelli and Melissa proceed along the side of the house. In fact, Melissa uses the wall for support...</scene_description> <character>MELISSA</character> <dialogue>Dude! Dude!</dialogue> <scene_description>Kelli slips, falling near the trap door in the side of the house. Melissa moves to help, aiming the flashlight on Kelli. Kelli absently places her hand on the frame as a crutch, then looks to Melissa, alarmed. Kelli points to the door. CAMERA SWEEPS toward Kelli's finger pointing to the doorframe marked with Christmas red nail polish scratches...</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>The driver's side front end of Eve's car FILLS THE FRAME as Heather approaches, followed by Leigh. Heather aims her flashlight toward the Corolla's interior...</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF THE HOUSE - NIGHT</stage_direction> <scene_description>Kelli and Melissa are on their hands and knees trying to open the trap door. Kelli quickly looks about the area.</scene_description> <character>KELLI</character> <dialogue>Point the light under the house...</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT - EVE'S CAR</stage_direction> <scene_description>Heather's flashlight beam FLARES INTO CAMERA as she APPROACHES the rear end of Eve's car. The back of a head and shoulders can be seen resting against the driver's window... HEATHER &amp; LEIGH As they near the driver's side door...</scene_description> <character>HEATHER</character> <dialogue>What is she doing? Sleeping in her car! It's, like, zero degrees...</dialogue> <scene_description>Heather reaches out and pulls up on the doorhandle. Leigh reaches GRABS her hand; a startle.</scene_description> <character>LEIGH</character> <dialogue>If she's asleep...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Why aren't the windows fogged?</dialogue> <scene_description>Heather releases the handle, steps back, but, the door opens. LOWER ANGLE - CAR DOOR Eve's body, streaked with blood, tumbles TOWARD CAMERA...</scene_description> </scene> <scene> <stage_direction>EXT. BENEATH THE HOUSE - NIGHT</stage_direction> <scene_description>Melissa's panning flashlight beam flares INTO CAMERA. O.S., Heather SCREAMS. Kelli and Melissa tear off toward the street.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Leigh hyperventilates beside the car while Heather has moved away, CRYING. Kelli and Melissa approach and see the corpse...</scene_description> <character>MELISSA</character> <dialogue>Holy FUCK!</dialogue> <character>EVE'S BODY</character> <dialogue>Lies half in and out of the car, her head on the ground REVEALING both eyes have been removed. KELLI CAMERA PUSHES IN as she realizes...</dialogue> <character>KELLI</character> <dialogue>He's out here.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The four women race into the living room and SLAM the DOOR! MRS. MAC Startles; frightened. KELLI, MELISSA, HEATHER &amp; LEIGH Heather bolts the door while Kelli marches directly to the house phone and picks it up. It's dead. Kelli removes her cell phone, while pacing, dials "9,1,1." WHAT?! WHAT?!:</scene_description> <character>KELLI</character> <dialogue>Damn it.</dialogue> <scene_description>Kelli continues pacing as she hits re-dial; listens...</scene_description> <character>KELLI</character> <dialogue>Shit!</dialogue> <scene_description>As Kelli tries re-dial, again...</scene_description> <character>MS. MAC</character> <dialogue>What is going on?!</dialogue> <scene_description>Melissa, Heather, and Leigh hesitate, unsure of who should tell Ms. Mac, as well as how to tell her...</scene_description> <character>KELLI</character> <dialogue>FUHHHHHCK!</dialogue> <scene_description>Everyone turns toward Kelli as she hits re-dial, yet again...</scene_description> <character>KELLI</character> <dialogue>911 is experiencing heavy caller traffic because of the storm...</dialogue> <scene_description>All are rattled and anxious. Leigh looks out the front window. Heather and Melissa move from window to window, assuring they are secure.</scene_description> <character>MS. MAC</character> <dialogue>Why?! What?!</dialogue> <character>KELLI</character> <dialogue>Hello? Yeah... a girl is... dead... outside. Yes, I know her... Eve Guaraldi...</dialogue> <scene_description>Ms. Mac reacts, horrified. She looks to the others...</scene_description> <character>KELLI</character> <dialogue>We're positive she's been murdered...</dialogue> <scene_description>MRS. MAC As CAMERA PUSHES IN on her...</scene_description> <character>MS. MAC</character> <dialogue>Billy's home for Christmas.</dialogue> <scene_description>WIDER The girls shoot each other anxious glances...</scene_description> <character>MELISSA</character> <dialogue>No. No, Ms. Mac. Billy is dead.</dialogue> <character>KELLI</character> <parenthetical>(into phone)</parenthetical> <dialogue>Three other girls...</dialogue> <scene_description>Kelli looks carefully to Leigh, who, anticipating what Kelli must report...</scene_description> <character>LEIGH</character> <dialogue>Are missing... missing.</dialogue> <character>KELLI</character> <dialogue>Are missing... and... what? 566 Oakdale. There's only two houses on the... right... Phi Kappa sorority... Kelli Presley... how long 'til... What?! No! No...</dialogue> <scene_description>She hesitates, reluctant to admit...</scene_description> <character>KELLI</character> <dialogue>We think he's still outside... Would you wait around that long after what I just told you?</dialogue> <scene_description>Upon hearing this, Ms. Mac marches across the room and disappears into a small bedroom off the hallway while Heather, Melissa, and Leigh tense, reacting with dread...</scene_description> <character>KELLI</character> <dialogue>Please, isn't there any way..?</dialogue> <parenthetical>(beat)</parenthetical> <character>YOU FUCKER!!</character> <dialogue>Kelli hits the "end" button; more afraid than angry...</dialogue> <character>KELLI</character> <dialogue>The storm. Pile-ups all over 91. Reservists can't make it in 'cause the streets are all ice. Trees falling. Power's out everywhere. They... maybe... maybe... can be here... in two hours.</dialogue> <scene_description>Ms. Mac returns wearing her winter coat, carrying her purse and keys in hand...</scene_description> <character>MS. MAC</character> <dialogue>Well, we'll all be out of here in two minutes. Get your things...</dialogue> <scene_description>Heather approves of the idea and rushes off for her coat.</scene_description> <character>MELISSA</character> <dialogue>I'm not going outside. He's outside.</dialogue> <character>KELLI</character> <dialogue>What about Dana?</dialogue> <character>HEATHER</character> <dialogue>We'll only go up to the A.D.G. House. Get help.</dialogue> <character>MELISSA</character> <dialogue>They've all gone home or skiing.</dialogue> <character>KELLI</character> <dialogue>Whose family lives the closest? Call them.</dialogue> <character>MELISSA</character> <dialogue>Lauren's. Her mother lives in Boston.</dialogue> <character>MS. MAC</character> <dialogue>Even if you could reach her on a cell phone, it'd be at least four or five hours 'til she got here.</dialogue> <character>MELISSA</character> <dialogue>And she's in Bermuda with some guy.</dialogue> <scene_description>Melissa reacts, frightened as she suddenly recalls...</scene_description> <character>MELISSA</character> <dialogue>Oh, shit! Lauren!</dialogue> <scene_description>Melissa takes off, running for the stairs in the darkness...</scene_description> <character>MS. MAC</character> <dialogue>Done. Case closed. Let's go!</dialogue> <character>KELLI</character> <dialogue>No! We stay together. We lock up the house, everyone grabs a fireplace poker, or ski pole, or some shit, and for the next two hours, not let each other out of our sights.</dialogue> <character>MS. MAC</character> <dialogue>No! We'll drive to the police.</dialogue> <character>KELLI</character> <dialogue>In this weather?</dialogue> <character>MS. MAC</character> <dialogue>Even if they can't do anything. We'll all be safe, there.</dialogue> <character>KELLI</character> <dialogue>We're not all here. If we were, I'd go.</dialogue> <character>LEIGH</character> <dialogue>That's right... Unless I see otherwise... I am believing Clair is... alive. And when she comes back... it's not going to be to an empty house.</dialogue> <scene_description>As Leigh moves away, ending the discussion...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>CAMERA IS MOVING, LOW TO THE FLOOR as Melissa races up the top of the stairs and down the hall.</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>The door BURST open! Melissa tenses in the doorway, as she looks O.S. CAMERA PULLS BACK, REVEALING a motionless mass beneath comforter and sheets... Melissa steadies herself, then inches toward the bed. With dread and fear, she reaches out and grabs a piece of the comforter. She whips off the covers... MELISSA'S POV - BED Lauren sleeps it off. Drool drips from the corner of her mouth. As Lauren releases a teeth rattling SNORE...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Heather returns wearing her coat, moving directly to the door. Kelli blocks her path, placing her hand on the knob.</scene_description> <character>KELLI</character> <dialogue>Please! We're safer sticking together.</dialogue> <character>HEATHER</character> <dialogue>Alright.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Then, get your coats.</dialogue> <parenthetical>(calls out)</parenthetical> <character>MEL, WE'RE LEAVING! LET'S GO!</character> <dialogue>MELISSA (O.S.)</dialogue> <character>I'M NOT LEAVING LAUREN, YOU</character> <dialogue>KELLI</dialogue> <scene_description>We're sisters. Act like it. Heather knocks Kelli's hand away and opens the door. The WIND SCREAMS, blowing hail into the entrance. She starts off toward the driveway.</scene_description> <character>MS. MAC</character> <dialogue>We'll get the police here, fast as we can.</dialogue> <scene_description>Ms. Mac hugs Kelli, then moves off after Heather. CAMERA PUSHES INTO KELLI watching them move toward the driveway...</scene_description> </scene> <scene> <stage_direction>EXT. PHI KAPPA SIGMA SORORITY HOUSE - NIGHT - KELLI'S POV</stage_direction> <scene_description>The porch and the front end of the garage obstructs the view of Ms. Mac's car. Only the rear passenger side is in view.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Kelli closes the door, bolts it, and moves toward the stairs, while addressing Leigh...</scene_description> <character>KELLI</character> <dialogue>Can't see the driveway. Maybe from Lauren's room...</dialogue> <scene_description>As Leigh moves from the window, following Kelli...</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT</stage_direction> <scene_description>CAMERA LEADS Ms. Mac and Heather, hustling to the car. Their footsteps CLICK and CRUNCH on the icy surface until Ms. Mac falls. Heather has difficulty with her own footing while helping Ms. Mac to her feet. They manage to proceed toward the driveway REVEALING a dented and dinged '66 Pontiac Parisienne and not in cherry condition. The wheel wells are rusted. Much of this is difficult to discern as the Pontiac is encrusted with ice and snow. PASSENGER DOOR Heather pulls on the door handle, ice CRACKS and STRAINS, but the door is sealed shut by ice. She YANKS harder, then looks around, seeing if anyone is approaching, then YANKS again... DRIVER'S SIDE Likewise, Ms. Mac's door is frozen closed. She kicks at the car with her heel. A sheet of ice CRACKS and falls away from the metal. She rushes inside, climbing into the driver's seat.</scene_description> </scene> <scene> <stage_direction>INT. PONTIAC PARISIENNE - NIGHT</stage_direction> <scene_description>Ms. Mac inserts the keys into the ignition. In the passenger window, Heather is a silhouette, pulling on the doorhandle, knocking on the window, trying to free the car from ice... The engine won't turn over. Ms. Mac pumps the gas pedal and tries again. The ENGINE STRAINS...</scene_description> <character>MS. MAC</character> <dialogue>C'mon, you piece-a-shit!</dialogue> <character>THE GAS PEDAL</character> <dialogue>THUMP... THUMP... THUMP!</dialogue> <character>THE IGNITION</character> <dialogue>key is cranked... THE DASHBOARD The RADIO COMES TO LIFE... Judy Garland's haunting "Have Yourself a Merry Little Christmas."</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT - TAILPIPE</stage_direction> <scene_description>The Pontiac STARTS. Exhaust BELCHES...</scene_description> </scene> <scene> <stage_direction>INT. PONTIAC PARISIENNE - NIGHT</stage_direction> <scene_description>Ms. Mac CRANKS the heater and DEFROSTER...</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT - HEATHER</stage_direction> <scene_description>CAMERA INCHES IN OVER Heather's shoulder as she desperately tries opening the door. As she turns back... HEATHER'S POV - EVE'S CAR The door remains open. Eve's body; in the position it was discovered... HEATHER - LOW ANGLE Reminded of Eve's fate, Heather pulls harder on the door. At this angle, the attic window looms above. Unbeknownst to Heather, Clair's body sits at the window in the rocking chair. OVER HEATHER'S SHOULDER As Heather turns back around, CRACK! A pane of ice SHATTERS! Heather SCREAMS! The door pops open REVEALING Ms. Mac on her back, having kicked the passenger door open with her feet.</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>Kelli and Leigh enter and move directly to the window. Melissa crosses to the window, as well...</scene_description> </scene> <scene> <stage_direction>157PT EXT. DRIVEWAY - NIGHT- KELLI'S POV - OUT WINDOW 157PT</stage_direction> <scene_description>From this vantage, also, only the rear of the Pontiac can be seen. Exhaust pumps from the tail pipe.</scene_description> <character>INT. LAUREN'S ROOM - NIGHT</character> <dialogue>Kelli, Leigh, and Melissa eye one another, relieved...</dialogue> <character>KELLI</character> <dialogue>They got the car started.</dialogue> </scene> <scene> <stage_direction>INT. PONTIAC PARISIENNE - NIGHT</stage_direction> <scene_description>Heather is now in the passenger seat. She locks the door.</scene_description> <character>HEATHER</character> <dialogue>Go! Go!</dialogue> <scene_description>The front windshield appears opaque from the ice and snow. Ms. Mac tries the wipers, but they strain against the ice. The visibility out the window remains nil. Ms. Mac turns and reaches over the back seat. Incredulous, Heather turns toward the back seat, also...</scene_description> <character>HEATHER</character> <dialogue>What are you doing?!</dialogue> <scene_description>While their attention is away from the front of the car... a shadowy form crosses the front end and disappears. Ms. Mac produces an ice scraper, then extends it to Heather as if, "go scrape the ice."</scene_description> <character>HEATHER</character> <dialogue>What is that thing?</dialogue> <scene_description>Ms. Mac sighs, turns, and exits the car...</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY - PHI KAPPA SIGMA HOUSE - NIGHT</stage_direction> <scene_description>The driver's door remains open as CAMERA ARCS with Ms. Mac around the front end to the windshield. She begins SCRAPING the ice. It is thick and needs plenty of elbow grease.</scene_description> <character>MS. MAC</character> <parenthetical>(muttering)</parenthetical> <dialogue>Precious... frigid... princess... southern... privileged... bitch!</dialogue> <scene_description>Suddenly... the vehicle rocks... lurches... just once. Ms. Mac pauses, anxious, then continues scraping. Faster. FRONT WINDOW A piece of ice breaks away creating a three inch diameter window into the front seat. MOTION... a head turns... REVEALING... a yellow eye. MRS. MAC Tenses... frozen with fear... OVER MS. MAC'S SHOULDER From the interior, the frosted opaque window suddenly splashes... erupts... with Heather's blood. MRS. MAC Leaping back, hyperventilating, backs into the closed garage door with some force, causing, O.S., a LOUD CRACK! MS. MAC'S POV - LIP OF THE ROOF Several thick stalactite icicles BREAK OFF. OVERHEAD ANGLE - MS. MAC CAMERA RACES TOWARD HER as if a plummeting icicle... MS. MAC - LOW ANGLE - LOOKING DIRECTLY UP Upon reflex, backed against the garage, Ms. Mac raises her arms shielding herself. It is futile. As her head is impaled and split by the ice dagger... CUT TO:</scene_description> </scene> <scene> <stage_direction>160PT INT. LAUREN'S ROOM - NIGHT - KELLI'S POV - DRIVEWAY 160PT</stage_direction> <scene_description>Outside, the car IDLES. Judy Garland SINGS... WIDER Kelli looks to Melissa and Leigh while Lauren remains dead to the world on her bed...</scene_description> <character>KELLI</character> <dialogue>Should we go out and check on them?</dialogue> <character>MELISSA</character> <dialogue>Car's idling. Radio's on.</dialogue> <scene_description>Then... a CELL RINGTONE... "Dance of the Sugar Plum Fairy." CAMERA PUSHES IN on Kelli and Leigh... scared. MELISSA Turns to them, afraid... WIDER As Kelli removes her phone and reads the caller I.D. panel, she stifles a frightened WHIMPER... CELL PHONE CALLER I.D. DISPLAY BARBARA MacHENRY. KELLI Quickly answers. With desperate hope...</scene_description> <character>KELLI</character> <dialogue>Ms. Mac?</dialogue> <scene_description>The eerie man-child voice declares...</scene_description> <character>CALLER (V.O.)</character> <dialogue>They're my family, now.</dialogue> <scene_description>Kelli abruptly disconnects; tries to be strong, battling frightened tears. Leigh looks at Melissa...</scene_description> <character>LEIGH</character> <dialogue>Stay with your friend.</dialogue> <scene_description>Leigh takes Kelli by the arm. As they start out of the room... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - LEIGH &amp; KELLI</stage_direction> <scene_description>race into the kitchen and look out a side window.</scene_description> </scene> <scene> <stage_direction>161PT EXT. DRIVEWAY - NIGHT- KELLI'S POV - OUT KITCHEN WINDOW</stage_direction> <character>161PT</character> <dialogue>This vantage is also partially obscured by the opposite garage wall. The Pontiac driver's side door is open as the vehicle continues IDLING... INT. KITCHEN - NIGHT Kelli and Leigh struggle to see the entire picture...</dialogue> <character>KELLI</character> <dialogue>Can't tell if they're out there.</dialogue> <scene_description>Kelli starts toward another door. CAMERA FOLLOWS as they move to another door off the kitchen. Kelli aims the flashlight at the doorknob and opens the door...</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>The garage holds no vehicles but, rather, acts as a storage area; cluttered and maze-like. KELLI AND LEIGH Stepping into the garage, Leigh looses her footing. Kelli catches her, then shines the flashlight onto the floor. IN THE FLASHLIGHT BEAM A puddle of water, created by a leak from above...</scene_description> <character>KELLI (V.O.)</character> <dialogue>Careful. Roof's leaking.</dialogue> <character>KELLI AND LEIGH</character> <dialogue>Continue through the boxes, furniture, and old bicycles toward the closed garage door. As they reach the door, Kelli slips, falling to her knees. THE FLASHLIGHT Drops. Rolls; REVEALING not a puddle of water, but one of blood, seeping in through the outside at the base of the garage door... KELLI AND LEIGH Kelli SCREAMS!</dialogue> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>Kelli's SCREAM is deep within the house, but is nonetheless HEARD by Melissa looking out the window to the driveway.</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>Kelli and Leigh try lifting the garage door...</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY - NIGHT</stage_direction> <scene_description>Ms. Mac's dead body lies slumped against the garage door preventing it from opening. Then... a form ENTERS FRAME... just a shoulder... and HOLDS.</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>Melissa moves to the door and opens it...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Melissa steps into the hallway, looking toward the stairs.</scene_description> <character>MELISSA</character> <dialogue>KELLI?!</dialogue> <scene_description>From the darkness behind her, a black plastic bag is whipped over her head. She reaches for her throat, struggles. The plastic vacuums to her face as she GASPS!</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>Kelli and Leigh desperately push against the garage door...</scene_description> <character>LEIGH</character> <dialogue>Feels like... there might be a body blocking it.</dialogue> <scene_description>Then, OUTSIDE, O.S., the Pontiac ENGINE dies. The radio Christmas MUSIC turns SILENT. Someone is out there. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>Darkness. O.S., the rhythmic CLICK... CLICK... CLICK... of mechanized winding. Clair's gift to Lauren, the music box, is SET INTO FRAME by a hand with blood stained fingers. The doll turns as "Dance of the Sugar Plum Fairy" begins... LAUREN Asleep. Her image is odd, distorted; light bending and refracting colors... A TOUCH WIDER REVEALS CAMERA is looking at Lauren through Eve's gift to Heather, the glass unicorn's horn. WIDER The ornament is clutched by a hand stained with sweat and blood. After a beat... the ornament moves... toward Lauren.</scene_description> <character>CLOSER - MUSIC BOX</character> <dialogue>The ballerina twirls... THROUGH THE GLASS ORNAMENT - LAUREN Her image distorts as the horn approaches. Once over her... the ornament pauses. Lauren's eyes open... groggy... drunken. Then, as she looks up and see the figure standing over her...</dialogue> <character>LAUREN</character> <dialogue>Hmm. Yeah. Merry Fucking Christmas. Lauren's eyes suddenly flash with horror...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The fire is dead. The room, dark and icy blue. Blood stained and perspiring, even in the cold house, Kelli and Leigh run into the living room from the kitchen. OUTSIDE, a THUMP, THUMP, like heavy footsteps. Kelli looks toward the front window...</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - NIGHT - KELLI'S POV</stage_direction> <scene_description>A dark figure crosses the porch toward the front door...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>As they turn and hustle toward the staircase... FRONT DOOR RATTLES... BANG! BANG! BANG! KELLI &amp; LEIGH Their urgency intensifies. Kelli bounds up the steps two at a time. Leigh, however, hesitates and quickly reaches out into the living room... CLOSE - MS. MAC'S BBQ/MARSHMALLOW TOASTING FORK Leigh's hand grabs it. As it's whisked OUT OF FRAME...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Kelli and Leigh tear down the hallway as the POUNDING continues DOWN on the front door...</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT</stage_direction> <scene_description>CAMERA PULLS BACK from the threshold as Kelli and Leigh enter REVEALING... Melissa is gone. Lauren, however, remains in bed. One bare foot is out over the side outside of the covers. She lies on her back with her arm, the crook of her inner elbow, over her eyes.</scene_description> <character>KELLI</character> <dialogue>Awww, fuck, no!</dialogue> <parenthetical>(calls out)</parenthetical> <character>MELISSA?!</character> <dialogue>LEIGH</dialogue> <scene_description>He'll hear you! Leigh closes the door. She BOLTS the LOCK. Kelli tugs at Lauren's foot, while whispering...</scene_description> <character>KELLI</character> <dialogue>Lauren, where's Mel?!</dialogue> <scene_description>DOWNSTAIRS, a window SHATTERS! Kelli tugs on Lauren's foot...</scene_description> <character>KELLI</character> <dialogue>Where's Mel?!</dialogue> <scene_description>Standing just off to the side of the door, Leigh looks at Kelli. Then whispers, intensely...</scene_description> <character>LEIGH</character> <dialogue>Shut up!</dialogue> <scene_description>Leigh clutches the barbecue fork with two hands, turns toward the door and raises it over her head. Ready. KELLI Breathes hard; frightened. She reaches into her pocket and pulls out her cell, fingers trembling as she text messages... INSERT - KELLI'S CELL PHONE DISPLAY glows with bluish light. She types... "U@?!!" Then, speed dials... MELISSA. KELLI Awaits a response. She kicks at Lauren's foot, waves the flashlight beam across her face...</scene_description> <character>LEIGH</character> <dialogue>O.S... FOOTSTEPS approach... KELLI looks to her phone... INSERT - KELLI'S CELL PHONE DISPLAY The illuminated display reads: U@?!!</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>CAMERA BEGINS MOVING DOWN THE HALL, as if a P.O.V. Flashlight seeps from beneath the door inside Lauren's room.</scene_description> </scene> <scene> <stage_direction>INT. LAUREN'S ROOM - NIGHT - LEIGH</stage_direction> <scene_description>Raises the prongs above her head, readies... KELLI Texts, again. This time... FAINT... MUTED... however, a definitely audible... a cell ring tone can be heard..."JINGLE BELLS." Kelli looks up. CAMERA PUSHES IN as she spots... KELLI'S POV - CEILING From a tiny pinhole in the ceiling, a pale dim hint of bluish light, as if from a cell phone display emits from the hole... KELLI CAMERA CONTINUES IN, but just as she reacts... LAUREN'S DOOR BANGS open! KELLI Swings the light toward the door... THE DOOR A figure stands in the threshold... LEIGH WHISKS her weapon down... THE FIGURE The light hits the figure REVEALING Kyle as he lurches back, the fork tearing his jacket sleeve. LEIGH &amp; KYLE Not knowing Kyle, Leigh continues her attack. Not knowing Leigh, he counters, blocking her arm and shoving her back... LEIGH Hits the bed, knocking Lauren whose arm slowly falls from its position over her eyes. Leigh looks up just as Lauren's arm clears her face, REVEALING Lauren is, indeed, dead. Her eye sockets are dark and empty; eyes having been removed. KELLI SCREAMS! LEIGH Is up on her feet away from the bed. She turns back toward Kyle wielding her weapon. KELLI Moves toward her... NO! NO!: WIDER Leigh hesitates, but remains alert and ready to attack. Likewise, Kyle tenses eyes flashing from Kelli to Leigh. The three stand triangulated; breathing hard, frightened...</scene_description> <character>KYLE</character> <dialogue>There's two bodies in the driveway.</dialogue> <character>LEIGH</character> <dialogue>Maybe you did it.</dialogue> <scene_description>He points to Lauren...</scene_description> <character>KYLE</character> <dialogue>Maybe you did that!</dialogue> <character>KELLI</character> <dialogue>No! It's not him!</dialogue> <scene_description>Leigh's eyes dart to Kelli, as does Kyle's.</scene_description> <character>LEIGH</character> <dialogue>How do you know?</dialogue> <scene_description>Her back to the hole in the ceiling, assuming they are being watched, Kelli blocks her gesture pointing to the ceiling... LEIGH &amp; KYLE Subtly look up... LEIGH &amp; KYLE'S POV - KELLI &amp; THE CEILING CAMERA MOVES PAST KELLI and RISES to the ceiling. The faint light continues glowing from within the ceiling pinhole... KELLI Her "The Dance of the Sugar Plum Fairy" ringtone SOUNDS. CAMERA INCHES INTO Kelli as she raises the phone with dread... and pushes the "send" button...</scene_description> <character>CALLER (V.O.)</character> <dialogue>They're my family, now.</dialogue> <scene_description>Kelli battles tears, but with a strength derived from anger, she asks in an accusatory whisper...</scene_description> <character>KELLI</character> <dialogue>What have you done... Billy?</dialogue> <scene_description>The call abruptly disconnects. Kelli turns, looks to the ceiling... KELLI'S POV - THE CEILING The light is out. LEIGH &amp; KYLE Witness the seeping light go out. They look to Kelli... KELLI As CAMERA INCHES TO HER... she whispers.</scene_description> <character>KELLI</character> <dialogue>He's in the attic.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>CAMERA IS CREEPING. In the darkness, barely visible... awaits the trap door to the attic. KELLI, LEIGH &amp; KYLE CAMERA INCHES TOWARD Lauren's door as the three appear in the threshold. Kyle steps out and moves toward the stairs. The girls take a step toward the attic door. Kyle turns to check they are following and sees they are not. In a low scared whisper...</scene_description> <character>KYLE</character> <dialogue>No fucking way!</dialogue> <character>LEIGH</character> <dialogue>Clair might be alive. She might be up there.</dialogue> <character>KYLE</character> <dialogue>Eve's not. Heather's not. Ms. Mac.</dialogue> <character>KELLI</character> <dialogue>They all left the house. He couldn't get them in the attic.</dialogue> <character>LEIGH</character> <dialogue>I've searched the whole house.</dialogue> <character>KELLI</character> <dialogue>And I've seen under the house. Where else could they be?</dialogue> <character>LEIGH</character> <dialogue>Until I see that they're dead... they are alive.</dialogue> <scene_description>He takes Kelli by the arm, for emphasis...</scene_description> <character>KYLE</character> <dialogue>They're not.</dialogue> <scene_description>Kelli pulls her arm away. She gestures to the weapon in Leigh's hand...</scene_description> <character>KELLI</character> <dialogue>There's three of us.</dialogue> <character>KYLE</character> <parenthetical>(scoffs)</parenthetical> <dialogue>It's fucking Billy Lenz! He's probably watching us, right now...</dialogue> <character>KELLI</character> <parenthetical>(cuts him off)</parenthetical> <dialogue>If I was alive. I would expect my sister to go up there...</dialogue> <scene_description>Leigh eyes Kelli, impressed, and absently nods.</scene_description> <character>KYLE</character> <dialogue>How would you know? You don't even have a fuckin' sister.</dialogue> <character>LEIGH</character> <dialogue>Yeah, she does.</dialogue> <scene_description>Leigh doesn't even check Kelli's reaction as she moves past Kyle and Kelli and starts toward the attic trap door, clutching her weapon. Kelli eyes Kyle...</scene_description> <character>KELLI</character> <dialogue>If you don't think you owe me... you fucking owe Megan... at least, this.</dialogue> <scene_description>He grabs the two of them and with emphasis...</scene_description> <character>KYLE</character> <dialogue>If we go up there... the second we see they're dead... we turn and run the fuck out of this house.</dialogue> <scene_description>Leigh and Kelli consider, then nod. Kyle eyes them for a beat as he reaches into his pocket and removes a butterfly knife. As he flips it open... HIGH ANGLE - FROM THE POSITION OF THE DOOR FRAME IS EMPTY, seemingly dark, until Leigh steps cautiously INTO FRAME, back against the farthest wall. Only a faint rim of reflecting spill light delineates Leigh, Kelli, and Kyle from the darkness. ATTIC DOOR CAMERA INCHES TOWARD the trap door... HALLWAY The three reach the area just beneath the attic door. Leigh nods to Kelli, then takes a step toward the ladder. Kelli's lifts the flashlight, preparing to turn it on... Kyle suddenly reaches out and stops Leigh. She looks at him and without acknowledging her, Kyle moves ahead of her toward the base of the ladder. He turns to Kelli, then mouths and gestures...</scene_description> <character>KYLE</character> <dialogue>I open the door, you hit the light.</dialogue> <scene_description>She nods... LOW ANGLE - LOOKING DIRECTLY UP The trap door awaits directly above as Kyle steps on the first rung of the ladder... CLOSE - KYLE'S FOOT CAMERA RISES with Kyle's foot as it steps on the next rung... THE FLASHLIGHT Kelli raises it; thumb hovering over the "on" switch. LEIGH Grips the barbecue fork, readies... OVERHEAD Kyle rises toward CAMERA, reaching the door. He eyes the girls, then holds out his hand and counts off with his fingers... one... two... three! LOW ANGLE He KNOCKS open the door, then takes a defensive step down. Kelli turns on the flashlight. Beat... SILENCE... above Kyle, the flashlight is a tube of illumination on the rafters. Small, one or two inch icicles cling to the leaking ceiling... Kyle turns around and reaches down, gesturing for Kelli's flashlight... Suddenly, a black plastic trash bag is whipped over Kyle's head. His upper body is pulled into the attic... KELLI &amp; LEIGH step forward, reach out, but cannot grab Kyle's legs. THE FLASHLIGHT knocked by Kyle's hand, spins rolls... KELLI Begins climbing the ladder, looks up... THE ATTIC The flashlight stops bouncing and spinning, its light stops on... a pair of eyes... framed in a black hood. In a mere glimpse, the most illuminated eye, the left iris... is yellow. KYLE Struggling violently, stabs blindly with his knife as he disappears into the darkness of the attic. The door SLAMS!</scene_description> <character>KELLI AND LEIGH</character> <dialogue>Rush toward the ladder...</dialogue> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT</stage_direction> <scene_description>Extreme elongated shadows are created by the flashlight struggle. The killer straddles Kyle's chest. KYLE'S FEET Struggling to escape, Kyle's feet are over the attic door. Kicking; pressing against the floor for leverage. His desperate actions prevent Kelli and Leigh from entering...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - KELLI &amp; LEIGH</stage_direction> <scene_description>Push up against the door while it BANG BANG BANGS!</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - KYLE</stage_direction> <scene_description>Blinded and choking from the plastic bag. His arms, including the hand holding his butterfly knife, are pinned down by the assailant straddling his chest. LOW ANGLE - THE KILLER Removes the glass unicorn from a pocket. Raises it... THE GLASS UNICORN The light glinting off the horn, is plunged OUT OF FRAME...</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>O.S., KYLE SCREAMS! Kelli and Leigh intensify their efforts...</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - LOW ANGLE - KILLER</stage_direction> <scene_description>Again, plunges the glass dagger toward Kyle's head... KYLE'S FEET Reacting to the pain... PUSH AGAINST FLOOR and SCUTTLE BACK. LOW ANGLE - THE KILLER Is bucked, but maintains the advantage...</scene_description> <character>KYLE'S FEET</character> <dialogue>Move off of the door...</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - KELLI &amp; LEIGH</stage_direction> <scene_description>Push! The door flies open! They hurry up the ladder. Once inside, the attic door teeters, then SLAMS closed!</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT</stage_direction> <scene_description>Kelli and Leigh charge the figure, just as it plunges the pointed horn into the plastic bag. Kyle's body goes limp. They grab the killer, who rears, pushing them deep into the attic. LEIGH &amp; KELLI Fall against the base of a rocking chair, which lurches forward, toward them. They look up... LOW ANGLE - LOOKING UP - KELLI &amp; LEIGH'S POV - CLAIR The face of Leigh's sister remains frozen in horror, wrapped in plastic. Eye sockets, empty. Seated in the chair, the body nearly tips over on them... LEIGH FRAME IS EMPTY until she rears back, terrified... LEIGH'S FOOT AND LEG Slips off the plywood covered area and into the rock wool insulation. Her foot CRASHES through the plaster... LEIGH One leg falls through the floor to her thigh... KELLI On the floor, scoots on her hands and behind, away from Clair. Kelli looks to Leigh... KELLI'S POV - LEIGH struggling to pull herself out, yet the movements cause her to slip further into the hole... KELLI Her eyes flash to Kyle... KELLI'S POV - KYLE &amp; KILLER The Killer straddles Kyle's motionless body. The Killer rises. Nearly indiscernible in the flashlight, the killer clenches several strands of extracolar muscles attached to Kyle's removed eyeballs.</scene_description> <character>KILLER</character> <dialogue>He's my family, now.</dialogue> <scene_description>The killer grabs Kyle's body by the legs and begins dragging it across the room... KELLI Her eyes flash toward Leigh... KELLI'S POV - LEIGH Slips a few more inches into the floor. She looks to Kelli...</scene_description> <character>LEIGH</character> <scene_description>KELLI Kelli rises to her hands and knees, crawling, quickly, but cautiously across the attic floor toward Leigh... LEIGH Tries pulling herself out of the floor. CRACK! She slips further... KELLI &amp; LEIGH As Kelli reaches Leigh and grabs her arms... EXTREMELY CLOSE - A MATCH Strikes. KELLI &amp; LEIGH Turn toward the light... EXTREMELY CLOSE - A CHRISTMAS CANDLE Red and silvery; is lit... KELLI &amp; LEIGH CAMERA INCHES IN ON THEM, reacting with horror... CLOSE - A FORM A body, a silhouette in the darkness... until the candle cast an amber glow... REVEALING... Melissa's dead body. The eye sockets are empty and black. O.S., the HUMMING continues... KELLI &amp; LEIGH frightened. Sickened. A SECOND CANDLE Is lit... LAUREN The flickering light dances across her dead, expressionless, face. Her eyes have been removed... KELLI &amp; LEIGH CAMERA CONTINUES TOWARD THEM... both frozen and mortified... KELLI &amp; LEIGH'S POV - ATTIC In the corner... a display. The sincere intent had been a Currier and Ives family at Christmas print, however, it appears as if sculpted by an insane Gothik/Punk artist. The bodies of the murdered sorority sisters, Megan, Clair, and Melissa are posed, as if exchanging presents, beneath an Evergleam pink aluminum Christmas tree. Seven pairs of actual human eyeballs ornament the tree. A dozen candles illuminate the area. Placed on the floor are sheets of crumpled wrapping paper, ribbon and bows, as if presents have jest been opened. Clair's music box is placed in Megan's hands. THE KILLER HUMMING Tchaikovsky, turns toward Kelli and Leigh. The yellow, unblinking, unmoving eye, catches some spill light. Then with a tone heard in the phone calls, one that is not not evil or crazed, but rather eerily pathetic with a pleased, happy smile, spoken to Kelli and Leigh... and quoting Melissa...</scene_description> <character>KILLER</character> <dialogue>Everyone should be home for Christmas.</dialogue> <scene_description>The figure starts toward them... KELLI AND LEIGH Trembling and rattled, try pulling Leigh from the floor who grasps the wooden supports; strains... CLOSE - LEIGH'S LEGS Slips deeper through the plaster. THE KILLER Approaches... KELLI &amp; LEIGH Suddenly... CRACK! The floor gives way. Collapses! Leigh falls through the floor and into one of the girls's bedroom. Kelli turns, checks the killer's position... THE KILLER a step away... KELLI Tries to jump through the hole in the floor, but the killer grabs her shoulders. A plastic bag begins whipping over her head, but Kelli raises an arm and blocks it. She lunges forward... CLOSE - THE BBQ FORK Kelli grabs it... KELLI Rolls, turns, then drives the weapon toward the killer... THE KILLER'S EYES The prongs plunge into the yellowed iris. The figure's head is thrown back. KELLI Kelli rears, looking up to the figure... THE FIGURE The hooded head slowly levels. Oddly, the fork remains in the eyeball with no release of blood or fluid. The fork extends out, stuck in the eye. KELLI Reacts, shocked, confused... THE FIGURE A first true look at the face of the figure, albeit in the eerie flickering amber light, REVEALS an unnerving androgyny. Although the face is large and, somewhat, masculine, the lips and nose are feminine. The skin texture appears shiny, plastic-like and sweaty. Thick scar tissue encircles the neck. With no reaction of pain or emotion, the figure reaches up, grabs the fork handle, and with effort, twists the fork and head until the prosthetic eye is pulled from the socket. CLOSE - THE PROSTHETIC EYE remains on the tip of the fork. At this image size, it is clear that the iris has been hand painted or tinted yellow... THE FIGURE The empty socket is black with scar tissue. The head turns, looking at the eye on the end of the fork and REVEALING the surviving right eye is a brilliant bright blue... KELLI CAMERA PUSHES IN, repulsed, frozen with fear and shock. She whispers...</scene_description> <character>KELLI</character> <dialogue>They are not your family... Agnes.</dialogue> <scene_description>AGNES Indeed, the killer, Agnes Lenz, drops the fork... KELLI Although trembling with fear, addresses Agnes...</scene_description> <character>KELLI</character> <dialogue>I am not your family. You're brother is not here.</dialogue> <scene_description>AGNES reacts... doesn't understand. She considers... then, with an eerie child-like smile...</scene_description> <character>AGNES</character> <dialogue>But... my daddy is.</dialogue> <scene_description>KELLI Kelli doesn't understand. Then, suddenly... MUTED... "Dance of the Sugar Plum Fairy" CHIMES from her back pocket. Her expression flashes a hope of possibility... as she hustles toward the attic door while removing her cellphone from her back pocket. She is SCREAMING, PLEADING for help before she manages to engage the phone...</scene_description> <character>KELLI</character> <dialogue>HELP! HELP! I'M IN THE ATTIC OF</dialogue> <character>THE PHI KAPPA SIGMA SORORITY. 566</character> <dialogue>OAKDALE LANE...</dialogue> <scene_description>Kelli reaches the door, however... CLOSE - THE DOOR A hatch lifting ring is inset and flush against the wood. Kelli's trembling fingers struggle to lift the ring.</scene_description> <character>KELLI</character> <dialogue>PLEASE! PLEASE! CALL 911! I NEED</dialogue> <scene_description>AGNES Approaches... KELLI CAMERA SWEEPS IN AS FROM THE PHONE... the chilling, now familiar voice calmly declares...</scene_description> <character>CALLER (V.O.)</character> <dialogue>You're... my family now.</dialogue> <scene_description>Kelli reacts, stunned and puzzled. Behind her, Agnes whisks a green Hefty trash bag whips over Kelli's head... CLOSER - KELLI GASPS! The plastic vacuums to her face. She stumbles to the floor. AGNES straddles Kelli... KELLI Tears the plastic away...</scene_description> <character>AGNES - LOW ANGLE</character> <dialogue>Raises the glass unicorn... KELLI Dekes her head. The glass spike catches a piece of her earlobe as it drives into the floor and breaks off. Kelli grabs Agnes' wrist... AGNES - LOW ANGLE looks at the ornament. Now, a block of glass... KELLI Quickly grabs for the broken glass spike. Grabs it. She plunges her hand upward... AGNES - LOW ANGLE Brings the glass rock downwards, but Kelli's weapon makes impact first, plunging just below the right eye socket. As she rears back, Kelli grabs Agnes' arm with both hands, trying to free the ornament from Agnes' hand. KELLI Knocks the ornament from Agnes' hand... THE ORNAMENT Knocks over a pair of candles... KELLI AND AGNES Agnes maintains a grasp on Kelli. They fall backwards... A CANDLE Lands atop a piece of wrapping paper on the ground. It begins burning beneath the flammable tree... KELLI AND AGNES Stumble backward toward the wall and to fall into the space between the walls.</dialogue> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>Clutches grabs, trying to break her fall.</scene_description> <character>AGNES</character> <dialogue>Tumbles grotesquely all the way to the basement... KELLI Manages to break and stop her fall at some point mid way between the attic and the basement. She breathes hard...</dialogue> <character>KELLI</character> <dialogue>HELP! HELP ME!</dialogue> <character>BETWEEN THE WALLS - AT THE BASE OF THE WALL</character> <dialogue>Agnes, from the base of the house begins climbing toward Kelli...</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT - LEIGH</stage_direction> <scene_description>Lies on the floor, disoriented and stunned. She awakens upon HEARING KELLI'S calls for help.</scene_description> <character>LEIGH</character> <dialogue>Kelli?</dialogue> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT</stage_direction> <scene_description>Kelli KNOCKS on the wall, pushes against it.</scene_description> <character>KELLI</character> <dialogue>LEIGH?! LEIGH?! In the wall. I can't move.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT - LEIGH</stage_direction> <scene_description>Initially, Leigh is confused. Kelli's CRIES, however, can be heard within the wall. Leigh moves to the wall and places her ear against the wood, trying to determine Kelli's position.</scene_description> <character>KELLI (O.S.)</character> <dialogue>SHE'S IN HERE! HURRY!</dialogue> <scene_description>Leigh turns and quickly tries to find a heavy object in the darkness... ON THE FLOOR She stumbles upon a pair of ten pound aerobic dumbbells...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT</stage_direction> <scene_description>Kelli looks down...</scene_description> <character>KELLI'S POV - AGNES</character> <dialogue>Is climbing toward her... KELLI Bangs on the wall... tries to push...</dialogue> <character>LEIGH (O.S.)</character> <dialogue>KELLI! KELLI! KNOCK ON THE WALL!</dialogue> <scene_description>Hearing Leigh's voice, Kelli begins pounding on the wall...</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>Leigh attempts to discern Kelli's position, listening to the KNOCKING within the wall. Leigh places her ear to the wall for one final check. Leigh rears back with the dumbbell and smashes the wall...</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - THE BURNING CANDLE</stage_direction> <scene_description>On the floor, near the lip of the wall... rolls with the concussion of the dumbbell impact.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT - LEIGH</stage_direction> <scene_description>SMASH! Again, until finally, a hole is created...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>Looks up... KELLI'S POV - UP THE WALL The interior of the wall is very dark, except for the faint amber glow of the candles high above in the attic. A faint patch of light spills from the hole Leigh created in the wall. KELLI Looks up...</scene_description> <character>KELLI</character> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT - LEIGH</stage_direction> <scene_description>Moves to the wall to look into the hole. Suddenly a male arm flies out of the hole and grabs Leigh, wrapping around her neck and pulling her to the wall. HOLE IN THE WALL CAMERA SWEEPS IN TO REVEAL BILLY LENZ. His yellow eyes intense as Leigh escaping his grasp. LEIGH the wall ERUPTS as Billy's other arm POUNDS through the wall. His hand grab at Leigh's eyes, trying to pull them out. She struggles, battles, then manages to swing the dumbbell up upon the clutching arm. HOLE IN THE WALL - BILLY YELPS! LEIGH In the momentary easing of his grasp, pulls away. Holding the dumbbell, she tears out of the room.</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>Looks down... KELLI'S POV - AGNES Climbs up toward her...</scene_description> <character>KELLI</character> <dialogue>Looks up...</dialogue> <character>KELLI'S POV - UP THE WALL</character> <dialogue>Through the light in the wall, sees another form. It turns within the wall with the ease of a cockroach. In the dim light, Billy's face looks directly toward her... KELLI SCREAMS! BILLY As he starts toward her...</dialogue> </scene> <scene> <stage_direction>INT. STAIRWAY - NIGHT</stage_direction> <scene_description>Leigh bounds down the stairway and toward the hallway...</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>CAMERA LEADS Leigh as she opens a door...</scene_description> <character>LEIGH</character> <dialogue>KELLI!?</dialogue> <scene_description>Within the walls, muted POUNDING! It appears to be in the other room. Leigh moves on...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - LOW ANGLE</stage_direction> <scene_description>Agnes scales the wall, growing closer to Kelli, who tries to move, but cannot. HIGH ANGLE - BILLY crawls toward Kelli, below him...</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh races to the next door. As she opens it, a form appears to be waiting for her. Leigh SCREAMS! It is the laundry room. Some clothes hang near the door. Leigh brushes them aside and moves to the wall. Kelli's SCREAMS seem to be directly on the other side.</scene_description> <character>KELLI (O.S.)</character> <dialogue>LEIGH! LEIGH! THEY'RE COMING!</dialogue> <scene_description>Leigh realizes she does not know Kelli's exact location. Leigh taps the wall, tries to locate Kelli's position...</scene_description> <character>KELLI (O.S.)</character> <dialogue>HURRY!</dialogue> <scene_description>On reflex, Leigh rears back and swings the dumbbell toward the wall.</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>A foot from her head, the wall buckles. CRACKS.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - THE CANDLE</stage_direction> <scene_description>Rocks... rolls toward the discarded wrapping paper. It catches fire.</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>BAM! The wall buckles again! KELLI'S FOOT Agnes is close enough to reach for it. BILLY out of a nightmare... crab crawls toward her.</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT - LEIGH</stage_direction> <scene_description>BASHES THE WALL! She makes it through the wall. Her intensity increasing, she wildly drives the dumbbell through the wall, increasing the size of the hole.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - THE BURNING WRAPPING PAPER</stage_direction> <scene_description>Ignites the Christmas tree...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - KELLI</stage_direction> <scene_description>Tries to pull at the wood, tearing it away.</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT - LEIGH</stage_direction> <scene_description>Likewise, pulls at the wood, increasing the hole...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - AGNES</stage_direction> <scene_description>Grabs Kelli's foot... KELLI SCREAMS...</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT</stage_direction> <scene_description>Leigh reaches into the wall and grabs Kelli. Leigh starts pulling her out...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - BILLY</stage_direction> <scene_description>grabs Kelli's hair. He pulls upward...</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - NIGHT - THE CHRISTMAS TREE</stage_direction> <scene_description>Aflame, wilts, melts under the heat. It topples... into the space beneath the walls...</scene_description> </scene> <scene> <stage_direction>INT. WITHIN THE WALLS - NIGHT - LOW ANGLE</stage_direction> <scene_description>The tree falls toward CAMERA...</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT</stage_direction> <scene_description>With all her remaining strength, Leigh pulls Kelli from the wall, just as Agnes appears from below and Billy, upside down, from above... still within the wall. Billy reaches to get out of the hole just as... Leigh and Kelli fall to the laundry room floor and the hole within the wall erupts with flame! LEIGH AND KELLI Race out of the room... IN THE HOLE A frame within the wall, is enveloped with flame. As Billy and Agnes SCREAM...</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Leigh and Kelli SLAM the door behind them. From the room across the hall, they jamb a chair beneath the doorknob, or obstruct the threshold with a bureau in the hallway. In either case, Billy and Agnes are locked in the room. As Leigh helps Kelli hustle off toward the living room...</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT - A CHRISTMAS ORNAMENT</stage_direction> <scene_description>From the fallen tree, lies on the floor, dotted with blood and reflecting the angry flames within the wall. As Billy and Agnes continue to SCREAM... OVERLAPPING... a smooth country jazz guitar begins Eddie Arnold's "Santa Claus is Coming to Town..." Through the DISSOLVE... what appear, initially to be Christmas lights, are indeed stobbing red siren lights... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT - EMERGENCY MEDICAL VEHICLES</stage_direction> <scene_description>The lights flash and spin, yellow, red and white, from many types of emergency vehicles. Police cars...</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - HOSPITAL - NIGHT - A CHRISTMAS TREE</stage_direction> <scene_description>Sits atop a nurses' station desk. "Santa Claus is Coming to Town" plays from the intercom. WIDER CAMERA IS MOVING DOWN THE HALLWAY. The hospital is chaotic due to events at Phi Kappa and the ice storm. STAFF, NURSES, DOCTORS and E.M.T.S are crisscrossing the FRAME... A REVERSE REVEALS Leigh moving down the hallway with a thousand yard stare. Her face displays some small lacerations, which appear to have been treated. She wears her coat and holds an 8x10 manila envelope. She looks up, checks a room number...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>This is a two bed hospital room. An ELDERLY MAN sits up in bed as family members gather around the bed, exchanging Christmas presents. The family appears happy and are LAUGHING. In the b.g., the TELEVISION is on LOW... As Leigh enters, however, they turn respectfully quiet, as if aware she was involved in the evening's horrific events. Leigh eyes them, forces a smile and continues across the room. BEYOND THE CURTAINED DIVIDE The foot of a bed is in the F.G. as Leigh appears from the other side of the curtain and holds. CAMERA PULLS BACK as she crosses and sits beside Kelli, who is in the bed, ear is bandaged and appearing sedated. The women look to one another. Leigh lifts her hand, moving it toward Kelli who reaches up and clenches Leigh's hand. Leigh's tone is low as she places the manila envelope on the night table beside Kelli's bed.</scene_description> <character>LEIGH</character> <dialogue>Your family will be here in a couple of hours. They're bringing you some clothes.</dialogue> <scene_description>Kelli nods.</scene_description> <character>LEIGH</character> <dialogue>These are the things you had on you when they took you to the emergency room.</dialogue> <scene_description>Kelli nods, sighs, then looks to Leigh, who averts her eyes and unconsciously shakes her head. Neither know how to pose the question which, both understand, is unanswerable.</scene_description> <character>KELLI</character> <dialogue>They must have been in the house since he escaped.</dialogue> <character>LEIGH</character> <dialogue>We'll never know, Kelli. How could we ever know, now?</dialogue> <scene_description>Kelli averts her eyes. Leigh considers, shrugs.</scene_description> <character>LEIGH</character> <dialogue>I think... maybe... they were doing the same thing as me and Clair.</dialogue> <scene_description>Kelli doesn't understand, reacting with denial...</scene_description> <character>LEIGH</character> <dialogue>This Christmas... they came back home, looking to find their family. But, you don't need to find them... for the same reason you can't escape them.</dialogue> <parenthetical>(without sentiment)</parenthetical> <dialogue>They're always there.</dialogue> <scene_description>Kelli averts her eyes. O.S., in the adjacent cubicle, the television interrupts for a news report about the events at Phi Kappa Sigma, earlier this evening. Kelli and Leigh tense. Leigh reaches into her coat and removes Clair's wrapped present.</scene_description> <character>LEIGH</character> <dialogue>I'll never be able to open this in front of my sister. So... I'll open it in front of you.</dialogue> <scene_description>Kelli reaches out holds Leigh's forearm, comforting. As Leigh tears open the present...</scene_description> <character>TELEVISION (O.S., V.O.)</character> <dialogue>Fifteen years after William Edward Lenz's Christmas massacre, horrific tragedy strikes again at the same house.</dialogue> <scene_description>Both appear to ignore the report; their focus on the present.</scene_description> <character>TELEVISION (CONT'D, O.S.,</character> <dialogue>V.O)</dialogue> <scene_description>Details remain sketchy this evening, but Grafton County officials have confirmed that the remains of ten people, eight female and two males, have been found dead at the burned remains of the Phi Kappa Sigma sorority near the campus of Clement University. (beat) Details are sketchy... however, there appears to be confusion in that one a skeletal remains of a male appears to have been buried beneath the house, perhaps for some time... Behind the curtain, the family must hear them crying as they whisper...</scene_description> <character>HOSPITAL VISITOR (O.S.)</character> <dialogue>Turn that off. They don't want to hear that.</dialogue> <scene_description>The television turns off. The immediate room is silent. In the hallway, Christmas MUSIC plays. It feels eerie. Leigh's eyes fill with tears before the paper is removed revealing a jewelry box. A beautiful watch is inside. Leigh removes the watch, emotional. She turns it over... CLOSE - BACK OF THE WATCH An inscription... "Let's make up for lost time." KELLI &amp; LEIGH Leigh begins crying. Kelli sits up and holds her. Then... O.S... a cell ringtone... "Dance of the Sugar Plum Fairy." It is coming from inside the manila envelope. CAMERA INCHES BACK... then holds as the TONE continues...</scene_description> <character>KELLI</character> <dialogue>Must be my parents.</dialogue> <scene_description>Leigh hands Kelli the manila envelope. She opens it and removes the phone. Kelli freezes as she looks at the caller I.D. display. CAMERA SWEEPS IN TO the display... "KYLE AUTRY'S CELL." RETURN Kelli holds the phone in her hand as the "Sugar Plum Fairy" continues RINGING. Leigh's eyes are locked on the phone, also. Both women are so afraid as to appear emotionless... CAMERA PULLS BACK as the RINGTONE continues. There is not a SOUND, except the "Dance of the Sugar Plum Fairy." CAMERA CONTINUES PULLING BACK, then as if passing through the glass of Kelli's hospital room... is outside, looking into the room.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>CAMERA is several stories high, looking through the window, framed with Christmas lights. The phone continues RINGING, HEARD at the volume inside the hospital room. Once outside, the wind WHISTLES... the storm settling. CAMERA now RISES, leaving Kelli and Leigh, still staring at the phone. They CLEAR FRAME as CAMERA CONTINUES TO RISE UP a brick wall until eight plastic illuminated reindeer and a Santa Claus appear on the roof against the dark snowy sky. Seeing when you're sleeping. Knowing... when you're awake. FADE OUT:</scene_description> </scene> </script>

Billy Lenz is born in 1970, with severe jaundice due to a liver disease, and is constantly abused by his mother, Constance. Five years later, Constance and her lover murder Billy's father Frank on Christmas Eve and bury the body in the house's crawlspace. Billy witnesses their scheme so they lock him in the attic. In 1982, Constance rapes Billy to conceive another child, since her boyfriend is impotent, and gives birth to their daughter, Agnes. On Christmas Day 1991, Billy escapes from the attic and disfigures eight-year-old Agnes by gouging out her eye. He then brutally murders his mother and her lover. He is caught by police eating cookies made out of his mother's flesh and is sent to a mental asylum, while Agnes is taken to a local orphanage. Fifteen years later, Billy escapes from his cell on Christmas Eve and heads to his former home, now a sorority house for Delta Alpha Kappa at Clement University in New Hampshire. At the house, Clair Crosby, one of the sorority girls, is murdered in her bedroom by an unknown figure. Meanwhile, Megan Helms begins to hear noises and goes up to the attic to investigate. Upon finding Clair's corpse, Megan is attacked and killed by the same assailant. In the living room, the other sorority sisters, Kelli Presley, Melissa Kitt, Heather Fitzgerald, Dana Mathis, and Lauren Hannon, along with their housemother Mrs. Mac, receive a threatening call from the killer. Clair's half-sister Leigh Colvin soon arrives, searching for her. Kelli's boyfriend Kyle Autry arrives as well but is kicked out when Kelli discovers Megan's sex video with him. When the power goes out, Dana goes to the main breaker under the house but encounters the figure in the crawlspace and is killed. When they realize Dana's ambush by the figure, the remaining sorority sisters and Leigh go outside to find her, only to find their fellow sister Eve Agnew killed in her car. With the police unable to arrive in time due to a snowstorm, Kelli, Melissa, and Leigh decide to stay inside the house while Heather and Mrs. Mac flee. In the car, Heather is murdered, and Mrs. Mac is impaled by a falling icicle. While Kelli and Leigh descend to the garage to investigate, Melissa is attacked and killed by the assailant. Kelli and Leigh return upstairs and find Lauren's eyeless corpse. Kyle returns to the house, and the three go to investigate the attic; while ascending the ladder, Kyle is dragged into the attic to his death by the assailant, who is revealed to be Agnes, now an adult. As Billy enters the attic, Kelli and Agnes struggle, leading the two of them into the empty space between the walls of the house. As the killers converge toward Kelli, Leigh helps her escape before they start a fire, leaving Billy and Agnes to burn to death. Later, as Kelli and Leigh recover at the hospital, Billy, who is partially burned, kills the morgue assistant. While Kelli goes for an X-ray, Agnes emerges in her hospital room and kills Leigh. When Kelli returns to her room, Agnes appears through the ceiling and attacks her, but Kelli uses a defibrillator to kill Agnes. Moments later, Billy enters through the ceiling and chases Kelli to the stairwell. They briefly fight, ending with Kelli pushing Billy off the railing where he is subsequently impaled on the tip of a Christmas tree, killing him.

Superbad_2007

tt0829482

<script> <scene> <stage_direction>SUPERBAD</stage_direction> <scene_description>OPENING CREDITS OVER SUPER - FUNKY BLAXPLOITATION - STYLE MUSIC , which builds to an exciting crescendo filling us with the expectation of a thrilling , action - packed opening sequence . Instead we get :</scene_description> </scene> <scene> <stage_direction>INT. SETH'S CAR - MORNING</stage_direction> <scene_description>Seth , seventeen , a bit heavyset , in the midst of a sad attempt at growing a goatee and clearly a terrible driver , cruises along while fiddling with the CD player . He pulls out his cell and dials .</scene_description> <character>SETH</character> <dialogue>Yo.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S HOUSE - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Evan , seventeen , a little too tall and slim , a boy who clearly never figured out how to style his hair , is finishing off a bowl of cereal . He is on his cell phone .</scene_description> <character>EVAN</character> <dialogue>What's up?</dialogue> <character>SETH</character> <dialogue>I was doing research last night, for next year, and I think I'm gon na go with Bang Bus.</dialogue> <character>EVAN</character> <dialogue>Which one's Bang Bus?</dialogue> <character>SETH</character> <dialogue>The one where they bang the chicks on the bus. Thirteen bucks a month. Total access, live Web Cam feed. The works. It'll be like I'm on the bus, banging them myself.</dialogue> <character>EVAN</character> <dialogue>That stuff's bullshit, they're all faking it. And plus, your parents are gon na look at the bill.</dialogue> <character>SETH</character> <dialogue>It shows up under a different name.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I hope. Bang Bus. That would n't look good. Maybe I should just pick the one with the least dirty sounding name.</dialogue> <character>EVAN</character> <dialogue>Weapons of Ass Destruction's out then.</dialogue> <scene_description>Seth pulls up in front of a house .</scene_description> <character>SETH</character> <dialogue>I could tell my parents I'm doing a project on Rome and I have to research orgies.</dialogue> </scene> <scene> <stage_direction>EXT. EVAN'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Evan walks out his front door . WE REVEAL he is walking towards Seth 's car .</scene_description> <character>EVAN</character> <parenthetical>( still into phone . )</parenthetical> <dialogue>Yeah. Just tell them your taking a class on blow jobs.</dialogue> <scene_description>They both hang up and Evan gets in the car . Seth is about to pull away , when EVAN 'S MOTHER comes out the front door .</scene_description> <character>EVAN'S MOM</character> <dialogue>Thanks for taking him, Seth.</dialogue> <scene_description>Evan changes the radio station . Seth slaps his hand .</scene_description> <character>SETH</character> <dialogue>Do n't touch that!</dialogue> <character>EVAN'S MOM</character> <dialogue>You two are so funny. I ca n't imagine what you'll do without each other next year. Evan told me you did n't get into State.</dialogue> <character>SETH</character> <dialogue>Yeah, you know. I got some other places. Good places. I think we'll be fine.</dialogue> <character>EVAN'S MOM</character> <dialogue>Are you going to miss each other?</dialogue> <character>EVAN</character> <dialogue>Miss each other? No!</dialogue> <character>SETH</character> <dialogue>That's disgusting.</dialogue> <character>MOM</character> <dialogue>Bye, boys.</dialogue> <scene_description>Seth and Evan drive off .</scene_description> <character>SETH</character> <dialogue>I am truly, truly jealous that you got to suck on those tits when you were a baby.</dialogue> <character>EVAN</character> <dialogue>Fuck you, man.</dialogue> </scene> <scene> <stage_direction>EXT. CLARK SECONDARY- SOON AFTER</stage_direction> <scene_description>They drive up to Clark Secondary . There is a giant sign that reads `` Seniors - Two Glorious Weeks Until Graduation '' . Seth turns into the STAFF parking lot .</scene_description> </scene> <scene> <stage_direction>INT/EXT. 7-11 STORE - MOMENTS LATER</stage_direction> <scene_description>Seth and Evan walk past a group of smokers , towards the 7 - 11 .</scene_description> <character>EVAN</character> <dialogue>You're being an idiot, man. You really should n't park there.</dialogue> <character>SETH</character> <dialogue>Fuck it. I'm a senior about to graduate. They should be suckin' my balls. It's the least they can do for stealing three years of my life.</dialogue> <scene_description>They walk past DIMITRI -LRB- 18 , big Native American guy -RRB- as they enter the store . Dimitri aggressively bumps his shoulder into Seth .</scene_description> <character>EVAN</character> <dialogue>What the hell's wrong with Dimitri?</dialogue> <character>SETH</character> <dialogue>Oh, yeah dude, I forgot to tell you. I knocked the fuckin' shit out of him in capture the flag last week.</dialogue> <character>EVAN</character> <dialogue>Good! 9th Grade Camp he gave me whiplash in `` King of the Ring.'' I fucking hate that guy.</dialogue> <scene_description>They go to the magazine rack and stare at a Maxim cover .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look at those nipples.</dialogue> <character>SETH</character> <dialogue>They're like baby toes.</dialogue> <character>EVAN</character> <dialogue>It's not fair. I have to hide every erection I get.</dialogue> <character>SETH</character> <dialogue>Sometimes I get boners so big I ca n't hide them. And then I get nervous and my heart starts pounding, and it all just, like, feeds my boner. It just becomes this. thing. that's attached to me. And it wo n't go away.</dialogue> <character>EVAN</character> <dialogue>Just imagine if girls were n't weirded out by our boners and they actually wanted to see ` em, like this shit.</dialogue> <character>SETH</character> <dialogue>You know it's been, like, a year and a half since I've seen an actual human female nipple. Besides my mom's. I saw it last month, and it was sick.</dialogue> <character>EVAN</character> <dialogue>Holy shit. Liat was two years ago? I guess so. She was insanely hot, though.</dialogue> <character>SETH</character> <dialogue>Exactly. Too hot. That's what sucks.</dialogue> <character>EVAN</character> <dialogue>How can that possibly suck? I'd be fuckin' psyched if I'd gotten with a girl that hot. You got, like, two dozen handjobs!</dialogue> <character>SETH</character> <dialogue>And three quarters of a blowjob, But that was fuckin' it. It was the peak of my ass - gettin' career, and it happened way, way, way too early.</dialogue> <character>EVAN</character> <dialogue>You're like Orson Welles.</dialogue> <character>SETH</character> <dialogue>Exactly! If I'd built up to it, I'd probably at least be having steady sex with a mediocre - looking girl at this point. I honestly now see why Orson Welles ate his fat ass to death.</dialogue> <character>EVAN</character> <dialogue>You'll have sex in college. Everyone does. And if not, you'll have the Bang Bus.</dialogue> <character>SETH</character> <dialogue>But the key is to be good at sex by the time you're in college. You do n't want girls to think you suck dick at fucking.</dialogue> <character>EVAN</character> <dialogue>I still think you've got a chance with Jules. She got mad hot over last summer, and clearly has n't realized it, ` cause she still flirts with you.</dialogue> <character>SETH</character> <dialogue>Are you joking, man? Let's see here. she dated Dan Remick, Matt Muir, Josh Corber and what's - his - face. All of those were cool guys. She's been hot way longer than you think. Why would she end her high school career with me?</dialogue> <character>EVAN</character> <dialogue>Well, Helen got with Ariel Shafir.</dialogue> <character>SETH</character> <dialogue>Yeah, and he was a complete fucking loser. You're a step up from that. Which is why you should stop being a pussy and do her! You could nailthe shit out of her for, like, two months before you leave. That bitch looks like a good fucker.</dialogue> <character>EVAN</character> <dialogue>Hey! I'm sick of you talking about her like that, man!</dialogue> <scene_description>Evan starts to walk out . Seth follows .</scene_description> <character>SETH</character> <dialogue>What, you can talk about that bitch all day every single day, but I ca n't say one thing about her?</dialogue> <character>EVAN</character> <dialogue>I do n't constantly insult her.</dialogue> <character>SETH</character> <dialogue>I did n't insult her! I said she looks like a good fucker! She looks like she can take a dick. That's a good thing. Some women pride themselves on their dick - taking abilities.</dialogue> </scene> <scene> <stage_direction>EXT. 7-11 - CONTINUOUS</stage_direction> <scene_description>Seth and Evan come out the front doors . TERRY , one of the rough - looking smokers , calls out .</scene_description> <character>TERRY</character> <dialogue>Yo. Seth. Did you hear I'm having the big grad party?</dialogue> <scene_description>Evan , a little scared , keeps his distance .</scene_description> <character>SETH</character> <dialogue>No.</dialogue> <character>TERRY</character> <dialogue>Yeah.</dialogue> <scene_description>Terry spits on Seth 's shirt .</scene_description> <character>TERRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And you're not coming. Tell your fucking faggot friend he ca n't come either.</dialogue> <scene_description>Seth wipes the spit off . He looks at Terry and seems as though he 's about to say something , but is interrupted when Terry starts hocking up more spit . Seth runs away as Terry and his friends laugh . He catches up to Evan and they head back to school .</scene_description> <character>EVAN</character> <dialogue>Wow. You really bitched out on that one.</dialogue> <character>SETH</character> <dialogue>I bitched out? You bitched out! You were across the street before I even realized what was going on.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That guy's such a douche bag.</dialogue> </scene> <scene> <stage_direction>EXT. CLARK SECONDARY OVAL RUNNING TRACK - DAY</stage_direction> <scene_description>BIRD 'S EYE VIEW OF A P.E. CLASS There are 30 guys standing behind the starting line of the school 's track . We hear a TEACHER yell `` Go ! '' and the boys start running . We FOLLOW them from above . All the boys keep pretty much the same pace except for one runner who slowly lags behind . The group gets so far ahead of the him that he is alone in the frame . He stops . Kneeling on the track breathing heavily . It 's Seth .</scene_description> <character>SETH</character> <parenthetical>( panting . )</parenthetical> <dialogue>This. is. bullshit.</dialogue> <scene_description>A moment later a KID with prosthetic leg jogs by .</scene_description> <character>KID</character> <parenthetical>( as he passes Seth . )</parenthetical> <dialogue>Poo - say.</dialogue> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CLASSROOM - DAY</stage_direction> <scene_description>Evan is sitting in math class staring at HELEN 'S breasts . She ` s a very tall girl and is athletic in a sexy way , wearing volleyball team sweat pants and a tank top . He looks up from her breasts to her face : she is staring right at him . He immediately looks to the front of the class , embarrassed . The bell rings and everyone leaves . Helen walks up to Evan as they enter the hallway . He 's really nervous . She offers him a pen .</scene_description> <character>HELEN</character> <dialogue>Hey Evan, thanks for the pen.</dialogue> <character>EVAN</character> <dialogue>Oh, do n't worry, no worries. Just keep it. Then you'll just have it, and you wo n't have to borrow another pen.</dialogue> <character>HELEN</character> <dialogue>Thanks. uh. I was going to ask you, did you hear about Terry's grad party? It's going to be so insane.</dialogue> <character>EVAN</character> <dialogue>Yeah, it's a maybe. But, you know, I got ta, I got my. there's so much other fun shit that is going to be going on that night. so, you know.</dialogue> <character>HELEN</character> <dialogue>Fun shit? But I, like, never see you at any parties or anything.</dialogue> <character>EVAN</character> <dialogue>Because of all the other fun shit I'm off doing.</dialogue> <character>HELEN</character> <parenthetical>( playful . )</parenthetical> <dialogue>Okay. So why were n't you at Dimitri's party on Saturday?</dialogue> <character>EVAN</character> <dialogue>Dimitri's? I uh. did n't want to go, because, well, I did other stuff. Saturday.</dialogue> <parenthetical>( nervous , he desperately thinks . )</parenthetical> <dialogue>Oh yeah! Saturday night was awesome!</dialogue> <scene_description>-LRB- The real version of Evan 's story is shown through a montage of quick flashbacks . -RRB-</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D ; V.O . )</parenthetical> <dialogue>First my parents went out to a double feature, so a bunch of people came over.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S HOUSE - NIGHT</stage_direction> <scene_description>Seth is there . Evan and him are surfing the Bang Bus web site . FOGELL arrives with a bottle of Sambuca . Fogell is one of those seniors who looks like he 's thirteen years old .</scene_description> <character>EVAN</character> <dialogue>and we had a couple drinks in my basement.</dialogue> <scene_description>An empty bottle of Sambuca in front of them and empty beer cans at their feet , the three boys each shotgun a beer .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D ; V.O . )</parenthetical> <dialogue>and Seth's parents were having this cocktail party, and we went over there to, like, mingle.</dialogue> </scene> <scene> <stage_direction>INT SETH'S HOUSE - NIGHT</stage_direction> <scene_description>Seth 's parents are having a fancy cocktail party . The boys are drunk as hell .</scene_description> <character>EVAN</character> <dialogue>and there were actually some really interesting and, like, entertaining people there.</dialogue> <scene_description>The boys laugh hysterically as they each shake Tobassco Sauce onto their tongues . They writhe around in agony as several adults look at them like they are morons .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D ; V.O . )</parenthetical> <dialogue>and, uh, then we saw some, uh, live music.</dialogue> </scene> <scene> <stage_direction>INT. SETH'S HOUSE - BASEMENT - NIGHT</stage_direction> <scene_description>In Seth 's basement , the boys violently wrestle . Evan gives Fogell a bloody nose , but they all ca n't help but laugh .</scene_description> <character>EVAN</character> <dialogue>then we went to a club downtown.</dialogue> </scene> <scene> <stage_direction>EXT. STRIP CLUB - NIGHT</stage_direction> <scene_description>The bouncer of a dirty strip club rejects them .</scene_description> <character>EVAN</character> <dialogue>and then we pretty much called it a night and went home.</dialogue> </scene> <scene> <stage_direction>INT. TBD HOUSE - NIGHT</stage_direction> <scene_description>Evan pukes all over Seth . Evan and Fogell laugh hysterically as Seth yells at them .</scene_description> </scene> <scene> <stage_direction>INT. CLARK SECONDARY HALLWAY - DAY</stage_direction> <scene_description>We return to Evan talking to Helen in the halls .</scene_description> <character>EVAN</character> <dialogue>you would've loved it.</dialogue> <character>HELEN</character> <dialogue>That sounds so fun. I would love to go do something like that.</dialogue> <character>EVAN</character> <dialogue>Yeah. well, you know, me and Seth are always cooking up. uh. fun little. events.</dialogue> <scene_description>Helen is disappointed in his response .</scene_description> <character>HELEN</character> <dialogue>So, are you guys going to the same school next year?</dialogue> <character>EVAN</character> <dialogue>Nah. We were going to but, uh, we got into different ones.</dialogue> <character>HELEN</character> <dialogue>What are you going to do without him?</dialogue> <character>EVAN</character> <dialogue>Same shit I've always been doing. It'll be fine. Do n't worry about it. I'm not.</dialogue> </scene> <scene> <stage_direction>INT. FOODS AND NUTRITION ROOM - NEXT PERIOD</stage_direction> <scene_description>Students file into the home economics room . The blackboard reads , TODAY : TIRAMISU . The ingredients are listed below . Seth is talking to the cooking teacher .</scene_description> <character>SETH</character> <dialogue>Mrs. Grier, I joined this class because I thought I'd be cooking with a partner. It's not fair. She's never here. I do n't get twice the marks for doing all the work.</dialogue> <character>MRS. GREIR</character> <dialogue>I did n't invent odd numbers, Seth.</dialogue> <character>SETH</character> <dialogue>Look at Evan.</dialogue> <scene_description>Evan is playfully throwing flour at a tiny Japanese boy . They both laugh hard .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>While I'm over in my unit, isolated and alone, eating my terrible - tasting food because I ca n't even properly mix ingredients by myself, I got ta look over at that.</dialogue> <scene_description>The Japanese boy ties Evan 's apron . Evan then turns around and ties the boy 's apron . They both look happy .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I wash and dry. And that is B.S. I'm like a single mother.</dialogue> <character>MRS. GREIR</character> <dialogue>Well, save it for next week. Today Jules' partner is n't here either. Pair up with her. Station four.</dialogue> <character>SETH</character> <dialogue>Jules?</dialogue> <scene_description>The teacher walks away . Seth looks over to station four , nervous as hell . ANGLE ON : Jules , well - dressed and `` popular '' looking . She stands alone at station four , laying out utensils . Seth musters his courage and walks towards Jules . He stops , unsure of what to say .</scene_description> <character>JULES</character> <dialogue>Hey Seth, your partner did n't come again?</dialogue> <character>SETH</character> <dialogue>That's kind of a personal question.</dialogue> <character>JULES</character> <dialogue>What?</dialogue> <character>SETH</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Nothing. It was my attempt at humour.</dialogue> <character>JULES</character> <dialogue>Well, uh, maybe I kidnapped her so you'd be forced to work with me. There's my attempt at humour.</dialogue> <character>SETH</character> <dialogue>Well, I would call that a success.</dialogue> <parenthetical>( reading recipe sheet . )</parenthetical> <dialogue>Marscampone. scamponee cheese? Is that some kind of new cheese or something?</dialogue> <character>JULES</character> <dialogue>All cheese tastes the same to me anyway.</dialogue> <character>SETH</character> <dialogue>Except blue cheese. That stuff is sick.</dialogue> <character>JULES</character> <dialogue>Thank you! Yes! My older brother always eats blue cheese. You know that stuff is actually moldy. Like, they tell you it's moldy, then they tell you to eat it anyway.</dialogue> <character>SETH</character> <dialogue>Well whoever `` they'' are, they can eat my dick.</dialogue> </scene> <scene> <stage_direction>INT. FOODS AND NUITRITION ROOM - LATER</stage_direction> <scene_description>Jules watches as Seth awkwardly removes the tiramisu from the oven and places it on the table .</scene_description> <character>JULES</character> <dialogue>What are you doing tonight?</dialogue> <character>SETH</character> <dialogue>I do n't know, probably nothing. Why?</dialogue> <character>JULES</character> <dialogue>My parents are out of town and I'm thinking of having a party. I do n't know how big it'll be, but you should come anyways.</dialogue> <character>SETH</character> <dialogue>Yeah. Sure. That sounds fun. I love parties.</dialogue> <character>JULES</character> <dialogue>Really? I do n't usually see you at them.</dialogue> <character>SETH</character> <dialogue>Oh, uh. It's more of, like, a love - hate thing. Right now I love them, though. Uh. how do I do this?</dialogue> <character>JULES</character> <dialogue>I'll write down my address and number.</dialogue> <scene_description>ANGLE ON : Evan . Evan is standing by the sink scrubbing a tray . Behind him , at the table , is the small Japanese boy eating the tiramisu .</scene_description> <character>EVAN</character> <dialogue>That's good shit. Huh, Miroki?</dialogue> <scene_description>Seth walks up to Evan .</scene_description> <character>SETH</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Dude! She's havin' a fuckin' party.</dialogue> <scene_description>ANGLE ON : Fogell entering the room</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispering . )</parenthetical> <dialogue>Do n't tell Fogell about the party.</dialogue> <character>FOGELL</character> <dialogue>Hey guys, I was walking here, and on the way, I saw Nicola, and she was wearing these tight white pants and a black g - string and you could see it right through the pants.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY (FLASHBACK) - EARLIER</stage_direction> <scene_description>We see Fogell , looking at the ass of NICOLA , an incredibly hot girl who exudes sexual vibes and looks a little skanky ; you can see her black g - string through her tight white pants . She turns and notices Fogell . He gives an awkward look .</scene_description> <character>FOGELL</character> <dialogue>It's nine thirty.</dialogue> <character>NICOLA</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. FOODS AND NUITRITION ROOM (PRESENT) - CONTINUOUS</stage_direction> <scene_description>Back to Fogell , Seth and Evan .</scene_description> <character>FOGELL</character> <dialogue>I told her what time it was. It was awesome. She's got the nicest ass.</dialogue> <character>SETH</character> <dialogue>Like you'd know what to do with it.</dialogue> <character>FOGELL</character> <dialogue>Ha ha. I'm really gon na miss your knee - slappers when me and Evan are at State.</dialogue> <character>SETH</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Yeah, well I'll be at Junior college where the girls are half as smart, and thus twice as likely to blow me.</dialogue> <character>FOGELL</character> <dialogue>What are you guys doing tonight?</dialogue> <character>SETH</character> <dialogue>Nothing. Sorry. You'll just have to fingerbang yourself.</dialogue> <character>EVAN</character> <parenthetical>( to Fogell . )</parenthetical> <dialogue>What you doing?</dialogue> <character>FOGELL</character> <dialogue>Well, Seth always said I was too much of a pussy, but he was wrong. It's been arranged. At lunch, I'm going to the same place Mike Snider went to pick up my brand new false identification card.</dialogue> <character>SETH</character> <dialogue>Dude! That's perfect, ` cause, Evan, did n't you just say that you heard about a party?</dialogue> <character>FOGELL</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>Why did n't you tell me?</dialogue> <character>SETH</character> <dialogue>Shut up. Who cares? Just be happy he told. And hey! Now you can buy the booze.</dialogue> <character>FOGELL</character> <dialogue>Sounds cool. Cool.</dialogue> <character>MRS. GREIR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>If you're not in this class, leave this class!</dialogue> <character>EVAN</character> <dialogue>Well done, man. We'll see you after class.</dialogue> <scene_description>Fogell leaves .</scene_description> <character>SETH</character> <dialogue>Did you tell that nimrod you're not going to room with him?</dialogue> <character>EVAN</character> <dialogue>Uh. no, not yet.</dialogue> <character>SETH</character> <dialogue>You better, man. That guy is a poon - tang repellent.</dialogue> <scene_description>Seth sees Jules coming .</scene_description> <character>JULES</character> <dialogue>Seth, dishes time. What's the hold up?</dialogue> <character>SETH</character> <dialogue>We're getting a fake ID.</dialogue> <character>JULES</character> <dialogue>Well, you two have four more years to cuddle, so let's get to work.</dialogue> <character>EVAN</character> <dialogue>Actually, we're going to different schools.</dialogue> <character>JULES</character> <dialogue>Really? You're cutting the cord? What's going to happen?</dialogue> <character>SETH</character> <dialogue>Nothing! Jesus.</dialogue> <character>EVAN</character> <dialogue>Yeah? What do people think is gon na happen? That's what I do n't get.</dialogue> <character>SETH</character> <dialogue>We're not, like, dependent on each other.</dialogue> <character>EVAN</character> <dialogue>We met when we were 8, we were fine before then. It's not like we do everything together.</dialogue> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CAFETERIA - DAY</stage_direction> <scene_description>Seth and Evan are eating together .</scene_description> <character>EVAN</character> <dialogue>So it looks like we get a little graduation party after all.</dialogue> <character>SETH</character> <dialogue>I would do terrible things to get with Jules tonight. Terrible things.</dialogue> <character>EVAN</character> <dialogue>No shit. I'd give my left foot to start dating Helen. She's killin' me.</dialogue> <character>SETH</character> <dialogue>Ah, Helen's a bitch.</dialogue> <scene_description>Evan slams his fist on the table .</scene_description> <character>EVAN</character> <dialogue>I'm fuckin' sick of this shit, man! Seriously. Why do you hate her? Is there even an actual reason? Because seriously, I'm beginning you think you like her.</dialogue> <character>SETH</character> <dialogue>Hell no! I hate her.</dialogue> <character>EVAN</character> <dialogue>Why?</dialogue> <character>SETH</character> <dialogue>I was never going to tell you this story, because I knew that if you heard it you would never want to get with Helen, but over the last few weeks I've been having a hard time thinking of a reason not to. So, here it is. Helen and I went to elementary school together, right?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Well, in the third grade, I had. like. an odd problem. For some reason, I do n't know why, I used to have this thing. where I would. like, kinda. sit around all day and draw pictures of dicks.</dialogue> <character>EVAN</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT/EXT VARIOUS LOCATIONS</stage_direction> <scene_description>A MONTAGE of FLASHBACKS of YOUNG SETH -LRB- Age 10 -RRB- drawing pictures of dicks in various places . A PARK , AT HOME , IN A SANDBOX , and finally , in a SCHOOL CLASSROOM .</scene_description> <character>SETH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'd just sit there for hours on end drawing dicks. I do n't know what it was. I could n't touch the pen to paper without it drawing a penis.</dialogue> <character>EVAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That's fucked.</dialogue> <character>SETH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No shit that's fucked up. Here I am this little kid who ca n't stop drawing dicks to save his life.</dialogue> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CAFETERIA -PRESENT</stage_direction> <character>EVAN</character> <dialogue>What does that have to do with Helen?</dialogue> <character>SETH</character> <dialogue>Just listen.</dialogue> </scene> <scene> <stage_direction>INT. RANDOLPH ELEMENTARY CLASSROOM -FLASHBACK</stage_direction> <scene_description>Young Seth is still sitting at his desk drawing penises .</scene_description> <character>SETH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I was very secretive about this dick thing I had going, after all, even I thought I was a loon, lord knows what other people would have thought. So I would take all my dick drawings and stick them in this Muppet lunch - box I had.</dialogue> <scene_description>We see Young Seth sticking a picture of a penis in a lunch - box filled with pieces of paper .</scene_description> </scene> <scene> <stage_direction>INT. RANDOLPH ELEMENTARY CLASSROOM - DAY</stage_direction> <scene_description>Young Seth is drawing , however it is a different day .</scene_description> <character>SETH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So one day I was finishing up a picture of a real big and veiny bastard, when all of a sudden.</dialogue> <scene_description>Young Seth drops the picture of the dick off his desk . It floats down and hits the feet of a cute little girl , YOUNG HELEN .</scene_description> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CAFETERIA - PRESENT</stage_direction> <character>EVAN</character> <dialogue>You hit Helen's foot with your dick?</dialogue> </scene> <scene> <stage_direction>INT. RANDOLPH ELEMENTARY CLASSROOM - MOMENTS LATER</stage_direction> <scene_description>The little girl picks up the picture and looks at it with a truly disturbed look on her face . Young Seth grabs the picture from her and shoves it into his lunch - box .</scene_description> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CAFETERIA - PRESENT</stage_direction> <character>SETH</character> <dialogue>Well she fucking flipped. She started crying and shit. Ratted me out. The principle finds my cock - Muppet lunch - box, and he fucking flips.</dialogue> </scene> <scene> <stage_direction>INT. RANDOLPH ELEMENTARY PRINCIPLE'S OFFICE - DAY</stage_direction> <scene_description>A FLASHBACK of Young Seth sitting in the principle 's office . The Muppet lunch - box is open and the penis drawings are completely covering his desk .</scene_description> <character>SETH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It turns out the principle was some crazy religious guy and he thought I was possessed by some dick devil or something.</dialogue> <scene_description>The principal puts his hand on Seth 's head and begins praying for his soul .</scene_description> </scene> <scene> <stage_direction>INT. CLARK SECONDARY CAFETERIA - PRESENT</stage_direction> <character>SETH</character> <dialogue>So, he calls my parents and they make me go to a psychologist who kept asking me all these dick questions. My parents would n't even let me eat dick - shaped foods for, like, months! No carrots, no Pop - sicles, no hot - dogs. You know how many fucking foods are shaped like dick?</dialogue> <character>EVAN</character> <parenthetical>( half amazed , half amused . )</parenthetical> <dialogue>Wow. That's really messed up.</dialogue> <character>SETH</character> <dialogue>I ca n't even stand to look at her punk face.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'm going to go take a piss. Peace.</dialogue> </scene> <scene> <stage_direction>INT. CLARK SECONDARY BATHROOM - LATER</stage_direction> <scene_description>Seth finishes his piss . He goes over to the sink , looks at it for a moment , then walks out of the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. CLARK SECONDARY HALLWAY - CONTINUOUS</stage_direction> <scene_description>Just as Seth turns the corner he sees Jules , Nicola , and SHIRLEY standing by their lockers . Jules spots Seth .</scene_description> <character>JULES</character> <dialogue>Seth. There you are.</dialogue> <scene_description>Jules turns and says goodbye to Nicola , who walks away . Jules and Shirley turn to meet Seth .</scene_description> <character>SETH</character> <dialogue>Hey. Here I am.</dialogue> <character>JULES</character> <dialogue>So you're coming to my party, right? It's fully on.</dialogue> <character>SETH</character> <dialogue>Yeah. Why? Should I not?</dialogue> <character>JULES</character> <dialogue>No, no, no. I really want you to come. But. uh, you did say you were getting a fake ID or something, is that right?</dialogue> <character>SETH</character> <dialogue>Very right. Right. I'm getting that.</dialogue> <character>SHIRLEY</character> <dialogue>Can you get us drinks?</dialogue> <character>SETH</character> <dialogue>Ummm. I do n't know. I. think. maybe.</dialogue> <character>JULES</character> <parenthetical>( half joking . )</parenthetical> <dialogue>Come on, you scratch our backs, we'll scratch yours.</dialogue> <character>SETH</character> <dialogue>Well, funny thing about my back. It's located on my cock.</dialogue> <scene_description>Shirley is offended . Jules laughs a little . Seth laughs too hard .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ha! Alright, sure. I can do that. What do you guys want?</dialogue> <character>JULES</character> <dialogue>Well, this is actually, like, a big favor, but, well, my parents gave me like a hundred bucks to feed myself for the week, but the house if full of food, so I figure I should just spend all of it on extra drinks for the party.</dialogue> <character>SETH</character> <dialogue>Wow. I would never even think of doing something that nice.</dialogue> <scene_description>Jules hands Seth a hundred dollars .</scene_description> <character>JULES</character> <dialogue>Well, this is really nice of you. I mean, I really appreciate this.</dialogue> <scene_description>Seth ca n't believe what he 's hearing . He can barely contain his smile .</scene_description> <character>SETH</character> <dialogue>Should I just get, like, a shitload of different shit?</dialogue> <character>JULES</character> <dialogue>Whatever shit you think people would like, I do n't really know.</dialogue> <character>SHIRLEY</character> <dialogue>I want Mike's Hard Lemonade.</dialogue> <character>JULES</character> <dialogue>Okay. I'll see you tonight.</dialogue> <character>SETH</character> <dialogue>Yeah! I'll see you!</dialogue> <scene_description>The girls walk off , leaving Seth lost in thought . He suddenly runs down the hall .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL FIELD - MOMENTS LATER</stage_direction> <scene_description>Evan is standing alone amidst the rest of his gym class as they play soccer .</scene_description> <character>GYM TEACHER</character> <dialogue>Evan, get into the game.</dialogue> <scene_description>Evan says nothing and the teacher soon redirects his attention elsewhere . Evan sees Seth jogging towards him .</scene_description> <character>SETH</character> <parenthetical>( out of breath , worked up . )</parenthetical> <dialogue>Man, just - Evan, listen to me. You know Jules? You know what she just did? She came up to me and asked me if I would buy her alcohol. Not just her, her whole party. Do you know what that means? It means that by some miracle, we were paired up, we talked, and she actually thought of me afterwards. Thought of me enough to decide that I was the guy that she was going to trust the fun - ness of her party with. She wants me! She fucking wants my dick!</dialogue> <character>EVAN</character> <dialogue>Did you ever think maybe she's just using you to get her alcohol?</dialogue> <character>SETH</character> <dialogue>Of course I thought of that! LISTEN TO THIS!</dialogue> </scene> <scene> <stage_direction>INT. FOODS AND NUITRITION ROOM (FLASHBACK)</stage_direction> <scene_description>The same scene as before with Seth and Jules in class .</scene_description> <character>JULES</character> <dialogue>Yeah! My older brother always eats blue cheese. You know that stuff is actually moldy.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL FIELD - PRESENT</stage_direction> <character>SETH</character> <dialogue>She has an older brother! She could have asked him, but she asked me! She looked me straight in the face and asked me. She wants to fuck me, man. Do you understand that? Fucking! Today is the day that fucking has become possible.</dialogue> <character>EVAN</character> <dialogue>Are you stupid? You're not going to be able to sleep with her tonight.</dialogue> <character>SETH</character> <dialogue>She's going to be at the party, she's gon na be drunk, and she likes me at least a little, so I can get with her. Then, I make her my girlfriend, and then I fuck her all summer long! Then, by the time college rolls around, I'm the fuckin' fucking master, man!</dialogue> <character>EVAN</character> <dialogue>Make her your girlfriend? Of course! That's good. So, hypnosis, love potion, or mind - control helmet?</dialogue> <character>SETH</character> <dialogue>Once I've gotten with her, I write her love letters, flowers, I'll do anything - I'll be the most pussy - whipped guy in the universe - what chick would n't go out with a guy like that?</dialogue> <scene_description>The soccer ball rolls towards them . They both watch as it rolls by .</scene_description> <character>CLASSMATE</character> <dialogue>What the hell, Evan?</dialogue> <scene_description>Evan shrugs back .</scene_description> <character>CLASSMATE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck you, man.</dialogue> <character>SETH</character> <dialogue>Fuck off, Greg. Why do n't you piss your pants again?</dialogue> <character>CLASSMATE</character> <dialogue>That was, like, eight years ago, asshole!</dialogue> <scene_description>He runs off .</scene_description> <character>SETH</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>Wan na hear the best part?</dialogue> <character>EVAN</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Oh, I have n't?</dialogue> <character>SETH</character> <dialogue>Helen!</dialogue> <scene_description>Evan looks upset , assuming that Seth is about to trash - talk Helen , as usual .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do the same thing, man! Buy Helen her alcohol. Then, tonight, when you guys are both drunk, get with her! This is the last party we're ever going to go to as high school people! I've fully ignored my hatred for Helen in coming up with this, which is a big ass deal. We need to stop being pussy and for once just goes balls out, man!</dialogue> <scene_description>Evan seems to be swayed .</scene_description> <character>EVAN</character> <dialogue>I should get Helen alcohol?</dialogue> <character>SETH</character> <dialogue>Of course! It'll be pimp, and then you know she'll be drunk.</dialogue> <character>EVAN</character> <dialogue>Have you talked to Fogell?</dialogue> <character>SETH</character> <dialogue>You talk to Helen, I'll find that retard Fogell.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - LATER</stage_direction> <scene_description>Everyone is rushing to class . Evan hurries through the halls and finds Helen at her locker .</scene_description> <character>EVAN</character> <dialogue>Hey Helen! Hold up. Did you hear about the party tonight?</dialogue> <character>HELEN</character> <dialogue>Yeah, I just heard. It sounds sweet. You're not coming, are you?</dialogue> <character>EVAN</character> <dialogue>No, no, I am. That's why I came looking for you. Me and some guys are going to the liquor store after class, so I was thinking I could buy you yours, if you needed someone to.</dialogue> <character>HELEN</character> <dialogue>Yeah! That'd be great, that'd save me such a hassle, cause I was going to beg my sister, but yeah, could you get me, like, a bottle of Goldschlager? I'll pay you back tonight.</dialogue> <character>EVAN</character> <dialogue>You will absolutely not. It's my treat.</dialogue> <character>HELEN</character> <dialogue>Wow. Thanks, Evan.</dialogue> <scene_description>Evan swings a friendly little punch at Helen 's shoulder , but someone walks into him , causing him to nail her in directly in the tit !</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey! You punched my tit!</dialogue> <character>EVAN</character> <parenthetical>( mortified . )</parenthetical> <dialogue>I'm sorry! Shit, shit. I'm so sorry! I just wanted to give you a friendly nudge in the arm, you know? I'm so sorry.</dialogue> <character>HELEN</character> <parenthetical>( giggling . )</parenthetical> <dialogue>Do n't worry about it. So I'll see you at the party?</dialogue> <character>EVAN</character> <dialogue>Yeah. I'll see you then. I'm so sorry about that.</dialogue> </scene> <scene> <stage_direction>EXT. CLARK SECONDARY - CONTINUOUS</stage_direction> <scene_description>Seth is waiting angrily in front of the school . Evan comes out the front doors .</scene_description> <character>SETH</character> <dialogue>That douche bag is n't back yet, I've been standing here with my thumb up my ass.</dialogue> <character>EVAN</character> <dialogue>I did it, dude. I even offered to pay for it. It was pimp.</dialogue> <character>SETH</character> <dialogue>Whoa. That is fucking pimp. Why did n't I do that? Shit.</dialogue> <scene_description>The bell rings .</scene_description> </scene> <scene> <stage_direction>INT. WOODSHOP CLASS - CONTINUOUS</stage_direction> <scene_description>Seth and Evan work side by side in the woodshop .</scene_description> <character>SETH</character> <parenthetical>( yelling over the machines . )</parenthetical> <dialogue>That's what we get for trusting a mental midget! He's fucking it all up! I bet he pussied out, just like I said he would!</dialogue> </scene> <scene> <stage_direction>EXT. CLARK SECONDARY - AFTER SCHOOL</stage_direction> <scene_description>Seth and Evan walk out the front door .</scene_description> <character>SETH</character> <dialogue>I mean, what are we going to tell the girls? `` Sorry, we could n't do what we promised because we're dickless incompetents!'' We'll never get laid because of that little ass - fuck. How did he get in to State?! He's got shit for brains! Shit! How else can we get liquor?</dialogue> <character>FOGELL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey guys!</dialogue> <scene_description>Seth and Evan turn around to see Fogell running after them .</scene_description> <character>EVAN</character> <dialogue>Where have you been?</dialogue> <character>SETH</character> <dialogue>Yeah! You almost gave me a goddamn heart attack! You better fucking have it, where is it?</dialogue> <character>FOGELL</character> <dialogue>I got it. It's flawless! It's great, man, look.</dialogue> <scene_description>Fogell reaches into his pocket and pulls out the fake ID . Evan grabs it .</scene_description> <character>EVAN</character> <parenthetical>( reading the card . )</parenthetical> <dialogue>Okay Mr. `` McLovin''? What kind of a stupid name is that? What are you trying to be, an Irish R&amp;B singer?</dialogue> <character>FOGELL</character> <dialogue>Well, they let you pick any name you want when you get there.</dialogue> <character>SETH</character> <dialogue>So you picked McLovin?</dialogue> <character>FOGELL</character> <dialogue>It was between that or Muhammad.</dialogue> <character>SETH</character> <dialogue>Why was it between that or Muhammad? Why did n't you just pick a common name?</dialogue> <character>FOGELL</character> <dialogue>Actually, Seth, Muhammad is the most commonly used name on earth.</dialogue> <character>EVAN</character> <dialogue>Have you ever actually met a guy named Muhammad?</dialogue> <character>FOGELL</character> <dialogue>Have you actually ever met a guy named McLovin?</dialogue> <character>SETH</character> <dialogue>No! That's why you picked a bad name.</dialogue> <character>EVAN</character> <dialogue>You probably have federal agents tracking you for even considering the name Muhammad on a fake ID!</dialogue> <character>SETH</character> <dialogue>Look at this shit man, you do n't even have a first name. It just says `` NAME : MCLOVIN''</dialogue> <character>EVAN</character> <dialogue>One name?</dialogue> <character>FOGELL</character> <dialogue>I just thought McLovin sounded old, and the chicks would dig it.</dialogue> <character>EVAN</character> <dialogue>Under what circumstances would you ever have to show a chick your ID?</dialogue> <character>FOGELL</character> <dialogue>She could ask. Or, I could just show it to her.</dialogue> <character>SETH</character> <dialogue>Holy shit! I do n't believe this. This says you're fucking 25! Why did n't you just put 21?</dialogue> <character>FOGELL</character> <dialogue>I knew you would ask that. Look, every day, dozens of kids roll into the liquor store with fake ID's trying to act like Joe Casual. Each and every one of these kids just so happens to be 21 years old. Just how many 21 year - olds do you think there are?</dialogue> <character>SETH</character> <dialogue>Fool!</dialogue> <character>EVAN</character> <dialogue>Calm down! It's not terrible! This might work, but it's up to you, Fogell. They'll either think, `` Oh, it's another punk kid with a fake ID.'' Or, `` Look, it's McLovin, the twenty five year - old organ donor''. What's it gon na be?</dialogue> <scene_description>Fogell takes a deep breath .</scene_description> <character>FOGELL</character> <dialogue>I am McLovin.</dialogue> <character>SETH</character> <dialogue>You're not McLovin. No one's McLovin and this is never going to work. We need a new way to get alcohol. Could we drive to Canada or something?</dialogue> <character>FOGELL</character> <dialogue>I still think it's going to work.</dialogue> <scene_description>They walk into the staff parking lot . Seth stops .</scene_description> <character>SETH</character> <dialogue>What the fuck? Where's my car?</dialogue> <character>EVAN</character> <dialogue>I told you, man! What did I say? I told you that was a dumb idea.</dialogue> <character>FOGELL</character> <dialogue>Why would you park in the staff -</dialogue> <character>SETH</character> <dialogue>Shut up, Fogell.</dialogue> <character>FOGELL</character> <dialogue>` Cause you're not staff.</dialogue> <character>SETH</character> <dialogue>I am aware of that, Fagell.</dialogue> <scene_description>Seth storms off . Evan follows him .</scene_description> <character>FOGELL</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Will you still pick me up from work?</dialogue> <scene_description>Evan and Seth round the corner , leaving Fogell behind .</scene_description> <character>SETH</character> <dialogue>Let's go to your house.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S BEDROOM - SOON AFTER</stage_direction> <scene_description>Seth puts on a shirt that is way too small and he 's wearing pants that are too tight . Evan is playing the video game Grand Theft Auto .</scene_description> <character>SETH</character> <dialogue>Now we wait for your Mom to piss off and steal your parents' booze like your brother always does. Take a bit from every bottle. Piece of cake. It's not exactly what Jules wanted, but it'll do, right?</dialogue> <character>EVAN</character> <dialogue>Come on! Just wear what you wore to school.</dialogue> <character>SETH</character> <dialogue>I told you I ca n't do that. I ca n't let Jules see me in the same shit I wore at school. It's completely unbecoming.</dialogue> <character>EVAN</character> <dialogue>Why do n't you just go to your house and get your own clothes? ` Cause this is stupid.</dialogue> <character>SETH</character> <dialogue>You're stupid! I ca n't go home. Then my mom will know the car got towed and I'll be grounded tonight. I'll just stay here all weekend and pick it up on Monday.</dialogue> <character>EVAN</character> <parenthetical>( RE : video game . )</parenthetical> <dialogue>Where the fuck is the dirt bike?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Ah, screw it. I'm just gon na kill everyone. Boom! Die, piggies!</dialogue> <character>SETH</character> <dialogue>Do n't you have bigger clothes?</dialogue> <character>EVAN</character> <dialogue>See what my dad's got.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S HOUSE - PARENTS ROOM - SOON AFTER</stage_direction> <scene_description>Seth is wearing Evan 's Dad 's clothes : a 70s style cowboy shirt , just barely pulling it off , as well as slacks .</scene_description> <character>SETH</character> <dialogue>Not bad, eh?</dialogue> <character>EVAN</character> <dialogue>It's, like, 7:30 and my Mom's still here.</dialogue> <character>SETH</character> <dialogue>Alright, here's what we'll do. I'll fuck your Mom in the basement while you steal the liquor.</dialogue> <character>EVAN</character> <dialogue>Fuck you, asshole. Let's just sneak down there and grab it.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S HOUSE - LATER</stage_direction> <scene_description>Evan and Seth , carrying an empty two liter bottle of Coke , cautiously descend the creaking staircase . Their eyes watch the TV room , where Evan 's mom is on the phone . The boys enter the dining room and cautiously open the liquor cabinet . Seth enthusiastically reaches for a bottle .</scene_description> <character>SETH</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Alright, dude. Get ready to receive.</dialogue> <scene_description>Evan begins unscrewing his bottle , when he notices a little black line marking where the liquor bottle is filled to . Then , he realizes that every bottle has it .</scene_description> <character>EVAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>I ca n't believe it. They marked them.</dialogue> <character>SETH</character> <parenthetical>( whispering . )</parenthetical> <dialogue>What do you mean they. oh, man! Your parents are fuckers. What do we do now?</dialogue> <character>EVAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Shh! We. we. take some and fill it back up with water. Get ready, I'll get water.</dialogue> <scene_description>Evan hurries off . Seth looks at the liquor cabinet , trying to choose the best booze . He grabs a massive bottle of gin . Evan reappears .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispering . )</parenthetical> <dialogue>Gin? That stuff is literally undrinkable.</dialogue> <character>SETH</character> <parenthetical>( whispering . )</parenthetical> <dialogue>It's the biggest bottle, you douche. Just do it! She's right in the other room!</dialogue> <scene_description>Evan reluctantly holds an empty Coke bottle as Seth shakily pours the gin in . Evan starts refilling the gin bottle with water , when suddenly they both hear his mom coming .</scene_description> <character>EVAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Run!</dialogue> <character>SETH</character> <parenthetical>( whispering . )</parenthetical> <dialogue>But, the booze?</dialogue> <character>EVAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Take it!</dialogue> <scene_description>Seth runs off with the gin and Coke bottle . Evan quickly closes the cabinet and sneaks off right before his mom enters . Through the window she see 's that Seth is already on the front lawn and thinks nothing of it .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Bye, Mom! Love you.</dialogue> <character>EVAN'S MOM</character> <dialogue>Love you, sweety.</dialogue> <scene_description>Evan leaves .</scene_description> </scene> <scene> <stage_direction>EXT. EVAN'S HOUSE - FRONT LAWN</stage_direction> <scene_description>Evan and Seth triumphantly walk away . Seth holds up the gin .</scene_description> <character>SETH</character> <dialogue>Look at this mother. Smell it's glory.</dialogue> <scene_description>He opens it up and takes a whiff .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mmm. It's good. Barely a scent.</dialogue> <scene_description>He takes a crazy big swig .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See that? I always said I had the highest alcohol tolerance. I'm like Superman.</dialogue> <scene_description>Seth taste another swig , but makes a strange face . Evan grabs the bottle and takes a swig .</scene_description> <character>EVAN</character> <dialogue>It's fucking water!</dialogue> <character>SETH</character> <dialogue>Water?</dialogue> <parenthetical>( drinks again . )</parenthetical> <dialogue>Fuck. Your brother beat us to the punch. We have to go back!</dialogue> <character>EVAN</character> <dialogue>We ca n't go back! She totally knew, she'll bust us for sure, and we have to meet Fogell.</dialogue> <character>SETH</character> <dialogue>Well, fuck. fine. Text your brother he's a stupid piece of crap.</dialogue> <scene_description>Evan pulls out his cell and chuckles as he types .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPWELLS - DUSK</stage_direction> <scene_description>Evan and Seth walk off the bus . They see Fogell walking towards them . He 's in his uniform holding a hanger with a shirt and a vest .</scene_description> <character>SETH</character> <dialogue>What the hell is that?</dialogue> <character>FOGELL</character> <dialogue>A vest.</dialogue> <character>SETH</character> <dialogue>You're gon na look like a Pinocchio.</dialogue> <character>EVAN</character> <dialogue>What? It's just a vest.</dialogue> <character>FOGELL</character> <dialogue>Yeah. How many high schoolers you see in vests?</dialogue> <character>SETH</character> <parenthetical>( eyeing Shopwell 's . )</parenthetical> <dialogue>You know, they got a ton of liquor right in there. If we get it now we can get to the party faster with all of Jules' shit.</dialogue> <character>FOGELL</character> <dialogue>No way! I work there. They know I'm not twenty - five.</dialogue> <character>SETH</character> <dialogue>Nobody said anything about you, dick - mouth. You have one name on your ID. It's out of the equation! And now I'm gon na have to take drastic measures. I'm gon na steal the booze.</dialogue> <character>FOGELL</character> <dialogue>What?! No! Hell no! You ca n't do that!</dialogue> <character>EVAN</character> <parenthetical>( mocking . )</parenthetical> <dialogue>Yeah, right!</dialogue> <character>SETH</character> <dialogue>That's right. And that way I give Jules back her money, like you did with Helen. That was good thinking, that's fucking pimp. That's how you seal a deal. It wo n't be hard. Remember Dan Vertlieb stole a keg from here and he's got, like, really bad scoliosis!</dialogue> <character>EVAN</character> <dialogue>You're not gon na steal it. Fogell, he's not going to steal it.</dialogue> <character>FOGELL</character> <dialogue>Please. Do n't do this! I promise. I'll get the liquor later.</dialogue> <character>SETH</character> <dialogue>I'm stepping up. And once I'm up, I do n't step back down. Maybe you `` State'' boys do n't understand that.</dialogue> <scene_description>Seth walks to the store .</scene_description> </scene> <scene> <stage_direction>INT. SHOPWELL'S - CONTINUOUS</stage_direction> <scene_description>Seth enters the store , looking determined . He spots a SECURITY GUARD standing by one of the registers .</scene_description> <character>SETH</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Hope piggy can run.</dialogue> <scene_description>He walks past the registers , which brings him in front of the long liquor aisle . He surveys the scene . There is an OLD WOMAN browsing the shelves . Seth looks over to the registers .</scene_description> </scene> <scene> <stage_direction>INT. SHOPWELL'S (FANTASY) - EVENING</stage_direction> <scene_description>Seth is at the cash register . He has a huge amount of booze in the conveyor belt .</scene_description> <character>CASHIER</character> <dialogue>How old are you?</dialogue> <character>SETH</character> <dialogue>Twenty two.</dialogue> <character>CASHIER</character> <dialogue>You certainly are. That'll be eighty dollars.</dialogue> <scene_description>Seth hands the cashier a big EIGHTY DOLLAR BILL .</scene_description> <character>SETH</character> <dialogue>Thank you kindly.</dialogue> <character>CASHIER</character> <dialogue>You're welcome, Seth.</dialogue> </scene> <scene> <stage_direction>INT. SHOPWELL'S - CONTINUOUS</stage_direction> <scene_description>Seth , still standing in front of the liquor aisle , shakes his head . He eyeballs the old lady .</scene_description> </scene> <scene> <stage_direction>INT. SHOPWELL'S (FANTASY) - EVENING</stage_direction> <scene_description>The old lady is browsing . She drops her big purse . A hand reaches down and picks it up . It 's Seth .</scene_description> <character>SETH</character> <dialogue>Excuse me, ma'am. You dropped your purse. Would you like me to help you to your car?</dialogue> <character>OLD LADY</character> <dialogue>That would be lovely, young man. Would you like me to buy you alcohol?</dialogue> <character>SETH</character> <dialogue>That would be lovely!</dialogue> </scene> <scene> <stage_direction>EXT. SHOPWELL'S (FANTASY) - MOMENTS LATER</stage_direction> <scene_description>Seth , holding two huge bags of liquor , waves to the Old Lady as she drives away .</scene_description> <character>SETH</character> <dialogue>Enjoy your remaining years!</dialogue> <character>OLD LADY</character> <dialogue>I will. Enjoy fucking Jules!</dialogue> </scene> <scene> <stage_direction>INT. SHOPWELL'S (FANTASY) - CONTINUOUS</stage_direction> <scene_description>Seth shakes his head . He looks down the aisle again , takes a breath and starts walking . He arrives at a fancy looking bottle . He takes it and looks down at it in his hands . A big golden label reads , `` GOLDSCHLAGER . ''</scene_description> <character>SECURITY GAURD</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do n't do it kid.</dialogue> <scene_description>We see that the Security Guard is right behind him . Seth does n't look up , he just stares at the bottle dramatically .</scene_description> <character>SETH</character> <dialogue>I never had a choice.</dialogue> <scene_description>He throws the bottle at the guards face . The guard blocks it with his billy club , grabs another bottle , and hurls it at Seth . Seth dodges it by an inch ; the bottle hits the OLD LADY in the head .</scene_description> <character>OLD LADY</character> <parenthetical>( in agony . )</parenthetical> <dialogue>AAAHHHHH!</dialogue> <scene_description>Before Seth can do anything , the guard smashes a 40 - ounce bottle of beer across his face . The guard SWINGS the broken end of the bottle and cuts Seth 's throat . Blood spurts out . Seth drops his bottles and falls to the ground .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPWELL'S - CONTINUOUS</stage_direction> <scene_description>Evan and Fogell are talking .</scene_description> <character>FOGELL</character> <dialogue>Oh, and, uh, my Mom said we can have the TV from her basement and I've got, like, three lava - lamps and one strobe light, so like, we can have that in the room -</dialogue> <scene_description>Evan sees Seth coming out of Shopwell 's .</scene_description> <character>EVAN</character> <dialogue>Shh. Seth's coming.</dialogue> <character>FOGELL</character> <dialogue>You still did n't tell him we're rooming -</dialogue> <character>EVAN</character> <dialogue>No. Shut up.</dialogue> <character>FOGELL</character> <parenthetical>( to Seth . )</parenthetical> <dialogue>So, where's all the stolen liquor?</dialogue> <character>SETH</character> <dialogue>Fuck you! I was gon na do it, but security was tight as shit. I was gon na do it though, do n't think I was n't. Let's go to the liquor store and try your stupid ID.</dialogue> <scene_description>Seth heads towards the bus stop .</scene_description> <character>FOGELL</character> <dialogue>Wait! I'm gon na put my vest back in my locker!</dialogue> </scene> <scene> <stage_direction>INT. BUS - MOMENTS LATER</stage_direction> <scene_description>MORE MIND - BLOWINGLY BADASS FUNK MUSIC OVER Seth , Evan and Fogell sitting on the bus amidst a bunch of gloomy , unpleasant looking strangers . Nothing happens whatsoever .</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - EVENING</stage_direction> <scene_description>The bus stops in front of the liquor store and the guys get out .</scene_description> <character>EVAN</character> <dialogue>Well, here we are. Fogell, are you ready?</dialogue> <character>SETH</character> <dialogue>Here's the list.</dialogue> <character>FOGELL</character> <dialogue>A list? Why?</dialogue> <character>SETH</character> <dialogue>We're getting girls their booze so they'll get with us. I put a lot of thought into that list. It's the perfect party bar, so do n't mess it up and get Sambuca again.</dialogue> <scene_description>Fogell reads the list . A worried look sweeps across his face .</scene_description> <character>FOGELL</character> <dialogue>Ouzo, Drambuie, Jager, Gold - shlay - ger -</dialogue> <character>EVAN</character> <dialogue>Goldschlager. That's for Helen, so do not forget it.</dialogue> <character>FOGELL</character> <dialogue>- Alize, Captain Morgan Rum, Smirnoff Rasberry and a big ass bottle of Popov -</dialogue> <character>SETH</character> <dialogue>Oh yeah, and Mike's Hard Lemonade.</dialogue> <character>FOGELL</character> <dialogue>This is too much. I ca n't get away with this much!</dialogue> <character>EVAN</character> <dialogue>What's the difference?</dialogue> <scene_description>Seth hands Fogell the money .</scene_description> <character>FOGELL</character> <dialogue>I do n't know, man. I'm getting, like, really nervous.</dialogue> <scene_description>Fogell starts breathing very hard and making an ODD NOISE while doing so .</scene_description> <character>EVAN</character> <dialogue>Are you okay?</dialogue> <character>SETH</character> <dialogue>What the hell are you doing?</dialogue> <character>FOGELL</character> <dialogue>I do n't know if I want to do this.</dialogue> <character>SETH</character> <dialogue>What are you talking about? You just promised you would. What is this shit?</dialogue> <character>FOGELL</character> <dialogue>What if they turn me down?</dialogue> <character>SETH</character> <dialogue>Then we're in the same place that we're in right now!</dialogue> <character>FOGELL</character> <dialogue>It's fucking humiliating! Everyone in the store sees them kicking me out. What if they make me put all the liquor back on the shelf? I ca n't do that!</dialogue> <character>SETH</character> <dialogue>This whole thing is bigger than you, asshead! Just go in there and buy the damn alcohol!</dialogue> <character>FOGELL</character> <dialogue>What if I do n't feel like it anymore?</dialogue> <character>SETH</character> <dialogue>Then I will kill you! How's that? If you do n't buy the alcohol, I will kill you!</dialogue> <character>FOGELL</character> <dialogue>Killing me wo n't get you any alcohol, jerkoff! I'm the one with the ID!</dialogue> <character>SETH</character> <dialogue>Then I will kill you, cut off your ugly face, put it over mine, and buy it my fucking self.</dialogue> <character>FOGELL</character> <dialogue>You do n't have the technology or the steady hands to pull off a procedure like that!</dialogue> <scene_description>Seth stands for a moment , then suddenly rushes Fogell . Evan stands between them and breaks it up .</scene_description> <character>EVAN</character> <dialogue>Seth, calm down! Fogell, stop being a baby and go buy the alcohol! You said you'd do it, so do it. It's why you bought the ID, so just go do it.</dialogue> <character>FOGELL</character> <parenthetical>( beat . )</parenthetical> <dialogue>I'll try.</dialogue> <scene_description>Fogell walks into the store .</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>At first it all seems overwhelming . Fogell is confused , dizzy , and sweating . He steps behind a large beer display and takes a few deep breaths .</scene_description> <character>CLERK</character> <dialogue>Hi there.</dialogue> <scene_description>Fogell flinches , shocked someone spoke to him . He keeps walking . He nears a mother and her 17 year old SON . As Fogell passes them , the son seems to recognize him . Fogell clearly recognizes the son . Their eyes meet . Fogell looks in the opposite direction .</scene_description> <character>SON</character> <dialogue>Fogell?</dialogue> <character>FOGELL</character> <parenthetical>( weird voice , covering his face . )</parenthetical> <dialogue>No.</dialogue> <character>SON</character> <dialogue>Yo, Fogell. ` Sup man. What're you doing here?</dialogue> <character>FOGELL</character> <parenthetical>( weird voice . )</parenthetical> <dialogue>Uh. nothing. Not Fogell.</dialogue> <parenthetical>( whisper . )</parenthetical> <dialogue>Shut up, Moscovitch. You do n't know me.</dialogue> <character>MOSCOVITCH</character> <parenthetical>( knowingly . )</parenthetical> <dialogue>Oh, oh. Cool, cool. Good luck.</dialogue> <scene_description>He puts his head down and quickly walks away . He arrives at the beer and cooler section . Clearly intimidated , he slowly opens a beer fridge . He grabs one beer attached to a six - pack and pulls it forward . The beer comes loose in his hand as the other five fall to the ground , cracking on impact , and spraying beer all over the place . Fogell scrambles to stop the beers from spraying , but soon finds that it is impossible .</scene_description> <character>FOGELL</character> <dialogue>Fuck.</dialogue> <scene_description>A CLERK approaches Fogell .</scene_description> <character>CLERK</character> <dialogue>Is there a problem, sir?</dialogue> <character>FOGELL</character> <dialogue>Umm, nope, no problem whatsoever.</dialogue> <character>CLERK</character> <parenthetical>( pointing to the beer on the floor . )</parenthetical> <dialogue>Sir, did you do this? On the floor?</dialogue> <character>FOGELL</character> <parenthetical>( beat . )</parenthetical> <dialogue>No.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I think it happened before.</dialogue> <scene_description>Fogell is standing in a puddle of beer with beer sprayed all over his legs , holding a can of beer .</scene_description> <character>CLERK</character> <dialogue>Are you sure?</dialogue> <character>FOGELL</character> <dialogue>I think I would know, thank you.</dialogue> <scene_description>Fogell walks away .</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - LATER</stage_direction> <scene_description>Fogell has a shopping cart filled with booze . He gets in line to pay . He looks ahead to the OLD - LOOKING GUY -LRB- 35 -RRB- who is currently at the CASHIER -LRB- woman -RRB- paying .</scene_description> <character>CASHIER</character> <dialogue>Um, yes, may I please see some ID?</dialogue> <character>OLD-LOOKING GUY</character> <dialogue>No problem. Heh. I have n't been ID - ed in years.</dialogue> <character>CASHIER</character> <dialogue>Anyone who looks under thirty - five.</dialogue> <scene_description>The guy looks through his wallet . Fogell nervously watches .</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>Seth and Evan peek through one of the store 's front windows .</scene_description> <character>SETH</character> <dialogue>It's a good ID, right? Mike Snider never had a problem. It's fine. Right?</dialogue> <character>EVAN</character> <dialogue>Calm down.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Did you remember a condom?</dialogue> <character>SETH</character> <dialogue>You brought a condom?</dialogue> <character>EVAN</character> <dialogue>Yeah, I figured, you know, might as well. I brought one of those little things of spermicidal lube too.</dialogue> <scene_description>He takes them out of his pocket .</scene_description> <character>SETH</character> <dialogue>You asshole! You laughed in my face when I said we'd be having sex tonight.</dialogue> <character>EVAN</character> <dialogue>It does n't mean you should n't be prepared. You did n't even bring one?</dialogue> <character>SETH</character> <dialogue>No. That was n't the plan! We had a plan! I ca n't believe you did that without even consulting me about it!</dialogue> <character>EVAN</character> <dialogue>I do n't really even understand what your plan is.</dialogue> <character>SETH</character> <dialogue>I'm gon na go down on her for, like, hours. She'll love that. She'll want to go out with that.</dialogue> <character>EVAN</character> <dialogue>Yeah, but I figured there's no harm in bringing just one little condom.</dialogue> <character>SETH</character> <dialogue>And one little bottle of spermicidal lube. That's nuts. You ca n't let her know you brought that! These girls are 18, not dried up old ladies. They're ready to go.</dialogue> <character>EVAN</character> <dialogue>Fine. I wo n't bring the lube.</dialogue> </scene> <scene> <stage_direction>INT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>Fogell pushes his stuff up to the Cashier . She looks at him kind of funny .</scene_description> <character>FOGELL</character> <dialogue>Hello.</dialogue> <parenthetical>( reading name tag . )</parenthetical> <dialogue>Mindy.</dialogue> <scene_description>She rings up a six pack of Budweiser .</scene_description> <character>FOGELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, I love that stuff. Been drinking it for years. I heard they recently decided to start adding more hops.</dialogue> <scene_description>Fogell just nods kind of proud of himself . She stops ringing stuff up and looks at him .</scene_description> <character>CASHIER</character> <dialogue>Umm, okay sir, I'm gon na need to see some ID.</dialogue> <character>FOGELL</character> <dialogue>Identification?</dialogue> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>Seth and Evan are still leaning against the window .</scene_description> <character>EVAN</character> <dialogue>Do you think I could get Helen to do some kind of long distance thing?</dialogue> <scene_description>Seth looks as if he sees something in the distance . He stands upright .</scene_description> <character>SETH</character> <dialogue>Holy Shit! It's Cary Hutchins!</dialogue> <character>EVAN</character> <dialogue>I have n't seen her since she switched schools.</dialogue> <character>SETH</character> <dialogue>She had the biggest tits in the universe.</dialogue> <scene_description>Down the block there is a girl walking a dog .</scene_description> <character>EVAN</character> <dialogue>I heard she had breast - reduction surgery. Her tits must be crazy perfect now.</dialogue> <character>SETH</character> <dialogue>I got ta see these bastards. Let's check ` em out.</dialogue> <scene_description>Seth and Evan run off towards the girl .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Man, I'm gon na pretend to trip and grab ` em.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I hope they've healed.</dialogue> <character>CUT BACK TO:</character> <dialogue /> </scene> <scene> <stage_direction>INT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>The cashier is still examining the card . She hands it back to Fogell .</scene_description> <character>CASHIER</character> <dialogue>That comes to a total of $ 123.59</dialogue> <scene_description>A huge smile forms on Fogell 's face as he pulls out a wad of money and hands it to the cashier . She starts to gather his change when , SUDDENLY , a BIG GUY runs up and PUNCHES Fogell right in the side of the head ! Fogell falls to the ground . The dude sticks his hand in the open register , grabs a handful of money and runs ! The whole thing is over in a matter of seconds . Fogell is on the ground , dazed and confused .</scene_description> <character>FOGELL</character> <dialogue>What the hell happened?!</dialogue> <scene_description>Fogell sees the distressed cashier frantically dialing the police .</scene_description> <character>CASHIER</character> <parenthetical>( breathing hard . )</parenthetical> <dialogue>I do n't believe it. I do n't believe it.</dialogue> </scene> <scene> <stage_direction>EXT. UP THE STREET FROM THE LIQUOR STORE - MOMENTS LATER</stage_direction> <scene_description>Seth and Evan walk down the street towards the liquor store .</scene_description> <character>EVAN</character> <dialogue>That was a waste.</dialogue> <character>SETH</character> <dialogue>But she fully looked way better before. I thought when they reduced them, they just kind of reshaped them nicer. Made them more supple.</dialogue> <character>EVAN</character> <dialogue>I ca n't even begin to imagine the justification for making breasts smaller.</dialogue> <character>SETH</character> <dialogue>It's like me making my nuts saggier.</dialogue> <scene_description>Evan sees something in the distance .</scene_description> <character>EVAN</character> <dialogue>Whoa. What's this?</dialogue> <character>SETH</character> <dialogue>What?</dialogue> <character>EVAN</character> <dialogue>Check it out! The cops!</dialogue> <scene_description>They see a cop car with the lights flashing parked outside the liquor store . Seth and Evan cautiously approach the liquor store and look inside . They see two POLICE talking with the Cashier , and Fogell is standing right beside them !</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit! They busted Fogell!</dialogue> </scene> <scene> <stage_direction>INT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>The two police , OFFICER SLATER , 30 and experienced , and OFFICER MICHAELS , 25 and learning , are talking to the Cashier . Fogell stands beside them , nervous and afraid .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( to cashier . )</parenthetical> <dialogue>So, did he punch anyone else?</dialogue> <character>CASHIER</character> <parenthetical>( losing it completely . )</parenthetical> <dialogue>I ca n't do this, okay!?! I told you, I have an exam tomorrow! Can you understand that? A goddamn exam!</dialogue> <scene_description>The cashier breaks down crying and walks off to the back of the store . The officers look at each other .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Apparently, she has an exam.</dialogue> <scene_description>They chuckle . Then they turn to Fogell .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( turn to Fogell . )</parenthetical> <dialogue>So then, son, you're the one that got punched?</dialogue> <scene_description>Fogell looks down to his bags of liquor at his feet . Then back at the cops . He nods .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>We'd like to ask you a couple questions.</dialogue> <scene_description>The officers each take out a note pad and a pencil .</scene_description> <character>OFFICER MICHAELS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, first things first. What's your name?</dialogue> <scene_description>Fogell looks like his heart is about to explode out of his chest .</scene_description> <character>FOGELL</character> <dialogue>My name, it's. it's.</dialogue> <parenthetical>( tripping over his own words . )</parenthetical> <dialogue>Mc. mac. laddle.</dialogue> <character>OFFICER SLATER</character> <dialogue>MicMac what?</dialogue> <character>FOGELL</character> <dialogue>No, no I said, `` McLovin''.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>McLovin?</dialogue> <character>FOGELL</character> <dialogue>McLovin.</dialogue> <scene_description>The officers both write down some information .</scene_description> <character>OFFICER SLATER</character> <dialogue>Cool name. And your first name?</dialogue> <scene_description>Fogell looks twice as scared .</scene_description> <character>FOGELL</character> <dialogue>Oh. that's uh. a good one. it's a. an interesting. uh. event.</dialogue> <scene_description>Fogell trails off mumbling and starts to breathe heavily , making an ODD NOISE . Behind him , in the window of the store , we see Seth and Evan peeking through .</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>Shocked , Seth and Evan walk away from the window . Seth starts to pace in anger .</scene_description> <character>SETH</character> <dialogue>I do n't believe this bullshit! I ca n't. this is n't happening! I did n't even know you could get arrested for this shit! WE NEED THAT FUCKING LIQUOR!</dialogue> <character>EVAN</character> <dialogue>Oh my god. Are they gon na take him downtown?</dialogue> <character>SETH</character> <dialogue>Fuck Fogell! He got arrested! We're on our own. We need a new way of getting liquor.</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>AAAHHH! The money! Fuck! Fuck! Fuck! How much money can you get?</dialogue> <character>EVAN</character> <dialogue>What are you talking about? Money? What about Fogell?</dialogue> <character>SETH</character> <dialogue>That does n't matter anymore. I just lost a hundred dollars of Jules' money!</dialogue> <character>EVAN</character> <dialogue>We have to help him!</dialogue> <character>SETH</character> <dialogue>Help him? What are we gon na do? Bust him out of jail? I do n't even know where jail is! What we need is the alcohol, which is impossible because we do n't have any fucking money!</dialogue> <scene_description>Seth steps into the driveway leading to the parking lot .</scene_description> <character>EVAN</character> <dialogue>Fine. Just. calm down. We need to think. We need to think.</dialogue> <character>SETH</character> <dialogue>Fuck thinking! We need to act!</dialogue> <scene_description>Suddenly , a car pulls out of the lot going 10 mph and knocks Seth down !</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>The cops are still talking to Fogell . He looks completely flustered . He 's lost his composure .</scene_description> <character>OFFICER SLATER</character> <dialogue>Okay, your name is just McLovin, there's no need to get irrational.</dialogue> <scene_description>In the BACKGROUND -LRB- not in the view of Fogell and the cops -RRB- we see DRIVER of the car , a shady - looking guy in a hockey jersey , gets out of his car and walks over to where Seth is lying , apologizing frantically .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>A lot of people have strange names these days.</dialogue> <character>OFFICER SLATER</character> <dialogue>I once arrested a man - lady who was legally named `` Pearl Necklace.''</dialogue> <character>FOGELL</character> <dialogue>It's just. I changed my name. I was going to be a singer. R&amp;B.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Fine. That's not illegal.</dialogue> <character>OFFICER SLATER</character> <dialogue>And, how old are you McLovin?</dialogue> <scene_description>Fogell looks down at the bags of booze again .</scene_description> <character>FOGELL</character> <dialogue>Old enough.</dialogue> <character>OFFICER SLATER</character> <dialogue>Old enough for what?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Can I see your ID?</dialogue> <character>FOGELL</character> <dialogue>Um. okay.</dialogue> <scene_description>Fogell takes his shaking , sweaty hand , sticks it in his pocket , and pulls out his fake ID . He slowly hands it over to Officer Slater . The cops both look at it , then Fogell . Beads of sweat are running down Fogell 's face . In the background , Seth pops up and starts kicking the guy 's car out of anger . Evan and the driver both restrain Seth .</scene_description> <character>OFFICER SLATER</character> <dialogue>You're an organ donor?</dialogue> <character>FOGELL</character> <dialogue>What?</dialogue> <character>OFFICER SLATER</character> <dialogue>I did n't want to be one but my wife insisted.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Just like a woman. Even after you're dead, they want to tear your heart out.</dialogue> <scene_description>The officers start laughing . Fogell is shocked . They hand back the ID .</scene_description> <character>FOGELL</character> <dialogue>Look. I'm really sorry, but I do n't really have any information. I did n't really see him. His fist hit here.</dialogue> <scene_description>Fogell points at his giant black eye .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Are you in a hurry or something?</dialogue> <character>FOGELL</character> <dialogue>Uh, yeah. kinda. I kinda had to catch a bus.</dialogue> <character>OFFICER SLATER</character> <dialogue>Where were you going?</dialogue> <character>FOGELL</character> <dialogue>Umm. near thirteenth and Granville.</dialogue> <character>OFFICER SLATER</character> <dialogue>We'll take you there, get your information on the way. Sit tight.</dialogue> <scene_description>Fogell is completely dumbfounded .</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>The driver is pleading with Seth and Evan .</scene_description> <character>DRIVER</character> <dialogue>I'm so sorry, man! I'm so sorry! I did n't see you at all. Are you okay? Are you okay? I'm sorry, man. Look, what can I do? Are you okay?</dialogue> <scene_description>The driver glances at the cop car .</scene_description> <character>DRIVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean, please do n't report me, we can figure this out, okay?</dialogue> <character>SETH</character> <dialogue>Why would n't I report you?</dialogue> <character>DRIVER</character> <dialogue>Because I'll do anything! Please! Anything! What can I do?</dialogue> <character>SETH</character> <dialogue>You have any money?</dialogue> <character>EVAN</character> <parenthetical>( quietly to Seth . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>DRIVER</character> <parenthetical>( beat . )</parenthetical> <dialogue>Fine. Just take it.</dialogue> <scene_description>The driver reaches into his pocket and hands Seth some money . Seth looks at it . It 's seven dollars .</scene_description> <character>SETH</character> <dialogue>What is this? This is n't enough.</dialogue> <scene_description>Seth stuffs the money in his pocket .</scene_description> <character>DRIVER</character> <dialogue>It's all I have.</dialogue> <character>SETH</character> <dialogue>Well, you just came from the liquor store, give us your liquor.</dialogue> <character>DRIVER</character> <dialogue>I did n't get any. They're not letting anyone in. They're arresting someone or something.</dialogue> <character>SETH</character> <dialogue>Well, they'll be arresting somebody else if you do n't do something quick. Ow! My shoulder! It's killing me.</dialogue> <scene_description>Seth , acting poorly , pretends he 's way more hurt than he is .</scene_description> <character>DRIVER</character> <dialogue>No! Wait! Okay, you want alcohol? I can get you alcohol. I'm on my way to this party right now. There's gon na be tons of liquor. I will definitely get you plenty.</dialogue> <character>SETH</character> <dialogue>You better.</dialogue> <character>EVAN</character> <dialogue>Whoa, whoa, whoa. Hold on. Come here.</dialogue> <scene_description>Seth goes over to Evan .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>SETH</character> <dialogue>What? Jules' money is gone, Fogell's out, we've got no other option. Let's go.</dialogue> <character>EVAN</character> <dialogue>I do n't. I do n't like this idea at all. I'm just not feeling it. That guy's fucking creepy. Just look at him.</dialogue> <scene_description>They look at the Driver , who is staring at Evan with a dumb expression on his face .</scene_description> <character>DRIVER</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>You know a guy named Jimmy, perchance? Cause you totally look like his brother.</dialogue> <character>SETH</character> <dialogue>He's an idiot. And he's our only hope. Come on, do n't break your promise to Helen.</dialogue> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - MOMENTS LATER</stage_direction> <scene_description>The Driver 's car pulls away with Seth and Evan sitting in the back seat . A few moments later , the cops walk out with Fogell right behind them carrying the bags of liquor .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( to Fogell . )</parenthetical> <dialogue>Man, that lady just would n't stop crying, huh? And you're the one that got punched. Did you hear her say she has an exam tomorrow? Boo - fuckin' - hoo. Am I right?</dialogue> <character>FOGELL</character> <parenthetical>( afraid . )</parenthetical> <dialogue>Heh. Good one.</dialogue> <character>OFFICER MICHEALS</character> <dialogue>Could we have taken her in? Just to scare the shit out of her?</dialogue> <character>OFFICER SLATER</character> <dialogue>Hah. Probably could have found a way. But a good general rule is only take people in you want to ride with. And whiny bitches do n't make that cut.</dialogue> <scene_description>The cops chuckle as they all get in the cop car .</scene_description> </scene> <scene> <stage_direction>INT. DRIVER'S CAR - CONTINUOUS</stage_direction> <scene_description>Seth and Evan sit in the back seat . The Driver is in the front .</scene_description> <character>DRIVER</character> <dialogue>One of you bros could have sat up here with me.</dialogue> <scene_description>There is an awkward silence , when suddenly Seth starts to wriggle in discomfort .</scene_description> <character>SETH</character> <dialogue>Aaah!</dialogue> <scene_description>Seth fishes his cell phone out of his pocket and looks at it .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>875 - 6611?</dialogue> <parenthetical>( thinking . )</parenthetical> <dialogue>Holy shit.</dialogue> <scene_description>Seth answers the phone .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jules! What's the haps?</dialogue> <character>DRIVER</character> <dialogue>Who is it?</dialogue> </scene> <scene> <stage_direction>INT. JULES HOUSE - CONTINUOUS</stage_direction> <scene_description>There are six girls passing two beers in a circle while dancing blissfully to crappy 80s music .</scene_description> <character>JULES</character> <dialogue>Seth! Where are you?</dialogue> <character>SETH</character> <dialogue>Jules! I just got in a cab and I'm going to the liquor store as we speak.</dialogue> <character>JULES</character> <dialogue>Awesome. I ca n't wait for you to get here.</dialogue> <scene_description>A huge smile sweeps across Seth 's face .</scene_description> <character>SETH</character> <dialogue>Really?</dialogue> <character>JULES</character> <dialogue>Yeah. It looks like it could actually be a great party. I think, like, tons of people might show up. I hope they do n't trash my house.</dialogue> <character>SETH</character> <dialogue>Well, if they want to do that they're going to have to get through me.</dialogue> <character>JULES</character> <dialogue>So I guess I do n't have to worry then. I'll see you soon.</dialogue> <scene_description>Seth hangs up the phone , completely elated .</scene_description> <character>SETH</character> <dialogue>She called, man! That's insane! She's practically begging for it. She said, `` I ca n't wait for you to get here.''</dialogue> <character>DRIVER</character> <dialogue>That sounds like she fully wants it. Where's she gon na get it from, huh, my man?</dialogue> <scene_description>Seth and Evan are very weirded out .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF PARTY HOUSE - NIGHT</stage_direction> <scene_description>The Driver 's car pulls up in front of a house . The three get out .</scene_description> <character>EVAN</character> <dialogue>Hey, are you sure that it's cool we're here?</dialogue> <character>DRIVER</character> <dialogue>Oh, definitely. I'm essentially best friends with this guy. A whole bunch of my buddies are coming. Come on!</dialogue> <scene_description>The Driver runs into the house happily , Seth and Evan following closely behind .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - CONTINUOUS</stage_direction> <scene_description>The boys enter the house and stand by the front door of the huge party . It 's in full swing with all sorts of random - looking people . Nobody is under the age of 25 .</scene_description> <character>EVAN</character> <dialogue>This is weird.</dialogue> <character>SETH</character> <dialogue>Whatever. Just act casual. And old. All we got ta do is find the booze and haul ass out of here.</dialogue> <scene_description>As they make their way down a hallway , a few people give them looks .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - KITCHEN</stage_direction> <scene_description>They enter the kitchen , where Seth spots what they 've been looking for . There are big buckets of ice filled with beer , coolers , wine , vodka , everything .</scene_description> <character>SETH</character> <dialogue>Holy shit! Let's grab one of these buckets and go.</dialogue> <character>MARK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What the fuck do you think you're doing?</dialogue> <character>DRIVER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What, man? It's nothing.</dialogue> <scene_description>The guys turn and see that in corner of the kitchen , the Driver , holding a phone , is being yelled at by a massive brute , MARK .</scene_description> <character>MARK</character> <dialogue>You calling more of your stupid friends again? Ya prick.</dialogue> <character>DRIVER</character> <dialogue>Mark, calm down, okay? Just relax.</dialogue> <character>MARK</character> <dialogue>Get the fuck out of my house.</dialogue> <character>DRIVER</character> <dialogue>Mark, come on. What the heck? Do n't be a dick.</dialogue> <scene_description>Suddenly , Mark grabs the Driver by the back of the neck and drags him out of the kitchen , down the front hall and out the door . A group of people follow , including Seth and Evan .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE PARTY - CONTINUOUS</stage_direction> <scene_description>The Driver get pushed out of the door and lands on the front lawn . Seth and Evan watch from the doorway of the house , a group of people in front of them .</scene_description> <character>DRIVER</character> <dialogue>Mark! Dude! This is bullshit! Just chi -</dialogue> <scene_description>Mark steps on the Driver 's hand .</scene_description> <character>DRIVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ahhhh! Fuck!</dialogue> <scene_description>The Driver takes his hand out from under Mark 's foot . He stands up .</scene_description> <character>DRIVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck you, man. I'll fucking do this!</dialogue> <scene_description>Suddenly , Mark becomes enraged . He takes a big step forward and brutally KICKS the Driver square in the nuts ! The Driver clutches his nuts and falls to the ground .</scene_description> <character>MARK</character> <dialogue>Francis, you and your idiot friends stay the away from me and mine or I'll flipping shiv your ass!</dialogue> <scene_description>Mark and his buddies head back in , leading them towards Seth and Evan , who quickly duck back into the party .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - CONTINUOUS</stage_direction> <scene_description>The frightened boys walk into one of the first rooms and hide in the corner . They have a hushed discussion .</scene_description> <character>EVAN</character> <dialogue>Dude, let's slip out the back.</dialogue> <character>SETH</character> <dialogue>Why? Come on, we're here. Let's just hurry up and do this.</dialogue> <character>EVAN</character> <dialogue>You want to end up like that guy? Not me, I need my nuts.</dialogue> <character>SETH</character> <dialogue>We need this liquor!</dialogue> <character>EVAN</character> <dialogue>You need it! I do n't need it. I'm going to tell Helen I like her, and then maybe she'll get with me ; not after I get her stinking drunk.</dialogue> <character>SETH</character> <dialogue>Then why have n't you ever made a move, you pussy?</dialogue> <character>EVAN</character> <dialogue>Because I respect her! I'm not going to put that kind of unfair pressure on her.</dialogue> <character>SETH</character> <dialogue>These are n't girls, they're women! They need our dicks as much as we need their poons - and we all love liquor, so where's the fucking beef?!</dialogue> <character>EVAN</character> <dialogue>We're leaving, okay? These guys could kill us. You want to get killed for liquor?</dialogue> <character>SETH</character> <dialogue>You're really gon na bail on me?!</dialogue> <character>EVAN</character> <parenthetical>( rolls eyes . )</parenthetical> <dialogue>Jesus.</dialogue> <scene_description>Evan walks out the door .</scene_description> <character>SETH</character> <dialogue>Okay, okay. if that's how you're going to be, then I'll get the booze on my own. And you're not getting any. And neither is Helen!</dialogue> <scene_description>Seth storms off .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Fogell sits in the backseat . The cops are in the front . There is silence for a few beats .</scene_description> <character>FOGELL</character> <dialogue>Um. hey. uh, officers. I could answer those, uh, questions now if you want.</dialogue> <character>OFFICER SLATER</character> <dialogue>We get the gist of it. You were buying some beer, some guys came in and robbed the place. I do n't think we're gon na find ` em this time.</dialogue> <scene_description>The officers start to chuckle .</scene_description> <character>FOGELL</character> <dialogue>It was only one guy.</dialogue> <character>OFFICER SLATER</character> <dialogue>Only one guy? Well, fuck that. We could never catch one guy.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>You see, McLovin, if it was two guys, we'd have twice the chance of catching one of them. But just one guy? I mean, how are we supposed to find one guy in this whole city?</dialogue> <character>OFFICER SLATER</character> <dialogue>Yeah, McLovin. You know how many people there are in this city? I have trouble finding people I know.</dialogue> <character>FOGELL</character> <dialogue>Are n't you guys supposed to be trained or something? Do n't you have a computer?</dialogue> <character>OFFICER SLATER</character> <dialogue>Yeah, that stuff can help, but if someone walks up to me on the street, and is like, `` Hey, find Bob.'' Well, how the hell am I supposed to do that?</dialogue> <character>FOGELL</character> <dialogue>Who's Bob?</dialogue> <character>OFFICER SLATER</character> <dialogue>Exactly. If I do n't know who he is, then how am I supposed to know where he is?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>When you're new to the force, like I am -</dialogue> <character>OFFICER SLATER</character> <dialogue>Only six months in.</dialogue> <parenthetical>( proudly . )</parenthetical> <dialogue>I got two and a half years under my belt.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>You learn a lot of crazy stuff. For example -</dialogue> <scene_description>The car radio goes off .</scene_description> <character>RADIO</character> <dialogue>We have a 245 at East 24 and Montgomery. It's Bailey's Bar and Grill. Car 43, respond please.</dialogue> <scene_description>Slater picks up the receiver .</scene_description> <character>OFFICER SLATER</character> <dialogue>Ten - four.</dialogue> <parenthetical>( hangs up . )</parenthetical> <dialogue>Nice. Ya see, Michaels, when ever there's a call for a bar, you take it.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Good fucking call, sir.</dialogue> <scene_description>They chuckle .</scene_description> <character>OFFICER SLATER</character> <dialogue>Hey, McLovin. We got a situation at Bailey's. We have to see to that, but we'll drop you off right after. Okay?</dialogue> <character>FOGELL</character> <dialogue>Um. okay.</dialogue> <scene_description>Michael 's hits the siren and they drive off .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY- KITCHEN. - CONTINUOUS</stage_direction> <scene_description>Seth is looking in the fridge , which is full of beer . An ENORMOUS GUY nudges Seth aside and sticks his arm in .</scene_description> <character>ENORMOUS GUY</character> <dialogue>Hey Mark, you want another beer?</dialogue> <scene_description>Seth quickly walks away from the fridge and goes down the hall .</scene_description> </scene> <scene> <stage_direction>INT HOUSE PARTY - DANCING ROOM</stage_direction> <scene_description>Seth enters a room of people dancing to hip - hop . He notices all the girls are drinking Mike 's Hard Lemonade , and then locates a cooler full of it across the dance area . He tries to make his way through the sea of dancing . A hot , sorority - type WOMAN drunk out off her ass dances over to him and starts grinding against his leg . He does n't know how to react so he just goes with it , bumpin ' and grindin ' with the girl .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - CONTINUOUS</stage_direction> <scene_description>Evan is walking down an alley , mad as hell , when , suddenly , he jumps up and starts squirming .</scene_description> <character>EVAN</character> <dialogue>Whaa! What the. oh.</dialogue> <scene_description>He takes out his vibrating cell phone and looks at the callers name . it 's Helen .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh dude. Oh dude. Oh dude.</dialogue> <scene_description>He looks intensely at the cell as it continues vibrating .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay. Okay. Here we go.</dialogue> <scene_description>He presses talk .</scene_description> <character>HELEN</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( through the phone with horrible static . )</parenthetical> <dialogue>Eva. lo.</dialogue> <character>EVAN</character> <dialogue>Helen? Helen?!?</dialogue> <scene_description>The phone cuts out . Evan sees that he has no reception . He looks back at the party , then at his cell phone . He shakes his head and turns back towards the party .</scene_description> </scene> <scene> <stage_direction>EXT. BAILEY'S BAR AND GRILL - CONTINUOUS</stage_direction> <scene_description>The cops and Fogell get out of the car and walk towards the Bailey 's . They stop before they enter .</scene_description> <character>OFFICER SLATER</character> <dialogue>Alright McLovin, this will only take a few minutes. Just grab a beer at the bar and we'll be done before you know it.</dialogue> <character>FOGELL</character> <parenthetical>( a little scared . )</parenthetical> <dialogue>Well. what's goin' on in there?</dialogue> <scene_description>The Officers chuckle as they lead Fogell into the bar .</scene_description> </scene> <scene> <stage_direction>INT. BAILEY'S BAR AND GRILL - CONTINUOUS</stage_direction> <scene_description>As they enter the bar they immediately see a drunken , crazed HOMELESS GUY screaming at a bar tender .</scene_description> <character>HOMELESS GUY</character> <dialogue>Everywhere?!? You did n't see me pissin' anywhere!</dialogue> <scene_description>Fogell quickly sits at the bar by the entrance to the kitchen .</scene_description> <character>OFFICER SLATER</character> <dialogue>Alright, Michaels. I've got your back. Show this rummy how we roll.</dialogue> <scene_description>Officer Michaels walks up to the Homeless Guy .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Excuse me! Sir!</dialogue> <scene_description>The Homeless Guy turns and sees the cops .</scene_description> <character>HOMELESS GUY</character> <dialogue>AAAHHHHH!</dialogue> <scene_description>He runs for the front door !</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Resisting!</dialogue> <scene_description>Michaels blocks the door and the Homeless Guy rams into him , knocking him to the ground .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Good one, Michaels!</dialogue> <scene_description>Slater runs at the Homeless Guy and chases him into the dining area . The Homeless Guy knocks over a table , which Slater trips over .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck!</dialogue> <character>OFFICER MICHAELS</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Should I shoot him?!?</dialogue> <character>OFFICER SLATER</character> <dialogue>NO!</dialogue> <scene_description>The Homeless Guy makes a mad dash for the kitchen , and Fogell is the only one in his way !</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Stop him, McLovin!</dialogue> <character>FOGELL</character> <dialogue>AHHH!</dialogue> <scene_description>The Homeless Guy RAMS straight into him and knocks both of them onto the kitchen floor !</scene_description> </scene> <scene> <stage_direction>INT. BAILEY'S BAR AND GRILL - KITCHEN - CONTINUOUS</stage_direction> <scene_description>The kitchen staff watch in awe as the Homeless Guy wrestles Fogell on the ground .</scene_description> <character>FOGELL</character> <dialogue>Ow! Please! Stop, you fucking bum!</dialogue> <scene_description>The Homeless Guy gets up , grabs Fogell and HURLS him into a rack of trays ! He then turns to run , but SLIPS on a wet spot and SLAMS his head against the ground ! The cops burst into the room to find Fogell panting on his knees with the Homeless Guy unconscious on the floor .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>McLovin! Nice!</dialogue> <character>OFFICER SLATER</character> <dialogue>I am buying you a beer, McLovin!</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY - DANCING ROOM - CONTINUOUS</stage_direction> <scene_description>An R&amp;B slow jam plays as an exuberant Seth , a Mike 's Hard Lemonade in one hand and the Woman 's ass in the other as the dancing becomes increasingly sexual . As the song ends , the Woman moves on . Seth glances at the cooler and sees one more Mike 's hard . He grabs it and puts it in his pocket . The bulge is apparent . Extremely pleased with himself ,</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - ADJACENT ROOM</stage_direction> <scene_description>Seth walks into the adjacent room . There are a bunch of GUYS chilling on the couch , who all look at Seth oddly as he enters .</scene_description> <character>SETH</character> <dialogue>Hey, wut up?</dialogue> <scene_description>The guys just nod at Seth and continue to look at him strangely .</scene_description> <character>GUY 1</character> <dialogue>What is that? Is that red wine?</dialogue> <scene_description>Thinking he 's busted , Seth quickly covers the bulge in his pocket .</scene_description> <character>SETH</character> <dialogue>Uh. no. What? I do n't know what you're talking about.</dialogue> <character>GUY 1</character> <dialogue>That shit you spilled all over yourself, idiot.</dialogue> <character>SETH</character> <parenthetical>( sincere . )</parenthetical> <dialogue>I did n't spill anything on myself.</dialogue> <scene_description>Seth checks himself to see what the guy is referring to .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit.</dialogue> <scene_description>On Seth 's upper thigh there is a red splotch about the size of a palm of a hand .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell is this?</dialogue> <character>GUY 1</character> <dialogue>Oh my lord. You were just dancing in there, right?</dialogue> <character>SETH</character> <dialogue>Yeah, so?</dialogue> <scene_description>The guys all burst out laughing .</scene_description> <character>GUY 1</character> <dialogue>It's fucking blood.</dialogue> <character>SETH</character> <dialogue>Why would I get blood on my leg from -.</dialogue> <parenthetical>( beat of realization . )</parenthetical> <dialogue>OH SHIT!</dialogue> <scene_description>The guys start laughing even harder .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Some girl perioded on my fucking leg!</dialogue> <character>GUY 2</character> <dialogue>I've never seen that before in my life.</dialogue> <scene_description>Seth pokes at the splotch .</scene_description> <character>SETH</character> <dialogue>That is disgusting.</dialogue> <scene_description>Guy 1 gets up as Seth tries to cover up the mess with his shirt .</scene_description> <character>GUY 1</character> <dialogue>I got ta show this to Bill.</dialogue> <character>SETH</character> <dialogue>Who's Bill? Do n't show Bill! No! I ca n't believe this is happening!</dialogue> <character>GUY 2</character> <dialogue>We should find who did it.</dialogue> <character>SETH</character> <dialogue>This is un - fucking - believable. I have to look good tonight!</dialogue> <character>GUY 2</character> <dialogue>Who'd you dance with?</dialogue> <character>SETH</character> <dialogue>Who gives a shit? Fuck! These are n't even my pants!</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY- ANOTHER ROOM</stage_direction> <scene_description>Guy 1 brings six more guys , including the Enormous Guy , into the room . He points out the stain Seth 's pants . All the guys burst out laughing . Embarrassed and fearful of the attention , Seth starts making his way out of the room .</scene_description> <character>SETH</character> <dialogue>Yeah. It's really funny, huh? Yuk it up, assholes.</dialogue> <scene_description>Seth works his way through another room full of people , shielding the splotch as best as he can .</scene_description> <character>PARTY DUDE</character> <dialogue>Dude! Check it out! That guy's having his period!</dialogue> <scene_description>Another group of people turn and laugh .</scene_description> <character>PARTY GIRL</character> <dialogue>He looks about the right age!</dialogue> <character>SETH</character> <parenthetical>( to himself . )</parenthetical> <dialogue>I got ta clean this shit.</dialogue> <scene_description>He sees a long line of people standing if front of the bathroom door . He spots a staircase and runs down into the basement .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - BASEMENT - CONTINUOUS</stage_direction> <scene_description>Seth enters the empty basement . He sees a sink and runs over to it and turns on the water .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE PARTY - CONTINUOUS</stage_direction> <scene_description>Evan nervously walks back into the house to look for a telephone .</scene_description> </scene> <scene> <stage_direction>INT. BAILEY'S BAR AND GRILL - CONTINUOUS</stage_direction> <scene_description>The cops , Fogell , and the unconscious Homeless Guy each sit at the bar with a Corona in front of them . Slater 's radio goes off .</scene_description> <character>RADIO</character> <dialogue>Calling all units, armed and dangerous man in the vicinity of -</dialogue> <scene_description>Click . Slater turns his radio down , ignoring the calls .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>So anyways, we leave the bar, I'm charmin' her pants off telling her stories of shoot - outs and shit.</dialogue> <character>FOGELL</character> <dialogue>You've been in shoot - outs!</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Nope.</dialogue> <character>OFFICER SLATER</character> <dialogue>McLovin, all we do is bonk homeless people on the head. You're practically a cop now.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>So I pull up in front of her house and she asks me to come inside for some coffee. Of course, I say yes.</dialogue> <character>OFFICER SLATER</character> <dialogue>Oh shit.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Oh shit. So we go into the kitchen. I start taking off my clothes, she fucking flips, starts screaming at me, and I'm like `` Ca n't have coffee without cream.'' Oh! Right? I fucking said that. Then, she slaps me, throws me out. I'm telling you McLovin, stay out of bars.</dialogue> <character>FOGELL</character> <dialogue>Hey, you do n't need to tell me.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>So, yeah, you got ta look in different places. The gym, an art class, you know, shit like that.</dialogue> <character>OFFICER SLATER</character> <dialogue>I met the Missus at paint ball. Can you believe that? I shot her in the neck, and we just hit it off. And my first wife - who is a whore - where do you think we met? A bar.</dialogue> <character>FOGELL</character> <dialogue>I do n't know. I find they're always good for a little quick ass.</dialogue> <scene_description>The cops laugh .</scene_description> <character>OFFICER SLATER</character> <dialogue>I bet I know your trick, McLovin. You do the whole mysterious guy thing, right?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Yeah McLovin, how's it going with the ladies?</dialogue> <scene_description>Fogell thinks for a moment , he is feeling rather comfortable .</scene_description> <character>FOGELL</character> <dialogue>Well, officers, it's not the going with the ladies I care about, it's the coming.</dialogue> <scene_description>The cops and Fogell burst out laughing .</scene_description> <character>OFFICER SLATER</character> <dialogue>Oh! McLovin in the house!</dialogue> <scene_description>He sees that the cops clearly like him ; his confidence level increased , he takes a chance .</scene_description> <character>FOGELL</character> <dialogue>So. you guys got guns, huh?</dialogue> <scene_description>The officers glance at each other as sinister smiles creep across their faces .</scene_description> <character>OFFICER SLATER</character> <dialogue>Yeah. We got guns.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>I have n't had one for long, but, man, let me tell you - it's like having two dicks.</dialogue> <character>FOGELL</character> <dialogue>Can I. can I hold one? Your gun?</dialogue> <scene_description>Michaels and Slater look to each other .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>I mean, if we took the bullets out?</dialogue> <character>OFFICER SLATER</character> <dialogue>Yeah. Why not?</dialogue> <scene_description>Slater pulls out his gun and takes out the clip .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here.</dialogue> <scene_description>Fogell takes the unloaded gun and flops it back and forth in his hands , a huge smile gleaming .</scene_description> <character>FOGELL</character> <dialogue>Wow. I've never held one. Are they hard to shoot?</dialogue> <character>OFFICER SLATER</character> <dialogue>If you're Michaels they are. He ca n't shoot worth dick.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Fuck you, old man. I could out - shoot you with my sack tucked between my legs.</dialogue> <character>OFFICER SLATER</character> <dialogue>Only one way to settle this.</dialogue> <character>FOGELL</character> <parenthetical>( incredibly excited . )</parenthetical> <dialogue>You guys are going to shoot something, right?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY BASEMENT - CONTINUOUS</stage_direction> <scene_description>Seth is scrubbing at the mark on his thigh , but it 's not doing much . He stops for a moment to take a breather as he looks around the basement . He spots a fridge in the corner and walks over to it . As he opens it , a look of awe sweeps across his face . Every shelf is completely filled with beer .</scene_description> <character>SETH</character> <dialogue>Jesus's tits!</dialogue> <scene_description>He grabs as many bottles as he can and starts sticking them in his pockets , when he notices two large jugs of detergent next to the washer . He thinks for a moment , then begins to empty out the detergent jugs .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - CONTINUOUS</stage_direction> <scene_description>Evan peers into a vacant room and sees a telephone . He nervously enters and picks up the phone . He dials .</scene_description> </scene> <scene> <stage_direction>INT. CAB - CONTINUOUS</stage_direction> <scene_description>Helen is in a cab with BECCA , her best - friend , and two other girls . They 're a little done up and really giggly . Helen 's cell phone starts ringing . She hushes the other girls as she answers her phone .</scene_description> <character>HELEN</character> <dialogue>Hello?</dialogue> <character>BECCA</character> <dialogue>Is it him?</dialogue> <character>HELEN</character> <parenthetical>( whispering to the girls . )</parenthetical> <dialogue>Shut up.</dialogue> <character>EVAN</character> <dialogue>Hey! Helen. Hi. I had bad reception. Are you at the party?</dialogue> <character>HELEN</character> <dialogue>No, I'm in a cab. I'll be there soon. Are you still coming?</dialogue> <character>EVAN</character> <dialogue>Yeah, definitely. Um, about your Goldschlager.</dialogue> <scene_description>Evan can hear all the girls goofing around and giggling .</scene_description> <character>HELEN</character> <parenthetical>( whispering to the girls . )</parenthetical> <dialogue>Shut up.</dialogue> <character>EVAN</character> <dialogue>What's going on there?</dialogue> <character>HELEN</character> <dialogue>Oh, nothing, I just wanted to make sure you were still coming, you know, and that you did n't get caught up at a cocktail party or some club.</dialogue> <character>EVAN</character> <dialogue>Nope. I'm gon na be there.</dialogue> <character>HELEN</character> <dialogue>Well, I ca n't wait to see you.</dialogue> <character>EVAN</character> <dialogue>I think it's going to be a real fun. event.</dialogue> <character>HELEN</character> <dialogue>Okay. Bye.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY VACANT ROOM - CONTINUOUS</stage_direction> <scene_description>Evan hangs up the phone . A huge smile crosses his face . As he turns around to exit , five older , unbelievably drunk DUDES wander into the room .</scene_description> <character>DUDE 1</character> <dialogue>They're going to kill that guy, man. That bitch's boyfriend is so pissed.</dialogue> <character>DUDE 2</character> <dialogue>Yeah. And he's a beast.</dialogue> <scene_description>They start pouring a baggy of coke on the table when one of them notices Evan standing in the corner .</scene_description> <character>DUDE 3</character> <dialogue>Hey! Was it you? Are you the guy? The kid with the splotch on his crotch?</dialogue> <scene_description>Evan glances down at his crotch . He is confused and horrified .</scene_description> <character>EVAN</character> <dialogue>No. What splotch -</dialogue> <character>DUDE 2</character> <dialogue>I know you! Guys! I know that guy, he was at that party with me.</dialogue> <character>DUDE 4</character> <dialogue>Who's he?</dialogue> <character>DUDE 2</character> <dialogue>He's Jimmy's brother. The dude with the crazy raps, the one I told you about!</dialogue> <scene_description>They draw the coke into lines as Evan slowly heads for the door .</scene_description> <character>EVAN</character> <dialogue>Oh no, that's not me either. Wrong guy, man. Sorry.</dialogue> <scene_description>Dude 3 gets up and blocks the door .</scene_description> <character>DUDE 3</character> <dialogue>No. No, that's you, man. You are fully Jimmy's brother! You were just so messed up you ca n't remember.</dialogue> <character>EVAN</character> <dialogue>Trust me, man. That was n't me. I do n't even listen to rap.</dialogue> <character>DUDE 3</character> <dialogue>It was you! I know it! Come on! Rap! I've been telling these guys about you. Just give them one rap. Come on. Rap. Rap.</dialogue> <scene_description>They start doing the lines of coke . Evan is very afraid .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Seth is finishing pouring the beer bottles into the second detergent jug . There are about thirty empty beer bottles laying around Seth . He tightens the cap , picks up the two detergent jugs , and heads upstairs .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Seth emerges from the basement and heads towards the front door .</scene_description> <character>SETH</character> <dialogue>I did it man. Peace out - tro.</dialogue> <scene_description>He 's inches away from the front door , when suddenly -</scene_description> <character>GUY 1</character> <dialogue>There! That's the guy!</dialogue> <scene_description>Seth turns and sees Mark , the guy who assaulted the Driver , walking towards him . He notices Mark has a splotch on his leg , too .</scene_description> <character>SETH</character> <dialogue>Hey! You got one, too! We're blood brothers.</dialogue> <character>MARK</character> <dialogue>Shut it, you little shitter! What the hell were you doing dancing with Jacinda?</dialogue> <scene_description>Horrified , Seth scrambles for excuses .</scene_description> <character>SETH</character> <dialogue>I. I did n't dance with her! I do n't even dance! Never even tried it!</dialogue> <character>MARK</character> <parenthetical>( point at Seth 's splotch . )</parenthetical> <dialogue>Then where did that come from, asshole?</dialogue> <character>SETH</character> <dialogue>I do n't know. Maybe me and you rubbed up against each other at some point. How am I supposed to know?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY - VACANT ROOM - CONTINUOUS</stage_direction> <scene_description>The coked - up dudes are watching Evan intensely . They are completely loving his rapping , completely into it . Evan is struggling .</scene_description> <character>EVAN</character> <dialogue>cause, yo! Bitches and gats, bitches and gats, what do all of we's got?</dialogue> <character>DUDES</character> <dialogue>Bitches and gats!</dialogue> <character>EVAN</character> <dialogue>When we steal all the money?</dialogue> <character>DUDES</character> <dialogue>Bitches and gats!</dialogue> <character>EVAN</character> <dialogue>Yo! I kill the whores of Vice City with my magnum 9/Take out the punk pigs with my Glok design / Drink a fifth of Hennessy and get benign/Fuck all the bitches with their asses fine</dialogue> <character>THE DUDES</character> <parenthetical>( cheering . )</parenthetical> <dialogue>Oh!</dialogue> <scene_description>SOME GUY bursts into the room .</scene_description> <character>SOME GUY</character> <dialogue>Dudes! Looks like a fight!</dialogue> <scene_description>Dude 3 does a line of coke and they all get up together and charge out of the room .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>There is a crowd gathered around Seth and Mark . The Enormous Guy and Mark 's friends are gathered beside Mark .</scene_description> <character>SETH</character> <dialogue>I swear to God it was n't me!</dialogue> <scene_description>Evan and the four dudes who were doing coke walk into the room . Evan is shocked to see Seth at the center of so much commotion . Mark notices the detergent bottle in Seth 's hands .</scene_description> <character>MARK</character> <dialogue>And what the fuck is this?</dialogue> <character>SETH</character> <dialogue>It's nothing. It's detergent.</dialogue> <character>MARK</character> <dialogue>Yeah. And what are you doing with it?</dialogue> <character>SETH</character> <dialogue>I. uh, I got blood on my pants.</dialogue> <scene_description>Mark sees the bottle of MIKE 'S HARD LEMONADE in Seth 's pocket and takes it out . He looks at it , then looks at Seth with a look of death .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I brought them from home.</dialogue> <scene_description>Suddenly , Mark violently SHOVES Seth and throws the beer bottle at his face ! Seth holds up a detergent jug and deflects the beer bottle . It flies towards Evan , who ducks , and nails Dude 1 in the head , glass exploding everywhere !</scene_description> <character>DUDE 1</character> <dialogue>AAAHHHHHHH! FUCK!</dialogue> <scene_description>Dude 1 clutches his bloody head as the other Dudes charge at Mark ! A full on brawl breaks out ! Everyone starts fighting ! Two of the Dudes beat on the Enormous Guy . They throw him into Evan .</scene_description> <character>DUDE 3</character> <dialogue>Hold him!</dialogue> <character>EVAN</character> <dialogue>What?</dialogue> <character>DUDE 2</character> <dialogue>HOLD HIM!</dialogue> <scene_description>Evan reluctantly holds the Enormous Guy up as the two Dudes pound on him . ANGLE ON : Seth , cowering in the corner Mark runs at Seth and is about to punch him , when suddenly Dude 1 tackles him onto the kitchen island ! Seth turns and faces Mark 's girlfriend , JACINDA .</scene_description> <character>JACINDA</character> <dialogue>You motherfucker!</dialogue> <scene_description>She grabs a lamp , still plugged in , and swings it at Seth . She hits him square in the chest and the light bulb explodes !</scene_description> <character>SETH</character> <dialogue>AHH!</dialogue> <character>JACINDA</character> <dialogue>You ruined my birthday! You humiliated me!</dialogue> <character>SETH</character> <dialogue>You're the one who used my leg as a tampon!</dialogue> <scene_description>She charges at him again , arms flailing . Seth scurries around the room , shielding the blows with the detergent bottles . Evan throws the Enormous Guy to the ground and runs . Evan backs off , spots Seth , and follows him out of the party .</scene_description> </scene> <scene> <stage_direction>EXT HOUSE PARTY</stage_direction> <scene_description>As Seth and Evan run up the block together , Jacinda talks into her cell phone .</scene_description> <character>JACINDA</character> <dialogue>Yeah, Fifth and Paysview, please hurry!</dialogue> </scene> <scene> <stage_direction>EXT. DARK STREET - CONTINUOUS</stage_direction> <scene_description>The cops and Fogell stand beside the car . The Homeless Guy is sleeping in the back . Michaels has his gun drawn and is carefully aiming at a distant stop sign .</scene_description> <character>OFFICER SLATER</character> <dialogue>You've been saying some bold words, my friend. Better not mess up.</dialogue> <character>FOGELL</character> <dialogue>You can do it, officer.</dialogue> <scene_description>BLAM ! Michaels blasts off a round , which punches a hole right through the center of the `` O '' in the stop sign .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Boo - yaka - sha! Suck it, Slater. Suck my nuts. Long, but gentle.</dialogue> <character>FOGELL</character> <dialogue>Yeah! And eat his ass!</dialogue> <scene_description>They all laugh hysterically .</scene_description> <character>FOGELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can I shoot one?</dialogue> <scene_description>The cops look at each other and shrug .</scene_description> <character>OFFICER SLATER</character> <dialogue>Yeah. Sure. Here. Go nuts.</dialogue> <scene_description>Slater hands Fogell the gun , when suddenly a SIREN can be heard in the distance getting closer .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Fuck. The cops!</dialogue> <character>OFFICER SLATER</character> <dialogue>Let's bail! Shotgun!</dialogue> <scene_description>Slater grabs the gun out of the disappointed Fogell 's hand and holsters it . They all hop into the car .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Michaels kicks it into drive and they peel out . Fogell shoves the unconscious Homeless Guy over .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Hah, hah! Eat it. So, dudes, what do we do now?</dialogue> <scene_description>Suddenly , the car radio goes off .</scene_description> <character>RADIO</character> <dialogue>We got a 257 at Fifth and Paysview, all units in the area report to Fifth and Paysview. Car 98. That's you. Do it. Seriously.</dialogue> <scene_description>The cops stop and listen .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Son - of - a - bitch.</dialogue> <parenthetical>( picks up radio . )</parenthetical> <dialogue>Car 98, ten - four.</dialogue> <parenthetical>( hangs up . )</parenthetical> <dialogue>Ya dumb whore. Ha!</dialogue> <character>FOGELL</character> <dialogue>What does that mean? We gon na get to shoot anyone?</dialogue> <character>OFFICER SLATER</character> <dialogue>I wish. Probably some lame house party. We'll drop you off after. Cool?</dialogue> <character>FOGELL</character> <dialogue>Yeah, man. Let's show these fuckers how we roll.</dialogue> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - MOMENTS LATER</stage_direction> <scene_description>Seth and Evan are running down the sidewalk . They both slow to a stop to catch their breath . The party is nowhere in sight .</scene_description> <character>SETH</character> <parenthetical>( wheezing heavily . )</parenthetical> <dialogue>. huff. hufff. you fuckin' prick.</dialogue> <character>EVAN</character> <dialogue>What?</dialogue> <character>SETH</character> <dialogue>You. huff. bailed on me. huff. man.</dialogue> <character>EVAN</character> <dialogue>No I did n't!</dialogue> <character>SETH</character> <dialogue>Of course you did! We were supposed to do something and you left instead of doing it! That's the definition of bailing!</dialogue> <character>EVAN</character> <dialogue>If you said we should burn our dicks off and I did n't, that's not bailing!</dialogue> <character>SETH</character> <dialogue>It is bailing, if you promised to burn your dick off!</dialogue> <character>EVAN</character> <dialogue>What?!</dialogue> <character>SETH</character> <dialogue>The bottom line is you're a bailer. You just bailed on me, you bailed on me this morning when Terry spat on me, and you're bailing on me next year!</dialogue> <character>EVAN</character> <dialogue>Oh! Okay! There it is! It finally comes out!</dialogue> <character>SETH</character> <dialogue>We were supposed to go to college together! Since elementary school! What ever happened to that!</dialogue> <character>EVAN</character> <dialogue>What happened to that, is that you're too stupid to get into the schools I did!</dialogue> <character>SETH</character> <dialogue>I was not too stupid, I was too lazy!</dialogue> <character>EVAN</character> <dialogue>You've wasted all my time, you selfish bastard! Instead of chasing girls and making friends, I threw away the last three years talking bullshit with you! And now, because of you, I'm going to college a fucking friendless virgin!</dialogue> <scene_description>Seth ca n't believe it . He 's extremely hurt .</scene_description> <character>SETH</character> <dialogue>Getting with a girl wo n't make you any less of a loser next year!</dialogue> <character>EVAN</character> <dialogue>You talking to me or yourself? You fucking loser!</dialogue> <scene_description>Seth drops one of the tide bottles and shoves Evan hard . Evan shoves him back .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Michaels pounds on the keypad of the little cop computer with his fist .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>How do they expect us to work these things while we're driving? I ca n't even work my iMac while I'm sitting at my desk.</dialogue> <character>FOGELL</character> <dialogue>So, like, what does that computer do?</dialogue> <character>OFFICER SLATER</character> <dialogue>Pretty much anything, if you're smart enough to figure it out. Like, who do you really hate? Gim me a name.</dialogue> <character>FOGELL</character> <dialogue>Um. my French teacher. Mrs. Graham. Susette Graham.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Can I do it?</dialogue> <scene_description>Slater nods . Michaels bring her file up , then punches a few buttons and smiles .</scene_description> <character>FOGELL</character> <dialogue>What did you do?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Tomorrow, Mrs. Graham will have a boot on her car.</dialogue> <scene_description>Fogell laughs his ass off .</scene_description> <character>FOGELL</character> <dialogue>I hate my dad, too!</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Okay. The place should be around here somewhere. McLovin, are the numbers on that side odd or even?</dialogue> <character>FOGELL</character> <dialogue>It's too dark out.</dialogue> <character>OFFICER SLATER</character> <dialogue>We got flashlights.</dialogue> <scene_description>Slater gets his flashlight and points it out the window .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>I was n't even sure light came out of those things. I thought they were just cool looking clubs.</dialogue> <scene_description>Michaels and Slater start making light saber noises and pretend to fight with their flashlights .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - CONTINUOUS</stage_direction> <scene_description>We see the COP CAR going down the street . Evan and Seth are a block down , shoving each other .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Slater turns and points his flashlight out Michaels window , accidentally shining the light into his eyes .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>My eyes!</dialogue> <scene_description>He jerks the wheel .</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK - CONTINUOUS</stage_direction> <scene_description>Seth swings at Evan with the giant detergent jug . Evan dodges it and shoves Seth hard . Seth stumbles onto the road and gets HIT by the COP CAR ! Seth flies up onto the hood , SMASHING the windshield . The car screeches to a halt and Seth slides off the front of the car . Seth lies motionless , still holding one of the detergent jugs . The cap is knocked loose and beer is spilling all over the place .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Everyone in the car is looking forward , stunned . They ca n't see out the front window , as it is shattered . Fogell has no clue who the victim was .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Oh shit. Shit, shit, SHIT!</dialogue> <character>OFFICER SLATER</character> <dialogue>I do n't believe this is happening again.</dialogue> <character>FOGELL</character> <parenthetical>( frightened . )</parenthetical> <dialogue>Oh my god. is he. are you gon na make sure he's alright?</dialogue> <character>OFFICER SLATER</character> <dialogue>Okay, okay, we're gon na get out of the car now. McLovin, you stay right there.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>That guy better not be dead.</dialogue> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - CONTINUOUS</stage_direction> <scene_description>The cops get out of the car and walk over to a now sitting up Seth . He 's dazed , but okay .</scene_description> <character>EVAN</character> <dialogue>I'm sorry! You pushed me first.</dialogue> <character>SETH</character> <dialogue>I did n't push you into fucking oncoming traffic!</dialogue> <scene_description>The boys notice the cops .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Is everyone alright?</dialogue> <character>SETH</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>We're great.</dialogue> <character>OFFICER SLATER</character> <dialogue>Well, you should be careful boys. That's how accidents happen.</dialogue> <character>SETH</character> <dialogue>What, when cops drive like maniacs and hop the fucking curb?</dialogue> <character>OFFICER SLATER</character> <parenthetical>( intimidating . )</parenthetical> <dialogue>Pardon?</dialogue> <character>EVAN</character> <dialogue>Nothing.</dialogue> <scene_description>Evan looks like he 's about to shit himself . The cops notice one of the detergent jugs in the middle of a puddle of beer . Slater dips his finger in rubs it against his gums like it was cocaine .</scene_description> <character>OFFICER SLATER</character> <dialogue>Pabst. You boys been doing a bit of drinking?</dialogue> <character>EVAN</character> <dialogue>No officer. Not at all.</dialogue> <character>OFFICER SLATER</character> <parenthetical>( pointing to the other jug . )</parenthetical> <dialogue>Is that more beer you got over there?</dialogue> <character>SETH</character> <dialogue>Umm, no sir, detergent.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Detergent?</dialogue> <character>SETH</character> <dialogue>My clothes are dirty.</dialogue> <scene_description>The cops look at each other , then at the boys .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>You boys stay right here.</dialogue> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Fogell anxiously sits in the cop car . He ca n't see what 's going on through the shattered windshield .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - CONTINUOUS</stage_direction> <scene_description>The cops turn away and start to whisper to one another . Seth and Evan look on , nervous .</scene_description> <character>OFFICER SLATER</character> <dialogue>Alright, Michaels. The car is completely fucked, and you're the one who fucked it up, so you've got to fix it.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>What do I do?</dialogue> <character>OFFICER SLATER</character> <dialogue>We arrest these little crap stains and dump it on them, I'll take care of that. You go make sure McLovin is good to play ball. This is it, Michaels. You wan na hang with the big boys, you got ta get your hands dirty. You cool?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Yeah, I'm cool.</dialogue> <scene_description>The cops nod to each other . Michaels goes back to the car and gets in . Slater walks back over to the boys . He puts his hand on his gun and pulls out his club , scaring the shit out of Evan and Seth .</scene_description> <character>OFFICER SLATER</character> <dialogue>Get on the ground. Now! Spread your shit!</dialogue> <scene_description>Evan and Seth lie down on their stomachs and spread their arms and legs out , terrified .</scene_description> <character>EVAN</character> <dialogue>Puh. please do n't shoot.</dialogue> <character>OFFICER SLATER</character> <parenthetical>( mocking . )</parenthetical> <dialogue>Puh - Puh - Please shut the fuck up!</dialogue> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>Officer Michaels is sitting in the driver 's seat .</scene_description> <character>FOGELL</character> <dialogue>Was the guy alright?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>What? Oh, yeah, the guy was fine.</dialogue> <scene_description>Michaels looks back at the Homeless Guy , who looks a little bit more awake than before .</scene_description> <character>OFFICER MICHAELS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you awake, sir?</dialogue> <scene_description>The guy starts to open his eyes a little . Michaels grabs the guy 's face and slams it back , knocking him out again . Fogell jumps a little .</scene_description> <character>OFFICER MICHEALS</character> <dialogue>I'm sorry, McLovin. But I really need this to be a private thing.</dialogue> <scene_description>Officer Michaels takes out two cigarettes , and gives one to Fogell , who accepts , quivering in fear . Michaels lights his , then passes the lighter to Fogell .</scene_description> <character>OFFICER MICHEALS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Listen McLovin, you. like. Officer Slater and myself, do n't you?</dialogue> <scene_description>Fogell tries to light his cigarette . It takes a few tries and he starts hacking after the first pull .</scene_description> <character>FOGELL</character> <parenthetical>( coughing . )</parenthetical> <dialogue>Umm, yeah, sure. You guys are great.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Yeah, well, we're also on probation. You see, we've actually trashed two other cars. The first time was n't our fault, and the second time a bee flew in and I freaked out. Point is, we trash another car, without a good reason, we're fucked. Know what I'm saying?</dialogue> <scene_description>Fogell continues to painfully suck back on the cigarette .</scene_description> <character>FOGELL</character> <dialogue>Sure.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Now, we're going to arrest these guys, and if you do n't mind, which you should n't, we'd like you to write a fake witness report saying they jumped out in front of our car. Cool, McLovin?</dialogue> <scene_description>Fogell nods his head , getting some of his cigarette smoke in his eyes . He winces and starts to blink in discomfort .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - CONTINUOUS</stage_direction> <scene_description>Slater stands above the boys .</scene_description> <character>OFFICER SLATER</character> <dialogue>How tall are you?</dialogue> <character>EVAN</character> <dialogue>Uh. I do n't know, five - foot - ten, eleven?</dialogue> <character>OFFICER SLATER</character> <dialogue>And you said those were `` Pumas?''</dialogue> <scene_description>Seth nods . Officer Michaels and Fogell get out of the car . Seth and Evan see Fogell and stare in shock as he takes a drag of a cigarette and then flicks it aside . Michaels pulls Slater aside and mumbles into his ear . Fogell turns and sees Seth and Evan - he 's completely dumbfounded ! Evan starts to look really nervous , like he might literally explode . He starts to stand up . The cops are still talking when suddenly , Evan BOLTS !</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Shit!</dialogue> <scene_description>The cops run after Evan ! Seth and Fogell look at each other . Seth grabs the remaining detergent jug and runs off in the opposite direction of Evan ! Fogell reaches into the cop car , grabs the bags of booze , and follows Seth .</scene_description> <character>FOGELL</character> <dialogue>Seth! Wait up!</dialogue> <scene_description>Officer Slater looks back to see Seth and Fogell running .</scene_description> <character>OFFICER SLATER</character> <dialogue>Shit! Shit! McLovin bailed!</dialogue> <scene_description>The cops run back into their car .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>They ca n't see out of the shattered windshield .</scene_description> <character>OFFICER SLATER</character> <dialogue>Fuck!</dialogue> </scene> <scene> <stage_direction>EXT. STREET WITH COP CAR - CONTINUOUS</stage_direction> <scene_description>The cops get out of the car and run off after Seth and Fogell . As they run , we see the Homeless Guy slump out of the car , landing on his face with a muffled groan . He stands up , grabs the jug of detergent that was left on the ground , and runs off .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - CONTINUOUS</stage_direction> <scene_description>Fogell and an exhausted Seth are running together . Seth grabs Fogell and takes him around a house and towards a backyard . A second later , the cops run by the house and continue up the block .</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD - MOMENTS LATER</stage_direction> <scene_description>Seth and Fogell sprint across a big , dark backyard . Seth looks back to see if they are being followed . BOOM ! He runs smack into a little red tent and trips onto it ! KIDS inside the tent start screaming as flashlights turn on .</scene_description> <character>KIDS</character> <parenthetical>( hysterical . )</parenthetical> <dialogue>Help / It's a monster! / Daddy!</dialogue> <scene_description>Fogell helps Seth get up . They try to run , but Seth is caught on the tent ! He drags it a couple feet as the kids start clawing to get out .</scene_description> <character>KIDS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>AAAHHHHHH!</dialogue> <scene_description>The zipper opens and a KID hops out . The Kid looks at Seth .</scene_description> <character>KID</character> <dialogue>AHHH! NO! DADDY!</dialogue> <character>FOGELL</character> <dialogue>Holy shit! Little kids!</dialogue> <scene_description>A little GIRL runs out and books it into the house . From inside the tent , another kid starts kicking at Seth .</scene_description> <character>SETH</character> <dialogue>Ow!</dialogue> <scene_description>Seth manages to free himself from the tent and he and Fogell fall to the ground . The kids continue to scream .</scene_description> <character>FATHER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Get away from my children!</dialogue> <scene_description>The guys turn and see a crazed , slightly overweight FATHER in his underwear running at them with a baseball bat . Fogell and Seth scramble to their feet as the Dad takes a swing at them , narrowly missing them .</scene_description> <character>FATHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You sick sons - of - bitches!</dialogue> <scene_description>Fogell throws his shoulder into the guy , knocking him down . Seth and Fogell run to the backyard gate and try to open it . They ca n't .</scene_description> <character>FOGELL</character> <dialogue>Help!</dialogue> <scene_description>Fogell starts banging as Seth looks back to see the Dad coming for them . Seth swings the detergent jug at the Father , knocking him on his ass . He quickly gets up and charges , enraged .</scene_description> <character>FOGELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Aaaahhh!</dialogue> <scene_description>Fogell gets the door open and the two boys run into the alley .</scene_description> <character>CUT TO:</character> <dialogue /> </scene> <scene> <stage_direction>EXT. ALLEY - CONTINUOUS</stage_direction> <scene_description>They sprint down the alley . Seth coughs and wheezes , slowing down as he lugs the detergent . The Father enters the alley and sees the boys running . He throws his baseball bat . It sails through the air and nails Seth in the back ! He falls .</scene_description> <character>SETH</character> <dialogue>ARGGG!</dialogue> <scene_description>He gets up and the keeps running .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER - CONTINUOUS</stage_direction> <scene_description>Slater and Michaels , completely out of breath , desperately scan the area for the boys .</scene_description> <character>OFFICER SLATER</character> <dialogue>Stupid little bastards.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Maybe I should fire a shot? Scare ` em out?</dialogue> </scene> <scene> <stage_direction>EXT. INSIDE SOME BUSHES - CONTINUOUS</stage_direction> <scene_description>Evan is nestled inside a large bush , frantically trying to reverse his clothes so as to disguise himself . He keeps looking out for the cops , when suddenly he hears a gunshot - BLAM !</scene_description> <character>EVAN</character> <parenthetical>( to himself , mumbling . )</parenthetical> <dialogue>Oh god. Oh god. Fuck. Fuck.</dialogue> <scene_description>As he fumbles to turn his jacket inside out and get it on , he sees Seth and Fogell running towards him . He pops out of the bush , scaring Fogell and Seth .</scene_description> <character>FOGELL</character> <dialogue>Ahh!</dialogue> <character>SETH</character> <dialogue>Jesus!</dialogue> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Should I run!?!</dialogue> <character>SETH</character> <dialogue>Fucking run!</dialogue> <scene_description>They all run off down the street .</scene_description> </scene> <scene> <stage_direction>EXT MAIN STREET</stage_direction> <scene_description>They turn a corner at the end of the block and continue running . They turn onto a main street and are exuberant at the sight of an oncoming bus . It stops at a nearby stop . They haul ass and make it on .</scene_description> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Out of breath , the boys dig up change and put it in the toll box , then walk towards the back of the bus .</scene_description> <character>HOMELESS GUY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey! It's you!</dialogue> <scene_description>Fogell looks up and sees the Homeless Guy stumbling towards them , sucking back the bottom of the lost detergent bottle . The Homeless Guy sees they have bags full of booze .</scene_description> <character>HOMELESS GUY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You got booze in the bag? Can you gim me some?</dialogue> <character>SETH</character> <dialogue>No! Fuck off! You already drank our detergent beer!</dialogue> <character>HOMELESS GUY</character> <dialogue>That was beer?!</dialogue> <parenthetical>( to Fogell . )</parenthetical> <dialogue>Well, you little shit. ai n't got no cop people to help you keep your booze. gim me it.</dialogue> <scene_description>The Homeless Nutcase reaches for the booze . Seth steps in front of him .</scene_description> <character>SETH</character> <dialogue>Back off, or we'll kick the shit out of you!</dialogue> <character>EVAN</character> <dialogue>We ca n't do that. He's homeless.</dialogue> <character>SETH</character> <dialogue>So? Who cares? Just because he does n't have a home does n't mean he can be a lunatic!</dialogue> <character>HOMELESS GUY</character> <dialogue>Give me the booze!</dialogue> <scene_description>The guy shoves Seth aside and dives at Fogell . - Helen 's bottle of Goldschlager gets knocked from the bag . It VERY SLOWLY falls towards the ground . - Seth reaches for it , but does n't quite grab it . - WE LOUDLY HEAR the bottle as it slams against the bus floor . but does n't break ! It slowly rises back up into the air and begins sailing towards the front of the bus . - Evan LEAPS through the air , sailing towards the precious Goldschlager with his arms extended .</scene_description> <character>EVAN</character> <parenthetical>( in slo - mo voice . )</parenthetical> <dialogue>GOOOOOOOLDSCHLLLAAAAAAAGERRRRRRRRRR!</dialogue> <scene_description>- He is inches away from grabbing it , when it suddenly smashes into a pole , SHATTERING , sending little gold flakes everywhere . BACK TO NORMAL . The Homeless Guy sees the gold flakes .</scene_description> <character>HOMELESS GUY</character> <dialogue>Shit! Gold!</dialogue> <scene_description>He starts frantically picking up the flakes as Evan stares at the remains , shocked . Fogell walks over .</scene_description> <character>FOGELL</character> <dialogue>What the hell is going on? Where did you come from?</dialogue> <character>BUS DRIVER</character> <parenthetical>( calling from front . )</parenthetical> <dialogue>Get the fuck off the bus or I'm calling the cops!</dialogue> <scene_description>The boys look at each other terrified , and get off the bus .</scene_description> </scene> <scene> <stage_direction>EXT. BUS - CONTINUOUS</stage_direction> <scene_description>Seth and Evan are looking at one another coldly as the bus pulls away . Fogell looks at some nearby street signs .</scene_description> <character>FOGELL</character> <parenthetical>( ecstatic . )</parenthetical> <dialogue>Holy shit! We're like three blocks away! Best luck ever!</dialogue> </scene> <scene> <stage_direction>EXT. STREET NEAR JULES' PARTY - A LITTLE LATER</stage_direction> <scene_description>The are walking up the street as Evan puts his clothes back on right - side out .</scene_description> </scene> <scene> <stage_direction>EXT. JULES' PARTY - MOMENTS LATER</stage_direction> <scene_description>The guys walk up the front steps of Jules ' house . They stand in front of the door .</scene_description> <character>FOGELL</character> <dialogue>Fuck yeah, guys. We made it. Together and safe.</dialogue> <character>EVAN</character> <dialogue>I ca n't believe Helen's bottle broke.</dialogue> <character>FOGELL</character> <dialogue>I'm sure it'll be fine.</dialogue> <character>SETH</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>What's the difference? I thought you did n't need it anyways. I thought you were just going to tell her how you feel, you fucking pussy.</dialogue> <character>EVAN</character> <dialogue>Yeah? Well, good luck getting Jule's drunk enough to have sex with you.</dialogue> <character>FOGELL</character> <dialogue>What's wrong with you guys?</dialogue> <character>SETH</character> <dialogue>Shut up, Fogell. Never mind. Evan'll tell you next year.</dialogue> <character>FOGELL</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>You told him?</dialogue> <scene_description>Evan stares Fogell down .</scene_description> <character>SETH</character> <dialogue>Told me what?</dialogue> <character>FOGELL</character> <dialogue>Well we have to tell him now.</dialogue> <character>EVAN</character> <dialogue>Fuck, Fogell! You're a god damn idiot.</dialogue> <character>FOGELL</character> <dialogue>Well, he knows something's up.</dialogue> <character>SETH</character> <dialogue>Just say it!</dialogue> <character>EVAN</character> <dialogue>Shit.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Seth, me and Fogell are rooming together next year.</dialogue> <character>FOGELL</character> <dialogue>I do n't even get what the big deal is, to be honest.</dialogue> <character>EVAN</character> <dialogue>I did n't tell you because -</dialogue> <character>SETH</character> <dialogue>Save that shit for later. We've got shit to do.</dialogue> <scene_description>Seth just goes into the house with the booze , leaving Fogell and Evan .</scene_description> <character>FOGELL</character> <dialogue>We never should have had to hide our arrangement.</dialogue> </scene> <scene> <stage_direction>INT. JULES' HOUSE - KITCHEN - CONTINUOUS</stage_direction> <scene_description>The party is in full swing . There is loud music blaring and nearly a hundred people talking , dancing , and smoking .</scene_description> <character>JULES</character> <dialogue>Seth! Everyone, he's here! He's got it!</dialogue> <scene_description>Everyone turns around and sees the Seth holding all the liquor .</scene_description> <character>RANDOM GUY</character> <dialogue>He's got a shit load of booze!</dialogue> <scene_description>Everyone starts cheering ! Seth sets it out on the kitchen table ; it is an impressive array of inebriates .</scene_description> <character>SETH</character> <dialogue>The bar is open!</dialogue> <character>EVERYONE</character> <parenthetical>( ecstatically cheering . )</parenthetical> <dialogue>Yeah Seth! / Clutch! / Nice! / I ca n't believe it! / Seth did that?! / Who the fuck is Seth?</dialogue> <scene_description>In the background , we see Evan and Fogell wander into the party as Jules approaches Seth .</scene_description> <character>JULES</character> <dialogue>This is awesome. Thank you so much.</dialogue> <character>SETH</character> <dialogue>Sorry it was late.</dialogue> <character>JULES</character> <dialogue>Yeah. To be honest, people were starting to get seriously pissed off. Listen, I've got to go tell everyone the drinks are here. Do n't go anywhere. Promise?</dialogue> <character>SETH</character> <dialogue>I'll be right here.</dialogue> <scene_description>Jules walks off .</scene_description> </scene> <scene> <stage_direction>INT. JULES' KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Tons of kids pour themselves drinks . Seth and about six other kids all have overflowing shots of Jaeger .</scene_description> <character>SETH</character> <dialogue>To Jules!</dialogue> <scene_description>Everyone drinks and recoils from the taste . A random guy refills everyone 's shot glasses .</scene_description> <character>RANDOM GUY</character> <parenthetical>( pointing to Seth . )</parenthetical> <dialogue>Another one, but to you, man! Everyone, to this guy! Who the fuck are you, man?</dialogue> <character>SETH</character> <parenthetical>( exuberant . )</parenthetical> <dialogue>Seth!</dialogue> <character>RANDOM GUY</character> <dialogue>To Seth!</dialogue> <character>EVERYONE</character> <dialogue>To Seth!</dialogue> <scene_description>They all drink .</scene_description> <character>SETH</character> <dialogue>Hey! Let's do another one to me!</dialogue> <scene_description>Everyone laughs as Seth , very pleased with himself , starts refilling shot glasses .</scene_description> </scene> <scene> <stage_direction>EXT. JULES BACKPORCH - CONTINUOUS</stage_direction> <scene_description>Evan walks out onto the back porch , looking for Helen . He sees Becca .</scene_description> <character>EVAN</character> <dialogue>Becca! Hey.</dialogue> <character>BECCA</character> <dialogue>Where have you been, you almost blew it.</dialogue> <character>EVAN</character> <dialogue>What?</dialogue> <character>BECCA</character> <dialogue>Helen. She's been waiting for you. She's right over there. She's been yammering about you all night.</dialogue> <character>EVAN</character> <dialogue>What? What did she say? Does she think I'm a good guy? What did she say?</dialogue> <character>BECCA</character> <dialogue>It was something like, `` I'll fully blow him tonight.''</dialogue> <character>EVAN</character> <dialogue>What?!?</dialogue> <scene_description>Evan looks over and sees Helen standing on the balcony with a big group of people . He gets really nervous .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh man. This is too much. Oh god. What do I do? I lost the Goldschlager I was supposed to bring her!</dialogue> <character>BECCA</character> <dialogue>Well, Jordana stole a bottle of tequila from her parents and her and Helen have been going at it. I think she'll be fine in that department. I'd just go over there and invite her upstairs, pronto.</dialogue> <character>EVAN</character> <dialogue>What? Oh man.</dialogue> <parenthetical>( so nervous . )</parenthetical> <dialogue>But. she's totally hammered. If I get with her, and I'm not drunk, is n't that, like, date rape?</dialogue> <character>BECCA</character> <dialogue>It's not date rape if you're drunk, too.</dialogue> <character>EVAN</character> <dialogue>I guess.</dialogue> <scene_description>Evan looks at Helen and takes a deep breath .</scene_description> </scene> <scene> <stage_direction>INT. JULES BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Evan enters the bathroom and slams the door shut , a bottle of Ouzo in one hand and a beer in the other . He looks at himself in the mirror , seeming as though he 's on the verge of a full - on panic attack .</scene_description> <character>EVAN</character> <parenthetical>( panting . )</parenthetical> <dialogue>Calm down, Evan. She likes you. She wants to suck on your penis. That's a good thing.</dialogue> <scene_description>He opens the Ouzo and smells it , recoiling in disgust .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Down the hatch.</dialogue> <scene_description>Evan takes a mighty swig , then gags and spits it out , spraying it everywhere .</scene_description> </scene> <scene> <stage_direction>INT. JULES' DEN/ DINING ROOM- CONTINUOUS</stage_direction> <scene_description>Fogell sits bored in front of the TV , drinking a beer . He watches a bunch of girls flirt with some boys . Everyone is talking and laughing while he sits alone . He walks over to the doorway of a room filled with girls dancing . In the corner dancing is Nicola . He stares at her for a moment , then goes back and sits in front of the TV . He changes the channel and `` COPS '' comes on the screen . It shows two cops chasing a crack head , tackling him and knee dropping him . Fogell ponders as he watches `` COPS . '' He throws back the rest of his beer and marches into the room Nicola is dancing in . He walks up to Nicola , who is by far the best - looking girl in the room , and starts dancing with her . She looks a bit thrown at first , but after a few beats , she seems to like it .</scene_description> <character>FOGELL</character> <dialogue>They call you Nicola, right?</dialogue> <character>NICOLA</character> <dialogue>And they call you Fogell.</dialogue> <character>FOGELL</character> <dialogue>Some do.</dialogue> <scene_description>They continue dancing . I/E . JULE 'S KITCHEN/BATHROOM - CONTINUOUS</scene_description> </scene> <scene> <stage_direction>INT. JULES KITCHEN</stage_direction> <scene_description>- Seth taking shot after shot in the kitchen with everyone else , glancing over at Jules every now and then as she walks around the party , sending more people to drink with him .</scene_description> </scene> <scene> <stage_direction>INT. JULES BATHROOM</stage_direction> <scene_description>- Evan in the bathroom , forcing himself to brutally suck back a disgusting amount of Ouzo . He sips from his beer , takes a deep breath , and then starts again .</scene_description> </scene> <scene> <stage_direction>INT. JULES HOUSE</stage_direction> <scene_description>- Seth dances jokingly with a few people and tells the story of that evening , showing them the detergent jug full of beer and acting out the car hitting him .</scene_description> </scene> <scene> <stage_direction>INT. JULES BATHROOM</stage_direction> <scene_description>- Evan , who has drank about half the bottle and is pretty drunk , stands up , arms reached out , and tries to walk in a straight line . He does it fairly well . Frustrated , he sits back down and takes another disgusting swig of Ouzo .</scene_description> </scene> <scene> <stage_direction>INT. JULES HOUSE</stage_direction> <scene_description>- Jules throws Seth a smile when she sees him making everyone laugh as he re - fills their cups with very foamy , slightly blue - tinted beer from the detergent jug .</scene_description> </scene> <scene> <stage_direction>INT. JULES BATHROOM</stage_direction> <scene_description>- Evan ca n't keep his balance as he tries to touch his nose while standing on one foot . He 's drunk . He drinks from the tap thirstily , eats some toothpaste , fixes his collar and hair , and then gathers his courage , takes a deep breath , and steps out of the bathroom .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - CONTINUOUS</stage_direction> <scene_description>Evan walks out on the balcony . He spots the circle of people Helen was standing in , only now Helen is laying on the ground , laughing hysterically . Everyone in the circle is looking at her and laughing as well . Evan is extremely nervous . Helen looks up and spots him .</scene_description> <character>HELEN</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Evan! Hey! Come here!</dialogue> <scene_description>Evan takes a deep breath walks up to where she 's laying . She extends her arms .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Help me up! None of these people will help me up!</dialogue> <scene_description>Evan notices that she seems a little drunk . He helps her up and she collapses onto him , forcing him to hold her up .</scene_description> <character>EVAN</character> <dialogue>Hey, Helen. Sorry I was -</dialogue> <scene_description>Helen laughs hysterically as she latches onto Evan . He smells her breath . It reeks of alcohol . Evan 's drunk , but Helen is completely fucking shit - faced !</scene_description> <character>HELEN</character> <dialogue>Evan! Oh my god! You are so fucking hilarious!</dialogue> <parenthetical>( to the group . )</parenthetical> <dialogue>Do you goes know how fucking hilarious Evan is?</dialogue> <parenthetical>( to Evan . )</parenthetical> <dialogue>Tell them how hilarious you are!</dialogue> <scene_description>The group looks over to Evan .</scene_description> <character>EVAN</character> <dialogue>Uh. well. uh.</dialogue> <character>HELEN</character> <dialogue>Listen to him!</dialogue> <scene_description>Helen starts laughing hysterically .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See?! He is so cute!</dialogue> <scene_description>The group chuckles a little . Helen puts her arms around Evan .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I've been waiting for you for, like, ever. What took you so long? Do you have my Goldschlager?</dialogue> <character>EVAN</character> <dialogue>Oh man, it's a crazy story -</dialogue> <scene_description>Helen picks up a bottle of tequila and shoves it into Evan 's hand .</scene_description> <character>HELEN</character> <dialogue>Here! Do n't worry, we can drink this.</dialogue> <character>EVAN</character> <dialogue>I'm already pretty wasted. But. uh. here's to you.</dialogue> <scene_description>Evan takes a much - unwanted drink and gags .</scene_description> <character>HELEN</character> <dialogue>Light - weight!</dialogue> <scene_description>Everyone laughs .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey. me and you should go upstairs now. I really want to. tell you something.</dialogue> <character>EVAN</character> <parenthetical>( confused and drunk . )</parenthetical> <dialogue>Uh. uh. uh. you could just tell me right here -</dialogue> <character>HELEN</character> <parenthetical>( laughing . )</parenthetical> <dialogue>No! Let's go upstairs, come on!</dialogue> <scene_description>Evan hears everyone giggle as Helen pulls him towards the house . Helen trips , just managing not to fall .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Careful.</dialogue> </scene> <scene> <stage_direction>INT. JULES' DINING ROOM WITH DANCING PEOPLE - CONTINUOUS</stage_direction> <scene_description>Nicola and Fogell are standing in the corner of the room . Nicola is looking at Fogell 's ID .</scene_description> <character>NICOLA</character> <dialogue>McLovin! That's the funniest thing I've ever seen!</dialogue> <character>FOGELL</character> <dialogue>Yeah, I just thought it sounded old.</dialogue> <scene_description>They both laugh and their eyes meet .</scene_description> </scene> <scene> <stage_direction>INT. JULES KITCHEN - CONTINUOUS</stage_direction> <scene_description>The party is in full swing and everyone is getting good and drunk . Jules walks up to Seth , who is clearly piss drunk .</scene_description> <character>JULES</character> <dialogue>Hey, I'm back. I had to thank the peeps for comin' out.</dialogue> <character>SETH</character> <parenthetical>( really , really , drunk . )</parenthetical> <dialogue>Jules! The hostess with the most - est! The woman of the hour!</dialogue> <scene_description>Seth takes a swig of a beer .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This party's blowin' my ass off! I want you to have a drink with me.</dialogue> <scene_description>Seth offers her a beer .</scene_description> <character>JULES</character> <dialogue>No, thanks. I'm good. But, seriously, thanks for getting all the drinks. It really made the night.</dialogue> <character>SETH</character> <dialogue>It's just how I roll, Jules. No problems, no problems.</dialogue> <scene_description>Jules laughs and Seth sees that his charm is working .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Uh. you know. I love talking, and conversing with you, you're so good at it, but I ca n't hear you. Could we just go on the. uh. balcony or something?</dialogue> <scene_description>Jules eyes Seth suspiciously . Seth just looks at her , smiling drunkenly .</scene_description> <character>JULES</character> <dialogue>Why not? I have n't conversed in ages. Let's do it.</dialogue> <scene_description>Jules walks out of the kitchen . He finishes off his beer and then , happy as shit , drunkenly dances out of the kitchen and after Jules .</scene_description> </scene> <scene> <stage_direction>INT. JULES' BEDROOM - CONTINUOUS</stage_direction> <scene_description>Evan practically holds Helen up , almost dropping her several times , as they stumble into Jules ' bedroom . Helen puts down the tequila and starts kissing Evan , but it 's not nice kissing , it 's sloppy porno kissing with way too much tongue . After a few moments Evan pulls away and looks at the remarkably drunk Helen .</scene_description> <character>EVAN</character> <dialogue>Are you okay?</dialogue> <character>HELEN</character> <dialogue>I so flirt with you in Math.</dialogue> <character>EVAN</character> <dialogue>Oh man. Helen. I want to tell you, I mean, I've wanted to tell you, for a long time -</dialogue> <character>HELEN</character> <dialogue>I know. I've wanted to get with you so hard.</dialogue> <scene_description>Helen kisses him .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Like. so hard.</dialogue> <scene_description>Helen yanks him onto the bed and starts sloppily kissing him again . Evan does n't know what to do . She tries to take off Evan 's shirt , but is way too inebriated to undo the buttons . Evan yanks it off .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good.</dialogue> <scene_description>Helen stands up and starts to waver back and forth . She looks like she 's about to tip over , but she catches herself and sloppily tries to strike a sexy pose like a model . Evan watches in dread as she starts to strip , pulling her shirt over her head , completely failing to look sexual . As Evan watches the tragedy unfold , he grabs the bottle of tequila and takes a big swig . Helen sits on the floor and concentrates on untying her shoes .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the fuck. stupid shoe.</dialogue> <scene_description>Evan moves over to help her . He ca n't do it either .</scene_description> <character>EVAN</character> <dialogue>Shit. Can you, like, slip out?</dialogue> <scene_description>Helen tries to squeeze her feet out , but she ca n't . She grabs a pair of scissors off a desk .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whoa. Fuckin'. careful.</dialogue> <scene_description>She snips off the knot and slips her shoe off .</scene_description> <character>HELEN</character> <dialogue>You. take off your pants.</dialogue> <parenthetical>( drunkenly waving the scissors . )</parenthetical> <dialogue>Or I'll cut ` em off.</dialogue> <scene_description>Helen laughs as she staggers to her feet and start kissing Evan . He starts taking off his pants .</scene_description> </scene> <scene> <stage_direction>INT. JULES' STAIRCASE - MOMENTS LATER</stage_direction> <scene_description>Nicola leads Fogell up the stairs .</scene_description> <character>NICOLA</character> <dialogue>I ca n't believe I'm about to get with `` Fogell''.</dialogue> <character>FOGELL</character> <dialogue>Why?</dialogue> <character>NICOLA</character> <dialogue>I do n't know. You're like, the most mysterious guy in the grade. Like, nobody knows anything about you.</dialogue> <character>FOGELL</character> <dialogue>Well, you're about to learn a few things.</dialogue> </scene> <scene> <stage_direction>EXT. JULES' FRONT PORCH - CONTINUOUS</stage_direction> <scene_description>Jules and Seth step out onto the front porch . There is no one else out there . The moment the door closes behind them , Seth turns to Jules and puts his hands on her hips . He stares into her eyes and moves in for the kiss . Jules instantly pulls back .</scene_description> <character>JULES</character> <dialogue>Whoa! Whoa! Slow down.</dialogue> <character>SETH</character> <dialogue>What? What's wrong?</dialogue> <character>JULES</character> <dialogue>I'd. uh. prefer if we did this at some other time.</dialogue> <character>SETH</character> <parenthetical>( confused . )</parenthetical> <dialogue>But. there is no other time. School's up! This is the only time. what's wrong with now?</dialogue> <character>JULES</character> <dialogue>Well, you're drunk. Like, really, really drunk.</dialogue> <character>SETH</character> <dialogue>So? So are you.</dialogue> <character>JULES</character> <dialogue>I'm not drunk at all. I do n't even drink.</dialogue> <scene_description>Seth is absolutely shocked . It takes his remarkably drunk mind a moment to process this information .</scene_description> <character>SETH</character> <dialogue>You do n't drink? But. but, you told me to get the liquor!</dialogue> <character>JULES</character> <dialogue>Yeah, I'm. uh. throwin' a party, remember?</dialogue> <character>SETH</character> <dialogue>You do n't drink!?!</dialogue> <character>JULES</character> <dialogue>No. I do n't drink.</dialogue> <character>SETH</character> <dialogue>And you, do n't want to. uh, you know.</dialogue> <character>JULES</character> <dialogue>Uh, no. Not right now, thank you very much.</dialogue> <scene_description>Seth looks at Jules and realizes that he 's screwed up . His eyes start to water .</scene_description> <character>SETH</character> <dialogue>Ahhh. man. fuck.</dialogue> <scene_description>Seth starts to cry .</scene_description> <character>JULES</character> <dialogue>Are you crying?</dialogue> <character>SETH</character> <dialogue>No! Yeah, so what if I am? I'm a fucking idiot and it was my last chance! So I should be crying.</dialogue> <character>JULES</character> <dialogue>Last chance to do what?</dialogue> <character>SETH</character> <dialogue>To make you my girlfriend for the summer, okay? There! You're, like, the coolest person that's ever talked to me, and I thought we'd both be drunk, but.</dialogue> <character>JULES</character> <dialogue>What would me be drunk have anything to do with it?</dialogue> <character>SETH</character> <dialogue>` Cause you'd never get with me in your right mind! Look at me!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And now look at you!</dialogue> <scene_description>Suddenly , the front door opens , and a RANDOM GIRL walks out .</scene_description> <character>RANDOM GIRL</character> <parenthetical>( yelling into the house . )</parenthetical> <dialogue>Hey, Ricky! Was it a quarter, or an eighth you want?</dialogue> <character>RICKY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>A fat eighth!</dialogue> <scene_description>The Random Girl notices Seth and Jules .</scene_description> <character>RANDOM GIRL</character> <dialogue>Whoa. Sorry.</dialogue> <scene_description>The girl hops down the stairs and walks off as Jules stares at the sobbing Seth .</scene_description> </scene> <scene> <stage_direction>INT. JULES' ROOM - CONTINUOUS</stage_direction> <scene_description>Evan sitting on the bed in only his boxers , and Helen is just getting her pants off , leaving her only in her lingerie . Evan 's eyes widen . She looks at Evan and rubs her breasts in a very un - sexy way .</scene_description> <character>HELEN</character> <dialogue>I wore this for you. Here we go.</dialogue> <scene_description>Helen crawls onto the bed , pushes Evan down , and starts seriously making out with him , drunker and sloppier than ever .</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Evan, I'm so wet.</dialogue> <character>EVAN</character> <parenthetical>( still nervous . )</parenthetical> <dialogue>You're so beautiful.</dialogue> <scene_description>Helen shoves her hand down Evan 's boxers . Evan jolts , terrified !</scene_description> <character>HELEN</character> <dialogue>You've got such a smooth cock.</dialogue> <character>EVAN</character> <dialogue>Um. thank you. I've thought you were a really incredible person for a really long time.</dialogue> <scene_description>Evan looks really nervous as Helen 's hand starts moving up and down .</scene_description> <character>HELEN</character> <dialogue>You've got to get hard for me. real hard.</dialogue> <character>EVAN</character> <dialogue>I'm. I'm. I'm about to. But first I just want to tell you exactly how I -</dialogue> <character>HELEN</character> <dialogue>I'm gon na suck your dick so good.</dialogue> <scene_description>Evan is taken aback .</scene_description> <character>EVAN</character> <dialogue>You do n't have to do that, you know, we can start this relationship on something more than just that.</dialogue> <character>HELEN</character> <dialogue>Yeah, Evan. I know.</dialogue> <parenthetical>( in a sultry , whispery voice . )</parenthetical> <dialogue>I need you to eat my hairy love crack.</dialogue> <character>EVAN</character> <dialogue>Jesus Christ.</dialogue> <scene_description>Evan sits up .</scene_description> <character>HELEN</character> <dialogue>What's wrong?</dialogue> <scene_description>Beat .</scene_description> <character>EVAN</character> <dialogue>You do n't want to do this.</dialogue> <character>HELEN</character> <dialogue>Yeah I do, I want to fuck you.</dialogue> <character>EVAN</character> <dialogue>Look, you know I really like you, Helen, but this is. it's just too intense. And I'm so drunk I do n't even know how to, like, process -</dialogue> <character>HELEN</character> <dialogue>You're just being a pussy.</dialogue> <character>EVAN</character> <dialogue>What? Did you just call me a. pussy?</dialogue> <character>HELEN</character> <dialogue>Yeah. a scared little pussy -</dialogue> <scene_description>PUKE ! Evan watches in horror as Helen vomits all over Jules ' bed .</scene_description> <character>EVAN</character> <dialogue>Oh god! Oh.</dialogue> <character>HELEN</character> <dialogue>I need Becca. Becca.</dialogue> <character>EVAN</character> <dialogue>I'll. uh. I'll go get her. Are you going to be okay?</dialogue> <character>HELEN</character> <dialogue>Oh God, oh God, oh. I'm puking.</dialogue> <scene_description>PUKE ! Evan winces as she throws up again .</scene_description> </scene> <scene> <stage_direction>INT. JULES PARENTS'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Fogell is laying on his back on the bed and Nicola is straddling him . They are kissing . Nicola sits up and takes Fogell 's hand and starts sucking his fingers .</scene_description> <character>FOGELL</character> <dialogue>I've got a boner.</dialogue> <character>NICOLA</character> <dialogue>Good. Do you have a condom?</dialogue> <scene_description>He pulls a condom out .</scene_description> <character>FOGELL</character> <dialogue>And lube.</dialogue> <scene_description>He pulls out a little bottle of lube .</scene_description> </scene> <scene> <stage_direction>EXT. JULES' FRONT PORCH</stage_direction> <scene_description>Seth and Jules are both seated on the stairs . Seth has his face in his hands . Jules is patting him on the back , but clearly feels awkward .</scene_description> <character>JULES</character> <dialogue>Seth, you. uh.</dialogue> <scene_description>Seth looks up at her , drunk as hell , his eyes half - open .</scene_description> <character>JULES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You did n't blow it, you're a -</dialogue> <scene_description>Seth blanks out and falls forward . BAM ! He head - butts Jules in the face !</scene_description> <character>JULES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>AAAHHH!</dialogue> <scene_description>Jules clutches her eye as Seth slumps onto the patio floor , unconscious . She gets up , yelling in pain , as Seth opens his eyes .</scene_description> <character>JULES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Seth! What the fuck!</dialogue> <character>SETH</character> <dialogue>help me.</dialogue> <scene_description>Jules storms into the house , leaving Seth lying on the front porch . He wiggles around a bit .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>sorry.</dialogue> <scene_description>Seth passes out again . A few moments go by , when SUDDENLY a cop car pulls up in front of the house . Seth opens his eyes and sees the cops .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh no.</dialogue> <scene_description>Two cops get out and start harassing two kids smoking a joint on the front lawn . One of them turns on their flashlight and Seth sees - it 's OFFICER SLATER and MICHAELS !</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Evan.</dialogue> </scene> <scene> <stage_direction>INT. JULES' HOUSE - CONTINUOUS</stage_direction> <scene_description>Evan , sitting on the couch next to Miroki -LRB- Evan 's partner from cooking class -RRB- , drinking a bottle of tequila . He 's absolutely smashed .</scene_description> <character>EVAN</character> <dialogue>Life's bullshit, huh, Miroki?</dialogue> <scene_description>Suddenly , Seth bursts into the room and grabs Evan 's shirt .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuckin' wax off, asshole!</dialogue> <character>SETH</character> <dialogue>No. I'm helping you, man! Just listen.</dialogue> <scene_description>Seth grabs Evan 's wrists and tries to pull him to his feet .</scene_description> <character>EVAN</character> <dialogue>Fuck off, jerk! You're hurting my shoulders!</dialogue> <scene_description>Just then , Terry -LRB- the guy who spat on Seth in the beginning -RRB- walks by .</scene_description> <character>TERRY</character> <dialogue>Hey! Look, it's Christina and Britney. Have fun boning each other on grad night!</dialogue> <scene_description>Terry and his buddies laugh their asses off when , suddenly - KNOCK ! KNOCK ! KNOCK ! The loud authoritative knocking echoes through the party and everyone looks to the door , knowing it can only mean one thing . Someone opens the door , revealing Officer Slater and Officer Michaels ! They talk to whoever answered the door , oblivious of Evan and Seth .</scene_description> <character>OFFICER SLATER</character> <dialogue>We had a complaint about the noise. It looks like you're having a nice little party here.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>A nice little underage drinking party.</dialogue> <scene_description>Evan points at the cops .</scene_description> <character>EVAN</character> <dialogue>Dude! Seth! It's the cops! The cops.</dialogue> <character>SETH</character> <dialogue>That's what I've been! Here.</dialogue> <scene_description>Seth pulls Evan up and the two drunkenly make their way out of the living room just as the cops step into it .</scene_description> <character>OFFICER SLATER</character> <dialogue>Okay, everyone out. Party's over. Get out of here.</dialogue> <scene_description>Michaels turns to Slater .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll go upstairs. I told you this would release some anger.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>I'll tell you what would release some anger, if one of these little fuckers touched me and I got to club his face in.</dialogue> </scene> <scene> <stage_direction>EXT. JULES' BACKYARD - CONTINUOUS</stage_direction> <scene_description>Seth and Evan run through the back yard . Seth stumbles and falls , but quickly gets up . With great difficulty , The boys drunkenly lift themselves up and over the fence .</scene_description> </scene> <scene> <stage_direction>INT. JULES PARENTS'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Fogell is on top of Nicola in the missionary position .</scene_description> <character>NICOLA</character> <dialogue>Oh. uh. oh.</dialogue> <character>FOGELL</character> <dialogue>It's. it's in.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>It's in.</dialogue> <scene_description>Fogell wears the greatest look of accomplishment one could possibly imagine . SUDDENLY , Officer Michaels bursts into the room and flicks on the lights .</scene_description> <character>FOGELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell?</dialogue> <scene_description>Nicola screams , grabs her clothes , and runs into the bathroom .</scene_description> <character>OFFICER SLATER</character> <dialogue>McLovin? What the fuck?</dialogue> <character>FOGELL</character> <dialogue>Officer Slater?</dialogue> <character>OFFICER SLATER</character> <dialogue>You ran away from us!</dialogue> <parenthetical>( turns to the door . )</parenthetical> <dialogue>Michaels! Get up here!</dialogue> <character>FOGELL</character> <dialogue>No! I hit my head when we crashed. I was all disoriented and I just wandered off, confused. Seriously!</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Shut the fuck up! Wait a minute. How old was that girl? 16, 17? You sick bastard, that's statutory rape, McLovin.</dialogue> <scene_description>Officer Slater appears in the doorway .</scene_description> <character>OFFICER SLATER</character> <dialogue>McLovin!</dialogue> <character>OFFICER MICHAELS</character> <dialogue>He was violating a sixteen year - old girl!</dialogue> <character>FOGELL</character> <dialogue>What? No! No!</dialogue> <scene_description>Fogell covers himself with the blanket and starts to get up .</scene_description> <character>FOGELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I did n't break the law! I'm not really even -</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Sit your ass down and keep it down.</dialogue> <character>OFFICER SLATER</character> <dialogue>You're going to jail, fucko.</dialogue> <scene_description>Nicola , now dressed , emerges from the bathroom . She screams and runs out . They take Fogell 's arms and handcuff him .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Fogell . )</parenthetical> <dialogue>They do n't take kindly to your type in jail, McLovin.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - CONTINUOUS</stage_direction> <scene_description>Drunk , joyful , and out of breath , the boys stop running .</scene_description> <character>EVAN</character> <dialogue>Dude. You saved me!</dialogue> <character>SETH</character> <dialogue>I totally did! I wanted to!</dialogue> <character>EVAN</character> <dialogue>Wan na sleep at my house, man? You're my best friend!</dialogue> <character>SETH</character> <dialogue>Yeah! Sleepover! Fuckin. you got pizza bagels still?</dialogue> <character>EVAN</character> <dialogue>Yeah! Look what else I gots!</dialogue> <scene_description>Evan pulls a half bottle of tequila .</scene_description> <character>SETH</character> <dialogue>Nice!</dialogue> <scene_description>They start to drink it together .</scene_description> </scene> <scene> <stage_direction>EXT. JULES' FRONT YARD - CONTINUOUS</stage_direction> <scene_description>All the kids from the party have congregated in the front yard . The cop car is parked right in front . We see the Officers dragging Fogell through the crowd of kids .</scene_description> <character>TERRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Stupid pigs.</dialogue> <scene_description>SUDDENLY , a WAD OF SPIT hits Slater in the shoulder ! He turns and sees Terry , the guy who spat on Seth . Slater walks over and bashes the kid in the face with his nightstick . The kid drops .</scene_description> <character>OFFICER SLATER</character> <dialogue>There you go.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>That does feel better.</dialogue> <scene_description>They throw Fogell into the back of the cop car .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - CONTINUOUS</stage_direction> <scene_description>The cops both get in and slam their doors . They just stare forward .</scene_description> <character>FOGELL</character> <dialogue>So. am I going to jail?</dialogue> <scene_description>The two cops burst out laughing hysterically .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( laughing his ass off . )</parenthetical> <dialogue>Yeah! You're going to fuckin' Azkaban!</dialogue> <character>FOGELL</character> <dialogue>What?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>You are the funniest fuckin' kid I have ever met!</dialogue> <character>OFFICER SLATER</character> <dialogue>We've been fuckin' with you! Jesus! I love this kid!</dialogue> <character>FOGELL</character> <dialogue>I do n't understand!</dialogue> <character>OFFICER SLATER</character> <dialogue>We know you're not twenty five! What are we, morons? My god! What are you? Sixteen?</dialogue> <character>FOGELL</character> <dialogue>Seventeen.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Seventeen! Ha! We had you going, McLovin!</dialogue> </scene> <scene> <stage_direction>EXT. BUS - SOON AFTER</stage_direction> <scene_description>Seth and Evan sit at the back of the empty bus together .</scene_description> <character>EVAN</character> <dialogue>Is the bang bus anything like this?</dialogue> <scene_description>Seth cracks up laughing .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPWELL'S - PARKING LOT - CONTINUOUS</stage_direction> <scene_description>The cop car is spinning donuts in the middle of the empty lot . It stops . Fogell and Officer Michaels get out , both smiling . The driver side window rolls down , reveal Slater .</scene_description> <character>OFFICER SLATER</character> <dialogue>Alright, boys. What I'm about to show you is pretty much the greatest move in donut - spinning history. Behold : the reverse figure - eight.</dialogue> <scene_description>Slater drives to the other side of the lot .</scene_description> <character>FOGELL</character> <dialogue>So, like, what's your official position?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>If you were in, you were in. You are no longer a virgin, end of story. Screw cumming.</dialogue> <scene_description>Suddenly , Slater guns it and speeds across the lot , slamming the breaks , spinning wildly in several erratic donuts backward donuts . Slater completely loses control of the car . He smashes through a bunch of shopping carts and slams into a light post , completely fucking up the cruiser . Slater tries to open his door , but it wo n't budge . He crawls out the missing windshield , slumping onto the ground .</scene_description> <character>OFFICER SLATER</character> <dialogue>Alright. I think that's all the fun we're gettin' out of this one.</dialogue> </scene> <scene> <stage_direction>EXT. CLIFFSIDE - LATER</stage_direction> <scene_description>Slater hands Fogell his note pad .</scene_description> <character>OFFICER SLATER</character> <dialogue>and by signing this you are officially saying that as we stopped you from being mugged, a crack - head stole our cruiser and did God knows what with it.</dialogue> <character>FOGELL</character> <dialogue>Of course. That mugger had nothing but murder in his eyes. I owe you my life.</dialogue> <scene_description>Fogell signs the pad .</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Can we do this already?</dialogue> <scene_description>The cops and Fogell push the cruiser towards a small , but steep , hill . They shove it over the edge and watch it roll . It gains speed and smashes into a tree , shattering the windows and crushing the front of the car .</scene_description> <character>OFFICER MICHAELS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can we shoot at it?</dialogue> <character>OFFICER SLATER</character> <dialogue>I do n't know, can you?</dialogue> <scene_description>They whip out their guns .</scene_description> <character>OFFICER SLATER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm throwin' down the gauntlet. 50 bucks. Whoever hits the gas tank.</dialogue> <character>OFFICER MICHAELS</character> <dialogue>You are so fucking on.</dialogue> <character>FOGELL</character> <dialogue>Can I get a shot?</dialogue> <scene_description>Slater hands Fogell his gun . With a huge smile , Fogell raises the gun , aims it at the police cruiser , and BLASTS off round after round .</scene_description> </scene> <scene> <stage_direction>INT. EVAN'S BASEMENT - NIGHT</stage_direction> <scene_description>Seth and Evan are lying in sleeping bags beside one another . The now empty bottle of Tequila lies between them . They are laughing very hard , still drunk off their asses .</scene_description> <character>SETH</character> <dialogue>I ca n't believe she said that shit.</dialogue> <character>EVAN</character> <dialogue>Oh my lord. You have no idea!</dialogue> <scene_description>They laugh harder .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And then you saved me, man! I fucking love you!</dialogue> <character>SETH</character> <dialogue>I fucking love you, too, man! I'm not embarrassed, I just love you!</dialogue> <character>EVAN</character> <dialogue>Why do n't we say that more? It feels good! I love you more than my brother, man. Like, when you went away for Easter last year, I, like, missed you. You know?</dialogue> <character>SETH</character> <dialogue>I missed you, too. Come here, man.</dialogue> <scene_description>Seth grabs Evan and they hug .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We'll always be friends. ` Cause we love each other.</dialogue> <scene_description>They stop hugging and sit back down . They 're laughter slows down and there is a moment of silence .</scene_description> <character>SETH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Like, three weeks ago I was in you room and, like, you were taking a dump and. I saw your residence placement thingy. I totally saw you're living with Fogell. So, like -</dialogue> <character>EVAN</character> <dialogue>I'm sorry, man.</dialogue> <character>SETH</character> <dialogue>Do n't be! Do n't be! I'm sorry. I was being a bitch.</dialogue> <character>EVAN</character> <dialogue>I need you to know that it's not like I even want to live with Fogell ; it's just that I'm really afraid of living with strangers.</dialogue> <scene_description>There is a moment of silence .</scene_description> <character>SETH</character> <dialogue>You know. I was pissed off I did n't get with Jules, but, like. we really got through a lot of our shit, you know?</dialogue> <character>EVAN</character> <dialogue>Yeah, me too. Like, yeah. at least we kind of came together, again.</dialogue> <scene_description>Beat .</scene_description> <character>EVAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good night, Seth. I love you.</dialogue> <character>SETH</character> <dialogue>Night, Evan. Love you, man.</dialogue> </scene> <scene> <stage_direction>INT. EVAN'S HOUSE - BASEMENT - THE NEXT MORNING</stage_direction> <scene_description>Evan wakes up and looks over at Seth , who is also waking . They look at each other extremely awkwardly , almost as though they drunkenly had sex with each other last night .</scene_description> <character>EVAN</character> <dialogue>Oh. uh. hey. Morning.</dialogue> <character>SETH</character> <dialogue>Uh. morning.</dialogue> <scene_description>They stare at each other , uncomfortable .</scene_description> <character>EVAN</character> <dialogue>You sleep good?</dialogue> <character>SETH</character> <dialogue>Yeah. This is a really good pillow.</dialogue> <character>EVAN</character> <dialogue>Um.</dialogue> <scene_description>Seth looks at his watch .</scene_description> <character>SETH</character> <dialogue>Maybe I should get going.</dialogue> <character>EVAN</character> <dialogue>You do n't have to. I'm not, like, doing anything.</dialogue> <scene_description>Beat .</scene_description> <character>SETH</character> <dialogue>Oh. do you want to hang out? I was. gon na go to the mall, actually.</dialogue> <character>EVAN</character> <dialogue>Oh. Cool, well, can I come? I need a comforter. For college.</dialogue> <character>SETH</character> <dialogue>Yeah. That'd be nice. I'd really like that.</dialogue> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE - NEXT DAY</stage_direction> <scene_description>Evan is standing in the pants section of a department store . Seth walks out of the dressing room wearing jeans that are way too small .</scene_description> <character>EVAN</character> <dialogue>Do n't ask me. I do n't give a shit if your pants look good.</dialogue> <character>SETH</character> <dialogue>Well, I need someone's opinion.</dialogue> <character>EVAN</character> <dialogue>Fine. They're way too small.</dialogue> <character>SETH</character> <dialogue>Yeah, but when I was wearing your dad's pants last night I realized that if I buy pants that are too small it'll encourage me to lose weight. And in tight pants chicks'll kind of see my dick a little.</dialogue> <character>EVAN</character> <dialogue>Yeah, the male camel toe look is really big this year.</dialogue> <scene_description>Seth goes back into the dressing room and wriggles out of the pants . He walks out .</scene_description> <character>SETH</character> <dialogue>These pants suck. Let's the get the fuck out of here.</dialogue> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE</stage_direction> <scene_description>They walk through the department store , when suddenly , Evan sees Helen and Jules looking at comforters . ANGLE ON : Helen and Jules</scene_description> <character>HELEN</character> <dialogue>Again, I'm so sorry. I ca n't believe I actually did that.</dialogue> <character>JULES</character> <dialogue>I feel sorry that I'm making you buy me a new one.</dialogue> <character>HELEN</character> <dialogue>I have to. It's puke.</dialogue> <scene_description>ANGLE ON : Seth and Evan</scene_description> <character>EVAN</character> <dialogue>Holy shit!</dialogue> <scene_description>Helen looks like hell and Jules has a horrible black eye .</scene_description> <character>SETH</character> <dialogue>Is that them?</dialogue> <scene_description>They stare at the two girls from afar .</scene_description> <character>EVAN</character> <dialogue>Should we hide?</dialogue> <scene_description>Helen looks and notices them . She waves and points them out to Jules . Seth and Evan wave back . The girls get up and start to walk over .</scene_description> <character>SETH</character> <parenthetical>( pretending to smile . )</parenthetical> <dialogue>Fuck that, man. I ca n't talk to her, look what I did to her!</dialogue> <character>EVAN</character> <parenthetical>( pretending to smile . )</parenthetical> <dialogue>Helen called me a pussy to my face! What am I going to say to her?</dialogue> <scene_description>The girls walk up to them .</scene_description> <character>HELEN</character> <dialogue>Hi Evan, Seth.</dialogue> <character>JULES</character> <dialogue>Hey guys.</dialogue> <character>EVAN</character> <dialogue>Hi Helen, Hi Jules.</dialogue> <character>SETH</character> <dialogue>Jules. Helen. Hi.</dialogue> <scene_description>Everyone looks very embarrassed .</scene_description> <character>SETH</character> <dialogue>Oh my god. I'm so sorry, Jules.</dialogue> <character>JULES</character> <dialogue>It's okay.</dialogue> <character>EVAN</character> <parenthetical>( to Helen . )</parenthetical> <dialogue>How are you feeling?</dialogue> <character>HELEN</character> <dialogue>Not bad, but not great, how about you?</dialogue> <character>SETH</character> <parenthetical>( to Jules . )</parenthetical> <dialogue>That looks terrible. No! I mean, it does n't look terrible, it looks -</dialogue> <character>JULES</character> <dialogue>Do n't worry about it, Seth. It was an accident.</dialogue> <character>EVAN</character> <parenthetical>( to Helen . )</parenthetical> <dialogue>Did you have fun last night?</dialogue> <character>JULES</character> <parenthetical>( to Seth . )</parenthetical> <dialogue>Do you remember much?</dialogue> <character>HELEN</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>I really do n't remember much.</dialogue> <character>SETH</character> <parenthetical>( to Jules . )</parenthetical> <dialogue>Not really. I remember looking up, and you screaming at me. That's about it.</dialogue> <scene_description>Jules laughs .</scene_description> <character>HELEN</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>I did n't puke on you, did I?</dialogue> <scene_description>Evan laughs .</scene_description> <character>EVAN</character> <dialogue>No, I dodged it. Whizzed right by me.</dialogue> <character>SETH</character> <parenthetical>( to Jules . )</parenthetical> <dialogue>But seriously, I acted like a fuckin' idiot last night. I'm really sorry, you did n't deserve that.</dialogue> <character>HELEN</character> <parenthetical>( to Evan . )</parenthetical> <dialogue>Yeah, I. um. I'm sorry, about all that. Thanks for being such a gentleman.</dialogue> <scene_description>There is a moment of silence .</scene_description> <character>SETH</character> <dialogue>You look good with a black eye.</dialogue> <scene_description>They all chuckle a little .</scene_description> <character>JULES</character> <dialogue>Thanks, smart guy. That's why I'm here. I have to go to Macy's to get a shitload of cover - up for the grad photo.</dialogue> <character>SETH</character> <parenthetical>( mortified . )</parenthetical> <dialogue>Oh man.</dialogue> <character>HELEN</character> <dialogue>Yeah, and I'm going to Linen Brothers to buy Jules a new comforter.</dialogue> <character>EVAN</character> <dialogue>Oh! I have to get a comforter too, for college.</dialogue> <character>JULES</character> <parenthetical>( flirtatiously , joking . )</parenthetical> <dialogue>So, you gon na come with me to Macy's and buy me my cover - up, or what?</dialogue> <character>SETH</character> <dialogue>Yes! Definitely. I'd love to. I had such bad acne last year, I became an expert on the stuff.</dialogue> <character>EVAN</character> <dialogue>You could get your college pants there.</dialogue> <character>SETH</character> <dialogue>Yeah, but wait. you drove me here, Evan drove me here, how do we -</dialogue> <character>JULES</character> <dialogue>I've got my dad's car. I'll take you home, and Evan can give Helen a lift.</dialogue> <character>HELEN</character> <dialogue>That sounds good.</dialogue> <character>EVAN</character> <dialogue>Maybe we can go eat after?</dialogue> <character>HELEN</character> <dialogue>Sweet.</dialogue> <scene_description>Seth and Evan look at each other , odd smiles on both their faces . They did n't blow it .</scene_description> <character>SETH</character> <dialogue>So, uh, I'll call you later.</dialogue> <character>EVAN</character> <dialogue>Yeah man, have a good one.</dialogue> <character>JULES</character> <dialogue>Come on, Seth. Let's go.</dialogue> <scene_description>Jules pulls Seth away . Evan and Helen start walking in the opposite direction . As they walk away from one another , Seth and Evan look back and give each other a small and yet emotionally - charged wave . A SLOW , GUT WRENCHING SOUL SONG STARTS TO PLAY . They look as though they 're never going to see each other again .</scene_description> </scene> <scene> <stage_direction>INT. MACY'S ESCALATOR</stage_direction> <scene_description>As Jules and Seth walk into Macy 's and Helen and Evan descend an escalator , the music swells to a mind - fuckingly awesome crescendo , and we humbly fade to black . THE END We flip through Seth 's seemingly endless penis drawings from childhood . They are hilarious .</scene_description> </scene> </script>

Seth and Evan are two high school seniors who have been best friends since childhood. The two are about to go off to different colleges. After Seth is paired with Jules during home economics class, she invites him to a party at her house that night. Their friend Fogell reveals his plans to obtain a fake ID, so Seth promises to buy alcohol for Jules' party with money she gives him. Evan runs into his crush Becca and he offers to get her some vodka for the party. Despite Fogell's fake ID having only one name, "McLovin.", Fogell successfully buys the vodka, but is knocked out at the last second by a robber. When police officers Slater and Michaels arrive, Seth and Evan believe that Fogell is being arrested. In reality, the officers agree to give Fogell a ride to the party. Outside, Seth is hit by a car. In exchange for Seth and Evan not telling the police, the driver promises to take them to another party where they can get alcohol. Meanwhile, Slater and Michaels take Fogell on a ride-along and then bond with him. Despite being on duty, they start drinking, using their sirens improperly, and shoot their firearms at a stop sign. At the party, Seth fills detergent bottles from the basement with alcohol he finds in the fridge and dances with a drunk woman, who stains his leg with menstrual blood, while Evan is made to sing by some men high on cocaine. About to leave, Seth is confronted by the host for dancing with his fiancée. A brawl ensues. The fiancée calls the police, while Seth and Evan escape. Evan and Seth argue, and Seth is once again hit by a car - the police cruiser driven by Slater and Michaels. They plan to arrest Seth and Evan, but when Fogell comes out of the car, Evan makes a run for it, while Seth and Fogell escape with the alcohol. Eventually all three make their way to Jules' party. At the party, Seth's stories of the night make him popular. Becca wants to have sex with Evan, but he respects her too much to go through with it while she is drunk. Meanwhile, Fogell impresses Nicola and goes upstairs to have sex with her. Seth drunkenly attempts to kiss Jules, but she turns him down because she neither drinks nor wants Seth while he is drunk. Seth believes he has ruined any chance of a relationship with Jules, and passes out, accidentally headbutting her, leaving her with a black eye. Slater and Michaels bust the party. Seth wakes up and escapes, carrying an intoxicated Evan. Slater interrupts Fogell and Nicola, who runs off. Slater is angry at Fogell for ditching them, but Michaels points out they have just "cock-blocked" him, and they apologize, reconcile, and reveal they knew all along that Fogell was not 25. They played along, wanting to show cops can have fun. To make it up to him, they pretend to arrest Fogell to make him look "bad-ass". They resume their bonding, eventually destroying their car with a Molotov cocktail while Fogell shoots it with Slater's firearm. The next morning, Seth and Evan go to the mall and run into Jules and Becca, and the men pair off with the women. Seth takes Jules to buy concealer for her bruise, while Evan and Becca leave to buy a new comforter to replace the one that Becca ruined from being sick.

The Guest_2014

tt2980592

<script> <scene> <scene_description>THE GUEST screenplay by Simon Barrett Draft date: August 12, 2013 (Final shooting draft)</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - EARLY MORNING</stage_direction> <scene_description>In the light of early morning, a young man RUNS along the side of a country road. He has a MILITARY RUCKSACK slung over his shoulders and is wearing an ARMY uniform. The young man's hair is cropped short and he has an athletic build. Although he is running steadily at a fast rate, the man's breathing is quiet and regular. The man in the army uniform continues to run as an old PICK-UP TRUCK appears in the distance behind him.</scene_description> </scene> <scene> <stage_direction>INT. ANNA'S CAR - EARLY MORNING - CONTINUOUS</stage_direction> <scene_description>ANNA PETERSON, a pretty 20 year old with dark hair, drives the pick-up truck down the country road. Her eyes are tired and her mascara smeared, as if she has been up all night. Anna looks through her windshield at the man running on the side of the road. He is running in the same direction that Anna is driving, so she sees only his back. Anna frowns slightly at this sight, then continues driving, moving past the young man as he runs along. Glancing at her rearview mirror, Anna watches his figure recede into the distance behind her.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - EARLY MORNING - A HALF HOUR LATER</stage_direction> <scene_description>Anna pulls her truck into the driveway of a single-story house surrounded by fields of dead grass. Two other cars are parked in the driveway, an SUV and a station wagon. Paper HALLOWEEN DECORATIONS hang outside of the house, and a homemade GHOST stands in the front yard, facing the street, its eyes black holes etched into white bedsheet. Anna climbs out of the truck. Behind her, the sun is beginning to rise, filling the sky with pale light. Anna regards the ghost standing in front of her, then heads towards the house.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - MORNING</stage_direction> <scene_description>Anna opens the front door to the house and enters, moving quietly, as if trying to not be heard. Anna softly shuts the door behind her. She turns and sees her father, SPENCER PETERSON, 40s, seated on the couch in the dim morning light, watching her. He is wearing slacks and a dress shirt and holding a mug of coffee. Anna slumps back against the closed front door, startled.</scene_description> <character>ANNA</character> <dialogue>Oh. Hey.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You're up early.</dialogue> <character>SPENCER</character> <dialogue>Not really. Where have you been?</dialogue> <character>ANNA</character> <dialogue>I worked late, then went over to Kristen's. I told mom.</dialogue> <character>SPENCER</character> <dialogue>It's six in the morning, Anna.</dialogue> <scene_description>Anna moves from the door, towards the hallway.</scene_description> <character>ANNA</character> <dialogue>Yeah, um. I fell asleep. Sorry.</dialogue> <character>SPENCER</character> <dialogue>If you're going to stay under our roof, you need to respect our rules.</dialogue> <scene_description>Walking down the hall, Anna replies without looking back.</scene_description> <character>ANNA</character> <dialogue>I said I was sorry.</dialogue> <scene_description>Alone, Spencer stands in the front room, facing the hall. The sound of Anna CLOSING her bedroom door is audible. Spencer turns to the mantle above the fireplace. A plastic jack-o'-lantern sits next to photos of a young man smiling, in various settings. This is CALEB PETERSON. There is a shot of Caleb in a football uniform and, most recently, a posed shot of him in an army uniform, standing with a group of soldiers in front of a military vehicle. An AMERICAN FLAG is folded into a glass frame that hangs over these photos. Spencer exhales, his shoulders slumping.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - DINING ROOM - MORNING</stage_direction> <scene_description>Luke and Spencer sit across from each other at the dining room table. Luke is eating breakfast cereal. LAURA PETERSON, Anna's mother, enters the room with a travel mug of coffee, which she sets in front of Spencer.</scene_description> <character>LAURA</character> <dialogue>There you go.</dialogue> <character>SPENCER</character> <dialogue>Thank you.</dialogue> <scene_description>Laura sits down and begins sipping from a mug of tea.</scene_description> <character>LAURA</character> <dialogue>Do you know when Anna got in last night? I didn't hear her.</dialogue> <scene_description>Spencer hesitates.</scene_description> <character>SPENCER</character> <dialogue>I think I heard her come in just before midnight. Her car's in the driveway.</dialogue> <scene_description>Laura nods absently. Spencer turns to Luke.</scene_description> <character>SPENCER</character> <dialogue>Luke. You asked any girls to the fall dance yet?</dialogue> <scene_description>Luke flushes and looks down at his cereal bowl.</scene_description> <character>SPENCER</character> <dialogue>That's a no?</dialogue> <character>LUKE</character> <dialogue>I told you, dad. I'm not interested in any of the girls at my school.</dialogue> <character>SPENCER</character> <dialogue>Ah, well. Wait 'til you get off to college. You done with breakfast?</dialogue> <character>LUKE</character> <dialogue>Yeah.</dialogue> <scene_description>Spencer rises to his feet and kisses Laura on the cheek.</scene_description> <character>SPENCER</character> <dialogue>See you later.</dialogue> <character>LAURA</character> <dialogue>Okay. Drive safe.</dialogue> <scene_description>Luke gets up from the table, shouldering his backpack.</scene_description> <character>LUKE</character> <dialogue>Bye, mom.</dialogue> <scene_description>Spencer and Luke exit through the front door. For a long moment, Laura stands in the suddenly quiet room, staring off into space. Then she blinks and begins collecting the used dishes from the dining table.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY</stage_direction> <scene_description>Laura sits on the sofa, in front of the television. The TV set is on off and she is not looking at it, her gaze resting somewhere in the middle of the floor. The doorbell RINGS. Laura looks up, startled. She clumsily rises to her feet, straightens her clothing, then moves to the front door and opens it. The YOUNG MAN in army uniform who Anna saw running is standing on the porch, facing away from the door, as if surveying the front yard. He is still carrying his rucksack, his back to Laura. Laura gasps, her eyes widening. The young man turns to her, smiling politely. He is very good looking, in a boyish way, with very short blond hair. This is DAVID. David takes in Laura's expression. He frowns, concerned.</scene_description> <character>DAVID</character> <dialogue>Mrs. Peterson?</dialogue> <scene_description>Laura blinks, swallowing.</scene_description> <character>LAURA</character> <dialogue>Yes, um, I'm sorry. I just...</dialogue> <parenthetical>(trails off)</parenthetical> <dialogue>Who are you?</dialogue> <scene_description>David extends his hand.</scene_description> <character>DAVID</character> <dialogue>My name is David, Mrs. Peterson.</dialogue> <scene_description>They shake hands, briefly.</scene_description> <character>DAVID</character> <dialogue>I knew your son, Caleb. We served together. We were friends.</dialogue> <scene_description>Laura takes this in.</scene_description> <character>LAURA</character> <dialogue>Won't you come inside?</dialogue> <character>DAVID</character> <dialogue>Thank you, ma'am. That would be nice.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - DINING ROOM - MINUTES LATER</stage_direction> <scene_description>David sits at the dining room table, his rucksack on the floor next to him. His hands are folded on the table in front of him. He looks around the room with interest. From the kitchen, Laura calls out to him:</scene_description> <character>LAURA (O.S.)</character> <dialogue>Are you sure I can't get you anything?</dialogue> <character>DAVID</character> <dialogue>Maybe just some water would be nice.</dialogue> <scene_description>Laura comes into the room with a glass of ice water, which she hands to David.</scene_description> <character>DAVID</character> <dialogue>Thank you, ma'am.</dialogue> <scene_description>David drinks the water, obviously very thirsty.</scene_description> <character>LAURA</character> <dialogue>How, um, how did you get here?</dialogue> <character>DAVID</character> <dialogue>I ran. I needed the exercise.</dialogue> <parenthetical>(off Laura's look)</parenthetical> <dialogue>From the bus station, I mean. In town.</dialogue> <character>LAURA</character> <dialogue>But that must be at least twenty miles.</dialogue> <character>DAVID</character> <dialogue>I guess so. Probably about that.</dialogue> <character>LAURA</character> <dialogue>You ran all that way?</dialogue> <character>DAVID</character> <dialogue>Yes, ma'am. Of course, I didn't exactly know how far outside of town you all lived when I started. The guy at the bus station who gave me directions made it sound like it was only a mile or two.</dialogue> <scene_description>David smiles ruefully.</scene_description> <character>LAURA</character> <dialogue>When did you, um, get out?</dialogue> <character>DAVID</character> <dialogue>I was just discharged on Wednesday. I came straight here from Fort Kennilworth.</dialogue> <character>LAURA</character> <dialogue>You came here first thing?</dialogue> <character>DAVID</character> <dialogue>Yeah. I wanted to come by sooner, but I couldn't get leave.</dialogue> <character>LAURA</character> <dialogue>Why?</dialogue> <character>DAVID</character> <dialogue>Well, I was discharged because I was wounded. I was in a military hospital for a bit, so it wasn't really the kind of thing I could get leave from. But don't worry, it was just a bit of shrapnel in my back. I'm right as rain now.</dialogue> <character>LAURA</character> <dialogue>No, I mean, why, um-</dialogue> <character>DAVID</character> <dialogue>Oh, why I'm here? Well, like I said, me and your son, Caleb, we were pretty close. I was with him when he died.</dialogue> <character>LAURA</character> <parenthetical>(strained)</parenthetical> <dialogue>Oh, really?</dialogue> <character>DAVID</character> <dialogue>Yes, ma'am. And one of the things he asked was for me to check on you all. You, and your whole family here. And he wanted me to tell you that he loved you.</dialogue> <character>DAVID</character> <dialogue>He specifically wanted me to tell each one of you that he loved you and that he was thinking of you guys up until the end. I said I'd do that, so here I am.</dialogue> <scene_description>Laura nods slowly.</scene_description> <character>LAURA</character> <dialogue>Would you hold on a moment, please?</dialogue> <character>DAVID</character> <dialogue>Of course.</dialogue> <scene_description>Laura rises from her chair, exiting the room. David drinks from his glass of water.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - LAUNDRY AREA - MOMENTS LATER</stage_direction> <scene_description>In a small laundry area, Laura leans over the washing machine, SOBBING, a dish towel clamped tightly over her mouth to muffle the sound. After a moment, Laura straightens, as if trying to compose herself. She rubs her face with the dish towel.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - MOMENTS LATER</stage_direction> <scene_description>Laura enters from the hallway, her face dry but still flushed. David is no longer in the dining room. Laura looks around. David is standing in the front room, his rucksack on the floor next to him, in front of the mantle. He is looking over the photos of Caleb, surveying each one. Laura moves into the room behind David. He turns to her.</scene_description> <character>DAVID</character> <dialogue>That's me.</dialogue> <scene_description>David points at the photo of the soldiers posing in front of the military truck. Laura moves up closer to look. In the photo, leaning against the tank a few feet away from the other soldiers, is a YOUNGER VERSION OF DAVID, his head shaved. He is squinting into the camera. Laura blinks, examining the photo.</scene_description> <character>LAURA</character> <dialogue>Well, I'll be.</dialogue> <character>DAVID</character> <dialogue>I remember that day.</dialogue> <scene_description>David looks at the photo in silence for another second, then leans down and lifts his rucksack.</scene_description> <character>DAVID</character> <dialogue>It wasn't my intention to upset you, ma'am. I probably should have called first, but I don't own a phone yet and I guess I just wasn't thinking. I'm going to be on my way, but I'd like it if we could exchange emails or something.</dialogue> <scene_description>As David turns away, Laura reaches out and grabs his arm.</scene_description> <character>LAURA</character> <dialogue>No!</dialogue> <scene_description>David turns towards her, surprised.</scene_description> <character>LAURA</character> <dialogue>Um, Anna, Caleb's sister, she works nights, so she sleeps late. But I'm sure she'd like to meet you. Won't you stay a bit longer?</dialogue> <character>DAVID</character> <dialogue>You're not just saying that to be polite? Because you don't need to be.</dialogue> <character>LAURA</character> <dialogue>I'm not. Please stay. It's nice having you here and I'd like to hear more about... about you and Caleb.</dialogue> <character>DAVID</character> <dialogue>Well. Alright.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - MINUTES LATER</stage_direction> <scene_description>Anna lies on her bedsheets in her underwear, her eyes closed. The sound of LAUGHTER echoes in the house. Anna's eyes blink open. She looks around, puzzled.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - MINUTES LATER</stage_direction> <scene_description>Both David and Laura are sitting on the sofa. Laura is smiling, listing to David tell a story.</scene_description> <character>DAVID</character> <dialogue>...and so Caleb and me, we figure, well, that sounds more like a challenge than anything else. So that night, after he falls asleep, we kind of crept over to his cot with a tube of superglue-</dialogue> <character>LAURA</character> <dialogue>Oh no!</dialogue> <character>DAVID</character> <dialogue>Oh, nah, we didn't do anything too bad to him - though we could have.</dialogue> <scene_description>Anna enters the room, wearing a short-skirted DINER UNIFORM. David immediately rises to his feet. Anna regards him with confusion.</scene_description> <character>LAURA</character> <dialogue>There you are! Anna, this is David.</dialogue> <scene_description>David walks over to Anna, extending his hand.</scene_description> <character>DAVID</character> <dialogue>I'm very pleased to meet you. Caleb told me a lot about you.</dialogue> <character>LAURA</character> <dialogue>David just got discharged this week. He was friends with your brother.</dialogue> <scene_description>Anna politely takes David's hand and releases it.</scene_description> <character>ANNA</character> <dialogue>You knew Caleb?</dialogue> <character>DAVID</character> <dialogue>Yes, ma'am. I promised him I'd check in on you guys if anything happened, so, here I am.</dialogue> <character>ANNA</character> <dialogue>"Ma'am"? Okay. Where do you live?</dialogue> <character>DAVID</character> <dialogue>Well, I'm originally from just outside of Louisville.</dialogue> <character>DAVID</character> <dialogue>But I was thinking maybe I'd head down to Miami or Fort Lauderdale, see if I can't find work as a bartender or something.</dialogue> <character>LAURA</character> <dialogue>What about your family? Are they in Louisville?</dialogue> <character>DAVID</character> <dialogue>No, ma'am. My folks are both gone, and that's it for me. I didn't have a big family like you all do.</dialogue> <character>LAURA</character> <dialogue>Oh. I'm very sorry.</dialogue> <character>DAVID</character> <dialogue>Don't be. They died when I was a kid. Long time ago. I don't remember it or nothin'.</dialogue> <character>ANNA</character> <dialogue>So where are you staying?</dialogue> <character>DAVID</character> <dialogue>I noticed a motel off the highway on the way here, so I'll likely stay there. And then I'll be on my way tomorrow.</dialogue> <character>LAURA</character> <dialogue>Oh, no, no. You'll stay with us while you're here.</dialogue> <character>DAVID</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>I couldn't put you all out.</dialogue> <character>LAURA</character> <dialogue>Nonsense. We'd love to have you. We have plenty of room. Why... you could stay in Caleb's old room.</dialogue> <scene_description>Anna stares at her mother.</scene_description> <character>LAURA</character> <dialogue>We insist.</dialogue> <character>DAVID</character> <dialogue>I won't argue. Just for tonight, though.</dialogue> <scene_description>Anna clears her throat.</scene_description> <character>ANNA</character> <dialogue>I've got to get to the diner. So, um... Nice to meet you, David.</dialogue> <character>DAVID</character> <dialogue>Likewise. Very nice meeting you.</dialogue> <character>ANNA</character> <dialogue>I guess I'll see you again later.</dialogue> <scene_description>Anna glances at her mother, then leaves the house through the front door. Laura turns to David.</scene_description> <character>LAURA</character> <dialogue>Let me show you your room.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>The door to a small bedroom opens and Laura steps inside, followed by David, who surveys the room. The bedroom is adorned with sports posters and trophies, as well as a framed high school diploma. The bed is made. A stack of folded clothes rests on the floor. Laura looks quietly around the room.</scene_description> <character>LAURA</character> <dialogue>There are clean towels in the bathroom if you'd like to freshen up.</dialogue> <character>DAVID</character> <dialogue>That would be nice.</dialogue> <scene_description>Laura smiles and moves to exit.</scene_description> <character>DAVID</character> <dialogue>Mrs. Peterson. Are you sure you're comfortable with me staying in here?</dialogue> <character>LAURA</character> <dialogue>Of course. I mean, it's not like it's going to any use.</dialogue> <parenthetical>(blinks)</parenthetical> <dialogue>It'll be a good thing for us.</dialogue> <scene_description>Laura exits the room, shutting the door behind her. David stands completely still, alone in the bedroom. He then slowly turns, looking around the room. Caleb's old bedroom has a large window, through which trees in the front yard are visible. Power lines lead along the narrow road that passes the house. After a moment, David moves to sit on the bed. He sits without moving, looking straight ahead.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - HALLWAY - DAY</stage_direction> <scene_description>A BELL RINGS and students flood the school hallway, moving to their lockers and exiting the school. Paper Halloween decorations line the walls, and a large orange sign at the end of the hallway reads: "SIGN UP FOR FALL DANCE - MAPLEWOOD BARN, OCTOBER 31st, HALLOWEEN NIGHT!" Luke carries his backpack slung across both shoulders, his thumbs in the straps. Up ahead, three older boys in football jerseys are laughing, two of them shoving each other. Luke lowers his head, looking at the floor as he walks forward. One of the boys, MIKE, a senior, notices Luke slouching towards them. He glances at his friends.</scene_description> <character>MIKE</character> <dialogue>Hey, watch this.</dialogue> <scene_description>The group of seniors part to let Luke walk between them. At the last moment, Mike spins and SHOVES Luke into the wall BY HIS FACE. Luke slumps against the lockers, holding his face. Mike addresses him as they pass by.</scene_description> <character>MIKE</character> <dialogue>Fucking pussy.</dialogue> <scene_description>The other two seniors, IAN and JASON, laugh. The three boys continue down the hallway. Luke stays leaning against the wall, holding his face with both hands.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - MINUTES LATER</stage_direction> <scene_description>Laura sits at the steering wheel of an SUV parked outside the high school. Teenagers boisterously cross the street in front of her vehicle, shouting at each other. The passenger door opens and Luke climbs into the SUV, setting his backpack on the floor. He shuts the door after him and fastens his seat belt.</scene_description> <character>LAURA</character> <dialogue>Hey there. How was your day?</dialogue> <character>LUKE</character> <dialogue>It was good.</dialogue> <character>LAURA</character> <dialogue>Great.</dialogue> <scene_description>Laura starts the car and pulls away from the curb.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - DINING ROOM - EARLY EVENING</stage_direction> <scene_description>Luke sits quietly across from David at the dining room table. They are alone in the room. Luke addresses David.</scene_description> <character>LUKE</character> <dialogue>You knew my brother?</dialogue> <character>DAVID</character> <dialogue>I did, pretty well, yeah. He wanted me to tell you he loved you.</dialogue> <scene_description>There is a short pause.</scene_description> <character>LUKE</character> <dialogue>Oh. Thanks.</dialogue> <scene_description>David and Luke continue to sit in silence.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Laura and Spencer stand in the hallway nearby, speaking intently in whispers.</scene_description> <character>SPENCER</character> <dialogue>Laura, we can't just invite a stranger to stay with us, even if he says he was friends with Caleb!</dialogue> <character>LAURA</character> <dialogue>He's in the photo of Caleb's squad! It's not like he's some stranger!</dialogue> <character>SPENCER</character> <dialogue>What if he's got the, uh, the P.T.S.D. or whatever it is? A lot of these guys coming back, they have problems.</dialogue> <character>LAURA</character> <dialogue>That is just great, Spencer. You know, what if Caleb had come back different?</dialogue> <scene_description>Spencer glares at Laura.</scene_description> <character>SPENCER</character> <dialogue>That's not at all fair.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - DINING ROOM - CONTINUOUS</stage_direction> <scene_description>Laura and Spencer's whispered conversation is just barely audible from the dining room, the words unintelligible. David and Luke sit at the table, as before. David looks towards the hallway as if Laura and Spencer's conversation is clearly audible to him.</scene_description> <character>DAVID</character> <dialogue>Your parents are fighting about me.</dialogue> <character>LUKE</character> <dialogue>Yeah. They argue a lot.</dialogue> <character>DAVID</character> <dialogue>Huh.</dialogue> <scene_description>David considers Luke, then points up towards his own eye.</scene_description> <character>DAVID</character> <dialogue>You look like you got hit or something.</dialogue> <scene_description>Luke reaches up self-consciously and touches his face, the side of which is red and swollen, near his eye.</scene_description> <character>LUKE</character> <dialogue>Yeah, I- I got hit with a football in gym class. I wasn't paying attention.</dialogue> <character>DAVID</character> <dialogue>That can happen.</dialogue> <character>LUKE</character> <dialogue>Yeah.</dialogue> <scene_description>Spencer walks into the dining room from the living room, his shoulders tense. He speaks with flat cheer.</scene_description> <character>SPENCER</character> <dialogue>Okay. Well. We're very glad to have you here, David. Will you have a beer? I'm having one.</dialogue> <character>DAVID</character> <dialogue>No, thank you.</dialogue> <character>SPENCER</character> <dialogue>Suit yourself.</dialogue> <scene_description>Spencer exits the room, towards the kitchen. Laura enters the dining room from the living room.</scene_description> <character>LAURA</character> <dialogue>Dinner will be ready in an hour. Luke, you should do some homework.</dialogue> <scene_description>Luke rises from the table and exits. Laura smiles kindly at David, then moves into the kitchen.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT HILL - NIGHT</stage_direction> <scene_description>Anna lies on a blanket that is positioned on the side of a hill, staring up at the night sky. Next to her, ZEKE HASTINGS, mid-20s, lights a marijuana pipe and exhales smoke up into the cool air. Anna's truck and a van that belongs to Zeke are both parked near a gravel road behind them. MUSIC plays from a tinny battery-powered boombox next to their blanket. Anna checks the time on her cell phone, sighs, and sits up. She begins pulling on her boots.</scene_description> <character>ANNA</character> <dialogue>I've got to go home.</dialogue> <scene_description>Zeke offers the pipe to Anna, who shakes her head, tying her bootlaces. Zeke lights it again, inhaling.</scene_description> <character>ZEKE</character> <dialogue>This friend of your brother's, he sticking around?</dialogue> <character>ANNA</character> <dialogue>I don't know. I hope not.</dialogue> <character>ZEKE</character> <dialogue>Why not? You said you liked him.</dialogue> <character>ANNA</character> <dialogue>I said he seemed nice. That's not the same thing.</dialogue> <scene_description>Anna finishes tying her boots.</scene_description> <character>ZEKE</character> <dialogue>Okay. Why don't you like him?</dialogue> <character>ANNA</character> <dialogue>I don't not like him.</dialogue> <scene_description>Zeke rolls his eyes.</scene_description> <character>ANNA</character> <dialogue>It's just... I mean, you kind of knew Caleb. We've all... I know mom and dad have been trying to move on. It's not like they don't have enough reminders of him in this town. Hell, they've kept that bedroom like a shrine to him.</dialogue> <character>ZEKE</character> <dialogue>I mean, that seems normal. Your kid dies. That's hard.</dialogue> <character>ANNA</character> <dialogue>We just don't need a walking, breathing reminder of Caleb hanging around right now, you know?</dialogue> <character>ZEKE</character> <dialogue>Yeah. Totally.</dialogue> <scene_description>Anna turns to Zeke to kiss him goodbye. Zeke embraces her, pulling her back onto the blanket, kissing her again. Anna laughs.</scene_description> <character>ZEKE</character> <dialogue>You sure you can't stay longer?</dialogue> <character>ANNA</character> <dialogue>I'm going to be late as is. But I'm sure we can find some time at the party tomorrow.</dialogue> <character>ZEKE</character> <dialogue>Great.</dialogue> <scene_description>Anna returns Zeke's smile, then rises from the blanket, grabbing her purse. She crosses behind Zeke, heading to her truck. Zeke watches as Anna climbs inside her pick-up truck. She starts its engine and drives away. Zeke then turns to stare out over the hill, again lighting his pipe.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - NIGHT</stage_direction> <scene_description>Luke is doing homework on the living room floor, papers spread in front of him. David sits cross-legged next to Luke.</scene_description> <character>LUKE</character> <dialogue>The sine is the angle of the ship's anchor cable, so the cable is the hypotenuse, and what we need to find out is the distance down to the ocean bottom, so that's the opposite. Do you see?</dialogue> <character>DAVID</character> <parenthetical>(amused)</parenthetical> <dialogue>Not at all. I was never too good at this stuff, I guess that's why I went into the military. You don't need to know much there. Can't you just punch those numbers into a computer and it'll do it for you?</dialogue> <character>LUKE</character> <dialogue>Maybe. But it doesn't take that much longer to just work it out for yourself.</dialogue> <scene_description>Spencer is seated in front of the television, drinking a beer. He glances over, watching David work with Luke.</scene_description> <character>DAVID</character> <dialogue>So you're kind of smart, huh?</dialogue> <character>LUKE</character> <dialogue>I guess so. I can give you an easy one.</dialogue> <character>DAVID</character> <dialogue>Yeah, no thanks.</dialogue> <scene_description>The front door opens and Anna enters the house. She shuts and locks the door behind her.</scene_description> <character>SPENCER</character> <dialogue>How did work go?</dialogue> <character>ANNA</character> <dialogue>Good. Not too busy.</dialogue> <scene_description>Spencer finishes his beer and rises to his feet.</scene_description> <character>SPENCER</character> <dialogue>David, sure I can't get you a beer?</dialogue> <scene_description>David looks at Spencer, then nods.</scene_description> <character>DAVID</character> <dialogue>You know, I will have one.</dialogue> <character>SPENCER</character> <dialogue>Great.</dialogue> <character>ANNA</character> <dialogue>I'll take one, too.</dialogue> <character>SPENCER</character> <dialogue>Nice try.</dialogue> <scene_description>Spencer turns away.</scene_description> <character>ANNA</character> <dialogue>I'm twenty-one in a month!</dialogue> <character>SPENCER</character> <dialogue>And you can have all the beer you want then, assuming you buy it yourself.</dialogue> <scene_description>Spencer exits. Anna takes in David and Luke.</scene_description> <character>ANNA</character> <dialogue>Are you helping him with his homework?</dialogue> <character>DAVID</character> <dialogue>Not exactly.</dialogue> <scene_description>Spencer returns, carrying two bottles of beer. David rises and takes one. Anna moves to the hallway.</scene_description> <character>SPENCER</character> <dialogue>Stay here, be sociable.</dialogue> <character>ANNA</character> <dialogue>I'm not feeling so great. I think I'm just going to lie down.</dialogue> <character>SPENCER</character> <dialogue>Suit yourself.</dialogue> <scene_description>Anna exits the front room.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Anna enters the hallway, moving towards her bedroom. Anna stops at the door to Caleb's room. She hesitates. Spencer's voice can be heard in the front room. David says something imperceptible in reply and Spencer laughs. Anna turns the doorknob to Caleb's room and steps inside.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Anna walks into Caleb's room, leaving the door behind her open. The room appears much as before. David's rucksack rests on the floor, mostly empty. Anna looks towards the doorway, then crouches down and peers into David's rucksack. She reaches inside, searching its contents. The bag contains only undergarments, socks, and a tube of deodorant. Anna straightens up. Anna looks around the room, taking in Caleb's belongings. She sighs, then sits down on the bed. Anna looks down at the pillow she is sitting on. She shifts her weight and lifts up the pillow. A polished PISTOL is beneath the pillow on Caleb's bed. Anna takes this in, then carefully puts the pillow back into place over the gun, as before. Anna starts to stand up, looking to the door. DAVID IS STANDING in the doorway to the room, WATCHING HER. Anna gasps and quickly stands, taking a step back.</scene_description> <character>DAVID</character> <dialogue>Hey there.</dialogue> <character>ANNA</character> <dialogue>I, um, I'm sorry. I just... I just come in here sometimes.</dialogue> <character>DAVID</character> <dialogue>No, it's okay. I'm sorry to have interrupted you. Don't mind me.</dialogue> <scene_description>David moves quietly from the doorway, towards the bathroom. Anna rapidly exits Caleb's bedroom, heading towards her own room.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna enters her bedroom, shutting and locking the door behind her. She looks around her room, breathing quickly.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - NIGHT - LATER</stage_direction> <scene_description>Spencer and David sit in front of the television, several empty beer bottles in front of them. They are watching a sports show, the volume low. Spencer's voice is slurred.</scene_description> <character>SPENCER</character> <dialogue>You see, Allan, he's only been there four years. But since he's got a degree, suddenly he's regional manager.I know Laura, she wonders what's going on, if I'm ever going to make any money.</dialogue> <scene_description>Spencer goes silent, immersed in thought.</scene_description> <character>DAVID</character> <dialogue>Your wife seems to respect you, sir.</dialogue> <character>SPENCER</character> <dialogue>Yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So what about you? What are your plans?</dialogue> <character>DAVID</character> <dialogue>I haven't really given that much thought. Figured I'd get on a bus tomorrow, head towards Florida and start looking for work. I've done contracting work before, I'm sure I could find something.</dialogue> <character>SPENCER</character> <dialogue>That's crazy. You... you should stay with us a couple more days. Look for jobs online.</dialogue> <character>DAVID</character> <dialogue>I couldn't impose on your hospitality any longer, sir.</dialogue> <character>SPENCER</character> <dialogue>No, that's... and what's with this "sir" business? My name's Spencer.</dialogue> <character>DAVID</character> <dialogue>Okay.</dialogue> <character>SPENCER</character> <dialogue>Stick around, at least until you know where you're going. Okay?</dialogue> <scene_description>David looks like he is thinking, then nods.</scene_description> <character>DAVID</character> <dialogue>Maybe just a couple more days.</dialogue> <character>SPENCER</character> <dialogue>Great.</dialogue> <scene_description>Spencer finishes his beer, then looks at the bottle. David reaches for a bottle on the table and finishes it in several gulps, setting it down.</scene_description> <character>SPENCER</character> <dialogue>One more round to celebrate, then I've got to get to bed. You can hold your liquor, huh?</dialogue> <character>DAVID</character> <dialogue>I guess so.</dialogue> <character>SPENCER</character> <dialogue>You tired?</dialogue> <character>DAVID</character> <dialogue>No, I don't need much sleep.</dialogue> <character>SPENCER</character> <dialogue>Well. You have no idea what I'd give to be your age again.</dialogue> <scene_description>Spencer rises to his feet, heading towards the kitchen. David watches him leave.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - NIGHT - LATER</stage_direction> <scene_description>In Caleb's bedroom, David lies on the bed, fully dressed. He is visible by moonlight coming in through the window. David lies completely still. A breeze moves the barren branches of the tree outside; they shift, CREAKING. David glances over at this sound. After a moment, David quietly rises from the bed.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL - DAY</stage_direction> <scene_description>Dozens of students pour out of the high school at the end of the school day. Luke slouches among them, looking at the ground. Luke glances up, then stops when he sees DAVID SEATED in the driver's seat of Laura's SUV at the edge of the school's parking lot. Luke looks around, then walks over and gets into the car.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>Luke shuts the passenger door, glancing over at David.</scene_description> <character>LUKE</character> <dialogue>What are you doing here?</dialogue> <character>DAVID</character> <dialogue>I told your mom I could pick you up from school today. That cool?</dialogue> <scene_description>Luke nods. David surveys the students exiting the school.</scene_description> <character>DAVID</character> <dialogue>Don't you, like, have any friends?</dialogue> <character>LUKE</character> <dialogue>I have lots of friends.</dialogue> <scene_description>David looks over at Luke.</scene_description> <character>LUKE</character> <dialogue>Just not, like, here. Like, online.</dialogue> <character>DAVID</character> <dialogue>Ah.</dialogue> <scene_description>David continues looking at the kids exiting the school.</scene_description> <character>LUKE</character> <dialogue>Are we going?</dialogue> <character>DAVID</character> <dialogue>In a little bit.</dialogue> <character>LUKE</character> <dialogue>What are you waiting for?</dialogue> <character>DAVID</character> <dialogue>You should show me who hit you yesterday.</dialogue> <character>LUKE</character> <dialogue>I got hit with a football.</dialogue> <character>DAVID</character> <dialogue>Yeah.</dialogue> <scene_description>Luke meets David's eyes, then lowers his gaze.</scene_description> <character>LUKE</character> <dialogue>What are you going to do?</dialogue> <character>DAVID</character> <dialogue>Nothing bad.</dialogue> <scene_description>Luke looks at David, as if considering. He then points.</scene_description> <character>LUKE</character> <dialogue>Over there.</dialogue> <scene_description>David follows Luke's gaze. A group of older students, including Mike, Ian and Jason, surround two pick-up trucks in the parking lot, one of their stereos playing loud music.</scene_description> <character>DAVID</character> <dialogue>All of them?</dialogue> <character>LUKE</character> <dialogue>Well, most of them give me a hard time. Those two guys, Mike and Ian, are the worst. Those guys are real assholes.</dialogue> <character>DAVID</character> <dialogue>Which is which?</dialogue> <character>LUKE</character> <dialogue>Ian's the big one, Mike's the guy with blond hair.</dialogue> <scene_description>David watches as one of the pick-up trucks is driven away by Jason. Mike and Ian climb into the second truck with their girlfriends.</scene_description> <character>LUKE</character> <dialogue>Can we go now?</dialogue> <character>DAVID</character> <dialogue>Yes.</dialogue> <scene_description>David starts the car and drives off the parking lot, moving after Mike and Ian's pick-up truck.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NEAR DIVE BAR - DAY - MOMENTS LATER</stage_direction> <scene_description>Driving Laura's station wagon, David FOLLOWS the pick-up from a distance, letting some cars get between them.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>Luke watches David drive with growing concern. David remains focused on the pick-up truck ahead of them.</scene_description> <character>LUKE</character> <dialogue>What are you doing?</dialogue> <scene_description>Up ahead, the pick-up turns into the parking lot of a small DIVE BAR. Jason's pick-up truck is already parked in the lot.</scene_description> <character>DAVID</character> <dialogue>They're going to a bar?</dialogue> <character>LUKE</character> <dialogue>Yeah, this place will serve you if you're on the football team.</dialogue> <character>DAVID</character> <dialogue>I could use a drink. How about you?</dialogue> <character>LUKE</character> <dialogue>No.</dialogue> <character>DAVID</character> <dialogue>I could use a drink.</dialogue> <scene_description>David steers the station wagon into the bar's parking lot. David opens his car door, then looks back at Luke.</scene_description> <character>DAVID</character> <dialogue>You coming?</dialogue> <character>LUKE</character> <dialogue>No.</dialogue> <character>DAVID</character> <dialogue>Well. I'll be inside if you change your mind.</dialogue> <scene_description>David climbs out of the car and shuts the door. Luke watches him walk to the bar through the windows.</scene_description> </scene> <scene> <stage_direction>INT. DIVE BAR - DAY - MINUTES LATER</stage_direction> <scene_description>Luke hesitantly opens the door to the dark bar. It is nearly empty, manned by a lone BARTENDER. David sits alone at a table, facing the back of the bar, drinking beer from a bottle. The only other patrons are two OLDER MEN seated at the bar and a group of FOUR HIGH SCHOOL SENIOR GUYS, including Mike, Ian and Jason, who are gathered with an equal number of GIRLS their age in two booths. David looks up as Luke enters and waves him over.</scene_description> <character>DAVID</character> <dialogue>Luke, over here, man.</dialogue> <scene_description>Luke glances over at the bartender, then makes his way to David's table, head lowered. Music blares from a jukebox in the corner. Mike, Ian and their group stare at Luke.</scene_description> <character>IAN</character> <dialogue>Look at this shit. What the fuck?</dialogue> <character>JASON</character> <dialogue>Maybe that's his boyfriend or something?</dialogue> <scene_description>Luke ignores this. He sits down across from David.</scene_description> <character>DAVID</character> <dialogue>Hey.</dialogue> <scene_description>David waves the bartender over. The bartender, a man in his 30s, warily approaches their table.</scene_description> <character>BARTENDER</character> <dialogue>I'm going to have to see some I.D.</dialogue> <character>DAVID</character> <dialogue>It's fine, he's my brother, he's just going to chill with me.</dialogue> <scene_description>Luke gives David a quick look. Off the bartender's reluctant gaze, David nods over at the booths where the seniors are seated.</scene_description> <character>DAVID</character> <dialogue>Did you I.D. all of them?</dialogue> <scene_description>The bartender sighs.</scene_description> <character>BARTENDER</character> <dialogue>What can I get you?</dialogue> <character>DAVID</character> <dialogue>Do you know how to make a fireball?</dialogue> <character>BARTENDER</character> <dialogue>Cinnamon schnapps and Tabasco sauce, yep.</dialogue> <character>DAVID</character> <dialogue>That's my drink of choice. Let me get one of those, a coke for my brother, and I can't help but notice that those ladies over there are drinking cheap beer. That seems like a shame. I'd like to buy them each a blowjob shot.</dialogue> <scene_description>The bartender blinks down at David.</scene_description> <character>BARTENDER</character> <dialogue>Are you serious?</dialogue> <scene_description>David places a $100 bill on the table.</scene_description> <character>DAVID</character> <dialogue>I am, yes.</dialogue> <character>BARTENDER</character> <dialogue>Did you want to buy anything for their fellas?</dialogue> <character>DAVID</character> <parenthetical>(amused)</parenthetical> <dialogue>Do I look like I'd like to buy something for their fellas?</dialogue> <character>BARTENDER</character> <dialogue>Might be the polite thing to do.</dialogue> <character>DAVID</character> <dialogue>Sure, okay, fine. Okay, I'll buy each one of those guys there a cosmopolitan.</dialogue> <character>BARTENDER</character> <dialogue>Ah. I don't know what you're going for, but I was thinking a beer.</dialogue> <character>DAVID</character> <dialogue>No. Blowjob shots for the ladies, and a cosmopolitan for each of the guys.</dialogue> <scene_description>David taps the $100 bill on the table, then lays another on top of it.</scene_description> <character>DAVID</character> <dialogue>You keep the change on that.</dialogue> <character>BARTENDER</character> <dialogue>You got it.</dialogue> <scene_description>The bartender lifts the two bills and quickly heads behind the bar. Luke is regarding David.</scene_description> <character>LUKE</character> <dialogue>Are you, like, rich?</dialogue> <character>DAVID</character> <dialogue>Cash is easy to get.</dialogue> <scene_description>David hums to the music on the jukebox, drumming his fingers on the table. A moment later, the bartender approaches David's table, setting down drinks.</scene_description> <character>BARTENDER</character> <dialogue>Here's your coke, and here's your fireball. Got their shots and cosmos coming right up.</dialogue> <character>DAVID</character> <dialogue>Thanks.</dialogue> <scene_description>The bartender moves back behind the bar. David pushes his fireball shot towards Luke. Its contents are red and cloudy.</scene_description> <character>DAVID</character> <dialogue>You want to try it?</dialogue> <character>LUKE</character> <dialogue>Sure.</dialogue> <scene_description>Luke reaches forward and takes a small sip. He immediately sets the shot down, coughing.</scene_description> <character>LUKE</character> <dialogue>Ah! God!</dialogue> <scene_description>Luke reaches for his coke and takes several deep gulps, then sets it down. His eyes are watering.</scene_description> <character>LUKE</character> <dialogue>It's like hot peppers. You drink that?</dialogue> <character>DAVID</character> <dialogue>Yeah.</dialogue> <scene_description>David takes a sip from the fireball. It appears to have no affect on him.</scene_description> <character>LUKE</character> <dialogue>How do you do that?</dialogue> <character>DAVID</character> <dialogue>You get used to it.</dialogue> <scene_description>Behind Luke, the bartender crosses to the booths with a tray filled with drinks. He hands out Irish cream shots to the girls and pink martinis to the guys. The girl seated next to Ian starts laughing loudly. All of the seniors turn to look towards David, who ignores them. Luke watches them apprehensively.</scene_description> <character>LUKE</character> <dialogue>Uh... they look kind of annoyed.</dialogue> <character>DAVID</character> <dialogue>Yeah. You said they play football? Caleb used to play for the same school?</dialogue> <character>LUKE</character> <dialogue>Yeah. He was really good.</dialogue> <character>DAVID</character> <dialogue>But they still mess with you?</dialogue> <character>LUKE</character> <dialogue>Yeah. The guys at my school hate me.</dialogue> <character>DAVID</character> <dialogue>Why?</dialogue> <scene_description>Luke says nothing. Behind them, Ian rises, holding his cosmopolitan. He walks towards David's table, followed by another one of the seniors, BLAIR. Luke lowers his head. Ian reaches the table, martini glass in hand. Blair moves to stand behind him. Ian regards the seated David.</scene_description> <character>IAN</character> <dialogue>Hey, thanks for the drinks, man.</dialogue> <character>DAVID</character> <dialogue>You're welcome.</dialogue> <character>IAN</character> <dialogue>I don't want it, though. You can have it.</dialogue> <scene_description>Ian FLINGS the contents of his glass into David's FACE. David sits, the drink running down his face. He calmly wipes his eyes, then reaches for his FIREBALL SHOT.</scene_description> <character>DAVID</character> <dialogue>Ah. Maybe you could try this instead?</dialogue> <scene_description>David lightly tosses the fireball shot into Ian's face. Ian takes a step back, blinking. Then he SCREAMS.</scene_description> <character>IAN</character> <dialogue>My eyes!</dialogue> <scene_description>Ian hunches forward, clutching his eyes and HOWLING with pain. Blair moves towards him, confused. David LAUGHS, then rises to his feet. David reaches past Blair and TAPS Ian's shoulder.</scene_description> <character>DAVID</character> <dialogue>Hey, over here.</dialogue> <scene_description>David ducks back and Ian, blind, SWINGS his fist out. He HITS BLAIR in the face, knocking him to the floor. David again bursts into LAUGHTER.</scene_description> <character>DAVID</character> <dialogue>Ha. Wow. Okay.</dialogue> <scene_description>David stops laughing. He steps forward and PUNCHES IAN IN THE NECK. Ian DROPS TO THE FLOOR. Mike and Jason are moving towards David, who turns to face them. Jason attempts to tackle David. David brings his knee up into Jason's face, sending him flying back. Luke is on his feet, but seems to not know what to do. He is abruptly SPUN AROUND by Mike, who PUNCHES LUKE in the face, knocking him to the floor. Luke lies on the floor, dazed. Mike moves to KICK Luke, but is HIT FROM BEHIND WITH A POOL CUE by David. The stick BREAKS across Mike's back. Mike falls to the ground next to Luke. Through Luke's blurred vision, he can see David stomping on Mike's KNEE, then ANKLE. BONES CRACK. Mike SCREAMS. Luke blinks, losing consciousness. Blair staggers to his feet. He grabs an empty beer bottle and swings it down at David's head. David neatly sidesteps, pins Blair's arm and pulls the bottle from his grasp. He then SMASHES the bottle across Blair's face, then JABS the BROKEN BOTTLE NECK into Blair's shoulder. Blair looks down, startled. BLOOD is dribbling from the bottle neck protruding from his jersey. Blair's eyes roll up and he FAINTS, falling to the floor. David looks around the room. Luke, Blair, Jason and Mike are unconscious on the floor; Ian is sobbing underneath a table, holding his eyes. The remaining senior girls are cowering away from David in a booth. David leans down and gently SLAPS Luke's face.</scene_description> <character>DAVID</character> <dialogue>Hey, Luke. Wake up.</dialogue> <scene_description>Luke's eyes open.</scene_description> <character>DAVID</character> <dialogue>Cool.</dialogue> <scene_description>David rises and approaches the bar. The bartender is holding a sawed-off POOL STICK, frozen in place behind the bar. The two old men shrink away from David.</scene_description> <character>DAVID</character> <dialogue>You guys should get out of here.</dialogue> <scene_description>Without a word, the two old men get up and exit. David turns to the bartender, who defensively raises his pool cue. David ignores the weapon.</scene_description> <character>DAVID</character> <dialogue>Call the police and tell them the truth: a gang of high school kids came in here and demanded you serve them drinks. You tried to I.D. them but they threatened to cause trouble. There was a fight. You didn't really get a good look at the other guys.</dialogue> <parenthetical>(considers)</parenthetical> <dialogue>Maybe they were from out of town.</dialogue> <scene_description>The bartender looks at David.</scene_description> <character>DAVID</character> <dialogue>Otherwise, I imagine you and this place could get in trouble for serving minors. I mean, this is what happens. Here.</dialogue> <scene_description>David takes two more $100 bills from his pocket and sets them down on the bar.</scene_description> <character>DAVID</character> <dialogue>For the damages.</dialogue> <scene_description>The bartender hesitates, then lowers his pool stick. David turns and pulls Luke to his feet. They exit, David leading Luke out into the sunlight.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - - GARAGE - DAY - A HALF HOUR LATER</stage_direction> <scene_description>David pulls Laura's SUV into the house's garage, its automated door closing behind them. He and Luke climb out of the car. Luke winces, touching his head.</scene_description> <character>LUKE</character> <dialogue>Ow. I think I have a concussion.</dialogue> <character>DAVID</character> <dialogue>Yeah, you definitely have a concussion, dude. You were out.</dialogue> <scene_description>David walks to the door leading inside. Luke follows him as they enter the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - KITCHEN - DAY - CONTINUOUS</stage_direction> <scene_description>Luke and David enter the kitchen. David crosses to the freezer, gathers a handful of ice cubes and drops them into a dishcloth.</scene_description> <character>LUKE</character> <dialogue>Should I go to the hospital?</dialogue> <character>DAVID</character> <dialogue>Why?</dialogue> <character>LUKE</character> <dialogue>For, like, my brain.</dialogue> <character>DAVID</character> <dialogue>Oh. No, it'll be fine. I used to get them all the time.</dialogue> <character>LUKE</character> <dialogue>Oh. Okay.</dialogue> <character>DAVID</character> <dialogue>Here.</dialogue> <scene_description>David hands Luke the makeshift ice pack and they walk into the front room.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY - MOMENTS LATER</stage_direction> <scene_description>Luke and David enter the front room. Laura and Anna are seated, Anna sketching in a notebook. Laura rises when she sees Luke holding the ice pack to his bruised face.</scene_description> <character>LAURA</character> <dialogue>Luke! What happened?</dialogue> <character>LUKE</character> <dialogue>I got in a fight with some guys at school.</dialogue> <character>LAURA</character> <dialogue>Are you okay?!</dialogue> <character>LUKE</character> <dialogue>Yeah, I'm fine. David helped me out.</dialogue> <scene_description>Anna looks over at David, seeing his bloody knuckles. Without looking at Anna, David puts his hands in his pockets.</scene_description> <character>LAURA</character> <dialogue>What happened?</dialogue> <character>LUKE</character> <dialogue>Some seniors were just picking on me. It happens.</dialogue> <character>LAURA</character> <dialogue>Why were they picking on you?</dialogue> <character>LUKE</character> <dialogue>I don't know. I'm going to my room, okay?</dialogue> <scene_description>Luke exits. Laura turns quickly to David.</scene_description> <character>LAURA</character> <dialogue>Is he alright?</dialogue> <character>DAVID</character> <dialogue>Yes, ma'am, he's fine.</dialogue> <character>LAURA</character> <dialogue>Did he get in any trouble with the school? The police didn't...?</dialogue> <character>DAVID</character> <dialogue>No, ma'am, no one saw. It's just the usual high school stuff. I told him I'd teach him some self defense when he's feeling up to it.</dialogue> <character>ANNA</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>I'm sure that's exactly what he needs.</dialogue> <scene_description>David looks over at Anna.</scene_description> <character>LAURA</character> <dialogue>Well. I'm relieved you were there.</dialogue> <scene_description>David smiles. Anna, looking annoyed, rises to her feet.</scene_description> <character>ANNA</character> <dialogue>I'm going to get ready for Kristen's.</dialogue> <character>LAURA</character> <dialogue>Anna, can I talk to you for a second?</dialogue> <scene_description>Anna looks at Laura, who pointedly gestures for Anna to join her in the kitchen. Anna exits into the kitchen with Laura. They converse in the kitchen in heated but barely audible whispers. David sits down on the sofa, his face settling into a blank mask. He stares straight ahead. Anna's VOICE comes from the kitchen.</scene_description> <character>ANNA (O.S.)</character> <dialogue>Really?! You're going to play that card?</dialogue> <scene_description>Laura's reply is inaudible. A moment later, Anna storms out of the kitchen. She clears her throat.</scene_description> <character>ANNA</character> <dialogue>David, would you like to come to a party with me tonight?</dialogue> <scene_description>David looks up at Anna.</scene_description> <character>DAVID</character> <dialogue>Sure, that sounds nice.</dialogue> <character>ANNA</character> <parenthetical>(barely concealed annoyance)</parenthetical> <dialogue>Great. I'm going to leave around seven.</dialogue> <scene_description>David rises to his feet.</scene_description> <character>DAVID</character> <dialogue>I'll get ready, then.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - MINUTES LATER</stage_direction> <scene_description>Anna steps into the hall, wearing a small robe and carrying clothes. She looks at the closed bathroom door.</scene_description> <character>ANNA</character> <dialogue>Great.</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>Luke, I need to shower!</dialogue> <scene_description>The bathroom door immediately opens and David steps out in a haze of steam, wearing a towel around his waist. David appears almost unnaturally fit, each muscle defined. His tanned torso is also covered with flushed, thick SCARS from dozens of cuts and wounds. David moves towards the door to Caleb's room, edging past Anna in the narrow hallway.</scene_description> <character>DAVID</character> <dialogue>I'm sorry. I wanted to shave.</dialogue> <character>ANNA</character> <dialogue>No, I- I'm sorry, I thought Luke was- Never mind.</dialogue> <character>DAVID</character> <dialogue>I'm going to go get dressed.</dialogue> <character>ANNA</character> <dialogue>Yeah, um... You do, you do that.</dialogue> <scene_description>As David faces away from Anna to enter Caleb's room, a clean BANDAGE is visible on his lower back. Anna quickly turns away and moves into the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - BATHROOM - CONTINUOUS</stage_direction> <scene_description>Anna enters the steamy bathroom and shuts the door behind her. She leans up against the door and exhales.</scene_description> <character>ANNA</character> <dialogue>Okay.</dialogue> <scene_description>Anna sighs, then turns the shower on.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - EVENING - LATER</stage_direction> <scene_description>Anna enters the front room, wearing a black tank top and tights with the outline of a skeleton printed on them. Anna stops when she sees David, who is quietly seated on the couch, waiting for her. He is dressed in a fashionable dress shirt and slacks. David looks at Anna, then down at his own attire.</scene_description> <character>DAVID</character> <dialogue>I, uh, borrowed some of Caleb's clothes. I hope you don't mind. He was about the same size as me, and I don't own much in the way of nice clothing.</dialogue> <character>ANNA</character> <dialogue>It's fine.</dialogue> <scene_description>Anna moves towards the front door. David rises.</scene_description> <character>DAVID</character> <dialogue>You look nice.</dialogue> <character>ANNA</character> <dialogue>Thank you.</dialogue> <scene_description>David follows Anna outside.</scene_description> </scene> <scene> <stage_direction>EXT. KRISTEN'S HOUSE - NIGHT - A HALF HOUR LATER</stage_direction> <scene_description>David and Anna walk from her car to Kristen's house, a small, unattractive duplex. Anna turns to face David.</scene_description> <character>ANNA</character> <dialogue>So, look. This isn't a big deal or anything, but this isn't just Kristen's place. My boyfriend, Zeke, lives here, too.</dialogue> <character>DAVID</character> <dialogue>I didn't know you had a boyfriend.</dialogue> <character>ANNA</character> <dialogue>Yeah, well. Neither do my parents. And I wouldn't mind keeping it that way, at least for now, if it's alright with you.</dialogue> <character>DAVID</character> <dialogue>I won't say anything. It's none of my business.</dialogue> <scene_description>Anna nods gratefully. She rings the DOORBELL. A moment later, KRISTEN, an attractive girl the same age as Anna, opens the front door. Kristen is wearing CAT EARS and a tail. She quickly hugs Anna, then takes in David, who nods politely at her.</scene_description> <character>KRISTEN</character> <dialogue>Who's this?</dialogue> <character>ANNA</character> <dialogue>This is David, he was friends with my brother, Caleb. I told you about him.</dialogue> <character>DAVID</character> <dialogue>How do you do?</dialogue> <character>KRISTEN</character> <dialogue>Fine, thank you.</dialogue> <scene_description>Kristen and David shake hands. Kristen shoots Anna a quick look, but Anna ignores it.</scene_description> </scene> <scene> <stage_direction>INT. KRISTEN'S HOUSE - FRONT ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kristen leads David and Anna into her house, where a small party is underway.</scene_description> <character>KRISTEN</character> <dialogue>Zeke's out back, smoking. He was waiting for help to carry the kegs.</dialogue> <character>DAVID</character> <dialogue>I'll bring them in. Where are they?</dialogue> <character>KRISTEN</character> <dialogue>In Zeke's van. It should be unlocked.</dialogue> <scene_description>David exits. Kristen leans towards Anna.</scene_description> <character>KRISTEN</character> <dialogue>I am potentially interested in getting to know your brother's friend.</dialogue> <character>ANNA</character> <dialogue>Have at it.</dialogue> <character>KRISTEN</character> <dialogue>Any pointers? Likes or dislikes?</dialogue> <character>ANNA</character> <dialogue>Uh... He was in the army?</dialogue> <character>KRISTEN</character> <dialogue>That's helpful. Come on.</dialogue> <scene_description>Anna and Kristen move through her house.</scene_description> </scene> <scene> <stage_direction>EXT. KRISTEN'S HOUSE - BACK PORCH - NIGHT - MINUTES LATER</stage_direction> <scene_description>Anna and Kristen stand outside with Zeke and his friend CRAIG, smoking. Craig offers a blunt to Anna.</scene_description> <character>ANNA</character> <dialogue>Ugh, I wish. I can't smoke tonight.</dialogue> <character>ZEKE</character> <dialogue>What, your houseguest?</dialogue> <character>ANNA</character> <dialogue>Yeah, he's-</dialogue> <scene_description>David emerges from the yard, CARRYING TWO KEGS. He has one propped on his shoulder and is carrying the other with one hand.</scene_description> <character>DAVID</character> <dialogue>I wasn't sure where you'd want these. Back here?</dialogue> <scene_description>Kristen gives Anna an incredulous look, then quickly turns to David.</scene_description> <character>KRISTEN</character> <dialogue>Yeah, here. Hang on, I'll get the tap.</dialogue> <scene_description>Kristen disappears inside as David carefully sets the kegs down. Craig offers David the blunt.</scene_description> <character>CRAIG</character> <dialogue>Hey, man, you want some?</dialogue> <character>ANNA</character> <dialogue>Craig-</dialogue> <character>DAVID</character> <dialogue>Sure.</dialogue> <scene_description>David takes the proffered blunt and inhales deeply.</scene_description> <character>DAVID</character> <dialogue>Thank you.</dialogue> <scene_description>David passes the blunt back to Craig, who then pointedly offers it again to Anna, who grimaces.</scene_description> <character>ANNA</character> <dialogue>Thanks.</dialogue> <scene_description>Anna takes the blunt and inhales.</scene_description> </scene> <scene> <stage_direction>INT. KRISTEN'S HOUSE - NIGHT - AN HOUR LATER</stage_direction> <scene_description>MUSIC blares inside Kristen's house and a few people are dancing in her living room. Anna watches David from across the room; David is conversing with Kristen. Zeke approaches Anna and hands her a cup of beer.</scene_description> <character>ANNA</character> <dialogue>Thanks.</dialogue> <character>ZEKE</character> <dialogue>You okay?</dialogue> <character>ANNA</character> <dialogue>I'm fine.</dialogue> <character>ZEKE</character> <dialogue>You want to-?</dialogue> <scene_description>Zeke gestures with his head back towards his room. Anna smiles.</scene_description> <character>ANNA</character> <dialogue>Yeah, okay.</dialogue> <scene_description>On the other side of the room, David turns to watch Zeke and Anna exit, then looks back to Kristen.</scene_description> <character>KRISTEN</character> <dialogue>-so what I told him was, even if I could still trust you... Oh, goddammit.</dialogue> <scene_description>Kristen trails off, looking at the door. A group of THREE GUYS have walked in, glaring around the party antagonistically. David follows her gaze.</scene_description> <character>DAVID</character> <dialogue>Who are they?</dialogue> <scene_description>One of the guys, DREW, immediately locks eyes with Kristen. He strides towards her.</scene_description> <character>KRISTEN</character> <dialogue>Uh, that is my ex. The one I was telling you about.</dialogue> <scene_description>Drew comes up to Kristen and David. He ignores David, his attention on Kristen.</scene_description> <character>DREW</character> <dialogue>Hey. I need to talk to you.</dialogue> <character>KRISTEN</character> <dialogue>I'm busy right now, Drew.</dialogue> <character>DREW</character> <dialogue>I've been calling you all week, then I hear you're having a party tonight? What the fuck?</dialogue> <character>KRISTEN</character> <dialogue>I'm talking to my friend. You're being rude.</dialogue> <scene_description>Drew GRABS Kristen's arm, pulling her away from David.</scene_description> <character>DREW</character> <dialogue>Listen, just come here-</dialogue> <scene_description>David steps forward and GRIPS Drew's WRIST, TWISTING IT, causing Drew to release Kristen. Kristen takes a step back, wide-eyed. Startled, Drew yanks his arm away from David, facing him. People at the party turn, noticing the altercation. The TWO GUYS Drew came in with MOVE UP behind him. David glances at them, but remains focused on Drew.</scene_description> <character>DREW</character> <dialogue>Fucking asshole.</dialogue> <scene_description>Drew SHOVES David, pushing him back. David shifts his weight slightly, then reaches out, GRABS DREW'S HEAD and SMASHES IT INTO THE WALL, SHATTERING a framed photo. Drew falls to the floor, unconscious. Drew's two friends are frozen, staring at David. David nods at Drew's prone body.</scene_description> <character>DAVID</character> <dialogue>Get him out of here.</dialogue> <scene_description>The two exchange a look, then lift Drew by his arms and drag him out of the party. There is a round of APPLAUSE from the rest of the party. Craig shouts out:</scene_description> <character>CRAIG</character> <dialogue>Fuckin' awesome!</dialogue> <scene_description>David reaches down and picks up the photo he broke with Drew's head. It is a photo of Kristen as a teenager, in a cheerleader uniform. Kristen is staring at David breathlessly. David carefully picks broken glass out of the picture frame.</scene_description> <character>DAVID</character> <dialogue>I'm sorry about your photograph. I'll buy you a new frame.</dialogue> <character>KRISTEN</character> <dialogue>No, don't worry about it. Did you- Did you want to see the rest of the house?</dialogue> <scene_description>David looks at her.</scene_description> </scene> <scene> <stage_direction>INT. KRISTEN'S HOUSE - KRISTEN'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>David and Kristen make out in her bedroom, on her bed, the lights dim. Kristen has her shirt off and is on top of David, kissing him. After a moment, Kristen stops, pulling slightly away.</scene_description> <character>KRISTEN</character> <dialogue>Are you okay?</dialogue> <character>DAVID</character> <dialogue>Yeah. Why?</dialogue> <character>KRISTEN</character> <dialogue>Seems like you're not really into this.</dialogue> <scene_description>David blinks. Then he smiles and, in a swift motion, rolls on top of Kristen, moving against her.</scene_description> <character>DAVID</character> <dialogue>No. I am.</dialogue> <character>KRISTEN</character> <dialogue>Oh. You are.</dialogue> <scene_description>David leans down and kisses Kristen's neck, gripping her wrists and pinning her to the bed.</scene_description> </scene> <scene> <stage_direction>INT. KRISTEN'S HOUSE - FRONT ROOM - NIGHT - LATER</stage_direction> <scene_description>David and Kristen emerge from her bedroom and cross to the couch, where Craig is sitting, smoking marijuana. He grins at them.</scene_description> <character>CRAIG</character> <dialogue>There you guys are. Thought you'd left your own party, maybe found a better one.</dialogue> <scene_description>Craig offers the pipe to David while Kristen lights a cigarette.</scene_description> <character>DAVID</character> <dialogue>No, I'm good.</dialogue> <character>CRAIG</character> <dialogue>Cool. Hey, I wanted to say to you, man, we're not, like, hippies or anything. I wanted to say, I totally support what you guys are doing over there. You need anything here, you let me know.</dialogue> <character>DAVID</character> <dialogue>Support us how?</dialogue> <character>CRAIG</character> <dialogue>I mean, like, I believe in what you guys are doing.</dialogue> <character>DAVID</character> <dialogue>But you wouldn't support us by, like, enlisting?</dialogue> <scene_description>Craig looks uncomfortable.</scene_description> <character>CRAIG</character> <dialogue>Nah, I mean, like... I've got asthma, you know? Makes that kind of like...</dialogue> <character>DAVID</character> <parenthetical>(laughs)</parenthetical> <dialogue>I'm just messing with you, man.</dialogue> <character>CRAIG</character> <dialogue>Oh no, cool. I mean, cool, I knew that.</dialogue> <scene_description>Kristen rises from the sofa, patting David's arm.</scene_description> <character>KRISTEN</character> <dialogue>I'll be right back.</dialogue> <scene_description>David watches Kristen leave. Craig grins again.</scene_description> <character>CRAIG</character> <dialogue>She's fun, huh?</dialogue> <character>DAVID</character> <dialogue>Yeah, yeah.</dialogue> <parenthetical>(leans forward)</parenthetical> <dialogue>Could you get me a gun?</dialogue> <character>CRAIG</character> <parenthetical>(surprised)</parenthetical> <dialogue>I mean, yeah, hell yeah. I can get you a gun. What do you need a gun for, man?</dialogue> <character>DAVID</character> <dialogue>I'm a soldier, dude. I like guns.</dialogue> <character>CRAIG</character> <dialogue>Sure. I know a guy. It'll be a few hundred though, more for something fancy. You got cash?</dialogue> <character>DAVID</character> <dialogue>I do.</dialogue> <character>CRAIG</character> <dialogue>Sure. I can set something up. Let me get your number.</dialogue> <scene_description>David pulls out a disposable cell phone.</scene_description> <character>DAVID</character> <dialogue>I'm using a burner right now. The number's on the back.</dialogue> <scene_description>David hands the phone to Craig, who punches the number into his own phone.</scene_description> <character>CRAIG</character> <dialogue>Perfect.</dialogue> <scene_description>Anna comes into the party from the hallway, followed by Zeke. They appear to be engaged in heated discussion.</scene_description> <character>ZEKE</character> <dialogue>Why is it even a big deal if I go on tour? It's three weeks, maybe. So what?</dialogue> <scene_description>Anna turns to David.</scene_description> <character>ANNA</character> <dialogue>David, are you ready to go?</dialogue> <scene_description>David takes his phone from Craig and rises.</scene_description> <character>DAVID</character> <dialogue>Sure.</dialogue> <scene_description>Zeke steps in front of Anna. David watches him.</scene_description> <character>ZEKE</character> <dialogue>Look, wait. Can we just talk about this?</dialogue> <character>ANNA</character> <dialogue>I have to go, Zeke. Call me tomorrow.</dialogue> <scene_description>Zeke turns away, exhaling.</scene_description> <character>ZEKE</character> <dialogue>Whatever.</dialogue> <scene_description>Zeke exits the room. Anna blinks, then looks to David.</scene_description> <character>ANNA</character> <dialogue>Let's go, okay?</dialogue> <scene_description>David nods. He shrugs at Kristen, then walks with Anna towards the front door.</scene_description> </scene> <scene> <stage_direction>EXT. KRISTEN'S HOUSE - NIGHT - MOMENTS LATER</stage_direction> <scene_description>David and Anna walk to her car. Anna takes her keys out.</scene_description> <character>DAVID</character> <dialogue>I'll drive.</dialogue> <character>ANNA</character> <dialogue>No, I'm fine.</dialogue> <scene_description>David quickly steps in front of Anna. He touches the side of her face, peering into her eyes. Anna inhales, surprised, but does not shrink away. David moves his hand down and smoothly pulls the keys from her grasp.</scene_description> <character>DAVID</character> <dialogue>I'll drive. You're stoned.</dialogue> <character>ANNA</character> <dialogue>Wait. How are you more sober than me?</dialogue> <character>DAVID</character> <dialogue>I'm bigger than you.</dialogue> <scene_description>David unlocks Anna's car and opens the passenger door for her. Anna hesitates, then climbs inside.</scene_description> </scene> <scene> <stage_direction>INT. ANNA'S CAR - NIGHT - MINUTES LATER</stage_direction> <scene_description>David drives quickly, shifting gears. Anna, in the passenger seat, lights a cigarette. David glances at her.</scene_description> <character>DAVID</character> <dialogue>Please put on your seat belt.</dialogue> <scene_description>Anna fastens her seat belt. Her CD of 1980s goth music is playing a slower song. David glances at her.</scene_description> <character>DAVID</character> <dialogue>Do you want to talk about it?</dialogue> <character>ANNA</character> <dialogue>No, it's just... it's nothing. We had an argument. Old stuff. Zeke... When we first started dating, I loved that he was in a band. But now I'm saving up for college, and he just isn't moving on, you know? Like, he doesn't even have a job.</dialogue> <character>DAVID</character> <dialogue>Well, he's a drug dealer.</dialogue> <character>ANNA</character> <dialogue>He's not a drug dealer!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>He sells drugs sometimes. Like, to friends, to make extra cash.</dialogue> <scene_description>David reaches up and adjusts the rearview mirror.</scene_description> <character>DAVID</character> <dialogue>Well. If he's messing things up with you, then he's a fool, and you don't need to worry about it.</dialogue> <scene_description>Anna makes an incredulous noise. David looks over at her.</scene_description> <character>DAVID</character> <dialogue>I'm serious. I mean, hell, if I'd had a girl like you back home, you better believe I wouldn't have gone over to the Middle East to get shot at.</dialogue> <scene_description>Anna looks over at David. She smiles.</scene_description> <character>ANNA</character> <dialogue>Thanks.</dialogue> <scene_description>David drives in silence for a moment.</scene_description> <character>DAVID</character> <dialogue>I like this music.</dialogue> <character>ANNA</character> <dialogue>You do? It's just a mix I made. I can make you a CD if you'd like.</dialogue> <character>DAVID</character> <dialogue>Can you put this song on it?</dialogue> <character>ANNA</character> <dialogue>Yeah. Of course.</dialogue> <scene_description>David steers the car down the narrow road leading to their house.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - MINUTES LATER</stage_direction> <scene_description>David and Anna walk down the hallway together, towards their bedrooms. They reach the door to Anna's room first. They stand near each other in the narrow hallway.</scene_description> <character>ANNA</character> <dialogue>So, uh. Goodnight.</dialogue> <character>DAVID</character> <dialogue>Goodnight. Thank you for inviting me out.</dialogue> <character>ANNA</character> <dialogue>No, um, no problem. Goodnight.</dialogue> <scene_description>Anna enters her bedroom, shutting the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Anna stands just inside her bedroom door. She can hear David's footsteps moving away, entering Caleb's room. Anna sighs and crosses her bedroom, taking off her shirt. She collapses onto her bed, looking up at the ceiling. After a moment, Anna rises from her bed. She moves over to her bookshelf and pulls out a BLANK CD and a marker. Anna writes on the CD: "MIX FOR DAVID." She then moves back to her bed and opens her laptop.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - NIGHT - LATER</stage_direction> <scene_description>Anna leans back on her bed, slipping on her headphones. She stares out the window, nodding her head slightly, listening to the mix she just made. Anna smiles slightly, to herself.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT WINDOWS - NIGHT - CONTINUOUS</stage_direction> <scene_description>Through the front windows of Anna's bedroom, she is visible lounging on her bed, listening to her MUSIC loudly on her headphones. Anna shifts her position, closing her eyes. Without opening them, she reaches up over her head and TURNS OFF THE LIGHT. Anna's room goes dark. In the room next to Anna's, also visible through the front windows, David sits on Caleb's bed, perfectly still. He stares out the window, into the darkness outside. FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - KITCHEN - MORNING</stage_direction> <scene_description>Wearing an undershirt and pajama pants, Anna walks into the kitchen and starts making herself tea. Glancing outside, Anna sees David pacing in the backyard, speaking into his disposable cell phone. His voice is barely audible from inside.</scene_description> <character>DAVID</character> <dialogue>An orthodontist? I don't... No, I don't need that. Fingers, yes.</dialogue> <scene_description>David turns, pacing as he speaks into the phone. Anna moves to the side of the window, out of view.</scene_description> <character>DAVID</character> <dialogue>As soon as possible. I already feel like I've waited too long. Money's no issue.</dialogue> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - BACKYARD - MORNING - CONTINUOUS</stage_direction> <scene_description>David continues speaking into the phone.</scene_description> <character>DAVID</character> <dialogue>I understand money's an issue for you. I just meant I have it.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I can be there. I'll keep this phone in case anything comes up and you need to reach me. Copy.</dialogue> <scene_description>David hangs up. He looks towards the house.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - DAY - MINUTES LATER</stage_direction> <scene_description>Anna sits on her bed, her netbook propped in front of her. A military webpage is up on the screen. Anna speaks into her cell phone.</scene_description> <character>ANNA</character> <dialogue>Yes, his name is David Andersen Collins. I think I can tell you what unit he served in if that helps.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>No, nothing's wrong. He was friends with my brother and we just heard he's back, so any contact information you could give me would be helpful.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Yes, that's my cell phone. Thanks.</dialogue> </scene> <scene> <stage_direction>INT. FORT KENILWORTH - VETERANS AFFAIRS OFFICE - DAY</stage_direction> <scene_description>A woman wearing an army uniform, SERGEANT HALWAY, speaks into a telephone headset. She is facing a computer.</scene_description> <character>SGT. HALWAY</character> <dialogue>Okay, ma'am. I'll call you when I have any information. Goodbye.</dialogue> <scene_description>Sergeant Halway taps a button on her headset, terminating the call. She looks at her computer screen. The screen shows a records search form for a David Andersen Collins, with his rank and Social Security number displayed. Across the screen is a red alert banner that reads: "RECORD CLASSIFIED - CONTACT KPG CORP. IMMEDIATELY." Sergeant Halway reaches for her phone.</scene_description> </scene> <scene> <stage_direction>INT. KPG BUILDING - HALWAY - DAY - MINUTES LATER</stage_direction> <scene_description>AUSTIN, a KPG employee in his 30s, strides quickly down a hallway. He is carrying a FOLDER bearing a KPG logo and speaking into a Bluetooth device.</scene_description> <character>AUSTIN</character> <dialogue>Tell Fort Kenilworth that David Collins is deceased. Just give them the official version. We'll take it from here.</dialogue> <scene_description>Austin removes his Bluetooth and slips it into his pocket as he continues down the hallway.</scene_description> </scene> <scene> <stage_direction>INT. KPG BUILDING - MEETING ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>In a meeting room, a man in a black suit, MAJOR CARVER, sits at a long table across from three KPG EXECUTIVES in similar attire. One of them, HENDRICKS, is speaking.</scene_description> <character>HENDRICKS</character> <dialogue>I'm meeting with the rest of our board next week to discuss the future of our work with the military in light of Project Aegolius' dissolution. Richard has some further information on that. Richard?</dialogue> <scene_description>Major Carver nods.</scene_description> <character>MAJOR CARVER</character> <dialogue>I can't get into too many details, nor would you want me to. However, I can say-</dialogue> <scene_description>There is a KNOCK on the door, interrupting Carver. The door OPENS and Austin leans in, holding the folder. He looks quickly at Major Carver.</scene_description> <character>AUSTIN</character> <dialogue>I'm sorry to interrupt. Something's come up.</dialogue> <scene_description>Major Carver looks at Austin, then nods, rising.</scene_description> <character>MAJOR CARVER</character> <dialogue>You'll have to excuse me.</dialogue> <scene_description>Hendricks nods curtly. Major Carver exits the room.</scene_description> </scene> <scene> <stage_direction>INT. KPG BUILDING - HALLWAY - DAY - MOMENTS LATER</stage_direction> <scene_description>Major Carver walks alongside Austin down the hallway, rapidly perusing the contents of the folder.</scene_description> <character>MAJOR CARVER</character> <dialogue>When did Fort Kenilworth receive this call?</dialogue> <character>AUSTIN</character> <dialogue>About an hour ago, sir.</dialogue> <character>MAJOR CARVER</character> <dialogue>Have you I.D.ed the caller?</dialogue> <character>AUSTIN</character> <dialogue>Not confirmed, but she gave her name as Anna Peterson.</dialogue> <scene_description>Major Carver stops walking.</scene_description> <character>MAJOR CARVER</character> <dialogue>Peterson...?</dialogue> <character>AUSTIN</character> <dialogue>She's the sister of one of our nullified subjects. Caleb Peterson.</dialogue> <scene_description>Major Carver looks quickly at Austin.</scene_description> <character>MAJOR CARVER</character> <dialogue>Where is she?</dialogue> <character>AUSTIN</character> <dialogue>Home address is in there.</dialogue> <scene_description>Major Carver closes the folder and begins walking again, quickly. Austin hurries after him.</scene_description> <character>MAJOR CARVER</character> <dialogue>Get me on the next flight. If we need to charter something, do it. And I'm going to need some shooters.</dialogue> <character>AUSTIN</character> <dialogue>If anyone asks what's happening, what do I tell them?</dialogue> <character>MAJOR CARVER</character> <dialogue>Make something up. No one outside of this circle can know that any of our subjects are still active, understood? If KPG gets any blowback on this, you and I will both be hung out to dry. Got that?</dialogue> <scene_description>Austin nods.</scene_description> <character>MAJOR CARVER</character> <dialogue>Call me when you have a plane booked.</dialogue> <scene_description>Austin quickly turns and heads down the hall as Carver continues in the other direction.</scene_description> </scene> <scene> <stage_direction>EXT. ROCK QUARRY - DAY - CONTINUOUS</stage_direction> <scene_description>A pick-up truck is parked inside an abandoned rock quarry. Craig stands next to the truck, along with an older man, HIGGINS, who has tattooed hands. David walks down into the quarry, appearing over its horizon, carrying his rucksack. Craig and Higgins turn at his approach.</scene_description> <character>HIGGINS</character> <dialogue>That him?</dialogue> <scene_description>Craig nods and raises a hand in greeting; David returns the wave as he approaches.</scene_description> <character>DAVID</character> <dialogue>Hey.</dialogue> <character>HIGGINS</character> <dialogue>Where's your car?</dialogue> <scene_description>David gestures behind him.</scene_description> <character>DAVID</character> <dialogue>I parked a way's back. I felt like a walk. I'm not late, am I?</dialogue> <character>HIGGINS</character> <dialogue>No, you're on time.</dialogue> <character>DAVID</character> <dialogue>Great.</dialogue> <character>HIGGINS</character> <dialogue>Before we start anything here, I'd like to see that you've got some cash on you, if you don't mind.</dialogue> <scene_description>Craig shrugs apologetically, but David is already reaching into his rucksack. He takes out a thick envelope of $100 bills, opening it for Higgins to see.</scene_description> <character>DAVID</character> <dialogue>That should be good?</dialogue> <character>HIGGINS</character> <dialogue>Yes, indeed.</dialogue> <scene_description>David pockets the envelope. Higgins faces the truck.</scene_description> <character>HIGGINS</character> <dialogue>Craig here didn't seem to know exactly what you might be looking for, so I brought a few options.</dialogue> <character>DAVID</character> <dialogue>Good.</dialogue> <scene_description>Higgins unlocks an aluminum box in the rear bed of the pick-up truck, raising its lid. It is filled with FIREARMS and boxes of BULLETS.</scene_description> <character>HIGGINS</character> <dialogue>You looking for a rifle or a handgun?</dialogue> <character>DAVID</character> <dialogue>Handgun.</dialogue> <character>HIGGINS</character> <dialogue>Figured so. Now, some of these guns might have numbers on them, and some don't. The prices vary, but they're all in top condition and ready to fire. Here...</dialogue> <scene_description>Higgins reaches into the box and removes four handguns, as well as two boxes of bullets. He carries this load over to a flat rock area, followed by Craig and David. Higgins sets down the guns, laying them out.</scene_description> <character>HIGGINS</character> <dialogue>You've got your Beretta there, I'm sure you're used to that one. Don't know if you've fired this before. Nine millimeter Witness Elite. Similar weapon, but I prefer the recoil action, almost no kick.</dialogue> <scene_description>Higgins hands David a chrome pistol. David opens the chamber, checking the gun, then begins rapidly TAKING THE GUN APART, checking each piece. Higgins watches him.</scene_description> <character>HIGGINS</character> <dialogue>You army?</dialogue> <character>DAVID</character> <dialogue>Yes, sir.</dialogue> <character>HIGGINS</character> <dialogue>Navy, myself. 'Course, that was some time ago.</dialogue> <scene_description>David snaps the pieces of the pistol together, reassembling it. He nods.</scene_description> <character>DAVID</character> <dialogue>It's fine.</dialogue> <character>HIGGINS</character> <dialogue>So. You'll take the Elite, then?</dialogue> <character>DAVID</character> <dialogue>Oh, I'll take all of them.</dialogue> <character>HIGGINS</character> <dialogue>All of the handguns?</dialogue> <character>DAVID</character> <dialogue>No. Everything. All your guns.</dialogue> <character>HIGGINS</character> <dialogue>You got the money for that?</dialogue> <character>DAVID</character> <dialogue>No, I'm going to kill you.</dialogue> <scene_description>Craig goes still.</scene_description> <character>CRAIG</character> <dialogue>Uh, David...</dialogue> <character>HIGGINS</character> <dialogue>Now, don't get funny with me, boy.</dialogue> <scene_description>Higgins reaches behind himself and pulls a SMALL REVOLVER from a holster in his belt. He aims the gun at David.</scene_description> <character>HIGGINS</character> <dialogue>If you think I'd come-</dialogue> <scene_description>David reaches out and GRABS the wheel of the revolver in Higgins' hand, holding it tightly. With his other hand, David snatches up another revolver and SNAPS IT OPEN. Higgins, eyes suddenly wide, tries to COCK THE REVOLVER, pulling the hammer back. The wheel rotates slightly, then David squeezes the gun harder, STOPPING IT. The bullet loaded in Higgins' small revolver is just a centimeter away from being under its hammer. Using his free hand, David grabs a bullet and loads it into the revolver without looking. He snaps the chamber wheel in and raises the gun to aim it at Higgins, COCKING IT. Higgins' face goes slack. Craig stares, frozen.</scene_description> <character>CRAIG</character> <dialogue>Oh shit.</dialogue> <scene_description>Craig spins and starts RUNNING towards the quarry's exit. David pulls the trigger on the revolver aimed at Higgins. The hammer hits an empty chamber. The gun CLICKS. Higgins grabs onto the small revolver he is aiming at David with BOTH HANDS-just as David pulls the trigger of his revolver a third time, SHOOTING HIGGINS IN THE FACE and BLOWING THE BACK OF HIS HEAD OFF. As Higgins' body jerks back, David yanks the small revolver from his grasp. Craig is RUNNING AWAY in the distance, nearing the exit to the quarry, frantically scrambling up its slope. David aims the small revolver out, inhales, then slowly EXHALES. He shifts the gun so that it is pointed just slightly in front of Craig and PULLS THE TRIGGER. The gun FIRES. For a fraction of a second, nothing happens. Then the back of Craig's head EXPLODES from the bullet's impact and Craig falls to the ground, his dead body skidding through the gravel from its momentum. David regards the two corpses in front of him for a moment, then stands and wipes the small revolver clean on his shirt. He kneels and places it in Higgins' hand, closing Higgins' fingers around it multiple times. David turns around. He collects all of the handguns and bullets from the rock, placing them in his rucksack. David then climbs into the back of the pick-up truck to peer inside the aluminum box. The box contains two single barrel SHOTGUNS and an ASSAULT RIFLE, as well as boxes of bullets. David lifts these out. Beneath the assault rifles is a GRENADE. David looks at it.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>Anna lies on her bed, listening to music on her stereo. Her cell phone rings. She answers it.</scene_description> <character>ANNA</character> <dialogue>Hello?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Yes, thank you for calling me back.</dialogue> <scene_description>Anna is silent, listening to the voice on the other end of the phone. She sits up.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - KITCHEN - DAY - MOMENTS LATER</stage_direction> <scene_description>Laura is cooking in the kitchen. Two PUMPKINS sit on the counter. Anna enters the room behind her.</scene_description> <character>ANNA</character> <dialogue>Mom, can I talk to you?</dialogue> <scene_description>Laura frowns, carrying a pan over to the stove.</scene_description> <character>LAURA</character> <dialogue>Sure, sweetie, what's going on?</dialogue> <character>ANNA</character> <dialogue>I called the military base David said he was just discharged from, Fort Kennilworth, to ask about him.</dialogue> <character>LAURA</character> <dialogue>What? Why would you do that?</dialogue> <scene_description>Anna starts to speak, but stops at the sound of the front door opening. Spencer's voice calls out:</scene_description> <character>SPENCER (O.S.)</character> <dialogue>Hey, is anyone home?</dialogue> <character>LAURA</character> <dialogue>We're in here!</dialogue> <scene_description>Spencer enters the kitchen, looking pale.</scene_description> <character>SPENCER</character> <dialogue>I need a drink.</dialogue> <scene_description>Spencer crosses to a liquor cabinet and pours whiskey out into a tumbler.</scene_description> <character>LAURA</character> <dialogue>What-? Spencer, what is it?</dialogue> <character>SPENCER</character> <dialogue>They found Allan, my boss. He's been missing from work the last couple of days, and people were getting worried, so one of his friends broke into his home.</dialogue> <scene_description>Spencer takes a quick drink of whiskey.</scene_description> <character>SPENCER</character> <dialogue>They found him and his girlfriend dead. They'd both taken pills, I guess he had some prescriptions... It looks like a suicide pact kind of thing.</dialogue> <character>LAURA</character> <dialogue>Oh my god! But that- That doesn't make any sense. He was...</dialogue> <character>SPENCER</character> <dialogue>Totally normal. Yeah. The police are investigating. There was nothing in their wall safe, but it wasn't broken into... but she had some bruises... I guess we'll have to see what the police say.</dialogue> <character>LAURA</character> <dialogue>Maybe one of them was like, dying of cancer or something?</dialogue> <character>SPENCER</character> <dialogue>I guess we'll find out.</dialogue> <scene_description>Spencer finishes his drink.</scene_description> <character>SPENCER</character> <dialogue>The damned thing is, this means I'm regional manager. At least, for a while. As soon as corporate heard, I got a call. They're offering me the same salary as Allan to start right away.</dialogue> <character>LAURA</character> <dialogue>Oh! That's...</dialogue> <scene_description>Laura trails off. Spencer nods and pours himself another whiskey. He glances towards the doorway.</scene_description> <character>SPENCER</character> <dialogue>Hey, David. I didn't hear you come in.</dialogue> <scene_description>David is standing in the kitchen doorway, holding shopping bags. Anna takes a step back, startled.</scene_description> <character>DAVID</character> <dialogue>I didn't want to interrupt. I'm sorry to hear about your colleague.</dialogue> <character>SPENCER</character> <dialogue>That's okay. Thank you. Care for a drink?</dialogue> <character>DAVID</character> <dialogue>Sure. I'll be right back.</dialogue> <scene_description>David exits, carrying his bags. Anna looks at her parents. Her cell phone, in her pocket, rings. Anna checks the number, then quickly exits the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>Anna moves into the living room, answering her phone. She speaks quietly.</scene_description> <character>ANNA</character> <dialogue>Zeke?</dialogue> </scene> <scene> <stage_direction>INT. ZEKE'S VAN - DAY - CONTINUOUS</stage_direction> <scene_description>Zeke is speaking into his cell phone as he drives his van down a side street. He is visibly upset.</scene_description> <character>ZEKE</character> <dialogue>Hey, Anna. I just- can you talk now?</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - CONTINUOUS</stage_direction> <scene_description>Anna looks towards the kitchen, then turns away.</scene_description> <character>ANNA</character> <dialogue>Not really. I'm at home. What's going on?</dialogue> </scene> <scene> <stage_direction>INT. ZEKE'S VAN - DAY - CONTINUOUS</stage_direction> <scene_description>Zeke turns the van around a corner, holding his phone.</scene_description> <character>ZEKE</character> <dialogue>It's Craig, babe. They found him out in the woods. Dead. He got shot.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>Anna stares out the front windows, shocked.</scene_description> <character>ANNA</character> <dialogue>What? But- who... Do they know who-?</dialogue> <character>ZEKE (ON PHONE)</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. ZEKE'S VAN - DAY - CONTINUOUS</stage_direction> <scene_description>Zeke continues talking into his phone as he drives. He checks his side mirror and frowns.</scene_description> <character>ZEKE</character> <dialogue>He was with some guy... I don't know all the details. Can you come meet me later?</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM</stage_direction> <scene_description>Anna looks out the windows. Behind her, out of view, David stands on the stairs, very still, watching her.</scene_description> <character>ANNA</character> <dialogue>Yeah, of course. I have something else I need to talk to you about, too.</dialogue> </scene> <scene> <stage_direction>INT. ZEKE'S VAN - DAY - CONTINUOUS</stage_direction> <scene_description>Zeke frowns, looking into his side mirror as he drives.</scene_description> <character>ZEKE</character> <dialogue>What is it?</dialogue> <scene_description>From behind Zeke, a POLICE SIREN chirps to life. Blue and red POLICE LIGHTS FLASH.</scene_description> <character>ZEKE</character> <dialogue>Shit, babe, I got to go. Call you back.</dialogue> <scene_description>Zeke quickly hangs up his phone, tossing it into the passenger seat.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>Anna frowns, the phone still to her ear.</scene_description> <character>ANNA</character> <dialogue>What? Hello?</dialogue> <scene_description>Anna looks down at her phone. Behind her, David audibly moves forward, walking into the front room. Anna spins to face David, startled. She looks down at her phone again, then pockets it.</scene_description> <character>ANNA</character> <dialogue>Hey. I... I'm going out for a bit.</dialogue> <character>DAVID</character> <dialogue>Okay.</dialogue> <scene_description>Anna opens the front door and quickly exits the house. David watches through the windows as Anna climbs into her car and drives away.</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT - ONE HOUR LATER</stage_direction> <scene_description>Anna enters a small, old-fashioned diner, looking around. The diner is nearly empty, with just a few customers. Kristen, wearing a diner uniform, quickly moves from behind the counter and embraces Anna. Kristen looks as though she has been crying.</scene_description> <character>KRISTEN</character> <dialogue>Are you okay?</dialogue> <character>ANNA</character> <dialogue>Yeah. I just heard about it from Zeke. How are you doing?</dialogue> <character>KRISTEN</character> <dialogue>I'm fine... I just don't get it. Who'd want to hurt Craig? He was friends with everyone.</dialogue> <character>ANNA</character> <dialogue>I know. Can you sit down?</dialogue> <character>KRISTEN</character> <dialogue>Yeah. I have to finish out my shift, but Sebastian said I can take a break.</dialogue> <scene_description>Anna and Kristen move over to an empty booth.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT STOOP - NIGHT - CONTINUOUS</stage_direction> <scene_description>David and Luke sit out on the front stoop. In front of them, the two PUMPKINS have been placed on a layer of newspaper covering the concrete, along with two knives.</scene_description> <character>DAVID</character> <dialogue>So how does this work?</dialogue> <character>LUKE</character> <dialogue>First you make a hole at the top, so you can reach in and scoop all the guts out.</dialogue> <scene_description>Luke takes a steak knife and begins sawing a hole in the top of the pumpkin, with effort. David picks up a knife and starts to do the same. David then stops, examining the knife.</scene_description> <character>DAVID</character> <dialogue>Your parents' knives suck.</dialogue> <character>LUKE</character> <dialogue>Yeah.</dialogue> <scene_description>David sets down the steak knife he is holding, then removes a BUTTERFLY KNIFE from his pants pocket. Luke stares as David FLIPS the butterfly knife open. Using the gleaming blade, David easily cuts a hole in the top of his pumpkin.</scene_description> <character>DAVID</character> <dialogue>That's better.</dialogue> <character>LUKE</character> <dialogue>Do you carry that on you, like, all the time?</dialogue> <character>DAVID</character> <dialogue>This knife? Yeah.</dialogue> <character>LUKE</character> <dialogue>Why?</dialogue> <character>DAVID</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Just in case.</dialogue> <scene_description>David resumes carving his pumpkin.</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT - CONTINUOUS</stage_direction> <scene_description>Anna and Kristen sit across from each other in a diner booth. Anna drums her fingers, looking worried.</scene_description> <character>ANNA</character> <dialogue>Something else happened... It's kind of weird. I called the army base David said he was from. They told me David Collins died a week ago. He was in a military hospital in Idaho, there was a fire from some oxygen tanks. About twenty people died, David Collins was one of them.</dialogue> <character>KRISTEN</character> <dialogue>Okay, so... wrong David Collins. Common name. Come on, it's the military.</dialogue> <character>ANNA</character> <dialogue>David Andersen Collins. The woman I talked to emailed me a photo of him. Brown hair, round face, acne problem. Looked like a nice guy. Not David.</dialogue> <scene_description>Kristen regards Anna seriously.</scene_description> <character>KRISTEN</character> <dialogue>You're really worried about this?</dialogue> <character>ANNA</character> <dialogue>Yeah. I am. A little.</dialogue> <scene_description>Kristen considers.</scene_description> <character>KRISTEN</character> <dialogue>Does David have any I.D.? Credit cards?</dialogue> <character>ANNA</character> <dialogue>I've never seen him use a wallet.</dialogue> <character>KRISTEN</character> <dialogue>What about his phone? He has a burner, right? Why don't you check some of the numbers he's called? Your brother knows computers. Have him look them up.</dialogue> <character>ANNA</character> <dialogue>Yeah. That's a good idea. Thanks.</dialogue> <scene_description>One of Kristen's coworkers, a man wearing a bandana and GRILL CHEF apron, stops by the booth. He speaks quietly, nodding at a pair of seated customers.</scene_description> <character>GRILL CHEF</character> <dialogue>Hey, Kristen. I think that couple's been done for a bit.</dialogue> <character>KRISTEN</character> <dialogue>I've got it. Thanks.</dialogue> <scene_description>Kristen rises. Anna does the same.</scene_description> <character>ANNA</character> <dialogue>Call me when you get off, okay?</dialogue> <character>KRISTEN</character> <dialogue>I will. Take care of yourself.</dialogue> <character>ANNA</character> <dialogue>You too.</dialogue> <scene_description>Anna exits the diner as Kristen moves to a table.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM/DINING ROOM/KITCHEN -</stage_direction> <scene_description>NIGHT David and Luke carry their completed pumpkins in from outside. Luke's jack-o'-lantern is an ornate ghoulish face, with detailed facial features. David's is a geometrically precise, traditional jack-o'-lantern.</scene_description> <character>DAVID</character> <dialogue>Do you want some advice, Luke?</dialogue> <character>LUKE</character> <dialogue>Sure.</dialogue> <scene_description>David sets his pumpkin and the butterfly knife down on the kitchen table. He removes his jacket and tosses it onto a nearby chair in the living room.</scene_description> <character>DAVID</character> <dialogue>Never let anyone pick on you. Otherwise, you'll carry it with you forever. Those guys at school, they're bigger than you?</dialogue> <scene_description>Luke sets his jack-o'-lantern down on the kitchen counter. He looks at it.</scene_description> <character>LUKE</character> <dialogue>Yeah.</dialogue> <character>DAVID</character> <dialogue>Then bring a knife to school. If they take it away from you and beat you up, go to their houses at night and burn them down with their families inside. What's the worst they can do?</dialogue> <scene_description>Luke does not look particularly convinced by this.</scene_description> <character>LUKE</character> <dialogue>Yeah, okay.</dialogue> <character>DAVID</character> <dialogue>Here.</dialogue> <scene_description>David CLOSES the butterfly knife and hands it to Luke.</scene_description> <character>DAVID</character> <dialogue>Keep it.</dialogue> <scene_description>Luke takes the knife from David. He awkwardly opens it, using both hands, and then shuts it.</scene_description> <character>LUKE</character> <dialogue>You're giving this to me?</dialogue> <character>DAVID</character> <dialogue>Yeah, man, it's yours. I've got others.</dialogue> <scene_description>The front door opens in the next room. Luke quickly POCKETS the knife as Anna steps inside. David looks over at her from the kitchen, smiling.</scene_description> <character>DAVID</character> <dialogue>Hey, care to join us?</dialogue> <scene_description>Anna looks at the chair in the front room, where David's jacked is draped. She casually moves towards it.</scene_description> <character>ANNA</character> <dialogue>Ah, no, probably not. Mom and dad around?</dialogue> <character>DAVID</character> <dialogue>They went to the store. Your mom's going to make pumpkin pie.</dialogue> <character>ANNA</character> <dialogue>That's cool.</dialogue> <scene_description>Anna looks up. David is setting his pumpkin on the kitchen counter, next to Luke's. Anna feels the pocket of David's jacket, then stops when her hand touches his CELL PHONE. She quickly slips David's disposable cell phone out of his pocket and exits into the hallway, clutching it in her hands. Neither David nor Luke look at her.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - MOMENTS LATER</stage_direction> <scene_description>Anna enters her room and quickly shuts the door behind her. She puts some MUSIC on her stereo, a loud goth song. Anna snaps David's phone open, scrolling so that its screen displays recent calls. Anna takes her own cell phone out and SNAPS A PICTURE of David's phone screen. Anna scrolls further through David's recent calls; there are only a few more. Suddenly David's phone RINGS LOUDLY, vibrating in her hand. Anna freezes.</scene_description> <character>ANNA</character> <dialogue>Shit.</dialogue> <scene_description>Anna spins for the door to her room, moving quietly.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Anna rapidly crosses the hallway. She opens the door to Caleb's room, then spins back into the hallway. Anna ducks back into her bedroom and shuts the door. A moment later, David enters the hallway, holding the receiver to the Petersons' CORDLESS PHONE to his ear. David walks down the hallway. His cell phone is audible RINGING near the end of the hallway, its noise muffled. David heads towards the sound. David stops at the door to Anna's room, listening to her muffled music.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna stands just inside the door to her room, not moving. Silence, then Anna can hear David's FOOTSTEPS in the hallway, moving away.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - CONTINUOUS</stage_direction> <scene_description>David continues walking towards the sound of his ringing cell phone. He opens the door to Caleb's room.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>David's cell phone is on the floor of Caleb's room, RINGING and vibrating. David hangs up the cordless phone receiver and his cell phone stops ringing. He reaches down and picks it up off the floor, smiling mildly.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>David closes the door to Caleb's room and walks back towards the front room.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna moves over to her bed and sits heavily on it, exhaling. She puts her head in her hands. Anna's cell phone RINGS, startling her. She looks it, frowns, then answers hesitantly.</scene_description> <character>ANNA</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. CITY JAIL - HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Zeke stands at the end of a concrete hallway lined with JAIL CELLS. He holds the receiver of a pay phone.</scene_description> <character>ZEKE</character> <dialogue>Hey, uh, it's me.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna smiles, starts to speak into her phone, then stops. Her smile drops from her face.</scene_description> <character>ANNA</character> <dialogue>What...? I don't... I don't understand. They found the gun that killed Craig... in your van?</dialogue> </scene> <scene> <stage_direction>INT. CITY JAIL - HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Zeke looks up and down the jail hallway, speaking quietly into the phone.</scene_description> <character>ZEKE</character> <dialogue>Yeah. It was wiped clean. They got an anonymous tip or something.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>No, I mean, all they'll say to me is it was anonymous. Yeah, I know.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna looks shocked as she speaks into the phone.</scene_description> <character>ANNA</character> <dialogue>Well, you're innocent!</dialogue> </scene> <scene> <stage_direction>INT. CITY JAIL - HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Zeke lowers his head. When he speaks into the receiver, his voice is thick, as if he's trying to muster bravado.</scene_description> <character>ZEKE</character> <dialogue>Yeah, I know, but... Then they searched my room, and they found some other stuff. You know. So, it looks like I might have to do a bit of time. They haven't set bail for me yet 'cause of that.</dialogue> <scene_description>There is a long silence while Zeke listens.</scene_description> <character>ZEKE</character> <dialogue>No, I have a lawyer. He's calling Kristen, it's okay. That's why I called you. I just wanted to hear your voice.</dialogue> <scene_description>A PRISON GUARD steps into the hallway.</scene_description> <character>PRISON GUARD</character> <dialogue>Hastings, wrap it up!</dialogue> <scene_description>The prison guard leaves the hallway. Zeke rolls his eyes, swallows, then speaks into the phone.</scene_description> <character>ZEKE</character> <dialogue>I gotta go, baby. I love you. Yeah. No. I love you too, babe. I gotta go. Bye.</dialogue> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Anna, crying, hangs up her phone. It drops from her hand.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM/DINING ROOM/KITCHEN -</stage_direction> <scene_description>NIGHT - MINUTES LATER Anna walks down the hallway from her bedroom, moving into the front room. Her mascara has run down her face and she is sniffling. Luke is doing his trigonometry homework on the living room floor. He glances up at Anna, confused. In the dining room, David is setting the table for dinner while Laura prepares food in the kitchen. Spencer is seated at the dining room table, reading. He looks up at Anna, taking in her distraught state.</scene_description> <character>SPENCER</character> <dialogue>Anna? What's wrong?</dialogue> <character>ANNA</character> <dialogue>My, um, my friend Craig died today. He was murdered.</dialogue> <scene_description>Laura and Spencer look at each other, shocked.</scene_description> <character>LAURA</character> <dialogue>Oh my goodness. That shooting at the quarry?</dialogue> <character>ANNA</character> <dialogue>Yeah.</dialogue> <character>LAURA</character> <dialogue>We just heard about that on the radio.</dialogue> <scene_description>Laura crosses quickly to Anna.</scene_description> <character>ANNA</character> <dialogue>And... and they arrested Zeke for it, they found the gun in his van. But he didn't do it. They were good friends.</dialogue> <character>LAURA</character> <dialogue>Zeke?</dialogue> <scene_description>Spencer sets down his book.</scene_description> <character>SPENCER</character> <dialogue>I'm sorry, Anna, but if they arrested your ex-boyfriend, it could be for a good reason. Zeke Hastings was never exactly a pillar of the community.</dialogue> <scene_description>Anna's eyes blaze with fury.</scene_description> <character>ANNA</character> <dialogue>He's not my ex-boyfriend, dad, he's my boyfriend! I never stopped seeing him! I'm twenty years old, I can date who I want!</dialogue> <scene_description>Spencer's face flushes.</scene_description> <character>SPENCER</character> <dialogue>As long as you're in this house-</dialogue> <character>ANNA</character> <parenthetical>(interrupting)</parenthetical> <dialogue>You know absolutely nothing about him! You don't know Zeke at all!</dialogue> <character>SPENCER</character> <dialogue>I know he's a druggy burn-out who started dating my daughter when she was seventeen-</dialogue> <character>ANNA</character> <dialogue>Oh yeah? Oh really?</dialogue> <scene_description>Anna and Spencer are both shouting now. Anna POINTS AT DAVID, who is standing by the table, holding silverware.</scene_description> <character>ANNA</character> <dialogue>What about him? Everyone's best friend there. What do you know about him?</dialogue> <scene_description>Spencer opens his mouth, confused.</scene_description> <character>ANNA</character> <dialogue>I called the military base he said he was from, and they said he was dead!</dialogue> <character>ANNA</character> <dialogue>Then they sent me a photo of him that wasn't him! What do you think of that?</dialogue> <scene_description>Spencer looks towards David hesitantly. Laura and Luke both look confused. David laughs.</scene_description> <character>DAVID</character> <dialogue>Military intelligence for you.</dialogue> <character>ANNA</character> <dialogue>Oh yeah?</dialogue> <parenthetical>(to Spencer)</parenthetical> <dialogue>Ask him to show you his I.D.! He's not David Collins! We don't know who he is!</dialogue> <scene_description>Spencer again looks to David.</scene_description> <character>DAVID</character> <dialogue>I was part of a special forces unit when I was injured, so they should be providing a cover story to any civilians who ask about me. That's a good thing. But I did get my dog tags back. They're right here.</dialogue> <scene_description>David sets down the forks in his hand. He reaches into his pants pocket and hands a pair of METAL DOG TAGS to Spencer, who looks at them. They bear the name "COLLINS, DAVID ANDERSEN."</scene_description> <character>DAVID</character> <dialogue>I don't like to wear them because, I don't know. I like having them with me, though. As for my I.D., I don't have a current license, but I've got my documents in my bag. Should I go...?</dialogue> <scene_description>David gestures towards Caleb's room. Spencer shakes his head.</scene_description> <character>SPENCER</character> <dialogue>That won't be necessary. Anna, I think you owe David an apology.</dialogue> <character>ANNA</character> <dialogue>No fucking way.</dialogue> <character>SPENCER</character> <dialogue>You watch your mouth, young lady!</dialogue> <scene_description>Spencer stops and takes a breath.</scene_description> <character>SPENCER</character> <dialogue>I am very sorry about your friend Craig. But as for Zeke Hastings and his crew, I have it on good authority that they're a bunch of pot dealers! You know why they arrested Zeke for the murder? Because he probably did it, Anna!</dialogue> <character>ANNA</character> <dialogue>Fuck you!</dialogue> <scene_description>Anna turns and storms back down the hallway, to her room, passing Luke. Spencer and Laura stand for a moment, looking after her, then Spencer turns to David.</scene_description> <character>SPENCER</character> <dialogue>David, I am very sorry about that.</dialogue> <character>DAVID</character> <dialogue>It's okay. She's upset. I probably should have explained the special forces thing earlier, but we're not really supposed to talk about it.</dialogue> <character>SPENCER</character> <parenthetical>(sighs)</parenthetical> <dialogue>No. I understand. Beer?</dialogue> <character>DAVID</character> <dialogue>Yes, please.</dialogue> <scene_description>Spencer moves towards the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Anna sits on her bed, tears running down her face. Music plays on her stereo. Anna blinks, then turns on her phone and brings up the picture she took of David's phone screen. There are five entries. One number appears three times as missed calls. Anna takes a breath.</scene_description> <character>ANNA</character> <dialogue>Okay. Kristen.</dialogue> <scene_description>Anna taps one of the numbers, then scrolls through her contacts, bringing up "CRAIG." Craig's number matches the last number that called David's phone.</scene_description> <character>ANNA</character> <dialogue>Craig...</dialogue> <scene_description>Anna goes back to the photo. Only one number remains. Anna frowns at it, then opens up her netbook. She punches the phone number into an internet search page. There is a soft KNOCK on Anna's door.</scene_description> <character>ANNA</character> <dialogue>What?</dialogue> <scene_description>The door opens and DAVID steps inside, shutting the door. Anna quickly SHUTS HER NETBOOK, turning to face him.</scene_description> <character>DAVID</character> <dialogue>Hey.</dialogue> <scene_description>David crosses the room and sits down on the floor, facing Anna. She does not move.</scene_description> <character>DAVID</character> <dialogue>I just wanted to say how sorry I am about Craig. He seemed like a really cool guy.</dialogue> <scene_description>Anna says nothing.</scene_description> <character>DAVID</character> <dialogue>And Zeke getting arrested... Again. I'm very sorry.</dialogue> <scene_description>Anna again says nothing. David looks around the room.</scene_description> <character>DAVID</character> <dialogue>I know you don't need me here in this stressful time. I'm not helping you, which is a shame, because I'd promised your brother Caleb I'd do anything I could to help your family. But just so you know, I'll be moving on in two days. So, you don't have to put up with me much longer. Okay?</dialogue> <scene_description>Anna does not respond. David leans forward.</scene_description> <character>DAVID</character> <dialogue>Okay?</dialogue> <character>ANNA</character> <dialogue>Okay.</dialogue> <character>DAVID</character> <dialogue>Good.</dialogue> <scene_description>David leans back. He looks over at the stereo. On top of the stereo is the CD with "MIX FOR DAVID" scrawled on it. David smiles, reaching for the CD.</scene_description> <character>DAVID</character> <dialogue>Is this the CD you made me?</dialogue> <character>ANNA</character> <dialogue>Uh. Yeah.</dialogue> <character>DAVID</character> <dialogue>Is it done?</dialogue> <scene_description>Anna nods. David rises, holding the mix CD.</scene_description> <character>DAVID</character> <dialogue>Thank you. I can't wait to listen to it.</dialogue> <scene_description>Anna says nothing. David crosses to the door.</scene_description> <character>DAVID</character> <dialogue>I'm sure you'll feel better about this whole thing soon, when you get some perspective on it.</dialogue> <scene_description>Anna does not respond. David exits the room, closing the door behind him. Anna waits a moment, then quickly moves to her door and LOCKS IT, her hands trembling. She sits back on the bed.</scene_description> </scene> <scene> <stage_direction>INT. PARKING GARAGE - NIGHT</stage_direction> <scene_description>Major Carver emerges from an elevator into a dimly lit parking garage, carrying a small suitcase. He is holding his phone with his other hand, rapidly SPEAKING into it.</scene_description> <character>MAJOR CARVER</character> <dialogue>I want every contractor within a hundred mile radius. I don't care where they come from, KPG, ex-military or whatever. I need a team mobilized by the time I land.</dialogue> <scene_description>Major Carver briefly listens to the phone as he crosses over to his car.</scene_description> <character>MAJOR CARVER</character> <dialogue>I'll give them the necessary mission specs in person. We can't risk a leak on this.</dialogue> <scene_description>Major Carver hangs up the phone as he climbs into his car. He starts its engine and drives out of the garage.</scene_description> </scene> <scene> <stage_direction>INT. ANNA'S CAR - MORNING - THE NEXT DAY</stage_direction> <scene_description>Anna drives. In the passenger seat, Luke examines her phone.</scene_description> <character>LUKE</character> <dialogue>You took a picture of David's phone?</dialogue> <character>ANNA</character> <dialogue>Yeah. I paid for a reverse directory thing to look that number up online. It said it's the unlisted landline of this doctor in Miami. His name's Peter Boddington. Except he's not a doctor anymore. He got his license taken away two years ago when he performed a face lift on this lady while he was drunk.</dialogue> <scene_description>Luke hands Anna's phone back to her.</scene_description> <character>LUKE</character> <dialogue>So David knows the guy? Maybe it's his uncle or something?</dialogue> <character>ANNA</character> <dialogue>That's what I want to find out.</dialogue> <character>LUKE</character> <dialogue>So what do you need me to do?</dialogue> <character>ANNA</character> <dialogue>I need to talk to the police. The cops found those drugs in Zeke's room and assume they've got their guy. The investigation's closed. Zeke's lawyer is telling him to take a plea.</dialogue> <scene_description>Luke looks mildly suspicious.</scene_description> <character>LUKE</character> <dialogue>Yeah?</dialogue> <character>ANNA</character> <dialogue>To get them to reopen it, I need all the information I can get. You remember how you stole a password for that database to do research on your paper last year?</dialogue> <character>LUKE</character> <dialogue>Yeah. I got in trouble when I told dad about it.</dialogue> <character>ANNA</character> <dialogue>Well, do something like that again. Find out anything you can about this guy.</dialogue> <scene_description>Luke looks pensive.</scene_description> <character>LUKE</character> <dialogue>Do you really think David killed Craig and that other guy?</dialogue> <scene_description>Anna steers the car down the country road.</scene_description> <character>ANNA</character> <dialogue>Yeah. I do.</dialogue> <character>LUKE</character> <dialogue>Okay. I'll see if I can find anything. A lot of arrest reports are public record, I'll check those first.</dialogue> <character>ANNA</character> <dialogue>Thank you, Luke. I'll be at the diner all day, so just call me on my cell if you find anything.</dialogue> <scene_description>Luke nods.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - CLASSROOM - DAY - MINUTES LATER</stage_direction> <scene_description>Luke walks into a full classroom. He moves down an aisle in between the rows of desks, his head lowered. Luke sits at an empty desk and immediately takes out his netbook, opening it to an internet browser. JASON is seated behind Luke. He has a BANDAGE over his NOSE and his face is BRUISED. Jason regards Luke balefully, then reaches and POKES LUKE WITH HIS PENCIL. Luke exhales but says nothing.</scene_description> <character>JASON</character> <dialogue>Hey, faggot.</dialogue> <scene_description>Luke does not respond, typing into his netbook. Jason takes out a pencil sharpener and begins meticulously SHARPENING his pencil. Jason looks over Luke's shoulder. Luke's browser window is open to a news story. The headline reads "DISGRACED PLASTIC SURGEON TO PAY $2 MILLION IN DAMAGES." Jason jabs Luke in the back with the sharpened pencil.</scene_description> <character>JASON</character> <dialogue>Hey, what's that? You looking for someone to do your sex change operation?</dialogue> <scene_description>Luke turns around and PUNCHES JASON IN HIS FACE. The punch is quick but largely ineffective. The classroom explodes with surprise, several students standing to look. Jason, startled, reels back in his seat. Then he flushes with rage and stands up.</scene_description> <character>JASON</character> <dialogue>You little bitch-</dialogue> <scene_description>Jason grabs Luke with one hand, PULLING HIM UP OUT OF HIS SEAT, and PUNCHES HIM with the other. Luke staggers back, falling to land right near a chalkboard at the back of the room. There is a wooden YARDSTICK leaning against the wall next to him. Jason touches his bruised face where Luke hit him, then furiously strides forward. The YARDSTICK, swung by Luke, catches Jason across the MIDDLE OF HIS FACE. It breaks in half, splinters flying everywhere. Jason STUMBLES BACK, holding his injured face. He YELLS with pain. Luke stands at the back of the classroom, holding the remains of the shattered yardstick, catching his breath. He smiles slightly.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - SECRETARY'S OFFICE - DAY - LATER</stage_direction> <scene_description>Luke sits in an outside waiting area adjoining the school principal's office. A disapproving SECRETARY glares at him from across her desk. Luke stares at the floor. The door opens and Laura enters, with David. Laura immediately crosses to Luke. David follows.</scene_description> <character>LAURA</character> <dialogue>Are you okay?</dialogue> <scene_description>Luke nods.</scene_description> <character>LUKE</character> <dialogue>I'm fine.</dialogue> <scene_description>The secretary addresses Laura.</scene_description> <character>SECRETARY</character> <dialogue>Mrs. Peterson?</dialogue> <character>LAURA</character> <dialogue>Yes, that's right.</dialogue> <character>SECRETARY</character> <dialogue>Mister Alston will see you now. Please step inside.</dialogue> <scene_description>Laura looks at David.</scene_description> <character>DAVID</character> <dialogue>Just a second.</dialogue> <scene_description>David kneels down in front of Luke.</scene_description> <character>DAVID</character> <dialogue>What happened?</dialogue> <character>LUKE</character> <dialogue>This kid called me a faggot, so I broke a yardstick on his face.</dialogue> <character>DAVID</character> <dialogue>Okay. Did you hurt him?</dialogue> <scene_description>Luke uncomfortably shrugs. David smiles.</scene_description> <character>DAVID</character> <dialogue>Awesome. No problem.</dialogue> <scene_description>David rises and turns to Laura.</scene_description> <character>DAVID</character> <dialogue>I'll go in with you.</dialogue> <scene_description>David and Laura enter the principal's office.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - PRINCIPAL'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Mr. Alston addresses Laura and David. Laura looks extremely upset. David appears calm.</scene_description> <character>MR. ALSTON</character> <dialogue>Due to our school's zero tolerance policy on violence, I'm afraid we have no choice but to expel your son. That's pending the decision of the board, but I'm afraid it's fairly certain.</dialogue> <character>LAURA</character> <dialogue>But...</dialogue> <character>MR. ALSTON</character> <dialogue>I'm sorry.</dialogue> <character>DAVID</character> <dialogue>What did the kid call him?</dialogue> <scene_description>Mr. Alston pauses.</scene_description> <character>MR. ALSTON</character> <dialogue>What?</dialogue> <character>DAVID</character> <dialogue>The kid, you know, what's-his-name that Luke hit in the face. What did he call Luke?</dialogue> <character>MR. ALSTON</character> <dialogue>I don't-</dialogue> <character>DAVID</character> <dialogue>Did he call him a faggot?</dialogue> <scene_description>Mr. Alston looks uncomfortable.</scene_description> <character>MR. ALSTON</character> <dialogue>I believe that's what was said, yes. But that's no excuse-</dialogue> <character>DAVID</character> <dialogue>So that makes it a hate crime.</dialogue> <scene_description>Mr. Alston is silent for a moment.</scene_description> <character>MR. ALSTON</character> <dialogue>What?</dialogue> <character>DAVID</character> <dialogue>A hate crime. And I'd like to know how many others have been perpetrated against her son under your watch. A gay student targeted with physical violence finally defends himself, and you're... what? Suspending him?</dialogue> <character>MR. ALSTON</character> <parenthetical>(hesitates)</parenthetical> <dialogue>We could consider suspension...</dialogue> <character>DAVID</character> <dialogue>No. You couldn't. I'll be interested to see what the board thinks of you when this is front of the entire country. Not to mention our lawyers.</dialogue> <character>DAVID</character> <parenthetical>(to Laura)</parenthetical> <dialogue>Do you want to sue them?</dialogue> <scene_description>Laura is totally frozen.</scene_description> <character>LAURA</character> <dialogue>I... I don't...</dialogue> <character>DAVID</character> <parenthetical>(to Mr. Alston)</parenthetical> <dialogue>We're suing you and the school board.</dialogue> <scene_description>David rises to his feet, pulling Laura with him. Mr. Alston addresses them desperately.</scene_description> <character>MR. ALSTON</character> <dialogue>I didn't even know he was gay!</dialogue> <scene_description>David just shakes his head, moving towards the door.</scene_description> <character>MR. ALSTON</character> <dialogue>What about after school detention?</dialogue> <scene_description>David stops moving.</scene_description> <character>DAVID</character> <dialogue>For how long?</dialogue> <character>MR. ALSTON</character> <dialogue>A month?</dialogue> <scene_description>David considers, then nods.</scene_description> <character>DAVID</character> <dialogue>That seems fair.</dialogue> <character>MR. ALSTON</character> <dialogue>After school detention. We'll put him to work helping the prom committee set up for the fall dance.</dialogue> <character>DAVID</character> <dialogue>We'll agree to that. But I do not want to hear anything further about this young man being harassed. We understand each other?</dialogue> <character>MR. ALSTON</character> <dialogue>I think we do, Mister... Who are you?</dialogue> <character>DAVID</character> <dialogue>I'm a friend of the family. Good day.</dialogue> <scene_description>David exits, pulling Laura with him out of the principal's office.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - SECRETARY'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>David and Laura walk up to Luke, who is still seated miserably in the secretary's office. David points at him.</scene_description> <character>DAVID</character> <dialogue>After school detention for a month.</dialogue> <character>LUKE</character> <dialogue>That's it?</dialogue> <character>DAVID</character> <dialogue>Yeah.</dialogue> <scene_description>David holds out his palm. Luke hesitates, then slaps it. David turns the slap into a quick fist bump.</scene_description> <character>DAVID</character> <dialogue>See you later.</dialogue> <scene_description>As David turns to leave, Luke suddenly rises to his feet.</scene_description> <character>LUKE</character> <dialogue>David? Can I talk to you for a second?</dialogue> <character>DAVID</character> <dialogue>Okay.</dialogue> <scene_description>Luke glances over at Laura, who still looks somewhat dazed. David turns to Laura.</scene_description> <character>DAVID</character> <dialogue>I'm going to step out into the hall with Luke for a moment, if that's okay.</dialogue> <character>LAURA</character> <dialogue>Oh. Certainly.</dialogue> <scene_description>David and Luke exit the secretary's office, out into the hall. Laura sits down in the seat Luke just vacated. The secretary glares at her. Laura does not notice.</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL - HALLWAY OUTSIDE OFFICE - MINUTES LATER</stage_direction> <scene_description>David and Luke speak quietly, leaning up against a row of lockers in the deserted hallway.</scene_description> <character>LUKE</character> <dialogue>So, she thinks you killed Craig. And she's trying to make a case to the police, so they'll let her boyfriend go.</dialogue> <character>DAVID</character> <dialogue>Anna told you all this?</dialogue> <character>LUKE</character> <dialogue>Yeah.</dialogue> <scene_description>David smiles, as if mildly amused.</scene_description> <character>DAVID</character> <dialogue>Do you think I killed Craig?</dialogue> <character>LUKE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't care. But that's why she wanted me to check out that plastic surgeon in Florida. She wanted to know what the connection was there.</dialogue> <character>DAVID</character> <dialogue>Yeah, why would I need a plastic surgeon?</dialogue> <character>LUKE</character> <dialogue>To change your appearance. Like, the bones in your face. And maybe scar up your fingers so you don't have prints.</dialogue> <scene_description>David stops smiling.</scene_description> <character>LUKE</character> <dialogue>I mean, at least that's what I figured. I know you're not really David Collins, I looked him up right after Anna said that. So, maybe you don't want people to know who you are. A surgeon who would do that sort of thing is probably pretty rare. I mean, there's probably rules against it. But that doctor, well, I guess he needs the money, so he'd do that kind of work.</dialogue> <character>DAVID</character> <dialogue>That's an interesting theory.</dialogue> <character>LUKE</character> <dialogue>I'm not going to tell anyone about it. And no one will believe Anna. She doesn't have anything against you. You killed dad's boss too, right?</dialogue> <scene_description>David says nothing, regarding Luke curiously.</scene_description> <character>LUKE</character> <dialogue>I don't care. I'm not going say anything.</dialogue> <character>DAVID</character> <dialogue>Why not?</dialogue> <character>LUKE</character> <dialogue>Because we're friends.</dialogue> <scene_description>David blinks at Luke.</scene_description> <character>LUKE</character> <dialogue>Right?</dialogue> <character>DAVID</character> <dialogue>Yeah. Of course we are.</dialogue> <scene_description>Luke smiles.</scene_description> <character>LUKE</character> <dialogue>Okay. I just wanted you to know.</dialogue> <character>DAVID</character> <dialogue>Did Anna tell anyone else about this?</dialogue> <character>LUKE</character> <dialogue>I'm not sure. Her friend Kristen, maybe?</dialogue> <character>DAVID</character> <dialogue>Okay. Thank you.</dialogue> <scene_description>David walks back towards the office, his face blank.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - MINUTES LATER</stage_direction> <scene_description>David drives Laura's SUV, with her in the passenger seat. He is frowning slightly. Laura stares straight ahead, through the windshield.</scene_description> <character>LAURA</character> <dialogue>That was an... eye-opening meeting for me. I'm sorry I wasn't of more help.</dialogue> <character>DAVID</character> <parenthetical>(distracted)</parenthetical> <dialogue>Oh, no problem.</dialogue> <character>LAURA</character> <dialogue>I... I guess I just realized that I don't know my own son very well. I haven't been paying much attention to him. That he's... homosexual... It doesn't change anything, of course.</dialogue> <scene_description>Laura looks to David for a response. David drives as if not really listening.</scene_description> <character>LAURA</character> <dialogue>I guess I should talk to Luke when he comes home. Make sure he knows he can tell us anything. That we'll love him no matter what. Do you think... do you think that's a good idea? To talk to him?</dialogue> <character>DAVID</character> <dialogue>Yeah. Sounds like a solid plan.</dialogue> <character>LAURA</character> <dialogue>Yes. I think we haven't been talking enough.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I really have to thank you, David. I don't know what we would have done if you weren't here. Not just today, with Luke, but... everything. I'm very grateful.</dialogue> <character>DAVID</character> <dialogue>Really, Mrs. Peterson. It's no problem.</dialogue> <scene_description>They continue to drive in silence.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - SIDE YARD - DAY - LATER</stage_direction> <scene_description>Laura, a clothespin held between her lips, hangs a white sheet out on a clothesline. Several more sheets and articles of clothing are already hung. David stands beside Laura, holding a laundry basket. He hands her a towel, the last item in the basket.</scene_description> <character>DAVID</character> <dialogue>I'll go get the rest.</dialogue> <character>LAURA</character> <dialogue>Okay. Thank you, David.</dialogue> <scene_description>David nods and walks through the yard, towards the rear of the house, carrying the laundry basket. Laura clips the towel to the clothesline by its corners, straightening it. She then looks behind her. Two large, BLACK SUVs are pulling into the DRIVEWAY of the Petersons' house. Laura regards this, puzzled.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - LAUNDRY AREA - DAY - CONTINUOUS</stage_direction> <scene_description>David removes clothes from the washing machine, piling them into the laundry basket. David suddenly straightens, as if listening to something.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - SIDE YARD - DAY - CONTINUOUS</stage_direction> <scene_description>Laura watches as the two black SUVs come to a stop in front of the house. The doors to both SUVs open and SEVEN MEN in MILITARY POLICE UNIFORMS climb out. The passenger in the first SUV is a weathered looking man; this is MAJOR CARVER. The seven men approach Laura, fanning out in their formation. She looks at them, confused.</scene_description> <character>MAJOR CARVER</character> <dialogue>Excuse me, ma'am. Are you Anna Peterson?</dialogue> <character>LAURA</character> <dialogue>No, she's working at the diner... I'm her mother. What's she done?</dialogue> <scene_description>The Major shakes his head.</scene_description> <character>MAJOR CARVER</character> <dialogue>No, it's fine, ma'am. Your daughter, she put in a phone call to Fort Kennilworth a couple of days ago asking about a man named David Collins.</dialogue> <character>LAURA</character> <parenthetical>(puzzled)</parenthetical> <dialogue>That's right, she did.</dialogue> <scene_description>The Major nods to the man next to him, who hands him a manila envelope. The Major removes a PHOTOGRAPH of DAVID. In the photo, David is slightly younger, his head shaved on one side, and is wearing a hospital gown. He stares blankly into the camera. Major Carver shows the photo to Laura. He looks tired.</scene_description> <character>MAJOR CARVER</character> <dialogue>You wouldn't happen to have seen anyone resembling this man, would you?</dialogue> <scene_description>Laura nods at the photo, frowning.</scene_description> <character>LAURA</character> <dialogue>Yes, that's David. He-</dialogue> <scene_description>At that moment, David comes out from behind the house, carrying the laundry basked filled with clothing. David stops moving when he sees the seven men. The seven military policemen stare at David in wide-eyed shock, Major Carver's mouth agape. Then they all REACH FOR THE GUNS IN THEIR HOLSTERS, the DRIVER of the first SUV fumbling for his.</scene_description> <character>MAJOR CARVER</character> <dialogue>Get him!</dialogue> <scene_description>As the military policemen all STEP FORWARD, David drops the laundry basket and PULLS A PISTOL out from the back of his waistband.</scene_description> <character>DRIVER</character> <dialogue>Oh, shit-</dialogue> <scene_description>The driver is closest to David; David SHOOTS THE DRIVER TWICE in the NECK. The driver's BLOOD sprays across the white sheet Laura just hung as he falls back. Laura SCREAMS AND RUNS for the house, just as three of the M.P.s OPEN FIRE at David. David RETURNS FIRE, RUNNING towards the house just as Laura disappears through the front door. David SHOOTS ANOTHER of the M.P.s as he RUNS, hitting him in the head. The M.P. drops to the ground, dead. David's GUN CLICKS EMPTY just as he reaches the window to Caleb's bedroom. He LEAPS THROUGH THE WINDOW, shattering the glass with his arms.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>David crashes into Caleb's bedroom, rolling OVER THE BED and landing in a crouch behind it. Outside, the remaining M.P.s target the broken window of the bedroom, all of them firing, SPRAYING its interior with bullets. David glances down. He has a BULLET WOUND in his left arm. Blood soaks the fabric of his shirt. David reaches under the bed, grabbing a white T-shirt and TEARING AWAY a strip of fabric with his TEETH. BULLETS continue to spray the wall above David and the bed in front of him. He loops the strip over his arm, then tugs it TIGHT, creating a BANDAGE OVER THE WOUND. Caleb's trophies and framed photos are shattered by bullets as the M.P.s fire into the room. Dust and debris rain down on David as he REACHES UNDER THE BED. There is a pause in the fire from outside. The next instant, one of the M.P.s appears outside the shattered window, aiming his rifle in at David. David RISES with the ASSAULT RIFLE he stole from Higgins in his hands. He OPENS FIRE, spraying the M.P. outside the window with BULLETS. Blood bursts from the M.P.'s neck and face as he falls back into the front yard. David's rifle CLICKS EMPTY. From outside, Major Carver can be heard screaming.</scene_description> <character>MAJOR CARVER (O.S.)</character> <dialogue>Get him! Don't let him get away!</dialogue> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>One of the M.P.s spins away from the open trunk of one of the SUVs, holding an M249 MACHINE GUN. He BRACES IT against the short WALL surrounding the Peterson's home.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>David drops the rifle and grabs his DUFFEL BAG. He turns and RUNS out of the bedroom, entering the hallway.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - DAY - CONTINUOUS</stage_direction> <scene_description>David runs into the hallway, moving to pass the open doorway to Anna's bedroom. As he does so, the window in Anna's bedroom SHATTERS with GUNSHOTS.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>Major Carver delivers covering fire through Anna's bedroom window while two of the M.P.s move to either side of the window. The remaining gunner M.P. loads an AMMUNITION BELT into the M249. Major Carver pauses in his fire, nodding to the two M.P.s at the house. One of the M.P.s steps into the window.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - ANNA'S ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>The M.P. climbs in through Anna's window, his partner remaining outside, gun at the ready. The M.P. steps into Anna's room, looking around. The room is SILENT except for debris and broken glass occasionally dropping to the floor. The M.P. holds up his hand and gestures forward, indicating for his partner to follow him inside. The second M.P. steps in through the window as the first M.P. shifts forward. There is the BOOM of a SHOTGUN BLAST and the first M.P.'s ankle EXPLODES. He crumples to the floor with a SCREAM and is promptly SHOT IN THE FACE, silencing him. The second M.P. pivots and opens fire with his automatic rifle, SPRAYING ANNA'S BED with BULLETS. As he does so, David SLIDES OUT from under the bed on his back, stopping right at the M.P.'s feet. David is aiming a PUMP-ACTION SHOTGUN UP at the M.P. David PULLS THE TRIGGER, hitting the M.P. in the side. The force of the blast lifts the M.P. off his feet, knocking him back OUT THE WINDOW.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>The M.P. falls to the ground directly outside of the window, blood flowing from his wound. He does not move. Major Carver turns to the sole remaining M.P., who is manning the M249 MACHINE GUN.</scene_description> <character>MAJOR CARVER</character> <dialogue>Fire!</dialogue> <scene_description>The gunner M.P. OPENS FIRE, SPRAYING the outside of Anna's room with SLUGS from the MACHINE GUN.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - HALLWAY - DAY - CONTINUOUS</stage_direction> <scene_description>David crawls from Anna's room as bullets DESTROY its door, knocking it off its hinges. As David makes his way down the hallway in a MILITARY LOW CRAWL, 5.7mm BULLETS SLAM THROUGH THE WALL above him, moving in a line towards David as he quickly moves forward ON HIS ELBOWS. Each slug BURSTS THROUGH the wall just over David as he crawls forward, filling the air behind him with DUST AND DEBRIS.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>The M.P. manning the M249 SWIVELS THE GUN to follow David's path in the house, PUMMELING THE FRONT of the house with BULLETS. Spent bullet casings spill out onto the ground around him. The gun abruptly runs out of bullets, its BELT reaching its end.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>David rises and runs through the front room, towards the kitchen, still carrying his duffel bag.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - KITCHEN - DAY - CONTINUOUS</stage_direction> <scene_description>David hits the kitchen floor, skidding to a stop near Laura, who is crouched, the cordless phone in her hands, dialing a number. David glances at Laura, then spins and yanks opens a drawer next to the kitchen sink. He pulls out a KNIFE, then snatches the phone from her hands, SHUTTING IT OFF.</scene_description> <character>DAVID</character> <dialogue>No.</dialogue> <scene_description>Laura stares at David. She is trembling.</scene_description> <character>LAURA</character> <dialogue>David, what-? What's happening? Who are those men?</dialogue> <scene_description>Outside, the M249 machine gun remains SILENT. David holds one finger to his lips, HUSHING Laura.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>The gunner M.P. RELOADS the smoking machine gun, chambering in another belt of ammunition. The gunner looks questioningly to Major Carver, who is watching the house intently. Major Carver holds up one hand, indicating for the gunner to wait.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - KITCHEN - DAY - CONTINUOUS</stage_direction> <scene_description>David slowly rises, peering out the kitchen window into the side yard. It is empty. He crouches back down next to Laura.</scene_description> <character>DAVID</character> <dialogue>I really am sorry about this, Mrs. Peterson. I'm afraid I haven't been fully honest with you.</dialogue> <scene_description>Laura takes this in, watching David. David looks down at the knife in his hand.</scene_description> <character>LAURA</character> <dialogue>What do you mean?</dialogue> <character>DAVID</character> <dialogue>It would take too long to explain. This is not what I wanted. I wanted to help. I considered it my mission to assist you all while I was here. There were just... too many complications.</dialogue> <scene_description>Laura is staring at David, her face streaked with tears.</scene_description> <character>LAURA</character> <dialogue>What are you talking about? Why are those men here? They're trying to kill you?</dialogue> <character>DAVID</character> <dialogue>They are, yes. If it was up to them, they'd keep me in a prison cell forever. I can't have that.</dialogue> <scene_description>Laura takes this in. She swallows, moving away from David just slightly. He watches this. At that moment, Major Carver SHOUTS FROM OUTSIDE:</scene_description> <character>MAJOR CARVER (O.S.)</character> <dialogue>Just give yourself up! Come out with your hands empty and we won't shoot you!</dialogue> <scene_description>David looks down at the knife in his hand, touching its blade. Laura is staring at David with dawning horror.</scene_description> <character>LAURA</character> <dialogue>Did you... Did you even know my son?</dialogue> <scene_description>David's gazes up at the windows and doorways.</scene_description> <character>DAVID</character> <dialogue>I did. And I can tell you, he would understand what I have to do here.</dialogue> <scene_description>David looks over at Laura. His expression is blank. A look of realization comes into Laura's eyes. She quickly turns from David, SCREAMING:</scene_description> <character>LAURA</character> <dialogue>He's here in the kitchen! Help-</dialogue> <scene_description>David reaches out and STABS LAURA IN THE HEART. Laura stares down at the blade protruding from her chest. She then looks up at David, tears falling from her eyes.</scene_description> <character>DAVID</character> <dialogue>I'm sorry.</dialogue> <scene_description>Laura exhales, DYING. She sits back on the kitchen floor, her back against the dishwasher. David looks at Laura's body for a moment. He then rises to his feet.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>Major Carver turns to the gunner M.P.</scene_description> <character>MAJOR CARVER</character> <dialogue>I'm going in. Give me fifteen seconds of cover, then hold.</dialogue> <scene_description>The gunner M.P. looks hesitant, but nods. Major Carver takes a step forward and the gunner M.P. RESUMES FIRING the M249 machine gun towards the house. Major Carver runs over to the side of the house, JUMPING IN through the shattered window of Caleb's bedroom.</scene_description> </scene> <scene> <stage_direction>INT. PETERSON HOUSE - CALEB'S ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>The sound of the M249 SHOOTING into the house's hallway thunders through the house as Major Carver cautiously steps into Caleb's room, looking around. The room has been mostly destroyed. Major Carver kneels down, checking under the bed, then rises. He moves out towards the hallway. The sound of the machine gun firing comes to an abrupt STOP. Major Carver goes still, listening in the SILENCE.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>The gunner M.P. waits, holding the smoking M249 ready to fire. He scans the front of the house. The next instant, Laura's SUV SMASHES OUT THROUGH THE GARAGE DOOR behind the gunner M.P., the car in reverse, its tires SCREECHING on the garage's concrete floor. The garage door SHATTERS from the impact. The SUV, DRIVEN BY DAVID, SPINS BACK in the gravel driveway, its tires kicking up dirt, then LURCHES FORWARD. The gunner M.P. scrambles, trying to pivot the heavy M249 machine gun around as David FIRES a PISTOL at him THROUGH THE SUV WINDOW. David SHOOTS the gunner M.P. in the head. The gunner falls back over the wall, landing in the front yard, dead.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>David stomps on the gas pedal, driving forward on the Peterson's driveway with one hand on the steering wheel. With his other hand, he POINTS the PISTOL out the driver's side window, shifting his aim to the military SUVs. Two of the TIRES on both SUVs BURST, David hitting the two visible tires on each vehicle as he steers past them. David tosses the pistol into the passenger seat, puts both hands on the steering wheel, and ACCELERATES down the driveway. Through the back windshield, Major Carver is visible running from he house, AIMING A PISTOL at David. Major Carver fires as David turns the vehicle down the driveway. The back window to the SUV EXPLODES just as David again hits the gas. David pulls the SUV out onto the road, DUCKING DOWN.</scene_description> </scene> <scene> <stage_direction>EXT. PETERSON HOUSE - DAY - CONTINUOUS</stage_direction> <scene_description>Major Carver continues to FIRE at the SUV as it disappears around the bend.</scene_description> <character>MAJOR CARVER</character> <dialogue>Fuck!</dialogue> <scene_description>Major Carver runs over to the driver's corpse in the yard and takes the keys from his pocket. He then runs over to one of the SUVs, climbs in it and starts the engine. The SUV begins driving in pursuit of David, slowly, LURCHING on its two FLAT TIRES.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>David quickly steers the SUV down the country road. SMOKE is rising from around the SUV's hood. There is a BULLET HOLE in the front of the car, near its engine. David frowns at this, then looks up. Up ahead, another car appears. It is SPENCER'S CAR. David blinks. He reaches over and FASTENS HIS SEAT BELT.</scene_description> </scene> <scene> <stage_direction>INT. SPENCER'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>Spencer looks out the windshield at Laura's SUV speeding in his direction.</scene_description> <character>SPENCER</character> <dialogue>What the hell-</dialogue> <scene_description>The SUV swerves and SMASHES INTO SPENCER'S CAR. Spencer's airbag deploys and his windshield SHATTERS from the IMPACT.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>The SUV comes to a stop, its front end crushing the front corner of Spencer's car. Smoke billows out. David looks out through the cracked windshield, then kicks open his bent door, climbing out.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY - CONTINUOUS</stage_direction> <scene_description>David walks around the SUV, to Spencer's car. Spencer sits in the front seat, dazed. He is bleeding from a cut on his forehead. Spencer looks out his broken driver's side window at David as David approaches.</scene_description> <character>SPENCER</character> <dialogue>David... David... What...?</dialogue> <character>DAVID</character> <dialogue>I'm very sorry about this, sir.</dialogue> <scene_description>David reaches in through the window and grabs onto Spencer's head with both hands. He TWISTS Spencer's head abruptly to the side, BREAKING HIS NECK. David lets Spencer's head fall forward, onto his car's deflating air bag. David straightens up, looking around. Both of the cars are wrecked, their front ends caved in. David sighs and goes to the passenger side of the SUV. He opens its door and removes his rucksack. David then takes off into the fields, RUNNING.</scene_description> </scene> <scene> <stage_direction>INT. BLACK SUV - DAY - MINUTES LATER</stage_direction> <scene_description>Major Carver slowly drives the lurching SUV down the country road in pursuit of David. In the distance ahead of him, the wreck of Laura and Spencer's cars is visible. Another car has stopped near the crashed vehicles, its emergency lights blinking. Major Carver frowns, driving towards the accident.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY - CONTINUOUS</stage_direction> <scene_description>Major Carver drives the lurching SUV over to the crashed vehicles. An ELDERLY MAN is standing by Spencer's car, looking in through his window. The elderly man's CAR is in the road behind him, its emergency blinkers on. Major Carver stops the SUV and climbs out of it. He walks over to the crashed vehicles. The elderly man turns towards him, his expression concerned.</scene_description> <character>ELDERLY MAN</character> <dialogue>I already called for an ambulance... but I'm afraid I think he's dead.</dialogue> <scene_description>Major Carver looks in at Spencer's corpse, then straightens. He pulls out a billfold and shows his badge.</scene_description> <character>MAJOR CARVER</character> <dialogue>Military police. I need your vehicle.</dialogue> <character>ELDERLY MAN</character> <dialogue>What? But I-</dialogue> <character>MAJOR CARVER</character> <dialogue>Are the keys in it?</dialogue> <character>ELDERLY MAN</character> <dialogue>Yes... but...</dialogue> <scene_description>Major Carver climbs into the elderly man's car. He starts it and pulls the car into a quick U-turn, speeding away down the country road. The elderly man stares after him.</scene_description> </scene> <scene> <stage_direction>INT. DINER - DAY - MINUTES LATER</stage_direction> <scene_description>Anna is working at the diner alongside Kristen. She sets a milkshake down on the counter, then moves to clean off a table. The door to the diner SWINGS OPEN. Major Carver hurriedly strides into the diner. He surveys its patrons and employees, who all look back at him.</scene_description> <character>MAJOR CARVER</character> <dialogue>Anna Peterson?</dialogue> <scene_description>Anna steps forward, puzzled.</scene_description> <character>ANNA</character> <dialogue>That's me.</dialogue> <scene_description>Major Carver shows Anna his badge.</scene_description> <character>MAJOR CARVER</character> <dialogue>My name is Major Carver. Military police. I need you to come with me, please.</dialogue> <character>ANNA</character> <dialogue>Whoa. I'm not going anywhere. What's going on?</dialogue> <character>MAJOR CARVER</character> <dialogue>It's about David, Ms. Peterson. He isn't who you think he is.</dialogue> <scene_description>Anna hesitates, then sets down her cleaning cloth. Kristen steps forward, addressing Anna.</scene_description> <character>KRISTEN</character> <dialogue>Is everything alright?</dialogue> <character>ANNA</character> <dialogue>I think so. I'll call you later, okay?</dialogue> <scene_description>Kristen nods. Anna exits the diner with Major Carver.</scene_description> </scene> <scene> <stage_direction>EXT. DINER - DAY - MOMENTS LATER</stage_direction> <scene_description>Major Carver holds Anna's door open for her. She climbs into the passenger side of the vehicle. He then gets in, starts the car and drives out of the parking lot. A few seconds later, another car drives into the parking lot. David is at the steering wheel. He brings the car to a stop in the middle of the parking lot. David climbs out of the new car. The inside of its windshield is SPLATTERED WITH BLOOD, but it is otherwise empty. David walks towards the diner.</scene_description> </scene> <scene> <stage_direction>INT./EXT. DINER - DAY - CONTINUOUS</stage_direction> <scene_description>David opens the door and walks into the diner. He looks around, surveying the diner's few patrons. Kristen, seeing David, cautiously moves from behind the counter and crosses to him. She flashes a nervous smile.</scene_description> <character>KRISTEN</character> <dialogue>Hey! I was starting to think I wasn't going to see you again.</dialogue> <character>DAVID</character> <dialogue>Hi. Is Anna working?</dialogue> <scene_description>Kristen hesitates. David steps closer to her, his smile friendly and charming.</scene_description> <character>KRISTEN</character> <dialogue>She just left.</dialogue> <character>DAVID</character> <dialogue>Oh yeah? Where was she going?</dialogue> <scene_description>Kristen takes a hesitant step away from David.</scene_description> <character>KRISTEN</character> <dialogue>I'm not sure exactly.</dialogue> <character>DAVID</character> <dialogue>To pick up Luke?</dialogue> <scene_description>Kristen says nothing, staring at David. David sighs, the smile dropping from his face.</scene_description> <character>DAVID</character> <dialogue>Never mind.</dialogue> <scene_description>David pulls a REVOLVER from his pocket and SHOOTS Kristen IN THE CHEST. Patrons scream as Kristen's body falls to the floor. David turns away and walks towards the exit. As he does so, he removes the GRENADE he took from Higgins from his pocket. David PULLS THE PIN and tosses the grenade over his shoulder, to the floor. David exits the diner, walking towards the car he was driving. SCREAMING is audible inside the diner, then the GRENADE EXPLODES. The diner's windows SHATTER OUTWARDS. David opens his car door. The diner is silent, smoke billowing from its shattered windows. A CAR ALARM is now BEEPING in the parking lot. David gets into the car and pulls out of the parking lot.</scene_description> </scene> <scene> <stage_direction>INT. ELDERLY MAN'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>Major Carver drives the car down the street, Anna in the passenger seat. He is speaking into his cell phone.</scene_description> <character>MAJOR CARVER</character> <dialogue>What? Okay. Copy. We're on our way.</dialogue> <scene_description>Major Carver hangs up his cell phone.</scene_description> <character>ANNA</character> <dialogue>What?</dialogue> <character>MAJOR CARVER</character> <dialogue>We're going to the Maplewood Barn to get your brother. The police couldn't send a car there. They've got their hands full.</dialogue> <character>ANNA</character> <dialogue>You need to tell me what's going on. Who are you? You came here for David?</dialogue> <scene_description>Major Carver hesitates, then answers.</scene_description> <character>MAJOR CARVER</character> <dialogue>Yes. The soldier you know as David was one of the subjects of a medical experiment. His spine was damaged in combat, and even after surgery, he was in pain. He volunteered for a procedure that would turn off his pain receptors and allow him to consciously regulate the flow of adrenaline in his body.</dialogue> <character>ANNA</character> <dialogue>Okay...</dialogue> <character>MAJOR CARVER</character> <dialogue>The idea being that if we could get soldiers to control their fear responses, push their adrenaline when they needed it, we'd lose less men. But it changed our subject. While we had him under study, he killed several people and escaped. He burned their bodies so it would confuse us; we thought he'd died in the fire initially. By the time we figured out what he'd done, the trail was cold.</dialogue> <character>ANNA</character> <dialogue>Maybe you should have tested your procedure on a subject who wasn't a psychopath.</dialogue> <scene_description>The Major sighs.</scene_description> <character>MAJOR CARVER</character> <dialogue>By all accounts, he was an ideal soldier, well liked by everyone. He was chosen in part for his empathy levels. I don't know. If you didn't have to feel guilt or sadness, would you choose to?</dialogue> <character>MAJOR CARVER</character> <dialogue>And if you didn't, how would that affect your behavior?</dialogue> <scene_description>Anna blinks.</scene_description> <character>ANNA</character> <dialogue>I'm calling my brother.</dialogue> <scene_description>Anna takes her cell phone out of her pocket and dials a number while Major Carver drives.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - DAY - CONTINUOUS</stage_direction> <scene_description>Luke stacks BALES OF HAY in the corner of a dance floor, next to a GRIM REAPER DUMMY holding a FLAMING LANTERN. Luke's cell phone RINGS in his pocket. Luke reaches into his pocket and takes out his small cell phone, looking at it.</scene_description> <character>MR. LYLES (O.S.)</character> <dialogue>Mr. Peterson, is that a cell phone?</dialogue> <scene_description>Luke turns. MR. LYLES, the teacher in charge of detention, is regarding him from nearby on the dance floor. He crosses to Luke.</scene_description> <character>MR. LYLES</character> <dialogue>Didn't I tell you, phones off? Hand it over. You'll get it back after detention.</dialogue> <scene_description>Luke shrugs and hands Mr. Lyles his cell phone as it stops ringing.</scene_description> </scene> <scene> <stage_direction>INT. ELDERLY MAN'S CAR - DAY - CONTINUOUS</stage_direction> <scene_description>In the passenger seat, Anna frowns, holding the phone to her ear, then speaks into it.</scene_description> <character>ANNA</character> <dialogue>Luke, if you get this message, call me right away. It's important.</dialogue> <scene_description>Anna hangs up her cell phone, then begins typing on it. Major Carver glances over at her.</scene_description> <character>ANNA</character> <dialogue>I'm sending him a text.</dialogue> <scene_description>Major Carver nods as a police car SPEEDS PAST them on the road, heading in the opposite direction, siren blaring.</scene_description> <character>ANNA</character> <dialogue>Where's that cop car going?</dialogue> <character>MAJOR CARVER</character> <dialogue>Somebody attacked your diner right after we left it. Presumably our subject.</dialogue> <character>ANNA</character> <dialogue>What?</dialogue> <character>MAJOR CARVER</character> <dialogue>Yeah. I'm sorry. It was called in as an explosion. I don't know anything else.</dialogue> <character>ANNA</character> <dialogue>Wait... Are... Is anyone alive?</dialogue> <character>MAJOR CARVER</character> <dialogue>I don't know. It's possible that he'd leave some wounded to keep them busy.</dialogue> <scene_description>Anna stares at Major Carver.</scene_description> <character>ANNA</character> <dialogue>Wait. Where are my parents? You haven't mentioned my parents.</dialogue> <scene_description>Major Carver grimaces and says nothing. The Maplewood Barn is ahead of them. Anna's voice grows panicked.</scene_description> <character>ANNA</character> <dialogue>What about my parents?! Tell me!</dialogue> <character>MAJOR CARVER</character> <dialogue>They're both dead. He killed them both before we could stop him. I'm sorry.</dialogue> <character>ANNA</character> <dialogue>What? Why... Why would he...?</dialogue> <character>MAJOR CARVER</character> <dialogue>I'm sorry.</dialogue> <scene_description>Anna blinks, her eyes filling with tears.</scene_description> <character>ANNA</character> <dialogue>I don't understand. They... they weren't a threat to him.</dialogue> <character>MAJOR CARVER</character> <dialogue>David has neurological conditioning, Ms. Peterson, designed to protect both him and the experiment. If he feels like his identity may be compromised, he's programmed to clean up all loose ends. I doubt he could stop himself now even if he wanted to. It's why we need to get you and your brother somewhere safe.</dialogue> <scene_description>Major Carver parks the car in front of the barn. Anna is staring straight ahead out the windshield. Her face is streaked with tears, but her expression is blank. Major Carver looks over at Anna.</scene_description> <character>MAJOR CARVER</character> <dialogue>Do you want to stay here, or...?</dialogue> <scene_description>Anna's voice is flat.</scene_description> <character>ANNA</character> <dialogue>No. I need to get my brother.</dialogue> <scene_description>Anna exits the car. Behind her, the sun is setting.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - MAZE ENTRANCE - MOMENTS LATER</stage_direction> <scene_description>Major Carver opens the front door to the barn, which is adorned with Halloween decorations. He and Anna find themselves facing a MAZE ENTRANCE shaped like the mouth of an enormous JACK-O'-LANTERN.</scene_description> <character>MAJOR CARVER</character> <dialogue>What is this?</dialogue> <character>ANNA</character> <dialogue>For the fall dance, they do Halloween mazes to get in and out. You enter in pairs. It's a tradition.</dialogue> <scene_description>Major Carver steps forward, entering the jack-o'- lantern's mouth. Anna follows him.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - FIRST ROOM -</stage_direction> <scene_description>CONTINUOUS Inside the Halloween maze, Anna and Major Carver step into a dimly lit room, its walls painted RED. They continue forward, turning at the end of the room, stepping through a black plastic CURTAIN.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - WOODEN HALLWAY -</stage_direction> <scene_description>CONTINUOUS Major Carver and Anna make their way down a narrow hallway, its walls lined with wooden slats. As Major Carver passes a closed doorway, the door suddenly RATTLES. A canned SCREAM emits from BEHIND THE DOOR. Major Carver jerks back.</scene_description> <character>MAJOR CARVER</character> <dialogue>Goddammit! What in the hell?</dialogue> <scene_description>Mr. Lyles' voice comes from within the building as Anna and Major Carver move quickly from the narrow hallway, into the next maze chamber.</scene_description> <character>MR. LYLES (O.S.)</character> <dialogue>Who's in here?</dialogue> <scene_description>Major Carver shouts in response to Mr. Lyles:</scene_description> <character>MAJOR CARVER</character> <parenthetical>(calling out)</parenthetical> <dialogue>Military police! I'm here for Luke Peterson. How do I get through this maze?</dialogue> <scene_description>There is a silence, then Mr. Lyles' voice comes again.</scene_description> <character>MR. LYLES (O.S.)</character> <dialogue>Left, right, right, left, left, right, left, then straight.</dialogue> <scene_description>Major Carver grunts and moves forward, followed by Anna.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - BUTCHER ROOM -</stage_direction> <scene_description>CONTINUOUS Major Carver and Anna enter a white room with FAKE BLOOD SPLATTERED over its walls. Rubber CORPSE PARTS and BUTCHER KNIVES hang from the ceiling. Major Carver scowls up at this.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - CHECKERED HALLWAY -</stage_direction> <scene_description>CONTINUOUS Continuing deeper into the maze, Major Carver and Anna make their way down a red and white checkered hallway. ANIMATRONIC CLOWNS rotate back and forth in the corners, their arms pivoting quietly. At the end of the hallway, a STROBE LIGHT FLASHES. Anna and Major Carver walk towards the pulsing light. It is attached to a door, which they push open.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - EVENING - CONTINUOUS</stage_direction> <scene_description>Anna and Major Carver emerge from the maze out onto the dance floor decorated with pumpkins and bales of hay. Dried leaves and a mirror ball hang from the ceiling. Luke and Mr. Lyles are standing near the center of the room. Luke is holding a broom.</scene_description> <character>ANNA</character> <dialogue>Luke!</dialogue> <scene_description>Anna runs to Luke and HUGS HIM. Luke lightly returns her hug, confused. Major Carver crosses to Mr. Lyles, showing him his BADGE; the two engage in quiet conversation. Luke watches this.</scene_description> <character>LUKE</character> <dialogue>What's going on?</dialogue> <character>ANNA</character> <dialogue>We need to go right now. Come with-</dialogue> <scene_description>Abruptly, the lights in the building GO DARK. A spotlight hits the MIRROR BALL above them, which begins spinning, reflecting swirling spots of light over the floor. A FOG MACHINE starts WHIRRING in the corner. The first notes of the GOTH SONG that David and Anna listened to in her car echo through the space. The MUSIC plays from overhead speakers installed for the dance. Major Carver draws his PISTOL. Mr. Lyles stares at this.</scene_description> <character>MAJOR CARVER</character> <dialogue>Who else is in here?</dialogue> <character>MR. LYLES</character> <dialogue>No one. It's just the two of us. This is-</dialogue> <character>MAJOR CARVER</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Where are the lights controlled from?</dialogue> <scene_description>Mr. Lyles looks up at a loft overhanging the dance floor. It is dark; no one is visible.</scene_description> <character>MR. LYLES</character> <dialogue>Up there. There's a DJ booth in the attic...</dialogue> <scene_description>Major Carver looks quickly around.</scene_description> <character>MAJOR CARVER</character> <dialogue>We need to get out of here. Now. Where's the back exit?</dialogue> <character>MR. LYLES</character> <dialogue>Follow me.</dialogue> <scene_description>Mr. Lyles turns towards a corridor entrance leading out to the building's rear exit. Major Carver moves after him, gesturing for Anna and Luke to follow.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - EXIT MAZE - EVENING - CONTINUOUS</stage_direction> <scene_description>Mr. Lyles moves quickly into a MAZE OF MIRRORS, using a small FLASHLIGHT to illuminate their path. The mirrors reflect the flashlight's BEAM in dozens of patterns, each wall of the maze giving off the illusion of infinite depth.</scene_description> <character>MR. LYLES</character> <dialogue>It's just this way...</dialogue> <scene_description>Mr. Lyles ducks around a corner, vanishing from view, although several of his reflections are still visible.</scene_description> <character>MAJOR CARVER</character> <dialogue>Slow down.</dialogue> <scene_description>Major Carver, tensely holding his pistol by his side, looks back at Anna and Luke, who are following him. He moves after Mr. Lyles. Mr. Lyles' reflections can be seen rounding another CORNER.</scene_description> <character>MR. LYLES</character> <dialogue>Almost there now...</dialogue> <scene_description>Visible in the reflections on the walls around them, a DARK SHAPE steps out in front of Mr. Lyles, CROSSING IN FRONT OF HIM. The shape vanishes. Mr. Lyles goes silent. He takes a step back. Major Carver, Anna and Luke round the corner, entering the same mirrored corridor as Mr. Lyles. He stands with his back to them.</scene_description> <character>MAJOR CARVER</character> <dialogue>Sir?</dialogue> <scene_description>Mr. Lyles turns and Major Carver's face is SPRAYED WITH BLOOD. Mr. Lyles' throat has been SLASHED; his neck yawns open. Mr. Lyles crumples and falls to the floor, dead, as Major Carver raises his gun. He shouts to Anna and Luke:</scene_description> <character>MAJOR CARVER</character> <dialogue>Run! Go out the other way! Go!</dialogue> <scene_description>Anna grabs Luke's arm, turns and RUNS, heading back out through the mirror maze. A SHAPE moves in front of Major Carver in his reflections and he finds himself FACING David. David is holding a BLOODY BOX CUTTER. David's voice ECHOES through the maze.</scene_description> <character>DAVID</character> <dialogue>Hello, sir.</dialogue> <scene_description>Major Carver quickly raises his gun and FIRES. The MIRROR in front of Major Carver SHATTERS, David's reflection cracking into shards just as it quickly MOVES. Major Carver spins quickly around to see David RUNNING TOWARDS HIM, down the short corridor. Major Carver aims his gun at David and FIRES as David moves to one side in an evasive pattern, CLOSING THE DISTANCE between them. The BULLET HITS David in the side, blood bursting from his wound. He does not appear to notice this. The Major tries to shoot David again, FIRING just as David moves to the side of his gun arm. The bullet hits another mirror, BREAKING IT. David SLICES OPEN the Major's wrist with the box cutter, drawing the BLADE UP TOWARDS HIS ELBOW. The Major gasps, grabbing at David, dropping his gun. Blood POURS out from his arm as he SHOVES David away.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - EVENING - CONTINUOUS</stage_direction> <scene_description>Pulling Luke, Anna RUNS across the spinning lights of the dance floor, which is filling with FOG. They race towards the dark maze that leads to the building's entrance, GOTH MUSIC pounding around them.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - EXIT MAZE - EVENING - CONTINUOUS</stage_direction> <scene_description>Major Carver drops to the floor of the mirror maze, clutching his arm. He rolls and tries to climb to his feet, but falls forward.</scene_description> <character>MAJOR CARVER</character> <dialogue>You... you...</dialogue> <character>DAVID</character> <dialogue>You're going to bleed out in about a minute. Maybe two.</dialogue> <scene_description>Major Carver says nothing. He begins CRAWLING FORWARD through the fog, towards the entrance to the maze. David WATCHES this, then leans down and picks up the Major's gun from the floor. The Major continues crawling away from David, creating a thick trail of arterial blood on the floor that is visible as the fog wafts around him.</scene_description> <character>DAVID</character> <dialogue>You shouldn't have followed me.</dialogue> <scene_description>Major Carver continues crawling away from David, on his elbows, seemingly focused on some distant goal. He collapses at the entrance to the mirror maze.</scene_description> <character>DAVID</character> <dialogue>I don't know what you expected.</dialogue> <scene_description>Major Carver reaches forward with his uninjured arm, then he goes still. His eyes slowly close as the fog pools around him on the floor. David looks down at Major Carver's corpse. He considers the gun in his hand, then sets it down in the growing pool of blood around Major Carver's body. David calmly turns and walks towards the dance floor, leaving the Major's gun next to his body.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - FIRST ROOM -</stage_direction> <scene_description>CONTINUOUS Anna and Luke run through the dark corridors of the entry maze, towards the front door to the building.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - MAZE ENTRANCE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Reaching the door, Anna attempts to open it. The door opens an INCH, then STOPS. Looking through the crack in the door, Anna can see that the door is CHAINED SHUT.</scene_description> <character>ANNA</character> <dialogue>Shit.</dialogue> <scene_description>Anna turns back, facing the halls of the maze leading back out to the dance floor. Music is blaring on the dance floor. Nothing else can be heard.</scene_description> <character>LUKE</character> <dialogue>Anna, it's just David. I don't know what's going on, but he wouldn't hurt us.</dialogue> <character>ANNA</character> <dialogue>I need you to trust me, Luke. Come on. And be quiet.</dialogue> <scene_description>Anna pulls Luke forward, down the corridor.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - WOODEN HALLWAY -</stage_direction> <scene_description>CONTINUOUS Anna and Luke silently enter the wooden hallways near the front of the maze. Almost immediately there is a SCREAM and the wooden door RATTLES out at them. Anna and Luke flinch away.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - EVENING - CONTINUOUS</stage_direction> <scene_description>Walking across the foggy dance floor, David hears the electronic SCREAM from the black maze. He smiles slightly, walking forward, holding the bloody box cutter.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - WOODEN HALLWAY -</stage_direction> <scene_description>CONTINUOUS Anna pulls Luke down the dark corridor, deeper into the maze. She whispers:</scene_description> <character>ANNA</character> <dialogue>Come on!</dialogue> <scene_description>Anna turns right at the end of the corridor, in the opposite direction of the path she took earlier. She and Luke round another corner, disappearing from view. The next moment, David appears, turning into the corridor they just vacated. He looks around, listens, then turns towards the front entrance, moving quietly.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - ENTRY MAZE - JUNKYARD - CONTINUOUS</stage_direction> <scene_description>Anna and Luke hurry deeper into the maze, rounding another corner. Luke and Anna find themselves in a CHAMBER in the maze, filled with barrels and debris, designed like a JUNKYARD. There is a stack of barrels in one corner that appears designed for a maze employee to hide behind in order to jump out and scare people. A GORE-STREAKED dummy is propped in front of the barrels. Anna quickly pulls Luke towards the stack of barrels.</scene_description> <character>ANNA</character> <dialogue>I need you to hide in here. Okay?</dialogue> <scene_description>Luke looks at the hiding space, then shakes his head.</scene_description> <character>LUKE</character> <dialogue>What? No way. Look, Anna, David was probably just after that army guy. Let's just... Let's go talk to him.</dialogue> <character>ANNA</character> <dialogue>Luke. He killed mom and dad. They're gone.</dialogue> <scene_description>Luke blinks. He smiles hesitantly.</scene_description> <character>LUKE</character> <dialogue>No, he didn't. You're just saying that.</dialogue> <scene_description>Luke looks at Anna. She stares back at him with tears in her eyes. Luke stops smiling.</scene_description> <character>LUKE</character> <dialogue>I... What? Mom and dad are...?</dialogue> <scene_description>Anna puts both her hands on Luke's shoulders.</scene_description> <character>ANNA</character> <dialogue>Please. Just hide here, okay? I'm going to lead him away. Don't come out unless you hear me or the police. Okay?</dialogue> <scene_description>Luke hesitates, then nods, staring as if dazed. He steps back behind the stack of barrels, disappearing from view. Anna quickly shifts one of the barrels, further hiding Luke.</scene_description> <character>ANNA</character> <parenthetical>(whispering)</parenthetical> <dialogue>I'll come back for you.</dialogue> <scene_description>Anna turns and runs deeper into the dark maze. Anna turns a corner, then another. She finds herself facing a DEAD END. Hurriedly, Anna backtracks to her last turn, going the other direction, disappearing from view. On the other side of the maze wall from Anna, David walks deeper into the maze, turning corners, still holding the BLOODY BOX CUTTER in front of him. David speaks LOUDLY.</scene_description> <character>DAVID</character> <dialogue>I'm really sorry about this, guys.</dialogue> <scene_description>David turns another corner. A scarecrow leans against one wall of this corridor. David ignores it, calling out.</scene_description> <character>DAVID</character> <dialogue>I tried to think of another way to do it. Any other solution.</dialogue> <scene_description>Hidden behind the barrels, Luke goes quiet. David's FOOTSTEPS are audible near him. FAKE LIGHTNING FLASHES from a source overhead. Moving carefully, Luke peers out between the barrels. As Luke watches, David steps into the chamber, looking around. David moves forward, holding the BOX CUTTER. David slowly WALKS PAST LUKE's hiding place, SCRAPING the BLADE against a chain link fence that lines the corridor. He continues speaking as he MOVES AWAY.</scene_description> <character>DAVID</character> <dialogue>Are you guys hiding? There's no point. I locked the back door. I have to find you.</dialogue> <scene_description>Luke goes completely still as David passes him, barely breathing. He watches as David moves away from him, nearing the chamber's exit. David comes to a stop at the chamber's exit. He looks around, then goes perfectly still, listening. Luke silently reaches into his pocket and pulls out the BUTTERFLY KNIFE David gave him. Luke holds it in one trembling hand, closed, his fingers ready to open it.</scene_description> <character>DAVID</character> <dialogue>Come on. Where are you?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Luke? Come on out, buddy. I'm not going to hurt you.</dialogue> <scene_description>Inside the hiding space, Luke shifts his weight slightly, clutching the knife. David SPINS AROUND, STARING at Luke's hiding space. To Luke, it appears as if David is staring directly at him, but from David's perspective, he can only see the barrels and the dummy. David's eyes narrow, peering at the hiding space. Luke holds his breath. His hands shake slightly. David takes a step forward, towards the stack of barrels. He holds the box cutter out in front of him. A CRASHING sound comes from the other side of the barn, that of a MIRROR SHATTERING. David MOVES with unnatural speed, immediately SPINNING and running back out of the chamber, towards the maze's dance floor exit. As soon as David is gone, Luke EXHALES, gasping.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - EVENING - CONTINUOUS</stage_direction> <scene_description>David RUNS out of the dark maze, racing across the dance floor, towards the mirror maze. Thick, pale fog shifts across the dance floor, moved by David's speed. As David exits the dance floor, the song on the CD that is playing ENDS, segueing to another GOTH SONG.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - EXIT MAZE - EVENING - CONTINUOUS</stage_direction> <scene_description>David runs into the mirror maze, FOG FLOWING IN after him. He comes to a stop at its entrance, standing by Major Carver's corpse. Looking around, David can only see his reflections looking back at him, refracted by the broken glass of one of the mirrors in the corridor. David looks down and, with his foot, shifts around the FOG that covers the floor, revealing the pool of blood that surrounds Major Carver. Major Carver's GUN IS MISSING. David smiles slightly.</scene_description> <character>DAVID</character> <dialogue>Hmm.</dialogue> <scene_description>As the fog shifts back, David's eyes narrow. He kicks at the fog again. It parts, revealing the corridor floor. BLOODY FOOTPRINTS, from Anna's sneakers, lead away from Major Carver's body, back towards the dance floor. David smiles. Crouching slightly, the box cutter in front of him, David moves silently, shifting the fog in front of him with his feet, following the bloody footsteps. David stops at the dance floor entrance, looking around. The fog is thick, covering the dance floor, illuminated in swirling spots by the spinning mirror ball. David kicks at the fog in front of him. It parts, revealing ANNA'S SNEAKERS, which rest on the dance floor directly in front of David. David looks up. Anna is STANDING BEHIND HIM in the mirrored corridor, aiming Major Carver's pistol at his back. Her feet are BARE.</scene_description> <character>ANNA</character> <dialogue>You killed my parents.</dialogue> <scene_description>David blinks, shifting his weight almost imperceptibly.</scene_description> <character>DAVID</character> <dialogue>I did, yes.</dialogue> <scene_description>In a sudden movement, David SPINS AROUND. ANNA FIRES. The bullet catches David IN THE CHEST, knocking him back onto the dance floor.</scene_description> </scene> <scene> <stage_direction>INT. MAPLEWOOD BARN - DANCE FLOOR - EVENING - CONTINUOUS</stage_direction> <scene_description>The fog parts as David falls heavily to the floor. He does not move. Anna steps from the mirror maze, the gun in her hand aimed down at David. The fog shifts back in, OBSCURING DAVID from view. Anna hesitates, then steps forward, WAVING her free hand in front of her, WAFTING the fog from her path. David is NO LONGER ON THE FLOOR in front of her. Anna spins around and is STABBED IN THE LEG with the box cutter BLADE. It tears into her flesh through her tights. She falls to the floor, YELLING in pain. David is crouched in the fog, the front of his shirt soaked with his BLOOD. He grins at Anna, his teeth bloody, then LUNGES FORWARD at her. Anna AIMS THE PISTOL at David. David KNOCKS IT ASIDE, gripping Anna's wrist as she FIRES. The bullet hits the GRIM REAPER dummy in the corner of the room, knocking it over. It falls forward, onto a bale of HAY. Its LANTERN sends FLAMES out onto the hay. David WRENCHES the pistol from Anna's grasp. It goes skittering across the floor, disappearing into the fog. David reaches out and GRABS Anna's NECK with both hands. He tightens his grip, CHOKING HER. They struggle, both of them crouched in the fog on the dance floor, MUSIC BLARING. Anna CLAWS at David's hands as he compresses the arteries in her neck. She struggles, going to her knees, frantically trying to pull back his fingers. David exhales with exertion. Behind him, the bale of HAY is STARTING TO BURN, the flames filling the fog around them with FLICKERING LIGHT that illuminates David's face.</scene_description> <character>DAVID</character> <dialogue>Stop it. It'll be over in just a second.</dialogue> <scene_description>Anna stares up at David, her eyes glassy from lack of oxygen. She continues to try to pull away his fingers, but without strength, pawing desperately at his hands. David regards Anna calmly, continuing to strangle her. Anna's hands drop to her sides. Her head slumps forward. A KNIFE BLADE STABS into David's back, then is WRENCHED BACK OUT. David turns around, releasing Anna, who falls to the dance floor, COUGHING and sucking in air. LUKE is standing directly in front of David, holding the BLOODY butterfly knife in his hand. He stares at David tearfully, shaking. David coughs, BLOOD flecking his lips. He holds out his hands.</scene_description> <character>DAVID</character> <dialogue>Hey. Luke-</dialogue> <scene_description>Luke STEPS FORWARD AND STABS DAVID in the chest. David stumbles back, the knife sticking out from his chest. He hits the wall near the fog machine and slides down it, smearing it with blood. David sprawls on the floor, his back to the wall, blood flowing from his multiple wounds. He swallows, looking down at the knife in his chest, then looks up at Luke, his eyes half open.</scene_description> <character>DAVID</character> <dialogue>Hey...</dialogue> <scene_description>Luke stares at David.</scene_description> <character>DAVID</character> <dialogue>You did... You did the right thing. I don't blame you. Don't... feel bad.</dialogue> <scene_description>David smiles slightly at Luke, then looks over at Anna, who is still crouched on the floor. David opens his bloody mouth, as if trying to say something to Anna, then his eyes close. David exhales and GOES STILL. Luke stares at David, then quickly reaches down to help Anna to her feet. The FLAMES are building behind them, igniting a curtain covering the wall. Anna leans against Luke. When she speaks, her voice is raspy.</scene_description> <character>ANNA</character> <dialogue>Thank you.</dialogue> <character>LUKE</character> <dialogue>Are you okay?</dialogue> <character>ANNA</character> <dialogue>Yeah. Are you?</dialogue> <scene_description>Luke nods. Anna regards Luke for a moment, then they make their way towards the dark maze leading to the front entrance. Behind them, the flames have ENGULFED the far wall, and the fire is BUILDING steadily. Luke supports Anna as she limps slightly, her arm across his shoulders. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. MAPLEWOOD BARN - PARKING LOT - NIGHT - MINUTES LATER</stage_direction> <scene_description>Anna and Luke stand near the back of an ambulance in the parking lot for the barn. Anna still has her arm across Luke's shoulders. Behind them, the fire in the building appears to have been extinguished, SMOKE RISING from the building's burnt portions. FIREMEN carry equipment to their trucks. The large parking lot is filled with black SUVs and police cars with LIGHTS FLASHING. At the back of the ambulance, a PARAMEDIC shines a light into Anna's eyes, then glances over at Luke.</scene_description> <character>PARAMEDIC</character> <dialogue>You sure you're both feeling okay?</dialogue> <character>LUKE</character> <dialogue>Yeah. We're fine.</dialogue> <scene_description>A volunteer FIREFIGHTER runs up to the paramedic.</scene_description> <character>FIREMAN</character> <dialogue>Hey, they could use you inside. There's bodies in there.</dialogue> <scene_description>The paramedic nods quickly, turning away from Anna and Luke. He jogs over towards the building with the fireman.</scene_description> </scene> <scene> <stage_direction>EXT. MAPLEWOOD BARN - REAR ENTRANCE - MOMENTS LATER</stage_direction> <scene_description>The paramedic and fireman move to join a group of emergency workers waiting outside the rear entrance to the barn. Firefighters in full protection gear, including hoods and breathing masks, are moving in and out of the building. The sound of fire deterrent foam SPRAYING is audible within. Smoke billows out from the door. The paramedic looks to the volunteer firefighter.</scene_description> <character>PARAMEDIC</character> <dialogue>What's the deal?</dialogue> <character>FIREMAN</character> <dialogue>Guess there's two bodies in there, both of them burned up pretty bad. One of the guys said their teeth are missing, got knocked out, so I don't know what the deal is. Soon as they give us the clear, we go in.</dialogue> <scene_description>The paramedic nods, watching masked men in full body protection gear exit the building.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL PARKING LOT - NIGHT - CONTINUOUS</stage_direction> <scene_description>At the rear of the ambulance, Luke leans over and rests his head on Anna's shoulder. Anna puts her arm around him. She looks around, surveying the activity around the smoldering building. As Anna watches, one of the masked fireman emerges from behind the building. He turns his head around in all directions, then looks over at Anna. Anna notices the masked fireman watching her. She blinks, tired, then turns away, staring out into the distance, at the dark night sky. Next to her, Luke closes his eyes. The masked fireman watches Anna and Luke for another moment, then turns and LIMPS AWAY, disappearing into the darkness of the field behind the building. FADE OUT.:</scene_description> </scene> </script>

Spencer and Laura Peterson, with their children Luke and Anna, are coping with the loss of their eldest son, Caleb, to the war in Afghanistan. They are visited by David Collins, a former U.S. Army sergeant who claims he was Caleb's best friend. He tells the family he wanted to visit them as a way to help Caleb take care of them. He is polite and friendly, and Laura invites him to stay as long as he wishes. David hears of Spencer's troubles at work, and he sees Luke return home with a bruise on his face, caused by bullies at school. The next day, David and Luke follow the bullies to a bar, where David beats them up. He then uses his knowledge of the law, as well as a bribe, to convince the bartender not to tell anyone. That evening, David goes to a Halloween party with a reluctant Anna, where he makes a good impression with her friends, and later saves her friend Kristen from her violent ex-boyfriend. David and Kristen have sex, then David asks Anna's friend Craig where he can buy a gun. On their way home, Anna offers to make David a mix CD. David gives Luke advice on dealing with bullies and gives him his butterfly knife. He meets Craig and his friend to buy the gun, but kills them and steals their weapons. When a suspicious Anna calls the military base to ask about David, she is told that he presumably died a week earlier. The call alerts a private corporation called the KPG, headed by Major Carver, who assembles a special forces team and heads for Peterson's home. Anna then learns about Craig's death, and that her boyfriend Zeke has been blamed for it. It is revealed that Spencer's boss died under mysterious circumstances, giving Spencer the promotion he always wanted. Anna asks Luke to research the numbers David has called on his phone. At school, one of the bullies assaults Luke again, but he fights back by punching him in the face and hitting him with a yardstick. After they are both sent to the principal's office, David arrives and coerces the principal to give Luke a month of after-school detention, and threatens litigation if the principal expels him. Luke tells David of Anna's suspicions, but promises not to investigate any further or tell anyone else. While David helps Laura with the laundry, Major Carver's team attacks the house, but David kills all of them except for Carver. His cover blown, David stabs Laura with a kitchen knife. He then drives away, and kills Spencer as well. Carver picks up Anna and informs her of her parents' deaths. He reveals that David was a test subject in a military medical experiment and was "programmed" to kill anyone who might compromise his identity, and is unlikely to be able to stop even if he wanted to. Meanwhile, David shoots Kristen in the chest and blows up the restaurant where she and Anna work. He goes to the school to kill Luke. Carver and Anna arrive at the school before David, and enter a haunted house set up for the Halloween dance. David turns off the lights and plays Anna's mix CD, then kills Luke's teacher and Carver with a boxcutter. Anna shoots David with Carver's gun, but David stabs her in the leg and attempts to choke her as the gun misfires and damages a light, starting a fire. Luke stabs David twice with the butterfly knife, which frees Anna. David tells Luke that he did the right thing and gives him a thumbs-up before collapsing. Sitting in an ambulance, Anna and Luke overhear the firefighters say that only two corpses were recovered. As several firefighters exit the school, Anna notices one of them is limping; he turns to face her, and it is David using the disguise to quietly escape the scene.

Even Cowgirls Get the Blues_1993

tt0106834

<script> <scene> <stage_direction>INT. CAVE NIGHT</stage_direction> <scene_description>There is a huge ancient hourglass made of animal skins , and acorns plop through the waist of the hourglass one by one . It sits in a pool of water . In the water swim EYELESS CATFISH in geometric patterns . An underground stream feeds the pool of water and then flows into a huge underground crevasse that on occasion emits a LOW RUMBLE . INDIANS with torches surround the hourglass , which now we can see is in a cave . And as soon as the acorns have finished passing through the hourglass , a crew of Indians turn it on its opposite end . One of the Indians appears to be JAPANESE . ONE INDIAN stands at the wall of the cavern in front of a series of symbolic carvings and scratches , with stone in hand he makes a few hatchmarks , and keeps an eye on the CREVASSE . THE CREVASSE RUMBLES once more , loosening a few chunks of rock from the cave . The earth begins to shake .</scene_description> <character>THE CHART KEEPER</character> <dialogue>She is restless tonight.</dialogue> <character>ANOTHER INDIAN</character> <dialogue>She dreams of loving.</dialogue> <character>STILL ANOTHER</character> <dialogue>She has the blues.</dialogue> <scene_description>View of the chartkeeper 's drawings . One is of a crane with a very long neck . Another is a primitive drawing of a naked girl , who has long flowing hair . She also has , pointed out from her sides , thumbs that are three times normal human proportions . A MUSICAL CHORUS sounds at the sight of this drawing of a girl with the thumbs . The chartkeeper puts the finishing touches on the drawing . And the song `` Happy Birthday to You '' strikes up on country and western guitar and polka - like accordion . title BIG THUMBS</scene_description> </scene> <scene> <stage_direction>INT. RICHMOND VIRGINIA SUBURBAN HOME DAY</stage_direction> <scene_description>We see CANDLES burning on a cake . It is somebody 's birthday . And there are six candles on the cake . SISSY HANKSHAW is six years old . Her DADDY and a visiting UNCLE , finishing their rendition of Happy Birthday , are staring down at Sissy and looking at her young THUMBS , WHICH ARE UNUSUALLY LARGE and twitch with a mind of their own . She manages to blow out all six candles .</scene_description> <character>UNCLE</character> <dialogue>Well, you're lucky that you do n't suck'em.</dialogue> <character>DADDY</character> <dialogue>Sissy could n't suck'em, she'd need a mouth like a fish tank.</dialogue> <scene_description>Sissy is negotiating a fork full of birthday cake , dropping it because of her thumbs .</scene_description> <character>UNCLE</character> <parenthetical>( agrees . )</parenthetical> <dialogue>The poor little tyke might have a hard time finding herself a hubby. But as far as getting along in the world, it's a real blessing that Sissy's a girl - child. Lord, I reckon this youngun would never make a mechanic.</dialogue> <character>DADDY</character> <dialogue>Nope, and not a brain surgeon, neither.</dialogue> <character>UNCLE</character> <dialogue>Course she'd do pretty good as a butcher. She could retire in two years on the overcharges alone.</dialogue> <scene_description>Laughing , the men walk to the kitchen to fill their glasses . Sissy is left to feel sorry for herself in front of her cake .</scene_description> <character>UNCLE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>One thing, that youngun would make one hell of a hitchhiker.</dialogue> <scene_description>This startles Sissy . A new word that tinkles in her head with a supernatural echo . Sissy looks at her thumbs .</scene_description> <character>UNCLE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>if she was a boy, I mean.</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE DAY</stage_direction> <scene_description>Dr. Dreyfus looks over Sissy 's thumbs .</scene_description> <character>DR. DREYFUS</character> <dialogue>She is, if I may speak frankly, somewhat of a medical oddity. Due to impaired dexterity, her life activities and career potentialities will be reduced. It could be worse. Bring her back to me if there ever is pain. Meanwhile, she will have to learn to live with them.</dialogue> <character>MRS. HANKSHAW</character> <dialogue>That she will. That she will. The Lord made them things big for a purpose. God do n't never git tired of testing our kind. It's a punishment of some sort, for what I do n't rightly know.</dialogue> <parenthetical>( whimpering . )</parenthetical> <dialogue>Oh Doc, if a young man ever shows up here with, a young man with ugly fingers, you know, something similar, a similar case, Doc, would you please.</dialogue> <character>DR. DREYFUS</character> <dialogue>Remember the words of the painter Paul Gauguin, dear lady. `` The ugly may be beautiful, the pretty never.'' I do n't suppose that means very much to you.</dialogue> <character>MRS. HANKSHAW</character> <dialogue>It's a judgement. She's got ta bear the punishment.</dialogue> <scene_description>Sissy beams serenely like a Christ figure .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL LIBRARY DAY</stage_direction> <scene_description>Sissy looks up `` thumb '' in the dictionary . It says : the short , thick first or most preaxial digit of the human hand , differing from the other fingers by having two phalanges and greater freedom of movement . Sissy mouthing the words : `` Greater freedom of movement . ''</scene_description> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>Sissy very timidly ventures a pass with her gigantic right thumb in the direction she is walking . She is passed by . BUT NO ! BRAKE LIGHTS ! A Pontiac skids ever so slightly on the snowflakes . View of the Pontiac insignia on the hood of the car . Sissy runs , actually sweating , to its side . She peers in . OUTSIDE a palmist 's trailer is a sign with a red silhouette of a hand . Directly under the wrist where the watch band would be is written MADAME ZOE . Madam Zoe in kimono and wig lets Sissy and her mother in the door .</scene_description> <character>MADAME ZOE</character> <dialogue>I am the enlightened Madame Zoe.</dialogue> <scene_description>Inside . Madame Zoe begins stubbing a cigarette in one of those enlightened little ceramic ashtrays that are shaped like bedpans and inscribed BUTTS . The trailer is cluttered , but not one knick - knack , chintz curtain or chenille - covered armchair seems to have come from the Beyond .</scene_description> <character>MADAME ZOE</character> <dialogue>There is nothing about your past, present or future that your hands do not know, and there is nothing about your hands that Madame Zoe does not know. There is no hocus - pocus involved. I am a scientist, not a magician. I, Madame Zoe, chiromancer, lifelong student of the moldings and markings of the human hand. I, Madame Zoe, to whom no facet of your character or destiny is not readily revealed. I am prepared to.</dialogue> <scene_description>Then she notices the thumbs .</scene_description> <character>MADAME ZOE</character> <dialogue>Jesus fucking Christ!</dialogue> <scene_description>Mrs. Hankshaw and the fortune - teller turn pale and uncertain , while Sissy recognizes with a faint smile that she is in command . Sissy extends the thumbs as an ailing aborigine might extend his swollen parts to a medical missionary . Sissy 's mama draws a neatly folded five - dollar bill from her change purse and extends it alongside her smiling daughter 's extremities . Madame Zoe returns to her senses , and takes Sissy by the elbow to sit at a For mica - topped table of undistinguished design . Madam Zoe holds Sissy 's hands while she appears to go into a trance . She opens her eyes momentarily .</scene_description> <character>MADAME ZOE</character> <dialogue>You have a strong will. Will power and determination are indicated by the first phalanx. The second phalanx indicates reason and logic. You obviously have both in large supply. What's your name, dearie?</dialogue> <character>SISSY</character> <dialogue>Sissy.</dialogue> <character>MADAME ZOE</character> <dialogue>Hmmm. I'd say that you have an intelligent, kindly, somewhat artistic nature. However, Sissy, however, there is a heavy quality to the second phalanx - the phalanx of logic - that indicates a capacity for foolish or clownish behavior, a refusal to accept responsibility or to take things seriously and bent to be disrespectful of those who do. Your mama tells me that you're pretty well behaved and shy, but I'd watch out for signs of irrationality. All right?</dialogue> <scene_description>She pulls her thumb to her breast .</scene_description> <character>MADAME ZOE</character> <dialogue>I guess the most important aspect of your thumbs is the, ahem, over all size. Uh, what was it, do you know, that caused?</dialogue> <scene_description>Mom speaks out from the couch she is sitting on</scene_description> <character>MRS HANKSHAW</character> <dialogue>Do n't know ; the doctors do n't know.</dialogue> <character>SISSY</character> <dialogue>Just lucky I guess.</dialogue> <character>MADAME ZOE</character> <dialogue>Do you study history in school? Galileo, Descartes, Newton? Lebinitz had very large thumbs ; Voltaire's were enormous, but, heh heh, just pickles compared with yours.</dialogue> <character>SISSY</character> <dialogue>What about Crazy Horse?</dialogue> <character>MADAME ZOE</character> <dialogue>Crazy Horse? You mean the Indian? Nobody that I've ever heard of ever troubled to study the paws of savages. Well, I guess that about covers the three - fifty charge.</dialogue> <scene_description>Madame Zoe lets go of Sissy 's thumbs and wipes her hands on her kimono .</scene_description> <character>MRS. HANKSHAW</character> <dialogue>Husband.</dialogue> <scene_description>Mrs. Hankshaw withdraws a bill from her rat - skin bag .</scene_description> <character>MADAME ZOE</character> <dialogue>Beg your pardon?</dialogue> <character>MRS. HANKSHAW</character> <dialogue>Husband. Will she find a husband?</dialogue> <character>MADAME ZOE</character> <dialogue>Oh, I see.</dialogue> <scene_description>Madame Zoe takes Sissy 's hand and gives it the old tall - dark - stranger squint .</scene_description> <character>MADAME ZOE</character> <dialogue>I see men in your life, honey. I also see women, lots of women.</dialogue> <scene_description>She raises her eyes to meet Sissy 's looking for an admission of the `` tendency '' , but there is no signal . Mrs. Hankshaw does not approve .</scene_description> <character>MADAME ZOE</character> <dialogue>A husband, no doubt about it, though he is years away. There are children, too. Five, maybe six, but the husband is not the father. They will inherit your characteristics.</dialogue> <scene_description>Mrs. Hankshaw , aghast , has heard plenty , and she ushers her daughter out of the trailer as if she were leading her from a burning cocktail lounge . COWGIRL INTERLUDE -LRB- Delores del Ruby -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS DAY</stage_direction> <scene_description>Views of vast vistas of arid grasslands , open and unmodulated , thirsty and exposed . At the western edge of the DAKOTAS , the monotony of the landscape , now gradually tilting toward the Rockies , is interrupted by the Badlands - sculptured canyons so deep and chaotic they can break a devil 's heart . Between the grasslands and the eerie badlands ruins , there lies a narrow band of humpy hills , green and pastoral . The hills are carpeted with midlength prairie grass . The Rubber Rose buildings are clustered at the badlands end at the base of a butte , higher , broader and longer than any in its vicinity , known as Siwash Ridge . a sign over the entry of the ranch reads : Welcome to the Rubber Rose Ranch -LRB- the largest all - girl ranch in the west -RRB- Delores del Ruby arrives at the Rubber Rose Ranch , carrying a whip at her side and batting an educated lash at the surrounding sights .</scene_description> <character>DELORES</character> <dialogue>I've traveled through the Yucatan with a circus, popping false eyelashes off a trained monkey with a bullwhip. When I ate peyote one night and had a vision. Niwetükame, the Mother Goddess, came to me on the back of a doe, hummingbirds sipping the tears she was shedding, crying ` Delores, you must lead my daughters against their natural enemy. You must come to the Rubber Rose Ranch and prepare for your mission, the details of which will be revealed to you in a third vision.' That night I whipped the shit out of my black lover and ran away. For a while I drove around, making a living selling peyote buttons to hippies, until I made my way here.</dialogue> <scene_description>A snake crosses the road in front of her , and she takes her whip and whirls it around her head . The snake that is crawling across the dusty road that leads to the ranch is carrying a card under its forked tongue . Delores snaps her whip at the snake and picks the card out of his mouth and lets it fly in the air . Delores catches it . The card is the Queen of Spades .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>Sissy is thirty years old now wearing a trademark colored jumpsuit . She is saying these words still : `` Greater freedom of movement . '' Sissy sticks out her thumb , even though there is no traffic . A plane is flying overhead . Sissy hitches it ; and the plane 's flight path curves with in response to her gesture . A squirrel running by stops to look . The bus on the other side of the road skids to a stop and two cars coming her way stop as well .</scene_description> </scene> <scene> <stage_direction>INT. CAR DAY</stage_direction> <scene_description>The man driving looks over the back seat to the hitchiker behind him .</scene_description> </scene> <scene> <stage_direction>INT. BUS DAY</stage_direction> <scene_description>The bus driver does the same .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD</stage_direction> <scene_description>From the look of her Sissy is a very seasoned hitchhiker , and she turns around relatively unimpressed with the fact that a car has stopped for her . SISSY 'S VIEW . The man driving is black - skinned , beret - topped and he has four smiling gold teeth and six shiny brass saxaphones in the back seat . He wears a gardenia in his lapel and tokes on a short joint .</scene_description> <character>SISSY</character> <dialogue>Going north?</dialogue> <character>MAN</character> <dialogue>You bet your raggedy white ass I am.</dialogue> <scene_description>Sissy gets in . He turns up the volume of his radio and rockets north .</scene_description> </scene> <scene> <stage_direction>INT. LINCOLN CONTINENTAL DAY</stage_direction> <scene_description>Sissy ventures into her pocket and pulls out a slice of cheese and offers it to him . He now gets a better look at her unusual thumbs . They are elegant , but large boned , and disproportionate . They are banana shaped boats that makes it a little awkward to hold onto the cheese .</scene_description> <character>MAN</character> <parenthetical>( taking an alarming interest in her thumbs . )</parenthetical> <dialogue>Thanks.</dialogue> <character>SISSY</character> <dialogue>American Cheese. The king of road food.</dialogue> <scene_description>He eats the cheese , and worries about the thumbs . He tokes on the joint between his fingers .</scene_description> <character>MAN</character> <dialogue>Are you in show business?</dialogue> <character>SISSY</character> <dialogue>I was a successful model once.</dialogue> <character>MAN</character> <dialogue>For magazines?</dialogue> <character>SISSY</character> <dialogue>I was the Yoni Yum feminine - hygiene Dew girl from 1965 to 1970, but got laid off.</dialogue> <character>MAN</character> <dialogue>So now you're bummin' around?</dialogue> <character>SISSY</character> <dialogue>Yep.</dialogue> <character>MAN</character> <dialogue>Hitchhiking?</dialogue> <character>SISSY</character> <dialogue>I'm the best.</dialogue> <character>MAN</character> <dialogue>You're the best?</dialogue> <character>SISSY</character> <dialogue>When I was younger, I hitchhiked one hundred and twenty - seven hours without stopping, without food or sleep, crossed the continent twice in six days, cooled my thumbs in both oceans and caught rides after midnight on unlighted highways.</dialogue> <character>MAN</character> <dialogue>Whooee!</dialogue> <character>SISSY</character> <dialogue>As I developed, however, I grew more concerned with subtleties and nuances of style. Time in terms of M.P.H. no longer interested me. I began to hitchhike in something akin to geological time : slow, ancient, vast. When I am really moving, stopping car after car after car, moving so freely, so clearly, so delicately that even the sex maniacs and the cops can only blink and let me pass, then I embody the rhythms of the universe. I am in a state of grace.</dialogue> <scene_description>The man listening to her takes another toke on his joint .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>A view down the road of the Lincoln Continental going swiftly in its direction . CREDIT INTERLUDE featuring the song `` Even Cowgirls Get the Blues '' as sung by -LRB- an undetermined country or pop star like k.d. lang or Bob Dylan -RRB- in an old television Kine - scope piece of film like you might see on early 1950 's television sets . Between Sissy watching this image on old motel televisions , there are also IMAGES of roads , cars , trucks , highways , thumbs , gas stations and deserts gliding by in a flow of natural hitchhiking beauty .</scene_description> </scene> <scene> <stage_direction>EXT. POST OFFICE DAY</stage_direction> <scene_description>Sissy gets out of a large eighteen wheel truck and walks into a United States Post Office .</scene_description> </scene> <scene> <stage_direction>INT. POST OFFICE DAY</stage_direction> <scene_description>Sissy at the window picking up some mail , and opening a lavender colored letter that reeks of perfume , she is surprised to read this : Sissy , Precious Being , How are you , my extraordinary one ? I worry so . Next time you are near Manhattan , do ring me up . There is a man to whom I simply must introduce you . Thrill ! - The Countess Sissy looks at the envelope and return address . Elaborately embossed is the Countess ' logo .</scene_description> </scene> <scene> <stage_direction>INT. COUNTESS'S OFFICE DAY</stage_direction> <scene_description>The elaborately embossed envelope is now being sealed . The Countess gives it a licking . Beside him is a young watercolorist named Julian .</scene_description> <character>THE COUNTESS</character> <dialogue>I will send this out to Sissy, she should get it in a week, and you will be able to meet her. When I send a letter to Sissy, duplicates must be sent to U.S. Post Office Boxes in LaConner, Taos, Pine Ridge, Cherokee and that other place, for her to pick up. Why she's probably out there right now in Hibbing, Minnesota, or Deluth, Montana. hitching her way across the country.</dialogue> </scene> <scene> <stage_direction>INT. TRUCKERS CAB NIGHT</stage_direction> <scene_description>Sissy is talking to a trucker as they pass down the road .</scene_description> <character>SISSY</character> <dialogue>Right off, I do n't remember how old I was when I found out I was part Indian. My mamma's family, a lot of them, had lived out West, in the Dakotas, and one of them had married a squaw. Siwash tribe. My pleasure in Indianhood and my passion for car travel might be incongruous if not mutually exclusive. After all, the first car that ever stopped for me had been named in honor of the great chief of the Ottawa : Pontiac.</dialogue> <scene_description>In the distance , Sissy spies her destination . NEW YORK CITY .</scene_description> <character>SISSY</character> <dialogue>NEW YORK CITY. It's still a helluva town.</dialogue> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING DAY</stage_direction> <scene_description>Sissy gets out of the truck and looks up at a large building .</scene_description> </scene> <scene> <stage_direction>INT. COUNTESS'S OFFICE DAY</stage_direction> <character>THE COUNTESS</character> <dialogue>Sit down dear, do sit down.</dialogue> <scene_description>Sissy Hankshaw takes a seat . The Countess lifts a dusty decanter .</scene_description> <character>THE COUNTESS</character> <dialogue>Take a load off those lovely tootsies. Yes, sit right down. Would you fancy some sherry?</dialogue> <scene_description>The decanter is empty , a stiff fly lies feet up on it 's lip .</scene_description> <character>THE COUNTESS</character> <dialogue>Shit O goodness, I'm all out of sherry ; how about some Red Ripple?</dialogue> <scene_description>He reaches into a midget refrigerator beside his desk and pulls out some pop wine .</scene_description> <character>THE COUNTESS</character> <dialogue>You know what Red Ripple is do n't you? It's Kool - Aid with a hard on. Tee Hee.</dialogue> <scene_description>Sissy manages a polite smile . She looks at a heavily finger printed glass .</scene_description> <character>THE COUNTESS</character> <parenthetical>( he toasts . )</parenthetical> <dialogue>To my own special Sissy. Cheers! And welcome. So my letter brought ya flying, eh? Where were you? Salt Lake City? La Conner? Well, I may have a little surprise for you. But first, tell me about yourself. It's been six months, has n't it? In some circles that's half a year. How are you?</dialogue> <character>SISSY</character> <dialogue>Tired.</dialogue> <character>THE COUNTESS</character> <dialogue>That's the very first time in the eons that I've known you that I've ever heard you complain. And now you're tired, poor darling.</dialogue> <character>SISSY</character> <dialogue>A born freak can only go uphill.</dialogue> <character>THE COUNTESS</character> <dialogue>Freak, schmeek. Most of us are freaks in one way or another. Try being born a male Russian countess into a white middle class Baptist family in Mississippi and you'll see what I mean.</dialogue> <character>SISSY</character> <dialogue>I've always been proud of the way nature singled me out. It's the people who have been deformed by society I feel sorry for. I've been steady moving for eleven years and some months. Maybe I should rest up for a spell, I'm not as young as I used to be.</dialogue> <character>THE COUNTESS</character> <dialogue>Shit O goodness, you wo n't be thirty for another year, and you're more beautiful than ever.</dialogue> <character>SISSY</character> <dialogue>Does that mean you might have an assignment for me?</dialogue> <scene_description>The Countess taps his monocle with his cigarette holder . He looks on his wall , and on a poster advertising a feminine hygene product , Yoni Yum Dew Spray , stands Sissy Hankshaw , her thumbs neatly hidden , chopped off by the borders of the photograph .</scene_description> <character>THE COUNTESS</character> <dialogue>You were the Yoni Yum girl from, let's see.</dialogue> <parenthetical>( peruses the ad layouts on the wall . )</parenthetical> <dialogue>from nineteen sixty - eight through nineteen seventy. You've always smelled so nice. Like a little sister. The irony has just killed me. You, the Dew Girl, one of the few girls who does n't need Dew. I loath the stink of females! They are so sweet the way God made them, then they start fooling around with men and soon they're stinking. Like rotten mushrooms, like an excessively chlorinated swimming pool, like a tuna fish's retirement party. They all stink. From the Queen of England to Bonanza Jellybean, they stink.</dialogue> <character>SISSY</character> <dialogue>Bonanza Jellybean?</dialogue> <character>THE COUNTESS</character> <dialogue>What? Oh yes. Tee - hee. Jellybean.</dialogue> <scene_description>The Countess 's jaw muscles calm down , his dentures ease into a samba .</scene_description> <character>THE COUNTESS</character> <dialogue>She's a young thing who works on my ranch. Real name is Sally Jones or something wooden like that. She's cute as a hot fudge taco, and, of course, it takes verve to change one's name so charmingly. But she stinks like a slut just the same.</dialogue> <character>SISSY</character> <dialogue>Your ranch?</dialogue> <character>THE COUNTESS</character> <dialogue>Oh my dear yes, I bought a little ranch out West, sort of a tribute to the women of America who have cooperated with me in eliminating their odor by using my vaginal products, Dew spray mist and Yoni Yum spray powder. A tax write - off, actually.</dialogue> <scene_description>He looks out his window as a squirrel crosses Park Avenue .</scene_description> <character>THE COUNTESS</character> <dialogue>Sissy, Sissy, blushing bride, you can desist from wearing paths in those forgotten highways. The Countess has arranged a job for you. And what a job.</dialogue> <character>SISSY</character> <dialogue>A job for me?</dialogue> <character>THE COUNTESS</character> <dialogue>I am once more about to make advertising history. And only you, the original Yoni Yum/Dew Girl, could possibly assist me.</dialogue> <scene_description>The Countess hands Sissy an article that she reads clenched in her fist .</scene_description> <character>SISSY</character> <dialogue>The Food and Drug Administration said Wednesday female deodorant sprays may cause such harmful reactions as blisters, burns and rashes. Although the FDA judges that the reported reactions are not sufficient to justify removal of these products from the market, they are sufficient to warrant the proposed mandatory label warnings.</dialogue> <character>THE COUNTESS</character> <dialogue>Shit O dear, that's enough to make me asthmatic. The nerve of those twits. What do they know about female odor? Do n't interrupt. Here's my concept. My ranch out West? It's a beauty ranch. Oh, it's got a few head of cattle for atmosphere and tax purposes. But it's a beauty ranch, a place where unhappy women - divorcees and widows, mainly - can go to lose weight, remove wrinkles, change their hair styles and pretty themselves up for the next disappointment. My ranch is named the Rubber Rose, after the Rubber Rose douche bag, my own invention, and bless its little red bladder, the most popular douche bag in the world. So get this. It's on the migratory flight path of the whooping cranes. The last flock of wild whooping cranes left in existence. Well, these cranes stop off at my little pond - Siwash Lake, it's called - twice a year, autumn and spring, and spend a few days each time, resting up, eating, doing whatever whooping cranes do. I've never seen them, understand, but I hear they're magnificent. Very big specimens - I mean, huge mothers - and white as snow, to coin a phrase, except for black tips on their wings and tail feathers, and bright red heads. Now, whooping cranes, in case you did n't know it, are noted for their mating dance. It's just the wildest show in nature. It's probably the reason why birdwatching used to be so popular with old maids and deacons. Picture these rare, beautiful, gigantic birds in full dance - leaping six feet off the mud, arching their backs, flapping their wings, strutting low to the ground. Dears, it's overwhelming. And picture the birds doing their sex dance on TV. Right there on the home screen, creation's most elaborate sex ritual - yet clean and pure enough to suit the Pope. With lovely Sissy Hankshaw in the foreground. In a white gown, red hood attached, and big feathery sleeves trimmed in black. In a very subdued imitation of the female whooping crane, she dance/walks over to a large nest in which there sits a can of Yoni Yum. And a can of Dew. Off - camera, a string quartet is playing Debussy. A sensuous voice is reading a few poetic lines about courtship and love. Are you starting to get it? Does n't it make the hair on your neck stand up and applaud? My very goodness gracious! Grandiose, lyrical, erotic and Girl Scout - oriented ; you ca n't top it. I've hired a crew of experts from Walt Disney Studios, the best wildlife cinematographers around. You're my eternal favorite. Princess Grace herself could n't be better, not even if she had your personality which she does n't ; Anyway, dear, I'm out of photography now and into water colors. Ah how circuitous conversation is! We're back at the beginning. The exact man I've wanted you to meet is my artist the watercolorist.</dialogue> <scene_description>Sissy dares a sip of Red Ripple .</scene_description> <character>SISSY</character> <dialogue>If you do n't want me to pose for him, why do you want me to meet him?</dialogue> <character>THE COUNTESS</character> <dialogue>Purely personal. I believe you might enjoy one another.</dialogue> <character>SISSY</character> <dialogue>But Countess.</dialogue> <character>THE COUNTESS</character> <dialogue>Now, now. Do n't get exasperated. I realize that you've always avoided all but the most rudimentary involvements with men, and I might add, you've been wise. Heterosexual relationships seem to lead only to marriage. For men, marriage is a matter of efficient logistics : The male gets his food, bed, laundry, TV, pussy, offspring and creature comforts all under one roof, where he does n't have to dissipate his psychic energy thinking about them too much, then he is free to go out and fight the battles of life, which is what existence is all about. But for a woman marriage is surrender.</dialogue> <scene_description>The Countess refills his glass . The squirrel starts across Park Avenue again but does n't make it . The uniformed chauffeur gets out of a limousine and holds the crushed animal up where it can be seen by an elderly woman passenger .</scene_description> <character>THE COUNTESS</character> <dialogue>But here you are, still a virgin - you are virginal yet, are n't you?</dialogue> <character>SISSY</character> <dialogue>Why, yes, technically. Jack Kerouac and I came awfully close, but he was afraid of me, I think.</dialogue> <character>THE COUNTESS</character> <dialogue>Yes, well, what I'm getting at is that there comes a time when it is psychologically impossible for a woman to lose her virginity. She ca n't wait too long, you know. Now, there's no reason why you must lose yours. I mean, just ponder it a bit, that's all.</dialogue> <character>SISSY</character> <parenthetical>( her brow spaghettied . )</parenthetical> <dialogue>What makes you think this watercolorist and I would develop a romantic relationship?</dialogue> <character>THE COUNTESS</character> <dialogue>I ca n't be certain that you would. But what have you got to lose?</dialogue> <character>SISSY</character> <dialogue>Well, okay. I'll try it. I do n't see the point in it, but I'll try it. Just for you. It's kind of silly, actually, me going out with an artist in New York City. However.</dialogue> <character>THE COUNTESS</character> <dialogue>Good, good, good. you'll enjoy it, you'll see. Julian is a gentleman.</dialogue> <scene_description>Suddenly the Countess swivels in his desk chair and leans forward . Lowering his wine glass , he focuses directly , intensely into Sissy 's blue eyes . His smile widens .</scene_description> <character>THE COUNTESS</character> <dialogue>By the way, Sissy. he's a full blooded Indian.</dialogue> <scene_description>A title :</scene_description> <character>COWGIRL INTERLUDE</character> <dialogue /> </scene> <scene> <stage_direction>INT. RUBBER ROSE OUTHOUSE DAY</stage_direction> <scene_description>The Outhouse Radio is playing `` The Starving Armenians Polka '' and Bonanza Jellybean and Delores del Ruby are in the privy , caught in the rain .</scene_description> <character>JELLY</character> <dialogue>Well, I'm not scared of a little rain.</dialogue> <character>DELORES</character> <dialogue>Me neither.</dialogue> <character>JELLY</character> <dialogue>Might as well brave it.</dialogue> <character>DELORES</character> <dialogue>Right. I do n't know about you but I'm sure not sweet enough to melt.</dialogue> <scene_description>Delores flicks her whip at a sweat bee that has taken refuge in the privy and hits the photograph of Dale Evans upon which it has lit . Jelly looks out the door of the outhouse across a cut green lawn to a bunkhouse where we can see a gathering of other cowgirls . There is a fly buzz and a distant polka yip . Way off horse lips flutter . Bonanza spies a picture of Sissy Hankshaw , an advertisement for Yoni Yum Dew Spray mist , on the privy wall .</scene_description> <character>JELLY</character> <parenthetical>( musing . )</parenthetical> <dialogue>Someday. if that Sissy Hankshaw ever shows up here, I'm gon na teach her how to hypnotize a chicken. Chickens are the easiest critters on Earth to hypnotize. If you can look a chicken in the eyes for tens seconds, it's yours forever.</dialogue> </scene> <scene> <stage_direction>INT. BUNKHOUSE DAY</stage_direction> <scene_description>A meeting is in progression in the bunkhouse that morning . Mary is addressing the group .</scene_description> <character>MARY</character> <dialogue>I want to complain that some of the cowgirls have been sleeping two to a bunk again, in violation of the agreement that `` crimes against nature'' are to be confined to the hayloft.</dialogue> <character>DEBBIE</character> <dialogue>I do n't care who lay with whom or where or how, but the moaners, groaners and screamers ought to turn down their volume when others are trying to sleep or meditate.</dialogue> <scene_description>Some of the younger cowgirls blush .</scene_description> <character>BIG RED</character> <dialogue>I want to complain about the food around here! It's rotten to the core.</dialogue> <scene_description>A round of support from the other cowgirls in the form of cattle calls .</scene_description> </scene> <scene> <stage_direction>INT. OUTHOUSE DAY</stage_direction> <scene_description>Jelly and Delores are getting ready to run through the rain , when all of a sudden , Jelly spies a barefoot cowgirl - it 's Debbie - run across the yard in her karate robe , jump on the Exercycle that is rusting in the weeds and begin pumping the pedals furiously in the yammering rain .</scene_description> <character>DELORES</character> <dialogue>My sacred crocodile! She's flipped.</dialogue> <scene_description>But in a minute , others follow Debbie , everyone of them , in fact ; the entire bunkhouse load of them , some thirty young cowgirls , squealing , giggling , They slide and roll on the wet grass , push each other into the mud that is forming by the corral fence , chase one another in and out of the thick folds of rain draperies , stamp their cute feet in puddles and do bellyflops into the overflowing horse trough . The cowgirls frolic until , as suddenly as it has come , the rain goes away . Play ceases . They are panting like puppies as they lean against one another or pick clods of mud from one another 's hair .</scene_description> <character>ELAINE</character> <dialogue>I move that the meeting be adjourned.</dialogue> <character>DEBBIE</character> <dialogue>At the end of the endless game, there is friendship.</dialogue> <character>HEATHER</character> <dialogue>What the heck did she mean by that!</dialogue> <character>JELLY</character> <dialogue>Just that in Heaven all business is conducted this way.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY NIGHT</stage_direction> <scene_description>In the lobby , the doors of an elevator open revealing Sissy inside wearing a buttoned up dress . Very formal looking for her . There is Julian standing in the lobby . He turns and walks toward Sissy . He is wearing a rather formal looking plaid sport coat with blue cummerbund . He extends his hand to meet her , and -LRB- perhaps at the sight of Sissy 's thumbs -RRB- Julian has an asthma attack , doubling over in front of her . Sissy does n't know whether to assist Julian or flee . From the other side of the lobby , two WELL - GROOMED COUPLES , white , mid - thirties and upper middle class come to the rescue . The younger of the men , RUPERT , takes charge . He breaks an inhaler of dinephrine under Julian 's nose .</scene_description> <character>RUPERT</character> <dialogue>We'd better take you home.</dialogue> <scene_description>In the red of embarrassment , Julian looks more Indian than he had previously . Wheezing , he speaks :</scene_description> <character>JULIAN</character> <dialogue>I beg your pardon. I've been enthralled with your photographs for years. When the Countess hinted that you might like to meet me - he never explained why - I was ready to paint for him free of charge. And now I had to go and spoil it.</dialogue> </scene> <scene> <stage_direction>EXT. STREET NIGHT</stage_direction> <scene_description>Rupert is helping Julian to the street . Rupert is a salesman for a publishing house . His wife Carla , a homemaker , as they say . The other couple breaks down into Howard and Marie Barth , both copywriters for an ad agency . Howard hails a cab and Carla and Marie flutter around Sissy .</scene_description> <character>MARIE</character> <dialogue>This is dreadful.</dialogue> <parenthetical>( lowering her voice confidentially . )</parenthetical> <dialogue>You know, asthma attacks are brought on by emotional stress. Poor Julian is so high strung. The excitement of meeting you - my dear, you look so stunning! - must have upset his chemical balance.</dialogue> <scene_description>Carla nods . Everyone is piling into the taxi .</scene_description> <character>RUPERT</character> <dialogue>Come on, Sissy, do n't be afraid of us.</dialogue> <character>SISSY</character> <dialogue>I've never ridden in a cab. The whole idea of paying for a ride makes my thumbs hurt.</dialogue> <scene_description>Sissy is forced to suffer the indignity of riding in a vehicle she was n't responsible for flagging with her own thumbs .</scene_description> <character>CARLA</character> <dialogue>It'll be all right, dear. It is n't as serious as it sounds.</dialogue> </scene> <scene> <stage_direction>INT. CAB NIGHT</stage_direction> <scene_description>Carla starts to pat Sissy 's hand , then decides to leave the thumbs to themselves . The six of them are squeezed into the taxi . Sissy looks out the window of the taxi : SISSY 'S VIEW as the taxi stops at a light , she can see a newsstand headline on the front page of the New York Daily News : THE CHINK SUMS IT UP , SAYS LIFE IS HARD IF YOU THINK IT 'S HARD .</scene_description> </scene> <scene> <stage_direction>EXT. JULIAN'S APARTMENT NIGHT</stage_direction> <scene_description>THE TAXI stops in front of Julian 's building . It discharges its passengers .</scene_description> </scene> <scene> <stage_direction>INT. JULIAN'S APARTMENT NIGHT</stage_direction> <scene_description>INSIDE Howard mixes Scotch and sodas , Rupert fills a syringe from a vial of aminophylline he has taken from its place behind a gelatin salad mold in the refrigerator . He gives Julian an injection .</scene_description> <character>RUPERT</character> <dialogue>There, that ought to beat them bronchial buggers into submission.</dialogue> <scene_description>He turns to Sissy .</scene_description> <character>RUPERT</character> <dialogue>I was a medic in the Army. I really should have become a doctor. Sometimes, though, I feel that pushing books is a whole lot like pushing medicine. Think of books as pills. I have pills that cure ignorance and pills that cure boredom. I have pills to elevate moods and pills to open people's eyes to the awful truth.</dialogue> <character>CARLA</character> <dialogue>Too bad you do n't have a pill for bullshit.</dialogue> <scene_description>Carla smiles as if she were joking , but she 'd said it tartly . Rupert glares and takes a big bite of Scotch .</scene_description> <character>HOWARD</character> <parenthetical>( changing the subject . )</parenthetical> <dialogue>Where do you live, Miss Hankshaw?</dialogue> <character>SISSY</character> <dialogue>I'm staying with the Countess.</dialogue> <character>HOWARD</character> <dialogue>I know, but where do you reside when you are n't visiting New York?</dialogue> <character>SISSY</character> <dialogue>I do n't.</dialogue> <character>HOWARD</character> <dialogue>You do n't?</dialogue> <character>SISSY</character> <dialogue>Well, no, I do n't reside anywhere in particular. I just keep moving.</dialogue> <scene_description>Everyone looks a bit astonished including the recumbent Julian .</scene_description> <character>HOWARD</character> <dialogue>A traveler, eh?</dialogue> <character>SISSY</character> <dialogue>You might say that, although I do n't think of it as traveling.</dialogue> <character>CARLA</character> <dialogue>How do you think of it?</dialogue> <character>SISSY</character> <dialogue>As moving.</dialogue> <character>CARLA</character> <dialogue>Oh.</dialogue> <character>MARIE</character> <dialogue>How. unusual.</dialogue> <character>HOWARD</character> <dialogue>Mmmmm.</dialogue> <scene_description>Rupert bites into his Scotch again . Julian issues a watery wheeze . Then , silence .</scene_description> <character>CARLA</character> <dialogue>Rupert, before you get too engrossed in your research on Scotch as a cure for aging, do n't you think you'd better phone Elaine's and cancel our dinner reservations?</dialogue> <scene_description>Sissy leaves her chair and wanders about the apartment . Which is full of books and shelves .</scene_description> <character>RUPERT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What would we do without you, Carla? Without our little efficiency expert, Carla, everything would just go to hell. Carla is thinking about running for mayor next year, are n't you, Carla?</dialogue> <character>CARLA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Up yours, Herr Doktor Book Salesman. Will the demands of your medical practice allow you to call Elaine's or shall I?</dialogue> <character>MARIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh let me do it.</dialogue> <scene_description>Sissy is intrigued by an antique here and an object d'art there , but she knows she is in an alien environment .</scene_description> </scene> <scene> <stage_direction>INT. JULIAN'S BEDROOM NIGHT</stage_direction> <scene_description>Sissy enters a bedroom There is a covered birdcage . She sits upon the bed listening for a ` cheep ' from the birds . And gradually she reclines . Then turning her head to the side against the bedspread :</scene_description> <character>SISSY</character> <dialogue>No Indian blankets. no Indian blankets.</dialogue> <scene_description>And she blacks out . And the sound drifts away in waves , so there is only the whistle of a distant wind through the mortar of the apartment building . Until one by one , we see button necks freed . Soon Sissy can feel it . Someone is undressing her . In a voice webby with sleep she lifts her head up , and sees Howard and Marie .</scene_description> <character>SISSY</character> <dialogue>Where are the others?</dialogue> <character>HOWARD</character> <dialogue>Oh, Rupert and Carla had a little hassle and went home.</dialogue> <character>MARIE</character> <dialogue>Julian fell asleep on the couch ; we covered him up.</dialogue> <character>HOWARD</character> <dialogue>We thought that we should make you comfortable too.</dialogue> <scene_description>Sissy thinks this is nice , but wonders , however , why they are both in their underwear .</scene_description> <character>SISSY</character> <dialogue>Yes, thanks.</dialogue> <scene_description>Between the two of them , they have gotten Sissy out of her dress in no time . Sissy feels she should apologize for not having on a brassiere . Marie slips out of her own brassiere and moves her bare bosom close to Sissy 's .</scene_description> <character>MARIE</character> <dialogue>Mine are fuller but yours are more perfectly shaped.</dialogue> <character>HOWARD</character> <dialogue>Highly debatable. I'll wager they're the exact same size.</dialogue> <scene_description>Howard cups his left hand about a Marie breast and his right about one of Sissy 's . He weighs them in his palms , squeezes them the way an honest grocer squeezes excess water from a lettuce , and spreads his fingers to sample their circumference .</scene_description> <character>HOWARD</character> <dialogue>Hmm. Yours are larger, Marie, but Miss Hankshaw's - Sissy's - are more firm. You'd think they would have started to droop ; I mean, from not wearing a bra.</dialogue> <character>MARIE</character> <dialogue>Howard! Watch your manners. You've made her blush. Here, Sissy, let me compare.</dialogue> <scene_description>Marie seizes Sissy 's free breast , quickly , like a monkey picking a fruit , rolling it about in her hungry little finger , rubbing it against her chin and cheeks . and . it was like her earlier days as a hitchhiker . nostalgic . tropical plums .</scene_description> <character>SISSY</character> <parenthetical>( in ecstasy . )</parenthetical> <dialogue>This place is finer than the place I live!</dialogue> <scene_description>Like a disc jockey from Paradise , Howard flips Marie over and plays her B side . Every now and then she reaches for Sissy to include her , but the laws of physics insist on being obeyed . Over and over Marie calls Sissy 's name with half - closed eyes . The Barths are really going at it , Marie yowling like a cat . The POODLE in the kitchen begins to growl .</scene_description> <character>SISSY</character> <dialogue>So this is what it's like. so this is what it's really like.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM NIGHT</stage_direction> <scene_description>Sissy bounces out of the bed and patters through the living room and crawls under the cover with Julian . Julian stirs awake .</scene_description> <character>JULIAN</character> <dialogue>Oh, Sissy. I am sorry about all the fuss.</dialogue> <scene_description>Julian and Sissy embrace and go at it under the covers But suddenly : Julian stops after a brief climax .</scene_description> <character>JULIAN</character> <parenthetical>( with downcast eyes . )</parenthetical> <dialogue>I apologize.</dialogue> <scene_description>Sissy cradles Julian and comforts him .</scene_description> <character>JULIAN</character> <dialogue>It is the measure of Western Civilization that it can encompass in harmony, balance off, as it were, such divergent masterworks as A MIDSUMMER NIGHT'S DREAM and THE AMERICAN DREAM, as the dome of the Sistine Chapel and the ceiling of the Paris opera.</dialogue> <scene_description>Sissy sits up , her eyes moping about the apartment , looking but not seeing the macrame wallhangings , the volumes of Robert Frost .</scene_description> <character>JULIAN</character> <dialogue>What's the matter?</dialogue> <scene_description>After a while Sissy answers .</scene_description> <character>SISSY</character> <dialogue>I'm cold.</dialogue> <character>JULIAN</character> <dialogue>Here. I'll turn down the air conditioner.</dialogue> <character>SISSY</character> <dialogue>It's not the air conditioner that's making me cold. Nothing moves in here. Not even your birds.</dialogue> <scene_description>Sissy gets out of bed and begins to dress .</scene_description> <character>JULIAN</character> <dialogue>What are you doing?</dialogue> <character>SISSY</character> <dialogue>Getting dressed. I've got to go.</dialogue> <character>JULIAN</character> <dialogue>But I do n't want you to leave. Please stay. We can go to dinner. I owe you a dinner. And tonight. we can. really make love.</dialogue> <character>SISSY</character> <dialogue>I have to go, Julian.</dialogue> <character>JULIAN</character> <dialogue>Why? Why do you have to go?</dialogue> <character>SISSY</character> <parenthetical>( somewhat frantic . )</parenthetical> <dialogue>My thumbs hurt. I've made a mistake. I've been negligent. I have n't exercised. I have to hitchhike a little bit every day, no matter what. It's like a musician practicing his scales. When I do n't practice, my timing gets off, my thumbs get stiff and sore.</dialogue> </scene> <scene> <stage_direction>EXT. CITY DAWN</stage_direction> <scene_description>Sissy trembles while she kisses her thumbs .</scene_description> <character>SISSY</character> <dialogue>I will hitch with you, out where tall birds wade in a lake named for my Siwash kin. Out where Smokey the Bear lay down his shovel to romp with more playful beasts. Out where starlight has no enemies and the badland wind no friends. Out where the boogie stops and the woogie begins.</dialogue> </scene> <scene> <stage_direction>INT. TRUCK DAY</stage_direction> <scene_description>And Sissy is now traveling in a truck passing Fourteenth Street on her way to the Geo . Washington Bridge . View of that Bridge as the truck crosses it to New Jersy . View of the wilds of New Jersey as Sissy travels to the West .</scene_description> </scene> <scene> <stage_direction>INT. COUNTESS' OFFICE</stage_direction> <scene_description>The Countess is on the phone .</scene_description> <character>THE COUNTESS</character> <dialogue>So she left town. Well, that should n't surprise you. Leaving town is what Sissy is all about. But tell me, how did she strike you?</dialogue> <scene_description>Julian is on the other end of the phone .</scene_description> <character>JULIAN</character> <dialogue>Extraordinary!</dialogue> <character>THE COUNTESS</character> <dialogue>She's obviously that. Jesus! Which would you rather have, a million dollars or one of Sissy's thumbs full of pennies?</dialogue> <character>JULIAN</character> <dialogue>Oh, you! I'm not talking about her hands. They're difficult to ignore, I confess, but I'm speaking of her whole being. Her whole being is extraordinary. The way she talks, for example. She's so articulate.</dialogue> <character>THE COUNTESS</character> <dialogue>It's high time you realized, honey babe, that a woman does n't have to give the best years of her life to Radcliffe or Smith in order to speak the English language.</dialogue> <character>JULIAN</character> <dialogue>Countess. I'm really in a dither. She's turned my head.</dialogue> <character>THE COUNTESS</character> <dialogue>Ninety degrees to the left, I hope. How does she feel about you?</dialogue> <character>JULIAN</character> <dialogue>I think she's disappointed that I'm not more, ah, sort of atavistic. She's got some naive, sentimental notions about Indians. I'm sure she liked me, though ; but. then she left town.</dialogue> <character>THE COUNTESS</character> <dialogue>She always leaves town, you dummy. That does n't mean anything. What about in bed? How does she like it in bed?</dialogue> <scene_description>Julian pauses for a very long moment .</scene_description> <character>JULIAN</character> <dialogue>How does she like what in bed?</dialogue> <character>THE COUNTESS</character> <dialogue>Like what?</dialogue> <scene_description>The Countess ' teeth chatter in his mouth .</scene_description> <character>THE COUNTESS</character> <dialogue>What do you think?</dialogue> <character>JULIAN</character> <dialogue>Well. er.</dialogue> <character>THE COUNTESS</character> <dialogue>Shit O dear, Julian. Do you mean to tell me you did n't get it on?</dialogue> <character>JULIAN</character> <dialogue>Oh, we did n't get it all the way on.</dialogue> <character>THE COUNTESS</character> <dialogue>Whose fault was that?</dialogue> <character>JULIAN</character> <dialogue>I suppose it was mine. Yes, it definitely was my fault.</dialogue> <character>THE COUNTESS</character> <dialogue>What do they do to you boys in those Ivy league schools, anyway? Strap you down and pump the Nature out of you? They can even press the last drop of Nature out of a Mohawk buck. Why, send a shaman or cannibal to Yale for four years and all he'd be fit for would be a desk in the military - industrial complex and a seat in the third row at a Neil Simon comedy. Jesus H.M.S. Christ! If Harvard or Princeton could get hold of the Chink for a couple of semesters they'd turn him into a candidate for the Bow Tie Wing of the Hall of Wimps. Oogie boogie.</dialogue> <character>JULIAN</character> <dialogue>If we Ivy Leaguers are n't earthy enough to suit you hillbillies, at least we do n't go around indulging in racist terms such as ` Chink.' Next thing I know, you'll be calling me ` chief.'</dialogue> <character>THE COUNTESS</character> <dialogue>Chink's the guy's name, for Christ's sake.</dialogue> <character>JULIAN</character> <dialogue>What guy?</dialogue> <character>THE COUNTESS</character> <dialogue>Aw, he's some old fart holyman who lives in the hills out West. Gives my ranch the creeps and the willies, too. But though he be old and dirty, he's alive, I'll bet, clear down to his toes. They do n't have his juice in a jar in New Haven. Well I suppose that I'll have to write Sissy out on the road.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>Sissy makes little puffs of dust as she walks . From the direction of the ranch a VW Microbus is approaching . It is painted with mandalas , lamaistic dorjes and symbols representing `` the clear light of the void . '' When the Microbus draws alongside Sissy it stops . Inside are two men and a woman . They are approximately twenty - four years old .</scene_description> <character>WOMAN</character> <dialogue>Are you a pilgrim?</dialogue> <character>SISSY</character> <dialogue>No, I'm more of an Indian The trio does n't smile.</dialogue> <character>DRIVER</character> <dialogue>She means are you going to see the Chink?</dialogue> <character>SISSY</character> <dialogue>Oh, I may and I may not. But seeing him is not my main objective out here.</dialogue> <character>DRIVER</character> <dialogue>That's good. Because he wo n't see you. We came all the way from Minneapolis to see him and the crazy bastard tried to stone us to death</dialogue> <character>OTHER MAN</character> <dialogue>Yeah, but I no longer believe that guy's a master. He's just a dirty, uptight old mountain man. Why, he pulled out his pecker and shook it at Barbara. I'd stay away from there if I were you, lady.</dialogue> <scene_description>Sissy walks on leaving the people in the bus arguing about whether the Chink 's rock - shower and pecker - wag actually had been intended as spiritual messages .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>WALKING down the long dirt road , Sissy stops to take a breather and sits down on a log . Sissy thinking and looking into the clouds . Waves of grasses whisper her name : Ssssssssss , Sssssssssssss Sisssy . Meadowlarks squander their songs on her as she begins to squirm on the log . A Lincoln Continental drives up suddenly . Sissy barely has time to zip up . The Cadillac stops in front of Sissy . A teenaged girl in a Stetson is at the wheel . The rear door of the limousine opens and a refined matronly voice calls from the void .</scene_description> <character>MISS ADRIAN</character> <dialogue>By any chance are you Sissy Hankshaw?</dialogue> <character>SISSY</character> <dialogue>Yes I am.</dialogue> <scene_description>A chic middle - aged woman leans out of the car .</scene_description> <character>MISS ADRIAN</character> <dialogue>My goodness. Why did n't you telephone? Someone would have driven into Mottburg to pick you up. I'm Miss Adrian. From the ranch. The Countess wrote that I should expect you. Get in, wo n't you? You must be exhausted. Gloria, assist Miss Hankshaw with her luggage.</dialogue> <scene_description>Gloria nods at Sissy amicably but does n't make a move to help her . Sissy swings her sack into the roomy vehicle . Before she gets in she flashes her thumb to hitch a ride . The instant that Sissy shuts the door the cowgirl chauffeur floors the Cadillac and it lurches away in a puff of dust .</scene_description> </scene> <scene> <stage_direction>INT. CADDY DAY</stage_direction> <scene_description>Sitting up after the bothersome lurch of the car .</scene_description> <character>MISS ADRIAN</character> <dialogue>Little twit.</dialogue> <parenthetical>( turns to Sissy . )</parenthetical> <dialogue>You really ought to have phoned. We were just in Mottburg escorting some guests to the afternoon train.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>More guests leaving ahead of schedule. Three checked out today. They decided to transfer to Elizabeth Arden's Maine Chance spa in Phoenix, Arizona. It costs two hundred and fifty dollars a week less at the Rubber Rose, so why are our guests leaving and going to Elizabeth Arden's?</dialogue> <scene_description>Miss Adrian pushes a button that sends a partition glass between her and the cowgirl driver . Gloria starts laughing silently on the other side of the glass .</scene_description> <character>MISS ADRIAN</character> <dialogue>I'll tell you why, it's that plague of cowgirls. They've gradually infiltrated every sector of our program. The one named Debbie considers herself an expert on exercising and diet. With Bonanza Jellybean's permission and against my explicit orders, she's been coercing the guests into trying something called kundalini yoga. Do you know what that is? It's trying to mentally force a serpent of fire to crawl up your spinal column. Miss Hankshaw, our guests ca n't comprehend kundalini yoga, let alone do it. Yesterday, she ordered a new cookbook by a Tibetan Negro, entitled Third Eye in the Kitchen : Himalayan Soul Food. God knows what that will be like. The little barbarians are destroying everything that I've built, mocking all that the company stands for. And there's a new one, one they call del Ruby. She has the good will of a scorpion. I've considered it prudent to avoid a confrontation that might further upset the guests. But now that the season is practically over - we operate April through September - and the Countess is finally coming.</dialogue> </scene> <scene> <stage_direction>EXT. RUBBER ROSE DAY</stage_direction> <scene_description>The limousine pulls up in the drive .</scene_description> <character>MISS ADRIAN'S VOICE</character> <dialogue>Our Ranch has all the latest in modern facilities.</dialogue> </scene> <scene> <stage_direction>INT. BEAUTY RANCH DAY</stage_direction> <scene_description>We see women having facials .</scene_description> <character>MISS ADRIAN'S VOICE</character> <dialogue>We have a facial wing, and next to that is the Hair Barn.</dialogue> </scene> <scene> <stage_direction>INT. HAIR BARN DAY</stage_direction> <scene_description>Sissy is being given a tour by Miss Adrian . A variety of hairdos are witnessed .</scene_description> <character>MISS ADRIAN</character> <dialogue>We have a team of fifteen hair experts from all over the world.</dialogue> </scene> <scene> <stage_direction>INT. EXERCISE ROOM DAY</stage_direction> <character>MISS ADRIAN</character> <dialogue>And fanny flab flies off in this room at the rate of six hundred and seventy - five pounds a day. that's a lot of salted ham, Sissy.</dialogue> </scene> <scene> <stage_direction>INT. MAIN LODGE DAY</stage_direction> <scene_description>Sissy and Miss Adrian walk through the lodge lobby , guests and cowgirls are conducting a variety of activities : A BIRD EXPERT projects slides of whooping cranes on the wall and is giving a lecture about the habits of the birds . In the center of the room COWGIRL DEBBIE is leading a mixture of cowgirls and guests in a meditative chant as they reach high above their heads in a yoga exercise . Miss Adrian stops in front of the registration desk and Sissy catches glimpses of the chaotic lobby .</scene_description> <character>MISS ADRIAN</character> <dialogue>Our special guest Miss Sissy Hankshaw is with us.</dialogue> <scene_description>The receptionist hands Miss Adrian a key to Sissy 's room . A COWGIRL makes a face at Sissy as she walks by carrying a tray of herbal teas . A representative of the film crew is being intimidated by a Cowgirl who is looking though his camera lenses and shaking them and listening to them like you would put a shell up to your ear to hear the ocean .</scene_description> <character>COWGIRL</character> <dialogue>Cool! We're going to make a movie!</dialogue> <scene_description>Another cowgirl , BIG RED , is lifting a piece of furniture and passes it to her accomplice .</scene_description> <character>BIG RED</character> <dialogue>Get rid of the furniture. it's too masculine. Get rid of all the furniture and use it for kindling! Break away from these pig - like chauvinist masculine influences.</dialogue> <scene_description>Miss Adrian looks on helplessly . she grabs Sissy and leads her out of the lobby .</scene_description> </scene> <scene> <stage_direction>EXT. CORRAL DAY</stage_direction> <scene_description>Miss Adrian and Sissy walk out the back door of the Ranch and out near a corral , to the sound of gunfire .</scene_description> <character>MISS ADRIAN</character> <dialogue>O merciful Jesus! They're murdering the guests!</dialogue> <scene_description>One of the FILM CREW MEMBERS is hanging out in the corral wearing a shiny jacket with DISNEY printed on the back . Miss Adrian grabs him by the shoulders and shakes him .</scene_description> <character>MISS ADRIAN</character> <dialogue>Where are the guests?</dialogue> <character>MAN</character> <dialogue>Take it easy, lady. They went on a short ride with the cowgirls. Rode over the hill yonder. You're Miss Adrian, are n't you? We need to talk to you about the filming.</dialogue> <character>MISS ADRIAN</character> <dialogue>Not now, you fool, not now. Those crazed bitches have led innocent women out and are slaughtering them at this moment. We'll all be killed. Oh! Ohhh!</dialogue> <scene_description>Another CAMERAMAN spits out a wad of chewing gum .</scene_description> <character>CAMERAMAN</character> <dialogue>There's a slaughter going on all right, but it's not the fat ladies that are getting it. Your hired hands are killing the cattle.</dialogue> <character>MISS ADRIAN</character> <dialogue>The cattle? They're killing the cows? All of them?</dialogue> <character>CAMERAMAN</character> <parenthetical>( interrupted while putting a zoom lens on his camera . )</parenthetical> <dialogue>That's what they said, Miss Adrian.</dialogue> <scene_description>A devilish young cowgirl is sitting on a fence nearby . Miss Adrian addresses her .</scene_description> <character>MISS ADRIAN</character> <dialogue>How dare you slaughter the Countess's cattle! What is a ranch without cows?</dialogue> <character>COWGIRL</character> <dialogue>We're going to replace them with goats. Most of the cattle are diseased and in pain. We're just putting them out of their misery. According to Bon - an - za Jellybean, the Rubber Rose is in - di - cat - ive of the Countess's values. He has purchased a cheap weak strain of cow to begin with and with improper care.</dialogue> <character>MISS ADRIAN</character> <dialogue>Oh heavens! I do n't want to hear what Bonanza Jellybean has been telling you girls. Come on Sissy. I'll show you to your quarters.</dialogue> <scene_description>AND THE SUN SETS OVER THE CANYON , THE HILLS AND SIWASH RIDGE NEARBY . THE CHINK , with his back to us looks down on the ranch from the ridge and watches Miss Adrian lead Sissy into a small guest cottage on the ranch . A DISTANT COYOTE HOWLS , AND A FEW SCATTERED GUNSHOTS ARE HEARD .</scene_description> </scene> <scene> <stage_direction>INT. RANCH COTTAGE MORNING</stage_direction> <scene_description>Sissy stirs in a nicely appointed guest cottage . A maid knocks on the door and serves Sissy breakfast in bed .</scene_description> <character>MAID</character> <dialogue>Excuse me, Miss.. Do you care for your breakfast now?</dialogue> <scene_description>Sissy sits up and rubs her eyes .</scene_description> <character>SISSY</character> <dialogue>Yeah. I feel a bit hungry.</dialogue> <scene_description>The Maid puts the tray down , and the cloth that covers the food is lifted away to reveal a shocking display of grease and calories . A vase of prairie asters stands over a double - meat cheeseburger , a package of Hostess Twinkies , a cold can of Dr. Pepper and a Three Musketeers bar . Sissy is delighted .</scene_description> <character>SISSY</character> <dialogue>Road food. How did you know?</dialogue> <character>MAID</character> <dialogue>Well it is a change of our usual grapefruit and melba toast, I'm sure.</dialogue> <scene_description>Sissy notices a card . It reads : Compliments of Bonanza Jellybean</scene_description> <character>SISSY</character> <dialogue>Bonanza Jellybean.</dialogue> <character>MAID</character> <dialogue>She will be up to see you directly.</dialogue> <scene_description>Sissy devours her meal . Out her window she can see women on exercycles , women doing jumping jacks and women in beauty parlors . A FIST pounds on Sissy 's door . IN SAILS Jelly , a cowgirl so cute she makes Sissy blush just to look at her . She wears a tan Stetson with an aster pinned to it , a green satin shirt embroidered with rearing stallions snorting orange fire from their nostrils . Her breasts bounce like dinner rolls that have gotten loaded on helium and , between red tinged cheeks , where more baby fat is taking its time maturing , she has a little smile that can cause minerals and plastics to remember their ancient animate connections . Jelly grasps Sissy 's elbow and sits on the side of the bed .</scene_description> <character>JELLY</character> <dialogue>Welcome, podner. By God, it's great to have you here. It's an honor. Sorry I took so long getting to you, but we've had a mess of hard work these past few days - and a heap of planning to do.</dialogue> <character>SISSY</character> <dialogue>Er, you seem to know who I am, and maybe even what I am. Thanks for the breakfast.</dialogue> <character>JELLY</character> <dialogue>Oh, I know about Sissy Hankshaw, all right. I've done a little hitchhiking myself. Ah shucks, that's like telling Annie Oakley you're a sharpshooter because you once knocked a tomato can off a stump with a fieldstone. I'd heard tales about you from people I'd meet in jail cells and truckstops. I heard about your, uh, your, ah, your wonderful thumbs, and I heard how you were Jack Kerouac's girl friend.</dialogue> <scene_description>Sissy sets her tray on the bedside table .</scene_description> <character>SISSY</character> <dialogue>No, I'm afraid that part is n't true. Jack was in awe of me and tracked me down. We spent a night talking and hugging in a corn field, but he was hardly my lover. Besides, I always travel alone.</dialogue> <character>JELLY</character> <dialogue>Well, that does n't matter ; that part never interested me anyway. The beatnicks were before my time, and I never got anything outta the hippies but bad dope, clichés and the clap. But the example of your life helped me in my struggle to be a cowgirl.</dialogue> <scene_description>The guests are huffing and puffing in between the pauses in conversation , in the background through the window in Sissy 's room .</scene_description> <character>SISSY</character> <dialogue>Tell me about it.</dialogue> <character>JELLY</character> <dialogue>About.</dialogue> <character>SISSY</character> <dialogue>About being a cowgirl. What's it all about? When you say the word you make it sound like it was painted in radium on the side of a pearl.</dialogue> <character>JELLY</character> <dialogue>Cowgirls exist as an image. A fairly common image. The idea of cowgirls especially for little girls prevails in our culture. Therefore, it seems to me, the existence of cowgirls should prevail. Otherwise, they're being fooled. In the Rodeo Hall of Fame in Oklahoma City there are just two cowgirls. Two. And both of'em are trick - riders. Trick - riding is what cowgirls have almost always done in rodeos. Our society sure likes to see its unconventional women do tricks. That's what prostitutes call it, you know : ` tricking.'</dialogue> <scene_description>Jelly lays her hand atop the oval mound Sissy 's thumb makes under the covers .</scene_description> <character>SISSY</character> <dialogue>You're political, then?</dialogue> <character>JELLY</character> <dialogue>No, ma'am. No way. There's girls on the Rubber Rose who are political, but I do n't share their views. I got no cowgirl ideology to expound. `` Politics is for people who have a passion for changing life but lack a passion for living it.''</dialogue> <scene_description>There is a moment when the two girls feel something between each other .</scene_description> <character>JELLY</character> <dialogue>Did that last comment sound too profound to be coming outta my mouth? It's not original. It's something I picked up from the Chink.</dialogue> <character>SISSY</character> <dialogue>Really? The Chink, huh? I've gathered that you sometimes speak with him. What else have you learned from the Chink?</dialogue> <character>JELLY</character> <dialogue>Learned from the Chink? Oh my. Ha ha. That's hard to say. We mostly. Uh, a lot of his talk is pretty goofy.</dialogue> <scene_description>Jelly pauses .</scene_description> <character>JELLY</character> <dialogue>Oh yeah, now that I think of it, the Chink taught me something about cowgirls. Did you realize that cowgirls have been around for many centuries? Long before America. In ancient India the care of the cattle was always left up to young women they called gopis. Being alone with the cows all the time, the gopis got awfully horny, just like we do here. Every gopi was in love with Krishna, a good - looking young god who played the flute like it was going out of style When the moon was full, this Krishna would play his flute by a river and call the gopis to him. Then he would multiply himself sixteen thousand times - one for each gopi - and make love to each one the way she most desired. There they were, sixteen thousand gopis balling Krishna on the river bank, and the energy of their merging was so great that it created a huge oneness, a total union of love, and it was God. Wow! Quite a picture, huh?</dialogue> <scene_description>Sissy 's thumb twitches . Jelly swallows hard . They gaze into each other 's eyes . A WHISTLE pierces the sunlight outside the window .</scene_description> <character>JELLY</character> <dialogue>That could n't be Krishna, could it? A bit shrill for a flute. Just our rotten luck.</dialogue> <scene_description>Jelly walks to the window and exchanges hand signals with someone outside .</scene_description> <character>JELLY</character> <dialogue>Got ta run now. Delores says I'm needed. Somebody's here. Maybe it's the Countess.</dialogue> <scene_description>Jelly spins her six - shooter in her kewpie fingers .</scene_description> <character>JELLY</character> <dialogue>Sissy, cowgirl history is about to be made. I'm damn glad you're here to witness it.</dialogue> <scene_description>She holsters her gun and blows Sissy a kiss , then is gone out the door . Sissy hops out of bed and from the window she can see cowgirls gathering in a circle . Someone or something is in the center of the circle . Sissy zips herself into a red jumpsuit and hurries outside .</scene_description> </scene> <scene> <stage_direction>EXT. CORRAL DAY</stage_direction> <scene_description>What was in the center of the circle was a goat . Debbie was scratching the animal 's ears . She was hugging it .</scene_description> <character>KYM</character> <dialogue>It's cute. Way cuter than a cow.</dialogue> <character>DEBBIE</character> <dialogue>Goats are always testing you. They're like Zen masters. They can tell instantly if you're faking your feelings. So they play games with you to keep you true. People should go to goats instead of psychiatrists.</dialogue> <character>GLORIA</character> <dialogue>It's so loving.</dialogue> <scene_description>Gloria cuts in on Debbie and gives the beast a hug .</scene_description> <character>HEATHER</character> <dialogue>Look at those playfully wise eyes.</dialogue> <character>GLORIA</character> <dialogue>Ooo! It licked me!</dialogue> <character>JELLY</character> <dialogue>More and more people are discovering that cow's milk is n't fit for human consumption. Billy West says if we can produce enough goat's milk on the ranch to make it worth his while, he'll run it into Fargo regularly.</dialogue> <scene_description>She pauses and looks around the group in the circle .</scene_description> <character>DELORES</character> <dialogue>I'm aware that Tad Lucas rode broncs until her ninth month, but I do n't think pregnant cowgirls are going to be any asset on this ranch. I hope you itchy clits who are sneaking down to the lake every night are taking precautions. It's bad enough we've got cranes coming ; we do n't need storks. I feel that those film makers should be removed from the Rubber Rose as soon as possible. Men can cause nothing but trouble here. I also feel that our guest.</dialogue> <parenthetical>( she nods at Sissy . )</parenthetical> <dialogue>should be excused while we discuss this matter further.</dialogue> <scene_description>Hurt , Sissy leaves the group .</scene_description> </scene> <scene> <stage_direction>EXT. RANCH DAY</stage_direction> <scene_description>Views of Sissy in her Whooping crane outfit dancing to Debussy in front of the Disney film crew . The documentary being directed by an effusive Frenchman . View of the camera crew training their long telephoto lenses on Siwash Lake . They all seem to be wearing the same trademark satin baseball jackets with one logo or another on their backs . Another view of the lake , from above , from the Chink 's point of view and our first view of THE CHINK . The Chink spies Sissy and Jelly coming over a ridge . We can not hear them at first , but Sissy and Jelly are talking .</scene_description> <character>JELLY</character> <dialogue>Delores zonks out on peyote at least once a week, but so far her Third Vision has n't happened. Niwetükame, the Mother Goddess has not gotten back in touch with her. Meanwhile she and Debbie are rivaling each other like a couple of crosstown high schools. Tension. Cowgirl tension! What a drag.</dialogue> <character>SISSY</character> <dialogue>What is Debbie's position?</dialogue> <character>JELLY</character> <dialogue>Debbie says that if women are to take charge again, they must do it in the feminine way ; they must n't resort to aggressive and violent masculine methods. She says it is up to women to show themselves better than men, to love men, set good examples for them and guide them tenderly toward the New Age. She's a real dreamer, that Debbie - dear.</dialogue> <character>SISSY</character> <dialogue>You do n't agree with Debbie, then?</dialogue> <character>JELLY</character> <dialogue>I would n't say that. I expect she's right, ultimately. But I'm with Delores when it comes to fighting for what's mine. I ca n't understand why Delores is so uptight about the Chink ; he could probably teach her a thing or two. Ee! That grass tickles, does n't it? God knows I love women, but nothing can take the place of a man that fits. Still this is cowgirl territory and I'll stand with Delores and fight any bastards who might deny it. I guess I've always been a scrapper. Look. This scar. Only twelve years old and I was felled by a silver bullet.</dialogue> <scene_description>Jelly takes Sissy 's hand , carefully avoiding the thumbs and helps her feel the depression in her belly . The depression is a dimple , like another navel . AFTER A HUNGRY STILLNESS , like intermission at a wolf dance , rhythms are established . Jelly and Sissy are socked into one another now , and they arch and push and corkscrew and jackknife softly but with pronounced cadence . Everything becomes scrambled . They rock each other in cradles of sweat and saliva , until we can see nothing . Noisy breaths buck out of Sissy : `` Jelly , Jelly '' but she ca n't hear Sissy because she is screaming . Hysterical from the scalding hot softness of girl - love .</scene_description> </scene> <scene> <stage_direction>EXT. HILLTOP DAY</stage_direction> <scene_description>The Chink looks on from the hilltop above indifferently .</scene_description> </scene> <scene> <stage_direction>EXT. FIELD DAY</stage_direction> <scene_description>Sissy and Jelly are riding on the back of a horse . A WHOOPING CRANE is spied by Sissy as she rides on the back of Jellybean 's horse back to the ranch . Delores and Big Red hurry to meet them .</scene_description> <character>DELORES</character> <dialogue>He's here.</dialogue> <scene_description>Sure enough across the yard , in the midst of the low - cal barbecue in progress , monocle reflecting sunlight , cigarette holder stabbing the air , stands the Countess .</scene_description> <character>DELORES</character> <dialogue>Look at him. Perverse as a pink pickle.</dialogue> <character>BIG RED</character> <dialogue>Sick as a vice squad.</dialogue> <character>DELORES</character> <dialogue>He's in a snit. He wants to see you right after the barbecue.</dialogue> <scene_description>Jellybean chuckles sardonically and dismounts .</scene_description> <character>JELLY</character> <dialogue>Get the girls. He's gon na see me right now.</dialogue> <scene_description>Sissy , confused , and loyalties torn in the face of an impending revolution , leaves the corral and SLIPS INSIDE THROUGH THE KITCHEN . DOWN THE HALL ENTERING HER ROOM , SHE LOCKS HERSELF IN . As she locks the latch she hears Jelly 's voice .</scene_description> </scene> <scene> <stage_direction>INT RANCH OFFICE DAY</stage_direction> <scene_description>Jelly has taken over the ranch loudspeaker system and is giving an ultimatum .</scene_description> <character>JELLY</character> <dialogue>Any of you ladies who would like to join us, you're welcome to stay on as a full working podner at the Rubber Rose. Rest of you get packed - and I mean now. You've got fifteen minutes to move your lard asses off this ranch.</dialogue> <scene_description>INSIDE THE EXERCISE ROOM Women are reacting to the demands . INSIDE THE GREENHOUSE Some women are taking up trowels and brooms as weapons . INSIDE THE KITCHEN The help is joining the revolt . INSIDE THE HALLWAY Other women are running for their lives . INSIDE SISSY 'S ROOM She hears the screen door screech open and a chaos of footsteps in the hall . She goes to her window . And she can see , partially cut off by the corner of the building , Miss Adrian screaming .</scene_description> <character>MISS ADRIAN</character> <dialogue>You will all be rounded up and sent to prison if you take this any farther! This is not your ranch!</dialogue> </scene> <scene> <stage_direction>EXT. THE FRONT YARD OF THE RUBBER ROSE</stage_direction> <scene_description>The Countess seems to be taking it slowly , and calmly smoking a French cigarette . He observes the fighting among them with amusement .</scene_description> <character>THE COUNTESS</character> <dialogue>You pathetic little cutesy - poos. Do you actually suppose this exhibition of childlike melodrama is advancing the cause of freedom?</dialogue> <character>JELLY</character> <dialogue>You owe us this here ranch, as a token payment for your disgusting exploitations</dialogue> <character>THE COUNTESS</character> <parenthetical>( tranquilly . )</parenthetical> <dialogue>Then take it.</dialogue> <character>JELLY</character> <dialogue>Go for it, girls!</dialogue> <scene_description>The hands , who carry axes , picks , pitchforks and shovels , retreat . The Countess , still grinning , reaches for an hors d'oeuvre and subjects his cigarette to a measured , self - assured puff .</scene_description> <character>MISS ADRIAN</character> <parenthetical>( shaking her fist . )</parenthetical> <dialogue>Go to your bunkhouse and remain there!</dialogue> </scene> <scene> <stage_direction>INT. ROOMS</stage_direction> <scene_description>The guests are hurriedly packing their things .</scene_description> </scene> <scene> <stage_direction>INT. SISSY'S ROOM</stage_direction> <scene_description>She looks on .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT YARD</stage_direction> <scene_description>When the revolutionaries have retreated about thirty yards , they stop . With astonishing rapidity , they unbuckle unbutton and unzip and step out of their jeans and underpants . Then , nude from the waist down , thatched pubises thrust forward , up front and leading the way , they begin to advance . The Countess 's grin goes down his throat like bathwater down a drain .</scene_description> <character>GLORIA</character> <dialogue>Better reach for your spray cans!</dialogue> <character>JELLY</character> <dialogue>Not one of these pussies has been washed in a week!</dialogue> <scene_description>Rather pale , his nose twitching , the Countess drops the caviar canapé he has been holding . ON COME THE COWGIRLS , pelvises pumping , laying down what the trembling Countess believes to be a devastating barrage of musk . Miss Adrian , lost in her own hysteria , charges . A barbeque fork she hurls draws blood from Heather 's eyebrow . Quick as a frog 's tongue , Delores 's whip cracks . It 's lash curls around the ranch manager 's ankles , pulling her feet from under her . She hits the sod in a jangle of jewelry and expulsion of breath . A Molotov cocktail thrown by Big Red says hello to the sexual reconditioning building . Within seconds , the structure is blazing .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HOUSE</stage_direction> <scene_description>THE BARE - ASSED COWGIRLS storm into the beauty parlor and exercise rooms . SOUNDS OF breaking glass and wood splintering . The air is singing with cries of `` Wahoo , '' Yippee , '' `` Let ` er buck '' and `` The vagina is a self - cleaning organ . ''</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>SISSY flees the house as she hunkers down out the back door .</scene_description> </scene> <scene> <stage_direction>EXT. CROQUET COURT</stage_direction> <scene_description>Sissy running across it . She passes the pool , and falls in . Climbing out , wet , scared , she runs to the base of Siwash Ridge and southward along the mountain 's foot . EVENTUALLY Sissy comes to a place where the juniper bushes are broken to reveal a crude path beginning a steep ascent . Sissy decides to climb up it . She shoulders her way through low , slivery boughs . Approximately halfway up the ridge she rests on a flat rock from which she can look down on the . BURNING RUBBER ROSE smoking away , distant yahoos and carryings on can be heard . Horses whinney in the corral . A few gunshots are thrown into the soundtrack if things are n't lively enough . MISS ADRIAN 'S CADILLAC , ON FIRE , roars out of the drive . Sissy looks up to the quiet mountain . Pauses . Then she looks back to the chaos below . THE CINEMATOGRAPHERS ' RENTED CONVERTIBLE AND THEIR EQUIPMENT VAN drive away . Sissy sits and wonders . The sun is setting on the horizon , mixing well with the firelight that the Rubber Rose is giving off . BUT SHE is aware of something watching her . Looking about she sees nothing . VIEW of an empty trail . VIEW OF a quivering bush . Sissy turns to the sound of the CHINK .</scene_description> <character>CHINK</character> <dialogue>Ha ha ho ho hee hee.</dialogue> <scene_description>AND THERE HE IS . Standing only ten yards away . The Chink 's problem is that he looks like he rolled out of a Zen scroll , as if he says `` presto '' a lot , knows the meaning of lightning and the origin of dreams . He LOOKS as if he drinks dew and fucks snakes . Sissy and the Chink scrutinize one another with mutual fascination .</scene_description> <character>CHINK</character> <dialogue>Ha ha ho ho and hee hee.</dialogue> <scene_description>Sissy is just about to speak , but before she does THE CHINK whirls , and scampers up the mountainside .</scene_description> <character>SISSY</character> <dialogue>Wait!</dialogue> <scene_description>Warily he stops and turns , poised to flee again . Sissy smiles . SHE RAISES her ripe right thumb . And jerking it and swooshing it , she hitchhikes the Chink and his mountain . THERE HE STANDS where Sissy 's thumbs have stopped him . The Chink wears the wary look of a wild animal . He 's not going to stay stopped long . It is Sissy 's move .</scene_description> <character>SISSY</character> <dialogue>Well, are n't you going to shake your whanger at me?</dialogue> <scene_description>The Chink pauses for a moment , then he slaps his thighs and giggles hysterically . Ha has , ho hos and hee hees squirt out of his nose and through the gaps in his teeth .</scene_description> <character>CHINK</character> <parenthetical>( laughter dies a nervous chipmunk death . )</parenthetical> <dialogue>Follow me. I'll fix you supper.</dialogue> <scene_description>THE TWO doggedly walk up the steep trail .</scene_description> <character>SISSY</character> <dialogue>I'm a friend of Bonanza Jellybean's.</dialogue> <character>CHINK</character> <dialogue>I know who you are.</dialogue> <character>SISSY</character> <dialogue>Oh? Well, there's been some trouble on the ranch. I came up here to get out of the way. It's so dark now I doubt if I could find my way back down. If you could help.</dialogue> <character>CHINK</character> <parenthetical>( voice that wears no pants . )</parenthetical> <dialogue>Save your breath for the climb.</dialogue> <scene_description>SISSY takes another look at the Rubber Rose , which is now quiet . We can hear faintly a distant popping of washcloths and girlish laughter . THEY make their way into a depression at the top of the mountain down a ladder of sticks . THE CHINK lights a large fire in the middle of the depression . HE puts a kettle of stew over the fire , and begins to roast yams . THE CHINK 'S FACE as the fire dances off it . A CAN OF CHUNG KING water chestnuts is opened . CUT TO : Sissy and the Chink eating supper on a rough wooden bench . AND AS THEY FINISH , the Chink goes into a cave and returns with a tiny peppermint - stripped plastic transistor radio . He switches it on and the silence is broken by `` The Happy Hour Polka . '' Still clutching the radio in one hand , the Chink hops into the wheel of firelight and begins to dance . Sissy walks around the fire watching the old geezer heel and toe , skip and hop . He flings his bones ; he flings his beard .</scene_description> <character>CHINK</character> <dialogue>Yip! Yip! Ha ha ho ho and hee hee.</dialogue> <scene_description>Arms swimming , feet firecrackering , he dances and dances . When the song ends , the Chink puts the radio down as the news comes on .</scene_description> <character>CHINK</character> <dialogue>Personally, I prefer Stevie Wonder, but what the hell. Those cowgirls are always bitching because the only radio station in the area plays nothing but polkas, but I say you can dance to anything if you really feel like dancing.</dialogue> <scene_description>The Chink dances a little to the news , and then lifts Sissy by her shoulders and guides her onto his pock - marked dance floor .</scene_description> <character>SISSY</character> <dialogue>But I do n't know how to polka.</dialogue> <character>CHINK</character> <dialogue>Neither do I. ha ha ho ho hee hee.</dialogue> <scene_description>The radio strikes up the `` Lawrence Welk is a Hero of the Republic Polka , '' and the Chink and Sissy dance arm in arm , their shadows reel against the curves of the depression in the mountain . Night birds fly past with fluttering feathers . A bat flies out of the cave . The Chink escorts Sissy to a dark side of the depression and sits her down upon a pile of soft stuff : dried wheatgrass , faded Indian blankets and old down pillows without cases .</scene_description> <character>SISSY</character> <parenthetical>( thinking . )</parenthetical> <dialogue>So this is how Jelly spends her visits to the Chink.</dialogue> <scene_description>A twanging noise sounds from the bowels of the nearby cave .</scene_description> <character>SISSY</character> <dialogue>What was that?</dialogue> <character>CHINK</character> <dialogue>Clockworks.</dialogue> <character>SISSY</character> <dialogue>Clockworks?</dialogue> <scene_description>The Chink pauses to decide whether he should talk any further , then proceeds .</scene_description> <character>CHINK</character> <dialogue>The Clockworks is one reason that I am here on Siwash Ridge. I accepted the invitation to be initiated as a shaman by an aged Siwash chief who was the principle outside confederate of the Clock People.</dialogue> <character>SISSY</character> <dialogue>Siwash, huh?</dialogue> <character>CHINK</character> <dialogue>He was a degenerated warlock who could turn urine into beer, and the honor that he extended me gave me rights of occupancy in this sacred cave on this far - away Siwash Ridge. I came to the Dakota hills to construct a clockworks of my own.</dialogue> <scene_description>Sissy cradles her head in her arms , but is startled by a louder noise from the clockworks . The Chink is startled too . Bonk ! sounds the cave , and then it chimes poing ! The Chink smiles at the noise coming from his clockworks .</scene_description> <character>CHINK</character> <dialogue>But unlike the clockworks of the Clock People, my ticks more accurately echo the ticks of the universe.</dialogue> <parenthetical>( he listens . )</parenthetical> <dialogue>. ha ha ho ho and hee hee.</dialogue> <character>SISSY</character> <dialogue>The Clock People?</dialogue> </scene> <scene> <stage_direction>INT. CAVE NIGHT</stage_direction> <scene_description>The Chink leads Sissy into the cave where we see his clockworks . It is made of garbage can lids and old saucepans and lard tins and car fenders all wired together with baling wire . A bat flies into it making a bong noise and the contraption moves a little .</scene_description> <character>CHINK</character> <dialogue>During the Second World War I busted out of Tule Lake detention camp ; as a Japanese - American, I had been put there and watched over. I found refuge with the Clock People, who discovered me in a snow bank, near dead, I had been climbing across the Sierra Nevada mountains.</dialogue> <character>SISSY</character> <dialogue>Then if you are Japanese, then why are you called the Chink?</dialogue> <character>CHINK</character> <dialogue>The Clock People mistook me for Chinese. And the name stuck. In the same way that all Indian tribes came to be labeled `` Indians'' through the ignorance of an Italian sailor with a taste for oranges, it is only fitting that `` Indians'' misnamed me. The Clock People, however, are not a tribe, rather they are a gathering of Indians from various tribes. They have lived together since 1906.</dialogue> </scene> <scene> <stage_direction>INT. THE GREAT BURROW</stage_direction> <scene_description>A gathering of the Clock People . A woman is giving birth near the Giant timekeeping hourglass .</scene_description> <character>CHINK</character> <dialogue>The pivotal function of the Clock People is the keeping and observing of the clockworks. It is a real thing, and is kept at the center, at the soul, of the Great Burrow. Insofar as it is possible, all Clock People deaths and births occur in the presence of the clockworks. Aside from birthing or dying, the reason for the daily visits to the clockworks is to check the time.</dialogue> </scene> <scene> <stage_direction>INT. SIWASH CAVE NIGHT</stage_direction> <scene_description>Sissy listens to the Chink as they walk around the Chink 's clockworks .</scene_description> <character>CHINK</character> <dialogue>These people have no other ritual than this one. Likewise, they have but one legend or cultural myth : that of a continuum they call the Eternity of Joy. It is into the Eternity of Joy that they believe all men will pass once the clockworks is destroyed. The destruction must come from the outside, must come by natural means, must come at the will of this gesticulating planet whose more acute stirrings thoughtless people call `` earthquakes.''</dialogue> <scene_description>The Chink holds Sissy 's thumbs in his hands adoringly .</scene_description> <character>CHINK</character> <dialogue>The Earth is alive. She burns inside with the heat of cosmic longing. She longs to be with her husband again. She moans. She turns softly in her sleep. In the Eternity of Joy, pluralized, deurbanized man, at ease with his gentle technologies, will smile and sigh when the Earth begins to shake. I loved those loony redskins, but I could n't be a party to their utopian dreaming. After a while it occurred to me that the Clock People waiting for the Eternity of Joy was virtually identical to the Christians waiting for the Second Coming. Or the Communists waiting for the worldwide revolution. Or the Debbies waiting for the flying saucers. All the same. Just more suckers betting their share of the present on the future, banking every misery on a happy ending to history. Well, history is ending every second - happily for some of us, unhappily for others, happily one second, unhappily the next. History is always ending and always not ending. ha ha ho ho and hee hee.</dialogue> <scene_description>Sissy interrupts the Chink for a second while he is worshipping her thumbs .</scene_description> <character>SISSY</character> <dialogue>What do you believe in then?</dialogue> <character>CHINK</character> <dialogue>Ha ha ho ho and hee hee.</dialogue> <scene_description>Then he says nothing . And his silence makes Sissy weep . They sit down on a grass floor , illuminated by the fire outside the cave . Then the Chink , without hesitation , grasps her thumbs . He squeezes them , caresses them , covers them with wet kisses , telling them how beautiful they are . Sissy is bowled over , frightened , stunned , elated , moved almost to tears . Sissy bends her head back and whispers .</scene_description> <character>SISSY</character> <dialogue>If this be adultery, make the most of it.</dialogue> <scene_description>And as the Chink plunges into Sissy , she arches her spread bottom against the blankets and rears up to meet him halfway . Their bodies glowing in the firelight , they cast shadows of ANCIENT BEINGS , anthropomorphs making love through the night under the moon .</scene_description> </scene> <scene> <stage_direction>INT. CAVE DAY</stage_direction> <scene_description>SUNBEAMS awaken Sissy . When she looks around she sees an inscription has been freshly scrawled on the right wall . I BELIEVE IN EVERYTHING ; NOTHING IS SACRED . And on the left wall : I BELIEVE IN NOTHING ; EVERYTHING IS SACRED . Sissy hears and then sees A HELICOPTER in the sky above the ranch . Sissy gets up and walks out of the cave .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL MORN</stage_direction> <scene_description>Sissy walks .</scene_description> </scene> <scene> <stage_direction>EXT. RUBBER ROSE</stage_direction> <scene_description>Sissy hitches a ride out of town .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT DOORSTEPS MORNING</stage_direction> <scene_description>Countless NEWSPAPERS on countless porches , and the headline of the St. Louis Post - Dispatch reads : OUR WHOOPING CRANES ARE MISSING .</scene_description> </scene> <scene> <stage_direction>INT. THE COUNTESS' OFFICE DAY</stage_direction> <scene_description>The countess is in a snit .</scene_description> <character>THE COUNTESS</character> <dialogue>Sissy, do n't play dumb with me! You're a good model but a shitty actress. The cowgirls are involved in this whooping crane disappearance. You know perfectly well they are. Last seen in Nebraska. Did n't make it to Canada. Siwash Lake is between Nebraska and Canada. The cowgirls have possession of Siwash Lake. And who else but Jellybean's wild cunts could possibly conceive of doing something so diabolical as to tamper with the last flock of some nearly extinct birds? How much do you know about it? Have they murdered those cranes the way they murdered my moo cows?</dialogue> <character>SISSY</character> <dialogue>I do n't know anything about it.</dialogue> <character>THE COUNTESS</character> <dialogue>Sissy. You're trying to protect those scuzzy bitches. Well, let your conscience be your guide, as my mommy used to say, but it wo n't work. Those stinking sluts are going to suffer.</dialogue> <scene_description>Sissy strikes the Countess with her right thumb - with astonishing force . Immediately the thumb strikes again , this time shattering the Countess 's monocle against his eye .</scene_description> <character>THE COUNTESS</character> <parenthetical>( gasping . )</parenthetical> <dialogue>Shit O dear.</dialogue> <scene_description>HIS DENTURES fall onto the shag rug . The left thumb strikes . Sissy is swinging her thumbs like ballbats socking flaming homers over the left - field fence . The countess is out on his feet . His eyes are closed . His legs wobble . He does a pathetic dance , like a drunken old fool trying to boogie with a chorus girl . He topples forward and meets Sissy 's onrushing thumb of thunder which straightens him up , sends him over backward . Motionless , he lies on the floor , a crimson part in his thinning hair , a bright ooze at each nostril .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL DAY</stage_direction> <scene_description>Seated on a spotless wooden bench is Sissy , staring at a clock . A surgeon emerges .</scene_description> <character>SURGEON</character> <dialogue>Well, he's not out of danger, but I think we can safely say he's going to make it. I'd be pretty surprised if he did n't. However, there is evidence of injury to the frontal lobe, and I have reason to fear that this injury may be permanent. The patient may never again function as a normal human being.</dialogue> <character>SISSY</character> <dialogue>Brain damage? You mean he's going to be a vegetable?</dialogue> <character>SURGEON</character> <dialogue>Vegetable? Vegetable? I would n't say that, no. We wo n't ascertain the extent of the injury for some days. But there is a genuine possibility of severe and lasting behavioral defects. I would n't classify it in the vegetable category, however.</dialogue> </scene> <scene> <stage_direction>EXT. STREET DAY</stage_direction> <scene_description>SISSY IS HITCHING OUT OF TOWN . A conservative blue Econoline van out of the throngs of traffic draws itself to Sissy as if on a string . SISSY HOPS IN .</scene_description> </scene> <scene> <stage_direction>INT. VAN DAY</stage_direction> <scene_description>The DRIVER stomps on the gas . With a sense of disgust at her own failure Sissy scrutinizes his sweaty brow , his smug hot leer , his starving eyes . Her heart sinks when she sees his gun and his knife . He is also unzipping his pants .</scene_description> <character>DRIVER</character> <dialogue>I'm going to give it to you like you've never had it before. Oh, you did n't know it could be this good. You're gon na like it. You're gon na like it. You're gon na like it so good. You're gon na love it so much you're gon na cry. You're gon na cry. You're gon na cry and cry. Do you like to cry? Do you like it when it hurts a little bit? Whatever happens to you, it'll be worth it. The way I'm gon na give it to you, it'll be worth anything. Everything. Go ahead and cry if you want to. I like it when women cry. It means they appreciate me.</dialogue> </scene> <scene> <stage_direction>EXT. STREET DAY</stage_direction> <scene_description>The van pulls over down a dead end alley between warehouses .</scene_description> </scene> <scene> <stage_direction>INT. VAN DAY</stage_direction> <scene_description>Sissy looks into the back at a soiled mattress . The driver is taking his dick out of his pants . But with a swift swoosh , Sissy 's left thumb comes down hard on the penis top , making the driver howl . His finger fumbles for the gun trigger , but before he gets to it , Sissy 's thumb splats between his eyes . Twice . Three times . He loses control of the van .</scene_description> </scene> <scene> <stage_direction>EXT. VAN DAY</stage_direction> <scene_description>It lumbers into a street lamp . Sissy leaps from the vehicle and runs .</scene_description> </scene> <scene> <stage_direction>INT. WORKING MAN'S LUNCHEONETTE DAY</stage_direction> <scene_description>Sissy goes in and begins to cry at the counter as she looks at her thumbs .</scene_description> </scene> <scene> <stage_direction>EXT. NEW JERSEY TURNPIKE DAY</stage_direction> <scene_description>Into a sunset hitches Sissy .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NIGHT</stage_direction> <scene_description>SISSY hops into a semi . TRENTON N.J. BALTIMORE MD WASHINGTON D.C. . Then RICHMOND , VA</scene_description> </scene> <scene> <stage_direction>EXT. DR. DREYFUS'S HOUSE DAY</stage_direction> <scene_description>An older Dr. Dreyfus answers the door . Without Sissy 's asking he speaks .</scene_description> <character>DR. DREYFUS</character> <dialogue>I'm afraid I ca n't help you.</dialogue> <character>SISSY</character> <dialogue>But Doctor.</dialogue> <character>DREYFUS</character> <dialogue>Please, child, do n't be dismayed. We all have problems these days. But as the painter Van Gogh said, ` Mysteries remain, sorrow or melancholy remains, but the everlasting negative is balanced by the positive work which thus is achieved, after all.' I do n't suppose that means very much to you. I have retired. A victim of a malpractice suit.</dialogue> <character>SISSY</character> <parenthetical>( embracing him . )</parenthetical> <dialogue>Oh, Doctor! You've got to do it. You and nobody else should be allowed to take away my gift.</dialogue> <scene_description>In her embrace , the Doctor is presented with her thumbs .</scene_description> <character>DR. DREYFUS</character> <dialogue>Ah, the thumb.</dialogue> <scene_description>LATER sitting inside his study , Dreyfus muses .</scene_description> <character>DR. DREYFUS</character> <dialogue>The thumb the thumb the thumb the thumb the thumb the thumb. One of evolution's most ingenious inventions ; a built - in tool sensitive to texture, contour and temperature : an alchemical lever ; the secret key to technology ; the link between the mind and art ; a humanizing device. The marmoset and the lemur are thumbless ; none of the New World monkeys has opposable thumbs ; the spider monkey's thumbs are absent or reduced to a tiny tubercle ; the thumbs of the potto are set at an angle of one hundred eighty degrees to the other digits.</dialogue> <scene_description>Pause .</scene_description> <character>DR. DREYFUS</character> <dialogue>And so you are demanding at last the privileges of thumb that nature has perversely denied you?</dialogue> <character>SISSY</character> <dialogue>I just want to be normal, give me that old - fashioned normality. It was good enough for Crazy Horse and it's good enough for me.</dialogue> <character>DR. DREYFUS</character> <dialogue>Ah, yes. Very well, my dear. Here is what we can do.</dialogue> <scene_description>VIEWS OF Sissy admitted to a hospital Blood analyzed in a laboratory . Powerful lamps turn on in an operating room . IV tubes are inserted in veins . Sissy is wheeled into surgery . An anesthesiologist sticks a needle into a curved and creamy ass . An anesthesiologist sticks needles into a long , graceful neck . A nurse scrubs an arm . A body and table are draped with sheets to create a sterile field . A tourniquet is placed on a slender right arm . An elastic rubber bandage is applied so tightly it squeezes most of the blood out of an arm . A tourniquet is inflated . A surgeon outlines in iodine an incision around the base of a thumb . Pale smooth skin is incised along a premarked line and dissected down to the bone . Woman flesh is sewn shut with four - ought nylon suture . A tourniquet is deflated , a bloody arm bathed . A young woman is rolled into a recovery room . A nurse and two surgeons , their attention directed by an intensifying pinkish glow , turn to stare into a metal pan , where a huge human thumb , disarticulated from the hand it has been severed from , is now flopping about like a trout , or rather , arching and thrusting itself in a calculated and endlessly repeated gesture , the gesture of the hitchhike .</scene_description> </scene> <scene> <stage_direction>EXT. SKY DAY</stage_direction> <scene_description>Two representatives of the Fish and Wildlife Service are flying over Siwash Lake in a U.S. Forestry Service Helicopter . THEY CAN SEE the whooping cranes by the side of the lake . And as they are recording this , shots from a band of young women on horseback drive them away .</scene_description> </scene> <scene> <stage_direction>EXT. RUBBER ROSE RANCH DAY</stage_direction> <scene_description>the same two agents are driving in a truck approaching the Rubber Rose Ranch . Two bullet ricochets spin off the hood and roof of their truck and they stop to see a lone teenaged cowgirl with a rifle .</scene_description> </scene> <scene> <stage_direction>EXT. RUBBER ROSE GATES DAY</stage_direction> <scene_description>An entourage of Forest Service Rangers , a county sheriff , four deputy shriffs , a state game warden and Mottburg 's town marshall and several of his deputies , the editor of the Mottburg Gazette and a couple of bird watchers or two are met by . AT LEAST FIFTEEN ARMED FEMALES at the gate of the Ranch . Through a bullhorn , Jelly speaks out at the entourage of law enforcement officers .</scene_description> <character>JELLY</character> <dialogue>Yep, the whooping cranes are here all right. They're in fine shape, and as you musta saw from your fucking whirly machine, unrestrained, free to go as they please. But this is private property and you are n't laying a foot on it. None of you.</dialogue> <character>SHERIFF</character> <dialogue>We'll be back with a court order and a fistful of search warrants.</dialogue> <character>JELLY</character> <dialogue>Just come back with a couple of people who know what they're doing and we'll let'em in for a nice close look at the birds.</dialogue> <character>DELORES</character> <dialogue>And make sure at least one of them is female, and you better do as we say or there may be trouble.</dialogue> <scene_description>AND OVER THE AIRWAVES an announcement is broadcast .</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE DAY</stage_direction> <scene_description>THE ASSISTANT INTERIOR UNDERSECRETARY IS SPEAKING INTO A MICROPHONE FOR THE NEWS , and reading from a paper in his hand .</scene_description> <character>UNDERSECRETARY</character> <dialogue>It will be my extreme pleasure to report to the President.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL AURITORIUM</stage_direction> <scene_description>Students listening .</scene_description> <character>UNDERSECRETARY</character> <dialogue>who has been gravely concerned about the fate of our whooping cranes.</dialogue> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE DAY</stage_direction> <scene_description>Two construction workers high atop the city listening to a small transistor radio and eating lunch .</scene_description> <character>UNDERSECRETARY</character> <dialogue>and to the Interior Secretary and to the American people that the entire flock of cranes is, indeed, at.</dialogue> </scene> <scene> <stage_direction>EXT. MALL DAY</stage_direction> <scene_description>A crowd of people listening to a broadcast in front of a bandstand set up in front of the mall .</scene_description> <character>UNDERSECRETARY VOICE</character> <dialogue>Siwash Lake and in apparently healthy condition.</dialogue> <scene_description>The crowd cheers .</scene_description> <character>UNDERSECRETARY VOICE</character> <dialogue>The cranes have built brooding nests around the whole circumference of the small lake, and have.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD DAY</stage_direction> <scene_description>Cowgirls are watching a small television .</scene_description> <character>UNDERSECRETARY</character> <dialogue>hatched chicks there. Counting the young birds, there are now approximately sixty cranes in the flock. While this is good news, it is also quite bewildering.</dialogue> </scene> <scene> <stage_direction>EXT. RUBBER ROSE RANCH DAY</stage_direction> <scene_description>A vehicle know as `` the peyote wagon '' pulls out of the Rubber Rose . Delores del Ruby is at the wheel . And over her truck radio we hear :</scene_description> <character>UNDERSECRETARY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Whooping cranes are territorially minded and have never been known to nest as close as a mile to one another, yet here they are virtually side by side.</dialogue> </scene> <scene> <stage_direction>EXT. HILL DAY</stage_direction> <scene_description>A lone FBI man sees the peyote wagon leaving the ranch through his binoculars .</scene_description> </scene> <scene> <stage_direction>INT. CAR NIGHT</stage_direction> <scene_description>Sissy hears a broadcast over a moving car radio .</scene_description> <character>NEWS REPORTER</character> <dialogue>The Rubber Rose Ranch has issued a communiqué that was sent to the federal judge and copies of a recording to the press, today.</dialogue> <scene_description>We can hear the voice of Bonanza Jellybean :</scene_description> <character>JELLY</character> <parenthetical>( over the radio . )</parenthetical> <dialogue>THE WHOOPING CRANE HAS BEEN DRIVEN TO THE EDGE OF EXTINCTION BY AN AGGRESSIVE, BRUTAL PATERNALISTIC SYSTEM INTENT ON SUBDUING THE EARTH AND ESTABLISHING ITS DOMINION OVER ALL THINGS - IN THE NAME OF GOD THE FATHER, LAW, ORDER AND ECONOMIC PROGRESS.</dialogue> <scene_description>Sissy recognizes the voice .</scene_description> <character>SISSY</character> <dialogue>That's Jellybean!</dialogue> <character>JELLY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>FROM MEN, THE WHOOPING CRANE HAS RECEIVED NEITHER LOVE NOR RESPECT. MEN HAVE DRAINED THE CRANE'S MARSHES, STOLEN ITS EGGS, INVADED ITS PRIVACY, POLLUTED ITS FOOD, FOULED ITS AIR, BLOWN IT APART WITH BUCKSHOT.</dialogue> </scene> <scene> <stage_direction>INT. RANCH OFFICE</stage_direction> <scene_description>Jelly is on the telephone .</scene_description> <character>JELLY</character> <dialogue>OBVIOUSLY, A PATERNALISTIC SOCIETY DOES NOT DESERVE ANYTHING AS GRAND AND BEAUTIFUL AND WILD AND FREE AS THE WHOOPING CRANE. YOU MEN HAVE FAILED IN YOUR DUTY TO THE CRANE. NOW IT IS WOMEN'S TURN. THE CRANES ARE IN OUR CHARGE NOW. WE WILL PROTECT THEM AS LONG AS THEY STILL REQUIRE PROTECTION -</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL RECOVERY ROOM DAY</stage_direction> <scene_description>Sissy listens to the radio .</scene_description> <character>JELLY'S VOICE</character> <dialogue>WHILE WORKING TOWARD A DAY WHEN THE CREATURES OF THE WORLD NO LONGER HAVE TO SUFFER MAN'S EGOISM, INSENSITIVITY AND GREED. WE REFUSE YOUR ORDER. WE SAY TAKE YOUR ORDER AND SHOVE IT. THIS FLOCK OF BIRDS IS STAYING WITH US. GET LOST, MAC.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD DAY</stage_direction> <scene_description>Sissy is hitchhiking with her new thumb . But cars pass one after another without stopping . Until Sissy finally tries her left thumb , which has been spared the knife . With this thumb there are new maneuvers to try out . And as soon as the does , a car stops . MOSAIC of hitchhiking brilliance with Sissy 's use of her left thumb . A CLOCK IS TICKING past twelve then on to six and past eight . she dances wildly around traffic , stopping the hardest of drivers , THE CLOCK TICKS AWAY and within thirty hours she is approaching Mottburg again .</scene_description> </scene> <scene> <stage_direction>EXT. RUBBER ROSE DAY</stage_direction> <scene_description>The Ranch is now surrounded by two hundred federal marshalls reinforced by a dozen FBI agents with loaded guns taking position outside the ranch . Sissy gets out of her car and walks past the posse and through the gates . Kym carries a radio which is playing `` The Day - Old Apple Strudel Polka '' across the corral . She carries the radio as if it is a suitcase full of skunk lice .</scene_description> <character>KYM</character> <dialogue>Man, this is the stupidest music I've ever heard. This radio should have stayed in the privy where it belongs.</dialogue> <scene_description>Kym ropes the radio to her saddle horn and prepares to give it a ride across the Dakota hills . She gets on her horse and rides by the Ranch bungalows and spies Sissy sitting in the outhouse .</scene_description> <character>SISSY</character> <dialogue>Howdy.</dialogue> <scene_description>Kym gets off her horse and hugs Sissy .</scene_description> <character>KYM</character> <dialogue>You know what you're getting into if you come over to the lake.</dialogue> <character>SISSY</character> <dialogue>Yes, but I want to be there. I want to see Jellybean. I want to see the cranes.</dialogue> <scene_description>THEY RIDE ACROSS THE HILLS . Then they stop at an outlook and Sissy sees the circular barricade in the field below .</scene_description> <character>KYM</character> <dialogue>We heard on the radio that the judge has set Delores's bail at fifty thousand dollars. Now she wo n't be here when we really need her.</dialogue> </scene> <scene> <stage_direction>EXT. CAMP DAY</stage_direction> <scene_description>A few cowgirls in the camp huddle around a radio :</scene_description> <character>RADIO NEWS REPORT</character> <dialogue>The American Civil Liberties Union has requested an extension for the Rubber Rose Ranch. The government is aware of the inflamed situation and are afraid that all the marshals and agents might be too willing to uncork the bottle of blood.</dialogue> <scene_description>SISSY RIDES INTO CAMP on the back of Kym 's horse the way that John Wayne would have ridden into the Alamo ; Heather , Bonanza Jellybean , Debbie , Elaine and Linda dance up to meet her . Before Sissy is completely on the ground , Jelly 's tongue is in her mouth . She stumbles out of a stirrup into a wiggly embrace .</scene_description> <character>JELLY</character> <dialogue>Let's celebrate!</dialogue> <scene_description>Debbie stokes up a big joint right now , as Jelly gets out her six guns and fires them in the air . Heather twirls and jumps through her rope . The `` Unsung Hero Returns Polka '' strikes up on the radio . Elaine rears up on her horse .</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE DAY</stage_direction> <scene_description>FROM AFAR , AN FBI AGENT views the little going on .</scene_description> <character>AGENT</character> <dialogue>Ai n't that just like women.</dialogue> <scene_description>But as the Agent is saying this , viewing them from the ridge , a large rock tumbles down the hill and grazes his head , knocking him out . VIEW of the side of the ridge from where the rock came , but there is strangely nothing where we expect to see the Chink . BELOW : The cowgirls .</scene_description> <character>JELLY</character> <dialogue>Looks like every time we get together things are in a mess.</dialogue> <character>SISSY</character> <dialogue>So be it. It looks serious this time, though. All these guns. are you actually prepared to kill and die for whooping cranes?</dialogue> <character>JELLY</character> <dialogue>Hell no, the cranes are wonderful, okay, but I'm not in this for whooping cranes. I'm in it for cowgirls. If we cowgirls give in to authority on this crane issue, then cowgirls become just another compromise. I want a finer fate than that - for me and for every other cowgirl. Better no cowgirls at all than cowgirls compromised.</dialogue> <character>SISSY</character> <dialogue>How did this business get started, anyhow? Why are the birds nesting here?</dialogue> <character>DEBBIE</character> <dialogue>You were aware that we were feeding them, were n't you? We fed them brown rice and they stayed over a couple of extra days. Then we decided to try something different. We mixed our brown rice with fishmeal - whoopers love seafood, and fishmeal is cheap. Then Delores suggested another ingredient, and we think that's what did the trick.</dialogue> <character>SISSY</character> <dialogue>You mean.</dialogue> <character>DEBBIE AND JELLY TOGETHER</character> <dialogue>PEYOTE!</dialogue> <character>SISSY</character> <dialogue>They're drugged.</dialogue> <character>JELLY</character> <dialogue>Aw, come off it, Sissy. What do you mean, ` drugged'? Every living thing is a chemical composition and anything that is added to it changes that composition. When you eat a cheeseburger or a Three Musketeers bar, it changes your body chemistry. The kind of food you eat, the kind of air you breathe, can change your mental state. Does that mean you're ` drugged'?</dialogue> <scene_description>Sissy frames the flock with the hole in the center of her cheese sandwich .</scene_description> <character>SISSY</character> <dialogue>No, I guess not.</dialogue> <character>JELLY</character> <dialogue>` Drugged' is a stupid word.</dialogue> <character>SISSY</character> <dialogue>But the peyote is obviously affecting their brains. It's made them break a migratory pattern that goes back thousands of years.</dialogue> <character>DEBBIE</character> <dialogue>The way I see it, is that the peyote mellowed them out. Made them less uptight. They were afraid of bad weather and humans. That's why they migrated and kept to themselves. But the peyote has enlightened them. It's taught them there is nothing to fear but fear itself. Now they're digging life and letting the bad vibes slide on. Do n't worry, be happy. Be here now.</dialogue> <character>SISSY</character> <dialogue>Fear in wild animals is completely different from paranoia in people. In the wilderness ecosystem, fear is natural and necessary. It's merely a mechanism for maintaining life. If the cranes had n't had a capacity for fear, they would have disappeared long ago and you'd be having to get loaded with common old everyday meadowlarks and mallards.</dialogue> <character>JELLY</character> <dialogue>This here discussion is destined to become academic. Because we've got less than half a bag of peyote buttons left and Delores's run ended up in the Mottburg jail. So any day now we'll get a chance to see how the whoopers behave when they come down, to see if the peyote experience really changed them or not. But in the meantime, I want to say this about fear.</dialogue> <scene_description>Then Sissy and Jelly hear a news broadcast on the radio .</scene_description> <character>ANNOUNCER</character> <dialogue>Judge Greenfield, at the request of the ACLU, has granted a forty - eight - hour extension of the deadline by which the Rubber Rose cowgirls must comply with his order. Negotiations between the cowgirls and the government are expected to follow. Another item in, the forewoman of the Rubber Rose Ranch, a Delores del Ruby is now free on bond after having been arrested in Mottburg with more than fifty pounds of peyote buttons. Her bail has been paid by the owner of the besieged ranch, Countess Products, Inc.. Miss del Ruby's bail having come from the tycoon's personal advisor, a certain Dr. Robbins of New York City.</dialogue> <character>SISSY</character> <dialogue>Dr. Robbins?</dialogue> </scene> <scene> <stage_direction>EXT. PRAIRIE NIGHT</stage_direction> <scene_description>Sissy and Jelly lie under the same stars , under the same blankets . Under the same spell .</scene_description> <character>JELLY</character> <dialogue>Every time I tell you that I love you, you flinch. But that's your problem.</dialogue> <character>SISSY</character> <dialogue>If I flinch when you say you love me, it's both our problems. My confusion becomes your confusion. Students confuse teachers, patients confuse psychiatrists, lovers with confused hearts confuse lovers with clear hearts.</dialogue> </scene> <scene> <stage_direction>EXT. CAMPFIRE NIGHT</stage_direction> <scene_description>Delores and some of the other cowgirls are talking . A sharp wind is beginning to gust .</scene_description> <character>DELORES</character> <dialogue>It is n't for ourselves that we take this stand. It is n't for cowgirls. It's for all the daughters everywhere. This is an extremely important confrontation. This is womankind's chance to prove to her enemy that she's willing to fight and die. If we women do n't show here and now that we are n't afraid to fight and die, then our enemy will never take us seriously. Men will always know that, no matter how strong our words and determined our deeds, there's a point where we'll back down and give them their way.</dialogue> <scene_description>Delores cracks her whip then parades around the campfire .</scene_description> <character>DELORES</character> <dialogue>I'm prepared to win! Victory for every female, living or dead, who's suffered the temporary defeats of masculine insensitivity to their inner lives!</dialogue> <scene_description>A few of the cowgirls cheer .</scene_description> <character>DONNA</character> <dialogue>I'll fight the bastards.</dialogue> <scene_description>Big Red opens a can of beans with a Bowie knife .</scene_description> <character>BIG RED</character> <dialogue>I'll fight'em with bean gas, if necessary.</dialogue> <scene_description>Delores snaps her whip again .</scene_description> <character>DELORES</character> <dialogue>The sun's going down. Let's those of us not standing watch get some sleep. In the morning we'll plan our fight. Tomorrow afternoon those of you who'd like can join me in the reeds, where the cranes and I will be sharing the last crumbs left in the peyote sack.</dialogue> </scene> <scene> <stage_direction>EXT. SIWASH LAKE DAY</stage_direction> <scene_description>Delores del Ruby appears from the reeds at Siwash Lake 's edge , asleep yet awake . She has sunk so deep into the hole in her mind that gale and dust could not follow her . AS SHE APPROACHES THE COWGIRL CAMP , THEY GATHER AROUND HER IN A TIGHT CIRCLE . MANY ARE TRANSFIXED as they listen .</scene_description> <character>DELORES</character> <dialogue>It is woman's mission to destroy as well as to give birth. We will destroy the tyranny of the dull. But we ca n't destroy it with guns. Or whips. Violence is the dullard's Breakfast of Champions and the logical end product of his or her misplaced pride. Violence fertilizes that which we would starve. No, we will destroy the enemy in other ways. The Peyote Mother has promised a Fourth Vision. But it wo n't come to me alone. It will come to each of you, to every cowgirl in the land, when you have overcome that in your own self which is dull. The Fourth Vision will come to some men too. You will recognize them when you meet them, and be their steady sidekicks in equal and ecstatic escapades of poetic behavior and romance.</dialogue> <scene_description>Delores holds up a card . The prairie moon illuminates its tattered edges . It is the jack of hearts . The forewoman seems to be tiring . Fumes of weariness stream from her black hair . Her voice is leaning against the wall of her larynx when she says :</scene_description> <character>DELORES</character> <dialogue>First thing, you must end this business with the government and the cranes. It's been positive and fruitful, but it's gone far enough. Playfulness ceases to serve a serious purpose when it takes itself too seriously. Sorry I wo n't be with you at the conclusion. As you know, I've been sick and stupid for a long time. I have a lot to make up for, a lot to accomplish, and there's someone important that I've got to see. Now.</dialogue> <scene_description>As graceful as a ballet for cobras , Delores turns and walks away into the night .</scene_description> </scene> <scene> <stage_direction>EXT. RANCH GATES DAY</stage_direction> <scene_description>THE FBI , other VIGILANTES and POLICEMEN wait in anticipation of an attack outside of the boundaries of the ranch .</scene_description> </scene> <scene> <stage_direction>EXT. THE COWGIRL COMPOUND DAY</stage_direction> <scene_description>Jelly is addressing the group of cowgirls .</scene_description> <character>JELLY</character> <dialogue>Well, what we got to do is one of us has got to go up that hill and tell them boys that America can have its whooping cranes back. Since I'm the boss here, and since I'm responsible for a lot of you choosing to be cowgirls in the first place, it's gon na be me that goes.</dialogue> <scene_description>Small protests from the circle of cowgirls .</scene_description> <character>JELLY</character> <dialogue>No buts about it. It's getting lighter by the second. You podners keep your heads down. Ta ta.</dialogue> <scene_description>The cutest cowgirl in the world stood up and stretched out .</scene_description> <character>COWGIRL</character> <dialogue>Jelly! Please!</dialogue> <scene_description>But Jelly is already on her way . BONANZA JELLYBEAN VAULTS over the carcass of a reducing machine and plants her Tony Lama boots in the stirrup of her saddle and straddles her horse and takes off .</scene_description> </scene> <scene> <stage_direction>EXT. COMPOUND DAY</stage_direction> <scene_description>The posse surrounding the ranch , can see Jelly coming over the hill on her horse at a full gallop .</scene_description> </scene> <scene> <stage_direction>EXT. HILL DAY</stage_direction> <scene_description>Jelly stops her horse , looks down at her waist , and sees her sixguns .</scene_description> <character>JELLY</character> <dialogue>Better get rid of these. Might give those greenhorn dudes a fright.</dialogue> <scene_description>THROUGH the scope of an FBI rifle , Jelly is drawing her gun out of her holster .</scene_description> <character>AGENT</character> <dialogue>She's going to fire.</dialogue> <scene_description>He squeezes the trigger , and Jelly is caught in the stomach with a bullet . She falls off her horse to the ground . THE CHINK sees Bonanza Jellybean cut down from a vantage point on the hill , and makes a beeline for the government barricades , SHOUTING . THE COWGIRLS scream and cry , and grab their weapons . A couple of them leap from the barricade and are immediately riddled .</scene_description> </scene> <scene> <stage_direction>EXT. HILL DAY</stage_direction> <scene_description>The six - gun slips from her fingers . Twenty or thirty more sweaty triggers are squeezed on the hilltop firing at Bonanza Jellybean . THE CHINK RUNNING AND SHOUTING .</scene_description> </scene> <scene> <stage_direction>EXT. COWGIRL CAMP DAY</stage_direction> <scene_description>A VOICE OVER THE BULLHORN directed at the cowgirls echoes :</scene_description> <character>VOICE</character> <dialogue>You've got two minutes to come out with you hands over your heads!</dialogue> <scene_description>RANDOM G - MEN are sniping at the cowgirls , making it impossible to surrender . A stray bullet SENDS THE CHINK back down the hillside , beard , robe and sandals flying . IN THE HUSH that follows , in the echoes of the explosive fire , the whooping crane flock rises in one grand assault of beating feathers - a lily white storm of life , a gush of albino Gabriels - swarm into the waiting sky , and circle the pond one time before flapping south toward Texas . they cast shadows over a dead Jellybean who is literally biting the dust . Sissy lifts Jelly out of the dust and holds her . Sissy lifts Jelly 's satin shirt tail and pulls down the waistband of her skirt . Bright red blood is running out of her scar .</scene_description> <character>JELLY</character> <dialogue>Right in the scar where I fell on a wooden horse when I was twelve. Haw, I was n't really shot with a silver bullet.</dialogue> <scene_description>Confessing to Sissy .</scene_description> <character>JELLY</character> <dialogue>Or was I?</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK SKY</stage_direction> <scene_description>The cranes fly over the Statue of Liberty .</scene_description> </scene> <scene> <stage_direction>EXT. PARISIAN SKY</stage_direction> <scene_description>The Cranes fly over the Eiffel tower .</scene_description> </scene> <scene> <stage_direction>EXT. RUSSIAN SKY</stage_direction> <scene_description>The Cranes fly over Red Square .</scene_description> </scene> <scene> <stage_direction>INT. MORGUE DAY</stage_direction> <scene_description>An undertaker pounding five nails into a white coffin . ON THE TOP OF THE COFFIN are engraved two crossed GOLD SIXGUNS . There are eleven famous cowgirls enameled on the edges and in the middle it reads : BONANZA JELLYBEAN 1944 - 1973 `` Ha ha ho ho and hee hee '' Title card : The brown paper bag . A brown paper bag is sitting on the side of the road .</scene_description> <character>A VOICE</character> <dialogue>The brown paper bag is the only thing civilized man has produced that does not seem out of place in nature. Crumpled into a wad of wrinkles, like the fossilized brain of a dryad ; its kinship to tree.</dialogue> <parenthetical>( to knot and nest . )</parenthetical> <dialogue>unobscured by the cruel crush of industry ; absorbing the elements like any other organic entity ; blending with rock and vegetation as if it were a burrowing owl's door mat or a jack rabbit's underwear, a No. 8 Kraft paper bag lay discarded in the hills of Dakota and appeared to live where it lay. Once long ago, it had borne a package of buns and a jar of mustard to a kitchenette rendezvous with a fried hamburger. More recently, the bag had held. love letters.</dialogue> <scene_description>View of a bunkhouse trunk .</scene_description> <character>VOICE</character> <dialogue>As a hole in an oak hides a squirrel's family jewels, the bag had hidden love letters in the bottom of a bunkhouse trunk.</dialogue> <scene_description>Hands lift the contents of the trunk away , rope , spurs , and blanket and find the hidden sack of letters .</scene_description> <character>VOICE</character> <dialogue>Then one day after work, the button - nosed little cowgirl to whom the letters were addressed gathered bag and contents under her arm, slipped out to the corral.</dialogue> <scene_description>We see the Cowgirl saddling her horse late in the day .</scene_description> <character>VOICE</character> <dialogue>past ranch hands pitching horseshoes and ranch hands flying Tibetan kites, saddled up and trotted into the hills.</dialogue> <scene_description>We see the Cowgirl riding along a ridge .</scene_description> <character>VOICE</character> <dialogue>A mile or so from the bunkhouse, she dismounted and built a small fire ; she fed the fire letters.</dialogue> <scene_description>And this we see also , the lonely Cowgirl feeding the letters to a fire in the dusky early night . We can see the cowgirl is Sissy Hankshaw .</scene_description> <character>VOICE</character> <dialogue>one by one, the way her girl friend had once fed her french fries.</dialogue> <scene_description>She is crying now and feeding the fire , close of words like `` always '' and `` forever '' burning up .</scene_description> <character>VOICE</character> <dialogue>As words such as sweetheart'' and `` honey britches'' and `` forever'' and `` always'' burned away, the cowgirl squirted a few tears. Her eyes were so misty she forgot to burn the bag.</dialogue> </scene> <scene> <stage_direction>INT. BUNKHOUSE NIGHT</stage_direction> <scene_description>Sissy is sobbing . Big Red offers a piece of homemade fudge and shows no surprise when Sissy refuses it . Kym kisses the lips quickly of the despondent Cowgirl , and the bunkhouse lights go out . Delores plunks a carefree song on an old Gibson , looks up at the moon .</scene_description> <character>DELORES</character> <dialogue>You know, podner, you can tune a guitar but you ca n't tuna fish.</dialogue> <scene_description>She plunks a few notes .</scene_description> <character>DELORES</character> <dialogue>God, but it's good to be a cowgirl.</dialogue> <scene_description>And the bunkhouse lights are turned off . There are some giggles from the cowgirls .</scene_description> </scene> <scene> <stage_direction>INT. MAIN BEDROOM RANCH DAY</stage_direction> <scene_description>THE CHINK wakes up and is being cared for by Sissy . He is in pain , but winking .</scene_description> <character>SISSY</character> <dialogue>Is everything getting worse?</dialogue> <character>CHINK</character> <dialogue>Yes, everything is getting worse. But everything is also getting better.</dialogue> <character>SISSY</character> <dialogue>The Countess has come to our aid. The Rubber Rose Ranch is officially deeded to all the cowgirls. And I have been asked to oversee the ranch. For $ 300 a week. And as it turns out, the Countess is not going to be the vegetable the doctors thought he was. here's a picture!</dialogue> <scene_description>Sissy shows a picture of the Countess recovering in a hospital bed , posing next to Doctor Robbins .</scene_description> <character>CHINK</character> <dialogue>I want to go back to the Clock People. I kind of miss those fool redskins and wonder what they're up to. What's happened to Jelly?</dialogue> <character>SISSY</character> <dialogue>She had a one way - ticket to Kansas City.</dialogue> <character>CHINK</character> <dialogue>You mean she's dead?</dialogue> <scene_description>The Chink mourns a bit .</scene_description> <character>SISSY</character> <dialogue>But that's an old story now. I ca n't believe that you would leave the Butte.</dialogue> <character>CHINK</character> <dialogue>Easy come, easy go.</dialogue> <character>DELORES</character> <dialogue>Wow, you sure have a way with words.</dialogue> <scene_description>The Chink looks over and sees that Delores is standing in the doorway .</scene_description> <character>CHINK</character> <dialogue>I ca n't help it if I grew up in an antipoetic culture. Language will be different when I'm with the Clock People though. They're from an oral tradition. And I'm not talking about what you horny hop toads do in bed every night.</dialogue> <scene_description>The Chink smiles . Delores blushes .</scene_description> <character>SISSY</character> <dialogue>Well, if the Clock People give you any inside information on the end of the world, drop us a postcard.</dialogue> <character>CHINK</character> <dialogue>The world is n't going to end, you dummy ; I hope you know that much.</dialogue> <parenthetical>( he grows uncharacteristically serious . )</parenthetical> <dialogue>But it is going to change. It's going to change drastically, and probably in your lifetime. The Clock People see calamitous earthquakes as the agent of change, and they may be right, since there are a hundred thousand earthquakes a year and major ones are long overdue. But there are far worse catastrophes coming. unless the human race can bring itself to abandon the goals and values of civilization, in other words, unless it can break the consumption habit - and we are so conditioned to consuming as a way of life that for most of us life would have no meaning without the yearnings and rewards of progressive consumption. It is n't merely that our bad habits will cause global catastrophes, but that our operative political - economic philosophies have us in such a blind crab grip that they prevent us from preparing for the natural disasters that are not our fault. So the apocalyptic shit is going to hit the fan, all right, but there'll be some of us it'll miss. Little pockets of humanity. Like the Clock People. Like you two honeys, if you decide to accept my offer of a lease on Siwash Cave. There's almost no worldwide calamity - famine, nuclear accident, plague, weather warfare or reduction of the ozone shield - that you could n't survive in that cave.</dialogue> <scene_description>He begins to caress Sissy 's belly . His eyes are smiling . Sissy is surprised .</scene_description> <character>CHINK</character> <dialogue>Suppose that you bear five or six children with your characteristics. All in Siwash Cave. In a postcatastrophe world, your offspring would of necessity intermarry, forming in time a tribe. A tribe every member of which had giant thumbs. A tribe of Big Thumbs would relate to the environment in very special ways. It could not use weapons or produce sophisticated tools. It would have to rely on its wits and its senses. It would have to live with animals - and plants! - as virtual equals. It's extremely pleasant to me to think about a tribe of physical eccentrics living peacefully with animals and plants, learning their languages, perhaps, and paying them the respect they deserve.</dialogue> <character>SISSY</character> <dialogue>How am I going to be the progenitor of a tribe when I'm living on an isolated ridgetop with Delores?</dialogue> <character>CHINK</character> <dialogue>That's your problem.</dialogue> <scene_description>The Chink coughs .</scene_description> <character>CHINK</character> <dialogue>Listen to the way I'm babbling. That bullet must have loosened one of my transistors. Do n't pay any attention to me. You've got to work it out for yourself. The westbound choo - choo leaves Mottburg at one - forty. I want to be on it. Will you drive me to the station?</dialogue> </scene> <scene> <stage_direction>INT. TRUCK DAY</stage_direction> <scene_description>Sissy and Delores are driving the Chink out the front gate of the Rubber Rose .</scene_description> <character>CHINK</character> <dialogue>Schedules! Ironic how I have to follow timetables in order to get back to the clockworks.</dialogue> <scene_description>He yells out the window of the moving vehicle .</scene_description> <character>CHINK</character> <dialogue>Do n't ever bet against paradox, ladies.</dialogue> </scene> <scene> <stage_direction>EXT. THE RUBBER ROSE GATES</stage_direction> <scene_description>We hear the Chink yelling , and the Rubber Rose sign is being changed to one that reads El Rancho Jellybean .</scene_description> <character>CHINK</character> <dialogue>if complexity does n't beat you, then paradox will. Ha ha ho ho and hee hee.</dialogue> <scene_description>And the truck disappears into the prairie land . A LONG DARK PAUSE , UNTIL finally we are inside the cave where the Chink 's Clockworks are at work . poing ! It is revealed that Sissy is with Delores snug in the old hermit 's living quarters . She listens to the clinking of the Chink 's Clockworks . And feels her belly . The swell of her belly has forced her to sleep on her back . CLOSE VIEW of Sissy 's belly , and a little foot kicks from inside . Or is it a foot ? VIEW INSIDE THE BELLY of Sissy 's unborn baby . It is half - Japanese , one thirty - second Siwash and all thumbs . The moving thumbs are hitchhiking you . THE END</scene_description> </scene> </script>

Sissy Hankshaw is a woman born with a mutation (she would not call it a defect) giving her enormously large thumbs. Sissy makes the most of her thumbs by becoming a hitchhiker. Her travels eventually take her to New York City, where she becomes a model for a homosexual feminine hygiene products mogul, known as "The Countess". A few years later, he introduces her to his "beauty ranch", the Rubber Rose Ranch. The main plot revolves around the cowgirls who work at the ranch after they violently take over and drug the endangered whooping cranes that nest along the lake on their land, making the once migratory birds stay. The cowgirls end up in a showdown with government agencies because the cranes will not leave the ranch and the cowgirls refuse to allow the men on the ranch to take the cranes. Sissy and the ranch leader, Bonanza Jellybean, have a brief love affair. After a fatal shootout between the cowgirls and the various agencies, the cranes leave, and Sissy takes over running the ranch.

Backdraft_1991

tt0101393

<script> <scene> <stage_direction>INT. FIRE STATION 17 - STORAGE ROOM - 20 YRS. EARLIER</stage_direction> <scene_description>Darkness . Then the GLINT of a flashlight . Its beam rocks crazily to and fro across the inside of a small storage room as we hear two children arguing .</scene_description> <character>OLDER KID</character> <dialogue>You're doing it wrong.</dialogue> <character>YOUNGER KID</character> <dialogue>Shut up.</dialogue> <character>OLDER KID</character> <dialogue>You're doing it wrong.</dialogue> <scene_description>It 's hard , but we get a sense of the room in the whipping beam of light . Huge , dark coats lined up like sides of beef on steel batons . Bent , stained helmets hung like African masks . Beneath them BRIAN , 7 , and STEPHEN , 12 , are trying to struggle into a pair of the ludicrously massive coats over their pajamas .</scene_description> <character>STEPHEN</character> <dialogue>It does n't go like that.</dialogue> <character>BRIAN</character> <dialogue>Who asked you?</dialogue> <character>STEPHEN</character> <dialogue>If you do it like that it'll open in the fire. Then you'll get burned and DIE.</dialogue> <scene_description>The door suddenly opens , morning sunlight roaring in . It 's a fire station storage room full of fire gear . A fireman stands in the doorway , tall , athletic , their father ; DENNIS McCAFFREY .</scene_description> <character>DENNIS</character> <dialogue>Who's going to die?</dialogue> <character>STEPHEN</character> <dialogue>Brian. He's not doing it right, dad. He never does it right.</dialogue> <character>DENNIS</character> <parenthetical>( gestures for them to come out . )</parenthetical> <dialogue>Well, let's have a look.</dialogue> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - DAY</stage_direction> <scene_description>The two boys tromp out of the closet . The rubber turn - out boots are as high as their thighs . The ends of the coats drag on the floor . They salute , Brian 's arm just an empty sleeve . Dennis kneels down and re - fastens Brian 's coat .</scene_description> <character>DENNIS</character> <dialogue>Your brother's right. If you do n't fasten these correctly they could open and you'd get burned.</dialogue> <character>STEPHEN</character> <dialogue>And DIE!</dialogue> <character>BRIAN</character> <dialogue>You would n't let me die, would you, Dad?</dialogue> <character>DENNIS</character> <dialogue>McCaffreys are smarter than fire, Brian.</dialogue> <parenthetical>( playfully slaps their shoulders . )</parenthetical> <dialogue>How ` bout lunch, huh?</dialogue> <character>STEPHEN</character> <dialogue>Fireman shit?</dialogue> <character>DENNIS</character> <dialogue>Hey, what's with the mouth? Where'd you grow up, a barn?</dialogue> <character>STEPHEN</character> <dialogue>Firehouse.</dialogue> <character>DENNIS</character> <dialogue>Cute.</dialogue> <scene_description>- The station suddenly fills with the BELLOW of an ALARM KLAXON .</scene_description> <character>DENNIS</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Never fails.</dialogue> <scene_description>A young fireman , ADCOX , appears with the dispatch card .</scene_description> <character>DENNIS</character> <dialogue>Big deal?</dialogue> <character>AXE</character> <dialogue>Medium deal.</dialogue> <character>DENNIS</character> <dialogue>Want to come along, Brian? Watch the old man earn his keep?</dialogue> <character>STEPHEN</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Dad!</dialogue> <character>DENNIS</character> <dialogue>You've come along a dozen times, Stephen, give your brother a chance. We'll be back in a few minutes.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>How ` bout it, sport?</dialogue> <character>BRIAN</character> <dialogue>Sure!</dialogue> <scene_description>Dennis scoops Brian up and loads him into the fire engine cab . The other three firemen climb aboard and take their places .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - DAY</stage_direction> <scene_description>There 's a cough of diesel , a crunch of gears , and the engine is pulling out of the station .</scene_description> <character>DENNIS</character> <dialogue>Hit the button, Brian.</dialogue> <scene_description>Brian stamps his foot on the siren button . The red light snaps on , the siren growls and blares , and they 're off down the street . Brian turns around in his seat and , at the last instant before the corner , makes eye contact with his older brother . They stick their tongues out .</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO STREET - DAY - 20 YRS. EARLIER</stage_direction> <scene_description>The engine howls its way through the city . Brian , sandwiched between his father and Adcox , looks out in wonderment at intersections zipping past like picket fences , at people on sidewalks holding hands over their ears , at the red emergency lights bouncing crazily off shop windows .</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING - DAY - 20 YRS. EARLIER</stage_direction> <scene_description>Lazy smoke curls out the second story of a commercial block . Medium deal . The engine pulls up and the firemen are jumping off like ship rats . Dennis opens his door , hops down , and pauses just long enough to point a serious finger at his son .</scene_description> <character>DENNIS</character> <dialogue>Stay near the truck.</dialogue> <parenthetical>( winks . )</parenthetical> <dialogue>And keep an eye out for us, huh? We're short handed today.</dialogue> <scene_description>Brian nods vigorously , taking the command seriously . Dennis smiles and is off , dragging a hoseline with his crew toward a doorway they disappear into . Brian climbs down from the cab .</scene_description> <character>ENGINEER</character> <dialogue>Do n't stray too far, little man.</dialogue> <scene_description>Brian smiles to the pumper operator . He just wants a better look . And he gets it : Smoke turned evil and dark now , taking on purpose .</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING - DAY - 20 YRS. EARLIER</stage_direction> <scene_description>There 's a level of apartments above the storefronts . As Brian watches , a window opens and out steps his father and Adcox onto a small fire escape . Their attention 's on the next window over , out of reach , wrapped in leaky smoke . Suddenly Dennis climbs up onto the fire escape railing , armed with only an axe , and JUMPS across to the next metal balcony . A ballsy , dangerous move . He kicks in the window , breaks out the frame with his axe , and dives in . A beat later he reemerges on the balcony with a terrified , smudged little girl . He hands the little girl over the railing to a fireman now coming up the more traditional way - a ladder . Dennis 's face lifts and grins at Brian ; dirty , bigger than life , invincible . He winks a wink only possible between fathers and sons and he 's gone again , back into the swirling darkness . As Brian stands there , full of love , full of pride , he sees a piece of awning along the roofline crack ; releasing a sickly yellow tongue of flame that slinks over the roof . The flame seems to pause , to stare at Brian a beat . Shhh , do n't tell anyone . Brian is transfixed , his little head staring up in astonishment . Nobody else has noticed it . Brian can see his father and Adcox through the window ; probing , looking for the flame lurking just above . Brian starts to call out in a small , hesitant voice ,</scene_description> <character>BRIAN</character> <dialogue>Dad.</dialogue> <scene_description>He tries to call louder . But suddenly everything is happening very fast in slow motion : - Brian can see Adcox testing the ceiling with a pike pole as Brian steps forward , under the power of a flame that beckons him as - Dennis suddenly THROWS his body against Adcox , knocking him clear just as a flame EXPLODES DOWNWARD from the ceiling fully against him as - All the building 's windows BLOW OUT and it 's like the sky 's erupted for Brian , a burning hailstorm that falls and pelts the ground around him . Plaster , wood , and something metal that cracks against the pavement and spins slowly . A fire helmet . And Adcox is coming out the door now , blackened and torn , hopeless tears streaming down his face .</scene_description> <character>AXE</character> <dialogue>Get us some backup! We need some goddamn backup!</dialogue> <scene_description>And , spotting Brian , he runs towards him . And the helmet spins and spins and Adcox keeps running , and the sky is raining fire , and the flame on the roof has risen up now to its full , horrifying size and it 's laughing now , laughing at the little boy as the helmet finally stops spinning , and we read the printing on the neck guard . MCCAFFREY And Adcox is sobbing and has his arms around the boy , protecting him from the fire , the world , but it 's like Brian does n't see him . He pulls away from Adcox , walks up to his father 's helmet , And puts it on . The scene EXPLODES with a flash as a photographer captures the instant .</scene_description> </scene> <scene> <stage_direction>INT. SEEDY APARTMENT - DAY</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S CAR - DAY</stage_direction> <scene_description>Hold on the freeze - frame . Let it become an aged cover of LIFE . The magazine jiggles and rocks and we see now it 's sitting atop a box of knick - knacks jostling in the back seat of an aging BMW . There 's plenty of other boxes here , a live on the move , and in the driver 's seat , BRIAN McCAFFREY , now 27 . There 's piles of empty burger wrappers , Coke cans , and Florida knick - knacks on the dash board ; a little blow - up palm tree , a cheesy hula girl emblazoned with `` McCaffrey High - End Stereo Sales '' .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - MONTAGE - DAY</stage_direction> <scene_description>Brian and his battered BMW shoot past prairie , cow country , nervous suburbs and finally a sign : WELCOME TO CHICAGO .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Wind tugging at his bangs , Brian stares down at the graves of Dennis and Mary Elizabeth McCaffrey .</scene_description> </scene> <scene> <stage_direction>INT. CHICAGO GAS STATION RESTROOM - DAY</stage_direction> <scene_description>In a crusty sink he combs his hair , knots a tie around his neck .</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO FIRE DEPARTMENT TRAINING ACADEMY - DAY</stage_direction> <scene_description>Brian walks through its sculpted columns , straightening his tie . He comes to a door , FIRE ACADEMY CHIEF . He takes a deep breath , steadies his gaze , and enters .</scene_description> </scene> <scene> <stage_direction>INT. FIRE ACADEMY CHIEF'S OFFICE - DAY</stage_direction> <scene_description>The ACADEMY CHIEF sits at his desk going over a file . Out the window can be heard a FIRE TRAINING CLASS in action .</scene_description> <character>CHIEF FITZGERALD</character> <dialogue>Is this a joke?</dialogue> <scene_description>Brian 's sitting in the seat opposite .</scene_description> <character>BRIAN</character> <dialogue>If it was a joke, sir, you'd be laughing.</dialogue> <character>CHIEF FITZGERALD</character> <dialogue>You walked out on this academy six years ago. One week to graduation. You think we forgot that? You think I did?</dialogue> <character>BRIAN</character> <dialogue>I want another shot, Sir.</dialogue> <character>CHIEF FITZGERALD</character> <parenthetical>( beat . )</parenthetical> <dialogue>Look, everybody remembers your old man. Being his son, all you had to do was breathe to graduate here. Dead Hero Father Rule. But you blew us off. Why should I take you back?</dialogue> <character>BRIAN</character> <dialogue>If you remember, sir, my test scores were in the top -</dialogue> <character>CHIEF FITZGERALD</character> <dialogue>- I do n't give a damn what your test scores were, maybe you could have been a good firemen, but you had your shot.</dialogue> <character>BRIAN</character> <dialogue>I need another one, sir.</dialogue> <character>CHIEF FITZGERALD</character> <dialogue>Sorry, but it's out of my hands. Try again next year.</dialogue> <character>BRIAN</character> <dialogue>No, it is n't out of your hands or you would n't even have met me. If I push you have to let me back in. Dead Hero Father Rule. Sir.</dialogue> <character>CHIEF FITZGERALD</character> <parenthetical>( simmers . )</parenthetical> <dialogue>Even if you graduate this academy, you've still got nine months of probation. That's hard duty, son. If you do n't really love this job, it'll kill you.</dialogue> <character>BRIAN</character> <parenthetical>( rises . )</parenthetical> <dialogue>See you Monday. Sir.</dialogue> <scene_description>As we hear the BLOW OF A WHISTLE</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO FIRE DEPT. TRAINING ACADEMY - GRADUATION DAY</stage_direction> <scene_description>And everybody lined up at attention in dress blues .</scene_description> <character>CHIEF FITZGERALD</character> <parenthetical>( at podium . )</parenthetical> <dialogue>Though the world changes every day, some things are truly forever : Courage, devotion, and honor in what we do. This class is a special one, for we dedicate it to the three firefighters that have fallen this year : Donald Knowlton, Richard Walter and Michael Petzold.</dialogue> <parenthetical>( silent beat . )</parenthetical> <dialogue>Ladies and gentlemen, it is with pleasure that I certify that Candidate Class number 322, having successfully completed all academy requirements, are hereby graduated to the Chicago Fire Department.</dialogue> <scene_description>Candidates and their relatives CHEER and leap to their feet . Something struggles inside of Brian . He does n't stand at first . Another Candidate , TIM , 20 , looks at him strangely . So does the Academy Chief , his eyes finding Brian 's . And Brian 's standing slowly now , joining them .</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - NIGHT</stage_direction> <scene_description>An expensive one . We hear a window BREAK .</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - NIGHT</stage_direction> <scene_description>Through the dimness a file cabinet . An AXE SUDDENLY SLAMS into it , RIPPING it apart . Files crash to the floor . And a picture . 1970 . Four young guys marlin fishing . Time of their lives .</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE BEDROOM - NIGHT</stage_direction> <scene_description>And a GREY PUTTY being SLAPPED along the edges of a door .</scene_description> </scene> <scene> <stage_direction>INT. PUB - NIGHT</stage_direction> <scene_description>A split - level firemen 's dive ; complete with mounted axes and personalized T - shirts from various engine companies proudly declaring `` LADDER CO. 6 - AXE FIRST , HOSE LATER '' and `` CHICAGO FD , 150 YEARS OF TRADITION UNIMPEDED BY PROGRESS '' . Tonight the place is firmly in the hands of an army of recently graduated candidates . A few on the back patio have hooked up a charged hoseline and are taking potshots at balloon targets , each other , the neighbor 's cat . Brian and Tim , still in their uniforms , enter from the street . Survey the scene .</scene_description> <character>BRIAN</character> <dialogue>Completely out of control.</dialogue> <character>TIM</character> <dialogue>What the hell are we waiting for?</dialogue> <scene_description>As they shoulder their way inside , another CANDIDATE appears holding proudly a fistful of sealed envelopes .</scene_description> <character>CANDIDATE</character> <dialogue>Hot off the presses, guys. Station assignments.</dialogue> <scene_description>Tim and everyone else but Brian eagerly tear into them . Brian nonchalantly shoulders up to the bar .</scene_description> <character>BRIAN</character> <dialogue>A beer, Willy!</dialogue> <scene_description>The barkeep turns and smiles .</scene_description> <character>WILLY</character> <dialogue>Well, if it is n't the littlest McCaffrey.</dialogue> <parenthetical>( to candidates with hose . )</parenthetical> <dialogue>Hey! You break anything with that you buy it!</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>Sorry, there must be something wrong with my eyes. I keep thinking that's a fire department uniform.</dialogue> <character>BRIAN</character> <dialogue>It's in my blood, Willy.</dialogue> <scene_description>The candidates are ripping open their assignments , exclaiming to each other : `` All right ! Engine 117 ! That 's a slum ! They get cookers every day ! '' . `` Oh no , Engine 10 , that 's a nice neighborhood '' . Willy turns to the bulletin board behind him and unpins a stack of business cards .</scene_description> <character>WILLY</character> <dialogue>Really. Well, let's have a look at what else was `` in your blood''. I always look forward to getting these, they make such a nice collage for the bar. `` Assistant Director, Sales, Aspen Snowmobile Tours.''</dialogue> <character>BRIAN</character> <dialogue>Did n't offer the kinda growth and challenge I need.</dialogue> <character>WILLY</character> <dialogue>Uh huh. And `` Pioneer's Pride, Mobile Log Cabins''. That was in your blood about six months was n't it?</dialogue> <character>BRIAN</character> <dialogue>Management were pin heads.</dialogue> <character>WILLY</character> <dialogue>`` Laguna Jamming, Custom Surfboards''?</dialogue> <character>BRIAN</character> <dialogue>Coffee sucked.</dialogue> <character>WILLY</character> <dialogue>And just this year, `` Brian's Sound Spectrum''. Your own company even. Big step.</dialogue> <character>BRIAN</character> <dialogue>I was ahead of my time.</dialogue> <character>WILLY</character> <dialogue>You know, I've got a perfect little spot here for `` Brian McCaffrey, Fireman''.</dialogue> <scene_description>Tim holds an envelope marked McCAFFREY out to Brian .</scene_description> <character>TIM</character> <dialogue>Are n't you even curious?</dialogue> <character>BRIAN</character> <dialogue>Engine 115, right?</dialogue> <character>TIM</character> <parenthetical>( opens it , surprised . )</parenthetical> <dialogue>How'd you know? These are supposed to be sealed.</dialogue> <character>BRIAN</character> <dialogue>Lucky guess.</dialogue> <parenthetical>( winks . )</parenthetical> <dialogue>And a case of scotch to a captain in station assignments.</dialogue> <character>TIM</character> <dialogue>You crooked son of a bitch. Why 115?</dialogue> <character>BRIAN</character> <dialogue>Lots of fires. They promote faster there. Take a look at the last Lt.'s list, half the guys on it came from that battalion. Got ta think about your future, Timmy. 115's the station.</dialogue> <character>TIM</character> <dialogue>Ah man, if you're gon na bribe your way into a station, why not 17 with me and your brother?</dialogue> <scene_description>On Brian 's reaction</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A Porsche knifes through darkened streets . The DRIVER , 50 , is dressed for success . Pulling up to the brownstone we saw earlier , he gets out and rubs his eyes . Another day in the salt mines . Climbing the short stairs , he sticks his key into the lock and opens the door . It is the last thing he will ever do . A THUNDERING EXPLOSION ENGULFS the stoop .</scene_description> </scene> <scene> <stage_direction>INT. PUB - NIGHT</stage_direction> <scene_description>The place is packed now with girls flirting with the candidates , putting their helmets on , etc. . The horseplay around the bar suddenly stops at the sweet sound of a SIREN .</scene_description> </scene> <scene> <stage_direction>EXT. PUB - NIGHT</stage_direction> <scene_description>Everyone steps outside , cocks an ear . And here it comes , the real thing , SCREECHING past in a full - tilt rush . Shouts and raised toasts .</scene_description> <character>TIM</character> <dialogue>Hey, that's my cousin's company! C'mon! Let's go!</dialogue> <scene_description>As Brian turns , he suddenly confronted by an elderly LITHUANIAN WOMAN .</scene_description> <character>BRIAN</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Mrs. Viatkus.</dialogue> <scene_description>She grabs his cheeks and rattles off in Lithuanian . Brian can only smile . Then two attractive jean - clad legs step up . JENNIFER .</scene_description> <character>JENNIFER</character> <dialogue>Brian.</dialogue> <character>BRIAN</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Jennifer.</dialogue> <character>JENNIFER</character> <dialogue>You're back.</dialogue> <character>BRIAN</character> <dialogue>You look great.</dialogue> <character>JENNIFER</character> <dialogue>Thanks for calling.</dialogue> <character>BRIAN</character> <dialogue>Uh. I've been sorta keeping a low profile. the academy. I graduated today.</dialogue> <character>JENNIFER</character> <dialogue>Huh.</dialogue> <character>BRIAN</character> <dialogue>So. I see you're still in the neighborhood.</dialogue> <character>JENNIFER</character> <dialogue>Not quite. Just visiting. I live in Lincoln Park now.</dialogue> <character>BRIAN</character> <dialogue>Yeah? What have you been up to?</dialogue> <character>JENNIFER</character> <dialogue>I work for city hall.</dialogue> <character>BRIAN</character> <dialogue>Really? No kidding.</dialogue> <character>JENNIFER</character> <dialogue>What, you think I just dried up and blew away when you left? The world does turn once in awhile Brian, even without your permission.</dialogue> <scene_description>Just then , Tim OPENS UP the hoseline , DRENCHING Brian .</scene_description> <character>TIM</character> <dialogue>Do n't want you overheating, Brian!</dialogue> <scene_description>Brian ducks the stream and PULLS a length of hose near his feet , FLIPPING Tim . Brian JUMPS him , shuts off the hose and pins him to the pavement .</scene_description> <character>TIM</character> <dialogue>Okay okay! Uncle!</dialogue> <scene_description>Brian walks back toward Jennifer</scene_description> <character>JENNIFER</character> <dialogue>You've certainly matured.</dialogue> <scene_description>She turns to leave .</scene_description> <character>BRIAN</character> <dialogue>Well, if nothing else, it's nice to know we can still be friends.</dialogue> <character>JENNIFER</character> <dialogue>I do n't want to be your friend, Brian.</dialogue> <scene_description>Another in a series of fire engines HOWL past . Tim grabs Brian by the shoulder .</scene_description> <character>TIM</character> <dialogue>Let's go, man!</dialogue> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>Brian and Tim jump into Brian 's car . They shoot blindly down the street looking for the fire engine , running down red lights or anything else that gets in their way . Brian suddenly hits the brakes , SCREECHING to a stop . They roll down their windows . Far off can be heard the wind - up of a siren .</scene_description> <character>TIM</character> <parenthetical>( points . )</parenthetical> <dialogue>That way.</dialogue> </scene> <scene> <stage_direction>EXT. STREETS - FIRE ENGINE - NIGHT</stage_direction> <scene_description>SCREECH . They fly around a corner , down a block , and there it is , lights flashing up ahead . Brian GUNS it , roars up alongside the fire engine . Tim leans out the window , shakes a bottle of beer , and lets loose a foamy eruption in the truck driver 's face .</scene_description> <character>DRIVER</character> <dialogue>Tim! You crazy motherfucker!</dialogue> <scene_description>But he 's laughing .</scene_description> <character>TIM</character> <dialogue>What ` cha got?</dialogue> <character>DRIVER</character> <dialogue>Box alarm. Walton Ave.</dialogue> <character>TIM</character> <dialogue>We'll meet ya.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - WALTON AVENUE - NIGHT</stage_direction> <scene_description>As Brian and Tim pull up two engine companies are already dragging lines toward the rolling brownstone we saw explode earlier . Tim cheers the firemen on like a drive - in movie . Brian watches the fire with uneasy fascination . Embers whipping into the night , drifting to the ground around him . One of the engine companies is entering the doorway now . He watches as they willingly crawl into a place any sane person would run for their life from . Jesus Christ . FLASH - Brian turns at the blinding snap of a camera . Several locals are gathered around a parked car , some taking pictures . Brian notices that right away . It takes a beat longer to notice the CHARRED CORPSE stuffed head - first through the windshield . It 's the Porsche driver , his legs sticking out at crazy angles . A dog barks furiously at it .</scene_description> <character>TIM</character> <parenthetical>( also looking at body . )</parenthetical> <dialogue>Man. Something sure put a crimp in his evening.</dialogue> <character>BRIAN</character> <dialogue>Backdraft.</dialogue> <scene_description>The brownstone fire quickly transforms itself into noisy clouds of dirty white steam . And one of the firemen is coming back out now , walking toward Brian . When he 's just a few yards away he pulls off his air mask and helmet and we shudder with Brian , because the man is a dead ringer for HIS FATHER .</scene_description> <character>STEPHEN</character> <dialogue>Well, look what we have here. Nice costume. Rent it?</dialogue> <character>BRIAN</character> <dialogue>I want to thank you for coming to my graduation, Stephen. It was a great inspiration to me.</dialogue> <character>STEPHEN</character> <dialogue>So you're going to fight fires now, huh?</dialogue> <scene_description>He pats Brian 's cheeks , leaving behind large charcoal smears .</scene_description> <character>STEPHEN</character> <parenthetical>( re smears . )</parenthetical> <dialogue>Does n't work on you.</dialogue> <parenthetical>( turns to leave . )</parenthetical> <dialogue>See ya around, little brother.</dialogue> <character>BRIAN</character> <dialogue>Not likely.</dialogue> <character>STEPHEN</character> <parenthetical>( turns . )</parenthetical> <dialogue>Well, see you're wrong already. Had a talk with Chief Fitzgerald, and we decided in the interest of brotherly love, that maybe you should n't be way over on the other side of town. So starting tomorrow, your assigned to company 17. My company.</dialogue> <parenthetical>( Brian 's color drops a hue . )</parenthetical> <dialogue>One case of scotch, you're getting cheap in your old age, Brian.</dialogue> <scene_description>And Stephen turns for his own men , Tim staring at Brian as clouds of smoke drift past like ghosts .</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - ACROSS THE STREET - NIGHT</stage_direction> <scene_description>A flame LEAPS up into the foreground . Touches a cigarette . The cigarette glows , lingers , then lowers slowly from the mouth of RIMGALE , fifty - five years old and six and a half feet of solid granite . Wearing a windbreaker and grey slacks tucked into fire department rubber boots , he takes another slow drag . Looks at the body stuffed into the windshield . It 's twenty yards away from the brownstone . Stephen looks up as Rimgale drops the cigarette , crushes it with his boot , and crosses the street to the building .</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - NIGHT</stage_direction> <scene_description>Charred walls hiss and snap in the steamy darkness . Rimgale is there , gloomy in the beam of his flashlight . He crouches down , plays his flashlight along the ruined baseboard .</scene_description> <character>SHADOW</character> <dialogue>If you stare any longer Stevie, I'll start charging you admission.</dialogue> <scene_description>Stephen is leaning in the doorway , watching him .</scene_description> <character>STEPHEN</character> <dialogue>Got a cause?</dialogue> <character>SHADOW</character> <dialogue>Are the glory boys actually showing interest in Investigation's work? I may have a stroke.</dialogue> <character>STEPHEN</character> <dialogue>The glory boys just want to finish their report so they can go home.</dialogue> <scene_description>Rimgale 's flashlight finds a wall socket that he pries loose and holds up to the light . He lowers it , takes in the walls , the room .</scene_description> <character>SHADOW</character> <dialogue>They're gon na have to wait a few days on this one.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - NIGHT</stage_direction> <scene_description>Tim 's talking to his cousin . Brian hangs back , watches the body - bag people load the Porsche driver into a meat wagon . There 's a still an audience for this , still stray dogs circling and barking . Brian walks up , looks inside the car , and sees on a seat the ragged remains of a FINGER .</scene_description> <character>BRIAN</character> <parenthetical>( to coroner crew . )</parenthetical> <dialogue>Hey, you forgot. this.</dialogue> <scene_description>They 're already climbing into the wagon . The driver smiles creepily .</scene_description> <character>CORONER DRIVER</character> <dialogue>We always leave something for the dogs.</dialogue> <scene_description>Brian looks across the fireground , sees his brother walking back to the fire engine . They share a brief , edgy glance .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>A modest one . South - side Irish old fashioned . Brian walks up . There 's a little kid , about five , playing with a toy fire truck on the drive .</scene_description> <character>BRIAN</character> <dialogue>Hey, Sean. What's goin' on, man?</dialogue> <scene_description>The kid stares at him without a glimmer of recognition .</scene_description> <character>BRIAN</character> <dialogue>It's Uncle Brian. Y' know.</dialogue> <scene_description>He makes his hand into a talking puppet .</scene_description> <character>BRIAN</character> <parenthetical>( bandito accent . )</parenthetical> <dialogue>`` Spinach? We do n't need no stinking spinach''. Remember?</dialogue> <scene_description>The kid drops his toy truck and flees inside .</scene_description> <character>KID</character> <dialogue>Mom! Mom!</dialogue> </scene> <scene> <stage_direction>INT. HELEN'S HOUSE</stage_direction> <scene_description>Brian follows , sticks his head in the door .</scene_description> <character>BRIAN</character> <dialogue>Hellooo.</dialogue> <scene_description>A warm looking woman , 30 's , HELEN , comes around the corner .</scene_description> <character>HELEN</character> <dialogue>Brian?</dialogue> <character>BRIAN</character> <dialogue>Hi, Helen. Man, you look great.</dialogue> <character>HELEN</character> <dialogue>You look like. Brian.</dialogue> <scene_description>She gives him a tentative hug .</scene_description> <character>HELEN</character> <dialogue>` Bout written you off. How long have you been in town?</dialogue> <character>BRIAN</character> <dialogue>Four months.</dialogue> <character>HELEN</character> <dialogue>Four months?</dialogue> <character>BRIAN</character> <dialogue>I know, I know, Should' a called. I've been really busy. I joined the fire department.</dialogue> <scene_description>Helen 's expression suddenly saddens .</scene_description> <character>HELEN</character> <dialogue>Oh Brian.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You guys. you really know how to put each other through it, do n't you?</dialogue> <scene_description>The little kid is peeking fearfully from the kitchen doorway .</scene_description> <character>BRIAN</character> <dialogue>That's Sean? Jeez, he's a giant.</dialogue> <character>HELEN</character> <dialogue>Yeah, you'd be surprised what three years can do to a kid.</dialogue> <character>BRIAN</character> <dialogue>Sean, come on out, man. What, you forget your favorite uncle?</dialogue> <character>HELEN</character> <dialogue>Stephen told him you were killed in a hot tub accident.</dialogue> <character>SEAN</character> <parenthetical>( intense . )</parenthetical> <dialogue>Dad was kidding, Mom.</dialogue> <scene_description>And the kid runs unexpectedly away , angry .</scene_description> <character>BRIAN</character> <dialogue>Well that's two things to strangle Stephen for. Where is he, anyway?</dialogue> <character>HELEN</character> <parenthetical>( beat . )</parenthetical> <dialogue>Stephen's not staying here now, Brian. He moved out last April.</dialogue> <scene_description>An embarrassed sting .</scene_description> <character>BRIAN</character> <dialogue>Oh, man, I'm sorry.</dialogue> <character>HELEN</character> <dialogue>You guys ought to try picking up a phone once in awhile.</dialogue> </scene> <scene> <stage_direction>EXT. STEPHEN'S BOAT - MARINA - DAY</stage_direction> <scene_description>A small one on the river . Several boats bob peacefully . Except one . Raised high in dry - dock , it 's an ancient fishing trawler . Bachman - Turner - Overdrive drifts up from the galley on badly fuzzed speakers as Brian climbs the ladder .</scene_description> <character>BRIAN</character> <dialogue>Hey.</dialogue> <scene_description>Stripped to the waist , Stephen 's bent - over cleaning out the guts of the inboard motor . He looks confused to see Brian .</scene_description> <character>BRIAN</character> <dialogue>I talked to Helen.</dialogue> <scene_description>Wrong thing to say . Stephen turns back to his work .</scene_description> <character>BRIAN</character> <dialogue>Man, I thought dad's boat was finally retired to the family graveyard. Do n't you worry about falling out of this thing?</dialogue> <scene_description>Stephen straightens up , his forearms smudged with grease . Brian admires the unwashed cereal bowls and peeling deck paint .</scene_description> <character>BRIAN</character> <dialogue>I like what you've done with the place.</dialogue> <character>STEPHEN</character> <dialogue>It's comin' along. want a beer?</dialogue> <scene_description>Stephen tosses him a beer from the fridge . As Brian pops it , he sees the small pile of city - issue gallon size cans in the corner . Armorall , solvent , extinguisher foam .</scene_description> <character>BRIAN</character> <dialogue>Been ripping off fire stations?</dialogue> <character>STEPHEN</character> <dialogue>It's old stuff Adcox gave me that the department was going to throw out anyway. Still good enough though for this tub.</dialogue> <scene_description>Brian winces at the music coming out of shot speakers .</scene_description> <character>BRIAN</character> <dialogue>Bachman Turner Overdrive?</dialogue> <parenthetical>( looks through music rack . )</parenthetical> <dialogue>. Buffalo Springfield? Stephen Bishop? Oh man.</dialogue> <scene_description>Brian lifts one of the tapes - an 8 - track - and holds it carefully in his palm as if it were a rare and fragile relic .</scene_description> <character>BRIAN</character> <dialogue>My God, an actual operating 8 - track.</dialogue> <character>STEPHEN</character> <dialogue>What, you've never seen one before?</dialogue> <character>BRIAN</character> <dialogue>In the Field Museum once.</dialogue> <character>STEPHEN</character> <dialogue>It works.</dialogue> <character>BRIAN</character> <dialogue>It worked when you were in sixth grade.</dialogue> </scene> <scene> <stage_direction>INT. STEPHEN'S BOAT - DAY</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. STEPHEN'S BOAT - DAY</stage_direction> <scene_description>Brian opens the trunk of his old BMW . It 's full of stereo boxes marked BRIAN 'S `` SOUND SPECTRUM '' .</scene_description> </scene> <scene> <stage_direction>INT. STEPHEN'S BOAT - CABIN - DAY</stage_direction> <scene_description>Brian 's gutted the speakers and is re - wiring them .</scene_description> <character>STEPHEN</character> <dialogue>People actually used to pay you for this?</dialogue> <character>BRIAN</character> <dialogue>Millions, Stephen - And sexual favors.</dialogue> <character>STEPHEN</character> <dialogue>Sheep do n't count.</dialogue> <character>BRIAN</character> <dialogue>Yeah? What about Laura -</dialogue> <character>STEPHEN</character> <dialogue>That was never proved.</dialogue> <scene_description>Brian moves over to another speaker .</scene_description> <character>STEPHEN</character> <dialogue>Why'd you come here, Brian?</dialogue> <character>BRIAN</character> <dialogue>I wanted to know why you messed with my station assignment. I mean, is this really gon na have to one of those big brother - little brother `` you broke my GI Joe and I'm still pissed'' games?</dialogue> <character>STEPHEN</character> <parenthetical>( sighs . )</parenthetical> <dialogue>What is it with you, man, huh? How do you manage to keep coming up with new and amazing ways to screw up? That scotch bullshit? Am I really supposed to believe you came crawling back home because you suddenly felt heart strings moan for the family biz? You were bankrupt, man.</dialogue> <character>BRIAN</character> <dialogue>Hey! You do n't know me -</dialogue> <character>STEPHEN</character> <dialogue>I know you cold, Brian. The scary thing is, you probably could have faked it for awhile. But you see, in this job there's no place to hide. Is n't like selling log cabins. You have a bad day here - someone dies. And that's not fucking good enough. Want another beer?</dialogue> <character>BRIAN</character> <dialogue>So that's it? Big bad brother's gon na ride my ass till I cough blood?</dialogue> <character>STEPHEN</character> <dialogue>Big bad brother is going to treat you like any other probie - that I do n't think is going to make it.</dialogue> <scene_description>Brian staples the last of the audio cord in place and switches on the tape player . The cabin fills with sharp , crystal clear - Stephen Bishop .</scene_description> <character>BRIAN</character> <dialogue>There's only so much technology can do.</dialogue> <parenthetical>( picks up his tool box . )</parenthetical> <dialogue>Thanks for the beer.</dialogue> <character>STEPHEN</character> <dialogue>Thanks for the speakers.</dialogue> </scene> <scene> <stage_direction>EXT. STEPHEN'S BOAT - DAY</stage_direction> <scene_description>Brian climbs down off the boat . Looks up at Stephen .</scene_description> <character>BRIAN</character> <dialogue>Y' know, I told myself a million times I did n't want to be a fireman. I said bullshit to that line about tradition and family legacy. I know I split, and I know how you felt.</dialogue> <character>STEPHEN</character> <dialogue>Yeah, you know. You know what it felt like.</dialogue> <character>BRIAN</character> <dialogue>I got ta do this, Stephen. I got ta know.</dialogue> <character>STEPHEN</character> <dialogue>I think you're gon na find out, Brian. Do n't be late tomorrow.</dialogue> </scene> <scene> <stage_direction>INT. BRIAN'S APARTMENT - MORNING</stage_direction> <scene_description>A simple one - room walk - up . A stereo blares Chicago blues as Brian buttons up his uniform in the mirror . He steps back , looks at himself , - and oh man what the hell am I doing .</scene_description> </scene> <scene> <stage_direction>EXT. BRIAN'S APARTMENT - STREET - MORNING</stage_direction> <scene_description>Brian climbs into his car , turns the key - nothing . He gets out , looks under the hood , then SLAMS it down in frustration .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATED TRAIN - MORNING</stage_direction> <scene_description>A pissed - off Chicago , hauling itself off to work in the morning snap , passes by Brian 's window . Tough Midwestern brick . Tough Midwesterners . Heads - down in their 150 year war with a wind committed to pushing the whole damn thing into Lake Michigan .</scene_description> </scene> <scene> <stage_direction>EXT. EL STATION - MORNING</stage_direction> <scene_description>The train clacking away above him , Brian walks down the sidewalk carrying his fire equipment . He turns a corner and comes on .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - MORNING</stage_direction> <scene_description>Brian stands there . It 's his dad 's station . Turn of the century abused . Sooty with stone gargoyles and a pair of faded red doors that suddenly CRANK OPEN as Brian comes up the drive . Fire engine 17 and ladder truck 46 , lights flashing , pull out onto the apron . The fireman sticking his head out of the passenger window is Stephen . One look at the silver trumpet on his collar and we know this is n't Fireman McCaffrey but Fire LT. McCaffrey .</scene_description> <character>STEPHEN</character> <dialogue>You're too late, probie.</dialogue> <scene_description>Tim , in ladder truck 46 , waves a small bye - bye as both rigs begin heading down the street .</scene_description> <character>BRIAN</character> <parenthetical>( chasing . )</parenthetical> <dialogue>Goddamn it, Stephen.</dialogue> <scene_description>Brian bolts full - out for the engine . At the last instant before he falls on his face a fireman reaches out and drags him aboard .</scene_description> </scene> <scene> <stage_direction>INT./EXT. FIRE ENGINE 17 - DAY</stage_direction> <scene_description>It 's Adcox , the fireman from the first scene , now a veteran .</scene_description> <character>AXE</character> <dialogue>Why baby McCaffrey, how ya doin'?</dialogue> <scene_description>The Pumper driver , SCHMIDT , pops in a howling ROCK TUNE as they zoom off .</scene_description> <character>SCHMIDT</character> <parenthetical>( re Brian to Adcox . )</parenthetical> <dialogue>You know this rug rat?</dialogue> <character>AXE</character> <dialogue>Know him? I practically raised him.</dialogue> <parenthetical>( Jewish mom . )</parenthetical> <dialogue>And he never calls, he never writes.</dialogue> <scene_description>Brian shouts over the noise to GRINDLE , 35 , one more seat down .</scene_description> <character>BRIAN</character> <dialogue>I'm Brian.</dialogue> <character>GRINDLE</character> <dialogue>I'm sorry.</dialogue> <scene_description>Grindle sticks his nose out the window , sniffs , then begins buckling up his coat .</scene_description> <character>GRINDLE</character> <dialogue>Boys, I do believe we have a barbecue.</dialogue> <scene_description>As Brian and Adcox fasten up their own equipment -</scene_description> </scene> <scene> <stage_direction>EXT. FACTORY - DAY</stage_direction> <scene_description>Smoke pours with confused indecision from every window of a five story factory as the pumper and ladder company pull up .</scene_description> <character>GRINDLE</character> <parenthetical>( staring at confusing smoke . )</parenthetical> <dialogue>I hate it when we got ta fucking go look for it.</dialogue> <character>STEPHEN</character> <parenthetical>( to Schmidt . )</parenthetical> <dialogue>Call in another alarm. We're gon na need some back - up.</dialogue> <scene_description>Everyone begins strapping on air tanks and masks . Adcox drags the rig 's suction line to the hydrant . A beautiful illegally parked Mercedes is blocking the way .</scene_description> <character>AXE</character> <parenthetical>( to Stephen . )</parenthetical> <dialogue>Oh these moments do try me.</dialogue> <character>STEPHEN</character> <parenthetical>( admiring car . )</parenthetical> <dialogue>Be gentle.</dialogue> <scene_description>Whistling to himself , Adcox SMASHES the brass coupling through the passenger window , runs the line through and SMASHES it out the other window before connecting up to the hydrant . Stephen and Grindle pull hose off the bed and move out . Brian 's so jacked up he ca n't get his air tank on right . Schmidt calmly helps him into his gear .</scene_description> <character>SCHMIDT</character> <dialogue>It's only rock'n roll, kid.</dialogue> <scene_description>Stephen , Adcox and Grindle are crouched at the door , ready to go . Brian takes a hose roll and runs to catch up when he 's cut - off by dazed Latin workers shouting incoherently at him in SPANISH .</scene_description> <character>STEPHEN</character> <dialogue>Hey, probie! How ` bout it, huh?</dialogue> <scene_description>Brian pushes past the workers and takes his position on the hose line . Stephen reaches over and re - adjusts Brian 's air tank strap .</scene_description> <character>STEPHEN</character> <dialogue>You're doing it wrong.</dialogue> <scene_description>Stephen eases the door open . Thick smoke rolls sickly out over their heads .</scene_description> <character>STEPHEN</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Stay beside me.</dialogue> <scene_description>And in they go .</scene_description> </scene> <scene> <stage_direction>INT. BURNING FACTORY - DAY</stage_direction> <scene_description>Inside the smoke is like liquid lead . Going by feel , they hump the hose up one staircase after another , crawling on their hands and knees toward a dull red glow . Turning a corner , they enter</scene_description> </scene> <scene> <stage_direction>INT. BURNING FACTORY - A VAST ROOM - DAY</stage_direction> <scene_description>Totally ablaze . Brian looks up in wonder at the buffeting waves of flame in the ceiling , at the SCREECHING timbers crumbling to the white - hot floor . At the walls HOWLING in bestial agony . It is the most horrifying , and wonderful thing he has ever seen .</scene_description> <character>AXE</character> <dialogue>Wash it to the windows?</dialogue> <character>STEPHEN</character> <dialogue>No, we'll hit the son of a bitch head on.</dialogue> <character>AXE</character> <dialogue>It's gon na flash, Stevie. We got ta get behind it.</dialogue> <character>STEPHEN</character> <dialogue>Nah, listen to it. It's a pussy. It'll just steam on us. It wo n't flash. Go high in the ceiling.</dialogue> <scene_description>Adcox and Grindle shrug and pull their helmets down tight , expecting the worst . Adcox opens up the nozzle , turning loose a high pressure BLAST OF WATER into the ceiling . The fire SCREAMS in manic anger and HEAVES a cloud of HOWLING steam that WHIRLS back and BAKES them like lobsters . Brian gasps for air as swirling ash batters his facemask . A window somewhere EXPLODES . Somebody shouts . Christ , you ca n't see anything . Stephen HOOPS in victory .</scene_description> <character>STEPHEN</character> <parenthetical>( to fire . )</parenthetical> <dialogue>I knew you were a pussy! C'mon! Steam us!</dialogue> <parenthetical>( to firemen . )</parenthetical> <dialogue>Let's go!</dialogue> <scene_description>The chase is on ! Going for the throat while the fire 's confused and defensive , the firemen SCRAMBLE through the boiling cloud . They hit it in the ceiling , in the walls , forcing it back and back . It HOWLS and CLAWS in anger , furiously throwing cinders and broken timbers in their faces . The walls ECHO with its SCREAMS as it retreats to a corner .</scene_description> <character>STEPHEN</character> <dialogue>Ya love it, probie?</dialogue> <character>BRIAN</character> <dialogue>I'm in heaven, Lt.</dialogue> <character>STEPHEN</character> <dialogue>Hook us up to a stand - pipe.</dialogue> <scene_description>Brian runs back to the wall to hook up his hose roll to the building water system . He goes to unscrew the cap with his hydrant wrench but it keeps slipping off the nut .</scene_description> <character>STEPHEN</character> <dialogue>Jesus, how ` bout man, huh? We're gon na loose this!</dialogue> <scene_description>Brian finally gets it hooked up and runs back .</scene_description> </scene> <scene> <stage_direction>EXT. FACTORY - OTHER SIDE - DAY</stage_direction> <scene_description>Tim and three guys from his ladder company , come up an extended aerial ladder , CRASH through a window and</scene_description> </scene> <scene> <stage_direction>INT. FACTORY - DAY</stage_direction> <scene_description>begin HACKING their way toward Brian 's company as - BOOM ! It 's a sudden , shattering vibration that shakes the building to its foundations . Then , a sucking sound : RUSH - RUSH - RUSH . Stephen speaks calmly into his radio handset .</scene_description> <character>STEPHEN</character> <dialogue>Hey Otis, is it?</dialogue> <character>SCHMIDT</character> <parenthetical>( into radio . )</parenthetical> <dialogue>Yeah.</dialogue> <character>STEPHEN</character> <dialogue>Goddamn it, where's our backup? Where's the second - in companies?</dialogue> <character>SCHMIDT'S VOICE</character> <dialogue>Sorry, man. John Wayne time.</dialogue> <character>STEPHEN</character> <parenthetical>( to firemen . )</parenthetical> <dialogue>Dig in!</dialogue> <scene_description>The firemen hesitate . PENGELLY , the Truck Company Lt. , looks at Stephen with concern .</scene_description> <character>STEPHEN</character> <dialogue>Dig in, goddamn it!</dialogue> <scene_description>The crews immediately gather in the center of the floor . They turn over tables , chairs , anything to form a barrier . A circling of the wagons . - BOOM ! rush - rush - rush - BOOM ! Each louder than the last . Stephen and Brian are ducked behind an overturned desk . Adcox and Krizminski clutch hoselines like frontiersmen 's Winchesters .</scene_description> <character>STEPHEN</character> <dialogue>You're gon na love this.</dialogue> <scene_description>- rush - rush - rush - CRAAAASH ! On an instant the world comes apart as all four walls of factory windows EXPLODE in a hail of glass . A wave of HOWLING FLAME POURS IN after it , SHRIEKING and HISSING . At the same moment , part of the floor beside a heavy sewing machine GIVES WAY and a ladderman , SANTOS , FALLS THROUGH , grabbing the edges at the last minute as flames BELLOW UP from underneath . He SCREAMS as his grip loosens . Grindle leaps to the ladderman 's side , grabbing his arms and coat . Brian hesitates just an instant and Stephen SHOVES him out of the way to back up Grindle .</scene_description> <character>SANTOS</character> <dialogue>Help. Oh God.</dialogue> <scene_description>Adcox 's taken the hoseline and is opening fire . Water and flame crash and snarl across the floor in a blood curdling ROAR . It 's a thrashing , murderous standoff . Stephen and Grindle have got Santos but the angle 's bad . Blow it now and all three could take a header . Santos is panicking , losing his grip . Grindle bores his eyes into the man 's with the calm and conviction of Moses .</scene_description> <character>GRINDLE</character> <dialogue>You go, we go.</dialogue> <scene_description>They may all die , but they wo n't leave him . He calms a little , hangs on till they PULL him out of harm 's way . Adcox continues with the hose as suddenly , everyone HITS the deck as the fire EXPLODES over them , BURSTING their coats into flame . Tim 's company opens up their line , WASHING everybody down before CHARGING after the fire . A ladderman , NIGHTENGALE , steps on Brian 's back .</scene_description> <character>BRIAN</character> <dialogue>Hey!</dialogue> <character>NIGHTENGALE</character> <dialogue>Sorry man, I thought you were dead.</dialogue> <scene_description>Brian , stunned , sits up , his coat and helmet smoking . Stephen seems totally unaffected and is already on his feet and over the top of the barricade , the others backing him as he mercilessly drives the fire back , trapping it finally into a corner . The fire hisses , spits , shakes the walls with its furious anger . But it 's all bluster now , the fire 's dying .</scene_description> <character>PENGELLY</character> <parenthetical>( ladder co. captain . )</parenthetical> <dialogue>Stephen! BC's on the radio. Says they think a civilian got left behind downstairs.</dialogue> <character>STEPHEN</character> <dialogue>Adcox! Take Tim and do a search.</dialogue> <scene_description>Adcox leads Tim downstairs . Brian looks shaken up . Stephen helps him roughly to his feet .</scene_description> <character>STEPHEN</character> <dialogue>Do n't you fold on me now, man.</dialogue> <scene_description>Brian burns at that and shakes his brother 's arm off .</scene_description> <character>STEPHEN</character> <dialogue>Clear the hose for me.</dialogue> <scene_description>Brian 's walking over to clear the hoseline when he hears it . small voice . Faint . `` Help me . ''</scene_description> <character>BRIAN</character> <dialogue>Hey, I think it's coming from a different staircase.</dialogue> <scene_description>Nobody hears . - Brian takes off down the other steps on his own .</scene_description> </scene> <scene> <stage_direction>INT. BURNING FACTORY - DOWNSTAIRS</stage_direction> <scene_description>It 's only the fire 's ghost here , lazy and slow . Off the corridor are rooms full of commercial sewing machines . Brian enters one and drops to his knees . Looks under a table , flashes his light behind a work stand . Nothing . He turns to backtrack his way out when A TONGUE OF FLAME suddenly LEAPS up through the floor in front of him , cutting off the door . Brian lands on his ass as it hisses and giggles and dances unreally in front of him . I never forget a face , kid . - That fire from childhood . He could maybe force his way through but Jesus , the way it looks at him - - Brian ROLLS away from it . Looks for another doorway - And ends up in thick smoke . He drops to a crawl , stays on his belly where the air 's clear . When he sees it . Behind some furniture . Something flesh - colored . Shit . It 's a body . He crawls up closer . It 's a woman . Adrenalin pounding the top of his skull off , he grabs her and stumbles back down the hall , makes a turn -</scene_description> <character>BRIAN</character> <dialogue>I got one!</dialogue> </scene> <scene> <stage_direction>EXT. FACTORY - DAY</stage_direction> <scene_description>- And now he 's bursting from the building onto a short fire escape , shouting at the top of his lungs .</scene_description> <character>BRIAN</character> <dialogue>I got somebody! I got somebody!</dialogue> <scene_description>A sea of media flashbulbs ERUPTS in his face . The press have arrived in force , crowding the street . Brian pushes through them to a clear spot on the far side of the engine . Two fire paramedics rush over as he lowers the figure .</scene_description> <character>BRIAN</character> <dialogue>Is she. Is she alive?</dialogue> <scene_description>The paramedics suddenly stop their efforts . Turn to Brian .</scene_description> <character>PARAMEDIC</character> <dialogue>I'm afraid you're a little too late with this one.</dialogue> <scene_description>They step aside . Brian looks down . The woman looks strange . Mostly because she 's a heavy store DRESSING DUMMY . The paramedics burst into laughter . Brian , looking pale and shaken , turns and walks away . He passes Grindle and Tim , sitting on the pumper 's tailboard helping the REAL woman that was found inside .</scene_description> <character>GRINDLE</character> <dialogue>Sorry to hear about the mannequin. I heard you two were close.</dialogue> <scene_description>Photographers have appeared and are flashing the woman . Dizzy , Brian wanders off , tries to help out with the choking clog of singed factory employees before finally turning quickly into</scene_description> </scene> <scene> <stage_direction>EXT. FACTORY ALLEY - ACROSS THE STREET - DAY</stage_direction> <scene_description>Where he barfs his guts out in private . Doubled - over , one arm on the brick wall for support , we see the raw terror . The demons rushing out of him .</scene_description> <character>BRIAN</character> <dialogue>Shit.</dialogue> <scene_description>Someone else does too . Jennifer . Dressed now in a long expensive coat , she 's standing at the end of the alley with a clipboard . Brian , ashes smeared across an ashen face , spittle on his chin , does n't notice her .</scene_description> <character>STEPHEN</character> <parenthetical>( appearing beside him . )</parenthetical> <dialogue>You all right?</dialogue> <scene_description>Stephen is n't pale . He 's flushed and buoyant . All this has n't taken anything from him . It 's made his day .</scene_description> <character>BRIAN</character> <dialogue>Yeah. Fine. I'm a little busy right now.</dialogue> <scene_description>Stephen leans against the wall . Folds his arms .</scene_description> <character>STEPHEN</character> <dialogue>Y' know, you got an awful short memory for direct orders. I told you to stay beside me.</dialogue> <character>BRIAN</character> <dialogue>- C'mon, Stephen.</dialogue> <character>STEPHEN</character> <dialogue>- You split the team, man. And what was that crap with the standpipe? You'd think you and a hose were never introduced before.</dialogue> <scene_description>Stephen turns to leave . Brian yells after him .</scene_description> <character>BRIAN</character> <dialogue>Goddamn it Stephen!</dialogue> <character>STEPHEN</character> <dialogue>- I told you to stay next to me!</dialogue> <character>BRIAN</character> <dialogue>- I was doin' it! I was up there fucking doin' it. You do n't know, man, you do n't know what I did!</dialogue> <character>STEPHEN</character> <dialogue>What you did was drop the ball, Probie. Get that right.</dialogue> <character>PENGELLY</character> <parenthetical>( from end of alley . )</parenthetical> <dialogue>Hey! Stevie! They're callin' for ya.</dialogue> <scene_description>Stephen turns to walk away . Pauses .</scene_description> <character>STEPHEN</character> <dialogue>Bet 30,000 dollars a year and twenty two days a month off sounded pretty good twelve weeks ago, huh?</dialogue> <scene_description>As Stephen leaves , we see that Jennifer 's been standing at the end of the alley , listening to them . She 's turns and walks as Brian looks up . We register his surprise . He watches her head toward a dynamic - looking guy in his 40s , ALDERMAN SWAYZAK , surrounded by reporters .</scene_description> </scene> <scene> <stage_direction>EXT. BURNED BUILDING - FRONT - DAY</stage_direction> <character>SWAYZAK</character> <parenthetical>( to reporters . )</parenthetical> <dialogue>Roger, Paul. How's it going, guys?</dialogue> <character>REPORTER</character> <dialogue>Another fire in this district. Getting to be Cinder Alley up here.</dialogue> <character>JENNIFER</character> <parenthetical>( walking up . )</parenthetical> <dialogue>You used that last week.</dialogue> <scene_description>She hands Swayzak a clipboard .</scene_description> <character>AXE</character> <parenthetical>( yelling down from window . )</parenthetical> <parenthetical>( to Brian . )</parenthetical> <dialogue>Hey! Probie! We're still workin' here, man.</dialogue> </scene> <scene> <stage_direction>INT. BURNED BUILDING</stage_direction> <scene_description>Brian and the rest of the company rip open the walls and beat the last weak flames in a final flurry of dingy sparks . The moment the smoke clears just a fraction , cigarettes appear in everyone 's mouth . Was it good for you ? The talk is easy and obscene , the intense camaraderie of shared danger . Ash clods are thrown playfully back and forth in the afterglow of having taken on the worst there is and walking away one more time .</scene_description> <character>GRINDLE</character> <parenthetical>( to Adcox . )</parenthetical> <dialogue>Stephen man, what's going through that guy's head? Takin' it on in the first room. this shit's happening too often. It could've flashed. Should've flashed.</dialogue> <character>AXE</character> <dialogue>But it did n't. Guy knows.</dialogue> <character>GRINDLE</character> <dialogue>Guy's lucky.</dialogue> <scene_description>Adcox sees Brian . Smiles .</scene_description> <character>AXE</character> <dialogue>Hey, baby McCaffrey. First one's the clincher. You did okay.</dialogue> <character>BRIAN</character> <dialogue>My Lt. might have something to say about that.</dialogue> <character>AXE</character> <dialogue>Ah, everybody screws up some, Brian. You're working for the toughest Lt. on the job. Saw him once pick up a probie he thought was moving too slow and throw him into a burning building. It's just bad luck you're family.</dialogue> <character>BRIAN</character> <parenthetical>( beat . )</parenthetical> <dialogue>John, when you're in there. in the fire. do you ever see.</dialogue> <character>STEPHEN</character> <parenthetical>( from across room , interrupting . )</parenthetical> <dialogue>C'mon ladies, let's roll some hose.</dialogue> <character>BRIAN</character> <parenthetical>( to Adcox . )</parenthetical> <dialogue>- Never mind.</dialogue> <scene_description>Brian turns and sees out the window Jennifer and Swayzak standing near Rimgale 's red fire dept. sedan .</scene_description> </scene> <scene> <stage_direction>EXT. FACTORY - DAY</stage_direction> <scene_description>Rimgale walks up to his sedan .</scene_description> <character>SHADOW</character> <dialogue>Alderman Swayzak.</dialogue> <character>SWAYZAK</character> <dialogue>Investigator Rimgale.</dialogue> <character>SHADOW</character> <dialogue>I need to get in the trunk.</dialogue> <scene_description>Swayzak 's leaning on it . We sense the dislike between them . Swayzak steps aside . Rimgale pops the trunk .</scene_description> <character>SHADOW</character> <dialogue>Awful expensive shoes to be wearing at a fireground, Alderman. But then I guess you have n't been to too many fires.</dialogue> <character>JENNIFER</character> <dialogue>I wanted to talk to you about Alan Seagrave's death. We still have n't gotten a fire report from your office.</dialogue> <character>SHADOW</character> <dialogue>You'll have an answer as soon as I do.</dialogue> <character>SWAYZAK</character> <dialogue>People are asking how a prominent taxpayer got stuffed through the windshield of his own car. They're asking me.</dialogue> <character>JENNIFER</character> <dialogue>- The point is, Investigator, you have n't even told us yet if the fire was accidental. We're starting to get the feeling your office is dragging out this case to embarrass the Alderman because of his fire dept. reorganization program -</dialogue> <character>SHADOW</character> <dialogue>- You mean his firehouse closing program, - Do n't you?</dialogue> <character>JENNIFER</character> <dialogue>We'd just be very disappointed if it turned out your office was playing politics.</dialogue> <character>SWAYZAK</character> <dialogue>- Because I'm not. I care about this city, and I care about this department -</dialogue> <scene_description>Rimgale cuts him off with the shutting of his trunk lid .</scene_description> <character>SHADOW</character> <parenthetical>( calm of a monk . )</parenthetical> <dialogue>Alderman, I have a remarkably uncomplicated job. To decide if a fire's arson, and if so catch the pain in the ass doing it. But to be honest, if my methodical investigative methods just happen to muck up the campaign of certain mayor wan na - bees, well, I guess I ca n't say I sleep any less peacefully.</dialogue> <scene_description>And he walks back to the burned building .</scene_description> <character>SWAYZAK</character> <dialogue>I wish I could just fire the son of a bitch.</dialogue> <character>STEPHEN</character> <dialogue>Hey! Swayzak!</dialogue> <scene_description>Stephen 's leaning out of an upstairs window . As the TV cameras turn , he drops down onto a fire engine hose bed and pops right into Swayzak 's face with a murderous grin .</scene_description> <character>STEPHEN</character> <dialogue>We almost lost a whole company up there, Swayzee buddy. Is n't any back - up since you closed' 33. And we really appreciate it, the guys and me. Honest. I know you've got my vote for mayor.</dialogue> <scene_description>Grindle and Santos start walking for Stephen . Brian 's there , following after them .</scene_description> <character>SWAYZAK</character> <dialogue>Look Lt., I'm on your side. If there's a problem, please, work with our task force to fix it.</dialogue> <character>STEPHEN</character> <dialogue>Oh yeah, your famous task force. three guys have already died this year because of the cuts made by your `` task force''.</dialogue> <character>GRINDLE</character> <dialogue>Stevie, c'mon man.</dialogue> <scene_description>Stephen silences Grindle with an outstretched hand . Swayzak leans close , out of earshot of the cameras .</scene_description> <character>SWAYZAK</character> <dialogue>You see that funny glow that's starting to blink in the corner of your eye, Lt? That's your career dissipation light - and it just went into overtime.</dialogue> <character>STEPHEN</character> <dialogue>If anybody's light's gon na blink, it's yours.</dialogue> <scene_description>Swayzak holds his ground . It 's a tense , out of control moment between them . Rimgale turns from his work , watches Stephen with concern . Adcox suddenly inserts himself face - to - face with Swayzak and we see the raw hatred .</scene_description> <character>AXE</character> <dialogue>You're in firemanland now, Swayzak. Do yourself a favor and just walk away.</dialogue> <scene_description>Swayzak holds Adcox 's gaze , then turns for his car . Brian watches Jennifer climb in beside her boss .</scene_description> <character>BRIAN</character> <dialogue>This is your city job?</dialogue> <scene_description>Jennifer shrugs as they pull away .</scene_description> </scene> <scene> <stage_direction>INT./EXT. FIRE STATION 17 - LATE DAY</stage_direction> <scene_description>Brian jumps down from the rig as it backs up the driveway . Across the street a middle - aged woman flashes them from the balcony of her apartment .</scene_description> <character>AXE</character> <dialogue>That's Franny. She likes firemen.</dialogue> <character>STEPHEN</character> <dialogue>Tim, fill out the alarm card.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>Clean the pipe poles, wipe down the ladders and hang some hose.</dialogue> <scene_description>Adcox watches Brian and Tim exchange looks . Tim shrugs . Brian sighs and pulls out the pike poles , starts across the floor before freezing suddenly at a murderous GROWL . Brian turns and sees a DOG . Sort of . It has the rib cage of a wild beast , fangs , long greasy hair . It blocks his way , SNARLING with hate .</scene_description> <character>GRINDLE</character> <dialogue>That's The Thing. You ca n't stay unless he likes you.</dialogue> <scene_description>Slobber drools out of its mouth as it GROWLS .</scene_description> <character>BRIAN</character> <dialogue>Have you guys got something against dalmatians?</dialogue> <scene_description>Brian wipes some of the crusted grime from his face , looks back and forth between Franny and The Thing , and sighs .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - BUNKROOM</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - LOCKER ROOM</stage_direction> <scene_description>Brian enters , strips down his battered uniform , and opens his locker . The mannequin from the fire SPRINGS OUT , legs spread . A sign taped to its mouth says : `` TAKE ME BRIAN , YOU 'RE MY SUPERMAN ! ''</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - WASHROOM</stage_direction> <scene_description>Brian and the others scrub the morning 's fire off their bodies in the station shower . Tim keeps filling his mouth full of water and launching it upward in a stream .</scene_description> <character>BRIAN</character> <dialogue>Do you have to do that?</dialogue> <character>TIM</character> <parenthetical>( pumped . )</parenthetical> <dialogue>Could you believe that fire? Man! First day! There I was, Adcox and me, pullin' that lady right out of the fire's fuckin' throat! I love it here - No surround and drown for this company. Fighting 17th! Goddamn Stephen's amazing. You see how he took that fire by the balls? I'm gon na be that good some day, you watch.</dialogue> <scene_description>Brian compares himself to the praise heaped on Stephen .</scene_description> <character>TIM</character> <dialogue>Y' know what Stephen said to me, right when all the shit was coming hard? `` You never know till the moment the fire stares you down if you're just gon na do this job or be great at it''.</dialogue> <character>BRIAN</character> <dialogue>Ah man, is he usin' that line now on you? What, you think he made that little gem up? Jesus Christ, I used to have to listen to my old man use that every morning.</dialogue> <scene_description>Brian shuts off his shower and walks out .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - BUNKROOM</stage_direction> <scene_description>Stephen sits alone at his bunk , slowly stretching a strained and ruined back . He blows out a long , tired breath , and begins working ointment into an anciently scarred and battered knee . On the wall is a small glass case full of station memorabilia through the years . There 's a two battered fire helmets there , set reverently on velvet . Beside it is a photograph of his father . Grinning . Top of the world . He 's wearing a T - shirt proudly stenciled FIGHTING 17th . Father and son exchange a long , awkward greeting . In the doorway , Brian stands watching his brother , who not even 40 , suddenly seems an old and broken man . The ALARM KLAXON suddenly sounds . Brian , just in a towel and Tim , in boxers covered with little dinosaurs , dash for the fire pole .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - APPARATUS FLOOR</stage_direction> <scene_description>Tim and Brian slide down and bounce off the floor .</scene_description> <character>GRINDLE</character> <dialogue>- C'mon! C'mon! Go! Go!</dialogue> <scene_description>Brian and Tim rush for their equipment . Grindle grabs their arms .</scene_description> <character>GRINDLE</character> <dialogue>No! C'mon! This way!</dialogue> <scene_description>He hustles them across the apparatus floor , through a doorway , and into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - KITCHEN/DINING AREA</stage_direction> <scene_description>The makings of a meal are laid out on the counter . Brian and Tim come to a screeching halt . The rest of the station is sitting calmly at the kitchen table , watching .</scene_description> <character>BRIAN</character> <dialogue>What's going on?</dialogue> <character>PENGELLY</character> <dialogue>Dinner, Probies. Get started.</dialogue> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - KITCHEN</stage_direction> <scene_description>Tim and Brian , still in their boxers , set down plates of food .</scene_description> <character>STEPHEN</character> <dialogue>Better be good.</dialogue> <character>SANTOS</character> <dialogue>Or we feed you to The Thing.</dialogue> <scene_description>Everybody digs in . The table is a craze of half a dozen different conversations . On the TV mounted above on the wall are news shots of Seagrave 's body sticking out of the windshield . Adcox stands and tinks his glass with a spoon for silence .</scene_description> <character>AXE</character> <dialogue>Gentlemen, please. As 17's official toastmaster -</dialogue> <character>SANTOS</character> <dialogue>And bullshitter.</dialogue> <character>AXE</character> <dialogue>Thank you, Santos. Did I happen to mention that you were cut out of my will?</dialogue> <parenthetical>( company laughs . )</parenthetical> <dialogue>I think it appropriate that we recognize the two asswipes - I mean probationary firemen - among us who today were baptized officially into the world of Old Man Fire. First to Tim, who despite being handicapped at birth with a rather dull expression and a really hideous pair of ears, not only took on the beast but pulled from its clutches - assisted by a more famous and brilliant firefighter - me - a kicking and screaming civilian that will probably end up suing us for breaking her fingernail.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>And to Brian, who's own contribution was both more beautiful and less likely to sue.</dialogue> <scene_description>Adcox puts his arm affectionately around the mannequin , seated with honor at the head of the table . Right beside The Thing .</scene_description> <character>AXE</character> <dialogue>Y' know, when I heard that both McCaffrey brothers were going to be assigned together here, well, my heart was filled with. a sudden desire to transfer.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>So raise a glass, lads. To funny - looking Tim, and the McCaffrey brothers, who despite years of getting on each other's nerves have managed with great effort. to still be pissed off at each other. Gentlemen!</dialogue> <character>COMPANY</character> <parenthetical>( together , a toast . )</parenthetical> <dialogue>Fuck you!</dialogue> <scene_description>The klaxon suddenly rings . Two bells . The ladder guys groan and get up .</scene_description> <character>STEPHEN</character> <dialogue>Bye, boys.</dialogue> <character>SCHMIDT</character> <parenthetical>( winks . )</parenthetical> <dialogue>We'll keep it warm for you.</dialogue> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - BUNKROOM</stage_direction> <scene_description>Dawn lightens the room as Brian slowly opens his eyes and sees in extreme , fish - eyes close - up : THE THING GROWLING at him . Brian turns the other direction and sees Stephen , fully dressed , standing over his bunk .</scene_description> <character>STEPHEN</character> <dialogue>Clean the toilets.</dialogue> </scene> <scene> <stage_direction>INT. APPARATUS FLOOR</stage_direction> <scene_description>Bleary - eyed , the nine firemen line up raggedly in front of their rigs , dressed like shit but for peaked uniform caps they wear only at this moment . Stephen stands before them , does a quick glance up and down the line .</scene_description> <character>STEPHEN</character> <dialogue>Okay, company dismissed. - See ya guys tonight at Fitzgerald's retirement party.</dialogue> <scene_description>They shuffle for the door . As Brian passes ,</scene_description> <character>STEPHEN</character> <dialogue>You want a ride?</dialogue> </scene> <scene> <stage_direction>EXT. BRIAN'S APARTMENT BUILDING - MORNING</stage_direction> <scene_description>Stephen pulls up . Brian opens the door .</scene_description> <character>BRIAN</character> <dialogue>Thanks.</dialogue> <character>STEPHEN</character> <dialogue>Brian -.</dialogue> <parenthetical>( a beat that hangs there . )</parenthetical> <dialogue>- See ya tonight.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - RETIREMENT PARTY - NIGHT</stage_direction> <scene_description>That 's been cleared out for a huge PARTY in full swing . An Irish folk band cuts loose a merciless bagpipe beat . City brass - including Alderman Swayzak - a few reporters , firemen and their families all mix together for this is a RETIREMENT PARTY for the Captain Fitzgerald . Brian enters , seeks out a beer at the bar . Stephen 's there , swaying with what is clearly not his first drink of the evening .</scene_description> <character>STEPHEN</character> <dialogue>Hey.</dialogue> <character>BRIAN</character> <dialogue>Hey.</dialogue> <scene_description>CHEERS as a one joke gift after another is laid on the Chief . Stephen sees his ex - wife , Helen , dancing with another man . He turns away .</scene_description> <character>STEPHEN</character> <dialogue>I got ta change the view.</dialogue> <scene_description>Santos and Grindle walk up .</scene_description> <character>GRINDLE</character> <dialogue>Heard you did n't make the list for captain, man. I'm sorry.</dialogue> <scene_description>Stephen just shrugs . Brian sees Jennifer across the room . She looks great . Refined as she expertly works the room , schmoozing and hugging and calling various politicos by their first name . As she speaks to one , a waiter offers a drink . As she accepts , a bottle appears over her shoulder and splashes it with red syrup .</scene_description> <character>BRIAN</character> <parenthetical>( holding bottle , interrupting . )</parenthetical> <dialogue>With grenadine, right?</dialogue> <character>JENNIFER</character> <dialogue>When I was twenty.</dialogue> <character>BRIAN</character> <dialogue>Oooh, very sophisticated. Having fun?</dialogue> <scene_description>Her attention broken , the politico has slipped away . Annoyed , Jennifer leads Brian aside and speaks low , but angrily at him .</scene_description> <character>JENNIFER</character> <dialogue>Look, I'm not the same girl who had nothing better to do than wrap her legs around you on a Saturday night. This is n't about fun. I'm working here.</dialogue> <character>BRIAN</character> <dialogue>Carrying Swayzak's notebook?</dialogue> <character>JENNIFER</character> <dialogue>Let me tell you something. Martin Swayzak is going to be this town's next mayor.</dialogue> <character>BRIAN</character> <dialogue>Yeah. Swayzak. Humanity's last hope. How can you work for that guy?</dialogue> <character>JENNIFER</character> <dialogue>Why do you think Marty came here tonight? Because he cares about your department. You do n't know how hard he works. You do n't know about his programs helping West Side -</dialogue> <character>BRIAN</character> <dialogue>- All I know is that his programs are getting firemen hurt.</dialogue> <character>JENNIFER</character> <dialogue>Bullshit. Marty's plan is only about efficiency. I've got two cousins on the job, you think I'd work for him if I did n't believe in it?</dialogue> <scene_description>Jennifer instantly cuts off as a well - dressed COUPLE passes and switches stunningly into schmmoze - mode .</scene_description> <character>JENNIFER</character> <parenthetical>( to man . )</parenthetical> <dialogue>- Tom, how nice to see you. I know Marty'll be very happy you came. Thanks so much for the donation.</dialogue> <parenthetical>( to woman . )</parenthetical> <dialogue>Marie. how's little Kevin? Really? Seen the polls? This is the year.</dialogue> <scene_description>They move away . Jennifer turns to Brian and switches just as fast back to their argument .</scene_description> <character>JENNIFER</character> <dialogue>- The thing that really makes me angry is the way your union has -</dialogue> <scene_description>Brian ca n't help it . He cracks up .</scene_description> <character>BRIAN</character> <dialogue>What was that? Oh man, you have picked up a few moves since John Paul II Boulevard.</dialogue> <character>JENNIFER</character> <dialogue>Yeah, well I like to think I'm just a little past hanging out on JP II watching the Irish pick fights and Litwalks barf in the planters.</dialogue> <character>BRIAN</character> <dialogue>I seem to remember some pretty good nights on JP II.</dialogue> <scene_description>Brian turns and walks away . ACROSS THE ROOM Adcox is talking with another knot of firemen . He 's brought a date , SALLY , a hot little number that has a habit of standing on her tip - toes when she talks .</scene_description> <character>SALLY</character> <parenthetical>( looking at Swayzak across room . )</parenthetical> <dialogue>Yuck, what a scumbag.</dialogue> <character>AXE</character> <parenthetical>( to Santos . )</parenthetical> <dialogue>Fuckin' city transferred Sally three months ago out of parking violations into Swayzak's office. Now I got ta pay my own goddamn tickets and she's stuck with an asshole.</dialogue> <character>SANTOS</character> <dialogue>Pay more?</dialogue> <character>SALLY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>No, but there's more exercise - being chased around a desk.</dialogue> <scene_description>There 's a commotion at the other end of the bar . A group of firemen have gathered around a weekly magazine .</scene_description> <character>GRINDLE</character> <dialogue>Aw, I do n't believe this shit.</dialogue> <character>SCHMIDT</character> <dialogue>Somebody get a shovel! You seen this, Stephen?</dialogue> <scene_description>As they hold it up to Stephen we see a photo spread titled DARING FIRE RESCUE . The first photo shows Brian rushing out of the burning building with seemingly a woman in his arms . The second photo shows the backs of Adcox and Tim 's helmets as they administered aid to the real woman they saved . The implication is it 's the same woman .</scene_description> <character>BRIAN</character> <dialogue>What?</dialogue> <character>TIM</character> <parenthetical>( reads . )</parenthetical> <dialogue>`` Probationary Fireman Brian McCaffrey, on his very first fire, showed the kind of bravery and courage of a veteran firefighter when he risked life and limb to double - check a burning floor alone, emerging victoriously with Anna Rodriguez, a seamstress for the North Shore Clothing Company. McCaffrey first gained prominence as the subject of a 1972 Pulitzer Prize winning photograph taken at the scene of his father's death.''</dialogue> <scene_description>The old photo is there too . Brian and his dad 's helmet .</scene_description> <character>GRINDLE</character> <dialogue>Whadda we gon na do about this?</dialogue> <scene_description>Stephen glances over the headlines .</scene_description> <character>STEPHEN</character> <dialogue>Y' know, I think it's a union bylaw that if a guy gets in the paper - especially if it's bullshit - he owes the company a drink. In fact.</dialogue> <parenthetical>( motions to waiter . )</parenthetical> <dialogue>. I'll have a double. On the hero.</dialogue> <scene_description>The other firemen jump in with drink orders . Dozens of them .</scene_description> <character>BRIAN</character> <parenthetical>( confused . )</parenthetical> <dialogue>What's going on?</dialogue> <scene_description>Tim shows him the magazine . Brian reads with horror as Alderman Swayzak appears beside him .</scene_description> <character>SWAYZAK</character> <dialogue>Brian McCaffrey, right?</dialogue> <character>JENNIFER</character> <dialogue>Brian, this is my boss, Alderman Swayzak.</dialogue> <parenthetical>( to Swayzak . )</parenthetical> <dialogue>Brian's a big fan of yours.</dialogue> <character>BRIAN</character> <dialogue>Yeah. Big fan.</dialogue> <character>SWAYZAK</character> <dialogue>And I'm a huge fan of what you did to save that woman, Brian.</dialogue> <character>BRIAN</character> <dialogue>Uh, I think there's been a mistake. I did n't save that woman.</dialogue> <character>SWAYZAK</character> <dialogue>No need to be modest, Brian.</dialogue> <character>BRIAN</character> <dialogue>No, you do n't understand, I saved a mannequin.</dialogue> <character>SWAYZAK</character> <dialogue>- That really was incredibly work you did. You and your brother, fighting fires together, helluva image, is n't it? You must feel lucky to be assigned under his command.</dialogue> <character>BRIAN</character> <dialogue>Every little boy's fantasy.</dialogue> <character>SWAYZAK</character> <dialogue>Brian, let me come to the point. I'd like to offer you a job.</dialogue> <character>BRIAN</character> <dialogue>I have a job.</dialogue> <character>SWAYZAK</character> <dialogue>This one's still with the fire department. One of our best investigators, Don Rimgale, is working on a very difficult, visible case right now. We think he could use another pair of hands and you're exactly the kind of guy I want representing us : An authentic hero from a traditional firefighting clan.</dialogue> <character>BRIAN</character> <dialogue>Yeah, we got all kinds of traditions - like dying young.</dialogue> <character>SWAYZAK</character> <dialogue>Not every job in the fire department comes with a tombstone, Brian. This could be a great opportunity to move. beyond a fire engine.</dialogue> <scene_description>Brian looks at Jennifer , then smiles at Swayzak .</scene_description> <character>BRIAN</character> <dialogue>Thanks anyway, Mr. Swayzak, but fire engines sorta run in my family. Politics do n't.</dialogue> <scene_description>- A man suddenly steps between them to pump Swayzak 's hand . Brian shakes his head and walks away . Swayzak shoots a concerned glance at Jennifer . She catches up with him at the buffet table .</scene_description> <character>JENNIFER</character> <dialogue>Boy, took you all of thirty seconds to blow that.</dialogue> <character>BRIAN</character> <dialogue>C'mon Jennifer, he's just another North - Side jag - off with a mouth.</dialogue> <character>JENNIFER</character> <dialogue>Brian, do you always have to be so stupid? Think about your future for once.</dialogue> <character>BRIAN</character> <dialogue>So now you suddenly care about my future?</dialogue> <character>JENNIFER</character> <dialogue>Look, I did n't mean to take a piece out of you back there, I just thought you'd call when you came back. You did n't and.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do n't blow it just because of this garbage between us.</dialogue> <character>BRIAN</character> <dialogue>Hey, sorry if I made you look bad in front of your boss. But I'm not gon na be a poster boy for him, I'm trying to do something here. There's five hundred smoke eaters in this room that do that stuff for real every day. Tell Swayzak to talk to one of them.</dialogue> <scene_description>Across the room , Stephen 's at the buffet , watching Helen dance with her fireman date , the drinks hammering him hard .</scene_description> <character>PENGELLY</character> <dialogue>Aw man, how can she dance with that guy?</dialogue> <character>SCHMIDT</character> <dialogue>I hate that guy. He's a dispatcher. I hate his voice.</dialogue> <character>STEPHEN</character> <dialogue>Whatever.</dialogue> <character>PENGELLY</character> <dialogue>I mean, I know women have got ta bang somebody, but why that son of a bitch?</dialogue> <scene_description>Stephen gives Pengelly an icy , sideways look .</scene_description> <character>SCHMIDT</character> <dialogue>Hey Stevie, he's an asshole.</dialogue> <scene_description>Stephen smiles and pushes off the bar - right for Helen as she dances .</scene_description> <character>STEPHEN</character> <dialogue>Uh, Helen, I wanted to talk to you a second about Sean.</dialogue> <character>HELEN</character> <dialogue>Stephen, I'm kinda busy here, can we talk about this later?</dialogue> <character>DATE</character> <dialogue>How ya doin', Stephen?</dialogue> <character>STEPHEN</character> <dialogue>Jackson.</dialogue> <scene_description>Jackson steers her away but Stephen is n't done yet . He dogs them .</scene_description> <character>STEPHEN</character> <parenthetical>( to Helen . )</parenthetical> <dialogue>What's wrong with right now? He's your son for christ's sake. He's -</dialogue> <character>JACKSON</character> <dialogue>Hey, Stephen, what about that dumb ass brother of yours, huh?</dialogue> <character>STEPHEN</character> <dialogue>Yeah?</dialogue> <character>JACKSON</character> <dialogue>Savin' a mannequin. How fuckin' stupid can a guy get?</dialogue> <scene_description>Stephen suddenly PUNCHES Jackson .</scene_description> <character>STEPHEN</character> <dialogue>You ca n't talk about my brother like that.</dialogue> <character>HELEN</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Here we go.</dialogue> <scene_description>And Stephen PLOWS into Jackson . Another fireman JUMPS to Jackson 's aid . And Brian 's there , defending his brother , PUNCHING OUT a fireman . The crowd finally pulls the two apart .</scene_description> <character>JACKSON</character> <dialogue>You're crazy, man!</dialogue> <character>STEPHEN</character> <dialogue>Leave me alone!</dialogue> <character>AXE</character> <dialogue>Goddamn it, Stephen, lay off!</dialogue> <parenthetical>( Stephen calms a little . )</parenthetical> <dialogue>You stupid dumbshit, you never know when to fucking quit, do you? You ever wonder why your career's in the fucking toilet? Why you're gon na be stuck a Lt. for life?</dialogue> <character>STEPHEN</character> <dialogue>No.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I need a drink.</dialogue> <scene_description>Stephen takes a step for the bar - then suddenly turns and JUMPS Jackson again . Brian pulls him off and drags him for the door .</scene_description> <character>BRIAN</character> <dialogue>You do n't need a drink, man. You need to get outta here.</dialogue> <scene_description>As Jennifer watches Brian lead Stephen out the door .</scene_description> <character>JENNIFER</character> <parenthetical>( to Swayzak . )</parenthetical> <dialogue>Ah those McCaffreys. just hate leaving a party with anyone left standing.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - NIGHT</stage_direction> <scene_description>Brian leads Stephen toward his car .</scene_description> <character>STEPHEN</character> <dialogue>I'm okay. leave me alone.</dialogue> <scene_description>Stephen pushes Brian away and promptly stumbles to the sidewalk .</scene_description> <character>BRIAN</character> <dialogue>So you got a ` roid going with Jackson or what?</dialogue> <character>STEPHEN</character> <dialogue>Nah, he's nothin'. It's just sometimes. sometimes you just got ta punch somebody out, y' know?</dialogue> <scene_description>Brian stands there and folds his arms .</scene_description> <character>STEPHEN</character> <dialogue>I do n't think I can get up.</dialogue> <scene_description>Brian lends an arm .</scene_description> <character>STEPHEN</character> <dialogue>Look, Brian, a photographer. Maybe I can get on the cover of LIFE magazine, too.</dialogue> <character>BRIAN</character> <dialogue>C'mon, let's crawl home.</dialogue> </scene> <scene> <stage_direction>EXT. STEPHEN'S BOAT - NIGHT</stage_direction> <scene_description>Stephen throws an arm over Brian 's shoulder as he leads him up onto the boat .</scene_description> <character>STEPHEN</character> <dialogue>Adcox, those guys. they do n't get it. it is n't the goddamn promotion. or dad. I'm not my old man, y' know? No fire's gon na get me. I do n't give a shit about being a captain. it's just. it's just they do n't trust me anymore.</dialogue> <parenthetical>( blows out painful breath . )</parenthetical> <dialogue>. they do n't trust me anymore.</dialogue> </scene> <scene> <stage_direction>INT. STEPHEN'S BOAT</stage_direction> <scene_description>Brian 's flops his brother on the bed . Unties his shoes .</scene_description> <character>STEPHEN</character> <dialogue>If you'd get out of my fuckin' way. I could take my own goddamn shoes off.</dialogue> <scene_description>He clearly ca n't . Brian slips them off .</scene_description> <character>STEPHEN</character> <dialogue>You're such a pain in the ass. You've always been a pain in the ass.</dialogue> <scene_description>There 's just a grim wall lamp above Stephen 's face .</scene_description> <character>STEPHEN</character> <dialogue>Jesus, it's too damn bright in here. Like a goddamn spotlight. I'm goin' blind.</dialogue> <character>BRIAN</character> <parenthetical>( touching light . )</parenthetical> <dialogue>This?</dialogue> <character>STEPHEN</character> <dialogue>Yeah. too bright.</dialogue> <scene_description>Brian turns off the dim light . Stephen 's breathing deepens .</scene_description> <character>STEPHEN</character> <dialogue>They do n't know. they do n't know what I hear in there.</dialogue> <scene_description>Brian tucks the blanket around him .</scene_description> <character>STEPHEN</character> <dialogue>This boat could be okay, huh? Take it out weekends. Sean'n me.</dialogue> <scene_description>Stephen 's voice drifts off into sleep . Brian watches a moment , the rare look of peace on his brother 's face , then leaves .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ACADEMY - NIGHT</stage_direction> <scene_description>Dark and still . Brian , carrying a roll of hose , scales the chain link .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ACADEMY - EXERCISE GROUND - NIGHT</stage_direction> <scene_description>Is a practice stand - pipe . Brian counts down to himself , then rushes the stand - pipe , spinning off the cap with a hydrant wrench and attaching the hose coupling . He does it again , over and over .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ACADEMY - DAWN</stage_direction> <scene_description>The sky 's gone pink and blue as Brian climbs back over the fence . Adcox , coming out of a donut shop across the street , sees him .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - CHICKEN ACCIDENT - DAY</stage_direction> <scene_description>A truck has JACKKNIFED across the avenue and SPILLED its contents - several THOUSAND baby chicks . They 're scurrying everywhere as Brian 's company tries to round them up . It 's hopeless as the exhausted firemen stuff handfuls of the cheeping cargo into their turn - out coats . There 's ghetto kids all around , grabbing at the chicks , grabbing at the fire engine .</scene_description> <character>STEPHEN</character> <parenthetical>( at kids . )</parenthetical> <dialogue>Hey! Knock it off!</dialogue> <scene_description>Brian stops a beat . Rubs his eyes .</scene_description> <character>AXE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Maybe you should have gotten more sleep last night.</dialogue> <scene_description>Brian looks at him . Does he mean what he thinks he means ? Tim is coming out of a small store across the street . He hands a small bag of groceries to Adcox .</scene_description> <character>TIM</character> <dialogue>This everything you wanted?</dialogue> <scene_description>Everyone grows suddenly silent .</scene_description> </scene> <scene> <stage_direction>EXT. WIDOW'S HOUSE - DAY</stage_direction> <scene_description>A fireman 's without even saying so , `` Petzold '' on the mailbox , Engine 17 parked out front . Brian 's alone outside , cleaning the diesel fuel off his arms . Watching a small kid playing with a toy fire truck in the drive .</scene_description> </scene> <scene> <stage_direction>INT. WIDOW'S HOUSE</stage_direction> <scene_description>Tim and Brian are loading the groceries into the fridge . Stephen and Grindle are fixing a loose cabinet door as Adcox sits caulking a faucet fitting at the kitchen table with a young WOMAN .</scene_description> <character>WOMAN</character> <parenthetical>( to Stephen . )</parenthetical> <dialogue>Can I help you guys at all?</dialogue> <character>STEPHEN</character> <dialogue>Nah, we just about got it.</dialogue> <character>WOMAN</character> <parenthetical>( noticing Adcox 's shirt . )</parenthetical> <dialogue>Sally must be finally ironing your shirts.</dialogue> <character>AXE</character> <dialogue>It's just new. Couple'a shifts and it'll be as thrashed as the rest.</dialogue> <scene_description>The sight of uniform is too much for her . Her eyes cloud .</scene_description> <character>WOMAN</character> <dialogue>I'm sorry.</dialogue> <scene_description>Adcox reaches out and lets her weep on his shoulder .</scene_description> <character>AXE</character> <dialogue>It's okay.</dialogue> <character>WOMAN</character> <dialogue>I miss him. I just miss him, y' know?</dialogue> </scene> <scene> <stage_direction>EXT. WIDOW'S HOUSE - DAY</stage_direction> <scene_description>Adcox stands out at the fire engine smoking a cigarette , lost in himself , watching the little boy play with his toy fire truck . Stephen 's followed him out .</scene_description> <character>AXE</character> <dialogue>This job. This fuckin' job sometimes. To buy it trying to go the extra yard, man, that's one thing, but to buy it just because there was n't any back - up. it's bullshit.</dialogue> <scene_description>Stephen leans down close .</scene_description> <character>STEPHEN</character> <dialogue>Yeah, it's bullshit. So what? Fuck Swayzak. Fuck'em all. We do n't go into fires for them. You know that. Christ, you taught me that.</dialogue> <scene_description>A beat of understanding between them . Stephen looks back at the house .</scene_description> <character>STEPHEN</character> <dialogue>You know Knowlton pretty well?</dialogue> <character>AXE</character> <dialogue>Yeah.</dialogue> <character>STEPHEN</character> <parenthetical>( beat . )</parenthetical> <dialogue>Kind of an asshole, was n't he?</dialogue> <scene_description>Adcox ca n't help but smile .</scene_description> <character>AXE</character> <dialogue>Biggest in two battalions.</dialogue> <character>STEPHEN</character> <parenthetical>( beat , smiles . )</parenthetical> <dialogue>We're gon na be okay, man.</dialogue> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - DAY</stage_direction> <scene_description>As Brian and Tim scrub down the fire engine , the rest of the company lies sprawled in THE STATION REC ROOM Watching a weepy soap . Schmidt walks through and is snared by the TV 's glow . He hesitates . Shares the moment .</scene_description> <character>SCHMIDT</character> <dialogue>Is she going to get the divorce?</dialogue> <character>SANTOS</character> <parenthetical>( sighs with honest concern . )</parenthetical> <dialogue>Hell if I know, man.</dialogue> <scene_description>A ladderman , WASHINGTON , walks in with a memo .</scene_description> <character>WASHINGTON</character> <dialogue>Hey, Pengelly, you made the captain's list!</dialogue> <scene_description>Everybody clasps Pengelly on the shoulder . `` Way to go '' . `` All right , man '' . Brian turns and sees Stephen out on the apparatus floor , watching . Watches . Pengelly 's younger than him .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - TRAINING BUILDING/HOSE TOWER - DAY</stage_direction> <scene_description>An expanse of concrete lying out back of the station . Built in one corner is the concrete shell of a five story training building , just wide enough for a stairway and room on each level . Twenty yards away , Brian , Tim and Adcox stand ready beside a pile of coiled hose rolls .</scene_description> <character>STEPHEN</character> <parenthetical>( looking at watch . )</parenthetical> <dialogue>Alright. Go!</dialogue> <scene_description>Tim picks up a roll of hose , 50 pounds , throws it over his shoulder and runs with Adcox to the foot of the building . There 's a fixed standpipe that Adcox ties into as Tim drags the other end inside and up a flight of stairs .</scene_description> <character>STEPHEN</character> <dialogue>Go!</dialogue> <scene_description>Brian lifts another hose roll under his arm and runs for the building .</scene_description> <character>STEPHEN</character> <dialogue>That is n't a football, probie. Get it on your shoulder.</dialogue> <scene_description>Brian runs up two flights to meet Tim and connect his end . Tim heads down for another roll as Brian drags his up another two flights . It 's a bitch . Sweating , he barrels back down the stairs , passing Tim coming up with another roll .</scene_description> <character>BRIAN</character> <dialogue>Having fun, fireman?</dialogue> <scene_description>Tim flips him off . Brian laughs and sprints for another roll .</scene_description> <character>STEPHEN</character> <dialogue>You're not breaking any records, Brian.</dialogue> <scene_description>Brian holds it under his arm and takes off . Stephen grabs a roll himself , hoists it to his shoulder and runs alongside .</scene_description> <character>STEPHEN</character> <dialogue>Your shoulder. Like this!</dialogue> <scene_description>Brian lifts it to his shoulder .</scene_description> <character>STEPHEN</character> <dialogue>Come on! Pick it up!</dialogue> <scene_description>They come to the doorway . Instead of stopping , Stephen follows Brian in and runs alongside up the stairs . Without a word spoken it 's become a race between them . Brian 's face explodes in sweat . His heart pounds as they go up flight after flight . The hose rolls weigh a 100 pounds . A thousand . Neck 'n neck all the way ; grunting , their throats burning , only one flight from the roof Stephen STUMBLES and SCRAPES his leg . Brian pauses . Stephen 's already back on his feet .</scene_description> <character>STEPHEN</character> <dialogue>Run, damn you!</dialogue> <scene_description>Brian does , Stephen already gaining on him - getting ready to pass him - when they burst gasping out onto the roof , Brian the `` winner '' by a nose . Stephen drops his hose roll , sticks his face into Brian 's , - And laughs . Unsure , Brian starts to join in . Stephen stops suddenly .</scene_description> <character>STEPHEN</character> <dialogue>Roll the hose.</dialogue> <character>BRIAN</character> <dialogue>What, are you kidding? By myself?</dialogue> <scene_description>Adcox and Tim , down below , have already disappeared back into the station .</scene_description> <character>STEPHEN</character> <dialogue>You heard me.</dialogue> <scene_description>We see now what Stephen apparently does n't . He was scraped badly , his pant leg torn and leaking dark circles of blood .</scene_description> <character>BRIAN</character> <dialogue>What, is it the stairs? Christ, I'll let you win next time.</dialogue> <character>STEPHEN</character> <parenthetical>( in Brian 's face . )</parenthetical> <dialogue>You got a problem with drilling, probie?</dialogue> <character>BRIAN</character> <dialogue>No, Lt., I do n't have a problem with drilling. But let's just have one drill. Not one for the company and one for me.</dialogue> <character>STEPHEN</character> <dialogue>Roll the hose.</dialogue> <scene_description>Stephen turns and walks away . Brian stands there watching him in blind fury , finally exploding .</scene_description> <character>BRIAN</character> <dialogue>Goddamn you Stephen, I'm not gon na quit. You hear me!</dialogue> <scene_description>An awkward beat between them that 's interrupted suddenly by the station alarm klaxon . Stephen smiles .</scene_description> <character>STEPHEN</character> <dialogue>Well, thank God for fires.</dialogue> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - HOSE TOWER - BELOW - DAY</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE SHORE MANSION - NIGHT</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE SHORE MANSION - NIGHT</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>INT. LAKE SHORE MANSION - FRONT DOOR</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT BUILDING - DAY</stage_direction> <scene_description>Smoke and confusion . A MOTHER is screaming hysterically at Stephen as he jumps down from the engine .</scene_description> <character>MOTHER</character> <parenthetical>( grabbing his coat . )</parenthetical> <dialogue>My baby! My baby's still up there!</dialogue> <character>BATTALION CHIEF</character> <dialogue>Hang on a sec, Stevie, we got a hoseline coming.</dialogue> <scene_description>Stephen does n't even pause and enters the building . Brian hesitates a beat , then follows .</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT BUILDING - DAY</stage_direction> <scene_description>Where they bomb up a staircase just as a WALL OF FIRE LASHES DOWN , KNOCKING them on their ass . Stephen jumps to his feet with an axe as Brian struggles to get up .</scene_description> <character>STEPHEN</character> <dialogue>Do n't take that kind of shit from it! Do n't let it know you're scared! Come on!</dialogue> <scene_description>Stephen , with just his axe , CHASES up the stairs at the fire , HAMMERING at the flaming boards . The fire retreats into another room , SLAMMING the door shut behind it . Brian struggles up the stairs . The two of them slide up on either side of the closed door , Stephen cradling his axe like a SWAT team shotgun . The door breathes in and out and something animal scratches and snarls on the other side . Brian can feel the panic rising in his throat . That thing behind the door , that slobbering , evil thing . It wants out . It wants . him .</scene_description> <character>STEPHEN</character> <dialogue>Ready?</dialogue> <character>BRIAN</character> <dialogue>Christ, Stephen, let's wait for the hose team.</dialogue> <character>STEPHEN</character> <dialogue>Listen to it, Brian. Jump when I say. It wo n't get us.</dialogue> <scene_description>Stephen HAMMERS the lock with his axe and KICKS the door open . A WALL OF FLAME ROARS out past their cheeks , then BACKWASHES in .</scene_description> <character>STEPHEN</character> <dialogue>Now!</dialogue> <scene_description>Stephen picks up the door , and using it as a shield CHARGES into the flames . Brian tries to follow but the fire WELLS UP , cutting him off . He hesitates . It 's that goddamn flame again , leering at him . Daring him . It BUCKS suddenly , DROPPING Brian to his knee . He GROANS in pain . - And now Adcox and Grindle are coming up the stairs with a hoseline WASHING DOWN the room . Clouds of furious steam bellow out and across the ceiling . Nobody could be alive in there . Except Stephen . His entire outfit smoldering , he emerges from the clouds like a fucking god , carrying in one arm a gasping child .</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT BUILDING - AFTERMATH - DAY</stage_direction> <scene_description>Most of the firemen have gathered together for post - fire coffee and stories . Brian sits off alone on the fire engine bumper , apart from them . Santos walks up .</scene_description> <character>SANTOS</character> <dialogue>They think she's gon na live.</dialogue> <scene_description>Stephen walks up . Sits down beside him .</scene_description> <character>STEPHEN</character> <dialogue>You okay?</dialogue> <character>BRIAN</character> <dialogue>I waited. I would have fucking waited.</dialogue> <character>STEPHEN</character> <dialogue>That's not what it's about, Brian. The point is there was a kid in there. And what if there'd been two? I went in because that's what I do. It's my way. It's dad's way. It is n't everybody's way.</dialogue> <character>BRIAN</character> <dialogue>Dad's way? Where did he tell you that? In a fucking seance?</dialogue> <character>STEPHEN</character> <dialogue>You said you wanted to know something, Brian. What did you learn today?</dialogue> <parenthetical>( Brian does n't answer . )</parenthetical> <dialogue>What do you say, Brian, huh? Time to move on?</dialogue> <scene_description>Brian lingers only a moment before standing .</scene_description> <character>BRIAN</character> <dialogue>You're right, Stephen. You win. You're the best, man.</dialogue> <scene_description>Brian hands Stephen his helmet and walks away .</scene_description> </scene> <scene> <stage_direction>INT. SWAYZAK'S OFFICE - DAY</stage_direction> <scene_description>There 's only six like it in city hall , and this one has a view .</scene_description> <character>SECRETARY'S VOICE</character> <parenthetical>( on intercom . )</parenthetical> <dialogue>Brian McCaffrey on line two for Jennifer.</dialogue> <character>JENNIFER</character> <dialogue>I'll take it in my office.</dialogue> <character>SWAYZAK</character> <parenthetical>( turns to her and smiles . )</parenthetical> <dialogue>Go get him.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR/CONFERENCE ROOM - DAY</stage_direction> <scene_description>Jennifer comes out of Swayzak 's office and walks down to her own .</scene_description> </scene> <scene> <stage_direction>INT. JENNIFER'S OFFICE/INT. BRIAN'S APARTMENT - DAY</stage_direction> <scene_description>- It 's a tiny , bleak little rat hole . She picks up the receiver .</scene_description> <character>JENNIFER</character> <dialogue>Brian?</dialogue> <scene_description>We see Brian in his apartment .</scene_description> <character>BRIAN</character> <dialogue>I've been thinking about what you said the other night. If the offer's still on the table, I'd like to talk about it.</dialogue> <character>JENNIFER</character> <parenthetical>( beat . )</parenthetical> <dialogue>. Okay. I'll arrange things with your assignment captain.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Marty's a good man, Brian.</dialogue> <character>BRIAN</character> <dialogue>Yeah.</dialogue> <scene_description>Brian hangs up . He stares at it a moment , then SLAMS it against the wall . Jennifer stares at the phone with something almost like sadness .</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - DAY</stage_direction> <scene_description>Stephen drives past the burned - out brownstone that fried Alan Seagrave . He parks in the alley behind , walks up the building , and PULLS OFF a plywood sheet covering a blown - out window .</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - DAY</stage_direction> <scene_description>Stephen walks through the creepy , brutalized silence . Back to where Rimgale had focused his investigation that night . He searches the floor , the wall , looking for something .</scene_description> </scene> <scene> <stage_direction>EXT. ARSON HQ/FIREHOUSE - DAY</stage_direction> <scene_description>A crumbling one in Chinatown . Brian checks the address on his slip of paper . He stands there a beat , hating himself .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION/ARSON HQ</stage_direction> <scene_description>It 's a regular station but for the rear that has been converted into arson squad offices . As Brian approaches the office door he can see Rimgale sitting at his desk . Standing nervously beside it is a fresh - faced , uniformed PROBIE .</scene_description> <character>SHADOW</character> <parenthetical>( to probie . )</parenthetical> <dialogue>. So stop me if I get this wrong. The fire's almost out. You're upstairs on the unburned floor checking for heat. You've been told by your Battalion Chief, your Captain, by me, not to do anything up there until ordered. But now the itch starts, and all of a sudden comes the Glory Boy Flash : Hey, I'm a hero. Heroes do n't just stand around. So on your own you decided to punch out a window for ventilation. Was that before or after you noticed you were standing in a lake of gasoline?</dialogue> <scene_description>The kid is dying a thousand deaths of humiliation .</scene_description> <character>SHADOW</character> <dialogue>You could've crispered half your company with that little stunt, but more importantly you wrecked the physical evidence I use to prove it's arson. You've made my day longer, Probie. Go home and think about that.</dialogue> <scene_description>The kid shuffles off hang - dog . Rimgale 's angry gaze falls on Brian .</scene_description> <character>BRIAN</character> <dialogue>Uh, I'm Brian McCaffrey. Your new assistant.</dialogue> <character>SHADOW</character> <dialogue>Your Dennis' kid.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I work alone.</dialogue> <scene_description>And Rimgale walks into his office , leaving Brian marooned in the doorway . Stepping behind a small partition , Rimgale changes his shirt . Brian can just glimpse from where he stands a horrible burn that has consumed most of Rimgale 's stomach . Rimgale catches the look .</scene_description> <character>SHADOW</character> <dialogue>Are you still here?</dialogue> <character>BRIAN</character> <dialogue>Get used to me, Inspector. I'm not going anywhere.</dialogue> <character>SHADOW</character> <dialogue>Then go find a corner. I do n't want you in my way.</dialogue> <character>BRIAN</character> <dialogue>I think we should get something straight here. I was assigned to this office by the city.</dialogue> <character>SHADOW</character> <dialogue>Look, I knew your father, he had a helluva reputation on this job. But that do n't mean you get any slack. Swayzak sends you down here, okay, I got ta eat you, that's the rules and I got nothing to say about that. But Swayzak or no, you live with me. Step out of line, and I do n't care who knows you, I'll swing the hammer.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You think you're the first?</dialogue> <scene_description>Rimgale glances at his watch , puts on his coat , and picks up a small paper bag .</scene_description> <character>BRIAN</character> <dialogue>Where are you going?</dialogue> <character>SHADOW</character> <dialogue>Pest control.</dialogue> </scene> <scene> <stage_direction>INT. MAX SECURITY PRISON - DAY</stage_direction> <scene_description>And the face of RONALD , an unremarkable man in his 40s . Unremarkable but for laser eyes and two heavily bandaged hands . Go wide and find him sitting in an institutional chair - handcuffed , actually - in an institutional hall . A uniformed guard stands nearby as Brian and Rimgale come down the corridor . Ronald smiles upon seeing Rimgale .</scene_description> <character>RONALD</character> <dialogue>Shadow.</dialogue> <character>SHADOW</character> <dialogue>How ya doin', Ronald. Staying comfortable?</dialogue> <character>RONALD</character> <dialogue>Did n't think you'd make it.</dialogue> <character>SHADOW</character> <dialogue>Would n't miss this for the world, pal.</dialogue> <character>RONALD</character> <parenthetical>( looking at Brian . )</parenthetical> <dialogue>Who's this?</dialogue> <character>SHADOW</character> <dialogue>He works for me.</dialogue> <character>RONALD</character> <dialogue>Is he a fireman?</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>I like firemen.</dialogue> <character>SHADOW</character> <dialogue>You like everybody, Ronald.</dialogue> <scene_description>Ronald 's eyes pick up Brian 's name on his prison ID badge .</scene_description> <character>RONALD</character> <dialogue>Brian McCaffrey.</dialogue> <parenthetical>( eyes light up happily . )</parenthetical> <dialogue>Oh this is really a treat. Brian McCaffrey. Lost a dad to the animal, huh?</dialogue> <character>BRIAN</character> <parenthetical>( heating up . )</parenthetical> <dialogue>Hey, do I know you?</dialogue> <character>SHADOW</character> <dialogue>You do n't know him.</dialogue> <character>RONALD</character> <dialogue>I know you.</dialogue> <character>BRIAN</character> <parenthetical>( to Ronald . )</parenthetical> <dialogue>What the hell are you talking about my -</dialogue> <scene_description>Rimgale silences Brian with a threatening hand .</scene_description> <character>SHADOW</character> <dialogue>Knock it off. Now.</dialogue> <character>RONALD</character> <dialogue>Tell him about me, Shadow?</dialogue> <character>SHADOW</character> <dialogue>Ronald here likes telephones. Used to tape wooden matches to the bell striker and wrap it in cotton. Came up with a whole little thing there, did n't you Ronald? When you got bored, what did you do? You just started making calls. mostly day care centers and retirement homes, was n't it?</dialogue> <character>RONALD</character> <dialogue>Did he tell you how we finally met?</dialogue> <character>SHADOW</character> <dialogue>Nobody cares, Ronald.</dialogue> <character>RONALD</character> <dialogue>Oh, but it's a good story, Shadow. You're depriving our famous young friend here.</dialogue> <character>VOICE IN CORRIDOR</character> <dialogue>Okay. Ronald Bowland.</dialogue> <scene_description>The cop helps Ronald to his feet and all four are marching down the hall .</scene_description> <character>RONALD</character> <dialogue>It was on State Street, right? Just your basic warehouse torch for the owner. Cakewalk. But the animal. turned on me. ` Ol Shadow here, he shows up - whole place is going like hell - my hair, my hands. could've just let the animal take me - but Shadow, he's a good camper, so he tries to pull ` ol Ronald out. Guess he did n't notice the tub of phosphorous next to me.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>Notice you're still a little shy about rolling your sleeves up, Shadow. Show him your stomach yet?</dialogue> </scene> <scene> <stage_direction>INT. PRISON - INTERVIEW ROOM - DAY</stage_direction> <scene_description>Ronald in the hot seat before a parole board , Rimgale and Brian on the sidelines .</scene_description> <character>MAN</character> <dialogue>All right, the parole board has received Mr. Bowland's fitness report, his ID - 44, endorsement from his section warden. Dr. Norris?</dialogue> <character>WOMAN PSYCHIATRIST</character> <dialogue>As supervising psychiatrist I would describe Mr. Bowland's progress as remarkable. Taking into account his disability and the six years already served, I recommend parole.</dialogue> <character>MAN</character> <dialogue>Mr. Bowland, do you regret your crimes?</dialogue> <character>RONALD</character> <dialogue>Yes. I understand now the pain I caused.</dialogue> <character>MAN</character> <dialogue>If released, will you commit these crimes again?</dialogue> <character>RONALD</character> <dialogue>I wo n't.</dialogue> <character>MAN</character> <dialogue>Do you consider yourself ready for society?</dialogue> <character>RONALD</character> <dialogue>Yes.</dialogue> <scene_description>The parole board shuffles their papers . It 's a done deal . Rimgale suddenly stands and approaches Ronald .</scene_description> <character>SHADOW</character> <dialogue>Sure Ronald? You're ready alright.</dialogue> <character>RONALD</character> <dialogue>Absolutely.</dialogue> <character>MAN</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Excuse me, Mr. Rimgale.</dialogue> <character>SHADOW</character> <dialogue>Excuse me.</dialogue> <parenthetical>( to Ronald . )</parenthetical> <dialogue>What do you do with little girls?</dialogue> <scene_description>A tortured look comes over Ronald 's face . He 's holding back . From the paper bag , Rimgale suddenly tosses a burned baby doll in his lap .</scene_description> <character>SHADOW</character> <dialogue>What do you do with them, Ronald? Huh?</dialogue> <scene_description>Rimgale then lights a cigarette lighter in Ronald 's face .</scene_description> <character>RONALD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>- Burn them.</dialogue> <character>SHADOW</character> <dialogue>And old ladies?</dialogue> <character>RONALD</character> <dialogue>- Burn them.</dialogue> <character>SHADOW</character> <dialogue>And the world - the whole world.</dialogue> <character>RONALD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>- Burn it all.</dialogue> <scene_description>The parole board stares , stunned . Rimgale stands .</scene_description> <character>SHADOW</character> <dialogue>See ya next year, Ronald. Got ta go.</dialogue> </scene> <scene> <stage_direction>EXT. THEATRE BUILDING - DAY</stage_direction> <scene_description>A pre - war theatre closed with a sign : UNDER RENOVATION - OPENING XMAS 1991 . DAVID BENTON , mid - forties , climbs out of his car and walks to the entrance with some rolled - up blueprints .</scene_description> </scene> <scene> <stage_direction>INT. THEATRE BUILDING - DAY</stage_direction> <scene_description>Benton walks through the vast theatre and up to a beautiful Art Noveau office door : DAVID BENTON , PRIVATE . He goes to insert his key . Drops it . As he reaches down , we see a tiny wisp of smoke SUCK back under the door . Benton sniffs , as if he smells something , then shrugs and inserts his key . It 'd have been a good story if he 'd lived longer . The moment he pushes the door open It EXPLODES OUTWARD in a ROARING FIREBALL .</scene_description> </scene> <scene> <stage_direction>EXT. THEATRE BUILDING - SUNDOWN</stage_direction> <scene_description>Later and engine companies have already knocked down the building fire as Brian climbs out of Rimgale 's red sedan .</scene_description> <character>SHADOW</character> <parenthetical>( opens trunk . )</parenthetical> <dialogue>Hey kid, c ` mere - At least make yourself useful.</dialogue> <scene_description>He starts handing Brian handfuls of equipment cases . Loaded down , Brian follows Rimgale into the building .</scene_description> </scene> <scene> <stage_direction>INT. THEATRE BUILDING</stage_direction> <scene_description>Fire crews are at work in here , including Engine 17 at the other end of the theatre . Brian 's surprised to see them , his eyes locking briefly with Stephen 's . An ENGINE COMPANY LT. walks up to Rimgale .</scene_description> <character>ENGINE LT</character> <dialogue>We were lucky with this one. Could've taken out the whole complex, but the explosion blew out most of the flame. Good for us.</dialogue> <parenthetical>( looks to body . )</parenthetical> <dialogue>- Not so good for him.</dialogue> <scene_description>`` Him '' is our previous owner , David Benton , just his hands and a leg showing from under the collapsed door . Rimgale crouches beside it .</scene_description> <character>SHADOW</character> <dialogue>Turn this over.</dialogue> <scene_description>Brian does . The corpse 's keys are still in the lock . So 's Benton . Blown with such force he seems fused with the door . On the door 's edge Rimgale notices a small patch of melted , sticky goo . With his penknife he scrapes a sample and seals it in a glass vial , stands , and walks into the office .</scene_description> </scene> <scene> <stage_direction>INT. THEATRE OFFICE</stage_direction> <character>BRIAN</character> <dialogue>What do you want me to do with -</dialogue> <scene_description>Rimgale , now inside , silences him with an outstretched arm .</scene_description> <character>SHADOW</character> <dialogue>- Shhh.</dialogue> <character>BRIAN</character> <parenthetical>( after a beat . )</parenthetical> <dialogue>What are you listening to?</dialogue> <scene_description>Rimgale does n't answer . His eyes drift over the scorched walls as he speaks softly to them .</scene_description> <character>SHADOW</character> <dialogue>You sneaky little son of a bitch. Hide and seek. Come on, tell me what I want to know.</dialogue> <scene_description>He scratches at some soot . Smiles and lifts a small hand recorder .</scene_description> <character>SHADOW</character> <parenthetical>( business - like into recorder . )</parenthetical> <dialogue>Heavy smoke stains observed in entry room. Demarkation line high. Fire never got hot enough here to cook soot off. It started somewhere else.</dialogue> <parenthetical>( walks down hall . )</parenthetical> <dialogue>Less soot here. More heat.</dialogue> <parenthetical>( they enter back room . )</parenthetical> <dialogue>And very little soot here.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>Get that couch out of the way.</dialogue> <scene_description>Brian pulls it aside . The lower third of the wall is completely untouched by soot .</scene_description> <character>SHADOW</character> <parenthetical>( to himself . )</parenthetical> <dialogue>So you were happy here. Warm and cozy and in no hurry.</dialogue> <parenthetical>( into recorder . )</parenthetical> <dialogue>Soot high, clean unburned wall low, indicates slow burn in thermal balance.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>Find me some glass.</dialogue> <character>BRIAN</character> <dialogue>Glass?</dialogue> <character>SHADOW</character> <dialogue>Do we have a language barrier here? Glass.</dialogue> <scene_description>There 's some on the sill of a blown window . Brian hands a shard to Rimgale , who turns it over in his palm .</scene_description> <character>SHADOW</character> <parenthetical>( into recorder . )</parenthetical> <dialogue>Glass found in ignition room is in small, thin pieces, indicating explosion. Lack of discoloration indicates a long, slow burn. Explosion must of come after a slow burn.</dialogue> <parenthetical>( shuts recorder off . )</parenthetical> <dialogue>You little tease. What were you up to you little bastard, huh? What made you that mad?</dialogue> <parenthetical>( then , an idea . )</parenthetical> <dialogue>Or scared.</dialogue> <parenthetical>( switches on recorder . )</parenthetical> <dialogue>It started in this room. Took its time, hung out. but the air ran out. It could n't breathe. So it was snuffed. But it was n't dead. still all that trapped heat, lying low, waiting for some sucker to open the door and give it that one gulp of air.</dialogue> <character>BRIAN</character> <dialogue>- Another backdraft.</dialogue> <scene_description>Rimgale turns to the wall , a section where the plaster is severely damaged . He probes with a penknife .</scene_description> <character>SHADOW</character> <dialogue>Finish coat burned away. Severe spawling of rough coat.</dialogue> <scene_description>Rimgale follows the damaged wall down - down - to a melted wall socket .</scene_description> <character>SHADOW</character> <dialogue>That's our ignition point. Dig it out. Carefully.</dialogue> <scene_description>Brian chops it out from the wall . Rimgale crouches down , peels back the melted faceplate and examines the wires . The copper tip is severely melted . Rimgale sniffs the plug .</scene_description> <character>SHADOW</character> <parenthetical>( into recorder . )</parenthetical> <dialogue>Temperature in this room was about 2000 degrees, but copper wire in outlet is melted, which requires 5000 degrees. An accidental short in the plug could of created a spark of 7000 degrees, hot enough to melt the wire and start a fire.</dialogue> <character>BRIAN</character> <dialogue>No it could n't.</dialogue> <scene_description>Rimgale shuts off the recorder . Stares down Brian .</scene_description> <character>BRIAN</character> <dialogue>I mean you'd be right - with normal wire. But that's gauge ten in that plug - industrial stuff. Who knows why they put it in here - but it wo n't melt at less than 12,000 degrees. And no natural spark short of lightning gets that hot.</dialogue> <parenthetical>( Rimgale just stares . )</parenthetical> <dialogue>In another life I was in high - end electronics.</dialogue> <scene_description>Rimgale opens a plastic bag and puts the plug inside .</scene_description> <character>SHADOW</character> <parenthetical>( into recorder . )</parenthetical> <dialogue>Have outlet analyzed for any traces of flammable accelerants.</dialogue> <scene_description>Rimgale stands and walks out .</scene_description> <character>BRIAN</character> <dialogue>Do n't mention it.</dialogue> </scene> <scene> <stage_direction>INT. THEATRE BUILDING - NIGHT</stage_direction> <scene_description>Brian follows Rimgale down from the office into the vast theatre . Walls hiss and spit . Brian 's surprised to see his former engine mates there , tromping and crunching their way through broken glass , their flashlights like dancing fireflies . Tim passes by .</scene_description> <character>BRIAN</character> <dialogue>Hey, Tim.</dialogue> <scene_description>Everybody turns at the voice and the air suddenly chills .</scene_description> <character>TIM</character> <parenthetical>( distant . )</parenthetical> <dialogue>Brian.</dialogue> <character>SHADOW</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Check the wall for burn patterns.</dialogue> <scene_description>And Rimgale 's off to another room . Brian turns and looks at the wall . It 's endless .</scene_description> <character>BRIAN</character> <parenthetical>( to Tim . )</parenthetical> <dialogue>So, you surviving without me?</dialogue> <character>TIM</character> <dialogue>There's no replacement'cause of your boss' cuts, if that's what you mean. If someone else goes out on an injury we're really screwed.</dialogue> <character>BRIAN</character> <dialogue>Swayzak's not my boss.</dialogue> <scene_description>Silence . Brian looks over the wall . A dirty puddle separates him from it .</scene_description> <character>GRINDLE</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Ooooh, like the tie. Love the tie.</dialogue> <character>BRIAN</character> <dialogue>Grindle, scrape down that wall for me, huh? I would myself, but the tie'n all, y' know.</dialogue> <scene_description>Grindle stares at him a beat , then wordlessly steps into the muck and pulls free a section of wall , dropping it on the ground in front of Brian . Santos and Grindle look at each other .</scene_description> <character>SANTOS</character> <dialogue>Uh, Brian, if you're lookin' for smoke patterns, there's some good ones over here.</dialogue> <character>BRIAN</character> <dialogue>Yeah? Where?</dialogue> <character>GRINDLE</character> <parenthetical>( as Brian walks over . )</parenthetical> <dialogue>Little to the right. further. further. Right behind there. Hey, could you hand me that pike pole?</dialogue> <scene_description>There 's a pike pole leaning against the wall . Brian pulls it aside . SPLASH - The pole had been supporting a small , sagging piece of ceiling that instantly collapses , dumping twenty gallons of murky , putrid black water all over Brian 's civvys . Nobody laughs .</scene_description> <character>GRINDLE</character> <dialogue>Sorry, maybe that was n't it after all.</dialogue> <scene_description>Stephen appears around the corner . Sees what 's happened .</scene_description> <character>STEPHEN</character> <dialogue>That's just about enough, guys, okay?</dialogue> <character>SCHMIDT</character> <dialogue>See ya around, Brian.</dialogue> <scene_description>They leave . Brian stands there , humiliated .</scene_description> <character>AXE</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>What the hell's the matter with you, huh? You're steppin' in the shit again. You could've done it. You do n't want this.</dialogue> <parenthetical>( the suit 'n tie . )</parenthetical> <dialogue>Wake up, kid.</dialogue> <scene_description>Brian burns with shame and anger as Adcox walks away . Stephen hands Brian a towel .</scene_description> <character>STEPHEN</character> <dialogue>Here. Dry yourself off.</dialogue> <scene_description>Brian snatches it from him . Glares at his brother .</scene_description> <character>STEPHEN</character> <dialogue>Look, you are sorta making yourself fair game.</dialogue> <character>BRIAN</character> <dialogue>Thanks for the insight.</dialogue> <character>STEPHEN</character> <dialogue>Brian, look -</dialogue> <character>BRIAN</character> <dialogue>Just leave me alone, okay?</dialogue> <scene_description>Brian walks away . Stephen calls after him .</scene_description> <character>STEPHEN</character> <dialogue>Hey, Bri. Rimgale's okay. I do n't get half the shit he's talking about, but then everybody says the same thing about me. Who the hell knows?</dialogue> </scene> <scene> <stage_direction>INT. HELEN'S HOUSE - DAY</stage_direction> <scene_description>Helen , Stephen 's ex - wife , is sitting at her kitchen when she looks up suddenly at a strange sound coming from the roof .</scene_description> </scene> <scene> <stage_direction>EXT. HELEN'S HOUSE - ROOF - DAY</stage_direction> <scene_description>On the short , sloping roof , Stephen stands hammering a shingle back into place . Helen sticks her head out the dormer window .</scene_description> <character>HELEN</character> <dialogue>Stephen, what are you doing here?</dialogue> <character>STEPHEN</character> <dialogue>Fixing my roof.</dialogue> <character>HELEN</character> <dialogue>It's not your roof anymore.</dialogue> <scene_description>He stops and tosses the hammer aside . Looks at his watch .</scene_description> <character>STEPHEN</character> <dialogue>Where's Sean?</dialogue> <character>HELEN</character> <dialogue>He's got piano lessons.</dialogue> <character>STEPHEN</character> <dialogue>Oh yeah? How's he doing?</dialogue> <character>HELEN</character> <dialogue>He's going to be a fireman.</dialogue> <character>STEPHEN</character> <dialogue>Give up, babe. You ca n't fight it. Believe me, my mom tried.</dialogue> <character>HELEN</character> <parenthetical>( beat . )</parenthetical> <dialogue>Stephen, you got ta stop just showing up on the roof like this.</dialogue> <character>STEPHEN</character> <dialogue>I just wanted to, I do n't know, not exactly apologize for the other night - especially since I do n't remember much of it -</dialogue> <character>HELEN</character> <dialogue>- You remember.</dialogue> <character>STEPHEN</character> <dialogue>Yeah. I just thought I should say, I do n't know, something.</dialogue> <character>HELEN</character> <dialogue>The great communicator.</dialogue> <character>STEPHEN</character> <dialogue>Sorry I hit Jackson.</dialogue> <character>HELEN</character> <dialogue>He deserved it. He was born deserving it.</dialogue> <character>STEPHEN</character> <dialogue>He treats you okay?</dialogue> <character>HELEN</character> <dialogue>Okay.</dialogue> <character>STEPHEN</character> <dialogue>I treated you better.</dialogue> <character>HELEN</character> <dialogue>You treated me like shit.</dialogue> <scene_description>But she smiles .</scene_description> <character>HELEN</character> <dialogue>You want some coffee?</dialogue> <character>STEPHEN</character> <dialogue>Coffee? Nah, I got ta go.</dialogue> <character>HELEN</character> <dialogue>What's wrong, Stephen?</dialogue> <parenthetical>( looks at her . )</parenthetical> <dialogue>C'mon, you only beat up the roof when something's on your mind.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>How's Brian doing?</dialogue> <character>STEPHEN</character> <dialogue>He's out.</dialogue> <character>HELEN</character> <dialogue>I know he's out, but how's he doing?</dialogue> <character>STEPHEN</character> <dialogue>Y' know, I treated him better than any other probie I ever had. He probably hates my guts, but I did the best thing for him. I made him finally look in the mirror.</dialogue> <character>HELEN</character> <dialogue>Ah Stephen, that's what this is really about, is n't it? You always have to be right.</dialogue> <character>STEPHEN</character> <dialogue>Hey, I'm the first one to admit when I'm wrong.</dialogue> <character>HELEN</character> <dialogue>Yeah? When was the last time?</dialogue> <character>STEPHEN</character> <dialogue>In a fire? Never.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Look, I'm his brother. I care about him, y' know? He was going to get himself killed. Maybe not today, maybe not in a year, but it would've happened. And I could n't - I just could n't.</dialogue> <character>HELEN</character> <dialogue>You ca n't keep being his father.</dialogue> <scene_description>Stephen sighs deeply .</scene_description> <character>STEPHEN</character> <dialogue>You know what I realized today? I ca n't remember my dad's face anymore. There's pictures of him staring at me everywhere I go, but the guy behind them. he's gone.</dialogue> <scene_description>He sighs and hops down from the roof to the driveway .</scene_description> <character>STEPHEN</character> <dialogue>I'll see ya around, Helen.</dialogue> <scene_description>She watches him as he walks lonely up the street .</scene_description> </scene> <scene> <stage_direction>INT. CITY MORGUE - DAY</stage_direction> <scene_description>A Lab Tech , RICCO , leads Brian and Rimgale through the autopsy area till they come on two corpses lying side by side covered in plastic .</scene_description> <character>RICCO</character> <dialogue>Okay, Alan Seagrave and Donald Cosgrove.</dialogue> <scene_description>If you say so . Brian 's stomach does a half - gainer as he 's confronted by two hideously charred bodies .</scene_description> <character>RICCO</character> <dialogue>Both deaths due to close encounters with stationary objects ; office door for Mr. Cosgrove,'89 Porsche for Mr. Seagrave. No non - relevant traumas. No significant blood toxicology. Attitude of both trajectories consistent with explosions.</dialogue> <scene_description>Brian is discreetly avoiding his gaze , whistling quietly to himself as he looks over specimen jars on a shelf .</scene_description> <character>RICCO</character> <dialogue>They ran the residue you scraped from both crispers' front doors. It's a combination of plumber's putty and rayophene gum. Burns almost completely away when you light it.</dialogue> <character>SHADOW</character> <dialogue>Putty? On both doors?</dialogue> <character>RICCO</character> <dialogue>There's something else kinda interesting.</dialogue> <scene_description>Ricco lifts Benton 's charred shoulder . Underneath we see some of his clothes that have melted and co - mingled with his flesh .</scene_description> <character>RICCO</character> <dialogue>See this?</dialogue> <scene_description>A credit card has been fried right into Cosgrove 's skin about where his back pocket should have been .</scene_description> <character>RICCO</character> <dialogue>Guess he did n't leave home without it.</dialogue> <scene_description>Ricco erupts in a honking laugh , then switches instantly back to a business tone .</scene_description> <character>RICCO</character> <dialogue>Anyway, down here, take a look.</dialogue> <character>SHADOW</character> <dialogue>McCaffrey, hold this for us.</dialogue> <character>BRIAN</character> <dialogue>Uh, I do n't think that's in my contract.</dialogue> <character>SHADOW</character> <dialogue>I just re - wrote your contract. C'mere.</dialogue> <scene_description>With supreme reluctance Brian pulls the crisper 's head and shoulder away from the table .</scene_description> <character>RICCO</character> <dialogue>Jesus Christ, he is n't gon na try to sell you insurance, lift him.</dialogue> <scene_description>Brian gathers the torso up and hoists him higher .</scene_description> <character>RICCO</character> <parenthetical>( to Rimgale . )</parenthetical> <dialogue>See that patch of shirt? We wondered about the discoloration so he ran a spectro. On a lucky shot we picked up some traces of Trychticholorate. Nobody around here had ever heard of it.</dialogue> <character>SHADOW</character> <dialogue>Trychticholorate? Alright, it's an absorption catalyst in toxic waste accidents. It's pretty rare, they stopped making it a couple'a years ago.</dialogue> <character>RICCO</character> <dialogue>Probably got in Cosgrove's clothes in a gas state from the fire.</dialogue> <character>SHADOW</character> <dialogue>What the hell was it doing in the fire?</dialogue> <character>RICCO</character> <dialogue>That's your job.</dialogue> <scene_description>At that instant , Cosgrove 's eyes OPEN and his body SIGHS . Brian DROPS the body in shock and backs away , stunned .</scene_description> <character>SHADOW</character> <dialogue>I asked you to hold him, not feel him up.</dialogue> </scene> <scene> <stage_direction>INT. RIMGALE'S CAR - DAY</stage_direction> <scene_description>Rimgale 's FD sedan . Brian is still wringing imaginary guts off his hands . Rimgale tosses an open fire chem book in his lap .</scene_description> <character>SHADOW</character> <dialogue>Read.</dialogue> <character>BRIAN</character> <dialogue>`` Trychtichlorate is a binary structured -''</dialogue> <character>SHADOW</character> <dialogue>- Go to the bottom. Under heat properties.</dialogue> <character>BRIAN</character> <dialogue>`` During heat episodes of 2000 Kelvin or higher, Trych breaks down and dissipates. Will consume magnesium''.</dialogue> <character>SHADOW</character> <dialogue>Ever burned magnesium? It's so hot it takes water molecules and BAMM!</dialogue> <scene_description>Rimgale CLAPS his hands next to Brian 's head , STARTLING him .</scene_description> <character>SHADOW</character> <dialogue>Son of a bitch tears'em apart just to eat the oxygen. Would n't take much at all to melt ten gauge wire. Problem's burnt magnesium leaves a powder trace - unless you could find something that would eat its residue.</dialogue> <character>BRIAN</character> <dialogue>Trychticholorate. Then Swayzak can announce Seagrave was a murder.</dialogue> <scene_description>Rimgale looks at Brian . He 's getting tired of this .</scene_description> <character>SHADOW</character> <dialogue>Look, it is n't proof, okay? Someone may have put the chemical in the outlet, but we found it as a vapor in Cosgrove's clothes.</dialogue> <character>BRIAN</character> <dialogue>And the putty around the door?</dialogue> <character>SHADOW</character> <dialogue>Even if it was used to seal the air off, that does n't explain why someone would go to the trouble of a backdraft. A gun's a helluva lot easier</dialogue> <character>BRIAN</character> <dialogue>But the right guess on this is arson.</dialogue> <character>SHADOW</character> <dialogue>I do n't guess.</dialogue> <character>BRIAN</character> <dialogue>Some people say you do n't do much of anything when it comes to this case.</dialogue> <character>SHADOW</character> <dialogue>I do n't work for them, either.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ - DAY</stage_direction> <scene_description>Brian 's sitting at a desk . He 's finishing up a huge paper clip Tyrannosaurus . The phone RINGS .</scene_description> <character>BRIAN</character> <dialogue>Arson.</dialogue> <character>JENNIFER</character> <dialogue>Straightest answer your department's given me all week.</dialogue> <scene_description>We see Jennifer 's calling from her office , she 's busy signing papers brought to her and okaying campaign posters as she talks .</scene_description> <character>BRIAN</character> <dialogue>Hey.</dialogue> <character>JENNIFER</character> <dialogue>How's it going?</dialogue> <character>BRIAN</character> <dialogue>Boss and I are up to about three words an hour.</dialogue> <character>JENNIFER</character> <parenthetical>( to secretary . )</parenthetical> <dialogue>Green committed to a thousand.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>There's another fund - raising party tonight. Marty'd really like you to come.</dialogue> <character>BRIAN</character> <dialogue>I do n't know, I'm kinda swamped here.</dialogue> <scene_description>He tosses a paper airplane .</scene_description> <character>JENNIFER</character> <dialogue>I could use a date.</dialogue> <character>BRIAN</character> <dialogue>Yeah? Well, maybe I can fit it in.</dialogue> <character>RIMGALE'S VOICE</character> <dialogue>McCaffrey! Come here!</dialogue> <character>BRIAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Call ya back.</dialogue> <scene_description>Brian hangs up quickly and walks back into</scene_description> </scene> <scene> <stage_direction>INT. ARSON HQ - ANOTHER ROOM - DAY</stage_direction> <scene_description>Rimgale 's there , crouched excitedly beside a trash can that 's lid 's been sealed closed . He tamps a piece of putty on the rim and backs away .</scene_description> <character>SHADOW</character> <dialogue>Take the top off. Go ahead. Take it off.</dialogue> <scene_description>Brian walks over and RIPS OFF the lid . - Instantly a tongue of flame SHOOTS straight up past his head and BLOWS out .</scene_description> <character>BRIAN</character> <dialogue>Jesus!</dialogue> <scene_description>Rimgale 's grinning like a little kid .</scene_description> <character>SHADOW</character> <dialogue>That's it! Oh, that son of a bitch, he's different, goddamn it! You see what this tells us, huh? Our killer does n't love fire!</dialogue> <character>BRIAN</character> <dialogue>What?</dialogue> <character>SHADOW</character> <parenthetical>( pulls out file . )</parenthetical> <dialogue>I got it after we talked to Ronald. Torches. Want to fry the whole goddamn world. But the fires that killed those guys never really burned up much. - The burns were all lit in outlets surrounded by double firebreaks in the walls. And he made his burns backdrafts.</dialogue> <character>BRIAN</character> <dialogue>But he killed these guys.</dialogue> <character>SHADOW</character> <dialogue>But he could have killed everybody there. The firebreaks kept it from spreading in the wall. The backdraft blew out the flame. That's it. That's the reason.</dialogue> <character>BRIAN</character> <dialogue>What reason?</dialogue> <character>SHADOW</character> <dialogue>Why backdrafts. Whoever fried Seagrave and Cosgrove went to a helluva lot of trouble to make sure they died by fire, but also made sure the fire blew itself out.</dialogue> <character>BRIAN</character> <dialogue>That's why the sealant on the doors. So what have we got, a torch with a conscience?</dialogue> <character>SHADOW</character> <dialogue>No, we have a stone killer trying to make a point.</dialogue> <character>BRIAN</character> <dialogue>Are you going public with this?</dialogue> <character>SHADOW</character> <dialogue>No. Do that and I guarantee you'll scare him off. I do n't want him running away.</dialogue> </scene> <scene> <stage_direction>EXT. PARTY BOAT - NIGHT</stage_direction> <scene_description>A Latin band cuts loose as beautiful people mill about against a beautiful Chicago skyline . An AIR HORN blows , and suddenly the skyline is MOVING . We 're on a huge , private party boat .</scene_description> </scene> <scene> <stage_direction>EXT. PARTY BOAT - NIGHT</stage_direction> <scene_description>Brian 's leaning on the boat railing watching the passing parade of rich and beautiful . Across the sea of champagne and brie , he spots Jennifer talking with her boss , Swayzak . He has his hand on her back . Jennifer spots Brian . She smile , detaches herself and walks over .</scene_description> <character>JENNIFER</character> <dialogue>Hi.</dialogue> <character>BRIAN</character> <parenthetical>( eyes on Swayzak . )</parenthetical> <dialogue>Hey.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So are you dating your boss or what?</dialogue> <character>JENNIFER</character> <dialogue>If you were n't at least the 300th person to ask me that, I'd probably be pissed.</dialogue> <parenthetical>( beat , sighs . )</parenthetical> <dialogue>Boy, you sure know it's a man's world sometimes.</dialogue> <character>BRIAN</character> <dialogue>Sorry.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Are you dating anyone?</dialogue> <character>JENNIFER</character> <dialogue>You think that's really any of your business?</dialogue> <character>BRIAN</character> <dialogue>Well, you did invite me here.</dialogue> <character>JENNIFER</character> <dialogue>Marty did.</dialogue> <parenthetical>( beat , smiles . )</parenthetical> <dialogue>But I wanted you to come to.</dialogue> <scene_description>Swayzak suddenly appears with his entourage .</scene_description> <character>SWAYZAK</character> <dialogue>Mr. McCaffrey.</dialogue> <character>BRIAN</character> <dialogue>Nice boat.</dialogue> <character>SWAYZAK</character> <dialogue>It is n't mine.</dialogue> <parenthetical>( to photographer . )</parenthetical> <dialogue>Let's get a picture.</dialogue> <scene_description>Swayzak swings around and puts his arm cheesily around Brian 's shoulder . Another staffer slaps a SWAYZAK FOR MAYOR sticker to Brian 's lapel . Jennifer rolls her eyes to Brian . I 'm sorry . Snap .</scene_description> <character>SWAYZAK</character> <parenthetical>( seeing someone else . )</parenthetical> <dialogue>Larry!</dialogue> <parenthetical>( sotto to Jennifer . )</parenthetical> <dialogue>What does he do again?</dialogue> <scene_description>Swayzak leads her off in pursuit . Left alone , Brian turns to the railing , stares off at the passing city . You can hear the wind - up of a siren . And there it is now , an engine company zooming along Wacker Drive . Something digs and kicks inside of Brian as he watches it disappear .</scene_description> <character>JENNIFER</character> <dialogue>How's the job going?</dialogue> <scene_description>She 's appeared again beside him .</scene_description> <character>BRIAN</character> <dialogue>Okay.</dialogue> <character>JENNIFER</character> <dialogue>Boy, Rimgale's as slow as a snail, is n't he?</dialogue> <character>BRIAN</character> <dialogue>No, he's more of a dinosaur. Guy's not a dummy, though. He's juggling alot of balls on this one.</dialogue> <character>JENNIFER</character> <dialogue>Yeah, but it does n't take Albert Einstein just to figure out if these guys were killed by accidents or not.</dialogue> <character>BRIAN</character> <dialogue>Jesus, give him a break. There is n't enough proof yet to go public. Sure, we found some chemical shit we think somebody dumped in the plugs to torch'em, and we've maybe figured out why backdrafts, but you ca n't rush this stuff. Not'till it's locked.</dialogue> <character>JENNIFER</character> <dialogue>But Rimgale's probably going to come around to arson.</dialogue> <character>BRIAN</character> <dialogue>In a dinosaur kinda way, yeah.</dialogue> <scene_description>BAMM ! Both of them look up sharply . A woman drunk out of her mind has tipped over in her chair . She laughs , her fellow tablemates laugh , everybody laughs . Jennifer takes Brian by the arm in the opposite direction and smiles .</scene_description> <character>JENNIFER</character> <dialogue>Save me.</dialogue> </scene> <scene> <stage_direction>EXT. PARTY BOAT - NIGHT</stage_direction> <scene_description>The band 's completely cut loose now . A wild percussion rhythm that has everyone on their feet dancing like madmen . Brian and Jennifer stomp and sweat and shake and giggle through hair crazily askew . The lakeshore is twinkling and wonderful as it slips past . The drums beat faster and harder and the only thing that is n't moving now is their eyes - eyes locked on each other .</scene_description> </scene> <scene> <stage_direction>EXT. ARSON HQ - NIGHT</stage_direction> <scene_description>Sweaty , flushed with the evening and a few drinks , Brian and Jennifer pull up in her car .</scene_description> <character>BRIAN</character> <dialogue>Thanks for the invite.</dialogue> <character>JENNIFER</character> <dialogue>Got anything to drink in there?</dialogue> <character>BRIAN</character> <dialogue>Oh, there might be something stashed away for emergencies.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ/FIRE STATION</stage_direction> <scene_description>The regular engine company 's gone to bed and the arson squad 's packed in for the night , leaving the apparatus floor quiet and dim as Brian and Jennifer enter . Brian leads her back past the engine and arson sedan to the rear where Rimgale has his offices . As they walk Jennifer 's eyes drift up to the old sculpted parapets , the press - tin ceiling .</scene_description> <character>BRIAN</character> <dialogue>This is one of the oldest fire stations in the city. Lotta tradition locked up in here. What do you think?</dialogue> <character>JENNIFER</character> <dialogue>Homey.</dialogue> <character>BRIAN</character> <dialogue>See that trap door up there? That used to lead to the hay loft when they had horse - drawn engines. It was pretty different then. but kinda the same, y' know?</dialogue> <character>JENNIFER</character> <dialogue>Do you miss it?</dialogue> <parenthetical>( he does n't answer . )</parenthetical> <dialogue>You seem like you do.</dialogue> <character>BRIAN</character> <dialogue>When I came back, I knew more than anything else that I wanted to be a fireman.</dialogue> <character>JENNIFER</character> <dialogue>Then why did you quit?</dialogue> <character>BRIAN</character> <dialogue>I wanted to be a good one.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ - BACK OFFICES</stage_direction> <scene_description>They walk into the back arson offices . Brian pokes through a few drawers , one or two shelves . Finally he lifts a squat , specialized fire extinguisher . The bottom has been hollowed out , leaving room for a fifth of bourbon .</scene_description> <character>BRIAN</character> <dialogue>Old firehouse trick.</dialogue> <scene_description>He pours her a glass . Jennifer takes a generous sip of her 's , turns , brushes past him and breathes ,</scene_description> <character>JENNIFER</character> <dialogue>So show me your fire truck.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ - APPARATUS FLOOR</stage_direction> <scene_description>Brian escorts Jennifer along the side of the behemoth .</scene_description> <character>BRIAN</character> <dialogue>Well, our specimen here is your basic standard issue piece of primary suppression equipment. This area is the pumping panel, which controls the rate of liquid insertion into the hose.</dialogue> <character>JENNIFER</character> <dialogue>Uh huh.</dialogue> <scene_description>Brian lifts a narrow , tapered straight - bore nozzle .</scene_description> <character>BRIAN</character> <dialogue>This is a six inch playpipe, cast bronze to keep it firm during hard flows.</dialogue> <parenthetical>( picks up another item . )</parenthetical> <dialogue>This is our pipe extender, used in forward lays.</dialogue> <parenthetical>( moves on . )</parenthetical> <dialogue>This is our hard suction line. Our adjustable insertion nozzle.</dialogue> <parenthetical>( comes around back of trunk . )</parenthetical> <dialogue>. And this is the hose bed.</dialogue> <scene_description>Beat . The air cracks between them . And is brushed aside . In an instant they 're all over each other . Tangled lips and gulping breaths . Jennifer abruptly breaks it off - And looks mischievously up at the hose bed , with its long curling rolls of soft cotton . Brian does n't remember this precise scenario being discussed at the academy , but he improvises admirably , popping up onto the hose bed and offering a gentlemanly hand to Jennifer . As they tumble into the soft folds</scene_description> </scene> <scene> <stage_direction>EXT. HIGH-RISE - NIGHT</stage_direction> <scene_description>Engine 17 roars up , lights flashing , to a high - rise . As the crew jumps down Tim trips and falls flat on his face .</scene_description> <character>GRINDLE</character> <dialogue>Jesus Tim, if you're going to kill yourself at least wait till the fire, it's better P.R.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ - HOSE BED - NIGHT</stage_direction> <scene_description>Jennifer unbuttons Brian 's shirt .</scene_description> <character>JENNIFER</character> <dialogue>Tell me about the playpipe again.</dialogue> <scene_description>She pulls the shirt off his shoulder as we</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE - LOBBY - NIGHT</stage_direction> <scene_description>Engine 17 walking up to a frazzled security guard in the lobby .</scene_description> <character>STEPHEN</character> <dialogue>Where is it?</dialogue> <character>SECURITY GUARD</character> <dialogue>Do n't know. There's alarms going off on three different floors.</dialogue> <character>STEPHEN</character> <dialogue>Wonderful.</dialogue> <scene_description>They climb into the elevator .</scene_description> </scene> <scene> <stage_direction>INT. HIGH RISE - ELEVATOR - NIGHT</stage_direction> <scene_description>It 's cramped on the way up with the bulky coats , helmets , hose rolls , and the tangible nervousness that always goes with this kind of fire . The elevator Musak plays 101 Strings version of `` Tie A Yellow Ribbon ` Round The Old Oak Tree '' .</scene_description> <character>TIM</character> <dialogue>How do we know if the floor's going to be on fire?</dialogue> <character>STEPHEN</character> <dialogue>If the doors open and it's hot, do n't get out.</dialogue> </scene> <scene> <stage_direction>INT. ARSON HQ - HOSE BED</stage_direction> <scene_description>Brian pulls off Jennifer 's stockings . As she kicks it away .</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE - UPPER FLOOR - NIGHT</stage_direction> <scene_description>The elevator stops . DING . The door opens . No howling blaze , not even any noise , but enough hanging smoke that you ca n't see your hand in front of your face . They fan out gingerly onto the floor , looking for the fire . Hide and seek in a white fog bank . Everybody stops and listens . Slowly , carefully , they feel their way through the haze .</scene_description> <character>STEPHEN</character> <dialogue>It's here.</dialogue> <scene_description>On cue something snakes past behind the walls , whispers and whines and shivers up and over them and then is silent . Grindle attaches a hoseline to the building standpipe .</scene_description> <character>GRINDLE</character> <dialogue>These high - rise gigs give me the creeps.</dialogue> <character>AXE</character> <dialogue>Let's wait for a back - up, Stephen. We're early on this one, it has n't even broke out yet. We're one short as it is with Brian gone.</dialogue> <scene_description>But Stephen 's on the hunt now . Obsessed .</scene_description> <character>STEPHEN</character> <dialogue>Want to learn something?</dialogue> <character>TIM</character> <dialogue>Yes sir!</dialogue> <scene_description>Stephen and Tim take the lead , their axes gripped like shotguns . Grindle backs them up with a charged hoseline .</scene_description> <character>STEPHEN</character> <dialogue>Adcox, go with Pengelly and check the other side.</dialogue> <character>AXE</character> <dialogue>It is n't safe, man. Do n't go splittin' us up. Not with this one.</dialogue> <character>STEPHEN</character> <dialogue>- What the hell's the matter with you? You always check the other side. I have n't got time for bullshit right now, okay? We got a job here.</dialogue> <character>AXE</character> <dialogue>Let me take the lead, Stephen.</dialogue> <character>STEPHEN</character> <dialogue>Goddamn it Adcox! Just do your fucking job!</dialogue> <scene_description>Adcox folds . With a stricken look on his face he takes his crew down the other way . Stephen and Tim slowly feel their way . CRACK Everybody SPINS around in terror . Nothing . Something inhuman giggles down ahead of them . Stephen smiles .</scene_description> <character>STEPHEN</character> <parenthetical>( like a mantra . )</parenthetical> <dialogue>Oh, you're so very sly, but so am I.</dialogue> <parenthetical>( to Tim . )</parenthetical> <dialogue>. Listen to it. you can tell when a wall cracks which way it's gon na jump. you can hear the doors breathe if they're hot.</dialogue> <scene_description>Tim looks confused . He does n't get it . They come to a side door . Stephen runs his hand down the jam , feels for heat . Then he steps back , takes a deep breath , and CRASHES the door down with one AXE BLOW . Quiet inside .</scene_description> </scene> <scene> <stage_direction>INT. ARSON HQ - HOSE BED - NIGHT</stage_direction> <scene_description>Brian and Jennifer are into the rhythm now , breathing deeply . On the wall above them are framed photos of dead firemen . Watching .</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE - SECOND DOORWAY - NIGHT</stage_direction> <scene_description>Stephen concentrates on the sound of the fire above him , - then abruptly turns and CRASHES down another door .</scene_description> </scene> <scene> <stage_direction>INT. ARSON HQ - ALARM KLAXON GOES OFF - NIGHT</stage_direction> <scene_description>Brian and Jennifer lie in a tight embrace , enjoying the moment , the lull , as suddenly the lights SNAP ON and an alarm klaxon BELLOWS . Firemen are coming down the pole now .</scene_description> <character>JENNIFER</character> <dialogue>What's going on?</dialogue> <scene_description>They frantically climb into their clothes . The firemen have n't noticed them as they climb aboard . They 've STARTED THE ENGINE .</scene_description> <character>JENNIFER</character> <dialogue>What are they doing?</dialogue> </scene> <scene> <stage_direction>EXT. ARSON HQ - STREETS - NIGHT</stage_direction> <scene_description>And before either of them realizes it , they 're suddenly pulling out into the street and WAILING off down the block . The wind 's wild in their hair , the siren deafening , the flashing red lights blinding staccato , And Jennifer loves it . She kisses Brian fiercely , he lets out a war whoop lost in the blast of air , and together they hold each other as the night screams past and .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH-RISE - NIGHT</stage_direction> <scene_description>Engine 17 pulls up into the parking lot of the high - rise fire . Firemen leap out of the cab and rush around behind to pull off lengths of hose from the bed . As the folds curl away the fireman is stunned to see a woman 's stocking come out with it . With equal shock he looks up and watches as a disheveled and grinning Brian and Jennifer climb calmly down out of the bed .</scene_description> <character>BRIAN</character> <dialogue>Excuse us.</dialogue> </scene> <scene> <stage_direction>INT. HIGH-RISE - TIM'S DOOR - NIGHT</stage_direction> <scene_description>Stephen and Tim creep along the hall .</scene_description> <character>STEPHEN</character> <parenthetical>( to Tim . )</parenthetical> <dialogue>Lotta smoke, but it is n't rolling. that means it's hiding. staying sleepy. one of these doors.</dialogue> <scene_description>Tim 's come to one .</scene_description> <character>STEPHEN</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Easy. no hurry. you're not going anywhere.</dialogue> <scene_description>Stephen BANGS down another door . Sticks his head in to check . A little woodpecker toy dips up and down in a glass of water . Tim readies his axe before his door , gathers his courage as Stephen comes out of the room he was checking . Sees Tim lifting his axe .</scene_description> <character>STEPHEN</character> <dialogue>Did you check the door for heat, Tim?</dialogue> <scene_description>Tim does n't hear . The axe is already up .</scene_description> <character>STEPHEN</character> <dialogue>Tim?</dialogue> <scene_description>Tim 's committed now , coming hard at the door . And Stephen sees it for just an instant - Small tendrils of smoke edging lazily around the door - then being sucked back in .</scene_description> <character>STEPHEN</character> <dialogue>Tim!</dialogue> <scene_description>He rushes for Tim as Tim 's axe SMACKS the door and a whine behind it builds and roars and howls and Tim 's all follow - through now , hitting the door with his shoulder as The door EXPLODES OUTWARD , HURLING TIM against the opposite wall and for an instant he 's okay but he freezes in terror as A SHRIEKING TONGUE OF FLAME SHOOTS OUT THE DOORWAY and Grindle shouts in horror and opens his hose line as the flames wrap Tim like a jealous lover as Adcox hears it and screams ,</scene_description> <character>AXE</character> <dialogue>Oh God! Oh God no!</dialogue> <scene_description>And Tim 's screaming now too , because his helmet , his mask , his face , it 's all melting and Grindle dives suicidally at the monster , BLASTING it with his hose as Stephen ignores the flames and puts his arms around Tim as Grindle DOUSES them both , killing the flames . The monster rolls wounded back into the room , into the air shafts as Tim whimpers incoherently , sliding down the wall as Stephen tries to help but oh God you ca n't tell what 's face and what 's mask and helmet anymore . Grindle looks back where the fire came from . There 's a corpse in there , burned and lying between two doors . Adcox rushes to Tim 's side sobbing and it 's the end , the end of the goddamn world .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH-RISE - NIGHT</stage_direction> <scene_description>Brian and Jennifer are having the time of their lives , when suddenly a group of firemen pass by rushing someone on a stretcher to an ambulance and Brian sees - sweet Jesus - it 's Tim . Jennifer turns away in horror . They load Tim into the van as Adcox and Grindle jump in to ride along . To hold his hand . Stephen watches the ambulance disappear out into the street . Frustration and fury tear at him as he takes off his coat and slams it to the ground . He kicks it , kicks it till his strength 's gone . He turns , his wounded eyes finding Brian .</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE - NIGHT</stage_direction> <scene_description>Rimgale walks down the smokey corridor . The charred civilian is there , sitting in the short stretch of hall between two blown doors . Through the haze Rimgale sees Stephen crouched in the interior room , picking at the debris . Lost in himself .</scene_description> <character>STEPHEN</character> <dialogue>Hey, Stevie.</dialogue> <scene_description>Stephen stands and looks around the room , seemingly unaware of Rimgale . He walks wordlessly straight out past him , his eyes streaming with tears .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EMERGENCY ROOM - NIGHT</stage_direction> <scene_description>Brian shoulders his way through the emergency room . He passes a small alcove full of vending machines . Adcox is there , sipping a paper cup , leaning against the machine in deep anguish .</scene_description> <character>BRIAN</character> <dialogue>Is he.</dialogue> <character>AXE</character> <dialogue>He's alive.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ICU - NIGHT</stage_direction> <scene_description>Further down the hall is ICU . Grindle and Santos are there , sitting outside the room , raw and weary . Grindle nods to Brian . Everyone 's still stained and smudged from the fire . Everyone but Brian . Brian looks through a door window into the room . There , surrounded by doctors and physicians , lies Tim . He 's been cut out of his uniform . Gauze bandages everywhere . As a pair of forceps peel some away Brian glimpses what used to be a face , now only reds and browns and leaky whites . He turns away .</scene_description> <character>BRIAN</character> <dialogue>Do they think he'll pull through?</dialogue> <character>GRINDLE</character> <dialogue>They're not saying.</dialogue> <character>BRIAN</character> <dialogue>I should have been there.</dialogue> <character>NIGHTENGALE</character> <dialogue>None of us should have been there, Brian.</dialogue> <scene_description>Voices rise down the hall . Turn to shouts . It 's Adcox and Stephen , tearing heartbreakingly into one another . Brian ca n't make out the words but it 's ugly , emotional . Abruptly it ends and Stephen emerges from the alcove , walking toward them upset .</scene_description> <character>BRIAN</character> <dialogue>You had to do it, did n't you?</dialogue> <scene_description>Stephen 's got other things on his mind .</scene_description> <character>STEPHEN</character> <dialogue>Not now, Brian.</dialogue> <character>BRIAN</character> <dialogue>Had to take on another fire bare - handed, huh? Had to be fucking myth man in there instead of looking out for your probie. Is that what happened? Is it, Stephen?</dialogue> <character>STEPHEN</character> <dialogue>I had that fire. He did n't listen!</dialogue> <character>BRIAN</character> <dialogue>He did n't listen? He was a fucking candidate! He was your responsibility. He should n't have been there in the first place, Stephen.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You burned him.</dialogue> <character>STEPHEN</character> <dialogue>Fuck you.</dialogue> <scene_description>Brian grabs his arm . Stephen SNAPS and roughly PUSHES Brian , knocking him against the wall . Brian comes off it in a flash and is all over Stephen . They go down and it 's all thrashing and shouting now . A horrible , endless draw . Grindle and Santos are in it , pulling them apart , holding them up against opposite walls . Both brothers glare at one another , tears filling their eyes . Brian shakes Grindle off and walks away .</scene_description> </scene> <scene> <stage_direction>INT. ARSON HQ - BRIAN'S DESK - MORNING</stage_direction> <scene_description>Brian sits staring blankly . A newspaper drops in front of him . FIRE DEPT. . SAYS IT 'S MURDER . Rimgale stands above him .</scene_description> <character>SHADOW</character> <dialogue>Goes on about how the break was made through the discovery of `` chemical traces'' and a `` behavioral link''. Oh, and Swayzak's quoted saying the chief investigator is closing in on the torch and expects an arrest `` any time''.</dialogue> <scene_description>Brian 's eyes wince closed .</scene_description> <character>SHADOW</character> <dialogue>Get your stuff and get out.</dialogue> </scene> <scene> <stage_direction>INT. JENNIFER'S OFFICE - DAY</stage_direction> <scene_description>She 's pouring some coffee as Brian bursts in .</scene_description> <character>JENNIFER</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Brian. What's wrong?</dialogue> <character>BRIAN</character> <dialogue>You told Swayzak about our arson lead. It's all over the fucking news.</dialogue> <character>JENNIFER</character> <dialogue>I did n't know it was a secret. There are n't supposed to be secrets between the city and its investigators -</dialogue> <character>BRIAN</character> <dialogue>- Bullshit! You knew what I told you was n't ready for the papers -</dialogue> <character>JENNIFER</character> <dialogue>Will you please keep your voice down, there's people -</dialogue> <character>BRIAN</character> <dialogue>- You could have scared the son of a bitch off. We may never bust him now. All for a couple's political points.</dialogue> <character>JENNIFER</character> <dialogue>I was doing my job.</dialogue> <character>BRIAN</character> <parenthetical>( grabs her arm . )</parenthetical> <dialogue>Yeah? And just how much of all this has been `` doing your job''?</dialogue> <character>JENNIFER</character> <parenthetical>( shakes it off . )</parenthetical> <dialogue>Let me ask you something, do you really think Marty had you assigned to arson because of your firefighting skills? Who the hell are you kidding? I was there, remember? I saw you and your brother -</dialogue> <character>BRIAN</character> <dialogue>Leave Stephen out of this -</dialogue> <character>JENNIFER</character> <dialogue>Oh yeah, he's the real fireman.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Who are you? Just another probie working for Swayzak -</dialogue> <character>BRIAN</character> <dialogue>- I work for the city.</dialogue> <character>JENNIFER</character> <dialogue>You knew what we were asking you to do. Do n't suddenly pull out a conscience now. The fit is n't right.</dialogue> <scene_description>Swayzak appears in the doorway . He looks haggard , as if he has n't slept . There 's something haunted in his eyes .</scene_description> <character>SWAYZAK</character> <dialogue>Mr. McCaffrey. Keeping busy?</dialogue> <character>BRIAN</character> <dialogue>Yeah. In fact, I just dropped off a letter to the Times explaining how yesterday's arson announcement was a fabrication by your office. They loved it. And you know what? You were right, my family background in firefighting gave it weight.</dialogue> <character>JENNIFER</character> <dialogue>Oh Brian.</dialogue> <scene_description>Brian shoulders his way past Swayzak and walks out .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - TIM'S ROOM - NIGHT</stage_direction> <scene_description>Brian walks up to Tim 's room . Stephen 's sitting there , ragged looking . Inside the young probie lies wrapped in tubes and gauze and years of wasted promise . An EKG beeps , a respirator hisses , and Brian gulps down something heavy in his throat .</scene_description> <character>STEPHEN</character> <dialogue>He's gon na live. Maybe not much else, but he's gon na live.</dialogue> <scene_description>Stephen walks away .</scene_description> </scene> <scene> <stage_direction>EXT. ARSON HQ - MORNING</stage_direction> <scene_description>As Rimgale gets out of his car a limousine pulls up . Swayzak opens the rear door from inside .</scene_description> <character>SWAYZAK</character> <dialogue>Inspector.</dialogue> <character>SHADOW</character> <dialogue>Alderman.</dialogue> </scene> <scene> <stage_direction>INT. SWAYZAK SEDAN - DAY</stage_direction> <scene_description>Cruising through traffic . Swayzak is disheveled , unshaven , fidgety . A man who has n't slept and had a few drinks before the one he 's pouring now . He offers one to Rimgale .</scene_description> <character>SHADOW</character> <dialogue>I usually have breakfast first.</dialogue> <scene_description>Swayzak apparently does n't .</scene_description> <character>SWAYZAK</character> <dialogue>When are you going to catch the prick that's doing this, Don?</dialogue> <character>SHADOW</character> <dialogue>`` Don?''</dialogue> <character>SWAYZAK</character> <dialogue>Do n't you have any leads at all?</dialogue> <character>SHADOW</character> <dialogue>No Marty, I do n't.</dialogue> <scene_description>For the first time , Rimgale sees real fear on Swayzak 's face .</scene_description> <character>SHADOW</character> <dialogue>We still have n't found a connection between the victims.</dialogue> <character>SWAYZAK</character> <dialogue>Jesus, open your eyes! Seagrave, Cosgrove, and now Holcomb - fried in a goddamn high - rise!</dialogue> <character>SHADOW</character> <dialogue>Holcomb? I did n't know the name of that victim had even been released yet.</dialogue> <scene_description>The sedan stops back at arson HQ . They 'd gone around the block .</scene_description> </scene> <scene> <stage_direction>EXT. ARSON HQ - SWAYZAK SEDAN - DAY</stage_direction> <scene_description>Rimgale opens the door , climbs out , lingers .</scene_description> <character>SHADOW</character> <dialogue>Is there a connection between them, Alderman?</dialogue> <character>SWAYZAK</character> <dialogue>Just catch the son of a bitch.</dialogue> <scene_description>The door shuts and Swayzak roars away .</scene_description> </scene> <scene> <stage_direction>INT. ARSON HQ - BACK OFFICES - DAY</stage_direction> <scene_description>Rimgale walks back into his offices . He 's surprised to see Brian there working at his desk .</scene_description> <character>SHADOW</character> <dialogue>What the hell are you doing here?</dialogue> <character>BRIAN</character> <dialogue>I'm finished with Swayzak. I'll do whatever you want me to do. I just want to help catch the guy that burned Tim. You got ta give me another shot.</dialogue> <scene_description>Rimgale stares at Brian , appraises him .</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE</stage_direction> <scene_description>A CLOSE UP of Rimgale POPPING the molding around the door frame of Holcomb 's burned office . Underneath can be seen traces of the same white residue from the other fires .</scene_description> <character>SHADOW</character> <dialogue>I thought ` ol Marty was acting a little strange. And he's right.</dialogue> <scene_description>Rimgale rubs the white powder between his fingers .</scene_description> <character>BRIAN</character> <dialogue>Backdraft?</dialogue> <scene_description>Rimgale stands at the spot in the short hall where the body lied between two doors .</scene_description> <character>SHADOW</character> <dialogue>The backdraft was set somewhere in there. It fried Holcomb when he opened the inner door. But the outer door held. and waited for Tim.</dialogue> <scene_description>Brian steps into the inner office .</scene_description> <character>SHADOW</character> <dialogue>So find me the fire.</dialogue> <scene_description>Brian begins searching , probing . He finally stands . Defeated .</scene_description> <character>SHADOW</character> <dialogue>You're thinking too much of the building and not enough of the ghost.</dialogue> <scene_description>Brian 's eyes do n't understand . From Rimgale 's coat comes a plastic flask . He pours out of it a liquid onto the floor and lights a match .</scene_description> <character>SHADOW</character> <dialogue>In a word, Brian, what is this job all about?</dialogue> <character>BRIAN</character> <dialogue>Fire.</dialogue> <scene_description>Rimgale drops the match . WUMP . A small flame explodes to life .</scene_description> <character>SHADOW</character> <dialogue>It's a living thing, Brian. It breathes, it eats, and it hates.</dialogue> <scene_description>The fire 's climbing a wall , chewing a corner .</scene_description> <character>SHADOW</character> <dialogue>The only way to beat it is to think like it. To know that this flame will spread this way across the floor not because of the physics of flammable liquids or heat convection, but because it wants to.</dialogue> <scene_description>FWUMP . It darts west . Licks the ceiling . The fire purrs and hisses . Stretches luxuriously and attacks savagely .</scene_description> <character>SHADOW</character> <dialogue>Some guys on this job, fire owns them. It makes them fight on its level. But the only way to truly kill it is to love it a little, just like Ronald.</dialogue> <scene_description>Brian stares at the flame . A goblin reaching out for him . - Woosh ! Rimgale hits it with a fire extinguisher . In an instant the goblin is gone , the genie in the bottle .</scene_description> <character>VOICE</character> <dialogue>What the hell are you guys doin'?</dialogue> <scene_description>A young woman 's entered .</scene_description> <character>SHADOW</character> <dialogue>We're the fire department, lady.</dialogue> <character>WOMAN</character> <dialogue>Well color me stupid, I always thought the fire dept. put out fires.</dialogue> <character>SHADOW</character> <parenthetical>( to woman . )</parenthetical> <dialogue>You work here?</dialogue> <character>WOMAN</character> <dialogue>Till yesterday. What do you think the odds are that a non - refundable ticket to Paris survived this?</dialogue> <character>BRIAN</character> <dialogue>Somewhere between zero and no way.</dialogue> <character>WOMAN</character> <dialogue>Shit. What a mess.</dialogue> <character>SHADOW</character> <dialogue>You seem real broken up about Mr. Holcomb.</dialogue> <character>WOMAN</character> <dialogue>Jeff Holcomb? The Darth Vader of tax accountants? He was a sleezeball. Hopefully a sleezeball that carried some insurance.</dialogue> <character>BRIAN</character> <dialogue>Go talk to the building owner.</dialogue> <character>WOMAN</character> <dialogue>He was the building owner.</dialogue> <character>BRIAN</character> <dialogue>Our book lists the owner as Dekom Trust.</dialogue> <scene_description>She looks at him like he 's the dumbest human she 's met all week .</scene_description> <character>WOMAN</character> <dialogue>Do n't investigators come in adult size?</dialogue> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - OUTSIDE STEPHEN'S OFFICE - DAY</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - STEPHEN'S STATION OFFICE - DAY</stage_direction> <scene_description>Stephen 's lying sprawled on his bunk , his hands pressed over his eyes . There 's a voice outside the door .</scene_description> <character>GRINDLE</character> <dialogue>Stevie? Rimgale's here to see you.</dialogue> <character>STEPHEN</character> <dialogue>I'm busy.</dialogue> <character>GRINDLE</character> <dialogue>He just wants to -</dialogue> <character>STEPHEN</character> <dialogue>- I'm busy goddamn it, okay?</dialogue> <scene_description>A beat , then Rimgale himself enters .</scene_description> <character>STEPHEN</character> <dialogue>What, they do n't knock on your planet?</dialogue> <scene_description>Rimgale takes in Stephen 's room , the half empty bourbon bottle . Without a word , Rimgale walks over and pours it out . He sits down beside Stephen .</scene_description> <character>SHADOW</character> <dialogue>I still have n't gotten your fire report, Stevie. On Tim.</dialogue> <scene_description>A wave of pain rolls through Stephen .</scene_description> <character>STEPHEN</character> <dialogue>I'm working on it.</dialogue> <character>SHADOW</character> <dialogue>I deal with this stuff every day. But a fireman. you never get used to it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What happened up there? He was a candidate. Did he pay attention? Was he listening?</dialogue> <character>STEPHEN</character> <dialogue>He was n't listening to the right thing.</dialogue> <character>SHADOW</character> <dialogue>What do you listen to, Stephen?</dialogue> <character>STEPHEN</character> <dialogue>You do n't know. nobody knows.</dialogue> <character>SHADOW</character> <dialogue>I might.</dialogue> <scene_description>Stephen 's eyes meet Rimgale 's and hold .</scene_description> <character>STEPHEN</character> <dialogue>It knows us. This one knows us.</dialogue> <character>SHADOW</character> <parenthetical>( beat . )</parenthetical> <dialogue>I need that report, Lt.</dialogue> <scene_description>Stephen takes Rimgale 's notebook out of his lap , rips out a page , and writes angrily in huge block letters .</scene_description> <character>STEPHEN</character> <dialogue>Tim - went - to - the - fire - and - now - he - does n't - have - a - face.</dialogue> <scene_description>Stephen throws the sheet at Rimgale , stands , and walks out .</scene_description> </scene> <scene> <stage_direction>INT. HALL OF RECORDS</stage_direction> <scene_description>An Escher drawing of a place , endlessly vast racks spun around an open central core . High up , lost among its rows , Brian is going through rack after rack of dog - eared record books as Rimgale enters down below .</scene_description> <character>BRIAN</character> <parenthetical>( trying to hold it together in his mind . )</parenthetical> <dialogue>Hey boss, Dekom Trust is owned by Pan Illinois. which is majority controlled by Lakeside Dynamics. which is a division of Windy City Ventures. who's partners are.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Alan Seagrave, Donald Cosgrove, and Jeffrey Holcomb.</dialogue> <character>SHADOW</character> <dialogue>Son of a bitch. They knew each other.</dialogue> </scene> <scene> <stage_direction>INT. HALL OF RECORDS</stage_direction> <scene_description>More books . Files . Acres of paper .</scene_description> <character>BRIAN</character> <dialogue>So Seagrave and Holcomb were accountants.</dialogue> <character>SHADOW</character> <dialogue>And Cosgrove. Coppers figured he laundered money for the mob before getting into real estate. They were n't very high on Seagrave, either.</dialogue> <character>BRIAN</character> <dialogue>Nice bunch of guys.</dialogue> <character>SHADOW</character> <dialogue>Who all ended up wearing candles for faces.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Swayzak's up to his ass in this somehow. Guy can barely hold a drink in his hand, he's so scared.</dialogue> <scene_description>A beat , then he looks directly at Brian .</scene_description> <character>SHADOW</character> <dialogue>We need to get a look at his files.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP RESTAURANT - NIGHT</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. LAKESHORE - DUSK</stage_direction> <scene_description>With glowing skyscrapers leaping up in the background , it 's an unexpectedly quiet , serene place along the lake . Jennifer sits alone at a bench , watching an ancient fisherman look for dinner , as Brian walks up .</scene_description> <character>JENNIFER</character> <dialogue>Hi.</dialogue> <character>BRIAN</character> <dialogue>Hi.</dialogue> <character>JENNIFER</character> <dialogue>We still talking?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Look, I'm sorry about the other day -</dialogue> <character>BRIAN</character> <dialogue>Swayzak knows something about the guys that were murdered. I want to know why he keeps that hidden.</dialogue> <character>JENNIFER</character> <dialogue>I do n't know anything about it.</dialogue> <character>BRIAN</character> <dialogue>You could check. It'd be in his files.</dialogue> <character>JENNIFER</character> <parenthetical>( beat . )</parenthetical> <dialogue>Do you know what you're asking me to do?</dialogue> <character>BRIAN</character> <dialogue>Yes.</dialogue> <character>JENNIFER</character> <dialogue>Y' know, four years ago I was working in a bakery. Two years ago I was bringing Marty coffee and he did n't even know my name. I run that office now. Marty believed in me and I believe in him. You want me to just throw that away?</dialogue> <character>BRIAN</character> <dialogue>Your boss is lying, Jennifer.</dialogue> <scene_description>And it hangs between them , two people lonely on the edge of the lake .</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S APARTMENT - NIGHT</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>INT. HELEN'S GARAGE - NIGHT</stage_direction> <scene_description>At a workbench , under a single lamp , Stephen stands amongst a confusion of tools , wire , And a wall socket . With a pair of pliers , he tugs at something within the socket , puts the face - plate back on and screws it down . He stares at it , and we feel the sudden wave of hopelessness cascading through him . He sets the socket back down - and SCATTERS everything aside in a single , furious move .</scene_description> </scene> <scene> <stage_direction>INT. HELEN'S HOUSE - NIGHT</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. HELEN'S HOUSE - NIGHT</stage_direction> <scene_description>Stephen 's sits quietly against Helen 's back door , lost in himself . A light comes on . Helen opens the back door .</scene_description> <character>HELEN</character> <dialogue>Stephen?</dialogue> <scene_description>She sits down beside him .</scene_description> <character>STEPHEN</character> <dialogue>I'm sorry. I. could n't sleep.</dialogue> <character>HELEN</character> <dialogue>What's wrong?</dialogue> <character>STEPHEN</character> <dialogue>I.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>It used to be, when I was a kid, what meant most to me about this job was there were no ifs. Life and death, right and wrong. When someone called the fire department, we came. Those guys do n't know how much I love them. You do n't leave people hanging. cause that's what it's all about. It's loyalty. It's'till death do us part. Is n't that what you heard? It's you go, we go. Cause without that, it's the end of families, it's the end of the fire department. and when the fire department stops coming. that's the end of the fucking world.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'm sorry I came, Helen, it's just. it's just there's nobody I can talk to.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I miss you.</dialogue> <scene_description>The moment lingers , grows heavy and grey .</scene_description> </scene> <scene> <stage_direction>INT. HELEN'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Stephen and Helen in bed , holding each other .</scene_description> </scene> <scene> <stage_direction>INT. HELEN'S HOUSE - KITCHEN - MORNING</stage_direction> <scene_description>Morning , and Stephen dressed , making eggs for three . Sean 's there , lending a hand , beaming as Stephen tries to show him how to flip an egg . Helen enters in her robe . He kisses her .</scene_description> <character>STEPHEN</character> <dialogue>Cook and I are almost finished here. Have a seat.</dialogue> <character>HELEN</character> <dialogue>Stephen. I. can I talk to you a second.</dialogue> <scene_description>Stephen musses his son 's hair and follows her out into the hall .</scene_description> <character>STEPHEN</character> <dialogue>Look, I'm sorry I -</dialogue> <character>HELEN</character> <dialogue>- No, that's okay. It's just Sean.</dialogue> <character>STEPHEN</character> <dialogue>- He's gettin' good on those eggs. And y' know, he told me he actually likes the piano.</dialogue> <character>HELEN</character> <dialogue>I do n't want to confuse him, Stephen.</dialogue> <scene_description>The blow 's so long and hard and deep you do n't even see it .</scene_description> <character>HELEN</character> <dialogue>It's. It's just things have changed. you're the same, Stephen, but things are different now. you've got a son. you're the best at what you do Stephen, you always were, but you scare me now.</dialogue> <scene_description>Just then , Sean sticks his head into it .</scene_description> <character>STEPHEN</character> <parenthetical>( to Sean . )</parenthetical> <dialogue>Hey. Sean - man, your dad blew it. I forgot I had to work this morning.</dialogue> <character>SEAN</character> <dialogue>Aw dad, c'mon.</dialogue> <character>STEPHEN</character> <dialogue>Next time, huh? We'll do it up big. Promise.</dialogue> <scene_description>Helen 's turned away .</scene_description> <character>SEAN</character> <dialogue>Okay.</dialogue> <parenthetical>( then sotto . )</parenthetical> <dialogue>Mom's crying, dad.</dialogue> </scene> <scene> <stage_direction>INT. SWAYZAK'S OFFICE - CITY HALL - MORNING</stage_direction> <scene_description>Jennifer enters Swayzak 's inner office . His chair 's turned away toward the window .</scene_description> <character>JENNIFER</character> <parenthetical>( holding print - out . )</parenthetical> <dialogue>Latest polls came in, Marty.</dialogue> <parenthetical>( he does n't answer . )</parenthetical> <dialogue>Marty?</dialogue> <scene_description>Finally the chair turns , revealing a haunted man . Polls are far from his mind .</scene_description> <character>JENNIFER</character> <dialogue>Jesus Christ, Marty, what's going on?</dialogue> <character>SWAYZAK</character> <dialogue>Leave me alone.</dialogue> <scene_description>She sees a fire department file on the murders open on his desk .</scene_description> <character>JENNIFER</character> <dialogue>We've come a long way together, Marty. I've staked my whole career on you. And now you're sneaking around this office, leaking things to the papers behind my back.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Is there something you're not telling me about these deaths?</dialogue> <scene_description>Swayzak 's eyes are dead metal .</scene_description> <character>SWAYZAK</character> <dialogue>No.</dialogue> <scene_description>And he turns his chair around again . Jennifer stands there a beat . - Then turns to the filing cabinets .</scene_description> </scene> <scene> <stage_direction>EXT. BRIAN'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Brian drives up and parks . He 's half way to the staircase when he sees someone sitting in the dark in a car .</scene_description> <character>BRIAN</character> <dialogue>Jennifer?</dialogue> <scene_description>She hands him a manila envelope .</scene_description> <character>BRIAN</character> <dialogue>What is -</dialogue> <character>JENNIFER</character> <dialogue>Just take it.</dialogue> <scene_description>Silence .</scene_description> <character>BRIAN</character> <dialogue>I'm sorry.</dialogue> <character>JENNIFER</character> <dialogue>That's a dumb thing to say.</dialogue> <character>BRIAN</character> <dialogue>You're right.</dialogue> <scene_description>She starts her car .</scene_description> <character>JENNIFER</character> <dialogue>Goodbye, Brian.</dialogue> </scene> <scene> <stage_direction>INT. FIRE DEPARTMENT REPAIR DEPOT</stage_direction> <scene_description>A cavernous hall full of dozens of fire trucks loaded on jacks . Rimgale 's sedan 's there , the repairman shaking his head in amazement at the undercarriage .</scene_description> <character>REPAIRMAN</character> <dialogue>What the hell do you do with this thing?</dialogue> <scene_description>Rimgale 's looking through the report Brian 's handed him .</scene_description> <character>SHADOW</character> <dialogue>This is the copy of Swayzak's manning report that was released. Everybody on this job knows it's bullshit but we could never argue with the numbers. They're all airtight.</dialogue> <character>BRIAN</character> <dialogue>Yeah? Airtight?</dialogue> <scene_description>He dumps three more reports on Rimgale .</scene_description> <character>BRIAN</character> <dialogue>I've got three different drafts of the same report - with different numbers that're all over the place. Looks like they were just making it up as they went along.</dialogue> <character>SHADOW</character> <dialogue>Did a little check on the consulting firm that wrote the report. They did exactly one job - Swayzak's manpower study. It's not even really a company. No employees, no directors, just a PO Box.</dialogue> <character>BRIAN</character> <dialogue>Then who wrote the report?</dialogue> <character>SHADOW</character> <dialogue>It had to be someone who knows numbers. Some kind of fancy accountant. But what's the connection?</dialogue> <scene_description>Brian hands him something else . A photograph . Swayzak and the other three , posing on a fishing boat , 1970 . Time of their lives .</scene_description> <character>SHADOW</character> <dialogue>I think it's time Mr. Swayzak and us had a little heart to heart talk.</dialogue> </scene> <scene> <stage_direction>EXT. SWAYZAK'S HOUSE - NIGHT</stage_direction> <scene_description>The red arson sedan pulls up to wealthy home . Rimgale and Brian walk up and knock on the door - it creaks open ajar . They push the door open slowly .</scene_description> </scene> <scene> <stage_direction>INT. SWAYZAK'S HOUSE - NIGHT</stage_direction> <scene_description>It 's dark as they enter .</scene_description> <character>SHADOW</character> <dialogue>Hello? Swayzak?</dialogue> <scene_description>Brian and Rimgale split up down different halls . It 's the HISS Brian hears first . Then the FLASH of an electrical socket FLARING ice - cold cobalt blue . Suddenly the room 's dimensions are there in frantic , strobing shadows . Chairs , a couch - - And a figure that JUMPS Brian . the light from the burning plug is a fierce strobe as the figure , a confused shadow , crashes Brian to the floor . They STRUGGLE . The figure GRABS Brian 's throat . Brian PUSHES him back - Against the burning wall plug . The figure SHRIEKS in pain , gets his hand on a crowbar and SLAMS Brian - who crumples , dazed . The figure stands - just as Rimgale TACKLES him . The figure CRASHES across a gas space heater , SNAPPING the connection off . The figure SLAMS Rimgale HARD with the crowbar , squirms free , and stumbles out the door . Hissss . Rimgale climbs to his feet as fire eats at the wall . A baby backdraft wagging its tail . He goes to a dazed Brian 's side , lifting him by his armpits and</scene_description> </scene> <scene> <stage_direction>EXT. SWAYZAK HOUSE - NIGHT</stage_direction> <scene_description>helping him outside . Hissss . The ruptured space heater pumps gas furiously . Rimgale sees that . He also sees a bedroom door ajar on the far side of the house . And through the door a couch . And on the couch , A body . Hissss .</scene_description> </scene> <scene> <stage_direction>INT. SWAYZAK HOUSE - NIGHT</stage_direction> <scene_description>Rimgale rushes back inside . It 's Swayzak , unconscious .</scene_description> </scene> <scene> <stage_direction>EXT. SWAYZAK HOUSE - NIGHT</stage_direction> <scene_description>Rimgale drags him out on the stoop beside Brian just as the gas WHUMPS and the doors and windows EXPLODE in a HOWLING FIREBALL , the shrapnel BLOWING Rimgale off his feet . Brian slowly shakes his head clear . He looks around , tries to orient himself .</scene_description> <character>SHADOW</character> <dialogue>Uh. I sorta got a problem here.</dialogue> <scene_description>Brian climbs up to his feet and walks over to where Rimgale lies at a weird angle , a piece of wrought iron fence punched through his shoulder .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EMERGENCY ROOM - NIGHT</stage_direction> <scene_description>Rimgale lies in an emergency room bed .</scene_description> <character>SHADOW</character> <dialogue>Well Brian, I guess you can say it's arson now.</dialogue> <character>BRIAN</character> <dialogue>How ya feeling?</dialogue> <scene_description>Rimgale grunts .</scene_description> <character>BRIAN</character> <dialogue>Did you pull me out?</dialogue> <character>SHADOW</character> <dialogue>Yeah.</dialogue> <character>BRIAN</character> <dialogue>Did I say thanks?</dialogue> <character>SHADOW</character> <dialogue>No.</dialogue> <character>BRIAN</character> <dialogue>Just wondering.</dialogue> <character>SHADOW</character> <dialogue>I hate hospitals. You're so. so goddamn useless.</dialogue> <scene_description>Rimgale suddenly kicks the bed frame in anger . He kicks it over and over with frustration till something finally SNAPS off . Brian waits , let 's him vent his frustration .</scene_description> <character>BRIAN</character> <dialogue>So what do you want me to do?</dialogue> <character>SHADOW</character> <dialogue>I've been lying here hours. just thinking. We're close.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>We're not looking in the right place, Brian. This one knows us and we're not looking in the right place.</dialogue> </scene> <scene> <stage_direction>INT. PRISON INTERVIEW ROOM - DAY</stage_direction> <scene_description>Brian 's sitting alone in a chair . Finally the opposite door opens and in enters Ronald .</scene_description> <character>RONALD</character> <dialogue>Well, Mr. Life magazine. Come all this way just to say hi?</dialogue> <scene_description>Brian hands him a stack of murder files .</scene_description> <character>BRIAN</character> <dialogue>I'm close. but I ca n't get who it is.</dialogue> <character>RONALD</character> <dialogue>So you came to me.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>Well, this is going to be an interesting afternoon after all.</dialogue> <scene_description>As Ronald starts to read the files</scene_description> </scene> <scene> <stage_direction>INT. PRISON INTERVIEW ROOM - LATER - DAY</stage_direction> <scene_description>Brian still sitting there . Watching Ronald devour the statistics . The photos of charred bodies . Ronald finishes , leans back .</scene_description> <character>RONALD</character> <dialogue>Okay, here's the deal. I'll tell you a story, you tell me one. Fair?</dialogue> <character>BRIAN</character> <dialogue>Who's doing this?</dialogue> <character>RONALD</character> <dialogue>Your first question should be who is n't. It is n't a spark, Brian. Not enough damage. And an insurance pro? Where's the profit margin?</dialogue> <character>BRIAN</character> <dialogue>Then who -</dialogue> <character>RONALD</character> <dialogue>- No no, your turn. Tell me a story.</dialogue> <character>BRIAN</character> <dialogue>I do n't have a story.</dialogue> <character>RONALD</character> <dialogue>Sure you do.</dialogue> <scene_description>Ronald drops on the table a dog - eared copy of that 1972 LIFE magazine with Brian on the cover .</scene_description> <character>RONALD</character> <dialogue>Famous story even. Straight burn. Just an engine and truck first on scene. What did you feel, Brian, when you first got there?</dialogue> <character>BRIAN</character> <dialogue>What?</dialogue> <character>RONALD</character> <dialogue>You got ta tell a story too, Brian. It's fair. C'mon, do n't think too hard -</dialogue> <character>BRIAN</character> <dialogue>I. I thought it was great. I loved it. It was nothing to these guys. medium deal.</dialogue> <character>RONALD</character> <dialogue>Right. Light smoke, low roll. Couple'a civilians hollering - medium deal. So young fireman Adcox and Captain McCaffrey, they head up stairs, get out on the fire escape - McCaffrey does the ballsy jump across. what were you feeling, Brian?</dialogue> <parenthetical>( Brian does n't answer . )</parenthetical> <dialogue>C'mon, you promised. Be honest.</dialogue> <parenthetical>( Brian just stares . )</parenthetical> <dialogue>Okay. Guard!</dialogue> <character>BRIAN</character> <dialogue>- I wanted to be him. Right then I wanted to be him more than anything.</dialogue> <character>RONALD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Very good, Brian. - About your report here. The way to a torch's heart is through his tools. That's how you know him. It's the way he talks to the fire. And to you if you listen.</dialogue> <character>BRIAN</character> <dialogue>The outlets.</dialogue> <character>RONALD</character> <dialogue>That's a probie answer. You're smarter than that, Brian.</dialogue> <character>BRIAN</character> <dialogue>Trychticholorate.</dialogue> <character>RONALD</character> <dialogue>Good. - So our two heroes, Adcox and McCaffrey, they go back inside. Only there's another fire in there nobody sees. And it took your dad, did n't it Brian? Did you see him burn?</dialogue> <scene_description>In a flash , Brian suddenly reaches across and grabs Ronald by the collar .</scene_description> <character>BRIAN</character> <dialogue>Who the fuck is doing this?</dialogue> <character>RONALD</character> <dialogue>After it took your dad. the fire. did it look at you Brian? Did it talk to you?</dialogue> <scene_description>And Ronald sees something in Brian 's eyes . He smiles .</scene_description> <character>RONALD</character> <dialogue>You see, our world's are n't so different.</dialogue> <scene_description>Brian releases Ronald .</scene_description> <character>BRIAN</character> <parenthetical>( quiet . )</parenthetical> <dialogue>Who's doing this?</dialogue> <scene_description>The arsonist smiles a creepy , horrible grin .</scene_description> <character>RONALD</character> <dialogue>Think, Brian. Who does n't love fire, but knows it better than anyone else? Who's around trychticholorate 24 hours a day?</dialogue> <scene_description>A cold shock rolls through Brian as he slumps back in his chair .</scene_description> <character>BRIAN</character> <dialogue>Oh Jesus Christ.</dialogue> <character>RONALD</character> <dialogue>Not such a far walk after all, is it, Brian?</dialogue> </scene> <scene> <stage_direction>EXT. STEPHEN'S BOAT - MARINA - NIGHT</stage_direction> <scene_description>Brian climbs up onto Stephen 's boat . Nobody home . He opens the cabin door , goes inside and hits the lights .</scene_description> </scene> <scene> <stage_direction>INT. STEPHEN'S BOAT - NIGHT</stage_direction> <scene_description>There 's cereal bowls in the sink , beer bottles on the table , And a stack of fire department supplies in the corner . His whole body aching with reluctance , Brian begins looking through them . Solvents , Armorall , a small specialty can of fire dept. chemicals . There 's a label of ingredients on it . Way down at the bottom , Is trychticholorate . Nausea wracks its way through Brian .</scene_description> <character>BRIAN</character> <dialogue>Oh goddamn it Stephen.</dialogue> <scene_description>Footsteps . Brian spins around in stone shock as Stephen comes into the cabin .</scene_description> <character>STEPHEN</character> <dialogue>Hey, what are you doing here?</dialogue> <character>BRIAN</character> <dialogue>Just. Just wanted to say hello.</dialogue> <character>STEPHEN</character> <dialogue>So hello.</dialogue> <scene_description>Brian backs away from the chemicals .</scene_description> <character>STEPHEN</character> <dialogue>Well, long as you're here you can help clean up a little. I've got a guy coming to look at this in a few minutes.</dialogue> <character>BRIAN</character> <dialogue>You're selling dad's boat?</dialogue> <character>STEPHEN</character> <dialogue>Yeah, it's just another memory in my life right now. And I got way too many of them.</dialogue> <character>BRIAN</character> <dialogue>I really should get back. There's. there's something I'm supposed to do.</dialogue> <character>STEPHEN</character> <dialogue>Yeah? What have you got to do?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Look at you. Look at your face. All the things you must be thinking. Man, you must really hate my guts. Well, you know what? It's okay.</dialogue> <character>BRIAN</character> <dialogue>Look, Stephen, maybe we can talk about this some other -</dialogue> <character>STEPHEN</character> <dialogue>- Okay, so you do n't like me. You do n't like everything I've done. What, because I was n't such a genius the way I raised you? Jesus Christ, dad was gone, what was I supposed to do? You tell me, what the fuck was I supposed to do?!</dialogue> <scene_description>He KICKS the bulkhead wall .</scene_description> <character>BRIAN</character> <dialogue>It's okay, Stephen, I -</dialogue> <character>STEPHEN</character> <dialogue>- I tried, y' know? Helen's right. I do n't have all the answers, but goddamn it, I've got some.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Look, you're gon na do what you have to, and maybe I should n't have gotten in the way. I'm your brother, not your father. Go on. You got ta go somewhere? Go.</dialogue> <scene_description>Brian turns to leave . Pauses .</scene_description> <character>BRIAN</character> <dialogue>I saw it.</dialogue> <character>STEPHEN</character> <dialogue>Saw what?</dialogue> <character>BRIAN</character> <dialogue>When dad died, I saw another fire.</dialogue> <character>STEPHEN</character> <dialogue>Everybody did.</dialogue> <character>BRIAN</character> <dialogue>I saw it before it got them. I tried to yell, but. He asked me to look out for him. And I did n't do it. I let him die.</dialogue> <character>STEPHEN</character> <parenthetical>( stunned . )</parenthetical> <dialogue>. Jesus, you been carrying that around for twenty years? For christ's sake, you were seven years old! You think he could have heard you in there?</dialogue> <character>BRIAN</character> <dialogue>I hate him so much sometimes, Stephen. You do n't know how hard it was for me to put that uniform on.</dialogue> <character>STEPHEN</character> <dialogue>Maybe I do.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>. What a fuckin' mess, huh?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>People can change Brian.</dialogue> <character>BRIAN</character> <dialogue>Sometimes right when you're looking at them.</dialogue> <scene_description>Brian sees the chemicals in the corner again and something freezes up inside . Stephen catches the look and there 's horrible silence between them .</scene_description> <character>BRIAN</character> <dialogue>Oh God, Stephen, what's going on with you?</dialogue> <character>STEPHEN</character> <dialogue>I do n't know, Brian. I do n't know.</dialogue> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - NIGHT</stage_direction> <scene_description>Brian stands before the fire station . His brother 's and his .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - UPSTAIRS LOCKER ROOM</stage_direction> <scene_description>Brian PRIES the lock off Stephen 's locker . Starts looking through it . Adcox comes out of the shower with a towel on , starts shaving in a mirror . He does n't notice Brian . Adcox turns to head for his own locker and the towel slips a little . And Brian 's universe caves in . An icy claw tears out his stomach . Gulping breaths , he forces himself to look at Adcox 's back . On it is a small , rectangular burn . It 's fresh and it 's the size of a wall socket . At that moment Adcox turns . The two of them stare at one another just a beat , then Adcox walks past him . Just then the alarm bells RING . Brian hesitates a beat , confused , then turns and runs down to</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - APPARATUS FLOOR</stage_direction> <scene_description>Where firemen are scurrying around , suiting up . Brian looks frantically for Stephen , sees him out back .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - BACK OF STATION - SUNDOWN</stage_direction> <character>BRIAN</character> <parenthetical>( breathless . )</parenthetical> <dialogue>- Stephen, wait a minute. I got ta talk to you. It's Adcox, he's -</dialogue> <character>STEPHEN</character> <dialogue>- What are you doing here?</dialogue> <character>BRIAN</character> <dialogue>I saw Adcox's back! I saw the burn! I put it there! Jesus Christ, Stephen, he's been killing people!</dialogue> <character>STEPHEN</character> <dialogue>I know.</dialogue> <character>BRIAN</character> <dialogue>How do you know?</dialogue> <character>STEPHEN</character> <dialogue>I knew when you came looking for the chemicals. Looking for me.</dialogue> <character>BRIAN</character> <dialogue>- What were they doing there?</dialogue> <character>STEPHEN</character> <dialogue>They were for the fucking boat, Brian.</dialogue> <scene_description>Grindles sticks his head out the back door .</scene_description> <character>GRINDLE</character> <dialogue>We got ta roll, Stevie.</dialogue> <character>STEPHEN</character> <dialogue>I'll be there.</dialogue> <character>GRINDLE</character> <dialogue>They're waitin' man.</dialogue> <character>STEPHEN</character> <dialogue>I'll be there, goddamn it!</dialogue> <scene_description>Grindle goes back in .</scene_description> <character>STEPHEN</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Anything else?</dialogue> <character>BRIAN</character> <dialogue>What are we going to do about this?</dialogue> <character>STEPHEN</character> <dialogue>I'll handle it.</dialogue> <character>BRIAN</character> <dialogue>We got ta go to Rimgale, Stephen.</dialogue> <character>STEPHEN</character> <dialogue>I'm his Lt. He's my responsibility. I'll handle it. Me.</dialogue> <scene_description>Stephen turns and walks toward the station . Brian 's eyes go to a window just above it . There , watching him , watching the whole exchange between brothers , is Adcox . Adcox stares at Brian a beat , then finally disappears as Brian hears the cough of diesel engines .</scene_description> <character>BRIAN</character> <dialogue>Oh, Christ. Stephen.</dialogue> <scene_description>He starts running for the station .</scene_description> </scene> <scene> <stage_direction>INT./EXT. FIRE STATION 17 - NIGHT</stage_direction> <scene_description>- It 's too late . Adcox climbs aboard just as the engine company pulls out and whistles down the street . The ladder company is just easing onto the drive . Brian hesitates only an instant , then runs to the equipment racks , PULLS off the hooks his helmet , coat , boots - and jumps onto the truck as it takes off in pursuit .</scene_description> </scene> <scene> <stage_direction>INT./EXT. ENGINE COMPANY 17 - NIGHT</stage_direction> <scene_description>As it howls down the avenue , Stephen turns around and stares at Adcox sitting behind . The glimmer of an understanding .</scene_description> </scene> <scene> <stage_direction>INT./EXT. TRUCK COMPANY 46 - NIGHT</stage_direction> <scene_description>The laddermen look confused seeing Brian sitting among them . A CAR Suddenly CUTS the truck company off . The driver SLAMS the brakes , PUSHING the truck company into a HORRIBLE SKID . The back fishtails , the wheels JUMP the curb , BASH a mailbox , and then the whole rig ROLLS onto its side and DRAGS to a stop . It 's tangled confusion in the rear cab . Firemen , unhurt , piled atop one another . Brian slides his way out from under them and looks down the street where plumes of smoke rise six blocks away . He starts running .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE FIRE - NIGHT</stage_direction> <scene_description>Flames and smoke curl from a huge industrial warehouse along the river as Brian , panting , runs up . He searches frantically through the maze of arriving engine companies , looking for number 17 . There it is but nobody 's home . Brian stops a passing captain .</scene_description> <character>BRIAN</character> <dialogue>Where are they? Where's 17?</dialogue> <character>CAPTAIN</character> <dialogue>On the roof.</dialogue> <scene_description>Brian looks up at the smoke and whirling firestorm four stories above him , feels the bile of fear in his throat , the desperation , - And begins strapping on an air tank .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE - NIGHT</stage_direction> <scene_description>Brian , now fully suited up , climbs the endless rungs of an extended aerial ladder .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE ROOF - NIGHT</stage_direction> <scene_description>Tongues of flame ROCKET skyward through ragged holes . Black clouds drift murderously , roofing tars bubble and hiss as the roof itself GROANS like a comatose dinosaur , reminding you the whole thing could go any minute - and you with it . Trudging alone across this alien , spongy surface , Brian looks for his company . It 's almost impossible to tell anyone apart , faces hidden behind helmets and masks . Suddenly a cloud of smoke clears and there 's two firemen near the edge , `` 17 '' on their helmets .</scene_description> <character>BRIAN</character> <dialogue>Stephen -</dialogue> <scene_description>The helmets look up . Stephen and Adcox . Facing each other . Adcox cradles an axe .</scene_description> <character>STEPHEN</character> <dialogue>Brian?</dialogue> <scene_description>Brian starts to move beside Stephen but Adcox turns , tightens his grip on the axe , and now all the cards are on the table . A hissing black cloud drifts through . They 're the only three people on earth . Adcox 's eyes are clouded with tears .</scene_description> <character>AXE</character> <dialogue>Aw man, Stephen, listen to me.</dialogue> <character>STEPHEN</character> <dialogue>- What the fuck were you thinking, huh? Burning people? You're a fireman.</dialogue> <character>AXE</character> <dialogue>They were killing firemen, man. When Sally showed me what was in Swayzak's files. They were my friends, I had to do it. I had to do it for the department.</dialogue> <character>BRIAN</character> <dialogue>Did you do it for Tim?</dialogue> <character>AXE</character> <parenthetical>( pain , to Stephen . )</parenthetical> <dialogue>That was an accident! Jesus Christ, why did you have to go in there so fucking early? Why did n't you listen to me!</dialogue> <scene_description>Brian and Stephen are backed up against the roof edge - sixty feet up . Far below a fireboat has begun pumping a massive stream at the side of the building .</scene_description> <character>AXE</character> <dialogue>You got ta let me finish -</dialogue> <character>BRIAN</character> <dialogue>Just come down, John. Just -</dialogue> <character>AXE</character> <dialogue>- Shut up! Your dad would fucking puke if he saw how you've shit on his department!</dialogue> <character>STEPHEN</character> <dialogue>- Knock it off!</dialogue> <character>AXE</character> <parenthetical>( to Stephen . )</parenthetical> <dialogue>- You ca n't let him turn you against your friends, man -</dialogue> <character>BRIAN</character> <dialogue>- He killed people -</dialogue> <character>AXE</character> <dialogue>- You know what Swayzak would do to the department if this got out? -</dialogue> <character>BRIAN</character> <dialogue>- Stephen, this is bullshit -</dialogue> <character>AXE</character> <dialogue>- What he would do to your dad's department? You got ta let me finish it -</dialogue> <scene_description>And there 's a horrible glimmer of confusion on Stephen 's face .</scene_description> <character>BRIAN</character> <dialogue>You're his Lt., Stephen.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Are you gon na handle it? Are you Stephen?</dialogue> <character>STEPHEN</character> <dialogue>Shut up!</dialogue> <character>AXE</character> <dialogue>What do you want me to do, Stephen? Talk to me. What am I supposed to do?</dialogue> <character>STEPHEN</character> <parenthetical>( beat . )</parenthetical> <dialogue>There's a fire. We've got a job here. Let's get on with it.</dialogue> </scene> <scene> <stage_direction>EXT. WAREHOUSE - ACROSS THE ROOF - NIGHT</stage_direction> <scene_description>The rest of the crews are totally oblivious to what 's happening through the smoke on the other side . Grindle and Santos feel the roof go suddenly spongy beneath them .</scene_description> <character>GRINDLE</character> <dialogue>Shit. It's going! Clear the roof! Now!</dialogue> <scene_description>Everybody drops their equipment and runs for the edges as</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE ROOF - BRIAN ET. AL - NIGHT</stage_direction> <scene_description>Brian , Stephen and Adcox react as the roof HOWLS and GROANS and huge SPLITS begin racing along it . And then it goes . The center section DROPS , and in rolling waves of SCREECHING steel , the hole spreads outward ; DEVOURING . Adcox shoves them aside and runs for his life as the hole races for them , SWALLOWING roof .</scene_description> <character>STEPHEN</character> <dialogue>Jesus Christ Brian, run! Run goddamn it!</dialogue> <scene_description>And Brian balls - out dashes for the edge . Stephen 's made one corner , Brian desperately heads for another . At the last instant - as the HOWLING FLAME BELLOWS UP to his ankles - Brian LEAPS OFF the roof -</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE - FIRE ESCAPE - NIGHT</stage_direction> <scene_description>- And falls half a story before CRASHING onto an exterior fire escape . Flames have cut off the fire escape two floors below , so Brian climbs down as far as possible , crawls onto a ledge , KICKS out a window , steps through , And falls .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - ELEVATOR SHAFT - NIGHT</stage_direction> <scene_description>Blackness and emptiness , two stories of it , before he CRASHES into a pool of water at the bottom . He 's in a freight elevator shaft , thrashing madly , drowning . Great SHEETS of WATER are POURING through an upper doorway and CASCADING down like monsoon rain .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE - FIREBOAT</stage_direction> <scene_description>We see it 's coming from the fireboat 's rushing stream .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - ELEVATOR SHAFT</stage_direction> <scene_description>The weight of his equipment is pulling Brian underwater . Struggling against the insane swirls and the sheets of water still POURING DOWN , Brian unhooks his air tank . He leans back , tries to float on the rising column of water . - His coat catches on something - YANKS him underwater . He struggles feverishly - finally tears the coat off . The building GROANS in earnest . Flaming chunks of plaster CRASH down around Brian , forcing him to duck underwater . The place is coming apart . Ten feet above , one of the falling chunks SMACKS a gas main , SPLITTING then IGNITING it . A white - hot JET OF FLAME SHOOTS from one side of the shaft to the other . Brian 's floating okay , he 's floating right up into the flames . Brian tries to flatten himself out , to keep everything but his nose below water , but he 's still moving up - the heat becoming so intense his face flares and he 's ducking under water now , trying to stay alive , trying to decide whether to drown or burn - - When there 's a CRASH . And suddenly another door on the shaft is tearing open . There 's a glint of an axe . A flashlight . It 's Stephen . Brian has about two seconds left . In that time Stephen sees the shut - off for the gas line mounted on the wall opposite . It 's unreachable , a good twelve feet across a horizontal curtain of flame . Before we can even assimilate that , Stephen 's already jumped . A crazy leap over the fire . He SMACKS the opposite wall , HITS the shut - off , and FALLS CRASHING into the pool beside Brian .</scene_description> <character>STEPHEN</character> <dialogue>You crazy son of a bitch, why could n't you stay behind a desk where you belong?</dialogue> <character>BRIAN</character> <dialogue>`` You never know till the fire stares you down if you're gon na be -''</dialogue> <character>STEPHEN</character> <dialogue>Oh shut up, huh?</dialogue> <parenthetical>( grimaces . )</parenthetical> <dialogue>I think I broke my goddamn arm.</dialogue> <scene_description>Brian helps him stay above water . The level continues to rise , bringing them finally even with an open doorway they scramble through .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - STAIRWAY - NIGHT</stage_direction> <scene_description>It leads to a stairwell that 's become a RAGING TORRENT of water spilling down it . No way . They push through to the next doorway and out onto</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <scene_description>The place is full of hundreds of chemical drums . The fire has cracked its way into the room as WUMP - drums begin EXPLODING , SHOOTING UPWARD Roman candle fountains of glittering FLAME . Brian helps Stephen as they snake their way past sweating drums - pressure valves hissing madly with desperation . They duck low , round a corner ,</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - CATWALK - NIGHT</stage_direction> <scene_description>- And walk right into an axe handle that SMACKS Brian 's throat KNOCKING him gasping flat on his back . It 's Adcox . Stephen JUMPS Adcox and TACKLES him on the edge of a metal platform that extends out from the raised flooring .</scene_description> <character>STEPHEN</character> <dialogue>You stupid son of a bitch! What the fuck are you doing!</dialogue> <character>AXE</character> <dialogue>Stevie. I.</dialogue> <scene_description>Adcox struggles against him , heaving and sobbing .</scene_description> <character>STEPHEN</character> <dialogue>Let it go! Goddamn it let it go!</dialogue> <scene_description>And Adcox releases the axe .</scene_description> <character>AXE</character> <dialogue>I'm sorry. I'm so sorry.</dialogue> <scene_description>Brian 's on his feet now , coming toward them , when a chemical drum below EXPLODES , the shock wave BUCKLING the platform and DROPPING it several feet before it HOLDS . Brian , cut - off , is HIT with a wall of debris . Adcox and Stephen are FLUNG across the platform and THROUGH the shattered railing . Stephen grabs a piece of broken , dangling strut and hangs on with one hand . In his other hand is Adcox . Hanging below him , his grip loosening .</scene_description> <character>BRIAN</character> <dialogue>Stephen!</dialogue> <scene_description>Brian 's struggling to get out from under the debris . The railing Stephen 's hanging onto is slick , his hand SLIPPING along it . But he wo n't let go of Adcox . His eyes bore into his best friend 's with absolute conviction .</scene_description> <character>STEPHEN</character> <dialogue>You go, we go.</dialogue> <scene_description>The towering shots of FLAME from below have begun to IGNITE Adcox 's pant leg . He 's starting to burn . But Stephen wo n't let go . Wo n't let go even as the flames crawl up Adcox 's back . And Stephen 's hand is slipping and slipping and then it is n't slipping anymore because it 's come off .</scene_description> <character>BRIAN</character> <dialogue>NO!</dialogue> <scene_description>Adcox and Stephen FALL . There 's a narrow catwalk half - way down . Stephen HITS with a sickening CRUNCH . Adcox falls past it , down into the flames . There 's an exposed I - beam running from the ruined platform out over the catwalk . Brian climbs up onto it , balances across over the fire below and jumps down to the catwalk where his brother lies , battered but still alive .</scene_description> <character>BRIAN</character> <dialogue>You're gon na be all right, man.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - FLOOR - NIGHT</stage_direction> <scene_description>Brian looks down and across the factory floor . There , coming through the doorway , is Pengelly and Nightengale with a hoseline .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <character>BRIAN</character> <dialogue>Hey! Over here!</dialogue> <scene_description>They start for him when another drum EXPLODES , FLATTENING them and launching their hoseline into a crazy , thrashing arc . The flame has cut them off from the hose . Stephen sees what Brian 's thinking .</scene_description> <character>STEPHEN</character> <dialogue>Wait for another hose team.</dialogue> <scene_description>But Brian 's already moving for the catwalk ladder .</scene_description> <character>STEPHEN</character> <dialogue>Wait for the goddamn hose team!</dialogue> <scene_description>Brian puts his feet on the outside rungs of the ladder and SLIDES down to the factory floor . He 's heading for the hoseline when WHAM ! - The fire cuts him off . Not just any fire . That same one from so many years ago . Do n't fuck with me , kid . I 'm not in the mood . Nightengale 's lost his helmet and it 's lying near the flames spinning slowly upside down - just like his father 's . Brian stands there , paralyzed , as the fire laughs at him . Same old little kid with his finger up his ass . Then something different comes into Brian 's eyes .</scene_description> <character>BRIAN</character> <dialogue>No. No more.</dialogue> <scene_description>There 's a pathetic little wall extinguisher mounted on the pole . Brian lifts it , approaches the fire . You can practically hear the flames laugh at him . Brian suddenly turns and SLAMS the neck of the extinguisher against the pole , BREAKING it off before HEAVING the cannister HISSING into the flames where it EXPLODES - a cloud of extinguisher powder that STUNS the flames just long enough for Brian to dash through and TACKLE the hose . The fire shakes off the powder , rises up to kill - Just as Brian spins and HITS it with the STREAM . - And it 's like a howling train wreck as the two grapple with each other - Pengelly and Nightengale have an opening , and they 're dashing for the catwalk ladder up to Stephen because the fire does n't care - it only has eyes for Brian now - - And Stephen sees Brian tackle the monster , and his eyes fill with tears - - And the fire 's pushing Brian - pushing him with the fury of a frightened street bully - but Brian wo n't give - and now the fire 's back 's broken - it 's whimpering , dying . And Pengelly and Nightengale have climbed up to Stephen now , pulling him away .</scene_description> <character>STEPHEN</character> <dialogue>That's my brother! That's my brother goddamn it!</dialogue> <scene_description>And the fire 's just a little gremlin now , sighing sadly as Brian steps up with the hoseline .</scene_description> <character>BRIAN</character> <dialogue>Another time, friend.</dialogue> <scene_description>And whoosh , it 's gone .</scene_description> </scene> <scene> <stage_direction>EXT. BURNED BUILDING - NIGHT</stage_direction> <scene_description>Brian rushes up as paramedics load his brother into an ambulance .</scene_description> <character>STEPHEN</character> <parenthetical>( smiles , weak . )</parenthetical> <dialogue>You are such a pain in the ass.</dialogue> <scene_description>As Brian jumps in with him</scene_description> </scene> <scene> <stage_direction>INT. AMBULANCE - NIGHT</stage_direction> <scene_description>Paramedics swarm over Stephen as the ambulance screams through the night . Brian 's right there , holding his hand .</scene_description> <character>STEPHEN</character> <dialogue>Do n't tell them about Adcox. Do n't let'em.</dialogue> <character>BRIAN</character> <dialogue>I'm sorry. I'm sorry I thought. I wo n't.</dialogue> <scene_description>His brother squeezes Brian 's hand , his eyes never leaving him .</scene_description> <character>PARAMEDIC</character> <parenthetical>( reading EKG . )</parenthetical> <dialogue>Oh shit, give him some lidocaine, now. Now.</dialogue> <character>STEPHEN</character> <parenthetical>( beat . )</parenthetical> <dialogue>Who's your brother?</dialogue> <scene_description>Stephen 's EKG 's begun to falter . The other paramedic fires off an injection into his IV .</scene_description> <character>PARAMEDIC</character> <dialogue>His pressure's fading - push some adrenalin.</dialogue> <scene_description>The EKG 's become erratic . Stephen 's eyes never leave Brian 's .</scene_description> <character>BRIAN</character> <dialogue>Oh man, do n't you die. Do n't you die.</dialogue> <character>PARAMEDIC #2</character> <dialogue>He's going south. He's gon na box damn it.</dialogue> <scene_description>They put an ambo bag over Stephen 's face . The eyes never leave Brian 's .</scene_description> <character>BRIAN</character> <dialogue>Goddamn it do n't you die now. Not now!</dialogue> <scene_description>They 're breathing for him now . The EKG begins shrieking .</scene_description> <character>PARAMEDIC</character> <dialogue>V - fib!</dialogue> <scene_description>The paramedics begin scrambling to load the defibrillator pads on Stephen 's chest . But the fireman 's eyes never waver from Brian . They look into his with complete conviction , complete acceptance , And then they do n't . Then , FADE UP TO :</scene_description> </scene> <scene> <stage_direction>EXT. MICHIGAN AVE - DAWN</stage_direction> <scene_description>A silent , quiet street absolutely empty of traffic . Then over the crest of Chicago 's mightiest thoroughfare , creeps slowly a fire engine . It 's emergency lights are on but not the siren . This engine is n't in a hurry today . Behind comes another fire engine . And another . Ten , twenty , all of them creeping slowly along . And behind the engines now walk firemen in their dress blues . Hundreds of them . Walking silently in step behind TWO COFFINS Loaded in the rear of Engine 17 . Santos drives as Grindle , Brian , and the men of ladder company 46 , walk behind . The silent procession passes under extended aerial ladders crossed like dress swords . Average people stop , take their hats off .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE SHORE DRIVE - THE SILENT PROCESSION</stage_direction> <scene_description>Sequence omitted from original script .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Two coffins , lying side by side , draped in the blue and white of the Chicago flag . A single fire helmet rests atop each casket . Brian stands at attention beside Helen . He holds the hand of Stephen 's son Sean , his eyes clouded with tears as a fire dept. honor guard plays Taps . Jennifer 's there , too far away to touch . Rimgale , still wearing a head bandage , stands stiffly beside a brass bell and speaks with a voice raw and weary .</scene_description> <character>SHADOW</character> <dialogue>In the Chicago Fire Department the alarm code 3 - 3 - 5 signifies that the company has returned home to quarters. We will now ring out that code to welcome home John Adcox and Stephen McCaffrey.</dialogue> <scene_description>With a small hammer Rimgale rings out 3 - 3 - 5 on the bell . The honor guard folds the flag covering Stephen 's casket and hands it to Helen , who holds it to her breast as we</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>A sea of blue uniforms drifting across green as the funeral breaks up . Brian hugs Helen and Sean . Lets them go .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY EDGE - DAY</stage_direction> <scene_description>Rimgale 's there , resting against his dept. sedan as Brian walks by , pauses , and leans on it beside him . A beat .</scene_description> <character>SHADOW</character> <dialogue>Your brother was a good man.</dialogue> <character>BRIAN</character> <dialogue>Yeah.</dialogue> <character>SHADOW</character> <dialogue>Another couple of good men get burned up for their city? Is that how it's going to read?</dialogue> <parenthetical>( Brian does n't answer . )</parenthetical> <dialogue>You're the only one that knows.</dialogue> <character>BRIAN</character> <dialogue>Like it never happened.</dialogue> <scene_description>Rimgale turns to walk back to his sedan . He pauses . Looks back to Brian .</scene_description> <character>SHADOW</character> <dialogue>Want to help me with something?</dialogue> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>An elevator opens as Brian and Rimgale walk quickly out , down a hall , and BURST into Swayzak 's office .</scene_description> </scene> <scene> <stage_direction>INT. SWAYZAK'S OFFICE - DAY</stage_direction> <scene_description>The Alderman 's there , giving a press conference from his desk .</scene_description> <character>SHADOW</character> <dialogue>Mr. Swayzak! How ya doin'?</dialogue> <character>SWAYZAK</character> <parenthetical>( confused . )</parenthetical> <dialogue>Investigator.</dialogue> <scene_description>Rimgale sits on Swayzak 's desk .</scene_description> <character>SWAYZAK</character> <dialogue>I'm a little busy right now -</dialogue> <character>SHADOW</character> <dialogue>This'll only take a minute. There's two cops outside that want to ask you about this -</dialogue> <scene_description>Rimgale drops the manning report on Swayzak 's desk .</scene_description> <character>SHADOW</character> <dialogue>This is just a guess of course, but I think they're gon na want to know why you secretly paid Donald Cosgrove, Jeffrey Holcomb and Alan Seagrave to create a phony manpower study.</dialogue> <parenthetical>( to cameras . )</parenthetical> <dialogue>You guys'll wait, right?</dialogue> <scene_description>The room explodes with questions . Through the din Brian leans over the desk very close to Swayzak .</scene_description> <character>BRIAN</character> <dialogue>See that glow flashing in the corner of your eye? That's your career dissipation light. And it just went into high gear.</dialogue> <scene_description>Brian turns and pushes his way out . At the door he pauses and looks back at Rimgale . The investigator nods and smiles just a little .</scene_description> </scene> <scene> <stage_direction>INT. SWAYZAK'S OFFICE CORRIDOR</stage_direction> <scene_description>As Brian walks down it , Rimgale appears and calls to him .</scene_description> <character>SHADOW</character> <dialogue>- Brian.</dialogue> <scene_description>Brian hesitates .</scene_description> <character>SHADOW</character> <dialogue>Do n't keep looking over your shoulder for the ghost. It's gone now.</dialogue> <scene_description>And there 's just a beat between the investigator and his probie before Brian nods and walks away .</scene_description> </scene> <scene> <stage_direction>EXT. SWAYZAK OFFICE CORRIDOR</stage_direction> <scene_description>Brian walks down the hall . He passes Jennifer 's small office . She 's in there , surrounded by packing boxes .</scene_description> <character>BRIAN</character> <dialogue>I think your boss is going to need some spin control.</dialogue> <character>JENNIFER</character> <dialogue>I quit two days ago, Brian.</dialogue> <character>BRIAN</character> <parenthetical>( beat . )</parenthetical> <dialogue>What'll you do?</dialogue> <character>JENNIFER</character> <dialogue>I do n't have the slightest idea.</dialogue> <character>BRIAN</character> <dialogue>I'll see ya around, huh?</dialogue> <character>JENNIFER</character> <dialogue>It's a small town.</dialogue> </scene> <scene> <stage_direction>EXT. FIRE STATION 17 - CITY</stage_direction> <scene_description>And morning breaking across the avenues and up against the tired brick of firehouse 17 .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - LOCKER ROOM</stage_direction> <scene_description>Brian sits staring into his locker , lost in thought , his equipment stacked up on the bench beside him . THE ALARM KLAXON SOUNDS</scene_description> </scene> <scene> <stage_direction>INT. FIRE STATION 17 - APPARATUS FLOOR</stage_direction> <scene_description>And firemen scurrying to their equipment on the apparatus floor . They 're climbing aboard their rigs now and the pumper 's diesel is coughing to life . At the last moment , as it begins to pull out , Brian comes sliding down the pole in his turn - out gear , bounces off the floor , and climbs aboard as the engine WHISTLES away .</scene_description> </scene> <scene> <stage_direction>INT. ENGINE 17 - CAB</stage_direction> <scene_description>There 's a new fireman beside him on the bench . He ca n't get his coat buckled right . Brian leans over does it for him .</scene_description> <character>BRIAN</character> <dialogue>You're doing it wrong.</dialogue> </scene> <scene> <stage_direction>EXT. FIRE ENGINE 17 - STREET - DAY</stage_direction> <scene_description>And the fire engine slips away from us , down the avenue , into the city as we FADE TO BLACK THE END</scene_description> </scene> </script>

Two firefighters of Engine 17 of the Chicago Fire Department are brothers. Lt. Stephen "Bull" McCaffrey, the elder, is experienced, while Brian has labored under his brother's shadow his entire life. Brian returns to firefighting after a number of other careers falter, though Stephen has doubts that Brian is fit to be a firefighter. In 1971, Brian witnessed the death of their firefighting father, Captain Dennis McCaffrey, while accompanying him on a call. The longest-serving of all the men at Engine 17, John "Axe" Adcox, served under the McCaffreys' father, and was like an uncle to the boys when their father died. Adcox grows concerned about Stephen's unorthodox methods and disregard for safety procedures, as does Stephen's wife Helen, separating from Stephen to protect herself and their son Sean. Fire Department Captain Donald "Shadow" Rimgale, a dedicated arson investigator and veteran firefighter, is called in because a number of recent explosive fires resemble those set by pyromaniac Ronald Bartel, who has been imprisoned for years. Brian is reassigned as his assistant after a falling out with Stephen. Rimgale manipulates Ronald's obsession with fire to ensure his annual parole application is rejected. It is revealed during an investigation that Chicago City Council alderman Swayzak, who has supported fire department budget cuts, was paid off by contractors to shut down firehouses so they could be converted into community centers, with the contractors receiving contracts for the construction. Brian also rekindles a relationship with Jennifer Vaitkus, an aide to Swayzak. When Engine 17 answers a call in a high-rise, Stephen urges them to move in quickly, despite Adcox's advice to wait for back-up. Brian's friend and fellow trainee, Tim Krizminski, opens a door, creating a backdraft. His face is burned beyond recognition, and he barely survives. Adcox and Brian both blame Stephen for what happened. Rimgale and Brian go to Swayzak's home to confront him after learning of his connection to the three backdraft victims Alan Seagrave, Donald Cosgrove and Jeffery Holcomb, interrupting a masked man about to set the place on fire. The latter attacks them with a flashlight but is burned on his shoulder by an electrical socket. Rimgale saves Brian and Swayzak from the house but is injured in an explosion. In his hospital bed, Rimgale tells Brian to visit Ronald again, who helps Brian realize that only a firefighter would be so careful as to not let backdraft fires rage out of control. Brian suspects Stephen but spots a burn in the shape of an electrical socket on Adcox's back, revealing his suspicions to his brother just before an alarm. When Brian realizes Adcox has heard their exchange, he jumps aboard Truck 46 after borrowing some turnout gear. Stephen confronts Adcox about the backdrafts during a multiple-alarm fire at a chemical plant. Adcox admits that he set the fires to kill Swayzak's associates, because Swayzak was benefiting from the deaths of firefighters and closing down firehouses. When an explosion destroys the catwalk they are on, Stephen grabs Adcox's hand while hanging on to the remains of the catwalk. Stephen refuses Adcox's advice to let go of him. Stephen loses his grip on the catwalk, and Adcox is killed when they fall. Stephen dies with Brian by his side on the way to the hospital, his final request being that Brian not reveal that Adcox was the perpetrator so as not to hurt the fire department's reputation. After Stephen and Adcox's funeral, Brian and Rimgale, with the help of the police, interrupt Swayzak at a press conference. Rimgale questions Swayzak on a fake manpower study that led to the deaths of several firemen, including Stephen and Adcox. They also state that Swayzak engineered the downsizing of the Chicago Fire Department, destroying Swayzak's mayoral ambitions. Brian continues as a firefighter despite the loss of his father and brother. The film ends as Brian helps a rookie firefighter with his turnout gear as the department responds to a call.

Maleficent_2014

tt1587310

<script> <scene> <scene_description>Maleficent Written by Linda Woolverton Based on Disney's Sleeping Beauty Current Revisions by Paul Dini and Robert Stromberg</scene_description> <character>REVISED DRAFT</character> <dialogue>January 23, 2012</dialogue> <scene_description>" The only thing necessary for the triumph of evil is for good men to do nothing " - Edmund Burke</scene_description> </scene> <scene> <stage_direction>EXT. THE SCOTTISH HIGHLANDS - DAY</stage_direction> <scene_description>We are flying above the moors of northern Scotland following the rugged, rolling terrain at bird-height. ANGLE ON WINGS Our shining BLACK WINGS rise and fall lazily as we ride the \* strong air currents. We drop down a steep stole and level \* out to skim the blue water of an expansive loch below. We \* wing our way above farmlands beyond. \*</scene_description> </scene> <scene> <stage_direction>EXT. A FARM - DAY</stage_direction> <scene_description>We pass above a FARM WOMAN below. She pours MILK from a jug onto a large STONE.</scene_description> <character>FARM WOMAN</character> <dialogue>For the Fair Folk.</dialogue> <scene_description>We approach another farm house.</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE OF A SHEPHERD - DAY</stage_direction> <scene_description>Two collies lay outside the house. They leap up as the SHEPHERD comes out with his YOUNG SON and WIFE. The Shepherd \* and his boy walk toward the paddock. But they stop, dismayed to see that the paddock gate is wide open. The sheep are scattered across the wide field.</scene_description> <character>SHEPHERD</character> <dialogue>The Pixies have been at it again!</dialogue> <scene_description>He WHISTLES. The dogs race across the field to round up the sheep. The boy runs to help. His wife goes back inside and returns with a heavy iron pan. She mutters an old adage as she positions the pan above the door.</scene_description> <character>SHEPHERD'S WIFE</character> <dialogue>"Iron pot above the door. Protect our home from dark ones of the moor."</dialogue> <character>ON THE SHEPHERD AND SON</character> <dialogue>They herd the sheep down the road.</dialogue> <dialogue>Ahead, it crosses a thin line of DARK GRASS which runs through the lighter grass of the field.</dialogue> <character>SHEPHERD</character> <dialogue>Hold up!</dialogue> <scene_description>He takes off one of his work GLOVES and tosses it onto the road in the spot where it meets the line of dark grass.</scene_description> <character>SHEPHERD</character> <dialogue>Drop a glove before you cross a faerie path. They don't like it if we don't show respect.</dialogue> <scene_description>He whistles to the dogs. They nip at the sheep who trample the GLOVE as they run. The boy picks it up and runs to catch up.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - FROM ABOVE - ON THE WING</stage_direction> <scene_description>WE TURN and follow the FAERIE PATH which leads into wilder MOORS with peat bogs, heath meadows, thin forests, streams and misty mountains in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. A BLACKTHORN TREE - DAY</stage_direction> <scene_description>WE alight on the branch of a Blackthorn tree and TRAVEL down to reveal that WE are not a winged bird... ...but a WINGED GIRL. \* MALEFICENT is lean, all angles, with high cheekbones, a sharp chin and pointed ears. She looks about 15. She struggles with her LARGE WINGS like wild, unruly hair before she gets them to fold behind her.</scene_description> <character>ON THE MOORLANDS - MALEFICENT'S POV</character> <dialogue>The natural sounds of the MOORS drift up to her. The sounds gradually become discernible as VOICES: talking, laughing, complaining, threatening, whining.</dialogue> <character>THE BLACKTHORN TREE - ON MALEFICENT</character> <dialogue>She takes a few BLACK NUTS from the tree and CRUNCHES them, shell and all. GUTTERAL GRUNTING sounds from below draw her gaze.</dialogue> <character>ON THE PEAT BOG - HER POV</character> <dialogue>MUD-COVERED CREATURES with round bodies and spindly arms and legs move about in the bog. As they grunt and slobber, mud drips from their mouths which sustains and thickens the bog.</dialogue> <character>THE BLACKTHORN TREE - ON MALEFICENT</character> <dialogue>Several WINGLESS, WIZENED BALD ELVISH MEN burst from the branches, slapping her hands away from their nuts. \* She makes an ugly face back at them. She grabs more nuts and \* flies off following a ROCKY STREAM.</dialogue> </scene> <scene> <stage_direction>EXT. A POND - DAY</stage_direction> <scene_description>Maleficent lands on the bank and sits on a rock to finish her stolen black nuts. Pretty, female WATER FAERIES admire their reflections. Their LONG GREEN HAIR is made of silky trailing weeds. Nearby, shy, timid MOSS PEOPLE with large eyes lurk in the \* dark wood foliage. As they run their hands over the dried \* dead moss, it turns GREEN once again. \* A LONG GREEN ARM emerges from the water and reaches out toward Maleficent's bare ankle. She looks down just as the GREEN HAND grabs her ankle and jerks her off the rock. A MALEVOLENT WATER WOMAN, with knotted weeds and pebbles for hair, pulls her toward the pond.</scene_description> <character>MALEFICENT</character> <dialogue>Let go!</dialogue> <scene_description>Maleficent kicks her away and flies off. The GREEN WOMAN slips back into the water. Maleficent flies toward a copse of tall trees ahead.</scene_description> </scene> <scene> <stage_direction>EXT. A ROWAN TREE - DAY</stage_direction> <scene_description>She lights in the branches of a tree to eat her black nuts in peace. Loud, giggling LAUGHTER draws her attention.</scene_description> </scene> <scene> <stage_direction>EXT. A MEADOW - DAY</stage_direction> <scene_description>Three FLOWER PIXIES play hide-and-seek in the meadow. KNOTGRASS, THISTLEWIT and FLITTLE are small, lithe, flighty girls with pointed ears, noses and tiny transparent wings. FLITTLE wears all blue. She's plagued with ever-present butterflies that fly around her head. THISTLEWIT has a tiny round head with tufts of wispy hair that splay outward around her face like a dandelion. KNOTGRASS wears green and brown. Her short dark hair sticks upright or falls down into her eyes. Color flows from the Pixies fingertips making the petals brighter, the grass greener or sagging flowers revive. They hear BELLS in the sky and rise into the air.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROWAN TREE - DAY</stage_direction> <scene_description>The Pixies fly past Maleficent in the tree.</scene_description> <character>FLITTLE</character> <dialogue>The King and Queen are coming!</dialogue> <scene_description>They flit away. Maleficent rolls her eyes.</scene_description> <character>MALEFICENT</character> <dialogue>Gnats.</dialogue> </scene> <scene> <stage_direction>EXT. THE SKY - THE FAERIE PROCESSION</stage_direction> <scene_description>The sky is crowded with winged faeries. The beautiful QUEEN ULLA and her husband, KING KINLOCH lead the procession which is lit by the wavering lights of WILL O' THE WISP. ON THE MOORS - FROM ABOVE Below, wingless FAERIES emerge: Small ELVISH MEN with feet of crows and tiny eyes. Creatures with the bodies of small HORSES and the heads of HUMANS. Web-footed SPRITES with huge sharp teeth and pointed ears. WILD ELVISH WOMEN lurking at the base of Trees.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE FLIGHT - EVENING</stage_direction> <scene_description>Maleficent flies up to join the procession. She soars up to a higher altitude above the Royals. Queen Ulla glares up at her. The PIXIES fly up beneath Maleficent.</scene_description> <character>KNOTGRASS</character> <dialogue>Come down!</dialogue> <character>THISTLEWIT</character> <dialogue>You're not allowed to fly above the Queen!</dialogue> <scene_description>This only makes Maleficent fly even higher.</scene_description> <character>ON MALEFICENT</character> <dialogue>She soars high up, bursting through the clouds.</dialogue> <dialogue>Then she folds her wings and plummets straight down again, through the crowded procession. Faeries flutter out of her way. She falls almost to the ground before her wings open and she soars up again.</dialogue> <dialogue>King Kinloch and Queen Ulla are not pleased.</dialogue> <character>KINLOCH</character> <dialogue>We have to do something about her.</dialogue> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - EVENING</stage_direction> <scene_description>The procession approaches a large grassy HILLOCK. The King and Queen land on the mound followed by the others. The Faeries are all the size of SMALL HUMANS with delicate, pointed ears and tiny refined features. Ulla steps onto A LOW FLAT STONE which leads to her throne like a stepping stone. As she steps up on it, the STONE, emits a CONTENTED PURR. The King sits on his throne next to hers. A back-wind stirs the air briskly as Maleficent lands on the mound among the faeries. She stands head and shoulders above them. Her WINGS loom above her head. She seems like a large, untamed BAT among finches.</scene_description> <character>KINLOCH</character> <dialogue>Fold your wings.</dialogue> <scene_description>The Faeries fold their tiny wings. Maleficent has trouble getting hers to obey. The three Pixies smirk and giggle.</scene_description> <character>ULLA</character> <dialogue>Maleficent!</dialogue> <character>MALEFICENT</character> <dialogue>Yes, your majesty.</dialogue> <character>ULLA</character> <dialogue>Step forward.</dialogue> <scene_description>Maleficent tries to take a step, but one wing is caught under the foot of another faerie. She tugs it out and steps forward. She hunches uncomfortably as all eyes turn on her.</scene_description> <character>ULLA</character> <dialogue>No one flies above me.</dialogue> <character>MALEFICENT</character> <dialogue>Yes, your majesty.</dialogue> <scene_description>Knotgrass whispers to the other Pixies.</scene_description> <character>KNOTGRASS</character> <dialogue>It's those wings. She can't control them.</dialogue> <scene_description>One of Maleficent's wings lashes out and knocks Flittle down.</scene_description> <character>ULLA</character> <dialogue>Maleficent!</dialogue> <scene_description>She grabs it and pulls it in closely.</scene_description> <character>ULLA</character> <dialogue>Control your wings. Or you will be \* punished. Step back, Maleficent. \*</dialogue> <scene_description>Maleficent steps back. The others give her a wide berth.</scene_description> <character>ULLA</character> <dialogue>The King and I have just returned from a visit with the human King Henry. Like all humans, he's easily impressed.</dialogue> <character>KINLOCH</character> <dialogue>All we had to do was show him a little magic, and he showered us with gifts.</dialogue> <scene_description>Serving faeries fly in with trays of human-made cakes, milk, wine, etc. The faeries partake eagerly.</scene_description> <character>ULLA</character> <dialogue>It's the beginning of a beautiful friendship.</dialogue> <scene_description>Ulla frowns to see a WINGLESS BOY about Maleficent's age in the crowd.</scene_description> <character>ULLA</character> <dialogue>What is he doing here?</dialogue> <scene_description>Kinloch is embarrassed to see him. STEFAN is the illegitimate son of King Kinloch and a human woman.</scene_description> <character>KINLOCH</character> <dialogue>I'm sorry, my love.</dialogue> <scene_description>(to the Boy) \* Leave the Queen's circle, boy. The boy doesn't move.</scene_description> <character>STEFAN</character> <dialogue>No, sir.</dialogue> <character>KINLOCH</character> <dialogue>Leave the circle!</dialogue> <character>STEFAN</character> <dialogue>I have a right to be here.</dialogue> <character>ULLA</character> <dialogue>You have no rights at all, halfling. You have no magic. You have no wings...</dialogue> <character>MALEFICENT</character> <dialogue>But he's the King's son.</dialogue> <scene_description>Ulla gasps. The faeries go silent. Kinloch chokes out the words.</scene_description> <character>KINLOCH</character> <dialogue>I...have no sons.</dialogue> <character>MALEFICENT</character> <dialogue>You don't have to pretend. It's no secret. Everyone knows that...</dialogue> <character>ULLA</character> <dialogue>Maleficent!</dialogue> <scene_description>Ulla's mortified at the public humiliation. She fixes Maleficent in a smoldering furious glare. The three Pixies draw away to be out of the line of fire.</scene_description> <character>ULLA</character> <dialogue>Ever since that tragic night that you were born, I have tried to find the good in you. I have tried for my sister's sake.</dialogue> <scene_description>She breaks down briefly. The King touches her hand.</scene_description> <character>ULLA</character> <dialogue>But I have failed because there is no good in you. You're a devilish thing! You were born that way.</dialogue> <scene_description>She abruptly waves her hand at Maleficent. She's STRUCK by VIOLENT MAGIC which knocks her to her knees.</scene_description> <character>ULLA</character> <dialogue>You will wear these for a hundred years so all can see your true nature.</dialogue> <scene_description>The magic dissipates to reveal a pair of large black HORNS embedded in the top of Maleficent's head. The faeries draw back in shock. Maleficent slowly reaches up to feel them. Horror crosses her face.</scene_description> <character>MALEFICENT</character> <dialogue>No!</dialogue> <scene_description>She tries to pull them off. The faeries shock gives way to smiles and smirks. Maleficent pulls and strains. But the horns are firmly embedded. The Pixies laugh. Flittle laughs so hard, she sucks in one of her ever-present butterflies and chokes. Maleficent locks eyes with Stefan briefly. He looks horrified and guilty. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - LATER</stage_direction> <scene_description>Maleficent walks through a shaded grove. Her head is bowed from the weight of the horns. She approaches a pond with WATER FAERIES. Frightened by the sight of her, they dive quickly into the water. She continues on. Two small HUMAN-HEADED HORSES run off when they see her coming. She shrugs it off and continues on. Stefan appears out of the shadows.</scene_description> <character>STEFAN</character> <dialogue>Maleficent ? \*</dialogue> <scene_description>She abruptly turns and goes the other way. He runs around to stand in front of her.</scene_description> <character>MALEFICENT</character> <dialogue>Go away.</dialogue> <character>STEFAN</character> <dialogue>I want to talk to you.</dialogue> <character>MALEFICENT</character> <dialogue>I don't want to talk to you!</dialogue> <scene_description>One of her wings lashes out and knocks him to the ground. He looks up at her.</scene_description> <character>STEFAN</character> <dialogue>I just wanted to thank you for standing up for me.</dialogue> <character>MALEFICENT</character> <dialogue>A lot of good it did me!</dialogue> <scene_description>She sits down on a rock. He gets up and sits next to her.</scene_description> <character>STEFAN</character> <dialogue>I'm sorry about the...</dialogue> <scene_description>He indicates the horns.</scene_description> <character>STEFAN</character> <dialogue>Queen Ulla is a tyrant.</dialogue> <character>MALEFICENT \*</character> <dialogue>I know... \*</dialogue> <scene_description>They sit in silence for a moment.</scene_description> <character>STEFAN</character> <dialogue>I like your wings.</dialogue> <character>MALEFICENT</character> <dialogue>You do?</dialogue> <character>STEFAN</character> <dialogue>I wish I had some.</dialogue> <character>MALEFICENT</character> <dialogue>I don't blame you.</dialogue> <scene_description>She holds a wing out for him to touch. He hesitates.</scene_description> <character>MALEFICENT</character> <dialogue>They don't bite.</dialogue> <scene_description>He strokes the soft feathers.</scene_description> </scene> <scene> <stage_direction>EXT. A MEADOW - DAY</stage_direction> <scene_description>The Pixies gambol in the meadow. Bees and hummingbirds flit from flower to flower. Thistlewit spins around. Wisps of her hair fly off like dandelion seeds. Knotgrass runs through the meadow trailing her hand in the low grass. The grass grows tall in her wake. Flittle and Thistlewit study a blue flower.</scene_description> <character>THISTLEWIT</character> <dialogue>What color will you make the blue-bells this year?</dialogue> <scene_description>Flittle just looks at her. ANOTHER PART OF THE MEADOW Maleficent walks with Stefan. Her wings drag on the ground. They flap with irritation which causes her to fly up. Stefan grabs her.</scene_description> <character>STEFAN</character> <dialogue>You're drifting.</dialogue> <scene_description>He pulls her down to the ground.</scene_description> <character>MALEFICENT</character> <dialogue>They're not happy when we walk.</dialogue> <scene_description>The Pixies see them approaching.</scene_description> <character>FLITTLE</character> <dialogue>Maleficent. Those horns are perfect on you.</dialogue> <scene_description>Knotgrass steps on Maleficent's trailing wing. She stumbles forward.</scene_description> <character>STEFAN</character> <dialogue>Leave her alone.</dialogue> <character>FLITTLE</character> <dialogue>Go live with humans, halfling.</dialogue> <scene_description>Maleficent whirls around angrily. Her wings arch above her head.</scene_description> <character>MALEFICENT</character> <dialogue>I'm a halfling too! Call me a halfling. Go ahead!</dialogue> <scene_description>They shrink back from her. She grabs Stefan.</scene_description> <character>MALEFICENT</character> <dialogue>Never mind them.</dialogue> <scene_description>They keep walking.</scene_description> <character>KNOTGRASS (O.S)</character> <dialogue>You killed your mother.</dialogue> <scene_description>Maleficent stops, stricken by the words. She looks up. The Pixies hover overhead. They drop rocks and mud down on them. Maleficent uses her wings to protect Stefan.</scene_description> <character>MALEFICENT</character> <dialogue>Stay here.</dialogue> <scene_description>She opens her wings. The Pixies scream and fly away. Maleficent goes after them.</scene_description> </scene> <scene> <stage_direction>EXT. THE SKY - DAY</stage_direction> <scene_description>Maleficent chases the Pixies like a hawk after sparrows. They scream.</scene_description> </scene> <scene> <stage_direction>EXT. A POND - DAY</stage_direction> <scene_description>Queen Ulla and the King sit on the bank. Water Faeries perform aquatic acrobatics for them. They eat cake and drink milk from flower teacups. The three Pixies fly toward them, screaming, with Maleficent right behind them. The Pixies hide behind the King and Queen. But Maleficent keeps coming in a fury.</scene_description> <character>ULLA</character> <dialogue>Stop right there!</dialogue> <scene_description>Ulla throws MAGIC at her. Maleficent's wings buckle and she falls. She hits the ground hard.</scene_description> <character>ULLA</character> <dialogue>You see how devilish you are? I blame your father.</dialogue> <character>KNOTGRASS</character> <dialogue>She deserves to wear the horns.</dialogue> <character>ULLA</character> <dialogue>Yes, she does.</dialogue> <parenthetical>(to Maleficent)</parenthetical> <dialogue>Admit you deserve them.</dialogue> <character>MALEFICENT</character> <dialogue>Why should I?</dialogue> <character>ULLA</character> <dialogue>I'll clip your wings if you don't.</dialogue> <character>MALEFICENT</character> <dialogue>You wouldn't!</dialogue> <character>ULLA</character> <dialogue>Oh, but I would.</dialogue> <scene_description>Maleficent drops her head. She forces the words out bitterly.</scene_description> <character>MALEFICENT</character> <dialogue>I deserve to wear the horns.</dialogue> <character>ULLA</character> <dialogue>For a hundred years.</dialogue> <character>MALEFICENT</character> <dialogue>For a hundred years.</dialogue> <character>ULLA</character> <dialogue>Now get out of my sight!</dialogue> <scene_description>Maleficent opens her wings to fly.</scene_description> <character>ULLA</character> <dialogue>Walk!</dialogue> <scene_description>She folds them and walks away, head bowed, wings trailing on \* the ground.</scene_description> </scene> <scene> <stage_direction>EXT. THE BLACKTHORN TREE - LATER</stage_direction> <scene_description>Maleficent and Stefan sit in a high branch together.</scene_description> <character>MALEFICENT</character> <dialogue>I didn't kill my mother. She died the night I was born.</dialogue> <character>STEFAN</character> <dialogue>I know. Everyone does. Who's your father?</dialogue> <character>MALEFICENT</character> <dialogue>The Red Cap.</dialogue> <character>STEFAN</character> <dialogue>Him? No wonder you're so...</dialogue> <scene_description>She gives him a sharp look.</scene_description> <character>MALEFICENT</character> <dialogue>What? Wild, dark, strange, \* dangerous. \*</dialogue> <character>STEFAN</character> <dialogue>Tall.</dialogue> <scene_description>But she knows perfectly well that's not what he meant. She sees something off, dismayed.</scene_description> <character>MALEFICENT</character> <dialogue>Oh no, the Rowan.</dialogue> <character>ON A ROWAN TREE - HER POV</character> <dialogue>The trunk of the tree has been split by lightning.</dialogue> <character>MALEFICENT</character> <dialogue>She won't live. Hold onto me.</dialogue> <scene_description>She puts her arm around his waist and leaps from the tree. Stefan's thrilled as they fly to the ground.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROWAN TREE - DAY</stage_direction> <scene_description>Maleficent stands in front of the wounded tree. She closes her eyes. Sweat drips down her forehead as MAGIC flows from her to the tree. Stefan watches, fascinated and envious. Gradually, the split trunk mends itself. But the process took something essential from Maleficent. She collapses against the tree trunk. \* DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - YEARS LATER</stage_direction> <character>CLOSE ON THE HORNS</character> <dialogue>One large horn, ringed and scarred, is rubbed vigorously against a tree trunk. It falls off.</dialogue> <dialogue>We hear a GASP of surprise. The other Horn is rubbed just as vigorously. It falls off.</dialogue> <character>ON MALEFICENT</character> <dialogue>She's grown into a dark mysterious beauty. She rubs the places on her head where the horns had been. Stefan approaches. He's become a handsome YOUNG MAN.</dialogue> <character>STEFAN</character> <dialogue>There you are! I have news.</dialogue> <character>MALEFICENT</character> <dialogue>Queen Ulla dead.</dialogue> <character>STEFAN</character> <dialogue>How did you know? She nods at the horns on the ground.</dialogue> <character>MALEFICENT</character> <dialogue>Her spell is broken.</dialogue> <scene_description>She picks them up and throws them as far as she can.</scene_description> </scene> <scene> <stage_direction>EXT. THE LOCH - DUSK</stage_direction> <scene_description>The Fair People stand silently on the banks of the loch watching four black swans carry the funeral bier across the water and into the setting sun. The Pixies stand on the bank with the others. Flittle and Thistlewit whisper.</scene_description> <character>THISTLEWIT</character> <dialogue>Who will be Queen now?</dialogue> <character>FLITTLE</character> <dialogue>No one knows. She had no heirs.</dialogue> <character>KNOTGRASS</character> <dialogue>The Stone knows.</dialogue> <character>THISTLEWIT</character> <dialogue>What stone?</dialogue> <character>KNOTGRASS</character> <dialogue>The Queen's Stone. Anyone who wishes to be queen steps on the Stone. If she is false, it growls. If she is the one true Queen, it will it roar like a lion. Understand?</dialogue> <scene_description>Thistlewit studies her face.</scene_description> <character>THISTLEWIT</character> <dialogue>You have green in your eyebrows. I never noticed that before.</dialogue> <scene_description>Knotgrass looks skyward.</scene_description> <character>KNOTGRASS</character> <dialogue>Why do I waste my breath?</dialogue> <character>CLOSE ON THE STONE</character> <dialogue>A faerie foot lands on the Queen's Stone. It growls.</dialogue> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - DAY</stage_direction> <scene_description>A female Faerie steps off quickly. Another female steps up. The Stone GROWLS again. Kinloch shakes his head.</scene_description> </scene> <scene> <stage_direction>EXT. A POND - DAY</stage_direction> <scene_description>Maleficent leans down to look at her reflection. She pulls her hair back where the horns used to be. She turns, admiring herself without them.</scene_description> <character>STEFAN</character> <dialogue>What are you doing?</dialogue> <character>MALEFICENT</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Nothing.</dialogue> <character>STEFAN</character> <dialogue>You were admiring yourself.</dialogue> <scene_description>She sees that he's carrying a satchel.</scene_description> <character>MALEFICENT</character> <dialogue>Where are you going?</dialogue> <character>STEFAN</character> <dialogue>To the human castle.</dialogue> <character>MALEFICENT</character> <dialogue>Why?</dialogue> <character>STEFAN</character> <dialogue>I've heard so much about it. I want to see for myself.</dialogue> <scene_description>A sudden feeling of dread overcomes her.</scene_description> <character>MALEFICENT</character> <dialogue>Don't go there, Stefan.</dialogue> <character>STEFAN</character> <dialogue>You're not curious about humans?</dialogue> <character>MALEFICENT</character> <dialogue>Not at all.</dialogue> <character>STEFAN</character> <dialogue>I am.</dialogue> <character>MALEFICENT</character> <dialogue>You would be.</dialogue> <character>STEFAN</character> <parenthetical>(defensively)</parenthetical> <dialogue>What is that supposed to mean?</dialogue> <character>MALEFICENT</character> <dialogue>You're half human. There's no shame in it.</dialogue> <character>STEFAN</character> <dialogue>I'm going then.</dialogue> <scene_description>She picks dead leaves from a tree branch as if she doesn't care.</scene_description> <character>MALEFICENT</character> <dialogue>Have a good time.</dialogue> <scene_description>He doesn't go.</scene_description> <character>STEFAN</character> <dialogue>It's a long way if I have to walk...on foot.</dialogue> <character>MALEFICENT</character> <dialogue>How else are you going to walk? On your ears?</dialogue> <character>STEFAN</character> <dialogue>Maleficent, will you take me to the human castle?</dialogue> <character>MALEFICENT</character> <dialogue>No.</dialogue> <character>STEFAN</character> <dialogue>Please?</dialogue> <scene_description>She sighs. She can't say "no" to him.</scene_description> </scene> <scene> <stage_direction>EXT. THE SKY - ON THE WING</stage_direction> <scene_description>Maleficent and Stefan fly entwined, arms tightly wrapped around each other's waists. Stefan's face is filled with the joy of flight, Maleficent's with the joy of being close to him.</scene_description> </scene> <scene> <stage_direction>EXT. THE CLOUDS - DAY</stage_direction> <scene_description>They fly through a thick layer of cloud cover. A stone wall suddenly looms in front of them. Maleficent veers up, but their feet hit the edge and they fall onto a hard unfamiliar surface. PULL BACK to reveal...</scene_description> </scene> <scene> <stage_direction>EXT. KING HENRY'S CASTLE - THE TURRET</stage_direction> <scene_description>They've fallen onto the high battlements of the King Henry's castle. Maleficent looks around uneasily. Stefan runs his hands over the stones.</scene_description> <character>STEFAN</character> <dialogue>Look at the way the stones fit together perfectly. It's ingenious.</dialogue> <character>MALEFICENT</character> <dialogue>It's unnatural.</dialogue> <scene_description>She touches the wall and shudders.</scene_description> <character>MALEFICENT</character> <dialogue>The stone is dead.</dialogue> </scene> <scene> <stage_direction>INT. THE TOWER STEPS - DAY</stage_direction> <scene_description>She follows Stefan down the steps, grabbing the iron railing as she goes. She gasps and pulls her hand away.</scene_description> <character>MALEFICENT</character> <dialogue>Don't touch the rail! It's iron!</dialogue> <scene_description>Stefan tentatively touches it.</scene_description> <character>STEFAN</character> <dialogue>I hardly feel anything, just a little sting.</dialogue> <scene_description>She looks at her palm. The flesh has been burned. He runs down the steps, touching the railing briefly as he goes. Maleficent tucks her hands in her robes. Her wings draw themselves up to avoid the iron railing as well.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - DAY</stage_direction> <scene_description>They enter. The hall is crowded with humans and faeries. There's food, drink, music and merry-making. Faeries perform aerial acrobatics. Others make rainbows and bring flowers to bloom for the children. The humans gasp and exclaim with delight. Maleficent is appalled by what she sees.</scene_description> <character>MALEFICENT</character> <dialogue>What is this?</dialogue> <scene_description>Stefan wanders off, intrigued. Maleficent looks up at the high arched ceiling, feeling trapped. Ominous iron filigree hangs all around. She moves through the hall, becoming more dismayed. The Pixies have all grown up as well. But they're still immature and idiotic. Flittle speaks to a group of humans.</scene_description> <character>FLITTLE</character> <dialogue>I'm in charge of Blue. It's a big responsibility.</dialogue> <character>WOMAN IN YELLOW DRESS</character> <dialogue>Can you turn my dress blue?</dialogue> <scene_description>Flittle squeezes her eyes shut and touches her yellow dress. It turns blue.</scene_description> <character>WOMAN IN YELLOW DRESS</character> <dialogue>Hmm. I like it better yellow. Turn it back, please.</dialogue> <character>FLITTLE</character> <dialogue>I don't make yellow. I only make blue.</dialogue> <character>WOMAN IN YELLOW DRESS</character> <dialogue>Turn it back!</dialogue> <scene_description>Flustered, Flittle closes her eyes and reaches for the dress, but accidentally touches the woman's hand. It promptly turns BLUE. The woman gasps.</scene_description> <character>FLITTLE</character> <dialogue>Oh dear. That's not what I...I'm terribly sorry... let me fix.</dialogue> <scene_description>She squeezes her eyes shut again and reaches out, brushing the woman's face. It turns BLUE. The woman screams. Panicked, Flittle rushes away. Maleficent feels someone tugging at her wings. It's a HUMAN BOY. She jerks them away. The boy keeps touching her wings.</scene_description> <character>MALEFICENT</character> <dialogue>Don't touch the wings.</dialogue> <character>HUMAN BOY</character> <dialogue>You're mean! What magic can you do?</dialogue> <character>MALEFICENT</character> <dialogue>This.</dialogue> <scene_description>She waggles her fingers and walks away. The boy gasps. His fingers have grown together so he can't pull his hands apart. She walks up to Stefan who's chatting with PRINCESS LEAH.</scene_description> <character>MALEFICENT</character> <dialogue>We're leaving now.</dialogue> <character>STEFAN</character> <dialogue>What's wrong?</dialogue> <character>MALEFICENT</character> <dialogue>What's wrong? Look around! This is an embarrassment.</dialogue> <character>LEAH</character> <dialogue>Don't be silly. It's all in fun.</dialogue> <scene_description>Maleficent looks at her sharply.</scene_description> <character>MALEFICENT</character> <dialogue>Who are you?</dialogue> <character>LEAH</character> <dialogue>I'm Princess Leah.</dialogue> <character>MALEFICENT</character> <dialogue>I've been accused of being a lot of things, but "silly" is not one of them. Isn't that right, Stefan?</dialogue> <character>STEFAN</character> <parenthetical>(nervously)</parenthetical> <dialogue>Maybe we should talk over here.</dialogue> <scene_description>He tries to pull her away.</scene_description> <character>MALEFICENT</character> <dialogue>This may come as a surprise to you, Princess, but we don't exist to serve the human rabble.</dialogue> <character>STEFAN</character> <dialogue>Maleficent!</dialogue> <scene_description>He pulls her away.</scene_description> <character>STEFAN</character> <dialogue>These people are our friends.</dialogue> <character>MALEFICENT</character> <dialogue>Friends? They're using us! I'm leaving. Are you coming?</dialogue> <scene_description>She sees the somber look on his face.</scene_description> <character>MALEFICENT</character> <dialogue>Stefan?</dialogue> <character>STEFAN</character> <dialogue>I'm nothing there. My own father has disowned me.</dialogue> <scene_description>Her heart sinks as she realizes.</scene_description> <character>MALEFICENT</character> <dialogue>You're not coming back.</dialogue> <character>STEFAN</character> <dialogue>I could have a future here.</dialogue> <character>MALEFICENT</character> <dialogue>You never intended to.</dialogue> <character>STEFAN</character> <dialogue>Maleficent...</dialogue> <scene_description>She turns her back on him abruptly and walks away.</scene_description> </scene> <scene> <stage_direction>INT. A HALLWAY - EVENING</stage_direction> <scene_description>She hurries down the hall, struggling against the tears. In her distress, she can't find her way out. She hears voices.</scene_description> <character>KING HENRY (O.S.)</character> <dialogue>It's a shame we lost the little Queen. She was so easy to manipulate.</dialogue> <scene_description>The words cut through her distress. She turns back to listen.</scene_description> <character>KING'S ADVISOR</character> <dialogue>What did she die of?</dialogue> <character>KING HENRY</character> <dialogue>Old age. It's hard to believe she was over three hundred years old.</dialogue> <character>KING'S ADVISOR</character> <dialogue>What about the King?</dialogue> <character>KING HENRY</character> <dialogue>He won't give us any trouble.</dialogue> <scene_description>She looks through the crack at the door.</scene_description> </scene> <scene> <stage_direction>INT. A ROOM - NIGHT</stage_direction> <scene_description>The King is talking with his advisors.</scene_description> <character>KING HENRY</character> <dialogue>Now that we have their trust, we can ask for anything we want.</dialogue> <character>KING'S ADVISOR</character> <dialogue>They'll make us rich.</dialogue> <character>KING HENRY</character> <dialogue>Even better. We can use them against our enemies.</dialogue> <character>KING'S ADVISOR</character> <dialogue>They're too unpredictable for that. There's no way to control them.</dialogue> <character>KING HENRY</character> <dialogue>They have a weakness.</dialogue> <character>KING'S ADVISOR</character> <dialogue>What's that?</dialogue> <character>KING HENRY</character> <dialogue>Iron.</dialogue> <scene_description>At the door, Maleficent reacts with alarm.</scene_description> <character>KING HENRY</character> <dialogue>I discovered it by accident. Then curiosity got the best of me and I tried it out on a few of them.</dialogue> <character>KING'S ADVISOR</character> <dialogue>I would have liked to have seen that.</dialogue> <character>KING HENRY</character> <dialogue>Some were burned. Some died. I was impressed with their stamina. They'll make good soldiers for us.</dialogue> <scene_description>The door slams open. Maleficent storms in with murder in her eye. Her wings knock the advisors down. She slams Henry against the wall, looming over him like a dark avenging angel. He cowers fearfully.</scene_description> <character>MALEFICENT</character> <dialogue>If you touch another one of us, I'll kill you!</dialogue> <scene_description>She releases him and storms out. The King falls to the floor, trembling and humiliated.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Maleficent returns to the hall. She looks for Stefan. He's still talking with Princess Leah.</scene_description> <character>MALEFICENT</character> <dialogue>Stefan!</dialogue> <character>STEFAN</character> <dialogue>I thought you'd gone.</dialogue> <character>MALEFICENT</character> <dialogue>We have to get our people out of here.</dialogue> <character>STEFAN \*</character> <dialogue>What are you talking about? \*</dialogue> <character>MALEFICENT</character> <dialogue>The King is planning to use iron against us.</dialogue> <scene_description>He looks at her skeptically.</scene_description> <character>STEFAN</character> <dialogue>Why are you doing this?</dialogue> <character>MALEFICENT</character> <dialogue>Did you hear what I said?</dialogue> <character>STEFAN</character> <dialogue>Why must you turn everyone you meet into an enemy?</dialogue> <scene_description>She backs away, shocked by his attitude. She sees guards come in. She hurries through the hall speaking quietly to the faeries.</scene_description> <character>MALEFICENT</character> <dialogue>Get out. Go back to the moors. You're not safe here.</dialogue> <scene_description>Some hurry away. Some stay. Everyone's confused. Henry's wife, QUEEN MARY stands with the Pixies.</scene_description> <character>QUEEN MARY</character> <dialogue>Who is that?</dialogue> <character>KNOTGRASS</character> <dialogue>It's just Maleficent. Never mind her.</dialogue> <character>FLITTLE</character> <dialogue>She was born to cause trouble.</dialogue> <scene_description>The King runs into the Hall. He points at Maleficent.</scene_description> <character>KING HENRY</character> <dialogue>That one!</dialogue> <scene_description>The guards run toward her. She looks at Stefan. Their eyes meet briefly. Then she opens her wings and flies out the window.</scene_description> </scene> <scene> <stage_direction>EXT. THE SKIES - NIGHT - ON THE WING</stage_direction> <scene_description>She flies, wings beating furiously. Tears stream down her face.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - NIGHT</stage_direction> <scene_description>Kinloch yawns as more female faeries line up to try their luck with the Stone. It GROWLS every time. Maleficent lands on the mound.</scene_description> <character>MALEFICENT</character> <dialogue>Kinloch! Call our people back from \* the human's castle. \*</dialogue> <character>KINLOCH</character> <dialogue>Why would I do that?</dialogue> <character>MALEFICENT</character> <dialogue>Their king is plotting against us.</dialogue> <character>KINLOCH</character> <dialogue>That's absurd. Henry is our friend.</dialogue> <character>MALEFICENT</character> <dialogue>Is he? He knows what iron can do. He's already used it against us.</dialogue> <character>KINLOCH</character> <dialogue>I don't believe you.</dialogue> <character>MALEFICENT</character> <dialogue>I heard him myself! \*</dialogue> <character>KINLOCH</character> <dialogue>But you're a known liar.</dialogue> <character>MALEFICENT</character> <dialogue>I have no reason to lie!</dialogue> <character>KINLOCH</character> <dialogue>Enough, Maleficent! You've caused nothing but pain and heartbreak since the day you were born!</dialogue> <scene_description>He waves his hand in a circle. A STORM CLOUD appears above her head. Thunder cracks and she's pelted with hard, cold rain. She backs away with the rain pouring down on her.</scene_description> </scene> <scene> <stage_direction>EXT. THE SKY - ON THE WING</stage_direction> <scene_description>She flies furiously out of the moors and over the human farmlands. But she can't get away from the storm cloud. She flies until she's exhausted.</scene_description> </scene> <scene> <stage_direction>EXT. A LARGE TREE - DAY</stage_direction> <scene_description>Maleficent lands on a long branch where she sits, gasping and furious. The private rain storm still pelts her. ON A CROP FIELD - HER POV A large RAVEN sits on the head of a SCARECROW. Two farmers throw rocks at him.</scene_description> <character>ANGRY FARMER</character> <dialogue>Get off!</dialogue> <scene_description>The raven leisurely preens its feathers as the rocks fly around it. Finally, a rock hits its target. The Raven squawks and flies to the tree.</scene_description> <character>THE LARGE TREE</character> <dialogue>The raven lands next to Maleficent. She glares at it. It glares back at her. They stew in silence. After a moment it hops over on the branch so it won't get wet.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - A RUINED CASTLE - DUSK</stage_direction> <scene_description>Crumbling walls are all that's left of an ancient castle, swathed in thick moor mist. Maleficent stands before the ruins. The rain cloud is gone.</scene_description> <character>MALEFICENT</character> <dialogue>I need your help.</dialogue> <scene_description>She hears guttural breathing and the scratching of claws. Something large approaches. The mist stirs. Maleficent waits. In a moment, a MAN walks out of the mist. He holds a heavy staff. He's even taller than Maleficent and fiercely handsome with dark malevolent eyes. He wears a worn RED CAP that color of blood. Maleficent looks very much like him.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>Take the throne yourself.</dialogue> <character>MALEFICENT</character> <dialogue>You know why I've come.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>I'm always watching. You'll have to kill Kinloch.</dialogue> <character>MALEFICENT</character> <dialogue>I can't do that.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>Where does this conscience of yours come from? It doesn't serve you. Your mother was burdened by it too.</dialogue> <scene_description>His dark eyes soften briefly to think of her.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>If you want to save your friends... although I don't know why you would after all they've done to you...</dialogue> <character>MALEFICENT</character> <dialogue>I'm the only one who knows what this human Henry is planning. I can't stand by and let him use us like servants and slaves!</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>Then act! Do what must be done. But you will be hated for it.</dialogue> <character>MALEFICENT</character> <dialogue>That's nothing new.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>Then unleash yourself. Make me proud.</dialogue> <scene_description>He steps back. The mist swallows him up. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. A PEAT BOG - NIGHT</stage_direction> <scene_description>Maleficent stands at the edge of the muddy bog. She closes her eyes. Sweat drips down her forehead as MAGIC flows from her to the bog. It begins to bubble and boil. Something large moves around in the mud. One by one, five CREATURES crawl from the bog. Her GUARDS are large, dour and ugly with leathern wings, long arms that drag the ground and feet turned backwards. As the last one crawls out, Maleficent sags from exhaustion. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - NIGHT - ON THE WING</stage_direction> <scene_description>Maleficent flies low to the ground followed by her guards. She searches for something on the ground. She sees what she's looking for, scoops them up, and flies on.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - NIGHT</stage_direction> <scene_description>The Faeries are still lined up to stand on the Stone. Others entertain themselves with human objects: combs, brushes, mirrors, etc. Maleficent lands on the mound.</scene_description> <character>MALEFICENT</character> <dialogue>I want my turn on the Stone.</dialogue> <scene_description>She walks toward it with determination. The Faeries scramble to get out of her way.</scene_description> <character>FAERIE KING KINLOCH</character> <dialogue>Stop right there! STOP!</dialogue> <scene_description>She steps up onto the Queen's Stone. It SCREAMS in protest so loud the faeries cringe and hold their ears.</scene_description> <character>FAERIE KING KINLOCH</character> <dialogue>Step off! Step off!</dialogue> <scene_description>But Maleficent holds her ground. Her guards land on the Mound. The Stone still screams. She motions to Kinloch. They pull him off the throne and drag him away. Maleficent steps off the Queen's Stone. Its stops screaming abruptly. Maleficent plants herself firmly on the throne. Her guards take their places beside her. She takes out the horns she retrieved from the ground. She replaces them on her head and sits back confidently. Queen Maleficent.</scene_description> <character>MALEFICENT</character> <dialogue>No one leaves the moors for the human world. Not now. Not ever.</dialogue> </scene> <scene> <stage_direction>EXT. THE HUMAN FARMLANDS - THE NEXT DAY</stage_direction> <scene_description>The three Pixies fly toward the Moors carrying gifts from the humans. As they approach the FAERIE PATH, it LIGHTS ON FIRE. FLAMES SHOOT skyward in front of the Pixies. They draw back. After a moment the FLAMES dissipate.</scene_description> <character>THISTLEWIT</character> <dialogue>What was that?</dialogue> <character>KNOTGRASS</character> <dialogue>Sudden inexplicable flames from nowhere.</dialogue> <scene_description>They fly forward and SMACK into an INVISIBLE WALL. They fall into the grass, dropping their loot. Thistlewit gets up and tries to fly forward again. She hits the invisible barrier and falls again. She tries yet again, and falls.</scene_description> <character>KNOTGRASS</character> <dialogue>It's a binding spell.</dialogue> <character>FLITTLE</character> <dialogue>We cannot pass.</dialogue> <scene_description>Thistlewit keeps flying at the barrier like an angry bee. They drag her away.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - DAY</stage_direction> <scene_description>King Henry and Queen Mary look out over the banquet hall.</scene_description> <character>KING HENRY</character> <dialogue>Where are all my Fair folk?</dialogue> <character>QUEEN MARY</character> <dialogue>They've gone save for those three.</dialogue> <scene_description>The Pixies sit at the table eating milk and cake.</scene_description> <character>KING HENRY</character> <dialogue>You three. Approach.</dialogue> <scene_description>The Pixies come forward. He waits for them to bow. Queen Mary whispers helpfully.</scene_description> <character>QUEEN MARY</character> <dialogue>Bow to your King.</dialogue> <scene_description>They look at each other...should we? Knotgrass shrugs. They bow. Flittle feels someone staring at her. She looks up to see the WOMAN with the BLUE FACE glaring at her. Flittle steps behind Thistlewit to hide.</scene_description> <character>KING HENRY</character> <dialogue>Can you spin straw into gold?</dialogue> <character>KNOTGRASS</character> <dialogue>No. \*</dialogue> <character>KING HENRY</character> <dialogue>Can you conjure up a storm? \*</dialogue> <character>FLITTLE</character> <dialogue>No. \*</dialogue> <character>KING HENRY</character> <dialogue>What can you do? \*</dialogue> <character>BLUE-BELL</character> <dialogue>We're flower pixies. \*</dialogue> <character>THISTLEWIT</character> <dialogue>We brighten your day with cheery \* blossums and blooms. \*</dialogue> <scene_description>They flit around, bringing all the wilted flowers and bouquets back to life. The King and Queen consult.</scene_description> <character>KING HENRY</character> <dialogue>We need better ones.</dialogue> <character>QUEEN MARY</character> <parenthetical>(to the Pixies)</parenthetical> <dialogue>Where are all your friends?</dialogue> <character>KNOTGRASS</character> <dialogue>Someone put out a binding spell along the Path. None of us can pass through.</dialogue> <character>KING HENRY</character> <dialogue>Who would do such a thing?</dialogue> <character>QUEEN MARY</character> <dialogue>It must be that tall bad-tempered one with the evil name...Malafisis.</dialogue> <character>KING HENRY</character> <dialogue>Do you know her?</dialogue> <scene_description>They shake their heads vigorously.</scene_description> <character>FLITTLE</character> <dialogue>She's no friend of ours.</dialogue> <scene_description>Knotgrass spots Stefan strolling with the princess. She points.</scene_description> <character>KNOTGRASS</character> <dialogue>But he knows her very well.</dialogue> <character>KING HENRY</character> <dialogue>You there... young man!</dialogue> <scene_description>Stefan looks over and indicates...me?</scene_description> <character>KING HENRY</character> <dialogue>Approach.</dialogue> <scene_description>Stefan looks at the Princess. She smiles encouragingly. Stefan approaches King Henry. He bows.</scene_description> <character>KING HENRY</character> <dialogue>What is your name, son?</dialogue> <character>STEFAN</character> <dialogue>Stefan.</dialogue> <character>KING HENRY</character> <dialogue>I haven't seen you before. Where are you from?</dialogue> <character>STEFAN</character> <dialogue>The moors.</dialogue> <character>QUEEN MARY</character> <dialogue>No one lives there but the Fair Folk.</dialogue> <scene_description>They look Stefan over: no pointed ears, no wings.</scene_description> <character>KING HENRY</character> <dialogue>You're not...</dialogue> <character>STEFAN</character> <dialogue>No, sir. I'm as human as you are.</dialogue> <scene_description>Thistlewit makes a choking sound. Stefan glares at her.</scene_description> <character>QUEEN MARY</character> <dialogue>You must be a changeling then.</dialogue> <character>KING HENRY</character> <dialogue>Changeling?</dialogue> <character>QUEEN MARY</character> <dialogue>He was taken from his cradle as an infant and raised by the Fair Folk.</dialogue> <scene_description>Stefan doesn't deny it.</scene_description> <character>KING HENRY</character> <dialogue>Then you can be of use. Do you know of the evil fairie named Mafil... Macif...</dialogue> <character>STEFAN</character> <dialogue>Maleficent.</dialogue> <character>KING HENRY</character> <dialogue>You do know her.</dialogue> <character>STEFAN</character> <dialogue>I do.</dialogue> <character>KING HENRY</character> <dialogue>Well?</dialogue> <character>STEFAN</character> <dialogue>Yes.</dialogue> <scene_description>Henry throws his arm over Stefan's shoulder.</scene_description> <character>KING HENRY</character> <dialogue>You're a good looking fellow. I can see my daughter has taken quite a liking to you.</dialogue> <scene_description>Stefan's eyes fill with possibility. King Henry steers him away. The Pixies watch all this curiously.</scene_description> <character>THISTLEWIT</character> <dialogue>I didn't know Stefan was a changeling. I thought he was a halfling.</dialogue> <character>KNOTGRASS</character> <dialogue>He is a halfling. But Queen Mary thinks he's a changeling.</dialogue> <character>THISTLEWIT</character> <dialogue>Maybe he's half a changeling.</dialogue> <character>KNOTGRASS</character> <dialogue>He's not half a changeling. He's a whole halfling.</dialogue> <scene_description>Thistlewit blinks.</scene_description> <character>THISTLEWIT</character> <dialogue>I'm confused.</dialogue> <character>KNOTGRASS</character> <dialogue>Of course you are.</dialogue> <scene_description>They move off. Flittle almost runs into the Blue Lady who glares angrily. She hurries off with the others.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - A ROCKY STREAM - NIGHT</stage_direction> <scene_description>Maleficent walks near a stream followed by her GUARDS. The sounds of the BABBLING STREAM becomes BABBLING VOICES.</scene_description> <character>STREAM FAERY (O.S.)</character> <dialogue>The Stone screamed.</dialogue> <character>STREAM FAERY (O.S.)</character> <dialogue>She has no right to the throne.</dialogue> <character>STREAM FAERY (O.S.)</character> <dialogue>She was wrong to make herself Queen.</dialogue> <scene_description>She hears them but keeps walking. Her guards growl and run toward the stream faeries.</scene_description> <character>MALEFICENT</character> <dialogue>Leave them alone.</dialogue> <scene_description>The guards turn back reluctantly. They keep following her, breathing down her neck.</scene_description> <character>MALEFICENT</character> <dialogue>And stop following me!</dialogue> <scene_description>They stop. she continues on alone.</scene_description> </scene> <scene> <stage_direction>EXT. A DARK POND - NIGHT</stage_direction> <scene_description>Maleficent sits on a rock eating black nuts, feeling more alone than ever. A LONG GREEN ARM emerges from the pond and reaches for her ankle.</scene_description> <character>MALEFICENT</character> <dialogue>Touch me and you will draw back a shriveled stump.</dialogue> <scene_description>The Green Woman's arm retreats back to the pond.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE PATH - DAY</stage_direction> <scene_description>The once-green Faerie Path is now a long black line of demarcation between the wild moors and King Henry's human domain.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROAD - DAY</stage_direction> <scene_description>Stefan sits in a wagon next to a DRIVER. King Henry's castle is visible in the distance behind him.</scene_description> </scene> <scene> <stage_direction>EXT. NEAR THE FARM - DAY</stage_direction> <scene_description>The SHEPHERD, his WIFE and SON stand at the place where the Faerie path crosses the road. The sheep stand in a huddle, oddly silent. The Farmer whistles for the collies who lay in the farm house yard.</scene_description> <character>THE SHEPHERD</character> <dialogue>Did you hear me boys? Come up.</dialogue> <scene_description>The dogs whine but don't budge. Stefan and the driver approach in the wagon. The horse whinnies and rears.</scene_description> <character>STEFAN'S DRIVER</character> <dialogue>Whoa!</dialogue> <character>THE SHEPHERD</character> <dialogue>Your horse won't cross it.</dialogue> <scene_description>The Shepherd points to the burned and blackened path. Stefan looks up. The birds fly straight up and down there like fish in a tank.</scene_description> <character>THE SHEPHERD</character> <dialogue>The Fair Folks have put a curse on us.</dialogue> <character>THE SHEPHERD'S WIFE</character> <dialogue>I can't think why. I put out milk and cake for them every day.</dialogue> <character>STEFAN</character> <parenthetical>(to the driver)</parenthetical> <dialogue>I'll walk from here.</dialogue> <scene_description>Stefan gets off with a knapsack. The driver turns the wagon around. Stefan steps up to the Faerie path and studies it.</scene_description> <character>STEFAN</character> <parenthetical>(to the shepherd)</parenthetical> <dialogue>Can you cross it?</dialogue> <scene_description>He and his family step back, fearfully.</scene_description> <character>THE SHEPHERD</character> <dialogue>We don't dare.</dialogue> <character>THE BOY</character> <dialogue>At night, we see a horned bird with a head of a woman flying in the sky.</dialogue> <character>SHEPHERD'S WIFE</character> <dialogue>She has a host of goblins behind her.</dialogue> <scene_description>Stefan tries to step across. It takes an effort for him to push through the invisible barrier. Then something gives way and he stumbles onto the other side.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE SIDE OF THE PATH</stage_direction> <scene_description>Stefan looks around, astounded by the sudden difference in the colors and lushness of the countryside surrounding him. The shepherd and his family wave to him from the other side.</scene_description> <character>THE SHEPHERD</character> <dialogue>Good luck to you!</dialogue> <character>THE BOY</character> <dialogue>Watch out for the evil Bird Woman!</dialogue> <scene_description>He starts off, following the black line of the Faerie Path into the wild moors beyond.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - EVENING</stage_direction> <scene_description>Maleficent sits on the throne, surrounded by her ugly slavering guards. They scratch and snarl like mangy dogs. Maleficent has her chin in her hand, feeling very alone. She hears something and sits up abruptly.</scene_description> <character>MALEFICENT</character> <dialogue>Quiet!</dialogue> <scene_description>She listens. A VOICE on the wind is calling her name.</scene_description> <character>STEFAN (O.S.)</character> </scene> <scene> <stage_direction>EXT. THE MOORS - EVENING</stage_direction> <scene_description>Stefan stands on a high hill above the moorlands which sweep away below him.</scene_description> <character>STEFAN</character> <dialogue>Maleficent!</dialogue> <scene_description>He squints as he sees something in the distant sky. What appears to be a horned bird with very large wings soars toward him. He watches as Maleficent flies closer. His face is a mixture of joy and regret.</scene_description> </scene> <scene> <stage_direction>EXT. THE HILL - DUSK</stage_direction> <scene_description>Maleficent lands on the hill. Their faces fill with emotion to see each other again.</scene_description> <character>MALEFICENT</character> <dialogue>I knew you didn't belong in the human world.</dialogue> <character>STEFAN</character> <dialogue>Oh, I belong there, more than I do here.</dialogue> <character>MALEFICENT</character> <dialogue>Then why did you come back?</dialogue> <character>STEFAN</character> <dialogue>I missed you too much.</dialogue> <scene_description>Her heart leaps.</scene_description> <character>MALEFICENT</character> <dialogue>You missed me?</dialogue> <character>STEFAN</character> <dialogue>I love you, Maleficent... I always have...</dialogue> <scene_description>He takes her chin in his hand and kisses her. Her eyes close and she falls back in a swoon...off the hilltop. He looks over.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND</stage_direction> <scene_description>Her guards look up to see their leader doing giddy air loops in the distance. They frown and grunt with disapproval.</scene_description> </scene> <scene> <stage_direction>EXT. A RIVER BANK - NIGHT</stage_direction> <scene_description>Maleficent and Stefan sit under the shelter of her wings, talking softly.</scene_description> <character>STEFAN</character> <dialogue>I have to admit there are some things that humans do better than we do.</dialogue> <character>MALEFICENT</character> <dialogue>I can't imagine what.</dialogue> <character>STEFAN</character> <dialogue>Food for one thing.</dialogue> <scene_description>He opens his backpack and takes food out.</scene_description> <character>STEFAN</character> <dialogue>Bread, cheese, honey cider...</dialogue> <scene_description>He pours a bit of cider into his cup. He offers her some. She pushes it away.</scene_description> <character>MALEFICENT</character> <dialogue>Nothing human for me.</dialogue> <character>STEFAN</character> <dialogue>You don't know what you're missing.</dialogue> <character>MALEFICENT</character> <dialogue>I'm perfectly happy with what we have.</dialogue> <scene_description>She tips a large red Blood Rose that blooms on a twisting vine. Red dew drops into her mouth.</scene_description> <character>STEFAN</character> <dialogue>I wonder what it would taste like if we mixed the two together?</dialogue> <scene_description>He tips the Blood Rose into his cup.</scene_description> <character>STEFAN</character> <dialogue>The best of both worlds.</dialogue> <scene_description>He swirls it around and takes a sip.</scene_description> <character>STEFAN</character> <dialogue>Not bad.</dialogue> <scene_description>He takes another teeny sip. Maleficent considers. Giving in, she holds out her hand for the cup, but he holds it back.</scene_description> <character>STEFAN</character> <dialogue>Nothing human for you.</dialogue> <scene_description>They tussle over the cup. She grabs it out of his hand and takes a big gulp. He waits for the verdict. She takes another drink, considers.</scene_description> <character>MALEFICENT</character> <dialogue>It's dreadful.</dialogue> <scene_description>He laughs. She smiles at him. Love shines through her whole being.</scene_description> <character>MALEFICENT</character> <dialogue>Promise me you will never leave again.</dialogue> <character>STEFAN</character> <dialogue>Never. They lay back against the tree together.</dialogue> <character>MALEFICENT</character> <dialogue>I want this moment to last forever.</dialogue> <character>STEFAN</character> <dialogue>We have forever.</dialogue> <scene_description>She closes her eyes, drifting off. But she opens them, suddenly panicked.</scene_description> <character>MALEFICENT</character> <dialogue>Stefan?</dialogue> <character>STEFAN</character> <dialogue>Yes?</dialogue> <character>MALEFICENT</character> <dialogue>I was afraid you'd gone.</dialogue> <character>STEFAN</character> <dialogue>Still here.</dialogue> <scene_description>She sighs with contentment and closes her eyes again.</scene_description> </scene> <scene> <stage_direction>EXT. THE RIVER BANK - LATER</stage_direction> <scene_description>Maleficent has fallen into a deep unnatural slumber. Stefan sits beside her.</scene_description> <character>STEFAN</character> <dialogue>Maleficent.</dialogue> <scene_description>He shakes her shoulder roughly.</scene_description> <character>STEFAN</character> <dialogue>Maleficent!</dialogue> <scene_description>She doesn't stir. He takes a long thin IRON CHAIN from his pack. He holds it over her. His hands tremble. His face is wracked with emotion. He shakes his head and drops his hands. After a moment, he lifts the chain again... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE RIVER BANK - DAWN</stage_direction> <scene_description>Maleficent groans from pain. She sits up and shakes her head to clear the thick sleep. The pain on her back is intense. She looks around for Stefan, then reaches over her shoulder. Her fingers touch a long cauterized burn where her wings used to be. On the shock and horror in her eyes we: CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HUMAN FARMLANDS</stage_direction> <scene_description>Stefan runs down the road carrying a large bundle on his back. The DRIVER sits in the wagon nearby. He jumps off to help him load the bundle.</scene_description> <character>MALEFICENT (O.S.)</character> <dialogue>AAAAAAAAAHHHHHHHHH!</dialogue> <scene_description>Her ANGUISHED OUTRAGED WAIL echoes down the hills and across the Moorlands. Stefan looks up. At the sound, the BURLAP BUNDLE shifts and struggles.</scene_description> <character>STEFAN</character> <dialogue>I shouldn't have done it.</dialogue> <character>THE DRIVER</character> <dialogue>It's too late now.</dialogue> <scene_description>They lash the bundle down and quickly drive away.</scene_description> </scene> <scene> <stage_direction>EXT. THE RIVER BANK - DAY</stage_direction> <scene_description>Maleficent thrashes around, trying to reach the painful wounds. She plunges into the river. The WATER FAERIES retreat, watching with huge fearful eyes. Maleficent climbs out and runs, delirious from the agonizing pain.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - DAY</stage_direction> <scene_description>She runs to escape the pain. At the top of a high hill, she leaps into the air, forgetting in her delirium, that she no longer has wings. She falls, crashing down the hill to the bottom where she lies, gasping and bloodied. As she lays there, she looks up at the birds flying overhead. Her pain and heartbreak are unspeakable.</scene_description> </scene> <scene> <stage_direction>EXT. KING HENRY'S CASTLE - DAY</stage_direction> <scene_description>The drawbridge opens for Stefan's wagon.</scene_description> </scene> <scene> <stage_direction>INT. KING HENRY'S CASTLE - DAY</stage_direction> <scene_description>Stefan stands with King Henry. The bundle lays at his feet, no longer moving.</scene_description> <character>STEFAN</character> <dialogue>I couldn't kill her. So I took these instead.</dialogue> <scene_description>He draws back the burlap. The large black wings are tied with heavy ropes. Fascinated, King Henry leans down for a closer look. The Wings struggle, startling him. He leaps back.</scene_description> <character>STEFAN</character> <dialogue>Her wings have always had a mind of their own.</dialogue> <character>KING HENRY</character> <dialogue>Will she want revenge for this?</dialogue> <character>STEFAN</character> <dialogue>Absolutely. But she's hobbled now. The Fair People won't follow a wingless leader.</dialogue> <character>KING HENRY</character> <dialogue>Brilliant, son. You've served me well.</dialogue> <character>STEFAN</character> <dialogue>And the other thing?</dialogue> <scene_description>Henry sighs. He has no choice.</scene_description> <character>KING HENRY</character> <dialogue>I'll tell the Queen to prepare for a wedding.</dialogue> <scene_description>Stefan nods. Whatever guilt he felt has been swept aside by ambition.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - NIGHT</stage_direction> <scene_description>Maleficent still lies in the place she fell. Something has left her forever: hope, belief, the capacity for love.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>Get up, Maleficent.</dialogue> <scene_description>She opens her eyes. Her father stands over her, holding his staff.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>This pain is a gift. You can use it to grow stronger than you ever were.</dialogue> <scene_description>She closes her eyes again.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>Or you can lay here and die.</dialogue> <scene_description>He drops his staff at her side and walks away. A long moment passes before her fingers feel for the staff. She uses it to pull herself to her feet. A WOLF howls. Leaning on the staff, she sees a LARGE SILVER WOLF on a distant hill. It turns and disappears into the mist.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE PATH - NEAR THE FARM</stage_direction> <scene_description>Using the staff as a crutch, Maleficent limps across the blackened Faerie Path. Her eyes are filled with hatred. She limps past the farmer's house and paddock. As she passes, the gate opens. The sheep run out. She walks through the middle of human crop fields. The crops wither on the vine in her wake.</scene_description> </scene> <scene> <stage_direction>EXT. THE FARMLANDS - VARIOUS - TIME PASSAGE</stage_direction> <scene_description>The weather changes. Clouds move across the sky. Maleficent still walks. But she's stronger now. She stands more upright, leaning less on the staff. Dry stone walls collapse where her staff hits the ground. She walks with a stronger stride. The staff is no longer a crutch. She plants it on the ground near a barn and farmhouse. The ground shakes violently. The structures collapse. Farmers, families and animals run out. She stands near a town. She lifts the staff. Storm clouds suddenly move in. A high wind blows. Lightning hits the church steeple.</scene_description> </scene> <scene> <stage_direction>EXT. A HILL - EVENING</stage_direction> <scene_description>Maleficent stands on a hill, overlooking her path of destruction. Nothing built of human hands remains standing. She seems stronger than ever. Her gaze is intense and fierce, all weakness gone. She smiles for the first time since Stefan took her wings. But there's a hard glint in her eye that wasn't there before. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MALEFICENT'S RETREAT - DUSK</stage_direction> <scene_description>Maleficent sleeps in a dark place in the woods near crop fields. She opens her eyes at the sound of birds. She looks up to watch the birds ride the wind in the sky above. She's lost in bittersweet memories briefly.</scene_description> <character>DIAVAL (O.S.) \*</character> <dialogue>Awk ! \*</dialogue> </scene> <scene> <stage_direction>EXT. A FARMER'S FIELD - HER POV</stage_direction> <scene_description>The raven from years earlier, sits on a stalk studying a pile of ripe corn on the ground. It flies down and snatches an ear. A heavy net falls over him.</scene_description> <character>ANGRY FARMER #1</character> <dialogue>Got him!</dialogue> <scene_description>The raven struggles to escape.</scene_description> <character>DIAVAL</character> <dialogue>Awk! Awk!</dialogue> <scene_description>The two farmers approach with heavy clubs. From her retreat, Maleficent watches the humans hatefully. The farmers advance on the bird, raising their clubs...</scene_description> <character>MALEFICENT (O.S.)</character> <dialogue>Now a man.</dialogue> <scene_description>The raven transforms into a MAN. DIAVAL finds himself on the ground in a naked human body. The Farmers are stunned. Diaval throws off the net and climbs to his feet unsteadily.</scene_description> <character>ANGRY FARMER</character> <dialogue>It's a devil!</dialogue> <scene_description>Diaval grabs the club and swings at them.</scene_description> <character>DIAVAL</character> <dialogue>I am the devil! I come from hell for you!</dialogue> <scene_description>The frightened farmers run. Diaval drops the club and looks at his human body with dismay. As a MAN, Diaval is black-Irish with silky black hair and dark eyes. His voice has a rich, melodic Irish lilt. He also has a touch of vanity and he's prone to preening. Maleficent steps out of the shadows.</scene_description> <character>DIAVAL</character> <dialogue>What have you done to my beautiful self?</dialogue> <character>MALEFICENT</character> <dialogue>Would you rather I let them beat you to death?</dialogue> <scene_description>He lifts his wingless arms and looks down at his naked body.</scene_description> <character>DIAVAL</character> <dialogue>I'm not certain.</dialogue> <character>MALEFICENT</character> <dialogue>Stop complaining. I saved your life.</dialogue> <character>DIAVAL</character> <dialogue>Forgive me. I am in your debt.</dialogue> <scene_description>She tosses him a cape to cover himself. He looks her over.</scene_description> <character>DIAVAL</character> <dialogue>What happened to your wings?</dialogue> <character>MALEFICENT</character> <dialogue>You remember me.</dialogue> <character>DIAVAL</character> <dialogue>They were magnificent.</dialogue> <character>MALEFICENT</character> <dialogue>You'll be my wings now.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S CASTLE - THE HALL - DAY</stage_direction> <scene_description>King Henry rants and raves at Stefan.</scene_description> <character>KING HENRY</character> <dialogue>You said they would return!</dialogue> <character>STEFAN</character> <dialogue>I never said...</dialogue> <character>KING HENRY</character> <dialogue>You said they wouldn't follow a wingless leader!</dialogue> <character>STEFAN</character> <dialogue>The binding spell is still in place.</dialogue> <character>KING HENRY</character> <dialogue>I don't want excuses! I should be rich and control of all the land! Instead, my kingdom is in ruins! He wave toward the open window. Stefan glances out.</dialogue> </scene> <scene> <stage_direction>EXT. THE COUNTRYSIDE - THEIR POV</stage_direction> <scene_description>The crops are dead. The human structures are destroyed as if a tornado has come through.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER - THE SAME VIEW</stage_direction> <scene_description>The Pixies stand on the tower battlements looking out. Butterflies swarm around Flittle's head.</scene_description> <character>FLITTLE</character> <dialogue>Do you think Maleficent did this?</dialogue> <character>KNOTGRASS</character> <dialogue>Who else could it be?</dialogue> <character>THISTLEWIT</character> <dialogue>Why would she do it?</dialogue> <character>FLITTLE</character> <dialogue>She's evil for evil's sake.</dialogue> <character>THISTLEWIT</character> <dialogue>What does that mean?</dialogue> <character>KNOTGRASS</character> <dialogue>She doesn't need a reason.</dialogue> </scene> <scene> <stage_direction>INT. THE TOWER STAIRS - DAY</stage_direction> <scene_description>They go down the winding stairs to a small landing. They go through one door, then down another set of stairs. They turn in a circle, confused.</scene_description> <character>FLITTLE</character> <dialogue>Where are we?</dialogue> <character>KNOTGRASS</character> <dialogue>This way.</dialogue> <character>THISTLEWIT</character> <dialogue>No, this way.</dialogue> <scene_description>She opens the door. She gasps at what she sees inside. She stumbles back into the other two. They lose their footing and all fall, screaming, down the stairs.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - DAY</stage_direction> <character>KING HENRY</character> <dialogue>I should have known not to trust someone who was raised by elves!</dialogue> <character>STEFAN</character> <dialogue>Fair People.</dialogue> <character>KING HENRY</character> <dialogue>If you don't do something about that evil witch...</dialogue> <character>STEFAN</character> <dialogue>She's not a witch.</dialogue> <character>KING HENRY</character> <dialogue>I gave you my daughter's hand. I made you next in line to my throne. If you don't do something, I'll annul the marriage and throw you in the dungeon!</dialogue> <scene_description>The Pixies tumble into the room and land in a pile on the floor. Flittle's butterflies scatter in the air.</scene_description> <character>KING HENRY</character> <dialogue>Get those useless imbeciles out of my...!</dialogue> <scene_description>One of the butterflies flies into his mouth. He sucks it in, gags and chokes. The Faeries giggle. Henry staggers, trying to breathe. His crown falls onto the floor. Stefan's eyes fill with a dark realization. He waves the Pixies away. Knotgrass and Flittle grab Thistlewit and run out. Henry's face is turning purple. Stefan leans down. Henry thinks he's going to help him. But Stefan merely picks up the fallen crown and walks out.</scene_description> <character>ON THE WINDOW</character> <dialogue>Diaval the Raven has seen the whole thing. He flies away.</dialogue> </scene> <scene> <stage_direction>EXT. STEFAN'S FOREST - LATER</stage_direction> <scene_description>Maleficent paces in a clearing. Diaval, the Man, has finished telling her what he witnessed.</scene_description> <character>MALEFICENT</character> <dialogue>And now he'll be king. He did this to me so he could be king!</dialogue> <scene_description>She screams with frustration and rage. WHITE FIRE erupts from her. A nearby tree bursts into flames. The flames sweep from one tree to the next. She's so lost in her fury, she doesn't realize she's set the trees on fire.</scene_description> <character>DIAVAL</character> <dialogue>Mistress! You don't know what you're doing! This is not what you want! Mistress!</dialogue> <scene_description>His words get through. Her anger fades and now she sees the trees burning.</scene_description> <character>MALEFICENT</character> <dialogue>No...</dialogue> <scene_description>She closes her eyes. With a supreme effort, she draws the flames back into herself. She closes her ROBES, snuffing them out, then falls to her knees, exhausted. Smoke rises from her. She looks up, aghast to see the ruined trees. She closes her eyes again. New magic flows from her to the trees. New bark grows, new green leaves sprout. Soon, they are as beautiful as they were. She stands up, renewed, as if a deep catharsis has occurred.</scene_description> <character>MALEFICENT</character> <dialogue>Come, Diaval. I've been gone too long.</dialogue> <scene_description>He lands on her shoulder.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - NIGHT</stage_direction> <scene_description>Kinloch and a group of faeries attempt to retake the throne while Maleficent's guards are sleeping. But they wake up, slavering and snarling. Kinloch throws MAGIC at them, but it has no effect. The guards advance on them. The largest guard throws Kinloch to the ground and steps on him, laughing. The others grab faeries and toss them into the air like rag dolls or attempt to pull their wings off like cruel children. The faeries scream.</scene_description> <character>MALEFICENT (O.S.)</character> <dialogue>Stop!</dialogue> <scene_description>The Guards drop the faeries and look around nervously. Maleficent stands in the shadows with Diaval on her shoulder. She sets the Horns on her head, then gathers her courage and steps boldly into view.</scene_description> <character>KINLOCH</character> <dialogue>Maleficent.</dialogue> <scene_description>She sets her jaw and walks through the astonished faeries toward the throne.</scene_description> <character>A FAERIE</character> <dialogue>Where are her wings?</dialogue> <character>ANOTHER FAERIE</character> <dialogue>She's lost her wings.</dialogue> <scene_description>She faces the largest guard who stands between her and the throne. She waves him out of her way.</scene_description> <character>MALEFICENT</character> <dialogue>Move.</dialogue> <scene_description>He spits at her. Brackish ooze rolls down her cheek. The Fearies pull back nervously. She moves to grab him, but he flies up into the air. The other Guards fly up and circle her from above.</scene_description> <character>DIAVAL</character> <dialogue>AWK!</dialogue> <scene_description>He starts to fly up to defend her.</scene_description> <character>MALEFICENT</character> <dialogue>Diaval.</dialogue> <scene_description>She waves him away. She looks up at her own minions circling above. They drop down, claws extended, screaming like banshees. She fights them with white fire and sheer power of will. Finally, all the five guards lay on the ground at her feet... subdued but alive. Gasping and bloodied from the fight, she walks past them and steps onto the Queen's Stone on her way to the throne. The Stone SCREAMS, startling her. She stumbles off, then turns back to it, angrily.</scene_description> <character>MALEFICENT</character> <dialogue>I've had enough of that.</dialogue> <scene_description>She holds her staff out over the Stone and slowly raises it. The Stone is uprooted from the ground. It hangs in the air. She makes a motion with her Staff. The Stone is flung away. It lands with a heavy THUD somewhere in the far distance. She sits down on the throne. Diaval lands on her shoulder.</scene_description> <character>MALEFICENT</character> <dialogue>Anyone else want to challenge me?</dialogue> <scene_description>No one says a word.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - A STREAM - DAY</stage_direction> <scene_description>Maleficent bathes in the cold water. Diaval lands on a tree branch nearby. Maleficent washes her back and finds one of the long raised scars. Her fingers linger there. Maleficent covers herself with her cape as she emerges from the water. She waves her hand.</scene_description> <character>MALEFICENT</character> <dialogue>Now a man.</dialogue> <scene_description>Diaval transforms into a MAN hidden by bushes. She tosses him a small bag of clothes she carries for him.</scene_description> <character>MALEFICENT</character> <dialogue>Tell me.</dialogue> <scene_description>Diaval emerges, fully clothed. He's nervous about delivering the news.</scene_description> <character>DIAVAL</character> <dialogue>King Stefan and Queen Leah have had a child.</dialogue> <scene_description>The news she had been dreading.</scene_description> <character>MALEFICENT</character> <dialogue>Oh blessed day. Have they named the little beast?</dialogue> <character>DIAVAL</character> <dialogue>Aurora.</dialogue> <character>MALEFICENT</character> <dialogue>The dawn. How clever.</dialogue> <character>DIAVAL</character> <dialogue>They're having a christening soon.</dialogue> <character>MALEFICENT</character> <dialogue>And you didn't bring my invitation?</dialogue> </scene> <scene> <stage_direction>EXT. KING STEFAN'S CASTLE - DAY</stage_direction> <scene_description>People dressed in formal attire approach the castle. Festive flags fly.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - DAY</stage_direction> <scene_description>People fill the hall. Stefan and Leah greet the well wishers. Knotgrass, Flittle and Thistlewit enter.</scene_description> <character>STEFAN</character> <dialogue>Not those three!</dialogue> <character>LEAH</character> <dialogue>Be gracious, Stefan. They have magical gifts for our child.</dialogue> <character>STEFAN</character> <dialogue>I don't want any butter-flies around the baby!</dialogue> <scene_description>The Pixies stand over the baby's bassinet. Old Queen Mary attends her. Knotgrass reaches in and touches the baby's forehead.</scene_description> <character>KNOTGRASS</character> <dialogue>Sweet Aurora, I give you the gift of beauty.</dialogue> <scene_description>Flittle reaches in to touch the baby.</scene_description> <character>FLITTLE</character> <dialogue>Dear child, you will...</dialogue> <scene_description>She notices the Blue Lady in the crowd.</scene_description> <character>FLITTLE</character> <dialogue>...never be blue but happy all the days of your life.</dialogue> <scene_description>It's Thistlewit turn. A doors bang open. WIND whistles through. THUNDER CRACKS and Maleficent is there. Diaval flies in and perches on her shoulder.</scene_description> <character>STEFAN</character> <dialogue>Maleficent!</dialogue> <scene_description>He's suddenly very afraid.</scene_description> <character>MALEFICENT</character> <dialogue>So Stefan, you're king at last. It's what you always wanted. You would have done anything...well, you did.</dialogue> <character>STEFAN</character> <dialogue>You're not welcome here.</dialogue> <character>MALEFICENT</character> <dialogue>And I'm deeply offended by that.</dialogue> <parenthetical>(to Leah)</parenthetical> <dialogue>Ah...the lovely Leah. But where is the child? You must be so proud.</dialogue> <character>STEFAN</character> <dialogue>Stay away from her!</dialogue> <character>MALEFICENT</character> <dialogue>Oh Stefan...do you really think I would harm an innocent babe? I only want to view the little creature.</dialogue> <scene_description>The Pixies stands in front of the bassinet protectively. Maleficent laughs.</scene_description> <character>MALEFICENT</character> <dialogue>You three! Well, there's fierce protection! Out of my way, gnats!</dialogue> <scene_description>She blows at them. A FIERCE WIND blows them back. Part of Thistlewit's hair is blown off. She grabs her head, aghast. Maleficent pulls aside the drapery and leans over the bassinet. BABY AURORA is as adorable as babies get. As she looks at the baby, jealousy fills her heart. The old anger and revenge rise up in her again. She looks at Stefan as if it is only the two of them in the room.</scene_description> <character>MALEFICENT</character> <dialogue>You stole something precious from me. And now, you owe me something precious in return.</dialogue> <character>STEFAN</character> <dialogue>What are you going to do? \*</dialogue> <character>MALEFICENT</character> <dialogue>Take what I am owed. \*</dialogue> <character>STEFAN</character> <dialogue>Guards! \*</dialogue> <scene_description>They start to run toward her, but Maleficent holds her staff up. They freeze, mid-step.</scene_description> <character>MALEFICENT</character> <dialogue>Calm down. I'm not going to steal your baby. I merely want to give her a gift.</dialogue> <scene_description>She looks down at the baby again.</scene_description> <character>MALEFICENT</character> <dialogue>The child will, indeed, be blessed with beauty and happiness all the days of her brief human life.</dialogue> <character>LEAH</character> <dialogue>Did you say...brief?</dialogue> <character>MALEFICENT</character> <dialogue>Enjoy your little girl while you can, Princess. You'll have her until her sixteenth birthday. They can be such monsters at that age, you'll probably thank me for this.</dialogue> <scene_description>Leah is so frightened she's almost in tears.</scene_description> <character>LEAH</character> <dialogue>For what?</dialogue> <character>STEFAN</character> <dialogue>Guards!</dialogue> <scene_description>They still can't move.</scene_description> <character>MALEFICENT</character> <dialogue>Listen. At midnight on her sixteenth birthday, something will happen, a small thing really, a simple mishap.</dialogue> <scene_description>She glances into the corner and sees Queen Mary's SPINNING WHEEL.</scene_description> <character>MALEFICENT</character> <dialogue>She'll prick her pretty little finger on the spindle of a spinning wheel...</dialogue> <scene_description>She looks around at the frightened faces, holding their breaths. Maleficent takes her time, enjoying this.</scene_description> <character>MALEFICENT</character> <dialogue>... And die !</dialogue> <scene_description>Faces fill with horror. Leah screams. She looks at Stefan.</scene_description> <character>MALEFICENT</character> <dialogue>Fair is fair.</dialogue> <character>STEFAN</character> <dialogue>Please, don't do this. I'm sorry for what I did to you.</dialogue> <scene_description>Maleficent laughs.</scene_description> <character>MALEFICENT</character> <dialogue>Not sorry enough.</dialogue> <scene_description>She lifts her robes. White fire erupts around her.</scene_description> <character>STEFAN</character> <dialogue>Wait! Listen to me!</dialogue> <scene_description>She disappears in the smoke. Diaval circles the hall. He flies out the open door. Commotion erupts. Leah runs to the bassinet and scoops up the child. \*</scene_description> <character>LEAH</character> <dialogue>Stefan! Do something!</dialogue> <scene_description>Flustered, he points to Thistlewit.</scene_description> <character>STEFAN</character> <dialogue>You! You haven't given your gift yet.</dialogue> <character>LEAH</character> <dialogue>Can she undo the curse?</dialogue> <character>KNOTGRASS</character> <dialogue>No. Maleficent's much too powerful now.</dialogue> <character>STEFAN</character> <dialogue>But you could alter it somehow.</dialogue> <character>THISTLEWIT</character> <dialogue>Alter it?</dialogue> <character>STEFAN</character> <dialogue>Change it, you idiot! Change Maleficent's curse!</dialogue> <character>THISTLEWIT</character> <dialogue>But I'm only a flower pixie!</dialogue> <character>KNOTGRASS</character> <dialogue>We'll help you.</dialogue> <scene_description>Knotgrass and Flittle take her hands. Leah holds the baby out toward her. Flittle's butterflies flit around her.</scene_description> <character>THISTLEWIT</character> <dialogue>I can't think with all these butterflies!</dialogue> <scene_description>Flittle draws her butterflies away. Knotgrass whispers in her ear. Thistlewit repeats it.</scene_description> <character>THISTLEWIT</character> <dialogue>Aurora will prick her finger on her sixteenth birthday. But it will not be...uh...uh...</dialogue> <scene_description>Knotgrass whispers again. She continues.</scene_description> <character>THISTLEWIT</character> <dialogue>...death that claims her, only sleep.</dialogue> <scene_description>Stefan nods. Now Flittle whispers into Thistlewit's ear.</scene_description> <character>THISTLEWIT</character> <dialogue>And she can only be woken by true love's kiss.</dialogue> <scene_description>Thistlewit touches the baby's forehead.</scene_description> <character>THISTLEWIT</character> <dialogue>Done.</dialogue> <character>LEAH</character> <dialogue>My child is saved!</dialogue> <character>STEFAN</character> <dialogue>Maleficent won't be stopped that easily. Burn all the spinning wheels!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - THE FAERIE MOUND - NIGHT</stage_direction> <scene_description>Maleficent sits on her throne, telling the guards all about it. Diaval watches from nearby.</scene_description> <character>MALEFICENT</character> <dialogue>He was begging me. You should have seen their faces. "Not our baby!"</dialogue> <scene_description>She sighs with deep satisfaction.</scene_description> <character>MALEFICENT</character> <dialogue>Revenge is everything they say it is.</dialogue> <scene_description>The Guards grunt and slaver in agreement. But Diaval twists his head... bothered.</scene_description> </scene> <scene> <stage_direction>EXT. KING STEFAN'S CASTLE - THE NURSERY - NIGHT</stage_direction> <scene_description>The Pixies and Queen Mary watch over the bassinet. Queen Mary snores.</scene_description> <character>THISTLEWIT</character> <dialogue>I don't think Stefan like us very much.</dialogue> <character>KNOTGRASS</character> <dialogue>We did treat him badly when he was young.</dialogue> <character>FLITTLE</character> <dialogue>It was his fault for being a halfling.</dialogue> <character>KNOTGRASS</character> <dialogue>He'd like to get rid of us, but we know too much.</dialogue> <scene_description>Flittle sighs, playing with her butterflies.</scene_description> <character>FLITTLE</character> <dialogue>I wish we could go home to our fields and flowers.</dialogue> <character>KNOTGRASS</character> <dialogue>Maleficent will never let us come back now.</dialogue> <character>THISTLEWIT</character> <dialogue>So we're trapped here with mean Stefan.</dialogue> <scene_description>Stefan enters.</scene_description> <character>STEFAN</character> <dialogue>Mean King Stefan. And you're right, I cannot stand the three of you. So I have a task that will keep you out of my sight for a very long time.</dialogue> </scene> <scene> <stage_direction>EXT. KING STEFAN'S CASTLE - NIGHT</stage_direction> <scene_description>The Pixies sit in a wagon in rough peasant clothes. Leah holds the baby, distraught. Diaval watches from a \* nearby tree. \*</scene_description> <character>LEAH</character> <dialogue>Don't do this! \*</dialogue> <character>STEFAN</character> <dialogue>Do you want our child to be safe?</dialogue> <scene_description>He pulls the baby out of her arms and hands her to the Pixies.</scene_description> <character>STEFAN</character> <dialogue>Take the baby deep into the forest. Hide her there. On the day after her sixteenth birthday, bring her back to us. Do you understand?</dialogue> <scene_description>They nod.</scene_description> <character>STEFAN</character> <dialogue>Say it. What will you do?</dialogue> <character>PIXIES</character> <dialogue>Hide the baby in the woods.</dialogue> <character>STEFAN</character> <dialogue>Until when?</dialogue> <character>PIXIES</character> <dialogue>Until her sixteenth birthday.</dialogue> <character>THISTLEWIT</character> <dialogue>We're not stupid!</dialogue> <scene_description>He whips the horse.</scene_description> <character>STEFAN</character> <dialogue>Stay away from the moors!</dialogue> <scene_description>Leah weeps bitterly.</scene_description> <character>STEFAN</character> <dialogue>Stop crying. You can have another child.</dialogue> <scene_description>He motions for Queen Mary to take her. Then he speaks to his Captain.</scene_description> <character>STEFAN</character> <dialogue>Arm the men with iron weapons. Hunt Maleficent down. When you find her, show no mercy.</dialogue> </scene> <scene> <stage_direction>EXT. THE ROAD - DAY</stage_direction> <scene_description>Diaval sits in a tree at the side of the road. The Pixies' wagon stops beneath. A baby cries in the back.</scene_description> <character>KNOTGRASS</character> <dialogue>Don your kerchiefs, ladies. We must wear them at all times so we will not be recognized.</dialogue> <scene_description>They put them on. The wagon continues on.</scene_description> </scene> <scene> <stage_direction>EXT. A CLEARING IN THE FOREST - LATER</stage_direction> <scene_description>An abandoned cottage sits a clearing. Diaval lands on the roof. The Pixies' wagon approaches.</scene_description> <character>KNOTGRASS</character> <dialogue>What we need is an abandoned cottage where no one will find us.</dialogue> <scene_description>He squawks to draw their attention.</scene_description> <character>DIAVAL</character> <dialogue>Awk !</dialogue> <character>FLITTLE</character> <dialogue>Like that one?</dialogue> <scene_description>She points to the cottage.</scene_description> <character>KNOTGRASS</character> <dialogue>Exactly. We need a cottage just like that. Be on the look-out.</dialogue> <scene_description>They keep driving past it, right out of the clearing. Diaval twists his head as if he can't believe what idiots they are. After a moment, the wagon appears again. The Pixies study the cottage, then scream and run to it. They brush away cobwebs, open the door and go inside. Flowers burst from the windows. Climbing roses speed up the rough walls. Diaval flies off.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - DAY</stage_direction> <scene_description>Maleficent sits on her throne as Diaval, the Man, fills her in.</scene_description> <character>MALEFICENT</character> <dialogue>He's trusting those idiots? To raise his baby? That's priceless! I have to see this for myself.</dialogue> </scene> <scene> <stage_direction>EXT. THE COTTAGE - DAY</stage_direction> <scene_description>The cottage teems with flowers, inside and out. Maleficent and Diaval peek into the window at the baby in a basket. Maleficent looks at her with undisguised dislike.</scene_description> <character>MALEFICENT</character> <dialogue>It's so ugly, I could almost feel sorry for it.</dialogue> <scene_description>Diaval looks in at the baby. ON THE BABY - HIS POV It gurgles. Nothing could be cuter. They hear the Pixies and back away.</scene_description> <character>ON THE KITCHEN - THEIR POV</character> <dialogue>The Pixies stand around the basket looking at the baby who's started to cry.</dialogue> <character>FLITTLE</character> <dialogue>I can't stand the crying. She's giving me a headache.</dialogue> <character>KNOTGRASS</character> <dialogue>Quiet, baby!</dialogue> <character>FLITTLE</character> <dialogue>All she thinks about is herself.</dialogue> <character>KNOTGRASS</character> <dialogue>Maybe she's be hungry.</dialogue> <character>THISTLEWIT</character> <dialogue>Do you think she likes fruit?</dialogue> <character>KNOTGRASS</character> <dialogue>All babies like fruit.</dialogue> <scene_description>They put a whole uncut apple, a banana and an orange in the basket with the baby.</scene_description> <character>FLITTLE</character> <dialogue>That should shut her up for awhile.</dialogue> <scene_description>They walk away.</scene_description> </scene> <scene> <stage_direction>EXT. THE COTTAGE - DAY</stage_direction> <character>MALEFICENT</character> <dialogue>That baby's going to starve with those three looking after it.</dialogue> <scene_description>Maleficent walks away, unconcerned. Diaval twists his head, worried for the child. He flies away briefly, then returns with a large WHITE FLOWER.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY</stage_direction> <scene_description>He hops in the window and onto the edge of the basket. He holds the MILK FLOWER to the baby's mouth. She sucks on it happily. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE COTTAGE - NIGHT</stage_direction> <scene_description>The baby wails inside the cottage. Diaval paces on a long branch in a tree anxiously. Finally, he flies over and looks in the window.</scene_description> <character>ON THE PIXIES - DIAVAL'S POV</character> <dialogue>The Pixies sleep right through the baby's wails. They have cotton stuffed in their ears. Diaval hops inside.</dialogue> </scene> <scene> <stage_direction>INT. THE COTTAGE - NIGHT</stage_direction> <scene_description>The baby cries in its cradle. Diaval hops onto the edge. He uses his weight to make it rock gently. Gradually, the baby stops crying. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE FOREST - NIGHT</stage_direction> <scene_description>As Diaval flies through the forest, he hears human sounds: horses' hooves, shouts. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE FOREST - NIGHT</stage_direction> <scene_description>Diaval flies toward Maleficent urgently. She waves her hand to transform him.</scene_description> <character>MALEFICENT</character> <dialogue>Now a man.</dialogue> <scene_description>He transforms into a MAN. She tosses him his clothes. He changes behind the bushes.</scene_description> <character>DIAVAL</character> <dialogue>Stefan's men are on the hunt for you. He's armed them with iron weapons.</dialogue> <character>MALEFICENT</character> <dialogue>I have weapons of a different sort.</dialogue> <scene_description>She lifts her staff. A thick MIST rises up in the forest. ON STEFAN'S MEN They're enveloped in impenetrable MIST. There's mass confusion.</scene_description> <character>CAPTAIN</character> <dialogue>Retreat!</dialogue> <scene_description>ON MALEFICENT She moves away through the forest. Without warning, Stefan's MEN come out of the mist directly ahead. Their horses charge toward her. She doesn't have time to run. Suddenly, an ENORMOUS SILVER WOLF leaps out in front of her. The horses panic and rear. The WOLF chases them away. Maleficent sits down on a rock and waits. In a moment, her father approaches.</scene_description> <character>MALEFICENT</character> <dialogue>I could have handled that myself.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>I shouldn't have interfered.</dialogue> <character>MALEFICENT</character> <dialogue>It's not like you.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>I don't know what came over me. But I'm glad to see that you've come back with a vengeance. The curse was masterful.</dialogue> <character>MALEFICENT</character> <dialogue>Stefan deserves everything he gets.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>An eye for an eye. Tooth for a tooth.</dialogue> <character>MALEFICENT</character> <dialogue>Exactly.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>I'm proud of you. It's just the sort of thing I would have done.</dialogue> <scene_description>He walks away into the mist. Maleficent thinks about that, oddly unsettled. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. KING STEFAN'S CASTLE</stage_direction> <scene_description>The Captain takes off his heavy helmet. He's dusty and exhausted. Stefan holds up a hand.</scene_description> <character>STEFAN</character> <dialogue>Don't speak unless the words are: "Maleficent is dead".</dialogue> <scene_description>The Captain drops his head and trudges out. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. A MEADOW - DAY</stage_direction> <scene_description>A child's screams and laughter fills the air. The Pixies chase THREE YEAR-OLD Aurora across a meadow.</scene_description> </scene> <scene> <stage_direction>EXT. A TREE - DAY</stage_direction> <scene_description>Maleficent and Diaval watch from a high tree across a steep gully beyond them.</scene_description> <character>THE MEADOW</character> <dialogue>Knotgrass stumbles and falls. There's a Pixie pileup.</dialogue> <character>KNOTGRASS</character> <dialogue>Get off!</dialogue> <character>FLITTLE</character> <dialogue>I've lost my slipper!</dialogue> <character>THISTLEWIT</character> <dialogue>You're stepping on my hair.</dialogue> <scene_description>As they pinch and squeal, toddler Aurora runs on. ON THE BABY - MALEFICENT'S POV The unsupervised toddler runs straight toward the steep \* drop-off of the gully. \*</scene_description> <character>MALEFICENT</character> <dialogue>The little beastie is going to fall \* into that ravine. \*</dialogue> <scene_description>ON THE PIXIES The Pixies haven't even noticed that Aurora is gone. ON MALEFICENT AND DIAVAL</scene_description> <character>MALEFICENT</character> <dialogue>Do they even know she's gone?</dialogue> <character>DIAVAL</character> <dialogue>AWK!</dialogue> <scene_description>He flies off to alert them. ON THE TODDLER She's coming closer to the drop-off. ON MALEFICENT She's getting nervous.</scene_description> <character>MALEFICENT</character> <dialogue>Go back. You're going to fall.</dialogue> <scene_description>ON THE TODDLER She's still not slowing. She runs right to the edge of the drop-off. ON MALEFICENT</scene_description> <character>MALEFICENT</character> <dialogue>Go back!</dialogue> <scene_description>ON THE TODDLER She runs right off the steep edge. But she doesn't fall. She hangs in midair, her chubby legs still running in place.</scene_description> <character>ON MALEFICENT</character> <dialogue>She holds out the staff, magically keeping the baby in the air.</dialogue> <character>ON THE BABY</character> <dialogue>The baby laughs gleefully.</dialogue> <character>ON MALEFICENT</character> <dialogue>She smiles despite herself. She spins the staff. ON THE TODDLER</dialogue> <dialogue>The baby spins upside down and back around, then keeps running in midair back to the cliff. Her little feet land on firm ground and she runs back the way she came.</dialogue> <character>ON MALEFICENT</character> <dialogue>She drops the staff and shakes her head.</dialogue> </scene> <scene> <stage_direction>EXT. THE MEADOW - DAY</stage_direction> <scene_description>Diaval flies around the Pixies' heads trying to get their attention. They swat at him.</scene_description> <character>FLITTLE</character> <dialogue>Go away!</dialogue> <scene_description>Diaval snatches at Thistlewit's hair.</scene_description> <character>THISTLEWIT</character> <dialogue>Don't touch the hair!</dialogue> <scene_description>Diaval hears laughter. He sees the toddler coming back toward the Pixies. She runs to them. They pick her up.</scene_description> <character>KNOTGRASS</character> <dialogue>There you are!</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - DAY</stage_direction> <scene_description>Maleficent sits on her throne. Diaval is perched on her shoulder. He preens his feathers. She draws absently in the dirt with her staff. They're both thinking of Aurora.</scene_description> <character>MALEFICENT</character> <dialogue>I wonder what the little beastie is up to?</dialogue> <scene_description>They both leap up a little too eagerly.</scene_description> </scene> <scene> <stage_direction>EXT. THE COTTAGE - DAY</stage_direction> <scene_description>The Pixies are having a picnic. AURORA is 5 years old now. Maleficent and Diaval observe from the forest shadows. An autumn downpour suddenly drenches the Pixies. They scream and run into the house forgetting all about Aurora. Aurora follows them back to the cottage. But they've already closed the door. She pounds on it, but no one answers. She cries. Still no one comes. Maleficent and Diaval look at each other. Aurora goes around the cottage, looking for a way in, sobbing and getting drenched. Maleficent throws up her hands with disgust. She lifts her STAFF. A GALE FORCE WIND angrily blows the front door off its hinges.</scene_description> </scene> <scene> <stage_direction>INT. THE COTTAGE - DAY</stage_direction> <scene_description>The Pixies stare at the broken-down door. Aurora walks in, drenched and crying.</scene_description> <character>KNOTGRASS</character> <dialogue>There you are.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE FOREST - DAY</stage_direction> <scene_description>Aurora is 7. She gathers berries. She sits down under a tree to eat a few. In a moment, her eyes close and she drifts off. A SNAKE crawls towards her from the bushes. It gets closer. Suddenly a tall HORNED SHADOW looms over the sleeping girl. Maleficent's staff lifts the SNAKE and tosses it away. ON MALEFICENT She stands over the sleeping child. Her expression softens briefly. Then she shakes her head as if admonishing herself for having a weak moment. She glances up at Diaval in the tree.</scene_description> <character>MALEFICENT</character> <dialogue>What?</dialogue> <scene_description>He turns his head away as if he saw nothing. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE WOODS - DAY</stage_direction> <scene_description>Aurora is now 10 years old. She plays sword fight with an invisible friend near a rushing river.</scene_description> <character>AURORA</character> <dialogue>Yah! Yah! Have at you!</dialogue> <scene_description>Her game takes her to the river. She crosses on the stepping stones, but loses her balance and falls into the river.</scene_description> </scene> <scene> <stage_direction>EXT. THE RIVER - ON AURORA</stage_direction> <scene_description>The current is strong. She's swept downstream. She goes under, comes up, gasping, grabs for tree roots, anything. She goes under again. Her hand reaches up and finds... Maleficent's STAFF. She grabs onto it with both hands and she's pulled onto the bank.</scene_description> </scene> <scene> <stage_direction>EXT. THE BANK - DAY</stage_direction> <scene_description>She lays face-down on the bank, not moving. Maleficent's HORNED SHADOW leans over her to see if she's breathing. Aurora gasps. Maleficent's shadow retreats. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. ON AURORA AND MALEFICENT'S SHADOW - DAY</stage_direction> <scene_description>15 year old, AURORA runs toward the faerie path and the moors beyond. Maleficent's shadow with Diaval on her shoulder tracks her as she goes.</scene_description> <character>KNOTGRASS (O.S.)</character> <dialogue>Come back, Aurora! \*</dialogue> <scene_description>Aurora turns around. Maleficent's shadow quickly blends in with the shadow of a rock. Aurora is very pretty with tiny, delicate features. The Pixies beckon her from the cottage.</scene_description> <character>FLITTLE</character> <dialogue>Don't go near the moors!</dialogue> <character>AURORA</character> <dialogue>Why can't I?</dialogue> <character>KNOTGRASS</character> <dialogue>Because we said so.</dialogue> <character>AURORA</character> <dialogue>You always say that.</dialogue> <scene_description>ON MALEFICENT AND DIAVAL, THE MAN They sit on the rock, watching her go inside.</scene_description> <character>MALEFICENT</character> <dialogue>They're going about this all wrong. \* If they tell her "no", that's \* exactly what she'll do. \*</dialogue> <character>DIAVAL</character> <dialogue>May I ask you a question?</dialogue> <character>MALEFICENT</character> <dialogue>That depends.</dialogue> <character>DIAVAL</character> <dialogue>When are you planning to undo your curse?</dialogue> <character>MALEFICENT</character> <dialogue>Who said I was planning to undo it?</dialogue> <character>DIAVAL</character> <dialogue>Mistress.</dialogue> <character>MALEFICENT</character> <dialogue>I hate the little beastie.</dialogue> <character>DIAVAL</character> <dialogue>You hate Stefan! May I speak freely?</dialogue> <character>MALEFICENT</character> <dialogue>You can't seem to help yourself.</dialogue> <character>DIAVAL</character> <dialogue>You're not as bad as you think you are.</dialogue> <scene_description>Annoyed, she waves her hand to transform him.</scene_description> <character>MALEFICENT</character> <dialogue>Be a bird!</dialogue> <scene_description>But this time, he catches her hand and holds it.</scene_description> <character>DIAVAL</character> <dialogue>Every time you don't like what I have to say you transform me back into a bird.</dialogue> <character>MALEFICENT</character> <dialogue>I thought you liked being a bird.</dialogue> <scene_description>He looks at her with more feelings than he can share.</scene_description> <character>DIAVAL</character> <dialogue>Not as much as I used to.</dialogue> <scene_description>Maleficent looks away. She waves her hand abruptly and transforms him.</scene_description> </scene> <scene> <stage_direction>INT. STEFAN'S CASTLE - THE GREAT HALL - DAY</stage_direction> <scene_description>King Stefan has aged beyond his years. Children run and scream. Leah is with child again.</scene_description> <character>STEFAN</character> <dialogue>Your children are driving me mad!</dialogue> <character>LEAH</character> <dialogue>They're your children too.</dialogue> <scene_description>The Captain approaches. He bows and removes his helmet. He's gone grey.</scene_description> <character>STEFAN</character> <dialogue>Well?</dialogue> <scene_description>The Captain shakes his head.</scene_description> <character>STEFAN</character> <dialogue>I don't want to hear that!</dialogue> <character>LEAH</character> <dialogue>He didn't say anything. Let the man speak.</dialogue> <character>STEFAN'S CAPTAIN</character> <dialogue>Sire. My men and I have searched the length and breadth of the land, kingdom to kingdom, shore to shore and back again. We have endured rainstorms, blizzards, gale force winds, scorching heat and the attack of countless wild creatures. But Maleficent is not to be found. I am sorry I have failed you.</dialogue> <character>STEFAN</character> <dialogue>You're dismissed!</dialogue> <scene_description>The Captain trudges off, secretly relieved.</scene_description> <character>LEAH</character> <dialogue>Why are you still looking for that witch?</dialogue> <character>STEFAN</character> <dialogue>She's not a witch.</dialogue> <character>LEAH</character> <dialogue>She may be dead.</dialogue> <character>STEFAN</character> <dialogue>She's not dead. I would know if she were.</dialogue> <scene_description>Leah looks at her husband curiously.</scene_description> <character>LEAH</character> <dialogue>Is there something you haven't told me?</dialogue> <character>STEFAN</character> <dialogue>No. \*</dialogue> <character>LEAH</character> <dialogue>You have to forget about Maleficent.</dialogue> <character>LEAH</character> <dialogue>Aurora will be returned to us soon and this unpleasantness will be behind us.</dialogue> <character>STEFAN</character> <dialogue>What is your mother doing?</dialogue> <scene_description>Old Queen Mary sits by the window at a spinning wheel. \*</scene_description> <character>LEAH</character> <dialogue>Spinning, Stefan. \*</dialogue> <scene_description>She enjoys the work.</scene_description> <character>STEFAN</character> <dialogue>I had all the spinning wheels destroyed.</dialogue> <character>LEAH</character> <dialogue>It's been years. I'm certain Maleficent has forgotten all about that silly insult at the christening.</dialogue> <character>STEFAN</character> <dialogue>She has not forgotten. Maleficent cannot be underestimated. We have to remain diligent, especially now. I want that spinning wheel burned.</dialogue> <scene_description>Leah looks at her husband, thinking of all the other men she might have married.</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE MOUND - NIGHT</stage_direction> <scene_description>Maleficent sits on her throne surrounded by the guards. Diaval sits on her shoulder. Kinloch and some faeries approach.</scene_description> <character>KINLOCH</character> <dialogue>Your Majesty.</dialogue> <scene_description>She's instantly defensive.</scene_description> <character>MALEFICENT</character> <dialogue>What is it? Don't you like the way I govern? All's well in the moors, is it not?</dialogue> <character>KINLOCH</character> <dialogue>Yes.</dialogue> <character>MALEFICENT</character> <dialogue>Then what seems to be the problem?</dialogue> <character>KINLOCH</character> <dialogue>We're not free to go to the human world.</dialogue> <character>MALEFICENT</character> <dialogue>Ah well, that's a price we all must learn to live with. Now go away before I become unpleasant.</dialogue> <character>KINLOCH</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Become?</dialogue> <scene_description>Maleficent heard that. She levels her dark gaze on him.</scene_description> <character>MALEFICENT</character> <dialogue>This is not unpleasant. Do you want to see what unpleasant looks like?</dialogue> <scene_description>Maleficent's face changes. Her darkest nature comes to the surface. Anger and bitterness twist her face so that she does look truly frightening. White Fire erupts all around her. Kinloch and faeries rush away. Maleficent strokes Diaval.</scene_description> <character>MALEFICENT</character> <dialogue>He made me do that. I didn't enjoy it at all.</dialogue> </scene> <scene> <stage_direction>INT. THE COTTAGE - NIGHT</stage_direction> <scene_description>Maleficent stands outside the cottage.</scene_description> <character>IN THE WINDOW - HER POV</character> <dialogue>She can see Aurora in her nightgown getting ready for bed. ON MALEFICENT</dialogue> <dialogue>She looks torn as if battling dark forces within. She turns abruptly and walks away.</dialogue> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM</stage_direction> <scene_description>She lies in her bed. The Pixies open the door.</scene_description> <character>KNOTGRASS</character> <dialogue>Is she asleep yet?</dialogue> <scene_description>She closes her eyes, pretending. They close the door.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - NIGHT</stage_direction> <scene_description>The Pixies take off their tattered, peasant sweaters like \* too-tight brassieres and release their wings, stretching \* them out. \*</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM</stage_direction> <scene_description>She opens her eyes again and sits up. She looks out the window. ON THE MOORS - HER POV The mist rises up across the hills in the distance. The moors seem to beckon her. ON AURORA Aurora looks back at the kitchen, then opens the window and slips out into the night.</scene_description> </scene> <scene> <stage_direction>105A EXT. THE FAERIE PATH - NIGHT 105A</stage_direction> <scene_description>Aurora runs across the faerie path and into the moors, leaping with mischievous joy.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - NIGHT</stage_direction> <scene_description>Aurora follows the faerie path. She hear the FAERIE VOICES. She stops to listen.</scene_description> <character>ON THE MOORLAND FAERIES - HER POV</character> <dialogue>She sees the Fair Folk camouflaged in the flowers, trees, streams and ponds.</dialogue> <character>AURORA</character> <dialogue>I knew you were here.</dialogue> </scene> <scene> <stage_direction>EXT. THE COTTAGE - NIGHT</stage_direction> <scene_description>Maleficent has returned. She approaches the cottage soundlessly. She sees Aurora's window, open now. She frowns and looks inside.</scene_description> <character>ON AURORA'S BEDROOM - HER POV</character> <dialogue>The bed is empty. Aurora's nowhere in sight.</dialogue> </scene> <scene> <stage_direction>EXT. THE COTTAGE - NIGHT</stage_direction> <scene_description>Worried, Maleficent moves around to the kitchen window.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - NIGHT</stage_direction> <scene_description>The Pixies fly around the kitchen, bashing into each other, knocking things over and laughing hysterically. Milk jugs lay spilt on the table. Butterflies abound.</scene_description> <character>ON MALEFICENT</character> <dialogue>She looks around for Aurora in a panic. Diaval flies toward \* her. She waves her hand to transform him. \*</dialogue> <character>MALEFICENT</character> <dialogue>Now a man!</dialogue> <scene_description>He transforms before he lands. He hits the ground hard.</scene_description> <character>DIAVAL</character> <dialogue>Can you wait until I've landed?</dialogue> <character>MALEFICENT</character> <dialogue>Have you seen Aurora?</dialogue> <character>DIAVAL</character> <dialogue>I spotted her in the moors.</dialogue> <character>MALEFICENT</character> <dialogue>Then what are you doing here? You shouldn't have left her alone! She can't wander around out there by herself!</dialogue> <character>DIAVAL</character> <dialogue>I thought you hated her.</dialogue> <scene_description>She hurries away. He looks down at his human body.</scene_description> <character>DIAVAL</character> <dialogue>Don't leave me like this.</dialogue> <character>ON MALEFICENT</character> <dialogue>She waves an impatient hand over her head.</dialogue> <character>MALEFICENT</character> <dialogue>Be a bird.</dialogue> <scene_description>In a moment, Diaval strafes her head, just a little too close.</scene_description> <character>MALEFICENT</character> <dialogue>Stay with her!</dialogue> </scene> <scene> <stage_direction>EXT. THE MOORS - THE BLACKTHORN TREE - NIGHT</stage_direction> <scene_description>The full moon shines down on Aurora who stands at the bottom of the tree looking up at the Elves. They screech at her. She's not afraid of them. Diaval circles overhead and lands in a nearby tree to keep watch. A PEAT BOG Aurora approaches the peat bog and watches the Wallerbogs \* drool and dribble. \* ON MALEFICENT'S MOON-SHADOW - AURORA'S POV Maleficent's shadow looms over her suddenly. It's distinct and clear in the moonlight. Aurora smiles to see it.</scene_description> <character>AURORA</character> <dialogue>I know you're there.</dialogue> <scene_description>The shadow retreats suddenly. She turns around.</scene_description> <character>AURORA</character> <dialogue>Don't be afraid.</dialogue> <scene_description>Maleficent's amused voice answers from behind the rocks.</scene_description> <character>MALEFICENT (O.S.)</character> <dialogue>I'm not afraid.</dialogue> <character>AURORA</character> <dialogue>Then come out.</dialogue> <character>MALEFICENT</character> <dialogue>You'll be startled.</dialogue> <character>AURORA</character> <dialogue>I won't. Come out.</dialogue> <scene_description>Maleficent emerges. Aurora smiles, not the least surprised by her appearance.</scene_description> <character>AURORA</character> <dialogue>Hello, Faerie Godmother.</dialogue> <scene_description>Maleficent tries not to laugh.</scene_description> <character>MALEFICENT</character> <dialogue>You think I'm you're Faerie Godmother?</dialogue> <character>AURORA</character> <dialogue>Who else would you be? You've been watching over me my whole life.</dialogue> <character>MALEFICENT</character> <dialogue>Somebody had to.</dialogue> <character>AURORA</character> <dialogue>I've always known about you...ever since I was a little girl.</dialogue> <scene_description>She turns around so that Maleficent's shadow falls over her again.</scene_description> <character>AURORA</character> <dialogue>You see? That's the shadow I've been seeing ever since I was small. Wherever I went that shadow was always with me. But don't you have a bird?</dialogue> <scene_description>In the shadow, Diaval lands on Maleficent's shoulder.</scene_description> <character>MALEFICENT</character> <dialogue>This is Diaval.</dialogue> <scene_description>Aurora turns and reaches up to pet him. He preens. WILD ELVISH WOMEN and WEB-FOOTED SPRITES with sharp teeth watch from the thick tangled roots of trees. Aurora sees them.</scene_description> <character>AURORA</character> <dialogue>Who are they?</dialogue> <scene_description>Maleficent steps between them.</scene_description> <character>MALEFICENT</character> <dialogue>Not everyone you meet in the moors is benevolent. You must never come out here alone.</dialogue> <character>AURORA</character> <dialogue>I'm not afraid.</dialogue> <character>MALEFICENT</character> <dialogue>That's enough for one night.</dialogue> <character>AURORA</character> <dialogue>But...</dialogue> <scene_description>Maleficent waves her hand in front of her eyes.</scene_description> <character>MALEFICENT</character> <dialogue>Sleep.</dialogue> <scene_description>Aurora goes limp. Maleficent catches her by lifting her hands. Aurora floats in the air.</scene_description> </scene> <scene> <stage_direction>EXT. THE FOREST - NEAR DAWN</stage_direction> <scene_description>A prone, sleeping Aurora drifts back toward the cottage. Diaval flies ahead. Maleficent walks behind.</scene_description> </scene> <scene> <stage_direction>INT. THE COTTAGE - AURORA'S BEDROOM</stage_direction> <scene_description>Maleficent lowers her back into her bed. She pulls the covers up, then she waves her hands over her.</scene_description> <character>MALEFICENT</character> <dialogue>My curse is undone. You are free to live a long and happy life. And you will never tell your aunts about me. Good night, beastie.</dialogue> </scene> <scene> <stage_direction>EXT. THE COTTAGE - THE NEXT MORNING</stage_direction> <scene_description>The kitchen is a disaster. Flittle climbs up on a stack of chairs to get a vase. Thistlewit and Knotgrass sit at the table. Thistlewit has her head in her hands.</scene_description> <character>THISTLEWIT</character> <dialogue>I drank too much milk. Why did you let me do that?</dialogue> <character>KNOTGRASS</character> <dialogue>Where's your kerchief?</dialogue> <character>THISTLEWIT</character> <dialogue>I lost it.</dialogue> <scene_description>Knotgrass tries to put a kerchief on Thistlewit who pushes her away. Flittle reaches for the vase. She loses her balance and falls to the floor.</scene_description> <character>FLITTLE</character> <dialogue>Ah! That wouldn't have happened if I could use my wings.</dialogue> <character>KNOTGRASS</character> <dialogue>Shh! She'll be up soon.</dialogue> <character>FLITTLE</character> <dialogue>I want to fly again!</dialogue> <character>THISTLEWIT</character> <dialogue>I want to go back to the castle!</dialogue> <character>KNOTGRASS</character> <dialogue>So do I! Do you think I like being trapped in this horrid little cottage with you two imbeciles?</dialogue> <scene_description>They all start to cry. Aurora walks in to find her aunts bawling. She shakes her head as if this is nothing new.</scene_description> <character>AURORA</character> <dialogue>There. There. What happened this time?</dialogue> <character>FLITTLE</character> <dialogue>I fell and hurt myself.</dialogue> <scene_description>She helps Flittle up.</scene_description> <character>AURORA</character> <dialogue>Poor old thing. Wait. I have a question. How old are you? You've looked the same my whole life. And another thing, why do we have spring flowers even in winter?</dialogue> <scene_description>She waves at the butterflies.</scene_description> <character>AURORA</character> <dialogue>And where are all these butterflies coming from?</dialogue> <scene_description>No one ventures an answer.</scene_description> <character>FLITTLE</character> <dialogue>So, did you sleep well?</dialogue> <character>AURORA</character> <dialogue>And why do you always ignore my questions!</dialogue> <scene_description>They putter around the kitchen.</scene_description> <character>KNOTGRASS</character> <dialogue>Would you like breakfast, Cabbage?</dialogue> <character>FLITTLE</character> <dialogue>She doesn't want cabbage for breakfast. Who eats cabbage for breakfast?</dialogue> <character>KNOTGRASS</character> <dialogue>I didn't say, do you want cabbage for breakfast? I said...do you want breakfast, Cabbage?</dialogue> <scene_description>Aurora shakes her head and looks skyward... Why me ?</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - A PEAT BOG - ANOTHER NIGHT</stage_direction> <scene_description>Aurora plays in the peat bog with the Wallerbogs. Mud flies. She laughs hysterically. Maleficent and Diaval share their amusement.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - ANOTHER NIGHT</stage_direction> <scene_description>Aurora and Maleficent sit together on a rock overlooking the moors. They watch Diaval soar high on the wind above.</scene_description> <character>AURORA</character> <dialogue>And he's also a man?</dialogue> <character>MALEFICENT</character> <dialogue>If I want him to be.</dialogue> <scene_description>Aurora watches Heather Faeries fly over the meadows below.</scene_description> <character>AURORA</character> <dialogue>Do all of the Fair People have wings?</dialogue> <character>MALEFICENT</character> <dialogue>Most do.</dialogue> <character>AURORA</character> <dialogue>Then why don't you?</dialogue> <scene_description>The old anger suddenly rises up in Maleficent.</scene_description> <character>MALEFICENT</character> <dialogue>I said...most do!</dialogue> <scene_description>Aurora's taken aback.</scene_description> <character>AURORA</character> <dialogue>Sorry I asked.</dialogue> <scene_description>Maleficent softens.</scene_description> <character>MALEFICENT</character> <dialogue>I had wings once.</dialogue> <character>AURORA</character> <dialogue>What happened to them?</dialogue> <character>MALEFICENT</character> <dialogue>They were stolen from me. That's all I'll say about it.</dialogue> <character>AURORA</character> <dialogue>What color were they?</dialogue> <character>MALEFICENT</character> <dialogue>Black. And that's enough about them.</dialogue> <scene_description>Aurora waits a minute.</scene_description> <character>AURORA</character> <dialogue>How big were they?</dialogue> <character>MALEFICENT</character> <dialogue>Aurora.</dialogue> <scene_description>Aurora goes quiet. Maleficent looks off, remembering.</scene_description> <character>MALEFICENT</character> <dialogue>So big they dragged behind me when I walked. And they were strong. \* They could carry me above the \* clouds and straight into the \* headwinds. They never faltered. Not \* once. I could trust them. \*</dialogue> <scene_description>Aurora can see her loss and regret. She takes her hand. Maleficent looks down at Stefan's child's hand in her own. Her heart freezes. She pulls it away.</scene_description> <character>MALEFICENT</character> <dialogue>Time to go back.</dialogue> </scene> <scene> <stage_direction>EXT. THE MOORS - NEAR DAWN</stage_direction> <scene_description>They walk back together across the misty hills. Diaval flies above.</scene_description> <character>AURORA</character> <dialogue>I have a confession to make.</dialogue> <character>MALEFICENT</character> <dialogue>Do you?</dialogue> <character>AURORA</character> <dialogue>All day long, all I can think about is coming back to the moors. I love it here. It feels like home to me.</dialogue> <character>MALEFICENT</character> <dialogue>This is not your home.</dialogue> <scene_description>Aurora walks a little ahead of her.</scene_description> <character>AURORA</character> <dialogue>Then where is it? And don't tell me it's that cottage with my aunts.</dialogue> <scene_description>She steps onto the edge of a WHITE STONE that juts up from the ground. As her foot lands briefly on it... it ROARS, shaking the ground. Aurora jumps off quickly.</scene_description> <character>AURORA</character> <dialogue>What was that?</dialogue> <scene_description>Maleficent looks around, alarmed.</scene_description> <character>MALEFICENT</character> <dialogue>Come back. Quickly!</dialogue> <scene_description>Aurora hurries back toward her and steps on the stone again. It ROARS. Aurora runs to her side. Maleficent and Diaval look at the white stone. ON THE QUEEN'S STONE It's tilted and half-buried in sod and grass.</scene_description> <character>MALEFICENT</character> <dialogue>So that's where it fell.</dialogue> <scene_description>Aurora approaches.</scene_description> <character>AURORA</character> <dialogue>What is it?</dialogue> <scene_description>Maleficent looks from the Queen's Stone to Aurora...and back again with shock and realization.</scene_description> <character>AURORA</character> <dialogue>What's wrong?</dialogue> <character>MALEFICENT</character> <dialogue>Nothing. Go to sleep.</dialogue> <scene_description>She waves her hand in front of her eyes. Aurora goes limp. Maleficent keeps her aloft as she sleeps. She looks at Diaval.</scene_description> <character>MALEFICENT</character> <dialogue>How is it possible?</dialogue> <scene_description>She closes her eyes and holds her staff out over the Stone. She slowly raises it out of the ground and sets it upright on top of the ground. She brushes the dirt away. Then she slowly lowers the prone, sleeping Aurora onto the Queen's Stone. She's so small she fits on it perfectly. As her body settles down, the STONE PURRS, exactly the way it did when Ulla stood on it years earlier. Maleficent looks at Diaval with disbelief. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - A RUINED CASTLE - DUSK</stage_direction> <scene_description>Maleficent stands before the ruins. In a moment, her father appears.</scene_description> <character>MALEFICENT'S FATHER</character> <dialogue>This is an interesting twist of fate.</dialogue> <character>MALEFICENT</character> <dialogue>If Aurora is the true Queen, then maybe I should step down.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>You'd give up your throne? To the child of your sworn enemy no less? What's gotten into you?</dialogue> <character>MALEFICENT</character> <dialogue>It was never mine. I took it by force.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>You did what had to be done at the time. Forget about the Stone. Bury it. No one will ever know.</dialogue> <character>MALEFICENT</character> <dialogue>I will know.</dialogue> <character>MALEFICENT'S FATHER</character> <dialogue>There's that conscience again. I think the raven is right about you.</dialogue> <scene_description>He seems disappointed as he walks back into the ruins.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - NIGHT</stage_direction> <scene_description>Maleficent walks, practicing what she's going to say.</scene_description> <character>MALEFICENT</character> <dialogue>There's something you need to know....this is going to come as a big shock...no...sit down...</dialogue> <scene_description>She hears Aurora's laughter. She listens. There's another unfamiliar voice. A YOUNG MAN'S voice. The words are not distinct. Maleficent peers through the foliage. ON AURORA AND PHILLIP - HER POV Aurora is talking to a handsome young man who holds a white horse.</scene_description> <character>PHILLIP</character> <dialogue>I'd better be on my way.</dialogue> <scene_description>He gets on the horse.</scene_description> <character>AURORA</character> <dialogue>What's your name?</dialogue> <character>PHILLIP</character> <dialogue>Phillip. Maybe I'll be lucky enough to see you again.</dialogue> <character>AURORA</character> <dialogue>Then I would be lucky too.</dialogue> <character>PHILLIP</character> <dialogue>Where do you live?</dialogue> <scene_description>She opens her arms.</scene_description> <character>AURORA</character> <dialogue>Here.</dialogue> <character>PHILLIP</character> <dialogue>Then I'll see you here!</dialogue> <scene_description>He rides off. Aurora watches him go with a secret smile. Maleficent's MOON-SHADOW looms over her suddenly.</scene_description> <character>MALEFICENT</character> <dialogue>And who was that?</dialogue> <character>AURORA</character> <dialogue>No one.</dialogue> <character>MALEFICENT</character> <parenthetical>(angrily)</parenthetical> <dialogue>I saw you talking to a man... Who \* was it ? \*</dialogue> <scene_description>Aurora's surprised by her anger. \*</scene_description> <character>AURORA</character> <dialogue>Oh, his name was Phillip... He'd \* lost his way. \*</dialogue> <character>MALEFICENT</character> <dialogue>You are not to talk to strangers.</dialogue> <character>AURORA</character> <dialogue>You sound just like my aunts.</dialogue> <character>MALEFICENT</character> <dialogue>I am not like your aunts!</dialogue> <character>AURORA</character> <dialogue>Then why are you acting like them?</dialogue> <character>MALEFICENT</character> <dialogue>I'm trying to keep you safe!</dialogue> <character>AURORA</character> <dialogue>I'm almost sixteen! I can take care of myself!</dialogue> <scene_description>She turns and runs off. Maleficent doesn't go after her.</scene_description> <character>MALEFICENT</character> <dialogue>Fine! Go on! Get yourself out of your own mess. I've had enough if it!</dialogue> <scene_description>She steams for a moment, then looks over at Diaval in a nearby tree.</scene_description> <character>MALEFICENT</character> <dialogue>Well, go after her!</dialogue> </scene> <scene> <stage_direction>EXT. A DARK POND - NIGHT</stage_direction> <scene_description>Aurora sits down on a rock to sulk. A LONG GREEN ARM emerges from the water and reaches toward her. Diaval arrives just as the GREEN WATER WOMAN grabs Aurora's ankle. The Green Woman pulls Aurora toward the water. Diaval dives at her.</scene_description> <character>DIAVAL</character> <dialogue>Awk! Awk! \*</dialogue> <character>ON MALEFICENT</character> <dialogue>She hears his cry. She listens.</dialogue> <character>AURORA (O.S.)</character> <dialogue>No! Let me go!</dialogue> <scene_description>Maleficent runs.</scene_description> </scene> <scene> <stage_direction>EXT. THE POND - NIGHT</stage_direction> <scene_description>Aurora kicks at the Green Woman as she pulls her toward the water.</scene_description> <character>AURORA</character> <dialogue>Let go!</dialogue> <character>ON MALEFICENT</character> <dialogue>She runs. Her robes fly behind like wings.</dialogue> <character>THE POND</character> <dialogue>The Green Woman has Aurora in the water. Diaval dives at her. Aurora SCREAMS as the cold water closes over her head.</dialogue> </scene> <scene> <stage_direction>EXT. THE DARK POND - UNDERWATER</stage_direction> <scene_description>The Green Woman drags her down into the dark depths. Diaval dives down into the water after them. He stabs at the Green Woman with his beak. Aurora struggles to get out of her grasp. Suddenly, Maleficent plunges into the water. She pulls Aurora out of the Green Woman's grip. Aurora swims to the surface as Maleficent, the Green Woman and Diaval battle underwater.</scene_description> </scene> <scene> <stage_direction>EXT. THE BANKS OF THE POND - DAY</stage_direction> <scene_description>Coughing and gasping, Aurora drags herself out of the pond. She runs.</scene_description> </scene> <scene> <stage_direction>EXT. THE POND - UNDERWATER</stage_direction> <scene_description>The battle continues until the Green Woman floats away lifelessly. Maleficent kicks to the surface.</scene_description> <character>THE SURFACE</character> <dialogue>She explodes out of the water, gasping for air.</dialogue> <dialogue>She climbs onto the bank and sees the raven's body floating in the water. She picks him up and lays him on the bank. He doesn't move.</dialogue> <character>MALEFICENT</character> <dialogue>Diaval?</dialogue> <scene_description>She waves his hands over him frantically.</scene_description> <character>MALEFICENT</character> <dialogue>Now a man!</dialogue> <scene_description>Diaval transforms. But he's still not breathing.</scene_description> <character>MALEFICENT</character> <dialogue>Diaval? Diaval!</dialogue> <scene_description>She pounds on his chest. He gasps suddenly, and gulps for \* air. Maleficent leans back, more relieved than she ever \* thought she'd be. Diaval sits up. \*</scene_description> <character>MALEFICENT</character> <dialogue>I thought I'd lost you.</dialogue> <scene_description>But this is too revealing.</scene_description> <character>MALEFICENT</character> <dialogue>Then what would I do for wings?</dialogue> <scene_description>Diaval covers his disappointment at her cavalier attitude. He looks around.</scene_description> <character>DIAVAL</character> <dialogue>Where's Aurora?</dialogue> </scene> <scene> <stage_direction>INT. THE COTTAGE - AURORA'S BEDROOM</stage_direction> <scene_description>Aurora sleeps in her bed. Maleficent stands over her.</scene_description> <character>MALEFICENT</character> <dialogue>Aurora?</dialogue> <scene_description>She doesn't stir. Maleficent pulls the covers over her gently and goes out. Diaval sits in the window for a moment before he flies away. After they've gone, Aurora opens her eyes.</scene_description> </scene> <scene> <stage_direction>INT. THE COTTAGE - AURORA'S BEDROOM - DAY</stage_direction> <scene_description>The Pixies burst into her bedroom, waking her abruptly.</scene_description> <character>THISTLEWIT</character> <dialogue>Happy birthday, Cabbage!</dialogue> <character>KNOTGRASS</character> <dialogue>We're going on a lovely journey today.</dialogue> <scene_description>Aurora looks out the window at the moors.</scene_description> <character>AURORA</character> <dialogue>I don't want to go on a journey.</dialogue> <character>KNOTGRASS</character> <dialogue>You don't have a choice. Get her dressed.</dialogue> <scene_description>They throw clothes at her.</scene_description> </scene> <scene> <stage_direction>EXT. THE COTTAGE - DAY</stage_direction> <scene_description>The Pixies are in the wagon. Aurora is reluctant. She looks out at the moors.</scene_description> <character>AURORA</character> <dialogue>I'm not going.</dialogue> <character>FLITTLE</character> <dialogue>Why not?</dialogue> <character>AURORA</character> <dialogue>There's someone I need to talk to.</dialogue> <character>KNOTGRASS</character> <dialogue>Who? You don't know anyone.</dialogue> <character>AURORA</character> <dialogue>I'm not going.</dialogue> <scene_description>Knotgrass finally loses it.</scene_description> <character>KNOTGRASS</character> <dialogue>Sixteen years. We've looked after you out here in the middle of nowhere in that broken down raggedy hovel for sixteen years!</dialogue> <character>FLITTLE</character> <dialogue>We've put up with your whining and crying and puking...</dialogue> <character>THISTLEWIT</character> <dialogue>And all your stupid questions that we don't know the answers to!</dialogue> <character>KNOTGRASS</character> <dialogue>We've done our job. And now we're giving you back. Get in the wagon!</dialogue> <scene_description>They pull her into the wagon forcefully and jam her in between them. Knotgrass whips the horse. Aurora looks back at the moors as they drive off. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. KING STEFAN'S CASTLE - EVENING</stage_direction> <scene_description>The Pixies wagon approaches the castle at a dead run.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - EVENING</stage_direction> <scene_description>The hall is being set up for Aurora's arrival the next day. Servants set up tables. Children run through. Leah holds a baby. The Pixies enter with Aurora. She's utterly bewildered.</scene_description> <character>PIXIES</character> <dialogue>We're back!</dialogue> <character>STEFAN</character> <dialogue>What are you doing here? You are not to arrive until tomorrow.</dialogue> <character>KNOTGRASS</character> <dialogue>Today is her sixteenth birthday.</dialogue> <character>STEFAN</character> <dialogue>I told you to bring her the day after her birthday.</dialogue> <scene_description>Aurora looks around at the heavy oppressive room...the iron filigree above. She puts her hand on the stone wall and pulls it back quickly. She shudders.</scene_description> <character>THISTLEWIT</character> <dialogue>Well, it's been a long time. How can we be expected to remember?</dialogue> <character>STEFAN</character> <dialogue>I should have known not to trust Flower Pixies! Where's the child?</dialogue> <scene_description>He looks right past Aurora. They push her toward him.</scene_description> <character>FLITTLE</character> <dialogue>Here.</dialogue> <character>STEFAN</character> <dialogue>This?</dialogue> <character>KNOTGRASS</character> <dialogue>Aurora, meet your mother and father.</dialogue> <scene_description>Aurora is so shocked she can't speak. Leah hands her baby to a nursemaid and opens her arms to Aurora.</scene_description> <character>LEAH</character> <dialogue>Come over here and let me have a look at you.</dialogue> <scene_description>She backs up a step.</scene_description> <character>STEFAN</character> <dialogue>What are we going to do with her? The idiot Pixies have brought her back a day too soon.</dialogue> <scene_description>Flittle folds her arms.</scene_description> <character>FLITTLE</character> <dialogue>Well, we're not taking her back.</dialogue> <character>AURORA</character> <dialogue>I can't stay anyway.</dialogue> <scene_description>She rubs the tip of her index finger absently.</scene_description> <character>STEFAN</character> <dialogue>We'll have to lock you in a safe place for the night.</dialogue> <character>AURORA</character> <dialogue>Why?</dialogue> <character>LEAH</character> <dialogue>I know it's a terrible homecoming, dear. But your father's worried \* about some old curse. \*</dialogue> <character>AURORA</character> <dialogue>I have to go back to the moors.</dialogue> <character>STEFAN</character> <dialogue>That life is over.</dialogue> <scene_description>Stefan pulls her away. Flittle sees the lady with the Blue Face who has grown much older. She points at Flittle.</scene_description> <character>BLUE LADY</character> <dialogue>You ruined my life!</dialogue> <scene_description>Flittle grabs Knotgrass urgently.</scene_description> <character>FLITTLE</character> <dialogue>I've changed my mind. I want to go back to the horrid little cottage.</dialogue> </scene> <scene> <stage_direction>INT. THE HALL - DAY</stage_direction> <scene_description>Stefan ushers Aurora firmly down the hall.</scene_description> <character>AURORA</character> <dialogue>Let me go back. Please. This is a mistake.</dialogue> <character>STEFAN</character> <dialogue>The whining and begging may have softened the Pixies, but not me.</dialogue> <scene_description>He puts her in a room.</scene_description> <character>STEFAN</character> <dialogue>Welcome home. We'll talk in the morning when this is all over.</dialogue> <scene_description>He closes the door and locks it.</scene_description> </scene> <scene> <stage_direction>EXT. THE COTTAGE - NIGHT</stage_direction> <scene_description>Shutters bang on the windows. Diaval lands on the sill and looks in.</scene_description> <character>DIAVAL</character> <dialogue>Awk! Awk!</dialogue> <scene_description>Maleficent emerges from the shadows and goes inside.</scene_description> </scene> <scene> <stage_direction>INT. THE COTTAGE - NIGHT</stage_direction> <scene_description>She walks though the messy abandoned cottage. The flowers are wilted without the Pixies presence there. One stray butterfly has been left behind. She goes into Aurora's bedroom.</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM - NIGHT</stage_direction> <scene_description>But the bed is empty. Alarm floods her face.</scene_description> <character>MALEFICENT</character> <dialogue>Diaval!</dialogue> <scene_description>He flies in the window.</scene_description> <character>MALEFICENT</character> <dialogue>Those idiots have taken her! Fly to Stefan's castle! I have no wings! Fly!</dialogue> </scene> <scene> <stage_direction>INT. STEFAN'S CASTLE - THE KITCHEN - NIGHT</stage_direction> <scene_description>The Pixies gorge themselves on milk and pastries while the servants bustle around them. Diaval lands in the window.</scene_description> <character>KNOTGRASS</character> <dialogue>Even if we did bring her back too soon, we've still foiled Maleficent's curse.</dialogue> <character>FLITTLE</character> <dialogue>She won't die when she pricks her finger. Thanks to our quick thinking.</dialogue> <character>THISTLEWIT</character> <dialogue>My quick thinking. I was the one who said: "It will not be death that claims her only sleep."</dialogue> <scene_description>Diaval twists his head curiously.</scene_description> <character>KNOTGRASS</character> <dialogue>I gave that idea to you.</dialogue> <character>THISTLEWIT</character> <dialogue>No, you didn't.</dialogue> <character>KNOTGRASS</character> <dialogue>Yes, I did.</dialogue> <character>FLITTLE</character> <dialogue>And I thought up the part about "true love's kiss".</dialogue> <character>THISTLEWIT</character> <dialogue>No, you didn't.</dialogue> <character>KNOTGRASS</character> <dialogue>Yes, she did.</dialogue> <character>THISTLEWIT</character> <dialogue>It was my spell! I said "She can only be woken by true love's kiss"!</dialogue> <character>KNOTGRASS</character> <dialogue>We gave it all to you.</dialogue> <character>THISTLEWIT</character> <dialogue>No, you didn't!</dialogue> <scene_description>Diaval has heard enough. He flies away.</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S ROOM - NIGHT</stage_direction> <scene_description>The moon shines on Aurora who rubs the tip of her index finger again. She goes to the window and looks out. Diaval lands on the sill.</scene_description> <character>AURORA</character> <dialogue>Diaval? Is that you?</dialogue> <character>DIAVAL</character> <dialogue>Awk!</dialogue> <scene_description>He flies off.</scene_description> <character>AURORA</character> <dialogue>Where are you going?</dialogue> <scene_description>She rubs her finger again.</scene_description> </scene> <scene> <stage_direction>INT. THE HALLWAY - NIGHT</stage_direction> <scene_description>Stefan paces nervously as he talks to his men. The small key to Aurora's room sits on a table.</scene_description> <character>STEFAN</character> <dialogue>Maleficent will come at midnight to watch her curse unfold. The moment she appears, use the iron. Do not hesitate.</dialogue> <scene_description>Diaval lands on the table. Stefan sees him. He realizes and makes a grab for him. Diaval evades him and snatches the key in his beak.</scene_description> <character>STEFAN</character> <dialogue>Catch that bird!</dialogue> <scene_description>Diaval flies around with the key in his beak evading the men. He flies out of the room. Diaval flies down the hall with Stefan's men behind. He startles the oncoming servants and knocks over tables and chairs.</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S ROOM - NIGHT</stage_direction> <scene_description>She hears a commotion in the hall. A key rattles in the \* door. \*</scene_description> </scene> <scene> <stage_direction>EXT. THE HALL - ON AURORA'S DOOR</stage_direction> <scene_description>Diaval flutters as he tries to fit the key in the lock with his beak. Stefan's men run toward him. He finally manages to fit it in. The men throw objects. He evades them, then turns the key with his beak.</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S ROOM - NIGHT</stage_direction> <scene_description>She hears the lock turn and turns the knob. The door opens. Outside, the guards and servants scream and throw things at the raven who flaps around to distract them. Aurora slips away unseen.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROAD - NIGHT</stage_direction> <scene_description>Maleficent runs as fast as her feet will take her. She looks skyward, wishing desperately for wings.</scene_description> </scene> <scene> <stage_direction>EXT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Stefan looks in the open door to Aurora's empty room.</scene_description> <character>STEFAN</character> <dialogue>Search the castle for the princess Aurora.</dialogue> </scene> <scene> <stage_direction>EXT. THE ROAD - NIGHT</stage_direction> <scene_description>Diaval flies toward Maleficent. He swoops down. She waves her hand.</scene_description> <character>MALEFICENT</character> <dialogue>Now a man.</dialogue> <scene_description>He hits the ground running transformed into a MAN. Maleficent tosses him a bag of clothes.</scene_description> <character>DIAVAL</character> <dialogue>The Pixies changed your curse.</dialogue> <character>MALEFICENT</character> <dialogue>My curse was undone years ago.</dialogue> <character>DIAVAL</character> <dialogue>They replaced it with their own.</dialogue> <character>MALEFICENT</character> <dialogue>The Pixies? They're not smart enough.</dialogue> <character>DIAVAL</character> <parenthetical>(impatiently)</parenthetical> <dialogue>Listen! When she pricks her finger tonight, Aurora will fall asleep.</dialogue> <character>MALEFICENT</character> <dialogue>Fall asleep? Now there's a nasty curse.</dialogue> <character>DIAVAL</character> <dialogue>And she can only be woken by "true love's kiss".</dialogue> <scene_description>Her laughter fades abruptly.</scene_description> <character>MALEFICENT</character> <dialogue>Say that again.</dialogue> <character>DIAVAL</character> <dialogue>She can only be woken by "true love's kiss".</dialogue> <character>MALEFICENT</character> <dialogue>But there's no such thing.</dialogue> <character>DIAVAL</character> <dialogue>What?</dialogue> <character>MALEFICENT</character> <dialogue>There's no such thing as "true love." It doesn't exist.</dialogue> <scene_description>She's looking right at him. But she can't see the love in his eyes.</scene_description> <character>MALEFICENT</character> <dialogue>If she pricks her finger, she'll never wake up. She'll sleep forever. We have to stop her! \*</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER - NIGHT</stage_direction> <scene_description>Aurora races up the tower stairs and runs into a small room to hide. The Bell Tower clock starts to CLANG midnight. ONE.</scene_description> </scene> <scene> <stage_direction>INT. A TOWER ROOM - NIGHT</stage_direction> <scene_description>She enters the tiny room. The clock CLANGS again. TWO. Queen Mary sits under the moonlight, working at a spinning wheel.</scene_description> <character>HUMAN QUEEN MARY</character> <dialogue>Hello Aurora. You've grown up to be \* a lovely young lady. \*</dialogue> <scene_description>The clock CLANGS. THREE. Aurora rubs the tip of her finger which is throbbing terribly.</scene_description> <character>AURORA</character> <dialogue>Who are you?</dialogue> <character>HUMAN QUEEN MARY</character> <dialogue>Your grandmother, dear.</dialogue> <scene_description>The clock CLANGS. FOUR.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROAD - NIGHT</stage_direction> <scene_description>Maleficent watches Diaval fly ahead. She runs until she can't run anymore. She doubles over to catch her breath.</scene_description> <character>ON STEFAN'S CASTLE - HER POV</character> <dialogue>She can see it in the far distance.</dialogue> <character>ON MALEFICENT</character> <dialogue>But she knows she'll never make it in time. She lifts her fists in fury.</dialogue> <character>MALEFICENT</character> <dialogue>I need wings!</dialogue> <scene_description>She hears a WHINNY. ON THE WHITE HORSE A MAGNIFICENT WHITE HORSE runs down the hill toward her. It stops at her side, nostrils flaring. She nods and leaps astride its bare back. They gallop.</scene_description> </scene> <scene> <stage_direction>INT. THE SMALL TOWER ROOM - NIGHT</stage_direction> <scene_description>Aurora can't take her eyes off of the SPINDLE.</scene_description> <character>AURORA</character> <dialogue>Why are you spinning up here all alone?</dialogue> <scene_description>She draws closer. Her finger throbs. The clock clangs FIVE.</scene_description> <character>HUMAN QUEEN MARY</character> <dialogue>King Stefan wanted all the spinning wheels burned.</dialogue> <character>SIX.</character> <dialogue>HUMAN QUEEN MARY</dialogue> <scene_description>Your mother and I hid this one up here where he would never find it. SEVEN. Mesmerized, Aurora reaches out toward the spindle.</scene_description> <character>HUMAN QUEEN MARY</character> <dialogue>Don't touch! It's sharp. You could prick your finger...</dialogue> <scene_description>EIGHT. She pulls her finger back and rubs it.</scene_description> <character>AURORA</character> <dialogue>But I...</dialogue> <scene_description>NINE. She reaches her finger out again.</scene_description> <character>AURORA</character> <dialogue>...must.</dialogue> <scene_description>TEN. Stefan runs into the room.</scene_description> <character>STEFAN</character> <dialogue>STOP!</dialogue> <scene_description>ELEVEN. Aurora pricks her finger on the spindle. The CLOCK strikes TWELVE. Aurora falls to the floor. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE ROAD - ON MALEFICENT</stage_direction> <scene_description>Maleficent gasps as she feels Aurora fall. The horse stops as if it felt it too. She crumbles over the horse's neck. Despair fills her heart. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. STEFAN'S CASTLE - AURORA'S ROOM - LATER</stage_direction> <scene_description>Aurora lies on her bed, deep in enchanted sleep. Stefan and Leah look down at her. The Pixies are there as well. Leah weeps.</scene_description> <character>STEFAN</character> <dialogue>Stop crying. She's only sleeping.</dialogue> <character>LEAH</character> <dialogue>What do we do now?</dialogue> <character>STEFAN</character> <dialogue>Wasn't there something about a kiss to wake her?</dialogue> <scene_description>They all turn to look at Thistlewit.</scene_description> <character>THISTLEWIT</character> <dialogue>Why are you looking at me?</dialogue> <character>KNOTGRASS</character> <dialogue>You're the one who changed the spell.</dialogue> <character>THISTLEWIT</character> <dialogue>Me! But you said...</dialogue> <character>STEFAN</character> <parenthetical>(to the Pixies)</parenthetical> <dialogue>Find someone to kiss her. Someone suitable.</dialogue> <scene_description>He goes out. Leah soothes her baby.</scene_description> <character>LEAH</character> <dialogue>Not any kiss will do. It has to be "true love's kiss". Well that's what you said.</dialogue> <scene_description>She goes out. The Pixies look at each other. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE STEFAN'S CASTLE - NIGHT</stage_direction> <scene_description>Maleficent watches the WHITE HORSE gallop away to the top of a hill. With a heavy heart, she heads toward the castle. But something stops her. She looks back at the hill. Her FATHER stands where the horse stood a moment before. He lifts his hand to her. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM - LATER</stage_direction> <scene_description>The Pixies have found a YOUNG MAN. He stands over the bed looking at Aurora.</scene_description> <character>YOUNG MAN #1</character> <dialogue>But she's sleeping.</dialogue> <character>KNOTGRASS</character> <dialogue>She won't mind.</dialogue> <scene_description>He shrugs and kisses her. The Pixies wait expectantly. She doesn't wake up.</scene_description> <character>THISTLEWIT</character> <dialogue>You didn't do it right.</dialogue> <character>FLITTLE</character> <dialogue>It's supposed to be true love's kiss.</dialogue> <character>YOUNG MAN #1</character> <dialogue>True love? I don't know even her.</dialogue> <character>KNOTGRASS</character> <dialogue>Get out.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STEFAN'S CASTLE - NIGHT</stage_direction> <scene_description>Maleficent has arrived at the castle. She slips across the drawbridge in the shadows.</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM - NIGHT</stage_direction> <scene_description>The Pixies have found another young MAN.</scene_description> <character>KNOTGRASS</character> <dialogue>This is Princess Aurora.</dialogue> <character>FLITTLE</character> <dialogue>Isn't she beautiful?</dialogue> <character>YOUNG MAN #2</character> <dialogue>Yes, she is.</dialogue> <scene_description>He's clearly very attracted to her.</scene_description> <character>THISTLEWIT</character> <dialogue>Are you in love with her?</dialogue> <character>YOUNG MAN #2</character> <dialogue>Absolutely!</dialogue> <character>FLITTLE</character> <dialogue>You can kiss her then.</dialogue> <scene_description>He kisses her eagerly. Aurora doesn't wake up.</scene_description> <character>FLITTLE</character> <dialogue>If it was true love, you would have woken her up!</dialogue> <character>YOUNG MAN #2</character> <dialogue>Let me try again.</dialogue> <scene_description>He leans down. They push him away.</scene_description> <character>KNOTGRASS</character> <dialogue>Get out.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. STEFAN'S CASTLE - NIGHT</stage_direction> <scene_description>Maleficent slips unseen through the halls. She looks into each room as she passes them. Diaval flies \* toward her. She transforms him. \*</scene_description> <character>MALEFICENT</character> <dialogue>Now a man. \*</dialogue> <scene_description>He transforms, very sad. \*</scene_description> <character>DIAVAL</character> <dialogue>We've lost her. \*</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AURORA'S BEDROOM - NIGHT</stage_direction> <scene_description>The three Pixies usher in another YOUNG MAN. It's Phillip.</scene_description> <character>FLITTLE</character> <dialogue>This is Princess Aurora.</dialogue> <scene_description>He looks at the sleeping girl.</scene_description> <character>PHILLIP</character> <dialogue>I know her.</dialogue> <character>KNOTGRASS</character> <dialogue>That's helpful.</dialogue> <character>PHILLIP</character> <dialogue>Why is she sleeping?</dialogue> <character>FLITTLE</character> <dialogue>She's trapped in an enchantment.</dialogue> <character>FLITTLE</character> <dialogue>Isn't she beautiful?</dialogue> <scene_description>He's smitten.</scene_description> <character>PHILLIP</character> <dialogue>The most beautiful girl I've ever seen.</dialogue> <scene_description>The Pixies share excited glances. This is going well.</scene_description> <character>KNOTGRASS</character> <dialogue>Do you want to kiss her?</dialogue> <character>PHILLIP</character> <dialogue>Very much.</dialogue> <character>THISTLEWIT</character> <dialogue>Then go ahead. \*</dialogue> <character>PHILLIP</character> <dialogue>I wouldn't feel right. I barely know her. We only met once.</dialogue> <character>KNOTGRASS</character> <dialogue>Haven't you ever heard of love at first sight?</dialogue> <character>FLITTLE</character> <dialogue>Kiss her. \*</dialogue> <scene_description>He leans down toward her. He leans up again.</scene_description> <character>PHILLIP</character> <dialogue>An enchantment, you say?</dialogue> <character>PIXIES</character> <dialogue>Kiss her ! Now ! \*</dialogue> <scene_description>They push him forward.</scene_description> <character>PHILLIP</character> <dialogue>Don't push!</dialogue> <scene_description>He leans down. The Pixies hold their breaths. The prince kisses the princess. Their lips touch gently... perfectly. And nothing happens. The Pixies faces fall. Aurora sleeps on. Phillip looks at the Pixies.</scene_description> <character>PHILLIP</character> <dialogue>Is something supposed to happen now?</dialogue> <character>PIXIES</character> <dialogue>GET OUT!</dialogue> <scene_description>They push him out. They trudge out to find another candidate.</scene_description> </scene> <scene> <stage_direction>EXT. THE HALLWAY - NIGHT</stage_direction> <scene_description>The Pixies walk down the hall, dejected.</scene_description> <character>FLITTLE</character> <dialogue>I was certain he was the one.</dialogue> <character>THISTLEWIT</character> <dialogue>What's wrong with all these young men?</dialogue> <character>KNOTGRASS</character> <dialogue>We have to keep looking. Dig deeper. Scrape the bottom of the barrel.</dialogue> <character>FLITTLE</character> <dialogue>He doesn't have to be a prince. He doesn't even have to be handsome.</dialogue> <character>THISTLEWIT</character> <dialogue>All he has to be is a man.</dialogue> </scene> <scene> <stage_direction>INT. AURORA'S ROOM - NIGHT</stage_direction> <scene_description>The moon shines down on Aurora. Maleficent enters. Diaval, the Man, comes in behind her. Maleficent looks down at her, heartbroken. She sinks down on the side of the bed.</scene_description> <character>MALEFICENT</character> <dialogue>This is my fault. I did this to \* you...for revenge. I didn't know how much I would love you. But I \* promise to look after you...every day for the rest of my life. Sleep well.</dialogue> <scene_description>She kisses her gently on the forehead. And something magical occurs. Aurora opens her eyes. Maleficent gasps. Aurora smiles.</scene_description> <character>AURORA</character> <dialogue>Hello, Godmother. \*</dialogue> <scene_description>Maleficent is so astounded she can't speak for a moment. She finally finds her voice.</scene_description> <character>MALEFICENT</character> <dialogue>Hello, beastie.</dialogue> <scene_description>She pulls her into her arms. Joyful tears fall. Diaval is overwhelmed as well.</scene_description> <character>DIAVAL</character> <dialogue>No truer love.</dialogue> <scene_description>He joins them.</scene_description> <character>AURORA</character> <dialogue>Can we go home to the moors now?</dialogue> <character>MALEFICENT</character> <dialogue>Right now.</dialogue> <scene_description>There's voices in the hall.</scene_description> <character>DIAVAL</character> <dialogue>Wait.</dialogue> <scene_description>He opens the door cautiously.</scene_description> </scene> <scene> <stage_direction>INT. THE HALL - NIGHT</stage_direction> <scene_description>It's eerily quiet. No servants. No sounds.</scene_description> <character>MALEFICENT</character> <dialogue>Now a bird.</dialogue> <scene_description>Diaval transforms and flies ahead to investigate.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>He flies into the great hall. Maleficent and Aurora follow. There are no servants. No one about. The door on the opposite side of the room stands open. Escape. Maleficent's eyes narrow suspiciously. They slink along the wall toward the open door. Diaval flies up to the rafters. He lands on the iron filigree where a heavy IRON NET has been hung.</scene_description> <character>DIAVAL</character> <dialogue>Awk!</dialogue> <scene_description>Maleficent looks up. Stefan appears at the door.</scene_description> <character>STEFAN</character> <dialogue>Drop it!</dialogue> <scene_description>The iron net falls from the ceiling. Maleficent pushes Aurora out of the way.</scene_description> <character>MALEFICENT</character> <dialogue>Get out of the castle!</dialogue> <scene_description>She falls to her knees dropping her staff. The net burns her exposed flesh. Aurora tries to pull the heavy iron net off of her.</scene_description> <character>MALEFICENT</character> <dialogue>Get out of here! Go back to the moors!</dialogue> <scene_description>Aurora backs away reluctantly.</scene_description> <character>MALEFICENT</character> <dialogue>Go now!</dialogue> <scene_description>Aurora runs. Stefan nods for some of his men to go after her. Other men run out with iron weapons and poke at Maleficent like a trapped animal. \* The Pixies watch with horrified fascination.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER STAIRS - NIGHT</stage_direction> <scene_description>Aurora runs up the stairs trying to get away from Stefan's men. She reaches a landing, runs through a door and finds \* herself in another stairwell. She keeps climbing. \* THE GREAT HALL Maleficent tries to get up, but she's weakened by the iron. She reaches for her staff. Stefan kicks it out of the way. He walks around her.</scene_description> <character>STEFAN</character> <dialogue>I should have killed you that night. It would have saved us all a lot of trouble.</dialogue> <scene_description>She glares at him with silent hatred. He nods to his men. Stefan's men draw their weapons. Diaval drops down from out of the rafters at them.</scene_description> <character>STEFAN</character> <dialogue>Kill that bird!</dialogue> <scene_description>Some fight him off. Others stab at Maleficent. She grabs their weapons through the net even though it burns her hands.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER STAIRS - NIGHT</stage_direction> <scene_description>Aurora flings open the door at the top of the stairs and \* runs inside. She peeks out to see if anyone's following, but feels something behind her. She turns. Her eyes go wide. \* ON MALEFICENT'S WINGS Her wings are bound in chains held upright in a glass \* coffin. Aurora approaches them, awed by their size and beauty. She looks through the glass. \* They flutter suddenly. Still alive. She steps back. They \* flap and struggle against their bonds. Realization fills Aurora's eyes. She places her hand on the glass. \*</scene_description> <character>AURORA</character> <dialogue>Shhh. She's here.</dialogue> <scene_description>The wings settle down. Aurora touches the heavy iron lock. She gasps as it burns her.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Diaval fights Stefan's men.</scene_description> <character>MALEFICENT</character> <dialogue>Now an eagle.</dialogue> <scene_description>He transforms into an EAGLE. He grabs the iron net over Maleficent and pulls it away. She gets to her feet. Stefan runs at her with his iron sword. She evades him and throws her robes up. White Fire erupts. He falls back. His men have thrown a chain around Diaval's claws. They pull him down to stab at him.</scene_description> <character>MALEFICENT</character> <dialogue>Now a bear.</dialogue> <scene_description>Diaval transforms into a BEAR. It bellows and swipes at the men. They back away.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER ROOM - NIGHT</stage_direction> <scene_description>Aurora frantically looks for a way to release the wings. She picks up a heavy chair.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Stefan throws a heavy iron chain at Maleficent. It wraps around her neck. She drops to her knees as it burns her. Stefan pulls it tighter. She gasps. The men have thrown a rope around the bear's legs, hobbling him.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER ROOM - NIGHT</stage_direction> <scene_description>Aurora throws the chair at the coffin. It hits the thick glass, but does not break it.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Maleficent gasps out the words.</scene_description> <character>MALEFICENT</character> <dialogue>Now a... dragon.</dialogue> <scene_description>Diaval transforms into a DRAGON. It breathes fire at the men. They fend off the fire with their shields. \*</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER ROOM - NIGHT</stage_direction> <scene_description>Aurora hasn't given up. She tilts the coffin. It falls forward and crashes onto the floor. The wings flap and struggle in the broken glass.</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Stefan pulls the chain around Maleficent's neck tighter. She gasps. One of the men throws a sword at the dragon. Maleficent can barely get the words out.</scene_description> <character>MALEFICENT</character> <dialogue>Now a... butterfly.</dialogue> <scene_description>Diaval transforms into a butterfly. The sword flies harmlessly past him as he flutters away.</scene_description> </scene> <scene> <stage_direction>INT. THE TOWER ROOM - NIGHT</stage_direction> <scene_description>Aurora reaches out and softly touches Maleficent's wings. They stop struggling.</scene_description> <character>AURORA</character> <dialogue>Fly.</dialogue> </scene> <scene> <stage_direction>INT. THE GREAT HALL - NIGHT</stage_direction> <scene_description>Stefan's men throw more heavy iron CHAINS around Maleficent. One wraps around her legs. Another around her waist. They pull them tightly. She crouches on the floor, chains across her body. Tortured. Stefan stands over her. He lifts his sword high over her, prepared to make the fatal blow. But a brisk wind suddenly whips up from nowhere. \* Something large and black slams into him, knocking him off \* his feet. Maleficent looks up. \* Her face fills with astonishment to see her long-lost wings \* flying down toward her. \* Aurora runs into the room from the tower stairs. \* Overjoyed, Maleficent lifts her arms out to her wings. They flutter down toward her.</scene_description> <character>AURORA</character> <dialogue>Be one again.</dialogue> <scene_description>There's an earth-shattering... CRACK ! \* Maleficent is enveloped in a MAGICAL explosion of LIGHT AND ENERGY. Then, she rises into the air on her wings. Aurora's face lights up. The Pixies faces fall. Stefan's men are just as astonished.</scene_description> <character>STEFAN</character> <dialogue>Kill her! Kill her!</dialogue> <scene_description>They attack her with swords and iron chains. Maleficent fights them from the air. Diaval fights at her side. Stefan motions to his men. They gradually back Maleficent toward the open door to the \* battlements. \*</scene_description> </scene> <scene> <stage_direction>EXT. STEFAN'S CASTLE - THE BATTLEMENTS</stage_direction> <scene_description>Maleficent fight them. She knocks the last of the men away. There's only Stefan now. She corners him against the wall with her wings.</scene_description> <character>MALEFICENT</character> <dialogue>It would feel so good to kill you. But I'll let you live, for Aurora's sake.</dialogue> <character>STEFAN</character> <dialogue>I won't let you take her.</dialogue> <character>MALEFICENT</character> <dialogue>I won't take her. She'll come of her own free will. And here's a little thing you don't know about her.</dialogue> <scene_description>She whispers in his ear. He's shocked by the revelation. While she's close, he secretly brandishes his knife and tries to stab her. She backs away and lets herself fall backwards off the battlement. Stefan throws himself on top of her.</scene_description> </scene> <scene> <stage_direction>EXT. MIDAIR - NIGHT</stage_direction> <scene_description>They fall in the cup of Maleficent's folded wings, grappling as she plummets toward the earth. She tries to throw him off. But he clings to her fiercely and tries to stab her with the knife. The ground rises rapidly up toward them. They struggle. He holds onto her, raising the knife. The wind whistles past.</scene_description> <character>STEFAN</character> <dialogue>I... never... loved you!</dialogue> <scene_description>Maleficent looks into his eyes as they fall.</scene_description> <character>MALEFICENT</character> <dialogue>You're a liar.</dialogue> <scene_description>She flips over suddenly. Stefan loses his grip. His face fills with terror and he falls. Maleficent's wings open at the last moment before she hits the ground and she swoops into the sky. \*</scene_description> </scene> <scene> <stage_direction>INT. THE GREAT HALL - DAWN</stage_direction> <scene_description>Maleficent enters. Aurora runs into her arms. After a moment, Maleficent crouches to look into her eyes.</scene_description> <character>MALEFICENT</character> <dialogue>There's something I need to tell you.</dialogue> <character>AURORA</character> <dialogue>Oh Godmother, I already know.</dialogue> <scene_description>On her back, two tiny gossamer wings glitter in the light. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE MOUND - NEAR DAWN</stage_direction> <scene_description>The Moorland Faeries, winged and unwinged alike, have gathered on the faerie mound. Maleficent steps onto the \* Queen's Stone with her guards around her. The Stone screams \* in protest. She shouts. \*</scene_description> <character>MALEFICENT</character> <dialogue>As you see, I am not the rightful \* Queen. But the time has come for me \* to step down. \*</dialogue> <scene_description>Maleficent steps down off the Stone. It falls silent.</scene_description> <character>MALEFICENT</character> <dialogue>Fair People of the Moors... I give you Queen Aurora.</dialogue> <scene_description>As dawn breaks, the FAIRY QUEEN AURORA floats down from above, her wings fluttering softly. She lands on the Stone. The Stone ROARS like a lion. The Faeries cheer. Musicians play and the Faeries dance. Aurora sees Prince Phillip standing in the back of the crowd. She \* smiles. Maleficent stands with Diaval, the Man. Her hand finds his as they both struggle with their emotions. \*</scene_description> </scene> <scene> <stage_direction>EXT. THE FAERIE PATH - THE NEXT DAY</stage_direction> <scene_description>The Pixies stop hesitantly at the faerie path. Thistlewit puts her hand out tentatively.</scene_description> <character>THISTLEWIT</character> <dialogue>Are you certain?</dialogue> <character>KNOTGRASS</character> <dialogue>Yes! Queen Aurora has lifted the Binding spell.</dialogue> <character>THISTLEWIT</character> <dialogue>Come along, Flittle. We're going home.</dialogue> <scene_description>Flittle's butterflies fly ahead. Flittle hears something. She looks back. A CARRIAGE approaches on the road. The Blue Woman leans out and points at Flittle.</scene_description> <character>BLUE WOMAN</character> <dialogue>I'm coming for you!</dialogue> <scene_description>Flittle gasps and runs after them. \* CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE FARMLANDS - SOME TIME LATER</stage_direction> <scene_description>The land on both sides of the Faerie path is equally green and verdant. The Farmer's SON, now fully grown, and his collies, herd the sheep. They approach the faerie path. \* The Farmer's son throws down a glove. The sheep trample it \* in their hurry to graze on the sweet moorland grass.</scene_description> </scene> <scene> <stage_direction>EXT. THE MOORS - ON THE BLACKTHORN TREE - DAY</stage_direction> <scene_description>Maleficent and Diaval sit in the tree, crunching black nuts.</scene_description> <character>MALEFICENT</character> <dialogue>I wasn't a very good queen, was I?</dialogue> <character>DIAVAL</character> <dialogue>You did what had to be done.</dialogue> <character>MALEFICENT</character> <dialogue>Actually, I was a bad queen.</dialogue> <character>DIAVAL</character> <dialogue>Very bad. In fact, in my opinion, you were the the Mistress of all Evil.</dialogue> <scene_description>She gives him an evil smile. She takes off her Horned Crown.</scene_description> <character>MALEFICENT</character> <dialogue>I won't be needing this anymore.</dialogue> <scene_description>She takes it off and rubs the places on her head where the horns rested.</scene_description> <character>MALEFICENT</character> <dialogue>Ahhh.</dialogue> <scene_description>She hangs the crown on a tree limb.</scene_description> <character>MALEFICENT</character> <dialogue>Time to fly.</dialogue> <scene_description>She waves her hand at him.</scene_description> <character>MALEFICENT</character> <dialogue>Now a bird.</dialogue> <scene_description>He transforms into a RAVEN.</scene_description> <character>DIAVAL</character> <dialogue>AWK!</dialogue> <scene_description>They lift their wings and take flight together. But before they get too far, Maleficent swings around and comes back toward the tree. She swoops low, grabs the Horned Crown and flies off again. As Maleficent and the raven soar together, wing-to-wing, above the beautiful moors fade out.</scene_description> <character>THE END</character> </scene> </script>

Maleficent is a powerful fairy living in the Moors, a magical forest realm bordering a human kingdom. As a child, she meets a human peasant boy named Stefan, and they fall in love with each other. However, as they get older, the two grow apart, with Stefan's love being overshadowed by his ambition to be a king, while Maleficent becomes the protector of the Moors. When King Henry, the ruler of the human kingdom, attempts to conquer the Moors, Maleficent mortally wounds him, forcing his retreat. On his deathbed, Henry declares that whoever kills Maleficent will be named his successor and marry his daughter Leila. Stefan visits Maleficent in the Moors and drugs her, but cannot bring himself to kill her. He instead cuts off her wings, presenting them to Henry as "proof" of her death. While still processing the betrayal, Maleficent saves Diaval, a trapped raven, from being killed by a farmer by turning him into a human. Diaval offers her his service, and brings her news of Stefan's coronation. Furious to learn why her wings were taken, Maleficent, and the Moors she protects, becomes dark and bitter. Some time later, Diaval informs Maleficent about the christening of Stefan's newborn daughter, Aurora. Maleficent arrives uninvited and curses the infant princess, declaring that by her 16th birthday, she will prick her finger on the spindle of a spinning wheel and fall into an eternal sleep. Maleficent mocks Stefan's plea for mercy, but offers an antidote; the curse can be broken by true love's kiss, which she and Stefan both believe does not exist. Stefan orders three pixies, Knotgrass, Flittle, and Thistlewit, to hide and protect Aurora in a forest cottage until the day after her sixteenth birthday. He also destroys every spinning wheel in the kingdom, hiding their remnants in the castle dungeon; he then sends his armies to find and kill Maleficent, but she surrounds the Moors with a wall of thorns. Over the years, Stefan grows obsessed with killing Maleficent and gradually loses his sanity, even refusing to see his own wife on her deathbed. Meanwhile, Maleficent and Diaval watch Aurora grow from afar, and secretly begin to take over care of her from the incompetent and neglectful pixies. After several face-to-face encounters with Maleficent, whom she believes to be her "fairy godmother", Aurora bonds with her and starts to regularly visit the Moors. Realizing she hasn't the heart to hurt Aurora, Maleficent privately and unsuccessfully attempts to revoke the curse, forgetting that she stated "no power on earth" can do so. Some time later, Aurora meets Phillip, a prince from the neighboring kingdom, and both are mildly attracted to each other. On the day before her sixteenth birthday, Aurora gains Maleficent's permission to live in the Moors. When she informs the pixies of this, they reveal the truth about Aurora's lineage and the curse. Heartbroken, Aurora leaves for her father's castle. Instead of welcoming her, Stefan, still plotting to kill Maleficent, locks her in a room. The curse's power draws Aurora to the dungeon, where she pricks her finger on a spindle and falls into a deep slumber. Hoping to save her, Maleficent and Diaval abduct Phillip and infiltrate Stefan's castle. The pixies encourage the reluctant Phillip to kiss Aurora, but this does not wake her. After they leave, Maleficent tearfully apologizes to Aurora and kisses her on the forehead. This unexpectedly wakes Aurora, as Maleficent truly feels maternal love for her. As Maleficent, Aurora, and Diaval attempt to leave, Stefan and his guards ambush them. Maleficent transforms Diaval into a dragon to help her, but both are subdued. Aurora finds and releases Maleficent's caged wings, which reattach themselves to their mistress, allowing her to fight back. Maleficent drags Stefan to the top of a tower; unwilling to kill him, she announces the fight is over and turns to go. Stefan tackles her from behind, dragging them both off the tower; she opens her wings to save herself, and he loses hold and falls to his death. With Stefan gone, Maleficent returns the Moors to their former glory and crowns Aurora their new ruler, uniting the two kingdoms. Aurora also starts a relationship with Phillip.

All the King's Men_2006

tt0405676

<script> <scene> <character>ALL THE KING'S MEN</character> <dialogue>Written by</dialogue> <scene_description>Robert Rossen Based on the novel by Robert Penn Warren</scene_description> <character>SHOOTING DRAFT</character> <dialogue>Interior: Jack Burden's Desk, The Chronicle, Day</dialogue> <dialogue>Jack Burden is looking over the morning edition of "The Chronicle." He reads the society page. A man enters and</dialogue> <scene_description>leans across his desk.</scene_description> <character>MAN</character> <dialogue>Burden! Jack Burden! The boss wants to see you.</dialogue> <scene_description>He folds his paper, rises, and walks by the presses into Madison's office. Interior: Madison's Office, Day Madison, the city editor, is correcting copy at his desk.</scene_description> <character>MADISON</character> <dialogue>Hey, Jack, ever hear of a fellow called Willie Stark?</dialogue> <character>JACK</character> <dialogue>No. Who'd he shoot?</dialogue> <character>MADISON</character> <dialogue>Oh, county... uh... treasurer, or something like that.</dialogue> <character>JACK</character> <dialogue>What's so special about him?</dialogue> <character>MADISON</character> <dialogue>They say he's an honest man. What I want you to do is to hop into your car...</dialogue> <character>JACK</character> <dialogue>Why, you promised me a vacation.</dialogue> <character>MADISON</character> <dialogue>Well, that can wait.</dialogue> <character>JACK</character> <dialogue>Yeah... but there's a... a girl I know.</dialogue> <scene_description>He opens his newspaper to the society page and shows Madison a photograph of Anne Stanton.</scene_description> <character>MADISON</character> <dialogue>Oh... Well, she can wait too.</dialogue> <scene_description>Jack takes the paper back and looks at it.</scene_description> <character>JACK</character> <dialogue>The question is... can I?</dialogue> <character>MADISON</character> <dialogue>The answer is... get up there.</dialogue> <character>JACK</character> <dialogue>Right.</dialogue> <parenthetical>(starts to go)</parenthetical> <dialogue>Oh... uh... what did you say his name was?</dialogue> <character>MADISON</character> <dialogue>Who?</dialogue> <character>JACK</character> <dialogue>The fellow's name.</dialogue> <character>MADISON</character> <dialogue>Oh, the... uh... Stark... Willie Stark.</dialogue> <scene_description>Madison goes on with his work.</scene_description> <character>JACK</character> <parenthetical>(as he leaves)</parenthetical> <dialogue>Willie Stark...</dialogue> <scene_description>DISSOLVE TO: Exterior: Kanoma City, Day As Jack Burden's jalopy pulls up before the Kanoma County Courthouse of this back-country, one-street small town.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I found him in Kanoma City. A typical, hot, dusty, backwoods county seat.</dialogue> <scene_description>He gets out of the car, and notices a crowd of people gathered around a platform in the town square. As he walks over the begins to hear the words that Willie Stark is speaking.</scene_description> <character>WILLIE</character> <dialogue>...to lie to them in order to line their own dirty pockets with the taxpayers' money. When have the citizens of Kanoma County ever witnessed a campaign like this? Why is the opposition so anxious to defeat me? Why have they used every dirty method known to make sure I'm not elected county treasurer? Well, I'll tell you why...</dialogue> <scene_description>A man in shirt sleeves and suspenders, Tiny Duffy, comes out of the local poolroom, listens for a moment to Willie's speech, and signals to two uniformed men to go over and break up the gathering. Jack Burden stands close to the platform, next to Willie's son, Tom, who waits patiently to distribute handbills.</scene_description> <character>WILLIE</character> <dialogue>...Because they're afraid of the truth... and the truth is this. They're trying to steal your money. Yeah, I said steal. The county commissioners rejected the bid on</dialogue> <scene_description>the schoolhouse. Why? Well, they'll tell you their reason is the job will be done better. The county commissioners would have you believe that they're interested in public welfare. They're interested in welfare, sure. But it's their own. Let's look at the reason in the light of the facts and the figures. That brick factory is owned by one of the commissioners. That same brick factory uses convict labor. The sheriff and his deputy push through the crowd.</scene_description> <character>SHERIFF</character> <dialogue>Sorry, Willie, you'll have to move on.</dialogue> <character>WILLIE</character> <dialogue>Why?</dialogue> <character>SHERIFF</character> <dialogue>City Ordinance Number One-Oh-Five: more than five people congregating is disturbing the peace.</dialogue> <character>WILLIE</character> <parenthetical>(ignores him)</parenthetical> <dialogue>If you folks'll be so kind as to read these handbills, my boy will pass them out among you.</dialogue> <character>SHERIFF</character> <dialogue>There's an ordinance against that too.</dialogue> <character>WILLIE</character> <parenthetical>(his face grim)</parenthetical> <dialogue>Pass 'em out, Tom.</dialogue> <scene_description>The sheriff pushes Tom back, grabbing the handbills out of his hand. Willie jumps down off the platform.</scene_description> <character>WILLIE</character> <dialogue>Let him alone!</dialogue> <scene_description>The sheriff collars Willie, then notices Jack on the platform snapping a picture.</scene_description> <character>SHERIFF</character> <parenthetical>(to deputy)</parenthetical> <dialogue>Get that camera! Willie, you're under arrest.</dialogue> <scene_description>He takes Willie by the arm and leads him away. The crowd follows them to the courthouse. Tiny Duffy wipes the sweat off his neck and goes back into the poolroom. DISSOLVE TO: Interior: Kanoma City Poolroom, Day Two of Duffy's men, Pillsbury and a local commissioner, are playing pool as Jack enters.</scene_description> <character>JACK</character> <dialogue>Where can I find Tiny Duffy?</dialogue> <character>PILLSBURY</character> <dialogue>Right over there, mister.</dialogue> <scene_description>He walks over to Duffy. Some townspeople, who followed him there, gather around him to listen.</scene_description> <character>JACK</character> <dialogue>Uh, they told me I could get my camera back here.</dialogue> <character>DUFFY</character> <dialogue>Who told you that?</dialogue> <character>JACK</character> <dialogue>People. Can I?</dialogue> <character>DUFFY</character> <dialogue>You the reporter that's been snoopin' around town?</dialogue> <character>JACK</character> <dialogue>Are you Tiny Duffy?</dialogue> <character>DUFFY</character> <dialogue>What paper?</dialogue> <character>JACK</character> <dialogue>Chronicle.</dialogue> <character>DUFFY</character> <dialogue>You sure come a long way to stick your nose into other people's business.</dialogue> <character>JACK</character> <dialogue>That's true... Only my boss on the paper can't see it that way.</dialogue> <character>DUFFY</character> <dialogue>It ain't any of his business either.</dialogue> <character>JACK</character> <dialogue>Whose business is it?</dialogue> <character>PILLSBURY</character> <dialogue>Them as is tendin' to it. County commissioners that the voters of Kanoma County elected to tend to their business and not take no buttin' in from nobody.</dialogue> <character>JACK</character> <dialogue>You a commissioner?</dialogue> <character>PILLSBURY</character> <dialogue>Yeah. Name's Pillsbury. Dolph Pillsbury.</dialogue> <character>2ND COMMISSIONER</character> <dialogue>Me too. I'm a commissioner too.</dialogue> <character>JACK</character> <dialogue>Who isn't a commissioner?</dialogue> <character>DUFFY</character> <dialogue>He's the head man.</dialogue> <character>JACK</character> <parenthetical>(to Pillsbury)</parenthetical> <dialogue>Then you're in a position to know where --</dialogue> <character>DUFFY</character> <dialogue>He's in a position to know nothin'. And to say nothin'.</dialogue> <character>JACK</character> <dialogue>I thought you said he was head man?</dialogue> <character>DUFFY</character> <parenthetical>(smiling)</parenthetical> <dialogue>He uses my head.</dialogue> <character>PILLSBURY</character> <parenthetical>(laughing loudly)</parenthetical> <dialogue>Oh, Tiny, you're a card... Ain't he a card? Yeah, he's a card... Now, who thought up those city ordinances about arresting someone for making a speech?</dialogue> <character>DUFFY</character> <dialogue>Who's arrested? Nobody's been arrested.</dialogue> <parenthetical>(looks toward the door)</parenthetical> <dialogue>Hi, Willie.</dialogue> <scene_description>Willie enters, accompanied by the sheriff and his deputy. The others in the room, including Sugar Boy in his bartender's apron, step aside to let him pass through.</scene_description> <character>PILLSBURY</character> <dialogue>Hi, Willie.</dialogue> <character>DUFFY</character> <parenthetical>(to Sheriff)</parenthetical> <dialogue>Did you apologize to Willie?</dialogue> <character>SHERIFF</character> <parenthetical>(mumbles)</parenthetical> <dialogue>Yeah, I apologized to Willie.</dialogue> <character>DUFFY</character> <dialogue>Did you give him his handbills back?</dialogue> <character>SHERIFF</character> <dialogue>Yeah, I gave 'em back.</dialogue> <character>DUFFY</character> <dialogue>Give him back his flag and his bag and...</dialogue> <parenthetical>(points to Jack)</parenthetical> <dialogue>give this man his camera.</dialogue> <character>WILLIE</character> <dialogue>I'm going to be on that same street corner tomorrow, Mr. Duffy.</dialogue> <character>DUFFY</character> <dialogue>You go right ahead, Willie. We all believe in free speech. We got to... it's in the Constitution.</dialogue> <character>WILLIE</character> <dialogue>My boy is out distributing those handbills now.</dialogue> <character>DUFFY</character> <dialogue>It's a free country, Willie. If you can convince the people to vote for you... you go right ahead.</dialogue> <character>WILLIE</character> <dialogue>What did you want to see me about, Mr. Duffy?</dialogue> <character>DUFFY</character> <dialogue>I wanted you to meet a fella came all the way up from the state capital to meet you. A reporter. Wants to write you up... maybe put your picture in the paper.</dialogue> <character>WILLIE</character> <parenthetical>(turns to Jack)</parenthetical> <dialogue>I'm happy to know you, sir.</dialogue> <character>JACK</character> <dialogue>Burden's my name... Jack Burden. Can we go somewhere where we can talk?</dialogue> <character>DUFFY</character> <dialogue>Now that ain't polite. Don't you want to hear both sides of the story?</dialogue> <scene_description>Jack examines the camera that has just been returned to him.</scene_description> <character>JACK</character> <dialogue>I know your side.</dialogue> <parenthetical>(finds the plate missing)</parenthetical> <dialogue>What happened to the plate your men took from my camera?</dialogue> <character>DUFFY</character> <dialogue>Must have dropped out. Oh, come on, fellas, let's relax. It's a hot day... Hey, Sugar Boy...</dialogue> <character>SUGAR BOY</character> <dialogue>Yeah?</dialogue> <character>DUFFY</character> <dialogue>Bring some cold beer for the boys.</dialogue> <character>WILLIE</character> <dialogue>None for me, thank you kindly.</dialogue> <character>PILLSBURY</character> <dialogue>Now you know Willie don't drink, Tiny. His wife don't favor drinking. And Willie's the teacher's pet, ain't you, Willie?</dialogue> <character>WILLIE</character> <dialogue>I'll have some orange pop if you don't mind.</dialogue> <scene_description>Duffy roars with laughter.</scene_description> <character>DUFFY</character> <dialogue>Orange pop! All right, Sugar Boy. Bring him some orange pop.</dialogue> <character>SUGAR BOY</character> <parenthetical>(stutters)</parenthetical> <dialogue>Th-th-the p-p-pop's s-s-sold out.</dialogue> <character>DUFFY</character> <dialogue>Did you hear that, boys? The p-p- pop's s-s-sold out.</dialogue> <scene_description>They all laugh.</scene_description> <character>PILLSBURY</character> <dialogue>Now ain't he a card?</dialogue> <character>WILLIE</character> <parenthetical>(his face hard)</parenthetical> <dialogue>He stutters, Mr. Duffy, but you... you don't say anything.</dialogue> <parenthetical>(to Jack)</parenthetical> <dialogue>Let's go, mister.</dialogue> <scene_description>They turn and go out. DISSOLVE TO: Exterior: Dirt Road, Day Jack is driving Willie home to his farmhouse. They pass a farmer and his family walking by the side of the road. Willie smiles and waves to them. Exterior: Stark Farmhouse, Day As the car pulls into the drive we see Pa Stark in his rocking chair on the porch, and Lucy, who stands at the top of the steps, waiting to welcome Willie.</scene_description> <character>WILLIE</character> <parenthetical>(as they go up the steps)</parenthetical> <dialogue>This is my wife, Lucy, Mr. Burden.</dialogue> <character>JACK AND LUCY</character> <dialogue>How do you do?</dialogue> <character>WILLIE</character> <dialogue>That's my pa.</dialogue> <scene_description>Jack reaches out to shake his hand. DISSOLVE TO: Interior: Stark Farmhouse, Night Willie finishes chewing his food, pats his mouth with a napkin, and pushes his plate back.</scene_description> <character>WILLIE</character> <dialogue>Now we'll talk.</dialogue> <scene_description>Camera pulls back to include Jack, Lucy, and Pa, all seated around the dinner table.</scene_description> <character>JACK</character> <dialogue>You've been talking for a long time, Mr. Stark.</dialogue> <character>PAPPY</character> <dialogue>Willie's got a lot to say.</dialogue> <character>LUCY</character> <dialogue>You sleepy, Pappy? You want to have a nap?</dialogue> <character>PAPPY</character> <dialogue>No, I want to hear it.</dialogue> <scene_description>Lucy gets up and turns on a light in the kitchen.</scene_description> <character>LUCY</character> <dialogue>I'm worried about Tom. It's getting dark. He should have been home.</dialogue> <character>WILLIE</character> <dialogue>He's a strong boy. Don't worry about him. He can take care of himself.</dialogue> <character>JACK</character> <dialogue>How old is the boy?</dialogue> <character>WILLIE</character> <dialogue>Fifteen.</dialogue> <character>JACK</character> <dialogue>How long have you been married?</dialogue> <character>WILLIE</character> <dialogue>Nine years.</dialogue> <scene_description>Willie grins at Jack's look of surprise. Lucy comes back into the room.</scene_description> <character>LUCY</character> <parenthetical>(laughs)</parenthetical> <dialogue>He was a neighbor's boy. They were poor folks. Both died. I couldn't have any children, so... He's a good boy.</dialogue> <character>WILLIE</character> <dialogue>Oh, he's the best. I couldn't love him any more if he was my own flesh and blood.</dialogue> <character>JACK</character> <parenthetical>(to Lucy)</parenthetical> <dialogue>And now you, Mrs. Stark?</dialogue> <character>LUCY</character> <dialogue>Oh, there isn't very much to tell about me.</dialogue> <character>JACK</character> <dialogue>How did you meet?</dialogue> <character>LUCY</character> <dialogue>I was teaching school and one day a pupil walked in. It was Willie. I couldn't have a grown man in the class and Willie wanted to learn so badly... so I married him.</dialogue> <character>JACK</character> <dialogue>Is that the only reason?</dialogue> <character>LUCY</character> <parenthetical>(pressing Willie's arm)</parenthetical> <dialogue>Except that I loved him.</dialogue> <character>WILLIE</character> <dialogue>Get the coffee, Lucy.</dialogue> <scene_description>She goes back into the kitchen.</scene_description> <character>JACK</character> <dialogue>When did they fire you, Mrs. Stark?</dialogue> <character>LUCY</character> <parenthetical>(as she serves the coffee)</parenthetical> <dialogue>A couple of weeks ago. I'd been teaching for a long time and nobody ever said I wasn't all right. But I don't care. I don't want to teach in a schoolhouse that they built just so somebody can steal some money. And Willie doesn't want to be Treasurer, either, if he has to associate with those dishonest people.</dialogue> <character>WILLIE</character> <parenthetical>(glumly)</parenthetical> <dialogue>I'm going to run. They can't keep me from running.</dialogue> <character>JACK</character> <dialogue>If you don't mind the truth, Mr. Stark, you haven't much of a chance.</dialogue> <character>WILLIE</character> <dialogue>I'm going to run. They're not going to kick me around like I was dirt.</dialogue> <character>LUCY</character> <dialogue>I don't care if Willie loses... just</dialogue> <scene_description>so he gets the truth to the people. Isn't that true, Willie? Willie is silent. Jack looks at him.</scene_description> <character>LUCY</character> <dialogue>Isn't it, Willie?</dialogue> <character>WILLIE</character> <dialogue>Hmmm?... Yeah, yeah, sure, that's right.</dialogue> <character>LUCY</character> <dialogue>Well, if you lose you can give a little more time to studying your law books.</dialogue> <character>JACK</character> <dialogue>Oh, you studying law too?</dialogue> <character>WILLIE</character> <dialogue>By myself, at night.</dialogue> <character>PAPPY</character> <dialogue>Willie's a smart boy.</dialogue> <character>WILLIE</character> <dialogue>If I ever find the time I'm going to take a course at the university.</dialogue> <scene_description>The door opens slowly and Tom comes in from the porch. His clothes are torn and his face is dirty and bloody. He still carries some of the handbills. They rise to their feet and cluster around him.</scene_description> <character>LUCY</character> <dialogue>What happened, Tommy boy? What's the matter?</dialogue> <character>TOM</character> <parenthetical>(head down, muttering)</parenthetical> <dialogue>I gave out the handbills, Pa.</dialogue> <character>WILLIE</character> <dialogue>Speak up. Speak up.</dialogue> <character>LUCY</character> <dialogue>Let him tell it his own way. Go on, Tommy.</dialogue> <character>TOM</character> <dialogue>This time they were waiting for me. They took them away from me. Threw them in the dirt and beat me up. I brought some of them back.</dialogue> <character>WILLIE</character> <parenthetical>(pats him on the back)</parenthetical> <dialogue>Good boy. Have you eaten yet, Tom?</dialogue> <character>LUCY</character> <dialogue>Let him wash up first.</dialogue> <scene_description>As Tom and Pappy go into the other room, a rock comes crashing through the front window, shattering the glass. Willie, his face filled with anger, throws open the door and stalks out onto the porch. Jack stands at the door, watching Willie shout into the darkness around him.</scene_description> <character>WILLIE</character> <dialogue>I'm going to run... and you're not going to stop me. I'm gonna run even if I don't get a single vote.</dialogue> <scene_description>FADE OUT FADE IN: Interior: Jack Burden's Desk, Day Jack's fingers type out a story, the last line of which reads "an honest man with courage." He pulls the sheet out and hands it to Madison.</scene_description> <character>JACK</character> <dialogue>Here you are... the last of the Willie Stark articles. Now can I go?</dialogue> <character>MADISON</character> <dialogue>Yes. You've earned your vacation. You've been writing these like you really mean them.</dialogue> <scene_description>Jack rises and walks toward the door.</scene_description> <character>JACK</character> <dialogue>I do.</dialogue> <scene_description>DISSOLVE TO: Exterior: Ferry To Burden's Landing, Day Jack's car is ferried across the bay to the slip of Burden's Landing.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I hadn't been home in a long time. Only a hundred and thirty miles from Kanoma City. It was separated from the mainland by a body of water. For the first time I wondered if it wasn't separated by more than that.</dialogue> <scene_description>DISSOLVE TO: Exterior: Mrs. Burden's Home, Day As Jack arrives, Mrs. Burden and her husband, McEvoy, are seated at a lawn table near the boat landing.</scene_description> <character>JACK</character> <dialogue>Hello, Mother.</dialogue> <scene_description>She runs forward to meet him.</scene_description> <character>MRS. BURDEN</character> <dialogue>Floyd, Jack's home. Oh, he looks fine... doesn't he look fine?</dialogue> <parenthetical>(to Jack, coquettishly)</parenthetical> <dialogue>How do I look, Jackie boy?</dialogue> <character>JACK</character> <dialogue>You look beautiful, Mother.</dialogue> <character>MRS. BURDEN</character> <dialogue>I've got so many things planned for you... parties and... it'll be just like old times. But first, let's have a drink.</dialogue> <character>MCEVOY</character> <dialogue>Can't that wait until this evening?</dialogue> <scene_description>She goes ahead and pours the drinks.</scene_description> <character>MRS. BURDEN</character> <dialogue>Floyd... honey... my son's home.</dialogue> <character>MCEVOY</character> <dialogue>How long do you plan on staying?</dialogue> <character>JACK</character> <parenthetical>(coldly)</parenthetical> <dialogue>Two or three weeks. If that's all right with you.</dialogue> <character>MRS. BURDEN</character> <dialogue>I'm sure your father would be --</dialogue> <character>JACK</character> <dialogue>Stepfather, Mother.</dialogue> <character>MRS. BURDEN</character> <parenthetical>(reproachfully)</parenthetical> <dialogue>Now, Jackie... here we all are. Floyd, Jackie, myself.</dialogue> <parenthetical>(raises her glass for a toast)</parenthetical> <dialogue>To the best time we've ever had together.</dialogue> <character>JACK</character> <dialogue>Yes, Mother.</dialogue> <scene_description>They drink. Mrs. Burden gulps hers down avidly. Jack looks at her and then at McEvoy.</scene_description> <character>JACK</character> <dialogue>Excuse me... I...</dialogue> <scene_description>He turns and walks back toward the shore. He boards a small motorboat and heads toward a house that can be seen across the water. DISSOLVE TO: Exterior: Stanton Home (Burden's Landing), Day As the boat approaches the shore. Adam Stanton reaches down and pulls the boat up on land. He throws his arm around Jack, and the two climb the hill toward Judge Stanton, who stands waiting to greet him.</scene_description> <character>JACK</character> <dialogue>Dr. Stanton, I presume.</dialogue> <character>STANTON</character> <parenthetical>(laughing)</parenthetical> <dialogue>Is my shingle showing?</dialogue> <character>JUDGE</character> <dialogue>Good to see you, boy. Very good.</dialogue> <character>JACK</character> <dialogue>Good to see you, Judge. How have you been? What have you been doing?</dialogue> <scene_description>They walk back together to the patio tables.</scene_description> <character>JUDGE</character> <dialogue>Oh, just sitting here... waiting for all of you to come home. You know, when a man starts to get old his eyes stray and play funny tricks on him. As I watched you in that boat I thought sure I saw a boy of twelve with a fishing rod in his hands. And I was sure the first thing he'd say would be...</dialogue> <scene_description>Jack catches sight of Anne Stanton walking down the path. He runs to meet her. As they embrace, he looks back at the Judge.</scene_description> <character>JACK</character> <dialogue>Do you mind if I kiss your niece, sir?</dialogue> <scene_description>He kisses her, and they turn and walk away. DISSOLVE TO: Exterior: Tennis Court (Burden's Landing), Day Anne gracefully returns a ball to Jack, then runs to embrace him at the net. Adam, seated near the court, smiles approvingly. DISSOLVE TO: Exterior: Gulf (Burden's Landing), Morning Jack and Judge Stanton in a rowboat, on their way to do some duck hunting. DISSOLVE TO: Exterior: Gulf (Burden's Landing), Day Adam is at the wheel of his sailboat, with Jack and Anne behind him. DISSOLVE TO: Interior: Stanton Living Room (Burden's Landing), Night A party in the Stanton living room. Adam plays the piano. He plays a waltz. Jack and Anne hold each other tightly as they move among the other couples. DISSOLVE TO: Interior: Burden Dining Room, Night A formal dinner, attended by Jack and Anne, Mrs. Burden and McEvoy, Judge Stanton and Adam. Mrs. Burden is proposing a toast.</scene_description> <character>MRS. BURDEN</character> <dialogue>To all the good times we've had together at Burden's Landing. And especially to this one. Because my son's home.</dialogue> <character>JACK</character> <dialogue>Thank you, Mother. Thank you very much.</dialogue> <character>MRS. BURDEN</character> <dialogue>Monty, Anne and I have been discussing Jack's career. What do you think he ought to go in for? Shall he be a lawyer, doctor...</dialogue> <scene_description>Jack looks at Anne.</scene_description> <character>ANNE</character> <dialogue>We were just discussing whether you should...</dialogue> <character>JACK</character> <parenthetical>(to his mother)</parenthetical> <dialogue>I like what I'm doing, Mother.</dialogue> <character>MCEVOY</character> <dialogue>You do very well at it. I read your articles about this fellow... Willie Stark. Very convincing... Too convincing for my tastes.</dialogue> <character>JACK</character> <dialogue>A lot of people like them.</dialogue> <character>MCEVOY</character> <dialogue>A lot of people are fools. Articles like that shouldn't be permitted. They only tend to incite people.</dialogue> <character>JACK</character> <dialogue>What are you afraid of?</dialogue> <character>STANTON</character> <dialogue>I thought they were very good. I was proud of you, Jack. I was particularly interested in Stark's ideas on health and medicine. You know the conditions at the hospital I work in. They're intolerable. I'd like to meet this Willie Stark. He sounds like an honest man.</dialogue> <character>MCEVOY</character> <dialogue>Honest man? This state is full of these log-cabin Abe Lincolns with price tags on them. The louder he yells the higher his price.</dialogue> <character>JACK</character> <dialogue>You think you can buy anything, don't you?</dialogue> <character>MCEVOY</character> <dialogue>Yes, don't you?</dialogue> <scene_description>There is a silence. Then McEvoy turns to the Judge.</scene_description> <character>MCEVOY</character> <dialogue>What do you think, Judge?</dialogue> <character>JUDGE</character> <dialogue>I think this state could stand a few changes.</dialogue> <character>MCEVOY</character> <parenthetical>(his face white)</parenthetical> <dialogue>Well, I'll tell you what I think --</dialogue> <character>ANNE</character> <parenthetical>(quickly)</parenthetical> <dialogue>Oh, please... let's not talk politics.</dialogue> <character>MRS. BURDEN</character> <dialogue>Anne is right. I absolutely forbid any more of it. I know what we need, we need another toast.</dialogue> <parenthetical>(to the Judge)</parenthetical> <dialogue>You propose it, Monty... you're so good at it.</dialogue> <scene_description>The Judge picks up his glass and stands up.</scene_description> <character>JUDGE</character> <dialogue>To the young people... to Anne, to Jack, to Adam... To what lies before them. To the world they'll make... in spite of the mistakes we've made.</dialogue> <character>MCEVOY</character> <parenthetical>(rising)</parenthetical> <dialogue>The mistakes you've made, not me. You're all still pretty high and mighty, aren't you? You all think this state needs a change. You don't like the way it's run. Well, who's going to run it? Willie Stark? The Judge?</dialogue> <parenthetical>(to Jack)</parenthetical> <dialogue>You? You can be bought too. As a matter of fact you have been. And</dialogue> <scene_description>with my money. Jack's answer is to throw his liquor in his stepfather's face. There is a pause. McEvoy wipes the liquor off with his handkerchief.</scene_description> <character>MCEVOY</character> <parenthetical>(slowly)</parenthetical> <dialogue>That's a waste of good liquor.</dialogue> <parenthetical>(looks at Mrs. Burden)</parenthetical> <dialogue>Your mother wouldn't approve.</dialogue> <scene_description>Jack turns and leaves the room.</scene_description> <character>MRS. BURDEN</character> <dialogue>Jack...</dialogue> <scene_description>She hurries after him. Exterior: Veranda, Night As Mrs. Burden comes out after Jack. Anne stands in the doorway.</scene_description> <character>MRS. BURDEN</character> <dialogue>Jack... you go back in and apologize.</dialogue> <character>JACK</character> <dialogue>Apologize? I'd rather die.</dialogue> <character>MRS. BURDEN</character> <dialogue>I've got to live with him.</dialogue> <character>JACK</character> <dialogue>Well, I don't. Neither do you. You don't love him, Mother. You never did.</dialogue> <character>MRS. BURDEN</character> <dialogue>Son, don't spoil anything now... He can help you.</dialogue> <character>JACK</character> <dialogue>I can get along without him. You need this house. And the parties. And the cars and the clothes and the lies. I don't. It's the truth, Mother, face it. For once in your life, face it.</dialogue> <scene_description>Mrs. Burden appeals to Anne.</scene_description> <character>MRS. BURDEN</character> <dialogue>Anne, please... please make him understand.</dialogue> <scene_description>Anne says nothing. Mrs. Burden goes back into the house. DISSOLVE TO: Interior: Stanton Living Room, Night Anne and Jack sit alone in the room, beneath the portrait of the old Governor Stanton.</scene_description> <character>JACK</character> <dialogue>Anne, Burden's Landing is a place on the moon. It isn't real. It doesn't exist. It's me pretending I live on what I earn. It's my mother trying to keep herself young, and drinking herself old doing it. It's you and Adam living in this house as though your father were still alive. It's an old man like the Judge dreaming of the past... Anne, come away with me.</dialogue> <character>ANNE</character> <dialogue>And do what?</dialogue> <character>JACK</character> <parenthetical>(rises impatiently)</parenthetical> <dialogue>And live in a shack and eat red beans. Anne, what do you want me to do?</dialogue> <character>ANNE</character> <dialogue>Oh, Jack, Jack, you haven't been sure. You've gone from one thing to the other... a year at law school, and now this job as a reporter...</dialogue> <character>JACK</character> <dialogue>Are you afraid I can't make a living?</dialogue> <character>ANNE</character> <dialogue>Oh, no, Jack, it isn't that. I don't care about the money. It... it's just that I... I want you to be</dialogue> <scene_description>something.</scene_description> <character>JACK</character> <dialogue>What is it you want me to be?</dialogue> <character>ANNE</character> <dialogue>I don't know. It's just that I want you to be... to do... something important.</dialogue> <scene_description>Jack looks up at the portrait of Governor Stanton.</scene_description> <character>JACK</character> <dialogue>Like your father. All right. I'll run for governor.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Anne, I'm sorry. I'm sorry I said that.</dialogue> <character>ANNE</character> <dialogue>All right, Jack. I'll go away with you. I'll do anything you want me to do.</dialogue> <scene_description>They kiss.</scene_description> <character>JACK</character> <dialogue>Anne, I've wanted you to say that more than anything in the world, and now that you've said it... Anne, I guess you were right. I'm not sure of anything, including myself. I'm not sure I could live up to the...</dialogue> <parenthetical>(looks again at the portrait)</parenthetical> <dialogue>Anne, wait for me. Please wait for me.</dialogue> <character>ANNE</character> <dialogue>I'll wait for you.</dialogue> <scene_description>DISSOLVE TO: Interior: Madison's Office, Day Madison is at his desk as Jack enters.</scene_description> <character>MADISON</character> <dialogue>Hello, Jack. Cut your vacation short, didn't you?</dialogue> <character>JACK</character> <dialogue>Yeah.</dialogue> <character>MADISON</character> <dialogue>By the way, Jack, the fellow you wrote the articles about... uh... Stark.</dialogue> <character>JACK</character> <dialogue>Yeah?</dialogue> <character>MADISON</character> <dialogue>He lost.</dialogue> <character>JACK</character> <dialogue>Well, I guess that's the end of Willie Stark.</dialogue> <scene_description>He turns around and walks off toward his desk. FADE OUT FADE IN: INTERIOR: STARK FARMHOUSE, NIGHT: LUCY AND WILLIE ARE SEATED TOGETHER AT THE TABLE.: Willie has his law books open before him.</scene_description> <character>WILLIE</character> <dialogue>...Measure of the damages is caused by...</dialogue> <character>LUCY</character> <parenthetical>(prompting)</parenthetical> <dialogue>A breach...</dialogue> <character>WILLIE</character> <dialogue>A breach...</dialogue> <character>LUCY</character> <dialogue>Of an agreement...</dialogue> <character>WILLIE</character> <dialogue>Of an agreement...</dialogue> <character>LUCY</character> <dialogue>To sell personal property...</dialogue> <character>WILLIE</character> <dialogue>To sell...</dialogue> <parenthetical>(slams the book shut)</parenthetical> <dialogue>Oh, two years of this.</dialogue> <character>LUCY</character> <parenthetical>(leaning over to him)</parenthetical> <dialogue>Oh, go on, Willie, go on.</dialogue> <scene_description>He opens the book again. DISSOLVE TO: Interior: Willie's Law Office (Kanoma City), Day Willie positions the framed diploma on the wall. The camera pulls back to show Tom and Lucy, looking on.</scene_description> <character>WILLIE</character> <dialogue>Willie Stark... Bachelor of Law...</dialogue> <scene_description>DISSOLVE TO: Exterior: Kanoma City Farm, Day Close shot of Willie, talking to a farmer.</scene_description> <character>WILLIE</character> <dialogue>If you'll just let me take your case...</dialogue> <scene_description>DISSOLVE TO: Exterior: Farm, Day Willie walks beside a farmer who is plowing his field.</scene_description> <character>WILLIE</character> <dialogue>Really, I'll wait for my fee. Just as long as you want me to.</dialogue> <scene_description>DISSOLVE TO: Interior: Willie's Law Office, Night Through the window, on which is printed "Willie Stark: Attorney at Law," we see Willie, alone, pacing back and forth in his office.</scene_description> <character>LUCY'S VOICE</character> <dialogue>Go on, Willie, go on.</dialogue> <character>WILLIE'S VOICE</character> <dialogue>They're not going to kick me around like I was dirt.</dialogue> <character>LUCY'S VOICE</character> <dialogue>If you lose you can give a little more time studying your law books.</dialogue> <character>WILLIE'S VOICE</character> <dialogue>I'm going to be on that same street corner tomorrow, Mr. Duffy!</dialogue> <character>DUFFY'S VOICE</character> <dialogue>By all means. Free speech, free country, Willie.</dialogue> <character>WILLIE'S VOICE</character> <dialogue>That brick factory is owned by a brother-in-law of one of the commissioners. The county commissioners rejected the low bid on the schoolhouse.</dialogue> <scene_description>Willie crumples a piece of paper in his hand and tosses it against the window. DISSOLVE TO: Exterior: Schoolhouse (Kanoma City), Day A plaque on the school wall reads KANOMA CITY GRAMMAR SCHOOL Interior: Schoolroom, Day Teacher faces her class. The clanging of a fire bell is heard.</scene_description> <character>TEACHER</character> <dialogue>All right, children, this is a fire drill.</dialogue> <scene_description>The children rise and start to march out of the room in double file.</scene_description> <character>TEACHER</character> <dialogue>Remember now, walk quietly.</dialogue> <scene_description>Exterior: Schoolhouse, Day The children's feet, as they climb down the fire escape. Camera pans past children to an iron rod supporting the fire escape. The brick around the rod starts to crumble and it rips loose. The children scream out in fear and agony. DISSOLVE TO: Exterior: Cemetery, Day The whole town is there. Willie Stark, Lucy, Tom stand modestly in the background. Quiet sobbing is heard as the minister reads from the Bible. When he finishes the prayer, he walks past the line of mourners, shaking their hands. The ceremony is over. As they start to go, a man spots Willie, goes over to him, and lifts Willie's arm in the air.</scene_description> <character>MAN</character> <dialogue>Oh, Lord, I'm punished for voting against an honest man.</dialogue> <scene_description>This sudden action brings response; women begin to cry and people push their way forward to grab Willie by the hand.</scene_description> <character>VOICES OF THE MOURNERS</character> <dialogue>God bless you, Willie. If we had only listened to you, Willie. You were right, Willie. Let me shake your hand, Willie. We should have listened, Willie. You were right all the time.</dialogue> <scene_description>On Willie's face is the realization that something important has happened to him. DISSOLVE TO: Interior: Stark Farmhouse, Night An article is pasted in a scrapbook. It reads: "VOICE IN THE WILDERNESS. Recent school tragedy is a potent reminder that a man named Willie Stark..." A hand draws a pencil underneath the name.</scene_description> <character>WILLIE'S VOICE</character> <dialogue>A voice in the wilderness. A man named Willie Stark...</dialogue> <scene_description>Camera pulls back to show Willie at the table busy with his scrapbook. He looks up at Lucy.</scene_description> <character>WILLIE</character> <dialogue>How about that, Lucy, that's me.</dialogue> <scene_description>She looks at him, unsmiling, and sits down to help him clip various articles from other papers. DISSOLVE TO: Interior: Stark Farmhouse, Night A series of clippings are being pasted in the scrapbook. They read:</scene_description> <character>A. SCHOOL VICTIMS SUE COUNTY: STARK FILES DAMAGE SUIT</character> <dialogue>"Will prove graft cause of tragedy," says Attorney</dialogue> <scene_description>Stark.</scene_description> <character>B. CITIZENS COMMITTEE FORMED</character> <dialogue>Draft Stark to lead fight to rid state of graft.</dialogue> <character>C. CITIZENS COMMITTEE DEMANDS STATE-WIDE INVESTIGATION</character> <dialogue>D. Large photograph of Willie. Under it, the caption:</dialogue> <scene_description>RURAL DISSOLVE TO: Interior: Madison's Office, The Chronicle, Day The clippings are spread out on Madison's desk. He looks up at Jack.</scene_description> <character>MADISON</character> <dialogue>Get up there. Get up there fast. Your friend, Willie, is hotter than a firecracker.</dialogue> <scene_description>Jack starts toward the door.</scene_description> <character>MADISON</character> <dialogue>Stay there with him.</dialogue> <scene_description>DISSOLVE TO: Interior: Harrison's Political Headquarters (State Capital), Day A politician points to a map on the wall.</scene_description> <character>POLITICIAN</character> <dialogue>Look, before this Kanoma City business we had this whole area tied up. Now we're losing to Hickville.</dialogue> <scene_description>Camera pulls back, revealing the candidate, Harrison, Tiny Duffy, and a woman, Sadie Burke.</scene_description> <character>POLITICIAN</character> <dialogue>We must find a way to split that vote.</dialogue> <character>HARRISON</character> <dialogue>Well, all I know is, the way it is now it looks like I'm not going to win.</dialogue> <character>POLITICIAN</character> <dialogue>I know a way... find a dummy.</dialogue> <character>SADIE</character> <dialogue>Find a dummy.</dialogue> <parenthetical>(looks at Harrison)</parenthetical> <dialogue>That's what we've got.</dialogue> <character>POLITICIAN</character> <dialogue>A guy from the sticks... strong enough to grab some votes and dumb enough not to ask questions.</dialogue> <character>DUFFY</character> <dialogue>If you want to listen to a boy from the sticks, I know just the guy.</dialogue> <scene_description>They crowd around to listen. DISSOLVE TO: Interior: Stark Farmhouse, Day Jack sits at the dinner table, with Willie and Lucy. Tom stands next to Willie. Pappy dozes in his chair.</scene_description> <character>JACK</character> <dialogue>No more politics, eh, Willie?</dialogue> <character>WILLIE</character> <dialogue>No, I worked too hard in my time to get there. I think I'll just go on practicing law and make a little more money.</dialogue> <character>JACK</character> <dialogue>The question I'd like to know is, why all the speeches you're making around the countryside?</dialogue> <scene_description>Willie is about to answer when he hears the sound of approaching cars.</scene_description> <character>WILLIE</character> <dialogue>Wonder who that is?</dialogue> <scene_description>He goes to the window, and we see a big black limousine turning into his drive. He opens the door and waits as Sadie, Duffy, Dolph Pillsbury, and other politicians climb the steps to meet him.</scene_description> <character>DUFFY</character> <dialogue>Brought some people all the way up from the state capital just to meet</dialogue> <scene_description>you. (turns to others) Folks, I want you to meet Willie Stark, the next governor of our state. Willie, Lucy, and Tom beam happily. Jack looks skeptically at Sadie, whose only reaction is to smile, politely. DISSOLVE TO: Exterior: Country Road, Day Close shot of three posters on a billboard. They read ELECT</scene_description> <character>JOE HARRISON (HAPPY JOE) GOVERNOR FOR GOVERNOR ELECT</character> <dialogue>McMURPHY</dialogue> <character>WILLIE STARK FOR GOVERNOR.</character> <dialogue>The camera pans to the road, where an old Model T comes bouncing along. As it passes we see a poster stuck on</dialogue> <scene_description>its back: WILLIE STARK -- GOVERNOR. Exterior: Railroad Station, Day Willie Stark walks out on the platform at the rear of the train and talks to some of the townspeople who have gathered at the station.</scene_description> <character>WILLIE</character> <dialogue>Folks, if you'll just bear patiently with me for a couple of minutes, I'd like to tell you what this state needs. It needs a balanced tax program. Now I'd like to give you the facts and the figures.</dialogue> <scene_description>Some of the townspeople start to move away. DISSOLVE TO: Interior: Train, Day As the train pulls away from the station, Willie turns around to Jack.</scene_description> <character>WILLIE</character> <dialogue>How did it sound, Jack?</dialogue> <character>JACK</character> <dialogue>Fine, Willie, fine.</dialogue> <character>WILLIE</character> <parenthetical>(alarmed)</parenthetical> <dialogue>Say... I forgot to send a telegram to Lucy... Conductor!</dialogue> <scene_description>Jack and Sadie exchange looks. DISSOLVE TO: Interior: Train Club Car, Day Willie, jacket off, works over a speech with Duffy as Pillsbury and Sadie look on.</scene_description> <character>WILLIE</character> <dialogue>Now right here... right here I'd like to add something about last year's taxes... eh?</dialogue> <character>DUFFY</character> <dialogue>I wouldn't add a thing. Just give them the facts.</dialogue> <character>PILLSBURY</character> <dialogue>Yeah... and the figures.</dialogue> <character>DUFFY</character> <dialogue>Great speech.</dialogue> <scene_description>Sadie sips her drink. DISSOLVE TO: Exterior: Street Corner (Upton), Day Willie stands on a platform, next to an American flag, reading from his prepared speech.</scene_description> <character>WILLIE</character> <dialogue>What this state needs is a balanced tax program. Last year, last year the state claimed to have spent on roads...</dialogue> <scene_description>Sadie turns and walks away, no longer able to listen. Jack follows her toward the hotel. Interior: Hotel Lobby (Upton), Day As Jack and Sadie cross the street, enter the lobby, and sit down next to the front window. We can still see Willie and his small street-corner audience in the background.</scene_description> <character>JACK</character> <dialogue>Do you mind if I sit with you, Sadie?</dialogue> <character>SADIE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Stand... sit...</dialogue> <character>JACK</character> <dialogue>Thanks... Tell me, what are you on this merry-go-round for?</dialogue> <character>SADIE</character> <dialogue>I take notes.</dialogue> <character>JACK</character> <dialogue>For whom?</dialogue> <character>SADIE</character> <dialogue>For those who pay me.</dialogue> <character>JACK</character> <dialogue>Which is.</dialogue> <character>SADIE</character> <dialogue>People.</dialogue> <character>JACK</character> <dialogue>Smart people.</dialogue> <character>SADIE</character> <dialogue>Oh, yeah. Anybody that pays me is smart.</dialogue> <character>JACK</character> <dialogue>You don't have to be smart to frame a guy like Willie Stark.</dialogue> <character>SADIE</character> <dialogue>No. No, brother, you don't.</dialogue> <character>JACK</character> <parenthetical>(lights a cigarette)</parenthetical> <dialogue>It is a frame, isn't it?</dialogue> <character>SADIE</character> <dialogue>Why don't you give me a cigarette?</dialogue> <character>JACK</character> <parenthetical>(gives her the pack)</parenthetical> <dialogue>To split the vote and win the election for Harrison, huh?</dialogue> <character>SADIE</character> <dialogue>If you know, why do you ask?</dialogue> <character>JACK</character> <dialogue>I just want to make sure.</dialogue> <character>SADIE</character> <dialogue>Yeah.</dialogue> <character>JACK</character> <dialogue>Look, why don't you tell the boys back home to save their money. Willie couldn't steal a vote from... from Abe Lincoln in the Cradle of the Confederacy.</dialogue> <character>SADIE</character> <dialogue>I wish the poor... had enough sense to have somebody give him a good greasing for the beating he's going to get. 'Cause this way all he gets out of it is the ride.</dialogue> <parenthetical>(looks at Willie through the window)</parenthetical> <dialogue>Hey, those speeches! Ain't they awful? Ain't they just plain awful? Question to you: if somebody told him he was a sucker, do you think he'd quit?</dialogue> <scene_description>Willie has just finished his speech and is on his way over to the hotel.</scene_description> <character>JACK</character> <dialogue>I don't know, Sadie. I really don't know.</dialogue> <character>WILLIE</character> <parenthetical>(as he comes into the lobby)</parenthetical> <dialogue>Did it sound all right, Mr. Burden?</dialogue> <character>JACK</character> <dialogue>Fine, Willie, fine.</dialogue> <character>WILLIE</character> <dialogue>Thanks.</dialogue> <scene_description>He and Jack go upstairs together. Sadie watches them. DISSOLVE TO: Interior: Sadie's Hotel Room (Upton), Night Sadie lies on her bed, listening to Willie in the next room, rehearsing one of his speeches.</scene_description> <character>WILLIE'S VOICE</character> <dialogue>Now, friends, if you will bear patiently with me for a few minutes, I'll give you the figures. What we need is a balanced tax program...</dialogue> <character>JACK'S VOICE</character> <dialogue>No, Willie, no.</dialogue> <scene_description>Sadie pulls off a shoe and hurls it at the wall.</scene_description> <character>SADIE</character> <dialogue>What I need is some sleep. Shut up!</dialogue> <scene_description>Interior: Jack's Hotel Room (Upton), Same Time Willie lies on his bed. Jack finishes shaving in the bathroom as he continues to rehearse him.</scene_description> <character>JACK</character> <parenthetical>(shouting back at Sadie)</parenthetical> <dialogue>Shut up yourself!</dialogue> <parenthetical>(goes to bed, shakes Willie)</parenthetical> <dialogue>Listen, Willie, try it on your feet this time.</dialogue> <character>WILLIE</character> <dialogue>Oh, no. Wait a minute. My feet are killing me. Let me stay here, huh?</dialogue> <character>JACK</character> <dialogue>All right... Look, Willie, you tell 'em too much. Just tell 'em you're going to soak the fat boys and forget the rest of the tax stuff.</dialogue> <character>WILLIE</character> <parenthetical>(pathetically)</parenthetical> <dialogue>That's what I say.</dialogue> <character>JACK</character> <dialogue>But it's the way you say it. Willie, make 'em cry. Make 'em laugh, make 'em mad, even mad at you. Stir 'em up and they'll love it and come back for more. But for heaven's sake don't try and improve their minds.</dialogue> <character>WILLIE</character> <parenthetical>(suddenly)</parenthetical> <dialogue>A man don't have to be governor.</dialogue> <character>JACK</character> <parenthetical>(surprised)</parenthetical> <dialogue>What?</dialogue> <character>WILLIE</character> <dialogue>A man don't have to be governor.</dialogue> <scene_description>Pause.</scene_description> <character>JACK</character> <dialogue>Well, they haven't counted up the votes yet.</dialogue> <character>WILLIE</character> <parenthetical>(quietly)</parenthetical> <dialogue>Oh, I'm going to lose, Mr. Burden. I know that. Don't try and fool me. I'm not going to lie to you. I wanted it. I wanted it so badly I stayed up nights thinking about it. A man wants something so badly he gets mixed up in knowing what he wants. It's something inside of you. I would have made a good governor. Better than those other fellows.</dialogue> <scene_description>There is a knock on the door.</scene_description> <character>JACK</character> <dialogue>Come in.</dialogue> <character>WILLIE</character> <parenthetical>(almost to himself)</parenthetical> <dialogue>A great governor.</dialogue> <scene_description>Sadie enters. She immediately spots the liquor, and pours herself a drink.</scene_description> <character>SADIE</character> <dialogue>Since you won't let me sleep you might at least give me a drink.</dialogue> <character>WILLIE</character> <parenthetical>(muttering)</parenthetical> <dialogue>Build them highways... greatest system of highways in the country.</dialogue> <character>JACK</character> <parenthetical>(to Sadie)</parenthetical> <dialogue>Help yourself.</dialogue> <character>WILLIE</character> <dialogue>I'll build schools.</dialogue> <character>SADIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>What's up?</dialogue> <character>JACK</character> <dialogue>Nothing... except Willie here has been saying as how he's not going to be governor.</dialogue> <character>SADIE</character> <parenthetical>(directly, to Jack)</parenthetical> <dialogue>So you told him.</dialogue> <character>JACK</character> <dialogue>I don't tell anyone anything... I just listen.</dialogue> <character>SADIE</character> <parenthetical>(goes to Willie)</parenthetical> <dialogue>Who told you?</dialogue> <character>WILLIE</character> <dialogue>Told me what? Told me what?</dialogue> <character>SADIE</character> <dialogue>That you're not going to be governor.</dialogue> <character>WILLIE</character> <parenthetical>(getting up)</parenthetical> <dialogue>Jack! Told me what?... Told me what?</dialogue> <scene_description>Jack says nothing. Sadie gulps down her drink, bangs the empty glass on the bureau top, and turns to face Willie.</scene_description> <character>SADIE</character> <parenthetical>(loudly)</parenthetical> <dialogue>All right! That you've been framed, you poor sap.</dialogue> <scene_description>Willie looks at her steadily for a moment.</scene_description> <character>WILLIE</character> <parenthetical>(quietly)</parenthetical> <dialogue>Framed?</dialogue> <character>SADIE</character> <dialogue>And how! Oh, you decoy, you woodenhead decoy! And you let 'em. You let 'em because you thought you were the little lamb of God. But you know what you are?</dialogue> <parenthetical>(she waits for his answer; he has none)</parenthetical> <dialogue>Well, you're the goat! You are the sacrificial goat! You are a sap... because you let 'em.</dialogue> <character>JACK</character> <dialogue>Sadie! That's enough.</dialogue> <character>SADIE</character> <dialogue>Enough? He didn't even get anything out of it. Oh, they'd have paid you to take a rap like that, but they didn't have to pay a sap like you. Oh, no, you were so full of yourself and hot air, all you wanted was a chance to stand up on your hind legs and make a speech: my friends, what this state needs is a good five-cent cigar. What this state needs is a --</dialogue> <character>WILLIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Is it true?</dialogue> <character>SADIE</character> <parenthetical>(prayerfully, to the ceiling)</parenthetical> <dialogue>He wants to know if it's true.</dialogue> <character>WILLIE</character> <dialogue>Is it true?</dialogue> <character>JACK</character> <dialogue>That's what they tell me.</dialogue> <scene_description>There is a long pause. Willie looks almost as if he is going to cry. Sadie pours out another drink, a stiff one.</scene_description> <character>SADIE</character> <parenthetical>(handing it to him)</parenthetical> <dialogue>Here.</dialogue> <scene_description>Willie drinks it all.</scene_description> <character>JACK</character> <dialogue>Hey, lay off that. You're not used to it.</dialogue> <character>SADIE</character> <parenthetical>(jeeringly)</parenthetical> <dialogue>He's not used to a lot of things. Are you, Willie?</dialogue> <character>JACK</character> <parenthetical>(angrily)</parenthetical> <dialogue>Why don't you lay off of him, Sadie?</dialogue> <character>SADIE</character> <parenthetical>(ignores Jack)</parenthetical> <dialogue>Are you, Willie? Are you? Are you... are you, are you, are you?</dialogue> <scene_description>She shoves the bottle at him. He takes it and pours himself a drink. DISSOLVE TO: Interior: Sadie's Hotel Room (Upton), Morning Willie is snoring on the bed. Sadie's coat is thrown over him. She is in the bathroom, applying lipstick. Jack enters.</scene_description> <character>SADIE</character> <dialogue>Hi.</dialogue> <character>JACK</character> <dialogue>Well, things seem to have quieted down.</dialogue> <character>SADIE</character> <parenthetical>(laughs)</parenthetical> <dialogue>Yeah, I quieted him down.</dialogue> <character>JACK</character> <dialogue>Yeah. How was he? Noisy?</dialogue> <character>SADIE</character> <dialogue>Oh, he reared some. He's been telling me all the things he's going to do. He's going to do big things, this fella. He's going to be President. He's going to kill people with his bare hands. I quieted him down... Hey! Who's Lucy?</dialogue> <character>JACK</character> <dialogue>His wife.</dialogue> <character>SADIE</character> <dialogue>He talks like she's his mammy... she's going to blow his nose for him.</dialogue> <scene_description>Jack sits on the bed next to Willie.</scene_description> <character>JACK</character> <dialogue>Well, I'll take him from here on in. They're waiting for him at the barbecue.</dialogue> <scene_description>Sadie pulls her coat off Willie and goes to the door.</scene_description> <character>SADIE</character> <dialogue>Yeah, well give me a receipt for the body and I'll be on my way.</dialogue> <scene_description>She leaves. Jack bends over Willie, who continues to snore.</scene_description> <character>JACK</character> <dialogue>Hey, Willie, Willie... come on, wake up, Willie. Come on, Willie.</dialogue> <scene_description>DISSOLVE TO: Exterior: Fairgrounds (Upton), Day A crowd mills about underneath a banner that reads HEAR WILLIE</scene_description> <character>STARK MAMMOTH BARBECUE -- UPTON FAIRGROUNDS</character> <dialogue>Exterior: Fairgrounds, Day</dialogue> <dialogue>Willie, staggering a bit, hung over, reacts painfully</dialogue> <scene_description>to the staggering height of the Ferris wheel. He leans on Jack for support, and they walk on. Exterior: Fairgrounds, Day Willie takes a seat on the children's swing as Jack goes off to get some coffee. Two little girls stare curiously at him. Willie waves them off. Jack returns with the coffee and pours some whisky in it. Willie tips his hand, forcing him to pour more, then gulps his drink down. Exterior: Bandstand (Upton), Day Duffy, Pillsbury, and the other politicians stand on the platform, waiting for Willie. A band plays march music. Duffy goes over to Sadie, who is standing on the steps of the platform.</scene_description> <character>DUFFY</character> <dialogue>Where is he?</dialogue> <character>SADIE</character> <parenthetical>(pointing)</parenthetical> <dialogue>There he is.</dialogue> <scene_description>Escorted by Jack, Willie approaches the platform and stumbles up the steps past Sadie.</scene_description> <character>SADIE</character> <dialogue>Whoops!</dialogue> <character>DUFFY</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Is he drunk?</dialogue> <character>JACK</character> <dialogue>Never touches the stuff. Lucy doesn't favor drinkin'.</dialogue> <scene_description>Duffy follows Willie up on the platform.</scene_description> <character>SADIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>How'd you get him here? He was out stiff.</dialogue> <character>JACK</character> <dialogue>Hair of the dog that bit him.</dialogue> <character>SADIE</character> <dialogue>Hair? He must have swallowed the dog.</dialogue> <scene_description>On the platform, Duffy looks uneasily at the bleary- eyed Willie. The band suddenly plays a fanfare, and the chairman steps up to the microphone.</scene_description> <character>CHAIRMAN</character> <dialogue>Ladies and gentlemen, it gives me a great deal of pleasure to introduce to you that true man of the people, the next governor of the state... Willie Stark.</dialogue> <scene_description>There is scattered applause as Willie steps forward to speak.</scene_description> <character>WILLIE</character> <dialogue>My friends...</dialogue> <scene_description>He turns his face from side to side, and fumbles in the right side of his coat pocket to fish out his speech.</scene_description> <character>WILLIE</character> <dialogue>My friends... I...</dialogue> <scene_description>He tries to focus on the speech, which he clutches before his eyes with both hands. Then he lifts his head, and looks directly at the people who have come to hear him. As he speaks, the camera focuses on the faces of these people: the farmers, workers, hicks, red-necks who are Willie's audience, Willie's people.</scene_description> <character>WILLIE</character> <dialogue>I have a speech here. It's a speech about what this state needs. There's no need in my telling you what this state needs. You are the state and you know what you need... You over there... look at your pants. Have they got holes in the knees? Listen to your stomach. Did you ever hear it rumble from hunger?... And you, what about your crops? Did they ever rot in the field because the road was so bad you couldn't get them to market?... And you. What about your kids? Are they growing up ignorant as dirt, ignorant as you, 'cause there's no school for them?... No, I'm not going to read you any speech.</dialogue> <scene_description>He throws his speech away. Duffy looks alarmed.</scene_description> <character>WILLIE</character> <dialogue>But I am going to tell you a story. It's a funny story...</dialogue> <character>SADIE</character> <parenthetical>(from the steps)</parenthetical> <dialogue>Hey!</dialogue> <character>WILLIE'S VOICE</character> <dialogue>...So get ready to laugh.</dialogue> <character>SADIE</character> <dialogue>What's he up to?</dialogue> <character>JACK</character> <dialogue>Shut up!</dialogue> <character>WILLIE</character> <dialogue>Get ready to bust your sides laughing, 'cause it's sure a funny story. It's about a hick... a hick like you, if you please. Yeah, like you. He grew up on the dirt roads and gully washes of a farm. He knew what it was to</dialogue> <scene_description>get up before dawn and get feed and slop and milk before breakfast... and then set out before sunup and walk six miles to a one-room, slab- sided schoolhouse. Oh, this hick knew what it was to be a hick, all right. He figured if he was going to get anything done, he had to do it himself. So he sat up nights and studied books. He studied law because he thought he might be able to change things some... for himself, and for folks like him. Sugar Boy listens intently, sharing in the anger in Willie's speech.</scene_description> <character>WILLIE</character> <dialogue>No, I'm not going to lie to you. He didn't start off thinking about the hicks and all the wonderful things he was going to do for them. No. No, he started off thinking of number one. But something came to him on the way. How he could do nothing for himself without the help of the people. That's what came to him. And it also came to him, with the powerful force of God's own lightning, back in his home country, when a schoolhouse collapsed because it was built of politics... rotten brick. It killed and mangled a dozen kids. But you know that story. The people were his friends because he fought that rotten brick. And some of the politicians down in the city, they knew that... So they rode up to his house in a big, fine, shiny car and said as how they wanted him to run for governor...</dialogue> <scene_description>Jack, electrified, grips Sadie's arm.</scene_description> <character>JACK</character> <dialogue>Sadie, he's wonderful... wonderful...</dialogue> <scene_description>Duffy fidgets as Willie continues to pace and speak, his face filled with conviction, and with fury.</scene_description> <character>WILLIE</character> <dialogue>...So they told the hick... and he swallowed it. He looked in his heart and he thought in all humility how he'd like to try and change things. He was just a country boy who thought that even the plainest, poorest man can be governor if his fellow citizens find he's got the stuff for the job. Well, those fellows in the striped pants... they saw the hick and they took him in.</dialogue> <scene_description>He points his finger at Duffy, who is coming over to speak to him.</scene_description> <character>DUFFY</character> <parenthetical>(low voice)</parenthetical> <dialogue>Willie, what are you trying to do?</dialogue> <scene_description>Willie turns on him, roaring.</scene_description> <character>WILLIE</character> <dialogue>There he is! There's your Judas Iscariot.</dialogue> <parenthetical>(he pushes Duffy across the platform)</parenthetical> <dialogue>Look at him... lickspittle... nose- wiper.</dialogue> <scene_description>Duffy gestures frantically to the band.</scene_description> <character>DUFFY</character> <dialogue>Play! Play!</dialogue> <character>WILLIE</character> <parenthetical>(pushing him again)</parenthetical> <dialogue>Look at him!</dialogue> <character>DUFFY</character> <dialogue>Play anything.</dialogue> <scene_description>The band starts to play, adding to the pandemonium. Willie shouts above it.</scene_description> <character>WILLIE</character> <dialogue>Look at him! Joe Harrison's dummy! Look at him!</dialogue> <character>DUFFY</character> <dialogue>That's a lie!</dialogue> <character>WILLIE</character> <dialogue>Look at him!</dialogue> <scene_description>Duffy signals to some of his goons standing near the platform.</scene_description> <character>DUFFY</character> <dialogue>Go get him, boys... go get him.</dialogue> <scene_description>Sugar Boy leaps up on the platform, his pistol drawn and pointed at Duffy's men. Willie throws up his arms to silence the crowd.</scene_description> <character>WILLIE</character> <dialogue>Now, shut up! Shut up, all of you. Now, listen to me, you hicks. Yeah, you're hicks too, and they fooled you a thousand times, just like they fooled me. But this time I'm going to fool somebody. I'm going to stay in this race. I'm on my own and I'm out for blood.</dialogue> <scene_description>The camera moves in close on Willie's face.</scene_description> <character>WILLIE</character> <dialogue>Listen to me, you hicks...</dialogue> <scene_description>DISSOLVE TO: Exterior: Willie's Speeches, Day and Night A series of close-ups of Willie's face as he shouts and jeers his message, always accompanied by the loud and frenzied cheers of the crowd. Superimposed over his face is the figure of Jack Burden, at his desk, typing out his stories.</scene_description> <character>WILLIE</character> <dialogue>Listen to me and lift up your eyes and look at God's blessed and unflyblown truth... And this is the truth. You're a hick. And nobody ever helped a hick but a hick himself.</dialogue> <scene_description>Loud cheers and yells.</scene_description> <character>WILLIE</character> <dialogue>All right, listen to me... listen to me. I was the hick they were going to use to split the hick vote. But I'm standing right here now on my hind legs... even a dog can learn to do that. Are you standing on your hind legs? Have you learned to do that much yet? Here it is, here it is, you hicks. Nail up anybody who stands in your way! Nail up Joe Harrison! Nail up McMurphy! And if they don't deliver, give me a hammer and I'll do it myself.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>NEWSPAPER HEADLINE</character> <dialogue>There is a photograph of Willie and a headline that</dialogue> <scene_description>reads</scene_description> <character>STARK CHANCES BOOMING</character> <dialogue>Superimposed over the newspaper is a shot of a crowd applauding and yelling for Willie.</dialogue> <dialogue>Interior: Joe Harrison's Campaign Headquarters, Night</dialogue> <dialogue>Duffy, Pillsbury, and other aides stand looking at a</dialogue> <scene_description>poster of Willie.</scene_description> <character>POLITICIAN</character> <dialogue>I want his throat cut, from ear to ear.</dialogue> <scene_description>Exterior: Willie's Campaign Montage Rock crashes through a window, knocking down a poster of Willie. Poster being torn off the side of a building. A man is attacked as he tries to distribute leaflets. DISSOLVE TO: Exterior: Jack Burden's Desk, The Chronicle, Night Jack is working on a story when Madison comes to his desk.</scene_description> <character>MADISON</character> <dialogue>No use going any further, Jack. We aren't printing them any more.</dialogue> <character>JACK</character> <dialogue>I thought the Chronicle line was --</dialogue> <character>MADISON</character> <dialogue>Divide and conquer? Stark is getting too big for his britches and the hicks are getting too smart. We're now supporting Harrison.</dialogue> <character>JACK</character> <parenthetical>(stands up)</parenthetical> <dialogue>How do you square that?</dialogue> <character>MADISON</character> <dialogue>I work here.</dialogue> <character>JACK</character> <parenthetical>(putting on his coat)</parenthetical> <dialogue>Well, I don't... not any more.</dialogue> <character>MADISON</character> <dialogue>Jack, you fool.</dialogue> <character>JACK</character> <dialogue>If you had any guts you'd print this...</dialogue> <character>MADISON</character> <dialogue>I work here. I take orders.</dialogue> <character>JACK</character> <dialogue>I know. You've got a wife and three kids and your boy goes to Princeton.</dialogue> <character>MADISON</character> <dialogue>You won't find it easy to get another job.</dialogue> <character>JACK</character> <dialogue>I'm too rich to work.</dialogue> <scene_description>DISSOLVE TO: Exterior: Street Outside State Capitol, Day</scene_description> <character>NEWSPAPER HEADLINE READS</character> <dialogue>HARRISON WINS CLOSE RACE</dialogue> <character>STARK SWEEPS RURAL AREAS</character> <dialogue>CITY VOTE DECIDES ELECTION</dialogue> <dialogue>Superimposed over newspaper is a crowd cheering at</dialogue> <scene_description>Harrison's victory parade. Willie, raincoat thrown over his shoulders, looking grim, and Sadie and Sugar Boy are part of that crowd. They turn away and walk toward a bar. Interior: Bar, Day Jack is already at the bar. Willie, Sadie, and Sugar Boy join him there.</scene_description> <character>JACK</character> <dialogue>We didn't do so good.</dialogue> <character>WILLIE</character> <dialogue>Double bourbon.</dialogue> <character>SADIE</character> <parenthetical>(sitting next to Jack)</parenthetical> <dialogue>Same for me.</dialogue> <character>WILLIE</character> <dialogue>And a beer.</dialogue> <parenthetical>(to Jack)</parenthetical> <dialogue>I hear you got fired from the paper.</dialogue> <character>JACK</character> <dialogue>You heard wrong, Willie. I quit.</dialogue> <character>WILLIE</character> <parenthetical>(passing the beer back to Sugar Boy)</parenthetical> <dialogue>You're smart. 'Cause before I'm through with that mob they're not going to have enough money left to pay the boy that cleans the spittoons.</dialogue> <character>JACK</character> <dialogue>How do you feel, Willie?</dialogue> <character>WILLIE</character> <dialogue>I feel fine, fine. You see, Jack, I learned something.</dialogue> <scene_description>Willie and Sadie exchange looks.</scene_description> <character>JACK</character> <dialogue>Yeah... what?</dialogue> <scene_description>Close shot of Willie.</scene_description> <character>WILLIE</character> <dialogue>How to win.</dialogue> <scene_description>FADE OUT FADE IN: Exterior: Road, Day Jack stands on the side of the road, thumbing a ride.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I didn't see Willie again until his second campaign... four years later.</dialogue> <scene_description>Interior: Office, Night Jack turns in some copy to a man at a desk.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I drifted from job to job...</dialogue> <scene_description>Exterior: Street, Day Jack and others in front of an employment agency.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>...That is, whenever I could find one.</dialogue> <scene_description>Interior: Bar, Night Jack, at the bar, looking haggard and disheveled, picks up a newspaper and turns to find a photograph of Anne. The caption reads STANTONS ARRIVE HOME.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>But always further and further away from Anne, and the life at Burden's Landing.</dialogue> <scene_description>Exterior: Street, Day Camera pans with Jack as he trudges along the street.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>But Willie wasn't drifting. He knew where he was going.</dialogue> <scene_description>We see an insert of a newspaper. It has a caricature of Willie, swinging a sledge hammer. The caption reads</scene_description> <character>STARK ATTACKS ADMINISTRATION</character> <dialogue>CHARGES OLD MACHINE STILL CORRUPT</dialogue> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>He had his foot in the door and he kept right on pushing to get in. He had lost the election but he had won the state... and he knew it... and the people knew it.</dialogue> <character>MONTAGE: WILLIE'S LIFE</character> <dialogue>Writing on a fence: THE PEOPLE'S WILL SHOULD BE THE LAW</dialogue> <scene_description>OF THE STATE... WILLIE STARK Painted on a rock: KNOWLEDGE BELONGS</scene_description> <character>TO THE PEOPLE... WILLIE STARK</character> <dialogue>Lettering on a barn: FREE MEDICINE FOR ALL PEOPLE --</dialogue> <scene_description>NOT AS</scene_description> <character>A CHARITY BUT AS A RIGHT... WILLIE STARK</character> <dialogue>Poster on a building: MY STUDY IS THE HEART OF THE</dialogue> <scene_description>PEOPLE...</scene_description> <character>WILLIE STARK</character> <dialogue>JACK</dialogue> <parenthetical>(voice over)</parenthetical> <dialogue>They were all hopping on his</dialogue> <scene_description>bandwagon... even Tiny Duffy. Newspaper caricature: it shows Willie on a bandwagon headed for the state capitol. Everyone is trying to climb aboard. Caption is THEY'RE ALL FOR WILLIE NOW. Huge poster on the side of a building: MY STUDY IS THE HEART OF THE PEOPLE. Camera pans up to photograph of Willie on the poster.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Yep, Willie came back like he said he would.</dialogue> <scene_description>Interior: Willie's Office, Day Willie is being interviewed by a group of reporters. Sugar Boy lounges nearby, leaning against the wall.</scene_description> <character>WILLIE</character> <dialogue>Do you want to know what my platform is? Here it is: I'm going to soak the fat boys and I'm going to spread it thin.</dialogue> <scene_description>DISSOLVE TO: Exterior: Circus Grounds, Day We see balloons with inscriptions reading "I'm for Willie," and a large banner stretching overhead, saying FREE CIRCUS TODAY -- COMPLIMENTS OF WILLIE STARK. The crowd moves about, gazing at the clowns, animals, the trapeze act.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Willie was right -- he'd learned how to win...</dialogue> <scene_description>Exterior: Park, Day A truck loaded with beer kegs pulls into the park. On the back of the truck is a sign: BIG STARK RALLY TODAY -- FREE BEER -- FREE FOOD -- EVERYBODY INVITED. Superimposed over this is the image of dollar bills floating through the air.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>He spent a lot of money doing it... an awful lot of money... I was beginning to wonder where he got it from.</dialogue> <scene_description>Montage: Willie's Second Campaign Hand holding check made payable to Willie Stark Campaign Fund... $7000. Willie's hand reaches out and takes it. Hand holding check payable to cash for $5000. Superimposed is Willie, looking on, and his hand endorsing the back of the check. Another check to the Stark Campaign Fund for $3500. Poster of Willie is superimposed.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>There were rumors throughout the state that Willie was making deals with all kinds of people... strange deals... for Willie Stark.</dialogue> <scene_description>Crowd milling about circus grounds, with Willie's poster superimposed. Fireworks exploding. Crowd cheers.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>The second time out, it wasn't a campaign... it was a slaughter. It was Saturday night in a mining town.</dialogue> <scene_description>Huge poster is affixed to the side of a building. It bears Willie's face, and his slogans. DISSOLVE TO: Exterior: Hotel (State Capital), Day Crowd stands about as Willie and Jack make their way into the hotel.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>He came back and he took me with him.</dialogue> <scene_description>Interior: Hotel Lobby, Day The lobby is packed as Willie, Jack, Sugar Boy, and Pillsbury enter. Willie makes signals to Duffy to tag along with the entourage. Willie leans over to speak to the room clerk.</scene_description> <character>WILLIE</character> <dialogue>This is Jack Burden, a friend of mine. From now on he's going to live here. Give him anything he wants.</dialogue> <scene_description>The group starts up the stairs, past the officers who are standing guard. Duffy stops to speak to one, pointing his finger at some of his men standing below.</scene_description> <character>DUFFY</character> <dialogue>Let these boys through, officer.</dialogue> <character>WILLIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Duffy works for me now.</dialogue> <character>JACK</character> <dialogue>It looks like everybody works for you.</dialogue> <scene_description>They start up the second flight of stairs.</scene_description> <character>WILLIE</character> <dialogue>No. No, not yet. But I want to keep him around. He reminds me of something I never want to forget.</dialogue> <scene_description>Willie stops and looks around at Duffy's men hurrying up the steps.</scene_description> <character>WILLIE</character> <parenthetical>(to Duffy)</parenthetical> <dialogue>Come on, come on, come on, come on. Are these the boys?</dialogue> <character>DUFFY</character> <dialogue>These are the boys that can get the boys.</dialogue> <character>WILLIE</character> <dialogue>How many do you think we can get?</dialogue> <character>DUFFY</character> <dialogue>Fifty.</dialogue> <character>WILLIE</character> <dialogue>How much?</dialogue> <character>DUFFY</character> <dialogue>Five dollars a head.</dialogue> <character>WILLIE</character> <parenthetical>(to Sugar Boy)</parenthetical> <dialogue>What do you think, Sugar? Do they look like good boys?</dialogue> <character>SUGAR BOY</character> <dialogue>T-t-they b-b-better be.</dialogue> <character>WILLIE</character> <dialogue>Get a hundred... All right, go on, all of you. Blow. Blow, blow. You too, Duffy. Go on.</dialogue> <scene_description>Duffy and his men turn and go downstairs.</scene_description> <character>WILLIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Handbill distributors.</dialogue> <character>JACK</character> <dialogue>If they all look like them I'd hate not to take one.</dialogue> <character>WILLIE</character> <dialogue>That's the object. Not like when they beat up my boy Tom.</dialogue> <character>JACK</character> <dialogue>How is Tom?</dialogue> <character>WILLIE</character> <dialogue>Oh, he's fine. He starts college in the fall.</dialogue> <character>JACK</character> <dialogue>Oh. And Lucy?</dialogue> <scene_description>Willie's expression changes. He starts up the stairs.</scene_description> <character>WILLIE</character> <dialogue>Fine... fine.</dialogue> <scene_description>Interior: Willie's Campaign Office In Hotel, Day The place is a beehive of activity, with typists and messengers scurrying about, all supervised by Sadie.</scene_description> <character>SADIE</character> <dialogue>Hey, I need a boy... Where's a boy?</dialogue> <parenthetical>(boy runs up)</parenthetical> <dialogue>Take that downstairs; they're waiting for it. Right away, on the double.</dialogue> <parenthetical>(to typist)</parenthetical> <dialogue>Listen, baby, you've got to double- space all of this... he can't read, see.</dialogue> <scene_description>The door opens and Willie, Jack, and Sugar Boy come in.</scene_description> <character>JACK</character> <dialogue>Sadie!</dialogue> <character>SADIE</character> <parenthetical>(to typist)</parenthetical> <dialogue>And they need four copies.</dialogue> <parenthetical>(looks up)</parenthetical> <dialogue>Hi, Jack. How are you?</dialogue> <character>WILLIE</character> <dialogue>Sadie is my secretary now.</dialogue> <parenthetical>(to messenger, trying to squeeze by)</parenthetical> <dialogue>Oh, pardon me.</dialogue> <scene_description>As Willie and Jack walk toward adjoining room, Sadie calls out:</scene_description> <character>SADIE</character> <dialogue>Fix your tie, Willie.</dialogue> <scene_description>Interior: Bedroom Hotel Suite, Day Willie and Jack enter from the office.</scene_description> <character>WILLIE</character> <dialogue>Hey, Sugar.</dialogue> <scene_description>Sugar Boy appears in the doorway. Sadie slips by into the room.</scene_description> <character>WILLIE</character> <dialogue>Keep everybody out of here. I want to talk to Jack and Sadie alone.</dialogue> <scene_description>He walks over to Jack, who leans back on the bed.</scene_description> <character>WILLIE</character> <dialogue>From now on you're working for me.</dialogue> <character>JACK</character> <dialogue>Doing what?</dialogue> <character>WILLIE</character> <dialogue>I don't know. Something will turn up, won't it, Sadie?</dialogue> <character>SADIE</character> <dialogue>Yeah. We need a college man around... for research.</dialogue> <character>WILLIE</character> <dialogue>How much did they pay you on that newspaper?</dialogue> <character>JACK</character> <dialogue>Three hundred dollars a month.</dialogue> <character>WILLIE</character> <parenthetical>(laughs)</parenthetical> <dialogue>I could buy you cheap, couldn't I?</dialogue> <character>JACK</character> <dialogue>For a bag of salt.</dialogue> <character>WILLIE</character> <dialogue>No. No, I don't play that way. I like you, boy. I always have. I'll tell you what I'll do. I'll give you</dialogue> <scene_description>four hundred dollars a month and traveling expenses.</scene_description> <character>JACK</character> <dialogue>You throw money around like it was money.</dialogue> <scene_description>Willie gets up and walks to the window.</scene_description> <character>WILLIE</character> <dialogue>Money?... I don't need money. People give me things.</dialogue> <character>JACK</character> <dialogue>Why?</dialogue> <character>WILLIE</character> <dialogue>Because they believe in me.</dialogue> <scene_description>DISSOLVE TO: Exterior: Burden's Landing, Day Willie's car is on the ferry crossing the bay to Burden's Landing. Sugar Boy drives the car off the ferry and up the road toward the house.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I was going home again. But this time it was different. Now I had a feeling that maybe the waiting was over... for me, and for Anne.</dialogue> <scene_description>DISSOLVE TO: Interior: Stanton Living Room (Burden's Landing), Night Close shot of Willie standing in front of the fireplace, beneath the portrait of Governor Stanton.</scene_description> <character>WILLIE</character> <dialogue>It's a far cry from where I come from... to this house.</dialogue> <scene_description>Camera pulls back. The room is crowded with people, all of them friends of the Stantons. Anne, Adam, Judge Stanton, Mrs. Burden, and McEvoy are part of the audience sitting around the fireplace. Jack stands next to Willie.</scene_description> <character>WILLIE</character> <dialogue>And standing here under the portrait of one of the greatest governors of this state, talking to you people... well, it's an honor I never thought I'd have.</dialogue> <character>JACK</character> <dialogue>Are there any questions?</dialogue> <parenthetical>(looks around)</parenthetical> <dialogue>Mr. McEvoy.</dialogue> <character>MCEVOY</character> <parenthetical>(smiles)</parenthetical> <dialogue>No, I have no questions.</dialogue> <character>JACK</character> <dialogue>Judge?</dialogue> <character>JUDGE</character> <dialogue>A few... but it will hold.</dialogue> <character>STANTON</character> <dialogue>I have a question.</dialogue> <character>WILLIE</character> <dialogue>Shoot.</dialogue> <character>STANTON</character> <dialogue>A lot of people in this state have been saying that you've been making deals... some of them with the very groups that you claim you're against. Is that true?</dialogue> <character>JACK</character> <dialogue>Adam, you know how rumors start...</dialogue> <character>WILLIE</character> <dialogue>Yes. Yes, that's true. I have nothing to hide. I'll make a deal with the devil if it'll help me carry out my program. But believe me, there are no strings attached to those deals.</dialogue> <character>STANTON</character> <dialogue>You're sure about that?</dialogue> <character>WILLIE</character> <dialogue>Doc, Jack here has been telling me how you feel about things... how you'd like to see a new hospital built, a hospital that's the biggest and best that money can buy. You want those things, Doc, because, well, because you're a man who wants to do good. Now, I'd like to ask you a question.</dialogue> <character>STANTON</character> <dialogue>Shoot.</dialogue> <scene_description>The guests laugh good-naturedly.</scene_description> <character>WILLIE</character> <dialogue>Do you know what good comes out of?</dialogue> <character>STANTON</character> <dialogue>You tell me, Mr. Stark.</dialogue> <character>WILLIE</character> <dialogue>Out of bad... that's what good comes out of. Because you can't make it out of anything else. You didn't know that, did you?</dialogue> <character>STANTON</character> <dialogue>No, I didn't... There's another question I'd like to ask you. You say there's only bad to start with and the good must come with the bad. Who's to determine what's good and what's bad?... You?</dialogue> <character>WILLIE</character> <dialogue>Why not?</dialogue> <character>STANTON</character> <dialogue>How?</dialogue> <character>WILLIE</character> <dialogue>Why, that's easy. Just... just make it up as you go along.</dialogue> <scene_description>More laughter. Willie smiles and goes on.</scene_description> <character>WILLIE</character> <dialogue>Folks, there's a time to talk and</dialogue> <scene_description>there's a time to act. I think the time to act is right now. And with your support, I not only will win but I will do all of the things I promised. I need your help. Oh, I need it badly. But I'm not going to beg for it. In the name of this state which we love... in the name of the governor in whose house we meet... I demand it. There is immediate applause. Anne is the first to rush over and shake Willie's hand. DISSOLVE TO: Exterior: Stanton Home, Night The last of the guests are leaving. Jack and Willie remain with the Judge, Anne, and Adam.</scene_description> <character>WILLIE</character> <parenthetical>(to Judge)</parenthetical> <dialogue>Well, what do you say, sir?</dialogue> <character>JACK</character> <dialogue>You've got to say yes. With you in the race...</dialogue> <character>JUDGE</character> <dialogue>I'm an old bird... I...</dialogue> <character>WILLIE</character> <dialogue>But a game one.</dialogue> <scene_description>They laugh.</scene_description> <character>WILLIE</character> <dialogue>Look, I'll give you complete power as attorney general. You can do anything you see fit. I'll swing the ax to clear the way for you. Is that a deal?</dialogue> <scene_description>The Judge smiles, then puts out his hand.</scene_description> <character>JUDGE</character> <dialogue>It's a deal.</dialogue> <scene_description>They shake hands.</scene_description> <character>WILLIE</character> <dialogue>Jack, we have to get back to town... a lot to do.</dialogue> <parenthetical>(shakes hands with Adam)</parenthetical> <dialogue>Dr. Stanton.</dialogue> <scene_description>Jack kisses Anne on the cheek. Anne comes over and shakes Willie's hand.</scene_description> <character>ANNE</character> <dialogue>I'm very glad to have met you.</dialogue> <scene_description>FADE OUT</scene_description> <character>FADE IN:</character> <dialogue>Interior: Hotel Lobby (State Capital), Day</dialogue> <dialogue>People stand before the election return board in the</dialogue> <scene_description>hotel lobby. Camera pulls back, revealing a newspaper picture of Willie, and the headline</scene_description> <character>STARK ELECTED GOVERNOR</character> <scene_description>DISSOLVE TO: Exterior: Street Outside Willie's Hotel Balcony, Night A crowd stands below Willie's hotel window, chanting together:</scene_description> <character>CROWD</character> <dialogue>We want Willie! We want Willie!</dialogue> <scene_description>A high angle from the balcony shows Anne, Jack, and Adam in the center of the excited crowd, looking expectantly upward. Some of the people around them are carrying torches. Arc lights play over the dome of the state capitol in the background. In response to the chants, Willie appears on the balcony. With him, standing on the balcony, are Tom and Lucy. The crowd erupts into cheers as he steps outside.</scene_description> <character>WILLIE</character> <parenthetical>(raises his hands for silence)</parenthetical> <dialogue>This is not a time for speechmaking. I should get on my knees and ask God to give me strength to carry out your will.</dialogue> <scene_description>Loud cheers. Adam watches Anne. She applauds. Willie looks down at the crowd and continues his speech.</scene_description> <character>WILLIE</character> <dialogue>This much I swear to you. These things you shall have. I'm going to build a hospital. The biggest that money can buy... and it will belong to you. That any man, woman, or child who is sick or in pain can go through those doors and know that everything will be done for them that man can do. To heal sickness. To ease pain. Free. Not as a charity, but as a right. And it is your right that every child shall have a complete education. That any man who produces anything can take it to market without paying toll. And no poor man's land or farm can be taxed or taken away from him. And it is the right of the people that they will not be deprived of hope...</dialogue> <scene_description>The crowd applauds, and Willie waves. We see Anne, face aglow, turn to Jack.</scene_description> <character>ANNE</character> <dialogue>Does he mean it, Jack? Does he?</dialogue> <character>STANTON</character> <parenthetical>(as he walks away)</parenthetical> <dialogue>That's his bribe.</dialogue> <scene_description>Anne and Jack watch Adam as he leaves. FADE OUT FADE IN: MONTAGE: WILLIE BECOMES GOVERNOR: WILLIE, SADIE, AND JACK LEAVING THEIR OLD CAMPAIGN HEADQUARTERS.: WILLIE, SADIE, JACK, AND OTHERS GOING UPSTAIRS IN THE GOVERNOR'S MANSION. THE OUSTED POLITICIANS ARE JUST: packing up and leaving.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>What if it was his bribe! He swept the old gang out of office. What if they hollered like stuck pigs? He jammed through bill after bill and the people got what they wanted.</dialogue> <scene_description>Willie yelling at the legislators during a session.</scene_description> <character>WILLIE</character> <dialogue>I demand that this bill be passed. Nobody's going to tell me how to run this state.</dialogue> <scene_description>Road excavation -- a bulldozer clears away dirt. A huge crane maneuvers over a dam site. Men are seen working on the girders of a large power plant.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>He started to build the roads, the schools, the power dams, to change the face of the state from one end to the other... His methods?</dialogue> <scene_description>Shots of uniformed policemen roughing up citizens. Willie and Sugar Boy move in on a man being held by cops. Willie looks on as Jack thumbs through his little black book.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Politics is a dirty game... and he played it rough and dirty. Willie's</dialogue> <scene_description>little black book was a record of sin and corruption. And me, Jack Burden? I kept the book and added up the accounts. Willie in a nightclub, surrounded by some show girls. A photographer takes a picture of Willie with a girl balanced on his knee. Willie leads a marching band out onto a football field.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Clown, show-off, playboy, they yelled at him. Building football stadiums. Fiercely proud of his son who played in them.</dialogue> <scene_description>Shot of Tom in football uniform running across the field with the ball. Willie, in the stands, hugs Lucy.</scene_description> <character>WILLIE</character> <dialogue>Oh, look at him go. He's going to be All-American.</dialogue> <scene_description>Willie makes an inspection of the police. He stops to adjust an officer's tie.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>They said he was building up a private army. But he was building, always building...</dialogue> <scene_description>Sign at building excavation reads HERE ON THIS SITE WILL BE SICKNESS. TO WILLIE</scene_description> <character>STARK.</character> <dialogue>JACK</dialogue> <parenthetical>(voice over)</parenthetical> <dialogue>Always playing up to the crowd. Letting them trample on tradition. Well, tradition needed trampling on.</dialogue> <scene_description>A square dance at the governor's mansion. Willie dances with Anne.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>The crowd loved it... Willie loved it... and so did I.</dialogue> <scene_description>FADE OUT FADE IN: Interior: Executive Office Corridor, Day Jack walks down the corridor on the way to Willie's offices. Interior: Willie's Executive Offices, Day As Jack enters from the corridor, Sadie is coming out of Willie's private office.</scene_description> <character>SADIE</character> <parenthetical>(through open door)</parenthetical> <dialogue>You low-down, no-good redneck...</dialogue> <scene_description>She slams the door hard. We hear Willie laugh.</scene_description> <character>JACK</character> <parenthetical>(to secretary)</parenthetical> <dialogue>What goes on here?</dialogue> <character>SECRETARY</character> <dialogue>That's what Sadie wants to know.</dialogue> <parenthetical>(she shows Jack newspaper containing photograph of Willie at the nightclub)</parenthetical> <dialogue>The boss poses for too many pictures.</dialogue> <scene_description>Jack grins, then walks into Sadie's office.</scene_description> <character>SADIE</character> <dialogue>I'll kill him.</dialogue> <character>JACK</character> <dialogue>Why, Sadie, I'm surprised at you.</dialogue> <character>SADIE</character> <dialogue>I'll kill him.</dialogue> <scene_description>She goes to the door to yell to the secretary.</scene_description> <character>SADIE</character> <dialogue>I hate all women.</dialogue> <scene_description>She slams the door again, and returns to her desk.</scene_description> <character>SADIE</character> <dialogue>Was she pretty?</dialogue> <scene_description>Jack shoves the paper at her. She ignores it.</scene_description> <character>SADIE</character> <dialogue>Was she pretty?</dialogue> <character>JACK</character> <dialogue>If I met her on the street I'd never recognize her.</dialogue> <character>SADIE</character> <dialogue>Was she pretty?</dialogue> <character>JACK</character> <dialogue>How should I know? I wasn't looking at her face... Look, if it's going to cause all this grief, why don't you let him go?</dialogue> <character>SADIE</character> <dialogue>Let him go? I'll kill him. I'll drive him out of this state.</dialogue> <character>JACK</character> <dialogue>Just because a guy's sitting with a couple of girls on his knees in public...</dialogue> <character>SADIE</character> <dialogue>Public or private... I know him. How about what happened in Chicago? That girl on skates... and the time you both went to St. Louis... There's a new invention, you know, Photography and newsreels. Willie Stark in a nightclub... Willie Stark with a blonde.</dialogue> <character>JACK</character> <dialogue>You could always bleach your hair.</dialogue> <character>SADIE</character> <dialogue>I could also break every bone in his neck. After all I've done for him... Now he goes two-timing me.</dialogue> <character>JACK</character> <dialogue>He's been two-timing Lucy. So there's another kind of arithmetic for what he's doing to you.</dialogue> <character>SADIE</character> <dialogue>Lucy?</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>If she had her way he'd be back in Kanoma City slopping the hogs right now. And he knows it. He knows what she'd do for him. She had her chance.</dialogue> <character>JACK</character> <dialogue>You seem to think Lucy's on her way out, don't you?</dialogue> <character>SADIE</character> <dialogue>He'll ditch her... Give him time.</dialogue> <character>JACK</character> <dialogue>You ought to know.</dialogue> <scene_description>She slaps his face.</scene_description> <character>JACK</character> <dialogue>Hey, you got the wrong guy. I'm not the hero of this piece.</dialogue> <scene_description>The door to Willie's office bursts open and Willie dashes out.</scene_description> <character>WILLIE</character> <dialogue>All right, come on, both of you. Let's go, hurry it up.</dialogue> <scene_description>They go out through the reception room, pick up Sugar Boy, and head down the corridor.</scene_description> <character>WILLIE</character> <dialogue>Come on. Pillsbury put his hand in the pork barrel and got caught. You know, I never did trust that guy.</dialogue> <scene_description>Some newsmen are waiting on the top landing.</scene_description> <character>NEWSMEN</character> <dialogue>Have you heard about Pillsbury? What do you intend to do about Pillsbury? How about it, Governor?</dialogue> <scene_description>Willie pushes by them.</scene_description> <character>WILLIE</character> <dialogue>Later, boys, later.</dialogue> <parenthetical>(to Jack)</parenthetical> <dialogue>Say, Jack, go back and get the Judge. Let's get him over to my hotel just as soon as you can.</dialogue> <scene_description>They all hurry after Willie as he rushes down the stairs. Interior: Lobby State Capitol, Day Anne is about to go up the stairs when she meets Willie and the others on the way down.</scene_description> <character>ANNE</character> <parenthetical>(to Willie)</parenthetical> <dialogue>I waited for you.</dialogue> <parenthetical>(she sees Sadie)</parenthetical> <dialogue>Hello.</dialogue> <parenthetical>(back to Willie)</parenthetical> <dialogue>You promised we could... uh... discuss my charity project... Children's home?</dialogue> <character>WILLIE</character> <dialogue>Well, I'm very sorry. Something very important came up. You'll call me later, won't you?</dialogue> <character>ANNE</character> <dialogue>Yes, certainly.</dialogue> <character>SADIE</character> <dialogue>We're late.</dialogue> <scene_description>Anne watches as they cross the lobby and exit. DISSOLVE TO: Interior: Stark's Hotel Suite, Night Close shot of Willie, seated, with his feet propped up on a table. Pillsbury stands before him. Jack, Sadie, Duffy, and Sugar Boy are also in the room.</scene_description> <character>WILLIE</character> <dialogue>Look at you, Pillsbury. Fifty years old, gut-sprung, teeth gone, never had a dime. If the Almighty had intended for you to be rich he'd have taken care of that a long time ago. The idea of you being rich... that's plain blasphemy. Ain't that a fact?</dialogue> <scene_description>Pillsbury doesn't answer.</scene_description> <character>WILLIE</character> <dialogue>Answer me!</dialogue> <character>PILLSBURY</character> <dialogue>Yes.</dialogue> <character>WILLIE</character> <dialogue>Louder, man. Don't mumble. Speak up. Say it's a fact, a blasphemous fact.</dialogue> <character>PILLSBURY</character> <dialogue>It's a fact, a blasphemous fact.</dialogue> <scene_description>Sugar Boy laughs loudly. The phone rings and Sadie picks it up.</scene_description> <character>SADIE</character> <dialogue>Yeah?... Oh, I see.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>Dumond can't come. He says his wife is sick.</dialogue> <character>WILLIE</character> <dialogue>I don't care if she's dying. Sugar, get the car. Get him and bring him over here.</dialogue> <scene_description>Sugar Boy exists. Willie turns back to Pillsbury.</scene_description> <character>WILLIE</character> <dialogue>Now, you know what you're supposed to do, don't you, Pillsbury? You're supposed to stay poor and take orders.</dialogue> <scene_description>Oh, there'll be some sweetening for you from time to time... but Duffy'll take care of that. Don't you go setting yourself up on your own again, do you understand that?</scene_description> <character>PILLSBURY</character> <dialogue>Yes.</dialogue> <character>WILLIE</character> <dialogue>Louder, man. And say, I understand that.</dialogue> <character>PILLSBURY</character> <dialogue>I understand that.</dialogue> <character>WILLIE</character> <dialogue>Give him a pen and some paper, Sadie.</dialogue> <scene_description>There is a knock on the door.</scene_description> <character>WILLIE</character> <dialogue>See who that is, Duffy.</dialogue> <scene_description>Judge Stanton enters.</scene_description> <character>WILLIE</character> <dialogue>Oh, hello, Judge. Sit down. I'll be with you in just a couple of seconds.</dialogue> <parenthetical>(back to Pillsbury)</parenthetical> <dialogue>Now write what I tell you to write... Dear Governor Stark. I wish to resign as auditor due to ill health, to take effect as soon as you can relieve me. Respectfully yours.</dialogue> <parenthetical>(after a pause)</parenthetical> <dialogue>Did you sign it?</dialogue> <character>PILLSBURY</character> <dialogue>No.</dialogue> <character>WILLIE</character> <parenthetical>(roaring)</parenthetical> <dialogue>Well, sign it! Don't put any date on it. I can fill that in when I need it.</dialogue> <scene_description>Pillsbury signs the paper.</scene_description> <character>WILLIE</character> <dialogue>Now bring it to me.</dialogue> <scene_description>Pillsbury moves slowly, so Sadie yanks the paper out of his hand and passes it to Willie.</scene_description> <character>WILLIE</character> <dialogue>Now get out.</dialogue> <scene_description>Pillsbury slinks out of the room.</scene_description> <character>JUDGE</character> <dialogue>The papers have the story.</dialogue> <character>WILLIE</character> <dialogue>Yeah, I know.</dialogue> <character>JUDGE</character> <dialogue>They're talking about impeachment proceedings.</dialogue> <character>WILLIE</character> <parenthetical>(rising)</parenthetical> <dialogue>Against who?</dialogue> <character>JUDGE</character> <dialogue>This time, Pillsbury.</dialogue> <character>WILLIE</character> <dialogue>I got that "this time," Judge.</dialogue> <character>JUDGE</character> <dialogue>How true is it?</dialogue> <character>WILLIE</character> <dialogue>It's too true.</dialogue> <scene_description>The phone rings.</scene_description> <character>SADIE</character> <dialogue>Yes?</dialogue> <parenthetical>(hands phone to Willie)</parenthetical> <dialogue>This is it, Willie. Jeff Hopkins on the wire.</dialogue> <scene_description>Willie takes the phone, but puts his hand over the mouthpiece so that he can speak to Jack.</scene_description> <character>WILLIE</character> <dialogue>What have we got on Hopkins, Jack?</dialogue> <parenthetical>(as Jack riffles through the black book)</parenthetical> <dialogue>Hello, Jeff. About that Pillsbury business...</dialogue> <parenthetical>(reads from black book Jack holds out for him)</parenthetical> <dialogue>Here's what I want you to do when it comes up in the legislature. Now, wait a minute, wait a minute. You listen to me.</dialogue> <parenthetical>(still reading from book)</parenthetical> <dialogue>You got a mortgage coming due on that place of yours in about five weeks, haven't you? You'd like to get it renewed, wouldn't you?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>All right, Tiny'll talk to you in the morning.</dialogue> <scene_description>He grins and hangs up the phone.</scene_description> <character>WILLIE</character> <dialogue>Get going, Tiny.</dialogue> <scene_description>Duffy leaves.</scene_description> <character>JUDGE</character> <dialogue>You haven't answered my question. Why are you saving Pillsbury's hide?</dialogue> <character>WILLIE</character> <dialogue>I'm not a bit interested in Pillsbury's hide. It's something much more important than that. If the McMurphy boys get the notion they can get away with this, there's no telling where they'll stop.</dialogue> <character>JUDGE</character> <parenthetical>(quietly)</parenthetical> <dialogue>Or where you will... Pillsbury is guilty. As attorney general of this state, it's my job to prosecute.</dialogue> <character>WILLIE</character> <dialogue>Judge, you talk like Pillsbury was... was human. He isn't. He's a thing. You don't prosecute an adding machine if the spring goes busted and makes a mistake. You fix it. Well, I fixed him. I'm not a bit interested in Pillsbury. It's something much bigger</dialogue> <scene_description>than that.</scene_description> <character>JUDGE</character> <parenthetical>(getting up)</parenthetical> <dialogue>Yes, it is.</dialogue> <character>JACK</character> <dialogue>He's right, Judge. Can't you see that he's right?</dialogue> <character>JUDGE</character> <dialogue>He's right because you want him to be right. Because you're afraid to admit you've made a mistake. Do it now before it's too late.</dialogue> <parenthetical>(to Willie)</parenthetical> <dialogue>I'm offering my resignation as attorney general. You'll have it in writing by messenger in the morning... dated.</dialogue> <character>WILLIE</character> <parenthetical>(softly)</parenthetical> <dialogue>It took you a long time to make up your mind, Judge. A long time. What made you take such a long time?</dialogue> <character>JUDGE</character> <dialogue>I wasn't sure.</dialogue> <character>WILLIE</character> <dialogue>And now you are?</dialogue> <scene_description>The Judge nods.</scene_description> <character>WILLIE</character> <dialogue>I'll tell you what you are. You're scared. You sat in that big easy chair of yours for thirty years and played at being a judge. Then all of a sudden I came along and put a bat in your hand, and I said, go ahead, Judge, start swinging. And you did. And you had a wonderful time. But now you're scared. You don't want to get your hands dirty. You want to pick up the marbles... but you don't want to get your hands dirty. Look at my whole program, Judge. How do you think I put that across?</dialogue> <character>JUDGE</character> <dialogue>I knew how, but I never knew why.</dialogue> <scene_description>He starts to leave.</scene_description> <character>WILLIE</character> <dialogue>You're not by any chance thinking of going over to McMurphy's boys, are you?</dialogue> <character>JUDGE</character> <dialogue>I'm through with politics.</dialogue> <character>WILLIE</character> <dialogue>I'm happy to hear that.</dialogue> <parenthetical>(extends his hand)</parenthetical> <dialogue>No hard feelings.</dialogue> <character>JUDGE</character> <parenthetical>(ignores the hand)</parenthetical> <dialogue>Goodbye, Governor.</dialogue> <parenthetical>(to Jack)</parenthetical> <dialogue>Are you coming with me, Jack?</dialogue> <scene_description>Jack turns away.</scene_description> <character>JUDGE</character> <dialogue>You're making a mistake.</dialogue> <scene_description>He goes. Willie closes the door behind him.</scene_description> <character>WILLIE</character> <dialogue>Do you think he means it when he says he's through with politics, Sadie?</dialogue> <character>SADIE</character> <dialogue>No. No, I don't.</dialogue> <character>WILLIE</character> <dialogue>What about you, Jack?</dialogue> <character>JACK</character> <dialogue>I've known the Judge all my life. He's always meant everything he's said.</dialogue> <character>WILLIE</character> <dialogue>All right. All right. Take it easy. I'll take your word for it.</dialogue> <scene_description>DISSOLVE TO: Exterior: Willie's Hotel, Night Willie's car draws up to the curb. Sugar Boy hops out to open the door for Willie. Sadie is watching him from a window upstairs in the hotel. Anne is in the back seat; Willie leans down to talk to her.</scene_description> <character>WILLIE</character> <dialogue>Sugar, take Miss Stanton home.</dialogue> <parenthetical>(to Anne)</parenthetical> <dialogue>When am I going to see you again?</dialogue> <scene_description>She doesn't answer.</scene_description> <character>WILLIE</character> <dialogue>What's the matter, Anne?</dialogue> <character>ANNE</character> <dialogue>Please take me home now, Sugar Boy.</dialogue> <character>WILLIE</character> <dialogue>You've got to understand me.</dialogue> <character>ANNE</character> <parenthetical>(turns away)</parenthetical> <dialogue>I understand you. It's myself I don't understand.</dialogue> <character>WILLIE</character> <dialogue>Do you think I like sneaking around corners any more than you do? But right now, with the Pillsbury business and with your uncle quitting... If I got a divorce...</dialogue> <character>ANNE</character> <dialogue>Maybe we'd better stop seeing each other.</dialogue> <character>WILLIE</character> <dialogue>No. No, we won't stop seeing each other, will we?</dialogue> <character>ANNE</character> <parenthetical>(slowly)</parenthetical> <dialogue>No.</dialogue> <character>WILLIE</character> <dialogue>Because you believe in what I tell you.</dialogue> <character>ANNE</character> <parenthetical>(puts her hand on his)</parenthetical> <dialogue>Because I believe what you tell me.</dialogue> <scene_description>Sadie approaches.</scene_description> <character>SADIE</character> <dialogue>Good evening, Governor Stark.</dialogue> <parenthetical>(looks at Anne, but talks to Willie)</parenthetical> <dialogue>I thought you might like to know that Judge Stanton kept his promise.</dialogue> <parenthetical>(directly to Willie)</parenthetical> <dialogue>He gave the story to every paper in town.</dialogue> <character>WILLIE</character> <dialogue>Sugar, meet me at the hotel as soon as you can.</dialogue> <scene_description>FADE OUT FADE IN: NEWSPAPER HEADLINE ATTORNEY GENERAL RESIGNS: STANTON ACCUSES STARK OF QUASHING PILLSBURY GRAFT Interior: State Legislature Assembly Room, Day Duffy stands in the forground, looking in on the uproar and confusion of the assembly.</scene_description> <character>SENATOR</character> <dialogue>These are serious charges that Judge Stanton has given to the press. This legislature is entitled to a complete and full report on the Pillsbury affair. Let the truth be known.</dialogue> <character>2ND SENATOR</character> <dialogue>Let it come out.</dialogue> <character>3RD SENATOR</character> <dialogue>I move that we adjourn.</dialogue> <character>4TH SENATOR</character> <dialogue>I second the motion.</dialogue> <character>CHAIRMAN</character> <dialogue>All those in favor, say aye... Motion carried. The house is adjourned.</dialogue> <scene_description>As Duffy turns and walks away, other senators rise up in their seats in protest. DISSOLVE TO:</scene_description> <character>MONTAGE: PILLSBURY SCANDAL</character> <dialogue>Sign on building reads: CITIZENS COMMITTEE MEETING,</dialogue> <scene_description>Subject: PILLSBURY SCANDAL, 8 P.M. Tonight -- Town Hall. A man pastes a strip across the sign: CANCELED. A man is making a speech to a small group of people.</scene_description> <character>MAN</character> <dialogue>If you let Willie Stark get away with the Pillsbury graft, there's no telling...</dialogue> <scene_description>Thugs break up the meeting. The speaker is beaten up. Jack Burden turns through the pages of the little black book. DISSOLVE TO: Interior: Stark's Hotel Suite, Day Willie is lying on the bed. Jack is seated. Sadie and Sugar Boy stand nearby.</scene_description> <character>JACK</character> <dialogue>But we beat the Pillsbury rap... It's over.</dialogue> <character>WILLIE</character> <dialogue>These things are never over. I'll tell you what I want you to do, Jack.</dialogue> <dialogue>I want you to start a new page in that black book of yours... under then name of Judge Stanton.</dialogue> <character>JACK</character> <dialogue>You're crazy. There's nothing on the Judge.</dialogue> <character>SADIE</character> <dialogue>Why? Because his name is Stanton?</dialogue> <character>WILLIE</character> <dialogue>Ssshhh, easy.</dialogue> <character>JACK</character> <dialogue>What if I won't do it?</dialogue> <character>WILLIE</character> <dialogue>You know, some of this has rubbed off on you.</dialogue> <character>JACK</character> <dialogue>What are you going to do? Have me shot?</dialogue> <character>WILLIE</character> <dialogue>No... no... but I'll have to get myself a new boy.</dialogue> <character>JACK</character> <dialogue>I tell you there's nothing on the Judge.</dialogue> <character>WILLIE</character> <dialogue>Jack, there's something on everybody. Man is conceived in sin and born in corruption.</dialogue> <character>JACK</character> <dialogue>It's a waste of time.</dialogue> <character>WILLIE</character> <dialogue>What's the matter, Jack? Are you afraid you might find something out?</dialogue> <scene_description>Jack stares at him. DISSOLVE TO: Exterior: Burden's Landing Ferry, Night Jack's car is seen coming across on the ferry.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I kept saying to myself that Willie was wrong about the Judge. If there was anything left at Burden's Landing, it was honor. I had to believe that.</dialogue> <scene_description>DISSOLVE TO: Interior: Stanton Living Room, Night Jack and Anne stand together in the living room.</scene_description> <character>JACK</character> <dialogue>Anne, I want to ask you a question. Was the Judge ever broke? Really broke?</dialogue> <character>ANNE</character> <dialogue>Why do you want to know?</dialogue> <character>JACK</character> <dialogue>I don't want to know, but I've got to.</dialogue> <character>ANNE</character> <dialogue>Did he tell you --</dialogue> <character>JACK</character> <dialogue>Did who tell me?</dialogue> <character>ANNE</character> <dialogue>I don't know. I... how should I know if the Judge was ever broke?</dialogue> <scene_description>She walks away from him. Adam enters, carrying bundles of food and two wine bottles.</scene_description> <character>STANTON</character> <dialogue>Hello... Come on, Anne, take this food and start cooking. I'm hungry.</dialogue> <scene_description>Anne takes the grocery bundles. Jack grabs the wine.</scene_description> <character>JACK</character> <dialogue>Me, I'm on the thirsty side. Bring some glasses, Anne, quick.</dialogue> <scene_description>He joins Adam, who has opened the piano.</scene_description> <character>STANTON</character> <parenthetical>(laughing)</parenthetical> <dialogue>It's been a long time since I played this thing. What do you say we wake up the ghosts, huh?</dialogue> <character>JACK</character> <parenthetical>(calling to Anne)</parenthetical> <dialogue>Another glass, Anne, for a ghost.</dialogue> <character>STANTON</character> <parenthetical>(starting to play)</parenthetical> <dialogue>Remember the last time I played this? You and Anne were dancing?</dialogue> <scene_description>Anne returns with three glasses. Jack grabs her around the waist and whirls her around.</scene_description> <character>JACK</character> <dialogue>Shall we dance?</dialogue> <character>ANNE</character> <dialogue>Let's... let's have a drink first.</dialogue> <scene_description>Adam starts to pour the wine.</scene_description> <character>JACK</character> <dialogue>No, no... keep playing. Anne and I want to hear this, don't we, Anne?</dialogue> <parenthetical>(Jack pours the wine)</parenthetical> <dialogue>Adam... ghost... and me.</dialogue> <character>STANTON</character> <dialogue>What shall we drink to?</dialogue> <character>JACK</character> <dialogue>To the ghost?... To Adam, to the director of the new medical center.</dialogue> <character>STANTON</character> <parenthetical>(bangs the piano keys)</parenthetical> <dialogue>Don't you ever stop working for him?</dialogue> <character>ANNE</character> <dialogue>Adam!</dialogue> <character>STANTON</character> <dialogue>I came up here to get away...</dialogue> <character>JACK</character> <dialogue>I'm sorry, Adam.</dialogue> <character>ANNE</character> <dialogue>Well, I'm not. What's wrong with being the director of the new medical center?</dialogue> <character>STANTON</character> <dialogue>Nothing, except that I'm not going to take it.</dialogue> <character>JACK</character> <dialogue>Why? Because your uncle resigned?</dialogue> <character>STANTON</character> <dialogue>That's partly it. There are other things.</dialogue> <character>ANNE</character> <dialogue>What other things?</dialogue> <character>STANTON</character> <parenthetical>(looks at her)</parenthetical> <dialogue>You too?</dialogue> <character>ANNE</character> <dialogue>Yes, me too.</dialogue> <character>JACK</character> <dialogue>Anne, if Adam doesn't want to discuss it, let's not.</dialogue> <character>STANTON</character> <dialogue>All right, let's discuss it.</dialogue> <character>ANNE</character> <dialogue>But calmly.</dialogue> <character>STANTON</character> <dialogue>Calmly. Go ahead, Jack. Why do you think he wants me?</dialogue> <character>JACK</character> <dialogue>Because you're the best man for the job.</dialogue> <character>STANTON</character> <dialogue>It could have nothing to do with my name being Stanton?</dialogue> <character>JACK</character> <dialogue>It could have. Let's grant that.</dialogue> <character>STANTON</character> <dialogue>That's your answer.</dialogue> <character>JACK</character> <dialogue>No, it's not. If that were the only answer I wouldn't be with him any more. There's another side of it.</dialogue> <dialogue>I've learned something from him. You can't make an omelet without cracking eggs.</dialogue> <character>STANTON</character> <dialogue>Or heads.</dialogue> <character>ANNE</character> <dialogue>But at least a hospital will be built, and the sick will be cared for.</dialogue> <character>STANTON</character> <dialogue>At what price?</dialogue> <character>JACK</character> <dialogue>At any price.</dialogue> <character>STANTON</character> <dialogue>Do you really believe that, Jack?</dialogue> <character>JACK</character> <dialogue>I really believe that Stark wants to do good. You do too. It's a matter of method. Many times out of evil comes good. Well, pain is an evil. As a doctor you should know that.</dialogue> <character>STANTON</character> <dialogue>Pain is an evil; it is not evil. It is not evil in itself. Stark is evil.</dialogue> <character>JACK</character> <dialogue>The people of the state don't think so.</dialogue> <character>STANTON</character> <dialogue>How would they know? The first thing he did was to take over the newspapers and the radio stations. Why be so afraid of criticism? If Stark is interested in doing good, he should also be interested in the truth. I don't see how you can separate the</dialogue> <scene_description>two. No, Stark is not for me.</scene_description> <character>ANNE</character> <parenthetical>(upset)</parenthetical> <dialogue>No, Stark is not for you. Well, what is for you? Pride. Pride, that's all it is... foolish, stupid pride. All you've ever talked about is what you could do if... if somebody would tear down and build. All right, all right, somebody has, and he's given it to you. But he's not for you. No, he's not for you.</dialogue> <scene_description>She throws down her glass and runs crying from the room. Adam goes after her.</scene_description> <character>STANTON</character> <dialogue>Anne... Anne...</dialogue> <scene_description>Interior: Stanton Hallway and Stairs, Night Anne runs upstairs and Adam follows. The Judge comes out of his room to see what has happened, sees Jack standing at the foot of the stairs, hesitates a moment, and then goes back to his room without speaking. DISSOLVE TO: Interior: County Recorder Room, Day Jack enters and speaks to a clerk, who then directs him to one of the files. He starts to look through the files marked</scene_description> <character>MORTGAGES DEFAULTED.</character> <dialogue>JACK</dialogue> <parenthetical>(voice over)</parenthetical> <dialogue>Will I find anything, Judge? Will I? I didn't find it all at once. It takes a long time to go through old courthouse records and musty deeds... a very long time. But it wasn't too hard for me. I was well trained in research, especially this kind.</dialogue> <scene_description>He pulls out a file.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>I found what I didn't want to find.</dialogue> <scene_description>He takes the file back to the clerk.</scene_description> <character>JACK</character> <dialogue>Have some photostat copies made of these. I'll be back tomorrow for them.</dialogue> <scene_description>DISSOLVE TO: Interior: Jack's Hotel Bedroom, Day Jack is lying on his bed, looking over the documents that relate to the Judge. He looks haggard and worried. There is a knock on the door. Jack doesn't answer; the knock is repeated.</scene_description> <character>JACK</character> <dialogue>Who is it?</dialogue> <character>SADIE'S VOICE</character> <dialogue>It's me, Sadie Burke.</dialogue> <character>JACK</character> <dialogue>Wait a minute.</dialogue> <scene_description>He hides the documents under his pillow.</scene_description> <character>JACK</character> <dialogue>All right, come in.</dialogue> <scene_description>She comes in, sniffs the air.</scene_description> <character>SADIE</character> <dialogue>Phew! Awful lot of smoke. Awful lot of whisky. You sober?</dialogue> <character>JACK</character> <dialogue>Stone.</dialogue> <character>SADIE</character> <dialogue>I'll have one with you.</dialogue> <parenthetical>(starts tidying up the room)</parenthetical> <dialogue>What are you hiding out for?</dialogue> <character>JACK</character> <dialogue>I'm not. I've been sleeping.</dialogue> <character>SADIE</character> <dialogue>For four days? You've been back in town for four days.</dialogue> <character>JACK</character> <dialogue>Willie knows everything.</dialogue> <character>SADIE</character> <dialogue>Willie's worried about his boy.</dialogue> <character>JACK</character> <dialogue>Willie's boy is worried about Willie's boy.</dialogue> <character>SADIE</character> <dialogue>Well, why don't you put something on the phonograph -- a low-down, mean blues. Play it over and over again until you're sick of it. Then crack it and go back to work.</dialogue> <parenthetical>(sits down)</parenthetical> <dialogue>I do it all the time.</dialogue> <character>JACK</character> <dialogue>That's not my problem.</dialogue> <character>SADIE</character> <dialogue>No, it isn't your problem.</dialogue> <parenthetical>(gets up again)</parenthetical> <dialogue>I'll wait for you if you want to powder your nose.</dialogue> <scene_description>Jack goes into the bathroom.</scene_description> <character>JACK</character> <dialogue>I'll be with you in a minute.</dialogue> <scene_description>Sadie wanders around. She goes to the dresser, upon which is a photograph of Anne Stanton. She picks up the picture and places it so she can see it in the mirror and compare it with her own reflection.</scene_description> <character>SADIE</character> <dialogue>Hmmm. Yeah, I can see it. I've got</dialogue> <scene_description>to look in the mirror to be able to see it. Soft, white skin... not like mine. (runs her hand across her cheeks) I had smallpox when I was a kid. Where I lived it seemed nearly all the kids had smallpox... Jack watches her through the open bathroom door.</scene_description> <character>SADIE</character> <dialogue>It leaves your face hard. Then she's got poise. Look at the way she holds her head... at just the right angle. That takes training. That takes years of training...</dialogue> <scene_description>Jack, towel in hand, comes out and stands behind her. He looks at her in the mirror, puzzled.</scene_description> <character>SADIE</character> <dialogue>I see what Willie sees. Willie's got big ideas, Jack.</dialogue> <character>JACK</character> <dialogue>What do you mean?</dialogue> <character>SADIE</character> <dialogue>A girl like that could be a governor's wife. Or even a President's.</dialogue> <character>JACK</character> <dialogue>What are you talking about?</dialogue> <character>SADIE</character> <dialogue>He ditched Lucy, he ditched me, and he'll ditch you.</dialogue> <character>JACK</character> <parenthetical>(shaking her)</parenthetical> <dialogue>Answer me!</dialogue> <character>SADIE</character> <dialogue>He'll ditch everybody in the whole world because that's what Willie wants. Nobody in the world but him.</dialogue> <character>JACK</character> <dialogue>What are you talking about?</dialogue> <character>SADIE</character> <dialogue>You and your high-tone friends. What do they know? What do they know about anything? Why did you have to mix her in?</dialogue> <character>JACK</character> <dialogue>You're crazy, Sadie. You're out of your mind.</dialogue> <character>SADIE</character> <dialogue>Am I? Well, why don't you go down and ask her. Or ask him. Ask Willie.</dialogue> <character>JACK</character> <dialogue>Shut up!</dialogue> <character>SADIE</character> <dialogue>Go ahead, ask him.</dialogue> <character>JACK</character> <dialogue>Shut up!</dialogue> <character>SADIE</character> <dialogue>Ask him!</dialogue> <scene_description>He slaps her hard.</scene_description> <character>SADIE</character> <dialogue>Ow-oo... oh... oh.</dialogue> <scene_description>She starts to laugh. DISSOLVE TO: Exterior: Football Field, Day A football team is practicing on the field. Willie watches from the bench. A player kicks the ball and Tom misses it. Jack walks over to Willie.</scene_description> <character>JACK</character> <dialogue>He's off today.</dialogue> <character>WILLIE</character> <dialogue>It's only practice. He'll be all right tomorrow... You been gone a long time, Jack.</dialogue> <character>JACK</character> <dialogue>Yeah. I figured if you needed me you'd yell.</dialogue> <character>WILLIE</character> <dialogue>Why'd you lay around the hotel?</dialogue> <character>JACK</character> <dialogue>Thinking.</dialogue> <character>WILLIE</character> <dialogue>About what?</dialogue> <character>JACK</character> <dialogue>Things.</dialogue> <character>WILLIE</character> <dialogue>What did you find on the Judge?</dialogue> <character>JACK</character> <dialogue>Nothing.</dialogue> <character>WILLIE</character> <dialogue>You sure you didn't find anything on the Judge?</dialogue> <character>JACK</character> <dialogue>Yeah, I'm sure.</dialogue> <character>WILLIE</character> <dialogue>You're going to keep trying, aren't you?</dialogue> <character>JACK</character> <dialogue>If you want me to.</dialogue> <character>WILLIE</character> <dialogue>I want you to. There's something else I want you to do too.</dialogue> <character>JACK</character> <dialogue>What? Bucket boy? Towel slinger? What?</dialogue> <character>WILLIE</character> <parenthetical>(looks at him closely)</parenthetical> <dialogue>What's eating you, Jack?</dialogue> <character>JACK</character> <parenthetical>(avoiding it)</parenthetical> <dialogue>What else do you want me to do?</dialogue> <character>WILLIE</character> <dialogue>If you've got something on your mind, boy, spit it out. We've been together too long to play games.</dialogue> <character>JACK</character> <dialogue>What do you want me to do?</dialogue> <character>WILLIE</character> <dialogue>I hear your pal Adam Stanton turned down the job as director of the hospital. That's bad. Especially at a time like this.</dialogue> <character>JACK</character> <dialogue>Oh? How did you hear it?</dialogue> <character>WILLIE</character> <dialogue>Why? What difference does it make?</dialogue> <character>JACK</character> <dialogue>I just wanted to know.</dialogue> <character>WILLIE</character> <dialogue>I heard it around.</dialogue> <character>JACK</character> <parenthetical>(insistent)</parenthetical> <dialogue>How did you hear he turned it down, Willie?</dialogue> <scene_description>Out on the field the boys have stopped playing and are huddled around the coach.</scene_description> <character>WILLIE</character> <dialogue>I'll be right back, Jack. I want to see what's happening here.</dialogue> <scene_description>He goes over to the group on the field. The coach is talking to Tom.</scene_description> <character>COACH</character> <dialogue>You going to practice the way I tell you.</dialogue> <character>TOM</character> <dialogue>I'm going to do it the way I want to do it.</dialogue> <scene_description>Willie comes up to them.</scene_description> <character>WILLIE</character> <dialogue>Tom, come here. What's going on here?</dialogue> <character>COACH</character> <dialogue>I don't care if he is your son, Governor... No special rules for him.</dialogue> <character>TOM</character> <dialogue>It doesn't make any difference to me either way... whether I play or not.</dialogue> <character>WILLIE</character> <dialogue>Well, it does to me.</dialogue> <parenthetical>(to coach)</parenthetical> <dialogue>What do you want him to do?</dialogue> <character>COACH</character> <dialogue>To behave himself. Like the rest of the boys. Four times this season he's broken training. He comes on the practice field half potted.</dialogue> <character>WILLIE</character> <dialogue>Tom, you're going to have to obey the rules. Do you hear me? You're going to obey the rules.</dialogue> <character>TOM</character> <dialogue>I put 'em across, don't I? Every Saturday I put 'em across and I can still do it, drunk or sober. That's all you want, isn't it... for me to put 'em across so you can big-shot it around? Isn't that all you want?</dialogue> <scene_description>He walks away.</scene_description> <character>WILLIE</character> <dialogue>Tom!</dialogue> <parenthetical>(to coach)</parenthetical> <dialogue>He's a little high-strung.</dialogue> <parenthetical>(goes after Tom)</parenthetical> <dialogue>Tom, come here. Tom!</dialogue> <scene_description>DISSOLVE TO: Exterior: Highway, Foggy Day Sign in foreground reads: WILLIE STARK HIGHWAY U.S. 56. A car swerves around a bend and careens down the highway. Tom and his girl friend Helene are in the car. Tom is drinking.</scene_description> <character>HELENE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Come on, Tommy... let's go faster. Come on...</dialogue> <scene_description>The car goes across a bridge, weaving. Two motorcycle cops parked there start to give chase. Tom's car swerves out of control and crashes through a fence. The two motorcycle cops ride out to the field to the wrecked car. They find Tom and Helene, unconscious. One of the cops picks up the empty bottle and hands it to the other.</scene_description> <character>2ND COP</character> <parenthetical>(looking at Tom)</parenthetical> <dialogue>It's the governor's son.</dialogue> <scene_description>He throws the bottle away. DISSOLVE TO:</scene_description> <character>NEWSPAPER HEADLINES</character> <dialogue>GOVERNOR'S SON HURT:</dialogue> <character>GIRL NEAR DEATH IN CRASH</character> <dialogue>Below the headline is a picture of Helene Hale's</dialogue> <scene_description>father. Another picture of Mr. Hale on the front page. Caption reads:</scene_description> <character>GIRL'S FATHER CLAIMS DRUNK DRIVING CAUSE OF WRECK</character> <scene_description>DISSOLVE TO: Interior: Governor's Mansion, Night Lucy and Mr. Hale walk across the large reception room toward Willie. Jack, Sugar Boy, and Duffy stand around in the background.</scene_description> <character>LUCY</character> <dialogue>Willie, Mr. Hale's here to see you.</dialogue> <scene_description>Willie comes to meet them, a drink in his hand. He is obviously drunk.</scene_description> <character>WILLIE</character> <dialogue>Go on upstairs, Lucy. I have some business I want to talk over with Mr. Hale.</dialogue> <character>HALE</character> <dialogue>What I've got to say anybody can listen to... Where's your boy?</dialogue> <character>WILLIE</character> <dialogue>Now... now, don't get excited.</dialogue> <parenthetical>(to Sugar Boy)</parenthetical> <dialogue>Get me another drink, Sugar.</dialogue> <character>HALE</character> <dialogue>My daughter may die.</dialogue> <character>WILLIE</character> <dialogue>She's not going to die. She'll get the best medical attention there is. No expense will be spared.</dialogue> <character>HALE</character> <dialogue>Where's your boy?</dialogue> <character>LUCY</character> <dialogue>I'll get him.</dialogue> <character>WILLIE</character> <dialogue>Wait a minute, Lucy. He's asleep. And the doctor said after a good night's sleep he'll be all right.</dialogue> <character>LUCY</character> <dialogue>No, he won't be all right unless you make him all right. I'll get him.</dialogue> <scene_description>She goes.</scene_description> <character>WILLIE</character> <dialogue>Lucy!</dialogue> <parenthetical>(to Hale)</parenthetical> <dialogue>You care for a drink?</dialogue> <character>HALE</character> <dialogue>No thanks.</dialogue> <character>WILLIE</character> <dialogue>Accidents will happen, you know.</dialogue> <character>HALE</character> <dialogue>Accidents? Your boy was drunk.</dialogue> <character>WILLIE</character> <dialogue>I saw the police report. There... there was nothing about drunkenness on the police report.</dialogue> <character>HALE</character> <dialogue>Whose police and whose report? I say the boy was drunk. And I know it.</dialogue> <scene_description>Tom comes down the stairs, with Lucy.</scene_description> <character>HALE</character> <parenthetical>(to Tom)</parenthetical> <dialogue>Right here before your father... I want you --</dialogue> <character>TOM</character> <dialogue>Mr. Hale --</dialogue> <character>WILLIE</character> <dialogue>Tom, the doctor says you need rest, boy.</dialogue> <character>TOM</character> <parenthetical>(turns on him)</parenthetical> <dialogue>I don't want you to try to cover up for me. I was wrong... that's all there is to it.</dialogue> <character>WILLIE</character> <dialogue>You don't know what you're talking about. I saw the police report --</dialogue> <character>TOM</character> <dialogue>I don't care what the police report says. I was driving and I was drunk. It's all my fault.</dialogue> <parenthetical>(to Hale)</parenthetical> <dialogue>Anything you want to do to me, you can do. Whatever you want me to do,</dialogue> <scene_description>I'll do.</scene_description> <character>WILLIE</character> <dialogue>Nobody has to do anything. Stop worrying. I'll take care of everything.</dialogue> <character>TOM</character> <dialogue>I don't want you to take care of anything.</dialogue> <scene_description>Tom looks ill; he presses his hand to his forehead.</scene_description> <character>WILLIE</character> <dialogue>Tom, go on upstairs and get some rest, boy. Go on... go on... go on.</dialogue> <scene_description>Tom walks slowly toward the stairs.</scene_description> <character>WILLIE</character> <dialogue>Sugar, help him... Mr. Hale, come on over and sit down. You sure you wouldn't care for a drink, Mr. Hale?</dialogue> <scene_description>Hale sits down, shakes his head.</scene_description> <character>WILLIE</character> <dialogue>Hey, Tiny, go home. Go on, out of here... out of here. Go on.</dialogue> <scene_description>Duffy leaves, disgruntled. Willie sits on a coffee table. He pours himself another drink.</scene_description> <character>WILLIE</character> <dialogue>What business did you say you were in?</dialogue> <character>HALE</character> <dialogue>I didn't say.</dialogue> <character>WILLIE</character> <dialogue>What business are you in?</dialogue> <character>HALE</character> <dialogue>Trucking business.</dialogue> <character>WILLIE</character> <dialogue>Trucking business. Trucks run on state roads. If a man in the trucking business had a contract with the state, a big one, that would be pretty</dialogue> <scene_description>good, wouldn't it? (to Jack) Go on, Jack. Tell him what would happen. Jack is silent.</scene_description> <character>WILLIE</character> <dialogue>Go on, tell him.</dialogue> <character>HALE</character> <dialogue>You're trying to bribe me, aren't you?</dialogue> <character>WILLIE</character> <dialogue>No, no. No, I'm not trying to bribe you. I'm... I'm only talking things over with you, that's all.</dialogue> <character>HALE</character> <dialogue>You're pretty good at talking. I remember when you first started talking. A place called Upton. You did a lot of talking then and the things you said made sense, to me and a lot of other people. I believed in you... I followed you... and I fought for you. Well, the words are still good. But you're not.</dialogue> <parenthetical>(rises)</parenthetical> <dialogue>And I don't believe you ever were.</dialogue> <scene_description>He walks out of the room.</scene_description> <character>WILLIE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>Sugar, follow him. Keep calling in.</dialogue> <scene_description>Sugar goes, leaving just Jack and Willie. Willie, very drunk, tries to get up but falls against the piano.</scene_description> <character>WILLIE</character> <parenthetical>(yells)</parenthetical> <dialogue>Lucy!... Lucy!</dialogue> <scene_description>He staggers up the long stairway. Halfway up he tumbles, groaning. Jack helps him to his feet.</scene_description> <character>JACK</character> <dialogue>I'd like Anne to see you now. I'd</dialogue> <scene_description>like Anne to see you now, you drunken sot! (drags him up the stairs) Come on. FADE OUT</scene_description> <character>FADE IN:</character> <dialogue>NEWSPAPER</dialogue> <dialogue>Photograph of Helene Hale on front page. Headline</dialogue> <scene_description>reads:</scene_description> <character>GIRL CRASH VICTIM DIES</character> <dialogue>Under the photograph there is a caption:</dialogue> <scene_description>BY DISSOLVE TO: Exterior: Governor's Mansion, Day Willie, Jack, and Sugar Boy are accosted by a group of newsmen as they come down the stairs.</scene_description> <character>NEWSMEN</character> <dialogue>What about the girl's father, Governor? Have you a statement to make?</dialogue> <character>WILLIE</character> <dialogue>All right, all right, gentlemen. I'll give you a statement. This whole thing is a mess of lies. It's a frame. The man that made that statement... have him repeat it to my face. He can't. He vanished. Let me ask you some questions. Where has he gone? Where is he?</dialogue> <character>REPORTER</character> <dialogue>Maybe you could answer those questions too, Governor.</dialogue> <scene_description>Sugar Boy makes a move for the reporter but Willie holds him back.</scene_description> <character>WILLIE</character> <dialogue>I won't dignify that question with an answer.</dialogue> <character>ANOTHER REPORTER</character> <dialogue>One more question, Governor... Where's your son?</dialogue> <character>WILLIE</character> <dialogue>At the football stadium, where he's supposed to be. He's going to play for State University, which this administration is responsible for. He's not hiding from anybody, gentlemen. He'll be out there in full view of seventy thousand cheering fans.</dialogue> <parenthetical>(starts down the stairs)</parenthetical> <dialogue>One of which will be me. See you, men.</dialogue> <scene_description>He leaves, followed by Jack and Sugar Boy. DISSOLVE TO: Exterior: Football Field, Day The game is in progress and the stands are packed. But there is no cheering. Instead we hear boos, and shouts for Tom.</scene_description> <character>CROWD VOICES</character> <dialogue>Where's Stark? How about Tommy Stark? Hey, Willie, send your boy in.</dialogue> <scene_description>Exterior: Willie's Box Willie, Jack, Sugar Boy, and Lucy are in one box. Sadie and Duffy sit in the adjoining one. Willie is standing up. The crowd continues to heckle him.</scene_description> <character>WILLIE</character> <dialogue>Why don't they put him in!</dialogue> <character>MAN</character> <dialogue>Come on, Willie... send your boy in.</dialogue> <scene_description>A drunk comes over to his box.</scene_description> <character>DRUNK</character> <dialogue>What's the matter, Willie... is your little boy ashamed to show his face?</dialogue> <character>DUFFY</character> <dialogue>Shut up!</dialogue> <scene_description>Willie signals angrily to the police.</scene_description> <character>WILLIE</character> <dialogue>Get that man out of here! Come on, get him out of here.</dialogue> <scene_description>The man is dragged away. The crowd boos, and Willie gets up and leaves the box, followed by Jack. DISSOLVE TO: Interior: Stadium Dressing Room, Day Tom is sitting on one of the massage tables with a towel around his shoulders as Willie and Jack come in. The sound of the boos can still be heard.</scene_description> <character>WILLIE</character> <dialogue>They're booing you.</dialogue> <character>TOM</character> <parenthetical>(holds his head)</parenthetical> <dialogue>Ever since the accident, my head...</dialogue> <character>WILLIE</character> <dialogue>The doctor said it was nothing.</dialogue> <character>TOM</character> <dialogue>Get dizzy... can't see... dizzy...</dialogue> <character>WILLIE</character> <dialogue>You're scared... plain scared.</dialogue> <character>TOM</character> <parenthetical>(looks up angrily)</parenthetical> <dialogue>Get out of here!</dialogue> <character>WILLIE</character> <dialogue>Atta boy... get mad. Show some spirit. Jack, tell him what his playing means. Go on, tell him.</dialogue> <character>JACK</character> <dialogue>You can never tell about a head injury. Maybe the boy's hurt.</dialogue> <character>WILLIE</character> <dialogue>He's hurt? I'm hurt. It wasn't me that wrapped that car around the tree. It wasn't me that got drunk. But me, I'm takin' the rap.</dialogue> <parenthetical>(softer, to Tom)</parenthetical> <dialogue>Go on, kid. Get out there and play. Show 'em the kind of stuff a Stark is made of.</dialogue> <character>TOM</character> <parenthetical>(coldly)</parenthetical> <dialogue>I wouldn't know.</dialogue> <scene_description>Enraged, Willie slaps him. Tom fights back, and Jack has to pull them apart.</scene_description> <character>JACK</character> <dialogue>Tom... cut it out!</dialogue> <character>TOM</character> <parenthetical>(breathing heavily)</parenthetical> <dialogue>All right, I'll play. Now get out of here.</dialogue> <scene_description>Camera holds on Tom as Jack and Willie leave. He picks up his uniform, stops, then rubs his head. DISSOLVE TO: Exterior: Football Stadium, Day Tom is on the field. He runs up to the coach.</scene_description> <character>P.A. ANNOUNCER</character> <dialogue>Stark's going in!</dialogue> <scene_description>The boos turn to cheers. The crowd applauds. Willie signals from his box to the coach. He wants Tom sent in. Tom runs out on the field and joins the team. The players are lined up, in position to play. Tom shakes his head, as if trying to clear it. DISSOLVE TO: Exterior: Football Stadium, Time Lapse The crowd yells excitedly. Tom, looking weary, gets the ball and runs with it downfield. Three players tackle him hard and fall on him. A silence falls over the stadium as he fails to get up with the others. In Willie's box, everyone is standing.</scene_description> <character>LUCY</character> <dialogue>Tommy... Tommy... Tommy!</dialogue> <scene_description>Willie rushes out onto the field and kneels beside Tom as the doctor and stretcher bearers arrive. DISSOLVE TO: Interior: Hospital Waiting Room, Night Lucy and Willie are waiting for news about Tom. Sugar Boy comes in with a paper bag and sets it on a table.</scene_description> <character>SUGAR BOY</character> <dialogue>B-b-boss, you gotta eat. You g-g- gotta.</dialogue> <scene_description>Willie motions him away.</scene_description> <character>WILLIE</character> <dialogue>I'm the one that made him play. I sent him in.</dialogue> <character>LUCY</character> <dialogue>Sit down, Willie. Please sit down.</dialogue> <character>WILLIE</character> <dialogue>I sent him in.</dialogue> <character>LUCY</character> <dialogue>What difference does that make now?</dialogue> <scene_description>Jack comes in.</scene_description> <character>WILLIE</character> <dialogue>What goes on?</dialogue> <character>JACK</character> <dialogue>There isn't a plane flying.</dialogue> <character>WILLIE</character> <dialogue>They gotta fly. This is my son. He's got to live.</dialogue> <scene_description>Adam Stanton enters.</scene_description> <character>STANTON</character> <dialogue>I just got a call from Dr. Birnham. The earliest he can possibly get here will be tomorrow morning.</dialogue> <character>WILLIE</character> <dialogue>Isn't there anybody else we can get?</dialogue> <character>JACK</character> <dialogue>I still think Dr. Stanton should operate.</dialogue> <character>STANTON</character> <dialogue>That's up to Governor Stark. He wanted another doctor... a specialist. I sent for one.</dialogue> <character>WILLIE</character> <dialogue>How bad is it really, doctor?</dialogue> <character>STANTON</character> <dialogue>He's unconscious... and paralyzed.</dialogue> <scene_description>Lucy slumps in her chair.</scene_description> <character>WILLIE</character> <dialogue>Has he got a chance?</dialogue> <character>STANTON</character> <dialogue>To live? Yes.</dialogue> <character>WILLIE</character> <dialogue>What do you mean?</dialogue> <character>STANTON</character> <dialogue>Even if the operation's successful -- that is, if he lives -- I think he'll be paralyzed for life.</dialogue> <character>WILLIE</character> <dialogue>You'll do everything you can, won't you? Anything between you and me.. that won't count, will it? It doesn't have to. Look, doc, anything you want in the world you just ask for it and you got it. Go on, doc... ask for it.</dialogue> <character>STANTON</character> <parenthetical>(coldly)</parenthetical> <dialogue>There are some things, Governor Stark, that even you can't buy. Do you want me to operate, or don't you?</dialogue> <character>LUCY</character> <dialogue>Yes... I want you to operate.</dialogue> <parenthetical>(stands up)</parenthetical> <dialogue>Please, may I see Tom now?</dialogue> <character>STANTON</character> <dialogue>Yes.</dialogue> <scene_description>They leave together.</scene_description> <character>WILLIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>How much does the doc know?</dialogue> <character>JACK</character> <dialogue>About what?</dialogue> <character>WILLIE</character> <dialogue>Oh, you know what I'm talking about.</dialogue> <character>JACK</character> <dialogue>About what?</dialogue> <character>WILLIE</character> <dialogue>About Anne and me.</dialogue> <character>JACK</character> <parenthetical>(after a pause)</parenthetical> <dialogue>He doesn't know a thing... not a thing.</dialogue> <scene_description>Jack turns and walks away. DISSOLVE TO: Exterior: Hospital, Night Anne has been waiting outside the hospital. She turns to Jack as he comes out the door.</scene_description> <character>ANNE</character> <dialogue>Jack, how is he?</dialogue> <character>JACK</character> <dialogue>The boy?</dialogue> <character>ANNE</character> <dialogue>Yes.</dialogue> <character>JACK</character> <dialogue>He'll live.</dialogue> <character>ANNE</character> <dialogue>Oh, thank God. How is --</dialogue> <character>JACK</character> <dialogue>Willie?</dialogue> <character>ANNE</character> <dialogue>He blames himself, doesn't he?</dialogue> <character>JACK</character> <parenthetical>(as he walks down the street)</parenthetical> <dialogue>He'll find someone else to blame in a few days.</dialogue> <character>ANNE</character> <parenthetical>(following him)</parenthetical> <dialogue>Oh, I tried to call here at the hospital, but I just...</dialogue> <scene_description>They walk together, along the waterfront.</scene_description> <character>JACK</character> <dialogue>Anne... Anne, why did you do it?</dialogue> <character>ANNE</character> <dialogue>He wasn't like anybody I ever knew before.</dialogue> <character>JACK</character> <dialogue>You mean he wasn't like me.</dialogue> <character>ANNE</character> <dialogue>He wasn't like anybody I ever knew before. I love him, I guess. I guess that's the reason.</dialogue> <character>JACK</character> <dialogue>Everybody loves him.</dialogue> <character>ANNE</character> <dialogue>He wants to marry me.</dialogue> <character>JACK</character> <dialogue>Are you going to?</dialogue> <character>ANNE</character> <dialogue>Not now. It would hurt him. A divorce would hurt his career.</dialogue> <character>JACK</character> <dialogue>His career!</dialogue> <character>ANNE</character> <dialogue>Jack... Jack, what are you going to do? You can't leave him now. He needs you now more than he ever did before.</dialogue> <character>JACK</character> <dialogue>What Willie needs, Willie's got.</dialogue> <character>ANNE</character> <dialogue>You don't know him. You've known him all these years and you don't really know him at all.</dialogue> <character>JACK</character> <dialogue>What about Adam?</dialogue> <character>ANNE</character> <dialogue>Adam?</dialogue> <character>JACK</character> <dialogue>Well, you don't have to worry about him. If Adam finds out it'll be easy to prove a Stanton is no different than anybody else.</dialogue> <parenthetical>(gives her the papers on the Judge)</parenthetical> <dialogue>Just show him these. Willie was</dialogue> <scene_description>right... a man is conceived in sin and born in corruption. Even Judge Stanton. Show them to him, Anne. Change the picture of the world that Adam has in his head, just like our picture of it has been changed. He grips her by the shoulders.</scene_description> <character>JACK</character> <dialogue>Wipe out everything he's ever believed in. It'll be good for him. There's no God but Willie Stark. I'm his prophet and you're his...</dialogue> <parenthetical>(pushes her aside, then feels sorry and walks after her)</parenthetical> <dialogue>Oh, Anne... Anne, I'm sorry. I didn't mean... Anne!</dialogue> <scene_description>A policeman comes over.</scene_description> <character>POLICEMAN</character> <dialogue>What's going on here?</dialogue> <scene_description>Jack catches up to Anne. He takes her arm and they start to walk back together.</scene_description> <character>JACK</character> <dialogue>It's all right, officer... we both work for Willie Stark.</dialogue> <scene_description>FADE OUT FADE IN: Exterior: Hospital Site, Day Willie, Anne, Adam, and Jack inspect a construction site. There are newsmen and photographers present.</scene_description> <character>WILLIE</character> <parenthetical>(to Adam)</parenthetical> <dialogue>Right over there, that's going to be the main building... fifteen stories high, like on the model. Over there, that's the laboratory. Finest technical equipment in the world.</dialogue> <character>STANTON</character> <dialogue>What are you trying to convince me of? I've taken the job.</dialogue> <character>WILLIE</character> <dialogue>Why?</dialogue> <character>STANTON</character> <dialogue>My reasons are my own. Why are you building a hospital?</dialogue> <character>WILLIE</character> <dialogue>To do some good for the people of the state.</dialogue> <character>STANTON</character> <dialogue>And get some votes.</dialogue> <character>WILLIE</character> <dialogue>Oh, there are lots of ways to get votes.</dialogue> <character>STANTON</character> <dialogue>Yes, I know... I won't stand for any interference.</dialogue> <character>WILLIE</character> <dialogue>I won't interfere. I may fire you, but I won't interfere.</dialogue> <character>STANTON</character> <dialogue>If that's a threat, you're wasting your time. You know what I think of your administration.</dialogue> <character>WILLIE</character> <dialogue>Yes, I know. I'll tell you what... You stay on your side of the fence; I'll stay on mine. Is that a deal?</dialogue> <scene_description>They climb up onto the platform, where the newsmen gather around to take pictures. Willie and Adam shake hands.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Now he had us all... me, Anne, and Adam. Now we all worked for him.</dialogue> <scene_description>FADE OUT</scene_description> <character>FADE IN:</character> <dialogue>Interior: Projection Room, Day</dialogue> <dialogue>Willie, Jack, and Sugar Boy are watching a newsreel,</dialogue> <scene_description>similar in style to the March of Time newsreels. A producer, his assistant, and two policemen are also in the room.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>And so the eyes of the entire nation are now focused upon Governor Willie Stark, an amazing phenomenon on the American political scene. The whole state is filled with his accomplishments -- each of them, of course, bearing his personal signature, to make sure that no one will ever forget who gave them to the state.</dialogue> <character>MONTAGE: THE NEWSREEL</character> <dialogue>Large plaque on side of the highway: THIS BRIDGE WAS</dialogue> <scene_description>BUILT TOLL TRAVEL</scene_description> <character>FREE</character> <dialogue>Camera pans to shot of the bridge.</dialogue> <dialogue>Plaque over college entrance: STARK COLLEGE... THAT</dialogue> <scene_description>EVERY EDUCATION...</scene_description> <character>WILLIE STARK</character> <dialogue>Shot of library -- lettering reads WILLIE STARK</dialogue> <scene_description>LIBRARY. KNOWLEDGE BELONGS TO THE PEOPLE Shot of bad road running through dry, barren land.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>This is the way the roads used to be. But there are those who claim that they were adequate for the people's needs, that you don't need a four- or six-lane highway for a</dialogue> <scene_description>horse and buggy. Shot of horse pulling a plow. The empty, untraversed STARK HIGHWAY.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>When Stark boasts of his great school system, his critics say: you can't go to school and work in the fields at the same time. And they question the benefit of these projects, charging that the need and the poverty of the people is as great as before.</dialogue> <scene_description>Shot of large school. Camera cuts to men working in the field, then to ramshackle barn, and to a farmer walking across his rotted cornfield.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>Willie Stark has never forgotten the source of his power: the people who supported him.</dialogue> <scene_description>Willie talking to the farmers.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>He still keeps in touch with these people of the backwoods, making periodic trips to such places as Kanoma City, now famous as his birthplace...</dialogue> <scene_description>Willie's official car and escort speeding through a street. Sign reads: KANOMA CITY, BIRTHPLACE OF WILLIE STARK Shot of Willie having his picture taken with Lucy and Pappy on the porch of the old farm. Willie mending the fence on the farm. Willie feeding the pigs.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>For those who say that Willie Stark is a man of destiny, there are others who claim that he is a man of evil, a man who cares neither for the people</dialogue> <dialogue>nor the state, but only for his own personal power and ambition.</dialogue> <scene_description>Willie making a speech to a huge crowd of cheering people. Willie inspecting his police force. Willie pounding the desk in the state legislature.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>Obviously, these ambitions go far beyond the boundaries of the state. Just how far, only time will tell. Meanwhile, he is here...</dialogue> <scene_description>Big close-up of Willie as he delivers a speech.</scene_description> <character>NARRATOR'S VOICE</character> <dialogue>...and from the looks of things, he is here to stay. Willie Stark: messiah or dictator?</dialogue> <scene_description>The picture goes off and the lights in the room come on.</scene_description> <character>PRODUCER</character> <dialogue>How do you like it, Governor?</dialogue> <scene_description>Willie stands and faces the producer.</scene_description> <character>WILLIE</character> <dialogue>How many theaters will this play in?</dialogue> <character>PRODUCER</character> <dialogue>All over the country.</dialogue> <character>WILLIE</character> <dialogue>Hear that, Jack. All over the country.</dialogue> <scene_description>They start to leave. Willie stops for a moment.</scene_description> <character>WILLIE</character> <dialogue>Oh, there's one thing in there I didn't like too well. That messiah or dictator.</dialogue> <character>PRODUCER</character> <dialogue>That's our point of view, Governor. And that's the way it stands.</dialogue> <scene_description>There is a silence. Willie's face is hard. Then he grins.</scene_description> <character>WILLIE</character> <dialogue>All right, all right, that's the way it stands... as of now.</dialogue> <scene_description>FADE OUT</scene_description> <character>FADE IN:</character> <dialogue>NEWSPAPER HEADLINE</dialogue> <character>STARK BEGINS RE-ELECTION CAMPAIGN</character> <scene_description>DISSOLVE TO:</scene_description> <character>EXTERIOR: STARK FARMHOUSE, DAY</character> <dialogue>Tom and Pappy Stark are seated on the porch. Tom is in</dialogue> <scene_description>a wheelchair. Lucy comes onto the porch as the sound of sirens is heard, and Willie's two cars, motorcycle escort, and the car of reporters turn onto the drive. Tom, upset, flips his cigarette away as the cars stop in front of the porch. Lucy puts her hand on his shoulder to calm him. Then Willie climbs up the steps to greet Lucy.</scene_description> <character>WILLIE</character> <dialogue>Hello, Lucy... How are you making it, Pa?... How are you, Tom?</dialogue> <scene_description>Tom doesn't answer. Lucy offers her cheek to Willie. Sadie, Jack, and Sugar Boy wait at the bottom of the steps, along with the reporters.</scene_description> <character>LUCY</character> <dialogue>I made some refreshments for your friends. I'll get them.</dialogue> <character>SADIE</character> <dialogue>I'll help.</dialogue> <character>LUCY</character> <parenthetical>(firmly)</parenthetical> <dialogue>No, thank you. Thank you kindly.</dialogue> <character>JACK</character> <dialogue>If you don't mind, Mrs. Stark... the boys have to get back to make the morning editions.</dialogue> <parenthetical>(to photographers)</parenthetical> <dialogue>Set 'em up on the porch, fellows. We'll take some pictures out here, first.</dialogue> <scene_description>He starts arranging the family for the picture.</scene_description> <character>JACK</character> <dialogue>Mrs. Stark, please... All right, fellows, take one down there, will you please... Shoot it up this way.</dialogue> <scene_description>The cameras click. DISSOLVE TO: Interior: Stark Farmhouse, Night Willie is finishing his meal, seated at the table with his family and Jack. Sugar Boy stands behind Willie. Sadie has left the table and is examining the room.</scene_description> <character>WILLIE</character> <parenthetical>(on the last bite)</parenthetical> <dialogue>You're still a great cook, Lucy. Great cook.</dialogue> <parenthetical>(gets up)</parenthetical> <dialogue>Well, I guess I better be getting back to town. Nice to have spent the day with the family.</dialogue> <parenthetical>(kisses Lucy on the forehead)</parenthetical> <dialogue>Goodbye, Lucy.</dialogue> <parenthetical>(extends his hand to Tom)</parenthetical> <dialogue>Tom.</dialogue> <character>TOM</character> <parenthetical>(ignores the gesture)</parenthetical> <dialogue>Goodbye.</dialogue> <character>WILLIE</character> <dialogue>Take care of yourself, Pappy. Oh, uh... how do you like the new radio I got you?</dialogue> <parenthetical>(walks over to it)</parenthetical> <dialogue>You know how it works? You can get police calls on it. Come here, come here... I'll show you.</dialogue> <scene_description>Pappy leans over as Willie demonstrates how it works.</scene_description> <character>WILLIE</character> <dialogue>This one for police calls up here.</dialogue> <scene_description>He turns the dial.</scene_description> <character>POLICE BROADCAST</character> <dialogue>Car sixty-two, proceed to five- eighteen Oak Street. Tom Jones beating his wife again.</dialogue> <scene_description>Pappy laughs delightedly. He reaches out to turn the dial.</scene_description> <character>WILLIE</character> <dialogue>All right, go ahead, go ahead.</dialogue> <character>ANNOUNCER'S VOICE</character> <dialogue>We interrupt this program to bring you a special announcement. This afternoon, the body of Richard Hale, father of the girl who died in the automobile accident involving the governor's son, was found. A medical examination revealed he was beaten to death.</dialogue> <scene_description>Tom starts to wheel toward Willie, but Lucy restrains him.</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>The ugly charge of "official murder" has been hurled at the administration by a coalition of Stark's opponents, led by Judge Stanton, lately an outspoken critic of the administration.</dialogue> <character>WILLIE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Your friend, the Judge.</dialogue> <character>ANNOUNCER'S VOICE</character> <dialogue>Thus an almost forgotten incident provided the spark that might set off the explosion needed to rock Willie Stark out of power. The latest report is that impeachment proceedings may be instituted...</dialogue> <scene_description>Willie turns off the radio. There is a silence. Then Willie turns to Lucy.</scene_description> <character>WILLIE</character> <dialogue>How long will it take you to pack? I want you to go back to Capital City with me tonight.</dialogue> <character>LUCY</character> <dialogue>Why?</dialogue> <character>WILLIE</character> <dialogue>Because I need you.</dialogue> <character>TOM</character> <dialogue>What for?</dialogue> <character>WILLIE</character> <parenthetical>(still speaking to Lucy)</parenthetical> <dialogue>I'll explain all of that later. Now, Lucy, do like I say.</dialogue> <character>JACK</character> <dialogue>I'll wait outside.</dialogue> <character>WILLIE</character> <dialogue>You stay right here, Jack. I want you bear witness to what I've got to say.</dialogue> <character>LUCY</character> <parenthetical>(indicating Sadie)</parenthetical> <dialogue>She can be a witness too.</dialogue> <character>SADIE</character> <parenthetical>(starting toward the door)</parenthetical> <dialogue>I'm going back to the capital and get hold of Duffy.</dialogue> <character>WILLIE</character> <dialogue>You stay right here, Sadie.</dialogue> <character>SADIE</character> <dialogue>Somebody's got to go back to the capital. I'll go in the other car.</dialogue> <character>WILLIE</character> <dialogue>All right, then tell Duffy not to do anything or say anything until I get there.</dialogue> <character>SADIE</character> <dialogue>Yes, Governor.</dialogue> <scene_description>She leaves.</scene_description> <character>TOM</character> <dialogue>Now he needs us. Now that he's in trouble he needs us, so he can lead us around like monkeys with rings in our noses. So he can say to people, look at me, feel sorry for me... just a family man with a wife and a crippled son...</dialogue> <character>WILLIE</character> <parenthetical>(shouts)</parenthetical> <dialogue>Shut up!</dialogue> <character>LUCY</character> <dialogue>Willie!</dialogue> <character>TOM</character> <dialogue>Why don't you leave us alone?</dialogue> <scene_description>Tom wheels himself into his own room. Lucy starts to follow.</scene_description> <character>WILLIE</character> <dialogue>Leave him alone. How many scrapes have I gotten him out of? How many girls?</dialogue> <character>LUCY</character> <dialogue>Willie, stop.</dialogue> <character>WILLIE</character> <dialogue>It's not him they're after. It's me. How many halfwitted apes do you think I'm going to have to pay to square this one? What do you think this is going to cost me?</dialogue> <character>LUCY</character> <dialogue>What do you think it cost him?</dialogue> <scene_description>Suddenly Willie turns his face away.</scene_description> <character>WILLIE</character> <parenthetical>(in a broken voice)</parenthetical> <dialogue>A man builds for his son. That's all he builds for.</dialogue> <character>LUCY</character> <dialogue>Willie!</dialogue> <parenthetical>(turns and goes into Tom's room)</parenthetical> <dialogue>Tom... Tom.</dialogue> <scene_description>Willie looks up at Jack and Pappy.</scene_description> <character>WILLIE</character> <dialogue>Give me a drink, Jack.</dialogue> <scene_description>Jack hands him a bottle and he takes a slug.</scene_description> <character>WILLIE</character> <dialogue>She'll go.</dialogue> <scene_description>Pappy shakes his head.</scene_description> <character>PAPPY</character> <dialogue>No good, Willie. No good.</dialogue> <scene_description>DISSOLVE TO: Exterior: Stark Farmhouse, Night Pappy stays behind on the porch as Tom is carried in his wheelchair down the steps and into Willie's car. Lucy follows. The motorcycle escort leads them away from the farm. DISSOLVE TO: Exterior: Highway, Night As the cars speed to Capital City. Interior: State Legislature, Night There is great excitement in the assembly room. One senator steps forward and addresses the speaker of the house.</scene_description> <character>SENATOR</character> <dialogue>Mr. Speaker, I offer a house resolution. Whereas Willie Stark, governor of this state, has been guilty of incompetence, corruption, and favoritism in office -- yes, and other high crimes -- that he is hereby impeached, and ordered to be tried by the senate.</dialogue> <scene_description>His resolution is met with a mixture of cheers and boos. Exterior: State Capitol, Night A huge crowd is gathered outside. Pillsbury, Sadie, and Duffy, waiting with the crowd, step forward as they see Willie's car approach. Newsmen take pictures as Willie gets out of the car.</scene_description> <character>WILLIE</character> <parenthetical>(as he meets Duffy)</parenthetical> <dialogue>What's the score?</dialogue> <character>DUFFY</character> <dialogue>They're lined up against you solid. They had a meeting.</dialogue> <character>WILLIE</character> <dialogue>How do you know? Were you there?</dialogue> <character>DUFFY</character> <dialogue>Me? What would I be doing there?</dialogue> <character>WILLIE</character> <dialogue>Selling me out.</dialogue> <scene_description>He starts up the steps of the building. DISSOLVE TO: Interior: Willie's Executive Offices, Night</scene_description> <character>WILLIE</character> <dialogue>How many votes have we got?</dialogue> <character>SADIE</character> <parenthetical>(going through some files)</parenthetical> <dialogue>Eleven.</dialogue> <character>WILLIE</character> <dialogue>We need twenty.</dialogue> <character>DUFFY</character> <dialogue>We might be able to dig up a few more.</dialogue> <character>WILLIE</character> <dialogue>Yeah. Do you know how?</dialogue> <character>DUFFY</character> <dialogue>No.</dialogue> <scene_description>Willie turns to Jack.</scene_description> <character>WILLIE</character> <dialogue>Oh, Jack. Come here. What have you got in your black book about that old friend of yours?</dialogue> <character>JACK</character> <dialogue>Who do you mean?</dialogue> <character>WILLIE</character> <dialogue>You know who I'm talking about... your old friend, the Judge.</dialogue> <character>JACK</character> <dialogue>If and when you need it.</dialogue> <character>WILLIE</character> <dialogue>If and when? I need it right now. He's got four senators wrapped up in his hip pocket. Come on, come on, boy... what have you got?</dialogue> <character>JACK</character> <dialogue>I'm going to give him a break. If he can prove it isn't true, I won't spill it.</dialogue> <character>WILLIE</character> <dialogue>I ought to bust you, Jack.</dialogue> <character>JACK</character> <dialogue>I promised two people I'd do it this way.</dialogue> <character>WILLIE</character> <dialogue>Who are they?</dialogue> <character>JACK</character> <dialogue>Myself... and someone else. It doesn't matter who. I'm going to give him a break.</dialogue> <character>WILLIE</character> <dialogue>All right, give him a break. But if you got the facts, you got the facts. The truth is sufficient... just like it says in the Bible.</dialogue> <character>JACK</character> <dialogue>That's the way it's going to be.</dialogue> <character>WILLIE</character> <dialogue>All right, boy... I'll trust you. Where are you going?</dialogue> <character>JACK</character> <parenthetical>(on his way out)</parenthetical> <dialogue>I'll be around.</dialogue> <scene_description>Willie turns to go into his private office.</scene_description> <character>SADIE</character> <dialogue>Who else do you think he promised, Willie?</dialogue> <scene_description>Willie shrugs.</scene_description> <character>SADIE</character> <dialogue>You'd be smart... play square with him. You're going to need people like us around.</dialogue> <character>WILLIE</character> <parenthetical>(as he shuts his door)</parenthetical> <dialogue>Are you sure?</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>MONTAGE: THE IMPEACHMENT</character> <dialogue>Willie's car speeding down a road.</dialogue> <scene_description>Willie, with Lucy and Tom seated behind him, addressing crowd. Willie speaking from the back of a train to a railroad station audience.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>The chips were down, and Willie knew it. He was fighting for his life. He roared across the state making one speech after another. And all of them added up to the same thing... "It's not me they're after, it's you!"</dialogue> <scene_description>Close-ups of Willie, speaking to the people.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>Willie hollered foul. Willie knew if you hollered long enough, hard enough, and loud enough, people begin to believe you. Just in case they didn't, he organized spontaneous demonstrations.</dialogue> <scene_description>Sign on back of a car: FIGHT WITH WILLIE Crowds carrying signs: WIN WITH WILLIE Willie talking on the telephone. Sadie listens.</scene_description> <character>WILLIE</character> <dialogue>Tell the boys to get the hicks out. Bring 'em in from the sticks, empty the pool halls. Turn 'em out. Turn the yokels out.</dialogue> <scene_description>More men with WIN WITH WILLIE signs. Man directing crowd from top of bus. Other bus loads of people are seen, all of them bearing signs.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>In case anyone hollered back, he organized spontaneous slugging. Willie pulled every trick he ever knew -- and added a few more.</dialogue> <scene_description>Crowd looks on as two uniformed police drag a man away. Willie's car waiting. Two thugs talk things over with a man on his doorstep. Willie discussing matters with a man in his office. Two cops stand with him. Willie and Jack in the car. Sugar Boy drives. It is night. Sugar Boy drives fast, and has to swerve to avoid colliding with a truck.</scene_description> <character>JACK</character> <dialogue>Hey, Sugar!</dialogue> <parenthetical>(To Willie)</parenthetical> <dialogue>You'll never live to be impeached!</dialogue> <character>WILLIE</character> <dialogue>Boy, I'll live to be President...</dialogue> <scene_description>Jack and Sugar wait in the car as Willie leans out the car window to talk to a senator. He offers the man a piece of paper.</scene_description> <character>WILLIE</character> <dialogue>I've got fourteen senators to vote against impeachment. If I win, you're out of politics.</dialogue> <character>SENATOR</character> <parenthetical>(refuses to sign)</parenthetical> <dialogue>I'll do whatever the Judge says.</dialogue> <scene_description>DISSOLVE TO: Exterior: Highway, Night Willie's car, as it races down the highway.</scene_description> <character>JACK</character> <parenthetical>(voice over)</parenthetical> <dialogue>And always the trail led to one place... Burden's Landing... and the Judge.</dialogue> <scene_description>Exterior: Ferry to Burden's Landing, Night Willie's car coming across on the ferry. DISSOLVE TO: Exterior: Stanton Home, Night As Willie's car stops and they all get out.</scene_description> <character>WILLIE</character> <dialogue>You sure you don't want me to go in with you?</dialogue> <character>JACK</character> <dialogue>I'm sure.</dialogue> <character>WILLIE</character> <dialogue>Well, hurry it up, boy. We've got places to go.</dialogue> <scene_description>Jack goes into the house alone. DISSOLVE TO: Interior: Judge Stanton's Study, Night Jack and the Judge are seated opposite each other.</scene_description> <character>JACK</character> <dialogue>Judge, I beg you, as a favor to yourself, to me... call up, release your votes.</dialogue> <character>JUDGE</character> <dialogue>I made a mistake once, Jack... when I resigned. It was too easy then, just resigning, pulling out. No, Jack, I've made my choice. I have nothing more to lose.</dialogue> <character>JACK</character> <dialogue>Judge, you know what Stark is capable of. Think it over. I'll leave now. I'll come back tomorrow and we'll talk about it again. You can give me your answer then.</dialogue> <scene_description>The door opens and Willie and Sugar Boy enter.</scene_description> <character>WILLIE</character> <dialogue>I can't wait until tomorrow. I'm a very impatient man.</dialogue> <character>JACK</character> <parenthetical>(rising)</parenthetical> <dialogue>I told you not to come in here.</dialogue> <character>WILLIE</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>Is it true, Judge, that you're behind the impeachment proceedings?</dialogue> <character>JUDGE</character> <dialogue>Yes, it's true.</dialogue> <scene_description>Willie takes a seat in an easy chair.</scene_description> <character>WILLIE</character> <dialogue>I wanted to hear you say it with your own silver tongue.</dialogue> <character>JUDGE</character> <dialogue>Well, you've heard it. If that's all you came to hear you could have saved yourself a trip.</dialogue> <scene_description>Willie picks up a decanter off the table.</scene_description> <character>WILLIE</character> <dialogue>Mind if I pour myself a drink? How about you, Judge, will you have one? You better... You're going to need it.</dialogue> <scene_description>Jack and Judge Stanton remain standing, silently watching Willie.</scene_description> <character>WILLIE</character> <dialogue>What'd he say, Jack?</dialogue> <character>JACK</character> <dialogue>You'll get your answer tomorrow.</dialogue> <character>WILLIE</character> <dialogue>Are you kidding? Did you show it to him, or didn't you?</dialogue> <character>JUDGE</character> <dialogue>Show me what?</dialogue> <character>WILLIE</character> <dialogue>That's what I figured. Let's get down to cases, Judge. Do you remember a man with the name of Littlepaugh?</dialogue> <scene_description>The Judge shakes his head. He doesn't.</scene_description> <character>WILLIE</character> <dialogue>Remember the Fortune Electric Company?</dialogue> <character>JUDGE</character> <dialogue>Of course. I was their counsel for over ten years.</dialogue> <character>WILLIE</character> <dialogue>Remember how you got the job?</dialogue> <character>JACK</character> <dialogue>How did you find out?</dialogue> <character>WILLIE</character> <parenthetical>(hands the Judge some papers)</parenthetical> <dialogue>Do you remember how you got the job?</dialogue> <scene_description>The Judge examines the papers.</scene_description> <character>WILLIE</character> <dialogue>You know, Judge, dirt's a funny thing. Some of it rubs off on everybody. How did you get the job, Judge? Blackmail?</dialogue> <character>JUDGE</character> <parenthetical>(to Jack)</parenthetical> <dialogue>I swear I never even remembered his name. Isn't that remarkable, Jack? I never even remembered his name. It's all so long ago it's hard for me to realize it ever happened.</dialogue> <character>WILLIE</character> <dialogue>Yeah. But it did.</dialogue> <character>JUDGE</character> <dialogue>Yes, it did. But it's difficult for me to realize it.</dialogue> <character>JACK</character> <dialogue>For me too, Judge.</dialogue> <character>JUDGE</character> <dialogue>Thanks for that much.</dialogue> <character>WILLIE</character> <dialogue>Well, I guess you know what the next move is, don't you?</dialogue> <character>JUDGE</character> <dialogue>Yes, I do. Jack Burden. Willie Stark's hatchet man.</dialogue> <character>JACK</character> <parenthetical>(to Willie)</parenthetical> <dialogue>I asked you... how did you find out?</dialogue> <character>JUDGE</character> <dialogue>This would never stand at law, not for a minute. It happened over twenty- five years ago, and you could never get any testimony. Everybody is dead.</dialogue> <character>WILLIE</character> <dialogue>Everybody except you, Judge. You're alive. And people think you're a certain kind of man. And you just couldn't bear for people to think otherwise.</dialogue> <character>JUDGE</character> <dialogue>Ever since then I... I've done my duty. I... I'm responsible for many good things.</dialogue> <parenthetical>(looks at the papers again)</parenthetical> <dialogue>But I also did this.</dialogue> <character>WILLIE</character> <dialogue>Yes, yes, you did.</dialogue> <character>JACK</character> <dialogue>Judge, I beg of you, call and release your votes, for your sake.</dialogue> <character>JUDGE</character> <dialogue>You have tender sensibilities for a hatchet man.</dialogue> <parenthetical>(goes to the door)</parenthetical> <dialogue>Good night, gentlemen.</dialogue> <character>WILLIE</character> <dialogue>How about my answer?</dialogue> <character>JUDGE</character> <dialogue>You'll have it in the morning.</dialogue> <character>WILLIE</character> <dialogue>I want it tonight.</dialogue> <character>JUDGE</character> <dialogue>In the morning. Good night, gentlemen.</dialogue> <scene_description>There is silence. Then the three men get up to go. The Judge closes the door behind them. Interior: Stanton Hallway, Night As the three men walk to the front door.</scene_description> <character>JACK</character> <dialogue>How did you find out?</dialogue> <character>WILLIE</character> <dialogue>We've got a lot to do. It's getting late, Jack. Let's get back to town.</dialogue> <character>JACK</character> <dialogue>You know we're through, don't you?</dialogue> <character>WILLIE</character> <dialogue>Aw, you don't mean that, boy.</dialogue> <scene_description>The front door opens, and Adam and Anne come in.</scene_description> <character>STANTON</character> <dialogue>What are you doing here?</dialogue> <character>WILLIE</character> <dialogue>It's all right, doc. Just here to discuss some politics with the Judge.</dialogue> <character>STANTON</character> <dialogue>Oh, I see.</dialogue> <parenthetical>(starts upstairs)</parenthetical> <dialogue>Well, good night.</dialogue> <character>WILLIE</character> <dialogue>Good night.</dialogue> <character>JACK</character> <parenthetical>(to Anne)</parenthetical> <dialogue>Did you give him --</dialogue> <character>WILLIE</character> <dialogue>Wait a minute, Jack --</dialogue> <character>JACK</character> <dialogue>Answer me. Did you give --</dialogue> <scene_description>A shot is fired. They turn and rush into the Judge's study. They find the Judge face downward in his leather chair. Adam and Jack kneel beside him. Willie, holding on tightly to Anne's arm, stands in the doorway. Jack picks up the Judge's pistol and looks at Adam. DISSOLVE TO: Exterior: Stanton Home, Night Jack comes out of the house, followed by Anne and Adam.</scene_description> <character>STANTON</character> <dialogue>Aren't you going back with him?</dialogue> <character>JACK</character> <dialogue>No.</dialogue> <character>STANTON</character> <dialogue>Why not? You belong with him. Jack, how could you have done it? When Anne brought me those papers she told me you promised not to tell Stark until...</dialogue> <character>JACK</character> <dialogue>Yeah. I know.</dialogue> <parenthetical>(walks away)</parenthetical> <dialogue>Well, I kept my promise.</dialogue> <scene_description>Adam looks unbelievingly at Anne. She looks away.</scene_description> <character>STANTON</character> <dialogue>Anne? Anne?</dialogue> <scene_description>FADE OUT</scene_description> <character>FADE IN:</character> <dialogue>Interior: Jack's Hotel Room (State Capital), Day</dialogue> <scene_description>Jack looks out the window. A portable radio is blaring out the news.</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>From all over the state they're streaming in. From the hill country and farms, the lumber camps... by boat, by train, by horse, and on foot. Willie Stark's army.</dialogue> <scene_description>Through Jack's window we see the street blocked with cars and people, all headed for the State Capitol Building. Anne is in the crowd, trying to get across the street. Seeing Jack in the window, she pushes her way across and enters the hotel. He slams the window shut and comes back into the room.</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>The state capital is filled with rumors, one of which is that Stark is planning to seize power by force. As commander of the state militia, he has --</dialogue> <scene_description>Jack turns it off. He goes over to his bed and starts putting clothes into a valise. There is a knock on the door. He ignores it. Another knock.</scene_description> <character>JACK</character> <dialogue>Come in. The door's open.</dialogue> <scene_description>Anne enters.</scene_description> <character>ANNE</character> <dialogue>Jack...</dialogue> <character>JACK</character> <dialogue>What do you want?</dialogue> <scene_description>She starts to cry. He grabs her, pulling her face close to his.</scene_description> <character>JACK</character> <parenthetical>(bitterly)</parenthetical> <dialogue>No, I want to see you cry.</dialogue> <scene_description>He lets her go and she falls to the bed, sobbing.</scene_description> <character>JACK</character> <dialogue>Stop it!</dialogue> <character>ANNE</character> <dialogue>I called you. All afternoon I've been calling you.</dialogue> <character>JACK</character> <dialogue>I know. I was here.</dialogue> <character>ANNE</character> <dialogue>You've got to tell Adam. You've got to see him.</dialogue> <character>JACK</character> <dialogue>Tell him what?</dialogue> <character>ANNE</character> <dialogue>He knows about me and...</dialogue> <character>JACK</character> <dialogue>About you and Willie?</dialogue> <character>ANNE</character> <parenthetical>(nods)</parenthetical> <dialogue>I tried to explain to him. I... I tried to explain to him that it wasn't the way he thought it was.</dialogue> <character>JACK</character> <dialogue>How was it, Anne? You tell me.</dialogue> <character>ANNE</character> <dialogue>He hit me, Jack. My own brother... he hit me.</dialogue> <character>JACK</character> <dialogue>Your brother is an old-fashioned man. He believes in his sister's honor. Me, I'm a modern man.</dialogue> <parenthetical>(slams clothes into the valise)</parenthetical> <dialogue>The twentieth-century type. I run.</dialogue> <character>ANNE</character> <parenthetical>(rises)</parenthetical> <dialogue>I'm frightened, Jack.</dialogue> <character>JACK</character> <dialogue>For who? Your brother, or Willie?</dialogue> <character>ANNE</character> <parenthetical>(quietly)</parenthetical> <dialogue>We're through.</dialogue> <character>JACK</character> <dialogue>Who's through with who?</dialogue> <character>ANNE</character> <dialogue>He called me this afternoon. He's going back to Lucy. He said it was better that way.</dialogue> <character>JACK</character> <dialogue>Better for who? Him.</dialogue> <character>ANNE</character> <dialogue>Both of us.</dialogue> <character>JACK</character> <dialogue>Did he tell you that too when he asked you to betray the Judge? At least I walked out on him.</dialogue> <character>ANNE</character> <dialogue>Oh Jack... help me, please, please. Adam's all I've got left now. Oh, Jack, if you ever loved me...</dialogue> <character>JACK</character> <dialogue>If I ever loved you.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'll go find Adam.</dialogue> <scene_description>He takes up his coat. DISSOLVE TO:</scene_description> <character>EXTERIOR: HOSPITAL SITE, DAY</character> <dialogue>A large billboard. It reads HERE ON THIS SITE WILL BE</dialogue> <scene_description>ERECTED EASE STARK Adam enters, looks at the sign, and walks on. Exterior: Street Near Capitol Building, Day Crowds of people headed toward the building, some with WIN WITH WILLIE signs. A marching band plays music for them. Exterior: Capitol Building, Day Crowd waiting outside the building. Mounted policemen keep them in line. From a large platform, loaded with people, comes the chant "We want Willie, we want Willie." Jack pushes his way through the people and speaks to a policeman standing guard on the Capitol steps.</scene_description> <character>COP</character> <dialogue>Where do you think you're going?</dialogue> <parenthetical>(recognizes Jack)</parenthetical> <dialogue>Oh, I'm sorry. I didn't recognize you.</dialogue> <character>JACK</character> <dialogue>Do you know who Dr. Stanton is?</dialogue> <character>COP</character> <dialogue>Yes sir.</dialogue> <character>JACK</character> <dialogue>Did he try to come through here today?</dialogue> <character>COP</character> <dialogue>Haven't seen him, sir.</dialogue> <character>JACK</character> <dialogue>Well, can you check the other entrances?</dialogue> <character>2ND COP</character> <dialogue>There's no other entrances today. The other entrances are blocked off. Orders are to take no chances.</dialogue> <character>COP</character> <dialogue>If you care to come inside and wait, Mr. Burden, we can find you a seat.</dialogue> <character>JACK</character> <dialogue>No, thanks. I'll wait out here. If Dr. Stanton shows up, let me know.</dialogue> <dialogue>Pass the word along to the boys, will you?</dialogue> <character>COP</character> <dialogue>Yes sir.</dialogue> <scene_description>Jack turns and looks at the large crowd. A voice from a public address loudspeaker begins to yell out commands to the crowd.</scene_description> <character>LOUDSPEAKER</character> <dialogue>All right now. Everybody... that means everybody... let's let Willie know we're here! All together: WE WANT WILLIE. WE WANT WILLIE.</dialogue> <scene_description>The chant is picked up enthusiastically by the crowd. Interior: State Legislature, Day The speaker is trying to speak over the clamor of the chanting.</scene_description> <character>SPEAKER</character> <dialogue>We will first proceed to take the judgment of the senate on the question of the impeachment of the governor.</dialogue> <character>SENATOR</character> <parenthetical>(rising)</parenthetical> <dialogue>Mr. Speaker, this is a farce to ask us to vote in the face of the kind of intimidation and pressure that has been exerted here in the past few weeks. Even that crowd outside, yelling on cue, is part of that pressure.</dialogue> <character>CROWD NOISE</character> <dialogue>We want Willie. We want Willie.</dialogue> <scene_description>Willie gets up, and goes to the window. Exterior: State Capitol, Day The crowd, with Jack in the foreground. The crowd suddenly goes wild as they see Willie appear at the window. In the growing darkness he seems only a shadowy figure as he raises his hands to wave to the crowd. We see various shots of people straining to get a little closer to the steps in order to see him better. Willie then turns and goes back into the room. DISSOLVE TO: Exterior: State Capitol, Day The crowd again, still waiting. The camera pans upward to a loudspeaker.</scene_description> <character>ANNOUNCER</character> <dialogue>Attention, please. Attention, please. This is a special announcement from Willie Stark to you people out there. He doesn't want any one of you to leave...</dialogue> <scene_description>The camera moves over the faces of the people listening.</scene_description> <character>ANNOUNCER</character> <dialogue>He wants you to stay in front of this state Capitol until the fight is over. If you want Willie Stark to win, stay where you are.</dialogue> <scene_description>They cheer. Camera picks up Jack watching the crowd's reaction, then up to a plaque over the entrance to the Capitol Building. It reads THE PEOPLE'S WILL IS THE LAW OF THIS STATE --</scene_description> <character>GOVERNOR STARK.</character> <dialogue>ANNOUNCER</dialogue> <scene_description>Do you hear me... stay where you are. Don't go away. Stay where you are. Don't go away. DISSOLVE TO: Exterior: State Capitol, Night Newsmen, photographers stand about, bored. The crowd, every bit as large, is quiet but expectant. Everyone holds still as the announcer's voice is heard again.</scene_description> <character>ANNOUNCER</character> <dialogue>Attention, please. Attention, please. The balloting on the impeachment proceedings against Governor Stark has just ended. This is the result: Willie Stark has won.</dialogue> <scene_description>The crowd explodes. People break through the police barriers. Mounted policemen ride in quickly to prevent a riot. Camera picks up Anne in the crowd, trying to push through. Jack stands on the steps of the Capitol, watching it all. Suddenly Willie appears at the top of the steps, followed by Sugar Boy. Sadie, Duffy, Pillsbury follow close behind. Willie grabs hold of the mike and addresses the suddenly hushed crowd.</scene_description> <character>WILLIE</character> <dialogue>They tried to ruin me. But they are ruined. They tried to ruin me because they did not like what I have done. Do you like what I have done?</dialogue> <scene_description>Loud applause, and cries of "yes."</scene_description> <character>WILLIE</character> <dialogue>Remember, it's not I who have won, but you. Your will is my strength, and your need is my justice, and I shall live in your right and your will. And if any man tries to stop me from fulfilling that right and that will, I'll break him. I'll break him with my bare hands. For I have the strength of many.</dialogue> <scene_description>Having finished, he waves at them all. Then he notices Jack and comes down the steps to greet him.</scene_description> <character>WILLIE</character> <dialogue>Hello, Jack boy, I'm glad you're</dialogue> <scene_description>here. I knew you'd come back. He walks back up the steps, his arm around Jack's shoulders. They start to go into the building that way when Willie sees someone. He smiles and puts out his hand.</scene_description> <character>WILLIE</character> <dialogue>Oh, doctor, I'm very glad to see you.</dialogue> <scene_description>Adam is seen, waiting at the entrance of the building. Before Willie has taken a step Adam fires several shots into him. Willie falls to the ground and Sugar Boy whips out his pistol and fires at Adam. Three policemen with tommy guns open fire, shooting into Adam's already fallen body. Then they turn and point their guns at the mob of people rushing toward Willie, forcing them back.</scene_description> <character>COP</character> <dialogue>Stand back, everybody. Stand back.</dialogue> <scene_description>Sugar Boy kneels beside Willie. Sadie stands against a pillar, looking down on him.</scene_description> <character>SUGAR BOY</character> <parenthetical>(nearly crying)</parenthetical> <dialogue>D-does it hurt m-much, boss? D-d- does it hurt much?</dialogue> <scene_description>Jack looks up to see Anne struggling through the screaming mob to get to Adam. She looks at Adam for a moment, then turns away.</scene_description> <character>JACK</character> <dialogue>Anne, Anne... Where are you going?</dialogue> <scene_description>She doesn't answer, only walks away. He runs after her and catches hold of her arm.</scene_description> <character>ANNE</character> <dialogue>I don't know. Leave me alone.</dialogue> <character>JACK</character> <dialogue>To do what?</dialogue> <character>ANNE</character> <dialogue>I don't care.</dialogue> <character>JACK</character> <dialogue>No, that's too easy.</dialogue> <character>ANNE</character> <dialogue>I don't know, I don't know, I don't know.</dialogue> <character>JACK</character> <dialogue>I do.</dialogue> <character>ANNE</character> <dialogue>Leave me alone, please.</dialogue> <character>JACK</character> <dialogue>No, no more.</dialogue> <character>ANNE</character> <dialogue>He's dead.</dialogue> <character>JACK</character> <dialogue>We're alive.</dialogue> <character>ANNE</character> <dialogue>My brother's dead.</dialogue> <character>JACK</character> <dialogue>We've got to go on living.</dialogue> <character>ANNE</character> <dialogue>How?</dialogue> <character>JACK</character> <dialogue>So that Adam's death has meaning, so that it wasn't wasted. Anne, our life has to give his death meaning. Don't you see that? Look at those people...</dialogue> <scene_description>He turns her around so that she can see the crowds still struggling to get a look at Willie.</scene_description> <character>JACK</character> <dialogue>Look at them! They still believe in</dialogue> <scene_description>him. And we've got to make them see Willie the way Adam saw him, or there's no meaning in anything... anything. A policeman approaches.</scene_description> <character>POLICEMAN</character> <dialogue>Mr. Burden... the governor's asking for you. You better hurry. He's going fast.</dialogue> <character>JACK</character> <parenthetical>(to Anne)</parenthetical> <dialogue>Will you wait here?</dialogue> <scene_description>No reply.</scene_description> <character>JACK</character> <dialogue>Will you wait here?</dialogue> <scene_description>She nods her head slowly. Jack walks through the building to the pillar against which Willie has been propped. Sugar Boy is still beside him. He stands behind Sadie and Duffy, looking down at Willie.</scene_description> <character>WILLIE</character> <dialogue>It could have been the whole world, Willie Stark. The whole world... Willie Stark. Why did he do it to me... Willie Stark? Why?</dialogue> <scene_description>His head droops to the side and he dies. FADE OUT</scene_description> <character>THE END</character> </scene> </script>

Jack Burden, a Louisiana news reporter, takes a personal interest in Willie Stark, an idealistic small-town lawyer and parish treasurer. Circumstances develop that result in Tiny Duffy, a local political leader Burden knows, urging Stark to run for governor. Burden's upbringing makes him familiar with the undercurrent of politics – he was raised by his loving godfather Judge Irwin, a former state attorney general, while his good friend, Dr. Adam Stanton, and his sister Anne Stanton—also Burden's former lover—are the children of a former governor. Burden therefore decides to take Duffy's advice and travels as a reporter on Stark's campaign for governor. The politically astute Burden soon deduces, and Duffy strategist (and Stark mistress) Sadie Burke confirms, that Duffy is using Stark to split his party's vote and thus allow the opposing party to win. They tell Stark, who begins to give speeches in a straightforward manner to appeal to the public, in defiance of the advice given to him by Duffy. His vigorous strategy attacks the corruption of the existing players and promises schools and roads for his "fellow ignorant hicks", resulting in Stark winning the election. He manages Duffy by making him his lieutenant governor. Stark recruits Burden to work for him as an adviser. Stark proves to be a very persuasive governor, delivering on many of his new projects. Irwin disapproves of Stark and publicly supports an investigation of possible graft in the new spending. Burden points out that graft is the elite's word for what the previous politicians had always done, while Stark openly tells his crowds that his "crooks, unlike theirs, are itty bitty" compared to the elite's. Stark convinces Stanton to head a new public hospital while he begins having an affair with Anne, provoking Burke's jealousy and Burden's disappointment. Irwin continues criticizing Stark as political controversies begin to unfold. Stark demands that Burden seek information on the judge to be used against him. Jack insists that there is no such information, but eventually discovers evidence of a bribe that Irwin used to get his appointment many years prior, leading an opponent to commit suicide. Following this revelation, Irwin himself commits suicide. Burden's mother then tells him that Irwin treated him with such love because he was his biological father, which causes a great amount of guilt for Burden. Stark utilizes many methods of corruption to consolidate his power, including patronage and intimidation. Adam is told that Stark is using the hospital project to rob the state and is framing him in the process. Burden and Anne both assure Adam that this is false. Adam also becomes enraged when he learns of Stark's affair with his sister. Adam waits at the state capitol and assassinates Stark, only to be immediately killed by the governor's bodyguard. It is later revealed that Adam was influenced by Duffy and Burke to murder Stark, allowing Duffy to succeed Stark as governor.

I Still Know What You Did Last Summer_1998

tt0130018

<script> <scene> <stage_direction>INT. BOSTON - OLD NORTH CHURCH - DAY</stage_direction> <scene_description>The setting sun backlights a series of abstract colored images . Holy images of STAINED GLASS and lead . FOOTSTEPS ECHO across the marble floor . REVEAL - JULIE JAMES A little older , a little wiser , yet still very pretty , no doubt . But she 's all alone in the house of the Lord . And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul . She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH .</scene_description> </scene> <scene> <stage_direction>INT. CONFESSIONAL BOOTH - DAY</stage_direction> <scene_description>Julie slides the drapes shut behind her as she enters , kneeling before the CLOSED SCREEN . A beat - and the SCREEN SLIDES OPEN . A PRIEST enters the adjacent booth - barely visible through the WICKER MESH . Julie looks down , crosses herself , and begins .</scene_description> <character>JULIE</character> <dialogue>Bless me, Father, for I have sinned.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>It's been a year since my last confession.</dialogue> <scene_description>Julie swallows hard . This is difficult for her .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I've never told anyone this. Not my mom, not the poice, not even my friends - except for the ones who were there and they. well they're not around anymore. You see I. I.</dialogue> <character>PRIEST</character> <dialogue>Yes?</dialogue> <character>JULIE</character> <dialogue>I killed a man. Well, I thought I had. then.</dialogue> <scene_description>She balks at the memory of it . The priest bows his head in the shadows of the other side .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( emotional . )</parenthetical> <dialogue>You've got to understand. It was all an accident. A terrible accident. It's been a whole year. I've tried to get past this, but I just ca n't.</dialogue> <character>PRIEST</character> <dialogue>Go on.</dialogue> <character>JULIE</character> <dialogue>I have these dreams. horrible dreams. And this man is always there with me.</dialogue> <character>PRIEST</character> <parenthetical>( reassuring . )</parenthetical> <dialogue>I know.</dialogue> <character>JULIE</character> <dialogue>You see, he was a killer. He murdered Helen and Barry, and he would have killed me too, if I had n't. gotten away with it.</dialogue> <parenthetical>( regathering . )</parenthetical> <dialogue>I do n't know, I guess I just need to deal with the fear, the guilt. to finally say his name. Ben Willis. His name was Ben Willis.</dialogue> <scene_description>The confession is cathartic for Julie . She looks relieved until ,</scene_description> <character>PRIEST</character> <dialogue>I know.</dialogue> <scene_description>Julie stops . Looks through the screen . A chill shoots through her body .</scene_description> <character>JULIE</character> <dialogue>You know? But how could you.</dialogue> <scene_description>Clouds of icy steam shoot through the partition . Julie moves closer to the screen , trying to get a better look .</scene_description> <character>PRIEST</character> <parenthetical>( growls . )</parenthetical> <dialogue>I KNOW WHAT YOU DID LAST SUMMER!</dialogue> <scene_description>A STEEL HOOK smashes through the screen right in Julie 's face ! She SCREAMS !</scene_description> </scene> <scene> <stage_direction>INT. COLLEDGE LECTURE HALL - DAY</stage_direction> <scene_description>Still screaming - Julie jumps back , seemingly knocked out of her chair . She fights the unseen demon . Sitting beside her , Julie 's friend WILL BENSON reacts . He 's a good - looking kid in a shy , humble kind of way . And he tries to help her , but she 's too busy turning ten shades of red . The PROFESSOR lowers his glasses , makes it even worse .</scene_description> <character>PROFESSOR</character> <dialogue>Nice to see you find Political Science so stimulating -</dialogue> <scene_description>The lecture hall erupts with laughter .</scene_description> <character>JULIE</character> <dialogue>I'm sorry -</dialogue> <scene_description>Julie grabs her stuff and bolts .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS - DAY</stage_direction> <scene_description>Julie explodes out of the building . Hurries down a sidewalk . Will finally catches up .</scene_description> <character>WILL</character> <dialogue>Julie! Wait! You okay?</dialogue> <character>JULIE</character> <dialogue>I'm fine.</dialogue> <character>WILL</character> <dialogue>You sure?</dialogue> <character>JULIE</character> <dialogue>I'm fine.</dialogue> <character>WILL</character> <dialogue>You do n't seem fine.</dialogue> <scene_description>Julie realizes this is true .</scene_description> <character>JULIE</character> <dialogue>I had another dream, Will.</dialogue> <scene_description>Will takes this seriously .</scene_description> <character>WILL</character> <dialogue>The shower again?</dialogue> <character>JULIE</character> <dialogue>It was in a church. it was so real. I mean, I could feel his breath on me.</dialogue> <character>WILL</character> <parenthetical>( caring . )</parenthetical> <dialogue>I'm sorry.</dialogue> <character>JULIE</character> <dialogue>I thought I was over the dreams for good. I really did. I had n't had one for months.</dialogue> <character>WILL</character> <dialogue>It just takes time, Julie. It's gon na get better.</dialogue> <character>JULIE</character> <dialogue>It ca n't get worse. I mean, it's not like this was the first time I freaked out in class. I hardly ever get a full night's sleep, my grades suck, I'm this close from being thrown out of school.</dialogue> <scene_description>BLAM ! BLAM ! BLAM ! EXPLOSIONS . Julie jumps out of her skin . It 's just STUDENTS letting off FIRECRACKERS as they fly past on bicycles . Will and Julie are now thinking the same thing .</scene_description> <character>JULIE</character> <parenthetical>( cont'd. ) It was one year ago .</parenthetical> <dialogue /> <character>WILL</character> <dialogue>It's. the anniversary. That's what's going on. Take it easy on yourself.</dialogue> <character>JULIE</character> <parenthetical>( weary . )</parenthetical> <dialogue>I'm trying. I really am. Sometimes I do n't even know why I came up here in the first place.</dialogue> <character>WILL</character> <parenthetical>( cheering her up . )</parenthetical> <dialogue>To get out of Southport?</dialogue> <character>JULIE</character> <parenthetical>( softens . )</parenthetical> <dialogue>Right. Now I remember.</dialogue> <scene_description>He smiles at her . She smiles back . They stop in front of her apartment building .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Are you getting out of town on the fourth?</dialogue> <character>WILL</character> <dialogue>Nah. I'll probably just be here studying for finals. The joys of summer school.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Are you okay?</dialogue> <character>JULIE</character> <dialogue>I'm okay.</dialogue> <character>WILL</character> <dialogue>Are you sure?</dialogue> <scene_description>She touches his face affectionately .</scene_description> <character>JULIE</character> <dialogue>Thanks for the talk, Will. You're good to me.</dialogue> <scene_description>Will stands there akwardly -</scene_description> <character>WILL</character> <dialogue>Um. Okay. Bye.</dialogue> <scene_description>Will walks away . Julie watches him a beat , then turns down her walk - RAY steps out of the shadows . Julie practically faints .</scene_description> <character>JULIE</character> <dialogue>Oh, my god, Ray. You scared me.</dialogue> <scene_description>Recovering , she hugs Ray , genuinely glad to see him . He 's a bit cold .</scene_description> <character>RAY</character> <dialogue>I got in early. I was excited.</dialogue> <parenthetical>( re : the receding Will . )</parenthetical> <dialogue>Who was that guy?</dialogue> <character>JULIE</character> <dialogue>Oh, that's Will. He's a friend. You'd like him.</dialogue> <character>RAY</character> <dialogue>Yeah.</dialogue> <character>JULIE</character> <dialogue>Ray, we're just friend.</dialogue> <character>RAY</character> <dialogue>Every guy in history who tried to pick up a girl did the good - friend thing first.</dialogue> <character>JULIE</character> <dialogue>Why are you being like this?</dialogue> <scene_description>It should be obvious Ray feels insecure in the college environs , but they 're miscommunicating .</scene_description> <character>RAY</character> <dialogue>Hey, I'm sorry. You're right. Are you ready to go? I've got the old truck. You know the drill. Crab boil at Ollie's. Croaker Queen Pageant. It's only small - town fun, but it's still nice. People really miss you. I miss you.</dialogue> <scene_description>She looks at Ray , his compassionate demeanor . This is hard to say -</scene_description> <character>JULIE</character> <parenthetical>( softly , but resolved . )</parenthetical> <dialogue>Ray, I ca n't.</dialogue> <character>RAY</character> <dialogue>Ca n't what?</dialogue> <character>JULIE</character> <dialogue>I just feel like some part of me has n't healed up enough to go back. Like some critical piece is missing. Please understand.</dialogue> <scene_description>Ray is cold . This is what he 's expected all along .</scene_description> <character>RAY</character> <dialogue>I understand something.</dialogue> <character>JULIE</character> <dialogue>It's not like that. It's not you. It's me. My head. I want to go back. I want to be with you. I want to be fine. I want everything to be like it used to be.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>It just is n't.</dialogue> <scene_description>Ray is hurt and confused .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hey, why do n't you stay up here? They have fireworks over the river. And. there's a million things to do.</dialogue> <character>RAY</character> <dialogue>I have to work, Julie. My boat's in Southport, remember? But, I get it. You need your space from Craokerland. And maybe from me, too.</dialogue> <scene_description>Ray starts walking away .</scene_description> <character>RAY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know where to find me.</dialogue> <character>JULIE</character> <dialogue>Ray? Ray? At least come up for a while.</dialogue> <scene_description>Ray keeps on walking .</scene_description> <character>RAY</character> <dialogue>It's okay. I'm just gon na go.</dialogue> <scene_description>Julie follows him out to the road . A group of LAUGHING STUDENTS block her way .</scene_description> <character>JULIE</character> <dialogue>Ray, I'm sorry. I did n't mean.</dialogue> <parenthetical>( to herself . )</parenthetical> <dialogue>I'm just scared. that's all.</dialogue> <scene_description>But Ray is already gone . Julie stares after him a beat , then turns quickly to her door . She clearly feels uncomfortable , exposed on the walk alone . She nervously pulls her keys . A can of mace dangles from the keychain .</scene_description> </scene> <scene> <stage_direction>EXT. JULIE'S APARTMENT - DAY</stage_direction> <scene_description>Students throw FRISBEE in the street . Ray walks to his old truck , which is wedged between a new Sport Utility and a BMW . He clambers into the front seat . He thinks . Then , digs into his pocket and pulls out the unmistakable shape of an ENGAGEMENT RING BOX . He throws it in the glove box , starts the truck and drives away .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S APARTMENT DOORWAY - DAY</stage_direction> <scene_description>Julie opens the door and steps inside . She locks three deadbolts . She stands there , alone , listening to the SILENCE . She does n't even have a cat . A faucet DRIPS in the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S KITCHEN - DAY</stage_direction> <scene_description>The faucet DRIPS . Julie turns the handle . No success . She checks the lock on each window . She stands for a moment . She picks up a bag of chips and eats a handful . She opens the fridge and takes out a can of nacho cheese sauce . She grabs a soft drink and a jar of bread - and - butter pickles . She gets some cookies from a shelf . She thinks . Opens the freezer , pulls out some fat - free sorbet . She takes the whole mess toward her bedroom .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S BEDROOM - DAY</stage_direction> <scene_description>She hits the light switch . A bedside light goes on . It 's a sparsely furnished room . The bed is pilled high with pillows . She checks the windows , then climbs into bed with the food . On the bedside table are pictures of family and friends . She looks at one of Helen and Barry . She looks around the room . It 's depressing . Outside we hear young people having fun , slamming car doors , going places . She picks at the food , then puts it on the table . She turns off the bedside light and enjoys the golden late afternoon glow in the room .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S BEDROOM - NIGHT</stage_direction> <scene_description>Julie , sound asleep , is curled into fetal position on the bed . There 's a CLICK in the front hall . And ANOTHER . Julie 's eyes shoot open . She listens . Another SOUND , almost like the front door being CLOSED . Her arm reaches for the bedside light . She hits the switch . The bulb POPS .</scene_description> <character>JULIE</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Okay. Okay. Face your fears.</dialogue> <scene_description>She gets off the bed and stands still .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( whisper . )</parenthetical> <dialogue>There's nothing.</dialogue> <scene_description>There 's another NOISE down the hall .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( whisper . )</parenthetical> <dialogue>Quiet.</dialogue> <scene_description>Julie silently scoots out of her bedroom toward the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S KITCHEN - NIGHT</stage_direction> <scene_description>She gets a large KNIFE . She listens . It sounds like somone 's in the living room . She steps through the kitchen door . As she moves we see a shadow pass the other way down the hallway toward her bedroom .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>There 's NO ONE there .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Okay, calm down, imagination.</dialogue> <scene_description>She relaxes until she sees that her front door is slightly AJAR , light from the hallway slanting through .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I ca n't take this anymore. I ca n't.</dialogue> <scene_description>Holding the knife in front of her , she tiptoes to the hallway . There 's a soft RUSTLING coning from her bedroom . She gets a flashlight out of a drawer and starts down the hallway .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( fatalistic . )</parenthetical> <dialogue>Let's just do it.</dialogue> <scene_description>She moves faster toward her bedroom . she listens outside the doorway . It sounds like someone 's in the closet . She moves into the room .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S BEDROOM - NIGHT</stage_direction> <scene_description>There 's a noise in the darkened closet . Julie moves into position . She turns the flashlight ON and lunges for the closet .</scene_description> </scene> <scene> <stage_direction>INT THE CLOSET</stage_direction> <scene_description>KARLA WILSON , 19 , all grace and attitude , is on tiptoes reaching for a box of shoes . She SCREAMS . Julie SCREAMS . They both SCREAM together . Julie drops the knife and flashlight .</scene_description> <character>KARLA</character> <dialogue>I thought you were out of town!</dialogue> <character>JULIE</character> <dialogue>What are you doing in my closet?</dialogue> <scene_description>They hug , jumping up and down with relief .</scene_description> <character>KARLA</character> <dialogue>I thought you were out of town!</dialogue> <character>JULIE</character> <dialogue>What are you doing in my closet?</dialogue> <character>KARLA</character> <dialogue>i just wanted your black pants, but I'm not ready to die for them!</dialogue> <scene_description>Julie turns on the light in the hallway . Karla has her shoes in her hand and black pants draped over her arm .</scene_description> <character>JULIE</character> <dialogue>That was heart attack time, Karla.</dialogue> <character>KARLA</character> <dialogue>No. When I put these skinny pants on my body. Now, that's heart attack time.</dialogue> <scene_description>Karla looks down and sees the knife . She picks it up with two fingers -</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And we're going to put away the utensils and you're coming with me.</dialogue> <scene_description>Julie flops down on her bed .</scene_description> <character>JULIE</character> <dialogue>I'm not going anywhere. I'm fat, ugly, and depressed.</dialogue> <character>KARLA</character> <dialogue>Yeah, right - whatever.</dialogue> <character>JULIE</character> <dialogue>I think I just really hurt Ray's feelings.</dialogue> <character>KARLA</character> <parenthetical>( keeping it upbeat . )</parenthetical> <dialogue>Listen to me, Julie. Ray's a great guy, nothing against old Ray, but he's so. Ray. I mean, he lives in Southport. Will's a nice guy, too, and he lives right down the street.</dialogue> <scene_description>Karla picks up the flashlight and goes into the closet .</scene_description> <character>JULIE</character> <dialogue>There's nothing between Will and me.</dialogue> <character>KARLA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yet. Nothing yet.</dialogue> <scene_description>She emerges with clothes for Julie . Holds up one outfit .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What we got ta do is keep moving. No time to mope. I'm working at the club tonight. And you, dancing queen, are coming with me.</dialogue> <character>JULIE</character> <dialogue>No I'm not.</dialogue> <scene_description>Karla holds up another dress for Julie - strapless , sexy , the one .</scene_description> <character>KARLA</character> <dialogue>Fine, then be fat, ugly, and depressed.</dialogue> <scene_description>Karla is dancing around . Julie laughs at her friend and takes the dress when Karla hands it to her .</scene_description> </scene> <scene> <stage_direction>INT. THE CLUB - NIGHT</stage_direction> <scene_description>It 's a hopping college joint : crowded , loud MUSIC , a dance floor , and rivers of cheap booze . AT THE BAR Julie sits next to Karla as she waits for her drink order . A handsome young man slides in front of them . This is TYRELL MARTIN , 23 , handsome , no pretention , a little dangerous , with a killer smile .</scene_description> <character>TYRELL</character> <dialogue>You know what I want to do to you. right now, do n't you? There's got ta be somewhere we can be alone.</dialogue> <character>KARLA</character> <parenthetical>( playful . )</parenthetical> <dialogue>I do n't think so. It's pretty crowded.</dialogue> <character>TYRELL</character> <dialogue>Just for a minute, baby. I got something I wan na tell you.</dialogue> <scene_description>He 's looking for a dark corner or a storeroom or something .</scene_description> <character>KARLA</character> <parenthetical>( teasing . )</parenthetical> <dialogue>If you can say all you got ta say in a minute then I do n't wan na hear it.</dialogue> <character>TYRELL</character> <dialogue>I'll talk real slow.</dialogue> <scene_description>He 's kissing her ear . She starts to giggle . The bartender sets down drinks on Karla 's tray .</scene_description> <character>KARLA</character> <parenthetical>( re : Julie . )</parenthetical> <dialogue>Ask her to dance.</dialogue> <scene_description>Tyrell hesitates .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Go on.</dialogue> <scene_description>Karla cuts away through the crowd , delivering drinks . Tyrell turns to Julie .</scene_description> <character>TYRELL</character> <dialogue>You're the most beautiful woman in the bar tonight, Jules.</dialogue> <character>JULIE</character> <dialogue>Tyrell, you are an unstoppable force of nature.</dialogue> <character>TYRELL</character> <dialogue>That's right. It's how the species survives. You'll never convince me otherwise.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Wan na dance?</dialogue> <scene_description>Karla passes by -</scene_description> <character>KARLA</character> <dialogue>Say yes.</dialogue> <character>JULIE</character> <dialogue>No.</dialogue> <character>KARLA</character> <dialogue>No means yes.</dialogue> <character>JULIE</character> <dialogue>Tyrell, I appreciate it, but have you seen my people dance? We make the mouth face, we move the fingers -</dialogue> <character>TYRELL</character> <parenthetical>( heading for the floor . )</parenthetical> <dialogue>Worse comes to worse, you can stand there and watch me.</dialogue> <character>KARLA</character> <dialogue>Come on, I'll take a break and we'll all dance.</dialogue> </scene> <scene> <stage_direction>INT. THE CLUB - DANCE FLOOR - NIGHT</stage_direction> <scene_description>is packed and thumping . Karla is dancing her way through the crowd . Tyrell and Julie follow behind her . Karla sees Will . He 's dressed up and nervous . She smiles .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Whaddayou know? Will Benson lookin' fine.</dialogue> <character>JULIE</character> <parenthetical>( suspicious , but having fun . )</parenthetical> <dialogue>Karla! Did you tell him I'd be here?</dialogue> <character>KARLA</character> <dialogue>Nope. I told him that you absolutely, positively would not be here at this bar between ten o'clock and eleven o'clock tonight. And then he came anyway.</dialogue> <character>WILL</character> <parenthetical>( shy to a fault . )</parenthetical> <dialogue>This was not my idea.</dialogue> <character>JULIE</character> <dialogue>What?</dialogue> <character>WILL</character> <dialogue>I said, this. Do you want a drink?</dialogue> <scene_description>Will looks down at his feet . He and Julie stand there not quite knowing what to do .</scene_description> <character>TYRELL</character> <dialogue>Where I come from, you want to snatch the goodies, you got to at least talk to them first.</dialogue> <scene_description>Tyrell and Karla go for it on the dance floor , leaving Will and Julie alone . They look at each other . They look at everyone dancing .</scene_description> <character>WILL</character> <dialogue>How about a drink?</dialogue> <scene_description>Will is a few steps ahead as they move for the bar . Julie seems to be relaxing , having a good time . Then , she looks up into the balcony and sees , in a strobe light 's FLASH - SOMEONE IN A SLICKER watching her intently . She squints for a better look , but he 's gone .</scene_description> <character>WILL</character> <parenthetical>( yelling over the din . )</parenthetical> <dialogue>You okay?</dialogue> <scene_description>She 's chalk white and crestfallen . Her whole affect is `` Will I ever have a normal time ? '' She drifts amay toward the stairs to the balcony .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hey Julie?</dialogue> <scene_description>Will catches Karla and Tyrell 's eyes . They 're worried .</scene_description> </scene> <scene> <stage_direction>INT. THE CLUB - STAIRCASE - NIGHT</stage_direction> <scene_description>Julie catches another glimps of THE SLICKER . She pushes her way through the crowd up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. THE CLUB - BALCONY - NIGHT</stage_direction> <scene_description>Julie looks all around - finally spotting the MAN IN THE SLICKER from behind , making his way to the other side . He slices through a crowd of students , and Julie keeps following . He turns down a service corridor . Julie follows , frightened , but unable to resist . She catches him at the end of the corridor . She reaches out and grabs the stranger 's arm .</scene_description> <character>JULIE</character> <dialogue>Ben.</dialogue> <scene_description>The stranger turns around . It 's only a club kid in a tacky vinyl raincoat and hat . She 's shaken .</scene_description> <character>SLICKER GUY</character> <dialogue>Hye, baby. You following me up here?</dialogue> <parenthetical>( a come - on . )</parenthetical> <dialogue>Well, all right.</dialogue> <scene_description>Julie turns away and hurries down the hallway . Todd follows , but his figure quickly fades .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S APARTMENT - DAY</stage_direction> <scene_description>With morning sun filtering through her blinds , Julie wakes up to the strange sound of THUMPING . She gets out of bed and slowly exits the room .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S HALLWAY TO KITCHEN - DAY</stage_direction> <scene_description>The noise gets louder as she heads down the hall . ANGLE ON A CLOSET The noise is at its loudest - Julie reaches for a doorknob - and yanks open the door . ANGLE ON A CLOTHES DRYER rocking and banging inside the closet . Julie frowns . Julie spins , once again startled by Karla , who crosses to the dryer , flipping open the lid and then jumping back to catch the shoes as they pop out on the fly .</scene_description> <character>JULIE</character> <parenthetical>( still sleepy . )</parenthetical> <dialogue>That could break the machine.</dialogue> <character>KARLA</character> <dialogue>Julie, people who end up making rules like that end up beating their kids with wire hangers. It's a fact.</dialogue> <scene_description>The phone RINGS . Karla looks at her watch .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's Tyrell.</dialogue> <character>JULIE</character> <parenthetical>( resigned . )</parenthetical> <dialogue>The number's unlisted.</dialogue> <character>KARLA</character> <dialogue>Would you relax? We've been dating three months. He ai n't stalking your butt.</dialogue> <character>JULIE</character> <dialogue>Okay, okay. You're right.</dialogue> <character>KARLA</character> <dialogue>I know it, and it feels good.</dialogue> <parenthetical>( answering the phone . )</parenthetical> <dialogue>Hi, Ty.</dialogue> <scene_description>A DJ for a local radio station BOOMS from the phone .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is Mark in the Morning for Magic 96.7 Radio Station! Who am I speaking with?</dialogue> <scene_description>Julie watches her friend get excited .</scene_description> <character>KARLA</character> <dialogue>Mark in the Morning! Magic 96.7! Oh my God! I'm Karla. Karla Wilson.</dialogue> <parenthetical>( to Julie . )</parenthetical> <dialogue>Jules, it's Mark in the Morning.</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Well, Karla, what're you doin' at home over the long fourth weekend?</dialogue> <character>KARLA</character> <dialogue>Well, I'm in school and -</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>How'd you like to win a Magic 96.7 Quicky Getaway?</dialogue> <character>KARLA</character> <dialogue>Yes!</dialogue> <scene_description>Julie hits the SPEAKERPHONE BUTTON and Karla hangs up . The DJ 's voice echos through the appartment .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Good, then I hope you remember your geography, Karla, because all you have to do to win is tell me the capital of Brazil.</dialogue> <scene_description>Karla 's smile abruptly fades .</scene_description> <character>KARLA</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Brazil? Um.</dialogue> <scene_description>She looks to Julie , whose face is as blank as hers .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You do n't know?! You have to know. You know everything.</dialogue> <character>MARK</character> <dialogue>C'mon, Karla, one easy question, one great getaway!</dialogue> <character>JULIE</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>. South America. Carnival.</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Karla, we need an answer. No looking it up.</dialogue> <character>KARLA</character> <dialogue>Still here. thinking.</dialogue> <parenthetical>( stalling . )</parenthetical> <dialogue>You mean Brazil, the country?</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Okay, Karla, five seconds.</dialogue> <parenthetical>( counting down . )</parenthetical> <dialogue>Five. Four.</dialogue> <scene_description>Julie has an idea . She scramles for the kitchen . Grabs a BAG OF FRESH - GROUND COFFEE from the FREEZER .</scene_description> <character>MARK</character> <parenthetical>( cont 'd , V.O . )</parenthetical> <dialogue>Three. Two.</dialogue> <scene_description>Julie tosses the bag across the room to Karla . Karla reads the label : RIO BLEND - 100 % BRAZILIAN COFFEE .</scene_description> <character>KARLA</character> <parenthetical>( blurting . )</parenthetical> <dialogue>Rio de Janeiro!</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh, no. Did you say Rio?</dialogue> <character>KARLA</character> <parenthetical>( wincing . )</parenthetical> <dialogue>No. Yes?</dialogue> <scene_description>BELLS and WHISTLES and triumphant MUSIC .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You just won Magic 96.7's Quickie Getaway. a trip for four to Tower Bay Island in the fabulous Bahamas.</dialogue> <scene_description>Karla and Julie jump up and down ecstatically .</scene_description> <character>KARLA</character> <dialogue>Waaaaahhhhhhhhhh!</dialogue> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We'll call you back with all the details. So what's your favorite radio station?</dialogue> <character>KARLA AND JULIE</character> <dialogue>Magic 96.7!</dialogue> <scene_description>Julie hangs up and joins Karla dancing on the couch .</scene_description> <character>KARLA</character> <dialogue>I won. I won. I won, I won, I won.</dialogue> <parenthetical>( teasing . )</parenthetical> <dialogue>Now, let's see. There's Tyrell, that's one. And, there's my parents. And I got some cousins.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Okay, Julie, you can come, but Mark said four tickets. That means you got ta get yourself a date.</dialogue> <scene_description>Julie thinks , she seems torn .</scene_description> </scene> <scene> <stage_direction>EXT. SOUTHPORT DOCKS - DAY</stage_direction> <scene_description>A SMALL MOUND OF RED SNAPPER is DUMPED - wiggling and suffocating its way across the deck of a fishing boat . WE PULL AWAY TO REVEAL it 's RAY who 's just done the dumping . A coworker , DAVE , friendly , playful , and down - to - earth , calls out from the dock -</scene_description> <character>DAVE</character> <dialogue>Hey, Ray. phone!</dialogue> <scene_description>Ray takes the phone . WE INTERCUT .</scene_description> <character>JULIE</character> <dialogue>Hi.</dialogue> <scene_description>Ray is happy to hear her voice , but cautious .</scene_description> <character>RAY</character> <parenthetical>( beat . )</parenthetical> <dialogue>Hey. I'm really glad you called. I'm sorry.</dialogue> <character>JULIE</character> <parenthetical>( compassoinate . )</parenthetical> <dialogue>No, you do n't have to be sorry. I'm the one -</dialogue> <character>RAY</character> <dialogue>No, I should n't have left so fast. I was just.</dialogue> <character>JULIE</character> <dialogue>It's okay.</dialogue> <scene_description>Dave holds up two wriggling snappers . He dances them toward each other in a puppetlike mating ritual , making KISSING SOUNDS and narrating -</scene_description> <character>DAVE</character> <parenthetical>( as the fish . )</parenthetical> <dialogue>Julie, I love you. I know I'm only a humble fish, but if you really look at it, you're a fish, too.</dialogue> <parenthetical>( girl voice . )</parenthetical> <dialogue>Oh, Ray, you're right. Do me like a snapper.</dialogue> <parenthetical>( mashing the fish together . )</parenthetical> <dialogue>Hey, something smells like fish.</dialogue> <scene_description>Ray waves him away , concentrating on his call .</scene_description> <character>JULIE</character> <dialogue>Ray, Karla won a trip to the Bahamas! An island called Tower Bay. And she wants us to come with her.</dialogue> <character>RAY</character> <dialogue>What? The Bahamas? You're kidding.</dialogue> <scene_description>Dave 's interest is piqued .</scene_description> <character>JULIE</character> <dialogue>We'd have a long weekend just to sit in the sun, drink fruity drinks, and swim, and.</dialogue> <parenthetical>( sexy . )</parenthetical> <dialogue>You know.</dialogue> <character>RAY</character> <dialogue>This weekend?</dialogue> <scene_description>Dave is watching Ray closely . Ray 's expression hardens .</scene_description> <character>RAY</character> <parenthetical>( hurt . )</parenthetical> <dialogue>You'll go away with you're college friends, but you wo n't go away with me?</dialogue> <character>DAVE</character> <dialogue>Idiot. Idiot. Idiot.</dialogue> <scene_description>Karla is watching Julie .</scene_description> <character>JULIE</character> <dialogue>It's not you, it's Southport. And it's the Bahamas! And it's free!</dialogue> <scene_description>Karla is watching Julie .</scene_description> <character>KARLA</character> <dialogue>You got ta sell his butt on the Bahamas?</dialogue> <character>JULIE</character> <dialogue>Ray, come on. I want us to be together.</dialogue> <scene_description>Ray thinks . Dave looks at him like he 's crazy .</scene_description> <character>RAY</character> <parenthetical>( ca n't give in . )</parenthetical> <dialogue>Julie, we're working a big run up here. It's been crazy. We probably have to go out again tonight. I do n't think I can do it.</dialogue> <character>JULIE</character> <dialogue>Will you try. for me, please?</dialogue> <scene_description>Dave moves one of the fish like it 's been shot through the heart .</scene_description> <character>RAY</character> <dialogue>Okay, I'll try. But, listen.</dialogue> <parenthetical>( martyrlike . )</parenthetical> <dialogue>If I do n't make it up, then you go ahead and have a great time.</dialogue> <character>JULIE</character> <dialogue>Ray. please try. I really miss you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Okay. Bye.</dialogue> <scene_description>She hangs up and Karla sits next to her .</scene_description> <character>KARLA</character> <dialogue>That boy has got fish on the brain.</dialogue> <parenthetical>( sensitive . )</parenthetical> <dialogue>Hey, cheer up, Charlie.</dialogue> <parenthetical>( singing a rumba . )</parenthetical> <dialogue>We're going to the Bahamas. Bahama Mama, yeah.</dialogue> </scene> <scene> <stage_direction>EXT. SOUTHPORT DOCKS - DAY</stage_direction> <scene_description>Ray is staring unhappily at the little pile of snapper . Dave is staring at him in disbelief .</scene_description> <character>DAVE</character> <dialogue>Man, what is your problem? We have n't caught anything for days. Pull the big ugly stick out of your butt. She asked you to go to the Bahamas! Man, you got ta go. We'll both drive up. I got friends I can see up there.</dialogue> <scene_description>Ray realizes how right he is .</scene_description> <character>RAY</character> <dialogue>Stupid. Stupid.</dialogue> <character>DAVE</character> <dialogue>Stupid. What were you thinkng?</dialogue> <scene_description>Ray looks at Dave a contemplative beat , then walks over to his truck . He leans in the passenger side and pulls out the engagement ring box . Dave walks over .</scene_description> <character>RAY</character> <dialogue>You wan na see what I've been thinking?</dialogue> <scene_description>He holds up the box and slowly opens it . Dave is stunned .</scene_description> <character>DAVE</character> <dialogue>Jeez, Ray, fourth and forty, throw the bomb.</dialogue> <character>RAY</character> <dialogue>I should go up there. I should call her back, tell her I'm coming.</dialogue> <character>DAVE</character> <dialogue>No way, man. Surprise her. She'll be psyched.</dialogue> <scene_description>Ray is excited by the plan and Dave 's right there with him .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY HIGHWAY - NIGHT</stage_direction> <scene_description>We stare out at a rain - soaked stretch of road . A PICKUP ROARS past , cruising along with its RADIO loud and windows rolled down .</scene_description> </scene> <scene> <stage_direction>INT. RAY'S PICKUP - NIGHT</stage_direction> <scene_description>The music 's even LOUDER in here . The mood is high . Two buddies going to propose to a girl . Dave adjusts the radio to another AM station -</scene_description> <character>DAVE</character> <dialogue>Man, I love AM radio. You got right - wing conspiracy, tips for pregnant womem, Single - A baseball games, and real country music. None of that new crap.</dialogue> <scene_description>He adjusts the dial again , tuning in a country song , `` MAMAS , DO N'T LET YOUR BABIES GROW UP TO BE COWBOYS , '' by Waylon Jennings and Willie Nelson . Dave starts singing along , extra LOUD and out of tune .</scene_description> <character>DAVE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( singing . ) ''</parenthetical> <dialogue>. Mamas, do n't let your babies grow up to be cowboys, do n't let'em pick guitars and drive them old trucks. Let'em be doctors and lawyers and such.''</dialogue> <scene_description>Ray looks at his goofy friend singing and starts to get a little happy himself . Then , Ray sees something in the road ahead . He turns down the radio . They both stare - RAY 'S POV : A CAR TURNED SIDEWAYS its HAZARDS blinking . Ray slows and creeps past the car . The driver 's door is open . It appears EMPTY . A BODY is sprawled out in the road away from the car . Ray pulls over to the shoulder and stops .</scene_description> <character>DAVE</character> <parenthetical>( nervous . )</parenthetical> <dialogue>I do n't know, man. Maybe we should keep going, find a phone -</dialogue> <character>RAY</character> <dialogue>No.</dialogue> <character>DAVE</character> <dialogue>The guy looks dead.</dialogue> <scene_description>Ray has seen this before -</scene_description> <character>RAY</character> <dialogue>Maybe not.</dialogue> <scene_description>He throws open his door .</scene_description> </scene> <scene> <stage_direction>EXT. ROADWAY - NIGHT</stage_direction> <scene_description>Ray steps from his truck . Looks back at the empty car , then turns toward the body .</scene_description> <character>RAY</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Hey! Buddy, what's up?</dialogue> <scene_description>The body does n't move . BEHIND RAY and behind Dave , in the other car , a FIGURE IN A SLICKER sits up in the back seat and gets out of the car . Ray continues toward the body . RAYS POV - BODY FACE DOWN - WEARING A BLACK RAIN SLICKER . Ray moves closer to the all to familiar image . BEHIND RAY SLICKER FIGURE moves toward the unsuspecting Dave .</scene_description> </scene> <scene> <stage_direction>INT. RAY'S PICKUP - NIGHT</stage_direction> <scene_description>Dave watches Ray in the road . He leans across the seat and rolls up Ray 's window . Behind him , the SLICKER FIGURE gets closer , moving to the passenger side of the truck .</scene_description> </scene> <scene> <stage_direction>EXT. MEDIAN - NIGHT</stage_direction> <scene_description>Ray nears the body . He kneels down .</scene_description> <character>RAY</character> <dialogue>Hey, can you hear me?</dialogue> <scene_description>Ray reaches toward the body .</scene_description> </scene> <scene> <stage_direction>INT. RAY'S PICKUP - NIGHT</stage_direction> <scene_description>Something FLASHES IN THE SIDE - VIEW MIRROR .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>Ray turns over the body . Something is n't right . Ray jumps back - CLOSE - SLICKER MANNEQUIN Its eerie smile mocking Ray who turns for the truck .</scene_description> <character>RAY</character> <dialogue>DAVE!</dialogue> </scene> <scene> <stage_direction>EXT. TRUCK - NIGHT</stage_direction> <scene_description>Dave hears something . He turns to late . SPLLAATTT ! THE FISHERMAN jams his hook through Dave 's jaw and skull and YANKS DAVE OUT OF THE CAR WINDOW .</scene_description> <character>RAY</character> <dialogue>Dave?</dialogue> <scene_description>There 's no answer from dead Dave . Ray tries to see around the headlights . He moves slowly toward the truck . The BRIGHTS and FOGS come on , blinding Ray . The truck 's engine REVS . The truck rolls a few inches , adjusting a bead on Ray . Then , tires spinning , the truck launches straight at Ray . Ray runs at the truck . AT THE LAST MINUTE , he ducks behind the parked car . HIS TRUCK goes SCREAMING past . Ray backs around the car - AN EIGHTEEN - WHEELER goes barreling by in the other direction . Ray dives out of the way . IN THE ROAD Ray is exposed . He sees his truck closing fast . He 's got nowhere to go . Then , at the very last second , RAY jumps off the edge of the road . His TRUCK SLAMS INTO THE BARRIER RIGHT WHERE RAY WAS STANDING . SPARKS FLY ! METAL BUCKLES ! Ray falls through the air . Lands hard on his leg . Tumbles down the hill , finally stopping with a crash . He lies motionless at the bottom of a ravine .</scene_description> </scene> <scene> <stage_direction>EXT. JULIE'S APARTMENT - DAY</stage_direction> <scene_description>Karla exits the building . She watches Julie sitting on the curb . A truck turns onto the street . Julie looks hopeful , but - it 's not Ray . Karla approaches her friend .</scene_description> <character>KARLA</character> <dialogue>Girl, it's gettin' down to the wire.</dialogue> <scene_description>Julie turns .</scene_description> <character>JULIE</character> <dialogue>He's not coming. I thought he was just.</dialogue> <character>KARLA</character> <dialogue>Julie, you left four messages. Four.</dialogue> <character>JULIE</character> <dialogue>But, he said he'd try.</dialogue> <character>KARLA</character> <dialogue>He said he'd try. Try is like maybe. Try is nothing!</dialogue> <character>JULIE</character> <parenthetical>( appoligizing for him . )</parenthetical> <dialogue>He does work hard.</dialogue> <character>KARLA</character> <dialogue>Work hard, huh? He's breaking your heart just because he can.</dialogue> <parenthetical>( hesitant . )</parenthetical> <dialogue>And I do n't want to have to say I told you so.</dialogue> <character>JULIE</character> <dialogue>Then, do n't.</dialogue> <scene_description>A Jeep Cherokee stops , and an ebullient Tyrell steps out wearing shorts and a Hawaiian shirt .</scene_description> <character>TYRELL</character> <dialogue>Hey, baby, we gon na get tropical or we gon na get tropical?</dialogue> <scene_description>The passenger door opens and Will Benson steps hesitantly around the Jeep .</scene_description> <character>JULIE</character> <dialogue>Oh!</dialogue> <character>KARLA</character> <parenthetical>( re : Will . )</parenthetical> <dialogue>Hey, sorry.</dialogue> <parenthetical>( quick , playing it off . )</parenthetical> <dialogue>He's my friend, too. And that ticket is not going to waste.</dialogue> <scene_description>Will reads Julie 's expression .</scene_description> <character>WILL</character> <dialogue>Julie, is everything cool? Karla said.</dialogue> <character>KARLA</character> <dialogue>I said we start having fun. And that means now.</dialogue> <scene_description>Julie takes a last look up the street . She stands .</scene_description> <character>TYRELL</character> <dialogue>Is there a problem here?</dialogue> <character>KARLA</character> <dialogue>Where there's a Will, there's a way. Come on.</dialogue> <character>JULIE</character> <parenthetical>( deciding . )</parenthetical> <dialogue>You know what? This rocks. We're going to the Bahamas!</dialogue> <scene_description>Will is relieved .</scene_description> <character>KARLA</character> <parenthetical>( getting into the spirit . )</parenthetical> <dialogue>We goin' Bahamas, I'm Ty's Bahama Mama. We goin' Bahamas.</dialogue> <scene_description>She bops over to Tyrell .</scene_description> </scene> <scene> <stage_direction>EXT. MIDAIR - DAY</stage_direction> <scene_description>A wide - body jet SCREAMS through the clouds .</scene_description> </scene> <scene> <stage_direction>INT. PLANE - DAY</stage_direction> <scene_description>A nearly empty jet . Karla has her head on Tyrell 's shoulder . Julie is reading a book . Will 's knuckles are white from gripping the armrests in fear , and his eyes are clenched shut . Julie looks on with concern .</scene_description> <character>JULIE</character> <dialogue>Just take deep breaths and think of something happy from childhood.</dialogue> <character>WILL</character> <dialogue>What if I do n't have anything happy from childhood. Sorry, I ca n't relax going five hundred miles an hour, or four thousand, four hundred feet a minute.</dialogue> <parenthetical>( calculating . )</parenthetical> <dialogue>Which is over seven hundred feet a second. Imagine hitting something at seven hundred feet a second.</dialogue> <character>JULIE</character> <dialogue>Deep breaths -</dialogue> <character>WILL</character> <parenthetical>( no deep breaths . )</parenthetical> <dialogue>Fumes build up in the fuel tanks. You can by surface - to - air missiles over the internet. Planes use O - rings. which freeze in tap water. Planes fall from the sky for practically no reason at all.</dialogue> <character>JULIE</character> <dialogue>You've got a better chance of getting hit by lightning.</dialogue> <character>WILL</character> <dialogue>Right. Planes get hit by lightning. They get hit by meteors. They hit other planes.</dialogue> <scene_description>Tyrell shakes his head .</scene_description> <character>TYRELL</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>Something is gon na hit your butt if you do n't quit complaining.</dialogue> <character>KARLA</character> <parenthetical>( sypathetic . )</parenthetical> <dialogue>Honey, some folks just ca n't fly.</dialogue> <scene_description>Will does n't move , frozen with fear of flying , but more closely bonded with the concerned Julie .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN VISTA - DAY</stage_direction> <scene_description>Establishing . A Board of Tourism kind of shot . Blue water . Green islands . Golden sun . Puffy clouds . A BOAT CHUGS by with the words `` Tower Bay '' painted on the side . Tyrell THROWS UP over the side .</scene_description> </scene> <scene> <stage_direction>EXT. FERRY - DAY</stage_direction> <scene_description>More of a small tub than a ferry . Julie , Karla , Will , and Tyrell are the only passengers . At the bow , Julie and Karla laugh and play `` King of the World . '' Julie in the prow , Karla behind her .</scene_description> <character>JULIE</character> <parenthetical>( deadpan . )</parenthetical> <dialogue>I'm the King of the World.</dialogue> <character>KARLA</character> <parenthetical>( deadpan . )</parenthetical> <dialogue>No, I'm the King of the World.</dialogue> <scene_description>They switch places . They look at each other and crack up laughing . Karla takes in the surroundings , the salt spray , the day -</scene_description> <character>KARLA</character> <dialogue>Remind me to study real hard so someday this is normal and all that back there is somethin' I do for a weekend once every ten years.</dialogue> <character>JULIE</character> <parenthetical>( sharing the moment . )</parenthetical> <dialogue>I will, and you remind me of the same thing.</dialogue> <scene_description>They throws their arms around each other and stare into the horizon . AT THE STERN Will talks to a very green Tyrell .</scene_description> <character>WILL</character> <dialogue>You just got ta breathe.</dialogue> <scene_description>Tyrell is trying to keep from puking -</scene_description> <character>TYRELL</character> <dialogue>Ca n't talk right now.</dialogue> <character>WILL</character> <parenthetical>( slightly malicious . )</parenthetical> <dialogue>See, it's not a macho thing. It's about equilibrium in your inner ear. You could've used a patch, but it's too late now. Get used to it.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>Some folks just ca n't sail.</dialogue> <scene_description>PAULSEN , the BOAT CAPTAIN , overhears as he passes -</scene_description> <character>PAULSEN</character> <dialogue>That's too bad, too, because it's the only way on or off the island.</dialogue> <parenthetical>( slightly ominous . )</parenthetical> <dialogue>Unless you have an accident. And then they call the Coast Guard.</dialogue> <scene_description>Julie and Karla have rejoined the men .</scene_description> <character>JULIE</character> <dialogue>It's pretty remote here.</dialogue> <character>PAULSEN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Yep. That's what the tourists pay for - sun, sea, and solitude.</dialogue> <character>TYRELL</character> <dialogue>Are we there yet?</dialogue> <character>PAULSEN</character> <dialogue>Few more minutes.</dialogue> <scene_description>We move off the boat and REVEAL the island . The intrepid vacationers excitedly take in the island .</scene_description> </scene> <scene> <stage_direction>EXT. TOWER BAY - DAY</stage_direction> <scene_description>Establishing . An isolated tropical paradise with jungle growing to the beach .</scene_description> </scene> <scene> <stage_direction>EXT. RESORT DOCK - DAY</stage_direction> <scene_description>The ferry pulls in to a canopied dock . A white - sand beach stretches in every direction . Beautiful tourists stroll about without a care in the world . Tyrell stamps his feet on the dock .</scene_description> <character>TYRELL</character> <dialogue>I feel like I'm still on that thing.</dialogue> <scene_description>A dockhand , DERRICK , glides past him toward the ladies .</scene_description> <character>DERRICK</character> <dialogue>That way for a complimentary Planter's Punch to get you readjusted.</dialogue> <character>TYRELL</character> <parenthetical>( mile - wide smile . )</parenthetical> <dialogue>I can get used to this.</dialogue> <scene_description>Derrick reaches for Julie 's hand , clearly checking her out in the process .</scene_description> <character>DERRICK</character> <dialogue>Welcome, Fair Princess, to Tower Bay.</dialogue> <parenthetical>( a wink . )</parenthetical> <dialogue>I'm Derrick. At your service for the duration of your stay.</dialogue> <scene_description>Julie smiles politely . Will gently nudges her on . They walk away .</scene_description> <character>PAULSEN</character> <parenthetical>( to Derrick , mocking . )</parenthetical> <dialogue>I'm at your service, Princess.</dialogue> <character>DERRICK</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Season's over old man. So I got ta work fast.</dialogue> <character>PAULSEN</character> <dialogue>If Marine Radio's right about the weather, you're already out of time.</dialogue> <scene_description>He hangs a SIGN at the end of the gangplank . It reads : LAST DEPARTING FERRY - LINE FORMS HERE . Our guys are already at the end of the dock .</scene_description> </scene> <scene> <stage_direction>EXT. TOWER BAY HOTEL - DAY</stage_direction> <scene_description>Establishing . An opulent , Carribean - style hacienda resort with all the accoutrements . The main building is two stories high with a tiled roof . A bell tower rises from one side . And , of course , it is surounded on all sides by suffocating fooliage . Julie and Karla take in the beauty of the resort .</scene_description> <character>KARLA</character> <dialogue>Check it out.</dialogue> <scene_description>TOW BIKINI GIRLS catch the eyes of Tyrell and Will .</scene_description> <character>TYRELL</character> <dialogue>Yes, ma'am.</dialogue> <scene_description>Karla THWACKS him on the back of the head , but they 're all having fun . The path widens . The trees part . It 's even nicer up close . They walk across a tiled plaza . Behind them , THREE YOUNG GUYS carry their GIRLFRIENDS piggyback , racing each other toward the departure dock . Our two arriving couples move on toward the entrace , passing a FENCED TENNIS COURT on the left . A GLASS - PANED ORCHID HOUSE straight ahead . And , on the right , A LUSH POOL with a built - in JACUZZI in the shallow end . An outdoor THATCHED ROOF BAR stands nearby - and just beyonk it , a small POOL HOUSE . A guy 's unintelligible RASTA VOICE calls out -</scene_description> <character>RASTA VOICE</character> <dialogue>Anybudorsomethin'?</dialogue> <scene_description>They turn to see TITUS , white guy , dreads , full - Rasta demeanor . He 's a phony , but sincere about it . Titus approaches Tyrell -</scene_description> <character>TITUS</character> <dialogue>My brother, can I interest you in the islands finest ganja?</dialogue> <character>WILL</character> <parenthetical>( teasing . )</parenthetical> <dialogue>Hey, Tyrell, we found you brother.</dialogue> <character>TYRELL</character> <parenthetical>( wry . )</parenthetical> <dialogue>Not possible.</dialogue> <character>TITUS</character> <parenthetical>( undetered . )</parenthetical> <dialogue>Who be wantin' the kind, the uber - sticky, the Bwana, The depth - charge, the Up - All - Night - Laughing - With - Your - Friends? Who wants it?'Cause Titus got it.</dialogue> <character>WILL</character> <dialogue>No, thanks.</dialogue> <character>TITUS</character> <dialogue>Come on, man. Everybody wants something.</dialogue> <scene_description>Will and Tyrell walk on . Undetered , Titus goes up to Karla and Julie .</scene_description> <character>TITUS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>How ` bout you, ladies? Lovely ladies.</dialogue> <scene_description>Titus moves his hips .</scene_description> <character>TITUS</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( lascivious . )</parenthetical> <dialogue>Something I can do for you?</dialogue> <scene_description>Karla looks him up and down , wrinkles her nose -</scene_description> <character>KARLA</character> <dialogue>Take a bath, maybe.</dialogue> <character>TITUS</character> <dialogue>That's cold, but if that's how you want it.</dialogue> <scene_description>The group moves on . Titus watches them go -</scene_description> <character>TITUS</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( yelling after them . )</parenthetical> <dialogue>Anybudorsomethin' you come and see me.</dialogue> <scene_description>OMIT SCENE 21 &amp; SCENE 22 A23 EXT. . MAIN ENTRANCE - DAY Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the others walk in . Julie smiles at an old PORTER helping the departing guests with their bags . He does n't smile back .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - DAY</stage_direction> <scene_description>The hotel is tastefully appointed with island decor . AN ORNATE METAL STAIRCASE leads UP to the ROOMS - and DOWN -LRB- AS THE SIGN SAYS -RRB- TO A FITNESS CENTER . In one direction , the foyer meets the entrance to a tropical RESTAURANT/BAR . And in the other , A LOOBY LOUNGE is visible - surrounded by four walls of BOOKS and HOTEL MEMORABILIA . In a dark corner of the room , a uniformed MAID named OLGA dusts off a massive WOODEN GLOBE . Julie smiles at the woman on their way through the lobby , but Olga shyly looks away . Arriving at the FRONT DESK , the four of them find it deserted . They wait patiently , then impatiently . ANGLE ON A DESK BELL as Karla slaps it with her palm . The bell RINGS for a long time then fades into SILENCE .</scene_description> <character>KARLA</character> <dialogue>Hello? Hello?</dialogue> <character>JULIE</character> <dialogue>Where is everyone? I'll ask -</dialogue> <scene_description>Julie turns to consult the maid . ANGLE ON THE GLOBE The big ball is spinning . But Olga is no longer in sight . Tyrell heads toward a DOOR beside the counter with a sign which reads : PRIVATE OFFICE .</scene_description> <character>TYRELL</character> <dialogue>I'll scare somebody up.</dialogue> <scene_description>He grabs the knob and pulls the door open to . RROWWWR ? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE - its toothy maw snapping shut about a half inch from his nose .</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Whoa!</dialogue> <scene_description>Julie and Karla laugh . Karla goes to hit the bell once more - ONLY TO HAVE HER HAND GRABBED IN THE PROCESS . Karla gasps . Pulls away . We see the hand belongs to the hotel manager - BROOKS , balding , 40s , talks slowly , and seems to have secrets he wo n't share with guests .</scene_description> <character>BROOKS</character> <dialogue>What can I do for you?</dialogue> <character>KARLA</character> <dialogue>Checking in. Karla Wilson.</dialogue> <scene_description>Will saunters away to look at the books in the lobby .</scene_description> <character>BROOKS</character> <parenthetical>( condescending . )</parenthetical> <dialogue>Ah, yes. Roll out the red carpet. Our contest winners are here at last.</dialogue> <scene_description>He scans a sheet as Tyrell stares at the pit bull .</scene_description> <character>TYRELL</character> <dialogue>Nice dog.</dialogue> <character>BROOKS</character> <dialogue>Not really. I've found peices of guys like you in his stool.</dialogue> <scene_description>Tyrell is put off by this aggressive comment .</scene_description> <character>TYRELL</character> <dialogue>What's your problem, buddy?</dialogue> <character>BROOKS</character> <parenthetical>( innocent . )</parenthetical> <dialogue>I do n't have a problem in the world.</dialogue> <character>JULIE</character> <parenthetical>( covering . )</parenthetical> <dialogue>It sure is a beautiful old hotel.</dialogue> <character>BROOKS</character> <parenthetical>( proud . )</parenthetical> <dialogue>Built in 1948 for a member of the Rockefeller clan. The tile work was imported from Spain. A lot of history in these walls. Judy Garland stayed here. Hemmingway fished for marlin right off that dock -</dialogue> <character>TYRELL</character> <dialogue>Okay, we get it. It's old.</dialogue> <character>BROOKS</character> <dialogue>It'll outlive you, I'm sure.</dialogue> <scene_description>Creepy thing to say . Slides a registration form .</scene_description> <character>BROOKS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Wilson comma Karla.</dialogue> <parenthetical>( sees something on the form . )</parenthetical> <dialogue>Oh -</dialogue> <character>KARLA</character> <dialogue>Oh, what?</dialogue> <scene_description>Brooks covers -</scene_description> <character>BROOKS</character> <dialogue>You're in 201 and 202.</dialogue> <character>KARLA</character> <parenthetical>( expecting this . )</parenthetical> <dialogue>Is that bad?</dialogue> <character>BROOKS</character> <parenthetical>( lying . )</parenthetical> <dialogue>Not at all. Those are our honeymoon suites.</dialogue> <scene_description>Tyrell wraps his arms around Karla . Julie looks uncomfortably towards Will .</scene_description> <character>JULIE</character> <dialogue>Your what?</dialogue> <character>BROOKS</character> <dialogue>Honeymoon suites. I take it you kids have n't exchanged vows, yet?</dialogue> <character>JULIE</character> <dialogue>We have n't exchanged anything.</dialogue> <character>KARLA</character> <dialogue>Julie, we're talkin' suites!</dialogue> <parenthetical>( excited . )</parenthetical> <dialogue>That'll be just fine with us.</dialogue> <character>BROOKS</character> <dialogue>And, while you're here, our marginally trained, off - season staff of five will attend to your every need.</dialogue> <character>KARLA</character> <dialogue>Wait. Did you say off - season?</dialogue> <character>BROOKS</character> <dialogue>July fourth weekend. Storm season starts today. The clouds roll in like clockwork.</dialogue> <character>JULIE</character> <dialogue>Storm season?</dialogue> <character>BROOKS</character> <dialogue>It's our version of winter.</dialogue> <parenthetical>( hands over the keys . )</parenthetical> <dialogue>201 and 202. There's Scrabble and Parcheesi in the lobby. Enjoy.</dialogue> <scene_description>And Brooks turns away through the office door . They walk toward their rooms . Will catches up with them .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL HALLWAY - DAY</stage_direction> <scene_description>They walk down the hallway . Karla seems annoyed .</scene_description> <character>KARLA</character> <dialogue>Ai n't nothin' free in this world. Everybody says it, and it's true.</dialogue> <parenthetical>( dissapointed . )</parenthetical> <dialogue>I wanted you all to have a good trip.</dialogue> <character>TYRELL</character> <dialogue>We will, baby. All this means is we got the whole island to ourselves.</dialogue> <character>WILL</character> <dialogue>And it's been blue skies all day. It might be perfect all weekend.</dialogue> <character>JULIE</character> <dialogue>It beets being on the mainland.</dialogue> <character>KARLA</character> <dialogue>Oooh, the mainland -</dialogue> <character>TYRELL</character> <dialogue>Somebody's gone tropical on us, baby. Tropical!</dialogue> <scene_description>The mood is improving . A SQUEEKING NOISE interupts . A BRASS LUGGAGE CART has appeared behind them . And ESTES , 60s , the weary Haitian porter , steps from behind it .</scene_description> <character>ESTES</character> <parenthetical>( a Carribean accent . )</parenthetical> <dialogue>201 and 202. Who put you in?</dialogue> <parenthetical>( hesitant . )</parenthetical> <dialogue>Do n't use these much -</dialogue> <character>JULIE</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>Why's that?</dialogue> <scene_description>He sees their happy , expectant faces and changes the subject .</scene_description> <character>ESTES</character> <dialogue>No real reason.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>Pretty fancy rooms for kids your age.</dialogue> <character>KARLA</character> <dialogue>We won a competition.</dialogue> <character>ESTES</character> <dialogue>Oh, yeah? What you have to do?</dialogue> <character>TYRELL</character> <dialogue>Guess the capital of Brazil -</dialogue> <character>KARLA</character> <dialogue>Rio, baby!</dialogue> <character>ESTES</character> <dialogue>Ahh, good for you, girl.</dialogue> <parenthetical>( waiting for a cue . )</parenthetical> <dialogue>. And, where would you like me to put the bags?</dialogue> <scene_description>A beat as Julie and Karla exchange a look . Then , Karla tosses one of the keys to Julie .</scene_description> <character>KARLA</character> <parenthetical>( to Estes . )</parenthetical> <dialogue>Their stuff in there.</dialogue> <parenthetical>( grabbing Tyrell . )</parenthetical> <dialogue>. and ours in here.</dialogue> <character>JULIE</character> <dialogue>Karla! You promised.</dialogue> <character>KARLA</character> <parenthetical>( looking at Tyrell . )</parenthetical> <dialogue>I also promised Tyrell.</dialogue> <character>TYRELL</character> <dialogue>Promised me what, baby?</dialogue> <parenthetical>( joking around . )</parenthetical> <dialogue>I made all my promises to William.</dialogue> <scene_description>Tyrell makes fake goo - goo eyes at Will . Estes looks away .</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sweetie, you brought your nightie, did n't you?</dialogue> <character>WILL</character> <dialogue>Forward! A girl needs time to make up his mind.</dialogue> <parenthetical>( to Julie , thoughtful . )</parenthetical> <dialogue>Julie, look, if it's cool, I'll sleep on the couch and they can have their own room to practice for that real honeymoon.</dialogue> <scene_description>But Tyrell grabs Karla and drags her into the room . We here GIGGLES .</scene_description> <character>WILL</character> <dialogue>I'll take those.</dialogue> <character>ESTES</character> <dialogue>No, I've been doing this since before you were a dream in your father's eye.</dialogue> <scene_description>Estes grabs the bags and takes them into the room . Julie and Will are left staring at each other .</scene_description> <character>WILL</character> <dialogue>You sure it's okay with you?</dialogue> <character>JULIE</character> <parenthetical>( noting his sweetness . )</parenthetical> <dialogue>Sure. It's fine. As long as you do n't snore.</dialogue> <character>WILL</character> <dialogue>You can toss a shoe at me if it gets out of hand.</dialogue> <scene_description>She laughs and they go into the room .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL EMERGENCY ROOM - NIGHT</stage_direction> <scene_description>BEEP . BEEP . BEEP . Ray is hooked up to a heart monitor . Although he 's asleep , we can tell he 's bruised and generally beaten up . WE RACK to a DOCTOR checking on him through the glass .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>We see a COP next to the doctor .</scene_description> <character>COP</character> <dialogue>He's beaten up pretty bad -</dialogue> <character>DOCTOR</character> <dialogue>Yes, but he seemed certain his friend was killed out on the highway by somebody named Ben Willis.</dialogue> <parenthetical>( hisitant . )</parenthetical> <dialogue>He said he has a hook on his hand. He said he was driving a BMW.</dialogue> <scene_description>As the cop stares at him deadpan , the doctor realizes how rediculous this must sound .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>CLOSE UP : Ray 's eyes pop open . He 's listening .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>The cop explains things to the doctor .</scene_description> <character>COP</character> <dialogue>There's no body. And there was no other vehical involved.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>He fell asleep at the wheel. and ran his old truck into a guardrail. He got thrown way the hell down into a ditch. He's damn lucky.</dialogue> <scene_description>They walk back down the ICU .</scene_description> <character>DOCTOR</character> <parenthetical>( nodding . )</parenthetical> <dialogue>He suffered a severe head trauma -</dialogue> <character>COP</character> <dialogue>Probably once he rests up, it'll all come back to him.</dialogue> <scene_description>The doctor and cop approach the nurse 's station . The NURSE is reading a magazine . She folds it away . Suddenly , the monitoring equpment goes OFF with a series of LOUD WARNINGS .</scene_description> <character>NURSE</character> <parenthetical>( already moving . )</parenthetical> <dialogue>That's your number twelve -</dialogue> <scene_description>The doctor , nurse , and country cop hurry back toward Ray 's room .</scene_description> <character>NURSE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( yelling . )</parenthetical> <dialogue>Get me some help down here. We got a flatline, room twelve.</dialogue> <scene_description>THEIR POV - THROUGHT THE DOOR The wires and monitors are unhooked and Ray is GONE .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR - NIGHT</stage_direction> <scene_description>A resort bar on the beach . Ocean breezes and surf SOUNDS come through the window . It 's tiki galore , complete with a bamboo bar and fishing gear hanging from decorative nets from the ceiling . There 's a KARAOKE STAGE in the corner . Will and Tyrell enter and head straight to the bar . A bored bar tender , NANCY , looks just like Jennifer Esposito , does n't look up from her paperback .</scene_description> <character>NANCY</character> <dialogue>You guys lost?</dialogue> <character>TYRELL</character> <parenthetical>( re : the emptiness . )</parenthetical> <dialogue>Tell me this ai n't the bar scene.</dialogue> <character>NANCY</character> <dialogue>Wan na drink?</dialogue> <character>WILL</character> <dialogue>We did n't get all dressed up for nothing.</dialogue> <character>TYRELL</character> <dialogue>Planter's Punch, Singapore Sling, or how about a Mai - Tai?</dialogue> <character>NANCY</character> <dialogue>How about some ID?</dialogue> <scene_description>They freeze .</scene_description> <character>NANCY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Kidding.</dialogue> <scene_description>They nod .</scene_description> <character>WILL</character> <dialogue>The guy at the desk said the place would be quiet, not dead.</dialogue> <character>NANCY</character> <dialogue>Did n't anyone tell you this is -</dialogue> <character>TYRELL</character> <dialogue>The last day of the season. Yeah, we heard.</dialogue> <character>WILL</character> <dialogue>So why are you still here?</dialogue> <character>NANCY</character> <dialogue>That's none of your business.</dialogue> <scene_description>Tyrell sizes her up quickly .</scene_description> <character>TYRELL</character> <dialogue>What's the matter, boy trouble?</dialogue> <character>NANCY</character> <dialogue>Not anymore.</dialogue> <character>TYRELL</character> <dialogue>He leave you?</dialogue> <character>NANCY</character> <dialogue>No. I shot him.</dialogue> <scene_description>Will and Tyrell exchange a danger - Will - Robinson glance .</scene_description> <character>NANCY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What you want is a Dark and Stormy : Vernon's rum, ginger beer, and a touch of Tabasco. Sailors drink it for luck in the hurricane season, trust me.</dialogue> <scene_description>ACROSS THE BAR Karla and Julie walk in talking quietly to one another .</scene_description> <character>JULIE</character> <dialogue>Am I bad? I mean, he's really great, and he's cute -</dialogue> <character>KARLA</character> <dialogue>He's cute. And he's got a crush on you.</dialogue> <parenthetical>( off Julie 's look . )</parenthetical> <dialogue>But.</dialogue> <character>JULIE</character> <parenthetical>( appologetic . )</parenthetical> <dialogue>I miss Ray. I tried to call him.</dialogue> <scene_description>Karla looks at her . She 's sincere , but firm .</scene_description> <character>KARLA</character> <dialogue>Ray made up his own mind. so, you're free to make up yours.</dialogue> <scene_description>Joining the men , but continuing her thought -</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>For the next foury - eight hours.</dialogue> <parenthetical>( joking . )</parenthetical> <dialogue>Your smile is a frown. turned upside down.</dialogue> <scene_description>She illustrates with her own big smile .</scene_description> <character>TYRELL</character> <dialogue>Pretty cool bar.</dialogue> <character>KARLA</character> <dialogue>They all start to look the same once you've worked in one.</dialogue> <parenthetical>( to Nancy . )</parenthetical> <dialogue>Am I right, sister?</dialogue> <scene_description>Nancy reaches out a hand and they touch just the tips of their fingers .</scene_description> <character>JULIE</character> <parenthetical>( to Nancy . )</parenthetical> <dialogue>I'm Julie. This is Karla.</dialogue> <character>NANCY</character> <dialogue>Nancy.</dialogue> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Welcome to Tower Bay's most happenin' hotspot.</dialogue> <scene_description>Nancy continues making their cocktails . JULIE backs into something , turns and gasps - it 's a statue of an OLD WHALER , complete with HARPOON , WHITE BEARD , and YELLOW SLICKER . She does n't let Karla see that it upset her . Nancy puts their drinks down in front of them .</scene_description> <character>NANCY</character> <dialogue>Four Dark and Stormies.</dialogue> <scene_description>They all pick up their drinks .</scene_description> <character>KARLA</character> <parenthetical>( toasting . )</parenthetical> <dialogue>To a great weekend -</dialogue> <character>WILL</character> <dialogue>Yeah, a great weekend. Forget the weather!</dialogue> <character>KARLA &amp; JULIE</character> <dialogue>I'll drink to that!</dialogue> <scene_description>They drink and toast again .</scene_description> <character>KARLA</character> <parenthetical>( to Nancy . )</parenthetical> <dialogue>So what do you do around here for fun?</dialogue> <scene_description>Nancy looks straight at Will -</scene_description> <character>NANCY</character> <dialogue>Make fun of tourists mainly.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Or let them make fun of themselves.</dialogue> <scene_description>She flips a switch that lights the Karaoke stage .</scene_description> <character>KARLA</character> <dialogue>Karaoke - perfect.</dialogue> <character>JULIE</character> <dialogue>Do n't even think about it.</dialogue> <character>KARLA</character> <dialogue>Okay, I wo n't.</dialogue> <scene_description>She 's already heading for the stage .</scene_description> <character>TYRELL</character> <dialogue>Go baby! Go!</dialogue> <scene_description>AT THE STAGE CLOSE ON the karaoke machine . Karla flips through a binder full of songs .</scene_description> <character>KARLA</character> <dialogue>Oh, this ai n't for me, baby, this is for somebody who really needs it.</dialogue> <parenthetical>( finds one . )</parenthetical> <dialogue>Ah - hah! One single with extra cheese!</dialogue> <character>NANCY</character> <parenthetical>( it 's true . )</parenthetical> <dialogue>Everyone thinks their a singer.</dialogue> <character>JULIE</character> <dialogue>No way.</dialogue> <character>KARLA</character> <dialogue>Yes.</dialogue> <character>JULIE</character> <dialogue>No.</dialogue> <character>KARLA</character> <dialogue>Yes.</dialogue> <character>JULIE</character> <dialogue>Not me. no way.</dialogue> <character>WILL</character> <dialogue>Come on, it'll be fun.</dialogue> <character>KARLA</character> <dialogue>Ladies and gentlemen, please put your hands together for my friend, my very best friend, Julie James.</dialogue> <scene_description>But there will be no mercy .</scene_description> <character>KARLA, TYRELL, &amp; WILL</character> <parenthetical>( chanting in unison . )</parenthetical> <dialogue>Ju - lie! Ju - lie! Ju - lie!</dialogue> <scene_description>Reluctantly she goes to the song book . She sees something particularily awful .</scene_description> <character>JULIE</character> <dialogue>You asked for it.</dialogue> <parenthetical>( to Tyrell . )</parenthetical> <dialogue>Song number thirty - nine.</dialogue> <scene_description>Tyrell nods and punches a few buttons . Julie takes the stage as sappy strings begin to swell . She looks at the MONITOR , then melodramatically at the crowd , and begins to sing - no , BELT - Gloria Gaynor 's `` I WILL SURVIVE . ''</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( singing . )</parenthetical> <dialogue>First I was afraid. I was petrified.</dialogue> <parenthetical>( continues singing under . )</parenthetical> <dialogue /> <scene_description>Will stands , clapping . Tyrell pounds his chest . Karla flips up her LIGHTER , swaying like a hard - core fan . And Julie continues , crooning out the chorus as the beat kicks in and the gang begins to dance .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( singing . )</parenthetical> <dialogue>I will survive. I will survive.</dialogue> <scene_description>ANGLE ON THE KARAOKE MONITOR The schmaltzy lyrics keep scrolling by - white against black . But then . in the middle of the song . the color changes . RED CAPITAL \ LETTERS BEGIN TO FILL THE SCREEN .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( singing - then trailing off . )</parenthetical> <dialogue>And I still know. what you did. last summer.</dialogue> <scene_description>Her voice trails . Her smile abruptly fades . MICROPHONE falls to the floor . The room echoes with an electronic WHUMP . Everyone stops dancing , confused . CLOSE - JULIE trembling , shaking , a mess . Will jumps onstage .</scene_description> <character>WILL</character> <dialogue>Julie? What's wrong?</dialogue> <character>JULIE</character> <dialogue>It's. him.</dialogue> <character>WILL</character> <dialogue>What do you mean, Julie?</dialogue> <character>JULIE</character> <dialogue>He did something to the screen. it, it, said.</dialogue> <scene_description>Julie loos at the screen - the normal lyrics are still scrolling . She suddenly feels their eyes upon her . They 're looking at her like she 's having a nervous breakdown .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Nothing. Nothing, I'm sorry.</dialogue> <scene_description>Stung , she rushes off the stage .</scene_description> <character>KARLA</character> <dialogue>Julie.</dialogue> <scene_description>But it 's to late . She 's bolted from the bar .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - JULIE'S ROOM - NIGHT</stage_direction> <scene_description>Julie steps into her room . Closes the door behind her . She falls back against it , trying to calm herself down .</scene_description> <character>JULIE</character> <dialogue>There's no way. just stop it right now.</dialogue> <scene_description>She looks around the cozy room .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Closet. Bed. Bathroom. No need to panic.</dialogue> <scene_description>Julie starts to undress , get ready for bed , the day of travel finally catching up with her . She grabs something to sleep in . Tosses it on the bed . And that 's when she sees it , CLOSE - ENVELOPE propped on the pillows . Her name written across . She is frozen momentarily . Almost against her will , she moves toward the envelope . She reaches down and picks it up . She hesitates , then opens the envelope . She pulls out a SINGLE WHITE CARD . ANGLE ON THE CARD In bold print it reads : SURPRISE ! DARKFIGURE appears over Julie 's shoulder . Julie can feel the presence . She spins , scaring - WILL who YELLS and drops the flowers and champagne he was holding . The bottle bursts and covers them with spray .</scene_description> <character>JULIE</character> <parenthetical>( realizing . )</parenthetical> <dialogue>Oh, Will! I'm sorry.</dialogue> <character>WILL</character> <dialogue>It's my fault. I should n't have. I did n't think.</dialogue> <scene_description>She grabs a TOWEL off the bathroom door , trying to help him clean up the mess .</scene_description> <character>JULIE</character> <dialogue>No, no, no. This was really sweet.</dialogue> <character>WILL</character> <dialogue>I scared you - I crossed the line -</dialogue> <character>JULIE</character> <dialogue>No - it's not that. It's. I'm just a little on edge. I'm really sorry.</dialogue> <character>WILL</character> <dialogue>Hey, you do n't have to appologize to me. I'm the one. I understand.</dialogue> <parenthetical>( covering the awkwardness . )</parenthetical> <dialogue>I'm going to take a walk and dry off.</dialogue> <character>JULIE</character> <dialogue>Are you sure? I really appreciate it.</dialogue> <scene_description>He picks up a rose . Most of its petals on the floor .</scene_description> <character>WILL</character> <dialogue>I just really like you and I want you to feel good about everything. You know? I want you to be happy.</dialogue> <scene_description>He hands the rose to her . There 's a moment between them . He reluctantly heads for the door .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL HALLWAY - NIGHT</stage_direction> <scene_description>Will looks down at his wet pants .</scene_description> <character>WILL</character> <parenthetical>( soto . )</parenthetical> <dialogue>Dork.</dialogue> <scene_description>Passing Karla and Tyrell 's room on his way down the hall , Will spots the DO NOT DISTURB SIGN . He hears an INCREDIBLE POUNDING from inside . He shakes his head and mopes down the hall .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT</stage_direction> <scene_description>Karla bounces playfully on their big bed as Tyrell crosses toward the windows .</scene_description> <character>KARLA</character> <dialogue>Tha's it.</dialogue> <parenthetical>( bounce . )</parenthetical> <dialogue>I've decided.</dialogue> <parenthetical>( bounce . )</parenthetical> <dialogue>I'm changing my major to finance.</dialogue> <parenthetical>( bounce . )</parenthetical> <dialogue>And going to Wall Street.</dialogue> <character>TYRELL</character> <dialogue>Why?</dialogue> <character>KARLA</character> <dialogue>'Cause that's the only way I'm ever gon na be able to afford a big bed like this.</dialogue> <scene_description>She falls back against the plush comforter , looking up at herself in a long MIRROR HANGING RIGHT OVER THE BED . Tyrell loves this and quickly moves beside her in the bed . She lets him get real close , then she jumps up -</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Jacuzzi.</dialogue> <scene_description>Tyrell reaches for her , but she bounces off the bed .</scene_description> <character>TYRELL</character> <dialogue>Ah, baby, let's stay right here.</dialogue> <scene_description>Karla pulls her suit out of a bag and models it seductively and flirtatiously for Tyrell .</scene_description> <character>KARLA</character> <dialogue>I spent a hundred bucks on it. even if it's just so you can pull it off.</dialogue> <scene_description>Tyrell gets off the bed -</scene_description> <character>TYRELL</character> <dialogue>I like the sound of this.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL DOCKS - NIGHT</stage_direction> <scene_description>Derrick , the dockhand , whistles in the darkness as he coils the bow rope of a service boat around a cleat on the dock . Ominous shadows play all along the dock . Out on the water there 's a big SPLASH . The dockhand rises , looking out at the water with a sigh .</scene_description> <character>DERRICK</character> <dialogue>Damn. I should've brought my pole.</dialogue> <scene_description>He turns away . As he does , we see THE END OF THE DOCK where a sinister SLICKER FIGURE stands perfectly still , silhouetted by moonlight . Derrick paces down the dock the other way past a handfull of other tied - off staff and service boats . He picks up a hose and begins spraying down the hull of a Sunfish sailboat . He turns the hose off and begins coiling it , backing toward an EQUIPMENT SHACK . Suddenly , a HAND touches him on the back . He jumps and turns to see - TITUS standing there smoking a spliff .</scene_description> <character>DERRICK</character> <dialogue>Get lost, you scared me.</dialogue> <character>TITUS</character> <dialogue>Fish are all over the water. Come on, let us take a boat out.</dialogue> <character>DERRICK</character> <dialogue>Titus, you're so stoned, you'd end up in Spain.</dialogue> <character>TITUS</character> <dialogue>That's why you'll come with Titus, mon..</dialogue> <scene_description>Derrick throws the hose in its place .</scene_description> <character>DERRICK</character> <dialogue>There's a storm comin', Titus. No boats are going out.</dialogue> <character>TITUS</character> <dialogue>Storm is what makes it interesting. Thass why all the fish are up. Less hook us a couple big ones.</dialogue> <scene_description>Derrick is now ignoring Titus .</scene_description> <character>DERRICK</character> <dialogue>I got work to do. Take the bake elsewhere.</dialogue> <character>TITUS</character> <dialogue>Up - tighteous and self - righteous.</dialogue> <scene_description>Titus glides away into the dark . Derrick watches him go . There 's another SPLASH in the water near the dock . Derrick walks to where the splash was . He kneels down by the edge - watching BUBBLES RISE from the dark water below .</scene_description> <character>DERRICK</character> <parenthetical>( to the fish . )</parenthetical> <dialogue>Hello, little sea bass. You're lucky I'm busy or I'd hook you myself.</dialogue> <scene_description>WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER - AND THEN - RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE DOCKHAND - A SINISTER SLICKER . Derrick hears A SPLASH - and just in time for . SPLAT ! THE OLD HOOK IN THE EYE . THE FISHERMAN PULLS HIM DOWN . HE SCREAMS - BEN YANKS ON THE HOOK - AND DERRICK 'S CRUMPLED BODY FALLS INTO THE WATER . ANGLE ON THE WATER as poor Derrick 's BLOOD MIXES WITH BUBBLES .</scene_description> </scene> <scene> <stage_direction>EXT. POOL/JACUZZI - NIGHT</stage_direction> <scene_description>Bubbles of a different kind . The JACUZZI sits in an enclosure at the shallow end of the SWIMMING POOL . And enjoying its warmth , Karla and Tyrell are liplocked in the churning tub . MUSIC plays on the boombox beside them . The tempurature rises and Ty 's hands begin to wander . Still clad in her cute bikini , Karla pulls away -</scene_description> <character>KARLA</character> <dialogue>You sure you did n't pick up my hair tie?</dialogue> <character>TYRELL</character> <parenthetical>( rubbing his bald head . )</parenthetical> <dialogue>Hello?</dialogue> <character>KARLA</character> <dialogue>Okay, I just did n't wan na get my hair wet.</dialogue> <character>TYRELL</character> <dialogue>Baby, I finally got you alone in this Jacuzzi and I do n't wan na be discussin' hair care.</dialogue> <scene_description>She splashes him .</scene_description> <character>KARLA</character> <dialogue>Do n't you get feisty.</dialogue> <scene_description>Tyrell moves in for the kill . He wo n't take no for an answer .</scene_description> <character>TYRELL</character> <dialogue>Too late for that. We're miles from anywhere, baby. No one's gon na hear you scream.</dialogue> <scene_description>He goes in for a serious kiss . Things start to heat up -</scene_description> <character>KARLA</character> <dialogue>I used to be a lifeguard. I'd hate to have to blow my whistle.</dialogue> <character>TYRELL</character> <parenthetical>( playful . )</parenthetical> <dialogue>I'd hate for you to have to blow. your whistle.</dialogue> <scene_description>Tyrell is done talking . He pulls her over to him and the moment becomes more passionate . Karla opens her eyes in time to see - TITUS surface in the pool next to them . Karla SCREAMS . And not just because it was a surprise . Titus looks even uglier when he 's wet . Titus opens his mouth , reveals a smoking PHILLY BLUNT on the end of his tounge .</scene_description> <character>TITUS</character> <dialogue>No water sports after midnight. Hotel policy.</dialogue> <scene_description>Titus eyes Karla in the Jacuzzi . Tyrell moves protectively in front of her .</scene_description> <character>TYRELL</character> <dialogue>What's the policy on burnin' herb?</dialogue> <character>TITUS</character> <dialogue>We got one for that, too. It's do n't try until you buy.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You do n't buy any, you do n't get any.</dialogue> <scene_description>Titus blows a cloud of smoke on them both , rolls the joint back into his mouth , and swims off . Tyrell is angry , but Karla pulls him back . A dejected Will appears in his bathing suit , a towel over his arm . Tyrell sees him coming .</scene_description> <character>TYRELL</character> <dialogue>There's ten people on this whole island and they're all gon na end up in this Jacuzzi with us.</dialogue> <character>WILL</character> <parenthetical>( getting in . )</parenthetical> <dialogue>How's the water?</dialogue> <character>TYRELL</character> <dialogue>Crowded.</dialogue> <character>KARLA</character> <dialogue>Ty!</dialogue> <scene_description>Will slips into the water ignoring Tyrell 's look .</scene_description> <character>WILL</character> <dialogue>Ahh, that feels great.</dialogue> <character>KARLA</character> <parenthetical>( considerate . )</parenthetical> <dialogue>How's Julie?</dialogue> <character>WILL</character> <dialogue>Alone. In the room.</dialogue> <parenthetical>( to Karla . )</parenthetical> <dialogue>Got any advise?</dialogue> <character>TYRELL</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Yeah. Find another Jacuzzi.</dialogue> <scene_description>Karla shoots Tyrell a look .</scene_description> <character>KARLA</character> <parenthetical>( to Will . )</parenthetical> <dialogue>Your not out yet, slugger. You got ta just get back up there and keep swingin'.</dialogue> </scene> <scene> <stage_direction>EXT. JULIE'S APARTMENT - NIGHT</stage_direction> <scene_description>Ray is at a telephone booth up the street from Julie 's apartment . He looks exausted . Blood seeps through his shirt . He 's in pain .</scene_description> <character>RAY</character> <dialogue>I need an international operator.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>In the empty night lobby , behind the desk THE TELEPHONE RINGS and RINGS . We push in on the phone RINGING unanswered in the night . Nobody is around to answer it .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - JULIE'S ROOM - NIGHT</stage_direction> <scene_description>The DOOR CREAKS OPEN once again to her room . And from a STRANGER 'S POV - WE SLOWLY CREEP INSIDE . A CLOUD OF STEAM billows from the open BATHROOM . THE SOUND OF A SHOWER is heard . We MOVE TOWARD IT .</scene_description> </scene> <scene> <stage_direction>INT. SHOWER</stage_direction> <scene_description>Eyes closed , Julie stands with her face right under the showerhead , trying to relax . Something softly goes THUMP . Julie opens her eyes . Turns off the shower . Stands there , frozen , listening .</scene_description> <character>JULIE</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Will?</dialogue> <scene_description>No reply . AT THE BATHROOM DOORWAY In a robe with a towel on her head , Julie peeks into her room . Nobody there . She sighs , and crosses back to the bathroom sink . AT THE SINK Julie looks to a spot where her toothbrush should be . She frowns . Looks around . Some of her things are missing . She peers into the fogged - up bathroom mirror . She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR , MAKING THE BEDROOM BEHIND HER VISIBLE . Ready to spit , she looks down . AND IN THAT INSTANT - WE SEE A SHADOWY FIGURE PASS BEHIND HER IN THE BEDROOM . She looks back up . and HE 'S GONE . Julie turns on the water to rinse . ANGLE ON THE BEDROOM DOOR as it SLOWLY CREAKS SHUT , the SOUND DROWNED OUT by the SINK .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Julie turns off the water - and KLUNK - KLUNK - and NOISE at her door . The sound STOPS .</scene_description> </scene> <scene> <stage_direction>INT. JULIE'S BEDROOM</stage_direction> <scene_description>She steps out of the bathroom , crossing toward the door .</scene_description> <character>JULIE</character> <dialogue>Will?</dialogue> <scene_description>No answer . She peers through the PEEPHOLE .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Is that you?</dialogue> <scene_description>She unlocks and opens it . Nobody there . Julie quickly closes the door and relocks it , her heart rate just begining to rise again as . KLUNK - KLUNK . She hears it again . Then , the sound STOPS . But standing at the door - she realizes that 's not where it came from . Her eyes immediately go to . THE CLOSET Damn . That 's where it came from . She slowy pads across the room in her slippers toward the door . Trembling . she reaches for the handle . AND TUGS IT OPEN ! There 's NOTHING . She stares a beat . DRIP DRIP DRIP . She sees something on the floor of the closet . She touches a finger to it . IT 'S BLOOD . She looks up . THE DOCKHAND comes dropping down at her , dangling , enmeshed in barbed wire . He 's dying before our eyes . Blood bubbling from his mouth . His body twitching . Julie stares at the body . She 's almost catatonic . She blinks . She blinks again . Suddenly , in DEATH CONVULSIONS , his arms fly toward her - She SCREAMS -</scene_description> </scene> <scene> <stage_direction>EXT. POOL - JACUZZI - NIGHT</stage_direction> <scene_description>Karla and Tyrell are drying off beside Will as their hysterical friend comes racing across the pool plaza .</scene_description> <character>JULIE</character> <dialogue>It's happening again! There's a body!</dialogue> <scene_description>Will cathes her in his arms and she sobs uncontrollably .</scene_description> <character>WILL</character> <dialogue>What? What are you talking about? Where?</dialogue> <character>JULIE</character> <dialogue>It's in my room!</dialogue> <scene_description>They can see she 's not fooling around .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - JULIE'S ROOM - NIGHT</stage_direction> <scene_description>Everyone is gathered in the center of Julie 's room . Julie is held tight by Will . Brooks , the hotel manager , conducts the investigation . Brooks approaches the closet door . Julie holds her breath . He throws it open . A long beat .</scene_description> <character>BROOKS</character> <dialogue>I do n't find this at all funny.</dialogue> <scene_description>Julie steps in - stares into the empty closet . She ca n't believe her eyes . She searches their faces , looking for someone to believe her .</scene_description> <character>JULIE</character> <dialogue>There was a body! I swear it!</dialogue> <character>WILL</character> <parenthetical>( delicately . )</parenthetical> <dialogue>Julie, you said you were tired. Waybe you were dreaming.</dialogue> <character>JULIE</character> <parenthetical>( sharp . )</parenthetical> <dialogue>I was n't dreaming.</dialogue> <character>BROOKS</character> <dialogue>I knew you people were goining to be trouble. I knew from the first time I laid eyes on you.</dialogue> <scene_description>Julie grabs Brooks by his robe .</scene_description> <character>JULIE</character> <dialogue>Listen to me. He's here.</dialogue> <character>BROOKS</character> <dialogue>Who? Who is here?</dialogue> <scene_description>She does n't know where to start . Nancy pokes her head around the door .</scene_description> <character>NANCY</character> <dialogue>What's going on?</dialogue> <character>TYRELL</character> <dialogue>Julie thinks there's a dead guy in the closet.</dialogue> <character>NANCY</character> <dialogue>Cool.</dialogue> <character>TYRELL</character> <dialogue>The rest of us see bathrobes.</dialogue> <character>JULIE</character> <parenthetical>( sharp . )</parenthetical> <dialogue>I am not crazy, Tyrell. He was right there.</dialogue> <character>TYRELL</character> <parenthetical>( not taking it seriously . )</parenthetical> <dialogue>Fine. Show me the body.</dialogue> <scene_description>Will wanders over to the closet and checks it out .</scene_description> <character>KARLA</character> <dialogue>Think about this, Julie. What did you actually see?</dialogue> <character>JULIE</character> <dialogue>The dockhand guy. Hanging by his neck from up there.</dialogue> <character>BROOKS</character> <parenthetical>( case closed . )</parenthetical> <dialogue>In the morning we'll talk to Derrick, the `` dockhand guy,'' and put the whole thing to rest.</dialogue> <parenthetical>( looks to Nancy . )</parenthetical> <dialogue>Now, let's slow down on the Dark and Stormies and get some sleep.</dialogue> <character>NANCY</character> <dialogue>Do n't look at me -</dialogue> <character>JULIE</character> <dialogue>I want off this island.</dialogue> <character>BROOKS</character> <parenthetical>( tired . )</parenthetical> <dialogue>Not possible, I'm afraid. The last ferry left hours ago. And we got a storm coming. There wo n't be another one for days.</dialogue> <character>TYRELL</character> <dialogue>There's a storm coming?</dialogue> <character>BROOKS</character> <dialogue>` Tis the season, like I told you. It's a big one.</dialogue> <scene_description>Julie goes for the phone .</scene_description> <character>JULIE</character> <dialogue>Then I'll call the mainland for a charter.</dialogue> <character>BROOKS</character> <dialogue>Phones went down a few minutes ago.</dialogue> <scene_description>She picks up the phone , listens , then dangles it from her hand .</scene_description> <character>JULIE</character> <dialogue>It's dead.</dialogue> <scene_description>An exasperated Brooks heads for the door .</scene_description> <character>BROOKS</character> <dialogue>Duh. The next couple of days is gon na be rough, but we'll make it.</dialogue> <character>KARLA</character> <dialogue>What about a radio?</dialogue> <character>BROOKS</character> <dialogue>Sorry. Emergencies only.</dialogue> <character>KARLA</character> <dialogue>What the hell would you call this?</dialogue> <character>BROOKS</character> <dialogue>I'd call this four spoiled city kids who would n't know a hurricane if it blew up their butts.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>All we can do now is batten down and ride it out. If things get really bad, there's a storm shelter.</dialogue> <scene_description>And Brooks is gone . Outside the window , it starts to rain . There 's a CLAP of thunder . JULIE looks out the window with glazed - over eyes .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - NIGHT</stage_direction> <scene_description>And we PULL AWAY from Julie 's face through the glass - SLOWLY TILTING above her room to another TINY WINDOW in the bell tower . A candle burns , and lighning flashes illuminate the haggard face of Estes , the porter .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL TOWER ROOM - NIGHT</stage_direction> <scene_description>It 's a claustrophobic room . Estes turns away from the window , shirtless in his uniform pants . A beaded cord hangs around his neck , small fishhook dangling from it . Beside the candle , he picks up a leather bag and dumps out a handful of voodoo icons : roots , coins , sea glass , chicken 's foot . He sets them on a divination tray . He opens vials and sprinkles powder and assorted liquids into a small wooden bowl . He opens a drawer and extracts a toothbrush . He dips the brush in the bowl - covering its bristles with a sticky goo . He holds the brush over the candle 's flame . The old man watches it SIZZLE . ESTES picks up A STRAW FIGURE and impales it on his fishhook necklace . His eyes roll back in his head . He enters a trance .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction> <scene_description>Olga , the maid , pushes her laundry cart toward the end of a long , dimly lit hall . She sees a pile of dirty linens outside of a room - ROOM 228 . She stops , perplexed . There 's nobody staying in this room . She picks them up and stuff them in her cart . Then she knocks on the door .</scene_description> <character>OLGA</character> <dialogue>Housekeeping.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Housekeeping.</dialogue> <scene_description>She knocks again and notices her hand leaving bloody marks on the door . She looks at her other hand . Her arms and hands are covered in blood . She turns back to the linens . Something bloody is wrapped inside of them . She paws at the sheets , trying to unravel the mystery - The door the Room 228 slowly cracks open . A STEEL HOOK reaches out and slices into her apron . It tugs . She turns , and she starts to SCREAM , she is yanked into the room . A DO NOT DISTURB sign flips over the handle and the door SLAMS shut . We hear her SCREAMS from inside .</scene_description> </scene> <scene> <stage_direction>EXT. PAWN SHOP - NIGHT</stage_direction> <scene_description>Establishing . Bars on the windows . Neon PAWN fickering . Hand - painted sign reads : Se Habla Ingles .</scene_description> </scene> <scene> <stage_direction>INT. PAWN SHOP - NIGHT</stage_direction> <scene_description>CLOSE ON AN ENGAGEMENT RING Ray 's engagement ring . The pawn shop owner , MAC , cowboy hat , knows his job , holds it up to the viewing loop next to his eye .</scene_description> <character>MAC</character> <dialogue>Jeez, that's a full carat -</dialogue> <character>RAY</character> <dialogue>How much?</dialogue> <character>MAC</character> <dialogue>Well, there's some flaws in her.</dialogue> <character>RAY</character> <dialogue>How much?</dialogue> <scene_description>Mac looks around his shop at the usual jumble of crap : vacuum cleaners , golf clubs , guitar amps .</scene_description> <character>MAC</character> <dialogue>Do n't really have the market for something like this.</dialogue> <parenthetical>( like it hurts him . )</parenthetical> <dialogue>I can go two. two - fifty.</dialogue> <character>RAY</character> <dialogue>Make it three hundred. And throw that in, too.</dialogue> <scene_description>REVEAL - .38 REVOLVER encased in a glass cabinet .</scene_description> <character>MAC</character> <dialogue>Hell, that's worth three, easy. And you got your waiting period.</dialogue> <character>RAY</character> <dialogue>I'm not waiting. So give me the gun and keep the ring.</dialogue> <scene_description>Mac barely hasitates , he knows he 's getting a steal -</scene_description> <character>MAC</character> <dialogue>Fine, buddy.</dialogue> <scene_description>THE GUN AND THE RING go down on the counter next to each other . Mac pulls out some forms .</scene_description> <character>MAC</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Fill these out. Leave the dates blank.</dialogue> <scene_description>Ray starts writing . Mac is overcome by a moment of humanity .</scene_description> <character>MAC</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Buddy, are you sure this is the way you want to go?</dialogue> <scene_description>Ray gives him a steely stare -</scene_description> <character>RAY</character> <dialogue>Is it loaded?</dialogue> <scene_description>Mac shakes his head .</scene_description> <character>RAY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Load it.</dialogue> <scene_description>Off Mac 's sadness at young people today .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY</stage_direction> <scene_description>We move into the hotel room and gradually reveal FOUR SETS OF FEET at the end of one bed . They are crammed into a king - size bed together . Julie is awake . She gets out of bed and moves toward the window . It 's raining outside . The wind is blowing . The storm has arrived . Karla pulls a sleeping hand off her chest . The hand belongs to Will . She pinches the hand . Will starts . Tyrell kicks his feet around , trying to get some room .</scene_description> <character>TYRELL</character> <dialogue>This ai n't the romantic weekend I had in mind.</dialogue> <scene_description>Karla kisses Tyrell on the cheek .</scene_description> <character>KARLA</character> <parenthetical>( to Julie . )</parenthetical> <dialogue>You get any sleep at all?</dialogue> <character>JULIE</character> <dialogue>Some.</dialogue> <scene_description>Tyrell glares at Julie by the window . Sees the incredible rain .</scene_description> <character>TYRELL</character> <dialogue>Oh, look. Another day in paradise with Julie - your - tour - director. Miss Psychotic Episode.</dialogue> <character>KARLA</character> <dialogue>Hey -</dialogue> <character>TYRELL</character> <parenthetical>( calling to Julie . )</parenthetical> <dialogue>See any dead bodies out there? Any fresh kill? How ` bout Freddy, Jason?</dialogue> <scene_description>Julie ignores him , staring out the window .</scene_description> <character>WILL</character> <dialogue>Leave her alone.</dialogue> <scene_description>Angry at her boyfriend , Karla gets out of bed and joins Julie .</scene_description> <character>TYRELL</character> <dialogue>I'm just saying what all of you are thinking. It's bad enough gettin' rained out without having to hold her hand the whole time.</dialogue> <character>WILL</character> <dialogue>You do n't have to be a jerk.</dialogue> <scene_description>Karla pulls Julie close in a show of support for her friend whose mind everyone believes has been inventing dead bodies .</scene_description> <character>JULIE</character> <dialogue>It's okay. He does n't believe me. That's his right. I'm starting to think I'm crazy, too.</dialogue> <character>KARLA</character> <dialogue>Hey, slow down, turn off the little motor up in there. What do you say we go to the gym and work off a little stress?</dialogue> <scene_description>Julie does n't look to enthusiastic .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FITNESS ROOM - DAY</stage_direction> <scene_description>Karla and Julie enter the gym . It has Nautilus machines , treadmills , Life - cycles , free weights , tanning beds , speed and heavy bags . Karla walks over and does a full roundhouse - spinning and planting her foot dead center of the heavy bag .</scene_description> <character>JULIE</character> <dialogue>Nice move.</dialogue> <character>KARLA</character> <dialogue>I'll be givin' your fisherman some of that and see how he likes it.</dialogue> <scene_description>Julie smiles at her friend bravado . She steps over to a stairmaster and starts her workout .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR - DAY</stage_direction> <scene_description>Will and Tyrell step out of the room into the long , empty corridor . They cross to a balcony overlooking the lobby . The whole place seems deserted .</scene_description> <character>TYRELL</character> <dialogue>Where is everybody?</dialogue> <character>WILL</character> <parenthetical>( gallows humor . )</parenthetical> <dialogue>They're all dead. Dead, I tell you.</dialogue> <parenthetical>( ghostly . )</parenthetical> <dialogue>Ahhhh, we're all deaaaddddd. Tyrellll, joinnnn usss.</dialogue> <scene_description>Will 's voice echoes across the lobby . Tyrell is maybe a little nervous , but hiding it .</scene_description> <character>TYRELL</character> <dialogue>Shut up.</dialogue> <scene_description>They walk down the steps to the lobby .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - DAY</stage_direction> <scene_description>They cross the lobby .</scene_description> <character>WILL</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Hello?</dialogue> <parenthetical>( worried . )</parenthetical> <dialogue>There's nobody here, Tyrell.</dialogue> <scene_description>Tyrell 's already out the front entrance .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - DAY</stage_direction> <scene_description>Will and Tyrell exit the hotel and make their way down the steps outside and go splashing across the flooded grounds . Debris from the storm is scattered all around them .</scene_description> <character>TYRELL</character> <dialogue>They're around. They just do n't care about us'cause we're the contest winners.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Let's go find Stoner Boy. Make his lazy butt hook us up with fishing poles or Ping - Pong paddles or something.</dialogue> <character>WILL</character> <parenthetical>( nervous . )</parenthetical> <dialogue>You know, the greenhouse effect has caused the gulf stream to shift and almost every meteorological expert expects a dramatic increase in tropical depression -</dialogue> <character>TYRELL</character> <dialogue>Hey - shut up, okay?</dialogue> <scene_description>Tyrell keeps walking . Will looks around at the wind - and - water - swept vista . Not much of a day for activities .</scene_description> <character>WILL</character> <parenthetical>( sotto . )</parenthetical> <dialogue>I do n't like to fish.</dialogue> <scene_description>Tyrell moves across the grounds . He looks back . Will is stopped in his tracks , looking up at - IN THE WINDOW OF THE BELL TOWER - ESTES , staring down at them .</scene_description> <character>TYRELL</character> <parenthetical>( calling to Will . )</parenthetical> <dialogue>You coming?</dialogue> <scene_description>Will trots after him , but he takes a glance back at the window . Estes is gone .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FITNESS ROOM - DAY</stage_direction> <scene_description>Julie has finished on the stairmaster . Both she and Karla are sweaty after a good workout . Their moods have improved .</scene_description> <character>KARLA</character> <dialogue>Come on, Vampira. I got just the thing for you.</dialogue> <scene_description>Karla leads Julie over to the tanning beds .</scene_description> <character>JULIE</character> <dialogue>Cancer in a box.</dialogue> <character>KARLA</character> <dialogue>No, this is the safe sun.</dialogue> <parenthetical>( joking . )</parenthetical> <dialogue>It's better than a day at the beach.</dialogue> <scene_description>Julie is reluctant .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Come on, a little photosynthesis and you'll feel like a new -</dialogue> <character>JULIE</character> <dialogue>Houseplant.</dialogue> <scene_description>Karla opens the canopy of the tanning bed .</scene_description> <character>KARLA</character> <dialogue>Exactly.</dialogue> <scene_description>Julie peels off her sweats . Lies down in her underwear . Straps on a small pair of GOGGLES . Karla lowers the canopy over Julie . ANGLE ON A WALL TIMER Karla sets the DIAL .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Set to three seventy - five, bake for one hour.</dialogue> <character>JULIE</character> <dialogue>Karla!</dialogue> <character>KARLA</character> <dialogue>Just kidding.</dialogue> <scene_description>ULTRA - VIOLET TUBES come to life - Julie is bathed in purple light .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL GROUNDS - DAY</stage_direction> <scene_description>Tyrell looks across the grounds and sees , at the far end of the tennis court , TITUS 'S POOL SUPPLY CART half - obscured by the heavy fooliage surrounding the court . Tyrell walks away from Will toward the cart . He hears the jam - box on the cart playing `` TRENCHTOWN ROCK '' by Bob Marley . `` One good thing about music . when it hits you feel no pain . ''</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL TENNIS COURT - DAY</stage_direction> <scene_description>The open door of the entrance CLANGS against the fence in the wind . Tyrell decides to cut through the court to the far entrance and the cart .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL TENNIS COURT - DAY</stage_direction> <scene_description>Tyrell walks across the court to the sagging net . There is a RUSTLING in the foliage around the court . SOMETHING moving fast and quietly .</scene_description> <character>TYRELL</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Hey, Bong Marley. Come here.</dialogue> <scene_description>The door SLAMS shut behind him . Tyrell looks back at the door . The latch seems to have stuck and it 's no longer swinging . Tyrell turns back toward the other door and sees The PIT BULL standing in the doorway . Tyrell stares at the dog . The dog GROWLS at Tyrell , low and menacing .</scene_description> <character>TYRELL</character> <dialogue>I'm gon na kill you, Bong Boy.</dialogue> <scene_description>Simultaneously , Tyrell turns and the dog lunges forward . Tyrell sprints to the door - it 's LOCKED by a length of metal slipped into the coupling . He turns to see the dog bounding at him - Tyrell leaps up the fence just as the pit bull lunges for him . The dog catches his pant leg . Tyrell kicks him away and frantically scrambles up . The dog relentlessly barks and snaps as Tyrell climbs the fence . WILL looks in at the dog angrily charging the chain - link . He looks up at Tyrell .</scene_description> <character>WILL</character> <dialogue>Come on. Jump. I've got you.</dialogue> <scene_description>He reaches out to try and catch Tyrell . ON THE FENCE Tyrell finally looses his grip and falls back , landing on top of Will . He rolls quickly to his feet .</scene_description> <character>TYRELL</character> <dialogue>Thanks.</dialogue> <parenthetical>( furious . )</parenthetical> <dialogue>I got ta find me a pool boy.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL FITNESS ROOM - DAY</stage_direction> <scene_description>Karla hammers the bag with a series of quick punches . She finally stops to catch her breath and hears a THUMPING from the other room .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT HALLWAY - DAY</stage_direction> <scene_description>Karla sticks her head out the door to the gym , listening . At the end of the hall AN OPEN DOOR is visible , a single BARE BULB lighting the room . Karla moves curiously toward it .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT ROOM - DAY</stage_direction> <scene_description>Karla slowly sticks her head around the corner just as the THUMPING NOISE SOUNDS LOUNDLY . She reacts - A THUMPING DRYER in a small laundry room . Karla relaxes .</scene_description> <character>KARLA</character> <parenthetical>( doing Julie . )</parenthetical> <dialogue>Gee, Karla. That'll break the machine.</dialogue> <scene_description>She approaches the MACHINE , which is rocking with the noise .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Damn. How many pairs you got in there?</dialogue> <scene_description>She opens the dryer door and jumps back . A BLOODY SHOE flies out and into her arms . She looks down a beat , and SCREAMS bloody murder . A hot spray of blood gushes from the machine . REVEAL - OLGA 'S DISMEMBERED BODY tumbling inside the dryer . Karla SCREAMS again . Then she hears the SOUND of heavy boots coming down the hall . She runs to the door and locks it . She 's trapped in a bloody basement cell . Suddenly somebody POUNDS on the door . Karla SCREAMS . She runs across the room , shoving a folding table toward a row of BASEMENT WINDOWS . The door is hit again and again . Somebody is throwing their shoulder against it . Karla bangs hysterically on the windows , leaving bloody handprints on the panes .</scene_description> </scene> <scene> <stage_direction>INT. TANNING ROOM - DAY</stage_direction> <scene_description>Julie 's eyes suddenly open through the GOGGLES . She thumbs off her WALKMAN .</scene_description> <character>JULIE</character> <dialogue>You say something?</dialogue> <scene_description>Nothing . And just as Julie lies down again , Karla 's frantic SCREAMS echo down the hall . Julie goes to push open the canopy . As she does , the CANOPY LID is JAMMED DOWN ON TOP OF HER . A CHAIN shoots through the handles . Julie is locked on the grill .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Karla! Somebody? Hey, this is n't funny.</dialogue> <scene_description>Suddenly the lights go off . Julie thrashes around , trying to free herself . JULIE 'S POV - THROUGH THE PURPLE LIGHT She sees someone walking around in the room . The person steps closer . Julie could almost reach out and touch him . She begins to SCREAM !</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <scene_description>Tyrell angrily makes his way past the outdoor pool bar as Will follows . Tyrell spots a tray of empty bottles . He picks one up and smashes it in half on the ground . He holds out the jagged bottle to Will .</scene_description> <character>TYRELL</character> <dialogue>Take this.</dialogue> <character>WILL</character> <dialogue>And do what with it?</dialogue> <scene_description>Tyrell breaks another bottle in half .</scene_description> <character>TYRELL</character> <dialogue>Julienne of pool boy.</dialogue> <scene_description>They move toward the nearby POOL HOUSE .</scene_description> </scene> <scene> <stage_direction>EXT. POOL HOUSE - DAY</stage_direction> <scene_description>Tyrell and Will stop outside the door . There 's MUSIC from inside . More Bob Marley - `` Lively Up Yourself . ''</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm gon na throw the door. Get ready.</dialogue> <scene_description>Tyrell opens the door and charges in . Will 's right behind him .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL POOL HOUSE - DAY</stage_direction> <scene_description>They spill into the room . A light fog hangs in the air . The two of them begin to COUGH and CHOKE . Titus sits on the floor facing away from them , facing a window through which gray light pierces the gloom . Titus does n't move . He 's too still . In front of him is a large BONG that still SMOKES SLIGHTLY .</scene_description> <character>TYRELL</character> <dialogue>Hey, pool boy.</dialogue> <scene_description>Tyrell closes the distance and kicks Titus in the back . Titus falls over like a block of wood , rictus already setting in . His hands are bound behind him . The cord is tied off to some pipes against the wall . HIS FINGERNAILS SCRATHCED GROOVES into the floor , scrabbling for the window and fresh air . Will points out two empty one - gallon PLASTIC BOTTLES . ANGLE ON THE BOTTLES One is labeled CHLORINE , the other MURIATIC ACID . Will pulls Tyrell from the pool house .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL HOUSE - DAY</stage_direction> <scene_description>The two of them collapse , COUGHING and CHOKING .</scene_description> <character>TYRELL</character> <dialogue>What the -?</dialogue> <scene_description>Will splashes a puddle of rainwater on his face -</scene_description> <character>WILL</character> <dialogue>That's chlorine and muriatic acid. Put the two together and you get cyanide.</dialogue> <scene_description>Tyrell rolls over on his back next to Will , practically coughing up a lung .</scene_description> <character>TYRELL</character> <dialogue>Cyanide? Like poison gas?</dialogue> <parenthetical>( reality dawning . )</parenthetical> <dialogue>You mean, somebody really killed him. Omigod. Think. Think.</dialogue> <scene_description>Suddenly , they both hear KARLA SCREAMING . They sprint for the main building .</scene_description> </scene> <scene> <stage_direction>EXT. BASEMENT WINDOW - DAY</stage_direction> <scene_description>Tyrell and Will follow Karla 's CRIES to a narrow srip of basement window which runs along the side of the hotel . Her palms have bloodied one of the windows .</scene_description> <character>TYRELL</character> <dialogue>Get back -</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LAUNDRY ROOM - DAY</stage_direction> <scene_description>Karla ducks down on the table just as the window EXPLODES inward . Tyrell kicks in the pane and looks in .</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Give me your hand!</dialogue> <scene_description>She reaches for him . He pulls her up and out through the window .</scene_description> </scene> <scene> <stage_direction>EXT. BASEMENT WINDOW - DAY</stage_direction> <scene_description>Karla tumbles to the ground with only one thing to say .</scene_description> <character>KARLA</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Julie!</dialogue> </scene> <scene> <stage_direction>INT. TANNING ROOM - DAY</stage_direction> <scene_description>Tyrell and Will suddenly burst through the door . ANGLE ON THE TANNING BED Where Julie is just visible , her fingers madly groping for a way out .</scene_description> <character>JULIE</character> <dialogue>Oh, God, get me out. Get me out.</dialogue> <scene_description>Will struggles to open the bed , but the chain holds strong . Tyrell grabs a nearby dumbbell .</scene_description> <character>TYRELL</character> <dialogue>Hang on.</dialogue> <scene_description>ANGLE ON THE CHAIN Tyrell slams the barbell down , shattering the fiberglass handles . A few of the ultraviolet tubes POP as Will yanks up on the cover . They help Julie up , her eyes adjusting to non - purple light .</scene_description> <character>JULIE</character> <parenthetical>( almost relieved . )</parenthetical> <dialogue>I'm not crazy. I'm not crazy. He's here.</dialogue> <parenthetical>( already moving for the door . )</parenthetical> <dialogue>We've got to get to the radio and call for help.</dialogue> <character>KARLA</character> <dialogue>I think we can classify this as an emergency situation.</dialogue> <scene_description>They head for the manager 's office .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - BROOKS'S OFFICE - DAY</stage_direction> <scene_description>They burst into the middle of the room before seeing that Brooks 's head has a machete sticking out of it .</scene_description> <character>TYRELL</character> <dialogue>Yo, Brooks, listen up -.</dialogue> <parenthetical>( reacting . )</parenthetical> <dialogue>Whoa -</dialogue> <scene_description>Tyrell , Will , and Karla look at the radio , which is smashed on the floor next to Brooks . Julie stares in shock at the reverse wall , at A STUFFED MARLIN with the words `` I STILL KNOW '' written on it in blood . Karla SCREAMS -</scene_description> <character>TYRELL</character> <dialogue>Somebody. is a sick, fingerpainting psycho.</dialogue> <character>KARLA</character> <dialogue>We got ta get out of here. Now.</dialogue> <scene_description>THE POWER CUTS OUT and the hotel plunges into darkness . Julie SCREAMS and runs from the hotel .</scene_description> <character>WILL</character> <dialogue>Julie!</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL - DAY</stage_direction> <scene_description>Julie runs down the steps and cuts through the blowing palms .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL DOCKS - DAY</stage_direction> <scene_description>Julie is at the end of the dock . Tears are streaming down her face , her chest heaving . The others catch up with her . Karla realizes the boats are gone . Everyone is freaking out .</scene_description> <character>KARLA</character> <dialogue>There were boats here? Refresh my memory, there were boats.</dialogue> <scene_description>Tyrell picks up the end of a cut mooring line -</scene_description> <character>TYRELL</character> <dialogue>They were cut loose.</dialogue> <character>WILL</character> <dialogue>Julie? Wan na tell us what is going on here?</dialogue> <scene_description>They look at Julie . Their escape is cut off by water . They 're scared .</scene_description> <character>JULIE</character> <parenthetical>( freaking out . )</parenthetical> <dialogue>We're all going to die. He's going to kill us one by one.</dialogue> <character>TYRELL</character> <dialogue>Who?</dialogue> <character>JULIE</character> <dialogue>Ben Willis.</dialogue> <character>KARLA</character> <parenthetical>( not this again . )</parenthetical> <dialogue>Oh, stop it! He's dead. You killed him. Now, get over it. We got ta think here.</dialogue> <character>JULIE</character> <dialogue>They never found the body.</dialogue> <scene_description>Her voice is low and urgent , an impromptu confessional .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Two summers ago. We lied to the authorities. We hit Ben Willis with our car. Ray, me, Barry, and Helen. We threw the body in the water to cover it up -</dialogue> <character>KARLA</character> <dialogue>Julie.</dialogue> <character>JULIE</character> <dialogue>Only he was n't dead. He killed Barry and Helen last July Fourth.</dialogue> <scene_description>Tyrell begins backing away from Julie . He picks up a piece of driftwood from the dock .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I thought Ray and I killed him on the boat, but we did n't and now he's back to finish up the job.</dialogue> <scene_description>Tyrell holds up the log as a weapon . He 's angry and afraid -</scene_description> <character>TYRELL</character> <dialogue>We're on an island, miles from anywhere. I do n't give a crap about you're fisherman. There's dead bodies pilling up everywhere and there's one guy missing -</dialogue> <scene_description>Will moves closer to Tyrell -</scene_description> <character>WILL</character> <dialogue>The porter. what's his name? Old Asbestos -</dialogue> <character>TYRELL</character> <dialogue>Estes! That's exactly who it is. That old guy knows something. We can sit here and wait for him to pick us off or we can go find him first.</dialogue> <scene_description>Tyrell turns and heads down the dock . Will goes with him . Karla takes a few hesitant steps after them , then turns back toward Julie , who has n't moved .</scene_description> <character>KARLA</character> <dialogue>Julie, we have to do something.</dialogue> <scene_description>Julie sees her friend caught in the middle , sees her suffering . She reluctantly starts for Karla -</scene_description> <character>JULIE</character> <parenthetical>( sotto . )</parenthetical> <dialogue>It's not him.</dialogue> </scene> <scene> <stage_direction>INT. GREYHOUND BUS - NIGHT</stage_direction> <scene_description>Standard bus folks : old people in Panama hats , buzz - cut military geeks on holiday . Ray sits in a seat . He 's in pain and does not look good . He pops a handful of pills into his mouth and washes them down with an Orange Crush - A dignified OLD LADY has been watching him -</scene_description> <character>OLD LADY</character> <dialogue>People live healthy in Miami.</dialogue> <parenthetical>( sincere , but unsettling . )</parenthetical> <dialogue>It's the future down there every day of the week. The future.</dialogue> <scene_description>Ray slumps back , waiting for the pills to work .</scene_description> <character>RAY</character> <dialogue>I'll keep that in mind.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL TOWER ROOM - DUSK</stage_direction> <scene_description>The door to Estes 's room BANGS inward . Tyrell , Will , Karla , and Julie charge into the room .</scene_description> <character>TYRELL</character> <dialogue>Yo, Freak Boy -</dialogue> <scene_description>The cluttered room is empty .</scene_description> <character>WILL</character> <dialogue>He's not here.</dialogue> <scene_description>Tyrell and Will begin roughly searching through Estes 's possessions .</scene_description> <character>TYRELL</character> <dialogue>We're gon na find some weird crap in here.</dialogue> <scene_description>In the corner there is a curtain used as a partition . Julie pulls the curtain back and discovers A SMALL , HEAVY CABINET sitting in the corner . It seems to glow from inside while casting an evil pall over the room . Julie moves toward it and hesitates before opening the doors . Inside - is a small voodoo shrine . A candle has burned low before it . Hanging before the altar is THE LITTLE STRAW MAN impaled on a fishhook .</scene_description> <character>JULIE</character> <dialogue>Voodoo.</dialogue> <character>TYRELL</character> <dialogue>I told you.</dialogue> <scene_description>Julie looks closer . She sees her toothbrush , a hair tie , assorted other knickknacks belonging to her friends .</scene_description> <character>TYRELL</character> <parenthetical>( to Karla . )</parenthetical> <dialogue>Missing a hair tie?</dialogue> <scene_description>Karla looks in . Tyrell snatches the straw man up .</scene_description> <character>TYRELL</character> <dialogue>We found our guy.</dialogue> <scene_description>THUNDER rumbles across the sky like the judgement of God .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction> <scene_description>Julie , Karla , Tyrell , and Will walk quickly down the corridor . They have grabbed some of their things .</scene_description> <character>TYRELL</character> <dialogue>We got ta find flashlights, torches, guns if they got'em, anything that'll help.</dialogue> <scene_description>Will and Tyrell eye the stairs leading down to the lobby .</scene_description> <character>TYRELL</character> <dialogue>Wait. Maybe he's down there collecting the body parts.</dialogue> <scene_description>Will and Tyrell exchange a glance , an `` are you man enough ? '' kind of glance .</scene_description> <character>WILL</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>The men head into the kitchen and bar area .</scene_description> <character>WILL</character> <dialogue>We'll only be a second, okay?</dialogue> <character>TYRELL</character> <dialogue>Yeah, wait right here, it's the safest place.</dialogue> <scene_description>Karla is terrified and waits by the stairs , but something catches Julie 's eye . She walks across the lobby .</scene_description> <character>KARLA</character> <dialogue>Julie, where are you going?</dialogue> <scene_description>Julie keeps walking . She sees historical pictures of the hotel : work crews during construction ; the first limbo contest ; fishermen standing next to sailfish and marlin . Near the pictures , Julie sees the globe . It 's spinning slowly . Julie hesitates , then walks toward the globe . It stops spinning . She looks down at it . CLOSE ON - THE GLOBE and Julie 's hand finding Brazil . We see the capital is not Rio , but Brazilia . This is dawning on Julie when we hear -</scene_description> <character>ESTES</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Brasilia.</dialogue> <scene_description>She jumps out of her skin . Estes was standing right there in the shadows .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's the capital of Brazil, not Rio.</dialogue> <scene_description>Karla SCREAMS . Tyrell comes flying across the lobby past Karla . He dives on Estes , tackling him to the floor . Will is right behind him .</scene_description> <character>WILL/ESTES/TYRELL</character> <dialogue>Let go. I got him. That's me. It's him. We got you.</dialogue> <character>JULIE</character> <dialogue>Leave him alone.</dialogue> <scene_description>Tyrell holds up battered Estes -</scene_description> <character>TYRELL</character> <dialogue>Here's youre killer -</dialogue> <character>ESTES</character> <dialogue>No -</dialogue> <character>WILL</character> <dialogue>We found your voodoo crap -</dialogue> <character>ESTES</character> <dialogue>No -</dialogue> <scene_description>They shake Estes , finally giving him a chance to speak .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I found the bodies this morning. I tried to use the radio, but he already destroyed it.</dialogue> <character>JULIE</character> <dialogue>Let him go. I believe him.</dialogue> <character>KARLA</character> <dialogue>Come on, Julie. You saw his room.</dialogue> <character>ESTES</character> <dialogue>I have n't hurt anyone. I stole those things to help you. To protect you.</dialogue> <character>JULIE</character> <dialogue>He's telling the truth. He could've easily killed me. He did n't.</dialogue> <parenthetical>( beat while this sinks in . )</parenthetical> <dialogue>Look, we did n't even answer the radio question right. This whole thing was a setup.</dialogue> <character>KARLA</character> <dialogue>What do you mean?</dialogue> <character>JULIE</character> <dialogue>Rio is n't the capital of Brazil. It was the wrong answer. Sorry, we lose.</dialogue> <character>TYRELL</character> <parenthetical>( starting to lose it . )</parenthetical> <dialogue>You've got all these theories but where is he? Where? Where's your fisherman killer?</dialogue> <character>JULIE</character> <dialogue>I do n't know.</dialogue> <character>TYRELL</character> <parenthetical>( losing it . )</parenthetical> <dialogue>You never do. The guy at the nightclub, the body in your room last night. Little notes that only mean something to you. How do we even know you're not the one behind this -</dialogue> <scene_description>Estes steps forward -</scene_description> <character>JULIE</character> <parenthetical>( to Tyrell . )</parenthetical> <dialogue>How do we know you're not?</dialogue> <character>ESTES</character> <parenthetical>( to Julie . )</parenthetical> <dialogue>I know who you're talking about. He used to work here at the hotel.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And I've seen him around again. Out in the woods by the orchard.</dialogue> <scene_description>They look at Estes . Is he telling the truth ?</scene_description> <character>ESTES</character> <dialogue>I ca n't remeber his name, but I do n't forget a face.</dialogue> <parenthetical>( beseeching . )</parenthetical> <dialogue>I can show you.</dialogue> <scene_description>They stare a beat -</scene_description> <character>WILL</character> <dialogue>How do we know you're not setting us up?</dialogue> <character>ESTES</character> <dialogue>Where else you gon na go, son?</dialogue> <scene_description>They look to the office , the gym . The sense of death surrounding them .</scene_description> <character>KARLA</character> <dialogue>I know I do n't want to stay in here.</dialogue> <character>JULIE</character> <dialogue>We'll be better off in the open. If we stick together, maybe we can kill this creep for good.</dialogue> <character>TYRELL</character> <dialogue>Show us.</dialogue> <scene_description>They begin moving for the door .</scene_description> </scene> <scene> <stage_direction>EXT. FERRY DOCKS - NIGHT</stage_direction> <scene_description>Establish . The rain pounds a fleet of fishing boats . The boats are securely battened down in the weather . Ray limps past , heading for a small building at the end of the dock . Its sign reads : Island Ferry , Jack Paulsen - proprieter .</scene_description> </scene> <scene> <stage_direction>INT. PAULSEN'S BOAT HOUSE - NIGHT</stage_direction> <scene_description>A gear - strewn office . Paulsen watches an episode of Party of Five . There is a loud KNOCKING at the door .</scene_description> <character>PAULSEN</character> <dialogue>What the.</dialogue> <scene_description>Paulsen slowly gets up . He cracks the door open . Ray stands silhouetted against the rain .</scene_description> <character>RAY</character> <dialogue>I need to get to Tower Bay Island.</dialogue> <scene_description>Paulsen senses something is n't right .</scene_description> <character>PAULSEN</character> <dialogue>We're closed.</dialogue> <scene_description>Ray pushes his way in -</scene_description> <character>RAY</character> <dialogue>I need to get there, now.</dialogue> <scene_description>Paulsen looks at him standing there drenched .</scene_description> <character>PAULSEN</character> <dialogue>Did you happen to notice what's going on outside?</dialogue> <scene_description>Ray pulls out the gun and points it at Paulsen -</scene_description> <character>RAY</character> <dialogue>I'm not looking for a weather report, I'm looking for a boat. So which one's yours?</dialogue> </scene> <scene> <stage_direction>EXT. WOODS TRAIL - NIGHT</stage_direction> <scene_description>Estes , Will , Tyrell , Julie , and Karla walk along a trail through the heart of the island . The storm has abated for a few minutes . It 's windy , dark , and spooky . The kind of place you 'd take people if you wanted to scare them with a classic ghost story . That is just what Estes is doing .</scene_description> <character>ESTES</character> <dialogue>He worked here for many years. He had a nice family. A pretty wife and two little ones. A boy and a girl. They'd be about your age, now.</dialogue> <scene_description>They continue along the path . Estes looks at them in the dark , slowing for just a second .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>One day his wife went missing. Maid found blood all over the honeymoon suite - Room 201.</dialogue> <scene_description>There are strange NOISES out in the woods .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Eventually, they found her body. Pieces. A leg in the swamp. An arm washed up on Three Mile Beach.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And the head they found much later.</dialogue> <scene_description>A huge branch is blown from a tree and comes crashing down through the underbrush , scaring them . Estes calmly steps around it .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Careful -</dialogue> <character>JULIE</character> <parenthetical>( softly . )</parenthetical> <dialogue>Did he do it?</dialogue> <character>ESTES</character> <dialogue>People say she was running around on him. People say he caught her in bed with other men. People say a lot of things.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>He disappeared, taking the two small ones with him. At least they were never found.</dialogue> <scene_description>The winding path leads to a small orchard . They hang on his every word .</scene_description> <character>ESTES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We're here.</dialogue> <scene_description>In the center of the orchard is a cemetery . They move off the path into the safety of the woods . There seems to be activity around the place . It 's silent and eerie . Julie stares , fascinated . She is slowly drawn toward the house . Karla grabs for her arm .</scene_description> <character>KARLA</character> <dialogue>Be careful, Julie.</dialogue> <character>JULIE</character> <dialogue>I've got to see.</dialogue> <scene_description>She leads , they follow , circling the house . Julie rounds a corner of the shack and stops . She sees - TWO TOMBSTONES The first stone reads : SARAH WILLIS -LRB- birth/death -RRB- The second stone reads : SUSIE WILLIS -LRB- birth/death -RRB- Beyond them A FRESHLY DUG GRAVE and the group moves slowly toward it . The headstone , partially obscured by the mound of dirt , comes into view . The third headstone reads :</scene_description> <character>JULIE JAMES</character> <dialogue>born September 6, 1979 died July 4, 1998</dialogue> <character>"A Lying Whore"</character> <dialogue /> <scene_description>`` A Lying Whore '' is scratched with a knife .</scene_description> <character>KARLA</character> <parenthetical>( realizing . )</parenthetical> <dialogue>. Today's July fourth.</dialogue> <scene_description>Will goes to comfort Julie -</scene_description> <character>JULIE</character> <dialogue>I'm not dying on this island, Will.</dialogue> <parenthetical>( louder . )</parenthetical> <dialogue>Do you hear me?</dialogue> <scene_description>Julie shouts into the darkness .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You want me, Ben Willis? Come and get me. I'm right here.</dialogue> <scene_description>She kicks over her headstone -</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>My grave stays empty!</dialogue> <scene_description>She looks defiantly down the path .</scene_description> <character>KARLA</character> <dialogue>Julie, the boats are gone, the phones are down. There's no way off this place.</dialogue> <character>JULIE</character> <dialogue>Then, we fight -</dialogue> <scene_description>Will looks around . Estes is gone .</scene_description> <character>WILL</character> <dialogue>Where'd Estes go?</dialogue> <character>TYRELL</character> <dialogue>What is up with that weirdo?</dialogue> <character>WILL</character> <dialogue>I'll go find him.</dialogue> <character>KARLA</character> <dialogue>Why? He ca n't help us.</dialogue> <character>WILL</character> <dialogue>He's probably the only one who can help us.</dialogue> <character>TYRELL</character> <dialogue>I'll come with you.</dialogue> <character>KARLA</character> <dialogue>Are you crazy? We're not staying here on our own.</dialogue> <character>WILL</character> <dialogue>It's okay. He could n't have gone far. I'll catch up with you later.</dialogue> <scene_description>Will disappears into the darkness .</scene_description> <character>KARLA</character> <dialogue>Maybe we should just wait here? Hide in a tree?</dialogue> <character>TYRELL</character> <dialogue>I'm not hiding up no tree.</dialogue> <parenthetical>( to Julie . )</parenthetical> <dialogue>I'm with her. Let's arm ourselves to the teeth and kick this psycho's butt.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL KITCHEN - NIGHT</stage_direction> <scene_description>They move cautiously into the kitchen . Blue emergency lights flicker above them . It 's a big room with plenty of nooks and crannies for somebody to be hiding in . Tyrell picks up a couple of different knives . He hefts them in his hand .</scene_description> <character>TYRELL</character> <dialogue>What I need is a gun. Not a steak knife.</dialogue> <scene_description>Karla grabs a paring knife -</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You gon na clean vegetables? You gon na stir - fry? You need something that'll get his attention.</dialogue> <scene_description>He picks up a huge butcher 's knife and cuts the air with it . He then roughly empties other drawers looking for more weapons . Karla looks to Julie , something on her mind . Julie catches the look .</scene_description> <character>KARLA</character> <parenthetical>( hurt . )</parenthetical> <dialogue>I'm your best friend. You could have told me the truth about what happened. I would've understood.</dialogue> <character>JULIE</character> <parenthetical>( sad . )</parenthetical> <dialogue>Karla, I just wanted the whole thing to be over. I did n't want to involve anybody else.</dialogue> <character>KARLA</character> <dialogue>It's too late for that.</dialogue> <scene_description>Julie steps over to Karla .</scene_description> <character>JULIE</character> <dialogue>I'm so sorry. I brought this on everyone. It's my fault.</dialogue> <scene_description>Tyrell picks up on the mood swing . He moves closer to them . He 's sympathetic .</scene_description> <character>TYRELL</character> <dialogue>Forget that. You did n't do nothing. This fisherman's a piece of scum.</dialogue> <parenthetical>( hard for him to admit . )</parenthetical> <dialogue>I should've been listening to you. I'm sorry.</dialogue> <scene_description>Julie smiles for a second .</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Now, let's take a look at the pantry.</dialogue> <character>KARLA</character> <dialogue>You think that's a good place to hide?</dialogue> <character>TYRELL</character> <dialogue>I do n't know, but I'm starving.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - NIGHT</stage_direction> <scene_description>Will runs from the trees and finds himself by an old house . He sees Estes by the ocean , near a boat .</scene_description> <character>WILL</character> <dialogue>Hey Estes.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Estes? Where'd you go?</dialogue> <scene_description>Estes does n't answer right away - he keeps his back to Will .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You abandoning us? How come you did n't tell us you had a boat?</dialogue> <scene_description>Estes picks up the boat 's oar . He speaks low , almost inaudibly .</scene_description> <character>ESTES</character> <dialogue>This has to end. Now.</dialogue> <character>WILL</character> <dialogue>What -?</dialogue> <scene_description>Estes swings the oar , cracking Will 's head hard .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL KITCHEN - NIGHT</stage_direction> <scene_description>Tyrell , Julie , and Karla approach the pantry - a huge steel door .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL KITCHEN - CONTINUOUS</stage_direction> <scene_description>Tyrell steps inside .</scene_description> <character>TYRELL</character> <dialogue>Steel door. Food. Perfect.</dialogue> <scene_description>He starts looking for something to eat - CLANK . There 's a soft CLATTERING from somewhere in the room . Everyone freezes , staring into the darkness . Tyrell puts a finger to his lips , then creeps down an aisle , listening . There 's nothing but SILENCE . He moves toward the first aisle . He jumps out . The aisle is empty . JULIE AND KARLA move down an aisle behind him . Tyrell ducks around to the second aisle . He slices the air , ready to pounce . This aisle is empty . JULIE AND KARLA nervously move another aisle down . Tyrell moves stealthily toward the third aisle . This is it . He lunges forward into the row . Empty , also . There 's a small SOUND . A MOUSE scampers off under the shelves . Tyrell turns and smiles at Karla and Julie -</scene_description> <character>TYRELL</character> <dialogue>It's just a -</dialogue> <scene_description>A ROLLING PIN bashes him on the back of the head . Tyrell hits the floor , unconscious . JULIE AND KARLA SCREAM</scene_description> <character>KARLA</character> <dialogue>Ty!</dialogue> <scene_description>A DARK FIGURE jumps down from the shelves . Tyrell puts his arms up -</scene_description> <character>TYRELL</character> <parenthetical>( yelling for mercy . )</parenthetical> <dialogue>Do n't kill me -</dialogue> <character>JULIE</character> <dialogue>Wait, it's Nancy -</dialogue> <scene_description>Nancy , the bartender steps out of the shadows brandishing her rolling pin .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL KITCHEN - NIGHT</stage_direction> <scene_description>Tyrell stands at the sink , where Karla holds a towel full of ice to his head . Nancy , the bartender , looks on apologetically .</scene_description> <character>NANCY</character> <dialogue>I'm sorry, but you could've been the one doing all of this -</dialogue> <character>TYRELL</character> <dialogue>And so could you - crazy fool.</dialogue> <character>NANCY</character> <dialogue>You stumbled into my hiding place.</dialogue> <character>TYRELL</character> <dialogue>Must have missed the sign.</dialogue> <character>NANCY</character> <dialogue>Excuse me, but this island did n't have a murder rate until you people showed up.</dialogue> <parenthetical>( chilled . )</parenthetical> <dialogue>I've never seen a dead body before.</dialogue> <character>JULIE</character> <dialogue>Get used to it.</dialogue> <character>NANCY</character> <dialogue>Who's doing this?</dialogue> <character>TYRELL</character> <parenthetical>( friendly . )</parenthetical> <dialogue>Do n't even get her started. It's a long, long story and you probably would n't believe a word of it.</dialogue> <scene_description>Tyrell moves as he talks , fed up and exhasted . He crosses past the stove and under a huge hanging rack of pots and pans .</scene_description> <character>TYRELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I mean, all I know for sure is this is the worst vacation of my life. I'm tired, and I'm hungry, and I personally have n't seen one damn psycho killer.</dialogue> <scene_description>THWACK ! A STEEL HOOK sinks deep into the base of Tyrell 's shaved skull , a look of abject surprise on his face . The women freeze as Tyrell dances like a marionette before being hoisted up and hung on the rack like a used saucepan . THE FISHERMAN is in the vent above the stove . He stares out at them from the hood of his slicker . Ben jumps from the range onto the floor . Karla is in shock . Julie yanks her and they flee . As she goes , Julie picks up A LOOSE KNIFE and hides it in her back pocket .</scene_description> </scene> <scene> <stage_direction>EXT. OFFSHORE ON FERRY - NIGHT</stage_direction> <scene_description>Ray pilots the boat through the dark , choppy water . He 's navigating by compass , maps spread before him . He sees something off the bow - A BOAT drifting on the fast sea . The words `` Tower Bay '' are painted on the side . Ray pulls alongside and discovers the boat is empty . He reaches for the radio .</scene_description> <character>RAY</character> <parenthetical>( into radio . )</parenthetical> <dialogue>Come in. This is Summer Breeze requesting emergency assistance for Tower Bay island. I repeat. This is Summer Breeze.</dialogue> <scene_description>Ray guns the boat away .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FOYER - NIGHT</stage_direction> <scene_description>Julie , Karla , and Nancy run into the lobby . The storm is WAILING outside the front doors . They pause for a second . Behind them we hear the rapid THUD - THUD - THUD of Ben 's boots . Nancy goes straight to a desk and pulls out a flashlight . She points to the main staircase .</scene_description> <character>NANCY</character> <dialogue>I know where we can hide.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL STAIRCASE - CONTINUOUS</stage_direction> <scene_description>The women run up the stairs . Behind them , we hear Ben 's FOOTFALLS echoing .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR - CONTINUOUS</stage_direction> <scene_description>On the top floor , they race toward the end of a dark hallway . At the far end of the hall , Nancy illuminates a section of the ceiling .</scene_description> <character>NANCY</character> <dialogue>Give me a boost up -</dialogue> <scene_description>Julie helps Nancy reach a pull cord in the ceiling . A WOODEN LADDER pulls down . Nancy quickly climbs up . BEN WILLIS enters the hallway and continues toward them . ON THE LADDER Karla slips , nearly knocking Julie to the floor . They both scramble upwards - Ben hits the ladder - Just as Julie reaches the top rung she SCREAMS - BEN 'S HOOK IS ON HER FOOT ! Nancy appears in the opening and throws a brick down at Ben . It hits him in the chest and knocks him back . Julie makes it into the attic . They pull the ladder up behind them like a drawbridge .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ATTIC - NIGHT</stage_direction> <scene_description>Julie , Karla , and Nancy surround the hatch they 've just shut . They fumble with it -</scene_description> <character>JULIE</character> <dialogue>There's no way to lock it.</dialogue> <character>KARLA</character> <dialogue>What do we do?</dialogue> <scene_description>From below comes LAUGHTER . There 's a tug on the hatch , cracking it open . The girls pull it back shut , but it 's hard to get a grip . There 's more tugging , the hatch bending down ; they can see Ben . Then , the rope SNAPS . The hatch slams shut .</scene_description> <character>NANCY</character> <dialogue>There's no way to grip this thing.</dialogue> <scene_description>Suddenly the STEEL TIP of the HOOK pokes through the crack . It wriggles around . Turning . And begins to pull the hatch down . They try to hold it . But it 's no use . They let go and jump away . The attic is lit by a cathedral window . It 's crosshatched with wooden beams and pink insulation .</scene_description> <character>NANCY</character> <dialogue>Watch your step.</dialogue> <scene_description>THUNK ! Karla 's foot goes through a gap between two beams .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT</stage_direction> <scene_description>KARLA 'S FOOT dangles through the ceiling .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ATTIC - NIGHT</stage_direction> <scene_description>Julie helps Karla back up onto a beam .</scene_description> <character>NANCY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Stay on the beams!</dialogue> <scene_description>Karla and Julie follow her precarious progress . Ben climbs off the ladder to a beam . He watches them leap from beam to beam . His hook glints in the light . Julie , Karla , and Nancy move toward the cathedral window . They turn . They are cut off . They spread out against the wall looking for an opening to get back to the hatch . Ben feints toward Nancy then swipes at Julie - He misses . She leaps away . She looks down . Instead of insulation , she sees a WINDOW INTO THE HONEYMOON SUITE She sees her bed through a one - way mirror . Julie stares , momentarily transfixed . Karla is edging her way around the side of Ben .</scene_description> <character>BEN</character> <parenthetical>( re : the mirror . )</parenthetical> <dialogue>You'd be amazed by what you'd see. My wife with every man on the island, for example.</dialogue> <parenthetical>( to Julie . )</parenthetical> <dialogue>And you, sexy. I loved watching you.</dialogue> <character>JULIE</character> <dialogue>You sick freak.</dialogue> <scene_description>Ben suddenly whirls and lunges at Karla . He grabs her , but they both lose their balance , teetering for a moment on one of the beams , before falling - They CRASH through the mirror -</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT</stage_direction> <scene_description>Karla and Ben hit the bed in a rain of glass . Karla bounces to her feet and dives out of the way as Ben swings his hook .</scene_description> </scene> <scene> <stage_direction>EXT. ROOM BALCONY - NIGHT</stage_direction> <scene_description>Karla backs onto the porch . She backs up against the railing .</scene_description> </scene> <scene> <stage_direction>EXT. ATTIC WINDOW - NIGHT</stage_direction> <scene_description>Julie and Nancy reach the CATHEDRAL WINDOW . They open it and look out .</scene_description> </scene> <scene> <stage_direction>EXT. ROOM BALCONY - JULIE'S POV - NIGHT</stage_direction> <scene_description>and Ben advancing toward Karla , whose back is against the railing . Karla looks behind her , sees THE GLASS ROOF OF THE ORCHID HOUSE which does n't look nealy strong enough to suppor her . Ben advances , swining the hook . Karla leaps over the railing and onto the glass .</scene_description> </scene> <scene> <stage_direction>EXT. GREENHOUSE ROOF - NIGHT</stage_direction> <scene_description>Karla keeps a wary eye on Ben as she gingerly backs up on the glass . The GLASS begins CRACKING , subtle crack lines splintering out from her footsteps . Ben lunges and swipes at her with his hook . Karla leans away from the attack and loses her balance , slipping onto her back on the glass . She lifts her head . Starts to move . CRACK . The glass is fracuring beneath her . She looks through the glass . KARLA 'S POV - THE ORCHIDS BELOW She tries to slide toward a support . The glass CREAKS and MOANS as she moves across the room .</scene_description> <character>KARLA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>Oh, god, no -</dialogue> <scene_description>She 's almost to the support when THE ROOF EXPLODES taking Karla down into the orchid house .</scene_description> </scene> <scene> <stage_direction>INT. ORCHID HOUSE - NIGHT</stage_direction> <scene_description>The roof shatters in an explosion of flying glass . Karla land on her back . She 's unconsious -</scene_description> </scene> <scene> <stage_direction>INT. ATTIC WINDOW - NIGHT</stage_direction> <scene_description>Julie and Nancy look at the empty space which once was a roof supporting Karla -</scene_description> <character>JULIE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Karla!</dialogue> <scene_description>Ben turns and looks up at Nancy and Julie . Then , he sprints from the balcony . Julie and Nancy duck back into the attic .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction> <scene_description>Julie and Nancy climb down into the hallway . They are cautious , expecting Ben at every turn .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>They hurry across the lobby .</scene_description> </scene> <scene> <stage_direction>INT. ORCHID HOUSE - NIGHT</stage_direction> <scene_description>A sprawling , steam - filled room , dense with vegetation of all sorts and shelf after shelf of beautiful orchids . Karla lies unconscious . Slowly , she opens her eyes . There 's a rustling in the flowers . She tries to get up , but ca n't yet . She waits in terror as BIRDS fly up and out of the hole she 's made in the roof . Karla tries to stand and her leg gives way . She tests her knee -</scene_description> <character>KARLA</character> <dialogue>Oww.</dialogue> <scene_description>Karla starts hobbling . She reaches the door - it 's locked from the other side . There is a thick glass window set in the middle of the door . The cranes startle again , something upsetting them . Karla spins to look . Nothing .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL/ORCHID HOUSE - NIGHT</stage_direction> <scene_description>Julie and Nancy arrive at the door . Karla pounds on the other side - points to the lock .</scene_description> <character>KARLA</character> <dialogue>It's locked!</dialogue> <scene_description>Nancy sees a KEY RING by the door .</scene_description> <character>NANCY</character> <dialogue>It's got ta be one of these.</dialogue> <scene_description>Nancy tries the first of many keys . Something catches Julie 's eye . She moves in for a closer look . Her eyes go wide - ORCHID HOUSE - JULIE 'S POV A powerful BOLT OF LIGHTNING cracks . Fills the room with a pulse of bright light . BEN IS STANDING INSIDE AND HE 'S HEADING STRAIGHT FOR KARLA .</scene_description> <character>JULIE</character> <parenthetical>( terrified . )</parenthetical> <dialogue>He's inside.</dialogue> <scene_description>Karla spins . Sees him . Her terrified scream blends with the cranes , now SHRIEKING VIOLENTLY .</scene_description> <character>KARLA</character> <dialogue>Please! Hurry!</dialogue> </scene> <scene> <stage_direction>INT. HOTEL/ORCHID HOUSE - NIGHT</stage_direction> <scene_description>Nancy fumbles with the keys . Drops them . Julie tries to keep calm .</scene_description> <character>JULIE</character> <dialogue>Come on.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL/ORCHID HOUSE - NIGHT</stage_direction> <scene_description>Ben closes fast , slicing the tops off orchids as he goes . He skewers a bud on the tip of his hook . Karla pounds on the door .</scene_description> <character>KARLA</character> <parenthetical>( frantic . )</parenthetical> <dialogue>Hurry!</dialogue> <scene_description>Nancy fumbles for the right key but the lock is old .</scene_description> <character>JULIE</character> <dialogue>Nancy.</dialogue> <character>NANCY</character> <parenthetical>( crying . )</parenthetical> <dialogue>It's jammed!</dialogue> <scene_description>The key is stuck .</scene_description> <character>KARLA</character> <parenthetical>( through glass . )</parenthetical> <dialogue>Come on!</dialogue> <scene_description>She 's running out of time . Julie sees a FIRE AXE encased in the glass safety box .</scene_description> <character>JULIE</character> <parenthetical>( determined . )</parenthetical> <dialogue>No way!</dialogue> <scene_description>Julie smashes the glass with her elbow . Grabs the axe .</scene_description> <character>JULIE</character> <parenthetical>( to Nancy . )</parenthetical> <dialogue>Move!</dialogue> <scene_description>Julie hammers the door with the axe . Wood splinters . Glass cracks . Ben is almost on top of Karla now . Julie swings . The axe breaks the glass , pulls the frame out . Julie drops the axe . They grab Karla . Pull her through . Ben swings . The hook rips Karla 's shoe , but Julie and Nancy pull her through . Julie and Ben are face to face . Julie has the axe in her hands . She stares him down .</scene_description> <character>JULIE</character> <dialogue>Come on, gim me a shot -</dialogue> <scene_description>Ben rips off his hook , eyeing Julie .</scene_description> <character>KARLA</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Julie, come on.</dialogue> <scene_description>They flee . Ben tries the door , realizes it had locked behind him . He ca n't fit through the circular window . He throws his shoulder against the door . And again . And again . The door frame starts to give -</scene_description> </scene> <scene> <stage_direction>EXT. STORM SHELTER - NIGHT</stage_direction> <scene_description>Julie , Karla , and Nancy approach the iron door to the underground storm cellar . Julie carries the axe .</scene_description> <character>NANCY</character> <dialogue>It's over there.</dialogue> <scene_description>They struggle together to open the heavy door .</scene_description> </scene> <scene> <stage_direction>INT. STORM SHELTER - NIGHT</stage_direction> <scene_description>Stairs lead down into darkness . Karla hesitates -</scene_description> <character>KARLA</character> <dialogue>I do n't know.</dialogue> <character>JULIE</character> <dialogue>Come on, you can make it.</dialogue> <scene_description>Julie gets in , pulling Karla in behind her . They pull the door closed behind them .</scene_description> <character>NANCY</character> <dialogue>There's a light somewhere.</dialogue> </scene> <scene> <stage_direction>INT. STORM SHELTER - NIGHT</stage_direction> <scene_description>The darkness is complete . We hear MOVEMENT .</scene_description> <character>KARLA</character> <dialogue>Julie?</dialogue> <character>JULIE</character> <dialogue>I'm right here. Grab my hand.</dialogue> <character>NANCY</character> <dialogue>This place has emergency power. Just ease you way down the stairs and I'll find the light.</dialogue> <character>JULIE</character> <dialogue>Okay. I'm at the bottom. Karla, just get my hand.</dialogue> <character>KARLA</character> <dialogue>I'm holding your hand!</dialogue> <character>JULIE</character> <dialogue>No, you're not.</dialogue> <character>KARLA</character> <dialogue>Nancy?</dialogue> <scene_description>Nancy pulls the chain on an overhead bulb . The lights go on , illuminating THE DEAD CORPSES of Brooks , Derrick , Olga , and Titus - whose hand Karla is holding . The women SCREAM ! They muddle together , trying to collect themselves . Suddenly , there is a POUNDING on the iron door . They SCREAM . Then , Julie remembers the axe . She motions the others to stay back -</scene_description> <character>JULIE</character> <dialogue>All right -</dialogue> <scene_description>The iron hatch is slowly opening . Julie gets the axe into possition - WILL pokes his head through . He 's clutching a piece of wood as a weapon .</scene_description> <character>WILL</character> <dialogue>It's you guys, thank god. Is everyone okay?</dialogue> <scene_description>They are ecstatic to see him . They bound up the concrete stairs -</scene_description> <character>KARLA</character> <dialogue>Help's here. Help's here.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL WALKWAY - NIGHT</stage_direction> <scene_description>Will is already on the move toward the hotel .</scene_description> <character>WILL</character> <dialogue>Come on. We're gon na be okay.</dialogue> <character>JULIE</character> <dialogue>Did you get help?</dialogue> <scene_description>Will shakes his head . He 's walking woozily .</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What happened?</dialogue> <character>WILL</character> <dialogue>Estes came after me with a gaffing hook.</dialogue> <character>JULIE</character> <dialogue>He's in it with Willis?</dialogue> <character>WILL</character> <dialogue>I guess so.</dialogue> <scene_description>Julie points out that his chest and stomach are covered in blood , too .</scene_description> <character>JULIE</character> <dialogue>Your stomach, you're hurt -</dialogue> <scene_description>Will looks down , clutches himself , and keeps moving .</scene_description> <character>WILL</character> <dialogue>When I was coming back I saw your slicker friend looking for you guys down by the water.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Let's hurry and get inside.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - NIGHT</stage_direction> <scene_description>Ray guns the boat straight up onto the beach . He leaps from the boat .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR - NIGHT</stage_direction> <scene_description>Will slumps down on the bar floor . He 's floating in and out of consciousness . Julie leans over him , concerned .</scene_description> <character>JULIE</character> <dialogue>Oh, my god, you're bleeding to death.</dialogue> <scene_description>She looks back towards Nancy -</scene_description> <character>JULIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We need a first - aid kit.</dialogue> <character>NANCY</character> <parenthetical>( already moving . )</parenthetical> <dialogue>I saw one in the lobby.</dialogue> <scene_description>Karla starts , then hesitates . Will moans , looks at her .</scene_description> <character>NANCY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll come with you.</dialogue> <character>WILL</character> <dialogue>You'll be okay. It's over.</dialogue> <scene_description>Karla and Nancy rush from the bar . Julie looks tenderly at Will . He looks back at her . She pulls some hair off his forehead . He smiles weakly .</scene_description> <character>JULIE</character> <dialogue>Will, just hold on. We'll get you fixed up.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Karla and Nancy go to the area near the check - in and behind the desk .</scene_description> <character>NANCY</character> <dialogue>Look up there. I'll look over here.</dialogue> <scene_description>Karla looks behind the desk . Nancy is searching the shelves .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR - NIGHT</stage_direction> <scene_description>Julie tenderly searches the area around Will 's stomach . She 's fussing with the clothes , looking for the wound .</scene_description> <character>JULIE</character> <dialogue>You've got blood everywhere, but I ca n't find the wound.</dialogue> <scene_description>Will takes her head in his hands , looks her in the eye .</scene_description> <character>WILL</character> <dialogue>That's because it's not my blood.</dialogue> <scene_description>The slow change in Julie as she realizes . She starts to run . Will roughly grabs her .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's time you woke up, Julie.</dialogue> <scene_description>His voice switches to that of a familiar radio disk jockey .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( as Mark in the Morning . )</parenthetical> <dialogue>AND START CONTEMPLATING THE ULTIMATE MAGIC GETAWAY!</dialogue> <scene_description>He drags her out of the bar .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Nancy sees a white metal box sitting on a shelf . She reaches for it . It 's a first aid kit . ANOTHER HAND reaches over and lands on top of her hand . She jumps and sees Estes right behind her . Karla SCREAMS .</scene_description> <character>ESTES</character> <dialogue>Will. He's in on it. He's -</dialogue> <scene_description>Suddenly Estes 's expression changes to surprise , and A SPEAR TIP appears in the front of his chest . Nancy screams and looks over Estes 's shoulder to see BEN WILLIS standing there holding a spear gun . Estes topples over on top of Nancy , pinning her underneath his dying , convulsing body . Nancy struggles to get loose .</scene_description> <character>NANCY</character> <dialogue>Help me.</dialogue> <scene_description>Karla rushes to Nancy . She tugs on her arm , trying to pull her free . The fisherman strides toward them . He raises his hook . He swings at Karla 's head . THE HOOK CATCHES on a beam . Karla struggle with Nancy .</scene_description> <character>KARLA</character> <dialogue>Come on, come on.</dialogue> <scene_description>Ben tries to free his hook hand . Karla looks up at him . He calmly puts his foot onto Estes 's back and steps down with all of his weight , driving THE SPEAR TIP deep into Nancy who expires with a sigh .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Damn you.</dialogue> <scene_description>Karla , blind with rage , attacks the fisherman . He kicks out with a boot and sends Karla fying onto A GLASS TABLE in the lobby area . The table explodes . Karla is finished . The fisherman works his hook free from the post . Karla is unmoving and looks quite dead .</scene_description> </scene> <scene> <stage_direction>EXT. WOOD TRAIL - NIGHT</stage_direction> <scene_description>Will pulls Julie along a muddy path in the rain . He 's got her by the hair . She 's slipping and falling .</scene_description> <character>WILL</character> <dialogue>Look at the bright side, Jules. We finally get to spend some quality time together.</dialogue> <scene_description>Julie 's trying to get to the knife she 's stashed in her back pocket .</scene_description> <character>JULIE</character> <dialogue>Why are you doing this to me?</dialogue> <character>WILL</character> <dialogue>Me, me, me. It's always about you. I'm having bad dreams. I ca n't sleep. I'm not doing well in school. I'm having trouble with my boyfriend.</dialogue> <character>JULIE</character> <dialogue>I trusted you.</dialogue> <character>WILL</character> <dialogue>We had a connection, did n't we? I can tell you one thing, though. Ray did n't trust me. He was right. He's dead, but he was right.</dialogue> <scene_description>They come into the orchard . They are covered in mud . Julie stumbles again . Goes to her knees . Works the knife free and slashes up at Will . She slices him across the face . He steps back , feels the blood .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What'd you have to do that for?</dialogue> <scene_description>There is a creepy pause . Will stares at his own blood . She catches her breath . Then suddenly , Will knocks the knife from her hand . He lifts her by the hair . Enraged , he puches her in the face . She goes down .</scene_description> </scene> <scene> <stage_direction>EXT. ORCHARD - NIGHT</stage_direction> <scene_description>Will has Julie in a choke hold . He drags her toward the open graves . Julie is losing energy , slowly giving up .</scene_description> <character>JULIE</character> <dialogue>Why?</dialogue> <character>WILL</character> <dialogue>Why? Come on, Julie. Think. You'll get it. Will Benson - Ben's son.</dialogue> <scene_description>He shoves her . She falls backward into the arms of Ben Willis .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hi, Dad.</dialogue> <scene_description>Julie WAILS , struggling wildly in Ben 's grasp .</scene_description> <character>JULIE</character> <dialogue>OMIGOD -</dialogue> <character>BEN</character> <dialogue>That's my boy.</dialogue> <scene_description>Ben holds her back to look at her . He throws back the hood of his slicker . We see his face clearly for the first time .</scene_description> <character>JULIE</character> <dialogue>No, no, no -</dialogue> <scene_description>Ben pulls off his hook and strokes Julie 's cheek with his stump .</scene_description> <character>BEN</character> <dialogue>Shush, now. No more screaming. No more running. Time to die.</dialogue> <character>RAY</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Let go of her! Now!</dialogue> <scene_description>Ben and Will spin to see RAY like the hero from a western , step out from behind a tree . Ben starts to laugh . Will joins him .</scene_description> <character>WILL</character> <dialogue>You got ta be kiddin' me.</dialogue> <character>BEN</character> <dialogue>What're you gon na do, boy? Call us names?</dialogue> <character>RAY</character> <dialogue>Let her go. Now.</dialogue> <scene_description>Ray raises the .38 caliber handgun . He COCKS the hammer . Ben does n't let go of Julie . Lightning fast , he slaps his hook back on and gets the point to Julie 's neck .</scene_description> <character>BEN</character> <dialogue>Think about it, boy. You're no killer.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That's my job.</dialogue> <scene_description>Ray hesitates , his finger on the trigger . He does look scared . Ben takes a step toward Ray . Then another , pushing Julie in front of him . Will moves closer , too .</scene_description> <character>RAY</character> <dialogue>Stop right there.</dialogue> <scene_description>Ray 's finger squeezing down the trigger .</scene_description> <character>BEN</character> <dialogue>You do n't have it in you.</dialogue> <scene_description>Suddenly , Will dives for Ray . Ray gets a shot off , tagging Ben in the shoulder . The gun goes flying . Julie spins and hits Ben in the face . He knocks her into her own grave . Mud begins to slide in on her . She tries to scramble out . Will and Ray wrestle , punching each other repeatedly in the face . Will has Ray down and his hands around his kneck . He looks him in the eye .</scene_description> <character>WILL</character> <dialogue>We have n't missed you down here, Ray boy. I got to know Julie real well.</dialogue> <scene_description>Will gets the better of Ray . He 's stronger . He yanks him up - choking him . Ray is begging to check out .</scene_description> <character>WILL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Think of all the things I'm gon na do to her.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Dad, finish him.</dialogue> <scene_description>Ben charges toward Ray 's back . He pulls back the hook for a roundhouse slashing - At the last second , Ray dips , elbows Will . THE HOOK goes straight into Will 's chest . The fisherman has hooked his own son . Father and son make final eye contact , the son 's eyes go blank . Ben stares in shock as Will expires , falling back into the mud . Ben SCREAMS in rage . Ray is tired . THWACK . Ben begins beating Ray . He puches him . He straight - arms him with the hook . He knocks him again and again and Ray is beaten , giving up . Ben has Ray against a tombstone . The hook slowly inches toward his eye .</scene_description> <character>BEN</character> <dialogue>Gon na blind you first.</dialogue> <scene_description>The hook is touching the eyelid - A GUNSHOT rings out . A look of wonder crosses Ben 's face . He slowly turns away from Ray . JULIE stands behind him holding the gun .</scene_description> <character>JULIE</character> <dialogue>Just. Die.</dialogue> <scene_description>BLAM . BLAM . BLAM . She empties the gun into Ben , who flies backward into Julie 's grave . As he tumbles , Ben releases the dirt stacked beside the grave . A MUDDY LANDSLIDE slowly covers Ben up . Ben 's face is covering over . His mouth starting to fill with dirt -</scene_description> <character>BEN</character> <dialogue>You ca n't kill me.</dialogue> <scene_description>His face is completely covered . His mouth still moving .</scene_description> <character>BEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll always be with you.</dialogue> <scene_description>The dirt covers him . It continues to fill , until just the GLEAMING METAL HOOK waves futilely out of the dirt . Then , is stops wiggling . Julie goes to Ray .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - NIGHT</stage_direction> <scene_description>Ray and Julie limp across the grounds of the hotel . They are moving past some shrubbery when A DARK FIGURE jumps out . Julie yells . She and Ray jump back . KARLA stops in the middle of her kamikaze attack , knife held out .</scene_description> <character>KARLA</character> <dialogue>Oh, god, it's you -</dialogue> <character>JULIE</character> <dialogue>You're okay. Thank god.</dialogue> <character>KARLA</character> <dialogue>Is he?</dialogue> <scene_description>They nod . They go to her - jubilant group hug time . They compose themselves .</scene_description> <character>KARLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, it's true what they say about package vacations. You get what you pay for.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now, how about we get off this piece of crap island.</dialogue> <scene_description>The first rays of the morning sun appear . Ray looks adoringly at Julie as the beautific light catches her face . Ray kisses her . She kisses him back . They are silhouetted against a beautiful orange sunrise .</scene_description> <character>JULIE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>We do n't have to tell anyone it rained the whole time. It can just be our little secret.</dialogue> <scene_description>The three of them throw their arms around each other 's shoulders and they start walking for the beach as . A COAST GUARD HELICOPTER rises into view .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>Establish . The sun setting over a quaint street in a college town . SUPERTITLE : FOUR MONTHS LATER Julie pedals her bicycle down the street . She has a book bag over her shoulder . It feels like one of the first days of school . She rides the bike up to a small house on the perfect street . She rolls the bike right up to the front door .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - DAY</stage_direction> <scene_description>Julie lets herself into the house . She leans her bike against another bike in the hallway . It 's a perfect day . Birds CHIRPING . WIND in the willows . There 's another NOISE . from inside her house . She goes perfectly still . And listens . Behind her , by the kitchen , the shadow of a FIGURE moves . She whirls . NOTHING She creeps down the hallway toward her kitchen . She pauses - The dark figure almost knocks into her . She SCREAMS . It 's Ray . He 's holding a disemboweled toaster .</scene_description> <character>JULIE</character> <dialogue>Ray. what are you doing?</dialogue> <character>RAY</character> <parenthetical>( toaster . )</parenthetical> <dialogue>Oh. it's not working right. You're home early.</dialogue> <parenthetical>( sees she 's shaken . )</parenthetical> <dialogue>Did I scare you?</dialogue> <character>JULIE</character> <dialogue>Never do that again.</dialogue> <character>RAY</character> <parenthetical>( tender . )</parenthetical> <dialogue>Hey - I did n't know you were here. It's okay.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>We got the refrigerator in. Come see.</dialogue> <scene_description>She sees the love in his eyes . She hugs him .</scene_description> <character>JULIE</character> <dialogue>I love it here.</dialogue> <character>RAY</character> <dialogue>It's gon na be great.</dialogue> </scene> <scene> <stage_direction>INT. STAIRWAY - NIGHT</stage_direction> <scene_description>Julie climbs to the top of the stairs . She passes Ray in the bathroom . She pauses in the doorway -</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>Ray is at the sink in boxer shorts . He 's using an electric Waterpic devicice that has just been opened , a gift from the party . It makes a low WHIRRING sound .</scene_description> <character>RAY</character> <parenthetical>( seeing her . )</parenthetical> <dialogue>Checking the locks again?</dialogue> <character>JULIE</character> <dialogue>You know me to well.</dialogue> <scene_description>Julie smile and walks to the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction> <scene_description>Julie climbs into bed with a book . The bedroom is clean and orderly . The windows are closed . The closet door is shut . The room is decorated simply : a high antique bed ; unopened boxes ; a highboy ; an antique mirror leaning against the wall . A stuffed bear sits in a chair . There is a CLATTER from another room . Julie freezes . She waits . She hears it again . She climbs out of bed .</scene_description> </scene> <scene> <stage_direction>INT. SECOND BEDROOM - NIGHT</stage_direction> <scene_description>Julie walks into the dark spare bedroom . The CLATTERING SOUND comes from the open window . The wind is blowing the blinds . Julie relaxes . She shuts the window . As she leaves the room , we notice the dirty imprint of a boot below the window .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Julie passes Ray who is still absorbed with the new toy . Behind him , the door softly closes . The lock twists . Ray is oblivious , happy being the dental - hygene pacesetter of the household .</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Julie enters the room . She looks at the closet door . It is open a crack . She hesitates , trying to remember if it was open before - it was n't . Julie approaches the closet . She catches her refelction in the mirror next to the closet . She peers into the crack of the closet . She ca n't see anything . She throws open the closet door . NOTHING She looks around the room .</scene_description> <character>JULIE</character> <dialogue>What is my problem?</dialogue> <scene_description>She sits down on the bed . We see her bare feet from under the bed . She smiles , relaxes . She looks in the mirror leaning against the wall . Something has caught her eye . She freezes . She turns slowly back to the reflection in the mirror . She sees the glint of steel - A HOOK - CRASH ZOOM INTO REFLECTION - THE FISHERMAN CROUCHING UNDER HER BED Julie turns too late - The fisherman lunges out and grabs her legs . Julie screams . She goes down - Her nails scrape into the wooden floor as she is dragged under the bed . THE END</scene_description> </scene> </script>

Julie James wakes up screaming in her college class from a dream involving the terrifying, vengeful fisherman, Ben Willis. Julie is attending summer classes in Boston, in avoidance of returning to her hometown of Southport. All the while, she suffers from the painful memories and nightmares, trying to cope with the accident and brutal murders of her friends, Helen Shivers and Barry Cox, from the summer before. Julie’s friend and roommate, Karla Wilson, receives a phone call from a local radio station, asking her to participate in a contest to win an all-expenses-paid vacation to the Bahamas for the Fourth of July weekend. The contest is that Karla must guess the capital of Brazil. Her answer is “Rio de Janeiro” and radio host tells her she is correct and she is given four tickets for the trip. Julie invites her boyfriend, Ray, but he declines. He is hurt by her earlier refusal to visit him in Southport, but is able to go away with her college friends. It is revealed that Ray plans to propose to Julie, and he changes his mind about the trip, planning to show up as a surprise. That evening, Ray and his co-worker, Dave, drive to Boston to meet Julie. On the way, they stop due to a car in the middle of the road. As Ray gets out to inspect the scene, Ben Willis appears and impales Dave through the mouth with his hook. Ben Willis takes Ray’s truck and chases him down the road. Ray manages to get away, but is injured from falling down a hill. The next morning, Julie is waiting outside her apartment for Ray to show up, but Karla convinces her that he is blowing her off. At that moment, Tyrell, Karla’s boyfriend, arrives in his Jeep with their friend, Will Benson. Knowing Will has a crush on Julie, Karla explains to Julie that she didn’t want her fourth ticket to go to waste, so she invited Will. Julie is not thrilled about Will going, but gets in the car anyway. As the group arrives in the Bahamas, on the island of Tower Bay, they find that other guest are leaving due to the fact that hurricane season has begun. As they are shown up to their rooms, much to her surprise, Julie finds that she is sharing her room with Will. That evening, the group heads to the hotel’s bar, Julie is talked into singing karaoke. She sings along at first, but immediately stops when the words, “I STILL KNOW WHAT YOU DID LAST SUMMER” roll onto the screen. Terrified, she leaves the group and runs back to her room and is soon met by Will who laid out a surprise for her including flowers and a love note. Julie takes a shower after she kindly sidesteps Will's affection for her while Tyrell and Karla (and soon-after Will) decide to get into the hot tub. While Julie is in the bathroom, she notices that her toothbrush has gone missing. Feeling something is wrong, she searches the room and finds Darick, the dockhand, hanging dead in the closet after Ben Willis slashed his head with his hook. After this gruesome discovery she runs out and grabs Tyrell, Karla, and Will and with the hotel manager present, they search the room, but there are no signs of Darick. The hotel manager does not believe her story and Julie attempts to call the cops, but finds that the phone lines are dead due to incoming hurricane. The group and the hotel staff prepare for storm. Meanwhile, Ben Willis makes his way into the hotel and kills the maid, Olga by slicing her cheek and stabbing her in the back with his hook. Later on, the poolboy Titus Telsco was the next victim to Ben when he impales Titus with a pair of garden shears after pinning his hand with his hook. The following day, the group finds that members of the hotel staff and the manager have been murdered and that the two-way radio, their only way of contact, has been destroyed. Isolated, Julie is forced to tell the others about the previous summer. Tyrell then suspects that Estes, the boat hand porter, is the murderer, since he is the only one who cannot be found. The group goes to Estes’ apartment, searching for clues. While there, they find Julie’s missing toothbrush and Karla’s hair tie, concluding Estes has been using voodoo to protect them. Estes appears and states the capital of Brazil is not Rio, revealing that the trip has been a set-up. He then leads the group to a graveyard in the forest where they find two graves of Ben Willis’ wife and daughter. There is also an empty grave and tombstone with Julie’s name. Estes explains that Ben Willis once had two children, a boy and a girl, and murdered his cheating wife in the hotel room that Julie is staying in. In anger, Julie shouts that she will not be killed by Ben and that they will fight against him. At that moment, the group notices that Estes has gone missing, but Will volunteers to go find him. Julie, Karla, and Tyrell head back to hotel to gather supplies to defend themselves. They head to the kitchen to find something to eat, and find Nancy, the hotel bartender, hiding in the freezer. Meanwhile, Will finds Estes to help them but he attacks Will while Ray take a boat to the island. Meanwhile, the fisherman appears in the kitchen and kills Tyrell, stabbing his hook through Tyrell’s throat. The girls are then chased to the hotel attic, where Karla is attacked by Ben and they both fall through the attic to the hotel bedroom below. After a brief struggle, Karla runs from the hotel room and jumps onto the greenhouse below. Julie and Nancy are able to rescue Karla just in time and run to the storm cellar to take refuge. Nancy turns on the light and they find that the storm cellar is storage for all of the dead bodies. Suddenly, Will bursts in and convinces the girls to head back to the hotel, stating that he saw the fisherman out on the beach. Back at the hotel, Julie sees that Will is bleeding from his stomach, so Nancy takes Karla to find a First Aid kit. While retrieving the kit, Nancy and Karla find Estes has been stabbed with a harpoon spear and is slowly dying and falls on top of Nancy. Ben Willis appears and impales Nancy to Estes, and presumably kills Karla as well. Back in the lobby, Julie is tending to Will, unable to find a wound in which the blood is coming from. Will states that she cannot find a wound because it is not his blood. It is then that Will asks Julie what her favorite radio station is, revealing he was the radio host caller. Will grabs her and drags her to the graveyard in the forest. Julie cries and asks him why he is doing all of this, to which Will states his name is Will Benson, Benson = Ben’s son. Ben Willis appears and confirms that Will is his child and attempts to murder Julie, when Ray shows up. Ray is attacked by Will, and a fight ensues. Just as Ben is about to stab Ray, Ray moves and Ben inadvertently stabs and kills Will. Ben shouts in anger from killing his own son, Julie fires a gun, shooting Ben in the chest. Ben then falls dead into the empty grave made for Julie. Ray comforts Julie now that he is dead. Back at the hotel, Karla is found alive and the three are rescued by the Coast Guard. Sometime later, Ray and Julie have married and are in their newly purchased home. Ray is brushing his teeth before bed and Julie is in their bedroom. She hears a noise and searches the house. Finding nothing out of place, she returns to her room, convincing herself that she’s fine. The bathroom door has been quietly shut and locked, while Ray is occupied. Julie sits down on her bed and looks into her mirror, noticing Ben Willis under her bed. The fisherman grabs her foot with his hook and pulls her under the bed.

Nine Days_2020

tt10451852

<script> <scene> <scene_description>NINE DAYS Written by Edson Oda BLUE: 07.25.19</scene_description> </scene> <scene> <stage_direction>AA1 INT. WILL'S HOUSE/LIVING ROOM - DAY AA1</stage_direction> <character>CLOSE ON A TV SCREEN</character> <dialogue>It shows - COLOR BARS.</dialogue> <dialogue>A continuous COLOR BARS TONE.</dialogue> <dialogue>Suddenly... the screen turns WHITE.</dialogue> <dialogue>IN THE TV: the POV of a NEWBORN. A blurry image of her PARENTS smiling at her.</dialogue> </scene> <scene> <stage_direction>A1 INT. WILL'S LIVING ROOM - DAY A1</stage_direction> <scene_description>MONTAGE shows the POV of this baby growing up. A VIOLIN SONG starts. Now at 1 year old, the baby crawls through the house. At 3 years old, the little girl plays with a TOY VIOLIN. At 5 years old, she dances in the rain, jumping in the puddles. At 7 years old, the girl plays the violin, this time a real one. Her teacher is by her side. At 9, she's at school. A crayon in her hand, she draws with her CLASSMATES. At 12, the girl beautifully plays the violin - a prodigy. At 15, she blows the candles out on her birthday cake. At 17, she plays the violin in an orchestra. At 21, it's her graduation. She and her classmates throw their caps up into the air. At 23, she is the soloist of an orchestra. At 27, in the airplane, she lifts up the window shade to see the sunset. She looks at her reflection in the window glass - delicate traits and thoughtful eyes. This is AMANDA. Finally, at 28, she rehearses with a bigger orchestra. They play the SONG we were listening to during the MONTAGE. Amanda plays the solo with the virtuosity of someone who dedicated her life to the craft. The other MUSICIANS can do nothing but admire her performance. At this point, we discover that the TV is in a LIVING ROOM. A MAN watches it from his couch. A VCR records the TV. The man has an impassive look, with eyes that have seen more than they wanted to see. You would say that he's in his forties, but he's much older than that. Meet WILL. CLOSE on his eyes fixed on the screen, like a caring father who watches over his child. ON THE TV: Amanda's solo gradually slows down. One last note is played, which echoes through the rehearsal room. The silence is broken by an applause from her peers. Will stops recording it and ejects the tape. Then grabs a sheet of paper. ON THE TV: we hear the DANISH CONDUCTOR give the last instructions to the musicians.</scene_description> <character>CONDUCTOR</character> <dialogue>Good job everyone. See you all at 5 tomorrow. Eat well, rest well, fuck well.</dialogue> <parenthetical>(musicians laugh)</parenthetical> <dialogue>And if you have any problems... don't let me know.</dialogue> <parenthetical>(more laughs)</parenthetical> <dialogue>Will writes on the sheet of paper. "Amanda Grazzini. 10327 days since selection. Last rehearsal before concerto. Sublime performance." (A beautiful handwriting).</dialogue> <dialogue>ON THE TV: Amanda packs her violin. She passes by the conductor...</dialogue> <character>CONDUCTOR</character> <dialogue>Amanda.</dialogue> <scene_description>She stops.</scene_description> <character>CONDUCTOR</character> <dialogue>That was really good.</dialogue> <character>AMANDA</character> <dialogue>Thanks.</dialogue> <scene_description>Will watches her leaving the building. Then he grabs the notes and the VHS tape, and heads to --</scene_description> </scene> <scene> <stage_direction>INT. FILE CABINET ROOM - CONTINUOUS</stage_direction> <scene_description>Dozens and dozens of FILE CABINETS. Each one with a name on it. Will opens a cabinet named "AMANDA." INSIDE THE CABINET: several VHS tapes and folders with handwritten notes from the last years, maybe decades. Everything neatly organized. Will places his recent notes and the VHS tape inside the cabinet and closes it.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>When Will comes back to the living room, a WIDER SHOT reveals many more TVs hanging on the wall - thirty of them. Each one broadcasts the POV of a different person, and each TV has a name written on it: Amanda, Rick, Fernando, Luiza, etc... MONTAGE: Will checks the other TVs. He also takes notes and records some of the moments on VHS tapes. ON A TV: a kid is bullied by his classmates at school. They throw his backpack to each other while he tries to get it back. Will writes on a paper as he watches the screen: "Rick Virgil. 5122 days since selection. Bullying continues. Increasing introspection." ON ANOTHER TV: a woman works in a factory. She folds paper boxes and puts brownies inside them. She repeats it over and over again. Will writes on paper: "Michelle Johnson. 7789 days since selection. No significant/relevant new event". ON ANOTHER TV: in a dance studio, a woman practices some ballroom moves with her partner. Will writes down: "Luiza Ceolin. 10291 days since selection. Last dance class before wedding". ON ANOTHER TV: a man cocks his pistol at a SHOOTING RANGE. Despite the distance, he hits the bullseye several times. As the man finishes his training and heads to the exit, we realize that he's in a WHEELCHAIR. Will writes down: "Fernando Pereira. 9679 days since selection. Shooting Range practice. Slow but noticeable recovery". INTERCUT: Will puts the handwritten notes and the VHS tapes into their respective cabinets in the CABINET ROOM. As the montage goes on, Will notices the sun setting in the TVs. He sees people in their end of the day activities: coming home, getting back from work, having dinner. It starts to get dark in Will's house as well. On the TVs: as people prepare to sleep, we see their last arrangements - taking a shower, brushing their teeth, going to bed... Soon, all the TVs go BLACK - people close their eyes to sleep. Some of the screens go BLACK, other broadcast blurry/colorful images, representing the DREAMS of people. EXCEPT ONE: AMANDA'S TV. She is still awake and plays her violin at a rehearsal studio. Will comes close to her TV. Amanda finishes the song and walks through the studio. No one else is there. Amanda enters the bathroom and washes her face. She stares at herself in the mirror. It's still a POV, but the mirror makes it possible for Will to see her face. For a moment it feels like they are looking at each other. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - CONTINUOUS</stage_direction> <scene_description>No vehicles here. Pieces of wood and metal on the floor. On a desk: hammers, screwdrivers, drills, a handsaw, a mallet, smoothing planes, jigsaws. Will works on fixing a HOMEMADE SPOTLIGHT. His skillful hands cautiously tighten a small bulb into it. Done. He TURNS IT ON. A strong light sparks, but suddenly... SCRASH.: THE BULB EXPLODES.: WILL LOOKS FOR OTHER BULBS, BUT CAN'T FIND ANY.:</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - NIGHT</stage_direction> <scene_description>Will leaves the house and passes through the fence door. We find out that it's a DESERT outside. Will holds a BAG and a LANTERN which illuminates his path. After walking for a while, he gets to --</scene_description> <character>A DUMPING GROUND</character> <dialogue>Will searches through the several objects on the ground: papers, boxes, wood, old furniture... most of the things are in good condition. He lifts an old bicycle to find some LIGHTING BULBS below. He chooses the ones he likes and puts them into his bag. He also collects some VHS TAPES.</dialogue> </scene> <scene> <stage_direction>EXT. DESERT - LATER</stage_direction> <scene_description>As Will walks back home, he passes by a house - similar to the one he lives in. The LIGHTS ARE ON. Through its window, we can see a MIDDLE AGED MAN watching several TVs from his couch. He's dressed like Will - office shirt and dark pants. Will passes by his house without saying anything. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>OFF SCREEN: the SOUND of Will opening the door. Amanda's TV is ON. She's awake, still in bed. Her eyes wide open, looking at the ceiling. She slowly breathes in and breathes out. Probably middle-of- the-night insomnia. Will comes closer. He pulls a chair and sits next to the TV. He stays there as if to keep her company through the night.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY (TV INSERT)</stage_direction> <scene_description>POV of people waking up. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. WILL'S HOUSE/BACKYARD - DAY</stage_direction> <scene_description>We watch from behind the fences: Will harvests tea leaves from his tiny planter. He stares at the dawn. Strangely there's NO SUN in this weird sunset. Night is gradually replaced by day, as if a big light was turning on.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - DAY</stage_direction> <scene_description>A small room with some chairs and a VIDEO PROJECTOR on a small desk. He sweeps the floor with a broom. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - DAY</stage_direction> <scene_description>He puts his notes from today into the cabinets.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - DAY</stage_direction> <scene_description>This is his work space: a desk in the middle of the room, some papers on it and a few chairs around it. For the moment, though, he just uses the place to IRON a SOCIAL SHIRT and SOCIAL PANTS.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>On the stove: water boils inside a TEA POT. Dried tea leaves inside it. Will turns it off. Suddenly... His WRIST WATCH ALARM BEEPS. It's time. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>He lowers the volume of the TVs, except Amanda's. Then he INSERTS the VHS tape in the VCR. It reads: AMANDA - CONCERTO DAY. He presses RECORD. ON AMANDA'S TV: she sits on her bed and stares at the CONCERTO FLYER. ON THE FLYER: only the conductor and Amanda's pictures are featured. She lays it on the bed, then looks at the violin case resting on the floor. She keeps staring at the violin case for a long, long beat. Will is puzzled. Suddenly -- The DOORBELL in Will's house RINGS. He walks to -- THE FRONT DOOR Will opens it. We see a tall Asian man (40s) - British accent - wearing an elegant social shirt, and social pants. He holds a grocery paper bag. This is KYO.</scene_description> <character>KYO</character> <dialogue>I brought you some supplies.</dialogue> <scene_description>Will studies him.</scene_description> <character>WILL</character> <dialogue>Did you come here to bring supplies or to watch the concerto?</dialogue> <scene_description>Kyo thinks.</scene_description> <character>KYO</character> <dialogue>Both.</dialogue> <scene_description>As Kyo walks down the corridor, Will points to the kitchen.</scene_description> <character>WILL</character> <dialogue>I made some tea.</dialogue> <character>KYO</character> <dialogue>Love it.</dialogue> <scene_description>Kyo heads to the KITCHEN. He opens the fridge to find it filled with rotten food. Will hasn't consumed anything again. Kyo shakes his head.</scene_description> <character>KYO</character> <dialogue>What a waste.</dialogue> <parenthetical>(finding more rotten food)</parenthetical> <dialogue>What a fucking waste.</dialogue> <scene_description>Kyo throws the old food away and replaces it with the fresh groceries from the paper bag. Then he looks at the stove - the TEAPOT is there.</scene_description> <character>KYO</character> <dialogue>Here you are...</dialogue> <scene_description>He pours the tea into a cup and smells it with delight.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Will still stares at Amanda's TV. Kyo comes in holding his cup of tea.</scene_description> <character>KYO</character> <dialogue>Anything you want me to bring?</dialogue> <character>WILL</character> <dialogue>No. I got all I need.</dialogue> <character>KYO</character> <dialogue>Love?</dialogue> <character>WILL</character> <dialogue>What?</dialogue> <character>KYO</character> <dialogue>"Love is all you need."</dialogue> <scene_description>No answer. As always, Will just ignores him. Kyo drinks his tea and focuses on Amanda's TV. He stares at her playing the violin.</scene_description> <character>KYO</character> <dialogue>Is everything ok with her?</dialogue> <character>WILL</character> <dialogue>Why do you ask?</dialogue> <character>KYO</character> <dialogue>I've never seen her practice right before a concerto.</dialogue> <character>WILL</character> <dialogue>She's just a little nervous.</dialogue> <scene_description>Will seems a bit anxious too. A moment until he heads to the OFFICE ROOM. Kyo stays and stares at the other TVs</scene_description> <character>KYO</character> <dialogue>She's gonna be fine. Why don't you sit?</dialogue> <character>WILL</character> <dialogue>I'm gonna get dressed.</dialogue> <character>KYO</character> <dialogue>Be my guest.</dialogue> <scene_description>Will heads to the OFFICE ROOM. Kyo stays and stares at the other TVs.</scene_description> <character>KYO</character> <parenthetical>(to himself)</parenthetical> <dialogue>So, what's new?</dialogue> <scene_description>He does a quick analysis of people's lives. He starts watching a man eating bacon, eggs and sausages --</scene_description> <character>KYO</character> <dialogue>Rob keeps working on his heart attack... Kate has a new boyfriend... Armenia bought another cat... Rick's still bullied...</dialogue> <scene_description>Meanwhile, Will is at the OFFICE ROOM, wearing the shirt that he ironed. In the LIVING ROOM, Kyo watches the POV of a woman staring at her reflection in the mirror. Her name is LUIZA and she's trying on a WEDDING DRESS. INTERCUT BETWEEN KYO AND WILL, talking from DIFFERENT ROOMS.</scene_description> <character>KYO</character> <dialogue>Will, when is Luiza getting married?</dialogue> <scene_description>No answer.</scene_description> <character>KYO</character> <dialogue>Will?</dialogue> <scene_description>Will is putting on a tie.</scene_description> <character>WILL</character> <dialogue>All information is in her cabinet.</dialogue> <character>KYO</character> <dialogue>I know. But when is she getting married?</dialogue> <scene_description>Will sighs.</scene_description> <character>WILL</character> <dialogue>In eight days.</dialogue> <scene_description>Kyo takes his agenda out of his pocket and writes on it.</scene_description> <character>KYO</character> <dialogue>Perfect. Thanks for inviting me.</dialogue> <scene_description>Kyo scans through the other TVs. He relaxes as if watching a Sunday football game. Will comes back to the room, wearing a shirt, tie, and nice pants -- He's ready to watch the concerto. Will sees Kyo's feet over the COFFEE TABLE.</scene_description> <character>WILL</character> <parenthetical>(Can you not do that?)</parenthetical> <dialogue>Kyo takes his feet off the table. Will's clearly annoyed.</dialogue> <character>KYO</character> <dialogue>You may pretend you don't like me, but I know you're gonna cry everyday when I'm gone.</dialogue> <character>WILL</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>I didn't know you're going anywhere.</dialogue> <character>KYO</character> <dialogue>You'll see... You'll see...</dialogue> <scene_description>Suddenly: A COUNTRY SONG starts playing. Will and Kyo look at the TV it comes from. It's FERNANDO, the paraplegic man who was practicing at the shooting range. Fernando raises the volume of his SPEAKERS and gets to his bathroom. Then prepares to take a shower. However, because he can't move his legs, it takes him a while to move from the wheel chair to the bath tub. Through his struggle, we can see that he's still new to this process. While Will and Kyo watch Fernando's lasting effort...</scene_description> <character>KYO</character> <dialogue>Looks like Fernando is doing much better...</dialogue> <scene_description>No answer. Will keeps watching Fernando's struggle until he finally gets into the bathtub. Will still stares at Fernando TV, when... Kyo points to Amanda's TV.</scene_description> <character>KYO</character> <dialogue>Look. She's heading to the concerto.</dialogue> <scene_description>They look at Amanda's TV. She drives her car on a freeway. Will lowers the volume from Fernando's TV. Their eyes focus on Amanda's POV while she drives.</scene_description> <character>KYO</character> <dialogue>What time does it start?</dialogue> <character>WILL</character> <dialogue>At 6.</dialogue> <character>KYO</character> <dialogue>So why is she driving so fast?</dialogue> <scene_description>Suddenly -- HER CAR HITS A CONCRETE WALL at a tunnel entrance. The WINDSHIELD SHATTERS --- and in a fraction of a second... ... Her TV TURNS OFF. Silence. Just like that, Amanda is dead. CLOSE on the VCR, still in REC mode.</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - NIGHT</stage_direction> <scene_description>Kyo is in front of Amanda's cabinet, reading her files. It looks like he's been there for a long time. We see a pile of folders on the floor. A dead silence. WILL sits in a chair, next to the cabinets. He stares into space - no emotion on his face.</scene_description> <character>KYO</character> <dialogue>And you're sure you haven't seen anything different?</dialogue> <scene_description>Will doesn't answer; his mind is somewhere else.</scene_description> <character>KYO</character> <dialogue>Will?</dialogue> <scene_description>He wakes up from his deep thought.</scene_description> <character>WILL</character> <dialogue>What did you say?</dialogue> <character>KYO</character> <dialogue>Have you seen anything different?</dialogue> <character>WILL</character> <dialogue>No.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>Yes.</dialogue> <character>KYO</character> <dialogue>No? Yes?</dialogue> <character>WILL</character> <dialogue>Some problems sleeping. But she usually had them before big Concertos.</dialogue> <scene_description>Kyo finishes reading her files. He puts everything back to the cabinet and CLOSES it.</scene_description> <character>KYO</character> <dialogue>Well... Nothing we do now is gonna change anything. Amanda was definitely a great choice... and you should be proud of everything she achieved.</dialogue> <scene_description>Will doesn't answer. He stands up and goes to the -- 20A LIVING ROOM 20A He sits on the couch and stares at the TVs. Kyo soon sits by his side.</scene_description> <character>KYO</character> <dialogue>I'm sorry Will. She was a wonderful, wonderful person.</dialogue> <scene_description>Will stares at Amanda's TURNED OFF TV for a moment.</scene_description> <character>WILL</character> <dialogue>What if she did it on purpose?</dialogue> <character>KYO</character> <dialogue>Her car hit a concrete wall. She died instantly.</dialogue> <character>KYO</character> <dialogue>Those are the only things we know for sure. Anything else would be speculation.</dialogue> <character>WILL</character> <dialogue>I didn't see her turning the wheel.</dialogue> <character>KYO</character> <dialogue>Anything else would be speculation.</dialogue> <scene_description>The silence sinks in. Suddenly...</scene_description> <character>AMANDA'S TV TURNS ON.</character> <dialogue>ON THE TV: COLOR BARS - like the moments before a transmission starts. We hear the loud COLOR BARS TONE.</dialogue> <character>KYO</character> <dialogue>Try to get some rest. Tomorrow you have a lot of work to do.</dialogue> <scene_description>Kyo puts his hand on his shoulder, then walks away. Will stays in the room, staring at the COLOR BARS SCREEN.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - NIGHT</stage_direction> <scene_description>The COLOR BARS TONE echoes through outside the house - we can hear it loud, but some people can hear it even louder...</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - DAY</stage_direction> <character>DAY ONE</character> <dialogue>It's already morning, but the COLOR BARS TONE is still there.</dialogue> <dialogue>From a distance, we see someone walking through the desert. The TONE gets louder as we approach the person.</dialogue> <dialogue>We are in this person's PERSPECTIVE now. He, or she, relentlessly walks toward --</dialogue> </scene> <scene> <stage_direction>22A EXT. WILL'S HOUSE 22A</stage_direction> <scene_description>As the person approaches the DOOR, the TONE gets louder. We finally see the person's face: a MIDDLE-AGED WOMAN. She presses the DOORBELL. The COLOR BARS TONE fades...</scene_description> </scene> <scene> <stage_direction>22B INT/EXT. WILL'S HOUSE/FRONT DOOR - CONTINUOUS 22B</stage_direction> <scene_description>FOOTSTEPS from inside the house, until -- -- Will opens the door.</scene_description> <character>WILL</character> <dialogue>Hi.</dialogue> <character>ANNE</character> <dialogue>Hi.</dialogue> <character>WILL</character> <dialogue>Please, come in.</dialogue> <scene_description>Will walks her through the hallway. They get to --</scene_description> </scene> <scene> <stage_direction>22C INT. WILL'S HOUSE/OFFICE ROOM. 22C</stage_direction> <scene_description>Will drags two chairs to the desk. He organizes some papers, then opens a COPYBOOK.</scene_description> <character>WILL</character> <dialogue>Please, take a seat.</dialogue> <character>ANNE</character> <parenthetical>(sitting)</parenthetical> <dialogue>Thanks.</dialogue> <character>WILL</character> <dialogue>Would you like some tea?</dialogue> <character>ANNE</character> <dialogue>Tea?</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>Yeah. I'd love some.</dialogue> <scene_description>Will leaves the room. The woman stays, looking around... discovering. This woman knows things, but she's never experienced them. Will brings a tray with a tea cup. She grabs the cup. Then, moves her lips close to the liquid.</scene_description> <character>WILL</character> <dialogue>Be careful, it's hot.</dialogue> <scene_description>Will sits and watches her taking a small sip.</scene_description> <character>WILL</character> <dialogue>My name is Will, by the way. May I call you...</dialogue> <scene_description>He thinks. Writes "Anne" on the COPYBOOK.</scene_description> <character>WILL</character> <dialogue>... Anne?</dialogue> <character>ANNE</character> <dialogue>Sure.</dialogue> <character>WILL</character> <dialogue>Do you mind if I take a picture of you?</dialogue> <character>ANNE</character> <dialogue>My pleasure.</dialogue> <scene_description>Will raises a POLAROID CAMERA. CLICKS. The picture develops on the desk.</scene_description> <character>WILL</character> <dialogue>How old are you, Anne?</dialogue> <character>ANNE</character> <dialogue>Four.</dialogue> <character>WILL</character> <dialogue>Four hours? Four days?</dialogue> <character>ANNE</character> <dialogue>Four hours...</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>... and some minutes.</dialogue> <scene_description>He takes notes on his copybook.</scene_description> <character>WILL</character> <dialogue>And when did you learn how to speak?</dialogue> <character>ANNE</character> <dialogue>I don't know...I think I always knew how to speak.</dialogue> <scene_description>Will smiles. Anne tries to do the same.</scene_description> <character>WILL</character> <dialogue>Anne, do you know why you're here?</dialogue> <character>ANNE</character> <dialogue>Strangely... yes.</dialogue> <character>WILL</character> <dialogue>Good. Is it okay if I say it out loud just to make it official?</dialogue> <scene_description>She nods.</scene_description> <character>WILL</character> <dialogue>Anne, as you may know, you're being considered for the amazing opportunity of life. If by the end of this process you're selected, you'll have the chance to be born in a fruitful environment, where you can grow, develop and accomplish. Do you want to be considered for this position?</dialogue> <character>ANNE</character> <dialogue>Yes. I do.</dialogue> <character>WILL</character> <dialogue>Before we start, do you have any questions?</dialogue> <character>ANNE</character> <dialogue>How many days do I have left?</dialogue> <character>WILL</character> <dialogue>That's a good question. It's hard to define exactly, but in case you remain until the end of the process... nine days.</dialogue> <character>ANNE</character> <dialogue>Nine Days... After that?</dialogue> <character>WILL</character> <dialogue>If you're selected, there's an extension, as a newborn. If not, I would say it's the end.</dialogue> <character>ANNE</character> <dialogue>By extension, you mean I carry on the memories from here?</dialogue> <character>WILL</character> <dialogue>No. No memories. But you'll still be you.</dialogue> <scene_description>She digests the information. Suddenly --</scene_description> <character>WILL</character> <dialogue>Alright. I have a task for you. I'll start a story, and you tell me how it ends. No right or wrong answer here... Just say whatever comes to mind. Sound good?</dialogue> <character>ANNE</character> <dialogue>I guess so.</dialogue> <scene_description>Will stands up.</scene_description> <character>WILL</character> <dialogue>Okay... From now on, you're not Anne anymore. And this is no longer a cozy house... You are a war prisoner confined in a concentration camp. You were sent here with your eleven-year-old son. Nick. Very smart boy. But quite rebellious too. This morning Nick tried to escape, but he was caught by a sadistic guard who is about to hang him. Nick's right here...</dialogue> <parenthetical>(places a chair there)</parenthetical> <dialogue>standing on this chair, with a cord tied to his neck. This small piece of furniture is the only thing preventing your beloved son from being hanged.</dialogue> <scene_description>She doesn't blink. No doubt Will is a great storyteller.</scene_description> <character>WILL</character> <dialogue>So, the guard says:</dialogue> <scene_description>Unexpectedly, he SHOUTS, impersonating the cruel guard - he's a totally different person now. Anne almost jumps from the chair.</scene_description> <character>WILL:</character> <dialogue>PULL THE CHAIR! PULL THE CHAIR, OR</dialogue> <character>I WILL NOT ONLY KILL YOUR SON</character> <dialogue>MYSELF BUT ALL THE OTHER PRISONERS</dialogue> <character>HERE! DO YOU WANT THAT TO HAPPEN?</character> <dialogue>LOOK AT ME. DO YOU WANT ME TO KILL</dialogue> <character>THEM ALL?</character> <dialogue>Suddenly, Will talks like a calm interviewer again:</dialogue> <character>WILL</character> <dialogue>Would you pull the chair or not?</dialogue> <scene_description>Anne is speechless. She stutters.</scene_description> <character>ANNE</character> <dialogue>I, Er.. I..</dialogue> <scene_description>Will watches her.</scene_description> <character>WILL</character> <dialogue>No right or wrong answer here. Just say what comes to your mind.</dialogue> <scene_description>No answer. She's still in shock about Will's impersonation.</scene_description> <character>WILL</character> <dialogue>Anne?</dialogue> <character>ANNE</character> <dialogue>I... I wouldn't pull the chair.</dialogue> <character>WILL</character> <dialogue>May I know the reason?</dialogue> <character>ANNE</character> <dialogue>I don't... know. I... I don't know.</dialogue> <scene_description>Will keeps watching her.</scene_description> <character>WILL</character> <parenthetical>(calmly)</parenthetical> <dialogue>Thanks for sharing that with me, Anne. Do you have any other questions?</dialogue> <scene_description>Nothing - She's still shocked. Will speaks up.</scene_description> <character>WILL</character> <dialogue>Anne?</dialogue> <character>WOMAN</character> <dialogue>Questions?... No. No questions.</dialogue> <character>WILL</character> <dialogue>Well. Then, thank you so much. I think I have everything I need.</dialogue> <scene_description>She looks like a comedian who didn't get her jokes right.</scene_description> <character>WOMAN</character> <dialogue>Oh. Okay.</dialogue> <scene_description>Anne stands up. Will walks her to the front door. As he opens the door ---</scene_description> <character>WOMAN</character> <dialogue>Thank you so much for the opportunity, Will. If you decide to go with me, I promise you won't be disappointed.</dialogue> <scene_description>Will nods.</scene_description> <character>WILL</character> <dialogue>Talk to you soon, Anne.</dialogue> <scene_description>She smiles and leaves. Will watches her walk away. He'll never see her again. CLOSE on her POLAROID PICTURE on the desk, finally developed. CUT TO:</scene_description> </scene> <scene> <stage_direction>22D INT. WILL'S HOUSE/OFFICE ROOM - DAY 22D</stage_direction> <scene_description>MONTAGE: THE POLAROID CAMERA takes pictures of different candidates.</scene_description> <character>CLIP OF INTERVIEWS:</character> <dialogue>MIKE (20s), a shy and introverted young man, is interviewed. A cup of tea on the desk.</dialogue> <character>WILL</character> <dialogue>That's a good question. But I wouldn't say that you're alive... or dead.</dialogue> <character>MIKE</character> <dialogue>So I'm in between?</dialogue> <character>WILL</character> <dialogue>In between implies that there's something before. In your case, there was nothing before this.</dialogue> </scene> <scene> <stage_direction>22E INT. WILL'S HOUSE/OFFICE - DAY 22E</stage_direction> <scene_description>A funny looking man (40s) is at the table. If he were a comedian, he would get laughs just by showing up on stage. Will named him ALEXANDER.</scene_description> <character>ALEXANDER</character> <dialogue>And you're the boss here.</dialogue> <character>WILL</character> <dialogue>No, not really.</dialogue> <character>ALEXANDER</character> <dialogue>So what are you?</dialogue> <character>WILL</character> <dialogue>I'd say... just a cog in a wheel.</dialogue> <character>ALEXANDER</character> <dialogue>And who's the boss then?</dialogue> <character>WILL</character> <dialogue>I don't know.</dialogue> </scene> <scene> <stage_direction>22F INT. WILL'S HOUSE/OFFICE - DAY 22F</stage_direction> <scene_description>An OLD MAN is interviewed.</scene_description> <character>OLD MAN</character> <dialogue>And if I'm selected. Am I still gonna look like this?</dialogue> <parenthetical>(re: himself)</parenthetical> <character>WILL (O.S.)</character> <dialogue>All your physical traits here are just provisory. They don't last longer than this process.</dialogue> </scene> <scene> <stage_direction>22G INT. WILL'S HOUSE/OFFICE - DAY 22G</stage_direction> <scene_description>A young woman in her 20s is interviewed. Smart, captivating eyes and an innocent beauty. Will named her MARIA.</scene_description> <character>MARIA</character> <dialogue>And how long is this process?</dialogue> <character>WILL (O.S.)</character> <dialogue>Nine days. Less time if you don't make it until the end.</dialogue> <character>MARIA</character> <dialogue>So, I have nine days... or less.</dialogue> <character>WILL (O.S.)</character> <dialogue>If you're not selected, yes.</dialogue> </scene> <scene> <stage_direction>22H INT. WILL'S HOUSE/OFFICE - DAY 22H</stage_direction> <scene_description>Another person. CANDIDATE #1. He's quiet and thinks about what Will has just told him.</scene_description> </scene> <scene> <stage_direction>22I INT. WILL'S HOUSE/OFFICE - DAY 22I</stage_direction> <scene_description>Back to Alexander. He's immersed in thought.</scene_description> <character>ALEXANDER</character> <dialogue>Shit. Only nine days.</dialogue> </scene> <scene> <stage_direction>22J INT. WILL'S HOUSE/OFFICE - DAY 22J</stage_direction> <scene_description>Another candidate. He looks 35 years old. Self-confident, almost arrogant; Will named him KANE.</scene_description> <character>KANE</character> <dialogue>And what's the difference between being here and being alive, besides the time duration.</dialogue> <character>WILL</character> <dialogue>The depth of your senses. Any feeling, emotion or sensation is much less intense here compared to when you're alive.</dialogue> <character>KANE</character> <dialogue>And how can you be so sure of that?</dialogue> <character>WILL</character> <dialogue>Because of a previous experience as a living person.</dialogue> <scene_description>A moment.</scene_description> <character>KANE</character> <dialogue>So, you got chosen (picked).</dialogue> <character>WILL</character> <dialogue>Yes.</dialogue> <character>KANE</character> <dialogue>And what did you achieve?</dialogue> <character>WILL</character> <dialogue>Unfortunately, I can't answer any questions on the subject.</dialogue> </scene> <scene> <stage_direction>22K INT. WILL'S HOUSE/OFFICE - DAY 22K</stage_direction> <scene_description>A young woman - Candidate #2 is interviewed. She looks away, lost in thought.</scene_description> <character>WILL (O.S.)</character> <dialogue>Now... I'll tell you a story. And then you tell me how it ends. No right or wrong answer...</dialogue> </scene> <scene> <stage_direction>22L INT. WILL'S HOUSE/OFFICE - DAY 22L</stage_direction> <scene_description>Another person. CANDIDATE #4. He is in shock after Will has told the story.</scene_description> <character>WILL (O.S.)</character> <dialogue>Would you pull the chair or not?</dialogue> </scene> <scene> <stage_direction>22M INT. WILL'S HOUSE/OFFICE - DAY 22M</stage_direction> <scene_description>Back to CANDIDATE #1.</scene_description> <character>CANDIDATE</character> <dialogue>I would pull the chair.</dialogue> <character>WILL</character> <dialogue>Why?</dialogue> <character>CANDIDATE</character> <dialogue>Because I don't care.</dialogue> </scene> <scene> <stage_direction>22N INT. WILL'S HOUSE/OFFICE - DAY 22N</stage_direction> <scene_description>Back to Maria.</scene_description> <character>WILL (O.S.)</character> <dialogue>And why wouldn't you pull the chair?</dialogue> <character>MARIA</character> <dialogue>If I pull the chair my son will die, for sure. But if I don't, there's always a chance the guard is bluffing.</dialogue> </scene> <scene> <stage_direction>22O INT. WILL'S HOUSE/OFFICE - DAY 22O</stage_direction> <scene_description>Another person Candidate #3 - He starts crying.</scene_description> </scene> <scene> <stage_direction>22P INT. WILL'S HOUSE/OFFICE - DAY 22P</stage_direction> <scene_description>Back to Alexander. Thinking... thinking... thinking...</scene_description> <character>ALEXANDER</character> <dialogue>Do I have another son?</dialogue> </scene> <scene> <stage_direction>22Q INT. WILL'S HOUSE/OFFICE - DAY 22Q</stage_direction> <scene_description>Back to Mike. He thinks.</scene_description> <character>MIKE</character> <dialogue>I'm pulling the chair.</dialogue> <character>WILL</character> <dialogue>Can you tell me why?</dialogue> <character>MIKE</character> <dialogue>It's my fault my son tried to escape. It wouldn't be fair if other people died because of us.</dialogue> </scene> <scene> <stage_direction>22R INT. WILL'S HOUSE/OFFICE - DAY 22R</stage_direction> <scene_description>Back to Kane.</scene_description> <character>WILL</character> <dialogue>Not sure if you understand the concept of firearms yet...</dialogue> <character>WILL</character> <dialogue>but attacking this guard is a losing battle.</dialogue> <character>KANE</character> <dialogue>A losing battle like what?</dialogue> <character>WILL</character> <dialogue>Like... fighting a bear with your bare hands.</dialogue> <character>KANE</character> <dialogue>You see me in a fight with a bear... pray for the bear.\*\*\*</dialogue> </scene> <scene> <stage_direction>22S INT. WILL'S HOUSE/OFFICE - DAY 22S</stage_direction> <scene_description>Back to Candidate #3.</scene_description> <character>WILL (O.S.)</character> <dialogue>Well. Thank you so much for sharing with me. I think I have everything I need.</dialogue> </scene> <scene> <stage_direction>22T INT. WILL'S HOUSE/OFFICE - DAY 22T</stage_direction> <scene_description>Another person. Candidate #4.</scene_description> <character>WILL (O.S.)</character> <dialogue>Thank you. I think I got everything I need.</dialogue> </scene> <scene> <stage_direction>22U INT. WILL'S HOUSE/OFFICE - DAY 22U</stage_direction> <scene_description>Another person. Candidate #5.</scene_description> <character>WILL (O.S.)</character> <dialogue>Thank you. Talk to you soon.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>The VIDEO PROJECTOR is ON. CLOSE on: Amanda's VHS TAPE("Concerto Day") playing inside the VCR. A PROJECTION ON THE WALL: POV of Amanda playing the violin at home. It's the tape Will recorded yesterday. Will FAST FORWARDS until the moment she drives. He watches the CAR CRASH again. He rewinds the tape and watches it one more time. But it's not enough. He rewinds it again. Plays from the top. He tries to see something he couldn't see yet. Suddenly...</scene_description> </scene> <scene> <stage_direction>.. THE DOORBELL RINGS.</stage_direction> <scene_description>Will PAUSES the VCR. The image is frozen on the wall. He heads to the front door; opens it to see Kyo, dressed more casual than yesterday.</scene_description> <character>KYO</character> <dialogue>Do you have any tea left?</dialogue> <character>WILL</character> <dialogue>Did you walk all the way here just for tea?</dialogue> <character>KYO</character> <dialogue>I love your tea.</dialogue> <scene_description>Will lets him in. Kyo walks through the hallway. He sees the lights from the projection room ON...</scene_description> <character>KYO</character> <dialogue>What are you watching here?</dialogue> <scene_description>KYO sees Amanda's CAR CRASH projected on the wall. Will quickly stops the tape.</scene_description> <character>WILL</character> <dialogue>Nothing.</dialogue> <scene_description>Kyo stares at him for a moment.</scene_description> <character>WILL</character> <dialogue>The tea is on the desk.</dialogue> <character>KYO</character> <dialogue>Uh huh.</dialogue> <scene_description>Kyo follows Will to the OFFICE ROOM. Kyo pours some of the tea leftovers into a cup. Will organizes the candidate folders on the desk. A LOT of different candidates As Kyo heads to the living room he stares at Will - quite disturbed. Will resumes looking through the candidates' folders.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>While Kyo watches the TVs -- -- the DOORBELL RINGS</scene_description> <character>KYO</character> <dialogue>Who is that?</dialogue> <scene_description>INTERCUT: WILL in the OFFICE ROOM. He ignores it and keeps reading his notes. Another DOORBELL RING.</scene_description> <character>KYO</character> <dialogue>Aren't you gonna see who it is?</dialogue> <character>WILL</character> <dialogue>Probably a late candidate.</dialogue> <scene_description>The DOORBELL RINGS again.</scene_description> <character>KYO</character> <dialogue>So...</dialogue> <character>WILL</character> <dialogue>Everyone else got here on time.</dialogue> <scene_description>Kyo comes to the OFFICE ROOM; sees Will focused on his work.</scene_description> <character>KYO</character> <dialogue>Will. It'll only take five minutes.</dialogue> <scene_description>No answer. As Kyo keeps standing in front of him...</scene_description> <character>WILL</character> <dialogue>Why don't you take care of it?</dialogue> <character>KYO</character> <dialogue>Because... it's not my job.</dialogue> <character>WILL</character> <dialogue>Bingo.</dialogue> <scene_description>Kyo walks down the corridor. We stay with Will as Kyo opens the front door. He hears a conversation between Kyo and the candidate. Annoyed, Will starts prepping the room for the late interview. He hides the folders, cleans the table and places another chair at the desk - now three seats. Kyo and the candidate enter the room. The candidate is a woman in her thirties. Serene. Observant eyes. Honest without saying one single word. Unnamed yet.</scene_description> <character>WILL</character> <dialogue>Welcome. Please, sit.</dialogue> <scene_description>She sits opposite of Will.</scene_description> <character>WILL</character> <dialogue>This is Kyo. He's helping me tonight.</dialogue> <character>WOMAN</character> <dialogue>Yes, we got introduced.</dialogue> <character>WILL</character> <dialogue>Good. I'm Will.</dialogue> <character>WOMAN</character> <dialogue>Nice to meet you, Will.</dialogue> <scene_description>As he writes "Emma" on the copybook --</scene_description> <character>WILL</character> <dialogue>May I call you... Emma?</dialogue> <scene_description>No answer.</scene_description> <character>WILL</character> <dialogue>Any problem?</dialogue> <character>WOMAN</character> <dialogue>Actually... May I choose something for myself?</dialogue> <character>WILL</character> <dialogue>It's just temporary. In case you're selected, you will get another name.</dialogue> <character>WOMAN</character> <dialogue>But if I'm not, that's the only one I will ever have, correct?</dialogue> <character>WILL</character> <dialogue>OK. Pick a name. Anything you want.</dialogue> <scene_description>Will crosses out the name Emma on the copybook. She thinks.</scene_description> <character>EMMA</character> <dialogue>I like Emma.</dialogue> <scene_description>Will writes Emma over the crossed out Emma word.</scene_description> <character>WILL</character> <dialogue>Emma it is.</dialogue> <scene_description>Kyo is curious. He raises the Polaroid camera.</scene_description> <character>KYO</character> <dialogue>May I take a picture of you, Emma?</dialogue> <character>WILL</character> <dialogue>That won't be necessar...</dialogue> <character>EMMA</character> <dialogue>Sure.</dialogue> <scene_description>She smiles. Kyo CLICKS. He lays the picture on the desk.</scene_description> <character>WILL</character> <dialogue>Thanks, Kyo. Emma, do you know why you are here?</dialogue> <character>EMMA</character> <dialogue>Yes I do.</dialogue> <character>WILL</character> <dialogue>Good. Just to make it official:</dialogue> <parenthetical>(faster, almost careless)</parenthetical> <dialogue>This is an interview for the amazing opportunity of life...</dialogue> <scene_description>Kyo stares at Will, the salesman, saying "amazing opportunity" but not meaning it.</scene_description> <character>WILL</character> <dialogue>... If by the end of the process you're selected, you'll have the chance to be born in a fruitful environment, where you can grow, develop and accomplish. Do you want to be considered for this position?</dialogue> <character>EMMA</character> <dialogue>Yes.</dialogue> <character>WILL</character> <dialogue>Perfect. Do you have any questions?</dialogue> <character>EMMA</character> <dialogue>Is Kyo your boss?</dialogue> <scene_description>Kyo chuckles.</scene_description> <character>KYO</character> <dialogue>Hmm... I've never seen it this way.</dialogue> <parenthetical>(smiling at Will)</parenthetical> <dialogue>But no. I wouldn't hire Will.</dialogue> <character>EMMA</character> <dialogue>So you're an interviewer too.</dialogue> <character>WILL</character> <dialogue>He can't interview.</dialogue> <character>EMMA</character> <dialogue>Why?</dialogue> <character>KYO</character> <dialogue>Because unfortunately I've never been alive.</dialogue> <scene_description>Emma stares at Will for a moment - "So, you were once alive..."</scene_description> <character>EMMA</character> <dialogue>Interesting.</dialogue> <scene_description>He avoids eye contact with her.</scene_description> <character>WILL</character> <dialogue>I'll start a story. And then you tell me how it ends, OK?</dialogue> <character>EMMA</character> <dialogue>Sure.</dialogue> <character>WILL</character> <dialogue>I want you to imagine you are a war prisoner in a concentration camp...</dialogue> <character>EMMA</character> <parenthetical>(interrupting)</parenthetical> <dialogue>What kind of war?</dialogue> <character>WILL</character> <dialogue>Just... listen...</dialogue> <scene_description>She nods. We keep watching Emma's face while Will speaks OFF SCREEN. She has the same calm expression the whole time.</scene_description> <character>WILL (O.S.)</character> <dialogue>You were sent here with your son. An eleven-year-old kid. Nick. Yesterday Nick tried to escape, but he was caught by a sadistic guard who is about to hang him.</dialogue> <character>WILL (O.S.)</character> <dialogue>You are now looking at Nick, over this chair, with a cord tied to his neck... when the guard says:</dialogue> <scene_description>Will shouts. Emma's expression doesn't change.</scene_description> <character>WILL(O.S.)</character> <dialogue>PULL THE CHAIR! PULL THE CHAIR, OR</dialogue> <character>I WON'T JUST KILL YOUR SON BUT ALL</character> <dialogue>THE OTHERS TOO! IF YOU DON'T PULL</dialogue> <character>THIS CHAIR, EVERYONE HERE DIES!</character> <parenthetical>(calm)</parenthetical> <dialogue>What would you do?</dialogue> <scene_description>A moment of silence.</scene_description> <character>WILL</character> <dialogue>Emma?</dialogue> <character>EMMA</character> <dialogue>I'm afraid I can't answer the question.</dialogue> <character>WILL</character> <dialogue>Why not?</dialogue> <character>EMMA</character> <dialogue>The way you put it... this guard will kill my son, no matter what I do, correct?</dialogue> <character>WILL</character> <dialogue>Correct.</dialogue> <character>EMMA</character> <dialogue>Why?</dialogue> <character>WILL</character> <dialogue>Because he's a bad man.</dialogue> <character>EMMA</character> <dialogue>Why?</dialogue> <character>WILL</character> <dialogue>Because that's the way it is.</dialogue> <scene_description>She thinks.</scene_description> <character>EMMA</character> <dialogue>That's the way your story is... or that's the way the world is?</dialogue> <character>WILL</character> <dialogue>Would you pull the chair or not?</dialogue> <character>EMMA</character> <dialogue>Not sure how to answer your question if you don't answer mine.</dialogue> <scene_description>They look at each other for a moment.</scene_description> <character>WILL</character> <dialogue>I think I have everything I need. Thank you so much for your time.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Kyo looks through the window - watches Emma (O.S.) walking away. Will watches the TVs. Emma's folder is by his side, on the couch.</scene_description> <character>KYO</character> <dialogue>So, what do you think of her?</dialogue> <character>WILL</character> <dialogue>She didn't answer my question.</dialogue> <character>KYO</character> <dialogue>And how bad is that?</dialogue> <character>WILL</character> <dialogue>Everyone else answered it.</dialogue> <character>KYO</character> <dialogue>Maybe she's more unique than everyone else.</dialogue> <character>WILL</character> <dialogue>Maybe. Or maybe she's the most likely to fall on the battlefield.</dialogue> <scene_description>No answer.</scene_description> <character>KYO</character> <dialogue>You always talk as if you were sending them to war.</dialogue> <character>WILL</character> <dialogue>And you always talk as if you've been alive to know anything.</dialogue> <character>KYO</character> <dialogue>Excuse me?</dialogue> <character>WILL</character> <dialogue>You're excused.</dialogue> <scene_description>Kyo is about to say something, but he stops, and breathes...</scene_description> <character>KYO</character> <dialogue>Listen, Will. I'm not gonna argue with you again. You can cut your arm off with a plastic knife if you want. I don't care anymore. (Do whatever you want to yourself...) But (for the selections...) it's my job to point out what I saw here. And, no doubt, that...</dialogue> <parenthetical>(re: Emma's folder)</parenthetical> <dialogue>... that was unique.</dialogue> <character>WILL</character> <dialogue>Thanks for the advice. I will consider it deeply.</dialogue> <scene_description>Kyo stares at Will; then leaves Emma's folder on the couch.</scene_description> <character>KYO</character> <dialogue>Yeah... I'm sure you will... Thanks for the tea.</dialogue> <scene_description>Will watches Kyo head out. He opens the front door and leaves. Will stays in the room. He grabs Emma's folder and looks at her picture. Then he stares at Amanda's TV, which now broadcasts the COLOR BARS SCREEN.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>Will walks to the projector and looks at the VCR. Amanda's tape still inside it. He PRESSES PLAY. ON THE WALL: Amanda's car crash plays again. Will stops the tape. He REWINDS it. Then presses PLAY again. ON THE WALL: we see Amanda's final rehearsal - the day before the concerto day. Will stops the tape. He rewinds it further back and presses PLAY again. ON THE WALL: Amanda is at a CUBAN RESTAURANT. She sits at the table with her friends, when a line of people start dancing CONGA around the tables. She and her friends join the group, first a little embarrassed... but soon Cuban- Level confident. They are the worst and the happiest Conga dancers you've ever seen. Amanda laughs so hard that her friends can't stop laughing either. Will listens to her laugh, immersed in thought.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - DAY</stage_direction> <character>DAY TWO</character> <dialogue>We follow the candidate Alexander, from behind, walking toward Will's house.</dialogue> <dialogue>He passes through the fences, reaches the front door, then rings the DOORBELL.</dialogue> <dialogue>Alexander takes a deep breath --</dialogue> <dialogue>--- Will opens the door.</dialogue> <character>WILL</character> <dialogue>Welcome back, Alex. Congratulations on making it to the second day.</dialogue> <scene_description>They shake hands.</scene_description> <character>WILL</character> <dialogue>Let me show you the house.</dialogue> <scene_description>Will walks through the corridor with him. From this moment on, a MONTAGE starts with the different candidates being presented to the house. Each candidate is there at a different time of the day, but the CUTS and Will's tour speech connect them all to the same montage. Will is AT THE KITCHEN with Alexander.</scene_description> <character>WILL</character> <dialogue>This is the kitchen...</dialogue> <scene_description>He opens the fridge.</scene_description> <character>WILL</character> <dialogue>... feel free to take anything you want.</dialogue> <character>PRE LAP: FOOTSTEPS</character> <dialogue>Will walks through the CORRIDOR with MARIA.</dialogue> <dialogue>She furtively looks at Will, staring at his facial traits and serene expression. As Will turns to her, she turns her head, avoiding his glance.</dialogue> <character>WILL</character> <dialogue>Here's the bathroom.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>He points to the shower tap.</scene_description> <character>WILL</character> <dialogue>Hot. Cold. The towels are inside that cabinet.</dialogue> <scene_description>Will heads out. Maria stays there, looking at the shower.</scene_description> <character>WILL</character> <dialogue>Is everything okay?</dialogue> <character>MARIA</character> <dialogue>May I... turn it on?</dialogue> <parenthetical>(re: shower tap)</parenthetical> <character>WILL</character> <dialogue>Sure.</dialogue> <scene_description>She turns on the shower and cautiously touches the water with one hand. Maria closes her eyes, feeling that transparent liquid for the first time.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>In awe, Mike stares at the TVs on the wall.</scene_description> <character>WILL (O.S.)</character> <dialogue>And here... you can see through the eyes of everyone I previously selected.</dialogue> <character>MIKE</character> <dialogue>Wow.</dialogue> <scene_description>Mike admires the real world that he sees for the first time on the TVs.</scene_description> <character>MIKE</character> <dialogue>And what should I do now?</dialogue> <character>WILL</character> <dialogue>Just watch them. And if you like something, write it down.</dialogue> </scene> <scene> <stage_direction>31A INT. LIVING ROOM - DAY 31A</stage_direction> <scene_description>Another candidate: Will gives a pencil and a block of paper to Kane.</scene_description> <character>KANE</character> <dialogue>Can I write anything?</dialogue> <character>WILL</character> <dialogue>Anything you like.</dialogue> <scene_description>Kane quick looks at all the TVs and notices one of them broadcasting the COLOR BARS.</scene_description> <character>KANE</character> <dialogue>What about this one?</dialogue> <character>WILL</character> <dialogue>This is where you want to be when this process is over.</dialogue> <scene_description>He stares at the color bars.</scene_description> <character>WILL</character> <dialogue>I'll be in that room if you need me.</dialogue> </scene> <scene> <stage_direction>31B INT. LIVING ROOM - LATER 31B</stage_direction> <scene_description>Will points to the projection room. When he starts walking away...</scene_description> <character>ALEXANDER</character> <dialogue>Will.</dialogue> <scene_description>It's another time of the day. Alexander is in the room now.</scene_description> <character>WILL</character> <dialogue>Yes.</dialogue> <character>ALEXANDER</character> <dialogue>Yesterday you mentioned I only have nine days... but did you start counting yesterday or today?</dialogue> <character>WILL</character> <dialogue>Yesterday... but try not to think too much about it.</dialogue> <character>ALEXANDER</character> <parenthetical>(worried)</parenthetical> <dialogue>Sure.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>ON A TV: a teenager approaches a cat. Without being noticed, he leaves a cucumber behind it. As the cat turns, it's so scared of the cucumber that it jumps 5 feet high. Alexander watches the TV and bursts into laughter. He bites into a sandwich, then writes something down on a page. CUT TO:</scene_description> </scene> <scene> <stage_direction>32A INT. LIVING ROOM - LATER 32A</stage_direction> <scene_description>Maria watches the POV of a young woman kissing a young man. Maria touches her own lips, as if trying to feel what that person is feeling. Suddenly -- -- Will's FOOTSTEPS. Maria hears it and quickly turns her head to another TV, embarrassed.</scene_description> </scene> <scene> <stage_direction>32B INT. LIVING ROOM - LATER 32B</stage_direction> <scene_description>Kane attentively watches the TVs. Paper and pen in hand. He sees the POV of FERNANDO in his wheelchair, riding through the streets. Kane's eyes quickly go to RICK'S TV - he is in the school bathroom while the other boys throw things onto him, over the door.</scene_description> </scene> <scene> <stage_direction>32C INT. LIVING ROOM - LATER 32C</stage_direction> <scene_description>Mike writes on his paper. He doesn't lift his pen.</scene_description> <character>WILL (O.S.)</character> <dialogue>Is everything okay here?</dialogue> <scene_description>When Mike notices that Will has entered the room, he hides the paper.</scene_description> <character>WILL</character> <dialogue>What is it?</dialogue> <character>MIKE</character> <dialogue>Nothing.</dialogue> <character>WILL</character> <dialogue>May I see it?</dialogue> <character>MIKE</character> <dialogue>It's nothing.</dialogue> <character>WILL</character> <dialogue>So let me see it.</dialogue> <scene_description>Will grabs the paper -- Mike holds it down on the desk. Will tries to take it, but Mike holds it tighter.</scene_description> <character>MIKE</character> <dialogue>I was just writing something.</dialogue> <character>WILL</character> <dialogue>So let me take a look.</dialogue> <scene_description>Will brusquely takes it from Mike's hand. He opens the now crumpled piece of paper to see -- A beautiful drawing of the BEACH.</scene_description> <character>WILL</character> <dialogue>That's... beautiful, Mike. Why did you want to hide it?</dialogue> <character>MIKE</character> <dialogue>Sorry.</dialogue> <scene_description>Will stares at the drawing. Perfect.</scene_description> <character>WILL</character> <dialogue>Don't you like it?</dialogue> <scene_description>He shakes his head.</scene_description> <character>MIKE</character> <dialogue>I hate it.</dialogue> <scene_description>Will stares at Mike.</scene_description> <character>WILL</character> <dialogue>May I have it?</dialogue> <character>MIKE</character> <parenthetical>(thinks)</parenthetical> <dialogue>Yeah, but don't show anyone.</dialogue> <character>WILL</character> <dialogue>I won't.</dialogue> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>PROJECTED ON THE WALL: POV of Amanda (7) climbing a tree.</scene_description> <character>MOTHER</character> <dialogue>Amanda. Amanda, get down, please.</dialogue> <character>AMANDA</character> <parenthetical>(laughs)</parenthetical> <dialogue>It's okay, mom.</dialogue> <character>A VIVACIOUS VIOLIN SONG.</character> <dialogue>A MONTAGE shows other clips from Amanda's childhood.</dialogue> <dialogue>She plays soccer with her cousins; runs at the beach; dances; spins around; hugs her uncles; jumps on the sofa; sits in a grocery cart while her dad pushes the cart very fast...</dialogue> <dialogue>As the SONG gets more tense...</dialogue> <dialogue>The montage shows not-so-happy moments: she furtively sees her mother crying by herself in the kitchen; she sees a group of boys hurting a dog on the street; she sits by herself at the school lunchroom - studying music scores while the other kids make fun of her.</dialogue> <dialogue>The VIOLIN SONG fades. The final clip shows Amanda coming back home after climbing a tree. Through the house window, she watches her parents in a fierce argument. It escalates until her dad SLAPS her mom on the face.</dialogue> <character>KNOCK, KNOCK.</character> <dialogue>Will PAUSES the video. We see several VHS tapes on the table and many notes that he's been writing about Amanda.</dialogue> <dialogue>Will opens the door. It's Emma. She takes a bite of a peach and holds a plate with some other fruits.</dialogue> <character>WILL</character> <dialogue>Are you finished?</dialogue> <character>EMMA</character> <dialogue>Not yet.</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>So?</dialogue> <character>EMMA</character> <dialogue>Do you want some?</dialogue> <scene_description>She offers the fruits on the plate.</scene_description> <character>WILL</character> <dialogue>I'm good.</dialogue> <character>EMMA</character> <dialogue>Don't you get hungry?</dialogue> <character>WILL</character> <dialogue>I'm like you. I don't get hungry, but I can eat.</dialogue> <character>EMMA</character> <dialogue>So why don't you eat?</dialogue> <character>WILL</character> <dialogue>Because I don't get hungry.</dialogue> <character>EMMA</character> <dialogue>Is that really the point of eating?</dialogue> <character>WILL</character> <dialogue>For me it is.</dialogue> <scene_description>She glances at the wall and sees the projection of Amanda's parents arguing. As Emma notices she's not welcome there, she prepares to head out.</scene_description> <character>EMMA</character> <dialogue>Alright.</dialogue> <scene_description>She walks away. Will closes the door and heads to the projector...</scene_description> <character>EMMA (O.S.)</character> <dialogue>Will.</dialogue> <character>WILL</character> <dialogue>Yes.</dialogue> <scene_description>WIDE: Will and Emma face each other, but separated by the closed door.</scene_description> <character>EMMA</character> <dialogue>What's it feels like?</dialogue> <character>WILL</character> <dialogue>What?</dialogue> <character>EMMA</character> <dialogue>To be alive.</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>Perhaps you'll find out.</dialogue> <scene_description>Emma smiles slightly; then walks away.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - (INSERT OF TV)</stage_direction> <scene_description>ELECTRICIAN fixing the light installation of a company.</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - SAME</stage_direction> <scene_description>Will fixes the SPOTLIGHT. The same one he was working on before. He replaces the bulb and screws on the glass cover. This time, when he turns the SPOTLIGHT ON... ... it works. He points the beam of light towards the floor and plays with it for a moment. It reminds us of a STAGE LIGHT.</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - NIGHT</stage_direction> <scene_description>Will enters the room holding the SPOTLIGHT. He reaches for a big cabinet, which he unlocks and opens --- --- Surprisingly, we find out that there's a SECRET ROOM hidden behind the cabinet. Will enters it holding the SPOTLIGHT. We stay on the outside for a moment, waiting for Will. Moments later, he comes back, not holding the spotlight anymore. He closes the cabinet door and locks it.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Will enters the empty room and sees Emma's block of paper on the desk. As he grabs it, he checks the TVs on the wall. ON FERNANDO'S TV - a country song plays in his house while he rides his wheelchair to the bedroom to pick up some clothes. He finds a MEDAL hanging on the wall. He grabs it; stares at it... It's a MEDAL OF HONOR from the POLICE DEPARTMENT. From his living room, Will stares at it too.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - NIGHT</stage_direction> <scene_description>Will looks through the notebooks from his candidates - each one have a Polaroid head shot attached to it. While he reads the moments that Kane wrote, we see - through INTERCUTS - one of the moments that he picked: a girl races against another person. She runs fast and wins the race. Later, Will reads Alexander notes. INTERCUT with: a man drinks beer with some friends. CUT TO: Will reading Maria's papers. INTERCUT with: the POV of a young woman riding a bicycle. Will has Mike's paper in hands. INTERCUT with: a man walks on the beach. He steps into the water and feels the waves coming and going. Will sees the last page: Mike's crumpled drawing of the beach. He thinks for a moment, then separates Mike's block from the rest. Lastly, he starts browsing Emma's block of paper. As he keeps flipping the pages, he sees that her writing continues. She wrote A LOT. Almost the whole paper block. INTERCUT with numerous clips from the TVs. Beautiful little moments - a woman tries on lipstick, a man smiles, someone takes a first sip of his coffee, a boy laughs with his friends, an old woman feels the texture of her sweater, a man smells the pages of his book, someone jumps into the water, a man below a tree watches the leaves fall... The rhythm of the images becomes faster and faster, suddenly --- It stops. Will reaches the end of the block of paper.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <character>DAY THREE</character> <dialogue>Kane is on the couch, watching the TVs. Will returns the notebook to him.</dialogue> <character>KANE</character> <dialogue>So what did you think?</dialogue> <character>WILL</character> <dialogue>It's good. Good work.</dialogue> <character>KANE</character> <dialogue>Anything that you didn't like? That you want me to improve?</dialogue> <character>WILL</character> <dialogue>It's better not to think this way.</dialogue> <character>KANE</character> <dialogue>Which way?</dialogue> <character>WILL</character> <dialogue>I don't want you to do what I think is right. I want you to have the freedom to do what's right for you.</dialogue> <character>KANE</character> <dialogue>So I can do whatever I want, but in the end you come and judge me.</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>And what are your feelings on that?</dialogue> <character>KANE</character> <dialogue>My feelings? I only have 7 days left here, Will. So I appreciate if you're straightforward. Just tell me the rules, and I'll play the game.</dialogue> <scene_description>He stares at Kane.</scene_description> <character>KANE</character> <parenthetical>(holding the notebook)</parenthetical> <dialogue>So... should I keep doing this?</dialogue> <character>WILL</character> <dialogue>No. I'm changing the assignment.</dialogue> </scene> <scene> <stage_direction>39A INT. LIVING ROOM - DAY 39A</stage_direction> <scene_description>Will talks to Maria now.</scene_description> <character>MARIA</character> <dialogue>And what's the assignment now?</dialogue> <character>WILL</character> <dialogue>Same idea, but now I want you to pick something you don't like.</dialogue> <character>MARIA</character> <dialogue>A moment I don't like... Should I write it down too?</dialogue> <character>WILL</character> <dialogue>You can take notes, but we'll just talk about it.</dialogue> <character>MARIA</character> <dialogue>Sounds good.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>I'll work hard on this.</dialogue> <scene_description>Maria looks at Will, but unexpectedly stares at his MOUTH, then LIPS. She blushes and looks down, avoiding eye contact. Will notices something different, but doesn't pay attention --</scene_description> <character>WILL</character> <dialogue>Do you have any questions?</dialogue> </scene> <scene> <stage_direction>39B INT. LIVING ROOM - DAY 39B</stage_direction> <scene_description>Will talks to Alexander now.</scene_description> <character>ALEXANDER</character> <dialogue>Yes. When are we having a beer together?</dialogue> <character>WILL</character> <dialogue>Beer?</dialogue> <character>ALEXANDER</character> <dialogue>Yeah. Found some bottles in the fridge. Just wondering when we could use the grill in the backyard, cut a few steaks up and call some chicks.</dialogue> <character>WILL</character> <dialogue>I'm busy these days, Alex, but thanks for the invite.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - AFTERNOON</stage_direction> <scene_description>Emma watches Fernando's TV.</scene_description> <character>ON FERNANDO'S TV:</character> <dialogue>He visits the POLICE DEPARTMENT. As he enters the building in his wheelchair, all the officers stop what they are doing to talk to him. It's evident that Fernando was a beloved officer. During his visit, we hear random excited lines from his friends: "look who's here", "you look great!", "we miss you, man"... Everyone is too nice to him. An attentive observer would almost smell the pity coming from his friends.</dialogue> <dialogue>Will comes in.</dialogue> <dialogue>They watch Fernando's TV. LAUGHS. Someone told a joke.</dialogue> <character>WILL</character> <dialogue>I read your papers.</dialogue> <character>EMMA</character> <dialogue>And what did you think?</dialogue> <scene_description>They keep watching the TV.</scene_description> <character>WILL</character> <dialogue>You could be more selective.</dialogue> <scene_description>Emma doesn't answer. Just nods. ON THE TV: the group laughs again. Another cop story. Emma stares at Will who attentively watches Fernando's TV.</scene_description> <character>EMMA</character> <parenthetical>(looking at the TVs)</parenthetical> <dialogue>Do you remember them all?</dialogue> <character>WILL</character> <dialogue>Pretty much.</dialogue> <character>EMMA</character> <dialogue>And have any of them ever remembered you?</dialogue> <scene_description>A very very subtle hesitation.</scene_description> <character>WILL</character> <dialogue>No.</dialogue> <scene_description>MORE LAUGHS on the TV. Emma and Will keep watching it. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>INSERT: Will writing. Will is by himself, in front of Fernando's TV. He writes on paper as he watches the TV screen. ON FERNANDO'S TV: at a BUS STOP. Everything is quiet now. No jokes or laughs. A bus arrives. Fernando uses the lift to get inside, then rides to the disabled area as the bus leaves. He looks through the window - we see his reflection as he watches the streets passing by. Fernando's clearly upset. Will hears something. He turns to find Mike standing behind him.</scene_description> <character>WILL</character> <dialogue>Mike? Sorry, I didn't know you were here already.</dialogue> <character>MIKE</character> <dialogue>It's okay.</dialogue> <character>WILL</character> <dialogue>Can you come to my room?</dialogue> <scene_description>Mike stares at him. Something is not right.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - NIGHT</stage_direction> <scene_description>Mike and Will sit opposite to each other. Mike has just got the bad news; he's out. Silence.</scene_description> <character>MIKE</character> <dialogue>Did I do anything wrong?</dialogue> <character>WILL</character> <dialogue>No, you didn't do anything wrong.</dialogue> <scene_description>He sighs. Almost in tears.</scene_description> <character>MIKE</character> <dialogue>I knew... I wasn't good enough for this.</dialogue> <character>WILL</character> <dialogue>It has nothing to do with being good or bad.</dialogue> <character>MIKE</character> <dialogue>So this is the end, I mean...</dialogue> <parenthetical>(nervous chuckles)</parenthetical> <dialogue>... Actually, it didn't even start, right?</dialogue> <character>WILL</character> <dialogue>Mike. This is not about the time you spend... You've been here for few days but lived every second with honesty and intensity. There's no shame in that.</dialogue> <scene_description>Silence. Mike's devastated. INSERT: Will slides a piece of paper to him. Mike looks at it, then at WILL.</scene_description> <character>WILL</character> <dialogue>I want you to think of what you watched on those TVs and write down a moment truly meaningful for you. I know it's not much, but if you allow me, I will do my best to recreate the moment for your experience.</dialogue> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>PROJECTED ON THE WALL: Amanda (8) opens a gift: a CRAYON BOX</scene_description> <character>WOMAN</character> <dialogue>Do you like it, Amanda?</dialogue> <scene_description>The video is FAST FORWARDED until another clip: we see Amanda, at home, drawing on the paper with the crayons. Amanda gives the drawing to her AUNT (40). The OTHER ADULTS chat in the background. Her aunt stares at the drawing.</scene_description> <character>AUNT</character> <dialogue>Who did you draw here, Amanda?</dialogue> <character>AMANDA</character> <dialogue>My friend.</dialogue> <character>AUNT</character> <dialogue>Is this your friend that we never see?</dialogue> <character>AMANDA</character> <dialogue>Yes.</dialogue> <scene_description>Her mom in the back: "Oh, the friend again."</scene_description> <character>AUNT</character> <dialogue>And... do you talk to your friend?</dialogue> <character>AMANDA</character> <dialogue>Not really....but he's always with me.</dialogue> <character>AUNT</character> <dialogue>And what's his name?</dialogue> <scene_description>The aunt raises the drawing from the 8-year-old girl. It's a man who reminds us of...</scene_description> <character>AMANDA</character> <dialogue>Will. His name is Will.</dialogue> <scene_description>Will stops the tape. He stares at space. Total silence. The DOORBELL RINGS. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. DUMPSTER GROUND - NIGHT</stage_direction> <scene_description>INSERT: the wheels of an utility cart. Will and Kyo walk around the place and fill the utility cart with pieces of wood and metal. As they do it. Kyo can't stop talking...</scene_description> <character>KYO</character> <dialogue>... so, I was helping Joan two weeks ago, and she had this candidate who couldn't stop asking her where did he come from... Joan, very kindly, explained she didn't know. But the candidate...</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>...that guy was a pain in the nuts..."Where? Why? How?", all the time. So Joan came up with this really good argument: "we don't know, like the people in the TVs - who don't know where they came from either". That was... mind blowing to me. You know? It made me think... like... what if we're all just dogs chasing our own tails? I mean, maybe there's another parallel dimension where someone interviewed me, and she - or he - sent me here, but I just can't remember... Can you imagine it? Right now people sit in their chairs, watching our lives, without our knowledge... judging us, rooting for us, laughing at my jokes... And those people... they're all being watched by someone else too, who's being watched by someone else, who's being watched by someone else, who's being watched by someone else...</dialogue> <scene_description>A SUPER WIDE shot: they keep collecting stuff, and Kyo keeps talking... OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <character>DAY FOUR.</character> <dialogue>We hear HAMMER, JIGSAW and SAW sounds coming from the garage.</dialogue> <dialogue>- Morning: Alexander watches the TVs. At the same time, he hears the HAMMER from the garage.</dialogue> <dialogue>- Later in the day: we hear the SAW from the garage. Maria stares at the TVs and takes notes. CLOSE on the paper reveals she actually writes her crush's name on it: "WILL". But she quickly SCRIBBLES over the word, hiding it.</dialogue> <dialogue>- Late afternoon: Kane watches the TVs. He hears a louder HAMMER from the garage.</dialogue> <dialogue>Finally ---</dialogue> <dialogue>- Night: Emma watches the TVs. Suddenly -- SAW sound coming from the garage. A pause. All of a sudden, more HAMMER sound.</dialogue> <dialogue>Emma stands up, curious, and walks through the house. The sound gets closer as she walks.</dialogue> </scene> <scene> <stage_direction>INT. GARAGE - CONTINUOUS</stage_direction> <scene_description>Will uses his saw on a big piece of wood. Kyo is by his side, working on a smaller piece. Emma steps in without being noticed. The place is a mess, but there's some artistic beauty in the chaos. Will and Kyo keep working until they realize Emma is in the room.</scene_description> <character>WILL</character> <dialogue>What are you doing here?</dialogue> <scene_description>She shakes her head. Looks around.</scene_description> <character>EMMA</character> <dialogue>Can I help here?</dialogue> <character>WILL</character> <dialogue>You should focus on your assignment.</dialogue> <scene_description>She comes closer, stares at the unidentifiable object they are working on. It looks like a big OPEN CUBE. The frames are made of wood and metal.</scene_description> <character>EMMA.</character> <dialogue>What is that?</dialogue> <character>KYO</character> <dialogue>A last wish.</dialogue> <scene_description>Will gives Kyo a look. "You talk too much."</scene_description> <character>EMMA</character> <dialogue>I don't get it.</dialogue> <scene_description>Will feels forced to explain.</scene_description> <character>KYO</character> <dialogue>A candidate was eliminated. As compensation...</dialogue> <character>WILL</character> <dialogue>... I asked him for a moment that he would like to experience - a last wish.</dialogue> <character>KYO</character> <dialogue>We are making the moment here.</dialogue> <character>EMMA</character> <dialogue>I can't picture any moment here. (I can't picture anything here)</dialogue> <character>KYO</character> <dialogue>Me neither. Just following orders.</dialogue> <scene_description>Emma sees them struggling. They lift a massive piece of wood.</scene_description> <character>EMMA</character> <dialogue>Let me help.</dialogue> <character>WILL</character> <dialogue>You won't get any extra time for your assignment.</dialogue> <character>EMMA</character> <dialogue>I'm already done for today.</dialogue> <scene_description>Kyo points to a pile of wood.</scene_description> <character>KYO</character> <dialogue>You can sand the wood.</dialogue> <character>WILL</character> <dialogue>I have no time to teach her how to...</dialogue> <character>EMMA</character> <dialogue>I can figure it out.</dialogue> <scene_description>Emma sits on the floor. Grabs a piece of wood. Kyo and Will furtively watch her. As she starts sanding it, it's evident: she's a pro.</scene_description> <character>KYO</character> <dialogue>Looks like we have a natural here.</dialogue> <character>WILL</character> <dialogue>Lift the wood.</dialogue> </scene> <scene> <stage_direction>INT. GARAGE - LATER</stage_direction> <scene_description>Kyo, Emma, and Will are in front of the finished piece: a big open cube. They wrap it in cloth and tape. They work quietly, until...</scene_description> <character>EMMA</character> <dialogue>Kyo.</dialogue> <character>KYO</character> <dialogue>Yes.</dialogue> <character>EMMA</character> <dialogue>If you could pick a moment, what moment would you pick?</dialogue> <character>KYO</character> <dialogue>A moment?</dialogue> <character>EMMA</character> <dialogue>A moment you'd like to experience.</dialogue> <scene_description>Kyo thinks, gives an embarrassed smile. They keep wrapping it. Will in silence the whole time.</scene_description> <character>KYO</character> <dialogue>Okay. Don't laugh...</dialogue> <character>EMMA</character> <dialogue>I won't.</dialogue> <character>KYO</character> <dialogue>In the movies... when people get to the top of a mountain, or a cliff, they usually yell something to hear their voice echoing.</dialogue> <character>EMMA</character> <dialogue>Okay.</dialogue> <character>KYO</character> <parenthetical>(like Tarzan)</parenthetical> <dialogue>OooooooOoooooooOooooOooooooooOoooh.</dialogue> <scene_description>Emma Laughs. Kyo reproduces the echoes</scene_description> <character>KYO</character> <dialogue>OoooooOooooooooo.... Ooooooooo ... Ooooh.</dialogue> <parenthetical>(hearing her chuckles)</parenthetical> <dialogue>You said you wouldn't laugh!</dialogue> <character>EMMA</character> <dialogue>And I'm not. I'm coughing.</dialogue> <scene_description>She turns her laugh into fake coughing. Kyo smiles. They continue to wrap the object.</scene_description> <character>EMMA</character> <dialogue>What about you, Will?</dialogue> <character>WILL</character> <dialogue>I've lived before.</dialogue> <character>EMMA</character> <dialogue>I know. So what would be a moment you'd like to experience again?</dialogue> <character>WILL</character> <dialogue>There's no moment.</dialogue> <scene_description>Silence.</scene_description> <character>EMMA</character> <dialogue>Not a single one?</dialogue> <character>WILL</character> <dialogue>No.</dialogue> <character>EMMA</character> <dialogue>From your whole life?</dialogue> <scene_description>Nothing</scene_description> <character>EMMA</character> <dialogue>Why do you say that?</dialogue> <character>WILL</character> <dialogue>That's enough.</dialogue> <character>EMMA</character> <dialogue>I mean... you're the only one here who's been alive, why would you...</dialogue> <scene_description>ENOUGH. An awkward silence. Will, suddenly calm, finishes wrapping the piece.</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - NIGHT</stage_direction> <scene_description>They lay the wrapped object on the floor, in front of the cabinet secret door.</scene_description> <character>WILL</character> <dialogue>Here.</dialogue> <scene_description>Kyo sighs, tired.</scene_description> <character>KYO</character> <dialogue>I'm getting some tea.</dialogue> <scene_description>He walks away. Emma looks around, nothing there besides the cabinets.</scene_description> <character>WILL</character> <dialogue>Thank you for your help.</dialogue> <character>EMMA</character> <dialogue>Are you doing it tomorrow? What do you call it... The last wish act?</dialogue> <character>WILL</character> <dialogue>You're not allowed to watch.</dialogue> <character>EMMA</character> <dialogue>If it's because of my assignment, I can finish it earlier.</dialogue> <scene_description>Kyo comes holding his tea cup.</scene_description> <character>WILL</character> <dialogue>Kyo, can you please walk her to the front door?</dialogue> <scene_description>He nods, then walks her through the corridor. She turns back to see Will opening the cabinet.</scene_description> </scene> <scene> <stage_direction>51A INT. CORRIDOR - NIGHT 51A</stage_direction> <scene_description>While they walk...</scene_description> <character>EMMA</character> <dialogue>Does every interviewer do that for the candidates who are eliminated?</dialogue> <character>KYO</character> <dialogue>No. Only him.</dialogue> <scene_description>They keep walking...</scene_description> <character>EMMA</character> <dialogue>What happened to him? When he was alive?</dialogue> <character>KYO</character> <dialogue>Why do you ask?</dialogue> <character>EMMA</character> <dialogue>Because... it looks like you care.</dialogue> <scene_description>Kyo gazes at her immaculate eyes staring at him.</scene_description> <character>KYO</character> <dialogue>Will was... special.</dialogue> <character>EMMA</character> <dialogue>Special how?</dialogue> <character>KYO</character> <dialogue>Too good... too kind... too sensitive... Like very few others.</dialogue> <character>EMMA</character> <dialogue>And isn't that supposed to be good?</dialogue> <scene_description>Silence. He has no answer for that.</scene_description> <character>KYO</character> <dialogue>When I first saw Will, he was still in one of those TVs. So talented, but struggled his whole life to fit into a world different from him... He did have love inside him. Maybe too much... too much love and no one to give it to.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>You know... We can't...</dialogue> <character>KYO</character> <dialogue>do a lot from here. We really can't... but there were days I wished I was there with him... just to let him know he wasn't alone as he thought he was...</dialogue> <scene_description>Emma processes it for a moment -- Silence.</scene_description> <character>EMMA</character> <dialogue>It's nice that you always help him here.</dialogue> <character>KYO</character> <dialogue>Just because of the tea.</dialogue> <scene_description>He raises the cup. She smiles.</scene_description> <character>WILL (O.S.)</character> <dialogue>Kyo</dialogue> <scene_description>Kyo turns his head to see Will popping out from the Projection Room door.</scene_description> <character>WILL</character> <dialogue>Can I just show you something after you're done?</dialogue> <character>KYO</character> <dialogue>Sure.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>Kyo holds Will's recent notes about Amanda. The projector is ON. Will plays and stops a VHS tape - he uses clips to illustrate what he says.</scene_description> <character>WILL</character> <dialogue>... then I also searched through her adult life; but I couldn't find anything either. No signs. No anomalies. Of course, there were bad moments... But she always handled them really well. You know that.</dialogue> <scene_description>He plays the car crash. Then REWINDS the tape.</scene_description> <character>WILL</character> <dialogue>Now, look at this... here... she got the violin to the car. If she wasn't driving to the concerto that day, why would she take the violin with her?</dialogue> <scene_description>Kyo's face is numb. He's not happy with the investigation. Will inserts another tape and presses PLAY.</scene_description> <character>WILL</character> <dialogue>One thing got my attention though. You probably remember she rarely cried, even when she was a kid... ... Like when her mother died...</dialogue> <scene_description>Will plays her mom's funeral.</scene_description> <character>WILL</character> <dialogue>No tears... nothing... she was always like that: very economical with her emotions. The only time she would let them out was...</dialogue> <scene_description>He shows a clip when she cries while she plays the violin.</scene_description> <character>WILL</character> <dialogue>.. when she played the violin... It makes me think if there's something she was always hiding. Like a part of her that we've never seen because she was...</dialogue> <character>KYO</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Will, why are you doing this?</dialogue> <scene_description>Will stares at Kyo.</scene_description> <character>WILL</character> <dialogue>I'm just trying to find out what happened.</dialogue> <character>KYO</character> <dialogue>We can't find out from here.</dialogue> <scene_description>Will is quiet.</scene_description> <character>KYO</character> <dialogue>Why are you really doing this?</dialogue> <character>WILL</character> <dialogue>Because I need to know.</dialogue> <character>KYO</character> <dialogue>Why?</dialogue> <scene_description>Silence.</scene_description> <character>WILL</character> <dialogue>Because that's my duty.</dialogue> <character>KYO</character> <dialogue>Your duty is to choose someone, and mine is to make sure you chose well, in my opinion. And in my opinion, there was no better choice than her. No matter if she did it on purpose or not. Do you share this same opinion?</dialogue> <scene_description>Will is quiet. Maybe he can't feel the same way about her if he finds out that she took her own life.</scene_description> <character>KYO</character> <dialogue>Will?</dialogue> <scene_description>No answer. Kyo can't hide his disappointment.</scene_description> <character>KYO</character> <dialogue>Alright. See you tomorrow.</dialogue> <scene_description>He leaves. Will stays, accompanied by his doubts only.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - NIGHT</stage_direction> <scene_description>Kyo walks down the desert, deep in thought, when he sees someone coming closer. We realize it's a MAN in tears - he wears casual clothes like the candidates in Will's house. Kyo passes by him, who keeps walking, aimless and hopeless. WIDE: we see Kyo still walking. But strangely, we can't see the crying man anymore.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - DAY</stage_direction> <character>DAY FIVE</character> <dialogue>Kane is sitting at the desk.</dialogue> <character>WILL (O.S.)</character> <dialogue>Do you wanna talk about the moment you don't like?</dialogue> <scene_description>As Kane talks, we INTERCUT with scenes from the TV - Flashbacks - that represent that moment.</scene_description> <character>KANE</character> <dialogue>I've been following this kid... Rick... for the last few days. And every time I see him, his classmates are picking on him, hurting him, stealing from him. Every time. I don't like what the kids do to him. But what I hate most is what Rick doesn't do. He never reacts. Never does anything.</dialogue> <scene_description>As he speaks we see the POV of Rick being bullied. The screen fills with water. Rick has tears in his eyes.</scene_description> <character>WILL</character> <dialogue>And what would you do in his place?</dialogue> <character>KANE</character> <dialogue>Hit them back.</dialogue> <character>WILL</character> <dialogue>So... in this case you defend violence.</dialogue> <character>KANE</character> <dialogue>Violence? No... it's not violence when you didn't start it.</dialogue> <character>WILL</character> <dialogue>And what is it?</dialogue> <character>KANE</character> <dialogue>Justice.</dialogue> </scene> <scene> <stage_direction>55A INT. OFFICE ROOM - DAY 55A</stage_direction> <scene_description>Maria speaks. Intercuts with the flashback of the moment she's talking about: a very amateur tennis match.</scene_description> <character>MARIA</character> <dialogue>So... it's match point. Everything in his favor. 1x0, 40x15, his serve. He hits the ball... Net. So, he tries again, but more nervous now... Out. I think: "he's done it a thousand times, he'll be alright". But I'm wrong. Out. Net. Net. And it's all downhill from here.</dialogue> <scene_description>We see it happening, as a flashback.</scene_description> <character>MARIA</character> <dialogue>He loses the game, the set, the match... So close to win... But he let his emotions get in the way.</dialogue> </scene> <scene> <stage_direction>55B INT. OFFICE ROOM - DAY 55B</stage_direction> <scene_description>Another candidate. It's Alexander who speaks now.</scene_description> <character>ALEXANDER</character> <dialogue>... then, she gets the box, puts the donuts and passes it down. She gets the box, puts the donuts and passes it down. She gets the box, puts the donuts and passes it down. She gets the box, puts the donuts and passes it down.</dialogue> <scene_description>As he talks we watch the boring repetitive work of a woman, in a donut factory. She folds the paper boxes and stacks the same number of donuts into them. Again, and again. A moment...</scene_description> <character>ALEXANDER</character> <dialogue>Did I tell you that she gets the box, puts the donuts and passes it down?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>55C INT. OFFICE ROOM - DAY 55C</stage_direction> <scene_description>Emma sits opposite of Will. She stares at him. But because we are in Will's perspective, it feels like she stares at us.</scene_description> <character>WILL (O.S.)</character> <dialogue>So...</dialogue> <character>EMMA</character> <dialogue>I did what you asked me. I've observed several people, and I chose one that I've been watching very closely.</dialogue> <character>WILL</character> <dialogue>And what don't you like about this person?</dialogue> <character>EMMA</character> <dialogue>He hates himself... He thinks he's a failure, and that everything inside him is worthless and shameful... so he raises this invisible wall around him... to prevent anyone from getting closer - - No doubt he went through a lot of pain... To a point that he felt so much that today he just wants to feel nothing. The numbness makes him think he's safe now, but I know it's just poisoning what's left of him... And deep inside he knows that too.</dialogue> <character>WILL</character> <dialogue>This man... seems to be irreparable.</dialogue> <character>EMMA</character> <dialogue>Yeah, he thinks so. But I know there's still something there.</dialogue> <character>KYO (O.S.)</character> <dialogue>Will.</dialogue> <scene_description>Will turns to see Kyo at the office room door.</scene_description> <character>KYO</character> <dialogue>Sorry to interrupt... but Mike is here already.</dialogue> <character>WILL</character> <parenthetical>(to Emma)</parenthetical> <dialogue>Feel free to spend the rest of your day in the TV room.</dialogue> <scene_description>Emma keeps her eyes on Will as he leaves.</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - MOMENTS LATER</stage_direction> <scene_description>NOISE coming from the other side of the cabinets. Emma enters the room, attracted by it. The noise is closer now, but she can't see where it comes from. Suddenly... A CABINET DOOR opens from the inside. Kyo comes out of it, revealing the secret room.</scene_description> <character>KYO</character> <dialogue>Okay, come in.</dialogue> </scene> <scene> <stage_direction>INT. STAGE - CONTINUOUS</stage_direction> <scene_description>As we pass through the secret door - We enter a big dark room that reminds us of a STAGE. On a dark corner: old costumes, props, and wooden boxes. Emma is hidden behind them.</scene_description> <character>KYO</character> <dialogue>Stay here, and no matter what happens don't let him see you.</dialogue> <scene_description>She nods. Kyo heads to the middle of the room. The OPEN CUBE they built the night before is there. The SPOTLIGHT hangs over it. Mike shows up, coming from another corner. He wears shorts and a T-shirt. He's followed by Will. Emma watches Will talk to Mike like a director talks to his actor before a scene. Mike looks down and sees a path made of sand. It leads to the big OPEN CUBE. Will gives a WALKMAN to him. Mike presses PLAY and starts hearing the sound of the beach: waves, birds, people... Mike closes his eyes and walks through the path of sand. Will guides him from behind. As Mike reaches the big OPEN CUBE, we see that it's filled with water, like a mini swimming pool. Will helps him step into the water. Kyo TURNS ON the SPOTLIGHT and directs the strong beam of light toward Mike's face. Mike, still with his eyes closed, feels the heat from the "sunlight" on his face. He feels it with his hands too. Then Will gently moves his hands inside the water, making some small waves. They reach Mike's feet. A smile. He hears the sounds, feels the water, and then... the WIND. Kyo has just turned on a FAN. We've never seen so much joy on Mike's face. In the dark corner, Emma watches, hidden behind the wooden boxes. Gradually, the spotlight FADES. The "sun" is gone. And the tape reaches the end. Silence. Will comes closer. Mike's breathing becomes stronger... and stronger... He knows what is coming. His anxiety increases... he starts to cry in silence. Will gently lays his hand on his shoulder, to calm him down. We don't see them anymore, just their shadows on the floor. Mike's shadow slowly disappears. His breathing is replaced by silence. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Will sees Emma, watching the TVs - as if she has been here the whole time.</scene_description> <character>WILL</character> <dialogue>Thanks for your help. The candidate really enjoyed the moment.</dialogue> <character>EMMA</character> <dialogue>Glad to hear that.</dialogue> <scene_description>They continue watching the TVs for a moment. Finally ---</scene_description> <character>WILL</character> <dialogue>The man... you were talking about this afternoon...</dialogue> <scene_description>For the first time, Will's opening up --</scene_description> <character>WILL</character> <dialogue>... in high school, he was part of this theater group. He never liked it, and no one liked him either. But for his parents it meant something, so he didn't mind picking an insignificant role, say one or two lines on stage, and get off unnoticed...</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>Nevertheless...</dialogue> <character>WILL</character> <dialogue>two days before the opening night, the main actor, Sam, got really sick. He wasn't the best one to replace him for sure, but he had the best memory in the group, and Sam's monologues were quite long to learn in such a short time. On top of that, if the group had to blame anyone, better blame someone they didn't like and... he fit the role perfectly. In the next 48 hours, the poor kid was moved by this constant terror of screwing up in front of everyone. He read and re-read that monologue hundreds and hundreds of times, till the minute before the curtains opened.</dialogue> <scene_description>Will looks at his own hands.</scene_description> <character>WILL</character> <dialogue>His hands were sweating... shaking... But when he stepped on stage and said his first words, something weird happened: the fear was gone. Line after line, this strange warm feeling came to him; like if he wasn't invisible anymore. He was all over the room... becoming one with all those strangers watching. And the words... vibrating everywhere. Yet no longer coming from him. But... through him. As if his body was nothing but a vessel.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>He can't explain it --- even looking back now... a glimpse of something he's never touched before... and that he will never touch again.</dialogue> <character>EMMA</character> <dialogue>And that's the moment that he'd like to experience one more time.</dialogue> <character>WILL</character> <dialogue>No. Not at all.</dialogue> <character>EMMA</character> <dialogue>Why?</dialogue> <character>WILL</character> <dialogue>Because it would make him feel alive again.</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>I'm telling you this because I think you have some talent... But if you really want to survive that...</dialogue> <parenthetical>(points to the TVs)</parenthetical> <dialogue>... you'll need to be tougher. In a way this man wasn't.</dialogue> <scene_description>Emma thinks.</scene_description> <character>EMMA</character> <dialogue>And... how do I know the man is telling me the truth, now that I found out he was a great actor?</dialogue> <scene_description>They look at each other --- Will almost smiles. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. STAGE ROOM - NIGHT</stage_direction> <scene_description>Will stands in the middle of the room, staring at the spotlight for a moment. As he stays still - thinking - he reminds us of an artist just about to perform.</scene_description> </scene> <scene> <stage_direction>61A INT. KITCHEN - NIGHT 61A</stage_direction> <scene_description>Emma drinks tea at the table. Kyo comes closer.</scene_description> <character>KYO</character> <dialogue>Doing some overtime here?</dialogue> <character>EMMA</character> <dialogue>Just about to head out...</dialogue> <scene_description>He sits by her side. Gets some tea.</scene_description> <character>EMMA</character> <dialogue>Kyo.</dialogue> <character>KYO</character> <dialogue>Yes.</dialogue> <character>EMMA</character> <dialogue>Why do you do this job?</dialogue> <scene_description>A moment.</scene_description> <character>KYO</character> <dialogue>Because... there's nothing better to do here?</dialogue> <character>EMMA</character> <dialogue>Couldn't you quit?</dialogue> <scene_description>Kyo almost chuckles.</scene_description> <character>EMMA</character> <dialogue>What?</dialogue> <character>KYO</character> <dialogue>We all try. But trust me: not having something to occupy the mind can be worse than torture.</dialogue> <character>EMMA</character> <dialogue>So, this is just to occupy your mind. No hopes... No aspirations...</dialogue> <character>KYO</character> <dialogue>No.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>We all... expect things. Things to happen, in case we do our job well.</dialogue> <character>EMMA</character> <dialogue>And do things really happen?</dialogue> <character>KYO</character> <dialogue>We hear stories.</dialogue> <character>EMMA</character> <dialogue>And what do you expect here, Kyo?</dialogue> <character>KYO</character> <dialogue>The same as you, I presume.</dialogue> <scene_description>A moment.</scene_description> <character>EMMA</character> <dialogue>What about Will?</dialogue> <character>KYO</character> <dialogue>Will... is different.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>... he wants the opposite, and no one can convince him otherwise.</dialogue> <character>EMMA</character> <dialogue>And what is... the opposite?</dialogue> <scene_description>He's quiet for a moment.</scene_description> <character>KYO</character> <dialogue>To vanish... once for all.</dialogue> <scene_description>Silence. Emma thinks for a beat.</scene_description> <character>KYO</character> <dialogue>I hope you can stay here until the end of the process. You do him good.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT</stage_direction> <scene_description>The cracked open door reveals Will watching Amanda's car crash projected on the wall.</scene_description> <character>KYO</character> <dialogue>Hey, Will, I'm heading out! Will?</dialogue> <scene_description>No answer. Kyo stares at him for a moment, and leaves. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - NIGHT</stage_direction> <scene_description>Kyo's MEDIUM SHOT as he walks through the desert for a while. (He makes a decision).</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <character>DAY SIX</character> <dialogue>The room is empty. CLOSE on Maria's paper. She's scribbled over a word, that we can't read but we can imagine what it is.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>Maria stares at the mirror. She looks at her hair, then pulls it back to imagine a different hair style.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - DAY</stage_direction> <scene_description>A different test. Maria is in the room with Will. Her hair is different. We can say that she's prettier. Projected on the wall: a spider on someone's arm.</scene_description> <character>MARIA</character> <dialogue>I shake my arm, to get it away.</dialogue> </scene> <scene> <stage_direction>67A INT. PROJECTION ROOM - DAY 67A</stage_direction> <scene_description>Kane's session. PROJECTED ON THE WALL: a lost wallet on the ground.</scene_description> <character>KANE</character> <parenthetical>(thinks)</parenthetical> <dialogue>I'm taking the money... and donating 50% to charity.</dialogue> <character>WILL</character> <dialogue>Why are you donating 50% to charity?</dialogue> <character>KANE</character> <dialogue>So you don't ask me why I took the money.</dialogue> </scene> <scene> <stage_direction>67B INT. PROJECTION ROOM - DAY 67B</stage_direction> <scene_description>Alexander's session. Projected on the wall: a kid watches cookies in the oven.</scene_description> <character>WILL</character> <dialogue>Your mom makes cookies for your brother, but not for you.</dialogue> <character>ALEXANDER</character> <dialogue>Well, these cookies will have a delicious spit glaze now.</dialogue> </scene> <scene> <stage_direction>67C INT. PROJECTION ROOM - DAY 67C</stage_direction> <scene_description>It's Emma's session. Projected on the wall: Rick is bullied. The kids are violent with him, but he doesn't react.</scene_description> <character>EMMA</character> <dialogue>I would talk to the kids.</dialogue> <character>WILL</character> <dialogue>It's not gonna work.</dialogue> <scene_description>Emma stares at Will, who waits for another answer.</scene_description> <character>EMMA</character> <dialogue>I would talk to them again.</dialogue> <scene_description>Will watches her, then goes for the next clip.</scene_description> </scene> <scene> <stage_direction>67D INT. PROJECTION ROOM - DAY 67D</stage_direction> <scene_description>Back to Alexander's session. The next clip shows a barbecue in the backyard.</scene_description> <character>ALEXANDER</character> <dialogue>And what is that?</dialogue> <scene_description>Will leaves the room. Alexander is puzzled. He comes back with two bottles of beer. Will opens one and gives it to Alexander. The other one he just uses as a prop, to pretend that he's drinking. The projection on the wall creates the illusion that they are in a big backyard, having a barbecue. Alexander smiles and takes a big sip. He raises the bottle to toast:</scene_description> <character>ALEXANDER</character> <dialogue>To our six day friendship.</dialogue> <scene_description>They touch bottles. Alexander drinks the beer. Will holds his bottle just to keep him company.</scene_description> <character>ALEXANDER</character> <parenthetical>(drinking)</parenthetical> <dialogue>Three more days to go.</dialogue> <scene_description>Will nods, noticing some anxiety from him.</scene_description> </scene> <scene> <stage_direction>67E INT. PROJECTION ROOM - DAY 67E</stage_direction> <scene_description>Back to Maria's session. Will pauses the tape. He gives her some papers with more questions.</scene_description> <character>WILL</character> <dialogue>Here... The rest of the tests...</dialogue> <character>MARIA</character> <dialogue>Thank you.</dialogue> <scene_description>Maria looks more anxious than normal.</scene_description> <character>MARIA</character> <dialogue>Will.</dialogue> <character>WILL</character> <dialogue>Yes?</dialogue> <scene_description>She blushes.</scene_description> <character>WILL</character> <dialogue>Yes, Maria?</dialogue> <scene_description>She tries to find the right words.</scene_description> <character>MARIA</character> <dialogue>I... I really appreciate the opportunity you're giving me here. And there's nothing I want more than a chance in the real world.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>But sometimes... Sometimes... I... have thoughts...</dialogue> <character>WILL</character> <dialogue>What thoughts?</dialogue> <scene_description>I... (she can't say it) I think I forgot.</scene_description> <character>WILL</character> <dialogue>If you remember, I'll be in the next room.</dialogue> <scene_description>She nods --- Will leaves. Maria stays by herself. She closes her eyes and unexpectedly... SLAPS her own face.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - EVENING</stage_direction> <scene_description>Will is at the desk, reading the assignments, when Maria comes in - excited and scared at the same time.</scene_description> <character>MARIA</character> <dialogue>I left my assignment on the desk.</dialogue> <character>WILL</character> <dialogue>Thanks, Maria.</dialogue> <scene_description>Maria keeps staring at Will. All her muscles tense.</scene_description> <character>WILL (CONT'D)</character> <dialogue>Looking forward to reading it.</dialogue> <scene_description>She nods. Stares at Will, and leaves. Will keeps reading the papers as we follow Maria walking away - her heart rushing inside her chest.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>Will comes into the dark room and looks at the desk. He finds Maria's papers there, but as he grabs them... he finds something else: an envelope - folded by her. He reads: To Will. Inside the envelope, a letter. He starts reading it. A moment on his face. He finishes reading it. Puts the letter down. Will sits - thoughtful. His eyes away from the letter. A very long beat. Suddenly... The DOORBELL RINGS. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Will opens the door to see KYO, for the first time accompanied by someone else: a middle-aged woman with a calm expression and friendly smile. Like Will, she wears an office shirt and dark pants. This is COLLEEN.</scene_description> <character>KYO</character> <dialogue>Hi, Will.</dialogue> <scene_description>No answer. He looks at the stranger.</scene_description> <character>KYO</character> <dialogue>Sorry, this is Colleen. Colleen this is Will.</dialogue> <character>COLLEEN</character> <dialogue>Nice to meet you, Will. Kyo talked a lot about you.</dialogue> <character>WILL</character> <dialogue>I can't say the same.</dialogue> <character>KYO</character> <dialogue>Can we come in?</dialogue> <character>WILL</character> <dialogue>No. Who is she?</dialogue> <character>KYO</character> <dialogue>Colleen is an interviewer too. A great one, like you...</dialogue> <character>WILL</character> <dialogue>So you're bringing all the other interviewers to my house now?</dialogue> <character>KYO</character> <dialogue>No, just her.</dialogue> <character>WILL</character> <dialogue>Explain.</dialogue> <character>KYO</character> <dialogue>... By coincidence... she chose someone who knows someone you chose.</dialogue> <character>WILL</character> <dialogue>You mean, they knew each other in the real world?</dialogue> <character>KYO</character> <dialogue>Yes. Small real world isn't it?</dialogue> <character>WILL</character> <dialogue>And who did you send?</dialogue> <character>COLLEEN</character> <dialogue>Cecily.</dialogue> <parenthetical>(a moment)</parenthetical> <dialogue>Amanda's cousin.</dialogue> <scene_description>Will stares at her. Then opens the door wider.</scene_description> <character>WILL</character> <dialogue>Come in.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE ROOM - NIGHT</stage_direction> <scene_description>Two empty tea cups on a tray. Will, Colleen and Kyo sit at the desk. Kyo stands up and takes the tray to the kitchen while Colleen talks.</scene_description> <character>COLLEEN</character> <dialogue>... they were so close at that time. I always remember Amanda and Cecily watching that cartoon together after school. The one with that purple talking horse... What was the name of that show? The fire something... firewide...</dialogue> <character>WILL</character> <dialogue>The Wildfire.</dialogue> <character>COLLEEN</character> <dialogue>Yes! The Wildfire! Cecily was crazy about that one. She had like five shoe boxes with all the toys: the horses, the girl, the king, the queen... except...</dialogue> <character>WILL</character> <dialogue>Except Lady Diabolyn.</dialogue> <character>COLLEEN</character> <dialogue>Yup. That was her name. Only Amanda had that one.</dialogue> <character>WILL</character> <dialogue>Only Amanda.</dialogue> <character>COLLEN</character> <dialogue>I forgot how she got it...</dialogue> <character>WILL</character> <dialogue>She used to play with one of the creators of the show.</dialogue> <character>COLLEEN</character> <dialogue>That kid... was something...</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>You must be very proud of her, Will.</dialogue> <scene_description>Nothing. A deep silence. Then...</scene_description> <character>COLLEN</character> <dialogue>You know... like you, I've been alive too. I mean... I understand how difficult it can be sometimes, but you...</dialogue> <character>WILL</character> <dialogue>Let's not talk about me. Why did you come here?</dialogue> <scene_description>Kyo gets back from the kitchen; he looks at Colleen. Silence. Colleen goes for her pocket, she picks up a mini VHS tape and gives it to Will.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>Will turns on the projector; inserts the VHS tape into the VCR and presses PLAY. PROJECTED ON THE WALL: POV of Cecily. Her family sits at the table, quiet. An older woman gives her a piece of paper. It's a letter. She starts reading it.</scene_description> <character>COLLEEN</character> <dialogue>They found this... after Amanda died.</dialogue> <scene_description>Will pauses the video so that he can read the letter projected on the wall. He keeps still, reading it. His face is numb. After he finishes it... ... deep silence. Will's eyes are dead. No muscle in his whole body moves. Kyo and Colleen wait for him to say something.</scene_description> <character>WILL</character> <dialogue>I didn't see her writing it.</dialogue> <character>COLLEEN</character> <parenthetical>(comforting)</parenthetical> <dialogue>Sometimes... it's hard to keep track of all of them...</dialogue> <scene_description>Will looks at the projection again.</scene_description> <character>WILL</character> <dialogue>No, that's not hers.</dialogue> <character>KYO</character> <dialogue>What?</dialogue> <character>WILL</character> <dialogue>That's not hers. I didn't see her writing it.</dialogue> <scene_description>Will walks away. Kyo goes after him.</scene_description> <character>KYO</character> <dialogue>Will!</dialogue> <scene_description>He turns, avoiding to look at them. His sorrow erupting...</scene_description> <character>WILL</character> <dialogue>Just... go. Just go.</dialogue> <scene_description>Will makes an effort to keep his emotions numb. But this time it's hard even for him.</scene_description> <character>KYO</character> <dialogue>Will. I'm sorry if I did what I did. I just wanted you to move on.</dialogue> <character>WILL</character> <dialogue>Get out.</dialogue> <character>KYO</character> <dialogue>No.</dialogue> <scene_description>Kyo stares at him. Not as a coworker, but as a friend.</scene_description> <character>KYO</character> <dialogue>You know how hard it is for me.... to watch what you do to yourself?</dialogue> <scene_description>OUT.:</scene_description> <character>COLLEEN</character> <parenthetical>(to Kyo)</parenthetical> <dialogue>Just give him some time.</dialogue> <scene_description>Kyo watches Will walk away. There's nothing he can do now... he leaves the house with Colleen. 73A CORRIDOR/CABINET ROOM - CONTINUOUS 73A Will moves and walks randomly. His mind and body in conflict...</scene_description> <character>WILL</character> <dialogue>She didn't do it. She didn't do it. Fucking liars. She didn't do it.</dialogue> <scene_description>He rushes to the --</scene_description> <character>CABINET ROOM</character> <dialogue>WILL</dialogue> <scene_description>She didn't do it. She didn't. She didn't do it. It gets harder for him to believe his own words... Will opens Amanda's cabinet. His shaking hands grab some of her VHS tapes, but drops them. He stares at the tapes on the floor for a while, then suddenly... He erupts and PUNCHES the cabinet. Harder and harder. Again and again. He YELLS, but not much sound comes out of his mouth... just pain... But, all of a sudden... He stops. Will quickly recomposes himself. In a few seconds... he looks calm again - at least on the outside. He stares at space for a moment. Then grabs the tapes, put them into the cabinet and shuts it as if nothing happened.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - DAY</stage_direction> <character>DAY SEVEN</character> <dialogue>Will talks to someone who sits opposite of him. We can't identify the person yet.</dialogue> <character>WILL</character> <dialogue>I understand it's not easy to receive this kind of news... But I want you to take advantage of the remaining hours to write down a moment truly meaningful for you. If you allow me, I will do my best to recreate the moment for your experience.</dialogue> <scene_description>He slides a piece of paper over the table. As a hand grabs it from the other side, we see who he's talking to. It's MARIA. Or what's left of her. A long silence.</scene_description> <character>MARIA</character> <dialogue>Is this because of what I wrote to you?</dialogue> <character>WILL</character> <dialogue>No. It isn't.</dialogue> <character>MARIA</character> <dialogue>I knew I shouldn't have written that letter... but something inside me... I couldn't stop it... so I thought that... maybe it meant something... that maybe you felt the same way...</dialogue> <scene_description>Silence. Maria stops looking down and stares at Will's eyes --</scene_description> <character>MARIA</character> <dialogue>I... I love you Will.</dialogue> <character>WILL</character> <dialogue>Maria, you've known me for less than seven days. We barely talked. There's no way you can love me.</dialogue> <character>MARIA</character> <dialogue>But I do.</dialogue> <character>WILL</character> <dialogue>You're too young to say that.</dialogue> <scene_description>Silence. She looks at the paper.</scene_description> <character>MARIA</character> <dialogue>Can we be together in the moment I choose?</dialogue> <character>WILL</character> <dialogue>You have to be by yourself.</dialogue> <scene_description>Her thoughts spin inside her head. Regret gets to her.</scene_description> <character>MARIA</character> <parenthetical>(holding the paper)</parenthetical> <dialogue>Why did I... I'm so stupid... Why did I write that letter? I thought you... I thought you... I'm so stupid.</dialogue> <parenthetical>(moment)</parenthetical> <dialogue>I had a chance and I threw it away. Why did I... I knew I shouldn't... I... I fucked it up... I... Why? Why did I do it?</dialogue> <scene_description>Will watches her in silence.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Some time later... Will stares at the TVs. He focuses on Fernando's. Again he practices at the SHOOTING RANGE, in his wheelchair. Fernando FIRES his gun and hits the bullseye several times.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - DAY</stage_direction> <scene_description>ON THE WALL: POV of a police officer - with his peers - running down the streets of a rural area, chasing a FUGITIVE. The group soon divides - the officer runs by himself. IN HIS POV: he sees - in the distance - someone running away. He goes after him. The chasing ends as he reaches the fugitive in an open land. The officer raises his gun ---</scene_description> <character>FERNANDO</character> <dialogue>Stop.</dialogue> <scene_description>The fugitive turns.</scene_description> <character>FERNANDO</character> <dialogue>Put your hands over your head, NOW.</dialogue> <scene_description>The officer has the fugitive on target, but the fugitive starts moving his hand anyway. HANDS OVER YOUR HEAD, OR I SHOOT. The man stares at the officer's eyes. (Because we are in his POV it's as if he was looking at us). The Fugitive slowly moves his hands towards his belt.</scene_description> <character>FERNANDO</character> <dialogue>Don't make me shoot you.</dialogue> <scene_description>The fugitive goes for his pistol. Even though the officer has his gun raised and ready, he CAN'T PULL the trigger. The fugitive doesn't hesitate --</scene_description> <character>BANG.</character> <dialogue>The fugitive escapes while the officer falls to the ground.</dialogue> <scene_description>He looks at his body and finds a BULLET WOUND close to his belly. A lot of blood.</scene_description> <character>FERNANDO</character> <dialogue>No, no... No.</dialogue> <scene_description>But it's not the wound that scares him most. He looks at his legs and taps them several times.</scene_description> <character>FERNANDO</character> <dialogue>Shit. Shit. Shit.</dialogue> <scene_description>He taps his legs harder. Punches them. His despair raising... ... when suddenly... The image is PAUSED. Emma and Will watch the scene in the projection room.</scene_description> <character>WILL</character> <dialogue>So, if you were this person, what would you do in that situation?</dialogue> <character>EMMA</character> <dialogue>Is this Fernando?</dialogue> <character>WILL</character> <dialogue>Yes.</dialogue> <scene_description>Emma is quiet. Still impressed.</scene_description> <character>WILL</character> <dialogue>Emma?</dialogue> <character>EMMA</character> <dialogue>I... I....</dialogue> <scene_description>For the First time, she stutters. Will watches her.</scene_description> <character>EMMA</character> <dialogue>I... I... don't know.</dialogue> <character>WILL</character> <dialogue>I need an answer.</dialogue> <character>EMMA</character> <dialogue>I don't know the answer.</dialogue> <character>WILL</character> <dialogue>OK. How could you know?</dialogue> <character>EMMA</character> <parenthetical>(thinks)</parenthetical> <dialogue>If I was there... In that situation...</dialogue> <character>WILL</character> <dialogue>That's not possible.</dialogue> <character>EMMA</character> <dialogue>Yes. That's why I can't answer.</dialogue> <character>WILL</character> <parenthetical>(losing his temper)</parenthetical> <dialogue>I'm gonna ask you one more time, what would you do?</dialogue> <character>EMMA</character> <dialogue>And I'm gonna tell you one more time: I- don't - kno...</dialogue> <character>WILL</character> <parenthetical>(exploding)</parenthetical> <scene_description>LISTEN. YOU'RE GONNA ANSWER AND YOU'RE GONNA ANSWER NOW. Emma stares at Will's face. An anger she hasn't seen before.</scene_description> <character>EMMA</character> <dialogue>Are you okay?</dialogue> <scene_description>He SLAMS a paper with other questions on the table.</scene_description> <character>WILL</character> <dialogue>I expect you to answer these.</dialogue> <scene_description>Will starts to walk away.</scene_description> <character>EMMA</character> <dialogue>Hey.</dialogue> <scene_description>She grabs his shoulder, trying to stop him. Will violently jerks his arm away.</scene_description> <character>WILL</character> <dialogue>Don't touch me.</dialogue> <scene_description>You can't tell if Will is angry or scared with her touch. Emma stares at him... Will turns and walks away.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - LATER</stage_direction> <scene_description>CLOSE on Kane's face as he watches the same video. We don't see the projection, just his expression. He barely blinks. As we hear the end of the incident, Will pauses the tape.</scene_description> <character>WILL (O.S.)</character> <dialogue>So, what would you do?</dialogue> <scene_description>Kane answers right away.</scene_description> <character>KANE</character> <dialogue>I wouldn't think twice. The moment he moved, he would be dead.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - LATER</stage_direction> <scene_description>Kane walks down the hallway. When he's about to reach the door, he turns his head to see Will coming closer. Will does a brusque movement - a quick test - just to see what's Kane's primal reaction. By instinct, Kane raises his fists - ready to fight. Will rewards him with an Envelope. Will walks away. Kane opens it to find an invitation paper. Close on his eyes while reading it. He nods - there's satisfaction on his face, but no smile. Finally, he opens the door and leaves.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - DAY</stage_direction> <scene_description>Afternoon. Will has just shown Fernando's video to Alexander.</scene_description> <character>WILL</character> <dialogue>So what would you do?</dialogue> <character>ALEXANDER</character> <dialogue>Not sure.</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>Can I phone-a-friend?</dialogue> <character>WILL</character> <dialogue>You think it's funny.</dialogue> <character>ALEXANDER</character> <dialogue>Come on, Will, I'm just joking.</dialogue> <character>WILL</character> <dialogue>It's a joke for you.</dialogue> <scene_description>He stares at Will's serious face.</scene_description> <character>ALEXANDER</character> <dialogue>Okay... You... you look nervous today... you need to relax... (you need to work on your sense of humor)</dialogue> <scene_description>All of a sudden, Will grabs Alexander's arm and twists it behind his back.</scene_description> <character>ALEXANDER</character> <dialogue>Will. You're hurting me.</dialogue> <character>WILL</character> <dialogue>So, it's not funny anymore?</dialogue> <scene_description>Alexander moans. A pain he's never felt before.</scene_description> <character>ALEXANDER</character> <dialogue>Will, stop.</dialogue> <character>WILL</character> <dialogue>You need to relax. (you need to work on your sense of humor)</dialogue> <scene_description>He twists it more. WILL!</scene_description> <character>WILL</character> <dialogue>This is not even a fraction of the pain you would feel if you were alive.</dialogue> <scene_description>He stares at Alexander's face. He's almost crying. Will keeps twisting his arm. When it's just about to break... He releases it. Alexander slumps to the ground. Will walks away as Alexander stays on the ground, trying to catch his breath. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <character>\*WE SEE THE GARAGE FROM THE CORRIDOR</character> <dialogue>Will works on a wooden piece (the piece for the bicycle ride). He SLAMS it fiercely with his hammer.</dialogue> <dialogue>The DOORBELL RINGS. Will keeps working. It RINGS again. Will doesn't react. We hear the front DOOR OPENING. Kyo comes into the frame.</dialogue> <dialogue>REVERSE SHOT shows Kyo. He wears an elegant suit and holds a bouquet of flower.</dialogue> <dialogue>Will doesn't look at him. Keeps working.</dialogue> <dialogue>Some more SLAMS. Will finally stops. He stares at Kyo.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Kyo's flowers rest inside a vase on the floor. ON A TV: the POV of a woman staring at the mirror, she wears a wedding dress. It's Luiza and today is her wedding. As Will and Kyo watch it... ON THE TV: Luiza wears makeup. Kyo looks at Will. His clothes are dirty and covered in sawdust.</scene_description> <character>KYO</character> <dialogue>Aren't you going to get dressed?</dialogue> <character>WILL</character> <dialogue>I'm fine.</dialogue> <character>ON THE TV:</character> <dialogue>WEDDING DAY MONTAGE STARTS</dialogue> <dialogue>Luiza hugs her dad.</dialogue> <dialogue>She gets to a beautiful garden, where the ceremony will take place. Everyone looks at her in admiration.</dialogue> <dialogue>The WEDDING SONG plays.</dialogue> <dialogue>The priest finishes speaking; Luiza kisses her husband.</dialogue> <dialogue>She throws the Bouquet.</dialogue> <dialogue>Dances with her friends.</dialogue> <dialogue>Cuts the cake.</dialogue> <dialogue>Takes pictures.</dialogue> <dialogue>CLOSE on Will's eyes, attentively watching everything.</dialogue> <character>KYO</character> <dialogue>Congratulations, Will.</dialogue> <scene_description>Will looks at Luiza having fun. She takes a selfie that reveals her big smile.</scene_description> <character>KYO</character> <dialogue>She looks happy.</dialogue> <scene_description>No answer -- Will stands up.</scene_description> <character>WILL</character> <dialogue>I have to go back to work.</dialogue> <scene_description>He leaves, while Kyo stays watching the end of the party. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - DAY</stage_direction> <character>DAY EIGHT</character> <dialogue>Alexander sits at the table for Will. A very long beat, before Will comes in.</dialogue> <character>WILL</character> <dialogue>Sorry to keep you waiting, Alex.</dialogue> <scene_description>He sits opposite of Alexander. A moment.</scene_description> <character>WILL</character> <dialogue>I wanted to... apologize for yesterday.</dialogue> <scene_description>Alexander worries start to fade.</scene_description> <character>ALEXANDER</character> <dialogue>C'mon, Will. It was my fault too. I should've taken your question more seriously.</dialogue> <character>WILL</character> <dialogue>I also want to thank you for everything you're doing here.</dialogue> <character>ALEXANDER</character> <parenthetical>(more confident)</parenthetical> <dialogue>It's been my pleasure, man.</dialogue> <character>WILL</character> <dialogue>But, I have to tell you...</dialogue> <character>ALEXANDER</character> <dialogue>What do you have to tell me...</dialogue> <character>WILL</character> <dialogue>I have to tell you that you don't fit the vacancy you're applying for.</dialogue> <character>ALEXANDER</character> <dialogue>Which means...</dialogue> <character>WILL</character> <dialogue>I'm not choosing you, Alex.</dialogue> <scene_description>Silence.</scene_description> <character>WILL</character> <dialogue>But I want to thank you for all your dedication and hard work over the last eight days. You made it very far.</dialogue> <character>ALEXANDER</character> <dialogue>Don't do this to me.</dialogue> <character>WILL</character> <dialogue>There's nothing I can do.</dialogue> <character>ALEXANDER</character> <dialogue>Please, give me one more chance. I know you were pissed yesterday, but I promise, I'll never do it again!</dialogue> <character>WILL</character> <dialogue>It's not that...</dialogue> <character>ALEXANDER</character> <dialogue>So what is it? Will, give me one more chance. Just one more chance. Can you do it for a friend? We are friends, right?</dialogue> <scene_description>Will passes a sheet of paper to him.</scene_description> <character>WILL</character> <dialogue>Since I'm not selecting you, I want you to write down a moment truly meaningful to you. I know it's not much, but I will do my best to recreate it for your experience.</dialogue> <character>ALEXANDER</character> <dialogue>What the fuck are you talking about?</dialogue> <scene_description>Alexander breathes. Tries to calm down.</scene_description> <character>ALEXANDER</character> <dialogue>Will. Please.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Please.</dialogue> <character>WILL</character> <dialogue>It's my final decision. I'm sorry.</dialogue> <scene_description>Silence.</scene_description> <character>ALEXANDER</character> <dialogue>You coward son of a bitch.</dialogue> <scene_description>Will's quiet.</scene_description> <character>ALEXANDER</character> <dialogue>You stay in this house, judging everyone and everything. But what have you done, you hypocrite? Who are you to judge us?</dialogue> <scene_description>Alexander stands up.</scene_description> <character>ALEXANDER</character> <dialogue>(You're scared, man. You're scared of life and you want everyone else to be scared too).</dialogue> <dialogue>You're sad. You're so fucking sad... and you want everyone to jump onto the misery train with you.</dialogue> <scene_description>Alexander storms out. He stumbles in the chair and almost falls. He walks away without looking back.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - DAY</stage_direction> <scene_description>The end of the day. Emma comes from the kitchen eating a peach. She looks through the OFFICE ROOM cracked open door to see: Will, sitting at his desk. Eyes closed. A disturbed expression. She stares at him for a moment, then goes back to the projection room.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>THE DOORBELL RINGS. We face the closed front door for a while. Will opens it. It's Maria. She looks down, embarrassed.</scene_description> <character>WILL</character> <dialogue>Thanks for coming.</dialogue> </scene> <scene> <stage_direction>INT. STAGE - NIGHT</stage_direction> <scene_description>Darkness. The spotlight SWITCHES ON revealing the bicycle in the center of the room - like a gym bicycle, fixed to the floor. Maria sits on it, wearing HEADPHONES. Will TURNS ON the video projector. On the wall: the POV of a bicycle ride, right in front of Maria. The projection creates the illusion that Maria is moving - like a video game POV. While she pedals, she sees the projection of the fast road. The WALKMAN plays the ambient sound: cars, birds, people... PROJECTED ON THE WALL: Maria sees an uphill -- the speed slows down. Then... The projection changes - it's the POV of the cyclist going down hill, extremely fast. We hear something SWITCHING ON in the stage. It's a fan. Kyo points it to Maria's hair. She closes her eyes. Opens her arms, feeling the wind. The ride is almost finished when Maria sees the projection of beautiful cherry trees, passing by her very fast. The blossoms fall.</scene_description> <character>CLICK.</character> <dialogue>She looks up --</dialogue> <dialogue>Real CHERRY TREE BLOSSOMS falling over her head, on the stage. As they touch the floor, we discover that they are actually thin wood chips painted pink.</dialogue> <scene_description>She opens her hands to feel each wooden blossom with the tip of her fingers. As she tries to touch them, her hands deflect the light from the projector, creating a beautiful superimposed effect with lights and colors in her arms. She has never felt like this. She feels alive. Will watches her. At this moment we find out that Emma is on the opposite corner; hidden behind the wooden boxes. She watches the scene too. The ride projected on the wall comes to an end. Maria stops pedaling as well. Silence. The video projector TURNS OFF. At last, the spotlight fades. It's darker now. Maria stays still on the bicycle, her breathing gets faster as Will comes closer. She knows what's about to happen. Will tries to calm her down. He lays his hand on her shoulder. Nevertheless, her breathing is even faster now.</scene_description> <character>MARIA</character> <dialogue>Will. I can't do this.</dialogue> <character>WILL</character> <dialogue>It's okay, Maria... It's... gonna be okay.</dialogue> <scene_description>She's so nervous that she forgets to breathe. She coughs.</scene_description> <character>MARIA</character> <dialogue>Please, don't do this to me.</dialogue> <character>WILL</character> <dialogue>I'm sorry... There's nothing I can do.</dialogue> <scene_description>She looks at her hands and notices they start to disappear... Because she is totally conscious, her despair is even bigger.</scene_description> <character>MARIA</character> <dialogue>Will, Will! What's happening?? WHAT'S HAPPENING???</dialogue> <scene_description>She's about to have a breakdown when Will holds her hands. Tears trickle down her face.</scene_description> <character>MARIA</character> <dialogue>Please, I don't wanna go. Give me another chance... I won't screw up this time... please... please don't let me go. Don't let me go, Will. Don't let me go...</dialogue> <scene_description>Unexpectedly, Will starts humming a song -- Like a father who tries to calm down his child. Maria gradually quiets down. Crying in silence... She starts to hum the song too, following Will's melody... CLOSE ON Will's hand holding hers, until -- Maria's hand is not there anymore. WIDE: she completely disappeared.</scene_description> </scene> <scene> <stage_direction>INT. CABINET ROOM - NIGHT</stage_direction> <scene_description>Will and Kyo enter the room through the secret door in the cabinet. They hear sounds from the living room. Emma is there.</scene_description> <character>WILL</character> <dialogue>I thought I told you to dismiss her for today.</dialogue> <character>KYO</character> <dialogue>I'm sorry, I think I forgot.</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>Why are you doing this?</dialogue> <character>KYO</character> <dialogue>Doing what?</dialogue> <character>WILL</character> <dialogue>Doing this.</dialogue> <scene_description>Kyo stares at Will for a moment.</scene_description> <character>KYO</character> <dialogue>I just want to open your eyes.</dialogue> <scene_description>He shakes his head.</scene_description> <character>WILL</character> <dialogue>She doesn't fit.</dialogue> <character>KYO</character> <dialogue>So why do you keep her in the house?</dialogue> <character>WILL</character> <parenthetical>(thinks)</parenthetical> <dialogue>Ok... I'm eliminating her tonight.</dialogue> <character>KYO</character> <dialogue>What? Why?</dialogue> <character>WILL</character> <dialogue>Because she didn't show me what I needed to see from her.</dialogue> <character>KYO</character> <dialogue>Let me guess. You want her to be tough. Maybe kill someone...</dialogue> <character>WILL</character> <dialogue>... and you want me to choose a prey, like the one I sent before.</dialogue> <character>KYO</character> <dialogue>A prey? A prey... What the fuck is wrong with you? A week ago Amanda was your pride. Your concerto girl. Now... she's... she's a failure to you...</dialogue> <character>WILL</character> <dialogue>She's not a failu...</dialogue> <parenthetical>(stops)</parenthetical> <dialogue>You wouldn't understand, because...</dialogue> <character>KYO</character> <dialogue>Because I've never been alive? That's what you're gonna say?</dialogue> <character>WILL</character> <dialogue>Yes. That's exactly what I was going to say.</dialogue> <character>KYO</character> <parenthetical>(staring at him)</parenthetical> <dialogue>You know what I hate most about you, Will? That look in your eyes - as if you knew everything when you just shat on the opportunity you had.</dialogue> <character>WILL</character> <dialogue>Ah... the opportunity...</dialogue> <parenthetical>(nervous chuckles)</parenthetical> <character>WILL</character> <dialogue>God... I really wish you have it, so you can stop this non-sense jealousy.</dialogue> <character>KYO</character> <dialogue>I'm not jealous.</dialogue> <character>WILL</character> <dialogue>And you don't even know it.</dialogue> <character>KYO</character> <dialogue>Why do you need to make it about me, or you, Will? I'm talking about Emma, and giving her a chance.</dialogue> <character>WILL</character> <dialogue>Yeah, let's send her. That's a great idea -- I send flowers and everyone send pigs to eat them.</dialogue> <scene_description>CAN'T YOU SEE? IF ALL INTERVIEWERS THINK LIKE YOU, NOTHING'S GONNA CHANGE. AND IF I CHANGE WHEN NO ONE DOES, IT'S NO CHANGE, YOU DUMBARD! IT'S SACRIFICE. They turn their heads and suddenly notice that Emma is there. She's been watching them for a while.</scene_description> <character>EMMA</character> <dialogue>It's Rick.</dialogue> <scene_description>CUT TO: Kyo, Will, and Emma rush to the --</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>They watch Rick's TV. POV of him running away, chased by a furious kid, threatening him as we've never seen before. "You're dead motherfucker! You're dead!"</scene_description> <character>WILL</character> <dialogue>What happened?</dialogue> <character>EMMA</character> <dialogue>He reacted.</dialogue> <scene_description>Rick keeps running away. Every time he turns back, the bully is a bit closer. Until... ... he reaches Rick and tackles him to the ground. By instinct, Rick grabs a rock from the ground and hits the aggressor in the face. Dizzy, the kid stumbles then falls. Rick releases all the anger that he's been holding for the last years. He keeps beating the kid. Kicks, punches, slaps... It's clumsy and brutal at the same time. Cathartic at first, but then just sad. The kid can only protect his face until he passes out. Rick stands up, breathless. He stares at the kid's face: blood and cuts everywhere. Then he looks at his own hands covered in blood. Suddenly, he yells in confusion and anger, less like a person, more like a beast. Will, Kyo and Emma stare at that image.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Emma is about to leave. She reaches the front door to see an ENVELOPE on the door knob. She opens it and reads the invitation paper. Her face lights up. Kyo watches her from a distant room. He sees Emma opening the door and leaving.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Kyo comes in and sees Will at the table. For the first time drinking something: a bottle of beer.</scene_description> <character>KYO</character> <dialogue>You didn't eliminate her.</dialogue> <scene_description>No answer.</scene_description> <character>KYO</character> <dialogue>What are you thinking?</dialogue> <character>WILL</character> <dialogue>What am I thinking... I'm thinking about this man who lost his right arm in a car accident. After struggling with the disability for years, he finally decides to put an end to his suffering. He goes to the high bridge, stands on the railing... But when he looks down to jump...</dialogue> <character>WILL</character> <dialogue>he sees a guy with no arms dancing all around on the river bank below. He thinks, "Wow. Life isn't so bad after all. Look at that guy. No arms and dancing so happily!" Inspired, he gets off the railing and runs down to the river bank, to thank the man. "Thank you so much, sir. I was going to end my life, but when I saw you dancing with so much joy, I changed my mind." "Dancing? I'm not dancing, you stupid!". "My asshole itches and I can't scratch it!"</dialogue> <scene_description>A moment. No laughs. No smiles. A morbid silence.</scene_description> <character>KYO</character> <dialogue>I didn't know you were funny.</dialogue> <scene_description>Silence as Kyo sits by his side.</scene_description> <character>KYO</character> <dialogue>Anything else besides this spectacular joke?</dialogue> <scene_description>He stays there for a very long moment, waiting. No answer. Kyo finally gives up and stands.</scene_description> <character>KYO</character> <dialogue>Alright.</dialogue> <scene_description>As he heads out...</scene_description> <character>WILL</character> <dialogue>Why do you think she did it?</dialogue> <character>KYO</character> <dialogue>She's dead, Will. Why does it matter?</dialogue> <character>WILL</character> <dialogue>It matters because she is dead.</dialogue> <scene_description>Will takes a sip from his drink.</scene_description> <character>WILL</character> <dialogue>Twenty-eight years watching her, and I couldn't see a warning sign.</dialogue> <character>KYO</character> <dialogue>Even if you saw all the signs. What could you do from here?</dialogue> <character>WILL</character> <dialogue>Nothing. You're right. I could do nothing. I can only send them to that shit-hole and say "Survive That."</dialogue> <character>KYO</character> <dialogue>Shit-hole...</dialogue> <character>WILL</character> <dialogue>Shit-hole. A hole filled with shit.</dialogue> <character>KYO</character> <dialogue>I got the metaphor.</dialogue> <character>KYO</character> <dialogue>That's because you're smart, Kyo. Very smart. I'm dumb. Dumb, dumb, dumb... So dumb that I couldn't even see it when I chose her.</dialogue> <character>KYO</character> <dialogue>See what?</dialogue> <character>WILL</character> <dialogue>See that she was just like me.</dialogue> <scene_description>Kyo has never seen him so vulnerable.</scene_description> <character>KYO</character> <dialogue>You had great potential Will, you know that.</dialogue> <character>WILL</character> <dialogue>Great potential for what? To fail?</dialogue> <character>KYO</character> <dialogue>You didn't fail, Will.</dialogue> <character>WILL</character> <dialogue>So why am I here?</dialogue> <scene_description>Silence. Kyo doesn't know.</scene_description> <character>KYO</character> <dialogue>What about the good memories, Will?</dialogue> <scene_description>A moment.</scene_description> <character>WILL</character> <dialogue>Good memory... bad memory... it's just one same thing now... that still hurts, no matter how deep I bury it. Like a sharp dagger;</dialogue> <character>WILL</character> <dialogue>carving from inside to outside... digging out... digging out...</dialogue> <scene_description>His hands show the imaginary dagger digging out his gut.</scene_description> <character>WILL</character> <dialogue>... in a way no one else can see... and only I can feel.</dialogue> <scene_description>Kyo stares at Will, moved.</scene_description> <character>WILL</character> <dialogue>And now...</dialogue> <character>KYO</character> <dialogue>Now what?</dialogue> <character>WILL</character> <dialogue>Now... I know that she felt the same way.</dialogue> <scene_description>Silence. For the first time Kyo seems to understand Will.</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>PROJECTED ON THE WALL: Amanda plays the Violin - a very emotional song.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - SAME</stage_direction> <scene_description>(As we keep listening to Amanda'song). Alexander aimless walks through the desert; singing in despair. He passes through a haze. There, still singing, he gradually disappears. BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - SAME</stage_direction> <scene_description>IN THE PROJECTION: As Amanda keeps playing the emotional song, tears come out of her eyes. Will watches it. He used to think that she was just feeling the music... playing with her heart... but he'll never think like that anymore. More tears come from Amanda's eyes, when suddenly... ... Will STOPS the tape. Silence.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - LATER</stage_direction> <scene_description>WIDE: a big FLAME... dancing while trying to reach the sky... We get closer to it and realize that Will burns all Amanda's tapes and notes. Everything that he recorded or wrote of her in the last twenty-eight years is turned into ashes. The COLOR BAR TONE ESCALATES... louder and creepier... the tension building up...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>CLOSE on the color bars TV. Suddenly --- The tone stops and the color bars are replaced by a warm MAGENTA-ORANGE SCREEN. The colors PULSE, becoming darker and lighter. The rhythm reminds us of a heart beating. This is life just about to begin... OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - DAY</stage_direction> <character>DAY NINE</character> <dialogue>We follow Emma walking through the desert. It's the first time we see the world through her perspective.</dialogue> <dialogue>She stops in front of WILL'S HOUSE, picks the ENVELOPE out of her pocket and RINGS the doorbell once.</dialogue> <dialogue>Emma takes a deep breath. She looks around to admire a world that she might not see again. Strangely, she notices something she's never experienced before. Her hands slightly shake.</dialogue> <dialogue>Is she anxious?</dialogue> <dialogue>Suddenly...</dialogue> <scene_description>Kyo opens the door.</scene_description> <character>KYO</character> <dialogue>Welcome, madam.</dialogue> <scene_description>Emma smiles and enters the house. She shows him the envelope.</scene_description> <character>EMMA</character> <dialogue>Do you need to see the invitation?</dialogue> <scene_description>Kyo takes the envelope from her. As they walk down the corridor, he goofily looks at it against the light, like a one hundred-dollar bill - "checking" if it's not fake.</scene_description> <character>KYO</character> <dialogue>Yup. It's an original.</dialogue> <scene_description>She smiles; Kyo walks her to the --</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Kane is already there, waiting while he watches the TVs. Kyo introduces them to each other.</scene_description> <character>KYO</character> <dialogue>Emma.... Kane...</dialogue> <scene_description>They shake hands.</scene_description> <character>EMMA</character> <dialogue>It's a pleasure to meet you.</dialogue> <character>KANE</character> <dialogue>The pleasure is mine.</dialogue> <character>KYO</character> <dialogue>I have to go back now. A delicious dinner will be served soon.</dialogue> <scene_description>Kyo heads to the kitchen. Emma and Kane stay in the room, quiet. They turn their heads to see Will cooking and Kyo helping him. Kane watches the MAGENTA-ORANGE SCREEN(the former color bars TV). It PULSES becoming darker and lighter - almost like a countdown. Emma watches it too. Anxiety in the air. An uncomfortable silence. Broken by...</scene_description> <character>KANE</character> <dialogue>So this is the last day.</dialogue> <character>EMMA</character> <dialogue>Are you afraid?</dialogue> <character>KANE</character> <dialogue>Of what?</dialogue> <character>EMMA</character> <dialogue>Of what might happen here.</dialogue> <scene_description>A quick moment.</scene_description> <character>KANE</character> <dialogue>No.</dialogue> <parenthetical>(is he lying?)</parenthetical> <dialogue>Are you afraid?</dialogue> <scene_description>Emma thinks for a moment. Tries to understand what she's feeling.</scene_description> <character>EMMA</character> <dialogue>Yes. I think I am.</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD - LATER</stage_direction> <scene_description>The group sits around a desk covered by a tablecloth. CLOSE on the leftovers on the messy table. Even at this point - almost the end of the dinner - everything looks appetizing. Kyo, Emma, and Kane talk while finish eating. Will's quiet. He's the only one who doesn't eat. Kyo drinks his beer.</scene_description> <character>KYO</character> <dialogue>So, where did I stop?</dialogue> <character>KANE</character> <dialogue>The most disgusting thing you've ever watched.</dialogue> <character>KYO</character> <dialogue>Yes!</dialogue> <character>WILL</character> <dialogue>Actually, I'm not sure if it's the best topic to discuss here.</dialogue> <character>EMMA</character> <dialogue>We're finished.</dialogue> <character>KANE</character> <dialogue>We're good.</dialogue> <character>KYO</character> <parenthetical>(to Will)</parenthetical> <dialogue>They're good.</dialogue> <parenthetical>(to them)</parenthetical> <dialogue>So... I saw this happening some years ago. But it still gives me the shivers... I'm watching this girl driving back home, pissed out of her head, with the best matte completely wasted in the back as well. Until (bump) the car passes over a bump. Her matte wakes up, desperate to puke his guts out. "Stop the car!" But the girl refuses. She's too paranoid the police will come from nowhere. To deal with the situation, what does he do? He does puke, but in his mouth... I mean... that semi- digested dinner keept all inside.</dialogue> <scene_description>Kyo bulges his cheek to demonstrate.</scene_description> <character>EMMA</character> <dialogue>Ugh...</dialogue> <character>KYO</character> <dialogue>And to keep her mom's car safe and clean... he heroically swallows everything back.</dialogue> <scene_description>More reactions.</scene_description> <character>KYO</character> <dialogue>But as he swallows it, the taste is so bad... but so fucking bad... that he feels like puking again. So he keeps this cycle of puking and swallowing, puking and swallowing... until he finally gets home, and just pukes his guts out.</dialogue> <parenthetical>(does a toilet flush sound)</parenthetical> <dialogue>End of the story.</dialogue> <scene_description>We see Emma's and Kane's disgusted faces. Kyo taps Kane's lap twice.</scene_description> <character>KYO</character> <dialogue>You're next champ.</dialogue> <character>KANE</character> <dialogue>What?</dialogue> <character>KYO</character> <dialogue>A story more disgusting than mine.</dialogue> <character>KANE</character> <parenthetical>(thinks)</parenthetical> <dialogue>Yeah. Puking is disgusting. But you know what's more disgusting? Some days ago, I watched the news of 5 middle school girls who went missing...Everyone in the city started looking for them. Their parents were very hopeful it was just a prank or something... But two days later the authorities found out they were dead. Their English teacher, a 60-year-old man raped and killed those girls - not necessarily in that order - and buried them in his backyard. When the police asked him why he did it, he answered it was because he was in love with them... I thought that was pretty disgusting.</dialogue> <scene_description>Silence.</scene_description> <character>EMMA</character> <dialogue>I don't think that was the type of disgusting he was referring to.</dialogue> <character>KANE</character> <dialogue>No. But that's what I find disgusting.</dialogue> <character>EMMA</character> <dialogue>Fair enough. Just curious why you brought this isolated case to the table, knowing that it wasn't what we were going for here?</dialogue> <character>KANE</character> <dialogue>Isolated case? That happens all the time.</dialogue> <scene_description>Will watches the discussion attentively. They are contrary forces, with equal strength.</scene_description> <character>EMMA</character> <dialogue>All the time? Aren't you trying to say exceptions?</dialogue> <character>KANE</character> <dialogue>Is it a fucking joke? Exceptions? What world have you been watching?</dialogue> <character>EMMA</character> <dialogue>Same as you, pal.</dialogue> <character>KANE</character> <dialogue>Funny. Because in world I watch, every single day, someone is doing something to hurt someone else. Every single day someone somewhere takes someone's else life...</dialogue> <character>EMMA</character> <dialogue>Why are you focusing on that?</dialogue> <character>KANE</character> <dialogue>Why are you not focusing on that?</dialogue> <character>EMMA</character> <dialogue>Sure, there are terrible things but that's not what we were discussing here...</dialogue> <character>KYO</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Emma... why don't you talk about your disgusting moment?</dialogue> <scene_description>Silence.</scene_description> <character>EMMA</character> <dialogue>Well... Two days ago, I was watching this young woman, who happened to have a big piece of poo clogged in her toilet bowl.</dialogue> <scene_description>Kane rolls his eyes.</scene_description> <character>KYO</character> <dialogue>I like the premise. Go on...</dialogue> <character>EMMA</character> <dialogue>... no matter how many times she flushed the toilet, that poo would stay there, like a resilient soldier: strong... firm... but ultimately forgotten. Until... the night she brings this cute guy to her apartment... who, first thing, asks her to use the bathroom... The girl panics. "One minute, please." She rushes into the bathroom, opens a toothbrush and rubs that gigantic brown mass...</dialogue> <character>EMMA</character> <dialogue>She rubs it... rubs it... and rubs it more... until the porcelain is clean like her conscience. Of course, she should've thrown the toothbrush in the trash can right away. But you know... she was drunk, he was drunk... and as drunk people start doing other things... things are forgotten. Some time later, when they are already in bed... spooning... the guy whispers to her: "Hey, honey thank you so much for the tooth brush you left on the sink for me. I really like the soft ones". Immediately her eyes pop...</dialogue> <scene_description>Kane provokes her ---</scene_description> <character>KANE</character> <dialogue>So, that's all?</dialogue> <character>EMMA</character> <dialogue>No. Because right before he said that to her... they were passionately making out.</dialogue> <scene_description>Emma finishes the story cleaning her teeth with her tongue. A moment. Kane stares at her --- suddenly... He BURSTS INTO LAUGHTER. Emma and Kane laugh together. A loud and pleasurable laugh that Will watches in silence. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PROJECTION ROOM - NIGHT</stage_direction> <scene_description>Kane and Emma sit side by side. Like in Alexander scene, they wait there for a very long beat. Will enters the room, pulls a chair and sits close to them.</scene_description> <character>WILL</character> <dialogue>Now that you had some time to know each other... and saw things that maybe I haven't... I have a simple request.</dialogue> <parenthetical>(moment)</parenthetical> <character>WILL</character> <dialogue>I want you to tell me why the person in front of you doesn't deserve to be alive.</dialogue> <scene_description>Emma stares at Kane. Kane stares at Emma. The same people who were laughing together, now are forced to destroy each other.</scene_description> <character>WILL (CONT'D)</character> <dialogue>Who wants to start?</dialogue> <scene_description>Emma stands up. She looks at Will for a moment; he looks down. With no hesitation, she walks away and leaves.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - DAY</stage_direction> <character>EPILOGUE</character> <dialogue>It's early morning.</dialogue> <dialogue>Will eliminates the last candidate. He speaks to someone not revealed yet (Emma or Kane?). The camera slowly moves, gradually revealing the person.</dialogue> <character>WILL</character> <dialogue>... I understand it's not easy to receive this kind of news. But I want you to take advantage of the remaining hours to write down a moment truly meaningful for you.</dialogue> <scene_description>As the camera stops moving, we see who the person is. It's --</scene_description> <character>-- EMMA.</character> <dialogue>WILL</dialogue> <scene_description>... I know it's not much, but If you allow me, I will do my best to recreate the moment for your experience. He slides a piece of paper to her.</scene_description> <character>WILL</character> <dialogue>You can take your time.</dialogue> <scene_description>He stands up and heads to the door. But Emma finishes writing on the paper very quickly. Will comes back. He picks up the paper and reads it. A moment of silence.</scene_description> <character>WILL</character> <dialogue>You have to choose something else.</dialogue> <character>EMMA</character> <dialogue>That's the only thing I can think of.</dialogue> <scene_description>He stares at the paper for a moment, then lays it on the table.</scene_description> <character>WILL</character> <dialogue>I'm sorry.</dialogue> <scene_description>He slides the paper back to her. He can't do it.</scene_description> </scene> <scene> <stage_direction>INT. STAGE ROOM - DAY</stage_direction> <scene_description>Will stands in the middle of the room. He looks around, then looks up at the SPOTLIGHT. He closes his eyes. We hear a mix of sounds, that reminds us of audience mumbles before a play starts. The noise FADES. Then, all of a sudden... ... the spotlight TURNS OFF.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Kane and Will sit on the couch. Will gives him the last instructions.</scene_description> <character>WILL</character> <dialogue>... and some hours after you leave the house, you'll feel it. As if you were not here anymore... and your senses were getting unbearably sharper... and stronger. You'll never remember me or anything that happened in this place. But as I said before, you'll still be you.</dialogue> <character>KANE</character> <dialogue>Thank you.</dialogue> <character>WILL</character> <dialogue>There's nothing to thank me for.</dialogue> <character>KANE</character> <dialogue>I'm really sorry for Emma.</dialogue> <scene_description>Will looks at him.</scene_description> <character>WILL</character> <dialogue>No, you're not. But that's why I chose you.</dialogue> </scene> <scene> <stage_direction>INT. CABINET ROOM - CONTINUOUS</stage_direction> <scene_description>Will organizes the papers and folders from the last nine days. He uses his key to unlock and open a cabinet. Then starts putting the candidate folders inside it. From outside -- KNOCK, KNOCK. He keeps organizing the folders in the cabinet. -- KNOCK, KNOCK again. The door slowly opens. We see Kyo's face through the cracked open door.</scene_description> <character>KYO</character> <dialogue>Will.</dialogue> <scene_description>No answer.</scene_description> <character>KYO</character> <dialogue>Emma is here to say goodbye.</dialogue> <scene_description>Nothing. Will keeps organizing the folders in the cabinet. Kyo stares at him; then closes the door.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>Kyo walks back to the front door, where Emma is.</scene_description> <character>KYO</character> <dialogue>He's busy with some other work.</dialogue> <character>EMMA</character> <dialogue>I understand.</dialogue> <scene_description>He looks at her. She looks around.</scene_description> <character>EMMA</character> <dialogue>We've come a long way.</dialogue> <character>KYO</character> <dialogue>Nine days.</dialogue> <character>EMMA</character> <dialogue>Nine days.</dialogue> <scene_description>As she prepares to open the front door --</scene_description> <character>KYO</character> <dialogue>Emma.</dialogue> <character>EMMA</character> <dialogue>Yes?</dialogue> <character>KYO</character> <dialogue>It was a pleasure.</dialogue> <scene_description>He extends his hand. But Emma doesn't shake it. She hugs him.</scene_description> <character>EMMA</character> <dialogue>The pleasure was mine.</dialogue> <scene_description>Kyo is moved but don't say anything. She turns to the door and opens it. Nothingness outside. Emma nods goodbye. Kyo does the same. As she passes through the door... ... it SHUTS.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - LATER</stage_direction> <scene_description>Kyo stands in front of the closed CABINET ROOM door again.</scene_description> <character>KYO</character> <dialogue>She's gone.</dialogue> <scene_description>Nothing. Will still ignores him. Kyo stares at the closed door for a moment... then leaves. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OFFICE ROOM - SAME</stage_direction> <scene_description>From inside the office we see the Cabinet Room door closed. FOREGROUND: desk, Background: door. The door opens and Will walks towards us - the office. He enters and sees Emma's LAST WISH paper resting on the desk. He comes closer. But when Will grabs the piece of paper, a surprise... ... he finds out that there's something handwritten, below the paper, on the desk. Emma had written it before she left. He reads it --</scene_description> <character>EMMA (O.S.)</character> <dialogue>Will. Probably by the time you read this, I'll no longer exist... I'm sorry that life didn't go the way you wanted, and that all the pain you went through doesn't allow you to see what I can see right now. I took the freedom to write all the beautiful moments that I experienced in this house. Look attentively and you will always find these moments. Please, don't take them for granted. Because in my nine days here, I never did... Emma.</dialogue> <scene_description>Puzzled and moved, Will starts to search through the house and finds several hidden spots, with something Emma wrote. Every time he finds something, we see a clip (Flashback) that represents the moment she wrote. A VIOLIN SONG starts to play. The same vivacious song that Amanda was playing in the beginning of the movie. MONTAGE:</scene_description> </scene> <scene> <stage_direction>111A INT. KITCHEN - DAY 111A</stage_direction> <scene_description>Will finds something written on the kitchen cabinet door. INTERCUT: CLOSE on a mouth biting into a juicy peach.</scene_description> </scene> <scene> <stage_direction>111B INT. STAGE ROOM - CONTINUOUS 111B</stage_direction> <scene_description>He finds words on a wooden box in the Stage Room. INTERCUT: Mike - during his last wish - feeling the water on his feet, joyful.</scene_description> </scene> <scene> <stage_direction>111C INT. GARAGE - CONTINUOUS 111C</stage_direction> <scene_description>He finds something written on the saw, in the garage. INTERCUT: Kyo talking about yelling on the top of a cliff.</scene_description> </scene> <scene> <stage_direction>111D INT. PROJECTION ROOM - CONTINUOUS 111D</stage_direction> <scene_description>Something written on the desk, below the projector. INTERCUT: the bicycle ride that Will made for Maria.</scene_description> </scene> <scene> <stage_direction>111E EXT. BACKYARD - CONTINUOUS 111E</stage_direction> <scene_description>He finds words on the dinner tablecloth. INTERCUT: Emma and Kane laughing together.</scene_description> </scene> <scene> <stage_direction>111F INT. LIVING ROOM - CONTINUOUS 111F</stage_direction> <scene_description>Will, in the LIVING ROOM, looks under the couch. He finds five moments written there. QUICK INTERCUTS with: a woman kissing her child; children laughing; people singing; running; eating. He soon realizes that there are moments written in his entire house. Unnoticed moments spread everywhere...</scene_description> </scene> <scene> <stage_direction>111G INT. HOUSE - CONTINUOUS 111G</stage_direction> <scene_description>He looks around, in awe. Will still holds Emma's last wish paper. CLOSE on his hand holding it... now TIGHTER; when suddenly... PRE LAP: THE FRONT DOOR BURSTS OPEN:</scene_description> </scene> <scene> <stage_direction>EXT. WILL'S HOUSE - DAY</stage_direction> <scene_description>Will storms out the door. He leaves the house, and dashes down the desert.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - CONTINUOUS</stage_direction> <scene_description>Will keeps running - with a lot of effort but no sense of direction. Time passes by --- he still runs. But no matter how many miles he goes through... ... he can't find Emma. Gasping, he stops ---- Tries to catch his breath. He looks away, hopeless. Finally, he sees something familiar - -- a small dot moving very slow. It's her. WITH EMMA She walks away from us. When --</scene_description> <character>WILL (O.S.)</character> <dialogue>Hey.</dialogue> <scene_description>She turns her head and sees Will. WIDE: two distant people in the same empty environment. Will comes closer. He faces Emma, takes her last wish paper out of his pocket and gives it to her. Emma stays still, puzzled. Strangely, Will walks some steps away. His back turned to her. Will breathes. He inhales, exhales, inhales, exhales... His heart pounds fast. Sweat pours from his forehead. He's not in the safe numb zone anymore. He's nervous... and anxious... and scared... feelings that he only used to feel when he was alive. Emma understands what she's about to watch. She sits on the ground and becomes his audience. Will slowly breathes. Inhales..... exhales..... inhales..... exhales..... Time stops. Everything is quieter... calmer... A second of pure silence. He opens his eyes and finally turns to Emma... a brief moment before he starts his monologue. The same one he once performed in high school so many years ago...</scene_description> <character>WILL</character> <dialogue>I celebrate myself, and sing myself; and what I assume you shall assume; for every atom belonging to me as good belongs to you. I loafe and invite my soul; I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood;</dialogue> <character>WILL</character> <dialogue>form'd from this soil, this air; born here of parents born here from parents the same, and their parents the same; I, now thirty-seven years old in perfect health begin; hoping to cease not till death.</dialogue> <scene_description>He warms up. Word after word, his voice goes from trembling to firm. His hands start moving with purpose, not with fear. The hesitation fades as he speaks... Anxiety becomes excitement.</scene_description> <character>WILL</character> <dialogue>The smoke of my own breath; echoes, ripples, and buzzed whispers... loveroot, silkthread, crotch and vine; my respiration and inspiration... the beating of my heart... the passing of blood and air through my lungs...</dialogue> <scene_description>Each syllable, each breath, each pause... It's not just words anymore... It's MUSIC... in a tone that only Will could sing. Will's eyes are unafraid. As if he could see something we can't. Emma doesn't blink, fearing she could miss any microsecond of it. His feet, his hands, his legs, his arms... frenetic, yet elegant moves. His body is in total control - like a skillful dancer, who sings his own song.</scene_description> <character>WILL</character> <dialogue>... the sound of the belched words of my voice... words loosed to the eddies of the wind; a few light kisses... a few embraces... reaching around of arms; the play of shine and shade on the trees as the supple boughs wag; the delight alone or in the rush of the streets, or along the fields and hill-sides; the feeling of health.... the full-noon trill.... the song of me rising from bed and meeting the sun.</dialogue> <scene_description>At the peak of intensity, Will opens his eyes. He's in disbelief. And so is Emma. He feels what he deprived himself to feel. An indescribable mix of joy, anger, ecstasy, sadness... He builds the tempo more. Fast words. Sharp words. Coming from the heart... to the lungs... to the air.... to Emma's ears, to Emma's heart....</scene_description> <character>WILL</character> <dialogue>... and to die is different from what any one supposed, and luckier. The spotted hawk swoops by and accuses me, he complains of my gab and my loitering. I too am not a bit tamed, I too am untranslatable; I sound my barbaric yawp over the roofs of the world. The last scud of day holds back for me; it flings my likeness after the rest and true as any on the shadow'd wilds; it coaxes me to the vapor and the dusk. I depart as air, I shake my white locks at the runaway sun; I effuse my flesh in eddies, and drift it in lacy jags.</dialogue> <scene_description>His vocal cords vibrating... like a singer trying to reach a tone never reached. His pain and joy released in the form of a sublime performance. Everything building up... up... up... Will is totally vulnerable now. No walls. No armor. Just skin and emotions.... and sweat. And fast breathing. And tears... tears that Emma mimics, as if she could be Will for a brief moment.</scene_description> <character>WILL</character> <dialogue>I bequeath myself to the dirt to grow from the grass I love. If you want me again look for me under your boot-soles.</dialogue> <scene_description>A once-in-a-life performance... That no one else will ever be able to watch. Just Emma.</scene_description> <character>WILL</character> <dialogue>You will hardly know who I am or what I mean; but I shall be good health to you nevertheless; and filter and fibre your blood...</dialogue> <scene_description>Time stops. We wait for Will's last verses. You almost hear the silence in the air... ready to burst. Will looks at Emma. Emma looks at Will. A man performing on the desert, watched by one person only. We DIVE IN, toward him... And for the very first time, we see the real Will. His arms, his hands, his eyes; all sweat and tears running down his face... Will shouldn't feel such intensity in this world. But he does... He feels alive. A moment of pure silence. Broken by the very last verses ---</scene_description> <character>WILL</character> <dialogue>Failing to fetch me at first keep encouraged... missing me one place search another; I stop somewhere... waiting for you.</dialogue> <scene_description>CLOSE on Emma, discovering through Will's monologue what it's like to be alive. Emma smiles, fulfilled. A delicate, genuine smile. Will stares at her and in a FLASH, a remembrance: He sees Amanda. But she's not crying in this memory. She is smiling at us. And Will finally smiles too.</scene_description> <character>CUT TO BLACK</character> </scene> </script>

Will is an arbiter who judges souls before they inhabit bodies in the living. He lives in an isolated house in the middle of a desert landscape, interviewing candidate souls for the opportunity to be born. If they are not selected, Will gives them an experience of their choosing to enact before their existence is erased. His only company is Kyo, who acts as a sort of supervisor, making sure Will selects the best candidate and assisting him with the process. Unlike Will, who spent a previous lifetime as a living being, Kyo was never alive. Will spends his days watching and taking notes on a multitude of television screens, each displaying the life of a different individual that Will has previously selected. His favorite is Amanda, a 28-year-old violin prodigy. While observing Amanda drive to a major concert, Will sees her suddenly speed on the highway. Amanda crashes into an overpass and dies. As Will grapples with Amanda's death, candidates begin arriving to interview for the vacancy Amanda left behind, a process that will take nine days. He asks the candidates simple questions about life and has them take notes on what they like or dislike about the lives of others who were chosen. Will is particularly intrigued by Emma, who displays heightened empathy and curiosity despite showing little interest in the selection process. Over the course of the nine days, most of the candidates are dismissed for various reasons, such as self-consciousness and lack of respect for suffering. Will does his best to recreate life events for the failed candidates, such as walking on the beach or bike-riding through a city, before the candidates disappear forever. Kyo invites another nearby interviewer to meet with Will, as she had previously selected Amanda's cousin for birth. She shows Will a tape shortly after Amanda's death, which reveals that Amanda left behind a suicide note before her crash. Kyo attempts to help Will get over her death, but Will continues to watch tapes from her life, unable to understand why she did it. Will has told Emma that he cannot tell her anything about his previous life, but in response to her showing concern for him, he now indicates that in his previous life, he once gave a theater performance that made him feel alive but never pursued his passion after that. He reacts angrily when another candidate, Alex, points out Will's hypocrisy for judging people's lives when he never did anything meaningful with his own life. The candidates are narrowed down to two: Emma and Kane. While Emma is carefree and sees the best in people, Kane is more pessimistic, recognizing the evil in the world and showing resolve to fight back against it. Despite Kyo recommending that Will pick Emma, he chooses Kane to be born. When Will offers Emma a last experience, she writes something down that Will says he cannot do. Emma then declines a last experience and opts to walk across the desert until she disappears. Will later finds a note from Emma where she thanks him and explains she wrote happy memories she had during the interview process. Will finds them written all over the house. Feeling regret, he runs across the desert after Emma, passionately recites selections from Walt Whitman’s Song of Myself, and thanks her.

Hangin' with the Homeboys_1991

tt0101998

<script> <scene> <scene_description>HANGIN' OUT WITH THE HOMEBOYS A Screenplay by Joe Vasquez Revised Draft 3/21/90 FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH BRONX STREETS - DAY</stage_direction> <scene_description>Various streets are seen, from the squalid to the very clean, in different neighborhoods throughout the South Bronx, as CREDITS begin the film. Finally, our attention settles on the exterior of a supermarket.</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET</stage_direction> <scene_description>A young Hispanic man of twenty stands in an aisle, wearing an apron, stamping different cans of foods with a price tag. A title appears on screen - "JOHNNY." This title soon fades out and another appears: "11:15 AM." This title now fades out. An older man in a similar apron, PEDRO, walks up to JOHNNY.</scene_description> <character>PEDRO</character> <dialogue>Hey, Johnny, I had my son get an application from his college. I brought it in for you to look at.</dialogue> <character>JOHNNY</character> <dialogue>Oh, Pedro, I don't.know, man. I</dialogue> <scene_description>really don't think I'm the college type, ya know?</scene_description> <character>PEDRO</character> <dialogue>Kid, whatta ya wanna do? You wanna end up like me? Workin' here your whole life. Be smart, Johnny. Be smart while you're still young.</dialogue> <scene_description>Suddenly, JOHNNY• s attention is distracted by a beautiful brunette woman that has entered the aisle. This is DARIA. She picks some fruit from the produce section. PEDRO notices JOHNNY'S look.</scene_description> <character>PEDRO</character> <dialogue>Johnny, forget her. She's got you runnin' in circles, playin' her games. There are more important things to think about in life.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, but God; I've actually got her talkin' to me in full senten- ces, now.</dialogue> <character>PEDRO</character> <dialogue>Johnny, to get a girl like that, you need money. Stop even dream- in' about it. It won't happen. Not even in your wildest dreams. If you were to take my wildest dreams and put them together with your wildest dreams, it still won't happen. And believe me. I'm an old man. My wildest dreams are pretty wild. Naked women jumpin' off chandeliers, all kinds of shit. So just forget it!</dialogue> <scene_description>PEDRO walks off. JOHNNY shakes off what he was just told, pulls a comb out his back pocket, straightens up his hair, then walks over to DARIA.</scene_description> <character>JOHNNY</character> <parenthetical>(Shyly)</parenthetical> <dialogue>Hi, how you doin'?</dialogue> <character>DARIA</character> <dialogue>Oh, hi Johnny. How you've been?</dialogue> <character>JOHNNY</character> <dialogue>I'm doin' alright. Haven't seen you in the store in a while.</dialogue> <character>DARIA</character> <dialogue>Ahhhh, I've been feelin' lazy, ya know? Not wantin' to shop.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, yeah. I know that feelin'. Listen, Daria, I was wonderin' if you were doin' anything tomor- row night, •cause if you're not -</dialogue> <character>DARIA</character> <dialogue>No, sorry. I've got plans.</dialogue> <character>JOHNNY</character> <parenthetical>(Disappointed)</parenthetical> <dialogue>Well, then maybe another time.</dialogue> <character>DARIA</character> <dialogue>Yeah, sure. Another time. Well, let me move on. I'll be seein' ya.</dialogue> <scene_description>DARIA starts to walk off, but then turns to face him.</scene_description> <character>DARIA</character> <dialogue>Maybe next week, okay?</dialogue> <scene_description>JOHNNY's face lights up.</scene_description> <character>JOHNNY</character> <dialogue>Yeah, okay. Maybe next week.</dialogue> <parenthetical>(Tries not to look desperate)</parenthetical> <dialogue>Well, I'll have to check my schedule, of course, but it sounds fine.</dialogue> <character>DARIA</character> <parenthetical>(Smiling)</parenthetical> <dialogue>Okay, bye.</dialogue> <scene_description>DARIA leaves the aisle.</scene_description> <character>JOHNNY</character> <dialogue>Okay. Take it easy.</dialogue> <parenthetical>(To himself)</parenthetical> <dialogue>I'll get her. I'll get her.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WELFARE OFFICE - LATER THAT DAY</stage_direction> <scene_description>Our CAMERA travels down a few aisles of desk, where welfare workers and recipients discuss their problems. CAMERA stops and focuses its attention on one Black male individual of 22 years, who sits at one of the desk. A title appears over the face of the recipient: "WILLIE. 11 The title soon fades out, and another appears: "l:45 PM." This title now fades out.</scene_description> <character>CASE WORKER</character> <dialogue>Look, Mr. Stevens, we're quite fed up with your behavior. We've sent you to several work programs, and you never show up. If you don't want your welfare checks terminated, you better straighten upt</dialogue> <character>WILLIE</character> <dialogue>This is because I'm Black, right?</dialogue> <character>CASE WORKER</character> <dialogue>What are you talking about?</dialogue> <character>WILLIE</character> <dialogue>Look, you can be straight wit' me. You actin' like this, because I'm Black, right? Come on. You can</dialogue> <scene_description>( be honest.</scene_description> <character>CASE WORKER</character> <dialogue>Fine, then I will be honest. I'm actin• like this, because you're a bum.</dialogue> <character>WILLIE</character> <dialogue>I'm a bum? I'm a buml Look, You just callin' me a bum because I'm Black, right? Come on, you can be honest, c•mon.</dialogue> <character>CASEWORKER</character> <dialogue>What is your problem?</dialogue> <character>WILLIE</character> <dialogue>Because I'm Black, I have to be a bum, right? If I was a White guy, I'd be an eccentric, right? C'mon, right?</dialogue> <character>CASEWORKER</character> <dialogue>No. If you were a White guy, you'd be a white bum.</dialogue> <character>WILLIE</character> <dialogue>That's not funny.</dialogue> <character>CASEWORKER</character> <dialogue>It wasn't meant to be. Look, I think the reason you're not going to our work programs is because you don't want to be in- volved in them, which would simply lead to the termination of your checks.</dialogue> <character>WILLIE</character> <parenthetical>(Sarcastically)</parenthetical> <dialogue>No, whatever gave you that idea? I love your work programs. Especially the one you sent me on last week. Ya know, the one where I was suppose to clean toilets. I love that! Really! Honest! I do it all the time at home. I love doin' that kinda stuff. I mean, that is what you would expect a Black man to do, isn't it?</dialogue> <character>CASEWORKER</character> <parenthetical>(Angrily)</parenthetical> <dialogue>This conversation is over. I'm sending you to one last program. It's in Brooklyn.</dialogue> <character>WILLIE</character> <dialogue>Brooklyn! That's like the other side of the world, man!</dialogue> <character>CASEWORKER</character> <dialogue>If you don't go, your case will be terminated.</dialogue> <scene_description>WILLIE sulks.</scene_description> <character>WILLIE</character> <dialogue>This is because I'm Black, right?</dialogue> <scene_description>CUT TO:</scene_description> <character>INT. TELEPHONE MARKETING SERVICE -</character> <dialogue>LATER THAT AFTERNOON</dialogue> <scene_description>CAMERA pans past several telephone operators on the telephone.</scene_description> <character>OPERATOR #1</character> <dialogue>Yes, we have all kinds of magazines in our selection, sir. Even magazines specific to your occupation.</dialogue> <character>OPERATOR #2</character> <dialogue>Even magazines specific to your occu- pation, sir. What is your occupation?</dialogue> <character>OPERATOR #3</character> <dialogue>All kinds of magazines, sir. Even magazines specific to your occupation.</dialogue> <scene_description>Finally, the CAMERA settles. on another operator; a young, Black man of 23 years. A Title appears: "TOM." It soon fades out, and another re-appears: 11 4:10 PM." This title now fades out. \</scene_description> <character>TOM</character> <parenthetical>(Bored, on phone)</parenthetical> <dialogue>Yes, sir. All kinds of magazines, sir. Even magazines specific to your occupation. What is your occupation, sir?</dialogue> <parenthetical>(Suddenly, his eyes light up)</parenthetical> <dialogue>You're a producer? Really? You mean like movies? • . . Well, listen. My name is Thomas Mcneil, and I'm an actor. Yeah, really . . . What I've done? . . . Well, did you see "Rain Man?" Well, I was up to play a waiter in that, but then they wrote out the scene • • . Yeah, really • • • • Ha? • • • Look, forget about the magazines. Trust me, they suck, but listen, why don't you let me get your address and I can send you a picture and resume.</dialogue> <scene_description>At this moment, an older fellow in a jacket and tie walks by TOM. This is obviously a SUPERVISIOR.</scene_description> <character>TOM</character> <parenthetical>(On phone)</parenthetical> <dialogue>Oh, yes, they're excellent magazines. And we have all kinds of magazines in our selection, including magazines specific to your -</dialogue> <scene_description>The SUPERVISIOR has disapeared around a corner.</scene_description> <character>TOM</character> <dialogue>Look, will you forget ·about the stupid ass magazines. Who gives a shit about the -</dialogue> <scene_description>Again, the SUPERVISIOR walks past.</scene_description> <character>TOM</character> <dialogue>excellent magazines that we have in our selection. Yes, even magazines specific to your occupation, sir.</dialogue> <scene_description>The SUPERVISIOR again walks off.</scene_description> <character>TOM</character> <dialogue>Listen, man. I'm givin' you the offer of a life time. To represent a hot, new, undiscovered talent. Hello . . . Hello. Shit!</dialogue> <scene_description>TOM hangs up the phone angrily. He looks down at an endless computer print-out list of phone numbers that lies infront of him, then sneakily looks around the office to see if anyone is watching .. He now pulls out a book from under his desk, whos title reads "A Guide To Motion Picture Producers." He quickly opens it, and starts to dial another phone number from out of the book.</scene_description> <character>TOM</character> <parenthetical>(On phone)</parenthetical> <dialogue>Hello, sir, I'm calling you from Publishers Inc. I have been instructed to let you know that we have a wide selection of magazines for you to subscribe to, sir. Even magazines specific to your occupation. What is your occupation, sir? • . • Oh, you're a producer. Really. You mean like movies?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT BUILDING - BEDROOM - DUSK</stage_direction> <scene_description>( Our CAMERA pans over to a dresser and focuses on its mirror, \ which holds small pictures of different young women. There must be at least thirty pictures surrounding the framework of the mirror. The CAMERA pans to a bed, where a man's body lies, back to CAMERA, covered by a sheet. Title appears: "FERNANDO." The title is immediately crossed out in red marker, and under it, a new name is written: "VINNY." Title soon fades away, and a new title appears: 11 7:59 PM." CAMERA moves into a clock radio beside the bed, which changes from 7:59 to 8:00, and burst forth loud, throbbing disco music. VINNY quickly jumps up and turns off the radio, revealing that he is wearing dark, black sunglasses in bed. He sluggishly sits up.· in bed, and pulls off his shades, revealing his Hispanic, 25 year old face. He reaches over to his telephone, which sits on a night table near him. The phone receiver is off the hook. He places it back on, and it immediately rings. He answers it.</scene_description> <character>VINNY</character> <parenthetical>(Drowsily)</parenthetical> <dialogue>Hello . . . Oh, Candy, how you doin', baby? Yeah • . . Ha? Tonight? Oh, baby, I can't tonight. I'm hangin' out with the fellas • • • • What? When did I promise tonight! • • . Oh! Well, baby, you can't count anything I say when were doin' that • . • Hello?</dialogue> <scene_description>VINNY shrugs, hangs up the phone, and begins to rise from the bed when the phone rings again. VINNY sits back down tiredly, and answers it.</scene_description> <character>VINNY</character> <dialogue>Hello • • • Oh, Wendy. Hey, baby, how you doin'? Ha? • • • Tonight? • • . Oh, baby, I can't tonight. What? C'mon, baby, when did I say that? When did I promise tonight? • • . Oh, figures! Well, look, I'm sorry, I can't . . . I can't . • . • Yeah, I know what I said, I lied, whatta ya want! . . . Hello?</dialogue> <scene_description>VINNY sighs, then again starts to rise from the bed, and again, the phone rings. VINNY groans angrily, grabs the phone, and savagely throws it against the wall. He lets out a sigh of relief from the joys of silence, then rises out of bed and exits his bedroom. BATHROOM VINNY steps in front of a mirror. He watches his tired, razor stubbled face intensely.</scene_description> <character>VINNY</character> <dialogue>Goddamn, bro, what the hell happened to you?</dialogue> <scene_description>He grabs a can of shaving cream, and starts to spray it wildly all over his face. The doorbell rings. VINNY exits the bathroom, with an entire face full of shaving cream. LIVING ROOM VINNY opens the front door. It's WILLIE, who at first, gasp in horror at the sight of VINNY's face.</scene_description> <character>VINNY</character> <dialogue>It's me, man!</dialogue> <character>WILLIE</character> <dialogue>Oh, Thank God! At first I thought White people moved into the neigh- borhood!</dialogue> <scene_description>VINNY walks back to the bathroom, with WILLIE following behind. BATHROOM VINNY continues to shave, while WILLIE stands in the doorway.</scene_description> <character>WILLIE</character> <dialogue>Ayyy, man, I'm a little short on cash tonight. I was hopin' that you could lend me a few bucks.</dialogue> <scene_description>VINNY stares at him coldly.</scene_description> <character>WILLIE</character> <dialogue>C'mon, just a few dollars.</dialogue> <character>VINNY</character> <dialogue>How much money you owe me already?</dialogue> <character>WILLIE</character> <dialogue>I don't know, man.</dialogue> <character>VINNY</character> <dialogue>Well, think. Try and figure it out.</dialogue> <character>WILLIE</character> <dialogue>I don't know. What? Twenty - thirty dollars?</dialogue> <character>VINNY</character> <dialogue>Four hundred, thirty six dollars and forty seven cents.</dialogue> <character>WILLIE</character> <dialogue>Well, who's counting?</dialogue> <character>VINNY</character> <dialogue>Certainly not you, mother fucker!</dialogue> <character>WILLIE</character> <dialogue>Well, what do you care anyway, man? You don't work for it. You get it from your girlfriends.</dialogue> <character>VINNY</character> <dialogue>What the fuck difference does it make where I get it from. That's how much you owe me!</dialogue> <scene_description>The doorbell rings again.</scene_description> <character>WILLIE</character> <dialogue>Be honest wit' me. You doin• this because I'm Black, right? Right?</dialogue> <character>VINNY</character> <dialogue>No, I'm doin' this because you're an ugly mother fucker, now do me a favor and get the door for me, will ya.</dialogue> <character>WILLIE</character> <parenthetical>(Upset)</parenthetical> <dialogue>Yeah, yeah.</dialogue> <scene_description>WILLIE exits the bathroom. LIVING ROOM WILLIE opens the front door, revealing a young woman of 20, holding a pan covered with aluminum foil. This is SARA. She looks surprised when she sees WILLIE.</scene_description> <character>SARA</character> <dialogue>Oh, ahhh, I'm looking for Vinny.</dialogue> <character>WILLIE</character> <dialogue>Who?</dialogue> <character>SARA</character> <dialogue>Vinny. The guy who lives here.</dialogue> <character>WILLIE</character> <dialogue>Oh, well, you must mean Fernando, yeahl</dialogue> <scene_description>VINNY enters the living room, clean shaven, with a towel wrapped around his neck.</scene_description> <character>VINNY</character> <parenthetical>(Angrily)</parenthetical> <dialogue>No, she means Vinny, man! Vinny!</dialogue> <scene_description>WILLIE thinks to himself a moment, then chuckles, finally understanding what's going on.</scene_description> <character>WILLIE</character> <dialogue>Oh, right, right. Vinny, right, okay, okay.</dialogue> <scene_description>VINNY lets her in. SARA stares weirdly at WILLIE for a brief moment, then gives VINNY a quick kiss on the lips.</scene_description> <character>SARA</character> <parenthetical>(To VINNY)</parenthetical> <dialogue>Look, I bought you dinner. It's Pork chops with yellow rice. I made.it myself.</dialogue> <scene_description>VINNY grabs the pan from her.</scene_description> <character>VINNY</character> <dialogue>Oh, baby, that's so sweet of you. So nice. I wish everybody treated me that nice.</dialogue> <scene_description>VINNY walks over to the refrigerator, opens it, and reveals about two dozen different pans of different shapes and sizes, ail covered with aluminum foil. He squeezes hers in amidst the crowd. VINNY then walks about the apartment, gathering his clothes together, and getting dressed as he speaks to her.</scene_description> <character>VINNY</character> <dialogue>You know, sweetie, I was wonderin' if you could give me a couple of bucks tonight. I'm a little short.</dialogue> <character>SARA</character> <dialogue>Well, I thought we were staying in tonight.</dialogue> <character>VINNY</character> <dialogue>No, I'm hangin' out with the fellas.</dialogue> <character>SARA</character> <dialogue>Well, you said we were gonna be together tonight.</dialogue> <character>VINNY</character> <dialogue>When did I say that?</dialogue> <character>SARA</character> <parenthetical>(Blushing)</parenthetical> <dialogue>You know when you said that.</dialogue> <scene_description>VINNY smirks.</scene_description> <character>VINNY</character> <dialogue>Oh, right. Right. Well, I kinda ran into a little problem, ya see, Willie's father here is really sick, so all the fellas were, ahhh, gettin' together tonight and gonna visit him, right, Willie?</dialogue> <character>WILLIE</character> <dialogue>Ha? Oh, yeah, yeah. Doctors say he's gonna die, •cause he ain't got no friends visitin' him, so that's why we goin•. We gonna save his life.</dialogue> <scene_description>SARA looks confused.</scene_description> <character>VINNY</character> <dialogue>Willie's so stunned with what's goin' on, he starts actin' a little strange sometimes.</dialogue> <character>WILLIE</character> <dialogue>Yeah, that's right, Fer-, Fer- • • • Vinny.</dialogue> <character>VINNY</character> <parenthetical>(To SARA)</parenthetical> <dialogue>See what I mean.</dialogue> <character>SARA</character> <dialogue>Oh, you're so sweet. How much do you need.</dialogue> <scene_description>SARA opens her purse. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK - NIGHT</stage_direction> <scene_description>WILLIE and VINNY head up the sidewalk.</scene_description> <character>VINNY</character> <parenthetical>(Angrily)</parenthetical> <dialogue>What's a matter wit' you? Are you stupid, dumb, retarded, or all of the above!</dialogue> <character>WILLIE</character> <dialogue>What? I didn't do anything!</dialogue> <character>VINNY</character> <dialogue>You didn't do anything? Man, you did enough. For now on, do me a favor, okay? If I ever ask you a question, just nod. Please don't open your fuckin' mouth!</dialogue> <character>WILLIE</character> <dialogue>I was just tryin• to help, man.</dialogue> <character>VINNY</character> <dialogue>Yeah, well, that's the problem! Don't help, alright! Don't help, •cause when I need help from you, that's when I know I'm in trouble! For now on just nod, man. Don't say a word, just nod!</dialogue> <character>WILLIE</character> <dialogue>Yeah, yeah. Okay. Okay!</dialogue> <character>VINNY</character> <dialogue>Alright, let's cut the shit. Where we goin'?</dialogue> <character>WILLIE</character> <dialogue>I wanna go and pick up Johnny.</dialogue> <scene_description>VINNY stops WILLIE in the street.</scene_description> <character>VINNY</character> <dialogue>Johnny! Johnny!!! Do we have to hang out with that sad sack mother fucker again?</dialogue> <character>WILLIE</character> <dialogue>Yo, man, he's my best friend, alright!</dialogue> <character>VINNY</character> <dialogue>Yeah, man, I know that, but every time we hang out with the fuckin' guy, he's so goddamn depressin', man! It's like fuckin' hangin' out with Mr. Spock, bro. I can't take it!</dialogue> <character>WILLIE</character> <dialogue>Yo, man, if Johnny ain't gain', then I ain't gain', 'cause that's my boy, alright!</dialogue> <scene_description>VINNY and WILLIE again start to walk up the street.</scene_description> <character>VINNY</character> <dialogue>Yeah, alright, okay, man. Just do me a favor, alright. Tell the fuckin' guy to lighten up, bro, 'cause I don't wanna hear it tonight, alright.</dialogue> <character>WILLIE</character> <dialogue>Yeah, yeah! Okay, Fernando, take it easy.</dialogue> <scene_description>VINNY again stops WILLIE in the street.</scene_description> <character>VINNY</character> <dialogue>And that's another thing, man! You know by now better than to call me Fernando, brot Especially, E - SPESH - ALLY - in front of a girl, okay. You know better than that. You call me Vinny. You understand! Vinny!</dialogue> <character>WILLIE</character> <dialogue>Yeah, okay, okay! I've got it! Vinny! I'll call you Vinny Pantangelelli if you want, okay!</dialogue> <character>VINNY</character> <dialogue>You don't have to go overboard, okay! You don't have to go over- board! You just call me Vinny, and that's that, okay! 'Cause if I hear another one of you guys call me Fernando again, I'm gonna have a fuckin' heart attack, okay!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET</stage_direction> <scene_description>This is the same supermarket that opened the film. VINNY and WILLIE walk up to JOHNNY, who's pulling off his work apron in the center of an aisle.</scene_description> <character>WILLIE</character> <dialogue>Yo, bro!</dialogue> <character>VINNY</character> <dialogue>Yo, man!</dialogue> <character>JOHNNY</character> <dialogue>Ayyyy, how you doin', man! What's up, Willie? How you doin', Fernando?</dialogue> <scene_description>WILLIE looks over at VINNY. VINNY smirks.</scene_description> <character>VINNY</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>It's Vinny, bro. Remember? Vinny.</dialogue> <character>JOHNNY</character> <dialogue>Oh, yeah, right, okay. So what you fellas doin' down here?</dialogue> <character>WILLIE</character> <dialogue>Yo, man, it's Friday. It's hang out night, bro! We gonna have some fun.</dialogue> <character>JOHNNY</character> <dialogue>Awwww, man, I don't know, ya know? I feel kinda depressed tonight, ya know?</dialogue> <scene_description>VINNY looks at WILLIE and smirks.</scene_description> <character>VINNY</character> <dialogue>Well, there you go, man. You don't wanna take a chance on ruinin' his depressed state for the evening, right?</dialogue> <character>WILLIE</character> <dialogue>Would you do me a favor, Vincente, and stay outta this! I'm talkin' to my friend here, alright!</dialogue> <character>VINNY</character> <dialogue>Yeah, I know that, bro, but you shouldn't have to twist his arm to make him go, ya know? If he don't wanna go, then let him be!</dialogue> <character>WILLIE</character> <dialogue>You finish?</dialogue> <character>VINNY</character> <dialogue>Yeah, I'm done . . . I mean, ya know, that's just the way I think personally, ya know? If the guy says he don't wanna go, then there's gotta be a reason for it, whatever it is.</dialogue> <character>WILLIE</character> <dialogue>I'm glad you feel that way, now could you go stand over there or somethin', while I talk to my friend!</dialogue> <character>VINNY</character> <dialogue>Yeah, sure, no problem.</dialogue> <scene_description>VINNY starts to walk off to a corner, but as he walks he comments.</scene_description> <character>VINNY</character> <dialogue>I mean, damn, you shouldn't have to force the guy, ya know. Damn!</dialogue> <scene_description>WILLIE smirks, then faces JOHNNY.</scene_description> <character>WILLIE</character> <dialogue>C'mon, man, it's not gonna be the same without you.</dialogue> <character>JOHNNY</character> <dialogue>Awww, I don't know, man. I gotta work early tomorrow. I'm helpin' to open up the place, ya know?</dialogue> <character>WILLIE</character> <dialogue>Look, man. If you're not thinkin' of yourself, think of me. Please don't leave me alone with that clown all night.</dialogue> <scene_description>WILLIE points to VINNY. JOHNNY laughs.</scene_description> <character>JOHNNY</character> <dialogue>Okay, man. You've got me! Let me go and check out.</dialogue> <scene_description>WILLIE smiles, slaps him five, and JOHNNY walks off. VINNY walks back over to WILLIE.</scene_description> <character>VINNY</character> <dialogue>So that's it, man. He's not goin 1 ?</dialogue> <character>WILLIE</character> <dialogue>No, man. He's goin', he's goin'.</dialogue> <character>VINNY</character> <parenthetical>(Surprised)</parenthetical> <dialogue>He's goin'?</dialogue> <character>WILLIE</character> <dialogue>Yeah, man. He's gain'.</dialogue> <character>VINNY</character> <parenthetical>(Upset)</parenthetical> <dialogue>I'm just gonna say one thing, okay, and I want you to listen to me.</dialogue> <character>WILLIE</character> <dialogue>Oh, c'mon, bro.</dialogue> <character>VINNY</character> <dialogue>No, I'm serious, man. I want you to listen, alright?</dialogue> <character>WILLIE</character> <dialogue>Yeah,\_ alright, alright.</dialogue> <character>VINNY</character> <dialogue>Okay, now good. Pay attention. You wanted him to come, right? Did you hear what I just said. I said YOU wanted him to come. Not me, not anybody else, just you, am I right, ha, ha?</dialogue> <character>WILLIE</character> <dialogue>Yeah, so. Get to the point.</dialogue> <character>VINNY</character> <dialogue>Okay, the point is this: You wanted him to come, then you're responsible for him!</dialogue> <character>WILLIE</character> <dialogue>What?</dialogue> <character>VINNY</character> <dialogue>You heard me! You're responsible for him! If by any chance, I should have a depressing, boring evening because of him, then you are responsible.</dialogue> <character>WILLIE</character> <dialogue>Oh, please!</dialogue> <character>VINNY</character> <dialogue>I'm very serious, man. I'm serious! If by any chance he should do some- thing to screw up my evening in one way of another, you're responsible for him. You hear me? You are responsible! YOU!</dialogue> <dialogue>JOHNNY can be seen in b.g. walking towards WILLIE and VINNY, when PEDRO, from the opening of the film, gently pulls him over to the side.</dialogue> <character>PEDRO</character> <dialogue>Here's that application, Johnny.</dialogue> <character>JOHNNY</character> <dialogue>Ahhh, Pedro, I really don't know, ya know.</dialogue> <character>PEDRO</character> <dialogue>Look! take it, will ya.</dialogue> <scene_description>He stuffs the application into JOHNNY's jacket pocket. JOHNNY laughs, then walks off, again heading towards his friends, who are still having a- dispute.</scene_description> <character>WILLIE</character> <parenthetical>(To VINNY, seeing JOHNNY coming)</parenthetical> <dialogue>Yeah, yeah, okay, shut up!</dialogue> <scene_description>JOHNNY finally reaches them.</scene_description> <character>JOHNNY</character> <dialogue>Alright, guys, c'mon. Where we goin'?</dialogue> <character>WILLIE</character> <dialogue>We're gonna pick up Tommy.</dialogue> <character>JOHNNY</character> <dialogue>Alright, let's go. C'mon, Willie. Let's go, Fernando.</dialogue> <scene_description>JOHNNY walks ahead of them, exiting frame, as VINNY stares glaringly at WILLIE.</scene_description> <character>VINNY</character> <dialogue>YOU! . . . YOU!</dialogue> <character>WILLIE</character> <dialogue>Alright, alright, c'mon!</dialogue> <scene_description>They both follow JOHNNY and exit frame. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT BUILDING - HALLWAY - LATER THAT NIGHT</stage_direction> <scene_description>VINNY, WILLIE, and JOHNNY walk towards a door at the end of the hall.</scene_description> <character>JOHNNY</character> <dialogue>Did anybody call Tom, to let him know we were comin'?</dialogue> <character>WILLIE</character> <dialogue>Nahhh, but I'm sure it's cool.</dialogue> <character>JOHNNY</character> <dialogue>Somebody should have called.</dialogue> <scene_description>They reach TOM's front door.</scene_description> <character>VINNY</character> <dialogue>Okay, shhhhh. Watch this, watch this!</dialogue> <scene_description>VINNY bangs on the door.</scene_description> <character>VINNY</character> <dialogue>OPEN UP! IT'S THE POLICE! OPEN UP!</dialogue> <character>TOM (0. S.)</character> <parenthetical>(Coming from int. apt.)</parenthetical> <dialogue>Who? What? Who is it?</dialogue> <character>VINNY</character> <dialogue>IT'S THE POLICE! OPEN UP! WE KNOW</dialogue> <character>YOU'VE GOT THAT NINE YEAR OLD GIRL</character> <dialogue>IN THERE, OPEN UPt</dialogue> <scene_description>TOM opens the door. He looks frightened at first.</scene_description> <character>TOM</character> <dialogue>What? Ha?</dialogue> <parenthetical>(Seeing his friends)</parenthetical> <dialogue>You? Ya big, imitation, Italian mother fucker. Come in, man.</dialogue> <scene_description>They all enter the apartment. TOM is topless, with a towel hanging around his neck.</scene_description> <character>TOM</character> <dialogue>What you guys doin' here?</dialogue> <character>WILLIE</character> <dialogue>It's Friday night, homie. Hang out night.</dialogue> <character>TOM</character> <dialogue>Ahhh, you guys should take the time to call people before you go to their house, man.</dialogue> <scene_description>JOHNNY sits at the kitchen table.</scene_description> <character>JOHNNY</character> <dialogue>Oh-oh! Ya see. I told ya.</dialogue> <character>VINNY</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Why, what's up?</dialogue> <character>TOM</character> <dialogue>I made some plans tonight with my lady, fellas.</dialogue> <character>VINNY</character> <dialogue>Oh, c'mon, bro!</dialogue> <character>WILLIE</character> <dialogue>C'mon, man. Don't you wanna hang out with the fellas?</dialogue> <character>TOM</character> <dialogue>Yeah, man, well maybe if you guys would have called me earlier, I could have called off my plans, but it's too late now.</dialogue> <character>JOHNNY</character> <dialogue>I told you guys. I told you. You should have called,</dialogue> <scene_description>VINNY smirks at JOHNNY.</scene_description> <character>WILLIE</character> <dialogue>Well, if you not gain', you not goin'. I guess that's it.</dialogue> <scene_description>WILLIE sits on a nearby sofa.</scene_description> <character>VINNY</character> <dialogue>What do you mean 'that's it, that's it.' That's bullshit, man.</dialogue> <scene_description>TOMMY walks into a nearby bathroom and shuts the door.</scene_description> <character>JOHNNY</character> <dialogue>Well, like you said before, ya know. You shouldn't have to force somebody if they don't wanna do somethin', right?</dialogue> <character>VINNY</character> <dialogue>Look, this is different, okay. Tom has to come, alright. He has to!</dialogue> <character>JOHNNY</character> <dialogue>Why?</dialogue> <character>VINNY</character> <dialogue>Because Tom has somethin' that you, me, and Willie don't have all put together, okay!</dialogue> <character>WILLIE</character> <dialogue>What's that?</dialogue> <character>VINNY</character> <dialogue>Tom has a car!</dialogue> <scene_description>VINNY bangs loudly on the bathroom door.</scene_description> <character>VINNY</character> <dialogue>C'mon~ man! You•ve gotta come, bro!</dialogue> <scene_description>WILLIE and JOHNNY stare at each other in disbelief. TOM exits the bathroom, now wearing a dress shirt.</scene_description> <character>VINNY</character> <dialogue>C'mon, man. You gonna tell me you gonna give up a night on the town for some girl!</dialogue> <character>TOM</character> <dialogue>She's just not some girl, man. She's great. Wonderful! I've gotta tell you guys. This time, I really think it's love.</dialogue> <character>VINNY</character> <dialogue>Oh, fuck, mant When the hell did cupid shoot you in your ass! I can't believe this! You gonna give up a night of hangin' out with your homeboys here, your bestest friends for years and years, to go and hang out with some ugly girl.</dialogue> <character>TOM</character> <dialogue>Who said she was ugly. She's a beauti- ful girl. Incredibly beautiful.</dialogue> <character>VINNY</character> <dialogue>Oh, c•mon, man. I know your taste in woman. She probably looks like a duck.</dialogue> <character>TOM</character> <dialogue>Huh, that's what you think, man. The girl is so fine, once you see her, you'd be beggin' to drink her bath water, mother fucker.</dialogue> <character>VINNY</character> <dialogue>Oh, yeah, oh yeah! Okay, right here. Right now, here it is! Right here!</dialogue> <scene_description>VINNY pulls out ten dollars from his pocket.</scene_description> <character>VINNY</character> <dialogue>Here it is! Ten dollars. I've got ten dollars right here that says the girl is ugly. Uggggg - Leeee! Can you back that up, ha?</dialogue> <character>TOM</character> <dialogue>Yeah. Yeah. I can back that up!</dialogue> <character>VINNY</character> <dialogue>Good, okay. Who's wit me here? Who?</dialogue> <scene_description>WILLIE and JOHNNY stare at each other, unsure of what to think.</scene_description> <character>VINNY</character> <dialogue>C'mon, guys. You know Toms taste in women, now, c•mon! Be serious. Remem- ber that west Indian girl he use to be with?.Remember how fine he said she was? Remember when we finally got to meet her. She looked like one of those zombies they be bringin' back from the dead in Haiti. Remember that! or what about that Jewish girl. Remember her? He kept tellin' us how fine she was, and then one time he bought the girl to my house, and the girls nose was so big, she couldn't barely fit through my door, remember that? Ha?</dialogue> <scene_description>WILLIE and TOMMY again stare at each other, then . . .</scene_description> <character>WILLIE</character> <dialogue>I've got ten dollars that says she's uggg-leee, with a capitol ugggg!</dialogue> <character>JOHNNY</character> <dialogue>Ten dollars right here on the ugly person, right here.</dialogue> <character>VINNY</character> <dialogue>Alright, alright.</dialogue> <character>WILLIE</character> <dialogue>Yo, you take I - owe - you's, right? Or in this case: I - owe - urggghhh's!</dialogue> <character>TOM</character> <dialogue>Yo, man, that's thirty dollars I've gotta back up here.</dialogue> <character>VINNY</character> <dialogue>Well, you the one sayin' she's so fine, right? What's a matter? Afraid she's ugly, and you gonna loose?</dialogue> <character>TOM</character> <dialogue>No, man, the girl is fine, but the thing is that everybody's got a dif- ferent opinion of what 'fine' is. How we gonna work this?</dialogue> <character>JOHNNY</character> <dialogue>We all judge her, man. Just like Miss America.</dialogue> <character>TOM</character> <dialogue>Oh, man, that ain't fair. You guys are in the contest!</dialogue> <character>WILLIE</character> <dialogue>Everybody will just have to be honest, that's all. We'll be honest.</dialogue> <character>VINNY</character> <dialogue>Yeah, that's all. And we'll all vote. On a scale of 1 to 10, your girlfriend has to be at least a 9.</dialogue> <character>TOM</character> <dialogue>Nah, man! A 9? That's too high!</dialogue> <character>VINNY</character> <dialogue>Well, you said she was fine, didn't you! Weren't you the one who said she's so fine!</dialogue> <character>TOM</character> <dialogue>A 9 is too high, man! She gotta be at least a 5.</dialogue> <character>WILLIE</character> <dialogue>Nahh, no way. No way.</dialogue> <character>JOHNNY</character> <dialogue>A 5? My grandmother's a 5 . . . And she's dead.</dialogue> <character>TOM</character> <dialogue>Well, a 9's too high, man. It's too high.</dialogue> <character>WILLIE</character> <dialogue>A 7. She has to be at least a 7.</dialogue> <character>VINNY</character> <dialogue>Okay, I'll go with that.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, that's cool. That's fair.</dialogue> <character>TOM</character> <dialogue>I don't know, man. That's still kinda high.</dialogue> <character>VINNY</character> <dialogue>Oh, c'mon, man! She suppose to be so fine, right?</dialogue> <character>TOM</character> <dialogue>Yeah, okay, alright. A 7. Okay, a 7.</dialogue> <character>VINNY</character> <dialogue>Alright, let's go!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PROJECT BUILDING - LONG CORRIDOR - LATER THAT NIGHT</stage_direction> <scene_description>TOM leads JOHNNY, WILLIE, and VINNY up the hallway, to his girlfriends apartment. TOM knocks, and his friends stand silently nearby as a young Black woman of 20 opens the door. Her name is VANESSA. She's dressed in a robe, with a towel over her head.</scene_description> <character>VANESSA</character> <parenthetical>(In a nasal voice)</parenthetical> <dialogue>Oh, hi, honey. How are you.</dialogue> <scene_description>VANESSA notices his friends, and they all smile simultaneously.</scene_description> <character>TOM</character> <dialogue>Baby, what are you doin'. Why ain't you dressed. I thought we were goin' out.</dialogue> <scene_description>TOM moves in to kiss her, but she pulls back.</scene_description> <character>VANESSA</character> <dialogue>Oh, don't. I'm really sick. It just came over me this mornin'.</dialogue> <character>TOM</character> <dialogue>Damn, well, you should've called me.</dialogue> <character>VANESSA</character> <dialogue>I know, baby, but I was sleepin' all day, and I just forgot.</dialogue> <character>TOM</character> <parenthetical>(Disappointed)</parenthetical> <dialogue>Well, I guess that means tonight is off, ha?</dialogue> <character>VANESSA</character> <dialogue>I'm sorry, baby.</dialogue> <character>TOM</character> <dialogue>Well, alright, okay. I hope you feel ?etter. Take cure, bye.</dialogue> <character>VANESSA</character> <dialogue>Bye, baby.</dialogue> <scene_description>VANESSA shuts the door. TOM turns to face his friends.</scene_description> <character>TOM</character> <dialogue>She's beautiful, ain't she?</dialogue> <character>VINNY</character> <dialogue>She looks like a duck. Where's my money?</dialogue> <character>TOM</character> <dialogue>Man, what you talkin' about, man. She's gorgeous. C'mon, Willie, man, tell him.</dialogue> <character>WILLIE</character> <dialogue>Well, I give her a 6.</dialogue> <character>TOM</character> <dialogue>A 6? A 6! Where you keep your eyes? In your ass!</dialogue> <character>WILLIE</character> <dialogue>That's what I honestly feel, chief.</dialogue> <character>TOM</character> <dialogue>Nahh, man, c'mon! That's not fair!</dialogue> <character>VINNY</character> <dialogue>C'mon, bro. cough up the dillies.</dialogue> <character>TOM</character> <dialogue>Wait a second, wait a second! That's two for your side, but I say she's gorgeous, so that's one for me. Now Johnny here is the decidin' vote.</dialogue> <character>JOHNNY</character> <parenthetical>(Nervously)</parenthetical> <dialogue>Oh, c'mon, guys. Don't do that.</dialogue> <character>VINNY</character> <dialogue>Go 'head, Johnny. Just tell him the girls a dog and we collect our money.</dialogue> <character>JOHNNY</character> <dialogue>Oh, man. I really don't wanna be the decidin' vote, ya know?</dialogue> <character>VINNY</character> <dialogue>Will you just go 'head, man!</dialogue> <character>JOHNNY</character> <dialogue>Well, I, I really didn't get a good look at her, ya know?</dialogue> <character>TOM</character> <dialogue>Well, that's it-. He didn't get a good look at her, so we're all even.</dialogue> <character>VINNY</character> <dialogue>Bullshit we're all even! Bring her back out here!</dialogue> <character>TOM</character> <dialogue>What? That's stupid! I'm not gonna bring her back out here!</dialogue> <character>VINNY</character> <dialogue>Fine, then we won, cause it's still two against one.</dialogue> <scene_description>TOM smirks angrily, pauses, then turns back to his girl- friends door, and knocks again.</scene_description> <character>WILLIE</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Now, Johnny, take a good look this time, alright.</dialogue> <character>VINNY</character> <dialogue>Yeah, please. 'Cause if we have to bring this. girl out here one more time after this, we gonna scare the whole neighborhood to death!</dialogue> <scene_description>TOM gives VINNY a dirty look, as VANESSA opens the door once again.</scene_description> <character>VANESSA</character> <dialogue>Hey, sweetie, what you still doin' here?</dialogue> <character>TOM</character> <dialogue>I was just worried about you, ya know, baby.</dialogue> <character>VANESSA</character> <dialogue>Oh, you're an angel.</dialogue> <character>TOM</character> <dialogue>You need anything from the store, baby? Aspirin, or anything?</dialogue> <scene_description>TOM gently caresses her cheek, but the caress turns into a gentle shove, to reveal more of her face in the direction of JOHNNY.</scene_description> <character>VANESSA</character> <dialogue>What, what are you doin'?</dialogue> <character>TOM</character> <dialogue>Nothin', baby. Just admirin' your smooth, beautiful skin.</dialogue> <character>VANESSA</character> <parenthetical>(Romantically)</parenthetical> <dialogue>Ahhh, you're such a romantic. No, I don't need anything, baby. Thanks anyway. I just wanna get back to sleep.</dialogue> <character>TOM</character> <dialogue>Okay, darlin', you go and do that.</dialogue> <character>VANESSA</character> <dialogue>Okay, lover. Bye.</dialogue> <scene_description>She again shuts the door. TOM, WILLIE AND VINNY all stare at JOHNNY.</scene_description> <character>JOHNNY</character> <dialogue>Ahh, man. C'mon, guys!</dialogue> <character>WILLIE</character> <dialogue>Just answer honestly, man. One to ten. Whatta ya think?</dialogue> <scene_description>There is a long pause, then.</scene_description> <character>JOHNNY</character> <dialogue>Ahh, well . . . I guess an 8.</dialogue> <character>TOM</character> <parenthetical>(Excitedly)</parenthetical> <dialogue>ALRIGHT! ALRIGHT! Let's hit the town fellas, let's party!</dialogue> <scene_description>TOM heads down the hall. JOHNNY shrugs, and follows, leaving WILLIE and VINNY alone.</scene_description> <character>VINNY</character> <dialogue>You are responsible, man! You! You're responsible for him! You!</dialogue> <character>WILLIE</character> <dialogue>Oh, c'mon, man!</dialogue> <character>VINNY</character> <dialogue>I'm serious! You are responsible! You!</dialogue> <scene_description>VINNY walks off. WILLIE sighs, then follows. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>The car\_ radio is blasting pop music, as the car drives through traffic with TOM at the wheel, and VINNY sitting beside him. WILLIE and JOHNNY sit in the back seat. They all drink out beer cans.</scene_description> <character>TOM</character> <dialogue>So, what's the first stop?</dialogue> <character>VINNY</character> <dialogue>Wherever the girlies are, bro. Wherever the girlies are.</dialogue> <character>WILLIE</character> <dialogue>Yo, guys, listen. I hope you go some place cheap, 'cause I ain't got much money.</dialogue> <character>TOM</character> <dialogue>Yo, man, why don't you tell the truth foronce in your life.</dialogue> <character>WILLIE</character> <dialogue>Alright, fine. I ain't got no money.</dialogue> <character>JOHNNY</character> <dialogue>Yo, bro, it's alright. We'll just all chip in like we always do.</dialogue> <character>VINNY</character> <dialogue>No, man. No way. Not for me. I've had it with that.</dialogue> <character>JOHNNY</character> <dialogue>Why not, bro? Willie would do it for you, ·if he had it.</dialogue> <character>VINNY</character> <dialogue>That's just the fuckin' problem, bro! Willie never has it. That boy never has any money. He never has a fuckin' dime. I'm tired of it!</dialogue> <character>WILLIE</character> <dialogue>That's because it's a Black thing, man. I'm a Black man being opressed by the White man. They tryin' to keep me down!</dialogue> <character>VINNY</character> <dialogue>Man, you keepin' down your own goddamn self!</dialogue> <character>WILLIE</character> <dialogue>You see, that's what the White man would want you to think. They brain- washed you pretty good, man!</dialogue> <character>TOMMY</character> <dialogue>Ahhh, c'mon, Vinny. It's like our ritual, man. How can we get through a Friday night, without givin' some money to Willie?</dialogue> <character>VINNY</character> <dialogue>Nahhh, no more. That's it. That boy's always gotta come to us for somethin'. He's always gotta say 'put me down, man! Give me some, bro!' Nahhh, no more. I'm not havin' it. Get a job if ya have to, but you ain't comin' to me no more!</dialogue> <scene_description>WILLIE sulks, and JOHNNY notices this.</scene_description> <character>JOHNNY</character> <parenthetical>(To VINNY)</parenthetical> <dialogue>Do you have a job, man, ha?</dialogue> <character>VINNY</character> <dialogue>We're not talkin' about me, we're talkip' about him.</dialogue> <character>JOHNNY</character> <dialogue>Well, I'm askin' you, homes. Do you have a job?</dialogue> <character>VINNY</character> <dialogue>It's none of your business if I have a job or not, alright!</dialogue> <character>JOHNNY</character> <dialogue>That's because you don't have a job. That's because all the money you have, and all the meals you eat, you've gotten from poor innocent women.</dialogue> <character>VINNY</character> <dialogue>Man, there is no such thing as a innocent woman.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, to you there's not.</dialogue> <scene_description>VINNY looks out the car window. His eyes buldge at the sight of two pretty young Hispanic GIRLS walking up the sidewalk. Both girls must be about 16, but their bodies are extremly well developed.</scene_description> <character>VINNY</character> <dialogue>Oh, my God! Look at that shit! You gonna tell me that shit looks innocent to you! Slow down the car.</dialogue> <scene_description>TOM slows down, as VINNY shoves his upper body out the window.</scene_description> </scene> <scene> <stage_direction>EXT. CAR - STREET</stage_direction> <scene_description>TOM slows down the car, driving alongside the GIRLS, as VINNY calls out to them.</scene_description> <character>VINNY</character> <dialogue>Yo, baby! Talk to me, baby! Talk to me!</dialogue> <scene_description>The GIRLS giggle to themselves.</scene_description> <character>VINNY</character> <dialogue>Hey, what's your names? I'm Vinny. I'm from Italy.</dialogue> <character>GIRL #1</character> <dialogue>Yeah?. What part of Italy.</dialogue> <scene_description>VINNY's face goes blank. He searches for an answer.</scene_description> <character>VINNY</character> <dialogue>Italy, Italy. You know? Where all the Italians come from.</dialogue> <scene_description>The GIRLS giggle again. In the car, JOHNNY's eyes roll in disgust.</scene_description> <character>VINNY</character> <dialogue>Hey, why don't you come in for a ride.</dialogue> <character>GIRL #2</character> <dialogue>No, thank you.</dialogue> <character>VINNY</character> <dialogue>Come on, babies. You could sit on my lap. Come on, c'mon!</dialogue> <scene_description>The GIRLS soon reach the front of a broken down tenement building, where a fat, hairy middle aged Hispanic MAN meets them, and leads them into the building. He looks at VINNY with complete hatred.</scene_description> <character>MAN</character> <parenthetical>(Furiously; with Spanish accent)</parenthetical> <dialogue>What you doin'! You tryin' to pick up my daughters, ha!</dialogue> <scene_description>VINNY stares at the hairy ape in shock.</scene_description> <character>MAN</character> <dialogue>Ha? Hey! You tryin' to pick up my daughters, ha! Ya son of a bitch, ha!</dialogue> <scene_description>VINNY swings back in the car, as the MAN starts to quickly walk towards the car.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Everyone is laughing hysterically.</scene_description> <character>VINNY</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Yo, man, get the fuck outta here!</dialogue> <character>TOM</character> <parenthetical>(Laughing)</parenthetical> <dialogue>No, man. I like this neighborhood. Let's stay.</dialogue> <character>VINNY</character> <dialogue>Man, move the fuckin' car, man!</dialogue> <scene_description>TOM laughs loudly, until he sees, in his rear view mirror, the MAN grab two large bottles out of a nearby garbage can.</scene_description> <character>TOM</character> <dialogue>Oh, shit!</dialogue> <scene_description>TOM hits the gas hard.</scene_description> </scene> <scene> <stage_direction>EXT. CAR - STREET</stage_direction> <scene_description>The car flies down the street as the MAN fires the two bottles into the air. They miss the car by inches, as it turns onto another street.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <character>TOM</character> <dialogue>Yo, Vinny, man, if those bottles would've hit my car, I woulda kicked your ass!</dialogue> <character>VINNY</character> <dialogue>Yo, bro, it wasn't my fault.</dialogue> <character>WILLIE</character> <dialogue>It was your fault, 'cause you the one that made that crazy Puerto Rican come over.</dialogue> <character>JOHNNY</character> <dialogue>Ayyyy, ayyy, ayyyy! Watch it with that stuff, alright.</dialogue> <character>WILLIE</character> <dialogue>What stuff? All I said is crazy Puerto Rican.</dialogue> <character>JOHNNY</character> <dialogue>Ayyy, man, watch the way you talk about my people, alright!</dialogue> <parenthetical>(To VINNY)</parenthetical> <dialogue>Damn, man, you hear the way he's talkin' about us?</dialogue> <scene_description>VINNY shrugs his shoulders.</scene_description> <character>JOHNNY</character> <dialogue>You don't care, do you?</dialogue> <character>VINNY</character> <dialogue>What, man. What am I suppose to say to that?</dialogue> <character>JOHNNY</character> <dialogue>You don't care because you don't think you're Puerto Rican, do you?</dialogue> <scene_description>There is a moment of silence.</scene_description> <character>VINNY</character> <dialogue>.Why you wanna fuck wit' me, man?</dialogue> <scene_description>What the hell I'd do to you, bro! Leave me alone, please! There is another moment of silence.</scene_description> <character>TOM</character> <dialogue>He thinks he's Italian.</dialogue> <character>VINNY</character> <dialogue>No, I don't think I'm Italian, alright! I don't think I'm Italian! I know what I am. Ask anybody, okay. Ask Willie. Hey, Willie,tell them I know what the hellI am!</dialogue> <character>WILLIE</character> <dialogue>Well, man -</dialogue> <character>VINNY</character> <parenthetical>(Interrupts)</parenthetical> <dialogue>What I'd tell you before, Willie? Ha? Remember? What I'd tell you before? In the street.</dialogue> <scene_description>WILLIE thinks for a brief moment, then turns to look at JOHNNY. He nods his head vigorously.</scene_description> <character>VINNY</character> <dialogue>Thank you, thank you. There you have it! Now just leave me the fuck alone!</dialogue> <character>WILLIE</character> <dialogue>How come you don't like it when people call you Fernando?</dialogue> <character>VINNY</character> <dialogue>How come you don't like it when people call you an ugly mother fucker!</dialogue> <character>JOHNNY</character> <dialogue>You will just deny that you're a Puerto Rican. Go head. Say it. Say 'I'm a Puerto Rican.' Go 'head.</dialogue> <character>VINNY</character> <parenthetical>(Quietly)</parenthetical> <dialogue>Look, I don't have to say shit to you, now leave me alone.</dialogue> <character>JOHNNY</character> <dialogue>Say it. Say 'I'm a Puerto Rican.'</dialogue> <character>VINNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>Willie! You see this shit, Willie! You see this! You know who's respon- sible for this shit right here, right, Willie? Ha!</dialogue> <character>JOHNNY</character> <dialogue>Why did you tell those girls you were Italian?</dialogue> <character>VINNY</character> <dialogue>You wanna know why, ha! You wanna know why?</dialogue> <character>JOHNNY</character> <dialogue>Yeah, I wanna know.</dialogue> <character>VINNY</character> <dialogue>Fine, I'll tell you! It just so happens at this moment in time, all women are goin' crazy for Italian men, okay!</dialogue> <character>JOHNNY</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>Get the fuck outta here!</dialogue> <character>VINNY</character> <dialogue>It's true, man. Woman think they're great lovers. They're crazy about •em. So that's what I'm gonna be! Now, when the day comes that somebody else takes over that role of drivin' woman crazy, let's say the Black man, then ·that's the day that I'll become Ossie "mother fuckin 111 Davis, but until that day, I'm Vinny, alright!</dialogue> <character>WILLIE</character> <dialogue>Man, you are crazy!</dialogue> <character>TOM</character> <dialogue>Yo, any of you guys got any more brews back there?</dialogue> <character>JOHNNY</character> <dialogue>Nahhhh, we're out.</dialogue> <character>TOM</character> <dialogue>I'm· gonna stop. We'll get some more, alright.</dialogue> <scene_description>TIME CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DELICATESSAN - MOMENTS LATER</stage_direction> <scene_description>The fellas stand to the side of the deli, in front of an old burnt out, boarded up tenement. They are gathering up their money. In the distance, the sound of a dog barking can be heard.</scene_description> <character>TOM</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Put in another dollar, man.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, here.</dialogue> <scene_description>JOHNNY hands TOM the dollar.</scene_description> <character>VINNY</character> <dialogue>Here's two from me.</dialogue> <scene_description>VINNY hands TOM two dollars.</scene_description> <character>TOM</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>Damn, man. You don't have nothin', man. You can't even put in fifty cents?</dialogue> <scene_description>WILLIE pulls out the insides of his pockets. They're empty. He shrugs.</scene_description> <character>TOM</character> <dialogue>Damn, man. You pitiful!</dialogue> <character>WILLIE</character> <dialogue>C'mon, fellas. Put me down.</dialogue> <character>VINNY</character> <dialogue>I'll put you down. You an ugly mother fucker. How's that?</dialogue> <scene_description>Everyone, but WILLIE laughs.</scene_description> <character>TOM</character> <dialogue>Vinny's buggin'.</dialogue> <scene_description>TOM walks off, entering the deli. At this moment, a pretty Black WOMAN walks past VINNY's path.</scene_description> <character>VINNY</character> <parenthetical>(To WOMAN)</parenthetical> <dialogue>Oh, baby, oh! I'm over here, Come on! Come to your uncle Vinny!</dialogue> <scene_description>The WOMAN continues to walk off, ignoring him.</scene_description> <character>VINNY</character> <parenthetical>(To the fellas)</parenthetical> <dialogue>Oh, man. Did you see that?</dialogue> <character>WILLIE</character> <dialogue>Yeah, man. That was a fine African American woman.</dialogue> <character>VINNY</character> <dialogue>Did you see the body on that thing?</dialogue> <character>JOHNNY</character> <dialogue>Yo, Vinny, man, you're crazy. You keep messin' with all those girls, and one day, you gonna come down wit' some strange disease.</dialogue> <character>VINNY</character> <dialogue>No, bro, not me. Let me show you somethin'.</dialogue> <scene_description>VINNY digs into his breast pocket, and pulls out a condom.</scene_description> <character>VINNY</character> <dialogue>You see this? Ha? Do you see this?</dialogue> <character>JOHNNY</character> <dialogue>Yeah, I see it.</dialogue> <character>VINNY</character> <dialogue>You know what this is?</dialogue> <character>WILLIE</character> <dialogue>Of course he knows what it is. Every- body knows what it is.</dialogue> <character>VINNY</character> <dialogue>Okay. Then what is it?</dialogue> <scene_description>JOHNNY smirks angrily, feeling that VINNY is insulting his intelligence.</scene_description> <character>JOHNNY</character> <dialogue>It's a condom.</dialogue> <scene_description>VINNY makes a loud buzzing sound, as if this was a game show, and JOHNNY answered incorrectly.</scene_description> <character>VINNY</character> <dialogue>Wrong! This is more than just a condom. It's a super condom. This condom here has an ingredient called noxinol 9. You hear me. Noxinol 9. Who ever you with, and whatever they got, forget it! This shit will knock it right out. You could fuck an elephant with this condom.</dialogue> <character>JOHNNY</character> <dialogue>I'm sure you have.</dialogue> <character>VINNY</character> <dialogue>Please, please. Let's not bring your woman into the conversation.</dialogue> <scene_description>WILLIE laughs as TOM exits the deli, holding a bag.</scene_description> <character>TOM</character> <dialogue>Yo, fellas, let's hit the road.</dialogue> <scene_description>TOM looks off across the street. He sees a slick looking black jeep pull up to the curb, blasting music. A young man on the curb walks over to the jeep, and hands the driver an envelope. The man walks off.</scene_description> <character>TOM</character> <dialogue>Yo, who's that over there? Is that Louie - Louie?</dialogue> <character>VINNY</character> <parenthetical>(Excitedly)</parenthetical> <dialogue>Yeah. Yeah! That's him.</dialogue> <scene_description>VINNY leads the troops across the street, walking up to the jeep. Louie - Louie, a young, Black man of 24, sits in the drivers seat. He's decked out in gold chains, gold rings, and a silk suit.</scene_description> <character>VINNY</character> <dialogue>Louie - Louie! What's up, man!</dialogue> <scene_description>They all "slap five."</scene_description> <character>LOUIE - LOUIE</character> <dialogue>Yo, fellas, what's happenin', what's happenin'!</dialogue> <scene_description>JOHNNY scans LOUIE - LOUIE from head to toe. He doesn't seem impressed, like the rest of his friends.</scene_description> <character>TOM</character> <dialogue>Lulu, what's the deal! What you doin' around here, man?</dialogue> <character>LOUIE - LOUIE</character> <dialogue>Ahhh, nothin' much, homeboy! Just workin', Just workin'.</dialogue> <character>VINNY</character> <dialogue>Yo, bro, you know if anything's goin' on tonight? Any parties anywhere? Anything?</dialogue> <character>LOUIE - LOUIE</character> <dialogue>Nah! Not in the boogie down Bronx, homeboy. Not tonight. The Bronx is dead. Y'all should check out Manny Hanny.</dialogue> <character>TOM</character> <dialogue>Yeah? Manhattan's happenin' tonight?</dialogue> <character>WILLIE</character> <dialogue>Yo, man, I don't wanna go to Manhattan, man.</dialogue> <character>LOUIE - LOUIE .</character> <dialogue>Yo, Manhattan is where it's at, homie! That's why I don't even be hangin' in the Bronx no more, chief! Manhattan is the life, bee!</dialogue> <character>WILLIE</character> <parenthetical>(To the fellas)</parenthetical> <dialogue>Nahhh, Let's just hang in 'da Bronx, y'all!</dialogue> <character>LOUIE - LOUIE</character> <dialogue>Well, whatever, whatever, home piece! I gotta tip. I'll check y'all later.</dialogue> <character>TOM</character> <dialogue>Alright, Lulu!</dialogue> <character>VINNY</character> <dialogue>Later, bro!</dialogue> <scene_description>LOUIE - LOUIE drives off in his jeep. VINNY, WILLIE and TOM start to walk off.</scene_description> <character>TOM</character> <dialogue>That's a cool dude, man!</dialogue> <character>VINNY</character> <dialogue>Lulu is bad, jack! That boy's got dollars! He's got dollars on his dollars!</dialogue> <scene_description>JOHNNY stands alone for a brief moment, staring at the jeep as it disapears around a corner. TIME CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CAR - MOMENTS LATER</stage_direction> <scene_description>VINNY and TOM ride upfront, while WILLIE and JOHNNY are in the back. The radio is blasting as usual, as VINNY pulls the beer cans from the six pack and starts to hand them out.</scene_description> <character>VINNY</character> <dialogue>Alright, here we go all around. One for Johnny. Can I check your I.D. please?</dialogue> <scene_description>JOHNNY smirks, as he takes his beer.</scene_description> <character>VINNY</character> <dialogue>Okay, one for Willie, who didn't put in a fuckin' dime as usaul.</dialogue> <scene_description>WILLIE smirks, as·he takes his beer.</scene_description> <character>VINNY</character> <dialogue>And one for my man Tom, here.</dialogue> <character>JOHNNY</character> <dialogue>Yo, wait a second, man. How many beers have you already had tonight, Tommy.</dialogue> <character>TOM</character> <dialogue>I don't know, man. Two or three.</dialogue> <character>JOHNNY</character> <dialogue>Well, you shouldn't drink another beer if you drivin', bro.</dialogue> <character>TOM</character> <dialogue>What? Please! Vinny, give me the damn, beer.</dialogue> <scene_description>VINNY nearly hands it to him, but JOHNNY reaches over the seat, and pulls it out of his hands.</scene_description> <character>JOHNNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>You not suppose to drink and drive, bro.</dialogue> <character>TOM</character> <dialogue>Homeboy, if you don't give me that damn beer, you gonna be drinkin' and walkin 1 •</dialogue> <character>VINNY</character> <dialogue>Here, bro, we've got six of them. Please!</dialogue> <scene_description>VINNY hands TOM another beer. JOHNNY sighs as TOM opens it and takes a sip. WILLIE looks out the window. He looks excited at something he notices.</scene_description> <character>WILLIE</character> <dialogue>Oh, shit! Look at that, man! And Louie - Louie said there's nothin' happenin' in the Bronx!</dialogue> <scene_description>They all look out the window, into the direction that WILLIE has pointed out. Their P.O.V. reveals a group of nicely dressed, pretty Spanish girls, walking up the street, heading towards a tenement building.</scene_description> <character>VINNY</character> <dialogue>Oh, my God!</dialogue> <scene_description>VINNY starts to stick his head out the window.</scene_description> <character>TOM</character> <dialogue>Yo, man, yo, wait! Before you say anything, please make sure that there are no big, fat, hairy mother- fuckers, holdin' beer bottles out there, alright!</dialogue> <character>VINNY</character> <parenthetical>(Laughing)</parenthetical> <dialogue>You gotta be fuckin' kiddin' me, man.</dialogue> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>VINNY sticks his head out the window and howls like a dog. WILLIE laughs hysterically, then soon joins him. The girls quickly rush into the nearby tenement.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <character>VINNY</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Oh, bro! Pull over, bro! Please, pull over!</dialogue> </scene> <scene> <stage_direction>EXT. CAR - STREET</stage_direction> <scene_description>The car pulls over to the curb. They all step out of the car and walk up to the front of the tenement. They all look up, in the direction of where they hear loud salsa music.</scene_description> <character>VINNY</character> <dialogue>Shit, man, where's the music comin' from?</dialogue> <character>WILLIE</character> <dialogue>It's from right there. See that light in the third floor window.</dialogue> <character>VINNY</character> <dialogue>Oh, man. They're havin' a party. Let's go. C'mon.</dialogue> <character>TOM</character> <dialogue>How you gonna get in the door? Nobody knows you up there.</dialogue> <character>VINNY</character> <dialogue>Look, I'll just knock on the door and say Jose sent us.</dialogue> <character>JOHNNY</character> <dialogue>Jose? Who the hell is Jose?</dialogue> <character>VINNY</character> <dialogue>It's a Puerto Rican party. There's gotta be a fuckin 1 Jose up there somewhere.</dialogue> <scene_description>TIME CUT:</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT</stage_direction> <scene_description>The boys climb the stairs to the third floor, letting the music that echoes through the hall lead them.</scene_description> <character>JOHNNY</character> <dialogue>It's comin' from over there.</dialogue> <scene_description>JOHNNY points to a door down the hall. They all walk towards the door. VINNY knocks, and a pretty young Spanish woman opens the door. Behind her, we can see a party in full swing. She looks at the fellas suspiciously, not recognizing any of them.</scene_description> <character>WOMAN</character> <dialogue>Ahh, can I help you?</dialogue> <character>VINNY</character> <dialogue>Yeah, ahhhh, Jose sent us.</dialogue> <scene_description>The entire male crowd behind the WOMAN abruptly stop dancing and look towards the door as though their names had been called. VINNY stands silently, waiting for her response.</scene_description> <character>WOMAN</character> <dialogue>Ahhh, yeah, well, okay. Come in.</dialogue> <character>VINNY</character> <dialogue>Thank you.</dialogue> <scene_description>They all enter the apartment.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <scene_description>The guys all gather into a corner.</scene_description> <character>WILLIE</character> <dialogue>Man, I hate house parties. I always feel like I'm trapped in a closet.</dialogue> <character>VINNY</character> <dialogue>Bro, you the last one who can say anything, 'cause you ain't got no money. You got in the party, and it's free, so just shut the fuck up!</dialogue> <scene_description>WILLIE smirks.</scene_description> <character>WILLIE</character> <dialogue>Man, where's the food.</dialogue> <character>VINNY</character> <dialogue>You can look for the food. I'm gonna look for the woman.</dialogue> <scene_description>They both walk off in opposite directions, leaving TOM and JOHNNY together.</scene_description> <character>TOM</character> <dialogue>Damn, I love latin music, man.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, well, go 'head, bro. Go and dance.</dialogue> <character>TOM</character> <dialogue>Well, that's the problem, guy. I love the music, but I could never dance to it. I just can't get it, ya know?</dialogue> <character>JOHNNY</character> <dialogue>Well, I'll show you, bro. Watch me.</dialogue> <scene_description>JOHNNY does a few steps.</scene_description> <character>JOHNNY</character> <dialogue>C'mon, try it. C'mon.</dialogue> <character>TOM</character> <dialogue>Nahhh, man, nahhh. That's okay.</dialogue> <character>JOHNNY</character> <dialogue>Come on, bro? Give it a try.</dialogue> <character>TOM</character> <dialogue>Nahhh, man, I'm afraid to.</dialogue> <character>JOHNNY</character> <dialogue>Why, man?</dialogue> <character>TOM</character> <dialogue>Well . . . 'Cause that's how it's start·s.</dialogue> <character>JOHNNY</character> <dialogue>That's how what starts?</dialogue> <character>TOM</character> <dialogue>You know, Johnny. That's how it starts.</dialogue> <character>JOHNNY</character> <dialogue>No, I don't know. Tell me. That's how what starts?</dialogue> <character>TOM</character> <dialogue>Well, it starts with the dancin', ya see. Then if I like that, the next thing you know, I'll be dressed in polyester suits, with bell bottoms, and eatin' rice and beans.</dialogue> <scene_description>JOHNNY stares at him in disbelief.</scene_description> <character>JOHNNY</character> <dialogue>Yo, man, I take that as a racist statement.</dialogue> <character>TOM</character> <dialogue>Yo, it's not a racist statement, man. It's a fact. I just don't look good in bell bottoms.</dialogue> <scene_description>Our attention shifts to VINNY, who is eyeing a WOMAN who's walking by him. VINNY reaches out and grabs her by the waste, rudely interrupting her walk.</scene_description> <character>VINNY</character> <dialogue>Hey, sweetheart, how you doin'?</dialogue> <scene_description>She jumps nervously at his attack, then violently pulls away from his clutches. She glares at him nastily, as she walks off.</scene_description> <character>VINNY</character> <dialogue>God, some woman are so rude!</dialogue> <scene_description>He walks through the crowd, until he sees another attractive WOMAN. He stops beside her.</scene_description> <character>VINNY</character> <dialogue>Hey, you are a very attractive person.</dialogue> <scene_description>The WOMAN smirks, then walks off.</scene_description> <character>VINNY</character> <parenthetical>(To himself)</parenthetical> <dialogue>But on the other hand, so am I.</dialogue> <scene_description>our attention now shifts to WILLIE, who is standing ever a table covered with food. He is trying everything. Soon, three SPANISH GUYS surround him. They stare at him from head to toe.</scene_description> <character>SPANISH GUY #1</character> <dialogue>Hey, man. Who invited you here?</dialogue> <character>WILLIE</character> <dialogue>Urrrr, Jose, man.</dialogue> <character>SPANISH GUY #1</character> <dialogue>Jose?</dialogue> <character>WILLIE</character> <dialogue>Yeah. Jose.</dialogue> <character>SPANISH GUY #2</character> <dialogue>Ayy, bro, which Jose, ha? Point him out.</dialogue> <character>WILLIE</character> <dialogue>Well, I, I, ahhhh, I haven't seen him yet. Maybe he's late himself, ya know?</dialogue> <character>SPANISH GUY #2</character> <dialogue>What's his last name? This Jose?</dialogue> <character>WILLIE</character> <dialogue>Oh, errrr, I, I can't remember.</dialogue> <scene_description>They SPANISH GUYS start to crowd in tighter around him.</scene_description> <character>WILLIE</character> <dialogue>Ahhhh, It must be, ahhh, Rodriguez.</dialogue> <character>SPANISH GUY #3</character> <dialogue>There's no Jose Rodriguez here.</dialogue> <character>WILLIE</character> <dialogue>Oh, no. Did I say Rodriguez? I meant Himenez • • • or was it Suarez?</dialogue> <scene_description>Our attention shifts back to JOHNNY and TOM. TOM is dancing latin style, with JOHNNY leading him.</scene_description> <character>JOHNNY</character> <dialogue>Yeah, that's it. You've got it. You've got itp You gettin' it.</dialogue> <character>TOM</character> <dialogue>Oh my Godl I could feel my pants expanding at the bottom already.</dialogue> <character>JOHNNY</character> <dialogue>Come on, bro. Cut that shit out.</dialogue> <character>TOM</character> <dialogue>Yeah, am I doin' good, really. Am I rockin' it.</dialogue> <character>JOHNNY</character> <dialogue>Oh, yeah, you've got it. Keep it movin 1 • Keep that waist movin'. You've got it.</dialogue> <character>TOM</character> <dialogue>Oh, yeah, buddy! Man, you're pretty good at this. You should go out there and grab yourself one of those little Spanish mamas, and get down. Ya never know, you might meet your future wife out there tonight.</dialogue> <character>JOHNNY</character> <dialogue>Oh, I'm not goin' that far, man. I've already got somebody else in mind, ya know.</dialogue> <character>TOM</character> <dialogue>Oh, really? You too, ha? Who is she?</dialogue> <character>JOHNNY</character> <dialogue>Oh, a nice girl, bro. Sweet, innocent. virginal.</dialogue> <character>TOM</character> <dialogue>Oh, no. Not her again. You've been talkin' about her for weeks. You still ain't get that booty yet?</dialogue> <character>JOHNNY</character> <dialogue>Hey, a girl like that takes time. She's a shy, sensitive thing.</dialogue> <character>TOM</character> <dialogue>Damn! The girl is innocent, virginal, shy, and sensitive. I don't know about you, but to me, she sounds like a drag.</dialogue> <scene_description>Our attention again shifts to VINNY. He I s talking to a pretty young WOMAN' in a corner.</scene_description> <character>VINNY</character> <dialogue>Yeah, so after I finished law school, I decided, why dedicate my entire life to just one thing, ya know. Why not do something else in my spare time, right? Something just to fill in those dull spaces in between, like on weekends, or days off, ya know. So that's when I became an astronaut.</dialogue> <character>WOMAN</character> <dialogue>Right. Come on. You're shittin' me.</dialogue> <character>VINNY</character> <dialogue>Hey, would I shit on you? No, really. I've been up in the space shuttle. What you doin' next weekend? You want me to take you up for a spin?</dialogue> <scene_description>Our attention again shifts to WILLIE, who is still surrounded.</scene_description> <character>WILLIE</character> <dialogue>It was Mendez, man. Mendez.</dialogue> <scene_description>The SPANISH GUYS don't respond.</scene_description> <character>WILLIE</character> <dialogue>Or was it Perez . . . No, no. It was Vasquez. Yeah, that's it. Jose Vasquez.</dialogue> <character>SPANISH GUY #1</character> <dialogue>Yo, you know what I think, bro? I think you full of shit, Black boy.</dialogue> <character>WILLIE</character> <dialogue>Black boy? Black boy!</dialogue> <scene_description>{Laughing) Is that what you think I am. No, no, no, no, no, man! I'm not Black. I'm a Dominican!</scene_description> <character>SPANISH GUY #2</character> <dialogue>You're a Dominican?</dialogue> <character>WILLIE</character> <dialogue>. . . Si.</dialogue> <scene_description>There's a brief moment of silence, then -</scene_description> <character>SPANISH GUY #1</character> <dialogue>Get the fuck out! Let's go!</dialogue> <scene_description>The SPANISH GUYS start to violently shove WILLIE across the room. TOM and JOHNNY see this and rush over. Soon, a fight is breaking out. People run for cover, as the SPANISH GUYS battle TOM, WILLIE and JOHNNY. VINNY, still talking with the WOMAN in the corner notices the event, and immediately runs to his friends aid, but soon, the SPANISH GUYS start winning the battle and start to shove the fellas out the front door.</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT - HALLWAY</stage_direction> <scene_description>The SPANISH GUYS shove WILLIE, TOM, JOHNNY, and VINNY down the stairs, nearly making them tumble over one another.</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT - SIDEWALK</stage_direction> <scene_description>The SPANISH GUYS toss the fellas onto the curb.</scene_description> <character>SPANISH GUY #1</character> <dialogue>If you guys come back here, I'm gonna get my gun next time!</dialogue> <scene_description>The SPANISH GUYS re-enter the building. WILLIE, TOM, JOHNNY, and VINNY rise back to their feet.</scene_description> <character>VINNY</character> <parenthetical>(Yelling)</parenthetical> <dialogue>Goddamn, man! What the fucks a matter with you guys!</dialogue> <scene_description>The fellas all look at each other confused.</scene_description> <character>VINNY</character> <dialogue>Well, what the hell you'd do in there!</dialogue> <character>TOM</character> <dialogue>What?</dialogue> <character>JOHNNY</character> <dialogue>Who?</dialogue> <character>VINNY</character> <dialogue>Well, you fuckin• guys had to do somethin' to get your asses kicked out!</dialogue> <character>WILLIE</character> <parenthetical>(Shouting)</parenthetical> <character>DAMN, MAN! YOU WANHA KNOW WHAT I</character> <dialogue>DID, MAN! HA! YOU WANNA KNOW WHAT</dialogue> <character>I DID! I WAS BORN BLACK, MOTHER</character> <dialogue>FUCKER! THAT'S WHAT I DID!</dialogue> <scene_description>Everyone becomes silent.</scene_description> <character>VINNY</character> <dialogue>Look, don't start with your Black shit again, okay!</dialogue> <character>WILLIE</character> <parenthetical>(Shouting)</parenthetical> <character>MAN, THEY THREW ME OUT THE GODDAMN</character> <dialogue>PARTY BECAUSE I WAS BLACK, ALRIGHT!</dialogue> <character>BECAUSE I WAS FUCKIN' BLACK!</character> <dialogue>Everyone becomes silent.</dialogue> <character>VINNY</character> <dialogue>What? You mean, well, You mean they -</dialogue> <character>WILLIE</character> <dialogue>Yeah, man. That's it! That's your people for you!</dialogue> <character>JOHNNY</character> <dialogue>Yo, wait a second, bro! I was in there too alright. I was fightin' for you, so don't give me that shit now, okay?</dialogue> <scene_description>WILLIE looks confused and scared.</scene_description> <character>WILLIE</character> <dialogue>There was no reason for that shit, man. I didn't do shit! Nothin'!</dialogue> <scene_description>No one says a word. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Everyone is silent. The positions have changed. TOM i~ still at the wheel, yet WILLIE sits beside him. JOHNNY and VINNY are in the back seat~ JOh'1iNY Yo, man, you okay?</scene_description> <character>WILLIE</character> <parenthetical>(Obviously still upset)</parenthetical> <dialogue>Yeah, man.</dialogue> <character>TOM</character> <dialogue>Yo, stop thinkin' about it, alright. They were just a bunch of assholes.</dialogue> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>The car makes a turn, and drives up onto a bridge.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <character>WILLIE</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Wait a second. Where you goin'?</dialogue> <character>TOM</character> <dialogue>I'm drivin' into Manhattan. Louie - Louie was right. The Bronx is wack tonight.</dialogue> <character>WILLIE</character> <dialogue>Well, once you pass Harlem, you can let me out, man.</dialogue> <character>TOM</character> <dialogue>Why, man. What the hell you got against Manhattan?</dialogue> <character>WILLIE</character> <dialogue>Look! I.wait all week to hang out with you guys. I'm usually in my damn, funky apartment all day and night, doin' nothin', bored to death. I'd die for these Fridays, man, but I wanna hang out with my homeboys, not a bunch of White people from Manhattan.</dialogue> <character>TOM</character> <dialogue>Well, I'm goin' into the city, and that's that, man. So grow up and deal wit' it!</dialogue> <scene_description>WILLIE sulks.</scene_description> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>The car drives off the bridge. They are now in Manhattan. TIME CUT TO: THE STREETS OF MID MANHATTAN A quick montage, set to a throbbing disco beat, is seen featuring the glitzes places in midtown Manhattan: The Gucci building, The Russian tea room, Trump tower, etc.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>WILLIE looks out the window. He frowns, taking in all the decadence.</scene_description> <character>VINNY</character> <dialogue>Alright! Manhattan. Let's get some rich White woman!</dialogue> <character>WILLIE</character> <dialogue>Yeah, you need a rich White woman. That'll make you feel just great, won't it!</dialogue> <character>VINNY</character> <dialogue>You damn right, homeboy! There's no shame to my game.</dialogue> <character>TOM</character> <dialogue>Yo, fellas, yo! You see that buildin' right there. I auditioned for a part in this t.v. show right there last week.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, so what happened?</dialogue> <character>TOM</character> <dialogue>They loved me. They told me I was the best thing they've seen in a long time.</dialogue> <character>VINNY</character> <dialogue>They told you that?</dialogue> <character>TOM</character> <dialogue>Yeah.</dialogue> <scene_description>YOU!</scene_description> <character>TOM</character> <dialogue>Yeah,· me! What's a matter wit' me?</dialogue> <character>VINNY</character> <dialogue>You want me to answer that?</dialogue> <character>TOM</character> <dialogue>Man, fuck you, man. When I was in college, I was the best actor in my acting clas, man! They looked up to me like I was, like I was William Shatner, man!</dialogue> <character>JOHNNY</character> <dialogue>College? I didn't know you went to college, Tommy.</dialogue> <character>TOM</character> <dialogue>Yeah, I've got my degree and every- thing.</dialogue> <character>JOHNNY</character> <dialogue>Did you like it?</dialogue> <character>TOM</character> <dialogue>Nahhhh, man. It sucks.</dialogue> <character>JOHNNY</character> <parenthetical>(Disillusioned)</parenthetical> <dialogue>Oh. . Well, what sucks about it?</dialogue> <character>TOM</character> <dialogue>I don't know, man. It just sucks. It's like a big stall. A big nothin'.</dialogue> <character>VINNY</character> <dialogue>Yo, bro, I agree wit• Tommy, man. I went to college.</dialogue> <character>JOHNNY</character> <parenthetical>(In near shock)</parenthetical> <dialogue>You! You of all people went to college?</dialogue> <character>VINNY</character> <dialogue>Yeah. I went to college. I'm a college man. And I gotta tell ya: It was the most miserable, frus- trating, humiliating two weeks of my entire life!</dialogue> <scene_description>JOHNNY stares at VINNY in disbelief,-ther. ignores him, focusing strict attention on TOM.</scene_description> <character>JOHNNY</character> <dialogue>Well, look, man, if you met somebody who said he was thinkin' of goin' to college, what would you tell him?</dialogue> <character>TOM</character> <dialogue>I'd tell him not to waste his time. Why waste time goin' to college, gettin' that stupid degree, and then goin' out into the world, and still gettin lousy jobs, with lousy pay. It's not worth it, ya know what I mean?</dialogue> <character>JOHNNY</character> <parenthetical>(Saddened)</parenthetical> <dialogue>Yeah . . . I know what you mean.</dialogue> <character>VINNY</character> <parenthetical>(excitedly, looking out window)</parenthetical> <dialogue>Yo, fellas, look, look, look! Look where we're at!</dialogue> <scene_description>Everyone looks out the windows. Their P.O.V. reveals all the strip joints, peep shows, and dirty movies on the strip called forty second street and eighth avenue. WILLIE, TOM and VINNY's eyes bulge as if they have seen a feast. JOHNNY is lost in his own thought. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PEEP SHOW</stage_direction> <scene_description>The four fellas walk towards the peep show booths, where a large sign reads "Live Girls - 25 cents. One person to a booth."</scene_description> <character>WILLIE</character> <dialogue>Anybody got a quarter?</dialogue> <character>JOHNNY</character> <dialogue>I've got a quarter.</dialogue> <character>VINNY</character> <dialogue>Come on.</dialogue> <scene_description>They all walk towards the rear. VINNY opens up a booth, and looks around, to make sure no one sees him leading the four fellas into this tiny peep show booth. They are all trying to squeeze in, and VINNY is helping by shoving them in from behind.</scene_description> <character>TOM</character> <dialogue>Hey, watch it.</dialogue> <character>WILLIE</character> <dialogue>Oww!</dialogue> <scene_description>Now that VINNY has secured them in place, he squeezes in, shutting the door behind them.</scene_description> </scene> <scene> <stage_direction>INT. BOOTH</stage_direction> <scene_description>It's a tight fit, but everyone is in there.</scene_description> <character>VINNY</character> <dialogue>Yo, put in the quarter, man.</dialogue> <character>WILLIE</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Hey, man, move your leg, guy!</dialogue> <character>JOHNNY</character> <dialogue>I'm tryin' to get in there, so I can put the quarter in.</dialogue> <character>TOM</character> <dialogue>Yo, man! Somebody is rubbin' up against me, and I don't like it!</dialogue> <character>VINNY</character> <dialogue>You wanna borrow my condom, with noxinol 9 on it?</dialogue> <scene_description>They all laugh, except TOM.</scene_description> <character>TOM</character> <dialogue>Yo, man, that ain't funny!</dialogue> <scene_description>TOM suddenly jerks forward, as if someone pinched him.</scene_description> <character>TOM</character> <dialogue>Ayyy, man, watch that!</dialogue> <scene_description>He accidentally hits JOHNNY, making JOHNNY drop his quarter.</scene_description> <character>JOHNNY</character> <dialogue>Oh, great. Thanks, Tom.</dialogue> <character>WILLIE</character> <dialogue>What happen?</dialogue> <character>JOHNNY</character> <dialogue>I dropped the damn quarter. It's laying by Tom's foot.</dialogue> <character>VINNY</character> <dialogue>Tom, bend over and pick up the quarter, man.</dialogue> <character>TOM</character> <dialogue>Fuck you.</dialogue> <character>WILLIE</character> <dialogue>C'mon, man!</dialogue> <character>TOM</character> <dialogue>Fuck you. I ain't bendin' over in here. Forget it!</dialogue> <character>JOHNNY</character> <dialogue>I think I can reach it, bro.</dialogue> <scene_description>JOHNNY tries to bend over, but he can barely move.</scene_description> <character>TOM</character> <dialogue>Watch your hands, man.</dialogue> <character>VINNY</character> <dialogue>Yo, this is gettin' stupid! Every- body get out the goddamn booth, c'mon, let's go!</dialogue> <scene_description>VINNY opens the door, and everyone but JOHNNY shoves their way out the booth.</scene_description> <character>VINNY</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Okay. You got the quarter?</dialogue> <scene_description>JOHNNY bends over and grabs it.</scene_description> <character>JOHNNY</character> <dialogue>Yeah, I've got it.</dialogue> <character>VINNY</character> <dialogue>Okay. Now, everybody get back in the fuckin' booth.</dialogue> <scene_description>Again, VINNY shoves them in, one by one, then he himself enters, shutting the door behind him.</scene_description> <character>VINNY</character> <dialogue>Okay, let's go.</dialogue> <scene_description>JOHNNY inserts the quarter into a slot, and a small plate slides up, revealing a window to peep through. Through the window is a naked woman.</scene_description> <character>VINNY</character> <dialogue>ALRIGHT!</dialogue> <character>TOM</character> <dialogue>Ahhh, my lady got a better body than that.</dialogue> <character>WILLIE</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Oh, she is hot, man. Too bad she's White.</dialogue> <character>JOHNNY</character> <parenthetical>(Laughing)</parenthetical> <dialogue>You are crazy, Willie.</dialogue> <character>VINNY</character> <dialogue>Oh, man, look at that one in the back there!</dialogue> <scene_description>Everyone ignores VINNY's suggestion, because they're all too busy looking at the nude woman that is near them. That is, everyone but JOHNNY. JOHNNY takes a peek at the woman in the background, and his jaw drops open. It I s DARIA, from the opening of the film, strutting around topless. The plate starts to come back down, covering the window.</scene_description> <character>WILLIE</character> <dialogue>Ahhhhhhhhh!</dialogue> <character>VINNY</character> <dialogue>Oh, man, what a rip-off. That was too quick.</dialogue> <scene_description>JOHNNY angrily shoves his way through everyone, reaching for the door.</scene_description> <character>TOM</character> <dialogue>Yo, guy, watch it!</dialogue> <character>WILLIE</character> <dialogue>Johnny, owwww, my foot!</dialogue> <character>VINNY</character> <dialogue>Yo, man, what the hell! Yo!</dialogue> </scene> <scene> <stage_direction>INT. PEEP SHOW - (OUTSIDE THE BOOTH)</stage_direction> <scene_description>JOHNNY storms out the booth, and rushes off the premises. All the guys follow.</scene_description> <character>WILLIE</character> <dialogue>Yo, Johnny, hey.</dialogue> <character>TOM</character> <dialogue>Yo, man! What's up?</dialogue> <character>VINNY</character> <dialogue>Damn! I knew that boy was scared of pussy, but this is ridiculous!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Again, the car is silent. Everyone looks at JOHNNY, who's sitting beside WILLIE in the back seat, with a sour look on his face. VINNY sits beside TOM, who is at the wheel, sipping on a beer.</scene_description> <character>WILLIE</character> <dialogue>Yo, man. You wanna talk about it, ha?</dialogue> <scene_description>JOHNNY doesn't respond.</scene_description> <character>WILLIE</character> <dialogue>Whatever it is, it can't be all that bad!</dialogue> <scene_description>JOHNNY turns away, staring out the window.</scene_description> <character>WILLIE</character> <dialogue>What happen? Did Vinny fart in the booth?</dialogue> <scene_description>VINNY looks over at WILLIE.</scene_description> <character>VINNY</character> <dialogue>Ha, ha! Very funny. I'll tell you what happen. The boy saw a pussy and went into stitches. Watch. He'll never recover.·</dialogue> <character>TOM</character> <parenthetical>(Laughing)</parenthetical> <dialogue>Man, you are too much, Vinchenzo!</dialogue> <character>VINNY</character> <dialogue>Yo, r•m not playin' around. I bet you that's what happen.</dialogue> <character>WILLIE</character> <dialogue>C'mon, homes, Johnny has seen a pussy before, I'm sure, okay?</dialogue> <character>VINNY</character> <dialogue>Yeah? I bet you he hasn't.</dialogue> <character>TOM</character> <dialogue>C'mon, man. Everybody over 18 has seen a pussy.</dialogue> <character>VINNY</character> <dialogue>No, not everybody, bro. There are a lot of real late bloomers out there. I bet you I'm right, ha? I bet. Watch.</dialogue> <scene_description>VINNY turns to face JOHNNY. He points his index finger, and creates an imaginary vertical line, than horizontal line in the air.</scene_description> <character>VINNY</character> <dialogue>Okay, Johnny, now which way does a pussy go. This way, or that way.</dialogue> <scene_description>JOHNNY ignores him, as TOM starts to laugh.</scene_description> <character>VINNY</character> <dialogue>C'mon, man. Which way.</dialogue> <scene_description>TOM laughs hysterically.</scene_description> <character>TOM</character> <dialogue>Vinny, you are crazy!</dialogue> <scene_description>TOM takes a long gulp on his beer, not paying attention to the road. When he does look forward, his eyes bulge in terror.</scene_description> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>The car slams face forward into a brick wall. Smoke starts to pour from the hood, as the car horn sounds continously. The surrounding area is desolate.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Everyone is shaken, but no one has been hurt. They all look in near shock. TOM hi ts the horn a couple times, and it stops.</scene_description> <character>JOHNNY</character> <parenthetical>(Sternly to TOM)</parenthetical> <dialogue>You fuckin' asshole! You could've killed us all!</dialogue> <scene_description>JOHNNY quickly exits the car, and sits on the curb, away from the fellas. TOM looks at WILLIE and VINNY. They are still shaken up. TOM tries to start up the car again, but it's dead.</scene_description> <character>TOM</character> <dialogue>Ahhh, shit! Fuck!</dialogue> </scene> <scene> <stage_direction>EXT. CAR - STREET</stage_direction> <scene_description>TOM steps out of the car, and the others follow. He opens the hood letting out a stream of more smoke.</scene_description> <character>VINNY</character> <dialogue>Damn. You really fucked it up, ha?</dialogue> <character>TOM</character> <parenthetical>(Angrily)</parenthetical> <dialogue>God damn it! Shit, man! This sucks!</dialogue> <character>WILLIE</character> <dialogue>Well, it was fun while it lasted.</dialogue> <character>TOM</character> <dialogue>I've gotta find a phone, and call a towin' place. Shit!</dialogue> <scene_description>TOM starts to walk off. VINNY leans on the car.</scene_description> <character>VINNY</character> <dialogue>Ahhhh, man!</dialogue> <scene_description>VINNY and WILLIE both look over at JOHNNY, who sits quietly, yet angrily, on the curb.</scene_description> <character>VINNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>You see that. He's gonna start now with that depression shit! Watch. I'll give him 5 minutes before he starts talkin' about who's starvin' in China, and shit.</dialogue> <character>WILLIE</character> <dialogue>Oh, man. Leave him alone~</dialogue> <scene_description>WILLIE walks over to JOHNNY at the curb. He sits beside him.</scene_description> <character>WILLIE</character> <dialogue>You a~right, man?</dialogue> <character>JOHNNY</character> <parenthetical>(Angrily, yet quietly)</parenthetical> <dialogue>That asshole could've killed us, man.</dialogue> <character>WILLIE</character> <dialogue>Alright, man. Take it easy. We're all okay. We're alive. It's cool.</dialogue> <scene_description>JOHNNY starts to calm himself down. His face reads as though his chain of thought has shifted from anger, to sadness. There is a moment of silence.</scene_description> <character>JOHNNY</character> <dialogue>Yo, Willie, you ever knew somebody, and thought that they were different from the rest of the world . . . You thought they were better, and then you just come to find out that they're not. They're actually worst.</dialogue> <character>WILLIE</character> <dialogue>Who you talkin' about, Fernando?</dialogue> <character>VINNY</character> <parenthetical>(Calling out from b.g.)</parenthetical> <dialogue>Vinny, bro! The name is Vinny!</dialogue> <character>WILLIE</character> <parenthetical>(To VINNY)</parenthetical> <dialogue>Yeah, man, we got it! We got it! Now shut the fuck up!</dialogue> <character>JOHHNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>No, man. I'm not worried about that clown . . • It's a girl, man. A girl I was once crazyabout.</dialogue> <character>WILLIE</character> <dialogue>Well, what made you think of her?</dialogue> <character>JOHNNY</character> <dialogue>I saw her tonight. She was workin' in the peep show. She was naked.</dialogue> <character>WILLIE</character> <dialogue>Ooooooh . • • Is this the innocent and virginal girl you've been tellin' us all about for weeks?</dialogue> <character>JOHNNY</character> <dialogue>Yeah. That's the one. Daria.</dialogue> <scene_description>There is a moment of silence.</scene_description> <character>WILLIE</character> <dialogue>Well, how'd you know she was innocent and virginal?</dialogue> <character>JOHNNY</character> <dialogue>What do you mean?</dialogue> <character>WILLIE</character> <dialogue>Well, did she come up to you and tell you she was innocent and virginal?</dialogue> <character>JOHNNY</character> <dialogue>Of course not. Who the hell would do that?</dialogue> <character>WILLIE</character> <dialogue>Yeah, man, but that's what I'm try in' to say·, man. You can't hate the girl 'cause she's not what you want her to be. You're the one who created this great big fantasy in your head about what she is. She never came up to you and said she was those things.</dialogue> <character>JOHNNY</character> <dialogue>Well, the way she acts, I just thought -</dialogue> <character>WILLIE</character> <dialogue>Yeah, but that's what you're thinkin'. You can't blame her for what you're thinkin'. Stop tryin' to turn this girl into somethin' she's not. You either accept her for who she is, or you find somebody else, ya know what I mean?</dialogue> <scene_description>JOHNNY nods.</scene_description> <character>WILLIE</character> <dialogue>She's probably still a good person, man • • • You know somethin'? If I was a girl, and still hated workin' the way I do now, I could see myself naked up on some stage, shakin' my butt all over the place. Fuck that! You can make a lot of money doin' it, and it sure beats cleanin' toilets.</dialogue> <scene_description>WILLIE and JOHNNY laugh, then rise from the curb. They walk toward the car, where a tow truck has just pulled up beside it. A MAN steps out of the truck and walks over to TOM. He hands TOM a business card.</scene_description> <character>MAN</character> <dialogue>Here. We're open 24 hours, so call later tonight; and we'll let you know an estimate, okay?</dialogue> <character>TOM</character> <parenthetical>(Depressingly)</parenthetical> <dialogue>Yeah, thanks.</dialogue> <scene_description>The MAN starts to hook up the truck to the car. VINNY, WILLIE and JOHNNY all walk over to TOM.</scene_description> <character>WILLIE</character> <dialogue>Well, man, what's up? What's the next move? We headin' to the subway?</dialogue> <character>TOM</character> <dialogue>Yeah. That looks like the move.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STATION</stage_direction> <scene_description>The fellas walk down a staircase, and head towards the turnstiles. They take a brief look around, then all jump the turnstiles.</scene_description> <character>SUBWAY BOOTH CLERK</character> <dialogue>Hey! Pay your fare!</dialogue> <character>WILLIE</character> <dialogue>The fare ain't fair, man!</dialogue> <scene_description>Suddenly, from out of a corner room, bust forth two POLICE OFFICERS. The fellas try to run, but the officers quickly round them up, and shove them into the room. TIME CUT:</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>The fellas are seated, with the POLICE OFFICERS standing above them.</scene_description> <character>POLICEMAN #1</character> <dialogue>Okay, fellas, let me see some I.D.</dialogue> <scene_description>They all pull out their wallets, find a piece of Identification, and hand it to the OFFICERS. The OFFICERS immediately start writing tickets.</scene_description> <character>WILLIE</character> <dialogue>Oh, man. What a night.</dialogue> <scene_description>VINNY starts to chuckle. Soon, JOHNNY joins in.</scene_description> <character>POLICEMAN #1</character> <dialogue>Is there somethin' funny, here?</dialogue> <character>TOM</character> <parenthetical>(To his friends; scared)</parenthetical> <dialogue>Yo, man, why don't ya'll cut it out!</dialogue> <scene_description>They laugh even harder now.</scene_description> <character>POLICEMAN #1</character> <dialogue>You think this is amusing?</dialogue> <character>TOM</character> <dialogue>. (Whining)</dialogue> <scene_description>Ya'll gonna get us in trouble, man. Why don't ya'll cut it out! The chuckling soon ends.</scene_description> <character>POLICEMAN #2</character> <dialogue>Thomas Mcneil.</dialogue> <character>TOM</character> <dialogue>Yeah?</dialogue> <character>POLICEMAN #2</character> <dialogue>What's your profession?</dialogue> <character>TOM</character> <dialogue>I'm an actor.</dialogue> <character>VINNY</character> <dialogue>Can't you tell. He's acting terrified.</dialogue> <scene_description>They all chuckle again, except for TOM.</scene_description> <character>TOM</character> <dialogue>Yo, Vinny, man! Why don't you stop</dialogue> <scene_description>""-- that shit, man! Damn, Vinny! Soon, they become quiet again. The POLICE OFFICERS whisper to each other for a moment, then soon they hand out tickets to everyone but VINNY. They both walk over to VINNY and stand directly over him.</scene_description> <character>POLICEMAN #1</character> <dialogue>Do you know why I haven't given you a ticket?</dialogue> <character>VINNY</character> <dialogue>Because you think I'm pretty?</dialogue> <scene_description>The OFFICERS exchange looks.</scene_description> <character>POLICEMAN #1</character> <dialogue>I have an I.D. in my hands that has your picture on it, but says Fernando Cuervas.</dialogue> <character>VINNY</character> <dialogue>Yeah, so?</dialogue> <character>POLICEMAN #1</character> <dialogue>We just heard your friend over there call you VINNY.</dialogue> <scene_description>The guys all look at one another.</scene_description> <character>VINNY</character> <dialogue>Yeah, well, that's like a nickname.</dialogue> <character>POLICEMAN #1</character> <dialogue>I don't believe you. This is a fake I~D., isn't it?</dialogue> <character>VINNY</character> <dialogue>No, it's not a fake I.D. My name is -</dialogue> <parenthetical>(He reluctantly says it)</parenthetical> <dialogue>Fernando Cuervas.</dialogue> <character>POLICEMAN #1</character> <dialogue>I don't believe you.</dialogue> <character>VINNY</character> <dialogue>Look, man, you can ask anybody, alright. Willie, will you tell him my name i s .</dialogue> <parenthetical>(He struggles to say it)</parenthetical> <dialogue>Fernando.</dialogue> <scene_description>WILLIE starts to speak, but then thinks for a moment. He then nods his head vigorously, without saying a word.</scene_description> <character>VINNY</character> <parenthetical>(To himself)</parenthetical> <dialogue>Asshole!</dialogue> <scene_description>\*POLICEMAN #1 studies VINNY's I.D. carefully.</scene_description> <character>POLICEMAN #1</character> <parenthetical>(Looking at I.D.)</parenthetical> <dialogue>What's your nationality?</dialogue> <scene_description>There is a brief silence. VINNY looks over at his friends, who are leaning forward in their seats, paying strict attention.</scene_description> <character>VINNY</character> <dialogue>I'm Puerto Rican.</dialogue> <character>WILLIE</character> <dialogue>Oh, my God!</dialogue> <character>JOHNNY</character> <dialogue>I thought I'd never live to hear him say it.</dialogue> <character>POLICEMAN #1</character> <parenthetical>(Looking at I.D.)</parenthetical> <dialogue>What's your address, Fernando.</dialogue> <scene_description>VINNY winces from hearing the name.</scene_description> <character>VINNY</character> <dialogue>It's two, three, four, Willis avenue.</dialogue> <scene_description>The POLICEMAN nods.</scene_description> <character>POLICEMAN #1</character> <dialogue>Why did your friend call you Vinny?</dialogue> <character>VINNY</character> <dialogue>It's just a nick-name, that's all.</dialogue> <character>POLICEMAN #1</character> <dialogue>From Fernando to Vinny. Wouldn't it be somethin' more like, ahhh, Fermin, or Furball, or somethin'?</dialogue> <scene_description>WILLIE and JOHNNY struggle to hold in their laughter.</scene_description> <character>VINNY</character> <parenthetical>(To POLICEMAN #1)</parenthetical> <dialogue>No. It's Vinny. It's just a nick- name.</dialogue> <scene_description>POLICEMAN #1 walks over to TOM.</scene_description> <character>POLICEMAN #1</character> <dialogue>Is he tellin' the truth.?</dialogue> <character>TOM</character> <parenthetical>(Scared)</parenthetical> <dialogue>What, man? I ain't do nothin', man!</dialogue> <character>POLICEMAN #1</character> <dialogue>I didn't say you did anything. I asked you a question. Why do you call this guy Vinny, if his name is Fernando?</dialogue> <character>TOM</character> <dialogue>Oh. Well, ahhh, ya see, he, ahhh, he thinks he's Italian.</dialogue> <character>POLICEMAN #1</character> <parenthetical>(Laughing)</parenthetical> <dialogue>He thinks he's Italian.</dialogue> <character>TOM</character> <dialogue>• • • Yeah.</dialogue> <scene_description>The OFFICER walks back over to VINNY.</scene_description> <character>POLICEMAN #1</character> <dialogue>So, you think you're Italian, ha?</dialogue> <scene_description>VINNY smirks.</scene_description> <character>POLICEMAN #1</character> <dialogue>Well, let me tell you somethin'. I'm Italian, okay. See that name. (Points to name plate on uniform) Sannanelli. I'm Italian, and I 1 m gonna tell ya that no matter what you do, or what you say, you could never be an Italian. Scum like You could never be in with the same kinda company as me, you understand that?</dialogue> <scene_description>VINNY is angry, but stays silent.</scene_description> <character>POLICEMAN #1</character> <dialogue>Kids got a lot of nerve. Look at ya. For one thing, you don't look like an Italian. And then, you don't act like an Italian.</dialogue> <character>WILLIE</character> <parenthetical>(Under his breath)</parenthetical> <dialogue>He don't smell like an Italian.</dialogue> <character>POLICEMAN #1</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>What was that?</dialogue> <character>WILLIE</character> <dialogue>Nothin'. Nothin'.</dialogue> <character>POLICEMAN #1</character> <dialogue>You could never be an Italian. Re- member that, okay. Never. I'm gonna write you out a ticket now, alright?</dialogue> <character>VINNY</character> <dialogue>Thank you. I'm thrilled.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY CAR</stage_direction> <scene_description>They all sit quietly in the car. JOHNNY, and WILLIE are holding in their chuclkles, until .</scene_description> <character>WILLIE</character> <parenthetical>(Quietly)</parenthetical> <dialogue>Fernando cuervas!</dialogue> <scene_description>WILLIE and JOHNNY laugh.</scene_description> <character>JOHNNY</character> <dialogue>Ferrrrrr-minnnnnn!</dialogue> <scene_description>TOM starts to chuckle.</scene_description> <character>TOM</character> <dialogue>Just call him 'Furball,' for short.</dialogue> <character>VINNY</character> <dialogue>You havin' fun, ha? You havin' a good time?</dialogue> <scene_description>They all laugh.</scene_description> <character>VINNY</character> <parenthetical>(Imitating TOM)</parenthetical> <dialogue>Yo, man, cut that out, man. You gonna get us in trouble! I'm scared to death, man. Soon, I'm gonna piss on myself, man.</dialogue> <scene_description>TOM looks away angrily, but WILLIE and JOHNNY laugh.</scene_description> <character>TOM</character> <dialogue>Yo, I just didn't wanna go to jail, alright?</dialogue> <character>WILLIE</character> <dialogue>Nobody was gonna take you to jail, man.</dialogue> <character>TOM</character> <dialogue>Well, I just ain't wanna take no chances, alright. You know how that shit is. Three years from now, when I become a big movie star, I'll see my mug shot on the cover of the national enquirer, with a story about how I bent over and picked up the soap in prison, and shit, ya know?</dialogue> <character>VINNY</character> <dialogue>Well, you ain't got nothin' to worry about, 'cause you ain't never gonna be a big movie star.</dialogue> <character>TOM</character> <dialogue>Yeah? That's what you think.</dialogue> <scene_description>At this moment, a shabby looking MAN enters the subway car. He's holding a cup.</scene_description> <character>MAN</character> <dialogue>Hello. I usually don't go around beggin', but I need some money to get somethin' to eat. Any change that anyone can spare will be greatly appreciated.</dialogue> <scene_description>The MAN walks through the car. No one gives him money.</scene_description> <character>VINNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>You see that, man. You lookin' at your future there, man.</dialogue> <scene_description>TOM laughs.</scene_description> <character>WILLIE</character> <dialogue>What?</dialogue> <character>VINNY</character> <dialogue>That's right, man. That 'put me down, give me some' mentality, bro. That's exactly how you gonna wind up, homie.</dialogue> <scene_description>WILLIE rises to his feet.</scene_description> <character>WILLIE</character> <parenthetical>(Sternly)</parenthetical> <dialogue>You think that's funny, man?</dialogue> <character>JOHNNY</character> <dialogue>C'mon, Willie, bro. He's just goofin' on you, 'cause you goofed on him.</dialogue> <character>WILLIE</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>No, man! You don't play like that!</dialogue> <parenthetical>(To VINNY)</parenthetical> <dialogue>I can't laugh off somethin' like that, man. You think I like bein the way I am, man. You think I like bein' scared, wonderin' all the time how I'm even gonna make it through a god- damn week. You think I enjoy that? I didn't ask to be this way. This isn't who I wanna be! This is the way God made me! I was born this way . . . We all were.</dialogue> <scene_description>Everyone is silent, as WILLIE sits back down.</scene_description> <character>TOM</character> <dialogue>C'mon, man. Let's stop this morbid shit, please. I'm already depressed enough, wit• losin' my car, I don't need any more depression, ya hear what I'm sayin'?</dialogue> <scene_description>Everyone tries to lighten up a little. TOM rises from. his seat.</scene_description> <character>TOM</character> <dialogue>Come on, fellas. Whatta ya say we do·a jammy, ha? C'mon.</dialogue> <scene_description>They all look at each other, then start to chuckle a bit.</scene_description> <character>TOM</character> <dialogue>C'mon. Go 'head, Willie. You can play victim. Go 'head.</dialogue> <scene_description>WILLIE let's a smile slip out, then nods. He rises from his seat, exiting the subway car he is in, and entering another. He continues going through the cars, but our attention stays on the other fellas.</scene_description> <character>TOM</character> <dialogue>Damn, Vinny, man. You shouldn't have said all that stuff, guy.</dialogue> <character>VINNY</character> <dialogue>I know, man. I know. I'm sorry, bro.</dialogue> <character>JOHNNY</character> <dialogue>You shouldn't tell us your sorry. You should have told him.</dialogue> <character>VINNY</character> <dialogue>. . . I can't do that, man. He knows I'm sorry. That's good enough. C'mon. Let's do a jammy.</dialogue> <scene_description>The fellas all rise from their seats. They walk through the subway cars, following WILLIE's path. ANOTHER SUBWAY CAR They enter a new car, which is somewhat crowded. Something strange has happened to the fellas. They have transformed into tough looking hoods, as they "bop" through the train, resembling a small gang. WILLIE sits in the foreground, with his legs streched out broadly. He ignores them completely. As TOM, VINNY and JOHNNY strut towards him, TOM nearly trips over WILLIE'S legs. TOM and WILLIE exchange angry looks. It seems as though they are strangers.</scene_description> <character>TOM</character> <dialogue>Yo, man, what's up with that!</dialogue> <character>WILLIE</character> <dialogue>Yo, man, you talkin' to me? Do I know you, lizard breath.</dialogue> <scene_description>People in the subway car begin to look nervous. They all exchange frightened looks with one another.</scene_description> <character>TOM</character> <parenthetical>(Very seriously)</parenthetical> <dialogue>Lizard breath? Lizard breath.</dialogue> <scene_description>There is a brief moment of silence.</scene_description> <character>TOM</character> <dialogue>You Dareth to talkethto me in such outrageous fashion! What if I was to fuck you up!</dialogue> <character>WILLIE</character> <dialogue>Yeah! I like to see you do it.</dialogue> <scene_description>People in the car start to slide away in their seats.</scene_description> <character>TOM</character> <dialogue>Well, whether it is nobler in the mind to suffer the slings and arrows of -</dialogue> <character>VINNY</character> <dialogue>Man, cut the bullshit, and fuck that boy up!</dialogue> <character>JOHNNY</character> <dialogue>Word! Kick his ass!</dialogue> <character>WILLIE</character> <dialogue>Fuck you all!</dialogue> <scene_description>TOM, VINNY and JOHNNY jump on WILLIE and start to throw punches. Everyone in the car runs for safety, in the corners of the subway car, as the boys wrestle WILLIE to the ground.</scene_description> <character>TOM</character> <dialogue>I'm gonna Xill you! Kill you!</dialogue> <scene_description>The passengers stare on in shock, as TOM grabs WILLIE by his neck, and apparently starts to strangle him. WILLIE coughs and chokes, then falls dead to the floor. After a moment, they all rise to their feet smiling and face their audience.</scene_description> <character>TOM</character> <parenthetical>(In English accent)</parenthetical> <dialogue>Ladies and gentleman, thank you for attending another performance of ghetto theatre. Please return next week when we will perform our rendition of Romeo and Latoya. Thank you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DINER</stage_direction> <scene_description>The four guys sit at a table. Everyone, but WILLIE, has a plate of food in front of them. WILLIE freely picks french fries from everyone's plate, as they all eat and talk. Everyone's energy is high.</scene_description> <character>TOM</character> <dialogue>Yo, did you see me in there! I was stunning, man! Brilliant!</dialogue> <character>VINNY</character> <dialogue>Oh, man, you over-acted, man!</dialogue> <character>WILLIE</character> <dialogue>I was the one that did great, man!</dialogue> <character>TOM</character> <dialogue>What! You gonna dare try to compare your performance to my performance!</dialogue> <character>VINNY</character> <dialogue>Man, your shit was fake, bro! What was all that Shakesphere shit.</dialogue> <parenthetical>(Imitates TOM)</parenthetical> <dialogue>I twitheth to yander about.</dialogue> <parenthetical>(He returns to himself)</parenthetical> <dialogue>What was all that bullshit!</dialogue> <character>TOM</character> <dialogue>Man, you don't know nothin' about actin', man. You don't know nothin'.</dialogue> <character>VINNY</character> <dialogue>Well, obviously, you don't know nothin' either, 'cause I never see you makin' no money off the shit.</dialogue> <character>TOM</character> <dialogue>Yo, guy, that comes in time, man.</dialogue> <character>VINNY</character> <dialogue>Well, you've been talkin' about it for a long time already.</dialogue> <character>TOM</character> <dialogue>Ahh, man, forget it.</dialogue> <scene_description>TOM looks away, upset. JOHNNY notices this, and confronts VINNY.</scene_description> <character>JOHNNY</character> <dialogue>What's a matter with you, man? What is it with you?</dialogue> <character>VINNY</character> <dialogue>What?</dialogue> <character>JOHNNY</character> <dialogue>What is it? Do you feel like you're so perfect, that a beam of light shines down on you from God, but for every- body else, we're all fucked up!</dialogue> <scene_description>VINNY thinks deeply about that for a moment.</scene_description> <character>VINNY</character> <parenthetical>(Very seriously)</parenthetical> <dialogue>Yeah. I feel that way sometimes.</dialogue> <scene_description>JOHNNY stares at blankly.</scene_description> <character>JOHNNY</character> <dialogue>You're unbelievable, man. Some- times I'm surprised that we're even your friends.</dialogue> <character>VINNY</character> <dialogue>Well, if you don't wanna be my friend, you can just get up and leave, bro, 'cause I really don't give a fuck.</dialogue> <scene_description>JOHNNY stares at him.</scene_description> <character>JOHNNY</character> <dialogue>You're an asshole.</dialogue> <character>VINNY</character> <dialogue>Excuse me! Excuse me!! I'm an asshole! No, you're the asshole!</dialogue> <character>JOHNNY</character> <dialogue>No, bro. You are the asshole!</dialogue> <character>VINNY</character> <dialogue>Man, your mothers an asshole!</dialogue> <scene_description>VINNY jumps up from his seat, and JOHNNY does the same to defend himself, but before the two can tangle, TOM and WILLIE pull them apart.</scene_description> <character>VINNY</character> <parenthetical>(Under his breath)</parenthetical> <dialogue>He's the asshole. His father's an asshole!</dialogue> <scene_description>At this moment, two very pretty young, woman enter the bar. They look like the "cool, village" types. Their names are OONA and LILA. OONA is White, and LILA is Black. VINNY's eyes bulge in excitement at the sight of them. They walk past his table, and sit at the table behind him, where a WAITER immediately walks over.</scene_description> <character>WAITER</character> <dialogue>Menus?</dialogue> <character>OONA</character> <dialogue>No. Just two coffees. Thanks.</dialogue> <scene_description>The WAITER walks off. WILLIE, TOM and JOHNNY watch to see if VINNY will make a move. Of course, he does. He rises from his table, and sits across from the girls, at their table.</scene_description> <character>VINNY</character> <dialogue>Hi, how you doin'?</dialogue> <scene_description>They turn their heads and ignore him, so VINNY directs his attention to only one of them: LILA.</scene_description> <character>VINNY</character> <dialogue>So, being that you are the most beautiful woman sittin' at this table, what I'm gonna do is devote all my time and attention to you.</dialogue> <scene_description>LILA smirks.</scene_description> <character>VINNY</character> <dialogue>Hey, c'mon now. So, what do you like doin' for fun? Ha, hey? c•mon, do you go to the movies?</dialogue> <scene_description>They both continue to ignore him.</scene_description> <character>VINNY</character> <dialogue>Have you seen me in the movies, ha? You ever see me in the movies?</dialogue> <character>LILA</character> <dialogue>Why? Are you a movie star?</dialogue> <character>VINNY</character> <dialogue>No. I go to movies.</dialogue> <scene_description>LILA smirks, then rises from the table and walks over to the counter, where she sits. OONA tries to join her, but VINNY grabs her hand gently.</scene_description> <character>VINNY</character> <dialogue>Look, now that I got rid of her, we could talk alone, •cause you're the one I really had my eyes on the whole time.</dialogue> <character>OONA</character> <dialogue>No, thanks. I have herpes.</dialogue> <scene_description>VINNY reaches into his breast pocket and pulls out his condom.</scene_description> <character>VINNY</character> <dialogue>Hey, wit• noxinol nine. Knock that shit right out.</dialogue> <scene_description>OONA pulls away, annoyed. She joins her friend at the counter. She sits one chair away from JOHNNY. She starts to look over at JOHNNY, wondering if him and VINNY are of the same character. A WAITER sits two cups of coffees in front of the woman.</scene_description> <character>OONA</character> <parenthetical>(To JOHNNY, suspiciously))</parenthetical> <dialogue>Is he a friend of yours?</dialogue> <character>JOHNNY</character> <dialogue>Ahhh, well, no, not really. He's no friend of mine.</dialogue> <character>OONA</character> <dialogue>...\_\_ (Relieved)</dialogue> <scene_description>Oh, that's good to know, 'cause he's a real asshole.</scene_description> <character>JOHNNY</character> <dialogue>Yeah, well, I tried tellin• him that a few minutes ago, but he wouldn't believe me.</dialogue> <scene_description>VINNY, seen in b.g., starts to look highly upset.</scene_description> <character>OONA</character> <parenthetical>(Smiles)</parenthetical> <dialogue>Well, I guess we think alike.</dialogue> <character>JOHNNY</character> <dialogue>Well,· either that, or the whole world must think he's an asshole.</dialogue> <character>OONA</character> <parenthetical>(Laughs)</parenthetical> <dialogue>No, c'mon. Somebody must love him.</dialogue> <scene_description>They both turn and look at VINNY, who is now fuming. They turn back and face each other.</scene_description> <character>JOHNNY &amp; OONA</character> <parenthetical>(Simultaneously)</parenthetical> <dialogue>Nahhhhhhhhh!</dialogue> <scene_description>They both laugh, then silently stare at each other. Their is something romantic in their glance.</scene_description> <character>OONA</character> <dialogue>What's your name?</dialogue> <character>JOHNNY</character> <dialogue>Oh, ahhhh, Johnny. Johnny.</dialogue> <character>OONA</character> <dialogue>Hi, I'm Oona.</dialogue> <scene_description>JOHNNY shakes her hand gently.</scene_description> <character>JOHNNY</character> <dialogue>Hi. Nice to meet you.</dialogue> <scene_description>The fellas exchange looks. VINNY lays his head on the table, rolling his eyes in disbelief.</scene_description> <character>OONA</character> <parenthetical>(To JOHNNY)</parenthetical> <dialogue>Do you live around here?</dialogue> <character>JOHNNY</character> <dialogue>Oh, no. No way. I could never afford to live down here.</dialogue> <scene_description>OONA lays down a few dollars on the counter for the WAITER.</scene_description> <character>OONA</character> <dialogue>You look familiar to me. Have I seen you before?</dialogue> <character>JOHNNY</character> <dialogue>No, I don't think so.</dialogue> <character>OONA</character> <parenthetical>(Sneakily)</parenthetical> <dialogue>Didn't I see you in here once with your girlfriend?</dialogue> <character>JOHNNY</character> <dialogue>No, I doubt that.</dialogue> <character>OONA</character> <parenthetical>(Happily)</parenthetical> <dialogue>So, you don't have a girlfriend?</dialogue> <character>JOHNNY</character> <dialogue>No, not really. Well, I kinda have my eyes on somebody, but I don't know if you could call her my girl- friend.</dialogue> <character>OONA</character> <parenthetical>(Disapointed)</parenthetical> <dialogue>Oh. It figures. All the really nice guys are taken.</dialogue> <character>JOHNNY</character> <parenthetical>(Trying to keep her interest)</parenthetical> <dialogue>Well, I don't know if you can really say I'm taken.</dialogue> <character>OONA</character> <dialogue>Well, you just looked kinda familar, that's all. I thought I've seen you some place before. Maybe I did, I don't know.</dialogue> <scene_description>JOHNNY nods as OONA takes a sip on her coffee, then -</scene_description> <character>OONA</character> <dialogue>Ahhh, look. Lila and I are goin' to shoot some pool around the corner. You wanna .come?</dialogue> <scene_description>JOHNNY is caught off guard. He doesn't know how to answer.</scene_description> <character>JOHNNY</character> <dialogue>Ahhh, well, ,I, ahhhh</dialogue> <character>OONA</character> <dialogue>Look, I don't wanna marry you. I just wanna play pool with you. Come on.</dialogue> <scene_description>OONA rises from her seat, and her friend LILA follows. JOHNNY looks around the diner, wondering what to do, when he catches TOM waving him on to go. JOHNNY shrugs his shoulders, then follows OONA and LILA out the door. VINNY, WILLIE and TOM, for a brief moment, all stare in amazement at each other, then immediately jump up from their seats, throw some cash on the table, (except for WILLIE of course,) and rush out the diner.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>WILLIE, TOM, AND VINNY look up the sidewalk, where they see JOHNNY, OONA and LILA enter a building. The fellas quickly rush over and peek in. Their P.O. V. reveals a pool room like they've never seen before. Downtown, trendy, filled with a cross of people ranging from Punkers to Yuppies. They all enter.</scene_description> </scene> <scene> <stage_direction>INT. POOLROOM</stage_direction> <scene_description>The fellas walk over towards the bar. VINNY finds himself standing beside LILA, who is sitting at the bar. VINNY abruptly switches places with WILLIE, positioning himself beside TOM and leaving WILLIE facing LILA. JOHNNY and OONA, who are standing near a pool table, select pool cues and start to play.</scene_description> <character>OONA</character> <dialogue>You rack 'em up.</dialogue> <character>JOHNNY</character> <dialogue>Okay. What are we playin'?</dialogue> <character>OONA</character> <dialogue>Eight ball.</dialogue> <scene_description>JOHNNY smiles, impressed that a "girl" knows how to play eight ball.</scene_description> <character>JOHNNY</character> <dialogue>Okay.</dialogue> <scene_description>JOHNNY places the balls in the rack, then removes the rack. OONA hi ts the balls, breaking them apart 1 ike 1 ightning. JOHNNY shakes from the thrashing sound, as balls fall into pockets everywhere. He looks up at her in amazement.</scene_description> <character>OONA</character> <dialogue>Hey, I didn't invite you to play pool, so I could loose.</dialogue> <scene_description>JOHNNY laughs.</scene_description> <character>OONA</character> <dialogue>How old are you, Johnny?</dialogue> <character>JOHNNY</character> <dialogue>I'm twenty.</dialogue> <scene_description>OONA stops playing and looks up at him.</scene_description> <character>OONA</character> <dialogue>{Smiles)</dialogue> <scene_description>Yeah? Me too. JOHNNY smiles.</scene_description> <character>OONA</character> <dialogue>Whatta ya do, Johnny?</dialogue> <character>JOHNNY</character> <dialogue>Well, nothin', really, !guess.</dialogue> <character>OONA</character> <dialogue>Oh, c'mon. You gotta do somethin'.</dialogue> <character>JOHNNY</character> <dialogue>{Somewhat embarased)</dialogue> <scene_description>Well, I work at a supermarket. That's about it. OONA notices his insercurities.</scene_description> <character>OONA</character> <dialogue>So, what's a matter wit' that? It pays the rent, right?</dialogue> <character>JOHNNY</character> <dialogue>{Smiles)</dialogue> <scene_description>Right. Our attention shifts to LILA, who's sipping on a drink at the bar. WILLIE is blatently staring at her. She looks at him, and he continues to stare. He has a slight look of disgust on his face.</scene_description> <character>WILLIE</character> <dialogue>You know you're perpertratin' a fraud, right.</dialogue> <character>LILA</character> <parenthetical>(Confused)</parenthetical> <dialogue>Excuse me?</dialogue> <character>WILLIE</character> <dialogue>I said, you're perpertratin' a fraud.</dialogue> <character>LILA</character> <parenthetical>(Defensive)</parenthetical> <dialogue>What is that suppose to mean!</dialogue> <character>WILLIE</character> <dialogue>That means you're over here dressin' like a white person, hangin' out wit' a white person, I mean, Goddamn, you even smellin' like a white person.</dialogue> <character>LILA</character> <dialogue>Are you tryin' to say I'm an uncle Tom?</dialogue> <character>WILLIE</character> <dialogue>Nahhh, nahhhh. It's more like . . . An aunt Tomasina.</dialogue> <scene_description>Our attention focuses on another pool table, where two very trendy, villiage types are playing pool. Their clothes look as though they were brought from an antique store. Their haircuts look as though they've cost hundreds of dollars. VINNY walks over beside them, and stares in disbelief. He circles them, not even attempting to be discreet. Soon, they notice him.</scene_description> <character>TRENDY TYPE #1</character> <dialogue>What on earth are you looking at.</dialogue> <scene_description>VINNY again glances at them from head to toe.</scene_description> <character>VINNY</character> <dialogue>Nothin' much.</dialogue> <scene_description>VINNY walks over to another pool table, where other trendy types are playing. This is.a male and female couple. They're both dressed completely in black, and wearing very pale make-up, making them almost look like "the undead. 11 •</scene_description> <character>VINNY</character> <dialogue>That's very nice. What is that? Is that the "I wanna suck your blood, but I'm too busy playing pool" look?</dialogue> <scene_description>The couple looks over at VINNY, but then continue playing, ignoring him.</scene_description> <character>VINNY</character> <dialogue>Okay, that's cool. You ain't gotta answer me, you ain't gotta answer me. That's just fine. Okay.</dialogue> <scene_description>VINNY walks off. Our attention again focuses on OONA and JOHNNY, just as JOHNNY misses a shot on the pool table.</scene_description> <character>OONA</character> <dialogue>You don't play this game much, do you?</dialogue> <character>JOHNNY</character> <dialogue>Nahhhh. Not really.</dialogue> <scene_description>OONA sets up her next shot, and slams a couple balls into holes all around the table.</scene_description> <character>JOHNNY</character> <dialogue>Well, I can see you do.</dialogue> <character>OONA</character> <dialogue>Ya know, this year, I paid for half of my college tuition by beating the pants off of guys who thought they were hot shit.</dialogue> <scene_description>JOHNNY laughs.</scene_description> <character>JOHNNY</character> <dialogue>So, you're a college girl, ha?</dialogue> <scene_description>OONA sets up another shot.</scene_description> <character>OONA</character> <dialogue>That's right.</dialogue> <scene_description>JOHNNY thinks for a moment, wondering if it's appropriate to ask her a question.</scene_description> <character>JOHNNY</character> <dialogue>I know some people who told me college isn't everything it's cracked up to be. They said it's a big waste of time. What do you think of that?</dialogue> <scene_description>OONA looks up from the pool table.</scene_description> <character>OONA</character> <dialogue>What idiots said that?</dialogue> <character>JOHNNY</character> <dialogue>Well . • •</dialogue> <parenthetical>(He looks around)</parenthetical> <dialogue>those idiots over there.</dialogue> <scene_description>JOHNNY points to a corner of the bar, where VINNY has just walked up to TOM. OONA sees them.</scene_description> <character>OONA</character> <parenthetical>(laughs)</parenthetical> <dialogue>Oh, it figures.</dialogue> <scene_description>OONA shoots, again sending balls flying into holes everywhere. We again shift our attention to WILLIE and LILA at the bar.</scene_description> <character>WILLIE</character> <dialogue>The White man is just tryin' to devise new ways everyday of how to keep down the Black man, and you're over here hangin' out wit' one. You ain't no real sister.</dialogue> <character>LILA</character> <dialogue>Yeah, well then you ain't no real brother. 'Cause all you doin' is talkin' a good game, but you haven't done a damn thing about it.</dialogue> <character>WILLIE</character> <dialogue>What? What you talkin' about?</dialogue> <character>LILA</character> <dialogue>I'm talkin' just that. What are you doin' about it?</dialogue> <character>WILLIE</character> <dialogue>Well, whatta ya mean, 'what am I doin' about it.' What am I suppose to be doin' about it?</dialogue> <character>LILA</character> <dialogue>Well, have you gone to any demon- strations?</dialogue> <character>WILLIE</character> <dialogue>Well, no, not really.</dialogue> <character>LILA</character> <dialogue>Well, have you signed any petitions, or joined any organazations?</dialogue> <character>WILLIE</character> <dialogue>Well • . • No.</dialogue> <character>LILA</character> <dialogue>And you're gonna come up to me and say I'm perpertrating a fraud. Man, you're the one that's perpertratin' a fraud!</dialogue> <scene_description>WILLIE doesn't know what to say. Our attention shifts over to VINNY and TOM.</scene_description> <character>VINNY</character> <dialogue>Okay, I want you to realize that there is something very strange going on here, okay. Something very strange.</dialogue> <character>TOM</character> <dialogue>Whatta ya mean?</dialogue> <character>VINNY</character> <dialogue>Well, look at this situation, here. This fuckin' place is like a hang out for weirdos, okay. But weirdos that have a lot of money or some- thin1. Then, out of this whole weirdo place, there are maybe two good look- in' chicks in the whole place, right. And then guess what? Out of those two chicks, one happens to be wit' Johnny, and the other one's wit' Willie? No, no, no, no, no! There is definitely something very strange going on here!</dialogue> <scene_description>We again shift to JOHNNY and OONA. OONA knocks in a few balls, leaving only the eight ball on the pool table.</scene_description> <character>OONA</character> <dialogue>There she is. The eight ball.</dialogue> <scene_description>OONA sets up for her final shot.</scene_description> <character>JOHNNY</character> <dialogue>Well, it was a fun game while it lasted.</dialogue> <scene_description>She looks up at him, then back at the ball. She thinks for a moment, then relinquishes her shooting stance, and instead faces JOHNNY.</scene_description> <character>OONA</character> <dialogue>I'm not gonna knock it in.</dialogue> <character>JOHNNY</character> <dialogue>Why not?</dialogue> <character>OONA</character> <dialogue>Because if I knock it in, the game will be over</dialogue> <scene_description>JOHNNY smiles.</scene_description> <character>OONA</character> <dialogue>We'll finish this game another time.</dialogue> <character>JOHNNY</character> <parenthetical>(Blushing)</parenthetical> <dialogue>Okay. If you say so.</dialogue> <character>OONA</character> <parenthetical>(Smiling)</parenthetical> <dialogue>Yeah. I say so.</dialogue> <scene_description>They stare at each other. The attraction is strong. OONA reaches into her pocket book and pulls out a match book and a pen. She starts to write on the match book cover.</scene_description> <character>OONA</character> <dialogue>Look, I wanna give you my number. I know you have your eyes on some- body else, but how are we ever gonna finish this game, unless you can contact me, right?</dialogue> <character>JOHNNY</character> <parenthetical>(Smiling)</parenthetical> <dialogue>Right.</dialogue> <character>OONA</character> <dialogue>So, let's just say we're friends, how's that sound?</dialogue> <character>JOHNNY</character> <dialogue>That sounds really nice.</dialogue> <scene_description>She hands him the match book cover.</scene_description> <character>OONA</character> <dialogue>And please, make sure you call the right number.</dialogue> <character>JOHNNY</character> <dialogue>Ha?</dialogue> <scene_description>JOHNNY looks down at her number on the match book. He then turns it over, and sees the other side is an advertis.ement with a naked woman for a porn phone line. It reads "call 555 - SLUT." JOHNNY laughs.</scene_description> <character>JOHNNY</character> <dialogue>Don't worry. I'll call the right number.</dialogue> <scene_description>OONA walks over to LILA, who is still sitting beside WILLIE.</scene_description> <character>OONA</character> <dialogue>Come on. Let's go.</dialogue> <character>LILA</character> <dialogue>I'll never forgive you for leaving me alone with this guy, never!</dialogue> <scene_description>They both head for the exit.</scene_description> <character>JOHNNY</character> <parenthetical>(Calling to OONA)</parenthetical> <dialogue>Hey.</dialogue> <scene_description>OONA turns to face him.</scene_description> <character>JOHNNY</character> <dialogue>Did you ever remember where you've seen me before?</dialogue> <character>OONA</character> <parenthetical>(Confused)</parenthetical> <dialogue>What?</dialogue> <character>JOHNNY</character> <dialogue>Remember? You said I looked familiar.</dialogue> <character>OONA</character> <dialogue>Oh.</dialogue> <parenthetical>(She smiles sneakily)</parenthetical> <dialogue>I've never seen you before.</dialogue> <scene_description>JOHNNY smiles, and once again they stare at each other romantically, then her and LILA exit. VINNY walks over to JOHNNY.</scene_description> <character>VINNY</character> <dialogue>So, what happen?</dialogue> <scene_description>JOHNNY places the match book cover in his jacket pocket.</scene_description> <character>JOHNNY</character> <dialogue>She's gonna be my friend.</dialogue> <character>VINNY</character> <dialogue>Friend? What's this friend stuff? What's that?</dialogue> <character>JOHNNY</character> <dialogue>Friend. A friend.</dialogue> <scene_description>JOHNNY walks off, out of frame. VINNYmouths the word "friend" to himself, not understanding. CUT TO: EXT SIDEWALK The guys walk up a lonely sidewalk.</scene_description> <character>TOM</character> <dialogue>Fellas, it's two o' clock. Whatta ya say we call it a night.</dialogue> <character>VINNY</character> <dialogue>I can't believe this is happening.</dialogue> <character>WILLIE</character> <dialogue>Yeah, man. I'm kinda beat.</dialogue> <character>VINNY</character> <dialogue>I must be in the fuckin' twilight zone.</dialogue> <character>TOM</character> <dialogue>What's your problem, now?</dialogue> <character>VINNY</character> <dialogue>We have met nobody tonight. We have gotten no phone numbers.</dialogue> <character>JOHNNY</character> <dialogue>I got a phone number.</dialogue> <character>VINNY</character> <dialogue>Yeah, and she's gonna be your friend. Golly wilikers! Gee, that's just great, Opie!</dialogue> <scene_description>JOHNNY smirks.</scene_description> <character>VINNY</character> <dialogue>Look, fellas, it's onlytwo in the mornin'. There are women out there. Real women. Women with tits.Believe me, I know. I've seen them. Fellas, you can't go home.</dialogue> <character>WILLIE</character> <dialogue>Come on, man. We all had a good time. Let's call it a night.</dialogue> <character>VINNY</character> <dialogue>Yo, fuck a good time. I want some pussy.</dialogue> <character>TOM</character> <dialogue>Yo, I'm tired, man. We had our fun.</dialogue> <character>VINNY</character> <dialogue>Yo, fuck fun, I want some pussy.</dialogue> <character>JOHNNY</character> <dialogue>Ayyy, man. You seen me playin' pool in there. I looked like Tom Cruise in that movie 'Color of money.'</dialogue> <character>VINNY</character> <dialogue>Yo, fuck Tom Cruise. I want some pussy.</dialogue> <character>TOM</character> <dialogue>Come on, guy. I don't think much else exciting can happen tonight, ya know what I mean?</dialogue> <scene_description>TOM suddenly stops walking, amazed by something he sees off screen. Everyone notices this, and follows his stare. TOM's P.O.V. reveals his girlfriend, VANESSA, across the street, holding hands with another GUY as they exit a restaurant. The GUY walks into the street to try and hail a cab. TOM' s face turns cold. He starts to quickly walk towards her, crossing the street, and the fellas follow.</scene_description> <character>WILLIE</character> <dialogue>Yo, Tommy, man, try and be cool, alright, c'mon!</dialogue> <character>JOHNNY</character> <dialogue>Tom, this ain't worth no fight. Just be mature about it, okay?</dialogue> <character>VINNY</character> <dialogue>Tom, don•~ do nothin' crazy, please! No girl ain't worth it, bro!</dialogue> <scene_description>TOM rushes up to the couple and pushes them apart.</scene_description> <character>VANESSA</character> <dialogue>Tommy, what - you - Tom!</dialogue> <character>BOYFRIEND</character> <dialogue>Who the hell is this guy, baby!</dialogue> <character>TOM</character> <dialogue>Baby! Baby 1 !</dialogue> <character>VANESSA</character> <dialogue>Tommy., stop it!</dialogue> <character>TOM</character> <dialogue>So, you're sick right! You look really fuckin' sick, ya know that!</dialogue> <character>BOYFRIEND</character> <dialogue>What is this? Get away from her!</dialogue> <scene_description>WILLIE, JOHNNY and VINNY pull TOM away. TOM restrains himself a bit, calming down.</scene_description> <character>TOM</character> <parenthetical>(To the fellas)</parenthetical> <dialogue>Okay, I'm alright. I'm alright.</dialogue> <scene_description>There is a moment of silence. TOM and VANESSA exchange looks.</scene_description> <character>TOM</character> <parenthetical>(To VANESSA)</parenthetical> <dialogue>So, do you, ahhhh, do you wanna talk about this, or somethin'?</dialogue> <character>VANESSA</character> <dialogue>C'mon, I mean, where we gonna talk around here?</dialogue> <character>TOM</character> <dialogue>Anywhere . . . Please.</dialogue> <character>BOYFRIEND</character> <dialogue>Baby, who is this guy?</dialogue> <scene_description>VANESSA studies TOM's sad face.</scene_description> <character>VANESSA</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Okay.</dialogue> <parenthetical>(To BOYFRIEND)</parenthetical> <dialogue>Look, let me have a minute with him.</dialogue> <character>BOYFRIEND</character> <dialogue>You know this guy?</dialogue> <character>VANESSA</character> <dialogue>Yeah.</dialogue> <character>BOYFRIEND</character> <dialogue>Well, ya know, if there's somethin' goin' on here, then -</dialogue> <character>VANESSA</character> <dialogue>C'mon, please.</dialogue> <character>BOYFRIEND</character> <dialogue>Okay. Go 'head.</dialogue> <character>TOM</character> <parenthetical>(To VANESSA)</parenthetical> <dialogue>Loo~, let's go someplace where we could talk in private, okay.</dialogue> <scene_description>She nods, and TOM leads her around the corner. WILLIE, JOHNNY and VINNY follow shortly behind.</scene_description> <character>TOM</character> <dialogue>Fellas, please!</dialogue> <character>JOHNNY</character> <dialogue>Oh, sorry.</dialogue> <character>VINNY</character> <dialogue>Sorry, man.</dialogue> <character>WILLIE</character> <dialogue>Oh, okay. Sorry.</dialogue> <scene_description>The fellas turn their backs to TOM, but still stand in place near him.</scene_description> <character>TOM</character> <parenthetical>(To VANESSA)</parenthetical> <dialogue>Look, let's go in that buildin' there.</dialogue> <scene_description>TOM and VANESSA enter a nearby building and stand in the lobby.</scene_description> </scene> <scene> <stage_direction>INT. BUILDING</stage_direction> <scene_description>At first, there is complete silence between them, then -</scene_description> <character>TOM</character> <dialogue>So, what happened?</dialogue> <character>VANESSA</character> <dialogue>Nothing happened, Tom. I still like you.</dialogue> <character>TOM</character> <dialogue>You like me? A week ago you told me you loved me.</dialogue> <character>VANESSA</character> <dialogue>I thought I did. I'm sorry.</dialogue> <scene_description>WILLIE, VINNY and JOHNNY peer sneakily through the front doors window pane. TOM looks over and notices them, and they quickly pull their faces away from the window. TOM sighs.</scene_description> <character>TOM</character> <dialogue>Look, let's go upstairs.</dialogue> <scene_description>TOM and VANESSA climb a staircase to the next floor.</scene_description> <character>TOM</character> <dialogue>Damn, Vanessa, I don't understand! I know I cared about you. I don't know what's happened. I thought you cared about me, too!</dialogue> <character>VANESSA</character> <dialogue>Tommy, I'm not tryin' to hurt you, really. I really like you, and that's why it was so hard to tell you.</dialogue> <scene_description>In the lobby of the building, WILLIE, TOMMY and JOHNNY quietly, sneakily, enter the building, and listen to the conversation going on above.</scene_description> <character>TOM</character> <dialogue>So, what was all that sick stuff all about.</dialogue> <character>VANESSA</character> <dialogue>I'm sorry. I just couldn't - well -</dialogue> <character>TOM</character> <dialogue>You couldn't tell me.</dialogue> <character>VANESSA</character> <dialogue>Look, Tommy, I'm not tryin' to be· a bitch, ya know?</dialogue> <scene_description>BELOW ON STAIRCASE -</scene_description> <character>VINNY</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>She's a bitch!</dialogue> <scene_description>ABOVE ON STAIRCASE -</scene_description> <character>TOM</character> <dialogue>You aren't fair. I've been totally faithful to you.</dialogue> <character>VANESSA</character> <dialogue>Tommy, I really like Frederick.</dialogue> <scene_description>BELOW ON STAIRCASE -</scene_description> <character>VINNY</character> <parenthetical>(Snickering)</parenthetical> <dialogue>Frederick?</dialogue> <scene_description>The fellas giggle. ABOVE ON STAIRCASE -</scene_description> <character>TOM</character> <dialogue>So, that's it. You've made your decision.</dialogue> <character>VANESSA</character> <dialogue>I'm sorry. Really.</dialogue> <scene_description>She kisses him on the cheek, then heads down the staircase. BELOW ON STAIRCASE - VINNY, JOHNNY, and WILLIE, hear VANESSA's footsteps, and try to rush out the front door, all bumping into one another. They all get stuck in the door for a brief moment, but then soon manage to get out. ABOVE ON STAIRCASE - TOM sits silently on the stairs and holds his head between his legs for a moment. He tries to regain his composure, then slowly rises to his feet, and heads down the staircase.</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING</stage_direction> <scene_description>TOM exits the building. He looks around for his friends. TOM's P.O.V. reveals VINNY, JOHNNY and WILLIE standing far in the distance, across the street. They all wave to him. TOM walks over.</scene_description> <character>VINNY</character> <dialogue>so·, what• s up, bro? You all straight or what?</dialogue> <character>TOM</character> <parenthetical>(Quietly)</parenthetical> <dialogue>I'm a sucker, man. I'm a big sucker.</dialogue> <scene_description>TOM leads them up the street. Everyone is silent for a brief moment.</scene_description> <character>WILLIE</character> <dialogue>So, we gain' home, or what?</dialogue> <character>JOHNNY</character> <dialogue>Yeah, man, let's go home~</dialogue> <character>TOM</character> <dialogue>No, man. I'm not gain' home.</dialogue> <character>VINNY</character> <dialogue>Well, then where you gain, bro?</dialogue> <character>TOM</character> <dialogue>I'm gain' there.</dialogue> <scene_description>TOM points to a bar across the street. TIME CUT:</scene_description> </scene> <scene> <stage_direction>INT. BAR</stage_direction> <scene_description>They all enter the bar. TOM sits at the bars counter.</scene_description> <character>TOM</character> <parenthetical>(To BARTENDER)</parenthetical> <dialogue>Let me get a beer. Budweiser.</dialogue> <scene_description>The BARTENDER fulfills his request. VINNY and JOHNNY stand behind TOM, while WILLIE takes a seat at the bar.</scene_description> <character>VINNY</character> <parenthetical>(To TOM)</parenthetical> <dialogue>Look, man, It'll take some time, but you'll get over.this bro. We always do!</dialogue> <scene_description>TOM doesn't respond.</scene_description> <character>JOHNNY</character> <dialogue>{To TOM)</dialogue> <scene_description>You'll be alright, man. You'll be okay. What you need to do is just go home, and chill out for a little while, man.</scene_description> <character>VINNY</character> <dialogue>No, man! What he needs right now is the exact opposite. He needs to go out there tonight and meet a new girl. It'll show him that there are more woman out there, man, and prettier woman, too! 'Cause I gotta tell ya, that Vanessa was no big deal, Jack!</dialogue> <character>JOHNNY</character> <dialogue>Man, he don't need that right now. What he needs is to be alone, to think things over.</dialogue> <character>VINNY</character> <dialogue>How the hell you know what he needs? You never went through what he's goin' through! You never had a girl in your life!</dialogue> <character>JOHNNY</character> <dialogue>So now we gonna get back into that shit, again!</dialogue> <character>VINNY</character> <dialogue>That's right. Look at you tonight in that pool room. That girl looked like she was ready to sit onyour face. And what happen? She's gonna be your friend. Man, you wouldn't know what to do with a woman if she was standin' in front of you naked. Now, me, I've had women, okay? I know exactly what Tom is goin' through.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, but you never gave a shit about any of 'em! So, really you have no idea what Tom's gain' through either!</dialogue> <character>VINNY</character> <dialogue>What? You think I've always been like this? Ha? No way, bro! I use to fall head over heals in love, man. Head over heals. What I'd get for it every time? Kicked in my ass, that's what! Hurt! I use to line up lookin' like Tommy here. All pitiful and shit!</dialogue> <scene_description>TOM looks up at VINNY. He smirks.</scene_description> <character>VINNY</character> <dialogue>But, nahhh! No more! I've had it! Ain't nobody gonna hurt me in that kinda way anymore! Nobody! If any- body's gonna do the hurtin', it's gonna be me!</dialogue> <character>TOM</character> <parenthetical>(To BARTENDER)</parenthetical> <dialogue>Get me another beer, man.</dialogue> <character>JOHNNY</character> <dialogue>(To TOM} C'mon, man. You don't need all this. Let me take you home. VINNY Man, leave the guy alone! Let him</dialogue> <scene_description>have a few brews, loosen up a bit, then we hit another dance club, and let that boy loose!</scene_description> <character>WILLIE</character> <dialogue>Look, man, it's almost three in the mornin'. Fuck dancin'. Let's go home.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, really.</dialogue> <character>VINNY</character> <dialogue>Look, you guys don't wanna go, then you can go home, but me and Tommy are goin' wild tonight!</dialogue> <character>JOHNNY</character> <dialogue>Tom's goin' home, bro!</dialogue> <character>VINNY</character> <dialogue>That's what your washed up, virgin ass thinks! It's three in the fuckin' mornin', we haven't fucked one fuckin' girl, and your ready to go home to bed. Fuck you! Go! Who needs you here anyway!</dialogue> <character>TOM</character> <parenthetical>(Shouting)</parenthetical> <character>AYYYYYYYY! WHAT IS THIS SHIT! THIS IS</character> <dialogue>MY MOMENT HERE, OKAY! I'M THE ONE</dialogue> <character>UPSET HERE, ALRIGHT! I'M THE ONE THAT</character> <dialogue>NEEDS MY FRIENDS AROUND MR TO CONSOLE</dialogue> <character>ME, OKAY! THIS IS MY MOMENT! MINE!</character> <dialogue>CAN'T YOU GIVE ME MY FUCKIN' MOMENT</dialogue> <character>WITHOUT ONE STUPID FIGHT!</character> <dialogue>TOM sits back down at the bar. There is a moment of silence.</dialogue> <character>VINNY</character> <dialogue>That's right. That's right. It's Tommy's moment. All of us forgot about that. It's Tommy's moment. He's feelin' bad, he's feelin' depressed. What Tommy wants to do is what we should be doin', right?</dialogue> <scene_description>WILLIE and JOHNNY look at each other for a brief moment, then nod in agreement with VINNY.</scene_description> <character>VINNY</character> <dialogue>Okay, good. I'm glad you see it my way.</dialogue> <parenthetical>(To TOM)</parenthetical> <dialogue>Okay, Tom. What's up? What you wanna do? It's your moment now. Do you wanna go home all alone, be depressed, feelin' sorry for yourself, bein' miserable, or you wanna go out to a club, meet a new girl, screw the hell outta her, and forget all about ugly Vanessa's stink ass. Now, c'mon! Whatta ya wanna do?</dialogue> <scene_description>There is a long moment of silence, then . . .</scene_description> <character>TOM</character> <parenthetical>(Coldly)</parenthetical> <dialogue>I wanna get some pussy!</dialogue> <character>VINNY</character> <dialogue>. (Loudly)</dialogue> <scene_description>ALRIGHT, HALLELUJAH!:</scene_description> <character>WILLIE</character> <parenthetical>(Quietly to JOHNNY)</parenthetical> <dialogue>Oh no! I think he created another Vinny.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HUGH DISCO</stage_direction> <scene_description>The four guys walk up to a BOUNCER at the entrance of the disco.</scene_description> <character>VINNY</character> <parenthetical>(To BOUNCER)</parenthetical> <dialogue>Hey, man, what's the cover charge, tonight?</dialogue> <character>BOUNCER</character> <dialogue>All you guys are together?</dialogue> <character>VINNY</character> <dialogue>Yeah, we're together.</dialogue> <character>BOUNCER</character> <dialogue>Okay, I wanna see three pieces of I.D. from everyone.</dialogue> <character>WILLIE</character> <dialogue>Three pieces of I.D.? Who the hell carries three pieces of I.D.?</dialogue> <character>TOM</character> <dialogue>Word! When the cops busted us, we only needed one piece of I.D.</dialogue> <character>BOUNCER</character> <dialogue>Fellas, you blockin' the door. Please leave.</dialogue> <character>WILLIE</character> <dialogue>This is racist bullshit, man!</dialogue> <character>JOHNNY</character> <dialogue>I think I might have three pieces of I.D. What do you guys have?</dialogue> <character>TOM</character> <dialogue>Yo, you could have a signed state- ment from God, and you still ain't gettin' in there tonight.</dialogue> <character>JOHNNY</character> <dialogue>Yeah? Well, let's see.</dialogue> <parenthetical>(To BOUNCER)</parenthetical> <dialogue>Here ya go, bro. I've got three pieces of I.D.</dialogue> <scene_description>JOHNNY holds up his I.D. cards, but the BOUNCER just takes a very quick glance at them.</scene_description> <character>BOUNCER</character> <dialogue>No, fella. None of those are valid I.D.</dialogue> <character>WILLIE</character> <dialogue>Yo, this is racist fuckin' bullshit!</dialogue> <character>TOM</character> <parenthetical>(To WILLIE)</parenthetical> <dialogue>C'mon, man. Let's go.</dialogue> <character>WILLIE</character> <parenthetical>(Shouting)</parenthetical> <character>NO! THIS IS BULLSHIT AND I'M NOT</character> <dialogue>GONNA TAKE IT ANYMORE!</dialogue> <character>BOUNCER</character> <dialogue>You better put that dog on his leash, before I hurt him.</dialogue> <scene_description>VINNY, TOM, and JOHNNY grab WILLIE to restrain him.</scene_description> <character>VINNY</character> <dialogue>C'mon, man. Take it easy!</dialogue> <scene_description>They start to drag WILLIE away from the club.</scene_description> <character>WILLIE</character> <parenthetical>(Shouting)</parenthetical> <character>YO, FUCK YOU~ MAN! AND FUCK YOUR CLUB!</character> <dialogue>I'M ORGANIZIN' A MARCH ON THIS MOTHER</dialogue> <character>FUCKIN 1 PLACE! I'M CALLIN' AL SHARPTON</character> <dialogue>TOMORROW! WE GONNA BE ON YOUR ASS, BOY!</dialogue> <character>WATCH COME MONDAY, SUCKER!</character> <dialogue>They all drag WILLIE around the corner.</dialogue> <character>VINNY</character> <dialogue>Goddamn, bro! Take it easy!</dialogue> <character>WILLIE</character> <dialogue>I'm serio~s, man! I'm callin' fat Al's ass now, man. Where the fuck is a phone.</dialogue> <character>TOM</character> <dialogue>Yo, chill out, man! Damn!</dialogue> <scene_description>Standing by a nearby lamppost is a middle aged black man. He's a rastafarian, with long dredlocks.</scene_description> <character>RASTA</character> <dialogue>Pssssssst.</dialogue> <scene_description>The guys look behind them, noticing the RASTA.</scene_description> <character>RASTA</character> <dialogue>Come here, man.</dialogue> <scene_description>The guys look at each other, wondering what to do.</scene_description> <character>RASTA</character> <dialogue>Come on, man.</dialogue> <scene_description>They all walk over to him.</scene_description> <character>RASTA</character> <dialogue>You guys want to get into the club, tonight, man.</dialogue> <character>VINNY</character> <dialogue>Yeah.</dialogue> <character>RASTA</character> <dialogue>I can get you in, man. I know a way.</dialogue> <character>TOM</character> <dialogue>Yeah, how?</dialogue> <character>RASTA</character> <dialogue>It'll cost you 5 dollars a piece, man.</dialogue> <character>JOHNNY</character> <dialogue>Oh, c'mon!</dialogue> <character>RASTA</character> <dialogue>It'll cost you 18 at the door, my brother. And that's if they let you in at all, man.</dialogue> <character>JOHNNY</character> <dialogue>Yeah, and what happens if your way doesn't work?</dialogue> <character>RASTA</character> <dialogue>Then I give back your money, man. I'm not a crook. Just a businessman.</dialogue> <character>VINNY</character> <dialogue>Everybody get up five.</dialogue> <character>WILLIE</character> <dialogue>Errrr, Fellas, I don't really have, ya know -</dialogue> <character>TOM</character> <dialogue>Yeah, man, we know, we know. I've got you, man.</dialogue> <character>WILLIE</character> <dialogue>Thanks, homeboy.</dialogue> <scene_description>Everyone, but WILLIE, hands money to the RASTA.</scene_description> <character>RASTA</character> <dialogue>Okay, now let's go party.</dialogue> <scene_description>The RASTA leads them up the sidewalk, and into a dark alley nearby. IN THE ALLEY The RASTA stops in the center of the desolate alley and pulls a garbage can over, placing it directly under a fire escape. He stands on the garbage can, lifting himself up onto the fire escape.</scene_description> <character>RASTA</character> <dialogue>C'mon.</dialogue> <character>TOM</character> <dialogue>Now, what is this?</dialogue> <character>RASTA</character> <dialogue>You guys want to get in or not?</dialogue> <scene_description>The guys look at each other, then start to follow the RASTA. The RASTA man leads them up the fire escape to a door at the top. He slowly cracks the door open, then looks around inside.</scene_description> <character>RASTA</character> <dialogue>Okay, you .guys are in the clear. Go 'head.</dialogue> <scene_description>The fellas go through the door, leaving the RASTA behind.</scene_description> </scene> <scene> <stage_direction>INT. HUGH DISCO</stage_direction> <scene_description>The fellas go through a short dark corridor, letting the sound of music guide them. Soon, they enter the club, with huge smiles on their faces.</scene_description> <character>TOM</character> <dialogue>Alright.</dialogue> <character>JOHNNY</character> <dialogue>Word! Let's have a good time.</dialogue> <character>TOM</character> <dialogue>Yo, fuck a good time. I want some pussy.</dialogue> <character>WILLIE</character> <dialogue>C'mon, man, let's have fun.</dialogue> <character>TOM</character> <dialogue>Yo, fuck fun. I want some pussy.</dialogue> <character>JOHNNY</character> <dialogue>Yo, you think any famous movie stars come in here? You think Tom Cruise could be in here?</dialogue> <character>TOM</character> <dialogue>Yo, fuck Tom Cruise. I want some pussy!</dialogue> <character>VINNY</character> <parenthetical>(With pride)</parenthetical> <dialogue>That's my boy! Let's go!</dialogue> <scene_description>VINNY leads TOM deeper into the club. They both start to come on to every woman they see.</scene_description> <character>VINNY</character> <dialogue>Yo, baby, yo! Why don't you let me hypnotize you a little bit, baby.</dialogue> <character>TOM</character> <dialogue>Hey, Momma, hey, momma, you lookin' so fine, I'm gonna die!</dialogue> <scene_description>JOHNNY walks up to the bar with WILLIE.</scene_description> <character>JOHNNY</character> <dialogue>Hey, it's my treat, Willie. What you want?</dialogue> <character>WILLIE</character> <dialogue>Ah, let me get a screwdriver.</dialogue> <character>JOHNNY</character> <parenthetical>(To BARTENDER)</parenthetical> <dialogue>We'll have a screwdriver and a Tom Collins. How much is that?</dialogue> <character>BARTENDER</character> <dialogue>That'll be 15 dollars.</dialogue> <character>JOHNNY</character> <parenthetical>(Stunned)</parenthetical> <dialogue>15 what?</dialogue> <character>BARTENDER</character> <dialogue>15 dollars.</dialogue> <character>JOHNNY</character> <dialogue>15 dollars for two drinks? Goddamn, what you put in them, diamonds?</dialogue> <character>BARTENDER</character> <dialogue>You want the drinks or not?</dialogue> <character>JOHNNY</character> <dialogue>Nahhh, I'd rather die of thirst.</dialogue> <scene_description>Our attention shifts over to VINNY and TOM.</scene_description> <character>VINNY</character> <dialogue>Okay, bro, you wanna get some ladies tonight, right, ha?</dialogue> <character>TOM</character> <dialogue>Yeah, yeah.</dialogue> <character>VINNY</character> <dialogue>Okay, the first thing you gotta do is come up with an image, alright. You gotta have an image. From now on, we're gonna call you-</dialogue> <parenthetical>(Thinks briefly)</parenthetical> <dialogue>Nunzio.</dialogue> <character>TOM</character> <dialogue>Yeah, okay. That's good. That's good!</dialogue> <character>VINNY</character> <dialogue>Okay, now here's the strategy. If you tal°k to five thousand women every day, one's gotta come through, you understand?</dialogue> <character>TOM</character> <dialogue>Yeah, got it. Got it.</dialogue> <character>VINNY</character> <dialogue>Now, that'll be 7 in a week, 14 in two weeks. 21 in three weeks, and, ahhh, . . • ahhhh, 34 in four weeks, you've got it.</dialogue> <character>TOM</character> <dialogue>Yeah, yeah, right, okay, okay.</dialogue> <character>VINNY</character> <dialogue>Okay. Good luck. You're on your own!</dialogue> <scene_description>They both walk their seperate ways. Our attention shifts again to WILLIE and JOHNNY, who are soon approached by the RASTA.</scene_description> <character>RASTA</character> <dialogue>Hey man, how you enjoyin' yourselves, my brothers?</dialogue> <character>JOHNNY</character> <dialogue>Hey, how you doin'? We're havin' a good time, the only thing is that the goddamn drinks are too expensive.</dialogue> <character>RASTA</character> <dialogue>You want a drink, man? That's no problem. I'll tell you what, my brother. I'll get you any drink you want. Just 2 dollars a piece.</dialogue> <character>WILLIE</character> <dialogue>You mean to tell me you can do that?</dialogue> <character>RASTA</character> <dialogue>That's right, man.</dialogue> <character>JOHNNY</character> <dialogue>How the hell you do that?</dialogue> <character>RASTA</character> <dialogue>Ayy, man, I make a deal with ya! You don't ask me how I do my stuff, and I don't ask you where you get the money to pay for me to do my stuff.</dialogue> <scene_description>The RASTA walks off. Our attention · shifts over to VINNY, who is now alone and cruising through the club. He walks up to a young WOMAN.</scene_description> <character>VINNY</character> <dialogue>Baby, you know when I saw you, I just had to stop and talk to you, because you're the only one I could possibly even -</dialogue> <scene_description>VINNY looks over her shoulder and suddenly notices another young WOMAN who is much prettier than the woman he's talking to now.</scene_description> <character>VINNY</character> <dialogue>Excuse me.</dialogue> <scene_description>He walks over to the other WOMAN.</scene_description> <character>VINNY</character> <dialogue>Baby, you know when I saw you, I just had to stop and talk to you, because you're the only one I could possibly eveb - ·</dialogue> <scene_description>VINNY stares at another WOMAN, out of the corner of his eye.</scene_description> <character>VINNY</character> <dialogue>Excuse me.</dialogue> <scene_description>He walks off, towards his new victim. Our attention shifts to TOM, who walks up to a young LADY.</scene_description> <character>TOM</character> <dialogue>Hello, darling, you are looking quite lovely tonight. Would you like to dance?</dialogue> <character>LADY</character> <parenthetical>(Nicely)</parenthetical> <dialogue>No, thank you.</dialogue> <scene_description>TOM shrugs and walks up to another WOMAN.</scene_description> <character>TOM</character> <dialogue>Hey, how 1 d you like to join me in a dance, sweetheart?</dialogue> <character>WOMAN</character> <dialogue>No, thank you.</dialogue> <scene_description>TOM stands there silently, staring at her. He soon moves on to ask another, his spirit being broken.</scene_description> <character>TOM</character> <dialogue>Hi, there. You look nice tonight. Would you like to dance?</dialogue> <character>YOUNG LADY</character> <dialogue>Yes, I'd love to.</dialogue> <character>TOM</character> <dialogue>Yeah?. Well, who said I wanted to dance with you?</dialogue> <character>YOUNG LADY</character> <dialogue>You just did.</dialogue> <character>TOM</character> <dialogue>Yeah, well I don't. So bug off, baby! How you like that?</dialogue> <scene_description>The YOUNG LADY stares at him weirdly, then walks off.</scene_description> <character>TOM</character> <dialogue>Bitch!</dialogue> <scene_description>Our attention again focuses on WILLIE and JOHNNY, who are both sipping on drinks ..</scene_description> <character>WILLIE</character> <dialogue>Yo, man, I'm gonna walk around, Check out the place, ya know? You wanna come?</dialogue> <character>JOHNNY</character> <dialogue>No, man, I'm goin' to the bathroom. I'll see ya later.</dialogue> <character>WILLIE</character> <dialogue>Alright, man. Catch you later.</dialogue> <scene_description>The two walk separate ways. Our attention shifts back to Tom. He's standing beside an attractive WOMAN.</scene_description> <character>TOM</character> <dialogue>You think I wanna dance with you, don't you? Well, guess what, big head? I wouldn't dance with you even if you didn't look like a sabertoothed tiger, bitch! What you think of that?</dialogue> <scene_description>The WOMAN walks.off frightened. TOM notices a telephone in the corner and walks over to it. He pulls out, from his pocket, the card from the tow truck man who took his car. He inserts a quarter into the phone, and dials. At this moment the RASTA walks by TOM and recognizes him. He st.ops, unnoticed by TOM, and waits for him to finish his . phone call. The RASTA looks around the disco. The RASTA's P.O.V. reveals VINNY in the distance coming on to some girl. The girl hits him with her umbrella. The RASTA laughs to himself.</scene_description> <character>TOM</character> <parenthetical>(On phone)</parenthetical> <dialogue>Yeah, hi. This is Thomas McNeil. You have my car there. You picked it up tonight. They told me to call. It's a 1980 Ford . . • Yeah, that's it . . . No . • • Well, when will it be ready? . . . Ahhh, shit, okay thanks.</dialogue> <scene_description>He hangs up, then turns and notices the RASTA.</scene_description> <character>TOM</character> <dialogue>Hey, what's gain' on?</dialogue> <character>RASTA</character> <dialogue>Ayy, man, how ya doin', man?</dialogue> <character>TOM</character> <dialogue>Ahh, not so good. I was hopin' on gettin' my car back tonight, so I could drive the fellas home.</dialogue> <character>RASTA</character> <dialogue>Oh, yeah? Well, where you live, man?</dialogue> <character>TOM</character> <dialogue>Up in the Bronx.</dialogue> <character>RASTA</character> <dialogue>I'll tell you what, my brother. I'll drive you and your boys up to the Bronx for 10 dollars. What you say, man?</dialogue> <character>TOM</character> <dialogue>10 dollars? Man, do you have a normal job or what?</dialogue> <character>RASTA</character> <dialogue>I'm a businessman, my brother, a businessman. 10 dollars. Whatta You say?</dialogue> <scene_description>Our attention focuses on VINNY once again. He looks about the club, almost as though he has run out of women to talk to, when suddenly his eyes bulge with delight, from someone he sees off screen.</scene_description> <character>VINNY</character> <parenthetical>(To himself)</parenthetical> <dialogue>Oh, yeah, oh, yeah. That's mine. Easy bait, ya know it.</dialogue> <scene_description>He walks up to her.</scene_description> <character>VINNY</character> <dialogue>Now, baby, you know you gotta give me a dance, right?</dialogue> <scene_description>Her head turns to face him. It's DARIA.</scene_description> <character>DARIA</character> <dialogue>Sure, love to.</dialogue> <scene_description>Somehow, the clubs music seems to get louder and soars through their scene. VINNY grabs DARIA by her hand and leads her to the center of the dance floor. Their dance is steaming with sexuality. They rub and grind, every move is a sexual suggestion. Soon, a crowd starts to develop around them to watch the "HOT" dance. TOM, who's now walking with the RASTA, notices the crowd circling someone on the dance floor.</scene_description> <character>RASTA</character> <dialogue>Oh, man, what's goin' on there?</dialogue> <character>TOM</character> <dialogue>C'mon, let's see.</dialogue> <scene_description>RASTA and TOM pull into the crowd. They see VINNY 11 gettin 1 down."</scene_description> <character>RASTA</character> <dialogue>Ayy, it's your homeboy.</dialogue> <character>TOM</character> <dialogue>Alright! Tear it up, VINNY!</dialogue> <scene_description>WILLIE, from another corner of the club, notices the crowd also. He walks over to see the event. He smiles widely as he notices VINNY. JOHNNY exits the bathroom. He notices the crowd and laughs to himself. He talks to some GUY standing near him.</scene_description> <character>JOHNNY</character> <dialogue>Hey, what's goin' on?</dialogue> <character>GUY</character> <parenthetical>(Laughing)</parenthetical> <dialogue>Some guy is practically fuckin' some girl on the dance floor.</dialogue> <character>JOHNNY</character> <parenthetical>(Amused)</parenthetical> <dialogue>Yeah!</dialogue> <scene_description>JOHNNY heads over to see the action. As soon as he gets close enough to see, his smile turns into hatred. VINNY is grinding against DARIA's backside. DARIA and VINNY now dance a few steps from each other, creating a distance between them. VINNY drops to his knees, and starts to propel his body towards her. His head is bobbing back and forth, and like a guided missile, he knows exactly where he is headed - for DARIA's crotch. JOHNNY' s eyes widen as VINNY continues to move forward, moving his neck like a pigeon, getting closer and closer by the second to his destination. JOHNNY almost can't look anymore, but at the same time, can't turn away. VINNY, now inches away from his goal, makes the final plunge. He thrusts his head forward into DARIA's crotch. JOHNNY quickly runs forward, grabs VINNY by his hair, and pulls his head out of her crotch.</scene_description> <character>VINNY</character> <parenthetical>(Upset)</parenthetical> <dialogue>Johnny, what the hell you doin'?</dialogue> <scene_description>VINNY quickly sticks his head back into her crotch. JOHNNY again pulls his head out.</scene_description> <character>VINNY</character> <dialogue>Johnny, get the hell outta here.</dialogue> <scene_description>VINNY again thrusts his head into her crotch. JOHNNY again pulls his head out and this time drags him across the floor a bit.</scene_description> <character>JOHNNY</character> <dialogue>Stop it, goddamn it! Shit!</dialogue> <scene_description>VINNY rises to his feet.</scene_description> <character>VINNY</character> <parenthetical>(Slowly)</parenthetical> <dialogue>Are you stupid or what? You want me to kick your ass, man!</dialogue> <character>JOHNNY</character> <dialogue>Go 'head, man. Try it, bro, go 'head.</dialogue> <scene_description>DARIA is watching on in near shock.</scene_description> <character>DARIA</character> <dialogue>Johnny, what are you doing?</dialogue> <character>JOHNNY</character> <dialogue>What am I doing? What am I doing? What are you doing?</dialogue> <character>DARIA</character> <dialogue>What are you talking' about! You don't own me!</dialogue> <scene_description>DARIA walks off as WILLIE and TOM rush over to break things up. The RASTA is close behind them.</scene_description> <character>WILLIE</character> <dialogue>C'mon, fellas, stop it!</dialogue> <character>VINNY</character> <dialogue>I'm gonna kick his ass!</dialogue> <scene_description>VINNY lunges at JOHNNY, but is pulled back by his boys.</scene_description> <character>JOHNNY</character> <dialogue>Fuck you! Fuck all of you!</dialogue> <scene_description>JOHNNY rushes off.</scene_description> <character>VINNY</character> <parenthetical>(Shouting)</parenthetical> <character>YOU KNOW WHO'S RESPONSIBLE FOR THIS</character> <dialogue>BULLSHIT, RIGHT, WILLIE! HA! YOU</dialogue> <character>KNOW WHO THE FUCK IS RESPONSIBLE!</character> <dialogue>YOU ARE, MOTHER FUCKER! YOU ARE!</dialogue> <character>TOM</character> <dialogue>Yo, man, cool out, man!</dialogue> <character>VINNY</character> <dialogue>Let go of me, man. He ain't gettin' away with that shit!</dialogue> <character>WILLIE</character> <dialogue>Yo, man, chill out, homie!</dialogue> <character>VINNY</character> <dialogue>Get off me, man.</dialogue> <character>TOM</character> <dialogue>We'll let you go when you say you're cool.</dialogue> <scene_description>A brief moment of silence passes, and VINNY pretends to have calmed himself down.</scene_description> <character>VINNY</character> <dialogue>Okay, man, I'm fine. I'm fine.</dialogue> <character>TOM</character> <dialogue>You sure, ha? Ha?</dialogue> <character>VINNY</character> <dialogue>Yeah, man, get off. I'm fine! I'm cool.</dialogue> <scene_description>His buddies release him.</scene_description> <character>VINNY</character> <dialogue>Okay. I'm cool.</dialogue> <scene_description>VINNY walks off. His friends watch him leave.</scene_description> <character>RASTA</character> <dialogue>Man, that's heavy shit, man!</dialogue> </scene> <scene> <stage_direction>EXT. HUGH DISCO</stage_direction> <scene_description>VINNY steps out the front door. He looks around. VINNY's P.O.V. reveals JOHNNY heading up a lonely sidewalk. VINNY quickly rushes over, catching up with him, but JOHNNY continues walking.</scene_description> <character>VINNY</character> <dialogue>Hey! Hey!!!</dialogue> <character>JOHNNY</character> <dialogue>Stay away from me, man. Get away from me!</dialogue> <character>VINNY</character> <dialogue>What was all that bullshit about, man? What was all that shit, ha?</dialogue> <character>JOHNNY</character> <dialogue>I said s~ay away from me, man.</dialogue> <scene_description>VINNY roughly grabs JOHNNY by his arm to stop him.</scene_description> <character>VINNY</character> <dialogue>Hey, bro, I'm talkin' to you!</dialogue> <character>JOHNNY</character> <dialogue>You grab me like that one more time and you gonna be sorry.</dialogue> <character>VINNY</character> <dialogue>Why, man? What you gonna do, man! You ain't gonna do a fuckin' thing!</dialogue> <character>JOHNNY</character> <dialogue>Listen, man! That girl you was dancin' with was the girl I'm crazy about, okay? That's the girl I care about. I'm very angry, man, so for your own good, get the fuck out my face.</dialogue> <scene_description>JOHNNY continues walking, heading towards a tunnel that is the underpass for a highway. VINNY pursues.</scene_description> <character>VINNY</character> <dialogue>That's the girl you crazy about? Her! That's the girl you've been talkin' about all night! That's the girl that you gave up a chance on meetin' two beautiful blond babes tonight? For that slut.</dialogue> <character>JOHNNY</character> <dialogue>Shut up, man! She ain't no slut!</dialogue> <scene_description>JOHNNY and VINNY enter the tunnel.</scene_description> <character>VINNY</character> <dialogue>She's not a slut! She's not a slut! The fuckin' girl works in a place where she'll show you her full pussy for 25 cents. 25 cents! She could at least charge a full dollar, but no - for 25 cents.</dialogue> <character>JOHNNY</character> <dialogue>Man, leave me the fuck alone, man. I'm warning you.</dialogue> <scene_description>VINNY again grabs him, but this time by the collar.</scene_description> <character>VINNY</character> <dialogue>You warnin' me? You warnin' me! Mother fucker, I warn you, you don't warn me!</dialogue> <character>JOHNNY</character> <dialogue>Get your hands off ·me, man!</dialogue> <character>VINNY</character> <dialogue>Why? What you gonna do! You gonna kick my ass, ha! You gonna kick my ass.</dialogue> <character>JOHNNY</character> <dialogue>Get off of me, man.</dialogue> <character>VINNY</character> <dialogue>Go 'head, man, kick my ass, man! Go 'head, kick it!</dialogue> <scene_description>JOHNNY kicks VINNY in the groin, knocking him over and down to the ground in pain. JOHNNY continues walking, as VINNY slowly, painfully, rises to his feet.</scene_description> <character>VINNY</character> <dialogue>Oh! Oh! You in a world of trouble now, mother fucker! I'm gonna beat the shit out your ass tonight, mother fucker!</dialogue> <scene_description>VINNY starts to rush up to JOHNNY. He again grabs him by his collar.</scene_description> <character>VINNY</character> <dialogue>Come here, man, come here.</dialogue> <scene_description>JOHNNY stares at him a deadly stare.</scene_description> <character>VINNY</character> <dialogue>You wouldn't dare!</dialogue> <scene_description>JOHNNY again kicks him in the groin. Again VINNY falls, and again JOHNNY heads up the sidewalk. VINNY, again, rises to his feet and continues to pursue.</scene_description> <character>VINNY</character> <dialogue>Oh, mother fucker! Oh, you a dead mother fucker, now! Oh shit!</dialogue> <scene_description>VINNY catches up with him, again grabs him by his collar with what little strength he has left.</scene_description> <character>VINNY</character> <dialogue>You - You -</dialogue> <scene_description>JOHNNY stares at VINNY coldly.</scene_description> <character>VINNY</character> <parenthetical>(Pleading)</parenthetical> <dialogue>No - Don't"!</dialogue> <scene_description>JOHNNY gives him another hard thrust in the groin. VINNY hits the pavement. He's out cold. JOHNNY continues to walk on, out of the tunnel, leaving VINNY alone on the sidewalk. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - DUSK</stage_direction> <scene_description>An old jeep pulls into the gas station. RASTA, WILLIE and TOM are inside.</scene_description> <character>RASTA</character> <dialogue>Just got to put some gas in her, man, and we'd be on our way.</dialogue> <character>TOM</character> <dialogue>Yeah, I'm gonna get out and stretch.</dialogue> <character>WILLIE</character> <dialogue>Me too.</dialogue> <scene_description>They all step out of the jeep. They all seem tired. RASTA pays a clerk in a nearby booth, then grabs a gas pump and starts to fill up his car.</scene_description> <character>TOM</character> <dialogue>Man, I can't believe fuckin' Johnny and Vinny cut out on us, man! They left us alone in the goddamn club.</dialogue> <character>WILLIE</character> <dialogue>I'm just afraid for Johnny, man. I hope Vinny ain't do nothin' stupid, and wind up hurtin' him. Man, why do things have to get so complicated?</dialogue> <scene_description>The RASTA hears them speaking, and joins in the conversation.</scene_description> <character>RASTA</character> <dialogue>Complicated? Things are never complicated, my brother.</dialogue> <character>WILLIE</character> <dialogue>Yeah, right.</dialogue> <character>RASTA</character> <dialogue>No, r•m serious, man. Nothing is complicated, man. We all know the difference between right and wrong. When something gets complicated it's because you're doin' somethin' wrong.</dialogue> <scene_description>WILLIE stops and thinks about that for a moment.</scene_description> <character>RASTA</character> <dialogue>Live a righteous life, my brother. Live the kind of life that Jah would want you to lead, and that way, you would always be happy, man.</dialogue> <character>TOM</character> <dialogue>Man, you need money to be happy ..</dialogue> <scene_description>TOM's head falls on the hood of the jeep. He's half asleep.</scene_description> <character>RASTA</character> <dialogue>Ahhh, that's a lot of hogwash, my friend. How many rich people have killed them- selves. I don't have enough fingers and toes to count them, man. Money, woman, cars - all that is nonsense, man. Happi- ness starts in your heart and your mind, and then when the other things come along, like money, women or cars, then you can add them to your happiness, but you're not dependant on those things for happiness. Because what happens when you loose all your money, your women, your cars? Then what? You loose your happiness? Nonsense, man. Happiness starts with you. You must love yourself before anything else.</dialogue> <scene_description>The RASTA places the pump back. WILLIE thinks deeply about what the RASTA has said. The RASTA walks back over to him. He points to the sunrise, which is casting a purple haze across the sky.</scene_description> <character>RASTA</character> <dialogue>You see that? That is the single most beautiful thing on the planet, man. And it's free. You don't need no money to enjoy that. You don't have to be with a women to enjoy that. And you don't need a car to enjoy that. It's absolutely free.</dialogue> <scene_description>WILLIE stares at the sunrise.</scene_description> <character>RASTA</character> <dialogue>Look at that, man. Look at it. Take in it's beauty, my brother. Take in it's majestic power.</dialogue> <scene_description>We cut· to a C.U. of the sun, casting colors across the sky, blazing it•~ orange face brightly. The RASTA enters his jeep, and watches the sun from there.</scene_description> <character>WILLIE</character> <parenthetical>(To himself; a natural high)</parenthetical> <dialogue>Yeah, man, yeah. Look at all the color, man. Look at that! That's beautiful, man. Hey, Tommy, hey! You see that Tom?</dialogue> <scene_description>TOM's head pops up from the jeeps hood.</scene_description> <character>TOM</character> <dialogue>What? What is it?</dialogue> <character>WILLIE</character> <dialogue>Look, man. Look at that.</dialogue> <character>TOM</character> <dialogue>What, man? What?</dialogue> <character>WILLIE</character> <dialogue>That, man.</dialogue> <character>TOM</character> <dialogue>What? The sun?</dialogue> <character>WILLIE</character> <dialogue>Yeah, man. Look at that.</dialogue> <character>TOM</character> <dialogue>Man, you woke me up to see the sun.</dialogue> <character>WILLIE</character> <dialogue>Well, look at it, man. Look at all the colors. Look at the way it's risin' up in the sky. Look at the golden light it's throwin' on all the buildings. Ain't that beautiful, man?</dialogue> <scene_description>TOM looks for the beauty, but doesn't see any. He looks at WILLIE weirdly.</scene_description> <character>TOM</character> <dialogue>Man, do me a favor. Don't drink when you hang out wit' me anymore, alright?</dialogue> <scene_description>TOM lies his head back on the car and falls asleep. WILLIE continues to watch the sun.</scene_description> <character>WILLIE</character> <dialogue>Man, look at the way the orange turns into red, then into purple, then it kinda blends into the sky. And look at the clouds around it. They're all filled with orange light. That's cool, man, that's real cool.</dialogue> <character>RASTA</character> <dialogue>It certainly is, man. It certainly is.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT BUILDING - DAY</stage_direction> <scene_description>JOHNNY walks up the sidewalk, then enters the building.</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT APARTMENT</stage_direction> <scene_description>JOHNNY enters the apartment and walks down a small hall. He passes a bedroom with its door open, and his MOTHER, a chubby woman of 45, can be seen in b.g., sleeping in bed, wrapped in a sheet. He continues to walk through the apartment, heading towards his bedroom.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>JOHNNY enters. He looks at a clock that sits on a table. It's 6:45.</scene_description> <character>JOHNNY</character> <dialogue>Ohhh, shit!</dialogue> <scene_description>JOHNNY takes off his jacket, and switches into a pin striped cloth vest, which has a supermarket logo on it. He then grabs his jacket to hang it up in the closet, and from his pocket falls out a matchbook cover. It reads "call 555 - SLUT." He picks it up and turns it over. He stares at OONA's name lovingly. He thinks for a moment and then reaches into his jacket pocket and pulls out a folded up sheet of paper: The college application. JOHNNY unfolds it, and glances over it from top to bottom. Their is a brief moment of indecision. He continues to read it for a moment, then grabs a pen from the top of his dresser. JOHNNY lies down on his bed and starts to fill it out. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TUNNEL - BRIDGE UND~RPASS</stage_direction> <scene_description>VINNY wakes up and struggles to his feet. He walks out of the tunnel, and into the sunlight. The sunshine makes him wince, and he covers his eyes, almost as if he's a vampire. He immediately pulls out a pair of black sunglasses and puts them on. He-starts to. head up the sidewalk, when a beautiful blond woman walks by his path. VINNY thinks for a quick second, then immediately follows after her.</scene_description> <character>VINNY</character> <dialogue>Yo, baby, you lookin' mighty good this mornin'. What's your name, sweetheart. Oh, come on, you don't have to be like that. Talk to me baby~ (etc., etc., etc.)</dialogue> <scene_description>FADE OUT. (</scene_description> </scene> </script>

Tom, Willie, Johnny, and Vinny are four friends who grew up together in the Bronx. Tom aspires to be an actor and sells magazine subscriptions over the phone to pay the rent. Johnny, the youngest of the group, works in a supermarket; though he's been encouraged to go to college, he's afraid to take the first step--filling out an application for a scholarship. Vinny is a smooth-talking ladies' man who hides his Puerto Rican heritage behind the lie that he's Italian. Willie is unemployed and unemployable, convinced that he's oppressed by racial prejudice. On a Friday night, the friends go out for a "guys' night" in Manhattan and suffer various disasters, (Tom wrecks his car, Willie gets the guys thrown out of a party) most of which they bring on themselves. During their night out, their relationships with one another become strained as the events lead to conflict between them.

Selma_2014

tt1020072

<script> <scene> <character>SELMA</character> <dialogue>Written by</dialogue> <scene_description>Paul Webb and Ava DuVernay February 2, 2014</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - DAY</stage_direction> <scene_description>White gloves on small brown hands. Black patent leather shoes on spirited feet. The morning sun streams in through a nearby stained glass window, reflecting rays of gold and topaz and magenta as SEVEN KIDS make their way down a church staircase. Five girls. Two boys. All with small learning bibles in hand.</scene_description> <character>BOY #1</character> <dialogue>I hear it's just like a swimming pool. They dip you in, and say the prayer, and then you done.</dialogue> <character>GIRL #1</character> <dialogue>I don't know. I practice holding my breath, but I'm scared to have my head under water. What if I need to breathe?</dialogue> <character>GIRL #2</character> <dialogue>I promise you it ain't nothing to be scared of. It's quick. And Pastor right there next to you.</dialogue> <character>GIRL #3</character> <dialogue>The biggest thing is getting your hair wet up. I got it pressed that same morning and it was wasted soon as I hit that water. I should've worn a swim cap, like Mama said.</dialogue> <character>BOY #2</character> <dialogue>A swim cap? So you can look like you got ringworms!</dialogue> <scene_description>All the girls burst into sweet laughter.</scene_description> <character>GIRL #3</character> <dialogue>A swim cap, not a ringworm cap!</dialogue> <character>BOY #1</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Same difference.</dialogue> <character>GIRL #4</character> <dialogue>Nuh-uh. You ain't never seen Esther Williams?</dialogue> <scene_description>The boys give up and head in another direction at the landing. The girls giggle and continue down the stairs.</scene_description> <character>GIRL #5</character> <dialogue>I asked my Mama, can she make my hair like Coretta Scott King had hers fixed at the Washington March. But she said it's too grown.</dialogue> <character>GIRL #4</character> <dialogue>Oh! I love her hair!</dialogue> <scene_description>In unison, they all agree as they reach the lower landing.</scene_description> <character>GIRL #3</character> <parenthetical>(stopping on the last stair for emphasis)</parenthetical> <dialogue>I heard she don't even put rollers in it. It's just like that. But I studied it. I know how to do it...</dialogue> <scene_description>At this, the other girls turn around to hear the valuable tutorial.</scene_description> <character>GIRL #3</character> <dialogue>See, she just parts it in the middle and then she...</dialogue> <scene_description>Interrupted without warning, they all hear something strange and turn in the direction of a LOUD CRACKING. Their expressions questioning the origin of the unfamiliar sound. The answer DETONATES in the next room. The camera SLOWS to follow the girls. Lifted off their feet as BRICKS fly through the air. Striking them. Windows shatter, raining LARGE, SHARP SHARDS. One slicing clean through a petite limb. Gloves now gray with soot, raised in defense of a SPLINTERED WOOD BEAM that crashes down from above. The back of a head adorned with curls smashes against a CONCRETE WALL. The CRIPPLED CEILING buckles, then collapses amidst the DARK SMOKE. Then -- all is silent, except for a HIGH-PITCHED HISS which increases in intensity. We pull back on the room to find FOUR LITTLE GIRLS, laying motionless. Among blood and debris and bibles. Covered in TINY BITS OF GLASS that gleam in that morning sun against their broken bodies.</scene_description> </scene> <scene> <stage_direction>INT. GRAND HOTEL, PRESIDENTIAL SUITE - OSLO, NORWAY</stage_direction> <scene_description>We look directly into the eyes of DR. MARTIN LUTHER KING, JR. And he is looking directly at us. He is deeply disturbed. He shakes his head. Disappointed.</scene_description> <character>KING</character> <dialogue>No.</dialogue> <scene_description>A long sigh as we pull back to reveal his gaze resting upon his own image. He wrestles with his tie in a long mirror.</scene_description> <character>KING</character> <dialogue>This isn't right.</dialogue> <scene_description>We now see that he's dressed in formal striped pants and a gray tuxedo with tails.</scene_description> <character>KING</character> <dialogue>Corrie! This ain't right!</dialogue> <character>CORETTA (O.S.)</character> <dialogue>What's that?</dialogue> <character>KING</character> <dialogue>This necktie! It's not right!</dialogue> <scene_description>CORETTA SCOTT KING enters from the dressing room, in all her elegance and efficiency.</scene_description> <character>CORETTA</character> <dialogue>It's not a necktie, dear. It's an ascot.</dialogue> <character>KING</character> <parenthetical>(still struggling)</parenthetical> <dialogue>Yes, but generally the same principles should apply, shouldn't they? This isn't right.</dialogue> <character>CORETTA</character> <dialogue>Isn't right? Or, you don't like it?</dialogue> <scene_description>She crosses to him and waits for him to give up. Then gently pulls the tie from the irregular knot and begins again.</scene_description> <character>KING</character> <dialogue>I don't like how this looks.</dialogue> <character>CORETTA</character> <dialogue>Looks distinguished and debonair to me.</dialogue> <character>KING</character> <dialogue>You know what I mean. Like, we're here living high on the hog. Dressed like this. While folks at home are... it's not right.</dialogue> <parenthetical>(a brooding beat)</parenthetical> <dialogue>Wait 'til the brothers back home see me like this. They'll have a good laugh.</dialogue> <character>CORETTA</character> <parenthetical>(clearly her sore spot)</parenthetical> <dialogue>Let 'em laugh. It's not a crime to be away for a few days, Martin.</dialogue> <scene_description>Their faces are close. She's focused on the tie. He's focused on her now. Lightening up.</scene_description> <character>KING</character> <dialogue>It's nice being away, huh?</dialogue> <character>CORETTA</character> <dialogue>Yeah. It really is.</dialogue> <scene_description>A beat as she works.</scene_description> <character>KING</character> <dialogue>Look, I'm gonna go be a pastor somewhere small. A college town. Led a little church, teach a class. The occasional speaking engagement.</dialogue> <character>CORETTA</character> <dialogue>I'll make out all the bills for us, especially the mortgage for our very own house. Savings since we don't have a phone anymore and all.</dialogue> <character>KING</character> <dialogue>Our own phone-less house. Perfect.</dialogue> <scene_description>They smile at that little game as she finishes the fancy tie. They remain close.</scene_description> <character>KING</character> <dialogue>Ever wish we could go back? Before.</dialogue> <character>CORETTA</character> <dialogue>I don't think we would if we could.</dialogue> <parenthetical>(a sad beat)</parenthetical> <dialogue>You look handsome.</dialogue> <scene_description>She turns around to the mirror and pats her hair in place, as they each look upon the other's reflection.</scene_description> </scene> <scene> <stage_direction>INT. OSLO UNIVERSITY - LATER</stage_direction> <scene_description>APPLAUSE from dignitaries as King makes his way to an ornate, polished podium. He joins GUNNAR JAHN, the elderly Nobel Committee Chairman, who holds an encased medal with pride.</scene_description> <character>JAHN</character> <dialogue>I have the great honor to stand with the youngest recipient in our history, a man of 35 years old. We honor this man from the Deep South of the United States of America, who has been imprisoned on many occasions, whose home has been subject to bomb attacks, whose life and the lives of his family are constantly under fatal threat, and who nevertheless does not falter in his quest for justice and for freedom. Martin Luther King has spoken of his dream. One which we, and many people across the world, share. To this undaunted champion of peace, the Nobel Committee of the Norwegian Parliament awards the Peace Prize for 1964. For you, sir.</dialogue> <scene_description>Visibly moved, King accepts and steps to the microphone.</scene_description> <character>KING</character> <dialogue>Your Royal Highness, Mr. President, Excellencies. I refuse to accept that mankind is so bound to the starless midnight of racism that the bright daybreak of brotherhood can never be a reality.</dialogue> <scene_description>We watch a great orator in full command of the room.</scene_description> <character>KING</character> <dialogue>I accept this honor for our lost ones. I accept this honor for 22 million American Negroes who move with determination and a majestic scorn for risk and danger. I believe that what the self-centered have torn down, the other-centered can build up. I believe that We Shall Overcome.</dialogue> <scene_description>APPLAUSE. Then, letter by letter as it is typed ON SCREEN... SUPERIMPOSE: Oslo University: 5:15pm - M. King. C. King. LOGGED</scene_description> </scene> <scene> <stage_direction>INT. SMALL-TOWN COURTHOUSE LOBBY - DAY</stage_direction> <scene_description>The APPLAUSE CONTINUES as we watch ANNIE LEE COOPER, a plump dignified woman in her fifties, completes a form with meticulous handwriting. She smiles with satisfaction as if this document was a mountain conquered. She carefully gathers her coat and purse, pats her hair and straightens her hat, takes a deep breath and walks across the polished lobby of the small, quiet courthouse. She heads to the REGISTRAR, a 30ish white male reading the comics at a window marked "SELMA ADMINISTRATION OFFICE." Annie Lee stands there for several seconds, but the man ignores her. He continues to read, never looking up. Then...</scene_description> <character>ANNIE LEE COOPER</character> <dialogue>'Scuse me, sir. I come to register.</dialogue> <character>REGISTRAR</character> <dialogue>Ain't nobody called you up here. Sit on down 'til you're called.</dialogue> <character>ANNIE LEE COOPER</character> <dialogue>But, there's no one here...</dialogue> <character>REGISTRAR</character> <dialogue>You stirrin' trouble? Sit your black behind down 'til ya called. Or I'll ring up the Sheriff.</dialogue> <scene_description>Annie Lee swallows her pride and turns around. She walks back across the lobby, gripping her purse tight to calm herself. As soon as she reaches the seat and sits down...</scene_description> <character>REGISTRAR</character> <dialogue>Annie Lee Cooper!</dialogue> <scene_description>She looks at him. He smirks at her.</scene_description> <character>REGISTRAR</character> <dialogue>Get on up now. I ain't got all day.</dialogue> <scene_description>She grits her teeth and rises. She holds her head high as she walks back across the lobby, placing the form on the counter.</scene_description> <character>REGISTRAR</character> <dialogue>You work for Mr. Dunn at the rest home, ain't that right?</dialogue> <character>ANNIE LEE COOPER</character> <parenthetical>(hesitantly)</parenthetical> <dialogue>Yessir.</dialogue> <character>REGISTRAR</character> <dialogue>Wonder what ol' Dunn'll say when I tell him one of his gals over here stirrin' trouble.</dialogue> <character>ANNIE LEE COOPER</character> <dialogue>Ain't stirrin' trouble. I'm here to vote.</dialogue> <scene_description>He snatches the form and reviews it with pen in hand. After a while, he becomes annoyed that there is nothing to correct.</scene_description> <character>ANNIE LEE COOPER</character> <dialogue>It's all right this time.</dialogue> <scene_description>Their eyes meet.</scene_description> <character>REGISTRAR</character> <dialogue>It's right if I say its right.</dialogue> <scene_description>She doesn't waver. Her eyes are trained on him.</scene_description> <character>REGISTRAR</character> <dialogue>Recite the Constitution's preamble. Know what a preamble is?</dialogue> <scene_description>She swallows hard and then...</scene_description> <character>ANNIE LEE COOPER</character> <dialogue>We the people of the United States, in order to form a more perfect union, establish justice, ensure domestic tranquility, provide for the common defense, promote the general welfare, and secure the blessings of liberty to ourselves and our posterity...</dialogue> <character>REGISTRAR</character> <dialogue>How many county judges in Alabama?</dialogue> <character>ANNIE LEE COOPER</character> <dialogue>Sixty-seven.</dialogue> <scene_description>Silence.</scene_description> <character>REGISTRAR</character> <dialogue>Name them.</dialogue> <scene_description>Annie stares at him. He inks a rubber stamp. He looks down at a form. Bang! DENIED. Close on Annie. Head still high. Her face doesn't change, but her eyes... We see a light go out. She turns and walks away.</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON DC - DAY</stage_direction> <scene_description>KING walks across the Mall at a brisk pace with two advisors on each side. ANDREW YOUNG, balancing an air of both warmth and sophistication. And CT VIVIAN, a taller, slender man with a determined expression.</scene_description> <character>YOUNG</character> <dialogue>Johnson's indicated that his main focus will be to get your buy-in on his Poverty program. Be prepared you'll have to work around that to get to what you're there for. He won't see Selma coming.</dialogue> <scene_description>King nods in understanding.</scene_description> <character>YOUNG</character> <dialogue>Also, I highly recommend you take this face-to-face opportunity to discuss Hoover. The surveillance...</dialogue> <scene_description>Vivian meets Young's eyes. This is important. Will he do it?</scene_description> <character>KING</character> <dialogue>Andy, I don't want to open that can, my friend.</dialogue> <character>YOUNG</character> <dialogue>It's open, Marty. It's already open. Just a matter of when and how they want to spill it all out.</dialogue> <scene_description>King is clearly affected by these words, but masks his worry.</scene_description> <character>VIVIAN</character> <dialogue>We're being very careful on the phone and in public rooms now.</dialogue> <character>YOUNG</character> <dialogue>Key word being "now."</dialogue> <character>KING</character> <dialogue>I'm focusing on the task at hand, brothers. That's all my head will hold right now. My hope is that the new international attention'll move the needle without us having to engage at the ground-level in Selma or anywhere else. Maybe we won't need to go full-scale.</dialogue> <scene_description>The subject has officially been changed. But not before Young and Vivian share a look of deep concern as the trio walks quickly toward the White House in the distance.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAY</stage_direction> <scene_description>PRESIDENT LYNDON B. JOHNSON, all six feet four inches of him, barrels towards the Oval Office with his top aide, LEE WHITE.</scene_description> <character>JOHNSON</character> <dialogue>Aren't we done yet? Are we not done with this!? Will it ever end?!</dialogue> <character>WHITE</character> <dialogue>Apparently not, Mr. President.</dialogue> <character>JOHNSON</character> <dialogue>What's he want? What's he gonna ask for now? Huh? I know. He's gonna ask for more enforcement on the Civil Rights Act. That's it. Yep. Fuck! What can we give him?</dialogue> <character>WHITE</character> <dialogue>A very extensive plan is already in place, sir. I'd say just reiterate.</dialogue> <character>JOHNSON</character> <dialogue>Man's not coming for reiteration. Man's looking for something so he can say, "Look! I told you I had a dream and now it's all coming fucking true - whether you like it or gotdamn not!" That's what he wants. But, what he needs to do is get on board with what we're doing. Not the other way around. For once!</dialogue> <scene_description>He strides into the Oval Office from the residential entry to find his secretary.</scene_description> <character>SECRETARY</character> <dialogue>Mr. President. Dr. King is...</dialogue> <character>JOHNSON</character> <dialogue>Yes, yes. Bring him on in.</dialogue> <scene_description>White takes a seat while Johnson straightens his tie and has a sip of water. Preparing. King enters. The men shake hands with faux warmth. Then Johnson places a long arm around King's shoulder.</scene_description> <character>JOHNSON</character> <dialogue>Martin, I have to tell ya, I may be a tall sonofabitch, but this close to the new Nobel laureate I feel tits-high to a puppy dog!</dialogue> <character>KING</character> <parenthetical>(laughing)</parenthetical> <dialogue>Well, thank you, Mr. President.</dialogue> <scene_description>Talking all the while, Johnson guides King to a chair by a small table set with coffee. Johnson pours.</scene_description> <character>JOHNSON</character> <dialogue>I have to tell you, Martin, ending segregation with the '64 Act was my proudest moment. Civil rights is a priority of this administration. You know that. If we don't meet the challenge, this nation's storing up a heap of trouble for itself. Seeing as I can't convince you to come work with my administration in an official capacity inside the White House, well, I... I just feel damn fortunate having someone as statesmanlike as you leading the movement and I want you to go on leading it. No one else. None of those militant Malcolm X types. So I wanna help. Tell me how.</dialogue> <character>KING</character> <dialogue>Mr. President, I share your pride in the Civil Rights Act and your understanding that if these issues are not addressed there will be repercussions on our country's trajectory, such as the unbridled violence that continues to be inflicted upon its Negro citizens. Including our children.</dialogue> <scene_description>At mention of the children, Johnson bows his head in respect.</scene_description> <character>KING</character> <dialogue>To that end, Mr. President, I'm here to speak specifically about the denial of a basic American right for the Negro citizen.</dialogue> <parenthetical>(wait for it)</parenthetical> <dialogue>The right to vote.</dialogue> <scene_description>King smiles. Johnson smiles - knowing King is goading him.</scene_description> <character>JOHNSON</character> <dialogue>Well, Martin, technically . . .</dialogue> <character>KING</character> <dialogue>. . . we already have it. Yes, Mr. President. But we both know that in the South, black voters are kept off the rolls and out of the voting booth by fear and intimidation. And that - is a national disgrace.</dialogue> <character>JOHNSON</character> <dialogue>It is! It is, Martin . . .</dialogue> <character>KING</character> <dialogue>I'm so pleased you agree, Mr. President. You asked how you can help. We want Federal legislation granting Negroes the right to vote - unencumbered. We want Federal protocol to eliminate the decades- long dismissal, intimidation and illegal denial of blacks seeking to vote, by local registrars who seek to withhold this right. And... we want robust enforcement of that protocol.</dialogue> <scene_description>Johnson takes a moment to digest. A little taken aback.</scene_description> <character>JOHNSON</character> <dialogue>Well, Martin. That's just fine but most of the South is still not even desegregatin'. First, let's concentrate on getting the '64 act up and runnin'. Folks are fatigued. Folks need an intermission. We need to heal some wounds first. Don't let's start the next battle before we've won the first.</dialogue> <scene_description>King is thoughtfully silent for a moment.</scene_description> <character>JOHNSON</character> <dialogue>And you know what that next battle should be? The eradication of poverty! Poor people too busy survivin' to participate in the democratic process. I'm putting together the most ambitious program of welfare reforms this country's ever seen. Callin' it "The War on Poverty."</dialogue> <scene_description>Johnson is on his feet, returning from his desk with a bundle of briefing papers in his hands. He drops them on the table.</scene_description> <character>JOHNSON</character> <dialogue>It's a simple matter of political priorities. The votin' has to wait.</dialogue> <scene_description>King stares regretfully at Johnson for several seconds. Is he really going to have to go full-throttle on another cause?</scene_description> <character>KING</character> <dialogue>It can't, Mr. President.</dialogue> <character>JOHNSON</character> <dialogue>Well, Martin, why not?</dialogue> <character>KING</character> <dialogue>Because there've been thousands of racially-motivated murders in the South, including those four little girls, and -</dialogue> <character>JOHNSON</character> <dialogue>I know that, but -</dialogue> <character>KING</character> <dialogue>And you know the astounding fact that not one of those criminals, who murder us when and why they want, has ever been convicted.</dialogue> <character>JOHNSON</character> <dialogue>Martin, I know we got a lot more work to do down there -</dialogue> <character>KING</character> <dialogue>Not one conviction. Because they're protected by white officials chosen by an all-white electorate. And on the rare occasions they face trial, they're freed by all-white juries. All-white because you can't serve on a jury unless you're registered to vote.</dialogue> <scene_description>Johnson has since taken a seat. A bit less emboldened.</scene_description> <character>KING</character> <dialogue>Mister President, can you interpret the "full faith and credit" clause of Article IV, section 1 of the US Constitution also known as the "privileges and immunities" clause?</dialogue> <character>JOHNSON</character> <dialogue>What? I'm lost here.</dialogue> <character>KING</character> <dialogue>That's a question on the Alabama literacy test required for blacks who attempt to register. A Fisk University alum named Bernard Lafayette got it right, God bless him. But he was flunked anyway because he didn't write the answer in cursive, which was the white local registrar's preferred style of writing on that particular day.</dialogue> <scene_description>Brief silence. Johnson looks into King's eyes.</scene_description> <character>JOHNSON</character> <dialogue>My administration has to be done with this for a while. Just for awhile. You can understand.</dialogue> <character>KING</character> <parenthetical>(a beat)</parenthetical> <dialogue>I understand, Mr. President.</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE SITTING ROOM - MOMENTS LATER</stage_direction> <scene_description>Young and Vivian look up expectantly as King enters with concerned determination.</scene_description> <character>KING</character> <parenthetical>(firmly)</parenthetical> <dialogue>Selma, it is.</dialogue> <scene_description>Off Young and Vivian, beyond satisfied.</scene_description> </scene> <scene> <stage_direction>EXT. U.S. HIGHWAY - DAY</stage_direction> <scene_description>Dense woods on both sides of a four-lane interstate. The kind of southern forest where TALL TREES loom large and ominous, having borne the strange fruit of someone's last breath. We find KING in the backseat of a blue Pontiac seated between ANDREW YOUNG and another man, RALPH ABERNATHY, three years older than King and the picture of Southern Baptist distinction. The car is driven by a very large, young man. At 6'3" and over 300 pounds, JAMES ORANGE could easily be a linebacker. Next to him in the front passenger seat is DIANE NASH, a startlingly beautiful woman with a serious demeanor. The radio hums with THE SUPREMES singing "Come See About Me."</scene_description> <character>ORANGE</character> <dialogue>Big speech lined up for these folks, Doc?</dialogue> <character>KING</character> <dialogue>We need to see what's what first, Big Fella.</dialogue> <character>YOUNG</character> <dialogue>Maybe Doc'll let you make the big speech this time, Ralphy.</dialogue> <character>ABERNATHY</character> <dialogue>That'll be the day...</dialogue> <scene_description>A highway sign proclaiming 'SELMA: 28 miles' zips by.</scene_description> <character>ABERNATHY (V.O.)</character> <dialogue>What you got us into, woman? We got twenty-eight miles to come to our senses, gentlemen.</dialogue> <character>NASH</character> <dialogue>Hush. This here's the place we need to be. This right here is the next great battle.</dialogue> <parenthetical>(off Orange's nod)</parenthetical> <dialogue>They'll see soon enough.</dialogue> <scene_description>Off King, Abernathy and Young in the rearview. Not so sure.</scene_description> </scene> <scene> <stage_direction>EXT. EDMUND PETTUS BRIDGE - DAY</stage_direction> <scene_description>The car passes beneath a sign bearing a large Coca-Cola logo, stating 'SELMA, ALABAMA - Progressive &amp; Friendly,' onto a steel arched bridge into town. Painted across an overhang: EDMUND PETTUS BRIDGE.</scene_description> <character>YOUNG</character> <dialogue>What'd Mr. Edmund Pettus do so well they gave him a bridge in these parts, Orange?</dialogue> <character>ORANGE</character> <dialogue>Um, I'm not sure.</dialogue> <character>ABERNATHY</character> <dialogue>I can only imagine. Decent looking place to die though.</dialogue> <scene_description>King looks up from some papers and nods matter-of-factly along with Young as the small town comes into full view.</scene_description> </scene> <scene> <stage_direction>EXT/INT. HOTEL ALBERT - DAY</stage_direction> <scene_description>A sign greets the group: 'HOTEL ALBERT - Serving Whites Only Since 1855.' KING and his crew pull up in front. A dashing man in a shirt, tie and denim overalls approaches the car at the curb. JAMES BEVEL sticks his head through the window. He gives a nod to the men, then a quick caress to Nash's cheek.</scene_description> <character>BEVEL</character> <dialogue>Ms. Nash.</dialogue> <character>NASH</character> <dialogue>Mr. Bevel.</dialogue> <scene_description>A loving smile between them. The others look on, smiling too.</scene_description> <character>BEVEL</character> <parenthetical>(back to business)</parenthetical> <dialogue>Doc, we'll get you checked in here. Then, the local leaders'll stop by to conference with us. But, this is it. Selma's the place. A lot of groundwork's already been laid by the people here. They're ready.</dialogue> <scene_description>King looks to his right at Abernathy. To his left at Young.</scene_description> <character>KING</character> <dialogue>Here we go.</dialogue> <scene_description>From inside, the white Chief of Police WILSON BAKER stands in the hotel lobby amidst an ALL-WHITE CROWD, waiting to witness the passing of an era. Baker spots another 'Serving Whites Only' sign. He thrusts it at the bitterly resentful hotel staff.</scene_description> <character>BAKER</character> <dialogue>Get rid of it! It's illegal. And in about ten seconds, it'll also be a lie.</dialogue> <scene_description>A sudden hush as BEVEL appears, leading KING, ABERNATHY, YOUNG, NASH and ORANGE through the crowded lobby. King approaches the reception desk. Abernathy and Young appear tense. Orange watchful. Nash and Bevel radiate intense satisfaction as King signs the silently proffered register. An earnest-looking younger white man approaches the group.</scene_description> <character>EARNEST WHITE MAN</character> <dialogue>Dr. King. May I introduce myself?</dialogue> <scene_description>King looks at him and smiles.</scene_description> <character>KING</character> <dialogue>Yes. Of course.</dialogue> <scene_description>King steps towards him, holding out his hand. Orange senses danger and moves forward. Too late. The man SLAMS HIS FIST into King, landing a punch to the head and a kick in the groin as King goes down. A well-dressed white WOMAN smiles on her tiptoes for a better view. Orange is first in. Pulling the man off King. Baker and TWO OFFICERS drag the attacker away while Young and Abernathy form a protective barrier against further attack. Nash has a handkerchief to his forehead. King is quickly on his feet.</scene_description> <character>ORANGE</character> <parenthetical>(mortified)</parenthetical> <dialogue>Doc! Doc! I'm sorry! I... I...</dialogue> <character>KING</character> <dialogue>It's okay. I'm okay, Big Fella.</dialogue> <scene_description>Abernathy, fiercely proud of his friend's courage, snatches the room keys off the counter and looks around defiantly.</scene_description> <character>ABERNATHY</character> <dialogue>This way, Doctor King!</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ALBERT GUEST ROOM - LATER</stage_direction> <scene_description>KING sits on the bed with a cold compress. ABERNATHY, YOUNG, ORANGE, NASH, BEVEL and police chief WILSON BAKER are near. So are local leaders AMELIA BOYNTON, a professional woman of about 60, and FREDERICK REESE, a thin preacher in his 30s. SUPERIMPOSE: Hotel Albert, Selma. 4:14 pm. King, Abernathy, Young, Bevel, Orange, Nash w/ local dissidents. LOGGED</scene_description> <character>KING</character> <dialogue>I tell ya, that white boy can hit.</dialogue> <character>BAKER</character> <dialogue>You wanna file charges?</dialogue> <character>KING</character> <dialogue>We prefer to remain focused.</dialogue> <character>ORANGE</character> <dialogue>Chief, who was that?</dialogue> <character>BAKER</character> <dialogue>Part of the White Citizens Council.</dialogue> <character>YOUNG</character> <dialogue>No better than the Klan.</dialogue> <character>BAKER</character> <dialogue>Don't worry. They're here too.</dialogue> <scene_description>The locals REESE and BOYNTON exchange a look. They're angry.</scene_description> <character>REESE</character> <dialogue>Then, why don't you ban them from congregating like you ban us? Sure was a lot of them in that lobby. Why isn't Clark harassing them?</dialogue> <character>BAKER</character> <dialogue>Reverend Reese, you know darn well that the courthouse is Sheriff Clark's territory and the city is mine. Now, I've done right by you people. But don't push me.</dialogue> <character>BOYNTON</character> <dialogue>Why'd you let him in the hotel?</dialogue> <character>BAKER</character> <dialogue>Come again?</dialogue> <character>BOYTON</character> <dialogue>Why would you allow a known white supremacist to be in a place where he could attack this man?</dialogue> <scene_description>King and his staff watch slightly wide-eyed as these small- town leaders pepper their Police Chief with tough questions.</scene_description> <character>BAKER</character> <dialogue>Mrs. Boynton, you know darn well that every nut in America is here! And that is not my responsibility!</dialogue> <parenthetical>(at King)</parenthetical> <dialogue>It's his! They're here because he's here! And vice-versa!</dialogue> <character>BOYNTON</character> <dialogue>No, Chief Baker! No, sir. Dr. King is here because my late husband and I wrote to him on behalf of the Negro citizens of this community, a community that we helped build with our backs and our bare hands. And we told him of our situation here. Of our organizing here. We told him of the disgraceful attitude of the authorities in this town towards the rights of its Negro citizens. And we called for him to come down and help us. That's why he's here.</dialogue> <scene_description>King smiles at these fiery locals, impressed by them both.</scene_description> <character>KING</character> <dialogue>See, Chief? Just obeying orders.</dialogue> <character>BAKER</character> <dialogue>All I know is you folks booking into this place for one night is a calculated act of provocation.</dialogue> <character>KING</character> <dialogue>A calculated act of desegregation. Part of our job. That's what we do.</dialogue> <character>BAKER</character> <dialogue>What you do - is cause trouble.</dialogue> <scene_description>Baker turns away abruptly and goes. King shakes his head.</scene_description> <character>KING</character> <dialogue>Well? Let's not disappoint the man.</dialogue> <scene_description>The camera pulls back as everyone leans in. Then, letter by letter as it is being TYPED...</scene_description> </scene> <scene> <stage_direction>INT/ EXT. KING RESIDENCE - AFTERNOON</stage_direction> <scene_description>KING is RUNNING - as he plays dodgeball with his children. YOLANDA (10), MARTIN JR. (8), DEXTER (4), BERNICE (2).</scene_description> <character>KING</character> <dialogue>Dexter, be careful with Bunny now. She's just a baby, ya hear?</dialogue> <scene_description>Little Bunny gets hit and begins to cry. King picks her up.</scene_description> <character>KING</character> <dialogue>You're okay, darlin'. You're fine. C'mon, let's tell Dex to leave you be. Let's tell him don't do that.</dialogue> <scene_description>He jogs her over to Dexter. Yolanda and little Martin laugh.</scene_description> <character>BERNICE</character> <dialogue>Don't do that, Dex! Don't do it!</dialogue> <character>KING</character> <dialogue>What do you say, son?</dialogue> <scene_description>Dexter doesn't know whether to laugh or take this seriously.</scene_description> <character>DEXTER</character> <dialogue>Um. I'm sorry, Bunny.</dialogue> <scene_description>Through the back window, Coretta smiles at the exchange.</scene_description> </scene> <scene> <stage_direction>INT. KING KITCHEN - NIGHT</stage_direction> <scene_description>Coretta sits, folding shirts by light from another room when the PHONE RINGS. She answers to hear INSULTS and THREATS. She hangs up and turns to find her husband in the doorway.</scene_description> <character>KING</character> <dialogue>Same thing?</dialogue> <scene_description>She nods. He TURNS ON THE LIGHT, ties the trash, replaces the bag. She takes her seat and resumes her folding. They're both exhausted. Not only by the day, but by their life.</scene_description> <character>CORETTA</character> <dialogue>When are you all heading out?</dialogue> <character>KING</character> <dialogue>They're picking me up at 5AM. Full day planned.</dialogue> <character>CORETTA</character> <dialogue>I see. That highway is nice now. Get you there in a couple hours. Going from Marion to Atlanta when I was a girl was a half-day trip. Good people in those parts though.</dialogue> <character>KING</character> <dialogue>I'm worried about the ones who ain't so good. This local Sheriff Jim Clark's supposed to be bad business. Won't go down without a fight, they say.</dialogue> <character>KING</character> <dialogue>And since we don't fight? Someone might rightly get killed before its over. As good a place to die as any I guess.</dialogue> <character>CORETTA</character> <dialogue>I wish you wouldn't talk like that.</dialogue> <character>KING</character> <dialogue>I know. It just takes the edge off.</dialogue> <character>CORETTA</character> <dialogue>You and your friends can joke about that. I don't joke about that.</dialogue> <character>KING</character> <dialogue>I know, Corrie. I'm sorry.</dialogue> <scene_description>A long beat. We feel the strain between them.</scene_description> <character>CORETTA</character> <dialogue>I'll put these in your bag now. I didn't realize you were leaving so early.</dialogue> <scene_description>She rises, takes the clothes. He reaches for the phone and his wallet. Then dials from a slip of paper. A WOMAN answers.</scene_description> <character>KING</character> <dialogue>Halie?</dialogue> <character>WOMAN (O.S)</character> <dialogue>Martin.</dialogue> <scene_description>We see a HEAVY-SET WOMAN with a heart-shaped face in her pajamas. Her husband is nearby. INTERCUT PHONE CONVERSATION.</scene_description> <character>KING</character> <dialogue>I need to hear the Lord's voice.</dialogue> <character>WOMAN</character> <dialogue>Surely, Martin. Surely.</dialogue> <scene_description>She begins to SING in a powerful contralto, "Precious Lord, Take My Hand." King TURNS OUT THE LIGHT and listens alone. SUPERIMPOSE: Telephone communication from M. King at residence to Negro entertainer Mahalia Jackson. 10:07 pm. LOGGED</scene_description> </scene> <scene> <stage_direction>EXT. SELMA RESIDENCE - MORNING</stage_direction> <scene_description>The blue Pontiac followed by an Oldsmobile pull up in front of a cheerful A-frame house with a wrap-around porch. A distinguished man, DR. SULLIVAN "SULLY" JACKSON, walks across the well-kept lawn to greet them. Handshakes replaced by hearty hugs when he reaches Abernathy, Young and King.</scene_description> <character>SULLY</character> <dialogue>Morning, Doctor.</dialogue> <character>KING</character> <dialogue>Morning, Doctor.</dialogue> <character>ABERNATHY</character> <dialogue>Off to torture some poor soul?</dialogue> <character>SULLY</character> <dialogue>If you don't want to brush proper, I don't know what to tell you. I have to do what I have to do.</dialogue> <parenthetical>(laughs all around)</parenthetical> <dialogue>Drive alright?</dialogue> <character>YOUNG</character> <dialogue>Smooth. No problems.</dialogue> <character>SULLY</character> <dialogue>Word's getting out so it's good you got in today. Folks gettin' eager. You'll have a huge crowd tomorrow.</dialogue> <character>KING</character> <dialogue>Eager to be in harm's way? 'Cause I'm not eager to put 'em there.</dialogue> <scene_description>Sully pats his friend on the back. Sympathetic to the burden.</scene_description> <character>SULLY</character> <dialogue>Good news is... Richie Jean's in there. She's ready for you.</dialogue> <character>ABERNATHY</character> <dialogue>Negro, that's all you had to say.</dialogue> <scene_description>King chuckles a little and makes his way inside.</scene_description> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - CONTINUOUS</stage_direction> <scene_description>In the kitchen, we find an apron-clad woman, RICHIE JEAN JACKSON, standing with her DAUGHTER, 6, at the stove.</scene_description> <character>DAUGHTER</character> <dialogue>Uncle Marty!</dialogue> <character>KING</character> <parenthetical>(picking her up)</parenthetical> <dialogue>There's our girl! And, Richie Jean!</dialogue> <character>RICHIE JEAN</character> <parenthetical>(hugging them)</parenthetical> <dialogue>Martin! Hey, Ralphy. Andy!</dialogue> <character>YOUNG</character> <dialogue>Happy to see you, Richie Jean.</dialogue> <character>ABERNATHY</character> <dialogue>I'm happy to see this!</dialogue> <scene_description>King and Abernathy have already settled into the side table, uncovering homemade buttered biscuits and thick crisp bacon.</scene_description> <character>RICHIE JEAN</character> <dialogue>Grits are on. How many today, Andy?</dialogue> <scene_description>Young looks to Abernathy. Richie catches the look. Uh oh.</scene_description> <character>YOUNG</character> <dialogue>Well now, Sister Jackson. You know about our group, the SCLC, right? The Southern Christian Leadership Conference? Well, a few of our top SCLC leaders are with us this time since we're going to be here in town a little longer than expected.</dialogue> <scene_description>Just then, CT VIVIAN enters with a smile and two briefcases.</scene_description> <character>YOUNG</character> <dialogue>This here's Reverend C.T. Vivian. Coordinates all the SCLC branches.</dialogue> <character>VIVIAN</character> <dialogue>Ma'am.</dialogue> <scene_description>Next, JIM BEVEL enters in his trademark overalls and tie.</scene_description> <character>YOUNG</character> <dialogue>This here's Reverend James Bevel.</dialogue> <scene_description>As Bevel crosses the kitchen, the large James Orange appears.</scene_description> <character>YOUNG</character> <dialogue>And this is James Orange.</dialogue> <character>RICHIE JEAN</character> <dialogue>Whoa. A tall one. Wait, two James'?</dialogue> <character>BEVEL</character> <dialogue>You can call me Jim, sister.</dialogue> <character>ORANGE</character> <dialogue>Orange is fine by me, ma'am.</dialogue> <character>KING</character> <parenthetical>(eating)</parenthetical> <dialogue>Or, Big Fella!</dialogue> <character>RICHIE JEAN</character> <dialogue>Oh, okay, well, that's just fine.</dialogue> <scene_description>She turns back to the stove when another man with a warm smile and booming voice appears, REVEREND HOSEA WILLIAMS.</scene_description> <character>WILLIAMS</character> <dialogue>Mrs. Jackson, I'm Hosea Williams.</dialogue> <character>KING</character> <dialogue>Or, Castro!</dialogue> <character>WILLIAMS</character> <parenthetical>(off Richie's look)</parenthetical> <dialogue>Long story.</dialogue> <parenthetical>(picking up a ladle)</parenthetical> <dialogue>Grits need stirrin'. May I?</dialogue> <scene_description>Richie Jean takes in King and his crew, eating up a storm.</scene_description> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - NIGHT</stage_direction> <scene_description>We move through the large dark house to find every man asleep in his own corner. James Orange under the dining room table. C.T. Vivian on the couch. Jim Bevel in a recliner. Young and Abernathy in twin beds in a kid's room. All snoring. King is awake in a side bedroom in pajamas, writing by a lamp. Hosea Williams comes to the doorway.</scene_description> <character>WILLIAMS</character> <dialogue>Turning in, Doc. You okay?</dialogue> <character>KING</character> <dialogue>Yessir. Good night to ya.</dialogue> <character>WILLIAMS</character> <dialogue>Um, want to let you know that the students are in town.</dialogue> <character>KING</character> <dialogue>Local students?</dialogue> <character>WILLIAMS</character> <dialogue>No. The Student Non-Violent Coordinating committee.</dialogue> <scene_description>Off King taking this in with a bit of uneasiness.</scene_description> <character>KING</character> <dialogue>Ah, okay. Our young friends at SNCC (pronounced "SNICK"). Good to know.</dialogue> <character>WILLIAMS</character> <dialogue>You're the one told them to organize. They took it to heart. But don't be surprised if those boys give us grief tomorrow. Townsfolk might be happy to see us. But SNCC? They feel we're in their territory.</dialogue> <character>KING</character> <dialogue>They're young and full of spirit. Not a bad thing. It'll sort out.</dialogue> <scene_description>Williams exits with a nod, leaving King to his notes. We push in to see him writing a speech which gains its VOICE in...</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL - EVENING</stage_direction> <scene_description>We catch King mid-throttle at the pulpit before 700 people who shout in call and response, praise and encouragement.</scene_description> <character>KING</character> <dialogue>Boycotting the buses in Montgomery. Segregation in Birmingham. Now? Voting in Selma. One struggle ends just to go right to the next and the next. If you think of it that way, it is a hard road. But I don't think of it that way. I think of these efforts as one effort. And that one effort is for our life. As a community. As a nation. For our lives. We can do this. We must do this! We see children become victims of one of the most vicious crimes ever perpetrated against humanity within the walls of their own church. They are the martyred heroines of a holy crusade for human dignity.</dialogue> <character>KING</character> <dialogue>And they have something to say to each of us in their death. They say to us, black and white alike, that we must do this! We must substitute caution with courage. They say to us that we must work unrelentingly. They say it is unacceptable that more than 50% of Selma is Negro and less than 2% of Negros here can vote. They say that the local white leadership use their power to keep us away from the ballot box and keep us voiceless. Those that have gone before us say "no more!" No more! That means protest, that means march, that means disturb the peace, that means jail, that means risk! And that is hard! But we cannot wait any longer!</dialogue> <scene_description>JIMMIE LEE JACKSON, a young man of radiant good nature, puts his arm around a white-haired man, 83 year-old CAGER LEE. Next to Cager is his daughter VIOLA, Jimmie's mother.</scene_description> <character>JIMMIE</character> <dialogue>No, sir! Wait is over!</dialogue> <scene_description>ANNIE LEE COOPER, the proud woman who attempted to register earlier, watches King with fierce approval. Behind her are WHITE REPORTERS taking notes.</scene_description> <character>KING</character> <dialogue>So long as I do not firmly and irrevocably have the right to vote, I do not possess myself. I cannot make up my own mind. It is made up for me. I cannot live as a full citizen. I can only submit to the will of others. Others who do not have my best interests at heart.</dialogue> <parenthetical>(cries of 'That's right!')</parenthetical> <dialogue>We will not wait any longer! Give us the vote!</dialogue> <character>MEETING</character> <dialogue>Give us the vote!</dialogue> <scene_description>Two young activists, JAMES FORMAN and JOHN LEWIS, listen too.</scene_description> <character>KING</character> <dialogue>We're not asking, we're demanding! Give us the vote!</dialogue> <character>MEETING</character> <dialogue>GIVE US THE VOTE!</dialogue> <character>KING</character> <dialogue>GIVE US THE VOTE!</dialogue> <scene_description>SUPER: Brown Chapel, Selma: 6:30pm - King and SCLC co-horts incite approx. 700 locals. Several members of Student Non- Violent Coordinating Committee (SNCC) present. LOGGED</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL - MINUTES LATER</stage_direction> <scene_description>King makes his way through an ADORING CROWD to the church basement when he's approached by an assertive white reporter, ROY REED, and a short white photographer, SPIDER MARTIN.</scene_description> <character>REED</character> <dialogue>Dr. King. Roy Reed of the New York Times. Are you truly non-violent if you're provoking violence, sir?</dialogue> <character>KING</character> <parenthetical>(to the photographer)</parenthetical> <dialogue>Hey, Spider!</dialogue> <character>SPIDER</character> <parenthetical>(slapping hands)</parenthetical> <dialogue>Doc! Good to see you again!</dialogue> <character>KING</character> <parenthetical>(to Reed)</parenthetical> <dialogue>We are here, using our very bodies in protest, to say to those who deny us that we will no longer let them use their billy clubs in dark corners and halls of power. We make them do it in the glaring light of day. The onus for their behavior rests with them, not us. Thank you for being here, Mr. Reed.</dialogue> <scene_description>King continues to the basement. Exhausted, but determined.</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL MEETING ROOM - LATER</stage_direction> <scene_description>A strategy meeting in progress. In addition to King and SCLC staffers we've met, the young men we saw in the audience are present. We soon learn that they are leaders from the student group, SNCC. FORMAN is a firebrand. Lewis more measured.</scene_description> <character>BEVEL</character> <dialogue>Is SNCC standing with us on this or not, gentlemen?</dialogue> <character>FORMAN</character> <dialogue>You want us to bring our people in, but you're not giving nothing in return. We're asking for some kind of commitment here.</dialogue> <character>LEWIS</character> <dialogue>Respectfully, we've been working on voter registration in this town for two years.</dialogue> <character>WILLIAMS</character> <dialogue>You ain't got very far have you?</dialogue> <character>LEWIS</character> <dialogue>Maybe not. But at least we're still here, Reverend.</dialogue> <character>WILLIAMS</character> <dialogue>Meaning what?</dialogue> <character>FORMAN</character> <dialogue>This time next month, you won't be!</dialogue> <character>BEVEL</character> <dialogue>That's outrageous!</dialogue> <character>FORMAN</character> <dialogue>Just like you left Albany. Those people are pathetic down there now. Like their Daddy left home!</dialogue> <character>LEWIS</character> <parenthetical>(appealing for calm)</parenthetical> <dialogue>We're trying to explain that...</dialogue> <character>WILLIAMS</character> <dialogue>You know what? I think we should leave Selma now. Leave it to these two. Come back in another two years and see how much further ya got!</dialogue> <character>KING</character> <dialogue>That's enough. Enough of this now. I haven't the time for this. None of us got the time for this.</dialogue> <scene_description>The room is instantly silent. King gets to his feet. All look in his direction with respect. For Lewis, with a bit of awe.</scene_description> <character>KING</character> <dialogue>John. James. The way our organization works is simple. We set up a confrontation - and wait for our adversary to make a mistake. We were in Albany for nine months. But their sheriff, Laurie Pritchett, never made a mistake. Kept his cool, kept arresting us in a humane way, carried people to the jail-wagons on stretchers. Day in, day out. There was no drama.</dialogue> <character>FORMAN</character> <parenthetical>(disparagingly)</parenthetical> <dialogue>You mean there was no cameras.</dialogue> <character>KING</character> <dialogue>Exactly. Now I know, we all understand, that you young people believe in working in the community long-term. Doing the good work to raise black consciousness. Going door to door. Educating people about government and history. Being in the trenches for years if neecessary. It's good grassroots work. I can't tell you how much I admire that. But what we do primarily is raise white consciousness. In particular the consciousness of whichever white man happens to be sitting in the Oval Office. Kennedy ignored us in Albany - because he could - because the press and the TV ignored us. And right now Johnson has other fish to fry and he'll ignore us, too - if he can. The only way to stop him doing that is by being on the front page of national press every morning and on the TV news every night. And that... requires drama.</dialogue> <parenthetical>(off their intense gaze)</parenthetical> <dialogue>Now, John, James, answer me one question. I've been told the Sheriff in this town ain't like Laurie Pritchett in Albany. He's a big ignorant bully like Bull Connor in Birmingham. You tell me. You know Selma. You know Sheriff Jim Clark. Is he Laurie Pritchett? Or is he Bull Connor?</dialogue> <dialogue>Should they answer? A moment between Lewis and Forman. Then.</dialogue> <character>LEWIS</character> <dialogue>He's Bull Connor.</dialogue> <character>KING</character> <dialogue>Good! That's good. But, it gets better...</dialogue> </scene> <scene> <stage_direction>EXT. STREETS. DAY</stage_direction> <scene_description>King, Abernathy and Bevel lead MARCHERS through the streets in the bitter Alabama cold. Forman and Lewis are behind them.</scene_description> <character>KING (V/O)</character> <dialogue>Clark doesn't control the streets like Connor did. Clark's the County Sheriff and all he controls in Selma is the County Courthouse. So relatively speaking, we have clear avenues of approach to a defined battle-zone. In the courthouse sits the heart of the matter...</dialogue> <scene_description>From KING'S POV, we pick out a building in the distance.</scene_description> <character>KING (V/O)</character> <dialogue>... the voter registration office. Now this is an exceptional circumstance. In Albany, there was no clearly-defined battle-zone. The issue was segregation, and segregation was everywhere. In Selma, we can concentrate all our action on one building. A citadel -</dialogue> </scene> <scene> <stage_direction>EXT. COURTHOUSE. DAY</stage_direction> <scene_description>CLOSE-UP on the single word 'NEVER!' on a lapel badge.</scene_description> <character>KING (V/O)</character> <dialogue>- defended by fanatics.</dialogue> <scene_description>We PULL BACK to see the badge is worn by a man impersonating General Patton. The large man wearing a white combat helmet, tight-fitting military-style uniform, a six-shooter and carrying a club is SHERIFF JIM CLARK - dressed for war. Clark stands atop the courthouse steps flanked by a line of DEPUTIES with billy guns and clubs drawn.</scene_description> <character>KING (V/O)</character> <dialogue>Selma Courthouse. A perfect stage.</dialogue> <scene_description>CLOSE-UP of Clark: outrage and aggression as he eyes with fierce hostility a group of journalists, slowly walking in single file, reluctantly protected by city policemen. Across the street is a group of POSSEMEN. A motley vigilante crew, bearing nothing more official than crudely made pin- badges stating 'Sheriff's Posse.' They are even more heavily-armed than the deputies and carry a strikingly varied assortment of side-arms, home-made clubs and electric cattle-prods. To jeers and abuse from RACIST ONLOOKERS, King and the Marchers line up at the foot of the courthouse steps. King looks up at Sheriff Clark, who stares down at him from the top stair.</scene_description> <character>CLARK</character> <dialogue>You all deliberately causin' an obstruction! If you don't disperse, you'll be arrested! I promise you!</dialogue> <character>KING</character> <dialogue>Sheriff Clark, we're trying to gain access to the registration office. Which is our legal right.</dialogue> <scene_description>From the other side of the street, TWO YOUNG REDNECKS walk across the road, stop in front of Amelia Boynton, spit on her and march off. Amelia takes out a handkerchief and wipes the saliva from her coat.</scene_description> <character>CLARK</character> <dialogue>There's too many of you and you know damn well there is! You're going to have to wait at the rear!</dialogue> <character>KING</character> <dialogue>No, Sheriff Clark. We're going in the front and we're waiting right here. Segregation is now illegal in this country, sir.</dialogue> <scene_description>CLOSE-UP of King: the hard stare of a prize-fighter. CLOSE-UP of Clark: his anger and frustration at a new pitch. Clark and King stare at each other for a long moment. Then Clark starts moving along a line of marchers outside the courthouse to get to King, jabbing people with his stick, elbowing and shoving them against the wall. The deputies move in on the marchers, clubs raised, hoping for resistance, but are confounded by an orderly process. VOLUNTEER ARRESTEES, including Bevel, Orange and Williams, sit on the ground with their hands over their heads. This upsets Clark even more and he continues to poke and shove when he comes to old Cager, daughter Viola and grandson Jimmie, who we saw in the church. The tiny family is trying to help elderly Cager sit down like the other demonstrators.</scene_description> <character>CLARK</character> <dialogue>Keep the sidewalk clear! Get over there! You! Over against the wall!</dialogue> <character>JIMMIE</character> <dialogue>Sheriff, ain't nowhere to go. He's tryin' to sit. You askin' him to walk through walls. He can't do that.</dialogue> <character>CLARK</character> <dialogue>Then he better learn!</dialogue> <scene_description>Clark shoves Cager and he falls on Annie Lee Cooper, who we also saw in church. She is smashed hard against the concrete. CLOSE on Annie, angry. But Clark doesn't register this. He's now focused on Jimmie who has stepped between Clark and Cager. Clark pushes his stick into Jimmie's chest.</scene_description> <character>CLARK</character> <dialogue>Well, what we got here? You got a problem, boy?</dialogue> <scene_description>Jimmie stares at Clark.</scene_description> <character>CAGER</character> <dialogue>Son, no! He ain't worth that.</dialogue> <scene_description>Clark jabs Jimmie.</scene_description> <character>CLARK</character> <dialogue>So what you think, boy?</dialogue> <scene_description>Clark sneers and gives another sharp prod.</scene_description> <character>CLARK</character> <dialogue>Come on, boy. I'm worth it.</dialogue> <scene_description>Jimmie balls his fists at his sides and takes a step forward. Clark raises his club to strike Jimmie, when - BANG! Clark is KNOCKED SIDEWAYS. Annie Lee Cooper has gotten to her feet and PUNCHED him. The punch connects with surprising force, catching Clark under the eye and knocking him down, his helmet clattering loose onto the road. King, the journalists, the deputies and marchers alike, all watch in STUNNED SILENCE as Clark gets to his knees - and Annie steps forward and WACKS HIM AGAIN. Clark falls onto his side and Annie moves in for another blow, but two deputies are behind her now. They WRESTLE HER VIOLENTLY to the ground. Additional officers hold back King and his men. Sheriff Clark, now on his feet, stands over Annie who is being held down. Clark STRADDLES her, swinging his billy club up to strike her. Then, bringing it down with a LOUD CRACK on Annie's skull. The image FREEZES in a camera-flash from Spider's camera. CLOSE-UP on King as horror and disgust turn to steely resignation amidst flashbulbs. PHOTOGRAPHERS surge toward the awful scene. This is drama. And he asked for it.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - VARIOUS MORNING</stage_direction> <scene_description>President Johnson is eating breakfast, alone. An aide enters carrying several newspapers.</scene_description> <character>AIDE</character> <dialogue>Good morning, Mr. President.</dialogue> <character>JOHNSON</character> <dialogue>Mornin'.</dialogue> <scene_description>The aide places the newspapers on the table and goes. As he eats, Johnson stares at the New York Times. On the front page is the SENSATIONAL PHOTOGRAPH: Clark astride Annie, holding his club in both hands and driving it down onto her head as three deputies hold her down. Johnson groans. MONTAGE as Selma reports greet Johnson on VARIOUS MORNINGS: - He reads a headline of 200 senior citizens being arrested. - He watches a TV report showing Sheriff Clark punching C.T. VIVIAN in the mouth as the preacher attempts to register. - Another newspaper headline with King railing against the arrest of 300 juvenile marchers who were abused and arrested. - A TV report highlighting the fact that for the first time ever, esteemed teachers marched en masse. We see them walk with pride to cheers, led by the local REV. FREDERICK REESE. - Johnson watches HIMSELF on television from the day before stating that the government will use the tools of the 1964 Civil Rights Acts to enforce voting and that no new legislation is in play at this time. - The same report highlights Alabama Governor GEORGE WALLACE - short, intense, stocky - railing against King as an "outside agitator." - A photograph showing ORANGE being whipped with a lash by local whites as he tries to deliver water to the marchers in line at the courthouse. - A TV report with Selma Mayor JIM SMITHERMEN at a press conference referring to "Martin Luther Coon." - A headline that BEVEL was hospitalized after being beaten in jail and left naked near an open window overnight. Johnson slams the table in frustration and grabs the phone. MONTAGE ENDS</scene_description> </scene> <scene> <stage_direction>INT. OVAL OFFICE - DAY</stage_direction> <scene_description>CLOSE-UP of an ageing J. EDGAR HOOVER. Hoover stands in front of Johnson, who sits behind his desk. They are watched from the sidelines by Lee White.</scene_description> <character>JOHNSON</character> <dialogue>What's the FBI's current info regarding Martin Luther King?</dialogue> <character>HOOVER</character> <dialogue>My information can be summed up in a few words. King is a political and moral degenerate.</dialogue> <character>JOHNSON</character> <dialogue>J. Edgar you say that, so that's something I have to take seriously. Whether King writes love-letters to Kruschev or whether he'd like to drop an atomic bomb on Moscow, I can't be sure.</dialogue> <character>JOHNSON</character> <dialogue>And whether he has a woman in every town or a man, again I don't really know. But if King's a degenerate, what I do know is - he's a non- violent degenerate. And I want him to go on leading the civil rights movement - not one of those blood thirsty militants. So what I need to know right now is, what's he about to do next?</dialogue> <character>HOOVER</character> <dialogue>We've picked up communication that he's going to be inciting an arrest for himself within a few days by refusing to stand in a single-file line at the courthouse. Get himself some more press.</dialogue> <character>JOHNSON</character> <dialogue>Well, fuck me. This circus just keeps getting bigger and bigger. Bastard's got every bleeding heart callin', telegramin', writin'. He's trying to back me into a corner on this thing. It's overshadowing everything else!</dialogue> <character>HOOVER</character> <dialogue>Mr. President, you know we have intel that shuts men with power down permanently and unequivocally.</dialogue> <scene_description>The look that passes between them is heavy with irony. We can only wonder what Hoover has on Johnson.</scene_description> <character>JOHNSON</character> <parenthetical>(terse, eye trained)</parenthetical> <dialogue>I'm very aware, Mister Director.</dialogue> <scene_description>Hoover breaks the stare.</scene_description> <character>HOOVER</character> <dialogue>If you'd prefer a different approach...</dialogue> <parenthetical>(off Johnson's interest)</parenthetical> <dialogue>We can go with the wife. We know there's tension in the home already. We can weaken the dynamic. Dismantle the family.</dialogue> <scene_description>Off Johnson, deep in thought.</scene_description> </scene> <scene> <stage_direction>EXT. SELMA JAIL - NIGHT</stage_direction> <scene_description>WIDE on heavy rain and strong wind battering trees and shrubbery outside of the local jailhouse. It is late and slightly eerie as the camera draws closer and closer until we come to an OPEN DOOR at the side of the building. Oddly, open. This is a jail afterall.</scene_description> </scene> <scene> <stage_direction>INT. SELMA JAIL, WOMEN'S CELL - NIGHT</stage_direction> <scene_description>AMELIA BOYNTON sits in a large cell huddled with a group of WOMEN MARCHERS, shivering next to a door deliberately left open to the cold night air. A FEMALE MARCHER, deeply embarrassed, close to tears, suddenly hitches up her skirt and squats down.</scene_description> <character>FEMALE MARCHER</character> <dialogue>I'm sorry. I'm so sorry.</dialogue> </scene> <scene> <stage_direction>INT. SELMA JAIL CELL, MEN'S CELL - SAME TIME</stage_direction> <scene_description>From through the bars, we hear the women weeping. The men are in pain too, clustered together shoulder-to-shoulder. KING and ABERNATHY sit side-by-side on a bunk.</scene_description> <character>ABERNATHY</character> <dialogue>Johnson'll flinch.</dialogue> <character>KING</character> <dialogue>Tired, Ralphy. Tiring of this.</dialogue> <character>ABERNATHY</character> <dialogue>Eyes on the prize, Marty.</dialogue> <character>KING</character> <dialogue>What's the prize?</dialogue> <scene_description>Looking out on the jailed men, the old friends speak in hushed tones.</scene_description> <character>KING</character> <dialogue>How does it help a black man to be able to eat at a lunch counter, if he doesn't earn enough to buy the burger or can't even read the menu 'cause there was no Negro school where he's from? Is that equality?</dialogue> <character>ABERNATHY</character> <dialogue>Amen.</dialogue> <character>KING</character> <dialogue>And what about equality in the black psyche? Look at these men. Beaten and broken down for generations. What happens when one stands up, says enough is enough?</dialogue> <character>ABERNATHY</character> <dialogue>The leaders get struck down.</dialogue> <character>KING</character> <dialogue>Look at Medgar. Murdered the man in his own driveway. Kids and wife right there inside the house.</dialogue> <character>ABERNATHY</character> <dialogue>George and Hebert Lee, Lamar Smith.</dialogue> <character>KING</character> <dialogue>A man stands up, only to be struck down, and what happens to the people he led?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>What are we doing, Ralphy?</dialogue> <character>ABERNATHY</character> <dialogue>We take it piece by piece. Like we been doin'. We build the path as we can. Rock by rock.</dialogue> <character>KING</character> <parenthetical>(distracted)</parenthetical> <dialogue>This bunk is probably bugged. They're going to ruin me - so they can ruin this movement. They are.</dialogue> <character>ABERNATHY</character> <dialogue>"Look at the birds of the air, that they do not sow, nor reap, nor gather into barns, and yet your heavenly Father feeds them. Are you not worth much more than they? And who of you by being worried can add a single hour to his life?"</dialogue> <character>KING</character> <dialogue>Matthew 6:27, yessir.</dialogue> <parenthetical>(closes his eyes)</parenthetical> <dialogue>Yessir.</dialogue> </scene> <scene> <stage_direction>EXT. BROWN CHAPEL - EVENING</stage_direction> <scene_description>We see BEVEL, WILLIAMS and ORANGE from King's SCLC and the young LEWIS of SNCC huddle in conference outside of the church. Something is wrong. Urgently wrong.</scene_description> <character>BEVEL</character> <dialogue>Where'd you hear that?</dialogue> <character>ORANGE</character> <dialogue>I overheard them talking about him coming this evening.</dialogue> <scene_description>Orange is motioning to Lewis, who is taken aback.</scene_description> <character>LEWIS</character> <dialogue>Heard us? I'm learning about this just like you. We didn't do this.</dialogue> <character>WILLIAMS</character> <dialogue>That Negro cannot be talking all that "by any means necessary" madness to these people. They 'bout ready to bust as it is. These people pick up their guns and start shooting white folk, National Guard'll be here firing on us so quick we won't realize it til they lower us into the ground. We gotta plan goin'. For real progress.</dialogue> <character>BEVEL</character> <dialogue>Well, he's on his way. So we gotta figure this out. Right and fast.</dialogue> <character>ORANGE</character> <parenthetical>(looking beyond the men)</parenthetical> <dialogue>He ain't on his way.</dialogue> <parenthetical>(off their confusion)</parenthetical> <dialogue>He's here.</dialogue> <scene_description>They all turn to find a tall, fair-skinned black man approaching. He is flanked by an aide. As the man comes closer, the faces of the movement leaders change.</scene_description> <character>BEVEL</character> <dialogue>Holy shit.</dialogue> <scene_description>The man reaches them and takes off his hat.</scene_description> <character>MAN</character> <dialogue>Evening, brothers. I'm looking for Mr. James Forman of SNCC.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Malcolm, welcome!</dialogue> <scene_description>To the leaders' surprise, JAMES FORMAN walks out of the chapel and vigorously shakes hands with MALCOLM X. The men, including Forman's own comrade Lewis, look on in disbelief.</scene_description> <character>FORMAN</character> <dialogue>Gentlemen, this is Malcolm X. I invited him to come speak to the people.</dialogue> <character>MALCOLM</character> <parenthetical>(shaking all hands)</parenthetical> <dialogue>Actually, El-Hajj Malik El-Shabazz.</dialogue> <character>FORMAN</character> <dialogue>Yessir. Well, we welcome you.</dialogue> <scene_description>As Forman takes MALCOLM X inside, Williams turns to Lewis.</scene_description> <character>WILLIAMS</character> <dialogue>What are you boys trying to do?</dialogue> <character>LEWIS</character> <parenthetical>(upset)</parenthetical> <dialogue>I didn't know about this.</dialogue> <character>WILLIAMS</character> <dialogue>What are you trying to pull, Lewis?</dialogue> <character>LEWIS</character> <dialogue>I didn't know, and I don't like it.</dialogue> <scene_description>Bevel, quiet until now, sparks a little as an idea emerges.</scene_description> <character>BEVEL</character> <dialogue>Orange, go get Diane. Ask her to bring Coretta here.</dialogue> <character>ORANGE</character> <dialogue>Mrs. King, Coretta? That Coretta?</dialogue> <character>BEVEL</character> <dialogue>She's in town while Doc's in jail. We'll ask her to ask our Muslim party-crasher here not to speak. Out of respect for her husband being in jail at the moment and all. It'll be hard from him to tell her no. Right?</dialogue> </scene> <scene> <stage_direction>EXT. AMELIA BOYNTON RESIDENCE - EVENING</stage_direction> <scene_description>Diane Nash knocks on the front door. The local leader AMELIA BOYTON answers, then Coretta appears behind her. CLOSE ON Coretta. Her face contorts in fear. Diane immediately raises her hands in understanding.</scene_description> <character>NASH</character> <dialogue>No, no. He's okay. He's fine.</dialogue> <character>CORETTA</character> <parenthetical>(gathering herself)</parenthetical> <dialogue>What's going on then, Di?</dialogue> <character>NASH</character> <dialogue>We need your help.</dialogue> </scene> <scene> <stage_direction>INT. CAR - LATER</stage_direction> <scene_description>Nash drives Coretta, now smartly dressed for an appearance.</scene_description> <character>CORETTA</character> <dialogue>If they sent you, it's serious.</dialogue> <character>NASH</character> <dialogue>Well, I think they're taking this a bit more seriously than it is. But, wouldn't be the first-time I disagree with the boys.</dialogue> <character>CORETTA</character> <parenthetical>(a beat)</parenthetical> <dialogue>I admire you. I do. I wish I were more out there. In the trenches.</dialogue> <character>NASH</character> <dialogue>You do more than you know, Mrs. King.</dialogue> <character>CORETTA</character> <dialogue>Martin often speaks of that night after the bombing, the girls. Says you gave him a lot to think about.</dialogue> <character>NASH</character> <dialogue>Yeah?</dialogue> <parenthetical>(a thoughtful beat)</parenthetical> <dialogue>You know, I don't know how many arrests. How many times spat on and pushed. Hair yanked. Punched and slapped. Lost count.</dialogue> <character>NASH</character> <dialogue>But nothing ever made me want to hurt someone like those four little girls laying in the rubble. I cried and cried. That night, Bevel and I decided to do one of two things. Either, kill the bombers ourselves...</dialogue> <scene_description>In shock, Coretta slowly turns her eyes from the road ahead to this outspoken young woman by her side.</scene_description> <character>NASH</character> <dialogue>... or drive dishonorable Governor George Wallace - who let it happen, encouraged it even - drive that bastard out of office.</dialogue> <scene_description>Coretta raises her eyebrows. Nash wonders if she's said too much to the reserved First Lady of the movement. A tense beat. Then...</scene_description> <character>CORETTA</character> <parenthetical>(chuckling)</parenthetical> <dialogue>Girl, you are something else!</dialogue> <character>NASH</character> <parenthetical>(joining in)</parenthetical> <dialogue>Doc might talk about it kindly now but at the time, he didn't respond all that well.</dialogue> <character>CORETTA</character> <dialogue>To the killin option'?!</dialogue> <character>NASH</character> <dialogue>No! I kept that one to myself! I ain't crazy. To the Voting Project. I had a whole plan I presented to him. A trained nonviolent army that would surround Wallace's offices in Montgomery and sever communication from the state capitol building. Lay our bodies on railroad tracks. Close down the power company. A protracted sit-in on the scale of the March on Washington.</dialogue> <scene_description>Coretta listens, enthralled.</scene_description> <character>NASH</character> <dialogue>It was too aggressive for Doc. I knew it, but I was just... so mad.</dialogue> <parenthetical>(beat)</parenthetical> <character>NASH</character> <dialogue>So, Bevel and I came here to Selma and started some legwork with the locals. And Doc eventually came on board when the community raised their voices. All I know is... things are happening now. And I'm glad for it.</dialogue> <character>CORETTA</character> <dialogue>Yes. Yes, I'm glad too.</dialogue> <scene_description>Off these two very different women, driving on side-by-side.</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL MEETING ROOM - LATER THAT NIGHT</stage_direction> <scene_description>A cluster of SCLC leaders - BEVEL, NASH, WILLIAMS, ORANGE - watch the spectacle before them, wide-eyed. CORETTA SCOTT KING speaking intensely with MALCOLM X in a corner.</scene_description> <character>MALCOLM</character> <dialogue>I mean no disrespect. I come with great respect for your husband, Mrs. King.</dialogue> <character>CORETTA</character> <dialogue>You've said disrespectful things in the past, Minister. So you'll understand why there is some alarm here tonight.</dialogue> <character>MALCOLM</character> <dialogue>I do. I understand that. Your husband and I, we do not see exactly eye to eye on how to achieve progress for the Black man. And yes, I've been piercing in my critiques of non-violence. But because we don't agree does not mean I'm the enemy.</dialogue> <character>CORETTA</character> <dialogue>What do you intend to say to these people then, sir? A lot of work has been done here. I don't intend to see it undone tonight.</dialogue> <character>MALCOLM</character> <dialogue>Mrs. King, I have recently traveled to Mecca, the Holy Land. And I've learned more than I ever previously knew. During the Hajj, several million people of different nationalities worship in unison.</dialogue> <character>MALCOLM</character> <dialogue>Let's just say, my eyes see in a new way. But your local Sheriff here? He doesn't know that. So allow me to be the alternative to your husband. The alternative that scares them so much they turn to Dr. King in refuge. Let my being here represent the factions that will come if they don't give the good Reverend what he's asking for - and soon.</dialogue> <character>CORETTA</character> <dialogue>If what you're saying is true, I'm not opposed to you speaking here tonight. Am I to take this as truth? Are you sincere, Minister?</dialogue> <character>MALCOLM</character> <dialogue>I have no army behind me anymore. I have myself and the truth. That's all I stand on today. And I hope it is enough for you, sister.</dialogue> <scene_description>Off Coretta, convinced.</scene_description> </scene> <scene> <stage_direction>INT. SELMA JAIL CELL - DAY</stage_direction> <scene_description>Separated by bars, CORETTA stands outside of KING's cell. She's face to face with her husband as a WHITE JAILER occasionally looks on from several feet away.</scene_description> <character>CORETTA</character> <dialogue>He spoke well but with less... um, fire, I guess is the word. It seemed to be just as he said. His intention wasn't to...</dialogue> <character>KING</character> <dialogue>What did he say again? Exactly this time if you can recall please. This is important.</dialogue> <scene_description>He's trying to hide his irritation. But she knows him.</scene_description> <character>CORETTA</character> <dialogue>He talked about petitioning the United Nations for human rights violations if we didn't get what we are asking for. He talked about the field Negro and the house Negro and...</dialogue> <character>KING</character> <dialogue>I wonder which one I am in his scenario? Not hard to figure out.</dialogue> <character>CORETTA</character> <dialogue>It wasn't like that this time.</dialogue> <character>KING</character> <dialogue>Do you know what he's said about us in the past, Coretta? He's called us "ignorant Negro preachers." He's called me a "modern day Uncle Tom." Said on national television that the white man pays me to keep Negros defenseless. The white man pays me! How could you allow it?</dialogue> <character>CORETTA</character> <dialogue>It wasn't like that, Martin. I'm telling you he spoke with some of the words he's used before but it wasn't aimed at you. It was... it had more to do with helping us.</dialogue> <character>KING</character> <dialogue>Helping us. Okay.</dialogue> <character>CORETTA</character> <dialogue>Not that you need his help, I'm just telling you how it was.</dialogue> <character>KING</character> <dialogue>This movement, our movement has been the one that's moved the needle. Our movement changes laws and day to day life for our people. We lay down our lives against those dogs and those bombers and those billy clubs. While people like him, talk and shout about it. But what has he changed? Actually changed.</dialogue> <character>CORETTA</character> <dialogue>You don't sound like yourself. You sound tired.</dialogue> <character>KING</character> <dialogue>And you sound enamored.</dialogue> <scene_description>She reacts, shocked. As soon as he says it, he regrets it. He reaches through the opening, pulling her to him by her waist.</scene_description> <character>KING</character> <dialogue>I didn't mean that. I just don't want this, all our momentum, to be in jeopardy - with the people, with the President - because of some violent rhetoric that ain't ever gonna happen. I'm disappointed that he was invited here. I'm upset that you were pulled into it. I... I'm... I'm tired... You're right.</dialogue> <scene_description>Exhaling, he leans his head against the bars. She looks at him with concern. Pity even. Then, leans her head too. Faces close. Bodies close.</scene_description> <character>CORETTA</character> <dialogue>Rest then. Rest tonight, Martin.</dialogue> <scene_description>A long, resistant beat. Then, a reluctant nod.</scene_description> </scene> <scene> <stage_direction>EXT/INT. CAPITOL BUILDING - DAY</stage_direction> <scene_description>The center of Montgomery. Sunny and pleasant. The buildings display civic pride. We look up at the imposing state capitol. GOVERNOR GEORGE WALLACE stands in the middle of his wood- paneled office, smoking hard. Pacing in front of COLONEL AL LINGO, 50ish and the commander of the Alabama State Troopers.</scene_description> <character>WALLACE</character> <parenthetical>(in a quiet rage)</parenthetical> <dialogue>This is NOT what I want to hear. How in fuck's sake does Malcolm X slip into MY state, meet with the wife of the other one, and make an ACTUAL SPEECH to these nigras who are already riled up enough? How does that happen, Colonel Lingo?</dialogue> <character>LINGO</character> <dialogue>Governor...</dialogue> <character>WALLACE</character> <dialogue>Is every spook militant in existence gonna pay us a visit? Huh? Do you know what this means? Johnson's gonna get jumpy. King and X together is sending him through the cotton pickin' stratosphere. And pictures of nigras getting beat in the street doesn't help the matter!</dialogue> <character>LINGO</character> <dialogue>Governor...</dialogue> <character>WALLACE</character> <dialogue>Now I can't make a move against that backwoods, white trash Sheriff Clark 'cause it'll be seen as I'm helping King. But someone got to get Jim Clark under control. Election year's coming up and this black voting business won't abide. He's got to start giving them nigras access to the courthouse. Let 'em fill in a few applications. Treat King with kid gloves. Like they did in Albany. And pretty soon the whole damn rodeo'll leave town. It's that simple. I mean, what's not clear about that?</dialogue> <character>LINGO</character> <dialogue>Jim Clark just don't like to see niggers in his courthouse. It's that simple, Governor.</dialogue> <character>WALLACE</character> <dialogue>Jesus H. Christ. Will Clark listen to you directly?</dialogue> <character>LINGO</character> <dialogue>Not a chance.</dialogue> <scene_description>Wallace obliterates his cigarette on an ashtray.</scene_description> <character>WALLACE</character> <dialogue>Goddamit Lingo, you telling me I gotta go down there and sweet-talk that crazy bastard myself?</dialogue> <character>LINGO</character> <dialogue>George, I'm telling you if the Lord Jesus and Elvis Presley came visiting and they said, 'Jim, we want you to treat them niggers nice', Jim Clark would beat the shit out the pair of 'em, then throw 'em in jail.</dialogue> <scene_description>A beat of disbelief.</scene_description> <character>WALLACE</character> <dialogue>Jesus H. Christ.</dialogue> <character>LINGO</character> <dialogue>Look, Jim Clark's a good old boy and a friend of mine - but Jim Clark just ain't that scary. He's playing into their hands. Now, if you want to get a handle on this?</dialogue> <character>WALLACE</character> <dialogue>Go on.</dialogue> <character>LINGO</character> <dialogue>Find a reason to send some of my troopers in there. See what Jim don't understand is this is about dominance. He puts 'em in jail. But King's lawyers get 'em out in a day or so. Then they go home feeling good. Tell their kin they saw action. Now, if you want fear, you need dominance in Selma. Find a reason to send us in there, scare some real sense into those fuckers.</dialogue> <scene_description>Wallace is all ears.</scene_description> <character>LINGO</character> <dialogue>Hoover picked up some intel about a night march. Wasn't announced. It's some locals outside of King's group. Unofficial, they call it. Supposed to happen tomorrow night once King leaves jail. He bailed himself out to go to some bleeding heart fundraiser in California.</dialogue> <scene_description>A thought strikes Wallace. He's putting it all together.</scene_description> <character>WALLACE</character> <dialogue>King's out of town? Fewer cameras. And at night.</dialogue> <scene_description>Lingo nods.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A poorly-lit side street. STATE TROOPERS have penned a group of JOURNALISTS and PHOTOGRAPHERS against the wall. From the end of the street come SHRIEKS OF FEAR AND PANIC. Journalists strain to see what's happening.</scene_description> <character>ROY REED</character> <parenthetical>(to a trooper)</parenthetical> <dialogue>You can't do this!</dialogue> <character>SPIDER</character> <dialogue>What's happening down there? I need to get down there!</dialogue> <scene_description>The troopers are a stark contrast to Clark's possemen and even his deputies. More disciplined, cold, formidable, scary. CLOSE-UP: A trooper slips a KNUCKLE-DUSTER onto his hand. Suddenly - THE STREETLIGHTS SWITCH OFF. It's what the troopers have been waiting for. They launch into the journalists and photographers - clubbing, punching and stomping. Every camera is seized and smashed to pieces.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - SAME TIME</stage_direction> <scene_description>TROOPERS chase a small group of MARCHERS along a street. We pick out old CAGER LEE, his daughter VIOLA and grandson JIMMIE LEE JACKSON trying to run. They catch the attention of a trooper, who focuses on them, giving chase. Others follow.</scene_description> </scene> <scene> <stage_direction>INT. MACK'S CAFE - CONTINUOUS</stage_direction> <scene_description>A quiet little soul-food café. All black patrons. A few CUSTOMERS talk, eat and drink coffee in a subdued atmosphere. There's a jukebox playing John Coltrane's "A Love Supreme." Suddenly, the door CRASHES open. Jimmie and Viola drag Cager, depleted and limp, into the café. Customers stare at the out- of-breath threesome. Then, TROOPERS burst in. One strikes Cager; Viola tries to protect her father. Another turns on her. Jimmie lunges at him. A third trooper clubs Jimmie then hurls him at the wall. The trooper who was battering Viola takes out his gun and calmly SHOOTS Jimmie twice in the stomach. A moment of stillness - before Viola screams and the troopers rampage out of the café. Jimmie slumps to the floor.</scene_description> <character>VIOLA</character> <dialogue>Jimmie! Jimmie!</dialogue> <scene_description>Coltrane's horn wails too.</scene_description> </scene> <scene> <stage_direction>INT. CITY MORGUE - DAY</stage_direction> <scene_description>KING walks down a sterile white hallway with a passionate JAMES BEVEL.</scene_description> <character>BEVEL</character> <dialogue>We have to be aggressive! I say we lay Jimmie Lee's body at George Wallace's door is Montgomery! It's no time to be soft, Doc!</dialogue> <scene_description>King stops in his tracks and glares at Bevel. That word - "soft" - does NOT sit well. But just then, CAGER LEE slowly emerges from the exam room.</scene_description> <character>BEVEL</character> <parenthetical>(quietly)</parenthetical> <dialogue>That's Cager Lee. That's the grandfather.</dialogue> <scene_description>King drops his head. A moment to gather himself. Then, he tentatively makes his way to the old man.</scene_description> <character>KING</character> <dialogue>Sir.</dialogue> <character>CAGER</character> <dialogue>Dr. King?</dialogue> <character>KING</character> <dialogue>There aren't words to soothe you, Mr. Lee. There are no words. But I can tell you one thing for certain. God was the first to cry. He was the first to cry for your boy.</dialogue> <character>CAGER</character> <dialogue>Yessir. I believe that.</dialogue> <character>BEVEL</character> <dialogue>Is your daughter... is Jimmie's mother here with you, Mr. Lee?</dialogue> <character>CAGER</character> <dialogue>She couldn't...</dialogue> <character>KING</character> <dialogue>May I ask your age, sir?</dialogue> <character>CAGER</character> <dialogue>I got 82 years. 1883. Jimmie born '38. He an Army man. Was an army man. In the Army for a spell. Say, "Pa, you gonna vote before you done." That's what Jimmie say. We been tryin' to register 'fore you came. Five times before. I studied it. He took me. A good boy. Always good. The man just...</dialogue> <scene_description>He makes a gun with his gnarled hand and presses it to King's stomach.</scene_description> <character>CAGER</character> <dialogue>... just shot him right here like this. Two times. Right like this here. Then, Jimmie gone. He gone.</dialogue> <scene_description>King can't move. Silent tears stream down the faces of all three men. Then, slowly, he clasps the old man's hand in his. Any reserve, any distance King has held to prevent himself from becoming fully entrenched in Selma and its people vanishes. He's in it now. Deep. And, beyond the exam room door that Cager came from, we see JIMMIE'S BODY. On a steel table. A strong build. Now awaiting a coffin.</scene_description> <character>KING (V/O)</character> <dialogue>Who murdered Jimmie Lee Jackson?</dialogue> </scene> <scene> <stage_direction>INT. BROWN'S CHAPEL - DAY</stage_direction> <scene_description>CLOSE-UP of King, enraged. Jimmie's open casket before him.</scene_description> <character>KING</character> <dialogue>Who murdered Jimmie Lee Jackson?!</dialogue> <scene_description>A church packed with MOURNERS. Cager and Viola in the front.</scene_description> <character>KING</character> <dialogue>We know a state trooper acting under orders of George Wallace pointed the gun and pulled the trigger! But how many other people had a finger on that trigger?! I'll tell you! Every white preacher who preaches the bible, but stays silent before his white congregation! Every white politician who feeds on hatred and prejudice! Every white lawman who abuses the law to terrorize! And every Negro man and woman who stands by without joining this fight as their brothers and sisters are humiliated, brutalized and ripped from this earth!</dialogue> <scene_description>This ripples through the congregation.</scene_description> <character>KING</character> <parenthetical>(quieter)</parenthetical> <dialogue>When I heard President Kennedy had been shot and killed... And when I heard just yesterday that Malcolm X, who stood in this very church just three weeks ago, had been shot and killed... I turned to my wife Coretta and said the same thing I often say when one of our leaders is struck down, "If we haven't found something worth dying for, we're not fit to live."</dialogue> <scene_description>King looks down at the casket.</scene_description> <character>KING</character> <dialogue>But today, we're doing the living, Jimmie, and you've done the dying.</dialogue> <scene_description>Cries among the gathered. We see CORETTA, with soft tears.</scene_description> <character>KING</character> <dialogue>We will not let your sacrifice pass in vain, dear brother. We will not let it go! We will finish what you were after! We will get what you were denied! We will vote and we will put these men out of office! We will take their power! We will win what you were slaughtered for!</dialogue> <scene_description>The crowd answers back in determined agreement.</scene_description> <character>KING</character> <dialogue>We're going back to Washington! We're going to demand to see the President! And I'm going to tell him: Jimmie was murdered by an administration that spends millions of dollars every day, to sacrifice life in the name of liberty, in Vietnam! Yet lacks the moral will and the moral courage to defend the lives of its own people! We will not let it go! And if he does not act? We will act! We will act! We will do it for all our lost ones! All those who have gone too soon, taken by hate!</dialogue> <scene_description>A roar of support rises from the people. JOURNALISTS scribble furiously, some already hurrying out to get to a phone.</scene_description> </scene> <scene> <stage_direction>INT. JACKSON HOME - SAME MORNING</stage_direction> <scene_description>RICHIE JEAN shuttles sandwiches into her crowded living room. All of King's comrades are there. Voices are loud and urgent, often overlapping, as each tries to convince the others and make their point.</scene_description> <character>YOUNG</character> <dialogue>We need a new plan! Doc can't waltz into LBJ with a list of empty demands. Johnson still has no real intention of moving forward with voting laws. If we're not even to the starting point with him, how we look talking about the finish line?</dialogue> <character>BEVEL</character> <parenthetical>(at the top of his voice)</parenthetical> <dialogue>Because we need to dictate this conversation, Andy! Tell them what we want in no uncertain terms!</dialogue> <character>WILLIAMS</character> <dialogue>Or else, they'll try back-peddling!</dialogue> <character>ABERNATHY</character> <dialogue>Look! Maybe we compromise. We pick two or three issues for Marty to demand. Get things started.</dialogue> <character>NASH</character> <dialogue>Wait. Think this through. He goes in there with just two or three things and we diminish the negotiation before we even start it. Better to engage Johnson with all our grievances and let him whittle it down. Because you know they always whittle it down.</dialogue> <character>ABERNATHY</character> <dialogue>It's always all or nothing with you, darlin'. We need finesse here.</dialogue> <character>BEVEL</character> <dialogue>Ralph, don't patronize her. Listen for a change, man!</dialogue> <character>ABERNATHY</character> <dialogue>I'm listenin' to a lot of hot air that's what I'm listenin' to!</dialogue> <character>KING</character> <dialogue>C'mon now. Focus. Please! Let me hear on the top-tier elements that should be in any legislation we want passed. Let's get specific.</dialogue> <scene_description>The group settles down. A few moments of all in deep thought.</scene_description> <character>ORANGE</character> <dialogue>Banning laws that if a Negro tries to register, their name and address is published in the paper. It gives anyone who wants to do them harm, their exact location and....</dialogue> <scene_description>Williams rises to his feet at full volume, sparking the cross- talk and interruptions again.</scene_description> <character>WILLIAMS</character> <dialogue>.... C'mon, the poll tax has got to be our focus! Blacks are dead broke, but expected to pay for every year they weren't legally registered before they can register. What the hell is that?</dialogue> <character>ABERNATHY</character> <dialogue>I agree with that. If you do ever actually register to vote, let's say at the age of 30, you gotta pay back taxes going back to age 18, before you can cast a vote.</dialogue> <character>WILLIAMS</character> <dialogue>Who has that kind of money?</dialogue> <scene_description>More ideas and loud voices. King looks on, taking it all in.</scene_description> <character>BEVEL</character> <dialogue>I hear you! I hear you! But the real issue is the literacy exam! The average person can't pass it. And if you can, it don't matter, when the local registrar can flunk you for missing a damn comma.</dialogue> <character>VIVIAN</character> <dialogue>Listen! I think the big issue is voting vouchers. C'mon, listen! Everybody forgets this part. That if you're Negro, you can only vote if an approved registered voter vouches for you. So in Lowndes County for instance...</dialogue> <character>NASH</character> <dialogue>Where not one single Negro has successfully registered to vote in the 20th century, by the way.</dialogue> <character>VIVIAN</character> <dialogue>Exactly! If you live in a place like Lowndes County where no Negros are registered and you've got to have somebody who is registered to vouch for you, who do you go to? No one you know - not one Black person for tens of miles - is registered. How do you get the voucher... to get you in the courthouse door... to take the literacy test... to pay the poll tax... to get your name published and get yourself dead?</dialogue> <scene_description>KING takes a deep breath, then looks to Young. So much to do.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - NEXT MORNING</stage_direction> <scene_description>CLOSE-UP of Johnson, furious. LEE WHITE is with him.</scene_description> <character>JOHNSON</character> <dialogue>No one invites themselves to the White House!</dialogue> <scene_description>He's so enraged he needs a few moments to get a grip.</scene_description> <character>JOHNSON</character> <dialogue>Well, let him come! I ain't seeing him! I'm done talking to King!</dialogue> </scene> <scene> <stage_direction>INT. OVAL OFFICE - DAY</stage_direction> <scene_description>JOHNSON and KING are alone. They're both standing. Close.</scene_description> <character>JOHNSON</character> <parenthetical>(challenging)</parenthetical> <dialogue>So what's your next move?</dialogue> <character>KING</character> <dialogue>A march from Selma to Montgomery. To protest and amplify. On Monday.</dialogue> <scene_description>Johnson's jaw drops.</scene_description> <character>JOHNSON</character> <dialogue>Selma to Montgomery. Well, I'll be damned.</dialogue> <character>JOHNSON</character> <dialogue>This was always the plan, wasn't it? Wait 'til you provoked some tragedy in lil' ol' Selma then go big. Get someone killed then go marching to the state capitol!</dialogue> <scene_description>That hurts, but King maintains an unflinching silence.</scene_description> <character>JOHNSON</character> <dialogue>Selma to Montgomery must be fifty miles! You march those people out into rural Alabama unprotected and it'll be open season. It's too fuckin' far and too fuckin' dangerous!</dialogue> <scene_description>A strategic beat.</scene_description> <character>KING</character> <dialogue>Then, propose legislation, sir.</dialogue> <scene_description>For a moment, the cool matter-of-factness of this hugely significant demand takes Johnson's breath away.</scene_description> <character>JOHNSON</character> <dialogue>I can't do that this year! I won't do it! I told you. I already got one war! I'll be damned if I'll start another over state law!</dialogue> <character>KING</character> <dialogue>Eligibility to vote in the United States is determined by both federal and state law.</dialogue> <character>JOHNSON</character> <dialogue>I already lost the South for you people. You want George Wallace to be the next President of the United States?! That's where you're headed by pushing this!</dialogue> <character>KING</character> <dialogue>By enabling Negroes to vote without fear you make certain that George Wallace will never be the next President of the United States.</dialogue> <parenthetical>(rising intensity)</parenthetical> <dialogue>We need your involvement here, Mr. President. We deserve your help as citizens of this country under attack. And if you won't offer it...</dialogue> <character>KING</character> <dialogue>Well if you won't offer it, I'm going to have to demand it. Publicly. In every way I know how.</dialogue> <scene_description>Stung, infuriated, Johnson comes out of his corner. So close they make physical contact. Johnson stares down at King.</scene_description> <character>JOHNSON</character> <dialogue>You listen to me good. You're an activist, I'm a politician. You got one big issue. I got a hundred and one. Now, you demanding more, you putting me on the spot with this visit, okay. That's your job, that's what you do. But, I'm sick and tired of you demandin' and telling me what I can do and what I can't. Now, you want support from me on this voting thing, I need some quid pro quo from you.</dialogue> <scene_description>Eye to eye.</scene_description> <character>KING</character> <dialogue>What do you want, Mr. President?</dialogue> <character>JOHNSON</character> <dialogue>I announce a special commission to investigate electoral abuses in the South, stating specifically it's being set up in response to the Selma campaign. And you respond by declaring the Selma campaign a major victory - exactly what it would be - and then you announce its conclusion.</dialogue> <scene_description>Brief silence.</scene_description> <character>KING</character> <dialogue>Our campaign plan does not include a special commission as one of its objectives. And certainly not as its final objective.</dialogue> <character>JOHNSON</character> <dialogue>Meet me halfway on this, Martin.</dialogue> <character>KING</character> <dialogue>I can't do that, Mister President.</dialogue> <character>JOHNSON</character> <dialogue>Can't? Or won't?</dialogue> <character>KING</character> <dialogue>I came here prepared to talk to you about people. People are dying in the street for this. Punished for wanting, for needing, to participate in the American political process. It cannot wait, sir. I came here hoping to have a true collaborative conversation with you. And, respectfully, Mr. President, if you're not ready to have it now, then I'll leave as I came. But the conversation will be had. If not here? Out there.</dialogue> <scene_description>Johnson stares at King. King stares at Johnson.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE SITTING ROOM - SAME TIME</stage_direction> <scene_description>LEE WHITE enters to find Andrew Young, waiting.</scene_description> <character>WHITE</character> <dialogue>Andy.</dialogue> <character>YOUNG</character> <dialogue>Lee.</dialogue> <character>WHITE</character> <parenthetical>(sitting)</parenthetical> <dialogue>I'm told they're just finishing up. Was hoping for a word though. Where is Dr. King off to after DC?</dialogue> <character>YOUNG</character> <dialogue>Back in Atlanta. Home for a day, then back to Selma Sunday. The details of his return is what he's speaking to the President about right now.</dialogue> <character>WHITE</character> <dialogue>He should stay home a bit longer. Can you have him in Atlanta longer?</dialogue> <character>YOUNG</character> <dialogue>That's not going to happen.</dialogue> <character>WHITE</character> <dialogue>Andy, we've got a line on threats that are particularly troubling.</dialogue> <character>YOUNG</character> <dialogue>What's new?</dialogue> <character>WHITE</character> <dialogue>No, no. These are particularly troubling. It's serious, Andy. Credible threats - with detail.</dialogue> <character>YOUNG</character> <dialogue>Okay, well.. if you've got such detail, why can't you shut it down?</dialogue> <character>WHITE</character> <dialogue>We can, I think. But we need time.</dialogue> <character>YOUNG</character> <dialogue>This information coming through the FBI, I assume? High-level?</dialogue> <scene_description>White nods.</scene_description> <character>YOUNG</character> <dialogue>The same high-level that's been tracking us like animals, bugging our homes and hotel rooms? Digging for things that aren't there, Lee?</dialogue> <parenthetical>(off Lee's regret)</parenthetical> <dialogue>Listen, this feels very convenient.</dialogue> <character>WHITE</character> <dialogue>Threats are always swirling around. We know this. But since Kennedy, there's been an increased level of outreach and intel on said threats. There are some things we can anticipate now that we never knew to look for previously. This is coming from Lowndes County, Alabama. Between Selma and Montgomery. This is real, Andy. I'm telling you, if he were my guy? I'd keep him off the frontlines. Just for awhile.</dialogue> <scene_description>Off Young, taking this to heart.</scene_description> </scene> <scene> <stage_direction>INT. OVAL OFFICE</stage_direction> <scene_description>WHITE enters to find JOHNSON sitting at the Resolute Desk, his back to the door. But, we see his face. He is troubled.</scene_description> <character>WHITE</character> <dialogue>Mr. President. How'd it go?</dialogue> <scene_description>No reply. A long, awkward silence. White shifts uncomfortably, concerned by the President's behavior.</scene_description> <character>WHITE</character> <dialogue>Mr. President?</dialogue> <scene_description>Another beat, then...</scene_description> <character>JOHNSON</character> <dialogue>Get me Edgar Hoover.</dialogue> </scene> <scene> <stage_direction>EXT/INT. KING RESIDENCE - NIGHT</stage_direction> <scene_description>It's late. A streetlamp glows through the King front window. The neighborhood is quiet. Except for -- the SOUNDS OF SEX. We hear moans and groans with growing intensity. We pull back to find King standing in his living room, listening in shock to a tape cassette deck unspooling on the coffee table. Coretta is seated in an armchair near the window, looking out at nothing in particular. She's heard it already. Suddenly, the SOUNDS END and a MALE VOICE begins to speak.</scene_description> <character>VOICE</character> <dialogue>King, look into your heart. You know you are a complete fraud and a liability to all Negroes. You are evil. You could not believe in God. Like all frauds your end is approaching. You are done. Your degrees and your Nobel Prize, that grim farce, will not save you. The American public will soon know you for what you are - an evil, abnormal beast. There is only one thing left for you to do. Do it yourself before it's done to you.</dialogue> <scene_description>King is stunned. Coretta continues to look out the window. He struggles to speak. What to address first? What to say?</scene_description> <character>KING</character> <dialogue>That... that isn't me there.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It isn't me, Corrie.</dialogue> <character>CORETTA</character> <parenthetical>(quietly)</parenthetical> <dialogue>I know. I know what you sound like.</dialogue> <scene_description>A long, painful beat.</scene_description> <character>CORETTA</character> <dialogue>If I ask you something... will you answer me truthfully? No matter how difficult the answer?</dialogue> <parenthetical>(off his silence)</parenthetical> <dialogue>I deserve that.</dialogue> <character>KING</character> <dialogue>Yes. I'll answer.</dialogue> <scene_description>She finally looks up from the window directly at him.</scene_description> <character>CORETTA</character> <parenthetical>(measured)</parenthetical> <dialogue>I've gotten used to a lot. All the nights alone wondering after your safety, worried about how you are. This house. Renting here. No foundation. Without the things our children should have, all because of how it would look. We live below where we should be with our education and the hours and hours and hours that you work. We own nothing. Not a thing. But, I've become used to it. For better or worse.</dialogue> <scene_description>He looks away, not able to withstand her gaze.</scene_description> <character>CORETTA</character> <dialogue>But what I've never gotten used to is the death. The constant closeness of death. It's become like a thick fog to me. I can't see life sometimes because of the death constantly hanging over. People actually form their mouths, people actually say, they will stop the blood moving through the hearts of my children. One time that's what they said on the other end of that phone line. It's always something like that. For how many years now? How many years I've had to hear how they're going to kill our children. Hear what they say they'll do to you and how they'll do it. The filth. Deranged and twisted and just ignorant enough to be serious.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This though? This is the worst of it. Because they're trying to get inside of this family.</dialogue> <character>CORETTA</character> <dialogue>Inside of your head. Trying to get you to do it yourself? And I can't have that happen. So, whatever they thought this would do, it has failed. Do you hear me?</dialogue> <scene_description>He nods.</scene_description> <character>CORETTA</character> <dialogue>If I ask you something, you'll answer me with the truth?</dialogue> <character>KING</character> <dialogue>Yes.</dialogue> <character>CORETTA</character> <dialogue>Good. Because I'm not a fool.</dialogue> <scene_description>She stands. They look eye to eye from across the room.</scene_description> <character>CORETTA</character> <dialogue>Do you love me?</dialogue> <scene_description>What? How could she ask that? How could she doubt that?</scene_description> <character>KING</character> <dialogue>Yes, Coretta. I love you.</dialogue> <scene_description>Then.</scene_description> <character>CORETTA</character> <dialogue>Do you love any of the others?</dialogue> <scene_description>It's as if he's been struck. The others. Did she say that? All the oxygen leaves him. He is deflated. The anguish on his face doesn't break her resolve. She stands, solid. Ready for the answer. Whatever it may be. He gathers himself, pushing through the guilt.</scene_description> <character>KING</character> <dialogue>No.</dialogue> <scene_description>Coretta takes this in. The acknowledgment of what she feared. There are others. The truth she needs to continue. Off of this man and wife, standing on the edge of a marriage.</scene_description> </scene> <scene> <stage_direction>INT. KING HOME/JACKSON HOUSE - NIGHT</stage_direction> <scene_description>KING is at home on the phone to YOUNG and ABERNATHY, who are on two separate phones at the Jackson house. We INTERCUT.</scene_description> <character>KING</character> <dialogue>I need to put the march back a day.</dialogue> <character>ABERNATHY</character> <dialogue>Why?</dialogue> <character>KING</character> <dialogue>I have to be at home right now.</dialogue> <character>YOUNG</character> <dialogue>This is good. It's just fine. I'd rather you be home for the start of it anyhow. The real deal is the finale when we land in Montgomery.</dialogue> <scene_description>Abernathy motions toward Young, confused by his response. What are you saying? Young ignores him.</scene_description> <character>YOUNG</character> <dialogue>You join in along the way, make the big speech at the end. Unless you want Ralphy to give the big speech?</dialogue> <scene_description>King plays along, offering a reluctant chuckle.</scene_description> <character>KING</character> <dialogue>Ralphy says he wanna give the big speech, but he'd start sweatin' fo' he hit the stage, trust me.</dialogue> <scene_description>Abernathy takes the ribbing.</scene_description> <character>ABERNATHY</character> <dialogue>Man, I taught you everything you know, jack. You'd still be preaching Boston University style if I hadn't shown you how its done.</dialogue> <character>KING</character> <dialogue>Well, if you both think we'll be okay with a start without me...</dialogue> <character>YOUNG</character> <dialogue>Organization looks good. The mood is strong. The SNCC boys are ready to go. It'd be a mistake to hold people back when their blood is up.</dialogue> <scene_description>Young is overselling. Abernathy mouths: "What are you doing?"</scene_description> <character>KING</character> <dialogue>Any national TV there?</dialogue> <character>ABERNATHY</character> <dialogue>An ABC camera crew and two reporters arrived this morning.</dialogue> <scene_description>That's not a lot. Another moment in thought.</scene_description> <character>KING</character> <dialogue>Okay, let's proceed. But only one of us walks to start. I don't want to get back Monday and find all my leadership in jail. Just one.</dialogue> <character>YOUNG</character> <dialogue>Understood.</dialogue> <character>KING</character> <dialogue>Let me know who you choose.</dialogue> <character>YOUNG</character> <dialogue>Yes, indeed.</dialogue> <scene_description>KING hangs up, walks through the house. He checks on his children, on Coretta. All are sleep. He enters his office, pushes rewind on the TAPE RECORDER. He sinks into a chair to listen to the THREATENING VOICE again.</scene_description> </scene> <scene> <stage_direction>INT. WALLACE PRESS CONFERENCE - DAY</stage_direction> <scene_description>CLOSE-UP of WALLACE - ready to fight to the death. He reads a statement to national journalists who have gathered.</scene_description> <character>WALLACE</character> <dialogue>There will be no march from Selma to Montgomery. It is not conducive to traffic flow on Route 80 and to public safety. Such a march will not be tolerated whatsoever.</dialogue> </scene> <scene> <stage_direction>INT/EXT. BROWN CHAPEL MEETING ROOM - DAY</stage_direction> <scene_description>ABERNATHY, YOUNG, BEVEL, WILLIAMS, VIVIAN, ORANGE, NASH of SCLC and FORMAN and LEWIS of SNCC watch Wallace on TV.</scene_description> <character>WALLACE</character> <parenthetical>(on television)</parenthetical> <dialogue>We will not tolerate a bunch of nigra agitators attempting to orchestrate a disturbance. Not as long as I'm Governor.</dialogue> <character>NASH</character> <dialogue>You won't be Governor for long.</dialogue> <character>VIVIAN</character> <dialogue>Amen to that!</dialogue> <character>ORANGE</character> <dialogue>You and ol' General Patton impersonatin' Jim Clark!</dialogue> <scene_description>Loud amens all-around. So loud no one notices Forman motion for Lewis to step into the hall. They keep their voices low.</scene_description> <character>FORMAN</character> <dialogue>We shouldn't do this, man. This is not us. This is not SNCC. It's some bullshit. This is gonna do more for King and the SCLC than Selma.</dialogue> <character>LEWIS</character> <dialogue>I disagree. He's not even here. How's it gonna do more for him?</dialogue> <character>FORMAN</character> <dialogue>Why ain't he here then?!</dialogue> <character>LEWIS</character> <dialogue>You listening to yourself? First, it's gonna do more for him, now it's where is he? Do you want him here, or do you not want him here?</dialogue> <scene_description>Tension courses through both men.</scene_description> <character>FORMAN</character> <dialogue>Honestly, I don't give a rat's ass about the man. That's your hero.</dialogue> <character>LEWIS</character> <parenthetical>(beat)</parenthetical> <dialogue>You're far out, man. You're off base with this. All this damn nonsense ain't what SNCC is about.</dialogue> <character>FORMAN</character> <dialogue>No, this nonsense ain't what SNCC is about. The tide is turning.</dialogue> <character>FORMAN</character> <dialogue>Away from King. There are other ways. We need to help the people, not this man's political aspirations.</dialogue> <character>LEWIS</character> <dialogue>Yes! The people! Did you see the people's faces at Jimmie's funeral? At those marches on the courthouse? They don't want it done for them. The people are ready to do for themselves and they have been. They're hurting! They're ready!</dialogue> <character>FORMAN</character> <dialogue>They need guidance. They need us! Don't make me the bad guy here.</dialogue> <character>LEWIS</character> <dialogue>I'm not!</dialogue> <character>FORMAN</character> <dialogue>Don't demonize me because I'm not holier than thou. Because I disagree with him!</dialogue> <character>LEWIS</character> <dialogue>You're the one playing me small. Like I'm a follower without a mind of my damn own!</dialogue> <character>LEWIS</character> <dialogue>You're mad because they called him in. We were here first and they called him in. I get it. I felt it too. But if we are really and truly "for the people" and the people of Selma called him - then they have spoken. And if the people want to march, I'm marching with 'em.</dialogue> <character>FORMAN</character> <parenthetical>(regretfully)</parenthetical> <dialogue>Then brother, you're marching as John Lewis. Not as part of SNCC. It's been voted on and decided. For this march, you're on your own with 'De Lawd' and his disciples.</dialogue> <scene_description>With that, Forman turns and leaves Lewis shell-shocked. Lewis walks slowly back into the room to find C.T. VIVIAN holding out four straws with NASH and ORANGE looking on. YOUNG, ABERNATHY, WILLIAMS and BEVEL draw in turn. They all hold up their straws. WILLIAMS has the short one.</scene_description> </scene> <scene> <stage_direction>INT/EXT. VARIOUS LOCATIONS, TIMES</stage_direction> <scene_description>MONTAGE as the preparation for the march is underway over Martha and the Vandellas' hit "Nowhere To Run." - A BLACK MOTHER pleads with her COLLEGE-AGED DAUGHTER not to march, fearing the danger. The young woman can't obey and joins her BOYFRIEND as she heads out the door. - SHERIFF JIM CLARK holds court amidst a rag-tag group of WHITE LOCALS. Their pick-up trucks adorned with confederate flags. He is deputizing men who hold barb-wire wrapped bats. - BLACK PROTESTORS, young and old, including the COLLEGE-AGED DAUGHTER, are trained in the CHURCH FOYER on techniques to best protect one's body from blows and the effects of tear gas. - VIOLA LEE, Jimmie's mother, rocks in a chair on the front porch of RAMSHACKLED HOUSE. She's tuned out from the world. - PRESIDENT JOHNSON is badgered by press at the White House, bombarding him with questions about King and voting rights. - A dozen VOLUNTEER DOCTORS AND NURSES, black and white, land in a single-engine plane at an airstrip en route to Selma. - ROY REED tries to interview a REDNECK who spits at him. - KING and CORETTA eat dinner at the table with their happily unaware children. They work together to cover their tension. - GEORGE WALLACE on the phone in his office with AL LINGO at the ARMY base as he watches troopers load into transport trucks.</scene_description> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE, SELMA SIDE - DAY</stage_direction> <scene_description>It is a chilly March morning. Black men and women make up a silent regiment of MARCHERS, close-ranked and walking steadily toward the Pettus Bridge. WHITE ONLOOKERS, mostly women, yell and scream insults. Spitting and cursing at the marchers who struggle to just look straight ahead and continue. They're led by WILLIAMS and LEWIS, who keep on steady, focused step. They are vets who've done this before. With swampy green water on either side, the formidable steel bridge rises before them in a dramatic arch, obscuring the far side - the Montgomery side. And what lies ahead. As we watch this unfold, we hear a WHITE MALE VOICE describe the action we are witnessing in vivid detail.</scene_description> <character>V.O.</character> <dialogue>About 525 Negroes had left Brown Chapel and walked six blocks to cross Pettus Bridge and the Alabama River, where a cold wind cut at their faces and whipped their coats. They were young and old and they carried an assortment of packs, bedrolls and lunch sacks.</dialogue> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE, MONTGOMERY SIDE - SAME TIME</stage_direction> <scene_description>We have a CLOSE VIEW on the necks and backs of a tight squad of STATE TROOPERS. They do not move.</scene_description> <character>V.O.</character> <dialogue>The troopers were waiting 300 yards beyond the end of the bridge.</dialogue> <scene_description>From behind the troopers, we can see a small and distant line of heads - the front rank of the MARCHERS - beginning to rise above the bridge's crest.</scene_description> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE, SELMA SIDE - SAME TIME</stage_direction> <scene_description>A CLOSE-UP of LEWIS, WILLIAMS and others in the front of the march line shows their dawning alarm. We REVERSE ANGLE onto their POV. And finally see what they see...</scene_description> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE, MONTGOMERY SIDE - SAME TIME</stage_direction> <scene_description>An army. Behind the small front-line TROOPERS are nearly 200 mingled TROOPERS, DEPUTIES and POSSEMEN. Some of them on horseback. On either side in storefronts and empty fields are scores of WHITE SPECTATORS, parked up in cars, standing around in groups, some standing on car roofs or the backs of pick-ups. They wave Confederate flags, brandish clubs, hold banners saying 'Niggers, Go Home!' and 'Who Needs Niggers?'</scene_description> <character>V.O.</character> <dialogue>Behind the troopers were dozens of possemen, 15 of them on horses, and perhaps 100 white spectators.</dialogue> <scene_description>We pick out the ABC NEWS REPORTER and CAMERA-CREW, tensing for action, sensing something significant is about to unfold. A low growl of aggression and excitement rises from the white spectators as they see the MARCHERS. A small crowd of PRESS are penned away from the road by TROOPERS. Nearby, are a handful of AMERICAN NAZIS, including the one who assaulted King in the hotel. They eye the journalists with hostility. Beyond all this are TROOPER TRUCKS blocking off all four lanes of Route 80. AL LINGO leans on the hood of one them, arms folded. Next to him, on horseback, SHERIFF JIM CLARK. Clark urges his horse forward to join his deputies. He nods to the POSSEMEN around him. One in particular is tightening the barbed wire around his club.</scene_description> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE. DAY</stage_direction> <scene_description>LEWIS, WILLIAMS and the front rank of MARCHERS have taken in the extent of the forces confronting them. Williams looks nervously down into the muddy waters of the Alabama River, choppy in the wind. Struck by a thought, he turns to Lewis.</scene_description> <character>WILLIAMS</character> <dialogue>Can you swim?</dialogue> <character>LEWIS</character> <dialogue>No swimming pools for black folk where I come from.</dialogue> <character>WILLIAMS</character> <dialogue>Yeah.</dialogue> <scene_description>The troopers are flanked shoulder-to-shoulder across both sides of the divided four-lane highway. They hold nightsticks at the ready while the marchers make their approach, walking two by two. Slowly and silently.</scene_description> <character>V.O.</character> <dialogue>The Marchers descended the slope towards the small army. TROOPERS, DEPUTIES and POSSEMEN formed into ranks. When the Negroes were 50 feet away, a voice came over an amplifying system commanding them to stop. They stopped.</dialogue> <scene_description>A trooper comes through from the rear and hands the officer- in-charge, MAJOR CLOUD, a bullhorn. We notice the troopers have GAS-MARKS and TEAR-GAS GRENADES hanging from their belts. Lewis, Williams and the marchers halt a few yards from Cloud. Everything goes quiet. Cloud raises his bullhorn.</scene_description> <character>CLOUD</character> <dialogue>This is an unlawful assembly. You have two minutes to disperse.</dialogue> <scene_description>Brief silence. Williams is surprised by the ultimatum.</scene_description> <character>WILLIAMS</character> <parenthetical>(mutters to himself)</parenthetical> <dialogue>Two minutes...?</dialogue> <scene_description>The troopers put on their gas-masks, becoming strikingly alien and sinister. Williams takes a step towards Cloud.</scene_description> <character>WILLIAMS</character> <dialogue>May we have a word with the Major?</dialogue> <character>CLOUD</character> <dialogue>There is no word to be had.</dialogue> <scene_description>The camera picks out AMELIA BOYNTON, ANNIE LEE COOPER, DR. SULLIVAN AND RICHIE JEAN JACKSON, COLLEGE-AGED DAUGHTER and HER BOYFRIEND and other familiar faces all waiting for the next move with mounting anxiety.</scene_description> <character>LEWIS</character> <dialogue>Major Cloud, may we speak with you?</dialogue> <character>CLOUD</character> <dialogue>Troopers! Advance!</dialogue> <scene_description>The troopers advance at an aggressive RUN, smashing into the front rank of marchers, immediately creating a grotesque rag- doll domino-effect deep into the crowd. Williams falls. Lewis is battered down. The troopers tear into the screaming throngs of black citizens, who cover their heads with their hands as instructed. Two gun-shots: Cut to CLARK on horseback, pistol raised in the air. Clark and his possemen race forward with rebel yells. Horses ride into a low-lying fog of tear-gas. Masked troopers rear and strike like monsters from the deep. One of them smashes his stick down onto LEWIS as he tries to get up off the ground. AMELIA BOYNTON lies on the ground unconscious. The WHITE MALE VOICE continues his description. And as he says it, we see it.</scene_description> <character>V.O.</character> <dialogue>The troopers rushed forward, their blue uniforms and white helmets blurring into a flying wedge as they moved. The first 10 or 20 Negroes were swept to the ground screaming, arms and legs flying and packs and bags went skittering across the grassy divider. Those still on their feet retreated. The troopers continued pushing, using both the force of their bodies and the prodding of their nightsticks. A cheer went up from the white spectators lining the south side of the highway. The mounted possemen spurred their horses and rode at a run into the retreating mass. The Negroes cried out as they crowded together for protection and the whites on the sideline whooped and cheered. Suddenly there was a sharp sound, like a gunshot, and a gray cloud spewed over the troopers and the Negroes. "Tear gas!" someone yelled. The cloud began covering the highway. Newsmen, who were confined by four troopers to a corner 100 yards away, began to lose sight of the action. But before the cloud finally hid it all there were several seconds of unobstructed view. Fifteen or twenty nightsticks could be seen through the gas flailing at the heads of the marchers.</dialogue> <scene_description>We see the DOCTORS and NURSES watch in horror from the Selma side of the bridge as BLACK MARCHERS stream back across, running for their lives. Troopers and possemen, on horseback and on foot, give chase after them. Running them down with whips and cattle prods. SEVERAL PEOPLE still lay on the grass strip where the troopers had knocked them down, including JOHN LEWIS and AMELIA BOYNTON. Two troopers order them to get up, but the injured cannot move. The DOCTORS and NURSES make a move to go help, but are held back by Posseman. To their disbelief, a trooper drops a tear gas cannister near Amelia's limp body. Lewis, laying injured nearby, struggles to his feet, blinded and gasping, to pick Amelia up and drag her across the bridge. All of the DOCTORS and NURSES are in tears of anger as they watch this unfold, still held back by jeering possemen, until the duo stumbles into their arms.</scene_description> </scene> <scene> <stage_direction>EXT. TELEPHONE BOOTH - DAY</stage_direction> <scene_description>We finally see the MALE VOICE who has narrated the terror. It is reporter ROY REED, breathlessly reading copy from his steno pad into a pay phone.</scene_description> <character>ROY REED</character> <dialogue>From the hospital came reports of victims suffering fractures of ribs, heads, arms and legs. Negro leader John Lewis was severely injured. His colleague Hosea Williams remarked...</dialogue> </scene> <scene> <stage_direction>EXT. BROWN CHAPEL - CONTINUOUS</stage_direction> <scene_description>We then see Williams outside of church amidst hundreds of marchers, ranging from the injured and to the outraged.</scene_description> <character>WILLIAMS</character> <parenthetical>(indignant)</parenthetical> <dialogue>I fought in World War II and I want to tell you that the cold inhumanity of the German army was rivaled today by state troopers of Alabama.</dialogue> </scene> <scene> <stage_direction>EXT/INT. CAR - SAME TIME</stage_direction> <scene_description>A car whizzes by at maximum speed. CLOSE on a film canister, gripped by the ABC JOURNALIST. He's a passenger being driven beyond legal limits by his CAMERAMAN.</scene_description> <character>ABC JOURNALIST</character> <dialogue>Please don't get us killed before we get this on-air. This is gold right here in my hands. Gold!</dialogue> </scene> <scene> <stage_direction>EXT. KING RESIDENCE - DUSK</stage_direction> <scene_description>Coretta hands King his hat in a hurry. There is a tentative moment of understanding between them. Then, he crosses their yard to the car at a rushed pace with suitcase in hand. SUPERIMPOSE: King Residence, Atlanta, GA. 7:20 pm. M. King departs home. C. King present and remains in family residence. LOGGED</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL - SAME TIME</stage_direction> <scene_description>The interior of the church has been turned into a casualty station - gassed and beaten MARCHERS everywhere. The DOCTORS and NURSES we saw before tend to them. Three very ANGRY MARCHERS appear in the entrance. They're looking for someone.</scene_description> <character>ANGRY MARCHER</character> <dialogue>Gerry! Gerry! Come with us!</dialogue> <character>GERRY</character> <dialogue>I can't walk!</dialogue> <character>ANGRY MARCHER</character> <dialogue>We need your gun, man!</dialogue> <scene_description>YOUNG overhears them and approaches quickly.</scene_description> <character>YOUNG</character> <dialogue>Hey! What you need guns for?</dialogue> <character>ANGRY MARCHER</character> <dialogue>Bible says an eye for an eye, Reverend. I'm sick of this shit!</dialogue> <character>YOUNG</character> <dialogue>Yeah? You got any idea how many guns they got out there? That's an entire army out there. What you got? A couple of .32s? A .38 maybe? Couple of old scatter-guns? What?</dialogue> <character>ANGRY MARCHER</character> <dialogue>Enough to kill a couple of them crackers, that's what we got!</dialogue> <character>YOUNG</character> <dialogue>And how many of us you think they'll kill in retaliation? With their Colt automatics? Their 12- gauge pump-actions? Their Remingtons? Their helicopters! Their tanks!</dialogue> <scene_description>A moment between Young and the Angry Marchers.</scene_description> <character>YOUNG</character> <dialogue>We won't win that way. I ain't talking the Bible. I ain't talking what's right by God. I'm talking facts. Cold, hard facts. You take two of them, they take ten of us. We have to win another way.</dialogue> <scene_description>These men are livid, but they hear him. He's talked them down off the ledge. This time. We now see ABERNATHY who has watched the whole exchange on high alert. He crosses out the entryway and into an usher's chamber, where he dials the phone. We hear KING answer.</scene_description> <character>KING (O.S.)</character> <dialogue>Hello?</dialogue> <character>ABERNATHY</character> <parenthetical>(burdened)</parenthetical> <dialogue>Marty.</dialogue> </scene> <scene> <stage_direction>EXT. AMELIA BOYNTON RESIDENCE - NIGHT</stage_direction> <scene_description>A phone is ringing. KING hovers over AMELIA who is seated in an arm-chair with her feet propped up, still weak from her beating on the bridge. He stands over her, handing her a cup of coffee. He places a comforting hand on her shoulder. Guilt- ridden and lost in his thoughts, figuring out the next move. BEVEL, YOUNG, ABERNATHY, WILLIAMS, NASH, ORANGE, VIVIAN and LEWIS, whose head is bandaged, are also there. All are standing, pacing, drinking coffee in a collective daze. The phone is still ringing. Finally, Young snaps out of it and answers.</scene_description> <character>YOUNG</character> <dialogue>Yes.</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>Now? Yes.</dialogue> <scene_description>Young, still on the phone, turns to the others.</scene_description> <character>YOUNG</character> <dialogue>Turn on the television set! ABC!</dialogue> <scene_description>Bevel turns on the TV, which remains blank as it warms up. Young listens to the person on the phone.</scene_description> <character>YOUNG</character> <parenthetical>(incredulous)</parenthetical> <dialogue>How many? Seventy?!</dialogue> <character>YOUNG</character> <parenthetical>(pause)</parenthetical> <dialogue>Yes. Yes. Okay, thank you.</dialogue> <character>ABERNATHY</character> <dialogue>What is it?</dialogue> <scene_description>Young points at the screen as picture and sound gradually emerge. It's Spencer Tracy talking to a middle-aged couple in a scene from 'Judgement at Nuremburg.'</scene_description> <character>BEVEL</character> <dialogue>Um...</dialogue> <character>YOUNG</character> <dialogue>Keep watchin'.</dialogue> <scene_description>The picture changes abruptly to an ANNOUNCER.</scene_description> <character>ANNOUNCER (ON TV)</character> <dialogue>We interrupt our feature Judgement at Nuremburg to bring sensational pictures of astonishing events from earlier today in Selma, Alabama.</dialogue> <scene_description>We see a snippet of TELEVISION FOOTAGE of the bridge attack. Everyone present stands close and around the television with King in the middle. The light of the transmission flickers across their faces. King stares at the screen, staggered and appalled - he's been told what happened, but now he's seeing it with his own eyes.</scene_description> <character>YOUNG</character> <dialogue>Seventy million people are watching this, Marty.</dialogue> <scene_description>King takes in this amazing fact.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS LOCATIONS - SAME TIME</stage_direction> <scene_description>A MONTAGE as we see a broad cross-section of Americans watch the TV. All are aghast, glued to the images. - A group of WHITE BEATNIKS in a New York diner. - A group of BLACK TEENS watch from beyond the glass of an electronics store window in Los Angeles. - A DISTRAUGHT WHITE WIFE cries as she watches in her living room. Her husband holds her shoulders, consoling. - MAHALIA JACKSON watches from a dressing room. She calls out to "Harry" and HARRY BELAFONTE enters. They watch in horror. - A WHITE PREACHER and his wife stare on, moved beyond words. - PRESIDENT JOHNSON curses at the TV to LADY BIRD'S dismay.</scene_description> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - SAME TIME</stage_direction> <scene_description>The television broadcast has reverted to 'Nuremburg.' King and the others stand there, still for a beat.</scene_description> <character>BEVEL</character> <dialogue>They just interrupted a film about fascist criminals to show a bunch of fascist criminals.</dialogue> <scene_description>King is suddenly energized. Clear. Determined.</scene_description> <character>KING</character> <dialogue>To seventy million people. We got our hands 'round their throats.</dialogue> <scene_description>The team watches him grow larger before their eyes.</scene_description> <character>KING</character> <dialogue>We go back to the bridge. We're going to finish this, we promise you that, Ms. Amelia. We go again.</dialogue> <scene_description>IXT. PRESS CONFERENCE - NEXT DAY KING addresses a rabid group of JOURNALISTS, PHOTOGRAPHER and TELEVISION CAMERAS.</scene_description> <character>KING</character> <dialogue>In the vicious maltreatment of defenseless citizens of Selma, where old women and young adults were gassed and clubbed at random, we have witnessed an eruption of the disease of racism which is destroying all of America. No American is without responsibility and it is fitting that all Americans help bear this burden. I'm appealing to men and women of God and goodwill everywhere. White, black and otherwise! If you believe all are created equal, come to Selma! Join us!</dialogue> <character>KING</character> <dialogue>Join our march against injustice and inhumanity! We need you to stand with us!</dialogue> <scene_description>The press clammers.</scene_description> </scene> <scene> <stage_direction>INT. REEB HOME - NIGHT</stage_direction> <scene_description>We see the WHITE PREACHER and his WIFE from the montage. JAMES and MARIE REEB, 30s. They watch King on TELEVISION.</scene_description> <character>KING ON TV</character> <dialogue>Join our march against injustice and inhumanity!</dialogue> <scene_description>Reeb stands. Behind him are photos his four kids.</scene_description> <character>MARIE</character> <dialogue>What are you doing?</dialogue> <character>REEB</character> <dialogue>Packing.</dialogue> <character>MARIE</character> <dialogue>No. I'll pack. You book a flight.</dialogue> <scene_description>They split up and get to work.</scene_description> </scene> <scene> <stage_direction>INT. LUIZZO HOME - NIGHT</stage_direction> <scene_description>In a less affluent home, the DISTRAUGHT WHITE WIFE is putting things into a carry-all while her pleasant-looking, blue- collar husband, ANTHONY, is on the phone. He puts his hand over the mouthpiece and speaks to her, VIOLA LIUZZO, 30s.</scene_description> <character>ANTHONY</character> <dialogue>All scheduled flights to Montgomery are full for the rest of this week.</dialogue> <character>VIOLA</character> <dialogue>Is there another route?</dialogue> <character>ANTHONY</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Do you have anything nearby?</dialogue> <parenthetical>(listens briefly)</parenthetical> <dialogue>Okay. Thanks.</dialogue> <scene_description>He hangs up.</scene_description> <character>ANTHONY</character> <dialogue>No flights open to Alabama at all.</dialogue> <character>VIOLA</character> <dialogue>I'll have to take the car. That okay?</dialogue> <character>ANTHONY</character> <parenthetical>(proudly)</parenthetical> <dialogue>'Course it's okay.</dialogue> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - DAY</stage_direction> <scene_description>The Jackson family's small DAUGHTER answers the back door and her eyes open wide in surprise.</scene_description> <character>DAUGHTER</character> <dialogue>Mama! Santa Claus is here!</dialogue> <scene_description>We see what she sees now. A white man with an impressive white beard and long black robe. He is Greek Orthodox ARCHBISHOP IAKOVOS. He gives her a warm smile. Iakovos enters to find KING, who is very moved. They embrace.</scene_description> <character>KING</character> <dialogue>You came.</dialogue> <character>ARCHBISHOP IAKOVOS</character> <dialogue>You called and we came. You're not alone.</dialogue> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - SHORT TIME LATER</stage_direction> <scene_description>KING stands with ARCHBISHOP IAKOVOS in the laundry room as the high priest takes off his hat and coat, and places them in a small satchel on a washing machine hard at work.</scene_description> <character>KING</character> <dialogue>Is this all you brought, my friend?</dialogue> <character>IAKOVOS</character> <dialogue>More than enough.</dialogue> <character>KING</character> <dialogue>It gets very cold here. You might need a heavier overcoat for the march. I'll see about it.</dialogue> <character>IAKOVOS</character> <dialogue>I'll be fine. This feels like home.</dialogue> <character>KING</character> <dialogue>Greece?</dialogue> <character>IAKOVOS</character> <dialogue>No, Connecticut!</dialogue> <scene_description>They chuckle at this. Then, a seriousness overcomes King.</scene_description> <character>KING</character> <dialogue>My friend, it's not Connecticut. I need you to stay very close to us. And to be very, very careful. Don't take anything for granted with the white citizens here.</dialogue> <character>IAKOVOS</character> <dialogue>I understand, Martin.</dialogue> <scene_description>Iakovos puts his hand on King's shoulder, as an old friend would.</scene_description> <character>IAKOVOS</character> <dialogue>Do not allow the darkness to envelop your soul, my friend. When you see it approaching, you keep it at a distance with your courage and determination. There are so many blessings surrounding you today. You are armored with all the spiritual weapons of legitimate opposition. And you will march forward to a new world. You will find critics, even opponents, even enemies, even faults and errors in your own thinking and understanding, but nothing should discourage you or turn you into a deserter.</dialogue> <scene_description>King is moved by the intention and intensity of his friend's words, and takes it all in.</scene_description> <character>IAKOVOS</character> <dialogue>Ours is a commitment to true justice and to true peace, founded upon a respect for life and liberty and justice for everyone.</dialogue> <scene_description>King nods solemnly.</scene_description> <character>IAKOVOS</character> <dialogue>That last part was from the Pledge of Allegiance.</dialogue> <scene_description>They smile.</scene_description> <character>IAKOVOS</character> <dialogue>So it's got to be right. Right?</dialogue> <scene_description>Off these two men, letting a little light into a dark day.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAY</stage_direction> <scene_description>From a White House window, we see PICKETERS in the distance. JOHNSON reads aloud from a newspaper with disdain.</scene_description> <character>JOHNSON</character> <dialogue>'Thousands Head South in Moral Crusade.'</dialogue> <character>WHITE</character> <dialogue>You want my advice, Mr. President?</dialogue> <character>JOHNSON</character> <dialogue>Do you have to ask?!</dialogue> <character>WHITE</character> <dialogue>He's won.</dialogue> <character>JOHNSON</character> <dialogue>That's advice?!</dialogue> <character>WHITE</character> <dialogue>No. That's reality. This is advice: instruct the attorney general to petition alongside King's lawyers in the federal court in Montgomery; get Wallace's ban over-ruled as quickly as possible. Then, send in Federal troops.</dialogue> <character>JOHNSON</character> <dialogue>The hell I will.</dialogue> <character>WHITE</character> <dialogue>Give King his march to Montgomery. Do that and Selma is over. You are back in control.</dialogue> <character>JOHNSON</character> <dialogue>Of what? Another civil war?</dialogue> <scene_description>Johnson snatches the paper and thrusts it at White.</scene_description> <character>JOHNSON</character> <dialogue>This ain't just about the gotdamn march. You think he cares about the march? He wants laws changed - and now.</dialogue> <character>JOHNSON</character> <dialogue>I've got Congress calling me by the dozens. I've got picketing outside that gets bigger and bigger every day he tugs on their gotdamn white liberal fucking guilt. Every march pulls at 'em! Especially when folks are getting beat in the fucking streets! These pictures are moving around the world! You tell Wallace and those backwater hicks that I don't want to see any more of this horseshit! And you tell King he best not march, you hear me? And, I damn well mean it! King needs to stop and Wallace needs to stop or I'll stop 'em both!</dialogue> <scene_description>He slams the paper down and we see a photo of AMELIA BOYNTON being dragged unconscious through clouds of tear-gas.</scene_description> <character>WHITE</character> <dialogue>SCLC already filed an appeal to Wallace's order this morning. You know whose docket it landed on?</dialogue> <scene_description>Johnson rolls his eyes and looks up at the ceiling, both hands on his hips. He can't catch a break.</scene_description> </scene> <scene> <stage_direction>INT. CAPITOL BUILDING - SAME MORNING</stage_direction> <scene_description>Wallace has stepped away from a meeting in a conference room to take a call. We see the people he's meeting with react.</scene_description> <character>WALLACE ON THE PHONE</character> <dialogue>You get it moved off of his court!</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>The hell we can't. If that low- down, nigra-lovin traitor tries this case, they win.</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>Are you listening to me? I know this man. Went to school with his pansy ass. He's been ruling in their favor for years now! We've lost before we've begun!</dialogue> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS - DAY</stage_direction> <scene_description>Behind closed doors, a black attorney, FRED GRAY, stands before the white jurist in question, JUDGE FRANK JOHNSON.</scene_description> <character>GRAY</character> <dialogue>Judge Johnson, in light of Sunday's bloody turn of events, we're proceeding with extreme caution and commitment to safety. The SCLC is seeking a federal court order enjoining the state authorities from interfering in the next march.</dialogue> <character>JUDGE JOHNSON</character> <dialogue>Gray, you're asking me to overturn the Governor's mandate and to do so without a hearing. Now, it might well go the way of your petition from what I've read thus far, but it's not going to happen at all without a proper proceeding.</dialogue> </scene> <scene> <stage_direction>EXT. MONTGOMERY AIRSTRIP - DAY</stage_direction> <scene_description>We watch as a cluster of CATHOLIC NUNS exit a small airplane.</scene_description> <character>GRAY (V.O.)</character> <dialogue>After Dr. King's call-to-action, which was nationally televised, sir, we've seen hundreds of people from across the country travel in for tomorrow's march. Mostly white. Most are clergy of some kind. King is positioned to lead this tomorrow, Judge.</dialogue> <scene_description>A group of LOCAL WHITE MEN eye them nearby, making obscene gestures and lewd comments.</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS - DAY</stage_direction> <scene_description>Judge Johnson has now come from around his desk to speak with SCLC Attorney Gray face to face.</scene_description> <character>JUDGE JOHNSON</character> <dialogue>You'll have your day in court on Thursday. No march on Tuesday. I won't oppose him against protocol.</dialogue> <character>GRAY</character> <dialogue>You've opposed him before, Your Honor.</dialogue> <character>JUDGE JOHNSON</character> <dialogue>Indeed I have, and with pleasure. But properly. This is my offer.</dialogue> <character>JUDGE JOHNSON</character> <dialogue>Cancel tomorrow and make no violation of Wallace's injunction until I officially hear this case Thursday. Then, do what's needed.</dialogue> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - SAME TIME</stage_direction> <scene_description>A private conversation between KING and a suited white man at the dining room table. It is ASSISTANT ATTORNEY GENERAL JOHN DOAR. Young and Archbishop Iakovos are there as well. SUPERIMPOSE: Jackson Residence, Selma: King visited by Assistant Attorney General John Doar. Greek Orthodox Archbishop Iakovos and Andrew Young present. See Office of AG for detail. LOGGED.</scene_description> <character>DOAR</character> <dialogue>I'm here on the President's order to try to make this work, Doctor. Please work with me.</dialogue> <scene_description>While Doar addresses King, it's Young who answers.</scene_description> <character>YOUNG</character> <dialogue>We give up the march and you give what? We asked for federal protection. And with no disrespect, when the Assistant Attorney General is the highest ranking federal official in Selma, we have our answer and its not the one we want.</dialogue> <character>DOAR</character> <parenthetical>(recovering)</parenthetical> <dialogue>Dr. King, if you do march, not only are you defying a federal judge's offer, but you place yourself at great personal risk.</dialogue> <scene_description>Young shakes his head. Why'd he have to go and say that?</scene_description> <character>DOAR</character> <parenthetical>(to Young)</parenthetical> <dialogue>Tell me you've told him.</dialogue> <character>YOUNG</character> <parenthetical>(unfazed)</parenthetical> <dialogue>Marty, they've been telling us about increased threats. I saw no reason to burden you with it since a threat is a threat and you walk with them daily.</dialogue> <character>YOUNG</character> <dialogue>But so you know, the feds are suddenly and conveniently very concerned.</dialogue> <parenthetical>(to Doar)</parenthetical> <dialogue>Consider him told.</dialogue> <scene_description>Doar is in a losing battle here.</scene_description> <character>KING</character> <dialogue>Mr. Doar, thousands have gathered here to demonstrate their dignity. I don't want to challenge Judge Johnson. I don't want to go against the President. I don't want any of this. I simply want to make certain that men like me can self-determine just like you. The President could stop this with a stroke of his pen. He chooses not to. The decision is with your side, sir, not ours.</dialogue> <character>DOAR</character> <dialogue>Dr. King, you understand the complexities here. I know you do. If you march against a Federal Judge's order, there are implications. The President doesn't want that for you.</dialogue> <scene_description>King smiles a little at the veiled threat.</scene_description> <character>KING</character> <dialogue>I might also suggest you speak with Governor Wallace and Sheriff Clark, and urge them against violence, instead of trying to persuade us not to have a peaceful protest.</dialogue> <scene_description>Checkmate. Doar gives in.</scene_description> <character>DOAR</character> <dialogue>Maybe... maybe we can make a deal.</dialogue> <scene_description>King and Young are all ears.</scene_description> <character>DOAR</character> <dialogue>What if I could assure you that the administration would endorse a later march if tomorrow is called off. We need a few days to manage this. Minimize the fall-out.</dialogue> <character>YOUNG</character> <dialogue>You mean to get on the right side.</dialogue> <character>DOAR</character> <dialogue>That's exactly what I mean.</dialogue> <character>KING</character> <dialogue>Are you authorized to offer that?</dialogue> <character>DOAR</character> <dialogue>Well... that's why I asked "what if." What if I could get that done? He's closer than you may think to coming around on this issue. I believe this compromise might be agreeable.</dialogue> <character>KING</character> <dialogue>Please express my meaning here clearly. We are not going to stop demonstrating, protesting and agitating until a law ensuring that every Negro can vote undeterred is passed. If he'll agree to not only endorse a later march, but also order protection for that march... we have a deal. If not, we're crossing that bridge on Tuesday.</dialogue> <scene_description>Off Doar, determined.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN CHAPEL - DAY</stage_direction> <scene_description>Thousands gather outside. In the mix is JAMES REEB, in priest's collar, who speaks to reporter ROY REED.</scene_description> <character>REEB</character> <dialogue>I am a Unitarian Universalist minister. I've come from Boston to lend my skin color to our brothers and sisters struggling here. Maybe our skin will help their cause somehow. I do not know, but I'm here to try. Because this is wrong.</dialogue> <scene_description>The housewife VIOLA LUIZZO is handing sandwiches to the marchers, along with other organized volunteers.</scene_description> </scene> <scene> <stage_direction>INT/EXT. BROWN CHAPEL STEPS - DAY</stage_direction> <scene_description>KING stands just inside the church doors. He leans to whisper to ANDREW YOUNG.</scene_description> <character>KING</character> <dialogue>Anything?</dialogue> <character>YOUNG</character> <dialogue>No word on an agreement. Nothing.</dialogue> <scene_description>KING shakes his head, then steps forward to address thousands of COLLEAGUES and SUPPORTERS via bullhorn.</scene_description> <character>KING</character> <dialogue>The President doesn't want us to march today. The courts don't want us to march today. But we must march today. We must stand up today. We must make a massive demonstration of moral certainty today. I'm glad we are here together today. I thank you for standing up today!</dialogue> <scene_description>In the background, rises the sound of a semi-rhythmic tread - the sound of a multitude on the march. Singing for freedom.</scene_description> <character>MANY VOICES (V.O.)</character> <dialogue>We Shall Overcome, Someday! Oh, deep in my heart. I do believe. That we shall overcome. Some. Day.</dialogue> </scene> <scene> <stage_direction>EXT. PETTUS BRIDGE - DAY</stage_direction> <scene_description>King leads an orderly march of two thousand disciplined marchers. Many new, white faces, including the housewife VIOLA LUIZZO, the preacher REV. JAMES REEB and the Greek ARCHBISHOP. Many black locals who marched before. Some still bearing bandages from the bridge attack just days ago. We feel both the fear and the determination. As they walk, ASSISTANT ATTORNEY GENERAL JOHN DOAR jogs up to Andrew Young flanked by two FBI agents. Doar whispers in his ear. Young nods his understanding, then calmly picks up his pace. He reaches King in the very first row of marchers directly ahead of him. He whispers in King's ear.</scene_description> <character>YOUNG</character> <dialogue>There's a partial deal. They'll endorse a later march, but they won't order protection.</dialogue> <scene_description>King walks on, somewhat stunned. He's negotiating a deal not to march at the very moment he's about to lead thousands to the bridge. His dilemma is written all over his face as the throngs behind him sing freedom songs in lock step.</scene_description> <character>KING</character> <parenthetical>(to Young)</parenthetical> <dialogue>No deal.</dialogue> <scene_description>Further back in the crowd, a WHITE MARCHER leans to a BLACK MARCHER as they cross under a sign: EDMUND PETTUS BRIDGE.</scene_description> <character>WHITE MARCHER</character> <dialogue>Who is Edmund Pettus?</dialogue> <character>BLACK MARCHER</character> <dialogue>Don't right know. But his kin prolly waitin' for us on the other side of this here bridge.</dialogue> <scene_description>As King and the crowd make their way over the crest of the bridge, we see their expressions as they face an ominous sight. A phalanx of flashing lights and police cars. Horses mounted by local whites seething with anger - again. Confronting them all is MAJOR CLOUD, holding a bullhorn, flanked by TROOPERS. The silence is deafening as marchers nervously look upon blue- helmeted troopers with confederate emblems who surround them on three sides, ready to charge at any moment. And then - the unexpected...</scene_description> <character>CLOUD</character> <dialogue>Troopers!!! Withdraw!!!</dialogue> <scene_description>Troopers divide and move aside, leaving the road wide open for the marchers. Jaws drop. Some people clap. The marchers are in amazement. All stare at the road ahead, leading into rural Alabama. But not King. He stands still. We are CLOSE ON HIM. Watching the wheels turn. Why would they do that? Why would they make a path for a march they have forbidden? What's their play? King hesitates for a moment longer - then is certain.</scene_description> <character>KING</character> <parenthetical>(to himself)</parenthetical> <dialogue>No.</dialogue> <scene_description>He turns around to look in the faces of the men and women following him. Unsure of what to do, how to tell them. Then slowly, he goes down on one knee. And slowly, row after row, the marchers do the same. They pray in what seems an eternal silence - before King gets to his feet, followed by everyone else. Suddenly, he stands and walks through the crowd back towards Selma. Marchers peel away to let him through, then follow. In the crowd, we see JAMES FORMAN of SNCC, seething. He stares at his former friend JOHN LEWIS, who is confused.</scene_description> </scene> <scene> <stage_direction>EXT. SELMA WOODS - THAT NIGHT</stage_direction> <scene_description>We see WHITE LOCALS gathered around a pick-up truck, angry that they didn't see action.</scene_description> </scene> <scene> <stage_direction>EXT. SELMA HOUSING PROJECTS - THAT NIGHT</stage_direction> <scene_description>We see BLACK LOCALS gathered on stoops, angry they didn't make progress.</scene_description> </scene> <scene> <stage_direction>EXT. SELMA DINER - THAT NIGHT</stage_direction> <scene_description>We see WHITE CLERGY, including JAMES REEB, gathered at a local eatery, perplexed and frustrated that they came all this way to turn around.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN CHAPEL - LATER THAT DAY</stage_direction> <scene_description>KING, WILLIAMS, BEVEL and ORANGE approach the back-entrance to the chapel. They're confronted by a group of YOUNG MILITANTS, holding a banner saying, 'Martin LOSER King!' As King's group gets closer, the militants break into mocking cries of 'De Lawd!' and a derisive chorus.</scene_description> <character>MILITANTS</character> <dialogue>Aint gon' let nobody turn me round!</dialogue> <scene_description>King is deeply pained by all this. Williams, Bevel and Orange instinctively form a line alongside him, a symbolic shield.</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL SANCTUARY - A SHORT TIME</stage_direction> <scene_description>A tense MEETING of the Selma campaign leadership. KING is under attack and he's not taking it well.</scene_description> <character>LEWIS</character> <dialogue>People are angry, Dr. King. Angry. They went back to the bridge because they were hot about Sunday.</dialogue> <character>LEWIS</character> <dialogue>That was our moment out there today. That was our chance.</dialogue> <character>FORMAN</character> <dialogue>And you threw it away!</dialogue> <character>KING</character> <dialogue>They could've sealed off the road behind us. No food, water, no kind of support allowed through. We wouldn't have made ten miles.</dialogue> <character>LEWIS</character> <dialogue>You saying it was a trap?</dialogue> <character>KING</character> <dialogue>I don't know what it was.</dialogue> <character>FORMAN</character> <dialogue>That was no trap! You know why they opened the road to us! Because all them nice respectable white folks was with us! And we should've capitalized on that! Because they won't be around long. They never are!</dialogue> <scene_description>King's staff is awash with mixed feelings. We see ABERNATHY, YOUNG and VIVIAN steadfast in their support. We see WILLIAMS, BEVEL, NASH and ORANGE supportive, but disappointed.</scene_description> <character>ABERNATHY</character> <dialogue>It was Marty's call! It's done!</dialogue> <character>FORMAN</character> <dialogue>He made the wrong fucking cal1!</dialogue> <scene_description>The disrespect of Forman's profanity stops everyone in their tracks. Except for Lewis, who slams his hand down and stares at his former friend with rage.</scene_description> <character>LEWIS</character> <dialogue>Two days ago you didn't wanna march at all! Now you mad 'cause this didn't go the way you want? You are about you, James! This is about the people! Back off, brother. Now!</dialogue> <scene_description>Off Forman's shock, Lewis turns to King.</scene_description> <character>LEWIS</character> <dialogue>What happened out there? Tell me something. Please.</dialogue> <scene_description>King sees this young man has a lot at stake, but holds back.</scene_description> <character>KING</character> <dialogue>I'd rather people be upset and hate me, than be bleeding or dead.</dialogue> </scene> <scene> <stage_direction>INT/EXT. KING HOME/JACKSON HOME - LATER THAT NIGHT</stage_direction> <scene_description>C.T. VIVIAN peers out of the kitchen window to check on KING, who sits on the BACK PORCH of the Jackson home in Selma. King is writing a letter in a notebook. INTERCUT with the KING CHILDREN at the dinner table in their Atlanta home, eating dinner and chattering away, as CORETTA leans against a wall in the hallway. She reads the words of King's letter with a faraway look.</scene_description> <character>KING (V.O.)</character> <dialogue>At a time when I need you, I cannot call you. And I have done this to myself. To us. Whatever I am, I owe to my family and to those who stand with me. But my biggest debt is to you. You give my life meaning, Coretta. All I can pledge to you now is that I will strive to justify the faith you once had in me. I will try more than ever to make my life one that you can be proud of. I will do in private that which I know my public position demands, and what is right and pure. It is foolish to think I can solve a problem in the same mind set that it was created. I must raise my mind higher. And I will. This is a moment, Corrie. A moment - that will not happen again.</dialogue> <scene_description>In Atlanta, over the voices of her children, Coretta carefully folds the letter and tucks it in her skirt pocket. Then, re-joins her kids. In Selma, King looks up suddenly as a figure approaches from the nearby driveway. JAMES ORANGE emerges from the darkness.</scene_description> <character>ORANGE</character> <dialogue>We should head on in now, Doc.</dialogue> <character>KING</character> <dialogue>Yes. Yes, okay.</dialogue> </scene> <scene> <stage_direction>EXT. SELMA DINER - SAME NIGHT</stage_direction> <scene_description>JAMES REEB and his two WHITE COMPANIONS exit the diner onto a quiet Selma street. Watching them from a parked car, are four men - KLANSMEN.</scene_description> <character>KLANSMAN #1</character> <dialogue>Sick of these Northerners telling us when and how and where. Trying to control our niggers when they got ghettos in their own cities.</dialogue> <character>KLANSMAN #2</character> <dialogue>Told you, best we take care of this ourself. Told ya that weeks back.</dialogue> <character>KLANSMAN #1</character> <dialogue>I'm listenin' now, old friend. I'm listenin' now.</dialogue> <scene_description>As Reeb and his companions pass, the Klan gets out their car. They talk loud enough for Reeb and the others to hear them.</scene_description> <character>KLANSMAN #1</character> <dialogue>You know what I hate more than niggers?</dialogue> <character>KLANSMAN #2</character> <dialogue>What's that?</dialogue> <character>KLANSMAN #1</character> <dialogue>White niggers.</dialogue> <scene_description>REEB and his colleagues turn around to face their foes.</scene_description> <character>REEB</character> <dialogue>Look, we don't want trouble, okay?</dialogue> <character>KLANSMAN #1</character> <dialogue>No. You came here stirrin' trouble.</dialogue> <scene_description>The Klansmen start toward Reeb and his friends, who begin to run. The racists catch up quickly and launch into the three men with clubs and knuckle-dusters. We watch the priest and other religious men be BEATEN, with Reeb taking a particularly devastating blow to the head. All three are BARELY CONSCIOUS when the attack finally stops. The main attacker whispers in Reeb's bloody ear.</scene_description> <character>KLANSMAN</character> <dialogue>Now you know what being a nigger feels like 'round here, boy.</dialogue> <scene_description>One last, SKULL-FRACTURING KICK to Reeb's head. Then, the Klan saunters to their car, honk the horn and drive away.</scene_description> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - EARLY MORNING</stage_direction> <scene_description>BEVEL and NASH walk slowly through the house. They pass the men of the movement preparing for the day in every corner. CT VIVIAN irons on the dining room table. The ARCHBISHOP puts on his habit and robes in the living room. WILLIAMS cleans his shoes. ORANGE stirs his coffee. All the while, RICHIE JEAN cooks. Bevel and Nash find KING shaving in the bathroom with the door slightly ajar. Bevel knocks and goes in. Nash waits outside. We stay with her near the door, listening to the conversation from the hall. The others begin to gather near her to listen as well. We watch their faces react.</scene_description> <character>KING (V.O.)</character> <dialogue>What's the matter?</dialogue> <character>BEVEL (V.O.)</character> <dialogue>Doc, someone's been hurt. A priest who came from Boston. White.</dialogue> <character>KING</character> <dialogue>Hurt how?</dialogue> <character>BEVEL</character> <dialogue>Dead.</dialogue> <character>KING</character> <parenthetical>(devastated)</parenthetical> <dialogue>No. No.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It wasn't... It wasn't a black man that did it, was it?</dialogue> <character>BEVEL</character> <dialogue>Some local whites got him. Kicked the man to death. Last words he heard was "nigger lover."</dialogue> <scene_description>Silence. Then suddenly, we hear a SMASH. King storms out of the bathroom. All have now gathered around the bathroom door. King barks with anger.</scene_description> <character>KING</character> <dialogue>I need the phone! Now please!</dialogue> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE BEDROOM - MINUTES LATER</stage_direction> <scene_description>King talks on the TELEPHONE in the guest bedroom. The towel from his shave is still around his neck.</scene_description> <character>KING</character> <parenthetical>(controlled anger)</parenthetical> <dialogue>I can't stop them, Mr. President. And sir, I wouldn't if I could. This is not why I phoned you, sir.</dialogue> <scene_description>On the other line is...</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - BARBER ROOM</stage_direction> <scene_description>JOHNSON, pacing as he talks on the phone in the White House barber room. Streaks of shaving cream still on his face.</scene_description> <character>JOHNSON</character> <parenthetical>(pissed off)</parenthetical> <dialogue>Chicago, Detroit, Boston, I don't care. Hell, two thousand people marching for you in Harlem. Good for you! But when you have people coming inside the White House? Inside! On a tour? They just sat down, Martin! Sat right in the main floor corridor, singin' and shoutin'. I won't have it! I'm trying here. We're getting close on the figuring something out about this voting thing. But I won't have this!</dialogue> <scene_description>INTERCUT KING and JOHNSON PHONE CALL</scene_description> <character>KING</character> <dialogue>Mr. President, I do not control every American who is outraged by your inaction. But you control your in action, sir.</dialogue> <character>JOHNSON</character> <dialogue>Now, you wait a minute!</dialogue> <character>KING</character> <dialogue>I cannot stop any...</dialogue> <character>JOHNSON</character> <dialogue>You can! You can stop it!</dialogue> <character>KING</character> <dialogue>No, YOU can stop it. YOU, sir, can do more. I'm glad to hear you called Rev. Reeb's widow, sir. That's very fine and it is right. I only wish Jimmie Lee Jackson's family would have received the same consideration from their President.</dialogue> <character>JOHNSON</character> <dialogue>Don't lay your guilt at my feet, Reverend! You are the choosing to be away from your family and your wife to be sending those people out to slaughter when we told you there was trouble.</dialogue> <scene_description>That hits a nerve. The guilt of all of this is weighing on King and the cracks are becoming larger.</scene_description> <character>KING</character> <dialogue>You could stop this by protecting us. We won't sit idle while you wait a year or two to send this bill up at your leisure. That should be clear by now. Why has it taken so long to send the bill to Congress, sir? Why are...</dialogue> <character>JOHNSON</character> <dialogue>You listen to me...</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>This bill has been nearly impossible to craft, you hear me? You're not the only one jugglin'. I'm jugglin, Martin. It's got to be bullet-proof. This is not a two- line bill. It's got to pass or I look like a horse's ass siding with you. We can't risk defeat or dilution on this one. It's got to go up there clean, simple and powerful. That requires consensus and that is not an easy task! It takes time, don't you understand? I cannot snap my fingers on this.</dialogue> <character>KING</character> <dialogue>If I concede that, then can you tell me this, sir?</dialogue> <character>KING</character> <dialogue>Why do you allow your citizens to walk into harm's way without protection or at the very least harnessing the men who mean to do them harm? That has nothing to do with drafting a bill.</dialogue> <character>JOHNSON</character> <dialogue>You listen to me. I will not be blackjacked into hasty action, do you understand me, sir? I will not.</dialogue> <scene_description>King is insulted. But he takes a moment, lowers his voice and evens his tone with calculation.</scene_description> <character>KING</character> <dialogue>I'm a preacher from Atlanta. You are the man who won the presidency of the world's most powerful nation by the greatest landslide in history four months ago.</dialogue> <scene_description>Johnson remains silent, deep in thought.</scene_description> <character>KING</character> <dialogue>And you are the man dismantling your own legacy with each passing day. No one will remember the Civil Rights Act. They will remember the stand-off in Selma while you never set foot in the state. When you refused to protect old women who marched for their rights. They'll remember men being slayed in the streets while struggling for their dignity unprotected. You'll be remembered in the same way they'll remember George Wallace and Jim Clark. They will remember you saying "Wait," and "I can't."</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Unless you act, sir.</dialogue> <scene_description>A long pause. Each man only hears the other breathing.</scene_description> <character>JOHNSON</character> <dialogue>I'm a greatly anguished man, Martin.</dialogue> <character>KING</character> <parenthetical>(burdened)</parenthetical> <dialogue>I know how that feels, Mr. President.</dialogue> </scene> <scene> <stage_direction>EXT. SELMA STREET - EARLY EVENING</stage_direction> <scene_description>JOHN LEWIS stands curbside on a residential street. He looks antsy. Or is it nervous? Moments later, the familiar blue Pontiac rolls towards him. When the car stops to let him in, Lewis is surprised to find King, driving alone. He climbs in.</scene_description> <character>KING</character> <dialogue>Evenin'.</dialogue> <character>LEWIS</character> <dialogue>Evenin'.... You're driving alone.</dialogue> <character>KING</character> <dialogue>A rare treat.</dialogue> <character>LEWIS</character> <dialogue>Is that a good idea?</dialogue> <character>KING</character> <dialogue>Well, I rather enjoy it.</dialogue> <character>LEWIS</character> <dialogue>But... it's not very safe. You being alone just driving around.</dialogue> <scene_description>King nods at the rearview mirror. Off King, Lewis does too. Behind them, he sees a follow car driven by JAMES ORANGE.</scene_description> <character>LEWIS</character> <dialogue>Oh.</dialogue> <scene_description>They pass through the local housing project, a bleak, miserable set of stubby brick buildings.</scene_description> <character>KING</character> <dialogue>I wanted to speak privately. I know there are troubles with your group. I apologize that our efforts have caused a rift between you all. That's a painful thing, I know, and I'm truly sorry it's happened.</dialogue> <character>LEWIS</character> <dialogue>I... yes, it's... painful.</dialogue> <character>KING</character> <dialogue>I've watched you and I wish I could say you remind me of myself.</dialogue> <character>KING</character> <dialogue>But when I was your age, I only wanted to marry this beauty I'd met named Coretta Scott and lead my own church away from my Daddy. Wasn't half as activated as you, John.</dialogue> <character>LEWIS</character> <dialogue>Thank you, Dr. King.</dialogue> <scene_description>A comfortable silence as they drive along.</scene_description> <character>KING</character> <dialogue>LBJ is not moving, John. I thought he would but... our efforts are not working. I can't risk another march with people getting killed when its not working. I won't do it. I wanted you to hear it from me.</dialogue> <character>LEWIS</character> <dialogue>But... The people were ready. They're ready. They asked for this. They asked you to do this with them.</dialogue> <character>KING</character> <dialogue>Even if we do get the court mandate tomorrow, what are we walking toward? We need voting not marching. You know that. We need to move beyond these protests to some real political power. This cannot go on forever like this. I can't go on like this.</dialogue> <scene_description>King stops himself. Too much. He's confided too much. As the car rides along in the night, Lewis finds his voice.</scene_description> <character>LEWIS</character> <dialogue>When... when I headed up SNCC's Freedom Ride and the bus reached the Montgomery city limits, the police escort disappeared. We saw the Greyhound station completely deserted, and I thought, "This... is not good." We got off. And out of nowhere, from all directions, they came. Men, women. Kids too. A couple hundred white folk. They came out of alleys and side streets. From all directions at once like they'd been let out of a gate somewhere.</dialogue> <character>LEWIS</character> <dialogue>They had every makeshift weapon you could think of. Bats, bricks, boards, chains, tire irons, pipes, rakes. "Git them niggers" was all I heard over the screaming. I remember a little kid clawing her nails into the side of the face of my friend Jessie while her Daddy beat him with an ax handle.</dialogue> <scene_description>King is entranced by the story.</scene_description> <character>LEWIS</character> <dialogue>Jessie was unconscious but they kept beating on him. I passed out on the asphalt, I guess. Later on, they told me someone had swung a wooden Coke crate against my skull.</dialogue> <parenthetical>(off King's grimace)</parenthetical> <dialogue>Next day, I found myself patched up sitting in a church. I could barely hold my head up, but you were gonna be speaking and... I needed to hear you. I needed to hear you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Outside the church, we could hear the white mob chanting "Nigger King!" So I knew you were close.</dialogue> <scene_description>At this, the two men involuntarily chuckle. A laugh at the ridiculousness of it all. A laugh to keep from crying.</scene_description> <character>LEWIS</character> <dialogue>You got up there. I was feeling down. And you got up there. Do you remember this at all?</dialogue> <character>KING</character> <dialogue>I don't think we remember it the same way.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What'd I say, John?</dialogue> <scene_description>Lewis takes a moment, to conjure the memory.</scene_description> <character>LEWIS</character> <dialogue>You said that... on television and in the papers the congregation might look to some like just a mass. But you knew that every person sitting there had overcome something great to even be there. You praised them for their courage.</dialogue> <character>LEWIS</character> <dialogue>You criticized the officials who created the hostile environment in which we're made to live.</dialogue> <scene_description>He continues to describe that night, full of emotion.</scene_description> <character>LEWIS</character> <dialogue>And you told us that we would triumph. That we would triumph because there could be no other way. You said, "The people who oppose us will have to face the fact that we are determined to be free." And then you said... you said... what I'm about to tell you now. And I hope you hear me. "Fear not. We've come too far to turn back."</dialogue> <scene_description>Off King, deeply moved, as they ride on in the night.</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S OFFICE - MORNING</stage_direction> <scene_description>Wallace reads the paper about to explode as LINGO looks on. The headline of the Montgomery Advertiser reads: OVERTURNED IN FEDERAL COURT:</scene_description> <character>WALLACE</character> <dialogue>Mary!</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAY</stage_direction> <scene_description>President Johnson and Governor Wallace sit on opposite couches in the Oval, smiling cordially.</scene_description> <character>JOHNSON</character> <dialogue>Well, Governor. You wanted to talk.</dialogue> <character>WALLACE</character> <dialogue>Mr. President, malcontents are disrupting Alabama and it is your responsibility to stop them.</dialogue> <scene_description>Wallace doesn't look as strong as his words, especially under Johnson's withering stare.</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL COURTROOM - CONTINUOUS</stage_direction> <scene_description>JUDGE JOHNSON is on the bench. KING and SCLC attorney FRED GRAY look on from the plaintiff's table.</scene_description> <character>JOHNSON</character> <dialogue>Southern Christian Leadership Conference vs. State of Alabama. I'll now hear plaintiff testimony.</dialogue> <scene_description>CUT TO:</scene_description> <character>GRAY</character> <dialogue>Can you tell the court what occurred on the Edmund Pettus Bridge in Selma this past Sunday?</dialogue> <scene_description>One at a time, we see an array of PEOPLE WE RECOGNIZE stand with one hand raised and one hand on the bible, pledging to tell the truth. And one by one, we watch them do just that. We see LEWIS, WILLIAMS, BOYNTON, ARCHBISHOP IAKOVOS, SULLIVAN and RICHIE JEAN JACKSON and ANNIE LEE COOPER tell their stories with animated hand gestures and determined expressions as STATE ATTORNEYS and SEATED OFFICIALS glare at them in open contempt. Then, we watch the defense call SHERIFF CLARK and CHIEF BAKER give their accounts of the incident with the same vigor. Over these testimonials, WE HEAR...</scene_description> <character>JOHNSON (V.O.)</character> <dialogue>Governor, you can't stop a fever by putting an icepack on your head. You've got to get to the cause of the fever. All the dramatics you got going down there won't solve the issue. They're protesting for the right to vote and the way they're treated in your state. That's your problem, your responsibility, on your watch.</dialogue> <character>WALLACE (V.O.)</character> <dialogue>Well, Mr. President... I disagree. We have a certain way things are done. It's the way it is and its the way the people want it to stay.</dialogue> <character>JOHNSON (V.O)</character> <dialogue>George, why ya doing this? Spent your career working for the poor. Why you off on this black thing?</dialogue> </scene> <scene> <stage_direction>INT. OVAL OFFICE - CONTINUOUS</stage_direction> <scene_description>Johnson is now on the edge of his couch with an aggressive posture.</scene_description> <character>WALLACE</character> <dialogue>Because you can't never satisfy them. First, it's the front seat on the bus, next it's takeover of the parks, then it's the public schools, then it's voting, then it's jobs, then it's distribution of wealth without work.</dialogue> <scene_description>Johnson look upon Wallace with impatient pity, then rises and walks over to him. At 6'4, the President towers over just about everyone when standing. But with Wallace seated, his hovering is particularly intimidating.</scene_description> <character>JOHNSON</character> <dialogue>George, you see all those demonstrators out in front of the White House keeping my Lady Bird awake all the damn night?</dialogue> <character>WALLACE</character> <dialogue>Oh, yes, Mr. President. I saw them.</dialogue> <character>JOHNSON</character> <dialogue>Well, why don't you and I go out there, and let's announce that you've decided to let the blacks vote undeterred and this whole mess will go away. And I don't have to draft bills and force the issue and all that. Let's do that, George. Why don't you just let the niggers vote? You agree they got the right to vote, don't you?</dialogue> <character>WALLACE</character> <dialogue>There's no quarrel with that. I know that. That's the law.</dialogue> <character>JOHNSON</character> <dialogue>Well, then why don't you let 'em vote?</dialogue> <character>WALLACE</character> <dialogue>I don't have that power. That belongs to the county registrars.</dialogue> <character>JOHNSON</character> <dialogue>George, don't shit me as to who runs Alabama.</dialogue> <character>WALLACE</character> <dialogue>I don't have any legal power over the county registrars, Mr. President. They have their regulations and they adhere.</dialogue> <character>JOHNSON</character> <dialogue>Why don't you persuade them?</dialogue> <character>WALLACE</character> <dialogue>I don't think I could do that.</dialogue> <character>JOHNSON</character> <dialogue>Now, don't shit me, George Wallace! Are you trying to fuck over your President? Are you?</dialogue> <character>WALLACE</character> <dialogue>Mr. President...</dialogue> <character>JOHNSON</character> <dialogue>You and I shouldn't be even thinking about 1965. We should be thinking about 1985. We'll both be dead and gone then. Now you've got a lot of poor people in Alabama. A lot of people needin' jobs. You could do a lot for them. In 1985, what do you want left behind. You want them remembering you sayin' "Wait," and "I can't," and "It's hard?"</dialogue> <scene_description>Wallace gathers his strength and looks Johnson in the eye.</scene_description> <character>WALLACE</character> <dialogue>I don't right care what they think. And you shouldn't neither.</dialogue> <scene_description>Not the right answer. An infuriated Johnson leans in close. So close Wallace can feel the breath on his ear.</scene_description> <character>JOHNSON</character> <dialogue>I'll be damned if history puts me in the same place with the likes of you.</dialogue> </scene> <scene> <stage_direction>INT. FEDERAL COURTHOUSE - LATER</stage_direction> <scene_description>KING stands in the hallway in conversation with his staff as they await a decision. Suddenly, everyone starts to look behind him in surprise. He turns around to find CORETTA walking toward him. He walks toward her.</scene_description> <character>KING</character> <dialogue>You're here.</dialogue> <character>CORETTA</character> <dialogue>Yes. I'm here.</dialogue> <character>KING</character> <dialogue>I'm glad.</dialogue> <character>CORETTA</character> <dialogue>Good.</dialogue> <scene_description>No grand gestures. No romantic glances. Just a first step. And right now, it's enough.</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL COURTROOM - DAY</stage_direction> <scene_description>KING is on the stand, visibly nervous and very clearly exhausted, as the STATE ATTORNEY questions him aggressively.</scene_description> <character>STATE ATTORNEY</character> <dialogue>Mister King, you went out on that bridge in direct violation of this Judge's order not to march. You intentionally disobeyed this Judge and the Governor, did you not?</dialogue> <character>KING</character> <dialogue>I respect this Judge perhaps more than any other jurist on the bench. We know that in his court we would at least be given a fair proceeding as is our rights as citizens.</dialogue> <character>STATE ATTORNEY</character> <dialogue>I don't need you preaching and prancing in here, ya hear? I want an answer.</dialogue> <character>JUDGE JOHNSON</character> <dialogue>Watch it, Counselor.</dialogue> <character>STATE ATTORNEY</character> <dialogue>I'm trying very hard, Judge.</dialogue> <character>JUDGE JOHNSON</character> <parenthetical>(to the Attorney)</parenthetical> <dialogue>Try harder.</dialogue> <parenthetical>(to King)</parenthetical> <dialogue>Answer the question posed.</dialogue> <scene_description>King's staff watches the testimony with sympathy, now understanding his burden more than ever. Coretta looks on with deep concern for her husband under such stress.</scene_description> <character>KING</character> <dialogue>Thousands of people came to Selma aroused by Sunday's brutal acts exacted by officials of the city of Selma and the state of Alabama. I felt if I had not lead the march, pent up emotions and inner tensions would have led to an uncontrollable retaliatory situation, a violent situation on both sides. I made a difficult decision not wanting to see violence. Otherwise, I would have never proceeded anywhere against this court's order.</dialogue> <scene_description>Off Judge Johnson, who doesn't look pleased. CUT TO: JUDGE JOHNSON is about to rule. KING and GRAY on one side, STATE ATTORNEY and CLARK on the other side, and everyone behind them await the fate of the campaign.</scene_description> <character>JUDGE JOHNSON</character> <dialogue>I've heard testimony from both sides and reviewed the march logistics proposal. The evidence of this case reflects a continuous pattern of action to provoke disturbance and arrest by the SCLC and affiliated organizations. The evidence also reflects an almost continuous pattern on the part of defendant Sheriff Clark and cohorts of harassment, intimidation, threats and brutal mistreatment toward the plaintiffs.</dialogue> <character>JUDGE JOHNSON</character> <dialogue>It seems basic to our constitutional principles that the extent of the right to assemble, demonstrate and march peaceably along the highway in an orderly manner should be commensurate with the enormity of the wrongs that are being protested and petitioned against. In this case, the wrongs are enormous. Therefore, the extent of the right to demonstrate in an estimated five day March from Selma to Montgomery has been approved accordingly.</dialogue> <scene_description>The courtroom hums with reaction from both sides. King doesn't react, but remains still as he continues listening to the Judge's instructions. DIANE NASH leans over to whisper to CORETTA.</scene_description> <character>NASH</character> <dialogue>Doesn't look very happy about it.</dialogue> <character>CORETTA</character> <dialogue>Now, he has to actually do it.</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAWN</stage_direction> <scene_description>In casual clothes, JOHNSON stands at a window listening to the singing from protestors holding a weekend vigil outside.</scene_description> <character>PROTESTORS (V.O.)</character> <dialogue>We'll walk hand in hand, we'll walk hand in hand... We'll walk hand in hand someday.</dialogue> <scene_description>Behind Johnson, on the table, is a half-eaten breakfast, briefing books and the usual selection of newspapers. Every front page is about Selma. A New York Times headline below the main story is 'Thousands More Head South in Protest.' WHITE is standing by the table, watching Johnson.</scene_description> <character>PROTESTORS (V.O.)</character> <dialogue>Here in my heart, I do believe. That we shall overcome, someday.</dialogue> <scene_description>Johnson turns from the window, looks at White and gives a long, deep sigh of acceptance.</scene_description> <character>JOHNSON</character> <dialogue>Lee, I need a speech. A good one.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - EVENING</stage_direction> <scene_description>CLOSE on JOHNSON. We pull back to find him standing before a majestic spectacle in the midst of a momentous event: a joint session of Congress. Rows of SENATORS and CONGRESSMEN look up at him as he begins to address the nation before TV CAMERAS.</scene_description> <character>JOHNSON</character> <dialogue>I speak tonight for the dignity of man and the destiny of democracy. At times, history and fate meet at a single time in a single place. So it was last week in Selma, Alabama.</dialogue> </scene> <scene> <stage_direction>INT. BROWN CHAPEL MEETING ROOM - SAME TIME</stage_direction> <scene_description>AMELIA BOYTON and her colleague FREDERICK REESE, who stood up to the Selma Police Chief in the Hotel Albert, have abandoned a planning meeting to watch.</scene_description> <character>JOHNSON (V.O.)</character> <dialogue>There, long suffering men and women peacefully protested the denial of their rights as Americans. Rarely in any time does an issue lay bare the secret heart of America itself. The issue for equal rights for the American Negro is that issue.</dialogue> </scene> <scene> <stage_direction>INT. NURSING HOME - SAME TIME</stage_direction> <scene_description>ANNIE LEE COOPER, the woman that fought back with Sheriff Clark at the courthouse, stops in the patient room she is cleaning to watch the President's address on TV.</scene_description> <character>JOHNSON (V.O)</character> <dialogue>For this issue, many of them were brutally assaulted. Should we defeat every enemy, double our wealth and conquer the stars, but remain unequal in this issue, we have failed as a nation.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - SAME TIME</stage_direction> <scene_description>Johnson continues earnestly with a serious tone.</scene_description> <character>JOHNSON</character> <dialogue>There is no Negro problem. There is no Southern problem.</dialogue> <character>JOHNSON</character> <dialogue>There is no Northern problem. There is only an American problem.</dialogue> <scene_description>He pauses to receive applause from the politicians.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT PORCH - SAME TIME</stage_direction> <scene_description>CAGER AND VIOLA LEE sit on the front porch of a ramshackled plank house in a wooded area. They listen to the address on the RADIO.</scene_description> <character>JOHNSON (V.O.)</character> <dialogue>For this problem, one good man - a man of God - has already died. And we met here tonight as Americans - not white or black, Democrat or Republican - to solve this problem. For to deny a man his hopes because of his color or race or his religion or his place of birth is not only to do injustice, it is to dishonor the dead who have given their lives for American freedom.</dialogue> <scene_description>Cager closes his eyes at the slight of his grandson and continues to rock in his chair.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - SAME TIME</stage_direction> <character>JOHNSON</character> <dialogue>Many of the issues of civil rights are very complex, very difficult. But about this there can and should be no argument: every American citizen must have an equal right to vote. There is no reason which can excuse the denial of that right. Yet the harsh reality is that in many places in this country men and women are kept from voting simply because they are Negroes. Every device of which human ingenuity is capable, has been used to deny this right.</dialogue> </scene> <scene> <stage_direction>INT. POLICE CAR - SAME TIME</stage_direction> <scene_description>SHERIFF JIM CLARK drives in his police cruiser listening to the RADIO address.</scene_description> <character>JOHNSON (V.O)</character> <dialogue>The Negro citizen may go to register only to be told that the day is wrong, or the hour is late, or the official in charge is absent. If he persists and manages to present himself to a registrar, he be disqualified because he did not fully spell out his middle name or because he abbreviated a word on the application. And if he manages to get past that, he is given a test to which even a college degree has proven unable to penetrate. For the fact is, that the only way to pass these barriers is to show white skin.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - SAME TIME</stage_direction> <scene_description>We are back with Johnson.</scene_description> <character>JOHNSON</character> <dialogue>The Constitution says that no person shall be kept from voting because of his race or color. To correct the denial of this fundamental right, this Wednesday, I will send to Congress a law designed to eliminate these illegal barriers.</dialogue> </scene> <scene> <stage_direction>INT. WALLACE'S OFFICE - SAME TIME</stage_direction> <scene_description>Wallace stands over the TELEVISION, glaring at it. He loosens his tie and then plops down in a chair.</scene_description> <character>JOHNSON (V.O.)</character> <dialogue>This bill will strike down voting restrictions in all elections - federal, state and local. This bill will establish a simple, uniform standard which cannot be used, however ingenious, to flout the Constitution. On this issue, there must be no delay, no hesitation, and no compromise.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT ROOM - SAME TIME</stage_direction> <scene_description>We see FORMAN and the other more militant-minded activists watching on TV.</scene_description> <character>JOHNSON (V.O.)</character> <dialogue>I recognize that outside this chamber is the outraged conscience of a nation. What happened in Selma is part of a far larger movement. It is the effort of the Negro to secure for themselves the full blessings of American life.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - SAME TIME</stage_direction> <scene_description>Johnson has the whole country in the palm of his hand.</scene_description> <character>JOHNSON</character> <dialogue>Their cause must be our cause too. The time of justice has come and I believe no force can hold it back.</dialogue> </scene> <scene> <stage_direction>INT. JACKSON RESIDENCE - SAME TIME</stage_direction> <scene_description>EVERYONE is there. KING is on the couch. CORETTA is in a nearby chair. They all watch Johnson on a TV in the corner of the room. As he speaks, we see each of their faces. LEWIS and WILLIAMS who faced an army of ignorance on the first bridge attempt. BEVEL, NASH and ORANGE who pushed for Selma to be the place of this protest. ABERNATHY, YOUNG and VIVIAN, the veterans who've been with King at every step for a decade now.</scene_description> <character>JOHNSON (V.O)</character> <dialogue>A century has passed. More than one hundred years since the Negro was freed. And he is not fully free tonight. It was more than one hundred years ago, but the emancipation is a proclamation and not a fact. The real hero of this struggle is the American Negro.</dialogue> <scene_description>Then, we zero in on KING. We watch him as he watches the President of the United States articulate the pain and suffering that he has worked tirelessly to amplify.</scene_description> <character>JOHNSON</character> <dialogue>The American Negro. His actions and his protests. His courage to risk safety, and even his life, have awakened the conscience of this nation. His demonstrations have been designed to call attention to injustice, designed to provoke change, designed to stir reform. He has called upon the nation to ensure that equality does not depend on force of arms or tear gas, but on the force of moral right. And we shall do this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We... shall... overcome.</dialogue> <scene_description>A gasp from the room as Johnson utters the movement's own rallying call. CLOSE on KING, blinking back his emotions as the others stir with surprise. An incredible moment of great weight. We watch him take it in. And then, he feels a hand on his arm. Coretta. A look passes between them that only they fully understand. A look that communicates what they've given up for the greater good. A look of pride -- as he takes her hand in his.</scene_description> </scene> <scene> <stage_direction>EXT. EDMUND PETTUS BRIDGE - DAWN</stage_direction> <scene_description>A WHITE PAPER BOY bikes across the bridge with his transistor radio strapped to his handlebars. As he peddles across with his papers in tow, we hear a RADIO ANNOUNCER.</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>Eaaaarly mornin', rise and shine! Let's see. It's March 25, 1965 today. The number one TV show in the land is "The Dick Van Dyke Show." The number one movie is something called "The Sound of Music." Well, I like the sound of that. And the number one song is this one by a few Negro gals from Detroit. Here you go! Time to WAKE UP!</dialogue> <scene_description>As The Supremes begin to sing "Stop in the Name of Love," the paper boy pulls over on the side of the bridge to look over the side in the early morning light. Above the turbulent waters of the Alabama River, he sees a US ARMY BOMB DISPOSAL TEAM combing the underside of the bridge.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS HOMES - THAT MORNING</stage_direction> <scene_description>We see shirts being tucked in, jackets being put on, boots being ties up, food being packed, blankets being folded and rolled. People are getting ready!</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - THAT MORNING</stage_direction> <scene_description>US ARMY SOLDIERS inspect a culvert in a section of highway near swampland. A BOMB DISPOSAL TEAM investigates a pick-up truck near the highway. A tow-truck stands by to remove it.</scene_description> </scene> <scene> <stage_direction>EXT. MONTGOMERY AIRSTRIP - THAT MORNING</stage_direction> <scene_description>A larger contingent of DOCTORS and NURSES, led by the ones we saw on Bloody Sunday, deplane with determination.</scene_description> </scene> <scene> <stage_direction>INT. BROWN MEETING ROOM - THAT MORNING</stage_direction> <scene_description>NASH, BEVEL, ORANGE and LEWIS call the shots finalizing food and medical support. VOLUNTEERS, including housewife VIOLA LUIZZO, stacking clear plastic rain ponchos at CT VIVIAN's direction. YOUNG and ABERNATHY work the phones with BAYARD RUSTIN.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - THAT MORNING</stage_direction> <scene_description>Volunteers, black and white, pitch a carnival-sized tent on an open field as BOMB DETECTION DOGS sniff at the perimeter.</scene_description> </scene> <scene> <stage_direction>EXT. MODEST HOUSE - THAT MORNING</stage_direction> <scene_description>The COLLEGE-AGED DAUGHTER we saw before and her BOYFRIEND exit the door of a modest house. The daughter turns and smiles. This time her MOTHER is behind her, ready to march.</scene_description> </scene> <scene> <stage_direction>EXT. TOUR BUS - THAT MORNING</stage_direction> <scene_description>We watch MAHALIA JACKSON and HARRY BELAFONTE board a tour bus, along with other performers, bound for Selma.</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHAPEL HALLWAY - THAT MORNING</stage_direction> <scene_description>ASSISTANT ATTORNEY GENERAL JOHN DOAR is huddled with KING and YOUNG.</scene_description> <character>DOAR</character> <dialogue>We have definite, verified intel that there is a sniper strike confirmed. We believe we can cover you through Lowndes County, but once you have the final day's walk through Montgomery, passing all those buildings and what not, the coverage becomes challenging. Please consider driving in on the final leg. And please consider nixing the speech at the Capitol.</dialogue> <character>KING</character> <dialogue>If Wallace will see us when we arrive, there will be no need for a speech. Can you arrange that?</dialogue> <scene_description>King and Young exchange an amused look. Doar shakes his head. They all know that's not going to happen. King puts his hand on Doar's shoulder, letting him off the hook.</scene_description> <character>KING</character> <dialogue>The fear is always with me. But I ask God to carry it for me. There's nothing else I can do. I can't hide. You understand?</dialogue> <scene_description>Doar doesn't, but takes a deep breath and nods.</scene_description> </scene> <scene> <stage_direction>EXT. EDMUND PETTUS BRIDGE - LATER THAT MORNING</stage_direction> <scene_description>We're looking from the Montgomery side of the Pettus Bridge. It's empty. Nothing moves. Then the heads of the front rank of MARCHERS start to rise over the crest of the bridge. They are led by KING and CORETTA, arm-in-arm. Alongside are King's band of brothers and sisters. The REVERSE ANGLE - in dramatic contrast to the two previous attempts to cross the bridge - the road before them is open as far as the eye can see. As they pass under the bridge sign, a YOUNGER MARCHER curiously questions a nearby ELDER MARCHER.</scene_description> <character>YOUNG MARCHER</character> <dialogue>'Scuse me. You know who Edmund Pettus is?</dialogue> <character>ELDER MARCHER</character> <dialogue>Old Confederate general.</dialogue> <scene_description>The Young Marcher nods. He figured as much.</scene_description> <character>ELDER MARCHER</character> <dialogue>And the first Klan leader 'round these parts.</dialogue> <character>YOUNG MARCHER</character> <dialogue>What?</dialogue> <character>ELDER MARCHER</character> <dialogue>Called himself the Grand Dragon of the realm of Alabama.</dialogue> <scene_description>The Young Marcher looks around at the bridge they are on, a bit shocked. The Elder Marcher puts his hand on the Young Marcher's shoulder.</scene_description> <character>ELDER MARCHER</character> <dialogue>Step proud. The Grand Dragon's definitely turning over in his grave today.</dialogue> <character>YOUNG MARCHER</character> <dialogue>Right on.</dialogue> <scene_description>Chuckling together, they cross the crest.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - VARIOUS TIMES</stage_direction> <scene_description>- MARCHERS walk in the sunshine. Soldiers stand guard along the route, backs to the marchers, facing groups of racists. - Heavy rain. Marchers wearing ponchos as a few glaring REDNECKS try to stare them down behind a big-finned car. - MARCHERS mingle round campfires amidst a small canvas city, cooking, talking, singing. - MARCHERS are silent as they pass through a sinister-looking swampland. An ARMY SNIPER keeps watch in a tall tree. - A dirt-poor shack near the highway. Outside the tiny wooden, a VERY POOR BLACK FAMILY stares in uncomprehending silence as the group passes. One MARCHER runs over to them with some literature to explain what's going on.</scene_description> </scene> <scene> <stage_direction>EXT. OPEN FIELD - LATER</stage_direction> <scene_description>We see MARCHERS sitting in a field cheering. In the dark field, we see a solitary light shining on a make-shift stage made of coffins stacked high. And there, we watch quick cuts of entertainers who flew in to support this movement. Illuminated by a single large light, we see HARRY BELAFONTE, JOAN BAEZ, TONY BENNETT, SAMMY DAVIS JR. and NINA SIMONE entertain the marchers. And we see CORETTA SCOTT KING take the stage to CHEERS and APPLAUSE. She looks out into the darkness and feels the people there, then closes her eyes and recites Langston Hughes' famous poem "Mother to Son" with delicacy and grace.</scene_description> <character>CORETTA</character> <dialogue>"Life for me ain't been no crystal stair/ It's had tacks in it/ And splinters/ And boards torn up/ And places with no carpet on the floor- Bare/ But all the time I'se been a- climbin' on/ And reachin' landins/ And turnin' corners/ And sometimes goin' in the dark/ Where there ain't been no light/ So boy, don't you turn back/ Don't you set down on the steps/ 'Cause you finds it's kinder hard/ Don't you fall now."</dialogue> </scene> <scene> <stage_direction>INT. WALLACE'S OFFICE - DAY</stage_direction> <scene_description>WALLACE stands with LINGO in his office to one side of the window, mumbling and upset.</scene_description> <character>WALLACE</character> <dialogue>My God, it looks like an army.</dialogue> <character>LINGO</character> <dialogue>An army of the next voters of Alabama.</dialogue> <scene_description>What a disaster. Wallace shakes his head, staring down at:</scene_description> </scene> <scene> <stage_direction>EXT. CAPITOL BUILDING - DAY</stage_direction> <scene_description>KING stands proud in the midst of a vast crowd, beneath the Alabama State Capitol, with the Alabama and Confederate flags flying in the breeze. They're all there with him: CORETTA, ABERNATHY, YOUNG, WILLIAMS, BEVEL, ORANGE, VIVIAN, NASH and LEWIS. They have made it to the symbolic finish line. US Army helicopters circle above. Federal officers eye King and everything and everyone around him as he is now under their protection. JOHN DOAR speaks urgently into his walkie talkie dispatching direction. US MARSHALLS scan the crowd from a high building with binoculars. On the sidelines are WHITE LOCALS, none to happy about the spectacle. They have the right to protest here and they are exercising it with signs reading; "I Hate Niggers" and "Walk Coon." They wave tiny Confederate flags. In a few moments, King will address the massive crowd. But first, he looks to Coretta who gives him a firm nod as if to say, "You've got this." King turns and approaches the microphones linked to powerful loudspeakers that will carry his voice through the thousands and thousands of people who are gathered before Wallace's capitol building.</scene_description> <character>KING</character> <dialogue>We heard them say we'd never make it here. We heard them say they'd stop us, if it was the last thing they did. We heard them say we don't deserve to be here. But today we stand - as Americans. We are here - and "we ain't gonna let nobody turn us around."</dialogue> <scene_description>King pauses as the crowd ERUPTS in passionate approval.</scene_description> <character>KING</character> <dialogue>This mighty march, which will be counted as one of the greatest demonstrations of protest and progress, ends here in the capitol of Alabama for a vital purpose.</dialogue> <scene_description>King's speech continues in voice-over: MONTAGE SEQUENCE: As King speaks, we see the faces of the main players in this epic saga transform into photographs of their REAL-LIFE COUNTERPARTS.</scene_description> <character>KING</character> <dialogue>A decade ago, right here in Montgomery, the Negro community made a commitment. A commitment to be self-determined. To depend on one another. To face our foes with faith, and with unity, and with dignity.</dialogue> <scene_description>We see proud Montgomery leader Amelia Boynton with TEXT ON SCREEN: AMELIA BOYTON - Awarded the MLK Freedom Medal in 1990 at the White House. We see old Cager Lee with TEXT ON SCREEN: CAGER LEE - The first in his family to register and vote, at the age of 84.</scene_description> <character>KING</character> <dialogue>We've not fought only for the right to sit where we please, and go to school where we please. We do not only strive here today to vote as we please. But with our commitment, we give birth each day to a new energy that is stronger than our strongest opposition. We arm ourselves with a longing for peace and personhood. And we embrace this new energy so boldly, embody it so fervently, that its reflection illuminates a great darkness.</dialogue> <scene_description>We see Andrew Young with TEXT ON SCREEN: ANDREW YOUNG - Became UN Ambassador under President Carter, then Mayor of Atlanta. We see John Lewis with TEXT ON SCREEN: JOHN LEWIS - Has served twenty-six years as a US Congressman for the 5th district of Georgia.</scene_description> <character>KING</character> <dialogue>Our society has distorted who we are.</dialogue> <character>KING</character> <dialogue>From slavery, to the Reconstruction, to the precipice at which we now stand, we've seen powerful white men rule the world offering poor white men a vicious lie as placation. And when the poor white man's children wail with a hunger that cannot be satisfied, he feeds them with that vicious lie. A lie whispering to them that regardless of their lot in life, they can at least be triumphant in the knowledge that their whiteness makes them superior to blackness.</dialogue> <scene_description>We see Sheriff Jim Clark with TEXT ON SCREEN: JIM CLARK - Defeated by overwhelming black vote in the next election and was never Sheriff again.</scene_description> <character>KING</character> <dialogue>But, we know the truth. We know the truth. And we will go forward to that truth, to freedom. We will not be stopped. We will march for the vote, we will march for our rights, we will march to demand treatment as full citizens, we will march until the viciousness and darkness gives way to the light of righteousness.</dialogue> <scene_description>We see Governor George Wallace with TEXT ON SCREEN: GEORGE WALLACE - Ran for President four times, left paralyzed by an assassination attempt in 1972. Remained prominent in Republican politics of the South until his death at age 79.</scene_description> <character>KING</character> <dialogue>No man, no myth, no malaise will stop this movement. We forbid it. For we know it is this darkness that murders the best of us. Whether Jimmie Lee Jackson, or James Reeb, or four blameless little girls struck down before they had even begun.</dialogue> <scene_description>We see housewife volunteer Viola Luizzo with TEXT ON SCREEN: VIOLA LUIZZO - Murdered five hours after this speech by white Klansmen as she carried marchers back to Selma.</scene_description> <character>KING</character> <dialogue>You may ask, when will we be free of this darkness? I say to you today, my brothers and sisters, despite the pain, despite the tears, our freedom will soon be upon us. For "truth crushed to earth will rise again."</dialogue> <scene_description>We see Coretta Scott King with TEXT ON SCREEN: CORETTA SCOTT KING - Became President of the Martin Luther King Center and lobbied successfully for the King holiday. Never remarried. Died in 2006 at 78.</scene_description> </scene> <scene> <stage_direction>EXT. MONTGOMERY - DAY</stage_direction> <scene_description>We're back in Montgomery, watching REAL FOOTAGE of DR. MARTIN LUTHER KING JR delivering his speech on the Alabama Capitol building steps on a sunny spring afternoon in March of 1965.</scene_description> <character>MARTIN LUTHER KING</character> <dialogue>When will we be free? It will soon be upon us. Because "no lie can live forever." When will we be free? It will soon be upon us. Because "you shall reap what you sow." When will we be free? It will soon be upon us because "mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored. He has loosed the fateful lightning of his terrible swift sword. His truth is marching on."</dialogue> <scene_description>TEXT ON SCREEN: Four months later, Lyndon Johnson signed the Voting Rights Act of 1965, with Dr. Martin Luther King Jr. at his side. Three years later in 1968, Martin Luther King was assassinated. He was 39 years old. TEXT CONCLUDES: KING looks out upon the magnificent crowd as a mighty, rolling roar of approval rises up to carry him forward. FADE TO BLACK.:</scene_description> </scene> </script>

In 1964, Dr. Martin Luther King Jr. of the Southern Christian Leadership Conference (SCLC) accepts his Nobel Peace Prize. Four black girls walking down stairs in the Birmingham, Alabama 16th Street Baptist Church are killed by a bomb set by the Ku Klux Klan. Annie Lee Cooper attempts to register to vote in Selma, Alabama, but is prevented by the white registrar. King meets with Lyndon B. Johnson and asks for federal legislation to allow black citizens to register to vote unencumbered, but the president responds that, although he understands Dr. King's concerns, he has more important projects. King travels to Selma with Ralph Abernathy, Andrew Young, James Orange, and Diane Nash. James Bevel greets them, and other SCLC activists appear. FBI director J. Edgar Hoover tells Johnson that King is a problem, and suggests they disrupt his marriage. Coretta Scott King has concerns about her husband's upcoming work in Selma. King calls singer Mahalia Jackson to inspire him with a song. King, other SCLC leaders, and black Selma residents march to the registration office to register. After a confrontation in front of the courthouse, a shoving match occurs as the police go into the crowd. Cooper fights back, knocking Sheriff Jim Clark to the ground, leading to the arrest of Cooper, King, and others. Alabama Governor George Wallace speaks out against the movement. Coretta meets with Malcolm X, who says he will drive whites to ally with King by advocating a more extreme position. Wallace and Al Lingo decide to use force at an upcoming night march in Marion, Alabama, using state troopers to assault the marchers. A group of protesters runs into a restaurant to hide, but troopers rush in and beat and shoot Jimmie Lee Jackson. King and Bevel meet with Cager Lee, Jackson's grandfather, at the morgue. King speaks to ask people to continue to fight for their rights. Harassing phone calls with a recording of sexual activity implied to be King and another woman lead to an argument with Coretta; she knows it is a fabrication, but the strain of constant death threats has taken its toll on her. King is criticized by members of the Student Nonviolent Coordinating Committee (SNCC). As the Selma-to-Montgomery march is about to begin, King talks to Young about delaying it for a day so he can spend some time with his family, but Young convinces King to let the march begin as scheduled without him, saying he can join later. The marchers, including John Lewis of SNCC, Hosea Williams of SCLC, and Selma activist Amelia Boynton, cross the Edmund Pettus Bridge and approach a line of state troopers who put on gas masks. The troopers order the marchers to turn back and, when the marchers hold their ground, the troopers attack with clubs, horses, tear gas, and other weapons. Lewis and Boynton are among those badly injured. The attack is shown on national television and the wounded are treated at Brown Chapel, the movement's headquarter church. Movement attorney Fred Gray asks federal Judge Frank Minis Johnson to let another attempt at the march go forward. President Johnson demands that King and Wallace cease their activities and sends Assistant Attorney General John Doar to convince King to postpone the next march. Numerous white Americans, including Viola Liuzzo and James Reeb, arrive to join the second march. Marchers cross the bridge again and see the state troopers lined up, but the troopers turn aside to let them pass. King, after praying, turns around and leads the group away, which again draws sharp criticism from SNCC activists. That evening, Reeb is beaten to death by an angry white mob on a street in Selma. After a hearing, Judge Johnson approves the march. President Johnson speaks before a Joint Session of Congress to ask for quick passage of a bill to eliminate restrictions on voting, praising the courage of the activists. The march on the highway to Montgomery takes place, and, when the marchers reach Montgomery, King delivers a speech on the steps of the State Capitol.

All About Eve_1950

tt0042192

<script> <scene> <stage_direction>INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT</stage_direction> <scene_description>It is not a large room and jammed with tables , mostly for four but some for six and eight . A long table of honor , for about thirty people , has been placed upon a dais . Diner is over . Demi - tasses , cigars and brandy . The overall effect is one of worn elegance and dogged gentility . It is June . The CAMERA , as it has been throughout the CREDIT TITLES , is on the SARAH SIDDONS AWARD . It is a gold statuette , about a foot high , of Sarah Siddons as The Tragic Muse . Exquisitely framed in a nest of flowers , it rests on a miniature altar in the center of the table of honor . Over this we hear the crisp , cultured , precise VOICE of ADDISON deWITT :</scene_description> <character>ADDISON'S VOICE</character> <dialogue>The Sarah Siddons Award for Distinguished Achievement is perhaps unknown to you. It has been spared the sensational and commercial publicity that attends such questionable `` honors'' as the Pulitzer Prize and those awards presented annually by the film society.</dialogue> <scene_description>The CAMERA has EASED BACK to include some of the table of honor and a distinguished gentleman with snow - white hair who is speaking . We do not hear what he says .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>The distinguished looking gentleman is an extremely old actor. Being an actor - he will go on speaking for some time. It is not important what you hear what he says.</dialogue> <scene_description>The CAMERA EASES BACK some more , and CONTINUES until it discloses a fairly COMPREHENSIVE SHOT of the room</scene_description> <character>ADDISON'S VOICE</character> <dialogue>However it is important that you know where you are, and why you are here. This is the dining room of the Sarah Siddons Society. The occasion is its annual banquet and presentation of the highest honor our Theater knows - the Sarah Siddons Award for Distinguished Achievement.</dialogue> <scene_description>A GROUP OF WAITERS are clustered near the screen masking the entrances of the kitchen . The screens are papered with old theatrical programs . The waiters are all aged and venerable . They look respectfully toward the speaker .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>These hollowed walls, indeed many of these faces, have looked upon Modjeska, Ada Rehan and Minnie Fiske ; Mansfield's voice filled the room, Booth breathed this air. It is unlikely that the windows have been opened since his death.</dialogue> <scene_description>CLOSE - THE AWARD on its altar , it shines proudly above five or six smaller altars which surround it and which are now empty .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>The minor awards, as you can see, have already been presented. Minor awards are for such as the writer and director - since their function is merely to construct a tower so that the world can applaud a light which flashes on top of it and no brighter light has ever dazzled the eye than Eve Harrington. Eve. but more of Eve, later. All about Eve, in fact.</dialogue> <scene_description>THE CAMERA MOVES TO : CLOSE - ADDISON deWITT , not young , not unattractive , a fastidious dresser , sharp of eye and merciless of tongue . An omnipresent cigarette holder projects from his mouth like the sward of D'Artagnan . He sits back in his chair , musingly , his fingers making little cannonballs out of bread crumbs . His narration covers the MOVE of the CAMERA to him :</scene_description> <character>ADDISON'S VOICE</character> <dialogue>To those of you who do not read, attend the Theater, listen to uncensored radio programs or know anything of the world in which we live - it is perhaps necessary to introduce myself. My name is Addison deWitt. My native habitat is the Theater - in it I toil not, neither do I spin. I am a critic and commentator. I am essential to the Theater - as ants are to a picnic, as the ball weevil to a cotton field.</dialogue> <scene_description>He looks to his left . KAREN RICHARDS is lovely and thirtyish in an unprofessional way . She is scraping bread crumbs , spilled sugar , etc. , into a pile with a spoon . Addison takes one of her bread crumbs . She smiles absently . Addison rolls the bread crumb into a cannonball .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>This is Karen Richards. She is the wife of a playwright, therefore of the Theater by marriage. Nothing in her background or breeding should have brought her any closer the stage than row E, center.</dialogue> <scene_description>Karen continues her doodling .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>however, during her senior year in Radcliffe, Lloyd Richards lectured on drama. The following year Karen became Mrs. Lloyd Richards. Lloyd is the author of ` Footsteps on the Ceiling' - the play which has won for Eve Harrington the Sarah Siddons Award.</dialogue> <scene_description>Karen absently pats the top of her little pile of refuse . A hand reaches in to take the spoon away . Karen looks as the CAMERA PANS with IT to MAX FABIAN . He sits at her left . He 's a sad - faced man with glasses and a look of constant apprehension . He smiles apologetically and indicated a white powder with he unwraps . He pantomimes that his ulcer is snapping . Karen smiles back , returns to her doodling . Addison mashes a cigarette stub , pops it out of his holder . He eyes Max .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>There are two types of theatrical producers. One has a great many wealthy friends who will risk a tax deductible loss. This type is interested in Art.</dialogue> <scene_description>Max drops the powder into some water , stirs it , drinks , burps delicately and close his eyes .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>The other is one to whom each production mean potential ruin or fortune. This type is out to make a buck. Meet Max Fabian. He is the producer of the play which has won Eve Harrington the Sarah Siddons Award.</dialogue> <scene_description>Max rests fitfully . He twitches . A hand reaches into the SCENE , removes a bottle of Scotch from before him . The CAMERA follows the bottle to MARGO CHANNING . She sits at Max 's left , at deWitt 's right . An attractive , strong face . She is childish , adult , reasonable , unreasonable - usually one when she should be the other , but always positive . She pours a stiff drink . Addison hold out the soda bottle to her . She looks at it , and at him , as if it were a tarantula and he had gone mad . He smiles and pours a glass of soda for himself .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Margo Channing is the Star of the Theater. She made her first stage appearance, at the age of four, in ` Midsummer Night's Dream'. She played a fairy and entered - quite unexpectedly - stark naked. She has been a Star ever since.</dialogue> <scene_description>Margo sloshes her drink around moodily , pulls at it .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Margo is a great Star. A true Star. She never was or will be anything less or anything less.</dialogue> <parenthetical>( slight pause . )</parenthetical> <dialogue>. the part for which Eve Harrington is receiving the Sarah Siddons Award was intended originally for Margo Channing.</dialogue> <scene_description>Addison , having sipped his soda water , puts a new cigarette in his holder , leans back , lights it , looks and exhales in the general direction of the table of honor . As he speaks the CAMERA MOVES in the direction of his glance .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Having covered in tedious detail not only the history of the Sarah Siddons Society, but also the history of acting since Thespis first stepped out of the chorus line - our distinguished chairman has finally arrived at our reason for being here.</dialogue> <scene_description>At this point Addison 's voice FADES OUT and the voice of the aged actor FADES IN . CAMERA is in MEDIUM CLOSE SHOT of him and the podium .</scene_description> <character>AGED ACTOR</character> <dialogue>I have been proud and privileged to have spent my life in the Theater - `` a poor player. that struts and frets his hour upon the stage'' - and I have been honored to be, for forty years, Chief Promoter of the Sarah Siddons Society.</dialogue> <parenthetical>( he lifts the Sarah Siddons Award from its altar . )</parenthetical> <dialogue>Thirty - nine times have I placed in deserving hands this highest honor the Theater knows.</dialogue> <parenthetical>( he grows a bit arch , he uses his eyebrows . )</parenthetical> <dialogue>Surely no actor is older than I - I have earned my place out of the sun.</dialogue> <parenthetical>( indulgent laughter . )</parenthetical> <dialogue>. and never before has this Award gone to anyone younger than its recipient tonight. How fitting that it should pass from my hands to hers.</dialogue> <scene_description>EVE HANDS : Lovely , beautifully groomed . In serene repose , they rest between a demi - tasse cup and an exquisite small evening cup .</scene_description> <character>AGED ACTOR</character> <dialogue>Such young hands. Such a young lady. Young in years, but whose heart is as old as the Theater.</dialogue> <scene_description>Addison 's eyes narrow quizzically as he listens . Then , slowly , he turns to look at Karen .</scene_description> <character>AGED ACTOR</character> <dialogue>Some of us a privileged to know her. We have seen beyond the beauty and artistry -</dialogue> <scene_description>Karen never ceases her thoughtful pat - a - cake with the crumbs .</scene_description> <character>AGED ACTOR</character> <dialogue>- that have made her name resound through the nation. We know her humility. Her devotion, her loyalty to her art.</dialogue> <scene_description>Addison 's glance moves from Karen to Margo .</scene_description> <character>AGED ACTOR</character> <dialogue>Her love, her deep and abiding love for us -</dialogue> <scene_description>Margo 's face is a mask . She looks down at the drink which she cradles with both hands .</scene_description> <character>AGED ACTOR</character> <dialogue>- for what we are and what we do. The Theater. She has had one wish, one prayer, one dream. To belong to us.</dialogue> <parenthetical>( he 's nearing his curtain line . )</parenthetical> <dialogue>Tonight her dream has come true. And henceforth we shall dream the same of her.</dialogue> <parenthetical>( a slight pause . )</parenthetical> <dialogue>Honored members, ladies and gentlemen - for distinguished achievement in the Theater - the Sarah Siddons Award to Miss Eve Harrington.</dialogue> <scene_description>The entire room is galvanized into sudden and tumultuous applause . Some enthusiastic gentlemen rise to her feet . Flash bulbs start popping about halfway down the table of the Aged Actor 's left . Eve rises - beautiful , radiant , poised , exquisitely gowned . She stands in simple and dignified response to the ovation . A dozen photographers skip , squat , and dart about like water bugs . Flash bulbs pop and pop and pop . THE WAITERS applaud enthusiastically . AGED ACTOR , Award in hand , he beams at her . EVE smiles sweetly to her left , then to her right . MAX has come to . He applauds lustily . ADDISON 's applauding too , more discreetly . MARGO , not applauding . But you sense no deliberate slight , merely an impression that as she looks at Eve her mind is on something else . KAREN , nor is she applauding . But her gaze is similarly fixed on Eve in a strange , faraway fashion . ADDISON , still applauding , his eyes flash first at Margo and then at Karen . Then he directs them back to Eve . He smiles ever so slightly . The applause has continued unabated . EVE turns now , and moves gracefully toward the Aged Actor . She moves through applauding ladies and gentlemen ; from below the flash bulbs keep popping . As she nears her goal , the Ages Actor turns to her . He holds out the award . Her hand reaches out for it . At that precise moment - with the award just beyond her fingertips - THE PICTURE HOLDS , THE ACTION STOPS . The SOUND STOPS .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Eve. Eve, the Golden Girl. The cover girl, the girl next door, the girl on the moon. Time has been good to Eve, Life goes where she goes - she's been profiled, covered, revealed, reported, what she eats and when and where, whom she knows and where she was and when and where she's going.</dialogue> <scene_description>ADDISON has stopped applauding , he 's sitting forward , staring intently at Eve . his narration continues unbroken .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Eve. You all know all about Eve. what can there be to know that you do n't know?</dialogue> <scene_description>As he leans back , the APPLAUSE FADES IN as tumultuous as before . Addison 's look moves slowly from Eve to Karen . KAREN , she leans forward now , her eyes intently on Eve . Her lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE - as she thinks back :</scene_description> <character>KAREN'S VOICE</character> <dialogue>When was it? How long? It seems a lifetime ago. Lloyd always said that in the Theater a lifetime was a season, and a season a lifetime. It's June now. That was - early October. only last October. It was a drizzly night, I remember I asked the taxi to wait.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK THEATER STREET - NIGHT</stage_direction> <scene_description>Traffic is not heavy , the shows have broken some half - hour before . The rain is just a drizzle . There are other theaters on the street ; display lights are being extinguished . Going out just as Karen 's taxi pulls up is : MARGO CHANNING in ` AGED IN WOOD ' . The marquis display below includes `` Max Fabian Presents '' and `` By Lloyd Richards . '' The taxi comes to a stop at the alley . Karen can be seen through the closed windows telling the driver to wait . Then she gets out . She takes a step , hesitates , then looks about curiously :</scene_description> <character>KAREN'S VOICE</character> <dialogue>Where was she? Strange. I had become so accustomed to seeing her there night after night - I found myself looking for a girl I'd never spoken to, wondering where she was.</dialogue> <scene_description>She smiles a little at her own romanticism , puts her head down and makes her way into the alley .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - CURRAN THEATER - NIGHT</stage_direction> <scene_description>Karen moves toward the stage door . She passes a recess in the wall - perhaps an exit - about halfway .</scene_description> <character>EVE'S VOICE</character> <parenthetical>( softly . )</parenthetical> <dialogue>Mrs. Richards.</dialogue> <scene_description>Karen hesitates , looks . Eve is barely distinguishable in the shadow of the recess . Karen smiles , waits . Eve comes out . A gooseneck light above them reveals her . She wears a cheap trench coat , low - heeled shoes , a rain hat stuck on the back of her head . Her large , luminous eyes seem to glow up at Karen in the strange half - light .</scene_description> <character>KAREN</character> <dialogue>So there you are. It seemed odd, suddenly, your not being there.</dialogue> <character>EVE</character> <dialogue>Why should you think I would n't be?</dialogue> <character>KAREN</character> <dialogue>Why should you be? After all, six nights a week - for weeks - of watching even Margo Channing enter and leave a theater -</dialogue> <character>EVE</character> <dialogue>I hope you do n't mind my speaking to you.</dialogue> <character>KAREN</character> <dialogue>Not at all.</dialogue> <character>EVE</character> <dialogue>I've seen you so often - it took every bit of courage I could raise -</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>To speak to just a playwright's wife? I'm the lowest form of celebrity.</dialogue> <character>EVE</character> <dialogue>You're Margo Channing's best friend. You and your husband are always with her - and Mr. Sampson. what's he like?</dialogue> <character>KAREN</character> <parenthetical>( grins . )</parenthetical> <dialogue>Bill Sampson? He's - he's a director.</dialogue> <character>EVE</character> <dialogue>He's the best.</dialogue> <character>KAREN</character> <dialogue>He'll agree with you. Tell me, what do you between the time Margo goes in and comes out? Just huddle in that doorway and wait?</dialogue> <character>EVE</character> <dialogue>Oh, no. I see the play.</dialogue> <character>KAREN</character> <parenthetical>( incredulous . )</parenthetical> <dialogue>You see the play? You've seen the play every performance?</dialogue> <parenthetical>( Eve nods . )</parenthetical> <dialogue>But, do n't you find it - I mean apart from everything else - do n't you find it expensive?</dialogue> <character>EVE</character> <dialogue>Standing room does n't cost much. I manage.</dialogue> <scene_description>Karen contemplates Eve . Then she takes her arm .</scene_description> <character>KAREN</character> <dialogue>I'm going to take you to Margo.</dialogue> <character>EVE</character> <parenthetical>( hanging back . )</parenthetical> <dialogue>Oh, no.</dialogue> <character>KAREN</character> <dialogue>She's got to meet you -</dialogue> <character>EVE</character> <dialogue>No, I'd be imposing on her, I'd be just another tongue - tied gushing fan.</dialogue> <scene_description>Karen practically propels her toward the stage door .</scene_description> <character>KAREN</character> <parenthetical>( insisting . )</parenthetical> <dialogue>There is n't another like you, there could n't be -</dialogue> <character>EVE</character> <dialogue>But if I'd known. maybe some other time. I mean, looking like this.</dialogue> <character>KAREN</character> <dialogue>You look just fine.</dialogue> <parenthetical>( they 're at the stage door . )</parenthetical> <dialogue>. by the way. What's your name?</dialogue> <character>EVE</character> <dialogue>Eve. Eve Harrington.</dialogue> <scene_description>Karen opens the door . They go in .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CURRAN THEATER - NIGHT</stage_direction> <scene_description>Everything , including the doorman , looks fireproof . Eve enters like a novitiate 's first visit to the Vatican . Karen , with a `` Good evening , Gus - '' to the doorman , leads the way toward Margo 's stage dressing room . Eve , drinking in the wonderment of all the surveys , lags behind . Karen waits for her to catch up .</scene_description> <character>EVE</character> <dialogue>You can breathe it - ca n't you? Like some magic perfume.</dialogue> <scene_description>Karen smiles , takes Eve 's arm . They proceed to Margo 's dressing room .</scene_description> </scene> <scene> <stage_direction>EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT</stage_direction> <scene_description>No star on the closed door ; the paint is peeling . A type written chit , thumbtacked , says MISS CHANNING . As Karen and Eve approach it , an uninhibited guffaw from Margo makes them pause .</scene_description> <character>KAREN</character> <parenthetical>( whispers . )</parenthetical> <dialogue>You wait a minute.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>. now do n't run away -</dialogue> <scene_description>Eve smiles shakily . At the same moment :</scene_description> <character>MARGO'S VOICE</character> <parenthetical>( loudly ; through the door . )</parenthetical> <dialogue>`` Honey chile,'' I said, `` if the South had won the war, you could write the same plays about the North!''</dialogue> <scene_description>Karen enters during the line .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT</stage_direction> <scene_description>It is a medium - sized box , lined with hot water pipes and cracked plaster . It is furnished in beat - up wicker . A door leads to an old - fashioned bathroom . Margo is at the dressing table . She wears an old wrapper , her hair drawn back tightly to fit under the wig which lies before her like a dead poodle . Also before her is an almost finished drink . LLOYD RICHARDS is stretched out on the wicker chaise . He 's in his late thirties , sensitive , literate . Between them , by the dressing table , is BIRDIE - Margo 's maid . Her age is unimportant . She was conceived during a split week in Walla Walla and born in a carnival riot . She is fiercely loyal to Margo . Karen enters during the line Margo started while she was outside . Lloyd chuckles , Birdie cackles .</scene_description> <character>KAREN</character> <dialogue>Hi.</dialogue> <parenthetical>( she goes to kiss Lloyd . )</parenthetical> <dialogue>Hello, darling -</dialogue> <character>MARGO</character> <dialogue>Hi.</dialogue> <parenthetical>( she goes right on - in a think `` Suth ` n '' accent . )</parenthetical> <dialogue>`` Well, now Mis' Channin', ah do n't think you can rightly say we lost the wah, we was mo' stahved out, you might say - an' that's what ah don' unnerstand about all these plays about love - stahved Suth'n women - love is one thing we was nevah stahved for the South!''</dialogue> <character>LLOYD</character> <dialogue>How was the concert?</dialogue> <character>KAREN</character> <dialogue>Loud.</dialogue> <character>BIRDIE</character> <dialogue>Lem me fix you a drink.</dialogue> <character>KAREN</character> <dialogue>No thanks, Birdie.</dialogue> <scene_description>Karen laughs with them .</scene_description> <character>LLOYD</character> <dialogue>Margo's interview with a lady reporter from the South -</dialogue> <character>BIRDIE</character> <dialogue>The minute it gets printed they're gon na fire on Gettysburg all over again.</dialogue> <character>MARGO</character> <dialogue>It was Fort Sumter they fired on -</dialogue> <character>BIRDIE</character> <dialogue>I never played Fort Sumter.</dialogue> <scene_description>She takes the wig into the bathroom . Margo starts creaming the make - up off her face .</scene_description> <character>MARGO</character> <dialogue>Honey chili had a point. You know, I can remember plays about women - even from the South - where it never even occurred to them whether they wanted to marry their fathers more than their brothers.</dialogue> <character>LLOYD</character> <dialogue>That was way back.</dialogue> <character>MARGO</character> <dialogue>Within your time, buster. Lloyd, honey, be a playwright with guts. Write me one about a nice, normal woman who shoots her husband.</dialogue> <scene_description>Birdie comes out of the bathroom without the wig .</scene_description> <character>BIRDIE</character> <dialogue>You need new girdles.</dialogue> <character>MARGO</character> <dialogue>Buy some.</dialogue> <character>BIRDIE</character> <dialogue>The same size?</dialogue> <character>MARGO</character> <dialogue>Of course!</dialogue> <character>BIRDIE</character> <dialogue>Well. I guess a real tight girdle help when you're playin' a lunatic.</dialogue> <scene_description>She picks up Lloud empty glass , asks `` more '' ? He shakes his head . She pours herself a quick one .</scene_description> <character>KAREN</character> <parenthetical>( firmly . )</parenthetical> <dialogue>Margo does not play a lunatic, Birdie.</dialogue> <character>BIRDIE</character> <dialogue>I know. She just keeps hearin' her dead father play the banjo.</dialogue> <character>MARGO</character> <dialogue>It's the tight girdle that does it.</dialogue> <character>KAREN</character> <dialogue>I find these wisecracks increasingly less funny! ` Aged in Wood' happens to be a fine and distinguished play -</dialogue> <character>LLOYD</character> <dialogue>- ` at's my loyal little woman.</dialogue> <character>KAREN</character> <dialogue>The critics thought so, the audiences certainly think so - packed houses, tickets for months in advance - I ca n't see that either of Lloyd's last two plays have hurt you any!</dialogue> <character>LLOYD</character> <dialogue>Easy, now.</dialogue> <character>MARGO</character> <parenthetical>( grins . )</parenthetical> <dialogue>Relax, kid. It's only me and my big mouth.</dialogue> <character>KAREN</character> <parenthetical>( mollified . )</parenthetical> <dialogue>It's just that you get me so mad sometimes. of all the women in the world with nothing to complain about -</dialogue> <character>MARGO</character> <parenthetical>( dryly . )</parenthetical> <dialogue>Ai n't it the truth?</dialogue> <character>KAREN</character> <dialogue>Yes, it is! You're talented, famous, wealthy - people waiting around night after night just to see you, even in the wind and rain.</dialogue> <character>MARGO</character> <dialogue>Autograph fiends! They're not people - those little beast who run in packs like coyotes -</dialogue> <character>KAREN</character> <dialogue>They're your fans, your audience -</dialogue> <character>MARGO</character> <dialogue>They're nobody's fans! They're juvenile delinquents, mental detectives, they're nobody's audience, they never see a play or a movie, even - they're never indoors long enough!</dialogue> <scene_description>There is a pause . Lloyd applauds lightly .</scene_description> <character>KAREN</character> <dialogue>Well. there's one indoors now. I've brought her back to see you.</dialogue> <character>MARGO</character> <dialogue>You've what?</dialogue> <character>KAREN</character> <parenthetical>( in a whisper . )</parenthetical> <dialogue>She's just outside the door.</dialogue> <character>MARGO</character> <parenthetical>( to Birdie ; also a whisper . )</parenthetical> <dialogue>The heave - ho.</dialogue> <scene_description>Birdie starts . Karen stops her . It 's all in whisper , now , until Eve comes in .</scene_description> <character>KAREN</character> <dialogue>You ca n't put her out, I promised. Margo, you've got to see her, she worships you, it's like something out of a book -</dialogue> <character>LLOYD</character> <dialogue>That book is out of print, Karen, those days are gone. Fans no longer pull the carriage through the streets - they tear off clothes and steal wrist watches.</dialogue> <character>KAREN</character> <dialogue>If you'd only see her, you're her whole life - you must have spotted her by now, she's always there.</dialogue> <character>MARGO</character> <dialogue>Kind of mousy trench coat and funny hat?</dialogue> <parenthetical>( Karen nods . )</parenthetical> <dialogue>How could I miss her? Every night and matinee - well.</dialogue> <scene_description>She looks to Birdie .</scene_description> <character>BIRDIE</character> <dialogue>Once George Jessel played my hometown. For a girl, gettin' in to see him was easy. Gettin' out was the problem.</dialogue> <scene_description>They all laugh . Karen goes to the door , opens it . Eve comes in . Karen closes the door behind her . A moment .</scene_description> <character>EVE</character> <parenthetical>( simply . )</parenthetical> <dialogue>I thought you'd forgotten about me.</dialogue> <character>KAREN</character> <dialogue>Not at all.</dialogue> <parenthetical>( her arm through Eve 's . )</parenthetical> <dialogue>Margo, this is Eve Harrington.</dialogue> <scene_description>Margo changes swiftly into a first - lady - of - the - theater manner .</scene_description> <character>MARGO</character> <parenthetical>( musically . )</parenthetical> <dialogue>How do you do, my dear.</dialogue> <character>BIRDIE</character> <parenthetical>( mutters . )</parenthetical> <dialogue>Oh, brother.</dialogue> <character>EVE</character> <dialogue>Hello, Miss Channing.</dialogue> <character>KAREN</character> <dialogue>My husband.</dialogue> <character>LLOYD</character> <parenthetical>( nicely . )</parenthetical> <dialogue>Hello, Miss Harrington.</dialogue> <character>EVE</character> <dialogue>How do you do, Mr. Richards.</dialogue> <character>MARGO</character> <parenthetical>( graciously . )</parenthetical> <dialogue>And this is my good friend and companion, Miss Birdie Coonan.</dialogue> <character>BIRDIE</character> <dialogue>Oh, brother.</dialogue> <character>MARGO</character> <dialogue>Miss Coonan.</dialogue> <character>LLOYD</character> <parenthetical>( to Birdie . )</parenthetical> <dialogue>Oh brother what?</dialogue> <character>BIRDIE</character> <dialogue>When she gets like this. all of a sudden she's playin' Hamlet's mother.</dialogue> <character>MARGO</character> <parenthetical>( quiet menace . )</parenthetical> <dialogue>I'm sure you must have things to do in the bathroom, Birdie dear.</dialogue> <character>BIRDIE</character> <dialogue>If I have n't, I'll find something till you're normal.</dialogue> <scene_description>She goes into the bathroom .</scene_description> <character>MARGO</character> <dialogue>Dear Birdie. Wo n't you sit down, Miss Worthington?</dialogue> <character>KAREN</character> <dialogue>Harrington.</dialogue> <character>MARGO</character> <dialogue>I'm so sorry. Harrington. Wo n't you sit down?</dialogue> <character>EVE</character> <dialogue>Thank you.</dialogue> <scene_description>She sits . A short lull .</scene_description> <character>MARGO</character> <dialogue>Would you like a drink? It's right beside you.</dialogue> <character>KAREN</character> <dialogue>I was telling Margo and Lloyd about how often you'd seen the play.</dialogue> <scene_description>They start together , and stop in deference to each other . They 're a little flustered . But not Eve .</scene_description> <character>EVE</character> <parenthetical>( to Margo . )</parenthetical> <dialogue>No, thank you.</dialogue> <parenthetical>( to Lloyd . )</parenthetical> <dialogue>Yes. I've seen every performance.</dialogue> <character>LLOYD</character> <parenthetical>( delighted . )</parenthetical> <dialogue>Every performance? Then - am I safe in assuming you like it?</dialogue> <character>EVE</character> <dialogue>I'd like anything Miss Channing played.</dialogue> <character>MARGO</character> <parenthetical>( beams . )</parenthetical> <dialogue>Would you, really? How sweet -</dialogue> <character>LLOYD</character> <parenthetical>( flatly . )</parenthetical> <dialogue>I doubt very much that you'd like her in ` The Hairy Ape'.</dialogue> <character>EVE</character> <dialogue>Please, do n't misunderstand me, Mr. Richards. I think that part of Miss Channing's greatness lies in her ability to choose the best plays. your new play is for Miss Channing, is n't it, Mr. Richards?</dialogue> <character>MARGO</character> <dialogue>Of course it is.</dialogue> <character>LLOYD</character> <dialogue>How'd hear about it?</dialogue> <character>EVE</character> <dialogue>There was an item in the Times. i like the title. ` Footsteps on the Ceiling'.</dialogue> <character>LLOYD</character> <dialogue>Let's get back to this one. Have you really seen every performance?</dialogue> <parenthetical>( Eve nods . )</parenthetical> <dialogue>Why? I'm curious.</dialogue> <scene_description>Eve looks at Margo , then drops her eyes .</scene_description> <character>EVE</character> <dialogue>Well. If I did n't come to see the play, I would n't have anywhere else to go.</dialogue> <character>MARGO</character> <dialogue>There are other plays.</dialogue> <character>EVE</character> <dialogue>Not with you in them. Not by Mr. Richards.</dialogue> <character>LLOYD</character> <dialogue>But you must have friends, a family, a home -</dialogue> <scene_description>Eve pauses . Then shakes her head .</scene_description> <character>KAREN</character> <dialogue>Tell us about it - Eve.</dialogue> <scene_description>Eve looks at her - grateful because Karen called her `` Eve . '' Then away , again .</scene_description> <character>EVE</character> <dialogue>If I only knew how.</dialogue> <character>KAREN</character> <dialogue>Try.</dialogue> <character>EVE</character> <dialogue>Well.</dialogue> <scene_description>Birdie comes out of the bathroom . Everybody looks at her sharply . She realizes she 's in on something important . She closes the door quietly , leans against it .</scene_description> <character>EVE</character> <dialogue>Well. it started with the play before this one.</dialogue> <character>LLOYD</character> <dialogue>` Remembrance'.</dialogue> <character>MARGO</character> <dialogue>Did you see it here in New York?</dialogue> <character>EVE</character> <dialogue>San Francisco. It was the last week. I went one night. the most important night in my life - until this one. Anyway. I found myself going the next night - and the next and the next. Every performance. Then, when the show went East - I went East.</dialogue> <character>BIRDIE</character> <dialogue>I'll never forget that blizzard the night we played Cheyenne. A cold night. First time I ever saw a brassiere break like a piece of matzos.</dialogue> <scene_description>Eve looks at her unsmilingly , then back to her hands .</scene_description> <character>KAREN</character> <dialogue>Eve. why do n't you start at the beginning?</dialogue> <character>EVE</character> <dialogue>It could n't possibly interest you.</dialogue> <character>MARGO</character> <dialogue>Please.</dialogue> <scene_description>Eve speaks simply and without self - pity .</scene_description> <character>EVE</character> <dialogue>I guess it started back home. Wisconsin, that is. There was just mum, and dad - and me. I was the only child, and I made believe a lot when I was a kid - I acted out all sorts of things. what they were is n't important. But somehow acting and make - believe began to fill up my life more and more, it got so that I could n't tell the real from the unreal except that the unreal seemed more real to me. I'm talking a lot of gibberish, are n't I?</dialogue> <character>LLOYD</character> <dialogue>Not at all.</dialogue> <character>EVE</character> <dialogue>Farmers were poor in those days, that's what dad was - a farmer. I had to help out. So I quit school and I went to Milwaukee. I became a secretary. In a brewery.</dialogue> <parenthetical>( she smiles . )</parenthetical> <dialogue>When you're a secretary in a brewery - it's pretty hard to make believe you're anything else. Everything is beer. It was n't much fun, but it helped at home - and there was a Little Theater Group. like a drop of rain in the desert. That's where I met Eddie. He was a radio technician. We played ` Liliom' for three performances, I was awful - then the war came, and we got married. Eddie was in the air force - and they sent him to the South Pacific. You were with the O.W.I., were n't you Mr. Richards?</dialogue> <parenthetical>( Lloyd nods . )</parenthetical> <dialogue>That's what ` Who's Who' says. well, with Eddie gone, my life went back to beer. Except for a letter a week. One week Eddie wrote he had a leave coming up. I'd saved my money and vacation time. I went to San Francisco to meet him.</dialogue> <parenthetical>( a slight pause . )</parenthetical> <dialogue>Eddie was n't there. They forwarded the telegram from Milwaukee - the one that came from Washington to say that Eddie was n't coming at all. That Eddie was dead.</dialogue> <parenthetical>( Karen puts her hand on Lloyd 's . )</parenthetical> <dialogue>. so I figured I'd stay in San Francisco. i was alone, but could n't go back without Eddie. I found a job. And his insurance helped. and there were theaters in San Francisco. And one night Margo Channing came to play in ` Remembrance'. and I went to see it. And - well - here I am.</dialogue> <scene_description>She finishes dry - eyes and self - composed . Margo squeezes the bridge of her nose , dabs at her eyes .</scene_description> <character>BIRDIE</character> <parenthetical>( finally . )</parenthetical> <dialogue>What a story. Everything but the bloodhounds snappin' at her rear end.</dialogue> <scene_description>That breaks the spell . Margo turns to her -</scene_description> <character>MARGO</character> <dialogue>There are some human experiences, Birdie, that do not take place in a vaudeville house - and that even a fifth - rate vaudevillian should understand and respect!</dialogue> <parenthetical>( to Eve . )</parenthetical> <dialogue>I want to apologize for Birdie's -</dialogue> <character>BIRDIE</character> <parenthetical>( snaps in . )</parenthetical> <dialogue>You do n't have to apologize for me!</dialogue> <parenthetical>( to Eve . )</parenthetical> <dialogue>I'm sorry if I hurt your feelings. It's just my way of talkin'.</dialogue> <character>EVE</character> <parenthetical>( nicely . )</parenthetical> <dialogue>You did n't hurt my feelings, Miss Coonan.</dialogue> <character>BIRDIE</character> <dialogue>Call me Birdie.</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>As for bein' fifth - rate - i closed the first half for eleven years an' you know it!</dialogue> <scene_description>She slams into the bathroom again . At that precise instant BILL SAMPSON flings open the door to the dressing room . He 's youngish , vital , undisciplined . He lugs a beat - up suitcase which he drops as he crosses to Margo -</scene_description> <character>BILL</character> <dialogue>Forty - five minutes from now my plane takes off and how do I find you? Not ready yet, looking like a junk yard -</dialogue> <character>MARGO</character> <dialogue>Thank you so much.</dialogue> <character>BILL</character> <dialogue>Is it sabotage, does my career mean nothing to you? Have you no human consideration?</dialogue> <character>MARGO</character> <dialogue>Show me a human and I might have!</dialogue> <character>KAREN</character> <parenthetical>( conscious of Eve . )</parenthetical> <dialogue>Bill.</dialogue> <character>BILL</character> <dialogue>The air lines have clocks, even if you have n't! I start shooting a week from Monday - Zanuck is impatient, he wants me, he needs me!</dialogue> <character>KAREN</character> <parenthetical>( louder . )</parenthetical> <dialogue>Bill -</dialogue> <character>MARGO</character> <dialogue>Zanuck, Zanuck, Zanuck! What are you two - lovers?</dialogue> <scene_description>Bill grins suddenly , drops to one knee beside her .</scene_description> <character>BILL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Only in some ways. You're prettier.</dialogue> <character>MARGO</character> <dialogue>I'm a junk yard.</dialogue> <character>KAREN</character> <parenthetical>( yells . )</parenthetical> <dialogue>Bill!</dialogue> <character>BILL</character> <parenthetical>( vaguely ; to Karen . )</parenthetical> <dialogue>Huh?</dialogue> <character>KAREN</character> <dialogue>This is Eve Harrington.</dialogue> <scene_description>Bill flashes a fleeting look at Eve .</scene_description> <character>BILL</character> <dialogue>Hi.</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>My wonderful junk yard. The mystery and dreams you find in a junk yard -</dialogue> <character>MARGO</character> <parenthetical>( kisses him . )</parenthetical> <dialogue>Heaven help me, I love a psychotic.</dialogue> <scene_description>Bill grins , rises , sees Eve as if for the first time .</scene_description> <character>BILL</character> <dialogue>Hello, what's your name?</dialogue> <character>EVE</character> <dialogue>Eve. Eve Harrington.</dialogue> <character>KAREN</character> <dialogue>You've already met.</dialogue> <character>BILL</character> <dialogue>Where?</dialogue> <character>KAREN</character> <dialogue>Right here. A minute ago.</dialogue> <character>BILL</character> <dialogue>That's nice.</dialogue> <character>MARGO</character> <dialogue>She, too, is a great admirer of yours.</dialogue> <character>BIRDIE</character> <dialogue>Imagine. All this admiration in just one room.</dialogue> <character>BILL</character> <dialogue>Take your mistress into the bathroom and dress her.</dialogue> <parenthetical>( Birdie opens her mouth . )</parenthetical> <dialogue>Without comment.</dialogue> <scene_description>Birdie shuts it and goes into the bathroom . In a moment we hear a shower start to run . Eve gets up .</scene_description> <character>KAREN</character> <dialogue>You're not going, are you?</dialogue> <character>EVE</character> <dialogue>I think I'd better. It's been - well, I can hardly find the words to say how it's been.</dialogue> <character>MARGO</character> <parenthetical>( rises . )</parenthetical> <dialogue>No, do n't go.</dialogue> <character>EVE</character> <dialogue>The four of you must have so much to say to each other - with Mr. Sampson leaving.</dialogue> <scene_description>Margo , impulsively crosses to Eve .</scene_description> <character>MARGO</character> <dialogue>Stick around. Please. Tell you what - we'll put Stanislavsky on his plane, you and I, then go somewhere and talk.</dialogue> <character>EVE</character> <dialogue>Well - if I'm not in the way.</dialogue> <character>MARGO</character> <dialogue>I wo n't be a minute.</dialogue> <scene_description>She darts into the bathroom . Eve sits down again .</scene_description> <character>KAREN</character> <dialogue>Lloyd, we've got to go -</dialogue> <scene_description>Lloyd gets up . Karen crosses to pound on the bathroom door . She yells - the shower is going .</scene_description> <character>KAREN</character> <dialogue>Margo, good night! I'll call you tomorrow!</dialogue> <scene_description>Margo 's answer is lost in the shower noise . Karen crosses to kiss Bill . She 's joined by Lloyd .</scene_description> <character>KAREN</character> <dialogue>Good luck, genius.</dialogue> <character>BILL</character> <dialogue>Geniuses do n't need good luck.</dialogue> <parenthetical>( he grins . )</parenthetical> <dialogue>I do.</dialogue> <character>LLOYD</character> <dialogue>I'm not worried about you.</dialogue> <character>BILL</character> <dialogue>Keep the thought.</dialogue> <scene_description>They shake hands warmly . Karen and Lloyd move to Eve .</scene_description> <character>KAREN</character> <dialogue>Good night, Eve. I hope I see you again soon -</dialogue> <character>EVE</character> <dialogue>I'll be at the old stand, tomorrow matinee -</dialogue> <character>KAREN</character> <dialogue>Not just that way. As a friend.</dialogue> <character>EVE</character> <dialogue>I'd like that.</dialogue> <character>LLOYD</character> <dialogue>It's been a real pleasure, Eve.</dialogue> <character>EVE</character> <dialogue>I hope so, Mr. Richards. Good night.</dialogue> <scene_description>Lloyd shakes her hand , crosses to join Karen who waits at the open dressing room door .</scene_description> <character>EVE</character> <dialogue>Mrs. Richards.</dialogue> <parenthetical>( Karen and Lloyd look back . )</parenthetical> <dialogue>. I'll never forget this night as long as I live. And I'll never forget you for making it possible.</dialogue> <scene_description>Karen smiles warmly . She closes the door . They leave .</scene_description> <character>KAREN'S VOICE</character> <dialogue>- and I'll never forget you, Eve. Where were we going that night, Lloyd and I? Funny the things you remember - and the things you do n't.</dialogue> </scene> <scene> <stage_direction>INT. MARGO'S DRESSING ROOM - NIGHT</stage_direction> <scene_description>Eve sits on the same chair . Bill keeps moving around . Eve never takes her eyes off him . He offers her a cigarette . She shakes her head . He looks at his watch .</scene_description> <character>EVE</character> <dialogue>You said forty - seven minutes. You'll never make it.</dialogue> <character>BILL</character> <parenthetical>( grins . )</parenthetical> <dialogue>I told you a lie. We'll make it easily. Margo's got no more conception of time than a halibut.</dialogue> <scene_description>He goes to the dressing table , picks up Margo 's pocketbook , opens it . He finds a letter . He glances at it , puts it back .</scene_description> <character>BILL</character> <dialogue>She's been carrying that letter around for weeks. I've read it three times.</dialogue> <scene_description>There 's a sudden sharp yelp from the bathroom .</scene_description> <character>MARGO'S VOICE</character> <dialogue>You're supposed to zip the zipper - not me.</dialogue> <character>BIRDIE'S VOICE</character> <dialogue>Like tryin' to zip a pretzel - stand still!</dialogue> <scene_description>Bill grins .</scene_description> <character>BILL</character> <dialogue>What a documentary those two would make. like the mongoose and the cobra -</dialogue> <scene_description>He sprawls on the chaise , closes his eyes . A pause .</scene_description> <character>EVE</character> <parenthetical>( finally . )</parenthetical> <dialogue>So you're going to Hollywood.</dialogue> <scene_description>Bill grunts in the affirmative . Silence .</scene_description> <character>BILL</character> <dialogue>Why?</dialogue> <character>EVE</character> <dialogue>I just wondered.</dialogue> <character>BILL</character> <dialogue>Just wondered what?</dialogue> <character>EVE</character> <dialogue>Why.</dialogue> <character>BILL</character> <dialogue>Why what?</dialogue> <character>EVE</character> <dialogue>Why you have to go out there.</dialogue> <character>BILL</character> <dialogue>I do n't have to. I want to.</dialogue> <character>EVE</character> <dialogue>Is it the money?</dialogue> <character>BILL</character> <dialogue>Eighty percent of it will go for taxes.</dialogue> <character>EVE</character> <dialogue>Then why? Why, if you're the best and most successful young director in the Theater -</dialogue> <character>BILL</character> <dialogue>The Theatuh, the Theatuh -.</dialogue> <parenthetical>( he sits up . )</parenthetical> <dialogue>- what book of rules says the Theater exists only within some ugly buildings crowded into one square mile of New York City? Or London, Paris or Vienna?</dialogue> <parenthetical>( he gets up . )</parenthetical> <dialogue>Listen, junior. And learn. Want to know what the Theater is? A flea circus. Also opera. Also rodeos, carnivals, ballets, Indian tribal dances, Punch and Judy, a one - man band - all Theater. Wherever there's magic and make - believe and an audience - there's Theater. Donald Duck, Ibsen, and The Lone Ranger, Sarah Bernhardt, Poodles Hanneford, Lunt and Fontanne, Betty Grable, Rex and Wild, and Eleanora Duse. You do n't understand them all, you do n't like them all, why should you? The Theater's for everybody - you included, but not exclusively - so do n't approve or disapprove. It may not be your Theater, but it's Theater of somebody, somewhere.</dialogue> <character>EVE</character> <dialogue>I just asked a simple question.</dialogue> <character>BILL</character> <parenthetical>( grins . )</parenthetical> <dialogue>And I shot my mouth off. Nothing personal, junior, no offense.</dialogue> <parenthetical>( he sits back down . )</parenthetical> <dialogue>. it's just that there's so much bushwah in this Ivory Green Room they call the Theatuh - sometimes it gets up around my chin.</dialogue> <scene_description>He lies down again .</scene_description> <character>EVE</character> <dialogue>But Hollywood. You must n't stay there.</dialogue> <character>BILL</character> <parenthetical>( he closes his eyes . )</parenthetical> <dialogue>It's only one picture deal.</dialogue> <character>EVE</character> <dialogue>So few come back.</dialogue> <character>BILL</character> <dialogue>Yeah. They keep you under drugs out there with armed guards.</dialogue> <scene_description>A pause .</scene_description> <character>EVE</character> <dialogue>I read George Jean Nathan every week.</dialogue> <character>BILL</character> <dialogue>Also Addison deWitt.</dialogue> <character>EVE</character> <dialogue>Every day.</dialogue> <character>BILL</character> <dialogue>You did n't have to tell me.</dialogue> <scene_description>Margo , putting on an earring , buzzes out of the bathroom followed by Birdie . Bill sits up .</scene_description> <character>MARGO</character> <parenthetical>( en route . )</parenthetical> <dialogue>I understand it's the latest thing - just one earring. If it is n't, it's going to be - I ca n't find the other.</dialogue> <scene_description>She grabs her pocketbook , starts rummaging . Out comes the letter .</scene_description> <character>BILL</character> <dialogue>Throw that dreary thing away, it bores me -</dialogue> <scene_description>Margo drops it in the wastebasket , keeps rummaging .</scene_description> <character>EVE</character> <parenthetical>( concerned . )</parenthetical> <dialogue>Where do you suppose it could be?</dialogue> <character>BIRDIE</character> <dialogue>It'll show up.</dialogue> <character>MARGO</character> <parenthetical>( gives up . )</parenthetical> <dialogue>Oh well.</dialogue> <parenthetical>( to Birdie . )</parenthetical> <dialogue>. look through the wigs, maybe it got caught -</dialogue> <character>BILL</character> <dialogue>Real diamonds in a wig. The world we live in.</dialogue> <character>MARGO</character> <parenthetical>( she 's been looking . )</parenthetical> <dialogue>Where's my coat?</dialogue> <character>BIRDIE</character> <dialogue>Right where you left it.</dialogue> <scene_description>She goes behind the chaise . She comes up with a magnificent mink .</scene_description> <character>BILL</character> <parenthetical>( to Margo . )</parenthetical> <dialogue>The seams.</dialogue> <scene_description>Margo starts to straighten them .</scene_description> <character>MARGO</character> <parenthetical>( to Eve . )</parenthetical> <dialogue>Ca n't keep his eyes off my legs.</dialogue> <character>BILL</character> <dialogue>Like a nylon lemon peel -</dialogue> <character>MARGO</character> <parenthetical>( straightens up . )</parenthetical> <dialogue>Byron could n't have said it more graciously. here we go -</dialogue> <scene_description>By now she 's in the coat and has Eve 's arm , heading for the door . Bill puts his arms around Birdie .</scene_description> <character>BILL</character> <dialogue>Got any messages? What do you want me to tell Tyrone Power?</dialogue> <character>BIRDIE</character> <dialogue>Just give him my phone number, I'll tell him myself.</dialogue> <scene_description>Bill kisses her cheek . She kisses Bill .</scene_description> <character>BIRDIE</character> <dialogue>Kill the people.</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>Got your key?</dialogue> <character>MARGO</character> <parenthetical>( nods . )</parenthetical> <dialogue>See you home.</dialogue> <scene_description>Margo and Eve precede Bill out of the door .</scene_description> </scene> <scene> <stage_direction>EXT. LAGUARDIA FIELD - NIGHT</stage_direction> <scene_description>American Airlines baggage counter . The rain has stopped , but it 's wet . Margo , Eve , and Bill are stymied behind two or three couples waiting to be checked in . Margo 's arm is through Bill 's . They become increasingly aware of their imminent separation . Eve senses her superfluity . A lull . Bill cranes at the passenger heading the line , in earnest conversation with the dispatcher . He sighs .</scene_description> <character>MARGO</character> <dialogue>They have to time it so everybody gets on at the last minute. So they can close the doors and let you sit.</dialogue> <scene_description>The man up ahead moves on .</scene_description> <character>BILL</character> <dialogue>Ah.</dialogue> <character>EVE</character> <dialogue>I have a suggestion.</dialogue> <parenthetical>( they look at her . )</parenthetical> <dialogue>There's really not much time left - I mean, you have n't had a minute alone yet, and - well, I could take care of everything here and meet you at the gate with the ticket. if you'd like.</dialogue> <character>BILL</character> <dialogue>I think we'd like very much. Sure you wo n't mind?</dialogue> <character>EVE</character> <dialogue>Of course not.</dialogue> <scene_description>Bill hands Eve the ticket . Margo smiles gratefully at her . Eve smiles back .</scene_description> </scene> <scene> <stage_direction>EXT. PASSAGE AND GATE - LAGUARDIA - NIGHT</stage_direction> <scene_description>It 's covered , with glass windows . Margo 's arm is in Bill 's .</scene_description> <character>BILL</character> <dialogue>She's quite a girl, that what's - her name.</dialogue> <character>MARGO</character> <dialogue>Eve. I'd forgotten they grew that way.</dialogue> <character>BILL</character> <dialogue>The lack of pretense, that sort of strange directness and understanding -</dialogue> <character>MARGO</character> <dialogue>Did she tell you about the Theater and what it meant?</dialogue> <character>BILL</character> <parenthetical>( grins . )</parenthetical> <dialogue>I told her. I sounded off.</dialogue> <character>MARGO</character> <dialogue>All the religions in the world rolled into one, and we're Gods and Goddesses. is n't it silly, suddenly I've developed a big protective feeling for her - a lamb loose in our big stone jungle.</dialogue> <scene_description>Bill pauses and pulls her to one side . Some passengers go by . A pause .</scene_description> <character>MARGO</character> <dialogue>Take care of yourself out there.</dialogue> <character>BILL</character> <dialogue>I understand they've got the Indians pretty well in hand.</dialogue> <character>MARGO</character> <dialogue>Bill.</dialogue> <character>BILL</character> <dialogue>Huh?</dialogue> <character>MARGO</character> <dialogue>Do n't get stuck on some glamour puss -</dialogue> <character>BILL</character> <dialogue>I'll try.</dialogue> <character>MARGO</character> <dialogue>You're not such a bargain, you know, conceited and thoughtless and messy -</dialogue> <character>BILL</character> <dialogue>Everybody ca n't be Gregory Peck.</dialogue> <character>MARGO</character> <dialogue>- you're a setup for some gorgeous wide - eyed young babe.</dialogue> <character>BILL</character> <dialogue>How childish are you going to get before you quit it?</dialogue> <character>MARGO</character> <dialogue>I do n't want to be childish, I'd settle for just a few years -</dialogue> <character>BILL</character> <parenthetical>( firmly . )</parenthetical> <dialogue>And cut that out right now.</dialogue> <character>MARGO</character> <dialogue>Am I going to lose you, Bill? Am I?</dialogue> <character>BILL</character> <dialogue>As of this moment you're six years old.</dialogue> <scene_description>He starts to kiss her , stops when he becomes aware of Eve standing near them . She has his ticket in her hand .</scene_description> <character>EVE</character> <dialogue>All ready.</dialogue> <scene_description>She hands Bill his ticket , they start toward the gate .</scene_description> </scene> <scene> <stage_direction>INT. BOARDING GATE - LAGUARDIA - NIGHT</stage_direction> <scene_description>The D.C. 6 in the b.g. . A few visitors . Bill hands his ticket to the guard , turns to Eve .</scene_description> <character>BILL</character> <dialogue>Thanks for your help. good luck.</dialogue> <character>EVE</character> <dialogue>Goodbye, Mr. Sampson.</dialogue> <scene_description>Bill puts his arms around Margo .</scene_description> <character>BILL</character> <dialogue>Knit me a muffler.</dialogue> <character>MARGO</character> <dialogue>Call me when you get in.</dialogue> <scene_description>They kiss . Margo 's arms tighten desperately . Bill pulls away , kisses her again lightly , starts for the plane . Margo turns away . Eve puts her arms through Margo 's . Bill pauses en route to the plane .</scene_description> <character>BILL</character> <dialogue>Hey - junior.</dialogue> <scene_description>Margo turns to look at him with Eve .</scene_description> <character>BILL</character> <dialogue>Keep your eyes on her. Do n't let her get lonely. She's a loose lamb in a jungle.</dialogue> <scene_description>Eve looks at Margo . Margo smiles .</scene_description> <character>EVE</character> <dialogue>Do n't worry.</dialogue> <scene_description>Bill waves , climbs aboard . The door is closed behind him , the departure routine starts . Margo and eve turn to go . They walk down the passage . As they walk , Eve gently disengages her arm from Margo 's and puts it comfortingly about her .</scene_description> <character>MARGO'S VOICE</character> <dialogue>That same night we sent for Eve's things, her few pitiful possessions. she moved into the little guest room on the top floor.</dialogue> </scene> <scene> <stage_direction>INT. DINING HALL - NIGHT</stage_direction> <scene_description>MARGO slides her fingers reflectively up and down the sides of the almost empty highball glass .</scene_description> <character>MARGO'S VOICE</character> <dialogue>she cried when she saw it - it was so like her little room back home in Wisconsin.</dialogue> <scene_description>ADDISON eyeing her quizzically . He offers her the whiskey . MARGO shakes her head , absently . She looks down at her glass again . Then , she raises her eyes to look at Eve .</scene_description> <character>MARGO'S VOICE</character> <dialogue>the next three weeks were out of a fairy tale - and I was Cinderella in the last act. Eve became my sister, lawyer, mother, friend, psychiatrist and cop - the honeymoon was on.</dialogue> </scene> <scene> <stage_direction>INT. MARGO'S LIVING ROOM - DAY</stage_direction> <scene_description>It 's one floor above street level . A long narrow room , smartly furnished - including a Sarah Siddons Award . MARGO 'S NARRATIVE overlaps into the scene which is a SILENT ONE . Eve sits at a smart desk . She is just arranging a stack of letters which she carries to Margo with a pen . Margo sits comfortably by the fire with a play script . She hands the scrips up to Eve , shakes her head and holds her nose . Eve smiles , takes the script , hands Margo the letters to sign . Birdie comes in with a tea tray which she sets on a low table before the fire . The phone rings . Birdie and Eve both go for it . Eve gets there first . By her polite but negative attitude , we know she is giving someone a skillful brush - off . Birdie glares first at her , then at Margo . Margo leans her head back , closes her eyes blissfully . Birdie slams the double door to the landing on her way out .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CURRAN THEATER - DAY</stage_direction> <scene_description>From the wings . The audience is never visible . Eve in the f.g. Margo and company taking a curtain call . Tumultuous applause . the curtain falls . The cast , except for Margo and two male leads , walk off . The curtain rises again . EVE , watching and listening to the storm of applause . Her eyes shine , she clasps and unclasps her hands . THE STAGE , Eve again in the f.g. , but closer . Again the curtain falls . This time the two men go off . Curtain rises on Margo alone . If anything , the applause builds . EVE , that same hypnotic look . there are tears in her eyes . The curtain falls offscene , then rises again - MARGO , the curtain falls again between her and CAMERA . BACKSTAGE , the curtain just settling on the floor . Margo starts off .</scene_description> <character>STAGE MANAGER</character> <dialogue>One more?</dialogue> <character>MARGO</character> <parenthetical>( shakes her head . )</parenthetical> <dialogue>From now on it's not applause - just something to do till the aisles get less crowded.</dialogue> <scene_description>She walks as she talks and winds up at Eve - still in the wings . Eve 's eyes are wet , she dabs at her nose .</scene_description> <character>MARGO</character> <dialogue>What - again?</dialogue> <character>EVE</character> <dialogue>I could watch you play that last scene a thousand times and cry every time -</dialogue> <character>MARGO</character> <parenthetical>( grins . )</parenthetical> <dialogue>Performance number one thousand of this one - if I play it that long - will take place in a well - padded booby hatch.</dialogue> <scene_description>She takes Eve 's arm , they stroll toward her dressing room .</scene_description> <character>EVE</character> <dialogue>I must say you can certainly tell Mr. Sampson's been gone a month.</dialogue> <character>MARGO</character> <dialogue>You certainly can. Especially if you're me between now and tomorrow morning.</dialogue> <character>EVE</character> <dialogue>I mean the performance. Except for you, you'd think he'd never even directed it - it's disgraceful the way they change everything around.</dialogue> <character>MARGO</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Well, teacher's away and actors will be actors.</dialogue> <character>EVE</character> <dialogue>During your second act scene with your father, Roger Ferraday's supposed to stay way upstage at the arch. He's been coming closer down every night.</dialogue> <character>MARGO</character> <dialogue>When he gets too close, I'll spit in his eye.</dialogue> <scene_description>They 're at her dressing room by now . Margo 's been unhooking her gown , with Eve 's help . They go in .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S DRESSING ROOM - NIGHT</stage_direction> <scene_description>It 's undergone quite a change . A new carpet , chintz covers for the furniture , new lampshades , dainty curtains across the filthy barred window . Birdie waits within . She 's listening to a fight ; she shuts it off as they enter .</scene_description> <character>MARGO</character> <parenthetical>( entering . )</parenthetical> <dialogue>You bought the new girdles a size smaller. I can feel it.</dialogue> <character>BIRDIE</character> <dialogue>Something maybe grew a size bigger.</dialogue> <character>MARGO</character> <dialogue>When we get home you're going to get into one of those girdles and act for two and half hours.</dialogue> <character>BIRDIE</character> <dialogue>I could n't get into the girdle in two an' a half hours.</dialogue> <scene_description>Margo 's out of her wig and dress by now . She gets into her robe , sits at the dressing table . Eve 's on the chaise , by the discarded costume .</scene_description> <character>EVE</character> <dialogue>You have n't noticed my latest bit of interior decorating.</dialogue> <character>MARGO</character> <parenthetical>( turns , looks . )</parenthetical> <dialogue>Well, you've done so much. what's new?</dialogue> <character>EVE</character> <dialogue>The curtains. I made them myself.</dialogue> <character>MARGO</character> <dialogue>They are lovely. Are n't they lovely, Birdie?</dialogue> <character>BIRDIE</character> <dialogue>Adorable. We now got everything a dressing room needs except a basketball hoop.</dialogue> <character>MARGO</character> <dialogue>Just because you ca n't even work a zipper. It was very thoughtful, Eve, and I appreciate it -</dialogue> <scene_description>A pause . Eve rises , picking up Margo 's costume .</scene_description> <character>EVE</character> <dialogue>While you're cleaning up, I'll take this to the wardrobe mistress -</dialogue> <character>MARGO</character> <dialogue>Do n't bother. Mrs. Brown'll be along for it in a minute.</dialogue> <character>EVE</character> <dialogue>No trouble at all.</dialogue> <scene_description>And she goes out with the costume . Birdie opens her mouth , shuts it , then opens it again .</scene_description> <character>BIRDIE</character> <dialogue>If I may so bold as to say something - did you ever hear the word `` union''?</dialogue> <character>MARGO</character> <dialogue>Behind in your dues? How much?</dialogue> <character>BIRDIE</character> <dialogue>I have n't got a union. I'm slave labor.</dialogue> <character>MARGO</character> <dialogue>Well?</dialogue> <character>BIRDIE</character> <dialogue>But the wardrobe women have got one. And next to a tenor, a wardrobe woman is the touchiest thing in show business -</dialogue> <character>MARGO</character> <parenthetical>( catching on . )</parenthetical> <dialogue>Oh - oh.</dialogue> <character>BIRDIE</character> <dialogue>She's got two things to do - carry clothes an' press'em wrong - an' just let anybody else muscle in.</dialogue> <scene_description>As she talks , Margo hurries to the door and out after Eve .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CURRAN THEATER - NIGHT</stage_direction> <scene_description>Margo pops out , looks for Eve , then stares in amazement . EVE , near the wings . She stands before a couple of cheval mirrors set up for cast members . She has Margo 's dress held up against her body . She turns this way and that , bows as if to applause - mimicking Margo exactly . MARGO watches her curiously . Then she smiles .</scene_description> <character>MARGO</character> <parenthetical>( calling . )</parenthetical> <dialogue>Eve -</dialogue> <scene_description>EVE , startled , whips the gown away , turns to Margo . MARGO smiles understandingly .</scene_description> <character>MARGO</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I think we'd better let Mrs. Brown pick up the wardrobe.</dialogue> <scene_description>Wordlessly , Eve brings it toward her .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S BEDROOM - NIGHT</stage_direction> <scene_description>Margo 's asleep . A bedside clock with a luminous dial reads 3 A.M. exactly . The phone rings . Her head comes up out of the pillow , she shakes it . She fumbles , switches on a lamp , then picks up the phone .</scene_description> <character>MARGO</character> <dialogue>Hello.</dialogue> <character>OPERATOR'S VOICE</character> <dialogue>We are ready with your call to Beverly Hills.</dialogue> <character>MARGO</character> <dialogue>Call, what call?</dialogue> <character>OPERATOR'S VOICE</character> <dialogue>It this Templeton 89970? Miss Margo Channing?</dialogue> <character>MARGO</character> <dialogue>That's right, but I do n't understand -</dialogue> <character>OPERATOR'S VOICE</character> <dialogue>We are ready with the call you placed for 12 midnight, California time, to Mr. William Sampson in Beverly Hills.</dialogue> <character>MARGO</character> <dialogue>I placed?</dialogue> <character>OPERATOR'S VOICE</character> <dialogue>Go ahead, please.</dialogue> <character>BILL'S VOICE</character> <parenthetical>( a loud , happy squawk . )</parenthetical> <dialogue>Margo! What a wonderful surprise!</dialogue> <scene_description>Margo jumps at his vehemence . As she does so , the SCREEN WIPES DOWN DIAGONALLY LEFT TO RIGHT , so that Margo remains in the lower right - hand diagonal of the screen and Bill is disclosed in the upper left . He , too , is in bed , reading . His clock says midnight .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What a thoughtful, ever - lovin' thing to do -</dialogue> <character>MARGO</character> <parenthetical>( dazed . )</parenthetical> <dialogue>Bill? Have I gone crazy, Bill?</dialogue> <character>BILL</character> <dialogue>You're my girl, are n't you?</dialogue> <character>MARGO</character> <dialogue>That I am.</dialogue> <character>BILL</character> <dialogue>Then you're crazy.</dialogue> <character>MARGO</character> <parenthetical>( nods in agreement . )</parenthetical> <dialogue>When - when are you coming back?</dialogue> <character>BILL</character> <dialogue>I leave in a week - the picture's all wrapped up, we previewed last night. those previews. Like opening out of town, but terrifying. There's nothing you can do, you're trapped, you're in a tin can -</dialogue> <character>MARGO</character> <dialogue>- in a tin can, cellophane or wrapped in a Navajo blanket, I want you home.</dialogue> <character>BILL</character> <dialogue>You in a hurry?</dialogue> <character>MARGO</character> <dialogue>A big hurry, be quick about it - so good night, darling, and sleep tight.</dialogue> <character>BILL</character> <dialogue>Wait a minute! You ca n't hang up, you have n't even said it -</dialogue> <character>MARGO</character> <dialogue>Bill, you know how much I do - but over the phone, now really, that's kid stuff.</dialogue> <character>BILL</character> <dialogue>Kid stuff or not, it does n't happen every day, I want to heat it - and if you wo n't say it, you can sing it.</dialogue> <character>MARGO</character> <parenthetical>( convinced she 's gone mad . )</parenthetical> <dialogue>Sing it?</dialogue> <character>BILL</character> <dialogue>Sure! Like the Western Union boys used to do.</dialogue> <scene_description>Margo 's eyes pop . Her jaw and the phone sag .</scene_description> <character>MARGO</character> <dialogue>Bill. Bill, it's your birthday.</dialogue> <character>BILL</character> <dialogue>And who remembered it? Who was there on the dot, at twelve midnight?</dialogue> <scene_description>Margo knows damn well it was n't she .</scene_description> <character>MARGO</character> <parenthetical>( miserably . )</parenthetical> <dialogue>Happy birthday, darling.</dialogue> <character>BILL</character> <dialogue>The reading could have been better, but you said it - now `` many happy returns of the day.''</dialogue> <character>MARGO</character> <parenthetical>( the same . )</parenthetical> <dialogue>Many happy returns of the day.</dialogue> <character>BILL</character> <dialogue>I get a party, do n't I?</dialogue> <character>MARGO</character> <dialogue>Of course, birthday and welcome home. who'll I ask?</dialogue> <character>BILL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>It's no secret, I know all about the party - Eve wrote me.</dialogue> <character>MARGO</character> <dialogue>She did?</dialogue> <character>BILL</character> <dialogue>She has n't missed a week since I left - but you know all that, you probably tell her what to write. anyway, I sent her a list of people to ask - check with her.</dialogue> <character>MARGO</character> <dialogue>Yeah. I will.</dialogue> <character>BILL</character> <dialogue>How is Eve? Okay?</dialogue> <character>MARGO</character> <dialogue>Okay.</dialogue> <character>BILL</character> <dialogue>I love you.</dialogue> <character>MARGO</character> <parenthetical>( mutters . )</parenthetical> <dialogue>I'll check with Eve.</dialogue> <character>BILL</character> <dialogue>What?</dialogue> <character>MARGO</character> <dialogue>I love you too. Good night, darling -</dialogue> <character>BILL</character> <dialogue>See you.</dialogue> <scene_description>Margo hangs up . Bill hangs up . He replaces the phone , picks up his book . SLOW WIPE until ONLY MARGO is on screen . She puts her phone away . She gets a cigarette . She lights it . She rolls over on her back .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S BEDROOM - DAY</stage_direction> <scene_description>Margo is propped up in bed , still reflective . Birdie comes in with her breakfast tray and a `` hi '' which gets a `` hi '' from Margo . She starts on some petty chores . Margo takes a sip of orange juice .</scene_description> <character>MARGO</character> <dialogue>Birdie -</dialogue> <character>BIRDIE</character> <dialogue>Hmm?</dialogue> <character>MARGO</character> <dialogue>You do n't like Eve, do you?</dialogue> <character>BIRDIE</character> <dialogue>Do you want an argument or an answer?</dialogue> <character>MARGO</character> <dialogue>An answer.</dialogue> <character>BIRDIE</character> <dialogue>No.</dialogue> <character>MARGO</character> <dialogue>Why not?</dialogue> <character>BIRDIE</character> <dialogue>Now you want an argument.</dialogue> <character>MARGO</character> <dialogue>She works hard.</dialogue> <character>BIRDIE</character> <dialogue>Night an' day.</dialogue> <character>MARGO</character> <dialogue>She's loyal and efficient -</dialogue> <character>BIRDIE</character> <dialogue>Like an agent with one client.</dialogue> <character>MARGO</character> <dialogue>She thinks only for me.</dialogue> <parenthetical>( no answer from Birdie . )</parenthetical> <dialogue>. does n't she?</dialogue> <character>BIRDIE</character> <parenthetical>( finally . )</parenthetical> <dialogue>Well. let's say she thinks only about you, anyway.</dialogue> <character>MARGO</character> <dialogue>How do you mean that?</dialogue> <scene_description>Birdie stops whatever it is she 's doing .</scene_description> <character>BIRDIE</character> <dialogue>I'll tell you how. Like - let's see - like she was studyin' you, like you were a play or a book or a set of blueprints. How you walk, talk, think, eat, sleep -</dialogue> <character>MARGO</character> <parenthetical>( breaks in ; sharply . )</parenthetical> <dialogue>I'm sure that's very flattering, Birdie, and I'm sure there's nothing wrong with that!</dialogue> <scene_description>There is a sharp , brisk knock . Eve comes in . She 's dressed in a smart suit . She carries a leather portfolio .</scene_description> <character>EVE</character> <dialogue>Good morning!</dialogue> <scene_description>Margo says `` good morning , '' Birdie says nothing . Eve shows off the suit , proudly .</scene_description> <character>EVE</character> <dialogue>Well - what do you think of my elegant new suit?</dialogue> <character>MARGO</character> <dialogue>Very becoming. It looks better on you than it did on me.</dialogue> <character>EVE</character> <parenthetical>( scoffs . )</parenthetical> <dialogue>I can imagine. you know, all it needed was some taking in here and letting out there - are you sure you wo n't want it yourself?</dialogue> <character>MARGO</character> <dialogue>Quite sure. I find it just a bit too - too `` Seventeenish'' for me.</dialogue> <character>EVE</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Oh, come now, as though you were an old lady. I'm on my way. Is there anything more you've thought of -?</dialogue> <character>MARGO</character> <dialogue>There's the script to go back to the Guild -</dialogue> <character>EVE</character> <dialogue>I've got it.</dialogue> <character>MARGO</character> <dialogue>- and those checks or whatever it is for the income tax man.</dialogue> <character>EVE</character> <dialogue>Right here.</dialogue> <character>MARGO</character> <dialogue>It seems I ca n't think of a thing you have n't thought of.</dialogue> <character>EVE</character> <parenthetical>( smile . )</parenthetical> <dialogue>That's my job.</dialogue> <parenthetical>( she turns to go . )</parenthetical> <dialogue>See you at tea time.</dialogue> <character>MARGO</character> <dialogue>Eve.</dialogue> <parenthetical>( Eve turns at the door . )</parenthetical> <dialogue>. by any chance, did you place a call from me to Bill for midnight California time?</dialogue> <character>EVE</character> <parenthetical>( gasps . )</parenthetical> <dialogue>Oh, golly. And I forgot to tell you -</dialogue> <character>MARGO</character> <dialogue>Yes, dear. You forgot all about it.</dialogue> <character>EVE</character> <dialogue>Well, I was sure you'd want to, of course, being his birthday, and you've been so busy these past few days, and last night I meant to tell you before you went out with the Richards - and I guess I was asleep when you got home.</dialogue> <character>MARGO</character> <dialogue>Yes, I guess you were. It - it was very thoughtful of you, Eve.</dialogue> <character>EVE</character> <dialogue>Mr. Sampson's birthday. I certainly would n't forget that. You'd never forgive me.</dialogue> <parenthetical>( she smiles shyly . )</parenthetical> <dialogue>As a matter of fact, I sent him a telegram myself.</dialogue> <scene_description>And she 's gone . Margo stares at the closed door . Then at Birdie . Birdie , without comment , goes out . Margo , alone , looks down at her orange juice . Absently , she twirls it in its bed of shaved ice .</scene_description> </scene> <scene> <stage_direction>INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT</stage_direction> <scene_description>MARGO , reflectively twirling her highball glass . The applause continues . She lifts her glass to drink . Her glance meets Karen 's . She raises the glass in a silent toast . KAREN smiles wanly at Margo 's toast . Then the smile fades as she looks reflectively back to Eve .</scene_description> <character>KAREN'S VOICE</character> <dialogue>I saw Eve quite often after our first meeting, but we never really talked again - until the party Margo gave for Bill when he returned from Hollywood.</dialogue> </scene> <scene> <stage_direction>INT. MARGO'S BEDROOM - NIGHT</stage_direction> <scene_description>It 's January . The bed is littered with fur coats . Through the open door , from the floor below , the murmur of a party at a late hour . No hilarity .</scene_description> <character>KAREN'S VOICE</character> <dialogue>It's always convenient at a party to know the hostess well enough to use her bedroom rather than go where all the others have to go.</dialogue> <scene_description>Karen is making repairs at Margo 's dressing table . Eve enters , carrying a magnificent sable coat which she drops on the bed .</scene_description> <character>KAREN</character> <dialogue>Now who's show up at this hour? It's time people went home - hold that coat up.</dialogue> <parenthetical>( Eve holds it up ; Karen whistles . )</parenthetical> <dialogue>. whose is it?</dialogue> <character>EVE</character> <dialogue>Some Hollywood movie star, her plane got in late.</dialogue> <character>KAREN</character> <dialogue>Discouraging, is n't it? Women with furs like that where it never gets cold.</dialogue> <character>EVE</character> <dialogue>Hollywood.</dialogue> <character>KAREN</character> <dialogue>Tell me, Eve - how are things with you? Happy?</dialogue> <scene_description>Eve melts into warmth . She beams , sits on the bed . Karen has spun around on the dressing table stool .</scene_description> <character>EVE</character> <dialogue>There should be a new word for happiness. Being here with Miss Channing has been - I just ca n't say, she's been so wonderful, done so much for me -</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Lloyd says Margo compensates for underplaying on the stage by overplaying reality.</dialogue> <parenthetical>( she gets up , gets her coat . )</parenthetical> <dialogue>. next to that sable, my new mink seems like an old bedjacket.</dialogue> <parenthetical>( throws it over her shoulder . )</parenthetical> <dialogue>. you've done your share, Eve. You've worked wonders with Margo.</dialogue> <scene_description>She starts out .</scene_description> <character>EVE</character> <parenthetical>( hesitantly . )</parenthetical> <dialogue>Mrs. Richards.</dialogue> <character>KAREN</character> <parenthetical>( pauses , smiles . )</parenthetical> <dialogue>Karen.</dialogue> <character>EVE</character> <dialogue>Karen.</dialogue> <parenthetical>( she picks at the coverlet . )</parenthetical> <dialogue>. is n't it awful, I'm about to ask you for another favor - after all you've already done.</dialogue> <character>KAREN</character> <parenthetical>( crosses to her . )</parenthetical> <dialogue>Nobody's done so much, Eve, you've got to stop thinking of yourself as one of the Hundred Neediest Cases. what is it?</dialogue> <character>EVE</character> <dialogue>Well. Miss Channing's affairs are in such good shape. there is n't enough to keep me as busy as I should be, really - not that I've ever considered anything that would take me away from her. but the other day - when I heard Mr. Fabian tell Miss Channing that her understudy was going to have a baby, and they'd have to replace her.</dialogue> <scene_description>She looks down at the coverlet once more .</scene_description> <character>KAREN</character> <dialogue>you want to be Margo's new understudy.</dialogue> <character>EVE</character> <dialogue>I do n't let myself think about it, even -.</dialogue> <parenthetical>( she looks up , rises as she speaks . )</parenthetical> <dialogue>- but I do know the part so well, and every bit of the staging, there'd be no need to break in a new girl -.</dialogue> <parenthetical>( suddenly afraid , she sits . )</parenthetical> <dialogue>- but suppose I had to go on one night? To an audience that came to see Margo Channing. No, I could n't possibly.</dialogue> <character>KAREN</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Do n't worry too much about that. Margo just does n't miss performances. If she can walk, crawl or roll - she plays.</dialogue> <character>EVE</character> <parenthetical>( nods proudly . )</parenthetical> <dialogue>The show must go on.</dialogue> <character>KAREN</character> <dialogue>No, dear. Margo must go on.</dialogue> <parenthetical>( she sits beside Eve . )</parenthetical> <dialogue>As a matter of fact, I see no reason why you should n't be Margo's understudy.</dialogue> <character>EVE</character> <dialogue>Do you think Miss Channing would approve?</dialogue> <character>KAREN</character> <dialogue>I think she would cheer.</dialogue> <character>EVE</character> <dialogue>But Mr. Richards and Mr. Sampson -</dialogue> <character>KAREN</character> <dialogue>They'll do as they're told.</dialogue> <scene_description>Eve smiles a little . A pause .</scene_description> <character>EVE</character> <dialogue>Then - would you talk to Mr. Fabian about it?</dialogue> <character>KAREN</character> <dialogue>Of course.</dialogue> <character>EVE</character> <dialogue>You wo n't forget it?</dialogue> <character>KAREN</character> <dialogue>I wo n't forget.</dialogue> <character>EVE</character> <dialogue>I seem to be forever thanking you for something, do n't I?</dialogue> <scene_description>She hugs Karen , leaves . She nearly collides with Birdie on her way in .</scene_description> <character>BIRDIE</character> <dialogue>The bed looks like a dead animal act. Which one is sables?</dialogue> <character>KAREN</character> <parenthetical>( pointing . )</parenthetical> <dialogue>But she just got here.</dialogue> <character>BIRDIE</character> <dialogue>She's on her way. With half the men in the joint.</dialogue> <parenthetical>( she hold up the coat . )</parenthetical> <dialogue>It's only a fur coat.</dialogue> <character>KAREN</character> <dialogue>What did you expect - live sables?</dialogue> <character>BIRDIE</character> <dialogue>A diamond collar, gold sleeves - you know, picture people.</dialogue> <scene_description>They start out .</scene_description> <character>KAREN</character> <dialogue>Bill says actors out there eat just as infrequently as here -</dialogue> <character>BIRDIE</character> <dialogue>They can always grab oranges off trees. This you ca n't do in Times Square.</dialogue> <scene_description>Through the open door , we see them go down the stairs and out of sight .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR LANDING AND STAIRS - NIGHT</stage_direction> <scene_description>Karen and Birdie come down the stairs to Bill , Max , Addison , a blonde young lady named MISS CASWELL -LRB- Addison 's protegee - of the - moment -RRB- - and , at the feet of Bill and Addison . Eve . They are all seated on the steps . Birdie goes through and down the stairs to the first floor . Karen remains with the others . Addison is holding forth :</scene_description> <character>ADDISON</character> <dialogue>Every now and then, some elder statesman of the Theater or cinema assures the public that actors and actresses are just plain folk. Ignoring the fact that their greatest attraction to the public is their complete lack of resemblance to normal human beings.</dialogue> <character>MISS CASWELL</character> <parenthetical>( as Birdie and the sables pass . )</parenthetical> <dialogue>Now there's something a girl could make sacrifices for.</dialogue> <character>BILL'S VOICE</character> <dialogue>And probably has.</dialogue> <character>MISS CASWELL</character> <dialogue>Sable.</dialogue> <character>MAX</character> <parenthetical>( to Miss Caswell . )</parenthetical> <dialogue>Did you say sable - or Gable?</dialogue> <character>MISS CASWELL</character> <dialogue>Either one.</dialogue> <character>ADDISON</character> <dialogue>It is senseless to insist that theatrical folk in New York, Hollywood and London are no different from the good people of Des Moines, Chillicothe and Liverpool. By and large, we are concentrated gatherings of neurotics, egomaniacs, emotional misfits, and precocious children -</dialogue> <character>MAX</character> <parenthetical>( to Bill . )</parenthetical> <dialogue>Gable. Why a feller like that do n't come East to do a play.</dialogue> <character>BILL</character> <parenthetical>( nods . )</parenthetical> <dialogue>He must be miserable, the life he lives out there -</dialogue> <character>ADDISON</character> <dialogue>These so - called abnormalities - they're our stock in trade, they make us actors, writers, directors, et cetera in the first place -</dialogue> <character>MAX</character> <dialogue>Answer me this. What makes a man become a producer?</dialogue> <character>ADDISON</character> <dialogue>What makes a man walk into a lion cage with nothing but a chair?</dialogue> <character>MAX</character> <dialogue>This answer satisfies me a hundred percent.</dialogue> <character>ADDISON</character> <dialogue>We all have abnormality in common. We are a breed apart from the rest of the humanity, we Theater folk. We are the original displaced personalities.</dialogue> <character>BILL</character> <parenthetical>( laughs ; to Eve . )</parenthetical> <dialogue>You do n't have to read his column tomorrow - you just heard it. I do n't agree, Addison.</dialogue> <character>ADDISON</character> <dialogue>That happens to be your particular abnormality.</dialogue> <character>BILL</character> <dialogue>Oh, I admit there's a screwball element in the Theater. It sticks out, it's got spotlights on it and a brass band. But it is n't basic, it is n't standard - if it were, the Theater could n't survive.</dialogue> <character>MISS CASWELL</character> <parenthetical>( to a passing butler . )</parenthetical> <dialogue>Oh, waiter.</dialogue> <scene_description>The butler goes right by .</scene_description> <character>ADDISON</character> <dialogue>That is n't a waiter, my dear. That's a butler.</dialogue> <character>MISS CASWELL</character> <dialogue>Well, I ca n't yell `` Oh, butler,'' can I? Maybe somebody's name is Butler.</dialogue> <character>ADDISON</character> <dialogue>You have a point. An idiotic one, but a point.</dialogue> <character>MISS CASWELL</character> <dialogue>I do n't want to make trouble. All I want is a drink.</dialogue> <character>MAX</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Leave me get you one.</dialogue> <character>MISS CASWELL</character> <parenthetical>( pitching . )</parenthetical> <dialogue>Oh, thank you, Mr. Fabian.</dialogue> <scene_description>Max leaves with her empty glass .</scene_description> <character>ADDISON</character> <dialogue>Well done. I see your career rising in the East like the sun.</dialogue> <parenthetical>( to Bill . )</parenthetical> <dialogue>. you were saying?</dialogue> <character>BILL</character> <dialogue>I was saying that the Theater is nine - tenths hard work. Work done the hard way - by sweat, application and craftsmanship. I'll agree to this - that to be a good actor, actress, or anything else in the Theater, means wanting to be that more than anything else in the world.</dialogue> <character>EVE</character> <parenthetical>( abruptly . )</parenthetical> <dialogue>Yes. Yes, it does.</dialogue> <character>BILL</character> <parenthetical>( goes on . )</parenthetical> <dialogue>It means concentration of ambition, desire, and sacrifice such as no other profession demands. And I'll agree that the man or woman who accepts those terms ca n't be ordinary, ca n't be - just someone. To give so much for almost always so little.</dialogue> <scene_description>Eve speaks almost unaware of what she says . She looks at no one in particular , just off .</scene_description> <character>EVE</character> <dialogue>So little. So little, did you say? Why, if there's nothing else - there's applause. It's like - like waves of love coming over the footlights and wrapping you up. Imagine. To know, every night, that different hundreds of people love you. they smile, their eyes shine - you've pleased them, they want you, you belong. Just that alone is worth anything.</dialogue> <scene_description>She becomes aware of Addison 's strange smile , of Bill 's looks of warm interest . She 's embarrassed , she turns away - then scrambles to her feet as Margo approaches with Lloyd from the direction of the pantry . Margo 's had too much to drink . Her fake smile fades as Eve gets up . She 's unpleasant and depressed .</scene_description> <character>MARGO</character> <dialogue>Do n't get up. And please stop acting as if I were the queen mother.</dialogue> <character>EVE</character> <parenthetical>( hurt . )</parenthetical> <dialogue>I'm sorry, I did n't mean to -</dialogue> <character>BILL</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Outside of a beehive, Margo, your behavior would hardly be considered either queenly or motherly!</dialogue> <character>MARGO</character> <dialogue>You're in a beehive, pal, did n't you know? We're all busy little bees, full of stings, making honey day and night -.</dialogue> <parenthetical>( to Eve . )</parenthetical> <dialogue>- are n't we, honey?</dialogue> <character>KAREN</character> <dialogue>Margo, really.</dialogue> <character>MARGO</character> <dialogue>Please do n't play governess, Karen, I have n't your unyielding good taste, I wish I'd gone to Radcliffe too but father would n't hear of it - he needed help at the notions counter.</dialogue> <parenthetical>( to Addison . )</parenthetical> <dialogue>I'm being rude now, are n't I? OR should I say `` ai n't I''?</dialogue> <character>ADDISON</character> <dialogue>You're maudlin and full of self pity. You're magnificent.</dialogue> <scene_description>Max has come up with Miss Caswell 's drink .</scene_description> <character>LLOYD</character> <dialogue>How about calling it a night?</dialogue> <character>MARGO</character> <dialogue>And you pose as a playwright. A situation pregnant with possibilities - and all you can think of is everybody to go to sleep.</dialogue> <character>BILL</character> <dialogue>It's a good thought.</dialogue> <character>MARGO</character> <dialogue>It wo n't play.</dialogue> <character>KAREN</character> <dialogue>As a nonprofessional, I think it's an excellent idea. Undramatic, but practical.</dialogue> <scene_description>As she speaks , she makes her way to Lloyd 's side .</scene_description> <character>MARGO</character> <dialogue>Happy little housewife.</dialogue> <character>BILL</character> <dialogue>Cut it out.</dialogue> <character>MARGO</character> <dialogue>This is my house, not a theater! In my house you're a guest, not a director -!</dialogue> <character>KAREN</character> <dialogue>Then stop being a star - start treating your guests as your supporting cast!</dialogue> <character>ADDISON</character> <dialogue>Hear, hear.</dialogue> <character>LLOYD</character> <dialogue>Now let's not get into a big hassle -</dialogue> <character>KAREN</character> <dialogue>It's about time we did! It's about time Margo realized that what's attractive on stage need not necessarily be attractive off.</dialogue> <character>MARGO</character> <parenthetical>( suddenly . )</parenthetical> <dialogue>All right! I'm going to bed.</dialogue> <parenthetical>( to Bill . )</parenthetical> <dialogue>You be the host. It's your party. Happy Birthday, welcome home, and we - who - are - about - to - die - salute - you.</dialogue> <scene_description>She starts upstairs .</scene_description> <character>BILL</character> <dialogue>Need any help?</dialogue> <character>MARGO</character> <parenthetical>( pauses , smiles . )</parenthetical> <dialogue>To put me to bed? Take my clothes off, hold my head, tuck me in, turn off the lights, tiptoe out? eve would. Would n't you, Eve?</dialogue> <character>EVE</character> <dialogue>If you'd like.</dialogue> <character>MARGO</character> <dialogue>I would n't like.</dialogue> <scene_description>She goes up , exits out of sight . A pause . Miss Caswell reaches up to take the drink out of Max 's hand .</scene_description> <character>MAX</character> <dialogue>I forgot I had it.</dialogue> <character>MISS CASWELL</character> <dialogue>I did n't.</dialogue> <scene_description>Bill gets up and goes after Margo .</scene_description> <character>ADDISON</character> <dialogue>Too bad! We'll miss the third act. They're going to play it off stage.</dialogue> <scene_description>Eve turns away abruptly , in sudden tears .</scene_description> <character>LLOYD</character> <dialogue>Coming?</dialogue> <character>KAREN</character> <dialogue>In a minute.</dialogue> <scene_description>She crosses to Eve , puts an arm around her .</scene_description> <character>KAREN</character> <dialogue>You must n't mind Margo too much, even if I do.</dialogue> <character>EVE</character> <dialogue>But there must be some reason, something I've done without knowing.</dialogue> <character>KAREN</character> <dialogue>The reason is Margo and do n't try to figure it out. Einstein could n't.</dialogue> <character>EVE</character> <dialogue>If I thought I'd offended her, of all people -</dialogue> <character>KAREN</character> <dialogue>Eve. I'm fond of Margo too. But I know Margo. And every now and then there is nothing I want to do so much as to kick her right square in the pants.</dialogue> <character>EVE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Well - if she's got to pick on someone, I'd just as soon it was me.</dialogue> <scene_description>Karen smiles back . She joins Lloyd and Max .</scene_description> <character>LLOYD</character> <dialogue>Max is going to drop us.</dialogue> <character>ADDISON</character> <dialogue>I've often wondered, Max, why you bother with a chauffeur and limousine in New York City.</dialogue> <character>MAX</character> <dialogue>In my case it's necessary. Too many taxi drivers write plays.</dialogue> <character>ADDISON</character> <dialogue>And too many of them are produced.</dialogue> <character>MISS CASWELL</character> <dialogue>Let's go sit by the piano.</dialogue> <character>ADDISON</character> <dialogue>You have me confused with Dan Dailey. You go sit by the piano.</dialogue> <parenthetical>( to Eve . )</parenthetical> <dialogue>And you come sit by me.</dialogue> <parenthetical>( to the others . )</parenthetical> <dialogue>Good night.</dialogue> <scene_description>They laugh , say `` good night , '' and start downstairs . As Eve crosses to Addison :</scene_description> <character>EVE</character> <dialogue>Karen.</dialogue> <parenthetical>( Karen pauses . )</parenthetical> <dialogue>. you wo n't forget, will you? What we talked about before?</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>No, Eve, I wo n't forget.</dialogue> <scene_description>She follows the men downstairs . CLOSE UP of an old engraving of Mrs. Siddons as ` The Tragic Muse ' which hangs among other theatrical mementos on the stair wall .</scene_description> </scene> <scene> <stage_direction>INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT</stage_direction> <scene_description>The applause continues . Margo sits back in her chair now , picking at a bit of fingernail polish .</scene_description> <character>MARGO'S VOICE</character> <dialogue>Bill's welcoming - home - birthday party. a night to go down in history. Like the Chicago Fire - or the Massacre of the Huguenots. Even before the party started, I could smell disaster in the air.</dialogue> </scene> <scene> <stage_direction>INT. MARGO'S BEDROOM - NIGHT</stage_direction> <scene_description>The same night as the previous sequence , but before the party has started . Margo is all dressed except for jewelry . She stands before her dressing table putting it on . She sips at an enormous Martini .</scene_description> <character>MARGO'S VOICE</character> <dialogue>I knew it, I sensed it even as I finished dressing for that blasted party.</dialogue> <scene_description>Birdie comes in .</scene_description> <character>BIRDIE</character> <dialogue>You all put together?</dialogue> <character>MARGO</character> <dialogue>My back's open.</dialogue> <parenthetical>( Birdie goes to work on it . )</parenthetical> <dialogue>Did the extra help get here?</dialogue> <character>BIRDIE</character> <dialogue>There's some loose characters dressed like maids and butlers. Who'd you call - the William Morris Agency?</dialogue> <character>MARGO</character> <dialogue>You're not being funny, I could get actors for less. What about the food?</dialogue> <character>BIRDIE</character> <dialogue>The caterer had to back for hors d'oeuvres -.</dialogue> <parenthetical>( she zips Margo . )</parenthetical> <dialogue>Voila.</dialogue> <character>MARGO</character> <parenthetical>( laughs . )</parenthetical> <dialogue>That French ventriloquist taught you a lot, did n't he?</dialogue> <character>BIRDIE</character> <dialogue>There was nothing he did n't know.</dialogue> <parenthetical>( she starts tidying the room . )</parenthetical> <dialogue>There's a message from the bartender. Does Miss Channing know we ordered domestic gin by mistake?</dialogue> <character>MARGO</character> <dialogue>The only thing I ordered by mistake is the guests.</dialogue> <parenthetical>( Birdie cackles . )</parenthetical> <dialogue>They're domestic, too, and they do n't care what they drink as long as it burns. where's Bill? He's late.</dialogue> <character>BIRDIE</character> <dialogue>Late for what?</dialogue> <character>MARGO</character> <dialogue>Do n't be dense. The party.</dialogue> <character>BIRDIE</character> <dialogue>I ai n't dense. And he's been here twenty minutes.</dialogue> <character>MARGO</character> <dialogue>Well, I certainly think it's odd he has n't even come up.</dialogue> <scene_description>Her glance meets Birdie 's . She turns and strolls out .</scene_description> </scene> <scene> <stage_direction>INT. THIRD FLOOR LANDING - NIGHT</stage_direction> <scene_description>Margo speeds up going down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR LANDING - NIGHT</stage_direction> <scene_description>Margo shows up again deliberately as she reaches the landing . Sound of Bill and Eve laughing together from the living room . Margo strolls toward it casually . We see Eve seated , looking up fascinated at Bill as he talks - out of the laughter .</scene_description> <character>BILL</character> <dialogue>`` Do n't let it worry you,'' said the cameraman, `` Even DeMille could n't see anything looking through the wrong end -''.</dialogue> <parenthetical>( Eve chuckles . )</parenthetical> <dialogue>So that was the first and last time -</dialogue> <scene_description>Eve sees Margo approach . She gets up . Bill turns .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S LIVING ROOM - NIGHT</stage_direction> <scene_description>As Margo strolls up , very off - hand .</scene_description> <character>MARGO</character> <dialogue>Do n't let me kill the point. Or is n't it a story for grownups?</dialogue> <character>BILL</character> <dialogue>You've heard it. About when I looked through the wrong end of a camera finder.</dialogue> <character>MARGO</character> <parenthetical>( to Eve . )</parenthetical> <dialogue>Remind me to tell you about when I looked into the heart of an artichoke.</dialogue> <character>EVE</character> <dialogue>I'd like to hear it.</dialogue> <character>MARGO</character> <dialogue>Some snowy night in front of the fire. in the meantime, while we're on the subject, will you check about the hors d'oeuvres? The caterer forgot them, the varnish was n't dry or something.</dialogue> <character>EVE</character> <dialogue>Of course.</dialogue> <scene_description>She leaves . A short lull . Margo looks into cigarette boxes . Bill eyes her curiosity , crosses to the fire .</scene_description> <character>BILL</character> <dialogue>Looks like I'm going to have a very fancy party.</dialogue> <character>MARGO</character> <dialogue>I thought you were going to be late -</dialogue> <character>BILL</character> <dialogue>When I'm guest of honor?</dialogue> <character>MARGO</character> <dialogue>I had no idea you were even here.</dialogue> <character>BILL</character> <dialogue>I ran into Eve on my way upstairs ; she told me you were dressing.</dialogue> <character>MARGO</character> <dialogue>That never stopped you before.</dialogue> <character>BILL</character> <dialogue>Well, we started talking, she wanted to know all about Hollywood, she seemed so interested.</dialogue> <character>MARGO</character> <dialogue>She's a girl of so many interests.</dialogue> <character>BILL</character> <dialogue>It's a pretty rare quality these days.</dialogue> <character>MARGO</character> <dialogue>She's a girl of so many rare qualities.</dialogue> <character>BILL</character> <dialogue>So she seems.</dialogue> <character>MARGO</character> <parenthetical>( the steel begins to flash . )</parenthetical> <dialogue>So you've pointed out, so often. So many qualities, so often. Her loyalty, efficiency, devotion, warmth, affection - and so young. So young and so fair.</dialogue> <scene_description>Bill catches the drift . Incredulously .</scene_description> <character>BILL</character> <dialogue>I ca n't believe you're making this up - it sounds like something out of an old Clyde Fitch play.</dialogue> <character>MARGO</character> <dialogue>Clyde Fitch, thought you may not think so, was well before my time!</dialogue> <character>BILL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I've always denied the legend that you were in ` Our American Cousin' the night Lincoln was shot.</dialogue> <character>MARGO</character> <dialogue>I do n't think that's funny!</dialogue> <character>BILL</character> <dialogue>Of course it's funny - this is all too laughable to be anything else. You know what I think about this - this age obsession of yours - and now this ridiculous attempt to whip yourself up into a jealous froth because I spent ten minutes with a stage - struck kid -</dialogue> <character>MARGO</character> <dialogue>Twenty minutes!</dialogue> <character>BILL</character> <dialogue>Thirty minutes, forty minutes! What of it?</dialogue> <character>MARGO</character> <dialogue>Stage - struck kid. she's a young lady - of qualities. And I'll have you know I'm fed up with both the young lady and her qualities! Studying me as if - as if I were a play or a set of blueprints! How I walk, talk, think, eat, sleep!</dialogue> <character>BILL</character> <dialogue>Now how can you take offense at a kid trying in every way to be as much like her ideal as possible!</dialogue> <character>MARGO</character> <dialogue>Stop calling her a kid! It so happens there are particular aspects of my life to which I would like to maintain sole and exclusive rights and privileges!</dialogue> <character>BILL</character> <dialogue>For instance what?</dialogue> <character>MARGO</character> <dialogue>For instance - you!</dialogue> <character>BILL</character> <dialogue>This is my cue to take you in my arms and reassure you - but I'm not going to. I'm too mad -</dialogue> <character>MARGO</character> <dialogue>- guilty.</dialogue> <character>BILL</character> <dialogue>Mad! Darling, there are certain characteristics for which you are famous - on stage and off. I love you for some of them - and in spite of others. I have n't let those become too important to me. They're part of your equipment for getting along in what is laughably called out environment - you've got to keep your teeth sharp. All right. But you will not sharpen them on me - or on Eve.</dialogue> <character>MARGO</character> <dialogue>What about her teeth? What about her fangs?</dialogue> <character>BILL</character> <dialogue>She has n't cut them yet, and you know it! So when you start judging an idealistic dreamy - eyed kid by the barroom, Benzedrine standards of this megalomaniac society - I wo n't have it! Eve Harrington has never by word, look, thought or suggestion indicated anything to me but her adoration for you and her happiness at our being in love! And to intimate anything else does n't spell jealousy to me - it spells a paranoic insecurity that you should be ashamed of!</dialogue> <character>MARGO</character> <dialogue>Cut! Print it! What happens in the next reel? Do I get dragged off screaming to the snake pit?</dialogue> <character>EVE'S VOICE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Miss Channing?</dialogue> <scene_description>Bill and Margo look off . Eve is in the room . They have no way of knowing how long she 's been there .</scene_description> <character>EVE</character> <dialogue>The hors d'oeuvres are here. Is there anything else I can do?</dialogue> <character>MARGO</character> <dialogue>Thank you, Eve. I'd like a Martini - very dry.</dialogue> <character>BILL</character> <dialogue>I'll get it.</dialogue> <parenthetical>( he crosses to Eve . )</parenthetical> <dialogue>What'll you have?</dialogue> <scene_description>Eve , involuntarily , looks to Margo .</scene_description> <character>MARGO</character> <dialogue>A milkshake?</dialogue> <scene_description>Eve smiles , turns to Bill .</scene_description> <character>EVE</character> <dialogue>A Martini. Very dry, please.</dialogue> <scene_description>Bill smiles back and starts across the landing toward the pantry . As he crosses the stairs , Karen , Lloyd and Max come up from the street level below . General greetings . Bill continues up to pantry . Eve and then Margo come up to add their welcome .</scene_description> <character>EVE</character> <parenthetical>( to Karen . )</parenthetical> <dialogue>May I have your coat?</dialogue> <character>KAREN</character> <dialogue>Do n't bother, I can take it up myself.</dialogue> <character>EVE</character> <dialogue>Please.</dialogue> <scene_description>Karen yields with a `` thank you , Eve - . '' Eve goes up with the coat . Lloyd looks after her approvingly .</scene_description> <character>LLOYD</character> <dialogue>I like that girl. That quality of quiet graciousness.</dialogue> <character>MARGO</character> <dialogue>Among so many quiet qualities.</dialogue> <scene_description>They start for the living room .</scene_description> <character>KAREN</character> <dialogue>Margo, nothing you've ever done has made me as happy as your taking Eve in.</dialogue> <character>MARGO</character> <dialogue>I'm so happy you're happy.</dialogue> <character>MAX</character> <dialogue>Look, you have n't been running a settlement house exactly - the kid's earned her way. You had a pretty mixed - up inventory when she took over - merchandise laying all over the shop.</dialogue> <character>LLOYD</character> <dialogue>You've got Margo mixed up with a five - and - ten - cent store.</dialogue> <character>MARGO</character> <dialogue>Make it Bergdorf Goodman. and now everything is on its proper shelf, eh, Max? Done up in little ribbons. I could die right now and nobody'd be confused. How about you, Max?</dialogue> <character>MAX</character> <dialogue>How about me what?</dialogue> <scene_description>They 've come to a halt near the fireplace .</scene_description> <character>MARGO</character> <dialogue>Supposed you dropped dead. What about your inventory?</dialogue> <character>MAX</character> <dialogue>I ai n't gon na die. Not with a hit.</dialogue> <character>KAREN</character> <dialogue>This is the most ghoulish conversation.</dialogue> <scene_description>Bill brings two Martinis . He hands one to Margo .</scene_description> <character>MARGO</character> <parenthetical>( it drips ice . )</parenthetical> <dialogue>Thank you.</dialogue> <character>BILL</character> <dialogue>Nothing, really.</dialogue> <character>MARGO</character> <dialogue>The kid - junior, that is - will be right down. Unless you'd like to take her drink up to her.</dialogue> <character>BILL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I can always get a fresh one. Karen - you're a Gibson girl.</dialogue> <scene_description>He hands Eve 's drink to Karen . Max has wandered off . Other guests are arriving . Margo gulps her drink , hands Bill the empty glass . He puts it on a passing tray . Margo takes a fresh one at the same time .</scene_description> <character>LLOYD</character> <dialogue>The general atmosphere is very Macbethish. What has or is about to happen?</dialogue> <character>MARGO</character> <parenthetical>( to Bill . )</parenthetical> <dialogue>What is he talking about?</dialogue> <character>BILL</character> <dialogue>Macbeth.</dialogue> <character>KAREN</character> <parenthetical>( to Margo . )</parenthetical> <dialogue>We know you, we've seen you before like this. Is it over - or just beginning?</dialogue> <scene_description>Margo surveys them all .</scene_description> <character>MARGO</character> <dialogue>Fasten your seat belts. It's going to be a bumpy night.</dialogue> <scene_description>She downs the drink , hands the empty glass to Bill , and leaves them . She passes two women , gabbing by the piano . As they see her :</scene_description> <character>WOMAN #1</character> <dialogue>Margo, darling!</dialogue> <character>WOMAN #2</character> <dialogue>Darling!</dialogue> <character>MARGO</character> <parenthetical>( passing . )</parenthetical> <dialogue>Darlings.</dialogue> <scene_description>She arrives at the landing just as Addison comes up with Miss Caswell . Margo takes a drink from a passing tray .</scene_description> <character>MARGO</character> <parenthetical>( to Addison . )</parenthetical> <dialogue>I distinctly remember striking your name from the guest list. What are you doing here?</dialogue> <character>ADDISON</character> <dialogue>Dear Margo. You were an unforgettable Peter Pan - you must play it again, soon. You remember Miss Caswell?</dialogue> <character>MARGO</character> <dialogue>I do not. How do you do?</dialogue> <character>MISS CASWELL</character> <dialogue>We never met. That's why.</dialogue> <character>ADDISON</character> <dialogue>Miss Caswell is an actress. A graduate of Copacabana School of Dramatic Arts.</dialogue> <parenthetical>( his glance is attracted by Eve coming downstairs . )</parenthetical> <dialogue>Ah. Eve.</dialogue> <character>EVE</character> <parenthetical>( deferentially . )</parenthetical> <dialogue>Good evening, Mr. deWitt.</dialogue> <character>MARGO</character> <dialogue>I had no idea you knew each other.</dialogue> <character>ADDISON</character> <dialogue>This must be, at long last, our formal introduction. Until now we have met only in passing.</dialogue> <character>MISS CASWELL</character> <dialogue>That's how you met me. In passing.</dialogue> <character>MARGO</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Eve, this is an old friend of Mr. deWitt's mother - Miss Caswell, Miss Harrington.</dialogue> <parenthetical>( the two girls say hello . )</parenthetical> <dialogue>Addison, I've been wanting you to meet Eve for the longest time -</dialogue> <character>ADDISON</character> <parenthetical>( murmurs . )</parenthetical> <dialogue>It could only have been your natural timidity that kept you from mentioning it.</dialogue> <character>MARGO</character> <dialogue>You've heard of her great interest in the Theater -</dialogue> <character>ADDISON</character> <dialogue>We have that in common.</dialogue> <character>MARGO</character> <dialogue>Then you two must have a long talk -</dialogue> <character>EVE</character> <dialogue>I'm afraid Mr. deWitt would find me boring before too long.</dialogue> <character>MISS CASWELL</character> <dialogue>You wo n't bore him, honey. You wo n't even get to talk.</dialogue> <character>ADDISON</character> <parenthetical>( icily . )</parenthetical> <dialogue>Claudia dear, come closer.</dialogue> <parenthetical>( she does , and he points . )</parenthetical> <dialogue>This is Max Fabian. He is a producer. Go do yourself some good.</dialogue> <character>MISS CASWELL</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Why do they always look like unhappy rabbits?</dialogue> <character>ADDISON</character> <dialogue>Because that is what they are. Go make him happy.</dialogue> <scene_description>Miss Caswell drapes her coat over the rail , heads for Max . Addison puts Eve 's arm in his .</scene_description> <character>ADDISON</character> <parenthetical>( to Margo . )</parenthetical> <dialogue>You must n't worry about your little charge. She is in safe hands.</dialogue> <character>MARGO</character> <dialogue>Amen.</dialogue> <scene_description>Eve smiles uncertainly at Margo as he leads her away . Margo looks after them . She downs her drink .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S LIVING ROOM - NIGHT</stage_direction> <scene_description>It 's many Martinis later . Most of the guests have gone . The party has reached that static state - everyone 's assumed more or less permanent places . Birdie passes , carrying a cup of coffee . CAMERA FOLLOWS her to the piano where Margo sits on the bench beside the pianist . He is just finishing `` Liebestraum '' and she stares moodily into a Martini . Birdie halts beside her with the coffee . Margo looks up . Birdie holds out the coffee . Margo takes the onion out of the Martini , drops it into the coffee and waves Birdie away . Birdie goes . `` Liebestraum '' comes to an end . The pianist tries to ease into a more sophisticated rhythm . Margo stops him .</scene_description> <character>MARGO</character> <parenthetical>( quietly . )</parenthetical> <dialogue>`` Liebestraum.''</dialogue> <character>PIANIST</character> <dialogue>I just played it.</dialogue> <character>MARGO</character> <dialogue>Play it again.</dialogue> <character>PIANIST</character> <dialogue>But that was the fourth straight time.</dialogue> <character>MARGO</character> <dialogue>Then this will be five. I suppose you think I'm too drunk to count.</dialogue> <character>PIANIST</character> <dialogue>No. You're just crazy about `` Liebestraum.''</dialogue> <character>MARGO</character> <dialogue>`` Liebestraum.''</dialogue> <character>PIANIST</character> <dialogue>Look, Miss Channing. it's kind of depressing. If you do n't mind my saying so, everybody's kind of dying on the vine.</dialogue> <character>MARGO</character> <dialogue>My dear Horowitz. In the first place, I'm paying you union scale. Second, it's my piano. Third, if everybody does n't like kind of dying on the vine, they can get off the vine and go home. `` Liebestraum.''</dialogue> <scene_description>Unhappily , he plays `` Liebestraum . '' Margo sips her Martini , stares down into it again . Bill tiptoes up .</scene_description> <character>BILL</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Many of your guests have been wondering when they may be permitted to view the body. Where has it been laid out?</dialogue> <character>MARGO</character> <parenthetical>( somberly . )</parenthetical> <dialogue>It has n't been laid out, we have n't finished with the embalming. As a matter of fact, you're looking at it. The remains of Margo Channing. Sitting up. It is my last wish to be buried sitting up.</dialogue> <character>BILL</character> <parenthetical>( trying to kid her out of it . )</parenthetical> <dialogue>Would n't you feel more natural taking a bow?</dialogue> <character>MARGO</character> <dialogue>You know nothing about feelings, natural or unnatural.</dialogue> <character>BILL</character> <dialogue>Then without feeling, your guests were also wondering whether the music could n't be a shade more on the - shall we say, happier side?</dialogue> <character>MARGO</character> <dialogue>If my guests do not like it here, I suggest they accompany you to the nursery where I'm sure you will all feel more at home.</dialogue> <scene_description>Bill is about to get mad - when Max bustles up .</scene_description> <character>MAX</character> <dialogue>Margo. You by any chance got bicarbonate of soda in the house?</dialogue> <character>MARGO</character> <parenthetical>( sympathetic . )</parenthetical> <dialogue>Poor Max. Heartburn?</dialogue> <parenthetical>( Max nods . )</parenthetical> <dialogue>It's that Miss Caswell. I do n't know why she does n't give Addison heartburn.</dialogue> <character>BILL</character> <dialogue>No heart to burn.</dialogue> <character>MARGO</character> <dialogue>Everybody has a heart - except some people.</dialogue> <parenthetical>( she finishes her drink , stands up . )</parenthetical> <dialogue>Of course I've got bicarb. There's a box in the pantry. We'll put your name on it. Max Fabian. It'll say there. Always. Just for you.</dialogue> <character>MAX</character> <parenthetical>( touched . )</parenthetical> <dialogue>Let the rest of the world beat their brains out for a buck. It's friends that count. And I got friends.</dialogue> <character>MARGO</character> <dialogue>I love you, Max. I really mean it. I love you. Come to the pantry.</dialogue> <scene_description>She takes off . Max waits to set Bill straight .</scene_description> <character>MAX</character> <dialogue>She loves me like a father. Also, she's loaded.</dialogue> <scene_description>He starts off after Margo . As the CAMERA PANS with Bill we see Margo going into the pantry with Max following her . Bill joins Addison and Miss Caswell on the stairs .</scene_description> </scene> <scene> <stage_direction>INT. PANTRY - NIGHT</stage_direction> <scene_description>It 's a good sized one . In the b.g. , the caterers are packing dishes , glassware , etc. . Margo crosses to a cupboard . She finds the bicarb .</scene_description> <character>MARGO</character> <dialogue>Here you are, Maxie dear. One good burp and you'll be rid of that Miss Caswell.</dialogue> <character>MAX</character> <dialogue>The situation I'm in ai n't the kind you can belch your way out. I made a promise.</dialogue> <character>MARGO</character> <dialogue>Miss Caswell?</dialogue> <parenthetical>( Max nods . )</parenthetical> <dialogue>What?</dialogue> <character>MAX</character> <dialogue>An audition for the part we're replacing. What's - her - name, your sister.</dialogue> <scene_description>He adds water to the bicarb .</scene_description> <character>MARGO</character> <dialogue>Well, if she can act, she might not be bad. She looks like she might burn down a plantation.</dialogue> <character>MAX</character> <parenthetical>( mixing . )</parenthetical> <dialogue>I feel right now like there's one burning in me.</dialogue> <character>MARGO</character> <dialogue>When's the audition?</dialogue> <character>MAX</character> <dialogue>A couple of weeks.</dialogue> <character>MARGO</character> <dialogue>I tell you what. Why do n't I read with her?</dialogue> <character>MAX</character> <dialogue>Would you?</dialogue> <character>MARGO</character> <dialogue>Anything to help you out, Max.</dialogue> <character>MAX</character> <dialogue>This is real cooperation. I appreciate it.</dialogue> <character>MARGO</character> <dialogue>Not at all. And you could do me a big favor, if you would -</dialogue> <character>MAX</character> <dialogue>All you got to do is name it.</dialogue> <character>MARGO</character> <dialogue>Give Eve Harrington job in you office.</dialogue> <scene_description>Max burps .</scene_description> <character>MARGO</character> <dialogue>You get quick action, do n't you?</dialogue> <character>MAX</character> <dialogue>Margo, I would n't think of taking that girl away from you.</dialogue> <character>MARGO</character> <dialogue>You said yourself my inventory was in good shape - all of my merchandise put away. To keep her here with nothing to do - I'd be standing in her way. and you need her, Max.</dialogue> <character>MAX</character> <dialogue>But what could she do?</dialogue> <character>MARGO</character> <dialogue>She'd be a great help - read scripts, interview people you have to see, get rid of the ones you do n't have to. you'd be a man of leisure -</dialogue> <character>MAX</character> <dialogue>Well.</dialogue> <character>MARGO</character> <dialogue>Think of your health, Max - more time to relax out in the fresh air at a race track.</dialogue> <character>MAX</character> <dialogue>I do n't know if this would be a wise move.</dialogue> <character>MARGO</character> <dialogue>Promise.</dialogue> <character>MAX</character> <dialogue>I promise.</dialogue> <character>MARGO</character> <parenthetical>( happily . )</parenthetical> <dialogue>That's my Max.</dialogue> <scene_description>Lloyd enters , looking for her .</scene_description> <character>LLOYD</character> <dialogue>There you are, both of you. Max, Karen has decided it's time to go.</dialogue> <character>MARGO</character> <dialogue>Where is she?</dialogue> <character>LLOYD</character> <dialogue>Up in the room.</dialogue> <character>MAX</character> <dialogue>If you'll excuse me -.</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>I'll tell Miss Caswell.</dialogue> <scene_description>He goes out . A pause .</scene_description> <character>MARGO</character> <dialogue>Who's left out there?</dialogue> <character>LLOYD</character> <dialogue>Too many. And you've got a new guest. A movie star from Hollywood.</dialogue> <character>MARGO</character> <dialogue>Shucks. And my autograph book is at the cleaners.</dialogue> <scene_description>Another pause .</scene_description> <character>MARGO</character> <dialogue>You disapprove of me when I'm like this, do n't you?</dialogue> <character>LLOYD</character> <dialogue>Not exactly. Sometimes, though, I wish I understood you better.</dialogue> <character>MARGO</character> <dialogue>When you do, let me in on it.</dialogue> <character>LLOYD</character> <dialogue>I will.</dialogue> <scene_description>Another pause .</scene_description> <character>MARGO</character> <dialogue>How's the new one coming?</dialogue> <character>LLOYD</character> <dialogue>The play? All right, I guess.</dialogue> <character>MARGO</character> <dialogue>`` Cora.'' She's - still a girl of twenty?</dialogue> <character>LLOYD</character> <dialogue>Twentyish. It is n't important.</dialogue> <character>MARGO</character> <dialogue>Do n't you think it's about time it became important?</dialogue> <character>LLOYD</character> <dialogue>How do you mean?</dialogue> <character>MARGO</character> <dialogue>Do n't be evasive.</dialogue> <character>LLOYD</character> <dialogue>Margo, you have n't got any age.</dialogue> <character>MARGO</character> <dialogue>Miss Channing is ageless. Spoken like a press agent.</dialogue> <character>LLOYD</character> <dialogue>I know what I'm talking about, after all they're my plays.</dialogue> <character>MARGO</character> <dialogue>Spoken like an author.</dialogue> <parenthetical>( abruptly . )</parenthetical> <dialogue>Lloyd, I'm not twentyish. I am not thirtyish. Three months ago, I was forty years old. Forty. Four oh.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>That slipped out, I had n't quite made up my mind to admit it. Now I feel as if I'd suddenly taken all my clothes off.</dialogue> <character>LLOYD</character> <dialogue>Week after week, to thousands of people, you're as young as you want.</dialogue> <character>MARGO</character> <dialogue>as young as they want, you mean. And I'm not interested in whether thousands of people think I'm six or six hundred -</dialogue> <character>LLOYD</character> <dialogue>Just one person. Is n't that so?</dialogue> <parenthetical>( Margo does n't answer . )</parenthetical> <dialogue>You know what this is all about, do n't you? It has very little to do with whether you should play `` Cora'' - it has everything to do with the fact that you've had another fight with Bill.</dialogue> <scene_description>A pause . Margo closes the box of bicarb .</scene_description> <character>MARGO</character> <dialogue>Bill's thirty - two. He looks thirty two. He looked it five years ago, he'll look it twenty years from now. I hate men.</dialogue> <parenthetical>( she puts the box down . )</parenthetical> <dialogue>Do n't worry, Lloyd. I'll play your play. I'll wear rompers and come in rolling a hoop if you like. let's go say good night.</dialogue> <scene_description>They exit into the dining room . As they open the swinging door , the CAMERA REMAINS in the doorway . Margo and Lloyd walk toward the stairs . In the b.g. , Eve is talking to the group . How much she says is dependent on how long it takes Margo and Lloyd to reach her .</scene_description> <character>EVE</character> <parenthetical>( in the b.g . )</parenthetical> <dialogue>Imagine. to know, every night, that different hundreds of people love you. They smile, their eyes shine - you've pleased them, they want you, you belong. Anything's worth that.</dialogue> <scene_description>Just as before , she becomes aware of Margo 's approach with Lloyd . She scrambles to her feet .</scene_description> <character>MARGO</character> <dialogue>Do n't get up. And please stop acting as if I were the queen mother.</dialogue> <scene_description>And as Margo speaks - or before - we FADE OUT .</scene_description> </scene> <scene> <stage_direction>EXT. N.Y. THEATER STREET - DAY</stage_direction> <scene_description>Margo gets out of a cab in front of the theater and goes in . It 's Friday afternoon - no performance .</scene_description> <character>MARGO'S VOICE</character> <dialogue>What was it the wise man said - `` This, too, will pass away''? Two weeks later - the day of the audition - all was well with Bill and me, the world and me -</dialogue> </scene> <scene> <stage_direction>INT. LOBBY AND FOYER - CURRAN THEATER - DAY</stage_direction> <scene_description>Margo comes from the street through the lobby -LRB- a few people buying tickets -RRB- and into the deserted foyer . She spots Addison sprawled on one of the sofas .</scene_description> <character>MARGO</character> <dialogue>Why so remote, Addison? I should think you'd be at the side of your protegee, lending her moral support.</dialogue> <character>ADDISON</character> <dialogue>Miss Caswell, at the moment, is where I can lend no support - moral or otherwise.</dialogue> <character>MARGO</character> <dialogue>The ladies' - shall we say - lounge?</dialogue> <character>ADDISON</character> <dialogue>Being violently ill to her tummy.</dialogue> <character>MARGO</character> <dialogue>It's good luck before an audition. She'll be all right once it starts.</dialogue> <scene_description>She heads for the auditorium .</scene_description> <character>ADDISON</character> <dialogue>Miss Caswell got lucky too late. The audition is over.</dialogue> <character>MARGO</character> <parenthetical>( stops . )</parenthetical> <dialogue>Over? It ca n't be. I've come to read with her. I promised Max.</dialogue> <character>ADDISON</character> <dialogue>The audition was called for 2:30. It is now nearly four.</dialogue> <character>MARGO</character> <parenthetical>( lightly . )</parenthetical> <dialogue>Is it really? I must start wearing a watch, I never do, you know. who read with Miss Caswell? Bill?</dialogue> <parenthetical>( he shakes his head . )</parenthetical> <dialogue>Lloyd?</dialogue> <parenthetical>( he shakes his head . )</parenthetical> <dialogue>Well, it could n't have been Max! Who?</dialogue> <character>ADDISON</character> <dialogue>Naturally enough, your understudy.</dialogue> <character>MARGO</character> <dialogue>I consider it highly unnatural to allow a girl in an advanced state of pregnancy -</dialogue> <character>ADDISON</character> <dialogue>I refer to your new and unpregnant understudy. Eve Harrington.</dialogue> <character>MARGO</character> <dialogue>Eve! My understudy.</dialogue> <character>ADDISON</character> <parenthetical>( keenly . )</parenthetical> <dialogue>Did n't you know?</dialogue> <character>MARGO</character> <parenthetical>( quickly . )</parenthetical> <dialogue>Of course I knew.</dialogue> <character>ADDISON</character> <dialogue>It just slipped your mind.</dialogue> <scene_description>A moment of silence .</scene_description> <character>MARGO</character> <dialogue>How. how was Miss Caswell?</dialogue> <character>ADDISON</character> <dialogue>Frankly, I do n't remember.</dialogue> <character>MARGO</character> <dialogue>Just slipped your mind.</dialogue> <character>ADDISON</character> <dialogue>Completely. Nor, I am sure, could anyone else present tell you how Miss Caswell read or whether Miss Caswell read or rode a pogo stick.</dialogue> <character>MARGO</character> <dialogue>Was she that bad?</dialogue> <scene_description>As Addison speaks , he rises with excitement .</scene_description> <character>ADDISON</character> <dialogue>Margo, as you know, i have lived in the Theater as a Trappist monk lives in his faith. I have no other world, no other life - and once in a great while I experience that moment of Revelation for which all true believers wait and pray. You were one. Jeanne Eagels another. Paula Wessely. Hayes - there are others, three or four. Eve Harrington will be among them.</dialogue> <character>MARGO</character> <parenthetical>( flatly . )</parenthetical> <dialogue>I take it she read well.</dialogue> <character>ADDISON</character> <dialogue>It was n't reading, it was a performance. Brilliant, vivid, something made of music and fire.</dialogue> <character>MARGO</character> <dialogue>How nice.</dialogue> <character>ADDISON</character> <dialogue>In time she'll be what you are.</dialogue> <character>MARGO</character> <dialogue>A mass of music and fire. That's me. An old kazoo and some sparkles. Tell me - was Bill swept away, too, or were you too full of Revelation to notice?</dialogue> <character>ADDISON</character> <dialogue>Bill did n't say - but Lloyd was beside himself. He listened to his play as if someone else had written it, he said, it sounded so fresh, so new, so full of meaning.</dialogue> <character>MARGO</character> <dialogue>How nice for Lloyd. And how nice for Eve. How nice for everybody.</dialogue> <scene_description>Addison , of course , knows exactly what she 's doing . He senses the approaching typhoon , he whips it up .</scene_description> <character>ADDISON</character> <dialogue>Eve was incredibly modest. She insisted that no credit was due her, that Lloyd felt as he did only because she read lines exactly as he had written them.</dialogue> <character>MARGO</character> <dialogue>The implication being that I have not been reading them as written.</dialogue> <character>ADDISON</character> <dialogue>To the best of my recollection, neither your name nor your performance entered the conversation.</dialogue> <scene_description>Miss Caswell appears , uncertain , in the b.g.</scene_description> <character>ADDISON</character> <dialogue>Feeling better, my dear?</dialogue> <character>MISS CASWELL</character> <dialogue>Like I just swam the English Channel. Now what?</dialogue> <character>ADDISON</character> <dialogue>You next move, it seems to me, should be toward television.</dialogue> <scene_description>Margo , abruptly , starts for the auditorium . Addison smiles . He takes Miss Caswell 's arm .</scene_description> <character>MISS CASWELL</character> <dialogue>Tell me this. Do they have auditions for television?</dialogue> <character>ADDISON</character> <dialogue>That's all television is, my dear. Nothing but auditions.</dialogue> <scene_description>He takes her toward the street .</scene_description> </scene> <scene> <stage_direction>INT. THEATER - CURRAN THEATER - DAY</stage_direction> <scene_description>The curtain is up ; the set , covered , is a bedroom in a deteriorating Southern mansion . There is no one in the theater but Max , seated on the aisle about two - thirds down , and Eve with Lloyd and Bill on the stage . She is seated ; they stand between her and auditorium . There is some ad lib talk among the three which we can not make out . Margo marches down the aisle with a steady pace . She passes Max smiles a sickly , hopeful smile . She ignores him as if he were a used paper cup . She disappears through the door which leads backstage . Max whistles . Lloyd turns . Max indicated the door and puts his hands to his head in despair . Margo walks out of the wings on stage . Bill and Lloyd turn to her . Eve rises .</scene_description> <character>MARGO</character> <parenthetical>( cheerily . )</parenthetical> <dialogue>Terribly sorry I'm late, lunch was long and I could n't find a cab - where's Miss Caswell, shall we start? Oh, hello, Eve.</dialogue> <character>EVE</character> <dialogue>Hello, Miss Channing.</dialogue> <character>MARGO</character> <dialogue>How are you making out in Mr. Fabian's office?</dialogue> <parenthetical>( over the footlights to Max . )</parenthetical> <dialogue>I do n't want you working the child too hard, Max - just because you promised. As you see, I kept my promise, too.</dialogue> <scene_description>Max slumps in his seat . By the time Margo turns back to them , the others have exchanged swift looks .</scene_description> <character>BILL</character> <dialogue>It's all over.</dialogue> <character>MARGO</character> <dialogue>What's all over?</dialogue> <character>BILL</character> <dialogue>The audition.</dialogue> <character>MARGO</character> <parenthetical>( pleased astonishment . )</parenthetical> <dialogue>Eve?</dialogue> <parenthetical>( she turns to her . )</parenthetical> <dialogue>How enchanting.</dialogue> <parenthetical>( to Lloyd and Bill . )</parenthetical> <dialogue>Wherever did you get the idea of having Eve read with Miss Caswell?</dialogue> <character>LLOYD</character> <dialogue>She's your understudy.</dialogue> <character>MARGO</character> <dialogue>Eve? Eve, my understudy? But I had no idea.</dialogue> <character>LLOYD</character> <dialogue>I thought you knew. She was put on over a week ago -</dialogue> <character>MARGO</character> <dialogue>It seems almost inconceivable that I have n't seen her backstage, but with so many people loitering around. well, well. So Eve is not working for Max after all -.</dialogue> <parenthetical>( out to Max again . )</parenthetical> <dialogue>- Max you sly puss.</dialogue> <scene_description>Max submerges further in his seat .</scene_description> <character>EVE</character> <dialogue>Miss Channing, I ca n't tell you how glad I am that you arrived so late.</dialogue> <character>MARGO</character> <dialogue>Really, Eve? Why?</dialogue> <character>EVE</character> <dialogue>Well, if you'd been here to begin with, I would n't have dared to read at all.</dialogue> <character>MARGO</character> <dialogue>Why not?</dialogue> <character>EVE</character> <dialogue>and if you'd come in the middle, I'd have stopped, I could n't have gone on -</dialogue> <character>MARGO</character> <parenthetical>( murmurs . )</parenthetical> <dialogue>What a pity, all that fire and music being turned off.</dialogue> <character>BILL</character> <dialogue>What fire and music?</dialogue> <character>MARGO</character> <dialogue>You would n't understand.</dialogue> <parenthetical>( to Lloyd . )</parenthetical> <dialogue>How was Miss Caswell?</dialogue> <character>LLOYD</character> <dialogue>Back to Copacabana. But Eve. Margo, let me tell you about Eve -</dialogue> <character>EVE</character> <parenthetical>( breaking in . )</parenthetical> <dialogue>I was dreadful, Miss Channing, believe me - I have no right to be anyone's understudy, much less yours.</dialogue> <character>MARGO</character> <dialogue>I'm sure you underestimate yourself, Eve. You always do.</dialogue> <parenthetical>( to Lloyd . )</parenthetical> <dialogue>You were about to tell me about Eve.</dialogue> <character>LLOYD</character> <dialogue>You'd have been proud of her.</dialogue> <character>MARGO</character> <dialogue>I'm sure.</dialogue> <character>LLOYD</character> <dialogue>She was a revelation.</dialogue> <character>MARGO</character> <dialogue>To you, too?</dialogue> <character>LLOYD</character> <dialogue>What do you mean?</dialogue> <character>MARGO</character> <parenthetical>( the ice begins to form . )</parenthetical> <dialogue>I mean, among other things, that it must have been a revelation to have your twenty - four - year - old character played by twenty - four - year - old actress.</dialogue> <character>LLOYD</character> <dialogue>That's beside the point.</dialogue> <character>MARGO</character> <dialogue>It's right to the point. Also that it must have sounded so new and fresh to you - so exciting to have the lines read as you wrote them!</dialogue> <character>BILL</character> <dialogue>Addison -!</dialogue> <character>MARGO</character> <dialogue>So full of meaning, fire and music!</dialogue> <character>LLOYD</character> <dialogue>You've been talking to that venomous fishwife, Addison deWitt -</dialogue> <character>MARGO</character> <dialogue>- in this case, apparently, as trustworthy as the World Almanac!</dialogue> <character>LLOYD</character> <dialogue>You knew when you came in that the audition was over, that Eve was your understudy! Playing that childish game of cat and mouse.</dialogue> <character>MARGO</character> <dialogue>Not mouse, never mouse! If anything - rat!</dialogue> <character>LLOYD</character> <dialogue>You have a genius for making barroom brawl out of a perfectly innocent misunderstanding at most!</dialogue> <character>MARGO</character> <dialogue>Perfectly innocent! Man have been hanged for less! I'm lied to, attacked behind my back, accused of reading your silly dialogue inaccurately - as if it were Holy Gospel!</dialogue> <character>LLOYD</character> <dialogue>I never said it was!</dialogue> <character>MARGO</character> <dialogue>Then you listened as if someone else had written you play - whom did you have in mind? Sherwood? Arthur Miller? Beaumont and Fletcher?</dialogue> <scene_description>Max has edged his way to the stage .</scene_description> <character>MAX</character> <parenthetical>( from below . )</parenthetical> <dialogue>May I say a word?</dialogue> <character>LLOYD</character> <dialogue>No!</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>What makes you think that either Miller or Sherwood would stand for the nonsense I take from you - you'd better stick to Beaumont and Fletcher! They've been dead for three hundred years!</dialogue> <scene_description>He stalks into the wings . Bill 's reaction to the fight is typical . He lights a cigarette , stretches out on the covered bed . Eve stands frozen with fear . Margo yells after Lloyd into the wings .</scene_description> <character>MARGO</character> <dialogue>And they're getting better performances today than they ever got! All playwrights should be dead for three hundred years!</dialogue> <scene_description>Lloyd comes out of the door leading to the auditorium . The battle goes on without a pause . As he yells back , he crosses to Max at row A , center .</scene_description> <character>LLOYD</character> <dialogue>That would solve none of their problems - because actresses never die! The stars never die and never change!</dialogue> <scene_description>He starts up the aisle with Max .</scene_description> <character>MARGO</character> <dialogue>You can change this star any time you want! For a new, fresh, exciting one fully equipped with fire and music! Any time you want - starting with tonight's performance!</dialogue> <scene_description>Now it 's Max who stops and shouts back at her .</scene_description> <character>MAX</character> <dialogue>This is for lawyers to talk about, this concerns a run - of - the - play contract, and this you ca n't rewrite or ad lib!</dialogue> <character>MARGO</character> <parenthetical>( from the stage . )</parenthetical> <dialogue>Are you threatening me with legal action, Mr. Fabian?</dialogue> <character>MAX</character> <dialogue>Are you breaking the contract?</dialogue> <character>MARGO</character> <dialogue>Answer my question!</dialogue> <character>MAX</character> <dialogue>Who am I to threaten? I'm a dying man.</dialogue> <character>MARGO</character> <dialogue>I did n't hear you.</dialogue> <character>MAX</character> <parenthetical>( yelling . )</parenthetical> <dialogue>I said I'm a dying man!</dialogue> <character>MARGO</character> <dialogue>Not until the last drugstore has sold its last pill!</dialogue> <character>LLOYD</character> <parenthetical>( from the top of the aisle . )</parenthetical> <dialogue>I shall never understand the weird process by which a body with a voice suddenly fancies itself a mind! Just when exactly does an actress decide they're her words she's saying and her thoughts she's expressing?</dialogue> <character>MARGO</character> <dialogue>Usually at the point when she's got to rewrite and rethink them to keep the audience from leaving the theater!</dialogue> <character>LLOYD</character> <dialogue>It's about time the piano realized it has not written the concerto!</dialogue> <scene_description>Max has already walked out unhappily . Lloyd now slams out . Margo glares after him , then turns to Bill who smokes his cigarette peacefully on the bed .</scene_description> <character>MARGO</character> <parenthetical>( quiet menace . )</parenthetical> <dialogue>And you, I take it, are the Paderewski who plays his concerto on me, the piano?</dialogue> <parenthetical>( Bill waves his cigarette ; he 's noncommittal . )</parenthetical> <dialogue>Where is Princess Fire - and - Music?</dialogue> <character>BILL</character> <dialogue>Who?</dialogue> <character>MARGO</character> <dialogue>The kid. Junior.</dialogue> <character>BILL</character> <parenthetical>( looks lazily . )</parenthetical> <dialogue>Gone.</dialogue> <character>MARGO</character> <dialogue>I must have frightened her away.</dialogue> <character>BILL</character> <dialogue>I would n't be surprised. Sometimes you frighten me.</dialogue> <character>MARGO</character> <parenthetical>( paces up and down . )</parenthetical> <dialogue>Poor little flower. Just dropped her petals and folded her tent.</dialogue> <character>BILL</character> <dialogue>Do n't mix your metaphors.</dialogue> <character>MARGO</character> <dialogue>I mix what I like.</dialogue> <character>BILL</character> <dialogue>Okay. Mix.</dialogue> <character>MARGO</character> <dialogue>I'm nothing but a body with a voice. No mind.</dialogue> <character>BILL</character> <dialogue>What a body, what a voice.</dialogue> <character>MARGO</character> <dialogue>The ex - ship news' reporter. No body, no voice, all mind!</dialogue> <character>BILL</character> <dialogue>The gong rang. The fight's over. Calm down.</dialogue> <character>MARGO</character> <dialogue>I will not calm down!</dialogue> <character>BILL</character> <dialogue>Do n't calm down.</dialogue> <character>MARGO</character> <dialogue>You're being terribly tolerant, are n't you?</dialogue> <character>BILL</character> <dialogue>I'm trying terribly hard.</dialogue> <character>MARGO</character> <dialogue>Well, you need n't. I will not be tolerated. And I will not be plotted against!</dialogue> <character>BILL</character> <dialogue>Here we go.</dialogue> <character>MARGO</character> <dialogue>Such nonsense, what do you all take me for - little Nell from the country? Been my understudy for over a week without my knowing, carefully hidden no doubt -</dialogue> <character>BILL</character> <parenthetical>( sits up . )</parenthetical> <dialogue>Now do n't get carried away -</dialogue> <character>MARGO</character> <parenthetical>( going right on . )</parenthetical> <dialogue>- shows up for an audition when everyone knew I'd be here. and gives a performance! Out of nowhere - gives a performance!</dialogue> <character>BILL</character> <dialogue>You've been all through that with Lloyd -</dialogue> <character>MARGO</character> <dialogue>The playwright does n't make the performance - and it does n't just happen! And this one did n't - full of fire and music and whatnot, it was carefully rehearsed I have no doubt, over and over, full of those Bill Sampson touches!</dialogue> <character>BILL</character> <dialogue>I am sick and tired of these paranoiac outbursts!</dialogue> <character>MARGO</character> <dialogue>Paranoiac!</dialogue> <character>BILL</character> <dialogue>I did n't know Eve Harrington was your understudy until half past two this afternoon!</dialogue> <character>MARGO</character> <dialogue>Tell that to Dr. Freud! Along with the rest of it.</dialogue> <scene_description>She turns away . Bill grabs her , pulls her down on the bed . He holds her down .</scene_description> <character>BILL</character> <dialogue>No, I'll tell it to you! For the last time, I'll tell it to you. Because you've got to stop hurting yourself, and me, and the two of us by these paranoiac tantrums!</dialogue> <character>MARGO</character> <parenthetical>( struggling . )</parenthetical> <dialogue>That word again! I do n't even know what it means.</dialogue> <character>BILL</character> <parenthetical>( firmly . )</parenthetical> <dialogue>It's time you found out. I love you.</dialogue> <parenthetical>( Margo says `` Ha ! ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>I love you. You're a beautiful and intelligent woman -.</dialogue> <parenthetical>( Margo says `` A body with a voice '' . )</parenthetical> <dialogue>- a beautiful and intelligent woman and a great actress -.</dialogue> <parenthetical>( he waits ; Margo says nothing . )</parenthetical> <dialogue>- at the peak of her career. You have every reason for happiness -.</dialogue> <parenthetical>( Margo says `` Except happiness '' . )</parenthetical> <dialogue>- every reason, but due to some strange, uncontrollable, unconscious drive you permit the slightest action of a kid -.</dialogue> <parenthetical>( Margo sneers `` Kid ! ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>- kid like Eve to turn you into a hysterical, screaming harpy! Now once and for all, stop it!</dialogue> <scene_description>Margo seems quiet . He gets up . She sits up .</scene_description> <character>MARGO</character> <dialogue>It's obvious you're not a woman.</dialogue> <character>BILL</character> <dialogue>I've been aware of that for some time.</dialogue> <character>MARGO</character> <dialogue>Well, I am.</dialogue> <character>BILL</character> <dialogue>I'll say.</dialogue> <character>MARGO</character> <dialogue>Do n't be condescending.</dialogue> <character>BILL</character> <dialogue>Come on, get up. I'll buy you a drink.</dialogue> <character>MARGO</character> <parenthetical>( with dignity . )</parenthetical> <dialogue>I admit I may have seen better days, but I am still not to be had for the price of a cocktail - like a salted peanut.</dialogue> <character>BILL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Margo, let's make peace.</dialogue> <character>MARGO</character> <dialogue>The terms are too high. Unconditional surrender.</dialogue> <character>BILL</character> <dialogue>Just being happy? Just stopping all this nonsense about Eve - and Eve and me?</dialogue> <character>MARGO</character> <dialogue>It's not nonsense.</dialogue> <character>BILL</character> <dialogue>But if I tell you it is - as I just did. Were you listening to me?</dialogue> <parenthetical>( Margo nods . )</parenthetical> <dialogue>Is n't that enough?</dialogue> <character>MARGO</character> <dialogue>I wish it were.</dialogue> <character>BILL</character> <dialogue>Then what would be enough?</dialogue> <parenthetical>( Margo does n't answer . )</parenthetical> <dialogue>If we were married?</dialogue> <character>MARGO</character> <dialogue>I would n't want you to marry me just to prove something.</dialogue> <character>BILL</character> <dialogue>You've had so many reasons for not wanting to marry me. Margo, tell me what's behind all this.</dialogue> <character>MARGO</character> <dialogue>I - I do n't know, Bill. Just a feeling, I do n't know.</dialogue> <character>BILL</character> <dialogue>I think you do know but you wo n't or ca n't tell me.</dialogue> <parenthetical>( Margo does n't say . )</parenthetical> <dialogue>I said before it was going to be my last try, and I meant it. I ca n't think of anything else to do. I wish I could.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>We usually wind up screaming and throwing things as the curtain comes down. Then it comes up again and everything's fine. But not this time.</dialogue> <parenthetical>( he takes a breath . )</parenthetical> <dialogue>You know there is n't a playwright in the world who could make me believe this would happen between two adult people. Goodbye, Margo.</dialogue> <scene_description>No word from her . He starts away .</scene_description> <character>MARGO</character> <dialogue>Bill.</dialogue> <parenthetical>( he stops . )</parenthetical> <dialogue>. where are you going? To find Eve?</dialogue> <character>BILL</character> <parenthetical>( smiles grimly . )</parenthetical> <dialogue>That suddenly makes the whole thing believable.</dialogue> <scene_description>He goes out . Margo , alone , sit for a moment sadly . Then she begins to cry .</scene_description> </scene> <scene> <stage_direction>INT. RICHARDS' STUDIO APARTMENT - DAY</stage_direction> <scene_description>One large room , a small foyer with a door to the corridor . A stair up one wall to a narrow balcony from which a couple of bedroom open . Karen is painting . Earnestly but badly . A still life of an orange , an avocado , an eggplant and three bananas .</scene_description> <character>KAREN'S VOICE</character> <dialogue>On the day of the audition, my biggest worry was to keep a banana looking part of an eggplant. then Lloyd came home.</dialogue> <parenthetical>( in the b.g. , Lloyd lets himself in . )</parenthetical> <dialogue>It was right after his brawl with Margo.</dialogue> <scene_description>Lloyd slams the door , flings his hat away , strides in , peeling off muffler and overcoat .</scene_description> <character>KAREN</character> <dialogue>Lloyd, what happened?</dialogue> <character>LLOYD</character> <dialogue>Up to here! That's where I've got it - up to here! Of all the star ridden, presumptuous, hysterical -</dialogue> <character>KAREN</character> <dialogue>Margo, again.</dialogue> <character>LLOYD</character> <dialogue>And again and again! Two hours late for the audition, to begin with -</dialogue> <character>KAREN</character> <dialogue>That's on time for Margo.</dialogue> <character>LLOYD</character> <dialogue>Then a childish, heavy - handed routine about not knowing Eve was her understudy -</dialogue> <character>KAREN</character> <dialogue>It's just possible she did n't.</dialogue> <character>LLOYD</character> <dialogue>Of course she knew! For one thing, Addison told her how superbly Eve had read the part -!</dialogue> <parenthetical>( suddenly softening . )</parenthetical> <dialogue>Karen, let me tell you about Eve. She's got everything - a born actress. Sensitive, understanding, young, exciting, vibrant -</dialogue> <character>KAREN</character> <dialogue>- do n't run out of adjectives, dear.</dialogue> <character>LLOYD</character> <dialogue>- everything a playwright first thinks of wanting to write about. until his play becomes a vehicle for Miss Channing.</dialogue> <character>KAREN</character> <dialogue>Margo has n't done badly by it.</dialogue> <character>LLOYD</character> <dialogue>Margo. Margo's great. She knows it. That's the trouble. She can play Peck's Bad Boy all she wants, and who's to stop her? Who's to give her that boot in the rear she needs and deserves?</dialogue> <scene_description>He starts up the stairs to the bedroom .</scene_description> <character>KAREN</character> <parenthetical>( murmurs . )</parenthetical> <dialogue>It's going to be a cozy weekend.</dialogue> <character>LLOYD</character> <parenthetical>( pauses . )</parenthetical> <dialogue>What is?</dialogue> <character>KAREN</character> <dialogue>We're driving out to the country tomorrow night. Just the four of us. Bill, Margo, you and I.</dialogue> <character>LLOYD</character> <dialogue>Well. We've spent weekends before with nobody talking.</dialogue> <parenthetical>( continues up stairs . )</parenthetical> <dialogue>. just be sure to lock up all blunt instruments and throwable objects.</dialogue> <scene_description>As he goes into one of the bedrooms , Karen sits thoughtfully on a couch . She muses .</scene_description> <character>KAREN'S VOICE</character> <dialogue>Newton - they say, thought of gravity by getting hit on the head by an apple. And the man who invented the steam engine, he was watching a tea - kettle. but not me. My Big Idea came to me just sitting on a couch.</dialogue> <scene_description>She lies down , folds her hands behind her head .</scene_description> <character>KAREN'S VOICE</character> <dialogue>That boot in the rear to Margo. Heaven knows she had one coming. From me, from Lloyd, from Eve, Bill, Max, and so on - we'd all felt those size fives of hers often enough. but how? The answer was buzzing around me like a fly.</dialogue> <scene_description>She sits up . She smiles . The smile fades .</scene_description> <character>KAREN'S VOICE</character> <dialogue>I had it. But I let it go. Screaming and calling names is one thing - but this could mean.</dialogue> <scene_description>She shakes her head , crosses to her easel , resumes work on the bananas . She slows down , then stops .</scene_description> <character>KAREN'S VOICE</character> <dialogue>Why not? Why, I said to myself, not? It would all seem perfectly legitimate. And there were only two people in the world who would know. Also, the boot would land where it would do the most good for all concerned -</dialogue> <scene_description>She puts the brush away and crosses to the phone which is by Lloyd 's work chair . As she crosses :</scene_description> <character>KAREN'S VOICE</character> <dialogue>And after all, it was not more than a perfectly harmless joke which Margo, herself, would be the first to enjoy.</dialogue> <scene_description>She looks in a leather phone book , pick up the phone and dials .</scene_description> <character>KAREN'S VOICE</character> <dialogue>and no reason why she should n't be told about it - in time.</dialogue> <scene_description>There 's an answer at the other end .</scene_description> <character>KAREN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello. will you call Miss Eve Harrington to the phone, please? Not at all. thank you.</dialogue> <scene_description>And as she waits we .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - NIGHT</stage_direction> <scene_description>Open country . Preferably no houses in sight . Plenty of snow . Lloyd 's car drives along .</scene_description> <character>KAREN'S VOICE</character> <dialogue>It was a cold weekend - outside and in. Bill did n't come at all. Margo did n't know where he was and did n't care - she kept saying. Somehow we staggered through Sunday - and by the time we drive Margo to the station late Monday afternoon, she and Lloyd had thawed out to the extent of being civil to each other.</dialogue> </scene> <scene> <stage_direction>INT. COUPE - NIGHT</stage_direction> <scene_description>Lloyd driving . All three in the front seat .</scene_description> <character>KAREN</character> <dialogue>What time is it?</dialogue> <character>LLOYD</character> <dialogue>When you asked a minute ago it was five - forty - two. It is now five forty - three. When you ask a minute from no, it will be -</dialogue> <character>KAREN</character> <dialogue>I just do n't want Margo to miss her train. As it is, she'll barely make the theater.</dialogue> <character>LLOYD</character> <dialogue>Five - fifty - five. We'll be at the station in plenty of time.</dialogue> <character>MARGO</character> <dialogue>That little place just two hours form New York. It's on my list of things - I'll - never - understand. Like collecting shrunken Indian heads.</dialogue> <character>KAREN</character> <dialogue>Of all people you should know what it means to want some peace and quiet -</dialogue> <character>MARGO</character> <dialogue>Peace and quit is for libraries.</dialogue> <scene_description>The car swerves - suddenly and slightly .</scene_description> <character>KAREN</character> <dialogue>Lloyd, be careful.</dialogue> <character>LLOYD</character> <dialogue>Just a little skid, that's all. This road's like glass.</dialogue> <character>MARGO</character> <dialogue>Karen and I just do n't want an accident -</dialogue> <character>LLOYD</character> <dialogue>I have no intention of having an accident!</dialogue> <character>MARGO</character> <dialogue>It's not important whether you do. We are wearing long underwear.</dialogue> <scene_description>They all laugh . Suddenly the car slows and stops - with that hissing sound that can mean only one thing - no gas .</scene_description> <character>LLOYD</character> <dialogue>Now what's this?</dialogue> <scene_description>He tries to start it again . No luck . He turns on the dashboard lights . The gas gauge reads empty .</scene_description> <character>LLOYD</character> <dialogue>But it ca n't be! We ca n't be out of gas! I filled it myself yesterday!</dialogue> <parenthetical>( to Karen . )</parenthetical> <dialogue>Was n't it full when you drove to Brewster this morning?</dialogue> <character>KAREN</character> <parenthetical>( very low . )</parenthetical> <dialogue>I guess I did n't look. You know I do n't pay attention to those things.</dialogue> <character>LLOYD</character> <dialogue>Incredible.</dialogue> <scene_description>Futilely , he runs the started again .</scene_description> <character>MARGO</character> <parenthetical>( crisply . )</parenthetical> <dialogue>How much time have we?</dialogue> <character>KAREN</character> <dialogue>Roughly ten minutes.</dialogue> <character>MARGO</character> <dialogue>How far to the station?</dialogue> <character>KAREN</character> <dialogue>Three or four miles.</dialogue> <character>MARGO</character> <dialogue>Any houses or farms around where we can borrow gas?</dialogue> <character>KAREN</character> <parenthetical>( looking . )</parenthetical> <dialogue>None in sight, there are n't many along this back road.</dialogue> <character>MARGO</character> <dialogue>Not many car either, not much chance of a lift.</dialogue> <scene_description>A moment of silence .</scene_description> <character>LLOYD</character> <dialogue>Well. No sense my just sitting here. I'm going to walk up about half a mile, just in case.</dialogue> <scene_description>He starts out of the car . The cold comes in like a knife , the women react .</scene_description> <character>KAREN</character> <dialogue>You'll break your neck on that ice.</dialogue> <character>LLOYD</character> <parenthetical>( grins . )</parenthetical> <dialogue>What a way to die - trying to get an actress to the theater in time. Tell Max I want to be buried with royalties.</dialogue> <character>KAREN</character> <dialogue>Do n't joke about such things.</dialogue> <character>MARGO</character> <parenthetical>( quietly . )</parenthetical> <dialogue>How fortunate that I have an understudy so ready, so willing and so able to go on.</dialogue> <character>LLOYD</character> <dialogue>The audience will want its money refunded, believe me.</dialogue> <character>MARGO</character> <dialogue>Thank you, Lloyd. Godspeed.</dialogue> <scene_description>Lloyd starts down the road . He slips once , recovers , waves and keeps going .</scene_description> <character>KAREN</character> <dialogue>He always looks so pathetic whenever he does anything physical -</dialogue> <character>MARGO</character> <dialogue>It seems to me that walking, for most people, is not very dangerous.</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I just never think of Lloyd as anywhere but indoors and anything but sitting down.</dialogue> <character>MARGO</character> <dialogue>Be brave. He'll come back - with or without gas.</dialogue> <scene_description>They tuck the fur car robe around them . A pause . Margo turns on the radio . it 's `` Liebestraum . ''</scene_description> <character>MARGO</character> <dialogue>Do you want it on?</dialogue> <character>KAREN</character> <dialogue>It does n't matter.</dialogue> <character>MARGO</character> <dialogue>I detest cheap sentiment.</dialogue> <scene_description>She turns it off . Another pause .</scene_description> <character>MARGO</character> <dialogue>Karen.</dialogue> <parenthetical>( Karen says `` hm ? ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>I have n't been pleasant this weekend.</dialogue> <character>KAREN</character> <dialogue>We've all seemed a little tense lately.</dialogue> <character>MARGO</character> <dialogue>Come to think of it, I have n't been very pleasant for weeks. For that, I'm truly sorry. More than any two people I know, I do n't want you and Lloyd to be angry with me.</dialogue> <character>KAREN</character> <dialogue>We're never deeply angry, we just get sore. The way you do. We know you too well.</dialogue> <character>MARGO</character> <dialogue>So many people - know me. I wish I did. I wish someone would tell be about me.</dialogue> <character>KAREN</character> <dialogue>You're Margo. Just - Margo.</dialogue> <character>MARGO</character> <dialogue>And what is that? Besides something spelled out in light bulbs, I mean. Besides something called temperament, which consists mostly of swooping about on a broomstick creaming at the top of my voice. infants behave the way I do, you know. They carry on and misbehave - they'd get drunk if they knew how - when they ca n't have what they want. When they feel unwanted and insecure - or unloved.</dialogue> <scene_description>There 's a pause .</scene_description> <character>KAREN</character> <dialogue>What about Bill?</dialogue> <character>MARGO</character> <dialogue>What about Bill?</dialogue> <character>KAREN</character> <dialogue>He's in love with you.</dialogue> <character>MARGO</character> <dialogue>More than anything in this world, I love Bill. And I want Bill. I want him to want me. But me. Not Margo Channing. And if I ca n't tell they apart - how can he?</dialogue> <character>KAREN</character> <dialogue>Why should he - and why should you?</dialogue> <character>MARGO</character> <dialogue>Bill's in love with Margo Channing. He's fought with her, worked with her, loved her. but ten years from now - Margo Channing will have ceased to exist. And what's left will be. what?</dialogue> <character>KAREN</character> <dialogue>Margo. Bill is all of eight years younger than you.</dialogue> <character>MARGO</character> <dialogue>Those years stretch as the years go on. I've seen it happen too often.</dialogue> <character>KAREN</character> <dialogue>Not to you. Not to Bill.</dialogue> <character>MARGO</character> <dialogue>Is n't that what they always say?</dialogue> <scene_description>She turns the radio on again . A piano nocturne .</scene_description> <character>MARGO</character> <dialogue>I do n't suppose the heater runs when the motor does n't?</dialogue> <character>KAREN</character> <dialogue>Silly, is n't it? You'd think they'd fix it so people could just sit in a car and keep warm.</dialogue> <scene_description>Margo nods , get some cigarettes out of her bag . She offers one to Karen . They light up .</scene_description> <character>MARGO</character> <dialogue>About Eve. I've acted pretty disgracefully toward her, too.</dialogue> <character>KAREN</character> <dialogue>Well.</dialogue> <character>MARGO</character> <dialogue>Let's not fumble for excuses, not here and now with my hair down. At best, let's say I've been oversensitive to. well, to the fact that she's so young - so feminine and helpless. To so many things I want to be for Bill. funny business, a woman's career. The things you drop on your way up the ladder, so you can move faster. You forget you'll need them again when you go back to being a woman. That's one career all females have in common - whether we like it or not - being a woman. Sooner or later we've all got to work at it, no matter what other careers we've had or wanted. and, in the last analysis, nothing is any good unless you can look up just before dinner or turns around in bed - and there he is. Without that, you're not woman. You're something with a French provincial office or a book full of clippings - but you're not a woman.</dialogue> <parenthetical>( she smiles at Karen . )</parenthetical> <dialogue>. slow curtain. The end.</dialogue> <scene_description>A pause . There are tears in Karen 's eyes .</scene_description> <character>KAREN</character> <dialogue>Margo.</dialogue> <parenthetical>( she hesitates . )</parenthetical> <dialogue>Margo, I want you to know how sorry I am about this.</dialogue> <character>MARGO</character> <dialogue>About what?</dialogue> <character>KAREN</character> <parenthetical>( indicating their predicament . )</parenthetical> <dialogue>This. I ca n't tell you how sorry I am!</dialogue> <character>MARGO</character> <dialogue>Do n't give it another thought, one of destiny's many pranks. After all, you did n't personally drain the gasoline out of the tank.</dialogue> <scene_description>She snuggles down into her furs . Karen flashes an unhappy look at her . She , too , snuggles down .</scene_description> </scene> <scene> <stage_direction>EXT. THEATER ALLEY - CURRAN THEATER - NIGHT</stage_direction> <scene_description>The snow has been shoveled to either side of the alley , making a lane . The performance is just over . Addison , his back to us , stands looking toward the stage door . A few actors , on their way out .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>Eve, of course, was superb. Many of the audience understandably preferred to return another time to see Margo. But those who remained cheered loudly, lustily and long for Eve. how thoughtful of her to call and invite me - that afternoon.</dialogue> <scene_description>He starts to walk toward the stage door .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>and what a happy coincidence that several representatives of other newspapers happened to be present. All of us - invited that afternoon to attend an understudy's performance.</dialogue> <scene_description>He goes in the stage door .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CURRAN THEATER - NIGHT</stage_direction> <scene_description>More activity than last time , the performance being just over . Addison comes through the door , picks his way toward Margo 's dressing room .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>about which the management knew nothing until they were forced to ring up the curtain at nine o'clock. Coincidence. Also every indication of intrigue, skulduggery and fraud.</dialogue> <scene_description>The door tot he dressing room is open just a bit . Addison pauses beside the door to listen .</scene_description> <character>BILL</character> <parenthetical>( from within . )</parenthetical> <dialogue>. you were better than all right, kid, you gave a performance, you rang a bell -</dialogue> <scene_description>Addison uses his cane to swing the door open farther , so that both he and WE can see as well as hear .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S DRESSING ROOM - NIGHT</stage_direction> <scene_description>Bill faces Eve , who wears Margo 's costume . She is a ravishing sight . Her eyes shine up to his radiantly :</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>- little things here and there, it does n't matter. You can be proud of yourself, you've got a right to be.</dialogue> <character>EVE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Are you proud of me, Bill?</dialogue> <character>BILL</character> <dialogue>I'll admit I was worried when Max called. I had my doubts.</dialogue> <character>EVE</character> <dialogue>You should n't have had any doubts.</dialogue> <character>BILL</character> <dialogue>- after all, the other day was one scene, the woods are full of one scene sensations. But you did it. With work and patience, you'll be a fine actress. If that's what you want to be.</dialogue> <character>EVE</character> <dialogue>Is that what you want me to be?</dialogue> <character>BILL</character> <dialogue>I'm talking about you. And what you want.</dialogue> <character>EVE</character> <dialogue>So am I.</dialogue> <character>BILL</character> <dialogue>What have I got to do with it?</dialogue> <character>EVE</character> <dialogue>Everything.</dialogue> <character>BILL</character> <parenthetical>( lightly . )</parenthetical> <dialogue>The names I've been called. But never Svengali.</dialogue> <parenthetical>( he pats her shoulder . )</parenthetical> <dialogue>Good luck.</dialogue> <scene_description>He starts out . Addison ducks .</scene_description> <character>EVE</character> <dialogue>Do n't run away, Bill.</dialogue> <character>BILL</character> <parenthetical>( stops . )</parenthetical> <dialogue>From what would I be running?</dialogue> <character>EVE</character> <dialogue>You're always after truth - on the stage. What about off?</dialogue> <character>BILL</character> <parenthetical>( curiously . )</parenthetical> <dialogue>I'm for it.</dialogue> <character>EVE</character> <dialogue>Then face it. I have. Since that first night - here - in the dressing room.</dialogue> <character>BILL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>When I told you what every young actress should know.</dialogue> <character>EVE</character> <dialogue>When you told me that whatever I became, it would be because of you -</dialogue> <character>BILL</character> <dialogue>Your make - up's a little heavy.</dialogue> <character>EVE</character> <dialogue>- and for you.</dialogue> <character>BILL</character> <parenthetical>( slowly . )</parenthetical> <dialogue>You're quite a girl.</dialogue> <character>EVE</character> <dialogue>You think?</dialogue> <character>BILL</character> <dialogue>I'm in love with Margo. Had n't you heard?</dialogue> <character>EVE</character> <dialogue>You hear all kinds of things.</dialogue> <character>BILL</character> <dialogue>I'm only human, rumors to the contrary. And I'm as curious as the next man.</dialogue> <character>EVE</character> <dialogue>Find out.</dialogue> <character>BILL</character> <parenthetical>( deliberately . )</parenthetical> <dialogue>Only thing, what I go after, I want to go after. I do n't want it to come after me.</dialogue> <scene_description>Tears come to Eve 's eyes . She turns away slowly .</scene_description> <character>BILL</character> <dialogue>Do n't cry. Just score it as an incomplete forward pass.</dialogue> <scene_description>He walks out . Addison ducks to avoid being seen . Eve glares after Bill , tears the wig from her head , throws it on the dressing table . Her glance is caught by a pair of scissors . Swiftly , she snatches them up and in a sharp , vicious gesture she slashes the wig . Addison knocks politely at the door . Eve turns .</scene_description> <character>ADDISON</character> <dialogue>May I come in?</dialogue> <character>EVE</character> <dialogue>Certainly, Mr. deWitt.</dialogue> <character>ADDISON</character> <parenthetical>( entering . )</parenthetical> <dialogue>I expected to find this little room overcrowded, with a theater full of people at your feet.</dialogue> <character>EVE</character> <dialogue>I consider myself lucky they did n't throw things.</dialogue> <scene_description>She starts creaming her face , removing make - up .</scene_description> <character>ADDISON</character> <dialogue>Of course your performance was no surprise to me. After the other day I regarded it as no more than - a promised fulfilled.</dialogue> <character>EVE</character> <dialogue>You're more than kind. But it's still Miss Channing's performance. I'm just a carbon copy you read when you ca n't find the original.</dialogue> <character>ADDISON</character> <dialogue>You're more than modest.</dialogue> <character>EVE</character> <dialogue>It's not modesty. I just do n't try to kid myself.</dialogue> <character>ADDISON</character> <dialogue>A revolutionary approach to the Theater. However, if I may a suggestion.</dialogue> <character>EVE</character> <dialogue>Please do.</dialogue> <character>ADDISON</character> <dialogue>I think the time has come for you to shed some of your humility. It is just as false not to blow your horn at all as it is to blow it too loudly.</dialogue> <character>EVE</character> <dialogue>I do n't think I've done anything to sound off about.</dialogue> <character>ADDISON</character> <dialogue>We all come into this world with our little egos equipped with individual horns. If we do n't blow them - who will?</dialogue> <character>EVE</character> <dialogue>Even so. One isolated pretty good performance by an understudy. It'll be forgotten tomorrow.</dialogue> <character>ADDISON</character> <dialogue>It need n't be.</dialogue> <character>EVE</character> <dialogue>Even if I wanted to - as you say - be less humble, blow my own horn. how would I do it? I'm less than nobody.</dialogue> <character>ADDISON</character> <dialogue>I am somebody.</dialogue> <scene_description>Eve rises . She eyes him steadily .</scene_description> <character>EVE</character> <dialogue>You certainly are.</dialogue> <scene_description>She goes into the bathroom .</scene_description> <character>ADDISON</character> <dialogue>Leave the door open a bit, so we can talk.</dialogue> <scene_description>Eve does so .</scene_description> <character>ADDISON</character> <dialogue>After you change, if you're not busy elsewhere, we can have supper.</dialogue> <character>EVE</character> <parenthetical>( from the bathroom . )</parenthetical> <dialogue>I'd love to! Or should I pretend I'm busy?</dialogue> <character>ADDISON</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Let's have a minimum of pretending. I'll want to do a column about you -</dialogue> <character>EVE</character> <dialogue>I'm not enough for a paragraph.</dialogue> <character>ADDISON</character> <dialogue>- perhaps more than one. There's so much I want to know. I've heard your story in bits and pieces. your home in Wisconsin, your tragic marriage, your financial attachment to Margo - it started in San Francisco, did n't it?</dialogue> <parenthetical>( no answer ; Addison smiles . )</parenthetical> <dialogue>I say - your idolatry of Margo started in San Francisco, did n't it?</dialogue> <character>EVE</character> <dialogue>That's right.</dialogue> <character>ADDISON</character> <dialogue>San Francisco. An oasis of civilization in the California desert. Tell me, do you share my high opinion of San Francisco?</dialogue> <character>EVE</character> <dialogue>Yes. I do.</dialogue> <character>ADDISON</character> <dialogue>And that memorable night when Margo first dazzled you from the stage - which theater was it in San Francisco? Was it - the Shubert?</dialogue> <character>EVE</character> <parenthetical>( a slight pause . )</parenthetical> <dialogue>Yes. The Shubert.</dialogue> <character>ADDISON</character> <parenthetical>( grins happily . )</parenthetical> <dialogue>A fine old theater, the Shubert. Full of tradition, untouched by the earthquake - so sorry - fire. by the way, what was your husband's name?</dialogue> <character>EVE</character> <dialogue>Eddie.</dialogue> <character>ADDISON</character> <dialogue>Eddie what?</dialogue> <scene_description>Eve sticks her head and naked shoulder around the door .</scene_description> <character>EVE</character> <dialogue>I'm about to go into the shower, I wo n't be able to hear you.</dialogue> <character>ADDISON</character> <dialogue>I can wait. Where would you like to go? We'll make this a special night.</dialogue> <character>EVE</character> <parenthetical>( trustingly . )</parenthetical> <dialogue>You take charge.</dialogue> <character>ADDISON</character> <dialogue>I believe I will.</dialogue> <scene_description>She closes the door . He leans back , lights a cigarette .</scene_description> </scene> <scene> <stage_direction>EXT. 52ND STREET - NEW YORK - NIGHT</stage_direction> <scene_description>A cab drives up to `` 21 . ''</scene_description> <character>KAREN'S VOICE</character> <dialogue>Some of the morning papers carried a little squib about Eve's performance. Not much, but full praise. I could n't imagine how they found out about it - but Lloyd said Max's publicity man probably sent out the story.</dialogue> <scene_description>Karen gets out of the cab , pays and goes in .</scene_description> <character>KAREN'S VOICE</character> <dialogue>at any rate, I feel terribly guilty and ashamed of myself - and wanted nothing so much as to forget the whole thing. Margo and I were having lunch at `` 21'' - just like girlfriends - with hats on.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY - "21" - DAY</stage_direction> <scene_description>Karen consults her watch and the doorman as she enters .</scene_description> <character>KAREN</character> <dialogue>Has Miss Channing come in?</dialogue> <character>DOORMAN</character> <dialogue>Not yet, Mrs. Richards.</dialogue> <scene_description>Karen sees Eve who waits as Addison hands his hat , coat , and cane to an attendant . She smiles , crosses to her .</scene_description> <character>KAREN</character> <dialogue>Eve. I've heard the most wonderful things about your performance -</dialogue> <character>EVE</character> <dialogue>Mostly relief that I managed to stagger through it at all.</dialogue> <character>ADDISON</character> <dialogue>She was magnificent.</dialogue> <character>KAREN</character> <parenthetical>( pleased . )</parenthetical> <dialogue>Then you've heard too.</dialogue> <character>ADDISON</character> <dialogue>I was there. An eyewitness.</dialogue> <character>KAREN</character> <parenthetical>( staggered . )</parenthetical> <dialogue>You were there? At the play - last night?</dialogue> <character>ADDISON</character> <parenthetical>( smiles . )</parenthetical> <dialogue>A happy coincidence.</dialogue> <character>EVE</character> <parenthetical>( quickly . )</parenthetical> <dialogue>We're having lunch with a movie talent scout.</dialogue> <character>KAREN</character> <dialogue>They certainly do n't waste much time.</dialogue> <character>EVE</character> <dialogue>Nothing definite yet - it's just to have lunch.</dialogue> <character>ADDISON</character> <dialogue>They'll be wasting this much of their time at any rate. Eve has no intention of going to Hollywood.</dialogue> <scene_description>He turns to Karen , changing the subject .</scene_description> <character>ADDISON</character> <dialogue>From the smartness of your dress, I take it your luncheon companion is a lady?</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Margo.</dialogue> <character>ADDISON</character> <dialogue>Margo? Lunching in public?</dialogue> <character>KAREN</character> <dialogue>It's new Margo. But she's just as late as the old one.</dialogue> <character>ADDISON</character> <dialogue>She may be later than you think.</dialogue> <scene_description>As he speaks , he crosses to pick up an evening paper , opens it as he comes back .</scene_description> <character>ADDISON</character> <parenthetical>( handing it to her . )</parenthetical> <dialogue>Why not read my column to pass the time? The minutes will fly like hours.</dialogue> <parenthetical>( he takes Eve 's arm . )</parenthetical> <dialogue>. and now we must join our sunburned eager beaver.</dialogue> <scene_description>He goes up the stairs with Eve . Karen glances after them curiously , then at the column . It is headed : `` Things I Promised Not To Tell '' by Addison deWitt . He expression becomes increasingly horrified . She drops the paper and rushes out .</scene_description> </scene> <scene> <stage_direction>INT. MARGO'S LIVING ROOM - DAY</stage_direction> <scene_description>Addison 's column quivers in Margo 's hand as she strides about reading it . Karen sits miserably .</scene_description> <character>MARGO</character> <parenthetical>( declaiming . ) ''</parenthetical> <dialogue>. my hat which has, lo, these many seasons become more firmly rooted about my ears, is lifted to Miss Harrington. I am once more available for dancing in the streets and shouting from the housetops.'' I thought that one went out with Woollcott.</dialogue> <parenthetical>( she skips part of the column . )</parenthetical> <dialogue>Down here. here, listen to this -''. Miss Harrington had much to tell - and these columns shall report her faithfully - about the lamentable practice in our Theater of permitting, shall we say - mature - actresses to continue playing roles requiring a youth and vigor of which they retain but a dim memory -''</dialogue> <character>KAREN</character> <dialogue>I just ca n't believe it.</dialogue> <character>MARGO</character> <dialogue>It get better!'' - About the understandable reluctance on the part of our entrenched First Ladies of the Stage to encourage, shall we say - younger - actresses ; about Miss Harrington's own long and unsupported struggle for opportunity -''</dialogue> <character>KAREN</character> <dialogue>I ca n't believe Eve said those things!</dialogue> <scene_description>Margo crumples the paper as if it were Eve 's neck .</scene_description> <character>MARGO</character> <parenthetical>( pacing . )</parenthetical> <dialogue>In this rat race, everybody's guilty till they're proved innocent! One of the differences between the Theater and civilization.</dialogue> <parenthetical>( she hurls the paper away . )</parenthetical> <dialogue>. what gets me is how all of those papers in town happened to catch that particular performance!</dialogue> <character>KAREN</character> <parenthetical>( weakly . )</parenthetical> <dialogue>Lloyd says it's a publicity release.</dialogue> <character>MARGO</character> <dialogue>The little witch must have had Indians runners out snatching critics out of bars, steam rooms and museums or wherever they hole up. well, she wo n't get away with it! Nor will Addison deWitt and his poison pen! If Equity or my lawyer ca n't or wo n't do anything about it, I will personally stuff that pathetic little lost lamb down Mr. deWitt's ugly throat.</dialogue> <scene_description>She pauses in midair to look at . Bill . He has come up the stairs tow at a time , stands at the landing .</scene_description> <character>BILL</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I came as soon as I read that piece of filth. I ran all the way.</dialogue> <scene_description>Margo suddenly starts to cry . She turns from him . Bill takes her in his arms . He holds her .</scene_description> <character>BILL</character> <dialogue>Bill's here, baby. Everything's all right, now.</dialogue> <scene_description>Margo says nothing , just hides in his embrace . He soothes her , pets her . he looks over at Karen .</scene_description> <character>KAREN</character> <dialogue>I guess at this point I'm what the French call ` de trop'.</dialogue> <character>BILL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Maybe just a little around the edges.</dialogue> <scene_description>Karen smiles back , waves , and goes out .</scene_description> </scene> <scene> <stage_direction>INT. RICHARDS' APARTMENT - DAY</stage_direction> <scene_description>Karen 's having some lunch . Lloyd , still in his robe , sits opposite her having some coffee and a cigarette . A copy of the interview before him .</scene_description> <character>LLOYD</character> <parenthetical>( is saying . )</parenthetical> <dialogue>- it's Addison, from start to finish, it drips with his brand of venom. taking advantage of a kid like that, twisting her words, making her say what he wanted her to say -</dialogue> <character>KAREN</character> <dialogue>Where'd you get all that information?</dialogue> <character>LLOYD</character> <parenthetical>( put out his cigarette . )</parenthetical> <dialogue>Eve.</dialogue> <character>KAREN</character> <dialogue>Eve?</dialogue> <character>LLOYD</character> <dialogue>She's been to see me, as a matter of fact she left just before you came in - you just missed her.</dialogue> <character>KAREN</character> <dialogue>That was a pity.</dialogue> <character>LLOYD</character> <parenthetical>( gets up . )</parenthetical> <dialogue>She wanted to explain about her interview, wanted to apologize to someone - and did n't dare face Margo.</dialogue> <character>KAREN</character> <dialogue>I wonder why.</dialogue> <scene_description>Lloyd wanders about - he seems to be searching for words , for a position to maintain .</scene_description> <character>LLOYD</character> <dialogue>She started to tell me all about it - and she could n't finish, she cried so.</dialogue> <scene_description>He 's over by a window , his back to her . Karen eyes him curiously , waiting for the payoff .</scene_description> <character>LLOYD</character> <parenthetical>( finally . )</parenthetical> <dialogue>You know, I've been going over our financial condition - if you'll pardon the expression.</dialogue> <character>KAREN</character> <dialogue>That's quite a change of subject.</dialogue> <character>LLOYD</character> <parenthetical>( walks again . )</parenthetical> <dialogue>What with taxes coming up - and since I'm a playwright and not an oil well operator - well, I've been thinking.</dialogue> <character>KAREN</character> <dialogue>I'm trying hard to follow you.</dialogue> <character>LLOYD</character> <dialogue>If - instead of waiting until next season to do ` Footsteps on the Ceiling', which is in pretty good shape - and if Margo can be talked into going on tour with ` Aged in Wood' - we could put ` Footsteps.' into production right away.</dialogue> <character>KAREN</character> <dialogue>I'm beginning to catch up.</dialogue> <character>LLOYD</character> <dialogue>If we could cast it properly, that is.</dialogue> <character>KAREN</character> <parenthetical>( carefully . )</parenthetical> <dialogue>Maybe get some younger actress for the part? Someone who'd look the part as well as play it?</dialogue> <character>LLOYD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>You've got to admit it would be a novelty.</dialogue> <character>KAREN</character> <dialogue>Now you're quoting Addison. Or Eve.</dialogue> <scene_description>A pause .</scene_description> <character>LLOYD</character> <dialogue>Eve did mention the play, you know. But just in passing - she's never ask to play a part like `` Cora,'' she'd never have the nerve.</dialogue> <character>KAREN</character> <dialogue>Eve would ask Abbott to give her Costello.</dialogue> <character>LLOYD</character> <dialogue>No, I got the idea myself - while she was talking to me.</dialogue> <character>KAREN</character> <dialogue>With gestures, of course.</dialogue> <character>LLOYD</character> <parenthetical>( wistfully . )</parenthetical> <dialogue>For once, to write something and have it realized completely. For once, not to compromise -</dialogue> <scene_description>Now Karen explodes . She rises .</scene_description> <character>KAREN</character> <dialogue>Lloyd Richards, you are not to consider giving that contemptible little worm the part of `` Cora.''</dialogue> <character>LLOYD</character> <dialogue>Now just a minute -</dialogue> <character>KAREN</character> <dialogue>Margo Channing has not been exactly a compromise all these years, half the playwrights in the world would give their shirts for that particular compromise!</dialogue> <character>LLOYD</character> <parenthetical>( angry . )</parenthetical> <dialogue>Now just a minute!</dialogue> <character>KAREN</character> <dialogue>It strikes me that Eve's disloyalty and ingratitude must be contagious!</dialogue> <scene_description>Lloyd 's full of anger and guilt . He snaps back .</scene_description> <character>LLOYD</character> <dialogue>All this fuss and hysteria because an impulsive kid got carried away by excitement and the conniving of a professional manure slinger named deWitt! She apologized, did n't she?</dialogue> <character>KAREN</character> <dialogue>On her knees, I have no doubt! Very touching, very Academy - of - Dramatic Arts!</dialogue> <character>LLOYD</character> <dialogue>That bitter cynicism of yours is something you've acquired since you left Radcliffe!</dialogue> <character>KAREN</character> <dialogue>The cynicism you refer to, I acquired the day I discovered I was different from little boys!</dialogue> <scene_description>The phone has been ringing . Lloyd snarls into it .</scene_description> <character>LLOYD</character> <dialogue>Hello!</dialogue> <parenthetical>( he quiets down . )</parenthetical> <dialogue>. hi, Margo. no, not at all, Karen and I were just chatting. hmm? why - why, yes, I'm sure we can and I'm sure we'd love to. right. 11:45 ish. See you then.</dialogue> <scene_description>He hangs up . He smiles - suddenly , there 's peace .</scene_description> <character>LLOYD</character> <dialogue>Margo - and Bill - want us to meet them at the Cub Room tonight, after theater. For a bottle of wine.</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Margo in the Cub Room. I could n't be more surprised if she'd said Grant's Tomb.</dialogue> <character>LLOYD</character> <dialogue>I'm glad Bill's back.</dialogue> <character>KAREN</character> <dialogue>They'd die without each other.</dialogue> <scene_description>A pause .</scene_description> <character>LLOYD</character> <dialogue>Darling, I did n't promise Eve anything. Just said I thought she'd be fine for the part, but there were some practical difficulties.</dialogue> <character>KAREN</character> <dialogue>Such as?</dialogue> <character>LLOYD</character> <parenthetical>( grins . )</parenthetical> <dialogue>You - for one. I told her you were set on Margo playing the part - and I certainly would n't make a change without your approval.</dialogue> <scene_description>Karen smiles happily .</scene_description> <character>KAREN</character> <dialogue>That's fine. Fine and dandy. I'd enjoy nothing more. Just refer all of Miss Harrington's future requests to me.</dialogue> </scene> <scene> <stage_direction>INT. CUB ROOM - STORK CLUB - NIGHT</stage_direction> <scene_description>Margo , Karen , Bill and Lloyd are ensconced happily at a table in the rear of the room . A bottle of fine wine is being poured . Their mood is equally bubbly .</scene_description> <character>BILL</character> <dialogue>The so - called art of acting is not one for which I have a particularly high regard.</dialogue> <character>MARGO</character> <dialogue>Hear, hear.</dialogue> <character>BILL</character> <dialogue>But you may quote me as follows. Quote. Tonight Miss Margo Channing gave a performance in your cockamamie play, the like of which I have never seen before and expect rarely to see again. Unquote.</dialogue> <character>MARGO</character> <dialogue>He does not exaggerate. I was good.</dialogue> <character>BILL</character> <dialogue>You were great.</dialogue> <scene_description>As they look at each other , they reflect the understanding that has hit them both at last .</scene_description> <character>LLOYD</character> <dialogue>It's been quite a night. I understand that your understudy - Miss Harrington - has given her notice.</dialogue> <character>MARGO</character> <parenthetical>( eyes still on Bill . )</parenthetical> <dialogue>Too bad.</dialogue> <character>BILL</character> <parenthetical>( eyes still on Margo . )</parenthetical> <dialogue>I'm broken up about it.</dialogue> <scene_description>The wine has been poured by now .</scene_description> <character>LLOYD</character> <dialogue>For some reason you ca n't just pick up champagne and drink it. Somebody's got to be very witty about a toast.</dialogue> <parenthetical>( he lifts his glass . )</parenthetical> <dialogue>For instance.</dialogue> <character>BILL</character> <parenthetical>( abruptly . )</parenthetical> <dialogue>I'm going to propose the toast. Without wit. With all my heart.</dialogue> <scene_description>Lloyd lowers his glass . There 's a little pause .</scene_description> <character>BILL</character> <dialogue>To Margo. To my bride - to - be.</dialogue> <character>MARGO</character> <dialogue>Glory Hallelujah.</dialogue> <character>LLOYD</character> <dialogue>Well of all -</dialogue> <character>KAREN</character> <dialogue>Margo!</dialogue> <character>BILL</character> <dialogue>Drink.</dialogue> <scene_description>They drink , then burst into a flurry of questions .</scene_description> <character>KAREN</character> <dialogue>When? When are you going to do it?</dialogue> <character>BILL</character> <dialogue>Tomorrow we meet at City Hall at ten -.</dialogue> <parenthetical>( to Margo . )</parenthetical> <dialogue>- and you're going to be on time.</dialogue> <character>MARGO</character> <dialogue>Yes, sir.</dialogue> <character>LLOYD</character> <dialogue>City Hall, that's for prize fighters, and reporters - I see a cathedral, a bishop, banks of flowers.</dialogue> <character>BILL</character> <dialogue>It's only for the license. There's a three - day wait - blood tests, things like that.</dialogue> <character>MARGO</character> <dialogue>I'll marry you if it turns out you have no blood at all.</dialogue> <character>LLOYD</character> <dialogue>Three days, that's for the bourgeois - I see a midnight elopement, waking up a village person.</dialogue> <character>KAREN</character> <parenthetical>( to Margo . )</parenthetical> <dialogue>What are you going to wear?</dialogue> <character>MARGO</character> <dialogue>Something simple. A fur coat over a nightgown.</dialogue> <character>BILL</character> <dialogue>The point is - in the cathedral, a ball park or a penny arcade - we want to have you two beside us our nearest and dearest friends.</dialogue> <scene_description>Lloyd fills all the glasses .</scene_description> <character>LLOYD</character> <dialogue>There are very few moments in life as good as this. Let's remember it.</dialogue> <parenthetical>( he lifts his glass . )</parenthetical> <dialogue>To each of us and all of us. never have we been more close - may we never be farther apart.</dialogue> <scene_description>They drink . A waiter approaches with a note .</scene_description> <character>WAITER</character> <dialogue>Mrs. Richards?</dialogue> <character>KAREN</character> <dialogue>Yes?</dialogue> <character>WAITER</character> <dialogue>For you.</dialogue> <scene_description>Karen stares at it curiously , then opens it .</scene_description> <character>LLOYD</character> <dialogue>Very discreet. A note right out in the open like that. Next time tell your lover to blow smoke rings - or tap a glass.</dialogue> <character>MARGO</character> <dialogue>Lloyd, I want you to be big about this. the world is full of love tonight, no woman is safe.</dialogue> <character>KAREN</character> <parenthetical>( angrily . )</parenthetical> <dialogue>This beats all world's records for running, standing and jumping gall!</dialogue> <scene_description>She whips the note to Margo , who reads it aloud .</scene_description> <character>MARGO</character> <parenthetical>( reading . )</parenthetical> <dialogue>`` Please forgive me for butting into what seems such a happy occasion - but it's most important that I speak with you. Please'' - it's underlined - `` meet me in the Ladies' Room. Eve.''</dialogue> <character>BILL</character> <dialogue>I understand she is now the understudy in there.</dialogue> <character>MARGO</character> <parenthetical>( looking about . )</parenthetical> <dialogue>Pass me the empty bottle. I may find her. why, look. There's Rasputin.</dialogue> <scene_description>Addison sits near the entrance , at a banquette table for two . A crumpled napkin and a wine glass indicate Eve 's place . He nibbles daintily at some blini . Margo hails a passing captain .</scene_description> <character>MARGO</character> <dialogue>Encore du champagne.</dialogue> <character>CAPTAIN</character> <dialogue>More champagne, Miss Channing?</dialogue> <character>MARGO</character> <dialogue>That's what I said, bub.</dialogue> <character>LLOYD</character> <parenthetical>( to Karen . )</parenthetical> <dialogue>After all, maybe she just wants to apologize.</dialogue> <character>KAREN</character> <dialogue>I have no possible interest in anything she'd have to say.</dialogue> <character>BILL</character> <dialogue>But what could she say? That's what fascinates me.</dialogue> <character>LLOYD</character> <dialogue>Go on - find out.</dialogue> <character>MARGO</character> <dialogue>Karen, in all the years of our friendship, I have never let you go to the Ladies' Room alone. But now I must. I am busting to know what goes on in that feverish little brain waiting there.</dialogue> <character>KAREN</character> <dialogue>Well. all right.</dialogue> <scene_description>She gets up and goes . The CAMERA takes her past Addison 's table . He rises in polite surprise .</scene_description> <character>ADDISON</character> <dialogue>Karen! How nice.</dialogue> <scene_description>She walks past him without a word . He smiles , looks toward the group . He raises his glass in a toast . Margo responds to the toast by waving an onion with a grand flourish , then eating it .</scene_description> <character>BILL</character> <dialogue>Very effective. But why take it out on me?</dialogue> <scene_description>He eats one in self - defense .</scene_description> </scene> <scene> <stage_direction>INT. LADIES' ROOM - STORK CLUB - NIGHT</stage_direction> <scene_description>Never having been , I ca n't say what it looks like . It is to be hoped that there is an outer and inner room . We are concerned with the outer . There is an attendant in charge , and a constantly changing flow of ladies who pause to make various repairs . All cafe society - including one young drunk stretched out under a mink coat and a wet towel . There are two chairs - or a banquette - in a corner . Eve waits there . She rises as Karen approaches .</scene_description> <character>EVE</character> <dialogue>I was wondering whether you'd come at all.</dialogue> <character>KAREN</character> <dialogue>Do n't get up.</dialogue> <parenthetical>( she smiles grimly . )</parenthetical> <dialogue>And do n't act as if I were the queen mother.</dialogue> <character>EVE</character> <dialogue>I do n't expect you to be pleasant.</dialogue> <character>KAREN</character> <dialogue>I do n't intend to be.</dialogue> <character>EVE</character> <dialogue>Ca n't we sit down? Just for a minute.</dialogue> <scene_description>She sits down . Karen remains standing .</scene_description> <character>EVE</character> <dialogue>I've got a lot to say. And none of it is easy.</dialogue> <character>KAREN</character> <dialogue>There ca n't be very much -</dialogue> <character>EVE</character> <dialogue>Oh, but there is -</dialogue> <character>KAREN</character> <dialogue>- and easy or not, I wo n't believe a word.</dialogue> <character>EVE</character> <dialogue>Why should n't you?</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>Please sit down.</dialogue> <scene_description>Karen sits , reluctantly and rigidly .</scene_description> <character>EVE</character> <dialogue>You know, I've always considered myself a very clever girl. Smart. Good head on my shoulders, that sort of thing, never the wrong word at the wrong time. but then, I'd never met Addison deWitt.</dialogue> <parenthetical>( another pause . )</parenthetical> <dialogue>I remember once I had a tooth pulled. They gave me some anaesthetic - I do n't remember the name - and it affected me in a strange way. I heard myself saying things I was n't even thinking. as if my mind were someplace outside of my body, and could n't control what I did or said -</dialogue> <character>KAREN</character> <parenthetical>( leading her on . )</parenthetical> <dialogue>- and you felt just like that talking to Addison.</dialogue> <character>EVE</character> <parenthetical>( nods . )</parenthetical> <dialogue>In a way. You find yourself trying to say what you mean, but somehow the words change - and they become his words - and suddenly you're not saying what you mean, but what he means -</dialogue> <character>KAREN</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Do you expect me to believe that you did n't say any of those things - that they were all Addison?</dialogue> <character>EVE</character> <dialogue>No! I do n't expect you to believe anything. Except that the responsibility is mine. And the disgrace.</dialogue> <character>KAREN</character> <dialogue>Let's not get over - dramatic.</dialogue> <character>EVE</character> <parenthetical>( smiles grimly . )</parenthetical> <dialogue>You've really got a low opinion of me, have n't you? We'll I'll give you some pleasant news. I've been told off in no uncertain terms all over town. Miss Channing should be happy to hear that. To know how loyal her friends are - how much more loyal they are than she had a right to expect me to be.</dialogue> <scene_description>She turns away from Karen . Karen 's embarrassed .</scene_description> <character>KAREN</character> <dialogue>Eve. do n't cry.</dialogue> <character>EVE</character> <parenthetical>( turned away . )</parenthetical> <dialogue>I'm not crying.</dialogue> <character>KAREN</character> <dialogue>Tell me. How did your lunch turn out - with the man from Hollywood?</dialogue> <character>EVE</character> <dialogue>Some vague promises of a test, that's all - if a particular part should come along, one of those things -</dialogue> <character>KAREN</character> <dialogue>But the raves about your performance -</dialogue> <character>EVE</character> <dialogue>- an understudy's performance.</dialogue> <character>KAREN</character> <dialogue>Well. I think you're painting the picture a little darker than it is, really. If nothing else - and do n't underestimate him - you have a powerful friend in Addison.</dialogue> <character>EVE</character> <dialogue>He's not my friend. You were my friends.</dialogue> <character>KAREN</character> <dialogue>He can help you.</dialogue> <character>EVE</character> <dialogue>I wish I'd never met him, I'd like him to be dead. I want my friends back.</dialogue> <scene_description>This time she does cry . Softly , miserably . Karen looks about . A pause . She puts an arm around Eve .</scene_description> <character>KAREN</character> <dialogue>Eve. I - I do n't think you meant to cause unhappiness. But you did. More to yourself, perhaps - as it turned out - than to anyone else.</dialogue> <character>EVE</character> <dialogue>I'll never get over it.</dialogue> <character>KAREN</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Yes, you will. You Theater people always do. Nothing is forever in the Theater. Love or hate, success or failure - whatever it is, it's here, it flares up and burns hot - and then it's gone.</dialogue> <character>EVE</character> <dialogue>I wish I could believe that.</dialogue> <character>KAREN</character> <dialogue>Give yourself time. Do n't worry too much about what people think, you're very young and very talented.</dialogue> <parenthetical>( she gets up , her hand still on Eve 's shoulder . )</parenthetical> <dialogue>. and, believe it or not, if there's anything I can do -</dialogue> <scene_description>Eve has reached up to take Karen 's hand . She holds it now , as she turns slowly to face her .</scene_description> <character>EVE</character> <dialogue>There is something.</dialogue> <scene_description>Karen stares down at her . Eve 's eyes burn into tears . Karen is caught , fascinated by them .</scene_description> <character>KAREN</character> <dialogue>I think I know.</dialogue> <character>EVE</character> <dialogue>Something most important you can do.</dialogue> <character>KAREN</character> <dialogue>You want to play `` Cora.'' You want me to tell Lloyd I think you should play it.</dialogue> <character>EVE</character> <dialogue>If you told him so, he'd give me the part. He said he would.</dialogue> <character>KAREN</character> <dialogue>After all you've said. do n't you know the part was written for Margo?</dialogue> <character>EVE</character> <dialogue>It could have been - fifteen years ago. It's my part now.</dialogue> <character>KAREN</character> <dialogue>You talk just as Addison said you did.</dialogue> <character>EVE</character> <dialogue>`` Cora'' is my part. You've got to tell Lloyd it's for me.</dialogue> <character>KAREN</character> <dialogue>I do n't think anything in the world could make me say that.</dialogue> <scene_description>She turns away again , but Eve 's grip is like a vise .</scene_description> <character>EVE</character> <dialogue>Addison wants me to play it.</dialogue> <character>KAREN</character> <dialogue>Over my dead body.</dialogue> <character>EVE</character> <parenthetical>( cold , relentless . )</parenthetical> <dialogue>That wo n't be necessary. Addison knows how Margo happen to miss that performance - how I happened to know she'd miss it in time to call him and notify every paper in town.</dialogue> <parenthetical>( Karen stops struggling . )</parenthetical> <dialogue>. it's quite a story. Addison could make quite a thing of it - imagine how snide and vicious he could get and still write nothing but the truth. I had a time persuading him.</dialogue> <parenthetical>( she smiles , now . )</parenthetical> <dialogue>. you'd better sit down. You look a bit wobbly.</dialogue> <parenthetical>( Karen sits . )</parenthetical> <dialogue>If I play `` Cora,'' Addison will never tell what happened - in or out of print. A simple exchange of favors. And I'm so happy I can do something for you - at long last.</dialogue> <parenthetical>( Karen covers her face with her hands . )</parenthetical> <dialogue>Your friendship with Margo - your deep, close friendship - what would happen to it, do you think, if she knew the chap trick you'd played on her - for my benefit? And you and Lloyd - how long, even in the Theater, before people forgot what happened - and trusted you again?</dialogue> <parenthetical>( now Eve gets up . )</parenthetical> <dialogue>No. it would be so much easier on everyone concerned, if I were to play `` Cora.'' And so much better theater, too.</dialogue> <scene_description>Karen looks up slowly .</scene_description> <character>KAREN</character> <dialogue>A part in a play. You'd do all that - just for a part in a play.</dialogue> <character>EVE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I'd do much more - for a part that good.</dialogue> <scene_description>She leaves . Karen is alone .</scene_description> </scene> <scene> <stage_direction>INT. CUB ROOM - NIGHT</stage_direction> <scene_description>Eve enters and slides in beside Addison .</scene_description> <character>ADDISON</character> <dialogue>Hungry?</dialogue> <character>EVE</character> <dialogue>Just some coffee.</dialogue> <character>ADDISON</character> <parenthetical>( pours . )</parenthetical> <dialogue>I'm not surprised. After all that humble pie.</dialogue> <character>EVE</character> <dialogue>Nothing of the kind. Karen and I had a nice talk.</dialogue> <character>ADDISON</character> <dialogue>Heart to heart? Woman to woman? Including a casual reference to the part of `` Cora'' - and your hopes of playing it.</dialogue> <character>EVE</character> <dialogue>I discussed it very openly. I told her that I had spoken to Lloyd - and that he was interested.</dialogue> <character>ADDISON</character> <dialogue>She mentioned, of course, that Margo expects to play the part?</dialogue> <character>EVE</character> <dialogue>Oddly enough - she did n't say a word about Margo. Just that she'll be happy to do what she can to see that I play the part.</dialogue> <scene_description>Addison puffs at his cigarette , bemused .</scene_description> <character>ADDISON</character> <dialogue>Just like that, eh?</dialogue> <character>EVE</character> <dialogue>Just like that.</dialogue> <character>ADDISON</character> <parenthetical>( thoughtfully . )</parenthetical> <dialogue>Do you know, Eve - sometimes I think you keep things from me.</dialogue> <scene_description>Eve 's feelings are hurt .</scene_description> <character>EVE</character> <dialogue>I do n't think that's funny.</dialogue> <character>ADDISON</character> <dialogue>It was n't meant to be.</dialogue> <character>EVE</character> <dialogue>I confide in you and rely on you more than anyone I've ever known! To say a thing like that now - without any reason - when I need you more than ever.</dialogue> <character>ADDISON</character> <parenthetical>( breaks in . )</parenthetical> <dialogue>I hope you mean what you say, Eve. I intend to hold you to it.</dialogue> <scene_description>Their eyes meet .</scene_description> <character>ADDISON</character> <dialogue>We have a great deal in common, it seems to me.</dialogue> <scene_description>They both look as Karen passes them on her way back to her table . GROUP , as Karen joins them . Another bottle of champagne has come and almost gone - there 's a fine , cheery feeling among them . Margo , in particular , is cheery . A pause . Karen downs a glass of champagne .</scene_description> <character>LLOYD</character> <dialogue>- well? What happened?</dialogue> <character>KAREN</character> <dialogue>Nothing much. She apologized.</dialogue> <character>MARGO</character> <dialogue>With tears?</dialogue> <character>KAREN</character> <dialogue>With tears.</dialogue> <character>MARGO</character> <dialogue>But not right away? First the business of fighting them off, chin up, stout fella.</dialogue> <character>KAREN</character> <dialogue>Check.</dialogue> <character>MARGO</character> <dialogue>Very classy stuff, lots of technique -</dialogue> <character>LLOYD</character> <dialogue>You mean - all this time - she'd done nothing but apologize? What'd you say?</dialogue> <character>KAREN</character> <dialogue>Not much.</dialogue> <character>MARGO</character> <dialogue>Groom -.</dialogue> <parenthetical>( Bill says `` huh ? ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>- may I have a wedding present?</dialogue> <character>BILL</character> <dialogue>What would you like? Texas?</dialogue> <character>MARGO</character> <dialogue>I want everybody to shut up about Eve. Just shut up about Eve, that's all I want. Give Karen more wine.</dialogue> <parenthetical>( blissfully . )</parenthetical> <dialogue>. never have I been so happy. Is n't this a lovely room? The Cub Room. What a lovely, clever name. Where the elite meet. Never have I seen so much elite - and all with their eyes on me. Waiting for me to crack that little gnome over the noggin with a bottle. But not tonight. Even Eve. I forgive Eve. there they go.</dialogue> <scene_description>They all look . ADDISON AND EVE , they get up and go without looking back . GROUP , they watch for an instant .</scene_description> <character>MARGO</character> <dialogue>There goes Eve. Eve evil, Little Miss Evil. But the evil that men do - how does it go, groom? Something about the good they leave behind - I played it once in rep in Wilkes Barre.</dialogue> <character>BILL</character> <dialogue>You've got it backwards. Even for Wilkes - Barre.</dialogue> <character>MARGO</character> <dialogue>You know why I forgive Eve? Because she's left good behind - the four of us, together like this, it's Eve's fault - I forgive her.</dialogue> <scene_description>Karen 's reactions are , of course , most important . Knowing what she 's done to Margo - wondering how to do what she must .</scene_description> <character>MARGO</character> <dialogue>and Bill. Especially Bill. Eve did that, too.</dialogue> <character>LLOYD</character> <dialogue>You know, she probably means well, after all.</dialogue> <character>MARGO</character> <dialogue>She is a louse.</dialogue> <character>BILL</character> <parenthetical>( to Lloyd . )</parenthetical> <dialogue>Never try to outguess Margo.</dialogue> <character>MARGO</character> <dialogue>Groom.</dialogue> <character>BILL</character> <dialogue>Yes, dear.</dialogue> <character>MARGO</character> <dialogue>You know what I'm going to be?</dialogue> <character>BILL</character> <dialogue>A cowboy.</dialogue> <character>MARGO</character> <dialogue>A married lady.</dialogue> <character>BILL</character> <dialogue>With the paper to prove it.</dialogue> <character>MARGO</character> <dialogue>I'm going to have a home. Not just a house I'm afraid to stay in. and a man to go with it. I'll look up at six o'clock - and there he'll be. remember, Karen?</dialogue> <character>KAREN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I remember.</dialogue> <character>MARGO</character> <parenthetical>( to Bill . )</parenthetical> <dialogue>You'll be there, wo n't you.</dialogue> <character>BILL</character> <parenthetical>( grins . )</parenthetical> <dialogue>Often enough to keep the franchise.</dialogue> <character>MARGO</character> <dialogue>A foursquare, upright, downright, forthright married lady. that's for me. And no more make believe! Off stage or on. remember, Lloyd.</dialogue> <parenthetical>( Lloyd nods . )</parenthetical> <dialogue>I mean it, now. Grown - up women only, I might even play a mother - only one child, of course, not over eight.</dialogue> <parenthetical>( they all smile . )</parenthetical> <dialogue>Lloyd, will you promise not to be angry with me?</dialogue> <character>LLOYD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>That depends.</dialogue> <character>MARGO</character> <dialogue>I mean really, deeply angry.</dialogue> <character>LLOYD</character> <dialogue>I do n't think I could be.</dialogue> <character>MARGO</character> <dialogue>Well. I do n't want to play `` Cora.''</dialogue> <character>KAREN</character> <parenthetical>( explodes . )</parenthetical> <dialogue>What?</dialogue> <scene_description>Margo misinterprets her vehemence .</scene_description> <character>MARGO</character> <parenthetical>( hastily . )</parenthetical> <dialogue>Now wait a minute, you're always so touchy about his plays, it is n't the part - it's a great part. And a fine play. But not for me anymore - not a foursquare, upright, downright, forthright married lady.</dialogue> <character>LLOYD</character> <dialogue>What's your being married got to do with it?</dialogue> <character>MARGO</character> <dialogue>It means I've finally got a life to live! I do n't have to play parts I'm too old for - just because I've got nothing to do with my nights!</dialogue> <parenthetical>( then quietly . )</parenthetical> <dialogue>I know you've made plans. I'll make it up to you, believe me. I'll tour a year with this one, anything - only you do understand - do n't you, Lloyd?</dialogue> <scene_description>Lloyd never gets to answer . Because Karen , before anyone can stop her , bursts into hysterical laughter .</scene_description> <character>LLOYD</character> <dialogue>What's so funny?</dialogue> <character>KAREN</character> <dialogue>Nothing.</dialogue> <character>BILL</character> <dialogue>Nothing?</dialogue> <character>KAREN</character> <dialogue>Everything. everything's so funny.</dialogue> <scene_description>Margo removes the champagne glass from in front of Karen . FADE OUT .</scene_description> </scene> <scene> <stage_direction>INT. THEATER - CURRAN THEATER - DAY</stage_direction> <scene_description>Karen is seated unobtrusively in a rear lower box . Lloyd sits beside Max up front . On stage , the play is `` on its feet . '' Eve plays a dramatic scene with a young man . They carry `` sides '' but do not consult them . As she speaks , Eve moves upstage , turns to face the young man who is forced to turn his back to the auditorium . Bill calls a halt . He indicates to Eve that she was to have remained downstage . Eve seems to be at a loss . She looks at Lloyd . Lloyd rises , says that he told her to make the change . Bill comes down to the footlights to tell him to stick to writing , he 'll do the directing . It mounts swiftly to a screaming fight . Bill throws the script out into the auditorium , takes his coat and stalks off . Eve runs after him . Max retrieves the script . Lloyd remains adamant . Karen has risen in dismay . Eve drags Bill back . Without looking at Lloyd , he takes the script from Max , tells the actors to pick up where they left off . Eve whispers to Lloyd from the stage . Lloyd smiles , mollified , sits down again with Max . Karen walks up the side aisle , out of the theater .</scene_description> <character>KAREN'S VOICE</character> <dialogue>Lloyd never got around, somehow - to asking me whether it was all right with me for Eve to play `` Cora''. Bill, oddly enough, refused to direct the play at first - with Eve in it. Lloyd and Max finally won him over. Margo never came to a rehearsal, too much to do around the house, she said. I'd never known Bill and Lloyd to fight as bitterly and as often. and always over some business for Eve, or a move or the way she read a speech. but then I'd never known Lloyd to meddle as much with Bill's directing - as far as it affected Eve, that is. somehow, Eve kept them going. Bill stuck it out - and Lloyd seemed happy - and I thought it might be best if I skipped rehearsals from then on.</dialogue> </scene> <scene> <stage_direction>INT. RICHARDS' BEDROOM - NIGHT</stage_direction> <scene_description>It is a lovely , large room . Two double beds , not alongside each other and each with an extension phone beside it . In addition to the door to the living room , there are two more - to separate dressing rooms and baths . Lloyd is asleep . But not Karen . She turns restlessly , finally sits up , lights a cigarette .</scene_description> <character>KAREN'S VOICE</character> <dialogue>It seemed to me I had known always that it would happen - and here it was. It felt helpless, that helplessness you feel when you have no talent to offer - outside of loving your husband. How could I compete? Everything Lloyd loved about me, he had gotten used to long ago.</dialogue> <scene_description>The phone jangles suddenly , startling her . It wakes Lloyd up . Karen answers .</scene_description> <character>KAREN</character> <dialogue>Hello. who? who's calling Mr. Richards?</dialogue> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - NIGHT</stage_direction> <scene_description>A girl , in a wrapper , at a wall phone . Her hair 's in curlers . She 's frightened .</scene_description> <character>GIRL</character> <dialogue>My name would n't mean anything. I room across the hall from Eve Harrington, and she is n't well. She's been crying all night and hysterical, and she does n't want a doctor.</dialogue> <scene_description>RICHARDS ' BEDROOM , Lloyd is sitting on the edge of the bed , looking over .</scene_description> <character>LLOYD</character> <dialogue>Who is it? What's it all about?</dialogue> <character>KAREN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Did Miss Harrington tell you to call Mr. Richards?</dialogue> <scene_description>Lloyd picks up his phone . ROOMING HOUSE</scene_description> <character>GIRL</character> <dialogue>No, Eve did n't say to call him, but I remembered I saw Mr. Richards with her a couple of times - and I thought they being such good friends.</dialogue> <scene_description>RICHARDS ' BEDROOM</scene_description> <character>LLOYD</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello. hello, this is Lloyd Richards. Where is Eve? Let me talk to her -</dialogue> <scene_description>ROOMING HOUSE</scene_description> <character>GIRL</character> <dialogue>She's up in her room, Mr. Richards. I really hate to bother you like this, but the way Eve's been feeling - I'm just worried sick what with her leaving for New Haven tomorrow, and everything.</dialogue> <scene_description>RICHARDS ' BEDROOM</scene_description> <character>LLOYD</character> <dialogue>Tell her not to worry - tell her I'll be right over.</dialogue> <scene_description>ROOMING HOUSE</scene_description> <character>GIRL</character> <dialogue>I'll tell her, Mr. Richards.</dialogue> <scene_description>She hangs up . As she moves from the phone , the ANGLE WIDENS to disclose Eve at the foot of the stairs . The girls smile at each other . They go upstairs , arm in arm . RICHARDS ' BEDROOM , Karen is still in bed , phone still in her hand . She hangs up , swings her legs out , puts out her cigarette , gets into a robe . The open door and light of the dressing room tell us where Lloyd is . Karen walks to the door , starts to say something , changes her mind . She crosses to a table , lights a fresh cigarette , comes back to the door .</scene_description> <character>KAREN</character> <parenthetical>( finally . )</parenthetical> <dialogue>Are n't you. broadening the duties of a playwright just a bit? Rushing off in the middle of the night like a country doctor?</dialogue> <scene_description>No answer except the opening and closing of drawers .</scene_description> <character>KAREN</character> <dialogue>What would you do if, instead of Eve, the leading man had called up to say her was hysterical?</dialogue> <scene_description>Still no answer . Her tension increasing , Karen goes back to the table , snubs out the fresh cigarette , then strides swiftly back to the open door .</scene_description> <character>KAREN</character> <dialogue>Lloyd, I do n't want you to go!</dialogue> <scene_description>Now Lloyd appears . He 's in flannels , and a sport shirt with no tie . He 's confused and guilty and tortured .</scene_description> <character>LLOYD</character> <dialogue>I did n't think you would! It seems to me, Karen, that for some tine, now, you've been developing a deep unconcern for the feeling of human being in general -</dialogue> <character>KAREN</character> <dialogue>I'm a human being, I've got some!</dialogue> <character>LLOYD</character> <parenthetical>( goes right on . )</parenthetical> <dialogue>- and for my feelings in particular! For my play, my career - and now for a frightened, hysterical girl on the eve of her first night in the Theater!</dialogue> <scene_description>He goes back into his room .</scene_description> <character>KAREN</character> <dialogue>Have you forgotten about Eve? What she is, what she's done?</dialogue> <character>LLOYD</character> <dialogue>Old wives' tales, born of envy and jealousy! And a phobia against truth!</dialogue> <character>KAREN</character> <dialogue>Then tell me this is n't true! That your concern for your play and career is one thing - and that poor frightened hysterical girl another - and that your concern for her has nothing to do with either your play or your career!</dialogue> <scene_description>Lloyd comes out wearing a jacket . He crosses to the door , Karen after him .</scene_description> <character>KAREN</character> <dialogue>That first, last, and foremost - your reason for going now is that you want to be with Eve! Three in the morning or high noon - play or no play - wife or no wife!</dialogue> <parenthetical>( Lloyd stops at the door . )</parenthetical> <dialogue>Is n't it true, Lloyd?</dialogue> <scene_description>Lloyd goes out . Karen looks after him , despairing .</scene_description> </scene> <scene> <stage_direction>EXT. SHUBERT THEATER - NEW HAVEN - DAY</stage_direction> <scene_description>The theater is but a few doors from the TAFT HOTEL . The marquee announces a new play by Lloyd Richards , presented by Max Fabian , opening tonight . Addison and Eve stand before the theater admiring her photo on a lobby display . None of the actors are starred .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>To the Theater world - New Haven, Connecticut, is a short stretch of sidewalk between the Shubert Theater and the Taft Hotel, surrounded by what looks very much like a small city. It is here that managers have what are called out of - town openings - which are openings for New Yorkers who want to go out of town.</dialogue> <scene_description>They start for the hotel - Eve 's arm through Addison 's .</scene_description> <character>EVE</character> <dialogue>What a day - what a heavenly day.</dialogue> <character>ADDISON</character> <dialogue>D - day.</dialogue> <character>EVE</character> <dialogue>Just like it.</dialogue> <character>ADDISON</character> <dialogue>And tomorrow morning you will have won your beachhead on the shores of Immortality.</dialogue> <character>EVE</character> <parenthetical>( grins . )</parenthetical> <dialogue>Stop rehearsing your column. Is n't it strange, Addison? I thought I'd be panic - stricken, want to run away or something. Instead, I ca n't wait for tonight to come. To come and go.</dialogue> <character>ADDISON</character> <dialogue>Are you that sure of tomorrow?</dialogue> <character>EVE</character> <dialogue>Are n't you?</dialogue> <character>ADDISON</character> <dialogue>Frankly - yes.</dialogue> <scene_description>They 've arrived in front of the hotel .</scene_description> <character>EVE</character> <dialogue>It'll be a night to remember. It'll bring to me everything I've ever wanted. The end of an old road - and the beginning of a new one.</dialogue> <character>ADDISON</character> <dialogue>All paved with diamonds and gold?</dialogue> <character>EVE</character> <dialogue>You know me better than that.</dialogue> <character>ADDISON</character> <dialogue>Paved with what, then?</dialogue> <character>EVE</character> <dialogue>Stars.</dialogue> <scene_description>She goes in . Addison follows her .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - TAFT HOTEL - DAY</stage_direction> <scene_description>Addison accompanies Eve along the corridor to her door .</scene_description> <character>EVE</character> <dialogue>What time?</dialogue> <character>ADDISON</character> <dialogue>Almost four.</dialogue> <character>EVE</character> <dialogue>Plenty of time for a nice long nap - we rehearsed most of last night.</dialogue> <character>ADDISON</character> <dialogue>You could sleep, too, could n't you?</dialogue> <character>EVE</character> <dialogue>Why not?</dialogue> <scene_description>They 've arrived at her door . She opens it .</scene_description> <character>ADDISON</character> <dialogue>The mark of a true killer.</dialogue> <parenthetical>( he holds out his hand . )</parenthetical> <dialogue>Sleep tight, rest easy - and come out fighting.</dialogue> <character>EVE</character> <dialogue>Why'd call me a killer?</dialogue> <character>ADDISON</character> <dialogue>Did I say killer? I meant champion. I get my boxing terms mixed.</dialogue> <scene_description>He turns to go . After a few steps -</scene_description> <character>EVE</character> <parenthetical>( calling . )</parenthetical> <dialogue>Addison -.</dialogue> <parenthetical>( he pauses . )</parenthetical> <dialogue>- come on in for just a minute, wo n't you? There's. I've got something to tell you.</dialogue> <scene_description>Addison turns curiously , and enters behind her .</scene_description> </scene> <scene> <stage_direction>INT. EVE'S SUITE - TAFT HOTEL - DAY</stage_direction> <scene_description>Old - fashioned , dreary and small . The action starts in the living room and continues to the bedroom . Addison closes the door , crosses to a comfortable chair .</scene_description> <character>ADDISON</character> <dialogue>Suites are for expense accounts. Are n't you being extravagant?</dialogue> <character>EVE</character> <dialogue>Max is paying for it. He and Lloyd had a terrific row but Lloyd insisted. well. Can I fix you a drink?</dialogue> <scene_description>She indicates a table elaborately stocked with liquor , glasses , etc. . Addison 's eyebrows lift .</scene_description> <character>ADDISON</character> <dialogue>Also with the reluctant compliments of Max Fabian.</dialogue> <character>EVE</character> <dialogue>Lloyd. I never have any, and he likes a couple of drinks after we finish - so he sent it up.</dialogue> <character>ADDISON</character> <dialogue>Some plain soda.</dialogue> <parenthetical>( Eve starts to fix it . )</parenthetical> <dialogue>Lloyd must be expecting a record run in New Haven.</dialogue> <character>EVE</character> <dialogue>That's for tonight. You're invited. We're having everyone up after the performance.</dialogue> <character>ADDISON</character> <dialogue>We're?</dialogue> <character>EVE</character> <dialogue>Lloyd and I.</dialogue> <scene_description>She carries the soda to him , sits on an ottoman at his feet .</scene_description> <character>ADDISON</character> <dialogue>I find it odd that Karen is n't here for the opening, do n't you?</dialogue> <scene_description>He sips his soda and puts away , carefully avoiding a look at Eve . As he looks back -</scene_description> <character>EVE</character> <dialogue>Addison.</dialogue> <character>ADDISON</character> <parenthetical>( blandly . )</parenthetical> <dialogue>She's always been so fantastically devoted to Lloyd. I would imagine that only death or destruction could keep her -</dialogue> <character>EVE</character> <parenthetical>( breaks in . )</parenthetical> <dialogue>Addison, just a few minutes ago. When I told you this would be a night to remember - that it would bring me everything I wanted -</dialogue> <character>ADDISON</character> <parenthetical>( nods . )</parenthetical> <dialogue>- something about an old road ending and a new one starting - paved with stars.</dialogue> <character>EVE</character> <dialogue>I did n't mean just the Theater.</dialogue> <character>ADDISON</character> <dialogue>What else?</dialogue> <scene_description>Eve gets up , crosses to look out over the Common .</scene_description> <character>EVE</character> <parenthetical>( her back to him . )</parenthetical> <dialogue>Lloyd Richards. He's going to leave Karen. We're going to be married.</dialogue> <scene_description>For just a flash , Addison 's eyes narrow coldly , viciously . Then they crinkle into a bland smile .</scene_description> <character>ADDISON</character> <dialogue>So that's it. Lloyd. Still just the Theater, after all.</dialogue> <character>EVE</character> <parenthetical>( turns ; shocked . )</parenthetical> <dialogue>It's nothing of the kind! Lloyd loves me, I love him!</dialogue> <character>ADDISON</character> <dialogue>I know nothing about Lloyd and his loves - I leave those to Louisa May Alcott. But I do know you.</dialogue> <character>EVE</character> <dialogue>I'm in love with Lloyd!</dialogue> <character>ADDISON</character> <dialogue>Lloyd Richards is commercially the most successful playwright in America -</dialogue> <character>EVE</character> <dialogue>You have no right to say such things!</dialogue> <character>ADDISON</character> <dialogue>- and artistically, the most promising! Eve dear, this is Addison.</dialogue> <scene_description>Eve drops her shocked manner like a cape . Her face lights up - she crosses back to the ottoman .</scene_description> <character>EVE</character> <dialogue>Addison, wo n't it be just perfect? Lloyd and I - there's no telling how far we can go. he'll write great plays for me, I'll make them be great!</dialogue> <parenthetical>( as she sits . )</parenthetical> <dialogue>You're the only one I've told, the only one that knows except Lloyd and me.</dialogue> <character>ADDISON</character> <dialogue>and Karen.</dialogue> <character>EVE</character> <dialogue>She does n't know.</dialogue> <character>KAREN</character> <dialogue>She knows enough not to be here.</dialogue> <character>EVE</character> <dialogue>But not all of it - not that Lloyd and I are going to be married.</dialogue> <character>ADDISON</character> <parenthetical>( thoughtfully . )</parenthetical> <dialogue>I see. And when was this unholy alliance joined?</dialogue> <character>EVE</character> <dialogue>We decided the night before last, before we came up here.</dialogue> <character>ADDISON</character> <parenthetical>( increasingly tense . )</parenthetical> <dialogue>Was the setting properly romantic - the lights on dimmers, gypsy violins off stage?</dialogue> <character>EVE</character> <dialogue>The setting was n't romantic, but Lloyd was. He woke me up at three in the morning, banging on my door - he could n't sleep, he told me - he's left Karen, he could n't go on with the play or anything else until I promised to marry him. we sat and talked until it was light. He never went home.</dialogue> <character>ADDISON</character> <dialogue>You sat and talked until it was light.</dialogue> <character>EVE</character> <parenthetical>( meaningly . )</parenthetical> <dialogue>We sat and talked, Addison. I want a run of the play contract.</dialogue> <character>ADDISON</character> <parenthetical>( quietly . )</parenthetical> <dialogue>There never was, there'll never be another like you.</dialogue> <character>EVE</character> <parenthetical>( happily . )</parenthetical> <dialogue>Well, say something - anything! Congratulations, skol - good work, Eve!</dialogue> <scene_description>Addison rises slowly , to his full height . As Eve watches him , as her eyes go up to his , her smile fades -</scene_description> <character>ADDISON</character> <dialogue>What do you take me for?</dialogue> <character>EVE</character> <parenthetical>( cautiously . )</parenthetical> <dialogue>I do n't know what I take you for anything.</dialogue> <character>ADDISON</character> <parenthetical>( moving away . )</parenthetical> <dialogue>It is possible - even conceivable - that you've confused me with that gang of backward children you've been playing tricks on - that you have the same contempt for me that you have for them?</dialogue> <character>EVE</character> <dialogue>I'm sure you mean something by that, Addison, but I do n't know what.</dialogue> <character>ADDISON</character> <dialogue>Look closely, Eve, it's time you did. I am Addison deWitt. I'm nobody's fool. Least of all - yours.</dialogue> <character>EVE</character> <dialogue>I never intended you to be.</dialogue> <character>ADDISON</character> <dialogue>Yes, you did. You still do.</dialogue> <scene_description>Eve gets up , now .</scene_description> <character>EVE</character> <dialogue>I still do n't know what you're getting at. Right now I want to take my nap. It's important that I -</dialogue> <character>ADDISON</character> <parenthetical>( breaks in . )</parenthetical> <dialogue>- it's important right now that we talk. Killer to killer.</dialogue> <character>EVE</character> <parenthetical>( wisely . )</parenthetical> <dialogue>Champion to champion.</dialogue> <character>ADDISON</character> <dialogue>Not with me, you're no champion. You're stepping way up in class.</dialogue> <character>EVE</character> <dialogue>Addison, will you please say what you have to say plainly and distinctly - and then get out so I can take my nap!</dialogue> <character>ADDISON</character> <dialogue>Very well, plainly and distinctly. Although I consider it unnecessary - because you know as well as I, what I am about to say.</dialogue> <parenthetical>( they are now facing each other . )</parenthetical> <dialogue>Lloyd may leave Karen, but he will not leave Karen for you.</dialogue> <character>EVE</character> <dialogue>What do you mean by that?</dialogue> <character>ADDISON</character> <dialogue>More plainly and more distinctly? I Have not come to New Haven to see the play, discuss your dreams, or to pull the ivy from the walls of Yale! I have come to tell you that you will not marry Lloyd - or anyone else - because I will not permit it.</dialogue> <character>EVE</character> <dialogue>What have you got to do with it?</dialogue> <character>ADDISON</character> <dialogue>Everything. Because after tonight, you will belong to me.</dialogue> <character>EVE</character> <dialogue>I ca n't believe my ears.</dialogue> <character>ADDISON</character> <dialogue>A dull cliche.</dialogue> <character>EVE</character> <dialogue>Belong - to you? That sound medieval - something out of an old melodrama.</dialogue> <character>ADDISON</character> <dialogue>So does the history of the world for the past twenty years. I do n't enjoy putting it as bluntly as this, frankly I had hoped that you would, somehow, have known - have taken it for granted that you and I.</dialogue> <character>EVE</character> <dialogue>taken it for granted? That you and I.</dialogue> <scene_description>She smiles . Then she chuckles , then laughs . A mistake . Addison slaps her sharply across the face .</scene_description> <character>ADDISON</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Remember as long as you live, never to laugh at me. At anything or anyone else - but never at me.</dialogue> <scene_description>Eve eyes him coldly , goes to the door , throws it open .</scene_description> <character>EVE</character> <dialogue>Get out!</dialogue> <scene_description>Addison walks to the door , closes it .</scene_description> <character>ADDISON</character> <dialogue>You're too short for that gesture. Besides, it went out with Mrs. Fiske.</dialogue> <character>EVE</character> <dialogue>Then if you wo n't get out, I'll have you thrown out.</dialogue> <scene_description>She goes to the phone .</scene_description> <character>ADDISON</character> <dialogue>Do n't pick it up! Do n't even put your hand on it.</dialogue> <scene_description>She does n't . Her back is to him . Addison smiles .</scene_description> <character>ADDISON</character> <dialogue>Something told you to do as I say, did n't it? That instinct is worth millions, you ca n't buy it, cherish it, Eve. When that alarm goes off, go to your battle stations.</dialogue> <scene_description>He comes up behind her . Eve is tense and wary .</scene_description> <character>ADDISON</character> <dialogue>Your name is not Eve Harrington. It is Gertrude Slescynski.</dialogue> <character>EVE</character> <dialogue>What of it?</dialogue> <character>ADDISON</character> <dialogue>It is true that your parents were poor. They still are. And they would like to know how you are - and where. They have n't heard from you for three years.</dialogue> <character>EVE</character> <parenthetical>( curtly . )</parenthetical> <dialogue>What of it?</dialogue> <scene_description>She walks away . Addison eyes her keenly .</scene_description> <character>ADDISON</character> <dialogue>A matter of opinion. Granted. It is also true that you worked in a brewery. But life in the brewery was apparently not as dull as you pictured it. As a matter of fact, it got less and less dull - until you boss's wife had your boss followed by detectives!</dialogue> <character>EVE</character> <parenthetical>( whirls on him . )</parenthetical> <dialogue>She never proved anything, not a thing!</dialogue> <character>ADDISON</character> <dialogue>But the $ 500 you got to get out of town brought you straight to New York - did n't it?</dialogue> <scene_description>Eve turns and runs into the bedroom , slamming the door . Addison opens it , follows close after her . he can be seen in the bedroom , shouting at Eve who is offscene .</scene_description> <character>ADDISON</character> <dialogue>That $ 500 brought you straight to New York - did n't it?</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Eve , trapped , in a corner of the room .</scene_description> <character>EVE</character> <dialogue>She was a liar, she was a liar!</dialogue> <character>ADDISON</character> <dialogue>Answer my question! Were n't you paid to get out of town?</dialogue> <scene_description>Eve throws herself on the bed , face down , bursts in tears . Addison , merciless , moves closer .</scene_description> <character>ADDISON</character> <dialogue>Fourth. There was no Eddie - no pilot - and you've never been married! That was not only a lie, but an insult to dead heroes and to the women who loved them.</dialogue> <parenthetical>( Eve , sobbing , puts her hands over her ears ; Addison , closer , pulls them away . )</parenthetical> <dialogue>. Fifth. San Francisco has no Shubert Theater and North Shore, you've never been to San Francisco! That was a stupid lie, easy to expose, not worthy of you.</dialogue> <scene_description>Eve twists to look up at him , her eyes streaming .</scene_description> <character>EVE</character> <dialogue>I had to get in, to meet Margo! I had to say something, be somebody, make her like me!</dialogue> <character>ADDISON</character> <dialogue>She did like you, she helped and trusted you! You paid her back by trying to take Bill away!</dialogue> <character>EVE</character> <dialogue>That's not true!</dialogue> <character>ADDISON</character> <dialogue>I was there, I saw you and heard you through the dressing room door!</dialogue> <scene_description>Eve turns face down again , sobbing miserably .</scene_description> <character>ADDISON</character> <dialogue>You used my name and my column to blackmail Karen into getting you the part of `` Cora'' - and you lied to me about it!</dialogue> <character>EVE</character> <parenthetical>( into the bed . )</parenthetical> <dialogue>No - no - no.</dialogue> <character>ADDISON</character> <dialogue>I had lunch with Karen not three hours ago. As always with women who want to find out things, she told more than she learned.</dialogue> <parenthetical>( he lets go of her hands . )</parenthetical> <dialogue>. do you want to change your story about Lloyd beating at your door the other night?</dialogue> <scene_description>Eve covers her face with her hands .</scene_description> <character>EVE</character> <dialogue>Please. please.</dialogue> <scene_description>Addison get off the bed , looks down at her .</scene_description> <character>ADDISON</character> <dialogue>That I should want you at all suddenly strikes me as the height of improbability. But that, in itself, is probably the reason. You're an improbable person, Eve, and so am I. We have that in common. Also a contempt for humanity, an inability to love or be loved, insatiable ambition - and talent. We deserve each other. Are you listening to me?</dialogue> <scene_description>Eve lies listlessly now , her tear - stained cheek against the coverlet . She nods .</scene_description> <character>ADDISON</character> <dialogue>Then say so.</dialogue> <character>EVE</character> <dialogue>Yes, Addison.</dialogue> <character>ADDISON</character> <dialogue>And you realize - you agree how completely you belong to me?</dialogue> <character>EVE</character> <dialogue>Yes, Addison.</dialogue> <character>ADDISON</character> <dialogue>Take your nap, now. And good luck for tonight.</dialogue> <scene_description>He starts out .</scene_description> <character>EVE</character> <parenthetical>( tonelessly . )</parenthetical> <dialogue>I wo n't play tonight.</dialogue> <parenthetical>( Addison pauses . )</parenthetical> <dialogue>I could n't. Not possibly. I could n't go on.</dialogue> <character>ADDISON</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Could n't go on? You'll give the performance of your life.</dialogue> <scene_description>He goes out . The CAMERA REMAINS on Eve 's forlorn , tear stained face . Her eyes close . she goes to sleep .</scene_description> </scene> <scene> <stage_direction>INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT</stage_direction> <scene_description>THE STOPPED ACTION of Eve reaching out for the award . The applause and bulb - popping still going on .</scene_description> <character>ADDISON'S VOICE</character> <dialogue>And she gave the performance of her life. And it was a night to remember, that night.</dialogue> <scene_description>THE ACTION picks up where it left off . Eve accepts the award from the Aged Actor , kisses him tenderly , folds the award to her bosom and waits for quiet . She speaks with assurance , yet modestly and humbly .</scene_description> <character>EVE</character> <dialogue>Honored members of Sarah Siddons Society, distinguished guests, ladies and gentlemen : What is there for me to say? Everything wise and witty has long since been said - by minds more mature and talents far greater than mine. For me to thank you as equals would be presumptuous - I am an apprentice in the Theater and have much to learn from you all. I can say only that I am proud and happy and that I regard this great honor not so much as an award for what I have achieved, but as a standard to hold against what I have yet to accomplish.</dialogue> <parenthetical>( applause . )</parenthetical> <dialogue>And further, I regard it as bestowed upon me only in part. The larger share belongs to my friends in the Theater - and to the Theater itself, which has given me all I have. In good conscience, I must give credit where credit is due. To Max Fabian -</dialogue> <scene_description>MAX sits erect , beaming proudly .</scene_description> <character>EVE'S VOICE</character> <dialogue>- dear Max. Dear, sentimental, generous, courageous Max Fabian - who took a chance on an unknown, untried, amateur.</dialogue> <scene_description>EVE , after applause greets Max .</scene_description> <character>EVE</character> <dialogue>And to my first friend in the Theater - whose kindness and graciousness I shall never forget. Karen - Mrs. Lloyd Richards.</dialogue> <scene_description>KAREN resumes her doodling as applause breaks out for her .</scene_description> <character>EVE'S VOICE</character> <dialogue>and it was Karen who first brought me to one whom I had always idolized - and who was to become my benefactor and champion. A great actress and a great woman - Margo Channing.</dialogue> <scene_description>MARGO , part of Eve 's tribute has been over her CLOSE - UP . She smiles grimly in reaction to the applause . EVE looks to her right , waits for the applause to die .</scene_description> <character>EVE</character> <dialogue>My director - who demanded always a little more than my talent could provide -</dialogue> <scene_description>BILL , seated at the speakers ' table . He has his award before him - a smaller one . He puts out a cigarette expressionlessly as the applause breaks out .</scene_description> <character>EVE</character> <dialogue>- but who taught me patiently and well. Bill Sampson.</dialogue> <scene_description>LLOYD sits beside Bill . He , too , has a smaller award . As Eve speaks , he throws her a brief glance .</scene_description> <character>EVE'S VOICE</character> <dialogue>And one, without whose great play and faith in me, this night would never have been. How can I repay Lloyd Richards?</dialogue> <scene_description>EVE waits for the applause to die .</scene_description> <character>EVE</character> <dialogue>Hoe can I repay the many others? So many, that I could n't possibly name them all.</dialogue> <scene_description>ADDISON smiles approvingly .</scene_description> <character>EVE'S VOICE</character> <dialogue>whose help, guidance and advice have made this, the happiest night of my life, possible.</dialogue> <scene_description>EVE stares at the award for an instant , as if fighting for self - control .</scene_description> <character>EVE</character> <dialogue>Although I am going to Hollywood next week to make a film - do not think for a moment that I am leaving you. How could I? For my heart is here in the Theater - and three thousand miles are too far to be away from one's heart. I'll be back to claim it - and soon. That is, if you want me back.</dialogue> <scene_description>Another storm of applause . Much ad lib shouting as Bill and Lloyd are summoned to pose beside her for more pictures . People are thronging out . The Aged Actor shouts above the hubbub .</scene_description> <character>AGED ACTOR</character> <dialogue>A good night to all - and to all a good night!</dialogue> <scene_description>Eve disengages herself from the photographers , makes her way toward Addison 's table . Bill and Lloyd follow . CAMERA FOLLOWS Lloyd to Karen . They kiss . He gives her the award .</scene_description> <character>LLOYD</character> <dialogue>For services rendered - beyond the whatever - it - is - of - duty, darling.</dialogue> <scene_description>Max bustles into the SHOT .</scene_description> <character>MAX</character> <dialogue>Come on! I'm the host, I got ta get home before the guests start stealing the liquor.</dialogue> <scene_description>She and Lloyd follow Max . Addison and Eve are on their way . Lloyd goes right by . Karen pauses at Eve .</scene_description> <character>KAREN</character> <dialogue>Congratulations, Eve.</dialogue> <character>EVE</character> <dialogue>Thank you, Karen.</dialogue> <scene_description>Karen goes . Eve is being constantly congratulated . Some ad lib about seeing her at Max 's party .</scene_description> <character>MAX</character> <parenthetical>( to Addison . )</parenthetical> <dialogue>I'm giving her a very high - class party. It ai n't like a rehearsal, she do n't have to be late.</dialogue> <character>ADDISON</character> <dialogue>As soon as the peasants stop pawing her.</dialogue> <scene_description>Max hurries out . Margo and Bill step into the SHOT . Eve turns from a well - wisher to face her .</scene_description> <character>MARGO</character> <dialogue>nice speech, Eve. But I would n't worry too much about your heart. You can always put that award where your heart ought to be.</dialogue> <scene_description>Eve looks at her wordlessly . Margo and Bill leave . Addison and Eve are alone . The tables about them are empty . Suddenly , her face becomes expressionless , her eyes dull . she glances at the table .</scene_description> <character>EVE</character> <dialogue>I do n't suppose there's a drink left.</dialogue> <character>ADDISON</character> <dialogue>You can have one at Max's.</dialogue> <character>EVE</character> <parenthetical>( sits . )</parenthetical> <dialogue>I do n't think I'm going.</dialogue> <character>ADDISON</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Why not?</dialogue> <character>EVE</character> <dialogue>Because I do n't want to.</dialogue> <character>ADDISON</character> <parenthetical>( patiently . )</parenthetical> <dialogue>Max has gone to a great deal of trouble, it's going to be an elaborate party, and it's for you.</dialogue> <character>EVE</character> <dialogue>No, it's not.</dialogue> <parenthetical>( she holds up the award . )</parenthetical> <dialogue>It's for this.</dialogue> <character>ADDISON</character> <dialogue>It's the same thing, is n't it?</dialogue> <character>EVE</character> <dialogue>Exactly.</dialogue> <parenthetical>( she gives him the award . )</parenthetical> <dialogue>Here. Take it to the party instead of me.</dialogue> <character>ADDISON</character> <dialogue>You're being childish.</dialogue> <scene_description>A well - wisher rushes up to Eve with an `` Eve , darling , I 'm so happy ! '' Eve rises , thanks her graciously . Then she pulls her wrap over her shoulder .</scene_description> <character>EVE</character> <dialogue>I'm tired. I want to go home.</dialogue> <character>ADDISON</character> <parenthetical>( curtly . )</parenthetical> <dialogue>Very well. I shall drop you and go on to the party. I have no intention of missing it.</dialogue> <scene_description>They exit from the room , now empty of everything but tables , waiters , and the usual banquet debris .</scene_description> </scene> <scene> <stage_direction>EXT. PARK AVENUE - NIGHT</stage_direction> <scene_description>Eve gets out of taxi in front of a fashionable apartment hotel . She does n't say good night to Addison , she enters the hotel as the cab drives off . She has n't the award with her .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE EVE'S APARTMENT - NIGHT</stage_direction> <scene_description>Smart , but not gaudy . Eve crosses from the elevator to her apartment . She lets herself in .</scene_description> </scene> <scene> <stage_direction>INT. EVE'S HOTEL APARTMENT - NIGHT</stage_direction> <scene_description>A small foyer , from which one door leads to the leaving room , another to the bedroom . The bedroom and living room do not connect except through the foyer . All the lights are out . Eve turns them on in the foyer , the same as she enters the bedroom . There are some new trunks , in various stages of being packed . Eve tosses her wrap on the bed , goes through the foyer to the living room . She turns on the light in the living room . CAMERA FOLLOWS her to a smart small bar where she fixes a stiff drink . As she turns from the bar , she stares - starts in fright - and drops the drink . A young girl , asleep in a chair , wakes with a jump . She stares at Eve , horror - stricken .</scene_description> <character>EVE</character> <dialogue>Who are you?</dialogue> <character>GIRL</character> <dialogue>Miss Harrington.</dialogue> <character>EVE</character> <dialogue>What are you doing here?</dialogue> <character>GIRL</character> <dialogue>I - I guess I fell asleep.</dialogue> <scene_description>Eve starts for the phone . The girl rises in panic .</scene_description> <character>GIRL</character> <dialogue>Please do n't have me arrested, please! I did n't steal anything - you can search me!</dialogue> <character>EVE</character> <parenthetical>( pauses . )</parenthetical> <dialogue>How did you get in here?</dialogue> <character>GIRL</character> <dialogue>I hid outside in the hall till the maid came to turn down your bed. She must've forgot something and when she went to get it, she left the door open. I sneaked in and hid till she finished. Then I just looked around - and pretty soon I was afraid somebody'd notice the lights were on so I turned them off - and then I guess, I fell asleep.</dialogue> <character>EVE</character> <dialogue>You were just looking around.</dialogue> <character>GIRL</character> <dialogue>That's all.</dialogue> <character>EVE</character> <dialogue>What for?</dialogue> <character>GIRL</character> <dialogue>You probably wo n't believe me.</dialogue> <character>EVE</character> <dialogue>Probably not.</dialogue> <character>GIRL</character> <dialogue>It was for my report.</dialogue> <character>EVE</character> <dialogue>What report? To whom?</dialogue> <character>GIRL</character> <dialogue>About how you live, what kind of clothes you wear - what kind of perfume and books - things like that. You know the Eve Harrington clubs - that they've got in most of the girls' high schools?</dialogue> <character>EVE</character> <dialogue>I've heard of them.</dialogue> <character>GIRL</character> <dialogue>Ours was one of the first. Erasmus Hall. I'm the president.</dialogue> <character>EVE</character> <dialogue>Erasmus Hall. That's in Brooklyn, is n't it?</dialogue> <character>GIRL</character> <dialogue>Lots of actresses come from Brooklyn. Barbara Stanwyck, Susan Hayward - of course, they're just movie stars.</dialogue> <scene_description>Eve makes no comment . She lies wearily on the couch .</scene_description> <character>GIRL</character> <dialogue>You're going to Hollywood - are n't you?</dialogue> <parenthetical>( Eve murmurs `` uh - huh '' . )</parenthetical> <dialogue>From the trunks you're packing, you must be going to stay a long time.</dialogue> <character>EVE</character> <dialogue>I might.</dialogue> <character>GIRL</character> <dialogue>That spilled drink is going to ruin your carper.</dialogue> <scene_description>She crosses to it .</scene_description> <character>EVE</character> <dialogue>The maid'll fix it in the morning.</dialogue> <character>GIRL</character> <dialogue>I'll just pick up the broken glass.</dialogue> <character>EVE</character> <dialogue>Do n't bother.</dialogue> <scene_description>The girl puts the broken glass on the bar . She starts to mix Eve a fresh drink .</scene_description> <character>EVE</character> <dialogue>How'd you get all the way up here from Brooklyn?</dialogue> <character>GIRL</character> <dialogue>Subway.</dialogue> <character>EVE</character> <dialogue>How long does it take?</dialogue> <character>GIRL</character> <dialogue>With changing and everything, a little over an hour.</dialogue> <scene_description>She carries the drink over to Eve .</scene_description> <character>EVE</character> <dialogue>It's after one now. You wo n't get home till all hours.</dialogue> <character>GIRL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I do n't care if I never get home.</dialogue> <scene_description>The door buzzer sounds .</scene_description> <character>EVE</character> <dialogue>That's the door.</dialogue> <character>GIRL</character> <dialogue>You rest. I'll get it.</dialogue> <scene_description>She goes to the door , opens it . Addison stands there , the Sarah Siddons Award in his hands .</scene_description> <character>ADDISON</character> <dialogue>Hello, there. Who are you?</dialogue> <character>GIRL</character> <parenthetical>( shyly . )</parenthetical> <dialogue>Miss Harrington's resting, Mr. deWitt. She asked me to see who it is.</dialogue> <character>ADDISON</character> <dialogue>We wo n't disturb her rest. It seems she left her award in the taxicab. Will you give it to her?</dialogue> <scene_description>She holds it as if it were the Promised Land . Addison smiles faintly . He knows the look .</scene_description> <character>ADDISON</character> <dialogue>How do you know my name?</dialogue> <character>GIRL</character> <dialogue>It's a very famous name, Mr. deWitt.</dialogue> <character>ADDISON</character> <dialogue>And what is your name?</dialogue> <character>GIRL</character> <dialogue>Phoebe.</dialogue> <character>ADDISON</character> <dialogue>Phoebe?</dialogue> <character>GIRL</character> <parenthetical>( stubbornly . )</parenthetical> <dialogue>I call myself Phoebe.</dialogue> <character>ADDISON</character> <dialogue>Why not? Tell me, Phoebe, do you want some day to have an award like that of your own?</dialogue> <scene_description>Phoebe lifts her eyes to him .</scene_description> <character>PHOEBE</character> <dialogue>More than anything else in the world.</dialogue> <scene_description>Addison pats her shoulder lightly .</scene_description> <character>ADDISON</character> <dialogue>Then you must Miss Harrington how to get one. Miss Harrington knows all about it.</dialogue> <scene_description>Phoebe smiles shyly . Addison closes the door . Phoebe stares down at the award for an instant .</scene_description> <character>EVE'S VOICE</character> <parenthetical>( sleepy ; from the living room . )</parenthetical> <dialogue>Who was it?</dialogue> <character>PHOEBE</character> <dialogue>Just a taxi driver, Miss Harrington. You left the award in his cab and he brought it back.</dialogue> <character>EVE'S VOICE</character> <dialogue>Oh. Put it on one of the trunks, will you? I want to pack it.</dialogue> <character>PHOEBE</character> <dialogue>Sure, Miss Harrington.</dialogue> <scene_description>She takes the award into the bedroom , sets it on a trunk . As she starts out , she sees Eve 's fabulous wrap on the bed . She listens . Then , quietly , she puts on the wrap and picks up the award . Slowly , she walks to a large three - mirrored cheval . With grace and infinite dignity she holds the award to her , and bows again and again . as if to the applause of a multitude . FADE OUT . THE END</scene_description> </scene> </script>

Margo Channing (Bette Davis) is one of the biggest stars on Broadway. But having just turned forty she is worried about what her advancing age will mean for her career. After a performance of Margo's latest play, Aged in Wood, Margo's close friend Karen Richards (Celeste Holm), wife of the play's author Lloyd Richards (Hugh Marlowe), brings in a besotted fan, Eve Harrington (Anne Baxter), to meet Margo. Eve tells the group gathered in Margo's dressing room—Karen, Lloyd, Margo's boyfriend Bill Sampson (Gary Merrill), a director who is eight years her junior, and Margo's maid Birdie (Thelma Ritter)—that she followed Margo's last theatrical tour to New York after seeing her perform in San Francisco. She tells an engrossing story of growing up poor in Wisconsin and losing her young husband in World War II. Moved, Margo quickly befriends Eve, takes her into her home, and hires her as her assistant, leaving Birdie, who instinctively dislikes Eve, feeling put out. Eve quickly manipulates her way into Margo's life, acting as her secretary and adoring fan. She seems to anticipate Margo's every need, including placing a long-distance phone call to Bill when Margo forgets his birthday. Margo becomes increasingly distrustful and bitter towards her, particularly after she catches Eve taking a bow to an empty theatre while pretending to wear Margo's costume for Aged in Wood. Margo asks her producer, Max Fabian, to hire Eve at his office, but instead Eve manages to become Margo's understudy without Margo's knowledge. As Margo's irritation grows, Karen feels sorry for Eve. In hopes of humbling Margo, Karen arranges for her to miss a performance of Aged in Wood, so Eve will have to give the performance in her place. Eve invites the city's theatre critics, including the acerbic Addison DeWitt (George Sanders), to attend that evening's performance, which is a triumph for her. After that evening's performance, Eve tries to seduce Bill, but he rejects her. Instead, Addison takes her under his wing and interviews her for a column that criticizes Margo for not making way for new talents like Eve. Margo and Karen are furious. That evening, Margo and Bill announce their engagement at dinner with the Richardses in the Cub Room of the Stork Club. Eve, who was dining at a nearby table with DeWitt, calls Karen into the ladies' room and, after first appearing regretful, tells her to either ask Lloyd to give her the part of Cora—the lead in Lloyd's next play, Footsteps on the Ceiling—or she will reveal Karen's role in Margo's missed performance. Before Karen can talk with Lloyd, Margo announces to everyone's surprise that she does not wish to play Cora and would prefer to continue in Aged in Wood. Eve is cast as Cora. Just before the out-of-town premiere of Footsteps on the Ceiling at the Shubert in New Haven, Eve presents Addison with her next plan: to marry Lloyd, whom, she claims, has come to her professing his love and his eagerness to leave his wife for her. Now, Eve exults, Lloyd will write brilliant plays showcasing her. Angered that Eve believes she can manipulate him as easily as she does everyone else, Addison reveals he knows that her back story is all lies. Her real name is Gertrude Slescynski, she was never married, and she had been paid to leave town over an affair with her boss. Addison blackmails Eve, informing her that she will not be marrying Lloyd or anyone else; in exchange for Addison's silence, she now 'belongs' to him. A year later, Eve is a shining Broadway star headed for Hollywood. At an awards banquet, she thanks Margo, Bill, Lloyd, and Karen with characteristic effusion, while all four stare back at her coldly. Eve skips a party in her honor, and returns home alone, where she encounters Phoebe (Barbara Bates)—a high-school-aged fan—who has slipped into her apartment and fallen asleep. The young girl professes her adoration and begins at once to insinuate herself into Eve's life, offering to pack Eve's trunk for Hollywood. While Eve rests in the other room, Phoebe dons the elegant robe that Eve wore to the banquet and poses in front of a multi-paned mirror, holding the award as if it were a crown.

Just Mercy_2019

tt4916630

<script> <scene> <scene_description>Rev. 08/31/18 (Green) Rev. 09/14/18 (Goldenrod) Rev. 10/08/18 (Buff) Rev. 10/17/18 (Salmon) Rev. 10/23/18 (Cherry) Rev. 04/25/19 (Tan Add'l Photog)</scene_description> <character>JUST MERCY</character> <dialogue>written by</dialogue> <scene_description>Destin Daniel Cretton &amp; Andrew Lanham based on the book by Bryan Stevenson This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.</scene_description> <character>FULL YELLOW</character> <dialogue>August 29, 2018</dialogue> <scene_description>Kiki Tree Pictures, Inc. © 2018 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. ESTATE (ALABAMA) - DAY</stage_direction> <character>SUPERIMPOSE:</character> <dialogue>JUNE 7, 1987</dialogue> <scene_description>3 SHOTS -- LOOKING UP AT a grove of pine trees, leaves and limbs swaying in the breeze, backdropped by the Alabama sky. A lead weight tied to the end of a cord FLOATS into the air, wraps around a high limb. REVEAL: WALTER "JOHNNY D" McMILLIAN (40s, black) as he PULLS on the cord to lift the rope up to the top of the tree.</scene_description> <character>CLOSEUP ON THE ROPE</character> <dialogue>as he expertly ties a bowline knot and PULLS it up to the treetop.</dialogue> <dialogue>He hands the excess rope to his EMPLOYEE (30s, black).</dialogue> <character>WALTER</character> <dialogue>Let's lay it down right here.</dialogue> <scene_description>He looks up at the tree once more, respectfully. Then --</scene_description> <character>CLOSEUP - A CHAINSAW</character> <dialogue>cuts a notch into the side he wants the tree to fall. Then he SAWS through from the other side.</dialogue> <dialogue>The tree falls, CRASHING to the ground.</dialogue> <dialogue>Walter CLICKS off his saw and looks up, taking a moment to watch the trees dance in the wind. He takes a DEEP BREATH -- at peace. Then looks over to his employee --</dialogue> <character>WALTER</character> <dialogue>Alright, let's chop and load!</dialogue> </scene> <scene> <stage_direction>EXT. ESTATE (ALABAMA)/WALTER'S TRUCK - LATER</stage_direction> <scene_description>Walter chains down a load of logs in the back of his WORK TRUCK, parked beside his personal LOWRIDER TRUCK. He hops off the back, looks at his employee.</scene_description> <character>WALTER</character> <dialogue>Meet you at the yard.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 2 CONTINUED: 2 As his employee starts the truck, Walter looks at the house to see MR. ABNEY (50s, white) cooking something on a BBQ.</scene_description> <character>WALTER</character> <dialogue>Okay, Mr. Abney! Gimme a call if you need anything else cleared out!</dialogue> <scene_description>Mr. Abney gives him a nod, nothing more. But Walter doesn't let this damper his mood.</scene_description> </scene> <scene> <stage_direction>EXT./INT. COUNTRY ROAD (ALABAMA)/WALTER'S TRUCK -</stage_direction> <character>AFTERNOON</character> <dialogue>Alabama farmland. TWO JOHN DEERE COTTON PICKERS move through a field as Walter's truck and trailer drive down the road.</dialogue> <character>INSIDE THE TRUCK</character> <dialogue>Walter bobs his head to MUSIC, hand out the window, wind floating through fingers -- free as a bird.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD (ALABAMA)/ROADBLOCK - DAY</stage_direction> <scene_description>He notices something up ahead, slows to a stop to see -- SEVEN POLICE CARS block the road with 14 OFFICERS, guns drawn and aimed at him. He TURNS down the MUSIC. Fear ripples through him as -- SHERIFF TATE (late 30s, white) approaches the truck, unsettling ease in his step. Walter shows both hands as Tate reaches the window.</scene_description> <character>WALTER</character> <dialogue>Afternoon, sir, need to see my license?</dialogue> <character>SHERIFF TATE</character> <dialogue>Oh, no, that won't be necessary.</dialogue> <scene_description>Tate seems almost friendly as he looks at the trailer of logs, then over the truck, brand new rims on the wheels.</scene_description> <character>SHERIFF TATE</character> <dialogue>Nice truck. These rims look expensive.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 4 CONTINUED: 4</scene_description> <character>WALTER</character> <dialogue>Oh, they ain't much. Got 'em from a junkyard.</dialogue> <character>SHERIFF TATE</character> <parenthetical>(nods; subtle beat)</parenthetical> <dialogue>Who you workin' for?</dialogue> <character>WALTER</character> <dialogue>Run my own pulpin' business.</dialogue> <parenthetical>(tries to keep it light)</parenthetical> <dialogue>If y'all need any trees cleared, happy to help you out.</dialogue> <scene_description>Walter smiles, but it's like Tate didn't even hear him.</scene_description> <character>SHERIFF TATE</character> <dialogue>No boss to check in with, huh? Must be real nice. Free to roam wherever you want in your fancy truck.</dialogue> <character>WALTER</character> <parenthetical>(beat; forces laugh)</parenthetical> <dialogue>Not if my wife got somethin' to say 'bout it.</dialogue> <character>SHERIFF TATE</character> <dialogue>I heard that ain't stopped you before.</dialogue> <parenthetical>(off Walter's stare)</parenthetical> <dialogue>Ain't that right, Johnny D?</dialogue> <scene_description>Walter locks eyes with him -- how does he know his name? He looks out the windshield to see 3 OFFICERS approaching with guns aimed at his head. Tate leans in close.</scene_description> <character>SHERIFF TATE</character> <dialogue>Wanna make a run for it? 'Cause after what you done, I'd welcome a reason to do this right now.</dialogue> <character>WALTER</character> <dialogue>Sir, y'all must be confusin' me with someone. I don't know what you think I done, but I was jus' --</dialogue> <scene_description>Tate abruptly throws open the door, grabs him by the neck, violently pulls him outside and SLAMS him on the hood. CAMERA PIVOTS, PUSHING IN ON his confusion and pain, framed by metal and sky as we --</scene_description> <character>CUT TO: \*</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> <character>MONROE COUNTY NEWSCAST (DURING OPENING CREDITS): \*</character> <dialogue>-- A LOCAL MONTGOMERY REPORTER speaks to camera outside a \* bustling courthouse -- \*</dialogue> <character>NEWS REPORTER \*</character> <dialogue>We know Monroeville as the \* peaceful town where Harper Lee \* wrote To Kill A Mockingbird. But \* last year, that peace was \* shattered by a brutal crime... \*</dialogue> <scene_description>-- A PHOTO OF RONDA MORRISON (18, white, girl next door) \* displays beside him. \*</scene_description> <character>NEWS REPORTER \*</character> <dialogue>On the 1st of November, 18-year- \* old Ronda Morrison was found dead \* at Jackson Cleaners, where she \* worked as a part-time clerk. \* Morrison had been strangled and \* shot by Walter McMillian, known \* locally as 'Johnny D.' \*</dialogue> <scene_description>-- A MUG SHOT of Walter "Johnny D" McMillian -- \* -- Sheriff Tate being interviewed on camera -- \*</scene_description> <character>SHERIFF TATE \*</character> <dialogue>He's got a history of sexual \* misconduct among other things, so \* it don't surprise me he'd do \* something like this. Guys like \* that don't stop unless you make \* 'em. \*</dialogue> <character>NEWS REPORTER \*</character> <dialogue>After a trial that lasted a day \* and a half, McMillian was \* convicted by a jury who \* recommended a life sentence. \*</dialogue> <scene_description>-- JUDGE ROBERT E. LEE KEY (60s, white) enters the \* courthouse. \*</scene_description> <character>NEWS REPORTER (V.O.) \*</character> <dialogue>But today, Judge Robert E. Lee Key \* overrode their decision and \* sentenced McMillian to death. \*</dialogue> <scene_description>-- ANN DAVIS (40s) speaks through tears, overwhelmed. \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>CONTINUED:</character> <dialogue>ANN DAVIS \*</dialogue> <scene_description>She was always crackin' jokes, \* goin' out of her way to make you \* smile... \* (gets emotional) \* How can anyone kill a girl like \* that? \*</scene_description> <character>DAVID WALKER \*</character> <dialogue>We're grateful to Sheriff Tate and \* law enforcement for never givin' \* up. We won't get Ronda back, but \* least that bastard won't be able \* to do it again. \*</dialogue> <scene_description>-- The DAY OF WALTER'S ARREST. 2 OFFICERS and Sheriff \* Tate drag a stunned Walter past the CAMERAS toward the \* JAIL. (NOTE: THIS COULD BE A PHOTO.) \*</scene_description> <character>NEWS REPORTER \*</character> <dialogue>After almost a year of searching, \* law enforcement arrested McMillian \* due to the eyewitness testimony of \* Ralph Myers, who was at the scene \* when McMillian pulled the trigger. \*</dialogue> <scene_description>-- The DAY OF WALTER'S TRIAL. RALPH MYERS (40s, white) \* shuffles to the court in a prison jumpsuit. (NOTE: THIS \* COULD BE A PHOTO.) \* -- WALTER'S PULLED OUT OF THE COURTHOUSE and thrown into \* the back of a TRANSPORT VAN in cuffs. A GROUP OF \* REPORTERS and TOWNSPEOPLE (black and white) surround. \*</scene_description> <character>SHERIFF TATE \*</character> <dialogue>We promised this community we'd \* find 'im and that's what we did. \* You do a crime like this in my \* town, one way or another, you \* gonna pay for it. \*</dialogue> <character>NEWS REPORTER (V.O.) \*</character> <dialogue>As McMillian awaits execution at \* Holman Correctional Facility, a \* grieving community can take some \* solace in knowing that today, \* justice has finally been served. \*</dialogue> <scene_description>The doors SLAM shut on Walter, the NEWSCAST fades, \* replaced by as we PUSH INTO a CLOSEUP that -- \* 5 OMITTED 5 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. GEORGIA STATE PRISON - VISITATION ROOM - DAY</stage_direction> <scene_description>Framed through the Plexiglas of a metal door, BRYAN STEVENSON (early-20s), eyes that never stop thinking, stands nervously in an old suit as a GUARD opens the door. He hesitates before entering the 20-foot room, stools bolted to the floor, metal mesh for walls. It's obvious he's not used to being in a place like this. As the door SLAMS behind --</scene_description> </scene> <scene> <stage_direction>INT. GEORGIA STATE PRISON - VISITATION ROOM - DAY (TWENTY</stage_direction> <character>MINUTES LATER)</character> <dialogue>Bryan sits, staring at a used notebook, WHISPERING his introduction to himself, preparing for what's ahead.</dialogue> <dialogue>Then -- chains CLANGING from outside the door, the HAUNTING SOUND increases with his anxiety until --</dialogue> <dialogue>CLANK! The door opens and a GUARD walks in with the prisoner, HENRY DAVIS. He looks about Bryan's age, black, and just as worried as he is. As Bryan looks at him, he averts his gaze.</dialogue> <dialogue>As the Guard UNLOCKS his chains, Bryan notices how weighed down Henry is -- handcuffs on his wrists, chain around his waist, shackles on his ankles.</dialogue> <dialogue>Taking off the last shackle, the Guard looks up at Bryan.</dialogue> <character>GUARD</character> <dialogue>You got one hour.</dialogue> <scene_description>The door CLANGS shut behind the Guard. Bryan takes a BREATH.</scene_description> <character>BRYAN</character> <dialogue>Hi, Mr. Davis. I'm Bryan.</dialogue> <scene_description>Henry finally glances at him, nods.</scene_description> <character>HENRY</character> <dialogue>Henry.</dialogue> <scene_description>Bryan hesitates, nerves getting the better of him before --</scene_description> <character>BRYAN</character> <dialogue>I'm here to, uh... sorry. I mean...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 7 CONTINUED: 7</scene_description> <character>BRYAN</character> <dialogue>I don't really have a lot of information to tell you right now...</dialogue> <character>HENRY</character> <parenthetical>(worried)</parenthetical> <dialogue>Something wrong with my case?</dialogue> <character>BRYAN</character> <dialogue>No, no. It's fine. It's, uh --</dialogue> <parenthetical>(clears his throat)</parenthetical> <dialogue>The Southern Prisoners Defense Committee sent me to tell you that they don't have a lawyer for you yet, but they hope to soon.</dialogue> <character>HENRY</character> <parenthetical>(confused)</parenthetical> <dialogue>You not a lawyer?</dialogue> <character>BRYAN</character> <dialogue>Uh, no... I'm still in school, I'm just interning here for the summer.</dialogue> <scene_description>Henry doesn't hide his disappointment.</scene_description> <character>HENRY</character> <dialogue>So, you can't tell me nothin' about my case?</dialogue> <character>BRYAN</character> <dialogue>Oh, um. I am supposed to tell you that... you're not at risk of execution any time in the next year.</dialogue> <scene_description>Henry stares. Bryan can't read his expression. Henry puts his head down, lets out a long EXHALE, speaks without looking up --</scene_description> <character>HENRY</character> <dialogue>Can you say that again?</dialogue> <character>BRYAN</character> <parenthetical>(hesitant)</parenthetical> <dialogue>You're not at risk of execution any time in the next year.</dialogue> <scene_description>Henry takes a BREATH, slowly nods to himself. When he finally looks up, he has tears in his eyes as he holds his hand out.</scene_description> <character>HENRY</character> <dialogue>Best news I've heard in a long time.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 7 CONTINUED: (2) 7 Bryan grips his hand, surprised as he's pulled in for a hug.</scene_description> <character>HENRY</character> <dialogue>Didn't want my wife and the kids showin' up if I had an execution date comin'. Now they can come visit.</dialogue> <parenthetical>(sincere)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Bryan nods, more at ease. Henry looks at him curiously.</scene_description> <character>HENRY</character> <dialogue>You the first person I met in two years that ain't a inmate or a guard.</dialogue> <parenthetical>(off Bryan's surprise)</parenthetical> <dialogue>How old are you?</dialogue> <character>BRYAN</character> <dialogue>Twenty-four.</dialogue> <character>HENRY</character> <parenthetical>(nods)</parenthetical> <dialogue>Me, too.</dialogue> <scene_description>Pre-lap: Their LAUGHTER takes us to --</scene_description> </scene> <scene> <stage_direction>INT. GEORGIA STATE PRISON - VISITATION ROOM - DAY</stage_direction> <scene_description>The two men sit, LAUGHING, mid-conversation --</scene_description> <character>HENRY</character> <dialogue>Serious, my ma made me join our church choir when I was like four. I was lead baritone all through high school.</dialogue> <character>BRYAN</character> <dialogue>I used to play piano for my church back home.</dialogue> <character>HENRY</character> <dialogue>A.M.E.?</dialogue> <parenthetical>(off Bryan's nod; playful)</parenthetical> <dialogue>God is good...</dialogue> <character>BRYAN</character> <parenthetical>(plays along)</parenthetical> <dialogue>All the time.</dialogue> <scene_description>FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 8 CONTINUED: That cracks Henry up. They both know exactly what it's like to grow up in an African Methodist Episcopal church.</scene_description> <character>HENRY</character> <dialogue>Couple of A.M.E. choirboys hangin' on death row. My mama's gonna trip.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So, what school you at?</dialogue> <character>BRYAN</character> <dialogue>Harvard.</dialogue> <character>HENRY</character> <parenthetical>(shocked)</parenthetical> <dialogue>Seriously? You goin' to Harvard? That's white-boy-status, bro. What the hell you doin' slummin' it in here for?</dialogue> <scene_description>Bryan smiles, really considers before --</scene_description> <character>BRYAN</character> <dialogue>I'm in law school because I want to help people. But I haven't really found the best way to do that yet.</dialogue> <parenthetical>(beat; considers)</parenthetical> <dialogue>Honestly, this internship has been my best experience so far.</dialogue> <character>HENRY</character> <parenthetical>(beat; for real?)</parenthetical> <dialogue>Workin' on death row is your best experience? You need to get out more, bro.</dialogue> <scene_description>Bryan and Henry share a playful smile as Henry grows somber.</scene_description> <character>HENRY</character> <dialogue>Your mama must be real proud.</dialogue> <parenthetical>(looks off)</parenthetical> <dialogue>That's the hardest part, knowin' all the shit I put her through.</dialogue> <scene_description>Before Bryan can respond -- CLANK. The Guard opens the door, angry. He strides up to Henry, roughly CUFFS his wrists behind his back.</scene_description> <character>GUARD</character> <parenthetical>(snarls to Bryan)</parenthetical> <dialogue>You should have been done two hours ago.</dialogue> <scene_description>FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 8 CONTINUED: (2)</scene_description> <character>BRYAN</character> <parenthetical>(surprised)</parenthetical> <dialogue>I'm sorry, sir, it was my fault. I didn't realize the time.</dialogue> <character>GUARD</character> <dialogue>You're supposed to watch the clock.</dialogue> <scene_description>Henry WINCES in pain as the Guard SQUEEZES his cuffs and YANKS him to a standing position. Bryan stands, more distressed by this than Henry seems to be.</scene_description> <character>BRYAN</character> <dialogue>Hey! Stop that! He didn't do anything!</dialogue> <character>GUARD</character> <dialogue>You need to shut your mouth.</dialogue> <character>HENRY</character> <parenthetical>(off Bryan's shock)</parenthetical> <dialogue>It's okay, Bryan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Don't worry 'bout me. Just come back.</dialogue> <scene_description>The officer tries to push him out, but Henry plants his feet, leans back, strong and dignified. He closes his eyes and begins to SING, his baritone voice strong and clear.</scene_description> <character>HENRY</character> <dialogue>I'm pressing on, the upward way,/ New heights I'm gaining, every day --</dialogue> <scene_description>The Guard stops pushing for a moment, thrown off by the song.</scene_description> <character>HENRY</character> <dialogue>Still praying as, I'm onward bound,/Lord, plant my feet on higher ground.</dialogue> <scene_description>Bryan stands frozen, Henry's song stirring something in him. The Guard resumes shoving Henry down the hall, but he doesn't stop SINGING, his voice ECHOING with his CLANKING chains -- FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 8 CONTINUED: (3)</scene_description> <character>HENRY (O.S.)</character> <dialogue>Lord lift me up, and let me stand,/By faith on Heaven's tableland,/A higher plane, that I have found,/Lord, plant my feet on higher ground.</dialogue> <scene_description>Bryan remains in the empty room, Henry's charge to "just come back" ringing in his ears.</scene_description> </scene> <scene> <stage_direction>AA9 EXT. HARVARD LAW SCHOOL - DAY (ESTABLISHING) AA9</stage_direction> </scene> <scene> <stage_direction>A9 INT. HARVARD LAW SCHOOL - CLASSROOM - DAY A9</stage_direction> <scene_description>FIND Bryan, one of FOUR STUDENTS OF COLOR in a class of 30. BETSY BARTHOLET (40s, white) leads the seminar.</scene_description> <character>PROFESSOR BARTHOLET</character> <dialogue>In the 1972 Furman v. Georgia decision, the Supreme Court strikes down the death penalty because of widespread racial bias. Four years later, the Court upholds a new death penalty scheme in Gregg, unwilling to presume racial discrimination without evidence. This year, Warren McCleskey's lawyers presented evidence that the new death penalty is as racially biased as the old one. But they lose. Why?</dialogue> <scene_description>A LAW STUDENT (20s, white), entitled, doesn't raise his hand --</scene_description> <character>LAW STUDENT</character> <dialogue>McCleskey didn't get the death penalty because he was black, he got it because he killed a cop in cold blood.</dialogue> <scene_description>Bryan exchanges a look with another BLACK STUDENT, they're used to this clown. Professor Bartholet can see Bryan's wheels turning.</scene_description> <character>PROFESSOR BARTHOLET</character> <dialogue>Bryan? Thoughts?</dialogue> <scene_description>Bryan would rather not engage, but he can't stop himself. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY A9 CONTINUED: A9</scene_description> <character>BRYAN</character> <dialogue>The Baldus study they presented proved that in Georgia, you're 11 times more likely to get the death penalty if the victim is white than if the victim is black, 22 times more likely if the defendant is black and the victim is white. Every way you look at it, race is the greatest predictor of who gets the death penalty.</dialogue> <character>LAW STUDENT</character> <dialogue>The reliability of that study is debatable.</dialogue> <scene_description>Bryan glances at the Law Student, used to this type of classmate over the years. He doesn't hold back --</scene_description> <character>BRYAN</character> <dialogue>Over 2000 murder cases subjected to 230 nonracial variables. It was reliable enough for the Supreme Court to accept.</dialogue> <character>LAW STUDENT</character> <dialogue>But they still rejected the argument.</dialogue> <character>BRYAN</character> <dialogue>Because they were afraid of trying to fix something they believed was unfixable. And they were wrong.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>In his dissent, Justice Brennan ridiculed the ruling as 'a fear of too much justice.'</dialogue> <character>LAW STUDENT</character> <dialogue>I think they're just being realistic. A certain amount of bias in our judicial system is inevitable. It's just a hard truth we have to learn to live with.</dialogue> <scene_description>This triggers a fire in Bryan unseen before.</scene_description> <character>BRYAN</character> <dialogue>Live with? The whole point is that some of us don't have that luxury.</dialogue> <scene_description>Bryan takes a beat. All eyes on him now as -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY A9 CONTINUED: (2) A9</scene_description> <character>BRYAN</character> <dialogue>I grew up in a racially segregated community in Delaware, where black kids weren't allowed to go to public school. But in Brown vs. Board of Education, the court didn't say segregation was inevitable, they said it was unconstitutional. They forced the country to open up the schools, and that's the only reason I'm in this classroom. That's what the law can do when it's used for justice.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>As long as the death penalty is administered on the basis of race or class, it's as big a stain on our country as segregation or slavery. And I don't think it's naive to believe we can do something to change it.</dialogue> <character>LAW STUDENT</character> <dialogue>Well, five Justices of the Supreme Court would disagree with you there.</dialogue> <scene_description>Bryan stares at the Student, more determined despite the odds.</scene_description> <character>CHRISTY (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>Mom's still mad at you.</dialogue> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S CHILDHOOD HOME - MORNING</stage_direction> <scene_description>Bryan walks with his sister, CHRISTY (24), carrying boxes.</scene_description> <character>BRYAN</character> <dialogue>For what?</dialogue> <character>CHRISTY</character> <dialogue>I don't know, maybe for rejecting all those job offers so you can be poor in Alabama.</dialogue> <parenthetical>(sees Howard)</parenthetical> <dialogue>And Howie telling her about that lynching in Mobile didn't help.</dialogue> <scene_description>HOWARD JR. (28) takes the box from Christy and loads it into Bryan's Honda Civic. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 9 CONTINUED: 9</scene_description> <character>BRYAN</character> <dialogue>What!</dialogue> <character>HOWARD JR.</character> <parenthetical>(off Bryan's look)</parenthetical> <dialogue>I said it happened seven years ago!</dialogue> <character>CHRISTY</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Yeah, that made it better.</dialogue> <character>BRYAN</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>You guys aren't helping.</dialogue> <scene_description>HOWARD SR. (60s) looks out from the hood.</scene_description> <character>HOWARD SR.</character> <dialogue>When was the last time you checked your oil?</dialogue> <parenthetical>(off Bryan's shrug)</parenthetical> <dialogue>I just added three quarts, but you should check again when you get there.</dialogue> <character>BRYAN</character> <dialogue>Thanks, Dad.</dialogue> <character>HOWARD SR.</character> <dialogue>You talk to your mom yet?</dialogue> <character>BRYAN</character> <parenthetical>(looks around)</parenthetical> <dialogue>Where is she?</dialogue> <scene_description>OFF their looks --</scene_description> </scene> <scene> <stage_direction>EXT. STEVENSON FAMILY HOME - BACK PORCH - MOMENTS LATER</stage_direction> <scene_description>Bryan finds Alice sweeping the porch. She doesn't look up.</scene_description> <character>BRYAN</character> <dialogue>What are you doing, Mom?</dialogue> <parenthetical>(off her sweeping)</parenthetical> <dialogue>You not gonna come say bye?</dialogue> <scene_description>Alice sweeps a few more times before finally giving him a piece of her mind. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 10 CONTINUED: 10</scene_description> <character>ALICE</character> <dialogue>I know you got your law degree now, and you think you're grown, but you're still my child, and I'm the one that has to deal with your funeral arrangements if you get killed down there.</dialogue> <scene_description>Bryan can't help but smile at the overreaction.</scene_description> <character>BRYAN</character> <dialogue>Come on, Mom.</dialogue> <character>ALICE</character> <dialogue>You think this is funny? If you can't see the danger in what you're doing, then you should, ask Harvard for your money back, cause you used to be smarter than that.</dialogue> <scene_description>Bryan chooses not to respond, just looks at her with care. Alice looks away, sits down on the porch steps. Bryan follows her lead, sits beside her.</scene_description> <character>ALICE</character> <dialogue>Howie told me you're making fourteen thousand dollars a year?</dialogue> <character>BRYAN</character> <dialogue>What didn't he tell you?</dialogue> <character>ALICE</character> <dialogue>You could have taken any of those job offers in D.C. and been set for the rest of your life.</dialogue> <character>BRYAN</character> <dialogue>You know that's not what I want to do.</dialogue> <character>ALICE</character> <dialogue>I didn't want to work two jobs my whole life, either, but I did it so my children could get ahead, not so they could go make half of what I was making ten years ago.</dialogue> <character>BRYAN</character> <dialogue>You taught me not to care about money, to do what my heart tells me is right.</dialogue> <character>ALICE</character> <parenthetical>(grows emotional)</parenthetical> <dialogue>What about my heart?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 10 CONTINUED: (2) 10</scene_description> <character>ALICE</character> <dialogue>What about the fact that you're precious to me, and I'm going to have to worry about you in ways I've never had to before. What am I supposed to do with that?</dialogue> <scene_description>The love between them is evident. Bryan looks down, choosing his words carefully before speaking with care.</scene_description> <character>BRYAN</character> <dialogue>That first time I visited death row, I never expected to meet someone the same age as me, who grew up on the same music, in a neighborhood just like ours. He could have been any of the guys from Sussex County.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't want to move so far away from you, either. But you taught \* me to fight for the people who need it most. That's why I'm going down there. I know I can help them.</dialogue> <scene_description>Alice looks at him, sees his passion, softening as --</scene_description> <character>ALICE</character> <dialogue>I'm very proud of you. \*</dialogue> <scene_description>(lets that sink in) \* And I know your heart is in the \* right place, but it's not that \* simple. What you're doing is \* going to make a lot of people \* upset. \* (looks at him; \* serious) \* You better be careful. \*</scene_description> <character>BRYAN \*</character> <dialogue>(nods; sincere) \*</dialogue> <scene_description>I will. \* Bryan pulls her into a hug. She puts her head on his \* shoulder, enjoying a final moment with her son.</scene_description> </scene> <scene> <stage_direction>EXT./INT. HIGHWAY(ALABAMA)/BRYAN'S CIVIC - DAY</stage_direction> <scene_description>Bryan drives down the highway, lush grass and tall, stately pines on either side as MUSIC plays on the radio. The back of his Civic is stacked with boxes and books. He passes a large sign that reads: "WELCOME TO ALABAMA THE BEAUTIFUL." 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. ALABAMA - DRIVING SNAPSHOTS - AFTERNOON</stage_direction> <scene_description>As MUSIC continues to play, Bryan watches snapshots of Alabama float by his window -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 12 CONTINUED: 12 -- 2 JOHN DEERE COTTON PICKERS drive through a field of cotton. -- A WHITE MAN waxes a new truck in the driveway of a classic middle-class home, 2 WHITE KIDS play in a sprinkler. -- A BLACK GROUNDSKEEPER mows the lawn of a palatial home, waves to Bryan as he passes. -- A BAPTIST CHURCH, the sign out front spelling out the Alabama state motto: "WE DARE DEFEND OUR RIGHTS."</scene_description> <character>EXT. OFFICE BUILDING (MONTGOMERY) - DAY \*</character> <dialogue>Bryan's brown Civic pulls up to an old building in a \* decent part of town. \*</dialogue> <character>INT. HALLWAY - MOMENTS LATER \*</character> <dialogue>Bryan walks down a hall, hears the fiery voice of EVA \* ANSLEY arguing with BILL FREEMAN (50s, white). \*</dialogue> <character>EVA (O.S.) \*</character> <dialogue>Are you kiddin' me? This is \* complete hogshit and you know it. \* We had an agreement to rent this \* space for the next two years. You \* said it was a done deal. \*</dialogue> <scene_description>Bryan turns the corner, sees Eva with the owner, her son \* CHRIS (6) beside her, plays with a Transformers toy. \*</scene_description> <character>BILL \*</character> <dialogue>That was before I knew what you \* were doing here. \*</dialogue> <character>EVA \*</character> <dialogue>We're giving poor people their \* constitutional right to counsel, \* Bill! You wanna explain to my son \* what the hell you think is wrong \* with that? \*</dialogue> <scene_description>Bryan interrupts gently, trying to ease the tension. \*</scene_description> <character>BRYAN \*</character> <dialogue>Hey, Eva... \*</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>CONTINUED:</character> <dialogue>EVA \*</dialogue> <scene_description>(turns to Bryan) \* Bryan, thank God. \* (to Bill) \* This is the Executive Director of \* our organization, who just moved \* here to work in the office you \* promised us. \*</scene_description> <character>BILL \*</character> <dialogue>(to Eva) \*</dialogue> <scene_description>You said you were the director. \*</scene_description> <character>EVA \*</character> <dialogue>Director of operations, and you're \* making me look really bad in front \* of my boss right now. \*</dialogue> <character>BILL \*</character> <dialogue>(to Bryan) \*</dialogue> <scene_description>She told me you were a lawyer, but \* nobody said it was for murderers \* on death row. \*</scene_description> <character>BRYAN \*</character> <dialogue>We're providing legal services to \* people who need help. \*</dialogue> <character>BILL \*</character> <dialogue>And you'll have to do it someplace \* else, 'cause I can't have people \* like that coming around here. \*</dialogue> <scene_description>Bryan takes a breath. He's used to people judging his \* clients like this. \*</scene_description> <character>BRYAN \*</character> <dialogue>Not everyone is in there for good \* reason. \*</dialogue> <character>BILL \*</character> <dialogue>They're locked up for something, \* and I don't want that something in \* my building. Sorry, but it ain't \* up for discussion. \*</dialogue> <character>EVA \*</character> <dialogue>They put Jesus on death row, Bill. \* He wasn't such a bad guy. \*</dialogue> <character>(ALT LINE) \*</character> <dialogue>How 'bout your complete lack of \* integrity, Bill? That up for \* discussion? \*</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>CONTINUED: (2)</character> <dialogue>BILL \*</dialogue> <scene_description>(sarcastic smile) \* Y'all have a good day now. \* The owner disappears into his office, leaving them in the \* hall. Eva shakes her head. \*</scene_description> <character>EVA \*</character> <dialogue>(under her breath) \*</dialogue> <scene_description>What a piece of shit. \* (to Bryan; serious) \* This wasn't how I wanted to \* welcome you. I'll find an office, \* I just have to change my tactics. \*</scene_description> <character>BRYAN \*</character> <dialogue>It'll be find, we can work from \* anywhere. \*</dialogue> <character>EVA \*</character> <dialogue>Maybe Chris can clear some of his \* toys out of the living room for \* you? \*</dialogue> <character>BRYAN \*</character> <dialogue>(to Chris) \*</dialogue> <scene_description>Oh, yeah? \*</scene_description> <character>CHRIS \*</character> <dialogue>I'll think about it. \*</dialogue> <scene_description>Eva and Bryan LAUGH. She hugs him as they walk away. \*</scene_description> <character>EVA \*</character> <dialogue>Sorry for cussing, baby. \*</dialogue> <character>CHRIS \*</character> <dialogue>It's okay. \*</dialogue> <character>EVA \*</character> <dialogue>He was a piece of shit, though. \*</dialogue> </scene> <scene> <stage_direction>EXT. BRYAN'S CIVIC/LANDLORD'S HOUSE - AFTERNOON</stage_direction> <scene_description>Bryan gets out of his car, in front of an old, mid-sized house. He looks around, notices a WHITE WOMAN staring from her porch. He waves. She goes inside, suspicious. HONK, HONK! He turns to see a Bronco zipping toward him, the driver waves as she pulls to a stop beside him. This is EVA ANSLEY (30s), a true Southern firebrand.</scene_description> <character>EVA</character> <dialogue>Welcome to Alabama!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 13 CONTINUED: 13</scene_description> <character>BRYAN</character> <dialogue>Hey, Eva.</dialogue> <character>EVA</character> <dialogue>Am I late?</dialogue> <character>BRYAN</character> <dialogue>I just got here.</dialogue> <scene_description>She jumps out of the truck, her son CHRIS (6) right behind. She surprises him with a big hug, a bit much for their first meeting but he goes along with it. As she steps back --</scene_description> <character>EVA</character> <dialogue>This is my son, Chris.</dialogue> <character>BRYAN</character> <dialogue>Hey, Chris.</dialogue> <character>EVA</character> <parenthetical>(to Chris)</parenthetical> <dialogue>Say hi to Mr. Stevenson.</dialogue> <scene_description>Chris buries his face in Eva's hip, too shy to respond. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 13 CONTINUED: (2) 13</scene_description> <character>BRYAN</character> <dialogue>It's okay. I get shy, too.</dialogue> <scene_description>Eva smiles, appreciates Bryan's gesture.</scene_description> <character>EVA</character> <dialogue>What can we carry?</dialogue> </scene> <scene> <stage_direction>EXT. BRYAN'S CIVIC/LANDLORD'S HOUSE - AFTERNOON (MOMENTS</stage_direction> <character>LATER)</character> <dialogue>Eva, Chris, and Bryan grab boxes from the back of his car and walk to the front door.</dialogue> <character>BRYAN</character> <dialogue>Thanks for all your help getting things set up.</dialogue> <character>EVA</character> <dialogue>I'm so pissed I still haven't found an office. I was hoping to have one by the time you got here, but I just got our third rejection this week. I swear someone at the state department is trying to shut us down before we even get started.</dialogue> <character>BRYAN</character> <dialogue>We can work from home till our funds come in. I should have our matching requirements for the federal grant soon.</dialogue> <character>EVA</character> <dialogue>As soon as that clears, I'll find us an office if I have to break someone's kneecaps.</dialogue> <parenthetical>(to Chris)</parenthetical> <dialogue>Just kidding, baby.</dialogue> <scene_description>They reach the front door. Before Bryan even has a chance to knock, the door OPENS to reveal MRS. FRANKLIN (50s, white), a deceivingly kind face, looks at Bryan, seems confused.</scene_description> <character>BRYAN</character> <dialogue>Mrs. Franklin?</dialogue> <character>MRS. FRANKLIN</character> <dialogue>Yes?</dialogue> <character>BRYAN</character> <dialogue>I'm Bryan, we spoke on the phone about your cottage for rent?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 14 CONTINUED: 14</scene_description> <character>MRS. FRANKLIN</character> <parenthetical>(beat)</parenthetical> <dialogue>You're the lawyer from Harvard?</dialogue> <character>BRYAN</character> <dialogue>Yes, ma'am.</dialogue> <scene_description>Off her silence, Bryan smiles, tries to keep it friendly.</scene_description> <character>BRYAN</character> <dialogue>Uh, these are my friends Eva and Chris, here to help me move in.</dialogue> <character>EVA</character> <dialogue>Good to meet you, ma'am.</dialogue> <character>MRS. FRANKLIN</character> <parenthetical>(nods; then)</parenthetical> <dialogue>Gimme a sec.</dialogue> <scene_description>She heads inside, closes the door. Eva smiles at Bryan.</scene_description> <character>EVA</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>She seems like a lovely woman.</dialogue> <scene_description>The door OPENS. It's MR. FRANKLIN, sent to deal with the problem. He looks from Bryan to Eva, addressing her as --</scene_description> <character>MR. FRANKLIN</character> <dialogue>I'm sorry, but we're not renting the place anymore.</dialogue> <character>BRYAN</character> <parenthetical>(gets his attention)</parenthetical> <dialogue>I spoke to your wife three times last week. We had an agreement to --</dialogue> <character>MR. FRANKLIN</character> <dialogue>I ain't disputin' that. I'm just sayin' it ain't for rent no more. Sorry for the confusion.</dialogue> <scene_description>Before Bryan can respond, he shuts the door. With that, he closes the door. Bryan exchanges a look with Eva of shared frustration.</scene_description> <character>EVA</character> <dialogue>What a piece a shit.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 14 CONTINUED: (2) 14</scene_description> <character>BRYAN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Maybe I should have sent them a photo.</dialogue> <character>EVA</character> <dialogue>We should sue 'em for housing discrimination.</dialogue> <character>BRYAN</character> <parenthetical>(as he turns)</parenthetical> <dialogue>I think we have enough on our plate right now.</dialogue> <scene_description>Eva grabs Chris' hand as they walk back, looks to Bryan.</scene_description> <character>EVA</character> <dialogue>You'll stay with us as long as you need. Daddy's cookin' chicken tonight, and Chris is gonna help peel some potatoes.</dialogue> <parenthetical>(hugs Chris)</parenthetical> <dialogue>Sorry for cussing, baby.</dialogue> <scene_description>Bryan can't help but smile, a closeness here already as they head to their cars.</scene_description> <character>EVA (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>I was writing a paper on capital punishment when I met my first death row inmate, Wayne Ritter.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S HOUSE - DINING ROOM - EVENING</stage_direction> <scene_description>Chris builds some Lincoln Logs on the couch as Bryan sits at the table with Eva and DOUG (30s), almost done with dinner. Wine for Eva and Doug, water for Bryan. Eva has the floor:</scene_description> <character>EVA</character> <dialogue>He and his friend robbed a pawnshop in Mobile. His friend shot the owner and they both got death.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When he sat down across from me, I was pissin' myself, I was so scared. First thing he did was fold his arms across his chest and ask me why his belt got arrested.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 15 CONTINUED: 15</scene_description> <character>EVA</character> <parenthetical>(off Bryan's confusion)</parenthetical> <dialogue>Then he just stared at me for like twenty seconds...</dialogue> <character>DOUG</character> <dialogue>That gets longer every time she tells this story.</dialogue> <character>EVA</character> <parenthetical>(slaps Doug playfully)</parenthetical> <dialogue>Then, he leaned forward and said, my belt got arrested because it held up a pair of pants.</dialogue> <scene_description>Bryan and Doug LAUGH as Eva nods, this really happened.</scene_description> <character>EVA</character> <dialogue>We were instant friends.</dialogue> <parenthetical>(somber beat)</parenthetical> <dialogue>The night he was executed, he asked me to throw him a party and play 'Born to be Wild' on repeat.</dialogue> <scene_description>Eva smiles at the irony, gets a little emotional. Doug rubs her back with care.</scene_description> <character>DOUG \*</character> <dialogue>It was an awful party. \*</dialogue> <character>BRYAN</character> <dialogue>Is he the reason you got into this?</dialogue> <character>EVA</character> <parenthetical>(nods)</parenthetical> <dialogue>His attorney was openly in favor \* of the death penalty because he \* thought mad dogs ought to die. \* Everyone on the row either had shitty representation or none at all. So I just started calling every law firm in the Yellow Pages to find people to help. I was averaging about twenty rejections a day.</dialogue> <character>DOUG</character> <dialogue>She was pretty stressed out.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 15 CONTINUED: (2) 15</scene_description> <character>EVA</character> <parenthetical>(nods; to Bryan)</parenthetical> <dialogue>I was just about to give up, when I got a call from this Harvard lawyer saying he just passed the Alabama Bar and was planning to start a legal center for death row inmates. I was in before you even offered me the job.</dialogue> <character>BRYAN</character> <dialogue>And before you found out I couldn't pay you anything.</dialogue> <character>EVA</character> <dialogue>I haven't told Doug that part yet.</dialogue> <character>DOUG \*</character> <dialogue>(playful) \*</dialogue> <scene_description>Well, if we ain't gettin' rich off \* this venture of yours, I'm out. \* Off their LAUGH, Chris comes over and crawls into Eva's lap.</scene_description> <character>EVA</character> <dialogue>You tired, baby?</dialogue> <parenthetical>(off his nod)</parenthetical> <dialogue>Let's get you to bed.</dialogue> <scene_description>16 OMITTED 16</scene_description> </scene> <scene> <stage_direction>A17 INT. EVA'S HOUSE - LIVING ROOM - EARLY MORNING A17</stage_direction> <scene_description>Digital clock reads 4:12 AM. Bryan is already up, in his running clothes, doing push-ups on the floor.</scene_description> </scene> <scene> <stage_direction>B17 EXT. ALABAMA SUPREME COURT - DAWN B17</stage_direction> <scene_description>Bryan runs by the courthouse. (VARIOUS SHOTS in this area.)</scene_description> </scene> <scene> <stage_direction>C17 EXT. ALABAMA RIVER - DAWN C17</stage_direction> <scene_description>Bryan runs along the river. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S CIVIC/ROAD TO HOLMAN PRISON - DAY</stage_direction> <scene_description>Bryan drives down a long country road. Ready, but tense as -- he drives past 25 PRISONERS swinging hoes and sickles to cut the grass as 2 GUARDS on horseback watch over them. The snapshot of slavery gives him chills. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>A18 INT./EXT. BRYAN'S CIVIC/HOLMAN PRISON - DAY A18</stage_direction> <scene_description>Bryan drives -- a break in the trees, Holman Correctional Facility. A vast, imposing structure of concrete and steel. 18 OMITTED 18</scene_description> </scene> <scene> <stage_direction>EXT. HOLMAN PRISON - DAY</stage_direction> <scene_description>Bryan's Civic pulls into the parking lot. He gets out, straightens his jacket, and heads inside, determined.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - CHECK-IN - MOMENTS LATER</stage_direction> <scene_description>Bryan's first time in the massive prison complex. He waits as JEREMY (early 30s, white), a muscular, heavily- tattooed guard, looks at his I.D., signs him in. Bryan notices the Confederate flag tattooed on his forearm. Jeremy's SUPERVISOR (50s, white) doesn't look up from his auto magazine.</scene_description> <character>BRYAN</character> <dialogue>I scheduled meetings with six clients today.</dialogue> <character>JEREMY</character> <dialogue>I ain't seen you before.</dialogue> <character>BRYAN</character> <parenthetical>(calmly)</parenthetical> <dialogue>I just moved here.</dialogue> <scene_description>Jeremy SUCKS at his teeth, stares at the I.D. again.</scene_description> <character>JEREMY</character> <dialogue>You really a lawyer?</dialogue> <character>BRYAN</character> <parenthetical>(is he really asking?)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>Jeremy looks him up and down, suspicious.</scene_description> <character>JEREMY</character> <dialogue>Gonna have to search you... Go in that room and take everything off.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 20 CONTINUED: 20</scene_description> <character>BRYAN</character> <parenthetical>(beat; shocked)</parenthetical> <dialogue>Attorneys aren't strip-searched for legal visits.</dialogue> <character>JEREMY</character> <dialogue>You ain't gonna visit shit unless you get in that room and strip.</dialogue> <scene_description>Bryan stares at Jeremy, then to his supervisor, who still hasn't looked up from his magazine.</scene_description> <character>JEREMY</character> <dialogue>Let's go.</dialogue> <scene_description>Bryan hesitates, wanting to argue, but quickly realizing he has no other choice.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Bryan stands shirtless as Jeremy feels through his jacket before tossing it on the table.</scene_description> <character>JEREMY</character> <dialogue>Pants and underwear.</dialogue> <scene_description>Bryan looks at him a beat before stripping the rest off and handing it to him. Jeremy feels through his pants, then --</scene_description> <character>JEREMY</character> <dialogue>Bend over and spread.</dialogue> <scene_description>Bryan doesn't move. This is as far as he goes. \* Jeremy decides it's not worth the battle. After a beat, \* he tosses Bryan's pants on the table. Lets him off the hook.</scene_description> <character>JEREMY</character> <dialogue>You're clear.</dialogue> <scene_description>He turns and walks out the door. Bryan takes a moment to let his adrenaline settle, the humiliation evident on his face. He closes his eyes, catches his breath. When he opens them, enough strength has returned to grab his clothes. Pants -- shirt -- tie. Then finally, his jacket. Each layer rebuilding a piece of his dignity until -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 21 CONTINUED: 21 He straightens his tie, pulls his shoulders back, puts on his game face, and walks out the door as --</scene_description> <character>HERBERT (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>I f-f-fought in Nam, F-First Cavalry Division...</dialogue> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - LATER</stage_direction> <scene_description>Bryan sits at a table in a bare room. Across from him sits HERBERT RICHARDSON (mid-40s). A small, introverted black man, with a stutter and nervous tick.</scene_description> <character>HERBERT</character> <dialogue>Saw a lot of friends d-d-die. Doctor said I got the PTSD.</dialogue> <scene_description>Herbert's stutter surfaces when he speaks of something upsetting. Bryan takes notes as Herbert looks off.</scene_description> <character>HERBERT</character> <dialogue>I did what they said I did. I p-put that bomb on her porch.</dialogue> <parenthetical>(regretful)</parenthetical> <dialogue>I know it d-d-don't make sense, b- but I ain't mean to kill nobody.</dialogue> <scene_description>Bryan looks at him compassionately. Takes him at his word.</scene_description> <character>BRYAN</character> <dialogue>I believe you.</dialogue> <scene_description>Herbert takes that in, hasn't heard those words in a while.</scene_description> <character>HERBERT</character> <dialogue>I think they gonna s-s-set my execution soon. Last lawyer said there ain't nothin' left to do.</dialogue> <scene_description>Bryan sees the fear in Herbert's eyes. Speaks gently --</scene_description> <character>BRYAN</character> <dialogue>There's always something we can do.</dialogue> <parenthetical>(deep care and sincerity)</parenthetical> <dialogue>Whatever you've done, your life is still meaningful, and I'm going to do everything possible to keep them from taking it.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 22 CONTINUED: 22 Herbert can barely believe his ears. Off his nod --</scene_description> <character>BRYAN</character> <dialogue>Can you tell me more about what happened?</dialogue> <scene_description>23 A SHORT MONTAGE 23</scene_description> <character>THE DAY PASSES BY --</character> <dialogue>-- Bryan's coat is on the chair behind him now, trying to keep up, taking down notes as he listens to another BLACK PRISONER, once again across the table. Then --</dialogue> <dialogue>-- TWO MORE PRISONERS, one HISPANIC, one WHITE. SHORT JUMP CUTS. Similar framing. Sharing their stories, BITS OF DIALOGUE cut to form a single story of an unfair system --</dialogue> <character>PRISONERS</character> <dialogue>Met my lawyer one time.../Swear he on somethin', didn't even know my name.../All white jury.../Told me plead guilty or get the chair, so I said I was guilty.../Judge overturned my life sentence and gave me death, anyway!</dialogue> <scene_description>Through it all, Bryan listens, taking notes until -- CLANG! Bryan looks up, a pad filled with notes, the next file on the table. The end of a very long day as --</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - DAY</stage_direction> <scene_description>A GUARD ushers in Walter McMillian, tired and worn from the last year and a half in prison. Bryan stands, feels Walter's eyes on him as the guard leaves. Walter's face betrays no judgement.</scene_description> <character>WALTER</character> <dialogue>Where's the lawyer?</dialogue> <character>BRYAN</character> <dialogue>Um, that would be me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm Bryan Stevenson, it's good to meet you, Mr. McMillian.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 24 CONTINUED: 24</scene_description> <character>WALTER</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>You look young as my son.</dialogue> <scene_description>Walter takes a seat, exhausted, drained of hope. Bryan can sense it as Walter speaks without looking at him.</scene_description> <character>WALTER</character> <dialogue>My last lawyer sat right where you sittin' and told me everything's gonna be okay. Then I was sentenced to death, my family run out of money, and he gone.</dialogue> <parenthetical>(looks at him)</parenthetical> <dialogue>What you gone do different?</dialogue> <scene_description>Bryan scrambles, looks at the open file.</scene_description> <character>BRYAN</character> <dialogue>Well, uh... first thing we can do is appeal for a re-trial --</dialogue> <character>WALTER</character> <dialogue>We already did that and it was denied.</dialogue> <scene_description>Bryan finds his footing, his schooling kicks in.</scene_description> <character>BRYAN</character> <dialogue>Okay, we can file for a \* reconsideration on that... then a \* direct appeal to the Court of Criminal Appeals, and work our way up to the State Supreme Court. If \* we're denied there, we can file a Rule 32, then a federal habeas \* petition, and if all that fails, \* we'll take your case to the \* Supreme Court. \*</dialogue> <scene_description>Walter looks at him, unconvinced.</scene_description> <character>WALTER</character> <dialogue>You ain't got no idea what you gettin' into here.</dialogue> <parenthetical>(off his silence)</parenthetical> <dialogue>You think them big words is gonna get you somewhere in Alabama? These guys is gonna eat you up and spit you out like they done every other black man ever stepped outta line. Nobody here likes a nigger in a suit, unless it's one of these.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 24 CONTINUED: (2) 24</scene_description> <character>WALTER</character> <parenthetical>(pinches his jumpsuit)</parenthetical> <dialogue>'Cause soon as you start your own business, and that business makes some money, or you make friends with people they don't want you makin' friends with, they gone find a way to take you down.</dialogue> <character>BRYAN</character> <dialogue>I understand how hard that must \* be.</dialogue> <scene_description>BOOM! Walter hits the table, emotional as he shakes his head.</scene_description> <character>WALTER</character> <dialogue>No, you don't. Rich boy from \* Harvard don't know how we live \* here, where you guilty from the moment you born. You can smile and make them like you all you want, yes, sir, yes, ma'am, but when it's your turn, it don't matter they ain't got no fingerprints, no evidence, that their only witness made the whole thing up. None of that matter when all y'all thinkin' is he look like a man that could kill somebody.</dialogue> <character>BRYAN</character> <dialogue>That's not what I think.</dialogue> <scene_description>Walter stares, emotions brewing.</scene_description> <character>WALTER</character> <dialogue>Maybe not. Maybe you and the one brother they let on my jury is just relieved this ain't you.</dialogue> <parenthetical>(intense beat)</parenthetical> <dialogue>You know how many people been freed from Alabama death row?</dialogue> <scene_description>Bryan knows the answer, but can't bring himself to say it. Walter says it for him.</scene_description> <character>WALTER</character> <dialogue>None... Things is the way they is here, and you sure as hell ain't gonna be the one to change that.</dialogue> <scene_description>Walter lets that sink in, then shakes his head as he stands -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 24 CONTINUED: (3) 24</scene_description> <character>WALTER</character> <dialogue>I ain't doin' this shit again.</dialogue> <character>BRYAN</character> <dialogue>Mr. McMillian.</dialogue> <character>WALTER</character> <parenthetical>(bangs on the window)</parenthetical> <character>GUARD! WE DONE HERE!</character> <dialogue>BRYAN</dialogue> <parenthetical>(stands)</parenthetical> <dialogue>Mr. McMillian, please. I've made no assumptions about you or anything you've done. I'm here to help.</dialogue> <scene_description>Walter sees the passion in Bryan's eyes, but as the guard opens the door, he turns and walks out of the room. Bryan is left in shock, trying to process everything that just happened.</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW/WALTER'S CELL - LATER</stage_direction> <scene_description>The guard leads Walter down a long row of 18 cells, a second row above. A CACOPHONY of noise washes over them -- RADIOS AND TVS at full blast, the deafening CHORUS OF INMATES TALKING AND SHOUTING, a voice SCREAMING nonsense upstairs. They stop at Walter's cell. A steel-mesh door covering the bars. The door slides open as Walter steps --</scene_description> <character>INSIDE</character> <dialogue>A 5'-by-8' cage with a small cot and toilet. The door CLANGS shut. Walter looks up at the concrete walls closing in.</dialogue> <character>HERBERT (O.S.)</character> <dialogue>Johnny D! Johnny D, you there!</dialogue> <scene_description>Walter walks to his door. FROM OUTSIDE his cell, we see him through the door slot, then PAN OVER to see Herbert shouting through his slot.</scene_description> <character>HERBERT</character> <dialogue>Johnny D!</dialogue> <character>INTERCUT BETWEEN:</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 25 CONTINUED: 25</dialogue> <character>THREE CELLS IN A ROW</character> <dialogue>WALTER'S THE CENTER.</dialogue> <character>WALTER</character> <dialogue>What's up, Herb?!</dialogue> <character>HERBERT</character> <dialogue>Is Ray there?!</dialogue> <scene_description>Walter BANGS on the other end of his door with a metal cup.</scene_description> <character>WALTER</character> <dialogue>Ray!</dialogue> <scene_description>In the next cell, ANTHONY "RAY" HINTON (20s, black) lies on his bed with his eyes closed.</scene_description> <character>ANTHONY</character> <dialogue>Unavailable at the moment!</dialogue> <character>WALTER</character> <dialogue>Where you at?</dialogue> <character>ANTHONY</character> <dialogue>Buckingham Palace, having tea with the Queen. She's a very nice lady. Let you know when we done.</dialogue> <scene_description>Walter smiles and shakes his head.</scene_description> <character>HERBERT</character> <dialogue>What did you think of the lawyer?</dialogue> <character>WALTER</character> <dialogue>I think he's a kid makin' a lot of promises he can't keep. He in way over his damn head.</dialogue> <character>HERBERT</character> <dialogue>Oh... I thought he seemed nice.</dialogue> <scene_description>Anthony opens his eyes, done with his mindful escape.</scene_description> <character>ANTHONY</character> <dialogue>What you want a nice lawyer for? Nice ain't gonna get you shit! Look at Johnny D, he nice as a puppy and he in here with us!</dialogue> <scene_description>Walter can't help but smile, all of them in it together. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 25 CONTINUED: (2) 25</scene_description> <character>WALTER</character> <dialogue>Didn't know you thought of me like that, Ray.</dialogue> <character>ANTHONY</character> <dialogue>I mean, you ain't nice as La Toya Jackson, but for an ol' man on the row, you a'ight.</dialogue> <character>HERBERT</character> <dialogue>Thought you said I was the old man.</dialogue> <character>ANTHONY</character> <dialogue>Johnny D's old, you ancient!</dialogue> <scene_description>As they all LAUGH, a loud MOAN from a cell downstairs.</scene_description> <character>ANTHONY</character> <dialogue>Yo, Herb, turn up that radio!</dialogue> <scene_description>Walter remains sitting on the floor, turning his interaction with Bryan over in his mind as MUSIC takes us to -- 26 OMITTED 26</scene_description> </scene> <scene> <stage_direction>A27 INT./EXT. BRYAN'S CAR/HOLMAN PARKING LOT - LATER A27</stage_direction> <scene_description>Bryan gets into his car and tosses his stack of files onto the passenger seat. He looks up at the towering prison, Walter's words ringing in his head. He looks back at the files, opens the one on top, with a mug shot of Walter McMillian. Something about this man is drawing him to look closer -- 27-31 OMITTED 27-31</scene_description> </scene> <scene> <stage_direction>A32 INT. EVA'S HOUSE - LIVING ROOM - NIGHT A32</stage_direction> <scene_description>Bryan sits on the ground in the living room, illuminated by a single lamp. The couch made up for a bed. Spread out in front of him are 4 VOLUMES of transcripts and a folder full of records from Walter McMillian's case. INSERT CLOSEUP DOCUMENT 1 -- "Walter 'Johnny D' McMillian \* case no. #####." \* INSERT CLOSEUP DOCUMENT 2 -- "Ralph Myers -- quote from \* testimony..." \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY A32 CONTINUED: A32 INSERT CLOSEUP DOCUMENT 3 -- "Jury -- 11 white, 1 black" \* (NOTE: This could be Bryan's own note, or something he \* reads... Maybe news clipping?) \* INSERT CLOSEUP DOCUMENT 4 -- Newspaper clipping -- \* "Sentenced to Death." \* INSERT CLOSEUP DOCUMENT 5 -- "Trial moved from Monroe \* County to Baldwin County" (newspaper headline). \* INSERT CLOSEUP DOCUMENT 6 -- Bryan writes a note about \* the population... "Trial moved from: Monroe County: 40% \* black, to Baldwin County: 9% black." \* He jots notes into a legal pad as he reads. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>B32 INT. EVA'S HOUSE - LIVING ROOM - EARLY MORNING B32</stage_direction> <scene_description>Eva walks through the living room, steps over papers scattered across the floor as she enters the --</scene_description> </scene> <scene> <stage_direction>C32 INT. DINING ROOM C32</stage_direction> <scene_description>REVEAL: Bryan at the table, surrounded by papers, bloodshot eyes, a mad scientist in the middle of his work.</scene_description> <character>EVA</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>You look rested.</dialogue> <scene_description>Bryan looks up, exhausted but still energized.</scene_description> <character>BRYAN</character> <dialogue>I don't think McMillian did it.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S HOUSE - DINING ROOM - LATER</stage_direction> <scene_description>Bryan at the table with an almost-empty box, papers sprawled around. Eva sits beside him, drinking coffee.</scene_description> <character>BRYAN</character> <dialogue>They have no motive, no physical evidence, no corroborating circumstances. The State based its entire case on the testimony of one man. Ralph Myers.</dialogue> <scene_description>Bryan hands her a photograph of RALPH MYERS (40s), a frail, white man with burn scars across half his face and neck.</scene_description> <character>BRYAN</character> <dialogue>He's been in and out of prison most his life. When he testified, he was on trial for a different murder, which he ended up getting thirty years for.</dialogue> <character>EVA</character> <dialogue>Sounds like a pretty good deal.</dialogue> <scene_description>Bryan nods as he flips through a transcript, full of notes. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 32 CONTINUED: 32</scene_description> <character>BRYAN</character> <dialogue>In his statement, he said Johnny D approached him at a gas station and forced him at gunpoint to drive to Jackson Cleaners because his arm was hurting.</dialogue> <character>EVA</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>That seems logical.</dialogue> <character>BRYAN</character> <dialogue>When they get there, Johnny D tells him to wait in the truck while he goes inside. Then, while he waits for his kidnapper, instead of running, or going to the police, he drives to a liquor store for cigarettes, and then comes back to the crime scene.</dialogue> <character>EVA</character> <dialogue>Seriously?</dialogue> <character>BRYAN</character> <dialogue>Then he hears gunshots, goes inside, and sees the body of Ronda Morrison lying face-up on the floor and Johnny D standing over her with some older white man who he claimed was the one 'in charge.'</dialogue> <character>EVA</character> <dialogue>And where's that guy? Anyone looking for him?</dialogue> <scene_description>Bryan shakes his head -- exactly. Nothing makes sense. He grabs another paper.</scene_description> <character>BRYAN</character> <dialogue>They have one other witness to back his testimony, a young black man named Bill Hooks. Says he saw Johnny D's lowrider truck leaving the cleaners around the time of the murder. That's it.</dialogue> <scene_description>Eva lays out photos of Ronda Morrison, Ralph Myers, and McMillian as she tries to wrap her mind around it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 32 CONTINUED: (2) 32</scene_description> <character>EVA</character> <dialogue>So, an eighteen-year-old white girl is murdered in broad daylight and the Sheriff can't solve the crime for how long? \*</dialogue> <character>BRYAN</character> <dialogue>Almost a year.</dialogue> <character>EVA</character> <parenthetical>(looks at Ralph's photo)</parenthetical> <dialogue>Then some guy charged with a different murder says he can tell them who did it if they give him a lower sentence. And the guy who did it happens to be a black man from a poor community that no one would think twice about.</dialogue> <scene_description>Both can feel the energy here. Something is horribly wrong with this conviction. Bryan looks in the now empty box.</scene_description> <character>BRYAN</character> <dialogue>There's gotta be more than this.</dialogue> <parenthetical>(beat; considers)</parenthetical> <dialogue>I want to set a meeting with the D.A.</dialogue> <character>EVA</character> <dialogue>Tommy Chapman just took over for Pearson a few months ago. He used to be a public defender.</dialogue> <character>BRYAN</character> <dialogue>So maybe he's not aligned with the rest of these guys?</dialogue> <character>EVA</character> <parenthetical>(beat; considers)</parenthetical> <dialogue>Let's hope not.</dialogue> </scene> <scene> <stage_direction>EXT. MONROEVILLE - DAY</stage_direction> <scene_description>Bryan's Civic drives down a country road, passing a sign that reads: "Welcome to Monroeville, home of To Kill A Mockingbird."</scene_description> </scene> <scene> <stage_direction>INT. MONROE COUNTY COURTHOUSE - LOBBY - LATER</stage_direction> <scene_description>Bryan sits in the small waiting room, looks to TRACY (40s, white), the secretary. She smiles warmly. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 34 CONTINUED: 34</scene_description> <character>TRACY</character> <dialogue>You visit the Mockingbird Museum yet?</dialogue> <character>BRYAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Uh... no, ma'am.</dialogue> <character>TRACY</character> <dialogue>It's the old courthouse Harper Lee's daddy used to work in. You can stand right where Atticus Finch once stood.</dialogue> <scene_description>Bryan smiles politely as TOMMY CHAPMAN (30s, white), round face and glasses, walks out with a charming smile --</scene_description> <character>TOMMY</character> <dialogue>Mr. Stevenson? Tommy Chapman.</dialogue> <parenthetical>(they shake)</parenthetical> <dialogue>Come on in.</dialogue> </scene> <scene> <stage_direction>INT. TOMMY CHAPMAN'S OFFICE - A MOMENT LATER</stage_direction> <scene_description>Bryan follows Tommy into his modest office.</scene_description> <character>TOMMY</character> <dialogue>A lot of people are eager to meet you, Mr. Stevenson.</dialogue> <character>BRYAN</character> <parenthetical>(surprised)</parenthetical> <dialogue>Oh, yeah?</dialogue> <scene_description>They both take a seat, Tommy's desk between them.</scene_description> <character>TOMMY</character> <dialogue>Harvard lawyer movin' to Alabama, takin' on all these capital cases. Everyone's wondering what your intentions are.</dialogue> <scene_description>Bryan smiles politely, refusing to show any nerves.</scene_description> <character>BRYAN</character> <dialogue>We're just giving legal assistance to people who can't afford it. \*</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 35 CONTINUED: 35</scene_description> <character>TOMMY</character> <parenthetical>(beat; then)</parenthetical> <dialogue>Legal assistance is one thing, tryin' to put convicted murderers back on the street is somethin' else entirely.</dialogue> <scene_description>A charged beat, sizing each other up until, Tommy smiles --</scene_description> <character>TOMMY</character> <dialogue>But I'm sure you didn't come all the way down here to talk about that. What can I do for you today, Bryan?</dialogue> <scene_description>Bryan reaches into his briefcase and pulls out a file of transcripts, with portions highlighted.</scene_description> <character>BRYAN</character> <dialogue>I'd like to talk about Johnny D McMillian.</dialogue> <character>TOMMY</character> <dialogue>You know I wasn't part of his prosecution, right? That was before my time.</dialogue> <character>BRYAN</character> <dialogue>That's why I wanted to meet you... I've read through the record a few times now, and I have some serious doubts about the reliability of his conviction.</dialogue> <parenthetical>(hands transcript over)</parenthetical> <dialogue>If you could take a look at the sections I highlighted, you'll see some obvious problems with Ralph Myers' testimony.</dialogue> <scene_description>A beat, as Tommy flips through the pages.</scene_description> <character>TOMMY</character> <dialogue>This was one of the most outrageous crimes in Monroe County history, and your client made a lot of people here very angry.</dialogue> <character>BRYAN</character> <dialogue>I understand that, but there are some serious problems with this case and I'm hoping I can get your support to find out what really happened.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 35 CONTINUED: (2) 35 Tommy closes the transcripts and PLOPS them on the desk.</scene_description> <character>TOMMY</character> <dialogue>But I already know what happened. Johnny D McMillian was convicted by a jury of brutally murdering a teenage girl in my community. And it's my job to defend the integrity of that conviction.</dialogue> <scene_description>Bryan sits back, was hoping for a different response.</scene_description> <character>BRYAN</character> <dialogue>Even if it was based on false testimony?</dialogue> <character>TOMMY</character> <dialogue>You're the only one I know who thinks that.</dialogue> <character>BRYAN</character> <dialogue>Then I must be the only one who read the record because it's pretty obvious.</dialogue> <scene_description>Tommy stares at him, doesn't like the implication.</scene_description> <character>TOMMY</character> <dialogue>That man caused a lot of pain for folks 'round here, and if you start diggin' in those wounds, you're gonna be makin' a lot of people very unhappy.</dialogue> <scene_description>Bryan hesitates -- is that a threat? He recovers --</scene_description> <character>BRYAN</character> <dialogue>My job isn't to make people happy, it's to achieve justice for my client.</dialogue> <scene_description>Tommy smiles, reaches for a file and hands it to him.</scene_description> <character>TOMMY</character> <dialogue>Ralph Myers' two confessions and a statement from Bill Hooks.</dialogue> <scene_description>Bryan opens it, FLIPS through the three meager documents.</scene_description> <character>BRYAN</character> <dialogue>I asked for copies of all the police and witness statements you have on the case.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 35 CONTINUED: (3) 35</scene_description> <character>TOMMY</character> <dialogue>And that's what you're holding.</dialogue> <character>BRYAN</character> <dialogue>This is a joke. Where's the rest of it?</dialogue> <character>TOMMY</character> <dialogue>That's what's relevant to McMillian's case. If you want more, you'll need to file a discovery motion with the court, just like anybody else.</dialogue> <scene_description>With this, he stands -- meeting over. Off Bryan's surprise --</scene_description> <character>TOMMY</character> <dialogue>Thanks for stopping by, Mr. Stevenson.</dialogue> <character>BRYAN</character> <parenthetical>(stands to face him)</parenthetical> <dialogue>You can expect that motion soon.</dialogue> <character>TOMMY</character> <dialogue>Lookin' forward to it.</dialogue> <scene_description>Bryan reluctantly shakes Tommy's hand. As he turns to leave --</scene_description> <character>TOMMY</character> <dialogue>You oughta check out our Mockingbird Museum on your way out of town. One of the great civil rights landmarks of the South.</dialogue> <scene_description>Bryan bites his tongue, frustration building as he leaves.</scene_description> </scene> <scene> <stage_direction>A36 EXT. MONROE COUNTY COURTHOUSE - BACK ENTRANCE - MOMENTS A36</stage_direction> <character>LATER</character> <dialogue>As Bryan exits, he sees Sheriff Tate directing a WHITE DEPUTY where to take a YOUNG BLACK MAN in handcuffs.</dialogue> <dialogue>Tate catches Bryan's eye as he passes. His cold stare makes it clear that he's not welcome here.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S HOUSE - KITCHEN - LATER</stage_direction> <scene_description>Eva spreads peanut butter onto apples, talking on the phone. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 36 CONTINUED: 36</scene_description> <character>EVA</character> <dialogue>Helping a black man convicted of killing a white girl is political suicide in that county. I'm sure he's been reminded of that by whoever gave him his job.</dialogue> </scene> <scene> <stage_direction>EXT. STREET (MONROEVILLE) - CONTINUOUS ACTION</stage_direction> <scene_description>Bryan stands at a pay phone.</scene_description> <character>BRYAN</character> <dialogue>I honestly don't think he ever read the record.</dialogue> <scene_description>Eva takes the plate of apples to the back door, holds the door open to see Chris and his FRIEND playing in the yard.</scene_description> <character>EVA</character> <dialogue>Doesn't surprise me.</dialogue> <parenthetical>(yells to the kids)</parenthetical> <dialogue>Chris! Bobby! Come eat your snack!</dialogue> <scene_description>The boys run over as Eva continues with Bryan.</scene_description> <character>BRYAN</character> <dialogue>I'm going to stop at Jackson Cleaners before I see his family.</dialogue> <character>EVA</character> <dialogue>Okay. If I don't hear from you by morning, I'll send a rescue party.</dialogue> <character>BRYAN</character> <dialogue>I hope that's a joke.</dialogue> <character>EVA</character> <dialogue>Me, too.</dialogue> <parenthetical>(sincere)</parenthetical> <dialogue>Just be careful, okay?</dialogue> <scene_description>Bryan nods, more aware by the moment of what he's up against.</scene_description> </scene> <scene> <stage_direction>EXT. JACKSON CLEANERS - DAY</stage_direction> <scene_description>Bryan walks up to the front door, chained up and closed for business. He pushes his face to the glass, looks inside. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 38 CONTINUED: 38 He steps a few yards back, SNAPS a photo. The weight of the tragic crime is evident in the sad storefront building. Bryan turns to see a POLICE CAR hovering at the corner. The OFFICER inside stares at him. After a beat, the car drives off. Bryan understands -- they have their eyes on him.</scene_description> </scene> <scene> <stage_direction>EXT./INT. BACKWOODS NEIGHBORHOOD/BRYAN'S CIVIC - EVENING</stage_direction> <character>SNAPSHOTS OF A BLACK, BACKWOODS NEIGHBORHOOD --</character> <dialogue>-- A GROUP OF KIDS playing touch football in a dirt lot.</dialogue> <dialogue>-- A GROUP OF MEN AND WOMEN walking home from a factory.</dialogue> <dialogue>-- An OLD MAN AND WOMAN sitting on their porch drinking tea.</dialogue> <character>INSIDE BRYAN'S CAR --</character> <dialogue>Bryan makes his way through the town, passing a MAN mowing his yard. This place is poor, but love clearly surrounds.</dialogue> <dialogue>Bryan drives past a YOUNG BLACK BOY on a bike. They lock eyes. The boy waves with a friendly smile. Bryan smiles back, a distant reminder of his own youth.</dialogue> </scene> <scene> <stage_direction>EXT. WALTER'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Bryan pulls to a stop in front of an old house, the yard filled with old cars. SIX KIDS run around playing tag as PEOPLE stream inside. As Bryan gets out, he's greeted by MINNIE McMILLIAN (40s), strength beneath her small frame.</scene_description> <character>MINNIE</character> <dialogue>You the lawyer?</dialogue> <character>BRYAN</character> <dialogue>Yes, ma'am, Bryan Stevenson.</dialogue> <character>MINNIE</character> <dialogue>I'm Johnny D's wife, Minnie.</dialogue> <character>BRYAN</character> <dialogue>So good to meet you.</dialogue> <scene_description>Bryan goes for a handshake but she gives him a hug, a small gesture that immediately puts him at ease. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 40 CONTINUED: 40</scene_description> <character>MINNIE</character> <dialogue>Thank you for drivin' all the way out here. Most lawyers barely got time to call. Hope you don't mind, a few friends from the neighborhood showed up to hear what you got to say.</dialogue> <scene_description>Bryan looks around, more cars pulling in behind him.</scene_description> <character>BRYAN</character> <dialogue>Looks like more than a few.</dialogue> <scene_description>He doesn't let the pressure faze him, smiles warmly as --</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S HOUSE - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Bryan stands, pen and notepad ready. 30 FAMILY MEMBERS AND FRIENDS surround, everyone TALKING at the same time as Bryan looks at all their faces, taking them in -- YOUNG and OLD, generations side-by-side. Minnie sits with her daughter, JACKIE (18), waiting for the meeting to begin. MRS. WILLIAMS (70s) pours Bryan a glass of sweet tea as EVELYN (40s), Walter's sister, finally SHOUTS --</scene_description> <character>EVELYN</character> <dialogue>Hey, now! We ain't gonna get nowhere with everybody quackin' at the same time! Let Mr. Stevenson talk!</dialogue> <scene_description>Bryan knows how important this moment is. Takes a sip of his sweet tea to calm himself, looks out at the now silent sea of faces staring at him.</scene_description> <character>BRYAN</character> <dialogue>Hi, everyone, good to meet you. Um --</dialogue> <scene_description>As he puts the glass down, Mrs. Williams leans in, refills it to the brim. Bryan smiles, CLEARS his throat. DEEP BREATH --</scene_description> <character>BRYAN</character> <dialogue>I'm sure you have a lot of questions, and I'll stay as long as it takes to answer all of them. But it would really help me to hear from you all first, and understand your perspective on everything.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 41 CONTINUED: 41</scene_description> <character>EVELYN</character> <dialogue>Our perspective is there ain't no way Johnny D did this crime!</dialogue> <scene_description>MURMURS of agreement wash throughout the room.</scene_description> <character>EVELYN</character> <dialogue>The morning that girl was killed, we was all havin' a fish fry here to raise money for the church. Johnny D was with us, mornin' to night, workin' on his truck with John.</dialogue> <scene_description>Bryan looks to JOHN (20s), clearly carrying the weight of his dad's injustice, standing beside a 40-year-old mechanic, JIMMY, and DARNELL HOUSTON (20s), nervous, with a Jheri curl.</scene_description> <character>BRYAN</character> <dialogue>You were with your dad that day?</dialogue> <character>JOHN</character> <dialogue>We was up at six in the morning to get his truck on the rack. Jimmy was there, too.</dialogue> <character>JIMMY</character> <parenthetical>(nods)</parenthetical> <dialogue>We had the transmission clean out by nine-thirty.</dialogue> <character>EVELYN</character> <dialogue>Now how's he supposed to go kidnap some crazy white man all the way in Evergreen and then drive back to Jackson Cleaners to kill that girl at 10:15 if his truck ain't got no transmission? And for what? They said he stole thirty- five dollars. How stupid you gotta be to go through all that for thirty-five dollars?</dialogue> <scene_description>VOICES of agreement throughout the room. Bryan writes notes.</scene_description> <character>BRYAN</character> <dialogue>How many of you were here with Walter that morning?</dialogue> <scene_description>Twenty-five hands go up. Bryan can't hide his shock. Minnie sits with quiet strength. When she speaks, everyone listens. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 41 CONTINUED: (2) 41</scene_description> <character>MINNIE</character> <dialogue>My husband could have never done this no kind of way, whether we was with him or not. He's just not like that.</dialogue> <scene_description>MURMURS agreeing as BERNARD (50s), Walter's friend, speaks.</scene_description> <character>BERNARD</character> <dialogue>Everybody know they went after him 'cause of that woman.</dialogue> <scene_description>Bryan looks confused -- what woman? Bernard looks to Minnie, realizes he screwed up.</scene_description> <character>BERNARD</character> <dialogue>Sorry, Minnie.</dialogue> <character>MINNIE</character> <dialogue>It's okay. It ain't no secret.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Few months before the murder, Johnny D got caught messin' 'round with a white woman in town. When her husband found out, he made sure everybody knew 'bout it.</dialogue> <parenthetical>(beat; frustrated)</parenthetical> <dialogue>People started talkin', and the stories kept growin'. He went from a cheat to a drug dealer to the head of the Dixie Mafia. So when someone finally called him a killer, nobody thought twice.</dialogue> <scene_description>UNCLE LEO (70s), confined to a wheelchair but with the voice of a leader, speaks up.</scene_description> <character>UNCLE LEO</character> <dialogue>They can call it what they want, but we all know this is just another way to lynch a black man.</dialogue> <scene_description>A handful of VOICES agree. Then --</scene_description> <character>MINNIE</character> <dialogue>There ain't no excuse for what my husband did to me and this family. Damn fool hurt me bad.</dialogue> <parenthetical>(beat; strong)</parenthetical> <dialogue>But he's still the daddy of my kids.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 41 CONTINUED: (3) 41</scene_description> <character>MINNIE</character> <dialogue>And I really don't know what I'm s'pose to tell them about stayin' out of trouble when you can be at your own house, minding your own business, surrounded by your entire family, and they still go and put some murder on you.</dialogue> <scene_description>MURMURS of agreement as Bryan gathers his thoughts.</scene_description> <character>JACKIE</character> <dialogue>It's not just Dad, we feel like they put us all on death row, too.</dialogue> <scene_description>More SHOUTS of agreement. Once they settle --</scene_description> <character>BRYAN</character> <dialogue>I can only imagine how painful this is for all of you. I'm going to do everything I can to --</dialogue> <character>JOHN</character> <parenthetical>(cuts him off)</parenthetical> <dialogue>The last lawyers was talkin' big, jus' like you, then took all our money and split. Why you different?</dialogue> <scene_description>Bryan takes a beat, respects John's sense of distrust.</scene_description> <character>BRYAN</character> <dialogue>Well, first, our organization covers all legal expenses. So none of you will have to pay a penny.</dialogue> <scene_description>John's surprised, but still doubtful. Bryan presses on --</scene_description> <character>BRYAN</character> <dialogue>If you asked me to put my dad's life in the hands of some young lawyer from out of town, I'd be worried, too. You really love him. And I don't take that lightly.</dialogue> <parenthetical>(as John softens)</parenthetical> <dialogue>I'm not here to take your money. I'm here because I believe everyone in this room has the same right to justice as anyone else in this country. It's clear to me that this trial was constructed with lies.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 41 CONTINUED: (4) 41</scene_description> <character>BRYAN</character> <dialogue>And based on everything I've seen, I think we can build a case to bring Johnny D home, and I'm not going to stop until I've done that.</dialogue> <scene_description>Minnie exchanges a look with John. She nods, then --</scene_description> <character>MINNIE</character> <dialogue>Well, you seem like good people to me, but he's the one you gotta convince.</dialogue> <scene_description>Bryan nods, knows this is true. Evelyn smiles big --</scene_description> <character>EVELYN</character> <dialogue>I don't know about the rest of you, but I was sold on, y'all won't pay a penny.</dialogue> <scene_description>Everyone LAUGHS as Mrs. Williams tops off Bryan's tea.</scene_description> </scene> <scene> <stage_direction>EXT. WALTER'S HOUSE - PORCH - LATER</stage_direction> <scene_description>Bryan stands at the door, shaking hands and hugging people. Uncle Leo rolls up, gives him a firm handshake.</scene_description> <character>UNCLE LEO</character> <dialogue>They gonna try to stop you any way they can. You stay strong, son.</dialogue> <scene_description>Bryan is taken aback by this. Before he can respond, Leo moves on, helped down the stairs by TWO STRONG MEN. Then John steps forward with his friend Darnell.</scene_description> <character>JOHN</character> <dialogue>Hey, Mr. Stevenson.</dialogue> <character>BRYAN</character> <dialogue>Please, John, call me Bryan.</dialogue> <character>JOHN</character> <dialogue>Oh, okay, um... this is my friend, Darnell. He wants to talk to you 'bout somethin'.</dialogue> <scene_description>Bryan notices how nervous Darnell seems. A beat before Darnell looks at John, who gives an encouraging nod. Then --</scene_description> <character>DARNELL</character> <dialogue>I think I can prove he's innocent.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S HOUSE - LIVING ROOM - LATER</stage_direction> <scene_description>Bryan takes notes beside Darnell and John. Walter's immediate family crowds around, Jackie among them.</scene_description> <character>JOHN</character> <dialogue>You heard of Bill Hooks, right?</dialogue> <character>BRYAN</character> <dialogue>He testified that he saw Johnny D's truck at the cleaners that morning.</dialogue> <character>DARNELL</character> <dialogue>Bill didn't see shit. He made the whole thing up.</dialogue> <character>BRYAN</character> <dialogue>How do you know?</dialogue> <character>DARNELL</character> <dialogue>'Cause I was with him. We was workin' at the shop together.</dialogue> <character>BRYAN</character> <dialogue>The morning of the murder?</dialogue> <character>DARNELL</character> <dialogue>Yes, sir. We was changing the head gasket on a Camaro from eight in the morning till we closed after lunch. He was right next to me when them sirens was goin' off.</dialogue> <character>BRYAN</character> <dialogue>Why would Hooks lie?</dialogue> <character>JOHN</character> <dialogue>'Cause the snitch cut a deal with the cops. They had 'im locked up for burglary, and the day he gave his statement, they let 'im out, all charges dropped.</dialogue> <scene_description>Bryan looks at Darnell, steady and calm as --</scene_description> <character>BRYAN</character> <dialogue>Would you be willing to sign a statement that we could use in court?</dialogue> <scene_description>Darnell thinks long and hard. Fear seeps in as --</scene_description> <character>DARNELL</character> <dialogue>The police would see my name?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 43 CONTINUED: 43</scene_description> <character>BRYAN</character> <dialogue>It would be in the record.</dialogue> <scene_description>Darnell looks at John and Walter's family, scared. Bryan sees his fear, empathizes. A beat before --</scene_description> <character>BRYAN</character> <dialogue>I know exposing yourself like this isn't easy. But with your testimony we can file a motion to reopen Johnny D's case. If we can prove Bill Hooks is lying, it might be his best chance.</dialogue> <scene_description>Bryan's words connect, but Darnell still hesitates. Minnie grabs his hand, nods. Darnell sees what this means to her. He looks to John, then back at Bryan. He slowly nods, willing to cooperate, hoping he won't regret it.</scene_description> </scene> <scene> <stage_direction>EXT. EVA'S PORCH - NIGHT</stage_direction> <scene_description>Bryan sits on the porch with Eva as she drags on a cigarette.</scene_description> <character>BRYAN</character> <dialogue>They said it would have been better if he was out hunting somewhere, so it'd at least be possible he was guilty. But they were all with him.</dialogue> <scene_description>Eva shakes her head, takes a drag, a beat before --</scene_description> <character>EVA</character> <dialogue>I can't imagine what it would feel like to know I was at home with my husband, and have a judge say, no, you weren't... your truth is wrong.</dialogue> <scene_description>Bryan takes this in, processing everything before --</scene_description> <character>BRYAN</character> <dialogue>This isn't just about Johnny D. \*</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>We're representing that whole community.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 44 CONTINUED: 44 Eva can see how deep this goes. Silence falls, both pondering the weight of what's ahead.</scene_description> </scene> <scene> <stage_direction>A45 EXT. ALABAMA RIVER - DAWN A45</stage_direction> <scene_description>Bryan runs along the river, still processing his time with Walter's family.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - DAY</stage_direction> <scene_description>Bryan stands, hoping he can get Walter to engage this time, waiting as the guard UNLOCKS Walter's cuffs and leaves the room. Walter looks at Bryan.</scene_description> <character>BRYAN</character> <dialogue>I know our last meeting didn't go the way I hoped it would, but --</dialogue> <character>WALTER</character> <dialogue>You met my family.</dialogue> <character>BRYAN</character> <parenthetical>(beat; surprised)</parenthetical> <dialogue>I did.</dialogue> <character>WALTER</character> <dialogue>You drove down that long dirt road, crammed into my little house with all my people, and told 'em you was gonna fight for me.</dialogue> <parenthetical>(off Bryan's stare)</parenthetical> <dialogue>That means a lot.</dialogue> <scene_description>Bryan nods. Walter hesitates, still reluctant to fully engage. But Bryan can sense him softening. A beat before --</scene_description> <character>BRYAN</character> <dialogue>Minnie asked me to give you this.</dialogue> <scene_description>Bryan hands him a small envelope. Walter slides it into his pocket, then looks back.</scene_description> <character>BRYAN</character> <dialogue>If you don't mind, I have something to show you.</dialogue> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - DAY</stage_direction> <scene_description>Bryan sits across from Walter, fixes his glasses as he \* tries to read Darnell's statement. He slides the paper \* back. \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 46 CONTINUED: 46</scene_description> <character>WALTER</character> <dialogue>(embarrassed) \*</dialogue> <scene_description>I ain't so good with them big \* words. \* Bryan didn't realize he couldn't read. He summarizes for \* him. \*</scene_description> <character>BRYAN \*</character> <dialogue>It's a statement from Darnell \* Houston saying he was with Bill \* Hooks three miles away at the time \* of the murder. So, there's no way \* he could have seen your truck \* there. \*</dialogue> <scene_description>Walter looks at him, piecing it together. \*</scene_description> <character>WALTER \*</character> <dialogue>That's good, right? \*</dialogue> <character>BRYAN \*</character> <dialogue>It's very good. I'm going to \* submit this with a motion for a \* new trial. \*</dialogue> <scene_description>Walter looks at him, nods. Allows himself to feel a pinch of hope. Then, he looks off. A beat before --</scene_description> <character>WALTER</character> <dialogue>Minnie said she told you what I did... ain't no excuse for cheatin' on a woman like her. I don't know why she's still standin' by me after what I put her through.</dialogue> <character>BRYAN</character> <dialogue>She's standing by you because she knows you shouldn't be in here. And so do I.</dialogue> <parenthetical>(off Walter's look)</parenthetical> <dialogue>I know you didn't kill Ronda Morrison. And I want to help you prove it in court, if you'll let me.</dialogue> <scene_description>Walter looks at him, getting there, but not completely sure.</scene_description> <character>WALTER</character> <dialogue>Man, you met my whole family and I still don't know nothin' about you.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 46 CONTINUED: (2) 46</scene_description> <character>BRYAN</character> <dialogue>What do you want to know?</dialogue> <scene_description>Walter thinks, choosing his first question. Then --</scene_description> <character>WALTER</character> <dialogue>Why you doin' this?</dialogue> <character>BRYAN</character> <dialogue>Why am I a lawyer?</dialogue> <character>WALTER</character> <dialogue>Why you a lawyer in Alabama, workin' for people who can't pay you nothin'?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 46 CONTINUED: (3) 46 Bryan nods -- good question. He really thinks about it.</scene_description> <character>BRYAN</character> <dialogue>I grew up down a road just like yours, pumping sewage from our yard, sharing a playground with the pigs and chickens... When I was a teenager, my grandpa was murdered, but no one outside our community cared, because to them, he was just another black man killed in the projects.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I know what it's like to be in the shadows.</dialogue> <parenthetical>(shrugs; matter-of- fact)</parenthetical> <dialogue>That's why I'm doing this.</dialogue> <scene_description>Walter takes this in, deeply moved.</scene_description> <character>WALTER</character> <dialogue>That's a pretty good answer.</dialogue> <character>BRYAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Anything else you want to know? I'm an open book.</dialogue> <scene_description>Walter thinks, more comfortable now. Then --</scene_description> <character>WALTER</character> <dialogue>What's someone like you do for \* fun? \*</dialogue> <character>BRYAN</character> <dialogue>(shrugs) \*</dialogue> <scene_description>I used to play piano, but... it's hard to find time for anything besides work right now.</scene_description> <character>WALTER</character> <dialogue>Well, if you gonna be workin' for \* me, you gotta make time to clear \* that head, or you'll end up crazy \* as a betsy bug, man.</dialogue> <character>BRYAN</character> <dialogue>What's a betsy bug?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 46 CONTINUED: (4) 46</scene_description> <character>WALTER</character> <dialogue>It's a crazy-ass bug that you \* don't wanna be. Ugly suckers, \* look like a turd with horns. \*</dialogue> <character>BRYAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Got it.</dialogue> <scene_description>Walter leans back, eyeing Bryan a beat. Then --</scene_description> <character>WALTER</character> <dialogue>Okay.</dialogue> <character>BRYAN</character> <dialogue>Okay?</dialogue> <character>WALTER</character> <dialogue>Let's get to work, piano man. You're hired.</dialogue> <scene_description>OFF Bryan's growing smile --</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S CELL - LATER</stage_direction> <scene_description>Walter sits on his bed. He opens the envelope Bryan gave him to find -- a handful of OLD FAMILY PHOTOS -- Minnie, Walter, and the children, happy together. He looks at a photo of him and John together, big smiles, father and son, about to move on when --</scene_description> <character>ANTHONY (O.S.)</character> <dialogue>Yo, Johnny D!</dialogue> <character>INTERCUT BETWEEN:</character> <dialogue>ANTHONY, HERBERT, AND WALTER'S CELLS</dialogue> <dialogue>Anthony stands at his door, CALLS OVER to Walter --</dialogue> <character>ANTHONY</character> <dialogue>You signin' up with that lawyer?</dialogue> <character>WALTER</character> <dialogue>Giving him a try.</dialogue> <character>ANTHONY</character> <dialogue>Seems like everybody on the row workin' with him now. They say he reppin' anyone that need it for free. I'm starting to feel left out, man. He that good?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 47 CONTINUED: 47</scene_description> <character>WALTER</character> <parenthetical>(beat; considers)</parenthetical> <dialogue>I hope so.</dialogue> <character>ANTHONY</character> <dialogue>What you think, Herbert?! Should I dump my guy and switch over?</dialogue> <parenthetical>(beat of silence)</parenthetical> <dialogue>Herb! You there?</dialogue> <scene_description>Herbert sits in the corner of his cell, stares at a letter with an ALABAMA DEPARTMENT OF JUSTICE seal at the top.</scene_description> <character>HERBERT</character> <dialogue>I'm here.</dialogue> <character>WALTER</character> <parenthetical>(concerned)</parenthetical> <dialogue>You okay, man?</dialogue> <character>HERBERT</character> <dialogue>They s-s-s-s--</dialogue> <parenthetical>(stops; takes a breath)</parenthetical> <dialogue>They set my date.</dialogue> <character>\*</character> <dialogue>Anthony and Walter are silent, everyone's looming fear. Then --</dialogue> <character>WALTER</character> <dialogue>It's gonna be okay, man. It ain't over yet.</dialogue> <character>HERBERT</character> <dialogue>I ain't like you guys. I d-d-deserve what's comin'.</dialogue> <character>ANTHONY</character> <dialogue>Now you talkin' out your ass, Herb. You fought for your country and they tossed you out with the trash... That war made you sick in the head, man. They shoulda put you in a hospital, not here.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When I told them cops that picked me up I was innocent, you know what they said? One of you niggers did it, if it wasn't you, you can just take this one for your homie.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 47 CONTINUED: (2) 47</scene_description> <character>ANTHONY</character> <dialogue>Johnny D's prosecutor said he knew he killed that girl 'cause of the way he looked in his mug shot. You don't deserve this shit any more than us. Only reason we here is 'cause if you black or poor, they can do what they want and nobody's gonna give a damn.</dialogue> <character>HERBERT</character> <parenthetical>(beat; considers)</parenthetical> <dialogue>A girl is dead because of me.</dialogue> <character>WALTER</character> <dialogue>That don't give nobody the right to kill you back.</dialogue> <scene_description>Silence. Walter knows there is no way to make this better.</scene_description> </scene> <scene> <stage_direction>A48 EXT. EVA'S HOUSE - NIGHT (ESTABLISHING) A48</stage_direction> </scene> <scene> <stage_direction>INT. EVA'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>INSERT PHOTO -- of Herbert Richardson in his Army \* uniform, sitting on the table. \* Bryan and Eva at the table, looking over Herbert's legal papers and records. Doug and Chris build an Erector Set on the floor of the living room.</scene_description> <character>EVA</character> <dialogue>Herbert was eighteen when he went to Vietnam. He was the only survivor in an ambush that killed his whole platoon. He had a mental breakdown, attempted suicide, and got sent home on an honorable discharge.</dialogue> <parenthetical>(flips through pages)</parenthetical> <dialogue>Back home he continued having nightmares, crying fits, running out of his house screaming 'incoming' to his neighbors.</dialogue> <character>BRYAN</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>His lawyer didn't even mention his military service or mental trauma to the jury. A few months after the trial, he was disbarred for misconduct.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 48 CONTINUED: 48</scene_description> <character>EVA</character> <dialogue>Course, he was.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What can we do?</dialogue> <character>BRYAN</character> <dialogue>Since he's already been through the appeals process, the statutes of limitations are going to make it hard to get a judge to listen. We'll have to try and make them. I'll start on a motion tonight.</dialogue> <scene_description>The PHONE RINGS. Chris jumps up to get it --</scene_description> <character>CHRIS</character> <parenthetical>(picks up phone)</parenthetical> <dialogue>Hello?</dialogue> <scene_description>A beat. Chris hands the cordless phone to Eva --</scene_description> <character>CHRIS</character> <dialogue>It's for you, Mom.</dialogue> <scene_description>Eva gets up and takes the phone --</scene_description> <character>EVA</character> <dialogue>Hello?</dialogue> <character>MALE (V.O.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>You the bitch workin' with that nigger lawyer?</dialogue> <character>EVA</character> <parenthetical>(beat; shocked)</parenthetical> <dialogue>Who the hell is this?</dialogue> <scene_description>Bryan turns in his chair, eyes locked on Eva as --</scene_description> <character>MALE (V.O.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>The guy that put the bomb under your house that's gonna blow your family all to hell. Y'all don't stop helpin' that nigger Johnny D, next time there won't be no warnin'.</dialogue> <scene_description>Dial tone. Eva rushes over to Chris and scoops him up.</scene_description> <character>EVA</character> <dialogue>Okay! Why don't we all go outside and look at the stars.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 48 CONTINUED: (2) 48 Doug and Bryan can see the fear she's hiding as they all rush out the door.</scene_description> </scene> <scene> <stage_direction>EXT. EVA'S HOUSE - LATER</stage_direction> <scene_description>Bryan stands on the front yard beside Eva, holding Chris. FOUR POLICE OFFICERS and a BOMB-SNIFFING DOG search the perimeter. Doug talks to the HEAD OFFICER, walks back to Eva.</scene_description> <character>DOUG</character> <dialogue>They didn't find anything.</dialogue> <character>EVA</character> <dialogue>Are they sure?</dialogue> <scene_description>Bryan notices an OLD SEDAN drive past, a YOUNG WHITE MAN in the passenger seat locks eyes with Bryan as they go by. It sends a chill down his spine. Eva catches the exchange, gives Chris a squeeze.</scene_description> <character>EVA</character> <dialogue>Okay, baby, let's get you to bed.</dialogue> <scene_description>Eva exchanges a look with Bryan as they head inside.</scene_description> </scene> <scene> <stage_direction>EXT. EVA'S HOUSE - PORCH - NIGHT</stage_direction> <scene_description>Eva sits on the porch, smoking. Bryan exits the house and sits beside her. They stare into the darkness for a moment.</scene_description> <character>EVA</character> <dialogue>When you asked me to do this with you, I knew I'd lose some friends, have people talkin' shit behind my back, or to my face. And I was fine with that. Don't need anyone to like me long as I'm doin' what I'm supposed to. But threatenin' my family...</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>I don't know what the hell to do with that.</dialogue> <scene_description>Bryan can see how hard this is for her. It worries him, too, putting other people on the line. A long beat before -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 50 CONTINUED: 50</scene_description> <character>BRYAN</character> <dialogue>I would never blame you if you need to stop.</dialogue> <scene_description>Eva considers this. A long beat as she makes a decision --</scene_description> <character>EVA</character> <dialogue>I don't want my son growing up knowing his mom stopped doing what was right because she was scared of some crazy bigot.</dialogue> <parenthetical>(looks to Bryan; sincere)</parenthetical> <dialogue>But we can't keep working here. I'm waitin' to hear back about a place in Old Alabama Town. It ain't pretty, but it fits the budget.</dialogue> <character>BRYAN</character> <dialogue>Does it come with bulletproof windows?</dialogue> <scene_description>Eva cracks a LAUGH, surprised and impressed by Bryan's dark joke. After she settles --</scene_description> <character>EVA</character> <dialogue>So, what's next?</dialogue> <character>BRYAN</character> <dialogue>I think we need to investigate everything from scratch, find anyone in that town who's willing to talk.</dialogue> <character>EVA</character> <dialogue>(sarcastic) \*</dialogue> <scene_description>Maybe once they see how charming \* we are they'll stop tryin' to kill \* us. \* Bryan's smile takes us to -- 51 TIME PASSING MONTAGE - MONROEVILLE INTERVIEWS 51 QUICK CUTS of Bryan and Eva going door-to-door: -- Bryan KNOCKS on a door, no answer. -- Eva KNOCKS, peers in the window, hard to find witnesses. -- Bryan in a BAIT STORE, the MANAGER shakes his head. \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 51 CONTINUED: 51 -- Eva in a PARKING LOT, a WOMAN ignores her, gets in her \* car and shuts the door. \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 51 CONTINUED: (2) 51 -- Bryan with an OLDER MAN (white) at his door.</scene_description> <character>BRYAN</character> <dialogue>You were on the witness list for the Ronda Morrison trial a few years back --</dialogue> <character>OLDER MAN</character> <parenthetical>(shutting the door)</parenthetical> <dialogue>Sorry, can't help you.</dialogue> <scene_description>-- Eva stands at another door, mid-convo with a WOMAN (40s).</scene_description> <character>WOMAN</character> <dialogue>If y'all ain't workin' for that poor girl's family, I ain't got nothin' to say to you. Sorry, darlin'.</dialogue> </scene> <scene> <stage_direction>A52 EXT. MONROEVILLE A52</stage_direction> <scene_description>Bryan watches a police car drive by, the OFFICER staring at him.</scene_description> </scene> <scene> <stage_direction>EXT. WOODROW IKNER'S HOUSE - DAY</stage_direction> <scene_description>WOODROW IKNER (50s, white) opens the door.</scene_description> <character>BRYAN</character> <dialogue>Officer Ikner?</dialogue> <character>WOODROW IKNER</character> <dialogue>Ain't no officer no more.</dialogue> <character>BRYAN</character> <dialogue>I'm a lawyer representing Johnny D McMillian, the man convicted of murdering Ronda Morrison. I understand you were the first officer on the scene?</dialogue> <scene_description>Ikner looks outside, makes sure it's clear, turns inside, the door open. Finally getting somewhere, Bryan follows.</scene_description> </scene> <scene> <stage_direction>INT. BBQ JOINT - DAY 53 \*</stage_direction> <scene_description>Eva munches on some fries as the OWNER (50s, female, \* white) enters from the back and hands her a worn FLYER advertising the fish fry. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 53 CONTINUED: 53</scene_description> <character>OWNER</character> <dialogue>I was right! The fish fry was on Saturday, November 1st, same day as the murder. They put these up all 'round town. You're lucky I'm a pack rat.</dialogue> <character>EVA</character> <dialogue>God, I could kiss you, Deb.</dialogue> </scene> <scene> <stage_direction>INT./EXT. MECHANIC GARAGE - DAY</stage_direction> <scene_description>Bryan talks with CLAY KAST (40s, white), a greased-up mechanic. An old car on the rack behind them.</scene_description> <character>BRYAN</character> <dialogue>Bill Hooks claimed he saw Walter's lowrider truck outside the cleaners that day.</dialogue> <character>CLAY KAST</character> <dialogue>If he said it was a lowrider, he full a shit. We ain't dropped Johnny D's truck till six months after that girl was killed.</dialogue> <character>BRYAN</character> <dialogue>Do you have a record of that?</dialogue> <scene_description>Bryan jots down notes as --</scene_description> </scene> <scene> <stage_direction>INT. BRYAN'S APARTMENT - DAY</stage_direction> <scene_description>Bryan carries a box into an old, lifeless room, nothing but a mattress on the floor. But for him, it'll do just fine.</scene_description> <character>INT. MANAGER'S OFFICE - DAY \*</character> <dialogue>Eva sits across the desk from CHARLES COOPER (older male, \* white), passionately arguing her case. \*</dialogue> <character>EVA \*</character> <dialogue>Lawyers are movin' here from \* Harvard Law School to work with \* us. We're planning to grow into \* something the whole country will \* be talkin' about, and you'll get \* to say it all started in your \* building. \*</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>CONTINUED:</character> <dialogue>CHARLES \*</dialogue> <scene_description>And what exactly is the kind of \* work you do? \*</scene_description> <character>EVA \*</character> <dialogue>(shrugs) \*</dialogue> <scene_description>We're just helping people. \* Charles thinks for a beat, then, seems satisfied with \* that answer, he nods -- likes the sound of that. \*</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - DAY</stage_direction> <scene_description>Bryan and Doug carry a desk from the back of Doug's truck, parked in front of an old building in the bad part of town.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING - DAY</stage_direction> <scene_description>Bryan and Doug carry the desk in, Chris holding the door open for them, as Eva stops sweeping to direct them. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>INT. EJI - BRYAN'S DESK - A NEW DAY \*</character> <dialogue>INSERT: Bit stack of client files on Bryan's desk, see \* the names "Walter McMillian," "Herbert Lee Richardson," \* "Jesse Moore," "Charlie Coleman," "Norris Thomas," \* "Vivian Clark" (the point is to make it clear there are \* many cases being juggled). \*</dialogue> <dialogue>INSERT: Bryan pulls off Herbert Lee Richardson's file \* (and a photo clipped to it) and opens it... REVEAL \* Herbert's name here. \*</dialogue> <dialogue>TIGHT ON: Bryan at his desk on the phone, passionate \* despite the obvious burden of the Goliath task at hand. \*</dialogue> <character>BRYAN \*</character> <dialogue>My client, Herbert Richardson, was \* recommended for a Medal of Valor \* for disarming a bomb, and I'm \* looking for any documentation you \* might have on that. \*</dialogue> <character>JUMP CUT TO: \*</character> <dialogue>SAME SCENE - LATER \*</dialogue> <dialogue>INSERT: Bryan pulls off the Jesse Moore file and opens \* it... REVEAL Jesse's name here. \*</dialogue> <character>BRYAN \*</character> <dialogue>I was told you were one of Jesse \* Moore's foster parents years ago, \* and I'm hoping you could tell me \* what his childhood was like. \*</dialogue> <character>JUMP CUT TO: \*</character> <dialogue>SAME SCENE - LATER \*</dialogue> <dialogue>INSERT: Bryan pulls off Albert Johnson's file and opens \* it... REVEAL Albert's name here. \*</dialogue> <dialogue>Bryan at his desk on the phone -- \*</dialogue> <character>BRYAN \*</character> <dialogue>Charlie's 14 years old, sir, and \* he's been abused in that adult \* prison for the past three nights. \* He does not belong there. \*</dialogue> <character>JUMP CUT TO: \*</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> <character>SAME SCENE - LATER \*</character> <dialogue>INSERT: Bryan pulls off Vivian Clark's file and opens \* it... REVEAL Vivian's name here. \*</dialogue> <character>BRYAN \*</character> <dialogue>Vivian Clark was one of the \* teenagers who were sexually abused \* at your facility, and I'm looking \* for records on any of the staff \* who were prosecuted. \*</dialogue> <character>INTERCUT WITH: \*</character> <dialogue>Eva at her desk on the phone. \*</dialogue> <character>EVA \*</character> <dialogue>We know he attended your school \* from sixth to eighth grade and I \* was hoping we could get any school \* records you might have on file. \*</dialogue> <character>JUMP CUT TO: \*</character> <dialogue>SAME SCENE - LATER THE SAME DAY \*</dialogue> <dialogue>Eva at her desk on the phone. \*</dialogue> <character>EVA \*</character> <dialogue>Well, we got a tip that there were \* witnesses to back his alibi and \* wanted to confirm that he was \* clocked in from midnight to 8 the \* next morning. \*</dialogue> <character>SAME SCENE - LATER THE SAME DAY \*</character> <dialogue>Eva at her desk on the phone. \*</dialogue> <character>EVA \*</character> <dialogue>No, ma'am, it's not a trick, we \* will not charge you or your family \* for anything, and we never will. \*</dialogue> <scene_description>(beat) \* No, ma'am, I'm not a lawyer, but I \* promise, your son is in very good \* hands. \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>A58 INT. EJI (EQUAL JUSTICE INITIATIVE) - DAY A58</stage_direction> <scene_description>BRENDA (30s, black) shakes hands with Eva and Bryan and sits across from them at a conference table, a job interview.</scene_description> </scene> <scene> <stage_direction>B58 INT. EJI - A NEW DAY B58</stage_direction> <scene_description>Brenda and Eva stack the shelves with law books. Brenda's now a part of the team as: PRE-LAP -- The phone RINGS.</scene_description> </scene> <scene> <stage_direction>C58 INT. EJI - DAY C58</stage_direction> <scene_description>The place is now a functioning, messy office. Brenda STOPS TYPING to pick up the RINGING phone --</scene_description> <character>BRENDA</character> <dialogue>Equal Justice Initiative, this is Brenda.</dialogue> <parenthetical>(quick beat)</parenthetical> <dialogue>Okay -- just -- one moment, ma'am.</dialogue> <parenthetical>(covers phone; to Bryan)</parenthetical> <dialogue>Hey, Bryan, Mrs. Coleman has called three times this morning about her grandson. Sounds desperate.</dialogue> <scene_description>OFF Bryan's nod --</scene_description> </scene> <scene> <stage_direction>D58 INT. EJI - MOMENTS LATER D58</stage_direction> <scene_description>Bryan sits at his desk, phone to his ear, listening to MRS. COLEMAN on the other end talking through panicked tears.</scene_description> <character>MRS. COLEMAN (V.O.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>That man was drunk again, beatin' on my daughter so hard my grandson thought he killed her. Charlie's a good boy, he was only protectin' his mama. He did what he thought he had to do. Now he's in jail with all those men, and it's not right. He's only thirteen years old.</dialogue> <scene_description>Bryan empathizes with her pain, but stares at the vast stacks of paperwork that already surround him. Carefully responds -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY D58 CONTINUED: D58</scene_description> <character>BRYAN</character> <dialogue>Mrs. Coleman, I'm so sorry about what Charlie's going through, but our organization focuses on death penalty cases, and he doesn't fall into that category. We can try to find another lawyer for you...</dialogue> <character>MRS. COLEMAN (V.O.)</character> <parenthetical>(on phone; suddenly praying)</parenthetical> <dialogue>Dear Lord, please help me find the words to lead this man to see my grandson. Tell me what to say, Lord --</dialogue> <scene_description>As she prays, Bryan looks at Eva and Brenda at their desks.</scene_description> <character>BRYAN</character> <dialogue>She's praying.</dialogue> <character>BRENDA</character> <dialogue>Grandma knows what she's doin'.</dialogue> <character>EVA</character> <dialogue>(nods to Brenda) Impressive.</dialogue> <scene_description>As Mrs. Coleman finishes her prayer, Bryan gives in --</scene_description> <character>BRYAN</character> <dialogue>Okay, ma'am... I don't know if I can take the case, but I'll go to the jail and check on him.</dialogue> <character>MRS. COLEMAN (V.O.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>Oh, thank you, Mr. Stevenson! Thank you, Jesus. Thank you for watchin' over my baby boy.</dialogue> <scene_description>Bryan can't help but smile at her vibrant passion.</scene_description> </scene> <scene> <stage_direction>E58 INT. COUNTY JAIL - COMMON AREA - DAY E58</stage_direction> <scene_description>FOLLOW TWO JAIL GUARDS THROUGH an area filled with INMATES, grown men in jumpsuits, playing cards and hanging out. TILT DOWN TO REVEAL: The PRISONER they are escorting is just a 13-year-old boy, CHARLIE (black), so small they had to alter his jumpsuit to fit him in it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>F58 INT. COUNTY JAIL - MEETING ROOM - DAY F58</stage_direction> <scene_description>Bryan looks over a file, glancing up from the table as the guards usher Charlie in. Bryan stands, shocked at \* the thin, terrified child in handcuffs that stands in front of him. As one of the guards uncuffs Charlie, he exchanges a look with Bryan of shared concern for how young and frail he is.</scene_description> </scene> <scene> <stage_direction>G58 INT. COUNTY JAIL - MEETING ROOM - MOMENTS LATER G58</stage_direction> <scene_description>Bryan sits across from Charlie, who still hasn't made eye contact, completely retreated into himself.</scene_description> <character>BRYAN</character> <dialogue>Charlie? Are you okay?</dialogue> <parenthetical>(off his silence)</parenthetical> <dialogue>Your grandma asked me to come and see you. I'm a lawyer. Can you tell me how old you are?</dialogue> <parenthetical>(off his silence)</parenthetical> <dialogue>Charlie, can you answer me?</dialogue> <scene_description>Charlie gives nothing. The silence is unnerving.</scene_description> <character>BRYAN</character> <dialogue>I know what happened was really terrible. I'm sure you're worried about your mom. She's doing okay, and she wants you to be okay, too.</dialogue> <parenthetical>(off Charlie's silence)</parenthetical> <dialogue>The court wants to try you as an adult, but I don't think you should be in here with all these men. I want to help you, but you have to talk to me, Charlie.</dialogue> <scene_description>Charlie looks at the wall, then back down. Still, he gives Bryan nothing. Bryan hesitates, then slowly stands.</scene_description> <character>BRYAN</character> <dialogue>You mind if I sit over here?</dialogue> <scene_description>Charlie remains silent as Bryan walks carefully around the table and sits beside him, shoulder-to-shoulder. Charlie leans forward, avoiding him. That's when Bryan sees a DARK BLOTCH on the back of his neck. He softens his voice. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY G58 CONTINUED: G58</scene_description> <character>BRYAN</character> <dialogue>Charlie, are those bruises on your neck?</dialogue> <scene_description>Charlie scoots away from him, hiding his tears. Bryan can tell something is terribly wrong. He speaks very gently.</scene_description> <character>BRYAN</character> <dialogue>Did somebody in this jail do that to you?</dialogue> <scene_description>Charlie can't hold it in anymore. He looks away and begins to SOB, wipes away tears as he barely forms the words --</scene_description> <character>CHARLIE</character> <dialogue>I wanna go home.</dialogue> <scene_description>Bryan's heart breaks, as he puts his arm around him, determined to do whatever it takes to help this child --</scene_description> <character>BRYAN</character> <dialogue>It's going to be okay, Charlie.</dialogue> </scene> <scene> <stage_direction>H58 INT. JUDGE'S CHAMBERS - LATER H58</stage_direction> <scene_description>JUDGE BUREN (50s, white) leans against his desk as \* Bryan's frustration burns beneath the surface.</scene_description> <character>BRYAN</character> <dialogue>Your order put a thirteen-year-old \* boy in a pen of grown men, and for the past three nights they've been systematically raping him, and \* he's going to carry that for the rest of his life.</dialogue> <character>JUDGE BUREN \*</character> <dialogue>I'm not responsible for what happens in that jail.</dialogue> <scene_description>Bryan takes a beat, can see he's not getting through. He shifts his tactics, searching for common humanity.</scene_description> <character>BRYAN</character> <dialogue>If we look away when a child is hurting, we're all responsible, sir.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You have the authority to move him to a juvenile center right now.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY H58 CONTINUED: H58</scene_description> <character>BRYAN</character> <dialogue>If you can do that, Your Honor, I can tell you without a doubt that you would be saving that boy's life.</dialogue> <scene_description>Judge Buren looks at Bryan, his words have clearly gotten \* through. A beat as he ponders.</scene_description> </scene> <scene> <stage_direction>I-58 INT. BRYAN'S CIVIC - LATER I-58</stage_direction> <scene_description>Bryan gets into his seat and SLAMS the door, a flash of the anger he was hiding, breaking through the surface. Then, he takes a BREATH, shakes it off, and starts the car.</scene_description> </scene> <scene> <stage_direction>J58 INT. COUNTY JAIL - COMMON AREA - LATER J58</stage_direction> <scene_description>Inmates continue to stroll around the area until -- From a back door, Bryan walks out, the two guards behind him. Charlie clings to his coat, leaning into him, shields his eyes from all the faces as Bryan guides him through the room.</scene_description> </scene> <scene> <stage_direction>K58 INT. EJI OFFICE - EVENING K58</stage_direction> <scene_description>Bryan sits in the office, haunted by the memory as he updates Brenda and Eva.</scene_description> <character>BRYAN</character> <dialogue>When I got up to leave the jail, he grabbed my arm and begged me not to go. I could hear him crying from the other side of the door.</dialogue> <scene_description>Eva covers her face. Bryan waits for the wave to pass --</scene_description> <character>BRYAN</character> <dialogue>We have to help him.</dialogue> <character>EVA</character> <parenthetical>(wipes her tears)</parenthetical> <dialogue>I know.</dialogue> <scene_description>The PHONE RINGS. Brenda picks up --</scene_description> <character>BRENDA</character> <dialogue>EJI. This is Brenda.</dialogue> <parenthetical>(beat; listens)</parenthetical> <dialogue>One sec.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY K58 CONTINUED: K58 She looks at Bryan, covers the phone.</scene_description> <character>BRENDA</character> <dialogue>Darnell Houston.</dialogue> <character>BRYAN</character> <parenthetical>(takes the phone)</parenthetical> <dialogue>Hey, Darnell.</dialogue> <parenthetical>(off his frantic voice)</parenthetical> <dialogue>Whoa, whoa, slow down. Where are you?</dialogue> <scene_description>58 OMITTED 58</scene_description> </scene> <scene> <stage_direction>EXT. MONROE COUNTY JAIL - DAY</stage_direction> <scene_description>Bryan walks with Darnell out of the jail into the small parking lot. Ahead of them, downtown Monroeville looms.</scene_description> <character>BRYAN</character> <dialogue>Are you okay?</dialogue> <character>DARNELL</character> <parenthetical>(frightened; jittery)</parenthetical> <dialogue>No, sir. I'm not.</dialogue> <scene_description>Bryan watches TWO OFFICERS walk by. He gently guides Darnell away from them, protective.</scene_description> <character>BRYAN</character> <dialogue>Come on, let's talk in my car.</dialogue> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S CIVIC/MONROE COUNTY JAIL - MOMENTS</stage_direction> <character>LATER</character> <dialogue>Bryan sits in the driver's seat, Darnell in shotgun, looking out the window to make sure no one's watching.</dialogue> <character>DARNELL</character> <dialogue>How the hell they lockin' me up for perjury if alls I did was say the truth? I knew I shouldn't a signed that paper, man. Shouldn't a listened to you.</dialogue> <scene_description>Bryan's face is tight, knowing he's let Darnell down. Then -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 60 CONTINUED: 60</scene_description> <character>BRYAN</character> <dialogue>What they did is completely illegal. I'm going to talk to the D.A. and get the charges dismissed. They won't do this \* again.</dialogue> <character>DARNELL</character> <dialogue>How do you know? You can't control these guys.</dialogue> <scene_description>Bryan, silent, realizing how true this is.</scene_description> <character>DARNELL</character> <dialogue>They arrested me in the middle of my shift, in front of my boss. I don't even know if I still got a job tomorrow.</dialogue> <parenthetical>(beat; somber)</parenthetical> <dialogue>I feel bad for what they doin' to Johnny D, but I'm just tryin' to survive, man. I can't fight these guys. You gonna have to find somebody else.</dialogue> <character>BRYAN</character> <dialogue>Just give me some time to work this out.</dialogue> <scene_description>Darnell sees an old TRUCK idling across the parking lot.</scene_description> <character>DARNELL</character> <dialogue>That's my ride. Tell Johnny D sorry.</dialogue> <scene_description>Before Bryan can respond, Darnell gets out and rushes off. Bryan sits. He looks back at the county building, anger simmering. A beat before -- he can't help himself, he gets out of the car and marches back toward the jail.</scene_description> </scene> <scene> <stage_direction>INT. MONROE COUNTY JAIL - MOMENTS LATER</stage_direction> <scene_description>Bryan strides down the hall, he passes a BLACK FAMILY in tears, a YOUNG WOMAN (18) holding a BABY in one hand, and her SON (4) with the other, an OLD WOMAN praying with her DAUGHTER, 2 OFFICERS escorting 4 INMATES down the stairs. Bryan finds the door marked "Sheriff's Dept." and heads -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. MONROE COUNTY JAIL - SHERIFF'S OFFICE - NEXT</stage_direction> <scene_description>Into the bullpen area of the department. 8 WHITE OFFICERS turn, all eyes locked on him at once. Bryan spots Sheriff Tate staring at him across the room. He gathers his courage, marches across the space toward him -- When he's almost there, the man sitting across from Tate turns around. Bryan stops, surprised to see Tommy Chapman.</scene_description> <character>TOMMY</character> <dialogue>Hey, Bryan. Have you met Sheriff Tate?</dialogue> <scene_description>Bryan takes a moment to process. Then, controlled anger --</scene_description> <character>BRYAN</character> <dialogue>Who ordered the arrest of my witness?</dialogue> <character>SHERIFF TATE</character> <dialogue>If people make false statements concerning this case, they're going to be held accountable.</dialogue> <character>BRYAN</character> <dialogue>You can't arrest someone for perjury without evidence that a false statement has been made.</dialogue> <character>TOMMY</character> <dialogue>So you're representing Mr. Houston now, too?</dialogue> <character>BRYAN</character> <dialogue>Yes, I am. His statement contradicts Bill Hooks' entire testimony.</dialogue> <character>TOMMY</character> <dialogue>Hooks isn't the state's main witness, Ralph Myers is.</dialogue> <character>BRYAN</character> <parenthetical>(frustrated)</parenthetical> <dialogue>Alabama code 12-21-222 requires \* corroboration of accomplice testimony, so without Hooks, the conviction wouldn't be valid.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 62 CONTINUED: 62 The two men stare each other down a beat before Tate speaks, his words cloaked in infuriating charm.</scene_description> <character>SHERIFF TATE</character> <dialogue>You know, I spoke to Ronda Morrison's mother yesterday. She was in tears, askin' me why some lawyer from up north was makin' them relive all this hell again.</dialogue> <character>BRYAN</character> <parenthetical>(remains calm)</parenthetical> <dialogue>You can tell her it's because McMillian didn't kill her daughter. And whoever did is still out there somewhere.</dialogue> <character>SHERIFF TATE</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>I know how desperate you must be to fulfill your fantasy of who we are down here. Just a bunch of corrupt Southern racists framin' niggers for murder. And you here to save the day. If that's the story you wanna believe, go right ahead. But I know Johnny D killed that girl, and he's going to answer for it.</dialogue> <character>BRYAN</character> <dialogue>How do you know that? You found no hard evidence and based your entire case on the word of an indicted felon who had every \* incentive to tell you what you wanted to hear.</dialogue> <character>SHERIFF TATE</character> <dialogue>Ralph Myers gave us his testimony on his own accord.</dialogue> <character>BRYAN</character> <dialogue>And it made no sense! He couldn't finish a sentence without contradicting himself.</dialogue> <scene_description>Silence. The air sucked from the room. Both men staring at each other. Bryan continues, strong, not backing down.</scene_description> <character>BRYAN</character> <dialogue>The charges against Darnell Houston are baseless. You know they'll never stand up in court.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 62 CONTINUED: (2) 62</scene_description> <character>BRYAN</character> <dialogue>They should be dropped immediately.</dialogue> <scene_description>Tate stares at him a beat before smiling, cordially.</scene_description> <character>SHERIFF TATE</character> <dialogue>That alright with you, Tommy?</dialogue> <character>TOMMY</character> <dialogue>Sure.</dialogue> <parenthetical>(off Bryan's surprise)</parenthetical> <dialogue>Doesn't really matter, now that the court denied your motion to reopen the case.</dialogue> <scene_description>Bryan stares at them both, caught completely off guard.</scene_description> <character>BRYAN</character> <dialogue>What are you talking about?</dialogue> <character>TOMMY</character> <dialogue>You didn't get the order? The judge is down in Mobile now. Sometimes they have mail issues.</dialogue> <scene_description>Bryan fights to regain his footing as Tommy stands.</scene_description> <character>TOMMY</character> <dialogue>You can tell Mr. Houston the charges against him are being dropped. I can do that much for y'all, but anything else will have to be raised on appeal.</dialogue> <scene_description>Tate gives him a condescending nod.</scene_description> <character>SHERIFF TATE</character> <dialogue>Thanks for stoppin' by, Counselor.</dialogue> <scene_description>Bryan fights the urge to scream. A beat, he turns, walks to the door with confidence, refusing to show any intimidation.</scene_description> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S CIVIC/COUNTRY HIGHWAY - NIGHT</stage_direction> <scene_description>Bryan's thoughts race as he watches the dark road ahead. Suddenly, light reflects through his mirror. He looks up -- A PAIR OF HEADLIGHTS tailing him. Bryan tries to ignore it, but the car keeps inching closer. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 63 CONTINUED: 63 Then, red and blue lights begin to FLASH -- a car from the Sheriff's Department. Bryan puts on his blinker, pulls to the side of the road. The car stops behind Bryan, lights spinning. TWO OFFICERS get out. The OLDER OFFICER walks nonchalantly around the passenger side. The YOUNGER OFFICER approaches his door, skittish and unsure.</scene_description> <character>BRYAN</character> <dialogue>Something wrong, Officer?</dialogue> <character>YOUNGER OFFICER</character> <dialogue>Step out of the vehicle.</dialogue> <scene_description>Bryan can see the Officer's nerves, notices the Older Officer shining a flashlight into his backseat filled with files.</scene_description> <character>BRYAN</character> <dialogue>I don't understand. I wasn't speeding.</dialogue> <character>YOUNGER OFFICER</character> <parenthetical>(ignores this)</parenthetical> <dialogue>I said step out of the vehicle.</dialogue> <character>BRYAN</character> <dialogue>I will get out, Officer. But can \* you tell me why I've been stopped \* first? \*</dialogue> <scene_description>The Young Officer suddenly steps back and pulls his gun, points it directly at Bryan's head as --</scene_description> <character>YOUNGER OFFICER</character> <dialogue>Get out of the goddamn car!</dialogue> <scene_description>A clear flash of surprise and fear in Bryan's eyes, can see the Younger Officer's shaking hands. He fights for calm, raises his hands up, narrating every movement as --</scene_description> <character>BRYAN</character> <dialogue>Okay. I've got my hands up, okay? I'm going to open the door now --</dialogue> <parenthetical>(opens the door)</parenthetical> <dialogue>I'm stepping out of the car...</dialogue> <parenthetical>(as he steps out)</parenthetical> <dialogue>I'm standing up... My hands are empty.</dialogue> <character>YOUNGER OFFICER</character> <dialogue>Turn around! Both hands on the car!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 63 CONTINUED: (2) 63 Bryan's in survival mode, turns and lowers his hands onto the car, watches the Older Officer OPEN the passenger door and sloppily search through his files.</scene_description> <character>BRYAN</character> <dialogue>Do you have a warrant to do that, sir?</dialogue> <character>YOUNGER OFFICER</character> <parenthetical>(jerks forward)</parenthetical> <character>SHUT THE HELL UP!</character> <dialogue>Bryan tenses, the danger behind him ever present, doesn't move as, frozen in place as --</dialogue> <character>DON'T MOVE!</character> <dialogue>I SAID DON'T MOVE!</dialogue> <character>BRYAN</character> <dialogue>I'm not.</dialogue> <scene_description>Bryan keeps an eye on the Younger Officer's shaking gun as the Older Officer tears through his stuff. He hesitates a beat, then takes a BREATH, his voice remains steady --</scene_description> <character>BRYAN</character> <dialogue>Officer, there's no reason to point your gun at me. I am not a threat to you. You don't need to be scared.</dialogue> <character>YOUNGER OFFICER</character> <dialogue>Shut your goddamn mouth!</dialogue> <scene_description>As Bryan freezes, the Older Officer stands and stares at him.</scene_description> <character>OLDER OFFICER</character> <dialogue>You oughta be careful with your words when you got a gun to your head.</dialogue> <scene_description>He nods to the Younger Officer, who lowers his gun, shaking with adrenaline. Bryan finally BREATHES. He stares as the Officers walk back to their car, a beat before --</scene_description> <character>BRYAN</character> <dialogue>Why did you stop me?</dialogue> <character>OLDER OFFICER</character> <dialogue>We're letting you go. You should be happy.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 63 CONTINUED: (3) 63 Bryan's frustration simmers. Their message is clear -- he's no longer just being watched. The threat is real.</scene_description> </scene> <scene> <stage_direction>A64 EXT. EVA'S PORCH - NIGHT A64</stage_direction> <scene_description>Bryan sits with Eva. She's smoking, pissed off.</scene_description> <character>EVA</character> <dialogue>These assholes can't keep getting away with this shit. We need to file suit against the department.</dialogue> <character>BRYAN</character> <dialogue>That's what they want us to do.</dialogue> <scene_description>Bryan thinks a beat. Then --</scene_description> <character>BRYAN</character> <dialogue>We'll never be effective by just reacting. They're trying to distract us from the work. We have to stay focused.</dialogue> <character>EVA</character> <parenthetical>(takes a drag)</parenthetical> <dialogue>So I can't go throw a rock through that Sheriff's window?</dialogue> <character>BRYAN</character> <parenthetical>(shrugs; sarcastic)</parenthetical> <dialogue>Just don't leave any fingerprints.</dialogue> <scene_description>OFF Eva's smile --</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - DAY</stage_direction> <scene_description>Bryan sits across from Walter, has just broken the news of their recent defeat.</scene_description> <character>WALTER</character> <dialogue>Even if they drop the charges, they know Darnell ain't gonna \* testify after what they done.</dialogue> <character>BRYAN</character> <dialogue>I know it's a big hit, but we just have to find more evidence to file another motion.</dialogue> <character>WALTER</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>They'll just block that, too...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 64 CONTINUED: 64</scene_description> <character>WALTER</character> <dialogue>If they can put me on the row for a year without a trial, they can do whatever the hell they want.</dialogue> <scene_description>Bryan's clearly shocked by this statement. A beat before --</scene_description> <character>BRYAN</character> <dialogue>They put you on death row before your trial?</dialogue> <character>WALTER</character> <dialogue>The Sheriff drove me hisself. Said I was gettin' a taste of what's comin' if I don't confess.</dialogue> <character>BRYAN</character> <dialogue>Why didn't you tell me?</dialogue> <character>WALTER</character> <parenthetical>(beat; shrugs)</parenthetical> <dialogue>I don't know, man, I can't keep track. They been doin' shit like this to us as long as I can remember.</dialogue> <scene_description>Bryan silent. Walter takes a sobered beat before continuing.</scene_description> <character>WALTER</character> <dialogue>When I was twelve years old, they lynched a man in our county named Russell Charley. He was a friend of my parents, had two boys around my age. I remember hearin' my dad tell my mom how they found him hangin' from a tree in the woods, body full of bullet holes. Police ain't even bother to look into it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>After something like that everybody on alert. Be invisible, that's what my mamma used to say. If they can't see you, they can't get you.</dialogue> <parenthetical>(off Bryan's look)</parenthetical> <dialogue>They good at makin' us scared. That's how they keep us down. Ain't no different to what they doin' to you out there, or to us in here. They just took us from the tree to the chair.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 64 CONTINUED: (2) 64 Walter sits in this thought for a long beat, can see \* Bryan processing. \*</scene_description> <character>WALTER</character> <dialogue>They comin' after you out there, \* huh? \*</dialogue> <character>BRYAN \*</character> <dialogue>(smiles) \*</dialogue> <scene_description>They're not making it easy. \* Walter thinks a long beat before answering. \*</scene_description> <character>WALTER</character> <dialogue>Well, maybe you should think about \* training up another lawyer or somethin', 'cause I'm still gonna need help if they take you out. \*</dialogue> <scene_description>Bryan looks up, sees his growing smile, throws it back --</scene_description> <character>BRYAN</character> <dialogue>Oh, so this isn't like a... I go down, we both go down together kind of thing?</dialogue> <character>WALTER</character> <dialogue>Hell no, man, you on your own! I got enough to worry about over here.</dialogue> <scene_description>The two men share a LAUGH. Once they settle, Walter brings them back to reality --</scene_description> <character>WALTER</character> <dialogue>So, if we don't got Darnell, what's the next move?</dialogue> <scene_description>Bryan thinks a beat, the answer is a controversial one.</scene_description> <character>BRYAN</character> <dialogue>I think we should talk to Ralph \* Myers.</dialogue> <scene_description>Walter sits back, shocked. \*</scene_description> <character>WALTER</character> <dialogue>Maybe you should stick with your \* head 'cause that's a terrible \* idea. \*</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 64 CONTINUED: (3) 64</scene_description> <character>BRYAN</character> <dialogue>I know it's risky, but if I get \* him talking, maybe we can find out \* what he really knows. \*</dialogue> <character>WALTER</character> <dialogue>You ain't gonna get nothin' but lies off him.</dialogue> <character>BRYAN</character> <parenthetical>(nods)</parenthetical> <dialogue>I'll be careful.</dialogue> <scene_description>65-75 OMITTED 65-75</scene_description> </scene> <scene> <stage_direction>A76 EXT. ALABAMA - SERIES OF SHOTS OF A76</stage_direction> <character>IN QUICK SUCCESSION.</character> <dialogue>-- The ALABAMA RIVER in the morning light --</dialogue> <dialogue>-- The towering MONTGOMERY STATE COURTHOUSE --</dialogue> <dialogue>-- The large complex of ST. CLAIR CORRECTIONAL PRISON --</dialogue> </scene> <scene> <stage_direction>B76 INT. ST. CLAIR'S CORRECTIONAL - DAY B76</stage_direction> <scene_description>FOLLOW SHOT -- BEHIND Ralph Myers as he's escorted to the visiting room. We don't see his face.</scene_description> </scene> <scene> <stage_direction>INT. ST. CLAIR CORRECTIONAL - VISITING ROOM - DAY</stage_direction> <scene_description>FOLLOW RALPH MYERS (50) INTO a room full of PRISONERS and VISITORS. Bryan stands to look at him. Ralph is frail and vulnerable, but with eyes sharp and roaming. Dangerous. Bryan nods as Ralph approaches. Up close, the map of burn scars across his face adds an extra air of menace.</scene_description> <character>BRYAN</character> <dialogue>Hi, Mr. Myers.</dialogue> <character>RALPH</character> <dialogue>You Bobby?</dialogue> <character>BRYAN</character> <dialogue>Bryan.</dialogue> <scene_description>He extends his hand. Ralph looks at it, a beat before -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 76 CONTINUED: 76</scene_description> <character>RALPH</character> <dialogue>Maybe later.</dialogue> <scene_description>A PRISONER LAUGHS LOUDLY across the room. Ralph JUMPS, scans the room, deeply paranoid. After a beat --</scene_description> <character>BRYAN</character> <dialogue>Do you mind if we sit down?</dialogue> <character>RALPH</character> <dialogue>You buyin' me a Coke first? Or you gonna make me stare at them vending machines all day?</dialogue> <scene_description>Ralph motions to the VENDING MACHINES along the wall. A beat before -- Bryan nods, turns, and walks to the machines as --</scene_description> <character>RALPH</character> <dialogue>Sunkist Orange and some Jujyfruits if they got 'em!</dialogue> </scene> <scene> <stage_direction>INT. ST. CLAIR CORRECTIONAL - VISITING ROOM - MOMENTS</stage_direction> <character>LATER</character> <dialogue>Bryan watches Ralph open his Jujyfruits and eat one.</dialogue> <character>BRYAN</character> <dialogue>Thank you for meeting me, Mr. Myers.</dialogue> <scene_description>Ralph CRACKS open his orange soda, takes a big SIP. Bryan waits for him to finish, pen and notebook ready. Finally --</scene_description> <character>BRYAN</character> <dialogue>Could we start by talking about your testimony against Johnny D?</dialogue> <character>RALPH</character> <parenthetical>(burps)</parenthetical> <dialogue>No.</dialogue> <parenthetical>(off Bryan's confusion)</parenthetical> <dialogue>I ain't talkin' about him.</dialogue> <character>BRYAN</character> <dialogue>That's the only reason I'm here.</dialogue> <character>RALPH</character> <dialogue>Well, if you don't like it, leave.</dialogue> <scene_description>Ralph takes a SIP, clocking Bryan's disappointment. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 77 CONTINUED: 77</scene_description> <character>RALPH</character> <dialogue>Aw, come on, don't look so sad, we can still talk about other stuff. I like talkin'. My wife says if I got paid for every word I said, we'd be a couple a billionaires.</dialogue> <scene_description>Bryan considers his options, closes his notebook, carefully begins to guide the conversation, drawing him out.</scene_description> <character>BRYAN</character> <dialogue>How long have you been married?</dialogue> <character>RALPH</character> <dialogue>Long enough to pop out a couple a' kids and watch her turn 'em all against me. You got kids?</dialogue> <character>BRYAN</character> <parenthetical>(trying to steer)</parenthetical> <dialogue>No, I don't. Johnny D does.</dialogue> <scene_description>Ralph doesn't take the bait, continues --</scene_description> <character>RALPH</character> <dialogue>The thing about kids is, they ain't nothin' like havin' a dog. It is a whole different thing. I wish somebody told me that earlier... My kids think they got it so bad but they ain't seen nothin' like I seen. Try makin' it as a foster kid your whole damn life, soon as you figure out one shitty parent, they movin' you to a new one.</dialogue> <character>BRYAN</character> <dialogue>Sorry, that must have been really hard.</dialogue> <scene_description>Ralph looks at him to see if he's sincere -- he is. Ralph nods, something softening in him. A beat. Then --</scene_description> <character>RALPH</character> <dialogue>How many kids he got?</dialogue> <character>BRYAN</character> <dialogue>Johnny D? He has three.</dialogue> <scene_description>Ralph ponders this as he takes another SIP. Bryan can see his wheels turning. He decides to step out on a limb. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 77 CONTINUED: (2) 77</scene_description> <character>BRYAN</character> <dialogue>Mr. Myers... I know you made a \* deal with the State, but I don't \* think they told you Johnny D was \* going to die because of it. \*</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sure that's not easy to carry, \* and I'm hoping there's a part of \* you that wants to make things \* right. \*</dialogue> <scene_description>Bryan lets that sit for a beat. Ralph seems to be \* listening.</scene_description> <character>BRYAN \*</character> <dialogue>Something made you agree to this \* meeting. \*</dialogue> <character>RALPH \*</character> <dialogue>Maybe I was just bored. \*</dialogue> <character>BRYAN</character> <dialogue>I don't think that's true. \*</dialogue> <scene_description>(beat) \* Can we please talk about your testimony? Ralph looks off, seems to really consider the question when -- BAM! He jumps, looks around, only to find a VISITOR BANGING on one of the vending machines. He begins to LAUGH, then --</scene_description> <character>RALPH</character> <dialogue>From the first day they lock my ass up in Escambia, for something I'm tellin' you I ain't had nothing to do with, all them police wanna talk about is Ronda Morrison. Morrison this, and Morrison that. Sometime four or five of 'em in the room at the same time.</dialogue> <character>BRYAN</character> <dialogue>They were questioning you about her the day you were arrested?</dialogue> <scene_description>Ralph looks at him nervously, dodges the question.</scene_description> <character>RALPH</character> <dialogue>Alls I'm sayin' is, ain't nobody cared about a damn thing besides who killed that girl.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 77 CONTINUED: (3) 77</scene_description> <character>RALPH</character> <dialogue>And when people care about a thing that much, they do anything to get what they want.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 77 CONTINUED: (4) 77</scene_description> <character>RALPH</character> <parenthetical>(beat; shakes head)</parenthetical> <dialogue>You know they'll kill you if you get to the bottom of this, right?</dialogue> <scene_description>Off Bryan's surprise, Ralph LAUGHS AGAIN, suddenly stands.</scene_description> <character>BRYAN</character> <dialogue>Where are you going?</dialogue> <character>RALPH</character> <dialogue>We done here, Bobby. Thanks for the Jujies.</dialogue> <character>BRYAN</character> <dialogue>Ralph, please. We're not finished.</dialogue> <character>RALPH</character> <dialogue>I am.</dialogue> <scene_description>He walks to the door, YELLS to the guard --</scene_description> <character>RALPH</character> <dialogue>Ready, boss!</dialogue> <scene_description>Bryan watches Ralph go, his words ringing in his head.</scene_description> </scene> <scene> <stage_direction>EXT. PAY PHONE (COUNTRY) - LATER</stage_direction> <scene_description>Bryan stands, phone cradled to his ear --</scene_description> <character>BRYAN</character> <dialogue>He said he was questioned about Ronda Morrison the day he was arrested on June third. But the only statement they presented in court was recorded almost two months later.</dialogue> </scene> <scene> <stage_direction>INT. EJI OFFICE - CONTINUOUS ACTION</stage_direction> <scene_description>Eva listens to Bryan on SPEAKERPHONE --</scene_description> <character>EVA</character> <dialogue>You think they're hiding that first statement somewhere?</dialogue> <character>\*</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 79 CONTINUED: 79</dialogue> <character>BRYAN (V.O.)</character> <parenthetical>(over speaker)</parenthetical> <dialogue>If they are, it might be at the Escambia Courthouse with the files \* for his other case. You know anyone over there?</dialogue> <scene_description>Before she can respond, Brenda looks up from her desk --</scene_description> <character>BRENDA</character> <dialogue>I do.</dialogue> </scene> <scene> <stage_direction>INT. ESCAMBIA COUNTY EVIDENCE ARCHIVES - DAY</stage_direction> <scene_description>The evidence custodian, DORIS (40, black), THUMPS two boxes on the counter in front of Brenda and Bryan.</scene_description> <character>DORIS</character> <dialogue>That's everything we got on Myers. Y'all can make copies over there.</dialogue> <character>BRYAN</character> <dialogue>Thank you, ma'am.</dialogue> <character>DORIS</character> <dialogue>Sure, baby.</dialogue> <scene_description>Bryan smiles as he grabs the boxes and heads for the copy machine. Doris looks at Brenda.</scene_description> <character>DORIS</character> <dialogue>He's cute. Married?</dialogue> <character>BRENDA</character> <dialogue>Married to his work. How's Uncle Mickey doin'?</dialogue> <character>DORIS</character> <dialogue>He's buildin' another shed 'cause the other two apparently ain't enough.</dialogue> <character>BRENDA</character> <dialogue>Man's gotta have a project.</dialogue> <scene_description>As Brenda keeps her occupied, Bryan goes through the boxes, pulls out a stack of cassette tapes, duplicate copies of each. He turns back to Doris, plays it cool --</scene_description> <character>BRYAN</character> <dialogue>You mind if I take a copy of these?</dialogue> <character>DORIS</character> <dialogue>They ain't payin' me enough to stop you.</dialogue> <scene_description>Doris and Brenda resume their talk as -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - NIGHT</stage_direction> <scene_description>Eva and Brenda at the table, pore over the photocopied files. Bryan at his desk listening to the tapes on headphones -- faint VOICES bleeding through. Something grabs his attention. He jots a note. Hits STOP. REWIND. PULLS off his headphones --</scene_description> <character>BRYAN</character> <dialogue>You gotta hear this.</dialogue> <scene_description>He unplugs his headphones and hits PLAY so they can hear as RALPH'S VOICE fills the air --</scene_description> <character>RALPH (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>I understand that, Sheriff...</dialogue> <character>BRYAN</character> <dialogue>That's Myers.</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>That's what I'm trying to tell you, because I'm gonna be honest, I don't know a damn thing.</dialogue> <character>SHERIFF TATE (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>Is that right?</dialogue> <character>BRYAN</character> <dialogue>That's Tate.</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>Yes, sir, it's righter than anything I've ever said.</dialogue> <character>SHERIFF TATE (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>And you would take a polygraph to the fact that you do not know who killed Ronda Morrison.</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on tape)</parenthetical> <dialogue>That's right, sir, I will.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 81 CONTINUED: 81</scene_description> <character>SHERIFF TATE (V.O.)</character> <parenthetical>(on tape; beat; frustrated)</parenthetical> <dialogue>And you would face the person that could testify --</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on tape; firm and strong)</parenthetical> <dialogue>I will face any damn body in this world on that, 'cause it's a stone lie. And if you askin' me to frame a innocent man for murder, that just ain't somethin' I'm willin' to do.</dialogue> <scene_description>Bryan STOPS the tape, looks to Brenda and Eva, stunned until --</scene_description> <character>EVA</character> <dialogue>Holy shit.</dialogue> </scene> <scene> <stage_direction>INT. JUDGE FOSTER'S OFFICE - DAY</stage_direction> <scene_description>Bryan and Tommy across from JUDGE FOSTER (60s), white, formidable, and commanding, finishing his lunch.</scene_description> <character>BRYAN</character> <dialogue>Your Honor, we've submitted this statement with another motion for a new trial, but all of our work so far has been without any access to the State's files --</dialogue> <character>TOMMY</character> <dialogue>Askin' the State to furnish these broad, generalized requests is a waste of all our time and taxpayer money. None of the requested materials are relevant to this case.</dialogue> <character>BRYAN</character> <parenthetical>(to Tommy)</parenthetical> <dialogue>Your main witness contradicting his own trial testimony seems pretty relevant to me.</dialogue> <character>TOMMY</character> <dialogue>Those tapes were taken from a completely different investigation!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 82 CONTINUED: 82</scene_description> <character>BRYAN</character> <parenthetical>(looks to the judge)</parenthetical> <dialogue>This is about whether or not the State withheld critical exculpatory evidence, which would require a new trial. Brady vs. Maryland entitles us to see \* everything else they have.</dialogue> <scene_description>OFF Bryan's charged stare --</scene_description> </scene> <scene> <stage_direction>A83 INT. EJI OFFICE - DAY A83</stage_direction> <scene_description>Bryan and Brenda walk in with TWO BOXES in hand. Eva takes them from Brenda and stacks them in the conference room with MORE BOXES -- they won the motion.</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - LATE NIGHT</stage_direction> <scene_description>Brenda writes labels on yellow stickies, cataloging a vast inventory of new evidence. Eva pulls a stack of files from a box, hands it to her. Bryan FLIPS through a THICK, RED BINDER. He finds something.</scene_description> <character>BRYAN</character> <parenthetical>(reads)</parenthetical> <dialogue>Walter McMillian, admitted to Holman Prison's death row on August 1, 1987, over a year before his trial. Signed by the warden.</dialogue> <scene_description>They all exchange a look before jumping back into their work, knowing there's so much more to discover.</scene_description> </scene> <scene> <stage_direction>A84 EXT. HOLMAN PRISON - NIGHT (ESTABLISHING) A84</stage_direction> </scene> <scene> <stage_direction>INT. HERBERT'S CELL - NIGHT</stage_direction> <scene_description>The dead of night. The lights all off along the row. Herbert sits slumped against the wall, exhausted and drained.</scene_description> <character>INTERCUT WITH:</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 84 CONTINUED: 84</dialogue> <character>INT. WALTER'S CELL</character> <dialogue>Walter stands at his cell door, knows what's on his friend's mind. A beat before --</dialogue> <character>WALTER</character> <dialogue>Herbert! You okay over there?</dialogue> <scene_description>Herbert doesn't respond, fighting back tears. A beat before --</scene_description> <character>WALTER</character> <dialogue>You gotta get your mind off tomorrow, man, it ain't over. Bryan's workin' it out right now. The court always waits till the last minute. They gonna give you that stay.</dialogue> <scene_description>Herbert's mind is elsewhere. He rocks back and forth. Shakes his head, begins to HYPERVENTILATE. It's unclear whether he's talking to himself or to Walter.</scene_description> <character>HERBERT</character> <dialogue>Why d-d-did I make that bomb? Why did I do that?</dialogue> <character>WALTER</character> <parenthetical>(knowing)</parenthetical> <dialogue>Don't go there, Herb.</dialogue> <character>HERBERT</character> <parenthetical>(growing manic)</parenthetical> <dialogue>I wasn't tryin' to hurt nobody.</dialogue> <character>WALTER</character> <dialogue>I know.</dialogue> <character>HERBERT</character> <dialogue>Why am I so stupid? What's wrong with me?</dialogue> <character>WALTER</character> <dialogue>The war made you sick, Herb. You're still sick.</dialogue> <character>HERBERT</character> <dialogue>That girl wasn't s-s-posed to come by and pick it up. She w-wasn't s'posed to. She wasn't --</dialogue> <scene_description>Herbert BREAKS, squeezes his temples, wishing his brain worked right. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 84 CONTINUED: (2) 84</scene_description> <character>WALTER</character> <dialogue>Come on, Herb. You gotta slow your mind down. Remember what we practiced... Slow breaths.</dialogue> <scene_description>Herbert finally listens, leans his head back, body tight with rigid agony until -- he manages a single DEEP BREATH -- So loud Walter can hear it. He nods. Closes his eyes.</scene_description> <character>WALTER</character> <dialogue>That's good. Now close your eyes, get away from all this. No more walls, no more guards, no more wars to fight, just you, out in the open, fresh air on your face...</dialogue> <scene_description>SLOW PUSH ON Walter as he remembers --</scene_description> </scene> <scene> <stage_direction>85 FANTASY - EXT. ESTATE (ALABAMA) 85</stage_direction> <scene_description>LOOKING DOWN AT Walter in the grove of pines, he looks up at the treetops, swaying in the wind.</scene_description> <character>WALTER (V.O.)</character> <dialogue>Look at them pine trees that been growin' since way before we was born, and gonna keep on growin' way after we gone. They been through all the same shit we been through and more, but they still dancing in the breeze.</dialogue> </scene> <scene> <stage_direction>INT. WALTER'S CELL/HERBERT'S CELL - CONTINUOUS ACTION</stage_direction> <character>(REALITY)</character> <dialogue>Walter's eyes are still closed. Quiet.</dialogue> <character>WALTER</character> <dialogue>You see 'em?</dialogue> <scene_description>Herbert's eyes quiver beneath his closed lids. He's calm.</scene_description> <character>HERBERT</character> <dialogue>Yeah.</dialogue> <character>WALTER</character> <dialogue>Don't think about nothin' else, just stay right there. It's gonna be okay, brother.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 86 CONTINUED: 86 Herbert takes a deep BREATH, fights to keep his panic at bay.</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - LATE NIGHT</stage_direction> <scene_description>INSERT: CLOSEUP ON "HERBERT LEE RICHARDSON" as Bryan \* types. (NOTE: THIS COULD BE THE TITLE PAGE THAT THEY \* FAX, OR ANOTHER PAGE THAT HE'S TYPING WHICH CLEARLY \* STATES HIS NAME.) \* Bryan types at rapid speed, transcribing a handwritten draft from a messy notebook.</scene_description> <character>BRYAN</character> <dialogue>I need Strickland vs. Washington, and the affidavit from Herbert's Sergeant.</dialogue> <scene_description>Eva grabs a binder from the shelf as Brenda finds the affidavit and hands it to him. Like clockwork.</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - LATE NIGHT</stage_direction> <scene_description>Silence as Bryan flips to the last page of the petition, quickly proofreading. He seems satisfied.</scene_description> <character>BRYAN</character> <dialogue>Let's send it.</dialogue> </scene> <scene> <stage_direction>INT. EJI OFFICE - LATE NIGHT</stage_direction> <scene_description>Brenda feeds the "PETITION FOR A WRIT OF CERTIORARI" through a fax machine. Page header: "SUPREME COURT OF THE U.S."</scene_description> <character>BRENDA</character> <dialogue>Now what?</dialogue> <character>BRYAN</character> <dialogue>We wait.</dialogue> </scene> <scene> <stage_direction>INT. EJI OFFICE - THE NEXT DAY</stage_direction> <scene_description>Bryan and Eva sit at the table, a box of files in front of them. Bryan should be reading, but he can't take his eyes off the clock -- 4:42, counting the seconds. The phone RINGS. Bryan picks up, still hopeful.</scene_description> <character>BRYAN</character> <dialogue>EJI, this is Bryan Stevenson.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 90 CONTINUED: 90</scene_description> <character>COURT CLERK (V.O.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>Mr. Stevenson, the court has just entered an order in case number 89- 5395; the motion for a stay of execution and petition for writ of certiorari have been denied. We'll fax copies of the order to your office shortly.</dialogue> <scene_description>As Bryan listens, Eva and Brenda watch his expression fall.</scene_description> <character>BRYAN</character> <dialogue>Okay.</dialogue> <scene_description>Bryan hangs up, sits in silence, staring at the wall. Eva knows what's on his mind, deep in thought herself before --</scene_description> <character>EVA</character> <dialogue>When they executed Wayne Ritter, I tortured myself over whether or not to go... But some things are just too much.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He knows how much you've done for him. You don't have to watch him die to show him you care.</dialogue> <scene_description>Bryan nods. He understands this. But then, very plainly --</scene_description> <character>BRYAN</character> <dialogue>He asked me to be there.</dialogue> <scene_description>Eva can see that he doesn't have a choice. A beat, she nods --</scene_description> <character>EVA</character> <dialogue>I'll drive you, then.</dialogue> <scene_description>OFF Bryan's look of gratitude for his friend --</scene_description> </scene> <scene> <stage_direction>INT. HERBERT'S CELL/DEATH ROW WALKWAY - LATER</stage_direction> <scene_description>Herbert sits on his bed. Jeremy, the guard who strip- searched Bryan, stands nervously outside with an OLDER GUARD.</scene_description> <character>JEREMY</character> <dialogue>Come on, Herbert. We gotta go.</dialogue> <scene_description>Herbert hesitates, shaking with fear. He stands with a nod, then steps out onto the walkway. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 91 CONTINUED: 91 He glances to the cell next door, can just make out Walter on the other side.</scene_description> <character>HERBERT</character> <parenthetical>(to the guards)</parenthetical> <dialogue>Can I say b-b-bye to my friends?</dialogue> <scene_description>Jeremy looks unsure, but the older guard nods, familiar with this routine. They usher Herbert to Walter's cell as --</scene_description> <character>INTERCUT WITH:</character> <dialogue>INT. WALTER'S AND ANTHONY'S CELLS</dialogue> <dialogue>Walter looks at Herbert through the small opening in the center of his door, can see how scared he is --</dialogue> <character>WALTER</character> <dialogue>When it get too much, you take them deep breaths and let your mind go.</dialogue> <character>HERBERT</character> <parenthetical>(beat; terrified nod)</parenthetical> <dialogue>Wish I d-d-didn't have to do this alone.</dialogue> <character>WALTER</character> <dialogue>You not alone, brother. We all with you.</dialogue> <parenthetical>(to Anthony's cell)</parenthetical> <dialogue>Ain't that right, Anthony?!</dialogue> <scene_description>Anthony stands at his cell door, watching, listening --</scene_description> <character>ANTHONY</character> <dialogue>That's right, Herb. You ain't rid of us yet!</dialogue> <scene_description>Herbert almost smiles, but the weight is too heavy. He looks at Walter, nods.</scene_description> <character>HERBERT</character> <dialogue>You been a good friend.</dialogue> <scene_description>Walter tries to speak, but his words get caught in his throat. Herbert manages a small smile, then turns and walks away, leaving him with an emptiness he hasn't felt in years. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. HOLDING ROOM - LATER</stage_direction> <scene_description>Electric clippers BUZZ through Herbert's hair. A GUARD mans the clippers, shaving off everything.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - WITNESS ROOM - LATER</stage_direction> <scene_description>Jeremy and a CHAMBER GUARD set up folding chairs in the small witness execution room. Jeremy looks THROUGH the viewing window to see another GUARD checking the straps on the yellow electric chair.</scene_description> <character>CHAMBER GUARD</character> <parenthetical>(off Jeremy's nerves)</parenthetical> <dialogue>First time in the chamber, huh?</dialogue> <character>JEREMY</character> <dialogue>Yeah.</dialogue> <character>CHAMBER GUARD</character> <parenthetical>(matter-of-fact)</parenthetical> <dialogue>Don't think too much, or you'll lose your shit.</dialogue> <scene_description>Jeremy nods, tries to be strong as he unfolds another chair.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY/EXECUTION WAITING CELL - LATER</stage_direction> <scene_description>A FEMALE GUARD leads Bryan into a holding cell to find Herbert sitting alone, all his hair and eyebrows are completely shaved off. As the Guard enters, Herbert looks up, shaken and humiliated.</scene_description> <character>FEMALE GUARD</character> <dialogue>Need anything, Mr. Richardson?</dialogue> <character>HERBERT</character> <dialogue>You still gonna play my song?</dialogue> <character>FEMALE GUARD</character> <dialogue>We got it cued up and ready.</dialogue> <character>HERBERT</character> <dialogue>Thank you.</dialogue> <scene_description>She leaves. Herbert shakes his head as Bryan approaches. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 94 CONTINUED: 94</scene_description> <character>HERBERT</character> <dialogue>This been a strange day... More p- people ask how they can help me today than ever asked in my whole life.</dialogue> <scene_description>He looks at Bryan, seemingly for the first time.</scene_description> <character>HERBERT</character> <dialogue>Do I look funny? I didn't know they was gonna s-s-shave off everything.</dialogue> <character>BRYAN</character> <parenthetical>(beat; tender)</parenthetical> <dialogue>You look fine.</dialogue> <scene_description>Bryan sits down beside Herbert. Remains calm for him.</scene_description> <character>HERBERT</character> <dialogue>Most people d-don't get to think all day about it bein' their last day alive.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's different than Nam... least I had a chance there.</dialogue> <character>BRYAN</character> <parenthetical>(beat; finds the words)</parenthetical> <dialogue>I'm sorry, Herbert.</dialogue> <scene_description>Herbert looks at him, nothing but gratitude in his eyes.</scene_description> <character>HERBERT</character> <dialogue>You the only one that c-cared enough to fight for me.</dialogue> <scene_description>The statement hits Bryan hard, fighting back his emotions as --</scene_description> <character>HERBERT</character> <dialogue>I t-told the Army to send my flag to you, if that's okay.</dialogue> <character>BRYAN</character> <dialogue>I'd be honored.</dialogue> <scene_description>Herbert smiles through his pain. Then, a scared beat before --</scene_description> <character>HERBERT</character> <dialogue>Can you pray with me?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 94 CONTINUED: (2) 94</scene_description> <character>BRYAN</character> <parenthetical>(beat)</parenthetical> <dialogue>Of course.</dialogue> <scene_description>Herbert nods his thanks, letting go of his fear for just a moment as they bow their heads.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - CONTROL ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>The Female Guard enters, nods to the CONTROL ROOM GUARD.</scene_description> <character>FEMALE GUARD</character> <dialogue>They're ready.</dialogue> <scene_description>He turns, PUSHES PLAY on a small boombox aimed at the intercom microphone as --</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S CELL - CONTINUOUS ACTION</stage_direction> <scene_description>Walter sits on the floor, silent as ELLA FITZGERALD'S version of "OLD RUGGED CROSS" begins to play over the P.A. SYSTEM.</scene_description> </scene> <scene> <stage_direction>INT. EXECUTION HALLWAY - CONTINUOUS ACTION</stage_direction> <scene_description>"Old Rugged Cross" echoes through the empty hallway as -- The cell door opens. Herbert steps out, handcuffed, led by the WARDEN, followed by Jeremy, the older guard, and the PRIEST. They begin the long walk to the chamber.</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW WALKWAY/WALTER'S CELL - CONTINUOUS ACTION</stage_direction> <scene_description>"Old Rugged Cross" continues. EVERY DEATH ROW PRISONER stands at the bars of their cells, all SILENT, WAITING SHADOWS. INSIDE HIS CELL -- Anthony lies in bed, arm over his face. INSIDE HIS CELL -- Walter sits on the floor, waiting.</scene_description> </scene> <scene> <stage_direction>INT. WITNESS ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>MUSIC CONTINUES -- 20 WITNESSES (cops and reporters, all white) in the small room, window in front, closed curtain. Bryan sits among them as the curtains part to reveal -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 99 CONTINUED: 99 Herbert stands beside the electric chair. He looks lost and confused as the warden WHISPERS something to him. Herbert's gaze finds Bryan in the crowd, his one anchor. Then, trembling, he addresses the witnesses --</scene_description> <character>HERBERT</character> <dialogue>I'm s-sorry for all the p-p-pain I caused.</dialogue> </scene> <scene> <stage_direction>INT. EXECUTION CHAMBER - CONTINUOUS ACTION</stage_direction> <scene_description>The warden leads Herbert to the chair, helps him sit down as Jeremy walks up. He looks to the older guard, opposite side of the chair. The older guard nods. Jeremy takes hold of Herbert's hand, forces it down into the wrist restraint. He looks up as Herbert glances at him. Herbert's fear hits Jeremy hard. He tries not to think about it, shakes it off, finishes the restraints as --</scene_description> <character>INTERCUT BETWEEN EXECUTION CHAMBER, WITNESSES, AND DEATH</character> </scene> <scene> <stage_direction>INT. DEATH ROW - NIGHT</stage_direction> <character>-- IN WALTER'S CELL --</character> <dialogue>Walter walks to his door. Begins to BANG his cup against the bars, increasing in speed and intensity as --</dialogue> <character>-- IN ANTHONY'S CELL --</character> <dialogue>Anthony gets out of bed, bangs on his door with his fists.</dialogue> <dialogue>The REST OF THE ROW joins in, BANGING on their metal doors with cups and fists. A GROWING WAVE OF PROTEST --</dialogue> </scene> <scene> <stage_direction>INT. WITNESS ROOM - NIGHT</stage_direction> <scene_description>As the warden reads Herbert his DEATH WARRANT, they hear the distant sound of BANGING.</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW - NIGHT</stage_direction> <scene_description>The BANGING PEAKS. Walter takes a BREATH -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 103 CONTINUED: 103</scene_description> <character>WALTER</character> <dialogue>WE ALL WITH YOU, HERB!</dialogue> <scene_description>CAMERA SPINS to reveal the line of cells, a hundred other VOICES join in, SHOUTING to Herbert at the top of their lungs as -- AN INMATE throws a roll of toilet paper from his cell. A SECOND INMATE throws his metal cup. We SWING WITH the cup as it falls TO the --</scene_description> <character>FIRST FLOOR</character> <dialogue>We PICK UP the cup as it bounces off the wall and REVEAL another row of SHOUTING INMATES.</dialogue> </scene> <scene> <stage_direction>INT. WITNESS ROOM - NIGHT</stage_direction> <scene_description>Everyone can clearly hear the MEN SHOUTING ON THE ROW, echoing through the vent. Bryan looks back to Herbert as --</scene_description> </scene> <scene> <stage_direction>INT. EXECUTION CHAMBER - NIGHT</stage_direction> <scene_description>Herbert listens to the sound of his friends CLANGING and SCREAMING through the walls. He remembers Walter's advice, closes his eyes, slows his BREATH, lets the VOICES wash over him. Everything slows as -- Jeremy grabs a yellow sign that says "READY," holds it up to a circular window that looks into the generator room. We FOLLOW him as he leaves the room, shuts the door, walks DOWN the hall, and TAPS on the door with a large key.</scene_description> </scene> <scene> <stage_direction>INT. GENERATOR ROOM - NIGHT</stage_direction> <scene_description>The EXECUTIONER hears the TAPPING, walks to a big generator, and FLIPS the switch. TOTAL SILENCE -- All sound drops out completely.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Jeremy stands in the hallway, stares THROUGH a window, eyes on Herbert until -- he averts his gaze, can't take it as -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. WITNESS ROOM - WINDOW - NIGHT</stage_direction> <scene_description>Bryan can barely watch, the ghostly IMAGE of Herbert's pulsing body reflected dimly in the glass as --</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S CELL - NIGHT</stage_direction> <scene_description>Walter stops clanging his cup, staring in Herbert's direction, feeling the loss of his friend.</scene_description> </scene> <scene> <stage_direction>EXT./INT. HOLMAN PARKING LOT/BRYAN'S CIVIC - NIGHT</stage_direction> <scene_description>Eva sits on the hood of her car, numbing her stress with a cigarette. A few GUARDS and REPORTERS walk to their cars. Eva finishes her smoke as, across the parking lot, Bryan slowly approaches. She can clearly see his shock and pain from what he just witnessed. A long beat, then --</scene_description> <character>EVA</character> <dialogue>You okay?</dialogue> <scene_description>Bryan shakes his head, can't even speak. He opens the passenger door and gets in. Worry etched across her face, Eva gets into the driver's seat and sits beside him. She doesn't start the car. Sitting in a long silence until -- Bryan tries to say something, but words don't come, caught in his throat, the emotion hits him suddenly like a storm, a dam breaking as all of his clients' pain pours out of him. Eva burns with compassion for this man who has become her friend. She reaches over and wraps her arm around him, allowing him to let it out.</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - LATE NIGHT</stage_direction> <scene_description>Bryan sits alone at his desk, back to doing the one thing he knows -- disappearing into his work, poring over transcripts and files from Walter's case. INSERT PAPERWORK -- Walter's mug shot (OR A PHOTO FROM \* HIS FAMILY PHOTOS), or paper that says Walter McMillian \* (something that makes it clear he's looking at Walter's \* case.) \* 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 111 CONTINUED: 111 As he reads, something grabs his attention. He stands, grabs the THICK, RED BINDER, the intake log from Holman Prison. He DROPS it on the table and FLIPS through pages. He stops at a page. Whatever he's looking at, it's big. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. ST. CLAIR CORRECTIONAL - VISITING ROOM - DAY</stage_direction> <scene_description>BOOM! The door SLAMS behind Ralph Myers. Bryan sits at the table in the EMPTY ROOM, he doesn't stand or have the space for any bullshit. As Ralph approaches --</scene_description> <character>RALPH</character> <dialogue>Hope this important news of yours comes with somethin' to eat, 'cause I'm starvin'.</dialogue> <character>BRYAN</character> <parenthetical>(calm but firm)</parenthetical> <dialogue>Sit down, Mr. Myers.</dialogue> <scene_description>Ralph sees how serious he is, takes his seat.</scene_description> <character>RALPH</character> <dialogue>You was a lot nicer last time.</dialogue> <character>BRYAN</character> <dialogue>That was before I saw my friend executed.</dialogue> <scene_description>Ralph is sobered. News of executions hit every prisoner hard.</scene_description> <character>RALPH</character> <dialogue>You knew that guy?</dialogue> <scene_description>Bryan nods, lets this sit for a moment before continuing.</scene_description> <character>BRYAN</character> <dialogue>I heard the recording of the first statement you made on June 3. The one they didn't present in court.</dialogue> <parenthetical>(off Ralph's surprise)</parenthetical> <dialogue>You told the Sheriff you didn't know anything about Johnny D or the murder. You told him you didn't want to frame an innocent man. Do you remember saying that?</dialogue> <scene_description>Ralph looks at him like a deer in headlights. Speechless. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 112 CONTINUED: 112</scene_description> <character>BRYAN</character> <dialogue>What I'm wondering, is how you went from knowing nothing about the murder on June third, to becoming the State's key witness three months later? What changed your mind?</dialogue> <scene_description>After a beat, Bryan grabs the THICK, RED BINDER and places it on the table, begins to flip through it. Ralph watches, can't help his curiosity.</scene_description> <character>RALPH</character> <dialogue>What's that?</dialogue> <character>BRYAN</character> <dialogue>The intake log for Holman Prison.</dialogue> <scene_description>Ralph watches him stop at a page.</scene_description> <character>BRYAN</character> <dialogue>On August 1, 1987, Sheriff Tate transferred two inmates from county jail to death row. Walter McMillian...</dialogue> <scene_description>He spins the binder around to face Ralph.</scene_description> <character>BRYAN</character> <dialogue>... and you.</dialogue> <scene_description>Ralph's face drops, his nerves firing. Bryan looks at him with compassion, aware of the pain he's been put through.</scene_description> <character>BRYAN</character> <dialogue>Did they move you to death row because you didn't want to testify against him?</dialogue> <scene_description>Something shifts in Ralph, suddenly looks like a child. The fear in his eyes makes it obvious the answer is yes.</scene_description> <character>BRYAN</character> <dialogue>They executed Wayne Ritter just a few weeks after you got there. Isn't that right?</dialogue> <scene_description>Ralph looks at him, his wall beginning to crack as he nods.</scene_description> <character>BRYAN</character> <dialogue>I was in the witness room when they killed Herbert Richardson Thursday night.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 112 CONTINUED: (2) 112</scene_description> <character>BRYAN</character> <dialogue>It was the worst thing I've ever experienced.</dialogue> <parenthetical>(beat; caring)</parenthetical> <dialogue>I'm sure Ritter's execution wasn't easy for you, either.</dialogue> <scene_description>Ralph can see how much it affected him. Their shared experience breaks down his defense. He shifts in his seat, remembering, finally feels safe enough to speak.</scene_description> <character>RALPH</character> <dialogue>They put me in the cell closest to the kill room...</dialogue> <parenthetical>(long beat; fidgets)</parenthetical> <dialogue>Middle of the night, everybody started screamin' and bangin' on the bars. And then... then come the smell of his skin burnin'.</dialogue> <scene_description>Ralph points to the burn scar on his face.</scene_description> <character>RALPH</character> <dialogue>I know that smell.</dialogue> <character>BRYAN</character> <parenthetical>(careful)</parenthetical> <dialogue>Can I ask what happened?</dialogue> <character>RALPH</character> <dialogue>I was sleepin' in my foster mom's basement and her heater blowed up, catched my PJs on fire. I screamed for two minutes straight before they found me.</dialogue> <parenthetical>(beat; grows frustrated)</parenthetical> <dialogue>Everybody knowed that I got a fear of bein' burned. They knowed what it do to my head to be in a place like that.</dialogue> <parenthetical>(looks to Bryan)</parenthetical> <dialogue>I couldn't stop shaking all night, curled up on the floor cryin' like a baby, tryin' to breathe, but every breath just give you another taste of the man they killed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You can't go through somethin' like that and come out the same.</dialogue> <scene_description>Bryan understands exactly what he means. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 112 CONTINUED: (3) 112</scene_description> <character>BRYAN</character> <dialogue>I know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry they did that to you.</dialogue> <scene_description>Ralph sees Bryan's empathy. A new trust growing between them.</scene_description> <character>RALPH</character> <dialogue>The next morning, I called the Sheriff and told him I'd say whatever he wanted if he got me out. He took my statement and moved me back to county the same day.</dialogue> <scene_description>Bryan sees his window, gently pushes forward.</scene_description> <character>BRYAN</character> <dialogue>That's why you lied in your testimony.</dialogue> <scene_description>Ralph looks at him, can see what he's doing. He doesn't bite, tries to rebuild his wall --</scene_description> <character>RALPH</character> <dialogue>I didn't say nothin' about lyin'... now you puttin' words in my mouth.</dialogue> <scene_description>He tries to look strong, but clearly overwhelmed by guilt and fear. Bryan continues with caution.</scene_description> <character>BRYAN</character> <dialogue>Mr. Myers, we're going to court very soon to try to get Johnny D the retrial he deserves. And I'd really like you to take the stand. \*</dialogue> <scene_description>Ralph searches Bryan's face, wondering if he can trust him. Bryan can see he's getting through. It's time to close --</scene_description> <character>BRYAN</character> <dialogue>They're using you to condemn a man who you have much more in common with than you think... and if any part of you wants to make things right, this is the last chance you'll get to do that.</dialogue> <scene_description>Ralph looks at him, struggling with the weight of this decision. OFF this look -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>A113 EXT. BALDWIN COUNTY COURTHOUSE - MORNING A113</stage_direction> <character>SUPERIMPOSE:</character> <dialogue>APRIL 16, 1992</dialogue> <scene_description>ALICE BROOKS (REPORTER) speaks into the camera in front of the courthouse. PEOPLE (black and white) file in behind her.</scene_description> <character>ALICE BROOKS</character> <dialogue>The tension is high this morning here at the Baldwin County Courthouse, where a hearing is being held to see if the man convicted of killing Ronda Morrison deserves a new trial. Miss Morrison was only eighteen years old when she was murdered at \* Jackson Cleaners in Monroeville, Alabama. Many have taken the two- hour drive here from Monroeville to show their support.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Extra security precautions were implemented due to the highly emotional nature of this case.</dialogue> <scene_description>BLACK FOLK stream out of a church bus. Minnie, John, Jackie, and Evelyn walk from their car, dressed in Sunday best. Bryan, Eva, and Brenda exit his car and head in, focused.</scene_description> </scene> <scene> <stage_direction>B113 INT. BALDWIN COUNTY COURTHOUSE - LOBBY - MOMENTS LATER B113</stage_direction> <scene_description>A CROWD (all black) files through a metal detector, 2 GUARDS standing by. Another GUARD holds a German shepherd as it BARKS at a WOMAN who jumps back in fear. Sheriff Tate enters the courtroom with Tommy and his ASSISTANT ATTORNEY.</scene_description> </scene> <scene> <stage_direction>C113 INT./EXT. HOLDING CELL - MOMENTS LATER C113</stage_direction> <scene_description>Walter exits the holding cell in leg irons and a waist chain, guided by Jeremy and ANOTHER GUARD.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - HALL - LATER</stage_direction> <scene_description>FOLLOW Walter, Jeremy, and the other guard down a hallway. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 113 CONTINUED: 113</scene_description> <character>ALICE BROOKS (V.O.)</character> <dialogue>Ronda Morrison's parents said they have no doubt Mr. McMillian is the man responsible for the murder of their daughter.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 113 CONTINUED: (2) 113</scene_description> <character>ALICE BROOKS (V.O.)</character> <dialogue>But members of McMillian's family claim they have the wrong man. Much of today's hearing is hinging on the testimony of Ralph Myers, a \* convicted felon, who was the key \* witness against McMillian in the original trial.</dialogue> <scene_description>Walter tries to keep himself together as they push through the door, walk into --</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>Everyone turns to Walter as he tries to stand tall, keep his dignity, but fear is evident in his eyes. The place is PACKED WITH PEOPLE (WHITE and BLACK). At the front, Tommy and his assistant attorney sit at the prosecution table, Sheriff Tate in the seat behind them. Bryan's at the defense table, nervously checking his notes. Walter's eyes land on Minnie in the first row. Eva and Brenda sit beside her, John and Jackie on her other side. Behind them, all of Walter's FRIENDS AND FAMILY, giving him strength with their nods and smiles. Walter shares a look with Minnie laced with love and pain. Then he nods to John, who sits up tall, trying to be strong. He reaches the defense table. As Jeremy unlocks Walter's cuffs, Bryan exchanges a reassuring look with him, though it's impossible for either man to hide his nerves.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - MOMENTS</stage_direction> <character>LATER</character> <dialogue>Jeremy takes his place in the back as Judge Foster, stern and commanding in his robe, looks up from his seat in front.</dialogue> <character>JUDGE FOSTER</character> <dialogue>What we'll be talking about today \* is obviously an emotional issue. \* And if any of y'all don't think you can maintain a reasonable degree of decorum, then I would ask you to leave now.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>All right, if we are ready, then, we will proceed. Mr. Stevenson?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 115 CONTINUED: 115</scene_description> <character>BRYAN</character> <dialogue>Thank you, Your Honor.</dialogue> <scene_description>Bryan stands. He glances back at Walter's family, meets Eva's eyes. She gives a reassuring nod. Then -- DEEP BREATH, remembering how many are counting on him. He turns forward.</scene_description> <character>BRYAN</character> <dialogue>The State's case against Walter McMillian turned entirely on the testimony of Ralph Myers. There was no other evidence to establish Mr. McMillian's guilt. No physical evidence linking him to the crime, no motive, no witnesses. Only the word of one man.</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>We call Ralph Myers to the stand.</dialogue> <scene_description>The deputy opens the side door and Ralph walks into the courtroom. He looks exhausted and vacant, clearly rattled. Walter can't take his eyes off him, remembering what Ralph did the last time they were here. Ralph avoids his gaze, distant and stone-faced, as he takes a seat on the stand. Ralph looks up to see Sheriff Tate staring at him from his seat. Ralph looks away, fear instantly taking hold. The BAILIFF holds out a Bible, but Ralph is distracted.</scene_description> <character>BAILIFF</character> <dialogue>Sir, please stand and place your right hand on the Bible.</dialogue> <scene_description>Ralph hesitates, then stands and extends his hand.</scene_description> <character>BAILIFF</character> <dialogue>Do you swear to tell the truth, the whole truth, and nothing but the truth, so help you God?</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>Mr. Myers?</dialogue> <character>RALPH</character> <parenthetical>(snaps out of it)</parenthetical> <dialogue>Yes, sir. Sorry, guards got me up at two in the morning to get out here.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 115 CONTINUED: (2) 115 Ralph rubs his face, sits. At the table, Walter with a deeply worried look. Bryan remains calm, approaches the stand, unsure of where Ralph's head is, proceeds with caution.</scene_description> <character>BRYAN</character> <dialogue>Mr. Myers, did you testify against Walter McMillian in August of 1988?</dialogue> <character>RALPH</character> <parenthetical>(odd beat)</parenthetical> <dialogue>Is that when that was?</dialogue> <character>BRYAN</character> <dialogue>According to the record, yes.</dialogue> <character>RALPH</character> <dialogue>Okay, then. Sure, if you say so.</dialogue> <scene_description>Ralph looks more nervous by the second, color draining from his face. Bryan fights his nerves, remains steady --</scene_description> <character>BRYAN</character> <dialogue>What did you tell the jury when \* you testified? \*</dialogue> <scene_description>Ralph sees Walter staring. He avoids his gaze, too afraid to face the source of his shame as he MUMBLES --</scene_description> <character>RALPH</character> <dialogue>Don't think I can fully remember to be honest with you. Sorry, sir.</dialogue> <scene_description>Bryan's heart sinks. They haven't even begun and they're already losing him. A BREATH before --</scene_description> <character>BRYAN</character> <dialogue>It's okay. I have a transcript of your testimony here...</dialogue> <scene_description>Bryan walks to the table, grabs the transcript he's prepared --</scene_description> <character>BRYAN</character> <dialogue>At the trial, do you remember testifying that you were unwillingly made part of a capital murder and robbery on November 1, 1986, when Walter McMillian saw you at a car wash and asked you to drive his truck because his arm hurt?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 115 CONTINUED: (3) 115</scene_description> <character>RALPH</character> <parenthetical>(nervous; scratches scar)</parenthetical> <dialogue>Yes, sir. I guess so.</dialogue> <character>BRYAN</character> <dialogue>Do you remember saying that you drove Mr. McMillian to Jackson Cleaners, subsequently went into the building, and saw McMillian with a gun, standing over the body of Ronda Morrison?</dialogue> <character>RALPH</character> <parenthetical>(beat; nods)</parenthetical> <dialogue>Yes, sir.</dialogue> <scene_description>Bryan locks his eyes on him --</scene_description> <character>BRYAN</character> <dialogue>Mr. Myers, was the testimony you gave at Mr. McMillian's trial true?</dialogue> <scene_description>In his seat, Walter leans forward, praying for truth as -- Ralph stares at Bryan, about to speak until -- he glances past him again, back to Bryan. Then, finally, with great pain --</scene_description> <character>RALPH</character> <dialogue>I don't know.</dialogue> <character>BRYAN</character> <parenthetical>(remains calm)</parenthetical> <dialogue>You don't know?</dialogue> <character>RALPH</character> <dialogue>Don't... think I remember.</dialogue> <scene_description>Walter sinks in his seat as A MURMUR fills the courtroom. Behind him, Minnie stares in shock as John shakes his head. Tommy WHISPERS to his assistant as he scribbles notes. Bryan notices Ralph glance past him again. He turns, follows Ralph's gaze to Tate, staring harshly back at him from his seat. Ralph is frozen in fear until -- Bryan deliberately steps between Ralph and Tate, blocking their view of each other. Gently locks his eyes on Ralph. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 115 CONTINUED: (4) 115</scene_description> <character>BRYAN</character> <dialogue>Mr. Myers. Do you know who Walter McMillian is?</dialogue> <scene_description>Ralph hesitates, gathers his strength.</scene_description> <character>RALPH</character> <dialogue>Yes, sir.</dialogue> <character>BRYAN</character> <dialogue>Is he in this room?</dialogue> <character>RALPH</character> <dialogue>Yes, sir.</dialogue> <character>BRYAN</character> <dialogue>Can you point him out?</dialogue> <scene_description>Ralph fully looks at Walter for the first time, points. Neither man looks away, connected by their common status in the margins of society. Bryan sees this, continues carefully.</scene_description> <character>BRYAN</character> <dialogue>I'd like to ask again. Was the testimony you gave at Walter McMillian's trial true?</dialogue> <scene_description>Ralph keeps his eyes locked with Walter for another beat until -- he looks down, gathers all the courage he has before looking back at Walter. Finally, he speaks --</scene_description> <character>RALPH</character> <dialogue>No, sir, not at all.</dialogue> <scene_description>A wave of GASPS and WHISPERS rolls through the audience. Tommy sits in his seat, completely stunned -- Walter sits back, eyes still locked on Ralph as --</scene_description> <character>JUDGE FOSTER</character> <dialogue>Order, please!</dialogue> <scene_description>As the courtroom quiets, with increasing momentum --</scene_description> <character>BRYAN</character> <dialogue>Did you see Mr. McMillian on the day that Ronda Morrison was murdered?</dialogue> <character>RALPH</character> <dialogue>No, sir.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 115 CONTINUED: (5) 115</scene_description> <character>BRYAN</character> <dialogue>Did you drive his truck to Monroeville that day?</dialogue> <character>RALPH</character> <dialogue>No. Never did.</dialogue> <character>BRYAN</character> <dialogue>Did you go into Jackson Cleaners and see Mr. McMillian standing over Ronda Morrison's body?</dialogue> <character>RALPH</character> <dialogue>Absolutely not.</dialogue> <scene_description>Bryan lets this sink in, looks at him with care. Then --</scene_description> <character>BRYAN</character> <dialogue>No further questions.</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - MOMENTS</stage_direction> <character>LATER</character> <dialogue>Tommy questions Ralph, mid-way through his cross- examination.</dialogue> <character>TOMMY</character> <dialogue>Mr. Myers, didn't you work out a deal with the State to get a lighter sentence if you testified to the truth?</dialogue> <scene_description>Ralph thinks a beat, then --</scene_description> <character>RALPH</character> <dialogue>If I testified... but the truth ain't got nothin' to do with it. When it come to them, Ralph Myers is tellin' the truth when it agrees with what they wantin' for you to say. But if it ain't what they wanna hear, Ralph is a liar.</dialogue> <character>TOMMY</character> <dialogue>Well, how do we know you're not lying now? How do we know, you ain't just upset about the deal \* you got, and you feel like somehow by you changing your story, it might help you get out?</dialogue> <scene_description>Ralph's fear is gone completely now, ready for a fight. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 116 CONTINUED: 116</scene_description> <character>RALPH</character> <dialogue>Because that don't make no sense, sir. Who do you think is decidin' what happens to me? If I live or die? Not me. Not Johnny D. It's all y'all that decidin' that. So how is me sayin' what I'm sayin' gonna help me get out? If anything, it gonna help me get to death row.</dialogue> <scene_description>Tommy doesn't respond to this. Ralph looks to Sheriff Tate.</scene_description> <character>RALPH</character> <dialogue>But I don't care, y'all can do what you want to me. But I got to tell the truth now, even though it might not be what y'all wanna hear --</dialogue> <character>TOMMY</character> <parenthetical>(interrupts)</parenthetical> <dialogue>Thank you, Mr. Myers, let's move on to the next question.</dialogue> <character>RALPH</character> <dialogue>But I ain't done.</dialogue> <character>TOMMY</character> <parenthetical>(quickly)</parenthetical> <dialogue>You've said enough.</dialogue> <character>BRYAN</character> <dialogue>Objection, Your Honor. Mr. Myers has the right to finish his answer.</dialogue> <scene_description>Judge Foster looks to Ralph with a nod.</scene_description> <character>JUDGE FOSTER</character> <dialogue>Go ahead, Mr. Myers.</dialogue> <scene_description>Nothing Tommy can do. Ralph speaks with conviction.</scene_description> <character>RALPH</character> <dialogue>Thank you, Your Honor.</dialogue> <parenthetical>(beat; looks around)</parenthetical> <dialogue>I think it's pretty clear to y'all \* I ain't no saint. I can't read, and I ain't made it past the third grade, but I still know what's right and what's wrong. And a innocent man dyin' on account a me, or you, or anyone in this room, ain't right.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 116 CONTINUED: (2) 116</scene_description> <character>RALPH</character> <parenthetical>(to the Judge)</parenthetical> <dialogue>'Cause me, I can look in your face or anybody else's face dead eye-to- eyeball and tell you anything I told about Mr. McMillian was a lie.</dialogue> <parenthetical>(looks right at Walter)</parenthetical> <dialogue>He's here because of me, and I would really appreciate you sendin' him home to his kids where he belongs.</dialogue> <scene_description>Walter locks eyes with Ralph again, everything having changed between them. A moment of true, shared sincerity. Bryan and Eva exchange a charged look as MUSIC takes us to --</scene_description> </scene> <scene> <stage_direction>117 MONTAGE - INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - 117</stage_direction> <character>DAY</character> <dialogue>THROUGH THE REST OF THE HEARING:</dialogue> <dialogue>Clay Kast, the white mechanic Bryan spoke to at the shop.</dialogue> <character>CLAY KAST</character> <dialogue>We didn't convert Johnny D's truck to a lowrider till May of '87, six months after that girl was killed.</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>Bryan hands a paper to the court.</scene_description> <character>BRYAN</character> <dialogue>We submit a copy of the official log from the police officer who stopped by the fish fry, confirming that Walter McMillian was there with his family.</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>Woodrow Ikner, the officer Bryan found going door-to- door.</scene_description> <character>WOODROW IKNER</character> <dialogue>Mr. Myers said that the body was face-up near the front counter, but I found her face-down in the back by the bathroom.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 119 CONTINUED: 119 Judge Foster makes a note in a pad, he seems engaged.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>Bryan hands a file to the court.</scene_description> <character>BRYAN</character> <dialogue>Submitting exculpatory records from Ralph Myers' stay at Taylor Hardin Psychiatric Hospital, which the State did not disclose to defense counsel.</dialogue> <scene_description>Tommy takes notes at his table, not looking very pleased.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>A PSYCHOLOGIST with glasses speaks to Bryan.</scene_description> <character>PSYCHOLOGIST</character> <dialogue>Mr. Myers was my patient at the time, and he claimed on numerous occasions that he was being threatened with the electric chair if he didn't say what authorities wanted to hear.</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>Back to Ikner. The Judge listens intently, jotting down notes, very engaged now.</scene_description> <character>WOODROW IKNER</character> <dialogue>The prosecutor asked me to testify that the body had been drugged from the front to the back, and I told him I ain't gonna lie in court. Few weeks later, I got fired from the department.</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - DAY</stage_direction> <scene_description>The end of Bryan's closing comments, steady and firm...</scene_description> <character>BRYAN</character> <dialogue>All the evidence presented today would have been critical to the outcome of this case and its exclusion was a clear violation of Brady versus Maryland and Mr. McMillian's constitutional rights.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 123 CONTINUED: 123</scene_description> <character>BRYAN</character> <parenthetical>(beat; sincere)</parenthetical> <dialogue>The truth has not been told in this case. And I know a lot of time has gone by, but I don't believe it's ever too late for justice. We ask the court to grant our motion and order a new trial for Mr. McMillian. Thank you, Your Honor.</dialogue> <scene_description>Bryan takes his seat beside Walter, filled with hope. Tommy can barely look at him, not happy with the way this went.</scene_description> <character>JUDGE FOSTER</character> <dialogue>Thank you, Counselors. We'll reconvene at a later date once I've had time to look through everything.</dialogue> <scene_description>The BAILIFF walks to the front of the court, hearing over as --</scene_description> <character>BAILIFF</character> <dialogue>All rise!</dialogue> </scene> <scene> <stage_direction>INT./EXT. TRANSPORT VAN/COURT - PARKING LOT - LATER</stage_direction> <scene_description>Walter sits in the transport van, Bryan stands outside the open side door, processing what they just went through.</scene_description> <character>WALTER</character> <dialogue>I didn't think he was gonna go through with it.</dialogue> <character>BRYAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Honestly, for a second there, I wasn't sure, either.</dialogue> <scene_description>Walter shakes his head, genuine gratitude in his eyes.</scene_description> <character>WALTER</character> <dialogue>Man. I can't even tell you how I feel right now.</dialogue> <parenthetical>(looks to Bryan)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>As Bryan nods, Walter notices his family gathering twenty yards away, Minnie, John, Jackie, Evelyn. He waves to them. Jeremy, standing guard nearby, addresses Walter's family. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 124 CONTINUED: 124</scene_description> <character>JEREMY</character> <dialogue>We got a few minutes if y'all wanna say hi.</dialogue> <scene_description>Bryan and Walter look to Jeremy, shocked by the kind gesture. Jeremy glances at Bryan, then looks down. There is a humility here not present in their first meeting. A sense of shame.</scene_description> <character>JEREMY</character> <dialogue>We'll leave in five minutes.</dialogue> <scene_description>Bryan is speechless. Walter nods, grateful --</scene_description> <character>WALTER</character> <dialogue>Thank you.</dialogue> <scene_description>Bryan gives Walter space with his family, approaches Eva and Brenda, waiting for him.</scene_description> <character>EVA</character> <dialogue>You did great. Chapman oughta just call you tonight and drop the charges.</dialogue> <character>BRYAN</character> <dialogue>Let's not hold our breath on that one...</dialogue> <scene_description>As they walk to their car, Bryan grabs one more glimpse of Walter LAUGHING with his family at the transport van.</scene_description> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S RENTAL - EVENING</stage_direction> <scene_description>Bryan sits on his bed, working as usual. A KNOCK at the door. He OPENS the door to see John (Walter's son) and his FRIEND.</scene_description> <character>BRYAN</character> <dialogue>John? Everything okay?</dialogue> <character>JOHN</character> <dialogue>My dad wanted me to drop this off.</dialogue> <scene_description>He reveals a used Rhodes keyboard with a bow around it.</scene_description> <character>JOHN</character> <dialogue>He said to have a little fun for once.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. BRYAN'S RENTAL - NIGHT</stage_direction> <scene_description>Bryan sits at the keyboard, taking a rare break from his work to play a slow, JAZZY RIFF. His spirit lifts with every note. PUSH IN ON a new addition to his bookshelf -- beside a photo of Herbert as a young soldier: an American flag, folded in a triangle, in a display case that reads, "In loving memory of, Herbert Richardson, United States Army, Vietnam Veteran."</scene_description> </scene> <scene> <stage_direction>EXT. BALDWIN COUNTY COURTHOUSE - DAY</stage_direction> <character>SUPERIMPOSE:</character> <dialogue>ONE MONTH LATER</dialogue> <scene_description>Full parking lot, but most of the people are already inside.</scene_description> <character>JUDGE FOSTER (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>Upon the reading of my decision, I expect the rules of decorum within this courtroom to be upheld...</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTROOM - CONTINUOUS ACTION</stage_direction> <scene_description>EVERYONE is seated. Walter beside Bryan, nervous. Eva and Brenda are with Walter's family behind them. John is too nervous to look, lowers his head, arms on his knees. Minnie tenderly rubs his back with her hand. Tommy sits with his assistant, Tate behind them. Judge Foster, sitting at the bench, continues reading his decision --</scene_description> <character>JUDGE FOSTER</character> <dialogue>Ralph Myers took the stand before this court, swore to tell the truth, and proceeded to recant most, if not all, of the relevant portions of his testimony at trial. Clearly, he has either perjured himself at trial or in front of this court.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>After careful review, it is this court's opinion that conclusive evidence has not been provided that Ralph Myers perjured himself at the original trial, and that pressure put on him since his trial testimony could tend to discredit his recantation.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 128 CONTINUED: 128 A MURMUR from among Walter's friends and family.</scene_description> <character>JUDGE FOSTER</character> <dialogue>Therefore it is ordered, adjudged, and decreed that the trial testimony of Ralph Myers is not found to have been perjured testimony, and no new trial shall be granted at this time. Walter McMillian shall be returned to Holman Correctional Facility where he is to face death by electrocution.</dialogue> <scene_description>A WAVE OF DESPAIR sweeps through Walter's family and friends. Walter puts his head down, Bryan puts his hand on his back, exchanges a devastated look with Eva. Behind them, John suddenly STANDS with tears in his eyes --</scene_description> <character>JOHN</character> <dialogue>You can't do this to us again, Judge.</dialogue> <character>JUDGE FOSTER</character> <parenthetical>(beat; firm)</parenthetical> <dialogue>Sit down, young man.</dialogue> <scene_description>John shakes his head, more broken than defiant. He looks from the Judge to Walter, quivering with emotion.</scene_description> <character>JOHN</character> <dialogue>That's my dad, sir. He ain't done nothin' wrong.</dialogue> <scene_description>A hint of empathy flashes over Judge FOSTER before --</scene_description> <character>JUDGE FOSTER</character> <dialogue>Sit down right now, or you'll be arrested in contempt of court.</dialogue> <scene_description>Bryan stands, tries to manage the situation.</scene_description> <character>BRYAN</character> <dialogue>Your Honor, please give us a minute.</dialogue> <character>WALTER</character> <parenthetical>(firm)</parenthetical> <dialogue>Listen to the judge, son.</dialogue> <scene_description>Minnie pulls on John's arm to sit, but he pulls away, the situation quickly escalating. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 128 CONTINUED: (2) 128</scene_description> <character>JUDGE FOSTER</character> <dialogue>I won't say it again. Sit down.</dialogue> <scene_description>John stares at JUDGE FOSTER, body trembling, tears streaming, but unable to move. He shakes his head, totally broken.</scene_description> <character>JOHN</character> <dialogue>Not if you gonna kill my dad for no reason...</dialogue> <character>WALTER</character> <dialogue>That's enough, Johnny.</dialogue> <scene_description>Bryan sees the Judge nod to TWO OFFICERS. John doesn't stop.</scene_description> <character>BRYAN</character> <dialogue>Judge, please. Let me deal with this.</dialogue> <scene_description>A GUARD steps up to Bryan, blocks him from moving. Behind him, Jeremy and the other Holman guard move toward Walter.</scene_description> <character>JOHN</character> <dialogue>You killin' our family, sir.</dialogue> <scene_description>Walter sees the Officers approaching John.</scene_description> <character>WALTER</character> <dialogue>Shut your mouth and sit down, boy!</dialogue> <scene_description>John looks right at his dad, shakes his head, so broken it's the only thing he can do as -- OFFICER #1 grabs his arm, pulls him ROUGHLY into the aisle. John YANKS his arm away, enough resistance to make OFFICER #2 grab him and THROW him to the floor.</scene_description> <character>MINNIE</character> <dialogue>HEY!</dialogue> <character>WALTER</character> <dialogue>Get your damn hands off my son!</dialogue> <scene_description>Walter tries to stand, but is held back by Jeremy. Bryan wants to jump in and help, but is blocked by the Guard standing like a wall right in front of him. Officer #1 has his knee on John's back, violently pulling his arms back to cuff him.</scene_description> <character>BRYAN</character> <dialogue>He's not resisting!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 128 CONTINUED: (3) 128 Once the cuffs are on, the officers pull John to his feet and drag him to the door. Minnie starts to chase after, but is held back by more OFFICERS. Tate shoots Bryan a cold look as -- Bryan turns to Walter, more devastated than ever as Jeremy, a clear look of guilt in his eyes, and the other Holman guard, pull him away from the chaos. As Walter is led out, Bryan's heart sinks into the floor. He looks at Eva -- how the hell did this just happen?</scene_description> </scene> <scene> <stage_direction>EXT. BALDWIN COUNTY COURTHOUSE - PARKING LOT - AFTERNOON</stage_direction> <scene_description>As Bryan walks to his car, he looks across the lot to see Minnie and Evelyn, embracing Jackie as she sobs. The sight hits him to his core.</scene_description> </scene> <scene> <stage_direction>A130 INT. WALTER'S HOUSE - KITCHEN - AFTERNOON A130 \*</stage_direction> <scene_description>Minnie sits down at the kitchen table, stirring instant \* coffee into a mug of hot water. She sets the mug on the \* table, doesn't take a sip, haunted by the empty chairs \* that were once filled with those she loves. \* For a moment, she lets down her guard, lets the pain and \* frustration bubble to the surface of her skin. In this \* moment, she isn't the solid rock of her family, she is a \* hurting, angry, devastated human being. \* Then, after she lets it out, she composes herself, wipes \* her tears, and takes a sip of her coffee. \*</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW WALKWAY/WALTER'S CELL - LATER</stage_direction> <scene_description>Jeremy and a SECOND HOLMAN GUARD walk Walter to his cell. As the door SLIDES open, his body goes stiff. The second guard UNLOCKS his cuffs. Walter hesitates. They try to usher him in, but he stands strong. Shakes his head. They push against him as he grabs the door, refuses to go back in.</scene_description> <character>JEREMY</character> <dialogue>Come on, man, don't make this hard.</dialogue> <scene_description>They push him harder, but Walter doesn't budge, grabs the sides of the door to keep from going in.</scene_description> <character>JEREMY</character> <dialogue>Don't do this, McMillian.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 130 CONTINUED: 130 The second guard shoves him hard from behind as --</scene_description> <character>WALTER</character> <dialogue>NO!</dialogue> <scene_description>Walter lunges backwards against the guard, knocking him back. Jeremy tries to grab Walter as the second guard, fuming, rushes and HITS him in the back. Walter goes flying, SLAMS into his desk, everything CRASHING to the floor as -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW - STAIRS - DAY</stage_direction> <scene_description>TWO GUARDS run towards them --</scene_description> </scene> <scene> <stage_direction>A132 INT. ANTHONY'S CELL, THROUGH THE DOOR - DAY A132</stage_direction> <scene_description>THROUGH the door. Anthony shouts through his door slot --</scene_description> <character>HEY!</character> <dialogue>WHAT THE HELL'S GOIN' ON?</dialogue> <scene_description>INMATES up and down the row begin to CALL OUT TO WALTER --</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S CELL/DEATH ROW - DAY</stage_direction> <scene_description>As Walter FLAILS on the floor -- Jeremy rushes down, pinning Walter to the ground with the second guard as he lets out an ANGUISHED SCREAM. END ON Walter, level with the floor, uncomfortably close.</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S CELL/DEATH ROW - LATER</stage_direction> <scene_description>WIDE SHOT, OUTSIDE LOOKING IN -- Empty. Then we see -- Jeremy cleans up the aftermath of the struggle, picks up some books and pens and puts them back on Walter's desk. He stops suddenly, eyes on the floor, staring at something we can't see. He bends down to pick it up as --</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY CONFINEMENT - LATER</stage_direction> <scene_description>A small, empty cell. No bed, no window. Walter sits, back against the wall. He stares ahead. Lost. Then -- The slot in the door SLIDES open. Walter looks up to see Jeremy looking at him through the small window. A beat before -- he slides something through the slot. Jeremy gives him a nod and walks away. Walter hesitates, then stands, walks to the door, and reaches into the slot to find -- The family photos Minnie gave him long ago, faded with age. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY CONFINEMENT - MOMENTS LATER</stage_direction> <scene_description>Walter sits on the floor again, flipping through the photos one-by-one until -- He reaches the picture of himself with John. Suddenly, his anger fades, replaced by tears fighting to break free. He turns the photo over to see in his wife's handwriting -- "This is you. Love, Minnie." Walter stares at the words for a long beat, wondering if he will ever be able to believe them again.</scene_description> </scene> <scene> <stage_direction>INT. BRYAN'S RENTAL - NIGHT</stage_direction> <scene_description>Bryan lies in bed, wide awake, his brain spinning out. He looks at the clock -- 2:23 AM. No point trying to sleep. He sits up, might as well get some work done --</scene_description> </scene> <scene> <stage_direction>INT. BRYAN'S RENTAL - MOMENTS LATER</stage_direction> <scene_description>Bryan sits at a small table, covered in papers and files. He tries to work, but he can't get his mind off the frustration of Walter's case. He rests his foot on the table, leans back, covers his face, draws a long, frustrated BREATH. Then BOOM! He suddenly KICKS the table, a brief but shocking burst of anger, spraying a few stacks of files to the floor. He sits there another beat, still, broken, silent. Then, he stands and starts to methodically clean the mess up.</scene_description> </scene> <scene> <stage_direction>EXT. ALABAMA RIVER - LATER</stage_direction> <scene_description>Bryan sits with Eva on a bench overlooking the wide, flowing river. In the distance, a large dinner boat, The Harriet, a "historical" recreation of the riverboats used during the time of slavery.</scene_description> <character>ADD SHOT OF BRIE WALKING UP AND SITTING BESIDE BRYAN. \*</character> <dialogue>Bryan watches the boat move slowly toward them. Then --</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 138 CONTINUED: 138</scene_description> <character>BRYAN</character> <dialogue>Nobody wants to remember that this is where thousands of enslaved people were shipped in and paraded up the street to be sold. Ten miles from here, black people were pulled from their homes and lynched and nobody talks about it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You can talk about the civil rights movement, but only the good parts. Can't talk about schools becoming as segregated now as they were in the '50s. Can't talk about one out of every three black men ending up in prison. Can't talk about the fact that nobody ever apologized, or even acknowledged that they did something wrong.</dialogue> <scene_description>Bryan stops here, the facts of the past threatening to overwhelm. Eva can see his pain, his eyes tight before --</scene_description> <character>BRYAN</character> <dialogue>And now this black boy from Delaware is walking into their courtrooms, expecting them to admit they convicted an innocent black man.</dialogue> <parenthetical>(looks off; beat)</parenthetical> <dialogue>I promised that whole community I'd bring him home. \*</dialogue> <character>\*</character> <dialogue>Bryan shakes his head, looks off, tears welling. \*</dialogue> <character>BRYAN</character> <dialogue>How was I so naive to think we could ever change anything?</dialogue> <scene_description>Bryan closes his eyes. Eva looks at him with compassion.</scene_description> <character>\*</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 138 CONTINUED: (2) 138</dialogue> <character>EVA \*</character> <dialogue>I've heard a lot of lawyers say \* it's never a good idea to get too close to your clients. Distance is healthy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But working with you showed me that's bullshit. You choose to get close to every one of them, and you love them like family. And when your family is hurting, so are you...</dialogue> <scene_description>(beat) \* There's no way I could ever fully \* understand what you're going \* through. But I'm pretty sure you \* mean a lot more to this community \* than you think. \* Bryan thinks about that for a moment, watching The Harriet continue across the river. \* \*:</scene_description> </scene> <scene> <stage_direction>A139 INT. CHURCH - DAY A139</stage_direction> <scene_description>A vibrant GOSPEL CHOIR lifts their voices to God in a church filled with BELIEVERS. Bryan stands among them, watching his people SING to a Higher Power. He closes his eyes and takes it in, trying to tap into their hope and peace.</scene_description> </scene> <scene> <stage_direction>INT. JUVENILE FACILITY - LOBBY - DAY</stage_direction> <scene_description>Bryan stands in a circle, holding hands with Mrs. Coleman, CHARLIE'S MOM, and CHARLIE'S GRANDPA, heads bowed --</scene_description> <character>MRS. COLEMAN</character> <dialogue>We thank You, Lord, for watching over our boy and bringing him home...</dialogue> <scene_description>As she CONTINUES, Bryan opens his eyes, watches her pour love over her children. A door OPENS. They turn to see -- Charlie, dressed in a button shirt, jeans, sneakers. Still quiet and shy, but looking better than we last saw him. Charlie's mom rushes to him and pulls him into a hug, followed by his grandpa and grandma. Bryan watches them, moved by their love and tears. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 139 CONTINUED: 139 Charlie finally breaks away from his family and walks up to Bryan. Juvie has given him an edge he didn't have before. He goes for the pound-hug to keep it cool. But once he's in Bryan's arms, he stays there long enough to let Bryan know how thankful he is. As Bryan squeezes Charlie, the grateful look on Mrs. Coleman's face shows him that you can never know when your work will truly make a difference.</scene_description> </scene> <scene> <stage_direction>EXT. HOLMAN PRISON - DAY</stage_direction> <scene_description>HIGH SHOT, LOOKING DOWN as Bryan's Civic pulls into the parking lot.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - CHECK-IN - DAY</stage_direction> <scene_description>Bryan waits as Jeremy checks him in, just like he did the first time he visited. But something seems different in Jeremy's demeanor. He glances at Bryan as he checks his ID.</scene_description> <character>JEREMY</character> <dialogue>After that dude said he made the whole thing up, I thought they'd let McMillian go.</dialogue> <scene_description>Bryan looks at Jeremy, surprised, before --</scene_description> <character>BRYAN</character> <dialogue>Me, too.</dialogue> <character>JEREMY</character> <dialogue>You get his kid out?</dialogue> <character>BRYAN</character> <dialogue>Yeah.</dialogue> <character>JEREMY</character> <dialogue>That's good.</dialogue> <scene_description>Bryan takes his ID, hesitates, clearly taken aback by this exchange. Then, he gives a polite nod, turns away as --</scene_description> <character>JEREMY</character> <dialogue>Hey.</dialogue> <parenthetical>(off Bryan's look)</parenthetical> <dialogue>Uh, can I ask you somethin'?</dialogue> <scene_description>Bryan nods, watches him struggle to form the words. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 141 CONTINUED: 141</scene_description> <character>JEREMY</character> <dialogue>Um... I could get in trouble for this, but... I got an uncle, who took care a me growin' up, good guy. And, uh, he's in here. Block 4.</dialogue> <character>BRYAN</character> <parenthetical>(beat; then)</parenthetical> <dialogue>He's an inmate?</dialogue> <character>JEREMY</character> <parenthetical>(nods)</parenthetical> <dialogue>His lawyer's a piece a shit. I was wonderin' if you could maybe take a look at his case. I can pay you.</dialogue> <scene_description>Bryan never saw this one coming. He can see Jeremy's sincerity, realizing he has his own struggles to face. He walks up to him, pulls a business card from his pocket, and hands it over.</scene_description> <character>BRYAN</character> <dialogue>Call me tomorrow... You won't have to pay anything.</dialogue> <scene_description>Jeremy nods, the moment clearly resonates, touched by Bryan's gracefulness. The only words that he can find are --</scene_description> <character>JEREMY</character> <dialogue>Thank you.</dialogue> <scene_description>Bryan nods, turns into the prison with a little more hope than when he first walked in.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - HALL/VISITING ROOM - DAY</stage_direction> <scene_description>CLOSE AND INTIMATE: Bryan sits across from Walter in the spot they first met, still fighting his guilt. Both men sit in silence. Bryan looks at him with regret.</scene_description> <character>BRYAN</character> <dialogue>I'm so sorry.</dialogue> <scene_description>Walter lets that sink in a moment, shakes his head slightly.</scene_description> <character>WALTER</character> <dialogue>The day they arrested me, I thought I was gonna be okay.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 142 CONTINUED: 142</scene_description> <character>WALTER</character> <dialogue>'Cause I had the truth. Soon as they talk to everybody that was with me, they gonna have to let me go.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But then the police keep callin' you a killer. Some white dude says he saw you do it. News people sayin' you did it. Judge and jury sayin' you did it. And now you on the row two, three, four years, your friends and kids ain't callin' as much as they used to. After a while, you start to wonder what they think of you, you start to wonder what you think of you. The truth ain't so clear no more.</dialogue> <parenthetical>(beat; remembering)</parenthetical> <dialogue>But the last few days, I can't stop thinkin' 'bout Myers sittin' up there, tellin' everybody how it really went down.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's the first time I feel like myself since they locked me up. First time I remembered who I is.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>These fools gone do what they gone do, but if they take me to that chair tonight, I'm a go out smilin'. 'Cause I got my truth back. You gave me that. You gave it to my family. And nobody can take that from us again.</dialogue> <scene_description>Bryan takes this in, releasing the guilt he's been carrying. Walter cocks his head, playful --</scene_description> <character>WALTER</character> <dialogue>You ain't quittin', right?</dialogue> <character>BRYAN</character> <dialogue>Of course not.</dialogue> <character>WALTER</character> <dialogue>Then you ain't got nothin' to be sorry for.</dialogue> <scene_description>Bryan looks at him, deeply moved. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 142 CONTINUED: (2) 142</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>I know how disappointing the last hearing was, but that's not where this is going to end.</dialogue> </scene> <scene> <stage_direction>INT. WALTER'S HOUSE - LIVING ROOM - EVENING</stage_direction> <scene_description>Bryan sits with Minnie, John, Evelyn, Jackie, and a handful of other family and friends, including Uncle Leo, sitting in his wheelchair.</scene_description> <character>BRYAN</character> <dialogue>We're preparing a motion to submit our evidence to the State Supreme Court in Montgomery. They have the power to reverse the last \* decision and force the circuit court to give us a new trial.</dialogue> <character>MINNIE</character> <dialogue>You think they'll do that?</dialogue> <character>BRYAN</character> <dialogue>Nothing's guaranteed, but I don't see how an outside court could ignore the evidence we have.</dialogue> <character>JOHN</character> <parenthetical>(unconvinced)</parenthetical> <dialogue>Even if he do get out, everybody but us still gonna think he guilty. If they can't kill 'im in there, they can still do it out here.</dialogue> <character>BRYAN</character> <dialogue>We've been worried about that, too, and we're working on it. \*</dialogue> <scene_description>Uncle Leo speaks up, stern and to the point.</scene_description> <character>UNCLE LEO</character> <dialogue>You know what you doin', boy?</dialogue> <scene_description>Bryan can't tell if he's being criticized or not.</scene_description> <character>UNCLE LEO</character> <dialogue>You beatin' the drum for justice, that's what you doin'.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 143 CONTINUED: 143 Before Bryan knows how to respond, Uncle Leo tilts his head to reveal a scar on his crown.</scene_description> <character>UNCLE LEO</character> <dialogue>See this? Got it in Greene County, tryin' to register to vote in '64.</dialogue> <scene_description>He turns and points to a 4-inch scar above his right ear.</scene_description> <character>UNCLE LEO</character> <dialogue>Got this one in Mississippi fighting for civil rights.</dialogue> <scene_description>He turns and shows another scar at the back of his neck.</scene_description> <character>UNCLE LEO</character> <dialogue>This one in Birmingham after the Children's Crusade.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>These ain't just scars... they my medals of honor.</dialogue> <parenthetical>(into Bryan's eyes)</parenthetical> <dialogue>You see 'em?</dialogue> <scene_description>Something about this moment touches Bryan's core. He nods.</scene_description> <character>BRYAN</character> <dialogue>Yes, sir.</dialogue> <character>UNCLE LEO</character> <dialogue>Good.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now you just gotta get everybody else to see it, too.</dialogue> <scene_description>As Uncle Leo smiles, Bryan scans the faces in the room, their belief in him spurring him forward.</scene_description> </scene> <scene> <stage_direction>INT. LAW LIBRARY - DAY</stage_direction> <scene_description>A VIDEO SHOOT: Bryan sits as a SOUND MIXER adjusts his mic.</scene_description> <character>BRYAN</character> <dialogue>Test test. Check check.</dialogue> <scene_description>The sound guy gives a thumbs-up. Eva stands off to the side, watching silently as --</scene_description> <character>CAMERAPERSON (O.S.)</character> <dialogue>We're rolling. Whenever you're ready, Mr. Bradley.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 144 CONTINUED: 144 In front of Bryan, his INTERVIEWER, ED BRADLEY, of "60 MINUTES" fame, unseen but heard.</scene_description> <character>ED BRADLEY (O.S.)</character> <dialogue>Okay, Bryan, you ready?</dialogue> <scene_description>Bryan puts his game face on, nods as --</scene_description> <character>"60 MINUTES"</character> <dialogue>(SHOT TO LOOK LIKE 90s TV):</dialogue> <dialogue>-- Ed Bradley addresses the camera, a blown-up picture of Walter McMillian behind him.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>His name is Walter McMillian, known to his friends as Johnny D, and he's been on death row in Alabama's Holman Prison for almost six years. Was he in fact the man who walked into a dry cleaning store in Monroeville, Alabama in November of 1986 and robbed and murdered the clerk? Or, did they get the wrong man? And is the real murderer still out there somewhere?</dialogue> </scene> <scene> <stage_direction>INT. WALTER'S HOUSE - LIVING ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Walter's family on the couch, around them, many FAMILY MEMBERS AND FRIENDS from the first time Bryan visited. All eyes glued to Ed Bradley on TV.</scene_description> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>A jury was convinced they got the right man. But you may not be after you watch this story.</dialogue> </scene> <scene> <stage_direction>INT. DEATH ROW - CONTINUOUS ACTION</stage_direction> <scene_description>Anthony presses his face to his cell door, trying to listen to the broadcast --</scene_description> <character>ANTHONY</character> <dialogue>Turn it up, man! I can't hear!</dialogue> <scene_description>Next door, Walter turns up the VOLUME on a small TV as he watches, glued to every word. Through the TV -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 146 CONTINUED: 146 ON TV: Johnny D sits across from Ed Bradley. \*</scene_description> <character>ED BRADLEY (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>You didn't kill Ronda Morrison? \*</scene_description> <character>WALTER (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>No, sir, I didn't see Ronda \* Morrison a day in my life. God \* knows I ain't. \*</scene_description> <character>ED BRADLEY (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>Where were you on the day of the \* murder? \*</scene_description> <character>WALTER (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>At my house. \*</scene_description> <character>ED BRADLEY (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>Did you ever go into Monroeville \* on the day of the murder? \*</scene_description> <character>WALTER (V.O.) \*</character> <dialogue>(on TV) \*</dialogue> <scene_description>No, sir. Never went to \* Monroeville period. \* ON TV: Walter walks down the death row walkway, toward his cell.</scene_description> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>McMillian is certainly not a typical death row inmate, he had a good job in the logging business, has no prior felony convictions, and lived with his family near Monroeville his entire life...</dialogue> </scene> <scene> <stage_direction>INT. DEATH ROW - GUARD STATION - CONTINUOUS ACTION</stage_direction> <scene_description>Jeremy and some OTHER GUARDS watch the show on a small TV as -- ON TV: Bryan speaks to Ed Bradley in the interview we started with -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 147 CONTINUED: 147</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>I have never had a case where the State's only evidence of guilt comes from one person. Where there's no motive, there's no physical evidence, there's no corroborating circumstances, there's nothing but the word of one person.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. BAR (MONROEVILLE) - CONTINUOUS ACTION</stage_direction> <scene_description>Sheriff Tate drinks with some off-duty COPS, all watching -- ON TV: Ed Bradley sits with Ralph Myers, in his prison uniform.</scene_description> <character>RALPH (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>I told them I had seen a young girl laying on the floor with her mouth open. Johnny D standing over her.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Did he have a gun?</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Yeah, I had told the court that, yeah.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Was it true?</dialogue> <scene_description>TIGHT ON Tate, fuming as --</scene_description> <character>RALPH (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>No, sir, not at all. Nowhere near true.</dialogue> <character>ED BRADLEY (V.O.)</character> <dialogue>Why should anyone believe you now? When you're taking back what you said at the trial, under oath.</dialogue> <character>RALPH (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Well, it's like this. I don't know the words for that, but I can tell you this much... Right is right, and wrong is wrong. And for a man to straighten his own life out, he must tell the truth. He must try to do what is right, and that's what I'm tryin' to do.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. TOMMY CHAPMAN'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Tommy sits with his WIFE and TWO YOUNG SONS (8, 10), eating and watching the TV --</dialogue> <dialogue>ON TV: Tommy responds to a question from Ed Bradley.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>How would you characterize Ralph Myers?</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Ralph's about as low as you can get. He's a scum.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>A liar?</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Yes, sir, I'd characterize him a liar, particularly now.</dialogue> <scene_description>Cut to Bryan, mid-interview:</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>I'm sure Ralph Myers would agree that any threat he was under in prison, is nothing like the threat he's under now, having recanted his testimony and opened himself back up to perjury charges, to capital murder charges. What Myers has done is take a pretty radical risk.</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>What's wrong with our criminal justice system is the fact that, um, people want to come back sometime and second-guess juries. Uh, I don't think there been any law enforcement misconduct in this case, I don't think anyone's proved it.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 149 CONTINUED: 149</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>The prosecutor's job is not to obtain a conviction, it's to achieve justice. And one of the greatest tragedies about this case, is that somebody in Monroe County has literally gotten away with murder.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>If an execution date is set for McMillian, and that day comes and it's time for him to go to the electric chair, would you be comfortable?</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Yes... I'd be comfortable with it.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>You think it's, fair, just, he had his...</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>He had his day in court. He, uh, was tried by a jury and they heard the testimony and they believed it.</dialogue> <scene_description>HOLD ON Tommy as he chews on his dinner, pondering his role in this story as --</scene_description> </scene> <scene> <stage_direction>INT. EJI OFFICE - DAY</stage_direction> <scene_description>Bryan types a motion as Eva brings a law book to his desk for reference.</scene_description> </scene> <scene> <stage_direction>EXT. STATE JUDICIAL BUILDING - DAY</stage_direction> <scene_description>Bryan walks up the steps of the grand entrance, ready for court. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 151 CONTINUED: 151</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Next we'll be presenting our evidence to the Alabama Supreme Court, hoping they'll see what we think is very clear, that Walter McMillian is innocent.</dialogue> <character>BACK TO TV</character> <dialogue>A final shot of Walter escorted to his cell.</dialogue> <character>ED BRADLEY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>McMillian's fate is now in the hands of the Alabama Supreme Court, which is expected to decide soon if he's entitled to a new trial.</dialogue> </scene> <scene> <stage_direction>A152 EXT. EJI OFFICE - DAY (ESTABLISHING) A152</stage_direction> <character>SUPERIMPOSE:</character> <dialogue>3 MONTHS LATER</dialogue> </scene> <scene> <stage_direction>INT. EJI OFFICE - DAY</stage_direction> <scene_description>TRACK Eva THROUGH the busy main room of the office. She drops a file on the desk of a new, MALE LAWYER #1 (20s, black).</scene_description> <character>EVA</character> <dialogue>Lunch vote. Chris' or Martha's?... Hands up for Chris'?</dialogue> <scene_description>MALE LAWYER #2 (20s, white) stops TYPING to raise his hand along with male lawyer #1.</scene_description> <character>EVA</character> <dialogue>Martha's?</dialogue> <scene_description>Brenda raises her hand, along with FEMALE LAWYER (20s, black), standing at the copy machine spewing out pages.</scene_description> <character>EVA</character> <dialogue>Bryan! Tie-breaker!</dialogue> <character>BRYAN (O.S.)</character> <dialogue>Martha's!</dialogue> <scene_description>Brenda raises her fist in the air -- victory. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 152 CONTINUED: 152 Eva drops a final file on Brenda's desk as her PHONE RINGS. She picks it up --</scene_description> <character>BRENDA</character> <dialogue>EJI, this is Brenda.</dialogue> <scene_description>OFF her look --</scene_description> </scene> <scene> <stage_direction>A153 INT. EJI OFFICE - BRYAN'S OFFICE - MOMENTS LATER A153</stage_direction> <scene_description>Brenda KNOCKS on the opening to Bryan's office. As Bryan looks up from his cluttered desk --</scene_description> <character>EVA</character> <dialogue>The clerk from the Supreme Court said their ruling in the McMillian case is ready to be picked up.</dialogue> <scene_description>Bryan looks stunned for a moment, then he quickly gets up and rushes out the door. Everyone in the office watches him go.</scene_description> </scene> <scene> <stage_direction>B153 EXT. STREET (MONTGOMERY) - MOMENTS LATER B153</stage_direction> <scene_description>Bryan walks quickly through downtown Montgomery, trying to keep his expectations realistic as he picks up the pace, breaks into a light run.</scene_description> </scene> <scene> <stage_direction>C153 EXT. ALABAMA SUPREME COURT BUILDING - MOMENTS LATER C153</stage_direction> <scene_description>Bryan runs up the tall stairs toward --</scene_description> </scene> <scene> <stage_direction>INT. ALABAMA SUPREME COURT - FILE ROOM - MOMENTS LATER</stage_direction> <scene_description>A CLERK slides the 35-page document under a glass partition. Bryan takes it, flips to the first page, starts to read, his gaze giving nothing away as -- 154 MONROE COUNTY NEWSCAST 154 STELLA TAYLOR (REPORTER) stands in the Alabama courthouse \* lobby, PEOPLE moving behind her as she speaks into the camera -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 154 CONTINUED: 154</scene_description> <character>STELLA TAYLOR (V.O.) \*</character> <dialogue>A wave of shock rolled through Monroe County today when the Alabama Supreme Court overturned \* the circuit court's previous decision and granted a new trial to convicted killer Walter 'Johnny D' McMillian.</dialogue> <scene_description>Cut to -- Bryan in the lobby, mid-interview.</scene_description> <character>BRYAN (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>This was the first time a court outside the county was shown the overwhelming evidence that proves Mr. McMillian's innocence. Though the court granted him a new trial, we believe he deserves to be released immediately, and that's what we'll be arguing at the next hearing.</dialogue> <scene_description>The camera ZOOMS in on Tommy as he exits the courtroom.</scene_description> <character>STELLA TAYLOR (V.O.) \*</character> <parenthetical>(on TV)</parenthetical> <dialogue>Mr. Chapman, how do you feel about today's decision?</dialogue> <character>TOMMY (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>No comment at this time.</dialogue> <scene_description>As Tommy heads out the door --</scene_description> </scene> <scene> <stage_direction>INT. TOMMY CHAPMAN'S HOUSE - DINING TABLE - NIGHT</stage_direction> <scene_description>Tommy sits at the table, looking over paperwork from McMillian's case, stressed. His WIFE enters, hands him a glass of water. She rubs his back, sees his anxiety.</scene_description> <character>TOMMY</character> <dialogue>If I don't keep fightin' this, I'm \* not gonna have a job when it's over.</dialogue> <character>TOMMY'S WIFE</character> <dialogue>Do you think he did it?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 155 CONTINUED: 155</scene_description> <character>TOMMY</character> <parenthetical>(beat; then)</parenthetical> <dialogue>It doesn't matter what I think.</dialogue> <character>TOMMY'S WIFE</character> <dialogue>Of course, it does.</dialogue> <scene_description>As Tommy ponders her words --</scene_description> </scene> <scene> <stage_direction>A156 EXT. EJI OFFICE - DAY A156</stage_direction> <scene_description>A BLACK CAR stops in front of the office. A STATE OFFICER in a suit steps out, envelope in his hand. He walks to the door and into --</scene_description> </scene> <scene> <stage_direction>B156 INT. EJI OFFICE - NEXT B156</stage_direction> <scene_description>The STATE OFFICER enters the office, sees Eva with a stack of files.</scene_description> <character>STATE OFFICER</character> <dialogue>I'm looking for attorney Bryan Stevenson.</dialogue> <scene_description>Eva motions toward the desk as Bryan looks up, stands as the Officer walks to him.</scene_description> <character>STATE OFFICER</character> <dialogue>Mr. Stevenson?</dialogue> <character>BRYAN</character> <dialogue>Yes?</dialogue> <scene_description>He hands him an official envelope.</scene_description> <character>STATE OFFICER</character> <dialogue>I've been ordered to serve this pleading to you.</dialogue> <scene_description>The Officer leaves. All eyes in the office are on Bryan as he opens the envelope, takes out the file, and reads. His face falls, processes for a beat before --</scene_description> <character>BRYAN</character> <dialogue>Tommy Chapman is asking the court to stay the proceedings so the order for a new trial isn't implemented. He's claiming he now wants to reinvestigate the crime.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY B156 CONTINUED: B156</scene_description> <character>BRYAN</character> <parenthetical>(beat; looks up)</parenthetical> <dialogue>He's trying to block us to buy time to rebuild his case.</dialogue> <character>EVA</character> <dialogue>That son of a bitch.</dialogue> <scene_description>Bryan can't believe this is happening. He grips the file in his hand, walks toward the door, infuriated.</scene_description> <character>EVA</character> <dialogue>You want some backup?</dialogue> <character>BRYAN</character> <dialogue>I'm good.</dialogue> </scene> <scene> <stage_direction>C156 EXT. MONROE COUNTY - AFTERNOON C156</stage_direction> <scene_description>Bryan's car drives by.</scene_description> </scene> <scene> <stage_direction>D156 INT./EXT. BRYAN'S CIVIC/CHAPMAN'S HOUSE - EVENING D156</stage_direction> <scene_description>Bryan drives up to Tommy's house, gets out, and strides up to the front door -- KNOCK KNOCK KNOCK. A beat of Bryan keeping his anger in check. The door OPENS, Tommy sees Bryan glaring back at him.</scene_description> <character>TOMMY</character> <dialogue>Bryan.</dialogue> <character>BRYAN</character> <parenthetical>(not holding back)</parenthetical> <dialogue>You're asking the court to keep a man on death row that you know is innocent?</dialogue> <scene_description>Tommy steps outside, closes the door, squares up against him.</scene_description> <character>TOMMY</character> <dialogue>Not sure what you mean.</dialogue> <character>BRYAN</character> <dialogue>The Supreme Court supports all the evidence we presented, and every one of your witnesses have recanted. You've got nothing left.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY D156 CONTINUED: D156</scene_description> <character>TOMMY</character> <dialogue>My investigation is still in process.</dialogue> <character>BRYAN</character> <dialogue>We both know you're not going to find anything.</dialogue> <scene_description>Tommy stares at him a beat. Then --</scene_description> <character>TOMMY</character> <dialogue>Do you have any idea the bullshit I've put up with since your '60 Minutes' story aired? I got the governor on my ass, the NAACP callin' me a racist, Ronda's family checkin' in every day.</dialogue> <character>BRYAN</character> <dialogue>You can't keep an innocent man in prison while you try to salvage your reputation.</dialogue> <character>TOMMY</character> <dialogue>This ain't got nothin' to do with my reputation. It's about the people in this county who hired me to keep them safe.</dialogue> <character>BRYAN</character> <dialogue>What people are you talking about? The ones in this neighborhood? Or the ones from the black community you took McMillian from? You think they feel safe?</dialogue> <parenthetical>(off Tommy's look)</parenthetical> <dialogue>Your job isn't to defend a conviction, it's to achieve justice. And as long as you keep fighting us, someone in your county is literally getting away with murder.</dialogue> <character>TOMMY</character> <dialogue>You drive all the way down here at dinnertime just to tell me how to do my job?</dialogue> <character>BRYAN</character> <dialogue>No. I'm here because I think you know the difference between right and wrong, and you know Johnny D didn't kill her.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY D156 CONTINUED: (2) D156</scene_description> <character>BRYAN</character> <parenthetical>(off his look)</parenthetical> <dialogue>I'm filing a motion to dismiss all charges, and I think you should join it.</dialogue> <scene_description>For a brief second, it seems as if Bryan's words might break through. But then, Tommy speaks --</scene_description> <character>TOMMY</character> <dialogue>Next time you wanna stop by my house, I'd appreciate you callin' first.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Get the hell off my property.</dialogue> <scene_description>Tommy heads inside as Bryan turns back to his car, unfazed.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - CHECK-IN - DAY</stage_direction> <scene_description>A BLACK GUARD (50s) checks Bryan's ID, signing him in.</scene_description> <character>BLACK GUARD</character> <dialogue>Saw you on TV a few times, talkin' 'bout McMillian.</dialogue> <scene_description>Bryan smiles, unsure what he'll say next. Then, the guard holds out his fist. Bryan gives him a bump. A moment of connection before he heads inside.</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - VISITING ROOM - DAY</stage_direction> <scene_description>Bryan sits across from Walter.</scene_description> <character>BRYAN</character> <dialogue>We'll be presenting our motion to \* a new judge this time. It'll be a \* small hearing to present our motion to drop the charges against you.</dialogue> <character>WALTER</character> <dialogue>And what happens when they say no?</dialogue> <character>BRYAN</character> <parenthetical>(tries to be positive)</parenthetical> <dialogue>Then we start over with a new trial. Clean slate.</dialogue> <scene_description>Walter leans back, shakes his head. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 157 CONTINUED: 157</scene_description> <character>WALTER</character> <dialogue>Been in here six years. And they gonna make us start this all over?</dialogue> <character>BRYAN</character> <dialogue>I know it's frustrating, but think about how far we've come.</dialogue> <scene_description>Bryan can see he's not connecting. He reaches into a bag and pulls out a suit, spreads it on the table.</scene_description> <character>BRYAN</character> <dialogue>I don't want you wearing a jumpsuit this time.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>Regardless of what happens, I want them to know that we expect them to send you home.</dialogue> <scene_description>Walter touches the fabric of the coat, tries hard to believe there might be hope, but can't get there. He shakes his head.</scene_description> <character>WALTER</character> <dialogue>You ever think about dying?</dialogue> <character>BRYAN</character> <dialogue>Why would you ask that?</dialogue> <scene_description>Walter looks off, deep in thought. Then --</scene_description> <character>WALTER</character> <dialogue>That's all everybody in here talk about. What they gonna do before they executed, what they gonna eat for their last meal, who they givin' their stuff to. I always try to stay away from talk like that, try to stay positive. But the longer this goes, the harder it is to stop my mind from goin' there.</dialogue> <character>BRYAN</character> <dialogue>You can't think like that. \*</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're too close to give up now.</dialogue> <character>WALTER</character> <dialogue>I know.</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>I'm just tired.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 157 CONTINUED: (2) 157 Bryan sees the exhaustion in his eyes. He doesn't know how much more his friend can endure.</scene_description> </scene> <scene> <stage_direction>EXT. BALDWIN COUNTY COURTHOUSE - DAY</stage_direction> <scene_description>Bryan's Civic pulls into the packed parking lot. A handful of PEOPLE (black and white) walk to the doors from their cars.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - DAY</stage_direction> <scene_description>Bryan, Eva, and Brenda walk down the hall, exchanging concerned looks as they see a large group of PEOPLE in front of the courtroom doors. All of them are black. Walter's FRIENDS and FAMILY. Bryan exchanges a concerned look with Eva as he finds Evelyn, Minnie, John, and the rest of Walter's family.</scene_description> <character>BRYAN</character> <dialogue>What's going on?</dialogue> <character>MINNIE</character> <dialogue>They won't let us in.</dialogue> <scene_description>Evelyn points to a YOUNG GUARD (22, white) standing at the door, letting a short line of WHITE PEOPLE through.</scene_description> <character>EVELYN</character> <dialogue>That boy's makin' us wait out here \* for over an hour. \*</dialogue> <scene_description>Bryan quickly approaches the Guard, boiling.</scene_description> <character>BRYAN</character> <dialogue>What are you doing?</dialogue> <character>YOUNG GUARD</character> <dialogue>Just followin' orders.</dialogue> <scene_description>Bryan knows exactly who gave that order. He continues firmly.</scene_description> <character>BRYAN</character> <dialogue>This is a public hearing and these people need to be let in right now.</dialogue> <scene_description>The Guard doesn't know quite what to do. Doesn't really matter, anyway, the last WHITE AUDIENCE MEMBER walks in.</scene_description> <character>YOUNG GUARD</character> <dialogue>Umm... Y'all can go in now.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 159 CONTINUED: 159</scene_description> <character>EVA</character> <parenthetical>(pissed)</parenthetical> <dialogue>You mean now that there's no seats left? \*</dialogue> <scene_description>As the Guard stares at Eva, Minnie diffuses the tension, doesn't want to ruin her chance to get inside.</scene_description> <character>MINNIE</character> <dialogue>It's okay, we'll find room.</dialogue> <scene_description>The Guard stands firm as Minnie leads the group inside.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN COUNTY COURTHOUSE - COURTROOM - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Bryan sits at the defense table with Walter, in his suit. Eva and Brenda are with Walter's family, standing behind a sea of white people. 40 MEMBERS of Walter's community also stand at the back, peering over the heads of the white audience as --</dialogue> <dialogue>Sheriff Tate sits behind Tommy and his assistant at their table. Tommy looks through his papers, deep in thought.</dialogue> <character>BAILIFF #2</character> <dialogue>The Twenty-Eighth Judicial Circuit Court of Alabama is now in session, the honorable Judge Pamela Baschab presiding!</dialogue> <scene_description>The courtroom stands as JUDGE BASCHAB (40s, white) enters. BAILIFF #2 finds his place as the Judge settles in.</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Please be seated.</dialogue> <parenthetical>(as they sit)</parenthetical> <dialogue>We got a full house so let's try to move through this in a timely manner. We're here because Mr. Stevenson has filed a motion to dismiss all charges against Mr. McMillian in this case.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mr. Stevenson, since it's your motion, I'd like you to speak to it first, and then we'll hear from the State.</dialogue> <scene_description>Bryan stands. He looks at Walter, trying to control his nerves, then to Walter's family, and the men and women standing in back. He looks forward, strong. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 160 CONTINUED: 160</scene_description> <character>BRYAN</character> <dialogue>It's easy to see this case as one man trying to prove his innocence. But when you put a black man on death row for a year before his trial, and exclude black people from serving on his jury... When you base your conviction on the coerced testimony of a white felon and ignore the testimonies of two dozen law-abiding black witnesses... When any evidence proving his innocence is suppressed, and anyone who tries to tell the truth is threatened, this case becomes more than the trial of a single defendant, it becomes a test of whether we're going to be governed by fear and anger or by the rule of law.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If the people standing in the back of this courtroom are all presumed guilty when accused, if they have to live in fear of when this very thing will happen to them, if we're just going to accept a system that treats you better if you're rich and guilty than if you're poor and innocent, then we can't claim to be just.</dialogue> <scene_description>Bryan takes a beat to look at Tommy. They briefly lock eyes.</scene_description> <character>BRYAN</character> <dialogue>If we say we are committed to equal justice under law, to protecting the rights of every citizen regardless of wealth, race, or status, then we have to end this nightmare for Walter McMillian and his family. The charges against him have been proved to be a false construction of desperate people, fueled by bigotry and bias, who ignored the truth in exchange for easy solutions. That's not the law... That's not justice... That's not right.</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>This case should be dismissed immediately, Your Honor. Thank you.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 160 CONTINUED: (2) 160 Bryan takes his seat. Silence as --</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Mr. Chapman, what is the State's position on this motion?</dialogue> <scene_description>Tommy sits there, deep in thought, playing with his pencil. He stays silent long enough to make it awkward.</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Mr. Chapman?</dialogue> <character>TOMMY</character> <dialogue>Yes, Your Honor. Sorry, I'm just...</dialogue> <scene_description>Tommy reluctantly stands, unsure of what to say.</scene_description> <character>TOMMY</character> <dialogue>I'm troubled, Your Honor.</dialogue> <scene_description>The Judge glances at Bryan, confused by Tommy's statement.</scene_description> <character>JUDGE BASCHAB</character> <dialogue>You're troubled?</dialogue> <character>TOMMY</character> <dialogue>Yes, Your Honor, sorry I...</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>People in this community want to go to sleep at night knowin' that if someone commits a terrible crime, that someone is gonna be punished for it...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But... I've taken another look at the evidence, and...</dialogue> <scene_description>Tommy turns to Walter's people standing in the back. He glances at Bryan, then to the Judge. Another long beat...</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Mr. Chapman, please.</dialogue> <scene_description>Tommy thinks for another beat. Then finally --</scene_description> <character>TOMMY</character> <dialogue>The State does not object to the motion, Your Honor.</dialogue> <scene_description>A stunned beat. MURMURS in the courtroom. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 160 CONTINUED: (3) 160</scene_description> <character>JUDGE BASCHAB</character> <parenthetical>(to Tommy)</parenthetical> <dialogue>To be clear, Mr. Chapman. Are you joining the motion to dismiss all charges today?</dialogue> <character>TOMMY</character> <parenthetical>(beat)</parenthetical> <dialogue>Yes, Your Honor.</dialogue> <scene_description>The MURMURS grow louder from the courtroom as --</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Order, please.</dialogue> <scene_description>Silence falls. Judge Baschab is quiet a beat, considers everything. Then, she looks at Tommy and Bryan.</scene_description> <character>JUDGE BASCHAB</character> <dialogue>Well, y'all made my job easy today.</dialogue> <scene_description>Walter and his family hold their breath, nervous and unsure as to what this means as --</scene_description> <character>JUDGE BASCHAB</character> <dialogue>In the case of The People vs. McMillian, the court hereby grants the defendant's motion.</dialogue> <parenthetical>(beat; looks to Walter)</parenthetical> <dialogue>All charges against you are dismissed, Mr. McMillian. You're free to go.</dialogue> <scene_description>Walter sits in stunned silence, trying to process as -- His family erupts in JOYFUL SOBS. Minnie hugs John and Jackie. Eva hugs Brenda. Tate shoots Tommy a disappointed look as he walks out the door. Amidst the rejoicing, MOVE IN CLOSE ON Walter as he suddenly hides his face in his hands, unable to control the emotions inside of him. Bryan leans in, tries to comfort him. Bryan realizes Walter needs his family. He glances at Eva, who nods back -- she understands. She waves to Minnie, John and Jackie to follow her down the aisle. They stop at the partition. Minnie looks to the Judge, who nods for her to continue. She rushes to Walter, her children close behind, all of them crouch down and embrace him where he sits. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 160 CONTINUED: (4) 160 Bryan steps back, lets them have their moment. He sees Tommy watching the reuniting of this family. They briefly lock eyes. Tommy offers a humble nod, which Bryan returns. Then, he exchanges a knowing look with Eva, neither of them fully able to believe this is really happening as -- CLANGING fills the air, overtakes all sound. Followed by the SHOUTS OF MEN, YELLING, BANGING AGAINST BARS as --</scene_description> </scene> <scene> <stage_direction>INT. HOLMAN PRISON - DEATH ROW - AFTERNOON</stage_direction> <scene_description>Walter steps out of his cell in a black suit, duffle bag on his shoulder as a HUNDRED MEN YELL, WHISTLE, and BANG their metal cups on the bars, letting him know he's not alone. Jeremy and a guard walk behind Walter, letting him lead for once as he walks to --</scene_description> <character>INTERCUT WITH:</character> <dialogue>INT. ANTHONY'S CELL</dialogue> <dialogue>Anthony stands at his door, sad to see Walter go, but proud for his friend. He sticks his hand through the slot, fighting back tears as he shakes Walter's hand.</dialogue> <character>ANTHONY</character> <dialogue>We all with you, brother.</dialogue> <scene_description>The words give Walter strength. He hesitates, then lets go of Anthony's hand. Anthony looks at him through tears as --</scene_description> </scene> <scene> <stage_direction>INT./EXT. BRYAN'S CIVIC/WALTER'S HOUSE - LATER</stage_direction> <scene_description>Bryan drives, Walter beside him. On his way home from prison, both still not fully able to believe it. Bryan makes his way down the long dirt road toward Walter's house as Walter soaks it in like he's seeing everything for the first time.</scene_description> <character>WALTER</character> <parenthetical>(points to a house)</parenthetical> <dialogue>Benny got a new truck.</dialogue> <scene_description>Bryan glances at him, moved by his childlike wonder. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 162 CONTINUED: 162 They pull up to Walter's house, the front yard packed with PEOPLE, grilling meat and celebrating Walter's return. A few of them wave to Walter as they pull up. Bryan parks, turns off the engine. A quiet moment between friends as Walter hesitates, then --</scene_description> <character>WALTER</character> <dialogue>Spent so much time thinkin' 'bout dying in there, never thought about what I'd do if I got out.</dialogue> <scene_description>Walter watches all his friends cooking and laughing. Minnie waves for him to hurry up. He waves back.</scene_description> <character>WALTER</character> <dialogue>Those six years wasn't all they took from me... They took a lot more than that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Not sure how I'm gonna do this.</dialogue> <character>BRYAN</character> <parenthetical>(beat; caring)</parenthetical> <dialogue>We'll figure it out.</dialogue> <scene_description>Walter looks at Bryan, full of gratitude as a smile forms.</scene_description> <character>WALTER</character> <dialogue>Let's go eat everything on that grill before the kids get to it.</dialogue> <character>BRYAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Great idea.</dialogue> <scene_description>They step out of the car and walk to the party as --</scene_description> <character>WALTER (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>I heard some people say that me gettin' out shows that this system is workin'.</dialogue> </scene> <scene> <stage_direction>INT. U.S. SENATE COMMITTEE HEARING - DAY</stage_direction> <scene_description>Walter sits at a table with Bryan, addressing the 20 SENATORS seated in a semi-circle in front of him. Behind them, a room full of REPORTERS and COMMUNITY LEADERS. Walter continues -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 163 CONTINUED: 163</scene_description> <character>WALTER</character> <dialogue>But if pullin' a innocent man from his family and lockin' him in a cell for 6 years is what you call workin', we got a different understandin' of the word. I still can't sleep past 3 A.M., 'cause that's when the guards woke us up for breakfast. Everywhere I go, I make sure somebody knows where I am and what I'm doing. When I go to the store, I make the cashier sign my receipt, so if somebody tells me six months later I was doing a murder on the other side of town, I can show 'em proof of where I was.</dialogue> <parenthetical>(emotional beat)</parenthetical> <dialogue>I saw seven men killed while I was in there. Some of them was my closest friends. I know they ain't all innocent. But they still people. And...</dialogue> <scene_description>Walter's emotions overtake him, thinking about Herbert and Anthony and all those he left behind, the pieces of himself he will never get back. Bryan pats his shoulder, can see he can't go on, so he takes over for him. Leans into the mic, addressing the Senators.</scene_description> <character>BRYAN</character> <dialogue>This man has taught me a lot in the time I've known him... I came out of law school with grand ideas in my mind about how to change the world. But then I started working with people who were wrongly convicted; children who were sent to adult prisons where they were raped and abused; people with mental and physical disabilities who were thrown into cells when they should be in hospitals; vulnerable people calling me every day, begging for help. Sometimes the problem seemed so big, I felt like a fool for thinking I could do anything to fix it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But working with Mr. McMillian made me realize that we can't change the world with only ideas in our minds, we also need conviction in our hearts.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 163 CONTINUED: (2) 163</scene_description> <character>BRYAN</character> <dialogue>This man taught me how to stay hopeful, because I now know that hopelessness is the enemy of justice. Hope allows us to push forward, even when the truth is distorted by the people in power. It allows us to stand up when they tell us to sit down, and to speak when they say be quiet.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Through this work, I've learned that each of us is more than the worst thing we've ever done; that the opposite of poverty isn't wealth, the opposite of poverty is justice; that the character of our nation isn't reflected in how we treat the rich and privileged, but how we treat the poor, the disfavored and condemned.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Our system has taken more from this innocent man than it has the power to give back. But I believe if each of us can follow his lead, we can begin to change this world for the better. If we can look at ourselves closely, and honestly, I believe we will see that we all need justice, we all need mercy and perhaps, we all need some measure of unmerited grace.</dialogue> <scene_description>Bryan sits back in his chair, lets that sink in. Walter looks at him with playful disbelief. The mic picks him up as --</scene_description> <character>WALTER</character> <dialogue>I taught you all that?</dialogue> <parenthetical>(off Bryan's nod)</parenthetical> <dialogue>That's pretty good.</dialogue> <scene_description>Bryan LAUGHS along with a handful of the Senators as --</scene_description> <character>SERIES OF PHOTOS</character> <dialogue>Over photos of real-life Bryan, Walter, and Eva:</dialogue> <character>SUPERIMPOSE:</character> <dialogue>-- BRYAN STEVENSON HAS BEEN FIGHTING FOR DEATH ROW</dialogue> <character>INMATES FOR 29 YEARS.</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY 163 CONTINUED: (3) 163</dialogue> <character>-- TOGETHER, BRYAN, EVA, AND THE EJI STAFF, HAVE WON</character> <dialogue>REVERSALS, RELIEF, OR RELEASE FOR OVER 115 WRONGLY</dialogue> <character>CONDEMNED PRISONERS ON DEATH ROW.</character> <dialogue>-- FOR EVERY 9 PEOPLE WHO HAVE BEEN EXECUTED IN THE U.S.,</dialogue> <character>ONE INNOCENT PERSON HAS BEEN EXONERATED AND RELEASED FROM</character> </scene> <scene> <stage_direction>INT. DEATH ROW - ANTHONY'S CELL - DAY</stage_direction> <scene_description>FREEZE ON Anthony looking out of his cell.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>-- IN 1985 ANTHONY RAY HINTON WAS SENTENCED TO DEATH FOR</dialogue> <character>A DOUBLE HOMICIDE. HIS CONVICTION WAS BASED ALMOST</character> <dialogue>ENTIRELY ON A FAULTY BALLISTICS REPORT.</dialogue> <character>-- THE PROSECUTOR AT TRIAL SAID THAT HE COULD TELL</character> <dialogue>ANTHONY WAS GUILTY, AND "EVIL," SOLELY FROM HIS</dialogue> <character>APPEARANCE.</character> <dialogue>FADE OUT.</dialogue> <character>OVER BLACK</character> <dialogue>SUPERIMPOSE: IN 2016, AFTER SPENDING 30 YEARS ON HOLMAN</dialogue> <character>PRISON'S DEATH ROW FOR A CRIME HE DID NOT COMMIT, ANTHONY</character> <dialogue>RAY HINTON WAS SET FREE.</dialogue> <character>FADE IN:</character> <dialogue>ACTUAL NEWS FOOTAGE</dialogue> <dialogue>OF THE REAL BRYAN STEVENSON walking out of prison with THE REAL ANTHONY RAY HINTON (50s), cameras flashing as he embraces his sister with tears in his eyes. He's quickly smothered by the hugs and tears of loved ones as --</dialogue> <dialogue>Bryan watches from the side, grateful for the moment, but reminded that all of us can do better for one another.</dialogue> <dialogue>The work continues.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> <character>THE END</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> <scene_description>THIS SCRIPT WAS PREPARED: BY WARNER BROS. PICTURES:</scene_description> <character>SCRIPT PROCESSING DEPARTMENT</character> <dialogue>(818) 954-4632</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> </script>

In 1989, Harvard law graduate Bryan Stevenson travels to Alabama, intending to help defend poor people who cannot afford proper legal representation. Teaming with Eva Ansley, he forms the Equal Justice Initiative in the state capital, Montgomery. He embarks on trying to combat social injustices in criminal law and practice, which has resulted in a high rate of African Americans convicted and incarcerated in the state and nationwide. Stevenson goes to a state prison to meet inmates who are on death row and who are seeking appeals of their convictions or sentences. Among these is Walter "Johnny D." McMillian, an African-American man who was convicted of the 1986 murder of Ronda Morrison, an 18-year-old white girl. McMillian has maintained his innocence. When Stevenson reviews the evidence in the case, he learns that it hinges entirely on the testimony of convicted felon Ralph Myers. The convict had provided highly contradictory testimony to the prosecution in exchange for a plea deal and lighter sentence in his own pending trial. Given these issues, Stevenson appeals to the current prosecutor, Tommy Chapman, for aid; he dismisses him without looking at his notes. Stevenson learns that, at the time of the murder, McMillian's family friend Darnell Houston was elsewhere with a witness who had subsequently falsely corroborated Myers' testimony. This evidence would cause the prosecution's case to fall apart, so Stevenson asks Houston to testify to his account. When Stevenson submits his testimony, police arrest Houston for perjury. Although Stevenson gets the perjury charges dismissed, Houston is intimidated, so refuses to testify in court. Shortly afterward, Stevenson is threatened by two sheriff deputies, who force him from his car at gunpoint and illegally search the car. They refuse to tell him why he was pulled over, but release him. During this period, Stevenson had a case on appeal to the U.S. Supreme Court on behalf of another death row inmate, Herbert Lee Richardson; the court denied the appeal. Convicted of killing his ex-girlfriend’s niece with a bomb on her porch, Richardson had been sentenced to death by electric chair. Unable to get it overturned, Stevenson promises to be with Richardson in his final moments and witnesses the execution. On behalf of McMillian, Stevenson directly confronts Myers. He admits that police coerced his testimony by threatening him with a death sentence. Stevenson appeals to the local court to grant McMillian a retrial and successfully convinces Myers to recant his testimony on the stand, but the judge refuses to grant it. Stevenson appears on 60 Minutes to rally public support in favor of McMillian, and appeals the court's decision to the Supreme Court of Alabama. The Supreme Court overturns the circuit court's decision, and grants McMillian a retrial. Stevenson tries to have the charges dismissed entirely. He confronts Chapman at home and tries to convince him to join in this motion; Chapman forces him to leave. On the day of the motion, Stevenson appeals to the judge. That day Chapman joins him in the motion, the judge dismisses the charges, and McMillian is finally released from prison and reunited with his family. An epilogue notes that Stevenson and Ansley continue their fight for justice. McMillian remained friends with Stevenson until his natural death in 2013. A follow-up investigation into Morrison's 1986 murder confirmed McMillian's innocence. Evidence suggested that a white man was likely responsible, but the case has never been officially solved. McMillian's former cellmate, Anthony Ray Hinton, remained on death row for 28 years. Stevenson handled his defense and was eventually able to get all the charges dropped. Hinton was released in 2015.

Jingle All the Way_1996

tt0116705

<script> <scene> <character>J:IN:&lt;;LE</character> <dialogue>by</dialogue> <character>ALL</character> <dialogue>RANDY KORNFIELD</dialogue> <scene_description>Rewrite by</scene_description> <character>FIAR.R.Y ELFONT</character> <dialogue>&amp;</dialogue> <scene_description>For Your Screenwriting Education More Titles at ScriptFly.com</scene_description> <character>REWRITE</character> <dialogue>JANUARY 11, 1996</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>CLOSE ON: MOLTEN PLASTIC €�€�€�</character> <dialogue>Being poured into a MOLD. The HOLD SQUEEZES SHUT and Moves across the screen ••• (BEGIN CREDI1'S SEQUENCE)</dialogue> <character>INT. TOY FACTORY - DAY</character> <dialogue>The MOLD moves along the FULLY Al.l'l'OMATED ASSEMBLY LINE, and opens to reveal a GLOSSY Hum OF HARD PLASTIC. It pops out of the mold, looking like a little MUSCULAR CHEST with a T-S!iAPED INSIGNIA stamped on it. The torso continues down the line and we watch as ••• An ARM is snapped into place. A LEG is snapped into place. A SELMBTBD HEAD is popped on. TINY JETS spray PAINT in the right areas. Until finally, emerging on the belt is a shiny new ACTION FIGURE. It has a brief PIOlllent of glory -- heroic smile frc,zen on its' square jaw -- until it drops down a chute and falls :Lnto a BOX, emblazoned with the logo "TURBO TOM". The box is shut: and travels down a belt to join HUNDREDS of OTHER BOXES in a PILE. CLOSE ON: THE BOXES being loaded into a TRUCK. The truck doors SLAM shut and the truck DRIVES OFF. INT. TOY STORE - DAY</dialogue> <dialogue>The boxes are being placed on the shelves by a STORE CI.ERK. Be fits the last box between the others when suddenly ••• we hear a LOW RUMBLE. The clerk turns around and a look of PANIC crosses his face. He scrambles out of the way, just as a MASS OF HUMANITY thunders to the shelves in a BLUR. Within seconds, the MAD SHOPPERS retreat, revealing the nOl~ EMPTY SHELVES. Only one TUrbo Tolll doll. remains, rocking on the edge of a shelf. Before it can even fall, a HAND shoots int;c frame and GRABS it. And then there were none. (BIID CUDITS szous•cz) FADE OUT.</dialogue> <character>FADE IN.</character> <dialogue>IN'!'. !IIRACLE MATTRESS CO. - DAY</dialogue> <dialogue>A GLASS-WALLED OPPICl! overlooking the Production Floor. A sma.11 but bustling enterprise. HOWARD PUTI'NAM (J0's), sits behind his desk, facing a MAN in a LARGE COWBOY HAT. Howard (also wearing a COWBOY BAT) reaehes across the aesk to snake tne man's hand.</dialogue> <character>HOWARD</character> <dialogue>So, Sam, do we have a deal?</dialogue> <scene_description>Sam hesitates.</scene_description> <character>SAM</character> <dialogue>Now hold on a minute here, Howard. Explain to me again why I should be buyin' these here super deluxe queens instead of the regular queens.</dialogue> <character>HOWARD</character> <parenthetical>(confident)</parenthetical> <dialogue>well, it's l:U:.e I was saying, Sam. You want the guests at your hotels to get the. best night's sleep they •••</dialogue> <scene_description>Howard trails off as he notices his secretary, MARGARB'l' ( 20 •s) through the window over Sam's shoulder. She is making all kinds of WILD KARATE MOTIONS and MOTIONIBG AT HIM. Howard looks at her like she's crazy. He turns back to Sam.</scene_description> <character>HOWMID</character> <dialogue>Uh ••• can. Yeah.</dialogue> <character>SAM</character> <dialogue>But it's a mite more than I intended</dialogue> <scene_description>Hllllll.. to spend ••• Howard's about to respond when he notices.Margaret again. This ti.lie she's WAVING and holding up a HANDWRITTEH SIGN that reads: •youR SON• S KARATE CLASS" -- JO MINtl'l'ES 1 I!• Boward' s eyes widen.</scene_description> <character>HOWARD</character> <dialogue>Are you kidding?!</dialogue> <scene_description>Howard looks at his watch. How'd it get so late7</scene_description> <character>SAM</character> <dialogue>What -- are you call.in' me cheap? I mean, we ~ discuss a budget, Puttnam.</dialogue> <character>HOWARD</character> <parenthetical>(backpedaling)</parenthetical> <dialogue>No no! .You• re not cheap! No way. What I· m saying here is •••</dialogue> <scene_description>He trails off as Mal,"garet holds up another sign. It reads: "BURRY UPI I 1\*</scene_description> <character>HOWARD</character> <dialogue>I am!</dialogue> <character>SAM</character> <dialogue>You're cheap?</dialogue> <scene_description>Howard looks around. Thinks ...</scene_description> <character>HOWARD</character> <dialogue>Yes •.• Yes I am. I mean •.. my prices are cheap. The cheapest you'll find. r guarantee itt</dialogue> <character>SAM</character> <dialogue>Well now you 're talldn · !</dialogue> <character>HOWARD</character> <dialogue>Yes I am! Talking! Too much! so let• s make you a good deal on those super deluxes. And let's make it nm11</dialogue> <scene_description>He pounds his fist on the desk for emphasis. CUT TO: IN'l'. MIRACLE MATTRESS COMPANY - DAY Margaret sits at her desk outside Howard's door. She sighs and shakes her head. Finally, Howard's door opens, and Margaret quickly puts on a COWBOY HAT. Boward emerges from his office shaking Sam• s hand.</scene_description> <character>SAM</character> <dialogue>well, Puttnam, looks like you got yourself a deal 1 And thanks for taltin • that extra time to \olOrk things oat.</dialogue> <character>HOWARD</character> <dialogue>I · ve always got time for you, Sam.</dialogue> <scene_description>Sam mimes drawing a six-gun. 'Shoots • Boward. Boward acts like he's been shot. Sam laughs hysterically.</scene_description> <character>SAM</character> <dialogue>(wiping a tear away} All right. Puttnam - a pleasure. You have a nice Christmas now, ya hear? BOWARD I hear. Sam enters the ELEVATOR and millies shooting at Boward again.</dialogue> <scene_description>\~. Boward goes do'Wn. Sam laughs hysterically as the ELEVATOR DOORS CLOSE. Boward .i:mmediately jumps up and looks at Margaret.</scene_description> <character>HOWARD</character> <parenthetical>(worried)</parenthetical> <dialogue>How much time do I have?</dialogue> <character>MARGARET</character> <dialogue>· You' re not gonna make it.</dialogue> <scene_description>She throws him his COAT. He quickly puts it on.</scene_description> <character>HOWARD</character> <dialogue>I'm gonna make it.</dialogue> <scene_description>Margaret gestures at her cowboy hat.</scene_description> <character>MARGARET</character> <dialogue>can I take this off now?</dialogue> <character>BOWARD</character> <dialogue>{gathering his things)</dialogue> <scene_description>Margaret, you can take the rest of the day off. In fact ••• Howard grabs a NEARBY MICROPHONE. His VOICE ECHOES ON THE PRODUCTION FLOOR.</scene_description> <character>BOWARD</character> <dialogue>Attention! Everybody, this is Boward. I want you all to take the rest of the day off. In fact, I want you to take tomorrow off too. We just closed the biggest deal of the year! Merry Christmas!</dialogue> <scene_description>A BI(, CHEER ERUPTS from the fioor.</scene_description> <character>BOWARD (CONT'D )</character> <dialogue>Oh, and you can take the hats off now, too.</dialogue> <scene_description>A BIGGER CHEER ERUPTS. Through the window, we see COWBOY HATS FLY INTO 'l'BE AIR from the production floor. Howard races to the elevator.</scene_description> <character>MAR.GARB'?</character> <dialogue>You're not gonna make it.</dialogue> <scene_description>The elevator doors open. Howard gets inside.</scene_description> <character>BOWARD</character> <dialogue>r •m gonna make it •••</dialogue> <scene_description>Bovard TOSSBS bis hat. out into the 01:rice as the elevator doo:rs close. == Script Fly.com == (CONTINU'EO)</scene_description> <character>CUT TO:</character> <dialogue>We HEAR the loud sound of'APPLAUSE. CUT TO: INT. KARATE ACADEMY - EVENING</dialogue> <scene_description>i Mothers, fathers and siblings applaud as the kids are awarded their belts. The SENSEI is 'Werking his way down the line of kids to JAMIE (7-8), who gives an expectant look at the crowd. He frowns. We see L!Z (JO's), Hovard's wife and Jamie's mom -- give a big wave and smile. She yells Jamie's name and cheers louder than anyone -- perhaps compensating for the noticeably EMPTY SEAT next to her. TBD (3O's), two seats away, is capturing the ceremony en VIDEO.</scene_description> <character>TED</character> <parenthetical>(shouts)</parenthetical> <dialogue>Johnny! Johnny!</dialogue> <scene_description>JOHNNY (7-0), right next to Jamie, looks and waves at the camera. Be nudges Jamie, who manages to force a smile and wave. Then Jamie glances over at the DOOR. No Boward. Liz notices and looks at the door as 'Well. She sighs.</scene_description> <character>LIZ</character> <dialogue>TED</dialogue> <parenthetical>(still filming)</parenthetical> <dialogue>Don't worry Liz, I'll make you guys a copy for B0Wc1rd. He shouldn't have to miss this.</dialogue> <scene_description>The sensei steps in front of Jamie.</scene_description> <character>LIZ</character> <dialogue>(Sadly\] No. Be shouldn't. Liz cheers and whistles, shouting Jamie's name. Be accepts the belt, but doesn't seem nearly as happy as the other kids. EXT. KARA'l'E ACADEMY - EVENING</dialogue> <scene_description>Tile families are exiting to the parking lot. Jamie and Johnny walk out tbe doors, tallowed by Liz: and 'l'ed. == Script Fly.com == {CONTIWe:D )</scene_description> <character>JOHNNY</character> <dialogue>(holding his belt} This is so cool! Isn't it cool? JAMIE I guess. JOH.\_'NY Turbo Tom's gonna be on when we get home.</dialogue> <scene_description>You wanna watch together?</scene_description> <character>JAMIE</character> <dialogue>I dunno.</dialogue> <scene_description>Liz overhears this exchange and frowns. A SINGLE MOTH.Ex catches up to ~ed and presents him with a BAG. She's a bit· flustered.</scene_description> <character>MOTHER 1</character> <dialogue>Ted. Bi. I thought you'd be here. I, uh, baked some cookies for you. You know, to thank you for fixing my screen door.</dialogue> <scene_description>'l'BD Oh, well thanks, Judy. She smiles and blushes. Ted continues talking to Judy as Liz catches up to Jamie. She puts her arm around him.</scene_description> <character>LIZ</character> <dialogue>I ·m sorry, sweetie. I •m sure Dad did his best to get here on time.</dialogue> <scene_description>Jamie nods sadly. EXT. BOWARD' S CAR - SAME :aoward pullsinto tile parking lot to see everyone leaving.</scene_description> <character>BOWARD</character> <dialogue>Damn.</dialogue> <scene_description>He pulls to a stop aoo.gets out. Spots Jamie and Liz walking over to her car •. Be .hurries over to them.</scene_description> <character>BOIWW</character> <dialogue>Liz! Jamiel</dialogue> <scene_description>They turn to see him. Liz looks less than pleased.</scene_description> <character>HOWARD</character> <dialogue>Guys, i:am so sorry. I left on time but there was a big tie-up on --</dialogue> <scene_description>Liz holds up her hand, stopping him.</scene_description> <character>LIZ</character> <dialogue>You're over an hour late.</dialogue> <scene_description>She shakes her head, disappointed. Boward frowns. Stands therk helplessly. He looks down at Jamie.</scene_description> <character>HOWARD</character> <dialogue>Hey, buddy, bow'dya do?</dialogue> <character>JAMIE</character> <dialogue>Okay.</dialogue> <character>HOWARD</character> <dialogue>So, those ba!ld.s registered weapons yet?</dialogue> <character>JAMIE</character> <dialogue>No.</dialogue> <scene_description>Howard sighs. Ted pops bis bead in.</scene_description> <character>TED</character> <dialogue>Hey Boward! Merry Christmas1</dialogue> <parenthetical>(holds up the camera)</parenthetical> <dialogue>Sorry you missed it. But I got it all on video for ya!</dialogue> <scene_description>Boward barely forces a smile. For SOllle reason, this guy just rubs him the wrong way.</scene_description> <character>BOWIIJID</character> <parenthetical>(dryly)</parenthetical> <dialogue>Gee. thanks, Ted.</dialogue> <scene_description>Ted nods and smiles genuinely. Jamie and Johnny wander off together as oue of the other MOl'lilsRS strol.J.s by, child in tow. She puts a lland on Ted• s ann, a bit too friendly. d01'liER 2 Ted! '1'ha.nk god I found you. You know, I was wondering if you•d mind taking a look at my porch light for me. It doesn't seem to want to work.</scene_description> <character>TED</character> <dialogue>sure. You know, it may just be the cold--</dialogue> <scene_description>The mother leads Ted away as they talk. Boward shakes his head.</scene_description> <character>HOWARD</character> <dialogue>There he goes. Champion of the Lonely Housewives.</dialogue> <character>LIZ</character> <dialogue>I don't think you've got any room to talk right now. At least he was here tonight.</dialogue> <character>HOWARD</character> <dialogue>Aw,\_ come on Liz! You think I wanted to be late? I know how much Jamie was looking forward to this. I left work early and everything. I mean, if you only -</dialogue> <character>LIZ</character> <dialogue>LOok, Let's just talk about thi.s at home, okay?</dialogue> <scene_description>Boward sighs.</scene_description> <character>BOWARD</character> <dialogue>I •m sorry.</dialogue> <scene_description>Liz looks at him. What can she say? She spots Jamie and Johnny, comparing their belts. Boward sees them too.</scene_description> <character>BOWARD</character> <dialogue>lemme drive him home. I • 11 take him. for ice cream.</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>Hey! Jamie! Wanna ride with me?</dialogue> <scene_description>Jamie looks at him, then purposefully walks over to Liz• s car. Liz looks at Boward.</scene_description> <character>LIZ</character> <dialogue>Be's upset, Boward. What did you expect? We'll meet you back at home.</dialogue> <scene_description>She wal.ks off to the car, leaving Boward alone in the parking lot. INT. LIVING ROOM - EVENING Jamie lies on the floor, inches away from the TV. Be• s watching his favorite show, '1'tmBO TOM.</scene_description> <character>LIZ. (O.C.)</character> <dialogue>Jamie, move back. You'll ruin your eyes.</dialogue> <scene_description>Jam.ie ignores her and watches tile screen, transfixed. == Script Fly.com == (CONTINUED}</scene_description> <character>ON THE TV:</character> <dialogue>NEGATOR, a MUTANT ALIEN CREATURE with a BLACK CAPE, holds a LITTLE BOY hostage in his LARGE CAVE-LIKE LAIR. It is guarded by his ROBOTIC HENCHMEN, BOLT and DOLT.</dialogue> <character>NEGATOR</character> <parenthetical>(after an evil villain laugh)</parenthetical> <dialogue>so you see, computer whiz, now you're trapped. And if you ever expect to get out of here, you'd better tap into the system that controls that laser satellite. Then my revenge will be complete, and there's nothing Turbo Tom can do to stop me I</dialogue> <scene_description>Negator laughs maniacally again. Suddenly, there's a LOUD EXPLOSION and a BOLE is BLOWN OUT of the CAVE WALL. As the smoke clears, we see • • • it• s TURBO TOM ( in his slick looking superhero suit -- complete with HELMET and JET-PACK). 'l"01mO TOM Think again, Negator. It's Turbo Time. Jamie smiles as Turl:&gt;o Tom springs into action. He continues to watch as -we PAN to the KITCHEN DOORWAY. INT. Kl'l'CHBh - SAKE Howard and Liz are arguing with hushed voices.</scene_description> <character>LIZ</character> <dialogue>Do you know Jamie waited to be the last one to test tonight?l Just in case you showed up at the last minute? Honestly, Howard, it'd be one thing if this was the first ti.me! Or like, the hundredth. But it's .ill the ti.me! You can't keep disappointing him like this. I mean, how many excuses am I supposed to make for you? It's enough!</dialogue> <character>BOWARD</character> <dialogue>I - I don't know what to say. I was closing this deal and ••• god, I •m so sorry.</dialogue> <character>LIZ</character> <dialogue>Yeah, well don't tell me. Tell him.</dialogue> <scene_description>Howard hangs his head and shuffles back into the living room. == Script Fly.com ==</scene_description> <character>INT. LIVING ROOM - SAME</character> <dialogue>Howard is about to say something, ,but doesn't want to interrupt the show. Be leans against the wall and watches with Jamie. ON THE TV: Turbo Tom is battling with Bolt and Dolt, while Negator grabs the boy and CLIMBS a LADDER to the top of the cave. TUrbo Tom uses his EYE BEAM LASERS :to knock back Bolt and his TURBO-RANG (a powerful boomerang) to take care of Dolt. FANG, TUrbo Tom's PINK FLYING-SABERTOOTH-TIGER SIDEKICK, makes a ROARING SOUND and points up at Negator.</dialogue> <character>TURBO TOM</character> <dialogue>I see him, Fang 1</dialogue> <scene_description>Turbo Tom FIRES UP BIS JETPACK, and just as Negator is about to toss the little boy off the ladder, Turbo Tom s'WOOps in to save him. Fang roars in approval. Jamie cheers. Boward smiles.</scene_description> <character>JAMIE</character> <dialogue>Yes!</dialogue> <scene_description>Meanwhile, Turbo Tom has TWISTED THE LA.DOER around Negator, trapping him. Be lifts the boy into his arms.</scene_description> <character>TURBO TOM</character> <dialogue>What do you say we get you home, BObby?</dialogue> <scene_description>Be takes off into the sky, holding little Bobby.</scene_description> <character>BOBBY</character> <dialogue>Turbo Tom, you 're the best! I knew you'd make it -- you always show up right o,n ti.met .</dialogue> <scene_description>Jamie nods in agreement. Boward notices and his smile fades. TURBO 'l'OM Glad you could count on me. They exchange the special 'l"urbo Tom SALU'l'E and soar even higher into the sky as the closing MUSIC plays triumphantly. Jam.ie MIRRORS the salute by himself. Boward steps·away from the wall and clears his throat.</scene_description> <character>BOWARD</character> <dialogue>Uh, Jamie? Bey champ -- Look, about your class tonight. z•~ really •••</dialogue> <scene_description>== Script Fly.com == {CONTINUED) Jamie just ;Looks up at Howard and then RUNS UP THE STAIRS TO HIS ROOM. Howard ca1ls out after him.</scene_description> <character>HOWARD</character> <dialogue>. Jamie?!</dialogue> <scene_description>i We hear his bedroom DOOR SLAM. Howard walks over to the stair~. : Boward passes Liz, watching him from the kitchen. She saw Jamie run off too. She shakes her head at.Boward, disappointed. ·</scene_description> <character>HOWARD</character> <dialogue>I'll talk to him.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - NIGBT</stage_direction> <scene_description>Howard taps on Jamie's door.</scene_description> <character>HOWARD</character> <dialogue>Jamie? Can I come in?</dialogue> <scene_description>No answer. Howard opens the door. INT. JAMIE'S ROOM - SAME</scene_description> <character>HOWARD</character> <dialogue>Hey kiddo.</dialogue> <scene_description>Jamie lies on the bed, his back to Howard. Boward enters the room. He sees the PURPLE KARATE BELT hanging on the back of a chair.</scene_description> <character>HOWARD</character> <dialogue>Whoa! Is this it,</dialogue> <scene_description>Be picks up the belt. Jamie turns back around and nods.</scene_description> <character>BOWARD</character> <dialogue>Now l;.b.i.! is really cool!. How do you ••• 7</dialogue> <scene_description>Be tries to tie it around his .waist.</scene_description> <character>BOWARD</character> <dialogue>What, does it go 1ike this?</dialogue> <scene_description>Jamie doesn't react. Howard ties the belt around his forehead like a samurai warrior.</scene_description> <character>BOWARD (CONT€� D)</character> <dialogue>or like this?</dialogue> <scene_description>Boward strikes a •xung Fu• pose. Starts making silly karate "··· sounds and movements. Jamie doesn •t even smile. Howard pulls the belt off of his head and sighs. Sits at the.foot of Jamie's bed.</scene_description> <character>BOW.ARO</character> <dialogue>I did something really stupid today, huh?</dialogue> <scene_description>Jamie shrugs.</scene_description> <character>JAMIE</character> <dialogue>I don• t care.</dialogue> <scene_description>Jamie rolls back over.</scene_description> <character>BOWARD</character> <dialogue>Aw, Jame. r sure hope that's not true. Because I really wanted to be there,</dialogue> <scene_description>·today. Believe me Jamie turns around again.</scene_description> <character>JAMIE</character> <dialogue>But you always say that - and you never come anyway. Purple was 7</dialogue> <scene_description>important, Dad! It's one away from green and that:s three away from black!</scene_description> <character>BOWARD</character> <dialogue>Well ••• I saw you get yellow.</dialogue> <character>JAMIE</character> <dialogue>But you· missed blue.</dialogue> <character>BOWARD</character> <parenthetical>(sighs)</parenthetical> <dialogue>You're right. And r can't tell you how sorry I am. I just wish there were some way I could make it up to you •••</dialogue> <scene_description>Jamie thinks •</scene_description> <character>JAMIE</character> <dialogue>well, are you coming to the parade tomorrow? ·</dialogue> <character>BOWARD</character> <dialogue>The parade?</dialogue> <character>JAMIE</character> <dialogue>The Lights Before Christmas Parade. we go every year. well, you didn • t go last year, or the year before - but I always go. AnyWay, Turllo Tom's gonna be there and JOhnny and I are planning something rea11y coo1 so you coul.d --</dialogue> <character>HOWARD</character> <dialogue>sure, sure. I'll go. But - I was talking more like something special just for you. Like • • • I don ' t know. Maybe if there was something really neat you wanted for Christmas?</dialogue> <character>JAMIE</character> <dialogue>Oh. I already wrote Santa a letter. He'll get it for me.</dialogue> <character>BOWARD</character> <dialogue>well you know ••• Santa can get awfully busy this time of year. And sometimes he even asks Moms and Dads to help out a little. SO if there's a certain something you really want, maybe I could get it for you so Santa can concentrate on, you know ••• everything else.</dialogue> <character>JAMIE</character> <dialogue>I dunno. It •s not important. And you •re probably busier than Santa anyway.</dialogue> <character>HOWARD</character> <dialogue>I'm not that busy. And, hey, don't worry about me. Just tell me 'What it is. I'll take care of it.</dialogue> <character>JAKIE</character> <dialogue>All right.</dialogue> <scene_description>{spewing) I want the Turbo Tom action figure with the arms and legs that move and the boomerang shooter and the eye beams and the removable jet pack and accessories sold separately, batteries not included!</scene_description> <character>BCIHARO</character> <dialogue>Whoa. Glad you bad to stop and think about it.</dialogue> <character>JAMIE</character> <dialogue>Jonnny•s gonna get one from his Dad and so'll everybody el.Se I know. Whoever doesn • t will be a real loser.</dialogue> <character>HOWARD</character> <dialogue>Well, tbat definitely won't be you.</dialogue> <scene_description>·==Script Fly.com == (CONTINUJ!D )</scene_description> <character>JAKIE</character> <dialogue>How do you know?</dialogue> <character>HOWARD</character> <dialogue>Because something tells me you're going to find a brand new Turbo • • • uh •••</dialogue> <character>JAMIE</character> <dialogue>Tom.</dialogue> <character>BOWARD</character> <dialogue>Turbo TOm doll under that tree Christmas morning.</dialogue> <character>JAKIE</character> <dialogue>Really?</dialogue> <character>HOWARD</character> <dialogue>Really. Ready for bed?</dialogue> <character>JAMIE</character> <dialogue>I dunno. can I draw for a little?</dialogue> <character>HOWARD</character> <dialogue>sure.</dialogue> <scene_description>Boward turns the light on over Jamie's little desk-set. Jamie -,· sits down and gets out his crayons. He starts to draw -- tongue sticking out of the corner of his mouth in concentration. Howard watches, smiling.</scene_description> <character>HOWARD</character> <dialogue>Whatcha drawing?</dialogue> <character>JAMIE</character> <dialogue>A picture of you.</dialogue> <character>BOWARD</character> <dialogue>Ke?</dialogue> <scene_description>Boward looks over Jamie• s shoulder.</scene_description> <character>BONARD</character> <dialogue>Beyl That does kinda look like me. Except</dialogue> <scene_description>is my head really~ big?</scene_description> <character>JAKIE</character> <dialogue>No ••• It's bigger.</dialogue> <scene_description>Jamie laughs. == Script Fly.com ==</scene_description> <character>HOWARD</character> <dialogue>{laughs}</dialogue> <scene_description>Oh it is, huh? Well, if you need a bigger piece of paper so you can get it all in, you just let me know, okay?</scene_description> <character>JAMIE</character> <dialogue>Okay.</dialogue> <scene_description>Howard walks to the door •</scene_description> <character>.!AMIE</character> <dialogue>I love you, Dad.</dialogue> <scene_description>Howard turns around, touched.</scene_description> <character>BOWARD</character> <dialogue>I love you too, .:tame.</dialogue> <scene_description>· Jamie looks back down and continues drawing. Howard watches him for a moment and then leaves. INT. BEDROOM - NIGHT Howard enters. Liz is on the bed, WRAPPING CHRISTMAS PRESENTS.</scene_description> <character>BOWARD</character> <dialogue>I think he'll be okay. Gave me a good left hook to the eye, but I guess I was asltin' for it.</dialogue> <character>LIZ</character> <dialogue>Yeah. You certainly were.</dialogue> <scene_description>She looks up at Howard and gives him a little smile.</scene_description> <character>LIZ</character> <dialogue>Look, I'm sorry a.bout before -- but I just want Jamie to feel like be can depend on you. That you'll keep your promises. You know, if you say you're gonna be at his karate class, you'll be there with the other dads •••</dialogue> <scene_description>Liz enters the closet. we hear her rummaging around.</scene_description> <character>BOWARD</character> <dialogue>sure ••• like Ted.</dialogue> <character>HOWARD</character> <dialogue>toner fumes from the copy machine, I could stay home all day too. Pix everything for the neighborhOOd ladies.</dialogue> <character>LIZ (FROM CLOSET)</character> <dialogue>Boward -</dialogue> <character>HOWARD</character> <dialogue>You know who I feel bad for is Johnny. The fact that he's gotta spend -kends and holidays with the guy --</dialogue> <scene_description>Liz comes out holding another gift to be wrapped.</scene_description> <character>LIZ</character> <dialogue>Howard. That's not nice. And you're completely missing the point. I don't want you to be like Ted. I just want you to be more like Boward the father. · Instead of Boward the businessman, okay?</dialogue> <scene_description>She gives him a kiss on the cheek. Smiles.</scene_description> <character>HOWARD</character> <dialogue>I g!!! Howard the father.</dialogue> <scene_description>Liz puts the box down and goes back into the closet. Howard takes off his pants, stands there in his boxers and socks.</scene_description> <character>BOWARD</character> <dialogue>I mean, you should've seen us in there just now. Drawing, talking Turbo 'l'im •••</dialogue> <character>LIZ (FROM CLOSET)</character> <dialogue>Turbo Tom.</dialogue> <character>BOWARD</character> <dialogue>Right. '!'here was some real father-son bonding going on in there.</dialogue> <character>-LIZ (FROM CLOSET)</character> <dialogue>Oh -- that reminds me. You got the doll, right?</dialogue> <character>BOWARD</character> <dialogue>The doll?</dialogue> <scene_description>LIZ ( FROM CLOSE'l") The Turbo Tom doll. I asked you t0 pick one up two weeks ago. Boward s:maclts his forehead.</scene_description> <character>HOWARD</character> <dialogue>ni£ was the doll?</dialogue> <scene_description>Liz pops her head out of the closet, exasperated.</scene_description> <character>LIZ</character> <dialogue>Oh Howard! You didn't!</dialogue> <character>HOWARD</character> <dialogue>No no -- I meant,~ was the doll. The</dialogue> <scene_description>. doll that I -- got. Turbo T-- . • • T- that one. Liz smiles. Relieved.</scene_description> <character>LIZ</character> <dialogue>Whew. Great! Is it wrapped?</dialogue> <character>HOWARD</character> <dialogue>Huh? Oh -- uh -- nol</dialogue> <character>LIZ</character> <dialogue>Great. I'll go get it and do it now.</dialogue> <character>HOWARD</character> <dialogue>Nol I mean, yest It -- it is wrapped. They wrapped it for me. The people I .•• bought it from.</dialogue> <scene_description>Howard walks into the bathroom, nervous.</scene_description> <character>LIZ</character> <dialogue>Okay. I'll go get it. That way we can put it under the tree tonight.</dialogue> <scene_description>She grabs his CAR KEYS off of the nightstand. Howard rushes out of the bathroom and 'l"FIIPS over his pants. Falls.</scene_description> <character>HOWARD</character> <dialogue>I ·11 go. It •s uh -- cold in the garage. And I •m still dressed. ·</dialogue> <scene_description>She looks down at Boward. Pants around his ankles. Be looks up.</scene_description> <character>HOWARD</character> <dialogue>You know what I mean.</dialogue> <scene_description>She shrugs and tosses him the keys. He scrambles to his feet and exits. Liz shakes her bead, baffled. ~= Script Fly.com ==</scene_description> <character>EXT. GARAGE - NIGHT</character> <dialogue>Boward is closing the garage door, the NOW WRAPPED anti-freeze container under his arm. He bumps into something and YELPS, coming face to face with a LIVE REINDEER. It snorts. Ted trots over, grabbing for the reindeer's leash.</dialogue> <character>TED</character> <dialogue>Whoa! sorry about that, Howie. A little Christmas surprise for Johnny.</dialogue> <character>BOWARD</character> <dialogue>Well. You just think of everything, don't you.</dialogue> <character>TED</character> <parenthetical>(agreeing)</parenthetical> <dialogue>Boward, I'm of the mindset that you can never do too much to make a child's Christmas magical.</dialogue> <character>BOWARD</character> <dialogue>Ah. And what happens to Blitzen after Christmas?</dialogue> <character>TED</character> <parenthetical>(tugging reigns)</parenthetical> <dialogue>I •ve been watching a small family of deer. down by Glendale Lake. I.'d like to take him down there and set him free. And if Nature's kind •••</dialogue> <parenthetical>(patting the deer)</parenthetical> <dialogue>••• they• 11 take him in like he's one of their own.</dialogue> <scene_description>Ted mists up, eDDtional. Boward rolls his eyes .</scene_description> <character>HOWJUU&gt;</character> <dialogue>Well, Ted, that's ••• touching.</dialogue> <scene_description>Ted's too choked up to ta1k, so he just nods. Boward starts to back avay, just as Ted C01DpOSes hilllself and notices the package in Boward• s anas.</scene_description> <character>'!'ED</character> <dialogue>What're you doing up so late anyway? A last minute gift?</dialogue> <character>HOWARD</character> <dialogue>Sort of.</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>( CONTINUED )</character> <dialogue>TED</dialogue> <scene_description>I thought Liz did all the Christmas shopping.</scene_description> <character>BOWARD</character> <dialogue>FUnny, that •s what I thought too.</dialogue> <scene_description>The BOW pops off. Ted hands it back to Boward.</scene_description> <character>TED</character> <dialogue>What is it?</dialogue> <character>HOWARD</character> <dialogue>If you must know, it's one of those Turbo Toms Jamie wanted so bad.</dialogue> <character>TED</character> <dialogue>Hey! That's great! I got one for Johnny months ago. It's nestled safely under our tree.</dialogue> <character>BOWARD</character> <parenthetical>(hoisting the box)</parenthetical> <dialogue>Well, I'm off to nestle tbis one under ours.</dialogue> <scene_description>The box SLOSHES audibly. Howard grips it tightly to his chest, then taps his belly.</scene_description> <character>BOWARD (CONT' 0)</character> <dialogue>Hoo boy. Indigestion. Chili for lunch •••</dialogue> <scene_description>Be BELCHES. The reindeer makes a SIMILAR NOISE and LICKS Boward.</scene_description> <character>TED</character> <dialogue>Bow · bout that? Must be some kind of mating call. l think he likes you.</dialogue> <character>BOWARD</character> <parenthetical>( backing away)</parenthetical> <dialogue>Wonderful. Be sure to give him my number. Look Ted, I gotta go.</dialogue> <character>TED</character> <dialogue>I understand. Merry Christmas Eve Evel</dialogue> <character>BOWARD</character> <dialogue>And a Happy • • • New Year New Year •••</dialogue> <scene_description>Ted laughs and yanks the reindeer away. Howard shakes his head and enters the house. · == Script Fly.com ==</scene_description> <character>INT. LIVING ROOM - NIGHT</character> <dialogue>Howard carefully places the package under the tree. As he tiptoes upstairs, we see the bow pop off again. INT. HOWARD/LIZ'S BEDROOM - MORNING Howard lies in bed a.lone. Bis eyes shoot open. Re looks at Uie</dialogue> <character>I</character> <dialogue>clock. It's five to nine. Be looks out the window. There"s Sl{OW on the ground. INT. LIVING ROOM - MORNING Boward comes rushing down the stairs, getting dressed along the way~</dialogue> <character>BOWARD</character> <dialogue>Lizl Why'd you let me oversleep?</dialogue> <scene_description>He peeks into the kitchen. !to one's in there. Be heads back through the living room to the front hallway.</scene_description> <character>BOWARD</character> <dialogue>I"ve got a lot of important things to do today. Crucial business --</dialogue> <scene_description>Be notices the FRONT DOOR is OPBN, and there's a large LADDER ··~· propped up against the front of the house.</scene_description> <character>BOWARD (CONT€� D)</character> <dialogue>What the ••• ?</dialogue> <scene_description>He steps outside to see Ted stringing LIGHTS on the front of the house. Liz stands under the ladder, feeding the lights up to him. Jamie and JohMy hover excitedly.</scene_description> <character>BOWARD</character> <parenthetical>(to Liz, re: Ted)</parenthetical> <dialogue>What is he doing?</dialogue> <scene_description>'l'BD Just a second, Boward! Okay everyone 1 Ready? 0ne ••• TWO ••• Be PLUGS in the final strand of lights.</scene_description> <character>TED</character> <dialogue>Three!</dialogue> <scene_description>The Whole front of the house lights up. It looks great. Ja.inie. Johnny and Liz ·OQh· and ·anlUr appreciatively. Howard looks irritated as Ted climbs down from the ladder.</scene_description> <character>BOWARD</character> <parenthetical>(to Liz)</parenthetical> <dialogue>I could've done that.</dialogue> <character>TBD</character> <parenthetical>(overhearing)</parenthetical> <dialogue>It was no problem, Boward. I had some extra ligbts in the garage and since you hadn't put any up yourself, I figured -- what the heck! Why not spread some Christmas cheer around the neighborhood?</dialogue> <scene_description>Howard's about to make a rem.ark, but is interrupted by Jamie -- who's staring up at the house, awed.</scene_description> <character>JAMIE</character> <dialogue>Wow l This is cool!</dialogue> <character>BOWARD</character> <parenthetical>(beat)</parenthetical> <dialogue>Uh,.Liz -- can I talk to you for a minute?</dialogue> <scene_description>He pulls Liz .into the front hallway of the house. INT. POYER - SAME Boward speaks in hushed tones.</scene_description> <character>HOWARD</character> <dialogue>LOOk, I've gotta run to the office for a little bit, so --</dialogue> <character>LIZ</character> <dialogue>Boward! It's Christmas Eve Dayt You are nQ:t going into the office!</dialogue> <scene_description>That was loud en&lt;Jugh for everyone. to hear. Jamie runs up from the lawn.</scene_description> <character>JAMIE</character> <dialogue>You·re going to w::&gt;rlc?l You can•t1 You said you"d come watch the parade!</dialogue> <character>BOWARD</character> <dialogue>Oh • • • right. The parade. Well --</dialogue> <character>J'.AKIB</character> <dialogue>Dad, TUrbo Tom's gonna be there! You can't miss itl</dialogue> <scene_description>== Script Fly.com == ( CONTINU""..D):</scene_description> <character>HOWARD</character> <dialogue>I won't. I'll be at the office for an hour, tops. I'll make it, don't worry •••</dialogue> <scene_description>Jamie looks at him doubtfully. Be goes back to join Ted, whots now building a SNOWMAN with Johnny. I</scene_description> <character>HOWARD (CONT'D}</character> <dialogue>I promise!</dialogue> <scene_description>Be turns to Liz who just stares at him, disappointed. She joins the group in the snow and Howard. sighs. Be starts walking to Jtis car.</scene_description> <character>'I'BD</character> <dialogue>You know, Liz, speaking of sharing with neighbors, I just installed a new alarm. And I'd feel a whole lot better if someone next door knew the code. Mav I give it to youl ~</dialogue> <scene_description>Howard stops and turns back to Ted.</scene_description> <character>BOWARD</character> <dialogue>Whatl She doesn't need your alaim code.</dialogue> <character>TED</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>It's ANELCQME•. You know, the last thing an intruder would ever expect -- a warm -welcome •••</dialogue> <scene_description>Liz nods. Boward rolls his eyes and heads for his car. TED {CON'l" D) Oh -- Boward! You know, they say it may get.icy later. Kay~ you shou:J.d put cha.ins on your tires. Boward forces a smile and waves. BOWAl!D (through gritted teeth) Maybe you should go home ••• Be gets into his car and leaves.</scene_description> </scene> <scene> <stage_direction>EXT. '1'HB CITY - DAY</stage_direction> <scene_description>A cl.ean,mid-sized urban setting. Howard• s .car passes a BANNER advertising the annual. ·LIGHTS BEFORE CBRISTMAS PARADE •, sponsored by runtime TOys. MEET 'i"URBO TOM! Live and in person!· A picture of 'l'llrt&gt;0 'l'0m waves from. the banner. == Script Fly.com ==</scene_description> <character>EXT. !ASTSIOE MALL - DAY</character> <dialogue>Built during the first mall boom in the sixties. It's certainly seen better days. A virtual sea of cars. Like everyone else, Howard · s searching for a parking pace. \</dialogue> <character>HOWARD</character> <dialogue>What are all these people doing here so early?</dialogue> <character>INT. TOMMY€� S TOYS - OAY</character> <dialogue>One of the last of the small-time independents, but today the place is stuffed to the gills. customers fight over what's left. Howard heads· for a long line. Passes a SHORT LADY going the other way with a store bag.</dialogue> <character>SHORT LADY</character> <dialogue>I got one! I can"t believe I got one!</dialogue> <scene_description>Boward cranes his neck to see how long he may have to wait. Too long. so he pushes his way toward the front of the pack. Those he cuts off hurl obscenities. A harried SALES CLERK is dealing with a suicidal MOTHER, her LI'l'TLE GIRL in tow.</scene_description> <character>MOTHER SHOPPER</character> <dialogue>She wants a B-A-R-B-I-E but you don't seem to have any B-A-R-B-I-E's. Are there any in back?</dialogue> <character>SALES CLERK</character> <dialogue>I'm sorry, but we're all out of B-A-R-B- I-E's. we do have a few S-K-I-P-P-E-R'S left •••</dialogue> <scene_description>LI'l"I'LE GIRL BUt I don't want a Skipper! I want . Barbie111 The girl starts SCRRAMING. The mother angrily tugs her kid away. CUstoners surge fm:ward. A short, nervous MAILMAN (burdened with an OVERLOADED MAIL SACK) turns to Boward.</scene_description> <character>MAILMAN</character> <dialogue>some people just can't take the pressure. Know what I mean?</dialogue> <character>HOWARD</character> <dialogue>It's N-U-T-S. ·</dialogue> <scene_description>== Script Fly.com== {CONTINUED}</scene_description> <character>SALES CLERK</character> <dialogue>Next!</dialogue> <scene_description>C!JS'roME:R 1 That's me!</scene_description> <character>HOWARD</character> <dialogue>Just a second. I just have one quick question. Do you mind?</dialogue> <scene_description>customer 1 turns to Howard with a glare that would make Hannibal Lecter shiver.</scene_description> <character>. BOWARD</character> <dialogue>But it can certainly wait.</dialogue> <character>MAILMAN</character> <dialogue>{shakes Howard's hand!</dialogue> <scene_description>Myron Lara.bee. Letter carrier.</scene_description> <character>BOWARD</character> <dialogue>Boward Puttnam. Frantic.</dialogue> <character>KYRON</character> <dialogue>Little last minute shopping, huh?</dialogue> <scene_description>Boward nods.</scene_description> <character>KYRON</character> <dialogue>Me, I got no choice. Busiest time of the year. Gotta 1110Ve all those important Christmas cards from people who never even speak to each other during the rest of the year. Then there are the presents from relatives that'll probably get returned anyway. Not to mention all the stinkin' letters to Santa at the North Pole - •course we just send those straight to the furnace 1</dialogue> <scene_description>A little BOY has stopped in- front of M!RON. Be beard that· last bit and looks like he's about to cry. Bis FATHER quickly takes his hand and leads him away.</scene_description> <character>FATHER</character> <dialogue>Be didn't mean that, son. Be was only joking.</dialogue> <parenthetical>(back to Myron)</parenthetical> <dialogue>Jerk1</dialogue> <character>MYRON</character> <dialogue>Hey, I know where you live, pal!</dialogue> <parenthetical>(turns to Howard)</parenthetical> <dialogue>Great. Now santa'll get a letter from that kid again next year.</dialogue> <scene_description>Howard's getting a little nervous.</scene_description> <character>HOWARD</character> <dialogue>Sounds like a tough job.</dialogue> <character>MYRON</character> <dialogue>I can handle it.</dialogue> <scene_description>(defensive} You think I can't handle it? BOWARD No, that's not what I'm saying SALES CLERK Next! Howard and Myron exchange a look.</scene_description> <character>MYRON</character> <dialogue>What the hell, go ahead. Just, whatever it is, don't put it in the mail.</dialogue> <character>HOWARD</character> <dialogue>Thanks. I owe you one.</dialogue> <scene_description>SALES c:.ERlC can I help you?</scene_description> <character>BOWARD</character> <dialogue>Yeah • Where can I find a . . . a Turbo TOm? It's for 'l1l'f son, and he really wants --</dialogue> <scene_description>Boward stops because the Sales Clerk is LAUGHING at him.</scene_description> <character>SALBS CLBRK</character> <dialogue>A Turbo Tom? l Be• s looking for a Turbo Tcllll</dialogue> <character>CUSTOMER 2</character> <dialogue>You •re lookin • for a Turbo 'l'O!n? !</dialogue> <character>. MYRON</character> <dialogue>so am 1. What of it:?</dialogue> <scene_description>customer 2 1::&gt;esins to laugh too. Pret1::y soon the entire crowd is splitting their sides. "Be •s looking for a Turbo Tomi" It just ',j makes them laugh harder. The hysterics seem to spread out into the mall too. Boward and Myron look perplexed. == Script Fly.com ==</scene_description> <character>HOWARD</character> <dialogue>It shoots eye beams or something •••</dialogue> <character>MYRON</character> <dialogue>And its· arms and legs are supposed to move around •••</dialogue> <character>SALES CLERK</character> <dialogue>Nat for you guys they won't.</dialogue> <character>HOWARD</character> <dialogue>What •re you talking about? Why not? What'd I say?</dialogue> <character>SALES CLERK</character> <dialogue>Where•ve you been, mister?'Turbo Tom's the biggest seller of the season.</dialogue> <character>CUSTOMER 2</character> <dialogue>Take my word for it. You gotta better chance of bein • elected Pope than you than you do of findin • a Turbo Tom.</dialogue> <character>SALES CLERK</character> <dialogue>Especially on Christmas Eve.</dialogue> <scene_description>The world is crashing in on Howard.</scene_description> <character>BOWARD</character> <dialogue>No ••• don"t tell me that. It can't be It can't •••</dialogue> <scene_description>Myron is doing his best to contain his own panic.</scene_description> <character>SALBS CLERK</character> <parenthetical>(gesturing)</parenthetical> <dialogue>But, we •ve got plenty of Turbo '!'Om' s faithful pet saber tooth tiger Fang •••</dialogue> <scene_description>Boward and Myron take a look at a pile of the repulsively cute stuffed Fangs. Yuck. KmON ( teeth clenched) I don't want a Fang. I want a Tiny Todd like him!</scene_description> <character>HOWARD</character> <dialogue>You mean 'l'Urbo Tom.</dialogue> <scene_description>I:</scene_description> <character>MYRON</character> <dialogue>Whatever!</dialogue> <character>HOWARD</character> <dialogue>There must be one left somewhere.</dialogue> <character>SALES CLERK</character> <dialogue>Last one left a minute ago. Short lady had it on layaway. Next!</dialogue> <character>BOWARD/MYRON</character> <dialogue>Short lady?! What short lady?!</dialogue> <scene_description>Boward and Myron race out of ·the store. INT. EASTSIOB MALL - DAY Howard and Myron race out of Tommy's Toys, looking frantically about for the short lady. '!'here are way too many people in the mall. Suddenly, Boward sees a woman carrying a Tommy's Toys bag, entering a DEPARTMENT STORE. Myron spots her too. They both dash off. But Myron immediately collides with a passing shopper. His mail bag flies open. Letters and packages fill the air. Myron's got to drop to the ground and pick them up. Howard pinballs his way through the crowd of shoppers, struggling to·keep his eyes on the bag. Be finally reaches the store and runs inside. INT. DEPARTMENT STORE - DAY Boward is immediately greeted by cheery SALESPEOPLE. They shove their wares at him, forming a human gauntlet.</scene_description> <character>HAWKER 1</character> <dialogue>Try our new perfume?</dialogue> <scene_description>A spritz nearly blinds Boward. AAAHI</scene_description> <character>HAWJCBR 2</character> <dialogue>You •d never know it • s fat free I</dialogue> <scene_description>A horrible tasting candy is shoved into his mouth. rucx1</scene_description> <character>HAWKER 3</character> <dialogue>Free make-over consultation?</dialogue> <scene_description>Be's hit with a big powder puff. COUGH! BAiflCER 4 Fromot1onal tie pins? == Script Fly.com == (COHTINtlED) Howard screeches. Stuck in the chest. Smiling HAWKER 5 is next. But before he can say anything, HOWARD TOSSES HIM ASIDE. His wares go flying and Boward keeps moving. Boward finally catches up to the bag. He grabs the SHORT I.ADY• carrying it. She turns to see Howard, out of breath, clutching his chest, powder caked on his face, and CHOKING on the awful, candy. He can't get a wcrd out •</scene_description> <character>. SHORT LADY</character> <dialogue>What do you want?!</dialogue> <scene_description>Boward keeps her from walking away. Makes more choking sounds.</scene_description> <character>SHORT LADY</character> <dialogue>You• re disg11sting. I 'm go·ing to call security! .</dialogue> <scene_description>Boward can't communicate. Getting even more frustrated.</scene_description> <character>SHORT LADY</character> <dialogue>Look. If you have something to say to me, just spit it out!</dialogue> <scene_description>And Boward does just that. Right on to the Short Lady's fur coat.</scene_description> <character>BOWARD</character> <dialogue>Sorry. Stuck in my throat.</dialogue> <character>SIIORT LADY</character> <parenthetical>(repulsed)</parenthetical> <dialogue>Not anymore.</dialogue> <character>HOWARD</character> <dialogue>I've been chasing you halfway across the mall.</dialogue> <character>SHORT LADY</character> <dialogue>Just to spit on me •••</dialogue> <scene_description>Boward tries to flick the candy off.</scene_description> <character>BOWARD</character> <dialogue>Sorry, no: ?011r bag.</dialogue> <character>SHORT LADY</character> <dialogue>You want to spit in my bag?</dialogue> <character>HOHARD</character> <dialogue>No, no1 I just wanted to otter you twice what you paid for it.</dialogue> <character>SHORT LADY</character> <parenthetical>(shocked)</parenthetical> <dialogue>Twice?!</dialogue> <character>HOWARD</character> <dialogue>Okay -- three timesl And a little extra for dry cleaning. ·Whaddaya say?</dialogue> <character>SHORT LADY</character> <dialogue>I say for that kind of profit, here knock yourself out.</dialogue> <character>...</character> <dialogue>She grabs the money and disappears. Boward takes a breath before opening the bag ••• a pulls out a pink fluffy FANG. He growls with disappointment. INT. XI'l'CHBN - DAY</dialogue> <dialogue>Liz is baking a batch of CHRISTMAS COOKIES. Cookies are EVERYWHERE, and she 's covered in FLOUR and FOOD COLORING. Ted enters. through the kitchen door, brushing off his hands.</dialogue> <character>TED</character> <dialogue>Hi Liz. I was shoveling my walk and I noticed a nasty patch of ice by your garage door. I didn •t ,ent anyone to slip, so I put some rock salt down.</dialogue> <character>LIZ</character> <dialogue>Thanks , Ted.</dialogue> <scene_description>Ted opens and closes the kitchen door •. It makes a little SQUEAKING sound.</scene_description> <character>TED</character> <dialogue>a:mm. this squeaking bother you?</dialogue> <scene_description>Does •cause you krlov I could take care of it with a little oil.</scene_description> <character>LIZ</character> <dialogue>well sure. If you ,ent to.</dialogue> <scene_description>Liz holds a plate oat. LIZ {CON'l" D ) How 'bout a Christmas cookie?. Ted holds his hand up, refusing.</scene_description> <character>TED</character> <dialogue>Oh, no. I couidn·t. They're tor the c:hil.dren.</dialogue> <character>LIZ</character> <dialogue>There's plenty for everybody. Go on. Consider it payment for services rendered.</dialogue> <scene_description>Just then, Jamie and Johnny run in from the living room.</scene_description> <character>JAMIE</character> <dialogue>Mom I have a question -- ooh can I have a cookie?</dialogue> <character>LIZ</character> <parenthetical>(laughs I Yes. Was that the question or just an afterthought? Jamie and Johnny help themselves to cookies. JAMIE (mouth full)</parenthetical> <dialogue>Umf. An a;fterthoughth. Cnd me an Johhy go to thf parade ulungh?</dialogue> <character>LIZ</character> <dialogue>swallow, please.</dialogue> <character>JAMIE</character> <dialogue>{swallowing)</dialogue> <scene_description>Sorry. Me and Johnny wanna go to the parade alone.</scene_description> <character>LIZ</character> <dialogue>You mean alone like without us? No.</dialogue> <character>JAMIE</character> <dialogue>Why not?</dialogue> <scene_description>Johnny, cheeks full of cookies, MUMBLES AN UNIN'l'ELLIGIBLE PROTEST as well.</scene_description> <character>LIZ</character> <dialogue>Because it• s going to be crowded and we should all go as a group.</dialogue> <character>JAMIE</character> <dialogue>come on. We go every year and</dialogue> <scene_description>Aw M0111., this always happensJ. You"re gonna wanna leave so late and we hafta leave early this time so we can get seats up front near TUrbo Tomi You just don• t think we' re grown up enough to go alone. But we are, I swear! Right, Johnny?</scene_description> <character>JOHNNY</character> <parenthetical>(mouth still full)</parenthetical> <dialogue>Umfff.</dialogue> <scene_description>Cookie chunks fall from Johnny's mouth.</scene_description> <character>TEO</character> <dialogue>Johnny -- not with your mouth full. Sorry, · Liz.</dialogue> <scene_description>Liz kneels down in front of the kids.</scene_description> <character>LIZ</character> <dialogue>I '11 tell you what. Bow about we make a deal? We let you leave early: Q!l your bikes, in light-colored clothing, ml:! hats •••</dialogue> <scene_description>The boys make a face at one another. Bats. Ick.</scene_description> <character>LIZ</character> <dialogue>And we all decide ahead of time on a meeting place. That's where you'll go and stay -- until we get there. Deal?</dialogue> <character>JAMIE</character> <dialogue>we gotta stay in one place the whole time?!</dialogue> <character>JOHNNY</character> <dialogue>But we can't!</dialogue> <scene_description>Ted looks at Johnny pointedly. 'l'ED Bey. Rememb&lt;ilr when - talked about compromising? Bow sometimes it feels better to make everyone happy? Johnny nods. Liz looks at Jamie.</scene_description> <character>LIZ</character> <dialogue>I think it's a pretty good offer.</dialogue> <scene_description>The kids look at each ether, considering •••</scene_description> <character>LIZ</character> <dialogue>So ••• whaddaya say? Deal?</dialogue> <character>JAM.IE</character> <dialogue>All right. Deal.</dialogue> <character>&amp;</character> <dialogue>LIZ</dialogue> <scene_description>Okay. They run outside. Liz sighs.</scene_description> <character>LIZ</character> <dialogue>Ugh. What a day.</dialogue> <scene_description>She looks around at the cookie mess, then at her watch.</scene_description> <character>LIZ</character> <dialogue>And I've still got to make lunch •••</dialogue> <character>TED</character> <dialogue>You know Liz, it seems like you could use a little •you• time. Go up, take a shower, rel'ax • • • I ' 11 clean up in here and fix some sandwiches for the boys.</dialogue> <scene_description>Liz laughs, amused.</scene_description> <character>LIZ</character> <dialogue>Ted!</dialogue> <character>TED</character> <dialogue>No, really. It's no problem. It's a season for giving •••</dialogue> <scene_description>Liz shakes her head in disbelief.</scene_description> <character>LIZ</character> <dialogue>All right. If you·say so.</dialogue> <scene_description>She heads upstairs. EXT. EASTSIDE MALL - DAY In a phone booth, Boward rifles through the directory and dials.</scene_description> <character>&amp;OWARD</character> <dialogue>Yes, can you tell me if you have any TUr.bo 'l'0ms left?</dialogue> <scene_description>HYSTERICAL LAIJGH'l'ER, Then CLICK. Boward tries another numbEr.</scene_description> <character>BOWARD</character> <dialogue>Do you have any Turbo Toms?</dialogue> <character>VOICE (ON PHONE)</character> <dialogue>Oh sure. I"ve got them in the back room. R1vis an~ Bigfoot are playing witb ·em1</dialogue> <scene_description>Click. Howard tries one more number.</scene_description> <character>RECORDED MESSAGE</character> <dialogue>'l'Oys Unlimited. No Turbo Toms left. If</dialogue> <scene_description>· you'd like further information, please press one ••• Howard slams the phone down. EXT. GARAGE - SAME Jamie and Johnny are exiting the garage. Jamie carries one of BOW'ard 's huge MIRACLE MATTRESS BOXES on his head, while Johnny drags a BOX crudely marked •supplies•.</scene_description> <character>JAMIE</character> <dialogue>Everything's going according to plan.</dialogue> <character>JOBNMY</character> <dialogue>Uh-uh -- Your mom said we have to stay in one place, r~member? That messes up everything.</dialogue> <character>JAMIE</character> <dialogue>Nab. She was just saying that. Besides, when everybody sees what we're gonna do they' 11 be too .ilnpressed to be mad.</dialogue> <character>JOBNHY</character> <dialogue>You think so?</dialogue> <character>JAMIE</character> <dialogue>Totally. I mean, how :many other kids are smart enough to figure out a way to actually ~ Turtlo Tom?</dialogue> <scene_description>Johnny nods. This i§ gonna be cool • • • The boys drag their stuff into the back SHED and close the door behind thela. INT. KI'l'CHlilt - DAY Ted's wearing a ·1uss THE COOK" APRON. The whole kitchen is cleaned and organized. Lunches containing all four food groups are· set out for the boys. Ick. Ted pours himself a cup of coffee as the phone rings. Once. Twice. No one picks 11p, so he does. T.tm Merry Christmas! Puttnam residence!</scene_description> <character>INTBRCUT WI'!'B BOWARD</character> <dialogue>HOWARD</dialogue> <scene_description>Hi, I -- Ted?</scene_description> <character>TED</character> <dialogue>Howard! Heyl</dialogue> <parenthetical>(genuinely concerned)</parenthetical> <dialogue>How's work going?</dialogue> <character>HOWARD</character> <dialogue>(annoyed} Fine. Let me talk ~o Liz. Ted picks up a CHRISTMAS COOKIE. Takes a bite. TED Mmml Oh, Boward! Excuse me -- but your wife's cookies are out of this world!</dialogue> <character>HOWARD</character> <dialogue>Who said you could eat my cookies?</dialogue> <character>TED</character> <dialogue>She did. "Payment for services renderedM.</dialogue> <character>BOWARD</character> <dialogue>services ren -- look. Lemme talk to her, okay?</dialogue> <scene_description>Ted calls out for Liz. No answer.</scene_description> <character>TED</character> <dialogue>Buh. I think she's still in the shower. Do you want me to go check?</dialogue> <character>BOWARD</character> <dialogue>NOSt I I mean, no. That's fine. on your way out, tell her I• m going to be a few minutes longer but she shouldn • t worry.</dialogue> <character>TED</character> <dialogue>No problem.. Bey, by the way, the kids asked if they could go to the parade alone today. Liz · and I discussed it and said it would be okay.</dialogue> <character>BOWARD</character> <dialogue>You and Liz discussed it.</dialogue> <character>TED</character> <parenthetical>(taking another cookie)</parenthetical> <dialogue>Well, - didn't want to bother you at the office. It's hard enough on you having to work today •••</dialogue> <scene_description>== Script Fly.com == Ted takes another bite of cookie.</scene_description> <character>T.ED</character> <dialogue>Oh, wowt Boward, these cookies! I've gotta get the recipe from Liz.</dialogue> <character>HOWARD</character> <dialogue>PUT THAT COOKIE DOWN! NOW!</dialogue> <character>TED</character> <dialogue>Howard? Is something bothering you? Because this time of year there's a very high incidence of stress-related breakdowns. You may want to try some deep breathing or --</dialogue> <scene_description>Howard's about to launch into a full-scale attack when a GROUP of PANICKBD SHOPPERS race by. One of them shouts:</scene_description> <character>SHOPPER</character> <dialogue>RTOy Warehousew at the Westside Promenade</dialogue> <scene_description>just got a last minute delivery of TUrbo 'l'Olllsl The shopper TRIPS and FALLS. The crowd TRAMPLES right over him. Boward drops the phone and takes off for his car. The phone dangles there.</scene_description> <character>TEO</character> <parenthetical>(through phone)</parenthetical> <dialogue>Boward ••• ? Boward ••• ?</dialogue> </scene> <scene> <stage_direction>EXT. HOWARD'S CAR - DAY</stage_direction> <scene_description>Boward races for his car and is nearly run down by Myron, who is careening by in his POSTAL DELIVERY JBBP. Boward dives into his car and peels out •</scene_description> </scene> <scene> <stage_direction /> <scene_description>EXT. BOWARD• S CAR - Dll As.it darts in and out of traffic, Howard's hands and feet alternate between the horn, gas pedal and brakes. Suddenly, he pulls up alongside Myron's mail jeep. Their eyes meet. Myron looks a bit wild-eyed~ Men on a mission. It• s Boward' s sedan versus Myron •s tiny jeep. Myron FLINGS a POORLY-WRAPPED FRtJITCAlCB: at Howard's car. It BOmiCES OFF 'l'BB BOOD as Myron speeds ahead. Boward tri.es to catch him -- as he does, My:r;on LAUNCBES an armful of .cmuSTMAS CATALOGS. They SPREAD ACROSS HOWARD'S WINDSBJ:ELD. Boward turns his WIPERS on to clear the catalogs -- just in till,e to witness h.imse1~ running a reQ light. Myron follows. == Script Fly.com == {CONTINUED)</scene_description> <character>OFFICER HUMMELL</character> <dialogue>Gee. Words can not express just how relieved I am about that, sir. eave a Merry Christmas now •••</dialogue> <character>BOWARD</character> <dialogue>I'm tcying •••</dialogue> <scene_description>Howard pulls away. Off to the side of the.road; An entire WADI.. pasted. with "Lights Before Christmas Parade" POSTERS. EXT. WESTSIDE PROMBNADB - DAY Boward drives into the parking lot. It's jammed with cars. He circles, looking for·a space. Be spots an OLD MAN loading packages into his ancient Dodge Dart, his movements excruciatingly slow. Boward can't wait any longer.</scene_description> <character>HOWARD</character> <parenthetical>(mutters)</parenthetical> <dialogue>He'll be dead before he's done loading those.</dialogue> <scene_description>Be spots a LOST SHOPPER.</scene_description> <character>BOWARD</character> <dialogue>EXcuse me, are you on your way out?</dialogue> <character>LOST SHOPPER</character> <dialogue>I would be if I could remember where I parked my car. Oh wait! There it is.</dialogue> <scene_description>Boward coasts behind her.</scene_description> <character>LOST SHOPPER</character> <dialogue>Nope. 'l'hat' s not it.</dialogue> <character>BOWARD</character> <dialogue>You mow,</dialogue> <scene_description>maybe I can belp. What kind of car is it?</scene_description> <character>LOST SHOPPER</character> <dialogue>A rental. See, I wrecked my car and the insurance company -</dialogue> <scene_description>someone behind Boward BONXS. The shopper looks off into the distance. BOHlU BONll Boward checks his watch.</scene_description> <character>BOWARD</character> <dialogue>Bey ••• Maybe I could drive you around and help you 1ook £or i.t. Then you could. give me your space.</dialogue> <scene_description>== Script Fly.com == l CONTINUED)</scene_description> <character>LOST SHOPPER</character> <dialogue>Wow. That's so nice. I love this time of year.</dialogue> <scene_description>The lost shopper open•s Howard's door. Just as Howard notices:a SPACE clearing out up ahead.</scene_description> <character>BOWARD</character> <dialogue>On second thought, never mind.</dialogue> <scene_description>Howard screeches away, sending the LOST SHOPPER falling to the pavement, packages flying. Ironically, Howard loses the empty space to Myron ' s jeep, which snakes in ahead of him. BOWAlU) { Hey ••• Myron sneers and flips Howard off as he hurries into the mall. Howard backs the car over to the lost shopper.</scene_description> <character>HOWARD</character> <dialogue>Still up for that ride?</dialogue> <scene_description>She looks at Howard, furious. Then, without warning, she winds up and KICKS a HUGE DBN'l' in Howard's car door. BOWAim (CONT'D} Hey! What's your problem?! She GRABS at Howard's NECK through the car window.</scene_description> <character>HOWARD</character> <dialogue>What are you, crazy? Help! someone help! I'm being mauled by a crazy person!!</dialogue> <scene_description>Be hits the gas, propelling the ear forward until the shopper releases him and face-plants on the asphalt. She glances up.</scene_description> <character>LOST SHOPPER</character> <dialogue>Oh. There's m&lt;f car.</dialogue> </scene> <scene> <stage_direction>INT. SHED - DAY</stage_direction> <scene_description>Jamie stands in front of a wall, Johnny sits in front of him. A big piece of CARDBOARD holds a CRUDE DIAGRAM with sections marked: "PARADE RUTE·, "'l'UIU30 'l'OM'S PLOAT", WEREBOUSB", and an •x• labelled •us•. A LARGE SHBBT covers the Jtids' grand project, which sits in the corner. Jamie points at the plan.</scene_description> <character>JAMIE</character> <dialogue>-- and then ve move to PO.int B. Where we</dialogue> <scene_description>unveil the secret weapon, preparing for its eventual rendezvous with the float at Point c. Jamie stops, holding the pointer with both hands. serious.</scene_description> <character>JAMIE</character> <dialogue>You realize, of course, only one of us is going to be able to make the jump to Turbo Tom's float.</dialogue> <scene_description>J"OBN?iY (grave) I was aware of that possibility. They stare at each other. A showdown.</scene_description> <character>JAMIE</character> <dialogue>I suggest a round of •rock, paper, scissors• to see who gets to go.</dialogue> <scene_description>Johnny nods. Be knows it •s the only way. They both concentrate, wind up and throw ••• Jamie has paper. Johnny, a rock. ae frOW'llS, clearly disappointed.</scene_description> <character>JOHNNY</character> <dialogue>Aw, aianl l</dialogue> <character>JAMIE</character> <dialogue>"Paper covers rock•. sorry, Johnny.</dialogue> <character>JOHNNY</character> <dialogue>Aw, manl l</dialogue> <character>JAMIE</character> <dialogue>Bey. I promise, when I get up there I'll make 'l'Urbo Tom come down and meet you too.</dialogue> <character>JOHNNY</character> <dialogue>SWear?</dialogue> <scene_description>Jamie nods. Offers his hand. They do the secret Turbo Tom Salute to bond the deal. INT. WESTSIDE PROMENADE - DAY The antithesis of the last mall. Brand new. Ultra-modern. And even busier. As time runs out, shoppers are getting more anxious to buy their last minute gifts. Boward is among them.. INT. TOY WAREHOUSE - DAY A virtual mob scene. The crowd overflows into the mali. Boward fights his way inside. A young, pimply-faced STORE MANAGER eiaerges under EMPLOYEE ESCORT. Be speaks condescendingly through a child's 'l'OY MEGAPRONB.</scene_description> <character>STORE MANAGER</character> <dialogue>Listen up people, 'cause I'm only gonna say this once.</dialogue> <scene_description>The crowd hushes reverently.</scene_description> <character>STORE MANAGER</character> <dialogue>Now, to answer your first question -- ~es, the rumors are true •. We have received a quantity of the action figures known as Turbo Tom •••</dialogue> <scene_description>The crow cheers in excitement.</scene_description> <character>STORE MANAGER</character> <dialogue>I'm not going to ask you people for quiet again, do you understand me?!</dialogue> <scene_description>The crowd hushes again.</scene_description> <character>STORE MANAGER</character> <dialogue>The unfortunate news is that we only have thirty of them.</dialogue> <scene_description>The crowd m:::&gt;ans and grumbles. The manager glares again.</scene_description> <character>STORE MANAGER</character> <dialogue>so here's how this is going to work, You will all form an orderly line so that an employee can hand you a nw:nl:lered ball. The balls will then be drawn in a standard lottery fashion to see 'Who gets the dolls. I'd like to add that if you"re not one of the lucky few, we do have plenty of Turbo Tom's faithful pet tiger Pang in stock.</dialogue> <scene_description>Boos from the crowd.</scene_description> <character>STORE MANAGER</character> <dialogue>Oh, and by the way, the new list price for each figure just doubled.</dialogue> <scene_description>More boos. The crowd has formed a line and the teenage employees begin handing out.the numbered ping pong balls. Boward, meanwhile, wallcs up to the Store Manager and smiles confidently.</scene_description> <character>HOWARD</character> <parenthetical>(extending his hand)</parenthetical> <dialogue>Bi, Howard Puttnanf. Nice to meet you.</dialogue> <scene_description>· == Script Fly.com ==</scene_description> <character>CONTINUED:</character> <dialogue>STORE MANAGER</dialogue> <parenthetical>(still talking into megaphone)</parenthetical> <dialogue>What?.</dialogue> <scene_description>Howard tries to tilt the megaphone down and begin a discreet conversation.</scene_description> <character>HOWARD</character> <parenthetical>(conspiratorially)</parenthetical> <dialogue>Look, I run a very profitable business in town and I was just thinking that if you could perhaps set aside a doll for me, we might be able to work out some kind of compensation •••</dialogue> <character>STORE MANAGER</character> <dialogue>{through megaphone)</dialogue> <scene_description>Sir ••• are you trying to bribe me?! The crowd hears. Boward turns. They start booing .l)j;m now.</scene_description> <character>STORE MANAGER</character> <dialogue>(through megaphone} Get to the back of the line l I ! People try to swing at Boward as walks to the back of the line. The crowd's getting ugly. The teenage employees start to panic. Finally, as the crowd starts to surround them, the employees THROW the remaining BALLS INTO THE AIR and run for their lives.</dialogue> <scene_description>Chaos erupts as the balls BOUNCE everywhere. It's a free for all. Howard drops to the ground with the rest of the shoppers madly looking for a stray ball. He's bumped and kicked and bitten and stepped on, until he finally spots one rolling toward the entrance. Be dives for it -- and smacks heads with MY.RON, of all people. Myron tries to grab the ball out of Howard's hand.</scene_description> <character>HOWAIID</character> <dialogue>You again ... '2 1</dialogue> <character>MYRON</character> <dialogue>It's minel Besides, you said you owed me</dialogue> <scene_description>onet</scene_description> <character>HOWARD</character> <dialogue>It was just a figure of speech!</dialogue> <character>MYRON</character> <dialogue>Uh huh -- I'll !:let you're the kind of guy that sends letters postage due!</dialogue> <scene_description>Myron YANKS the ball away from Howard. Grins victoriously. Howard's furious. At a loss, he points at Myron and yells: == Script Fly.com ==</scene_description> <character>ROWARD</character> <dialogue>HEY! HE TOOK TWO!! I</dialogue> <scene_description>Suddenly, an angry hoard of shoppers PILE ON Myron, completely burying him. The ball rolls out of the pile, into the mall and under a VENDOR CART. Another mob of shoppers UPTURN THE CA.RT Ito get to it. Then Howard spots another ball trickling out of the store. He sneaks away from the crowd and chases after the ball •. He• s almost got it, when it rolls right off the walkway • • • OOWN to the lower level of the mall. Boward watches it bounce off the mall PIANO PLAYER'S head and roll across the floor. Boward leaps into the GLASS ELEVATOR and pounds the DOWN BUTTON. Loads. of other shoppers pile in, PRESSING HOWARD'S FACE UP AGAINST TIIE GLASS. He ·tries to follow the ball (it's kicked along the floor by dozens of shoppers) as the elevator descends. DING! Everybody piles out of the elevator and Boward dashes after the ball. He gets close enough to see a TODDLER pick it up and wander into a PLAYROOM containing BUNOREDS OF PLASTIC COLORED BALLS. Howard follows the kid inside, stumbling through the knee high balls. He •s not expecting the SLIDE at the other end. He slides down and finally grabs the toddler at the bottom.</scene_description> <character>HOWARD</character> <dialogue>c·mon, sweetie, let me have the itty bitty ball ••• Pretty.please? With sugar on top?</dialogue> <scene_description>The kid sticks the ball in his mouth and starts sucking.</scene_description> <character>HOWARD</character> <dialogue>No, no, no ••• you want something to eat? I'll buy you anything in the mall. Just hand over the •••</dialogue> <scene_description>Boward tries to pry the kid's slobbery mouth open when -- WHUMP I He's hit right in the head with a PURSE.</scene_description> <character>ANGRY MOTHER</character> <dialogue>Get away from my kid, you sicko!</dialogue> <scene_description>She continues to hit Boward until he lets go. She carries the toddler away, but not before other angry mothers join in pummeling Boward.with their bags, yelling: "Pervert! Sicko! Creep!• ••• etc. Boward tries in vain to crawl away and lifts his woozy head to see the toddler finally drop the ball ••• as a mad group of shoppers spill out of the elevator to scoop it up. Howard COLLAPSES in a heap and starts BANGING HIS BEAD against the floor in frustration. He stops as he·hears ••• == Script Fly.com == {CONTINUED):</scene_description> <character>VOICE (O.S.)</character> <dialogue>Psst! Psst!</dialogue> <scene_description>Howard looks up. Who's signalling him? Peeking out from the other side of the pillar ••• SANTA, Well, actually, a mall Santa and his DWARF/ELF sidekick, TONY. They look a bit ratty. I:</scene_description> <character>MALL SANTA</character> <dialogue>Hey. You wanna --</dialogue> <scene_description>His FAKE BEARD FALLS OFF. Be hurriedly attempts to.put it back on, hut it 1'10n't stick. He's gotta hold it as he speaks.</scene_description> <character>MALL SANTA</character> <dialogue>You wanna Turbo Tom for Christmas?</dialogue> <scene_description>Howard looks at the ratty Santa in disgust.</scene_description> <character>HOWARD</character> <dialogue>Forget it, buddy. I'm not sitting on your lap, okay?</dialogue> <character>MALL SANTA</character> <dialogue>Eley chief, I ain 't no pervert. Just a reputable businessman looking to give you a leg up out of that stinking pit you call a life. But with your attitude, I don't think I wanna give you access to this --</dialogue> <scene_description>The ELF thrusts out a POLAROID It's the Santa, HOLDING a TURBO TOM in one hand and the DAY'S NEWSPAPER in the other.</scene_description> <character>TONY THE ELF</character> <dialogue>oat was taken dis morning.</dialogue> <scene_description>MA.Lt SANTA Ahh, forget it Tony. This guy doesn't want our help. Let's go. They start to walk away. Howard chases after them.</scene_description> <character>BOWARD</character> <dialogue>Whoa. Now hold on there just a minute. We're all ••• businessmen •. correct? Who am I to walk away from a potentially lucrative transaction?</dialogue> <scene_description>Be looks at the duo. Santa's beard falls off again.</scene_description> <character>CONTINUED:</character> <dialogue>MALL SANTA</dialogue> <scene_description>so show a little respect for the suit. Now do you want the doll or not? Howard grits his teeth and unlocks his car doors. Santa and Tony pile in. l</scene_description> <character>MALL SANTA</character> <dialogue>On Dasher, on Dancer, on Prancer and Vixen, on Comet, on CUpid, on Donner and Blitzen!</dialogue> <scene_description>Howard looks at him.</scene_description> <character>TONY THE ELF</character> <dialogue>Ya got seatbelts in da back?</dialogue> <character>EXT. SHED - DAY</character> <dialogue>Back at home. We slowly MOVE IN to the backyard shed. We see SILHOUET'I'ES moving around in the tiny window, and the CLAHKING and BANGING sounds of the boys• production.</dialogue> <character>JAMIE (O.C.)</character> <dialogue>!lammer.</dialogue> <character>JOHNNY (O.C.}</character> <dialogue>Ha.JlllllE!r.</dialogue> <character>JAMIE (O,C.}</character> <dialogue>Screwdriver.</dialogue> <character>JOHNNY (O.C.)</character> <dialogue>Screwdriver.</dialogue> <character>JAMIE (O.C.)</character> <dialogue>Scotch tape.</dialogue> <character>JOHNNY (O,C.)</character> <dialogue>Scotch tape.</dialogue> <character>JAMIE (O.C.)</character> <dialogue>Juice box.</dialogue> <character>JOHNNY (O.C.)</character> <dialogue>Juice box?</dialogue> <character>JMIE (O.C.)</character> <dialogue>:I'm thirsty.</dialogue> <character>JOHNNY (O,C.)</character> <dialogue>-Oh-. Ju.ice box •••</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>(CONTINUED}</character> <dialogue>We hear a loud SLURP.</dialogue> <character>EXT. HOWARD'S CAR - DAY</character> <dialogue>The car enters a SEEDY-LOOKING part of town.</dialogue> <character>MALL SANTA</character> <dialogue>TUrn right at the wino over there.</dialogue> <character>HOWARD</character> <dialogue>Geez, buddy! How much longer?</dialogue> <character>MALL SANTA</character> <dialogue>Don't call me "buddy\*. I'm Santa, okay?</dialogue> <scene_description>Haward looks at him, exasperated</scene_description> <character>HOWARD</character> <dialogue>Fine ••• Santa, it's getting late, I"ve got a parade to get to, we've been driving for over t'Wnty minutes, and I have yet to see any sign of your supposed Turbo Tom doll, while presently as I waste time with you morons my in-touch- with-his-feminine-side neighbor is busy attacking my wife• s cookies! ! All right'2! !</dialogue> <character>MALL SANTA</character> <dialogue>Rey. Spare me the details of your.twisted sex life, okay?</dialogue> <scene_description>Howard groans.</scene_description> <character>MALL SANTA</character> <dialogue>Make a left up at the dumpster.</dialogue> <parenthetical>(scoffs)</parenthetical> <dialogue>Cookies.</dialogue> <scene_description>The car pulls into an EMPTY LOT, next to which sits a huge· WAREHOUSE. Santa, Tony and Boward get out of the car.</scene_description> <character>MALL SANTA</character> <dialogue>This way.</dialogue> <scene_description>They keep walking. Boward carefully sets his CAR ALARM.</scene_description> <character>TONY THE ELF</character> <dialogue>Yeah, like dat's gonna do any good.</dialogue> <scene_description>Boward l.ooks worried and races after them. He follows them to the door of the warehouse. They approach a STEEL DOOR. Santa KNOCKS "Jingle Bells". A SMALL SCREEN slides open. == Script Fly.com ==</scene_description> <character>VOICE</character> <parenthetical>(from door)</parenthetical> <dialogue>Password.</dialogue> <character>MALL SANTA</character> <dialogue>(hushed} Jingle bells, Batman smells Boward raises an eyebrow at Santa, who shrugs as the screen SLAMS shut and the door is opened. TONY THE ELF Get in.</dialogue> <scene_description>Howard follows Santa and TOny into the warehouse. INT. WAREHOUSE - DAY</scene_description> <character>HOWARD</character> <dialogue>Okay. Let's do this~-</dialogue> <scene_description>He stops. In front of him: about 20 GUYS IN .SANTA SUITS (of all shapes and colors ) , a LARGE GROUP OF ELVES, and a SMATTERING OF MRS. CLAUSES stand frozen, staring him down.</scene_description> <character>MALL SANTA</character> <dialogue>It's okay. He's cool.</dialogue> <scene_description>There is an AUDIBLE SIGH as the group gets back to work. Everywhere you look are BOXES and BOXES of TOYS. It looks like the stock room of a Toys 'R' Us. Santas are doing box counts as Elves mark checklists. The Mrs. Clauses sit at a CARD TABLE, wearing GR.BEN VISORS and counting STACKS OF CASH.</scene_description> <character>MALL SANTA</character> <dialogue>I know what you're thinking.</dialogue> <character>HOWARD</character> <dialogue>You have no idea.</dialogue> <character>MALL SANTA</character> <dialogue>well stop thinking it. And forget it all the minute you walk out that door because we got a good operation going on here. Tony, go get the man his Turbo 'l'Om.</dialogue> <scene_description>Tony hurries off· into the stacks.</scene_description> <character>HOWARD</character> <dialogue>Uh ••• Santa, I gotta tell ya, there's something here that doesn't seem quite ••• ethical. ·</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>MALL SANTA</character> <dialogue>Ethical? This from.the man who tried to assault a toddler for a ping pong ball •••</dialogue> <character>HOWARD</character> <dialogue>· Good point.</dialogue> <character>MALL SANTA</character> <dialogue>took, we're providing a service here. us guys in the malls work hard this time of year. The pay•s bupkes, and every five minutes we're cleaning up another stain left by some nervous kid on our lap. But worse than that is the heartbreak. We gotta listen to all those kids when they tell us what they want -- this game, that doll • • • And- in our hearts we know that most of you morons are too busy with your jobs and marital problems to ever take note, to even care • • • The thought of those kids waking up Christmas morning without that special gift •••</dialogue> <parenthetical>(his voice cracks el!!Otionally)</parenthetical> <dialogue>That's heartbreak. Poor kids. And that's where we come· in. We stop heartbreak.</dialogue> <scene_description>Howard's a bit taken aback.</scene_description> <character>BOWARD -</character> <dialogue>Gee, I ••• so ••• Wow.</dialogue> <scene_description>(gesturing} Where does all this stuff come from? MALL SANTA (totally recovered) Who're you, the Questi.on King? A harried Santa runs t,y.</scene_description> <character>HARRIED SANTA\_</character> <dialogue>santa, we got any Super-Loop Glowing Racecar Sets? I got a customer over on the East aide who' 11 by.</dialogue> <character>MALL SANTA</character> <dialogue>Check aisle 4, Santa.</dialogue> <scene_description>{to Howard} You know, last year we !Iliide enough J110ney to take a Santa Surf 'N' Sun trip to Maui. This year we're trying for Bali. == Script Fly.com == {CONTINUED}</scene_description> <character>HOWARD</character> <dialogue>Oh god oh god oh god!</dialogue> <scene_description>He fumbles with the SEATBELT and manges to fasten it before the car skids around another bend. He pulls the wheel to avoid colliding head-on with a BEER TRUCK. The car does a 360, . SLAMMING into a curbside parking space. A NEON MAl' s Beer Bar~· SIGN flashes nearby. i Howard pants and pants -- he looks up to see: a HUGE BILLBOARD for the PARADE. Turbo TOm smiles down in all his glory.· Mocking him. Boward slumps over onto the steering wheel. HOOOONK!</scene_description> <character>INT. KITCHEN - DAY</character> <dialogue>Liz is at the ·table, decorating the Christmas STOCKINGS with GLI'l'TER and GLUE. Ted• s in there as well, oiling the squeaky door. He swings it back and forth.</dialogue> <character>TED</character> <dialogue>Quiet as a mouse.</dialogue> <scene_description>Liz nods, engrossed in her work.</scene_description> <character>TED</character> <dialogue>Hey, Liz -- I'm gonna be bringing some old clothing down to the local shelter tomorrow. Spread a little Christmas warmth. Is there anything you may want to donate?</dialogue> <character>LIZ</character> <parenthetical>(looks up)</parenthetical> <dialogue>Ted! That's really thoughtful of you.</dialogue> <scene_description>He shrugs modestly.</scene_description> <character>LIZ {</character> <dialogue>Well I've got a ton of stuff upstairs. I'll throw a bag together for •••</dialogue> <scene_description>She trails off, noticing Jamie and Johnny -- trying to sneak by carrying more •supplies.: A GREEN TABLECLOTH, a MAKEUP MIRROR and ROPE. Liz stops them.</scene_description> <character>LIZ {</character> <dialogue>Hey you two - what's with all this sneaking around?</dialogue> <character>JAMIE</character> <dialogue>we•re not sneaking around.</dialogue> <scene_description>Johnny quickly hides the rope behind his back.</scene_description> <character>JOHNNY</character> <dialogue>Nuh-uh. Not at all.</dialogue> <scene_description>Liz takes the rope from Johnny. She looks at the two of</scene_description> <character>LIZ</character> <dialogue>Hmmm. So what exactly are you guys working on back there?</dialogue> <scene_description>Johnny flashes a panicked look to Jamie.</scene_description> <character>JAMIE</character> <dialogue>ummm •• it's a project. A secret project.</dialogue> <character>JOHNNY</character> <dialogue>Yeah For school.</dialogue> <character>LIZ</character> <dialogue>For school? But you're on Christiaas vacation.</dialogue> <character>JOHNNY</character> <dialogue>(oops} Oh, yeah ••• JAMIE (covering) And that's what's so secret about it. We can't tell anybody about it •cause we"re</dialogue> <scene_description>not in school but it's for school so, you know - and we didn't think you'd mind because it's for extra credit and stuff like that. Johnny looks at him. Good save. Liz doesn't buy it for a second.</scene_description> <character>LIZ</character> <dialogue>Nice try. You boys had better not be doing anything dangerous ••.</dialogue> <scene_description>Just then, Ted steps in from the kitchen.</scene_description> <character>TED</character> <dialogue>You know gentlenen, I know how important it is for everyone to respect each other's privacy, so I'm not going to ask you to tell me what it is you're doing out there. I only hope that you' re b&lt;aing carefui -- and if there's anything you can't handle, that you'll come in and ask for help before you try it yourselves.</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>(CONTINUED}</character> <dialogue>The boys nod, grateful.</dialogue> <character>JAMIE</character> <dialogue>Okay. We will.</dialogue> <character>JOHNNY</character> <dialogue>Yeah. We promise.</dialogue> <character>TED</character> <parenthetical>(winks)</parenthetical> <dialogue>Okay then. Now why don't you two get back to work.</dialogue> <scene_description>They smile at Ted and run off to the garage. Liz smiles, somewhat impressed. Ted stands and faces her.</scene_description> <character>TED</character> <dialogue>Sometimes I have to remind myself how capable they are of doing things on their own. God-~ they grow up so fast •••</dialogue> <scene_description>He mists up again. Sheesh. Liz looks uneasy. She carefully pats him on the shoulder.</scene_description> <character>LIZ</character> <dialogue>It's okay, Ted. They're only eight.</dialogue> <scene_description>She walks back into the kitchen. Ted looks at the spot on his shoulder where Liz touched him. Be gently places his hand there. Looks at Liz with a different sort of interest. Uh-oh. Be peers into the kitchen. Bis eyes follow Liz as she reaches up to get something on a shelf. Be steps forward.</scene_description> <character>TED</character> <parenthetical>(flustered)</parenthetical> <dialogue>Uh -- Liz ••• do you -- do you need any help with that?</dialogue> <scene_description>Before he can get any closer -- the PHONE RINGS.</scene_description> <character>LIZ</character> <dialogue>would you mind?</dialogue> <character>. TED</character> <parenthetical>(voice cracking)</parenthetical> <dialogue>sure</dialogue> <scene_description>{clears his throat) Uh, sure. Ted goes·back into the living room to pick up the phone.</scene_description> <character>TED</character> <parenthetical>(into phone)</parenthetical> <dialogue>PUttnam residence.</dialogue> <character>INT. AL'S BEER BAR - DAY</character> <dialogue>Howard is on the payphone in the back of. an empty dive bar.</dialogue> <character>HOWARD</character> <dialogue>Ted? Are you still there?</dialogue> <character>INTERCUT WITH TED</character> <dialogue>Who turns away from the kitchen and covers the receiver.</dialogue> <character>TED</character> <dialogue>Ohl Howard. It it's you. You ••• you still working?</dialogue> <character>BOWARD</character> <dialogue>What? Look, Ted, I need to speak to Liz.</dialogue> <scene_description>Behind Howard, we see dozens of leather-clad, beer drinking BIKERS pour.into the bar. They look pretty rowdy. Ted starts edging away from the kitchen with the phone.</scene_description> <character>TED</character> <dialogue>Oh. well I -- I don• t kn.ow if she ca."l come to the phone right now. Maybe I could -- give her a message? Yeah.</dialogue> <character>HOWARD</character> <dialogue>Ted, just lemme talk to my wife!</dialogue> <scene_description>Suddenly the bikers start blasting deafening HEAVY METAL. They SHOUT and SMASH BO'I"l'T.ES to show their approval.</scene_description> <character>TED</character> <dialogue>Howard? What was that? Are -- are you still at -work?</dialogue> <scene_description>Howard shouts over the music.</scene_description> <character>BOWARD</character> <dialogue>Of course1 That was just the .•• workmen-- here to ••• remodel my office!</dialogue> <scene_description>Ted hacks up all the way to the Christmas tree. == Script Fly.com == {CONTINUED):</scene_description> <character>TED</character> <dialogue>Remodeling? On Christmas?</dialogue> <character>HOWARD</character> <dialogue>You know, this is really none of your business --</dialogue> <scene_description>Ted STEPS ON Howard's wrapped anti-freeze, RIPPING THE PAPER.</scene_description> <character>TED</character> <dialogue>Oh no! Howard! I'm so sorry! That present you wrapped for Jamie! I --</dialogue> <character>HOW,ARD</character> <dialogue>DON'T TOUCH TBA.Tl</dialogue> <scene_description>A pair of rough-housing bikers CRASH into Howard.</scene_description> <character>TED</character> <dialogue>But I --</dialogue> <character>HOWARD</character> <dialogue>Just leave it alone!!</dialogue> <scene_description>Ted peers down at the ripped paper. The anti-freeze LABEL is clearly visible. Ted looks confused. Howard ducks as a BO'l"l'LE whizzes overhead and SMASHES against the wall.</scene_description> <character>HOWARD (CONT€� D)</character> <dialogue>Look! Just tell Liz not to worry! I'll be home soon!</dialogue> <scene_description>Howard hangs up the phone and ducks again as another bottle flies by. Back at the house, Ted quietly hangs up the phone -- just as Liz enters.</scene_description> <character>LIZ</character> <dialogue>Wait -- was that Howard?</dialogue> <character>TED</character> <dialogue>Uh, why?</dialogue> <character>LIZ</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Ted.</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>CONTINUED:</character> <dialogue>TED</dialogue> <scene_description>Well .•• he couldn't really talk. He was very busy. Liz grabs the phone.</scene_description> <character>LIZ</character> <dialogue>I'm calling him back. I can't believe he didn't wait to talk to me</dialogue> <scene_description>Ted waits, nervous, as Liz dials.</scene_description> <character>RECORDED MESSAGE</character> <parenthetical>(on phone)</parenthetical> <dialogue>Hello, you have reached the Miracle Mattress Co:rporation. We are currently closed for the holiday season. Please try us again during our regular hours •••</dialogue> <scene_description>Liz looks annoyed. She hangs up.</scene_description> <character>LIZ</character> <dialogue>Be is really treading on thin ice today.</dialogue> <scene_description>suddenly she looks up at Ted's face, studying him. Be swallows. Could it be ••• ?</scene_description> <character>TED</character> <dialogue>{croaks}</dialogue> <scene_description>Liz? She reaches up and vigorously rubs at his cheek with a dishtowel.</scene_description> <character>LIZ</character> <dialogue>You've got a\_big smudge of oil. There!</dialogue> <scene_description>Job done, she walks back into the kitchen. Ted stands there, dazed, -carefully touching NLiz•s~ spot on his cheek. He swoons. EXT. AL'S BEER BAR - DAY A frustrated Boward steps out. Just as a ROARING MOTORCYCLE careens by, nearly flattening his toes. Be looks at the street: an OCEAN of MOTORCYCLES parked several deep along the entire block. SOme BIKERS hang outside, revving their engines. A SALVATION ARMY BELL-RINGER stands beside a pot, ignored. Boward suddenly notices that each bike has a NEW TOY STRAPPED to the HANDLE.BARS. And sure enough, one of the choppers has a gleam.ing TURBO TOM -- perched on it like a figurehead. Boward grins. Be glances about. Thinks. Makes a decision. Attempting to remain cool, Boward roams around the bike -- covering himself by DROPPING SO.MB CHANGE into the Salvation A.ally pot. == Script Fly.com == ( CONT'".JruED)</scene_description> <character>BELL RINGER</character> <dialogue>Bless you, son.</dialogue> <scene_description>H?Ward reaches. for the toy, ju:t as a DRUNK BIKER bumps into \ him. Boward quickly retracts his hand. When the coast is clea~, Boward grabs for it again. but it won't come off. When one hahd doesn't do it, he tries BOTH. Before long, he's dropped all I pretense and is tugging as hard as he can. Finally, he gives it one big YANK -- FREEING THE 1'0Y, and SENDING TB:E BIKE DO~ with it. Falling, THE BIKE HITS Tf!E CROPPER NEXT TO IT ON THE WAY,: CAUSING SEVERAL OTHERS TO FOLLOW SUIT in a noisy domino effect. Suddenly, all eyes are on Boward, including a monstrous BIKER DUDE, rendered speechless by Howard's audacity.</scene_description> <character>HOWARD</character> <dialogue>I saw the guy! Did you see him??! The nerve! Be took off down that way, the coward!!</dialogue> <scene_description>Nobody's buying it.</scene_description> <character>BOWARD ( CONT ' D)</character> <dialogue>That way ••. ! OVer there ••• l</dialogue> <scene_description>Biker Dude growls, his face turning beet red. Boward realizes he"s been gesturing with the TUrbo Tom doll. A SHEEPISH I.AUGH, then Howard BOLTS down the street.</scene_description> <character>BIKER DUDE</character> <dialogue>Be took my toy ••• ! Be took my toy!</dialogue> <scene_description>outraged, some of the BIKERS follow on foot, while others mount their hogs • The angry Biker Dude guns his engine. EXT. VARIOUS CITY STREETS - DAY Boward runs full-out with the toy tucked under his arm like a football. The tatooed bikers are close behind. Boward turns a corner and ducks into an alley, hiding behind a DUMPSTER. Be doubles baclc:after the mob passes by. When they spot him going the other way, Boward pulls open a DOOR marked •EMERGENCY EXIT• . INT. BOWLING ALLEY - DAY Boward slams and LOCKS the door behind him. Realizes he's ON THE I.1,NES of a jam-packed tJowling alley in the midst of a CBRISTMAS 'l'OURNAHEl'iT. COS'l'UMED theme-teams (The Wise Men, Santa's Reindeer, Bight Candles and a Dreidel) bowl away. Boward hears POUNDING on the door behind him and starts running across the lanes. Howard dodges BOWLING BALLS and FLYING PINS. Be stumbles. Looks up just as a LARGE PINK BOWLING BALL comes rolling towards him •. == Script Fly.com ==</scene_description> <character>(CONTINUED}</character> <dialogue>He ROLLS INTO THE GUTTER just in time -- but THE BALL KNOCKS TURBO TOM OUT OF HIS HANDS AND INTO THE PINS. Howard quickly crawls to the end of the lane. The toy teeters on the edge of the pin deck. Suddenly, the PIN SWEEPER drops. 1</dialogue> <dialogue>Boward grabs it, struggling to hold it back from the doll. The BIKERS SMASH THE DOOR OPEN. Several are prOlllptly KNOCKED ION THEIR BUTTS by fast-moving balls. BOWLERS are furious. some c&gt;f the bikers try to slip away -- a few t:cy to outrun the balls~ diving into the pins at the ends of the alleys. Howard is just about to nab the Turbo Tom when it FALLS INTO THE PIT. He slips and slides to his feet, just in t:illle to see the package drop into the RETURN TOBE. He races for the other end. Irate bowlers mob him. Fling FOOD, CRUMPLED SCORE SHEETS and MINI PENCILS at him. Howard reaches into the RETURN SLOT, his FINGERS PINCHED between returning balls. Finally, the tcy is spat out. He grabs it. Boward hops up the steps. Threads his way through a COFFEE SHOP. SLAMS into a WAITRESS, sending food flying. He spots the EXIT and dashes OUT. EXT. BOWLING ALLEY EN'l'RANCR - DAY The bikers angrily burst through the doors, looking for Howard. He's nowhere to be found. INT •. CITY BUS - DAY</dialogue> <dialogue>Boward rides in the back of a bus holding the Turbo Tom doll. He smiles down at it happily.</dialogue> <character>HOWARD</character> <dialogue>Tillie to take you home. You have no idea what I've been through for you, little man.</dialogue> <scene_description>A beer bottle SMASHES against the outside window, startling Howard and the passengers. The bus is completely surrounded by bikers on motorcycles. They WHACK the vehicle with CHAINS and KICK at it with their boots. The passengers start to SCREAM.</scene_description> <character>BUS DRIVER</character> <dialogue>What the hell's going on back there2!</dialogue> <character>PASSENGER #1</character> <dialogue>They're attacking the bus!</dialogue> <scene_description>A terrified passenger looks at Howard. == Script Fly.com ==</scene_description> <character>PASSENGER #2</character> <dialogue>. What do they want?t</dialogue> <character>HOWARD</character> <dialogue>(hugs the doll tighter) I</dialogue> <scene_description>I can't imagine. I A BIKER DUDE revs up alongside. .·i</scene_description> <character>BIKER DUDE</character> <dialogue>That guy ••• He took my Turbo Tom!</dialogue> <character>ANOTHER BIKER</character> <dialogue>Every year we give toys to sick children!</dialogue> <character>BIKER DUDE</character> <dialogue>For charity! And he stole my doll!</dialogue> <character>· PASSENGER #1</character> <dialogue>Doll? What doll?</dialogue> <scene_description>Howard looks around, feigning concern.</scene_description> <character>HOWARD</character> <dialogue>I saw a. guy up front with a doll!</dialogue> <scene_description>.: SMASH! The bikers pound on the bus some more •</scene_description> <character>.BIKERS</character> <dialogue>WE WANT THE DOLL!</dialogue> <character>BUS DRIVER</character> <dialogue>Who's got the doll?! Who's got the doll?!</dialogue> <scene_description>They RAM the bus again. Howard l.S KNOCKED forward and the DOLL .. FLIPS OUT OF HIS ARMS. All the passengers look at it.</scene_description> <character>HOWARD</character> <parenthetical>(sheepish)</parenthetical> <dialogue>Oh. ~ doll.</dialogue> <character>PASSENGER #1</character> <dialogue>GET IT!</dialogue> <scene_description>Howard dives for it. Everyone piles on top of him.</scene_description> <character>HOWARD</character> <dialogue>Please! You don't understa.~d! I promised my kid!</dialogue> <scene_description>== Script Fly.com == (:</scene_description> <character>PASSENGER #2</character> <dialogue>Give it up!</dialogue> <scene_description>SMASH! A beer bottle SHATTERS the driver's side-view MIRROR.</scene_description> <character>BUS DRIVER</character> <parenthetical>(close to tears)</parenthetical> <dialogue>For god's sake someone give •em the doll!</dialogue> <scene_description>The passenger wrestles the doll away from Howard and opens a window.up front. The other passengers hold Boward back.</scene_description> <character>HOWARD</character> <dialogue>Aw c•mon, where's your Christmas spirit?</dialogue> <scene_description>The passenger sneers and tosses the doll out the window, into the air. Outside, the biker dude reaches for the doll, flying towards his hands. He grabs for it, but DROPS it. It bounces to the ground and is RUN OVER by the BACK WHEELS of the bus. crushed. The bus drives off as the bikers stop in front of the smashed toy.</scene_description> <character>BIKBR DUDE .</character> <dialogue>It ' s busted!</dialogue> <scene_description>He cradles the smashed toy sadly. Another biker shakes hi.s fist at the bus.</scene_description> <character>OTHER BI.KER</character> <dialogue>We'll get you, toy thief!</dialogue> <scene_description>The rest of the bikers pump their fists and roar in agreement. EXT. S'I'REET CORNER - AFTERNOON The heavily DENTED city bus pulls to a stop. Its front FENDER DROPS OFF. The door HISSES open and FALLS OFF ITS HINGES. And a disheveled Howard is unceremoniously TOSSED OU'!' on his butt. The bus spews BLACK EXHAUST in his face as it pulls. away. Rattling.</scene_description> <character>INT. LIZ" HOWARD'S BEDROOM - DAY</character> <dialogue>Liz puts away laundry. Jamie runs in, Johnny close behind.</dialogue> <character>JAMIE</character> <dialogue>Mom! Mom! IS he home yet?</dialogue> <character>LIZ</character> <dialogue>No. Not yet, hon.</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>JAMIE</character> <dialogue>Are you serious, We're leaving soon!</dialogue> <scene_description>Johnny shakes his head, commiserating.</scene_description> <character>LIZ</character> <dialogue>I know. But-he'll be back in time to say goodbye. And if he gets held up •••</dialogue> <parenthetical>(stops herself)</parenthetical> <dialogue>• • • which he won • t --</dialogue> <scene_description>She starts quickly putting clothes away but it's too late.</scene_description> <character>JAMIE</character> <dialogue>Held up?! You mean he might not make it to the parade at all?! Mom, he's just gotta be there l I want him to see me go up on the float and -- OOF!</dialogue> <scene_description>Johnny elbows Jamie in the ribs. Shhht</scene_description> <character>LIZ</character> <dialogue>{turning around)</dialogue> <scene_description>What float?</scene_description> <character>JAMIE</character> <dialogue>What?</dialogue> <character>LIZ</character> <dialogue>You want Dad to see you go up on what float ••• ?</dialogue> <character>JOHNNY</character> <dialogue>He didn't say float. He said ••• flow. He wants Mr .l?uttnam to see him • • • go with the flow.</dialogue> <scene_description>{makes a little hand •wave") Go with the flow. Outta site •••</scene_description> <character>LIZ</character> <dialogue>•outta site"?</dialogue> <character>JOHNNY</character> <dialogue>I heard it on TV.</dialogue> <scene_description>Liz looks puzzled by all this lame double-talk.</scene_description> <character>LIZ</character> <dialogue>Look, I don't know what you boys are up to, but</dialogue> <scene_description>== Script Fly\_com == ( CONTIN'CfflD ) .</scene_description> <character>JAMIE</character> <dialogue>M.Omwe're not doing anything. Now is Oad coming home or not?</dialogue> <scene_description>Liz looks at Jami.e's anxious face. Sighs.</scene_description> <character>LIZ</character> <dialogue>Yes·. Definitely. In fact, he called just a little while ago. He should be here any m.inute.</dialogue> <scene_description>Jamie nods .and runs out. Johnny follows •. Liz stands there, hoping she's right.</scene_description> <character>TED (0. C.)</character> <dialogue>Liz, these are just great!</dialogue> <scene_description>She turns. We realize Ted is INSIDE LIZ'S CLOSET. -He comes out holding an ARMFUL of CLOTHES.</scene_description> <character>TED</character> <dialogue>You"re really being far too generous.</dialogue> <scene_description>He dumps the clothes on the bed and begins folding them.</scene_description> <character>LIZ</character> <dialogue>{picking through the stuff)</dialogue> <scene_description>well Ted, I had to finally admit to myself that the ~Flashdance• look just isn·t gonna come back in style. She holds up one of those awful CUT-NECK SWEATSHIRTS.</scene_description> <character>TED</character> <dialogue>Look, Liz. I -- about before. When Boward called. I should've come to get you right away ••• I don"t know what I was th~nlti.ng.</dialogue> <character>LIZ</character> <parenthetical>(scoffs)</parenthetical> <dialogue>It's not your fault. If he's too busy to wait five seconds to even talJc to me •••</dialogue> <scene_description>{She trails off) Anyway, don't worry about it. She goes back.into the closet for more clothes. Ted sorts through the pile on the bed. Be spots a FUZZY PINK SiP'..ATER and picks it up. Looks over at Liz, sorting through SHOES in the closet. Be SNIFFS the !Neater longingly. Sighs. As Liz exits the closet with more clothes, he quickly SHOVES the sweater back into the pi.le. Be clears bis throat and continues folding. == Script Fly.com==</scene_description> <character>EXT. CITY STREET - DAY</character> <dialogue>A shivering and soot-covered Howard shuffles down the street. He looks at the horizon, then checks the face of his now-CRACKED · WATCH. It's getting late. He passes by a BUS STOP BENCH. on ~t, an AD for the PARADE. And a big ol' grinning TUrbo Tom face.\ Howard growls and KICKS the poster, not realizing that it's , backed by the steel and concrete of the bench. He aow,.,s in i agony, grabbing his foot. He hobbles into a DINER across the' street. INT. DINER - DAY A near-empty, run-down diner. It seems a bit trapped in some bygone era ( old signs, vending machines ; ; but it• s ll!Ore eerie than retro. RADIO MUSIC plays from a crappy PA SYSTEM. One MAN sits at the counter, hunched over a COFFEE CUP. A sole COUNTER MAN wipes stuff down. Boward looks around, then spots the PAYPHONE. Be limps over and deposits a coin. INT. KITCHEN - SAME Jamie and Johnny are packing "provisions" for the parade (cookies, juice boxes) as the PHONE RINGS.</dialogue> <character>JAMIE</character> <dialogue>I GOT IT MOMl</dialogue> <scene_description>He picks up the phone.</scene_description> <character>JAMIE (CONT'D}</character> <dialogue>Hello?</dialogue> <character>INTERCUT WITH HOWARD</character> <dialogue>HOWARD</dialogue> <scene_description>:Jami.et How ya doin' buddy? Listen, lemme talk to Mom. Jl!MIE You can ·t. Bow come?</scene_description> <character>JAMIE</character> <dialogue>She• s up in the bedroom with Ted.</dialogue> <character>BOWARD</character> <dialogue>SHE'S WHAT?!</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>JAMIE</character> <dialogue>Listen, Dad. Are you coming home soon?</dialogue> <scene_description>'Cause Johnny and me are leaving for the parade now and you have to be home in time to get Mom so you can come meet me.</scene_description> <character>HOWARD</character> <parenthetical>(still. in shock)</parenthetical> <dialogue>Jamie. Go get your Mother please.</dialogue> <character>JAMIE</character> <dialogue>well, are you?</dialogue> <character>HOWARD</character> <dialogue>Am I what?</dialogue> <character>JAMIE</character> <dialogue>Coming home soon.</dialogue> <character>HOWARD</character> <dialogue>Yes. Immediately. Please get your Mother.</dialogue> <scene_description>Johnny, eating a cookie, speaks up.</scene_description> <character>JOHNNY</character> <dialogue>(mouth full} Tell •um he promised. JAMIE 'Cause Dad, before you left you promised me you were gonna be at the parade. And you haven't been here all day, so you</dialogue> <scene_description>can• t miss it.</scene_description> <character>HOWARD</character> <dialogue>Jamie, please -</dialogue> <character>JAMIE</character> <dialogue>'Cause when someone makes a promise they definitely should keep it. Yo~ know, it's like Turbo 'l'om says: "Always keep your promises if you wanna keep your friends--</dialogue> <character>BOWARD</character> <dialogue>ENOUGH! Enough with the Turbo Tom, okay?! I •ve had i.t up to here with Turbo Tom! If there's anyone I don't want advice from right now it's TURBO TOM! NOW GET YOUR MO'l'BER!</dialogue> <scene_description>Jamie"s silent. Bis lip quivers. Howard realizes he's just gone off the deep end with his kid. Tries to make ainends. == Script Fly.com==</scene_description> <character>HOWARD</character> <dialogue>Oh geez. I didn't mean to</dialogue> <character>JAMIE</character> <dialogue>Wh -- well what would you know about keeping a promise anyway?! You never keep your promises! You never do anything you say you·re gonna do! EVER!</dialogue> <scene_description>He slams the phone down. Swallows back his emotions. Johnny stands behind him in mid-cookie, scared to move.</scene_description> <character>JAMIE</character> <parenthetical>(stoic)</parenthetical> <dialogue>come on. Let's go.</dialogue> <scene_description>INT. DniER - LA'l'B AFTERNOON Howard hangs up the phone. The kid's right. He's a failure. Howard walks over to the counter and sits down. Be looks really depressed. A CUP OF COFFEE is slid in front of him. Howard looks up to see BARNEY, the slight; bespectacled proprietor.</scene_description> <character>BARNEY</character> <dialogue>Here you go, pal. Warm you up •.</dialogue> <character>HOWARD</character> <dialogue>thanks.</dialogue> <scene_description>EDDIE, a garishly dressed, alcoholic salesman, sits on the stool next to Howard. He toasts Howard with his FI.ASK.</scene_description> <character>EDDIE</character> <dialogue>Cheers.</dialogue> <scene_description>Boward turns to Barney, who just shrugs •. What can you do? Howard drinks.</scene_description> <character>BARNEY</character> <dialogue>Rough day?</dialogue> <character>HOWARD</character> <dialogue>Like you wouldn't believe.</dialogue> <character>EDDIE</character> <dialogue>It's the damn holidays, if yoo ask me. Generally speaking • • • they suck.</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>HOWARD</character> <dialogue>I never used to think so. But I'm beginning to believe you may be right.</dialogue> <character>EDDIE</character> <dialogue>You're damn right I'm right.</dialogue> <scene_description>Eddie drinks from the flask. Howard from his cup.</scene_description> <character>HOWARD</character> <dialogue>So I couldn't find the kid a doll. Does that make me a bad father? No -- yelling at him for no good reason. That: makes me a bad father •••</dialogue> <character>EDDIE</character> <dialogue>Ah.~, you can't be any worse than u old man. May he never get a minute's peace.</dialogue> <scene_description>(takes another slug} Yeah, to my old man • • • Christmas was just another chance to let people down. Especially me. Worst time was tbe year I had my heart set on one of those "Johnny 7 OMA" guns. Bememl,Ar those? They were the coolest ••• Boward and Barney shake their heads no.</scene_description> <character>EDDIE</character> <dialogue>OMA ••• one Kan Arifrf~ It was the commercial that got me. Best friends playing in the back yard.</dialogue> <parenthetical>(doing voices)</parenthetical> <dialogue>"Johnny to Peter: Enemy sighted!" "Roger, open fire Johnny!" And Johnny would whip out his "Johnny 7 OMA! seven guns in</dialogue> <character>M</character> <dialogue>one. .~count em 1 •</dialogue> <parenthetical>(imitating announcer/sound fx)</parenthetical> <dialogue>One, it's a grenade launcher! Two, it's an anti-armour gun! Three, it's an anti- tank gun! Four, it's a rifle! Five, it's a Tommy gun! six, it's an anti-aircraft gun! And seven, was a cap firing pistol.</dialogue> <parenthetical>(misty eyed)</parenthetical> <dialogue>Man, that looked like a blast. Anyway ••• if anything, the old man sure was consistent. I never got a Johnny 7 OMA.</dialogue> <parenthetical>(takes another slug)</parenthetical> <dialogue>But you know Henry Starger of •starger lndustriesw? My old neighbor. Iffl: got one.</dialogue> <scene_description>== Script Fly.com==</scene_description> <character>VOICE {</character> <dialogue>Well WROK has good news for you 1 .</dialogue> <scene_description>They all turn to the radio.</scene_description> <character>VOICE (ON RADIO)</character> <dialogue>If you're the first caller who can name all eight of Santa's reindeer you'll be the winner of your very own Turbo Tom doll. Complete with eye beams, jet pack and Turbo-rang! Just call 555-WROK now!</dialogue> <character>HOWARD</character> <dialogue>T-t-turbo -- he did say Turbo Torn, right?!</dialogue> <scene_description>Barney and Eddie nod. Afraid of Howard• s sudden mania.</scene_description> <character>BOWARD</character> <parenthetical>(heavenward again)</parenthetical> <dialogue>Oh thankyoutbankyouthankyoul</dialogue> <scene_description>He races back to the phone and dials. It's BUSY.</scene_description> <character>HOWARD</character> <dialogue>Dammit! I know the reindeer! Santa said it in my sleigh this morning!</dialogue> <character>BARNEY</character> <parenthetical>(like Howard's crazy)</parenthetical> <dialogue>Uh ••• yeah. I can never get through on those contests either. You know • • • that radio station's just a few blocks south from here --</dialogue> <scene_description>Boward races out the door.</scene_description> <character>VOICB (ON RADIO)</character> <dialogue>Remember that's 555-WROK! And you could he the proud new owner of the hottest toy since the Johnny 7 OMA!</dialogue> <character>· EDDIE</character> <parenthetical>(depressed)</parenthetical> <dialogue>Ohhh.</dialogue> <character>EXT. SUBURBAN STIU:ET.- EVENING</character> <dialogue>Jamie and Johnny tow their creation (covered by a bedsheet) behind their bikes. Jamie still looks a little upset.</dialogue> <character>JOHNNY</character> <dialogue>You okay, Jamie?</dialogue> <character>JAMIE</character> <dialogue>{not convincing)</dialogue> <scene_description>Uh huh. Yeah. I'm fine. Let's just get to Turbo Tom ••• He pedals harder. Determined. EXT. CITY STREETS - EVENING Howard is running as fast as he can through the streets.</scene_description> <character>HOWARD</character> <dialogue>WROK, Santa's .reindeer ••• WROK, Santa's -</dialogue> <scene_description>Howard notices a familiar DOORLESS CAR driving by.</scene_description> <character>HOWARD</character> <dialogue>Hey - that's my car! Get outta there!</dialogue> <scene_description>Boward stops to chase after the TWO CAR THIEVES who are driving his car. They swerve and CRASH into a STREETLIGHT and dasti off, abandoning the car. Boward turns and keeps running for the station.</scene_description> <character>HOWARD</character> <dialogue>It doesn't matter. WR.OK, Santa"s reindeer •••</dialogue> <character>EXT. WROK RADIO STATION - NIGHT</character> <dialogue>A neon WR.OK-AM/FM flickers outside. Howard slides to a stop right in front.</dialogue> <character>BOWARD</character> <dialogue>WROlt! Santa's reindeer! I'm here!</dialogue> <scene_description>He dashes inside. INT. WROK LOBBY - NIGBT A long-haired SECURITY GUARD is awakened after Howard charges into the elevator. He assumes it was nothing and goes right back to sleep. INT. ELEVATOR Howard taps his foot and checks his watch. The broadcast is heard over a monitor. == Script Fly.com == But I had the right answer! I said it first! '-.- The OJ• s eyes shift to somebody emerging from behind the door. It's MIRON THE MAILMAN, readjusting his BENT NOSE. An even crazier look than usual is in his eyes.</scene_description> <character>BOWARD</character> <dialogue>You ••• ?!</dialogue> <character>MYRON</character> <dialogue>And I don't need the right answer to win.</dialogue> <character>HOWARD</character> <parenthetical>(to DJ)</parenthetical> <dialogue>Oh, now this is hardly fair. I'm calling the FCC with a formal complaint! This isn't right --</dialogue> <character>DJ</character> <dialogue>He's rigb.t. He doesn't need the right answer. or any answer ...</dialogue> <character>HOWARD</character> <dialogue>What?! Why not? I</dialogue> <scene_description>A maniacal Myron lifts his hand to show Boward the GRENADE he's ho1ding.</scene_description> <character>. MYRON</character> <dialogue>Because this is all I need. Just a little orphan I grabbed out of the "Guns ·n Buns" bin down at the office. Thought it might come in handy one day •••</dialogue> <character>INT. KITCHEN - SAME</character> <dialogue>Liz sits anxiously at the kitchen table, 1ooking at the clock. The radio is on. Ted is pouring her a cup of tea.</dialogue> <character>MYRON'S VOICE</character> <parenthetical>(on radio)</parenthetical> <dialogue>And I •m gonna pull the pin in ten seconds if I don't get that prize like I was promised!</dialogue> <character>LIZ</character> <dialogue>Kind of inappropriate for the holidays.</dialogue> <character>{CONTINUED)</character> <dialogue>== Script Fly.com ==</dialogue> <character>TED</character> <dialogue>Precisely what I was thinking.</dialogue> <character>HOWARD'S VOICE</character> <parenthetical>(on radio)</parenthetical> <dialogue>Have you gone insane?! Put that thing away! This isn't worth itt</dialogue> <character>MYRON'S VOICE</character> <dialogue>(on radio).</dialogue> <scene_description>You're only saying that •cause Dm want it! Only I deserve itl</scene_description> <character>TED</character> <dialogue>Doesn't one of those guys sound kind of familiar ••• ?</dialogue> <character>LIZ</character> <dialogue>Just another bad actor, Ted. They're a dime a dozen.</dialogue> <scene_description>Liz and Ted both reach out to change the station at the same time. Their hands touch. Ted's eyes shoot up at Liz. His hand lingers -- until Liz quickly pulls hers away and Ted changes the station. Barbra Streisand sings "Evergreenu. "I,ove, soft as an eeeasy chair ••• • Ted smiles dreamily at Liz. She doesn't even notice as she reaches out and changes the station again. Ted frowns.</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>It won't be long now before the annual "Lights Before Christmas• parade gets underway, sponsored by Funtime Toys, the company that manufactures this year's phenomenon, Turbo Tom •••</dialogue> <scene_description>Liz gets up and walks to the living room window.</scene_description> <character>LIZ</character> <parenthetical>(toherself)</parenthetical> <dialogue>eome on, Boward. Where are you ••• 1</dialogue> <character>INT. RADIO STATION - EVENING</character> <dialogue>Boward is staring at the grenade in Myron's hand.</dialogue> <scene_description>M!ROlf And XQY! You turned them against me! Alone in that toy store fending of£ thousands of rabid shoppers. Plain common civilians! Letter-writersl The same people who persecute me for wearing my</scene_description> <character>(MORE}</character> <dialogue>== Script Fly.com ==</dialogue> <character>HOWARD</character> <dialogue>This is crazy. We• re two grown men. It• s just a toy. Take it easy. After all, it's Christmas. There's gotta be a way we can work this out •••</dialogue> <character>DJ</character> <dialogue>um, I hate to bring this up now, but were you two under the impression that I had a doll right here in the studio?</dialogue> <character>HOWARD</character> <dialogue>Of course.</dialogue> <character>MYRON</character> <dialogue>That's what you said on the radio •••</dialogue> <character>DJ</character> <dialogue>No. What I said was whoever won would 9slJ; a doll. Eventually. AJ.l we have here is a gift certificate.</dialogue> <character>HOWARD/MYRON</character> <dialogue>Gift certificate???!!!</dialogue> <character>DJ</character> <dialogue>Sure. You can pick up a doll as soon as they get more in stock --</dialogue> <scene_description>Both Howard and Myron POUNCE on the OJ. SIRENS are heard approaching.</scene_description> <character>DJ</character> <parenthetical>(choking)</parenthetical> <dialogue>Th-the • • • C-c-cops· help --</dialogue> <character>EXT. WROK IUDIO STATION - EWNING</character> <dialogue>Police cars skid to skewed stops. Disgorging armed officers.</dialogue> <character>INT. WROK LOBBY -NIGHT</character> <dialogue>The police rush past the sleeping guard and into the elevator. The guard wakes up too late once again. Shrugs and goes right back to sleep.</dialogue> <character>INT. WROK RALLWAY</character> <dialogue>Howard and Myron both try to squeeze through the door to the booth. They struggle with each other to get ahead. Finally, Myron swings his MAILBA.G into Boward and makes a dash for the elevator. Myron pounds the down button.</dialogue> <scene_description>== Script Fly.com == {CONTINUBD)</scene_description> <character>MYRON</character> <dialogue>(to Howard} Ba! Ba! .Better luck next time, loser! The doors open. And Myron is facing a dozen policemen. MIRON (CONT'D) You wouldn't shoot a fellow civil servant, would you fellas?</dialogue> <scene_description>They cock their weapons and take aim. Myron gulps. Meanwhile Boward dashes into the STAIRWELL with a SLAM. It's just enough to distract the cops. Myron knocks them aside with his ma.ilbag and DIVES into the elevator. The doors CLOSE just before the cops can open fire. INT. WROK LOBBY - NIGB'l' Howard tiptoes out of the stairwell door. The security guard wakes up. He thinks Howard's entering rather than leaving.</scene_description> <character>SECURITY GUARD</character> <dialogue>Beyl Youl No visitors allowed without a clearance.</dialogue> <character>BOWARD</character> <dialogue>Oh ••• okay. But I wanted to request •stairway to Beaven•?</dialogue> <character>SECURITY GUARD</character> <dialogue>Sorry. Ya gotta do it over the phone like everybody else.</dialogue> <character>BOWARD</character> <dialogue>Awww, that sucks. Zeppelin rules ! .</dialogue> <scene_description>Re flashes the universal headbanger hand-sign and runs out.</scene_description> <character>SECURITY GUARD</character> <parenthetical>(flashing signal back)</parenthetical> <dialogue>Rock on, man.</dialogue> <character>EXT. CITY STREET - DUSK</character> <dialogue>Howard trudges to his abandoned car. He• s done. Going home. EXcept there• s a FAMILIAR FIGURE in UNIFORM standing by his car, writing TICKE'rs. OFFICER HUMMELL turns around. Nods. Sticl!;s another TICKET on the WINDSHIELD and starts another.</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>BOWARD</character> <dialogue>Aw, you're kidding.</dialogue> <scene_description>Hullllllell shakes his head. SLAPS another TICDT down.</scene_description> <character>HOWARD</character> <dialogue>You can't possibly be doing this. Do you have any idea what I"ve been through today? Do you?!.</dialogue> <scene_description>Be looks at Howard's dishevelled appearance, then at the car. Then starts writing the next ticket.</scene_description> <character>OFFICER HUMMELL</character> <dialogue>Gee. I'm sorry sir. Why don't you tell me? Because I'd like nothing more than to spend my entire Christmas Eve issuing citations for your illegally parked, barely street-legal vehicle whilst you regale me with glorious stories about your very special day. Would you like me to sit down and pour some hot cider as well, sir? Because I have a hard time listening to a story without a toasty beverage in hand.</dialogue> <scene_description>Hummell RIPS off another ticket and slaps it down. Howard's at his boiling point. He growls, stamps, spins around, gestures wildly - but knows he can't say anything back. At his highest moment of frnstration, Boward stomps over and KIO:S.tbe REAR TIRE of his car. Which causes it to slowly ROLL FORWARD into Hwmnell 's parked CRUISER. crnnch!.Bummell's BUMPER FALLS to the ground with a CLAT'l""...R. Boward looks at Hummell. .</scene_description> <character>BONARD</character> <dialogue>That's Puttnam. with two T's •••</dialogue> <scene_description>Hummell begins carefully writing .ANOTHER TICKET, EXT. HOWARD'S CAR - DUSK Howard rattles home. Be speaks to himseif.</scene_description> <character>HOWARD</character> <parenthetical>(cheery)</parenthetical> <dialogue>ffLiz, I'm sorry. I did everything I within my power to get that doll for Jamie. But 1ook1 I got a gift certificate, which is just as -- 8</dialogue> <scene_description>== Script Fly.com == He stops. How lame. Tries again.</scene_description> <character>BOWARD</character> <parenthetical>(angry)</parenthetical> <dialogue>"Look, Liz. I ran around all day like a crazy person looking for that stupid doll! And if Jamie's upset, well too-•</dialogue> <scene_description>Stops again. Too harsh. He starts again.</scene_description> <character>BOWARD</character> <dialogue>{trying to sob)</dialogue> <scene_description>"Honey, I didn't get one. I'm so sorry. Can you ever forgive me? If I could only make it up to you and Jamie. No -- don't throw me out in the streets. I• 11 · lea\_ve . •• ft He stops again.</scene_description> <character>BOWARD</character> <dialogue>I am pathetic.</dialogue> <character>INT. LIVING ROOM - SAME</character> <dialogue>Liz enters the living room. She spots Ted on a LADDER by the tree. Be's POTrING THE STAR ON top of THE TREE.</dialogue> <character>LIZ</character> <dialogue>What are you doing?</dialogue> <character>TED</character> <dialogue>Well, your star wasn't on. It's Christlllas Eve. You gotta have your star up •••</dialogue> <character>LIZ</character> <dialogue>No no no -- I know that. It's just --</dialogue> <character>EXT. BOOSE - SAME</character> <dialogue>Howard PULLS UP 1'0 THE HOUSE. Looks at it. All lit up for the season. It's beautiful. Then he spots LIZ in the living room window. She's looking up at TED on a ladder, his .HAND ON THE STAR of the tree. 'l'ed's·putting up his star?l He's aghast. He drives forward a •bit and parks behind SOIDE! bushes, not wanting them to see him. INT. HOUSE - EVENING Ted is climbing down from the ladder, star in hand. Be hands i t to Liz.</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>LIZ</character> <dialogue>Sorry about that. It's just, well, that's Howard's job, Ted. Be puts the star on.</dialogue> <character>TED</character> <dialogue>I see.</dialogue> <parenthetical>(clears his throat)</parenthetical> <dialogue>Of course, I can"t help but notice that Boward hasn't really been around to do his job lately •••</dialogue> <scene_description>Liz looks at him for a moment. Frowns. He"s right.</scene_description> <character>LIZ</character> <dialogue>I'm gonna try him at the office one more time.</dialogue> <scene_description>She e:x:its. Ted looks frustrated. EXT. HOUSE - EVENING Howard creeps up the driveway. Bis world is falling apart around him. He mutters to himself.</scene_description> <character>BOWARD</character> <dialogue>That son of a -- I'm out all day and he"s inside putting up my star! on my tree! What's he trying to pull anyway? Be thinks he ' s so great •••</dialogue> <scene_description>Suddenly, he hears TED'S VOICE in his head.</scene_description> <character>TED'S VOICE</character> <dialogue>"I got one for Johnny months ago. It's nestled safely under our tree· .•• "</dialogue> <scene_description>Remembering, HOW!\rd turns and looks at Ted's house.</scene_description> <character>T.ED'S VOICE</character> <dialogue>• ••• nestled safely under our tree •.•• •</dialogue> <scene_description>HOWARD'S POV: Closer. The CHRISTMAS TREE in Ted's FRONT WINDOW.</scene_description> <character>'1'.ED'S VOICE</character> <dialogue>• ••• safely under our tree ••• •</dialogue> <scene_description>Boward smiles slyly. Be dashes quietly over to Ted's DOOR. EXT. TED'S ROUSE - EVENING. Boward stands in :front of the door, looking at the ALARM KEYPAD. What was the code?</scene_description> <character>HOWARD</character> <dialogue>Okay. •The last thing an intruder would expect" ••• "COME IN"? No ••• "BI THERE"? No • • • "ENTER"? • • • ·WELCOME" I Yes!</dialogue> <scene_description>He punches in the letters and de-activates the alarm. He slips inside. , INT. '!'ED'S LIVING ROOM - EVENING Looks like a department store in here. Decorated to the ceiling in Christmas cheer. There's even a close-to-life-size NATIVITY SCENE by the fire. Boward shudders in disgust. Be tiptoes over to the tree. SHAKES A FEW BOXES, trying to find the right one. Then he sees it. Wrapped in TURBO TOM PAPER.</scene_description> <character>BOWARD</character> <dialogue>Bingo.</dialogue> <character>INT/EXT. TED'S HOUSE - EVENING</character> <dialogue>Boward carefully cradles the box as he quietly SHUTS THE DOOR behind him. We see the ALARM quietly RE-ACTIVATE. Boward looks down at the package. Smiles. Then sees the TAGs "To Johnny". Be frowns.</dialogue> <character>BOWARD</character> <dialogue>What am I doing? LOok at me -- stealing from a kid ••• I can't do this. Enough, Boward. You lost. Just go in and face Liz like a man.</dialogue> <scene_description>Boward nods. Yes. Be will. But first he"s gotta put the gi:ft back. With steely resolve, he opens Ted.'s door ••• FORGE'lTING ABOUT THE ALARM. Which immediately begins to WAIL.</scene_description> <character>BOWARD</character> <dialogue>Oh shit.</dialogue> <scene_description>Be tries punching in some letters, but nothing's happening:. At a loss , he runs into Ted• s house. INT. TED'S LIVIB'G ROOM - NIGHT Boward runs in, gift in hand. Be's heading for the tree. But TRIPS over a STRING OF LIGHTS. Be pulls -- yanking down a whole set of thell!.. Be rolls around, the lights wrapping around his body. INT. PUTTNAM LIVING ROOM - SAME Ted runs in from the kitchen. LOOks at Liz.</scene_description> <character>TED</character> <dialogue>That's 'llrf alarm.</dialogue> <character>LIZ</character> <dialogue>Should we call the police?</dialogue> <character>TED</character> <dialogue>I'll check it out.</dialogue> <character>LIZ</character> <dialogue>I'm coming with you.</dialogue> <scene_description>Liz grabs a BROOM from the kitchen and follows Ted.</scene_description> <character>INT. TED'S LIVING ROOM - NIGHT</character> <dialogue>Boward can't seem to get out of the lights. Be scrambles to get up and BUllLS billaelf into the NATIVI'l't SCBNE, knocking the head off a WISEMAN. It rolls into the FIRE, Boward drops tha box and goes tor tblit head. Be mnagss to SCOOP IT OUT -- but it's AP'L.AME. He bobbles it with h.i.l!I f-t, then, gi-n no other option, ha picks it up and HURLS IT THROOGH THE LIVING ROOM WINDOW. Crash!</dialogue> <character>EXT, FRONT OF TED'S BOOSE - SAHE</character> <dialogue>A group of CAROLERS are strolling by, singing. They look up at tha CRASH to see a n.AKING, BEARDBD HEAD plop down in the SNOW in front of thlillll. They SCRBAN and RUN. EXT. SIPE OF TED'S HOOSE - SAME Ted and Liz, creeping up to tha Ol'EN side door, hear the CRASH as well. And the SCRDHS. They look at each other, panicked. Ted SHUSHES Liz. Be takes the broc:e and creep• into the house. Liz follows.</dialogue> <scene_description>INT. TEP'S LIVl:NG ROOM - NIGHT Boward glanc•• at the BROKEN WINDOW. There's no ti.me. Be lunges for the Turbo Tom box, grabs it, and i• about to SHOVE IT BACIC UNDER THE TREE wban •••</scene_description> <character>LIZ (O.C.)</character> <dialogue>HO'IM.rd?!</dialogue> <scene_description>He freezes. Loolts up. Liz and Tad are 11tanding in the doorway. Be stands. Still holding the BOJ'..</scene_description> <character>HOWARD</character> <dialogue>Ob. Bi.</dialogue> <scene_description>== Script Fly.com == (CONTIIIUEDJ</scene_description> <character>TED</character> <dialogue>My wisemant</dialogue> <scene_description>He drops the broom and rushes to it as Liz looks around incredulously. Then she spots the box in Howard's hand.</scene_description> <character>LIZ</character> <dialogue>What is that?</dialogue> <character>TED</character> <parenthetical>(looking)</parenthetical> <dialogue>That's Johnny's Turbo Tom!</dialogue> <character>LIZ</character> <dialogue>BOWARD</dialogue> <scene_description>Wait this isn't what it looks like --</scene_description> <character>LIZ.</character> <dialogue>Oh it isn't?! Really! Then do tell me what it isl Because as far as I know we've got our own Turbo TOm sitting under the tree!</dialogue> <scene_description>Ted quickly slips out of the room. Where's he going?</scene_description> <character>LIZ</character> <dialogue>And while you're at it, I'd.also like to know where you've been all day! Because you sure as hell weren't at work! And now I find you breaking into our neighbor's house -- breaking things and stealing presents from under his tree?! I sat home all day explaining to our son why his</dialogue> <scene_description>.father wasn't home yet and I wasn't even close, was I'd</scene_description> <character>HOWARD</character> <dialogue>Liz, if you'd just give me a second. I - I want to tell you the truth here. And I know parts of this are gonna sound completely ridiculous, but just hear me out. Okay. All day today I've --</dialogue> <scene_description>Ted comes barreling through the door, panting. He holds the WRAPPED ANTI-FREEZE box. Bands it to Liz.</scene_description> <character>TED</character> <parenthetical>(breathless)</parenthetical> <dialogue>Liz ••• I -- I thought you should know.</dialogue> <scene_description>== Script Fly.com == {CONTINUED) Liz bandlea the box. SLOSH! She qlarea at Bovard then rips the WRAPPING OPEN. Sees the anti-freeze. She GASPS, than ■ pins around and walks out. Howard chases after her. Jtl'l'. TED'S HOOSE - MIGHT Boward rushes out after Liz.</scene_description> <character>HOWARD</character> <dialogue>Wait -- Liz, I was getting to that. See--</dialogue> <scene_description>She spins around, fuming.</scene_description> <character>LIZ</character> <dialogue>Not another word, aoward. I'm too angry right now to even look at you, let alon11 listen to another excuse. I'm just glad Jaaie wasn't here to see tbi11, because ••.</dialogue> <scene_description>She trails off, e1110tional. Then collects her ■ elt .• LIZ (CON'l"D) I'm going to the parade. To meet our son. And I think it'd be batter for everyone if you"d just stay h,=--. You've done enough damage as it i ■• She stalks over to Ted's car and gets in11 ide. Liz ••• Ted looks at Howard as he gets in the driver's side.</scene_description> <character>TED</character> <dialogue>Honestly, Ho.AS.rd. And on Christmas Eve.</dialogue> <scene_description>They drive away, leaving Boward standing there alone. Be trudges into the hC'llse. INT. ltI~UIKl!,i - NIGHT Howard enters through th• kitchen door. He shuffles over to.the table. ccapletely beaten. Be walks to the fridge, pulls ou·t a BEER. Slams the door. And sees A CHILD'S DRUJIIIG. Ja.Jrie'S, to be exact, hanging on the refrigerator door. It's the one he was naking in his room. Hovard looks at the finished product: A guy marked •DAO", with a SMALLER PERSON ON BIS SHOULDERS marked •,m• . THEY. RE AT THE PARADE, And passing by is "'TIJRBO TOK". B~rd •s eyes rest on the smiling picture of Jma:ie on his shouldGrs. == Script Fly.com ==</scene_description> <character>CUT TO:</character> <dialogue>EXT. PUTTNAM HOUSE - NIGHT</dialogue> <dialogue>Howard storms out of the house, full of determination. HE! climbs • into his wrecked car. Be's going to that parade.</dialogue> <character>HOWARD</character> <dialogue>I made a promise.</dialogue> <character>EXT. PARADE ROUTE - NIGHT</character> <dialogue>The street is decked out with HOLIDAY DECORATIONS and FAMILIES are quickly staring to line the sidewalks. Bundled against the cold. Sipping hot chocolate. Vendors hock souvenirs. Kids stand on tiptoes in anticipation. The biggest night of the year. Looated on a wobbly platform above it all, are saccharine local TV personalities GALE STORM and LIZA JOHNSON. They look extremely excited to be doing anything that requires the use of those goofy headsets (their broadcast can also be heard over the parade"s PA system).</dialogue> <character>GALE</character> <dialogue>well everybody, looks like it's that time of year again! The annual •Lights Before Christmas Parade• 1</dialogue> <character>LIZA</character> <dialogue>Merry Christmas. I •m Liza Johnson of AM/ Live and I'm here with weatherman Gale Storm, and we 're high atop Channel 5 's Parade Central to keep you updated on all the action for this year's parade •••</dialogue> <scene_description>The crowd buzzes with excitement. Ne MOVE CLOSER to reveal Jamie and .Johnny, pulling up to an empty spot next to the PARADE BARRIER.</scene_description> <character>JOHNNY</character> <dialogue>Good spot?</dialogue> <scene_description>JAMl:E (looking around) Perfect! Let's move. They start unpacking their gear. Jamie checks his watch,</scene_description> <character>JAMIE</character> <dialogue>·Estimated launch time: ten minutes.</dialogue> <character>JOHNNY</character> <dialogue>Roger that.</dialogue> <scene_description>Ja.JD.i.a and Johnny keep working, but can't help smiling in excitermnt.</scene_description> <character>JAMIE</character> <dialogue>This ill gonna be so cool I</dialogue> <character>BXT. TED'S CAR - NIGHT</character> <dialogue>Ted pulls his car into the parade-area parking lot. Liz sits next to bim, sadly looking down at the UNWRAPPPBD ANTI-P'R!EZB Shlil'S still holding in her lap.</dialogue> <character>TED</character> <dialogue>I'm sorry you had to go through that back there.</dialogue> <character>LIZ</character> <dialogue>Yeah, well ••• let's just go find the boys, okay?</dialogue> <character>TED</character> <dialogue>Sure. But ••• -11, I just want you to know, if you ever need someone to talk to-- a shoulder to cry on ••• I'm here.</dialogue> <scene_description>Liz aighs.</scene_description> <character>LIZ</character> <dialogue>Really, Ted. I'm fine.</dialogue> <scene_description>She looks out the window. Ted gazes at her.</scene_description> <character>TED</character> <dialogue>You deserve better, Lizzie,</dialogue> <scene_description>Liz looka a little nervous. Sha turns to him.</scene_description> <character>LIZ</character> <dialogue>Uh, Ted</dialogue> <character>TBD</character> <dialogue>someone who understands you. so ■ eon sensitive to your needs. Sa.ione close by ••.</dialogue> <scene_description>He puts a hand on her leg. She GASPS, surprised. == Script Fly.com == (CONTINUE.D)</scene_description> <character>TED</character> <dialogue>I know. I'm feeling it too.</dialogue> <character>LIZ</character> <dialogue>No Ted, I don't --</dialogue> <character>TED</character> <dialogue>I don't know how it happened either.</dialogue> <character>LIZ</character> <dialogue>Look, Ted, I --</dialogue> <scene_description>Liz tries to gently remove his hand from her leg, but he takes it as a gesture of affection and CLASPS BER BAND IN HIS.</scene_description> <character>TED</character> <dialogue>I love you too, Liz!</dialogue> <scene_description>He lunges to KISS her. She YELPS.</scene_description> <character>LIZ</character> <dialogue>TED</dialogue> <parenthetical>(mauling her)</parenthetical> <dialogue>Liz!</dialogue> <character>LIZ</character> <dialogue>Get off of met</dialogue> <scene_description>But Ted's too far gone now.</scene_description> <character>TED</character> <dialogue>Oh, Liz! Liz!</dialogue> <scene_description>Liz doesn't know what to do. Finally, she SLUGS HIM IN THE HEAD with the ANTI-FREEZE container. She JUMPS OU'!' of the car and slams the door. Disgusted, she stalks off into the crowd. Ted sits in the car, anti-freeze oozing down his face.</scene_description> <character>TBD</character> <dialogue>we11. That didn't exactly go as well as I had hoped.</dialogue> <character>EXT. CITY PARK - NIGHT</character> <dialogue>The parade's starting point. Boward pulls his car to a stop at a barrier. we see the FIRST MARCHING BAND enter the route to start the parade. Their COS'I.'UMES are LIT UP with dozens of TINY LIGBTS. The BAND STARTS MARCHING, playing a Christmas favorite. Gale and Liza's voices ECHO in the distance.</dialogue> <scene_description>== Script Fly.com == (C0NTINOEO)</scene_description> <character>GALE</character> <dialogue>Ladies and Gentleman, Funtime Toys presents the fifteenth annual •Lights Before Christmas Parade"!</dialogue> <scene_description>The CROWD CBEERS wildly. Howard hops out and begins to wander through the various PARADE WORKERS and BANDS and FLOATS preparing to join the parade.</scene_description> <character>HOWARD</character> <dialogue>Liz? Jamie ••• ?</dialogue> <scene_description>He searches around, bumping into everyone and generally getting in the way. He makes a turn and sees ••• The Bill'.ERS. Preparing their own float. It reads: ·HEIJ,HOGS ANNUAL TOY DRIVE.'~ The bikers are all depositing their toys on the float ••• all except the BIKER who had the Turbo Tom. He sits sadly on the edge of the float. A fellow biker consoles him. FELLOW Bil\'.ER It"s all right, man. It's all right ••.</scene_description> <character>BIKER DUDE</character> <dialogue>But I never would have dropped it if it hadn't been for that jerk who ■ tole it in the first place •••</dialogue> <scene_description>Howard silently tiptoes baclcwards, to avoid being seen. But-- BOOM! -- he backs right into a BIG BASS DRUM, being worn by a BANDMEMBER. The DRUMMBR falls, knocking over the ENTIRE PERCUSSION SECTION. Very noisy. The bikers turn to see the c0111110tion, and spot Howard standing amid the fallen drummers.</scene_description> <character>BIKER DUDE</character> <dialogue>Dude • • • that's him! That 's the guy! ! !</dialogue> <scene_description>The bikers REV UP and start coming for Howard.</scene_description> <character>HOWARD</character> <dialogue>Whoaaaaal</dialogue> <scene_description>Howard spins and runs for his life. The bikers drive over the d.rmlla!rs in hot pursuit. Howard runs down a BACK ALLEY, de ■ perat for a place to hide. He spots an OPEN WAREHOUSE DOOR. Be dives inside ••• EXT. REVIEWING STAND - NIGHT The first band is passing by. The crow applauds enthusiastically.</scene_description> <character>GALE'S VOICE</character> <dialogue>Here comes the Eastside High Marching Band -- hey, isn't that the same song they played last year?</dialogue> <character>LIZA'S VOICE</character> <dialogue>Oh, Gale. Isn't that the same joke you told last year?</dialogue> <scene_description>The 1augh mechanically. Meanwhile, Liz is making her way through the crowd, trying to find the boys. She• s starting to worry.</scene_description> <character>LIZ</character> <dialogue>Where are they?</dialogue> <character>EXT. PARADE ROUTE - NIGHT</character> <dialogue>Jamie and Johnny carefully lift\_the parade barrier away from its sawhorse legs. Now there's nothing between them and the parade. Johnny's about to pull the cover off of their huge contraption.</dialogue> <character>JOHNNY</character> <dialogue>Now?</dialogue> <character>JAMIE</character> <dialogue>Not yet</dialogue> <scene_description>Be checks his watch and looks down the street at the oncoming floats. INT. WAREHOUSE - NIGHT Boward ducks behind the door, breathless. Be can hear the BIKERS approaching. suddenly, a VOICE shouts at h.illl. VOICE (o.s.:) . Howard spins around to see a PARADE WORKER staring at him.</scene_description> <character>HOWARD</character> <dialogue>Yeah?</dialogue> <character>PARADE WORKER</character> <dialogue>What are you doing here? I Are you the guy?!</dialogue> <scene_description>Howard can hear the bikers SHOUTING ANGRILY and REVVING their ENGINES outside. Be can't get kicked out of here. == Script Fly.com == {CONTINUED)</scene_description> <character>BOWA.'ID</character> <dialogue>Oh ••• yeah, sure. I'm the guy.</dialogue> <scene_description>P1'.HADE WORlCER (relieved) Oh thank ~d;: The parade worker ~diately grabs Boward and draga h!m further into the varshouse. Suddenly, Bo;,,ard ia surrounded by a WHOLE TEA,,'!. of FLOAT WCJRKERS. Within se.:::onds, they are ZIPPING an ELABORA1'E COSTU;:"IB around iioward. It's like s ~ kind of a SPACE SOI'l'. He tries to struggle, but there are just too msny of the~. The !~rst parade worker goes dovn a rapid fire checklist. PP..HADE WORKJL'l: Okay, we• re rur,,1ing way late here, so pay attention, You already read the i;,annal 'We ser;t you so you know al:-,c,ut all tile inportant controls • Let me just go OVflr a few of the changes. Tru,re are three cutoff valves for the nitro-flutri. Bere, here, and here. The normal reado;,t on tmi pressure gauge should read anywtmre bilO'li' 50, not 70 like you-~• told earlier -- Ho1sard opens his 110utb to speak, he can't even get a word out. PA.UDE WOltJCER Your -rgenc)": cutoff switch is here and your pri.Aary cl!!IIII trol• &lt;U'e here. Right goes right, left goes left • • • r~. The procedura ia tae same as we talked &amp;boat ov.,r tbe pb.Qfle. If you just atick to that there abouldl!.'t be any trouble. Boward tries to speak again.</scene_description> <character>BG'WAPJ)</character> <dialogue>1ook, ! don't think</dialogue> <scene_description>PA.~E WORltBR wait. Before you say anything, l ~ me speak for everyone 'When :r thank you f&lt;?r filling in for Pete on such short notice. It was a total freak accident at ttae rehearsal, and we really think -•ve got all the ltinks worked out o:f th&amp; system. BC~APJ::i Accident? What --7 But it's too late. Tbv,e'v-e just shut tbe HELMET dovn over his he.."'d. - They LC,o;: IT Ill'TO PLACE. == Script Fly.com == ( CilHTINUED)</scene_description> <character>PARADE WORKER</character> <dialogue>Oh, and you should know, the doctors said Pete actually showed some brain activity this morning. That's a really gOOd sign.</dialogue> <scene_description>The parade worker gives him a THUMBS OP. The rest of the team applauds -- dro'Wning out Howard's muffled cries. :</scene_description> <character>I</character> <dialogue>They PUSH him up on to the bottom of an ELABORATE FLOAT. It's: so Hl.JGB it casts a DARK SHADOW over Boward, making things difficult to see. Howard is greeted on the float by a CHAIN SMOKING GUY:in a PINK FUZZY SUIT (without the head on).</dialogue> <character>CHAIN SMOKER</character> <dialogue>Where the hell have you been? What am I supposed to wait all friggin' day for your sorry ass?</dialogue> <scene_description>Suddenly, the HUGE· DOORS in front of them SLOWLY start to OPEN. The chain smoker takes a last drag and then puts on his COSTUME HEAD. Boward seems to recognize it •••</scene_description> <character>BOWARD</character> <dialogue>Wait - I know that ••. it's -- it's •••</dialogue> <scene_description>(astonished)· You' re FANG !</scene_description> <character>FANG</character> <dialogue>Yeah, and who the hell'dya think you are? Santa Claus? 1</dialogue> <scene_description>The doors open wider, creating a WIDENING BAND OF LIGHT on the float. Howard looks down at his own costume, recognizing it now.</scene_description> <character>BOWARD</character> <dialogue>Oh my god ••• I -- I .•.</dialogue> <scene_description>Be turns to look up at the float. A big TORBO TOM SIGN.</scene_description> <character>HOWARD (CONT'D}</character> <dialogue>I 'm Turbo 'l"om.</dialogue> <scene_description>The float is now moving out of the warehouse into the full glare of the PARADE. The crowd gasps in awe.</scene_description> <character>LIZA'S VOICE</character> <dialogue>And now the moment you've all been waiting for! Here he is, boys and girls, live and in person! Funtime ToyS' very own • • • TORBO TOM! l l</dialogue> <scene_description>The crowd goes bonkers. Everybody and th~ir kids wants to get a gl.unpse of Turbo Tom. Meanwhile, Howard is frozen stiff on the float. == Script Fly.com ==</scene_description> <character>FANG</character> <dialogue>Wave, you idiotl Wave!</dialogue> <scene_description>Howard begins vaving to the crowd.. They eat it up. The float continues on the parade route, FLASHBULBS POPPING and ~IDS SQOEALIHG. EXT. PARADE ROUTE - NIGHT Jaaie looks down the parade route. Be can see the huge Tu.rbo Tom float, awash in lights. Be turns to Johnny.</scene_description> <character>JAMIE</character> <dialogue>Now!</dialogue> <scene_description>And aa everyone el•• in the crowd lok ■ the other way for a glimpse of tba 'l'tlrbo Tom float, Jllllli• and Johnny excitedly WHIP the cover off of their creation: THEIR VERY Ollili FLOA~. It"s a CHRISTMAS '!'REP!, aade frao. the the A-fra.ae •tructur•d KA'I"l'RESS BOX and covered with every GRBBN and CBlUS'I'KA.SSY ITEM in the house. They"ve even stolen actual ornaments· and put a big SHINY STAR 00 TOP. From their LOW ABGLB it looks like a masterpiece. They admire their vork for a second, and then clilnb inside. INT. FLOAT - NIGB'l' The whole float is n:,unted to JOHNNY'S BIICE. The star at the top of the •trae• is actually a PERI:SCOPB, made from a -.ti.ling tube and Liz"s u.keup mirrors.</scene_description> <character>JMIIB</character> <dialogue>All syat.aJIIS gol</dialogue> <scene_description>Johnny climbs on his bike and Jamie crouches on his skateboard. They stJ;ain to push off and get moving.</scene_description> <character>JAMIE/JOHNNY</character> <dialogue>It's ••• Tarbo ••• time!!!</dialogue> <scene_description>And finally they get off to a wobbly start. EXT. PARADE ROUTE - NIGB'l' Nobody seems to notice the slll.llll new float WOBBLING into the parade. Actaally, from this angle it looks a lot less like a Christllas tree and more like a SHAGGY GREEN Mot:rm'AIH. BXT. FLOM' - HIGHT Boward is still riding the TUrbo Tom float, pa ■ t hundreds of adoring fans. Be's actually getting a little into it. WAVING to th• crowd~ POSillG like a superhero. == Script Fly.com == ( CONTIHUED)</scene_description> <character>BOB</character> <dialogue>And in a few IDOlhents, Li:i:a, we• ll announce that special drawing which will let one lucky child win a special edition Turbo Tom doll that's on that very float right now!</dialogue> <scene_description>The guy in the FANG SUIT holds up the doll to the crowd for ai second. They ·cheer. Howard BLOWS THEM KISSES.</scene_description> <character>FANG</character> <dialogue>(toHoward} Hey, Rock Star1 Don't get carried away. Remember, Negator's jumping the float in a couple blocks ••• EXT. PARADE ROUTE - NIGHT</dialogue> <scene_description>A few blocks ahead. A guy in a NEGATOR SUIT takes a nip from a BO'l'TLE IN A BAG. He checks his watch, when CLO'NK! Be's KNOCKED OVER THE HEAD -- out cold. A PAIR OF HANDS drag the guy in the costume away ••• EXT. PARADE ROUTE - NIGHT An ELF walking beside the SANTA FLOAT notices an ODD GREEH SHAGGY MOUNTAIN bearing down on him pretty fast. Efe has to LEAP out of the way to avoid being hit.</scene_description> <character>ELF</character> <dialogue>(calls out to shaggy mountain} Beyl You're going the wrong way1 INT. BOYS' FLOAT - NIGHT Jamie and Johnny are pedaling against the flow of the parade, trying to get to the Turbo Tom float at the back. Jamie looks through the periscope.</dialogue> <character>JAMIE</character> <dialogue>I •ve made visual contact! FUll speed ahead!</dialogue> <character>JOHNNY</character> <dialogue>Aye, aye1</dialogue> <scene_description>He pedals harder. EXT. FLOAT - NIGB'l' The shaggy mountain closes in on the TURBO TOM float. Fang sees it coming -- and watches it ZIP RIGHT PAST. Jamie waves back to Johnny, who has slowed the Tree float down and is watching from the side of the road. Johnny gives a brave SALUTE to his friend. EXT. FLOAT - NIGHT Jamie can't believe he's actually on the float. He can see Turbo Tom waving at the front end!</scene_description> <character>JAMIE</character> <dialogue>Yes!</dialogue> <scene_description>Be takes a few steps toward the front of the float, when FANG Spots him.</scene_description> <character>FANG</character> <dialogue>What the - ? Oh! Geeez •••</dialogue> <scene_description>Thinking he's been caught, Fang quickly snuffs out his cigarette and shoos a giggling, SEXY ELF away from the float.</scene_description> <character>FANG</character> <parenthetical>(to se:xy elf)</parenthetical> <dialogue>I've got your number, right? I'll call you!</dialogue> <scene_description>Fang turns back to Jamie, embarrassed.</scene_description> <character>FANG (CONT'D}</character> <dialogue>Congratulations, kid. Guess you must be the contest winner! •course it woulda been nice to have a little warning ••• !</dialogue> <character>EXT. ANNOUNCER'S STANO - NIGHT</character> <dialogue>Gale and Liza are similarly confused. They shuffle frantically through their PREPARED SCRIPTS.</dialogue> <character>GALE</character> <dialogue>Oh ••• What's this? Uh, it looks like our little contest winner has been brought up on to the float ••• ?</dialogue> <character>LIZA</character> <parenthetical>(trying to find the page)</parenthetical> <dialogue>Yes ••• and the name of that luckY young child is ••• uh, his name is ••• uh, Jason Cole!</dialogue> <scene_description>Adorable little JASON COLE stands next to Gale and Liza on the announcer"s stand.</scene_description> <character>JASON</character> <dialogue>But ... but t·m Jason Cole.</dialogue> <scene_description>Gale and Liza stare at ha in confusion. Be lc~Jks like he's aboL~ to cry ..</scene_description> <character>GALE</character> <parenthetical>(covers his mic)</parenthetical> <dialogue>Well~~~ then who's that?</dialogue> <scene_description>Baek on the flO&lt;it, Fang hands Jamie tha SPECJ:.A!, EDITION TURBO TOM DOLL.</scene_description> <character>FM~3</character> <dialogue>There yoo go. Have fun. Merry Christmas. Now gs-t lost.</dialogue> <scene_description>Fang pats Jamie on the reack. Then he looks around for the BLF again.</scene_description> <character>FANG , CONT'D\</character> <dialogue>Damn. tlbere b'le 'n•ll 'd 'she go</dialogue> <scene_description>JUl.ie tucks the doll under hill a.Ill and keeps K&gt;Ving forward across the other side of the floa'a. EXT. PARADE ROtl"rE - RIGHT Off to the s:ide, we see NIIGATOR re-emerge wi.thin the crc,."l. Be's looking for something. NE'Gi,TCR'S POV;; '!'hrOllgh nis dark visored helmet, we see Negator looking around at the 'J:!irlli5 'l'0ll. float. Suddenly he stops when he sees Jamie carry,ing t~ doll. We zoo,\_~ IR on the DOLL. EXT. 'mE PAlUIIJE IIOO'l'II - NIGB'l' Negzu:or LDPac over tba -;,ar,;de barrier, and RUSHES to,,r~d the Turi:-0 TOm floa.t. The crOW'd •oooobs~.</scene_description> <character>BXT. ANNOUNCER'S ST.AND~ NIGHT</character> <dialogue>Gale and Liza think this is their cue and shut:fle ahe.ad in their scripts again,</dialogue> <character>GALE</character> <parenthetical>(terrible sseting)</parenthetical> <dialogue>Oh no, Jc.ids! It looks li.ke that's Turbo Tea's arch en~rf, N&amp;gatori</dialogue> <scene_description>== Scrint • ·,J· com ==</scene_description> <character>LIZA</character> <dialogue>And he's trying to ruin the parade!</dialogue> <scene_description>The crowd BOOS loudly. Negator FLIPS THEM OFF as he continues running to the float.</scene_description> <character>GALE</character> <parenthetical>(aside)</parenthetical> <dialogue>Well that was a bit much.·•·</dialogue> <character>EXT. PARADE</character> <dialogue>Off to the side, a GUY in a BOLT to jump on the float.</dialogue> <character>ROUTE -</character> <dialogue>COSTUME</dialogue> <character>BOLT</character> <dialogue>What's he doing? Be's way too early!</dialogue> <character>EXT. FLOAT - DAY</character> <dialogue>Negator jumps onto the back of the float. Bolt comes running out of the crowd to join him.</dialogue> <character>BOLT</character> <dialogue>What the -- ?! You totally blew your entrance!</dialogue> <scene_description>He leaps onto the float as well -- only to have Negator KICK HIM OFF THE BACK. 'l'BUD1 Hundreds of . KIDS CHEER and RUSH UNDER TBE BARRICADES, intci the street to PUMKEL BOLT. Negator turns back around. Be sees Jamie creeping ever so slowly toward the front of the float - still holding the doll. He's almost at TUrbo TOm ••• Jamie swallows, just a few feet away from his hero.</scene_description> <character>JAMIE</character> <dialogue>Uh ••• T-T-T-TUrbo Tom? Excuse me ••• ? Mr • Tom? ••• Sir?</dialogue> <scene_description>Turbo Tom turns around.</scene_description> <character>BOWARD</character> <dialogue>· (from inside helmet)</dialogue> <scene_description>Jamie?! Jamie is stunned. His mouth drops.</scene_description> <character>JAMIE</character> <dialogue>Turbo Tom? • , • Jou know my n1me11</dialogue> <character>BOWARD</character> <dialogue>Of course I do, Jamie. It's me, --</dialogue> <scene_description>But before he can say it, Jaiaie is GRABBED PROM BEHIND by Negator!</scene_description> <character>MIRON</character> <parenthetical>(from inaide Negator hel.-t)</parenthetical> <dialogue>Not so fast! Now g ~ the doll and nobody gets hurt!</dialogue> <scene_description>Boward recognizes that voice. HOllfARD MyrOn?l</scene_description> <character>MYRON</character> <dialogue>That's right, Mr. Reindeer Man. ~bought you could outsllllrt me again, huh? Pretty slick with that costume idea ••• but I'm one step ahead of you, as usual!</dialogue> <character>HOMAR.D</character> <dialogue>Myron, c•mon this is absurd!</dialogue> <scene_description>Fang approaches Myron fr0111 behind and and taps him. l"ABG Bey, buddy, this isn't hov we rehearsed it -- Myron juat PUNce:as Fang right in his furry face. Be drops off the float and KORB IIDS RUSH OUT under the buricadea to PUMNEL FJING. The rest of tbe crCNd BCXlS. Jamie managed to alip away when Negator punched Fang, and he's now got the doll high over his bead.</scene_description> <character>MYRON</character> <dialogue>Aw, kid, now don't be a pain ...</dialogue> <character>JAMIE</character> <dialogue>You'll never get away with this, llegatorl</dialogue> <scene_description>HOWAlID Uh • • Jamie, -ybe you should just let b.iJl -- Suddenly the·crowd starts calling out to Howard.</scene_description> <character>'I'HE CROWD</character> <parenthetical>(with growing intensity)</parenthetical> <dialogue>Come on, Turbo 'l'oml Stop Negator! Save the kid! You can do it! Get him Turbo</dialogue> <scene_description>. 'l'olnl ( • • • etc. ) Even the announcers get into the act.</scene_description> <character>LIZA</character> <dialogue>Looks like it's up to Turbo Tom to save the day! ·</dialogue> <character>GALE</character> <dialogue>If anybody can do it, he can!</dialogue> <scene_description>Negator is moving closer to Jamie. He tries to grab for the doll, but Jamie uses ONE OF HIS KARATE MOVES and KICKS Negator in the shin.</scene_description> <character>MYRON</character> <dialogue>OOOOCh! Why, you little -</dialogue> <scene_description>Myron rubs his shin and tries to chase after Jamie.</scene_description> <character>JAMIE</character> <dialogue>Turbo Tom! Belpl</dialogue> <scene_description>Howard looks around.</scene_description> <character>BOWARD</character> <dialogue>Somebody! Help l</dialogue> <scene_description>Jamie looks at Turbo Tom curiously. Negator is getting too close.</scene_description> <character>JAMIE</character> <dialogue>Do something! Use your eye beams 1</dialogue> <character>HOWARD</character> <parenthetical>(searching on the suit)</parenthetical> <dialogue>Eye beams , eye beams • • • eye beams</dialogue> <scene_description>Negator is grabbing Jamie again. Jamie SCREAMS.</scene_description> <character>BOWARD (CONT'D}</character> <dialogue>Eye beams1</dialogue> <scene_description>Be hits a button on his helmet, and TWO .STREAMS of a I&lt;ED SILLY S'l'R.I.NG-LIJCE SUBSTANCE shoot out from the sides of his helmet. They land at Myron• s feet and he SLIPS AROUND in the GUNK. Jamie gets away. The CROWD I !HRBRS.</scene_description> <character>JAMIE</character> <dialogue>Quick, Tai -- use your Turbo-rang!"</dialogue> <character>JAA-Z:E</character> <dialogue>Tbe l:x:aMrang. In your holster!</dialogue> <scene_description>Howard raache~ down to the BOOMBRANG hanging from his belt. Just as Myron is gt1ctting back to his feet, Bawa.rd throws the TURBO- RANG at hi.II.. WHC&gt;:iSBl Myron" DUC!CS and the booa.ncang sails r.ight past his head. Myron picks his bead up and LA.UGBS ••. only tc hava ~,e BClCMltRANG hit him in the a11;.a OF si'HE HBAD on its mturn. THWACXl The CROWD CBBBR!&lt; again. l'!yron picks t1,m.,elf up again and is pissed. ll!ii scra:ables around the float, trying to catch Juti.e. CRRRRACJC! BB foot goes through the floor of the float INT. INSIDE 'l'BE FLOAT - SJS~&gt;m -- And into the DRIVBR. Bit in t a head by Myron's ~:rt. irnocn:o OUT CO';,,D •• •</scene_description> <character>EXT. FLOAT - :OAY</character> <dialogue>T'he float st!lb-ts to drift a bit as Myron pulls hi• fcot back up and corners J;;a11rie ag•iJ•t a wall.</dialogue> <scene_description>JlRill! 't'llrbo Tall u.e your Jet Pack! Use your Jet P&lt;sek! 11 Beware sea.retie• "!or the tiutton. BO¥J!.Pd) ,scoffs I Yeah: •• like this thing actually has a working jet i:,a-- AAAAAfA}.\_'i.AI 1111 lilWWaHEROOOOOO(l()c'.:,OOSHHHl'!!U Soward shoots right off the !loat. DISAP!'EAJUMG in=~ the SA!. Neaator and Johr.ny both lc,ok up at the TRAIL OF SMOJCE. '!'ben Myron laughs.</scene_description> <character>MYROO</character> <dialogue>Gocd work, kid- NOW g'- the doll!</dialogue> <character>JAMIE</character> <dialogue>He holds tbe doll away. EXT. SOMEBWERE IN THE SKY - NIGHT Howard is SCREAMING his lungs out as the GROUND QUICKLY SHRINKS beneath him. Be BI'l'S a SWITCH that ilmnediately causes him to LOOP AROUND uncontrollably.</dialogue> <character>BOWARD</character> <dialogue>Whoaaa! ••• Whooaaa! ••• WHOOAAA! •</dialogue> <character>EXT. FLOAT - HIGHT</character> <dialogue>With Howard looping above, Negator finally grabs the doll from Jamie. Be's just about to jump off the float, when HOWARD -- PIPPING OOiffl in one of his WILD LOOPS -- accidentally SMACKS RIGBT INTO HIM, knocking the doll from his hand. The CROWD CHEERS WILDLY.</dialogue> <character>GALE'S VOICE</character> <dialogue>Wow! I tell ya, they're putting on quite</dialogue> <scene_description>a show for us this year! Boward loops back up and gets TANGLED in a large BANNER hanging over the parade route. Meanwhile, the float is DRIFTING back and forth. Dangerously close to the crowd~ A few parents nervously pick their kids up from the curb. · Negator is pulling himself back onto the float, while J~e spots the doll. '!'hey both scramble across the float for it. Erl'. REVIBNING STAND - HIGHT Liz is still looking for the kids. Then she spots •••</scene_description> <character>LIZ</character> <dialogue>Johnny!</dialogue> <scene_description>Liz runs over to Johnny, who's walking over with his bike.</scene_description> <character>LIZ</character> <dialogue>Where have·you been? Where's Jam.ie?l</dialogue> <scene_description>Johnny glances at the oncoming float and shrugs. == Script Fly.com ==</scene_description> <character>{CONTINUED)·</character> <dialogue>JOHNNY</dialogue> <scene_description>I dunno ... Liz turns to the float, to see ... Janie -- holding the Turbo 'rem doll aloft.</scene_description> <character>JAMIE</character> <dialogue>-</dialogue> <scene_description>I got it, 'l'Urbo Tv111! I cot itl</scene_description> <character>-</character> <dialogue>J,egator tries to grab Jamie, but he dives between his legs. Liz lc-eks l.L~e •h•'s about to freak.</dialogue> <character>LIZ</character> <dialogue>Oh~-• my ••• go,~ ••• JA!UBBBBglJJ1!</dialogue> <scene_description>She gcoes running toward the float. Johnny just looks at hi11 friend in a"We . . JOBN?,'i Exoellentl Ted comes racing out of the crowd, trying to catch up ..-ith Li::1:.</scene_description> <character>TED</character> <dialogue>Liz! Wait! Can't - talk this ont?!</dialogue> <scene_description>Be stops when ha sees Johany, lltlo l00k11 up at n:un curi;;;,usly T8d's quite frazzled and etme...-.d with anti-freeze. JOlDOa' Dad? What happened to you? CUT TO: Boward~ sti.11 tangled in te.'le banner. Be struggles to get free. on the float., llllgator is closing in on Jame - but he freezes as he notices die fl C"ilt '9 VEERIBG into the ANROORCER' S STAlllO • Be and ,Tamie )xft:)I TAD COVXR. unaware of what • s below, th,r,y go to a COM.MERCUU,.</scene_description> <character>DIRECTOR'S VOICE</character> <dialogue>Ar-&gt;d we• re going to c ~ c i a l ~ ••</dialogue> <scene_description>Li~a and Gale turn off their on-air personalities. == Script Fly\_com == (C-Oh~INUED} LIZA Ugh. I'm telling you, this is the last time I cover this lame parade. GALE Tell me about it. It's the same boring crap every year -- That's when they both look down. to.see the float CRASHING rwrb THEIR STAND. They SCREAM and leap off, just in time. EXT. FLOAT - NI GB'r The announcer's stand CRASHES to the GROUND and the float VEERS to the other side of the crowd. People are now FLEEING in terror. Liz tries to fight the crowd to get closer to the float.</scene_description> <character>LIZ</character> <dialogue>Jamie! Hang on! I'm coming for you sweetie!</dialogue> <scene_description>Negator tosses debris aside and pounces toward Jamie again. Boward sees this from above, still tangled in the banner.</scene_description> <character>BOWARD</character> <dialogue>Heyl Stay away from my kidlll</dialogue> <scene_description>Be finds the Btrrl'ON that fires the. JET PACK again, and WBOOOOSH I Be goes soaring straight towards the float. ...:</scene_description> <character>HOWARD</character> <dialogue>Bey ••• I think I'm getting the hang of this!</dialogue> <scene_description>THWACK! Be KNOCKS A CHUNK OF TBE FLOAT RIGHT OFF and flies on-- CLANK! SLAMMING Ilft'O A LAMPPOST. He drops to the ground. The jolt to the float knocks Negator to the ground and sends the whole thing veering into the opposite direction ••• Headed RIGHT FOR LIZ! She screams and dives out of the way. The float goes crashing through the PARADE BARRIERS. The crowd SCREAMS and scatters for their lives. Negator lifts himself from the hole. He looks around the float. Where •s Jamie? ANGLE ON - JAMIE, RANGING OFF THE FRONT of the float for dear life. The DRIVER underneath COMES TO and peeks his head out the hole. Be sees the float is about to break through another barrier -- into an INTERSECTION and ACTUAL STREET TRAFFIC. Just as they BURST THROUGH THE BARRIER, the driver SLAMS ON 'l"HB BRAKES. But the DRIVER. s L:t'l'TLE CART SMASHES THROUGH 'l"llE BACR OP THE FLOAT. Be's stopped, but the rest of the float is ROLLING AWAY WITHOUT SIM. Or any way to steer or stop. ~.s the float cl.rifts further into the intersection, Negator spe;ts Jamie hanging on with one hand, and clutching the dol.i in the other. CARS start to SWERVE out of the ~-ay of the float. MOre para.d1;1"9oara scream. Boward pico hlJltllel.f back up at th.. b.ue of the l~gcst. Be hears the screaming in thQ distance ••• Negator is reaching dc:iwn to Jamie at tha front o! the float.</scene_description> <character>MYRON</character> <dialogue>C 'll!On, kid, juat g ~ the doll and I' 11 help you up.</dialogue> <scene_description>Jamie looks liJ.:e he ai.ght fall oft.</scene_description> <character>JAMIE</character> <dialogue>Neverl</dialogue> <scene_description>KlROll Fine. Thal I gu9li!S I'll just have to take it from )'OIi ••• Be re.aches dOWJ:I to gJ!ab tt,e doll • • . and doesn't see 1:.he Ll\RGE TRUCll: JIDDBD Rl'2'1' JaR TD FLOAT. Liz sees it. Jalld SCREAMS.</scene_description> <character>LIZ</character> <dialogue>JJ&gt;J:1!,;&lt;)3BBF Bi 11</dialogue> <scene_description>Howard hears Liz's scream. Be looks up, above the trees, to see the '!"JP OF :rilE FLOAT and the TOP OF 1'HB TROCll: speeding towiards each other. iiOIQRD (steeling h.imself) It's '!'llrbo time. He HITS T!D!' ROCllT BC&lt;lST'.EPsS ONE :;:Ji,s..ST TI;;"iE. lffiOOOOSB I Boward takes off ••• and is actually controlli,;9 the jet pack this til:MI ! e:~ rockets toward• Jamie a.".ld SWOOPS DOWN - just as Jrurd.e == Script Fly.com== ( Cvt&lt;"'!'I i-&lt;UED) loses his grip on the float. Boward PLUCKS JAMIE OUT OF MID AIR. ,~ JUSt in time. Myron looks up at Boward, soaring away with Jamie -- and then turns to see the TRUCK. Just as it SMASHES INTO THE FLOAT. Shearing it to SPLINTERS. Boward soars HIGH INTO TBE NIGHT SKY with JaJl!.ie, who is smil.ing wider than any kid in the world. Be looks at Turbo Tom, and back down at the ground. Be"s living a dreaml</scene_description> <character>JAMIE</character> <dialogue>Thanks, Turbo Tom1 I knew you'd save me.</dialogue> <character>BOWARD</character> <parenthetical>(proud)</parenthetical> <dialogue>Glad you could count on me.</dialogue> <scene_description>Be hugs.Jamie tighter and flies even higher. Meanwhile, .back on the ground, Myron struggles to climb out of the wreckage of the float. Be pulls the BEL.MET off his WOOZY BEAD -- and sees the Turbo Tom doll amidst the debris. Be hugs it to his chest.</scene_description> <character>MIR.ON</character> <dialogue>I got one! I finally got one!</dialogue> <scene_description>We hear the sound of dozens of GUNS being COCKED. Myron is surrounded TONS OF COPS. ALL TAXING AIM AGAIN. He drops the doll and raises his hands over his head.</scene_description> <character>MYRON {</character> <dialogue>Problem, officers?</dialogue> <scene_description>Down the street, Liz watches as Turbo 'l'0m gently descends from the sky, LANDING R!GBT IN FRONT OF HER, holding Jamie.</scene_description> <character>BOWARD</character> <dialogue>• (playing the hero)</dialogue> <scene_description>Here you go, ma• am.</scene_description> <character>JAMIE</character> <dialogue>Moml Did you see that? I I was flying with TUrbo Tom! Be saved met From Negator! It was the coolest! Did you see?! Did you? 1</dialogue> <character>LIZ</character> <dialogue>I saw, I saw •••</dialogue> <parenthetical>(to Boward/Tcm)</parenthetical> <dialogue>Thank you, sir. Whoever you are. Thank you so much. I don't think you know how important he is tc me.</dialogue> <scene_description>HOWi'IF.D Oh, I think I've got an idea.</scene_description> <character>JAKIE</character> <dialogue>I wish Dad coulda been here. Be woulda lo..,..,d that •••</dialogue> <scene_description>- {Julie gets sad) But he didn't come. And it's all my faclt. (to Liz} He•:;; ll!ad at me. We bad a fight on tt,e phone and I got sorta angry ..• Jamie trails otf and loob at the ground. Liz puts a protective arm uound hi!!.. She looks guilty.</scene_description> <character>LIZ</character> <dialogue>It's k,ot your fault, honey •••</dialogue> <scene_description>Ins 0 de the suit, Boward·s all choked up.</scene_description> <character>RO!,,~</character> <dialogue>Hey. Your Dad's not mad at you, Jiilnie. I Jtnow that. Fer a tact. llby, your Dad lo'll'es you more than any'!:hing in t.ie vbole wide vorld. You 're bis all-ti.Bm favorite person •••</dialogue> <scene_description>AS BOWilid talks, he T:Rll:9 TO RBMOVB BIS HELSBT. 8oaRD (CORT"D) 'the problem -es., he just didn • t realize what 1,,,1.s r•all)I! uiportant - until it was almost too lae ... But Ile can't get the helJIIE-:. of!. Struggles with it scme more. BOks\RD ( CONT ' D) .Md ys know ho;., I know that? I lr..now that becalll!le I •m - Suddenly a CRC'..n:J RUSSES '!Ce\i/ARD 'l'B"M- CRC"ei'D It's TUrb:; T;om! TURE-0 TOM.l Tb-ar;;; he is 1 Be sav.;;d the paradet Be's a heroill The crowd ~=,QpS BONAPJ:i and SWEEPS BIM UP 0!.""1'0 THEIR SBOJ.,"LDERS. They CBBl!!R as they start to CARRY DIM AWAY. Boward looks at Liz and ~ami~. They're getting further and furt.ller away. Th,c;y wave at him •• , and FINAT,T,V, 11B. s ABLE TO GE'1: TEE HELMB'l' OF¥. == Script Fly.com== (OC1ITINUED) Jamie's jaw drops. Liz's drops even wider.</scene_description> <character>JAMIE</character> <dialogue>LIZ</dialogue> <character>BOWARD1111</character> <dialogue>Boward smiles at them and holds up his hands. The crowd continues cheering; Liz shakes her head, still in shock. Howard blows her a kiss. Be lllOuths, "I•m sorry! I love yout• to his family. Liz laughs. Boward gives Jamie the 'l'urbo Tom Handshake in the air. Jamie points up at Boward, for all to see.</dialogue> <character>JAMIE</character> <parenthetical>(proudest kid in the world)</parenthetical> <dialogue>THAT'S MY DADl 11 THAT'S KY DADl 111</dialogue> <scene_description>Boward beams proudly. Liz hugs Jamie, emotional. They wave to Boward, who is carried away by the crowd.</scene_description> <character>INT. LIVING ROOM - CHRISTMAS DAY</character> <dialogue>Jamie, Boward and Liz sit cozily on the sofa. Jamie's still in his pj's -- unwrapped gifts everywhere. BUt Jamie's not playing with any of them - he's completely focused on his dad •</dialogue> <scene_description>.Jl\KIE Dad, where does Fang sleep when you come home at night? :Soward and Liz look at one another. It appears this has been going on for quite some time. Liz smiles at her husband.</scene_description> <character>HOIIARD</character> <dialogue>Look, Jame - I •m not really Turbo Tom •</dialogue> <scene_description>. Lemme explain again. see, I was coming to the parade to -</scene_description> <character>JAMIE</character> <dialogue>Beyl Show me again how you kicked Negator •s butt I ·</dialogue> <scene_description>Howard looks at Liz pleadingly. She shakes her head no.</scene_description> <character>HOWARD</character> <parenthetical>(to Liz)</parenthetical> <dialogue>Please?</dialogue> <scene_description>== Script Fly.com ==</scene_description> <character>JAKIE</character> <dialogue>Aw come on, Moml One more time!</dialogue> <scene_description>The PHONE RINGS, Liz gets up to answer it.</scene_description> <character>LIZ</character> <dialogue>Okay. But this is the last t.i:ne.</dialogue> <parenthetical>(sctto to Howard)</parenthetical> <dialogue>Aitd then explain it to !=\_,\_fin fer J:JlilJ..</dialogue> <scene_description>SCNillrd nods. Liz 1ailea a,,d kisses hi.Ill. Exita to get phone. Boward jumps up happily and begins a dramatic reenacvmPnt.</scene_description> <character>HOWARD</character> <dialogue>All .right. So there I was, standing on the front of the float, waving to ar</dialogue> <scene_description>fans...... - (he waves, then stops) When I get this ~feeling", see. Li 11 of a sudden ·it got real quiet:: and c , right? A,,d I turn - (he turns quickly) To s e e ~ ru11hing Qtlt of tbe crowd-- Jamie looks like M's about to keal over froa excitement •</scene_description> <character>.)</character> <dialogue>et!</dialogue> <scene_description>Bow.rd wnu::s a big secret. (whi Fang. ~IIIIUe nods tnowingl~ as Boward dashes off to get tha phone. nrr. !Ci'1'Cll.a DAY Boward grabs i:he pt:,one from Liz, ,-110 rewards hlll wita'l a passionate k.uls as 11be leaves the room.</scene_description> <character>LIZ</character> <dialogue>Don· t be too long • • • Tllrbo.</dialogue> <scene_description>Ob my.</scene_description> <character>BOWAPJ:&gt; ( INTO PBOIIE}</character> <dialogue>Ka.rgaratl</dialogue> <scene_description>=" Script Fly.com ="' (CONTINU.i,;Dj MARGARET(ON PRONE) Boward. I checked the machine yesterday and got your message -- you said "Turbo TiJD." but I assumed you meant "Turbo Tom", anyway, my friend's cousin works for FUntime 'Toys and he's got like a hundred of 'em just lying around so I grabbed one and Special Fedexed it. It• 11 be there this afternoon. Is that okay? A hundred of 'em? Boward looks a bit pale, but then laughs. A lot. Hysterically, to be exact.</scene_description> <character>MARGARET(ON PBONE)</character> <dialogue>Boward? Mr.Puttnam?</dialogue> <scene_description>Howard catches his breath and wipes the tears from his eyes.</scene_description> <character>BOWARD</character> <dialogue>Yes, Margaret. This afternoon is certainly okay. Thank you very lllllch. And Margaret, :r know I gave you yesterday off, but actually I'd prefer it if ••• if you just took the rest of the week. come back after New Year"s, okay?</dialogue> <character>MARGARET(ON PHONB)</character> <dialogue>Are you kidding? What about you?</dialogue> <character>HOWARD</character> <dialogue>I'm also taking the week off.</dialogue> <scene_description>MARGARE'l'(ON PHONE) (confused, but genuine) Well - thanks. thanks. Uh, is there anything else you need? Before I go? Howard peeks into the living room. ANGLE ON: Liz and Jamie. cuddled up on the sofa.</scene_description> <character>HOWARD</character> <dialogue>You know what, Margaret? I think I·ve got</dialogue> <scene_description>everything I need right here. He smiles, says goodbye and hangs up. The DOORBELL JUHGS. INT. LIVING ROOM/HALLWAY - DAY Howard SLIDES by the living room in his soc::ks. Very s1J.cx.. == Script Fly.com == (CON'l'INUED)</scene_description> <character>ROW1UID</character> <dialogue>(heroic} I'll get the door • •lamj"' laughs. INT. FRONT fi,•,:P,ilAY - DAY</dialogue> <scene_description>Bo;;;ard opena the door to see TED. Johnny by his aide. '!""&amp;Ii Uh, hi Boward. Hac"1aril aailes. !iothing's gonna brea.lt hi• mood. Li:11. appe,ars behind hia.</scene_description> <character>LIZ</character> <parenthetical>(icy)</parenthetical> <dialogue>Bello Ted.</dialogue> <character>TED</character> <dialogue>Bi Liz. um, it· s a very emotional t ~ of year. And I think per~s ye•~!!'lay I may have gotten c,u.,ght 11p in some a!IIOtions that weren •t ,;r.. ite •••</dialogue> <parenthetical>(glaoces down at Joru1ny)</parenthetical> <dialogue>... appropriate. And. I hope my behavior w,on't ettect what up unuil now has been a warm and mtually resi::c-.,;,ctful relationship. '!Du •ve alwa.ys been ,s.\_::, kind tom@ --</dialogue> <scene_description>{ bis .,, Fioe breaks) I'm so ub-d? Be· s all choked up. Li: and Boward share a look. Slleesh. She turns anci walk• back into the living rc,om. Ted lo0ks at Ho;.,-ard pl•adingly.</scene_description> <character>TED</character> <dialogue>If there's aa,y vay I can</dialogue> <scene_description>Be chokes up again. ·Bm,-ard grins.</scene_description> <character>BC:~"ID</character> <dialogue>Actually, my CJl)tters hs1,ve been loo:!'"..ing pr~tty clogged ~•t•ly. I've been !lil"'aning to clear •em out but •••</dialogue> <scene_description>== Script Fly.com == (Cotn'INUED) Ted holds up his hand.</scene_description> <character>TED</character> <dialogue>I'll get on it right away.</dialogue> <scene_description>Ted turns· to go. Johnny stops him, tugging at his sleeve.</scene_description> <character>JOHNNY</character> <dialogue>Dad You promised!</dialogue> <character>TED .</character> <parenthetical>(really embarrassed now)</parenthetical> <dialogue>Oh. Oh - Right. Um • • • TUrbo Tam, Johnny wanted to know if he could came in and play with you for a while.</dialogue> <character>HOWARD</character> <dialogue>Why I think that'd be all right.</dialogue> <character>JOHNNY</character> <dialogue>OUtta site!</dialogue> <scene_description>Johnny comes running into the house. Ted goes off to start on .the gutters. Boward shuts the door and smiles.</scene_description> <character>INT. LIVING ROOM - LATER</character> <dialogue>Boward and Liz snuggie on the sofa. Jamie and Johnny sit in front of the TV. wA TUrbo Tom Christmas• is on.</dialogue> <character>LIZ</character> <dialogue>Kids, J110ve back. You'llruin your eyes.</dialogue> <scene_description>They completely ignore her. Boward warns them.</scene_description> <character>BOWARD</character> <dialogue>Gentlemen •••</dialogue> <scene_description>'!'hey .immediately scoot back. Boward kisses Liz happily. Just as a COMMERCIAL BREAX comes on: an ad for Tw::bo Tom products. Jamie and Johnny turn and look at Boward, GOOFY GRINS on their faces. Who needs a toy when they• ve got the real thing? But then •••</scene_description> <character>ANNOUNCER'S VOICE</character> <parenthetical>(from TV)</parenthetical> <dialogue>Introducing the newest arrival from Funtime TOys! sent down from the Planet Dominion to save the human race -- it.•s</dialogue> <character>SONIC SOLDIER.I</character> <dialogue>== Script Fly.com ==</dialogue> <scene_description>Jamie and Johnny WHIP back to see the screen.</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>Yes kids, Sonic Soldier is here, and he's coming soon on a brand new afternoon show1 ~ut you can have sonic Soldier in your bOIIE ba!ore he even hits the screen!</dialogue> <scene_description>ANGLE ON: THE SCREEN. Music -- Sonic SCldier in action. This is one uiazing toy. s1-k, shiny, a zillion IIOVing parts and -apons ... a 11111st-have. A J!,USt-have NOW.</scene_description> <character>ANNOUNCER'S ~"OICB</character> <dialogue>( froll!. TV) ·</dialogue> <scene_description>Bun:y, s-,1pplies are li.11.ited. JUiie turns aroand to Bo.3rd.</scene_description> <character>JAMIE</character> <dialogue>DAD!</dialogue> <scene_description>Howard's eyes widen. Mot again =" Script Fly.com ="'</scene_description> </scene> </script>

Workaholic Minneapolis mattress salesman Howard Langston loves his wife, Liz, and nine-year-old son, Jamie, but rarely finds time for them. He is often put in a bad light by his neighbor, divorcé Ted Maltin, who harbors unrequited feelings for Liz. After missing Jamie's karate class graduation, Howard resolves to redeem himself by fulfilling his Christmas wish for a Turbo-Man action figure, a popular television superhero; despite Liz actually having asked him to buy one two weeks earlier, which Howard forgot about. On Christmas Eve, Howard sets out to buy the toy, but finds that every store has sold out, and in the process develops a rivalry with Myron Larabee, a postal worker father with the same goal. In desperation, Howard attempts to buy a figure from a counterfeit ring run by con men dressed in Santa suits, which results in a massive fight in the warehouse that is broken up by the police. Howard narrowly escapes arrest by posing as an undercover officer. Exhausted at his failure and out of fuel, Howard goes to a diner and calls home, intending to tell Liz the truth. Jamie answers the phone but keeps reminding him of his promise to be home in time for the annual Holiday Wintertainment Parade. Losing his patience, Howard yells at Jamie, and he feels guilty and depressed after Jamie scolds him for not keeping his promises. Howard finds Myron at the diner and they share their experiences over coffee, where Myron tells him of his resentment towards his own father for failing to get him a Johnny Seven OMA for Christmas. During their conversation, Howard and Myron overhear a radio station advertising a competition for a Turbo-Man doll. The ensuing fight between them results in the diner's phone getting disconnected, forcing them to race to the radio station on foot, where the DJ reveals to them that the competition was actually for a Turbo-Man gift certificate. The police are alerted, but Howard and Myron escape after Myron threatens the officers with a seemingly phony letter bomb. Officer Alexander Hummell, whom Howard has run into several times already, investigates the package, only to have it detonate in his face. Upon returning to his Suburban, Howard finds it stripped by car thieves. He takes a tow truck home, where he finds Ted putting the star on his family's Christmas tree. In retaliation, Howard starts to steal the Turbo-Man doll Ted bought for his son, Johnny, but can't bring himself to do it. Unfortunately, Liz catches him in the act and Howard is left alone while his family goes to the Christmas parade with Ted and Johnny. After dropping off Jamie and Johnny, Ted attempts to seduce Liz, but she violently rejects him by hitting him with a thermos of alcoholic eggnog. Meanwhile, remembering his promise to Jamie to go to the parade, Howard decides to attend as well, but runs into Hummell again. The resulting chase leads to Howard hiding inside a storage room, where he is mistaken for the actor portraying Turbo-Man and dresses in the highly technological costume. As Turbo-Man, Howard uses his chance to present a limited-edition action figure to Jamie, but they are confronted by Myron dressed as Turbo-Man's archenemy, Dementor. Despite Howard's pleas for Myron to stop, a long chase ensues, involving a jetpack flight. Myron grabs the toy from Jamie but is cornered by the police, while Howard rescues Jamie. Howard reveals himself to his family and apologizes for his shortcomings. When Ted arrives at the scene of the parade, Johnny points Howard as Turbo Man to him, which makes Ted flee and dragging Johnny in fear and humiliation. Officer Hummell returns the toy to Jamie while Myron is handcuffed, but Jamie decides to give the toy to Myron for his son, proclaiming his father as his true hero. Touched by Jamie’s act of kindness, Myron apologizes for his earlier discrepancies. The crowd carries Howard away in a hero's fashion as Myron, Liz, and Jamie happily watch. In a post-credits scene, Howard finishes decorating their Christmas tree later that night by putting the star on top. However, after kissing and hugging, Liz asks Howard what he got her for Christmas, and he realizes with a shock that he forgot her gift.

Punch-Drunk Love_2002

tt0272338

<script> <scene> <stage_direction>INT. WAREHOUSE - EARLY MORNING</stage_direction> <scene_description>CAMERA -LRB- STEADICAM -RRB- holds on a man in a suit , sitting behind a desk , on the phone : BARRY EGAN -LRB- Adam Sandler -RRB-</scene_description> <character>BARRY</character> <dialogue>yes I'm still on hold.</dialogue> <character>OPERATOR</character> <dialogue>And what was this?</dialogue> <character>BARRY</character> <dialogue>I'm looking at your advertisement for the airline promotion and giveaway?</dialogue> <character>OPERATOR</character> <dialogue>This is `` Fly With Us?''</dialogue> <character>BARRY</character> <dialogue>It's hard to understand because it says in addition to but I ca n't exactly understand in addition to what because there's actually nothing to add it too.</dialogue> <character>OPERATOR</character> <dialogue>I think that's a type - o then, that would be a mistake.</dialogue> <character>BARRY</character> <dialogue>So, just to clarify, I'm sorry : Ten purchases of any of your Healthy Choice products equals five hundred miles and then with the coupon the same purchases would value one thousand miles -</dialogue> <character>OPERATOR</character> <dialogue>That's it.</dialogue> <character>BARRY</character> <dialogue>Do you realize that the monetary value of this promotion and the prize is potentially worth more than the purchases?</dialogue> <character>OPERATOR</character> <dialogue>I do n't know. I mean : I do n't know.</dialogue> <scene_description>OC DISTANT SOUND OF A CAR SKIDDING TO A STOP , SOME VAGUE , DISTANT SCREAMING IS HEARD . THEN SILENCE . Barry hears this , gets distracted , then back to the phone call ;</scene_description> <character>BARRY</character> <dialogue>Can I call you back if I have any further questions? Can I get your extension?</dialogue> <character>OPERATOR</character> <dialogue>It's extension 215 if you want to try me back.</dialogue> <character>BARRY</character> <dialogue>Ok. Thank you.</dialogue> <scene_description>He hangs up the phone and walks through his warehouse . It 's fairly non - descript place , boxing materials , etc. . Products seem to be mainly silly novelties -LRB- pens that light up , key chains , novelty toilet plungers , etc -RRB- He lifts a LOADING DOOR and LIGHT POURS INSIDE , WASHES OUT THE FRAME . he 's silhouette . CAMERA follows him out . stays overexposed and over his shoulder as he looks down towards the street . his business is situated at the end of a common driveway , shared with a few other nondescript places and an Auto mechanic . distant SOUND of a car SPEEDING and SKIDDING . hold , then : . a JEEP CHEROKEE comes FLIPPING into FRAME , far off at the mouth of the alley , on the street . The JEEP ends up landing RIGHT SIDE UP . HOLD . Barry flinches a little , stares . the JEEP sits idle for a moment . then it drives off . then : A speeding , small TOYOTA comes into view at the mouth of the alley , screeching to a halt . The passenger side door opens and a small , wooden HARMONIUM -LRB- like a portable organ -RRB- is placed on the ground . The TOYOTA speeds away . a moment or two later another NON - DESCRIPT CAR flies past very fast . BEAT . Barry squints , looks at the small HARMONIUM sitting alone in the middle of the street . He hesitates , looks around , holds , then walks back inside his warehouse .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S WAREHOUSE - THAT MOMENT</stage_direction> <scene_description>Barry on the phone again ;</scene_description> <character>BARRY</character> <dialogue>I'm not exactly sure what that means.</dialogue> <character>VOICE</character> <dialogue>If they break or something. What is it, plastic?</dialogue> <character>BARRY</character> <dialogue>It's a plastic, yeah.</dialogue> <character>VOICE</character> <dialogue>Right. Alright, lem me call you first thing tomorrow, I'm gon na run the numbers, see what's what and I'll give you a call back -</dialogue> <character>BARRY</character> <dialogue>Did you have my home phone number?</dialogue> <character>VOICE</character> <dialogue>For what?</dialogue> <character>BARRY</character> <dialogue>If you wanted to call me back I could.</dialogue> <character>VOICE</character> <dialogue>I'm fine, I have your work number.</dialogue> <character>BARRY</character> <dialogue>Ok. because of the time difference if you needed to call me early?</dialogue> <character>VOICE</character> <dialogue>It's fine. I can just get you at your office.</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>VOICE</character> <dialogue>Ok, bye, bye.</dialogue> <character>BARRY</character> <dialogue>Bye.</dialogue> <scene_description>He hangs up the phone and walks outside , CAMERA follows him again , out to the alley , over his shoulder . he looks down the length of the alley at the Harmonium . HOLD , THEN : A small FORD ESCORT pulls into the driveway , around the Harmonium , parks . a young woman named LENA LEONARD -LRB- Emily Watson -RRB- exits the car and starts to walk down the length of the alley towards him . CAMERA stays over his shoulder and turns into a profile 2 - shot ;</scene_description> <character>LENA</character> <dialogue>Hi. Do you work at the mechanic?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>LENA</character> <dialogue>They're not open yet?</dialogue> <character>BARRY</character> <dialogue>They do n't get opened until eight.</dialogue> <scene_description>BEAT . Barry gently steps back and out of the FRAME .</scene_description> <character>LENA</character> <dialogue>Is it ok if I leave my car you think?</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>LENA</character> <dialogue>I thought they opened at seven.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>If I left my car would it be ok?</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>LENA</character> <dialogue>Do you know them.</dialogue> <character>BARRY</character> <dialogue>Not very well.</dialogue> <character>LENA</character> <dialogue>Can I ask you, can I trust to leave my keys with you and give them to you so that when they get here you could give them to them?</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>LENA</character> <dialogue>You think it's ok where I left it, right there?</dialogue> <character>BARRY</character> <dialogue>I think that'll be fine.</dialogue> <scene_description>Lena hands him her keys , he steps back into FRAME , THEN :</scene_description> <character>LENA</character> <dialogue>There's a piano in the street.</dialogue> <character>BARRY</character> <dialogue>Yeah.</dialogue> <scene_description>BEAT .</scene_description> <character>LENA</character> <dialogue>Ok. Maybe I'll see you later. Thank you for your help.</dialogue> <character>BARRY</character> <dialogue>Thank you.</dialogue> <character>LENA</character> <dialogue>Maybe I'll see you later, when I pick up my car?</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <scene_description>She walks away . he starts back inside the warehouse , hesitates , watches her go . right before she reaches the end of the alley , she glances back quickly , over her shoulder . he dodges inside real quick . HOLD THE EMPTY FRAME . then he steps back out . looks off at the Harmonium . and the empty street . he looks around some more . then he makes the long walk down the street . ON THE STREET . Barry stares at the Harmonium a little bit , looks around , both ways , then casually picks it up and walks back towards his business . He brings it into his office and places it on his desk . He tries a few keys . pressing down . there 's no sound . He presses his hand on the foot pedal and presses a key and a small note is made . BEAT . he does it again . and holds the note . CUT TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - OFFICE - EARLY MORNING</stage_direction> <scene_description>Barry enters the warehouse with harmonium and runs into his office . He places it on the desk and hits a key : no sound . Barry goes to his knees and unlatched the bellows . He pumps the bellow , reaches up , presses a note , and another . then stands up into CU . and presses the 5 note melody . SUDDENLY : THE SOUND OF THE POD BAY DOOR SLIDING . Barry spins around , scared shitless , sees : LANCE , who enters the warehouse , Barry rushes out to greet him ;</scene_description> <character>LANCE</character> <dialogue>Hey, good morning, Barry.</dialogue> <character>BARRY</character> <dialogue>Hey. Lance. can I.</dialogue> <character>LANCE</character> <dialogue>You ok?</dialogue> <character>BARRY</character> <dialogue>Yes I'm fine.</dialogue> <character>LANCE</character> <dialogue>Why you wearin' a suit?</dialogue> <character>BARRY</character> <dialogue>Um. I bought one. I thought maybe it would be nice to get dressed for work, can I show you something?</dialogue> <character>LANCE</character> <dialogue>Yeah. you got here early huh?</dialogue> <character>BARRY</character> <dialogue>yes.</dialogue> <scene_description>They enter into the office , Lance sees the harmonium ;</scene_description> <character>LANCE</character> <dialogue>What is this?</dialogue> <character>BARRY</character> <dialogue>I do n't know. I think it's a piano. a small piano.</dialogue> <character>LANCE</character> <dialogue>That's not a piano. I have a piano at home. where'd you get it?</dialogue> <scene_description>Lance walks around behind the harmonium . leaving Barry alone . towards the warehouse . he starts to back up a little .</scene_description> <character>BARRY</character> <dialogue>Well. it was dropped on the street.</dialogue> <scene_description>Sal , Ernesto and Rico all start to come into work behind Barry . he sees them : CAMERA pushes in on Barry .</scene_description> <character>LANCE</character> <parenthetical>( OC . )</parenthetical> <dialogue>Why is it here? Barry. Barry?</dialogue> <character>BARRY</character> <dialogue>it just. I do n't know. I do n't know.</dialogue> <scene_description>LAND IN CU . ON BARRY . CUT TO BLACK . TITLE CARD Punch - drunk Love Movie -LRB- maybe color blooms/overture here -RRB-</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE/MAIN AREA - DAY</stage_direction> <scene_description>CAMERA pushes in slow as Barry and Lance talk to TWO CUSTOMERS about the plungers which are on display in front of them . They speak all over each other doing shop talk , etc ;</scene_description> <character>CUSTOMER</character> <dialogue>You do guaranteed sale? etc..</dialogue> <character>BARRY</character> <dialogue>We back our plungers 100 % and we do ask for a 30 to 60 day display on the floor.</dialogue> <scene_description>In the b.g. , RICO over the laud speaker says :</scene_description> <character>RICO</character> <dialogue>Barry, your sister's on line one.</dialogue> <scene_description>Barry does n't move .</scene_description> <character>BARRY</character> <dialogue>Yes. we do ask for. 30 to 60 days.</dialogue> <character>CUSTOMER</character> <dialogue>I think you have a call?</dialogue> <scene_description>Rico turns around , without loudspeaker ;</scene_description> <character>RICO</character> <dialogue>Barry, your sister is on line one.</dialogue> <scene_description>They look at him a moment .</scene_description> <character>BARRY</character> <dialogue>I'm just gon na grab this call real quick?</dialogue> <scene_description>ANGLE , REVERSE . Barry turns and heads for the phone nearby at Rico 's station ;</scene_description> <character>BARRY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>. This is Barry.</dialogue> <character>RHONDA</character> <dialogue>Hey it's me, it's Rhonda. Are you coming to the party tonight?</dialogue> <character>BARRY</character> <dialogue>Hi, Rhonda, yes I am.</dialogue> <character>RHONDA</character> <dialogue>Bye.</dialogue> <scene_description>She hangs up .</scene_description> <character>BARRY</character> <dialogue>Ok. Yes I'll see you tonight.</dialogue> <scene_description>Barry takes a few steps back to the Customers :</scene_description> <character>BARRY</character> <dialogue>Sorry about that : One thing I wanted to point out, Dave, is that we've just received a large order from the Rio Hotel and Casino in Las Vegas where we're going to be supplying their hotel rooms with the dice and money plunger, so these babies are really moving well right now.</dialogue> <character>RICO</character> <parenthetical>( over loudspeaker . )</parenthetical> <dialogue>Barry, your sister's on line two. Barry, your sister's on line two.</dialogue> <scene_description>Barry tries again to ignore it .</scene_description> <character>BARRY</character> <dialogue>With the Aqua Blast Whales and Speed Boats we're gon na ask for a display at eye level for the little kids.</dialogue> <character>RICO</character> <dialogue>Barry -</dialogue> <character>BARRY</character> <dialogue>- excuse me.</dialogue> <scene_description>Barry walks back to the phone ;</scene_description> <character>BARRY</character> <dialogue>This is Barry.</dialogue> <character>KAREN</character> <dialogue>Hey it's me, what are you doing?</dialogue> <character>BARRY</character> <dialogue>Hello, Karen. I'm just working.</dialogue> <character>KAREN</character> <dialogue>Yeah but what are you doing?</dialogue> <character>BARRY</character> <dialogue>I'm just working. I have some customers here.</dialogue> <character>KAREN</character> <dialogue>So you ca n't talk to me?</dialogue> <character>BARRY</character> <dialogue>I have a few people here, I ca n't really chat right now.</dialogue> <character>KAREN</character> <dialogue>`` chat?'' Did you just say `` chat?''</dialogue> <character>BARRY</character> <dialogue>Well, I ca n't talk though -</dialogue> <character>KAREN</character> <dialogue>You just fucking said `` chat,'' that is so - what are you now? `` chat.'' I'm just calling to make sure you show up at this party tonight.</dialogue> <character>BARRY</character> <dialogue>Yes, I'll be there.</dialogue> <character>KAREN</character> <dialogue>Fine. You get back to chatting with your precious customers.</dialogue> <character>BARRY</character> <dialogue>Ok, bye - bye.</dialogue> <scene_description>Barry snaps out of this , turns , claps his hands in confidence and walks back to the customers and says :</scene_description> <character>BARRY</character> <dialogue>Sorry about that.</dialogue> <character>CUSTOMER</character> <dialogue>I did n't know you had a sister?</dialogue> <character>BARRY</character> <dialogue>Well yes I do.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>But one more thing I wanted to tell you guys about the new plungers is that we're making the handles now in a non - breakable material called.</dialogue> <scene_description>He takes one of the plungers and to demonstrate smacks it on the table . it SMASHES and rice falls out everywhere .</scene_description> <character>BARRY</character> <dialogue>Ok. this is one of the old ones, I think. Lance do we have any new plungers around?</dialogue> <scene_description>Lance moves to get a new plunger .</scene_description> <character>BARRY</character> <dialogue>That was a little embarrassing and that was one of the old handles so let me get a new one to show you -</dialogue> <character>RICO</character> <parenthetical>( loudspeaker . )</parenthetical> <dialogue>Barry, your sister is on line one.</dialogue> <scene_description>Barry holds , then ;</scene_description> <character>CUSTOMER</character> <dialogue>How many sisters do you have?</dialogue> <character>BARRY</character> <dialogue>I have seven.</dialogue> <character>CUSTOMER #2</character> <dialogue>Holy shit. You have seven sisters?</dialogue> <character>BARRY</character> <dialogue>They're calling because we're having a party tonight for my sister and the they're just calling. can you hang on for just two more minutes?</dialogue> <scene_description>Barry walks this time into his office . CAMERA tracks with Barry to his office , seeing him try and shake this off . He EXITS FRAME .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - OFFICE - THAT MOMENT</stage_direction> <scene_description>Barry enters , takes a quick moment to size up the harmonium . He picks up the phone and through the conversation gently moves the harmonium to a different spot on the desk ;</scene_description> <character>BARRY</character> <dialogue>This is Barry.</dialogue> <character>KATHLEEN</character> <dialogue>What are you doing?</dialogue> <character>BARRY</character> <dialogue>Hi, Kathleen, I'm just working.</dialogue> <character>KATHLEEN</character> <dialogue>Are you going to the party tonight?</dialogue> <character>BARRY</character> <dialogue>Yes I am.</dialogue> <character>KATHLEEN</character> <dialogue>What are you doing?</dialogue> <character>BARRY</character> <dialogue>Nothing.</dialogue> <character>KATHLEEN</character> <dialogue>Right now, you're doing nothing?</dialogue> <character>BARRY</character> <dialogue>I'm just talking on the phone to you and standing.</dialogue> <character>KATHLEEN</character> <dialogue>What time are you gon na be there?</dialogue> <character>BARRY</character> <dialogue>Seven o'clock.</dialogue> <character>KATHLEEN</character> <dialogue>You ca n't be late.</dialogue> <character>BARRY</character> <dialogue>I wo n't.</dialogue> <character>KATHLEEN</character> <dialogue>I'm serious.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>KATHLEEN</character> <dialogue>Seriously.</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>KATHLEEN</character> <dialogue>You ca n't be late though.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>KATHLEEN</character> <dialogue>You ca n't just not show up like you do, you have to go.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>KATHLEEN</character> <dialogue>Seriously.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>KATHLEEN</character> <dialogue>You ca n't just stay in your house.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>KATHLEEN</character> <dialogue>Yeah but I'm serious.</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>KATHLEEN</character> <dialogue>I'll see you there.</dialogue> <character>BARRY</character> <dialogue>I'll see you there.</dialogue> <character>KATHLEEN</character> <dialogue>Do n't puss out.</dialogue> <character>BARRY</character> <dialogue>I wo n't.</dialogue> <scene_description>Barry plays the 5 note melody on the Harmonium -LRB- carries over into next scene . -RRB-</scene_description> </scene> <scene> <stage_direction>INT./EXT. WAREHOUSE - LATER (BRIDGE/BREAK MUSIC WISE)</stage_direction> <scene_description>Barry and his workers are having lunch . A LUNCH TRUCK is parked by the driveway . Barry sees the CAR that Lena brought by at the start of the movie . OC CALL from one of the workers ;</scene_description> <character>WORKER</character> <dialogue>Telephone Barry on line one.</dialogue> <scene_description>A mechanic passes by at this moment , keeps walking past ;</scene_description> <character>BARRY</character> <dialogue>What's wrong with her car?</dialogue> <character>MECHANIC</character> <dialogue>Wha?</dialogue> <character>BARRY</character> <dialogue>Is that car gon na be ok?</dialogue> <character>MECHANIC</character> <dialogue>It's fine.</dialogue> <scene_description>The mechanic keeps walking . Barry enters .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE/NEAR LANCE'S DESK - LATE AFTERNOON</stage_direction> <scene_description>Barry and the boys are prepping some boxes for shipping . Ernesto walks over , says ;</scene_description> <character>ERNESTO</character> <dialogue>Barry, your sister's here.</dialogue> <scene_description>Barry stands up fast , stumbles back a bit over some boxes , recovers , ELIZABETH enters :</scene_description> <character>ELIZABETH</character> <dialogue>Hey, how are you?</dialogue> <character>BARRY</character> <dialogue>I'm fine, hi, how are you?</dialogue> <character>ELIZABETH</character> <dialogue>I'm just stopping by to say hello.</dialogue> <character>BARRY</character> <dialogue>Hello.</dialogue> <character>ELIZABETH</character> <dialogue>So you're coming tonight, right?</dialogue> <character>BARRY</character> <dialogue>Yes, indeed, yes I am.</dialogue> <character>ELIZABETH</character> <dialogue>There's this girl, this friend of mine from work that I think is really cute and really cool and I want you to meet her so I was thinking about bringing her to the party tonight.</dialogue> <character>BARRY</character> <dialogue>Oh yeah no I do n't want to do that.</dialogue> <character>ELIZABETH</character> <dialogue>Why?</dialogue> <character>BARRY</character> <dialogue>Well I do n't want to do something like that.</dialogue> <character>ELIZABETH</character> <dialogue>She's my friend and you should meet her. You'd like her.</dialogue> <character>BARRY</character> <dialogue>Yeah, but please do n't do that.</dialogue> <character>ELIZABETH</character> <dialogue>I'm not really asking you, I'm telling you.</dialogue> <character>BARRY</character> <dialogue>Yeah but please do n't do that : everyone would be looking at me.</dialogue> <character>ELIZABETH</character> <dialogue>It's a free country, we can look at you if we want to.</dialogue> <character>BARRY</character> <dialogue>Yes but I get tense and I feel like I ca n't be myself if that happens.</dialogue> <character>ELIZABETH</character> <dialogue>That's your fault not mine.</dialogue> <character>BARRY</character> <dialogue>I do n't think I'm going to the party.</dialogue> <character>ELIZABETH</character> <dialogue>So it's ok if I bring her.</dialogue> <character>BARRY</character> <dialogue>Please do n't.</dialogue> <character>ELIZABETH</character> <dialogue>She's really cute and she's really nice.</dialogue> <character>BARRY</character> <dialogue>please, I just do n't want it.</dialogue> <character>ELIZABETH</character> <dialogue>wait a minute : why is this about you now? Why is it always about you?</dialogue> <character>BARRY</character> <dialogue>Yeah, no, it's not, it's just -</dialogue> <character>ELIZABETH</character> <dialogue>I'm trying to be your friend.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>ELIZABETH</character> <dialogue>I'm trying to get you a girlfriend.</dialogue> <character>BARRY</character> <dialogue>Well, yeah, thank you, but -</dialogue> <character>ELIZABETH</character> <dialogue>- but since you're not going I guess none of this matters and I'll bring her anyway.</dialogue> <scene_description>BEAT . HOLD . She stares him down .</scene_description> <character>ELIZABETH</character> <dialogue>All I'm trying to do is be your friend.</dialogue> <scene_description>She leaves . HOLD ON BARRY . He air punches/twitch .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - LATER/BLUE HOUR - NIGHT</stage_direction> <scene_description>Barry is alone , closing up . He takes a look at the Harmonium and presses it , makes a sound . a little bit more . makes a few notes . END SCORE QUE as it blends and fades into the notes that Barry plays . BEAT . He closes its small cover , does something on his desk and then : His face gets bright red , he holds back tears , opens his mouth and has a serious but small burst of overwhelming emotion and then it 's over .</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET - NIGHT</stage_direction> <scene_description>CU . BIRTHDAY CARD . Barry 's hands reaches in and picks a birthday card . ANGLE , WIDER , THAT MOMENT . Barry grabs the card and starts to push his cart . but he pushes it straight into a SIX YEAR OLD KID who 's pushing a cart around . they slam into each other . Barry apologizes . the KID just takes off . Barry 's cart now has a slightly damaged wheel that wobbles like crazy . ANGLE , FROZEN FOOD AISLE . CAMERA tracks left to right with Barry as he heads for the Healthy Choice Frozen Dinner . He grabs one . CU . BARRY . LOW ANGLE . He looks at box . BARRY 'S POV - THE BOX Slow zoom in . The sticker reads : `` Fly Away With Us ! The More You Buy The More You Earn . '' ANGLE , SOUP SECTION . CAMERA tracks along right to left with Barry as he moves towards some SOUP . He grabs one , inspects it . then puts it back . CU . SOUP CAN . It 's put back on the shelf : TILT down to price : 79 cents . Barry turns his cart around and SMACKS right into someone else again , screwing up another wheel on his cart . ANGLE , BARRY . CAMERA , tracks alongside him , left to right as he comes across : PUDDING . The price : 4 / $ 1.00 . MED . BARRY in the middle of the aisle . He reacts . smiles . holds . thinks . looks around , then starts to load up on the pudding . ANGLE , BARRY . He pushes TWO SHOPPING CARTS FULL OF PUDDING over to the STORE MANAGER who 's on his knees , stacking milk . Barry kneels down , CAMERA PUSHES INTO A CU . as he speaks sotto ;</scene_description> <character>MANAGER</character> <dialogue>Hello.</dialogue> <character>BARRY</character> <dialogue>Hello, sir. My name is Barry Egan and I'd like to ask if you have any more Healthy Choice pudding in the back?</dialogue> </scene> <scene> <stage_direction>INT. SUSAN'S HOUSE - NIGHT</stage_direction> <scene_description>The door opens slowly and Barry peers his head around and into the house very cautiously , CAMERA PUSHES IN and PANS slightly LEFT to reveal : THE KITCHEN . Barry 's SEVEN SISTERS are all there , preparing dinner and talking away . they turn and see him ;</scene_description> <character>SUSAN</character> <dialogue>There he is! Do you remember when we used to call you gay and you'd get all mad?</dialogue> <character>KATHLEEN</character> <dialogue>- we were calling you gay and you got so mad that you threw a hammer through the sliding glass door - do you remember?</dialogue> <character>BARRY</character> <dialogue>I do n't really remember that.</dialogue> <character>KATHLEEN</character> <dialogue>Yes you do. We were calling you Gay Boy and you got so mad.</dialogue> <character>BARRY</character> <dialogue>Yes, yes, right.</dialogue> <character>SUSAN</character> <dialogue>We're trying to remember why you had the hammer in the first place?</dialogue> <character>BARRY</character> <dialogue>um.</dialogue> <character>KATHLEEN</character> <dialogue>The hammer that you threw. why did you have it?</dialogue> <character>SUSAN</character> <dialogue>You do n't remember - you had the hammer and you threw it -?</dialogue> <character>BARRY</character> <dialogue>I remember, yes.</dialogue> <character>SUSAN</character> <dialogue>Why did you have it?</dialogue> <scene_description>Another sister , RHONDA , enters from behind , Barry jumps , says :</scene_description> <character>RHONDA</character> <dialogue>He was building a ramp for the dog.</dialogue> <character>KATHLEEN</character> <dialogue>He was making a ramp for the dog! That's right!</dialogue> <character>SUSAN</character> <dialogue>That's right. ramp for the dog. And you just threw the hammer.</dialogue> <character>BARRY</character> <parenthetical>( to Rhonda . )</parenthetical> <dialogue>Happy Birthday, Rhonda.</dialogue> <character>RHONDA</character> <dialogue>Thank you. Thank you so much, Barry.</dialogue> <scene_description>She gives him a very quick hug and kiss and sets the cake next to a bigger , cooler looking cake . Mia approaches holding a baby . Barry tries to say hello to the baby , but Mia slowly turns the baby out of Barry 's grasp . making herself the center of his attention ; KITCHEN/DINING ROOM , THAT MOMENT Barry gets slightly turned around trying to reach the baby . and ends up in a doorway that leads to the dining room , revealing himself to : ELIZABETH , KAREN , NICOLE AND ANNA . There are also : THREE BROTHER IN LAW 'S -LRB- WALTER , LARRY AND STEVE -RRB-</scene_description> <character>ELIZABETH</character> <dialogue>Hey. I was just telling everyone about how I was gon na bring this girl for you but you would n't let me do it.</dialogue> <character>BARRY</character> <dialogue>Hello everyone.</dialogue> <scene_description>KAREN steps up and greets him ;</scene_description> <character>KAREN</character> <dialogue>Did you think that we'd all be looking at you?</dialogue> <character>BARRY</character> <dialogue>No, no, no.</dialogue> <character>KAREN</character> <dialogue>Well it's just not true. We would n't be looking at you - why are you wearing this suit? Did you say hello to your brother in law's?</dialogue> <character>STEVE/LARRY</character> <dialogue>Hi, Barry. How ya doin? Good, good.</dialogue> <character>KAREN</character> <dialogue>Say hello to them, that's right, good, good. Ok. Come on, we're gon na eat now. let's go.</dialogue> <scene_description>Barry shakes hands and hello 's with the brother in law 's . He 's left alone for a moment with Walter and Elizabeth ;</scene_description> <character>WALTER</character> <dialogue>How you doin' Barry?</dialogue> <character>BARRY</character> <dialogue>Hi Walter.</dialogue> <character>WALTER</character> <dialogue>How's business?</dialogue> <character>BARRY</character> <dialogue>Business is very food, thanks.</dialogue> <character>ELIZABETH</character> <dialogue>What's very food?</dialogue> <character>BARRY</character> <dialogue>What?</dialogue> <character>ELIZABETH</character> <dialogue>You just said very food.</dialogue> <character>BARRY</character> <dialogue>Did I say that?</dialogue> <character>WALTER</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>That was weird. I meant good.</dialogue> <character>WALTER</character> <dialogue>Maybe you said that because you're hungry.</dialogue> <scene_description>Walter moves to help everyone . they 're moving to set the table . CAMERA CLOSES IN ON BARRY AND ELIZABETH alone for a beat :</scene_description> <character>ELIZABETH</character> <dialogue>You're lucky. She could n't come anyway -</dialogue> <character>BARRY</character> <dialogue>Well I'm glad you did n't, thank you.</dialogue> <character>ELIZABETH</character> <dialogue>She could n't come I said. Are you nervous?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>ELIZABETH</character> <dialogue>You look nervous.</dialogue> <character>BARRY</character> <dialogue>I'm not, I'm very happy.</dialogue> <scene_description>RHONDA passes ;</scene_description> <character>RHONDA</character> <dialogue>Come on homo - boy, we're eating now.</dialogue> <scene_description>Elizabeth leaves , HOLD ON BARRY . CAMERA PUSHES IN TOWARDS EVERYONE SETTING THE TABLE . CAMERA ROTATES AROUND . everyone is still chatting a bit about `` Barry gay boy , '' and `` the girl that was gon na be here that Barry would n't allow . '' ANGLE , REVERSE . Barry is standing in front of the floor to ceiling sliding glass doors . in an INSTANT , he TURNS AND THROWS HIS FIST STRAIGHT THROUGH THREE OF THEM , THEY SHATTER . he turns back , they are all staring straight at him in silence . HOLD , THEN : In unison they all go ape shit :</scene_description> <character>GROUP</character> <dialogue>WHAT THE FUCK IS YOUR PROBLEM. GODDAMNIT BARRY. YOU FUCKIN' MANIAC. ETC.. ETC..</dialogue> </scene> <scene> <stage_direction>INT. SUSAN'S HOUSE - HALLWAY - LATER</stage_direction> <scene_description>It 's later and WALTER and BARRY walk down a small hall and into a kids room . They 're OC for a few moments as the CAMERA slowly pushes in and towards the room . Following sotto ;</scene_description> <character>WALTER</character> <dialogue>What's up?</dialogue> <character>BARRY</character> <dialogue>Well I'm sorry. Before.</dialogue> <character>WALTER</character> <dialogue>Mhm.</dialogue> <character>BARRY</character> <dialogue>And I'm sorry that I did that.</dialogue> <character>WALTER</character> <dialogue>It's alright.</dialogue> <character>BARRY</character> <dialogue>I wanted to ask you because you're a doctor, right?</dialogue> <character>WALTER</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>I do n't like the way I am sometimes.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Can you help me?</dialogue> <character>WALTER</character> <dialogue>Barry, I'm a dentist, what kind of help do you think I can give you?</dialogue> <character>BARRY</character> <dialogue>I know that. Maybe you know other doctors?</dialogue> <character>WALTER</character> <dialogue>Like a psychiatrist?</dialogue> <character>BARRY</character> <dialogue>I do n't have anyone to talk to things about and I understand it's confidential with a doctor - I'm embarrassed about that and I do n't want my sisters to know?</dialogue> <character>WALTER</character> <dialogue>You want a number for a psychiatrist, I can get you one, that's not a problem. but what exactly is wrong?</dialogue> <character>BARRY</character> <dialogue>I do n't know if there's anything wrong with me because I do n't know how other people are. Sometimes I cry a lot. for no reason.</dialogue> <scene_description>Barry starts to cry . Walter just stares at his . HOLD . Barry stops , recuperates , then leaves . as he does ;</scene_description> <character>BARRY</character> <dialogue>Please do n't tell my sisters.</dialogue> </scene> <scene> <stage_direction>INT. BARRY'S APARTMENT - LATER</stage_direction> <scene_description>CU . HEALTHY CHOICE COUPON . Barry 's scissors cut out a coupon and reveal an image beneath in another section of the newspaper . it 's the sexy LEG of a woman . BARRY very casually pushes some papers aside and looks at the ad . HOLD ON HIS FACE . He looks . then : MOMENTS LATER , BARRY ON THE PHONE . He listens ;</scene_description> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>Hi, this is Janice The Operator, who's this?</dialogue> <character>BARRY</character> <dialogue>Hello, how are you?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>Hi, is this your first time calling?</dialogue> <character>BARRY</character> <dialogue>Yes it is.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>Can I have your credit card number, followed by the expiration date?</dialogue> <character>BARRY</character> <dialogue>Can I ask how much is this?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>- it's $ 2.99 per minute for the first half hour and $ 1.99 per minute after that.</dialogue> <character>BARRY</character> <dialogue>and this is confidential?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>What do you mean?</dialogue> <character>BARRY</character> <dialogue>It's. confidential, the call, my information is private.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>Of course. Would you like to talk to a girl? I can connect you with a beautiful girl if I can just get your credit card number followed by the expiration date?</dialogue> <character>BARRY</character> <dialogue>3407 2627 3444 8095 expiration 05/04.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>And your billing address and the name as it appears on the card?</dialogue> <character>BARRY</character> <dialogue>1274 Moorpark. Sherman Oaks, California. # 4. 91403.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>And your name?</dialogue> <character>BARRY</character> <dialogue>Barry Egan.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>And your Social Security number.</dialogue> <character>BARRY</character> <dialogue>What's that for?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>It's just for verification through the credit card company.</dialogue> <character>BARRY</character> <dialogue>- and this is confidential?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>Of course, it's just for us to verify your credit card information. It's completely confidential and it appears on your credit card billing statement as D&amp;D Mattress Man.</dialogue> <character>BARRY</character> <dialogue>337. I'm sorry.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>It's ok, take your time.</dialogue> <character>BARRY</character> <dialogue>337 - 09 - 9876. But I do n't want anyone to know my name.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>No one will know your name.</dialogue> <character>BARRY</character> <dialogue>Can you say that my name is Jack?</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>You want her to call you Jack?</dialogue> <character>BARRY</character> <dialogue>I just do n't want anyone to know it's me.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>That's fine. Can I have a telephone number, area code first on where we can call you back?</dialogue> <character>BARRY</character> <dialogue>No I just. I do n't want to, I just want to be connected to talk to a girl.</dialogue> <character>OPERATOR GIRL</character> <parenthetical>( OC . )</parenthetical> <dialogue>It's a call back service - a girl will call you back.</dialogue> <character>BARRY</character> <dialogue>I thought I was just gon na be connected to talk to a girl - that's fine, ok, I'm sorry, it's, um. 818.</dialogue> </scene> <scene> <stage_direction>INT. BARRY'S APARTMENT - MOMENTS LATER</stage_direction> <scene_description>Barry waiting at his dining room table . HOLD . The PHONE RINGS . He picks it up ;</scene_description> <character>BARRY</character> <dialogue>Hello, this is Back.</dialogue> <character>SEXY VOICE</character> <dialogue>Hi, is this Jack?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>SEXY VOICE</character> <dialogue>This is Georgia.</dialogue> <character>BARRY</character> <dialogue>Hi. This is Jack.</dialogue> <character>SEXY VOICE</character> <dialogue>So what are you doing tonight, Jack?</dialogue> <character>BARRY</character> <dialogue>Nothing.</dialogue> <character>SEXY VOICE</character> <dialogue>Nothing, huh, do you know what I'm doing?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>SEXY VOICE</character> <dialogue>I'm just laying on my bed.</dialogue> <character>BARRY</character> <dialogue>Where are you?</dialogue> <character>SEXY VOICE</character> <dialogue>I'm in my bedroom.</dialogue> <character>BARRY</character> <dialogue>No, I mean, what city, what state are you in?</dialogue> <character>SEXY VOICE</character> <dialogue>Are you watching a porno movie?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>SEXY VOICE</character> <dialogue>Do you like porno movies?</dialogue> <character>BARRY</character> <dialogue>Sure.</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah? So. Jack. are you stroking that big fat fucking cock of yours?</dialogue> <scene_description>He walks into something .</scene_description> <character>BARRY</character> <dialogue>no.</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah? So what are you doing, then?</dialogue> <character>BARRY</character> <dialogue>just talking to you.</dialogue> <character>SEXY VOICE</character> <dialogue>Are your pants off?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>SEXY VOICE</character> <dialogue>I'm wearing a t - shirt and panties.</dialogue> <character>BARRY</character> <dialogue>Really?</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah. And looking at myself in the mirror. Do you wan na know what I look like?</dialogue> <character>BARRY</character> <dialogue>It does n't matter.</dialogue> <character>SEXY VOICE</character> <dialogue>What do you mean it does n't matter?</dialogue> <character>BARRY</character> <dialogue>Well. I have no way of knowing. So it does n't matter.</dialogue> <character>SEXY VOICE</character> <dialogue>I do n't lie, Jack. I'm about 5' 8, blonde 34,28,34. Pretty thin, I work out. My pussy's shaved. My friends say I'm pretty cute, so.</dialogue> <character>BARRY</character> <dialogue>Really?</dialogue> <character>SEXY VOICE</character> <dialogue>What do you mean, `` really?'' Yeah. Really. What about you?</dialogue> <character>BARRY</character> <dialogue>It does n't matter.</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah. you're married are n't you, Jack?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>SEXY VOICE</character> <dialogue>You have a girlfriend?</dialogue> <character>BARRY</character> <dialogue>yes.</dialogue> <character>SEXY VOICE</character> <dialogue>Where is she?</dialogue> <character>BARRY</character> <dialogue>She's. not here. she went out. She went out of town, she travels a lot.</dialogue> <scene_description>Barry holds his head in his hands for minute , then stands out of it -</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S APARTMENT - MOMENTS LATER</stage_direction> <character>SEXY VOICE</character> <dialogue>I'm horny, Jack, what about you?</dialogue> <character>BARRY</character> <dialogue>yeah.</dialogue> <character>SEXY VOICE</character> <dialogue>Does Jack like to Jack Off?</dialogue> <character>BARRY</character> <dialogue>Sometimes when I'm lonely.</dialogue> <character>SEXY VOICE</character> <dialogue>yeah. well you have me now.</dialogue> <character>BARRY</character> <dialogue>You sound very cute, very nice.</dialogue> <character>SEXY VOICE</character> <dialogue>Thank you. What do you do, Barry?</dialogue> <character>BARRY</character> <dialogue>I have my own business. I work. I work hard at doing my business.</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah. do you do well, do you make alotta money?</dialogue> <character>BARRY</character> <dialogue>I do pretty good, I think. I wish I was making more, doing a little bit better. I can, t get over a certain hump. I will. I will crack something soon I think and really do better. I'd like to diversify. but I'm doing great, I think, as a start.</dialogue> <character>SEXY VOICE</character> <dialogue>So. are you stroking it, yet, honey?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>SEXY VOICE</character> <dialogue>Well why do n't you take your pants off and stroke it for me?</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah. that's it. God I Am So Horny. I wish I was there to help you. I wish I was there for you, Barry.</dialogue> </scene> <scene> <stage_direction>INT. BARRY'S BATHROOM/BEDROOM - LATER</stage_direction> <scene_description>It 's a little bit later and Barry stands in his bathroom , washes his face . HOLD . then he dries his face , walks into his bedroom , gets into bed wearing T - shirt and underwear . he crawls in , curls up in fetal position .</scene_description> </scene> <scene> <stage_direction>INT. SAME EXACT ANGLE - MORNING</stage_direction> <scene_description>Sun comes in now . Barry is somehow dressed in a FULL ADIDAS SWEAT SUIT complete with SNEAKERS . He wakes up , looks down and sees this , confused ;</scene_description> <character>BARRY</character> <dialogue>Whassis?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Barry is dressed for work in another suit now . He grabs some stuff and heads for the door when the phone rings ;</scene_description> <character>BARRY</character> <dialogue>Hello?</dialogue> <character>SEXY VOICE</character> <dialogue>Hey. What are you doing? How are you?</dialogue> <character>BARRY</character> <dialogue>I'm fine. Who is this?</dialogue> <character>SEXY VOICE</character> <dialogue>Georgia.</dialogue> <scene_description>BEAT .</scene_description> <character>BARRY</character> <dialogue>Hi. what. what's up?</dialogue> <character>SEXY VOICE</character> <dialogue>It's ok that I'm calling, right, I mean? It's ok.</dialogue> <character>BARRY</character> <dialogue>Yeah. No. It's ok. What's goin' on?</dialogue> <character>SEXY VOICE</character> <dialogue>I just wanted to call and talk to you, thank you for last night, try and get you before you went to work and say, `` hey.''</dialogue> <scene_description>BEAT .</scene_description> <character>BARRY</character> <dialogue>I'm going to work.</dialogue> <character>SEXY VOICE</character> <dialogue>Uhhh. I am sooo tired. I stayed up too late last night, what about you, when did you go to sleep?</dialogue> <character>BARRY</character> <dialogue>Not very late.</dialogue> <character>SEXY VOICE</character> <dialogue>You're going to work now?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>SEXY VOICE</character> <dialogue>Can I ask you a question?</dialogue> <character>BARRY</character> <dialogue>Uh - huh.</dialogue> <character>SEXY VOICE</character> <dialogue>Remember last night I was talking to you and I was telling you about my apartment, my rent -?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do you remember?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>SEXY VOICE</character> <dialogue>This is really weird and really embarrassing for me but. uh.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I was wondering if you could help me out with a little bit of money.</dialogue> <character>BARRY</character> <dialogue>Me?</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>I ca n't really. Yeah, no. I mean. I ca n't afford it.</dialogue> <character>SEXY VOICE</character> <dialogue>You do n't even know how much it is.</dialogue> <character>BARRY</character> <dialogue>I know but I. how much is it?</dialogue> <character>SEXY VOICE</character> <dialogue>Like seven - fifty. Seven hundred fifty?</dialogue> <character>BARRY</character> <dialogue>Yes, no, yes. I ca n't. I ca n't afford that. I'm sorry. Sorry.</dialogue> <character>SEXY VOICE</character> <dialogue>Really? Please?</dialogue> <character>BARRY</character> <dialogue>You have trouble, financial trouble?</dialogue> <character>SEXY VOICE</character> <dialogue>Yeah. It's so hard these days and I really need it.</dialogue> <character>BARRY</character> <dialogue>Yes I ca n't. I do n't make enough money to be able to do that.</dialogue> <character>SEXY VOICE</character> <dialogue>I thought you had your own business. You said you were gon na diversify and all that stuff.</dialogue> <scene_description>BEAT . Barry steps back a little .</scene_description> <character>SEXY VOICE</character> <dialogue>So you think you can?</dialogue> <character>BARRY</character> <dialogue>No. I'm sorry.</dialogue> <character>SEXY VOICE</character> <dialogue>Should I call back and talk to your girlfriend?</dialogue> <character>BARRY</character> <dialogue>what?</dialogue> <character>SEXY VOICE</character> <dialogue>I was wondering if it's better to ask your girlfriend for the money? It could be really easy. I mean, I have all your information, credit card information and billing stuff -</dialogue> <scene_description>Barry hangs up the phone real fast . HOLD . He does n't move .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S WORK/WAREHOUSE - MORNING/LATER</stage_direction> <scene_description>CAMERA -LRB- HAND HELD -RRB- behind Barry , as he walks through the warehouse , greets the boys , says hello to Lance , etc. . Lance , taking his cue from Barry , is a bit more dressed up today .</scene_description> <character>LANCE</character> <dialogue>Good morning, Barry.</dialogue> <character>BARRY</character> <dialogue>Hi, Lance.</dialogue> <character>LANCE</character> <dialogue>What's with all this pudding, what is this?</dialogue> <scene_description>CAMERA sees that all the pudding Barry bought has been stacked neatly in a corner . Barry stops dead in his tracks to explain ;</scene_description> <character>BARRY</character> <dialogue>That's part of a very interesting airline promotion giveaway that's really tremendous. I'm going to start a collection of pudding and coupons that can be redeemed for frequent flyer miles through Healthy Choice and American Airlines -</dialogue> <character>LANCE</character> <dialogue>You're goin' on a trip?</dialogue> <character>BARRY</character> <dialogue>No. but airline miles are just like a currency these days.</dialogue> <character>LANCE</character> <dialogue>You should go on a trip.</dialogue> <character>BARRY</character> <dialogue>No thanks.</dialogue> <character>LANCE</character> <dialogue>So what should I do with the pudding?</dialogue> <character>BARRY</character> <dialogue>Let's just leave it there for now.</dialogue> <scene_description>Barry goes into his office and looks at the Harmonium . BEAT . He presses some keys , makes a little more noise with it . -LRB- a quarter of some sort of melody starts here . -RRB- ANGLE , MOMENTS LATER . Barry is cutting up his CREDIT CARD with some scissors . He throws it away . ANGLE , MOMENTS LATER . Barry paces around a little bit . CAMERA stays inside and watches him as he walks outside for a moment , looks around . he sees something outside , hesitates , then dodges back inside the warehouse - - once inside , he takes a horrendous , hurtful fall over something . He stands up quick ;</scene_description> <character>BARRY</character> <dialogue>This is not supposed to be here. Seriously. Carlos, Carlos, this is really not supposed to be here. I do n't mean to be a dick ; but that's gon na hurt someone. It already did hurt someone : It hurt me, so please let's move that.</dialogue> <scene_description>He backs away , then steps OUT OF FRAME . a moment later ELIZABETH -LRB- his sister -RRB- and LENA -LRB- from the opening -RRB- enter the warehouse , walking towards Barry ;</scene_description> <character>ELIZABETH</character> <parenthetical>( to Lena . )</parenthetical> <dialogue>He's wearing a suit again, I do n't know why he's wearing a suit, he does n't usually dress like that -</dialogue> <character>LENA</character> <dialogue>It's fine.</dialogue> <scene_description>CAMERA pushes in towards LENA and blends to 30fps . she smiles , looks ahead , CAMERA slowly pans a 180 around to become her POV . Barry is standing near the harmonium , fiddling around . He looks up , sees Elizabeth and Lena walking towards him and tenses . they meet in the middle of the warehouse ;</scene_description> <character>ELIZABETH</character> <dialogue>Hey, what are you doing? Why are you wearing a suit again?</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>LENA</character> <dialogue>Hi.</dialogue> <character>BARRY</character> <dialogue>Hi.</dialogue> <character>LENA</character> <dialogue>Do you remember me, I left my car, yesterday.</dialogue> <character>BARRY</character> <dialogue>Yes I do.</dialogue> <character>ELIZABETH</character> <dialogue>This is Lena, she's a good friend of mine from work. We were in the neighborhood and she had to pick up her car and we're getting breakfast before we go in, so did you want to go? We're gon na go and eat, let's go.</dialogue> <character>BARRY</character> <dialogue>Yeah I ca n't.</dialogue> <character>ELIZABETH</character> <dialogue>Why?</dialogue> <character>BARRY</character> <dialogue>I have work, I ca n't leave.</dialogue> <character>ELIZABETH</character> <dialogue>Seriously, though : We're going to eat, I said.</dialogue> <character>BARRY</character> <dialogue>I'm sorry.</dialogue> <character>LENA</character> <dialogue>It's ok. That's alright.</dialogue> <character>ELIZABETH</character> <dialogue>Are you learning how to play the piano? What is that?</dialogue> <character>BARRY</character> <dialogue>It's not a piano. LANCE! LANCE! MAKE SURE THAT YOU CALL THAT GUY IN TOLEDO.</dialogue> <character>LANCE</character> <parenthetical>( OC . )</parenthetical> <dialogue>WHICH?</dialogue> <character>BARRY</character> <dialogue>I'll tell you later.</dialogue> <character>ELIZABETH</character> <dialogue>You do n't wan na come to eat with us?</dialogue> <character>WORKER VOICE</character> <dialogue>TELEPHONE BARRY ON LINE TWO!</dialogue> <character>ELIZABETH</character> <dialogue>What's all this pudding?</dialogue> <character>BARRY</character> <dialogue>I do n't know. Can you hang on a second?</dialogue> <scene_description>CAMERA follows Barry as he walks back to his little office , picks up the phone ;</scene_description> <character>BARRY</character> <dialogue>Hello?</dialogue> <character>SEXY VOICE</character> <dialogue>We got disconnected before.</dialogue> <character>BARRY</character> <dialogue>No. No. We got disconnect - why? you're calling me at work. how did you get this number -?</dialogue> <character>SEXY VOICE</character> <dialogue>See the thing is I could make it really easy on you - I already have your credit card number, your information, address and stuff. This is so awkward asking like this, I'm sorry -</dialogue> <character>BARRY</character> <dialogue>This makes me very uncomfortable.</dialogue> <character>SEXY VOICE</character> <dialogue>I need help.</dialogue> <scene_description>BEAT .</scene_description> <character>SEXY VOICE</character> <dialogue>Should I just ask your girlfriend?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Maybe I should call back and talk to your girlfriend?</dialogue> <character>BARRY</character> <dialogue>I do n't have a girlfriend -</dialogue> <character>SEXY VOICE</character> <dialogue>- you said you did.</dialogue> <character>BARRY</character> <dialogue>I know I did. But I do n't.</dialogue> <character>SEXY VOICE</character> <dialogue>You lied to me?</dialogue> <character>BARRY</character> <dialogue>I did n't lie.</dialogue> <character>SEXY VOICE</character> <dialogue>Why did you tell me you did, then?</dialogue> <character>BARRY</character> <dialogue>This is. illegal. I'll call the police.</dialogue> <character>SEXY VOICE</character> <dialogue>No you wo n't.</dialogue> <scene_description>ANGLE , ELIZABETH AND LENA</scene_description> <character>LENA</character> <dialogue>I'll go pay for my car.</dialogue> <character>ELIZABETH</character> <dialogue>Are you sure?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>ELIZABETH</character> <dialogue>He's being weird, I'm sorry. I have no idea why he's being weird and dressed in a suit -</dialogue> <character>LENA</character> <dialogue>It's not bad, it's ok.</dialogue> <character>ELIZABETH</character> <dialogue>- he's so strange I do n't know if you really even would want to go out with him, someone like him, I said I'd try, but it's just -</dialogue> <character>LENA</character> <dialogue>It's ok, it's alright. I'll come right back, I'll just go pay for my car.</dialogue> <character>ELIZABETH</character> <dialogue>Sorry.</dialogue> <scene_description>She leaves . Elizabeth heads for Barry 's office ; ANGLE , BARRY on the phone</scene_description> <character>SEXY VOICE</character> <dialogue>Come on, I thought we had fun, rich boy -</dialogue> <character>BARRY</character> <dialogue>This is not cool.</dialogue> <character>SEXY VOICE</character> <dialogue>It was cool last night.</dialogue> <character>BARRY</character> <dialogue>I have to go.</dialogue> <character>SEXY VOICE</character> <dialogue>Are you telling me no?</dialogue> <character>BARRY</character> <dialogue>No I'm sorry, now I have to get off the phone.</dialogue> <character>SEXY VOICE</character> <dialogue>this is your mistake.</dialogue> <scene_description>Elizabeth comes walking into his office , starts whispering to him as he 's on the phone ;</scene_description> <character>ELIZABETH</character> <dialogue>Hey, hey, you should ask her out - what do you think, she's cute, right?</dialogue> <character>BARRY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I'm gon na call you back.</dialogue> <scene_description>He starts to hang up the phone , turns to Elizabeth as we hear ;</scene_description> <character>SEXY VOICE</character> <parenthetical>( trailing off . )</parenthetical> <dialogue>. MOTHERFUCKER, NO.</dialogue> <character>BARRY</character> <dialogue>She is. I think, why did you come here like this?</dialogue> <character>ELIZABETH</character> <dialogue>It's not cool?</dialogue> <character>BARRY</character> <dialogue>It's fine, but -</dialogue> <character>ELIZABETH</character> <dialogue>- do you think you'll ask her out?</dialogue> <character>BARRY</character> <dialogue>I feel really on the spot now.</dialogue> <character>ELIZABETH</character> <dialogue>Are you gon na do it?</dialogue> <character>BARRY</character> <dialogue>I do n't do that. I do n't - things like that.</dialogue> <character>ELIZABETH</character> <dialogue>You do n't do anything, why are you being scared?</dialogue> <character>BARRY</character> <dialogue>I'm not being scared, you're just going to rag me if I do this -</dialogue> <character>ELIZABETH</character> <dialogue>I'm not gon na rag you. Why would I do this just to rag you?</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>ELIZABETH</character> <dialogue>I'll leave then, I'll go to get something from my car, go away so you do n't feel pressure. Can I ask you a serious question :</dialogue> <character>BARRY</character> <dialogue>What?</dialogue> <character>ELIZABETH</character> <dialogue>Did you ask Walter to get you a shrink?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Barry, did you ask Walter to get you a shrink? What's wrong with you? Are you ok?</dialogue> <character>BARRY</character> <dialogue>I did n't ask him that. He's lying.</dialogue> <character>ELIZABETH</character> <dialogue>You're being weird again, see. Come on. Please do n't be weird.</dialogue> <scene_description>ANGLE , BARRY AND ELIZABETH , MOMENTS LATER They walk out and as they do , Lena comes back in with her keys in her hand , Elizabeth keeps walking past ;</scene_description> <character>ELIZABETH</character> <dialogue>I got ta grab something from my car.</dialogue> <character>LENA</character> <dialogue>We should be going -</dialogue> <character>ELIZABETH</character> <parenthetical>( over her shoulder . )</parenthetical> <dialogue>Yeah, no, I have to get something from my car, I said.</dialogue> <scene_description>Barry and Lena about to be alone as Lance walks up ;</scene_description> <character>LANCE</character> <dialogue>Which guy in Toledo are you talking about?</dialogue> <character>BARRY</character> <dialogue>I'll tell you. the guy. with. just talk to me later about it, ok?</dialogue> <character>LANCE</character> <dialogue>You talkin' to me about Ramada Inn?</dialogue> <character>BARRY</character> <dialogue>I have to talk to you in a second about that, Lance, ok?</dialogue> <scene_description>He walks away , Lena turns to him ;</scene_description> <character>LENA</character> <dialogue>I'm sorry I could n't come to your sister's birthday party last night, Elizabeth had invited me and I could n't make it -</dialogue> <character>BARRY</character> <dialogue>It's fine. It was fun, though.</dialogue> <character>LENA</character> <dialogue>It must be weird for you to have so many sisters?</dialogue> <character>BARRY</character> <dialogue>No. Not at all. It's nice.</dialogue> <character>WORKER</character> <parenthetical>( OC . )</parenthetical> <dialogue>Telephone, Barry Line One!</dialogue> <scene_description>Barry turns instantly and walks away . he turns back as he walks . TWO SHOT - track left with him .</scene_description> <character>BARRY</character> <parenthetical>( turns back . )</parenthetical> <dialogue>One second, sorry.</dialogue> <scene_description>IN THE OFFICE , THAT MOMENT He picks up the phone .</scene_description> <character>BARRY</character> <dialogue>Hello?</dialogue> <character>SEXY VOICE</character> <dialogue>Hang up again and see the trouble it's gon na make.</dialogue> <scene_description>Barry instantly hangs up the phone , turns around and walks back to Lena ;</scene_description> <character>LENA</character> <dialogue>Business is good, you're busy?</dialogue> <character>BARRY</character> <dialogue>Yeah, not really.</dialogue> <character>LENA</character> <dialogue>I saw a picture of you.</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>LENA</character> <dialogue>Elizabeth has a picture of you guys - your sisters and you, it's a lot of family, it must be nice.</dialogue> <character>BARRY</character> <dialogue>Do you have brothers or sisters?</dialogue> <character>LENA</character> <dialogue>No. I'm the exact opposite -</dialogue> <character>BARRY</character> <dialogue>That must be nice. That must be really, really, really great.</dialogue> <character>LENA</character> <dialogue>It's terrible, no.</dialogue> <scene_description>No response from Barry . -LRB- cut to reverse 2 - shot as they look -RRB-</scene_description> <character>LENA</character> <dialogue>What do you do with all this pudding?</dialogue> <character>BARRY</character> <dialogue>That's not mine it's one of the guys that works here. That pudding's not mine.</dialogue> <scene_description>BEAT . In the b.g. , two WORKERS are dealing with getting a large crate on top of a large stack of crates , they 're using a fork lift . in an instant the large CRATE tumbles to the ground and SMASHES . Barry attempts to not notice this ;</scene_description> <character>LENA</character> <dialogue>Oh My God.</dialogue> <character>BARRY</character> <dialogue>It's ok. That's ok. How long have you worked with Elizabeth?</dialogue> <scene_description>The workers start calling out and apologizing for this to Barry , who keeps looking straight ahead to Lena ;</scene_description> <character>LENA</character> <dialogue>Six months, maybe five, five or six months. do you wan na check that?</dialogue> <character>BARRY</character> <parenthetical>( to the guys . )</parenthetical> <dialogue>Are you guys hurt?</dialogue> <character>WORKERS/LANCE</character> <dialogue>No, no, we're ok. Barry, sorry -</dialogue> <character>BARRY</character> <parenthetical>( back to Lena . )</parenthetical> <dialogue>So you do what she does, the same work, the same job?</dialogue> <character>LENA</character> <dialogue>I do, but I do field consultations mainly too which is cool because I get to travel. I travel. A lot of the time. I'm going to Hawaii on Friday.</dialogue> <character>BARRY</character> <dialogue>That's great - Hawaii. I was thinking about going there.</dialogue> <character>LENA</character> <dialogue>Really?</dialogue> <character>BARRY</character> <dialogue>I was, yeah, I was thinking about going there for business -</dialogue> <character>LENA</character> <dialogue>- well, if you're gon na go -</dialogue> <character>BARRY</character> <dialogue>- I'm probably not gon na go though.</dialogue> <character>LENA</character> <dialogue>- oh that's too bad, it's so great over there and if you were there we could say hello to each other or something -</dialogue> <character>BARRY</character> <dialogue>- yeah that would be great, if I was gon na go but I'm not exactly sure, I have so much goin on here - A lot depends on this thing I might do here and if that happens I ca n't go and if it does n't happen then I probably will, but I doubt it.</dialogue> <scene_description>There 's another LOUD CRASH as they try to reposition the box that 's fallen , giving way to something else that FALLS . In other words , to correct the mistake they 've already made , they have to sacrifice another CRATE that CRASHES . She looks , Barry just flinches , tries to stay looking straight ahead ; CAMERA -LRB- HAND HELD -RRB- with Elizabeth , comes walking back in . says to Barry :</scene_description> <character>ELIZABETH</character> <dialogue>I ca n't find that thing in my car, I ca n't find it so I'll just get it and give it to you later. So?</dialogue> <character>LENA</character> <parenthetical>( to Elizabeth . )</parenthetical> <dialogue>You ready?</dialogue> <character>ELIZABETH</character> <dialogue>Are you coming to eat with us?</dialogue> <character>BARRY</character> <dialogue>Yeah I ca n't.</dialogue> <character>ELIZABETH</character> <parenthetical>( at the crates . )</parenthetical> <dialogue>OH MY GOD. Look at that.</dialogue> <character>LENA</character> <parenthetical>( to Barry . )</parenthetical> <dialogue>It was great to meet you again. To see you again, thanks for helping me yesterday -</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <character>ELIZABETH</character> <parenthetical>( to Barry . )</parenthetical> <dialogue>What's all this pudding?</dialogue> <character>BARRY</character> <dialogue>It's not mine.</dialogue> <character>ELIZABETH</character> <dialogue>Why's it here?</dialogue> <character>BARRY</character> <dialogue>I have no idea.</dialogue> <character>LENA</character> <parenthetical>( to Elizabeth . )</parenthetical> <dialogue>Are you ready?</dialogue> <character>ELIZABETH</character> <parenthetical>( to Barry . )</parenthetical> <dialogue>Will you call me later to talk about asking Walter for the shrink? And we can talk about - he said you have this crying problem or something?</dialogue> <character>LENA</character> <dialogue>Bye, Barry.</dialogue> <character>BARRY</character> <dialogue>Goodbye.</dialogue> <character>ELIZABETH</character> <dialogue>Call me later.</dialogue> <scene_description>Lena and Elizabeth leave . CAMERA leads them as they walk ; Sound starts to drop out , we see Barry and the boys cleaning up the boxes in the back . move into a CU on Lena . Music Cue . Score . treated piano , small rhythm/melodic -LRB- notes of harmonium so far -RRB- / gentle .</scene_description> <character>ELIZABETH</character> <dialogue>So I'll meet you at the restaraunt?</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <scene_description>Lena gets into her car . Elizabeth keeps walking . She waits until Elizabeth is out of sight at the mouth of the driveway and then she gets back out of her car and walks straight back into the warehouse .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - THAT MOMENT</stage_direction> <scene_description>She comes walking in and over to Barry ;</scene_description> <character>LENA</character> <dialogue>I'm going to go and eat tomorrow night do you want to go with me?</dialogue> <character>BARRY</character> <dialogue>Sure.</dialogue> <character>LENA</character> <dialogue>Do you want to pick me up?</dialogue> <character>BARRY</character> <dialogue>Sure.</dialogue> <character>LENA</character> <dialogue>Can I write down my address and phone number for you?</dialogue> <character>BARRY</character> <dialogue>Sure.</dialogue> <scene_description>They do a small search for a piece of paper , get it all written down and sorted out and then - as they do this there is even more CRASHING AND SMASHING in the b.g. , by the boys - Barry and Lena settle up and say so long .</scene_description> <character>BARRY</character> <dialogue>This is funny.</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>I did n't ask anyone for a shrink, that was someone else. Also : This pudding is not mine. Also : I'm wearing a suit because I had a very important business meeting this morning and I do n't have a crying problem.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <character>BARRY</character> <dialogue>Alright?</dialogue> <character>LENA</character> <dialogue>Hi.</dialogue> <character>BARRY</character> <dialogue>Hi.</dialogue> <scene_description>She walks off . CAMERA leads her out , holds a CU . as she smiles to herself - lead her a bit more until she 's outside , and she gets in her car - CU . BARRY . He smiles , looks around , holds back his emotion so it looks like he 'll explode . tenses , smiles , tears , looks around . HOLD . End Music Que .</scene_description> <character>LANCE</character> <parenthetical>( OC . )</parenthetical> <dialogue>Barry, Line One, Telephone!</dialogue> <scene_description>Barry walks in . HOLD . He picks up the phone .</scene_description> <character>BARRY</character> <dialogue>Hello?</dialogue> <character>SEXY VOICE</character> <dialogue>You've just made a war that you can not afford.</dialogue> <scene_description>She hangs up real quick . HOLD . Barry and his harmonium . CUT TO BLACK . Title Card : Provo , Utah</scene_description> </scene> <scene> <stage_direction>INT. STEVENS BROTHERS HOUSE - DAY</stage_direction> <scene_description>CAMERA behind a BLONDE GIRLS HEAD -LRB- LATISHA -RRB- . She speaks to two blonde brothers , DAVID and JIM . In the b.g. , walking around holding a BABY is NATE . -LRB- Maybe a girlfriend or wife or two -RRB- .</scene_description> <character>DAVID</character> <dialogue>I'll do it.</dialogue> <character>JIM</character> <dialogue>I'll do it too.</dialogue> <character>DAVID</character> <dialogue>But it's got ta wait until my knee is better. I ca n't risk it.</dialogue> <character>LATISHA</character> <dialogue>You have to do it now.</dialogue> <character>JIM</character> <dialogue>If we drive there it's a problem.</dialogue> <character>LATISHA</character> <dialogue>Dean will loan you one of his cars.</dialogue> <character>JIM</character> <dialogue>Which one?</dialogue> <character>LATISHA</character> <dialogue>You have to talk to him -</dialogue> <character>DAVID</character> <dialogue>How do you know he's rich?</dialogue> <character>LATISHA</character> <dialogue>Because I know, I just know. I mean, I talked to him, I know.</dialogue> <scene_description>Nate emerges a bit from the b.g.</scene_description> <character>NATE</character> <dialogue>Where are you guys going?</dialogue> <character>DAVID</character> <dialogue>California. Los Angeles.</dialogue> <character>NATE</character> <dialogue>When are you leaving?</dialogue> <character>DAVID</character> <dialogue>Right now.</dialogue> <character>LATISHA</character> <dialogue>Let's go talk to Dean.</dialogue> </scene> <scene> <stage_direction>INT. LOCAL BAR/PROVO - LATER</stage_direction> <scene_description>LATISHA , DAVID , JIM and NATE enter and meet DEAN TRUMBELL , listening to AFTER EDEN play onstage , standing in the middle of the room .</scene_description> <character>DEAN</character> <dialogue>Hey guys.</dialogue> <character>DAVID/JIM/NATE</character> <dialogue>Hey, Dean.</dialogue> <character>LATISHA</character> <dialogue>So they'll go.</dialogue> <character>DEAN</character> <dialogue>I'm only paying two of you guys.</dialogue> <character>DAVID</character> <dialogue>That's cool.</dialogue> <character>DEAN</character> <dialogue>When can you leave?</dialogue> <character>DAVID</character> <dialogue>As soon as you want.</dialogue> <character>DEAN</character> <dialogue>I want you to go right away, I think that's best. I also need you to check out a car for me down there that this guy is selling.</dialogue> <scene_description>They walk towards a back room , as they do they pass a REGULAR JOE who bumps into Dean accidentally , Dean explodes ;</scene_description> <character>DEAN</character> <dialogue>You wan na fuck around, asshole? You wan na get tough, wan na see me kick some motherfuck around here?</dialogue> <character>REGULAR JOE</character> <dialogue>Take it easy, man, relax. Do n't -</dialogue> <character>DEAN</character> <dialogue>I'll relax your fucking head - this is my personal space, man, this is my personal fucking space, you do n't violate that, you do n't do that.</dialogue> <character>REGULAR JOE</character> <dialogue>I've got a glass in my hand why do n't you chill out?</dialogue> <character>DEAN</character> <dialogue>You've got a glass?</dialogue> <scene_description>Dean takes a BEER BOTTLE and SMASHES it in half on the bar , holds it up to the guy -</scene_description> <character>DEAN</character> <dialogue>YEAH. YOU'VE GOT A GLASS, NOW I'VE GOT A GLASS. I'VE GOT A GLASS TOO MOTHERFUCK.</dialogue> </scene> <scene> <stage_direction>INT. LOCAL BAR/PROVO - MOMENTS LATER</stage_direction> <scene_description>They 're all walking towards a back room of the bar , they walk past a COUPLE that is fighting . The WOMAN is screaming at the top of her lungs at the MAN ;</scene_description> <character>WOMAN</character> <dialogue>I WILL CRUSH YOU. I WILL FUCKING CRUSH YOU AND YOUR FRIENDS.</dialogue> <scene_description>Dean gets in the middle of it ;</scene_description> <character>DEAN</character> <dialogue>Take it easy, take it easy you guys in here, I need to talk to you later, Tommy - I wan na know if you wan na book the boys -</dialogue> <scene_description>He motions over his shoulder to Ashes to Ashes .</scene_description> <character>MAN</character> <dialogue>I'll talk to you later.</dialogue> <character>WOMAN</character> <dialogue>YOU WO N'T FUCKIN' TALK TO HIM LATER, I WILL CRUSH YOU. I WILL CRUSH YOU, ASSHOLE.</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE/UPSTAIRS/BACKROOM - MOMENTS LATER</stage_direction> <scene_description>They enter into an upstairs office area . It has a couple desks and off to the side , in a small , partitioned off room is The Phone Sex Area ; a GIRL on the phone . -LRB- We hear bits of her call , e.g. `` Me ? I 'm in Florida . Laying on my bed . '' -RRB- There are posters for Ashes to Ashes , filing cabinets , posters of CARS , lots of various small business items like order forms and pamphlets , etc. . Dean collects a piece of paper and hands it to David/Nate/Jim ;</scene_description> <character>DEAN</character> <dialogue>Your expenses are your own.</dialogue> <character>DAVID</character> <dialogue>I thought Latisha said you would -</dialogue> <character>DEAN</character> <dialogue>- she did n't know what she was talking about -</dialogue> <character>DAVID</character> <dialogue>It's. whatever. that's not cool.</dialogue> <character>DEAN</character> <dialogue>David, Do n't. Just. Seriously. It does n't make sense if you think about it in a fair deal like sense. Ok? It's business. Seriously. One hundred dollars for two days work is a lot more than your family is making sitting around your house. I'm serious now. Ok. Please. Now. Just stop.</dialogue> <scene_description>He hands him a set of KEYS and goes through the info ;</scene_description> <character>DEAN</character> <dialogue>keys for the track. You have to gas it up and save the receipts on that. His address. We have a business address too if you need that - but hit him at his house first, see what this little bad boy is all about and shake him up - give him a little doe - see - doe -</dialogue> <character>LATISHA</character> <dialogue>Uch. Shut up, Dean.</dialogue> <character>DEAN</character> <dialogue>What's the problem?</dialogue> <character>LATISHA</character> <dialogue>You do n't need to talk all macho, `` shake him out, little bad boy.'' Whatever - you're not an action hero, tough guy, you're not a gangster -</dialogue> <scene_description>He makes a very SUDDEN AND QUICK MOVE towards her and she FLINCHES .</scene_description> <character>DEAN</character> <dialogue>Flinchy. That's what I thought. Shut up.</dialogue> <parenthetical>( to Greg . )</parenthetical> <dialogue>Call me when you see this guy - check him out see what's what. She asked him for seven fifty when she was on the phone with him, so - just call me when you get there.</dialogue> <scene_description>He hands him another piece of paper and a photo ;</scene_description> <character>DEAN</character> <dialogue>This is this place called Ace Vintage, you got ta find it, I do n't know exactly where this is and I do n't understand these maps so just go there and check it out. It's a'61 AC Cobra that this old guy says is fine, but I need to figure out why he's only asking 23 for it. So take a look, the whole thing, call me about that, if it seems alright then I'll head down there and check it out.</dialogue> <character>DAVID</character> <dialogue>Ok.</dialogue> <character>DEAN</character> <dialogue>That's it.</dialogue> <character>DAVID</character> <dialogue>Can we maybe ask for more money on this?</dialogue> <character>LATISHA</character> <dialogue>Why?</dialogue> <character>DAVID</character> <dialogue>because it's California? I mean it's like a nine or ten hour drive. It's not like going to Salt Lake and getting the Mormon's, it's different.</dialogue> <scene_description>After a long , long staring contest with David , Dean SUDDENLY AND VERY VIOLENTLY PUTS HIS FIST THROUGH THE WALL . then turns to David . Latisha rolls her eyes . David , Nate and Jim leave .</scene_description> </scene> <scene> <stage_direction>EXT. UTAH STREET/TRUCK/MOVING - DAY/MAGIC HOUR</stage_direction> <scene_description>CAMERA behind the heads of Nate , Jim , Dave as they drive down the street . they call their brother `` Mike D '' on the phone and say , `` what 's up , we 're goin ' to Los Angeles , you wan na go ? ''</scene_description> </scene> <scene> <stage_direction>EXT. UTAH STREET/TRUCK/MOVING - MOMENTS LATER</stage_direction> <scene_description>CAMERA PANS left and picks up the fourth brother MIKE D as he walks from work and gets in the car . CAMERA HOLDS behind the heads of the four blonde brothers as they drive off .</scene_description> </scene> <scene> <stage_direction>EXT/INT. LENA'S APARTMENT COMPLEX - EVENING</stage_direction> <scene_description>This is a SPLIT SCREEN SEQUENCE shot with TWO CAMERAS . THE LEFT SIDE OF THE SCREEN holds Lena . She waits in her small , nondescript apartment doing the things you do while waiting for someone else . She sits , stands , sits , stands . THE RIGHT SIDE OF THE THE SCREEN travels -LRB- STEADICAM -RRB- with Barry as he walks into the RECEPTION AREA . There is a SECURITY GUARD -LRB- black , female -RRB- who asks him his name , where he 's going and to sign in . The Security Guard calls up to Lena 's place . and we watch Lena answer the phone . The Security Guard gives Barry some very complicated directions . we follow/lead Barry as he makes his way through the maze/up elevators/down corridors looking for Lena 's apartment . Finally , he arrives , knocks ;</scene_description> <character>LENA</character> <dialogue>Who is it?</dialogue> <character>BARRY</character> <dialogue>It's Barry.</dialogue> <scene_description>As she opens the door , THE SPLIT SCREEN SLIDES AWAY AND THE IMAGES GIVE WAY TO THE ONE OF LENA standing ;</scene_description> <character>LENA</character> <dialogue>Hi.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>Lena and Barry at a table . They talk -LRB- see notes . -RRB-</scene_description> <character>LENA</character> <dialogue>So I want to tell you something, I got ta tell you : I saw a picture of you guys, your sisters and you and I saw your picture and I really wanted to meet you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I came to drop my car off there on purpose, to try and meet you.</dialogue> <scene_description>Barry leans a little bit out of FRAME .</scene_description> <character>BARRY</character> <dialogue>really? That's nice. are you lying?</dialogue> <character>LENA</character> <dialogue>I thought I should tell you. I did n't want to get too far along on going out and be hiding something -</dialogue> <scene_description>BEAT . He leans slightly back in FRAME .</scene_description> <character>BARRY</character> <dialogue>That's very nice. Thank you. Thank you for saying that.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You're friends with my sister?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>How long have you known her?</dialogue> <character>LENA</character> <dialogue>About six months.</dialogue> <character>BARRY</character> <dialogue>You like her?</dialogue> <character>LENA</character> <dialogue>Yeah. Yeah we get along well.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You did n't get along with her very well?</dialogue> <character>BARRY</character> <dialogue>Did you really come to meet me on purpose or are you lying about that?</dialogue> <character>LENA</character> <dialogue>No, no. I did.</dialogue> <character>BARRY</character> <dialogue>That's nice. It's nice.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I've been looking around a lot lately at promotional giveaways, cross promotional work by some companies. Do you remember all that pudding?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>So that pudding was bought, I bought that pudding because of a pretty interesting promotion that's sponsored by Healthy Choice and American Airlines. It's designed to encourage airline travel and obviously designed to encourage buying Healthy Choice products. They make frozen meals, deli meats, pasta sauce, breads, soups and ice creams, this sort of thing.</dialogue> <character>LENA</character> <dialogue>Yeah?</dialogue> <character>BARRY</character> <dialogue>I'm sorry. I lost my thoughts, what I was saying.</dialogue> <character>LENA</character> <dialogue>You were talking about the promotion -</dialogue> <character>BARRY</character> <dialogue>- the promotion says : buy any 10 Healthy Choice products and get 500 miles of airline travel or 1,000 for purchases made with a special coupon. So in the supermarket, you notice their products, first you notice they have a Teriyaki Chicken Dinner at $ 1.79 - that's a pretty good deal. but then I noticed they had soup at 89 cents a can. and you start to do the math and you start to notice that it's a really amazing deal because I stumbled across the pudding at 25 cents a cup. Now the crucial thing is the bar codes on the label. That's those little bar codes, you know? The universal product codes?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>That's what's used to redeem the mileage, so in noticing the pudding, each cup had an individual bar code - in other words : Two dollars and fifty cents for ten cups of pudding is 500 miles. Add in the coupon : it's one thousand. You see?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>You see?</dialogue> <character>LENA</character> <dialogue>Yeah, no, I see -</dialogue> <character>BARRY</character> <dialogue>You see if you spent $ 3,000 dollars on pudding you could earn over one million frequent flyer miles.</dialogue> <character>LENA</character> <dialogue>That's insane. That is really, really crazy. That's just crazy if you spend three thousand dollars on pudding.</dialogue> <character>BARRY</character> <dialogue>yeah.</dialogue> <character>LENA</character> <dialogue>So that was your pudding?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>LENA</character> <dialogue>I'm sorry. I thought you said -</dialogue> <character>BARRY</character> <dialogue>No I did n't say that.</dialogue> <character>LENA</character> <dialogue>I thought you said you bought all that pudding -</dialogue> <character>BARRY</character> <dialogue>My friend Carlos is doing it who works with me. It's his. It's his pudding, he's doing it. It's not mine. He's crazy. I told him not to do it. He's the one who's insane. He only spent about one hundred dollars so far though -</dialogue> <character>LENA</character> <dialogue>Your sister was telling me a pretty funny story about you, when you guys were kids and you were building a ramp for your dog and you threw a hammer through a window? Is that right? You threw a hammer through a sliding glass door?</dialogue> <scene_description>Barry starts to WELL WITH TEARS , which he hides very quickly , holds a hand up to his face as if he 's touching his nose , and then he smiles ;</scene_description> <character>BARRY</character> <dialogue>I do n't remember that, she might be lying. I have to go the bathroom.</dialogue> <scene_description>He gets up and goes .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Barry walks in and goes a little crazy . He 's mad at himself and he HITS a stall . it seems loose already and falls straight to the floor . This makes him go crazier and he continues to BEAT and KICK the shit out of the bathroom/stall . HOLD . He collects himself and then he hesitates , looks around , tries to collect the bathroom but it 's in ruins , he exits .</scene_description> </scene> <scene> <stage_direction>INT. RESTARAUNT - MOMENTS LATER</stage_direction> <scene_description>Barry comes back and sits down , seems a little better . Tries to be a little flirtatious for half a moment before : the MANAGER comes over , leans in carefully ;</scene_description> <character>MANAGER</character> <dialogue>Hello.</dialogue> <character>LENA &amp; BARRY</character> <dialogue>Hi.</dialogue> <character>MANAGER</character> <dialogue>Sir, can I talk to you?</dialogue> <character>BARRY</character> <dialogue>Why?</dialogue> <character>MANAGER</character> <dialogue>Just have you for one second, please.</dialogue> <scene_description>He looks to Lena , excuses himself . ANGLE , OFF TO THE SIDE . The Manager and Barry step away , in a quiet section of the restaraunt , 2 - shot , profile , in sotto ; SLOW ZOOM IN .</scene_description> <character>MANAGER</character> <dialogue>Sir, the bathroom was just torn apart.</dialogue> <character>BARRY</character> <dialogue>Yeah.</dialogue> <character>MANAGER</character> <dialogue>Did you do it?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>MANAGER</character> <dialogue>You did n't just smash up the bathroom?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>MANAGER</character> <dialogue>Well who did?</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>MANAGER</character> <dialogue>You're hand is bleeding.</dialogue> <character>BARRY</character> <dialogue>I cut myself.</dialogue> <character>MANAGER</character> <dialogue>How?</dialogue> <character>BARRY</character> <dialogue>On my knife.</dialogue> <character>MANAGER</character> <dialogue>Sir, a young man saw you coming out of the bathroom.</dialogue> <character>BARRY</character> <dialogue>I did n't do that.</dialogue> <scene_description>BEAT .</scene_description> <character>BARRY</character> <dialogue>Why? what?</dialogue> <character>MANAGER</character> <dialogue>Your hand is bleeding.</dialogue> <character>BARRY</character> <dialogue>I know.</dialogue> <character>MANAGER</character> <dialogue>I'm gon na have to ask you to leave.</dialogue> <character>BARRY</character> <dialogue>Why?</dialogue> <character>MANAGER</character> <dialogue>Sir, I have no way of proving that you demolished the bathroom -</dialogue> <character>BARRY</character> <dialogue>I did n't do it.</dialogue> <character>MANAGER</character> <dialogue>Alright, well you're gon na have to leave. You're gon na have to go.</dialogue> <character>BARRY</character> <dialogue>Yeah, but I did n't do anything.</dialogue> <character>MANAGER</character> <dialogue>I'm gon na call the police then, sir.</dialogue> <character>BARRY</character> <dialogue>Please do n't do this to me.</dialogue> <character>MANAGER</character> <dialogue>The police are on their way.</dialogue> <character>BARRY</character> <dialogue>Sorry.</dialogue> <scene_description>He starts to move back .</scene_description> <character>BARRY</character> <dialogue>Can I pay you here? Can I pay you for our drinks and salad?</dialogue> <character>MANAGER</character> <dialogue>That's fine.</dialogue> <scene_description>Barry takes out some money and hands it over .</scene_description> <character>BARRY</character> <dialogue>Keep the change, please.</dialogue> <scene_description>ANGLE , BACK AT THE TABLE . They walk back to the table and Barry whispers down to her , very close , STEADICAM -LRB- leads them out - continuous -RRB-</scene_description> <character>BARRY</character> <dialogue>We should go I think, I do n't like it here.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <scene_description>They head out of the restaraunt .</scene_description> <character>LENA</character> <dialogue>Is everything ok?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>LENA</character> <dialogue>What happened?</dialogue> <character>BARRY</character> <dialogue>Nothing.</dialogue> <character>LENA</character> <dialogue>What did he want?</dialogue> <character>BARRY</character> <dialogue>Nothing.</dialogue> <scene_description>They walk a bit .</scene_description> <character>BARRY</character> <dialogue>I have a better idea of where we can go.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <scene_description>They walk some more .</scene_description> <character>BARRY</character> <dialogue>There's a better place for us to eat.</dialogue> <character>LENA</character> <dialogue>Did something happen ; are you alright?</dialogue> <character>BARRY</character> <dialogue>Yes I'm fine. Everything is ok. It's fine. Everything is fine.</dialogue> <scene_description>They walk some more and get in the car .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S CAR - DRIVING - NIGHT</stage_direction> <scene_description>75mm OVER ONTO BARRY . 75mm OVER ONTO LENA . Rear process or poor man 's process .</scene_description> <character>LENA</character> <dialogue>So. how is your harmonium doing?</dialogue> <scene_description>Barry looks at her .</scene_description> <character>LENA</character> <dialogue>Your portable reed organ. the piano.</dialogue> <character>BARRY</character> <dialogue>Well, it's fine. Thank you.</dialogue> <character>LENA</character> <dialogue>Did you pick it up from the street?</dialogue> <character>BARRY</character> <dialogue>What?</dialogue> <character>LENA</character> <dialogue>Did you take it from the street in front of your work?</dialogue> <character>BARRY</character> <dialogue>yes I did?</dialogue> <character>LENA</character> <dialogue>Are you learning how to play it?</dialogue> <character>BARRY</character> <dialogue>Yes? I'm trying.</dialogue> <character>LENA</character> <dialogue>Oh that's great.</dialogue> <scene_description>BEAT .</scene_description> <character>LENA</character> <dialogue>So you must travel a lot with all that pudding you bought?</dialogue> <character>BARRY</character> <dialogue>Yes no not really.</dialogue> </scene> <scene> <stage_direction>INT. LENA'S APARTMENT - LATER</stage_direction> <scene_description>Lena and Barry finishing up the date ;</scene_description> <character>BARRY</character> <dialogue>Ok. well. I'm gon na go.</dialogue> <character>LENA</character> <dialogue>yeah.</dialogue> <character>BARRY</character> <dialogue>It was nice to see you again, to see your face again, to go out with you -</dialogue> <character>LENA</character> <dialogue>I'll be around and back in town in a few days -</dialogue> <character>BARRY</character> <dialogue>Yeah.</dialogue> <character>LENA</character> <dialogue>If you come to Hawaii -</dialogue> <character>BARRY</character> <dialogue>Yeah, I do n't know, we'll see about that.</dialogue> <character>LENA</character> <dialogue>You do n't think you'll go -</dialogue> <character>BARRY</character> <dialogue>I do n't know.</dialogue> <character>LENA</character> <dialogue>Ok. Well call me when you get back, I mean, I'll call you when I get back. I'll be back for three weeks and then I go away for a month after that. So maybe in that time.</dialogue> <character>BARRY</character> <dialogue>Ok. Have a good trip.</dialogue> <scene_description>They do a shake hands/kiss on cheek goodbye . CAMERA IN THE HALLWAY with Barry as he walks away . CAMERA follows him as he swiftly walks away .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA/LENA'S BUILDING</stage_direction> <scene_description>Barry steps out of the elevator and walks to the exit , passing a RECEPTION DESK WOMAN . we hear the PHONE RINGING . she calls out ;</scene_description> <character>RECEPTION WOMAN</character> <dialogue>Are you Barry?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>RECEPTION WOMAN</character> <dialogue>It's for you.</dialogue> <scene_description>Barry walks towards the phone ;</scene_description> <character>BARRY</character> <dialogue>This is Barry.</dialogue> <character>LENA</character> <parenthetical>( OC . )</parenthetical> <dialogue>This is Lena.</dialogue> <character>BARRY</character> <dialogue>Hi.</dialogue> <character>LENA</character> <parenthetical>( OC . )</parenthetical> <dialogue>I just wanted you to know, wherever you're going or whatever you're doing right now I want you to know that I wanted to kiss you just then.</dialogue> <character>BARRY</character> <dialogue>Really?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>So what do I do then?</dialogue> </scene> <scene> <stage_direction>INT. MAZE OF CORRIDORS - MOMENTS LATER</stage_direction> <scene_description>Barry is walking up and around , looking for the spot . Two or three shots of various , him getting a little/slightly lost . running/walking .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - THAT MOMENT</stage_direction> <scene_description>CAMERA pushes down towards him as he walks towards the door . He knocks , she opens up , CAMERA SLIDES right in and lands as they KISS and then the kiss turns into a small hug and then they talk , real close . HOLD .</scene_description> <character>BARRY</character> <dialogue>That was good.</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>I'll see you later.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <character>BARRY</character> <dialogue>I do n't freak out very often.</dialogue> <character>LENA</character> <dialogue>What do you mean?</dialogue> <character>BARRY</character> <dialogue>I do n't, no matter what my sisters say, ok?</dialogue> <character>LENA</character> <dialogue>I do n't know what you mean.</dialogue> <character>BARRY</character> <dialogue>I do n't freak out.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <character>BARRY</character> <dialogue>Have a good trip.</dialogue> <character>LENA</character> <dialogue>Thank you.</dialogue> <scene_description>CAMERA behind Barry as he walks away . HOLD BEHIND HIM FOR A BIT LONGER THEN EXPECTED ;</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S APARTMENT/GARAGE</stage_direction> <scene_description>CAMERA inside the garage . Barry pulls inside and parks his car . ANGLE , BEHIND THE CAR . Brake lights turned off , Barry steps out .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S APARTMENT/KITCHEN - THAT MOMENT</stage_direction> <scene_description>CAMERA on Barry 's trash can , the kitchen light comes on . SLOW PUSH IN . He enters FRAME and lifts the trash bag out .</scene_description> </scene> <scene> <stage_direction>EXT. BARRY'S APARTMENT - LATER</stage_direction> <scene_description>CAMERA is behind Barry now in a new location . he 's walking from his garage where he 's just parked his car over to his garbage area as he throws something out . he looks up and sees . Jim and Nate driving the Toyota Pick Up Truck . he cruises past slowly . keeps going . then makes a u - turn . Barry turns around and DAVID and MIKE D are right there .</scene_description> <character>DAVID</character> <dialogue>Hey.</dialogue> <character>BARRY</character> <dialogue>Hi.</dialogue> <character>DAVID</character> <dialogue>I need to talk to you for a second.</dialogue> <character>BARRY</character> <dialogue>What?</dialogue> <character>DAVID</character> <dialogue>You got ta give me some money.</dialogue> <scene_description>Barry starts to walk away . David walks alongside him , casually . Barry looks over and sees the car has pulled up .</scene_description> <character>DAVID</character> <dialogue>You made a phone call and you said you'd help a girl out and then you did n't. I'm here to get the money.</dialogue> <character>BARRY</character> <dialogue>Wait a minute -</dialogue> <character>DAVID</character> <dialogue>No, no, no, no c'mon man, do n't make it a thing -</dialogue> <character>BARRY</character> <dialogue>Please do n't do this.</dialogue> <character>DAVID</character> <dialogue>It's just you need to give me the money. do you have it right now?</dialogue> <scene_description>MIKE D violently PUSHES BARRY STRAIGHT TO THE GROUND .</scene_description> <character>BARRY</character> <dialogue>Whoa. whoa. wait, wait - do n't please.</dialogue> <character>DAVID</character> <dialogue>How much money do you have in your pockets?</dialogue> <character>BARRY</character> <dialogue>Just take it, take the money in my pockets, take it, it's fine -</dialogue> <scene_description>They grab the money from his pockets as they hold him down on the ground ;</scene_description> <character>BARRY</character> <dialogue>It's three hundred and twenty dollars, just take it.</dialogue> <character>DAVID</character> <dialogue>What do you have in the house?</dialogue> <character>BARRY</character> <dialogue>Nothing. I mean, really. change, nothing. that's the cash I have.</dialogue> <character>DAVID</character> <dialogue>You have an ATM?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>DAVID</character> <dialogue>Is this where you live?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>DAVID</character> <dialogue>You have another house somewhere or something?</dialogue> <character>BARRY</character> <dialogue>No.</dialogue> <character>MIKE D</character> <dialogue>This is three hundred and twenty. Let's just go to your ATM and that'll be it -</dialogue> <character>BARRY</character> <dialogue>I did n't promise her money. She said that it was confidential, this is n't fair -</dialogue> <scene_description>Mike D pushes Barry 's face .</scene_description> <character>MIKE D</character> <dialogue>Shut up, be quiet. Be quiet.</dialogue> <character>BARRY</character> <dialogue>- do n't -</dialogue> <character>DAVID</character> <dialogue>HEY. You made a fucking sex call and now you're gon na pay. It's not a big thing - just give us some money and then it's over - we'll just walk down to the ATM and get your money out -</dialogue> <character>BARRY</character> <dialogue>Alright, alright.</dialogue> <scene_description>They pick him up and then ;</scene_description> <character>BARRY</character> <dialogue>How do you want to do this?</dialogue> <character>MIKE D</character> <dialogue>Let's just go to the corner, we saw a place on the corner, you'll just get your max out and that's it - you get out what you can and that's it -</dialogue> </scene> <scene> <stage_direction>EXT. GROCERY STORE/BANK PARKING LOT - NIGHT</stage_direction> <scene_description>CU . BARRY at the ATM . Various CU 's as he puts his card in , presses his info , etc. . He looks over his shoulder ; ANGLE , THE BROTHERS . CAMERA SLOWLY PUSHES IN on the three of them watching Barry . CU . 's MONEY comes out of ATM . Card comes out . Receipt comes out . Barry grabs the money .</scene_description> <character>DAVID</character> <dialogue>Ok. This is what you get when you're a pervert - you said you'd help someone out and you did n't so we're just getting some money for her and that's that.</dialogue> <character>BARRY</character> <dialogue>You know, please, I just wan na say that I did n't say I would help her out ; I was very clear about it. I do n't think that this is fair. wait, wait, wait, ouch, ouch.</dialogue> <scene_description>MIKE D walks up out of nowhere and straight towards Barry - throws a PUNCH straight to his FACE . Barry stumbles a bit , goes down to the ground . he NOTICES IN A QUICK FLASH : Their UTAH license plate .</scene_description> <character>MIKE D</character> <dialogue>You do n't challenge what my brother's saying, you do n't say that -</dialogue> <scene_description>. Barry makes a mad run for it .</scene_description> </scene> <scene> <stage_direction>EXT. STREETS &amp; ALLEYS - NIGHT</stage_direction> <scene_description>ANGLE , BARRY . - VARIOUS ALLEY WAY/STREET SHOTS . He turns some corners . makes his way down a side street and through an alley or two . and then he 's running like a mad man as fast as he can down the street .</scene_description> </scene> <scene> <stage_direction>EXT. STREET NEAR ATM - NIGHT</stage_direction> <scene_description>CAMERA tracks profile with him . The Boys pull up along side him slowly . Barry looks over . Mike D calls out from the passenger window ;</scene_description> <character>MIKE D</character> <dialogue>Where the fuck are you going?</dialogue> <scene_description>Barry starts to slow down . CAMERA behind . as he slows , we push in . land . he turns into CU . and walks back the opposite direction .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S BEDROOM - NEXT MORNING</stage_direction> <scene_description>CAMERA holds on Barry as he wakes up . He 's dressed in a FULL BASKETBALL OUTFIT . Lakers shirt , shorts , high tops , etc. . Small bandage over his ARM . He looks down at the outfit ;</scene_description> <character>BARRY</character> <dialogue>what the hell?</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE/BARRY'S OFFICE - MORNING</stage_direction> <scene_description>CAMERA DOLLIES/ZOOM in real quick to Barry at the Harmonium . A few more notes are played , something starting to sort of sound like a melody . but still a little broken . HOLD . SCORE begins here -LRB- ref.notes -RRB-</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE/BARRY'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Barry brings Lance in and closes the door , speaks sotto , then ;</scene_description> <character>LANCE</character> <dialogue>What's up?</dialogue> <character>BARRY</character> <dialogue>I think I got in trouble. A little bit of trouble.</dialogue> <character>LANCE</character> <dialogue>What happened?</dialogue> <character>BARRY</character> <dialogue>I made a call.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>. and, uh.</dialogue> <scene_description>BEAT . Barry looks over Lance 's shoulder and sees THE PUDDING stacked up . He stares for a moment ;</scene_description> <character>BARRY</character> <dialogue>ok. ok. I got ta get some pudding to go somewhere.</dialogue> <scene_description>One of the WORKER 'S pops his head in , says ;</scene_description> <character>WORKER</character> <dialogue>Telephone on Line One, Barry.</dialogue> <scene_description>He picks up the phone ;</scene_description> <character>BARRY</character> <dialogue>Hello?</dialogue> <character>RHONDA</character> <parenthetical>( OC . )</parenthetical> <dialogue>I need to talk to you about your behavior the other night -</dialogue> <scene_description>Barry hands up the phone real fast .</scene_description> <character>BARRY</character> <parenthetical>( to Lance . )</parenthetical> <dialogue>Ok. Well. I'm gon na go out of town. I'm going to go out of town just for two days.</dialogue> <character>LANCE</character> <dialogue>Where you goin?</dialogue> <character>BARRY</character> <dialogue>I'm going to go to Hawaii but you ca n't tell my sisters that.</dialogue> <character>LANCE</character> <dialogue>Wow, you're goin' to Hawaii, that's great - you're goin -?</dialogue> <character>BARRY</character> <dialogue>Yeah but you ca n't tell my sisters that.</dialogue> <character>LANCE</character> <dialogue>Ok.</dialogue> <character>BARRY</character> <dialogue>Alright : And I have to go and buy some more pudding for this trip to Hawaii and as I just said that out loud I'm realizing it sounds a little strange but it's not. So can you come and help me out?</dialogue> <character>LANCE</character> <dialogue>Ok.</dialogue> </scene> <scene> <stage_direction>EXT. WAREHOUSE - MOMENTS LATER</stage_direction> <scene_description>Barry and Lance exit the warehouse and get into Barry 's car -</scene_description> </scene> <scene> <stage_direction>INT. SMART AND FINAL - DAY</stage_direction> <scene_description>Barry and Lance are filling up an EXTRA LARGE SHOPPING CART with PUDDING as Barry explains , CAMERA pushes in ;</scene_description> <character>BARRY</character> <dialogue>I saw the Teriyaki Chicken first and that was $ 1.79 and then the Soup which made a real deal but then to come across the pudding. it's just tremendous when you think about how most people just do n't look. they do n't. they're not looking at the fine print, Lance.</dialogue> </scene> <scene> <stage_direction>INT. SMART AND FINAL/CHECK OUT - MOMENTS LATER</stage_direction> <scene_description>They 're unloading the pudding which comes in packets of three , but Barry and Lance are taking them out of those packets and handing them to the CHECK OUT GIRL one by one .</scene_description> <character>BARRY</character> <parenthetical>( to Girl . )</parenthetical> <dialogue>They need to be scanned individually. They each have a bar code, so I need it scanned individually so that each and every cup appears on the receipt.</dialogue> <character>CHECK OUT GIRL</character> <dialogue>What is this, man?</dialogue> <character>BARRY</character> <dialogue>I'm sorry.</dialogue> <character>CHECK OUT GIRL</character> <dialogue>Are you serious with this?</dialogue> <character>BARRY</character> <dialogue>Yes. Sorry.</dialogue> <character>CHECK OUT GIRL</character> <dialogue>Well. what do you want, then?</dialogue> <character>BARRY</character> <dialogue>Each pudding cup has to be scanned individually so that. it's for a giveaway. a product giveaway by this company.</dialogue> <character>CHECK OUT GIRL</character> <dialogue>This is a bunch of bullshit.</dialogue> <character>BARRY</character> <dialogue>I'm sorry, I know. I know that it's.</dialogue> <scene_description>BEAT . She scans them over and over and over . then :</scene_description> <character>BARRY</character> <dialogue>I'm sorry, I'm really sorry.</dialogue> <scene_description>She scans and scans and scans and scans .</scene_description> <character>BARRY</character> <dialogue>Sorry. I'm sorry, ma'am.</dialogue> </scene> <scene> <stage_direction>EXT. SMART AND FINAL - DAY</stage_direction> <scene_description>Barry and Lance pushing the shopping carts . Barry looks across the parking lot and sees : A TOYOTA PICK UP coming slowly towards him and Lance . Barry starts to move steady/swiftly towards his car . Lance tries to keep up . Barry gets nervous , looks left and right . The Toyota passes and it 's nothing . Barry and Lance load the pudding in his car as Barry acts as if nothing happened . He turns and sees a BABY in a shopping cart and he reacts ;</scene_description> <character>BARRY</character> <dialogue>God Damn They're So Beautiful.</dialogue> </scene> <scene> <stage_direction>INT. SUPERMARKET - DAY</stage_direction> <scene_description>Barry and Lance stack pudding in , Barry says ;</scene_description> <character>BARRY</character> <dialogue>You know you can get places in the world with pudding. That's funny.</dialogue> <character>LANCE</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>That's funny.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT/ANOTHER SMART AND FINAL.</stage_direction> <scene_description>Barry and Lance walk together towards another Smart and Final . they walk towards the SLIDING DOORS . that do not slide open . Barry walks face first into the doors and quickly turns around and heads back to the car .</scene_description> <character>BARRY</character> <dialogue>I guess they're not open today.</dialogue> <scene_description>CAMERA holds the long walk back to the car . Barry glances both directions . cautious and careful . sees nothing .</scene_description> <character>BARRY</character> <dialogue>That's fine. I think I have enough.</dialogue> <scene_description>He walks a little faster and gets in the car . HOLD . SLOW ZOOM IN . SOUND DROPS out . he just sits , then , to Lance ;</scene_description> <character>BARRY</character> <dialogue>I get really sick of myself sometimes.</dialogue> </scene> <scene> <stage_direction>INT. BARRY'S WAREHOUSE - DAY</stage_direction> <scene_description>CAMERA pushes in quick , Barry on the phone ;</scene_description> <character>BARRY</character> <dialogue>No, no, no, no, no. What do you mean? It does n't state anywhere about six to eight weeks.</dialogue> <character>OPERATOR VOICE</character> <dialogue>It takes that much time to process the order and make sure it's valid -</dialogue> <character>BARRY</character> <dialogue>I had this whole thing in my head, I was gon na be able to get this to you today - I have to leave today -</dialogue> <character>OPERATOR VOICE</character> <dialogue>I'm sorry.</dialogue> <character>BARRY</character> <dialogue>How am I supposed to know what to do if you do n't say it - if it's not in your rules and regulations in your fine print how am I supposed to know how to be with this -</dialogue> <character>OPERATOR VOICE</character> <dialogue>It takes time to process -</dialogue> <character>BARRY</character> <dialogue>No, no, no, no, nO, NO, NO!</dialogue> <scene_description>Barry drops the phone to the ground , spins around and PUTS HIS FIST THROUGH THE WALL . then drops down , lower his head . CAMERA HOLD CU . as he stops himself , tries to breath ;</scene_description> <character>BARRY</character> <dialogue>Do n't do that. Do n't do that. That's not right. Calm down now, please. Please. Ok. Ok. Calm down now please.</dialogue> <scene_description>HOLD . `` He Needs Me , '' starts . He closes his eyes .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE AREA - MOMENTS LATER</stage_direction> <scene_description>Barry walks over to Lance ;</scene_description> <character>BARRY</character> <dialogue>Ok : the pudding is gon na take six to eight weeks to process so that is n't gon na work for today, I'll just take a bath on that today. Ok. But here's the thing I got ta tell you :</dialogue> <scene_description>BEAT . He looks around at the pudding .</scene_description> <character>BARRY</character> <dialogue>now : this pudding?</dialogue> <character>LANCE</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>Let's just figure that out later -.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Ok. I got ta go. I'm just gon na go now and I'll call you from there, you're in charge'till I get back. And do n't tell my sisters anything?</dialogue> <scene_description>He exits .</scene_description> </scene> <scene> <stage_direction>INT. LOADING AREA/PLANE - DAY</stage_direction> <scene_description>CAMERA -LRB- STEADICAM -RRB- follows him from the ticket handoff down the corridor onto the plane .</scene_description> </scene> <scene> <stage_direction>INT. PLANE - DAY</stage_direction> <scene_description>CAMERA holds 2 - shot on Barry and a BUSINESS GUY sitting together , just before take off . HOLD , THEN :</scene_description> <character>BARRY</character> <dialogue>I've never been on a plane before.</dialogue> <scene_description>BEAT . There 's the SOUND of the plane starting to move .</scene_description> <character>BARRY</character> <dialogue>What's that sound?</dialogue> </scene> <scene> <stage_direction>INT. PLANE - IN FLIGHT - LATER</stage_direction> <scene_description>Barry sits . BEAT . HOLD . We hear the sound of a BABY CRYING . He looks across the aisle and sees : A small , THREE YEAR OLD CHILD crying , behind held by its FATHER . The baby stops crying for a moment , calming down , breathing heavy , looks around with wide eyes . CU . BARRY . HE WELLS WITH TEARS AND A SMILE , CRINGES IN HIS FACE AND WE SEE THE BUILD UP OF EMOTION , HIS VEINS POP FROM HIS FACE AND THEN HE SMILES LIKE CRAZY , SMILING AND SMILING AND SMILING , BRIGHT RED AND PAINFUL .</scene_description> </scene> <scene> <stage_direction>INT. HAWAII AIRPORT - LATE AFTERNOON</stage_direction> <scene_description>He walks along the airport , looking out onto planes and palm trees and people , etc. .</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT/CURB - TAXI AREA - THAT MOMENT</stage_direction> <scene_description>Barry hops into a TAXI . The CAB DRIVER asks :</scene_description> <character>CAB DRIVER</character> <dialogue>Where?</dialogue> <scene_description>Barry HOLDS a moment , then realizes he does n't know , SNAPS INTO A CONTORTION , STARTS TO TEAR and almost SNAP and then nothing .</scene_description> </scene> <scene> <stage_direction>INT. WAKIKI STREET/PHONE BOOTH - LATER</stage_direction> <scene_description>Barry on the phone amid a crowd of people passing ;</scene_description> <character>ELIZABETH</character> <dialogue>Hey. What are you doing?</dialogue> <character>BARRY</character> <dialogue>Nothing. I'm just at work and I'm wondering, you know your friend Lena?</dialogue> </scene> <scene> <stage_direction>INT. ELIZABETH'S APARTMENT - THAT MOMENT</stage_direction> <scene_description>CAMERA with Elizabeth ;</scene_description> <character>ELIZABETH</character> <dialogue>What about her? You did n't ask her out, you're such a pussy -</dialogue> <character>BARRY</character> <dialogue>she did n't, I did n't ask her out?</dialogue> <character>ELIZABETH</character> <dialogue>You're so scared.</dialogue> <character>BARRY</character> <dialogue>Do you know where she's staying in Hawaii?</dialogue> <character>ELIZABETH</character> <dialogue>Oh My God, yeah, I know exactly where she is, why?</dialogue> <character>BARRY</character> <dialogue>she forgot her purse at my work and I wanted to get it back to her.</dialogue> <character>ELIZABETH</character> <dialogue>No she did n't ; that's a lie.</dialogue> <character>BARRY</character> <dialogue>I. please do n't do this.</dialogue> <character>ELIZABETH</character> <dialogue>What? Tell me why you wan na know -</dialogue> <character>BARRY</character> <dialogue>I just want to know where she's staying.</dialogue> <character>ELIZABETH</character> <dialogue>Tell me why.</dialogue> <scene_description>BEAT . HOLD ON BARRY .</scene_description> <character>BARRY</character> <dialogue>There is no reason for you to treat me like you do - you're killing me, you are killing me with the way that you are towards me -</dialogue> <character>ELIZABETH</character> <dialogue>- what are you talking about, come on -</dialogue> <character>BARRY</character> <dialogue>- all I want is the number of where she's staying and that should be god damn good enough, now stop treating me this way, please - Just Give Me The Number Elizabeth Please Now I think I will kill you if you do n't.</dialogue> </scene> <scene> <stage_direction>INT. WAKIKI STREET/PHONE BOOTH - MOMENTS LATER</stage_direction> <scene_description>Barry on the phone ;</scene_description> <character>HOTEL OPERATOR</character> <dialogue>Sheraton Wakiki, how may I direct your call?</dialogue> <character>BARRY</character> <dialogue>Lena Leonard's room please.</dialogue> <character>HOTEL OPERATOR</character> <dialogue>I'll connect you.</dialogue> <scene_description>BEAT . A MAN answers the phone ;</scene_description> <character>MAN'S VOICE</character> <dialogue>Hello?</dialogue> <character>BARRY</character> <dialogue>Hello. Is Lena there?</dialogue> <character>MAN'S VOICE</character> <dialogue>You have the wrong room.</dialogue> <scene_description>He hangs up . Barry dials the number again .</scene_description> <character>HOTEL OPERATOR</character> <dialogue>Sheraton Wakiki, how may I direct your call?</dialogue> <character>BARRY</character> <dialogue>I just called, I got connected to the wrong room. I'm looking for Lena Leonard and there should n't be a man in the room I'm calling.</dialogue> <scene_description>BEAT . He 's put on hold a moment , then it rings , then :</scene_description> <character>LENA</character> <dialogue>Hello?</dialogue> <character>BARRY</character> <dialogue>Lena?</dialogue> <character>LENA</character> <dialogue>Yeah?</dialogue> <character>BARRY</character> <dialogue>It's Barry.</dialogue> <character>LENA</character> <dialogue>HI. WHERE ARE YOU? ARE YOU HERE?</dialogue> <character>BARRY</character> <dialogue>Yes.</dialogue> <character>LENA</character> <dialogue>OH WOW. YEAH. THAT'S GREAT. YOU CAME, YOU CAME. What are you doing?</dialogue> <character>BARRY</character> <dialogue>I'm calling you, I'm standing in my hotel room, I came because I have my business trip -</dialogue> <character>LENA</character> <dialogue>Well let's do something do you want to do something, can you meet me?</dialogue> <character>BARRY</character> <dialogue>You do n't have a boyfriend or anything do you?</dialogue> <character>LENA</character> <dialogue>No. What do you mean?</dialogue> <character>BARRY</character> <dialogue>I just wanted to know. When was the last time you had a boyfriend?</dialogue> <character>LENA</character> <dialogue>About six months ago. Why?</dialogue> <character>BARRY</character> <dialogue>I just wanted to make sure.</dialogue> <character>LENA</character> <dialogue>When was the last time you had a girlfriend?</dialogue> <character>BARRY</character> <dialogue>Where you married?</dialogue> <character>LENA</character> <dialogue>yeah.</dialogue> <character>BARRY</character> <dialogue>Ok. So you were married for how long?</dialogue> <character>LENA</character> <dialogue>Do you want to meet me and talk about this stuff?</dialogue> <character>BARRY</character> <dialogue>Ok. Where are you from originally?</dialogue> </scene> <scene> <stage_direction>INT. ROYAL HAWAIIAN/LOBBY - LATER</stage_direction> <scene_description>Barry is standing , waiting . HOLD . he looks across the lobby and sees : Lena . she 's walking towards him with a smile on her face . Barry smiles and walks towards her . she walks towards him . he extends his arm out for a handshake as they get closer . she opens her arms for a hug as they get closer . They shake/hug/kiss on the cheek . then on the mouth . They start making out in the lobby of the hotel .</scene_description> </scene> <scene> <stage_direction>EXT. ROYAL HAWAIIAN - PATIO/BAR AREA - MAGIC HOUR</stage_direction> <scene_description>CAMERA roams through the Mai Tai bar on the beach and finds them ; -LRB- Ladies K playing here . -RRB-</scene_description> <character>LENA</character> <dialogue>You got me out of my hotel room. You came and got me out of my room.</dialogue> <character>BARRY</character> <dialogue>Yeah. yeah.</dialogue> <character>LENA</character> <dialogue>It's so nice.</dialogue> <character>BARRY</character> <dialogue>This really looks like Hawaii here.</dialogue> <scene_description>They look at each other . HOLD , THEN : ANGLE , MOMENTS LATER . They walk back towards the hotel . CAMERA -LRB- STEADICAM -RRB- behind them as they move -</scene_description> </scene> <scene> <stage_direction>INT. ROYAL HAWAIIAN/HALLWAY - MOMENTS LATER</stage_direction> <scene_description>CAMERA follows behind them as they walk . IRIS into their hands . she reaches over and holds his hand .</scene_description> </scene> <scene> <stage_direction>INT. ROYAL HAWAIIAN HOTEL ROOM - MOMENTS LATER</stage_direction> <scene_description>They 're in bed making out with their clothes on and a light on . they hold a second .</scene_description> <character>BARRY</character> <dialogue>Do you wan na have sex?</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <scene_description>They take their shirts off .</scene_description> <character>LENA</character> <dialogue>Press together. It feels good.</dialogue> <scene_description>She cups his face with her hands and tenses ;</scene_description> <character>LENA</character> <dialogue>Oh my god, you are so adorable. I just. god dammit.</dialogue> <character>BARRY</character> <dialogue>What's that? What is that that you're doing?</dialogue> <character>LENA</character> <dialogue>I just. your face is so adorable and your cheek and your skin, I wan na bite it. I wan na bite your cheek and chew on it. god damn cute. fuck.</dialogue> <character>BARRY</character> <dialogue>I know what you mean, I know what you mean, I get this feeling -</dialogue> <character>LENA</character> <dialogue>what?</dialogue> <character>BARRY</character> <dialogue>IIIIIIIIIII do n't want to hurt anything ever, but what I'm talking about is - have you ever held a little puppy or a little kitten and it's just the cutest, softest, most precious thing in the world and out of the blue you get this feeling in your gut and all you wan na do is squeeze it. Just fuckin squeeze the shit out of it. To take a little puppy and smash its skull. just so precious, so beautiful. Just so god damn wonderful and cute you wan na smack it and kick it and love it. Fuck. I do n't know. I do n't know. And you, you. I'm looking at you and I just. your face is so beautiful I just wan na smash it, just smash it with a sledgehammer and squeeze it. you're so pretty.</dialogue> <scene_description>They kiss and kiss and kiss ;</scene_description> <character>LENA</character> <dialogue>I know. I know. I know. I just wan na chew your face and scoop out your beautiful, beautiful eyes with an ice cream scooper and eat'em and chew'em and suck on'em. Fuck.</dialogue> <character>BARRY</character> <dialogue>This is funny.</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <character>BARRY</character> <dialogue>This is nice.</dialogue> <scene_description>They kiss and make out some more , then : DRUM ROLL into SNARE</scene_description> </scene> <scene> <stage_direction>INT. TOYOTA - MOVING - DAWN</stage_direction> <scene_description>CAMERA on Mike D and Nate driving . HOLD . Martin rumbles out of a half sleep and says ;</scene_description> <character>NATE</character> <dialogue>That guy had more money to give up.</dialogue> <scene_description>JIM and DAVE wake up a bit in the back seat and listen ;</scene_description> <character>NATE</character> <dialogue>Long way to drive just for seven hundred something bucks. Dean does n't have to know.</dialogue> <scene_description>HOLD . SILENCE for a moment .</scene_description> <character>MIKE D</character> <dialogue>We're not that far. I mean, if we're going to, we're not that far.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT (BLUE SKY - CRACK OF DAWN DEAL)</stage_direction> <scene_description>The Toyota exits the freeway - CAMERA TRACKS right with it as it makes a turn at the base of the off ramp . goes under a bridge and then makes a turn getting back onto the freeway heading in the opposite direction .</scene_description> </scene> <scene> <stage_direction>INT. HAWAIIAN HOTEL ROOM - NIGHT/NEAR DAWN - LATER</stage_direction> <scene_description>It 's dark and Barry and Lena are asleep in bed together . Barry gets up , in a haze . Lena moves and opens her eyes . She watches him as he gets up and casually goes to the corner of the room and starts talking gently to the wall .</scene_description> <character>BARRY</character> <parenthetical>( sotto , calm . )</parenthetical> <dialogue>You know you're not supposed to do that. Because I told you. Seriously. Please. Not that day. Ok.</dialogue> <character>LENA</character> <dialogue>Barry?</dialogue> <scene_description>He does n't respond . He 's asleep . He moves to the closet and gets one of the HOTEL ROBES and puts it on and then he looks right at her and says :</scene_description> <character>BARRY</character> <dialogue>I was talkin' to you last Thursday about that.</dialogue> <scene_description>He gets the robe tied tight around his waste and then gets the COMPLIMENTARY SLIPPERS and puts them on . Then he gets back into the bed and closes his eyes .</scene_description> </scene> <scene> <stage_direction>INT. KAHALA HOTEL - MORNING</stage_direction> <scene_description>CAMERA pushes in slow towards Lena as she 's on the phone . CAMERA pushes in on Barry as he sits across the room , listening in his robe . They stare at each other the whole time .</scene_description> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>They need to see the new 484's to make sure it works with their OC.</dialogue> <character>LENA</character> <dialogue>Ok. What should I do about Eric?</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>Just tell him to call me.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>So. did my brother call you?</dialogue> <character>LENA</character> <dialogue>No.</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>I have no idea what he's doing then. I'm sorry that did n't work out.</dialogue> <character>LENA</character> <dialogue>It's fine.</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>You would n't want to go out with him anyway, honestly, he's such a freak sometimes.</dialogue> <character>LENA</character> <dialogue>He did seem a little strange.</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>Well. he's not that strange, do n't say that.</dialogue> <character>LENA</character> <dialogue>I'm sorry. You're right.</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>I think he's weird, but that's me.</dialogue> <character>LENA</character> <dialogue>Should I call you later?</dialogue> <character>ELIZABETH</character> <parenthetical>( OC . )</parenthetical> <dialogue>I'll just see you when you get back here.</dialogue> <character>LENA</character> <dialogue>Ok.</dialogue> <scene_description>They hang up and Lena looks to Barry and smiles .</scene_description> <character>LENA</character> <dialogue>Where do you have to go?</dialogue> <character>BARRY</character> <dialogue>For what?</dialogue> <character>LENA</character> <dialogue>For work.</dialogue> <character>BARRY</character> <dialogue>I do n't have any business here. I came here for you, I did n't have any business.</dialogue> </scene> <scene> <stage_direction>EXT. TOYOTA - DRIVING - DAY (MELODY/SLIGHT)</stage_direction> <scene_description>CAMERA follows behind The Stevens Brothers car , then gets up along side them as they drive back .</scene_description> </scene> <scene> <stage_direction>INT. KAHALA LOBBY - DAY (SCORE BACK TO RHYTHMIC)</stage_direction> <scene_description>Barry and Lena walk out to the valet , leaving the hotel . -LRB- STEADICAM -RRB- behind them .</scene_description> </scene> <scene> <stage_direction>INT. HONOLULU AIRPORT/SECURITY - DAY (CONTD. UNTIL NOTED)</stage_direction> <scene_description>Lena and Barry go through the x - ray thing . STEADICAM .</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT/HONOLULU - AT THE GATE/WAITING AREA</stage_direction> <scene_description>Side by side on the return flight sit Lena and Barry .</scene_description> <character>BARRY</character> <dialogue>How many times have you been on an airplane?</dialogue> <character>LENA</character> <dialogue>I think maybe over a hundred.</dialogue> <character>BARRY</character> <dialogue>That's right you travel so much.</dialogue> <character>LENA</character> <dialogue>Yeah.</dialogue> <scene_description>BEAT . The plane starts to move .</scene_description> <character>BARRY</character> <dialogue>How much do you travel? You travel all the time?</dialogue> <scene_description>She nods her head , looks at him . BEAT . HOLD .</scene_description> <character>BARRY</character> <dialogue>I forgot about that.</dialogue> <character>LENA</character> <dialogue>Can I come home with you when we get there?</dialogue> <character>BARRY</character> <dialogue>Yeah.</dialogue> <character>LENA</character> <dialogue>It's ok to ask that.</dialogue> <character>BARRY</character> <dialogue>I thought that you were anyway.</dialogue> <scene_description>CU . BARRY 'S FACE . He looks to Lena . DRUM HIT LOUD . THEN AGAIN . THEN AGAIN . and we 're in the score cue for . CUT TO BLACK . It 's BLACK FOR A FEW MOMENTS .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S GARAGE - NIGHT</stage_direction> <scene_description>It 's dark . The garage door opens and we see Barry and Lena in his car . they 're about to pull in . THE TOYOTA PICK UP carrying The Stevens Brothers pulls in real fast behind them and rear - ends them . CAMERA pushes in real fast . Barry turns and sees Lena 's head has been injured . he looks behind and sees TWO OF THE BROTHERS EMERGING FROM THE CAR . he gets out quick , heads right for them .</scene_description> <character>MIKE D</character> <dialogue>Get on the ground, man - get on the fucking -</dialogue> <scene_description>Barry goes absolutely APE SHIT on MIKE D and NATE . it 's a mess of VIOLENCE and BRAWLING and Barry seems to get the best of both NATE and MIKE D . the two other brothers half get involved/stay in the car . CAMERA pushes in on LENA -LRB- 30fps -RRB- as she notices Barry going pretty fucking crazy . ANGLE . BARRY . As he walks and gets back in the car . CAMERA is attached to the open door and closes as Barry closes the door .</scene_description> <character>BARRY</character> <dialogue>Are you ok?</dialogue> <character>LENA</character> <dialogue>I'm fine are you ok?</dialogue> <character>BARRY</character> <dialogue>Yes I'm sorry.</dialogue> <character>LENA</character> <dialogue>What is this?</dialogue> <character>BARRY</character> <dialogue>Let's go to the hospital.</dialogue> <scene_description>They drive off .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - LATER</stage_direction> <scene_description>Lena is getting a bandage applied to her head by an intern . It 's very calm and she 's very matter - of - fact as it happens . Barry stands nearby . and OFFICER is asking her a few questions ;</scene_description> <character>LENA</character> <dialogue>people are just crazy in this world, I think.</dialogue> <character>POLICE</character> <dialogue>and he came up on the driver side.</dialogue> <character>LENA</character> <dialogue>The first man came on the driver side.</dialogue> <character>POLICE</character> <dialogue>right. the blonde one?</dialogue> <character>LENA</character> <dialogue>They were all blonde.</dialogue> <scene_description>CAMERA moves over with Barry as he starts to back away from the scene . CAMERA watches him as he walks off and away , down the hall . out of the hospital . HOLD on the back of Lena 's head as she gets bandaged and questioned .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S WAREHOUSE - NIGHT</stage_direction> <scene_description>CAMERA pushes in from outside , to inside . he 's opened up and is using the phone .</scene_description> <character>SEXY VOICE RECORDING</character> <dialogue>- some of the horniest girls around - stay on the line and an operator will be right with you. remember, have your credit card ready and know that Mastercard is my favorite credit card.</dialogue> <scene_description>LATISHA picks up doing a fake voice as an `` Operator . ''</scene_description> <character>LATISHA</character> <parenthetical>( OC . )</parenthetical> <dialogue>This is Janice the operator, who's this?</dialogue> <character>BARRY</character> <dialogue>My name is Barry Egan and I spoke to you. you called me, you remember?</dialogue> </scene> <scene> <stage_direction>INT. PROVO - BAR - BACK ROOM AREA - THAT MOMENT</stage_direction> <scene_description>CAMERA pushes in on Latisha as she looks for what to say :</scene_description> <character>LATISHA</character> <dialogue>no. I do n't. I do n't remember you. Who's this?</dialogue> <character>BARRY</character> <dialogue>That's not true. That's not true at all. You said that your name was Georgia and you said our conversation was confidential and I trusted you and you kept calling and asking me for money, c'mon now I want to talk to your owner, your supervisor, whoever runs this, you understand. Please connect me now.</dialogue> <character>LATISHA</character> <dialogue>Can you hang on a second?</dialogue> <scene_description>She puts him on hold and dials another number , she 's real nervous , holding it in -</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S MATTRESS/FURNITURE STORE - THAT MOMENT</stage_direction> <scene_description>Dean also seems to own a mattress/furniture store in Provo . Somebody walks towards him , says :</scene_description> <character>WORKER</character> <dialogue>Dean, line one.</dialogue> <scene_description>Dean walks back to the phone and picks it up ;</scene_description> <character>DEAN</character> <dialogue>Hello?</dialogue> <character>LATISHA</character> <dialogue>Hey, it's me. This guy from L.A., Barry Egan is calling on the other line and saying all this stuff, he wants to talk to a supervisor or whatever -</dialogue> <character>DEAN</character> <dialogue>What did you say?</dialogue> <character>LATISHA</character> <dialogue>Nothing.</dialogue> <character>DEAN</character> <dialogue>Put him through.</dialogue> <character>LATISHA</character> <dialogue>No, no. This is bad, something might have happened, we should just -</dialogue> <character>DEAN</character> <dialogue>Shut up, just put him on the phone, it does n't matter, just shut up -</dialogue> <scene_description>INTERCUT NOW WITH BARRY/LATISHA/DEAN ; She clicks over to him ;</scene_description> <character>LATISHA</character> <dialogue>Ok, sir. I'm gon na put you through to my supervisor.</dialogue> <character>BARRY</character> <dialogue>Fine, thank you.</dialogue> <character>LATISHA</character> <dialogue>Ok. You're connected.</dialogue> <character>DEAN</character> <dialogue>Who is this?</dialogue> <character>BARRY</character> <dialogue>Hello, my name is Barry Egan and I called your service -</dialogue> <character>DEAN</character> <dialogue>Why do n't you shut the fuck up?</dialogue> <character>BARRY</character> <dialogue>What?</dialogue> <character>DEAN</character> <dialogue>I said calm down and shut the fuck up. What's your problem?</dialogue> <character>BARRY</character> <dialogue>I have n't even told you what's happened. Your girl that you have that works there for you threatened me and two men just chased me - extorted money -</dialogue> <character>DEAN</character> <dialogue>Go fuck yourself that shit does n't have anything to do with me - this is a legitimate bossiness.</dialogue> <character>BARRY</character> <dialogue>YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. YOU GO FUCK YOURSELF. MY LOVE WAS HURT, SHE GOT HURT. I AM IN LOVE WITH HER AND YOU HURT YOU AND YOU ARE GON NA FUCKING GET HURT. YOU DO N'T TOUCH HER, I LOVE HER.</dialogue> <character>DEAN</character> <dialogue>CALM DOWN SHUT THE FUCK UP AND CALM DOWN SHUT SHUT SHUT UP SHUT UP -</dialogue> <scene_description>They stop screaming . Then :</scene_description> <character>DEAN</character> <dialogue>Now are you threatening me, dick?</dialogue> <character>BARRY</character> <dialogue>You are bad. You are a bad person. you are a bad person and you have no right to take people's confidence in your service -</dialogue> <character>DEAN</character> <dialogue>You better watch your mouth, cunt, you're gon na get hurt.</dialogue> <character>BARRY</character> <dialogue>NO. NO. DO N'T YOU SAY THAT.</dialogue> <character>DEAN</character> <dialogue>I'll say whatever I want -</dialogue> <character>BARRY</character> <dialogue>YOU FUCK OFF. YOU FUCK OFF AND DIE I WILL HURT YOU FOR HURTING HER. YOU HURT HER.</dialogue> <character>DEAN</character> <dialogue>You just told me to fuck off. That was n't good. You're dead.</dialogue> <scene_description>Dean hangs up the phone . ANGLE , BARRY . He turns away and walks quickly out of his office with the phone receiver to his ear . the base of the phone slides off the desk . and then the receiver RIPS from the base and he starts to run .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE - NIGHT</stage_direction> <scene_description>Barry runs down the alley way , much the same he ran down with the harmonium at the beginning of the movie . this time he has the phone in his hand . he runs .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL/RECEPTION AREA - NIGHT</stage_direction> <scene_description>Barry returns looking for Lena . She 's not there . He looks around . does some math in his head . then :</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL/PAY PHONE</stage_direction> <scene_description>CAMERA rounds a corner and discovers Barry on a pay phone . the other end is ringing . -LRB- Sound/Prop Dept.Note : This must be a working phone to call 801 - 555 - 1212 -RRB-</scene_description> <character>OPERATOR</character> <dialogue>What city?</dialogue> <character>BARRY</character> <dialogue>Somewhere in Utah.</dialogue> <character>OPERATOR</character> <dialogue>What's the listing?</dialogue> <character>BARRY</character> <dialogue>D&amp;D Mattress Man.</dialogue> </scene> <scene> <stage_direction>EXT. STREET/MATTRESS STORE - DAY</stage_direction> <scene_description>CU . on Barry . -LRB- UTAH CAB behind him -RRB- pan him around to reveal ; Dean 's furniture store .</scene_description> </scene> <scene> <stage_direction>INT. MATTRESS STORE - DAY</stage_direction> <scene_description>He enters . and EMPLOYEE approaches ;</scene_description> <character>EMPLOYEE</character> <dialogue>May I help you?</dialogue> <character>BARRY</character> <dialogue>I'm looking for the Mattress Man.</dialogue> <character>EMPLOYEE</character> <dialogue>Who?</dialogue> <character>BARRY</character> <dialogue>Whoever owns this.</dialogue> <character>EMPLOYEE</character> <dialogue>In the back.</dialogue> <scene_description>Barry walks towards the back . he rounds a corner . to reveal : DEAN is in a back room , he 's getting his hair cut by LATISHA . he turns and looks at Barry , who stands there with the phone in his hand . They stare at each other .</scene_description> <character>BARRY</character> <dialogue>I'm a nice and reasonable man. I did n't do anything wrong. Please do n't make me hurt you. And I'm telling you : that if you ever hurt me or if you hurt someone that I love. I will hurt you many, many, many times over. because it's not right to take people's trust.</dialogue> <character>DEAN</character> <dialogue>You came all the way from Los Angeles to tell me that?</dialogue> <character>BARRY</character> <dialogue>Yes I did.</dialogue> <scene_description>Dean does n't respond .</scene_description> <character>BARRY</character> <dialogue>Can we agree that that is that?</dialogue> <character>DEAN</character> <dialogue>That's that.</dialogue> <character>BARRY</character> <dialogue>Thank you.</dialogue> <scene_description>Barry hands him the phone . Barry exits . as he 's about to go out the doors , Dean screams ;</scene_description> <character>DEAN</character> <dialogue>NOW GET THE FUCK OUTTA HERE MAN.</dialogue> <scene_description>CAMERA , PUSHES IN VERY SLIGHTLY ON Barry as he exits the doors -LRB- 30fps -RRB-</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>Barry comes running into the warehouse . Lance and all the workers are there . he runs past them .</scene_description> <character>LANCE/WORKERS</character> <dialogue>are you ok? What's goin' on? Barry? Barry?</dialogue> <character>BARRY</character> <dialogue>I'm fine. I'm fine. yes I'm fine.</dialogue> <character>LANCE</character> <dialogue>Where you been?</dialogue> <character>BARRY</character> <dialogue>Well I had to go to Utah. but now I'm here and I'll be right back.</dialogue> </scene> <scene> <stage_direction>INT. LENA'S APARTMENT - CORRIDOR/VARIOUS</stage_direction> <scene_description>Various : Barry gets out of the elevators carrying the harmonium . he makes the left turn this time . Barry runs down the hallway with the harmonium . -LRB- long lens , steadicam from behind , in front , etc. -RRB-</scene_description> </scene> <scene> <stage_direction>INT. LENA'S APARTMENT/HALLWAY - THAT MOMENT</stage_direction> <scene_description>He bursts through the door . He places the harmonium down on the ground . He rings the bell . she answers . he says :</scene_description> <character>BARRY</character> <dialogue>Lena I'm so sorry. I'm so sorry that I left you at the hospital. I called a phone sex line. I called a phone sex line before I met you and then these four blond brothers came after me and you got hurt and I'm sorry - and I had to leave because I do n't want you to get hurt again and now I'm here and I'm back and I have a lot of pudding that I can redeem in six to eight weeks and if you give me that much time I can get enough miles to fly with you wherever you have to go if you have to travel for your job because I do n't want to be anywhere without you. can you please let me redeem the mileage?</dialogue> <character>LENA</character> <dialogue>You left me at the hospital.</dialogue> <character>BARRY</character> <dialogue>I'm sorry.</dialogue> <character>LENA</character> <dialogue>You ca n't do that.</dialogue> <character>BARRY</character> <dialogue>Ok.</dialogue> <scene_description>BEAT .</scene_description> <character>BARRY</character> <dialogue>If you give me six to eight weeks I can redeem the mileage and then I can with you wherever you have to travel.</dialogue> <character>LENA</character> <dialogue>So here we go.</dialogue> <scene_description>CAMERA PUSHES IN AS MY KISS . REVERSE , BARRY . CAMERA slowly pushes in as he hugs Lena . LAND IN CU . FADE OUT .</scene_description> </scene> </script>

Barry Egan is a single man who owns a company that markets themed toilet plungers and other novelty items. He has seven overbearing sisters who ridicule and emotionally abuse him regularly and leads a lonely life punctuated by fits of rage and social anxiety. In the span of one morning, he witnesses an inexplicable car accident, picks up an abandoned harmonium from the street, and encounters Lena Leonard, a coworker of one of his sisters, Elizabeth. Lena had orchestrated this meeting after seeing him in a family picture belonging to Elizabeth. Barry goes to his sister's birthday party, where the rest of his sisters ridicule him. They bring up the times when they would call him "gay boy" until he got mad. They bring up an incident from when he was younger when he threw a hammer through their sliding glass window. He reacts angrily, shattering his sister's windows. He talks to his brother-in-law where he asks if he can give him the phone number to a therapist. Coping with his loneliness, Barry calls a phone-sex line, but the operator attempts to extort money and sends her four henchmen, who are brothers, to collect. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a Healthy Choice promotion and amass a million frequent flyer miles by buying large quantities of pudding. After Lena leaves for Hawaii on a business trip, Barry decides to follow her. He arrives and calls Elizabeth to find out where Lena is staying. When his sister starts abusing him again, Barry snaps and demands she give him the information, which she does. Lena is overjoyed to see Barry. They spend time together and make love. At first, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came only for her. When Barry's sister calls Lena in Hawaii, Lena tells her that she hasn't had any contact with Barry, loyally preserving his and their privacy. The romance develops further, and Barry finally feels some relief from the emotional isolation he has endured. After they return home, the four brothers ram their car into Barry's, leaving Lena mildly injured. With his new-found freedom from loneliness in jeopardy, a surprisingly aggressive and poised Barry adeptly fights off all four of the goons in a matter of seconds, using a tire iron as a weapon. Wanting to make sure Lena is never hurt again, Barry leaves Lena at the hospital and tries to end the harassment by calling the phone-sex line back and speaking to the "supervisor", who turns out to be Dean Trumbell, who is also the owner of a mattress store. Barry travels to the mattress store in Provo, Utah, to confront Dean face to face. Dean, at first trying to intimidate Barry, finds Barry more intimidating after Barry tells him that he is in love and it makes him stronger than anyone else. An end to the harassment is implied once Dean learns that Barry has come all the way from LA to confront him instead of going to the police, though Dean tries to save face by getting in the last word. Barry returns to Lena's apartment, and tells her everything, about the phone-sex episode, and Dean's goons, and begs her for forgiveness, pledging his loyalty and to use his frequent-flier miles to accompany her on all future business trips in just six to eight weeks after his pudding miles are processed. She was upset he left the hospital but eventually agrees, and they embrace happily. Some time later, Lena approaches Barry in his office while he plays the harmonium. She puts her arms around him and says, "So, here we go."

The Batman_2022

tt1877830

<script> <scene> <character>THE BATMAN</character> <dialogue>by</dialogue> <scene_description>Matt Reeves &amp; Peter Craig previous revisions by Matt Reeves Matt Reeves &amp; Mattson Tomlin Written by Matt Reeves &amp; Peter Craig Based on characters from DC Batman created by Bob Kane and Bill Finger This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior permission. WHITE FEBURARY SHOOTI NG DRAFT: ARTICULATED PRODUCTIONS LIMITED ROZAR PICTU RES, LLC February 9, 2020 4000 Warner Boulevard Burbank, © 2020 California 91522 WARNER BROS. ENT. All Rights Reserved The quiet hum of CITY TRAFFIC and DISTANT SIRENS. Gradually, we make out something unnerving, right beside us: SOMEONE BREATHING... A MASSIVE RED TITLE FADES UP:</scene_description> <character>"T H E B A T M A N"</character> <dialogue>HOLD; then SMASH OUT OF THE BLACKNESS TO REVEAL</dialogue> <scene_description>AN OUT OF FOCUS BINOCULAR POV - DUSK We FOCUS, SE ARCHING THE FACADE OF AN OPULENT TOWNHOUSE ... The BREATHING SUDDENLY QUIETS as a SHAPE APPE ARS IN A WINDOW -- a LITTLE RED NINJA gazes out, clutching a small sword. The ninja spins, brandishing the sword as TWO SHAPES enter behind him -- a WOMAN, late 30s, dressed as a WITCH -- and a MAN, late 50s, in a WELL-CUT SUIT. The little ninja rushes in, "stabbing" the Man, who collapses melodramatically. The Woman smiles -- speaks to the ninja, and he grabs a PUMPKIN CANDY BUCKET as they start to exit. The Man sits up, yells after them; the ninja runs back for a hug. Finally, the ninja and Woman exit, LEAVING THE MAN ALONE. He grows SOBER. As the Man pulls himself up, the BREATHING BESIDE US RESUMES...</scene_description> </scene> <scene> <stage_direction>INT. OPULENT TOWNHOUSE - DIMLY-LIGHTED STUDY - NIGHT</stage_direction> <scene_description>In the light of the flickering TV, we see now the Man is handsome, distinguished. He stands, sipping scotch, watching THE NEWS; a CHYRON reads, "GOTHAM MAYORAL RACE":</scene_description> <character>FEMALE NEWSCASTER (ON TV)</character> <dialogue>Just-released polls have incumbent mayor, Don Mitchell, Jr. and twenty-eight year old grassroots challenger, Bella Real in a dead heat. Things certainly got hot last night in their final debate before next Tuesday's election...</dialogue> <scene_description>As the Man anxiously watches the DEBATE CLIP, we realize: he is MAYOR MITCHELL; his female challenger, BELLA REAL, young, intelligent, a force of nature, shares the stage --</scene_description> <character>MAYOR MITCHELL (ON TV)</character> <dialogue>Now my young opponent here wants to gut the Gotham Renewal Program established by the great Thomas Wayne, cutting the funds for vital projects like our sea wall, and the safety net for those in need--</dialogue> <scene_description>-- the Renewal Program is broken! The city's been "renewi ng" for twenty years, look where it's gotten us! Crime has skyrocketed!</scene_description> <character>MAYOR MITCHELL (ON TV)</character> <dialogue>Now wait a minute</dialogue> <character>BELLA REAL (ON TV)</character> <dialogue>hold</dialogue> <scene_description>.Q!!. historic highs! We have a masked vigilante running the streets!</scene_description> <character>MAYOR MITCHELL (ON TV)</character> <dialogue>-- under my administration the Gotham PD dealt major blows against organized crime and drug trafficking! The Salvatore Maroni case was the biggest drug bust in city history</dialogue> <character>BELLA REAL (ON TV)</character> <dialogue>but drops and other</dialogue> <character>MAYOR MITCHELL (ON TV)</character> <dialogue>I'm not saying there isn't</dialogue> <scene_description>drugs are still rampant! work to do -- but listen -- It's gotten worse! I have a beautiful wife and young son, ok? I will not rest until this city is safe for them -- and all our citizens! Mitchell turns, startled, as a PHONE RINGS. As he EXITS FRAME to answer, we STAY on a DARK HALL BEHIND THE STUDY -- on the wall by the door way, we see a framed headline: "MARONI DRUG BUST! MAYOR'S STING OPERATION HISTORIC". As the TV brightens, we SEE for the first time, SOMEONE IS IN THE HALL. Barely visible, the Figure wears a DARK, OLIVE GREEN HOOD -- a homemade executioner's mask, with PRESCRIPTION AVIATOR GLASSES bizarrely outside the hood.</scene_description> <character>MAYOR MITCHELL (O.S.)</character> <dialogue>Hey. Yeah, I'm watching GCl ...</dialogue> <scene_description>As Mitchell PACES IN AND OUT OF FRAME, the Figure's hooded head ominously tracks him...</scene_description> <character>MAYOR MITCHELL (O.S.)</character> <dialogue>Why is she still tied -- I thought we were getting a bump in the new Post poll... ? Ok, you know what? I can't, I can't watch this anymore -- call me in the morning --</dialogue> <scene_description>We HEAR the phone hang up, and Mitchell RE-ENTERS FRAME, agitated; as he SHUTS OFF THE TV, the HALL BEHIND HIM SUDDENLY GOES DARK, the FIGURE NO LONGER IN SIGHT.</scene_description> <character>THE FIGURE LURCHES OUT THE DARK -- FRANTICALLY CLUBBING</character> <dialogue>HIM OVER AND OVER -- suddenly, the WEAPON SLIPS LOOSE -- it SKITTERS right at us and STOPS. A GLEAMING METAL TOOL. Whatever it is, it's WET with blood. The Figure turns, PANTING, rises off the m otionless victim, trudges over to us... A GLOVED HAND retrieves the strange weapon. The Figure walks back, regarding the victim for a l ong, creepy m oment... then stretches its arms as far as they will g o, LOUDLY UNSPOOLING a LONG PIECE OF SILVER DUCT TAPE... And with a LOW RUMBLE OF THUNDER, we SLAM INTO --</dialogue> <scene_description>BLACKNESS AGAIN... We HEAR PATTERING RAIN as a HYPNOTIC VOICE OVER begins:</scene_description> <character>VOICE OVER</character> <dialogue>Thursday, October thirty-first...</dialogue> <scene_description>A GAS ARC BULB BURNS to life... glowing BRIGHTER... BRIGHTER... REVEAL ING: We're INSIDE A SEARCHLIGHT...</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - ON THE RUSTED SEARCHLIGHT - NIGHT</stage_direction> <scene_description>As the LIGHT INTENSIFIES -- RAINDROPS ILLUMINATE BEATING and DANCING CHAOTICALLY on the hot lens --</scene_description> </scene> <scene> <stage_direction>EXT. RAINY GOTHAM STREETS - HIGH ANGLE - NIGHT</stage_direction> <scene_description>A bacchanalian Times Square vibe. COSTUMED HALLOWEEN REVELERS swarm wet sidewalk s in the glow of NEON and LED.</scene_description> <character>VOICE OVER</character> <dialogue>The city streets are crowded for the holiday, even with the rain...</dialogue> <character>MOVING POV - ON THE SIDEWALK</character> <dialogue>We PUSH INTO the sea of COSPLAYERS, CLOBBERS, TOURISTS...</dialogue> <character>VOICE OVER</character> <dialogue>Hidden in the chaos... is the element. Waiting to strike like snakes at the decent... the vulnerable...</dialogue> <scene_description>A MALE FIGURE suddenly ENTERS FRAME</scene_description> <character>VOICE OVER</character> <dialogue>But I'm there too, watching ...</dialogue> <scene_description>a DUFFEL on his shoulder. He looks like a DRIFTER...</scene_description> <character>SUPER-TIGHT ON THE DRIFTER'S INTENSE EYES AS HE WALKS...</character> <dialogue>VOICE OVER</dialogue> <scene_description>Two years of nights have turned me into a nocturnal animal... My senses are heightened now... I can almost smell them...</scene_description> </scene> <scene> <stage_direction>EXT. BODEGA - MOVING POV TOWARD THE WINDOW - NIGHT</stage_direction> <scene_description>PEER IN at the few COSTUMED SHOPPERS inside; a GUY in a HOODIE and YELLOW SAD EMOJI MASK steps to the counter</scene_description> <character>VOICE OVER</character> <dialogue>I must choose my targets carefully...</dialogue> <scene_description>INSIDE Sad Emoji NERVOUSLY PULLS A GUN on the CASHIER!</scene_description> <character>SAD EMOJI</character> <dialogue>C' mon... !</dialogue> </scene> <scene> <stage_direction>EXT. COLOSSAL GOTHAM BANK - MOVING POV - NIGHT</stage_direction> <scene_description>We SPY THREE VANDALS, SPRAY-PAINTING the huge pi llars</scene_description> <character>VOICE OVER</character> <dialogue>It's a big city, I can't be everywhere...</dialogue> <scene_description>THE VANDALS wear GUY FAWKES MASKS -- one LIGHTS A MOLOTOV COCKTAIL -- HURLS IT, SHATTERING THE GLASS FRONT DOOR --</scene_description> </scene> <scene> <stage_direction>INT. A SPEEDING ELEVATED TRAIN - LURKING POV - NIGHT</stage_direction> <scene_description>WE PEER THROUGH the CONNECTING DOOR INTO THE CAR AHEAD where EIGHT GANG MEMBERS in SKULL FACE PAINT carouse --</scene_description> <character>VOICE OVER</character> <dialogue>But they don't know where I am...</dialogue> <scene_description>THE CAR AHEAD The gang crowds, jockeying to see a CELLPHONE VIDEO. THE GANG striding through a park -- ONE points at a RANDOM JOGGER -- ANOTHER responds, PUNCHING HIM OUT!</scene_description> <character>THE GANG WATCHING THE CELLPHONE</character> <dialogue>recoils with LAUGHTER -- when THE GANG LEADER notices a LONE PASSENGER rising as the TRAIN SLOWS. He turns to a YOUNGER MEMBER, nodding toward the Passenger with a menacing smile -- as the Y oung Member looks anxiously</dialogue> </scene> <scene> <stage_direction>EXT. A SHADOWY SPACE - NIGHT</stage_direction> <scene_description>FINGERS QUICKLY SMEAR BLACK CAMO PAINT around fierce eyes, veiled in darkness -- as we spot THE DRIFTER'S ARMY DUFFLE on wet ground -- inside, we GLIMPSE THE BAT COWL!</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - ON THE RUSTED SEARCHLIGHT - NIGHT</stage_direction> <scene_description>A crude but ICONIC BAT SYMBOL BLAZES at its center</scene_description> <character>VOICE OVER</character> <dialogue>We have a signal now... for when I'm needed...</dialogue> <scene_description>REVEAL A SILHOUETTED MAN beside the light, waiting</scene_description> <character>VOICE OVER</character> <dialogue>But when that light hits the sky, it's not just a call...</dialogue> <scene_description>He's perched atop an ABANDONED, HALF-BUILT SKYSCRAPER -- THE BRIGHT BEAM REACHES UPWARDS, sparkling in the rain --</scene_description> <character>VOICE OVER</character> <dialogue>It's a warning. T o them...</dialogue> <scene_description>OUTSIDE THE BODEGA Sad E moji BOLTS OUT toward a DARK ALLEY -- when he spots TWO PEDESTRIANS GAPING UP AT THE SKY IN ALARM -- he slows, peering up to SEE -- THE BAT SIGNAL LOOMING!</scene_description> <character>VOICE OVER</character> <dialogue>Fear is a tool...</dialogue> <scene_description>Sad E moji stops, panic dawning as he turns to the DARK ALLEY -- he backs away, into the street -- a CAR SKIDS, HITTING HIM! He DROPS -- but fear lifts him, and he just keeps running -- the sounds of a HELICOPTER grow as we -- ON A VANDAL -- hearing the copter, he peers up at -- A POLICE CHOPPER SOARING PAST THE BAT SIGNAL IN THE CLOUDS!</scene_description> <character>VOICE OVER</character> <dialogue>They think I'm hiding in the shadows...</dialogue> <scene_description>He drops his spray can, startled as it CLATTERS! It rolls ominously under a DARK ARCHWAY -- he stares, chilled --</scene_description> <character>VOICE OVER</character> <dialogue>But I fill! the shadows.</dialogue> <scene_description>A SIREN APPROACHES -- the VANDAL SPINS -- joining the others as THEY FLEE -- we see the painted letters spell "BROKE!" on the pillars; behind, A FIRE RAGES in the building -- FLAMES RISE as a MENACING LOW RUMBLE BUILDS and with a STARTLING BURST of METALLIC SCREECHING, we</scene_description> </scene> <scene> <stage_direction>EXT. ELEVATED TRAIN PLATFORM - POURING RAIN - NIGHT</stage_direction> <scene_description>The TRAIN SCREECHES TO A STOP -- our Lone Passenger emerges onto the deserted platform -- when he hears FOOTSTEPS and LAUGHTER behind -- he TURNS, startled The EIGHT SKULL FACED G ANG MEMBERS are behind him. The Young Member stands coiled -- a haunted look in his eyes -- the others watch with PHONES raised, filming</scene_description> <character>ONE OF THE MEMBERS</character> <dialogue>DO it, man...!</dialogue> <scene_description>He hesitates, losing nerve -- and the Passenger BOLTS!</scene_description> <character>THE LEADER</character> <dialogue>GET HIM!</dialogue> <scene_description>The GANG PLOUGHS FORWARD KNOCKING the YOUNG MEMBER DOWN as they RACE PAST -- ! THEY POUNCE ON THE PASSENGER! CLOSE ON THE YOUNG GANG MEMBER -- the TRAIN ROARING OFF beside him -- WHEN HE SPOTS THE BAT SIGNAL IN THE SKY! His EYES DART around -- AS SCREAMS APPROACH; he turns -- The LEADER YANKS the YOUNG MEMBER to his feet -- while the GROUP holds the PASSENGER -- a DREADFUL SILENCE settling over the station as the train roar recedes...</scene_description> <character>THE LEADER</character> <dialogue>Now knock his ass out...</dialogue> <scene_description>The Young M ember stares, steeling himself WHEN -- Everyone turns, looking anxiously around -- THE YOUNG MAN 'S EYES STARE into a DARK VOID beneath an overhang THE OTHERS LOOK TOO -- AS -- CLICK ... CLICK ... CLICK ... A MASKED FIGURE SHROUDED IN BLACK APPEARS LIKE AN APPARITION FROM THE SHADOWS -- STEPPING INTO THE RAIN IT'S THE BATMAN. Everyone stares, unnerved. The Leader smirks, sizing up what he assumes is just another Halloween costume --</scene_description> <character>THE LEADER</character> <dialogue>The hell are you supposed to be?</dialogue> <scene_description>Batman stands there for a long, scary beat, eyes veiled:</scene_description> <character>THE BATMAN</character> <dialogue>I'm vengeance.</dialogue> <scene_description>The unsettling effect of this response has barely an instant to register before BATMAN stalks for THE LEADER</scene_description> <character>ONE OF THE GANG MEMBERS</character> <dialogue>Holy shit -- it's him -- !!!</dialogue> <scene_description>THE LEADER raises his hands ready to fight -- but totally unprepared for this fight -- because -- BATMAN'S MOVEMENTS ARE INCONCEIVABLY BRUTAL AND FAST -- The LEADER SWINGS -- BATMAN SEIZES HIS ARM -- a martial artist's savage grace -- using his attacker's momentum to WRENCH HIM OFF BALANCE -- SNAPPING HIS ARM SICKENINGLY -- THE LEADER SCREAMS -- as BATMAN SILENCES HIM AGAIN WITH A RAIN OF HEAD-SNAPPING JACKHAMMER PUNCHES IN THE FACE And like that, the Leader is down, bleeding, moaning -- Batman looks up at the others, who gaze back, stunned -- when a TRIO OF GANG MEMBERS RUSH HIM -- CHAOS -- as BATMAN DISPENSES WITH THEM ALL AT ONCE in a FLUID, BUT TOTALLY STREET-FIGHT REALISTIC ATTACK of KICKS and HARD FIST BLOWS -- BATMAN TAKES HITS TOO -- but his TERRIFYING SKILL keeps impact from landing -- HE'S LIKE A MACHINE Panic rips through the gang -- the YOUNG MEMBER'S eyes widen as he SEES -- SOMEONE PULLING OUT A .38 SPECIAL --</scene_description> <character>YOUNG GANG MEMBER</character> <scene_description>BATMAN SPINS -- SEEING THE GUN -- STARTS RIGHT FOR IT -- THE GANG MEMBER OPENS FIRE! BATMAN FLINCHES as the BULLETS DISAPPEAR into his suit's BALLISTIC FIBER -- HE ADVANCES GRABBING THE MEMBER'S STILL-FIRING GUN ARM IN ONE HAND -- AND HIS THROAT IN THE OTHER --</scene_description> <character>TASER CURRENT ZAPS FROM BATMAN'S GLOVED FINGERS INTO THE</character> <dialogue>GANG MEMBERS NECK! The Gang Member DROPS, CONVULSING! Batman slowly lifts his head, looking for more comers... The few remaining on their feet gape -- frozen -- Batman watches -- as they BREAK INTO A RUN -- all -- EXCEPT -- the Youngest Gang Member -- who hesitates briefly under Batman's stone-faced gaze -- in awe -- then, races off ...</dialogue> <dialogue>Batman looks down to discover the Passenger, knocked to the ground in the chaos; he RAISES HIS HANDS, terrified --</dialogue> <character>PASSENGER</character> <dialogue>...please don't hurt me...</dialogue> <scene_description>Batman just gazes strangely, cocking his head, taking a step slowly toward him -- the Passenger BRACES HIMSELF -- as Batman PEERS DOWN at SOMETHING BESIDE THE PASSENGER'S HEAD -- a REFLECTION on the wet ground -- THE BAT SIGNAL! Batman LOOKS UP -- wondering how long it's been there --</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S TOWNH OUSE - MOVING DOWN THE HALL - NIGHT</stage_direction> <scene_description>FILLED WITH HUSHED COPS now; some turn as they NOTICE US, STARING WITH HARSH EDGE -- like what is he doing here?! REVEAL BATMAN, striding, unfazed, led by LIEUTENANT JAMES GORDON, mid-40s -- the Man we saw by the Bat Signal</scene_description> <character>AT THE ENTRANCE TO THE STUDY</character> <dialogue>A UNIF ORMED OFFICER steps into Batman's path -- ALARMED --</dialogue> <character>YOUNG OFFICER</character> <dialogue>Whoa-whoa-whoa -- police action</dialogue> <scene_description>Batman glares down at the Officer's hand on his chest --</scene_description> <character>G ORDON</character> <dialogue>He's with me, Officer</dialogue> <character>YOUNG OFFICER</character> <dialogue>Are ya-- are ya kiddin' me, sir? You gonna let him in here...?</dialogue> <character>G ORDON</character> <dialogue>Let him pass, Martinez.</dialogue> <scene_description>The Officer turns in disbelief; steps aside --</scene_description> <character>YOUNG OFFICER (MARTINEZ)</character> <dialogue>...goddamn freak...</dialogue> <scene_description>MITCHELL lies dead, HEAD MUMMIFIED IN DUCT TAPE -- over his mouth in red it says: "NO MORE LIES". INVESTIGATORS TURN IN UTTER S HOCK at BATMAN APPROACHING WITH GORDON --</scene_description> <character>GORDON</character> <dialogue>What do we know?</dialogue> <scene_description>The LEAD is rattled as Batman stares at the body --</scene_description> <character>GORDON</character> <dialogue>Detective --</dialogue> <character>LEAD DETECTIVE</character> <dialogue>Sorry, Lieutenant... OK, yeah, we got... blunt-force trauma, lacerations on the head. He got hit alotta times, and hard.</dialogue> <character>GORDON</character> <dialogue>All this blood's from his head?</dialogue> <character>LEAD DETECTIVE</character> <dialogue>Most of it's from his hand --</dialogue> <scene_description>CLOSE ON BATMAN staring, as the Detective LIFTS THE HAND INTO FRA ME, SOFT FOCUS FOREGROUND -- showing GORDON</scene_description> <character>LEAD DETECTIVE</character> <dialogue>Thumb was severed. Killer may have ta ken it as a trophy</dialogue> <character>BATMAN</character> <dialogue>He was alive when it was cut off.</dialogue> <scene_description>Appalled, they turn to Batman, who stares at the hand --</scene_description> <character>BATMAN</character> <dialogue>Ecchymosis around the wound --</dialogue> <scene_description>He rises to survey the area. Thrown by the interruption, the Detective watches him go -- turns back to Gordon:</scene_description> <character>DETECTIVE</character> <dialogue>Security detail downstairs says the family was out trick-or- treating. Mayor was up here alone. Killer came throu g h the skylight.</dialogue> <scene_description>Batman sees a PHOTOGRAPHER flash a shot of BLOOD SPATTER on the FRAMED MARONI DRUG BUST HEAD LINE on the wall -- when Batman CLOCKS a FRESH GAS H IN THE WOOD FLOOR (the spot w here the strange metal tool landed in our opening). noticing -- it's a detail he obviously missed -- as soon as Batman rises -- he hustles over -- SNAPS A SHOT --</scene_description> <character>GORDON</character> <dialogue>You said there was a card --</dialogue> <scene_description>The Detective hands over AN ENVELOPE. Gordon pulls out a HALLMARK-STYLE HALLOWEEN CARD: a CREEPY SKELETON SMILES behind a WIDE-EYED OWL, tapping his shoulder</scene_description> <character>GORDON</character> <dialogue>"From a secret friend ... Who?"</dialogue> <parenthetical>( opens card, reads)</parenthetical> <dialogue>"Haven't a clue? Let's play a game, just me and you... "</dialogue> <scene_description>Batman peers, as Gordon reads the KILLER'S SCRAWL --</scene_description> <character>GORDON</character> <dialogue>"What does a liar do when he's dead?"</dialogue> <scene_description>WEIRD SYMBOLS ARE ETCHED at the bottom -- Gordon pulls a PIECE OF PAPER from the envelope -- MORE WEIRD SYMBOLS</scene_description> <character>GORDON</character> <dialogue>There's a cipher too... Any of this... mean anything to you...?</dialogue> <scene_description>Gordon pointedly shows Batman THE ENVELOPE Batman stares, struck -- but before he can speak --</scene_description> <character>A QUIET, ALARMED VOICE (O.S.)</character> <dialogue>What's goin' on here?</dialogue> <scene_description>Everyone turns to see COMMISSIONER PETE SAVAGE, mid-50s -- appalled at the sight of Batman</scene_description> <character>GORDON</character> <dialogue>I asked him to come, Pete --</dialogue> <character>COMMISSIONER SAVAGE</character> <dialogue>This is a crime scene -- it's Mitchell, for C hrissakes -- I got press downstairs -- !</dialogue> <parenthetical>( then, darker)</parenthetical> <dialogue>You know I cut you a lotta slack, Jim, 'cuz we got history, but this is way over the line... !</dialogue> <scene_description>Gordon hands him the card; Savage reads in horror -- when, he sees THE ENVELOPE -- where he -- and we -- DISCOVER it's addressed: "TO THE BATMAN" -- Wait -- he's involved in this -- ?</scene_description> <character>GORDON</character> <dialogue>No, no -- he's not involv--</dialogue> <character>COMMISSIONER SAVAGE</character> <dialogue>How do you know? He's a he's a goddamn vigilante -- he could be a suspect! Whattaya doing to me -- � used to be partners</dialogue> <character>GORDON</character> <dialogue>Pete -- I'm just looking for the connection --</dialogue> <character>BATMAN (O.S .)</character> <dialogue>He lies still...</dialogue> <scene_description>They turn -- to see Batman, eyes fixed on the body --</scene_description> <character>COMMISSIONER SAVAGE</character> <dialogue>Excuse me -- ?</dialogue> <character>GORDON</character> <parenthetical>(getting it, nodding)</parenthetical> <dialogue>The riddle. "What does a liar do when he's dead" ...? He lies still.</dialogue> <scene_description>Unnerv ed by all this, Savage looks bitterly at Batman --</scene_description> <character>COMMISSIONER SAVAGE</character> <dialogue>Jesus... This must be your favorite night of the year, huh pal? Happy Fuckin' Halloween.</dialogue> <scene_description>AN OFFICER appears in the doorway --</scene_description> <character>ANOTHER OFFICER</character> <dialogue>Excuse me, Commissioner -- they're ready for your statement ...</dialogue> <scene_description>Savage sighs, nods -- turns to Gordon, deadly serious</scene_description> <character>COMMISSIONER SAVAGE</character> <dialogue>I want him outta here. Now.</dialogue> <scene_description>And he leaves. As the POLICE ALL GLAR E, Gordon starts to lead Batman out -- but Batman stops, spotting something -- a BLOODY FOOTPRINT, child sized -- Gordon sees it, grim:</scene_description> <character>GORDON</character> <dialogue>Yeah, kid was the one found him.</dialogue> <scene_description>Batman looks up at him disturbed: what kid...?</scene_description> <character>CUT TO:</character> <dialogue>Without his mask, we see now it's a TEN-YEAR-OLD BOY. We look through the doorway at him as he stares down, lost, surrounded by COPS. Finally, he LOOKS UP at us -- REVEAL BATMAN gazing back through the doorway. As MORE COPS BEGIN TO NOTICE HIM -- Gordon, beside him, WHISPERS:</dialogue> <character>GORDON</character> <dialogue>We... really gotta go, man ...</dialogue> <scene_description>Batman nods, but stays a moment longer -- the aching, opening chords of NIRVANA'S "S OMETHING IN THE WAY" BEGIN; HOLD as Batman stares from somewhere under that mask.. . an unspoken connection to this newly fatherless boy...</scene_description> <character>COMMISSIONER SAVAGE (PRELAP)</character> <dialogue>Tonight, a son lost a father...</dialogue> </scene> <scene> <stage_direction>EXT. MAYOR'S MANSION - FRONT STEPS - PRE-DAWN</stage_direction> <scene_description>A press conference; MITCHELL'S WIFE cries behind Savage --</scene_description> <character>COMMISSIONER SAVAGE</character> <dialogue>...a wife lost a husband. And I lost a friend. Mayor Mitchell was a fighter for our city and I won't rest until this killer is found...</dialogue> <scene_description>As NIRVANA CONTINUES</scene_description> <character>DISTANT PERSPECTIVE ON THE PRESS CONFERENCE - SAME MOMENT</character> <dialogue>An ENGIRE PURRS; PULL BACK TO REVEAL we're LOOKING PAST A FIGURE -- THE DRIFTER. He watches from the shadows across the street on a n old, unpainted CAFE RACER MOTORCYCLE; he pulls on a HELMET ... CLOSE ON the dark, full face visor --</dialogue> <character>VOICE OVER</character> <dialogue>I wish I could say I'm making a difference... but I don't know...</dialogue> </scene> <scene> <stage_direction>EXT. GOTHAM - MOVING THROUGH THE STREETS - PRE-DAWN</stage_direction> <scene_description>NIRVANA SWELLS as we CHASE the BIKE through LOWER GOTHAM; the PRESS CONFERENCE BLAZES on DECAYING JUMBOTRONS --</scene_description> <character>VOICE OVER</character> <dialogue>Murder, robberies, assault -- two years later, they're all up... And now this...</dialogue> <character>SIG NS: "A GOTHAM RENEWAL PROJECT" -- PLASTERED OVER SOME</character> <dialogue>ARE BELLA REAL CAMPAIGN BILLS: "TIME FOR A REAL CHANGE" --</dialogue> <character>VOICE OVER</character> <dialogue>The city's eating itself ... Maybe it's beyond saving...</dialogue> <scene_description>-- ALONG ONE OF THE B RIDGES SPANNING THE ISLANDS OF</scene_description> <character>GOTHAM -- SK YLINE BEHIND -- A MASSIVE SEA WALL BELOW</character> <dialogue>VOICE OVER</dialogue> <scene_description>But I have to try. Push myself ... -- UNTIL WE SOAR OVER THE BIKE AS IT TEARS THROUGH A</scene_description> <character>ROLLING CITY PARK -- DOWN A NARROW ROAD -- DISAPPEARING</character> <dialogue>INTO A TUNNEL UNDER A BEAUTIFUL, ARCHING B RIDGE -- WE TIP</dialogue> <character>UP TOWARD THE DISTANCE, TO SEE IT'S HEADING TOWARD --</character> </scene> <scene> <stage_direction>INT. NARROW, OLD TUNNEL - PRE-DAWN</stage_direction> <scene_description>The bike rips down a secret passage from a bygone era -- INTO THE UNDERG ROUND FOUNDATION OF WAYNE TOWER The Drifter SKIDS to a stop, HUNDREDS OF CREATURES all along the rock cei ling STIR ANXIOUSLY TO LIFE -- BATS ...</scene_description> <character>VOICE OVER</character> <dialogue>These nights all roll together, in a rush... behind the mask ...</dialogue> <scene_description>...as he rem oves his helmet -- and we f inally SEE BRUCE WAYNE hands ome, 30, black camo still around his eyes. CUT TO: SUPER TIGHT -- FINGERS REMOVING CONTACT LENSES -- ON THE</scene_description> <character>CURVED SURFACE OF THE LENSES ARE TINY SENSOR BANDS --</character> <dialogue>VOICE OVER</dialogue> <scene_description>Sometimes, in the morning, I have to force myself to remember... CLOSE ON GR AINY VIDEO FOOTAGE -- the gang member from last night LOOKS AT US as he gets tased in the neck --</scene_description> <character>VOICE OVER</character> <dialogue>...everything that happened.</dialogue> <scene_description>OCT. 31" -- "NOCTURNAL ANIMAL" -- "PUSH MYSELF" -- a PEN FINISHES the entry -- as the journal shuts, we see THE COVER: "NOTES &amp; OBSERVATIONS {GOTHAM PROJECT) YR. 2" REVEAL BRUCE - HIGH ANGLE OVER "THE CAVE" - EARLY MORNING NIRVANA ECHOES as Bruce REVIEWS FOOTAGE at a work bench in a giant boiler room turned survivalist chop shop -- PROJECTS IN VARIOUS STATES, including A HALF-BUILT, BLACK MUSCLE CAR, both retro and like nothing we've ever seen. A TV plays GCl; the headline, "MAYOR MITCHELL MURDERED" below it: "ACTING MAYOR TOMLIN TO RUN IN HIS PLACE" GCl NEWSCASTER ...this certainly isn't the first time Gotham has been rocked by the murder of a political figure. In fact, in an eerie coincidence it was twenty years ago this month that celebrated billionaire philanthropist, Dr. Thomas Wayne, and his wife Martha were slain during Wayne's own mayoral campaign in a shocking crime that remains unsolved to this day -- Bruce's eyes go to the TV; when from the FREIGHT ELEVATOR steps ALFRED, 50s, muscular, waistcoat and shirtsleeves -- he walks on an elegant CANE, SCAR on his face, eyes on the TV -- seeing him, Bruce resumes work -- Alfred turns to Bruce -- an unspoken tension; Bruce avoids his gaze --</scene_description> <character>ALFRED</character> <dialogue>I assume you heard about this ... ?</dialogue> <character>BRUCE</character> <dialogue>Yeah.</dialogue> <scene_description>Alfred suddenly notices the CONTACTS LENS MURDER SCENE FOOTAGE Bruce is hi-speeding through -- moves closer --</scene_description> <character>ALFRED</character> <dialogue>Oh. I see...</dialogue> <parenthetical>(off Mitchell's body)</parenthetical> <dialogue>...dear God ...</dialogue> <scene_description>As the CIPHER fills the screen, Bruce FREEZES the image, PRINTING it -- Alfred looks chilled -- as Bruce works --</scene_description> <character>ALFRED</character> <dialogue>The killer left this for Batman?</dialogue> <scene_description>Apparently.</scene_description> <character>ALFRED</character> <dialogue>You're becoming quite a celebrity . ...why is he writing to you?</dialogue> <character>BRUCE</character> <dialogue>I don't know yet.</dialogue> <character>ALFRED</character> <dialogue>Have a shower. The accounting boys from Wayne Enterprises are coming for breakfast.</dialogue> <character>BRUCE</character> <dialogue>Here -- why ?</dialogue> <character>ALFRED</character> <dialogue>Because I couldn't get you to go there --</dialogue> <character>BRUCE</character> <dialogue>I don't have time for this.</dialogue> <character>ALFRED</character> <parenthetical>(a tense beat)</parenthetical> <dialogue>It's getting serious, Bruce. If this continues, it won't be long before you've nothing left --</dialogue> <character>BRUCE</character> <dialogue>I don't care about that. Any of that.</dialogue> <character>ALFRED</character> <dialogue>... you don't care about your family's legacy?</dialogue> <character>BRUCE</character> <dialogue>What I'm doing is my family's legacy -- and if I can't change things here, if I can't have an effect, then I don't care what happens to me --</dialogue> <character>ALFRED</character> <dialogue>That's what I'm afraid of --</dialogue> <character>BRUCE</character> <dialogue>Stop. You're not my father, Alfred.</dialogue> <character>ALFRED</character> <parenthetical>(a thin smile)</parenthetical> <dialogue>I'm ... well aware.</dialogue> <scene_description>to the computer, seeing THUMBNAILS from the lens footage; one is THE BOY IN NINJA COSTUME. He clicks it; the boy looks up, sad. Alfred stares, deeply affected. Alfred's eyes drift to the PRINTED CIPHER. His gaze fixes on words Bruce has written above the eerie symbols in the Halloween card: "HE LIES STILL" . . .</scene_description> </scene> <scene> <stage_direction>INT. WAYNE TOWER - GRAND FOYER - MOVING - MORNING</stage_direction> <scene_description>Atop the staircase, we start on a SET OF DOUBLE DOORS a THICK CHAIN coiled crudely through the handles, a PADLOCK sealing us off from whatever is beyond -- Bruce moves past, down stairs, wet hair, pulling on a t-shirt muscular but underweight like a rock star -- a street fighter's scars and bruises -- MOVE with him, through the apartment's hotel-like scale -- and neglect that has left dirt and disrepair over former grandeur -- he ENTERS --</scene_description> <character>THE DINING ROOM</character> <dialogue>-- to find Alfred at the table, irranersed in what looks like a crossword -- without looking up, Alfred points --</dialogue> <character>ALFRED</character> <dialogue>Some fresh berries there...</dialogue> <scene_description>Bruce squints, unaccustomed to morning; grabbing berries, he pulls out sunglasses -- when he sees Alfred's working on the CIPHER; Alfred's interest breaks the ice --</scene_description> <character>BRUCE</character> <dialogue>... what're you doing?</dialogue> <character>ALFRED</character> <dialogue>Just reminiscing about my days in the Circus. This is actually quite... elusive.</dialogue> <character>BRUCE</character> <dialogue>Where'd you get the O's?</dialogue> <character>ALFRED</character> <dialogue>"He lies still" is only a partial key. It only gives us H, E, L, I, and S -- so I'm looking for any double symbols to start, trying letters, see where it leads...</dialogue> <character>BRUCE</character> <dialogue>Interesting.</dialogue> <character>ELDERLY MAID</character> <dialogue>The gentlemen are here.</dialogue> <scene_description>Alfred discreetly closes his newspaper over the cipher</scene_description> <character>ALFRED</character> <dialogue>See them in please, D ory ...</dialogue> <scene_description>THE D INING ROOM - MOMENTS LATER</scene_description> <character>TWO YOUNG EXECUTIVES STARE RIGHT AT US --</character> <dialogue>ONE OF THE EXECUTIVES</dialogue> <scene_description>I'm afraid we're at a critical point here REVEAL BRUCE -- in SUNGLASSES, stone-faced -- his gaze shifts distractedly to Alfred's newspaper on the table</scene_description> <character>ONE OF THE EXECUTIVES</character> <dialogue>At the very least, we'll need your signature to cover these losses...</dialogue> <scene_description>Bruce reaches for the newspaper, opens it -- the execs glance at each other, thrown; Alfred smiles, apologetic Bruce stares at the SEA OF LETTERS, wheels turning --</scene_description> <character>ONE OF THE EXECUTIVES (O.S.)</character> <dialogue>Mr. Wayne... ?</dialogue> <character>BRUCE</character> <parenthetical>(glances blankly up)</parenthetical> <dialogue>...what?</dialogue> <character>YOUNG EXECUTIVE</character> <dialogue>I... I need your signature, sir...</dialogue> <scene_description>And as Bruce signs -- we PREL AP:</scene_description> <character>BRUCE ( V.0 €� )</character> <dialogue>What if it isn't a partial key ...?</dialogue> <scene_description>BACK IN "THE CAVE" - MINUTES LATER Bruce and Alfred work on the cipher on Bruce's computer --</scene_description> <character>ALFRED</character> <dialogue>What do you mean?</dialogue> <scene_description>What i f it's the whole key? Ignore the symbols we don't have letters for, use only the letters from "he lies still", and leave the rest --</scene_description> <character>ALFRED</character> <dialogue>-- blank, yes -- I understand</dialogue> <parenthetical>(deleting letters)</parenthetical> <dialogue>-- but that will leave most of the cipher unsolved... I don't see how that -- oh...</dialogue> <parenthetical>(suddenly impressed)</parenthetical> <dialogue>Well.</dialogue> <scene_description>They gaze at THE LAPTOP: most of the cipher is now blank, but the remaining letters line up like connect-the-dots to form A SINGLE HUGE WORD across the page: "DRI VE"</scene_description> </scene> <scene> <stage_direction>INT. GOTHAM CITY POLICE DEPARTMENT - COMMAND CENTER - DAY</stage_direction> <scene_description>The room bustles with POLICE and FB I CODEBREAKERS, all fixated on the CIPHER, projected huge on the wall. One of the G.C.P.D. DETECTIVES quietly briefs Gordon</scene_description> <character>DETECTIVE</character> <dialogue>Feds say code could take weeks if they can crack it at all --</dialogue> <scene_description>Gordon's cell rings; he looks: "NO CALLER ID"; answers --</scene_description> <character>BRUCE (V.0 €� )</character> <dialogue>Did Mitchell have a car ?</dialogue> <character>GORDON</character> <dialogue>I'm sorry, can you hold on, honey?</dialogue> <parenthetical>(to Detective)</parenthetical> <dialogue>My daughter, Barbara --</dialogue> <scene_description>The Detective nods as Gordon takes a few steps away --</scene_description> <character>GORDON</character> <parenthetical>(into phone, low)</parenthetical> <dialogue>A car? Yeah, I'm sure -- why...?</dialogue> </scene> <scene> <stage_direction>INT. MAYOR'S MANSION - FREIGHT ELEVATOR - NIGHT</stage_direction> <scene_description>Batman and Gordon descend in DARKNESS -- after a beat, Gordon steals a look, studying the visible part of Batman's face -- Batman feels it, turns -- Gordon looks away -- they stare forward again as the DOORS OPEN to -- They walk out, scanning the maze of stunning vehicles ...</scene_description> <character>GORDON</character> <dialogue>Damn. Where do we even start...?</dialogue> <parenthetical>(eyeing the cars)</parenthetical> <dialogue>You sure this isn't a leap? "Drive" could mean anything ...</dialogue> <character>BATMAN</character> <dialogue>You don't trust me?</dialogue> <character>GORDON</character> <dialogue>Trust you? You mean like you trust �? It's been two years, I still don't even know who you are, man --</dialogue> <character>BATMAN</character> <dialogue>There...</dialogue> <scene_description>Gordon looks at an ASTON DBll: one of the tires is flat. They approach. Batman kneels, pulling a PAIR OF POULTRY SHEARS out of the tire -- they're COVERED IN DRIED BLOOD. INSIDE THE DBll Batman turns on a UV LIGHT BAR searching the console --</scene_description> <character>GORDON</character> <dialogue>What're we looking for ?</dialogue> <character>BATMAN</character> <dialogue>...USB port</dialogue> <scene_description>GORDON:</scene_description> <character>-- USB -- ?</character> <dialogue>Batman stops, struck. Looks at Gordon, who can't see inside the console -- then looks back --</dialogue> <character>GORDON</character> <dialogue>What...?</dialogue> <scene_description>Batman pulls out a KEY RING USB DRIVE -- attached to it, in a little clear plastic bag, is a SEVERED THUMB...</scene_description> <character>BATMAN</character> <dialogue>Thumb. Drive.</dialogue> <character>GORDON</character> <dialogue>Jesus.</dialogue> <scene_description>They stare at Gordon's field laptop as it BEEPS --</scene_description> <character>GORDON</character> <dialogue>It's encrypted.</dialogue> <character>BATMAN (O.S.)</character> <dialogue>Try this ...</dialogue> <scene_description>Gordon turns ... Batman holds up THE BAG WITH THE SEVERED THUMB. Gordon sighs, taking it shakes his head, presses the thumb to the drive -- it OPENS --</scene_description> <character>GORDON</character> <dialogue>Boy, this guy's hilarious.</dialogue> <scene_description>SURVE ILLANC E PHOTOS pop up: Mayor Mitchell exiting a seedy nightclub with a TWENTY-TWO YEAR OL D IN CLUBWEAR, headed for his Aston DBll, a black eye visible under the Woman's sunglasses; behind them follow UNSAVORY TYPES, a gangster vibe -- one wears a STREET-STYLED, STRIPED T UX --</scene_description> <character>GORDON</character> <dialogue>...so much for family values.</dialogue> <character>BATMAN</character> <dialogue>...who is she?</dialogue> <character>GORDON</character> <dialogue>No idea... But that's the Penguin</dialogue> <scene_description>Carmine Falcone's right hand --</scene_description> <character>BATMAN</character> <dialogue>-- I know who he is.</dialogue> <scene_description>When -- a WHOOSH! sound suddenly emits from the laptop!</scene_description> <character>GORDON</character> <dialogue>-- what was that --?</dialogue> <character>GORDON</character> <dialogue>(clicking wind ows)</dialogue> <character>BATMAN</character> <dialogue>What -- ?</dialogue> <scene_description>Shit-shit-shit --</scene_description> <character>GORDON</character> <dialogue>The mail app -- it just -- it, it sent out the photos! Goddammit! Gotham Post, Gazette, GCl! Jesus I'm gonna have to go deal with this, Pete's gonna hit the roof.</dialogue> <character>BATMAN</character> <parenthetical>(looks at photos)</parenthetical> <dialogue>"He lies still" ... About her?</dialogue> <scene_description>Maybe... That's the Iceberg Lounge -- it's under the Shoreline Lofts where Falcone's holed up. We'll never get in without a warrant.</scene_description> <character>BATMAN</character> <parenthetical>(won't stop him)</parenthetical> <dialogue>...yeah...</dialogue> </scene> <scene> <stage_direction>EXT. ICEBERG LOUNGE NIGHTCLUB - MOVING SHOT - NIGHT</stage_direction> <scene_description>PUSHING toward a deserted warehouse -- a nondescript door in the facade; a LONE SODI U M STRE ETLAMP FLICKERS, illuminating an old sign: ICEBERG FISH CO -- as BAT BOOTS CLICK purpo sefully into frame -- BLACKNESS SWINGS OPEN to reveal Batman in shadow; CLUB MUSIC booms:</scene_description> <character>BATMAN</character> <dialogue>Know who I am?</dialogue> <scene_description>A HUGE BOUNCER'S eyes give the Bat Suit the once over --</scene_description> <character>BOUNCER</character> <dialogue>Yeah, I got an idea.</dialogue> <character>BATMAN</character> <dialogue>I wanna see The Penguin.</dialogue> <character>BOUNCER</character> <dialogue>Penguin? I don't k now what you're talking about, pal.</dialogue> <scene_description>Batman just stares. The Bouncer shuts the door. A beat, then it opens again. Now there are two of them TWINS.</scene_description> <character>IDENTICAL TWIN BOUNCER</character> <dialogue>What's the problem?</dialogue> <character>BOUNCER</character> <dialogue>Says he wants to see The Penguin.</dialogue> <character>IDENTICAL TWIN BOUNCER</character> <dialogue>Penguin? Ain't no Penguin here --</dialogue> <character>BOUNCER</character> <dialogue>That's what I tried to tell him --</dialogue> <character>IDENTICAL TWIN BOUNCER</character> <dialogue>Get outta here, freak. Ya hear me? Or that little suit's gonna get all full of blood.</dialogue> <character>BATMAN</character> <dialogue>Mine? Or yours?</dialogue> <scene_description>The Twin LUNGES -- blind-sided by Batman's VICIOUS ELBOW STRIKE -- the other Twin CHARGES -- his throat meets the HEEL OF BATMAN'S PALM -- and just like that, WE'RE FOLLOWING BATMAN INSIDE (IN A CONTINUOUS HAND-HELD SHOT) MUSIC THROBS as we plunge down A CORRIDOR -- CIRCLING BATMAN -- BEHIND HIM we see THE TWINS staggering back in -- SCREAMING to alert MORE BOUNCERS -- who SCRAMBLE as -- Batman emerges onto the landing above the club -- strobe lights reveal glimpses of SHOWGIRLS ABOVE A DANCE FLOOR Batman starts downstairs -- when the BOUNCERS POUNCE -- A MARTIAL ARTS BRAWL ERUPTING as they descend -- Batman taking on TWO AT A TIME CRACKING HEADS ON RAILINGS until he LEAPS OVER ONE -- dropping a full story! -- Batman spots ANOTHER BOUNCER with an ALUMINUM BAT who SWINGS -- Batman STEPS IN FAST -- THROWING AN ELBOW TWISTING THE BAT FREE -- DROPPING THE BOUNCER HARD --</scene_description> <character>A MUSTACHED BOUNCER PULLS A GUN -- BATMAN TWIRLS THE BAT</character> <dialogue>under STROBE LIGHTS -- MUSTACHE FIRES -- BULLETS PING OFF THE BAT -- BATMAN LETS IT F LY -- KNOCKING MUSTACHE OUT!</dialogue> <character>BATMAN SEES THE TWINS -- BACK AGAIN -- ONE HAS A SHOTGUN</character> <dialogue>-- CLOBBERS SHRIEK -- AS BATMAN TRIGGERS A QU ICK-DRAW</dialogue> <character>SL IDER ON HIS ARM -- WHIPPING A HARPOON GUN TO HIS FIST --</character> <dialogue>FIRING THROUGH THE GUNMAN'S LEGS INTO HIS BROTHER'S FOOT</dialogue> <character>BEHIND HIM -- THE LINE RETRACTS -- YANKING HIM FORWARD</character> <dialogue>UPENDING THEM BOTH -- the GUN FIRES into the ceiling!</dialogue> <dialogue>The club in TOTAL CHAOS now -- when SOMEONE comes up behind -- BATMAN SPINS, ready for more -- TO SEE A MAN WITH A MISSHAPED NOSE IN A STRIPED TUX AND LAVENDER BOW TIE -- he puts his hands up -- grinning -- in awe --</dialogue> <character>THE PENGUIN</character> <dialogue>Whoa-whoa-whoa -- take it easy, sweetheart! You lookin' for mg? See you met the twins. Boy, you're everything they say, aren't you?</dialogue> <parenthetical>(smiles big, flashing a shiny gold tooth)</parenthetical> <dialogue>Guess we both are. Howya &lt;loin'? I'm Oz.</dialogue> <scene_description>He hobbles closer on a CLUBBED FOOT -- sticks out a hand to shake -- Batman doesn't return the gesture At a desk enclosed by racks of showgirl costumes, Penguin looks at THE PHOTO OF THE TWENTY-TWO YE AR OLD AND MAYOR --</scene_description> <character>BATMAN</character> <dialogue>Who is she?</dialogue> <character>THE PENGUIN</character> <dialogue>I really don't know, chief -- I mighta been comin' out same time but I wasn't rollin' with them --</dialogue> <scene_description>FOOTSTEPS interrupt -- through a gap in costumes, Batman spies A FIGURE IN A HIGH-SLIT EVENING GOWN -- a STUNNING WOMAN appears streetwise vibe. She stops, uneasy --</scene_description> <character>THE PENGUIN</character> <dialogue>No, no -- it's ok, baby -- Mr. Vengeance here don't bite...</dialogue> <scene_description>She hesitates, eyes on Batman; then saunters to Penguin, sets down a drink tray; as Penguin touches her thigh, she slyly brushes his hand away with a smile -- says low</scene_description> <character>WOMAN IN THE EVENING GOWN</character> <dialogue>Touch me again, Oz, I'll break those stubby little fingers, ok?</dialogue> <character>THE PENGUIN</character> <dialogue>What? The dress, I was just feelin' the material -- sorry...!</dialogue> <scene_description>He lifts AN ENVELOPE OF CASH off the tray -- Batman watches him hand the Woman A RUBBER-BANDED CLUSTER OF VIALS WITH EYE-DROPPERS -- a.k.a. "DROPS" -- the Woman turns to go, but stops, struck, a s she sees THE PHOTO -- her eyes briefly meet Batman's -- then she heads out --</scene_description> <character>BATMAN</character> <parenthetical>(points to photo)</parenthetical> <dialogue>I wanna know who she is, and what she has to do with his murder?</dialogue> <character>THE PENGUIN</character> <dialogue>Whose murder -- ?</dialogue> <character>BATMAN</character> <dialogue>The mayor</dialogue> <character>THE PENGUIN</character> <dialogue>is that the mayor? Oh shit, it</dialogue> <scene_description>is, lookit that -- ! Batman Y ANKS HIM from his seat, SLAMS HIM INTO A MIRROR!</scene_description> <character>BATMAN</character> <dialogue>Don't make me hurt you.</dialogue> <scene_description>You better watch it ... Y ou know my reputation?</scene_description> <character>BATMAN</character> <dialogue>Yeah, I do. Do you?</dialogue> <scene_description>Anger flares suddenly in Penguin's eyes -- a nerve struck. Finally, he pushes it down, smiling, evasive.</scene_description> <character>THE PENGUIN</character> <dialogue>Look, I'm just a proprietor, ok? What people do here ain't got nothin' to do with me.</dialogue> <scene_description>Batman senses something in the mirror -- he turns -- to see the Woman in the Evening Gown still watching through the doorway in the distance -- she disappears again --</scene_description> <character>THE PENGUIN</character> <dialogue>I'll tell ya one thing...</dialogue> <scene_description>Batman turns back -- Penguin hands him the photo</scene_description> <character>THE PENGUIN</character> <dialogue>Whoever she is, she's one hot chick.</dialogue> <parenthetical>(smiles cruelly)</parenthetical> <dialogue>Why don't you ask Mitchell's wife? Maybe she knows.</dialogue> <parenthetical>(off Batman's look)</parenthetical> <dialogue>What? Too soon?</dialogue> <scene_description>Batman looks at the photo again -- spots an Evening Gown in the b.g. -- face in shadow, but there's no mistaking that dress -- as Batman moves for the empty doorway --</scene_description> <character>THE PENGUIN (O.S.)</character> <dialogue>You let me know there's anything else I can do! Ok, sunshine?!</dialogue> <scene_description>OUT SIDE THE OFFICE Batman stops, looking around -- the Woman is gone.</scene_description> </scene> <scene> <stage_direction>EXT. ICEBERG LOUNGE NIGHTCLUB - POURING RAIN NOW - LATER</stage_direction> <scene_description>The Woman emerges in a coat, looking anxiously for a cab under the FLICKERING STREET LAMP, flags down a NAVY GYPSY CAB -- hand-painted on the door: "We're Not Yellow -- We Go Anywhere". She gets in. PAN with the cab as i t speeds off ... right by a HELMETED MOTORC YCLIST -- THE DRIFTER. The Woman on her cell speaks low as someone picks up:</scene_description> <character>WOMAN IN THE EVENING GOWN</character> <dialogue>Hey, it's me. What'samatter, baby? -- slow down, I can't... On the !!fill.§.? No, wait for me, I'm on my</dialogue> <scene_description>way home! We're gonna get the hell outta here, I promise, if we have to go sooner, we'll go tonight! HOLD on her worried face as FOCUS DRIFTS through the rear window to REVEAL THE HELMETED DRIFTER, FOLLOWING HER...</scene_description> </scene> <scene> <stage_direction>EXT. RUN-DOWN, EAST END APARTMENT - BINOCULAR POV - NIGHT</stage_direction> <scene_description>QUIET BREATHING as BINOCULARS SEARCH THE FACADE -- LIGHTS COME ON IN THE SEC OND STORY -- THE WOMAN, entering HER APARTMENT -- CATS SWARM HER as she rushes to THE KITCHEN -- finding a YOUNG WOMAN WITH A BRUISED FACE, eyes on the TV -- who grows hysterical, gesturing to the PHOTOS OF THE MAYOR AND THE TWENTY-TWO YEAR OLD playing on GCl -- and as the Woman in the Gown tries to calm her, we see: THE BR UISED YOUNG WOMAN IS THE TWENTY-TWO YEAR OLD --</scene_description> <character>REVEAL THE DRIFTER (BRUCE HIDDEN IN CAP AND ARMY JACKET)</character> <dialogue>-- watching through binoculars FROM A NEARBY ROOFTOP --</dialogue> <character>THE BINOCULAR POV</character> <dialogue>FOLLOWS the Woman in E vening Gown to a BATHROOM; she opens a cabinet, getting PILLS -- then rushes back to THE KITCHEN -- distraught, the Bruised Woman takes them -- the Woman in Gown caresses her head -- the Bruised Woman pushes her away, inconsolable. The Woman in Gown stands, at a loss. Then, resolve building, marches off -- BINOCULARS FOLLOWING as she -- and all her cats -- head into a BEDROOM -- where she stealthily shuts the door -- we watch IN SILHOUETTE as she slips out of her dress... and begins sliding into A S KIN-TIGHT, BLACK LEATHER BODYS UIT ... as her cats nuzzle against her legs...</dialogue> <character>THE DRIFTER GAZES, STRUCK BY THE SIGHT OF THE WOMAN, AS --</character> <dialogue>THE "CATWOMAN"</dialogue> <dialogue>climbs nimbly out to the fire escape -- swinging like an acrobat to the ground below; she ducks into the garage --</dialogue> </scene> <scene> <stage_direction>EXT. EAST END APARTMENT - GARAGE FRONT - MOMENTS LATER</stage_direction> <scene_description>A BLACK SPORT BIKE appears -- THE HELMETED CATWOMAN ROARS onto the street -- PAST THE DRIFTER getting on his bike --</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM STREETS - MOVING SUPER FAST - NIGHT</stage_direction> <scene_description>THROTTLING HARD through traffic to keep CATWOMAN in sight as she WEAVES in and out of view a hundred feet ahead</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S MANSION - LOOKING UP AT SKYLIGHT - NIGHT</stage_direction> <scene_description>A FIGU RE LOWERS GRACEFULLY on a rope -- THE CATWOMAN --</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S MANSION - STUDY - THE CRIME SCENE - NIGHT</stage_direction> <scene_description>She prowls, a BLACK MOTORCYCL E WIND MASK over her face finds A WALL SAFE -- working tumblers till... it's open --</scene_description> <character>A VOICE (O.S.)</character> <dialogue>You're pretty good at that ...</dialogue> <scene_description>She turns to see BATMAN IN SHADOW -- she GRABS SOMETHING FROM THE SAFE -- B REAKS for the door -- he STALKS AFTER, GRABS her -- she SPINS, SWINGING A VICIOUS ROUNDHOUSE -- surprised, he RECOILS, blocking BLINDING KICK AFTER KICK with raised arms -- SHE'S REALLY GODDAMN GOOD! Her B RUTAL ASSAULT drives him back -- when suddenly -- he TWISTS, GRABBING HER LEG -- they CRASH over the desk and suddenly she's on her back -- he reaches down -- SNATCHING whatever she stole -- an ESTONIAN PASSPORT</scene_description> <character>CATWOMAN</character> <dialogue>Batman opens it: it belongs to THE TWENTY-TWO YEAR OLD --</dialogue> <character>BATMAN</character> <dialogue>Kosolov, Annika --</dialogue> <character>CATWOMAN</character> <dialogue>Girrane that --</dialogue> <character>BATMAN</character> <dialogue>He hurt her? That why you killed him?</dialogue> <character>CATWOMAN</character> <dialogue>What?! Oh, please -- just gimme the goddamn--!</dialogue> <scene_description>-- pulling her down BEHIND THE DESK -- she's bewildered -- when she sees A FLASHLIGHT spilling through the doorway -- it's A SECURITY COP arriving to investigate the noise ... he scans the scene -- as they wait, bodies pressed close - - her eyes swim as Batman holds her ... Satisfied, the Cop leaves -- Catwoman shrugs Batman off, hard -- standing --</scene_description> <character>CATWOMAN</character> <dialogue>Listen, honey -- you got the wrong idea, ok? I didn't kill anybody -- I'm here for my friend. She's tryin'a get the hell outta here -- this sonuvabitch had her passport.</dialogue> <character>BATMAN</character> <dialogue>What does she know?</dialogue> <character>CATWOMAN</character> <dialogue>Whatever it is, it's got her so scared she won't even tell me.</dialogue> <character>BATMAN</character> <parenthetical>(wry)</parenthetical> <dialogue>She did seem upset ...</dialogue> <scene_description>She looks at him, confused. He stares back, provocative:</scene_description> <character>BATMAN</character> <dialogue>Back at your place.</dialogue> <scene_description>She can't believe it: He was there ...?</scene_description> <character>BATMAN</character> <dialogue>Let's go talk to her.</dialogue> <scene_description>Finally, he offers the passport... She glares at it ...</scene_description> </scene> <scene> <stage_direction>EXT. WET GOTHAM STEETS - NIGHT</stage_direction> <scene_description>Batman and Catwoman jockey for the lead on their bikes -- THEY ROCKET PAST at over 100 mph -- A FLEETING BLUR -- we LAND ON TWO STUNNED PEDESTRIANS, craning their heads</scene_description> </scene> <scene> <stage_direction>INT. SELINA'S APARTMENT - NIGHT</stage_direction> <scene_description>THE PLACE HAS BEEN RANSACKED -- Batman and Catwoman enter distraught, she rushes deeper into the apartment</scene_description> <character>CATWOMAN (O.S .)</character> <dialogue>Anni! Baby ...?!</dialogue> <scene_description>Batman examines the scene -- hears the TV -- moves to -- -- sees UNPAID BILLS on the counter -- picks one up, sees the name: SELINA KYLE -- when the TV steals his attention -- THE GCl HEADLINE: "SERIAL KILLER CLAIMS CREDIT FOR SECOND VICTIM IN TWO DAYS -- GCPD COMMISSIONER MURDERED" Catwoman comes in, now deeply rattled -- g uilty</scene_description> <character>CATWOMAN</character> <dialogue>Jesus, what are they going to do to her? She's just a kid. And now they know who I am too, they took my phone, everything --</dialogue> <scene_description>-- she notices Batma n grimly staring, turns to THE TV --</scene_description> <character>NEWSCASTER (ON TV)</character> <dialogue>...the killer posted the following message on social media. We should war n you, the video is dist urbing.</dialogue> <scene_description>A HAND-HELD VIDEO begins -- a SELFIE of THE OLIVE GREEN HOODED KILLER we saw in the opening -- a new SYMBOL on his chest: a SCRAWLED QUESTION MARK WITHIN CROSS HAIRS --</scene_description> <character>MASKED MAN</character> <parenthetical>(eerie VOICE CHANGER)</parenthetical> <dialogue>Hello, people of Gotham... This... is the Riddler speaking. On Halloween night, I killed your mayor, beca use he was not who he pretended to be. B ut I am not done. Here... is a nother...</dialogue> <scene_description>He swings the camera to A BOUND, NAKED MAN WITH A CAGE- LIKE BOX OVER HIS HEAD -- the camera presses in to see COMMISSIONER SAVAGE INSIDE, mouth covered in duct tape and words: "NO MORE LIES" -- FERAL RATS circle his face</scene_description> <character>MASKED MAN/THE RIDDLER (O.S.)</character> <dialogue>...who will soon... be losing face... I will kill again a nd again, until our Day of Judgement... when the Truth about our city will finally be Unmasked.</dialogue> <parenthetical>(leans into view)</parenthetical> <dialogue>GOOD Byeee...</dialogue> <scene_description>And as we hear MUFFLED SHRIEKS -- the video abruptly ENDS -- a smiling press photo of Commissioner Savage appears --</scene_description> <character>CATWOMAN</character> <dialogue>Holy shit... I seen that g uy too. At the cl ub.</dialogue> <scene_description>The Iceberg Lounge?</scene_description> <character>CATWOMAN</character> <dialogue>The 44 Below.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>The club within the club -- the real club. It's a mob hangout.</dialogue> <character>BATMAN</character> <dialogue>That where you work? Selina?</dialogue> <character>CATWOMAN</character> <parenthetical>(turns, struck; then)</parenthetical> <dialogue>I work at the bar, upstairs. But I see them come in.</dialogue> <character>BATMAN</character> <dialogue>Who?</dialogue> <character>CATWOMAN</character> <dialogue>Everybody. Lotta guys who shouldn't be there, I can tell you that. Your basic upstanding citizen types.</dialogue> <character>BATMAN</character> <dialogue>You're gonna help me on this. For your friend.</dialogue> <scene_description>She warily studies his eyes, when Batman feels something at his feet -- a swarm of cats he looks at her --</scene_description> <character>BATMAN</character> <dialogue>You got a lotta cats.</dialogue> <character>CATWOMAN</character> <dialogue>I have a thing about strays.</dialogue> <character>BATMAN</character> <parenthetical>(starts to go)</parenthetical> <dialogue>You're not safe here.</dialogue> <character>CATWOMAN</character> <dialogue>I can take care of myself...</dialogue> <scene_description>But he just keeps going. She turns grimly to the TV --</scene_description> <character>NEWSCASTER (ON TV)</character> <dialogue>... with two public figures now dead in just the last two nights, and only days before the election, police and city officials are left searching for a killer, and hoping to find him before he kills again.</dialogue> <scene_description>SLIDES OPEN -- SCREECHING INTO LI GHT -- we LOOK UP at FLARING FLUORESCENTS as BATMAN AND GORDON PEER DOWN AT US . Gordon has to look away -- Batman coldly assesses --</scene_description> <character>GORDON</character> <dialogue>He waited for him. A t the gym. Pete liked to work out late at night when nobody was around.</dialogue> <character>BATMAN</character> <dialogue>Needle mark on his neck ...</dialogue> <character>GORDON</character> <dialogue>Sonuvabitch injected him with arsenic.</dialogue> <character>BATMAN</character> <dialogue>Rat poison.</dialogue> <character>GORDON</character> <dialogue>That seems to be his theme here.</dialogue> <scene_description>As Gordon steps angrily away -- we finally REVEAL -- THE MEDICAL EXA MINER'S ROOM SAVAGE'S BODY on a MORGUE DRAWER -- Batman follows Gordon to an EVI DENCE TABLE ... sees the CREEPY HINGED, CAGE-LIKE HEAD BOX -- inside is an elaborate network of channels --</scene_description> <character>BATMAN</character> <dialogue>...it's a maze.</dialogue> <character>GORDON</character> <dialogue>Kinda sicko does this to a person?</dialogue> <scene_description>Gordon gazes inside the bloody MAZE, where a crudely PAINTED CIPHER ends on a QUESTION MARK IN CROSSHAIRS as Batman finds a stack of SURVEI LLANCE PHOTOS --</scene_description> <character>GORDON</character> <dialogue>He blasted those out after his message went viral. This guy murders you and your reputation.</dialogue> <scene_description>In one of the photos: the COMMISSIONER emerges from the Iceberg Lounge, SHAKES HANDS with a SHADY GUY --</scene_description> <character>BATMAN</character> <dialogue>Guy pushes drops. On the E ast End.</dialogue> <scene_description>photo: S AVAGE PEEKING INTO A CASH-S TUFFED ENVELOPE --</scene_description> <character>GORDON</character> <dialogue>I don't g et it. Why would Pete g e t involved in this?</dialogue> <character>BATMAN</character> <dialogue>Looks like he got gre edy.</dialogue> <character>GORDON</character> <dialogue>Are you kidding? After e verything we did to bust up the Maronis? We shut down their whole operation now he's caving to some de aler?</dialogue> <character>BATMAN</character> <dialogue>Maybe he's not who you thought --</dialogue> <character>GORDON</character> <dialogue>You make it sound like he had it coming</dialogue> <character>BATMAN</character> <dialogue>He was a cop. He crossed the lin e .</dialogue> <scene_description>Gordon sighs -- when Batman NOTICES SOMETHING T APED TO THE BACK OF THE HEAD BOX -- AN ENVELOPE: "TO THE BATMAN" Gordon watches Batman open it: ANOTHER GREETING CARD. A CARTOON S CIENTIST mixes be akers: "I'm MAD About You! Want to Know My Name? Just Look Inside and See ... " Inside is A CARTOON EXPLOSION; over it: "But, Wait, I Cannot Tell You -- It Might Spoil the Chemistry!" He re ads the S CRIBBLE:</scene_description> <character>BATMAN</character> <dialogue>"Follow the maze till you find the rat -- bring him into the light, and you'll find where I'm at."</dialogue> <character>GORDON</character> <dialogue>The he ll's all that -- Bring him into the light? Find the rat?</dialogue> <scene_description>Unnerved, Batman stares at HIS NAME on the enve lope</scene_description> <character>BATMAN</character> <dialogue>...I don't know ...</dialogue> <scene_description>A ROLL-UP DOOR rises behind GLASS as Batman waits; we glimpse THE PRISONER'S PALE HANDS and JUMPSUIT, BUT HIS FACE REMAINS HIDDEN THROUGH THE SCENE. BATMAN glares; he puts A FILE in the partition drawer, pushes it through ...</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <parenthetical>(smile in his voice)</parenthetical> <dialogue>A present. Almost our anniversary, isn't it?</dialogue> <character>BATMAN</character> <dialogue>There's a serial killer. I want your perspective.</dialogue> <scene_description>The PRISONER'S FINGERS stroke the cover as he considers.</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>First anniversary is paper.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What makes you think I come so cheap?</dialogue> <character>BATMAN</character> <dialogue>I thought you'd be curious.</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Oh, a little lurid reading. You think I get off on this stuff.</dialogue> <character>BATMAN</character> <dialogue>Don't you?</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>...you have pictures?</dialogue> <scene_description>Batman just stares; the Prisoner looks at the file...</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Oh, his violence is so... baroque. He likes little puzzles, doesn't he? So meticulous. It's like he's been planning this his w hole life.</dialogue> <parenthetical>(then, a quiet taunt)</parenthetical> <dialogue>I know who he is.</dialogue> <character>BATMAN</character> <dialogue>Who?</dialogue> <scene_description>The PRISONER'S BLURR E D F ACE just stares back, hauntingly.</scene_description> <character>BATMAN</character> <dialogue>Who is he?</dialogue> <scene_description>He's a nobody. Who wants to be somebody . The mayor. The commissioner. He's got ambition.</scene_description> <character>BATMAN</character> <dialogue>You think his motive's political?</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>No. This is ... very personal. He feels these people have all wronged him. Probably goes way back ... Unhealed wounds, stolen lunch money ...</dialogue> <character>BATMAN</character> <dialogue>Why's he writing to !Jill?</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Maybe he's a fan. Or maybe he's got a grudge against you too. Maybe you're the main course. Any theories? I'm sure you have your own hypothesis .</dialogue> <character>BATMAN</character> <dialogue>Not yet.</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Really? You're normally so ahead of the curve. But something's different this time. This is ... very upsetting to you--</dialogue> <character>BATMAN</character> <dialogue>Let's get back to him --</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Why? You're so much more fun</dialogue> <character>BATMAN</character> <dialogue>I'm not here to talk about me</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>What are you here to talk about?</dialogue> <character>BATMAN</character> <dialogue>I wanna know how he thinks</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Oh, come on -- you know exactly ... how he thinks ... Have you read this file?</dialogue> <scene_description>Batman's jaw tightens, almost imperceptibly. You two... have so much in common. Masked avengers. B ut he's even more righteous. Are you afraid he makes you look soft?</scene_description> <character>BATMAN</character> <dialogue>You're wasting my time</dialogue> <scene_description>Batman takes the file -- the Prisoner CACKLES, LAU GHTER BUILDING MANIACALLY as Batman rises, pressing a BUZZER -- WE PUSH IN ON THE GLASS toward the OUT-OF-FOCUS PRISONER, head in his hands, as he fights to regain composure</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Ok... Ok... I'll... I'll tell you what I really think...</dialogue> <scene_description>As the CAMERA STOPS, SUPER-TIGHT on the wired glass, the BLURRED PRISONER finally lifts his head... As he presses HIS LIPS close to the window -- THEY COME INTO FOCUS -- HIS MOUTH IS DISEASED, HORRIBLY DISTORTED INTO A RICTUS GRIN -- THE PRISONER IS THE JOKER -- Batman faces the door, waiting for it to unlock -- as the Joker continues, quiet, sadistic pleasure in his voice --</scene_description> <character>THE JOKER</character> <dialogue>1 think you don't really care about his motives, whether he loves you or hates you... I think... somewhere deep down... you're just... terrified. Because you're not sure he's wrong...</dialogue> <scene_description>ON BATMAN -- as the door suddenly UNLO CKS -- hesitating --</scene_description> <character>THE JOKER</character> <dialogue>You think they deserved it. Don't you...?</dialogue> <scene_description>He opens the door -- AN UNNERVINGLY LOUD BUZZING PIERCES THE AIR as he steps out -- and the DOOR SLAMS SHUT -- SUPER-TIGHT ON BLINKING EYES -- AS CONTACT LENSES GO IN --</scene_description> <character>SELINA (O.S.)</character> <dialogue>Ow -- I don't know about these</dialogue> <character>BATMAN (O.S.)</character> <dialogue>I need to� in there -- seems like this is his hunting ground</dialogue> <scene_description>Selina turns to Batman -- who's absorbed in setting up PORTABLE SU RVEILLANCE EQUIPMENT -- a man on a mission --</scene_description> <character>SELINA</character> <dialogue>Why am I starting to feel like a fish on a hook? I 'm just lookin' for Annika --</dialogue> <parenthetical>( watching him work)</parenthetical> <dialogue>Boy, you're a real sweetheart -- you don't care what happens to me in there tonight, do you?</dialogue> <scene_description>No response -- she looks away, when finally he tur ns to her -- something significant in his voice as it quiets --</scene_description> <character>BATMAN</character> <dialogue>Look at me...</dialogue> <scene_description>Surprised, she does -- they stare into each others eyes -- his intensely studying her s, as she gazes back for a long time -- something ver y intimate in the moment -- when</scene_description> <character>BATMAN</character> <dialogue>K. Looks good.</dialogue> <scene_description>He of fer s her a TINY EARPIECE; she glares, snatching it</scene_description> </scene> <scene> <stage_direction>INT. ICEBERG LOUNGE - CLOSE ON SELINA - MOVING - NIGHT</stage_direction> <scene_description>HOLD ON HER FACE as she STRIDES through the PACKED CLUB INTENSITY IN HER EYES as DANCE MUSIC BLASTS HER CONTACT LENS POV - ON BATMAN'S LAPTOP - SIMULTANEOUS PLUNGING thr ough CHAOS the IMAGE and SOUND STUTTERING -- AS BATMAN works to get a lock on her signal -- CLOSE ON SELINA - MOVING - SIMULTANEOUS As she HEADS into a DARKER SPACE, the MUSIC NOW MUFFLED --</scene_description> <character>HER CONTACT LENS POV - ON BATMAN'S LAPTOP - SIMULTANEOUS</character> <dialogue>The SIGNAL STABILIZES -- we see she is PASSING SHOWGIRLS AT DRESSING MIRRORS -- SOME LOOK RIGHT AT US as we pass --</dialogue> <character>BATMAN</character> <dialogue>Got you. Can you hear me?</dialogue> <parenthetical>(low, not thrilled)</parenthetical> <dialogue>Yeah</dialogue> <scene_description>BATMAN STARES AS SHE MOVES TO PENGUIN'S BACKROOM AREA -- PENGUIN LOOKS UP AT US, CONCERNED -- AS SELINA ARRIVES NOTE: THESE THREE PERSPECTIVES INTERCUT THROUGHOUT THE FOLLOWING CLUB SEQUENCE -- CLOSE ON SELINA ACTUALLY IN THE CLUB -- HER POV ON T HE LAPTOP -- AND BATMAN WATCHING:</scene_description> <character>PENGUIN (ON LAPTOP)</character> <dialogue>What's up, doll? You look tense...</dialogue> <character>SELINA (ON SELINA)</character> <dialogue>I wanna work downstairs tonight.</dialogue> <character>PENGUIN (ON LAPTOP)</character> <parenthetical>(quiets, struck)</parenthetical> <dialogue>...downstairs? Naw, naw, you don't wanna do that</dialogue> <character>SELINA (ON SELINA)</character> <dialogue>-- I need the money --</dialogue> <character>PENGUIN (ON LAPTOP)</character> <dialogue>-- baby, it's a bunch of jackals down there they'll be all over you --</dialogue> <character>SELINA (0.S .)</character> <dialogue>I'll be fine --</dialogue> <character>PENGUIN (ON LAPTOP)</character> <dialogue>I'm telling you -- it'd</dialogue> <scene_description>drive me crazy -- (taking out wallet) -- look -- whattaya need?</scene_description> <character>SELINA (ON SELINA)</character> <dialogue>-- Oz --</dialogue> <character>PENGUIN (ON LAPTOP)</character> <dialogue>-- I don't mind -- I'd do anything for you, honey -- don't you know how I feel about you by now -- ?</dialogue> <character>SELINA</character> <dialogue>He looks at her, silent, a flash of vulnerability</dialogue> <character>SELINA (ON SELINA)</character> <dialogue>...I don't want your money.</dialogue> <character>PENGUIN (ON LAPTOP)</character> <parenthetical>(darkens, nerve hit)</parenthetical> <dialogue>...what? Not good enough for you?</dialogue> <scene_description>out, cold -- as she reaches, he pulls it back -- BATMAN WATCHES P enguin glare into HER POV, simmering; then --</scene_description> <character>PENGUIN (ON LAPTOP)</character> <dialogue>I know you don't see it yet, honey, nobody does... but F alcone ain't gonna be around forever. O ne day this city's gonna be mine...</dialogue> <scene_description>She just looks at him; finally, he hands her the KEY --</scene_description> <character>POV ON THE MOVE AGAIN - BATMAN'S LAPTOP - MOMENTS LATER</character> <dialogue>BATMAN watches the POV APPROACH the MUSTACHED BOUNCER -- ominously guarding an EL EVATOR -- his face now bruised from their earlier fight -- SELINA holds up her KEYCARD --</dialogue> <character>SELINA</character> <dialogue>Hospitality.</dialogue> <scene_description>He suspiciously searches her eyes -- she averts -- he opens the elevator she steps in -- the doors shut --</scene_description> <character>SELINA</character> <dialogue>You sure no one can see these things in my eyes?</dialogue> <character>BATMAN</character> <dialogue>Don't worry. I'm watching you.</dialogue> <scene_description>She takes a tense breath -- somehow not reassured by that idea -- and as the doors open -- she steps -- INTO THE 44 BELOW -- another world down here; a crowded, speak-easy vibe -- SELINA SEES A LINE OF MEN all turning to size her up Batman sees HER POV DROP QUICKLY off their faces --</scene_description> <character>BATMAN</character> <dialogue>Don't look away -- I need time to make I.D.s</dialogue> <character>SELINA</character> <parenthetical>( ugh)</parenthetical> <dialogue>Great.</dialogue> <scene_description>As she turns back, Batman sees FACIAL RECOG SCANS BEGIN -- when he NOTICES the SEA OF MEN GAZING lewdly at her body. These guys have a little trouble with eye contact, don't they?</scene_description> <character>SELINA</character> <dialogue>Feels nice, doesn't it?</dialogue> <scene_description>-- I.D.s start coming through on the laptop</scene_description> <character>BATMAN</character> <dialogue>Guy up ahead's a c ity councilman --</dialogue> <character>SELINA</character> <dialogue>Guy he's talking to isn't</dialogue> <character>BATMAN</character> <dialogue>No, he's not .</dialogue> <parenthetical>(then, another I.D.)</parenthetical> <dialogue>There's the chairman of Gotham First National --</dialogue> <character>SELINA</character> <dialogue>What'd I tellya? The best people.</dialogue> <scene_description>She passes a LOUNGE AREA where THREE MEN IN SUITS sit with TWO "HOSPITALITY GIRLS" they're all getting high, EYE-DROPPERS over their eyes to administer "drops"</scene_description> <character>SELINA</character> <dialogue>Jesus -- I hate drop heads --</dialogue> <character>BATMAN</character> <dialogue>Really? 'Coz when I first saw you, looked like you were dealing for Penguin --</dialogue> <character>SELINA</character> <dialogue>-- you don't know what you're talking about -- can we -- can we not do this now -- ?</dialogue> <scene_description>ONE OF THE MEN turns, mid-drop, THUNDERSTRUCK by Selina -- recognizing the look, she quickly turns away from him --</scene_description> <character>BATMAN</character> <dialogue>Wait. Who was that -- ? SELINA BATMAN</dialogue> <scene_description>Oh, I saw him -- Look back</scene_description> <character>SELINA</character> <dialogue>If I look back, it's gonna be a whole can a worms --</dialogue> <character>BATMAN</character> <dialogue>I need to see his face --</dialogue> <scene_description>She turns back and he's still staring; he stumbles over -- Oh God, happy? Here he comes.</scene_description> <character>BATMAN</character> <dialogue>That's the DA. Gil Colson. Talk to him.</dialogue> <character>MAN/GIL COLSON</character> <dialogue>How you &lt;loin'? I'm Gil.</dialogue> <character>SELINA</character> <dialogue>(smiles) \*</dialogue> <scene_description>Aren't you the D.A. -- ? \*</scene_description> <character>GIL COLSON</character> <dialogue>yeah -- ! \*</dialogue> <character>SELINA</character> <dialogue>-- wow -- I seen you on TV! \*</dialogue> <character>GIL COLSON</character> <dialogue>Haven't seen you here before. Helluva time to be the new girl. People are all a little on edge. \*</dialogue> <character>SELINA</character> <dialogue>Honey, I live on the edge \*</dialogue> <character>GIL COLSON</character> <dialogue>Oh! I like that! You wanna join \* us? C'mon -- \*</dialogue> <scene_description>He gestures to his table -- leads her over to the group the vibe here is a little tense -- \*</scene_description> <character>GIL COLSON</character> <dialogue>This is Ritchie, Travis, Glen \* and you know Carla, here? \*</dialogue> <character>BATMAN</character> <dialogue>That's half the D.A.'s office --</dialogue> <scene_description>Gil points to the other Hospitality Girl, who has a CATATONIC SMILE, and a dropper in hand -- \*</scene_description> <character>GIL COLSON</character> <dialogue>That's Cheri -- don't mind her. She's taking a break. We're just drowning our sorrows. Wanna drop?</dialogue> <character>SELINA</character> <dialogue>No, I'm good -- but honey, you \* enjoy -- \*</dialogue> <scene_description>I hope you don't mind -- I got a \* lotta weight on my shoulders with that psycho running around -- Batman sees his RED EYES -- he's VERY HIGH, DISTRAUGHT</scene_description> <character>BATMAN</character> <dialogue>He's wasted</dialogue> <character>SELINA</character> <dialogue>No shit --</dialogue> <scene_description>Gil looks at her, thinks she was responding to him \* Right? I like this girl! \*</scene_description> <character>SELINA</character> <dialogue>(recovering smoothly) \*</dialogue> <scene_description>I like you too -- \* She touches his hand -- he looks down, disarmed, suddenly \* vulnerable -- \*</scene_description> <character>GIL COLSON</character> <dialogue>I mean, you don't understand \* this Rid dler's going after the most powerful guys in the city -- and he knows so much \*</dialogue> <character>TRAVIS</character> <dialogue>He doesn't know shit, man \*</dialogue> <character>GIL COLSON</character> <dialogue>He does! What about all that \* creepy shit in the video about the \* rat -- ?! \* RITCHIE BATMAN</dialogue> <scene_description>Hey, c'mon, Gil -- I think Wait. The rat, ask about maybe you had a little too much -- slow down -- the rat -- \*</scene_description> <character>SELINA</character> <dialogue>What do you mean a rat ...? \*</dialogue> <character>GIL COLSON</character> <dialogue>(turns to her, \* intimate, hushed) \*</dialogue> <scene_description>I mean there was a rat -- we had an informant! We had big time information on Salvatore Maroni! That's how we got that bastard outta the drops business! But if this guy knows, and it ever comes \* out who the rat is, the whole \* city'll come APART -- \*</scene_description> <character>CARLA</character> <dialogue>Hey! I don't wanna hear this, this is the kind of pillow talk that got that Russian girl disappeared!</dialogue> <character>SELINA</character> <parenthetical>(turns, struck)</parenthetical> <dialogue>What? What do you know about that?</dialogue> <character>CARLA</character> <parenthetical>(curt, stands up)</parenthetical> <dialogue>Anybody want a drink?</dialogue> <character>BATMAN</character> <dialogue>Keep him talking --</dialogue> <scene_description>When Selina abruptly stands -- starts off after Carla --</scene_description> <character>BATMAN</character> <dialogue>Where you going</dialogue> <character>SELINA</character> <dialogue>?</dialogue> <character>BATMAN</character> <dialogue>No -- stay on the D.A.</dialogue> <character>SELINA</character> <dialogue>-- I'm lookin' for my friend --</dialogue> <scene_description>Selina grabs Carla's arm at the bar, speaking HUSHED</scene_description> <character>SELINA</character> <dialogue>Hey -- where's Annika?</dialogue> <character>CARLA</character> <dialogue>Outta my face! I don't know you</dialogue> <character>SELINA</character> <dialogue>But you know her -- who took her -- what have you heard -- is she ok?</dialogue> <character>CARLA</character> <dialogue>Jesus -- keep your voice down -- whattaya got a death wish -- ?</dialogue> <character>AN OMINOUS MALE VOICE (O.S.)</character> <dialogue>What's the problem, ladies...?</dialogue> <scene_description>Carla suddenly falls silent... as SELINA TURNS ... BATMAN SEES a SILHOUETTED FIGURE staring back, PENGUIN beside him -- the FACIAL SCAN struggles to I.D. the DARK FACE --</scene_description> <character>CARLA (0 €� S .)</character> <dialogue>Oh, there's no -- no problem. Just... girl talk. We're good.</dialogue> <character>PENGUIN</character> <dialogue>Well let's keep it festive down here, ok?</dialogue> <scene_description>Batman stares as the MAN moves into the light -- he's in his 60s, STRIKING FACE -- it's clear Batman knows him the Man's face lights up as he approaches Selina --</scene_description> <character>STRIKING MAN</character> <dialogue>SELINA</dialogue> <parenthetical>(voice quieting)</parenthetical> <dialogue>...hey.</dialogue> <character>STRIKING MAN</character> <dialogue>Been a long time since I seen you down here, gorgeous. How ya been?</dialogue> <character>SELINA (O.S.)</character> <dialogue>Yeah, I been ... OK. I was just... on my way back upstairs ...</dialogue> <scene_description>Batman stares as the Man smiles at us, a bit suggestive --</scene_description> <character>STRIKING MAN</character> <dialogue>Well don't be a stranger ...</dialogue> </scene> <scene> <stage_direction>EXT. WAREHOUSE ROOF - BATMAN'S LA PTOP - MOMENTS LATER</stage_direction> <scene_description>Batman watches as Selina ENTERS A BATHROOM -- stops at a sink, staring down; Batman can't see her, just the sink --</scene_description> <character>BATMAN</character> <dialogue>You know Carmine Falcone ?</dialogue> <character>SELINA (O.S.)</character> <dialogue>I told you it's a mob spot</dialogue> <character>BATMAN</character> <dialogue>You didn't tell me you had a relationship with him --</dialogue> <character>SELINA</character> <dialogue>We don't have a relationship, OK?</dialogue> <scene_description>She glares up at her reflection, removing the contacts</scene_description> <character>BATMAN</character> <dialogue>That's not how it looked -- wait -- what're you doing -- ?</dialogue> <character>SELINA</character> <dialogue>Listen, I can't -- I can't do this no more</dialogue> <scene_description>And as the lenses come out -- HIS LAPTOP GOES BLACK HOLD ON BATMAN -- INTENSE -- REELING -- THEN --</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF ICEBERG LOUNGE - UNKNOWN POV - NIGHT</stage_direction> <scene_description>WE WATCH THROUGH FOGGED WINDOWS OF A PARKED SUV as SELINA BURSTS OUT THE CLUB into the FLICKERING LIGHT OF THE LONE STREETLAMP, looks for a cab ... when, we hear BREATHING ... AN OLIVE GREEN HOOD EDGES INTO FRAME -- THE BREATHING QUIETS as GIL STUMBLES out of the club too -- Gil calls after Selina -- still smitten -- still high --</scene_description> <character>GIL COLSON</character> <dialogue>Hey! Lost you in there</dialogue> <character>SELINA</character> <dialogue>Yeah -- I gotta go --</dialogue> <character>GIL COLSON</character> <dialogue>... oh -- you -- need a ride... ?</dialogue> <scene_description>BACK INSIDE THE SUV</scene_description> <character>GIL COLSON</character> <parenthetical>(gesturing at us)</parenthetical> <dialogue>that's me right there</dialogue> <character>HE'S POINTING RIGHT AT WHERE THE KILLER IS HIDING -- THE</character> <dialogue>HOOD SLIPS FROM VIEW AGAIN -- as SELINA GLANCES AT US -- distractedly considering for an instant -- then --</dialogue> <character>SELINA</character> <dialogue>No -- I'm -- I'm good</dialogue> <scene_description>A GYPSY CAB thankfully arrives -- she grabs the handle --</scene_description> <character>GIL COLSON</character> <dialogue>Well I hope I -- ? See you round?</dialogue> <scene_description>She jumps in -- slamming the door as the CAB SPEEDS OFF -- Gil watches her go, depressed... the HOOD edges back into frame, watching... Gil looks to the club, considers going in ... but turns, starting in our direction -- as the HOOD disappears -- Gil looks right at us, taking out his FOB -- OVERHEAD ON THE STREET - LOOKING STRAIGHT DOWN -- as Gil's lonely figure approaches the waiting SUV -- THROUGH THE PARTIALLY FOGGED WINDSHIELD -- we SEE Gil get in ... HOLD, as he fumbles for his seatbelt -- unaware of -- THE HOODED FORM SLOWLY RISING BEHIND HIM -- Gil leans forward -- briefly out of its reach -- as he strains to wipe fog from the windshield THE KILLER REMAINS EERILY STILL as Gil SETTLES BACK further than expected... confused, he turns -- SUDDENLY FACE TO HOOD WITH THE KILLER -- BEFORE HE CAN REACT -- THE KILLER P UMMEL S GIL WITH HIS METAL TOOL -- GIL SLUMPS onto the wheel -- HORN BLARING -- the KILLER YANKS HIM BACK -- TIGHT ON GIL IN THE SUV -- totally out of it -- BLOOD FANNING down his face -- we hear the KILLER BREATHING HARD -- then the SOUND OF DUCT TAPE RIPPING -- TAPE COVERS GIL'S MOUTH -- AS GIL STARTS TO COME TO -- MOANING IN PANIC -- THE KILLER LIFTS A CRUDELY MADE CLAMP -- Gil feels it SLIDING AROUND HIS NECK -- HIS MOANING INTENSIFIES -- HE BEGINS TO FLAIL THE KILLER'S HOOD UNDULATES with EACH BREATH THE AVIATOR GLASSES OVER HIS HOOD RHYTHMICALLY FOGGING --</scene_description> <character>RIDDLER</character> <dialogue>Just... hold... still ...</dialogue> <scene_description>We hear the SICKENING CLICKS OF METAL CINCHING TIGHTER -- TIGHTER -- GIL'S MOANING TURNS TO UTTER TERROR -- AS WE --</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED SKYSCRAPER CONSTRUCTION SITE - PRE-DAWN</stage_direction> <scene_description>A CRUISER pulls past an OLD SIGN: "A GOTHAM RENEWAL PROJECT -- FOR A BRIGHTER TOMORROW." GORDON gets out ON GORDON - RISING IN A CONSTRUCTION ELEVATOR - PRE-DAWN As it stops, he emerges onto -- AN UNFINISHED FLOOR - HIGH ABOVE THE CITY walking cautiously through a maze of gi rders to ... THE RUSTED BAT-SIGNAL, BEAM BLAZING into the sky. He shuts it off, thrusting the space further into darkness...</scene_description> <character>BATMAN (O.S.)</character> <dialogue>What do you know about a confidential informant in the Maroni case... ?</dialogue> <scene_description>Gordon turns, finally spotting BATMAN'S SILHOUETTE; then:</scene_description> <character>GORDON</character> <dialogue>Yeah, sure -- there�-··</dialogue> <scene_description>That's the rat we're looking for. Somehow Riddler knows who he is we find the rat, maybe that'll lead us to him.</scene_description> <character>GORDON</character> <dialogue>Where you getting this?</dialogue> <character>BATMAN</character> <dialogue>I have a source who spoke to the D.A. tonight. Gil's very nervous. He thinks the killer's targeting people connected to the case.</dialogue> <character>GORDON</character> <dialogue>·••l worked that case too... !</dialogue> <character>BATMAN</character> <dialogue>Riddler's not after you</dialogue> <character>GORDON</character> <dialogue>How do you know -- ?</dialogue> <character>BATMAN</character> <dialogue>You're not corrup t.</dialogue> <character>GORDON</character> <dialogue>...Colson's dirty?</dialogue> <scene_description>Batman nods. Gordon shakes his head outrage building --</scene_description> <character>GORDON</character> <dialogue>Well maybe I go after him lean on him to give up the rat</dialogue> <character>BATMAN</character> <dialogue>Too dangerous. Colson said they made a secret deal with this guy whatever it is, it's huge. And who knows how many people it touches -- politicians, police, the courts it could tear the city apart.</dialogue> <scene_description>Gordon reels</scene_description> <character>GORDON</character> <dialogue>Jesus -- this is a powder keg.</dialogue> <character>BATMAN</character> <dialogue>And Riddler's the match.</dialogue> <scene_description>VOICES ECHO as we PAN THROUGH THE SPACE -- sweeping past the BLACK MUSCLE KIT CAR, almost complete now ...</scene_description> <character>BATMAN (V.O.)</character> <dialogue>You know Carmine Falcone -- ?</dialogue> <character>SELINA (V.O.)</character> <dialogue>I told you this is a mob spot</dialogue> <character>BATMAN (V.O.)</character> <dialogue>You didn't tell me you had a relationship with him --</dialogue> <character>SELINA (V.O.)</character> <dialogue>We don't have a relationship, OK?!</dialogue> <scene_description>We FIND BRUCE at his work bench in A DARK SUIT, examining FOOTAGE from last night -- FREEZING on SELINA'S FACE --</scene_description> <character>ALFRED (O.S.)</character> <dialogue>Pretty. New friend of yours?</dialogue> <character>BRUCE</character> <dialogue>I'm not so sure...</dialogue> <character>ALFRED</character> <dialogue>Looks like you upset her.</dialogue> <scene_description>Bruce turns, annoyed Alfred smiles</scene_description> <character>ALFRED</character> <dialogue>Shall I take this as a good sign?</dialogue> <character>BRUCE</character> <dialogue>What?</dialogue> <character>ALFRED</character> <dialogue>Your attire. Is Bruce Wayne making an actual appearance?</dialogue> <character>BRUCE</character> <dialogue>There's a public memorial for Mayor Mitchell. Serial killers like to follow reaction to their crimes -- Riddler might not be able to resist.</dialogue> <character>ALFRED</character> <dialogue>Oh, that reminds me -- I took the liberty of doing a little work on this latest cipher ...</dialogue> <scene_description>THE RAT'S MAZE that was on COM MISSIONER SAVAGE'S head --</scene_description> <character>ALFRED</character> <dialogue>I'm afraid his Spanish is less than perfect, but I'm fairly certain it translates to "You are el rata alada" ...</dialogue> <character>BRUCE</character> <dialogue>"Rata alada" ... rat with wings?</dialogue> <character>ALFRED</character> <dialogue>It's slang for pigeon make any sense to you?</dialogue> <character>BRUCE</character> <dialogue>Yeah... a stool pigeon</dialogue> <character>ALFRED</character> <dialogue>-- where are your cuff links?</dialogue> <character>BRUCE</character> <dialogue>Couldn't find them</dialogue> <character>ALFRED</character> <dialogue>You can't go out like that!</dialogue> <scene_description>Bruce turns briefly to see Alfred removing his own</scene_description> <character>BRUCE</character> <dialogue>Alfred, I don't want your --</dialogue> <character>ALFRED</character> <dialogue>You have to keep up</dialogue> <scene_description>appearances -- you're still a Wayne -- Annoyed, Bruce relents, letting Alfred slip one on -- he sees a MONOGRAMMED W on the link gives Alfred a look --</scene_description> <character>BRUCE</character> <dialogue>What about you? Are you a Wayne?</dialogue> <character>ALFRED</character> <parenthetical>(doing other sleeve)</parenthetical> <dialogue>Your father gave them to me...</dialogue> <scene_description>That catches Bruce off guard -- he looks at him, thrown when Alfred glances up with a smile, making light --</scene_description> <character>ALFRED</character> <dialogue>I'm just loaning them to you -- I want them back...</dialogue> <scene_description>And as Bruce nods, a DIN OF HORNS AND TRAFFIC SWELLS --</scene_description> </scene> <scene> <stage_direction>INT. BRUCE'S VINTAGE SP ORTS CAR - DAY</stage_direction> <scene_description>CLOSE ON THEW CUFFLINK as Bruce drives approaching CITY HALL he gazes at the street PACKED WITH MOURNERS, MAKESHIFT MEMORIALS... his blood chills as he SEES -- SCRAWLED QUESTION MARK IN C ROSSHAIRS -- not far behind, ANOTHER HOODED MAN holds one that says: WHO ELSE DIES FOR GOTHAM'S LIES? ANOTHER holds: OUR DAY OF JUDGEMENT Bruce stares at the RIDDLER-INSPIRED PROTESTORS -- when a TRAFFIC COP presses to the window, double-takes, seeing Bruce. Bruce strains a smile -- as the Cop waves him in</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF GOTHAM CITY HALL - DAY</stage_direction> <scene_description>Bruce gets out as a VALET opens his door -- when --</scene_description> <character>PAPARAZZO (O.S.)</character> <dialogue>...is that Bruce Wayne...?</dialogue> <scene_description>Heads turn -- as news spreads -- CAMERAS BEGIN FLASHING --</scene_description> <character>PAPARAZZI</character> <dialogue>...Mr. Wayne?! Mr. Wayne!</dialogue> <scene_description>Bruce ignores them, reaching for his wallet as he hears --</scene_description> <character>A VOICE (O.S.)</character> <dialogue>-- can I helpya, Mr. Falcone?</dialogue> <scene_description>Bruce spins to see BODYGUARDS helping Carmine Falcone out of a car -- Falcone turns as a WOMAN climbs out in a HIGH- SLIT DRESS -- REMINISCENT OF SELINA'S -- her FACE IS CONCEALED under a VEILED HAT -- she takes Falcone's hand as they Join his PHALAN X OF GUARDS -- Bruce's eyes track her: is that Selina? He hands the Valet a wad of cash --</scene_description> <character>BRUCE</character> <dialogue>Keep it close</dialogue> <scene_description>Bruce moves after her -- through the thick crowd, bottle- necking by the entrance -- eyes on the Woman -- pressing into FALCONE'S SECURITY TEAM, trying to glimpse her veiled face -- when A HAND slaps into his chest</scene_description> <character>PENGUIN</character> <dialogue>Hey -- hey -- give us a wide berth here -- willya, slick?!</dialogue> <scene_description>Bodyguards grab Bruce too -- hearing the commotion, the Woman turns -- Bruce SEES -- it's CARLA --</scene_description> <character>FALCONE</character> <dialogue>Watchit, fellas -- you got the prince of the city there!</dialogue> <scene_description>They loosen their grip as Falcone steps over, smiles Some event, brought out the one guy in the city more reclusive than me. Bruce glares with edge, a sense of history between them --</scene_description> <character>BRUCE</character> <dialogue>I thought you never leave the Shoreline -- aren't you afraid someone'll take a shot at you?</dialogue> <character>FALCONE</character> <dialogue>Ya mean now that your father ain't around? Oz, you know Bruce Wayne?</dialogue> <character>PENGUIN</character> <dialogue>Whoa -- seriously?!</dialogue> <character>FALCONE</character> <dialogue>His father saved my life. I got shot in the chest, right here. Couldn't go to no hospital, so we showed up on his doorstep. He took me in, operated right on his dining room table -- kid here saw the whole thing.</dialogue> <parenthetical>(to Bruce)</parenthetical> <dialogue>You don't think that meant something, he did that?</dialogue> <character>BRUCE</character> <dialogue>Means he took the Hippocratic Oath.</dialogue> <character>FALCONE</character> <dialogue>... Hippocratic Oath, right... that's good...</dialogue> <character>BRUCE</character> <dialogue>-- s'cuse me</dialogue> <scene_description>And Bruce abruptly moves on, the bottle-neck opening</scene_description> </scene> <scene> <stage_direction>INT. GOTHAM CITY HALL - MOVING WITH BRUCE - DAY</stage_direction> <scene_description>A SEXTET PL AYS as MOURNERS continue to flood in -- on the prowl, BRUCE SCANS the crowd -- he CLOCKS RIFLED OFFICERS among SPECTATORS above -- studies the CRUSH OF FACES in the STANDING PUBL IC GALLERY -- some back here in tears -- Ladies and gentlemen, thank you all for coming to today's memorial for our beloved mayor, Don Mitchell, Jr. Our program will begin shortly. As a reminder, the family asks that those wishing to honor the mayor's memory consider a donation to the cause most dear to his heart, the Gotham Renewal Fund, our city's safety net. -- Bruce sees COPS STOPPING a SUSPICIOUS GUY -- when</scene_description> <character>AN EERIE VOICE BEHIND(O.S.)</character> <dialogue>What good's a safety net doesn't catch anybody...?</dialogue> <scene_description>Bruce turns -- to see A BITTER NOBODY in a hooded work jacket, angry eyes on the VIPS as they file past --</scene_description> <character>BITTER NOBODY</character> <dialogue>Didn't help !!!Y daughter when she needed it -- I can tell you that. Guy was just another rich scumsucker. He got what he deserved.</dialogue> <scene_description>Finally, his eyes shift to Bruce, a truly chilling look --</scene_description> <character>BITTER NOBODY</character> <dialogue>Yeah, I said it ...</dialogue> <scene_description>Bruce studies his acne-scarred face -- nodding -- when -- the man's expression changes trying to place Bruce</scene_description> <character>BITTER NOBODY</character> <dialogue>...hey... don't I know you?</dialogue> <character>A WOMAN'S VOICE</character> <dialogue>Bruce Wayne --</dialogue> <scene_description>Startled, Bruce spins to see BELLA REAL coming at him --</scene_description> <character>BELLA REAL</character> <dialogue>Why haven't you called me back?</dialogue> <character>BRUCE</character> <dialogue>...I'm sorry -- ?</dialogue> <character>BELLA REAL</character> <parenthetical>(no-nonsense)</parenthetical> <dialogue>I'm Bella Real -- I'm running for mayor -- I wouldn't be bothering you here, but your people keep telling me you're "unavailable". Will you walk with me?</dialogue> <scene_description>glowers -- Bella tucks her arm under Bruce's -- stealing him -- he sneaks a look at the BITTER NOBODY who glares as they recede -- then turns, disappearing in the crowd -- She leads Bruce to THE SEATED AREA, quiets, still blunt:</scene_description> <character>BELLA REAL</character> <dialogue>You know you really could be doing more for the city -- your family has a history of philanthropy, but as far as I can tell, you're not doing anything -- if I'm elected, I wanna change that --</dialogue> <scene_description>She smiles d isarmingly as they near the front -- a BOY'S CHOIR on the central steps begins SHUBERT'S "AVE MARIA" --</scene_description> <character>BELLA REAL</character> <dialogue>Will you wait for me? I wanna go pay my respects -- my God, what a mess -- his poor wife and son ...</dialogue> <scene_description>And she leaves him; struck by her nerve and charisma, Bruce watches her lean into the row to greet the widow when the Mayor's Ten-Year-Old Son glances awkwardly back ma king brief eye-contact -- a sad moment -- when --</scene_description> <character>HUSHED, FAMILIAR VOICE (O.S.)</character> <dialogue>'Scuse me, C hief? Can I talk to you ...?</dialogue> <scene_description>Bruce turns to spy GORDON with OFFICERS, a few rows back -- Gordon touches the arm of the seated CHIEF OF POLICE --</scene_description> <character>GORDON</character> <dialogue>Gil Colson is missing ...</dialogue> <character>CHIEF BOCK</character> <dialogue>...what?</dialogue> <character>GORDON</character> <dialogue>He hasn't been heard from since last night --</dialogue> <scene_description>-- when one of the Officers, Martinez, suddenly notices Bruce gazing in their direction -- a surprised smile --</scene_description> <character>MARTINEZ</character> <dialogue>...hey, Mr. Wayne ...</dialogue> <scene_description>Gordon falls silent -- a strange moment for Bruce as Batman's closest ally glares warily at the billionaire TIGHT ON BRUCE as he turns away -- still listening -- Christ, not again -- you got people looking for him, Jim? WHEN SUDDENLY -- DISTANT SCREAMS -- an AWFUL GROANING ENGINE WHINES from somewhere outside -- then -- SICKENING THUDS -- BRUCE'S EYES IMMEDIATELY FLIT UP IN ALARM TO -- THE SECOND S TORY LANDING where S PECTATORS PANIC -- SEEING SOMETHING THROUGH THE WINDOWS -- EVERYONE TURNING -- ALL EXCEPT A SILHOUETTED FIGURE -- GAZING EERILY DOWN IN BRUCE'S DIRECTION -- WAITING FOR SOMETHING -- WHEN -- BAMMMMMM!!! THE MAIN ENTRANCE EXPLODES IN A B LIZZARD OF GLASS AND CONCRETE -- AS THE D.A.'S SUV RIPS THROUGH THE DOORS -- FLOWERS PICKED UP IN THE GRILL -- PANDEMONIUM -- AS THE CROWD SCATTERS -- SOME TOSSED INTO THE AIR -- THE VEHICLE S LAMMING PAST GUARDRAILS INTO THE SEATED AREA BRUCE SPINS -- TO SEE THE MAYOR'S SON A FEW FEET AWAY FROZEN IN SHOCK AS OTHERS FLEE ALL AROUND HIM -- HE HURLS HIMSELF AT THE BOY -- TACKLING HIM OUT OF THE SUV'S PATH AS IT ROARS PAST -- LAUNCHING SEATS OVER THEIR HEADS -- FINALLY CRASHING INTO THE CENTRAL STAIRCASE -- BUCK LING UPWARD -- ENGINE GRINDING -- TILL IT... STOPS... A surreal moment of quiet, then screams, tears, panic as Bruce lifts his head off the boy's to look over at the wreck -- then up AT THE SECOND FLOOR: THE FIGURE'S GONE -- people flee in all directions, as B RUCE RISES -- watching the boy run to his mother's arms -- BRUCE TURNS TO SEE -- GORDON AND TEN COPS SURROUNDING THE SUV -- GUNS RAISED -- THE SUV IS COVERED IN A SCRAWLED CROSSWORD PUZZLE PATTERN -- THE ENDLESSLY REPEATING MESSAGE: "D.A. -- D.O.A.?" BRUCE edges closer past FLEEING MOURNERS -- WHEN -- THE DENTED DRIVER DOOR SUDDENLY CRACKS OPEN -- THE HALL RINGS WITH THE CLAMOR OF DOZENS OF BULLETS CHAMBERED AT ONCE --</scene_description> <character>GORDON</character> <dialogue>GET OUTTA THE CAR! HANDS UP!</dialogue> <scene_description>Bruce watches the driver door slowly open all the way... A FIGURE staggers out, hands raised, terrified --</scene_description> <character>GORDON</character> <dialogue>Holy Christ ... it's Colson.</dialogue> <scene_description>The D.A. has a bloody face, tape over his mouth with the words "NO MORE LIES" the CLAMP STILL AROUND HIS NECK -- LIGHTS RAPIDLY FLASH ON IT -- a c op notices, horrified --</scene_description> <character>COP</character> <dialogue>There's a BOMB around his neck!!!</dialogue> <scene_description>SHIELDING THEMSELVES -- except Bruce who just stares at -- the D.A. who REMAINS IN ONE PIECE -- everyone looks up, confused ... when the D.A. -- sheepishly lifts his hand ... Pointing to A CELL TAPED TO HIS PALM -- as BEEP-BEEP-BEEP -- it RINGS again -- Gordon turns, calling to the room --</scene_description> <character>GORDON</character> <dialogue>Let's get this place cleared! Now!</dialogue> <scene_description>Police begin ushering people out -- but Bruce hesitates, chilled, as he notices ... taped to the D.A.'s chest is A GREETING CARDi it's addressed: "To The Batman" ... BLACKNESS LIFTS REVEALING BRUCE as he leans in, REACHING INTO THE TRUNK OF HIS CAR -- SEIZING AN EXPENSIVE LEATHER DUFFLE WIDE SHOT - OUTSIDE GOTHAM CITY HALL - CONTINUOUS Bruce slams his trunk -- disappearing into the crowd as a F LOOD OF EMERGENCY VEHICLES SCREECH INTO VIEW --</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM CITY HALL - SHORT TIME LATER</stage_direction> <scene_description>Jammed with POLICE, S WAT, ATF, K9 UNITS, NEWS CREWS -- outside a CRISIS COMMAND TRAILER, TECHS set up MONITORS as THE LEADS ARGUE -- GORDON and HIS MEN watch, appalled:</scene_description> <character>GORDON</character> <dialogue>...unbelievable ...</dialogue> <character>MARTINEZ</character> <dialogue>They're fightin' over jurisdiction, and that poor bastard's gonna blow ... !</dialogue> <scene_description>INSIDE THE EVACUATED CITY HALL A SWAT TEAM crouches behind BLAST SHIELDS in the doorway, RIFLES TRAINED ON GIL, sitting alone in the distance -- the cell on his hand echoing as it J UST KEEPS RINGING... GIL lifts his head, hopeless, as a SMALL, WHIRRING POLICE ROBOT rolls to a stop before him. He stares oddly as a camera slowly extends toward his head -- CRISIS COMMAND - CONTINUOUS A COMMAND CRISIS TECH at ONE OF THE MONITORS yells out --</scene_description> <character>COMMAND CRISIS TECH</character> <dialogue>We got a picture!</dialogue> <scene_description>STARING SADLY INTO THE ROBOT CAMERA -- when suddenly he turns, struck -- shock beginning to fill his eyes --</scene_description> <character>CHIEF BOCK</character> <dialogue>...what's he lookin' at...?</dialogue> <scene_description>INSIDE CITY HALL Gil sits there, frozen -- as -- BATMAN EMERGES FROM THE SHADOWS -- moving slowly across the floor toward him --</scene_description> <character>SWAT TEAM MEMBER</character> <dialogue>... holy shit...</dialogue> <scene_description>77A CHIEF BOCK'S EYES WIDEN 77A As Batman appears on the ROBOT'S CAMERAS</scene_description> <character>CHIEF BOCK</character> <dialogue>...are you kiddin' me?! What the hell's he &lt;loin'...?! Gordon!!!</dialogue> <scene_description>Gordon presses closer to see BATMAN APPROACHING GIL --</scene_description> <character>CHIEF BOCK</character> <dialogue>Your guy's gonna get himself killed in there... !</dialogue> <scene_description>Gordon watc hes, with growing concern -- AS -- 77B INSIDE CITY HALL 77B Batman stops, towering over Gil -- who rises, scared... Batman reaches out, peels THE TAPE OFF HIS MOUTH --</scene_description> <character>GIL COLSON</character> <dialogue>He made me do it -- said if I didn't do exactly what he said he'd kill me -- please -- can't somebody get this thing off?!</dialogue> <character>BATMAN</character> <dialogue>Looks like a combination lock</dialogue> <character>GIL COLSON</character> <dialogue>-- can't you cut it off...?!</dialogue> <scene_description>Batman carefully touches a NASTY SNARL OF TRIP WIRES --</scene_description> <character>BATMAN</character> <dialogue>Not if you want to keep your head.</dialogue> <character>(CONT INUED)</character> <dialogue>cartoon of an OLD PHONE LITERALLY RINGING OFF THE HOOK: "In These Trying Times, Never Forget ... " Batman opens it: " ...I'm Just A Phone Call Away" -- under that, in ANGRY SCRAWL: "ANSWER". Batman points to the RINGING CELL -- Gil lifts it -- as Batman reaches to P RESS ANSWER --</dialogue> <character>GIL COLSON</character> <dialogue>-- wait -- wait, NO -- WHAT IF IT'S CONNECTED TO THE -- ?</dialogue> <scene_description>"BONNNG!" -- the PHONE'S SCREEN DISPLAYS A LIVE SPLIT- SCREEN IMAGE: RIDDLER ON ONE SIDE 1 BATMAN AN D GIL ON THE OTHER -- Ri ddler stares from under his hood for a beat... then HIS CHILLING VOICE COMES CALMLY THROUGH THE CHANGER:</scene_description> <character>RIDDLER</character> <dialogue>...you�- ..</dialogue> <character>BATMAN</character> <dialogue>...who are you?</dialogue> <character>RIDDLER</character> <dialogue>Me? I'm... I'm nobody. I'm just... an instrument... Here to unmask the truth about this cesspool ... we call a city ...</dialogue> <character>BATMAN</character> <dialogue>...unmask...?</dialogue> <character>RIDDLER</character> <dialogue>Yes... let's do it together, ok? I've been trying to reach you ... You're part of this too...</dialogue> <character>BATMAN</character> <dialogue>Me? How am I part of this?</dialogue> <character>RIDDLER</character> <dialogue>You'11 see...</dialogue> <scene_description>CRISIS COMMAND - CONTINUOUS Everyone presses around another MONITOR in horror -- GCl running the FEED FROM RIDDLER'S PHONE, broadcasting live through social media -- "BATMAN TALKS TO KILLER LIVE"</scene_description> <character>RIDDLER (ON MONITOR)</character> <dialogue>Say hello to my followers -- we're live! They're here to w atch our little trial...</dialogue> <scene_description>Bock turns to the Tech -- beside himself -- Can you trace the goddamn call?!</scene_description> <character>COMMAND CRISIS TECH</character> <parenthetical>(throws up hands)</parenthetical> <dialogue>It's it's not a call, chief -- it's an fil2l2</dialogue> <scene_description>BACK INSIDE CITY HALL Riddler gazing back at Batman and Gil through the phone --</scene_description> <character>RIDDLER</character> <dialogue>At the moment... the man across from you, Mr. Colson, is dead</dialogue> <character>GIL COLSON</character> <dialogue>(panics)</dialogue> <character>RIDDLER</character> <dialogue>(chilling calm)</dialogue> <scene_description>Jesus CHRIST -- wait a minute --</scene_description> <character>GIL COLSON</character> <dialogue>-- can we PLEASE get somebody OVER HERE -- ?!</dialogue> <character>RIDDLER</character> <dialogue>-- s hut up --</dialogue> <character>GIL COLSON</character> <dialogue>THIS PSYCHO 'S GONNA KILL</dialogue> <character>RIDDLER</character> <dialogue>(scarily distorted)</dialogue> <character>ME</character> <dialogue>RIDDLER</dialogue> <character>SHUUUUUT UUUUUP --</character> <dialogue>-- you DESERVE to be dead after what you did!!! You HEAR ME?!!!</dialogue> <character>THE TERRIFYING OUTBURST MAKES GIL FALL SILENT</character> <dialogue>RIDDLER</dialogue> <parenthetical>(then, oddly calm)</parenthetical> <dialogue>I'm giving you a chance. N o one... ever... gave me a chance...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Now... ever since I was a child, I've always lo ved little puzzles... For me, they're ... a retreat from the horrors of our world ... Maybe they can bring some comfort to you too, Mr. Colson.</dialogue> <character>GIL COLSON</character> <dialogue>You... want me to do ... puzzles?</dialogue> <character>RIDDLER</character> <dialogue>Yes. Three riddles. In two minutes. You give me the answers, and I'll give you the code for the lock. Do. .. you ... understand ... ?</dialogue> <scene_description>-- uh -- ok, yeah -- so you just -- you want me to--? BEEP! -- GIL SHRIEKS -- A COUNTDOWN APPEARS ON THE COLLAR -- 2:00 MINUTES -- and Riddler starts without warning</scene_description> <character>RIDDLER</character> <dialogue>Riddle number ONE: it can be cruel, poetic, or blind ... but when it's denied, it's violence you may find.</dialogue> <character>GIL COLSON</character> <dialogue>-- w-w-wait -- can you repeat that -- I didn't -- I didn't cruel ... poetic... ? BATMAN GIL COLSON</dialogue> <scene_description>Justice ... ...what?</scene_description> <character>BATMAN</character> <dialogue>The answer's justice.</dialogue> <character>RIDDLER</character> <dialogue>Yes. Justice. And you.. . were supposed to be an arm of justice in this city, along with the late mayor and police commissioner ... were you not, Mr. Prosecutor...?</dialogue> <character>GIL COLSON</character> <dialogue>Well, yeah, I mean, of course we--</dialogue> <character>RIDDLER</character> <dialogue>Riddle number TWO: if you are justice, please do not lie, what is the price for your blind eye?</dialogue> <scene_description>.:</scene_description> <character>GIL COLSON</character> <dialogue>...price....?</dialogue> <character>BATMAN</character> <dialogue>Bribes.</dialogue> <character>GIL COLSON</character> <dialogue>... oh God</dialogue> <character>BATMAN</character> <dialogue>-- he's asking how much it costs ... for you to turn your back --</dialogue> <character>GIL COLSON</character> <dialogue>-- ya gotta be kiddin' me--</dialogue> <character>BATMAN</character> <dialogue>-- how much -- ?</dialogue> <scene_description>-- like I'm the only one?? fifty-eight seconds... ! I didn't do anything worse than anyone else!</scene_description> <character>BATMAN</character> <dialogue>-- how MUCH -- ?</dialogue> <scene_description>Gil hesitates... can't believe he's doing this... then...</scene_description> <character>GIL COLSON</character> <dialogue>...ten... grand. Ten Gs a month. I take a ... monthly payment not to prosecute... certain cases...</dialogue> <character>BATMAN</character> <dialogue>What cases?</dialogue> <character>GIL COLSON</character> <dialogue>Hey, he didn't ask that -- c'mon ten grand that's your answer!</dialogue> <character>RIDDLER</character> <dialogue>OK, OK, don't lose your HEAD, Mr. Colson! Just one more to go ... before your time... runs... out. Last riddle: since your justice is so select, please tell us which vermin you're paid to protect ...</dialogue> <character>GIL COLSON</character> <dialogue>Jesus... which vermin... ?</dialogue> <character>BATMAN</character> <dialogue>The rat. The informant you all protect...</dialogue> <character>GIL COLSON</character> <dialogue>...how do you know about that -- ?</dialogue> <character>BATMAN</character> <dialogue>-- I'm trying to help you -- what's his name -- ?</dialogue> <character>GIL COLSON</character> <dialogue>-- no ... no-no-no-no-no you don't understand --</dialogue> <character>RIDDLER</character> <dialogue>twenty seconds --</dialogue> <character>BATMAN</character> <parenthetical>( grabbing him hard)</parenthetical> <dialogue>he's gonna kill you --</dialogue> <character>GIL COLSON</character> <dialogue>-- I'm dead either way! You're talking to a DEAD MAN, OK?</dialogue> <scene_description>but I give you that NAME -- I got FAMILY -- people I CARE about they'll KILL THEM TOO</scene_description> <character>BATMAN</character> <dialogue>what are you talking about ?</dialogue> <character>GIL COLSON</character> <dialogue>people are WATCHING</dialogue> <character>BATMAN</character> <dialogue>what peop le WHO ?</dialogue> <character>GIL COLSON</character> <dialogue>LISTEN TO ME, GODDAMMIT YOU MAY THINK YOU KNOW WHAT THIS IS, BUT YOU DON 'T -- IT'S SO MUCH BIGGER THAN YOU COULD EVER IMAGINE, IT'S THE WHOLE SYSTEM</dialogue> <character>RIDDLER</character> <dialogue>Five...! Four ...! Three...!</dialogue> <character>RIDDLER</character> <dialogue>-- GOOD byyyyyyyyye --</dialogue> <character>GIL COLSON</character> <dialogue>-- OH NO -- OH GOD -- SO MEBODY GET</dialogue> <character>THIS OFFA ME -- SO MEBODY GET THIS--</character> <dialogue>TIGHT ON BATMAN -- SE EING THE COUNTER HIT 00:00 -- HE</dialogue> <character>TURNS -- SHIELDING HIMSELF -- AS KA-BOOOOOOOM! -- A BLAST</character> <dialogue>ERUPT S -- P ROPELLING BATMAN BACK -- BAT SUIT IN FLAMES --</dialogue> <character>AS HE SLAMS TO THE FLOOR -- SMOKE SWALLOWING HIM -- AND</character> <dialogue>US!!! WE HEAR ONLY HIGH-PIT CHED RINGING</dialogue> <character>BATMAN LIES -- DAZED -- HE STRUGGLES TO LIFT HIS EYES --</character> <dialogue>AS GORDON RUSHES FORWARD -- OTHER COPS TOO -- GUNS DRAWN</dialogue> <character>-- SOME AROUND GIL'S NOW LIFELESS BODY -- OTHERS AROUND</character> <dialogue>BATMAN -- WHO GAZES BACK, VISION BLURRING -- COPS YELLING</dialogue> </scene> <scene> <stage_direction>INT. GCP D - INTERROGATION ROOM - BATMAN'S POV - NIGHT</stage_direction> <scene_description>BATMAN COMES TO -- FOCUSING on a TACTICAL MEDIC shining light in his eyes -- VOICES FADE IN -- cops above in debate, gazing down with contempt -- Gordon holding them off -- when one grabs for Batman' s mask</scene_description> <character>MUSCLE COP</character> <dialogue>what're we &lt;loin' here -- just</dialogue> <scene_description>take it off</scene_description> <character>GORDON</character> <dialogue>hey-hey-hey</dialogue> <scene_description>the verge of violence -- Gordon pushes the cop back giving Batman room to rise off the interrogation table</scene_description> <character>CHIEF</character> <dialogue>You protecting this He interfered in an situation! Colson's</dialogue> <character>BOCK</character> <dialogue>guy, Gordon?! active hostage blood is on</dialogue> <scene_description>his hands!</scene_description> <character>BATMAN</character> <dialogue>Maybe it's on yours.</dialogue> <character>CHIEF BOCK</character> <dialogue>... what'd you say?!</dialogue> <character>BATMAN</character> <dialogue>He'd rather die than talk. What was he afraid of? You?</dialogue> <character>CHIEF BOCK</character> <dialogue>You sonuvabitch! Y ou have any idea what kinda trouble you're in?! You could be an accessory to MURDER!</dialogue> <character>MUSCLE COP</character> <dialogue>Why we p layin' games here, Chief?!</dialogue> <scene_description>He GRABS ONTO THE COWL -- BATMAN ERUPTS -- KNOC KING HIM OFF BALANCE -- MORE COPS LAUNCH THEMSELVES at Batman -- a WILD MELEE -- Batman having his way with them -- as the room g oes crazy -- ALAR MED, GORDON TRIES TO BREAK IT UP</scene_description> <character>GORDON</character> <dialogue>Whoa -- back off -- BACK OFF --</dialogue> <character>CHIEF BOCK</character> <dialogue>GREAT -- NOW I GOT YOU ON</dialogue> <character>ASSAULTING AN OFFI CER!!!</character> <dialogue>BATMAN</dialogue> <parenthetical>(steps at cops again)</parenthetical> <dialogue>You got me on assaulting three</dialogue> <character>GORDON</character> <dialogue>-- HEY HEY HEY -- WHAT'S THE</dialogue> <scene_description>GORDON PUSHES HIM BACK S URPRISINGLY HARD -- BATMAN STOPS, SHOCKED, eyes flaring -- Gordon glares back. serious -- their eyes locking ... until Batman fills with contempt ...</scene_description> <character>BATMAN</character> <dialogue>... you too now ... ?</dialogue> <parenthetical>(dark eyes on Batman)</parenthetical> <dialogue>Lemme handle this, Chief -- gimme a minute ...</dialogue> <character>CHIEF BOCK</character> <dialogue>You qonna put yourself on the line for this scumbag, Jim ... !?</dialogue> <character>GORDON</character> <dialogue>Just ... gimme a minute ...</dialogue> <scene_description>And he opens the door -- tensely escorts Batman out -- INTO THE HALL -- as cops crowd out to watch from a distance ... At the far end, Gordon gives Batman a shove -- they face each other -- angry expressions -- Gordon utters, low --</scene_description> <character>GORDON</character> <dialogue>We gotta get you outta here ...</dialogue> <scene_description>Batman responds in kind, making it look like an argument:</scene_description> <character>BATMAN</character> <dialogue>That'll put a lotta heat on you.</dialogue> <character>GORDON</character> <dialogue>Well, you punched me in the face .</dialogue> <character>BATMAN</character> <dialogue>Uh-huh --</dialogue> <character>GORDON</character> <dialogue>Those stairs lead to the roof --</dialogue> <scene_description>Batman's eyes clock the door -- when beyond it he SPOTS -- A GROUP OF DETECTIVES conferring -- struck, realizing ONE IS THE MUSTACHED BOUNCER FROM THE ICEBERG LOUNGE -- !</scene_description> <character>BATMAN</character> <dialogue>Who's the mustache?</dialogue> <character>GORDON</character> <dialogue>That's Kenzie in narcotics</dialogue> <character>BATMAN</character> <dialogue>...he's one of the guys I got into it with at the Iceberg Lounge.</dialogue> <character>GORDON</character> <dialogue>...what are you saying? Kenzie moonlights for Penguin?</dialogue> <scene_description>Or he moonlights as a cop -- When KENZIE SEES BATMAN staring -- alarmed -- AND WITHOUT WARNING, BATMAN PUNCHES GORDON RIGHT IN THE FACE GORDON GOES DOWN -- BATMAN BREAKS FOR THE STAIRWELL -- THE COPS STARTING MADLY DOWN THE HALL AFTER HIM -- ! IN THE STAIRWELL</scene_description> <character>BATMAN RIPS OUT HIS GRAPPLE GUN -- LAUNCHING THE HOOK TO</character> <dialogue>THE RAILING, TEN STORIES ABOVE -- RETRACTING THE LINE --</dialogue> <scene_description>ON THE ROOF</scene_description> <character>BATMAN BLASTS FROM THE STAIRWELL -- TO THE EDGE -- GAZING</character> <dialogue>AT THE HUGE DROP -- THE DIN OF COPS APPROACHING -- HE</dialogue> <character>REACHES DOWN -- YANKING TABS ON EACH HEEL -- ZIPPING HIS</character> <dialogue>CLOAK TO HIS BOOTS -- HIS LEGS -- HIS ARMS --</dialogue> <character>-- THE COPS CHARGE THE ROOF -- AIMING AT BATMAN -- AS HE</character> <character>BATMAN SOARING WILDLY DOWN</character> <dialogue>THEIR SHOCKED FACES RECEDE</dialogue> <character>HIS CAPE NOW A WINGSUIT</character> <dialogue>AS WE FLY WITH BATMAN --</dialogue> <character>DESCENDING RAPIDLY , DANGEROUSLY -- TO THE STREET BELOW</character> <dialogue>WHERE BATMAN HITS INTO A HARD SHOULDER-ROLL -- SPINNING</dialogue> </scene> <scene> <stage_direction>EXT. UNFINISHED SKYSCRAPER - HIGH OVER THE CITY - NIGHT</stage_direction> <scene_description>Batman waits in the RAIN... as the ELEVATOR ARRIVES... Gordon steps out, FACE BRUISED -- shaking his head --</scene_description> <character>GORDON</character> <dialogue>...could've at least pulled your punch, man...</dialogue> <character>BATMAN</character> <dialogue>I did.</dialogue> <character>GORDON</character> <dialogue>Bock put out an A.P.B on you... you really think he's in on this?</dialogue> <character>BATMAN</character> <dialogue>I don 't trust any of them, do you?</dialogue> <character>GORDON</character> <dialogue>I only trust you --</dialogue> <scene_description>What's a narcotics cop doing with Falcone's right hand man ... ?</scene_description> <character>GORDON</character> <dialogue>Colson said cops protect the rat. Maybe Kenzie's part of it.</dialogue> <character>BATMAN</character> <dialogue>...you think Penguin's the rat?</dialogue> <character>GORDON</character> <dialogue>His club caters to the mob, Maroni was a regular -- Penguin would've been privy to a lotta dirt -- And the D.A. was a regular too -- maybe Penguin got himself into some trouble, and making a deal was his way out...</dialogue> <character>BATMAN</character> <dialogue>...the rata alada ...</dialogue> <character>GORDON</character> <dialogue>The what?</dialogue> <character>BATMAN</character> <dialogue>Riddler's latest, that cipher in the maze. Means a rat with wings like a stool pigeon.</dialogue> <character>GORDON</character> <parenthetical>(getting it)</parenthetical> <dialogue>A penguin's got wings too.</dialogue> <character>BATMAN</character> <dialogue>Time for me to have another conversation with him</dialogue> <character>GORDON</character> <dialogue>What about the Riddler? He's gonna kill again.</dialogue> <character>BATMAN</character> <dialogue>It's all connected -- like it or not, it's his game now. We wanna find Riddler, we gotta find that rat ...</dialogue> <character>GORDON</character> <dialogue>Think Penguin'll talk ?</dialogue> <character>BATMAN</character> <dialogue>I'll be persuasive ...</dialogue> <scene_description>MENACING BREATHING as we lurk... watching the rear of the club through RAIN and FOG as WIPERS SWISH ... The BREATHS STOP as PENGUIN exits with KENZIE and T WINS -- Kenzie has TWO DU FFLES; he opens the trunk of his CAMRY</scene_description> <character>GORDON (OVER RADIO)</character> <dialogue>Wonder what's in the bags... Should we move in... ?</dialogue> </scene> <scene> <stage_direction>INT. GORDON'S C RUISER - SAME MOMENT</stage_direction> <scene_description>Gordon waits tensely with his WALKIE, watching Penguin and Twins get into an ESCALADE -- when an ANSWER COMES:</scene_description> <character>BATMAN (OVER RADIO)</character> <dialogue>Let's follow them.</dialogue> <scene_description>-- the cars take off past Gordon --</scene_description> </scene> <scene> <stage_direction>EXT. WATERFRONT STREET - DESERTED WAREHOUSE - NIGHT</stage_direction> <scene_description>The Camry and Escalade stop by a weathered sign: "GOTHAM RECYCLING -- A RENEWAL CORP" -- Kenzie HONKS his horn -- a ROLL-DOOR LIFTS -- he and Penguin get out</scene_description> </scene> <scene> <stage_direction>INT. GORDON'S C RUISER - BELOW AN UNDERPASS - SAME MOMENT</stage_direction> <scene_description>Gordon sees them approach the building; lifts his WALKIE:</scene_description> <character>GORDON</character> <dialogue>They stopped on Waterfront Street -- the recycling plant --</dialogue> <scene_description>-- a beat then Batman crackles quietly back</scene_description> <character>BATMAN (OVER RADIO)</character> <dialogue>I'm here...</dialogue> <scene_description>HIGH OVER PENGUIN AND KENZIE - FROM THE WAREHOUSE ROOF A COWL presses into frame: BATMAN. The two men enter the building -- MOVE with Batman -- to LOOK IN A SKYLIGHT at the PLANT BELOW -- where WORKERS lead Penguin to a CREW IN SURGICAL MASKS filling VIALS WITH CHEMICALS by BUBBLING COOKERS. Penguin inspects the operation. A MAN IN A SUIT arrives, shaking his hand -- Batman watches as EYE-DROPPERS are screwed onto the vials -- (whispers to wrist) It's a drug lab. Drops. This is a buy...</scene_description> <character>GORDON (OVER RADIO)</character> <dialogue>Looks like they got Maroni's operation up and running again.</dialogue> <character>BATMAN</character> <dialogue>Or they never shut it down at all.</dialogue> <character>GORDON (OVER RADIO)</character> <dialogue>What're you saying? Biggest drug bust in GCPD history was a fraud?</dialogue> <scene_description>-- Batman spots a GLINT STRAFING from below, moves to the edge -- a DARK FIGURE COASTS ON A MOTORCYCLE in the alley -- SELINA IN HER CATSUIT -- she hops off, uncoiling her MOTORCYCLE LOCK CHAIN -- Batman whispers into his wrist --</scene_description> <character>BATMAN</character> <dialogue>... this just got complicated.</dialogue> </scene> <scene> <stage_direction>INT. GORDON'S CRUISER - SAME MOMENT</stage_direction> <scene_description>He cocks his head, quizzical</scene_description> <character>GORDON</character> <dialogue>Whattaya mean...?</dialogue> <scene_description>ON THE COBBLESTON ES IN FRONT The TWINS stand under umbrellas by the Camry -- ONE HEARS a CLINK by his feet -- looks down to see THE LOCK CHAIN LOOPING FROM UNDER THE CAR AROUND HIS ANKLES -- IT YANKS TIGHT -- SENDING HIM FACE-FIRST INTO THE GROUND -- the other twin turns -- confused -- where'd my brother go? He moves around to see -- SELINA WIELDING THE CHAIN LIKE A WHIP -- SNAPPING IT INTO HIS FACE -- HE CRUMPLES TOO --</scene_description> <character>SELINA POPS THE TRUNK -- FLIPS HER VISOR, GAZING INSIDE</character> <dialogue>AT A TRIO OF DUFFLES -- UNZIPS ON E -- STUFFED WITH CASH</dialogue> <character>A VOICE BEHIND HER (O.S.)</character> <dialogue>Dangerous crowd you're stealing from --</dialogue> <scene_description>SELIN A SPINS -- READY TO STRIKE -- when she sees BATMAN -- Jesus ... this how you get your kicks, hon? Sneaking up on girls in the dark?</scene_description> <character>BATMAN</character> <dialogue>That why you work at the club ? It was all just a score -- ?</dialogue> <character>SELINA/CATWOMAN</character> <parenthetical>(back to work)</parenthetical> <dialogue>You know, I'd love to sit here and go over every gory detail with you, bat boy -- but those assholes'll be back--</dialogue> <scene_description>She shoulders two duffles, unzips the third -- FALLING SILENT. Batman moves closer ... inside is a BODY. Filling with dread, she opens the bag further to see -- ANNIKA'S FACE -- Selina is rocked... eyes well with rage, tears -- WHEN SUDDENLY THE CAMRY IS RIDDLED WITH GUNFIRE! BATMAN LUNGES FOR SELINA -- PUSHING HER TO COVER -- AS HE TAKES ON A HAIL OF BULLETS -- SELINA SPINS -- TO SEE BATMAN, MOTIONLES S ON THE GROUND SHE PEEKS OUT TO SEE</scene_description> <character>PENGUIN BY THE ROLL-DOOR</character> <dialogue>BACKED UP BY KENZIE AND A CREW OF THUGS -- FIRING TOO</dialogue> <character>FIRING AN UZI PISTOL</character> <dialogue>GORDON</dialogue> <character>HITS THE GAS -- SCREECHING CLOSER -- SKIDDING TO A STOP --</character> <scene_description>PENGUIN</scene_description> <character>STALKS FOR THE CAMRY, SHOOTING, BERSERK -- KENZIE GRABS</character> <character>SELINA CRAWLS ON HANDS AND KNEES IN TERROR</character> <dialogue>BACK TO WHERE BATMAN FELL -- BUT HE IS NO LONGER THERE</dialogue> <character>SHE LOOKS</character> <dialogue>SUDDENLY A GUTTERAL, TERRIFYINGLY LOUD ENGINE GROWLS!</dialogue> <character>PENGUIN SPINS TO THE INKY DARKNESS OF THE ALLEY TO SEE</character> <dialogue>FLAMES SHOOTING OMINOUSLY FROM SIDE EXHAUSTS -- RED</dialogue> <character>NITROUS VAPOR BLASTS -- THE FLASHES REVEALING A MENACING</character> <dialogue>FORM -- A VISION FROM A HORROR MOVIE -- THE BATMOBILE!</dialogue> <character>PENGUIN AND THE OTHERS GAPE AT THE EMBLEM OF VENGEANCE!</character> <dialogue>AND PENGUIN JUST BOLTS FOR THE ESCALADE -- DIVING IN --</dialogue> <character>OPPOSITE DIRECTION -- SELINA CHARGING HIM ON HER BIKE</character> <dialogue>SNATCHING THE DUFFLES RIGHT FROM HIS HAND -- RACING AWAY!</dialogue> <character>PENGUIN'S ESCALADE SCREECHES OUT -- THE BATMOBILE</character> <dialogue>CATAPULTING AFTER HIM -- WITH A CRAZY NITROUS HIT --</dialogue> <character>FISHTAILING -- TIRES FINALLY GRIPPING GROUND -- GORDON</character> </scene> <scene> <stage_direction>INT./EXT. DRIVING ON GOTHAM STREETS - IMMEDIATELY</stage_direction> <character>TIRES VIOLENTLY DRUMMING ON WET COBBLESTONES -- PENGUIN</character> <dialogue>MANNING THE ESCALADE IN PANIC -- AS -- THE BATMOBILE</dialogue> <character>CHARGES IN AND OUT OF VIEW LIKE A RAGING, HUNGRY SHARK --</character> <dialogue>ENGINE SHRIEKING -- BAM-SCREEEEEE!!! -- IT SLAMS BRUTALLY</dialogue> <character>INTO THE ESCALADE -- TRYING TO MUSCLE IT OFF THE ROAD!!!</character> <dialogue>PENGUIN</dialogue> <character>-- JESUS CHRISTMAS -- !!!</character> <dialogue>PENGUIN SCRAMBLES FOR HIS UZI -- UNLEASHING IT THROUGH</dialogue> <character>HIS PASSENGER WINDOW -- GLASS AND BULLETS SPRAYING THE</character> <dialogue>BATMOBILE -- HITS SPARKING OFF ITS ARMORED SURFACE AND</dialogue> <character>BULLET-PROOF WINDOWS -- AS IT SLAMS: BAM-SCREEEEEE!!! --</character> <dialogue>HARD INTO THE ESCALADE AGAIN!</dialogue> <character>PENGUIN STRUGGLES FOR CONTROL -- SUDDENLY CRANKING THE</character> <dialogue>WHEEL -- STEERING OFF THE ROAD -- LURCHING WILDLY UP AN</dialogue> <character>EMBANKMENT -- RIGHT ONTO THE HIGHWAY --</character> <dialogue>90 M.P.H. TRAFFIC SWERVING -- COLLIDING -- AS A MASSIVE</dialogue> <character>DISPLAY OF VEHICLES -- MADLY HYDROPLANE -- THE SUV SPINS</character> <dialogue>ACROSS LANES -- SLOWING JUST ENOUGH TO REGAIN CONTROL --</dialogue> <character>PENGUIN SNAPS HIS HEAD TO SEE -- THE BATMOBILE CRESTING</character> <dialogue>THE EMBAN KMENT -- PENGUIN PUNC HES IT -- VEERING OFF DOWN</dialogue> <character>THE FLOODED HIGHWAY -- WATER SPRAYING IN HIS WAKE --</character> <dialogue>BATMOBILE BARRELLING AFTER -- !!!</dialogue> <character>PENGUIN SLALOMS RECKLESSLY THROUGH SPEEDING TRAFFIC --</character> <dialogue>BARELY MAINTAINING CONTROL -- HIS CRAZED EYES FLIT TO THE</dialogue> <character>REARVIEW -- THE BATMOBILE RELENTLESSLY MATCHING HIM --</character> <dialogue>MOVE FOR MOVE -- DESPERATE, PENGUIN STREAKS AHEAD</dialogue> <character>SUDDENLY WALLED IN BY --</character> <dialogue>A LONG LINE OF EIGHTEEN-WHEELERS CHUGGING AT HIGH SPEED --</dialogue> <character>PENGUIN GLANCES BACK -- THE BATMOBILE GAIN ING -- NOWHERE</character> <dialogue>TO GO NOW -- TRAPPED -- WHEN -- PENGUIN DOES SOMETHING</dialogue> <character>CRAZY -- ACCELARATING EVEN FASTER -- P AST THE LEAD TRUCK</character> <dialogue>-- JERKING RIGHT IN FRONT OF HIM -- THE TRUCK SCREECHES --</dialogue> <character>IMMEDIATELY HYDROPLANING -- SETTING OFF A CHAIN REACTI ON!</character> <dialogue>BATMAN SEES THE HORRIFYING SIGHT OF MASSIVE TRUCKS AHEAD</dialogue> <character>ALL JACK-KNIFING -- ONE AFTER ANOTHER -- THE BATMOBILE</character> <dialogue>HEADING STRAIGHT FOR UNAVOIDABLE, CATACLYSMIC COLLISION!</dialogue> <character>THE BATMOBILE SUDDENLY LAUNCHING TOWARD THE TRUCKS --</character> <character>PENGUIN LOOKS BACK</character> <dialogue>THE DOOMED, CAREENING BATMOBILE, OBSCURING IT FROM VIEW</dialogue> <character>AS THE TRUCKS ALL CONVERGE AROUND</character> <dialogue>PENGUIN</dialogue> <character>HA! I GOT YOU! TAKE THAT YOU</character> <dialogue>FRIGGIN' PSYCHO -- I GOT YO U--!</dialogue> <character>WHEN -- TO PENGUIN'S SHOCK -- THE BATMOBILE RE-APPEARS</character> <dialogue>TWO WHEELS F LIPPING UP ONTO THE CENTER DIVIDER -- THE</dialogue> <character>TILTED CAR SHOOTING THROUGH THE NARROW SPACE ON THE</character> <dialogue>SHOULDER BESIDE THE EXPANDING PILE-UP -- THE BATMOBILE</dialogue> <character>BARELY CLEARING THE DESTRUCTION -- PENGUIN'S EYES WIDEN</character> <dialogue>AS IT SWERVES OFF THE DIVIDER -- RIGHT AT THE ESCALADE --</dialogue> <character>PENGUIN</character> <dialogue>HOLY SHIIIIIIIIIII-- !!!</dialogue> <scene_description>THE TWO VEHICLES LOCKING TOGETHER AS THEY SPINNNN:</scene_description> <character>ON BATMAN -- WORLD BLURRING AROUND HIM -- BATMOBILE</character> <character>UNTIL FINALLY</character> <dialogue>LINE OF YELLOW OFF-RAMP CRASH BARRELS -- THE BATMOBILE</dialogue> <character>THE TWO VEHICLES SMASH STRAIGHT INTO A</character> <scene_description>INSIDE THE ESCLADE</scene_description> <character>THE PENGUIN -- ROLLS OVER -- AND OVER -- AND OVER -- TILL</character> <dialogue>SCRRRRAPE... HE STOPS -- UPSIDE-DOWN. PENGUIN bleeds -- stunned -- hearing only pounding rain now ... He gazes out the window -- disoriented to SEE ... UPSIDE-DOWN BAT BOOTS walking surreally into view on the road right outside -- BATMAN crouches slowly into frame -- Penguin's bloodshot eyes widening -- as Batman leans in eerily -- and thrusts a HOOD over his face -- SWALLOWING US IN B LACKNESS --</dialogue> </scene> <scene> <stage_direction>EXT. DESERTED GOTHAM TRAIN YARD - NIGHT</stage_direction> <character>PENGUIN'S HEAD SLAMS INTO THE SIDE OF A TRAIN CAR -- THE</character> <dialogue>HOOD is yanked off -- he looks around in panic -- hands and feet bound -- BATMOBILE'S HEADLIGHTS IN HIS FACE -- Batman looms in near silhouette before him -- as a FIGURE gets out of another car, joining ominously; it's Gordon.</dialogue> <character>PENGUIN</character> <dialogue>...Jesus... the hell is this...? Good cop... bat-shit cop?!</dialogue> <scene_description>Who's the R iddler? PENGUIN GORDON Riddler?? How should I know -- let's make it easy for ??? you, Oz -- cops caught you &lt;lo in' somethin' -- they were gonna shut you down -- put you away -- so you gave up a b igger fish to save your ass --</scene_description> <character>BATMAN</character> <dialogue>you ratted out Salvatore Maroni his drops op eration --</dialogue> <character>GORDON</character> <dialogue>-- but then the cops and c i ty offic ials -- the mayor -- the D.A. -- they all got greedy, right ? Wasn't enough to score a b ig career-making bust -- they could take over the drops bus iness too but they needed a minor league mope like you to run it --</dialogue> <character>BATMAN</character> <dialogue>-- you don't just work for Carmine Falcone -- you work for THEM too --</dialogue> <character>PENGUIN</character> <dialogue>-- WHAT ARE YO U , CRAZY ?!</dialogue> <character>GORDON</character> <dialogue>That why you k illed the girl -- ?! PENGUIN BATMAN</dialogue> <scene_description>-- I didn't kill ANYBODY! we know she worked for you at The 44 Below --</scene_description> <character>GORDON</character> <dialogue>-- she got too close, right? She found out from Mitchell you were the rat -- so you killed her -- but somehow Riddler knows too he knows so much about you -- you must know ab out him --</dialogue> <character>BATMAN</character> <dialogue>-- who is he -- ?!</dialogue> <character>PENGUIN</character> <dialogue>-- BOY, you guys're a HELLUVA duet here -- why don'cha start HARMONIZIN'?!</dialogue> <scene_description>scenario, OK? I AIN'T NO RAT! YOU GOT ANY IDEA WHAT CARMINE FALCONE WOULD DO TO ME IF HE HEARD THIS KINDA TAL K?!</scene_description> <character>GORDON</character> <dialogue>Oh -- you don't wanna talk about rats? Why don't we talk about what they DID to my partner's face?!</dialogue> <scene_description>GRUESOME CRIME SCENE PHOTOS are thrust in Penguin's face:</scene_description> <character>PENGUIN</character> <dialogue>Holy GOD, whattaya SHOWIN' me-- ?!</dialogue> <character>GORDON</character> <dialogue>PAY ATTENTION -- this was around his head, OK?! It's a RAT'S maze PENGUIN GORDON</dialogue> <scene_description>OHHHH ... ! OPEN YOUR EYES -- !!!</scene_description> <character>GORDON</character> <dialogue>ARE YOU EL R ATA AL ADA ?!</dialogue> <character>PENGUIN</character> <dialogue>-- EL RATA ALADA -- ?!?!?</dialogue> <character>GORDON</character> <dialogue>Yeah, a R AT with wings -- a stool pigeon -- that's not you?! These symbols in the maze -- right here -- says: "YOU ARE EL RATA ALADA" !</dialogue> <character>PENGUIN</character> <dialogue>"You are EL rata"?! It SAYS that?!</dialogue> <character>GORDON</character> <dialogue>WHY got something ya wanna TELL us, Oz ?!</dialogue> <character>PENGUIN</character> <dialogue>-- YEAH!!! THAT'S LIKE THE WORST</dialogue> <character>SPANISH I EVER HEARD ! !!</character> <dialogue>GORDON</dialogue> <scene_description>... what ??!</scene_description> <character>PENGUIN</character> <dialogue>it's LA! LA rata what, is</dialogue> <scene_description>this R iddler STUPID or somethin'?! Thrown, Gordon loses steam as Batman silently takes the maze photo -- eyeing the cipher -- Gordon watches him -- Jesus -- look at you two world's greatest detectives -- am I the only one here knows the difference between EL and LA? lNO HABLA ESP ANOL, FELLAS?!</scene_description> <character>GORDON</character> <dialogue>DO ME A FAVOR, SHITHEAD! SHUT UP!</dialogue> <scene_description>Penguin falls silent; Gordon steps over to Batman</scene_description> <character>GORDON</character> <dialogue>... think he made a mistake?</dialogue> <character>BATMAN</character> <parenthetical>(studying cipher)</parenthetical> <dialogue>He doesn't make mistakes...</dialogue> <character>PENGUIN</character> <dialogue>A rat with wings?! You know what that sounds like to ME? A friggin' BAT you ever think of THAT?!</dialogue> <character>BATMAN</character> <dialogue>-- "you are el rata" -- you... are... el... i t's a URL...</dialogue> </scene> <scene> <stage_direction>EXT. GORDON' S CAR - MOMENTS LATER</stage_direction> <scene_description>BATMAN AND GORDON gaze at the laptop which sits on the roof -- Batman types "www.rataalada.com" into the browser -- the SCREEN GOES BLACK -- a dead link -- ?</scene_description> <character>GORDON</character> <dialogue>... maybe it� a mistake -- maybe he's not as smart as we--</dialogue> <character>BATMAN</character> <dialogue>-- wait --</dialogue> <scene_description>A BLINKING PLAIN TEXT CURSOR appears alone on screen:</scene_description> <character>"&lt;?&gt;"</character> <dialogue>They watch i t PULSE EERILY... when IT STARTS TYPING TEXT.</dialogue> <character>GORDON</character> <dialogue>-- holy shit -- is that him -- ?</dialogue> <scene_description>-- their eyes follow the cursor: "did you find him?" Batman reaches for the keys... types: "el rata alada?" The cursor hesitates, blinking -- then TYPES BACK: "yes" Another pause then MORE TEXT comes through: "interesting" -- then -- "you're missing the big picture"</scene_description> <character>GORDON</character> <dialogue>...the hell does that mean -- is he, or isn't he -- ?</dialogue> <scene_description>Batman holds up a quieting hand, as another TEXT BEGINS: "i need to show you more for you to understand" -- then: "my next victim is the biggest piece of the puzzle yet" Gordon and Batman exchange a look of dread -- Batman types: "vict im?" -- then -- "dead?" The cursor pauses creepily; writes back: "he will be soon" -- then -- "here's a clue to where you can find him..." -- the cursor writes out A RIDDLE -- Gordon read s along:</scene_description> <character>GORDON (O.S.)</character> <dialogue>"i grew up from a seed, tough as a weed... but in a mansion, in a slum... i'll never know where i come from. do you know what i am?"</dialogue> <parenthetical>(then, to Batman )</parenthetical> <dialogue>...any idea ...?</dialogue> <character>BATMAN</character> <dialogue>...yeah... he's an orphan ...</dialogue> <scene_description>Batman types: "an orphan?" -- the cursor writes: "good bye" and the SC REEN GOES BLACK. Something HAUNTS Batman:</scene_description> <character>BATMAN</character> <dialogue>..."a mansion, in a slum"... He's talking about the old orphanage...</dialogue> <character>GORDON</character> <dialogue>one that burned down?</dialogue> <character>BATMAN</character> <dialogue>It was part of the Wayne estate... they donated it after they built the tower ...</dialogue> <character>GORDON</character> <dialogue>-- let's go</dialogue> <scene_description>They start off -- when a VOIC E cries from off-screen --</scene_description> <character>PENGUIN (O.S.)</character> <dialogue>Hey -- you guys REALIZE I'm still here, right -- ?!</dialogue> <scene_description>REVEAL PENGUIN -- hands and feet still helplessly bound -- You gonna UNTIE me -- how'm I s'posed to get OUTTA here?!!! -- and they get into their cars -- starting off --</scene_description> <character>PENGUIN</character> </scene> <scene> <stage_direction>INT. BATMOBILE - MOVING - NIGHT</stage_direction> <character>APPROACHING A FADED SIGN: "A GOTHAM RENEWAL PROJECT --</character> <dialogue>INVESTING IN OUR FUTURE" BATMAN SLOWS, arriving at THE BURNT-DOWN REMAINS OF THE GOTHAM ORPHANAGE ...</dialogue> </scene> <scene> <stage_direction>INT. MAIN ENTRYWAY - GOTHAM ORPHANAGE RUINS - NIGHT</stage_direction> <scene_description>BLACKNESS SHATTERS as the front doors are KICKED IN Batman and Gordon stare in... Gordon raises his GUN</scene_description> <character>BATMAN</character> <dialogue>No guns...</dialogue> <character>GORDON</character> <dialogue>Yeah, man... that's your thing ...</dialogue> <scene_description>And THEY ENTER... scanning black walls and floors rain drips inside -- Gordon's beam lands on WHITE-PAINTED ARROWS FRESHLY SCRAWLED over soot; he pans along them -- to A GOTHIC STAIRCASE -- Batman and Gordon exchange a look -- begin FOLLOWING MORE ARROWS UP THE STEPS TO -- A LONG FOREBODING HALLWAY OF DOORS UPSTAIRS MORE ARROWS point on. Gordon sweeps his light into empty rooms -- when they notice EERIE ECHOING IN THE DISTANCE --</scene_description> <character>GORDON</character> <dialogue>...what's that...?</dialogue> <scene_description>As they move closer, it sounds strangely like ... MUSIC -- a distant BOY'S CHOIR singing SHUBERT'S "AVE MARIA"! WEIRD GIGGLING COMES SUDDENLY FROM VERY CLOSE BY -- THEY LIFT THEIR EYES TO -- A SILHOUETTED FIGURE EMERGING FROM A DOOR -- IT FREEZES, STARTLED TO SEE BATMAN AND GORDON --</scene_description> <character>GORDON</character> <dialogue>HEY! HEY!!!</dialogue> <character>THE FIGURE BOLTS TO ANOTHER ROOM -- SLAMMING THE DOOR --</character> <dialogue>BATMAN AND GORDON ALREADY CHASING -- GORDON RAISING HIS</dialogue> <character>GUN -- SMASHING THE DOOR -- THEY LOOK INSIDE TO SEE...</character> <dialogue>frames, FACES CONTORTED IN FROZEN GRINS; one GIGGLES in a daze -- Gordon swings his light to the Figure from the hallway, who cowers, gripping A BOTTLE AND EYE-DROPPER --</dialogue> <character>GORDON</character> <dialogue>Friggin' dropheads...</dialogue> <scene_description>-- when they hear -- CHEERS and APPLAUSE ring out as the DISTANT SINGING STOPS -- A MAN'S VOICE BEGINS ECHOING --</scene_description> <character>ECHOING VOICE</character> <dialogue>Thank you! Thank you, everyone! Thank you for coming today ...</dialogue> <character>GORDON</character> <dialogue>the hell is that -- ?</dialogue> <scene_description>SOMETHING IN THE E CHOING VOICE STRIKES BATMAN -- Gordon watches surprised -- AS BATMAN STARTS TOWARD THE SOUND -- MOVE WITH HIM to the END OF THE HALL, near the sound of the VOICE -- Batman looks up, haunted; white paint above the doorway says: "WHERE IT ALL BEGAN" -- he STEPS INTO -- A GRAND HALL - HIGH WIDE ANGLE Batman dwarfed by the massive, burnt-out room; he squints at A BEAM OF LIGHT, SPARKLING THROUGH DRIPPING RAIN -- it's from a cheap, MINI USB PROJECTOR on a tiny tripod -- Batman looks at the wall where AN OLD GCl CLIP FLICKERS -- the MAN WITH THE E CHOING VOICE gives a speech in front of a BOY'S CHOIR IN THE VERY ROOM BATMAN NOW STANDS IN -- a CHYRON explains why Batman is so affected -- it's THOMAS WAYNE. Batman watches, unnerved -- staring at a ghost</scene_description> <character>THOMAS WAYNE</character> <dialogue>I believe in Gotham. I believe in its promise. But too many have been left behind for too long. And that's why I'm here today to announce, not only my candidacy for mayor, but also the creation of the Gotham Renewal Fund. Win or lose, the Wayne Foundation pledges a one billion dollar donation to start a charitable endowment for public works. I want to bypass political gridlock to get money to people and projects who need it llilli -- like these children behind me. Renewal is about growth. It's about planting seeds. And renewing Gotham's promise.</dialogue> <scene_description>beside his MOTHER -- Batman's eyes drift to more white painted words on the wall beside the projected image -- "RENEWAL IS A LIE" -- Batman stares, disturbed -- WHEN A VOICE behind startles him out of his reverie --</scene_description> <character>VOICE (O.S.)</character> <dialogue>sins of the father... ?</dialogue> <scene_description>BATMAN SPINS it's GO RDON -- he follows Gordon's gaze to MORE WRITING on the wall: "THE SINS OF THE FATHER ... "</scene_description> <character>BATMAN</character> <dialogue>... shall be visited upon the son.</dialogue> <scene_description>Gordon walks closer, staring, as he gets it too...</scene_description> <character>GORDON</character> <dialogue>... Jesus... his next victim is... Bruce Wayne</dialogue> <scene_description>He turns for confirmation -- BUT BATMAN IS AL READY GONE. A PHONE RINGING - SOMEWHERE IN WAYNE TOWER - NIGHT IT RINGS TWICE -- but no one comes to answer -- the tiny illuminated SCREEN FLASHING -- "NO CALLER ID" -- INSIDE THE SPEEDING BATMOBILE - NIGHT ENGINE ROARING -- WE HEAR RINGING ON HANDS-FREE Batman staring at his phone willing someone to pick up BACK TO ALFRED ALONE IN THE STUDY - WAYNE TOWER - NIGHT WE HEAR ONLY THE INSISTENT RINGING OF THE PHONE -- as Al fred opens piles of mail -- when he NOTICES -- � BULGING MANILA MAILER -- he picks it up, curious... reads the SCRAWLED LETTERING: "PERSONAL/CONFIDENTIAL -- FOR BRUCE WAYNE'S EYES ONLY" ... starts to OPEN IT... REFLECTIONS RACING OVER THE BATMOBI LE'S WINDSHIELD</scene_description> <character>BATMAN NOW SCREAMING -- BUT ALL WE HEAR IS THE RINGING</character> <dialogue>PHONE -- AS THE BATMOBILE RIPS INTO THE ROLLING PARK --</dialogue> <dialogue>pulls a GIFT-WRAPPED BOX from the mailer... sees A SILVER ENVELOPE taped to it -- HIS EYES WIDEN IN SHOCK as he discovers the envelope reads... "FOR THE B ATMAN" -- THE INSISTENT PHONE GROWING LOUDER -- LIKE A WARNING -- as he flips the envelope -- PUZZLED TO FIND A LABEL: "FIREPROOF" ALARMED -- ALFRED GLANCES AT THE GIFT- WRAPPED BOX -- SEES WIRES PROTRUDING FROM THE PAPER</dialogue> <scene_description>BACK TO THE PHONE</scene_description> <character>THE RINGING FINALLY STOPS -- AS A WOMAN'S HAND P ICKS UP</character> <dialogue>DORY (0. S.)</dialogue> <scene_description>... hello -- ?</scene_description> </scene> <scene> <stage_direction>INT. BATMOBILE - IMMEDIATELY</stage_direction> <character>BATMAN</character> <dialogue>Dory -- I need to speak to Alfred!</dialogue> <character>DORY (OVER PHONE)</character> <dialogue>oh -- Mr. Wayne</dialogue> <character>BATMAN</character> <dialogue>LISTEN TO ME -- SOMETHING</dialogue> <scene_description>TERRIBLE'S GOING TO HAPPEN!: CLOSE ON DORY, HOLDING THE PHONE -- for the first time we see her face; she's distraught</scene_description> <character>DORY</character> <dialogue>I' m afraid it... already has, sir.</dialogue> <scene_description>BATMAN</scene_description> <character>LIFTS HIS EYES WITH DREAD AS -- WAYNE TOWER COMES INTO</character> <dialogue>VIEW -- B LACK SMOKE PLUMES FROM AN UPPER FLOOR -- F IREMEN</dialogue> <scene_description>BACK TO ALFRED IN THE STUDY - FLEETING -- A WIDE SHOT</scene_description> <character>STANDING WITH THE PACKAGE ONE LAST SECOND -- TOSSING IT</character> <dialogue>HE DIVES -- AS THE PACKAGE SILENTLY ERUPTS -- WE HEAR --</dialogue> <character>DORY (OVER PHONE)</character> <dialogue>...about an hour ago ...</dialogue> <scene_description>rocked, realizing he never had a chance to save him -- THEN BACK TO DORY as anguished tears begin to spill</scene_description> <character>DORY</character> <dialogue>... I'm so sorry... I've been trying to reach you...</dialogue> <scene_description>As A BLUR WIPES in front of her TO REVEAL EMERGENCY PERSONNEL SWARMING the stairs of a LOWER TOWER LANDING</scene_description> <character>HUSHED GCPD DETECTIVE (PRELAP)</character> <dialogue>The package was intended for you.</dialogue> </scene> <scene> <stage_direction>INT. WAYN E TOWER - GRAND FOYER - NIG HT</stage_direction> <scene_description>Bruce, stunned as DETECTIVES speak in the AFTERMATH:</scene_description> <character>HUSHED GCPD DETECTIVE</character> <dialogue>...we found this too...</dialogue> <scene_description>He shows Bruce the SILVER ENVELO P E: "TO THE BATMAN"; then pulls out A HEAT-SCORCHED GREETING CARD WITH CARTOON EYES -- Bruce looks -- SCRAWLED inside is "SEE YOU IN HELL"</scene_description> <character>HUSHED GCPD DETECTIVE</character> <dialogue>Any reason you'd be a target...?</dialogue> <scene_description>ON BRUCE as he just stares at the words, stunned ...</scene_description> </scene> <scene> <stage_direction>INT. HOSP ITAL - WINDOW OUTSIDE AN I .C.U. ROOM - NIGHT</stage_direction> <scene_description>Bruce gazes through the glass at Alfred, bandaged and unconscious, breathing through an oxygen mask as N URSES attend to him; a DOCTOR emerges, moves to Bruce, grave...</scene_description> <character>DOCTOR</character> <dialogue>We've sedated him, we just have to hope he stabilizes. You should go home, Mr. Wayne, get some sleep.</dialogue> <scene_description>Bruce nods, but it's not c lear he's even heard what the doctor said; the doctor stares at him... says gently...</scene_description> <character>DOCTOR</character> <dialogue>Is there... anyone else to notify ... next of kin?</dialogue> <character>BRUCE</character> <dialogue>... no, it's... just me...</dialogue> </scene> <scene> <stage_direction>INT. WAYNE TOWER - DINING ROOM - EARLY MORNING</stage_direction> <scene_description>A HEAVY TABLE SCRAPES across the tiled floor -- WE HEAR a HISS OF A S PRAY CAN -- AS WHITE LINES SPRAY ON THE TILE</scene_description> <character>CLOSE ON PHOTOS -- MAYOR AND ANNIKA -- COMMISSIONER AND</character> <dialogue>THE DROPS PUSHER -- SCRAWLED WORDS -- MITCHEL L -- SAVAGE</dialogue> <character>-- COLSON -- WHEN THE HISSING STOPS -- AS WE REVEAL --</character> <dialogue>BRUCE, shirtless, on hands and knees, spray can in hand, staring down at something on the floor, UTTERLY TORTURED -- as he begins to rise slowly to his feet -- we see -- THE DINING ROOM FLOOR IS NOW A MASSIVE EVIDENCE BOARD -- lines connect details -- HE'S FROZEN on one area -- it says: "THE SINS OF MY FATHER", followed by "???"</dialogue> <dialogue>ON BRUCE'S EYES as they bore into the words... then, shift intensely to another phrase -- "RENEWAL IS A LIE"</dialogue> </scene> <scene> <stage_direction>INT. WAYNE TOWER - THE STUDY - MOMENTS LATER</stage_direction> <character>YELLOW CRIME SCENE TAPE BREAKS AS BRUCE ENTERS</character> <dialogue>past the charred aftermath of the explosion -- to A HUGE</dialogue> <character>MOVING</character> <dialogue>ANTIQUE WOOD CABINET -- he opens a LONG DRAWER</dialogue> <dialogue>CLOSE ON LEGAL FILES -- as FINGERS DIG to FIND a TAB: "RENEWAL" -- BRUCE RIFLES THROUGH -- OPENS THE NEXT DRAWER -- MORE "RENEWAL" FILES -- THE NEXT -- MORE...</dialogue> <scene_description>ON BRUCE AT THE STUDY DESK - SHORT T IME LATER WALLED IN by ENORMOUS STACKS OF FILES -- Bruce searching them -- he closes one -- fumbling for another -- when a huge stack BEGINS TO TOPPLE -- he LURCHES to save it -- KNOCK ING OVER MORE -- thousands of pages spilling -- Bruce watches, helpless as they scatter everywhere -- He stands there, watching it all settle... FINALLY, HE SNAPS -- HURLING OVER the other stacks -- PAPER EXPLODING EVERYWHERE -- BRUCE'S PENT-UP FURY UNLEASHED -- SMASHING UP THE ROOM, DESTROYING EVERYTHING -- FURNITURE -- ART HIS RAGE IS TERRIFYING -- even as he begins to EXHAUST HIMSELF -- running out of things to smash -- but not sated, searching for more -- when he sees SOMETHING... ALFRED'S MONOGRAMMED W CUFFLINK. If Bruce would ever allow himself to cry, it would be now... he stares, stone- faced at the link, eyes just beginning to well... Bruce sets down Renewal files on his work bench, lifting his laptop screen -- when he notices AN OPEN WINDOW -- the contact lens interface -- but now there is A LIVE IMAGE -- a HANDWRITTEN SIGN faces camera: "WHERE R U?" Surprised, Bruce picks up the ear piece --</scene_description> <character>BRUCE</character> <dialogue>...Selina... ?</dialogue> <scene_description>SELINA appears staring blindly at the camera --</scene_description> <character>SELINA</character> <dialogue>Can you see me... ?</dialogue> <character>BRUCE</character> <dialogue>...Yeah.</dialogue> <character>SELINA</character> <parenthetical>(harried, urgent)</parenthetical> <dialogue>I need to talk. Where can we go?</dialogue> </scene> <scene> <stage_direction>EXT. UNFINISHED SKYSCRAPER - HIGH OVER THE CITY - SUNSET</stage_direction> <scene_description>Batman's silhouette, gazing darkly at Gotham -- when the elevator arrives -- he turns as Selina emerges in her cat suit, removing her wind mask. He looks at her with edge</scene_description> <character>BATMAN</character> <dialogue>Cat burglar pulling another score?</dialogue> <character>SELINA</character> <dialogue>It's not safe for me here now.</dialogue> <character>BATMAN</character> <dialogue>Wasn't sure I'd see you again.</dialogue> <character>SELINA</character> <dialogue>Yeah well, things were getting a little hot for me...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>How could they do that to her -- ? I'm gonna find them, make them�</dialogue> <scene_description>that piece of shit, Kenzie, all of 'em. You gonna help me?</scene_description> <character>BATMAN</character> <dialogue>... help you?</dialogue> <character>SELINA</character> <dialogue>Yeah! I thought you were "Vengeance"</dialogue> <scene_description>Your friend got involved with the wrong people -- she didn't know better. M aybe you should have explained it to her...</scene_description> <character>SELINA</character> <dialogue>The hell's that supposed to mean?</dialogue> <character>BATMAN</character> <dialogue>It means your choices have consequences</dialogue> <character>SELINA</character> <dialogue>-- oh, Jesus Christ -- choices?! You know, whoever the hell you are, obviously, you grew up rich.</dialogue> <scene_description>He just stares back -- giving nothing away --</scene_description> <character>BATMAN</character> <dialogue>...was it worth it?</dialogue> <character>SELINA</character> <dialogue>What?</dialogue> <character>BATMAN</character> <dialogue>Compromising yourself for money.</dialogue> <scene_description>She glares at him --</scene_description> <character>BATMAN</character> <dialogue>What'd you have to do to set up that score? How cl ose did you have to get? To Penguin -- to Falcone?</dialogue> <character>SELINA</character> <dialogue>-- you don't know what the hell you're talking about, ok?! Falcone owes me that money</dialogue> <character>BATMAN</character> <dialogue>owes you -- ?</dialogue> <character>SELINA</character> <dialogue>yeah</dialogue> <character>BATMAN</character> <dialogue>oh really -- why's that?</dialogue> <character>SELINA</character> <dialogue>(moving to leave) forget it -- I can't</dialogue> <scene_description>even talk to you</scene_description> <character>BATMAN</character> <parenthetical>( grabs her hard)</parenthetical> <dialogue>no -- tell me -- I wanna know</dialogue> <scene_description>why would a guy like Falcone owe you ANYthing-- ?!</scene_description> <character>BECAUSE HE'S MY FATHER!</character> <dialogue>Batman falls silent, stunned -- she shrugs him off... stands there, eyes burning... then, quietly:</dialogue> <character>SELINA</character> <dialogue>...my... mother worked at the 44 Below... just like Anni. She used to take me there when I was a little girl...</dialogue> <character>BATMAN</character> <dialogue>...to the club?</dialogue> <character>SELINA</character> <dialogue>...I hid out in the dressing room while she worked. I used to see him there... He scared the shit out of me. I could never understand why he looked at me the way he did. Then one night, my mother told me... who he was.</dialogue> <scene_description>He studies her as she gazes out at the skyline...</scene_description> <character>SELINA</character> <dialogue>When I was seven, my mother was murdered... Someone strangled her, they never found out who, probably some creep from the club. Anyway, when Social Services came to take me away, he didn't say a thing. Couldn't even look at me.</dialogue> <parenthetical>(looks up at him)</parenthetical> <dialogue>He owes me that money.</dialogue> <scene_description>He looks at her, taking her in for the first time; nods:</scene_description> <character>BATMAN</character> <dialogue>...sorry. For what I said...</dialogue> <scene_description>She smiles. Studies his eyes.</scene_description> <character>SELINA</character> <dialogue>'s alright... you just assume the worst in people... Maybe we aren't so different after all...</dialogue> <parenthetical>(running a finger along his mask)</parenthetical> <dialogue>Who are you under there? What're you hiding? Are you just ... hideously scarred?</dialogue> <parenthetical>(beat, eyes on hers)</parenthetical> <dialogue>...yeah.</dialogue> <scene_description>He smiles. She smiles back. Chemistry between them. Then:</scene_description> <character>SELINA</character> <dialogue>Listen to me ... if we don't stand up for Anni, no one will. All anyone cares about in this place are these... white ... privileged assholes -- the mayor, the commissioner, the D.A. -- and now Thomas and Bruce Wayne. Far as I'm concerned, that psycho's right to go after these creeps -- I'd think you'd be on his side !</dialogue> <character>BATMAN</character> <dialogue>-- wait, what do you -- what do you mean Thomas and Bruce Wayne?</dialogue> <character>SELINA</character> <dialogue>What, do you live in a cave? The Riddler's latest -- it's all about the Waynes...</dialogue> <scene_description>He's silently struck -- but Selina doesn't even notice --</scene_description> <character>SELINA</character> <dialogue>Listen -- if I can find that dickbag Kenzie, will you help me?</dialogue> <scene_description>He looks at her, reeling -- sees her pleading eyes</scene_description> <character>SELINA</character> <parenthetical>(quiet, intimate)</parenthetical> <dialogue>Please... Come on, "Vengeance" ...</dialogue> <character>BATMAN</character> <parenthetical>(finally nods; then)</parenthetical> <dialogue>But don't make any moves without me -- understand -- this is all more dangerous than you know--</dialogue> <scene_description>-- she cuts him off with a LONG KISS ... then pulls slowly back ... staring into his eyes, whispering with a smile --</scene_description> <character>SELINA</character> <dialogue>I told you, baby, I can take care of myself...</dialogue> <scene_description>And she starts off -- he watches her go... as we hear -- I'm Thomas Wayne, and I approve this message ... As Copland's "FANFARE FOR THE COMMON MAN" begins</scene_description> </scene> <scene> <stage_direction>INT. "THE CAVE" - UNDERNEATH WAYNE TOWER - NIGHT</stage_direction> <scene_description>BATMAN PULLS OFF HIS COWL -- revealing Bruce, BLACK CAMO AND SWEAT running down his face from around his eyes; he stares, rattled, at GCl on the huge LED TV -- the CHYRON reads: "EXPL OSIVE NEW RIDDLER VIDEO GOES VIRAL" -- below that: "Killer's mess age has over 13 million views" THE VIDEO is A TWENTY YEAR OLD CAMPAIGN AD: THOMAS WAYNE at the orphanage, MARTHA and YOUNG BRUCE beside him --</scene_description> <character>THOMAS WAYNE</character> <dialogue>From a very young age, my family Martha's family, the Arkhams -- instilled in both of us ... that giving back is not just an obligation... it's a passion. That is our families' legacy --</dialogue> <scene_description>The IMAGE FREEZES -- EERIE MUSIC swallowing the "Fanfare" as the video takes on the tone of a political attack a d -- VINTAGE FAMILY PHOTOS of the WAYNES and ARKHAMS appear --</scene_description> <character>RIDDLER (V.O.)</character> <parenthetical>(eerie VOICE CHANGER)</parenthetical> <dialogue>The Waynes and the Arkhams -- Gotham's founding families ... but what is their real legacy ... ?</dialogue> <scene_description>-- the photos bleed RED -- turning DARKER as a GOTHAM GAZETTE REPORTER'S BYLINE PHOTO fades up --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>Twenty years ago, one reporter set out to uncover the dark truth ... He found shocking family secrets.</dialogue> <scene_description>FLASHES OF POLICE and AUTOPSY PHOTOS FILL THE SCREEN --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>How when Martha was just a child, her mother brutally murdered her father, then committed suicide -- and how the Arkhams used their power and money to cover it up ...</dialogue> <scene_description>WE SEE A DEATH CERTIFICATE; "Cause of Death: ACCIDENTAL" How Martha herself was in and out of institutions for years -- and they didn't want anyone to know... SHOTS OF AN INSTITUTION -- spying through a fence at a DISTURBED YOUNG WOMAN, SURROUNDED BY NURSES</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>Thomas Wayne tried to force this crusading reporter into a hush money agreement to save his mayoral campaign...</dialogue> <scene_description>AS THOMAS SHAKES HANDS on the campaign trail -- a LEGAL DOCUMENT spins on screen -- THE WORD "HUSH!" APPEARS --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>But when the reporter refused, Wayne turned to longtime secret associate, mafia kingpin Carmine Falcone -- and had him murdered...</dialogue> <scene_description>A GUNSHOT RINGS OUT -- NEWS FOOTAGE of the DEAD REPORTER pl ays; the HEADLINE: "GANG-LAND STYLE EXECUTION" -- as a SUPER-ENLARGED PHOTO from the orphanage dedication FADES UP: THOMAS and CARMINE FALCONE TALKING CONSPIRATORIALLY --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>The Waynes and Arkhams -- Gotham's legacy of lies -- and murder...</dialogue> <scene_description>We see A CAMPAIGN POSTER; "MAYOR" has been crossed out, it reads: "THOMAS WAYNE FOR MURDERER". RIDDLER appears</scene_description> <character>RIDDLER</character> <dialogue>One by one, Gotham's Pillars fall... on Judgement Day, the wreckage will consume us all ... GOOD byyyyyyyye--</dialogue> <scene_description>ON BRUCE, absolutely ROCKED -- as CLUB MUSIC RISES -- BLACKNESS</scene_description> <character>SWINGS OPEN</character> <dialogue>BRUCE</dialogue> <character>REVEALING BRUCE -- OUTSIDE THE CLUB --</character> <dialogue>Know who I am?</dialogue> <scene_description>REVEAL ONE OF THE TWIN BOUNCERS -- staring in shock --</scene_description> <character>BOUNCER</character> <dialogue>...you're Bruce Wayne.</dialogue> <scene_description>I wanna see Carmine Falcone. The Bouncer just looks at him -- then SHUTS THE DOOR -- BEAT -- the DOOR OPENS: BOTH TWINS standing there now --</scene_description> <character>BOUNCER</character> <parenthetical>(looking at his Twin)</parenthetical> <dialogue>See... ?</dialogue> <scene_description>The Twin stares in disbelief as Bruce glares; then breaks into an excited smile, like he's seeing a rock star --</scene_description> <character>TWIN BOUNCER</character> <dialogue>...c'mon in.</dialogue> </scene> <scene> <stage_direction>INT. FALCONE'S SHORELINE LOFT - PRIVATE ELEVATOR - NIGHT</stage_direction> <scene_description>The doors open; we FOLLOW BRUCE down a long hallway to A DRAWING ROOM; HOODS and HOSPITALITY WOMEN crowd around a poo l table, drinking, playing -- at the table, CARMINE FALCONE looks over to see Bruce, the Twins behind him -- Bruce glowers silently at Falcone, who stares back with a smirk... when the others begin to notice, quieting...</scene_description> <character>FALCONE</character> <dialogue>Give us a minute, fellas.</dialogue> <scene_description>The BODYGUARDS usher everyone out.</scene_description> <character>FALCONE</character> <dialogue>Have a seat...</dialogue> <scene_description>But Bruce just stands there.</scene_description> <character>FALCONE</character> <dialogue>Thought I might hear from you. This Riddler sonuvabitch is really stirring things up, isn't he-- ?</dialogue> <character>BRUCE</character> <parenthetical>(quiet)</parenthetical> <dialogue>Is it true?</dialogue> <character>FALCONE</character> <dialogue>What? ... that reporter business?</dialogue> <scene_description>A beat. Falcone studies Bruce's rage-filled eyes.</scene_description> <character>FALCONE</character> <dialogue>Whattaya wanna know here, kid? Whattaya lookin' for?</dialogue> <scene_description>The truth. Did you kill him. For my father.</scene_description> <character>FALCONE</character> <dialogue>Look, your father saved my life. I was loyal to him. I even trieda give money to his campaign, and that whole Renewal thing -- but he wouldn't take it. He didn't wanna associate with a guy like me</dialogue> <character>BRUCE</character> <dialogue>My father hated everything you stand for.</dialogue> <character>FALCONE</character> <parenthetical>(smiles)</parenthetical> <dialogue>Yeah, I know. Course he did. Guys like you, your father, you don't want anything to do with me...</dialogue> <parenthetical>(darkens, bitter)</parenthetical> <dialogue>...til you need me. Right?</dialogue> <scene_description>A beat as they look at each other.</scene_description> <character>FALCONE</character> <dialogue>Your father was in trouble, ok? This reporter had some dirt, some very personal stuff about your mother, her family history... you know, everybody's got their dirty laundry, that's how it is. But he didn't want none of that coming out, not right before the election. Your father trieda pay this guy off, but he wasn't goin' for it. So he came to me. I never seen him like that. He said: I want you to put the fear of God in this guy.</dialogue> <scene_description>Bruce stares, unnerved...</scene_description> <character>FALCONE</character> <dialogue>And when fear isn't enough, you take it to the next level. Your father wanted me to handle it.</dialogue> <parenthetical>(a shark's eyes)</parenthetical> <dialogue>So I did. I handled it.</dialogue> <scene_description>Bruce is truly unmoored; Falcone enjoying his pain... I know, you thought your father was a boy scout . But you'd be surprised what even a "good" man like him is capable of. In the right situation. (then) Do me a favor, don't lose any sleep over this, ok? This reporter was a lowlife, he was on Maroni's payroll -- he got what was comin' .</scene_description> <character>BRUCE</character> <dialogue>...Maroni?</dialogue> <character>FALCONE</character> <dialogue>Oh yeah. Maroni could never stand your father and I had history. And after what happened with this reporter, I think he was worried your father would be in my pocket forever. He woulda done anything to keep him from becoming mayor.</dialogue> <parenthetical>(a pointed beat)</parenthetical> <dialogue>Ya understand?</dialogue> <scene_description>Bruce shakes his head, reeling, resisting the notion ...</scene_description> <character>FALCONE</character> <dialogue>...sure ya do ...</dialogue> <character>BRUCE</character> <dialogue>Are you saying ...? Salvatore Maroni ... had my father killed?</dialogue> <scene_description>Falcone lets that just hang in the air ... then:</scene_description> <character>FALCONE</character> <dialogue>Do I know it for a fact ...? I'm just sayin', it sure looked that way to me.</dialogue> <scene_description>As the shock hits Bruce ... Falcone regards him coldly ...</scene_description> <character>FALCONE</character> <dialogue>This what you wanted? This little conversation here?</dialogue> <scene_description>Bruce can't even respond ...</scene_description> <character>FALCONE (O.S.)</character> <dialogue>Anhh ... I spose it's been a long time comin'... I mean you ain't a kid no more ...</dialogue> <scene_description>Bruce arrives at the top of the stairs in a daze, stops, staring at... the CHAINED and PADLOCKED SET OF DOORS...</scene_description> </scene> <scene> <stage_direction>INT. BRUCE'S PARENTS' DARKENED BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Untouched in twenty years... a frozen moment, covered in dust. Bruce enters, taking in the unbearable stillness... In the early light, he sees a man's suit jacket draped on a chair... a pair of glasses rest on an old newspaper... He turns, seeing a STAINED TEACUP, askew in its saucer on a woman's dressing table... behind it, on the mirror, are yellowed CHILDREN'S CRAYON DRAWINGS: his... One's a stick- figure, smiling family... a mother, father, and child ... A quiet HEART MONITOR BEEPING begins as Bruce stares...</scene_description> </scene> <scene> <stage_direction>INT. ALFRED 'S HOSPITAL ROOM - TWILIGHT</stage_direction> <scene_description>Alfred opens his eyes to see BRUCE seated at his bedside, rumpled. Bruces smiles sadly, finally speaking, pained:</scene_description> <character>BRUCE</character> <dialogue>...you lied to me. My whole life.</dialogue> <parenthetical>(long, pregnant beat)</parenthetical> <dialogue>I... spoke to Carmine F alcone...</dialogue> <scene_description>Pain and shock fill Alfred's eyes... he blinks away; then back. Finally, he struggles for voice... hoarse...</scene_description> <character>ALFRED</character> <dialogue>...what'd he... say...?</dialogue> <character>BRUCE</character> <dialogue>... he... told me what he did... for my father... and about Salvatore Maroni.</dialogue> <scene_description>Alfred's eyes burn... trying to understand ...</scene_description> <character>ALFRED</character> <dialogue>...he told you ... Salvatore Maroni ... ?</dialogue> <character>BRUCE</character> <dialogue>... had my father killed.</dialogue> <scene_description>Alfred just gazes, pained.</scene_description> <character>BRUCE</character> <dialogue>Alfred, why didn't you tell me all this...?</dialogue> <scene_description>for him... believing he was a good man</scene_description> <character>ALFRED</character> <dialogue>-- he was a good man</dialogue> <scene_description>Bruce shakes his head -- but Alfred grows more fierce</scene_description> <character>ALFRED</character> <dialogue>-- listen to me... your father ... was a good man -- he... made a mistake --</dialogue> <character>BRUCE</character> <dialogue>A mistake? He had a man killed -- why -- to protect the family image -- his political aspirations ?</dialogue> <character>ALFRED</character> <dialogue>-- it wasn't to protect the family image -- and he DIDN'T have anyone killed...</dialogue> <scene_description>The forcefulness of that makes Bruce stop -- he looks at Alfred... who continues, simply, emotional...</scene_description> <character>ALFRED</character> <dialogue>He was protecting your mother. He didn't care about his image, the campaign, any of that. He cared about her. And you. These... ... secrets about your mother's family, they haunted her, she'd battled them every single day. We all have our scars, Bruce. And your father knew, if everything came out, it'd be too much for her. It would destroy her. He just... he loved her so much. And in a moment of weakness, he turned to Falcone. But he never thought Falcone would kill that man. Your father should have known that Falcone would do anything to finally have something on him he could 1!.§.g\_ ••• to own him. That's who Falcone is. And that was your father's mistake.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But when Falcone told him what he'd done, your father was distraught -- he told Falcone he was going to the police, that'd he'd confess everything...</dialogue> <scene_description>your mother were killed. Bruce is stunned...</scene_description> <character>BRUCE</character> <dialogue>...it was... Falcone...?</dialogue> <scene_description>Alfred looks at him sadly, so wanting to give Bruce the answer he needs, the answer he's wanted his whole life ...</scene_description> <character>ALFRED</character> <dialogue>... I wish I ... knew for�-·· Yes... maybe... Or maybe it was some random thug on the street who needed money, who got scared and pulled the trigger too fast... If you don't think I've spent every day searching for that answer ...</dialogue> <parenthetical>(truly distraught)</parenthetical> <dialogue>It was my job to protect them -- do you understand? I know you always blamed yourself. You were only a boy, Bruce. I could see the fear in your eyes. But I didn't know how to help. I could teach you to fight -- but I wasn't prepared to take care of you. You needed a father. But all you had... was me. I'm sorry...</dialogue> <scene_description>Alfred averts his eyes, red with heartbreak and regret. Bruce stares at him, deeply affected...</scene_description> <character>BRUCE</character> <dialogue>...no, Alfred... don't be sorry...</dialogue> <parenthetical>(then, quiet, struck)</parenthetical> <dialogue>God, I ... never thought I'd feel fear like that again... I thought I'd mastered all that. I mean, I'm not afraid to die...</dialogue> <scene_description>His unflinching gaze meets Alfred's, who nods, solemn... then, Bruce's eyes shift away again, processing...</scene_description> <character>BRUCE</character> <dialogue>But I realize now, there's something I never got past ... The fear of... ever going through any of that again...</dialogue> <parenthetical>(looking at Alfred)</parenthetical> <dialogue>...of losing someone I care about.</dialogue> <scene_description>Alfred looks back, moved -- he smiles, tears in his eyes: Well... I'm afraid you won't be rid of me just yet... Bruce smiles sadly back ... then gazes off...</scene_description> <character>BRUCE</character> <dialogue>I went into their room last night.</dialogue> <scene_description>Alfred is quietly struck.</scene_description> <character>BRUCE</character> <dialogue>It all... seemed so much smaller.</dialogue> <scene_description>Alfred watches Bruce, a fleeting glimpse of the man as a boy ... He reaches out a hand. Bruce stares, surprised... then lifts his own... clasping Alfred's tightly ... Then Bruce darkens... noticing something outside the window... Alfred turns... sees the BAT SIGNAL IN THE SKY.</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED SKYSCRAPER CONSTRUCTION SITE - NIGHT</stage_direction> <scene_description>The B atmobile arrives -- emerging to see Gordon, getting out of his car too -- they trade confused looks</scene_description> <character>GORDON</character> <dialogue>BATMAN</dialogue> <scene_description>...I... saw the signal -- that's not you...?</scene_description> <character>GORDON</character> <dialogue>I thought it was you...</dialogue> <scene_description>They both lift their eyes to the spotlight in the sky</scene_description> </scene> <scene> <stage_direction>INT. RISING CONSTRUCTION ELEVATOR - SECONDS LATER</stage_direction> <scene_description>We hear SCREAMS as THE UPPER FLOOR COMES INTO VIEW and GLIMPSE SELINA IN CAT SUIT, VICIOUSLY KICKING SOMEONE Shocked, Batman and Gordon rush from the lift ONTO THE UNFINSHED FLOOR Where Selina has a PRISONER BOUND BY HER LOCK CHAIN to the GUARDRAIL AT THE BUILDING'S EDGE -- KENZIE -- HIS FACE SWOLLEN -- she's got his GLOCK in both hands -- prowling, crazed -- she sees B atman, spins -- FIERCE --</scene_description> <character>SELINA</character> <dialogue>I found him</dialogue> <scene_description>I see that --</scene_description> <character>SELINA</character> <dialogue>-- what're we gonna do -- he had my shit -- my phone! She left a message! The night they took her she called me -- !</dialogue> <character>KENZIE</character> <dialogue>(tota lly freaked)</dialogue> <character>SELINA</character> <dialogue>(KICKS him again)</dialogue> <scene_description>Gordon! Help me OUT, man! SHUT UP!!!</scene_description> <character>BATMAN</character> <dialogue>Put down the gun --</dialogue> <character>SELINA</character> <dialogue>-- I'm telling you, goddammit she CALLED ME!</dialogue> <parenthetical>(pulling out PHONE)</parenthetical> <dialogue>Here -- LISTEN!!!</dialogue> <scene_description>She hits PLAY ON A VOICEMAIL -- TOSSES THE PHONE to Batman -- Gordon steps closer -- as THE DISTORTED MESSAGE PLAYS: PANICKED BREATHING as an ANGRY VOICE approaches</scene_description> <character>MAN (OVER PHONE)</character> <dialogue>--back here -- where you</dialogue> <character>ANNIKA (OVER PHONE)</character> <dialogue>(terrified)</dialogue> <scene_description>goin' ! ? --n-n-nowhere -- I -- -- ANOTHER MAN'S VOICE joins YELLING over them --</scene_description> <character>MAN TWO (OVER PHONE)</character> <dialogue>Hey-hey-HEY, whattaya &lt;loin'? C'mon, Kenzie, you're scarin' her.</dialogue> <character>MAN/KENZIE (OVER PHONE)</character> <dialogue>-- oh, I'm -- I 'm sorry, Mr. Falcone...</dialogue> <character>FALCONE (OVER PHONE)</character> <dialogue>(gentler)</dialogue> <character>ANNIKA (OVER PHONE)</character> <dialogue>please don't -- don't</dialogue> <scene_description>Hey ... you ok...? C'mere hurt me --</scene_description> <character>FALCONE (OVER PHONE)</character> <dialogue>don't be scared -- c'mere.. .</dialogue> <scene_description>Now, lemme just ask you again .. . What'd Mitchell tell you ...?</scene_description> <character>ANNIKA (OVER PHONE)</character> <dialogue>n-nothing -- he --</dialogue> <scene_description>Don liked to talk, I know that -- 'specially to pretty girls like you... that's why I made him take your passport -- till we could have a little conversation</scene_description> <character>ANNIK A (OVER PHONE)</character> <dialogue>-- all I wanna do is get out of here, OK? You' ll never hear from me again nobody will -- PLEASE!</dialogue> <character>FALCONE (OVER PHONE)</character> <dialogue>We're gonna get you outta here, I promise... But fir st, I gotta know ... what'd he tell you?</dialogue> <character>ANNIKA (OVER PHONE)</character> <dialogue>...he... he just said they... they all made a... a deal with you --</dialogue> <character>FALCONE (OVER PHONE)</character> <dialogue>-- ohhhh -- he told you bout that, huh? -- a deal -- ?</dialogue> <character>ANNIKA (OVER PHONE)</character> <dialogue>-- yeah, long time ago he said -- said you gave some information on some drops thing helped a lot of people -- and that's how he became mayor -- he said you were a ... very important man ...</dialogue> <character>FALCONE (OVER PHONE)</character> <dialogue>Right... uh-huh ...</dialogue> <parenthetical>(resigned sigh, then)</parenthetical> <scene_description>AND SUDD ENLY -- ANNIKA BEGINS SHRIEKING -- IT'S AGONIZING -- BATMAN'S GAZE S HIFTS TO SELINA, WHO STARES OFF, TE ARS BEGINNING -- AS ANNIKA'S CRIES TURN TO DESPERATE GASPS --</scene_description> <character>FALCONE (OVER PHONE)</character> <parenthetical>(strains, eerie calm)</parenthetical> <dialogue>... just... take it... easy -- OK? Take it easy...</dialogue> <character>GORDON</character> <dialogue>Jesus ... he's strangling her ...</dialogue> <scene_description>SELINA'S EYES LIFT TO BATMAN'S, ALIVE WITH RAGE -- AS THE RECORDING FINALLY ENDS -- EVERYONE S ILENT. GORDON TURNS TO BATMAN, REELING -- WHEN BATMAN'S EYES LIFT TO HIS: ..."rata alada". A falcon has wings too. Falcone's the rat. Gordon turns slowly to Kenzie; they move toward him --</scene_description> <character>GORDON</character> <dialogue>...he works for you guys? The D.A....? The mayor...?</dialogue> <scene_description>Kenzie looks up at them, terrified... when... he cracks:</scene_description> <character>KENZIE</character> <dialogue>No... we work for him... Everybody does...</dialogue> <character>KENZIE</character> <dialogue>... through Renewal ... Renewal is everything</dialogue> <character>GORDON</character> <dialogue>-- the Renewal Fund ... ?</dialogue> <character>KENZIE</character> <parenthetical>(shaking, it spills)</parenthetical> <dialogue>Yeah... After Thomas Wayne died, they all went after it like vultures -- the mayor -- Falcone Maroni -- everyone got in on it it was perfect -- for makin' bribes -- laundering money -- a huge charitable fund with no oversight -- everybody got a piece. But Falcone wanted more. So he orchestrated a play to take Maroni down big -- he'd rat out his drops operation, make the careers of everybody that went after him, then install them all as his puppets... He'd run the city. And he's been &lt;loin' it ever since -- you think this goddamn election matters? Falcone's the mayor -- he's been the mayor for the last twenty years...</dialogue> <scene_description>Selina turns to Batman: a truly scary look in her eyes</scene_description> <character>SELINA</character> <dialogue>C'mon, "Vengeance" -- let's go kill that sonuvabitch</dialogue> <parenthetical>(gun on Kenzie)</parenthetical> <dialogue>This creep too, let's finish this!</dialogue> <scene_description>OH , GOD -- !!! whoa -- whoa -- whoa!!! when a BLACK GLOVE knocks the gun to the floor!</scene_description> <character>BATMAN (O.S.)</character> <dialogue>No...</dialogue> <scene_description>Selina spins, ready to strike, FACE TO FACE WITH BATMAN --</scene_description> <character>BATMAN</character> <dialogue>We'll get him, but not this way</dialogue> <character>SELINA</character> <dialogue>There is no other way -- he owns the city!</dialogue> <character>BATMAN</character> <dialogue>Cross that line... you'll become just like him.. .</dialogue> <scene_description>Beside herself, she realizes he's not with her --</scene_description> <character>BATMAN</character> <dialogue>Listen to me -- don't throw your life away</dialogue> <scene_description>Finally, she turns back to him -- smiles, fatalistic --</scene_description> <character>SELINA</character> <dialogue>Don't worry, honey --</dialogue> <scene_description>With dancer's grace -- she lifts a leg -- touching her heel provocatively to Kenzie's chest -- then, hardening</scene_description> <character>SELINA</character> <dialogue>I got nine of 'em --</dialogue> <scene_description>KENZIE'S EYES WIDEN -- AS SHE KICKS HIM THROUGH THE GUARDRAIL -- KNOCKING HIM OFF THE BUILDING -- ! GORDON LURCHES FORWARD ON INSTINCT -- AS BATMAN TRIGGERS HIS QUICK-DRAW SLIDER -- FIRING A HARPOON INTO KENZIE'S ANKLE -- FIERCELY YANKING THE LINE TAUT TO SAVE HIM --</scene_description> <character>KENZIE</character> <scene_description>-- AS BATMAN -- STRUGGLING TO HOLD ON -- SPINS TO SEE -- SELINA LEAPING OFF THE EDGE WITH THE GLOCK -- LAUNCHING FOR A CABLE ON A CONSTRUCTION CRANE -- JUST MAKING IT -- SLIDING DOWN THE LINE -- SWINGING OFF -- DISAPPEARING! -- Gordon helps Batman pull a whimpering Kenzie back up</scene_description> <character>(CONT INUED)</character> <dialogue>his belt -- securing it on the edge -- no time to lose --</dialogue> <character>GORDON</character> <dialogue>She'll never get outta there alive -- and if she kills Falcone, we may never find the Riddler</dialogue> <character>BATMAN</character> <dialogue>-- I have to stop her</dialogue> <character>GORDON</character> <dialogue>Don't you mean� -- ?</dialogue> <character>BATMAN</character> <dialogue>I gotta do this my way</dialogue> <character>GORDON</character> <dialogue>And then what -- ?</dialogue> <scene_description>Batman looks up as he finishes</scene_description> <character>BATMAN</character> <dialogue>We do what Riddler said</dialogue> <parenthetical>(tosses him SELINA'S PHONE)</parenthetical> <dialogue>Bring the rat into the light...</dialogue> <scene_description>Gordon stares at the phone then n ods, suddenly getting it -- as BATMAN JUMP S BACK RAPPELLING OFF THE TOWER --</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM STREET S - AT HIGH SPEED - NIGHT</stage_direction> <scene_description>HURTLING down a service road under an elev ated highway -- REVEAL SELINA SCREECHING through the maze of columns on her bike -- PAN as she SCREECHES PAST -- heading toward -- THE ICEBERG LOUNGE -- disappearing behind the building</scene_description> </scene> <scene> <stage_direction>EXT. DESERTED ALLEY BEHIND ICEBERG LOUNGE - SECONDS LATER</stage_direction> <scene_description>Selina whips off her helmet -- ejects the Glock's clip to inspect rounds; SLAMS it back -- UNZIPPING HER B ODYSUIT -- THE BATMOBILE ROARS on the service road -- threading columns -- when it SKIDS TO A STOP -- hidden in shadow -- BATMAN peers at -- SELINA OUTSIDE THE CLUB, UNDER THE FLICKERING STREET LAMP -- now in HER SLIT DRESS -- as THE TWINS let her in -- SLOW ZOOM, BATMAN staring, intense, deciding what to do MUSIC POUNDS AS WE MOVE TOWARD A GUARD beside A PRIVATE ELEVATOR -- his eyes brazenly check us out, head to toe</scene_description> <character>SELINA</character> <parenthetical>(uncomfortab le smile)</parenthetical> <dialogue>Hey -- could you tell M r. Falcone I'd like to come up --</dialogue> <character>ELEVATOR GUARD</character> <dialogue>-- he ain't seeing nobody tonight!</dialogue> <character>SELINA</character> <parenthetical>(leans in, h ushed)</parenthetical> <dialogue>Just tell him it's about A nnika...</dialogue> <scene_description>He darkens -- nods -- Selina step s aside as he speaks low into a mic on his sleeve. He opens the ELEVATOR DOOR for her -- watches... AS SHE GETS IN ... AND THE DOORS CLOSE --</scene_description> </scene> <scene> <stage_direction>INT. FALCONE'S SHORELINE LOFT - ELEVATOR HALLWAY - NIGHT</stage_direction> <scene_description>SELINA STEPS OUT, moving b y an INTIMIDATING PHALANX OF GUARDS -- to the DRAWING ROOM -- where FALCONE APPEARS</scene_description> <character>FALCONE</character> <dialogue>Look who it is -- !</dialogue> <character>SELINA</character> <dialogue>-- sorry to bother you --</dialogue> <character>FALCONE</character> <dialogue>N o, it's fine, beautiful!</dialogue> <character>SELINA</character> <dialogue>I was just wondering if I could... talk to you for a minute... alone?</dialogue> <scene_description>-- and as we hear a LOU D POUNDING KNOCK-KNOCK-KNOCK BLACKNESS SWINGS OPEN; we SEE OUTSIDE THE CLUB, BUT NO ONE'S THERE. REVEAL THE TWINS staring out the door -- confused -- FOLLOW THEM OUT as they search for whoever was knocking WHEN BAM! -- they SPIN to SEE THE DOOR SHUTTING THEM OUT!</scene_description> </scene> <scene> <stage_direction>INT. HEART OF THE CLUB - MOVING - IMMEDIATELY</stage_direction> <character>PUSHING THROUGH REVELERS -- A FIGURE ENTERS FRAME</character> <dialogue>STRIDING in ARMY JACKET, CAP, and DUFFEL -- BATMAN HAS ENTERED AS THE DRIFTER -- EYES SEARCHING -- HE SPIES what he's been looking for -- A DOOR: "KEEP OUT" ENTERS --</dialogue> <scene_description>-- to see THE DRIFTER DISAPPEARING R OUND A CORNER -- the GUARD DISAPPEARS AFTER HIM -- HOLD in the empty corridor -- when the GUARD'S BODY CRASHES OUT -- UNCONSCIOUS -- !</scene_description> </scene> <scene> <stage_direction>INT. FALCONE'S DRAWING R OOM - SA ME TIME</stage_direction> <scene_description>Selina sits across from Falcone, who leans against the pool table, sizing her up as she grows emotional</scene_description> <character>SELINA</character> <dialogue>...I'm just -- I'm so worried -- I don't know where she is ... ! And I know you're a very important man, I was hoping maybe you could help me find her -- I mean she's been gone so long, I'm starting to think she might be ...</dialogue> <parenthetical>(stops, tearing)</parenthetical> <dialogue>-- I'm so sorry --</dialogue> <character>FALCONE</character> <parenthetical>(eyes her carefully)</parenthetical> <dialogue>That's OK -- I understand</dialogue> <scene_description>He offers her some tissues --</scene_description> <character>SELINA</character> <dialogue>No -- thank you, I have some...</dialogue> <scene_description>-- as she reac hes INTO HER CLUTCH ON HER LAP where THE GLOCK HIDES -- HER FINGERS STARTING TO GRASP IT -- WHEN --</scene_description> <character>AN ALARMED VOICE (O.S.)</character> <dialogue>Mr. Falcone -- !</dialogue> <scene_description>-- they both turn, startled, as a BALD BODYGUARD enters -- Selina eases off the gun, taking out a Kleenex instead --</scene_description> <character>FALCONE</character> <dialogue>Vinnie! Didn't I tell you I was--?</dialogue> <character>BALD BODYGUARD</character> <dialogue>I'm sorry, Mr. Falcone -- I really think you gonna wanna see this ... !</dialogue> <scene_description>Falcone sees he's serious -- nods -- turns to Selina --</scene_description> <character>FALCONE</character> <dialogue>I'm sorry, beautiful I'll be right back...</dialogue> <scene_description>Selina nods, wiping tears as he goes; she hardens as she looks at the Glock, then leans to see... BLACKNES S</scene_description> <character>A DOOR CRASHES OPEN REVEALING THE CLUB ELECT RICAL ROOM</character> <dialogue>THE DUFFEL HITS THE FLOOR -- THE DRIFTER'S HANDS REACH IN</dialogue> </scene> <scene> <stage_direction>INT. FALCONE'S LOFT - TV ROOM - SIMULTANEOUS</stage_direction> <scene_description>TV ligh t flicker s in Fal cone's eyes as he gazes in shock:</scene_description> <character>FALCONE</character> <dialogue>...hol y shit ...</dialogue> <scene_description>GCl NEWS CASTER (O.S.) ... the recor ding w as provided to GCl by Lieutenant James Gor don of the Goth am PD -- I shoul d w ar n you, the content s are disturbing. ON TV we see THE GCl BREAKING NEWS HEADLINE -- "RECLUSIVE CRIME BOSS RECORDED COMMITTING MURDER -- ADMITS TO BEING MAFIA INFORMANT" -- SELINA'S CELL PHONE VOICEMAIL PLAYS --</scene_description> <character>FALCONE (ON TV)</character> <dialogue>-- ohhhh -- he told you bout that, huh? -- a deal -- ?</dialogue> <character>ANNIKA (ON TV)</character> <dialogue>yeah, long time ago he said</dialogue> <scene_description>he said you gave some information on some drops thing ON SELINA - IN THE DRAWING ROOM WATCHING the two men by the TV, back s to her -- she slips her h and into her c lutch -- gripping THE GLOCK -- she RISES, heading for them -- as ANNIKA SCREAMS on TV -- !</scene_description> </scene> <scene> <stage_direction>INT. THE CLUB ELECTRICAL ROOM - SIMULTANEOUS</stage_direction> <character>THE ROTARY SAW GRINDS INTO METAL AROUND POWER LINES --</character> <dialogue>SPARKS FLY -- illuminating THE BAT COWL IN THE DUFFLE!</dialogue> </scene> <scene> <stage_direction>INT. FALCONE'S LOFT - TV ROOM - SIMULTANEOUS</stage_direction> <scene_description>WE SLOWLY MOVE TOWARD THE BACK OF FALCONE'S HEAD when the GLOCK lift s into fr ame -- we hear a soft voice: ...hey, Dad... Confused, Falcone turns to look at us, startled to see the gun REVEAL SELINA, Glock in both hands, trained on Falcone -- the Bald Bodyguard turns, alarmed too --</scene_description> <character>FALCONE</character> <dialogue>...what... ?</dialogue> <scene_description>CLOSE ON SELINA, emotion under the stillness of her gaze:</scene_description> <character>SELINA</character> <dialogue>I'm Maria Kyle's kid...</dialogue> <scene_description>Falcone looks at her, stunned, unnerved -- then</scene_description> <character>FALCONE</character> <dialogue>ok, just -- just put</dialogue> <character>SELINA</character> <dialogue>(cutting him off)</dialogue> <scene_description>down the gun, honey-- this is for my mother Selina about to fire -- WHEN THE LIGHTS GO OUT -- AS BANG -- HER MUZZLE FLASH CATCHES THE BLUR OF FALCONE DUCKING --</scene_description> </scene> <scene> <stage_direction>INT. THE CLUB B ELOW - IMMEDIATELY</stage_direction> <scene_description>CROWD reacting to the SUDDEN DARK in panic INSIDE THE ELEVATOR SHAFT THE DOORS SCREECH OPEN -- A SHADOW SWEEPS IN -- as it passes, we see THE ELEVATOR GUARD outside, UNCONSCIOUS FROM DIRECTLY OVERHEAD IN THE SHAFT</scene_description> <character>RIGHT BELOW US, THE SHADOW RAISES... THE GRAPPLING GUN</character> <dialogue>THE HOOK SOARS TO THE ELEVATOR CAR, five stories above</dialogue> </scene> <scene> <stage_direction>INT. FALCONE'S DARKENED TV ROOM UPSTAIRS - SIMULTANEOUS</stage_direction> <scene_description>SILHOUETTED AGAINST THE WINDOW, Selina and Bald Bodyguard FIGHT FOR HER GUN -- SELINA SLAMS A HEEL ON HIS KNEE -- HOBBLING him with a SICKENING CRACK -- she SPINS -- a BLINDING ROUNDHOUSE -- and he DROPS -- SELINA SPOTS -- A DIM GLIMPSE OF FALCONE DARTING FOR THE DOOR -- SHE FIRES BLINDLY -- BULLETS RIPPING INTO THE WALL -- WHILE -- OUTSIDE IN THE COMPLETELY DARKEN ED ELEVATOR HALLWAY VOICES OF PANICKED GUARDS react to the GUN SHOTS -- Jesus Christ -- -- I can't see a goddamn</scene_description> <character>YET ANOTHER</character> <dialogue>here-here-here -- !</dialogue> <scene_description>-- as he turns on a CELL PHONE FLASHLIGHT -- light spills onto THE FIVE ARMED GUARDS -- WHEN AN OMINOUS SCREECHING comes from the end of the hall -- THEY ALL SPIN toward THE EERILY OPEN DOORS OF THE PITCH-DARK ELEVATOR. They exchange looks, spooked; then, drawing guns, nod to the Guard With The Cell to check i t out; he reluctantly moves to the doors, drawing his gun... they watch as he enters: THE ELEVATOR SCOURING with the GLOW of his cell; sees nothing ... when, he hears BREATHING ... dawning dread ... he looks up AT -- BATMAN, BRACED UNNATURALLY AGAINST THE CEILING -- light from below DISTORTING HIS FEATURES -- an IMAGE FROM CHILDREN'S NIGHTMARES -- FACE TO FACE with the Guard -- BATMAN DR OPS -- THE GUARD SHRIEKING IN AGONY -- HIS CELL SMASHING -- THE HALL THRUST AG AIN INTO DARKNESS -- AS BOOTSTEPS POUND -- BATMAN'S PATH THROUGH THE HALL MARKED BY STACCATO MUZZLE FLAS HES -- AS HE PUMMELS GUARD, AFTER GUARD, WEAPONS FIRING INVOLUNTARILY AS THEIR BODIES FLY -- BACK IN THE DARKENED DRAWING ROOM MORE FLASHES FROM SELINA'S GUN reveal -- FALCONE CRAWLING DESPERATELY around the pool table -- BARELY EVADING HER SELINA TURNS THE CORNER TO FIND HIM -- ABOUT TO FIRE -- WHEN A F O RCE YANKS HER -- SLAMMING HER INTO THE TABLE -- THE BALD BODYGUARD -- SHE KICKS HIM OFF -- AND WITH ANOTHER BRUTAL STOMP HOBBLES HIS OTHER KNEE -- SHE GRABS HIS HEAD -- WHACKING HIM OUT ON THE TABLE EDGE! SELINA SPINS BACK for Falcone -- BUT HE'S GONE -- THWACK! -- FALCONE SLAMS HER HEAD WITH A POOL CUE! CLIMBS ON HER AS SHE DROPS -- THRUSTING THE CUE IN BOTH HANDS AGAINST HER NECK, CHOKING HER -- SELINA GASPS -- ARMS PINNED -- WRITHING -- A EERIE COLDNESS IN HIS EYES AS HE FIGHTS TO SNUFF OUT HER LIFE -- FURIOUS TEARS SPILL FROM HER EYES --</scene_description> <character>FALCONE</character> <dialogue>You don't think this hurts me... ? My own... flesh and blood? You made me do this ... Just ... like your mother...</dialogue> <character>SHOCKED, SELINA DRINKS IN AIR -- AS BATMAN SLAMS FALCONE</character> <dialogue>DOWN ONTO THE TABLE -- LEAVING HIM IN A STUPID DAZE --</dialogue> <dialogue>Selina GRABS THE GUN -- aiming at Falcone distraught, filled with fury Batman holds her back -- she ERUPTS:</dialogue> <character>SELINA</character> <dialogue>He has to PAY -- !</dialogue> <scene_description>Batman qently puts his hand on the gun -- as she shakes, still panting, adrenaline surging -- he says, quietly:</scene_description> <character>BATMAN</character> <dialogue>But you shouldn't have to pay with him...</dialogue> <scene_description>She turns to him -- not understanding -- still frenzied --</scene_description> <character>BATMAN</character> <dialogue>...you've paid enough.</dialogue> <scene_description>Something in that finally gets through... she relents... Batman watches as her eyes drift down, lost, reeling...</scene_description> </scene> <scene> <stage_direction>INT. ICEBERG LOUNGE - LONG ENTRY HALL - MOMENTS LATER</stage_direction> <scene_description>ONLOOKERS part -- A STUNNED PENGUIN AND TWINS AMONG THEM -- as Batman propels Falcone... who murmurs, undeterred --</scene_description> <character>FALCONE</character> <dialogue>Jesus, lookit you... Whattaya think this is -- you think you're gonna scare me with that mask and the cape -- I'm gonna start cryin' and some big secret's comin' out?</dialogue> <scene_description>Batman slowly turns, rage now smoldering in his eyes.</scene_description> <character>FALCONE</character> <dialogue>Lemme tell you something: whatever I know, whatever I done, it's all goin' with me, OK? To my grave.</dialogue> <scene_description>Batman gazes into his black eyes, restraining himself -- then turns to see -- GORDON waiting with a SHOTGUN at the open front door -- Falcone smirks as they reach him</scene_description> <character>FALCONE</character> <dialogue>You with Zorro over here?</dialogue> <parenthetical>(leans in, hushed)</parenthetical> <dialogue>Don't you know you boys in blue work for �- ..?</dialogue> <scene_description>Gordon just glares, as he and Batman both shove Falcone -- where Falcone's smile immediately fades as he sees a HUGE DI SPLAY OF ARMED COPS waiting in stoic silence --</scene_description> <character>GORDON</character> <dialogue>Guess we don't all work for you.</dialogue> <scene_description>Falcone's stunned; Gordon nods to Martinez to CUFF him --</scene_description> <character>GORDON</character> <dialogue>You have the right to remain silent, anything you say can and will be used against you...</dialogue> <scene_description>Falcone's eyes drift to Penguin and Twins who've emerged with others from the club, all watching in disgust</scene_description> <character>PENGUIN</character> <dialogue>...goddamn rat...</dialogue> <character>FA LCONE</character> <dialogue>-- what'd you say ...?!</dialogue> <character>PENGUIN</character> <dialogue>Enjoy your night at Blackgate, Carmine probably be your last FALCONE PENGUIN</dialogue> <scene_description>Oh, you're a big man now, ( new sense of power) huh Oz? maybe I am --</scene_description> <character>FALCONE</character> <dialogue>Really, Oz? 'Cuz to me you were always just a gimp in an empty suit...</dialogue> <scene_description>-- the Twins can't help but chuckle at that -- the public humiliation suddenly embarrassing Penguin -- he explodes:</scene_description> <character>PENGUIN</character> <dialogue>I 'LL SPR AY-PAINT YOUR ASS -- !</dialogue> <scene_description>whipping out his UZI -- COPS FREAK -- RUSHING HIM -- WHEN SHOTS RING OUT -- FALCONE'S HIT -- THE COPS PILE ONTO PENGUIN -- WHO SUBMITS IN SUDDEN PAN IC --</scene_description> <character>PENGUIN</character> <scene_description>PANDEMONIUM -- EVERYONE SCRAMBLING FOR COVER -- AS BATMAN LOOKS UP TO SEE -- A RIFLE JUTTING OUT A SIX FLOOR WINDOW ACROSS THE STREET -- HE LUNGES FOR FALCONE -- AS THE RIFLE FIRES AGAIN -- BULLETS EXPLODE INTO FALCONE'S CHEST -- AS BATMAN TACKLES HI M -- THEY TUMBLE TO THE GROUND -- -- to find him BLEEDING OUT -- when HE NOTICES A BRIGHT REFLECTION in the POOLING BLOOD -- he lo o ks up to see it's fro m the LONE FLICKERING STREET LAMP above -- when SOMETHING QUIETLY DAWNS --</scene_description> <character>BATMAN</character> <dialogue>... "Bring him into the light..."</dialogue> <scene_description>His HEAD WHIPS to the DARKENED WINDOW ACROSS THE STREET</scene_description> <character>BATMAN</character> <dialogue>" . . . and you' 11 find where I'm--"</dialogue> <character>A VOICE CRIES (O.S.)</character> <dialogue>(as if co mpleting Batman's thought)</dialogue> <character>UP THERE!</character> <dialogue>Ever yone turns to see MARTINEZ POINTING TO THE WINDOW --</dialogue> <character>MARTINEZ</character> <dialogue>-- THE SHOTS CAME FROM UP THERE!</dialogue> <scene_description>-- cops pulling o ut weapons -- Batman turning to Gordon --</scene_description> <character>BATMAN</character> <dialogue>-- it's Riddler --</dialogue> <scene_description>Go rdon struck, sn apping into acti on -- CALLING HIS MEN --</scene_description> <character>GORDON</character> <dialogue>Gage! On me! Martinez! Round back! NO ONE GETS IN OR OUTTA THERE!</dialogue> <scene_description>COPS RUSH THE BUILDING a s Batman stalks purpo sefully alone in the directi on of the window itself -- A few cops rema in, attending to Falcone -- HIS FACE GOES STILL -- when A SHADOW SPILLS over his lifeless eyes -- REVEAL SELINA above him -- flickering street light flaring ar o und her as s he stares at her father, nu mb ... A GRAPPLING HOOK CRASHES THROUGH a WINDOW -- BATMAN CATAPULTS UP INTO -- A RUN-DOWN STUDIO APARTMENT NO ONE HERE. The WALL S are COVERED IN I MAGES. Batman sees A SNIPER RIFLE by the window. He turns to AN OPEN WINDOW on an other wall -- moves to find -- A FIRE ESCAPE OUTSIDE -- leans to scan the gri my alley bel ow -- it's EMPTY --</scene_description> <character>BATMAN</character> <dialogue>He's gone --</dialogue> <scene_description>Batman moves past CAGES OF SCREEC HING RATS to photos on the wall -- Savage and the dealer -- Mitchell and Annika struck, Batman gazes out the window -- Gordon does too -- to SEE most of the photos were taken from this spot</scene_description> <character>GORDON</character> <dialogue>... he's been here this whole time?</dialogue> <character>MARTINEZ (OVER RADIO)</character> <dialogue>LIEUTENANT! We gotta witness here says she saw someone come down the fire escape right after the shots! She said he went into the corner diner -- the guy's sitting by himself at the counter r ight now!</dialogue> <scene_description>Gordon and Batman exchange a look ...</scene_description> </scene> <scene> <stage_direction>EXT. PUSHING IN ON THE FRONT OF A LONELY DINER - NIGHT</stage_direction> <scene_description>Like an Edward Hopper painting -- A LONE, AVERAGE-SIZED MAN sits at the counter, HIS BACK TO THE LARGE WINDOW A COUNTERMAN sets A LATTE before him, then disappears into the kitchen -- a TV above plays ELECTION RESULTS as we PUSH CLOSER ARMED COPS CREEP INTO FRAME -- AMONG THE COPS WE FIND BATMAN -- as he approaches staring at the Lone Man in the window -- transfixed --</scene_description> </scene> <scene> <stage_direction>INT. LONELY CORNER DINER - THE COUNTER - SIMULTANEOUS</stage_direction> <scene_description>CLOSE ON THE BACK OF THE LONE MAN as he meticulously attends to HIS LATTE with a PLASTIC STIRRER; we HEAR GCl NEWSCASTER -- not enough precincts in to call yet, but so far Real is ahead of Acting Mayor Tomlin by huge margins, celebrations already beginning at her headquarters in Gotham Square Garden where even Don Mitchell's wife and son have gathered to show unity --</scene_description> <character>A CRAZED COP (O.S.)</character> <dialogue>POLICE!!! -- HANDS UP!!!</dialogue> <character>BU T THE LONE MAN JUST KEEPS STIRRING HIS LATTE</character> <dialogue>I SAID PUT YOUR GODDAMN HANDS UP,</dialogue> <character>YOU SONUVABITCH!!!</character> <dialogue>The Man FINISHES STIRRING... SLOWLY RAISES HIS HANDS, still pinching the little stirrer ... He starts to turn but before we see his face -- REVEAL -- the S HOW OF FORCE AROUND HIM -- THE PLACE IS PACKED Then, at last, WE SEE HIM FOR THE FIRST TIME -- and his signature PRESCRIPTION AVIATORS; he's pale, unremarkable; a NOBODY. A creepy half-smile forms as he stares at the cops -- like he's been expecting them... when finally, he speaks, gesturing toward the kitchen with the stirrer --</dialogue> <character>RIDDLER</character> <parenthetical>(as if they'll wait)</parenthetical> <dialogue>...I just ordered a slice of the pumpkin pie--</dialogue> <character>BAM! -- COPS RUSH HIM</character> <dialogue>SLAMMING HIM ONTO THE COUNTER --</dialogue> <scene_description>CLOSE ON HIS SIDEWAYS FACE, cheek pressed flat beside HIS LATTE -- glasses smashed -- STRUCK, AS HE SEES SOMETHING -- past the cops, a FIGURE gazes from outside -- BATMAN -- RIDDLER holds Batman's eyes, smile growing -- when Martinez rips his wallet from his pocket -- finding TWO DRIVER'S LICENSES: "EDWARD NASHTON" and "PATRICK PARKER".</scene_description> <character>MARTINEZ</character> <dialogue>Which one is you?!</dialogue> <character>RIDDLER</character> <parenthetical>(a little grin)</parenthetical> <dialogue>...you tell me...</dialogue> <character>MARTINEZ</character> <dialogue>Awright -- let's go, pencil-neck!</dialogue> <scene_description>As THEY TEAR HIM AWAY, we REMAIN ON HIS STEAMING LATTE -- MOVING TOWARD THE CUP -- LIFTING TO LOOK INSIDE at what Ri ddler was working on -- A WORK OF LATTE ART -- A WHITE QUESTION MARK, SCRAWLED IN FOAM -- HOLD, as SIRENS wail --</scene_description> </scene> <scene> <stage_direction>INT. RIDDLER'S STUDIO APARTMENT - SHORT TIME LATER</stage_direction> <scene_description>Crawling with INVESTIGATORS -- POLICE PHOTOGRAPERS snap and videotape -- the atmosphere is hushed, electric -- IN THE DIM HALLWAY RIGHT OUTSIDE Martinez posted at the door, watches election results on his phone -- when a DARK S HADOW WIPES RIGHT BY him --</scene_description> <character>MARTINEZ</character> <dialogue>Hey -- !</dialogue> <scene_description>INSIDE THE APARTMENT we ROVE toward DETECTIVES poring over a mountain of RIDDLER'S NOTEBOOKS, LEDGERS, PAPERS -- so absorbed in their task they don't notice as we arrive beside them -- REVEAL BATMAN -- scanning SCRIBBLED TITLES on the ledgers he cocks his head to read one, struck: "RENEWAL" On the other side of the room, Gordon confers with a FORENSIC COP by a PILE OF YEL LOWING, RATTY NOTEBOOKS</scene_description> <character>GORDON</character> <dialogue>-- what are all these -- diaries?</dialogue> <character>FORENSIC COP</character> <dialogue>Ledgers -- he's got thousands scrawled all over 'em -- ramb lings -- ciphers -- codes --</dialogue> <scene_description>A DETECTIVE ON THE PHONE suddenly shouts excitedly</scene_description> <character>DETECTIVE ON THE PHONE</character> <dialogue>Got something back on one of the I.D.s! Edward Nashton! Works at KTMJ! He's a forensic accountant!</dialogue> <character>GORDON</character> <dialogue>accountant -- ?</dialogue> <character>A SURLY COP YELLS (O.S.)</character> <dialogue>Hey, lieutenant! You really OK with this -- ?!</dialogue> <scene_description>Gordon turns -- to see the Surly Cop gesturing beside Batman who's now reading the Renewal ledger</scene_description> <character>SURLY COP</character> <dialogue>What about chain of evidence?</dialogue> <scene_description>Ignoring him, Batman looks up at Gordon with a foreboding stare -- Gordon approaches; Batman hands him the ledger</scene_description> <character>GORDON</character> <parenthetical>(shrugs to Surly Cop)</parenthetical> <dialogue>...he's wearing gloves...</dialogue> <scene_description>Gordon gazes at the ledger -- the top sheet is smothered in WRITING, SCRAWLED right on the columns of numbers -- as GORDON READS -- we SEE Batman stalk the room, absorbing the CLUTTER -- including a SHRINE OF MANNEQUINS WEARING PROTOTYPES OF THE RIDDLER'S TORTURE DEVICES ... "Friday, July, 16th. My life has been a cruel riddle I could not solve, suffocating my mind, no escape. But then today, I SAW IT... A SINGLE WORD on this ledger, sitting on the desk beside me! RENEWAL! The empty promise they sold to me as a child in that orphanage. One look inside and finally I UNDERSTOOD! My whole life has been PREPARING me for this ... The moment when I would learn the TRUTH... when I coul d finally strike back and EXPOSE THEIR LIES! " As Batman passes CAGES OF AGITATED RATS, a SCREECHING grabs his attention; he moves for it as Gordon goes on</scene_description> <character>GORDON (O.S.)</character> <dialogue>"If you want people to understand, REALLY understand, you can't just give them the answers. You have to CONFRONT them, TORTURE THEM with the horrifying questions -- Just like they tortured ME. I KNOW NOW WHAT I MUST BECOME. "</dialogue> <scene_description>As the SCREECHING ESCALATES, Gordon flips more pages, the Riddler's scrawl becoming illegible, until it's nothing but ANGRY SCARS OF INK -- Gordon is shaken by the display of insanity -- until the intense SCREECHING becomes TOO MUCH -- he glances up, seeing Batman by the cages --</scene_description> <character>GORDON</character> <dialogue>Jesus -- I don't think that rat likes you, man --</dialogue> <character>BATMAN</character> <dialogue>This one's not a rat...</dialogue> <scene_description>Gordon and the Surly Cop step closer to see... inside the cage is A RABID BAT! It SNARLS, BEARING ITS TEE TH, WINGS BEATING -- beneath it is an ENVE LOPE: "TO THE BATMAN" -- attached to a strange BLOODY, METAL TOOL --</scene_description> <character>GORDON</character> <dialogue>What is that...?</dialogue> <scene_description>Batman starts to reach in -- but stops, shooting Surly Cop a sardonic look -- okay with you?</scene_description> <character>SURLY COP</character> <dialogue>Knock yourself out ...</dialogue> <scene_description>-- Batman tensely reaches past it, carefully retrieving the envelope and metal object</scene_description> <character>FORENSIC DETECTIVE</character> <dialogue>Some kinda 2fY tool</dialogue> <character>SURLY COP</character> <dialogue>is it a chisel -- ?</dialogue> <character>BATMAN</character> <dialogue>-- it's a murder weapon. He killed Mitchell with it.</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>The edge'll match the floorboard impression in the mayor's study.</dialogue> <scene_description>Batman opens the envelope -- another GREETING CARD says: "JUST FOR YOU"; inside is SCRAWLED, "MY CONFESSION ... "</scene_description> <character>GORDON</character> <dialogue>"My Confession"...? What's he confessing to? He already told us he killed Mitchell...</dialogue> <scene_description>Batman stares at the card with growing dread --</scene_description> <character>BATMAN</character> <dialogue>This isn't over...</dialogue> <character>AN ALARMED VOICE (O.S.)</character> <dialogue>Oh man -- he's been posting all kinds of shit online! He's got like five hundred followers real fringe types...</dialogue> <scene_description>They turn to a DIGITAL FORENSICS COP on Riddler's laptop -- Gordon moves to see -- but Batman's eyes go to the wall above... to AN ENORMOUS COLLAGE -- a sea of DEFACED PHOTOS -- sc rawled over it: " THE TRUTH ABOUT GOTHAM". Batman steps forward, gazing at IMAGES of city officials, police officers, Riddler's victims -- but most prominent is an image of YOUNG BRUCE WAYNE beside his father at the Orphanage ceremony -- their EYES ETCHED ANGRILY OUT. In the BOY'S CHOIR beside them, a QUESTION MARK encircles the head of a SAD, SCRAWNY BOY IN AVIATOR GLASSES who stares at the Waynes in awe -- next to him are the words: "If only I knew then. .. what I KNOW now.. . " -- -- Batman sees A CLUSTER OF BATMAN TABLOID HEADLIN ES in the collage -- among them, a CRUDE POLICE SKETCH, entitled: "GOTHAM TERRORIZED -- WHO IS THE BATMAN?" Next to it, Riddler has written ominously: "I KNOW ... I know the REAL you... " Batman stares, unnerved -- WHEN -- His final post was last night -- some video -- gotta lotta views -- but it's password protected -- Batman turns to see what they're looking at -- the post is titled "The Truth UNMASKED" -- Batman hit by a sinking feeling as Gordon anxiously presses toward the screen --</scene_description> <character>GORDON</character> <dialogue>Can you get in -- ?</dialogue> <character>DIGITAL FORENSICS COP</character> <dialogue>Copying his drive now -- take some time -- but we'll get in...</dialogue> <scene_description>Batman stares, world closing in reeling -- then --</scene_description> <character>BATMAN</character> <dialogue>I think I'm his last target...</dialogue> <scene_description>Gordon turns -- struck</scene_description> <character>GORDON</character> <dialogue>You... ?</dialogue> <character>BATMAN</character> <dialogue>Maybe this's all coming to an end.</dialogue> <character>GORDON</character> <dialogue>... what is?</dialogue> <character>BATMAN</character> <dialogue>The Batman.</dialogue> <scene_description>Gordon looks confused, when his phone RINGS. He steps away. Batman watches as Gordon speaks low -- his eyes suddenly lift darkly to Batman's. He hangs up, unnerved</scene_description> <character>GORDON</character> <dialogue>... Riddler's asking for you. At Arkham.</dialogue> <scene_description>Batman just looks at him; then starts to go but stops -- Gordon looks at him when he says, like a farewell --</scene_description> <character>BATMAN</character> <dialogue>... you're a good cop.</dialogue> </scene> <scene> <stage_direction>INT. VISITING CELL - ARKHAM PRISON FOR THE INSANE - NIGHT</stage_direction> <scene_description>Batman waits as the METAL ROLL-UP DOOR RISES ... revealing Riddler. Seeing Batman, an EERIE SMILE grows. Finally, Riddler speaks, glancing at the squalid surroundings -- ...I told you I'd see you in hell.</scene_description> <character>BATMAN</character> <dialogue>What do you want from me?</dialogue> <character>RIDDLER</character> <dialogue>...want? If you only knew how long I've been waiting for this day... for this moment. I've been invisible my whole life. Guess I won't be anymore, will I? They'll remember me now. They'll remember both of us...</dialogue> <scene_description>His smile fades. He looks into Batman's eyes; ominously:</scene_description> <character>RIDDLER</character> <dialogue>Bruce Wayne...</dialogue> <scene_description>Batman's jaw clenches, betraying nothinq -- Riddler's emotion rises, he looks at the floor, stewing with rage:</scene_description> <character>RIDDLER</character> <dialogue>Bruce. Waaaayne.</dialogue> <scene_description>Batman on edge -- his eyes flit anxiously to a SECURITY CAMERA recording -- when Ridd ler's eyes snap back to his. The pause between them is excruciating. Then, bitterly:</scene_description> <character>RIDDLER</character> <dialogue>You know, I was there that day... the day the great Thomas Wayne announced he was running for mayor. Made all those promises... Week later he was dead, and everybody just forgot about us. All they could talk about was poor Bruce Wayne... Bruce Wayne the orphan... Orphan? Living in some tower over the park isn' t being an orphan. Looking down at everyone with all that money -- don't you tell me... You know what being an orphan is? Thirty kids to a room, twelve years old and already a drophead, numbing the pain -- you wake up screaming with rats chewing your fingers, and every winter one of the babies dies because it's so cold. But oh, no. Let's focus on the billionaire with the lying dead daddy. Because at least the money makes it go down easy, doesn't it?</dialogue> <scene_description>Bruce Wayne... Riddler quiets, ruminating dar kly. Walls closing in, Batman looks away to keep from screaming. Riddler sighs:</scene_description> <character>RIDDLER</character> <dialogue>He's the on ly one we didn't get.</dialogue> <scene_description>Batman lifts his eyes -- stirring almost imperceptibly what'd he just say? Riddler lean s in conspiratorially</scene_description> <character>RIDDLER</character> <dialogue>But we got the rest of them, didn't we -- all those sick, sleazy, phony pricks...</dialogue> <scene_description>Batman REELS -- Riddler DOESN'T know -- when, Riddler suddenly softens, his tone turning almost vulnerable:</scene_description> <character>RIDDLER</character> <dialogue>God, look at you... Your... mask is amazing. I wish you could have seen me in mine...</dialogue> <parenthetical>(an intimate grin)</parenthetical> <dialogue>Isn't it funny? All e veryone wants to do is unmask you, but they're missing the point... You and I both know: I'm looking at the real you righ t now. My mask allowed me to be myself, completely. No shame. No limits --</dialogue> <character>BATMAN</character> <dialogue>why did you write me?</dialogue> <character>RIDDLER</character> <dialogue>...... what do you mean?</dialogue> <character>BATMAN</character> <dialogue>All those cards --</dialogue> <character>RIDDLER</character> <dialogue>I told you. We've been doing this together you're part of this</dialogue> <character>BATMAN</character> <dialogue>We didn't do anything together</dialogue> <character>RIDDLER</character> <dialogue>-- we did -- what did we just do? I asked you to bring him into the light and you did -- we're such a good team --</dialogue> <scene_description>We're NOT a team -- I never could have gotten him out of there, I'm not physical -- my strength is up here. I mean I had all the pieces, I had the answers, but I di dn't know how to make them listen YOU gave me that --</scene_description> <character>BATMAN</character> <dialogue>I gave you NOTHING</dialogue> <character>RIDDLER</character> <dialogue>-- you showed me what was possible -- you showed me all it takes is fear and a little focused violence you INSPIRED me --</dialogue> <character>BATMAN</character> <dialogue>YOU'RE OUT OF YOUR GODDAMN MIND!</dialogue> <character>RIDDLER</character> <dialogue>What -- ?</dialogue> <character>BATMAN</character> <dialogue>this is all in your HEAD you're twisted</dialogue> <character>RIDDLER</character> <dialogue>-- how can you say that?! SICK</dialogue> <character>BATMAN</character> <dialogue>-- you think you'll be</dialogue> <character>RIDDLER</character> <dialogue>-- no -- no -- stop -- !</dialogue> <scene_description>REMEMBERED? You're a (covering his ears, a pathetic psychopath beg ging child's tantrum) for attention -- you're NO, NO, NO, NO, NO, NO gonna die in Arkham -- AHHHHHHHHHHHHHHHHH -- FORGOTTEN -- a NOBODY</scene_description> <character>RIDDLER</character> <parenthetical>(angry tears stream)</parenthetical> <character>THIS IS NOT HOW THIS WAS</character> <dialogue>SUPPOSED TO GO ... !!!</dialogue> <scene_description>SILENCE. Batman watches Riddler fume to himself; quietly:</scene_description> <character>RIDDLER</character> <dialogue>I had it all planned out. We were gonna be safe here -- we could watch the whole thing. T ogether.</dialogue> <character>BATMAN</character> <dialogue>... watch what?</dialogue> <character>RIDDLER</character> <parenthetical>(sulking at floor)</parenthetical> <dialogue>Everything. But I guess that won't be happening now, will it?</dialogue> <scene_description>has no idea what he's talking about. Riddler's struck --</scene_description> <character>RIDDLER</character> <dialogue>...ohhhh ... you didn't -- ? -- it was all there... you didn't figure it out...?</dialogue> <parenthetical>(relishing)</parenthetical> <dialogue>You're really not as smart ... as I thought you were ... I guess I gave you too much credit...</dialogue> <character>BATMAN</character> <dialogue>What have you done?</dialogue> <scene_description>Riddler sits there; he leans in with sadistic pleasure</scene_description> <character>RIDDLER</character> <dialogue>What's black and blue... and dead all over ... ?</dialogue> <parenthetical>(as Batman glares)</parenthetical> <dialogue>You. If you think you can stop what's coming...</dialogue> <character>BATMAN</character> <dialogue>What have you DONE?!</dialogue> <scene_description>Riddler sinks silently into his chair, finally retreating into an eerie, off-key "AVE MARIA" by SHUBERT ... BATMAN LAUNCHES out of his chair, SMASHING A FIST against the glass; but Riddler keeps singing. Batman stands, helpless -- STRAINS OF "AVE MARIA" RISING HAUNTINGLY --</scene_description> </scene> <scene> <stage_direction>INT. RIDDLER'S DARKENED APARTMENT - FRONT DOOR - NIGHT</stage_direction> <scene_description>A BLADE SLASHES the POLICE SEAL on the door -- BATMAN BUSTS IN, PLAGUED, folding his TACTICAL KNIFE -- his eyes rove the unoccupied space -- poring over the details again -- WHAT DID HE MISS? -- mind racing -- WHEN --</scene_description> <character>A VOICE (O.S.)</character> <dialogue>Hey -- whattaya &lt;loin' in here -- ?</dialogue> <scene_description>Batman spins to see MARTINEZ IN THE DOORWAY, hand on his gun. No time for this, Batman shoots a terrifying look. Intimidated, Martinez thinks twice, releases his grip. As Batman resumes his search, Martinez steps in, feeling a responsibility to monitor the situation... He watches as Batman moves to the BLOODY METAL TOOL, taking out his UV light bar, shining it. He picks up the GREETING CAR D -- Hey man -- I d on't think you should be touching th-- Another look cuts him off -- Batman studies the card. Martinez glances at the tool, attempting conversation</scene_description> <character>MARTINEZ</character> <dialogue>... boy, this guy's a real nutjob, huh? Killing Mitchell with a friggin' carpet tool...</dialogue> <scene_description>Batman slowly turns, struck. He gives Martinez a crazed look: what did you just say? Martinez smiles, sheepish --</scene_description> <character>MARTINEZ</character> <dialogue>...my uncle's an installer -- it's a, it's a -- you know -- a tucker.</dialogue> <scene_description>THE TOOL IS THE MISSING PIECE. Batman picks it up, stunned. Looks around frantically, finally spotting ... � SUSPICIOUS, SNARLED CORNER OF THE RUG. He puts the tool down -- moving toward the snag -- Martinez watching -- as he crouches to examine... when... with growing dread... he begins TUGGING UP THE RUG -- CARP ET TACKS POP-POP-POP! Martinez freaks as EVIDENCE ON THE RUG SPILLS CHAOTCALLY:</scene_description> <character>MARTINEZ</character> <dialogue>whoa-WHOA-WHATTAYA DOIN', MAN?!</dialogue> <scene_description>Batman UNVEILS A GIANT MAP OF GOTHAM, SCRAWLED ONTO THE FLOOR -- it's INCREDIBLY DETAILED. Beside the map are frighteningly carved, huge words: "A REAL CHANGE" -- Batman STARES at the WORDS, GEARS TURNING -- he lifts his head looking at SOMETHING across the room -- RIDDLER'S LAPTOP SCREEN - SECONDS LATER Batman enters the words, "A REAL CHANGE" -- unlocking the VIDEO... Riddler in his hooded uniform -- his warm tone weirdly incongruous with the ominous VOICE CHANGER:</scene_description> <character>RIDDLER (ON LAPTOP)</character> <dialogue>Hey guys, thanks for all the comments, and a s pecial thanks to everyone for the tips on detonators. I just want to say... this will be my last post for a while, and, uh . ..</dialogue> <parenthetical>(a surge of emotion)</parenthetical> <dialogue>... what this community has meant to me... these weeks, these months ... let's just say... � of us • • • is alone anymore, mm-k?</dialogue> <character>RIDDLER (ON LAPTOP)</character> <dialogue>Tomorrow's election day, and Bella Real will win. She promised real change. But we know the truth, don't we? You've seen Gotham's true face now. Together, we've unmasked it. Its corruption, its perversion, masquerading under the guise of Renewal... but unmasking is not enough... The Day of Judgement is finally upon us, and now it is time... for retribution.</dialogue> <scene_description>Riddler PICKS THE CAMERA UP, POINTS it at the MAP ON THE FLOOR as he walks; Batman RISES to FOLLOW THE SAME PATH --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>I've parked seven vans all along the city sea wall. And on the big ni ght, they will ... go... boom --</dialogue> <scene_description>Batman gazes down, SEES SEVEN "X"'S CARVED INTO THE MAP --</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>Now when things go wrong, cities have a plan. But tomorrow, we will turn it on its head. Make their emergency disaster plan truly a disaster. When the vans blow --</dialogue> <scene_description>ALARMED, BATMAN PEERS DOWN at the "X" on a GOTHAM STREET right under his feet -- ALMOST GASPING -- AS WE -- SAME ANGLE - OVER THE ACTUAL GOTHAM STREET - THAT MOMENT In the "X"'s place is a VAN as it ERUPTS, PART OF THE ADJACENT SEA WALL CRUMBLING A RUSH OF WATER FLOODS IN! BACK TO BATMAN SPINNING at the sound of MORE EXPLOSIONS; he bolts to the window to SEE FIREBALLS ROILING OVER THE SKYLINE -- !</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>-- the flooding will happen s o fast, evacuation will not be an option...</dialogue> <scene_description>REVEAL RIDDLER peering out his cell window; he smiles -- HIGH ANGLE - OVER ANOTHER GOTHAM STREET - AT THAT MOMENT</scene_description> <character>A STARTLING GLIMPSE -- A TSUNAMI WAVE SWEEPS SUDDENLY</character> <dialogue>OVER SHOCKED PEDESTRIANS -- TEARING THE STREET APART --</dialogue> <character>RIDDLER (V.O.)</character> <dialogue>Those who are not washed away</dialogue> <scene_description>RIDDLER'S APARTMENT - AT THAT MOMENT Batman's head whips toward ANOTHER SCRAWLED INTERSECTION -- drawn by the sounds of DISTANT, TERRIFIED SCREAMING it's as if the sound is coming from the map</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>will race through the streets</dialogue> <scene_description>in terror... SAME ANGLE ON THE ACTUAL INTERSECTION - AT THAT MOMENT</scene_description> <character>THE DESTRUCTIVE WAVE -- NOW BLACK WITH DEBRIS -- RIPS</character> <dialogue>UP CARS, TREES, LAMP POSTS -- as PEOPLE'S SCREAMS ECHO --</dialogue> <scene_description>BATMAN'S EYES fiercely search the map -- assessing the crisis</scene_description> <character>BATMAN</character> <dialogue>Call Gordon -- yeah-yeah-yeah</dialogue> <character>MARTINEZ</character> <dialogue>(fumb ling for cell) !</dialogue> <scene_description>STREET OUTSIDE GOTHAM SQUARE GARDEN - THAT VERY MOMENT CELEBRATING CROWDS watching Bella's victory on JUMB OTRONS and CELLS -- as EMERGENCY BULLETINS interrupt coverage</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>As breaking news hits higher ground at Gotham Square Garden, celebrations will turn to panic</dialogue> <scene_description>People react -- SCREAMING -- some spot SMOKE IN THE SKY --</scene_description> <character>(CONTINUED )</character> <dialogue>-- as the venue becomes the city's shelter of last resort...</dialogue> <scene_description>BACK TO RIDDLER'S APARTMENT - AT THAT MOMENT</scene_description> <character>RIDDLER (ON LAPTOP)</character> <dialogue>And that's where all of you come in ...</dialogue> <scene_description>BATMAN'S EYES GO TO THE COMMENT BOARD -- finding CHILLING REPLIES: "what gauge? what caliber?" -- "rifles are good"</scene_description> <character>RIDDLER (ON LAPTOP)</character> <dialogue>... when the time arrives, I will already be unmasked, the pigs will have me in their custody -- but that's ok, because then ... it will be your turn...</dialogue> <scene_description>A MOVING SHOT - FOLLOWING A DARK FIGURE Walking THE RAFTERS ABOVE GOTHAM SQUARE GARDEN, pulling on a Riddler-style execution hood, rifle in hand...</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>... you'll be there, waiting ...</dialogue> <scene_description>The Hooded Figure stares ominously below where panicked commotion suggests news of the flooding is spreading -- when the Figure looks up, SPOTTING ... ANOTHER ARMED HOODED FIGURE, staring back at him -- they regard each other oddly... then nod grimly -- when they turn to see... a THIRD Rid dler Figure arriving... and behind him, ANOTHER... and ANOTHER ... It's A SMALL ARMY OF BITTER NOBOD IES IN HOODED RIDDLER OUTFITS, hidden above the crowd, all meeting here for the very first time, as they secretly prepare to strike ...</scene_description> <character>RIDDLER (V.O.)</character> <dialogue>It's time for the lies to finally end -- false promises of Renewal, change</dialogue> <scene_description>BACK TO BATMAN watching in horror as Riddler concludes bitterly --</scene_description> <character>(CONTINU ED)</character> <dialogue>We'll give them a real, real change now. We've spent our lives in this wretched place, suffering, wondering why us? Now they wi ll spend their last moments wondering, why them...?</dialogue> <scene_description>ON MARTINEZ, completely terrified, gazing at his cell --</scene_description> <character>MARTINEZ</character> <dialogue>I can't get through the lines are down --</dialogue> <scene_description>He turns to show Batman BUT BATMAN IS ALREADY GONE!</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE GOTHAM SQUARE GARDEN - NIGHT</stage_direction> <character>UTTER CHAOS OUTSIDE THE GLASS DOMED BUILDING -- EMERGENCY</character> <dialogue>VEHICLES, SIRENS -- PEOPLE running up the streets -- FIRST RESPONDERS scream to CROWDS OF TERRIFIED CITIZENS herding them to shelter inside the Garden -- tending to the INJURED -- a crisis escalating by the second</dialogue> <dialogue>We SPOT a MOTORCYCLE weaving through the madness SELINA -- with her leather backpack, saddle bags on the bike -- she stops at a ROAD BLOCK across the intersection -- hops off to move a SAW HORSE herself -- WHEN:</dialogue> <character>TRAFFIC COP</character> <dialogue>Hey -- road's CLOSED!</dialogue> <character>SELINA</character> <dialogue>-- I'm trying to get outta town --</dialogue> <character>TRAFFIC COP</character> <dialogue>Lady, we got BOMBS goin' off, whole city's FLOODING! Now you're gonna have to go inside the Garden with everyone else!</dialogue> <scene_description>About to protest, Selina suddenly feels something -- she looks down to see BLACK WATER POOLING around her feet -- INSIDE GOTHAM SQUARE GARDEN - ENTRANCE - SIMULTANEOUS The victory celebration turned to crisis mode -- a MAD CRUSH squeezes through the doors -- fighting through, we FIND GORDON, rousted from bed, urgently heading for -- a MAKESHIFT COMMAND POST. UNIFORMED OFFICERS, MED PERSONNEL and FIREMEN all talk at once; Gordon flashes his BADGE --</scene_description> <character>GORDON</character> <dialogue>MCU -- who's in charge ?!</dialogue> <scene_description>I really dunno, we're all just tryin'a get a handle here, sir!</scene_description> <character>GORDON</character> <dialogue>-- we have an active situation -- we need to sweep the building for explosives and get the mayor-elect outta here, llilli· Where is she -- ?</dialogue> </scene> <scene> <stage_direction>INT. GOTHAM SQUARE GARDEN - HIGH ABOVE - SAME</stage_direction> <scene_description>A RIFLE SCOPE PROWLS the panicked crowd... FINDING GORDON AND COPS pressing through; CROSSHAIRS follow ominously -- then SWISH ACROSS TO FIND -- BELLA behind the FESTOONED STAGE, surrounded by her team, peeking in and out of view as she gestures anxiously, arguing with a FIRE MARSHALL REVEAL A MAGNIFIED EYE -- blinking eerily through the scope -- as the scope lowers, and we see ONE OF THE HOODED GUNMEN lying on his stomach IN THE RAFTERS -- Satisfied with his position, he lowers his rifle, opens a PLASTIC AMMO CASE revealing A HUNDRED ROUNDS. He takes one, begins to load -- as we DISCOVER -- OTHER GUNMEN preparing their weapons on the rafters behind him! DOWN BELOW - BEHIND THE SCAFFOLDING STAGE - SAME Gordon and the cops arrive to find Bella mid -argument with the Fire Marshall -- Gordon notices Mitchell's Wife and Ten-Year-Old Son standing nervously with the group</scene_description> <character>FIRE MARSHALL</character> <dialogue>If we don't close the doors, we're gonna have a huge problem, water's already starting to breach!</dialogue> <character>BELLA REAL</character> <dialogue>I thought this was the shelter of last resort -- !</dialogue> <character>FIRE MARSHALL</character> <dialogue>yeah -- for a hurricane -- not</dialogue> <scene_description>if the whole sea wall comes down!</scene_description> <character>BELLA REAL</character> <dialogue>-- I am not going to let those people die out there!</dialogue> <parenthetical>(angry, distraught)</parenthetical> <dialogue>Awright... I'll go calm the crowd down so we can get everyone in</dialogue> <scene_description>-- it's not safe for you here Bella turns -- seeing Gordon and the cops --</scene_description> <character>GORDON</character> <dialogue>-- we gotta get you out, Ms. Real.</dialogue> <character>BELLA REAL</character> <dialogue>I'm not going anywhere</dialogue> <character>GORDON</character> <dialogue>-- we are under attack</dialogue> <character>BELLA REAL</character> <dialogue>Exactly! That's the problem with this city -- everyone's afraid to stand up and do the right thing. But I'm not. Excuse me --</dialogue> <scene_description>Gordon watches, frustrated, as she moves to the podium --</scene_description> <character>BELLA REAL</character> <dialogue>Everyone!? Everyone! If I could just get your attention -- !</dialogue> <scene_description>The unruly crowd won't quiet -- she starts to call out again -- when, in the corner of her eye, she SPOTS THE GLINT OF A RIFLE up behind the lights -- she recoils -- Gordon suddenly readi ng her fear -- STARTING FOR HER AS -- BANG! GUNFIRE ERUPTS FROM THE RAFTER S! BELLA DROPS AS SHE'S HIT -- GORDON LAUNCHING TO SHIELD HER -- PANDEMONIUM -- AS MORE SHOTS RING OUT FROM ABOVE GORDON FRANTICALLY DRAGS BELLA INTO COVER OFF-STAGE HE DRAWS HIS GUN -- PEEKING AT THE RAFTERS -- AS A TORRENT OF MUZZLE FLASHES EXPLODES -- THE GUNMEN FIRING! GORDON PEERS THROUGH THE SCAFFOLDING AT WAVES OF PEOPLE SCREAMING IN PANIC THE SCENE RATCHETING INTO UNBEARABLE TENSION -- GORDON HORRIFIED -- WHEN SUDDENLY EXPLOSIONS RIP PERCUSSIVELY THROUGH THE DOMED CEILING -- UNLEASHING A HAIL OF GLASS OVER THE GUNMEN -- AS -- A MALEFIC PHANTOM PLUMMETS THROUGH THE ROOF -- BATMAN!!! HE SLAMS INTO THE RAFTERS BARELY IN CONTROL -- TRIGGERING HIS QUICK-DRAW SLIDER -- FIRING A HARPOON LINE INTO THE LEG OF THE SHOOTER ON THE BEAM ACROSS FROM HIM -- THEN A S ECOND SLIDER ON HIS OTHER ARM -- HARPOONING ANOTHER -- BATMAN FLIPS BACK OFF THE CATWALK -- YANKING BOTH GUNMEN OFF THEIR BEAMS -- COUNTER-BALANCING BATMAN AS HE SWINGS UNDER THE CATWALK AND BACK UP ONTO IT -- THE SHOOTERS DANGLING BELOW -- THIS HAS ALL HAPPENED IN AN INSTANT --</scene_description> <character>AS BATMAN BOUNDS MADLY THROUGH THEIR ASSAULT -- TAKING</character> <dialogue>HITS -- HE LEAPS O UT ACROSS BEAMS -- WILDLY GRASPING ONE</dialogue> <character>-- CATAPULTING HIMSELF UP INTO -- A GRO UP OF SHO OTERS --</character> <dialogue>WITH BLINDING SPEED, BATMAN ATTACKS -- SNAPPING BONES --</dialogue> <character>POPPING KNEECAPS -- HE SPOTS A TERRIFIED GUNMAN RELOADING</character> <dialogue>-- STARTS FOR HIM -- SUDDENLY PULLED OFF BALANCE --</dialogue> <character>BATMAN SPINS TO SEE TWO OF THE BLOODIED NOBODIES GRIPPING</character> <dialogue>HIS CAPE -- DESPERATELY TRYING TO HEAVE HIM DOWN INTO THE</dialogue> <character>ABYSS BELOW -- BATMAN TWISTS HARD -- WINCHING THE CAPE --</character> <dialogue>YANKING THE NOBODIES INTO A FLURRY OF KNOCKOUT BLOWS --</dialogue> <character>BATMAN SEES THE TERRIFIED GUNMAN LIFTING HIS WEAPON --</character> <dialogue>SPINS TO SEE ANOTHER SHO OTER -- ABOUT TO FIRE TOO --</dialogue> <character>BATMAN DODGING AS -- THE ROUNDS RIP INTO THE TERRIFIED</character> <dialogue>GUNMAN INSTEAD -- AS HE DROPS, THE TERRIFIED GUNMAN FIRES</dialogue> <character>INVOLUNTARILY -- B ULLETS TEARING INTO THE OTHER SHOOTER</character> <dialogue>BUT ONE SHOT SMACKS HARD OFF THE SIDE O F BATMAN'S COWL!</dialogue> <character>SEEING HIM DAZED -- THE REMAINING GUNMEN UNLEASH A</character> <dialogue>FIRESTORM -- RABIDLY BLASTING BATMAN -- BATMAN FORCED TO</dialogue> <scene_description>DOWN BELOW ON THE STAGE HUNDREDS SCRAMBLE -- GORDON presses against panic to see BATMAN UNDER ATTACK; turns to the Fire Marshall and cops:</scene_description> <character>GORDON</character> <dialogue>Get me up there ... !</dialogue> <scene_description>They leap from the stage into DEEP WATER, WADING URGENTLY PAST SOMEONE in the crowd -- SELINA -- PEOPLE JOSTLE HER as she fights to glimpse Batman -- she pulls herself onto the scaffolding tower by the stage to see -- WORRIED... BACK IN THE RAFTERS</scene_description> <character>BATMAN STUMBLES, COLLAPSING -- AS THE GUNMEN SHOOT -- HE</character> <dialogue>SEES FIRE EXTINGUISHERS ON THE RAILING -- RIPS A STICKY</dialogue> <character>CHARGE FROM HIS BELT -- SLAPS IT ON ONE -- ROLLS IT AT</character> <dialogue>THE SHOOTERS -- DOES THE SAME TO ANOTHER -- AND ANOTHER --</dialogue> <character>WHEN THE CHARGES ALL BLOW! -- HUGE CLOUDS ERUPT INTO THE</character> <dialogue>AIR -- AS BATMAN EVAPORATES INTO THEIR WHITENESS --</dialogue> <character>THE SHOOTERS ANXIOUSLY VENTURE INTO THE FOG -- ONE PROBES</character> <dialogue>BLINDLY WITH HIS RIFLE -- WHEN BATMAN SEIZES THE BARREL --</dialogue> <character>HIS FINGER TASER ZAPS THE METAL -- THE GUNMAN CO LLAPSES --</character> <dialogue>BATMAN CLUBS THE SHOOTERS ONE BY ONE WITH THE RIFLE -- HE</dialogue> <character>SPOTS ONE CRAWLING FOR A DUFFLE -- GOES FOR HIM -- AS THE</character> <dialogue>GUNMAN LIFTS OUT A SHOTGUN -- FIRING INTO BATMAN'S CHEST!</dialogue> <scene_description>EDGE WITH ONE HAND -- GASPING FOR BREATH -- TRYING TO PULL HIMSELF UP -- BUT THE PAIN IS JUST TOO MUCH -- THE SHOTGUN SHOOTER RISES, HALF IN SHOCK -- HANDS SHAKING AS HE RELOADS -- LIMPING TO THE EDGE, WILD EYES PEERING FROM THE EXECUTIONER'S HOOD AT BATMAN, HANGING BELOW -- BATMAN LOOKS UP, HELPLESS -- TREMBLING, THE SHOOTER PUTS HIS GUN TO BATMAN'S COWL -- FINGER ON THE TRIGGER -- WHEN OUT OF NOWHERE -- A BLINDING KICK KNOCKS HIS GUN FREE -- IT FIRES INTO THE AIR -- AS THE GUNMAN SPINS TO SEE -- SELINA! -- LEAPING FROM THE SCAFFOLDING -- SHE HOOK-KICKS HIS HEAD INTO THE RAILING -- CATCHING HIM AS HE REELS -- RAMMING HIS FACE DOWN HARD AGAIN -- THE GUNMAN CRUMPLES Selina moves to Batman -- losing his grip, fading -- no time to lose, she leans down, grabs his arm -- braces her heels on the railing -- levering him slowly up -- until she collapses on the catwalk, his body on top of hers. She rolls him onto his back, gazing down, face close to his. He looks up, haunted, as if he do esn't see her as he struggles to breathe -- when she notices HIS CHEST -- the blast has torn his armor, buckshot lodged in exposed skin -- a lot of blood it's unclear how bad the wound is -- he tries to sit up -- she guides him back down -- growing emotional -- cradl ing his face -- soothing</scene_description> <character>SELINA</character> <dialogue>...it's ok... it's done now... it's over.</dialogue> <scene_description>Finally he submits -- his eyes now seeing hers -- hold ing them -- then, gently closing... Eyes welling, she leans down to kiss his face... his lips... as she pulls back... his eyes open; for a moment, they just stare -- when -- -- Batman sees A SHAPE loom ing above Selina -- IT'S THE BATTERED SHOTGUN SHOOTER -- WHOSE FOOT SLAMS THE BACK OF HER HEAD -- STUNNING HER -- HE DRAGS HER OFF BATMAN -- UNSHEATHING A HUNTING KNIFE FROM HIS BOOT -- SHE RAISES HER ARMS TO DEFEND HERSELF AS HE STABS WILDLY AT HER! BATMAN FIGHTS TO GET UP -- HE CAN'T -- AS SELINA STRUGGLES -- HE FUMBLES SOMETHING FROM HIS BELT -- AN AUTO-INJECTOR: ADRENALINE -- HE JAMS IT INTO HIS NECK! HE LAUNCHES HIMSELF WITH A JOLT -- RIPPING THE ATTACKER OFF SELINA IN A VIOLENT FRENZY -- LOSING ALL CONTROL -- SELINA STUNNED BY BATMAN'S UNBRIDLED PRIMAL RAGE -- WHEN -- GORDON AND THE COPS B URST OUT A DOOR TO THE CATWALK GORDON RACES TO BATMAN -- TO STOP HIM FROM KILLING -- Hey man -- take it easy take it easy -- ! Hey -- HEY -- Batman stops, mid-strike -- Gordon's voice reaching him -- he turns, disoriented, as Gordon gently pulls him back -- Batman slowly stands, breathing hard -- turns -- checking on Selina -- as she rises, looking at him, grateful, surprised, the depth of his feelings for her now exposed. Gordon reaches down, pulling the Hood off the SHOOTER --</scene_description> <character>GORDON</character> <dialogue>Jesus... who the hell� you... ?</dialogue> <character>UNKNOWN MAN</character> <parenthetical>(grins eerily)</parenthetical> <dialogue>Me... ? I'm Vengeance.</dialogue> <scene_description>Batman turns, struck by the sound of his own words in this killer's mouth -- WHEN -- A CRASH ECHOES BELOW Everyone spins -- EXCEPT BATMAN -- who continues to stare at the Man, ROCKED -- HOLD ON HIM as the S OUNDS OF PANIC AND CHAOS FADE AWAY -- when FLICKERING LIGHTS in the arena pull him out of his trance -- Batman turns to the others -- COMPLETE SILENCE as DOWN BELOW he SEES -- THE FOUR-STORY GLASS WALL BEHIND THE STAGE SMASHING OPEN AS CASCADING DEBRIS FLOODS INSIDE -- UPROOTED T REES, CARS, AND WAVES OF BLACK WATER SWARMING THE SCAFFOLDING AROUND THE STAGE -- WHICH GIVES WAY ALL AT ONCE -- BATMAN AND THE OTHERS WATCH PEOPLE TOSSED INTO SWEEPING MUCK -- SCAFFOLDING TOWERS TOPPLE, SHEARING ELECTRICAL LINES POWERING THE HUGE MONITORS AND LIGHTS -- BATMAN SEES ONE LINE SPARKING ANGRILY OVER THE RAPIDLY RISING WATER -- THE WIRE THREATENING TO MAKE CONTACT WITH THE SURFACE, JEOPARDIZING THE THOUSANDS HALF-SUBMERGED -- GORDON, SELINA, AND THE COPS WATCH HELPLESSLY -- BATMAN WITHDRAWS HIS GRAPPLE GUN -- FIRING INTO THE CEILING -- THEY TURN AGHAST AS HE SWINGS OUT -- ONTO THE POWER LINE! BATMAN PULLS HIS TACTICAL KNIFE -- BRACING HIMSELF -- HE HACKS THE LINE -- SOUND COMES CRASHING BACK -- AS AN ELECTRICAL BLAST SURGES THROUGH HIM -- JOLTING HIM LOOSE -- HE DROPS TO THE WATER BELOW, SPLASHING INTO IT! SELINA AND GORDON WATCH IN HORROR -- AS ALL THE LIGHTS GO OUT FOR A MOMENT, WE WONDER: IS BATMAN DEAD? WHEN -- HE BREAKS THE SURFACE, GASPING, ALIVE. Scans the darkness around him, pulling something from his belt; it IGNITES, and we see it's A FLARE -- THE SOLE SOURCE OF LIGHT NOW ILLUMINATING THE THOUSANDS IN THE WATER ALL AROUND HIM -- in the STILL-RISING WATER -- he starts quickly toward them -- climbs the wreckage -- heaving a truss aside to make an opening to let them all out -- but as he reaches in, Bella and the group hesitate, intimidated by Batman's haunting, wraith-like presence in the flare's light -- all, except a BOY ... MITCHELL'S TEN YEAR OLD SON, who reaches his hand up, unafraid. Batman pulls him up... He turns to Bella, offering a hand again... she takes it. As she clings to him, the others begin climbing out too -- NIRVANA'S "SOMETHING IN THE WAY" BEGINS -- as Batman uses HIS FLARE AS A BEACON, leading the masses through water, everyone following to safety -- a mesmerizing sight...</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>Wednesday, November sixth... The city is underwater...</dialogue> </scene> <scene> <stage_direction>EXT. EXTREME HIGH AND WIDE OVER LOWER GOTHAM - SUNRISE</stage_direction> <scene_description>Light fills the sky; the island is COMPLETELY SU BMERGED</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>The national guard is coming...</dialogue> </scene> <scene> <stage_direction>EXT. LOWER GOTHAM STREET S - A SERIES OF SHOTS - SUNRISE</stage_direction> <scene_description>REVISITING KEY LOCATIONS FROM OUR STORY -- the FLOODED SCENES OF AFTERMATH appear serene, surreally beautiful ... WE SEE -- the half-sunk CITY HALL -- facade ripped open a lone dog paddles past the tops of traffic lights --</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>Martial law is in effect. But the criminal element never sleeps...</dialogue> <scene_description>-- THE DINER WHERE RIDDLER WAS CAUGHT -- SUN GLEAMS IN ON</scene_description> <character>A SMALL FLEET OF PYREX COFFEE POTS, WHICH FLOAT EERILY</character> <dialogue>BRUCE'S VOICE OVER</dialogue> <scene_description>Looting and lawlessness will be rampant in the parts of the city no one can get to... -- THE ICEBERG LOU NGE -- THE EMPTY DANCE FLOOR NOW</scene_description> <character>SWIMMING IN STILL WATER UNDER SHIMMERING STAGE LIGHTS</character> <dialogue>BRUCE'S VOICE OVER</dialogue> <scene_description>I can already see, things will get worse before they get better...</scene_description> <character>TO A LONE FIGURE SEATED IN FALCONE'S CHAIR; PENGUIN</character> <dialogue>BRUCE'S VOICE OVER</dialogue> <scene_description>And some wi ll seize the chance to grab everything they can... Penguin sips scotch from F alcone' s crystal tumbler, staring out over the city, his mind turning darkly...</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM HOSPITAL TRIAGE CENTER - SUNRISE</stage_direction> <scene_description>In bandages, BELLA REAL holds a PRESS C ONFERENCE; G ORDON among the embattled POLICE and OFFICIALS around her --</scene_description> <character>BELLA REAL</character> <dialogue>We wi ll rebuild ... but not just our city. We must rebuild people's faith. In our institutions, in our elected officials, in each other. Together, we will learn to believe in Gotham again</dialogue> <scene_description>As NIRVANA SWELLS --</scene_description> </scene> <scene> <stage_direction>EXT. ABOVE GOTHAM SQUARE GARDEN - SUNRISE</stage_direction> <scene_description>The roof jammed with EVACUEES wa iting to be a ir-lifted, as FIRST RESPONDERS pull SURVIVORS through the skylight.</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>I'm starting to see now, I have had an effect here. But not the one I intended. Vengeance won't change the past... mine or anyone else's. I have to become�-··</dialogue> <scene_description>CLOSER: FIREMEN turn, struck by the sight of -- BATMAN, caked in dried mud; he looks like hell -- heads turn as he carries AN INJURED WOMAN across the roof in his arms</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>People need hope. To know someone' s out there for them. The city's angry. Scarred. Like me...</dialogue> <scene_description>As Batman puts her into a MED SLED, the woman CLUTCHES him, distraught; Batman stiffens, unsure how to respond.</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>Our scars can destroy us... even after the physical wounds have healed. But if we survive them...</dialogue> <scene_description>woman calms, releasing him... And the sled lifts...</scene_description> <character>BRUCE'S VOICE OVER</character> <dialogue>They can transform us. They can give us the power... to endure. And the strength to fight.</dialogue> <scene_description>HOLD ON BATMAN IN SILHOUETTE, watching the woman ascend -- A HELICOPTER POV OVER HIM - AT THAT SAME MOMENT</scene_description> <character>A CHYRON APPEARS ON SCREEN: "BATMAN VIGILANTE SAVES</character> </scene> <scene> <stage_direction>INT. ARKHAM PRISON FOR THE INSANE - SAME</stage_direction> <scene_description>THE TV sits in a GUARD STATION. Our view is a partially obscured, sidelong perspective -- we hear QUIET MOANING REVEAL RI DDLER -- face smooshed to the security glass of his cell, craning to see the story in complete anguish...</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Isn't that just terrible...? Him raining on your parade like that? What is it they say...? One day you're on top... the next, you're a clown. Well, let me tell you ... there are worse things to be...</dialogue> <scene_description>Riddler shrinks to the floor, totally despondent. Then:</scene_description> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Don't be sad... you did... fil2. well... And you know, Gotham loves a comeback story...</dialogue> <scene_description>Riddler rises, peering out of his cell, but can't see --</scene_description> <character>RIDDLER</character> <dialogue>...who... who are you ...?</dialogue> <character>UNSEEN PRISONER'S VOICE</character> <dialogue>Well that's the question isn't it?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Riddle me this... The less of them you have... the� one is worth.</dialogue> <scene_description>Riddler ponders... then, finally ... smiles hopefully...</scene_description> <character>RIDDLER</character> <dialogue>A friend...?</dialogue> <scene_description>signature JOKER style... the sound echoing us to --</scene_description> </scene> <scene> <stage_direction>EXT. RUN-DOWN GOTHAM CEMETERY - DUSK</stage_direction> <scene_description>Selina stands at a GRAVE: "MARIA KYLE". After a moment, she turns, tears in her eyes, heading to her bike -- her stray cats poke their heads out of leather saddle bags --</scene_description> <character>A VOICE (O.S.)</character> <dialogue>...you're leaving ...</dialogue> <scene_description>Selina turns, startled to see A FIGURE IN THE SHADOWS BATMAN, his motorcycle behind him. She's self-conscious.</scene_description> <character>SELINA</character> <dialogue>Jesus... don't you ever just say hello?</dialogue> <scene_description>He emerges, a sense of unfinished business between them.</scene_description> <character>BATMAN</character> <dialogue>-- where will you go?</dialogue> <character>SELINA</character> <dialogue>I dunno, upstate...? Bllidhaven maybe...?</dialogue> <parenthetical>(then, grins)</parenthetical> <dialogue>Why ... you asking me to stay?</dialogue> <scene_description>But Batman says nothing. She darkens, worry in her voice:</scene_description> <character>SELINA</character> <dialogue>You know, this place is never gonna change. With Carmine gone, it's only gonna get worse for you -- there's gonna be a real power grab -- it'll be bloody</dialogue> <character>BATMAN</character> <dialogue>I know, but the city can change --</dialogue> <character>SELINA</character> <dialogue>-- it won't -- !</dialogue> <character>BATMAN</character> <dialogue>-- I have to try --</dialogue> <character>SELINA</character> <dialogue>-- it's gonna kill you eventually, you know that...</dialogue> <scene_description>SILENCE. Then, she tries to lighten things -- a smile at an impossible thought -- ...listen, why don't you come with me? Get into some trouble. We could knock off some CEOs. Trust- fund types. It'll be fun. The Bat and the Cat. Got a nice ring... -- when she sees he's not looking at her; she follows his gaze to the BAT SIGNAL in the clouds -- smiles, rueful --</scene_description> <character>SELINA</character> <dialogue>Who am I ki dding? You're already spoken for.</dialogue> <scene_description>He looks back at her -- she nods at the sky --</scene_description> <character>SELINA</character> <dialogue>You should go</dialogue> <scene_description>And then she turns, getting on her bike -- when --</scene_description> <character>BATMAN</character> <dialogue>Selina ...</dialogue> <scene_description>She looks over -- a pregnant silence as they stare finally, he speaks, resigned to letting her go --</scene_description> <character>BATMAN</character> <dialogue>Take care of yourself...</dialogue> <scene_description>She nods a sad smile, starts her bike, heading off. Batman watches her go, mounting his; he revs the engine, accelerating after her -- and for a moment, they chase through the cemetery, echoes of their motorcycle scene early in the film... until, they split off opposite ways. ON BATMAN, staring hard ahead ... finally, HIS EYES MOVE TO HIS SIDE MIRROR, unable to resist one last look, AS SHE RECEDES ... His eyes lift again, racing toward his city, a look of sheer determination -- we HOLD, AS OUR VIEW ANGRILY VIBRATES WITH HIS EVER INCREASING SPEED... FASTER... AND FASTER... until, we ...</scene_description> <character>CUT TO BLACK.</character> <dialogue>THE END</dialogue> </scene> </script>

On Halloween, Gotham City mayor Don Mitchell Jr. is murdered by the masked serial killer the Riddler. Reclusive billionaire Bruce Wayne, who has operated for two years as the vigilante Batman, investigates the murder alongside the Gotham City Police Department (GCPD). Lieutenant James Gordon discovers a message that the Riddler left for Batman. The following night, the Riddler kills Commissioner Pete Savage and leaves another message for Batman. Batman and Gordon discover that the Riddler left a thumb drive in Mitchell's car containing images of Mitchell with a woman, Annika Kosolov, at the Iceberg Lounge—a nightclub operated by Oswald "The Penguin" Cobblepot, who is crime boss Carmine Falcone's lieutenant. While the Penguin pleads ignorance, Batman notices that Annika's roommate Selina Kyle works at the club as a waitress. When Annika disappears, Batman sends Selina to the Iceberg Lounge for answers and discovers that Savage was on Falcone's payroll like district attorney Gil Colson. The Riddler abducts Colson, straps a timed collar bomb to his neck and sends him to interrupt Mitchell's funeral. When Batman arrives, the Riddler calls him via Colson's phone and threatens to detonate the bomb if Colson cannot answer three riddles. Colson refuses to answer the third—the name of the informant who gave the GCPD information that led to a historic drug bust ending Salvatore Maroni's operation—and is killed. Batman and Gordon deduce that the informant may be the Penguin and track him to a drug deal. They discover that Maroni's operation transferred to Falcone, with many corrupt GCPD officers involved. Selina inadvertently exposes them when she arrives to steal money and discovers Annika's corpse in the trunk of a car. Batman captures the Penguin after a car chase, but he and Gordon learn that the Penguin is not the informant. Batman and Gordon follow the Riddler's trail to the ruins of an orphanage funded by Bruce's deceased parents Thomas and Martha Wayne, where they learn that the Riddler holds a grudge against the Wayne family. Bruce's butler and caretaker Alfred Pennyworth is hospitalized after opening a letter bomb addressed to Bruce. The Riddler leaks evidence that Thomas, who was running for mayor before he was murdered, hired Falcone to kill a journalist who was writing a story about Martha's family history of mental illness. Bruce confronts Alfred, who maintains that Thomas only asked Falcone to threaten the journalist into silence; upon learning that Falcone had murdered the journalist instead, Thomas planned to turn himself and Falcone over to the police. Alfred believes that Falcone had Thomas and Martha killed to silence them. Selina reveals to Batman that Falcone is her father. After learning that Falcone killed Annika for discovering that he was the informant, Selina tries to kill him, but Batman and Gordon arrive in time to stop her. Gordon arrests Falcone, but the Riddler kills Falcone with a sniper rifle moments later. The Riddler is unmasked as forensic accountant Edward Nashton and incarcerated in Arkham State Hospital, where he tells Batman he took inspiration from him when targeting the corrupt. Batman learns that Nashton has planted car bombs around Gotham and cultivated an online following that plans to assassinate mayor-elect Bella Reál. The bombs destroy the seawall around Gotham and flood the city. Nashton's followers attempt to kill Reál, but Batman and Selina manage to stop them. In the aftermath, Nashton befriends another inmate, while Selina deems Gotham beyond saving and leaves. Batman aids recovery efforts and vows to inspire hope in Gotham.

Mimic_1997

tt0119675

<script> <scene> <character>M I M I C</character> <dialogue>a revision by</dialogue> <dialogue>Matt Greenberg</dialogue> <scene_description>and Guillermo del Toro June 19th 1996 FADE IN: THE SCREEN Stygean darkness. Wet CLICKING SOUNDS. A BEAM of purplish ULTRA-VIOLET LIGHT reveals a mosaic of moving forms... COCKROACHES. They skitter restlessly under the beam's intensity. SERIES OF SHOTS -- the UV Beam passing over various parts of the space. Pipe webs, walls, girders -- all covered with the insects. Thousands of them. PULL BACK TO REVEAL</scene_description> </scene> <scene> <stage_direction>INT. SEWER SYSTEM</stage_direction> <scene_description>Innards of steel. A vast maze of tunnels. A GROUP OF FIGURES advances through the tunnels with handheld UV lamps. The figures are dressed in gray air-tight NEOPRENE SUITS, their faces hidden by skin tight MASKS and bug-like NIGHT VISION GOGGLES. In the dense silence, respirator valves HISS- CLICK at the corner of their lips in mechanical rhythm. The scene has a dream-like, choreographed quality. NIGHT-VISION POV Eerie, aquatic green. The horde of insects appear to be some kind of sea-life, crawling over the floor of a dead ocean. THE TEAM OF FIGURES From their midst appears another FIGURE, its neoprene suit a flat WHITE. Female, clearly the TEAM LEADER. She carries a stainless steel CONTAINER filled with twenty small compartments, each bearing a large, heavy-shelled roach with a different BARCODE on their back. JUDAS ROACHES. She kneels and opens the CASE TCHK!! A dozen of the Judas roaches are released. They slide through into the area. THE NEARBY ROACHES react instantaneously. In a rustle of tiny legs, they begin to stream toward the Judases. Jostle and fight each other for position to mate with them. They even crawl over the Team Leader in an effort to reach the Judases. The Team Leader makes no effort to brush them off. Patient, almost godlike, she watches the MATING. LATER A MANHOLE has been opened above. CHAINS are dropped down and attached by a Team Member to A 100-GALLON DISPOSAL DRUM. REVEAL the floor of the tunnel, carpeted with the still forms of the roaches, now all DEAD. The Team Members quietly shovel the tiny corpses into other disposal drums. At their feet skitter the only survivors of the massacre: the bar-coded Judas Roaches. In a crunch of machinery, the first disposal drum is lifted by the chains through the manhole to</scene_description> </scene> <scene> <stage_direction>EXT. A CITY STREET - DAY</stage_direction> <scene_description>MIDTOWN MANHATTAN. A cacophony of SOUND and LIGHT. Dirty snow drifts over Bryant Park. Emergency lights blink everywhere. A wall of cars sits on Sixth Avenue, stopped dead. Exhaust fumes hang in the air. Jaded TRAFFIC COPS send the cars on crosstown detours. Mounted policemen patrol a line of yellow sawhorses near dozens of Department of Public Health vehicles, angle-parked in a military phalanx. A monumental ribcage-like scaffolding has been erected in the middle of the street, "sealing" the area with amber plastic. Inside, UNIFORMED WORKERS take the disposal drum of roaches and toss it into one of a number of huge DUMPSTERS. The Team Leader watches from nearby, exhauster. Her mask is off. We see her face: Enthomologist SUSAN WYETH, 28. An ARM gently drapes over her shoulder.</scene_description> <character>PETER (OS)</character> <dialogue>How we doing?</dialogue> <scene_description>She looks over at DR. PETER TYLER, 34, bespectacled. A HEADSET around his neck, a coat emblazoned with the DEPARTMENT OF HEALTH logo. He has the look of a man who's just fought a long battle and come out victorious. SUSAN We'll see... He offers her a bite of a PAY DAY CANDYBAR. Susan smiles, shakes her head. She wearily leans against him. Peter looks out as the dumpster filled with roaches is raised by MECHANICAL ARMS into the waiting maw of the dump truck. THE SCREEN. DARKNESS. A voice, a somber bas-relief in the darkness.</scene_description> <character>ANCHORMAN (VO)</character> <dialogue>Strickler's Disease crept into Manhattan like a thief in the night, claiming its first hundred victims before it was even classified.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - NIGHT - FLOATING SHOT</stage_direction> <scene_description>We FLOAT through a long hospital ward. Past ROWS of illuminated oxygen tents, pulsating softly in the dark like cocoons of light.</scene_description> <character>ANCHORMAN (VO)</character> <dialogue>Most were children under ten.</dialogue> <scene_description>TRACK past tents. BODIES OF SMALL CHILDREN inside, wrapped in white sheets, hooked up to IVs or breathing apparatus. Skeletal hands, parched lips, glazed eyes. BELLOWS of respirators push in and out, labored, failing. IMAGE RESOLVES TO A VIDEO ON A SCREEN. PULL BACK to reveal a number of SCREENS, each with a different set of images. We are in a NEWS VAN. A TECHNICIAN and DIRECTOR sit watching. The voice belongs to an ANCHORMAN who's now overimposed. ANCHORMAN Only after the numbers had reached into the thousands were officials able to identify the carrier of the deadly infection... DIRECTOR Cut to three. The Technician manipulates the controls. On another screen we see them cut to STOCK NEWS FOOTAGE: regular cockroaches, crawling on garbage. ANCHORMAN Blattida Germanica. The common cockroach.</scene_description> <character>DIRECTOR</character> <parenthetical>(To a RUNNER)</parenthetical> <dialogue>Tell them we're ready for a live feed.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE VAN - CITY HALL - DUSK</stage_direction> <scene_description>The runner exits the News Van. Other such vehicles parked nearby. A CROWD of ONLOOKERS, REPORTERS and a gaggle of PROTESTERS with handpainted signs. Gliding past them, we pick up sound bites... REPORTER 1 ...an insect that has proven virtually immune to chemical control... REPORTER 2 ...the announcement by the Health Department that an end to the nightmare has finally... REPORTER 3 is interviewing a Greenpeace PROTESTER who is holding up a photograph of Susan. REPORTER 3 ...an ex-colleague of Doctor Susan Wyeth... PROTESTER ...Susan has always been opposed to biological tampering. A real advocate for ecological causes, it's not... MOVE past them to further inside of the perimeter...</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - CITY HALL</stage_direction> <scene_description>A NEWS CONFERENCE in progress. A packed house. T.V. monitors spaced ever 10 seats or so. In the audience, the MAYOR OF NEW YORK and various CITY OFFICIALS, listening to Peter, speaking at the podium with the ease and enthusiasm of a public servant still untainted by bureaucracy. ON A TV MONITOR While Peter talks, a news title appears at the bottom of the screen: PETER TYLER. DEPUTY DIRECTOR, DEPARTMENT OF HEALTH.</scene_description> <character>PETER</character> <parenthetical>(wrapping up)</parenthetical> <dialogue>...in Nature, evolution is a long, leisurely conversation between an organism and its environment. We, however, did not have the luxury of time...</dialogue> <scene_description>Susan is waiting in the wings. She observes the audience. She notices that the entire front row is composed of CHILDREN who have survived Strickler's. Leg and arm braces, facial scarring... He nods at Susan, who takes the podium, adjusting her jacket, slightly ill at ease in her business suit. She clears her throat, speaks softly. SUSAN With the aid of genetic labs throughout the country, we recombined cockroach DNA with genetic information from termites and mantids. We were able to create a biological counter-agent. A new ally, if you will... She places a clear container on the podium for all to see. SUSAN Blattida Traditor. CU CONTAINER One of the Judas roaches skitters about in the container.</scene_description> <character>SUSAN (OS)</character> <dialogue>The "Judas Roach".</dialogue> <scene_description>Cameras FLASH. MURMURS from the audience. SUSAN The Judas is a non-carrier of Stricklers, with a short life-span and heightened pheromone emission. On the back row she can see some ecological hand-painted signs being raised in silent protest. She stumbles for a second, then resumes her speech. SUSAN The female is basically a sexual magnet; common males travelled miles and fought for the right to mate with them. The audience is rapt. SUSAN When they did, they took away something else we added - - a hormone, passed through sexual congress that causes their metabolism to go into overdrive. No matter what their food intake, they starved to death in a matter of hours. Now Peter takes the mic. PETER We've achieved almost total eradication of the roach population. As of today, the disease has been officially contained. A STANDING OVATION starts and is carried on as we... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TYLER APARTMENT - BATHROOM - SUSAN</stage_direction> <scene_description>in a tub in a dark bathroom. Her business suit crumpled on the bathroom floor. SOUND of a TV outside.</scene_description> <character>PETER (OS)</character> <dialogue>Sus, come on. You're missing it.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Nothing grand. Peter in his shorts at a TV with shitty reception. He adjusts the disgruntled cable box. He is seen over the TV, giving his address. PETER Fucking thing! I hope someone's taping this. (Out.) Susan, come on. It's really good this time. I got most of the lines out. (No response.) Sus? Peter sighs. He picks up an open bottle of champagne and two mis-matched ceramic cups, then heads for the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>PETER Life's a bitch. Our 15 minutes came and went and all we got was bad cable... Susan doesn't answer, clearly not in the same high spirits. PETER Hiding from the hard glare of publicity? He notices her crumpled garment on the floor. He picks it up, puts it up on the hanger. PETER A shame. You looked great tonight. SUSAN Please. PETER You did! He sits by the tub. SUSAN Do you think we did the right thing? PETER Taking a cab instead of hiring a limo? SUSAN You know what I mean... Peter pours some champagne into the cups. SUSAN We did no impact evaluation. The consequences of...</scene_description> <character>PETER</character> <parenthetical>(sighs)</parenthetical> <dialogue>Is this a Catholic guilt thing...?</dialogue> <scene_description>We hear a NEWSREADER on the TV.</scene_description> <character>NEWSREADER (TV)</character> <dialogue>...a flawless strategy which has stopped a potential epidemic in its tracks...</dialogue> <scene_description>PETER You hear that? Flawless. SUSAN We just don't know. He offers one cup to Susan. She doesn't take it. PETER We know we saved lives. He sits closer to her. PETER There're gonna be a lot of kids running around next year because of you. Beat. Susan starts to relax. He kisses her. PETER Who know? We get lucky, maybe a couple of 'em'll be ours.</scene_description> <character>SUSAN</character> <parenthetical>(smiling now)</parenthetical> <dialogue>We're down to a "couple" now, huh?</dialogue> <scene_description>She pats the water, beckoning. PETER Oh, I don't know. People are beginning to talk about us... Still partially clothed, he steps into the bathtub. Susan shakes her head, laughs ruefully. SUSAN Don't worry, I'll save your honor. Maybe I'll even marry you. She reaches over, kisses him. FADE OUT: FADE IN TO:</scene_description> </scene> <scene> <stage_direction>EXT. ALPHABET CITY - NIGHT</stage_direction> <scene_description>The WILLIAMSBURG BRIDGE dimly visible through the rain. ALPHABET CITY STREETS Empty warehouses. Closed businesses. Traffic lights blinking on empty streets. Everything seems doomed under the heavy layer of rain. SUPERIMPOSE: TWO YEARS LATER A DILAPIDATED BUILDING before us. A blazing NEON CROSS made of the words 'JESUS SAVES' hangs askew from its facade. CRANE to see the ROOFTOP. WHAM! The door to the interior stairs FLIES OPEN and a tall, thin CHINESE PREACHER in his sixties lurches out, eyes wild with terror. He looks back down the steps. Something's climbing up fast, casting ominous, complex shadows on the wall. Too many FOOTSTEPS for it to be just one person. The man hurriedly shuts the door and slides a bolt home. Trembling, he backs away as a booming THUD makes the door shudder. Raw, frenzied pounding and scratching follows... something inhuman, determined to break through. The metal surface suddenly buckles and bulges. On the man's white undershirt, a blotch of blood starts to grow. Needles of rain stab his flesh. He searches wildly for a possible escape. He reaches the edge of the roof: it's five floors down to the sidewalk. Two of the hinges on the door come loose, pulverizing the surrounding concrete. WHAM! The door to the stairs bulges outward as something SMASHES against it again and again. Frenzied SCRATCHING. The man sprints to the other end of the roof. There, on the adjoining building... THE CHINESE PREACHER'S POV Just one floor below on the building across the alley is a suspended PAINTERS' PLATFORM, crowded with paint cans under a tarp. A two-story old EYEWEAR ADVERTISEMENT from the 40's is being painted over. THE CHINESE PREACHER Looks back to the door. BAM! a tremendous SHATTERING sound. LIGHT spills from inside. Two bolts fly in the air, a hinge gives. He CRIES OUT in terror. The man gauges the distance between buildings; can he make it? He takes a few steps back, a few more... Panting hard, he closes his eyes, his chest soaked in blood and rain. THE DOOR EXPLODES OUTWARD AND SKIDS ACROSS THE SLIPPERY ROOF. Light from inside projects the shadow of wild, busy things onto the curtain of rain. Weeping with fear, the man desperately tries to hurl himself to the catwalk. It's too far. He FALLS...CRASH! he hits the platform, knocking boards loose and sending paint cans onto their sides, rolling. He bounces, slides off the edge, barely able to grab onto a loose board to save himself from falling. The RAIN blasts down. The scaffold CREAKS. He hits the edge, upsetting the cans of paint there. He holds onto the planks with all his might, trying to push with his feet, but they slide on the wet wall. BELOW Cans bounce off the pavement. White pain blasts all over. CU HANDS The man's hands slip on the planks, tiring. FEET The Chinese Preacher's FEET bicycle in the air, unable to find a purchase on the wet brick wall- THE CHINESE PREACHER is hanging just in front of the painted EYE of the forties' model. He looks up above him, sees something- CHINESE PREACHER No. Please, God, no! A SHADOW crosses his face as something looms above him. Suddenly there is a CRACK and the platform tilts completely on one end. HANDS The Chinese Preacher's fingernails dig in, then slip on the wet wood. His hands paw the air. WIDER For a moment his body, silhouetted in the rain, seems suspended in a void. Then he falls backwards. THE GROUND Impact. His body cracks the pavement. Small pools of rain form on his dead, open eyes. We CRANE to reveal A WINDOW ON A BUILDING ACROSS THE STREET CHUY, a young Latino boy. He stares out the window at the Chinese Preacher's body with no discernable emotion. He works a small WIRE SCULPTURE in his hands. APARTMENT It's a small one-bedroom apartment. An old man sleeps peacefully on a cot: Chuy's grandfather. MANNY GAVIOLA, mid 60's, white hair haloes his handsome, benign face. All around him: SHOES, shoes everywhere you look, on the table, on the chairs, on the kitchen counter, on the floor. A small altar is illuminated by votive candles. Next to it, standing by the window is CHUY HIS P.O.V. We see a blurry vision of The Chinese Preacher's splayed figure in a swirl of color. Chuy's attention focuses on the Preacher's shoes. CHUY</scene_description> <character>CHUY</character> <parenthetical>(a whisper)</parenthetical> <dialogue>Oxfords, 8 1/2. Black...</dialogue> <scene_description>He looks away from the body and goes back to twisting the wire into shape. THE PUDDLE OF PAINT around the preacher, reflects large shadows moving above, and across the neon sign... CHUY hears a strange sound, a rhythmic clicking. His head lifts and what he sees causes his expression to change--there is an uncharacteristic flicker of excitement in his eyes. ACROSS THE ROOFTOP We are behind whatever it is that has captured Chuy's attention. TICKETY-TACKETY-TOCK... The strange clicking sound grows louder. The figure begins moving in some weird, preparatory fashion. Then it steps forward and drops out of frame. CHUY His eyes follow the figure down to the pavement in a slow arc. Chuy puts down the wire miniature and opens the window to get a better view. GROUND LEVEL The Chinese Preacher's body is now being dragged toward the rear of the alley, leaving colored paint smears in its wake. CHUY We isolate the boy's face and, on the soundtrack, every other noise FADES AWAY. Chuy reaches for a pair of SPOONS nearby. He begins to click them together. Imitating the strange clicking sound heard a moment ago. THE CHINESE PREACHER is being pulled into a small, ground-level vent. The only problem is that no human is small enough to squeeze through this hole. CHUY watches, still clicking with his spoons. THE CHINESE PREACHER'S BODY is stuck. One of his legs is through the hole up to the thigh, but the other is folded up unnaturally and pressing against the wall next to the vent. Impossible. There is a silent beat, and then a series of INCREDIBLY VIOLENT TUGS, BAM! BAM! BAM! shaking the Paint-soaked body like a rag doll. CHUY His spoons stop. His jaw tightens a little as we hear terrible cracking and scraping sounds. THE WINDOW The Chinese Preacher's head and hands disappear into the hole. Bits of clothing, paint and blood stick to the edges of the opening. CHUY watches, still fascinated.</scene_description> <character>CHUY</character> <parenthetical>(very low)</parenthetical> <dialogue>Funny, funny shoes...</dialogue> <scene_description>He starts a new wire sculpture. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JOGGING PATH - CENTRAL PARK - DAWN</stage_direction> <scene_description>Peter is covered in sweat, running at a good clip around the Central Park reservoir. A beautiful day dawns behind him; the windows of the Beresford sparkle in the morning sun. Peter outperforms most of the other RUNNERS in the track, his steady rhythm evidence of years of practice. Keeping his stride, he runs off the track and past a flock of OLD NUNS. PETER Excuse me, ladies... Without slowing down, Peter retakes the path and moves past them.</scene_description> </scene> <scene> <stage_direction>EXT. JOGGER'S PATH - NEAR FIFTH AVENUE - LATER</stage_direction> <scene_description>Peter finally slows down. He checks his pulse and stops at a water fountain. As he drinks, he sees a DERELICT drawing a figure on the sidewalk. The derelict spots Peter. He picks up his chalk, drifts off. Intrigued, Peter goes closer to the drawing. An arrow points to a manhole cover set among the bushes. Peter circles around, trying to make sense out of the lines. Then the painted motif finally reveals itself. GRAFFITI A talismanic figure of raw, archetypal power. A few jagged lines form the shape of a MAN IN AN OVERCOAT. His face is little more than a malignant blotch. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM - EXHIBIT ROOM - DAY</stage_direction> <scene_description>A room of half-finished exhibits. A group of SCULPTORS -- most of them undergraduates -- work on a gigantic piece representing a termite mound. They're supervised by SIRI, a punkish young Indian research assistant. Susan talks to some of the sculptors about a 100-1 scale clay model of an insect's head. She gestures to the model's mandible set. SUSAN ...no, guys, these have to fit perfectly. No spaces in between. Let me tell you why. Insects have no hands. All they have is this set of mandibles. She grabs the outer mandible set. SUSAN See? This little piggy will grab the prey. Then unfolds a second set... SUSAN Then this little piggy will tear it in half... And a third!!! SUSAN ...and this little one will grind it to a pulp and push it in... all the way into the mouth. These are precision tools here. Can you remember that? The guys nod. SUSAN Good. Then get it right. A piece of the termite mound is raised above their heads, revealing... ...Peter, at the entrance, still dressed in his jogging sweats. He smiles at Susan. CUT TO: EXHIBITS Peter and Susan walk through. Peter pulls something from a KNAPSACK. A bottle of medicine marked: METALLININ.</scene_description> <character>PETER</character> <parenthetical>(teasing)</parenthetical> <dialogue>"Baby in a bottle..."</dialogue> <scene_description>He gives it to Susan. SUSAN Don't tease. Around them, WORKMEN begin unloading crates of display stuff, as a MAN on a ladder tacks up an "ARCHITECTS OF NATURE" banner. Susan proceeds behind an exhibit representing a honeycomb. Peter follows as she begins to arrange some tools. PETER You know where they get this fertility stuff? They extract it from the urine of menopausal Italian nuns.</scene_description> <character>SUSAN</character> <parenthetical>(laughs)</parenthetical> <dialogue>Monks bottle their own wine. Don't they?</dialogue> <scene_description>She gently touches her belly. SUSAN Trust me. I've never been this late. Never. She shakes the bottle. SUSAN If nun's pee is what it takes... Peter's cellular RINGS from his knapsack. Susan grabs a larvae model from a pile on the floor. SUSAN You were the one who ran around with ice in his underwear, don't forget that. PETER Don't get kinky here... Peter takes the call. Susan cuts away the excess plastic on the lid around the honeycomb moldings. The larvae fits perfectly inside. PETER Okay, meet me out front. (to Susan) I gotta go. Josh's picking me up in five. see you tonight. SUSAN I'll be late. He kisses her and leaves. Susan turns to Siri and the group working on that sculpture. SUSAN Siri, sandblast that thing. It looks like Trump Tower. Those mounds are supposed to be made of dirt and excretions...</scene_description> <character>SIRI</character> <parenthetical>(a wicked smile)</parenthetical> <dialogue>Just like Trump Tower, then.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>A Department of Health VAN honks its way through a traffic jam.</scene_description> </scene> <scene> <stage_direction>INT. VAN</stage_direction> <scene_description>Peter's right hand man, JOSH MASLOW -- a young, good- natured, can-do guy -- drives. JOSH ...So I say "buddy, you have every violation in the book. Gimme one good reason not to close you down." You know what the Kraut says to me? In the back, Peter finishes changing out of his jogging sweats and into his worksuit. JOSH The blintzes! "Try the blintzes..."</scene_description> <character>PETER</character> <parenthetical>(distractedly)</parenthetical> <dialogue>Selling your sould for a fistful of carbohydrates...</dialogue> <scene_description>JOSH Not just any carbohydrates, mind you. It was like being on the receiving end of some kind of transcendent oral sex. (honks furiously) We should get a strobe on this thing. Maybe even a siren. PETER Yeah, and a loudspeaker so you can yell "Epidemic! Epidemic! You're all going to die!"</scene_description> </scene> <scene> <stage_direction>EXT. FLOPHOUSE - DAY</stage_direction> <scene_description>The Department of Health van pulls up outside the flophouse where the Chinese Preacher died. Peter and Josh get out. COPS push back a few ONLOOKERS. Josh proudly flashes his DOH badge. JOSH Health Department... The cops let them pass. PETER You really love flashing that thing, don't you? JOSH Hey. I'm a short guy. Waddaya want? Two cops -- WOYCHEK and RICE -- approach, in no real hurry. PETER Peter Tyler, DOH. You gentlemen were the first on the scene?</scene_description> <character>WOYCHEK</character> <parenthetical>(gestures to Rice)</parenthetical> <dialogue>We were both on patrol, saw this paint mess. Then I looked through that cellar window. We both did...</dialogue> <scene_description>PETER You gone in? WOYCHEK No. We waited. PETER Good. Peter peeks through a narrow cellar window on the floor. Through the oily, smeared window, a ghostly array of PALE FACE AND HANDS appears, startling him.</scene_description> <character>PETER</character> <parenthetical>(to Josh)</parenthetical> <dialogue>Get the EMT's in there, now.</dialogue> <scene_description>CUT TO: LATER PARAMEDIC AMBULANCES rush in. Sirens at full blast. Stepping out of the building across, Manny walks next to Chuy, who holds his hand. The old man carries a box full of shoes. Chuy looks back at the cop circus, amused. MANNY C'mon Chuy, we're gonna be late. (discreetly crossing himself) Cops are bad news. Don't look at them. He gently pulls his grandson's hand and moves briskly away. JOSH uses an iron bar, and breaks a padlocked cellar door. A heavy stench emanates from inside. The cops cover their noses.</scene_description> </scene> <scene> <stage_direction>INT. CELLAR</stage_direction> <scene_description>Peter and Josh enter a dingy, dungeon-like cellar, illuminated only by bug zappers and emergency lights. Every door and window has been nailed shut or sports a heavy-duty padlock. Peter and Josh walk through the dismal scene. In sharp contrast with the dirt-smeared walls, we see shiny metallic SEWING MACHINES and swatches of cloth appliqued with a FUNNY BUNNY cartoon character. Josh examines the label stitched into the collar. It reads: PROUDLY MADE IN USA. PETER Jesus. His light hits a group of quivering, skeletal CHINESE IMMIGRANTS, standing in a tight group against a wall.</scene_description> <character>WOYCHEK</character> <parenthetical>(from the outside)</parenthetical> <dialogue>They look real sick, don't they?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL, MUSEUM - DUSK</stage_direction> <scene_description>Carrying boxes full of terrarium material, Susan and Siri ride an antiquated cage-steel elevator. No floor buttons, just an old-fashioned hand-activated lever. SUSAN ...as long as they're ready for the opening I don't care, just tell them that. SIRI I'm on it. Don't worry. (Beat) Look, Susan...I don't mean to pry, but... I kinda overheard you and Peter.</scene_description> <character>SUSAN</character> <parenthetical>(Smiles ironically)</parenthetical> <dialogue>Watch your step, Siri. Your grant could be on the line here.</dialogue> <scene_description>SIRI I just...well, I had this cousin in Delhi. She was having problems, too. She, ah... SUSAN What? SIRI She used a baster. Susan looks at her. SIRI Not a big one. I mean, it was like a turkey baster. SUSAN Oh, Jesus. She tries to stop the elevator at the fourth floor, but it rises just a little too far. SUSAN Come on, darlin'... Susan has to jimmy the lever till the elevator falls level to the floor.</scene_description> <character>SIRI</character> <parenthetical>(continues)</parenthetical> <dialogue>She kept it under her bed. Thing is, it kinda worked. I mean, she had to hide it from her husband, but...</dialogue> <scene_description>A pair of young boys, RICKY and DAVIS, sit on the floor outside Susan's lab door. A crumpled paper bag and a shoe box sit beside them. SUSAN What's this? SIRI Oh, right... They been here since noon. I told them you're real busy. Susan smiles at the boys, who stand when they see her. SUSAN Hello. RICKY You the bug lady, right? Siri chuckles.</scene_description> <character>SUSAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>I suppose so.</dialogue> <scene_description>Ricky raises and shakes the paper bag. RICKY We're here to deal.</scene_description> </scene> <scene> <stage_direction>INT. MOUNTING ROOM - DUSK</stage_direction> <scene_description>SUNLIGHT slants in to illuminate an incredible array of live and mounted dead INSECTS, trapped in turn-of-the-century glass fronted cabinets. Davis puts his nose up against one, fascinated. SUSAN Metaxonycha Godmani, Trigonopelastes Delta. Field Butterflies. Have you been upstate? She examines the boys' findings, mostly rag-tag specimens of battered butterflies. DAVIS Avenue B.</scene_description> <character>SUSAN</character> <parenthetical>(sadly)</parenthetical> <dialogue>I guess they got lost in this city.</dialogue> <scene_description>RICKY So, you wanna buy em? DAVIS There's extra wings in the bag. Siri lingers in the background. SUSAN You guys have done a nice job. How bout five dollars?</scene_description> <character>RICKY</character> <parenthetical>(dismayed)</parenthetical> <dialogue>That's it?</dialogue> <character>DAVIS</character> <parenthetical>(to Ricky)</parenthetical> <dialogue>Show her the weirdbug.</dialogue> <scene_description>He indicates the shoebox- RICKY Cost a dollar just to look. DAVIS It's a great bug. We kinda broke it a little... Siri impatiently points at the wall clock- SUSAN Fellas, I'll tell you what...ten dollars for everything. Plus a killing jar, some tweezers and mounts so the next bunch you catch will be in better shape. DAVIS Deal! RICKY You crazy! That's the best!! DAVIS Bug's almost dead anyway. Susan holds out two five dollar bills. The boys can't resist. Davis grabs the money- DAVIS Thanks, lady. Ricky gives a last possessive look to the shoe box, then follows Davis out. Siri crosses to the window and wrestles to close it. SIRI Ten dollars? Susan places all the kid's items -including the shoebox- in a wastebasket. SUSAN Alphabet City kids- there's much worse things they could be selling. Siri hits the window frame with a paperweight, gets it half way down. SIRI I hate this fucking window...</scene_description> </scene> <scene> <stage_direction>EXT. ACROSS STREET FROM MUSEUM - NIGHTFALL</stage_direction> <scene_description>CRANE TO a nearby alley. A GAUNT MAN IN AN OVERCOAT stands in the shadows, looking up at Siri working on the window. As a streetlamp lights up, he backs up into the shadows. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FLOPHOUSE. LOBBY - NIGHTFALL</stage_direction> <scene_description>Religious slogans and posters are hung everywhere in what used to be the lobby of a men's hotel. A hand-lettered sign: "NO LIQUOR, NO DRUGS, NO PROFANITY" PARAMEDICS are leading a number of ill CHINESE IMMIGRANTS up from the cellar door seen earlier. Many are brought out on STRETCHERS. DOH staff put tags on their wrists. Peter examines a PALE OLD MAN on a stretcher while simultaneously talking to Josh.</scene_description> <character>PETER</character> <parenthetical>(to Josh)</parenthetical> <dialogue>There's plenty of systemic infection already, so as soon as we get a preliminary reading, start them on anti-biotics. You saw this?</dialogue> <scene_description>Peter flicks on his penlight, examines the Old Man's eyes. One of them is completely bloodshot. Then he shows Josh the gums. They're bleeding. PETER Internal hemorrage. 2 our of 5 have it. No definite signs of TB, but we'll quarantine them a week just to make sure. JOSH Immigration's gonna love you for that. PETER Tell them to send flowers to the usual address.</scene_description> </scene> <scene> <stage_direction>INT. SWEAT SHOP. BASEMENT</stage_direction> <scene_description>Peter pushes back a sheet hung across a doorway. BASEMENT SHOWERS A tiled nightmare. Concentration camp-cozy. A pile of old, rusting sewing machines clutter the floor, spilling oxide to a central grate. JOSH Two shifts, people rotating from bed to work. One toilet. We're in Wal-Mart hell, here. Josh swats a fly. PETER Did they get the sleazebag who owns this place? JOSH Triad, Chinese Mafia. They bring people from Yunan. Slave labor... (eyes his notebook) Reverend Harry Wong, a preacher had the flophouse fronting for them. No sign of him. An overhead door is opened. Daylight streams in. Peter spots YANG, an Asian cop, talking to a CHINESE WOMAN lying on a stretcher which hasn't been moved yet. She is hollow-eyed, near death. Her hand weakly hangs on to the cop as if for dear life. PETER Tell her she's going to be alright. We'll take care of her. Peter kneels next to her, looking at her and nodding while Yang translates. The woman mutters again, tears of fear in her eyes. Yang shakes his head. YANG She's delirious. Keeps saying the "Dark Angels" are coming for her. She says they took some of her people away. PETER Dark Angels?</scene_description> <character>YANG</character> <parenthetical>(Shrugs.)</parenthetical> <dialogue>Probably a gang. Chinese people, man. They come up with some wacky stuff.</dialogue> <scene_description>They pull the stretcher out through the open overhead door and into an ALLEY The stretcher is rolled into a waiting vehicle, its lights flashing. Unseen by them, on a brick wall, nearly buried by graffiti, is a crude DRAWING. It is of the same, odd figure Peter saw drawn earlier. The OVERCOAT MAN.</scene_description> </scene> <scene> <stage_direction>INT. LAB - NIGHT - MONTAGE</stage_direction> <scene_description>Susan and Siri, both wearing Walkman headsets, deftly mount BUTTERFLIES and other INSECTS onto display boards for the exhibit. Rain is blowing in through the half-open window. Their movements are precise and lyrical, the colors and designs of the insects are beautiful. We understand how you can get lost in this world. Susan works steadily, a partially-eaten PAY-DAY BAR and the wrappers of several others are evidence of her dinner. A PAGER goes off in Susan's lab coat. She takes off her headset; CLASSICAL MUSIC leaks from her headphones. On the PAGER's LCD screen the message reads: LATE TONIGHT. PETE. Susan puts the pager down. Goes to close the window. There is a loud, angry BUZZING sound. SUSAN Siri? (louder) Siri?! Siri pulls her headset off; HEAVY METAL MUSIC leaks from her headphones. The BUZZING sound again. We PAN across the various bugs and mounting implements till we come to rest...</scene_description> </scene> <scene> <stage_direction>..on the SHOEBOX the boys gave Susan. Something rattles wildly inside.</stage_direction> <scene_description>SIRI ...the fuck? Susan crosses to the trash bin, picks the box out. It vibrates on her hand, then becomes quiet, something moves inside. She slowly opens the lid. The bottom of the box is littered with two inches of shredded newspaper. Crumbs of bread and some rice-krispies can be spotted here and there: a kid's idea of a comfy critter's nest. She moves her free hand closer.</scene_description> <character>SUSAN</character> <parenthetical>(To Siri)</parenthetical> <dialogue>Can you...?</dialogue> <scene_description>Suddenly and INSECT big as her hand springs out of the shredded paper nest and tries to grab on to her! Minute pieces of paper fly through the air!! Susan slaps the lid back down.</scene_description> <character>SUSAN</character> <parenthetical>(a scared whisper)</parenthetical> <dialogue>Could you...help me...?</dialogue> <scene_description>CUT TO: LATER Siri comes over as Susan grabs steel tongs and a cork dissecting board. SUSAN I'm gonna pull it out and I want you to pin it down, okay? SIRI What is it? SUSAN I have no idea. Are you ready? Siri nods, pins in hand. Susan opens the lid and grabs the nymph with the tongs. The creature goes berserk, flailing its spindly limbs, BUZZING and CROAKING, a milky substance FOAMING out of its body. SIRI Oh my God... Susan deposits the insect onto the corkboard. Siri tries to get a hold of it; but it twists out of the tongs and wraps its coarse legs around her hand!! A spider trapping a sparrow. SIRI Shit!! Get it! Get it! SNAP! It bites her hand between index and forefinger. Susan pins the insect into the corkboard. It spins furiously, like a crazy LP record. Susan gets a grip on it again with the tongs. Siri uses more pins to secure it down.</scene_description> <character>SUSAN</character> <parenthetical>(Noticing Siri's hand)</parenthetical> <dialogue>It bit you.</dialogue> <scene_description>SIRI No shit. SUSAN leans to get a closer look at the NYMPH: Deep dark brown, flat as a pancake, one rear leg broken, lower tail smashed. It squirms helplessly now, looking pitiful under the harsh overhead light. SUSAN This wing configuration. I've never...</scene_description> <character>SIRI</character> <parenthetical>(looking at her injury)</parenthetical> <dialogue>Fuck! It broke the skin...</dialogue> <scene_description>SUSAN And they're not fully developed. This thing's not even an adult. The nymph continues to HISS and FOAM, struggling against the steel pins. Susan looks closely at the insect's belly. SUSAN My God. SIRI What? Susan gestures to look. Siri stares down at THE NYMPH'S TORSO where a SET OF VALVES on its underside click in and out.</scene_description> <character>SUSAN (OS)</character> <dialogue>It's breathing.</dialogue> <scene_description>SIRI shakes her head. SIRI That's impossible. Insects don't... SUSAN I know. (Picks up a SCALPEL) Help me get a sample. Susan touches her scalpel to the nymph's leg. The nymph CLICKS nervously. SUSAN Hold on, big guy, hold on... She traps the nymph down and CUTS THE LEG OFF. A painful, agonized BUZZ echoes around the room. CUT TO: MONITOR Susan attaches the insect's leg to a samll holder. It is frozen in a swirl of dry ice. The brittle leg is then mounted in a LASER MICROTOME. Bit by bit, the machine executes MICROSCOPIC WAFER CUTS. Siri is making slides out of each section. A series of MICROPHOTOGRAPHIC IMAGES flash onto the screen. In the background we hear the high-pitched BUZZ- We see the lights from the mounting room through a glass brick wall.</scene_description> </scene> <scene> <stage_direction>INT. MOUNTING ROOM - NIGHT</stage_direction> <scene_description>We see the nymph slowly squirming in the FG, then RACK FOCUS to the rain-spattered WINDOW. Suddenly the OVERCOAT MAN is standing on the windowsill! The window is lifted effortlesly from the outside. SUSAN prepares a blue solution and places two drops on each smear slide. Reflected in the glass brick behind her we see the man moving across the room. THE OVERCOAT MAN seen only through rippled glass and reflections, moves through the lab. His body STEAMS lightly from the rain. His movements are quirky, spastic. The man observes the imprisoned insects with curiosity. He comes to the nymph, pinned and mutilated on the worktable. The nymph CLICKS and CHITTERS excitedly, as if communicating with the man. He looks up at the worklight. It seems to bother him. WHUMP!!! In a blur of motion, he SMASHES the light bulb. SUSAN watches the smear slide. The blue droplets begin to CHANGE COLOR once in contact with the leg section... SUSAN Hold on a second... ...slowly turning a deep green. SIRI What? Then, THREE LARGE BEETLES fly into the room. Siri looks at Susan. Susan gets up, hesitant, signals for Siri to stay. We FOLLOW Susan into the mounting room. SUSAN'S POV She walks in, barely able to see her hand in front of her face. The window facing the street is wide open, rain blowing in. Something CRUNCHES under her feet. She bends down, looks. She's stepped on the broken glass of the lightbulb. The floor is alive with various INSECTS -- crawling, hopping, flying away from their displays, which have been opened. The nymph is gone from the board! She looks under the work table the nymph was on. We LOWER as we TRACK BACK with her. Something is folded up in the corner of the ceiling behind her, camouflaged in the shadows, clinging impossibly to the wall. THE OVERCOAT MAN. He lowers himself with silent grace. Susan whirls. WHOOSH! A GUST OF WIND! A FLUTTERING SHADOW OFF THE WINDOW! Silence.</scene_description> <character>SIRI (O.S.)</character> <dialogue>Susan?</dialogue> <scene_description>Susan GASPS, startled. We SHIFT to see Siri at the door. SUSAN Call security. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FLOPHOUSE - NIGHT</stage_direction> <scene_description>The last DOH van takes off under the heavy rain. Across the street, Chuy looks down from his apartment window.</scene_description> </scene> <scene> <stage_direction>INT. MANNY'S APARTMENT - SAME</stage_direction> <scene_description>Chuy sits at the window, twisting wire into a human-like figure. MOVING past him, we see a group of other WIRE FIGURES on the table, backs of chairs, lamps, everywhere. Manny sits at the kitchen table. He IGNITES a can of shoe polish with a match, then lights a cigarette off the flame. He puts the cigarette in his mouth and proceeds to polish a pair of shoes. A SILLY SHOW plays over the TV. MANNY Not too little, not too much. You rub it in, around and around like this. Let the leather take it. Manny leans tiredly against the table. He looks fatigued and in pain. He takes a small pill and places it under his tongue. MANNY You watching? You should learn to work the shoes. You're good with your hands... Manny shoots a glance over to his grandson. MANNY Chuy...you gonna get all wet. Chuy doesn't pay attention, just stares out at the street. MANNY Did you look at the story book I got you? Manny lifts a brightly colored CHILDREN'S BOOK. MANNY Our Animal Friends. Can you say that, Chico? "Friends"? Nothing from Chuy. CHUY'S POV - STREET The building across the street. Yellow DOH tape at the entrance.</scene_description> <character>MANNY (OS)</character> <dialogue>A friend is the one you can trust. When you are with a friend, no matter where in the world, you are at home.</dialogue> <scene_description>A FIGURE moves out of the shadows and totters in the rain toward the entrance. It is the OVERCOAT MAN, barely visible in the rain. MANNY In this city. A friend is a hard thing to find... CHUY His face shows a bit of animation. CHUY Funny Shoes... Manny looks up from the book. CHUY Alli. Mr. Funny Shoes. Manny comes over, looks out. THEIR POV The figure has disappeared into the dark front of the boarded-up building. MANNY AND CHUY MANNY No one is there. Is empty. Chuy doesn't respond. Manny turns the boy's face to his. MANNY Chuy, listen to me. They have Jesus on the cross, but that is not a holy place. You understand? Chuy looks at him blankly. Manny sighs; he knows he doesn't. MANNY Ah, Nino. God only knows what goes on in your head, eh? He pats the boy on the head, then goes back to work. Chuy turns back to stare at the street. CHUY Mr. Funny Shoes... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE TYLER APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>The D.O.H. Van pulls up in front of a modest Pre-war building. Josh and Peter climb out. Peter is reviewing a roster. PETER Josh, what was Immigration's countdown? Josh hands Peter a plastic bag with his sweat clothes and running shoes. JOSH Thirty-three workers. Peter hands him the roster. PETER There are thirty five listed in the reverend Wong's roster... JOSH Shit. Peter walks up the front steps. PETER Remember what that woman said, about people being taken? Check with the copsin the area.</scene_description> </scene> <scene> <stage_direction>INT. TYLER APARTMENT - NIGHT</stage_direction> <scene_description>Peter enters the apartment, which has long since been remodeled with a nicer couch and a bigger TV with slightly better reception. PETER Sus? No answer. He notices the dining room table is filled with yellowed FILES, all marked JUDAS TRADITOR.</scene_description> <character>PETER</character> <parenthetical>(Looks around once again)</parenthetical> <dialogue>Susan?</dialogue> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM</stage_direction> <scene_description>Peter comes in to find Susan sitting in a chair before a dryer, quietly watching laundry whirl within.</scene_description> <character>PETER</character> <parenthetical>(Regarding the laundry.)</parenthetical> <dialogue>Thought it was my week for that.</dialogue> <character>SUSAN</character> <parenthetical>(Shrugs.)</parenthetical> <dialogue>I needed to think. It was either this or the weather channel.</dialogue> <scene_description>Peter walks over, kisses her. He notices an open book of INSECT MORPHOLOGY on her lap. There's a FULL COLOR PHOTOGRAPH of an OOTHECA -- an insect eggcase.</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - LATER</stage_direction> <scene_description>Peter folds laundry into his/her piles. Susan paces. SUSAN This thing was the size of my fist, Peter!! That's off the charts! PETER Okay. So you lost a great specimen- SUSAN Don't you get it? It's more than that. Peter takes a bedsheet. Susan helps him fold it. SUSAN You know why insects don't grow larger? Because they don't have a complex respiratory system. What I saw did. It had lungs. Peter walks backward with his end of the sheet. The two begin to fold it together. SUSAN Evolution doesn't work that fast. Something pushed that thing to take the leap. We need to find another specimen. PETER We? As they fold the sheet, they move closer together. SUSAN I did a PH test on its tarsal pads. The folding of the sheet has brought them almost face to face. Susan finishes folding herself. SUSAN There's only two species who match the enzymes I found. One's a leaf-cutter ant in the Amazon... She has his full attention now. SUSAN The other we released here two years ago.</scene_description> </scene> <scene> <stage_direction>EXT. ALPHABET CITY - AVENUE B - DAY</stage_direction> <scene_description>A TAXI CAB makes a U turn and cruises on.</scene_description> </scene> <scene> <stage_direction>INT. CAB</stage_direction> <scene_description>Susan ignores the yakking Armenian DRIVER as she scans the buildings and empty lots- ARMENIAN DRIVER Avenue B... again! Maybe you got wrong letter, uh? The cabbie looks up at a Manhattan street map glued over his head on the roof of the cab. SUSAN Keep going. We'll tell you when to stop... PETER Maybe they lied to you. SUSAN Even if they did... that's all we have, isn't it? The cab cruises past the tenement buildings, nondescript stores, junked cars and rubble-strewn lots. It stops before a traffic light. A LEERING HOMELESS GUY with a greasy rag and greasier cleaning solution approaches the windshield. ARMENIAN No... Oh, shit. Get away, you Turk! The Homeless guy begins wiping/smudging the windshield with his dirty rag. The driver sends him away. The light turns green. The Driver accelerates, turning on the windshield wipers to expunge the smears left by the guy. Susan sees something. SUSAN Pull over! ARMENIAN DRIVER What...? Susan motions excitedly. The Driver pulls over. Susan gets out.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE CAR</stage_direction> <scene_description>Susan rushes over, removes something from the windshield wiper. A BUTTERFLY, its wing pinned under the rubber flapper. She holds it in her palm, then looks up at Peter. SUSAN Metaxonycha Godmani. PETER So? Susan looks around. Just ahead is an empty LOT surrounded by a wooden fence plastered with flyers for rock bands and performance artists. An identical BUTTERFLY perches on the edge of a board.</scene_description> </scene> <scene> <stage_direction>EXT. EMPTY LOT</stage_direction> <scene_description>Susan and Peter walk through waist-high GRASS of a small urban wilderness. Dozens of BUTTERFLIES flutter around them from the weeds.</scene_description> <character>RICKY (OS)</character> <dialogue>If you want your money back, forget it!</dialogue> <scene_description>Peter and Susan look up. The voice comes from a RAMSHACKLE CLUBHOUSE, built of wood scraps and cardboard.</scene_description> <character>DAVIS (OS)</character> <dialogue>We already spent it!</dialogue> <scene_description>Susan walks forward. SUSAN We're here to deal. Long beat. The door to the clubhouse swings open. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STATION - DAY</stage_direction> <scene_description>A BLUR of subway cars goes by with an ear-pulverizing SOUND. At the end of the platform, Davis untwists a wire around the busted lock of a locker room door. Peter paces nervously nearby. PETER Here, let me... He starts on it himself. Meanwhile, Ricky stares at a PHOTOGRAPH Susan has given to him: a ribbed, tortoise- brown colored EGGCASE. SUSAN You sure you didn't see one of these? RICKY Gross. What is it? SUSAN An "Ootheca". An eggcase. It probably had more, uh "weirdbugs" inside.</scene_description> <character>RICKY</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>No way. I see one of those, I'd puke.</dialogue> <scene_description>Davis opens the door with a CLICK.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY LOCKER ROOM</stage_direction> <scene_description>A dark, abandoned LOCKER ROOM once used for transit workers. Susan and Peter walk in with the boys, nervous in the off- limits area. DAVIS It was in that corner over there. Davis points to a bank of dented metal LOCKERS. RICKY Sucker was fast, man. (Picks up a pipe.) Had to take it out with one a these. PETER Okay, guys. We'll take it from here. Peter hands Ricky some money. The boy looksdown at it slyly. RICKY Make it ten an' we won't tell the cops you're here. Peter regards the little scam artist dryly. PETER Let's keep it at five and I won't condemn your clubhouse. Peter hands him a couple of dollars more. The two boys take off. Peter removes a PENLIGHT from his pocket. Dust covers everything. A forest of COPPER TUBING and PIPES where the sinks used to be. PETER inspects the floor. It's littered with cheap objects: chipped combs, used rubbers, soggy newspapers, smeared heroin syringes. Something shiny catches his eye. He picks it up.</scene_description> <character>PETER</character> <parenthetical>(quietly)</parenthetical> <dialogue>Look, a broken tooth...</dialogue> <scene_description>Something rustles nearby. He notices an old, rotting poster on the back wall. It seems ODDLY TEXTURED somehow. He walks toward it. SUSAN kneeling, pushes aside a dented trash bin. Behind it, there is a cabinet with rusty sliding doors. A SUBWAY TRAIN RUMBLES by outside, the sound echoes off the tile walls. Susan forces the door back. She peeks through the opening. Her face stares back at her from a dirty pocket mirror. She starts pulling something out. PETER at the oddly texture wall. He shines the penlight at it...</scene_description> </scene> <scene> <stage_direction>..and is met with a FLUTTER OF WINGS. MOTHS, perfectly camouflaged against the poster on the wall, whiz past him.</stage_direction> <scene_description>Peter recoils.</scene_description> <character>SUSAN (OS)</character> <dialogue>You okay?</dialogue> <scene_description>He nods. SUSAN turns back to her locker. She withdraws a cheap PLASTIC NECKLACE from it. As she removes it, it breaks. A coulpe of beads fall away...</scene_description> </scene> <scene> <stage_direction>..rolls under the locker...</stage_direction> </scene> <scene> <stage_direction>..and BOUNCE -- once, twice, thrice -- each time going deeper till they comes to a stop.</stage_direction> <scene_description>Susan peers where the beads fell. SUSAN There's something under here. Peter comes over, kneels by her. Susan takes a handful of beads and throws them at the base of the locker. CAMERA TRACKS to follow one of them. It rolls all the way under. A moment later, from some interior space, the sound of it BOUNCING on cement. He shines his light inside.</scene_description> </scene> <scene> <stage_direction>INT. HOLE - PETER'S HAND</stage_direction> <scene_description>Very dark. A highlight glints off a shell-like surface. The light barely touches it. THE WHOLE SURFACE BACKS AWAY. Peter drops the penlight. It gets stuck in a jutting piece of concrete. PETER PETER Shit. Peter tries to get his hand in DEEPER But he cannot reach the light. It is literally inches from his fingers... SUSAN SUSAN Let me try. My hands are smaller. She kneels and goes for it.</scene_description> </scene> <scene> <stage_direction>INT. HOLE - SUSAN'S HAND</stage_direction> <scene_description>Her hand reaches for the penlight. She barely touches it. The penlight spins around. Its light now illuminates... THE FACE OF A MAN. Unseen by Susan. Terrifying in its doll- like simplicity. In the darkness, its features seem indiscernable, inert, almost frozen in a perfectly symmetrical pattern. It regards the spiderlike movement of Susan's fingers. SUSAN'S face squinches with the effort. PETER Honey, just leave it. SUSAN No, there's...</scene_description> </scene> <scene> <stage_direction>INT. HOLE - SUSAN'S HAND</stage_direction> <scene_description>As Susan's hand moves closer, the strange Face begins to TREMBLE. A CLICKING SOUND. Susan's hand is almost there. SUSAN reaches further. And suddenly A BEAM OF LIGHT cuts through the darkness. Their vision resolves. The figures of two MTA COPS stand before them: ERNEST, 50, burly and bull-necked; and LEONARD -- African American, 45, more formidable than fat.</scene_description> <character>LEONARD</character> <parenthetical>(Wearily)</parenthetical> <dialogue>Now don't tell me.</dialogue> </scene> <scene> <stage_direction>INT. HOLE</stage_direction> <scene_description>Susan's hand withdraws.</scene_description> <character>LEONARD (OS)</character> <dialogue>You lost a token, right?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY PLATFORM - LATER</stage_direction> <scene_description>SHH-SHH-SHH. A felt rag is expertly being pulled across a set of pristine black shoes. REVEAL Leonard sitting like a king in a chair, getting his shoes shined by Manny. He leans back laconically while arguing with Peter. Ernest examines the ootheca picture. PETER Look, I showed you my badge... LEONARD Yeah, and you gonna have to show me a lot bigger one you wanna go down there. That's the old maintenance grid, Doc. Swiss cheese: tunnels, tracks... PETER The Department of Public Health... LEONARD ...should know better'n to go sneakin' around my turf... PETER Fine. You want me to call your supervisor? LEONARD Please do. He's a lonely guy. Uninterested, Leonard looks over to Susan and Chuy. ANGLE ON SUSAN She leans against the wall, inspects her dirty hand. Ernest gives her his handkerchief.</scene_description> <character>CHUY (OS)</character> <dialogue>Gucci. Flat pump.</dialogue> <scene_description>She looks down at Chuy, who sits nearby, holding a PAIR OF SPOONS. ERNEST Your shoes. She stares down at her shoes. Gucci flat pumps, all right. Susan smiles. Just then, a SUBWAY TRAIN pulls up. The doors open, disgorging passengers. Chuy flips into action. He starts playing his spoons, CLICKING them together, slapping them against his knee. Susan watches in wonder as the boy begins to use the spoons to IMITATE the different rhythmical step patterns of the VARIOUS COMMUTERS: The rolling, comical gait of A FAT MAN, the lithe haughty step of A PRIM LADY.</scene_description> <character>SUSAN</character> <parenthetical>(Laughs. To Chuy.)</parenthetical> <dialogue>That's wonderful! What grade are you in?</dialogue> <scene_description>Chuy doesn't answer. ERNEST No school. Shoes're all Chuy knows about. Ernest discreetly points to his forehead.</scene_description> <character>MANNY</character> <parenthetical>(immediately)</parenthetical> <dialogue>He's special.</dialogue> <scene_description>LEONARD He can imitate anything, you just watch him.</scene_description> <character>PETER</character> <parenthetical>(Irritably, to Leonard)</parenthetical> <dialogue>Excuse me, I'm talking to you.</dialogue> <scene_description>LEONARD No, you talkin' at me. Leonard hands Manny a $5.00 bill for the shine, gets up and walks past Peter as if he were invisible.</scene_description> <character>ERNEST</character> <parenthetical>(discreetly, to Susan)</parenthetical> <dialogue>Is there some reward for this?</dialogue> <scene_description>SUSAN I guess that could be arranged. Ernest smiles, pockets the ootheca picture. PETER For Chrissakes. You gonna lay a two- bit bureaucratic, territorial number on me? LEONARD You wanna keep up the conversation, you best come back with the proper permits and the right attitude. Leonard saunters away with Ernest in tow. Peter shakes his head angrily. He takes Susan by the arm, heads off in another direction. Chuy, without watching, clicks his spoons to the imitation of their steps.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STAIRS - DAY</stage_direction> <scene_description>Susan and Peter walk up the stairs; Peter still fumes. PETER You give someone a fucking uniform and... Did you hear how he talked to us? SUSAN I heard how you talked to him. PETER Oh, so I'm the bad guy now? Susan spares him an ironic look. SUSAN He was just doing his job. PETER Fine, then I'm the bad guy. Jesus! At the top of the stairs they're completely engulfed by sunlight. PETER He wants a permit, I'll get him a permit. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRACKS - DUSK</stage_direction> <scene_description>A train blurs by. A FLASHLIGHT BEAM over dirty gravel. TILT with the beam to see Ernest walking his beat past TRACKS and GIRDERS. Hulking out-of-service SUBWAY CARS surround him. He shines his light on the ootheca picture and then around him at the walls. A SOUND catches his attention. A RUSTLING. He notices something off to a corner, walks over to it. A SHINY BROWN LUMP in the corner, covered in garbage. He touches the lump with his shoe. It STIRS slightly. He touches it again... ...and a PAIR OF LEGS suddenly LASH OUT, kicking at him reflexively. Ernest jumps back. Another SET OF LEGS emerges... Oddly enough, Ernest relaxes. ERNEST Chrissakes... He grabs the surface of the lump, and pulls it. We see that it was just a SHINY BROWN TARP. Underneath, a group of THREE HOMELESS PEOPLE -- emaciated, toothless -- sleeping intertwined for warmth. In the dim light, they almost seem like a single organism. ERNEST Guys, c'mon. The Homeless People stare back at him mutely. Ernest starts getting annoyed. ERNEST I told you to stick by the maintenance area. BAG LADY Nah... It's private property now. Ernest looks at her, confused. SKELETAL BUM He eats down there. ERNEST Who? HOMELESS MAN The Stickman. BAG LADY Long John. The homeless man points. Ernest turns his light. Another SILHOUETTE of the OVERCOAT MAN drawn on the wall. An arrow below it points east. ERNEST Graffiti artist, uh? (To Homeless People) Look guys, just get off my beat, you hear? Get moving. Ernest hustles them out. The homeless people glare at him, pick up their things and head into the gloom. Ernest watches them go. He turns back to the graffiti painting of The Stickman. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TUNNEL - LATER</stage_direction> <scene_description>Ernest walks deeper into the tunnels. Dusklight slants in weakly from grates above. He stops as a RUMBLE is heard ahead of him He ducks into a recess in the wall. The RUMBLE grows LOUDER, LOUDER. A SUBWAY TRAIN curves around the bend up ahead, its HEADLIGHTS raking the opposite wall to reveal... A FIGURE crouched over something. We hear CHOMPING and SWALLOWING sounds. CU ERNEST Squinting to see over his flashlight beam. ERNEST Hey, buddy! No answer. Just the wet sounds of food getting chewed and ingested. Ernest is revolted. ERNEST Get off my track... The crouching figure lifts its head and looks around in a unusually quick BLUR OF MOTION. It's the OVERCOAT MAN. Another distant RUMBLE. Ernest's clothes flutter in the puff of hot wind that signals an approaching train. Ernest pulls a CAN OF MACE from his belt, begins to advance. The Overcoat Man stands up. Ernest stops in his tracks. For he sees that the Overcoat Man is holding a large OBJECT in his arms. Something wet and shiny with blood. A dead dog. The Overcoat Man drops the animal. It rolls slowly down his chest...</scene_description> </scene> <scene> <stage_direction>..and is briefly caught BY ANOTHER SET OF ARMS EXTENDING</stage_direction> <scene_description>FROM HIS TORSO. ERNEST Sweet Jesus... The Overcoat Man lets the animal fall to the ground. He begins walking toward Ernest. Ernest backs away. The Overcoat Man LEAPS on him just as the SUBWAY TRAIN ROARS PAST! CRACK! Ernest's body is twisted and crunched by powerful arms. Through the strobing windows we see Ernest enveloped by the dark figure, then raised above, taken away. TRACK The can of mace rolls next to the track as the TRAIN CLEARS. The track is empty again. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EXHIBITION HALL - BANNER</stage_direction> <scene_description>We PAN across the banner: 'ARCHITECTS OF NATURE'.</scene_description> </scene> <scene> <stage_direction>INT. EXHIBITION FLOOR</stage_direction> <scene_description>EXHIBITS under glass set up throughout the room: Insect chambers and vaults of great complexity, etc. An opening night CROWD of affluent MUSEUM PATRONS. All tuxedoes and painted smiles. Some peremptorily peruse the displays; most just camp out at the buffet table. Peter enters, dressed in his worksuit. He scans the room, sees Siri leaning against a wall by the buffet table, drinking an orange juice. He goes over to her. PETER Heya. (Kisses her on the cheek.) Where's the boss? Siri gestures to the far end of the room. Susan stands alone, sipping a chardonnay by an ANT MOUND exhibit. SIRI Ant mound. Peter notices Siri seems unusually weary. She covers one of her eyes. PETER You okay? SIRI It's just a headache. We were sandblasting Trump Tower here since four this morning. PETER Maybe you should sit... SIRI I'm fine. Go talk to Susan. She could use a good word right now. She nods for him to go ahead. Peter leaves. Siri closes her eyes. She rubs the bandage around the insect bite on her hand. PETER approaches Susan. She's staring through thr glass panes of the exhibit at the crowd of patrons. In the refraction, their black tuxedoes and evening gowns seem to blend into one another. PETER Great crowd. SUSAN No such thing, baby. She looks over at the crowd congregated around the buffet table. SUSAN I get the feeling they came more for the potroast than the apterids. PETER Fuck 'em. They don't know what they're missing.</scene_description> <character>SUSAN</character> <parenthetical>(Distantly)</parenthetical> <dialogue>Right.</dialogue> <scene_description>Peter looks at her. PETER What's wrong? Susan sighs. SUSAN Oh...nothing that a little menopausal's pee daikiri couldn't cure. Least that's what I thought. Peter looks at her, notices that one of her hands is on her stomach.</scene_description> <character>PETER</character> <parenthetical>(genuinely moved)</parenthetical> <dialogue>Oh, no, you were-</dialogue> <scene_description>SUSAN I was just late. Susan nods. Peter takes her hand. They sit by the ant mound. SUSAN Ironic, don't you think? These guys can hatch hundreds of offspring in a single clutch of eggs, right? And here we are... PETER Susan, we're not b-</scene_description> <character>SIRI (OS)</character> <dialogue>Susan?</dialogue> <scene_description>Susan looks up to see Siri standing on the other side of the glass case.</scene_description> <character>SIRI</character> <parenthetical>(Weakly.)</parenthetical> <dialogue>I'm sorry. I think...I need...</dialogue> <scene_description>One of her eyes is completely bloodshot. Her mouth is bleeding. She puts her hand on the case to steady herself. Her fingers leave a STREAK OF BLOOD on the glass. SUSAN Siri... Siri collapses. The exhibit tips over. Peter pulls Susan out of the way just as the exhibit FALLS AND SMASHES TO THE GROUND! SUSAN Siri! The room erupts into COMMOTION. Susan and Peter run to Siri, who lies unconscious on the floor. Peter gently turns her over. Siri's BLEEDING from the corner of her mouth. Just like the Chinese workers in the sweatshop. Tuxedoed people encircle her next to the insect mounds. SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - NIGHT</stage_direction> <scene_description>An ambulance races down the avenue toward a distant hospital.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - HALLWAY</stage_direction> <scene_description>Siri is rushed on a gurney toward the Emergency Room. Peter and Susan walk next to it talking to DR. CHRIS RAYMOND, a 35-year old ER physician. PETER ...I think it's some kind of systemic infection, Chris. I saw a few cases like it yesterday. A sweatshop in Canal.</scene_description> <character>RAYMOND</character> <parenthetical>(to Peter.)</parenthetical> <dialogue>Okay, look. You better come in with me. Help me through.</dialogue> </scene> <scene> <stage_direction>INT. EMERGENCY ROOM</stage_direction> <scene_description>Raymond, Peter, and several other ER STAFF work on Siri, now lying on an operating table.</scene_description> <character>RAYMOND</character> <parenthetical>(To Peter)</parenthetical> <dialogue>All hands on deck, Pete. Remember the dril?</dialogue> <scene_description>PETER It'll come back to me. RAYMOND inspects Siri's wounded hand. The bandage has been removed. The bite-wound is infected and suppurating. A large red circular RASH around it. PETER Looks like a Lyme disease rash. RAYMOND It's not consistent with the internal bleeding. Any idea what bit her? Peter shakes his head. RAYMOND I think we're gonna need to have that specimen here. An ASSISTANT finishes inserting a catheter down her throat. Blood and fluid leak up through the clear tube. ABOVE THE OPERATING THEATER. Staring down through the circular glass deck, Susan silently observes the procedures. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MANNY'S APARTMENT - NIGHT</stage_direction> <scene_description>Salmon-colored LIGHT slants in from sodium vapor streetlight. PAN through the shadowy room, past Manny's sleeping form to Chuy, asleep under a tent made of an old Star Wars blanket. A RHYTHMICAL CLICKING SOUND is heard from outside. Chuy pops his head out from under the blanket, listening.</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE - NIGHT</stage_direction> <scene_description>Wearing only his pajama bottoms, Chuy steps out on the fire escape with his spoons in hand. The CLICKING RESUMES from the building across the street. OVERHEAD VIEW The barefoot little boy crosses the street, steps through the center of the huge PAINT STAIN on the sidewalk. The CLICKING sound comes again. STREET LEVEL The CLICKING comes again from inside the flophouse. It continues a little bit, then stops. Chuy CLICKS his spoons together, mimicking the sound. Beat. A CLICKING from within again; almost an answer. Chuy ducks under the yellow DOH tape, walks toward the front of the building. He comes to the boarded entrance. There is a hole, narrow, and low in the doorway. Chuy squats, begins to wriggle through it.</scene_description> </scene> <scene> <stage_direction>INT. FLOPHOUSE - LOBBY</stage_direction> <scene_description>Chuy steps into the lobby. The CLICKING comes again, from further inside. Chuy moves to find it. CHAPEL Bits of STREETLIGHT slant in. Chuy walks slowly, listening. He steps into the SHADOW of a LOOMING FIGURE. He turns... CHUY'S POV - CRUCIFIX We start on bleeding, nail-pierced feet, then TILT up the twisted body to the face of Jesus, looking down. CHUY stares without emotion at the plaster figure. MOVEMENT to his side. He turns again. A dimly-lit FIGURE stands before him. Shapes fold and regroup in the darkness, resolving into the tall figure of the OVERCOAT MAN. The Man begins to emit the CLICKING NOISE from under his chin, his whole head VIBRATING. Chuy smiles. He has a beautiful smile. CHUY Mr. Funny Shoes. He plays his spoons, imitating the sound the figure made. He is answered...but this time, it's from the other side of the room. We PAN as he turns. ANOTHER OVERCOAT MAN appears in the shadows. Chuy GIGGLES, delighted. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - WAITING ROOM</stage_direction> <scene_description>Susan and Peter. SUSAN ...you don't even know what you're looking for. PETER You said that thing was big as your hand. I don't think I'm going to miss... SUSAN Why take the chance? Just let me go down there with you... PETER No. Susan glares at him. Peter sits down by her. PETER Susan, listen to me: you handled that insect almost as much as Siri... SUSAN It didn't bite me. PETER I know. But if it was carrying something...there's a chance you could have been exposed. Susan is silent. PETER Chris is going to run some blood tests on you. I want you to stay here till he's absolutely sure you're clean. Okay? Then you'll call me... You'll catch up with us... Susan looks up at him. Finally, she nods. PETER We'll be all right, Sus. I promise. He leans over, kisses her gently. But Susan seems hardly reassured. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MANNY'S APARTMENT - PREDAWN</stage_direction> <scene_description>The blue hours before dawn. Laconic movement outside. New York dragging itself out of bed. We FIND Manny fixing some melted cheese sandwiches on a hot plate. He addresses Chuy's tented bed behind him. MANNY My father saw me stay in bed, he'd go get a pitcher. Cold water, whoosh, I tell you that's some alarm clock, brrrrr! Manny cuts the bread in four equal sections and arranges them in a star-shaped pattern. A breakfast ritual of some kind. MANNY Ah! There you go! The way you like 'em, Chu-chu... (He pours a glass of milk.) We're low on milk, you remind Grampa to pick some up tonight, okay? He walks over to Chuy's tent bed. He pulls the sheets aside. His grandson is gone. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SEWAGE FILTRATION PLANT - PREDAWN</stage_direction> <scene_description>Sewage water BUBBLES in huge tanks. A WORKMAN walks down catwalks above the tank, disengaging the larger pieces of debris from the filter areas with grappling hooks. Shoes, tires, rags... A GRINDING SOUND is heard. The Workman YELLS out to a CONTROL BOOTH above. WORKMAN Hold up! We gotta block on filter D. SOUND of the pump coming to a halt. The Workman walks to the filter area. He sinks his grappling hook into the polluted waters. UNDERWATER SHOT Spooky, silent. The grappling hook moves like a scythe to the filter... ...past long, soft filaments of RAGGED TISSUE... ...and connects with a LARGER FORM. ABOVE WATER The Workman feels the grappling hook connecting. He gives a YANK, hooking whatever it is. He begins pulling it up. A PALE FORM bubbles to the surface. The Workman's face goes pale. WORKMAN Oh, God... A grating VOICE from the control booth is heard over the P.A. CONTROL BOOTH VOICE What's the problem? It take the Workman a moment to speak. WORKMAN I think it's a baby! The Workman pulls the form (as if that will do any good) toward the edge of the tank. He bends down, and now gets his first good look at it. The Workman SCREAMS. His grappling hook falls from his hand, into the sewage. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - ICU WARD</stage_direction> <scene_description>Susan watches Siri from behind a pane of glass. Siri is connected to a respirator, her vital signs monitored by several machines. Raymond approaches Susan, two cups of coffee in his hands. RAYMOND How you feeling? SUSAN You tell me. He smiles, gives her one of the cups. RAYMOND Your blood tests were all negative. You checked out. Susan visibly relaxes. She looks back at the ICU ward. SUSAN What about Siri? RAYMOND She's stable. I don't think there's any immediate danger, but we'll have to keep her under observation... SUSAN You think it's some form of Strickler's, don't you? Beat. Raymond shrugs. RAYMOND Pathology's still working on the tissue samples. If it is...it must be an errant strain. Shorter incubation period. (Beat.) I'm sorry, Sue. We just don't know yet.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - BATHROOM</stage_direction> <scene_description>At the sink, Susan runs water over her hands, her face, trying to collect herself. She looks up in the mirror. We see that her eyes are swollen, tear-stained.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - HALLWAY</stage_direction> <scene_description>She walks out of the ladies room, drying her face with a paper towel. SOUNDS of a nearby argument catch her attention.</scene_description> <character>JEREMY (OS)</character> <dialogue>...how many times I gotta tell you, man: we can't accept this!</dialogue> <character>EMT (OS)</character> <dialogue>Well, what the hell else am I suppose to do with it?</dialogue> <scene_description>Susan heads in the direction of the voices.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - HALLWAY NEAR MORGUE</stage_direction> <scene_description>An ORDERLY (JEREMY) argues with an EMT. Their point of contention: a small FORM lying on a stretcher. JEREMY Take it out back and throw it in the friggin' dumpster! EMT Not unless somebody signs for it. Susan walks toward them, catches sight of the tiny form. Her eyes go wide. SUSAN Oh, my God. Jeremy notices her. JEREMY Hey, you can't... SUSAN What's your name? JEREMY Jeremy... SUSAN Okay, Jeremy...go get Dr. Chris Raymond, will you? JEREMY Lady... SUSAN Did you hear me? Get Dr. Raymond! NOW!! Jeremy hesitates. But if her tone wasn't enough, the stare she gives him certainly is. JEREMY Okay. Jeremy backs away, takes off down the hall. Susan approaches the stretcher.</scene_description> <character>SUSAN</character> <parenthetical>(To EMT)</parenthetical> <dialogue>Where'd you find it?</dialogue> <scene_description>EMT Washed up at the filtration plant on Bank street. Some asshole there thought it was a baby. They called us. Susan bends over it. She covers her mouth and nose at the stench. EMT It's a lobster, right? But it's not. What lies on the stretcher before them looks more like a demon from a Brueghel painting. A THREE FOOT INSECT. It's mephitic, pink-white body is rotten, falling apart. The head's intact, with strange, large jaws thrown wide open. The chitin on one is half gone. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY LOCKER ROOM</stage_direction> <scene_description>Josh deposits a backpack full of equipment on the floor, along with a small acrylic cage. Peter trains his FLASHLIGHT into the bank of lockers. Leonard, weary and pissed, looks at his watch. LEONARD Better hurry it up, Doc. My shift's almost over. Josh hands him a piece of paper. PETER Guess someone requested you for overtime...buddy. Peter braces his legs and tries to push the whole bank of lockers clear--the locker section tips and falls with an ENORMOUS BANG, which echoes loudly off the tile walls. Dust flies everywhere. When the dust settles and flashlights are focussed on the area of the wall where the lockers stood, we see a LARGE HOLE. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MORGUE - DAY</stage_direction> <scene_description>Using a steel probe, Susan examines the dead insect. SUSAN Posterior sternites are gone...half the protonum rotted off. Raymond lifts one of the wings. A CLUMP OF WHITE LARVAE feasts on the flesh underneath. RAYMOND Maggots... SUSAN Near hatching. Thing must've died about three weeks ago. Susan closes the mandibles and examines them. SUSAN Do you have a polaroid? CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRACKS</stage_direction> <scene_description>Water DRIPPING from overhead, ECHOING footsteps- very spooky. Leonard leads Peter and Josh down the tunnel- LEONARD You all watch your step. We got some burrows goin' down seven stories here. You fall, I don't wanna have to come pick you up.</scene_description> <character>JOSH</character> <parenthetical>(Whisper to Peter)</parenthetical> <dialogue>New York's finest.</dialogue> <scene_description>Monumental archways give way to naves as big as Notre Dame. Josh flashes the ultra-violet light over an abandoned underground encampment, made of cardboard walls, electrical wiring, elaborate debris kitchens. The walls are completely taken by layer after layer of hand carved initials and messages. Everything from "Kilroy was here" to elaborate quotations from the bible. JOSH There's really people living down here? LEONARD Mole people. This section was pretty popular, all the way to Fulton Street... Their flashlights shine in a haze of brown dust. The air is heavy. LEONARD Substance abusers, mental cases... Then about a year ago, Poof! All gone. Rumors got started... Someone found a couple of stiffs... They work their way down a steep incline. They're covered in sweat. LEONARD Down here's the land of talk, see? So the wildest version goes the farthest. They mark that area with a sign or a drawing, and its as good as closed. (chuckles) We had one fella... for years said he was Bela Lugosi. Got him on Geraldo. Peter's cellular rings. He picks up -big static- INTERCUT WITH: MORGUE Susan's got the phone up on her shoulder, clamped against her ear. Raymond's cranking out a bunch of Polaroids. Color shots of the insect, from every angle. SUSAN It's me. Can you hear me?</scene_description> <character>PETER</character> <parenthetical>(phone, barely audible)</parenthetical> <dialogue>Yeah, barely. We haven't found anything down here. Nothing...</dialogue> <scene_description>Jeremy goes to the fridge for a beer. SUSAN I have. The fridge light plays over the large insects jaws. It makes out a few new ridges and valleys. Raymond snaps a couple of Polaroids. SUSAN I'm on my way. I've got something for you to look at... Susan notices something weird and undefinable about the contours of the claws... But she can't put her finger on it. BACK AT THE TUNNEL PETER We'll be back at the platform in... LEONARD 20 minutes. If you don't go sight-seeing anymore.</scene_description> <character>PETER</character> <parenthetical>(To phone.)</parenthetical> <dialogue>20 minutes.</dialogue> <parenthetical>(Beat.)</parenthetical> <dialogue>Susan?</dialogue> <scene_description>The call is lost. Peter tries to change frequencies, but it's useless. Peter replaces the phone in his pocket. He walks off. LEONARD Funny. Shoulda seen some track bunnies by now. JOSH What? LEONARD Track bunnies. Rats. They're usually around. No one notices the OVERCOAT MAN carving on the wall. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MANNY'S APARTMENT - NIGHT</stage_direction> <scene_description>On Manny's dining room table, a heap of unpolished shoes has accumulated. The radio is playing a sad, elegiac Tango. MANNY No, no, please understand... I can't wait that long. Looking disheveled and tired, Manny clutches the phone, listening intently. MANNY Please. I write it down. (he writes) 2... 8... 7... 3. What does this mean "case number"? Okay. So, now what? When can you...? He holds a color snapshot of Chuy sitting on a mailbox. MANNY No, I can't wait...no, listen... Click. Manny slowly hangs up. He stares at his notepad, at the number 2873. MANNY Hijos de puta. He crumples it up, throws it away, crosses to the window, picks up Chuy's last wire figure- FIGURE, CLOSER Another human-looking figure, long and thin, but with something slightly off about it. It has six limbs instead of four! MANNY frowns, looks down at the dark flophouse across the street. MANNY Mr. Funny Shoes. Distant thunder is heard. BATHROOM CABINET Manny takes a STRAIGHT RAZOR from the bathroom cabinet, opens the blade.</scene_description> </scene> <scene> <stage_direction>EXT. SUBWAY STATION - DAY</stage_direction> <scene_description>Susan arrives at the stairs leading down to the subway station. A COUPLE passes her on their way up. A sign over the entrance says "STATION WILL CLOSE FOR REPAIRS AT 3 PM - TOKENS ONLY". Susan looks around- the area is semi- deserted, a bit creepy. She takes a deep breath, descends.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - DAY</stage_direction> <scene_description>Susan pushes through the turnstile, enters the long corridors of gleaming tile, a somewhat de-humanizing atmosphere, straight out of a George Tooker painting. Very creepy. Susan's footsteps ECHO in the empty tunnel. She sneaks a nervous glance over her shoulder- nobody is following her- PLATFORM "A" DELANCEY Susan observes the locker room door impatiently. A small crew of REPAIRMEN are dismantling a row of fluorescent lights. She sits and waits. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DEEP IN TUNNEL</stage_direction> <scene_description>Peter, Josh and Leonard walk through a darker area. The floor beneath them suddenly changes, becomes tile.</scene_description> <character>JOSH</character> <parenthetical>(Sniffing)</parenthetical> <dialogue>Smells like acid.</dialogue> <scene_description>Peter stops, looks around. PETER Ammonia. Josh walks to the right, where the smell seems to emanate from. At last they come to</scene_description> </scene> <scene> <stage_direction>INT. VAULTED AREA - CONTINUOUS</stage_direction> <scene_description>Josh LIGHTS a flare, sets it on the ground, walks ahead. The ominous RUMBLE of a subway is heard in the distance. A cracked WATER MAIN above. Water dribbles to the ground. JOSH Peter... PETER Yeah...? JOSH There's some weird shit here. PETER Weird shit...? JOSH Take a look. Leonard shines his flashlight ahead. Revealed, quite literally, is a world of shit. LARGE FECES scattered everywhere: on the floor, hanging sausage-like from the ceiling. One can almost taste the stench of old ammonia. Peter puts on a rubber glove, inspects one of the fecal stalactites. JOSH Fecal matter, unknown origin: weird shit. (Beat) Whatever it is, it's not human. Josh breaks off a sample, drops it in a jar with a hard THUNK. Leonard turns away in distaste. LEONARD And it needs some metamucil. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FLOPHOUSE - NIGHT</stage_direction> <scene_description>It's raining like hell. Manny approaches the abandoned flophouse. He peeks through the boarded-up front entrance. Right there, on the dusty lobby floor, clearer than the larger shoeprints... ...he discovers a trail of tiny, barefoot prints. MANNY Chuy... He kicks experimentally at the planks, but they're far too strong. ALLEY Manny explores the opposite face of the building, looking for a way in. A DOG is BARKING incessantly. Manny turns. Something moves in the shadows! Something long and thin, haloed by the rain. It moves again, the streetlight touching it for a fleeting moment as it totters around to the rear of the building. It's The Overcoat Man! The man hurries past. Manny sprints after him. ALLEYS Manny comes running around a pile of grocery crates. There is the OVERCOAT MAN. CARGO WORKERS mill around a group of vegetable trucks, unloading produce. The OVERCOAT MAN attracts no attention. Keeping his head down, staying near the shadowed buildings. Jumping and hopping, he skitters into an alley. FOLLOWING Manny has to trot to keep up with the mysterious figure. He pauses to take a pill and place it under his tongue. Once it takes effect he moves on. The OVERCOAT MAN has moved past a chainlink fence. How?? It's too high!!! The old man squeezes through a jagged opening. The metal fabric cuts his shirt. On the other side: a dead end. Nowhere to go except for... A SEWAGE GRATE Manny lifts it. SEWAGE PIPE Manny lands on his feet with considerable difficulty. He flicks his lighter flame and opens the straight razor. This pipe is carpeted with trash and a thick crust of dirt. Something moves under a wet newspaper: a thick mass of long- legged spiders dissolve onto the walls and floor. Suddenly...the distant sound of spoons playing. MANNY Chuy... Manny pulls a rosary from his pocket, wraps it around his wrist and crosses himself with the razor...</scene_description> </scene> <scene> <stage_direction>..then begins to move down the pipe.</stage_direction> <scene_description>CUT TO: PLATFORM "A" DELANCEY Susan examines the Polaroids. She pulls out a payday bar. The crew of repairmen are leaving. REPAIRMAN Hey, Lady, all power will be down in five minutes, okay? SUSAN Okay.... She munches on the bar. She stops: one snapshot has caught her attention. The fridge light illuminated this photograph. Susan turns it around... and around... Trying to find something different in the lines. A train roars by. Then she notices it: THE POLAROID The closed jaws. They look like A HUMAN FACE. SUSAN Gets up nervously and heads for the dor to the locker room. A whole row of lamps goes off. The rest flickers in and out. Then we see, now standing on her platform: THE OVERCOAT MAN!! He looks at her between a row of columns under the dead neon lights. Susan tries the locker room door. It's unlocked.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - SUSAN</stage_direction> <scene_description>carefully crosses the floor to the bank of lockers. She kneels to examine the hole in the wall. She nears a noise. THE OVERCOAT MAN is moving toward her. SUSAN Peter? OVERCOAT MAN The man's face TIPS BACK...</scene_description> </scene> <scene> <stage_direction>..raising the complex, glittering INSECT HEAD FROM BEHIND</stage_direction> <scene_description>ITS MASK-LIKE FRONT JAWS. Its multi-parted MOUTH clicks OPEN. Susan SCREAMS! The thing charges, its "coat" opening to reveal...SIX LEATHERY WINGS, fully extended! The wingspan blocks the whole tunnel, they vibrate rapidly. Susan tries to run, but the creature -- hereafter known simply as "The Mimic" -- LEAPS ONTO HER CHEST! She's dragged screaming into the hole. Their silhouettes recede rapidly amidst a confusion of legs, wings and pipes. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. VAULTED AREA</stage_direction> <scene_description>Peter and Josh put the fecal samples into the back-pack. Leonard stands at the other end of the area. He inspects some OLD SCAFFOLDING set up at an opening which leads to THE REMAINS OF AN OLD STATION fifteen feet below. LEONARD I've never been this deep. This area here is the Old Armory station. They built it in the 40's. Ran out of money half-way through... It's like Grand Central's dead little brother. Tiled mosaic walls, columns, monumental arches. Spaces for shops. A group of abandoned turn-of-the-century subway cars on parallel tracks. LEONARD Okay, the fat lady's singing. Time to go. Everything is gray with dust.</scene_description> <character>PETER (O.S.)</character> <parenthetical>(To Josh)</parenthetical> <dialogue>I want a team in here by six tonight, hands and knees with toothpicks...</dialogue> <scene_description>Leonard squints down at the planks of the scaffolding. A NYMPH -- big as the one seen earlier -- emerges from a pile of nearby feces as if it were part of the mound. Keeping his eyes fixed on the insect, Leonard coolly bends down, picks up a ROCK. PETER putting the last sample boxes into the back-pack, looks up and sees LEONARD step onto the scaffolding, raising the rock to crush the nymph. PETER Don't!! SMASH! Leonard tosses the rock at the insect, crushing it. Peter rushes to the insect's corpse on the scaffolding. LEONARD Did you see the size of that thing?! PETER Look what you did! You stupid sonofa- A CREAK from the scaffolding at their combined weight. Leonard grabs Peter, tries to pull him from the scaffolding. CREEEEAAAAAK! THE ENTIRE SCAFFOLDING GIVES WAY! Buckling diagonally...</scene_description> </scene> <scene> <stage_direction>..taking Peter and Leonard with it...</stage_direction> <scene_description>CRASH! Both Peter and Leonard are thrown to the ground of the station below. The scaffolding falls around them. JOSH rushes forward. JOSH Peter! PETER AND LEONARD stir in the wreckage. Peter rises shakily. He puts his glasses on. One of the lenses is badly smashed. PETER It's okay. I'm all right. He tries to help Leonard up; Leonard knocks his hand away. LEONARD Get the hell away from me! Peter looks up at Josh.</scene_description> <character>PETER</character> <parenthetical>(Deadpan)</parenthetical> <dialogue>He's all right, too.</dialogue> <scene_description>Leonard brushes himself off, checks out his walkie-talkie. It's been broken in the fall, a tangle of plastic and wires. He curses under his breath. Peter checks the wall for a handhold. But there's only smooth tile and dust. LEONARD Oh, that's gonna work. PETER You got a better way up? Leonard removes his badge, tosses it up to Josh.</scene_description> <character>LEONARD</character> <parenthetical>(To Josh.)</parenthetical> <dialogue>Show that to the station manager. Tell him Leonard's gonna have his bubble-butt he don't have someone down here in ten.</dialogue> <scene_description>JOSH H-how do I get...? LEONARD Way we came. Take the first tunnel to your right... Leonard's voice echoes off the cavernous walls. Josh hurriedly writes it down in his notebook.</scene_description> <character>LEONARD (OS)</character> <dialogue>Go left. Go left again till you hit the fork... Then right again. You got that?</dialogue> <scene_description>JOSH I think so. One right, two lefts... LEONARD And a right. JOSH Right. PETER Go Josh. Now. Josh obeys. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NICHE</stage_direction> <scene_description>We hear a persistent BEEPING... A concrete ROOM filled with glimmering debris. Cans, eyeglasses, fake teeth, chrome, foil, glass shards, broken watches. Susan lies unconscious, half-sunk in a mulch of decomposing food, old newspapers, plastic garbage bags. An inch of brown WATER burbles past her bloody head. SOMETHING jostles her, rocking her back and forth. Her eyelids slowly open. A HUGE MIMIC IS PERCHED ON HER BODY! Its WINGCASE is drooped around her like a shroud. The creature furiously tears at her jacket, trying to get at Susan's beeper. The beeper spills from her pocket along with several Pay Day bars. The Mimic CRUSHES the machine instantly, then chomps up all the candy bars with a single move of its mandibles. Susan watches in terror as the creature steps away. A SOUND from an adjacent tunnel. Susan looks...</scene_description> </scene> <scene> <stage_direction>..and sees ANOTHER MIMIC pulling the REMAINS OF A MAN into the darkness.</stage_direction> <scene_description>Susan gropes around her in the soggy debris, looking for some weapon. SUSAN'S HAND Her fingers close around a three-foot piece of RUSTY PIPE. Something dark drips on her hand. SUSAN looks up. Above her, a badly decomposing HUMAN FOOT, or what is left of it. All part of the excarnated corpse of the Chinese Preacher. His gold cross shines boldly in the dark. Susan GASPS. THE MIMIC hears the sound. It immediately SKITTERS back to her. SUSAN jerks herself sideways... AND STABS THE PIPE into the Mimic's thorax with a wet CRRK! Susan heaves herself up, pushing the thing onto its back. The Mimic BUZZES furiously, milky WHITE FOAM pumping from the wound. Its legs slash the air as it tries to right itself. Susan runs for the tunnels, debris falling from her clothing. CUT TO: JOSH comes to a t-junction. He checks his notepad for the appropriate direction. He turns, heads left. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS</stage_direction> <scene_description>Susan staggers through a dark PASSAGEWAY. Water drizzles into her grimy face. She looks up. Rain leaks from an overhead grate three stories up. She can see the SHOES of PEOPLE walking to and fro above. SUSAN HELP!!!</scene_description> </scene> <scene> <stage_direction>EXT. STREET ABOVE - NIGHT</stage_direction> <scene_description>Life as usual on Delancey street. Pedestrians crisscross the metal grate, hunched under their umbrellas. Traffic noise, T.V. displays on street front stores, boom boxes, car horns... They drown out the tiny sound of Susan's voice... SUSAN hears distant FEET SCURRYING toward her, punctuated by a metallic CLANG! CLANG! CLANG! SIDE TUNNEL CLANG! The metal pipe, still imbedded in the Mimic, BANGS the wall as the insect moves down the dripping narrow tunnel. SUSAN looks around frantically. She crosses to a METAL LID on the floor, lifts it. A HOLE is below, dropping off into darkness. The Mimic's CLANGING grows louder. Susan sits herself on the edge of the hole, grasping the metal lid by handles on its underside. The Mimic rushes into the chamber, speeding toward her... Susan JUMPS into the hole, hanging onto the lid... WHANG! The lid SLAMS SHUT over the hole a fraction of a second before the creature reaches it. The Mimic touches the lid with its antennae, confused.</scene_description> </scene> <scene> <stage_direction>INT. HOLE</stage_direction> <scene_description>The TICK-TICKING of the Mimic's antennae scanning the lid. Susan hangs from the handles on the lid, her arms trembling. Susan's strength gives out. She lets go, falls. PIPE GALLERY Susan CRASHES onto a juncture between two large PIPES. She MOANS in pain. CLOSER - SUSAN secures her position, looks down. A seemingly bottomless pit below, crisscrossed with a FOREST OF PIPES AND DUCTS. The nearest pipe above her is well beyond reach. She is trapped. Then she hears the SOUND of the LID OPENING above. She holds her breath. A faint YELLOW LIGHT of a lighter flickers down at her. CUT TO: WET SECTION Josh cautiously enters a vaulted area. Old pipes have been ripped from the walls. WATER gushes over the steel-plated walls. He looks around- this doesn't seem familiar. Josh freezes as he sees something behind a loose metal PLATE on the wall. He yanks at the plate- it gives a little bit. He yanks harder- the plate falls down on one side, hanging precariously from a loose bolt. It reveals A HOLE PACKED WITH DOZENS AND DOZENS OF OOTHECAS. He leans close to examine them- there is a NOISE in the tunnel behind him- JOSH'S POV - WATERFALL A curtain of WATER falls over the side of a pipe onto the floor. Behind it, something ENORMOUS crawls into view. Multiple legs, antennae, an elongated body distorted by the water and the light of a flare. It stops- JOSH Holding his breath and tiptoeing sideways, never taking his eyes off the thing, Josh begins to move away. He sees a narrow OPENING in the wall- there seems to be dim LIGHT coming from something beyond it. He tries to squeeze through the opening- MIMIC The creature is immobile behind the sheet of water, as if mesmerized by its flow- PIT - JOSH With tremendous effort, Josh passes through the opening. He finds himself inside a bowl-shaped mud hole. Scattered around him he sees FUNNY BUNNY PATCHES that were sewn in the sweatshop. He trips on a half-buried SEWING MACHINE. He looks up- Above him is a grate. He's come to the SHOWER ROOM of the sweatshop!</scene_description> </scene> <scene> <stage_direction>INT. SWEATSHOP SHOWER ROOM</stage_direction> <scene_description>Empty now, except for the rusting sewing machines in a corner. We TILT to see Josh moving the grate away. He jumps- no way he can grab onto the slippery tile- HIS HANDS SLIDE!! PIT Josh puts the old sewing machine upright. OUTSIDE Suddenly, the bolt hinging the plate gives way and... the steel plate hits the ground: KLANGG!! THE MIMIC leaps into action! PIT - JOSH hears the CLICKING, fairly close. He shines his light back down the hole he entered through- JOSH'S POV - THE MIMIC moves past the waterfall and takes the wall at full speed. JOSH JOSH Oh shit, oh shit, oh shit! He stands on top of the sewing machine, wobbling, reaches for the floor above- SWEATSHOP SHOWER ROOM Josh's head and one shoulder are in through the hole. His arms tremble. He makes a desperate lunge and manages to grab the POWER CORD of one of the abandoned sewing machines. THE MIMIC rushes through the opening without even slowing down. JOSH pulls himself up, up- WHAM! The Mimic hits the lower part of his body, BLOOD spraying up through the hole. He SCREAMS, grasps the cord with both hands! He is brutally YANKED down into the hole, the sewing machine tipping, then dragged across the tiled floor till it wedges violently in the hole! We track over to reveal, one of Chuy's perfectly executed WIRE SCULPTURES. Sitting atop another sewing machine. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. REMAINS OF THE SUBWAY STATION</stage_direction> <scene_description>A ring of FLARES burns in the darkness like an island. Peter lights another one, revealing a space buried in layers of dust and time. Cracked MANNEQUIN FACES stares out from an unopened TAILOR SHOP. A FLOWER PARLOR decorated with cobwebs. A yellowed NEWSPAPER on the floor, its headlines reading: GERMAN TROOPS DRIVEN BACK ACROSS RHINE. Peter looks up to see Leonard approaching from the track. PETER Any luck? LEONARD Well...there's an old service elevator half a mile down the tracks. Ain't gonna be much use, though. Lines are dead. Peter shines his flare up at a thick cord of cables which HUM ominously with electricity. PETER You said those cables're still live. Can't we rewire...? LEONARD Oh, man, there you go again. PETER What? LEONARD Those things bring juice to the new stations. You just can't rewire that shit... Peter approaches him. PETER For Chrissakes, what's the problem? You need a memo every time you fart? LEONARD All right, motherfucker, that's it. He pushes Peter violently. Their eyes lock and meet. Inches away from a fistfight. PETER Shh! Shh! A SOUND rushing towards them, its echoes increasing by the second. Where is it coming from? Peter looks at Leonard. Leonard unbuttons his holster clip, places his hand on his .22 A SHADOW appears outside the archway. It steps onto the platform. Leonard frowns.</scene_description> <character>LEONARD</character> <parenthetical>(tentative)</parenthetical> <dialogue>Manny?!</dialogue> <scene_description>The old man stumbles out of the darkness, out of breath. A rusted crowbar in his hand. Leonard walks over to him solicitously. LEONARD My God, what the hell are you...? MANNY Hurry, the woman needs help! A shadow crosses Peter's face. PETER Woman? CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PIPE GALLERY</stage_direction> <scene_description>OUTSTRETCHED HANDS in the darkness. REVEAL Peter leaning across the void with one hand while Manny and Leonard grip his other. Susan below, balancing precariously on the crisscrossing pipes. A mess, but still alive. She reaches up to Peter. It's too far.</scene_description> <character>SUSAN</character> <parenthetical>(A whisper)</parenthetical> <dialogue>Don't.</dialogue> <scene_description>PETER Listen to me: we're getting you out. Leonard and Manny pull Peter back into</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS</stage_direction> <scene_description>Peter undoes his belt.</scene_description> <character>PETER</character> <parenthetical>(To Manny and Leonard)</parenthetical> <dialogue>Give me your belts.</dialogue> <scene_description>They obey. Peter buckles them together with his. He then loops one end around a bannister, the other around his wrist.</scene_description> <character>LEONARD</character> <parenthetical>(to Manny, as he ties them together)</parenthetical> <dialogue>What are you doing down here?</dialogue> <scene_description>MANNY Chuy. He was taken. He's down here somewhere... (to Peter) Oh, please, hurry. I saw what was after her. PETER What's...? MANNY Just hurry. Peter takes his word for it. He uses the belts to lower himself to the nearest pipe. Leonard LIGHTS a flare to illuminate the pipe gallery. Peter works his way down. The web of pipes seem to recede into Hades. The lifeline tightens. Peter gets to the last solid footing, lies down on his stomach and lets the belts down. PETER I'm coming, Sus, I'm coming. But then, he sees something move below her. Then a hollow CLANG! CLANG! CLANG! SUSAN No, Jesus, no.</scene_description> <character>PETER</character> <parenthetical>(To Leonard)</parenthetical> <dialogue>Toss the flare down!</dialogue> <scene_description>LEONARD I only got... PETER Just do it! Leonard lets the flare drop from his hand. It falls past them, ricocheting off the maze of pipes, spinning down to the pitch-black below. And for a split second the flame illuminates... THE MIMIC pipe in its thorax, nimbly CLIMBING THE PIPES TOWARD SUSAN CLANG! CLANG! CLANG! PETER'S eyes grow huge. PETER Oh, Jesus... LEONARD just plain loses it. LEONARD What the fuck is that?! What the fuck is that?! SUSAN knows all too well what's coming for her.</scene_description> <character>SUSAN</character> <parenthetical>(A desperate appeal)</parenthetical> <dialogue>Peter...</dialogue> <scene_description>Throwing caution to the wind, Peter reaches the belt down. PETER Wrap it around your hand! Susan at last gets a grip. Peter pulls with both arms. CLANG! CLANG! CLANG! Getting closer. PETER Come on! Susan struggles for footholds on the slippery pipes, ascending foot by foot... Peter pulls her into his arms. CLANG! CLANG! CLANG! Peter bends down. PETER Get on my shoulders! Susan steps onto his shoulders. He pushes her up... And Leonard and Manny yank her out. CLANG! CLANG! CLANG! Peter scrambles up, SLAMS the lid back on the hole. PETER Let's go! The four of them run. HOLD ON the lid. WHAM! It bursts from the floor, rolls away like a coin.</scene_description> </scene> <scene> <stage_direction>INT. ABANDONED PLATFORM</stage_direction> <scene_description>The four humans run down the empty platform. Peter spares a look back. PETER Oh, shit... Far down the tunnel, THE MIMIC HAS SPREAD ITS WINGS AND IS FLYING AFTER THEM!! MANNY There! He points to the open DOOR of an ancient SUBWAY CAR. They sprint for the car, get to the door. Manny, Peter, Leonard, then Susan...</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY REPAIR CAR</stage_direction> <scene_description>...tumble inside a repair car crammed with shelves and empty crates. LEONARD Get the goddam door! Leonard and Peter both grab its handle, slide it shut... SPLACK! The Mimic crashes into it! KLANGGG! The door bulges out from the impact, almost tearing itself off the hinges. Susan jumps back. Manny runs to cover her. The creature is caught, half in, half out, antennae and forelegs waving wildly! The abdomen CRASHES through a pane of glass. PETER Push it! Push it! Don't let up! Leonard and Peter push harder, barely keeping it pinned. THE UPPER HALF OF THE MIMIC TEARS ITSELF LOOSE. WHITE BLOOD SPATTERS everywhere. The Mimic is NOW CUT IN HALF! The wings flap wildly, the abdomen shatters the safety window's outer panels. But the FRONT SECTION IS STILL ALIVE. It scrabbles in, spraying white blood... ...drags itself up on the ceiling, then down onto the floor and under a row of shelves in a half-circle around the car till it finally comes to a halt. Silence. The only sound is a SKITTERING outside. Susan looks outside the window. The Mimic's REAR HALF IS STILL TRYING TO PUSH THROUGH THE DOOR, its feet blindly dragging along. LEONARD LEONARD What the fuck was that? Peter says nothing. Leonard grabs him by the shirt. LEONARD You better tell me what the hell's going on here! MANNY Hey, hey!! Take it easy!!</scene_description> <character>PETER</character> <parenthetical>(to Leonard)</parenthetical> <dialogue>We don't know!! We don't know what it is!</dialogue> <scene_description>Leonard releases Peter and, cocking his gun moves closer to the still thing. PETER Wait a minute- LEONARD Fuck you, wait a minute. I'm going to- SNAP! The Mimic POUNCES on him, catching his leg in its front mandibles. A sickening CRUNCH as the Mimic's mouth begins to work the leg like a grinder-blender. LEONARD GET IT! GET IT OFF ME! Peter and Manny try to pull the thing off as Leonard falls and writhes on the floor. BAM! BAM! BAM! The men flinch away as Leonard empties his guns on it, until the thing's shell finally CRACKS! But the thing is still locked onto Leonard's leg. Peter tries to work it free from the creature's jaws. No good. PETER Its muscles are locked.</scene_description> <character>LEONARD</character> <parenthetical>(Hoarse)</parenthetical> <dialogue>Oh, Jesus!!</dialogue> <scene_description>MANNY Wait... Manny removes a can of shoe polish from his coat, then starts smearing the stuff onto the Mimic's head and jaws. LEONARD Oh, Jesus! It's hitting the bone man, get it off!! He lights a CIGARETTE LIGHTER, goes to touch the flame to the flammable stuff.</scene_description> <character>PETER</character> <parenthetical>(Stopping him.)</parenthetical> <dialogue>Hey hey hey...</dialogue> <scene_description>MANNY Is how we make loose the ticks back home. Peter hesitates, but lets him go. Manny lights the polish. WHOOSH...the Mimic's head is engulfed in a halo of flame. THE LEGS LOOSEN THEIR GRIP. Peter and Manny yank it free from Leonard, who's PASSED OUT from the pain. His leg is torn and bloody. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY REPAIR CAR - LATER</stage_direction> <scene_description>We now see the car is 50's vintage. A POSTER of Mickey Mantle above an empty worktable. Peter sits before Susan. She's trembling, understandably shaken from her previous experience. BLOOD pours from a CUT on her forehead. Peter takes a bit of torn cloth, puts it to the wound, then tenderly raises her hand to keep the bandage in place. PETER Just keep holding it. Can you do that for me? (No reponse.) Susan? Susan nods silently. Her hand weakly presses the compress.</scene_description> <character>MANNY (OS)</character> <dialogue>Doctor Tyler?</dialogue> <scene_description>He turns to Manny, who sits solicitously next to Leonard. His wound is wrapped with makeshift bandages. He begins to stir. Peter gets up, but Susan's hand is closed tightly around his, like the jaws of the Mimic. He kisses her gently, then slowly manages to release his hand. He walks to Leonard, inspects his wound. Touches the sole of his foot. PETER You feel anything? LEONARD Yeah, I feel like ripping your fucking eyes out... PETER Leonard, listen. I need to see if there's any nerve damage before we carry you back. (No response.) Look, I'm trying to help you here... LEONARD Oh, you helped me here, all right, white boy. You and your goddam memo. You needed to prove your point, uh? PETER I'm sorry. But I don't think letting you bleed to death is the best apology. Peter touches his foot again. Leonard finally nods. Manny gazes at the Mimic carcass at the end of the car. MANNY Where the hell'd that thing come from? Peter looks at Susan. She remains silent.</scene_description> <character>PETER</character> <parenthetical>(Quietly)</parenthetical> <dialogue>A mistake.</dialogue> <scene_description>LEONARD "Mistake"? What's that supposed to...? PETER It doesn't matter, all right? It's dead. LEONARD How you know that? Shit, it was runnin' around with its buttside gone and a fucking pipe through its heart...</scene_description> <character>SUSAN</character> <parenthetical>(Quietly)</parenthetical> <dialogue>It doesn't have a heart.</dialogue> <scene_description>Peter looks up at her. SUSAN Just inner chambers... MANNY But it look like a man. It... I saw it. SUSAN No... She gets up, finally moving. SUSAN That's what it wanted you to see. CUT TO: OUTSIDE CAR The subway car sits at the end of the platform, windows dimly glowing in the dark. The door opens, and Manny and Peter snatch the lower half and wing pieces back into the car. INSIDE CAR - A LITTLE LATER The lower half of the insect has been moved into the car. Susan is reassembling it. PETER So, you're saying this is like those bugs that -- that look like twigs or leaves or...</scene_description> <character>SUSAN</character> <parenthetical>(shakes her head)</parenthetical> <dialogue>That's camouflage...</dialogue> <scene_description>Susan displays the partly-charred head. SUSAN This is mimicry. They evolve to mimic their predators. A butterfly can look like the eyes of an owl. A catterpillar can copy a snake... Susan closes the multiple mouth parts into a self-contained bud shape, then pushes back the "face" mandibles. SUSAN This has evolved to mimic the most dangerous predator it's ever had... She holds it in her hand, like Yorick's skull. The mimic's head obscenely mirrors her own. She inserts it into the shoulder cavity. She stands back. SUSAN Us. CAMERA cranes up and reveals that the thing now looks like THE OVERCOAT MAN. SUSAN Mantids can mimic. We gave the Judas that code...</scene_description> <character>MANNY</character> <parenthetical>(quotes)</parenthetical> <dialogue>"...and behold he will come that walks as a man, yet is not a man- ..."</dialogue> <scene_description>SUSAN This, is our baby Peter. Yours and mine. Aren't you proud? OUTSIDE OF THE CAR - IN THE TUNNELS We see four shadows move fast, scuttling on the walls and ceiling...</scene_description> </scene> <scene> <stage_direction>..heading towards the car...</stage_direction> <scene_description>INSIDE THE CAR A SUBWAY MAP on the wall. Red, blue, and orange lines branching through the boroughs like veins. SUSAN All these...they're like tunnels of an insect colony. Once these things hit a certain population density, they'll have to move out, form new colonies. The realization hits the others. SUSAN We have to get help down here. Burn the tunnels before... She's interrupted by a CLICKING from the tunnel ahead. It's answered by CLICKING from the tunnel behind. LEONARD Get the doors! A brief glimpse down the car shows too many OTHER DOORS to close in time. PETER Is there a switch? LEONARD Third rail is dead. (To Manny and Susan.) Get me up. There must be a manual override in the booth. Manny and Susan help Leonard up.</scene_description> <character>SUSAN</character> <parenthetical>(Whispering to Peter)</parenthetical> <dialogue>The lights!</dialogue> <scene_description>Peter turns off the flashlights. Susan and Manny help Leonard to the car's CONTROL BOOTH. Peter looks OUTSIDE where the silhouette of a MIMIC moves to the rear of the car. CONTROL BOOTH Leonard opens a box on the side-wall marked MANUAL OVERRIDE. Inside, there is a large, HEXAGONAL SHAPED HOLE.</scene_description> <character>LEONARD</character> <parenthetical>(Starts looking around)</parenthetical> <dialogue>Where's the damn crank?!</dialogue> <scene_description>OUTSIDE The Mimic is only yards away. OTHER SHADOWS emerge from the distant dark. INSIDE Manny leaves Leonard and Susan to look for the lever crank. He runs to help Peter try and shut the doors manually. But it's useless. Many of the doors won't budge.</scene_description> <character>PETER</character> <parenthetical>(hissing a whisper)</parenthetical> <dialogue>They're coming!</dialogue> <scene_description>OUTSIDE The shadows get nearer, their CLICKING louder... CONTROL BOOTH Susan looks under the dashboard, finds a HEXAGONAL SHAPED ROD. The lever crank. SUSAN I got it! Susan gives it to Leonard. He JAMS the rod into the hexagonal shaped hole. Perfect fit. Leonard begins CRANKING the thing. But it's rusty and slow... SUSAN Hurry! Please! THROUGHOUT SUBWAY CAR The doors begin to swing shut very slowly. OUTSIDE - A MIMIC'S POV sees the moving doors, starts heading for them. CONTROL BOOTH Leonard can't crank fast enough. Susan joins in, putting her hands over Leonard's. Both spin the thing as fast as possible. SUBWAY CAR Peter and Manny each pulling on a door, trying to speed up the closing process. SHADOWS are seen approaching, now very close. CONTROL BOOTH Leonard and Susan put all their effort into turning the crank one more time... LEONARD Come on, you son-of-a... SUBWAY CAR A SOFT CLICK as the doors SHUT IN UNISON. Silence. All four are stock still, like a submarine crew awaiting the blast of depth charges. Their eyes dart to the WINDOWS caked with soot, irradiated by the distant glow of one of the red flares. THUCK! Something BUMPS against the door. A machine-gun patter of FOOTSTEPS on the roof. The car SHAKES. OUTSIDE The dark platform is alive with phantom shapes. INSIDE SCREEECH!! Something sharp is drawn along the car roof like a nail over a chalkboard. THUMP! THUMP! Impacts on the sides... An obscene symphony of sounds as Mimics lay siege to the car. PETER A BUZZ OF WINGS catches his attention. He turns. His face is reflected in a security window. CRACK! The window SPLINTERS, destroying Peter's reflection. ABOVE MANNY Claws SCRATCH the ceiling. It begins to dent. BELOW SUSAN AND LEONARD Large forms CLICKING underneath, looking for a way in. Susan stares at the floor, her eyes following the course of the clicking...</scene_description> </scene> <scene> <stage_direction>..which leads to Leonard's wounded, bloodstained leg.</stage_direction> <scene_description>SUSAN Oh, God. (Looks at Leonard.) The blood... KLANGGG! A Mimic leg PIERCES the ceiling above them! Susan pulls Leonard out of the way just in time as IN THE SUBWAY CAR KLANG! KLANG! More legs break through the ceiling! SUSAN AND LEONARD emerge from the control booth, Leonard's arm over Susan's shoulder. SUSAN His blood! It's driving them crazy! We have to mask the odor! PETER How?! But there's not time enough to discuss possible solutions. Leonard pulls off his jacket. Susan begins wrapping it around his wound to mask it. Manny helps. Peter has upended one shelf, jamming it against a broken window as a barricade. Despite their efforts, the Mimics are not thrown off the scent. PETER It's no use! They know we're in here! SUSAN They don't know anything Peter, they just sense. They're hardwired! PETER Right. Hardwired to eat anything that's not like them! The whole car is now shaking and buckling. SUSAN Exac... She looks over at the severed Mimic corpse nearby. A realization...</scene_description> <character>SUSAN</character> <parenthetical>(To Manny)</parenthetical> <dialogue>Give me your razor.</dialogue> <scene_description>Manny looks at her blankly. Susan just takes the blade. The whole car is now shaking and buckling. She runs to the Mimic's carcass. For a moment, she hesitates. But the pandemonium leaves her little choice. She SLICES into the Mimic's corpse with the razor... PETER What are you doing? ...sticks her arm in all the way to the elbow... ...and pulls out two fat AMBER SACS the size of softballs. She SLICES them open. Orange GOO leaks out, its stench overpowering.</scene_description> <character>LEONARD</character> <parenthetical>(covers his nose)</parenthetical> <dialogue>Shit!</dialogue> <scene_description>Peter looks up as Susan slides one of the sacs over to him. SUSAN Rub it on the windows! PETER What- SUSAN Just do it!! Holding his breath, against the stench, he smears the crap on the windows, the doorframe... MANNY looks to the roof, listening. And remarkably, the SOUNDS of the Mimics START SUBSIDING. Susan comes over to Leonard, begins dabbing the goop on Leonard's wound. Leonard makes a face at the stink. LEONARD What are you putting that crap on me for? SUSAN Scent glands. Insects use 'em to identify themselves to each other. She smears the floor area behind Leonard. The activity winds down gradually, and finally comes almost to a halt. CUT TO: SUBWAY CAR - LATER Leaning against the dirtied window, Manny creates a streak for every Mimic he sees. Peter, Leonard and Susan are hard at work. Leonard has created a small "model" of the station using pocket debris and the wall map.</scene_description> <character>LEONARD (O.S.)</character> <dialogue>Okay. That's us.</dialogue> <scene_description>Manny's lighter represents the subway car. LEONARD This track we're on? Goes down into the repair area. (Makes an "X" further down) The elevator's over here. Leads up to the active tunnels. THUMP! An oily, soft abdomen brushes lazily up against the glass. Manny moves away. PETER Can we get this car there? LEONARD Someone'd have to go to the switchroom, pull the coupling lever, that'll send us left and to the elevator. SUSAN But the power... LEONARD Hell, I might be able to juice the whole area, if I can get to the power box. It's just a couple of cables... MANNY Oh, how you gonna get there, Leonard? Hop?</scene_description> <character>PETER</character> <parenthetical>(To Leonard)</parenthetical> <dialogue>Just talk me through it. I can go with Manny.</dialogue> <scene_description>LEONARD It would take a minute or so. (beat) You won't last that long out there. SUSAN Peter, you couldn't even fix our TV! Tense silence. He points at the glands on the floor. PETER We'll cover ourselves with this. They can mimic us- we Goddam mimic them! SUSAN Peter- PETER It worked before...</scene_description> <character>SUSAN</character> <parenthetical>(an edge in her voice)</parenthetical> <dialogue>The scent won't last...</dialogue> <scene_description>PETER That's why we should do it now. Susan knows they have no other choice. LATER Susan is stuffing Leonard's old bloody bandages into the thorax of the dead Mimic. She ties a flare to its center. LEONARD It's just a regular old pump switch, okay? Right by the track signal board. Manny is spreading the mucus-like liquid of the gland-sac on himself and Peter as Leonard instructs them- LEONARD The lights come up, you pull the switch. MANNY I pull. LEONARD You don't do that, we're on the wrong track. (turns to Peter) You... The two men look into each other's eyes. LEONARD You gonna finally get to fuck around with the wires. Think you can handle it? PETER Depends. You got a memo? Leonard's hard feelings give way to an almost imperceptible smile. Using a ballpoint pen, he draws a schematic on the back of Peter's hand. LEONARD All right then. You gonna find two wires. One's green. The other's blue... SUSAN approaches Manny, who looks distractedly out the window. MANNY He's out there. I heard him. How can he be? This things... SUSAN Manny... MANNY I didn't protect him, lady. He trusted me. And I didn't protect him... His father...I lost his father to the streets and now, Chuy... SUSAN We'll find him. We'll be back and find him. Manny doesn't respond. READY TO GO Susan dabs at Peter's face with the last touches of the scent gland substance. She doesn't meet his eyes as she speaks. SUSAN You're going to have to keep it really slow. Their eyes react to sudden movements. Peter barely nods, his nerves clearly on edge. He instinctively goes to wipe his forehead. Susan stops him. SUSAN Don't touch it. And for Godsakes, try not to sweat. They can sense chemical changes... PETER Try not to sweat? Leonard turns to Susan and Peter. LEONARD Okay, people... Leonard's voice comes through like a clarion.</scene_description> <character>LEONARD (OS)</character> <dialogue>...are we ready for this?</dialogue> <scene_description>Susan has her hand on Peter's chest; Peter is taking deep breaths, trying to cool down his body to prevent sweat. It's an odd parody of Lamaze exercise. LEONARD Whatever you do, don't step on the third rail coming back. Six hundred volts'll blow your leg right off. A final breath. He's about as calm as he's going to get. He looks at Susan a long moment. He takes her hand. PETER I was just thinking how I could use a pair of pliers... and I remembered where they are...</scene_description> <character>SUSAN</character> <parenthetical>(overlapping)</parenthetical> <dialogue>That's it. That's it. Breathe easy.</dialogue> <scene_description>A sad, nervous smile appears on Peter's face. PETER In the tool box under the kitchen counter... Susan kisses him softly on the lips. Manny approaches. Show time. Susan steps away from Peter. She looks toward the control booth. SUSAN Open it. LEONARD begins turning the lever crank slowly. SUBWAY DOORS gradually begin to open, and stop half way. The darkness outside is alive with CLICKING. PETER AND MANNY slowly move between the opening of the door and make their way to</scene_description> </scene> <scene> <stage_direction>INT. PLATFORM</stage_direction> <scene_description>They step onto the dusty concrete. Come to a stop. SUSAN watches nervously for the reaction of the Mimics OUTSIDE LARGE SHADOWS pass far and near of Peter and Manny; but none of the Mimics seem to care about them one way or the other. Peter and Manny exchange looks: a moment of relief. It's working. Peter slowly moves right along the track to the nearby POWER BOX. Manny goes left, starts to make a longer journey across the platform to the SWITCH ROOM. SUBWAY CAR Susan moves away from the door, goes over the Mimic carcass, filled with the bloody bandages. PLATFORM - BY THE TRACKS Peter makes his way to the edge of the platform, whispering to himself. He lowers himself slowly to the track. PLATFORM - NEAR THE SWITCHROOM Manny moves toward the door. A large WINDOW OF DUSTY GLASS reflects his image...and the distant ones of the Mimics. BY THE TRACKS Peter gets to the track. He turns And is met FACE TO FACE WITH A MIMIC! Its antennae move toward his head, curious. Its human-mask face plate clicks apart and together. Peter remains stock still. He starts breathing deeply... SUBWAY CAR Leonard has now fully opened the doors. SUSAN pulls the tipcase of the FLARE tied to the dead Mimic's midsection. FSST! The flare SPARKS alive. The sudden light draws the attention of several Mimics outside. Susan pushes the carcass toward an open door at the front of the car...</scene_description> </scene> <scene> <stage_direction>..and with a HEAVE, throws it onto the front track.</stage_direction> <scene_description>OUTSIDE The other Mimics take instant notice. BY PETER The Mimic before him suddenly turns. In a flash of speed, it's gone, heading toward THE DEAD MIMIC stuffed with the bloody rage, the thing sends its fellow into a feeding frenzy. The other Mimics begin TEARING into it, ripping their brother to shreds in cannibalistic orgy. SUBWAY CAR Susan watches in disgust. SUSAN Choke on it, motherfuckers. Leonard turns the lever crank again. The doors begin to shut. PETER breathes a sigh of relief. He goes to the powerbox, opens it up. He shines his flashlight down on the back of his hand. The simple chart tells him what to wire: BLUE WIRES TO THE GREEN WIRES.</scene_description> <character>PETER</character> <parenthetical>(to himself)</parenthetical> <dialogue>Green...Blue...</dialogue> <scene_description>He looks back up at the powerbox. His face falls. All the wires are a GROSS BROWN, their colored plastic casings having long ago faded into goo.</scene_description> </scene> <scene> <stage_direction>INT. SWITCHROOM</stage_direction> <scene_description>Manny enters. The space is even more dusty than the rest of the station. Spiderwebs strung over old machinery. White Doric PILLARS support the ceiling like skeletal bones. 1940s style LAMPS are built into their side. Manny looks around. Off to the right, right next to the rusted track switch board, he heads for the COUPLING SWITCH. Once there, he rests and, through the murky windows, he waves back to LEONARD. He pulls out his pills box and takes a pill. But his hands are shaking, under enormous tension. Some of the pills scatter on the floor. He puts the box away and leans against the wall. A CLICKING nearby catches his attention, echoing from the entrance of ANOTHER ROOM. It is not the sound of the Mimics; but rather, of METAL. Spoons. MANNY Chuy...? Manny follows the sound. BY THE TRACK Peter desperately tries to connect the wires the right way. He wipes off the brown gunk, tries to discern any semblance of color. He feels himself start to sweat. He tries to relax. Breathes...</scene_description> </scene> <scene> <stage_direction>INT. ROOM BEHIND SWITCHROOM</stage_direction> <scene_description>The space is larger than the switchroom. The walls and ceiling have an odd, shiny consistency. Manny heads in further, locates the levers and waits. Something pale and small emerges from the dark, a few feet away, a face that seems to float in the eerie half-light. A RUSTLING behind him. Manny turns around.</scene_description> <character>MANNY</character> <parenthetical>(Whispering)</parenthetical> <dialogue>Nino...</dialogue> <scene_description>He swings the light onto Chuy, sitting on the floor before the remains of a RUSTY COLUMN. That beautiful, emotionless smile on his pale face. MANNY Chuy... BY THE POWERBOX Peter has made all the necessary connections. He turns now to the fuse-section. A red throw-switch is there, and two big slots for fuses. One is still occupied. The other one empty. PETER Dammit! CU - PETER'S FOREHEAD BEADS OF SWEAT begin to form. SUBWAY CAR Susan watches the Mimics at their feast. All of a sudden, they begin to stop, as if losing interest.</scene_description> <character>SUSAN</character> <parenthetical>(horrified)</parenthetical> <dialogue>The scent's fading...</dialogue> <scene_description>Susan steps back, looks around desperately for a flashlight.</scene_description> <character>LEONARD</character> <parenthetical>(tense as hell)</parenthetical> <dialogue>What's Manny doing? I can't see him anymore.</dialogue> <scene_description>ROOM BEHIND SWITCHROOM MANNY Nino, please... Manny slaps his knees with both hands in a parental gesture of "come to me". In the darkness, something that looks like a PALM FROND floats gracefully down from the ceiling, making see-saw gestures as it falls through the air. Manny shines his flashlight on the floor. It's not a palm frond. It's a wing. Manny turns his flashlight to the ceiling and walls. The place IS COVERED WITH MIMICS. They are in the middle of a vicious mating ritual. The males tear savagely at the females wings as they proceed to mount them. A chaotic clusterfuck. Manny is sickened. CHUY GIGGLES. Manny shines his light ahead. Manny's face falls. MANNY Dios mio... The WHITE PILLAR BEHIND CHUY IS MOVING...</scene_description> </scene> <scene> <stage_direction>..unfolding...</stage_direction> </scene> <scene> <stage_direction>..at last revealing...</stage_direction> <scene_description>AN ALBINO MIMIC! Another leap for evolution... Its form is different from the other Mimics. Sleeker, more supple, almost beautiful. And while its movements are still not completely human, there is a kind of unearthly grace to them that at the very least entrance us. The thing raises itself to full height, dwarfing the tiny boy. It stands over him like a king over his court fool. Chuy giggles happily. It's all a game to him. The Albino CLICKS in response -- a long, leisurely sound, as if trying to communicate with the boy. Chuy pulls his spoons out and begins to play them, making a perfect imitation of the sound. Manny starts to tremble as the creature gazes upon him with huge, expressionless 'eyes'. He turns to Chuy-</scene_description> <character>MANNY</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Chuy...</dialogue> <character>CHUY</character> <parenthetical>(whispers)</parenthetical> <dialogue>Friends.</dialogue> <scene_description>MANNY NO, NO, CHUY, NO... CHUY Friends. The Albino CLICKS his jaws, moving in toward Manny. CHUY plays his SPOONS in perfect imitation. MANNY stands under an archway in a swirl of dust. He raises his arms, like a prophet. He lets go of hsi razor and kneels. MANNY God has closed his eyes. This, he cannot see... His vacant eyes, fill with tears, he prays quietly, a strange serenity invades him. The Albino's jaws open and charge. PLATFORM Some Mimics advance toward Peter's direction. SUBWAY CAR Susan desperately waves a flashlight and bangs the window, trying to attract their attention. SUSAN Over here! Over here! Goddam you!! BY THE TRACKS Peter BREAKS the arm off one of his glasses. He jams it at the empty fuse. It SPARKS. PLATFORM THUMP! The electricity COMES ON... The lamps on the columns BURST INTO FLAMES from the power surge. Fire illuminates the station like a Greek temple. BY THE TRACKS Peter climbs up onto the tracks...</scene_description> </scene> <scene> <stage_direction>..sweat staining his forehead...</stage_direction> <scene_description>Peter wipes it and removes the scent coating. THE MIMICS clearly react, sensing the chemical change, like bees reacting to honey. SUBWAY CAR</scene_description> <character>SUSAN</character> <parenthetical>(to Leonard)</parenthetical> <scene_description>LEONARD looks at the now lit control panels, tries to decide which button to press. He begins to press each one in turn. PETER hears the sound of spoons playing. He turns to see Chuy, standing by the outside of the switch room. The boy smiles. A flashlight shines behind him. PETER Manny... But the thing holding the flashlight is anything but human: The ALBINO steps into view, moving eerily like an unstrung puppet. His claws and jaws are coated in blood. Chuy joyfully announces the arrival like a little drummer boy. THE MIMICS climb over the roof, moving toward the rear of the- SUBWAY CAR - CONTROL BOOTH Susan runs in. SLAMS her hand down on a button. FSST! THE SUBWAY CAR The doors open. SUSAN Peter!! Peter hesitates, takes a step toward Chuy. PETER Come on, kid... Chuy seeks shelter behind the Albino's legs.</scene_description> <character>PETER</character> <parenthetical>(horrified)</parenthetical> <dialogue>Jesus!</dialogue> <scene_description>The albino charges toward him. SUSAN Run!! Peter!! Peter bolts for the car. THE MIMICS jump and land SUBWAY CAR just as Peter squeezes through one of the doors. BAM! THUD! The doors dent. Glass cracks.</scene_description> <character>SUSAN</character> <parenthetical>(Yelling to Leonard)</parenthetical> <character>GO!!</character> <dialogue>Susan presses the button. The doors close again.</dialogue> <dialogue>LEONARD The kid...</dialogue> <dialogue>PETER The kid's with them!!</dialogue> <dialogue>LEONARD What do you-?</dialogue> <dialogue>PETER Go!! Just go!!</dialogue> <scene_description>CONTROL BOOTH Leonard throws the dead man's switch by the control board. SUBWAY CAR JOLTS into action. OUTSIDE The train LURCHES forward. Wheels spark and kick into gear. The mimics scramble and re- assemble quickly, ready to attack. THE ALBINO changes position and charges towards the car. THE MOVING CAR reaches a "Y" section. The car moves to the track to the right. INSIDE SUBWAY CAR Leonard's eyes go wide as he sees LEONARD He didn't do it! SUSAN What? LEONARD Manny never threw the coupling switch!! We're goin' the wrong way!!! OUTSIDE CAR It keeps bearing right. Further away from their destination.</scene_description> </scene> <scene> <stage_direction>..towards an old STORAGE YARD in their path. Idle cars and repair equipment on the tracks.</stage_direction> <scene_description>A crash seems inevitable. INSIDE THE CAR Leonard pulls THE BRAKES but they don't work at all. From below the car we see the wheels spinning freely, heading for collision. INSIDE THE CAR Susan grabs Leonard from the control booth. To Peter SUSAN MOVE BACK!!! They rush back against the opposite door. STORAGE YARD - SUBWAY CAR CRAAASHH!! The car BASHES into a parked section of train in a GRIN of tearing metal...</scene_description> </scene> <scene> <stage_direction>..flips off the track...</stage_direction> </scene> <scene> <stage_direction>..and onto its side...</stage_direction> <scene_description>The car skids to a stop. SPARKS fill the air. INSIDE SUBWAY CAR All three are hurt. Leonard's leg wound has reopened. Peter has badly damaged his right arm. SUSAN You all right? Peter nods painfully. Susan to Leonard.</scene_description> <character>LEONARD</character> <parenthetical>(Simply, re: his leg)</parenthetical> <dialogue>Can't feel it.</dialogue> <scene_description>Peter and Susan sling Leonard's arms over their shoulders. They raise him up. OUTSIDE SUBWAY CAR They move unsteadily outside. SUSAN Which way? LEONARD Across both tracks!! PETER Shit. They head off over a concrete island in the direction of the correct track. FURTHER BACK The Mimics and the Albino moving closer. PETER AND SUSAN try to hurry, but it's no use given Leonard's condition.</scene_description> <character>LEONARD</character> <parenthetical>(Quietly)</parenthetical> <dialogue>Lemme go.</dialogue> <scene_description>Peter and Susan both disregard the order. SUSAN We're no leaving you! LEONARD No way we can outrun 'em together. Move it! Leonard suddenly grabs his POLICE BATON from his belt clip. He pushes the two away. LEONARD NOW!! GO!! Get the hell off my beat! Leonard turns away from them. Peter goes to get Leonard, but Susan stops him. This MTA officer is staying put. LEONARD Come on. Come to poppa. Reluctantly, the two begin down the tunnel. LEONARD takes a stand by the third rail, baton in hand.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TUNNEL - FURTHER DOWN</stage_direction> <scene_description>Peter and Susan run. SUSAN There. An open CAGE ELEVATOR on a platform nearby. A sign overhead: AUTHORIZED PERSONNEL ONLY. They rush toward it.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TUNNELS - "Y" SECTION</stage_direction> <scene_description>Leonard stands like a guardian to the tunnel mouth. SOUNDS of the Mimics approaching. He glances at the third rail beside him, then down the track. LEONARD Come here, you mealy-mouthed... The sound gets louder. LEONARD Multi-legged... Leonard raises his baton in top MTA form. LEONARD Maggot-munchin' motherfu... THUD! Several Mimcs slam onto Leonard! Leonard goes down, HITTING them futilely with his baton. They begin to tear at his limbs. Leonard rolls... ...kicks his good leg out... ...and CONNECTS WITH THE THIRD RAIL. AN ARC of ELECTRICITY lights up the darkness, consuming Leonard and the Mimics.</scene_description> </scene> <scene> <stage_direction>INT. BY THE CAGE ELEVATOR</stage_direction> <scene_description>The crackling sound echoes through to Peter and Susan. Susan hits the elevator button again. SUSAN I can't tell if it's working! Peter has unbarred the gate. SUSAN looks up, into the shaft. THE ELEVATOR coming down, but it's taking its own sweet time. SUSAN Oh, come on, come on! PETER Jump in. Peter pulls her into the shaft, closes the security gate behind them.</scene_description> </scene> <scene> <stage_direction>INT. SHAFT</stage_direction> <scene_description>A skeletal framework on each side. Just enough for a handhold. Peter steadies Susan as she climbs in beside him. She balances on the narrow ledge. Peter SLAMS the cage door shut, latching it. PETER You go first. I'll be right below you. SUSAN Your arm, you can't... PETER I can. We can do this... He shows her the first hand and foothold. Susan grabs on.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TUNNEL</stage_direction> <scene_description>The Albino amkes its way forward, flanked by two Mimics. It stops. Turns toward the elevator.</scene_description> </scene> <scene> <stage_direction>INT. SHAFT</stage_direction> <scene_description>Susan hauls herself up the framework, handhold by handhold. Peter is right below her. She can see his arms are starting to tremble dangerously with the effort. SUSAN We're gonna make it! Peter grinds his teeth, trying to make the next handhold. WHAM! Something hits the gate below them!</scene_description> </scene> <scene> <stage_direction>INT. BY THE ELEVATOR GATE</stage_direction> <scene_description>The Mimics are tearing at the metal gate. The Albino remains still, watching them work. PETER AND SUSAN Susan's arm and legs are shaking now. Her breath starts catching in her throat with the effort. PETER Don't hold your breath! Keep it going, even flow! Susan tried, but can't. She tries to pull herself up to the next level. PETER C'mon... SUSAN Ah... PETER Talk to me. SUSAN Peter... Susan pulls herself up. SUSUAN I'm really glad I'm not pregnant. REVERSE We look down past them as they climb. Two of the Mimics and the Albino have gotten into the shaft! The Albino is so long it climbs by bracing its legs against opposite walls. SUSAN AND PETER Susan is crying, barely any strength left. Peter does his best to stay in control, but in truth is barely hanging on himself. LIGHT hits them from the shaft above now, SOUNDS of PEOPLE TALKING and a muffled P.A. ANNOUNCEMENT filter down. MIMICS rushing upward on the shaft wall, higher, higher.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR SHAFT</stage_direction> <scene_description>Peter's hands grab onto the grating of the gate on the next floor. KCHUNK! is heard above them. Peter looks up. Now the elevator is coming down. PETER Hang onto me. Peter pulls Susan up till she can grab it too, both of them able to get a foothold on the ledge- PETER Hang on tight! He begins to KICK on the gate, trying to tear it free. Susan looks back down. SUSAN'S POV - SHAFT The Mimics rush up, closer, closer. The Albino opens its mandibles. SUSAN AND PETER both KICK at the gate, it gives, Peter pulls Susan through to the</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRACK</stage_direction> <scene_description>PETER Come on! Peter and Susan stumble away.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR SHAFT</stage_direction> <scene_description>The Albino sees the elevator approaching from above. It gives a few CLICKS to its minions. The two other Mimics race up the shaft... ...toward the elevator... ...and WEDGE THEMSELVES IN ON EITHER SIDE! They are CRUSHED instantly. But the elevator is stopped just above the open gate. With just enough room for the Albino to get through to</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRACKS</stage_direction> <scene_description>Susan and Peter run. There is LIGHT just up the tunnel. We hear VOICES. SUSAN Don't look back! They go for it. At last, they make it to</scene_description> </scene> <scene> <stage_direction>INT. A PLATFORM</stage_direction> <scene_description>Susan and Peter stumble forward. Light streams down from overheads. Susan turns. SUSAN'S POV The Albino spills out onto the track behind them. Sleek, streamlined, light glancing beautifully off it. SUSAN AND PETER turn back... HEADLIGHTS hit them as we hear the ROAR of a SUBWAY TRAIN heading at them from the other side of the platform! SUSAN No... PETER We can do it! They run. ALBINO runs, faster than any other Mimic. TRAIN The express train BLOWS its HORN, RUSHING FORWARD. PLATFORM - COMMUTERS Weary late-night COMMUTERS stand half-asleep on the tracks. A sleepy-eyed little girl points, tugging on her mother's hand. LITTLE GIRL Mommy, there's people... PETER AND SUSAN</scene_description> <character>PETER</character> <parenthetical>(Adrenaline pumping)</parenthetical> <dialogue>We-can-do-this!!!</dialogue> <scene_description>MOTORMAN The driver sees the battered couple... He reaches for the brake... SUSAN AND PETER They reach the edge of the platform, the HORN deafening as the train speeds toward them. Peter pushes Susan up, leaps-</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - CONDUCTOR</stage_direction> <scene_description>We RUSH toward his horrified face. THE ALBINO directly ahead. The train, still flying, PLOWS INTO IT...</scene_description> </scene> <scene> <stage_direction>..flattening, grinding, pulverizing...</stage_direction> </scene> <scene> <stage_direction>..until the windshield of the subway car is covered in white blood.</stage_direction> <scene_description>The motoran leans on the brake, his eyes screwed shut in primal horror. The train SQUEALS to a stop... ON THE PLATFORM Susan and Peter collapse on the cement floor in each others arms. Heaving and weeping.</scene_description> </scene> <scene> <stage_direction>INT. GRAND CENTRAL STATION - NIGHT</stage_direction> <scene_description>COMMUTERS turn to stare as Peter and Susan move across the floor. Both bruised and bloodied, leaning against each other, heading for the exit. Some DERELICTS observe them with curiosity. A trio of MTA cops start towards them. PETER It'll be fine... it... They're still down there. We'll seal the whole system, go in with whatever it takes... But Peter's voice evidences a lack of conviction now, he's trying to convince both Susan and himself of something he doesn't fully believe. PETER It'll be fine... We nailed them before, we'll do it again... He hurries to meet the MTA cops. Susan looks up. SUSAN'S POV Commuters move to and fro, moving up and down and in and out of the illuminated areas of the station. In the crush of onlookers is one deadpan face- a MIMIC, hugging the shadows, waiting for its moment! We PAN 180 degrees to the other side of the platform- there, briefly glimpsed is ANOTHER, and ANOTHER. We TILT down to the throng below.</scene_description> <character>SUSAN</character> <parenthetical>(barely audible)</parenthetical> <dialogue>They've come up...</dialogue> <scene_description>The electrified VOICE of the train ANNOUNCER suddenly FADES UP, telling of departures and delays- We raise above Susan's head- TRAIN ANNOUNCER The 11:16 local to Poughkeepsie, boarding now, Track 32- the 7:20 Connecticut local, making connections to South Norwalk- DOWN ANGLE -culminating in an OVERHEAD VIEW of the main terminal. The movement continues. But from here, the people are dots, their importanec no greater than that of a colony of ants. FADE OUT:</scene_description> </scene> </script>

In New York City, cockroaches are spreading the deadly "Strickler's disease" that is claiming hundreds of the city's children. Due to an inability to develop a cure or vaccine for the disease, Dr. Peter Mann, deputy director of the CDC, recruits entomologist Dr. Susan Tyler. In response, Dr. Tyler uses genetic engineering to create what she calls the "Judas breed", a hybrid between a mantis and a termite that releases an enzyme which accelerates the roaches' metabolism, with the effect that the roaches burn calories faster than they can nourish themselves and thus starve to death. The roaches carrying the disease are successfully eradicated, and Peter and Susan later marry. Three years later, a priest is chased and dragged underground by a strange assailant. The only witness is Chuy, a boy who refers to the attacker as "Mr. Funny Shoes" to his disbelieving guardian, an immigrant subway shoe shiner named Manny. Later two kids sell a "weird bug" from the subway to Susan, which she performs tests on, and realizes is similar to the Judas breed. Initially, she believes that this is impossible since the specimens she released were all female and designed with a lifespan of only a few months, which should have ensured that the breed would die off after a single generation. Before she can examine the insect further it is stolen by a strange figure who escapes out the window. After informing the police she later consults with her mentor, Dr. Gates, who autopsies a larger specimen found in the city's sewage treatment plants, and finds that its organs are fully formed, meaning the Judas breed is not only alive but has developed into a viable species, with a sizable colony underneath the city. Looking for more valuable specimens, the kids go down the tracks where they find a large egg sac and are then killed by the same strange assailant. Meanwhile, Chuy enters the abandoned church of the dead priest to find "Mr. Funny Shoes" and is abducted. Peter, his assistant Josh Maslow and MTA officer Leonard Norton enter the maintenance tunnels to investigate but Peter and Leonard get stuck and send Josh for help. Susan encounters what appears to be a shadowy man in a trench coat on a train platform. As she approaches it, the figure unfolds into an insect the size of a human being. The creature abducts Susan and carries her into the tunnels. Meanwhile, Josh finds a way out but is found by a Judas and killed. Manny also enters the tunnels in search of Chuy and comes across Susan, whom he rescues along with Peter and Leonard, and they barricade themselves inside a train car. Susan surmises that the Judas breed's accelerated metabolism has allowed them to reproduce at a similarly accelerated rate, causing them to evolve over tens of thousands of generations within only three years, developing lungs, allowing increased size, and the ability to mimic their human prey. The group formulates a plan to get the car moving: using the remains of a dead bug to mask their scent as they work, Peter will switch the power on, and Manny will switch the tracks. Susan projects that the Judas will spread throughout the tunnels and overrun the city unless they are able to kill the colony's single fertile male. While trying to reach the track switches, Manny finds Chuy who has managed to survive due to his imitating the clicking noises the bugs use for communication, but before they can escape Manny is killed by the male Judas. Susan, realizing Manny has been gone too long, goes in search of him but finds only Chuy. Leonard's injured leg starts bleeding heavily and knowing the smell will only incite the creatures and endanger the group, he creates a diversion that allows the others to get away, before being killed. Peter finds a dumbwaiter and puts Susan and Chuy in it, but stays behind to destroy the breed for good. He is chased into a room where hundreds are nesting and blows them all up by setting fire to a loose gas pipe, before diving underwater to safety. The male Judas however escapes the blast and goes after Chuy but is distracted by Susan, who lures it into the path of an oncoming train, which runs over it. The two successfully make it to the surface, with Susan assuming that Peter had died in the blast. She then sees what appears to be another Judas, only for it to be revealed to actually be Peter alive and well. The film ends with the three reuniting and embracing one another.

Animal Kingdom_2010

tt1313092

<script> <scene> <scene_description>ANIMAL KINGDOM Written by David Michôd TITLE CARD ON BLACK: 'This is fiction.'</scene_description> </scene> <scene> <stage_direction>INT. SUBURBAN BATHROOM - DAY</stage_direction> <scene_description>20 year-old DANIEL HORDERN stands at the sink of a neat bathroom, his face covered in shaving foam.</scene_description> <character>DANIEL</character> <parenthetical>(yells)</parenthetical> <dialogue>Mum!</dialogue> <scene_description>He dips his blade in the basin and drags it across his cheek. He winces in pain.</scene_description> <character>DANIEL</character> <parenthetical>(yells)</parenthetical> <dialogue>Mum!</dialogue> <scene_description>GAIL HORDERN appears in the doorway.</scene_description> <character>GAIL</character> <dialogue>What's the matter?</dialogue> <character>DANIEL</character> <dialogue>Where's dad's razor?</dialogue> <character>GAIL</character> <dialogue>What for?</dialogue> <character>DANIEL</character> <dialogue>Mine's blunt. I'm gonna be late for work.</dialogue> <character>GAIL</character> <dialogue>Don't you have spare ones?</dialogue> <character>DANIEL</character> <dialogue>Where's dad's?</dialogue> <character>GAIL</character> <dialogue>You can use mine.</dialogue> <character>DANIEL</character> <dialogue>Where's dad's?</dialogue> <character>GAIL</character> <dialogue>You can use mine.</dialogue> <character>DANIEL</character> <dialogue>No.</dialogue> <character>GAIL</character> <dialogue>Why? What's wrong with -</dialogue> <character>DANIEL</character> <dialogue>It's disgusting, mum. Don't worry about it.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION - AFTERNOON</stage_direction> <scene_description>Daniel enters, back pack over his shoulder. He nods to the duty sergeant at the front desk and swipes himself in.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION / LOCKER ROOM - AFTERNOON</stage_direction> <scene_description>Daniel enters. His partner, PETER SIMMONS (22), is dressed in uniform, closing up his locker.</scene_description> <character>DANIEL</character> <dialogue>Sorry, mate.</dialogue> <character>PETER</character> <dialogue>I'll see you out there.</dialogue> <scene_description>Peter exits.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION / WEAPONS DESK - AFTERNOON</stage_direction> <scene_description>Daniel, now in police uniform, is handed his service revolver by the weapons clerk. He signs for it and rushes out.</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>Daniel is on patrol with Peter. Peter drives. It's late. The radio crackles. They sit in silence a while.</scene_description> <character>DANIEL</character> <dialogue>She's leaving messages on the machine now at, like, three in the morning and mum's, like, screaming at me to get her to stop, but you know, yeah, but how?</dialogue> <character>PETER</character> <dialogue>She'll quit it eventually. She'll get bored.</dialogue> <character>DANIEL</character> <dialogue>Maybe. I dunno if crazy people get bored. You know what I mean?</dialogue> <scene_description>The radio crackles. OVER comes the male voice of police radio communications centre VKC (D-24).</scene_description> <character>VKC (D-24)</character> <dialogue>Richmond 49. Do you copy?</dialogue> <scene_description>Daniel lifts the radio receiver.</scene_description> <character>DANIEL</character> <dialogue>Richmond 49. We copy.</dialogue> <character>VKC (D-24)</character> <dialogue>49. What's your current position?</dialogue> <character>DANIEL</character> <dialogue>49. We're heading west on Bridge Road towards Church.</dialogue> <character>VKC (D-24)</character> <dialogue>49, Boroondara's units are all tied up at present. Can you head over to 48 Darcy Street in Hawthorn? A Mrs Burnie of that address has reported a white Commodore sedan in the middle of the road. Says it looks abandoned, windows are smashed.</dialogue> <character>DANIEL</character> <dialogue>49. Roger. We'll give it a look.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - NIGHT</stage_direction> <scene_description>Daniel and Peter pull up behind the white sedan in a quiet neighbourhood. They get out to inspect. Their radios crackle. They head to the driver's side. Peter shines his torch through the broken window, then opens the door. He shines the torch under the steering column. Wires dangle. He climbs in the front seat and shines the torch around the floor of the car. Daniel crouches on the road beside him. A SHOTGUN BLAST rips into Daniel's head. Peter spins, splattered with blood and flesh. Semi-blinded he dives out of the car in an attempt to grab the assailant. A blast rings out, hitting him in the body. Another blast echoes down the street. Three figures in the darkness sprint from the scene. A light goes on in a neighbouring apartment block. The street is still.</scene_description> </scene> <scene> <stage_direction>INT. J'S AND JULIA'S APARTMENT / LOUNGE - DAY</stage_direction> <scene_description>JOSHUA 'J' CODY (17), wearing one oversized rubber dishwashing glove, sits on the couch beside his mum, JULIA CODY (35), who is asleep, chin on her chest, in front of game-show TV. J watches the TV intently. Two paramedics appear at the open door with kit bags. They rush in and go straight to work on Julia.</scene_description> <character>PARAMEDIC</character> <dialogue>What's she had?</dialogue> <character>J</character> <dialogue>Heroin.</dialogue> <scene_description>The paramedic draws Narcan into a syringe and administers. The other checks her pulse. J watches the game show.</scene_description> <character>PARAMEDIC</character> <dialogue>Not responding. We'll need a MICA.</dialogue> </scene> <scene> <stage_direction>INT. J'S AND JULIA'S APARTMENT / LOUNGE - LATER</stage_direction> <scene_description>A young POLICE OFFICER crouches before J who is sitting on the couch, numb. A few people mill around behind them.</scene_description> <character>POLICE OFFICER</character> <dialogue>Is there somewhere you can go tonight?</dialogue> <character>J</character> <dialogue>Yeah.</dialogue> <scene_description>She pulls a card from her work folder.</scene_description> <character>POLICE OFFICER</character> <dialogue>If you need any help, you can give these people a call. There'll be a range of services they can provide that you might find helpful. OK?</dialogue> <scene_description>J nods, blank. She smiles, stands and begins talking loudly to someone off screen. J stares at the card.</scene_description> <character>POLICE OFFICER</character> <dialogue>Alright, I'm gonna head over to that one in Caulfield before the traffic hits.</dialogue> </scene> <scene> <stage_direction>INT. J'S AND JULIA'S APARTMENT / LOUNGE - NIGHT</stage_direction> <scene_description>J is on the phone. He waits for an answer, strangely blank.</scene_description> <character>J</character> <parenthetical>(into phone)</parenthetical> <dialogue>Grandma. It's J \[...\] Josh \[...\] Yeah, good. Um, Mum's gone and OD'd and she's died and so \[...\] Yeah, I'm OK. Sorry, I probably should have said it slower and not just go and blurt it out and that. I don't really know what I'm supposed to do now and \[...\] They took her away.</dialogue> <scene_description>An ambulance came \[...\] Yeah, they turned up and took a statement and that, but I told them I was 18 and now I don't really know what to do. They didn't say anything about, you know, like am I supposed to organise the funeral and that? I don't really know what I'm supposed to do now, with the paperwork and arrangements and that. I just remember when Grandpa Donny died you were all over it, you know what I mean?</scene_description> </scene> <scene> <stage_direction>I/E. J'S AND JULIA'S APARTMENT - NIGHT</stage_direction> <scene_description>J sits on the couch with two bags packed beside him. Hearing a noise, he get up, opens the door and watches JANINE 'SMURF' CODY (57) climb the stairs. She sees J. She bends over, out of breath.</scene_description> <character>SMURF</character> <dialogue>Puffed... Have you got your bags, sweetie?</dialogue> <scene_description>J goes to her. She holds him. RUN OPENING TITLES.</scene_description> </scene> <scene> <stage_direction>EXT. CODY HOUSE - DAY</stage_direction> <scene_description>A single-storey, exposed brick, early-70s house. It is flat- roofed and semi-buried in lush, but overgrown garden, almost like a bunker obscured from neighbours and the street.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - DAY</stage_direction> <scene_description>Two men sit at a kitchen table. BARRY 'BAZ' BROWN (35) is counting a sizeable wad of cash, stacking it in front of him. He counts the money into three piles. Opposite sits DARREN CODY (22) in designer T-shirt, sunglasses on his head. Smurf is at the bench stuffing fruit into a juicer.</scene_description> <character>BAZ</character> <dialogue>Nine-four.</dialogue> <scene_description>He wraps elastic around the pile and hands it to Darren.</scene_description> <character>DARREN</character> <dialogue>Twenty minutes work. No shots fired.</dialogue> <character>BAZ</character> <dialogue>Three weeks prep. This is getting stupid.</dialogue> <character>SMURF</character> <dialogue>Have you heard from him?</dialogue> <character>BAZ</character> <dialogue>No. I know where he is, but I haven't heard from him.</dialogue> <character>SMURF</character> <dialogue>Where is he staying?</dialogue> <character>BAZ</character> <dialogue>I told him I wouldn't tell anyone.</dialogue> <character>SMURF</character> <dialogue>He's my son.</dialogue> <character>BAZ</character> <parenthetical>(smiling)</parenthetical> <dialogue>I told him I wouldn't tell anyone. He was really specific about the 'anyone' part.</dialogue> <scene_description>J appears in the doorway in an over-sized T-shirt. The men look up, startled. Baz gathers the money and packs it in a bag quickly, but calmly. Darren shoves his in his man-purse. Smurf turns. J smiles, shy and hesitant.</scene_description> <character>SMURF</character> <dialogue>Morning, baby.</dialogue> <character>J</character> <dialogue>Hi. Hi, Uncle Darren.</dialogue> <character>DARREN</character> <dialogue>Seriously. Stop calling me uncle. It's giving me the creeps.</dialogue> <scene_description>Baz sticks his hand out. J shakes it.</scene_description> <character>BAZ</character> <dialogue>You want juice? Smurf's juicing.</dialogue> <character>SMURF</character> <dialogue>Apple and pear, hon. It's good.</dialogue> <scene_description>Baz pushes a chair out for J. J sits.</scene_description> <character>BAZ</character> <dialogue>How old are you now? I'm gonna guess. Show us your muscles. Do like this.</dialogue> <scene_description>Baz flexes his biceps. J does likewise, unsure of himself. J looks to Darren who sits impassive.</scene_description> <character>BAZ</character> <dialogue>OK, now sing the alphabet.</dialogue> <character>J</character> <dialogue>I'm seventeen.</dialogue> <scene_description>Smurf starts up the JUICER. It's LOUD. The boys wait for it to stop. Noise stops. Smurf pours the juice into a glass. She looks close at it as she puts the glass before J.</scene_description> <character>SMURF</character> <dialogue>Look at that. It looks like an apple milkshake.</dialogue> <scene_description>CRAIG CODY (27) enters, agitated, shirtless, tattooed. He carries a small chainsaw and drags a Doberman by its collar.</scene_description> <character>SMURF</character> <dialogue>What are you doing, love?</dialogue> <character>CRAIG</character> <dialogue>What's it look like?</dialogue> <scene_description>Craig exits. Smurf starts the BLENDER. Baz laughs. J smiles.</scene_description> <character>DARREN</character> <dialogue>What the fuck, mum?</dialogue> <scene_description>Craig bursts back into the room.</scene_description> <character>CRAIG</character> <dialogue>What the fuck's going on!?</dialogue> <scene_description>Smurf switches off the juicer and pours juice into a glass.</scene_description> <character>CRAIG</character> <dialogue>Who said you could bring that noise thing in my house?</dialogue> <character>SMURF</character> <dialogue>It's yours, love. It lives under your sink. You want a juice?</dialogue> <character>CRAIG</character> <dialogue>Bullshit it's mine.</dialogue> <character>SMURF</character> <dialogue>It is. I found it under there.</dialogue> <character>CRAIG</character> <dialogue>Who said you could use it? Look at the fuckin mess your making.</dialogue> <scene_description>Craig unplugs the juicer, stuffs it under his arm and storms out. Smurf puts juice in front of Darren. The sound of the juicer SMASHING on cement outside can be heard. J flinches. Darren smiles. Craig bursts back through the kitchen.</scene_description> <character>SMURF</character> <dialogue>Craig.</dialogue> <character>CRAIG</character> <dialogue>What?</dialogue> <character>SMURF</character> <dialogue>Come here.</dialogue> <character>CRAIG</character> <dialogue>I'm busy.</dialogue> <character>SMURF</character> <dialogue>Doing what? Come here and give me a kiss.</dialogue> <scene_description>Craig steps back to his mum like a scolded kid. Smurf takes his chin in her hand. He goes meek. She looks at him warmly, then kisses him on the lips gentle and slow, his eyes closed. J watches.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Inside Baz's new model Commodore as it drives a suburban street. As he approaches his driveway, he spots a car parked down the road. Two men sit behind the wheel. Baz pulls into the drive of his neat, suburban house. He gets out of the car, carrying a sports bag, and heads for the door, glancing back across the street at the parked car.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Baz enters. His de facto wife CATHERINE SAYLES and their baby daughter Evie are at the kitchen bench. Cath is on the phone. Baz kisses her on the cheek and stacks the sports bag under the sink. He heads back to the front door.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Baz strides across the front lawn. The mystery car is still parked across the street. He goes to the letter box and stuffs letters in his back pocket. He moves to the fence for a better look at the car. Standing by a flower bush, he picks up garden shears and does a little pruning, glancing up at the man behind the wheel. Baz strides out across the street towards the car, clutching his flowers. Two detectives sit inside the car, windows up. Baz taps on the driver's window. The driver winds it down. Baz hands him the flowers.</scene_description> <character>BAZ</character> <dialogue>These are for you.</dialogue> <character>AR DETECTIVE</character> <dialogue>Thanks, mate. You keep them. I don't have a vase.</dialogue> <character>BAZ</character> <dialogue>What do you want?</dialogue> <character>AR DETECTIVE</character> <dialogue>We're just sitting here having a think.</dialogue> <character>BAZ</character> <dialogue>You wanna go think somewhere else?</dialogue> <character>AR DETECTIVE</character> <dialogue>Yeah, maybe in a bit.</dialogue> <character>BAZ</character> <dialogue>He's not here, mate. You're wasting your time.</dialogue> <character>AR DETECTIVE</character> <dialogue>Who's not here.</dialogue> <character>BAZ</character> <dialogue>You know who.</dialogue> <character>AR DETECTIVE</character> <dialogue>I don't know what you're talking about.</dialogue> <scene_description>They stare at each other a moment.</scene_description> <character>AR DETECTIVE</character> <dialogue>You better get those flowers in water, mate. They won't last in this heat.</dialogue> <scene_description>Beat, then Baz turns and heads back to the house.</scene_description> </scene> <scene> <stage_direction>INT. BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Catherine meets Baz as he shuts the front door. She is holding Evie.</scene_description> <character>CATHERINE</character> <dialogue>What are you doing to my roses?</dialogue> <scene_description>Baz smiles. He hands Cath the flowers and kisses her warmly. He takes Evie from her, bobbing her up and down on his hip.</scene_description> <character>CATHERINE</character> <dialogue>You've chopped my bush half to shit.</dialogue> <character>BAZ</character> <dialogue>It's a plant, honey. They grow better if you chop them half to shit. They like it.</dialogue> <character>CATHERINE</character> <dialogue>How'd you go this morning?</dialogue> <scene_description>Baz holds up nine fingers and shrugs his disappointment.</scene_description> <character>CATHERINE</character> <dialogue>Nine!?</dialogue> <scene_description>Baz motions to Cath to keep quiet.</scene_description> <character>CATHERINE</character> <dialogue>What?</dialogue> <character>BAZ</character> <dialogue>Nothing. I want a drink.</dialogue> <parenthetical>(to Evie)</parenthetical> <dialogue>You wanna fix daddy a drink?</dialogue> <scene_description>Baz heads for the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. CRAIG'S STATION WAGON - DAY</stage_direction> <scene_description>Craig drives, J beside him. Craig's wired. J's apprehensive.</scene_description> <character>CRAIG</character> <dialogue>Hey, what's your form like? You been in trouble with the police?</dialogue> <scene_description>Craig pulls up at a red-light.</scene_description> <character>J</character> <dialogue>Once.</dialogue> <character>CRAIG</character> <dialogue>What for?</dialogue> <character>J</character> <dialogue>Stealing cars.</dialogue> <scene_description>A CAR HORN. Craig glances in the rearview.</scene_description> <character>CRAIG</character> <dialogue>Yeah? What happened?</dialogue> <character>J</character> <dialogue>I squirmed out of it. No conviction.</dialogue> <scene_description>Craig stares in the rearview. A car pulls up beside Craig, two hoods inside. The hood closest yells abuse. Craig just stares blankly at him.</scene_description> <character>HOOD</character> <dialogue>The light's green, idiot!</dialogue> <scene_description>The hood car moves off. Craig moves with it, holding his stare. They yell more abuse and up the speed. Craig stays with them, side by side, his eyes dangerously off the road. The hoods are enraged. They take off. Craig follows steadily. He reaches under his seat and pulls out a gun. He puts it in J's lap. J stares at it. They wind down side streets. After two corners, the hood car hits its brakes. They've had enough. Craig slows to a stop five car lengths behind. He looks to J, who is staring at the gun in his hands - he's never held one before in his life. The men get out of the car. The driver hood approaches angry.</scene_description> <character>CRAIG</character> <dialogue>Go get him.</dialogue> <character>J</character> <dialogue>And do what?</dialogue> <character>CRAIG</character> <dialogue>Let him know who's king.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>J climbs out of the car. One hood is almost on them. J raises the gun tentatively, trying to maintain composure. The driver immediately backs down, apologising, backing away. J says nothing, watches him retreat, feels the power. The men get back in their car and drive away hastily. J stands watching them leave.</scene_description> </scene> <scene> <stage_direction>INT. CRAIG'S STATION WAGON - DAY</stage_direction> <scene_description>J gets back in, numb, buzzing. Craig smiles.</scene_description> <character>CRAIG</character> <dialogue>How'd that feel? You get a stiffy?</dialogue> <scene_description>J stares at the gun in his lap, then hands it back to Craig.</scene_description> <character>CRAIG</character> <dialogue>Butt first, mate.</dialogue> <scene_description>Craig slides the gun under the seat. J is dazed. Craig laughs into a coughing fit as he backs the car away. Craig stops and realises he's gotten himself half lost in the chase. He hits the brakes and finishes coughing.</scene_description> <character>CRAIG</character> <dialogue>Where are we?</dialogue> </scene> <scene> <stage_direction>INT. PET SHOP - DAY</stage_direction> <scene_description>J stands in front of fish tanks. Lots of PET NOISE. Craig is a few metres away, before a wall of fish tanks, with RANDALL ROACHE (40s) in a suit. Craig holds a brown paper bag. Roache points to it.</scene_description> <character>ROACHE</character> <dialogue>That there's good. Tested at 85 per cent. 400 grams. You can make that stretch.</dialogue> <character>CRAIG</character> <dialogue>Is this the Anderis gear?</dialogue> <character>ROACHE</character> <dialogue>That's half. Other half's still in lock up.</dialogue> <parenthetical>(hurrying Craig)</parenthetical> <dialogue>We'll talk about it later. My kid's in the car. I gotta take him to soccer practice.</dialogue> <scene_description>Craig clicks his fingers in J's direction.</scene_description> <character>CRAIG</character> <dialogue>I got pulled over last week by some guy named Stevens. Is he with you?</dialogue> <character>ROACHE</character> <dialogue>He's Federal Police. He's been fixed.</dialogue> <character>CRAIG</character> <dialogue>Fixed like I don't have to worry about him anymore?</dialogue> <character>ROACHE</character> <dialogue>He's fixed. Has your brother heard these funny noises the Armed Robbery Squad are making?</dialogue> <character>CRAIG</character> <dialogue>He's heard they're out to get him. He's gone and fucked off somewhere.</dialogue> <scene_description>Roache nods in J's direction, letting Craig know he hasn't heard the click. J stares into the cage. Craig clicks again.</scene_description> <character>CRAIG</character> <dialogue>What've they got against him?</dialogue> <character>ROACHE</character> <dialogue>They want him off. They don't think anything they've done is gonna stand in court. So they wanna put him off themselves.</dialogue> <scene_description>J places the bag by the wall. He and Roache eye each other.</scene_description> <character>CRAIG</character> <dialogue>You know this for sure? What's he supposed to do?</dialogue> <character>ROACHE</character> <dialogue>I'd just be telling him to pull his head in. The whole thing's falling apart over there, it's looking like Armed Rob's about to be disbanded and then I'd say this'll all go away. Just tell him to pull his head in.</dialogue> <character>CRAIG</character> <dialogue>His head's in. Your head doesn't get more in than Pope's head.</dialogue> <scene_description>Roache reaches down for the bag J has left by his feet.</scene_description> <character>ROACHE</character> <dialogue>Mate, even if I gave a shit, you'd still be telling the wrong guy.</dialogue> </scene> <scene> <stage_direction>INT. VIETNAMESE RESTAURANT - NIGHT</stage_direction> <scene_description>J watches the dinner table scene in a restaurant. Beside him are Cath, Darren and Baz. Craig and Smurf are at the other end of the table, with J's girlfriend NICOLE 'NICKY' HENRY (17). Food and bottles are spread before them. Other diners can't ignore the noise. Craig's crazy drunk, trying to convince Nicky to let him throw a prawn into her mouth.</scene_description> <character>CRAIG</character> <dialogue>Come on. It's a test. Open wide.</dialogue> <scene_description>Nicky shakes her head, nervous but enjoying the attention.</scene_description> <character>CRAIG</character> <parenthetical>(to J)</parenthetical> <dialogue>Fuckin motivate your girlfriend. Get her involved.</dialogue> <character>SMURF</character> <dialogue>Honey. People are watching.</dialogue> <scene_description>Craig stands. Baz watches, impassive. J smiles. Smurf eats.</scene_description> <character>CRAIG</character> <parenthetical>(to Nicky)</parenthetical> <dialogue>I'll give you a hundred bucks.</dialogue> <character>BAZ</character> <dialogue>Mate, sit down.</dialogue> <character>CRAIG</character> <dialogue>Yeah, they're watching. I'm fun and interesting.</dialogue> <parenthetical>(to Nicky)</parenthetical> <dialogue>Two hundred.</dialogue> <scene_description>Nicky smiles and tilts her head back, mouth open. Craig sits.</scene_description> <character>CRAIG</character> <dialogue>That's the way!</dialogue> <scene_description>Craig lines up the shot. He throws and misses. The prawn bounces off Nicky's face.</scene_description> <character>CRAIG</character> <dialogue>Gimme another go.</dialogue> <scene_description>Nicky wipes her face and sticks her hand out.</scene_description> <character>NICKY</character> <dialogue>Two hundred.</dialogue> <character>CRAIG</character> <dialogue>No way. You missed.</dialogue> <character>NICKY</character> <dialogue>I missed? You missed.</dialogue> <character>SMURF</character> <dialogue>Deal's a deal. Give her the money.</dialogue> <character>CRAIG</character> <dialogue>She missed.</dialogue> <character>SMURF</character> <dialogue>She didn't miss. You said you'd give her two hundred dollars if you could throw one of those prawny things at her. You didn't say she had to catch it.</dialogue> <character>CRAIG</character> <dialogue>Bullshit.</dialogue> <character>SMURF</character> <dialogue>Don't argue the rules. Give the girl her money. You said you would.</dialogue> <character>CRAIG</character> <dialogue>That's bullshit. That's fuckin bullshit.</dialogue> <parenthetical>(to Nicky)</parenthetical> <dialogue>What's your name again?</dialogue> <character>NICKY</character> <dialogue>Nicole.</dialogue> <scene_description>Craig rifles through his pockets looking for cash.</scene_description> <character>CRAIG</character> <dialogue>That's fuckin bullshit, Nicole.</dialogue> </scene> <scene> <stage_direction>INT. MEN'S ROOM / VIETNAMESE RESTAURANT - NIGHT</stage_direction> <scene_description>J steps up to the urinal beside Baz. They piss.</scene_description> <character>BAZ</character> <dialogue>If things get too fun and interesting at your place, maybe you wanna come and stay with me and Cath for a while.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Give Craig some space, you know. He needs space.</dialogue> <scene_description>J takes this in.</scene_description> <character>J</character> <dialogue>Thanks.</dialogue> <scene_description>Baz zips, then heads to the sink to wash his hands. He reaches under the automatic hand dryer.</scene_description> <character>BAZ</character> <parenthetical>(loud, over dryer)</parenthetical> <dialogue>Nicole's a sweetie. Where'd you find her?</dialogue> <scene_description>J finishes pissing and zips up.</scene_description> <character>J</character> <parenthetical>(loud, over dryer)</parenthetical> <dialogue>Found her at school.</dialogue> <scene_description>Baz nods, then moves to leave. J follows. Baz stops.</scene_description> <character>BAZ</character> <dialogue>What are you doing?</dialogue> <character>J</character> <dialogue>What?</dialogue> <character>BAZ</character> <dialogue>You washed your hands?</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>BAZ</character> <parenthetical>(serious)</parenthetical> <dialogue>You had your hand on your cock. Your hands go anywhere near your arse or your cock, you wash 'em after.</dialogue> <scene_description>Baz escorts J to the sink. He points to the soap dispenser.</scene_description> <character>BAZ</character> <dialogue>Little bit of soap.</dialogue> <scene_description>J squeezes soap into his hand.</scene_description> <character>BAZ</character> <dialogue>Now tap. Get a lather going.</dialogue> <scene_description>J washes, smiling.</scene_description> <character>BAZ</character> <dialogue>OK, that's enough. Rinse.</dialogue> <scene_description>J rinses, hits the tap, laughing. Baz drags him to the dryer.</scene_description> <character>BAZ</character> <dialogue>Now stick your hands under there.</dialogue> <scene_description>J sticks his hands under the dryer. Nothing happens.</scene_description> <character>J</character> <dialogue>These things never see me. I'm invisible.</dialogue> <character>BAZ</character> <dialogue>No one's invisible, mate. You gotta get right up there in it.</dialogue> <scene_description>Baz drags J under the dryer. It roars. J smiles, Baz exits.</scene_description> </scene> <scene> <stage_direction>INT. VIETNAMESE RESTAURANT - NIGHT</stage_direction> <scene_description>J resumes his seat beside Baz. Baz calls for the bill. Craig takes a seat beside him and lights a cigarette. He hands J a wad of cash. Smurf sits at the other end of the table with her arm around Nicky's shoulders.</scene_description> <character>CRAIG</character> <dialogue>That's for today.</dialogue> <scene_description>J turns the cash over in his hands, looks at it.</scene_description> <character>CRAIG</character> <parenthetical>(to Baz)</parenthetical> <dialogue>Roache says just pull your head in.</dialogue> <parenthetical>(to J)</parenthetical> <dialogue>Put it away.</dialogue> <scene_description>J slips the money in his pocket. Nicky watches him. A WAITRESS brings the bill. She leans over Craig's shoulder.</scene_description> <character>WAITRESS</character> <dialogue>I'm sorry, sir. No smoking in here.</dialogue> <character>CRAIG</character> <dialogue>I'm only doing it a little bit.</dialogue> <character>BAZ</character> <parenthetical>(to Darren, questioning)</parenthetical> <dialogue>They're not watching you.</dialogue> <scene_description>Darren shakes his head. The waitress moves away.</scene_description> <character>DARREN</character> <dialogue>What's this about?</dialogue> <character>CATHERINE</character> <dialogue>What are you talking about? It could be anything. It could be about Collingwood. They're still gonna be dark about Pope shooting that guard in Collingwood.</dialogue> <scene_description>The waitress talks to a CASHIER, pointing to the table.</scene_description> <character>DARREN</character> <dialogue>He lived.</dialogue> <character>CATHERINE</character> <dialogue>Yeah he lived, and now he's crippled.</dialogue> <parenthetical>(to Baz)</parenthetical> <dialogue>You were there. They're not gonna forget that. And you know it.</dialogue> <character>CRAIG</character> <dialogue>Can you cut them in? Give 'em a drink.</dialogue> <character>BAZ</character> <dialogue>It's the Armed Robbery Squad. They don't do business.</dialogue> <character>CRAIG</character> <dialogue>Roache just says pull your heads in and everything'll go away.</dialogue> <scene_description>Baz is contemplative. The cashier appears at the table.</scene_description> <character>CASHIER</character> <dialogue>Sir, you cannot smoke in here.</dialogue> <character>CRAIG</character> <dialogue>Oh, for fuck's sake.</dialogue> <scene_description>Craig spins and knocks table condiments to the floor. They smash. Baz strips hundreds from his roll.</scene_description> <character>BAZ</character> <dialogue>We're done here, mate.</dialogue> </scene> <scene> <stage_direction>EXT. VIETNAMESE RESTAURANT - NIGHT</stage_direction> <scene_description>Baz, Cath, Darren and Smurf on their way down the street. Baz talks on his phone, his arm around Smurf. J piggybacks Nicky.</scene_description> <character>DARREN</character> <parenthetical>(yells)</parenthetical> <dialogue>Mum, I'm going home.</dialogue> <scene_description>Smurf turns and stops.</scene_description> <character>SMURF</character> <dialogue>Are you OK to drive, sweetheart? Have you drunk too much?</dialogue> <character>DARREN</character> <dialogue>I'm OK, mum.</dialogue> <character>SMURF</character> <dialogue>Come here and give me a kiss.</dialogue> <character>DARREN</character> <dialogue>Shit.</dialogue> <scene_description>Smurf kisses Darren's lips. Darren shakes Baz's hand, then peels away. Craig lags behind, on his phone. He BURPS loud.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>Craig mixes speed on the coffee table. J, Nicky, Cath and Smurf sit. Baz stands. J and Craig wear matching BASEBALL CAPS. MUSIC plays.</scene_description> <character>BAZ</character> <dialogue>Mate, do you ever stop? Every time I see you you're chopping in. Why don't you try going to sleep for once in your life?</dialogue> <character>CRAIG</character> <dialogue>No time for sleep.</dialogue> <scene_description>Cath watches uncomfortably. Nicky watches Craig's fixing.</scene_description> <character>CRAIG</character> <dialogue>You want some?</dialogue> <character>J</character> <dialogue>No, she doesn't.</dialogue> <character>NICKY</character> <dialogue>Says you?</dialogue> <character>CRAIG</character> <parenthetical>(to J)</parenthetical> <dialogue>Don't trample her freedom.</dialogue> <parenthetical>(to Nicky)</parenthetical> <dialogue>You want some?</dialogue> <character>BAZ</character> <dialogue>We're all here having a nice night and you're about to hack your arm up.</dialogue> <character>CRAIG</character> <dialogue>Fuckin, avert your eyes if you don't like it.</dialogue> <parenthetical>(to J)</parenthetical> <dialogue>Go get drinks. Get Baz a really big one. Loosen the cunt up a bit.</dialogue> <scene_description>J heads to the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - NIGHT</stage_direction> <scene_description>J enters, switching on the light. He goes to the fridge and pulls out four beers. He closes the fridge and turns. A man (35) is standing in the doorway. J drops one of the beers. It SMASHES on the tiles around his feet. The man, POPE CODY, gestures J to keep quiet.</scene_description> <character>SMURF (O.S.)</character> <dialogue>Are you alright, love?</dialogue> <scene_description>J doesn't respond. The man continues his silent 'shhhing'. J?</scene_description> <character>POPE</character> <dialogue>Shit. OK. You should answer her you're alright.</dialogue> <character>J</character> <parenthetical>(loud, uncertain)</parenthetical> <dialogue>I'm alright.</dialogue> <character>POPE</character> <dialogue>You sure? Guess who am I.</dialogue> <character>J</character> <dialogue>Uncle Pope.</dialogue> <character>SMURF (O.S.)</character> <dialogue>What happened, honey?</dialogue> <character>J</character> <dialogue>Do you know who I am?</dialogue> <character>POPE</character> <dialogue>You're Julia's kid.</dialogue> <scene_description>J?</scene_description> <character>CRAIG (O.S.)</character> <dialogue>You better be cleaning that up!</dialogue> <character>POPE</character> <dialogue>You've gone and ruined my surprise, haven't ya?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - LATER</stage_direction> <scene_description>Nicky sweeps broken glass onto a dustpan. J crouches beside her with a plastic bag. She empties the glass into it and stands.</scene_description> <character>SMURF</character> <dialogue>How are you two going there?</dialogue> <scene_description>Baz, Pope, Cath and Smurf sit around the kitchen table. Smurf is sitting on Pope's lap.</scene_description> <character>SMURF</character> <dialogue>You should put that in the outside bin, honey. I think it might be rubbish night tonight.</dialogue> <parenthetical>(calling)</parenthetical> <dialogue>Craig! Is it rubbish night tonight?</dialogue> <character>CRAIG (O.S.)</character> <dialogue>How would I know?</dialogue> <character>SMURF</character> <parenthetical>(calling)</parenthetical> <dialogue>It's your house!</dialogue> <parenthetical>(to Nicky)</parenthetical> <dialogue>I think it's rubbish night. Can you put the bins on the street?</dialogue> <scene_description>Nicky exits. J grabs a rag and mops up the beer puddle.</scene_description> <character>POPE</character> <dialogue>I'm sitting in this fuckin motel room all day and, you know, now what? What am I s'posed to do now?</dialogue> <character>BAZ</character> <dialogue>They're not actually gonna shoot you. You know that, don't you?</dialogue> <character>POPE</character> <dialogue>I bet someone said that to Pete, and Mickey Speed too.</dialogue> <character>BAZ</character> <dialogue>You gotta go home sometime. You can't hole yourself up forever, like maybe they'll forget about you. If they've got something, then let them come. If they had anything on us, they'd be using it. But they don't, so all they can do is sit in a car outside my house.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They've got their own fish to fry. Armed Rob's getting shut down. Half those guys are gonna get shuffled over to the Major Crime Squad and the rest'll go, you know, they'll go somewhere else, and their little club'll fall to bits. All they can do now is try and get over on us and they've got over on you. They've made you run.</dialogue> <character>POPE</character> <dialogue>You don't have them out there telling people they wanna knock you.</dialogue> <character>BAZ</character> <dialogue>They wouldn't bother. They know I wouldn't fall for it.</dialogue> <character>CATHERINE</character> <dialogue>We should go, Baz.</dialogue> <character>BAZ</character> <dialogue>In a minute, babe.</dialogue> <character>CATHERINE</character> <dialogue>It's late. We should go.</dialogue> <parenthetical>(to Smurf)</parenthetical> <dialogue>Charlie's baby-sitting.</dialogue> <character>BAZ</character> <dialogue>Honey. I'm talking. Tell Charlie I'll give her a thousand bucks if she stays over the night.</dialogue> <character>CATHERINE</character> <dialogue>If nine grand a pop's as good as it gets now, I don't know you've got a thousand bucks to be giving the babysitter.</dialogue> <scene_description>Baz smiles wide, leans back in his chair.</scene_description> <character>BAZ</character> <dialogue>That's not untrue.</dialogue> <scene_description>Craig bursts into the room, looking seriously concerned.</scene_description> <character>CRAIG</character> <dialogue>Can you hear that?</dialogue> <scene_description>Everyone suddenly looks equally concerned.</scene_description> <character>SMURF</character> <dialogue>Hear what?</dialogue> <character>CRAIG</character> <dialogue>Shhh. Fuck. Listen.</dialogue> <scene_description>Craig heads to the back door. As he passes Pope, he sticks his index finger out.</scene_description> <character>CRAIG</character> <dialogue>Pull my finger.</dialogue> <scene_description>Pope grabs Craig's arm and wrenches him to the floor. They wrestle dangerously, Craig laughing. Pope pins him. Craig's legs flail, knocking chairs over. Baz drinks, smiling.</scene_description> <character>CRAIG</character> <parenthetical>(laughing)</parenthetical> <dialogue>Pull my finger!</dialogue> <scene_description>Craig struggles.</scene_description> <character>SMURF</character> <dialogue>Kids, cut it out.</dialogue> <scene_description>Pope puts his knee into the back of Craig's head.</scene_description> <character>CRAIG</character> <dialogue>Ow! Get off.</dialogue> <scene_description>J watches crouched on the ground, mopping up beer.</scene_description> <character>CRAIG</character> <dialogue>Ah! Mum, tell him to get off me!</dialogue> <character>SMURF</character> <dialogue>Get off him, honey.</dialogue> <character>POPE</character> <parenthetical>(to Craig)</parenthetical> <dialogue>Go limp.</dialogue> <character>CRAIG</character> <dialogue>Get off me.</dialogue> <character>POPE</character> <dialogue>I'm not gettin off til you go limp.</dialogue> <scene_description>Craig goes limp.</scene_description> <character>CRAIG</character> <dialogue>I'm limp.</dialogue> <character>POPE</character> <dialogue>Are you limp?</dialogue> <character>CRAIG</character> <dialogue>I'm limp!</dialogue> <scene_description>J watches the men wrestle.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM / BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Baz pulls on a clean shirt, peering through the blinds. He can't see the mystery car outside.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Baz enters the kitchen, tucking in his shirt. Cath is vacuuming around the kitchen benches. She presses the vacuum off with her foot.</scene_description> <character>CATHERINE</character> <dialogue>Where are you going?</dialogue> <character>BAZ</character> <dialogue>Supermarket.</dialogue> <character>CATHERINE</character> <dialogue>What to get?</dialogue> <character>BAZ</character> <dialogue>Nothing much.</dialogue> <character>CATHERINE</character> <dialogue>What?</dialogue> <scene_description>Baz steps over and presses the vacuum back on.</scene_description> <character>BAZ</character> <dialogue>I'm meeting Pope.</dialogue> <scene_description>Baz presses the vacuum off and pours himself a glass of water.</scene_description> <character>CATHERINE</character> <dialogue>How long is that car gonna stay parked outside our house?</dialogue> <scene_description>Baz pops vitamins and presses the vacuum back on.</scene_description> <character>BAZ</character> <dialogue>This is what I'm gonna go meet him about.</dialogue> <character>CATHERINE</character> <dialogue>It's been there a week.</dialogue> <character>BAZ</character> <dialogue>Yeah, well this is what I'm gonna go meet him about, aren't I?</dialogue> <scene_description>Baz presses the vacuum off again and pinches Cath's arse.</scene_description> <character>CATHERINE</character> <dialogue>Can you not touch my arse every five seconds?</dialogue> <character>BAZ</character> <dialogue>I can't help it. I love it.</dialogue> <scene_description>He grabs her in a bear hug and lifts her off the ground.</scene_description> <character>BAZ</character> <dialogue>Love you.</dialogue> <scene_description>He kisses her forehead, grabs his car keys and exits.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Baz walks from the door to his car parked in the drive. As he walks, he surveys the street - no sign of the mystery car.</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET - DAY</stage_direction> <scene_description>Pope and Baz walk the aisles, pretending to shop, monitoring their surroundings. Pope hands Baz a piece of paper.</scene_description> <character>POPE</character> <dialogue>This is the new number you can call me on.</dialogue> <scene_description>Baz hands Pope an envelope.</scene_description> <character>BAZ</character> <dialogue>This is your split. It's bullshit. I dunno what you're thinking, about your future and that, but I'm about done with this shit.</dialogue> <scene_description>Baz reaches over a woman with trolley for a roll of tape.</scene_description> <character>BAZ</character> <parenthetical>(to woman)</parenthetical> <dialogue>Excuse me, love.</dialogue> <scene_description>They continue walking. Baz speaks softly, discreetly.</scene_description> <character>BAZ</character> <dialogue>The stock market's working. That 20 grand I put in there is 60 now. You get a foot in that door, there's serious money to be made. You know?</dialogue> <character>POPE</character> <dialogue>What do I know about the stock market?</dialogue> <character>BAZ</character> <dialogue>Probably nothing. Neither did I. Doesn't matter. You just read the paper. You learn. Or you get someone to do it for you. Doesn't matter. Our game's over, mate. It's getting too hard. It's a joke. Craig's making a fuckin fortune with the drug thing, you've seen the house he's bought, but I don't know I got it in me. It's grubby. It's grubby business. You know what I mean? The stock market, mate. The resources boom. I'll get you started. I'll set you up an account and you're away.</dialogue> <character>POPE</character> <dialogue>I don't have a computer.</dialogue> <character>BAZ</character> <dialogue>You don't need a computer.</dialogue> <scene_description>Pope seems confused.</scene_description> <character>POPE</character> <dialogue>I don't know what I'm gonna do.</dialogue> <character>BAZ</character> <dialogue>Yeah. Me neither is what I'm saying. But, you know, every day's a new one is what I'm also saying.</dialogue> </scene> <scene> <stage_direction>EXT. SUPERMARKET - DAY</stage_direction> <scene_description>Baz and Pope cross the busy outdoor car park. Baz carries a plastic bag. They walk in silence, then Pope stops.</scene_description> <character>POPE</character> <dialogue>Take a look at this.</dialogue> <scene_description>He sweeps his arm across the car park and stands lost.</scene_description> <character>POPE</character> <dialogue>What the fuck is all this?</dialogue> <scene_description>Pope suddenly looks like he might cry. Baz smiles warmly. They look around the car park: fat women with trolleys, old men looking lost, kids with jeans halfway down their arses.</scene_description> <character>BAZ</character> <dialogue>Go home. Take it easy. Everything'll sort itself out. Where are you parked?</dialogue> <character>POPE</character> <dialogue>Round the other side.</dialogue> <character>BAZ</character> <parenthetical>(pointing)</parenthetical> <dialogue>I'm this way.</dialogue> <scene_description>Pope nods. Baz smiles then heads off towards his car. Pope looks around. He stands like a kid lost in a shopping mall.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Baz crosses the street and pulls keys from his pocket. He gets in his car and starts the engine. He pulls on his seatbelt and looks in the rearview mirror. He sees two plainclothes cops, including the AR detective from outside his house, approaching the car with shotguns. He spins to look through the back window. He sees another two detectives with shotguns. Apprehensive, he winds his window down as they approach. He acts casual.</scene_description> <character>BAZ</character> <dialogue>Shit mate, you just missed him.</dialogue> <character>AR DETECTIVE</character> <parenthetical>(smiles)</parenthetical> <dialogue>That's alright. I like you better.</dialogue> <parenthetical>(yells)</parenthetical> <dialogue>He's got a gun!</dialogue> <scene_description>The AR detective raises his shotgun and BLASTS Baz. Blood splatters the car interior.</scene_description> </scene> <scene> <stage_direction>EXT. SUPERMARKET - DAY</stage_direction> <scene_description>Hearing the BLAST, Pope spins to see detectives surrounding Baz's car. He takes steps over, shocked and helpless.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Baz's bloodied body is slumped in the car. Shielded by other officers, a detective pulls a handgun from the front of his pants and throws it at Baz's feet.</scene_description> </scene> <scene> <stage_direction>EXT. SUPERMARKET - DAY</stage_direction> <scene_description>Pope stands in shock as people converge on the scene. His head is spinning.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>Craig bursts into the room. J follows. Smurf is there, on the phone.</scene_description> <character>CRAIG</character> <dialogue>Have you spoken to Cath?</dialogue> <character>SMURF</character> <parenthetical>(into phone)</parenthetical> <dialogue>I have to go, hon...</dialogue> <scene_description>She hangs up the phone and stands.</scene_description> <character>SMURF</character> <dialogue>It's OK to cry, honey.</dialogue> <character>CRAIG</character> <dialogue>Those fuckin dogs!</dialogue> <character>SMURF</character> <dialogue>Honey, come here.</dialogue> <character>CRAIG</character> <dialogue>Those fuckin dogs!</dialogue> <scene_description>Craig moans strange and guttural. Smurf goes to him. He pushes her away and exits. Smurf follows him. J is scared.</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD / CODY HOUSE - DAY</stage_direction> <scene_description>From the interior, J watches Craig pace hysterically. He cannot contain his rage. Smurf approaches. She holds him from behind. Craig is now crying hard. He tries to break free, but she won't let go. He stops, breathing heavy, then breaks down. He lets himself be comforted by his mother. He looks up at the house.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>J stands, staring out the window at Smurf and Craig. Pope enters. He is strangely silent and still. He stands at the sink and pours himself a glass of water. Moments pass. J is deeply unsettled. Pope seems to not even know he is there.</scene_description> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE - EVENING</stage_direction> <scene_description>ALICIA HENRY (40), sits at a home computer in a corner of the room.</scene_description> <character>ALICIA</character> <dialogue>That can't happen.</dialogue> <scene_description>Nicky stands with J in the middle of the room. Nicky's 9-year- old step-brother, ANDY, is slouched in front of the TV. Nicky's burly step-dad, GUS EMERY, is in the kitchen chopping carrots.</scene_description> <character>NICKY</character> <dialogue>Please. There's stuff going on and he really needs somewhere to stay.</dialogue> <character>ALICIA</character> <dialogue>It can't happen, Nick. You've got school. You're in Year 12.</dialogue> <character>NICKY</character> <dialogue>He really needs somewhere. There's things going on.</dialogue> <character>ALICIA</character> <dialogue>What things?</dialogue> <character>NICKY</character> <dialogue>Things. It'd only be for a while.</dialogue> <character>ALICIA</character> <dialogue>You've got school, Nick. You're probably gonna make a mess of it as it is.</dialogue> <scene_description>And you shouldn't be asking me this with J standing right next to you.</scene_description> <character>NICKY</character> <dialogue>Why, because you don't want him to see what a bitch you are?</dialogue> <character>GUS</character> <dialogue>Hey. C'mon.</dialogue> <character>NICKY</character> <dialogue>One of J's friends got shot by the cops today and he's dead. And I don't think it'd be that big a deal to let him stay here for a bit.</dialogue> <character>J</character> <dialogue>I didn't know him that well.</dialogue> <scene_description>Alicia is shocked. Gus looks up from the kitchen.</scene_description> <character>GUS</character> <dialogue>Where?</dialogue> <character>J</character> <dialogue>Um, Prahran. I think.</dialogue> <character>GUS</character> <dialogue>I saw on the news.</dialogue> <character>J</character> <dialogue>I didn't know him that well. It's just a shock and everything.</dialogue> <character>GUS</character> <dialogue>Is there anything we can do? You want a drink or something?</dialogue> <character>J</character> <dialogue>No, thanks.</dialogue> <scene_description>Alicia sits with her hand to her mouth.</scene_description> <character>NICKY</character> <dialogue>So maybe you can think about that.</dialogue> <scene_description>Nicky drags J away. When they've left, Alicia looks over to Gus. She tries to talk quietly, but she's emotional.</scene_description> <character>ALICIA</character> <dialogue>What is going on here?</dialogue> <character>GUS</character> <dialogue>He didn't know him that well.</dialogue> <character>ALICIA</character> <dialogue>We wouldn't know. We wouldn't know if he's telling the truth or not. We wouldn't know what's going on.</dialogue> <character>GUS</character> <dialogue>He's had a rough trot. You know? His mum's died and -</dialogue> <character>ALICIA</character> <dialogue>She died of a fucking drug overdose. He's dropped out of school.</dialogue> <character>ANDY (O.S.)</character> <dialogue>Mum said 'fuck'!</dialogue> <character>GUS</character> <dialogue>I don't know. All I can go on is he's a good kid. He's good to me and Andy. I can't ask more than that. What else... Try keep them apart, you can kiss her goodbye.</dialogue> <scene_description>Alicia looks to Nicky's bedroom door. She looks down at her hands. They're shaking.</scene_description> <character>ALICIA</character> <dialogue>My God. Look at me.</dialogue> <character>GUS</character> <dialogue>Just relax. Everything's fine.</dialogue> </scene> <scene> <stage_direction>INT. NICKY'S BEDROOM / HENRY-EMERY HOUSE - EVENING</stage_direction> <scene_description>J and Nicky in Nicky's bedroom.</scene_description> <character>NICKY</character> <dialogue>You asked me to ask them.</dialogue> <character>J</character> <dialogue>Yeah, I asked you to ask them if I could stay, not go tell them about everything.</dialogue> <character>NICKY</character> <dialogue>They feel sorry for you.</dialogue> <character>J</character> <dialogue>Don't do it. What's the point of it?</dialogue> <character>NICKY</character> <dialogue>What do you care what they think?</dialogue> <scene_description>J is freaked. He sits on Nicky's bed, his face in his hands.</scene_description> <character>J</character> <dialogue>Fuck.</dialogue> <scene_description>Nicky sits beside him and puts her arms around him.</scene_description> <character>NICKY</character> <dialogue>I'm sorry. I'm looking after you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>It's late. The house is quiet bar the sound of an old music video on TV. J and Nicky are on the couch. Nicky is asleep. J's eyes are fading. Pope sits drunk in a chair, watching the TV. J's eyes drift shut. Pope looks over and watches J sleep. He stands and gently lifts the sleeping Nicky off the couch.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM / CODY HOUSE - NIGHT</stage_direction> <scene_description>Pope stands at the end of the bed, Nicky in his arms. He lays her down carefully. She sleeps, her skirt pulled up high on her thighs. Pope watches her. He takes the doona and spreads it out over the bed. It floats down over her. She stirs, looks over through gummy eyes, then rolls back to sleep. J appears at the door, sleepy, disturbed that Pope is there. Pope heads out. He leans into J's ear.</scene_description> <character>POPE</character> <dialogue>She's beautiful, mate.</dialogue> <scene_description>He exits. J feels deeply unsettled. He watches Nicky sleep.</scene_description> </scene> <scene> <stage_direction>INT. J'S BEDROOM / CODY HOUSE - DAY</stage_direction> <scene_description>J sits on his bed alone, trying unsuccessfully to tie a necktie. Smurf enters in a black dress and heels. She is looking in a small compact, applying lipstick.</scene_description> <character>SMURF</character> <dialogue>You didn't cry at the funeral, did you hon.</dialogue> <scene_description>J continues tying his tie, like he's not going to respond.</scene_description> <character>J</character> <dialogue>I tried, but nothing came out.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Is that wrong?</dialogue> <character>SMURF</character> <dialogue>Nothing's wrong, honey. Things just are what they are and what's right and wrong is how you look at it. You know? You need to find your positive spin. There's always one around somewhere. Is Nicky coming today?</dialogue> <character>J</character> <dialogue>Her parents won't let her.</dialogue> <scene_description>Smurf puckers her lips. J's struggling with his tie.</scene_description> <character>SMURF</character> <dialogue>What are you doing?</dialogue> <scene_description>Smurf closes her compact and looks at J on the bed.</scene_description> <character>J</character> <dialogue>This.</dialogue> <character>SMURF</character> <dialogue>Let's get a look at you. Stand up.</dialogue> <scene_description>J stands. Smurf undoes his necktie and tries to re-tie it. She's unsuccessful, so she takes it off him and puts it on herself to tie it.</scene_description> <character>SMURF</character> <dialogue>You know why your mum and I hadn't spoken in so long?</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>SMURF</character> <dialogue>We had a fight about - you know the card game 500? She reckoned you can play the joker whenever you want in a no-trumps hand. She was drunk. I was drunk too, but I was right. But so look what happens. Years go by and then she's gone and I lose my only daughter because you can't play the joker whenever you want in a no-trumps hand. And I don't get to see you for years. And that made me sad. But I'm getting to see you now. All the time.</dialogue> <scene_description>Having successfully knotted the tie, Smurf takes it off herself and puts it around J's neck. She pulls the tie tight and steps back to inspect him.</scene_description> <character>SMURF</character> <dialogue>Sweet. How do I look?</dialogue> <character>J</character> <dialogue>You look good.</dialogue> <character>SMURF</character> <dialogue>Correct.</dialogue> <scene_description>Smurf kisses J's lips.</scene_description> <character>SMURF</character> <dialogue>Beautiful boy.</dialogue> </scene> <scene> <stage_direction>EXT. CODY HOUSE - DAY</stage_direction> <scene_description>J and Darren load flowers into the back of the car. Darren stops loading to brush pollen off his bone-coloured suit. Smurf and Craig appear from the house. Craig is in black suit and sunglasses. Smurf carries a platter of sandwiches. OVER: a male VOICE sings 'The Psalm of David' ('The Lord is My Shepherd') in Hebrew. It's haunting and beautiful.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - DAY</stage_direction> <scene_description>Modern church. A young boy in Jewish yarmulke sings Hebrew into a microphone. A coffin is on the altar next to a photo of Baz.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH - SAME</stage_direction> <scene_description>Sound of singing inside. Pope stands outside, near a hearse and two funeral directors, staring out over the street, dark and contemplative. A few Armed Robbery Squad detectives lean against a car in the street, smiling. Craig appears beside Pope, lights a cigarette, silent.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / BROWN-SAYLES HOUSE - EVENING</stage_direction> <scene_description>Craig, Pope and Darren sit watching cricket. Craig is restless, jiggling his leg, watching intently beside a big bearded guy, MICK, a fellow mourner also wearing a suit, sunglasses perched on his head.</scene_description> <character>MICK</character> <dialogue>You got a smoke for me?</dialogue> <scene_description>Craig hands a cigarette to Mick, eyes never leaving the TV.</scene_description> <character>MICK</character> <dialogue>And a light.</dialogue> <scene_description>Craig stretches to pull a lighter from his jeans pocket.</scene_description> <character>CRAIG</character> <dialogue>Fuck, mate. Am I a tobacconist? Go the shops. The shop's down the road.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN / BROWN-SAYLES HOUSE - EVENING</stage_direction> <scene_description>Smurf and another woman, CHARLIE (20s), sit at the kitchen table with an exhausted Cath, Smurf's chair pulled close to comfort her. J is at the bench, pouring cups of tea.</scene_description> <character>CHARLIE</character> <dialogue>Is Baz Jewish? What was with the spooky Jew singing the song?</dialogue> <character>CATHERINE</character> <dialogue>His mother is, I think. Maybe she's been on a cruise. I don't know. Never talk to the bitch.</dialogue> <character>SMURF</character> <dialogue>Can I get you anything, love?</dialogue> <character>CATHERINE</character> <dialogue>No.</dialogue> <character>SMURF</character> <dialogue>You sure?</dialogue> <character>CATHERINE</character> <dialogue>I said I'm fine, Smurf.</dialogue> <scene_description>J puts a cup of tea in front of Cath. Smurf strokes her hair.</scene_description> <character>SMURF</character> <dialogue>You're upset, hon. I know.</dialogue> <character>CATHERINE</character> <dialogue>Fuck this.</dialogue> <character>SMURF</character> <dialogue>I know, love. It's not right.</dialogue> <character>CATHERINE</character> <dialogue>I don't want to live like this.</dialogue> <character>SMURF</character> <dialogue>None of us do, love.</dialogue> <scene_description>Smurf motions to J to tell the others it's time to go.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / BROWN-SAYLES HOUSE - NIGHT</stage_direction> <scene_description>J enters the room. Pope looks at over at him.</scene_description> <character>J</character> <dialogue>I think Smurf says we're going.</dialogue> <scene_description>Darren stands. Craig looks up. Evie cries in another room.</scene_description> <character>CRAIG</character> <dialogue>There's five overs left in this innings.</dialogue> <scene_description>Smurf appears in the doorway.</scene_description> <character>SMURF</character> <parenthetical>(insistent)</parenthetical> <dialogue>It's time to go.</dialogue> <character>CRAIG</character> <parenthetical>(yells to the kitchen)</parenthetical> <dialogue>Come and watch the cricket, Cath. Take your mind off things.</dialogue> <character>SMURF</character> <dialogue>Craig.</dialogue> <scene_description>Craig stands and heads for the door.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / BROWN-SAYLES HOUSE - NIGHT</stage_direction> <scene_description>Catherine is at the table. Craig steps quickly to her.</scene_description> <character>CRAIG</character> <dialogue>You take it easy, Cath. I'm sorry about your loss.</dialogue> <scene_description>Craig hugs her and exits. The other men stand in line to hug her. J stands with Smurf in the doorway. Smurf nudges J to hug Cath. He does so. It's awkward. Pope moves to Cath. Smurf and J exit. Pope holds Cath and leans into her ear.</scene_description> <character>POPE</character> <dialogue>Everything'll be good.</dialogue> <scene_description>He exits. She watches him go, anguished and confused.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>Mick is at the stereo, going through CDs. Craig watches the TV. J's in an armchair, Darren on the couch. Pope's restless.</scene_description> <character>MICK</character> <dialogue>You got any more speed?</dialogue> <character>CRAIG</character> <dialogue>Sit down and watch the fuckin cricket, Mick.</dialogue> <scene_description>Mick takes a CD from its case and opens the stereo's CD tray.</scene_description> <character>CRAIG</character> <dialogue>Get away from the fuckin stereo. You're driving me nuts. What did I say? Sit down. Today's not the day.</dialogue> <scene_description>Mick closes the CD tray and looks at more CDs. Darren gets up and goes to the kitchen. Pope leans menacingly into J's ear.</scene_description> <character>POPE</character> <dialogue>Go to your room.</dialogue> <scene_description>Confused, J gets up and heads for the door.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - NIGHT</stage_direction> <scene_description>Darren is at the sink fixing himself a drink. Pope enters and stands behind him, looming. Darren knows he's there.</scene_description> <character>POPE</character> <dialogue>What's that suit you're wearing?</dialogue> <character>DARREN</character> <dialogue>It's my suit.</dialogue> <character>POPE</character> <dialogue>Yeah? Do you think you look good in it?</dialogue> <character>DARREN</character> <dialogue>What?</dialogue> <character>POPE</character> <dialogue>It looks gay. Are you gay?</dialogue> <scene_description>Darren continues fixing his drink. He feels uncomfortable.</scene_description> <character>DARREN</character> <dialogue>Get fucked.</dialogue> <character>POPE</character> <dialogue>I'm asking a serious question. I'm comfortable with your lifestyle. I just want you to talk to me about it. Sometimes I worry we don't talk to each other enough. You making yourself a drink?</dialogue> <character>DARREN</character> <dialogue>Yeah.</dialogue> <character>POPE</character> <dialogue>Yeah? Whatcha making?</dialogue> <character>DARREN</character> <dialogue>Rum and coke.</dialogue> <character>POPE</character> <dialogue>Rum and coke? That's not a very gay drink. I think if you're a gay man you should feel like you can make yourself a gay drink. You know what I mean? This is what I'm talking about. It kills me to see you living a lie.</dialogue> <character>DARREN</character> <dialogue>Just fuck off, will ya?</dialogue> <scene_description>Pope watches the back of Darren's head. Darren doesn't respond. He takes a long time with his drink.</scene_description> <character>POPE</character> <dialogue>What do you think we should do, Darren?</dialogue> <character>DARREN</character> <dialogue>We've gotta be there for his family, for Cath and that.</dialogue> <character>POPE</character> <dialogue>What are you gonna do, Darren?</dialogue> <character>DARREN</character> <dialogue>I dunno. He's dead. It's wrong and that but, you know...</dialogue> <scene_description>Darren stops fixing his drink. He stares into the sink.</scene_description> <character>POPE</character> <dialogue>You know, if it was Baz who was standing there right now, coz we'd just been to your funeral, we wouldn't even be having this conversation.</dialogue> <scene_description>He would've already done something about it. Pope steps up close behind him. He's gentle with Darren. Darren watches the tap drip.</scene_description> <character>POPE</character> <dialogue>If you don't wanna do anything coz you're scared, then just say so. Is it coz you're scared? It's alright if you are. I just want you to talk to me about it.</dialogue> <scene_description>Craig enters, all hopped up. He goes to the fridge, gets a beer, then heads to the couch.</scene_description> <character>CRAIG</character> <dialogue>That guy's driving me fuckin nuts.</dialogue> <scene_description>Tension hangs between Pope and Darren. At that moment, MUSIC starts up loud in the lounge. Pope gently pulls Darren by the arm to the lounge.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>Mick is crouched before the stereo. Pope enters with Darren. Pope pulls a handgun from his pants, steps across the room and SHOOTS Mick in the back of the head. Mick crashes face-first into the shelves. Knickknacks topple.</scene_description> <character>POPE</character> <dialogue>That's what they've gone and done to us.</dialogue> <scene_description>Pope puts his gun back in his pants like it's no big thing.</scene_description> <character>POPE</character> <dialogue>I just think we should do something about it.</dialogue> <scene_description>Craig enters.</scene_description> <character>CRAIG</character> <dialogue>Fuck. The carpet.</dialogue> <scene_description>Pope exits down the hall. Craig scurries for the back door. Darren is left stunned with death and music.</scene_description> </scene> <scene> <stage_direction>INT. J'S BEDROOM / CODY HOUSE - NIGHT</stage_direction> <scene_description>J stands in his room, startled, listening. He opens his door. Pope passes in the hall on his way out. They make eye contact. Still in suit pants, barefoot and no shirt, J walks the hall to the lounge door, inches ajar. He opens it tentatively.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>Bent face first against the shelves, Mick lies dead. Darren stands on the other side of the room, in shock. J steps anxiously into the room. Darren looks over to him, blankly. The back fly-wire door opens. Craig enters dragging a sheet of thick black plastic behind him. The dog charges past Craig from the back door and goes straight to the body, sniffing and licking.</scene_description> <character>CRAIG</character> <dialogue>Daisy! Get out of it! Get him off the carpet, Darren.</dialogue> <character>DARREN</character> <dialogue>This suit's not mine. It's already dirty. I already got pollen on it.</dialogue> <scene_description>Darren heads for the door, strangely catatonic.</scene_description> <character>CRAIG</character> <dialogue>Hey, get back here.</dialogue> <scene_description>Darren exits without responding. The dog keeps licking.</scene_description> <character>CRAIG</character> <dialogue>Daisy! Get out of it!</dialogue> <scene_description>Craig grabs the dog by its collar, dragging it to the door. J is left alone with the body. It makes a GURGLING MOAN. Craig reappears. J can hardly breathe.</scene_description> <character>J</character> <dialogue>I think he's alive.</dialogue> <character>CRAIG</character> <dialogue>Hey?</dialogue> <character>J</character> <dialogue>He's making sounds.</dialogue> <scene_description>Craig switches the stereo off. He hears Mick moan. He stomps his foot down hard twice, then stops and listens. No sound. He lays the plastic down.</scene_description> <character>CRAIG</character> <dialogue>Grab the other end. Lay it down flat. Get him off the carpet.</dialogue> <scene_description>J does so. Craig grabs the body, pulling it backwards. It flops back awkwardly, face up, bloody and battered.</scene_description> <character>CRAIG</character> <dialogue>Lift the corners up. Like this.</dialogue> <scene_description>J grabs the corners of the sheet, keeping blood pooled inside. Craig rolls the body onto it and takes the corners.</scene_description> <character>CRAIG</character> <dialogue>Let's get him outside. You ready? One, two, three.</dialogue> <scene_description>They drag. Mick is huge and heavy. J slips and falls forward.</scene_description> <character>CRAIG</character> <dialogue>Fuck. He's huge. We're never gonna get him in the car.</dialogue> <scene_description>Craig thinks, blinking a lot.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM / CODY HOUSE - NIGHT</stage_direction> <scene_description>Craig lines the bathroom walls with black plastic. J stands beside him with a roll of masking tape, tearing strips off for Craig to use to hold the plastic up. J is freaked.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM / CODY HOUSE - LATER</stage_direction> <scene_description>J stands just outside the bathroom door as the sound of a chainsaw starts up inside. And then the sickening sounds of the saw's blade tearing into flesh and bone. The sound goes for a while. J is stunned. And then the saw switches off.</scene_description> <character>CRAIG (O.S.)</character> <dialogue>Jesus Christ.</dialogue> <scene_description>Craig appears in the doorway, covered head to toe in blood.</scene_description> <character>CRAIG</character> <dialogue>This is gonna take longer than I thought. Can you pass me that beer?</dialogue> <scene_description>J hands him a beer. Craig sits on the edge of the bath, looking at off-screen horror, just behind the bathroom door.</scene_description> <character>CRAIG</character> <dialogue>Go and put your shoes on. We're going bush when I'm done here.</dialogue> </scene> <scene> <stage_direction>EXT. CODY HOUSE - NIGHT</stage_direction> <scene_description>Craig and J heave heavy garbage bags into the back of Craig's station wagon. Craig climbs up and drags them in.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM / CODY HOUSE - MORNING</stage_direction> <scene_description>J stands nude under the shower. The dog sits outside the shower, staring at him. Pope enters the bathroom.</scene_description> <character>POPE</character> <dialogue>Where's Craig?</dialogue> <character>J</character> <dialogue>I dunno.</dialogue> <character>POPE</character> <dialogue>I need a favour. Can you get us a car, a Commodore or something? Craig said your good with cars.</dialogue> <scene_description>J doesn't know how to respond.</scene_description> <character>POPE</character> <dialogue>I gotta go, but you can bring it to Darren's place at 2am, yeah?</dialogue> <character>J</character> <dialogue>How come?</dialogue> <character>POPE</character> <dialogue>Coz I told you to.</dialogue> <scene_description>Pope turns and leaves. J stands, uncertain.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>J walks a quiet suburban street, sizing up parked cars, baseball cap pulled tight over his face. He sees a white Commodore, walks to the driver's door. He slides a metal strip from his sleeve and jams it in the door, popping it open. He gets behind the wheel, pulls the casing away under the steering column and starts the car.</scene_description> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - NIGHT</stage_direction> <scene_description>J knocks on the door. Pope lets him in. Craig paces in the kitchen. Darren is on the couch. He packs and smokes a bong. He seems anxious.</scene_description> <character>POPE</character> <dialogue>Where is it?</dialogue> <character>J</character> <dialogue>Parked round back. It's a white Commodore. Where are you going?</dialogue> <scene_description>Pope picks up a sports bag beside the couch. It's noticeably heavy. Darren doesn't move. He stares at the bong.</scene_description> <character>POPE</character> <dialogue>Why are you getting stoned now? What makes you think that's a good idea?</dialogue> <scene_description>Darren stands, puts keys in his pocket.</scene_description> <character>POPE</character> <parenthetical>(to J)</parenthetical> <dialogue>Anyone calls, tell them Darren's in the shower.</dialogue> <scene_description>They exit. Pope closes the door behind him. J is left alone in the lounge. He sits, his heart pounding. CUT TO BLACK: STATIC, then male voice of police radio communications centre VKC (D-24). Dialogue is OVER, RADIO-FILTERED and SUBTITLED.</scene_description> <character>VKC (D-24)</character> <dialogue>VKC to Richmond 49. Do you copy? Over. Richmond 49...</dialogue> <parenthetical>(long pause)</parenthetical> <dialogue>VKC to Richmond 49. Do you copy? Over.</dialogue> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - NIGHT</stage_direction> <scene_description>SLOW MOTION: J is in the armchair, smoking a cigarette. Silence. Then RADIO STATIC.</scene_description> <character>VKC (D-24)</character> <dialogue>VKC to Boroondara 420, do you copy? Over. Any units clear near the Hawthorn area? Richmond 510? Do you copy?</dialogue> <character>RICHMOND 510</character> <dialogue>Richmond 510. We copy. Over.</dialogue> <character>VKC (D-24)</character> <dialogue>510, state your position.</dialogue> <character>RICHMOND 510</character> <dialogue>510. We're travelling east on Commercial Road.</dialogue> <character>VKC (D-24)</character> <dialogue>510, can you head over to 48 Darcy Street in Hawthorn? I sent Richmond 49 to that address approximately 20 minutes ago to a call about an abandoned Commodore in the middle of the road and they're failing to respond at this time. They haven't called in a sit-rep but we've had cards from residents in the area reporting shots fired.</dialogue> <character>RICHMOND 510</character> <dialogue>Roger that. We'll take a look.</dialogue> <character>BOROONDARA 87</character> <dialogue>Boroondara 87. We're in the area and can head to that one.</dialogue> <character>VKC (D-24)</character> <dialogue>Roger that, 87. Any others available?</dialogue> <character>RICHMOND 87</character> <dialogue>Richmond 87. We're five minutes from that one.</dialogue> <character>VKC (D-24)</character> <dialogue>Roger that, 87.</dialogue> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - NIGHT</stage_direction> <scene_description>J is on the couch. We see mundane bits and pieces of Darren's apartment: wallpaper, sneakers with dirty socks in them, clean glasses stacked by the sink to dry.</scene_description> <character>RICHMOND 510</character> <dialogue>Richmond 510.</dialogue> <character>VKC (D-24)</character> <dialogue>Yes, 510.</dialogue> <character>RICHMOND 510</character> <dialogue>What was that address again?</dialogue> <character>VKC (D-24)</character> <dialogue>Sorry 510, please repeat.</dialogue> <character>RICHMOND 510</character> <dialogue>What was that address in Hawthorn?</dialogue> <character>VKC (D-24)</character> <dialogue>48 Darcy.</dialogue> <character>VKC (D-24)</character> <dialogue>Richmond 510, what's your ETA for that one?</dialogue> <character>RICHMOND 510</character> <dialogue>510. We're on approach now.</dialogue> <character>VKC (D-24)</character> <dialogue>Roger that, 510. Approach with caution. We've had reports of shots fired and Richmond 49 isn't responding. First unit give us an immediate sit-rep thanks.</dialogue> <character>BOROONDARA 87</character> <dialogue>Boroondara 87. Sorry, can you give us that address for the last again?</dialogue> <character>VKC (D-24)</character> <dialogue>It's 48 Darcy. What's your position, 87?</dialogue> <character>BOROONDARA 87</character> <dialogue>Boroondara 87. We're on St Kilda Road.</dialogue> <character>RICHMOND 510</character> <parenthetical>(distraught)</parenthetical> <dialogue>Urgent. Richmond 510.</dialogue> <character>VKC (D-24)</character> <dialogue>Sorry, 510. Repeat. Over.</dialogue> <character>RICHMOND 510</character> <dialogue>Richmond 510, urgent. We've got two members down in Darcy St, Hawthorn.</dialogue> <character>VKC (D-24)</character> <dialogue>Richmond 510, do you require assistance? Over.</dialogue> </scene> <scene> <stage_direction>I/E. DARREN'S APARTMENT - NIGHT</stage_direction> <scene_description>J, sitting on the couch.</scene_description> <character>RICHMOND 510</character> <dialogue>We have two members down with shotgun wounds to the head.</dialogue> <character>VKC (D-24)</character> <dialogue>510, do you require assistance?</dialogue> <character>RICHMOND 510</character> <dialogue>Affirmative. We need an ambulance here. We'll need a MICA for these guys. They're in a bad way.</dialogue> <character>BOROONDARA 87</character> <dialogue>Boroondara 87. We're entering Darcy Street now.</dialogue> <character>VKC (D-24)</character> <dialogue>Roger that, 87. Take care. Officers are down.</dialogue> <character>RICHMOND 510</character> <dialogue>St Kilda 510. We need that ambo down here now. These guys are gonna die.</dialogue> <scene_description>CUT TO BLACK:</scene_description> <character>VKC (D-24)</character> <dialogue>Ambulance has been dispatched, 510. Boroondara 87, what's your position?...</dialogue> <scene_description>STATIC continues. Then stops. Then silence.</scene_description> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - NIGHT</stage_direction> <scene_description>J is in the kitchen, scraping the black off burnt toast into the sink. He hears KEYS JANGLING. Darren appears, anxious and out of breath, his tracksuit pants spattered with blood. He pushes past J and goes to the bathroom. J follows.</scene_description> <character>J</character> <dialogue>Darren?</dialogue> <scene_description>Darren is in the shower, shirtless but pants still on, scrubbing madly at his sneakers.</scene_description> <character>J</character> <dialogue>Darren, what happened?</dialogue> <character>DARREN</character> <dialogue>Go to sleep.</dialogue> <scene_description>J watches him scrub. Darren's in another world.</scene_description> <character>J</character> <dialogue>Should I go home?</dialogue> <scene_description>Darren doesn't respond. J shuts the bathroom door, lost.</scene_description> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - DAY</stage_direction> <scene_description>J wakes on the couch. The phone is RINGING. He doesn't know if he should answer. He does.</scene_description> <character>J</character> <dialogue>Hello?</dialogue> <scene_description>CLICK. The person on the other end hangs up. J goes to the bedroom and peers in. Darren is sprawled on his front. J exits the apartment, seriously unsettled.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>J walks a major road. Police cars scream past. SIRENS wail.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>Pope is on the couch, head in his hands. Cricket is on TV. J steps in quietly. Pope looks up, startled.</scene_description> <character>POPE</character> <dialogue>Hey.</dialogue> <scene_description>He seems strangely vacant, detached. He points to the TV.</scene_description> <character>POPE</character> <dialogue>This little Sri Lankan character. How do you say his name?</dialogue> <character>J</character> <dialogue>Muralitharan.</dialogue> <character>POPE</character> <dialogue>What is it?</dialogue> <character>J</character> <dialogue>Muralitharan. Murali.</dialogue> <character>POPE</character> <dialogue>He's funny.</dialogue> <character>J</character> <dialogue>Where's Craig?</dialogue> <character>POPE</character> <dialogue>Dunno. Hey, who cuts your hair?</dialogue> <character>J</character> <dialogue>Nicky.</dialogue> <character>POPE</character> <dialogue>Do you think maybe she could cut my hair if I asked her?</dialogue> <character>J</character> <dialogue>Maybe.</dialogue> <scene_description>J feels seriously unnerved. He heads for the door.</scene_description> <character>POPE</character> <dialogue>Where are you going?</dialogue> <character>J</character> <dialogue>Just to my room.</dialogue> <character>POPE</character> <dialogue>If you ever need to talk about anything or anything, I'm here. For any help you need or anything like that. I'm happy to do that for you.</dialogue> <scene_description>OK. J waits for more. Nothing comes. He exits. Pope watches him.</scene_description> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - DAY</stage_direction> <scene_description>J walks the hall towards his bedroom. All is eerily silent. There is the sound of a BLAST of smashing glass and splintering wood. Special Operations Group (SOG) police in full black, flak- jackets and helmets, charge in with shotguns raised.</scene_description> <character>SOG 1</character> <dialogue>Get on the floor! Now! Move! Get on the fuckin floor!</dialogue> <scene_description>J drops to his knees, hands raised. He is kicked down.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>Pope continues staring at the TV, strangely calm. More SOGs burst into the lounge, screaming, guns raised, and force Pope to the floor. One whacks Pope in the back of the head with the butt of his shotgun.</scene_description> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - DAY</stage_direction> <scene_description>While one SOG trains a shotgun on J, another presses his knee into J's back while flex-cuffing him.</scene_description> </scene> <scene> <stage_direction>INT. POLICE COMPLEX - DAY</stage_direction> <scene_description>Pope and J are led single-file along a hall, heavily guarded by detectives. Cops loiter, watch the procession with hate. J and Pope are led to a waiting area. Darren is already there, cuffed and distressed.</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM / POLICE COMPLEX - DAY</stage_direction> <scene_description>J sits in a small interview room, waiting, alone. DETECTIVE SENIOR SERGEANT NATHAN LECKIE (39) enters with DETECTIVE JUSTIN NORRIS (32) and social worker JOHN HARROP.</scene_description> <character>LECKIE</character> <dialogue>G'day, Josh. I'm Detective Senior Sergeant Leckie, this is Detective Norris.</dialogue> <scene_description>Leckie and Norris sit.</scene_description> <character>LECKIE</character> <dialogue>Mr. Harrop here is from the Department of Human Services. It's a requirement under the law that in questioning anyone under the age of 18, they must be accompanied by a guardian or legal representative. In the absence of such a person, a department officer such as John must be present. I must also advise you that you are under no obligation to say anything at this point, but anything you do or say can be used as evidence in any later court appearances. Do you understand this, Josh?</dialogue> <scene_description>J nods. Leckie speaks casually, reassuring.</scene_description> <character>LECKIE</character> <dialogue>We won't need to keep you too long.</dialogue> <character>J</character> <dialogue>I've already been here for hours.</dialogue> <character>LECKIE</character> <dialogue>Yes, I'm sorry about that. It's been a big day, as I'm sure you can understand. Please state your full name.</dialogue> <character>J</character> <dialogue>Joshua Daniel Cody.</dialogue> <character>LECKIE</character> <dialogue>Do you know why you're here, Josh?</dialogue> <character>J</character> <dialogue>Wouldn't have a clue.</dialogue> <character>LECKIE</character> <dialogue>Last night two police officers were shot dead investigating a stolen car in Hawthorn.</dialogue> <scene_description>Leckie gauges J's reaction. J shifts. Norris takes notes.</scene_description> <character>LECKIE</character> <dialogue>Can you tell me where you were last night?</dialogue> <character>J</character> <dialogue>I was at home.</dialogue> <character>LECKIE</character> <dialogue>What's the address there?</dialogue> <character>J</character> <dialogue>17 Harding Street, Ivanhoe.</dialogue> <character>LECKIE</character> <dialogue>And what were you doing at home last night?</dialogue> <scene_description>J looks around the room. The men watch him closely.</scene_description> <character>J</character> <dialogue>Watching TV.</dialogue> <character>LECKIE</character> <dialogue>Were your uncles at that same address with you last night?</dialogue> <scene_description>Seconds into the interview J finds himself having to fabricate answers to simple questions. Norris takes notes.</scene_description> <character>J</character> <dialogue>They were home but I fell asleep pretty early so I wouldn't have a clue really what they were up to. I think they might have just been watching TV sort of thing.</dialogue> <character>LECKIE</character> <dialogue>They were watching TV with you?</dialogue> <character>J</character> <dialogue>They came in at some point, but by that point I was already half-asleep. I wasn't really paying attention about what they were up to.</dialogue> <character>LECKIE</character> <dialogue>What were you watching?</dialogue> <character>J</character> <dialogue>I think it was probably like 'Funniest Home Videos'. I was pretty much just having a nap on the couch.</dialogue> <character>LECKIE</character> <dialogue>And at some point during the evening all three of your uncles came into the room, or only one, or two maybe? Can you tell me exactly who was there?</dialogue> <scene_description>J's fact fabrication is only getting deeper. He wants out.</scene_description> <character>J</character> <dialogue>I can't really tell you. I was that sleepy I only remember that there were people around, but I'm not sure who exactly. I basically had my eyes shut sort of thing.</dialogue> <character>LECKIE</character> <dialogue>You don't remember who you heard?</dialogue> <character>J</character> <parenthetical>(pauses)</parenthetical> <dialogue>The reason I was so sleepy and don't remember was because I smoked some marijuana and I was knocked out sort of thing. I didn't want to tell you that.</dialogue> <character>LECKIE</character> <dialogue>It's OK, Josh. We're not concerned with what you smoked.</dialogue> <scene_description>Norris looks up from his note taking.</scene_description> <character>LECKIE</character> <dialogue>Do you remember where you were when you heard the news of Barry Brown's death?</dialogue> <scene_description>J looks at the faces in the room.</scene_description> <character>J</character> <dialogue>I was at home.</dialogue> <character>LECKIE</character> <dialogue>How did the family respond to the news? Craig must have been upset.</dialogue> <character>J</character> <dialogue>He was sad.</dialogue> <character>LECKIE</character> <dialogue>Sad in what way?</dialogue> <character>J</character> <dialogue>He was crying.</dialogue> <character>LECKIE</character> <dialogue>You physically saw him crying? What did you see?</dialogue> <character>J</character> <dialogue>His face was all red and he had water coming out of his eyes and he was rubbing them.</dialogue> <character>LECKIE</character> <dialogue>How was he rubbing his eyes?</dialogue> <character>J</character> <dialogue>You know, like this.</dialogue> <scene_description>J rubs his eyes like 'boo hoo'.</scene_description> <character>LECKIE</character> <dialogue>What's taken place then? Did he say anything you can recall?</dialogue> <character>J</character> <parenthetical>(pauses)</parenthetical> <dialogue>I've been smoking a fair bit lately and my memory's all fucked up, so I don't know really. Don't think so.</dialogue> <scene_description>Norris takes notes. Leckie watches J.</scene_description> <character>LECKIE</character> <dialogue>OK, is there anything else you'd like to add with regard to the matters we've discussed here today?</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>LECKIE</character> <dialogue>We'll suspend the interview at this point. Detective Norris and I will be back in a tick.</dialogue> <scene_description>Leckie stands. Norris takes a few more notes.</scene_description> <character>LECKIE</character> <dialogue>You want a drink, Josh?</dialogue> <character>J</character> <dialogue>No. Thanks.</dialogue> <character>LECKIE</character> <dialogue>You sure? Juice or something?</dialogue> <scene_description>J shakes his head 'no'. Norris stands. He and Leckie exit.</scene_description> </scene> <scene> <stage_direction>81A INT. HALLWAY - DAY 81A</stage_direction> <scene_description>Leckie and Norris stand outside the door to the interview room.</scene_description> <character>NORRIS</character> <dialogue>We're gonna let him run.</dialogue> <scene_description>Leckie nods. They wait in silence.</scene_description> </scene> <scene> <stage_direction>81B INT. INTERVIEW ROOM/POLICE COMPLEX - DAY 81B</stage_direction> <scene_description>J squirms. Awkward silence.</scene_description> <character>J</character> <parenthetical>(to Harrop)</parenthetical> <dialogue>How long can they keep me here?</dialogue> <character>HARROP</character> <dialogue>Well, if they don't charge you with anything - I don't think they will - it shouldn't be much longer.</dialogue> <scene_description>Leckie and Norris re-enter. J looks around uncomfortably.</scene_description> <character>LECKIE</character> <dialogue>You know what? I think we've only got a couple more questions now...</dialogue> <character>J</character> <dialogue>Where's Grandma and Darren?</dialogue> <character>LECKIE</character> <dialogue>Our interviews with them finished some time ago, so I don't know.</dialogue> </scene> <scene> <stage_direction>INT. SANDWICH SHOP - EVENING</stage_direction> <scene_description>Smurf, Pope and Darren sit in a booth in an empty diner, closing up for the evening.</scene_description> <character>POPE</character> <dialogue>Have you forgotten what Baz did for you? Who's been giving you money? Me and Baz have. What's Craig been giving you? He's making a fuckin fortune. How much is he giving you?</dialogue> <character>SMURF</character> <dialogue>Craig bought me my flat.</dialogue> <character>POPE</character> <dialogue>You don't own that place. He just lets you live in it.</dialogue> <character>SMURF</character> <dialogue>What is it you think you've done for Baz? You think he gives two hoots what you've gone and done?</dialogue> <scene_description>A waitress interrupts with tea for Smurf. Smurf's demeanor shifts effortlessly back to polite-grandma mode.</scene_description> <character>SMURF</character> <dialogue>Thank you, love. Do you think we could have the bill, please?</dialogue> <scene_description>The waitress leaves. Smurf turns back to Pope.</scene_description> <character>SMURF</character> <dialogue>He's dead.</dialogue> <scene_description>Darren's mobile phone rings. He answers quietly.</scene_description> <character>SMURF</character> <dialogue>I know you care, honey. Just don't you be thinking you care in some special way, like nobody else does.</dialogue> <character>DARREN</character> <dialogue>Craig's here.</dialogue> <scene_description>Darren stands and exits. Smurf watches Pope. He seems meek. She licks her thumb, wipes a smudge of food from his lips.</scene_description> <character>SMURF</character> <dialogue>Maybe you should think about taking your pills again.</dialogue> <scene_description>Smurf pulls a pile of change from her purse and counts it on the table. Darren re-enters with Craig. Craig is freaking out. He takes a seat at the table. Other diners glance up.</scene_description> <character>CRAIG</character> <dialogue>What the fuck? What were they doing there so quick? It's like they fuckin know something.</dialogue> <character>SMURF</character> <dialogue>They know who Baz's friends are. Keep your voice down.</dialogue> <character>CRAIG</character> <dialogue>Fuck.</dialogue> <character>DARREN</character> <dialogue>If they had anything we'd still be in there.</dialogue> <character>SMURF</character> <dialogue>They want to talk to you too, love. You should call Ezra and take yourself in tomorrow.</dialogue> <character>CRAIG</character> <dialogue>I'm not going in there. Are you fuckin nuts?</dialogue> <character>SMURF</character> <dialogue>If you don't, hon, they'll think you've got something to hide.</dialogue> <character>CRAIG</character> <dialogue>I fuckin do. I'm not going in there.</dialogue> <character>SMURF</character> <dialogue>They'll come looking for you if you don't, honey. Calm down.</dialogue> <character>POPE</character> <dialogue>Where's J?</dialogue> <character>CRAIG</character> <dialogue>I should just carry about my daily business like normal. Don't you think?</dialogue> <scene_description>Pope looks at Darren.</scene_description> <character>POPE</character> <dialogue>Where's J?</dialogue> <scene_description>Darren shrugs. He doesn't know.</scene_description> <character>CRAIG</character> <dialogue>Where's J? Is he still in there?</dialogue> <character>DARREN</character> <dialogue>Dunno.</dialogue> <character>CRAIG</character> <dialogue>What's he saying?</dialogue> <character>DARREN</character> <dialogue>I don't know. Calm down.</dialogue> <character>CRAIG</character> <dialogue>If he's not talking, what are they still talking about?</dialogue> <character>POPE</character> <dialogue>Where is he?</dialogue> <character>DARREN</character> <dialogue>I don't fuckin know. Why are you asking me like I'd know?</dialogue> <character>SMURF</character> <dialogue>OK. We should leave now.</dialogue> </scene> <scene> <stage_direction>INT. POLICE CAR - EVENING</stage_direction> <scene_description>J is in the front seat. Norris drives. They drive in silence.</scene_description> <character>J</character> <dialogue>It's the next left. Not this one, the next one.</dialogue> <scene_description>Norris hits the indicator and drives around the corner. Only metres around it, he pulls over.</scene_description> <character>NORRIS</character> <dialogue>Get out.</dialogue> <character>J</character> <dialogue>What?</dialogue> <character>NORRIS</character> <dialogue>I'm not driving you home, cunt. Get out of my fucking car.</dialogue> <scene_description>J is suddenly gripped with fear. He opens the door and gets out. Norris screeches away.</scene_description> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE - NIGHT</stage_direction> <scene_description>Gus opens the back door. J is there, unnerved. J.</scene_description> <character>J</character> <dialogue>Is Nicky here?</dialogue> <character>GUS</character> <dialogue>She's not home yet. You hungry? We're about to eat.</dialogue> <character>J</character> <dialogue>Maybe. Thanks.</dialogue> <scene_description>J enters. Gus shuts the door behind him. Alicia is in the kitchen cooking. She looks up at J coolly.</scene_description> <character>J</character> <dialogue>Hi, Mrs Henry.</dialogue> <character>ALICIA</character> <dialogue>Call me Alicia, J.</dialogue> <character>GUS</character> <dialogue>J's staying for tea.</dialogue> <scene_description>Gus takes a beer from the fridge and takes a seat next to Andy, watching TV. J stands behind the couch, then wanders over to the kitchen, where Alicia serves food onto plates.</scene_description> <character>J</character> <dialogue>Can I help?</dialogue> <character>ALICIA</character> <dialogue>You could set the table.</dialogue> <scene_description>J sets about laying the table carefully. He is familiar with the kitchen. He knows where to find place mats, cutlery etc.</scene_description> <character>ALICIA</character> <dialogue>How was your day today?</dialogue> <character>J</character> <dialogue>It was OK.</dialogue> <scene_description>Awkward silence.</scene_description> <character>J</character> <dialogue>How was yours?</dialogue> <character>ALICIA</character> <dialogue>It was good.</dialogue> <parenthetical>(to Gus and Andy)</parenthetical> <dialogue>Dinner's ready.</dialogue> <parenthetical>(to J, cool)</parenthetical> <dialogue>Can you take those plates?</dialogue> <scene_description>Alicia and J carry plates. Gus MUTES the TV. He and Andy take their seats at the table.</scene_description> <character>ALICIA</character> <dialogue>How was your friend's funeral?</dialogue> <character>J</character> <dialogue>It was OK. Sad and everything.</dialogue> <character>ALICIA</character> <dialogue>We saw it on the news last night.</dialogue> <scene_description>J can see the MUTED TV. A news report about the police murders. We see images around the table intercut with NEWS FOOTAGE of the crime scene: the police car in Davis Ave, the stolen Commodore - white. Academy graduation photos of the two officers. J's heart stops when he sees the car. He notices Gus watching the report too. They eat in silence. The back door opens. It's Nicky in school uniform.</scene_description> <character>ALICIA</character> <dialogue>Where have you been, Nicole?</dialogue> <scene_description>She rounds the table to J, kissing Andy's cheek on the way.</scene_description> <character>NICKY</character> <dialogue>Detention. I told you.</dialogue> <scene_description>She sits on J's lap and picks at his plate. J is quiet.</scene_description> <character>ALICIA</character> <dialogue>No, you didn't.</dialogue> <character>NICKY</character> <dialogue>I did. You had to sign the form.</dialogue> <character>GUS</character> <dialogue>I signed the form.</dialogue> <character>NICKY</character> <dialogue>Oh yeah. Well then get angry at him for not telling you. I can't be having to tell both of you everything all the time. Maybe you two should try communicating.</dialogue> <scene_description>J isn't listening to a word of this.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY SERVICE STATION - NIGHT</stage_direction> <scene_description>Craig fills his tank at a country freeway service station. A cop car pulls into a parking bay outside the store. Two cops get out of the car. One takes a good look at Craig as they walk inside the store. Craig looks straight ahead at the pump display ticking over. He turns to see the cops standing at the magazine stand. The bowser clicks off. He replaces his petrol cap. He opens the car door. On the floor of the passenger side is a pump-action shotgun. Craig grabs his wallet and pulls a towel over the shotgun.</scene_description> </scene> <scene> <stage_direction>INT. FREEWAY SERVICE STATION - NIGHT</stage_direction> <scene_description>Craig enters the store. The cops are at the magazine stand. They look up. One looks straight back at his magazine, the other's gaze lingers. Craig walks past them to the counter.</scene_description> <character>CRAIG</character> <dialogue>Just the petrol.</dialogue> <scene_description>The attendant checks the pump display. Craig fidgets. The curious cop watches him.</scene_description> <character>ATTENDANT</character> <dialogue>Forty-five fifty.</dialogue> <scene_description>Craig produces a wad of cash from his pocket. The cop watches. The attendant watches. Craig is nervy. He leaves fifty on the counter and heads straight out.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY SERVICE STATION - NIGHT</stage_direction> <scene_description>Craig makes the walk back to his car. Behind we can see the two cops watching him through the store window.</scene_description> </scene> <scene> <stage_direction>INT. NICKY'S BEDROOM / HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>J's eyes open. There is a KNOCK at the bedroom door. The room is daylit. For a second he doesn't know where he is.</scene_description> <character>ALICIA (O.S.)</character> <dialogue>J? Are you in there?</dialogue> <character>J</character> <dialogue>Fuck.</dialogue> <parenthetical>(loud)</parenthetical> <dialogue>Yep.</dialogue> <character>ALICIA (O.S.)</character> <dialogue>Your uncle's at the door.</dialogue> <character>J</character> <dialogue>I'm coming.</dialogue> <scene_description>Nicky stirs. She's in her pyjamas. J shoves her.</scene_description> <character>J</character> <dialogue>I told you don't let me fall asleep.</dialogue> <scene_description>Nicky rolls over, awake but gummy-eyed. J scrounges around on the floor for his shoes.</scene_description> <character>NICKY</character> <dialogue>I fell asleep.</dialogue> <scene_description>J has found his shoes.</scene_description> <character>J</character> <dialogue>You got into your fuckin PJs.</dialogue> <character>NICKY</character> <dialogue>I was still gonna wake you up.</dialogue> <scene_description>J heads for the door. J's anxiety takes Nicky by surprise.</scene_description> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>Darren waits in the front foyer, making small talk with Alicia. J enters, holding his shoes.</scene_description> <character>J</character> <dialogue>Hey.</dialogue> <character>DARREN</character> <dialogue>We gotta go.</dialogue> <scene_description>Nicky enters, still half asleep. Darren eyebrows hello.</scene_description> <character>NICKY</character> <dialogue>Hey, Daz.</dialogue> <character>DARREN</character> <parenthetical>(shakes Alicia's hand)</parenthetical> <dialogue>Good to meet you.</dialogue> <scene_description>Darren and J head out the door. Nicky stands in the doorway watching them go, rag-doll sleepy. Alicia is apprehensive.</scene_description> <character>ALICIA</character> <dialogue>I do a lot for you, Nick. You're still at school and you're allowed to have your boyfriend sleep over. That's a big thing for me. I'm not a bad person.</dialogue> <scene_description>Nicky steps to her and hugs her sleepily. Mum hugs her back.</scene_description> </scene> <scene> <stage_direction>EXT. HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>Darren and J walk to the car. J carries shoes. He can see Pope in the passenger seat. J climbs in the backseat. Pope doesn't even acknowledge J's presence.</scene_description> <character>J</character> <dialogue>Where are we going?</dialogue> <character>DARREN</character> <dialogue>See our lawyer.</dialogue> <scene_description>Darren starts the car. As it pulls away, J notices Pope looking at the house, Gus' car in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. EZRA WHITE'S HOUSE - DAY</stage_direction> <scene_description>In the kitchen/sun room of an inner-city terrace house. EZRA WHITE (36), is making plunger coffee. J, Pope, Darren and Smurf sit nearby at the kitchen table.</scene_description> <character>EZRA</character> <dialogue>This is really fuckin important, mate. I can't stress it enough. I need to know word for word.</dialogue> <character>J</character> <dialogue>They just kept on asking me a couple of questions and I told them I don't know, then they let me go.</dialogue> <character>DARREN</character> <dialogue>What were you doing in there so long?</dialogue> <character>J</character> <dialogue>Nothing. They made me sit there with no one coming in or anything.</dialogue> <character>EZRA</character> <dialogue>Good, OK. Now I want you to listen carefully to this. From now on, mate, I don't want you saying anything. That means nothing at all. No 'I don't know'. No 'I was sleepy'. You just refuse to answer questions. You got that? By law these cunts can't make you say anything. You don't even have to give them your name. OK? It's very important. Don't let them push you around. Just sit there in silence. At least til I get there.</dialogue> <scene_description>Ezra takes a seat at the table with J.</scene_description> <character>EZRA</character> <dialogue>This goes for your girlfriend too. What's her name?</dialogue> <character>J</character> <dialogue>N'cole.</dialogue> <character>EZRA</character> <dialogue>Cole?</dialogue> <character>J</character> <dialogue>NICole.</dialogue> <character>EZRA</character> <dialogue>Nicole. This goes for Nicole too. There's things you don't talk to girls about, mate. Doesn't matter how special they are. Doesn't matter what you have or haven't done. They get scared. And they natter, you know? They can't help it. It's the way the world works.</dialogue> <scene_description>J looks up at Smurf and Darren and nods.</scene_description> <character>EZRA</character> <dialogue>Good on ya, mate. There's really not much to understand. Just, you know... shut up.</dialogue> <character>SMURF</character> <dialogue>Are you clear with all that, honey?</dialogue> <character>J</character> <dialogue>Yep.</dialogue> <character>EZRA</character> <dialogue>Nothing to worry about. You want a drink? I've got lots of different kinds of drinks.</dialogue> <scene_description>Pope watches J like a snake watching a mouse.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL HOUSE - MORNING</stage_direction> <scene_description>A loud BLAST rings out. Craig laughs, holding a shotgun. He's speeding and hasn't slept. He has just blasted a chunk out of an old tree beside an isolated bush house.</scene_description> <character>CRAIG</character> <dialogue>Fuckin monster!</dialogue> <scene_description>He aims and fires again, tearing a hole in the tree's trunk.</scene_description> <character>CRAIG</character> <dialogue>Can we go hunting this arvo?</dialogue> <scene_description>RICHARD COLLIS (30s) stands nearby, nervous, his arms folded over his dressing gown. He's wearing gum boots.</scene_description> <character>RICHARD</character> <dialogue>Maybe. I got some things I gotta do today. Can you not blow my tree up?</dialogue> <character>CRAIG</character> <dialogue>It's fucked. Look at it. It's written off.</dialogue> <parenthetical>(offers Richard the gun)</parenthetical> <dialogue>Give it a whirl.</dialogue> <character>RICHARD</character> <dialogue>It just needs a good rain. My brekkie's going cold. You wanna come inside?</dialogue> <scene_description>Craig takes aim and fires, tearing into the tree again.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / RURAL HOUSE - MORNING</stage_direction> <scene_description>Richard sits at the table, poking his breakfast. His wife DACINTA stands behind, watching. They are wary of Craig at the table, tuning his radio scanner, scatter-brained.</scene_description> <character>RICHARD</character> <dialogue>How long were you wanting to stay? Where's Kelly?</dialogue> <character>CRAIG</character> <dialogue>We split up. Ages ago.</dialogue> <character>RICHARD</character> <dialogue>Shit, mate.</dialogue> <character>CRAIG</character> <dialogue>Yeah, it was mutual though, so it's for the best and everything.</dialogue> <parenthetical>(re: the scanner)</parenthetical> <dialogue>Stupid fuckin... Maybe I'm too far out to get signals, d'ya think?</dialogue> <character>RICHARD</character> <dialogue>Is everything OK, mate?</dialogue> <scene_description>Craig doesn't respond. He keeps fiddling.</scene_description> <character>RICHARD</character> <dialogue>What's with the scanner?</dialogue> <character>CRAIG</character> <dialogue>I'll fight through, mate. I'll fight through.</dialogue> <scene_description>Dacinta exits, making stern eye contact with Richard.</scene_description> <character>RICHARD</character> <dialogue>I think it's fair enough to say, if you're gonna stay here for a while, you know, it's only fair that you tell us what's this all about... Is that fair?</dialogue> <character>CRAIG</character> <dialogue>I don't know what's going on, mate.</dialogue> <scene_description>He works at the aerial while the scanner emits STATIC. Richard's dogs are outside, BARKING. Craig stops fiddling and listens. Not only can he hear the dogs barking out in the yard, but he can hear them through the scanner as well.</scene_description> <character>CRAIG</character> <dialogue>You hear that?</dialogue> <character>RICHARD</character> <dialogue>Hear what?</dialogue> <character>CRAIG</character> <dialogue>I can hear your dogs.</dialogue> <scene_description>Craig jumps up and heads outside. Through the windows, Richard can see him walking close around the outside of the house, examining the walls and windows.</scene_description> <character>DACINTA</character> <dialogue>What's going on?</dialogue> <character>RICHARD</character> <dialogue>I don't know.</dialogue> <character>DACINTA</character> <dialogue>Tell him he can't stay here.</dialogue> <character>RICHARD</character> <dialogue>I can't tell him anything.</dialogue> <scene_description>Then, through the scanner, they hear Craig's VOICE.</scene_description> <character>CRAIG (O.S.)</character> <dialogue>You cunt motherfuckers!</dialogue> <scene_description>After a loud CRUNCH, the scanner returns to steady STATIC. Craig bursts back in, near hysterical, dangling wires.</scene_description> <character>CRAIG</character> <dialogue>What the fuck is this, Rich?</dialogue> <character>RICHARD</character> <dialogue>What is it? I don't know!</dialogue> <character>CRAIG</character> <dialogue>It's a bug. There's a bug on your fuckin house.</dialogue> <character>RICHARD</character> <dialogue>I don't know about it.</dialogue> <character>CRAIG</character> <dialogue>Bull-fuckin-shit, Rich! How could there be a bug on your house within, like, 24 hours of me telling you I was coming?</dialogue> <character>RICHARD</character> <dialogue>Maybe they were tapping your phone or something. I don't know how it got there. I'm not lying.</dialogue> <character>CRAIG</character> <dialogue>Fuck!</dialogue> <scene_description>Craig grabs his shotgun and paces.</scene_description> <character>CRAIG</character> <dialogue>Fuck!</dialogue> <scene_description>His eyes fill with childlike despair. Richard and Dacinta are both wary of the shotgun he holds by his side.</scene_description> <character>CRAIG</character> <dialogue>What I am supposed to do now?</dialogue> <character>RICHARD</character> <dialogue>I don't know, mate. Maybe you should think about leaving.</dialogue> <character>DACINTA</character> <dialogue>What's going on?</dialogue> <scene_description>Craig paces, then stops, on the verge of tears.</scene_description> <character>CRAIG</character> <dialogue>Maybe I should get outta here.</dialogue> <scene_description>Craig picks his bag off the ground. He sweeps his scanner into it and looks around the room.</scene_description> <character>CRAIG</character> <dialogue>What else did I bring?</dialogue> </scene> <scene> <stage_direction>EXT. RURAL HOUSE - DAY</stage_direction> <scene_description>The screen door swings open, smacking against the front of the house. Craig stumbles down off the porch and opens the back door of his car, throwing his bag inside. He scrambles around in the backseat for shotgun shells. He begins loading them into the shotgun, fumbling, dropping them. His ears prick. He sees a convoy of unmarked police cars approaching fast down the long, dirt drive. He crouches against the car and loads more shells. He looks to the house in panic. Richard's at the window, looking back. Craig stands and runs into the bush behind the house. The cars come to a stop at the house. Detectives with shotguns climb out and chase Craig into the bush. Craig breathes heavy, sprinting through the undergrowth. He trips, smashing his knees into a log. He squeals in pain and gets to his feet. He tries to run but can't, hobbled. He turns, raises his gun. Detectives are close behind. They stop and fire. Craig is hammered by a blast and knocked down. SILENCE but for SINGING BIRDS and the ECHO OF GUNSHOTS. Detectives, guns by their sides, approach Craig's bloody body face down in the dirt.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Pope stands holding Evie like he's never held a baby before. Cath searches the fridge, nervous and drunk.</scene_description> <character>POPE</character> <dialogue>Where should I put this?</dialogue> <character>CATHERINE</character> <dialogue>Just set her back down.</dialogue> <scene_description>Pope sets Evie down in her a bassinet and lets her grip his finger. Cath fixes a drink at the kitchen bench. She puts the lid back on a bottle of tonic.</scene_description> <character>POPE</character> <dialogue>Aren't you getting me a drink?</dialogue> <scene_description>Cath shakes her head.</scene_description> <character>POPE</character> <dialogue>Why not?</dialogue> <character>CATHERINE</character> <dialogue>I don't know I want you to stay.</dialogue> <scene_description>Cath sips nervously, looks out the window. Pope watches her.</scene_description> <character>CATHERINE</character> <dialogue>I want free of this shit, I think.</dialogue> <character>POPE</character> <dialogue>What shit?</dialogue> <character>CATHERINE</character> <dialogue>See that little thing you're poking like she's a dog? Her dad's dead.</dialogue> <character>POPE</character> <dialogue>Everything's good now.</dialogue> <character>CATHERINE</character> <dialogue>Stop saying everything's good. What's good now? I got cops on my door all hours of the fuckin night. When does the good bit start?</dialogue> <scene_description>Pope steps to her. He takes the drink out of her hand and pulls her close. She's uncomfortable. They almost imperceptibly slow dance for a moment. Pope whispers.</scene_description> <character>POPE</character> <dialogue>You're not thinking of doing anything stupid, are you?</dialogue> <scene_description>Cath pushes him away.</scene_description> <character>CATHERINE</character> <dialogue>Get the fuck out of my house.</dialogue> <scene_description>Pope stands awkward, staring. Cath holds her ground. Pope exits. Cath picks up her drink and sips, unnerved. She flinches as the door SLAMS.</scene_description> </scene> <scene> <stage_direction>EXT. BROWN-SAYLES HOUSE - DAY</stage_direction> <scene_description>Pope heads down the drive. A neighbour waters his lawn.</scene_description> <character>POPE</character> <dialogue>What the fuck are you looking at?</dialogue> </scene> <scene> <stage_direction>INT. LECKIE'S HOUSE - DAY</stage_direction> <scene_description>Leckie is sitting on a kid's tricycle. His six year-old son, who has Down Syndrome, is trying to get him off it. Leckie laughs. His son gets mad. Leckie's mobile phone rings. LECKIE'S WIFE, preparing food behind him, slides the phone across the counter to him. Leckie drops it, picks it up and answers.</scene_description> <character>LECKIE</character> <dialogue>G'day, mate.</dialogue> <character>NORRIS (OVER)</character> <dialogue>Craig Cody's gone, mate.</dialogue> <character>LECKIE</character> <dialogue>What? How?</dialogue> <scene_description>Leckie stands and moves away from his family.</scene_description> <character>NORRIS (OVER)</character> <dialogue>He found the listening device in Bendigo. He sounded unhinged, so we went in to apprehend him and he lost the plot. We had to drop him.</dialogue> <character>LECKIE</character> <dialogue>Why didn't anyone call me? I would've got the Special Operations Group up there.</dialogue> <character>NORRIS (OVER)</character> <dialogue>No time for that, mate. He just lost the plot.</dialogue> <character>LECKIE</character> <dialogue>OK, gimme a sec. Gimme a sec to think...</dialogue> <scene_description>Leckie paces.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - DAY</stage_direction> <scene_description>Smurf sits numb on the kitchen floor. She's been crying. J crouches beside her with a glass of water. Pope paces.</scene_description> <character>SMURF</character> <parenthetical>(to J, close)</parenthetical> <dialogue>I'm having trouble finding my positive spin. I'm usually very good at it. Usually it's right there and I can just have it. But I'm having trouble finding it now.</dialogue> <character>POPE</character> <dialogue>This is what I'm trying to say. I don't know why people don't listen. If you hadn't gotten in his ear about handing himself over, there'd be none of all this carrying on.</dialogue> <parenthetical>(to J)</parenthetical> <dialogue>And if you hadn't've gone to your girlfriend's house instead of coming home after. Did you think about that when you were doing it? You've gone and spooked him. Both of you. And now look.</dialogue> <scene_description>Smurf lifts herself up, walks to Pope and mechanically punches him in the face. Pope flinches. He looks surprised. She punches him again. He almost cowers like a kid.</scene_description> <character>POPE</character> <dialogue>Don't take it out on me. I didn't kill him.</dialogue> <character>SMURF</character> <dialogue>I thought that's what we did. We take it out on whoever shows up.</dialogue> <scene_description>Smurf punches again. He grabs her arm.</scene_description> <character>POPE</character> <dialogue>Don't.</dialogue> <scene_description>J watches from the floor, anxious.</scene_description> <character>J</character> <dialogue>Leave her alone.</dialogue> <scene_description>Pope's attention shifts to J.</scene_description> <character>SMURF</character> <parenthetical>(looking at Pope, calm)</parenthetical> <dialogue>I'm alright, J.</dialogue> <character>J</character> <dialogue>Just relax.</dialogue> <character>POPE</character> <dialogue>Come here, mate.</dialogue> <character>SMURF</character> <dialogue>Don't you touch him.</dialogue> <scene_description>J hasn't moved. He's scared. Pope is menacingly calm.</scene_description> <character>POPE</character> <dialogue>Come here, mate.</dialogue> <character>J</character> <dialogue>Relax.</dialogue> <character>POPE</character> <dialogue>Come here.</dialogue> <character>SMURF</character> <dialogue>Stop being a child.</dialogue> <scene_description>Pope releases Smurf and goes for J. J scuttles across the floor and out of the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - DAY</stage_direction> <scene_description>J scurries into the hall, Pope close behind. As J reaches the front door, the BELL rings. J and Pope stop. They stand confused. J looks back, then opens the door. It's Leckie.</scene_description> <character>LECKIE</character> <dialogue>Hi, Josh. I've come to talk to you. I've got some bad news.</dialogue> <character>POPE</character> <dialogue>He knows the bad news.</dialogue> <scene_description>Leckie notices the tense atmosphere in the hall.</scene_description> <character>LECKIE</character> <dialogue>Is everything OK here?</dialogue> <character>POPE</character> <dialogue>Everything's great here.</dialogue> <character>LECKIE</character> <dialogue>Are you alright, Josh?</dialogue> <scene_description>Smurf enters the hall, strangely calm.</scene_description> <character>SMURF</character> <dialogue>He's fine, Mr Leckie.</dialogue> <character>LECKIE</character> <parenthetical>(to J)</parenthetical> <dialogue>I'd like you to come down to St Kilda Road with me.</dialogue> <character>POPE</character> <dialogue>What's he done? Tell me and I'll make sure he gets discipline.</dialogue> <character>LECKIE</character> <dialogue>Will you come with me now?</dialogue> <character>POPE</character> <dialogue>What do you wanna ask him about? Ask me.</dialogue> <character>LECKIE</character> <parenthetical>(to Pope)</parenthetical> <dialogue>We'll speak to you again at a later time, when we're ready. Will you come with me, Josh?</dialogue> <character>POPE</character> <dialogue>I might have some info for you about those murdered police. I've been asking some people and there's a few theories floating around. I don't know if they're true or not, but at least it could maybe help you with your investigations.</dialogue> <scene_description>Leckie ignores Pope. He concentrates on J.</scene_description> <character>LECKIE</character> <dialogue>Will you come with me, Josh?</dialogue> <character>SMURF</character> <parenthetical>(to J)</parenthetical> <dialogue>You go, love. I'll call Ezra. Go get your shoes.</dialogue> <scene_description>J hesitates, then disappears past Pope, into the house.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>J sits on the couch and puts on his sneakers. Pope enters.</scene_description> <character>POPE</character> <dialogue>Sorry if we had some confusion there before. It's crazy times.</dialogue> <scene_description>J ignores him and keeps tying his laces.</scene_description> <character>POPE</character> <dialogue>You're not alone on this. You know that, yeah?</dialogue> <scene_description>J stands and moves to leave. Pope stops him.</scene_description> <character>POPE</character> <dialogue>Yeah?</dialogue> <scene_description>J nods. Pope hugs him. J feels deep discomfort.</scene_description> <character>POPE</character> <dialogue>We'll get through this.</dialogue> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - DAY</stage_direction> <scene_description>Smurf and Leckie stand awkward at the front door together.</scene_description> <character>LECKIE</character> <dialogue>I'm not presently in a position to discuss what happened today, but I can arrange for counselling services to visit should you require any.</dialogue> <scene_description>Leckie knows his words are empty, but he feels compelled to say something. Smurf watches him with calm, eerie contempt. J appears again with Pope and steps out beside Leckie.</scene_description> <character>SMURF</character> <parenthetical>(quiet, to Leckie)</parenthetical> <dialogue>I hope you find the killers.</dialogue> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM / POLICE COMPLEX - DAY</stage_direction> <scene_description>Leckie opens his folder. J sits at a table beside Ezra. Ezra fidgets with his phone.</scene_description> <character>LECKIE</character> <dialogue>This is a record of interview between Detective Senior Sergeant Nathan Leckie and Joshua Daniel Cody. Present is solicitor Ezra White. Josh, you're under no obligation to say anything at this time but anything you do say can be used in future court appearances. Do you understand that?</dialogue> <scene_description>J sits silent. Ezra looks up, distracted.</scene_description> <character>EZRA</character> <dialogue>He understands that.</dialogue> <character>LECKIE</character> <dialogue>Picking up where we left off, when we last spoke, you were telling us how upset your uncles were over the death of Barry Brown. Can you recall exactly what was said at that time?</dialogue> <scene_description>J sits silent, but can already feel Leckie digging a hole for him. Leckie waits for J to respond. He doesn't.</scene_description> <character>LECKIE</character> <dialogue>Josh, has Mr White provided you with advice in respect to how should conduct yourself in this interview today?</dialogue> <character>EZRA</character> <dialogue>He'll be remaining mute.</dialogue> <character>LECKIE</character> <dialogue>I can appreciate you've been advised not to say anything to me, but the sooner you help us with our enquiries, the sooner we can scratch you off the list and move on to a different line. Do you understand that? You don't want to tell us any more? Is that correct?</dialogue> <scene_description>J stays silent.</scene_description> <character>LECKIE</character> <dialogue>Is there any further statement you wish to make in relation to this matter?</dialogue> <scene_description>Silence.</scene_description> <character>LECKIE</character> <dialogue>OK, then.</dialogue> <character>EZRA</character> <dialogue>OK, then. I gotta fly.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - EVENING</stage_direction> <scene_description>Pope, Darren and Ezra are in the lounge. Pope sits. Darren stands, uneasy. Ezra does lines of coke on the mantlepiece and sets about getting changed out of his suit and into tennis gear.</scene_description> <character>EZRA</character> <dialogue>I dunno. It doesn't have a good feeling about it. Leckie ran the whole 'yesterday you were very helpful' routine. That was probably for my benefit, but I dunno. He's a kid. Kids are stupid. They're weak. He may think he's doing the right thing but really his foot's covered in dog shit and he's got it stuck right in his mouth. I'm pretty surprised you've let him get anywhere near you to be honest.</dialogue> <scene_description>Pope is staring blankly at Darren.</scene_description> <character>POPE</character> <dialogue>I told you to get that car.</dialogue> <scene_description>Darren looks at Pope incredulous.</scene_description> <character>DARREN</character> <dialogue>What are you talking about?</dialogue> <character>POPE</character> <dialogue>I told you to get that car.</dialogue> <character>DARREN</character> <dialogue>What are you talking about? No you fuckin didn't. You never mentioned the car to me once.</dialogue> <character>EZRA</character> <dialogue>I don't want to hear any of this. You just gotta start worrying about what he's doing.</dialogue> <character>DARREN</character> <dialogue>He knows how to handle himself.</dialogue> <character>EZRA</character> <dialogue>Yeah, that's good, mate. Does he know how to handle police? Totally different kettle of fish.</dialogue> <character>DARREN</character> <dialogue>What are we supposed to do?</dialogue> <character>EZRA</character> <dialogue>I'd be keeping an eagle eye on him. I can tell you that much. Where is he now?</dialogue> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - EVENING</stage_direction> <scene_description>J stands behind the lounge door in the hall, listening.</scene_description> <character>DARREN (O.S.)</character> <dialogue>In his room, with his girlfriend.</dialogue> <character>EZRA (O.S.)</character> <dialogue>Is he? What's she doing here? Is he talking to her?</dialogue> <character>DARREN (O.S.)</character> <dialogue>How should I know?</dialogue> <character>EZRA (O.S.)</character> <dialogue>I can't help you with the how part, mate. You should just be thinking about this stuff.</dialogue> <character>DARREN (O.S.)</character> <dialogue>Why's he my responsibility now?</dialogue> <scene_description>J scampers quietly down the hall to his room.</scene_description> </scene> <scene> <stage_direction>INT. J'S BEDROOM / CODY HOUSE - EVENING</stage_direction> <scene_description>J enters and pushes the door shut. Nicky's on the bed, talking to a friend on her phone. J sits on the bed and watches her.</scene_description> <character>NICKY</character> <dialogue>OK, call me back.</dialogue> <scene_description>Nicky hangs up. She smiles at J. He smiles back. Nicky's phone rings. She lets it ring a few times, then answers. There's a LIGHT KNOCK at the door. Darren sticks his head in.</scene_description> <character>DARREN</character> <dialogue>Hey.</dialogue> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - EVENING</stage_direction> <scene_description>J and Darren in the hall, speaking furtively.</scene_description> <character>J</character> <dialogue>You know I'm not telling them anything.</dialogue> <character>DARREN</character> <dialogue>The cops are serious about this thing and they're onto you like a rash and if you stick close by, everyone'll keep calm. You know?</dialogue> <character>J</character> <dialogue>What am I supposed to do?</dialogue> <character>DARREN</character> <dialogue>How should I know? Fuck. Go sit in your room and do some colouring in.</dialogue> <scene_description>The bedroom door opens. Nicky holds her phone out for J.</scene_description> <character>NICKY</character> <dialogue>Danielle wants to tell you something.</dialogue> <character>J</character> <dialogue>Can you give us a minute here?</dialogue> <character>NICKY</character> <dialogue>What's going on?</dialogue> <character>J</character> <dialogue>Don't be a fuckin sticky beak.</dialogue> <scene_description>J forces her back into the room.</scene_description> <character>NICKY</character> <dialogue>Danielle wants to talk to you.</dialogue> <character>J</character> <dialogue>I'll talk to her in a minute.</dialogue> <scene_description>J shuts the door. Darren leads J further down the hall.</scene_description> <character>DARREN</character> <dialogue>Maybe you don't wanna hear this, I dunno, but I'd think pretty hard about giving her the sack. I don't know what you have or haven't told her...</dialogue> <character>J</character> <dialogue>I haven't told her anything.</dialogue> <character>DARREN</character> <dialogue>Life'll be easier if she's cut loose. Believe me. Especially for you. I mean, get her outta here. She shouldn't be hanging round here right now.</dialogue> <character>J</character> <dialogue>This's got nothing to do with me.</dialogue> <character>DARREN</character> <dialogue>Mate, everything's got to do with everyone... You know?</dialogue> <scene_description>For the first time, J can see that Darren is scared.</scene_description> <character>DARREN</character> <dialogue>You understand it?</dialogue> </scene> <scene> <stage_direction>INT. BOWLING ALLEY - NIGHT</stage_direction> <scene_description>J and Nicky at a table. J's on edge. Nicky is quietly distressed. Silence, then -</scene_description> <character>J</character> <dialogue>Maybe it's only for a while. I just need some space and that.</dialogue> <character>NICKY</character> <dialogue>For what?</dialogue> <character>J</character> <dialogue>For all the things I gotta do.</dialogue> <character>NICKY</character> <dialogue>Like what?</dialogue> <character>J</character> <dialogue>There's a bunch of things.</dialogue> <character>NICKY</character> <dialogue>Like what?</dialogue> <character>J</character> <dialogue>Some work things.</dialogue> <character>NICKY</character> <dialogue>Like what?</dialogue> <character>J</character> <dialogue>Business arrangements.</dialogue> <character>NICKY</character> <dialogue>You're just making shit up.</dialogue> <scene_description>A PASTY GUY taps J's shoulder. J turns. The guy crouches.</scene_description> <character>PASTY GUY</character> <dialogue>Mate, do you know where Craig is?</dialogue> <character>J</character> <dialogue>He's not here.</dialogue> <character>PASTY GUY</character> <dialogue>You sure? Have you seen him?</dialogue> <character>J</character> <dialogue>He's not here.</dialogue> <character>PASTY GUY</character> <dialogue>Do you know if he's coming later? He said he was gonna meet me here.</dialogue> <character>J</character> <dialogue>He's not here. He's not coming.</dialogue> <character>PASTY GUY</character> <dialogue>Can you help me out?</dialogue> <scene_description>Nicky throws her drink over the guy, staring at him defiantly. The guy stands, drenched, then moves on Nicky.</scene_description> <character>PASTY GUY</character> <dialogue>You little slut.</dialogue> <scene_description>J stands and confronts the guy.</scene_description> <character>J</character> <dialogue>Don't be fucking around in here.</dialogue> <character>PASTY GUY</character> <dialogue>I'm all fuckin soggy now.</dialogue> <character>J</character> <dialogue>What'd I just say to you?</dialogue> <character>PASTY GUY</character> <dialogue>Look at my fuckin pants.</dialogue> <character>J</character> <dialogue>What'd I just say to you?</dialogue> <scene_description>J gets a sudden look at the fear his power-by-association instils in others. The guy backs away, contrite. J watches him a second, then turns back to Nicky who is now crying.</scene_description> <character>J</character> <dialogue>Please don't cry.</dialogue> <character>NICKY</character> <dialogue>Do you love me?</dialogue> <scene_description>J looks around the bar. Nicky's lip trembles.</scene_description> <character>NICKY</character> <dialogue>Do you love me?</dialogue> <character>J</character> <dialogue>Yeah.</dialogue> <character>NICKY</character> <dialogue>Why?</dialogue> <character>J</character> <dialogue>You're nice.</dialogue> <scene_description>Tears run down her cheek. She stares at him, eyes flooding. J wants her to calm down. People are watching.</scene_description> <character>J</character> <dialogue>Please stop crying.</dialogue> <scene_description>Nicky cries, angry.</scene_description> <character>J</character> <dialogue>Please. Just stop crying.</dialogue> <scene_description>J's shoulder is tapped again. He turns. It's Leckie. J immediately scans the room.</scene_description> <character>J</character> <dialogue>What the fuck?</dialogue> <character>LECKIE</character> <dialogue>We need to talk.</dialogue> <character>J</character> <dialogue>No we don't.</dialogue> <character>LECKIE</character> <parenthetical>(to Nicky)</parenthetical> <dialogue>Are you alright?</dialogue> <character>J</character> <dialogue>She's fine.</dialogue> <character>NICKY</character> <dialogue>Am I, fuckwit?</dialogue> <scene_description>Nicky gets up.</scene_description> <character>J</character> <dialogue>Where are you going?</dialogue> <scene_description>Nicky ignores him. Leckie watches her walk away.</scene_description> <character>J</character> <dialogue>Just go away. Please.</dialogue> <character>LECKIE</character> <dialogue>We can talk here or outside.</dialogue> <scene_description>J looks around the bar, suddenly suspicious of everyone.</scene_description> <character>J</character> <dialogue>There's nothing to talk about.</dialogue> <character>LECKIE</character> <dialogue>Ok then, I'm arresting you.</dialogue> <character>J</character> <dialogue>What for?</dialogue> <scene_description>Eyes in the bar train on the commotion.</scene_description> <character>LECKIE</character> <dialogue>You're seventeen and you're drinking, that's good enough for me.</dialogue> <character>J</character> <parenthetical>(incredulous)</parenthetical> <dialogue>Gimme a fuckin break.</dialogue> <character>LECKIE</character> <dialogue>You want me to make a scene?</dialogue> <scene_description>J doesn't want a scene. He stands. Leckie leads him to the door. Eyes track them closely.</scene_description> </scene> <scene> <stage_direction>EXT. ZANONI HOTEL - NIGHT</stage_direction> <scene_description>Leckie leads J across the street to a car. Norris is behind the wheel.</scene_description> </scene> <scene> <stage_direction>INT. ZANONI HOTEL / BATHROOM - NIGHT</stage_direction> <scene_description>Nicky stares at herself in the mirror, her face red, crumpled and detached. She applies lipstick, drunk and sloppy.</scene_description> </scene> <scene> <stage_direction>INT. HALL / CODY HOUSE - NIGHT</stage_direction> <scene_description>An insistent BANGING at the front door. Pope walks the hall and opens it. Nicky is there, composed but upset.</scene_description> <character>NICKY</character> <dialogue>Is J here?</dialogue> <character>POPE</character> <parenthetical>(pauses, thinks fast)</parenthetical> <dialogue>He's gone to the shops. He'll be back in a tick. Come in.</dialogue> <scene_description>Pope steps aside, lets Nicky enter and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - NIGHT</stage_direction> <scene_description>Darren is smoking a bong. He's surprised and discomfited by Nicky's arrival. She's drunk, ineptly flirtatious.</scene_description> <character>NICKY</character> <dialogue>Did he say how long he'd be?</dialogue> <character>POPE</character> <dialogue>Not long. Where you been tonight?</dialogue> <character>NICKY</character> <dialogue>Down at the Zanoni.</dialogue> <character>POPE</character> <dialogue>Yeah? What's going on down there?</dialogue> <character>NICKY</character> <dialogue>Nothing much really.</dialogue> <character>POPE</character> <dialogue>Was anyone you know down there? Who'd you talk to?</dialogue> <character>NICKY</character> <dialogue>Nobody's there that I know.</dialogue> <scene_description>Pope studies her momentarily.</scene_description> <character>POPE</character> <dialogue>You want a drink?</dialogue> <character>NICKY</character> <dialogue>Thanks. Yeah.</dialogue> <scene_description>Nicky sits. Darren exhales bong smoke, wary. Pope exits to the kitchen, leaving Nicky with Darren. Awkward silence. Darren has a bad feeling about her being here.</scene_description> <character>NICKY</character> <dialogue>How's things?</dialogue> <character>DARREN</character> <dialogue>I don't know where J is. I dunno if he's coming back anytime soon.</dialogue> <scene_description>Pope enters with drinks and a syringe. He hands a drink to Nick.</scene_description> <character>POPE</character> <dialogue>J won't be long.</dialogue> <scene_description>He opens his beer, sips. He holds up the syringe.</scene_description> <character>POPE</character> <dialogue>I'm having a shot. You want a shot?</dialogue> <character>NICKY</character> <dialogue>What is it?</dialogue> <character>POPE</character> <dialogue>It's fun.</dialogue> <character>DARREN</character> <dialogue>She just wants to go home.</dialogue> <character>POPE</character> <dialogue>It's fun. Have some.</dialogue> <scene_description>Pope crouches before her. He smiles. He rubs her arm gently and slips the needle in. Nicky looks up at him. He pulls the needle out and watches her. Seconds pass, her eyes droop.</scene_description> <character>POPE</character> <dialogue>Have you been talking to the cops?</dialogue> <character>NICKY</character> <dialogue>What? About what?</dialogue> <scene_description>Nicky droops, scratches her nose. Pope is tender with her.</scene_description> <character>POPE</character> <dialogue>About anything.</dialogue> <character>NICKY</character> <dialogue>No. It's none of my business.</dialogue> <character>POPE</character> <dialogue>Yeah it is. It's your business when you're in love, isn't it? When you whisper in each other's ears. I just got a call from someone says he saw you talking to the cops.</dialogue> <character>NICKY</character> <dialogue>Cops.</dialogue> <character>POPE</character> <dialogue>Who were you talking to?</dialogue> <character>DARREN</character> <dialogue>What are you doing this for, Pope?</dialogue> <character>POPE</character> <dialogue>It's OK. You can tell me about the cops, honey.</dialogue> <scene_description>Pope watches her. She can barely keep her eyes open.</scene_description> <character>DARREN</character> <dialogue>Pope.</dialogue> <scene_description>Her eyes close. He watches her, then holds his hand over her nose and mouth. She struggles weakly. An uncomfortably long time passes before she goes limp. He takes his hand away, watches her. He strokes her hair and stands.</scene_description> <character>DARREN</character> <dialogue>What the fuck?</dialogue> <character>POPE</character> <dialogue>You're doing it again, Darren. You've smoked yourself silly, thinking something's going on.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY MOTEL - NIGHT</stage_direction> <scene_description>Leckie's car pulls into the car park of a country motel, dark and quiet. Norris escorts J to one of the rooms.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY MOTEL - NIGHT</stage_direction> <scene_description>Leckie motions for J to sit on the bed. He checks inside the bathroom. Norris stands over J.</scene_description> <character>J</character> <dialogue>Why am I here?</dialogue> <character>LECKIE</character> <dialogue>For your safety. Get some sleep.</dialogue> <scene_description>Leckie and Norris exit. J is left alone.</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD / CODY HOUSE - NIGHT</stage_direction> <scene_description>Pope emerges from the back door carrying Nicky's body. Her arms and hair hang. Her ringed fingers dangle. Pope lays her down gently on the concrete. He takes a sheet of corrugated iron against the fence and pulls it over her. He sits. He adjusts the iron with his foot and pats the dog.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY MOTEL - NIGHT</stage_direction> <scene_description>CAMERA moves slowly towards the motel, dark, no passing traffic, only two cars parked outside rooms. Dogs bark.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>CAMERA tracks slow through the room. It looks unoccupied. The bed is still made. Through to the bathroom. J sits on the edge of the bath. His hands shake.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - DAY</stage_direction> <scene_description>The room is daylit. J is curled on top of the covers, fully clothed, shoes too. A drop of water lands on his face. His eyes open. He stares, startled but still. Norris sits on a chair right beside the bed with a glass. J doesn't move. He watches Norris.</scene_description> <character>NORRIS</character> <dialogue>You want a sip of my drink?</dialogue> <scene_description>J can see a shotgun leaning against the wall.</scene_description> <character>NORRIS</character> <dialogue>What's the matter?</dialogue> <scene_description>No response.</scene_description> <character>NORRIS</character> <dialogue>Are you scared?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Are you scared of me?</dialogue> <scene_description>J doesn't move.</scene_description> <character>NORRIS</character> <dialogue>That can't feel too fuckin good.</dialogue> <scene_description>The door opens. Leckie enters with coffee and bananas.</scene_description> <character>LECKIE</character> <dialogue>Bananas.</dialogue> <scene_description>Leckie puts the food down and pulls the curtains open. He sees J lying prone. He senses something strange.</scene_description> <character>NORRIS</character> <dialogue>We're still a bit sleepy.</dialogue> <scene_description>Leckie sees the shotgun against the wall. He stays calm.</scene_description> <character>LECKIE</character> <parenthetical>(to J)</parenthetical> <dialogue>Hey, let's go sit outside a bit.</dialogue> <scene_description>J doesn't move. The atmosphere is tense. Leckie reassures.</scene_description> <character>LECKIE</character> <dialogue>C'mon. Just you and me.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL - DAY</stage_direction> <scene_description>Leckie leads J, squinting in sunlight, around the side of the motel. Leckie sits at a crappy table and chair setting by a swimming pool. He thinks a moment, then looks up at J.</scene_description> <character>LECKIE</character> <dialogue>You wanna take a seat? I'm staring straight into the sun.</dialogue> <character>J</character> <dialogue>I don't wanna talk to you.</dialogue> <character>LECKIE</character> <dialogue>You don't have to. Let me talk. You can sit and listen.</dialogue> <scene_description>Leckie sits a pebble on his knee and waits. J sits.</scene_description> <character>LECKIE</character> <dialogue>You know what the bush is about? It's about massive trees that've been standing for thousands of years and bugs that'll be dead before the minute's out.</dialogue> <scene_description>J sits, face in hands. Leckie flicks the pebble off his knee.</scene_description> <character>LECKIE</character> <dialogue>It's big trees and pissy little bugs. The way it works, if we were standing here a few million years ago, maybe the whole forest'd be full of impractical animals and soft juicy plants that animals eat like ice cream.</dialogue> <scene_description>But that was never gonna work, so now it's about super-efficient animals and hard thorny plants and everything knows it's place in the scheme of things. Everything sits in the order somewhere. Things survive coz they're strong and everything reaches an understanding. Leckie, eyes down, gives J a moment to take this in.</scene_description> <character>LECKIE</character> <dialogue>But not everything survives because it's strong. Some creatures are weak but they survive because they're protected by the strong. For one reason or other.</dialogue> <scene_description>Leckie takes another moment.</scene_description> <character>LECKIE</character> <dialogue>You might think, because of the circles you've been moving in or whatever, that you're a strong creature. But you're not. You're one of the weak creatures. And that's nothing against you. You're weak because you're young. You've survived because you've been protected by the strong. But they aren't strong anymore and they certainly aren't protecting you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I have a son with Down Syndrome. You know what that is?... He's six. He wouldn't last a day out here by himself. But he doesn't have to. Because I'm looking out for him. And he lets me look out for him.</dialogue> <scene_description>Leckie watches J. J stares at the ground.</scene_description> <character>LECKIE</character> <dialogue>We're here because we know who you are and we know what you've done.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You feel like you're in a tough situation. But you have an out. There's nothing your uncles can do to squirm out of this. Craig's learnt it the hard way. But you're not one of them. You know that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They're telling you talking to me is betraying your family, but they've betrayed you. You're out here dealing with us right now. That's all the proof you need. And you're in danger. Don't be confused about it. I think you know. And I think you know I can help you. But I can't keep offering. You gotta decide. You gotta work out where you fit.</dialogue> <scene_description>J wants help, but can't look up.</scene_description> <character>J</character> <parenthetical>(unconvincing)</parenthetical> <dialogue>I don't know why you're telling me all this.</dialogue> <scene_description>Leckie watches J.</scene_description> <character>LECKIE</character> <dialogue>Yeah, you do.</dialogue> <scene_description>Leckie watches J another moment, then stands.</scene_description> <character>LECKIE</character> <dialogue>We're going home.</dialogue> <scene_description>He heads back to the motel. J finally raises his head and watches Leckie walk. J doesn't want to go home at all.</scene_description> <character>LECKIE (O.S.)</character> <dialogue>Justin. We're leaving.</dialogue> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Leckie and Norris are quiet. J stares out the back window not knowing what he's heading home to. The car is on the freeway. The dark shapes of the city skyline loom in the distance.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>Pope is watching TV, jiggling his legs.</scene_description> <character>SMURF (O.S.)</character> <dialogue>I can tell you one thing...</dialogue> <scene_description>Smurf appears in the kitchen doorway wearing rubber gloves.</scene_description> <character>SMURF</character> <dialogue>You can say what you like about Craig, but at least he was clean.</dialogue> <parenthetical>(turns)</parenthetical> <dialogue>Hi, sweetie. Where have you been?</dialogue> <scene_description>J has entered from the hall, nervous. Pope watches him.</scene_description> <character>J</character> <dialogue>I've been at Nicky's house.</dialogue> <character>POPE</character> <dialogue>Yeah? How is she?</dialogue> <character>J</character> <dialogue>She's good, yeah.</dialogue> <scene_description>J heads to the bedroom. The PHONE RINGS. Pope watches J.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - DAY</stage_direction> <scene_description>J stands in the bedroom.</scene_description> <character>SMURF (O.S.)</character> <dialogue>We should do a little shopping. That fridge is starving to death.</dialogue> <scene_description>J's anxious. He can hear Pope on the phone in the other room.</scene_description> <character>POPE (O.S.)</character> <dialogue>He's here. He's just walked in.</dialogue> <scene_description>J looks through the window to the backyard. Daisy sniffs around the sheet of corrugated iron.</scene_description> <character>POPE (O.S.)</character> <dialogue>Fuckin take it easy, Darren.</dialogue> <scene_description>J steps slowly to a back door. He can see a bracelet sticking out from under the iron.</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD / CODY HOUSE - DAY</stage_direction> <scene_description>J walks apprehensively to the iron sheet. He picks up the bracelet. It's Nicky's. He looks at the iron. A tuft of hair is caught on its edge. J's heart races. J shifts the iron. It BANGS on the cement. Nothing underneath. J pulls his phone from his pocket and dials a number. He waits. And then Nicky's distinctive RINGTONE sounds from inside the house. The back door cracks open as Pope charges from the house and across the back yard towards J. J runs to the back fence, climbs it nimbly into the lane behind the house.</scene_description> </scene> <scene> <stage_direction>EXT. LANEWAYS / STREETS - DAY</stage_direction> <scene_description>J tears down the laneway. Pope appears behind him, clambering over the fence and giving chase. They fly into street traffic then down another lane. Pope narrows the gap, then J turns a corner. By the time Pope rounds the corner, J is gone.</scene_description> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>Gus is at the kitchen table doing paperwork. Andy plays video games. He looks up, hearing a THUMP at the back door. J is outside, dishevelled and anxious. Gus opens the door.</scene_description> <character>J</character> <dialogue>Sorry.</dialogue> <character>GUS</character> <dialogue>Nick isn't here. Is everything OK?</dialogue> <scene_description>Gus steps out the way, letting J enter.</scene_description> <character>GUS</character> <dialogue>Nick didn't come home last night. We thought she was with you.</dialogue> <character>J</character> <dialogue>I think she was gonna stay at Danielle's. I'm just gonna go the toilet if that's OK?</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM / HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>J shuts the door. He sits on the closed toilet seat. He sees: Nicky's pajamas in a heap on the floor; make-up strewn around. J's heart races. He cries.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - DAY</stage_direction> <scene_description>Darren stands with Smurf holding his car keys. Pope enters through the back door, catching his breath, still on fire.</scene_description> <character>POPE</character> <dialogue>Where does the girl live? What's her address?</dialogue> <character>DARREN</character> <dialogue>Why -</dialogue> <character>SMURF</character> <dialogue>What's wrong, dear?</dialogue> <character>POPE</character> <parenthetical>(anger building)</parenthetical> <dialogue>What's her address?</dialogue> <character>DARREN</character> <dialogue>You went there. We went there the other day.</dialogue> <character>POPE</character> <parenthetical>(enraged)</parenthetical> <scene_description>I FUCKIN FORGOT! TELL ME WHAT'S THE FUCKIN GIRL'S HOUSE!</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM / HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>J rinses and dries his face. And then his phone starts RINGING LOUD in his pocket. He pulls it out, answers it.</scene_description> <character>J</character> <dialogue>Darren?</dialogue> <character>DARREN (OVER)</character> <dialogue>You gotta get out of there. Pope just left here in a bad way. I think he's heading over there.</dialogue> <character>J</character> <dialogue>How does he know where I am?</dialogue> <character>DARREN (OVER)</character> <dialogue>I dunno. Just get out of there.</dialogue> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>J enters the living area again. He is frightened. He doesn't want to leave Gus and Andy in the house with Pope on the way.</scene_description> <character>J</character> <dialogue>Can you give me a lift somewhere?</dialogue> <character>GUS</character> <dialogue>I dunno, J. I've got work to do.</dialogue> <character>J</character> <dialogue>It's just that I'm late. To the shops would be good.</dialogue> <scene_description>Gus considers J's disposition.</scene_description> <character>GUS</character> <dialogue>I should get out of the house, I suppose. Give us a minute.</dialogue> <scene_description>Gus exits, leaving J standing, anxious, watching Andy with his video game. Gus returns with Andy's shoes.</scene_description> <character>GUS</character> <dialogue>Hey, buddy. We're going for a ride.</dialogue> <scene_description>J wants the whole process to hurry up. Shoes on, Gus and Andy head to the back door. J follows.</scene_description> </scene> <scene> <stage_direction>INT. GARAGE / HENRY-EMERY HOUSE - DAY</stage_direction> <scene_description>The car is in the garage, dark. J gets in the passenger seat, waiting anxious, as Gus gets Andy into the back seat. Gus gets behind the wheel. He starts the engine and presses the garage door controller in the glove box. The door rises slowly. Sunlight streams in. Gus backs the car out.</scene_description> </scene> <scene> <stage_direction>I/E. GUS'S CAR - DAY</stage_direction> <scene_description>J looks down the street. It's empty. Gus puts the car in Drive and moves off. J cranes around to look out the back window, down the street. Then - CRACK. The car is clipped hard from the front. It spins wildly, then comes to a rest. Through the window, J can see Pope behind the wheel of Darren's car, undoing his seat belt. Pope's car is jammed between Gus's car and another parked in the street. Pope can't open any doors - he's trapped inside. J clambers into the backseat, past Gus who is dazed, blood trickling down his forehead. J stumbles out the backdoor into the street. He looks back. He locks eyes with Gus, who looks back at him, vacant. And then everything slows. J notices moments - a neighbour in a dressing gown. J runs. MUSIC CUE...</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET - DAY</stage_direction> <scene_description>J sits on a bench, mobile in hand. Leckie and two detectives walk through the supermarket, handguns discreetly drawn. They find J and help him up.</scene_description> </scene> <scene> <stage_direction>INT. CAR PARK / POLICE COMPLEX - DAY</stage_direction> <scene_description>A car appears under the rollerdoor to an underground carpark. J is led from the car to the elevator. Surrounded by detectives in suits with guns, the elevator doors close.</scene_description> </scene> <scene> <stage_direction>EXT. RAILWAY EMBANKMENT - DAY</stage_direction> <scene_description>Nicky's body is slumped in long grass beside railway tracks.</scene_description> </scene> <scene> <stage_direction>INT. HENRY-EMERY HOUSE / KITCHEN - DAY</stage_direction> <scene_description>Gus is on the phone. Alicia's on her knees, crying beside him. Andy stands alone watching, distressed and confused.</scene_description> </scene> <scene> <stage_direction>INT. BROWN-SAYLES HOUSE / LOUNGE - DAY</stage_direction> <scene_description>Catherine holds Evie, staring through the curtained window.</scene_description> </scene> <scene> <stage_direction>INT. DARREN'S APARTMENT - DAY</stage_direction> <scene_description>Pope and Darren are cuffed on the floor, neither talking. Darren is anguished, Pope stony-faced.</scene_description> </scene> <scene> <stage_direction>INT. CODY HOUSE - DAY</stage_direction> <scene_description>Smurf sits at the kitchen table dunking a tea bag, while plain clothes and uniformed police move around her.</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Leckie drives alone on a desolate outer suburban street. He pulls up outside a nondescript brick house. END MUSIC.</scene_description> </scene> <scene> <stage_direction>EXT. SAFE HOUSE 1 - DAY</stage_direction> <scene_description>Leckie walks to the front door of the house and knocks.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Who is it?</dialogue> <character>LECKIE</character> <dialogue>Detective Senior Sergeant Leckie.</dialogue> <scene_description>The sound of LOCKS being undone precedes the door opening.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL / SAFE HOUSE 1 - DAY</stage_direction> <scene_description>Leckie enters. At the door is an unfriendly Protective Security Group (PSG) officer in sweatshirt, jeans, sneakers.</scene_description> <character>LECKIE</character> <dialogue>How are you?</dialogue> <character>DOOR PSG</character> <dialogue>Alright.</dialogue> <character>LECKIE</character> <dialogue>Where is he?</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE / SAFE HOUSE 1 - DAY</stage_direction> <scene_description>Leckie enters. J is watching TV. A PSG sits behind him, also watching. The air is cold, the room barren, barely furnished.</scene_description> <character>LECKIE</character> <parenthetical>(to lounge PSG)</parenthetical> <dialogue>Can you leave us for a bit?</dialogue> <scene_description>The LOUNGE PSG exits. Leckie shuts the door behind him, then sits opposite J. J ignores him, staring at the TV.</scene_description> <character>LECKIE</character> <dialogue>How you going?</dialogue> <scene_description>Leckie speaks quietly. J doesn't respond.</scene_description> <character>LECKIE</character> <dialogue>Have any threats been made against you?</dialogue> <scene_description>J doesn't respond.</scene_description> <character>LECKIE</character> <dialogue>In your last record of interview you told Detective Foulkes you were getting grief from your minders. Now I can have you moved somewhere else. I can have new Protective Security Group officers appointed. But you have to tell me this. I can't be hearing it from other people.</dialogue> <character>J</character> <dialogue>I wanna know what's gonna happen after all this, about where I'm gonna live and my new name and that.</dialogue> <character>LECKIE</character> <dialogue>You'll be looked after. Don't worry about that. I'm more concerned with how happy you are now. Do you want me to move you? Do you want me to appoint new PSGs?</dialogue> <scene_description>J doesn't respond. He stares at the TV.</scene_description> <character>LECKIE</character> <dialogue>Yes or no is all I need.</dialogue> <scene_description>J nods.</scene_description> <character>LECKIE</character> <dialogue>OK. The earliest I can make this happen is tomorrow morning. Will you be alright here tonight?</dialogue> <scene_description>J nods. Leckie stands, putting a hand on J's shoulder. Leckie exits the room, shutting the door behind him.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL / SAFE HOUSE 1 - DAY</stage_direction> <scene_description>The HEAD PSG is waiting in the foyer with the Door PSG.</scene_description> <character>HEAD PSG</character> <dialogue>You can't just turn up here. You want to see him in future, you need to make proper arrangements for that to take place somewhere else.</dialogue> <character>LECKIE</character> <dialogue>I'd really like to follow the rules, but it doesn't seem like anyone else is.</dialogue> <character>HEAD PSG</character> <dialogue>What's that supposed to mean?</dialogue> <character>LECKIE</character> <dialogue>Why am I explaining this to you? He's with us. I know you're emotional, but he's with us now, which is no guarantee he'll be with us tomorrow. I shouldn't have to be saying this. But for some reason right now I feel like I have to explain it to you. Why is that?</dialogue> <character>HEAD PSG</character> <dialogue>I really appreciate your help with my job, mate. I really do. I know how busy you are. I think it'd be best if you skedaddled now.</dialogue> <scene_description>Leckie doesn't want these men as enemies. He exits.</scene_description> <character>HEAD PSG</character> <dialogue>Yeah, that's right. Off you fuck, faggot.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE / SAFE HOUSE 1 - DAY</stage_direction> <scene_description>J sits. The lounge PSG enters with a dog bowl and can of dog food. He puts the bowl on the coffee table in front of J and empties the can into the bowl. He taps the can with a spoon.</scene_description> <character>LOUNGE PSG</character> <dialogue>Dinner's ready, cunt.</dialogue> <scene_description>J ignores him and the bowl and continues staring at the TV. He hears MEN LAUGHING in another room.</scene_description> </scene> <scene> <stage_direction>INT. PRISON VISITATION AREA - DAY</stage_direction> <scene_description>Pope sits behind grubby Perspex. Darren is just behind him, quiet. Smurf is on the other side of the glass.</scene_description> <character>SMURF</character> <dialogue>Ezra says don't get your hopes up about the committal.</dialogue> <character>POPE</character> <dialogue>He said there was still strings he could pull.</dialogue> <character>SMURF</character> <dialogue>They're all pulled.</dialogue> <scene_description>Smurf is concerned about Darren's non-communication.</scene_description> <character>SMURF</character> <parenthetical>(to Darren, softly)</parenthetical> <dialogue>How are you keeping, hon?</dialogue> <scene_description>Darren doesn't respond. He's obviously not keeping well.</scene_description> <character>POPE</character> <dialogue>What did he say about whomping that bail application in? Is he on this thing or what?</dialogue> <character>SMURF</character> <dialogue>Darren, honey? Say something.</dialogue> <character>POPE</character> <dialogue>Answer her.</dialogue> <scene_description>Darren starts crying quietly.</scene_description> <character>SMURF</character> <dialogue>What's going on in here? Are you looking after your brother?</dialogue> <character>POPE</character> <parenthetical>(to Darren)</parenthetical> <dialogue>Say hi to mum, sook.</dialogue> <parenthetical>(to Smurf)</parenthetical> <dialogue>What did Ez say about whomping that bail application in?</dialogue> <character>SMURF</character> <dialogue>What do you think he said? It's been whomped. You're not getting bail. What on Earth makes you think you might get bail? What do you think you're in here for?</dialogue> <character>POPE</character> <dialogue>Oh, fuckin don't start up again.</dialogue> <character>SMURF</character> <dialogue>If you let anything happen to him in here...</dialogue> <character>POPE</character> <dialogue>What. What are you gonna do, mum?</dialogue> <scene_description>Smurf watches Darren. She knocks lightly on the Perspex.</scene_description> <character>SMURF</character> <dialogue>Darren honey, talk to mum.</dialogue> </scene> <scene> <stage_direction>EXT. SAFE HOUSE 1 - DAWN</stage_direction> <scene_description>All is quiet. The garage door opens. Two sedans emerge. On the street, they peel away in opposite directions.</scene_description> </scene> <scene> <stage_direction>INT. TINTED-WINDOWED SEDAN - DAWN</stage_direction> <scene_description>The car drives. Leckie is in back, with another detective. J sits between them, bent over in 'crash position'.</scene_description> </scene> <scene> <stage_direction>INT/EXT - EZRA'S CAR (STATIONERY) - DAY</stage_direction> <scene_description>Smurf stands in a city street talking to Ezra, who sits in his 4- wheel drive. Smurf's in fur coat, big sunglasses; Ezra in a suit. He reads a small scrap of paper.</scene_description> <character>EZRA</character> <dialogue>You sure this is the address he's been moved to? How did you get this?</dialogue> <character>SMURF</character> <dialogue>That's the address.</dialogue> <character>EZRA</character> <dialogue>Get in the car.</dialogue> <scene_description>Smurf gets in the passenger seat.</scene_description> <character>EZRA</character> <dialogue>You really want to go down that road? We're still working on it.</dialogue> <parenthetical>(re: the address)</parenthetical> <dialogue>Where did you get this?</dialogue> <character>SMURF</character> <dialogue>I've been around a long time, sweetie. J's turned. He's not coming back. Even if the boys get off, I won't see him again. I won't let Darren rot in that place. If they go down, that's it. I've got no one left.</dialogue> <scene_description>Ezra considers this, unsure, looking at the piece of paper.</scene_description> <character>SMURF</character> <dialogue>J's gone either way. We need to set up a meeting. Is your office safe?</dialogue> </scene> <scene> <stage_direction>INT. EZRA WHITE'S OFFICE - DAY</stage_direction> <scene_description>Ezra is at his desk. On a couch is Detective Roache, Craig's Drug Squad contact from the pet store. Smurf sits beside him.</scene_description> <character>ROACHE</character> <dialogue>I know you've got a problem, Janine. But I don't see how this mess your boys are in has anything to do with me. If you've called me in here to see if there's strings I can pull, you're way off course.</dialogue> <scene_description>Smurf doesn't respond. She fiddles with her purse.</scene_description> <character>ROACHE</character> <dialogue>Is that what this is about?</dialogue> <character>SMURF</character> <dialogue>Hey Randall, before you go on, this boy who's currently being looked after, tell me if you agree with this, this boy who's being looked after - he knows who you are.</dialogue> <scene_description>Roache looks to Ezra. Ezra watches Roache.</scene_description> <character>SMURF</character> <dialogue>And you know how these things go. They'll ask him all sorts of questions, about everything he's ever seen or done and everyone he's ever met. The whole shemozzle. And you've done some bad things, sweetie... Haven't you?...</dialogue> <scene_description>I want this part to be clear so you're not thinking this is about you doing me a favour or I'm blackmailing you or anything like that. It's just a bad situation for everyone. Roache looks to Ezra who remains impassive. Roache drops his eyes. Smurf pauses. She knows she's ordering J's execution.</scene_description> <character>SMURF</character> <dialogue>Ezra has the address. I don't think it should be hard to set up a raid on the house. There'd be reasonable grounds with all the strange activity and comings and goings day and night, and maybe a neighbour spotted a gun somewhere. This is your field of expertise. I don't mean to tell you how to suck eggs. What do you think?</dialogue> <scene_description>Roache is now massaging his face.</scene_description> <character>ROACHE</character> <dialogue>I really don't see how anything can be done.</dialogue> <character>SMURF</character> <dialogue>Randall.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I feel sick right now. I'm not happy about this at all. Not one bit. But we do what we must. Just because we don't want to do it doesn't mean it can't be done.</dialogue> <scene_description>Roache looks up at Ezra, who is doodling on a note pad.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / SAFE HOUSE 2 - DAY</stage_direction> <scene_description>J and Leckie in the kitchen of a new suburban safe house. J is at the stove stirring a pot. Leckie pulls a jar from a plastic shopping bag and screws its lid open.</scene_description> <character>LECKIE</character> <dialogue>This is the stuff. This Vietnamese noodle soup place on Russell St makes it. Smell that.</dialogue> <scene_description>Leckie puts the jar under J's nose. J recoils.</scene_description> <character>LECKIE</character> <dialogue>That's real chilli sauce.</dialogue> <scene_description>J laughs. His nostrils are burning.</scene_description> <character>LECKIE</character> <dialogue>I didn't say suck it in. I said give it a whiff.</dialogue> <scene_description>Leckie screws the lid back on and grabs his keys and wallet.</scene_description> <character>LECKIE</character> <dialogue>Alright, I have to take off. Keep the noodles in the stock for another minute or two. I'd say. Or just taste them - whenever they're ready. And then pull it off and chuck the rest in. Yeah?</dialogue> <character>J</character> <dialogue>Yep. Do I need to keep stirring?</dialogue> <character>LECKIE</character> <dialogue>No. Just pull it off in a minute. OK. Top work. I'll see you later.</dialogue> <scene_description>J keeps stirring.</scene_description> <character>J</character> <dialogue>See ya later.</dialogue> </scene> <scene> <stage_direction>INT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>TOM, a new PSG, sits in a chair by the front door with a magazine. The house is quiet. J is in the lounge watching TV and eating noodle soup. He's struggling with chopsticks. PSG SANTO, signals urgently to Tom towards the front door. Tom peers outside through the blinds. Across the street, two men in sneakers and jeans creep towards the house carrying shotguns. Then, two more appear.</scene_description> <character>TOM</character> <dialogue>Fuck.</dialogue> </scene> <scene> <stage_direction>EXT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>Roache holds back, still on the far side of the street. He has a shotgun. He's edgy. He crosses the street warily.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>PSGs Tom, Santo and GARY are now at the front door, guns drawn. Tom peeks through the blinds. Four people creep towards the house. J hangs back, watching from a doorway.</scene_description> <character>TOM</character> <dialogue>They look like cops.</dialogue> <character>GARY</character> <dialogue>Jesus Christ. What are we doing?</dialogue> <scene_description>J backs away into the house.</scene_description> </scene> <scene> <stage_direction>EXT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>As officers approach the house, Roache peels away alone, down the side of the house, gun ready. He knows where he's going.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>The PSGs are panicked. Gary looks through the blinds.</scene_description> <character>SANTO</character> <dialogue>Fuck it. We surrender.</dialogue> <character>GARY</character> <dialogue>There's about six of them.</dialogue> <character>TOM</character> <dialogue>I'm pretty sure they're cops.</dialogue> <character>SANTO</character> <dialogue>I'm not fighting a war. There's no way I'm fighting a war over some fuckwit kid. Fuck it, I'll shoot him myself.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM &amp; BATHROOM / SAFE HOUSE 2 - DAY</stage_direction> <scene_description>J crosses through the bedroom to the en-suite bathroom. He climbs onto the toilet seat and opens the window.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>Santo puts his gun down and kneels, hands behind his head. Tom does the same.</scene_description> </scene> <scene> <stage_direction>EXT. SAFE HOUSE 2 - DAY</stage_direction> <scene_description>J crouches on the window ledge. He looks around to see Roache approaching. They lock eyes. J jumps onto the neighbouring fence. Roache raises his gun, but J is gone.</scene_description> <character>ROACHE</character> <dialogue>Fuck!</dialogue> <parenthetical>(into walkie-talkie)</parenthetical> <dialogue>Abort! They're cops! Fuck!</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN BACKYARD - DAY</stage_direction> <scene_description>J runs through a neighbouring backyard. Two boys his own age stand beside a swimming pool in board shorts. They look up at him, stunned, as he passes.</scene_description> </scene> <scene> <stage_direction>INT. SMURF'S APARTMENT - DAY</stage_direction> <scene_description>Smurf prepares cookie mix. An old lady, HELEN, sits at the kitchen table reading a magazine.</scene_description> <character>SMURF</character> <dialogue>Oh goodness, no. I don't like him. His teeth are crooked.</dialogue> <character>HELEN</character> <dialogue>I don't care for him.</dialogue> <character>SMURF</character> <dialogue>You would've thought the executives at that station, if they need a new host for their show, they could find someone with straighter teeth.</dialogue> <scene_description>KNOCK at the door. Smurf wipes her hands, goes to answer it.</scene_description> <character>SMURF</character> <dialogue>I don't mind his personality, but his mouth is very off-putting.</dialogue> <scene_description>Smurf answers the door. J is there.</scene_description> <character>SMURF</character> <dialogue>Oh my goodness.</dialogue> <character>J</character> <dialogue>I need to talk to you.</dialogue> <character>SMURF</character> <dialogue>What are you doing here?</dialogue> <character>J</character> <dialogue>Is anyone inside?</dialogue> <character>SMURF</character> <dialogue>My neighbour Helen's here, love.</dialogue> <character>J</character> <dialogue>I need to talk to you. I'm gonna get Pope out of jail. I can't live like this.</dialogue> </scene> <scene> <stage_direction>I/E. SMURF'S APARTMENT - DAY</stage_direction> <scene_description>J leads Smurf to a quiet spot just outside her flat.</scene_description> <character>J</character> <dialogue>I wanna set up a meeting with Ezra and that barrister from the committal.</dialogue> <character>SMURF</character> <dialogue>Of course. OK.</dialogue> <character>J</character> <dialogue>I don't trust Ezra. I'm not going to anyone's house. It has to be somewhere public. But it also has to be somewhere that no one we know would go.</dialogue> <character>SMURF</character> <dialogue>OK, honey. OK. I'm just glad your home.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY OF VICTORIA - DAY</stage_direction> <scene_description>J, Ezra, Smurf and barrister JOHN HOPPER sit on benches in the middle of a major hall of the art gallery. Hopper observes, occasionally glancing at the art around him.</scene_description> <character>J</character> <dialogue>I'm not coming home.</dialogue> <character>EZRA</character> <dialogue>Mate, if you really want to help the boys, coming home's the thing to do.</dialogue> <character>J</character> <dialogue>I'm not coming home. I'm not safe there.</dialogue> <character>SMURF</character> <dialogue>Yes, you are, dear.</dialogue> <character>J</character> <dialogue>I'm not. I'm not safe in witness protection either, but I'd rather take my chances there.</dialogue> <character>SMURF</character> <dialogue>You'll be safe at home, honey.</dialogue> <character>J</character> <dialogue>You can't promise me that.</dialogue> <character>SMURF</character> <dialogue>I can. I can.</dialogue> <character>J</character> <dialogue>I'm not coming home. I'm going back there. I'm just here to let you know that I'm gonna help.</dialogue> <scene_description>Smurf looks to Hopper. Hopper shrugs, leans back.</scene_description> <character>HOPPER</character> <dialogue>I think J's made his position clear. Where that leaves us now is to decide how best to proceed given the brave offer of assistance he's made.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This thing's going to trial, with or without J. That's a given. What we want is to win it. What I liked about the committal hearing - despite the fact that we've been ordered to stand trial, of course - but what I liked about the committal was that, for the most part, their case looked pretty flimsy to me, largely dependent on testimony that shouldn't be too hard to discredit I wouldn't have thought. And if the committal was any indicator, J here's their little star. If he's not there, they'll need to strengthen their brief with something else, which they will do. And they'll have the time to do it. And I'd personally rather tackle the evidence I saw at the committal than whatever rejigged brief they come up with should J suddenly decide to leave. You know what I mean?</dialogue> <parenthetical>(to J)</parenthetical> <dialogue>So now we should just make proper use of the time we have. We'll need to go over a bunch of things here. Like, for instance, this whole business of the car you claim you stole and that you claim you saw on the TV. It was just a white car wasn't it? Millions of white cars in the world. Why was that one so familiar? Probably looked very similar to that one that guy drives on that show, some show you watch all the time. You know?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now, we also want to make sure you don't perjure yourself in the process, mate, so we need to be careful how we play it. This may involve you having to answer some questions about the death of Nicole. My guess is you may not like it. Do you think you'll be OK with it?</dialogue> <character>J</character> <dialogue>I'll be fine with it.</dialogue> </scene> <scene> <stage_direction>EXT. SAFE HOUSE - NIGHT</stage_direction> <scene_description>J walks the drive to the safe house. New model cars parked outside. The front door is busted. J enters.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE - NIGHT</stage_direction> <scene_description>The house feels crowded with men in suits who fall silent as J enters. Leckie pushes to the front and leads J by the arm into the kitchen. He's clearly been worried.</scene_description> <character>LECKIE</character> <dialogue>Where have you been?</dialogue> <character>J</character> <dialogue>Hiding.</dialogue> <character>LECKIE</character> <dialogue>You shouldn't have left the house. Where did you go?</dialogue> <character>J</character> <dialogue>I was hiding.</dialogue> <character>LECKIE</character> <dialogue>It was the Drug Squad who raided the house today. They'd been told something funny was going on here. OK? It was a mix up. You're in no danger. I need you to understand that.</dialogue> <scene_description>OK.</scene_description> <character>LECKIE</character> <dialogue>Did anyone see you today?</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>LECKIE</character> <dialogue>Are you sure?</dialogue> <character>J</character> <dialogue>Nobody saw me.</dialogue> <scene_description>Leckie looks frazzled. He puts his hand on J's shoulder.</scene_description> </scene> <scene> <stage_direction>INT. SERVICED APARTMENT - DAY</stage_direction> <scene_description>J stands looking out the floor-to-ceiling windows of a high-rise serviced apartment at the city sprawling to the horizon. He is dressed for court - pants and round neck jumper over a collared shirt and tie. He looks healthy and strong. He scuffs his shoe nervously against the tiled floor. Leckie appears beside him and looks out the window a moment. He then straightens J's collar.</scene_description> <character>LECKIE</character> <dialogue>You ready?</dialogue> <scene_description>J nods. Leckie turns and nods to two SOG officers in full gear - flak jackets, helmets, shotguns. The four stand waiting inside the front door. One SOG pulls the apartment door open. Outside is another SOG. He hand-signals to someone off screen. Leckie gently guides J from the window to the door, out into the hall of the building towards the elevator.</scene_description> </scene> <scene> <stage_direction>INT. VAN - DAY</stage_direction> <scene_description>J in the back of a mini-van. Leckie is beside him. As the van pulls out of an underground car park onto the street the SOG officer in the front seat leans into his personal radio.</scene_description> <character>SOG</character> <dialogue>We're on the move.</dialogue> <character>RADIO VOICE (O.S.)</character> <dialogue>Copy that.</dialogue> <scene_description>Leckie watches J. J looks out the window. The radio crackles.</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF SUPREME COURT - DAY</stage_direction> <scene_description>The vans are admitted through the back gates of the court building. The gates are quickly closed by court officers. The van stops at the back entrance. A SOG emerges first, followed by J, then another two SOGs. J is hurried inside.</scene_description> </scene> <scene> <stage_direction>INT. SUPREME COURT / HOLDING AREA - DAY</stage_direction> <scene_description>J sits in a holding area. There is quiet and tense anticipation. He is clearly the centre of concern. He sits and waits. A court warden approaches.</scene_description> <character>COURT WARDEN</character> <dialogue>OK. They're ready for you now.</dialogue> <scene_description>J stands and is escorted down a hall. He and the warden wait outside a door. The door opens. J enters.</scene_description> </scene> <scene> <stage_direction>INT. SUPREME COURT / HOLDING AREA - DAY</stage_direction> <scene_description>Inside the holding area, the air is muted and tense. Radios crackle. Wardens and cops sit in silence, waiting.</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY OF VICTORIA / CAFE - DAY</stage_direction> <scene_description>FLASHBACK: Hopper sits opposite J at a quiet table. Ezra and Smurf sit at the next table. Ezra takes notes. Smurf watches.</scene_description> <character>HOPPER</character> <dialogue>Your girlfriend Nicole died from a heroin overdose. Is this true?</dialogue> <character>J</character> <dialogue>Yes.</dialogue> <character>HOPPER</character> <dialogue>Is it true that you believe your uncles were responsible for this?</dialogue> <character>J</character> <dialogue>Yes.</dialogue> <character>HOPPER</character> <dialogue>How?</dialogue> <character>J</character> <dialogue>They injected her.</dialogue> <character>HOPPER</character> <dialogue>Maybe don't rush your answers, mate. The more you hesitate, the more uncertain you'll appear.</dialogue> <character>SMURF</character> <dialogue>How's he gonna remember all this?</dialogue> <character>HOPPER</character> <dialogue>He doesn't have to remember it. It's better if he doesn't.</dialogue> <scene_description>We don't want him reciting lines. All he needs to do here is get into the swing of the thing. He just needs to wrap his head around the flavour of it. (beat, to J) You understand that, mate? J nods.</scene_description> <character>HOPPER</character> <dialogue>So, you're saying they forcibly injected her with what's known as a hot shot?</dialogue> <character>J</character> <dialogue>Yes.</dialogue> <character>HOPPER</character> <dialogue>Did you see them do this?</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>HOPPER</character> <dialogue>What did you see?</dialogue> <character>J</character> <dialogue>I came home and found her bracelet thing in the backyard.</dialogue> <character>HOPPER</character> <dialogue>But you didn't actually see her there, nor did you see anyone inject her. Was she known to you to be a user of heroin?</dialogue> <character>J</character> <dialogue>Sometimes, yeah.</dialogue> <character>HOPPER</character> <dialogue>Was she? This is me talking now.</dialogue> <character>J</character> <dialogue>No.</dialogue> <character>HOPPER</character> <dialogue>Then say no. You don't need to lie... Was there any reason why she might have wanted to use heroin on this particular night?</dialogue> <character>J</character> <dialogue>Maybe.</dialogue> <character>HOPPER</character> <dialogue>Why maybe?</dialogue> <character>J</character> <dialogue>I broke up with her.</dialogue> <character>HOPPER</character> <dialogue>That night?</dialogue> <character>J</character> <dialogue>Yes.</dialogue> <character>HOPPER</character> <dialogue>So to an extent you feel responsible for Nicole's death.</dialogue> <character>J</character> <dialogue>I dunno. Maybe to an extent.</dialogue> <character>HOPPER</character> <dialogue>But you want your uncles put away for it. Even though you didn't see them do it and she was justifiably upset on this particular night because you ended the relationship.</dialogue> <scene_description>J looks coolly to Ezra taking notes and Smurf watching.</scene_description> <character>HOPPER</character> <dialogue>You're looking for someone to blame for something you feel responsible for. Would you agree with that? Blah blah blah.</dialogue> <scene_description>J looks to Hopper, defiant. He holds it.</scene_description> <character>HOPPER</character> <dialogue>That's good, mate. You feel OK?</dialogue> <character>SMURF</character> <dialogue>Are you OK, sweetheart?</dialogue> <character>J</character> <dialogue>I'm fine. Can you find us a drink, Smurf?</dialogue> <character>SMURF</character> <dialogue>Of course. I'm sure I saw a drink machine somewhere.</dialogue> </scene> <scene> <stage_direction>INT. SUPREME COURT / HOLDING AREA - DAY</stage_direction> <scene_description>Commotion. J is led from the court, through back corridors.</scene_description> </scene> <scene> <stage_direction>INT. SOG VAN - DAY</stage_direction> <scene_description>The van drives through the back gate of the court, J surrounded by SOGs with shotguns. J is pensive. Heavily armed SOG presence is oppressive - gum chewing, guns on laps.</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>BROADCAST VIDEO FOOTAGE: A REPORTER sits at the wheel of a car, the video shot from the passenger seat. The reporter checks his hair in the rearview and scours the street over the cameraman's shoulder.</scene_description> <character>REPORTER</character> <parenthetical>(nervous energy)</parenthetical> <dialogue>Here they come.</dialogue> <scene_description>He starts the car. The video camera POV shifts to the empty backseat. Moments later, the back door opens. Darren, Smurf and Pope pile in and the car pulls away. The boys wear suits. Darren cries. Smurf hugs him. Pope smiles. It's all chaotic.</scene_description> <character>REPORTER (O.C.)</character> <dialogue>Let's get away from here a bit.</dialogue> <parenthetical>(then, to backseat)</parenthetical> <dialogue>How do you feel?</dialogue> <character>DARREN</character> <dialogue>We're over the moon! We're very over the moon! Fantastic!</dialogue> <scene_description>Smurf kisses Darren's head. Darren is crying tears of joy.</scene_description> <character>REPORTER (O.C.)</character> <dialogue>What about you, Andrew? Has justice been done today?</dialogue> <scene_description>Pope stares out the window.</scene_description> <character>DARREN</character> <dialogue>We were innocent. We said that all along. That's what the jury's said.</dialogue> <character>REPORTER (O.C.)</character> <dialogue>Janine. You must be delighted. What do you have to say?</dialogue> <character>SMURF</character> <dialogue>I want to say three cheers for the boys! Hip-hip.</dialogue> <character>DARREN</character> <dialogue>Hooray!</dialogue> <scene_description>Smurf and Darren do three cheers. Pope looks out the window.</scene_description> <character>REPORTER (O.C.)</character> <dialogue>OK, let's get some nods before we forget.</dialogue> <scene_description>The CAMERA swings round to be on the reporter.</scene_description> <character>REPORTER</character> <dialogue>Tell me when you're set.</dialogue> <character>CAMERMAN (O.C.)</character> <dialogue>Set.</dialogue> <character>REPORTER</character> <parenthetical>(to rearview)</parenthetical> <dialogue>OK, guys, I just have to do what we call nods. You don't have to say anything. You'll see what it's about when it's all cut together.</dialogue> <scene_description>The reporter does some 'nods'. Then -</scene_description> <character>REPORTER</character> <dialogue>So how do you feel?</dialogue> <character>DARREN (O.C.)</character> <dialogue>Fantastic!</dialogue> <character>REPORTER</character> <dialogue>No. You don't say anything.</dialogue> </scene> <scene> <stage_direction>INT. SOG VAN - DAY</stage_direction> <scene_description>On the move, a SOG opposite J pulls his pistol and points it at J's face, the SOG's eyes hidden behind sunglasses. Other SOGs sit quiet. The SOG holds the gun for a long while, then pulls the trigger. It clicks on an empty breach. J sits numb.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Smurf in TV interview on the couch in a four-star hotel room.</scene_description> <character>SMURF</character> <dialogue>I feel for the families of those two young police, my heart goes out, but two good young boys got killed too, Barry Brown and my son Craig.</dialogue> <scene_description>The shot is now wide to reveal Smurf sitting between Pope and Darren on the couch. The boys hold glasses of white wine and are visibly drunk and fidgeting.</scene_description> <character>SMURF</character> <dialogue>They were innocent young boys. My family's been dragged through the mud over this. And that kind of action plays heavy our on minds. Police start throwing their weight around, and they fly off the handle and a kid like J gets the idea he can't even trust the law to work properly. The justice system.</dialogue> <scene_description>Pope lifts himself up drunkenly and leaves shot. Darren gets up and dials a phone on a side table behind the couch.</scene_description> <character>REPORTER (O.C.)</character> <dialogue>OK, maybe that's enough of that.</dialogue> <parenthetical>(to Pope)</parenthetical> <dialogue>Andrew, I was hoping to get some shots of you and Darren reacting to the news of your acquittal on TV.</dialogue> <character>POPE (O.C.)</character> <dialogue>Get us doing what?</dialogue> <character>REPORTER (O.C.)</character> <dialogue>As if you were watching a news report on the TV, celebrating. Like you're going 'yay!'</dialogue> <scene_description>Darren drops the phone. It crashes down behind the side table. He's very drunk.</scene_description> <character>POPE (O.C.)</character> <dialogue>I'm not a fuckin monkey, mate. I'm not doing that.</dialogue> <scene_description>As this all takes place, Smurf remains in the middle of the couch, watching her boys. Then she turns to camera, smiling.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM / SERVICED APARTMENT - NIGHT</stage_direction> <scene_description>J hurriedly packs his clothes into a bag. He zips it shut and turns to leave. SOGs mill in the hall ominously. J steps back into the room. Leckie enters and shuts the door. He sits on the bed, silent and staring at J. The moment is long and awkward.</scene_description> <character>LECKIE</character> <dialogue>Have you worked out where you fit?</dialogue> <scene_description>J grabs his bag. He opens the door and closes it behind him.</scene_description> </scene> <scene> <stage_direction>INT. HALL / SERVICED APARTMENT - NIGHT</stage_direction> <scene_description>SOG talk halts, all eyes on J. He winds his way to the door.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM / SERVICED APARTMENT - NIGHT</stage_direction> <scene_description>Back in the bedroom, Leckie sits like a lonely kid.</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET - DAY</stage_direction> <scene_description>Leckie with his wife, son and trolley. They round an aisle. And then Leckie sees Smurf. He ignores her. They head towards each other. Leckie pushes his trolley straight past her. He thinks she hasn't seen him. Then Smurf appears beside him.</scene_description> <character>SMURF</character> <dialogue>I don't wish you any ill will, Mr Leckie. I honestly don't.</dialogue> <scene_description>Leckie ignores her. His wife watches her, seriously unnerved.</scene_description> <character>SMURF</character> <dialogue>I want you to know that. You were only doing your job. I hope you catch the people who did that terrible thing.</dialogue> <character>LECKIE</character> <dialogue>If you're as smart as I think you are, you'd know to walk right on by me like we'd never seen each other before in our lives. And you'd know to feel lucky. But you're gonna come unstuck. I've got a feeling about it. I think you do too. I think you carry that feeling around with you every second of the day.</dialogue> <scene_description>Smurf looks at him, almost tenderly.</scene_description> <character>SMURF</character> <dialogue>But I don't, Nathan.</dialogue> <scene_description>Leckie leads his family away. Smurf is left in the aisle.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>J steps out of a city cafe with a take-away coffee. He sits it on a ledge and stirs in sugar, lights himself a cigarette.</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD / CODY HOUSE - DAY</stage_direction> <scene_description>J walks the side of the house, bag on his shoulder, apprehensive. He hears MUSIC and LAUGHTER. He rounds the corner to see Darren on a banana lounge drinking, another man also drinking, and Pope at the BBQ flipping sausages. Darren stops mid-laugh, his unwitting friend carries on a little longer. Pope casually continues to flip sausages.</scene_description> <character>POPE</character> <parenthetical>(warmly)</parenthetical> <dialogue>G'day, mate.</dialogue> <character>J</character> <dialogue>Hey. Hi, Daz.</dialogue> <scene_description>The dog rushes to J. He pats it.</scene_description> <character>POPE</character> <dialogue>You hungry?</dialogue> <character>J</character> <dialogue>Yeah, maybe.</dialogue> <character>POPE</character> <dialogue>Smurf's in the kitchen. Go and say hi. Grab yourself a beer.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN / CODY HOUSE - DAY</stage_direction> <scene_description>J enters. Smurf is at the bench, making salad. She turns and sees J. She rushes to him. She hugs and kisses him.</scene_description> <character>SMURF</character> <dialogue>I was wondering when I'd see you again. I've been missing you. You want food? You look Biafran.</dialogue> <character>J</character> <dialogue>I'm gonna go lie down a bit.</dialogue> <character>SMURF</character> <dialogue>You don't wanna eat? Pope's cooking.</dialogue> <character>J</character> <dialogue>I wanna lie down, I think.</dialogue> <character>SMURF</character> <dialogue>OK, love. Your room's still there.</dialogue> <scene_description>Smurf takes J's head in her hands and kisses his lips.</scene_description> <character>SMURF</character> <dialogue>I missed you.</dialogue> </scene> <scene> <stage_direction>INT. J'S BEDROOM / CODY HOUSE - DAY</stage_direction> <scene_description>The room is tidy. J is on the bed, lying on his side. He hears the bedroom door open, but doesn't turn to look. Pope takes a seat at the end of the bed, holding a beer. He looks around the room, taking it all in before speaking.</scene_description> <character>POPE</character> <dialogue>It's a crazy fuckin world.</dialogue> <scene_description>A GUN BLAST strikes Pope in the head and his body slumps like a sack of meat, instantly lifeless, to the floor. J climbs off the bed, holding a gun. He stands back and surveys the scene, standing over Pope's body. He exits to the hall still with the gun. As he heads for the lounge, Smurf walks toward him, panicked, hands to her mouth. J stops her. He holds her. She is strangely calm, catatonic.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE / CODY HOUSE - DAY</stage_direction> <scene_description>J leads Smurf across the room to the window, his arm around her. Darren is outside, looking back at him, disoriented. J seems relaxed, composed. Darren is barefoot, holding a ketchup bottle and a long sausage in a slice of bread. J tosses the gun on the couch and kisses Smurf's head. THE END</scene_description> </scene> </script>

After his mother overdoses, 17-year-old Joshua "J" Cody asks his estranged grandmother, Janine "Smurf" Cody, for help, and she invites him to move in with her. Smurf is the affectionate matriarch of a Melbourne crime family that uses her home as a base. Her home is also being watched by cops who are looking for her oldest son, Andrew "Pope" Cody, who is in hiding. The volatile middle brother, Craig, deals drugs successfully enough to have bought the house for his mother. The youngest brother, Darren, follows the lead of his siblings, while family friend "Baz" leads the gang, which specializes in armed robbery. Craig takes J along to meet with a crooked cop, from the drug squad, who tells Craig that renegade cops on the armed-robbery squad are on the lookout for all of them. Later, Baz goes to meet Pope at a shopping centre, where they discuss quitting crime and going straight. As Baz gets in his car to leave, police approach, falsely claim he has a gun, and shoot him dead. Angry and distraught, Pope and Craig want revenge and ask J to steal a Commodore and take it to Darren's place. The car is then parked after 2:00 am in the middle of the street as a lure. Two policemen are called to the scene, where they are ambushed and shot dead by Pope and Craig. The next day, Pope, Darren, and J are taken in for questioning, where J meets Detective Senior Sergeant Nathan Leckie, who also leads the armed-robbery squad. Leckie, one of the few non-corrupt police officers, recognises J's predicament and begins to lean on him. The three are later released from custody, and J returns with his girlfriend, Nicky, to her parents' home. Craig, who has avoided being picked up by the police, meets Pope, Darren, and Smurf at a diner, where they realise J is the weak link. After Smurf suggests Craig give himself up for questioning, he panics and goes to visit a friend in rural Bendigo. Craig learns that the house is already being monitored, and as the police arrive he tries to flee through a field but is gunned down. Pope and Darren take J to meet their solicitor, Ezra. He coaches J to not tell the police anything and pressures him to break up with Nicky, which J does. Leckie takes J into custody again, where he proposes that J be moved to witness protection, but J turns down the offer. Meanwhile, Nicky, unsure what to do, shows up at Smurf's home, looking for J. Pope gives her heroin, questions her, then suffocates her. When J returns to Smurf's house the next morning he discovers Nicky's bracelet outside the house. He calls Nicky's phone and hearing it ring from the backyard, flees to Nicky's parents' house. Pope gets Nicky's address from Darren and arrives in time to intercept J. J flees on foot and is taken into a safe house. With Craig and Baz dead, Pope and Darren imprisoned, and J potentially the star witness for the prosecution, Smurf decides, "J needs to go". Smurf uses her connections to procure J's address and persuades the corrupt cop to help her. Police from the drug squad then raid the safe house. J jumps a fence and returns to Smurf's house, saying he wishes to help free Pope and Darren from jail. To do this, the family's barrister then coaches J's answers. After his day in court, Leckie sees J before his departure from the safe hotel and asks him if he's "worked out where he fits" (a reference to Leckie's animal-kingdom metaphor for J's predicament). Pope, Darren, and Smurf celebrate with champagne while being interviewed after their controversial acquittal. Smurf later sees Leckie in the supermarket and taunts him. Later, J returns to Smurf's home, asking to stay before going to his room. Pope enters and begins to talk to him but is cut off when J shoots him in the head. In the final scene, J returns to the living room and embraces a now-speechless Smurf.

End of Days_1999

tt0146675

<script> <scene> <scene_description>Written by Andrew W. Marlowe Beaeon Communications 2/17/98 if "And it is written that when God made Han in his image, he asked the angels to bow down before his greatest creation. One amongst them refused, and for that sin, Lucifer the Angel of Light, was cast from God's grace, and imprisoned in the darkness of Bell. But once every thousand years, when the stars are right, Lucifer is freed from his prison seeking vengeance against Han. Zf he can cross the threshold of Bell with his chosen mortal bride, he shall be given reign over earthly souls and all mankind will be damned.\* - The Satanic Prophesies y^jP^v</scene_description> <character>FADE IN:</character> <dialogue>TITLE CARD: "25 Years Ago"</dialogue> <character>EXT. HOSPITAL - DAY</character> <dialogue>The New York City daylight shines down on OUR LADY OF MERCY HOSPITAL.</dialogue> <character>INT. DELIVERY ROOM - DAY</character> <dialogue>A woman lies in stirrups, breathing rhythmically. Her husband squeezes her hand while the obstetrician kneels between her legs.</dialogue> <character>OB/GYN</character> <dialogue>Push... that's it. Push.</dialogue> <scene_description>With a final push, the woman tenses her entire body and a moment later the cry of a newborn fills the room.</scene_description> <character>OB/GYM</character> <dialogue>It's a girl.</dialogue> <scene_description>The cheerful NURSE gingerly wraps the baby in a blanket and presents it to the mother. ••"ew^</scene_description> <character>MOTHER</character> <dialogue>She's... she's so beautiful.</dialogue> <scene_description>Tears of joy fill the mother's eyes as the NEW FATHER kisses his wife on the forehead. They both beam at the miracle.</scene_description> <character>NURSE</character> <dialogue>I must take her down for her clean- up, now.</dialogue> <character>WOMAN</character> <dialogue>No please. Not yet.</dialogue> <character>NURSE</character> <dialogue>Oh, it's procedure. We'll have her back to you before you know it.</dialogue> <scene_description>The Nurse takes the baby from the room.</scene_description> <character>INT. CORRIDOR - DAY</character> <dialogue>The Nurse walks past the sick and dying. She clutches the baby to her bosom as it were her own. Just before the elevators, the Nurse ducks into the stairway.</dialogue> <scene_description>&lt;v</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - DAY</stage_direction> <scene_description>Darkness fills the stairwell as the Nurse descends..• flight after flight. Until it ends. She pushes through a door, into a... Dark corridor ... and with the crying baby she turns into...</scene_description> </scene> <scene> <stage_direction>INT. MORGUE - DAY</stage_direction> <scene_description>Sheet covered cadavers lie on metal slabs. FACELESS MEN, wearing HOODED ROBES, gather in a small circle in the center of the room. One of them, the HEAD PRIEST, steps forward and takes the baby from the nurse. The room is lit by the glow of candles arranged in a... Pentagram The Head Priest unwraps the newborn girl and places her in the center of the Satanic symbol.</scene_description> <character>BEAD PRIEST</character> <dialogue>To him, we commit your body. To him, we commit your soul.</dialogue> <scene_description>The Bead Priest opens a box and removes a snake. Be holds the snake high, showing it to the others. Then he takes a silver dagger and cuts the snake open. It writhes as its blood drips onto the baby.</scene_description> <character>HEAD PRIEST</character> <dialogue>You are promised to him. You are given to him. You shall open the gates and build him a temple on Earth. -</dialogue> <scene_description>The Bead Priest smears the blood of the snake on the newborn's face and brings his blood soaked fingers to rest in the baby girl's mouth.</scene_description> <character>BEAD PRIEST</character> <dialogue>You are chosen.</dialogue> <scene_description>.She suckles the fingers.</scene_description> <character>BEAD PRIEST</character> <parenthetical>(whispering)</parenthetical> <dialogue>You have tasted him. And now you are his and you will hunger for him.</dialogue> <scene_description>The snake ignites into a flash of flame end disappears.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT "^</stage_direction> <scene_description>The Nurse walks back down the linoleum, clutching the baby. She turns into... THE MATERNITY WARD and hands the little girl back over to her mother's arms.</scene_description> <character>NURSE</character> <dialogue>Bare she is, all clean and fresh. Bave you thought of a name yet?</dialogue> <character>MOTHER</character> <dialogue>Christine. Her name's Christine.</dialogue> <character>NURSE</character> <dialogue>Bappy Birthday, Christine.</dialogue> </scene> <scene> <stage_direction>EXT. VATICAN CITY - NIGHT</stage_direction> <scene_description>The majestic towers of the Vatican rise high into the night, their shadowy faces lit from the glow of street lamps below. The moon, not yet full, hangs low in the sky. But something's different. Above the moon is a FAINT ARC of some kind. In the window of one of the tower rooms, candle light ^\*\ flickers and a shadow moves across the pane of glass.</scene_description> </scene> <scene> <stage_direction>INT. ROOM - NIGHT</stage_direction> <scene_description>Monastieally spare - a wooden chair, table and bed. Open on the table is an ILLUMINATED MANUSCRIPT. Beautiful lettering adorns its worn parchment pages, and a rich illustration leaps off the opposing page. The shadow moves across the page. A Monk takes his seat at the table.</scene_description> <character>MONK</character> <dialogue>All my life have I watched the skies, waiting for the sign.</dialogue> <scene_description>The monk points to the illustration in the manuscript. The full moon hangs low in the sky. Across the top of the moon is a comet, its tail sweeping in an arc over the glowing orb. The effect is that of a giant eye. Beneath it, a child lies inside a Pentagram.</scene_description> <character>HONK</character> <parenthetical>(reading)</parenthetical> <dialogue>Under the eye of God the child is born. She shall be marked by darkness.</dialogue> <scene_description>C Another SHADOW moves in the candle lit roam. His vestments rustle as he moves to the window balcony, stepping out into the night air. Above him in the sky, THE VERY SAME SIGN. A comet arcing over the moon.</scene_description> <character>MONK</character> <dialogue>Your Holiness, there can be no doubt. It has begun.</dialogue> <scene_description>The shadow figure steps into the light. We see by his vestments that he is indeed THE POPE.</scene_description> <character>POPE</character> <dialogue>Send emissaries out to all the cities of the world. She must be found.</dialogue> <scene_description>In the shadows we see other religious leaders of all faithes. They murmur amongst themselves. One among them, a CARDINAL, steps forward.</scene_description> <character>CARDINAL</character> <dialogue>She must be destroyed. Let me convene the knights.</dialogue> <character>POPE</character> <dialogue>If we sacrifice the innocent we do not deserve to be redeemed.</dialogue> <scene_description>f\*\*~~- The Monk turns the page of the manuscript. In the next V illumination, the Knight on the cliff is now surrounded by fire. A Young Girl in rags is curled around his feet. The knight's SWORDTZP points at THE DEVIL. FADE TO BLACK: "New York City - Present Day"</scene_description> <character>EXT. NSW YORK CITY - DAY</character> <dialogue>GLORY SHOTS -</dialogue> <dialogue>New Yorkers play frisboe in the Sheep's Meadow. Tourists tour the upper heights of the Empire state Building. Boats push out onto the Hudson River. But in their wake, FISH BOB TO TEE SURFACE. • • dead. As we sweep over the water, we see more fish float to the surface.</dialogue> <character>EXT. NEW YORK CITY STREETS - DAY</character> <dialogue>A HOMELESS HAN prays to an open sewer hole churning out</dialogue> <scene_description>/^™V steam. SIRENS blare in the background. POLICE MOTORCYCLES pass by. Behind them a MOTORCADE - half a dozen ears. The homeless man looks up at the sky. A dark shadow falls across his face, as a HELICOPTER SWOOPS overhead. Along the helicopter's side... "HUNTER PRIVATE SECURITY"</scene_description> <character>HELICOPTER PILOT (V.O.)</character> <dialogue>This is Hunter One. Rooftops 125 to 136 are clear.</dialogue> <character>JERICHO (V.O.)</character> <dialogue>Keep them clear.</dialogue> <scene_description>We swoop lower, singling out one of the limousines in the motorcade.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - DAY</stage_direction> <scene_description>JERICHO scans the crowd with his strong piercing eyes and the no nonsense attitude of a samurai. He and the three other armed men in this limo are all dressed in dark business suits, looking very much like Secret Service Agents, right down to the radio earpiece in their ears. Jericho raises his cuff and speaks into the small microphone sewn there.</scene_description> <character>/I^&amp;JV</character> <dialogue>JERICHO</dialogue> <scene_description>Hunter Two, do you copy?</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - DAY</stage_direction> <scene_description>This black tar roof looks like it hasn't seen maintenance since the WPA. Bracketed to building's edge, fifteen foot letters extend high above us telling any New Yorker who bothers to look up that once-upon-a-time this was... TBE BLUE ANGEL BOTEL. A HELICOPTER rises above the edge of the building and circles the rooftop perimeter.</scene_description> <character>-HELICOPTER PILOT TWO</character> <dialogue>Hunter Two, we copy.</dialogue> <scene_description>In the open door of the chopper, a Commando scans the roof with a spectral scope. No signs of heat, movement, or life.</scene_description> <character>HELICOPTER PILOT TWO</character> <dialogue>Sector One is clear.</dialogue> <character>JERICHO (V.O.)</character> <dialogue>Copy Two. ETA Three minutes. High alert and counting down.</dialogue> <scene_description>c</scene_description> <character>HELICOPTER PILOT TWO</character> <dialogue>s0fa\ Copy that.</dialogue> <scene_description>Hunter Two veers away from the rooftop and pulls into the sky. A few heartbeats later, a SLIGHT CLICKING SOUND catches attention. It's coming from the L in BLUE. The bottom panel of the letter drops down, and out slides a figure, his outfit the same dark asphalt black as the rooftop. With lightning efficiency the man in black pops open a small black case and removes a gunstock and several sections of a gun barrel. If we guessed it was a high power sniper rifle, we wouldn't be wrong.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>The motorcade cruises past, heading toward... The UNITED NATIONS BUILDING The very symbol of mankind's best intentions.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - DAY</stage_direction> <scene_description>Through the window, Jericho scans the crowd for anything out yflfifl^S^ of the ordinary.</scene_description> <character>JERICHO</character> <dialogue>Weapons check.</dialogue> <scene_description>Be and the three other men remove their handguns from their holsters, check their loads and release safeties. One of the men, a goateed wisecracker named CHICAGO, late thirties, re- holsters his weapon and speaks into his mic.</scene_description> <character>CHICAGO</character> <dialogue>Python on approach. We are at Alert Five. Cue the Potentate. He's on.</dialogue> </scene> <scene> <stage_direction>EXT. UNITED NATIONS BUILDING - DAY</stage_direction> <scene_description>The motorcade pulls to a halt between crowds of people. JERICHO and CHICAGO spring from the first limo and cross to the door of the second. The rest of the security contingent take up point positions, all eyes scanning the crowd.</scene_description> <character>JERICBO</character> <parenthetical>(into cuff mic)</parenthetical> <dialogue>We're exposed.</dialogue> <character>/$5\*\*\</character> <dialogue>Jericho opens the door. A Diplomat steps out and crosses to the crowd. Shakes hands. Jericho scans the crowd. A gun barrel? No, it's an umbrella. Than he checks nearby rooftops. Thinks he sees something on one of them. No. Just a shadow. Scans nearby windows. From one window, he sees a GLINT of light. Be squints. It's not coming from the window, it's a reflection of something on the roof across the way. An untrained observer wouldn't notice, a highly trained observer would probably miss it. Jericho doesn't. Bis head snaps around to the rooftop, but sees nothing once again. But he senses something.</dialogue> <character>JERICHO</character> <parenthetical>(into cuff)</parenthetical> <dialogue>Hunter Two, Rooftop Southwest Corner.</dialogue> <scene_description>HELICOPTER P.O.V. - Looking down on the Rooftop. All we can see is the black of the roof.</scene_description> <character>HUNTER TWO</character> <dialogue>Rooftop negative.</dialogue> <scene_description>ON THE GROUND - Jericho runs toward the Diplomat. "\*\*\*3ltjy</scene_description> <character>JERICHO</character> <parenthetical>( (into cuff)</parenthetical> <dialogue>You're wrong. ShooterI Evac! Evacl</dialogue> <scene_description>Security swings into action. Guns are drawn. Jericho grabs the Diplomat and pulls him toward the Limo. GUNSHOTS! Jericho turns, and his suit jacket EXPLODES four times as the ROUNDS BIT HIM squarely in the chest. As he goes down, he shoves the Diplomat into the limo, slamming the door. THE LIMOUSINE ACCELERATES knocking Jericho aside as it flies through its pre-planned emergency escape route.</scene_description> <character>JERICHO</character> <parenthetical>(gasping into mic)</parenthetical> <dialogue>Drive One. Status1</dialogue> </scene> <scene> <stage_direction>INT. LIMOUSINE - DAY</stage_direction> <scene_description>... as it accelerates down the street. The driver glances in his mirror at the anxious Diplomat. No bullet wounds though.</scene_description> <character>DRIVE ONE</character> <dialogue>Shaken, not stirred. Using secure south entrance.</dialogue> <scene_description>c</scene_description> <character>EXT. STREET - DAY</character> <dialogue>CHICAGO pushes through the crowd to Jericho, who lies motionless on the cement.</dialogue> <character>CHICAGO</character> <dialogue>Oh, shit.</dialogue> <scene_description>Chicago crouches and fingers the bullet holes in Jericho's jacket.</scene_description> <character>CHICAGO</character> <dialogue>How many times have I told you not to</dialogue> <scene_description>' wear your good suits to work. Jericho stirs. Chicago helps him to his feet. Jericho pulls off his jacket. Beneath it... A Kevlar vest with four bullets imbedded in its surface.</scene_description> <character>JERICHO</character> <dialogue>Where's the shooter?</dialogue> <character>CHICAGO</character> <dialogue>Cornered on the rooftop.</dialogue> <character>JERICHO</character> <dialogue>yjlSWV.</dialogue> <scene_description>' Then what are we doing down here?</scene_description> <character>UNITED NATIONS - SOUTHWEST CORNER</character> <dialogue>Jericho and Chicago race toward the descending helicopter. They don't break stride as they jump on the hood, then roof of an NYPD patrol car, surprising the hell out of the officer inside. The helicopter doesn't even touch down as Jericho and Chicago climb onboard. It lifts off immediately.</dialogue> <character>EXT. ROOFTOP - DAY</character> <dialogue>The Shooter holds position behind the soaffolding rails holding up the letters. He shoulders his rifle, taking SHOTS at the HELICOPTERS flying around him.</dialogue> <character>INT. HELICOPTER - DAY</character> <dialogue>Jericho and Chicago look out the side window, down at the Shooter. The Shooter swings his rifle toward them and FXRES. The glass on the WINDOW EXPLODES as it's hit by a round. Jericho and Chicago pull out their sidearms, lean out the broken window and FIRE at the shooter. The Shooter snakes back into the girdirons.</dialogue> <scene_description>^e\*?\*\</scene_description> <character>JERICHO</character> <dialogue>Get us closer.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAY</stage_direction> <scene_description>The helicopter pulls up and circles around.</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - DAY</stage_direction> <scene_description>The Shooter aims at the helicopter and squeezes off a FEW ROUNDS. But Jericho'8 RETURN FIRE forces him into the open. The Shooter fires again, but he's out of ammo. He runs, but... The HELICOPTER descends in front of him, cutting him off. Nowhere to go. The Shooter checks his options, glancing at the edge of the building. As Jericho exits the helicopter, gun drawn, the Shooter turns tail and runs toward the edge of the building. JERICHO jumps back onto the skid of the chopper. He yells to the pilot.</scene_description> <character>JERICHO</character> <dialogue>Follow I</dialogue> <scene_description>The pilot complies. Chicago leans out the window. c CHICAGO Be's gonna pancake himself.</scene_description> <character>JERICHO</character> <parenthetical>(to Pilot)</parenthetical> <dialogue>Faster!</dialogue> <scene_description>The helicopter skims low and fast after the shooter. Jericho stands, perched on the skid, his arm outstretched, ready to grab the Shooter. The Shooter's not letting up, running as fast as he can toward oblivion. The helicopter closes on him quickly. Jericho reaches out -his arm, just a few feet away from the Shooter. Closing in. Bis fingertips almost touching. But... THE ROOF ENDS THE SHOOTER JUMPS.•• JERICHO GRABS for him... Catches a handful of fabric... c The helicopter zooms over the edge, leaving Jericho staring down at the dizzying sight of a hundred story drop, holding the SHOOTER by the scruff of his shirt.</scene_description> <character>JERICHO</character> <dialogue>Got himl</dialogue> <scene_description>The Shooter turns. Raises a handgun at Jericho. Jericho's eyes widen as the hammer pulls back. There's only one thing he can do... LET GO! HE DOES. THE SHOOTER PLUMMETS, continuing to fire. Jericho can't believe what he's just done. Chicago pulls him back into the helicopter.</scene_description> <character>CHICAGO</character> <dialogue>Better him than you, man.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAY</stage_direction> <scene_description>The Shooter continues to fall, accelerating. Then a streamer pops from his back...</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - DAY</stage_direction> <scene_description>Jericho looks down at the plummeting Shooter.</scene_description> <character>JERICHO</character> <dialogue>He's got silk! Son-of-a-bitch's got silk.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAY</stage_direction> <scene_description>Between the canyons of tall buildings a PARACHUTE BLOSSOMS. Stunned New Yorkers look up in awe as the Han in Black PARAGLIDBS right down 42nd Street.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - DAY</stage_direction> <scene_description>Jericho checks his sidearm and grits his teeth.</scene_description> <character>JERICHO</character> <dialogue>Down.</dialogue> <scene_description>/\*&amp;\*-</scene_description> </scene> <scene> <stage_direction>EXT. SKY - DAY</stage_direction> <scene_description>The helicopter descends between the buildings chasing after the chute. The Shooter pulls his steering lines and accelerates toward mid-town.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - DAY</stage_direction> <scene_description>Jericho bangs on the wall of the cabin.</scene_description> <character>JERICHO</character> <dialogue>Lower...</dialogue> <character>HELICOPTER PILOT</character> <dialogue>Sir, I can't land a helicopter in the middle of a crowded street.</dialogue> <character>JERICHO</character> <dialogue>I didn't ask you to land.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>A CABBIE watches through his window as the Shooter glides down the block toward him. When he's about ten feet from the ground, the Shooter cuts ^% his chute. He plummets onto the roof of the cab.</scene_description> <character>CABBIE</character> <dialogue>Bey! Asshole. You better have collision.</dialogue> <scene_description>The Shooter leapfrogs acros.s cars toward a subway entrance. As the Cabbie turns back around, he sees a helicopter descend on him. Jericho poised at the door. As soon as the helicopter is close enough to the ground, JERICHO JUMPS... hits the top of a bus. Be sees the Shooter disappear into the dark hole of the subway. Be climbs down the side of the bus.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY PLATFORM - DAY</stage_direction> <scene_description>Against the protesting shouts of an MTA worker, Jericho jumps the turnstile, his gun drawn. Be races through the crowded subway platform pushing commuters aside. As he gets to the platform's edge, he sees the Shooter disappearing into the darkness of the subway tunnel. Without a moments hesitation, Jericho jumps down on the \*\*\*\ e tracks, sprinting after the Shooter.</scene_description> <character>INT. SUBWAY TUNNEL - DAY</character> <dialogue>Jericho races through venting steam and dirty pools of water. A hush falls on the tunnel. He hears whispers all around him.</dialogue> <character>VOICES</character> <dialogue>Jericho... Jericho....</dialogue> <scene_description>The sharp SNAP of TWO GUNSHOTS sends him diving for cover. He blindly returns fire down the tunnel. He listens a moment and steps back into the open, moving stealthily, like a cat. As he edges down the tunnel, the walls begin to glow with A DEEP ROCKING CRIMSON and then slowly OOZE INTO FLAME. The length of the tunnel becomes an abyss of swirling fire and DESPERATE CRIES OF PAIN ring in our ears. The Shooter steps into the open and turns toward Jericho, his face BLACK AS SOOT, his eyes BURNING RED. His dark voice bellows over the roar of the flame.</scene_description> <character>SHOOTER</character> <dialogue>Heed me, Jericho. The thousand years are over. The Dark Angel will be loosed from his prison and the Gates of Damnation will open between Bell and Earth.</dialogue> <character>JERICHO</character> <dialogue>Get down on the ground! Bands behind your head!</dialogue> <character>SHOOTER</character> <dialogue>You are powerless to stop it.</dialogue> <scene_description>Jericho stares at the terrifying inferno and the dark shadow down the barrel of his sidearm. The Shooter stalks toward Jericho.</scene_description> <character>JERICHO</character> <dialogue>Stay back... Z said STAY BACK!</dialogue> <scene_description>Jericho changes the angle of his shot and fires twice. Suddenly the tunnel GOES DARK. The Shooter screams and falls to the ground. Everything's back to normal, except Jericho has blown two holes in the Shooter's left leg. Jericho looks around, looking for the light show, wondering what the hell it was. Footsteps behind him. Chicago and the NYPD coming to the rescue. They blow by Jericho and swarm the Shooter, cuffing him and reciting Miranda. /f^V</scene_description> <character>CHICAGO</character> <dialogue>Hey, you okay? You look like you saw a ghost.</dialogue> <scene_description>Indeed he has. He walks over to the Shooter. Gone is the smoldering face and raging eyes.</scene_description> <character>JERICHO</character> <dialogue>Much worse.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY PLATFORM - DAY</stage_direction> <scene_description>A sea of blue as New York's finest clear the station. The Shooter is loaded up onto a stretcher. Be tries to speak but only unformed sounds escape his lips. DETECTIVE FRANCIS, 50s, gruff NYPD, crosses to Jericho.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Sorry, man. Whatever you thought he said... Couldn't have been him.</dialogue> <character>JERICHO</character> <dialogue>Why's that?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Guy'8 got no tonguei</dialogue> </scene> <scene> <stage_direction>( INT. SUBWAY TUNNEL - LATER</stage_direction> <scene_description>Jericho searches the walls up and down.</scene_description> <character>CHICAGO</character> <dialogue>If it makes you feel any better, I saw a UFO once at summer camp.</dialogue> <scene_description>Jericho ignores him. Train rumbles echo from a distance.</scene_description> <character>JERICHO</character> <dialogue>This was real. I don't fantasize.</dialogue> <character>CHICAGO</character> <dialogue>But, there's nothing here.</dialogue> <scene_description>Jericho touches the charred old walls of the subway tunnel, rubs his fingers together.</scene_description> <character>JERICHO</character> <dialogue>fibere was.</dialogue> <scene_description>CUT TO: c</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - NIGHT</stage_direction> <scene_description>Dark THUNDERHEADS roll over the towering skyscrapers. Angry billows spitting down shafts of LIGHTNING. Deep echoes of rumbling thunder roll up and down the avenues.</scene_description> </scene> <scene> <stage_direction>EXT. CITY - NIGHT</stage_direction> <scene_description>A quiet block of browns tones, darkly silent on this night, with the exception of far away flashes and distant rumblings. The blacktop on the street SHAKES, starts to CRACK. A terrifying rumble as the earth tears open. A WALL OF FIRE ERUPTS FROM THE CRACK. The entire block is swallowed by flame. Windows blow out. A GIANT TONGUE OF FIRE reaches high up to heaven... as if hell itself had erupted. The wall of flames swirl down the streets and in the flames we see A SHAPE, perhaps a monstrous wing, perhaps a giant talon stepping forward, all covered by a shroud of fire. The shape pushes further and further out until the fire parts and out of the fireball steps... A HAN Handsome, elegant, aged, yet ageless... there is something about him that is immediately frightening. Be looks around as if seeing the world for the very first time. Be takes a deep breath of air, removes a silver case from his jacket, pulls out a cigarette. Be takes a drag and the cigarette IGNITES into a flame ON ITS OWN. The whole block is in flames behind him, casting his long dark shadow down the street. From a dark alley, we see a homeless man, an ALBINO, peering out the terrifying scene. Be turns and runs. 1ST. JERICHO'S BEDROOM - NIGHT As THUNDER CRACKS, rattling windows, Jericho bolts straight up in bed, breathing hard. ANOTHER FLASH OF LIGHTNING and the first thing we notice is .the glass. Great wide windows. Great wide sky-lights looking up to the heavens. The city stretches around us for 360 degrees. A flash of lightning illuminates the room and we see that the apartment is very spare. No art, minimal furniture. Jericho clicks the light on. We can see large welts stretch across his chest where the bullets hit. Be checks the bruises h^\*\*- and when he touches one he winces. Be rises and crosses to the window. On the night table is a \*\*\*\*} single picture in a frame of Jericho, much younger, a woman and young boy. The storm outside intensifies and suddenly THE LIGHTS GO OUT. DARKNESS. A match is struck. Jericho brings the flame to light a candle. But the candle's blown out. He lights it again. Again it dies. He tries again, holding the match on the flame. CRASH! Glass shatters. A rush of wind. The candle and match blow out. In flashes of lightning, we see that the driving winds have blown one of his windows open. The wind billows into his room. Another flash of lightning and he sees a WOMAN (not the one in the picture) standing near him... ARMS OUTSTRECHED... PLEADING. Darkness again. Jericho crosses to the window and pushes it shut. Be hears SIRENS outside. Be crosses to the window, and peering out, he sees FLAMES lick the sky a half-mile away and hears the wailings of police and fire trucks. (</scene_description> </scene> <scene> <stage_direction>INT. LOBBY, THE PLAZA - BOTEL</stage_direction> <scene_description>The MAN crosses the Lobby to the front desk. The NIGHT CLERK, a very elegant woman in her twenties, forces a smile.</scene_description> <character>CLERK</character> <dialogue>Kay I help you, sir?</dialogue> <scene_description>The Han looks deep into the clerk's eyes. She sways a bit as if swooning. He nods at her and she slides a key to him.</scene_description> <character>HAN</character> <dialogue>Thank you.</dialogue> <scene_description>The Han touches the girl's hand and then strokes her face.</scene_description> <character>HAN</character> <dialogue>Come up in twenty minutes.</dialogue> <scene_description>The girl watches him walk away, her eyes change, darkening. c</scene_description> </scene> <scene> <stage_direction>INT. PENTHOUSE SUITE/THE PLAZA - NIGHT</stage_direction> <scene_description>( The Man stands before all of New York City overlooking the twinkling lights and gaps of darkness. He sniffs. Something foul. ANGLE ON - The bedside table. The Man sniffs again. Be slides the drawer open and removes a Gideon Bible. He holds it in his hand and squeezes. BLOOD drips down from the Book and runs down the Man's hand. Moments later it BURSTS INTO FLAME. The Man doesn't seem to mind the fire as The Bible quickly turns to smoke. In the background we see the Hotel Clerk enter the room.</scene_description> <character>CLERK</character> <dialogue>I'm here for you.</dialogue> <scene_description>She begins to undress. The Man throws a backward glance at her.</scene_description> <character>MAN</character> <dialogue>Call a friend... or two.</dialogue> <scene_description>The smoke from the Bible drifts into the air dissolving into... jj$W^V</scene_description> </scene> <scene> <stage_direction>EXT. NSW YORK CITY - MORNING</stage_direction> <scene_description>No sign of last night's storm, RED DAWN breaks over Central Park. But the dawn is a little too red. As if the clouds were soaked in blood.</scene_description> <character>MORNING RADIO (V.O)</character> <dialogue>And it's another scorcher here in the Big Apple, or should I say the rotting apple. Temperatures are expected to hit a record ninety two degrees. We're gonna have one blister of a New Year's Eve in Times Stpxax;</dialogue> </scene> <scene> <stage_direction>INT. DELI - DAY</stage_direction> <scene_description>Jericho ducks into a busy deli and approaches the counter. News Radio is on in the background.</scene_description> <character>HORNING RADIO (V.O)</character> <dialogue>And heap it on, a gas main erupted in Bell's Kitchen last night sending flames a hundred yards into the air...</dialogue> <scene_description>STAN WBISMANN, the Deli Man, blood stains across his apron, ^ grins through his bad teeth at Jericho.</scene_description> <character>WEISMANN</character> <dialogue>Jericho. Saw you in the paper. Save another life?</dialogue> <scene_description>Weismann hands Jericho his usual.</scene_description> <character>JERICHO</character> <dialogue>I don't save anyone. I keep them from dying of unnatural causes. Row's Belen doing in this heat?</dialogue> <scene_description>In the background, a frightened ALIBINO YOUNG MAN watches Jericho, starts moving toward him.</scene_description> <character>WEISMANN</character> <dialogue>She's okay. She loves to bitch about the leg.</dialogue> <character>JERICHO</character> <dialogue>Tell her I miss her coffee.</dialogue> <character>WEISMANN</character> <dialogue>You're the only one.</dialogue> <scene_description>The ALBINO grabs Jericho and looks deep into his eyes, pleading.</scene_description> <character>ALBINO</character> <dialogue>Find the girl! You must protect her!</dialogue> <scene_description>( Suddenly WEISMANN convulses. He leaps the deli counter growling and grabs the young man by the throat, strangling him, smashing his head through the glass in the meat counter.</scene_description> <character>JERICHO</character> <dialogue>Bey. BEY!</dialogue> <scene_description>Jericho tries to pull the two apart. Weissman throws Jericho back with bestial strength, his voice otherwordly.</scene_description> <character>WEISMANN</character> <dialogue>The righteous shall be destroyed.</dialogue> <character>JERICHO</character> <dialogue>Let him go!</dialogue> <scene_description>Jericho grabs Weismann who writhes like a man possesed. The Albino breaks free... and sprints toward the window of the deli. Be leaps through it, SHATTERING THE GLASS, and disappears into the crowded New York sidewalk. Weismann grabs at Jericho and slashes at him with his hands. For a second the hands look different, like claws or talons as they rip into Jericho's suit sleeve. Jericho shoves the him back, and Weismann runs after the Albino. "- L Jericho runs after them, but... ON THE SIDEWALK He sees no sign of them. Jericho looks down at the rip in his sleeve. No human hand could've done that.</scene_description> </scene> <scene> <stage_direction>INT. PENTHOUSE SUITE/THE PLAZA - HORNING</stage_direction> <scene_description>Light leaks through the curtains and we see bodies writhing in the bed. In the darkness, the forms suggest several nude women. One figure arises among them... the HAN.</scene_description> <character>MAN</character> <dialogue>It's good to be back.</dialogue> <scene_description>He crosses to a closet door, opens it, revealing a long row of suits. He picks one out. A nude girl comes over to him and rubs her hand along his chest. Be puts his hand on her head.</scene_description> <character>MAN</character> <dialogue>Go into the city. Find the girl and bring her to me.</dialogue> <character>GIRL</character> <dialogue>Perhaps I am the one.</dialogue> <scene_description>The Man strokes the girl's body.</scene_description> <character>MAN</character> <dialogue>If it were only as easy aa you are.</dialogue> <character>GIRL</character> <dialogue>What's so special about this "girl?"</dialogue> <character>MAN</character> <dialogue>Nothing. That's the beauty of it. It could've been you. It could've been any of you. But I chose her. She was baptised in blood and is mine.</dialogue> <character>GIRL</character> <dialogue>What can we do to find her? You're the one with all the power.</dialogue> <scene_description>The Man slaps her hard across the face. Bis handprint is burned into her cheek. It practically boils.</scene_description> <character>HAN</character> <dialogue>Not ALL the power. Not yet.</dialogue> <scene_description>The Man strokes her other cheek. She flinches. /""\*•</scene_description> <character>GIRL</character> <parenthetical>(frightened)</parenthetical> <dialogue>Bow... How will we know her?</dialogue> <character>MAN</character> <dialogue>I will know her. Your eyes and the eyes of all who serve me are mine. I need but one of you to glance at her and she will be revealed.</dialogue> <scene_description>He pulls her into a kiss.</scene_description> <character>MAN</character> <dialogue>I'm here. Spread the word.</dialogue> </scene> <scene> <stage_direction>EXT. LOBBY - DAY</stage_direction> <scene_description>Jericho crosses to a series of elevators, still looking at the tears in his suit jacket, when Chicago exits the elevator.</scene_description> <character>JERICHO</character> <dialogue>Look at this. You ever seen anything like this?</dialogue> <character>CHICAGO</character> <dialogue>Yeah, but she moved to Europe. C'mon. ^^</dialogue> <character>JERICHO</character> <dialogue>Where are we going?</dialogue> <character>CHICAGO</character> <dialogue>Cops found something juicy.</dialogue> </scene> <scene> <stage_direction>EXT. STREET CORNER - DAY</stage_direction> <scene_description>The Man emerges from the Plaza Botal onto the sidewalk in front of Central Park as a horse drawn carriage trots by. The Horse's eyes lock on the Man. The horse rears back. The COACHMAN pulls back on the reigns, trying to regain control, but the horse takes off in a lather. It leaps the retaining wall of the park and plummets. The carriage smashes against the wall and the horse flails in mid-air above the ground. A smug smile breaks across the Man's face as he walks out into the city.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>A Nurse checks the pulse of the unconscious Shooter. Her EYES '••K GLOW RED. She closes her eyes. (</scene_description> <character>EXT. NEW YORK CITY STREETS - DAY</character> <dialogue>The Man stops, closes his eyes, then opens them. He's "seen" the Shooter. He changes direction. He passes by a group of fifteen year-old Catholic School Girls in their skirts ""rt uniforms. He turns to watch them walk away. He sees a BUSINESS MAN admiring the jailbait and smiles.</dialogue> <character>MAN</character> <dialogue>What is it about Catholic school girls?</dialogue> <scene_description>The Business Man looks shocked at the Man's words.</scene_description> <character>BUSINESS MAN</character> <dialogue>That's disgusting.</dialogue> <scene_description>The Man leans in and whispers.</scene_description> <character>MAN</character> <dialogue>Go on. Who's gonna know?</dialogue> <scene_description>The Business Man's head turns and he watches the girls sashay down the sidewalk. He thinks a beat, glances at the Man then back at the girls. He trots after them and follows them around the corner. The Man grins and walks away.</scene_description> <character>EXT. RUN DOWN APARTMENT BUILDING - DAY</character> <dialogue>Jericho and Chicago flash their IDs to the COP standing on the stoop.</dialogue> <character>JERICHO</character> <dialogue>Detective Francis?</dialogue> <character>COP</character> <dialogue>Be's expecting you down below.</dialogue> <scene_description>The Cop steps aside as Jericho and Chicago push into the building.</scene_description> <character>INT. TENEMENT BUILDING, HALLWAY - DAY</character> <dialogue>Flickering bare lightbulbs dimly light the peeling wall paper. Jericho and Chicago find the ancient staircase, with its loose and rotting floorboards. They descend to the...</dialogue> <dialogue>Pipes drip water and cockroaches scurry out of the way as</dialogue> <scene_description>. Chicago and Jericho make their way down a litter strewn hallway all the way to the end, to a door, it's ancient paint peels in small curled sheets.</scene_description> <character>CHICAGO</character> <dialogue>Wanna bet it's rent controlled?</dialogue> <scene_description>They push open the door. Inside the dark room several flashlight beams sweep back and forth.</scene_description> <character>DTC. FRANCIS (O.S.)</character> <dialogue>Anyone find the goddamn circuit breaker?</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>But you wouldn't know it was day. The window, painted black, allow only small cracks of light in. Jericho and Chicago push their way into the apartment.</scene_description> <character>CHICAGO</character> <dialogue>He likes the dark.</dialogue> <scene_description>Francis shines his light on Jericho.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Picked up a real winner, Jer.</dialogue> <character>JERICHO</character> <dialogue>What've you got?</dialogue> <scene_description>( Flashlights sweep the room revealing a rotting mattress in the corner. Roaches and silverfish crawl from the beam back into the dark.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Your shooter's name is, get this... Thomas St. Aquinas. Used to be a priest.</dialogue> <parenthetical>(shouting out)</parenthetical> <dialogue>We need some goddamn light down here!</dialogue> <character>JERICHO</character> <dialogue>Breakers aren't out. Look.</dialogue> <scene_description>Jericho takes a flashlight and shines it through the top of one of the lampshades.</scene_description> <character>JERICHO</character> <dialogue>No bulbs.</dialogue> <character>DTC. FRANCIS</character> <dialogue>Bow about that?</dialogue> <scene_description>Jericho strikes a match and lights several candles on a writing desk. Their pale illumination settles across the room. \*\*\*} i</scene_description> <character>JERICHO</character> <dialogue>/#J3\ You said he used to be a priest?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Yeah. Studied in Rome. One of their alleged clairvoyants. Came here in '75 to Saint John the Divine. Ten years ago he went missing.</dialogue> <character>JERICHO</character> <dialogue>Any reason?</dialogue> <character>DTC. FRANCIS</character> <dialogue>The Priest up there said he had a vision. Then he just vanished.</dialogue> <scene_description>Jericho furrows his brow, disturbed.</scene_description> <character>JERICHO</character> <dialogue>A vision? What kind of vision?</dialogue> <character>DTC. FRANCIS</character> <dialogue>End of the world stuff.</dialogue> <scene_description>Chicago notices a thick RED pentagram drawn on the floor. He stoops to examine its lines.</scene_description> <character>CHICAGO</character> <dialogue>I don't think this is paint.</dialogue> <character>DTC. FRANCIS</character> <parenthetical>(to a cop)</parenthetical> <dialogue>Get a sample.</dialogue> <scene_description>Jericho turns his attention to the wall. It's covered with drawings. Religous ieons and symbols. Pictures of Angels and Demons struggling over the broken bones of men. On another wall is a meticulous colored chalk illustration of a city in flames, the sky red, the street running with blood, held in the palms of two giant talons coming off of scaled arms that descend down the wall to the concrete floor.</scene_description> <character>JERICHO</character> <dialogue>That's not a pretty picture.</dialogue> <character>CHICAGO</character> <dialogue>So what's a religous nutball doing after the Ambassador?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Z don't think the Ambassador was his target.</dialogue> <character>JERICHO</character> <dialogue>What makes you say that?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Well, we found some things.</dialogue> <scene_description>Jericho looks up, curious. CUT TO: Flashlights illuminate a PICKLE JAR. A TONGUE floats in viscous, blood-streaked fluid. After a beat, we realize that we are in.•. A BATHROOM...</scene_description> <character>DTC. FRANCIS</character> <dialogue>Exhibit A.</dialogue> <scene_description>The beams sweep up, past a forest of paper hanging from criss- crossed clotheslines. Hanging sheets of paper. Glossy in the dark. They're all photographs..• OF JERICHO.</scene_description> <character>DTC. FRANCIS</character> <dialogue>You were quite a hobby of his.</dialogue> <scene_description>Jericho shines the light on one of the images. ( JERICHO This one's two days ago. (beat - turns) But these... these were taken months ago.</scene_description> <character>CHICAGO</character> <dialogue>Well before the Ambassador hired us.</dialogue> <character>DTC. FRANCIS</character> <dialogue>So the question is, why you?</dialogue> <scene_description>Chicago picks up some photographs of a dark brunette girl in her mid-twenties.</scene_description> <character>CHICAGO</character> <dialogue>Who's the looker?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Don't know. But she's the only other person in the photographs.</dialogue> <scene_description>Jericho takes the photograph. Ha recognizes her as the who appeared in his apartment "vision" last night. (</scene_description> <character>JERICHO</character> <dialogue>Know who she is?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Not a clue.</dialogue> <scene_description>We push in on the photograph as we •. • MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MID-TOWN DAY CARE CENTER - DAY</stage_direction> <scene_description>CHRISTINE BETHLEHEM, the twenty five year old beauty, aits on the floor amidst the madness of a bunch of pre-school kids, some coloring pictures, some running wild. She plays CATS'CRADLE with an adorable little GIRL while a little boy, MATTHEW uses her head as a road for his fire truck.</scene_description> <character>CHRISTINE</character> <dialogue>When you're finished with your wish pictures, bring them to me. Matthew, my head is not a street.</dialogue> <scene_description>The fire truck gets wound around her hair.</scene_description> <character>MATTHEW</character> <dialogue>It's stuck, Christine. Mom!</dialogue> <scene_description>Matthew runs to his MOM, leaving Christine with a fire track dangling from her head. JUDY, another day care worker, signs children out to their parents. Christine good-naturedly tries to untangle the truck. Another little boy, PAUL comes over to Christine, hands her his wish picture. It's a flying boy with hands full of candy.</scene_description> <character>PAUL</character> <dialogue>Christiiiine. You got a hook and ladder in your hair.</dialogue> <character>CHRISTINE</character> <dialogue>Thank you, Paul! If there's a fire, X\*ll be ready for it. Z like your picture! Sometimes, X wish Z could fly, too.</dialogue> <scene_description>Christine smiles sweetly. She leans forward to tie his loose shoe. When she looks back up at Paul... THE ROOM IS ON FIRS, CHILDREN AND PARENTS are BURNING. SCREAMING ZN PAIN! Christine lets out a stifled scream.</scene_description> <character>JUDY</character> <dialogue>What's wrong1</dialogue> <scene_description>The room is hack to normal. Christine looks up and everybody is staring at her.</scene_description> <character>CHRISTINE</character> <dialogue>Nothing. I'm sorry. Nothing.</dialogue> <scene_description>Paul runs off. Christine stands, staring blankly at the room. She sinks into a child- size desk chair.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - DAY</stage_direction> <scene_description>The MAN walks down the corridor toward the... SHOOTER'S ROOM. The TWO COPS still stand guard. The Man into the roam, but the Cops jump in front of him.</scene_description> <character>COP #1</character> <dialogue>Excuse me, sir. You can't go in there.</dialogue> <character>MAN</character> <dialogue>Of course I can.</dialogue> <scene_description>Be pushes between them. The cops block his way.</scene_description> <character>COP #2</character> <dialogue>( What's your name, sir?</dialogue> <character>HAN</character> <dialogue>You know me. We've met.</dialogue> <scene_description>The Han's face clouds and\_goes dark.</scene_description> <character>MAN</character> <dialogue>Remember the Getman bust? I remember you. Officers Shapiro and Bartovski. You gang-banged those two addicts and left with their stash?</dialogue> <scene_description>The Two Cops stare at each other in disbelief.</scene_description> <character>MAN</character> <dialogue>You serve me.</dialogue> <scene_description>The Man pushes past the two. They don't stop him.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>Thomas, The Shooter lies still in his bed, catatonic. The Mam takes a seat next to him. c</scene_description> <character>MAN</character> <dialogue>Thomas, at last we meet, in the flesh.</dialogue> <scene_description>Thomas opens his eyes. Terror. He tries to move, but the restraints hold him down. The Man pops open Thomas' mouth. Be shakes his head and tsks.</scene_description> <character>MAN</character> <dialogue>Who's the harsher master, Thomas, him</dialogue> <parenthetical>(the Man looks up)</parenthetical> <dialogue>or me?</dialogue> <scene_description>The Man rips open Thomas' hospital gown. The Man puts his hand on Thomas' heart. SWOLLEN LINES BURST across Thomas' chest and stomach. ANCIENT CUNIEFORM lettering.</scene_description> <character>HAN</character> <dialogue>Your feeble attempt on the Protector's life only served to warn him. You've done God's work in my name. You understand the price of your failure?</dialogue> <scene_description>Thomas closes his eyes. He would pray if he could. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>We recognize it as the same hospital where Christine was born. Jericho, Chicago and Detective Francis jog up the steps.</scene_description> <character>CHICAGO</character> <dialogue>Bow're we gonna question a guy with no tongue?</dialogue> <character>JERICHO</character> <dialogue>Be can write, can't he?</dialogue> <character>CHICAGO</character> <dialogue>Unless he's cut off bis hands.</dialogue> <scene_description>ZNT. BOSPZTAL - NZGHT The three of them walk through the front doors into an unbelievable den of horror. A handful of Cops and Orderlies use billy-club choke holds to subdue a CRACK ADDICT gone mad.</scene_description> <character>CRACK ADDICT</character> <dialogue>They've run out of drugs. It's the Apocalypse, man. Everything's gonna</dialogue> <scene_description>/#\*\*v The Crack Addict breaks free and rushes over to Jericho. I CRACK ADDICT You gotta stop it. The cops pounce on the addict and wrestle him to the ground.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Full moon tonight, huh?</dialogue> <character>ORDERLY</character> <dialogue>It's a full moon every night down here.</dialogue> <character>INT. HOSPITAL CORRIDOR - NIGHT</character> <dialogue>The three of them cross to the hospital room guarded by the two Cops.</dialogue> <character>DTC. FRANCIS</character> <dialogue>Bow'8 he doing?</dialogue> <scene_description>The two cops step in front of the door.</scene_description> <character>COP #1</character> <dialogue>Recovering. •"\*\*\*</dialogue> <scene_description>/ DTC. FRANCIS { I'd like to speak with him.</scene_description> <character>COP #2</character> <dialogue>He's under sedation. You'll have to come back later.</dialogue> <character>JERICHO</character> <dialogue>We just want to look in on him real quick.</dialogue> <character>COP #1</character> <dialogue>Z'm sorry, sir.</dialogue> <character>DTC. FRANCIS</character> <dialogue>Z'm sorry, sir? Get out of the goddamn way.</dialogue> <scene_description>The two Cops eye each other again. Busted. They regretfully step aside after a few beats. As Jericho, Chicago and Francis enter the hospital room, we hold on the Cops' expression.</scene_description> <character>DTC. FRANCIS (O.S.)</character> <dialogue>What the fuck!</dialogue> <character>JERICHO (O.S.) ^</character> <dialogue>Get a doctor! Now!</dialogue> <scene_description>c One of the cops ventures into...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>And sees what the others were looking at. THOMAS UP ON THE WALL. CRUCIFIED. NAILS IN BIS HANDS AND FEET, HIS EYES GOUGED OUT AND HIS THROAT SLIT.</scene_description> <character>CHICAGO</character> <dialogue>Jesus. What kind of a sick fuck does that?</dialogue> <scene_description>The cop pulls out his gun and checks the room, surprised that no one else is in there. The small hospital television remains on in the background. The local News anchor reads the report, over video of dying fish.</scene_description> <character>ANCHOR</character> <dialogue>... authorities investigating several odd occurrences, including the East River, whose temperatures have shot up twenty degrees in twelve hours...</dialogue> <scene_description>MATCH COT TO: f\* ANOTHER TELEVZSION - v ^^</scene_description> <character>ANCHOR</character> <dialogue>... leaving authorities to wonder if it may be connected to the explosion in Bell's Kitchen last night.</dialogue> <scene_description>We pull out from the television and sees the Man watching it in the window of an Electronics Store. Be turns and knocks down a PUNK SKATEBOARDER.</scene_description> <character>SKATEBOARDER</character> <dialogue>Bey asshole, watch where you're going.</dialogue> <character>NAN</character> <dialogue>Z like your shirt.</dialogue> <scene_description>The kid's shirt says "Satan Rules".</scene_description> <character>SKATEBOARDER</character> <dialogue>Get lost, old</dialogue> <scene_description>The Skateboarder mounts his skateboard and rolls off. The Man watches him, smiling. A moment later the kid is hit by a city bus. v.-</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Cops and Doctors everywhere.</scene_description> <character>COP #1</character> <dialogue>And I'm telling you... nobody entered the room. He must've done it to himself.</dialogue> <scene_description>Jericho grabs the Cop and turns his head toward the wall.</scene_description> <character>JERICHO</character> <dialogue>Yeah? Show me how.</dialogue> <scene_description>Two orderlies lower the body to the bed. Francis spots the lettering beneath the ripped surgical gown. He moves it aside uncovering the PENTAGRAM raised on his flesh along with the ANCIENT WRITINGS.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Just keeps getting weirder.</dialogue> <character>ORDERLY</character> <dialogue>What the hell does that say?</dialogue> <scene_description>The DOCTOR leans over the writings.</scene_description> <character>DOCTOR</character> <dialogue>Z don't know what these others are</dialogue> <character>A</character> <dialogue>/ but this is Hebrew... It says,</dialogue> <scene_description>Bethlehem and... Jericho.</scene_description> <character>JERICHO</character> <dialogue>Jericho?</dialogue> <parenthetical>(to Doctor, re: Chicago)</parenthetical> <dialogue>Did he tell you to say that?</dialogue> <character>CHICAGO</character> <dialogue>Z swear, Jer. Z didn't. This is too creepy, even for me.</dialogue> <scene_description>Suddenly Thomas JUMPS and begins to flail. He's not deadl Be grabs the orderly and throws him across the room. Be stands. Be's growling now and ON BZS FEET. The Orderlies are screaming! Jericho reaches for his gun, but Thomas him by the lapels... (forced air whisper) The battle is within. Be collapses, falling face down on the ground, his head only •"""\*\*. half-attached where hie throat was cut. ) C</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - DAY</stage_direction> <scene_description>Chicago and Detective Francis exit Thomas's room. They see Jericho down the hall, sitting in the waiting room, nursing a cup of coffee.</scene_description> <character>CBICAGO</character> <dialogue>Be's spooked, and he don't spook.</dialogue> <character>DTC. FRANCIS</character> <dialogue>I think we should assign him some protection.</dialogue> <character>CBICAGO</character> <dialogue>Protect the protector? Be'd just take the assignment himself and tell you he's never lost a client.</dialogue> <character>DTC. FRANCIS'</character> <dialogue>Every streak's gotta end sometime.</dialogue> <character>CBICAGO</character> <dialogue>It's a Boly Crusade with him. Be doesn't let go.</dialogue> <character>DTC. FRANCIS</character> <dialogue>That just ain't healthy. Be's gonna crack.</dialogue> <character>CHICAGO</character> <dialogue>See, that's where you're wrong. Be cracked a long time ago. Only reason he does this job's 'cause he never put himself back together.</dialogue> <scene_description>They enter the waiting room and cross to Jericho. Jericho looks up.</scene_description> <character>JERICHO</character> <dialogue>You think I'm in danger?</dialogue> <character>DTC. FRANCIS</character> <dialogue>Yep.</dialogue> <character>JXRZCSO</character> <dialogue>Then that girl in the picture's in danger too. We have to find her.</dialogue> <character>DTC. FRANCIS</character> <dialogue>It's gonna take time Jer. We don't even know her name.</dialogue> <character>JERICHO</character> <dialogue>Yes, we do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Bethlehem. Bar name is Bethlehem.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>Francis taps a keyboard. ON A COMPUTER SCREEN: "Bethlehem" appears. A hundred names scroll up the screen.</scene_description> <character>DTC. FRANCIS</character> <dialogue>You wouldn't happen to have a first name would you?</dialogue> <character>JERICHO</character> <parenthetical>(to Chicago)</parenthetical> <dialogue>Go check in at work. Tell them we're tracking down a security problem.</dialogue> <parenthetical>(to Francis)</parenthetical> <dialogue>Tell me again, where was he a priest?</dialogue> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - DAY</stage_direction> <scene_description>The Man strides into the Sheep's Meadow. He considers the ground, picks up some blades of grass. Smells them. He approves. Be raises his hands and the grass begins to move. Snakes, hundreds of them, erupt through the dirt. Sheep's Meadow becomes a living, heaving mass. Picnickers and Joggers scream as the reptiles twist around their feet. The Man murmurs some words in an ancient language and ttni\*n without warning... THE SNAKES TRANSFORM into FIRE. The people run in panic as the snakes join into a wall of flames rising into the sky. Thick smoke billows upward clouding over the sun. A darkness settles on the city. Then it stops. The flames disappear. We pull up over the smoldering ground and all that is left is a MASSIVE PENTAGRAM seared into the Earth. For a few brief moments the earth is translucent, we can see through the dirt WRITHING BODIES of the damned juet below the surface. A PRETTY GZRL walks up to him.</scene_description> <character>PRETTY GZRL</character> <dialogue>Z am she... Take me.</dialogue> <scene_description>The Man looks into her eyes.</scene_description> <character>MAN</character> <dialogue>^$p&gt;\</dialogue> <scene_description>You are not she. But consider yourself taken. He kisses her and when she is released, her eyes burn red.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH OF SAINT JOHN THE DIVINE - DAY</stage_direction> <scene_description>Jericho heads up the front steps of the world's largest unfinished Cathedral.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH OF SAINT JOHN THE DIVINE - DAY</stage_direction> <scene_description>Jericho enters the cavernous cathedral. Stained glass windows and votive candles provide dim lighting as he makes his way up the pews. He sees a Priest hurriedly crossing the rows.</scene_description> <character>JERICHO</character> <dialogue>Excuse me, Father.</dialogue> <scene_description>FATHER MURPHY, late sixties, grey beard, pauses briefly.</scene_description> <character>FATHER MURPHY</character> <dialogue>. Yes?</dialogue> <character>JERICHO</character> <dialogue>Z need to ask you a few questions about a Priest who used to work here.</dialogue> <scene_description>v\_</scene_description> <character>FATHER MURPHY</character> <dialogue>Who are you?</dialogue> <character>JERICHO</character> <dialogue>Hy name's Jericho. I'm with a private security firm.</dialogue> <character>FATHER MURPHY</character> <dialogue>Z£ it's about Thomas, I've already spoken to the police.</dialogue> <scene_description>Father Murphy walks away.</scene_description> <character>JERICHO</character> <dialogue>Thomas was murdered.</dialogue> <character>FATHER MURPHY</character> <dialogue>Z wasn't surprised. When you surround yourself in fire, you're bound to be consumed by the flame.</dialogue> <character>JERICHO</character> <dialogue>Would you happen to know who he might've been involved with? Maybe a cult or a religious group?</dialogue> <scene_description>Father Murphy looks at Jericho, gauging him... how much should he say?</scene_description> <character>FATHER MURPHY</character> <dialogue>I haven't seen him in ten years. I can't help you.</dialogue> <character>JERICHO</character> <dialogue>Father wait. He made an attempt on my life yesterday, and I think he was planning one on a girl. I'm worried whoever killed him may come after us.</dialogue> <character>FATHER MURPHY</character> <dialogue>The girl? What girl?</dialogue> <character>JERICHO</character> <dialogue>He had pictures of us.</dialogue> <character>FATHER MURPHY</character> <parenthetical>(urgency)</parenthetical> <dialogue>What's her name?</dialogue> <character>JERICHO</character> <dialogue>We don't know yet. Why?</dialogue> <character>FATHER MURPHY</character> <dialogue>(murmuring) "l</dialogue> <scene_description>Be found her. V Murphy abruptly turns and walks toward the rear of the church. Jericho follows.</scene_description> <character>JERICHO</character> <dialogue>Who was Thomas? What did he know?</dialogue> <scene_description>Murphy doesn't respond.</scene_description> <character>JERICHO</character> <parenthetical>(growing frustrated)</parenthetical> <dialogue>What aren't you telling me?</dialogue> <scene_description>Murphy arrives at a large wooden door and turns to confront Jericho.</scene_description> <character>FATHER MURPHY</character> <dialogue>Are you a religious man?</dialogue> <scene_description>The question catenas Jericho by surprise. Bis silence answers for him.</scene_description> <character>FATHER MURPHY</character> <dialogue>If you can't even believe in God, what makes you think you can understand his adversaries.</dialogue> <parenthetical>(more)</parenthetical> <dialogue>c</dialogue> <character>FATHER MURPHY</character> <dialogue>/0t&amp;\ (beat)</dialogue> <scene_description>Good day. Father Murphy pushes his way through a large wooden door and closes it in Jericho's face.</scene_description> <character>JERICHO</character> <dialogue>Adversaries? What adversaries?</dialogue> <scene_description>And the door closes. Jericho furrows his brow. Deciding to follow Murphy, he pushes the wooden door open and finds himself on a carved stone landing... CIRCULAR STAIRS lead down into darkness. Jericho tentitively descends.</scene_description> <character>JERICHO</character> <dialogue>Father?</dialogue> <scene_description>Be hears voices murmuring from below. As he rounds the corner he sees...</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CHAMBER - DAY</stage_direction> <scene_description>AN OPEN ROOM the size of a football field. Hundreds of people in religous garb are gathered around desks. Some are praying over phone books, some are surveying maps of the city. Father Murphy is among them. Be seems to be coordinating activities with a number of other Religious Leaders. Jericho takes a few more steps down and wonders at this hidden world. Father Murphy looks up and sees Jericho at the bottom of the steps. He motions to a couple of YOUNG MEN who make their way over to Jericho. Jericho retreats up the steps. - ZNT. SUBWAY - DAY The subway lights click on and off as the train rattles down the track. Christine thumbs through the children's drawings. Bright Crayon Drawings. A child holding a mother's hand. A field of sun flowers. A cow next to a barn. She stops on the next picture. UGLY, ANGRY, Black and red crayon swirls with a crude drawing of Christine inside. Letters ere scrawled across the drawing... "WELCOME TO BELL". Christine looks at the drawing, upset and worried. There's no name on it. A homeless man stops and STARES AT HER, the same one who was praying to the sewer. Be closes his eyes.</scene_description> <character>INT. DAY CARE CENTER - DAY</character> <dialogue>The Man surveys the room. He stoops and picks up the HOOK &amp; LADDER TRUCK. Pieces of Christine's hair are still stuck to it. He puts it to his nose and sniffs it. Suddenly, he stops and closes his eyes, then opens them.</dialogue> <character>MAN</character> <dialogue>There you are.</dialogue> <character>INT. SUBWAY - DAY</character> <dialogue>The Homeless Man opens his eyes. He stands over her, muttering.</dialogue> <character>HOMELESS MAN</character> <dialogue>Christine. He's on his way.</dialogue> <scene_description>When she hears her name, Christine jumps back, frightened. The subway stops and as soon as the door opens, she flees.</scene_description> <character>EXT. STREET - EVENING</character> <dialogue>Christine emerges from the subway, spooked. The world looks a little more sinister to her. She walks quickly up the street. Shapes move in the shadow, seems to her she's being</dialogue> <scene_description>c watched. She breaks into a run.</scene_description> <character>INT. POLICE STATION - EVENING</character> <dialogue>Deteeive Francis scrolls through DHV photos. He stops on one. Push in... the driver's license picture looks like the picture in Thomas's house.</dialogue> <character>DTC. FRANCIS</character> <dialogue>Gotcha.</dialogue> <character>ZNT. APARTMENT BUILDING - NIGHT</character> <dialogue>Third floor walk up. Christina alights the steps to the landing. The bulbs lining the hallway flicker, dimming and brightening. She quickens her paee, then runs to her door. She fumbles with her keys, finally finding the right one. She hears footsteps coming up the stairs. Glances over her shoulder. She turns the key in the lock and throws the door open.</dialogue> <scene_description>C.</scene_description> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>She's immediately grabbed by a BLACK CLAD COMMANDO. She screams. Struggles. Breaks free. Into the arms of another COMMANDO. She elbows him, and backs away. Another pounces on her. She hits him, struggling to get away. Christine breaks free and rushes into...</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>. . . slamming t h e door shut, she grabs h e r phone and d i a l s 911. The phone's dead. She looks around. Looks out her window. Three s t o r y drop. SMASH! Her door s p l i n t e r s . SMASH! I t s p l i n t e r s more. She grabs her bedside table and throws i t through the window, shattering the g l a s s . SMASH! The Commandos have almost knocked the door down. She runs f o r h e r c l o s e t , and c l o s e s t h e door shut behind h e r . SMASH! The bedroom door comes down and t h e three Commandos s p i l l i n t o t h e room. One rushes t o t h e window. \ COMMANDO #1 She must be in the room. Through the slatted door of the closet, Christine watches the Commandos cover the bathroom and closet doors. She reaches over and grabs a baseball bat. They're right in front of her. She quietly lifts the baseball bat as they open the door... BAH! She swings the bat. But one of the Commandos grabs it from her while the other two wrestle her to the ground. They each take a limb as they pull her toward the bed. They hold her face-down, spread eagle. She tries to twist sway, but they're too strong. The leader pulls a sack from his bag and pulls it over her head.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Third floor walk up. Jericho, Francis and Chicago alight the steps to the landing. The bulbs lining the hallway still flicker, dimming and brightening. Eerie.</scene_description> <character>CBICAGO</character> <dialogue>Are you sure this is the place?</dialogue> <scene_description>Francis nods. They knock on Christine's door.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Miss Bethlehem?</dialogue> <scene_description>They hear a scream from inside. With swift blinding speed, Jericho kicks the door open. They go in weapons drawn. They see Christine, hands and feet bound, hooded, being dragged across the carpet by the commandos. The Commandos dive out of the way and open fire on Jericho. Jericho ducks back in the hallway, pivoting back in every moment or so to return fire. The Commandos race across Christine's apartment and dive out the window bearing the fire escape, leaving Christine bound on the floor. Jericho rushes to Christine's aid as Chicago and Detective Francis pursue the commandos. Jericho pulls the sack from Christine's head and removes the blindfold. She begins to scream again.</scene_description> <character>CHRISTINE</character> <dialogue>Who are you? What's happening?!</dialogue> <character>JERICHO</character> <dialogue>It's okay. We're the good guys.</dialogue> <scene_description>Jericho starts to untie her. He notices a CREST emblazoned on the blindfold: Stitched in white, A SWORD WITH A SNAKE WRAPPED AROUND IT.</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE - NIGHT</stage_direction> <scene_description>Chicago chases one of the Commandos up the escape as Francis races after the other two, but they hit the street running well ahead of him. By the time he's on the street, they've disappeared.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF - NIGHT</stage_direction> <scene_description>Chicago chases his commando over the row of black tar roof tops. Chicago is inches away from grabbing the man, when he leaps from the three story roof, does a back flip and lands in a garbage dumpster. Be springs to his feet end is into the night.</scene_description> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Francis finishes questioning Christine. I</scene_description> <character>CHRISTINE</character> <dialogue>I told you, I have no idea who they were. I don't know what they wanted. Now do you mind telling me what's going on!</dialogue> <character>DTC. FRANCIS</character> <dialogue>Take it easy.</dialogue> <character>CHRISTINE</character> <dialogue>Take it easy? You weren't just jumped in your own apartment.</dialogue> <scene_description>Christine turns away. Jericho crosses and sits down next to her. He speaks quietly so no one can hear.</scene_description> <character>JERICHO</character> <dialogue>Christine... listen to me. This attack... it could bo related to a murder at the hospital and an attempt on my life.</dialogue> <character>CHRISTINE</character> <dialogue>This isn't making me feel any better.</dialogue> <character>JERICHO</character> <dialogue>We're trying to find a common thread. Bave you received any threatening phone calls?</dialogue> <character>CHRISTINE</character> <dialogue>No.</dialogue> <character>JERICHO</character> <parenthetical>(almost whispering)</parenthetical> <dialogue>Bave you seen or heard anything... out of the ordinary?</dialogue> <character>CHRISTINE</character> <dialogue>Like what?</dialogue> <dialogue>Like, people staring at you, saying odd things?</dialogue> <character>CHRISTINE</character> <parenthetical>(gasping)</parenthetical> <dialogue>Bow did you know?</dialogue> <character>JERICHO</character> <dialogue>It's happened to me.</dialogue> <character>CHRISTINE</character> <dialogue>I was in the day-care center, where I work, and suddenly everything was on fire. The children were burning. Then, I found this picture...</dialogue> <scene_description>Christine rises and goes to her book bag. She pulls out the drawing of her in hell and shows it to Jericho.</scene_description> <character>CHRISTINE</character> <dialogue>Some of my kids have problems, but not like this.</dialogue> <character>RACHEL</character> <dialogue>Bey girl!</dialogue> <scene_description>Christine looks up and sees her roommate RACHEL, mid- twenties, accompanied by an officer. Rachel gives her a big hug.</scene_description> <character>RACHEL</character> <dialogue>They told me what happened. Are you okay?</dialogue> <character>CHRISTINE</character> <dialogue>Not really. This is my roommate,</dialogue> <scene_description>- Rachel. Jericho. Detective Francis and... I forgot. ( CHICAGO Chicago. Good to meet ya.</scene_description> <character>RACHEL</character> <dialogue>You all cops?</dialogue> <character>CHRISTINE</character> <dialogue>Rachel loves cops.</dialogue> </scene> <scene> <stage_direction>EXT. CORRIDOR - NIGHT</stage_direction> <scene_description>Cops push by Jericho and Chicago.</scene_description> <character>JERICHO</character> <dialogue>Call Guy, tell him to fire up the Van.</dialogue> <character>CHICAGO</character> <dialogue>Full surveillance? Isn't that overkill? She's got police protection.</dialogue> <character>JERICHO</character> <dialogue>Not good enough. Do me a favor, go to the library...</dialogue> <scene_description>c CBICAGO^ Library? Hello. Do you know what time f^- it is?</scene_description> <character>JERICHO</character> <dialogue>I don't care. Find me a book on Medieval Heraldry.</dialogue> <scene_description>Jericho pulls the blindfold out of his pocket and examines it.</scene_description> <character>CUT TO:</character> <dialogue>I N T . CHRISTINE'S APARTMENT - NIGHT</dialogue> <dialogue>Jericho studies the apartment as Christine gives RACHEL a goodnight hug.</dialogue> <character>CHRISTINE</character> <dialogue>You sure you want to stay here tonight? I seem to be attracting trouble. -</dialogue> <dialogue>With all this manpower? You guys need anything, I'm right in here.</dialogue> <scene_description>Rachel checks out Jericho. Goodnight Jericho. Lock your door. Rachel mouths to Christine. "Be's gorgeous." Christine rolls her eyes at her. (firmly) Rachel enters her bedroom and closes the door behind bar.</scene_description> <character>EZT. STREET - NIGHT</character> <dialogue>X BLACK VAST is parked on the curb. Inside...</dialogue> <dialogue>Eigh-tech surveillance. Video monitors. Chicago hits a bunch of switches. Various angles of Christine and Rachel's apartment appear on the screens.</dialogue> <character>CHICAGO</character> <dialogue>Okay, we're hot.</dialogue> <scene_description>Chicago can see Christine and Jericho in the living room of the apartment. IN THE MONITOR -</scene_description> <character>JERICHO</character> <parenthetical>(into walkie-talkie)</parenthetical> <dialogue>Secure the perimeter and give me a rolling record.</dialogue> <scene_description>Chicago hits another set of buttons.</scene_description> <character>CBICAGO</character> <dialogue>Copy. Perimeter is armed and active. Nothing gets close without us knowing.</dialogue> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Jericho heads toward the front door, opening it. Christine stops him.</scene_description> <character>CHRISTINE</character> <dialogue>Where are you going? ^=^</dialogue> <character>JERICHO</character> <dialogue>Down to the van. We'll be right downstairs and you have a policeman just outside the door.</dialogue> <character>CHRISTINE</character> <dialogue>Z hate to sound like a wimp, and I swear to God I'm not hitting on you, but I'd feel a lot better if you stayed here.</dialogue> <scene_description>Jericho nods, closes the door and locks it. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>The Man peers at the Black Van from a dark alley across the street. A HOMELESS MAN comes over to our Han.</scene_description> <character>HOMELESS KAN</character> <dialogue>Bey Buddy, not here, This is my alley.</dialogue> <scene_description>The Han turns and takes the homeless man around bis neck and whispers to him in a low guttural tongue. The Man releases him and the homeless man wanders away in a daze, tears c streaming out of his burning red eyes.</scene_description> <character>HOMELESS MAN</character> <dialogue>I knew it. I knew the end was near.</dialogue> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Christine pours a cup of coffee and hands it to Jericho.</scene_description> <character>JERICHO</character> <dialogue>Thanks.</dialogue> <scene_description>The black blindfold is spread out on the kitchen table. Jericho pours over a book of Medieval Heraldry. Christine sits down across from him.</scene_description> <character>CHRISTINE</character> <dialogue>You said you'd seen things. Can you tell me what?</dialogue> <scene_description>Jericho looks up at the surveillance equipment.</scene_description> <character>JERICHO</character> <dialogue>I'd rather not.</dialogue> <character>CHRISTINE</character> <dialogue>Gotcha. Been doing this long?</dialogue> <character>JERICHO</character> <dialogue>Protecting people?</dialogue> <character>CHRISTINE</character> <dialogue>Yeah.</dialogue> <character>JERICHO</character> <dialogue>About fifteen years.</dialogue> <character>CHRISTINE</character> <dialogue>I've never done anything for more than six months, z sort of like what Z'm doing now, but... I've always had this feeling like there's something Z'm supposed to be doing and Z haven't quite hit on it yet.</dialogue> <character>JERICHO</character> <dialogue>You'll find it. It just takes time.</dialogue> <scene_description>ZBT. VAN - NIGHT Chicago and Guy have trouble staying awake. A shadow passes one of the windows. Neither of them notice. {</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A dark alley, ihe Man, mostly in shadow, eyes the apartment window and then the black van and police ear. The Man turns toward the alley wall and unzips his pants. After a beat, a stream of piss- splashes off the wall. We follow as it trickles down the alleyway and into the street. It flows until it puddles up underneath the van.</scene_description> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Jericho turns a few more pages, then stops. He's found what he's looking for. The Herald. A black background with a white sword, the image of the snake wrapped around it.</scene_description> <character>CHRISTINE</character> <dialogue>That's it!</dialogue> <scene_description>Bis finger runs over to the text beneath it.</scene_description> <character>JERICHO</character> <dialogue>They're a sub-herald of the Templar Knights of St. John... Considered themselves God's Warriors...</dialogue> <scene_description>Jericho stops reading out loud. 1</scene_description> <character>CHRISTINE</character> <dialogue>( What?</dialogue> <character>JERICHO</character> <dialogue>They claimed the Devil would return to Earth and devour all men's souls, even the righteous. See the Satanic Prophesies, End of Days.</dialogue> <character>CHRISTINE</character> <dialogue>The people who tried to kidnap me</dialogue> <scene_description>Devil worshippers?</scene_description> <character>JERICHO</character> <dialogue>Actually, no. They called themselves the Army of Good. But it says here they disbanded in 1375.</dialogue> <character>CHRISTINE</character> <dialogue>Z don't believe this. What would they want with me? Z mean, Z'm nobody special.</dialogue> <character>JERICHO</character> <dialogue>That's what we're trying to find out.</dialogue> <scene_description>c</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>jlfgllhy The Man finishes pissing and zips up. He casually pulls out a cigarette, sticks it in his mouth. Once again the cigarette LIGHTS on its own. Turns back and drops his cigarette into the urine stream. It IGNITES like gasoline, quickly burning toward the van.</scene_description> </scene> <scene> <stage_direction>INT. VAN - NIGHT</stage_direction> <scene_description>Chicago sniffs.</scene_description> <character>CHICAGO</character> <dialogue>Bey... you smell something?</dialogue> <character>GUY</character> <dialogue>What?</dialogue> <character>CBICAGO</character> <dialogue>Gasoline?</dialogue> <scene_description>Chicago c r o s s e s t o t h e rear of the van, opens the door a n d . . . BOOM!</scene_description> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <character>J0&amp;\</character> <dialogue>Jerieho bolts up from the Kitchen table. Be rushes to the window just in time to see the FLAMING VAN LAND ON TOP OF THE POLICE CAR in a ball of fire.</dialogue> <character>JERICHO</character> <dialogue>Get down! Get down!</dialogue> <scene_description>Christine drops to the ground.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>The Han walks through the burning fire and to the building. He stops briefly over Chicago's body, face down on the cement. Be stoops and touches Chicago on the neck. No movement. Be rises and heads into the building.</scene_description> </scene> <scene> <stage_direction>INT. CHRISTINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Jericho takes Christine by the hand.</scene_description> <character>JERICHO</character> <dialogue>Coma on.</dialogue> <scene_description>As they run to the front door...</scene_description> <character>CHRISTINE</character> <dialogue>Oh my God I Wait! Rachel!</dialogue> <scene_description>Christine breaks free from Jericho and raeas to Rachel's room. The bedroom door flings open.</scene_description> <character>CHRISTINE</character> <dialogue>Rachel, we've got to go.</dialogue> <scene_description>Rachel grabs Christine's arm.</scene_description> <character>RACHEL</character> <dialogue>No. Wait.</dialogue> <character>CHRISTINE</character> <dialogue>Are you insane?</dialogue> <character>RACHEL</character> <dialogue>He's coming.</dialogue> <scene_description>Christine backs away, but Rachel holds onto her arm.</scene_description> <character>CHRISTINE</character> <dialogue>Rachel, let go. You're bruising me.</dialogue> <scene_description>Rachel has grabbed Christine's other wrist. She pulls her into the middle of the apartment. -^</scene_description> <character>RACHEL</character> <dialogue>Finally, Chris. After all these years, watching and waiting, he's finally come.</dialogue> <character>JERICHO</character> <dialogue>Let her gol</dialogue> <scene_description>Jericho grabs Rachel's arm to pull her fingers from Christine's wrist. Christine, confused, twists away. Rachel growls and claws at Jericho. But he frees Christine. They rush toward the door. SCI Rachel flies across the room and slams into the door baring their way. Ber eyes roll back in her head. Her voice deepens. RACHEL (cont'd; DEMON VOICE) You cannot leave.</scene_description> <character>JERICHO</character> <dialogue>Watch us.</dialogue> <scene_description>xst Jericho grabs Rachel and wrestles her out of the way. Rachel \*^. begins to tremble, as if in a rage. Her EYES GLOW with fire. c Scales break through her skin and talons emerge from her hands.</scene_description> <character>RACHEL (DEMON VOICE)</character> <dialogue>You cannot take her.</dialogue> <scene_description>And now THE BEAST towers over them, like some monstrous alien. It turns toward Christine. RACHEL (cont'd; DEMON VOICE) Forsake the protector and give yourself to him! He will give you eternity. Jericho pulls out his sidearm. The DEMON strikes him, sending him flying across the room. The Beast moves toward Christine. She backs away, cowering. It recoils to strike at her, but as it does, Jericho fires, SEVERAL TIMES. The beast SCREAMS the scream of a woman, fthim falls.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT</stage_direction> <scene_description>The elevator opens and the Man walks down the corridor toward Rachel's door, and just as he gets there... /$^N. It opens. Rachel falls into the hallway, covered in blood. Sbe Man steps over her and enters the apartment. No sign of Jericho or Christine. The Man sniffs the air... he follows the scent back into the hallway. Sniffs again. Shakes his head and punches the wall. A hole shatters in the plaster. Be hears sirens in the background.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Jericho end Christine rush out into the street.</scene_description> <character>CHRISTINE</character> <dialogue>Tell me you saw that.</dialogue> <character>JERICHO</character> <dialogue>I saw it. But I don't believe it... and neither will anyone else.</dialogue> <scene_description>They're almost hit by a police cruiser screaming down the road. Jericho WAVES HIS ARMS, and the cruiser skids to a halt.</scene_description> </scene> <scene> <stage_direction>EXT. CHRISTINE'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Ambulances and police cars surround the still burning van and police cruiser as FIRE FIGHTERS try to put out the flames. The Man stands watching. Nearby a COP keys his mike.</scene_description> <character>COP</character> <dialogue>Negative, negative. Only thing upstairs is a dead body.</dialogue> </scene> <scene> <stage_direction>INT. PRECINCT STATION - NIGHT</stage_direction> <scene_description>Christine sits by a desk as a cop types up her report. She looks around nervously. All the other suspects seem to be staring at her. Most of them have red eyes. A HOOKER chews her own flesh and leers at her, blowing her a kiss. She closes her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. CHRISTINE'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>The Man closes his eyes, then opens them. He turns away from the wreckage. He's seen her. (</scene_description> </scene> <scene> <stage_direction>INT. PRECINCT STATION - NIGHT</stage_direction> <character>€�</character> <dialogue>The Hooker opens her eyes.</dialogue> <character>CHRISTINE</character> <dialogue>Stop staring at me!</dialogue> <scene_description>Christine turns away. The Booker glances at the Businessman in handcuffs. Smiles. Below the table we see her arms strain. Her handcuffs snap off.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION, INTERROGATION ROOM - NIGHT</stage_direction> <scene_description>NYPD cinder block chic. Bolted down table and chairs.</scene_description> <character>JERICHO</character> <dialogue>What about Chicago?</dialogue> <scene_description>D.O.A. .&gt;\*=\*"&gt;.:</scene_description> <character>JERICHO</character> <dialogue>And upstairs?</dialogue> <scene_description>L</scene_description> <character>DTC. FRANCIS</character> <dialogue>Jer... there was no monster. Only a dead girl shot five times... by your gun.</dialogue> <character>JERICHO</character> <dialogue>I know what I saw.</dialogue> <character>DTC. FRANCIS</character> <dialogue>Look, I've known you, what? Twelve years? But if you were me, would you believe that story?</dialogue> <scene_description>He shakes his head. Be's an honest man.</scene_description> <character>JERICHO</character> <dialogue>NO.</dialogue> <character>DTC. FRANCIS</character> <dialogue>You tell me what's more logical? A man, on edge, weapon drawn, is startled by a girl and accidentally pops her, or that the laws of physics change and that girl becomes some kind of monster?</dialogue> <character>JERICHO '</character> <dialogue>She saw it too.</dialogue> <character>DTC. FRANCIS</character> <dialogue>We called up the records on the girl, you know. Looks like death is her hobby.</dialogue> <scene_description>Francis tosses her file onto the desk in front of him.</scene_description> <character>DTC. FRANCIS</character> <dialogue>She's had four boyfriends die on her in six years. Ber parents died when she was 10.</dialogue> <scene_description>Jericho thumbs through the file.</scene_description> <character>JERICHO</character> <dialogue>Car accident, OD, plane crash and suicide.</dialogue> <character>DTC. FRANCIS</character> <dialogue>She a regular Dr. Kevorkian. Listen, Z'm sorry, Jer.</dialogue> <scene_description>Francis takes out a pair of handcuffs and slaps them on Jericho's wrists.</scene_description> <character>DTC. FRANCIS</character> <dialogue>I don't like having to do this, but I gotta hold you.</dialogue> <scene_description>BAM! BAM! Gunshots outside the door followed by a loud commotion.</scene_description> </scene> <scene> <stage_direction>EXT. CORRIDOR - NIGHT</stage_direction> <scene_description>Cops run down the hallways with their billy clubs out. Francis stops one of them.</scene_description> <character>FRANCIS</character> <dialogue>What'8 going on!</dialogue> <character>COP</character> <dialogue>Riot.</dialogue> <character>FRANCIS</character> <dialogue>Riot?</dialogue> <scene_description>Francis follows the cop. Jericho is up and after him, still cuffed. INT. POLICE STATION - NIGHT j\*^". c A ring of cops surround Christine swinging their clubs as a DOZEN suspects try to break through their ranks. Individual brawls break off the main melee as cops and criminals square off. The Hooker and the Businessman manage to grab Christine and pull her toward the door. The Hooker waves a gun, fending off cops.</scene_description> <character>JERICHO</character> <dialogue>Christine!</dialogue> <scene_description>Jericho sees her across the crowded precinct floor. He tries to go to her, but he's attacked. 1ST. POLICE STATION, RECEPTION - NIGHT The Man pushes his way past sickos and psychos toward the front desk. He walks past the Desk Sergeant.</scene_description> <character>DESK SERGEANT</character> <dialogue>Bey! You can't go baek there.</dialogue> <scene_description>The Man doesn't break stride. The Desk Sergeant follows. Grabs him by the shoulder. The Man turns and stares into the Desk Sergeant's eyes. C</scene_description> <character>MAN</character> <dialogue>j&lt;Si^v</dialogue> <scene_description>Do they know you like little boys, Sergeant? The Sergeant backs away. Frightened. THE MAN walks down the corridor, sniffing as if he's caught a scent.</scene_description> <character>INT. POLICE STATION - NIGHT</character> <dialogue>Bands cuffed together, Jericho fights off a sea of attackers and bulls his way across the room.</dialogue> <character>CHRISTINE</character> <dialogue>Jericho!</dialogue> <scene_description>She struggles against her attackers, frees herself, only to be tackled again. Jericho fights like a man possessed, tossing bodies out of the way, suffering blows from billy clubs. The Hooker spots him and fires several times, Jericho dives behind a desk. Be grabs a desk lamp and throws it at the Booker. As she ducks, he leaps, slamming into her and knocking the gun from her hand. The businessman grabs him, but Jericho smashes his palms against the bridge of the man's nose, shattering it. Jericho grabs a gun. But suddenly... everything becomes quiet. Everyone stops fighting. They all turn slowly and see the Man. Most of them eye him like dogs staring at their master. As the Man walks, he touches their outstretched hands. One cops steps in front of him, but the Han touches him and the cop steps away. The Man finds Christine half-hiding behind Jericho at the opposite end of the large room. Jericho's got the gun leveled at the Man. Bello Christine. Christine's face flickers with a dull red light. The Man calmly walks towards Jericho and Christine. Be reaches out his arms as if to embrace his long lost love. Christine, there's nothing to fear. Christine, entranced, moves from behind Jericho and reaches out towards the Man. Jericho pushes down her arm and blocks her with his body.</scene_description> <character>JERICHO</character> <dialogue>Don't let him touch you.</dialogue> <character>MAN</character> <dialogue>I'm what you've been waiting for, Christine. He can't keep you safe, but I can.</dialogue> <scene_description>The man is getting closer. Jericho waves his gun at the Man.</scene_description> <character>JERICHO</character> <dialogue>Stay back.</dialogue> <character>CHRISTINE</character> <dialogue>Let me go. Then this will be over. He won't hurt me.</dialogue> <character>JERICHO</character> <dialogue>You're wrong.</dialogue> <scene_description>Jericho drops the gun, grabs Christine and throws his body back... Through the precinct window. EXT. ALLEY - NIGHT .•"aeS&gt;. Jericho shields Christine as he explodes through the glasa, ( falling half a story to the concrete. He's tucked so the two of them roll when they hit the ground. Be pushes Christine to her feet. She sees he's normal again.</scene_description> <character>JERICHO</character> <dialogue>Run!</dialogue> <scene_description>Christine looks around as though she's just come to. Be propels her forward, struggling up after her. JERICHO (cont'd) ~"~ Ran! They do.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - NIGHT</stage_direction> <scene_description>The Man looks straight at Franeia. Unspeakable horror, then incredible calm pass over his faea.</scene_description> <character>DTC. FRANCIS</character> <parenthetical>(to his men)</parenthetical> <dialogue>Alert all units. I want them brought back alive.</dialogue> <scene_description>L The Man nods in praiae.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - NIGHT</stage_direction> <scene_description>Running full speed. Jericho pulls Christine into Central Park. Safely away from everybody, he grabs her and hides her beneath an underpass. Sirens scream through the night.</scene_description> <character>CHRISTINE</character> <dialogue>It's like a nightmare.</dialogue> <character>JERICHO</character> <dialogue>Maybe when the sun comes up, we'll find out it was.</dialogue> <character>CHRISTINE</character> <dialogue>I wanted to go to him. I had this intense, overwhelming animal attraction for him but at the same time, there's a part of me that was totally repulsed. Who is he, Jericho?</dialogue> <character>JERICHO</character> <dialogue>I don't even want to guess. But until we find out, we're going to keep you as far from him as wo can.</dialogue> <character>CHRISTINE</character> <dialogue>I hardly know you and my life's in your bands.</dialogue> <character>JERICHO</character> <dialogue>I'm used to it.</dialogue> <character>CHRISTINE</character> <dialogue>Z'm not used to trusting anyone. Zt's nice, in the morning, if we do wake up and none of this has happened, Z'm gonna look for you.</dialogue> <scene_description>NO time to contemplate that one. Just then a man emerges) from the darkness of the park. He raises his arm, points at Christine end SCREAMS. Other men and women emerge from dark alleys, lurching toward Christine and Jericho like the walking dead. They too begin to scream. Pointing at her. Jericho grabs her arm as this circle of lost souls closes; in on them. The screaming masses rush after them as the two of them rush into the darkness.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - NIGHT</stage_direction> <scene_description>The Man walks along the outer edge of Central Park. Be hears a chorus of screaming in the distance. Be closes bis eyes end listens. Then turns into the park.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - NIGHT "^</stage_direction> <scene_description>Jericho and Christine push through the underbrush. Feet scurry about. People running all around them. Jericho and Christine emerge in a small clearing. Blank faces walk toward them, pointing and screaming.</scene_description> <character>CHRISTINE</character> <dialogue>What are they?</dialogue> <character>JERICHO</character> <dialogue>I don't know.</dialogue> <scene_description>Jericho and Christina duck back into the brush and run. Tree branches seem to reach out, grabbing at then. ANOTHER CLEARING - they emerge... but the damned faces are still there. Bodies shuffling toward them. They duck back into a wooded pathway and run. They push through more bushes and emerge onto the Park Drive. Caught in headlights. Tires screech. A POLICE CAR slides to a halt, broadsiding Jericho and Christine. Enough force to knock them on their ass, but not enough to do serious damage. They're hit by a spotlight. TOO COPS emerge, immediately drawing guns.</scene_description> <character>COP</character> <dialogue>Bands 1 Let me see your hands!</dialogue> <scene_description>Jericho and Christine shade their eyes and raise they're hands. Jericho's still wearing the cuffs from the Station.</scene_description> <character>COP</character> <dialogue>Face down on the ground.</dialogue> <character>JERICHO</character> <parenthetical>(to Christine)</parenthetical> <dialogue>Do it.</dialogue> <scene_description>The two have no choice but to comply. Just then, they hear the howls and see the shadows coining of the darkness. The cop backs away from Jericho and shines his spotlight. Sees the Howlers.</scene_description> <character>COP</character> <dialogue>What the hell is this?</dialogue> <scene_description>The Howlers keep coming. Behind them is the Man. C</scene_description> <character>COP</character> <dialogue>You are interfering with a police action. Stay back! Stay back!</dialogue> <scene_description>The Howlare keep coming. The cop fires a warning shot in the air. The Howlers keep coming. Christine and Jericho tense. Jericho tilts his head slightly motioning toward the police car. Christina nods. The Cop, nervous, fires a second warning shot. And still they keep coming. Tires squeal. The cops whip around and see their police cruiser hauling ass away, Christine in the drivers' seat. When they turn back around, they come face to face with the Man, who touches them both.</scene_description> <character>HAN</character> <dialogue>Find her.</dialogue> <scene_description>She Bowlers disperse as the sky cracks with lightning.</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>Christine pulls out of the Park. Jericho hits the glove compartment open and pulls out a set of CUFF KEYS. He ""ii~.v" himself.</scene_description> <character>CHRISTINE</character> <dialogue>Where to?</dialogue> <character>JERICHO</character> <dialogue>You know St. John's?</dialogue> <character>CHRISTINE</character> <dialogue>Yeah, but let me warn you, Z hate church.</dialogue> <scene_description>CUT TO: CLOSE ONt A wooden door. Large fist banging. FATHER MURPHY opens the door. Seee Jericho and Christine.</scene_description> <character>FATHER MURPHY</character> <dialogue>Zs she the girl?</dialogue> <character>JERICHO</character> <dialogue>Yes.</dialogue> <character>FATHER MURPHY</character> <dialogue>Quickly then.</dialogue> <scene_description>Be pulls them in and shuts the door behind them. Sirens wail in the background.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH OF SAINT JOHN THE DIVINE - DAY</stage_direction> <character>FATHER MURPHY</character> <dialogue>This way. Did anyone see you come?</dialogue> <character>JERICHO</character> <dialogue>I don't think so.</dialogue> <character>FATHER MURPHY</character> <dialogue>Then we should be safe.</dialogue> <scene_description>Father Murphy signals to two other priests. They step in and guard the door.</scene_description> <character>FATHER MURPHY</character> <dialogue>You did the right thing bringing her here.</dialogue> <scene_description>As they cross the church, Jericho looks into the faces of the frightened people who have come to pray. "^ ( v Father, can you tell us what's going on?</scene_description> <character>FATHER MURPHY</character> <dialogue>Z can, but it will be almost impossible for you to believe.</dialogue> <scene_description>Murphy leads them to through the wooden door and down the circular staircase.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CHAMBER - NIGHT</stage_direction> <scene_description>It looks like a creepy version of a newsroom, with dozens of people running around with updates. Be introduces himself to Christine.</scene_description> <character>FATHER MURPHY</character> <dialogue>Z'm Father Murphy.</dialogue> <dialogue>Christine Bethlehem.</dialogue> <character>FATHER MURPHY ,^\_.</character> <dialogue>You'll excuse the chaos, but some ) very scary shit is going en right now.</dialogue> <scene_description>c</scene_description> <character>CHRISTINE</character> <dialogue>We know. We've seen it.</dialogue> <scene_description>They're joined by FATHER PETERS, a priest in his mid-thirties.</scene_description> <character>FATHER PETERS</character> <dialogue>It's spreading like a cancer. We're losing people all over the city.</dialogue> <character>FATHER MURPHY</character> <dialogue>Not a cancer... It's a spider web spreading to catch it's fly.</dialogue> <character>JERICHO</character> <dialogue>What is?</dialogue> <character>FATHER MURPHY</character> <dialogue>3\_e evil. The more souls he takes the</dialogue> <scene_description>stronger he gets.</scene_description> <character>EXT. STREET - NIGHT</character> <dialogue>Various shots - As the RED EYED minions walk. Not just homeless, but well-dressed stockbrokers and lawyers. Just like you and ma, except for the dull red in their constantly shifting eyes. Entering bare, drifting into subways, getting into fights, shooting heroin, fucking in the dark shadows of the streets.</dialogue> <character>BBT. UNDERGROUND CHAMBER - NIGHT</character> <dialogue>Father Murphy lays a leather bound manuscript down on a worktable.</dialogue> <character>FATHER MURPHY</character> <dialogue>The Satanic Prophecies. The original scrolls were written over seven thousand years ago, and discovered by Joseph of Arimathea, when he was guardian of the Boly Grail.</dialogue> <scene_description>Father Murphy opens up the five hundred year old book. The one from the opening Vatican sci</scene_description> <character>FATHER PETERS</character> <dialogue>As you can see, they chronicle the End of Days. The coming of the age of darkness.</dialogue> <character>JERICHO</character> <dialogue>The age of darkness. You mean Judgement Day.</dialogue> <scene_description>/^^</scene_description> <character>FATHER PETERS "&gt;</character> <dialogue>No. Something far worse.</dialogue> <character>FATHER MURPHY</character> <dialogue>On Judgement Day, the righteous are saved. They ascend to heaven. But at the End of Days there is no salvation, only a new hell brought to Earth by the Devil himself.</dialogue> <character>JERICHO</character> <dialogue>I've never heard of it.</dialogue> <character>FATHER MURPHY</character> <dialogue>The church isn't anxious for people to know that in some scriptures, even the righteous can be damned.</dialogue> </scene> <scene> <stage_direction>INT. TIMES SQUARE - NIGHT</stage_direction> <scene_description>A crazed prophet waves the Bible around talking to anybody who might listen.</scene_description> <character>PROPHET</character> <dialogue>A day will coma, sinners, that you will be judged. And Jesus shall know your sins. ^</dialogue> <scene_description>( A couple of red-eyed FRAT BOYS sidle up to either side of him. The Prophet backs away. The Frat Boys pounce and begin beating on the Prophet. A few pedestrians try to break up the fight. Suddenly more people become involved. Bricks sail... thrown into glaas storefronts. People begin looting. It's an out and out riot. In a matter of seconds. Times Square is rioting.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CHAMBER - NZGHT</stage_direction> <scene_description>Father Murphy turns the pages of the antique manuscript. •• illuminated with different hand-painted illustrations of men, through the ages, battling a GREAT BEAST with a GLOWING SWORD.</scene_description> <character>FATHER MURPHY</character> <dialogue>According to the prophecy, Satan can't be -\_mprisoned forever. Once a millennium, through the alignment of Beaven and Earth, he is freed from his prison.</dialogue> <dialogue>Listen, I've seen things Z can't 'i explain. But Satan? No.</dialogue> <scene_description>L</scene_description> <character>FATHER MURPHY</character> <dialogue>/&amp;\*\* The devil's greatest trick was to ' convince the world he didn't exist.</dialogue> <scene_description>The modern age has all but killed him. But Nullus diablus, nullus redemptor.</scene_description> <character>CHRISTINE</character> <dialogue>What does that mean?</dialogue> <character>FATHER MURPHY</character> <dialogue>If you have no devil, then there is no reedemer. If you deny the Devil, you deny God.</dialogue> <character>CHRISTINE</character> <dialogue>Father, what does he want?</dialogue> <character>FATHER MURPHY</character> <dialogue>In the three days before the New Year, if the Dark Angel can carry his chosen mortal bride back across Hell's threshold, the wall between hell and earth will fall.</dialogue> <character>JERICHO</character> <dialogue>Why three days?</dialogue> <scene_description>spM\*y FATHER MURPHY For the holy trinity. v\_</scene_description> <character>CHRISTINE</character> <dialogue>The woman... how is she chosen?</dialogue> <character>FATHER MURPHY</character> <dialogue>By his legions of followers. The signs indicate she waa born June 6th, 1975.</dialogue> <scene_description>They look at Christina. She quietly takes a seat and nods.</scene_description> <character>FATHER MURPBY</character> <dialogue>According to the Prophecy, he will join with her, and their half-mortal son will reign over a new kingdom here on earth. All souls, even the righteous will be damned.</dialogue> <character>CHRISTINE</character> <dialogue>Bell on Earth.</dialogue> <character>JERICHO</character> <dialogue>Even if what you ware saying is true, surely God wouldn't allow that.</dialogue> <character>V..</character> <dialogue>FATHER MURPHY -^\</dialogue> <scene_description>God does not say he will save us, Jericho. He says we will save ourselves.</scene_description> <character>FATHER PETERS</character> <dialogue>He gave us free will. Evil is not his battle. It's ours.</dialogue> <character>JERICHO</character> <dialogue>We've been around for thousands of years. We've yet to see Bell on Earth.</dialogue> <character>FATHER MURPHY</character> <dialogue>It is written that a Protector will always come forth, a righteous warrior, to keep the girl from harm.</dialogue> <scene_description>Jericho looks at the illustrations in the book.</scene_description> <character>JERICHO</character> <dialogue>And how do they defeat the Devil... with a sword?</dialogue> <character>FATHER PETERS</character> <dialogue>Zt is not just a sword, it's a metaphor for faith.</dialogue> <character>CHRISTINE</character> <dialogue>And who is the protector?</dialogue> <character>FATHER MURPHY</character> <dialogue>God only knows.</dialogue> <character>CHRISTINE</character> <parenthetical>(to Jericho)</parenthetical> <dialogue>Maybe it's you.</dialogue> <scene_description>Father Peters shakes his head. ,</scene_description> <character>FATHER PETERS</character> <dialogue>The Protector is a man of great faith and virtue. No offense, but Z don't think he's a candidate.</dialogue> <character>JERICHO</character> <dialogue>This is a fairy tale, Christine. Something's going on, but the Devil isn't walking the earth.</dialogue> <character>CHRISTINE</character> <dialogue>I felt him, Jericho. Z felt him.</dialogue> <scene_description>L</scene_description> <character>JERICHO</character> <dialogue>I know you believe. But it isn't real. There's some other explanation.</dialogue> <character>FATHER PETERS</character> <dialogue>Jericho, aa sure as God is in heaven, the Devil is real. And if Thomas found this woman, she might very well be the one he's coming for.</dialogue> <character>JERICHO</character> <dialogue>He had pictures of me too.</dialogue> <character>FATHER MURPHY</character> <dialogue>The Vatican sent Thomas because be was sensitive to certain spiritual matters. He could see things others couldn't. I don't know what role you play, if any, but my guess is - you've already played it by bringing her here. We'll protect her now.</dialogue> <character>JERICHO</character> <dialogue>Do you have weapons?</dialogue> <character>FATHER MURPHY</character> <dialogue>Of course not. This is a church.</dialogue> <scene_description>jj$toy Jericho looks at Christine.</scene_description> <character>JERICHO</character> <dialogue>Wait here for me.</dialogue> <scene_description>Be heads out the door.</scene_description> <character>EXT. TIMES SQUARE - DAWN</character> <dialogue>The sun is a mall red blot on the gathering clouds of fire. Xa Times Square we can see the aftermath of a riot. Burning ears. Half naked people scurry across the street. Occasional gunplay. We push in on the GIANT DIAMOND VISION SCREEN.</dialogue> <character>NEWSCASTER (V.O)</character> <dialogue>... what some psychiatrists arc describing as a mass delusion, or mob mentality, but the devastation is unreal...</dialogue> <scene_description>On the screen we see a newscast video of Manhattan at night. The image is broken. Shifting. Behind the reporter, hundreds of people break shop windows and loot. Pedestrians are being beaten. -^:</scene_description> <character>NEWSCASTER (T.V.)</character> <dialogue>... aa thousands of people, roam the streets, acting without conscience. The Mayor of New York had this to say.</dialogue> <scene_description>The screen cuts to THE MAYOR'S PRESS ROOM -</scene_description> <character>MAYOR (T.V.)</character> <dialogue>We're asking all New Yorkers to please stay calm and stay inside while we attempt to control the situation.</dialogue> <character>REPORTER (T.V.)</character> <dialogue>Sir, is is true you've just met with the Archbishop?</dialogue> <character>MAYOR (T.V.)</character> <dialogue>Yes, and we're confident that the good people of this city will help us through this crisis.</dialogue> <character>REPORTER (T.V.)</character> <dialogue>Sir. The rivers boiling and the sky... are we seeing the signs of the apocalypse?</dialogue> <scene_description>Obviously disturbed, the Mayor steps down.</scene_description> <character>KAYOR (T.V.)</character> <dialogue>The police are out, and we will get this situation under control. Until then I would urge everyone to stay calm.</dialogue> <scene_description>The screen cuts back to THE NEWSCASTER. A crazed man wanders through the square and looks up at the diamond vision.</scene_description> <character>CRAZED HAN (T.V.)</character> <dialogue>Zt's the end of the world, man. Ain't it cool.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - DAWN</stage_direction> <scene_description>A cop walks down the alley behind Jericho's apartment building, past a HOMELESS DRIFTER rummaging through the trash. After the cop has passed, the homeless man turns around. It's JERICHO, dressed in rags. When the cop turns the far alley corner, Jericho checks left and right. All clear. Be leans down and pulls up a grata, dropping down into a window well that looks in on the laundry (</scene_description> <character>INT. LAUNDRY ROOM - DAY</character> <dialogue>Jericho l e v e r s the window up and s l i p s i n s i d e the room.</dialogue> <character>INT. HALLWAY - DAY</character> <dialogue>Be peers down the hallway. There's a cop waiting outside his door. Be slips back around the corner.</dialogue> <character>EXT. CHURCH OF SAINT JOHN THE DIVINE - DAY</character> <dialogue>Black shadows scurry across the buttresses of the Cathedral.</dialogue> <character>INT. CHURCH OF SAINT JOHN THE DIVINE - DAY</character> <dialogue>More faithful have gathered in the church to pray. Christine sits in a pew in front of the dominating figure of Christ. She's badly shaken.</dialogue> <character>FATHER MURPHY</character> <dialogue>Some things are beyond reason. Some things you just have to accept.</dialogue> <character>CHRISTINE</character> <dialogue>What will happen to me. Father?</dialogue> <scene_description>Father Murphy reaches under his collar and pulls out a necklace chain with a cross on it.</scene_description> <character>FATHER MURPHY</character> <dialogue>I've had this since my confirmation. Zt's always kept me safe.</dialogue> <scene_description>Be offers it to her.</scene_description> <character>CHRISTINE</character> <dialogue>Think it'll help?</dialogue> <character>FATHER MURPHY</character> <dialogue>You never know.</dialogue> <scene_description>As it aears her, the metal begins to glow bright red. Father Murphy pulls it away. The metal calms. Brings it in close to her. It glows again.</scene_description> <character>CHRISTINE</character> <dialogue>Z guess even God can't help me now.</dialogue> <scene_description>/fWV</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>Jericho leans around the corner and sees a team of cops coming out of his apartment, led by Detective Francis. Francis locks the door and gives instructions to his men as the team heads to the elevators. A moment later the hallway is empty. Jericho heads toward his front door, fumbling with his keys. He opens the door and slips into the apartment.</scene_description> </scene> <scene> <stage_direction>INT. JERICHO'S PENTHOUSE - DAY</stage_direction> <scene_description>Jericho moves rapidly, crossing to his closet. He runs his hand along the rail, hitting a trip button. A small trap door pops open. Be pulls a bag out of bis closet. Be unzips it. Inside are several high caliber hand guns. Be grabs a box of clips and dumps them into the bag. Be feels around on the shelf above him and pulls down a small black bag.</scene_description> <character>MAN</character> <dialogue>Where did you take the girl?</dialogue> <scene_description>Jericho whips around, gun in his hand. •^^x</scene_description> <character>JERICHO</character> <dialogue>Stay where you are.</dialogue> <scene_description>( Jericho holds his gun level at the Man. The Man sniffs.</scene_description> <character>KAN</character> <dialogue>Z can small her on you. Where is she?</dialogue> <character>JERICHO</character> <dialogue>Somewhere safe, somewhere where she won't be found.</dialogue> <scene_description>The Han strolls to the bureau and picks up the old photograph of Jericho's wife and son. Nice, family... too bad God took them. Z know the emptiness you feel, to lose that kind of love, still eats you up inside, doesn't it?</scene_description> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>Jericho?</dialogue> <scene_description>The voice comes from the other room. And another lifetime. WOMAN'S VOICE (cont'd; O.S.) ^ Jericho, I'm in here. c A pair of hands grabs him and turns him into... A kiss. Jericho pulls away and sees EMILY, his wife. She's dressed all in white and looks angelic.</scene_description> <character>JERICHO</character> <dialogue>Emily? Emily... is that you?</dialogue> <scene_description>The room is different now. Warmer, more inviting. Art on the walls, oriental rugs on the floor. A fire in the fire place.</scene_description> <character>JERICHO</character> <dialogue>What sort of triek is this.</dialogue> <character>HAN</character> <dialogue>No trick. It's really her.</dialogue> <character>EMILY</character> <dialogue>I'm so happy you're home. I missed you so much.</dialogue> <character>JERICHO</character> <dialogue>Emily?</dialogue> <scene_description>Jericho sees bis son, DAVID,, lying asleep on the couch.</scene_description> <character>JERICHO</character> <dialogue>David...</dialogue> <scene_description>Be crosses to him. Kneels. Brushes the hair back on his face.</scene_description> <character>JERICHO</character> <dialogue>Be'a just how I\_remember him.</dialogue> <scene_description>Be blinks awake.</scene_description> <character>DAVID</character> <parenthetical>(sleepy)</parenthetical> <dialogue>Hi Daddy.</dialogue> <dialogue>See how easy it is to make the pain go away.</dialogue> <scene_description>Jericho hugs his son. Holding him like there's no tomorrow.</scene_description> <character>JERICHO</character> <dialogue>Why are you doing this?</dialogue> <character>MAN</character> <dialogue>To show you what it could be like. Remember your life before, full of love, and music and flavor? I can give it back to you.</dialogue> <scene_description>V Emily touches Jericho on the shoulders, rubs them softly. ^</scene_description> <character>MAN</character> <dialogue>All those nights lying in the dark trying to remember what her touch felt like. And her voice, you tried so hard to remember, but couldn't.</dialogue> <character>EMILY</character> <dialogue>It's gonna be okay now, Jer. It's gonna be alright.</dialogue> <character>HAN</character> <dialogue>Remember the smell of your son's hair, the first time he caught a football. All those things you had locked away... and here they are, yours for the taking.</dialogue> <scene_description>Jericho looks around the room. His house... his home. Yes, home. For the first time in fifteen years it feels like home.</scene_description> <character>HAN</character> <dialogue>I can give it all back to you. You won't miss a single moment.</dialogue> <character>JERICHO -</character> <dialogue>Until the End of Days.</dialogue> <character>HAN</character> <dialogue>Beyond that. I can give it all to you.</dialogue> <character>JERICHO</character> <dialogue>It's not real.</dialogue> <character>HAN</character> <dialogue>Zs a dream real if you never wake up?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You've given so much for so many years. Now it's time to take. Forget the world, Jericho, ""•"•"\* about yourself. All you have to do is tell me where she is.</dialogue> <character>JERICHO</character> <dialogue>What's going to happen to her?</dialogue> <character>HAN</character> <dialogue>Does it matter? She's nobody to you. You don't even know her.</dialogue> <scene_description>Jericho looks into Emily's eyes. NAN (cont'd) m</scene_description> <character>/</character> <dialogue>Your time is running out. Tell me. ^i</dialogue> <scene_description>I</scene_description> <character>JERICHO</character> <dialogue>\*\*. This i s n ' t what happened? They</dialogue> <scene_description>shouldn't be here.</scene_description> <character>MAN</character> <dialogue>Why not? Who would deny you this?</dialogue> <scene_description>Jericho takes his anas from Emily.</scene_description> <character>MAN</character> <dialogue>Just tell me where she is.</dialogue> <scene_description>A long beat.</scene_description> <character>JERICHO</character> <dialogue>I bave to proteet her.</dialogue> <scene_description>The room darkens. Emily and David begin to fade.</scene_description> <character>JERICHO</character> <dialogue>Emily... David...</dialogue> <scene_description>Memory hit - BAM/ A bullet hits Emily in the chest.</scene_description> <character>EMILY</character> <dialogue>Oh God. Jmriehol</dialogue> <scene_description>A much younger Jericho divea tor her, BAKI David fella, ";"s covered in blood, David looks up at Jericho... v Jericho opens his eyes. His apartment is back to the way it was.</scene_description> <character>MAN</character> <dialogue>I can ba your beat friend, Jericho, or your worst nightmare. Belp me and I'll give you all that you desire.</dialogue> <scene_description>Jericho turns to face the Han.</scene_description> <character>JERICHO</character> <dialogue>No...</dialogue> <character>.KAN</character> <dialogue>Very well. I'll ask you ones more, end then I'll get violent. Where's the girl?</dialogue> <character>JERICHO</character> <dialogue>Go to hell.</dialogue> <character>HAN</character> <dialogue>Sometimes hell comes to you.</dialogue> <scene_description>The Han moves swiftly, grabbing Jericho by the throat and f0^ lifting him off the ground. This guy is unbelievably strong.</scene_description> <character>MAN</character> <dialogue>S h e ' s m i n e . S h e ' s always been m i n e .</dialogue> <scene_description>Jericho dangles a foot off the ground. The Man slams Jericho against the glass, presses his faee up against it.</scene_description> <character>MAN</character> <dialogue>Look down. See them. See the little ants. Look at them. That's all you are to me. Now tell me, where\*s the girl?</dialogue> <scene_description>Vhe MAN smashes him against the glass. It cracks. He SLAMS him again, and a webwork of cracks spread. Exterior shot - Jericho bounces off the window. Shards of glass buckle out and rain down on the street, far, far, far below. We see that we're a hundred stories up. Interior - The glass begins to give in shards as the MAN slams Jericho against it. Jericho has no choice but to OPEN FIRS at the Man with his ^\ CLOCK 17. The bullets explode into the MAN. Huge exit holes rip through his flesh spewing not blood, BUT HOLTEN FIRE. The Han reels back, wounded, and than regains his balance and knocks the gun from Jericho.</scene_description> <character>HAN</character> <dialogue>Do you know who I am? Do you know my power?</dialogue> <character>JERICHO</character> <dialogue>Z'm not afraid of you.</dialogue> <dialogue>You should be.</dialogue> <scene_description>With a final burst of power, the Man smashes Jericho against the window, shattering it completely. Be lets go of Jericho end Jericho FALLS... ... Bis hand reaching out ... ... Grabbing ... The EDGE OF THE WINDOW FRAME with his hand. Be clings to the frame, the GLASS SBARDS CUTTING into his hands. JERICHO LOOKS DOWN. A 100 story plummet. g-&gt;™\_r'rtT by a thread. ( Jericho tries pulling himself up, but a BOOT descends on his bloodied hand. The MAN looks down on him, speaks in a calm measured tone.</scene_description> <character>MAN</character> <dialogue>It's a long way down.</dialogue> <scene_description>The Man takes a piece of glass and presses it into Jericho's hand, drawing blood. Jericho's blood slicked hand slips even further. Be's at a dizzying height. Jericho's muscles bulge as he tries to position himself into a better grip.</scene_description> <character>MAN</character> <dialogue>Look down.</dialogue> <scene_description>The Man points. Jericho looks down, all the way down. The street seems to split open and fiery vapors swirl below. Jericho looks up at the man.</scene_description> <character>MAN</character> <dialogue>Now look into your heart. You know you cannot defeat me. Join me.</dialogue> <scene_description>A long beat. Jericho can't hold on much longer.</scene_description> <character>MAN</character> <dialogue>j0fas. Take my hand and I will give you</dialogue> <scene_description>everything God took away. Jericho looks down. Thinks. Then slowly reaches his hand up for help.</scene_description> <character>JBRICHQ</character> <dialogue>Bere.</dialogue> <scene_description>The Man extends his hand to Jericho. Jericho has trouble swinging his free hand up. The Man reaches out for it, but Jericho can't quite bridge the gap. The Han reaches further out to him when... Jericho pulls himself up with just the one hand GRABS THE HAN BY THE FREE ARM and.. . Pulls him out the window The Man tumbles from the window and PLUMMETS TOWARD EARTH. FASTER and FASTER. The MAN roars a supernatural roar and SLAMS into the concrete at TWO HUNDRED MILES AN HOUR. The ASPHALT SHATTERS. The GROUND RUMBLES WITH INTENSITY OF AN EARTHQUAKE. All the nearby windows EXPLODE from the force of the impact. Jericho, hands slicked with blood, uses all his strength to pull himself up and through the window. He falls back into the room and looks out the window. There'8 a crater in the middle of the street. As if a METEOR had struck. Nothing could survive the fall.</scene_description> <character>INT. JERICHO'S PENTHOUSE - DAY</character> <dialogue>Jericho staggers to the kitchen, dripping blood from bis hands. He washes them under the faucet. Jericho staggers to the kitchen and washes his hands in the sink. Then wraps rags around them. BOOM BOOM BOOM. He hears a pounding at the door. Jericho recovers his CLOCK and checks the peephole. Be's shocked by what he sees. Be pulls open the door, partway, revealing...</dialogue> <scene_description>,• CBICAGO... bruised and battered and looking like he's y sporting a monster hang-over. Chicago tries to push his way in, but the chain is on.</scene_description> <character>CBICAGO</character> <dialogue>Open the door, man. I need some help.</dialogue> <character>JERICHO</character> <dialogue>You're dead.</dialogue> <character>CBICAGO</character> <dialogue>No, but I'm gonna be if you don't open the door.</dialogue> <scene_description>Jericho raises his gun.</scene_description> <character>JERICHO</character> <dialogue>Z'm not that stupid.</dialogue> <scene_description>Jericho keepa his gun pointed at Chicago.</scene_description> <character>CHICAGO</character> <dialogue>You think I'm one of those whack jobs running crazy out there? Look, man, I was outside the van when it blew. They took me to the hospital and they tried to kill me.</dialogue> <scene_description>c (more)</scene_description> <character>CHICAGO</character> <dialogue>I barely got away, and now the whole city is freaked! I need your help.</dialogue> <scene_description>Jericho closes the door. Mouths "shit" to himself, then undoes the chain and opens the door again. He pulls Chicago inside, keeping the gun to his head.</scene_description> <character>JERICHO</character> <dialogue>I can't trust you.</dialogue> <character>CBICAGO</character> <dialogue>Don't kill me, man. I'll go. I'll leave.</dialogue> <scene_description>Jericho shoves Chicago back and raises the gun.</scene_description> <character>JERICHO</character> <dialogue>I just need to know.</dialogue> <character>CBICAGO</character> <dialogue>You're whacked, man.</dialogue> <scene_description>Jericho fires. The bullet skims the surface of Chicago's arm. Blood spurts out.</scene_description> <character>JERICHO</character> <dialogue>Oh Jesus, I'm sorry. I'm sorry. I thought you were one of them.</dialogue> <scene_description>Chicago winces in pain.</scene_description> <character>CBICAGO</character> <dialogue>You shot me. I can't believe you shot</dialogue> <scene_description>Jericho holsters his gun and crosses to Chicago.</scene_description> <character>JERICHO</character> <dialogue>Zs it bad?</dialogue> <character>CBICAGO</character> <dialogue>Skimmed me, but it hurts.</dialogue> <scene_description>Jericho freezes. Be feels something. Be crosses to the window and looks down.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>The MAN lies dead at the bottom of the pit. A ring of people surround it. Then we see his finger twitch. Then his hand. Be pushes himself up. Dusts himself off. Cracks bis neck. Be looks all the way up at the dizzying distance he fell. Be climbs up out of the pit. A TOURIST takes pictures with his camera.</scene_description> <character>TOURIST</character> <dialogue>Bell of a fall there. Mister.</dialogue> <character>MAN</character> <dialogue>I've had worse.</dialogue> <character>INT. JERICHO'S PENTHOUSE - DAY</character> <dialogue>Jericho sees the crowd part for the Man. He backs away from the window.</dialogue> <character>JERICHO</character> <dialogue>Come on. We can't stay here.</dialogue> <character>CHICAGO</character> <dialogue>Damn straight. I'm moving to Poughkeepsie. Shit like this don't happen in Poughkipsee.</dialogue> <scene_description>Jericho gathers up his guns.</scene_description> <character>CBICAGO</character> <dialogue>Where are you going?</dialogue> <scene_description>(</scene_description> <character>EXT. STAIRWAY - DAY</character> <dialogue>Jericho and Chicago head down the stairwell.</dialogue> <character>CBICAGO</character> <dialogue>The girl? Screw the girl, man. We've got to get out of town. The whole city's gone mad!</dialogue> <character>JERICHO</character> <dialogue>X can't leave without her.</dialogue> <character>CHICAGO</character> <dialogue>Like hell you can't. Who's this girl anyway? What's so special about her?</dialogue> <character>JERICHO</character> <dialogue>Z can't explain it.</dialogue> <character>CHICAGO</character> <dialogue>Okay, listen, we leave town together. You get her, I'll get the secure car. Just tell me where to meet you.</dialogue> <scene_description>Jericho stops. Looks at Chicago. Looks at his bleeding arm. Looks into his clear eyes. (.</scene_description> <character>JERICHO</character> <dialogue>St. John the Divine in forty minutes.</dialogue> <character>CBICAGO</character> <dialogue>St. John the Divine.</dialogue> </scene> <scene> <stage_direction>INT. CHURCH - DAY</stage_direction> <scene_description>Dozens more people have entered the Church, and are praying. Several Priests stand vigilant watch around Christine.</scene_description> <character>CHRISTINE</character> <dialogue>What's taking him so long?</dialogue> <character>FATHER MURPHY</character> <dialogue>This is a House of God. We're safe here.</dialogue> <character>"</character> <dialogue>Shadows suddenly move all around them as dark figures drop from the rafters of the roof, accelerating down ropes toward the ground. HALF DOZEN of them, fleeting shadows. PEOPLE SCREAM, panicked. Moving quickly, the shadows pounce on Father Murphy and Christine. Piano wire goes around Murphy's neck, another around Christine's. She tries to scream, but her cries are</dialogue> <scene_description>y)SW\*, muffled. Black gloves, stitched with the cross. Modern day knights. Sub-machine guns burst forth, covering the assembled prayers.</scene_description> <character>DARK FIGURE</character> <dialogue>You can't protect her. Father. She'a already lost.</dialogue> <scene_description>The OLD CARDINAL, from the earlier Vatican scene, and the leader of this small band of commandos, pushes back bis hood.</scene_description> <character>FATHER MURPHY</character> <dialogue>Who are you? What do you want?</dialogue> <scene_description>The Old Cardinal withdraws a silver dagger, shaped very much like the cross.</scene_description> <character>OLD CARDINAL</character> <parenthetical>(to Christine)</parenthetical> <dialogue>Prepare yourself.</dialogue> <scene_description>Christine fights her bonds.</scene_description> <character>FATHER MURPHY</character> <dialogue>For what? Prepare herself for what?</dialogue> <scene_description>VflflW^, n</scene_description> <character>OLD CARDINAL ^</character> <dialogue>If mankind is to be saved, we must prevent the union from taking place. She must be sacrificed before the altar of our Lord.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - DAY</stage_direction> <scene_description>Jericho hands Chicago his gun.</scene_description> <character>JERICHO</character> <dialogue>Be careful.</dialogue> <scene_description>Jericho heads down the alley. Chicago looks at the gun, looks at Jericho and then slides the piece into bis waistband.</scene_description> <character>CBICAGO</character> <dialogue>You too.</dialogue> <scene_description>Chicago trots down the alley. Filled with urgency. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Chicago presses through a throng of people up to the Man.</scene_description> <character>CHICAGO</character> <dialogue>Re's holding her in a church. St. John the Divine.</dialogue> </scene> <scene> <stage_direction>INT. CHURCH OF SAINT JOHN THE DIVINE - DAY</stage_direction> <scene_description>Four Knights each hold down one of Christine's limbs. One knight restrains Father Murphy, while the Cardinal dips the dagger in the holy water. Be holds the dagger over Christine's breast. She struggles, tossing and turning against her captors. The gathered refugees in the church cower away. On the DAIS - We see the manuscript from the opening scene. The Cardinal reads from the Latin text.</scene_description> <character>OLD CARDINAL</character> <dialogue>Xn taking lite, we restore lite, in aacritlcing our aoula we save aoula. Fallen Angel, Lord ot Darkness. Get thee behind met for it ia written, thou ahalt worship the Lord thy Qod and him only shall thou aerve, ^^</dialogue> <scene_description>c Be raises the dagger.</scene_description> <character>OLD CARDINAL</character> <dialogue>May God forgive us.</dialogue> <character>ALL OTHERS</character> <dialogue>Amen.</dialogue> <scene_description>The Old Cardinal swings the dagger down.</scene_description> <character>JERICHO</character> <dialogue>God may forgive you, but I won't.</dialogue> <scene_description>The Old Cardinal hesitates just a moment. BAM. The dagger blade shatters from the force of a bullet round from Jericho'8 gun.</scene_description> <character>JERICHO</character> <dialogue>Get away from her.</dialogue> <scene_description>The Cardinal tries to stab Christine with the broken blade. Jericho fires again. This time, he shoots A HOLE in the Old Cardinal'8 band. Jericho, holding a gun in either hand, walks down the length of the church. The Old Cardinal does not move. Blood drips off his fingers jfl^S.</scene_description> <character>OLD CARDINAL</character> <dialogue>Are you her protector?</dialogue> <character>JERICHO</character> <dialogue>Step aside.</dialogue> <character>OLD CARDINAL</character> <dialogue>You have already failed.</dialogue> <scene_description>From beneath their cloaks, the Knights level their automatic weapons at Jericho. Jericho dives for cover as the Knights open fire. Bullets chew up the wooden pews.</scene_description> <character>FATHER MURPHY</character> <dialogue>For Godsake. This is a church. You're desecrating itI</dialogue> <scene_description>Two of the Knights trot down the aisle, guns leveled. They halt by the pew Jericho dove behind.</scene_description> <character>KNIGHT #1</character> <dialogue>Be's gone.</dialogue> <scene_description>CRACK. Behind the old Cardinal, two of his comrades fall quickly as Jericho moves with lightning blows to their heads. By the time the Old Cardinal reacts, there is a gun pointed right at hie temple. The Knight holding Father Murphy realizes there is a gun to his head, also. Both of them are held by Jericho.</scene_description> <character>JERICHO</character> <dialogue>What do you want with the girl?</dialogue> <character>OLD CARDINAL</character> <dialogue>If she is slain, his hope of creating a kingdom of hell on earth will die with her.</dialogue> <character>JERICHO</character> <dialogue>You would sacrifice the lamb to defeat the lion?</dialogue> <character>OLD CARDINAL</character> <dialogue>It is God's will.</dialogue> <character>FATHER MURPHY</character> <dialogue>No. It is your will. Tbla can only lead to our destruction.</dialogue> <character>OLD CARDINAL</character> <dialogue>Be cannot be defeated. It's the only way to win.</dialogue> <scene_description>The unarmed Cardinal glances -at the gun barrel against bis head. C v</scene_description> <character>OLD CARDINAL</character> <dialogue>- For a thousand years we have sworn</dialogue> <scene_description>ourselves to this. We aren't afraid to die.</scene_description> <character>JERICHO</character> <dialogue>And I'm not afraid to kill you.</dialogue> <scene_description>Murphy shudders.</scene_description> <character>FATHER MURPHY</character> <dialogue>Something just went through me. Icy, awful.</dialogue> <character>CHRISTINE</character> <dialogue>Be's coming.</dialogue> <scene_description>A beat then... 'The front door of the church blows open. Outside a tempest rages as the Man walks in.</scene_description> <character>OLD CARDINAL</character> <dialogue>God help us. We're too late.</dialogue> <scene_description>The Old Cardinal crosses himself. c</scene_description> <character>MAN</character> <dialogue>I've come for my wife.</dialogue> <scene_description>Father Murphy holds forth his crucifix in defense.</scene_description> <character>MAN</character> <dialogue>Save that for your exorcisms, Father, You can not drive me out of myself.</dialogue> <scene_description>The crucifix bursts into flames.</scene_description> <character>FATHER MURPHY</character> <dialogue>This is the house of the Lord our God. You are not welcome here.</dialogue> <scene_description>The Man looks around with disdain, then... The STAINED GLASS WINDOWS BLOW OUT in a rain of glass. All the candles flair, burning intensely. The buttresses shake and start to crumble. CHUNKS of GRANITE collapse from the arches and a WALL OF FIRE rises behind him. The gathered faithful look on in terror. They rush out the church doors trying to get to safety.</scene_description> <character>KAN</character> <dialogue>Christine...</dialogue> <scene_description>He holds his hands out for her. Christine rises. She seems almost in a trance. Turns toward him.</scene_description> <character>JERICHO</character> <dialogue>Christine... NO!</dialogue> <character>CHRISTINE</character> <dialogue>You don't understand. I feel \*\*&lt;\*" inside me. I need him.</dialogue> <character>OLD CARDINAL</character> <dialogue>Protect the girl!</dialogue> <scene_description>The CHURCH shakes violently, collapsing. Jericho graba Christine and pulls her toward the back door. The commandos turn their weapons on the Han.</scene_description> <character>KNIGHT #1</character> <dialogue>For The Glory Of God!</dialogue> <scene_description>They open fire with automatic bursts. Bullet holes burst through the Han, pushing him back like the driving rain. He stops and stands perfectly still. Then TONGUES OF FLAME SHOOT OUT from him, disemboweling the commandos.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH - DAY</stage_direction> <scene_description>But you wouldn't know it was day. Dark clouds have gathered, tinged with red, blotting out the sun. More lightning flashes. Jericho and Father Murphy pull Christine into the alley as large chunks of stained glass rain down on the two of them.</scene_description> <character>FATHER MURPHY</character> <dialogue>God help us. It's his army.</dialogue> <scene_description>But there are hundreds of people gathered in the darkness. Hands reaching for them. Closing in on both sides of the alley. Jericho pulls Christine back, but they grab Murphy. He's swallowed by the sea of people.</scene_description> <character>FATHER MURPHY</character> <dialogue>Help me. Dear God, help me.</dialogue> <scene_description>Jericho pulls Christine into the Church, all the time hearing the sounds of Murphy scream as his limbs are ripped asunder.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - DAY</stage_direction> <scene_description>Gothic. Stones bleed, pews bum. Jericho pulls Christine through the church. They see the Man hovering over the c cowering Cardinal.</scene_description> <character>HAN</character> <dialogue>A thousand years you've waited for this moment. And you have failed. She will be mine after all.</dialogue> <scene_description>The Han has recovered the broken silver dagger, imbeds the blade into the chest of the Cardinal. Be cuts out the Old Cardinal's heart and holds it, still beating, in his hand. The Kan bitea into the still beating heart. The Old Cardinal screams in pain and bursts into flame. The Church begins to collapse all around them. Jericho pulls Christine through a door by the rear of the church and into a stairwell.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - DAY</stage_direction> <scene_description>Everything rumbles. It's like trying to run down the stairs in an Earthquake. Jericho pushes through another set of doors revealing the underground chamber. The stairwell collapses behind them.</scene_description> <character>JERICHO</character> <dialogue>Run!</dialogue> <scene_description>e They rush across the chamber as pieces of rock and plaster tumble from the ceiling. They reach a set of doors on the far side. Jericho tries them. Locked.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - STREET</stage_direction> <scene_description>The Cathedral COLLAPSES into a heap and is SWALLOWED INTO A PIT OF FIRE. A crowd gathers staring into the pit.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CHAMBER - DAY</stage_direction> <scene_description>The ground shakes and rumbles. From the stairwell a tongue of fire shoots out at them. A wall of fire rolls toward them. They're trapped at the end of the chamber. With all his Blight Jericho slams against the door. It gives. They tumble through it, just as the tongue of flame reaches them.</scene_description> </scene> <scene> <stage_direction>INT. SEWER - DAY</stage_direction> <scene_description>The fire bursts through the doorway, but Jericho and Christine are out of its path. They hear the mighty structure cave in behind them. Then all is quite. Jericho takes Christine by the hand as they struggle through the muck.</scene_description> <character>CHRISTINE</character> <dialogue>I didn't think he could do that to a church.</dialogue> <character>JERICHO</character> <dialogue>Be did.</dialogue> <character>CHRISTINE</character> <dialogue>You mean you believe?</dialogue> <character>JERICHO</character> <dialogue>Be doesn't give me much choice.</dialogue> <character>CHRISTINE</character> <dialogue>Uhg that smell. Z think Z'm going to be sick.</dialogue> <character>JERICHO</character> <dialogue>You'll got used to it.</dialogue> <character>CHRISTINE</character> <dialogue>For how long?</dialogue> <character>JERICHO</character> <dialogue>As long as we can stay out of sight. If what they said is true, we only have to avoid him until midnight, the New Year.</dialogue> <character>CHRISTINE</character> <dialogue>New Years Eve in the sewer system? Well, anything's better than Times Square.</dialogue> <scene_description>The two of them disappear into the sewers.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>From the rubble of the church, the Man emerges and heads toward his followers.</scene_description> <character>MAN</character> <dialogue>Find her.</dialogue> </scene> <scene> <stage_direction>INT. SEWER - DAY</stage_direction> <scene_description>Followers drop down from man holes and fan out in the sewer system, carrying flashlights, -torches... anything they can ^~ muster. 1 (</scene_description> </scene> <scene> <stage_direction>INT. ANTE-CBAMBER - DAY</stage_direction> <scene_description>Jericho hoists Christine up into a maintenance room off the main sewer, and then pulls himself up. Christine leans against Jericho, exhausted. They're both sweating buckets.</scene_description> <character>CHRISTINE</character> <dialogue>It's so hot. Must be over a hundred degrees. -</dialogue> <character>JERICHO</character> <dialogue>We'll dehydrate if we atay down here too long.</dialogue> <scene_description>Jericho cheeks bis guns. \*</scene_description> <character>CHRISTINE</character> <dialogue>Y'know, I've always felt like there was some kinds curse on me. Don't get too fond of me, Jericho. People I get involved with tend to die.</dialogue> <character>JERICHO</character> <dialogue>Z ueed to feel that way. . \*.-\*^</dialogue> <scene_description>c</scene_description> <character>CHRISTINE</character> <dialogue>Did you lose someone close?</dialogue> <scene_description>A long b e a t .</scene_description> <character>JERICHO</character> <dialogue>My wife and son.</dialogue> <character>CHRISTINE</character> <dialogue>I'm sorry.</dialogue> <character>JERICHO</character> <dialogue>It was a robbery. I couldn't protect them. All I could do was watch.</dialogue> <character>CHRISTINE</character> <dialogue>Ah, so you do what you do out of guilt. You'd make a good Catholic.</dialogue> <character>JERICHO</character> <dialogue>Any faith I had, I lost after my family died. What kind of God allows children to be murdered?</dialogue> <character>CHRISTINE</character> <dialogue>In my better moments I believe there's a purpose. Still, sometimes I can't help thinking "Why me?" What</dialogue> <scene_description>J$nfi\. did X do to deserve this? One point five billion women on the planet and this guy wants me.</scene_description> <character>JERICHO</character> <dialogue>Did it ever occur to you, you might be special?</dialogue> <character>CHRISTINE</character> <dialogue>You spend your life trying to convince yourself that you're something special just to make it through the day, and then one day you find out you are, and you'd give anything not to be.</dialogue> <scene_description>Jericho put8 an arm around her to comfort her. She rests her head on his chest. Christine sighs.</scene_description> <character>CHRISTINE</character> <dialogue>I wish I could get him out of my mind, leering at me. Wanting me.</dialogue> <character>JERICHO</character> <dialogue>Try not to think about it.</dialogue> <scene_description>Jericho slaps a new clip into hie backup Glock.</scene_description> <character>CHRISTINE</character> <dialogue>Maybe you could show me how to use one of those things.</dialogue> </scene> <scene> <stage_direction>INT. SEWER - DAY</stage_direction> <scene_description>Groups of Followers make their way down the dark, dank tunnels. Their glowing red eyes peer from their seemingly lifeless faces.</scene_description> </scene> <scene> <stage_direction>INT. SEWER - DAY</stage_direction> <scene_description>Christine stares down the barrel of the Glock. Jericho's arm reaches around her, his hand surrounding hers on the grip.</scene_description> <character>JERICHO</character> <dialogue>You just line them up in the crosshairs and squeeze. But be ready for the recoil. First time's always a little painful until you find the rhythm.</dialogue> <scene_description>She squeezes. Click. Click. Click. Click. JERICHO (cont'd) .\*\*&lt;\ Just like that. ( Be hands her a clip and demonstrates how to slide it in.</scene_description> <character>JERICHO</character> <dialogue>And always remember to count your rounds. You have ten left. Here's the safety. Leave it on til you...</dialogue> <scene_description>BAM! Jericho dives out of the way.</scene_description> <character>JERICHO</character> <dialogue>What are you doing?</dialogue> <scene_description>One of the Followers falls out of the darkness at Jericho's feet.</scene_description> <character>CHRISTINE</character> <dialogue>Nine left.</dialogue> <scene_description>Jericho looks at the hole in the Follower's forehead.</scene_description> <character>JERICHO</character> <dialogue>Nice shot.</dialogue> <scene_description>Jericho pulls out his gun, checks the tunnel.</scene_description> <character>JERICHO</character> <dialogue>c Come on. There'll be more coming.</dialogue> </scene> <scene> <stage_direction>INT. SEWER - DAY</stage_direction> <scene_description>Jericho and Christine splash through the shallow water. They hear echoes and shouts, seemingly surrounding them. The hounds after the foxes. Up ahead the sewer splits at a juncture.</scene_description> <character>JERICHO</character> <dialogue>Wait a minute\*</dialogue> <scene_description>Jericho studies the two paths. Christine hears the voices and looks around. She takes aim at the darkness with her gun.</scene_description> <character>CHRISTINE</character> <dialogue>Does it matter?</dialogue> <character>JERICHO</character> <dialogue>If we can make it to the West side, we might have a chance of getting out of the city.</dialogue> <scene_description>He picks...</scene_description> <character>JERICHO</character> <dialogue>This way.</dialogue> <scene_description>... and away they go. BAM! BAM! We see gun-barrel flashes in the darkness of the tunnel. Jericho and Christine emerge a beat later.</scene_description> <character>JERICHO</character> <dialogue>Wrong way.</dialogue> <scene_description>They head down the other tunnel, the soulless creatures behind them. Dizzying shots as Jericho and Christine flee down sewage tunnel, turning left and right... down narrow passage ways. They hear the shouts behind them, see the dull glow of torches and flashlights chasing them. Christine tumbles. Jericho runs to her side. She's breathing hard and gripping her side.</scene_description> <character>CHRISTINE</character> <dialogue>Z can't keep running.</dialogue> <character>JERICHO</character> <dialogue>You have to.</dialogue> <character>CHRISTINE</character> <dialogue>Z can't breathe. No air.</dialogue> <scene_description>Jericho lifts her to her feet.</scene_description> <character>JERICHO</character> <dialogue>I know it hurts. But you have to keep moving.</dialogue> <scene_description>The sounds are all around them now. The dull glowing lights near. A second set of lights appears further up the tunnel. They're cut off.</scene_description> <character>CHRISTINE</character> <dialogue>You're lucky. They catch you, they'll just kill you.</dialogue> <scene_description>Jericho looks around for options. He sees a shaft of light ahead. Problem is, the mob la closer to it than they are.</scene_description> <character>JERICHO</character> <dialogue>Manhole cover. We can make it to the street.</dialogue> <character>CHRISTINE</character> <dialogue>But...</dialogue> <character>JERICHO</character> <dialogue>Come on!</dialogue> <scene_description>Jericho grabs her and pulls her along the sewer toward the shaft of light and toward the approaching mob. Somewhere Christine finds the strength to keep up. ( CHRISTINE Z... don't... think... we're... gonna... make... it.</scene_description> <character>JERICHO</character> <dialogue>Come on... faster! FasterI</dialogue> <scene_description>Another fifteen yards to the shaft, but the mob is almost beneath it. Jericho breaks out in front of Christine. Be pulls his gun from its holster. Almost there. Angry red eyes. BAM! BAH! Jericho fires a few warning rounds, driving the mob momentarily back. Jericho reaches the shaft of light and positions himself lay A WROUGHT IRON LADDER running up the side of the sewer. Christine reaches him and he puahee her up the ladder.</scene_description> <character>JERICHO</character> <dialogue>Climb!</dialogue> <scene_description>Exhausted, she pulls herself up... hand over hand. Jericho scrambles up after her. But the mob is right on them. They jump, grabbing onto Jericho's leg. He's pulled back down, but L continues climbing. People hang off of him. They bite into his flesh like rabid dogs and tear at him He jff$fll!\ kicks and hits at them. Christine reaches the top of the ladder. One hand clutches the ladder as the other pushes up on the manhole.</scene_description> <character>CHRISTINE</character> <dialogue>It's too heavy.</dialogue> <scene_description>With a sharp elbow, Jericho knocks the last of the followers off, but more are coming. Jericho climbs up over Christine, prosing against her. The two of them together push aside the manhole cover. Christine wriggles up the ladder and out onto...</scene_description> <character>EXT. STREET - DAY</character> <dialogue>Overhead the SKIES glow RED with fire. The crimson clouds march against the sun, choking off the light. As Jericho and Christine emerge from below, they see another piece of bell. Ahead, a handful of men wearing business suits drag a Buddhist Honk into the street and dump gasoline on him. The leader pulls out a match,' laughing. Lights it. BAH! Blood erupts on the Leaders hand. Jericho re-aims his gun at the leaders head.</dialogue> <character>JERICHO</character> <parenthetical>(to the Monk)</parenthetical> <dialogue>Run!</dialogue> <scene_description>The Monk scrambles to bis feet and takes off.</scene_description> <character>CHRISTINE</character> <dialogue>Jericho!</dialogue> <scene_description>Jericho turns they're coming out of the ground now. Christine keeps her gun aimed on the hole, while Jericho covers the approaching businessmen.</scene_description> <character>CHRISTINE</character> <parenthetical>(muttering)</parenthetical> <dialogue>Goddamn hostile takeover.</dialogue> <character>JERICHO</character> <dialogue>Come on.</dialogue> <scene_description>They back away. Many of the followers point and scream. Jericho and Christine break into a run. They pursue. Another wall of RED EYES approach from another direction cutting them off. Jericho fingers his gun. They're surrounded.</scene_description> <character>JERICHO</character> <dialogue>Bow many rounds?</dialogue> <character>CHRISTINE</character> <dialogue>Not enough.</dialogue> <scene_description>Jericho smashes the window of a Buick, parked curbside.</scene_description> <character>JERICHO</character> <dialogue>Get in!</dialogue> <scene_description>He unlocks the door. Christine jumps in and slams the door shut, locking it. A moment later the followers are at her window. Jericho rips the cowling off the steering wheel. As he attempts to jump the car, hands reach in through the smashed window. Jericho fends them off but they get a grip on him and try to pull him from the car. SMASH! Christine turns. A guy is smashing a brick against her window. SMASH! The saftey glass pebbles but does not give.</scene_description> <character>JERICHO</character> <dialogue>Christine... the ignition... the red</dialogue> <scene_description>. and green wires. Christine leans over to the ignition. Frantic, and not sure what to do, she pulls wires and tries to connect them. ( Bodies choke off all light as the followers crawl all over the vehicle like a swarm of ants. Jericho has been pulled halfway out of the window now. Fighting... struggling to get back inside. SMASH! The passenger window shatters and gives. Tiny shards of safety glass rain all over Christine. Bands reach in for her. VROOOM! - The engine roars to life. Christine's wired it! The minions unlock the passenger door.</scene_description> <character>JERICHO</character> <dialogue>Get us out of here!</dialogue> <scene_description>Christine pulls the car into gear and it starts to slowly roll. But the Minions pull the door open and dive into the car... Christine lunges beneath the dash and slams her hwM on the accelerator. -^ C. SWARMED BY MINIONS, the vehicle springs to life. Tires spin before finding their purchase. Then the vehicle lurches /$t\*\ forward, the followers tossed from it as it goes. INSIDE THE CAR - Christine keeps one hand on the gas and one hand on Jericho's belt, trying to keep him in the car. She's kicking at the other man hanging on by the passenger door. OUTSIDE THE CAR - Jericho uses the momentum to wrestle the swarm off him. Be manages to toss the last person from him. He looks up to see... The ear careening toward the edge of a building. Hanging halfway out the car, Jericho's about to have his upper body ripped off.</scene_description> <character>JERICHO</character> <dialogue>Christine1</dialogue> <scene_description>Inside the car, one of the followers leaps from the doorway at Christine. He lands near her and pulls himself to her by tugging on the steering wheel. OUTSIDE THE CAR - A split second before Jericho's upper body slams into a building's edge, the car veera away. Jericho clears the building corner by inches. He manages to push himself back inside. INSIDE THE CAR - Jericho slips into the driver's seat and jj^v with one swift punch, he sends Christine's attacker flying out of the car. Jericho floors it and heads the car west, toward the Westside Highway, passing riotous carnage around him.</scene_description> <character>CHRISTINE</character> <dialogue>How could everything fall apart so quickly?</dialogue> <character>JERICHO</character> <dialogue>It's New York.</dialogue> <scene_description>Lightning explodes across the sky.</scene_description> <character>EXT. TIMES SQUARE - DAY</character> <dialogue>Bonfires everywhere. Gangs attacking pedestrians, people being beaten, a toppled bus on fire. A group of Cops are shooting at a frightened woman. Sverytime she tries to run, they open fire... pinning her down. She mutters prayers under her breath. In the middle is... Detective Francis. Francis sees the Buicfc</dialogue> <scene_description>j^PWK drive by. Be IDs Jericho end the Christine.</scene_description> <character>DTC. FRANCIS</character> <dialogue>Son-of-a-bitch.</dialogue> <scene_description>Be waves to the other police officers. They huddle around him. The woman uses that moment to make her escape down the alley. None of the cops notice.</scene_description> </scene> <scene> <stage_direction>INT. BUICK - DAY</stage_direction> <scene_description>Jericho drives through the obstacle course of bodies, burned out ears, and trash. SMASB! They're jarred as they're hit from behind by... A POLICE CRUISER.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Three POLICE CARS pull behind the Buick. One of them hangs on its tail and the other two pull up around them. Jericho swings the car back and forth, trying to slam the cars out of the way. But they squeeze him.</scene_description> <character>JERICHO</character> <dialogue>Get down!</dialogue> <scene_description>( Christine ducks. The rear window explodes from a shotgun shell. BAM. BAH. They're slammed around again. Jericho spots a lamp post up ahead. He jockeys ahead of one of the police cars and swings his wheel around hard. Metal grinds. The cruiser swings over and... SLAMS into the LAMP POST. - The Buick bounces off the cruiser and Jericho steers it up onto the sidewalk. The cops give chase. The police cruisers shatter parking meter after parking meter as they race after the Buick. Jericho spins back onto the street at the next corner. One of the police cars can't keep up. It takes the turn too wide end ishes into a FLAMING CAR and explodes. The last police car pulls side-by-side with Jericho. Jericho glances over to see Franeia at the wheel. Jericho jockeys with him. Francis swings his wheel, smashing into the Buick. The Buick spins out, bounces off the curb and comes to a halt in the middle of the street. Its engine dies. c Jericho tries to re-jump the car, crossing the ignition wires. Meanwhile, Francis doubles back in his cruiser, eyeing the Buick which sits dead in the road like a lame duck. Francis floors it. He going to ram the Buick. Christine sees him coming.</scene_description> <character>CHRISTINE</character> <dialogue>Jericho!</dialogue> <scene_description>Jericho looks up and sees the police car bearing down on them. He returns to the wires. Just as the cop car is about to hit them... The Buick's engine spring to life. Jericho slams on the gas. The Buick lurches forward. The Police cruiser hits the curb, and bounces onto the sidewalk. Francis spins the wheel. The cop car skids, hits the side of a building and accelerates after the Buick. The Buick races down the dark streets, with the police cruiser following.</scene_description> </scene> <scene> <stage_direction>EXT. WESTSIDE BIGBWAY - DAY</stage_direction> <scene_description>Jericho steers the car up the onramp. Be has to slam on his breaks to avoid bitting a mass of New Yorkers racing down the parkway, carrying their children and clutching their meager belongings. A stream of cars sits silently, abandoned hours ago in a massive traffic jam.</scene_description> <character>CHRISTINE</character> <dialogue>The city... everybody's leaving.</dialogue> <character>JERICHO</character> <dialogue>Get out of the car.</dialogue> <scene_description>Christine and Jericho bail. A moment later, Francis comes barreling up the onramp and slams into the empty Buick. Francis pulls himself from his deployed airbag and steps out of the wrecked police cruiser. He holds a 12 gauge shotgun and scouts for Christine and Jericho. Christine steps out from behind the car.</scene_description> <character>CHRISTINE</character> <dialogue>Looking for me?</dialogue> <scene_description>As Francis turns around Jericho pops up behind him and fires several rounds. Francis goes down. Jericho picks up the 12 Gauge. Looking back at the skyline of the city, they see New York is awash in blood and flames.</scene_description> <character>JERICHO</character> <dialogue>Keep going...</dialogue> <scene_description>Jericho looks north to the George Washington Bridge...</scene_description> <character>JERICHO</character> <dialogue>It's another mile to the bridge.</dialogue> <character>CHRISTINE</character> <dialogue>We can make it.</dialogue> <scene_description>A father and son run by them. The six year-old boy stumbles and is almost trampled by the crowds. Jericho stoops to pick him up, but the father snatches the boy away.</scene_description> <character>SON</character> <parenthetical>(through tears)</parenthetical> <dialogue>Daddy... Why are we running?</dialogue> <character>DAD</character> <dialogue>God has abandoned us.</dialogue> <scene_description>The two push on. Dozens of others race by.</scene_description> <character>JERICHO</character> <dialogue>Come on!</dialogue> <scene_description>(' Christine and Jericho join the trail of refugees. But the earth begins to rumble.</scene_description> <character>CHRISTINE</character> <dialogue>Look... there...</dialogue> <scene_description>In the distance the George Washington bridge sways and buckles. We can see it's teeming with thousands of people fleeing the city. The water below bubbles, boiling and roiling. Steam rises off its surface. With a sharp jolt, the earth quakes. The water leaps into the sky and... The George Washington Bridge COLLAPSES... thousands of bodies drop into the boiling water. SCREAMS. SHOUTS OF HORROR.</scene_description> <character>JERICHO</character> <dialogue>He knows we're trying to leave.</dialogue> <character>CBRISTZNB</character> <dialogue>Be won't let me. ^</dialogue> <character>C</character> <dialogue>JERICHO</dialogue> <scene_description>We'll try the tunnel. They look DOWNTOWN - The boiling water parts and... A giant concrete shell rises - THE LINCOLN TUNNEL, cracked right down the middle. Cars spit forth from its end and bodies float to the surface.</scene_description> <character>CHRISTINE</character> <dialogue>I can't watch.</dialogue> <scene_description>She buries herself in Jericho's chest. The screams of the people carry across the water.</scene_description> <character>CHRISTINE</character> <dialogue>Hake it stop. Hake it stop.</dialogue> <character>JERICHO</character> <dialogue>I can't.</dialogue> <character>CHRISTINE</character> <dialogue>There's no place safe, is there?</dialogue> <character>JERICHO</character> <dialogue>We're gonna make it; Together.</dialogue> <character>CHRISTINE</character> <dialogue>We can't. They're everywhere. They're everywhere.</dialogue> <scene_description>Jericho leads Christine back to the Buick but his Followers are already there. Dozens of them marching toward them. They turns and run up the highway. The Followers break into a run after them. Jericho fires a couple of shots off as he and Christine race down the highway. Jericho veers off to the highways edge.</scene_description> <character>JERICHO</character> <dialogue>This way. •</dialogue> <scene_description>Be climbs over the safety railing, then helps Christine. Just as the Followers reach out to grab them, they jump falling about twenty feet down an embankment. The Followers chase them. But around the corner screams a black Limousine, cutting off the Followers. The rear doors fly open, and Jericho and Christine dive into the back. The doors close and the Limousine screeches away.</scene_description> </scene> <scene> <stage_direction>INT. LIMO - DAY</stage_direction> <scene_description>Chicago steers the limo past the mob of followers.</scene_description> <character>JERICHO</character> <dialogue>How'd you find us?</dialogue> <character>CHICAGO</character> <dialogue>I didn't. When I got to the Church it was gone. I've been trying to get out of town. But we're fucking trapped. These crazies are everywhere. Jer, this is something right out of the bible, man. It's... it's like God's wrath. Like Sodom and Gomorah.</dialogue> <character>JERICHO</character> <dialogue>God isn't doing this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Take us to the vault.</dialogue> <character>CBICAGO</character> <dialogue>The vault? Are you kidding? We've got to get out of town.</dialogue> <character>JBRICHO ^^</character> <dialogue>There's no way off this island. 1</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - DAY</stage_direction> <scene_description>A dark series of clouds march against Central Park. They swirl overhead, casting lightning down. Inside the Park, a giant structure begins to take shape.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND GARAGE - DAY</stage_direction> <scene_description>The three of them dash from the Limousine into a tunnel corridor.</scene_description> <character>JERICHO</character> <dialogue>We should be safe here as long as we weren't seen.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL CORRIDOR - DAY</stage_direction> <scene_description>The three of them rush to the end of a metal and concrete corridor. When they hit the wall, Chicago taps a code into the keyboard. A panel slides open revealing another set of elevator doors. .-^</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>c Please place your hand on the scanner.</dialogue> <scene_description>Chicago raises his hand to the scanner but hesitates.</scene_description> <character>JERICHO</character> <dialogue>What's wrong?</dialogue> <character>CHICAGO</character> <dialogue>Nothing. It's just... I don't think I updated my clearance.</dialogue> <scene_description>Jericho eyes Chicago suspiciously.</scene_description> <character>JERICHO</character> <dialogue>Put your hand on the scanner.</dialogue> <character>CHICAGO</character> <dialogue>Come on, man. We don't have time to argue. Just do it.</dialogue> <character>CHRISTINE</character> <dialogue>What's going on?</dialogue> <character>CHICAGO</character> <dialogue>Nothing. Just... Go ahead.</dialogue> <scene_description>Jericho grabs Chicago's hand and forces it down on the scanner.</scene_description> <character>CBICAGO</character> <dialogue>No. Stop. Bey, don't.</dialogue> <scene_description>Jericho presses Chicago's hand against the scanner. Chicago struggles, but the scanner passes over his palm.</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>Subject identified. Leroy Chicago, 2223. Security alert. Subject is deceased.</dialogue> <character>JERICHO</character> <dialogue>What do you mean, deceased?</dialogue> <character>ELECTRONIC VOICE</character> <dialogue>Subject has no pulse.</dialogue> <scene_description>They all turn and look at Chicago. Be smiles sheepishly. Jericho slams Chicago against the wall. SPIKES lunge out of Chicago's face. Bis skin turns brown, reptilian. Bis eyes burn with fire.</scene_description> <character>CBICAGO</character> <dialogue>I didn't want to, Jer. Please believe me. He made me do it.</dialogue> <character>JBRICHO</character> <dialogue>Zf it is you, forgive me.</dialogue> <scene_description>/JW\*&gt;i Jericho opens fire, blowing Chicago away. Every bullet blows rotting flesh, smoke and molten lava down the corridor.</scene_description> <character>CHICAGO</character> <dialogue>Be's coming, Jer. He's coming for her. And there's nothing you can do to stop him.</dialogue> <character>JERICHO</character> <dialogue>Go to hell.</dialogue> <character>CBICAGO</character> <dialogue>Yeah, okay. Whatever you say. But he knows where you are. They're all coming and there's no escape.</dialogue> <scene_description>Jericho slams down on the scanner, the laser scans his hand...</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>Authorization verified.</dialogue> <scene_description>The elevator opens. Be pushes Christine inside.</scene_description> <character>INT. SHELTER - DAY</character> <dialogue>The blast doors open, and the two of them enter.</dialogue> <character>CHRISTINE</character> <dialogue>(' Where are we?</dialogue> <character>JERICHO</character> <dialogue>Hunter Security's nuclear shelter. Four hundred feet below Manhattan.</dialogue> <scene_description>Jericho flips on the central console.</scene_description> <character>CHRISTINE</character> <dialogue>What are you doing?</dialogue> <character>JBRICHO</character> <dialogue>Seeing what's out there.</dialogue> <scene_description>Security Video warms up showing the approach to the entrance of the vault. Be sees Followers crowding in.</scene_description> <character>JERICHO</character> <dialogue>Don't worry. They can't get down here.</dialogue> <scene_description>He hits another series of switches. Snowy images of a newscaster drift onto the main screen.</scene_description> <character>NEWSCASTER (T.V.)</character> <dialogue>... as hundreds of thousands of people flocked to the Hudson River</dialogue> <scene_description>c shore line to pray. Behind the Newscaster - Crowds of people watch the swirling storms over Manhattan and the continuous thunderbolts that rain down from above. Women count beads and men fall down on their knees praying to heaven. NEWSCASTER (cont'd; T.V.) The tide of refugees which built throughout the day ended abruptly leas than an hour ago, when all routes in and out of the city were severed. There has been no communication from the island since. With river temperatures now above boiling, the National Guard has been unable to send help via watercraft, and helicopter, attempts have been met by hurricane force winds. Churches across the nation have opened their doors to the frightened masses fearing the Apocalypse... The screen goes black. Dead.</scene_description> <character>JERICHO</character> <dialogue>There'8 nothing to do but wait.</dialogue> <scene_description>Jerieho looks at the clock on the wall. Six hours to midnight. Then he notices blood seeping through the back of JJ("\*V Christine's shirt.</scene_description> <character>JERICHO</character> <dialogue>You're bleeding.</dialogue> <character>CHRISTINE</character> <dialogue>I got bit by some glass.</dialogue> <character>EXT. NEW YORK CITY - EVENING</character> <dialogue>The Man walks down the street. Looting goes on all around him. A group of followers walk behind him, becoming an army.</dialogue> <character>INT. VAULT - NIGHT</character> <dialogue>Christine leans forward with her shirt in her lap. The rear of her back is streaked in blood. Jerieho hovers over her plucking the glass from her skin. She winces.</dialogue> <character>CHRISTINE</character> <dialogue>Why'd you stay with me, Jericho? You didn't have to.</dialogue> <character>JERICHO</character> <dialogue>This Protector of yours never showed up. I couldn't leave you alone.</dialogue> <character>CHRISTINE</character> <dialogue>I think you're my protector.</dialogue> <character>JBRICHO</character> <dialogue>You heard the Priest. It can't be me.</dialogue> <character>CHRISTINE</character> <dialogue>Maybe God has more faith in you than you have in him.</dialogue> <character>JERICHO</character> <dialogue>Hold still.</dialogue> <character>CHRISTINE</character> <dialogue>In case the world ends, I just want you to know...</dialogue> <character>JERICHO</character> <dialogue>What?</dialogue> <character>CHRISTINE</character> <dialogue>That I wish we had more time.</dialogue> <scene_description>He dips a wash cloth in water and swabs the wounds on her back.</scene_description> <character>JERICHO</character> <dialogue>We'll talk about it over dinner tomorrow.</dialogue> <character>CHRISTINE</character> <dialogue>What if there is no tomorrow?</dialogue> <scene_description>She stands, turns and searches his eyes for an answer. She kisses him. He pulls away.</scene_description> <character>JERICHO</character> <dialogue>Don't.</dialogue> <scene_description>She pushes away, then pulls her shirt baek on.</scene_description> <character>CHRISTINE</character> <dialogue>Z'm sorry. Z shouldn't've done that.</dialogue> <character>JERICHO</character> <dialogue>No. Not here. Not now. We deserve better.</dialogue> <character>CHRISTINE</character> <dialogue>Just 88 well. The others died before...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Z guess he was saving me for him.</dialogue> <character>€�"\*\*K</character> <dialogue>The glasses clatter together as a slight tremor goes through</dialogue> <scene_description>c the Vault. They listen and hear the sound of metal bending and twisting around them.</scene_description> <character>CHRISTINE</character> <dialogue>Sounds like an earthquake.</dialogue> <scene_description>Jericho heads to the security console. Checks on all the cameras. His Followers crowd the screens. They're out there by the hundreds. BUMP! The entire vault JOLTS as if something had slammed into it. The two of them tumble to the floor.</scene_description> <character>CHRISTINE</character> <dialogue>Jericho, I can feel him.</dialogue> <scene_description>Jerieho claws his way back up to the video screens. Searching them. And then one by one, each of the twenty video screens goes black. They hear scratching and clawing at the metal. Footsteps walking above them and then walking below them. They follow the Invisible creature with their eyes and ears as the sounds scamper around the outside of the room. Christine steps behind Jerichp, standing close to him. Jericho pulls out his gun.</scene_description> <character>JBRICHO</character> <dialogue>We're surrounded by bedrock. Nothing can get to us.</dialogue> <scene_description>The vault rocks back and forth violently. They're thrown against the floor. Metal twists and buckles. The lights go out. Eerie Red Emergency lighting comes on. They wait, holding their breath. ONE SIDE OF THE VAULT abruptly JERKS UPWARD, followed by the other side. Zt's as if... JBRICHO (cont' d) Be's pulling us to the surface! The vault leaps and shakes. We can hear earth and stone and metal twist and grind through the steel walls. As the floor pulls up from under them, they slide down to what was the side wall. Tables and chairs and video equipment tumble down on top of them. Jericho covers Christine with his body and takes the brunt of a heavy wooden desk and several computers. /f\*-. The Vault jerks upward again, and again, accelerating in pace.</scene_description> <character>JERICHO</character> <dialogue>Grab hold.</dialogue> <scene_description>Like the express elevator from hell, the earth spits up the vault. Lights flicker, furniture tumbles, equipment shatters. Then suddenly all is quiet. A couple of the emergency lights are still lit. Dark and gloomy though, as if in some crypt. Jericho has his body wrapped around Christine.</scene_description> <character>JERICHO</character> <dialogue>Christine? Christine?</dialogue> <scene_description>She blinks her eyes open. Looks up at him. Jericho has a cut on his forehead. She touches it lightly. There's something erotic about her touch. Jerieho pulls away.</scene_description> <character>JERICHO</character> <dialogue>We must be on the street.</dialogue> <character>CHRISTINE</character> <dialogue>Re\*a out there.</dialogue> <character>JERICHO</character> <dialogue>The walls are reinforced steel. It'd take a miracle to break through them.</dialogue> <scene_description>( CHRISTINE Remember who we're dealing with. WWWWUMPI The VAULT rocks, in the dim red light we see an indentation appear on the wall. WWWWUMPI Another bump erupts In the metal.</scene_description> <character>CHRISTINE</character> <dialogue>Are you sure?</dialogue> <character>JERICHO</character> <dialogue>They're holding.</dialogue> <scene_description>The SLAMMING STOPS. A few beats pass. The two of them wait.</scene_description> <character>CHRISTINE</character> <dialogue>Do you feel that?</dialogue> <character>JERICHO</character> <dialogue>What? ""&gt;j</dialogue> <scene_description>c</scene_description> <character>CHRISTINE</character> <dialogue>It's getting warm in here.</dialogue> <character>JERICHO</character> <dialogue>He's melting his way through.</dialogue> <scene_description>The wall before them begins to glow, a dull red at first, and then a bright orange. Jerieho climbs over debris to the weapons locker, now face down on the ground. He pulls it open. Inside are weapons. Jerieho pulls out a pump-action rifle and loads it.</scene_description> <character>CHRISTINE</character> <dialogue>What are you doing?</dialogue> <character>JERICHO</character> <dialogue>He was beaten before by other men. Men with nothing better than a sword.</dialogue> <scene_description>A hole appears in the steel as the liquid metal drips away.</scene_description> <character>CHRISTINE</character> <dialogue>He's coming through.</dialogue> <scene_description>Jericho grabs and MP-5 FULL AUTO and slings it on.</scene_description> <character>JERICHO</character> <dialogue>Get behind me.</dialogue> <scene_description>\ The lava hole in the metal grows. Beyond it is a dark silhouette, his hands pressed against the metal.</scene_description> <character>CHRISTINE</character> <dialogue>Whatever happens... thanks for trying.</dialogue> <scene_description>With a flash, the molten metal peels back, revealing the Man. Jericho fingers the trigger en the shot gun. A quiet moment as the two men regard each other. The Man steps forward and... Jericho fires. BAH! The ehell blows into the Kan's chest, knocking him back, but not down. BAH! BAM! BAM! Jerieho drives the Man back out the melted opening and into...</scene_description> </scene> <scene> <stage_direction>EXT. STREET - EVENING</stage_direction> <scene_description>The house-sized vault rests beside a huge pit in the roadway by the Banter Security Building. Crashed cars are scattered about the intersection. Hundreds of bis followers crowd the streets, like an Army of -~\ the Damned. The Man lies on the street, fallen. The crowds look down at the fallen Man, and then at Jericho. They cower away as Jericho swings the HP-5 around at the crowd. But from the corner of bis eyes he sees the Man rise. Jericho turns and opens fire with the MP-5. The rounds drive into the Han, but still he stalks toward Jericho. Jericho backs away, keeping up the barrage of bullets, until he and Christine are pressed with their backs against the wall.</scene_description> <character>KAN</character> <dialogue>Don't you understand. It's futile.</dialogue> <scene_description>The Man reaches out and takes the gun from Jericho. Be grips it tight and the gunmetal malts in his hand. Jericho throws a punch at the Han, landing firmly on his chin. The Han glares at Jericho, insulted by the blow. The Han grabs Jericho's fist and drives it back, slamming him against the wall. Be smashes Jericho with his forearm. Jerieho falls to his knees. The Han looks to Christine.</scene_description> <character>HAN</character> <dialogue>I can feel your fear. I can feel your heart tremble. But look on me. Feel me. I'm not here to hurt you. I'm here to set you free... and give you eternal life.</dialogue> <character>JERICHO</character> <dialogue>Christine! Try to resist. There's - nothing he can give you.</dialogue> <scene_description>Christine turns her head and backs away. Jericho pulls himself to bis feet, but he's grabbed and held by several of the Followers. Be tries to fight them off, but with the sheer number of them it's almost impossible.</scene_description> <character>JERICHO</character> <dialogue>Christine, look at me.</dialogue> <scene_description>Z... NO...</scene_description> <character>HAN</character> <dialogue>Look at me.</dialogue> <scene_description>c She finally does and cannot look away.</scene_description> <character>MAN</character> <dialogue>Z know you've suffered. But was it I who made you thus? Why did he bring you into the world, if only to feel sorrow.</dialogue> <character>CHRISTINE</character> <dialogue>I... I don't know.</dialogue> <character>MAN</character> <dialogue>I know your pain.</dialogue> <character>JBRICHO</character> <dialogue>Leave her alone. Don't listen Christine. Don't listen.</dialogue> <character>MAN</character> <dialogue>Everybody you loved, God took from you. Be murdered them. It was his will.</dialogue> <character>CHRISTINE</character> <dialogue>Yes.</dialogue> <character>MAN</character> <dialogue>Why? Why did he do it? Had you angered him?</dialogue> <character>CHRISTINE</character> <dialogue>No.</dialogue> <character>HAN</character> <dialogue>Bad they done anything wrong?</dialogue> <character>CHRISTINE</character> <dialogue>No.</dialogue> <character>MAN</character> <dialogue>Then why?</dialogue> <character>CHRISTINE</character> <dialogue>Z don't know.</dialogue> <character>HAN</character> <dialogue>Be took away your world. Belp me take away his.</dialogue> <scene_description>Be holds her with his eyes. She sways leans forward... and kisses her. Deep. Erotic. She kisses him back. Jericho is defeated.</scene_description> <character>HAN</character> <parenthetical>(to Jericho)</parenthetical> <dialogue>( My blood's been in her veins for</dialogue> <scene_description>years.cVou never had a chance, you know. Neither did God. Jericho breaks free from the Followers and rushes the Man, but he's tackled immediately and thrown down to the ground.</scene_description> <character>MAN</character> <dialogue>Show him the error of his ways.</dialogue> <scene_description>They grab what they can find... Bricks, stones, lead pipes. They beat him. Jericho tries to break away. Be tries to run. But they swing at him, they pelt him. Be covers his head and pushes through the crowd, but he's met by crushing blow after crushing blow. They hound him like a pack of dogs and slowly they bring him down, beating him senseless. Finally, JERICHO COLLAPSES.</scene_description> <character>HAN</character> <dialogue>Enough!</dialogue> <scene_description>The Followers slowly stay their blows. They part, pulling ,--- back in a circle, and look down at Jericho's broken frame.</scene_description> <character>HAN</character> <dialogue>Don't let him die. If he dies, he goes to God. But if he lives, when the kingdoms are joined, his soul too shall fall, and he shall serve me... forever.</dialogue> <scene_description>Blood seeps from Jericho's wounds. Be tries to crawl, but he collapses.</scene_description> <character>JBRICHO</character> <dialogue>Belp me, please. For godsake.</dialogue> <character>HAN</character> <dialogue>For Godsake?</dialogue> <scene_description>The Man looks around.</scene_description> <character>MAN</character> <dialogue>Where is God? Why has he abandoned you?</dialogue> <scene_description>.We hold on Jericho. It's painful just to look at him. c</scene_description> <character>NAN</character> <dialogue>Look at you, Jericho. You're beaten. You're forsaken. You've lost.</dialogue> <scene_description>Jericho struggles to move. But can't.</scene_description> <character>JERICHO</character> <dialogue>You're gonna have to kill me.</dialogue> <character>HAN</character> <dialogue>No... You will not go to heaven and soon your soul, and every other soul, will be mine... mine because you failed. Failed to protect those you loved.</dialogue> <scene_description>Christine erosses to the Man and squeezes his hand.</scene_description> <character>CHRISTINE</character> <dialogue>Jericho, don't blame yourself. You did everything you could.</dialogue> <parenthetical>(She points to Heaven)</parenthetical> <dialogue>Be let you down.</dialogue> <character>MAN</character> <dialogue>Quite right.</dialogue> <scene_description>The Man bends down and whispers in his ear.</scene_description> <character>HAN</character> <dialogue>Be made you weak. Now show him that you're strong. Fight for me.</dialogue> <character>JERICHO</character> <parenthetical>(almost inaudible)</parenthetical> <dialogue>No.</dialogue> <character>HAN</character> <dialogue>Join me and reclaim everything he took away from you.</dialogue> <scene_description>Jerieho\*s wife Emily, emerges from the crowd holding their son David by the hand. Jericho looks at them, and he is weak. So close to death, so in need of something to hold onto.</scene_description> <character>EMILY</character> <dialogue>Jericho, please.</dialogue> <scene_description>Jerieho struggles to his knees. His son, David, comes up.</scene_description> <character>DAVID</character> <dialogue>Daddy, it's going to be okay.</dialogue> <scene_description>The little boy holds his hands out to his father.</scene_description> <character>CHRISTINE</character> <dialogue>Go ahead, Jericho. Embrace him.</dialogue> <character>MAN</character> <dialogue>It'8 everything you want.</dialogue> <scene_description>Jericho lifts out his hands and pulls the boy into him. Holds him tight. Be fights back the tears until he can't. The Man glances skyward with a tiny smile and then looks down at Jericho.</scene_description> <character>MAN</character> <dialogue>You chose wisely.</dialogue> <scene_description>The Man takes Christine in hand and walks through the parting crowd. The Man's followers line up behind him in a processional following him. Emily and David help Jericho to his feet. The three of them are pulled along the processional line. We pull back, higher and higher, until the processional line looks like a stream of ants snaking through the streets of New York. ON JBRZCBO - Be holds his son as they walk along with the processional. ( DAVID I love you Dad.</scene_description> <character>JERICHO</character> <dialogue>I love you too.</dialogue> <scene_description>He looks at Emily and then at David... Something's wrong. He slows just a little bit. Sadly. Be lets David down, lets him walk on his own, and then lets the boy's hand slip from his own. -\_ Be slows slightly, letting them get ahead of him in the throng. Once they're a few paces ahead, Jericho stops. People stream by him as he silently watches his wife and child drift away in the crowd. Jerieho pushes his way through the stream of humanity until he breaks out and edges into a dark alley. Be steals away.</scene_description> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction> <scene_description>Times Square teems with hundreds of thousands of people. The c crowds part as the Man arrivee with Christine. /0&amp;\</scene_description> <character>MAN</character> <dialogue>All this is for you.</dialogue> <character>CHRISTINE</character> <dialogue>Is this hell?</dialogue> <scene_description>The Man laughs.</scene_description> <character>MAN</character> <dialogue>No. It's New Years in Times Square.</dialogue> <scene_description>Christine, still lost in her rapture, looks on the multitude.</scene_description> <character>CHRISTINE</character> <dialogue>All these souls...</dialogue> <character>HAN</character> <dialogue>All these souls are ours.</dialogue> <parenthetical>(in Latin)</parenthetical> <dialogue>The time has come. Bring forth the temple.</dialogue> <scene_description>The ground heaves. Concrete comes alive rising in the shape of twisting men... buildings bend to the Han's will. And now we can see a structure starting to form... A MIGHTY TEMPLE</scene_description> <character>EXT. NEW YORK CITY STREETS - NIGHT</character> <dialogue>Deserted. Alone, Jericho staggers through the devastation left in the wake of evil. Buildings are on fire. The streets run red with blood. Jerieho sees a fallen gargoyle lying on the ground. He lifts the heavy carved stone and carries it up the steps of a mighty building. Jericho stumbles end falls before it's heavy doors. Zt is THE ARMORY. Jerieho pulls himself up, takes the gargoyle and smashes it against the door. The wood splinters.</dialogue> <character>EXT. TZMES SQUARE - NIGHT</character> <dialogue>The ground ceases its rumbling as the temple has formed.</dialogue> <scene_description>A TEN STORY PENTAGRAM stands behind an ALTAR atop a pyramid. Steps appear on the angle of the pyramid, seemingly formed from the faces of tormented souls.</scene_description> <character>INT. ARMORY - NIGHT</character> <dialogue>A door opens and in steps Jericho, his clothes in tatters, his face bloodied. He smiles... The room is filled with a CACHE of MILITARY ARMAMENTS. Quick cuts 88 he - GRABS an MK19 MOD3 AUTO-FEED GRENADE LAUNCHER - Pulls down a SHOULDER LAUNCHED STINGER MISSILE - Straps on AMMO BELTS - Slings on TWO M-lfi MACHINE GUNS - ANGLE ON: A ROW OF BUMVEES - One of them roars to life. It's headlights fall on a LOCKED GARAGE DOOR.</dialogue> <scene_description>( Jericho steps out of the driver's seat. Reaches in back. Withdraws the SBOULDER LAUNCHED STINGER HISSILE. Fires. THE HISSILE FLIES from its launcher and... BOOH! The garage door blows open.</scene_description> <character>JBRICHO</character> <dialogue>Time to give the Devil his due.</dialogue> <scene_description>Jericho slides back into the BUMVBB and peels out.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREETS - NIGHT</stage_direction> <scene_description>Jericho steers the Humvee through the obstacle course of post .riot debris. In the distance he sees the glowing fiery light J % / of Times Square, but just up ahead is an archway. ^) C You could say it was soaring and majestic if it weren't for the twisted wrecked frames of men, piled atop each other like some freakish car accident. Jericho slows the Humvee and looks on at this horror. The writhing corpses moan out to him in unison.</scene_description> <character>VOICES</character> <dialogue>Go back! Go back!</dialogue> <scene_description>Jericho drives the Humvee through the arches... Inside ... Jericho sees the mass of humanity huddled before the Temple. Be floors it. The Followers scatter as the Humvee plows them aside. At the foot of the temple - THE HAN TAKES CHRISTINE by the hand and leads her up the steps. But... Jerieho skids the Humvee to a halt by the Temple's base. Followers rush the Humvee, but when Jericho opens fire with an H-16, they cower away. /#\*!s', The square falls silent aa Jerieho exits the Humvee, clutching the Grenade Launcher. Jericho looks around at the lost souls, at the temple of evil, The Man walks toward Jericho.</scene_description> <character>MAN</character> <dialogue>What happened Jericho? I thought we had a deal.</dialogue> <character>JERICHO</character> <dialogue>X lied.</dialogue> <character>HAN</character> <dialogue>Zf you come seeking death, Z shall not grant it.</dialogue> <character>JBRICHO</character> <dialogue>Z'm not seeking death.</dialogue> <scene_description>Jericho levels the MK19 GRENADE LAUNCHER.</scene_description> <character>JERICHO</character> <dialogue>I'm sending you baek to Bell.</dialogue> <scene_description>SBWUMP! Be FIRES. The GRENADE IMBEDS in the Man's chest. BOOM! It EXPLODES. The Man catapults backward twenty feet, slamming into the concrete. Shwump! shwump! Jericho fires two more grenades at the Man as he struggles to bis feet. BOOM! BOOM! They explode with unbelievable force. The Man tumbles down the roadway like he was hit by a train and collapses in a pile of broken flesh. Jericho crosses to him and looks down at what used to be the Man's face. But now it's all sinews and singed skin.</scene_description> <character>KAN</character> <parenthetical>(seething whisper)</parenthetical> <dialogue>You think you've won?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This is but flesh.</dialogue> <scene_description>And then THE GROUND BEGINS TO TREMBLE. .. Jericho loses his balance and falls to the ground. The Man's legs rip open.... and MIGHTY TALONS extend from •ja\ them. A monstrous evil unfolds from the skin of the Man. c WINGS unfurl from his back. SCALES burst forth from his skin. Be rises until he is FOUR STORIES TALL. ALL DEMONIC Bis eyes burn with fire and his mouth drips blood. Be is truly SATAN Be BOWLS. Jerieho scrambles to his feet and retreats to the Humvee.</scene_description> <character>SATAN</character> <dialogue>You dare defy me, Jerieho? Z shall cast you into hell like ay father did to me at the dawn of time.</dialogue> <scene_description>Jerieho whips out the Stinger missile and levels it. Be pivots baek to face the Demon. The Demon sees the missile pointed straight at him.</scene_description> <character>JBRICHO</character> <dialogue>Times change. Welcome to the twenty Aa% first century. )</dialogue> <scene_description>c Jerieho launches the Stinger. It impacts in Satan's belly and explodes. The flesh and scales blow back revealing... A THOUSAND TORMENTED SOULS inside the belly of the beast. Satan reels back. Screaming in pain. A handful of followers charge at Jericho, but he opens fire with the M-16's blowing them back. SATAN pulls back his arm and a swirling ball of fire rises in it. Be launches it at Jericho. Jericho dives out of the way. The fireball sails over Jericho's head slamming into the side of a building. Jericho mounts another Stinger and FIRES. The missile flies. But the Dark Angel dodges and the Stinger impacts against a billboard of a broadway play. "CATS - NOW AND FOREVER" topples, crushing several hundred of the followers. More followers attack, but Jericho lets loose a barrage of bullets from both sub-machine guns. Satan draws another ball of fire from the air, and hurls it. Jericho grabs for his weapons and rolls for cover just 88 a fire ball hits the Humvee, BLOWING it to kingdom come. V Jerieho slams another Stinger into the launcher. Ho takes some time to aim. Satan flaps his leathery wings and lift into the air like some ancient dragon. Jerieho fires. WHHBOOOOOSB! This time the Missile slams into Satan's head. BOOM! Lucifer's head explodes, raining fire down from the sky. The crowd of followers scatter to avoid the hellish shrapnel, as the Dark Angel plummets to the ground. Jerieho slides bis last Stinger into the launch tube. The HEADLESS BODY rises from the pavement, swaying back and forth, hands grasping at the air.</scene_description> <character>JBRICHO</character> <dialogue>You're going down.</dialogue> <scene_description>jerieho unleashes his last Stinger. WHOOOOSB! BAM! It slams into the Dark Angel's belly, among the writhing masses. BOOM! It explodes in a massive fireball of flesh and fire. When the smoke clears, Satan is gone. Jericho eyes the lingering smoke and fire. He bears a massive groan coming from the heart of the city. A thick fiery smoke hangs in the air and then slowly twists back into form and substance. Smoke trails snake out, wrapping themselves like a tentacle around Jericho. The tentacle grows until it is a BONY HAND.</scene_description> <character>SATAN (V.O)</character> <dialogue>You think your armaments can defeat the immortals? Who do you think taught mankind to build weapons?</dialogue> <scene_description>Jericho is enveloped now. He yells, fighting to break free. Be rises in the air, twisting and turning until he's face-to- face with TBE BEAST. Be opens fire with the M-16. But the bullets wounds are barely pinpricks on Satan's horrific scaly body.</scene_description> <character>SATAN</character> <dialogue>For thirty thousand years I've walked through the hearts and minds of men</dialogue> <scene_description>. and your downfall is my glory. ^ I have built the gas ovens of ) Auschwitz, I have haunted the killing f fields of Cambodia, I've spurred good Christians to rape and loot in the name of their Lord, I've sent Muslims on horrific Jihads, and I've scattered the Jews to the four corners of the world. I lit the fire that made Troy burn and I stood by and watched mankind nail the Son of God to a wooden cross. I was there in the beginning on the tree of life. J am the beginning and the end. I em light and I am death. Z can not be defeated. Z em forever. Satan tosses Jerieho away. Jerieho sails through the air, arms flailing and pwagwwg through the STAINED GLASS WINDOW of a church.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - NIGHT</stage_direction> <scene_description>The glass IMPLODES as Jericho sails through it, heading toward the hard stone floor. But instead of the floor, he slams into a hanging tapestry. ) c It collapses under his force, but breaks bis fall. Jericho lies half-dead, a lump in the middle of the thick /0ti\, woven fabric.</scene_description> <character>EXT. TIMES SQUARE - NIGHT</character> <dialogue>Satan roars and conjures up another fireball and... Launches it at the church! The flames engulf the church. Even the stones catch fire.</dialogue> <character>INT. CHURCH - NIGHT</character> <dialogue>Everything in the small church erupts in flame.</dialogue> <character>WBISPERXNG VOICE</character> <dialogue>Jericho...</dialogue> <scene_description>Jericho stirs. Then with a groan, he struggles up. Bis hands tremble. Bis body buckles. Bis back is streaked with blood.</scene_description> <character>JERICHO</character> <dialogue>I can't...</dialogue> <character>WHISPERING VOICE</character> <dialogue>Jericho...</dialogue> <scene_description>ji0£\ It takes all the effort in his body just to open his eyes. There's no one there...</scene_description> <character>JBRICHO</character> <dialogue>What more can Z do?</dialogue> <scene_description>All around him he see religious icons. A STATUE of CHRIST ON THE CROSS. A TAPESTRY of ST. GEORGE SLAYING TBS DRAGON. A PAZNTZNG Of DAVID SLAYING GOLIATB And A Statue of MICHAEL THE ARCHANGEL WIELDING A MIGHTY SWORD AGAINST A SERPENT. Everywhere he looks in the burning church, he sees acts of faith.</scene_description> <character>WHISPERING VOICE</character> <dialogue>Jerieho.••</dialogue> <scene_description>Jericho pushes himself up onto one knee. Be rests. The strain is too much to bear. Bis head is bowed because he cannot hold it up. Be looks almost like he's praying.</scene_description> <character>JERICHO</character> <dialogue>Help me. Please.</dialogue> <scene_description>In answer to his prayer, there is silence.</scene_description> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction> <scene_description>SATAN lays Christine on an altar below a massive STONE PENTAGRAM. Demonic figures are carved around its face.</scene_description> <character>SATAN</character> <parenthetical>(in Latin)</parenthetical> <dialogue>X command thee as the Lord of Man, Open the Oatea to my kingdom I</dialogue> <scene_description>The stone pentagram rumbles and slowly slides open. A FIRESTORM SWIRLS in its center. We see human shapes... the vague outlines of the souls of the damned. It's truly a churning pit of fiery death like nothing we've ever seen before except in our darkest nightmare. The GROUND RUMBLES as THE GATES OF HELL open.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - NIGHT</stage_direction> <scene_description>The GROUND SHAKES. Stones fall from the roof of the church. The CRUCIFIX FALLS smashing into the STATUE OF MICHAEL. MICHAEL TUMBLES. It slams into the floor, shattering. When it does, Michael's SWORD breaks free from bis band. Jerieho sees the sword. He's transfixed by it. Be picks it up. It's a simple blade and pommel, forged of bronze. Be takes off his M-ISs and tosses them to the ground. ... then turns and heads toward the door, armed only with this sword and his belief.</scene_description> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction> <scene_description>The portal continues to rumble further and further open. The Followers fall to their knees in silent prayer of the coming dawn of evil's reign. Christine lies silent on the altar, her eyes closed in rapture. The glowing fires of hell illuminate her face. c</scene_description> <character>EXT. CHURCH - NIGHT</character> <dialogue>/"SP\ Jericho emerges from the fiery structure of the church to see</dialogue> <scene_description>Satan reaching down for Christine on the altar. Jericho bellows...</scene_description> <character>JERICHO</character> <dialogue>Lucifer!</dialogue> <scene_description>Satan turns. He sees Jericho, beaten and bloodied, looking like the Devil himself.</scene_description> <character>SATAN</character> <dialogue>Jericho, how many times must you be beaten!</dialogue> <character>JERICHO</character> <dialogue>Until you finish me.</dialogue> <character>MAN</character> <dialogue>Step aside or I shall inflict torments on you never known to human souls.</dialogue> <scene_description>Emily and David emerge from the crowd.</scene_description> <character>EMILY</character> <dialogue>Jericho, please. You can't defeat him.</dialogue> <scene_description>A\*&gt;v</scene_description> <character>JBRICHO</character> <parenthetical>(to Satan)</parenthetical> <dialogue>You cannot trick me!</dialogue> <character>SATAN</character> <dialogue>You defy me, but can you turn your baek on your family again? Can you stand by and wateb me pluck their eyes out and rip their flesh from their bones while you watch helpless.</dialogue> <scene_description>David comes to Jericho.</scene_description> <character>DAVID</character> <dialogue>Please, Daddy. Don't let him hurt us.</dialogue> <character>JERICHO</character> <dialogue>Lies! My family is dead.</dialogue> <scene_description>And Jericho swings his sword at bis wife and son. As the blade strikes flesh, the two become terrifying DEMONS. They cry out in horror as they melt into the air.</scene_description> <character>SATAN '</character> <dialogue>Jericho, I am an Angel of the Lord. You are but a man. How do you expect to defeat me in all my glory?</dialogue> <scene_description>Satan stalks toward him.</scene_description> <character>JERICHO</character> <dialogue>I may be just a man. But I am made in the image of my maker.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And I have faith.</dialogue> <scene_description>Satan pauses and sits on his haunches, trying to look into Jericho's heart.</scene_description> <character>JERICHO</character> <dialogue>It is in my power to defeat you.</dialogue> <scene_description>Satan's terrifying head swings over him. Jericho slowly raises the bronze sword to the ready. Satan backs away.</scene_description> <character>SATAN</character> <dialogue>You will need more than a piece of metal to defeat me.</dialogue> <scene_description>JERICHO /\*"v The weapon doesn't matter. The battle is won within. The Beast's claw swipes at Jerieho. Jerieho brings the sword to bear. We see a flash of metal. A shower of sparks. The Beast roars back, in real pain for the first time. Jerieho advances, thrusting at the Beast. The sword flashes in the flames of fire and it becomes FORGED OF STEEL, ITS HANDLE CRUSTED WITH JEWELS, just like the swords in the illuminated manuscripts. THE SWORD OF FAITH. The BEAST ROARS BACK. Bis sharp tail whips around like a scorpion's, stabbing at Jericho. Jericho parries and thrusts back. Jerieho stabs the tail of the Beast. It reeoile in pain and slams into Jericho sending him flying through the air. Be lands on the steps of the temple, his momentum sending \*"&lt;-" tumbling down. THE BEAST claws down the stone steps. / m The TEMPLE shakes with every step. Fires burn in Satan's \* \ eyes. Bis body bristles with spikes. e Satan raises his talon into the air above Jericho. Jericho f^\*\* rolls out of the way, just as ha slams his talon down. The earth shakes and the stone steps craek. The Temple begins TO BLEED. Jericho rolls down the steps, trying to get away. Satan raises his talon again, but this time as he brings it down, Jericho stabs the sword upward and into it. The Beast recoils and roars. WOUNDED. The blood of hell drips from the wound and rains down, exploding like grenades as it hits the earth. Jericho runs for cover. The Beast's tail swings round. A hundred serpents grow from it, eaeh head snapping out at Jericho. Jericho swings his mighty sword, striking through the viper's nest and severing the heads of the snakes. The snake heads continue to snap as they roll into balls of fire on the ground. Jericho dives over the flailing tail, and raises the sword just in time to deflect a blow from Satan, wounding him again. And then the BATTLE IS JOINED. J0\*\ We've never seen anything like it. Jericho is possessed of faith and powers beyond our comprehension as ha drives into the breach. BOLY STEEL against the FIRES OF EVIL, exchanging blow after blow. Jerieho battles like a righteous warrior, a one man holy crusade. Atop the Temple they fight, the darkness lit by the unholy fires which consume the mighty towers of Gotham.</scene_description> <character>SATAN</character> <dialogue>Submit Jericho, and Z shall make you the king of kings.</dialogue> <character>JBRICHO</character> <dialogue>You can offer ma nothing.</dialogue> <scene_description>Satan reels back. Jerieho advances. ATOP the TEMPLE - IN THE MIDST OF BATTLE, TBS NEW YEARS BALL BEGINS TO DROP.</scene_description> <character>JBRICHO</character> <dialogue>I renounce thee.</dialogue> <scene_description>Jericho takes the fight to Satan, driving him back, driving M " down on his knees and as he is about to plunge the sword into Satan'a chest... The ball reaches bottom. Happy new year flashes and... A mighty trumpet roars. SATAN ROARS a HORRIBLE CRY OF LOSS. Jerieho stays his sword. Satan's wings unfurl as a great wind blows pulling him toward the opening in the Pentagram.</scene_description> <character>JERICHO</character> <dialogue>It's over.</dialogue> <scene_description>Satan struggles against the winds of heaven that drive him back toward the swirling pit.</scene_description> <character>SATAN</character> <dialogue>Over? It'8 not over!</dialogue> <scene_description>Bis scales bristle. Bis eyes alight with fire.</scene_description> <character>SATAN</character> <dialogue>A thousand years is nothing to me!</dialogue> <character>JERICHO</character> <dialogue>To me, it's enough.</dialogue> <character>SATAN</character> <dialogue>You grow weaker every time.</dialogue> <scene_description>Jericho crosses to Christine on the Altar. She wakes at his touch. Looks up blinking... in disbelief... herself again.</scene_description> <character>CHRISTINE</character> <dialogue>Jericho.</dialogue> <scene_description>He gathers her up in his arms. Behind him, as Satan tumbles back into hell, something snakes out of the demon's body and shoots through the portal. A tentacle of some kind.</scene_description> <character>SATAN</character> <dialogue>You dare to turn your back on me?</dialogue> <character>CHRISTINE</character> <dialogue>Jericho!</dialogue> <character>SATAN</character> <dialogue>I shall have thee yet.</dialogue> <scene_description>c Hie tentacle snakes out and wraps around Christine, pulling her from Jericho's arms. It drags her to the closing gate.</scene_description> <character>CHRISTINE</character> <dialogue>Oh god, help me. Please help me.</dialogue> <scene_description>Jericho lunges to her and grabs her hand before she crosses the threshold.</scene_description> <character>JERICHO</character> <dialogue>Bold on.</dialogue> <scene_description>Christine's feet are pulled across the threshold. Everything rumbles. The temple shakes. Christine is eaught in a tug of war between good and evil.</scene_description> <character>SATAN</character> <dialogue>I have you now. Let go and come to me.</dialogue> <scene_description>The suction from hell increases. Dying souls all over the world are being sucked into the inferno screaming. All around them the ghostly souls are pulled in creating a strong wind. She still hangs there, as if she was hanging from a precipice, dangling over a twenty thousand foot drop into eternal darkness end damnation. Satan dangles in the hellfire below clinging onto Christine. The stones are closing in around her.</scene_description> <character>CHRISTINE</character> <dialogue>Don't let me fall. Please, don't let me fall!</dialogue> <character>JERICHO.</character> <dialogue>You're not gonna fall. Bold on!</dialogue> <scene_description>Satan climbs up his own tentacle, coming closer. Be reaches out with his curled mangled fingers to grab her, but Jerieho lifts the sword and holding Christine with one hand, he heaves the sword end-over-end into the underworld. It slams right into Satan's gut. Using all his strength he fights the slipstream of evil as he pulls Christine back through the Gates of Bell just as they slam elosed forever. As all the stones join, sealing the entrance A STARBURST OF ENERGY RADIATES OUT. B00000M1 The two of them are surrounded by fire. Jerieho rises to find Christine unconscious next to him. Be fights the thick smoke as he struggles to his feet. Be looks around but all he can see are flames. .•\*"^v Be scrambles to pick up Christine and through the flames he makes out a door of some kind. Be rushes through the flames to the doorway and pushes through it out onto...</scene_description> </scene> <scene> <stage_direction>EXT. NEW YOR CITY STREETS - NIGHT</stage_direction> <scene_description>Jericho emerges from the front door of the CHURCH. The flames and smoke are thick all around. Fire trucks and police cars slide to a halt in front of them. The firemen coma rushing up to Jerieho, who cradles Christine in his arms.</scene_description> <character>FIREMAN</character> <dialogue>What happened?</dialogue> <scene_description>Jericho looks around. Aside from the fire, the city is calm and peaceful. Pedestrians walk the street as normal. The sky above is clear and the stars shine down from heaven. Jerieho looks baek at the Fireman.</scene_description> <character>JERICHO</character> <dialogue>There was a fire.</dialogue> <scene_description>c He keeps walking, Christine in his arms. JERICHO (cont' d) But I put it out. We rise up into the night, away from the fire and back towards heavens. Everything in the city is how it was. Maybe even better.</scene_description> <character>FADE OUT:</character> <dialogue>.--S35V</dialogue> <scene_description>c</scene_description> <character>TITLE:</character> <dialogue>AUTHOR:</dialogue> <character>END OF</character> <dialogue>MARLOWE, ANDREW W.</dialogue> <scene_description>SUB BY: ANONYMOUS FORMAT: Screenpla SUB TO: GARNER, TODD DRAFT DATE:</scene_description> <character>PUBLISHER/YEAR</character> <dialogue>GENRE: SUB-GENRE:</dialogue> <character>2-17-1998</character> <dialogue>SUPERNATURAL/THRILLER</dialogue> <scene_description>CIRCA: Present LOCATION: NYC ELEMENTS:</scene_description> <character>ANALYST:</character> <dialogue>COVERAGE DATE: M a r c h 2 0 ,</dialogue> <character>CHURCHILL,</character> <dialogue>1998</dialogue> <scene_description>LOQLXNB t When Satan comes to NYC to take a bride back to hell, a tenacious security officer becomes the protector of the chosen woman and helps defeat Satan and send him back to hell. COMMENT LOOLINBt While this doomsday thriller contains many familiar trappings of the genre, writer Marlowe is able to cleverly provide the drama with imaginative action set-pieces and characters who're heroic and strong, while at the same time weaving in themes of religion /tS"\*N and faith. Excellent Good Fair Foor Idea SCRIM: CONSZPXR Story Line +-ac-H MR1TER: CONSIDER Characterisation +-ac-H Dialogue +-x-H</scene_description> <character>AUTHOR:</character> <dialogue>-/#"\</dialogue> <character>MARLOWE, ANDREW W.</character> <dialogue>SYNOPSISi</dialogue> <scene_description>In 1975 shortly after a baby girl is born in an NYC hospital, a nurse secretly rushes the infant to a Satanic ritual where she's baptized in blood and "marked for darkness". When the baby girl is returned to its mother, she's named CHRISTINE. Today, NYC JERICHO is an officer who works for a private security firm. Presently he and a partner, CHICAGO, are protecting a diplomat on his way to the UN. As the diplomat arrives at the UN hq, a SHOOTER is spotted on a nearby roof. Jericho shoves the diplomat aside and takes several rounds of shots in his bullet proof vest. The diplomat is safe, and Jericho and Chicago chase after the shooter in a helicopter. As the shooter is about to jump from the roof, Jericho grabs him. But as the shooter then begins to blast Jericho, he's dropped from the 'copter and a parachute unfurls. The shooter ducks into the subway, and Jericho gives chase again, finally cornering the guy and cuffing him. But the shooter suddenly transforms into a hideous monster and tells Jericho that he's powerless to stop the dark Angel. As the shooter transforms back to a human form, Jericho is stunned. He wonders if he's going nuts as the shooter is taken off to a hospital. Meanwhile...in Hell's Kitchen, flames shoot high from a crack in the pavement. From the flames a mysterious MAN (Satan) appears and walks away...and an Albino man witnesses the event. Later, Jericho does some research on the shooter and discovers that he's not only a religious nutball but a man who was not targeting the UN diplomat but him. Jericho wonders why HE was being targeted! In the shooter's possession is also pictures of an unknown woman. That woman happens to be CHRISTINE BETHLEHEM the same one we saw being born in 1975 and baptized in blood. Christine is a pre-school teacher with a sweet disposition, but lately she's been experiencing terrifying visions that she can't explain. Satan, in the meantime, goes to visit the shooter in his hospital room and crucifies him to the wall. When Jericho and a detective go to visit the shooter to ask questions they find him nearly dead. Written in Hebrew on the shooter's body are two names one is Jericho and the other is Bethlehem. As the shooter dies, Jericho realizes that he might be in danger. And he wonders who Bethlehem is as well. Jericho pays a visit to the Church of St. John the Divine and talks to FATHER MURPHY bout the shooter, whose name was Thomas and who used to be a priest. Murphy is closed mouth, and tells Jericho he wouldn't believe even if he told him. Christine is on her way home when a homeless man approaches and says "he's on his way". And when she gets to her apartment, two COMMANDOS are waiting for her and try to abduct her. Meanwhile, Jericho has managed to track the identity of "Bethlehem" to Christine, and he and Chicago arrive just in time to rescue her. The commandos flee. Christine is frightened, and her roommate RACHEL offers support. Jericho puts a guard on</scene_description> <character>TITLE:</character> <dialogue>AUTHOR:</dialogue> <character>END OF DAYS</character> <dialogue>MARLOWE, ANDREW W.</dialogue> <scene_description>SYNOPSIS (continued)s Christine for the night, and Chicago sets up a command post outside. Christine wonders what's going on, and Jericho reads up on Satanic heraldry...and he becomes aware of Satanic prophecies about the End of Days, when Satan comes to claim a bride and take over the world. Even the righteous will not survive. As Jericho considers the meaning of this, Satan attacks the command post outside Christine's place and blows it up. Chicago and the other guards are killed. Jericho begins to drag Christine away to safety, but her roommate Rachel then changes into a demonic beast who tries to stop them. Jericho is forced to shoot Rachel dead. When the cops finally arrive on the scene and see the destruction (including the dead bodies of Chicago and the guards), they see Rachel in normal human form dead from Jericho's gunshots. The cops take Jericho to police hq and hold him and begin asking Christine questions. But at the police hq, Satan arrives and tries to get her. Jericho blocks him and flees with Christine into the park and they're chased by red-eyed minions of the devil. They finally arrive at St. John the Divine Cathedral. Father Murphy is there tp help them hide, and he tells them of the coming of darkness and that Satan is looking for a bride...the signal of doom. But Father Murphy claims the bible tells of a PROTECTOR, of great faith and virtue, who comes forth to safeguard and defend the chosen woman. Jericho claims he's couldn't possibly be the protector if he's someone of great faith and virtue. '( Meanwhile... in the city chaos begins to reign. People begin to riot and loot stores. As Jericho tries to secretly return to his apartment, he's confronted by Satan who wants him to reveal where Christine is hiding. Satan offers Jericho anything he wants for this information...but Jericho refuses. Satan then tries to throw Jericho to his death, but Jericho manages to grab Satan and toss him to the street below. As Satan impacts on the pavement a huge crater is made. It doesn't seem as if anything could survive this fall, but Satan picks himself up and leaves. Jericho is then approached by Chicago who claims he's not dead but alive; Chicago wants to get out of the crazy city. Jericho isn't sure if Chicago is a trick or not. Back at the cathedral, meanwhile, a Cardinal decides to sacrifice Christine to prevent the devil from getting her. But Jericho arrives and to protect and save her. And at the same time Satan arrives and begins to entrance Christine. A fight erupts between Jericho and Satan and the cathedral begins to collapse into a pile. As Jericho and Christine are dragged into a pit, they get away and escape into the city sewers. Christine and Jericho are chased by not only the devil but his red-eyed followers. Christine wants to get Satan out of her mind he seems to have entranced her. Jericho and Christine escape the sewer, finding the city in total chaos. The get into a car and are chased once again. As they try to flee the city, the find that bridges and tunnels are destroyed. They finally escape into an underground garage where they encounter Chicago again but Chicago is obviously possessed</scene_description> <character>AUTHOR:</character> <dialogue>i.r</dialogue> <character>MARLOWE, ANDREW W.</character> <dialogue>SYNOPSIS (continued)i</dialogue> <scene_description>and Jericho finally destroys him. Jericho drags Christine to the nuclear shelter 400 feet below the surface of Manhattan. As they wait there, Satan finds them and drags the shelter to the surface. Satan then confronts Christine again, and she must try to resist him. Jericho is then beaten by Satan's minions, and he cries for help. Satan asks Jericho to join him, and finally Jericho succumbs. Satan then addresses his followers and brings forth a mighty temple in the city. But Jericho slips away and goes to an armory where he drags out weapons and begins to attack Satan and his new establishment. A huge battle erupts, and Satan claims he canNOT be destroyed. Jericho is seen kneeling and praying and asking for help. Jericho then finds a Sword of Faith, and with it he attacks Satan, now transformed into a beast. At the same time Christine turns her back to Satan and renounces him. As the battle rages on, Jericho is finally able to destroy Satan (at least for now), and he caries Christine away from the scene in his arms just as the fire department and cops arrive to take over.</scene_description> <character>AUTHOR:</character> <dialogue>MARLOWE, ANDREW W.</dialogue> <scene_description>(-ytfp\*&gt;N</scene_description> <character>COMMENTS I</character> <dialogue>Marlowe has created an imaginative, exciting and very dynamic</dialogue> <scene_description>supernatural thriller. While it contains some of the predictable beats of a doomsday tale with a fairly static Satan figure threatening to destroy the world, the battles that erupt between the heroic security officer and the demonic forces are nicely conceived and full of resourceful and inventive special effects. The piece is, after all, special effects driven with NYC taking the brunt of all the destruction and mayhem. Not only is there chaos in the streets of the city as Satan and his minions try to establish a foothold, but buildings collapse, others are pulled from the underground andfifireand brimstonei makes its presence known on a very large scale. The heart and soul, so to speak, of the drama lies in the characters of the heroic security officer who becomes the iProtectorl of the woman chosen by Satan to be his wife. This character goes up against some of the most incredible obstacles imaginable demons, burning buildings, zombies, quakes, . etc. and still manages to stand on his two feet. Touchingly, he seems to succumb to the power of Satan and momentarily become one of his minions, but this turns out to be only a trick to get closer to the devil and destroy him-which he does in blazing glory. And speaking of glory-the material also is not afraid to bring up questions of faith and virtue; the heroic security officer is not afraid to finally ask for help from God, and it is in these final moments when he accepts God and renounces Satan that the script has its most powerful emotional impact. The script ^^ winds up succeeding on a couple of levels the truly physical, ( action driven one, and the more sensitive, holy one. The script isnit entirely perfect, though. We wonder why the heroic officer, Jericho, was targeted for destruction from the beginning before he even meets Satanis intended wife; and if this is the case, we wonder why Satan canit simply remove Jericho as an obstacle. As a result of many similar questions the script seems, from time to time, to be overly manipulated and contrived. But the action sequences seem to distract us from this, and the energy never subsides. We also wonder why Satan canit just pick any woman he wants as a wife, not necessarily one who had to be ebaptized in bloodi 25 years earlier. Be that as it may, the script is dynamic and offers both action and food for religious thought.</scene_description> <character>SCRIPT:</character> <dialogue>WRITER:</dialogue> <character>CONSIDER</character> <dialogue>CONSIDER</dialogue> <character>,'/^K</character> </scene> </script>

In 1979, a Vatican city priest witnesses a comet arching over the full moon, signifying a prophecy of the end of days. The Pope sends a priest on a mission to protect a newborn baby, Christine York, identified in New York City by satanists as one chosen to be the mother of Satan's child. However, a few Vatican knights (led by a corrupt cardinal) insist that she must be killed, but the Pope rejects their plan as it goes against God's will. In late December 1999, Satan possesses an investment banker. After adjusting to his mortal form, he molests the wife of a business associate and later causes a restaurant to erupt in an explosion of fire. Alcoholic former NYPD detective Jericho Cane, depressed since his wife and daughter's contract killings, works for a private security company and blames God for his plight. Jericho and friend Bobby Chicago are assigned to protect the possessed banker. A priest, Thomas Aquinas, fails to kill the banker. Jericho captures Aquinas and, after hearing his ramblings, gives him to the New York City Police Department (NYPD). Marge Francis, an NYPD detective and Jericho's former colleague, tells Jericho that Aquinas has no tongue. Jericho and Bobby investigate Aquinas' apartment, where they find his tongue in a jar and messages and symbols written in blood on the walls. Aquinas turns out to be trained by the Vatican and was sent to New York before disappearing. Jericho questions Father Kovak, a priest who knew Aquinas. However, Kovak responds in a vague and unsatisfying manner and Jericho ultimately leaves. Later in the evening, Satan confronts his head priest who informs him that his followers are everywhere and ready to enact his plans. Seemingly pleased, Satan then takes an interest in the doctors wife and daughter. Later, the three are shown making love as Satan combines the mother and daughter's bodies into an image of Christine and then makes love to her. The day after, Satan enters Aquinas' hospital, and crucifies him on the ceiling after mocking him. After he is brought down and presumed dead, Jericho and Chicago read in Latin "Christ in New York" carved into his skin. They begin searching for any similar names and come across Christine York in her apartment. Jericho and Chicago rescue her from being killed by the Vatican knights. However, Satan then appears and immolates Chicago. Jericho and Christine flee from him. Marge and another officer, both revealed to be Satanists, demand Jericho surrenders Christine. Jericho kills them both and escapes with Christine. Satan resurrects Marge to rally the other Satanists to do his bidding. Taking refuge in the church, Father Kovak tells Jericho and Christine that Satan must impregnate her by midnight on New Year's Eve to usher in the "end of days". Christine accepts Kovak's protection, and Jericho leaves her there. Satan confronts Jericho in his apartment and tries to tempt him into giving up Christine in exchange for resurrecting his dead family. After Jericho resists his temptations, Chicago arrives at his apartment, and the two agree to retrieve Christine from the church. Back at the church, Jericho stops the cardinal and his knights from killing Christine. Satan reappears and kills the Vatican clergy. Chicago betrays Jericho, leaving him to be beaten and crucified by a mob of Satanists, revealing that he made a pact with Satan in exchange for his resurrection. After Chicago leaves with Christine, Kovak finds and rescues Jericho. After his recovery, Jericho tracks down Satan to his lair, kills Marge once again and rescues Christine. In the ensuing fight, he convinces Chicago to resist Satan's influence. Satan later kills Chicago for breaking their pact. Jericho destroys the lair, escapes with Christine into a subway tunnel and boards a train. Satan follows them, killing the train's driver. Jericho fires another grenade, destroying the train car Satan was in. Satan abandons the banker's irreparably damaged body to pursue Jericho and Christine, leaving him to die. Jericho and Christine arrive at another church, where he renews his faith in God and prays for strength. Satan as a massive, winged creature appears and possesses Jericho. Satan, now in Jericho's body, attempts to rape Christine. Responding to her pleas, Jericho is able to resist long enough to deliberately impale himself on a nearby sword, sacrificing himself to prevent Satan's endgame. At the stroke of midnight, Satan is sent back to hell. Jericho sees his wife and daughter waiting for him in the afterlife and dies peacefully. Christine tearfully embraces him as the world celebrates a new millennium.

Fantastic Mr. Fox_2009

tt0432283

<script> <scene> <scene_description>FANTASTIC MR. FOX by Roald Dahl Anderson/Baumbach March 4, 2007</scene_description> </scene> <scene> <stage_direction>EXT. WOODS. DAY</stage_direction> <scene_description>An apple tree stands alone at the top of a hill. A handsome fox dressed in an Edwardian-style navy velvet suit leans against it with his arms folded and his legs crossed, chewing on a reed of wild grass. He holds an apple core in his paw. He spits out a seed. He looks off across a meadow that descends into the valley below. A female fox strides briskly up the hill. Her coat is a paler, especially beautiful shade of fox-red, and she wears men's trousers and a dark tunic. Fox says as she approaches:</scene_description> <character>FOX</character> <dialogue>What'd the doctor say?</dialogue> <character>MRS. FOX</character> <dialogue>Nothing. Supposedly, it's just a twenty- four hour bug. He gave me some pills.</dialogue> <character>FOX</character> <parenthetical>(reassuringly)</parenthetical> <dialogue>I told you. You probably just ate some bad gristle.</dialogue> <scene_description>Fox brushes the fur on Mrs. Fox's ears with his paws. They walk together along the crest of the hill to a fork in the path. Fox points:</scene_description> <character>FOX</character> <dialogue>Should we take the short cut or the scenic route?</dialogue> <character>MRS. FOX</character> <dialogue>Let's take the short cut.</dialogue> <character>FOX</character> <dialogue>But the scenic route is so much prettier.</dialogue> <character>MRS. FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>OK, let's take the scenic route.</dialogue> <character>FOX</character> <dialogue>Great. It's actually slightly quicker, anyway.</dialogue> <scene_description>Fox throws his apple core away over his shoulder and dances a quick circle around Mrs. Fox, wrapping his arm around her waist extravagantly and making her laugh as they start off down the scenic route.</scene_description> </scene> <scene> <stage_direction>EXT. FARM. DAY</stage_direction> <scene_description>A rustic cottage surrounded by a small barn, a tin silo, and a rickity windmill. There is a sheep in a little pasture. A sign on a rail says Berkus Squab. Fox and Mrs. Fox watch from the bushes outside a fence.</scene_description> <character>MRS. FOX</character> <dialogue>What is a squab?</dialogue> <character>FOX</character> <dialogue>You know what a squab is. It's like a pigeon, I suppose. Anyway, it's a type of bird we can eat.</dialogue> <scene_description>Fox motions toward the edge of the property.</scene_description> <character>FOX</character> <dialogue>Should we go through the hole under the horse fence or climb the rail over the bridle path?</dialogue> <character>MRS. FOX</character> <dialogue>Well, I guess the horse fence would be a little safer.</dialogue> <character>FOX</character> <dialogue>But the bridle path puts us out right next to the squab shack.</dialogue> <scene_description>Mrs. Fox hesitates. She fiddles with her paws. She nods nervously. She shakes slightly. Fox looks at her funny.</scene_description> <character>FOX</character> <dialogue>What's wrong? I've never seen you like this. You're acting all skittish. Don't worry. I've been stealing birds for a living since before I could trot.</dialogue> <character>MRS. FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>OK, let's take the --</dialogue> <character>FOX</character> <dialogue>No, we'll do the horse fence. You gave me the scenic route already.</dialogue> <scene_description>Fox flashes a smile. He says suddenly:</scene_description> <character>FOX</character> <dialogue>By the way, you look unbelievably beautiful tonight. You're practically glowing. Maybe it's the lighting.</dialogue> <scene_description>Mrs. Fox is, in fact, glowing, albeit ever so slightly. She stares at Fox enigmatically. Fox touches his paw to her cheek. (NOTE: an alternate version of Mrs. Fox will be used for this shot which can be literally lit from within.) With the speed, grace, and precision of athletes, Fox and Mrs. Fox: dart through a hole under a painted fence; race along a thin trail next to a garage; crawl beneath a window where a blonde woman serves an early dinner, dealing hamburgers like playing cards to three little, blond children; creep past a doghouse where a golden retriever sleeps with an airline sleeping mask over his eyes; and shimmy over a doorway outside a workshop where a blond, bearded farmer hacks into a stump with a hatchet, completely pulverizing it into sawdust. They arrive in front of a wooden shed. Fox whistles sharply with a half-chirp and performs a rapid reverse-flip with a flourish. Fox lifts a loose board. He looks to Mrs. Fox and puts his finger to his lips for her to be quiet. She shrugs impatiently. They duck inside. They come back out. Each holds a dead, bloody pigeon in his/her teeth. They start to run away. Fox looks up above them. He stops. He frowns. He takes the pigeon out of his mouth and says curiously, pointing toward the sky:</scene_description> <character>FOX</character> <dialogue>What's that? I think that's a fox-trap! Look at this.</dialogue> <character>MRS. FOX</character> <dialogue>Get away from there.</dialogue> <character>FOX</character> <dialogue>Is itspring-loaded? Yeah ...</dialogue> <parenthetical>(pointing to different spots)</parenthetical> <dialogue>I guess if you come from over there, and you're standing at the door to the squab shack, this little gadget probably triggers the --</dialogue> <parenthetical>(gesturing to Mrs. Fox)</parenthetical> <dialogue>Move out of the way, darling. That's right where it's going to land.</dialogue> <scene_description>Mrs. Fox runs back to Fox and tugs at his arm.</scene_description> <character>MRS. FOX</character> <dialogue>Come on! Stop it! Let's go!</dialogue> <scene_description>Fox pulls on a little, hanging wire. A chain unrolls rapidly from a pulley, and a steel cage falls slap down on top of them. A small tag on the base of it says Badoit et Fils. Fox and Mrs. Fox stand motionless, side by side, in disbelief.</scene_description> <character>FOX</character> <dialogue>No, it just falls straight down right here, doesn't it? I guess it's not spring- loaded.</dialogue> <scene_description>Sounds come from around the farm: the dog barks, doors open, voices yell, lights come on. Mrs. Fox turns to Fox and says quietly:</scene_description> <character>MRS. FOX</character> <dialogue>I'm pregnant.</dialogue> <scene_description>Fox stares at Mrs. Fox. He is confused but moved.</scene_description> <character>FOX</character> <dialogue>Wow. We're going to have a cub. Honey, that's great news!</dialogue> <character>MRS. FOX</character> <dialogue>If we're still alive tomorrow morning, I want you to find another line of work.</dialogue> <scene_description>Pause. Fox nods. CUT TO: A wide shot of the entire valley. There are thick woods, green and yellow fields, two ponds, a small village, and a river running through the middle. TITLE: 2 YEARS LATER (12 Fox-Years)</scene_description> </scene> <scene> <stage_direction>EXT. HOLE. DAY</stage_direction> <scene_description>The entrance to a tunnel under a dirt mound covered with holly bushes.</scene_description> </scene> <scene> <stage_direction>INT. HOLE. DAY</stage_direction> <scene_description>A small, comfortable kitchen off a living room with two bedrooms behind it. Fox sits at the kitchen table reading a newspaper called the Gazette. His fur has gone grey at the temples, and he now wears a dark, double-breasted, pin- striped suit with a conservative necktie. Mrs. Fox stands at the counter-top stirring something in a bowl with a whisk. She is dressed in a paint-splattered, cream-colored, Victorian-style dress. INSERT: A column in the newspaper with Fox's picture at the top of it. The caption reads: Fox about Town with Fantastic Mr. Fox.</scene_description> <character>FOX</character> <dialogue>Does anybody actually read my column? Do your friends ever talk about it?</dialogue> <character>MRS. FOX</character> <parenthetical>(still stirring)</parenthetical> <dialogue>Of course. In fact, Rabbit's ex- girlfriend just said to me last week, "I should read Foxy's column," but they don't get the Gazette.</dialogue> <parenthetical>(yelling into the next room)</parenthetical> <dialogue>Ash! Let's get cracking!</dialogue> <character>FOX</character> <dialogue>Why would they? It's a rag-sheet.</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>I want to say I hate my job, but that would make it seem more important to me than I want people to think it is.</dialogue> <scene_description>Mrs. Fox puts down her bowl and starts slicing a loaf of bread. A small, narrow fox cub comes out of one of the bedrooms wearing white pants and no shirt. His hair is smashed all onto one side sticking up wrong. He is Ash.</scene_description> <character>ASH</character> <dialogue>I'm sick.</dialogue> <character>MRS. FOX</character> <dialogue>You're not sick.</dialogue> <character>ASH</character> <dialogue>I have a temperature.</dialogue> <scene_description>Mrs. Fox goes quickly over to Ash and puts her paw to his forehead.</scene_description> <character>MRS. FOX</character> <dialogue>You don't have a temperature.</dialogue> <scene_description>Ash turns away and says as he goes back into his bedroom:</scene_description> <character>ASH</character> <dialogue>I don't want to go.</dialogue> <character>MRS. FOX</character> <dialogue>Hurry up. You're going to be late.</dialogue> <scene_description>Mrs. Fox goes back into the kitchen and starts making toast and coffee. Fox whispers to her:</scene_description> <character>FOX</character> <dialogue>I love the way you handled that.</dialogue> <scene_description>Mrs. Fox looks at Fox sideways. She says loudly to Ash:</scene_description> <character>MRS. FOX</character> <dialogue>Your cousin Kristofferson's coming first thing tomorrow morning. I want you to be extra nice to him, because he's going through a very hard time right now, OK?</dialogue> <scene_description>Ash comes back out of his bedroom. He now wears a white cardigan and white socks with his white pants tucked into them. He says aggressively:</scene_description> <character>ASH</character> <dialogue>Where's he going to sleep?</dialogue> <character>MRS. FOX</character> <dialogue>We're going to make a bed for him in your room tonight.</dialogue> <character>ASH</character> <dialogue>I can't spare the space. Put him in Dad's study.</dialogue> <scene_description>Fox says without looking up from his newspaper:</scene_description> <character>FOX</character> <dialogue>Dad's study is occupied by Dad.</dialogue> <scene_description>Ash goes back into his bedroom. Fox lowers his newspaper. He looks around the room. He says to Mrs. Fox:</scene_description> <character>FOX</character> <dialogue>I don't want to live in a hole anymore. It makes me feel poor.</dialogue> <scene_description>Mrs. Fox stops buttering the toast. She looks to Fox and says softly:</scene_description> <character>MRS. FOX</character> <dialogue>We are poor -- but we're happy.</dialogue> <scene_description>Fox twists his paw in the air, indicating:</scene_description> <character>FOX</character> <dialogue>Comme-ci, comme-ga. Anyway, the views are better above ground.</dialogue> <scene_description>Mrs. Fox nods. She brings Fox a plate of toast and a cup of coffee. Fox takes her paw and says:</scene_description> <character>FOX</character> <dialogue>I'm seven non-fox-years old now. My father died at seven and a half. I don't want to live in a hole anymore, and I'm going to do something about it.</dialogue> <scene_description>Fox kisses Mrs. Fox's paw. He suddenly eats three slices of toast in a second and a half, savagely but neatly. He stands and picks up his cup of coffee.</scene_description> <character>FOX</character> <dialogue>Well, I'm off.</dialogue> <scene_description>Fox throws back the last of his coffee, kisses Mrs. Fox on the back of her neck, grabs his briefcase, tucks his newspaper under his arm, and walks to the door. He shouts cheerily:</scene_description> <character>FOX</character> <dialogue>Have a good day, my darlings!</dialogue> <scene_description>Ash comes out the bedroom again. He has now added a white cape to his ensemble and is in the middle of brushing his teeth. There is toothpaste all over his mouth. He waves briefly to Fox and goes back into his bedroom. Fox looks puzzled.</scene_description> <character>FOX</character> <dialogue>What's he wearing?</dialogue> <scene_description>Mrs. Fox shrugs. She smiles sadly and waves to Fox. Fox waves back. He starts to go out but pauses to look down at a folded up section of his newspaper. INSERT: A clipping from the real estate section. There is a photograph of a wide, sprawling beech tree at the top of a hill. A caption below it reads: Tree Living, Great Views, Classic Beech</scene_description> </scene> <scene> <stage_direction>INT. TREE. DAY</stage_direction> <scene_description>A door opens into a wide, low space with peeling paint. There is an old chair against the wall, a bare light bulb hanging from the ceiling, and a layer of dust over everything. A skinny weasel in a khaki outfit immediately starts in as Fox comes into the living room:</scene_description> <character>WEASEL</character> <dialogue>Obviously, it's first growth, indigenous. Original dirt floor, good bark, skipping stone hearth --</dialogue> <scene_description>Weasel is interrupted by a loud banging clank. He and Fox peer into the next room. A heavy-set opossum with a cowlick tinkers with some pipes under the kitchen sink. He is Kylie. Weasel snaps at him:</scene_description> <character>WEASEL</character> <dialogue>What'd I tell you? I'm showing the property. You're not supposed to be here.</dialogue> <character>KYLIE</character> <parenthetical>(checking his watch)</parenthetical> <dialogue>Oh, cuss. What time is it? I'm sorry.</dialogue> <scene_description>Weasel sighs. He waves his arm in Kylie's direction and says distractedly, slightly annoyed:</scene_description> <character>WEASEL</character> <dialogue>This is Kylie. He's the super.</dialogue> <parenthetical>(aside to Fix)</parenthetical> <dialogue>He's a little --</dialogue> <scene_description>Weasel makes a fluttering gesture with his paw. Fox nods. He points at a bucket on the floor next to Kylie among bolts, tools, and washers.</scene_description> <character>FOX</character> <dialogue>What's in the bucket, Mr. Kylie?</dialogue> <character>KYLIE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Just minnows. You want one?</dialogue> <character>FOX</character> <dialogue>Certainly. Thank you.</dialogue> <scene_description>Kylie reaches into his bucket and hands Fox a live, wriggling minnow. Fox swallows it whole. Fox stares out the window at three sprawling poultry compounds in the distance. Black smoke pours out of a farmhouse chimney on each property. A sign on a water tower in the first compound reads Boggis Farms and has a picture of a chicken on it. A sign on a silo in the second compound reads Bunce Industries and has a picture of a goose on it. A sign on a windmill in the third compound reads Bean, inc. (since 1976) and has a picture of a turkey with an apple on it. Weasel says pointedly from across the room:</scene_description> <character>WEASEL</character> <dialogue>May I ask what you do for a living, Mr. Fox?</dialogue> <scene_description>Fox's eyes narrow as he looks out, entranced, with his mouth slightly open. He says almost inaudibly:</scene_description> <character>FOX</character> <dialogue>I used to steal birds, but now I'm a newspaper man.</dialogue> <character>WEASEL</character> <parenthetical>(pleased)</parenthetical> <dialogue>Oh, sure. I've seen your by-line.</dialogue> <scene_description>Fox snaps out of his reverie and says suddenly:</scene_description> <character>FOX</character> <dialogue>Good afternoon, gentlemen.</dialogue> <scene_description>Fox shakes hands abruptly with Weasel and starts across the room. Weasel is about to ask something when Fox stops in the doorway, looks back, and says:</scene_description> <character>FOX</character> <dialogue>Oh, and Kylie -- thank you for the minnow. It was superb.</dialogue> <scene_description>Kylie smiles. Fox exits.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER. DAY</stage_direction> <scene_description>A beaver dam across a bend in a fast stream. A still pond sits above it. There is an entrance tunnel tucked beneath a rock.</scene_description> </scene> <scene> <stage_direction>INT. BEAVER DAM. DAY</stage_direction> <scene_description>A large room of twig, stick, and mud construction. A card on the door reads Badger, Beaver, and Stoat, L.L.P, Attorneys at Law. An anxious badger sits at his desk reviewing some documents. Fox paces the floor with his hands clasped behind his back.</scene_description> <character>BADGER</character> <dialogue>Don't buy this tree, Foxy. You're borrowing at nine and a half, which stinks like cuss, plus moving into the most dangerous neighborhood in the</dialogue> <parenthetical>(more)</parenthetical> <character>BADGER</character> <dialogue>country for someone of your type of species.</dialogue> <character>FOX</character> <dialogue>You're exaggerating, Badger.</dialogue> <character>BADGER</character> <parenthetical>(yelling)</parenthetical> <dialogue>Bull-cuss! I'm sugar-coating it, man! This is Boggis, Bunce, and Bean! Three of the meanest, nastiest, ugliest farmers in the history of this valley!</dialogue> <scene_description>An uneasy otter secretary peers in at them from the outer office. Fox looks intrigued.</scene_description> <character>FOX</character> <dialogue>Really? Tell me about them.</dialogue> <scene_description>Silence. Badger sighs. He loosens his tie and settles in.</scene_description> <character>BADGER</character> <dialogue>All right ...</dialogue> <scene_description>CUT TO: A fat man with a huge moustache. He wears a tweed suit which stretches at the buttons so much that they look like they are about to snap off. He holds a carbine rifle. He stands in front of his farm, which contains row upon row of chicken houses. He has an ugly face. He is Boggis.</scene_description> <character>BADGER (V.O.)</character> <dialogue>Walter Boggis is a chicken farmer. Probably the most successful in the world.</dialogue> </scene> <scene> <stage_direction>INT. BOGGIS' KITCHEN. DAY</stage_direction> <scene_description>Boggis sits at a chopping block tearing into a boiled chicken with a fork and a meat cleaver.</scene_description> <character>BADGER (V.O.)</character> <dialogue>He's unbelievably fat -- which maybe is genetic -- but he also eats three boiled chickens smothered with dumplings every day for breakfast, lunch, supper, and dessert. That's twelve in total, per diem.</dialogue> <scene_description>INSERT: Boggis' ear. Furry black and white hairs grow out of it. A fly buzzes around, lands on it, and crawls inside. Boggis sticks his pinky in after it and scratches.</scene_description> <character>BADGER (V.O.)</character> <dialogue>He never takes a bath, as a result of which his ear holes are clogged with all kinds of muck and wax and bits of chewing gum and dead flies and so on.</dialogue> <scene_description>CUT TO: A short, overweight man with one slightly wandering eye. He wears overalls and a cap. He holds a twelve-gauge shotgun. He stands in front of his farm, which consists of several long buildings in rows like a factory. He has a nasty face. He is Bunce.</scene_description> <character>BADGER (V.O.)</character> <dialogue>Nathan Bunce is a duck and goose farmer. He owns about 2 million ducks and 500,000 geese. You might say he's kind of a pot- bellied dwarf of some kind.</dialogue> </scene> <scene> <stage_direction>EXT. SWIMMING POOL. DAY</stage_direction> <scene_description>Bunce stands up to his nose in water. The depth reads 4FT.</scene_description> <character>BADGER (V.O.)</character> <dialogue>He's so short his chin would probably be under water in the shallow end of any swimming pool on the planet.</dialogue> </scene> <scene> <stage_direction>INT. BUNCE'S KITCHEN. DAY</stage_direction> <scene_description>Bunce sits on two stacked telephone books on a chair. He guts a dead goose, cutting out its liver and mashing it with a fork. A plate of doughnuts cools on the table.</scene_description> <character>BADGER (V.O.)</character> <dialogue>He eats only doughnuts with smashed-up goose livers injected into them.</dialogue> <scene_description>CUT TO: A tall, skinny man in a long trench-coat. He holds a Luger pistol. He stands in front of his farm, which is an apple orchard that stretches over thousands of acres. He has a mean face. He is Bean.</scene_description> <character>BADGER (V.O.)</character> <dialogue>Franklin Bean is a turkey and apple farmer. He keeps his birds in an orchard</dialogue> <parenthetical>(more)</parenthetical> <character>BADGER (V.O.)</character> <dialogue>where they run around squawking and gobbling, surrounded by apples.</dialogue> <scene_description>Bean aims his Luger and shoots a humming bird. Crazy turkeys run about among the trees.</scene_description> </scene> <scene> <stage_direction>INT. BEAN'S SHED. DAY</stage_direction> <scene_description>Bean works at a moonshine-type cider still, boiling chemicals and sipping from a bottle.</scene_description> <character>BADGER (V.O.)</character> <dialogue>He's probably anorexic, because he never eats anything. He's on a liquid diet of strong, alcoholic cider, which he makes from his apples. He's as skinny as a pencil, as smart as a whip -- and easily the biggest cusshole I've ever met in my life.</dialogue> <scene_description>CUT TO: Fox and Badger in Badger's office.</scene_description> <character>BADGER</character> <dialogue>In summation, I think you just got to not do it, man. That's all.</dialogue> <character>FOX</character> <dialogue>I understand what you're saying, and your comments are valuable, but I'm going to ignore your advice.</dialogue> <scene_description>Badger leaps out of his chair and slams the office door. He points his finger at Fox and screams:</scene_description> <character>BADGER</character> <dialogue>The cuss you are!</dialogue> <character>FOX</character> <parenthetical>(in disbelief)</parenthetical> <dialogue>The cuss am I?</dialogue> <scene_description>Fox jumps up and points back at Badger, screaming:</scene_description> <character>FOX</character> <dialogue>Don't cussing point at me!</dialogue> <character>BADGER</character> <parenthetical>(screaming)</parenthetical> <dialogue>Are you cussing with me?</dialogue> <character>FOX</character> <parenthetical>(screaming)</parenthetical> <dialogue>Do I look like I'm cussing with you?</dialogue> <scene_description>Fox and Badger begin to snarl and snap savagely, knocking into the furniture as they circle around the room pointing in each other's faces. Suddenly, they calm down all at once, sighing deeply. Pause.</scene_description> <character>FOX</character> <dialogue>One last thing: something's probably about to happen to me at work which I can't put my finger on but have a funny feeling about. How can I protect myself legally?</dialogue> <character>BADGER</character> <parenthetical>(pause)</parenthetical> <dialogue>Are you about to get fired?</dialogue> <character>FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Slash quit.</dialogue> <scene_description>CUT TO: A door with a frosted glass window. Letters painted on it read Gazette, Editor-in-Chief, Phillip Squirrel. Fox's silhouette stands across from that of a small squirrel sitting at a desk. The squirrel's silhouette says in a gravelly voice:</scene_description> <character>SQUIRREL</character> <dialogue>You're fired.</dialogue> <character>FOX</character> <dialogue>Slash I quit. Here's my letter of resignation.</dialogue> <scene_description>Fox's silhouette throws an envelope onto the squirrel's desk. MONTAGE: Two muskrats in orange moving company uniforms unloads boxes and furniture from a wagon and carries them into the tree. Fox holds open the front door and barks orders at them. Two muskrats in white painter"s uniforms paints the walls of the living room and the trim around the windows with rollers and brushes. Fox stands on the drop-cloth and barks orders at them. Two muskrats in blue electrician's uniforms work in the kitchen. Mrs. Fox watches over their shoulders and barks orders at them. Fox holds up a pair of flowered curtains in front of a window. He looks to Mrs. Fox. She stares at the curtains thoughtfully. She raises an eyebrow. Fox and Mrs. Fox sit in the windowsill looking out at the sunset. Ash stands in-between them. The flowered curtains wave in the breeze. Fox puffs on a pipe. Ash blows a soap bubble. Mrs. Fox puts out her paw and a butterfly lands on it. She smiles at Fox. He puts his arm around her. He raises a pair of binoculars to his eyes. INSERT: A binocular shot of an industrial shack with Boggis Chicken House #1 stencilled on the front of it. Fox lowers the binoculars. His eyes sparkle.</scene_description> </scene> <scene> <stage_direction>EXT. TREE. DAY</stage_direction> <scene_description>Ash stands poised on a high branch over an inflatable swimming pool printed with a red-tartan plaid pattern. He wears over-sized swim trunks with a pattern of acorns printed on them. Fox sits in the grass eating an apple below with Mrs. Fox. She is painting at an easel. Ash yells:</scene_description> <character>ASH</character> <dialogue>Watch this, Dad!</dialogue> <scene_description>Fox looks up. Ash leaps into the air and does a spectacularly awkward back-flip during which he appears to have four arms and three legs randomly attached to his body, flailing wildly. He hits the water by the side of his head and smacks into the surface back-first with a pained yelp. Fox grimaces. He claps mildly. (NOTE: an alternate version of Ash with four arms and three legs randomly attached to his body will be used for this stunt.)</scene_description> <character>FOX</character> <dialogue>Good jump, Ash! Remember to keep your tail tucked!</dialogue> <scene_description>Fox looks at Mrs. Fox's canvas. It is a picture of the pond and landscape in severe weather with black clouds and lightning bolts. It is signed Felicity Fox. Fox raises an eyebrow.</scene_description> <character>FOX</character> <dialogue>Still painting thunderstorms, I see.</dialogue> <scene_description>Fox sees a small, Samsonite suitcase on the ground next to a pair of yellow sneakers. He frowns.</scene_description> <character>FOX</character> <dialogue>Whose suitcase is that?</dialogue> <scene_description>A boy's voice shouts from the high tree branch:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Hello, everyone! Good afternoon!</dialogue> <scene_description>Fox, Mrs. Fox, and Ash look up, surprised. A second Fox cub stands poised on the edge of the limb. He is taller, leaner, sleeker, and it is immediately apparent even by his posture infinitely more graceful than Ash. He is Kristofferson. He wears a professional Speedo with a patch on it that says Swim Team. Fox brightens.</scene_description> <character>FOX</character> <dialogue>Kristofferson! Welcome to our little tree! I see you brought your swimming trunks!</dialogue> <scene_description>Kristofferson steps off the branch and performs a reserved but perfect jack-knife. He enters the water splashlessly. Fox leaps to his feet, applauding with his paws above his head, whistling and hollering:</scene_description> <character>FOX</character> <dialogue>Look at that! This kid's a natural! I'm speechless, Kristofferson!</dialogue> <scene_description>Kristofferson smiles modestly and shrugs. Ash stares at him stonily. Fox turns to Mrs. Fox.</scene_description> <character>FOX</character> <dialogue>Plus, he knows karate.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM. EVENING</stage_direction> <scene_description>Fox sits in his armchair reading the Gazette. Ash sits on a braided rug on the floor beside him reading a comic book called The Adventures of White Cape. On the cover, there is a picture of a ferret leaping off a motorcycle. Mrs. Fox is in the kitchen in the background flattening a hunk of dough with a rolling pin. Kristofferson is in the next room practicing tae-kwon-do. He wears khaki shorts, yellow sneakers, and a blue, short-sleeved, button-down shirt.</scene_description> <character>ASH</character> <dialogue>Do you think I'm an athlete?</dialogue> <character>FOX</character> <parenthetical>(without looking up)</parenthetical> <dialogue>What are you talking about?</dialogue> <character>ASH</character> <dialogue>Well, you know, I think I'm an athlete, and sometimes I feel like you guys don't see me that way.</dialogue> <character>FOX</character> <dialogue>What's the sub-text here?</dialogue> <scene_description>Ash thinks for a minute. He looks at Kristofferson in the next room. Kristofferson is now sitting Indian-style on the floor meditating. His paws are turned upward with his thumbs touching his index fingers forming a ring. Ash says loudly to Mrs. Fox in the kitchen:</scene_description> <character>ASH</character> <dialogue>How long is Kristofferson supposed to stay with us?</dialogue> <character>MRS. FOX</character> <dialogue>Until your uncle gets better.</dialogue> <character>ASH</character> <dialogue>Right, but roughly how long do we plan to give him on that? Double-pneumonia isn't even really that big of a deal, is it?</dialogue> <scene_description>In the background, Kristofferson stands up again and starts practicing violent karate kicks. Mrs. Fox leans into the doorway and whispers forcefully:</scene_description> <character>MRS. FOX</character> <dialogue>As a matter of fact, it is. He's lucky to be alive. Now --</dialogue> <character>ASH</character> <dialogue>Right, but --</dialogue> <scene_description>Kristofferson yells suddenly as he does a spinning dou b le- kick with a chop:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Ki-ya!</dialogue> <scene_description>Everyone looks startled. Kristofferson resumes his tae-kwon- do practice with an angry, wounded look on his face. Mrs. Fox says coldly:</scene_description> <character>MRS. FOX</character> <dialogue>Lower your voice, Ash.</dialogue> </scene> <scene> <stage_direction>EXT. TREE. NIGHT</stage_direction> <scene_description>Fox and Kylie sit in a porch swing on one of the middle branches of Fox's tree. They drink cups of coffee. Crickets chirp.</scene_description> <character>FOX</character> <dialogue>Kids are crazy, aren't they? You got to try it, though. Raising a family.</dialogue> <character>KYLIE</character> <dialogue>Yeah. Sometimes I feel like maybe I might</dialogue> <character>FOX</character> <dialogue>What do you think of this tree, by the way? It's great, huh?</dialogue> <character>KYLIE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Yeah. No, I was just saying how some- times</dialogue> <character>FOX</character> <dialogue>I have one last part of what I was about to say.</dialogue> <character>KYLIE</character> <dialogue>OK. Go ahead.</dialogue> <character>FOX</character> <dialogue>I'm going broke. You want to help me steal some chickens?</dialogue> <scene_description>CUT TO: Fox"s study, the next morning. A map of the valley with notes and arrows written all over it is spread across a desk. The door is closed with a towel jammed under it. A cricket match plays loudly on the radio. Fox sits in his armchair. Kylie sits in a creaky rocking chair.</scene_description> <character>FOX</character> <dialogue>I used to do this professionally, and I was Yfil:\_~ successful at it. I had to get out of it for personal reasons, but I've decided to secretly quit my job slash got fired to pursue it again. I'm bringing you in as my secretary and personal assistant.</dialogue> <scene_description>OK!</scene_description> <character>FOX</character> <parenthetical>(prickly)</parenthetical> <dialogue>This is actually kind of a big deal, so don't just say, "OK!"</dialogue> <character>KYLIE</character> <dialogue>OK. Well, thank you.</dialogue> <character>FOX</character> <parenthetical>(clearing is throat)</parenthetical> <dialogue>I'm going to tape this for my records, so don't make a lot of sounds -- meaning stop rocking.</dialogue> <character>KYLIE</character> <parenthetical>(defensively)</parenthetical> <dialogue>Well, maybe we ought to turn off the radio, then. That's noisier than</dialogue> <character>FOX</character> <dialogue>I don't want people to eavesdrop on us, Kylie. Let me just tell this.</dialogue> <scene_description>Kylie stops rocking. Fox presses record on a tape recorder. He begins:</scene_description> <character>FOX</character> <dialogue>Master Plan. Phase one. Side A.</dialogue> <scene_description>CUT TO: That night. Fox stands on a rock at the edge of the woods looking through his binoculars. He lowers them and gives a hand-signal. Kylie joins him, and they start out along the moonlit ridge. Fox wears a dark car-coat and a black cap. Kylie has on a navy ski-hat.</scene_description> <character>FOX (V .0.)</character> <dialogue>We'll start with Boggis' Chicken House #1. His only security is a few old hunting beagles and a low stone wall. Now a word about beagles: never look a beagle directly in the eye. And if --</dialogue> <character>KYLIE (V .O.)</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Why not?</dialogue> <scene_description>CUT TO: Fox and Kylie in Fox's study earlier that afternoon. Kylie says blithely:</scene_description> <character>KYLIE</character> <dialogue>Beagles aren't so tough.</dialogue> <character>FOX</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Yeah? Well, first of all, one of these beagles has chronic rabies, which he's on medication for, and if you get bit by him you have to get shots in your stomach for six months. And, second -- listen, I'm not going to justify this to you. Just pay attention and stop interrupting me. I'm taping this.</dialogue> </scene> <scene> <stage_direction>EXT. RAVINE. NIGHT</stage_direction> <scene_description>Fox and Kylie shimmy down a steep embankment and cross a stream.</scene_description> <character>FOX (V.O.)</character> <dialogue>I picked some blueberries, butterflied them with a scalpel, and laced each one with ten milligrams of high-potency sleeping powder.</dialogue> <scene_description>INSERT: Fox's paws meticulously sprinkle a powdered mickey into a dissected blueberry and stitch it shut with red thread.</scene_description> <character>FOX (V.O.)</character> <dialogue>Enough to tranquilize a charging gorilla.</dialogue> <scene_description>CUT TO: Fox and Kylie in Fox's study earlier that afternoon. They now smoke pipes.</scene_description> <character>KYLIE</character> <dialogue>How do we make them eat it?</dialogue> <character>FOX</character> <parenthetical>(smiling, with utter certainty)</parenthetical> <dialogue>Beagles love blueberries.</dialogue> </scene> <scene> <stage_direction>EXT. RIDGE. NIGHT</stage_direction> <scene_description>Fox and Kylie push through a bramble and climb to the top of an elderberry bush. Fox looks through his binoculars.</scene_description> <character>FOX (V.O.)</character> <dialogue>If we approach with the wind in our faces, we'll smell the chicken livers on Boggis' breath from at least fifty yards away.</dialogue> </scene> <scene> <stage_direction>EXT. BARNYARD. DAY</stage_direction> <scene_description>Seventy-five chickens stand around quietly but anxiously, darting wildly nervous looks at one another. They eat bi t s of grain off the ground.</scene_description> <character>FOX (V.O.)</character> <dialogue>Remember: they aren't very smart, but they're incredibly paranoid -- so always kill a chicken in one bite.</dialogue> <scene_description>CUT TO: Fox and Kylie in Fox"s study earlier that afternoon. They now drink whiskey sours. Fox repeats:</scene_description> <character>FOX</character> <dialogue>One bite, get it?</dialogue> <scene_description>Fox waits for Kylie to respond. Kylie does not. Fox frowns.</scene_description> <character>FOX</character> <dialogue>Are you listening to me? I look into your eyes and I can't tell whether you"re getting anything I'm saying.</dialogue> <scene_description>Kylie stares at Fox vacantly. He shrugs. (NOTE: an alternate set of eyeballs will be used for any shots indicating Kylie's vacant look.)</scene_description> </scene> <scene> <stage_direction>EXT. MEADOW. NIGHT</stage_direction> <scene_description>Fox and Kylie move swiftly through the tall grass. Fox pauses to sniff the air. He nods.</scene_description> <character>FOX</character> <dialogue>A few beagles, as we discussed, but we're ready for that.</dialogue> <scene_description>Fox and Kylie cross a dirt lane and come out of a shallow ditch. Fox licks the pinky of his paw and holds it up in the air.</scene_description> <character>FOX</character> <dialogue>You feel that? The wind's in our faces.</dialogue> <scene_description>Kylie touches his face with his paw. He nods. Fox and Kylie run along the edge of the ditch. Kylie says casually:</scene_description> <character>KYLIE</character> <dialogue>Yeah, back in the old days, didn't they used to do a thing where if somebody saw a wolf, and --</dialogue> <character>FOX</character> <parenthetical>(startled)</parenthetical> <dialogue>What wolf?</dialogue> <scene_description>Fox stops in his tracks. His eyes dart about. Kylie looks at him curiously.</scene_description> <character>FOX</character> <dialogue>Oh, nothing? Never mind.</dialogue> <scene_description>Fox and Kylie veer off into shorter grasses. Fox points ahead, regaining his composure:</scene_description> <character>FOX</character> <dialogue>Here comes the low stone wall. Not a problem.</dialogue> <scene_description>Fox and Kylie climb over a low stone wall and find themselves at the base of a chain-link fence eleven feet high.</scene_description> <character>FOX</character> <dialogue>This is a chain-link fence, I guess. Did I not remember this? Maybe it's new. Let's pause.</dialogue> <parenthetical>(suddenly angry)</parenthetical> <dialogue>What the cuss? Where'd this giant fence come from? We had a master plan!</dialogue> <scene_description>Kylie motions to a yellow, plywood lightning bolt posted to the fence.</scene_description> <character>KYLIE</character> <dialogue>What's this lightning bolt stand for?</dialogue> <character>FOX</character> <dialogue>Give me a second! I said, "Let"s pause"!</dialogue> <scene_description>Pause. Fox pulls himself together. He turns to look at the plywood lightning bolt.</scene_description> <character>FOX</character> <dialogue>That, I guess, hypothetically, could mean maybe this fence might be electric.</dialogue> <character>KYLIE</character> <dialogue>Well, I just hope it doesn't mean thunder. I have a phobia of that.</dialogue> <scene_description>Fox and Kylie climb a tree and crouch at the end of one of its branches. Fox produces a zip-loc bag filled with blueberries with white thread stitched into them.</scene_description> <character>FOX</character> <dialogue>Watch this.</dialogue> <scene_description>Fox puts a blueberry into the end of a straw and shoots it out into the barnyard. CUT TO: The blueberry landing on the ground in front of Chicken House #1. A beagle approaches it and sniffs at it. He eats it. He looks very pleased. He falls over, out cold. CUT TO: Fox with an ecstatic expression on his face. He rapidly shoots more and more blueberries across the barnyard. Beagles eat blueberries and fall over, one after another. Fox and Kylie drop down into the barnyard and head for Chicken House #1. Fox whispers excitedly as they run:</scene_description> <character>FOX</character> <dialogue>Beagles love blueberries! Didn't I tell you? The master plan's working again!</dialogue> <scene_description>Kylie raises his fist enthusiastically and trips over an unconscious beagle. He picks himself up quickly, and they weave among the rest of the beagles. They reach the entrance to the chicken house, open the door, and duck inside. Pause. There is an eruption of crazed squawking, screaming, and fighting from inside. The chicken house rumbles. Lights jolt on across the compound. An alarm goes off. Voices yell. The chicken house door swings open again, and Fox and Kylie emerge among a cloud of feathers. Fox carries two dead chickens, and Kylie has one live one. Fox yells:</scene_description> <character>FOX</character> <dialogue>I said one bite, cuss it!</dialogue> <character>KYLIE</character> <dialogue>I'm trying! I have a different kind of teeth from you! I'm an opossum!</dialogue> <scene_description>Kylie tries to bite the chicken on the neck. The chicken is unharmed. Kylie shrugs. Fox kills the chicken with one quick flick of the jaws. Kylie looks horrified.</scene_description> <character>KYLIE</character> <dialogue>That's so grisly! There's blood and everything!</dialogue> <character>FOX</character> <parenthetical>(defensively)</parenthetical> <dialogue>We're killing chickens! There's going to be blood in this story! Follow me!</dialogue> <scene_description>Fox and Kylie dash to the electric fence. They stop in front of it. Kylie looks to Fox.</scene_description> <character>KYLIE</character> <dialogue>What's the master escape plan?</dialogue> <scene_description>Fox hesitates, confused. A gunshot fires from among the chicken houses. Fox shouts to Kylie:</scene_description> <character>FOX</character> <dialogue>Follow me again!</dialogue> <scene_description>Fox and Kylie run back across the barnyard, past the beagles as they begin to wake up and stagger around. Farmhands appear, loading shotguns and running into the confusion. Fox and Kylie race by, unnoticed, among them. They dart into the house through a flap in the back door. The lights are out in the kitchen. They take a moment, breathing hard in the darkness. Kylie shakes his head in disbelief.</scene_description> <character>KYLIE</character> <dialogue>Wow. That was amazing. How did we do that? We ran the other way or something.</dialogue> <character>FOX</character> <dialogue>Yeah.</dialogue> <character>KYLIE</character> <dialogue>What happens now?</dialogue> <character>FOX</character> <dialogue>I have no idea.</dialogue> <scene_description>Fox opens the door-flap a crack. He looks out and sees Boggis opening the front gate to let out his beagles and farmhands, barking and shooting, as they search for the intruders. Fox shouts to Kylie:</scene_description> <character>FOX</character> <dialogue>Holy cuss! They opened the gate! Follow me again!</dialogue> <scene_description>Lightning quick, Fox and Kylie burst out through the door- flap, race across the barnyard, and dart through the open gate. Up the road, Boggis screams furiously as he runs with his pack of beagles and farmhands. Fox and Kylie fly into the bushes. As they race through the underbrush Fox says breathlessly:</scene_description> <character>FOX</character> <dialogue>Let's hit the five and dime on the way home! We need to make some fake price tags and wrap these chickens in wax-paper so it looks like we got them at the butcher shop!</dialogue> <scene_description>Fox and Kylie howl ecstatically. MONTAGE: A fox's paw lifts a silver dome off a perfectly roasted chicken with an apple in its mouth. Fox and Mrs. Fox sit at a candle-lit table eating chicken and drinking wine. Ash, Kristofferson, and Kylie sit at a slightly miniature table eating chicken and drinking milk. Fox laughs hysterically as he tells his wife a story. Wine comes out of his nose. Fox and Kylie dash out the door of Boggis' Chicken House #7 carrying three more dead chickens. Lights jolt on. Farmhands run out firing shotguns. Fox and Kylie escape through a hole cut into the electric fence. Fox and Kylie dash out the window of Bunce's Poultry Barn C carrying two dead ducks and a goose. Alarms ring. Farmhands run out firing pistols. Fox and Kylie escape through a hole knocked into a brick wall. Fox and Kylie dash out the gates of Bean's Apple Orchard XII carrying two dead turkeys and a basket of apples. Automatic doors close. Farmhands run out firing rifles. Fox and Kylie escape through a hole chopped into a burning barricade. Fox and Kylie run full-speed through a clover field in the dark. The camera zooms in slowly on their faces as they ford a stream, leap a fallen hawthorn, and cross into the willow glade. They look exhilarated.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. EVENING</stage_direction> <scene_description>Mrs. Fox studies a crayon price-tag labelled $4 attached to a wax-paper-wrapped parcel. She opens the parcel and holds up a dead chicken by the leg. There is a small metal clip around its ankle. She examines it. She frowns. Fox comes in, grabs an apple out of a bowl, and starts back out of the room.</scene_description> <character>MRS. FOX</character> <dialogue>Where'd you get this chicken?</dialogue> <character>FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I picked it up at the Five-and-Dime last night on my way back from --</dialogue> <character>MRS. FOX</character> <dialogue>It's got a Boggis Farms tag around its ankle.</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Huh. Must've escaped from there before I bought it.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM. EVENING</stage_direction> <scene_description>Ash, Kristofferson, and Kylie sit at the children's ta b le eating dinner. Next to Ash, there is a small, slightly beaten- up statue of a fox with his front legs raised in the air holding a medal above his head. Kylie points at it.</scene_description> <character>KYLIE</character> <dialogue>What's that?</dialogue> <character>ASH</character> <dialogue>This? Nothing. Just some old trophy I won for being an athlete.</dialogue> <scene_description>Fox and Mrs. Fox sit at the adults' table. Fox guzzles down a last sip of wine and says with his mouth full of food:</scene_description> <character>FOX</character> <dialogue>I'm supposed to cover this book party at some animal's nest in a tobacco field down the hill, so me and Kylie are going to hop over there and give it a whirl. Don't wait up.</dialogue> <scene_description>Fox pulls his napkin out of his collar, drops it on the table, and stands up. Mrs. Fox asks cooly:</scene_description> <character>MRS. FOX</character> <dialogue>What's the book?</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Some memoir. I'll get him to sign you a copy.</dialogue> <scene_description>Fox kisses Mrs. Fox on the cheek. She looks at him suspiciously.</scene_description> <character>FOX</character> <dialogue>Dinner was --</dialogue> <parenthetical>(doing a little gesture)</parenthetical> <dialogue>-- pitch-perfect.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS. NIGHT</stage_direction> <scene_description>Fox and Kylie walk among the trees. They are dressed in their prowling outfits.</scene_description> <character>FOX</character> <dialogue>I spotted a couple of broken burglar bars underneath the back door to Bean's secret cider cellar.</dialogue> <character>KYLIE</character> <dialogue>We're breaking into Bean's house?</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Cellar.</dialogue> <character>KYLIE</character> <dialogue>Where he lives?</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Where he keeps the cider.</dialogue> <character>ASH</character> <parenthetical>(brightly)</parenthetical> <dialogue>Below where he lives.</dialogue> <scene_description>Ash, dressed in his own prowling outfit, is walking with Fox and Kylie. Fox stops short:</scene_description> <character>FOX</character> <dialogue>Where'd you come from? Go back to the tree and do your homework!</dialogue> <character>ASH</character> <dialogue>I want to help you steal some cider.</dialogue> <character>FOX</character> <parenthetical>(angrily)</parenthetical> <dialogue>We're going to a book party! And keep your mouth shut about any cider, because no one ever said that! Get out of here!</dialogue> <character>ASH</character> <dialogue>But Dad</dialogue> <character>FOX</character> <dialogue>But nothing! You're going to get me in a lot of trouble!</dialogue> <scene_description>The three animals stand in silence for a minute. Fox points to his tree. Ash turns and starts back home. Fox shakes his head.</scene_description> <character>FOX</character> <dialogue>Where the cuss does that kid get off? Can you believe that? How'd he get tipped off? You think he's going to tell on us?</dialogue> <scene_description>Fox turns to Kylie. Kylie looks back at him vacantly.</scene_description> <character>FOX</character> <dialogue>Before we go any further, from now on can you give me some kind of signal once in a while just so I know any of this is getting through to you?</dialogue> <scene_description>Pause. Kylie makes a slight motion with his paw. Fox hesitates.</scene_description> <character>FOX</character> <dialogue>Was that it? OK.</dialogue> </scene> <scene> <stage_direction>EXT. BARNYARD. NIGHT</stage_direction> <scene_description>Fox and Kylie dart across the yard and around the back of Bean's farmhouse. Kylie whispers as they run:</scene_description> <character>KYLIE</character> <dialogue>One time this wolf</dialogue> <character>FOX</character> <parenthetical>(irritated)</parenthetical> <dialogue>What's with all the wolf talk? Can we give it a rest, for once?</dialogue> <scene_description>Fox climbs onto a garbage pail and pulls open a window shutter. He and Kylie shimmy in-between two bent burglar bars.</scene_description> </scene> <scene> <stage_direction>INT. BEAN'S SECRET CIDER CELLAR. NIGHT</stage_direction> <scene_description>A vast, damp, gloomy cellar with hundreds of glass jars stacked from floor to ceiling. Each jar is marked Cider. Fox and Kylie come inside and quietly drop to the brick floor. Kylie whispers:</scene_description> <character>KYLIE</character> <dialogue>Look at all this apple juice.</dialogue> <character>FOX</character> <parenthetical>(sternly)</parenthetical> <dialogue>Apple juice? Apple juice? We didn't come here for apple juice. This is some of the strongest, finest alcoholic cider money can buy -- or that can even be stolen. It burns in your throat, boils in your stomach, and tastes almost exactly like pure, melted gold.</dialogue> <parenthetical>(suddenly)</parenthetical> <dialogue>Let's crack open one these 'shine jars and do a shooter.</dialogue> <scene_description>A match strikes in the darkness. Fox and Kylie look around the room frantically. On the highest shelf, peering out from behind a huge jar, they see an enormous rat in a striped shirt with a lit match in his claw. He puts the flame in his mouth to snuff it out and holds the matchstick in his teeth. He is longer than a fox and wiry, but with a small pot-belly. He wears a black beret and moves like a beatnik. He takes a draw from a small rubber tube inserted in the neck of his cider jar. He says with a slightly sinister New Orleans accent:</scene_description> <character>RAT</character> <dialogue>Y'all are trespassin', now. Illegally.</dialogue> <scene_description>'Round these parts, we don't take kindly to cider poachers. Fox and Rat stare at each other. Fox says, finally:</scene_description> <character>FOX</character> <dialogue>You've aged badly, Rat.</dialogue> <character>RAT</character> <dialogue>You're gettin' a little long in the tooth, yourself, partner.</dialogue> <scene_description>Rat spins around and hurls himself scuttling over a shelf, down the wall, and through the air onto the brick floor at Fox's feet. He flicks open a switchblade and brandishes it. He hisses. Kylie shrieks and darts into a hole where a brick is missing in the wall. Fox takes an old-fashioned boxing stance.</scene_description> <character>RAT</character> <dialogue>How's your old lady doin'?</dialogue> <scene_description>Kylie peers out from his hole in the wall nervously. Fox and Rat circle each other slowly.</scene_description> <character>FOX</character> <dialogue>Do you refer to my wife?</dialogue> <character>RAT</character> <dialogue>She was the town tart, in her day. Wild and foot-loose and pretty as a mink stole. She was a creme brulee -- until you made an honest woman out of her, Mr. Fox.</dialogue> <scene_description>Kylie says, intrigued, from his hole:</scene_description> <character>KYLIE</character> <dialogue>Is that true?</dialogue> <character>FOX</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Of course, not. I mean, certainly, she lived. We all did. It was a different time. Let's not use a double-standard. She marched against the --</dialogue> <character>KYLIE</character> <dialogue>But town tart?</dialogue> <character>FOX</character> <dialogue>Shut up.</dialogue> <scene_description>Rat lunges at Fox with his switchblade. Fox dodges nimbly. He cocks an eyebrow and smiles:</scene_description> <character>FOX</character> <dialogue>That was close, Rat. Be careful.</dialogue> <character>RAT</character> <dialogue>Oh, I'm as careful as a</dialogue> <scene_description>A door at the top of the stairs opens suddenly with a loud creak. Rat and Fox look terrified. They both dart away and hide behind cider jars. A heavy-set, middle-aged housekeeper carrying a rolling pin comes down the stairs and walks straight over to the shelf where Fox is hiding.</scene_description> <character>HOUSEKEEPER</character> <dialogue>How many jars should I bring up, ma'am?</dialogue> <scene_description>A strong, almost masculine woman's voice answers from upstairs:</scene_description> <character>MASCULINE VOICE</character> <dialogue>I don't know. Two, I guess.</dialogue> <scene_description>The housekeeper grabs the two jars directly next to the one Fox is hiding behind and tucks them under her arm. Fox tenses his body. He shivers slightly. A graze of the red fur of his arm sticks out barely from behind his jar. The housekeeper hesitates.</scene_description> <character>HOUSEKEEPER</character> <dialogue>He drank three yesterday, ma'am.</dialogue> <character>MASCULINE VOICE</character> <dialogue>All right, take three.</dialogue> <scene_description>The housekeeper grabs Fox's jar. Fox closes his eyes.</scene_description> <character>MASCULINE VOICE</character> <dialogue>No, don't.</dialogue> <scene_description>The housekeeper stops with her hand on the neck of Fox's jar.</scene_description> <character>MASCULINE VOICE</character> <dialogue>Three's too many. It's unhealthy. He's anorexic. Bring two.</dialogue> <scene_description>The housekeeper lets go of Fox's jar. Fox relaxes slightly. The housekeeper grabs Fox's jar again. Fox tenses up.</scene_description> <character>HOUSEKEEPER</character> <dialogue>But maybe, just in case</dialogue> <character>MASCULINE VOICE</character> <dialogue>Two's plenty.</dialogue> <scene_description>The housekeeper lets go of Fox's jar and walks away. She goes back up the stairs and closes the door. Kylie says in the darkness:</scene_description> <character>KYLIE</character> <dialogue>Oh, my cuss. That was like a scene out of a --</dialogue> <scene_description>The door opens again. An exceptionally tall, powerfully built woman in a black dress and Wellingtons, with grey hair pulled- back in a bun, bright green eyes, and a meat cleaver tucked under her apron strings comes swiftly down the stairs. She eyeballs the corners of the room. She is Mrs. Bean. She says thickly (in her masculine voice):</scene_description> <character>MRS. BEAN</character> <dialogue>To whom it may concern: if I catch a rat in a black beret drinking Mr. Bean's secret cider without his express permission, I intend to chop said rat's head off, brine it, pickle it, and bake it in a vermin casserole. I hope this clarifies my position on the matter. Sincerely, Evelyn Bean.</dialogue> <scene_description>Mrs. Bean turns and goes back up the stairs. She closes the door. Pause. Rat's voice says from the shadows:</scene_description> <character>RAT</character> <dialogue>Dear Mrs. Bean, your language, while somewhat purple, is nevertheless impossible to misinterpret. However -- comma -- given the proximity of said rat at the moment of your --</dialogue> <scene_description>The door at the top the stairs opens again. Silence. CUT TO: Fox and Kylie running away from Bean's farmhouse with two jars of cider. They both look badly shaken. A gunshot rings out taking us to:</scene_description> </scene> <scene> <stage_direction>EXT. BEAN FARMS. NIGHT</stage_direction> <scene_description>Bean is standing darkly in his front doorway. Smoke drifts from the end of his Luger, pointed at the ceiling. A broken light bulb hangs from a wire above his head. Boggis and Bunce sit together on the porch in rocking chairs, startled, staring at Bean.</scene_description> <character>BEAN</character> <dialogue>I'm going to give a speech, and at the end of it -- I'm going to throw a twist into this plot.</dialogue> <scene_description>Bean lights a cigarette and begins to walk slowly around the porch.</scene_description> <character>BEAN</character> <dialogue>First truth: this is the most ambitious fox we've ever encountered, bar none.</dialogue> <scene_description>Bean spins around and shoots out a second light bulb. Boggis and Bunce look uneasy. Bean continues:</scene_description> <character>BEAN</character> <dialogue>Second truth: the meaning of ambition is defined in the dictionary.</dialogue> <scene_description>Bean jumps and rolls and shoots out a third light bul b .</scene_description> <character>BEAN</character> <dialogue>Third truth: the weakness of the ambitious man is his Achilles heel</dialogue> <scene_description>Bean quickly shoots out three more light bulbs behind his back, over his shoulder, and between his legs. The porch goes dark. He flicks on a flashlight and points it in his two colleague's faces. They look scared. Bean says urgently:</scene_description> <character>BEAN</character> <dialogue>-- but I've already figured out where this fox lives, and tomorrow night we're going to camp in the bushes, wait for him to come out of the hole in his tree, and shoot the cuss to smithereens. How's that grab you, fellas?</dialogue> <scene_description>Boggis and Bunce hesitate. They nod and murmur their approval.</scene_description> </scene> <scene> <stage_direction>INT. FOX'S TREE. NIGHT</stage_direction> <scene_description>Fox and Kylie come quietly into the half-lit kitchen dressed in their prowling outfits. They walk to the door.</scene_description> <character>MRS. FOX</character> <dialogue>Another book party?</dialogue> <scene_description>Fox and Kylie turn around, startled. Mrs. Fox sits on a stool in the darkened pantry.</scene_description> <character>FOX</character> <dialogue>Woah! I didn't see you. Sitting in the dark over there. Yeah, no. Actually, there's a fire. I just got the call. They said maybe it's arson? I got to interview the marshall and see what's --</dialogue> <character>MRS. FOX</character> <dialogue>Kylie, is he telling the truth?</dialogue> <character>KYLIE</character> <parenthetical>(freaking out)</parenthetical> <dialogue>I don't want to be put in the middle of this.</dialogue> <character>FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>Thanks, Kylie.</dialogue> <character>MRS. FOX</character> <dialogue>If what I think is happening is happening</dialogue> <parenthetical>(ominously)</parenthetical> <dialogue>-- it better not be.</dialogue> <scene_description>CUT TO: Boggis, Bunce, and Bean waiting crouched in the bushes. Bean licks his finger and holds it up to test the direction of the wind. He nods, points to his nose, and gives a thumbs-up to Boggis and Bunce.</scene_description> </scene> <scene> <stage_direction>EXT. FOX'S TREE. NIGHT</stage_direction> <scene_description>Fox pokes his head up out of his hole. He sniffs once. He moves an inch forward and stops. He sniffs again. He waits a moment and listens. He steps out of the hole and says stonily:</scene_description> <character>FOX</character> <dialogue>Nice job covering for me. Next time try --</dialogue> <scene_description>A twig snaps. Fox freezes. CUT TO: Boggis, Bunce, and Bean frozen in the bushes. CUT TO: The branches of the trees as the wind suddenly changes its direction. CUT TO: Fox on high alert. He rapidly sniffs the air three times in a row. He turns to a confused Kylie and says, panicking:</scene_description> <character>FOX</character> <dialogue>All three!</dialogue> <scene_description>Fox and Kylie spin around and dart back into the hole as Boggis, Bunce, and Bean open fire wildly from the bushes. A barrage of bullets and buckshot rips into the tree-bark. Silence. Smoke from the three guns floats upward in the night air. Boggis, Bunce, and Bean approach the tree. Bean shines his flashlight on Fox's hole. In the circle of light on the ground lies the tattered, blood- stained remains of Fox's tail. Bean picks it up and holds it in the air in front of Boggis and Bunce.</scene_description> <character>BEAN</character> <dialogue>We got the tail, but we missed the fox.</dialogue> <scene_description>Pause. Bean takes out his walkie-talkie.</scene_description> <character>BEAN</character> <dialogue>Petey? You and the boys sober up and get out here on the A.S.A.P. Bring eleven shovels, three pick-axes, 500 rounds of ammunition, and a bottle of apple cider.</dialogue> </scene> <scene> <stage_direction>INT. FOX'S TREE. NIGHT</stage_direction> <scene_description>Mrs. Fox licks the stump of Fox's tail and mends it with gauze and medical tape. She looks furious. Kylie and the Fox cubs watch, concerned. Ash says uncertainly:</scene_description> <character>ASH</character> <dialogue>It'll grow back, won't it?</dialogue> <character>KYLIE</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Tails don't grow back, except for lizards.</dialogue> <character>FOX</character> <parenthetical>(miserably)</parenthetical> <dialogue>Tails don't grow back. I'm going to be tail-less for the rest of my life.</dialogue> <character>ASH</character> <parenthetical>(nervously)</parenthetical> <dialogue>Well, anyway, it's not half as bad as double-pneumonia, right?</dialogue> <parenthetical>(pointing to Kristofferson)</parenthetical> <dialogue>His dad's got one foot in the grave and one foot on a banana peel. That's a lot worse than --</dialogue> <scene_description>Kristofferson hurls an acorn violently onto the floor. It ricochets off a wall and into a teacup. Everyone falls silent. Kristofferson turns away.</scene_description> <character>KRISTOFFERSON</character> <dialogue>Excuse me, everyone. I'm going to go meditate for half an hour.</dialogue> <scene_description>Kristofferson walks out of the room. Mrs. Fox looks at Ash and says angrily:</scene_description> <character>MRS. FOX</character> <dialogue>You've got twenty-nine minutes to come up with a proper apology.</dialogue> <scene_description>Ash crosses his arms in front of his chest and stares straight ahead into space grimly. Fox says suddenly:</scene_description> <character>FOX</character> <dialogue>What's with the crazy outfit? Why a cape and the pants tucked into your socks?</dialogue> <scene_description>Ash does not respond. Fox sighs. Mrs. Fox finishes bandaging his tail. Fox goes over to the wall and stands with his back to the room.</scene_description> <character>FOX</character> <dialogue>I got fired slash quit the Gazette and started stealing chickens on the sly.</dialogue> <character>MRS. FOX</character> <parenthetical>(icily)</parenthetical> <dialogue>That tail was the first thing I ever noticed about you. It was easily the most attractive tail for at least 50 miles in every direction. It was probably your single best quality -- and now it's gone forever.</dialogue> <scene_description>CUT TO: Fox lying in bed staring at the ceiling in the dark next to Mrs. Fox.</scene_description> <character>FOX</character> <dialogue>Why the cuss didn't I listen my lawyer? At this point we'll be lucky if we can flip this tree for half of what we've already sunk into it.</dialogue> <scene_description>Fox flips over onto his stomach.</scene_description> <character>FOX</character> <dialogue>I won't be able to sleep on my back for six weeks -- and on my stomach I feel congested. Why the cuss didn't I listen to my lawyer?</dialogue> <character>MRS. FOX</character> <parenthetical>(bitterly)</parenthetical> <dialogue>Because you don't listen to anybody.</dialogue> <character>FOX</character> <parenthetical>(sitting up suddenly)</parenthetical> <dialogue>What was that?</dialogue> <character>MRS. FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>What? I said --</dialogue> <scene_description>There is a quiet scraping sound from above. Fox jumps out of bed. He hollers:</scene_description> <character>FOX</character> <dialogue>Wake up! Everybody! They're digging us out!</dialogue> <scene_description>There is a scrunch and then a loud thump from above. Mrs. Fox looks at Fox intensely:</scene_description> <character>MRS. FOX</character> <dialogue>They'll kill the children!</dialogue> <character>FOX</character> <parenthetical>(steely)</parenthetical> <dialogue>Over my dead body, they will.</dialogue> <character>MRS. FOX</character> <parenthetical>(angrily)</parenthetical> <dialogue>That's what I'm saying! You'd be dead, too, in that scenario!</dialogue> <character>FOX</character> <parenthetical>(angrily)</parenthetical> <dialogue>Well, I'm arguing against that!</dialogue> <character>MRS. FOX</character> <parenthetical>(screaming)</parenthetical> <dialogue>What are you talking about?</dialogue> <character>FOX</character> <parenthetical>(screaming)</parenthetical> <dialogue>Why are you yelling at me?</dialogue> <character>KYLIE</character> <parenthetical>(agonized)</parenthetical> <dialogue>Stop! Stop! Stop!</dialogue> <scene_description>Fox and Mrs. Fox turn quickly to Kylie standing in the doorway with a red blanket wrapped around his shoulders. Ash and Kristofferson stand behind him. They look terrified. Kylie shouts in a pained voice:</scene_description> <character>KYLIE</character> <dialogue>You say one thing, she says another, and it all changes back again!</dialogue> <scene_description>The point of a shovel pierces the ceiling. Everyone looks up and stares in shock. Fox suddenly leaps across the room with a wild energy, scrambles halfway up a wall, and throws over two chairs.</scene_description> <character>FOX</character> <dialogue>I've got it! There's not a moment to lose! Why didn't I think of this before?</dialogue> <character>MRS. FOX</character> <dialogue>Think of what?</dialogue> <character>FOX</character> <dialogue>Think of the one thing a fox does quicker than a man, quicker than any other animal in the world!</dialogue> <parenthetical>(at the top of his lungs)</parenthetical> <scene_description>DIG! ! ! CUT TO: Everyone digging furiously. Dirt flies everywhere. The shot booms down into the ground, among the roots of the tree, through buried pebbles, layers of soil, and subterranean mineral deposits. TITLE:</scene_description> <character>1 HOUR LATER</character> <dialogue>The shot stops at the bottom of a dark hole deep, deep underground. Mrs. Fox lies on the floor, breathing heavily, with a lit lantern at her side. The cubs are sprawled out around her. Kylie leans in the corner with his shirt off tied around his waist. Fox stands up and clears his throat. Everyone looks at him.</dialogue> <character>FOX</character> <dialogue>I think it's time for me to give us a pep talk and explain some things.</dialogue> <parenthetical>(commencing a speech)</parenthetical> <dialogue>A very long time ago</dialogue> <character>MRS. FOX</character> <dialogue>May I have a word with you privately?</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Well, we're in a hole. Where --</dialogue> <character>MRS. FOX</character> <dialogue>Just on the other side of this mineral deposit. Follow me.</dialogue> <scene_description>Fox reluctantly follows Mrs. Fox through a crack in the bedrock and into a small air-pocket with glittering quartz walls. She wheels on Fox:</scene_description> <character>MRS. FOX</character> <dialogue>I'm going to lose my temper now.</dialogue> <character>FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>When?</dialogue> <character>MRS. FOX</character> <dialogue>Right now.</dialogue> <character>FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>Well, when</dialogue> <scene_description>Mrs. Fox scratches Fox across the face, slicing a quick sliver into his fur. Fox cringes away with his paws up protectively. He lowers his paws. His eyes fill with tears. (NOTE: the scar in Fox's fur never grows back.) Mrs. Fox takes a deep breath. She says:</scene_description> <character>MRS. FOX</character> <dialogue>Twelve fox-years ago, you made a promise to me while we were caged inside that fox- trap that, if we survived, you would never steal another chicken, goose, turkey, duck, or squab, whatever they are. I believed you. Why did you lie to me?</dialogue> <character>FOX</character> <parenthetical>(simply)</parenthetical> <dialogue>Because I'm a wild animal.</dialogue> <character>MRS. FOX</character> <dialogue>You're also a husband and a father.</dialogue> <character>FOX</character> <parenthetical>(pained)</parenthetical> <dialogue>I'm trying to tell you the truth about myself.</dialogue> <character>MRS. FOX</character> <dialogue>I don't care about the truth about yourself.</dialogue> <scene_description>Fox looks down at the ground. He nods and tries to contain his emotions. Mrs. Fox watches him coldly.</scene_description> <character>MRS. FOX</character> <dialogue>This story is too predictable.</dialogue> <character>FOX</character> <parenthetical>(surprised)</parenthetical> <dialogue>Predictable? Really? What happens in the end?</dialogue> <character>MRS. FOX</character> <parenthetical>(quietly)</parenthetical> <dialogue>In the end, we all die -- unless you change.</dialogue> <scene_description>Mrs. Fox walks out of the air-pocket. Fox stands alone in silence.</scene_description> </scene> <scene> <stage_direction>EXT. FOX'S TREE. DAY</stage_direction> <scene_description>The next morning. There is a large hole in the side of the hill, under Fox's tree. The ceiling to the living room has been completely removed. Boggis, Bunce, and Bean stand half- underground with their heads sticking out of the hole, breathing hard, with dirty shovels over their shoulders. Bunce stands on Fox's tiny club chair.</scene_description> <character>BUNCE</character> <dialogue>These foxes dig like a bunch of hyperactive gophers.</dialogue> <character>BOGGIS</character> <dialogue>Franklin? You got another twist for this plot?</dialogue> <character>BEAN</character> <dialogue>Say that again?</dialogue> <character>BOGGIS</character> <dialogue>I say you got another</dialogue> <scene_description>Bean whips out his walkie-talkie and twirls it like a six- shooter. He presses a button on it and says:</scene_description> <character>BEAN</character> <dialogue>Petey? Get me the current contact info for Earl Malloy on the A.S.A.P.</dialogue> <character>BUNCE</character> <parenthetical>(intrigued)</parenthetical> <dialogue>Who's Earl Malloy?</dialogue> <character>BEAN</character> <parenthetical>(innocently)</parenthetical> <dialogue>What? You mean over at Malloy Consolidated? Oh, he does rentals.</dialogue> <character>BOGGIS</character> <parenthetical>(pause)</parenthetical> <dialogue>What does he rent?</dialogue> <scene_description>CUT TO: Three yellow and black, murderous, brutal bulldozer digging- tractors with Malloy Consolidated painted on the sides of them. They make a terrible, high-pitched growling noise and spit black grease and smoke. Boggis, Bunce, and Bean stand among the tractors nodding giddily to each other. They scramble into the drivers' seats and begin ripping into the hillside. Bunce sits on a dictionary to see over the dashboard. CUT TO: Fox, Mrs. Fox, Kylie, Ash, and Kristofferson digging frantically. CUT TO: The tractors grabbing huge chunks of earth and tossing them into the meadow. Boggis, Bunce, and Bean, drunk with digging, laugh manically as the controls of their tractors.</scene_description> <character>BEAN</character> <dialogue>Let's kick some fox cuss!</dialogue> <character>BUNCE</character> <dialogue>I'm cussing loving this!</dialogue> <character>BOGGIS</character> <dialogue>Who's hyper-cussing-active now?</dialogue> <scene_description>Bean throws his tractor into top gear. The teeth of the giant shovels clank against each other, ripping through the tree's roots. INSERT: A temperature gauge with its needle pushing the limits of the red. CUT TO: A grizzled, white-haired man in a greasy yellow and black jumpsuit and coke-bottle protective eyeglasses. A patch on his pocket says E. Malloy. He watches the farmers digging crazily with the tractors. Sparks from the mayhem reflect dancing on his lenses.</scene_description> <character>EARL MALLOY</character> <dialogue>These machines weren't made to be handled like this.</dialogue> <scene_description>DISSOLVE TO: The hill with half its earth dug out from under the tree. The tree still stands precariously above the wild tractors. DISSOLVE TO: The hill now razed with the fallen, old beech tree laying on its side as the tractors dig deeper. DISSOLVE TO: The tractors almost completely below ground in a deep crater. A crowd of neighbors and local press from the town has gathered and watches as the tractors stop digging and rumble up out of the crater. The motors go quiet. Boggis, Bunce, and Bean climb down from their tractors. They look angry and tired. They stand among the workers and onlookers. A television reporter with an Action 13 camera crew confronts Bean:</scene_description> <character>REPORTER</character> <dialogue>Farmer, correct me if I'm misreading the data, you've successfully destroyed the scenery, but the alleged fox remains at large. What will you three prominent farmers do now?</dialogue> <character>BEAN</character> <dialogue>Well, Dan, I can tell you what we're n.at going to do. We're not going to let him go.</dialogue> <character>REPORTER</character> <dialogue>Are you concerned about the possibility of --</dialogue> <character>BEAN</character> <dialogue>I have no further dialogue in this scene.</dialogue> <scene_description>Bean turns away from the reporter and pulls Boggis and Bunce aside. He addresses them with calm intensity:</scene_description> <character>BEAN</character> <dialogue>I'm not going home until we smoke this son-of-a-cuss out his hole, string him up on a clothesline, and fly him like a kite. Boggis, how many men have you got working on your farm?</dialogue> <character>BOGGIS</character> <dialogue>Thirty-five.</dialogue> <character>BEAN</character> <dialogue>Bunce?</dialogue> <character>BUNCE</character> <dialogue>Thirty-six.</dialogue> <character>BEAN</character> <dialogue>And I've got thirty-seven. That's 108 men altogether. Now what do I got here? Two quitters -- or are you staying with?</dialogue> <scene_description>CUT TO: That night. A helicopter with a Bean, inc. decal on the side of it circles the crater scanning the dark terrain with a searchlight. There are tents, trucks, and 108 men gathered around the perimeter. They sit on bricks and logs and are armed with bats, pistols, rifles, shotguns, bows and arrows, and hatchets.</scene_description> </scene> <scene> <stage_direction>INT. HOLE. NIGHT</stage_direction> <scene_description>Fox, his family, and Kylie lie exhausted on the floor of their deep hole. The walls are covered with knotted roots and vines. Fox says to Kylie:</scene_description> <character>FOX</character> <dialogue>One of those slovenly farmers is probably wearing my tail as a necktie by now.</dialogue> <character>KYLIE</character> <dialogue>You're paranoid, Foxy.</dialogue> <scene_description>CUT TO: Mrs. Bean sitting in her kitchen watching television next to an extremely skinny, freckled twelve year-old boy. The boy points at the screen and laughs to himself:</scene_description> <character>FRECKLED BOY</character> <dialogue>Look at Dad's tie.</dialogue> <scene_description>INSERT: The television set. Bean is on-screen with the Action 13 reporter. He wears a fox-fur necktie.</scene_description> </scene> <scene> <stage_direction>EXT. CAMP. NIGHT</stage_direction> <scene_description>There is a full moon. Lanterns glow in the farmers' tents. A group of farmhands sit around a campfire next to the crater. One of them cooks a chicken on a spit. Another sits on a log playing a banjo. He is Petey. He sings:</scene_description> <character>PETEY</character> <dialogue>'Bout a handsome little fox Let me sing you folks a yarn. Hey, diddle-dee, doddle-do, doodle-dum! 'Twas a splendid little feller Full of wit 'n' grace 'n' charm. Say, zippy-zee, yappy-yo, google-gum!</dialogue> <scene_description>The shot moves past the leathery faces of the other farmhands as they listen: amused, moved, hungry, tired, charmed, annoyed, whistling, playing a jew's harp, trying to sing along but not really knowing the words, etc.</scene_description> <character>PETEY</character> <dialogue>Like any little critter needin' Vittels for his littl'uns, Well, he stole, and he cheated, And he lied to survive.</dialogue> <dialogue>Doodle-dum, diddle-die, doddle-diddle- doodle-dee! Zippy-zo, zippy-zay, zippy-zappy- zoopy-zee!</dialogue> <parenthetical>(this verse is spoken:)</parenthetical> <dialogue>Let me take a little tick now To color in the scene: 'Cross the valley lived three yokels Name of Boggis, Bunce, and Bean.</dialogue> <parenthetical>(more)</parenthetical> <character>PETEY</character> <parenthetical>(back to singing:)</parenthetical> <dialogue>Now these three crazy jackies had our hero on the run. Shot the tail off the cuss With a fox-shootin' gun.</dialogue> <dialogue>But that stylish little fox Was as clever as a whip. Dug as quick as a gopher Who was a hyper-ack-a-tive.</dialogue> <dialogue>Now those three farmers sit 'Twhere there's a hole 'twas once a hill. Hey, diddle-dee, doddle-do, doodle-dum! And as far as I can reckon They're a-settin' up there still.</dialogue> <parenthetical>(slowly)</parenthetical> <dialogue>Way, zippy-zee, yappy-yo, google --</dialogue> <character>BEAN</character> <parenthetical>(interrupting)</parenthetical> <dialogue>What are you singing, Petey?</dialogue> <scene_description>Petey stops short. Everyone turns quickly and sees Bean standing over them in the darkness with his Luger in one hand and a cigarette in the other. Petey looks nervous.</scene_description> <character>PETEY</character> <dialogue>I don't know. I was just kind of making it up as I was going along ...</dialogue> <scene_description>Petey trails off. Bean shakes his head. He looks highly irritated.</scene_description> <character>BEAN</character> <dialogue>That's just weak song-writing! You wrote a bad song, Petey!</dialogue> <scene_description>Bean throws his cigarette into the campfire. He storms away. Petey turns to the other farmhands. Everyone looks uncomfortable. TITLE: 3 DAYS LATER (18 Fox-Days) CUT TO: Morning in the farmers' camp. The cook flips an egg on a skillet. He puts it on a plate with bacon and hands it to Petey. Petey asks him:</scene_description> <character>PETEY</character> <dialogue>How long can a fox go without food or water?</dialogue> <scene_description>CUT TO: The exhausted foxes and Kylie underground. Kylie says quietly:</scene_description> <character>KYLIE</character> <dialogue>Well, I can only answer as an opossum, but I don't think I can last more than another couple of hours before I get completely dehydrated and starve to death.</dialogue> <character>ASH</character> <dialogue>What's that?</dialogue> <scene_description>Ash points. Everyone looks. A tiny hole appears in the wall at the end of the tunnel. Dirt crumbles out of it -- and a bit of metal catches a glint. Fox and his family watch, frozen. A breath of air blows into the tunnel. The flame on Mrs. Fox's lantern flickers once and goes out. Ash starts:</scene_description> <character>ASH</character> <dialogue>Dad?</dialogue> <character>FOX</character> <parenthetical>(whispers sharply)</parenthetical> <dialogue>Not a sound!</dialogue> <scene_description>Silence. There is a sudden, loud scrabbling noise. A match strikes. Fox touches it to Mrs. Fox's lantern-wick. The tiny hole in the wall has become a large one. Badger stands in front of Fox with his law partner Beaver, Beaver's overgrown, hulking son, a medium-sized mole, and a grey field mouse with a bandana tied in a "do-rag" style around his head. Badger has a spoon in his hand. Fox and Badger erupt at each other, screaming simultaneously:</scene_description> <character>FOX</character> <dialogue>You scared the cuss out of us!</dialogue> <character>BADGER</character> <dialogue>I told you not to buy at nine and a cussing half!</dialogue> <character>FOX</character> <dialogue>You don't just bang into somebody's cussing tunnel!</dialogue> <character>BADGER</character> <dialogue>Are you cussing yelling at me!</dialogue> <character>FOX</character> <dialogue>You're cussing right I'm cussing yelling!</dialogue> <character>BADGER</character> <dialogue>We're all cussing starving to death because of you, you mangy, cussing, little cuss!</dialogue> <scene_description>Fox and Badger snarl and scratch at each other, circling around the hole. They calm down slightly. Badger continues:</scene_description> <character>BADGER</character> <dialogue>We've been digging in circles for three days. Half the woods've been obliterated. Nobody can get out. Right now my wife's huddled at the bottom of the flint-mine with Mrs. Mole, Mrs. Beaver, Rabbit's ex- girlfriend, no food, no water, and twenty- seven hungry, whining, starving, little animal brats. This is a total cluster- cuss for everybody!</dialogue> <scene_description>Fox looks around the room at the entire gaunt, dirty, emaciated assembly. Everyone stares at him angrily. He swallows. The mole says softly.:</scene_description> <character>MOLE</character> <dialogue>I just want to see a little</dialogue> <parenthetical>(suddenly crying)</parenthetical> <dialogue>sunshine.</dialogue> <character>FOX</character> <parenthetical>(puzzled)</parenthetical> <dialogue>But you're nocturnal, Phil. Your eyes barely even open, on a good day.</dialogue> <character>MOLE</character> <parenthetical>(enraged)</parenthetical> <dialogue>I'm sick of your double-talk. We have rights!</dialogue> <scene_description>Beaver's son looms over Ash and Kristofferson in a muddy alcove on the side of the tunnel. He pokes Ash in the chest with the finger of his paw.</scene_description> <character>BEAVER'S SON</character> <dialogue>We don't like you, and we hate your dad. You're too snazzy. You dress like a girl. You're creative. Now grab some of that mud, chew it in your mouth, and swallow it.</dialogue> <character>ASH</character> <parenthetical>(scared and disgusted)</parenthetical> <dialogue>I'm not going to eat mud!</dialogue> <character>BEAVER'S SON</character> <dialogue>Cuss, yeah, you are.</dialogue> <scene_description>Beaver's son grabs a handful of mud, smashes it into Ash's mouth, and forces his jaws up and down in a chewing motion. Ash coughs and splutters. Kristofferson frowns. He takes off his shoes with his feet. He says with a quiet ferocity:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Don't do that.</dialogue> <scene_description>Beaver's son looks to Kristofferson. He looks down at Kristofferson's feet.</scene_description> <character>BEAVER'S SON</character> <dialogue>Why'd you take your shoes off?</dialogue> <character>KRISTOFFERSON</character> <dialogue>So I don't break your nose when I kick it.</dialogue> <scene_description>Kristofferson kicks Beaver's son in the face, karate chops his neck, elbow-jabs him twice in the gut, and flips the enormous youth over his shoulder and into the mud. Beaver's son gets up, crying, and walks out of the alcove. Ash watches blankly with mud all over his mouth as Kristofferson puts his shoes back on.</scene_description> <character>ASH</character> <dialogue>I can fight my own fights.</dialogue> <scene_description>Badger and Fox stand facing each other at the end of the tunnel. Badger says aggressively:</scene_description> <character>BADGER</character> <dialogue>Those farmers aren't going to quit until they've got you and every member of your family nailed upside-down to a bloody stick with your eyes gorged out.</dialogue> <character>FOX</character> <parenthetical>(freaked out)</parenthetical> <dialogue>This is getting a little too personal.</dialogue> <scene_description>Badger waits for Fox to continue. Fox stares into space.</scene_description> <character>FOX</character> <dialogue>Give me a minute.</dialogue> <scene_description>Fox turns and walks away. He faces the wall of the tunnel. He sits down on a rock. Everyone watches him uncertainly. They look at each other. Badger starts to say something, but Kylie cuts him off sharply:</scene_description> <character>KYLIE</character> <parenthetical>(sharply)</parenthetical> <dialogue>Shh!</dialogue> <scene_description>Badger falls silent. Fox sits with his chin on his paw, lost in concentrated thought. He stands up. He nods repeatedly and begins to pace. His eyes dart from one spot to another. His paws move abruptly around in the air drawing lines and shapes. He freezes and looks straight up at the ceiling of the tunnel. He snaps the fingers of his paw and looks to the others. He says with a cautious excitement:</scene_description> <character>FOX</character> <dialogue>I've got an idea.</dialogue> <character>BADGER</character> <parenthetical>(tentatively)</parenthetical> <dialogue>What is it?</dialogue> <character>FOX</character> <dialogue>It could be a good one.</dialogue> <character>BEAVER</character> <parenthetical>(pointedly)</parenthetical> <dialogue>Lay it on us.</dialogue> <character>FOX</character> <dialogue>It might save our lives.</dialogue> <character>KYLIE</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Say the idea!</dialogue> <scene_description>Fox looks down at Ash, who stands beside him with mud still on his mouth. He nods. He says suddenly:</scene_description> <character>FOX</character> <dialogue>All right! Let's try it!</dialogue> <scene_description>Fox runs over to Mrs. Fox:</scene_description> <character>FOX</character> <dialogue>Go to the flint-mine. Tell Mrs. Badger, Rabbit's ex-girlfriend, et al. that help is on the way.</dialogue> <character>MRS. FOX</character> <parenthetical>(skeptically)</parenthetical> <dialogue>Is help on the way?</dialogue> <scene_description>Fox grips Mrs. Fox's paw. He looks into her eyes and says intensely:</scene_description> <character>FOX</character> <dialogue>I sure as cuss hope so.</dialogue> <scene_description>Mrs. Fox detects a special, familiar, inspired light in her husband's eyes at this moment. She nods. She hands Ash the lantern. She straightens the neck-line of his cape, licks the mud off Ash's snout, and scrambles away down Badger's tunnel. Ash wants to cry but does not. Fox turns to the others.</scene_description> <character>FOX</character> <dialogue>Gentlemen, this time we must dig in a very special direction.</dialogue> <scene_description>Fox feels the walls with his paws. Everyone watches attentively.</scene_description> <character>FOX</character> <dialogue>I got to kind of feel out the vibe.</dialogue> <scene_description>Fox stops. He points slightly downwards and due south. He says with quiet anticipation:</scene_description> <character>FOX</character> <dialogue>Begin.</dialogue> <scene_description>Everyone starts digging, slowly but intently. CUT TO: The diggers one hundred yards later. Fox suddenly whistles and raises his fist. The diggers stop digging. Fox feels the ceiling with his paws. He knocks something hard. It sounds hollow. He looks at the others with a funny expression and raises an eyebrow. Fox carefully pushes up a floorboard. It creaks loudly. They all duck down and wait. Nothing happens. Fox pushes up a second floorboard. He cautiously pokes his head up through the gap. He lets out a shriek of excitement and whispers excitedly down to the others:</scene_description> <character>FOX</character> <dialogue>I've done it! I've done it, first time! Come up and see where you are, my darlings!</dialogue> <scene_description>Everyone scrambles up out of the tunnel.</scene_description> </scene> <scene> <stage_direction>INT. SHED. NIGHT</stage_direction> <scene_description>Everyone stands in the middle of Boggis' Chicken House #1. The room is teeming with chickens, which stare at them nervously. There are black chickens, white chickens, brown chickens, and one that combines all three colors. Fox whispers:</scene_description> <character>FOX</character> <dialogue>I hit it slap in the middle! Do you get how incredible this is?</dialogue> <scene_description>The others nod. They look dazed and wild. Fox holds up his hands and whispers:</scene_description> <character>FOX</character> <dialogue>Don't lose your heads, now. Let's do this properly. First, everyone have a drink of water.</dialogue> <scene_description>Fox leads the others over to the chickens' drinking trough. They all lap up the cool water. Fox dries his mouth.</scene_description> <character>FOX</character> <dialogue>Second --</dialogue> <scene_description>Fox seizes a black chicken violently. CUT TO: Ash and Kristofferson running down the tunnel carrying two dead, black chickens. They turn three corners and arrive at the mossy hollow. They look inside. MONTAGE: Fox and the other diggers tunnel under the silo in front of Bunce Industries. Cows eat grass in the pasture above. Fox and the other diggers comes out of a hole in the floor and dance an ecstatic jig in a great storeroom lined to the ceiling with plucked ducks and geese. Smoked hams and sides of bacon dangle from the rafters. Fox and the other diggers tunnel under the windmill in front of Bean, inc. Sheep eat clover in the field above. Fox and the other diggers comes out of a hole in the floor and dance an ecstatic jig in a corrugated plastic and metal pen among dozens of gobbling turkeys. Fox and the other diggers race dancing ecstatically back through the complex network of tunnels carrying dead turkeys, geese, bacon, flour, salt, sugar, jars of cider, and a portable television set.</scene_description> </scene> <scene> <stage_direction>INT. FLINT-MINE. DAY</stage_direction> <scene_description>The flint-mine is a large but cozy space with stone walls, a dirt floor, a small kitchen, and a fireplace. There are rows of cots, sleeping bags, boxes, blankets, and suitcases for all the refugee animals. All the animals have gathered together and drink cider cocktails while small rabbits, skunks, and field mice set the table. The room is festooned with garlands. A well-dressed mole smoking a pipe plays the piano. A bespectacled rabbit leans against it humming a tune. Weasel stands in the corner talking with Beaver.</scene_description> <character>WEASEL</character> <dialogue>What am I going to do? I'm going to hold him to the terms of the contract. It's not my fault they uprooted it.</dialogue> <scene_description>Kristofferson serves cranberry punch from a tureen in the corner. Ash goes over to him and holds out a mug.</scene_description> <character>ASH</character> <dialogue>They say I owe you an apology for some of the mean things I said about your father's illness. His double-pneumonia or whatever they're calling it now.</dialogue> <scene_description>Kristofferson ladles Ash a cupful. OK.:</scene_description> <character>ASH</character> <dialogue>So there it is. I hope we can continue our relationship as cousins or family members or however you want to define it</dialogue> <parenthetical>(suddenly more intense)</parenthetical> <dialogue>but do me a favor for yourself. The</dialogue> <scene_description>next time you have a problem with something I've said, come to me as a fox (more)</scene_description> <character>ASH</character> <dialogue>and let's deal with it right then and not let it blow up into a whole, huge thing involving parents and so on. Agreed?</dialogue> <scene_description>Ash drinks his punch in one long sip and holds out the empty mug for a refill. Kristofferson nods slowly. He points at Ash with his ladle.</scene_description> <character>KRISTOFFERSON</character> <dialogue>I'm going to teach you karate.</dialogue> <scene_description>Badger sits next to the fireplace with Fox and Kylie.</scene_description> <character>BADGER</character> <dialogue>I can imagine how painful, even just emotionally, that must be for you.</dialogue> <character>FOX</character> <parenthetical>(uneasy)</parenthetical> <dialogue>Well, you know, it's not the end of the world.</dialogue> <character>BADGER</character> <parenthetical>(more animated)</parenthetical> <dialogue>Oh, but, Foxy, how humiliating! Having your whole tail blown clean off by a --</dialogue> <character>FOX</character> <parenthetical>(cooly)</parenthetical> <dialogue>Can we drop it?</dialogue> <scene_description>Kristofferson starts to refill Ash's mug again. Ash suddenly puts his paw over the brim. Kristofferson hesitates. Ash raises an eyebrow and says mysterriously:</scene_description> <character>ASH</character> <dialogue>Ever tasted one of Mrs. Bean's famous nutmeg-ginger-apple snaps?</dialogue> </scene> <scene> <stage_direction>EXT. CAMP. DAY</stage_direction> <scene_description>A large fire truck drives up to the destroyed hill with firemen hanging off the back and sides. It parks among the tractors and tents. The chief, in a white helmet, goes over to Boggis, Bunce, and Bean waiting at the mouth of the pit. A patch on his sleeve says o.w.F.R.P.F. Farmhands and firemen circle around.</scene_description> <character>CHIEF</character> <dialogue>Who's got me a donation for the Old Wounded Fireman's Retirement Pension Fund?</dialogue> <scene_description>Bean pulls a yellow check out of his inside pocket.</scene_description> <character>BEAN</character> <dialogue>Right here.</dialogue> <parenthetical>(pointing behind him)</parenthetical> <dialogue>Let me show you this hole.</dialogue> </scene> <scene> <stage_direction>INT. FLINT-MINE. DAY</stage_direction> <scene_description>Candles glow all around. Everyone is seated at the long dining room table, and a magnificent feast with every variety of fruit, meat, vegetable, and roasted bird has been laid out in front of them. They tear into their meals, eating and drinking ferociously. Crumbs, juices, blood, and bones fly into the air. Jaws snap and chew. There is no conversation. Badger suddenly stands and rings a knife against his cider glass. Everyone looks up, taking a breather from the frenzy of eating. Badger clears his throat.</scene_description> <character>BADGER</character> <dialogue>Well, it took a near-catastrophe for all of you to finally take me up on my offer to have you over to the flint-mine for dinner, but I guess we have --</dialogue> <character>FOX</character> <parenthetical>(interrupting)</parenthetical> <dialogue>I'm sorry. Maybe my invitation got lost in the mail. Does anybody know what this badger's talking about?</dialogue> <scene_description>Everyone laughs. Fox sits at the opposite end of the table with a crooked smile on his face.</scene_description> <character>FOX</character> <dialogue>But Clive's right</dialogue> <parenthetical>(standing up)</parenthetical> <dialogue>in all seriousness</dialogue> <parenthetical>(aside, to Badger)</parenthetical> <dialogue>excuse me, B.</dialogue> <scene_description>Fox raises his cider glass. Badger reluctantly sits back down.</scene_description> <character>FOX</character> <dialogue>I guess we do have those three ugly, cusshole farmers to thank for one thing: reminding us to be thankful and aware of each other. I'm going to say it again.</dialogue> <parenthetical>(gesturing expansively)</parenthetical> <dialogue>Aware.</dialogue> <scene_description>Badger whispers to his wife:</scene_description> <character>BADGER</character> <dialogue>Foxy cuss-blocked my toast, man.</dialogue> <scene_description>CUT TO: The hole where Fox's tree once stood. The dead tree lies on its side. A fireman slides a thick hose deep into the tunnel. He looks behind him and nods.</scene_description> <character>FIREMAN #1</character> <dialogue>Ready.</dialogue> <scene_description>The shot moves backwards along the hose, past seven more firemen signalling to each other with: a thumbs-up, a snap, a fist in the air, a swirl of the fingers, a peace symbol, an A- OK, and a hook-'em Horns. The shot continues past Boggis, Bunce, and Bean helping to hold the hose in position. Boggis growls. Bunce hisses. Bean snarls. The shot arrives at a pump on the side of the fire truck. The chief points:</scene_description> <character>CHIEF</character> <dialogue>Let her rip.</dialogue> <scene_description>A fireman cranks a huge wrench on a steel nut. A pressure gauge shoots to maximum. The fire truck and hose begin to vibrate loudly. CUT TO: Ash and Kristofferson crouched under a drain-cover pushed just-open next to a refrigerator. They peer out across a bright, clean, white kitchen at a plate of perfect, golden cookies on a counter-top next to an open window with a step- ladder directly in front of it. They look at each other. They look around the quiet, empty room. Ash shrugs. Ash and Kristofferson dart out, leaving the drain-cover propped-up. They race over the linoleum. They climb the step- ladder and stop at the plate. Ash swoons and says rapturously:</scene_description> <character>ASH</character> <dialogue>They're still warm.</dialogue> <scene_description>Ash and Kristofferson gather more cookies than they can possibly carry, eating as they collect them. Crumbs go everywhere. On the other side of the room, the drain-cover falls shut with a loud clank. Ash and Kristofferson look up, wildly startled. All at once they hear in a simultaneous cacophony: the back door bursting open, a boy and two beagles shouting and barking, the pantry door slamming, Mrs. Bean and her middle-aged housekeeper clanging pots and pans and arguing, a timer on the counter-top ringing, and a raven fluttering to the windowsill and cawing. Ash and Kristofferson panic silently. They drop the cookies and fly down the step-ladder. CUT TO: Fox in mid-toast:</scene_description> <character>FOX</character> <dialogue>I've stepped on some toes and alienated a few of you over the past few days -- but is it wrong for me to suggest we might've done worse than having an incredible banquet in a beautiful flint-mine surrounded by our favorite animals? Look at each other. Here we are. Wow. Now I've already had too much to drink, and I'm feeling sentimental, but I'm going to say something, anyway, which nobody wants to admit, but I think is probably true: we beat 'em. We beat those farmers, and now we're triumphantly eating their roasted chicken, their sizzling duck, their succulent turkey, their foie gras de --</dialogue> <parenthetical>(suddenly)</parenthetical> <dialogue>Where'd the boys go? Ash? Kristofferson?</dialogue> <parenthetical>(to Mrs. Fox)</parenthetical> <dialogue>What am I hearing again, baby? What's happening? Am I still paranoid?</dialogue> <scene_description>There is a low, distant rumbling which rapidly builds to a deafening roar. Everyone waits, frozen. A single drop of water drips from the ceiling into Badger's water glass. Fox turns to Badger and says:</scene_description> <character>FOX</character> <dialogue>Let's pause again.</dialogue> <scene_description>A wild deluge smashes into the room flooding the flint-mine and tunnels with a blasting current that sweeps everyone and everything away chaotically. CUT TO: The entire party of well-dressed animals and their plates, furniture, chickens, etc. shooting down the tunnel with the rushing waters. Fox, helpless, holding his breath, looks to the others underwater: Badger shakes his head in disgust; Rabbit makes a fierce grimace; Mole bares his teeth ferociously; Beaver rants angrily with bubbles coming out off his mouth; and Kylie stares ahead vacantly, holding his nose. Fox turns sadly to Mrs. Fox. She looks terrified.</scene_description> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. NIGHT</stage_direction> <scene_description>The flood blasts out of a wide pipe rocketing the animals into a murky, brick cavern with drainpipes on all sides and three inches of black water on its floor. Fox picks himself up, dazed and scared, and looks around at his soaked friends and their families.</scene_description> <character>FOX</character> <dialogue>What the cuss just happened? Something with water. That was dangerous. Is anyone hurt?</dialogue> <character>BADGER</character> <parenthetical>(furious)</parenthetical> <dialogue>We're all hurt! My entire flint-mine just got demolished!</dialogue> <character>FOX</character> <dialogue>Let's do a head-count! Everybody pick a buddy!</dialogue> <scene_description>Each animal turns to his neighbor and establishes their buddy relationship. Fox looks wildly agitated as his eyes dart about, searching. He shouts:</scene_description> <character>FOX</character> <dialogue>Where'd the boys go? Ash? Kristofferson?</dialogue> <scene_description>Ash's voice cracks on the other side of the cavern:</scene_description> <character>ASH</character> <dialogue>I'm here.</dialogue> <scene_description>Everyone turns to see Ash standing at the mouth of a smaller pipe. He looks devastated and terrified. Fox points to him.</scene_description> <character>FOX</character> <dialogue>Ash! Who's your buddy?</dialogue> <character>ASH</character> <dialogue>Kristofferson, but I lost him.</dialogue> <character>FOX</character> <dialogue>You lost him? Where were you?</dialogue> <character>ASH</character> <dialogue>We went for cookies.</dialogue> <scene_description>Everyone turns to Fox. Fox yells desperately:</scene_description> <character>FOX</character> <dialogue>Kristofferson!</dialogue> <scene_description>Fox sprints around the cavern, splashing, digging, and ducking in and out of tunnels as the others join his frantic search. His voice sounds pained as he shouts:</scene_description> <character>FOX</character> <dialogue>Kristofferson! Kristofferson! Kristofferson!</dialogue> <scene_description>CUT TO: The three farmers standing next to the fire truck. Bean holds a soaked, half-conscious Kristofferson up in the air by the tail. Kristofferson is quietly crying.</scene_description> <character>BEAN</character> <dialogue>Wrap this wet, little mutt in a newspaper and put him in a box with some holes punched in the top.</dialogue> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. NIGHT</stage_direction> <scene_description>Everyone has gathered together. They are all in a state of shock. Fox turns to Mrs. Fox beside him.</scene_description> <character>FOX</character> <dialogue>Your brother's going to kill me, if he survives his double-pneumonia.</dialogue> <scene_description>Beaver runs into the brick cavern out of a drainpipe, shouting:</scene_description> <character>BEAVER</character> <dialogue>There's only one way out of this sewer, but the manhole cover's closed, and there's a station-wagon parked on it -- which means we're permanently stuck down here.</dialogue> <character>BADGER</character> <parenthetical>(bitterly)</parenthetical> <dialogue>You still think we beat 'em, Foxy?</dialogue> <scene_description>Everyone turns to Fox and stares at him coldly. Fox sits down on the floor, in the water. He says quietly:</scene_description> <character>FOX</character> <dialogue>Somebody take over. I'm not in charge anymore.</dialogue> <scene_description>Everyone looks around at each other. They don't know what to do. Mrs. Fox sits down in the water next to Fox.</scene_description> <character>FOX</character> <dialogue>You told me to change, but I can't --</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>-- except, possibly, on some level, I think I just did.</dialogue> <character>MRS. FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>Well, then maybe we're not all going to die.</dialogue> <scene_description>Fox looks to Mrs. Fox. He stands up suddenly. He takes Mrs. Fox's hand.</scene_description> <character>FOX</character> <dialogue>Excuse us, everyone.</dialogue> <scene_description>Fox leads Mrs. Fox over to a ledge near a cement waterfall on the far side of the brick cavern. He puts his arm around her waist.</scene_description> <character>FOX</character> <dialogue>Badger's right. These farmers aren't going to quit until they catch me. I shouldn't have lied to your face. I shouldn't have resigned slash gotten fired from the Gazette. I shouldn't have pushed these farmers so far and tried to embarrass them and cuss with their heads. I enjoyed it, but I shouldn't have done it -- and now there's only one way out. Maybe if I hand myself over and let them kill me, stuff me, and hang me over their mantelpiece --</dialogue> <character>MRS. FOX</character> <parenthetical>(icily)</parenthetical> <dialogue>You'll do no such thing.</dialogue> <character>FOX</character> <parenthetical>(quietly)</parenthetical> <dialogue>Darling, maybe they'll let everyone else live.</dialogue> <scene_description>Mrs. Fox stares at Fox. She says desolately:</scene_description> <character>MRS. FOX</character> <dialogue>Why'd you have to get us into this, Foxy?</dialogue> <character>FOX</character> <dialogue>I don't know, but I have a possible theory. I think I have this thing where I need everybody to think I'm the greatest -- the quote-unquote fantastic Mr. Fox -- and if they aren't completely knocked- out, dazzled, and kind of intimidated by me, then I don't feel good about myself.</dialogue> <scene_description>Mrs. Fox shakes her head and turns away. Fox continues:</scene_description> <character>FOX</character> <dialogue>Foxes traditionally like to court danger, hunt prey, and outsmart predators -- and that's what I'm actually good at! I think, at the end of the day, I'm just --</dialogue> <character>MRS. FOX</character> <parenthetical>(quietly)</parenthetical> <dialogue>We're wild animals.</dialogue> <scene_description>Fox smiles sadly and nods. He shrugs.</scene_description> <character>FOX</character> <dialogue>I guess we always were. I promise you: if I had all this to do over again, I'd have never let you down. It was always more fun when we did it together, anyway.</dialogue> <scene_description>Mrs. Fox has tears all over her face. Fox kisses her. He whispers in her ear:</scene_description> <character>FOX</character> <dialogue>I love you, Felicity.</dialogue> <character>MRS. FOX</character> <dialogue>I love you, too, but I shouldn't have married you.</dialogue> <scene_description>Mrs. Fox turns and walks away. Fox stares after her. He goes over to Ash.</scene_description> <character>FOX</character> <dialogue>Did I ever tell you about the time I learned we were going to have a cub?</dialogue> <character>ASH</character> <dialogue>In the fox-trap.</dialogue> <character>FOX</character> <dialogue>Right. We were at gun-point, and your mother</dialogue> <character>ASH</character> <dialogue>-- says she's pregnant.</dialogue> <character>FOX</character> <dialogue>Let me tell it, OK? I had no idea how we were going to get out of this jam, and then it hit me: what do foxes do better than any other animal?</dialogue> <character>ASH</character> <dialogue>Dig.</dialogue> <character>FOX</character> <dialogue>You're stepping on my lines.</dialogue> <character>ASH</character> <dialogue>Keep telling it.</dialogue> <character>FOX</character> <dialogue>So we dug. And the whole time I put paw over paw, scooping dirt and pebbles with your mother digging like crazy beside me, I kept wondering: who is this little boy going to be?</dialogue> <character>ASH</character> <dialogue>Or girl.</dialogue> <character>FOX</character> <dialogue>Or girl, right because at that point we didn't know.</dialogue> <scene_description>Fox grabs Ash by his shoulders and looks him in the eye.</scene_description> <character>FOX</character> <dialogue>Ash, I'm so glad he was you.</dialogue> <scene_description>Fox hugs Ash tightly, holds him for an instant, then let's go. He turns to the group.</scene_description> <character>FOX</character> <dialogue>Badger, organize a search party and try to find Kristofferson. Maybe he's alive. I'm sorry, everyone. I wish --</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>Well, good-bye.</dialogue> <scene_description>Fox looks across the cavern to Mrs. Fox standing with her back to him. She turns to face him. Her eyes are burning. Fox smiles sadly. He races away down the drain-pipe. Everyone watches him disappear. Badger hesitates. He addresses the group uncertainly:</scene_description> <character>BADGER</character> <dialogue>I guess we should probably split into a certain number of groups and start doing something, right?</dialogue> </scene> <scene> <stage_direction>INT. CONDUIT. NIGHT</stage_direction> <scene_description>Fox sprints full-speed in the darkness. His claws scratch rattling along the iron floor and splash through puddles of shallow water. Fox stops suddenly. He stands up tall on his hind legs. His ears perk up. One pins back. He listens. CUT TO: Badger carrying a lantern leading Ash, Mole, and two small rabbits down a drainpipe. Badger calls out:</scene_description> <character>BADGER</character> <dialogue>Kristofferson? Hello? Can you hear us?</dialogue> <scene_description>Rat's voice echoes in the darkness:</scene_description> <character>RAT</character> <dialogue>Y'all lookin' for somethin'? Nothin' down here but rusty bottle-caps and drainin' water.</dialogue> <scene_description>Everyone stops short. Rat drops into the pipe from an overhead drain ahead of them. He says ominously:</scene_description> <character>RAT</character> <dialogue>They got the boy.</dialogue> <character>BADGER</character> <parenthetical>(frozen)</parenthetical> <dialogue>Who's got him?</dialogue> <character>RAT</character> <dialogue>The farmers three. You know who I'm talkin' about.</dialogue> <character>BADGER</character> <parenthetical>(hesitates)</parenthetical> <dialogue>They've kidnapped him?</dialogue> <character>RAT</character> <dialogue>Well-done, Mr. Badger. You're a smart man. They want to trade the son for his poppa.</dialogue> <scene_description>Rat flicks a folded letter through the air. Badger catches it. He opens it. Kylie looks over his shoulder. Badger frowns.</scene_description> <character>BADGER</character> <dialogue>Why'd they write this in letters cut out of magazines?</dialogue> <character>KYLIE</character> <dialogue>To protect their identities.</dialogue> <parenthetical>(on second thought)</parenthetical> <dialogue>Oh, right, but then why'd they sign their names? Plus, we already knew who they were because they're trying to kill us.</dialogue> <scene_description>INSERT: A ransom note written in letters cut out of magazines and pasted onto a piece of paper. Badger reads out loud: Mr. Fox, we have your son. If you ever want to see him alive again -- Ash calls out:</scene_description> <character>ASH</character> <dialogue>~ his son.</dialogue> <scene_description>Everyone looks at Ash. He stands behind them in silhouette. Rat says darkly:</scene_description> <character>RAT</character> <dialogue>I can see the resemblance.</dialogue> <scene_description>Pause. In an instant, Rat grabs Ash by the tail, picks him up off the ground, swings him in the air, and flings him away twenty feet down the drainpipe. Badger looks stunned. Ash sits in a puddle in a stupor. Rat races toward him down the tunnel. He leaps into the air with his claws out and his teeth bared. As he is about to seize upon Ash -- he is suddenly jerked backwards and spun around. Rat is face to face with Fox. Fox strikes his old-fashioned boxing stance. He draws back and throws a hard punch, nailing Rat square in the jaw. Rat staggers, stunned. He swings his switchblade, cutting Fox across the chest. Fox touches the wound and looks at the blood on the fingers of his paw. He looks to Rat. Rat holds up his wrist and shows Fox a child's plastic digital watch with miniature footballs, baseballs, and soccer balls on it. He says strangely:</scene_description> <character>RAT</character> <dialogue>I've still got it.</dialogue> <character>FOX</character> <parenthetical>(frowning)</parenthetical> <dialogue>What'd you just say?</dialogue> <character>RAT</character> <dialogue>I said I've still got the watch, Mr. Fox. She never asked for it back.</dialogue> <scene_description>A frozen moment. Fox springs forward and clamps his jaws onto Rat's throat. Rat tumbles over backwards. Fox pins him to the ground with his teeth in Rat's neck. Rat kicks and bucks and struggles, but Fox holds him fast. Rat goes limp. Fox releases him. Everyone slowly gathers around Fox and Rat. Ash kneels next to his father. Fox cradles Rat in his arms. Rat whispers:</scene_description> <character>RAT</character> <dialogue>The boy's locked in an apple crate on top of a gun-locker in the attic of Bean Annex. It's a set-up.</dialogue> <character>FOX</character> <parenthetical>(sadly)</parenthetical> <dialogue>Would you have told me if I didn't kill you first?</dialogue> <scene_description>Rat smiles sickly. Blood drips from his mouth. His voice creaks:</scene_description> <character>RAT</character> <dialogue>Never.</dialogue> <character>FOX</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>All these wasted years. What were you looking for, Rat?</dialogue> <scene_description>Fox wipes the blood from Rat's chin. Rat mutters.</scene_description> <character>ASH</character> <dialogue>He's trying to say something, Dad.</dialogue> <scene_description>Fox leans his ear close to Rat's mouth. As quiet as a mouse, Rat whispers:</scene_description> <character>RAT</character> <dialogue>Cider.</dialogue> <scene_description>Fox nods. He looks around the drainpipe. He cups his paw into the pool of murky water and holds it to Rat's lips.</scene_description> <character>FOX</character> <dialogue>Here you are, Rat. A beaker of Bean's finest secret cider.</dialogue> <scene_description>Rat's slivery, scratchity, long, pink tongue laps up a taste of the black liquid. He licks his lips and says faintly:</scene_description> <character>RAT</character> <dialogue>Like melted gold.</dialogue> <scene_description>Rat's eyes turn into X's. He is dead. Ash stands up.</scene_description> <character>ASH</character> <dialogue>He redeemed himself.</dialogue> <character>FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Redemption? Sure.</dialogue> <scene_description>Fox swallows and says hopelessly with tears in his eyes:</scene_description> <character>FOX</character> <dialogue>But, in the end -- he's just another dead rat in a garbage pail behind a Chinese restaurant.</dialogue> <scene_description>Ash puts his hand on Fox's shoulder. Fox lays Rat gently onto the sewer floor. He stands up and turns to the rest of the group. Badger claps his paws together.</scene_description> <character>BADGER</character> <dialogue>Well, I suppose we should --</dialogue> <character>FOX</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Excuse me, again, B. The search party's been cancelled. We're replacing it with a go-for-broke rescue mission. It's a set- up, but maybe we can make it work. You two little rabbits run tell the others.</dialogue> <parenthetical>(yelling)</parenthetical> <dialogue>Now, go!</dialogue> <scene_description>The two little rabbits scurry away down the drainpipe. Badger walks with Fox and Ash.</scene_description> <character>BADGER</character> <dialogue>What was he saying about that wristwatch? I didn't get what he was talking about.</dialogue> <scene_description>Fox hesitates. He shrugs and says with a sad nostalgia:</scene_description> <character>FOX</character> <dialogue>Just some old back-story.</dialogue> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. NIGHT</stage_direction> <scene_description>The entire community of animals has reconnoitered in the brick cavern. Fox stands on a large spigot and addresses the group. He has a bandage on his chest.</scene_description> <character>FOX</character> <dialogue>In a way, I'm almost glad that flood interrupted us, because I don't like the toast I was giving. I'm going to start over.</dialogue> <scene_description>Fox pantomimes raising a long-stemmed glass.</scene_description> <character>FOX</character> <dialogue>When I look down this table with the exquisite feast set before us, I see: two terrific lawyers, a skilled pediatrician, a wonderful chef, a savvy real-estate agent, an excellent tailor, a crack accountant, a gifted musician, a pretty good minnow fisherman, and possibly the best landscape painter working on the scene today.</dialogue> <scene_description>As Fox describes them, the shot cuts to: Badger and Beaver; Mrs. Badger; Rabbit; Weasel; an especially small, waifish field mouse; Mole; Kylie (who looks slightly offended); and Mrs. Fox, respectively.</scene_description> <character>FOX</character> <dialogue>Maybe a few of you might even read my column from time to time. Who knows? I tend to doubt it.</dialogue> <parenthetical>(dramatic pause)</parenthetical> <dialogue>I also see a room full of wild animals.</dialogue> <scene_description>Everyone stares at Fox curiously, skeptical but intrigued. Fox points at them:</scene_description> <character>FOX</character> <dialogue>Wild animals with true natures and pure talents. Wild animals with scientific- sounding Latin names that mean something about our D.N.A. Wild animals each with his own strengths and weaknesses due to his or her species, and also -- well, I guess these things usually have a lot to</dialogue> <parenthetical>(more)</parenthetical> <character>FOX</character> <dialogue>do with the parents, as we all know. Anyway, I think it may very well be all the beautiful differences among us that just might give us the tiniest glimmer of a chance of saving my nephew and letting me make it up to you for getting us into this crazy whatever-it-is. I don't know. It's just a thought. Thank you for listening. Cheers, everyone.</dialogue> <scene_description>Fox motions with his imaginary glass and pantomimes drinking it. A few of the others reluctantly pantomime drinking. Fox finishes his glass and pantomimes throwing it on the floor. He makes a smashing-glass sound. Kylie shouts:</scene_description> <character>KYLIE</character> <dialogue>Let's eat!</dialogue> <scene_description>Everyone turns to Kylie uncertainly. Kylie hesitates.</scene_description> <character>KYLIE</character> <dialogue>What? I'm just playing along with the --</dialogue> <character>FOX</character> <parenthetical>(forcefully)</parenthetical> <dialogue>All right! Let's start planning! Who knows shorthand?</dialogue> <scene_description>Pause. Badger points to his otter secretary. She is Linda. Fox darts over to her and grips her by the arm.</scene_description> <character>FOX</character> <dialogue>Linda! Lutra Lutra! You got some dry paper? Here we go!</dialogue> <scene_description>Fox, highly energized, moves among the group, touching their shoulders and patting their backs.</scene_description> <character>FOX</character> <dialogue>Mole! Talpa Europea! What do you got?</dialogue> <character>MOLE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>I can see in the dark?</dialogue> <character>FOX</character> <parenthetical>(exhilarated)</parenthetical> <dialogue>That's incredible! We can use that! Linda?</dialogue> <character>LINDA</character> <parenthetical>(taking shorthand)</parenthetical> <dialogue>Got it.</dialogue> <character>FOX</character> <dialogue>Rabbit! Oryctolagus Cuniculus!</dialogue> <character>RABBIT</character> <dialogue>I'm fast.</dialogue> <character>FOX</character> <dialogue>You bet your cuss you are! Linda?</dialogue> <character>LINDA</character> <parenthetical>(taking shorthand)</parenthetical> <dialogue>Got it.</dialogue> <character>FOX</character> <dialogue>Beaver! Castor Fiber!</dialogue> <character>BEAVER</character> <dialogue>I can chew through wood.</dialogue> <character>FOX</character> <dialogue>Amazing! Linda?</dialogue> <character>LINDA</character> <parenthetical>(taking shorthand)</parenthetical> <dialogue>Got it.</dialogue> <character>FOX</character> <dialogue>Badger! Meles Meles!</dialogue> <character>BADGER</character> <dialogue>Demolitions expert!</dialogue> <character>FOX</character> <parenthetical>(confused)</parenthetical> <dialogue>What? Since when?</dialogue> <character>BADGER</character> <dialogue>Explosions, flames, things that burn!</dialogue> <character>FOX</character> <dialogue>Demolitions expert! OK! Linda!</dialogue> <character>LINDA</character> <parenthetical>(taking shorthand)</parenthetical> <dialogue>Got it!</dialogue> <scene_description>Fox's cheeks and forehead are beaded with perspiration. He screams insanely:</scene_description> <character>FOX</character> <dialogue>Weasel! Mustela Ni val is!</dialogue> <character>WEASEL</character> <dialogue>Stop yelling!</dialogue> <scene_description>Fox snaps his fingers, kicks a rock, and throws his arm into the air.</scene_description> <character>FOX</character> <dialogue>All right!</dialogue> <scene_description>Fox points to the various cubs and pups.</scene_description> <character>FOX</character> <dialogue>All you little kids get organized and put together some kind of a K.P. unit or something to keep this sewer clean. It's good for morale.</dialogue> <scene_description>The field mouse shoves his way to the front of the crowd. He makes a fist with his paw.</scene_description> <character>FIELD MOUSE</character> <dialogue>I want to go with you, too! I want to fight!</dialogue> <character>FOX</character> <parenthetical>(pause)</parenthetical> <dialogue>Good. Fabulous! Microtus Pennsylvanicus! Do you do that, in fact? Are field mice violent?</dialogue> <character>FIELD MOUSE</character> <dialogue>Not particularly, except maybe domestic/ kitchen sink-type stuff, but I have a hunch I might just --</dialogue> <parenthetical>(devil-may-care)</parenthetical> <dialogue>-- land a few good punches before I get stepped on, poisoned, or lured to my death by a little piece of cheese. Who's to say?</dialogue> <character>FOX</character> <parenthetical>(smiling with admiration)</parenthetical> <dialogue>You're a cuss of a lot bigger than you look, Rickity.</dialogue> <scene_description>Kylie tugs at Fox's sleeve. Fox turns to look at him. Kylie says shyly:</scene_description> <character>KYLIE</character> <dialogue>I didn't get a job yet -- or a Latin name. What's my strength?</dialogue> <scene_description>Fox raises an eyebrow. He thinks of something:</scene_description> <character>FOX</character> <dialogue>Listen, you're Kylie. You're an unbelievably nice guy. Your job is really just to ... be available, I think. I don't know your Latin name. I doubt they even had opossums in ancient Rome.</dialogue> <scene_description>Kylie puts his hands in his pockets and scowls.</scene_description> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. NIGHT</stage_direction> <scene_description>Mrs. Fox puts the finishing touches on a vast mural painted on the longest, tallest wall of the brick cavern. She stands on a ladder. Her sleeves are rolled up, and she is splattered with twelve different colors of paint. She looks down to Fox standing below with an entourage of Kylie, Badger, Linda, and Rickity. The animal children mop and scrub in the background. Ash stands leaning against a push-broom watching his parents. Fox surveys the mural. It is highly detailed, filled with the textures of the landscape, and decorated with images of flowers, leaves, acorns, etc. It is signed Felicity Fox. Fox opens his arms wide and shouts:</scene_description> <character>FOX</character> <dialogue>It's stupendous. Where's us?</dialogue> <character>MRS. FOX</character> <parenthetical>(pointing to a spot)</parenthetical> <dialogue>Right here.</dialogue> <character>FOX</character> <dialogue>Paint an X.</dialogue> <scene_description>INSERT: The bottom of the map. Mrs. Fox's paw paints a red X and puts a circle around it. The shot zooms out to reveal the entire valley -- no longer a painting on the brick wall. Lighting strikes at the horizon. Dark clouds loom over the three farmers' compounds. It looks exactly like one of Mrs. Fox's paintings of a landscape in a rainstorm. Bean's helicopter circles the area.</scene_description> </scene> <scene> <stage_direction>EXT. HILL. NIGHT</stage_direction> <scene_description>A bicycle messenger with a head-lamp rings his bell as he approaches the farmers' camp. He stops in front of Bean and hands him an envelope. Bean tears it open and unfolds the letter inside. INSERT: A note written in letters cut out of magazines and pasted onto a piece of paper. It reads: Dear Farmers Boggis, Bunce, and Bean, I have no alternative but to agree to your terms. Move the station wagon and open the manhole cover below the foot of the drainpipe next to the cobbler's shop and meet me there today at 10 A.M. sharp. I will hand myself over to you in exchange for the boy's safe return. Cordially, Mr. Fox Bean frowns. He studies the letter. He shows it to Boggis and Bunce.</scene_description> <character>BEAN</character> <dialogue>Why'd he write this in letters cut out of magazines?</dialogue> <character>BUNCE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't know, but you did the same thing.</dialogue> <character>BEAN</character> <parenthetical>(uneasy)</parenthetical> <dialogue>I don't trust this guy. Anyway, set up the ambush.</dialogue> </scene> <scene> <stage_direction>INT. ATTIC. DAY</stage_direction> <scene_description>The top floor of Bean Annex. The room is filled with boxes of Christmas ornaments, old sports equipment, two stained mattresses, and a broken birdcage. Cobwebs hang from the rafters below the sloped roof. Kristofferson stands with his hands in his pockets looking out between the slats from inside a padlocked apple crate on top of a gun locker in the corner. He clears his throat. He calls out politely:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Could I have a cup of water, please?</dialogue> <scene_description>Kristofferson waits for a reply, but no one answers. He whistles to himself for a minute. He clears his throat again. He calls out:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Excuse me! Excuse me?</dialogue> <scene_description>Silence.</scene_description> </scene> <scene> <stage_direction>INT. DRAINPIPE. DAY</stage_direction> <scene_description>A cement conduit with an iron grating above it. A fast stream of sewer water runs along its side. Fox walks briskly down the pipe followed by his entourage and Ash. Their steps echo loudly.</scene_description> <character>FOX</character> <dialogue>Synchronize your clocks. The time is now --</dialogue> <scene_description>Fox looks at his wrist. He is wearing Rat's plastic, digital, sports-themed wristwatch.</scene_description> <character>FOX</character> <dialogue>nine forty-five A.M.</dialogue> <scene_description>Everyone checks their watches. Badger points at Fox's wrist.</scene_description> <character>BADGER</character> <dialogue>Is that Rat's watch?</dialogue> <character>FOX</character> <parenthetical>(vaguely)</parenthetical> <dialogue>No. Originally, no.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Well, OK, here's the back-story: when I was a teenager I spent a summer working as a bar-back at a jazz pub called Django's where Rat played horn down near -- can I tell this another time? We should stay focused on what's happening right now.</dialogue> <scene_description>Ash comes up to Fox's side and says discreetly:</scene_description> <character>ASH</character> <dialogue>I should probably ride with you and Kylie since it's my fault Kristofferson got captured stealing those nutmeg-ginger- apple snaps.</dialogue> <character>FOX</character> <parenthetical>(puzzled)</parenthetical> <dialogue>I didn't understand a word of that sentence, but none of it matters, anyway, because it's too dangerous for you to come with us.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. DAY</stage_direction> <scene_description>An old craftsman looks out from the window of Ferguson Cobblers as he taps little nails into the heel of a loafer. A station-wagon with wood-grain side-panels and a flat tire sits parked on a manhole cover in front of the shop. Boggis, Bunce, and five armed farmhands watch as Bean monkeys with a slim-jim until he gets the car door jimmied. Bean hops inside. He starts the engine, puts his arm over the top of the seat as he looks back out the rear window, and throws the station-wagon into reverse. The farmers clear out of the way as Bean backs up off the manhole cover. Boggis and Bunce stick tools into the manhole cover and lift it open. INSERT: Rat's watch. It is now 10 A.M. CUT TO: Six armed farmhands on the roof of the Nag's Head Tavern. CUT TO: Seven armed farmhands in the bushes behind Sweetings Bakery. CUT TO: Eight armed farmers in the window of Harrison Travel. CUT TO: The Action 13 reporter and camera crew in an alley next to St. John's Coin-op Laundry.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. DAY</stage_direction> <scene_description>Boggis, Bunce, and Bean crouch behind the open doors of a pick-up truck with three beagles. Boggis checks his car b ine. Bunce loads his shotgun. Bean cocks his Luger. Fox's voice hollers from deep inside the manhole:</scene_description> <character>FOX (O.S.)</character> <dialogue>Did you bring the boy?</dialogue> <character>BEAN</character> <dialogue>Of course, we did! Say something, kid!</dialogue> <scene_description>Bunce presses play on a tape recorder. Kristofferson's voice comes over a loudspeaker:</scene_description> <character>KRISTOFFERSON'S</character> <dialogue>Excuse</dialogue> <character>VOICE</character> <dialogue>me!</dialogue> <scene_description>Bunce presses stop. CUT TO: Fox and his entourage at the bottom off the manhole. Fox scoffs. He smiles and shakes his head.</scene_description> <character>FOX</character> <dialogue>Come on! That doesn't sound anything like him! It's amateur night in Dixie!</dialogue> <scene_description>Badger rapidly slaps two pieces of flint together. A bit chips off, and sparks fly from the break. He blows on some kindling. He takes a pinecone out of a basket.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. DAY</stage_direction> <scene_description>A ribbon of white smoke rises out of the manhole. The three farmers watch curiously as it thickens and turns black. Bean frowns.</scene_description> <character>BEAN</character> <dialogue>What the cuss is he burning?</dialogue> <scene_description>A blazing pinecone shoots out of the manhole and flies through the air, over the farmers' heads. It lands in a trash can and lights some rubbish on fire. A man with a dart in one hand and a mug of ale in the other comes out of the Nag's Head and pours his beer into the trash can. The fire goes out. The three farmers laugh smugly. Bean shouts:</scene_description> <character>BEAN</character> <dialogue>Is that all you've got, Mr. Fox?</dialogue> <scene_description>Twenty-seven blazing pinecones shoot out of the manhole and hit: a wood-pile on the roof of the Nag's Head, a box of pastry wrappers in the bushes behind Sweetings, a stack of brochures in the window of Harrison Travel, a hay bale in the bed of the pick-up truck, Boggis, Bunce, Bean, and a crate of cam-corder batteries next to the Action 13 camera crew, which explodes. Farmers scatter, grabbing hoses, yelling, and tamping out the flames as the beagles bark, yelp, and scramble in the confusion. Rabbit darts out of the hole and races up the street. Six farmers chase after him, firing their weapons.</scene_description> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. DAY</stage_direction> <scene_description>Down in the brick cavern, Mole listens to a tin can attached to a string. He says urgently as he makes notations in a ledger:</scene_description> <character>MOLE</character> <dialogue>Twenty-eight pinecones fired! Twenty-two targets hit!</dialogue> <scene_description>Mrs. Fox, standing on her ladder, paints black checks quickly on the street in her mural. The stolen, portable television set sits in the corner, tuned into Action 13's coverage of the chaos in the street. CUT TO: Rabbit running full-steam out of the village being pursued by the six farmhands. He hurdles an empty Coke bottle lying on its side in the road.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. DAY</stage_direction> <scene_description>Badger jumps out of the manhole and throws more blazing pinecones at farmers, trucks, parked cars, doors, windows, and the Action 13 camera crew. Seven farmhands chase him down a cobblestone lane. Weasel and Beaver climb out with straws in their paws and start firing blueberries toward the disoriented beagles. The beagles eat blueberries. They fall over. Eight farmhands chase Weasel and Beaver up a wooded path. Rickity, the field mouse, bounds out of the hole and leaps into the fracas. He fires a rubber band at Bunce off a paperclip. It snaps Bunce in the corner of his eye. Rickity lets out a little whoop. There is a small explosion and a burst of flames blasts from the manhole. Fox and Kylie jump out and run over to a vehicle with a tarp over it parked in front of Paddington Automotive. Fox whips off the tarp, revealing a miniature motorcycle with a sidecar. CUT TO: Fox driving the motorcycle with Kylie in the sidecar. They both wear helmets and goggles. Thunder rumbles in the distance. Kylie sinks lower in the sidecar. He shouts to Fox over the sound of the motor:</scene_description> <character>KYLIE</character> <dialogue>Are you scared of wolves?</dialogue> <character>FOX</character> <dialogue>Scared, no! I have a phobia of them!</dialogue> <character>KYLIE</character> <dialogue>Well, I have a thing about thunder!</dialogue> <character>FOX</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Why? That's stupid!</dialogue> <scene_description>Ash pokes his head up from the rear compartment of the sidecar. He also wears a helmet and goggles. His white cape flutters behind him. He shouts:</scene_description> <character>ASH</character> <dialogue>I don't like needles!</dialogue> <scene_description>Fox and Kylie look to Ash in disbelief. Fox says furiously:</scene_description> <character>FOX</character> <dialogue>Where'd you come from again? How'd you get in the sidecar? I feel like I'm losing my mind!</dialogue> <scene_description>Fox angrily steers toward a small mound of dirt. They jump it slightly and fly over a little ditch. Ash yelps enthusiastically as Fox drives them back onto the road.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER. DAY</stage_direction> <scene_description>A pilot with a red moustache and a South African accent flies Bean's chopper. He wears a Bean, inc. patch on his shoulder. He shouts into the microphone connected to his helmet:</scene_description> <character>PILOT</character> <dialogue>I've got a fox on a motorcycle with a littler fox and what looks to be an opossum in the sidecar riding north on farm lane seven. Does that sound like anything to anybody?</dialogue> <scene_description>A military-type voice responds over the radio:</scene_description> <character>MILITARY VOICE (O.S.)</character> <dialogue>Roger that, Red. Let me just, uh -- Oh, I think the boss wants to</dialogue> <character>BEAN (O.S.)</character> <dialogue>Red, it's Franklin Bean! Turn around, get the cuss back here, and pick us up on the A.S.A.P!</dialogue> </scene> <scene> <stage_direction>EXT. BEAN'S COMPOUND. DAY</stage_direction> <scene_description>The Bean, inc. windmill spins briskly in the dusty winds. Shutters on the farmhouse bang open and shut. Leaves rustle on the branches of the apple trees. A few stray turkeys wander in the yard. A white-washed brick pile six stories tall sits apart from the other structures. The doors to its courtyard are made of iron and painted yellow. This is Bean Annex. The front gates of the farm are open, and a gardener waters vegetables next to the driveway. Fox, Kylie, and Ash look out from a high branch over a reinforced concrete and barbed-wire security barricade.</scene_description> <character>FOX</character> <dialogue>That's the annex over there on the right.</dialogue> <scene_description>Ash nods. Kylie does not respond.</scene_description> <character>FOX</character> <dialogue>The white building over there on the right.</dialogue> <scene_description>Pause. Fox looks to Kylie.</scene_description> <character>FOX</character> <dialogue>Kylie?</dialogue> <scene_description>Kylie turns to Fox and stares at him vacantly. Fox says sharply:</scene_description> <character>FOX</character> <dialogue>Kylie!</dialogue> <character>KYLIE</character> <dialogue>What?</dialogue> <parenthetical>(suddenly)</parenthetical> <dialogue>I did it!</dialogue> <character>FOX</character> <dialogue>When? I didn't see it!</dialogue> <scene_description>Kylie makes his slight gesture with his paw. The gardener puts three turnips into a basket and rides away on his bicycle. Fox, Kylie, and Ash scramble down the tree trunk. They come out of the bushes on their motorcycle and ride through the gates, across the yard, past the wandering turkeys. They park outside the courtyard doors to Bean Annex and jump off the motorcycle. Fox climbs onto Kylie's shoulders and tries the knobs. They are locked.</scene_description> <character>FOX</character> <dialogue>Kylie, you got a credit card?</dialogue> <character>KYLIE</character> <parenthetical>(digging in his pockets)</parenthetical> <dialogue>Sure.</dialogue> <character>FOX</character> <parenthetical>(impressed)</parenthetical> <dialogue>See, this is what I was saying about how good you are at just being available for whatever --</dialogue> <scene_description>Kylie hands Fox a World Traveler Titanium Card. Fox frowns.</scene_description> <character>FOX</character> <dialogue>A Titanium Card? How the cuss did you qualify for this?</dialogue> <character>KYLIE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I pay my bills on time. I've always had good credit.</dialogue> <scene_description>Fox examines the card with mild resentment. He picks the lock and opens the doors. The courtyard has high walls and a gravel floor. On one side, there are ten trash cans, a stack of newspapers, and a compost heap. On the other side, there is an old, rusted, broken-down tractor and a new one. By far the largest, fattest, toughest beagle yet lies sleeping in the middle. White foam froths around its mouth as it breathes heavily. Its collar is hooked to a thick chain. A tag around its neck reads Spitz. Fox, Kylie, and Ash stop in their tracks. The beagle opens his eyes. Fox turns to Kylie.</scene_description> <character>FOX</character> <dialogue>Give me a blueberry.</dialogue> <scene_description>Kylie looks surprised. He shrugs. He shakes his head and gestures, I don't have any. Fox frowns. He throws up his hands in the air. Kylie makes a frustrated face. Fox points at him. Kylie looks away and snorts angrily. Fox looks away and spits at the ground. Ash says quietly:</scene_description> <character>ASH</character> <dialogue>What's that white stuff around his mouth?</dialogue> <character>KYLIE</character> <parenthetical>(squinting)</parenthetical> <dialogue>I think he eats soap.</dialogue> <scene_description>Fox sees an amber, plastic pharmacy bottle on a shelf above some bags of fertilizer. It's reads: Drug: Phenomoxylcarbobubytol, 10 mg Name: SPITZ Breed: BEAGLE For: RABIES (chronic) Other: Take with meat, do not operate heavy machinery Fox frowns. He says grimly:</scene_description> <character>FOX</character> <dialogue>That's not soap.</dialogue> <character>KYLIE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Well, then why does he have that bubbly --</dialogue> <character>FOX</character> <dialogue>He's rabid. With rabies. I've heard about this beagle.</dialogue> <scene_description>The beagle stands up. Fox says carefully:</scene_description> <character>FOX</character> <dialogue>Easy, boy.</dialogue> <scene_description>Fox takes a cautious step toward the beagle. He holds out the back of his paw for the beagle to sniff. He says back over his shoulder to Kylie and Ash:</scene_description> <character>FOX</character> <dialogue>I'm going to try to befriend him. I feel like there's a tenderness in his eyes.</dialogue> <scene_description>Fox takes another step. He makes a soft, kissing noise. The beagle watches him calmly.</scene_description> <character>FOX</character> <dialogue>Yes, I'm right. He's a good boy. A little lonely, maybe, but</dialogue> <scene_description>Fox takes another cautious step.</scene_description> <character>FOX</character> <dialogue>-- but terribly sweet. Hello, there, boy. Is your name Spitz? That's German, isn't it?</dialogue> <character>KYLIE</character> <parenthetical>(aside, to Ash)</parenthetical> <dialogue>I thought he said you never look a beagle in the eye.</dialogue> <character>FOX</character> <parenthetical>(coaxingly)</parenthetical> <dialogue>Why, you're just as sweet as a --</dialogue> <scene_description>Fox and the beagle lock eyes. The pupils of the beagle's eyes contract then completely disappear, and the whites turn bright red. Fox's eyes open wider than their sockets. The rabid beagle erupts ballistically, attacking like an enraged maniac. His chain rips out of the cement. Fox, Kylie, and Ash shriek and scream, sprinting frantically around the courtyard as the rabid beagle, frothing, roaring, and snapping, tries desperately to kill them. Fox shouts, his voice cracking like a grandmother's:</scene_description> <character>FOX</character> <dialogue>Climb the trellis!</dialogue> <scene_description>In well under a second, Fox, Kylie, and Ash scale the trellis six stories -- Kylie's pants catching on a nail and ripping off on the way up -- and find themselves standing on the roof of Bean Annex. Kylie wears blue Fruit-of-the-Looms with a pattern of stars, moons, and planets on them. They all look down at the rabid beagle, which continues to pitch an insane fit, running in circles after its tail at the bottom of the courtyard. Fox takes in their new surroundings. He says, pleased:</scene_description> <character>FOX</character> <dialogue>So the attic is probably in the area right up around here somewhere, I figure, huh?</dialogue> <scene_description>Kylie and Ash, panting and dripping with sweat, both stare at Fox vacantly. (NOTE: a second set of alternate eyeballs indicating Kylie's vacant look will be used for Ash in this shot.)</scene_description> <character>FOX</character> <parenthetical>(irritated)</parenthetical> <dialogue>Come on, guys. Stay with me. We did good. That's just some dog. Let's not get traumatized.</dialogue> </scene> <scene> <stage_direction>EXT. ROOF. DAY</stage_direction> <scene_description>Bean's helicopter lands on top of the Nag's Head. Fires smolder and farmers continue to chase around after animals in the village streets below. Boggis, Bunce, and Bean, leaning over and holding onto their hats, run to the chopper and climb inside. They take off. CUT TO: The street below. An orange and yellow Citroen van screeches into the melee. Painted yellow letters spell Badoit et Fils, Destruction des Animaux Nuisibles on the side of it with an image of a trapped fox. An old man with a grey moustache and a young man with a black moustache, both dressed in orange-and-yellow-striped uniforms, jump out of the van. They open the side door and start unloading stacks of metal cages. CUT TO: Rabbit still running full-steam down a country lane being pursued by the six farmhands.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC. DAY</stage_direction> <scene_description>Kristofferson stands inside the apple crate leaning against the wall with his legs crossed and one arm akimbo with his hand on his hip. There is a clanking sound from above. Kristofferson looks up. A trap door in the ceiling creaks open. Fox, Kylie, and Ash look inside, down at Kristofferson. Kristofferson smiles oddly and says in a surprised, fancy-meeting-you-here voice:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Hl.• I</dialogue> <scene_description>CUT TO: Fox and Kylie lowering Ash into the room with three different- colored shoelaces tied together and belted around his waist. Ash holds the shoelace and keeps a paw behind his back like a mountaineer. His feet touch down on the shelf. He runs to the apple crate and jiggles the padlock. He hesitates. He says suddenly:</scene_description> <character>ASH</character> <dialogue>Can I get one of those karate lessons real quick?</dialogue> <character>KRISTOFFERSON</character> <parenthetical>(long pause)</parenthetical> <dialogue>OK. Normally, we start with some breathing exercises and such. Stand like this.</dialogue> <scene_description>Kristofferson stands with his paws clasped in front of him. Ash mimics this. CUT TO: A fox-trap hanging from a chain suspended above the alley behind the Nag's Head Tavern. A second one hangs behind Sweetings Bakery. A third one hangs behind Harrison Travel. A fourth one hangs behind St. John's Coin-op Laundry. A fifth one hangs behind Ferguson Cobblers. Rickity curiously examines a little, hanging wire. He mutters to himself:</scene_description> <character>RICKITY</character> <dialogue>Is this spring-loaded?</dialogue> <scene_description>CUT TO: Kristofferson continuing Ash's karate lesson:</scene_description> <character>KRISTOFFERSON</character> <dialogue>This next part is mental. Position yourself on the balls of your feet.</dialogue> <scene_description>Kristofferson stands lightly poised with his arms out. Ash mimics this.</scene_description> <character>KRISTOFFERSON</character> <dialogue>Close your eyes.</dialogue> <scene_description>Kristofferson closes his eyes. So does Ash. So do Fox and Kylie. Kristofferson says mystically:</scene_description> <character>KRISTOFFERSON</character> <dialogue>You weigh less than a slice of bread.</dialogue> <scene_description>CUT TO: Each fox-trap in rapid succession as it falls on: Rickity, Badger, Weasel, and Beaver. The two small rabbits watch from a sewer-gutter drain under the street-curb. They panic. They race down a pipe, into a tunnel, and through a conduit. CUT TO: Kristofferson continuing Ash's karate lesson:</scene_description> <character>KRISTOFFERSON</character> <dialogue>Let's review the principle agility techniques: jumping, flipping, landing.</dialogue> <scene_description>CUT TO: Mrs. Fox looking down from her ladder at the three, panting rabbits. She looks stunned. She motions to her mural/map and says:</scene_description> <character>MRS. FOX</character> <dialogue>Show me where they are!</dialogue> <scene_description>CUT TO: The two small rabbits, Mrs. Rabbit, Mrs. Badger, Mole, and Mrs. Fox each furiously digging a new tunnel.</scene_description> <character>KRISTOFFERSON (V.O.)</character> <dialogue>Now for a rudimentary version of the cyclone chop.</dialogue> <scene_description>CUT TO: Kristofferson continuing Ash's karate lesson:</scene_description> <character>KRISTOFFERSON</character> <dialogue>First, you need to get a running start, which, obviously, I can't do in here, then, as you arrive at the destination of the chop --</dialogue> <parenthetical>(demonstrating)</parenthetical> <dialogue>-- lean and thrust into the point of contact, paw remains open and straight, then withdraw instantaneously. Remember, it's the pull-back that matters. The pull- back</dialogue> <parenthetical>(demonstrating)</parenthetical> <dialogue>generates the force of the impact.</dialogue> <character>ASH</character> <parenthetical>(immediately)</parenthetical> <dialogue>Got it.</dialogue> <scene_description>Ash walks ten paces away to the far end of the shelf. Fox and Kylie watch from above. Kylie says excitedly:</scene_description> <character>KYLIE</character> <dialogue>He's going to do it!</dialogue> <scene_description>Fox makes a face that says, I'm not so sure. Ash takes a deep breath. He screams at the top of his lungs as he sprints toward the apple crate:</scene_description> <character>ASH</character> <dialogue>Ki-ya!</dialogue> <scene_description>Ash's toe catches on a loose nail. He somersaults twice through the air and bounces off the side of the apple crate, which falls off the shelf. Kristofferson braces himself. The apple crate hits the floor and shatters into pieces. Kristofferson lies among the wreckage. Ash looks over the side of the shelf. Fox and Kylie watch from above, grimacing.</scene_description> <character>ASH</character> <dialogue>I'm sorry.</dialogue> <character>KRISTOFFERSON</character> <parenthetical>(dazed)</parenthetical> <dialogue>That's all right. You were just trying to unlock the apple crate.</dialogue> <character>ASH</character> <dialogue>No, I mean I'm sorry about</dialogue> <character>KRISTOFFERSON</character> <parenthetical>(picking himself up)</parenthetical> <dialogue>Oh, you mean from before. The apology you owed me which you never actually said.</dialogue> <character>ASH</character> <dialogue>Yeah.</dialogue> <scene_description>Kristofferson nods sadly. He takes a deep breath. He nods again.</scene_description> <character>KRISTOFFERSON</character> <dialogue>That's all right, too. Throw me the shoelace, please.</dialogue> <scene_description>Ash smiles. CUT TO: Badger trapped in his cage. He hears something. He looks quickly down the alley. The old, orange van turns the corner and approaches, bumping over potholes. Badger shrinks into the corner of the cage and mutters grimly to himself:</scene_description> <character>BADGER</character> <dialogue>Badoit et fils.</dialogue> <scene_description>A cobblestone beside Badger suddenly drops straight down and disappears into the ground. Badger recoils, scared and confused. Mrs. Fox pokes her head up through the hole. She is beaded with perspiration and breathes heavily. Her fur is wildly dishevelled. She looks to the van driving up the alley. She looks to Badger. She extends her paw to him and says fiercely:</scene_description> <character>MRS. FOX</character> <dialogue>Let's go!</dialogue> </scene> <scene> <stage_direction>EXT. YARD. DAY</stage_direction> <scene_description>Fox, Kylie, Ash, and Kristofferson come around the side of the building. They run to their motorcycle, outside the courtyard doors. They freeze. The front gates to the compound are closed and bolted. Bean's helicopter waits on top of the vegetable garden with its rotar-blades whirling. Boggis, Bunce, and Bean stand in front of Bean Annex with their weapons drawn. Fox sees his tail around Bean's collar. His eyes narrow. His jaw sets. He says to himself with growing emotion:</scene_description> <character>FOX</character> <dialogue>Your tractors uprooted my tree. Your posse hunted my family. Your gunmen kidnapped my nephew. Your rat insulted my wife -- and you shot off my tail.</dialogue> <parenthetical>(steely)</parenthetical> <dialogue>I'm not leaving here without that neck- tie.</dialogue> <scene_description>Bean smiles his sickly smile. Fox smiles back defiantly. Kylie looks utterly baffled. Ash says mystically:</scene_description> <character>ASH</character> <dialogue>I weigh less than a slice of bread.</dialogue> <character>FOX</character> <parenthetical>(hesitates)</parenthetical> <dialogue>What?</dialogue> <character>ASH</character> <dialogue>I'll be right back.</dialogue> <scene_description>Ash runs. Fox, Kylie, and Kristofferson watch, shocked, as Ash sprints back to the courtyard doors. The three farmers open fire at him. Fox, Kylie, and Kristofferson duck and take cover behind a hay-bale. Ash dodges bullets. He jumps off the balls of his feet with his arms out over a sprinkler-pipe and swings like a gymnast onto a clothesline, then flies through the air doing another of his spectacularly awkward four-armed and three-legged back- flips. He lands on the handle of one of the courtyard doors and screams:</scene_description> <character>ASH</character> <dialogue>Ki-ya!</dialogue> <scene_description>Ash cyclone-chops the doorknob. The lock clicks. Ash's eyes light up. Ash drops to the ground. He digs a hole and burrows into the dirt as bullets fly everywhere. He breathes in through his nose and out through his mouth. Fox watches with his jaw hanging open. The courtyard doors smash apart and the rabid beagle tears out into the vegetable garden growling, foaming, and thrashing crazily. The farmers shriek and scream and run around, panicking, with their guns blazing. Fox, Kylie, Ash, and Kristofferson jump onto their motorcycle. The beagle rips the tail from Bean's neck, shreds it, chews it up, and swallows it. Fox deflates for an instant, then recovers. He looks to Ash on the back of the motorcycle, behind him, with his hands around Fox's waist. He says with the deepest affection and respect:</scene_description> <character>FOX</character> <dialogue>Ash, that was pure, wild animal craziness. You're an athlete.</dialogue> <scene_description>Ash swallows. He beams. He sits up straighter. (NOTE: from this point onwards, an alternate version of Ash will be used which is slightly taller, slightly leaner, and animated slightly more gracefully.) Fox kick-starts the motorcycle and races across the farm. Boggis, Bunce, and Bean scramble onto the roof of a car port with an old, white Mercedes convertible under it. The snarling beagle barks and snaps below them. They watch as: Fox steers the motorcycle toward a broken apple cart at the edge of the property. He guns the motor and yells:</scene_description> <character>FOX</character> <dialogue>Holy swearing QJ.lS..S.!!!</dialogue> <scene_description>Fox races the motorcycle up the apple cart, into the air, and over the concrete barricade. They land in the middle of the road, skidding, and speed off down the hill. CUT TO: Boggis, Bunce, and Bean watching from the roof of the car port. Boggis turns to Bean and says, deadpan, needling him:</scene_description> <character>BOGGIS</character> <dialogue>Franklin? You got any final twist for this plot?</dialogue> <character>BEAN</character> <parenthetical>(pause)</parenthetical> <dialogue>Yeah!</dialogue> <scene_description>Bean grabs Boggis by the neck and throttles him. Bunce starts throwing punches. Bean holds him back by the forehead. Boggis kicks Bunce in the stomach. They brawl chaotically while the rabid beagle continues to go bananas below them. CUT TO: Each fox-trap with a cobblestone missing underneath it and a hole in the ground. The old man with the grey moustache turns to his son and says with a strong French accent:</scene_description> <character>BADOIT</character> <dialogue>Cuss.</dialogue> </scene> <scene> <stage_direction>INT. SEWER SYSTEM. DAY</stage_direction> <scene_description>Mrs. Fox sits anxiously at the bottom of her ladder. Badger, Weasel, Rickity, the two small rabbits, and the others sit, exhausted, in the dark cavern, passing a jar of cider. Mole interrupts:</scene_description> <character>MOLE</character> <dialogue>Stand by!</dialogue> <scene_description>Everyone looks to Mole. Mole is holding the tin can with the string attached to it to his ear. He nods and says urgently:</scene_description> <character>MOLE</character> <dialogue>I just intercepted a high-frequency radio signal with the can --</dialogue> <parenthetical>(gestures with the tin can)</parenthetical> <dialogue>-- and I think they're on their way home!</dialogue> <scene_description>Mrs. Fox jumps up, embraces Mole, and kisses him on the snout. Mole blushes. CUT TO: Rabbit still running full-steam back into the village being pursued by the six farmhands. He comes to the manhole where they started and darts into it. The six farmhands stop at the manhole and look down. They go straight to the Nag's Head, walk inside, and close the door behind them.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD. DAY</stage_direction> <scene_description>Fox, Kylie, Ash, and Kristofferson ride down a country road. Kylie sees something across the meadow. He says warily:</scene_description> <character>KYLIE</character> <dialogue>Don't turn around!</dialogue> <character>FOX</character> <dialogue>What?</dialogue> <scene_description>Fox turns around. A huge, wild, grey wolf with ice-blue eyes stands on a rock fifty feet away from them. Fox slams on the brakes. The motorcycle slides to a halt.</scene_description> <character>FOX</character> <dialogue>Where'd he come from?</dialogue> <parenthetical>(loudly)</parenthetical> <dialogue>Where'd you come from? What are you doing here?</dialogue> <scene_description>Pause. Fox points toward the wolf:</scene_description> <character>FOX</character> <dialogue>Canis lupus!</dialogue> <scene_description>Fox points to himself:</scene_description> <character>FOX</character> <dialogue>Vulpes Vulpes!</dialogue> <scene_description>The wolf does not answer. Fox, Kylie, Ash, and Kristofferson watch idling from the motorcycle.</scene_description> <character>FOX</character> <dialogue>I don't think he speaks English or Latin.</dialogue> <parenthetical>(loudly)</parenthetical> <dialogue>Pensez-vous que l'hiver sera rude?</dialogue> <parenthetical>(aside)</parenthetical> <dialogue>I'm asking if he thinks we're in for a hard winter.</dialogue> <scene_description>The wolf shakes his head. Fox nods.</scene_description> <character>FOX</character> <dialogue>He doesn't seem to know.</dialogue> <scene_description>Silence. Fox shouts to the wolf with a strange hitch in his voice:</scene_description> <character>FOX</character> <dialogue>I have a phobia of wolves!</dialogue> <scene_description>The wolf does not answer. It breathes heavily with its mouth open. Its teeth are long, sharp, and yellow. Its tongue hangs out, and its eyes are wild. Fox looks back at it with the identical expression for a minute, mesmerized then Fox closes his mouth and his eyes soften. Fox raises his paw in the air. The wolf blinks a few times. It raises its paw in the air. It turns away and trots off into the woods. Fox says wistfully:</scene_description> <character>FOX</character> <dialogue>What a beautiful creature. Wish him luck, boys.</dialogue> <scene_description>Fox guns the motor. Gravel spits from under the spinning tires, and they tear off down the road. The shot booms down into the ground, below the grass, through buried pebbles, layers of soil, and subterranean mineral deposits. TITLE: THREE DAYS LATER (2 1/2 Fox Weeks) The shot continues to descend past Badger and his family having dinner in a nicely furnished drain-pipe, past Rabbit and his family watching Magnum, P.I. on the stolen, portable television set in a well-appointed cement tunnel, past Beaver and Mrs. Beaver hosting Mole and Weasel for cocktails in a tasteful sewer-conduit. The shot stops in a small chamber adjacent to the brick cavern. The walls are filled with electrical cables, wires, pipes, and a large, new mural which depicts the Fox's former view of the valley as seen from their tree with a trompe l'oeil window-frame around it. It is signed Felicity Fox. Ash and Kristofferson sit Indian-style meditating on a braided rug. Mrs. Fox works mixing paints and turpentine at an easel in the corner. There is an armchair with a folded-up copy of the Gazette on its cushion in the center of the room under a glowing lamp. Classical music plays on a radio. Fox swings his head into the room from a tunnel. He says gently:</scene_description> <character>FOX</character> <dialogue>My darlings?</dialogue> <scene_description>Everyone looks to Fox. He signals them to follow him.</scene_description> </scene> <scene> <stage_direction>INT. DRAINPIPE. NIGHT</stage_direction> <scene_description>The cement conduit with the iron grating above it. Fox and his family walk briskly down the pipe. A knitted, woolen, artificial tail has been sewn into the seat of Fox's trousers.</scene_description> <character>ASH</character> <dialogue>Where are we going?</dialogue> <character>FOX</character> <dialogue>Nobody knows.</dialogue> <character>ASH</character> <dialogue>We were in the middle of a meditation practice.</dialogue> <character>FOX</character> <dialogue>Watch your step.</dialogue> <scene_description>Fox takes everyone through an opening and starts climbing a metal ladder. He says theatrically:</scene_description> <character>FOX</character> <dialogue>Let's see, now. Where does this lead?</dialogue> <character>MRS. FOX</character> <dialogue>Oh, no, Foxy. It's filthy.</dialogue> <character>FOX</character> <dialogue>Keep a good grip, everyone.</dialogue> <character>ASH</character> <dialogue>This better be worth it.</dialogue> <character>FOX</character> <dialogue>I think I see a little sliver of light. What's this? Is that a door?</dialogue> <character>MRS. FOX</character> <dialogue>You're a terrible actor, Foxy.</dialogue> <character>KRISTOFFERSON</character> <dialogue>Do you smell something? Is that --</dialogue> <parenthetical>(sniffs twice)</parenthetical> <dialogue>freon?</dialogue> <character>FOX</character> <dialogue>Shh. I'm going to crack open this trap door and see if something's on the other side. I highly doubt it, though. There's probably just more sewer.</dialogue> <scene_description>Fox clears his throat. Pause.</scene_description> <character>FOX</character> <dialogue>You know, wouldn't it be surprising if --</dialogue> <character>ASH</character> <dialogue>Open it.</dialogue> <scene_description>Fox pushes open the trap door and crawls out. Everyone follows him.</scene_description> </scene> <scene> <stage_direction>INT. SUPERMARKET. NIGHT</stage_direction> <scene_description>Fox and his family stand in the middle of an aisle at the center of a large grocery store. To their left is the refrigerated section of milk, eggs, meat, fish, and cheese. To their right are canned goods, breakfast cereal, laundry detergent, rice, pasta, and condiments. The lights are half- dimmed, and a metal grate is closed over the front windows. There are no people. Fox says casually:</scene_description> <character>FOX</character> <dialogue>Hey, look! There's a whole, enormous, glorious, gigantic supermarket up here!</dialogue> <scene_description>Ash and Kristofferson seem dumbstruck. Fox raises an eyebrow and smiles at Mrs. Fox. She puts her arm around his shoulder.</scene_description> <character>MRS. FOX</character> <dialogue>You really are kind of a quote-unquote fantastic fox.</dialogue> <character>FOX</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I try. I guess now that Kristofferson's dad's already down to single-pneumonia and getting better, he'll be going home soon, huh?</dialogue> <character>MRS. FOX</character> <dialogue>Actually, when he spoke to me from the hospital, he said he was already talking</dialogue> <parenthetical>(more)</parenthetical> <character>MRS. FOX</character> <dialogue>to Weasel about real-estate availabil- ities down in our sewer system.</dialogue> <character>FOX</character> <dialogue>Oh, really? Well, now's the time to buy.</dialogue> <scene_description>Kylie comes around the end of the aisle pushing a miniature shopping cart filled with jars of jelly, jam, olives, pickles, and honey, plus three loaves of bread, Band-Aids, toothpaste, and a carton of strawberry ice cream. He says brightly:</scene_description> <character>KYLIE</character> <dialogue>Did I hear my name?</dialogue> <character>FOX</character> <parenthetical>(smiling)</parenthetical> <dialogue>Not down here, you didn't.</dialogue> <character>KYLIE</character> <parenthetical>(smiling blankly)</parenthetical> <dialogue>Why not?</dialogue> <character>FOX</character> <dialogue>Because we were talking about other things.</dialogue> <character>KYLIE</character> <parenthetical>(resigned)</parenthetical> <dialogue>Oh, well.</dialogue> <scene_description>Fox looks at Ash, who is studying a twelve-pack of tropical juice punch-boxes.</scene_description> <character>FOX</character> <dialogue>The white cape rather suits him, doesn't it? Actually, I had to do quite a bit of searching myself before I found a look that really flattered me. Remember those horseshoe cuff-links?</dialogue> <scene_description>Fox and Mrs. Fox crack-up laughing. Fox notices something and stops. He stares at Mrs. Fox strangely. She is glowing. She hesitates. She shrugs.</scene_description> <character>MRS. FOX</character> <dialogue>I'm pregnant again.</dialogue> <scene_description>Fox is confused and moved. He holds Mrs. Fox's face in his paws. She smiles. Ash interrupts:</scene_description> <character>ASH</character> <dialogue>Dad?</dialogue> <scene_description>Fox and Mrs. Fox look to Ash. An empty punch-box lies on its side behind him with a straw sticking out of it. There is a huge, purple stain all over the front of his white shirt.</scene_description> <character>ASH</character> <dialogue>Should we dance?</dialogue> <scene_description>Pause. Everyone breaks out giddily dancing an ecstatic jig. Kylie waltzes the cart in circles. Fox spins Mrs. Fox. CUT TO: A wide shot of all sixteen aisles of the supermarket stacked with boxes, cartons, cans, bottles, bags, and jars of every possible variety of food. The family of foxes continues to dance at the distant end of the center aisle.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. DAY</stage_direction> <scene_description>Boggis, Bunce, and Bean sit silently in folding metal chairs around the manhole. Boggis's carbine rests across his lap. Bunce's shotgun hangs from a strap over his shoulder. Bean cleans his Luger. Petey sits on a cider box outside the Nag's Head strumming his guitar in the background. The bartender pulls the shutters shut and flips a sign on the door to Closed. Petey starts singing his song as the credits roll. The sun sets. The farmers sit waiting in the dark.</scene_description> </scene> </script>

While raiding Berk's Squab Farm, Mr. Fox triggers a fox trap caging himself along with his wife Felicity. She reveals her pregnancy to her husband and pleads with him to find a safer job if they escape, and he agrees. Two human years (12 fox years) later, the Foxes and their son Ash are living in a hole. Mr. Fox, now a newspaper columnist, moves the family into a better home inside a tree, ignoring the warnings of his lawyer Clive Badger about how dangerous the area is for foxes due to its proximity to facilities run by three farmers: Walt Boggis, Nate Bunce, and Frank Bean. Soon after the Foxes move in, Felicity's nephew Kristofferson Silverfox comes to live with them due to his father receiving long-term medical treatment for double pneumonia. While Mr. and Mrs. Fox welcome him, Ash finds this situation intolerable, as his soft-spoken cousin is superior to him at almost everything and is charming everyone at his expense. Longing for his days as a thief, Mr. Fox and his opossum friend Kylie, the superintendent, steal produce and poultry from Boggis and Bunce's farms. They take Kristofferson along on the raid on Bean's cider cellar, which deepens Ash's resentment. Mr. Fox conceals these outings from Felicity, who becomes suspicious when unexplained food appears in their larder. Angered by the raids, the farmers decide to kill Mr. Fox. They camp out near his home, and when Mr. Fox emerges, they open fire but only shoot off his tail. After demolishing the site of the tree while attempting to dig Mr. Fox out, they discover the Foxes have dug an escape tunnel. As the Foxes will have to surface for food and water, the farmers wait at the tunnel mouth. Underground, Felicity is upset that Mr. Fox returned to his thieving ways. The group encounters Badger and many other local animal residents whose homes the farmers have also destroyed. As the animals begin fearing starvation, Mr. Fox calls them together and leads them on a digging expedition to tunnel to the three farms, stealing all of their prized goods. While the animals feast, Ash and Kristofferson begin to reconcile after Kristofferson defends Ash from Beaver's son. Discovering that Mr. Fox has stolen their goods, the farmers and the fire chief flood the animals' tunnel network with some of Bean's cider, forcing the animals to retreat to the sewers. Ash and Kristofferson slip away from the celebration and return to Bean's farm, intending to reclaim the missing tail, but Bean's wife captures Kristofferson. Realizing that the farmers plan to use Kristofferson to lure him into an ambush, Mr. Fox heads to the surface to surrender but returns when Rat, Bean's violent security guard, confronts the animals and attacks Ash and Felicity. A fight between Mr. Fox and Rat results in the latter being pushed into a generator, electrocuting him. Before dying, Rat reveals that Kristofferson is being held in an attic in Bean Annex, prompting Mr. Fox to organize a rescue mission. Mr. Fox asks the farmers for a meeting in Paddington near the sewer hub, offering to surrender himself on the condition that the farmers free Kristofferson and spare the other animals. The farmers prepare an ambush, but the animals, anticipating it, launch a counterattack that allows Mr. Fox, Ash, and Kylie to enter Bean Annex undetected. Ash frees Kristofferson and impresses his father and the group by braving enemy fire to release a rabid beagle to keep the farmers at bay. The animal snatches the fox tail from Mr. Bean and rips it apart. Kristofferson picks up the torn tail as the group escapes back to the sewers. As the farmers wait for the animals to come out of the manhole, the animals settle into their new homes in the sewers, inviting any other animals to join them. Soon after, Fox (sporting the tail as a clip on) raids a supermarket owned by the farmers, where Felicity reveals her upcoming pregnancy as the animals dance in the aisle, celebrating their abundant new food source.

Platoon_1986

tt0091763

<script> <scene> <stage_direction>Platoon</stage_direction> <scene_description>` REJOICE , O YOUNG MAN , IN THY YOUTH . ' The sound now of a C - 130 air cargo plane roaring over us and we cut sharply to :</scene_description> </scene> <scene> <stage_direction>EXT. AIRSTRIP - BASE CAMP - VIETNAM - DAY</stage_direction> <scene_description>As the C - 130 coasts to a stop , the hatch rotating down on a hot , dusty lifeless airstrip somewhere in Vietnam . Nothing seems to live or move in the midday sun . TITLES RUN A DOZEN NEW RECRUITS step off the plane , unloading their duffel bags , looking around like only the new can look around , their hair regulation - clipped , crisp , new green fatigues fitting them like cardboard . CHRIS TAYLOR is just another one of them - as he turns into a tight closeup , to look at a motorized cart pulling up alongside . He 's about 21 . Newmeat . His face , unburned yet by the sun , is tense , bewildered , innocent , eyes searching for the truth . They fall now on a heap of BODY BAGS in the back of the cart . Two soldiers begin loading them onto the plane . Flies - hundreds of flies - buzz around them , the only cue to their contents .</scene_description> <character>GARDNER</character> <parenthetical>( next to Chris , Southern accent . )</parenthetical> <dialogue>That what I think it is?</dialogue> <character>SOLDIER 1</character> <parenthetical>( a look . )</parenthetical> <dialogue>I guess so.</dialogue> <scene_description>An uncomfortable look between them .</scene_description> <character>SERGENT</character> <dialogue>Okay, let's go.</dialogue> <scene_description>As they move out , Chris ' eyes moving with the body bags being loaded onto the plane . Moving over now to a motley HALF DOZEN VETERANS bypassing them on their way to the plane . They look happy . Very happy , chatting it up . They pass the newboys - and they shake their heads , their eyes full of an almost mocking pity .</scene_description> <character>VETERANS</character> <dialogue>Well I'll be dipped in shit - new meat! Sorry bout that boys - ` sin loi' buddy. you gon na love the Nam, man, for - fucking - ever.</dialogue> <scene_description>Chris looking at them . They pass , except for the last man who walks slower than the rest , a slight limp . His eyes fall on Chris . They 're frightening eyes , starved , hollow , sunken deep in his face , black and dangerous . The clammy pallor of malaria clings to him as he looks at Chris through decayed black teeth . Then the sun flares out on him and he 's past . And Chris looks back . Disturbed . It 's as if the man was not real . For a moment there . As if he were a ghost . Chris walking , duffel bag on the shoulder , looks up at the lollipop sun burning a hole through the sky . A rushing SOUND now . Of frightening intensity , an effect combining the blast of an airplane with the roar of a lion as we hardcut to :</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - SOMEWHERE IN VIETNAM - DAY</stage_direction> <scene_description>The sun matches the intensity of the previous shot as we move down into thick green jungle . We hear the sound of MEN coming , a lot of men . The thwack of a machete . Brush being bulled . We wait . They are getting close . The CREDITS continue to run . SUBTITLE reads : December 1967 - Bravo Company , 25th Infantry Division - Somewhere near the Cambodian Border . A sweating white face comes into view . CHRIS - cutting point . Machete in one hand , whacking out a path for the platoon , M - 16 in the other , he looks like he 's on the verge of heat exhaustion . Breathing too hard , pacing himself all wrong , bumping into things , tripping , not quite falling , he looks pathetic here in the naturalness of the jungle . An urban transplant , slightly neurotic and getting more so . His rucksack is coming apart as well , about 70 badly packed pounds banging noisily . Behind him BARNES now comes , the Platoon Sergeant . Then the RTO , his radio man , humming lightly . Others are behind , the column snaking back deep into the brush . We cut around some FACES of the Platoon - all to be seen later . Young faces , hard and dirty after weeks in the field , exhausted yet alert , fatigues filthy , slept - in , torn , personalized , hair way past regulation length , medals , bandanas . A jungle army . Boys . Chris glancing down at his raw bleeding blisters . Transfers the machete to his other , slightly less blistered , hand . The kid cuts on - struggling but trying , on his last reserves of strength , smashing almost straight forward through brush , not even bothering to look ahead . He smells something , looks around , slows his pace , eyes working . around to the base of a tree . He moves past it . And as he does so , the camera from his POV comes around on a dead decomposing 10 - day - old GOOK - eyes starting from its sockets , worms and flies feasting . Chris draws his breath in , terrified . Barnes suddenly appears alongside , his hard humourless eyes looking annoyed from the gook to Chris .</scene_description> <character>BARNES</character> <dialogue>What are you waiting for? He ai n't gon na bite you. Move out.</dialogue> <scene_description>Chris looks at him with pent - up hatred and crashes on .</scene_description> </scene> <scene> <stage_direction>EXT. PLATOON PC - DAY - MOVING</stage_direction> <scene_description>At the COMPANY PC , CAPTAIN HARRIS on the radio .</scene_description> <character>HARRIS</character> <dialogue>Bravo Two, Six. What's the delay up there, move it out on point. We've got a link up at Phase Line Whiskey at One Eight Zero Zero, over.</dialogue> </scene> <scene> <stage_direction>EXT. PLATOON PC - DAY - MOVING -- MORNING</stage_direction> <scene_description>At the PLATOON PC , LIEUTENANT WOLFE sweats heavily as he speaks in his radio . He is also new to the field , a dark little feisty guy , about 24 , very hairy , especially in the eyebrows , an intense get - ahead look .</scene_description> <character>LIEUTENANT WOLFE</character> <dialogue>Two Bravo, Two move it out. Six says we're jamming'em up back there. Over.</dialogue> <scene_description>Barnes , upfront , turns to SAL , his radio man , under his breath .</scene_description> <character>BARNES</character> <dialogue>Tell that dipshit to get fucked. Get that other freshmeat up here. Gardner.</dialogue> <scene_description>As Barnes picks up his pace , irritated now at this reprimand from the CO - coming up on Chris , who is soaked now from head to foot in sweat , dizzy , feeling sick , about to vomit .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell's the matter with you Taylor! You a sorry ass motherfucker. Fall back.</dialogue> <scene_description>He grabs Chris 's machete out of his hand and bulls his way into the foliage , tearing it apart , setting a new pace . Chris being bypassed by the column , their eyes on him . He is swatting at the red ants that are all over his neck . GARDNER , another new recruit , fat , hustling up to replace him . A big and black medic - DOC - comes over , gentle eyes and manner ; with him is Sergeant ELIAS , concerned .</scene_description> <character>DOC</character> <dialogue>You okay?</dialogue> <character>CHRIS</character> <dialogue>Ants. I got ants on my neck.</dialogue> <parenthetical>( shaking them out . )</parenthetical> <dialogue /> <character>DOC</character> <parenthetical>( helping him . )</parenthetical> <dialogue>Yeah, black ants are killers, you look sick man. You need a little salt.</dialogue> <parenthetical>( reaching into his satchel . )</parenthetical> <dialogue /> <scene_description>Sergeant Elias , a handsome , graceful dark - haired Indian kid of 23 , the squad sergeant , is taking items out of Chris ' pack - air mattress , extra unnecessary clothing , extra canteens , grenades , gas mask , books .</scene_description> <character>ELIAS</character> <parenthetical>( shaking his head , amused . )</parenthetical> <dialogue>You're humping way too much, troop, do n't need half this shit. I'll haul it for you but next time you check it out with me okay?</dialogue> <scene_description>Chris nodding , grateful , panting . The men passing , watching . Chris sorry about this , trying to keep up face . BUNNY , a young 18 year - old with an angel 's face , is pissing in the dead gook 's face . KING passes , glances at him .</scene_description> <character>KING</character> <dialogue>You're a sick mother Bunny.</dialogue> <scene_description>Bunny laughing about it . Chris standing there one moment , fighting for his breath , suddenly passes out , going over with his 70 pound rucksack , hitting the ground with a loud bang .</scene_description> <character>ELIAS</character> <parenthetical>( concerned . )</parenthetical> <dialogue>Hold it up.</dialogue> <scene_description>On Chris - his eyes opening . He seems all right .</scene_description> <character>CHRIS</character> <parenthetical>( trying to get up . )</parenthetical> <dialogue>I'm okay. I'm okay.</dialogue> <scene_description>Chris crumples backwards . Elias helps him .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - DUSK</stage_direction> <scene_description>The COMPANY - about 100 men who seem insignificant amid the size of the surrounding jungle - is digging into a perimeter of some 100 - yard radius . A RESUPPLY CHOPPER lifts off in a flurry of blowing leaves . Bare - chested soldiers chop down trees , clear fields of fire , set out claymores , fill sandbags , chow down . Little fires snake up against the greying red horizon .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER 31 - DOC'S POSITION - DUSK</stage_direction> <scene_description>We cut close on a pair of grungy feet - the staple of the infantry - moving up to DOC , the Medic , bandaging them for FU SHENG , a Hawaiin kid .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - RHAH'S POSITION - DUSK</stage_direction> <scene_description>Rhah sets his tripflare . Crawford , with him , putting out a claymore .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - RODRIGUEZ - POSITION - DUSK</stage_direction> <scene_description>Back in the perimeter RODRIGUEZ sets his M - 60 in the newly dug foxhole . SAL , next to him , is shaving in his helmet .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - KING'S POSITION - DUSK</stage_direction> <scene_description>KING looks like a king . A lion of a black man but with a sleepy , gentle face , not to be roused , is painfully trying to scrawl a letter home with the pencil held awkwardly , mouthing the words . FRANCIS , a young baby - faced black with long lashes and soft eyes , peeks over his shoulder , shaking his head .</scene_description> <character>FRANCIS</character> <dialogue>Shit, King, it ai n't d - e - r - e man, it's d - e - a - r, and Sara do n't have no two r's in it, fool. Shame on you.</dialogue> <scene_description>King shrugs , a sleepy stoned voice .</scene_description> <character>KING</character> <dialogue>Do n't matter, she knows what it means. an she do n't read too good nohow.</dialogue> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSK</stage_direction> <scene_description>Sgt. Elias washes himself , attentive to his body , slender and well - muscled , and extremely handsome youth . Of Indian blood , with long black hair , generous smile , wide facial bone structure , gypsy eyes , and the cleanest white teeth , he could be a young Greek god . He is given somewhat to panache , a silver wristband on his arm , a bandana of black parachute silk hanging from his neck , his fatigues tightened down at the ankle , he pulls his pants down , checking for crotch rot , applying talcum powder to the area , his buttocks facing us . LERNER , a white kid , 19 , from Florida , stopping to admire the frontal view .</scene_description> <character>LERNER</character> <dialogue>Mumm, any time sweetheart.</dialogue> <character>ELIAS</character> <dialogue>Lerner, you'd choke to death on it.</dialogue> </scene> <scene> <stage_direction>EXT. COMPANY PERIMETER #1 - COMPANY PC - DUSK</stage_direction> <scene_description>At the COMPANY COMMAND POST a beehive of activity with its four radios , personnel , some Vietnamese scouts milling around . CAPTAIN HARRIS is running down a field map with his THREE LIEUTENANTS . Harris , a broad - shouldered fine - looking military specimen with the requisite Southern accent and football coach mannerism , is directing his remark to 2nd Platoon 's LT.WOLFE , who looks a little nervous .</scene_description> <character>CAPTAIN HARRIS</character> <dialogue>Sky Six reports a fresh company of NVA moving across from Cambodia to this blue line.</dialogue> <parenthetical>( points to position . )</parenthetical> <dialogue>We got a good chance to light'em up tonight. All platoons will set squad - size ambushes before full dark. Lt. Wolfe.</dialogue> <parenthetical>( glances at him . )</parenthetical> <dialogue>You ` bush in this area near that ol' Buddhist temple we passed on the hump in. Lt. Hawkins, you take this area in the rubber plantation.</dialogue> <character>LIEUTENANT WOLFE</character> <parenthetical>( eager . )</parenthetical> <dialogue>No problem sir.</dialogue> </scene> <scene> <stage_direction>EXT. PLATOON PERIMETER #1 - CHRIS' FOXHOLE - DUSK</stage_direction> <scene_description>Elsewhere , Chris scrapes out a foxhole , his shirt off , bandana around his head , the work hot and heavy . TEX is out there setting the claymore as BIG HAROLD and JUNIOR start breaking down their C 's .</scene_description> <character>JUNIOR</character> <parenthetical>( a whining high voice . )</parenthetical> <dialogue>Hey Big Harold, gim me your peaches for the fruitcake man.</dialogue> <character>BIG HAROLD</character> <parenthetical>( laughes loudly . )</parenthetical> <dialogue>Fuck you bitch.</dialogue> <character>JUNIOR</character> <dialogue>C'mon man, did n't I do you right that time I give you the turkey loaf for the ham and lima beans shit.</dialogue> <character>BIG HAROLD</character> <dialogue>Tricky bitch, reason you gim me dat turkey loaf is nobody else can eat that shit ` cept me so do n't start your game playing with me Junior.</dialogue> <scene_description>They 're both black , Junior with huge goggle eyes and a face of pimples and pockmarks , his teeth yellowed and decayed , some of them missing . Harold is about twice his size , about 250 pounds , a baby huey concentrating real hard on preparing his stove to eat with .</scene_description> <character>JUNIOR</character> <dialogue>Youse a pig man. I hope Manny get dat laundry gig for' you do.</dialogue> <character>BIG HAROLD</character> <dialogue>De fool think he's gon na get it but he ai n't known for his thinking.</dialogue> <character>JUNIOR</character> <dialogue>He's a fool alright but you a bigger fool. Hey, whiteboy, watcha waiting for - dat hole ai n't gon na dig itself.</dialogue> <scene_description>Chris looks up , continues working , as Junior chuckles .</scene_description> <character>JUNIOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey Taylor, you do n't know it but I saved your ass today. I killed a shit - eating dog.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue /> <character>BIG HAROLD</character> <parenthetical>( getting up . )</parenthetical> <dialogue>That reminds me, I got ta take a shit.</dialogue> <character>JUNIOR</character> <dialogue>You gon na wipe your ass dis time?</dialogue> <character>BIG HAROLD</character> <dialogue>Yeah if you let me have your shirt.</dialogue> <character>CHRIS</character> <parenthetical>( VOICE OVER , as he digs . )</parenthetical> <dialogue>Somebody once wrote Hell is the impossibility of Reason. That's what this place feels like. I hate it already and it's only been a week. Some goddamn week, grandma.</dialogue> <parenthetical>( checking his raw blisters . )</parenthetical> <dialogue>. the hardest thing I think I've ever done is to go on point, 3 times this week - I do n't even know what I'm doing. A gook could be standing 3 feet in front of me and I would n't know it, I'm so tired. We get up at 5 a.m., hump all day, camp around 4 or 5 p.m., dig foxhole, eat, then put out an all - night ambush or a 3 - man listening post in the jungle. It's scary cause nobody tells me how to do anything cause I'm new and nobody cares about the new guys, they do n't even want to know your name. The unwritten rule is a new guy's life is n't worth as much cause he has n't put his time in yet - and they say if you're gon na get killed in the Nam it's better to get it in the first few weeks, the logic being : you do n't suffer that much. I can believe that. If you're lucky you get to stay in the perimeter at night and then you pull a 3 - hour guard shift, so maybe you sleep 3 - 4 hours a night, but you do n't really sleep. I do n't think I can keep this up for a year, grandma - I think I've made a big mistake coming here.</dialogue> <scene_description>As he speaks , we cut around to various shots of the platoon members on the perimeter - shaving , eating , cooking , playing , etc .</scene_description> </scene> <scene> <stage_direction>EXT. PLATOON PC - NIGHT</stage_direction> <scene_description>Towards the end of this voice over , we cut to Sgt. BARNES moving towards the PLATOON PC . A powerful face , a quiet , angry fixed stare , a thick trimmed moustache that helps conceal a network of plastic surgery grafts and scars . The distortion from the jaw up the left side of his face to his forehead , punctuated by a severe indentation above the left eye where a bullet once penetrated his skull . Walking with him is Sgt. O'NEILL as they join WOLFE , Sgts . ELIAS and WARREN at the PLATOON PC where they 're huddled over maps . Warren is a black , thin , tall , paranoid man with untrusting eyes , silent and bitter .</scene_description> <character>BARNES</character> <parenthetical>( to all , almost pleased about it . )</parenthetical> <dialogue>We got boo - coo movement. 3rd Battalion just got hit 15 kliks north of here.</dialogue> <parenthetical>( the MEN react with wary silence . )</parenthetical> <dialogue /> <character>O'NEILL</character> <parenthetical>( eager to elaborate . )</parenthetical> <dialogue>Yeah, they had claymores strung up in the trees, blew a whole fucking platoon to pieces. BAAD SHIT.</dialogue> <scene_description>Barnes inflects his next words at Wolfe , who is worried .</scene_description> <character>BARNES</character> <dialogue>Yeah, they got two Lieutenants and a Captain.</dialogue> <character>WOLFE</character> <dialogue>Jesus.</dialogue> <scene_description>Elias quiet . Barnes studying the map .</scene_description> <character>WOLFE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Barnes . )</parenthetical> <dialogue>Who do you want on ambush, Sergeant?</dialogue> <scene_description>Barnes does n't bother acknowledging the question , barely glancing at the Lieutenant , to him a necessary evil . Everybody knows who 's really in charge of the Platoon . Barnes flicks his gaze to Elias .</scene_description> <character>BARNES</character> <dialogue>Elias - you take your squad and I'll take Tex and Francis from your squad.</dialogue> <parenthetical>( to Warren . )</parenthetical> <dialogue>We move out in two - zero mikes.</dialogue> <parenthetical>( concluding . )</parenthetical> <dialogue /> <character>ELIAS</character> <dialogue>I thought it was O'Neill's turn tonight.</dialogue> <scene_description>They all look at each other . O'Neill spits in the dust , a freckled , short red head with a hard worried face , a lifer , 30 going on 60 .</scene_description> <character>O'NEILL</character> <dialogue>Shit! Morehouse and Sal are short. Fu Sheng's going on R&amp;R, you do n't want to send their asses out on an ambush. You got the fresh meat Elias.</dialogue> <character>ELIAS</character> <parenthetical>( to Barnes . )</parenthetical> <dialogue>They do n't know shit Barnes, and chances are we gon na run into something.</dialogue> <character>O'NEILL</character> <dialogue>So what am I going to do! Get one of my guys zapped so some fuckface fresh from the World can get his beauty fucking sleep!</dialogue> <character>ELIAS</character> <dialogue>Hey O'Neill why do n't you cool it, you do n't have to be a prick everyday of your life, you know.</dialogue> <character>O'NEILL</character> <dialogue>Fuck you Elias.</dialogue> <character>BARNES</character> <dialogue>You get your men ready Elias.</dialogue> <scene_description>Concluding the debate , no further argument , Barnes rises . The meeting 's closed . Lt. Wolfe has n't said a word , looking as Elias departs , without a word .</scene_description> <character>O'NEILL</character> <parenthetical>( watching him . )</parenthetical> <dialogue>Fucking guy's got 3 years in and he thinks he's Cochise or something.</dialogue> <scene_description>His resentment directed partly at the way in which Elias carries himself , the natural sense of grace - and the dignity it bestows . CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. PLATOON PERIMETER #1 - SQUAD ASSEMBLY POINT - DUSK</stage_direction> <scene_description>Later . On the very edge of the perimeter , darkness coming down fast , the men in the ambush patrol rustle into their packs , all of them bitching . Tex , carrying the M - 60 , looks up at the glowering sky .</scene_description> <character>TEX</character> <dialogue>Shit, looks like rain. All night too. Gon na grow mushrooms in your bad - ass crotch Junior.</dialogue> <character>JUNIOR</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Goddamn ai n't no justice round here, you break your ass for de white man. gon na get our act together, do some rappin' wid de brothers, change things.</dialogue> <character>CRAWFORD</character> <dialogue>What's O'Neill have a nose up the lieutenant's ass already, how come we always get ambush.</dialogue> <character>FRANCIS</character> <dialogue>Politics, man, politics. We always getting fucked around here.</dialogue> <scene_description>Chris is scared , nervous with his last - minute equipment adjustments , his pack obviously overweight for a night mission as he hauls it up . Gardner , the other new boy , is jovial in contrast , his wallet extended towards Chris .</scene_description> <character>GARDNER</character> <dialogue>Hey Chris, I show you a picture of Lucy Jean?</dialogue> <character>CHRIS</character> <parenthetical>( not to be bothered . )</parenthetical> <dialogue>No.</dialogue> <scene_description>Gardner shows him his girl . She 's real dog u - g - l - y , and what makes it worse is Gardner 's put the standard photo of Raquel Welch alongside it , tits and all . But he misses the irony of it .</scene_description> <character>GARDNER</character> <parenthetical>( admiring . )</parenthetical> <dialogue>Yeah she's the one all right. that's Lucy Jean. She's a - waiting for me.</dialogue> <character>CHRIS</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah she's real pretty, you're lucky.</dialogue> <scene_description>Gardner puts it away . Elias appears alongside them , checking their packs out , takes out Chris 's poncho liner and other items . He carries a modified M - 16 with a short barrel and a collapsible stock .</scene_description> <character>ELIAS</character> <parenthetical>( to both boys . )</parenthetical> <dialogue>Do n't need this or this. you're doing okay. Just stick close to Tex, do what he does.</dialogue> <parenthetical>( calling out to Tex. ) Tex you got Junior and Taylor here on your position .</parenthetical> <dialogue /> <scene_description>Tex is a sour Texas Ranger type , chews tobacco , spits .</scene_description> <character>TEX</character> <dialogue>Damn, ` Lias this gun's boss. Put Taylor someplace else.</dialogue> <scene_description>Chris feels the words like lashes on him .</scene_description> <character>ELIAS</character> <dialogue>You got Taylor.</dialogue> <parenthetical>( to Gardner . )</parenthetical> <dialogue>. Gardner you go with me.</dialogue> <parenthetical>( to Chris and Gardner . )</parenthetical> <dialogue>` Case somethin' happens to you, you get separated or lost do n't yell out okay. Sit tight. We'll get to you.</dialogue> <scene_description>His eyes . Chris watching them . A smile in them . Elias moves off , a quality to the man that Chris admires . A natural sense of leadership .</scene_description> <character>BARNES</character> <dialogue>Okay, let's move out.</dialogue> <scene_description>As he follows King , on point , out the perimeter . A single file .</scene_description> </scene> <scene> <stage_direction>EXT. THE AMBUSH NIGHT (RAIN)</stage_direction> <scene_description>Night is coming down . The tone of the jungle sounds has subtly shifted - mellower , more sinuous and certainly scarier . The file stops . King , an experienced point man , listens . Chris - carrying Tex 's linked ammo - looks around , tense . Behind him is Gardner , trying to smile , starts to whisper something -LRB- ` Hey Taylor . ' -RRB- when he 's abruptly shushed . The file moves on . Gardner 's pack rattling a little too loud . A weird rush of cold wind now rattles the trees and the MONSOON comes . A hard slanting rain , sudden , tropic .</scene_description> </scene> <scene> <stage_direction>EXT. RUINS - JUNGLE - NIGHT (RAIN)</stage_direction> <scene_description>A piece of an old Buddhist temple , under a sulky moonlight now in a state of decay , the jungle surging to engulf it . The Men are setting up quickly and relatively quietly in the ruins - alongside a miniscule trail . The rain is coming down harder than ever . Chris and Tex setting out their claymore mines , raveling back their detonating cords to their position , drenched . In the far distance , an ILLUMINATION ROUND brightens the sky for a brief moment . Various ad lib curses and directions are lost in the sound of the rain .</scene_description> </scene> <scene> <stage_direction>EXT. AMBUSH - BARNES' POSITION - NIGHT (RAIN)</stage_direction> <scene_description>At the Ambush CP , Ace whipsers into his radio . A soft hissing sound .</scene_description> </scene> <scene> <stage_direction>EXT. AMBUSH - CHRIS'S POSITION - NIGHT (RAIN)</stage_direction> <scene_description>Later . Close on Chris being shaken awake .</scene_description> <character>TEX</character> <dialogue>Taylor, you're on.</dialogue> <character>CHRIS</character> <parenthetical>( groggy . )</parenthetical> <dialogue>Uh hunh.</dialogue> <scene_description>The rain continuing to pelt them . Tex hands him an infrared scope .</scene_description> <character>TEX</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>You sure you know how to work the claymore?</dialogue> <character>CHRIS</character> <parenthetical>( offended . )</parenthetical> <dialogue>Sure.</dialogue> <scene_description>Tex curls up as best he can in his poncho to sleep .</scene_description> <character>TEX</character> <dialogue>Okay. do n't catch no zzz's on me buddy or I'll sling your motherfucking ass. You hear me?</dialogue> <character>CHRIS</character> <parenthetical>( grits his teeth . )</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>( looking at his watch . )</parenthetical> <dialogue>Hey Tex - you're ten minutes fast.</dialogue> <character>TEX</character> <dialogue>Sin Loi.</dialogue> <parenthetical>( ` tough luck ' , closes his teeth . )</parenthetical> <dialogue /> <scene_description>Chris lets it go , scans the jungle and trail with the scope . The POV is greasy and blurred . He puts it aside . Suddenly a series of resonant SNORES crack through the jungle . Chris starts , then sees it 's from JUNIOR lying out there , spreadeagled in the rain . Chris prods him .</scene_description> <character>CHRIS</character> <dialogue>Junior!</dialogue> <character>JUNIOR</character> <dialogue>Unh? Unh.</dialogue> <character>CHRIS</character> <dialogue>Shaddup! You're snoring. Shhh.</dialogue> <scene_description>Bending low into his eardrum . Junior never wakes , rolls over with a growl . Silence . CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. CHRIS' POSITION - NIGHT (RAIN)</stage_direction> <scene_description>Later . A pool of muddy water has formed , in which a pair of buttocks sit . Move up to Chris still on duty , looking at his watch , drawn , drenched , pathetic , rainwater coursing down his face .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( continuing his letter . )</parenthetical> <dialogue>. ` Course Mom and Dad did n't want me to come, they wanted me to be just like them - respectable, hard - working, making $ 200 a week, a little house, a family. They drove me crazy with their goddamn world, grandma, you know Mom, I do n't want to be a white boy on Wall Street, I do n't want my whole life to be predetermined by them.</dialogue> <scene_description>A large RIPPING SOUND as the wind blows down a big tree branch onto the jungle floor . He starts , peering out . Nothing . He looks at his watch again .</scene_description> <character>CHRIS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>I guess I have always been sheltered and special, I just want to be anonymous. Like everybody else. Do my share for my country. Live up to what Grandpa did in the First War and Dad the Second. I know this is going to be the war of my generation. Well here I am - anonymous all right, with guys nobody really cares about - they come from the end of the line, most of'em, small towns you never heard of - Pulaski, Tennessee, Brandon, Mississippi, Pork Bend, Utah, Wampum, Pennsylvania. Two years' high school's about it, maybe if they're lucky a job waiting for'em back in a factory, but most of'em got nothing, they're poor, they're the unwanted of our society, yet they're fighting for our society and our freedom and what we call America, they're the bottom of the barrel - and they know it, maybe that's why they call themselves ` grunts' cause a ` grunt' can take it, can take anything. They're the backbone of this country, grandma, the best I've ever seen, the heart and soul - I've found it finally, way down here in the mud - maybe from down here I can start up again and be something I can be proud of, without having to fake it, maybe. I can see something I do n't yet see, learn something I do n't yet know. I miss you, I miss you very much, tell Mom I miss her too - Chris.</dialogue> <scene_description>He moves towards Junior , shakes him , but Junior seems to be out of this world .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wake up!</dialogue> <scene_description>Junior opens one dead eye .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's your shift, man.</dialogue> <scene_description>Junior scowls , swears , looks around for his rifle in the mud . Chris crawls back to his position , curling himself up in his soaked poncho , teeth chattering from the cold , rain splattering over him . A long beat . He sighs , the sigh kicking off the next image .</scene_description> </scene> <scene> <stage_direction>EXT. CHRIS' POSITION - NIGHT</stage_direction> <scene_description>Chris jerks awake - very suddenly , very frightened . THE RAIN HAS STOPPED . The jungle sounds are loud . Cicadas , night animals , water dripping hypnotically from leaf to leaf . And the whirr of a million mosquitoes out after the rains , chewing at Chris ' face . He looks around , startled . Tex is asleep . Junior is asleep . What happened ? He looks at his watch . The mosquitoes are eating him alive . He buries his head in his green towel which he wears around his neck , but he ca n't see . A beat . He moves again , miserable from the bites . Another beat . Then suddenly the sounds of the jungle shift - some of the animals dropping out . A different tone . A piece of wood is stepped on , a rustle of bush . Chris sees something , lifts an edge of the towel to peek out . A shoadow of a figure is frozen there in front of him about 15 yards . It looks like a man . But it does n't move . At all . It listens . Chris , his heart in his mouth , tries to peer through it . It 's a bush . It has to be . No human being could stand that still . His heartbeats are up . The moments take forever . But deep down - somewhere in his psyche - he knows who it is . The figure now shifts , ever so slightly - and moves . It IS a human being . Oh my God ! Chris looks around . Tex seems like a mile away . Why does n't anyone fire ! He casts a desperate look at his rifle , at his grenades encrusted with mud , but in spite of all his training , he is frozen with indecision and fear at the sight of his enemy . The figure seems to whisper something back , then turns and comes down the trail . Now a second and third figure appear behind him - all in helmets and packs . All coming right past Chris ' position . Ten yards . Nine . Chris is rigid with terror . Stark eyes . Pleading with Tex to wake up , but out of reach . He is about to have an anxiety attack , his heartbeats so far up he is sure they will hear him . The first figure is now directly in front of Chris on the trail , looking left and right . A rattle of his equipment , a creak of leather . A smell . The man 's face now catches the moonlight and his eyes come around on Chris . Oriental eyes . Looking right at him . Startled . Chris staring back , hypnotized . It all happens very fast . The figure murmurs something in Vietnamese . A warning . He swivels . A flash of muzzle fire . A raking cough of automatic fire . A grenade explosion . Chris is hurled to the ground , helmet bouncing off , scattered , confused , jarred . All hell breaks loose around him with NOISE and SHOUTS . Tex , kissing the ground , is yelling at him .</scene_description> <character>TEX</character> <dialogue>THE CLAYMORE! GET THOSE FUCKERS!</dialogue> <scene_description>Chris , not knowing what he 's doing , is fumbling with the claymore handles , presses them . INSERT : They wo n't give . He tries again and again to the squeeze the life out of them . Tex is screaming at him .</scene_description> <character>TEX</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>THE SAFETY! TAKE THE SAFETY OFF YOU.</dialogue> <scene_description>Lunges over and grabs the handle from Chris . Clicks the safeties off and blows them . Three EXPLOSIONS rip out into the night - and one of the ENEMY is caught in a brief instant looking like an X - ray , his body lifted and swirling in the air , then enveloped in swirls of smoke . Chris , trying to keep up , grabs his M - 16 , lays out a stream of fire . The sound all around him is deafening .</scene_description> </scene> <scene> <stage_direction>EXT. GARDNER'S POSITION - NIGHT</stage_direction> <scene_description>Gardner , freaking out , stands crouched , confused , tries to run , collapses .</scene_description> </scene> <scene> <stage_direction>EXT. O'NEILL'S POSITION - NIGHT</stage_direction> <scene_description>O'Neill throws a grenade , wild .</scene_description> </scene> <scene> <stage_direction>EXT. CHRIS' POSITION - NIGHT</stage_direction> <scene_description>An explosion . Chris hits the deck . Tex is now on the M - 60 machine gun , yelling at Junior who is cringing on the ground .</scene_description> <character>TEX</character> <dialogue>Feed me!</dialogue> <scene_description>He lays out red tracer bullets like laser beams , then suddenly reels back , whiplashed , screaming . A grenade explosion rocks them .</scene_description> <character>TEX</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>AAAAAGHHH! MY ARM! MY ARM!</dialogue> <scene_description>His hand and wrist are gone , his face in the dirt . Junior is fumbling around , trying to stay down and help him at the same time .</scene_description> <character>JUNIOR</character> <parenthetical>( grabbing Tex 's gun . )</parenthetical> <dialogue>DOC! GET UP HERE! TEX IS HIT!</dialogue> <scene_description>Chris , looking out to his front , has no clue what 's going on . Except the fire is slacking . Relayed shouts of ` Medic ! Medic ! ' Other SHOUTS .</scene_description> <character>SHOUTS</character> <dialogue>HOLD IT UP! HOLD IT UP!</dialogue> <scene_description>The firing has ceased . A silence , punctuated by occasional shouts and fast moments , has enveloped once more the cemetery . Doc crashes through the bush , kneels over Tex , who continues to howl in deep pain .</scene_description> <character>TEX</character> <parenthetical>( freaked out . )</parenthetical> <dialogue>MY ARM! JESUS FUCKING CHRIST!</dialogue> <character>DOC</character> <dialogue>Easy Tex easy boy!</dialogue> <scene_description>Trying to sound calm but his voice is on the edge , examinging the mutilation with a pen flashlight , he whips out his morphine in a big hypodermic .</scene_description> <character>VOICE</character> <parenthetical>( next position . )</parenthetical> <dialogue>Doc over here! Gardner's hit.</dialogue> <character>DOC</character> <dialogue>` Right there.</dialogue> <scene_description>As he slips the morphine into Tex 's arm .</scene_description> <character>TEX</character> <parenthetical>( muttering at Chris . )</parenthetical> <dialogue>. godamn! Godamn! DUMB FUCKER, DUMB FUCKER!</dialogue> <scene_description>Chris watching , suddenly feels himself dizzy , instinctively runs his hands over the back of his neck . Feels the warm blood there . A moan comes from his lips . Junior looks at him .</scene_description> <character>JUNIOR</character> <dialogue>Oh shit, Doc he's hit too.</dialogue> <character>CHRIS</character> <parenthetical>( weakly . )</parenthetical> <dialogue>I'm hit.</dialogue> <scene_description>Barnes and Big Harold come hustling up . Doc finishes tourniquetting Tex , cradles Chris onto the earth , his flashlight probing the wound . Tex in background continues to thrash and moan . Chris waits , tensely for the verdict , his eyes big with fear on Doc , who takes out his morphine .</scene_description> <character>JUNIOR</character> <parenthetical>( to Barnes , pointing at Chris . )</parenthetical> <dialogue>That dumb fuck did n't blow his claymore!</dialogue> <scene_description>Chris hearing this . Barnes looks at him .</scene_description> <character>DOC</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>. it's a scratch, nothing to worry about.</dialogue> <character>CHRIS</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>Doc. tell me the truth, do n't lie to me.</dialogue> <scene_description>The needle goes in . Tex lets out this strange keening moan that sets everyone 's teeth on edge .</scene_description> <character>JUNIOR</character> <parenthetical>( to Barnes . )</parenthetical> <dialogue>He let'em walk right up on us. He was sleeping on his shift.</dialogue> <character>CHRIS</character> <parenthetical>( muttering weakly . )</parenthetical> <dialogue>I was not. it was your.</dialogue> <character>DOC</character> <parenthetical>( leaving , to Harold and Junior . )</parenthetical> <dialogue>Self - preservation's the first law of nature. Got ta learn how to work your shit Taylor. Watch me, do n't let'em go into shock.</dialogue> <scene_description>Tex 's moans are maddening and scary . Barnes suddenly clamps his hand over Tex 's mouth shutting him up and from way down deep in his throat , chokes out the words .</scene_description> <character>BARNES</character> <dialogue>Shut up! Shut up - and TAKE IT! TAKE THE PAIN!</dialogue> <scene_description>Tex 's eyes roll wildly , uncomprehending . Doc and Big Harold looking at Barnes , wondering . Tex is suddenly silent , shocked . Barnes stands , an icy glare , goes . Junior scrambles over to Tex 's side . Doc runs off . Big Harold cradles Chris , his big black hands like a mother , reassuring him .</scene_description> <character>BIG HAROLD</character> <dialogue>You gon na be okay Taylor, okay, do n't you start worrying now.</dialogue> <scene_description>Chris looking up at him , eyes blinking slowly , dazed already by the morphine . He 's very scared .</scene_description> <character>CHRIS</character> <dialogue>Do you. do you know you're gon na die. Big Harold? do you feel like. like. everything's gon na be fine and then.</dialogue> <character>BIG HAROLD</character> <dialogue>Bullshit man, you gettin outta the field, man. Three hots a day, white sheets, dem pretty white nurses give you blowjobs too you pay em enough, I heard tell bout dem white bitches. Better save yo strength Taylor.</dialogue> <character>JUNIOR</character> <parenthetical>( muttering darkly . )</parenthetical> <dialogue>Don babytalk him man. Cocksucker fell asleep. They walked right up on us, he don do shit.</dialogue> <character>BIG HAROLD</character> <dialogue>Shaddup bitch.</dialogue> <scene_description>Chris is gettin woozier , feeling he is dying but starting to grin , not caring about it anymore . Yet he is nowhere close to dying .</scene_description> <character>CHRIS</character> <dialogue>It's not. so bad. dying. How long. it.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIL - RUINS - POSITION #1 - NIGHT</stage_direction> <scene_description>Barnes stands over a moaning , ripped up ENEMY SOLDIER . FIRES his M - 16 point blank into the head . The Soldier bucks and dies , quivering .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - RUINS - POSITION #2 - NIGHT</stage_direction> <scene_description>ELIAS , checking out a blood trail some distance away , shifts on the shot , looks back .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - RUINS - POSITION #3 - NIGHT</stage_direction> <scene_description>FRANCES , MANNY , BUNNY and KING are huddled over another mangled enemy corpse .</scene_description> <character>BUNNY</character> <parenthetical>( stripping the corpse . )</parenthetical> <dialogue>That's no NVA man. That's a chink - look at'em, the cocksucker's six and a half feet tall. Look at his gear - good as ours.</dialogue> <character>FRANCIS</character> <dialogue>Shit I blew my claymore right in one dude's face and I seen him walking around afterwards.</dialogue> <character>MANNY</character> <dialogue>What we fighting here, vampires?</dialogue> </scene> <scene> <stage_direction>EXT. TRAIL - RUINS - POSITION #1 - NIGHT</stage_direction> <scene_description>Elias comes up to Barnes swiftly , indicating the blood trail leading off into the bush .</scene_description> <character>ELIAS</character> <dialogue>Blood trail just keeps going and going but no body.</dialogue> <character>BARNES</character> <dialogue>How the hell did he get away?</dialogue> <character>ELIAS</character> <dialogue>Fuckers returned fire soon as we lit'em up. Hard core fuckin' NVA. They got their shit together.</dialogue> <character>RING</character> <parenthetical>( coming up to Barnes . )</parenthetical> <dialogue>Sarge - Doc wants you. There's a problem with the new man.</dialogue> <scene_description>Elias and Barnes go with King . Past Chris and Tex who are ambulatory and bandaged , being helped along . As Barnes passes , the men look at him , everybody quickly senses something is wrong .</scene_description> </scene> <scene> <stage_direction>EXT. GARDNER'S POSITION - NIGHT</stage_direction> <scene_description>At one of the positions Doc is working feverishly to knock the life back into Gardner who lies there , his shirt stripped off on his cottage cheese belly . A huge sucking chest wound . He 's dying . You know it because he knows it . The eyes do the talking , numb , terrorized yet strangely detached , accepting , not protesting or concerned any longer . Most of the ambush has assembled and is watching , Chris moving in to see . Doc is mumbling to him , low key .</scene_description> <character>DOC</character> <dialogue>Chopper's on the way Gardner, hang in there, you gon na be okay.</dialogue> <scene_description>But Gardner seems unconcerned . Things are going on in his head - who knows what . And in his eyes there are big tears rolling . Then a morphine smile . A sort of goofy Gardner smile , maybe thinking about Lucy Jean , who knows . He 's dead .</scene_description> <character>BARNES</character> <parenthetical>( to all . )</parenthetical> <dialogue>Take a good look at this lump o'shit.</dialogue> <parenthetical>( motions to Gardner 's body . )</parenthetical> <dialogue>Rmember what it looks like, all of you. You fuck up in a firefight and I guaran - goddamn - tee you, a trip out of the bush - IN A BODYBAG. Out here, assholes, you keep your shit wired tight at ALL times.</dialogue> <parenthetical>( glares directly at Chris . )</parenthetical> <dialogue>and that goes for you, shit for brains. You do n't SLEEP ON NO FUCKIN' AMBUSH. Next sonofabitch I catch coppin' z's in the bush I'm personally gon na take an interest in seeing him suffer - I SHIT YOU NOT.</dialogue> <scene_description>He thumps Chris lightly but menacingly in his chestbone and moves on .</scene_description> <character>CHRIS</character> <parenthetical>( drowsy . )</parenthetical> <dialogue>I did n't fall asleep, Sergeant, Junior.</dialogue> <character>BUNNY</character> <parenthetical>( pissed , cuts in , shoves him hard . )</parenthetical> <dialogue>Shut your face chicken shit! You in big trouble boy!</dialogue> <character>O'NEILL</character> <dialogue>Excuses are like assholes, Taylor - everybody got one.</dialogue> <character>ELIAS</character> <dialogue>Knock it off! We got two men need attention here. Police up your extra ammo and frags, do n't leave nothing for the dinks. Hoyt, Junior, carry Gardner.</dialogue> <character>JUNIOR</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Let de white boy carry his ass, he this dude that got him fucked up. Who'd be hauling his ass if that was a brother laying there?</dialogue> <scene_description>Elias follows Barnes out of earshot of the others .</scene_description> <character>ELIAS</character> <dialogue>Man'd be alive if he'd had a few more days to learn something.</dialogue> <scene_description>Barnes , registering it , just keeps on walking .</scene_description> </scene> <scene> <stage_direction>EXT. BASE CAMP - DAY (WEEK LATER)</stage_direction> <scene_description>Chris is driven up in a jeep to his Company PC - marked ` Bravo PC ' on a C - ration box . It 's midday on a hot lazy afternoon , few people out in the 102 degree sun . Chris ' Company is on the outskirts of the base camp , their barracks regulation wood , canvas , and fine mesh screening , red dust everywhere , bunkers down on the perimeter , reams of barbed wire and concertina , a sand - bagged MESS HALL and CHAPEL , 81 mm mortar pits , observation towers , recoiless rifles , 50 - caliber machine guns . Chris gets out of the jeep , stiff - necked , a bandage around it , still in some pain . The first man he intersects is KING , carrying crates of beer .</scene_description> <character>KING</character> <dialogue>Hey Taylor, what's in the breeze?</dialogue> <scene_description>In King 's mild tone Chris tries to read his standing in the platoon .</scene_description> <character>CHRIS</character> <dialogue>Okay - got light duty, three days.</dialogue> <character>KING</character> <dialogue>Shit, too bad we in base camp anyway.</dialogue> <character>CHRIS</character> <dialogue>What you got there - beers?</dialogue> <character>KING</character> <dialogue>Yeah, just stole me some from the Top's supply but</dialogue> <scene_description>he 's stealing it from us anyway . -LRB- sees somebody coming . -RRB- Chucks are coming . You better ` didi ' man . Too late . Sgt. O'NEILL , the redhead lifer accompanied by Spec 4 SANDERSON , a big handsome blond kid , not too bright in the face , both slightly drunk , come around a corner , beer cans in hand . O'Neill sees Chris immediately .</scene_description> <character>O'NEILL</character> <dialogue>Hey Taylor - you back?</dialogue> <character>CHRIS</character> <parenthetical>( pause . )</parenthetical> <dialogue>Uh, looks like it?</dialogue> <character>SANDERSON</character> <parenthetical>( spotting King 's beer . )</parenthetical> <dialogue>Where'd you get that beer King?</dialogue> <character>KING</character> <parenthetical>( a funny look . )</parenthetical> <dialogue>I found it.</dialogue> <character>SANDERSON</character> <dialogue>You found it? Bullshit! You going on report.</dialogue> <scene_description>Gimmee that shit .</scene_description> <character>O'NEILL</character> <dialogue>Awright, come here both of you. You too Taylor.</dialogue> <parenthetical>( wags his finger . )</parenthetical> <dialogue>Got a little special job for you.</dialogue> <scene_description>They advance toward him reluctantly .</scene_description> <character>CHRIS</character> <dialogue>I got light duty, Sarge. Doctor said to take it easy</dialogue> <scene_description>couple days .</scene_description> <character>O'NEILL</character> <parenthetical>( laughes . )</parenthetical> <dialogue>. ai n't that tough shit now.</dialogue> </scene> <scene> <stage_direction>EXT. THE OUTHOUSE - DAY</stage_direction> <scene_description>A wooden cabin with some half - dozen seats built over half barrels cut from empty oil drums . A guy is in there , pulling up his pants . Chris , King and Crawford , a California blond with a handsome honeyed look , are sweeating heavily as they roll the barrels out from under the outhouse , the smell of human waste strong . A hot midday emptiness , nobody around except the flies .</scene_description> <character>KING</character> <parenthetical>( pissed . )</parenthetical> <dialogue>. Motherfuckah, motherfuckah, I'm too short to be dealing with this shit! They keep fucking with us man, no letup.</dialogue> <character>CRAWFORD</character> <parenthetical>( equally pissed . )</parenthetical> <dialogue>Politics man, fuckin' politics. That O'Neill man got his nose so far up Top's ass he got ta be Pinocchio.</dialogue> <character>KING</character> <dialogue>Forty - two days man and a wakeup and I'm a gone motherfucker. Back to de WORLD.</dialogue> <parenthetical>( dreaming in his eyes . )</parenthetical> <dialogue /> <character>CRAWFORD</character> <dialogue>Broke a 100. Got 92 to go. April 17. DEROS man. California this summer. Waves are good they tell me, surfin's gon na be good.</dialogue> <character>KING</character> <dialogue>March man in Tennessee, sniff the pines. sniff that crossmounted pussy walkin' down by the river. What you got Taylor?</dialogue> <parenthetical>( a snicker . )</parenthetical> <dialogue>Let's see three hundred and WHAT?</dialogue> <character>CHRIS</character> <dialogue>32. 332 days.</dialogue> <character>CRAWFORD</character> <parenthetical>( groans . )</parenthetical> <dialogue>Oh man! Sorry bout that. I ca n't even remember when I was 332. You got ta count backwards like you got 40 days in - think positive.</dialogue> <character>KING</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>How the fuck you get over here man, you look like you educated.</dialogue> <character>CHRIS</character> <dialogue>I volunteered.</dialogue> <character>KING</character> <dialogue>You WHAT? Say ` gain.</dialogue> <character>CHRIS</character> <dialogue>Yeah, I dropped out of college and told'em I wanted infantry, combat, and Nam.</dialogue> <scene_description>He grins , finding their reactions funny . It 's also the first time we 've seen Chris crack a smile .</scene_description> <character>CRAWFORD</character> <dialogue>You volunteered for this shit man?</dialogue> <character>KING</character> <dialogue>You a crazy fucker, givin' up college man.</dialogue> <scene_description>King has long sleepy eyelids and cat 's eyes , a large pink tongue and big white - edged cotton picker 's nails - a lazy , gentle nature , content with the world .</scene_description> <character>CHRIS</character> <dialogue>Did n't make much sense. Was n't learning anything.</dialogue> <parenthetical>( hesitates . )</parenthetical> <dialogue>And why should just the poor kids go to the war - and the college kids get away with it.</dialogue> <scene_description>King and Crawford share a smile .</scene_description> <character>KING</character> <dialogue>What we got here a crusader?</dialogue> <character>CRAWFORD</character> <dialogue>Sounds like it.</dialogue> <scene_description>They pause , wipe the sweat off . King lighting up a half - smoked joint , hitting a few puffs , eyes shooting around , making sure he 's not spotted , passing it to Crawford .</scene_description> <character>KING</character> <dialogue>Sheeit, got ta be rich in the first place to think like dat. Everybody know the poor always being fucked by the rich. Always have, always will.</dialogue> <scene_description>Noticing Chris is having trouble with his neck , picking at his bandage .</scene_description> <character>KING</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You okay man? Neck botherin' you?</dialogue> <character>CHRIS</character> <dialogue>Nah.</dialogue> <character>KING</character> <dialogue>Here have some of this. Wo n't feel a thing.</dialogue> <scene_description>Chris looking at the joint , a little apprehensive . He 's never smoked .</scene_description> <character>CHRIS</character> <dialogue>No, thanks.</dialogue> <character>KING</character> <dialogue>Go on, whatcha got ta lose, yo' here now.</dialogue> <character>CRAWFORD</character> <dialogue>Kills the smell of shit anyway.</dialogue> <scene_description>The joint proferred . Chris waits a beat , shrugs , takes it , smokes .</scene_description> <character>KING</character> <dialogue>Suck it in. Hold it. That's it. Now let it out.</dialogue> <scene_description>Chris blows it out .</scene_description> <character>CHRIS</character> <dialogue>Do n't feel it.</dialogue> <scene_description>King and Crawford chuckle , go on rolling the cans .</scene_description> <character>KING</character> <dialogue>Dat's what they all say. CUT TO :</dialogue> </scene> <scene> <stage_direction>EXT. OUTHOUSE - LATER - DAY</stage_direction> <scene_description>King , Crawford and Chris pour kerosene over the cans at a secure distance from the outhouse . King lights it . The cans pop and start crackling . A line of burning barrels . Rings of dirty black smoke rise against a soft blue sky . They watch , stoned . Chris turns to both of them .</scene_description> <character>CHRIS</character> <dialogue>you know that night we got hit. I.</dialogue> <parenthetical>( ashamed . )</parenthetical> <dialogue /> <character>KING</character> <dialogue>Fuck it, do n't mean nothing, no such thing here as a coward, done your best man, next time y ` do better.</dialogue> <character>CRAWFORD</character> <dialogue>History, man, history.</dialogue> <scene_description>Chris surprised at their attitude . The joint suddenly hits him , a look in his face , eyes looking around different . Over at King .</scene_description> <character>CHRIS</character> <parenthetical>( deadpans . )</parenthetical> <dialogue>I think I'm starting to feel that stuff.</dialogue> <scene_description>Crawford laughes .</scene_description> <character>KING</character> <parenthetical>( laughes . )</parenthetical> <dialogue>Yo getting there Taylor. You be cool now and I'll introduce you ` round to some of the ` heads'.</dialogue> <character>CHRIS</character> <dialogue>What are the heads?</dialogue> <character>KING</character> <parenthetical>( laughes , walks away with Crawford . )</parenthetical> <dialogue>Later.</dialogue> <scene_description>Chris alone , breathes deep , feeling the full effect .</scene_description> </scene> <scene> <stage_direction>EXT. BASE CAMP - NIGHT</stage_direction> <scene_description>A relief against the long harsh , hot day . We see lights on all over the camp , sounds of music , laughter from the barracks .</scene_description> </scene> <scene> <stage_direction>INT. UNDERWORLD HUTCH - NIGHT</stage_direction> <scene_description>King leads Chris down to a specially constructed cellar - like hutch dug deep into the ground on an isolated edge of the battalion perimeter . Ammo casing and canvas are piled over it , and sandbags surround it . From the outside very little sound can be heard as they go down through a trap door made of ammo crates . Past a lookout -LRB- Adams -RRB- pulling security , hitting a joint but alert . King motions to him , it 's cool . Inside is another world . Chris looking around amazed . It 's like a private cabaret for the ` heads ' who are there cooling out . Boxes of food from the States , beers , whiskey bottles , crates functioning as tables , hammocks hanging from poles , electric fans , tape decks , paraphenalia . The boys are all dressed up in their Saturday night rags . The clothes are clean , the headbands , the medallions are out , anything distinctive and individualistic . On the tapedeck , Jefferson Airplane 's ` Go Ask Alice ' . To Chris it is a new world . And RHAH , the resident head , sitting there in all his finery puffing a huge burning red bowl in a three foot long Montagnard pipe , seems to be the lord of final judgement in this smoky underworld . Across his naked chest , birds and snakes are tatooed . Around his neck a black skull and white ivory cross side by side . On his knuckles ` Love ' and ` Hate ' are tattooed . In his eyes , a dancing Satanic fire . A poor rural Southern white , in his grizzled late 20 's , he could be a Biker King . Giving Chris the once - over .</scene_description> <character>RHAH</character> <dialogue>Whatcha doing in the underworld Taylor?</dialogue> <character>KING</character> <parenthetical>( smiling . )</parenthetical> <dialogue>This ai n't Taylor. Taylor been shot. This man Chris been resurrected.</dialogue> <scene_description>Chris wondering what he 's doing here . His eyes roving over LERNER , CRAWFORD , MANNY , FLASH , FRANCIS , HOYT , TUBBS , DOC , other from the Platoon , about 9 or 10 of them . Rhah eyes him back , hands him the bowl .</scene_description> <character>RHAH</character> <dialogue>You lame Taylor?</dialogue> <character>CHRIS</character> <dialogue>What?</dialogue> <character>RHAH</character> <dialogue>You lame or something?</dialogue> <character>KING</character> <parenthetical>( smiling . )</parenthetical> <dialogue>. go ahead on, smoke it man.</dialogue> <scene_description>Chris understands , takes the bowl . Hesitates . Then smokes it . The contact fumes are almost enough to knock him out . He starts coughing . They 're all laughing .</scene_description> <character>RHAH</character> <dialogue>Your shit's in the wind troop. Baaaaah!</dialogue> <scene_description>Lerner replies , his tongue hanging out in parody .</scene_description> <character>LERNER</character> <dialogue>And Baaaaaaa! back on you.</dialogue> <character>RHAH</character> <parenthetical>( looking at Lerner with distaste . )</parenthetical> <dialogue>If you're gon na do it man, ` least do it right.</dialogue> <scene_description>Building up to it , his eyes shaking with conviction at the whole insanity of the world , he neighs with all the venom he can muster .</scene_description> <character>RHAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Baaaaaaaaaaaaaaaa!</dialogue> <scene_description>They all laugh and applaud . King smoking from the pipe passing it back to Chris who takes another hit , does n't cough this time , looking around , wondering about these guys .</scene_description> <character>LERNER</character> <dialogue>I did n't like it.</dialogue> <character>RHAH</character> <dialogue>Bah, you're a child, Lerner. Rhah do n't waste time on you.</dialogue> <scene_description>They go on ad - libbing with each other , teasing Doc , who 's fairly straight , saying he wants to go to med school in the fall . ` Be what ? '' A gynecologist , man . '' What dat ? ' Francis suggests , ` Dats a pussy doctor , man - he 's gon na be Doctor Feelgood , man ! ' They 're all cracking up , finding every joke funny . As Chris finishes his hit on the pipe , looks up across the smoke , already dazed , surprised to see ELIAS suddenly there - leaning out of his sling in a far corner of the hooch . A Monkey is draped around his neck with silver bracelets , rings , a necklace - like a sensual little Egyptian whore , Elias playing with it , spaced out in a sleeveless vest , tiger pants . Dancing eyes on Chris , he swings out the hammock , comes over with the monkey . Meanwhile Manny has broken into a high falsetto snatch of blues directed at Chris , joined by Big Harold and Francis , all of them clicking their hands .</scene_description> <character>MANNY &amp; BIG HAROLD &amp; DOC</character> <dialogue>Oooh Chris, you look like you is high oh yeah, he looks like he is high Ooooh Chris, you know you gon na be that way all night oh yeah I think that you are. Yeah! up now and up to par oh yeah.</dialogue> <scene_description>Elias pulls out a Remington 870 shotgun , jacks it to the rear , points it at Chris .</scene_description> <character>ELIAS</character> <dialogue>Put your mouth on that.</dialogue> <scene_description>Chris does so slowly , a little worried . Elias takes a hit and blows it down the bore - ` shotgunning ' it into Chris ' lungs . Chris staggers back , coughing . Everybody laughes ` hey dude - you done had your ass blown away ' etc . Elias smiles his big white - tooth smile .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>First time?</dialogue> <character>CHRIS</character> <dialogue>Yeah.</dialogue> <character>ELIAS</character> <dialogue>Then the worm has definately turned for you man.</dialogue> <scene_description>Chris puzzled by this expression .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( smiles . )</parenthetical> <dialogue>Feel good?</dialogue> <character>CHRIS</character> <parenthetical>( a sense of euphoria now . )</parenthetical> <dialogue>Yeah. No pain in my neck now. Feels good.</dialogue> <character>ELIAS</character> <dialogue>Feelin' good's good enough.</dialogue> <scene_description>As he sucks in a huge mass of smoke off the bowl . His eyes performing a funny little hop , skip and jump , as he holds it , his face turning red . The monkey jabbers and jumps around on his neck , worried . Elias then blows the smoke out in its face , the monkey hating it . The Group laughes .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey Crutcher. I hear you got a Dear John from your gal. Told you she was n't getting ` nuff from you.</dialogue> <scene_description>Lerner looks up , stoned out of his mind , wearing a ring in his ear .</scene_description> <character>LERNER</character> <dialogue>Shit. Sold me out for some lame dude with a 4 - F.</dialogue> <character>ELIAS</character> <dialogue>What'd you say her name was again?</dialogue> <character>LERNER</character> <parenthetical>( recalling her image . )</parenthetical> <dialogue>Daisy Mae.</dialogue> <character>BIG HAROLD</character> <dialogue>Hey look at Charlotte!</dialogue> <scene_description>The monkey is sitting quietly stoned , its eyes blinking . Laughter off .</scene_description> <character>ELIAS</character> <dialogue>Daisy Mae! What Daisy Mae look like Crutcher?</dialogue> <character>MANNY</character> <dialogue>She look huge and got freckles on her ass.</dialogue> <character>LERNER</character> <dialogue>She look beautiful.</dialogue> <character>FRANCIS</character> <dialogue>How much she weigh man?</dialogue> <character>BIG HAROLD</character> <dialogue>She braid her hair under her armpits, Crutcher.</dialogue> <character>FRANCIS</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Daisy Mae what?</dialogue> <character>KING</character> <dialogue>Daisy Mae Highway, that's what.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>Well whatcha want, Lerner, your dick been limp for a year, ` cept when you're bopping your buddy Tony up there.</dialogue> <character>LERNER</character> <dialogue>Fuck that.</dialogue> <character>ELIAS</character> <dialogue>I fucked this chick in Hawaii man. Couple weeks ago. Oooooh! Wow - outasight. Gracie Slick man, she looked like Gracie man, I shit you not.</dialogue> <parenthetical>( remembering . )</parenthetical> <dialogue /> <scene_description>The look on his face ensnares all of them , except perhaps Rhah .</scene_description> <character>MANNY</character> <dialogue>What happened man. What whorehouse you go to?</dialogue> <character>ELIAS</character> <dialogue>No whorehouse man. On the beach.</dialogue> <character>FRANCIS</character> <dialogue>Sure.</dialogue> <character>ELIAS</character> <dialogue>Yeah, sure. She walked right by me. Long black hair, tits swinging. Ass like French bread. Legs do n't end right.</dialogue> <character>LERNER</character> <parenthetical>( skeptical . )</parenthetical> <dialogue>You can plant that shit in Tennessee man, but it wo n't come up in Texas.</dialogue> <character>CRAWFORD</character> <dialogue>So what she got, hair on her tits.</dialogue> <character>ELIAS</character> <dialogue>I just stopped man. My heart's beating like a hardon right I got a hardon sticking through my pants, my bathing suit looks like a hutch.</dialogue> <character>BIG HAROLD</character> <dialogue>I know dat feeling.</dialogue> <character>ELIAS</character> <dialogue>So I'm thinking to myself - Elias you walk away from this, you gon na regret this the rest of your natural life. So I go after her, follow her down the beach. You know find out if she is what she is.</dialogue> <scene_description>They 're all hooked into this now .</scene_description> <character>KING</character> <dialogue>And?</dialogue> <character>ELIAS</character> <dialogue>Well she was picking up her kids.</dialogue> <character>MANNY</character> <dialogue>Dat's dat.</dialogue> <character>ELIAS</character> <dialogue>No, dat ai n't dat.</dialogue> <character>FRANCIS</character> <dialogue>Get outta here, she married.</dialogue> <character>ELIAS</character> <dialogue>Like two hogs in heat. Boy.</dialogue> <scene_description>Their throats knotting .</scene_description> <character>CHRIS</character> <parenthetical>( joining in . )</parenthetical> <dialogue>. But what'd she do?</dialogue> <character>ELIAS</character> <dialogue>What did n't she do. She fucked the living shit outta me, that's what she did!</dialogue> <character>CRAWFORD</character> <parenthetical>( sucking in air . )</parenthetical> <dialogue>Jesus!</dialogue> <character>ELIAS</character> <dialogue>Could n't get enuff.</dialogue> <character>CHRIS</character> <dialogue>But what'd she actually do?</dialogue> <character>ELIAS</character> <dialogue>She was a crossbreed, Chinese and Polish.</dialogue> <character>BIG HAROLD</character> <dialogue>What dat?</dialogue> <character>RHAH</character> <parenthetical>( finally hooked in . )</parenthetical> <dialogue>And living in Hawaii man?</dialogue> <character>ELIAS</character> <dialogue>Yeah - and has blonde hair and almond - shaped eyes.</dialogue> <character>FRANCIS</character> <dialogue>Hey man did n't you say she had black hair?</dialogue> <character>ELIAS</character> <dialogue>She had blonde hair man. And long tan legs, in those leather sandals you know, with those thongs up to her knees, this musky oil on it. mmmm smelled good when they were wrapped around my face.</dialogue> <scene_description>They groan , dreaming of Hawaii .</scene_description> <character>DOC</character> <dialogue>Yeah!</dialogue> <character>CHRIS</character> <dialogue>God!</dialogue> <character>BIG HAROLD</character> <dialogue>Please, somebody hold my dick!</dialogue> <character>ELIAS</character> <parenthetical>( in afterthought . )</parenthetical> <dialogue>. and a broken nose.</dialogue> <character>DOC</character> <dialogue>Broken man?</dialogue> <character>ELIAS</character> <dialogue>Yeah, otherwise she would've been too perfect, y' know what I mean. some woman. Her name was.</dialogue> <scene_description>He forgets it . A grass blackout . Lerner urging him on .</scene_description> <character>LERNER</character> <dialogue>Susan?</dialogue> <character>MANNY</character> <dialogue>Tamara?</dialogue> <character>CHRIS</character> <dialogue>Elizabeth?</dialogue> <scene_description>Elias shaking his head , trying to remember .</scene_description> <character>KING</character> <dialogue>Merle?</dialogue> <character>RHAH</character> <dialogue>Merle? Jesus! Patty?</dialogue> <character>BIG HAROLD</character> <dialogue>Inga?</dialogue> <character>CHRIS</character> <dialogue>Jennifer?</dialogue> <character>HOYT</character> <dialogue>Connie?</dialogue> <scene_description>Elias snapping his fingers .</scene_description> <character>ELIAS</character> <dialogue>Dawn! That was it!</dialogue> <character>CHRIS</character> <parenthetical>( repeating it . )</parenthetical> <dialogue>Dawn.</dialogue> <scene_description>King listening to the sound of it .</scene_description> <character>KING</character> <dialogue>Dawn?</dialogue> <scene_description>The others nodding , musing over it .</scene_description> <character>BIG HAROLD</character> <dialogue>Yeah, Dawn.</dialogue> </scene> <scene> <stage_direction>INT. THE BARRACKS - NIGHT</stage_direction> <scene_description>In comparison to the darkness of the hooch , a highly lit atmosphere , attracting bugs . dusty gear lying around a disordered hooch , loud and finger - snapping COUNTRY WESTERN MUSIC playing from a tape deck , a well - known tune , circa 1967 . BUNNY , the 18 year - old angel face , totters drunk with a Colt - 45 beer in hand , over to JUNIOR , the badass black kid with the zits , who just lies there on his cot sweating , doing nothing .</scene_description> <character>BUNNY</character> <parenthetical>( listening to the music . )</parenthetical> <dialogue>Listen to that shit, that's good shit!</dialogue> <character>JUNIOR</character> <parenthetical>( irritated as always . )</parenthetical> <dialogue>Fuck that redneck noise, dude. All dem chicks be rappin' how dey losin' der' ho's and how dey ai n't got no bread for beer. Fuck dat honky shit. Got to get me some motown jams, dig it?</dialogue> <character>BUNNY</character> <parenthetical>( does n't understand a word of it . )</parenthetical> <dialogue>Whaddaya talking shit for man. Hey Junior! Y' ever smoke any shit?</dialogue> <character>JUNIOR</character> <dialogue>Das right dude. You be tryin' to string de black man out on dat shit and keep him DOWN. Time's be coming, my man, when de black man's gon na throw off that yoke.</dialogue> <character>BUNNY</character> <parenthetical>( lonely in his way for company . )</parenthetical> <dialogue>Say I can dig it. Smoke that shit everything kinda gets weird y' know?</dialogue> <parenthetical>( hiccups , sits . )</parenthetical> <dialogue>Y' hear that story the gooks is putting chemicals in the grass so's we become ` pacifists' so's we don fight.</dialogue> <parenthetical>( to no one in particular . )</parenthetical> <dialogue>Where the hell's everybody, they ` se gettin high that's what - bunch of hopheads, they think they special.</dialogue> <character>JUNIOR</character> <parenthetical>( turns away , bored . )</parenthetical> <dialogue>Don you worry Bunny, youse a killer anyway.</dialogue> <character>BUNNY</character> <dialogue>Yeah but I still like a piece of pussy once in a while - ai n't nothing like a piece of pussy cept maybe the Indie 500.</dialogue> <character>JUNIOR</character> <dialogue>Youse so fucked up man.</dialogue> <character>BUNNY</character> <dialogue>Y' ever look at yoself in the mirror Junior, youse uglier than a dick on a dog man.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue /> <character>JUNIOR</character> <dialogue>Yeah, you had a piece of pussy on a plate in front of you, you'd probably kill it.</dialogue> <character>BUNNY</character> <dialogue>Shit, I bet I been laid more'n you have.</dialogue> <character>JUNIOR</character> <dialogue>Sure, you probably stick it in tween her knees and think youse there.</dialogue> <character>BUNNY</character> <dialogue>Yeah?</dialogue> <character>JUNIOR</character> <dialogue>Only way you'd get some pussy is your bitch dies and wills it to you - and then maybe.</dialogue> <scene_description>Lt. WOLFE wanders down the aisle , beer in hand , slightly lonely , bypassing FU SHENG , the Hawaiin and TONY , a mustached hairy - browed Italian kid from Boston , who are playing some kind of dice game . They hardly acknowledge the Lieutenant who stops by RODRIGUEZ , the Mexican - American kid who is on his cot in his neatly arranged area writing a letter home with a pencil , forming his words with his mouth , as always minding his own business . Religious objects comprise his few decorations .</scene_description> <character>LIEUTENANT WOLFE</character> <parenthetical>( amiable . )</parenthetical> <dialogue>How you doing Rodriguez?</dialogue> <character>RODRIGUEZ</character> <dialogue>Good sir.</dialogue> <character>WOLFE</character> <dialogue>Need anything?</dialogue> <character>RODRIGUEZ</character> <dialogue>No sir.</dialogue> <scene_description>Wolfe winks at him , continues on to the POKER GAME going on in the center of the barracks , the main action . BARNES , Sgts.O ` NEILL and WARREN , the quiet sullen black , SANDERSON and SAL play as ACE , the tiny radio kid , and MOREHOUSE look on ; all of them drinking beer and bourbon chasers from a bottle .</scene_description> <character>WOLFE</character> <parenthetical>( to O'Neill . )</parenthetical> <dialogue>How's it going Red?</dialogue> <parenthetical>( using his nickname . )</parenthetical> <dialogue /> <character>O'NEILL</character> <dialogue>Shit, cocksucker's got all the cards tonight.</dialogue> <character>WOLFE</character> <parenthetical>( to Barnes . )</parenthetical> <dialogue>Looks like you're doing all right Sergeant.</dialogue> <scene_description>Barnes , raking in the chips , is the big winner , a light bead of sweat on his forehead and a somewhat glassy look to the eye the only indication he is drunk - his shirt peeled off revealing a muscular , scarred body .</scene_description> <character>BARNES</character> <dialogue>Yeah, and I ai n't even cheating yet.</dialogue> <character>SANDERSON</character> <parenthetical>( the big blond kid . )</parenthetical> <dialogue>Have some Kentucky windage Lieutenant.</dialogue> <parenthetical>( passes him the bottle of bourbon . )</parenthetical> <dialogue /> <scene_description>Wolfe takes a nip .</scene_description> <character>BARNES</character> <dialogue>Play Lieutenant?</dialogue> <character>WOLFE</character> <dialogue>Nah, I would n't want to get raped by you guys.</dialogue> <character>O'NEILL</character> <dialogue>What are you saving up to be Lieutenant - Jewish?</dialogue> <scene_description>Laughes . Wolfe forces a smile , glad to move on . There is a continual worried rodent air about him , an anxiety , a desire to fill the vacuum in his leadership with a false masculinity .</scene_description> <character>WOLFE</character> <dialogue>Catch you men later. Enjoy yourselves.</dialogue> <scene_description>As he goes , O'Neill shakes his head after him .</scene_description> <character>O'NEILL</character> <dialogue>Sorry ass motherfucker ai n't he. You think he gon na make it Barnes?</dialogue> <scene_description>Barnes plays a card , glances , a minute movement of his head .</scene_description> <character>O'NEILL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah that's what I figger. Some dudes you jes' look in their faces and you KNOW they just ai n't gon na make it.</dialogue> <scene_description>Barnes looks - with some irony - at O'Neill . The Country Western tune has reached a crescendo whine which now mixes into :</scene_description> </scene> <scene> <stage_direction>INT. UNDERWORLD HUTCH - NIGHT</stage_direction> <scene_description>Francis , the baby - faced black , and Manny , green shades covering his skinny face , lead with a high blues falsetto .</scene_description> <character>FRANCIS AND MANNY</character> <parenthetical>( singing . )</parenthetical> <dialogue>` People say I'm the life of the party cause I tell a joke or two Although I may be laughing loud and hardy Deep inside I'm blue.</dialogue> <scene_description>The Hutch looks now like a Turkish bath with minimum visibility , the smoke fumes dense . They are all up dancing on their feet - King , Tubbs , Big Harold , Hoyt , Lerner , Crawford , Flash , Doc , Elias - a few light gestures with their hands above shoulder level , passing around the grass pipes while they shuffle , fingers clicking . The song - Smokey Robinson 's `` Tracks of My Tears '' - accompanies them from a vintage tapedeck .</scene_description> <character>ALL</character> <dialogue>. Since you've left me, if you've seen me with another girl seeming like I'm having fun although she may be cute she's just a substitute because you're the permanent one.'</dialogue> <scene_description>King and Big Harold wave Chris into the Circle and he starts swaying with them , feeling as if he 's being accepted into a new family . Rhah watches it all , puffing away on his magic dragon pipe , the shadows dancing on the walls . It looks like a Saturday night dance party . A yearning for tenderness , for feminity , for a moment of peace in this nightmare life . Their eyes closed , thinking of dance partners that ca n't be here tonight . Singing their souls out .</scene_description> <character>ALL</character> <parenthetical>( CONT 'D . ) '</parenthetical> <dialogue>. So take a good look at my face. You'll see the smile looks out of place. Look a little bit closer. It's easy to trace. The tracks of my tears.'</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - NVA BUNKER COMPLEX - DAY</stage_direction> <scene_description>An overwhelming 103 degree heat . Chris is once more on point , a little better now but obviously struggling with a thick unyielding bamboo thicket that forces him forward in a caveman crouch . Napalm jelly is hanging from the trees in great canopies of spider webs , obliterating the sky .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>New Year's Day, 1968. Just another day. Staying alive. There's been a lot of movement neat the Cambodian border, regiments of NVA moving across. A lot of little firefights, ambushes, we drop a lot of bombs, then we walk through the napalm like ghosts in a landscape.</dialogue> <scene_description>Chris working his way over twisted , broken stumps , branches . On the back of his flak jacket he 's written , ` If I die bury me upside down so the whole world can kiss my ass ' .</scene_description> <character>BARNES</character> <dialogue>Pssst!</dialogue> <scene_description>The signal for silence . Chris freezes . Barnes edging up to him .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispers . )</parenthetical> <dialogue>Bunker.</dialogue> <character>CHRIS</character> <dialogue>Where?</dialogue> <scene_description>Does n't see it . Following Barnes ' imperceptible movement of his head . The bunker , dug into the ground and camouflaged with brush , is staring right at him , not more than 20 feet away . Chris is a dead man if . Barnes , checking the terrain , signals radioman Hoyt . Barnes edging up to the bunker , eyes everywhere . Chris following . The tension builds . They come up to the edge of it , peer in . Nothing . Barnes walks around it , slips in from back . Chris covers him , other guys coming up now , making a small perimeter . Chris now starts to see things he did n't see . Right in front of his nose - there is a trench from this bunker to another and another . There is now in his view a complex of bunkers and thatched hootches and lean - tos all blending into the forest . A ghost city . Elias and others fanning out now , careful . whispered conversations in the wind . Chris moves past a rope with freshly washed laundry stretching between two trees , clothes stirring in the wind . He looks up as King points out a treehouse , then looks down as Lerner whispers something and points - NVA rucksacks are laid out on the ground in an orderly platoon - sized pattern . CUT TO :</scene_description> </scene> <scene> <stage_direction>INT. NVA BUNKER - TUNNEL POSITION - DAY</stage_direction> <scene_description>Elias goes down into a dangerous - looking TUNNEL , on a rope with a .45 . Barnes watching him . We sense Elias loves the danger , smiling .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - COMPLEX - MAIN POSITION - DAY</stage_direction> <scene_description>Lt. Wolfe signals Manny and Chris out onto the two flanks .</scene_description> </scene> <scene> <stage_direction>INT. NVA TREEHOUSE - DAY</stage_direction> <scene_description>Rhah and King explore a treehouse . Rice stores . Rhah , an experienced soldier , seems tense , moves cautiously , expecting booby traps .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - WARREN'S POSITION - DAY</stage_direction> <scene_description>Sgt. Warren cautiously explores another bunker , probing a little tunnel in the bottom of it with a stick . Bunny , having a small frame , goes down into it , fearless .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - MANNY'S POSITION - DAY</stage_direction> <scene_description>Manny , the skinny black boy with the coloured beads , is out on flank - alone , smoking a cigarette , humming .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - CHRIS' POSITION - DAY</stage_direction> <scene_description>On the other flank , Chris , also alone , waits , listening to the sounds of the jungle . He too is smoking a cigarette . The eeriness is everywhere . Rays of morning light peeking through the cathedral dome of the jungle . Bird calls .</scene_description> </scene> <scene> <stage_direction>INT. NVA TUNNEL - DAY</stage_direction> <scene_description>Elias climbs deeper and deeper into the hole , a rope attached to his waist leading out to the surface , his flashlight now coming around on a shaftway demarcating a TUNNEL that seems to stretch for at least 100 yards . The light revealing cobwebs all along it , but tall enough for a small man .</scene_description> </scene> <scene> <stage_direction>EXT. CHRIS' POSITION - DAY</stage_direction> <scene_description>It 's quiet , weird . Chris takes his pants down , squats . He thinks he hears something , tenses . There is a soft rustling sound now . And as he focuses on it he realizes it is coming from very close to him . Something light and sinuous moving over the leaves . He looks down . A bright yellow and orange - ringed krait viper is crawling right between his two legs . It stops , senses another life standing over it . Chris frozen with dread . The snake crawls on , pulling its long , long 15 foot body behind it . On Chris , eyes dilated , slowly regaining his breath looking around everywhere now .</scene_description> </scene> <scene> <stage_direction>INT. NVA TUNNEL - DAY</stage_direction> <scene_description>Elias moving down the tunnel , fearless . We expect something any moment to come out and nail him but nothing does . He stops . His flashlight revealing a kitchen and an NVA hospital set up . A hammock swings as if someone just deserted it . In another hammock is a dead man . Elias advances cautiously .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - COMPLEX - SANDERSON POSITION - DAY</stage_direction> <scene_description>Spec 4 Sanderson , the big handsome blond kid , is moving through an abandoned bunker . With him is Sal , a tough street kid with an intense face , all whiskered . Sanderson noticing now a metal box of 50 - caliber ammo , U.S. marking , half - buried in the ground .</scene_description> <character>SANDERSON</character> <dialogue>Hey look at that.</dialogue> <scene_description>He opens the case . Official - looking documents are inside , they glance through them , lighting cigarettes , the search over , successful , they relax .</scene_description> <character>SAL</character> <parenthetical>( a worried type . )</parenthetical> <dialogue>Leave it willya - it's gook shit.</dialogue> <character>SANDERSON</character> <dialogue>Nah this stuff's important.</dialogue> <scene_description>He puts the documents back in the ammo case , lifts it . It 's the last thing he ever does .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - SANDERSON POSITION - DAY</stage_direction> <scene_description>The ensuing explosion shakes the ground , obliterating both boys , brances , smoke and dust flying out .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - CHRIS POSITION - DAY</stage_direction> <scene_description>Out on flank , Chris hits the ground , hugs it .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - COMPLEX - SANDERSON POSTION - DAY</stage_direction> <scene_description>Barnes runs up . Black smoke sweeping through the trees . Sal suddenly appears , stepping out of the smoke , stunned . The front of his body is soaked in blood from a thousand shrapnel holes , his clothes shredded , he stares at Barnes , dazed . Both his arms are gone and blood is geysering out like a water fountain . He crumbles - dead or dying .</scene_description> <character>BARNES</character> <dialogue>Corpsman!</dialogue> <scene_description>He runs over to Sal , gets a hold of his face in a vicelike grip , enraged , tries to yell some sense into him .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( directly to Sal . )</parenthetical> <dialogue>Goddamit! Are you fucking kids ever gon na learn! Do n't you understand how easy it is to die!</dialogue> <scene_description>The Doc running up - one look tells us all we need to know .</scene_description> <character>DOC</character> <dialogue>Holy Jesus!</dialogue> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY</stage_direction> <scene_description>Lt. Wolfe , shaken , is on the radio with Cpt . Harris , words garbled through the air , trying to describe a primal horror .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - SANDERSON POSITION - DAY</stage_direction> <scene_description>Barnes moving through the wreckage - sees severed limbs sticking in a sandbag .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY</stage_direction> <scene_description>Rhah crouches over a piece of leg tied into a hipbone and a rib .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - DAY</stage_direction> <scene_description>Elias coming out of the tunnel , filthied .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - MAIN POSITION - DAY</stage_direction> <scene_description>Elias coming abreast of Wolfe .</scene_description> <character>ELIAS</character> <dialogue>Tell Six we need engineers here, this pos. is crawling with traps.</dialogue> <character>WOLFE</character> <dialogue>They're on their way.</dialogue> <parenthetical>( consulting his map . )</parenthetical> <dialogue>There's a gook village half a klik downriver, Battalion wants us to move in and search it ASAP, something's going on. where's Barnes?</dialogue> </scene> <scene> <stage_direction>INT. NVA BUNKER - SANDERSON POSITION - DAY</stage_direction> <scene_description>Barnes is still there in the wrecked bunker , squatting there staring as if his mind has disconnected for a moment . He reaches up , touches his scars . The look on his face suggests he is deeply wronged by this tragedy , that he is taking it very personally .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER - MAIN POSITION - DAY</stage_direction> <scene_description>Chris watches him from outside the bunker , awed . Barnes notices Chris watching him , takes a breath , stands .</scene_description> <character>BARNES</character> <dialogue>You gon na sit there and play with yourself Taylor or you gon na be part of my war. Awright, saddle up, let's go - Tubbs you got point.</dialogue> <scene_description>The men moving into jungle formation , silently . Chris walking over into line , stops for a moment - noticing a freshly - severed eyeball partially buried in dirt , staring up at him . He turns away , sickened .</scene_description> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - MAIN POSITION - DAY</stage_direction> <character>O'NEILL</character> <dialogue>Where's Manny?</dialogue> <character>WARREN</character> <dialogue>Manny! Hey Buchanan.</dialogue> <scene_description>There is no answer . The men in the platoon start to look at each other , sensing more trouble . Elias heads into the bush after him . Barnes watches him go . Francis , his friend , and Tubbs and King follow .</scene_description> <character>FRANCIS</character> <dialogue>Hey man whatcha doing. where you at? Get your black ass back in here!</dialogue> </scene> <scene> <stage_direction>EXT. NVA BUNKER COMPLEX - MANNY'S POSITION - DAY</stage_direction> <scene_description>Out on the flank position , where he once stood , Elias walks out , looks . The jungle is silent once again . Francis , Tubbs , King follow . The others - Barnes , Lt.Wolfe , Warren , Chris , Rhah .</scene_description> <character>FRANCIS AND OTHERS</character> <parenthetical>( whispering loudly . )</parenthetical> <dialogue>Manny? Manny?</dialogue> <scene_description>Their voices trailing off . Bird cries come back . Elias combing the ground for clues . nothing . Chris looking on , ca n't believe it , none of them can , a collective chill running through the platoon .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>The Platoon moving downslope in the Jungle , their faces grim , quiet , deadly . King is on point .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We had to get to the village before dark so we left Elias with some men to keep looking and to wait for the engineers. But it was King who found him. about 1000 yards downriver, not far from the village - It was the end of the mystery.</dialogue> <scene_description>A moving shot approaching Manny . He 's trussed with rope , arms behind his back . Throat cut , eyes startled open , mouth shaped in a scream of terror . Barnes , the other men looking . Chris . Barnes says it for everyone , ` The motherfuckers . '</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - TRAIL - DAY</stage_direction> <scene_description>They come up out of the jungle onto the side of a CART TRAIL , where a tiny village overlooks the river . The VILLAGE is poor , a series of thatched hutches made of C - ration cardboard and aluminum beer can sidings , faint whiffs of smoke coming from cook fires . Pigs and dogs wander about . An OLD VILLAGER watches them pass from his tillable plot , smoking a cigarette , one leg wrapped around his hoe , resting , no expression .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>the village, which had stood for maybe a thousand years, did n't know we were coming that day. If they had they would have run. Barnes was at the eye of our rage - and through him, our Captain Ahab - we would set things right again. That day we loved him.</dialogue> <scene_description>A pig loiters along the trail , rooting . Bunny coming up on it with a smile .</scene_description> <character>BUNNY</character> <dialogue>Hey pig, pig - come here, pig, pig.</dialogue> <scene_description>The pig grunts . Bunny leveling his shotgun , fires point blank . A horrible squeal . Chris , directly behind him , looks disgusted .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY</stage_direction> <scene_description>Tony suddenly points , excited , calls to Barnes .</scene_description> <character>TONY</character> <dialogue>There goes one!</dialogue> <scene_description>Their POV - a young VILLAGER fleeing down the slope . Barnes does n't hesitate , nails him with a short volley of well - placed shots .</scene_description> <character>BARNES</character> <parenthetical>( to Tony . )</parenthetical> <dialogue>Check him out.</dialogue> <scene_description>He turns back into the village .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY</stage_direction> <scene_description>Troops fanning out over the village , some TWO DOZEN VILLAGERS scattering to collect their children , dogs barking .</scene_description> <character>SGTS.O'NEIL AND WARREN</character> <dialogue>Get em out! Get em out!</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE TUNNEL - DAY</stage_direction> <scene_description>In another part of the village , Barnes hovers over a hole leading into some kind of tunnel .</scene_description> <character>BARNES</character> <dialogue>Get out of there you fuckheads move! Move!</dialogue> <scene_description>Fires a warning shot . Three VILLAGERS climbing out of the spider hole , arms raised , but not showing any emotion . Barnes turning to his radioman Hoyt and Big Harold accompanying .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Harold . )</parenthetical> <dialogue>Put'em in the pig pen.</dialogue> <parenthetical>( to Hoyt . )</parenthetical> <dialogue>There's more down there. Gim me your Willy Pete.</dialogue> <scene_description>Hoyt , with reluctance in his eyes , hands over a specially shaped grenade . Barnes stands over the hole , the grenade in hand . The three VILLAGERS who just came out of the hole , yell from the distance , to others still in the tunnel , pleading with them to come out .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>FIRE IN THE HOLE!</dialogue> <scene_description>Barnes throws the phosphorus in . A muted EXPLOSION . Then sizzling acidic fumes . Frying sounds . A hideous scream from somewhere deep in the hole . Hoyt , watching , is sickened . Barnes businesslike . The Villagers , in grief , howl and tear at their faces .</scene_description> <character>FU SHENG</character> <parenthetical>( hustling up to Barnes . )</parenthetical> <dialogue>Sarge, we found some shit!</dialogue> <scene_description>Barnes going with him .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - OUTSIDE HUTCH - DAY</stage_direction> <scene_description>The sun is sittin there hot and high in the sky . Chris , strangling in heat , a demented look on his face , staggers into a hutch with Francis .</scene_description> </scene> <scene> <stage_direction>INT. HUTCH - VILLAGE - DAY</stage_direction> <scene_description>Threadbare , poor , a typical Buddhist shrine in the corner , motes of light crisscross through the poor matting and c - ration sides . Chris edges over , pries up a floorboard , flips it over , scared . There 's a tunnel inside . A long dark dangerous hole .</scene_description> <character>CHRIS</character> <dialogue>La Dai! La Dai! GET THE FUCK OUTTA THERE!</dialogue> <character>FRANCIS</character> <dialogue>Hey take it easy man. They're scared.</dialogue> <character>CHRIS</character> <dialogue>They're scared? What about me! I'm sick of this shit man, I `` m sick of this shit! They do n't want us here! Who do you think they're fighting for! GET OUTTA THERE!</dialogue> <scene_description>Francis does n't recognize him in his rage . Bunny now coming in , followed by O'Neill , drawn by the shouting .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - WEAPONS CACHE - DAY</stage_direction> <scene_description>Barnes stares down at a WEAPONS CACHE buried cleverly underneath the ruce urns . Ace , Fu Sheng , Sgt.Warren , Lt.Wolfe , others , are digging it out . It 's in white plastic wrappings - a load of AK - 47 's , rockets , grenades , claymores , carbines , flares , NVA uniforms . A real find .</scene_description> <character>SGT. WARREN</character> <parenthetical>( to Barnes . )</parenthetical> <dialogue>. and over here there's enough rice to feed a whole fuckin' regiment.</dialogue> <scene_description>Barnes walking with him over to an undercover rice silo being dug out by Tubbs and Junior . Barnes looks it over .</scene_description> <character>BARNES</character> <parenthetical>( to Warren . )</parenthetical> <dialogue>. bring the honcho over here.</dialogue> <parenthetical>( to Tubb and Junior . )</parenthetical> <dialogue>Burn it.</dialogue> </scene> <scene> <stage_direction>INT. HUTCH - VILLAGE - DAY</stage_direction> <scene_description>An Old Woman and her Son , a young man with one leg , throw up their hands , climbing out of the hole with stupid confused looks as Chris , shaking with his own sort of confusion and rage , cuffs them , hustling them out . The Young Man uses a pair of crutches for his blown - off limb , hobbling like a mangy three - legged dog .</scene_description> <character>BUNNY</character> <dialogue>Hey look at this! Ma and Pa Kettle here. Look at</dialogue> <scene_description>them - greasy gook motherfuckers !</scene_description> <character>CHRIS</character> <dialogue>Get up out of there! You see I did n't wan na hurt you. Why did n't you come out, when I said so hunh! Why? WHY! WHY? DO N'T YOU LISTEN. WHAT ARE YOU SMILING AT HUNH! FUCKING ASSHOLES!</dialogue> <scene_description>The couple , hands raised , muttering things in Vietnamese , do n't understand a word , shaking their heads stupidly and smiling that impassive Oriental smile which sends Chris into a rage only he can understand . His finger closes on the trigger of his 16 . Francis , the baby - faced black , looks nervously , sensing the danger . Bunny amused , drawn in by Chris . O'Neill watches passively from the lip of the hutch . The Young Man continues to grin , not seeming to realize the degree of danger he 's in , which is what Chris wants - a token sign of acquiescence . There is also the added element of showing off his manhood in front of an audience now .</scene_description> <character>BUNNY</character> <dialogue>Do'em man, do'em.</dialogue> <scene_description>Chris . The trigger . He pulls . But he ca n't quite bring himself to kill . The bullets exploding in the dirt at the edges of the young man 's foot .</scene_description> <character>CHRIS</character> <parenthetical>( demonic . )</parenthetical> <dialogue>DANCE YOU ONE - LEGGED MOTHERFUCKER, DANCE!</dialogue> <scene_description>The Young Man hops up and down in a reflex fear of the sounds of the bullets as they thud into the dirt . Yet his eyes remain fixed on Chris in wonderment . Chris , firing out the magazine , seems to expend his bloodlust . He ceases , noticing - for the first time - the eyes of the Young Man . They are n't stupid - nor fearful - but filled with resignation and despair - a despair that Chris , in disgust of himself , recognizes . Chris lowers the rifle , silent . The Young Man 's impassive face shines now with tears . That sad young look - as if death itself would 've been a release . Chris turns his eyes away , an awkward sense of shame .</scene_description> <character>FRANCIS</character> <parenthetical>( leaves . )</parenthetical> <dialogue>Let's get out of here man.</dialogue> <scene_description>But Bunny takes up the slack , moves forward on the young man .</scene_description> <character>BUNNY</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>You chickenshit man, they're laughing at you, look at them faces. That's the way a gook laughs.</dialogue> <scene_description>The Young Man nodding affable to Bunny and mumbling ingratiating words in Vietnamese .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah sure you are, you're real sorry ai n't you. You're just crying out your hearts about Sandy and Sal and Manny - they're laughing at us! Their family is out there in the fucking bush blowing us away and they're laughing at us!</dialogue> <character>O'NEILL</character> <parenthetical>( checking out the hutch . )</parenthetical> <dialogue>Forget it will ya, let's go.</dialogue> <scene_description>Chris standing there , watching , sensing something awful is going to come and unable to do anything about it . It comes - suddenly and without warning . Bunny is looking at O'Neill , the Vietnamese couple are muttering something . In one fluid move , Bunny swivels and with unbelievable savagery clubs the young one - legged man in the side of the head with the butt of his 16 .</scene_description> <character>O'NEILL</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( stunned . )</parenthetical> <dialogue>Hey what are you doing!</dialogue> <character>BUNNY</character> <dialogue>Fucker!</dialogue> <scene_description>The young man is groaning on the floor of the hutch . Bunny smashes him - again and again .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's for Sandy! And this is for Sal! And this is for fucking Manny! This is for me!</dialogue> <scene_description>Chris watches , horrified . Never in his life has he seen something so horrifying as this . And yet he does nothing . He is part of it .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( stepping back , examines what 's left of the head , amazed . )</parenthetical> <dialogue>Wow! You see his fucking head come apart? Look at that. I never seen brains like dat before. Jesus fucking Christ.</dialogue> <scene_description>The Old Lady is shrieking , hovering over the body of her son . Bunny studying her .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Betcha the old bitch runs the whole show. Probably helped cut Manny's throat. Probably cut my balls off if she could.</dialogue> <parenthetical>( to Chris . )</parenthetical> <dialogue>Come on, man, let's do her.</dialogue> <scene_description>She cowers from him . Chris steps back , horrified . As is O'Neill , more puzzled than horrified .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( hitting her again . )</parenthetical> <dialogue>Let's zap all these motherfuckers! Let's do the whole village!</dialogue> <scene_description>He backs out of the hutch , scared . Evidently Bunny is temporarily insane . But he spots O'Neill , yells at him .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>GET BACK HERE YOU FUCKING COWARD O'NEILL. THIS IS FOR SANDY. THIS IS FOR SANDY MAN! AND SAL! AND MANNY!</dialogue> <scene_description>As he clubs her to death . On Chris ' face , blood and brain tissue flying up into it .</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL AREA - VILLAGE - DAY</stage_direction> <scene_description>A tiny knot of men are ringed around Barnes who is questioning a sturdy - looking man who is the VILLAGE CHIEF . He has been stripped of his shirt , scars all over his body , scared . He has his ID papers out , trembling , showing them to Lerner who speaks some pidgen Vietnamese .</scene_description> <character>BARNES</character> <dialogue>Where'd he get these wounds?</dialogue> <scene_description>Lerner translates , the man talking back .</scene_description> <character>LERNER</character> <dialogue>He says he was hit in a bombing raid.</dialogue> <character>TONY</character> <dialogue>He's a dink fosure.</dialogue> <character>BARNES</character> <dialogue>Ask him what the weapons are doing here?</dialogue> <character>LERNER</character> <dialogue>He says they had no choice. The NVA killed the old honcho when he said no. He says the rice is theirs.</dialogue> <character>BARNES</character> <dialogue>Bullshit. who the hell was the dink we just nailed on the riverbank?</dialogue> <scene_description>Chris and O'Neill come up , watch . Others coming from different places - sensing the narrowing drama . But half the platoon is still at work in the village . We hear shouts , grenade explosions , occasionally gunfire .</scene_description> <character>LERNER</character> <dialogue>He says he does n't know, NVA have n't been around in a couple of months. Maybe it was a scout or.</dialogue> <scene_description>The men around Barnes grumble .</scene_description> <character>BARNES</character> <dialogue>Yeah sure it was. What about all that fucking rice and the weapons. who they for?</dialogue> <parenthetical>( looking at the Village Chief . )</parenthetical> <dialogue>Cocksucker knows what I'm saying. do n't you Pop?</dialogue> <parenthetical>( a blank look . )</parenthetical> <dialogue /> <character>ACE</character> <dialogue>You're goddamn right he does!</dialogue> <scene_description>Lerner translating . The Village Chief 's WIFE is now on the scene , a middle - aged woman with angry features , yelling at Lerner trying to answer for her husband , a high - pitched barrage of indignant words directed mostly at Barnes , and interspersed with the spitting of her betel nuts on the ground . The Village Chief trying to talk her down . But things are definitely getting out of control . And the heat from the sun is only aggravating the situation , pounding down on the actors in the drama , their fatigues soaked in sweat and anger .</scene_description> <character>LERNER</character> <parenthetical>( finally . )</parenthetical> <dialogue>He swears he does n't know anything! He hates the NVA but they come when they want and.</dialogue> <character>JUNIOR</character> <dialogue>He's lying through his teeth!</dialogue> <character>TONY</character> <dialogue>Waste the fucker, then see who talks.</dialogue> <character>BARNES</character> <dialogue>What's the bitch saying?</dialogue> <character>LERNER</character> <parenthetical>( overwhelmed . )</parenthetical> <dialogue>She's going on, I do n't know - why are we shooting the pigs, they're farmers. they got to make a living, all that crap.</dialogue> <scene_description>The Woman is still ranting when Barnes turns to her , quite casually levels his M - 16 , and puts a bullet in her head . She goes down as if pole - axed . A stunned pause . The Chief looking at his wife . The Villagers in background reacting . Wolfe looking . Chris looking , shocked . Doc , possibly the straightest of them all , very uncomfortable . They are all shocked insome way , but do nothing against the power of Banres . Barnes walks over to the pig pen with the other Villagers , very casually , confronts them .</scene_description> <character>BARNES</character> <parenthetical>( to Lerner . )</parenthetical> <dialogue>Tell him he talks or I'm gon na waste more of'em.</dialogue> <scene_description>Lerner shaken up , muttering to the Village Chief who is in shock , kneeling next to the body of his wife , muttering in a high whine of pain .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go ahead, Lerner, ask him.</dialogue> <scene_description>A group of Villagers huddle to one side . Lerner , shaken , is yelling at all of them , demanding an answer .</scene_description> <character>LERNER</character> <dialogue>They do n't know Sarge, they do n't know!</dialogue> <parenthetical>( half believes it . )</parenthetical> <dialogue /> <scene_description>Barnes turns his attention on the other villagers , his intentions apparent . Everybody feels them . They 're next . Barnes is unperturbed , very much in command of the situation , no rage , no emotions expressed . Chris has never seen such a thing in his life - but ca n't react . Ca n't stop it , just watches it like he 's not quite there . The same goes for Lieutenant Wolfe , for all of them . The very outrageousness of Barns ' killing seems to quell all protest .</scene_description> <character>ACE</character> <parenthetical>( sensing the impending massacre . )</parenthetical> <dialogue>Hey Sarge can we get in on this.</dialogue> <scene_description>Tony advances , the hairy Italian kid from Boston .</scene_description> <character>TONY</character> <dialogue>Let's go all the way, let's go for it! Let's do the whole fucking village. Come on, Sarge.</dialogue> <scene_description>Chris ' eyes . Rodriguez next to him , is neutral but willing . Francis is hesitant . Fu Sheng and Junior are ready to go for it . Lt.Wolfe is powerless , frozen . Sgt.Warren stepping up . The massacre is just about to break . The Villagers know it , kneel in prayer , mutter . Barnes suddenly grabs and drags a young 19 year - old Woman , the Village Chief 's daughter , across the pen , throws her down on her knees , in front of the stunned Village Chief . She 's screaming .</scene_description> <character>BARNES</character> <dialogue>This his daughter, right?</dialogue> <scene_description>Lerner nods . Barnes pulls his .45 , puts it alongside her head .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Village Chief . )</parenthetical> <dialogue>You lie. You Vee Cee. I caca ado Vee Cee!</dialogue> <scene_description>He chambers the .45 , the Woman begging Barnes for her life , cradling his knees . He sticks the gun down above her skull . Chris wanting to cry out , to do something - but ca n't ! A FIGURE suddenly flares out in the sun , advancing on them . It is Elias .</scene_description> <character>ELIAS</character> <dialogue>BARNES!</dialogue> <scene_description>Barnes looks around . They all look around . Elias walks right up to him , followed by his men - King , Rhah , Crawford , others from the rear party . He looks around . The corpse of the Wife . the Young Daughter sobbing .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>WHAT THE FUCK YOU DOING!</dialogue> <character>BARNES</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Stay out of this Elias. This ai n't your show.</dialogue> <character>ELIAS</character> <dialogue>YOU AI N'T A FIRING SQUAD, YOU PIECE OF SHIT!</dialogue> <scene_description>The stock of his rifle swings up fast and hard smacking Barnes full in the face , breaking two teeth . Barnes staggers back , hurt , bleeding . Elias is on him like a leopard . Battering him with his fists . They struggle in the dust , two titans , their faces equally consumed with rage , clawing , spitting , punching , kicking , pounding each other 's skulls in the dirt . A dust storm swirls around them , the men closing around like excited apes at a bloodfeast . Most of the men seem to be pulling for Barnes - Chris just watching neutral .</scene_description> <character>LIEUTENANT WOLFE</character> <dialogue>BREAK IT UP! ELIAS! BARNES!</dialogue> <scene_description>But they rool on , smashing each other 's faces in . Both quick , fast , agile , mean fighters . Sgts.O ` Neill and Warren drag them apart .</scene_description> <character>BARNES</character> <dialogue>You're dead, you're fucking dead Elias!</dialogue> <character>ELIAS</character> <dialogue>YOU - you're going to fuckin' jail, buddy, you ai n't getting away with this one!</dialogue> <character>WOLFE</character> <dialogue>All right! All right! All right! NOW BREAK IT UP. LET'S GO.</dialogue> <scene_description>They compose themselves , the Villagers looking on , grieving over their loss .</scene_description> <character>WOLFE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alright, Six says torch this place! Blow the weapons in place. Round up all suspected Vee Cees and shake it up! We ai n't got much light left.</dialogue> <character>ELIAS</character> <parenthetical>( to Wolfe . )</parenthetical> <dialogue>Why the fuck did n't you do something Lieutenant!</dialogue> <character>WOLFE</character> <dialogue>What are you talking about!</dialogue> <parenthetical>( turns away , goes about his business . )</parenthetical> <dialogue /> <character>ELIAS</character> <parenthetical>( spins him around . )</parenthetical> <dialogue>You know what I'm talking about!</dialogue> <character>WOLFE</character> <dialogue>No I do n't. I do n't know what the fuck you're talking about, Elias!</dialogue> <parenthetical>( goes . )</parenthetical> <dialogue /> <scene_description>Who wants to be reminded ? A silence of shame . The Men moving away , Warren , Ace , Tony , Rodriguez , Barnes looking back once , a cold glare . The Village Chief is a broken - looking man , huddled over his wife 's body . Elias stands there , frustrated . Chris glances at him , moves out .</scene_description> </scene> <scene> <stage_direction>EXT. SMALL VILLAGE - DAY</stage_direction> <scene_description>A zippo cigarette lighter with the engraved initials : ` From Mai lin to my Bunny Boy ' . It sparks a thick flare as Bunny lights the dry straw on the roof of the Hutch where he killed the Old Woman and Young Boy . Their legs sticking out at the threshold . The hooch burning fast , aided by the strong sun . Bunny watches with awe .</scene_description> </scene> <scene> <stage_direction>EXT. SMALL VILLAGE - DAY</stage_direction> <scene_description>Sgt.Warren and Rodriguez lighting another hooch on fire .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE RICE STORE - DAY</stage_direction> <scene_description>Fu Sheng yelling ` FIRE IN THE HOLE ! ' throws white phosphorus into the rice stores .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - WEAPONS CACHE - DAY</stage_direction> <scene_description>Barnes and Huffmeister , a big German kid from Texas , are laying the cord to blow the weapons cache .</scene_description> </scene> <scene> <stage_direction>EXT. SMALL VILLAGE - WELL - DAY</stage_direction> <scene_description>Adams and Parker are poisoning the well with a white phosphorus grenade : ` FIRE IN THE HOLE ! '</scene_description> </scene> <scene> <stage_direction>EXT. SMALL VILLAGE - DAY</stage_direction> <scene_description>Wolfe , Ace , Tubbs , Warren , Rogriguez rope the DOZEN SUSPECTED VILLAGERS together to take them back for questioning . Elias watches the Villagers mourn their losses . In the background , explosions , hooches popping with flames , the yells of the violations of the Village winding down .</scene_description> </scene> <scene> <stage_direction>EXT. SMALL VILLAGE - DAY</stage_direction> <scene_description>Chris wanders through this wreckage in the sun , like a dazed visitor from another planet , not believing it . He sees something , goes towards it - knows what it is .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - EDGE OF WOODLINE - DAY</stage_direction> <scene_description>Hidden at the edge of the woodline , King hands back a bowl of grass to Rhah , the chief head . They 're puffing away .</scene_description> <character>KING</character> <dialogue>Whew! - where that come from?</dialogue> <character>RHAH</character> <dialogue>Found it. Growing in a garden.</dialogue> <character>KING</character> <parenthetical>( smokes . )</parenthetical> <dialogue>Sheeit, beats burning hutches anyway.</dialogue> <scene_description>They meditatively look out at the Village - burning hutches sending up spirals of smoke . Shouts . Shots . Chaos .</scene_description> <character>RHAH</character> <dialogue>Yeah - stoned's the way to be.</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - DITCH - DAY</stage_direction> <scene_description>In a ditch running alongside the Village , partially concealed by foliage and anthills , Tony , Morehouse , and the ubiquitous Bunny have a 12 - YEAR - OLD VIETNAMESE GIRL pinned to the ground , gagged and squirming , naked . They are fucking her to death . Junior looks on , both curious and disgusted , but does n't take part .</scene_description> <character>TONY</character> <dialogue>Take her up the ass.</dialogue> <scene_description>As they roll her over , like excited dogs in heat . Chris , coming up , sees their heads dipping up and down on the other side of the anthill , knows what they 're doing . He makes a conscious decision to do something . He runs over .</scene_description> <character>CHRIS</character> <dialogue>LET HER GO! YOU HEAR ME! YOU ASSHOLE! LET HER GO!</dialogue> <scene_description>He strides right into them , shoves them off hard . The girl is in tears .</scene_description> <character>TONY</character> <dialogue>What the fuck you want - she's a dink.</dialogue> <character>CHRIS</character> <dialogue>NO - YOU STUPID FUCK. DO N'T. DO N'T. YOU TOO BUNNY. MOREHOUSE. OFF! NO! DO N'T. DO N'T!</dialogue> <scene_description>He seems disconnected , dazed by the sun , like he 's talking to dogs - loud , repetitive words coming out of an anger he can barely control , trying to restore some sanity to a world gone totally nuts today . Do n't they understand ? Do n'tthey have any sense of a mind ? Any kind of decency ? The Men looking at him as if he 's the one who 's gone nuts , not them . Bunny looking at Morehouse looking at Tony looking at Junior . The irony is lost on them , as Chris pushes through to help the poor girl put her scanty clothes back on .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to the girl . )</parenthetical> <dialogue>It's okay. it's okay.</dialogue> <scene_description>Elias appears behind Bunny and the others , sees what 's happened . He signals them to move out .</scene_description> <character>ELIAS</character> <dialogue>Get outta here.</dialogue> <scene_description>The men grumble and slink off quietly . Elias watching as . Chris helps her to her feet , wounded in the intestines , she can barely stand , blood saoking in her nether regions . Chris slings her up as gently as he can and carries her .</scene_description> <character>CHRIS</character> <parenthetical>( as if to himself . )</parenthetical> <dialogue>It's okay, it's okay.</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - PIG PEN - DAY</stage_direction> <scene_description>Near the pig pen , a DOZEN SUSPECTS are being led away on ropes by Tubbs , Warren , Rodriguez . The others left behind look back at their village in ruins , homes burning , livestock dead or scattered , belongings thrown and broken in the dirt . BABIES wail , the adults squat there on their heels watching with absolutely no trace of outward emotion . Past this Bosch - like canvas , Chris - carrying the girl - walks dazed by the horrors of this long afternoon .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE TRAIL - DAY</stage_direction> <scene_description>The soldiers depart the village . A huge EXPLOSION now rocks the earth and sends a spray of smoke into the blue sky as the weapons cache explodes in stages that sound like the end of the world .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #2 - JUNGLE - LATE AFTERNOON DUSK</stage_direction> <scene_description>The Company is digging into another overnight perimeter on a ridge with a view of the Valley where the Village was . C - Ration fires all around the perimeter .</scene_description> </scene> <scene> <stage_direction>EXT. COMPANY CP - DUSK -- MORNING</stage_direction> <scene_description>At the Company , l Elias , Captain Harris , Barnes , Lt.Wolfe are huddled . Close on Harris , looking from face to face , assuming a judicial attitude .</scene_description> <character>CAPTAIN HARRIS</character> <dialogue>and you Lieutenant?</dialogue> <character>LIEUTENANT WOLFE</character> <dialogue>I did n't see anything sir.</dialogue> <character>ELIAS</character> <dialogue>I did.</dialogue> <character>LIEUTENANT WOLFE</character> <dialogue>That dink was reported to me as NVA sir by Sergeant Barnes. Sergeant Barnes.</dialogue> <scene_description>Squirreling out of any responsibility .</scene_description> <character>ELIAS</character> <dialogue>My report sir, will include Lt.Wolfe as being witness to the shooting.</dialogue> <character>CAPTAIN HARRIS</character> <dialogue>All right, Elias. Sergeant Barnes, I want a report from you.</dialogue> <character>BARNES</character> <dialogue>You got it sir - and I can throw in plenty of eye - witnesses if you want sir.</dialogue> <character>HARRIS</character> <dialogue>Not now. We'll get into this when we get back to base camp. Right now I need every man in the field, I want your guys to stick together. Elias? Barnes? You hear me? This is no time for fighting with each other.</dialogue> <parenthetical>( pause , they nod . )</parenthetical> <dialogue>Tomorrow we're going back into that bunker complex - from the East.</dialogue> <parenthetical>( continuing . )</parenthetical> <dialogue>First Platoon will lead. Brigade thinks they might be back there tomorrow. That's all. Get some rest.</dialogue> <parenthetical>( turns away . )</parenthetical> <dialogue /> <scene_description>Barnes , Elias eye each other and move off .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #2 - DUSK</stage_direction> <scene_description>Wolfe walks alongside Barnes .</scene_description> <character>WOLFE</character> <dialogue>Do n't worry about it Sergeant, he wo n't be able to prove a thing, he's a troublemaker but.</dialogue> <scene_description>Barnes is obviously worried , although he does n't let on .</scene_description> <character>BARNES</character> <dialogue>Elias' a waterwalker. like them politicians in Washington. Want to fight their war with one hand tied round their balls. Ai n't no time or need for a courtroom out here.</dialogue> <scene_description>Wolfe leaves him as Barnes turns into his foxhole where Bunny and O'Neill await him anxiously .</scene_description> <character>O'NEILL</character> <dialogue>How'd it go.</dialogue> <scene_description>Banres shrugs .</scene_description> <character>BUNNY</character> <dialogue>Thataway Sarge, fuckin' Elias man, fuckin' squeal that's what he is, gon na get everybody in the platoon in shit. Somebody oughta fix his ass.</dialogue> <scene_description>Barnes fixing his coffee .</scene_description> <character>O'NEILL</character> <parenthetical>( worried . )</parenthetical> <dialogue>Gon na be an investigation or something Bob?</dialogue> <scene_description>Barnes says nothing , a cryptic look . O'Neill worried , Bunny , taking his cue from Barnes , slaps him on the back .</scene_description> <character>BUNNY</character> <dialogue>Ya worry too much O'Neill.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #2 - CHRIS' POSITION - DUSK</stage_direction> <scene_description>Elsewhere on the perimeter , Chris is digging out a foxhole with Rhah , as King and Lerner prepare the C 's for dinner .</scene_description> <character>RHAH</character> <dialogue>I know Barnes six months and I'll tell ya something - that man is MEAN, red in his soul like a dick on a dog.</dialogue> <character>KING</character> <dialogue>Barnes gets killed, his jaws'd go on clacking.</dialogue> <character>CHRIS</character> <dialogue>Where's he form?</dialogue> <character>RHAH</character> <dialogue>Barnes comes from Hell.</dialogue> <character>LERNER</character> <dialogue>Tennessee someplace. Hill country.</dialogue> <character>RHAH</character> <dialogue>Barnes took a bullet right there. At Ia Drang Valley</dialogue> <scene_description>. -LRB- points to his forehead . -RRB- And the cocksucker SURVIVED - that 's BAAAD man . That 's his high , baby . High on WAR ! His eyes flare out dramamtically . Chris , enthralled in spite of himself .</scene_description> <character>KING</character> <dialogue>He done a year in Japan in the hospital, then when he gets out, the first thing he done is re - up. Four years he been in the field.</dialogue> <character>RHAH</character> <dialogue>and you know how many times he done been shot?</dialogue> <parenthetical>( Chris shakes his head . )</parenthetical> <dialogue>Seven times!</dialogue> <parenthetical>( with his fingers . )</parenthetical> <dialogue>Seven.</dialogue> <character>CHRIS</character> <dialogue>And he still wanted to come back?</dialogue> <character>LERNER</character> <dialogue>Does a pee wee wan na take a wee wee?</dialogue> <character>RHAH</character> <dialogue>The Good Lord works his revenge in strange ways.</dialogue> <character>KING</character> <dialogue>Yeah, you done said it. Revenge on US.</dialogue> <character>CHRIS</character> <dialogue>Does he have a metal plate in his head?</dialogue> <character>RHAH</character> <parenthetical>( smiles . )</parenthetical> <dialogue>You mean he's crazy? No more crazy'n the rest of us been out in the bush too long.</dialogue> <character>LERNER</character> <dialogue>Well he ai n't normal that's fosure.</dialogue> <character>RHAH</character> <dialogue>That's what he is. Baaaa!</dialogue> <scene_description>His hand flashes forward in front of Chris . ` HATE ' is written across the left hand knuckles in a sloppy , purplish - black tatoo . Chris looking at it .</scene_description> <character>RHAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>and he's FILLED with it. He's roaming these jungles looking for little yellow devils to kill. Remember the Devil does God's work too.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>. and this here's Elias. Baaaa!</dialogue> <scene_description>The other knuckle is out - ` LOVE ' tattooed across it . Rhah smiles his crazy smil . Chris stares fascinated at the two knuckles side by side . A moment on his face .</scene_description> <character>KING</character> <dialogue>Love, yeah!</dialogue> <character>LERNER</character> <parenthetical>( makes a cuckoo sign . )</parenthetical> <dialogue>Here we go again with the crazy preacher stuff. Rhah seen too many movies.</dialogue> <character>RHAH</character> <dialogue>Baaa, got no time to go to the movies. Love and Hate too busy fighting for possession of my soul.</dialogue> <character>CHRIS</character> <dialogue>Where's Elias come from?</dialogue> <character>RHAH</character> <parenthetical>( interjecting . )</parenthetical> <dialogue>` Lias come naturally.</dialogue> <character>LERNER</character> <dialogue>do n't know. Done some time. Heard he worked the oil wells in Oklahoma, made some bread and washed up in El Lay.</dialogue> <character>KING</character> <dialogue>Yeah, get married to some crazy El Lay bitch, an actress or somethin', she blew all his bread - LSD, gurus, all that California shit, and then she turns him into the cops on a drug rap.</dialogue> <character>RHAH</character> <dialogue>Not the only man to meet his Jezebel either.</dialogue> <character>KING</character> <dialogue>So he got a reduced and come over here. Nam's his freedom man, Nam's his pussy. Three years he been here.</dialogue> <character>CHRIS</character> <dialogue>Three years, Jesus, he's crazy as Barnes.</dialogue> <character>KING</character> <dialogue>Well sometimes a man jes don' wan na go back. How you gon na talk to civilians man? People back in the world just do n't give a shit, y' know what I mean, to them you're a fuckin' animal is all -</dialogue> <character>LERNER</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>I was home on leave y' know and everybody's just worried ` bout making money, everybody's out for themselves, they do n't even want to talk about it man, it's like the fucking Twilight Zone back there - you would n't even KNOW there's a war on here. My sister says to me why you have to go there like I started this.</dialogue> <character>RHAH</character> <dialogue>Baaaa! Fuck it, they sold us out - so what! What'd you'all expect? Civilian life is phoney BULLSHIT man. They're ROBOTS man - watchin' dopey television and drivin' dopey cars, and they fuck up, nobody dies. That's all right, you keep fuckin' up, politicians keep lyin'. Cause it do n't really matter. Do n't mean shit. So what! Whatcha want - a parade! Fuck that too! No war time no grunt never got no respect. Till he was dead - and even THEN! You're fighting for YOURSELF man! You're fighting for your SOUL, dat's all. Remember dat. And it's some goddamn battle too - if you ` se a man, wrestle with that angel.</dialogue> <parenthetical>( swings his entrenching tool in a rhythmic chain - gang style . )</parenthetical> <dialogue>. Love and Hate - the whole shitbang show, that's the story then and now and it ai n't hardly gon na change.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #2 - JUNGLE - NIGHT</stage_direction> <scene_description>The stars are out in magnificent splendor . A breeze rustling through the trees .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #2 - CHRIS' POSITION - NIGHT</stage_direction> <scene_description>Chris is turning in his sleep , perturbed , writhing . The whispering is more and more urgent . Death is all around . He shoots up out of his poncho liner as if shot , stunned . Scared . Looks around . All is quiet . Men sleeping . Elias is huddled in his poncho on guard next to his foxhole . Chris joins him , sitting , wiping the sleep from his eyes .</scene_description> <character>CHRIS</character> <dialogue>I ca n't sleep, why do n't you get some sack time.</dialogue> <character>ELIAS</character> <dialogue>do n't feel like it either.</dialogue> <character>CHRIS</character> <dialogue>beautiful night.</dialogue> <character>ELIAS</character> <dialogue>Yeah. I love this place at night. The stars. there's no right or wrong in them, they're just there.</dialogue> <character>CHRIS</character> <dialogue>That's a nice way of putting it.</dialogue> <scene_description>Elias cuffs a joint , keeping its glow hidden in the dark . A pause , both of them meditative .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Barnes got it in for you, do n't he?</dialogue> <character>ELIAS</character> <parenthetical>( philosophically . )</parenthetical> <dialogue>Barnes believes in what he's doing.</dialogue> <character>CHRIS</character> <dialogue>And you, do you believe?</dialogue> <character>ELIAS</character> <dialogue>In'65 - yeah. Now.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>No. What happened today's just the beginning. We're gon na lose this war.</dialogue> <character>CHRIS</character> <parenthetical>( surprised . )</parenthetical> <dialogue>You really think so. us?</dialogue> <scene_description>Elias ' eyes seem to go to some inner place , his passion surging .</scene_description> <character>ELIAS</character> <dialogue>we been kicking other people's asses so long I guess it's time we got our own kicked. The only decent thing I can see coming out of here are the survivors - hundreds of thousands of guys like you Taylor going back to every little town in the country knowing something about what it's like to take a life and what that can do to a person's soul - twist it like Barnes and Bunny and make'em sick inside and if you got any brains you gon na fight it the rest of your life cause it's cheap, killing is cheap, the cheapest thing I know and when some drunk like O'Neill starts glorifying it, you're gon na puke all over him and when the politicians start selling you a used war all over again, you and your generation gon na say go fuck yourself'cause you know, you've seen it, and when you know it, deep down there.</dialogue> <scene_description>He plants his fist in Chris ' gut , expelling his breath such is the force of the blow - like a power passed between them .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>you know it till you die. that's why the survivors remember.'Cause the dead do n't let em forget.</dialogue> <scene_description>His eyes blazing , reliving the deaths in the village , licking the wounds for the platoon , mourning the failure of its heroism . Chris looking at him , a little awed by his intensity . Elias looks away , embarrassed that he has sermonized , looks back at the stars .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit! Sometimes there's things in my head. man. Grass does that to me, fucks me all up like a crazy Indian.</dialogue> <character>CHRIS</character> <dialogue>Do you believe that stuff about. knowing you're gon na die?</dialogue> <character>ELIAS</character> <dialogue>Yeah, those are the guys that live. I really do n't think Death gives a shit, it's like a giant garbage can, I think it takes whatever it can get. you never know where it's gon na come from anyway. so why spin your wheels?</dialogue> <scene_description>He shrugs , a certain bravado masking his own uncertainty .</scene_description> <character>CHRIS</character> <dialogue>You ever think about reincarnation, all that stuff?</dialogue> <scene_description>A lightning quick movement follows . Elias ' hand passing over his face like a mime , a click of the fingers and he leans closer to Chris . A new expression on his face . Devil 's eyes , mocking child , danger in his soul , excitement , sex - the Elias that Chris saw in the smoking session in base camp . Chris smiles , sucked in , almost laughs and then the face is gone again .</scene_description> <character>ELIAS</character> <dialogue>Sure, goes on all the time. Maybe a piece of me's in you now, who knows. But when you die - really die - that's a big return ticket.</dialogue> <parenthetical>( soft . )</parenthetical> <dialogue>I like to think I'm gon na come back as. as wind or fire - or a deer.</dialogue> <parenthetical>( likes the image . )</parenthetical> <dialogue>. yeah, a deer.</dialogue> <scene_description>He smiles at the thought . Chris looks at him , looks away . A shooting star falls suddenly and dryly through the cosmos . Their eyes .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - STREAM - DAY (RAIN)</stage_direction> <scene_description>The Platoon moves along a shallow STREAM bordering the jungle . A thick RAIN falls amid cracks of distant thunder . Chris , Rhah , Francis , Big Harold , others are at the rear of the platoon , their ponchos pulled over them like big sad grey tents . There 's a holdup ahead and the Men rest on rocks or stand . The rain makes a pointilistic pattern , the men collages of grey , their rifles slung upside down to keep dry . Barnes is up ahead , out of the stream bank , on the radio .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE CHURCH - DAY (RAIN)</stage_direction> <scene_description>Lerner 's on point , resting in the shadow of a decaying old French Catholic Church from the 19th Century . The jungle has long ago won the battle , vines creeping into the cracks , remnants of arches layered around the church at the epicenter . Behind Lerner is Sgt.Warren and his radioman .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE CLEARING - DAY (RAIN)</stage_direction> <scene_description>Elias , further back , is checking out the jungle alongside the clearing , noticing a number of old spider holes long since abandoned . He goes over and checks them .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - STREAM - DAY (RAIN)</stage_direction> <scene_description>Back at the stream , Rhah , looking old and whiskered under his poncho hood , lights up a roach , puffs it . Another crack of thunder . Chris comes over , sits with him on his rock . Rhah passes him the joint . He smokes . Big Harold pulls a leech out of his open crotch area .</scene_description> <character>HAROLD</character> <dialogue>Shit, lookit this little fucker trying to get up ma glory hole.</dialogue> <character>FRANCIS</character> <dialogue>Hey Big Harold, put dat in your turkey loaf it wo n't come out your back end.</dialogue> <character>KING</character> <parenthetical>( ribbing . )</parenthetical> <dialogue>Yeah, big boy, thought you had that laundry gig all laid out?</dialogue> <character>BIG HAROLD</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Shit, got to paint myself white get one of dem jobs. Get ma request in for a circumcision.</dialogue> <character>KING</character> <dialogue>Gon na be a rabbi man?</dialogue> <character>FRANCIS</character> <dialogue>Gon na cut your pecker down to size hunh Big Harold?</dialogue> <character>BIG HAROLD</character> <dialogue>Dat's okay wid me, better to have a small one den no one at all.</dialogue> <character>KING</character> <dialogue>Your girlfriends gon na look for new lovers, man. Best thing a bro's got's his flap.</dialogue> <character>HAROLD</character> <dialogue>I'll drink to your flap in Chicago, King. All I got ta do is stretch it out to 15 days and I'll be short 15 and the Beast just would n't dare send me back to the bush.</dialogue> <character>FRANCIS</character> <dialogue>You gon na get some for me back in the World, Harold? Whatcha gon na do?</dialogue> <parenthetical>( dreaming of it . )</parenthetical> <dialogue /> <character>HAROLD</character> <dialogue>The world's gon na be ma oyster man. First's I gon na EAT - all the hamburger and french fries and steaks soaked in onions and ketchup I can get. Then I ` se gon na FUCK and SUCK Sandy Bell till I sore all over and ca n't fuck no more, and den I ` se gon na SLEEP for DAYS, for WEEKS! Den I ` se gon na think bout what comes next.</dialogue> <scene_description>The words carry over Chris staring out at the rain , feeling a leaden fatigued high . Passes the roach , down to a millimeter , back to Rhah who points to his face .</scene_description> <character>RHAH</character> <dialogue>you got one right there.</dialogue> <scene_description>Chris feels for , finds the leech on the edge of his lip , cursing under his breath .</scene_description> <character>LIEUTENANT WOLFE</character> <parenthetical>( in the stream , on radio . )</parenthetical> <dialogue>All right move out.</dialogue> <scene_description>The men start slogging on against the rain . Junior is drinking from the stream , as Fu Sheng passes .</scene_description> <character>FU SHENG</character> <dialogue>Do n't drink that asshole. You're gon na get malaria.</dialogue> <character>JUNIOR</character> <dialogue>Shit I hope so!</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - CHURCH - DAY (RAIN)</stage_direction> <scene_description>On point , Lerner moves out through a remnant of an old arch , somewhat casual in his approach to point .</scene_description> <character>LERNER</character> <dialogue>Hey Sarge, you wan na tell me which way or do I get to figger it out?</dialogue> <scene_description>Sgt.Warren , picking up a quick azimuth on his lensatic compass , points . Lerner moves in the new direction .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY (RAIN)</stage_direction> <scene_description>Lerner moves away from the clearing , working up a slight incline when the MACHINE GUN FIRE erupts out of the jungle , spinning him - throwing him into the dirt like discarded garbage . The men are down , yelling .</scene_description> <character>SGT. WARREN</character> <dialogue>Ambush! Incoming! Fucking incoming!</dialogue> <scene_description>Suddenly an RPG rocket breaks out of the bush , sounding like an atom bomb as it devastates the front of the Platoon . Radio Talk is continuous now , back and forth between the three platoon radios , through the ambush .</scene_description> <character>O'NEILL</character> <dialogue>DOC, UP HERE! Lerner's hit!</dialogue> <scene_description>More machine gun fire .</scene_description> <character>FRANCIS</character> <dialogue>DOC! Over here - we got. one. two down. Warren's hit.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - CHURCH - DAY (RAIN)</stage_direction> <scene_description>Chris moving up with Rhah and the others out of the stream , they hit the ground next to Sgt.O ` Neill , who looks pretty scared , obviously not about to move .</scene_description> <character>CHRIS</character> <dialogue>What's going on?</dialogue> <character>O'NEILL</character> <dialogue>Shit they got RPG's on our ass. Fucking ambush - they was waiting for us to break trail!</dialogue> <character>KING</character> <dialogue>WATCH OUT! ROCKET!</dialogue> <scene_description>Another rocket whistling in . A huge roar . Trees shredded , dirt , dust rising .</scene_description> <character>CHRIS</character> <dialogue>Who's on point?</dialogue> <character>O'NEILL</character> <dialogue>Lerner and Warren.</dialogue> <scene_description>Chris uses his M - 16 to lever himself up into a crouch and suddenly dashes forward , passing Rhah .</scene_description> <character>RHAH</character> <dialogue>Where you goin' man!</dialogue> <scene_description>Chris tearing up . Past Flash - the hip black head with the colored beads . He 's dead , torn and shredded , his face and eyes stuff with dirt . Next to him Doc is frantically tourniqueting Tubbs , shot in the legs . He 's screaming . Chris keeps moving to the front as if compelled .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - BARNES' POSITION - DAY (RAIN)</stage_direction> <scene_description>Barnes is laying out fire .</scene_description> <character>BARNES</character> <dialogue>Goddamit, you assholes get fucking' firepower out there!</dialogue> <parenthetical>( to Hoyt on radio . )</parenthetical> <dialogue>Get Two Bravo up here. Get me a gun.</dialogue> <parenthetical>( to others . )</parenthetical> <dialogue>Spread it out! More to the flanks! Look for a fuckin' target!</dialogue> <scene_description>Another explosion .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - FORWARD POINT - DAY (RAIN)</stage_direction> <scene_description>Chris comes alongside Francis near the point , throws himself down . Banging his head against his helmet as he falls . The incoming rounds are tearing up the front of the platoon .</scene_description> <character>CHRIS</character> <parenthetical>( to Francis . )</parenthetical> <dialogue>Where's Lerner?</dialogue> <character>FRANCIS</character> <parenthetical>( terrified . )</parenthetical> <dialogue>Out there man - behind the log.</dialogue> <scene_description>Looking . A body - moaning , sort of moving , wriggling , as if trying to escape the pain .</scene_description> <character>CHRIS</character> <dialogue>Oh Jesus!</dialogue> <scene_description>His eyes moving to Sgt.Warren lying alongside a tree - calmly trying to stack his intestines back into his ruptured stomach . Another RPG comes in . Chris makes a conscious decision , moves up - bit by bit , shielding himself with tree stumps , ant hills , laying out fire , trying to get closer to Lerner . Francis following his progress , bug - eyed . Fu Sheng now comes up with his M - 60 - Harold his loader , belts of ammo flapping against their bodies . He fires from the hip , providing cover fire for Chris , then pops down .</scene_description> </scene> <scene> <stage_direction>EXT. FORWARD POINT - JUNGLE - DAY (DRIZZLING RAIN)</stage_direction> <scene_description>Chris , firing out another magazine , crawls closer to Lerner , trying to ascertain if he 's still alive .</scene_description> <character>CHRIS</character> <dialogue>Lerner! Lerner, can you hear me man?</dialogue> <scene_description>Lerner groans . A fresh burst of AK fire rakes the area . Lerner jerks spasmodically with the impact of the rounds . Chris spots the sniper . In a hole in the ground . Twenty - five meters off . Snapping the magazine out of his AK to reload . A live gook . Chris tears off a volley at him but the gook disappears in the hole . This is the moement , Chris realizes it , it 's now or never if Chris intends to get the gook . He 's got to make a move before the man has reloaded his weapon . He pulls his grenade , pops the pin . He lets the spoon fly off , activating the grenade - timer , as he humps to his feet and runs for the gook hole , concentrating , concentrating . That head is going to pop up any second with a freshly - loaded weapon and tear his head off . Chris wo n't make it back to the hole . The throw has to be perfect . He wo n't get another chance . He heaves the frag , drops and rolls away . The throw is perfect , the golden arc of flight from the outfield nailing the baserunner . It twists cleanly in the hole . The explosion muffled but deadly . Chris scrambles to his feet , a look of almost total surprise on his face . He ca n't seem to believe he did it . Pointing his M - 16 before him , he advances on the hole , looking over the muzzle to see the badly - mangled NVA man twisted at the bottom . Chris hurries over to Lerner . He 's in bad shape , hit in several places , vaguely conscious .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gator! Gator!</dialogue> <parenthetical>( Lerner groans . )</parenthetical> <dialogue>I'm gon na get you out man. You're gon na be okay Gator. okay?</dialogue> <scene_description>Fu Sheng laying out fire to protect them , Harold splitting off to get more ammo . Chris getting Lerner to his feet , hauling him back with all his strength , past Francis .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN)</stage_direction> <scene_description>Lt.Wolfe seems disorientated , struggling with the rain water washing off his map , trying to read the coordinates for an arty fire mission .</scene_description> <character>WOLFE</character> <parenthetical>( into the radio . )</parenthetical> <dialogue>Redleg, Redleg. Ripper Bravo Two Actual. Fire mission. Grid six - four - niner. four - zero - two. Direction six - one - zero - zero. Dinks dug in bunkers. Danger close. Adjust fire, over.</dialogue> <character>RADIO VOICE</character> <dialogue>Rog, Two Bravo. Solid copy, stand by for shot, out.</dialogue> <character>ACE</character> <dialogue>Sir, Bravo Three is inbound from the Sierra Whiskey. Should be here in two zero mikes if'n they don' hit any shit.</dialogue> <character>WOLFE</character> <dialogue>Fuckin' A!</dialogue> <scene_description>Elias runs up to him . Fire all around , incoming and outgoing , makes them yell to each other .</scene_description> <character>ELIAS</character> <dialogue>Lootenant, they're kickin our ass, they know we're gon na bring heavy shit on'em pretty soon so they're gon na get in tight under the arty. I spotted a cut running around to the left. Lem me take some men and roll up that flank.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>I can work right up on'em.</dialogue> <scene_description>Wolfe unsure , looks up for the artillery .</scene_description> <character>WOLFE</character> <parenthetical>( to Ace . )</parenthetical> <dialogue>Get me Barnes. I do n't know ` Lias, we got four down up there, if I split you off, we.</dialogue> <scene_description>Elias grabs a stick , urgent , starts drawing their position in the dirt for Wolfe .</scene_description> <character>ELIAS</character> <dialogue>Look, Lootenant.</dialogue> <scene_description>Wolfe looks up , relieved as Barnes splashes into the CP group . Thunder peals .</scene_description> <character>BARNES</character> <parenthetical>( yelling at Wolfe and Ace . )</parenthetical> <dialogue>Where the fuck is red platoon! Tell'em to get their asses up here! What the fuck you doin' back here Elias? Round up your assholes and move'em up front, we're getting chopped to shit.</dialogue> <character>ELIAS</character> <parenthetical>( yelling back . )</parenthetical> <dialogue>Barnes, listen to me. there's 5 - 6 spiderholes back there.</dialogue> <parenthetical>( points . )</parenthetical> <dialogue>next to the church.</dialogue> <parenthetical>( draws it into the ground as he talks . )</parenthetical> <dialogue>Third Platoon's coming up the stream to reinforce us. Flank's wide open, dinks get 3 - 4 snipers in these holes, when Third Platoon comes up, they'll get us in a crossfire with'em. We'll shoot each other to shit, then they'll hit us with everything they got. It'll be a massacre!</dialogue> <scene_description>Barnes looking at the drawing .</scene_description> <character>WOLFE</character> <dialogue>Sounds pretty far out to me ` Lias.</dialogue> <character>ELIAS</character> <dialogue>Maybe but I seen it happen at Ia Drang in' 66, First Cavalry and they cut us to fuckin' pieces!</dialogue> <parenthetical>( back to Barnes . )</parenthetical> <dialogue>Give me three men, if I'm wrong, I can still roll up that flank.</dialogue> <character>BARNES</character> <parenthetical>( a look . )</parenthetical> <dialogue>Take off, but keep your radio here.</dialogue> <scene_description>Elias goes , stops , looks at Barnes .</scene_description> <character>ELIAS</character> <dialogue>You keep pouring out that suppressing fire, Barnes. I do n't wan na be caught out there with my ass hanging out you hear me?</dialogue> <character>BARNES</character> <dialogue>Do n't tell me how to fight this fucking war, ` Lias, you go crying to fucking brigade on your time. Out here you belong to me. Now move.</dialogue> <scene_description>A look . Elias goes fast . More thunder peals . As the 155mm howitzers - sounding like deep tom - toms some three miles distant - beat out their shells . An ominous sound . Closer .</scene_description> <character>ACE</character> <dialogue>Sir! Shot out. Arty's on the way!</dialogue> <character>BARNES</character> <parenthetical>( hurrying back to the front . )</parenthetical> <dialogue>Get that asshole O'Neill up here willya!</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - FU SHENG'S POSITION - DAY</stage_direction> <scene_description>Fu Sheng is laying out fire when he senses something , looks up . The artillery shell sounds too close . Getting bigger and bigger on the horizon . Too big , too loud . A groan of fear on his face , then knowledge . Then . a huge EXPLOSION engulfs him .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN)</stage_direction> <character>BIG HAROLD</character> <dialogue>Short round! It's short, man! They fuckin' got Fu Sheng! BARNES! OVER HERE!</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY (RAIN)</stage_direction> <scene_description>Barnes hearing it , starts forward . Another huge shell starting to whistle in on them .</scene_description> <character>BARNES</character> <dialogue>That fuckin' idiot!</dialogue> <scene_description>It explodes . This is about three times the intensity of the RPG . The jungle floor shakes , trees splinter . Barnes is knocked to his knees , rimaces in pain . Hoyt , Barnes ' radio operator , screams out as a fist - sized chunk of hot shrapnel sticks in his back . He 's screeching , frantically trying to shuck the radio from his back , his fatigue shirt smoking . Barnes jerks the radio off Hoyt 's back , knocks the man to his knees and unsheathes his bayonet . Ripping off the back of his shirt , Barnes sets to digging out the shrapnel .</scene_description> </scene> <scene> <stage_direction>EXT. MOREHOUSE'S POSITION - DAY (RAIN)</stage_direction> <scene_description>Morehouse is decimated by a third explosion , chunks of shrapnel whirring like battleaxes into the tree trunks .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - HAROLD'S POSITION - DAY (RAIN)</stage_direction> <scene_description>Big Harold is tearing blindly away from the front , helmet gone , rifle dragging in the mud when he stumbles , sprawling face down . He jumps up , looks back , sees now the wire over which he tripped . It takes a second to register . He shares a look with Bunny who 's already on the ground .</scene_description> <character>BUNNY</character> <dialogue>Satchel charge! GET DOWN!</dialogue> <scene_description>Harold goes for the ground the same instant the satchel explodes .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - CHURCH - DAY (RAIN)</stage_direction> <scene_description>Chris , further back , dumps Lerner with Doc who 's got more than he can handle .</scene_description> <character>CHRIS</character> <dialogue>Take care of him Doc! Please!</dialogue> <scene_description>Doc looking at him , a dark look of hopelessness . Lerner is a mess , groaning , reaching for Chris ' hand .</scene_description> <character>LERNER</character> <dialogue>do n't. do n't leave me man.</dialogue> <scene_description>A look between them . Rhah instersecting .</scene_description> <character>RHAH</character> <dialogue>Taylor - get your ass over here. Move!</dialogue> <character>CHRIS</character> <dialogue>Hang tough, Gator. Hang in there, man, you're gon na be OK. just hang on.</dialogue> <scene_description>Feeling like a liar , peeling the man 's hands off him , leaving him there looking numb . Chris is shaken , Lerner 's blood all over him . He tears out after Rhah , linking up with Elias and Crawford . Elias motioning them to hurry . Another huge artillery round exploding out to the front .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - O'NEILL'S POSITION - DAY (RAIN)</stage_direction> <scene_description>Sgt.O ` Neill , scared out of his mind , hugging the earth , tries to crawl into a small cut in the ground but finds it occupied by a cringing Junior .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - WOLFE'S POSITION - DAY (RAIN)</stage_direction> <scene_description>Barnes rushes up out of the forest like Achilles , towering in his rage , at Lieutenant Wolfe , ripping his handset from him as the Lieutenant reads off the coordinates off his map .</scene_description> <character>BARNES</character> <dialogue>YOU IGNORANT ASSHOLE! - What the fuck coordinates you giving! You killed a bunch of people with that fucked up fire mission! You know that? ah shit!</dialogue> <scene_description>Wolfe stares at him , open - mouthed . Disgusted , Barnes hunkers down to read the coordinates from his own map into the handset .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Redleg Romeo. Ripper Bravo Two. Check your fire, check fire, you're short on our pos! I say again, check your fuckin' fire! From Registration point, add one five zero, left five zero, fire for effect!</dialogue> <scene_description>New incoming fire drowns out Barnes .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - ELIAS' POSITION - DAY</stage_direction> <scene_description>Elias - a defiant look on his face - moves fast but cautiously back across the Church landmarks . Chris following then Rhah and Crawford . The RAIN has now settled into a mist hugging the ground .</scene_description> <character>ELIAS</character> <dialogue>Move it! Move it!</dialogue> <scene_description>Elias comes to a stop , looks . Behind them we hear the sounds of battle , gauging their distance from the main body . The spider holes are still empty . But he listens , senses something out there getting closer .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They're coming.</dialogue> <scene_description>Chris looking at Rhah . How does he know ? Elias points out an imaginary line across the breaking mist .</scene_description> <character>ELIAS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stagger yourselves across this line, shoot anything that moves. They'll be coming from here.</dialogue> <character>RHAH</character> <parenthetical>( team leader . )</parenthetical> <dialogue>Gotcha.</dialogue> <character>ELIAS</character> <dialogue>One of them gets through it's curtains.</dialogue> <character>RHAH</character> <dialogue>Where you going?</dialogue> <character>ELIAS</character> <dialogue>Down along the river ` bout 100 metres, ` case they try to flank us there. Third Platoon's coming up on our rear so watch for'em.</dialogue> <character>CHRIS</character> <dialogue>I'll go with you.</dialogue> <character>ELIAS</character> <dialogue>No. I move faster alone.</dialogue> <parenthetical>( a grin . )</parenthetical> <dialogue /> <scene_description>Elias , his pack stripped , is gone , like a fleet leaf , vanishing into the Jungle .</scene_description> <character>RHAH</character> <parenthetical>( stringing them out . )</parenthetical> <dialogue>Okay Crawford - over here. Taylor - down twenty yards behind that tree.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - WOLFE'S POSITION - DAY (MIST)</stage_direction> <scene_description>Barnes has finished correcting the fire mission , hurls the handset back at Wolfe , a wild look in his eyes , studying the incoming fire . Makes a decision .</scene_description> <character>BARNES</character> <dialogue>Let's move back, link up with Three. Let the arty do a little work.</dialogue> <parenthetical>( to Ace on radio , ignoring Wolfe . )</parenthetical> <dialogue>Push Two Alpha and Two Charlie. Tell'em to haul ass and re - group at the church. Tell'em NOT to fire.</dialogue> <parenthetical>( Ace transmits . )</parenthetical> <dialogue /> <character>WOLFE</character> <dialogue>What about Elias? We pull back they'll be cut off. He needs cover fire.</dialogue> <character>BARNES</character> <parenthetical>( looks at him like he 's stupid . )</parenthetical> <dialogue>I'll get him.</dialogue> <parenthetical>( with a threatening undertone . )</parenthetical> <dialogue>You just haul ass too lootenant.</dialogue> <parenthetical>( going , to Ace . )</parenthetical> <dialogue>. do n't send Bravo Three up till I get back to the CP. Now move out, all of you.</dialogue> <scene_description>As he snaps his weapon onto full auto and runs off after Elias in a crouch . a man with a mission .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - RHAH AND CHRIS' POSITION - DAY</stage_direction> <scene_description>Next to the Church deployed in the jungle , Rhah looks on , silent . Chris in his position , waits . It is so silent in comparison to the racket from the battle across the forest . The Mist clings to the trees , moist and lovely . Then , a flicker of movement , sound . Chris hears it , tightens . His POV - at fifty yards . An evanescence of beige and green uniforms moving towards him very fast , scurrying . They look like headless ghosts . Chris opens fire .</scene_description> <character>CHRIS</character> <dialogue>GET EM!</dialogue> <scene_description>Rhah and Crawford open up . A rachet of sound , one of the fiures seems to go down , then another but at this distance through jungle it is difficult to say . The firing just as suddenly breaks off and the silence returns .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( ecstatic . )</parenthetical> <dialogue>Yeah! I got two of them fuckers.</dialogue> <character>RHAH</character> <dialogue>I got one.</dialogue> <character>CHRIS</character> <dialogue>See them go down? Like fuckin' target practice man, fuck you Charlie! Ho Chi Minh sucks dead dick! Crawford!</dialogue> <parenthetical>( sees him , stunned . )</parenthetical> <dialogue /> <scene_description>Crawford , the blond - locked California beach boy , lies on the earth , hit in a lung , having difficulty breathing , moaning in a soft undercurrent . Chris runs up on him .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh man! man!</dialogue> <scene_description>Attending him . Rhah runs up .</scene_description> <character>RHAH</character> <dialogue>Looks like a lung babe. But you're gon na be all right, you only need one of them fuckers.</dialogue> <character>CRAWFORD</character> <dialogue>Oh shit man I never thought I'd get hit, I was.</dialogue> <parenthetical>( gagging . )</parenthetical> <dialogue /> <character>RHAH</character> <dialogue>Stay cool. We gon na carry you out.</dialogue> <scene_description>Barnes appears , running towards them , looking down at Crawford , at Rhah .</scene_description> <character>RHAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sarge, ` bout five gooks tried to.</dialogue> <character>BARNES</character> <dialogue>Where's Elias?</dialogue> <character>RHAH</character> <dialogue>came through right over there. We got three of them, we.</dialogue> <character>BARNES</character> <dialogue>Did n't you hear the arty shift? We're pulling back. Get your wounded man and get the fuck back to the church. Get going.</dialogue> <character>CHRIS</character> <parenthetical>( indicating jungle . )</parenthetical> <dialogue>. but ` Lias is still out there.</dialogue> <character>BARNES</character> <dialogue>I'll get him. You get the man in, Taylor.</dialogue> <parenthetical>( indicating Crawford . )</parenthetical> <dialogue>NOW. Or I'll Article 15 both your asses. Move!</dialogue> <scene_description>Chris and Rhah look at Barnes sullenly , then reluctantly start moving Crawford onto a poncho liner they use as a litter .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Move it, MOVE IT!</dialogue> <scene_description>He 's in his blackest rage , the force of his words almost physically pushing the men to move out with Crawford . Barnes turns now to deal with Elias .</scene_description> </scene> <scene> <stage_direction>EXT. ELIAS' JUNGLE - DAY</stage_direction> <scene_description>Elsewhere , Elias stands silently , listens to the forest . In the distance the firefight can hardly be heard . His helmet gone , his hair hanging free , he is at his best now - alone . He hears it . Somebody running through the jungle , about 100 yards , boots on leaves , coming towards him . He begins to move lateral to the sound . His steps unheard , better at this than the enemy . THREE ENEMY FIGURES now appear , crouched and moving very fast with light equipment through the mist . Elias swerves up in immediate foreground , his back to us , FIRING . All three Figures fall . A quick glimpse of Elias , not bothering to stop , moving to his next position .</scene_description> </scene> <scene> <stage_direction>EXT. BARNES' JUNGLE - DAY</stage_direction> <scene_description>Barnes , moving through the jungle , reacts to the fire , resetting his course . Like a hunter stalking a deer . Suddenly there 's more firing . Then silence -</scene_description> </scene> <scene> <stage_direction>EXT. ELIAS' JUNGLE - DAY</stage_direction> <scene_description>TWO MORE ENEMY lie dead in the jungle . A rustle of movement , then a CRY - chilling , jubilant , a war cry . A pair of feet moving lightly over the jungle . A glimpse of Elias . In his full glory . Roaming the jungle , born to it .</scene_description> </scene> <scene> <stage_direction>EXT. BARNES' JUNGLE - DAY</stage_direction> <scene_description>Barnes fixing on him , moving .</scene_description> </scene> <scene> <stage_direction>EXT. ELIAS' JUNGLE - DAY</stage_direction> <scene_description>An NVA SOLDIER , jungle - whiskered , dirty , smart , crouches , listens , looks to his PARTNER . What are they fighting here ? The First One mutter something sharp and they split fast in the direction they 've come . They get about six steps when Elias suddenly rises up from the bush , not ten yards in front of them , his shots ripping into them , driving the surprised life from them . Elias is gone .</scene_description> </scene> <scene> <stage_direction>EXT. NVA JUNGLE - DAY</stage_direction> <scene_description>Elsewhere , another three NVA stop , turn and flee back from where they came .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE CHURCH - DAY</stage_direction> <scene_description>Chris and Rhah get Crawford back to the church grounds , lay him down . No activity around them . Chris plunges back into the jungle where they left Barnes .</scene_description> <character>RHAH</character> <dialogue>Taylor!</dialogue> </scene> <scene> <stage_direction>EXT. ELIAS AND BARNES' JUNGLE - DAY</stage_direction> <scene_description>Barnes moving , stops , listens . Something is running towards him . But it 's hidden by the bush . He brings his rifle up smooth and quick , waits , then as the bush parts , Elias is standing there . Looking at Barnes . Barnes sees him , starts to lower his rifle , but then stops . He raises it back an inch , sights it . Pause . A cold searing look of hatred coming over his face . In that moment , Elias understands . Quick as a deer , he makes his move , trying to plunge back into the bush . Barnes fires . Once , twice , three times - the blast rocking the jungle . Elias jerking backwards into the bush , mortally wounded . Bird cries . A crime against nature . Barnes calmly lowers his rifle , and walks away from it .</scene_description> </scene> <scene> <stage_direction>EXT. CHRIS' JUNGLE - DAY</stage_direction> <scene_description>Chris , cutting through the jungle , hears the shots . He stops , listens . Someone is moving through bush towards him , leaves and foliage shaking . Chris tightens , raises his rifle . Barnes steps through into his sight - sees him . Chris lowers his rifle . Barnes walking past him as if he were n't even there .</scene_description> <character>BARNES</character> <dialogue>Elias is dead. Join up with the platoon. Move it.</dialogue> <character>CHRIS</character> <parenthetical>( shocked . )</parenthetical> <dialogue>He's dead! Where? You saw him?</dialogue> <character>BARNES</character> <dialogue>Yeah. Back about 100 metres. He's dead, now get going, the gooks are all over the fuckin' place.</dialogue> <scene_description>Moving on quickly . Chris has no choice but to follow , looking back one more time .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH GROUNDS - JUNGLE - DAY</stage_direction> <scene_description>TWO CHOPPERS are coming into a LZ in front of the Church . The two platoons , Second and Third , reinforcing , are being evacuated as quickly as possible , one load -LRB- 6 - 8 men , depending on the wounded -RRB- after other . The choppers are spraying dust all over the place . A scene of chaos , radio talk layering it . Doc is out of supplies , making do with improvised bandages , etc. .</scene_description> <character>WOLFE</character> <dialogue>MOVE IT MOVE IT MOVE IT.</dialogue> <scene_description>Lerner goes by , horribly wounded on a makeshift litter , into the chopper , Doc attending , holding the IV . Chris catching a glimpse of him , waiting to get on the chopper , turning to look as : Hoyt and Sgt.Warren , both wounded , are hurried aboard on litters . The chopper lifting off . Chris and others now running to the corpses of Flash , Morehouse , and Fu Sheng lying under dirty ponchos , their boots sticking out . The ponchos are blown away in a burst of wind off the chopper blades , revealing their faces - dirt stuffing their eyes and mouths , waxen figures . Chris and the others lifting them and carrying them towards the next chopper now coming in . They throw the bodies on . Tubbs and Crawford , both wounded , now move past Chris , into the chopper . Chris running back , with King carrying a litter - their eyes falling on : Barnes talking with Wolfe and Ace , making signals under the roaring sounds of the chopper . Shaking his head . No . No Elias . Chris and King looking at each other , mute . They numbly start loading Big Harold , minus his leg , onto the stretcher . The Third Chopper is down now , waiting , roaring blades silhouetting off the face of the cathedral . A ROCKET BLAST suddenly goes off not too far from the chopper , incoming fire . The DOOR GUNNER signaling for them to hurry , laying out fire .</scene_description> </scene> <scene> <stage_direction>INT/EXT. CHOPPER - JUNGLE - DAY</stage_direction> <scene_description>Chris and King hustling Big Harold 's 250 pounds into the chopper . Climbing in with him . Wolfe , Barnes , Ace running in with them . The perimeter is bare . Chris ' eyes flitting over Barnes as he jumps in . The chopper lifting off as another explosion rocks the area . The Door Gunner sees something , opens up . Big Harold , cursing , looks chalky but hog happy as he manages a glance down at the jungle . His right leg is gone . Tears are rolling out of his eyes .</scene_description> <character>KING</character> <dialogue>Man, you gon na be in Japan this time tomorrow, Big Harold.</dialogue> <character>BIG HAROLD</character> <dialogue>Yeah, I ` se lucky dis time, what's a leg to get the fuck outta here.</dialogue> <parenthetical>( at the NVA . )</parenthetical> <dialogue>Eat ma shit, you motherfuckers!</dialogue> <scene_description>He sinks back , sick . Chris ' eyes sudenly fix on something . He ca n't believe it . He shoves King , points . King sees it . Both stunned . Barnes is looking . So 's Lt.Wolfe , so 's Ace . So 's the Door Gunner . Elias is coming out of the jungle . Staggering , blood disfiguring his face and chest , hanging on with all his dimming strength , looking up at them - trying to reach them . Chris shakes Wolfe , his words drowned out by the roar . The Chopper Captain looking down , dips . His co - pilot pointing . The NVA are coming out of the jungle , closing on the spot where Elias is . Incoming rounds are hitting the chopper . The Door Gunner maniacally firing . Barnes looking down at the man , ca n't believe it . Elias is on his last legs now , obviously being hit by the incoming fire of the NVA . He falls to his knees , still stretching upwards for life . The Chopper Captain shakes his head at Wolfe . The Chopper dips one more time firing at the NVA , low and fierce over the jungle . Chris looking back in horror . Elias crucified . The NVA coming out now by the dozens from the treeline . Elias crumbling to the ground . Obviously dead or dying .</scene_description> <character>HELICAPTAIN ON RADIO</character> <dialogue>we still got one on the deck. Bring the gunships in.</dialogue> <scene_description>Barnes drawing in . Chris looking at him in revulsion . He knows . Barnes sees his look , ignores it , all of them sitting there silent , living with that final horrifying image of Elias .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERGROUND HUTCH - BASE CAMP - NIGHT</stage_direction> <scene_description>The ` heads ' are assembled - what 's left of them . Rhah , King , Francis , Doc , Adam , a quiet black kid , and Chris , who is impassioned tonight .</scene_description> <character>CHRIS</character> <dialogue>He killed him. I know he did. I saw his eyes when he came back in.</dialogue> <character>RADIO VOICE</character> <parenthetical>( puffing on his bowl . )</parenthetical> <dialogue>How do you know the dinks did n't get him. You got no proof man.</dialogue> <character>CHRIS</character> <dialogue>Proof's in the eyes. When you know you know. You were there Rhah - I know what you were thinking. I say we frag the fucker. Tonight.</dialogue> <scene_description>He looks to King who puffs on a joint , his eyes red .</scene_description> <character>KING</character> <dialogue>I go with dat, an eye for an eye man.</dialogue> <character>DOC</character> <dialogue>Right on, nothing wrong with Barnes another shot in the head would n't cure.</dialogue> <character>RHAH</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>Shit boy you been out in the sun too long. You try that, he'll stick it right back up your ass with a candle on it.</dialogue> <character>CHRIS</character> <dialogue>Then what do you suggest big shot?</dialogue> <character>RHAH</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>I suggest you watch your own asses cause Barnes gon na be down on ALL OF'EM.</dialogue> <character>FRANCIS</character> <dialogue>How you figger that?</dialogue> <character>RHAH</character> <dialogue>Shit man - Human nature.</dialogue> <scene_description>Flashes the old knuckle - ` HATE ' .</scene_description> <character>KING</character> <dialogue>Then you jes gon na forget ` bout Elias and all the good times we done had? Right in here.</dialogue> <character>RHAH</character> <dialogue>He dugged his own grave.</dialogue> <character>DOC</character> <parenthetical>( correcting . )</parenthetical> <dialogue>He dug it.</dialogue> <character>RHAH</character> <dialogue>He DUGGED it too.</dialogue> <character>CHRIS</character> <dialogue>Fuck this shit!</dialogue> <character>RHAH</character> <dialogue>You guys trying to cure the headache by cutting off the head. ` Lias did n't ask you to fight his battles and if there's a Heaven - and god, I hope so - I know he's sitting up there drunk as a fuckin' monkey and smokin' shit cause HIS PAINS HE DONE LEFT DOWN HERE. Baaaaaaaaa!</dialogue> <parenthetical>( a vehement movement of his head . )</parenthetical> <dialogue /> <character>CHRIS</character> <dialogue>You're wrong man! Any way you cut it Rhah, Barnes is a murderer.</dialogue> <character>KING</character> <dialogue>Right on.</dialogue> <character>RHAH</character> <dialogue>I remember first time you came in here Taylor you telling me how much you admired that bastard.</dialogue> <character>CHRIS</character> <dialogue>I was wrong.</dialogue> <character>RHAH</character> <parenthetical>( snorts . )</parenthetical> <dialogue>Wrong? You ai n't EVER been right - ` bout nothing. And dig this you assholes and dig it good! Barnes been shot 7 times and he ai n't dead, that tell you something? Barnes ai n't meant to die. Only thing can get Barnes. is Barnes!</dialogue> <scene_description>Barnes stands there , silhouetted in the trap door , looking down at the men who are stunned to see him here . He steps down into the hutch , his face now lit by candle light . A bottle of whiskey in his hand , drunk , ugly , sweating , but as always , with dignity , possessive of his silence . He feels their fear in the silence , enjoys it .</scene_description> <character>BARNES</character> <parenthetical>( soft . )</parenthetical> <dialogue>Talking ` bout killing?</dialogue> <scene_description>He totters slightly as he circles the outer edge of the hutch . No one talks .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Y' all experts? Y' all know about killing?</dialogue> <scene_description>He takes the bowl from Adams , smokes it .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You pussies got ta smoke this shit so's you can hide from reality?</dialogue> <parenthetical>( smokes again . )</parenthetical> <dialogue>Me I do n't need that shit. I AM reality.</dialogue> <scene_description>Confronting Chris , he moves on , taunting them all .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's the way it oughta be and there's the way it is. ` Lias he was full of shit, ` Lias was a crusader - I got no fight with a man does what he's told but when he do n't, the machine breaks down, and when the machine breaks down, WE break down. and I ai n't gon na allow that. From none of you. Not one.</dialogue> <scene_description>Walks past Rhah , past King , throws the pot bowl into the dirt of the floor .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Y' all loved Elias, want to kick ass, I ` se here - all by my lonesome, nobody gon na know. Five you boys ` gainst me?</dialogue> <parenthetical>( pause , very soft . )</parenthetical> <dialogue>Kill me.</dialogue> <scene_description>Almost an appeal - naked , intense . Rhah , Francis , Doc look away . King , the biggest one there , is about to say something , but the moment passes . Chris waits , his anger on the rise . Barnes takes a swigger from the whiskey , then turns away contemptuously .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I SHIT on all o' you.</dialogue> <character>CHRIS</character> <dialogue>KILL YOU MOTHERFUCKER!</dialogue> <scene_description>Chris slams into Barnes , rushing him off his feet . Pounding his face , solid blows .</scene_description> <character>KING AND OTHERS</character> <dialogue>Get that mother, babe, go. Kick his ass, kill that cocksucker!</dialogue> <scene_description>But Barnes is too quick and very strong and takes the blows , getting outside Chris ' arm , twisting and flipping him in a wrestler 's grip - throwing him hard onto his back on the dirt floor . The expression of the Men watching slumps , their hopes dashed . Barnes springs around on Chris , straddles him , one hand pushing his face back , hits him hard . Once . Twice . Chris grimaces , groans , helpless now . A flick of sound . A knife whipped out of Barnes ' boot and pressing against Chris ' throat . Chris bleeding from the nose and mouth . Rhah suddenly spinning into action , fast now , realizing what Barnes intends to do .</scene_description> <character>RHAH</character> <dialogue>EASY BARNES, EASY MAN!</dialogue> <scene_description>Barnes is on the verge - about to kill again . Chris waiting . Rhah coaxing him , moving closer .</scene_description> <character>RHAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You'll do dinky dau in Long Binh Barnes. Ten years - kill an enlisted. Ten years, Barnes, just climb the walls. DO N'T DO IT.</dialogue> <scene_description>Barnes ' eyes tremble in the candle light , his scars ugly , a spasm clenching and locking his facial muscles . Then suddenly he is calm again , very calm . We sense a man of enormous self - control . Suddenly he flicks his knife across Chris , leaving a mark below his left eye . Chris gasps . Looking up at Barnes rising off him . The boots alongside his face . The Men looking on , the tension lowering .</scene_description> <character>BARNES</character> <parenthetical>( contemptuous . )</parenthetical> <dialogue>Death? What do you guys know about it?</dialogue> <scene_description>He walks out . Quietly .</scene_description> </scene> <scene> <stage_direction>EXT. AIR SHOTS - JUNGLE, CHURCH - DAY</stage_direction> <scene_description>Chris sits at the very edge of a Huey Chopper , bandana around his forehead , long hair blowing in the wind , Barnes ' mark below his eyes , slicked out now like a jungle veteran , looking down at the VILLAGE where the massacre occurred . The Village is still a smoking ruin , a few peasants and water buffalo straggling like ants to reconstruct . Bunny , next to Chris , pops his gum , indifferent . Barnes , next to him , shifts , reads a map . Rodriguez is praying , his mouth moving without audible words , getting ready for the drop . King is making last minute adjustments in his pack . Bunny now nudges Chris , points . The Church in the Jungle where Elias was killed is visible . An outline of the Cemetery . Uncomfortable memories play over Chris ' face .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They sent us back into the valley the next day - about 2,000 metres from Cambodia - into a battalion perimeter. Alpha Company had been hit hard the day before by a sizeable force and Charlie Company had been probed that night. There were other battalions in the valley, we were n't the only ones but we knew we were going to be the bait to lure them out. And somewhere out there was the entire 141st NVA Regiment.</dialogue> <scene_description>The BATTALION PERIMETER now breaks in the clear ahead . Smoke grenades of various colors are being popped on the cleared LZ . It 's not big , its radius 200 yards , heavily sandbagged , deeply dug , rolls of barbed wire protecting it , radio antennas sprouting from the CP - and surrounded on all four sides by jungle . The First Chopper rocking down , whipping up dust clouds . Chris jumps out , moving out fast as the Second Chopper starts in .</scene_description> </scene> <scene> <stage_direction>EXT. BATTALION CP - PERIMETER #3 - DUSK</stage_direction> <scene_description>At the Battalion CP , the Major confers with Captain Harris and two other Captains . Two NVA PRISONERS are sitting on their knees , interrogated by Vietnamese Kit Carson scouts and a U.S. Sergeant , their hands tied . The Scout slaps the shit out of the NVA .</scene_description> </scene> <scene> <stage_direction>EXT. PLATOON CP - PERIMETER #3 - DUSK</stage_direction> <scene_description>All this is watched from a distance by Ace and Doc and Lt.Wolfe at the Platoon CP . Ace and Doc are digging the foxhole , the ace of spades in Ace 's helmet band , sharing the information with Tony and Francis .</scene_description> <character>ACE</character> <dialogue>they caught'em last night pulling some shit on Charlie Company. They found maps on'em, man - got a friend at Battalion says they had every fuckin' foxhole here fixed on it. Distances, treelines, our claymores, trip wires, everything? I shit you not.</dialogue> <character>DOC</character> <dialogue>Shit, so what the fuck are we doing here? Why do n't we move.</dialogue> <parenthetical>( no answer . )</parenthetical> <dialogue>Bad vibes, man, I got bad vibes here. Where are the new guys they provided us anyway.</dialogue> <character>TONY</character> <dialogue>I heard we's in Cambodia right fuckin' NOW.</dialogue> <character>FRANCIS</character> <dialogue>You kidding man.</dialogue> <scene_description>Rhah comes up , a walking stick in hand , huge pirate kerchief on his head , semi - naked .</scene_description> <character>RHAH</character> <dialogue>You wanted to see me sir?</dialogue> <character>WOLFE</character> <dialogue>Jackson, looks like you got Elias' squad now.</dialogue> <character>RHAH</character> <dialogue>Squad? I did n't know we was still referring to this platoon in terms of squads sir.</dialogue> <parenthetical>( with a snicker for Ace and Doc . )</parenthetical> <dialogue /> <character>WOLFE</character> <parenthetical>( indicating a rough drawing in the dirt . )</parenthetical> <dialogue>These two holes are yours.</dialogue> <character>RHAH</character> <dialogue>Begging your pardon Lieutenant but my holes are far enuff apart you could run a regiment through there and nobody'd see them - I got five live bodies left</dialogue> <scene_description /> <character>WOLFE</character> <dialogue>I do n't want to hear your problems, Jackson. You'll get new men any day. Time being you make do like everybody else.</dialogue> <character>RHAH</character> <dialogue>Hey Lieutenant I did n't ask for this job, I.</dialogue> <character>WOLFE</character> <parenthetical>( leaves . )</parenthetical> <dialogue>I do n't want to hear about it Jackson.</dialogue> <character>RHAH</character> <parenthetical>( amazed , looking off at him . )</parenthetical> <dialogue>You do n't want to hear about it?</dialogue> <character>WOLFE</character> <parenthetical>( turns . )</parenthetical> <dialogue>That's right. I do n't want to hear about it'cause to tell you the truth, I do n't give a shit okay. I just do n't give a shit anymore.</dialogue> <character>RHAH</character> <parenthetical>( shrugs , to himself . )</parenthetical> <dialogue>Right.</dialogue> <character>WOLFE</character> <parenthetical>( passing Ace digging the CP hole . )</parenthetical> <dialogue>This is one time we could sure use Elias.</dialogue> <character>ACE</character> <parenthetical>( to Doc . )</parenthetical> <dialogue>` Some people say I'm wishy washy. Maybe I am. Maybe I ai n't.'</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - CHRIS' FOXHOLE - DUSK</stage_direction> <scene_description>On the edge of the perimeter , King puts out his claymore , unraveling it back towards his FOXHOLE , intersecting MEN form the Third Platoon , who file out on a night ambush , skirting the trip wires , demoralized , silent . Eye exchanges , but no words . Chris sits on the foxhole watching the ambush go out , smoking a joint by himself , depressed . King comes in with the claymore wires , attaching them to their detonators . Their foxhole - as are all of the Platoon 's - is positioned just inside the treeline bordering the LZ , so that they are quite isolated from the center of the perimeter where they first landed .</scene_description> <character>KING</character> <dialogue>Glad I ai n't going with'em. Somewhere out dere man is de Beast and he hungry tonight. Man, what a bummer. Ten days and a wakeup and I'm still dealing wid this shit - fuckin' etcetera and ad infinitum man.</dialogue> <scene_description>The LAST SOLDIER in the file recedes into the foliage .</scene_description> <character>KING</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( noticiing Chris ' silence . )</parenthetical> <dialogue>What's the matter wid you? How come you ai n't writing no more? You was always writing something home. Looks like youse half a bubble off, Taylor.</dialogue> <scene_description>He does n't answer , makes a futile gesture .</scene_description> <character>KING</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What about your folks? That grandma you was telling me about?</dialogue> <scene_description>Chris shakes his head .</scene_description> <character>KING</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Girl?</dialogue> <scene_description>Chris ' eyes answer negatively .</scene_description> <character>KING</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Must be somebody?</dialogue> <character>CHRIS</character> <dialogue>there's nobody.</dialogue> <character>KING</character> <parenthetical>( shifts , uncomfortable . )</parenthetical> <dialogue>You been smoking too much shit babe. Got ta control that. Takes a man down. I remember when you first come out to the bush, you was straight as a.</dialogue> <character>CHRIS</character> <dialogue>Who gives a shit!</dialogue> <scene_description>He shifts , annoyed , prepares his grenades along the sand bags . King shrugs , preparing his meal , sings himself a snatch of song , a good natured man .</scene_description> <character>KING</character> <parenthetical>( soft . )</parenthetical> <dialogue>` People say I'm the life of the party cause I tell a joke or two although I may be laughing loud and hardy deep inside I'm blue.'</dialogue> <character>CHRIS</character> <dialogue>Y' ever get caught in a mistake King and you just ca n't get out of it?</dialogue> <character>KING</character> <dialogue>Way out of anything, man. Just keep your pecker up, your powder dry, the worm WILL turn. How many days you short?</dialogue> <character>CHRIS</character> <dialogue>Not just me. it's the way the whole thing works. People like Elias get wasted and people like Barnes just go on making up rules any way they want and what do we do, we just sit around in the middle and suck on it! We just do n't add up to dry shit.</dialogue> <character>KING</character> <dialogue>Does a chicken have lips? Whoever said we did, babe. Make it outta here, it's all gravy, every day of the rest of your life man - gravy. Oh shit, superlifer!</dialogue> <scene_description>O'Neill comes up , jerks his thumb at King .</scene_description> <character>O'NEILL</character> <dialogue>Get your gear together, King, your orders just come through.</dialogue> <character>KING</character> <parenthetical>( speechless . )</parenthetical> <dialogue>You jokin' me man? shit, you ai n't kidding! Cocksucker. Oh wowww. the lifers made a mistake, they cuttin' me some slack, they cutting me some slack Taylor!</dialogue> <parenthetical>( dances . )</parenthetical> <dialogue /> <character>O'NEILL</character> <dialogue>Collect your shit and move out King. You got 10 minutes make the last chopper. Cee ess em oh or your ass is mine.</dialogue> <parenthetical>( to Taylor . )</parenthetical> <dialogue>Francis is coming over.</dialogue> <parenthetical>( hurries off . )</parenthetical> <dialogue /> <scene_description>King packing up , double time . Chris comes over , helps him , trying to share his happiness but not succeeding .</scene_description> <character>CHRIS</character> <dialogue>Hey that's great King, that's great. you take it on home for me, you tell'em King. got your address right? You know where you can reach men, man. Anytime!</dialogue> <character>KING</character> <dialogue>I got ta didi man. Do n't wan na miss that chopper. I'll send you a postcard. After I get me some. I'll send you some tapes too man. This new guy Jimi Hendrix man, whew. you okay Taylor? Just ` member take it easy now, do n't think too much, do n't be a fool, no such thing as a coward cause it do n't mean nuthin. Jes keep on keepin' on. Okay my man.</dialogue> <scene_description>Chris , fighting his depression , slaps hands with King . A brief moment , they look at each other . A friendship that was forever and is now over . They both sort of know they 'll never see each other again .</scene_description> <character>CHRIS</character> <dialogue>I'll walk you out.</dialogue> <scene_description>Francis coming up , hauling his pack .</scene_description> </scene> <scene> <stage_direction>EXT.PERIMETER #3 - JUNIOR'S FOXHOLE - DUSK</stage_direction> <scene_description>On another foxhole , Rodriguez positions his M - 60 , brings up his ammo belts -LRB- no loaders left -RRB- . Tony eating , nervous , watches him , shakes his head .</scene_description> <character>TONY</character> <dialogue>Rumor goin' round is they got tanks. Soviet shit, T - 34's.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Hey Rodriguez, do n't you ever say nothing?</dialogue> <character>RODRIGUEZ</character> <parenthetical>( a thick Mexican accent . )</parenthetical> <dialogue>What do you want me to say, it's all the same ol' shit.</dialogue> <scene_description>Tony shrugs , back to his food .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - JUNIOR'S FOXHOLE - DUSK</stage_direction> <scene_description>On another foxhole , Barnes in full pack checks the soles of Junior 's bare feet . Bunny and O'Neill looking on . Junior is moaning as if he 's dying , overdoing it by a mile .</scene_description> <character>BARNES</character> <dialogue>So what's the problem?</dialogue> <character>O'NEILL</character> <dialogue>Says he ca n't walk.</dialogue> <character>BARNES</character> <dialogue>Shit. Get your boots on Martin, next time I catch you putting mosquito repellant on your fuckin' feet I'm gon na courtmartial your nigger ass.</dialogue> <character>JUNIOR</character> <parenthetical>( cracks . )</parenthetical> <dialogue>DEN COURTMARTIAL ME MOTHERFUCKAH, bust my ass, send me to fucking Long Binh, do your worst but I ai n't walking no more. De white man done got his last klik outta me. Get some chuck dude to hump this shit.</dialogue> <character>BARNES</character> <parenthetical>( suddenly soft . )</parenthetical> <dialogue>Get me that centipede, O'Neill.</dialogue> <scene_description>O'Neill is puzzled . What centipede ?</scene_description> <character>O'NEILL</character> <dialogue>Sarge?</dialogue> <character>BARNES</character> <dialogue>Yeah that long hairy orange and black bastard I found in the ammo crate. I'm gon na put it in this asshole's crotch, see if he can walk.</dialogue> <scene_description>Junior 's eyes bulge with suspiscion and sudden terror , his demeanor totally alert now .</scene_description> <character>O'NEILL</character> <parenthetical>( understanding . )</parenthetical> <dialogue>Oh yeah, right away Sarge.</dialogue> <character>JUNIOR</character> <dialogue>No! Wait! I'll walk, fuck you I'll walk, I do n't need this shit! I do n't need this shit!</dialogue> <character>BUNNY</character> <dialogue>Fucking pussy, fuck it Sarge, I got ta have him on my hole?</dialogue> <scene_description>Barnes going . O'Neill catching up with him .</scene_description> <character>O'NEILL</character> <dialogue>Uh. Bob. Like to speak to you. Take a minute.</dialogue> <character>BARNES</character> <parenthetical>( stops . )</parenthetical> <dialogue>Yeah, what is it?</dialogue> <character>O'NEILL</character> <parenthetical>( shuffles , reluctant . )</parenthetical> <dialogue>Bob, I got Elias' R&amp;R. It's coming up in 3 days. Going to Hawaii. See Patsy.</dialogue> <parenthetical>( pause , no reaction from Barnes . )</parenthetical> <dialogue>I never asked you for a break, I was hoping you. you'd send me in on the chopper with King. what do you say Chief?</dialogue> <parenthetical>( a friendly punch . )</parenthetical> <dialogue /> <character>BARNES</character> <dialogue>I ca n't do that for you, Red. We need every swinging dick in the field. Sorry bout that.</dialogue> <parenthetical>( starts to go . )</parenthetical> <dialogue /> <character>O'NEILL</character> <parenthetical>( pleads . )</parenthetical> <dialogue>Hey Bob, come on! Talk to me hunh, it's your friend Red, I'm only asking you for three days chief.</dialogue> <character>BARNES</character> <dialogue>I'm talking to you Red and I'm telling you no. Get back to your position.</dialogue> <character>O'NEILL</character> <parenthetical>( grabs him , desperate . )</parenthetical> <dialogue>Bob, I got ta bad feeling about this, I. I'm telling you I got a bad feeling, man, I do n't think I'm gon na make it. y' know what I mean?</dialogue> <character>BARNES</character> <parenthetical>( quietly . )</parenthetical> <dialogue>. everybody got ta die sometime Red. Get back to your foxhole.</dialogue> <scene_description>A look in his eyes . Very remote , very cold , silencing O'Neill . Barnes walks off .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - BATTALION LZ - DUSK</stage_direction> <scene_description>At the LZ , King runs out , gets on the last SUPPLY CHOPPER with some other men . It lifts off , swirling dust , the last rays of daylight . Chris watches from a Battalion CP area , waves back - the chopper sound receding in the horizon , the comparative silence of the jungle now creeping up on the perimeter . He turns and starts back to his foxhole . A man is watching him . He 's sitting on a sandbag , face in shadow . It startles Chris , something about him . Something different . A deep West Virginia drawl .</scene_description> <character>SMOKING MAN</character> <dialogue>Got a light?</dialogue> <character>CHRIS</character> <dialogue>Uh sure.</dialogue> <scene_description>Goes over reluctantly , flicks his lighter , cupping it from the wind . The flame catches a sudden , uneasy expression in Chris ' face as he sees the Smoking Man . We come around and see what Chris sees in the light of the flame . A face that smiles at him like a death 's head , a large ugly blister on his mouth , whiskered , pale - but smiling . A sick man would n't smile like this , but he is smiling too intimately , as if he knows Chris from way back . But he does n't . Or does he ? Perhaps it was the man Chris first saw at the airstrip when he came in - country . The same expression of evil , of a man who has seen too much and died , but still lives . Chris feels an unnatural fear passing through him . The Man stands , sucking on his cigarette , stretches . He is thin and very tall , towering over Chris .</scene_description> <character>SMOKING MAN</character> <dialogue>later.</dialogue> <scene_description>He goes . Chris watches him , wondering . The man never looks back , a leisurely , confident stroll . In that moment , there is an EXPLOSION from way out in the jungle , about a quarter of a mile . Then another , then small arms fire . Chris looks , knows .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - RHAH'S FOXHOLE - DUSK</stage_direction> <scene_description>On his foxhole , Junior listening to the distant firing . Bunny is introspective - talking to Junior as if he were his best friend , although they have nothing in common .</scene_description> <character>BUNNY</character> <dialogue>y' know some of the things we done, I do n't feel like we done something wrong but sometimes y' know I get this bad feeling. Not all that shit the Chaplain's jamming up our ass ` bout the Good Lord. just a fucking bad feeling, y' know what I mean? Do n't know why. I told the Chaplain the truth is I really like it here. You do what you want, nobody fucks with you. Only worry you got's dying and if dat happens you wo n't know about it anyway. So what the fuck.</dialogue> <parenthetical>( chuckles . )</parenthetical> <dialogue /> <scene_description>Junior looks at him like he 's really crazy . Back to the distant firing .</scene_description> <character>JUNIOR</character> <parenthetical>( pissed now . )</parenthetical> <dialogue>Fuck! I got ta be on this hole with YOU man. I just know I shouldna come!</dialogue> <scene_description>Bunny finds it funny , laughs .</scene_description> <character>BUNNY</character> <dialogue>Do n't you worry bout a thing Junior, you with Audie Murphy here, my man.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - COMPANY CP - DUSK</stage_direction> <scene_description>At the Company CP , Captain Harris is talking urgently into the radio .</scene_description> <character>HARRIS</character> <dialogue>Bravo Three Alpha! Send me a grid. Send me a grid, over!</dialogue> <scene_description>A young inexperienced VOICE screams back into the radio amid intense background FIRING filtered by radio and sounding disembodied .</scene_description> <character>RADIO VOICE</character> <dialogue>We're pinned down sir, they're in the fucking trees! The trees -</dialogue> <character>HARRIS</character> <dialogue>OK, Three Alpha, calm down now, son. I'm gon na get you a fire mission ASAP. Smoke'll be first.</dialogue> <character>RADIO VOICE</character> <parenthetical>( panic . )</parenthetical> <dialogue>Lieutenant's dead sir, radioman look dead sir, I do n't know where the map is Captain! They're all around us sir. They're moving! Hundreds of em! I can hear em talking gook! Jesus Christ!</dialogue> <character>HARRIS</character> <parenthetical>( calming him . )</parenthetical> <dialogue>. Just spot the smoke son and tell me where to shift. We'll get you out of there. Just hang tough and tell me where the rounds hit, over.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - PLATOON CP - DUSK</stage_direction> <scene_description>At the Platoon CP , Barnes stands , legs akimbo , watching the jungle , anticipating the coming fight as overhead we now hear the 155 SHELLS whistle from a 10 - mile distance - passing above them - then pounding down into the jungle in the near distance . Barnes turns , glances at Wolfe , smiles .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - COMPANY CP - DUSK</stage_direction> <scene_description>At the Company CP , Captain Harris is back on the radio .</scene_description> <character>HARRIS</character> <dialogue>Bravo Three Alpha six. How bout those rounds son? Can you adjust fire?</dialogue> <parenthetical>( waits . )</parenthetical> <dialogue>Three Alpha, if you ca n't talk, just key the handset twice over.</dialogue> <parenthetical>( waits . )</parenthetical> <dialogue /> <scene_description>Silence , then a vague MURMURING - becoming clearer and clearer . It 's in Vietnamese . The radio is then bashed in , the sound like thunder in the Captain 's ear . He looks at his RTO , both of them shocked .</scene_description> </scene> <scene> <stage_direction>EXT. NVA JUNGLE - NIGHT/DUSK</stage_direction> <scene_description>In the Jungle itself , the ENEMY is moving . Flurries of movement and sound , blurred visuals . Hands taping a piece of cloth to a tree , moving on - revealing a luminous arrow pointing left . Figures moving past it . Hands unraveling a thin wire waist - high , backwards . Hands sliding along another wire . We now see a moving helmet with a luminous plaque on the back of it , leading a file up the wire . To a Jump - off point about 50 yards outside the U.S. perimeter . Figures crouch . Whispers . Movement . A pen flashlight on a drawing of the foxhole positions . The NVA moving out in several directions at once .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHT</stage_direction> <scene_description>On their foxhole , Chris and Francis wait anxiously . Overhead the ARTILLERY keeps pounding into the ambush area . Now SMALL ARMS FIRE can be heard picking up at random spots along the perimeter . The battle , like a tide , is obviously moving closer to them .</scene_description> <character>FRANCIS</character> <dialogue>Oh shit me I wish I was back in Memphis now, oooh baby this is gon na be a motherfucker!</dialogue> <scene_description>Chris says nothing . Suddenly off to their right , about 80 yards , a BLUE FIZZLE of light erupts .</scene_description> <character>CHRIS</character> <dialogue>Trip flares! Rodriguez's hole.</dialogue> <scene_description>Rat - tat - tat - tat , rat - tat - tat . Machine gun , outgoing , followed by a sharp explosion . A ROCKET !</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>RPGs! Shit!</dialogue> <character>VOICE</character> <parenthetical>( crying . )</parenthetical> <dialogue>MEDIC! DOC! DOC!</dialogue> <scene_description>A FIGURE thrashes up through the foliage behind them .</scene_description> <character>RHAH</character> <parenthetical>( a fierce whisper . )</parenthetical> <dialogue>Taylor! Francis!</dialogue> <character>CHRIS</character> <dialogue>Over here!</dialogue> <scene_description>Rhah jumps into their hole with them , out of breath .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Rhah! What's going on. Rodriguez's hole just got.</dialogue> <character>RHAH</character> <parenthetical>( gets his breath . )</parenthetical> <dialogue>Okay, here it is - one, we got gooks in the fuckin' perimeter.</dialogue> <character>FRANCIS</character> <dialogue>Oh shit! Dat's it, dat's it.</dialogue> <character>RHAH</character> <dialogue>They got through Alpha Company! Anything behind you do n't identify itself, blow it away. Two - air strike's coming in. They gon na lay snake and nape right on the perimeter so stay tight in your holes and do n't leave'em.</dialogue> <scene_description>FLARES now shoot up over the perimeter . Reds , greens , yellows , squeaking as they float doen on their parachute hinges throughout the ensuing battle . The perimeter is illuminated at spotty intervals - sometimes arctic bright , sometimes inexplainably dark til new flares shoot up . Chris , Francis , Rhah all look up at the light , and hug their holes even tighter , feeling naked in the light . Flares cut both ways .</scene_description> <character>RHAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>they're probing us, they gon na go up and down this line all night trying to get through. Stay cool. I'll be back.</dialogue> <scene_description>Runs out of the foxhole . Chris suddenly reacting to a noise out front , gripping Francis and pointing to the sound . A BODY is thrashing towards them , about twenty - five yards , not yet visible but a little awkward and lungy in it 's movement , as if desperate . Francis , tense , is about to pop his grenade when Chris grabs him .</scene_description> <character>CHRIS</character> <dialogue>Hold it!</dialogue> <parenthetical>( loud whisper . )</parenthetical> <dialogue>WHO IS IT!</dialogue> <scene_description>But the body keeps coming , lurching now , falling .</scene_description> <character>FRANCIS</character> <dialogue>Come on man!</dialogue> <character>CHRIS</character> <dialogue>No!</dialogue> <scene_description>A POP ! - then a fizzle of BLUE LIGHT as the Figure hits their trip flare - revealing itself to be large , with no helmet , and gasping , terrified of the trip flare .</scene_description> <character>TERRIFIED SOLDIER</character> <dialogue>DO N'T SHOOT! DO N'T SHOOT!</dialogue> <character>CHRIS</character> <dialogue>It's the ambush!</dialogue> <parenthetical>( calling out . )</parenthetical> <dialogue>In here, man! Hurry.</dialogue> <scene_description>The SOLDIER now runs in like a fullback going down for the tackle , sprawling into the hole , knocking Chris and Francis down beneath him . He is sweating , terrified , a white boy with an unrecognizable , filthy face , no rifle , no helmet , his fatigues torn all over .</scene_description> <character>TERRIFIED SOLDIER</character> <dialogue>Water! Water!</dialogue> <scene_description>Chris gives him his canteen , his shoulder and neck hurting from the collision . The Soldier sucks down the canteen .</scene_description> <character>TERRIFIED SOLDIER</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( between gulps . )</parenthetical> <dialogue>They ` se all over the place, hundreds of em moving this way! They wiped us out man, we did n't have a chance! Where's the CP?</dialogue> <character>FRANCIS</character> <parenthetical>( points . )</parenthetical> <dialogue>Back there.</dialogue> <scene_description>The Soldier struggling out of the foxhole .</scene_description> <character>TERRIFIED SOLDIER</character> <dialogue>You guys get outta here! They're right on my ass and they ai n't stoppin' for shit!</dialogue> <scene_description>He tears off , leaving Francis in a state of incipient panic . He looks at Chris .</scene_description> <character>FRANCIS</character> <dialogue>Taylor, let's di - di man!</dialogue> <scene_description>Chris adjusting position , facing the front , anger in his voice .</scene_description> <character>CHRIS</character> <dialogue>You go.</dialogue> <scene_description>Francis hesitates , stays .</scene_description> </scene> <scene> <stage_direction>INT. PERIMETER #3 - BATTALION CP - NIGHT</stage_direction> <scene_description>At the Battalion CP , the Major is inside his BUNKER , busy between his radio nets .</scene_description> <character>MAJOR</character> <parenthetical>( to RTO 1 . )</parenthetical> <dialogue>Get me Bravo!</dialogue> <character>RTO 2</character> <dialogue>Charlie Company reports hand to hand on the perimeter sir. Three holes are down. They need help!</dialogue> <character>MAJOR</character> <parenthetical>( looks at his watch , to his XO . )</parenthetical> <dialogue>Okay move two squads from Alpha down there. Where's that goddamn air strike, you bet your ass if we were the First Cav they'd be here now.</dialogue> <character>RTO 1</character> <parenthetical>( handing him the transmitter . )</parenthetical> <dialogue>Bravo Six sir.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - BATTALION CP - NIGHT</stage_direction> <scene_description>Just outside the Bunker , a MASTER SERGEANT spots something in the flarelight . TWO FIGURES with helmets running towards him at an angle .</scene_description> <character>MASTER SERGEANT</character> <dialogue>Hey you boys! Which Company you.</dialogue> <scene_description>A sudden burst of FIRE cuts the Sergeant down in his tracks and the Figures fly by . Soldiers in the immediate area spot them .</scene_description> <character>SOLDIER #3</character> <dialogue>SAPPERS!</dialogue> <character>SOLDIER #4</character> <dialogue>THE BUNKER!</dialogue> <scene_description>A burst of fire . One of the RUNNING FIGURES goes down . An Explosion engulfs him .</scene_description> </scene> <scene> <stage_direction>INT. PERIMETER #3 - BATTALION CP - NIGHT</stage_direction> <scene_description>But the SECOND SAPPER runs right into the bunker in a kamikaze charge , the light from inside momentarily revealing a bulky satchel strapped on his person and the face of the astounded Major .</scene_description> <character>RTO 3</character> <dialogue>SIR!</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 BATTALION CP - NIGHT</stage_direction> <scene_description>The Bunker EXPLODES with a deafening roar .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - CHRIS' FOXHOLE - NIGHT</stage_direction> <scene_description>In their foxhole , Chris and Francis look at the curling ball of flame , stunned .</scene_description> <character>CHRIS</character> <dialogue>Oh no!</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 COMPANY CP - NIGHT</stage_direction> <scene_description>In their foxhole , Chris points .</scene_description> <character>CHRIS</character> <dialogue>There!</dialogue> <scene_description>SHAPES moving in the trees . Chris blows his claymore handles . One explosion on top of the other out front . Then return fire . Flashes from a muzzle , rak - a - tak , rak - a - tak , rak - a - tak , the heavier sound of an AK - 47 . Chris opening up with his 16 . Then being blown down by a grenade explosion at the edge of the foxhole . Then nothing . A pause . Chris ' ears ringing , slightly concussed . Suddenly from down the perimeter there is the sound of a faulty LOUDSPEAKER crackling out from the jungle . A pidgen English , the words mauled , then a snatch of patriotic North Vietnamese music , played from a scratchy old record . Chris uneasy , looking at Francis who looks terrified . The SOUND now of a whistle . Two hoots , then a sharp third . Then yelling . Chris grabbing Francis ' arm , pointing . There is a VOICE directly out to the front of them - muttering something in Vietnamese , no more than 20 yards away but unseen . It 's like hearing a casual conversation from another room , then the sounds of several bodies moving in separate directions - encompassing the foxhole .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Francis , a whisper . )</parenthetical> <dialogue>Out of the hole! Fast!</dialogue> <scene_description>Chris crawls out , stops , looks back . Francis wo n't leave , hugs the shelter .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( a fierce whisper . )</parenthetical> <dialogue>Goddamit Francis! Move your fucking ass. Now. THEY GON NA BLOW IT!</dialogue> <scene_description>Reaches in and yanks him with all his strength half out of the hole . Francis , finally sparked , now moves out . Both of them bellying it into the brush behind the hole . Not a moment too soon . An RPG ROCKET whistling in . The FOXHOLE takes a direct hit , caving in , whirls of smoke spinning off it . Chris and Francis look back covered with debris . They hear movement . SHADOWS are swarming towards the foxhole , firing into it to finish them off . Francis grabs Chris ' leg , indicating they get out of there . Chris hesitates - a moment , a decision made now in angry passion - rises up and charges the NVA . SHADOWS scatter and tumble , caught by his surprise close - range fire . Chris moving forward into them , blasting , agile , his instincts finely tuned , and totally insane in this moment of time , indifferent to his life . He YELLS insanities , pumping himself up with the adrenaline of courage .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>DIE YOU MOTHERFUCKERS! YAAAAAAAAA!</dialogue> <scene_description>Screams from the dark shadows , they fall . Chris smashing a wounded SHADOW with the butt of his gun down into the foxhole . He jumps back into it , reoccupying it . Blasting the dead gook . Opening fire out to the front , driving the Shadows back . Francis watching this , amazed . After a moment of doubt , he too tears back out to join Chris in the foxhole , unbelieving , as he jumps in with him .</scene_description> <character>FRANCIS</character> <parenthetical>( joining in the frenzy . )</parenthetical> <dialogue>YAAAAAHHHH! KILLLLL!</dialogue> <scene_description>Then stunned again to see Chris suddenly rise up out of the foxhole and charging forward into the jungle . He is now over the edge .</scene_description> <character>CHRIS</character> <parenthetical>( charging off into the jungle . )</parenthetical> <dialogue>DIE YOU MOTHERFUCKERS!</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - BUNNY'S FOXHOLE - NIGHT</stage_direction> <scene_description>In his position , Bunny is experiencing the same ` high ' as Chris , yells out at them .</scene_description> <character>BUNNY</character> <dialogue>Come on MOTHERFUCKERS, COME ON!</dialogue> <scene_description>Junior , huddled in the hole with him , speechless and terrified , looks at him with huge eyes . The guy is nuts . An incoming grenade explosion shakes the hole .</scene_description> <character>BUNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( laying out more fire . )</parenthetical> <dialogue>Come on you can do better than that!</dialogue> <character>JUNIOR</character> <dialogue>Fuck this shit! I ai n't dyin' in no white man's war! Ise didi - ing this motherfuckah!</dialogue> <scene_description>Junior freaks out , throws his rifle down and hobbles out of the hole on his damaged feet at an incredible speed .</scene_description> <character>BUNNY</character> <parenthetical>( yelling after him . )</parenthetical> <dialogue>Get back here you gutless shit.</dialogue> <scene_description>A SHAPE suddenly out of nowhere , looms up fast behind Bunny , running at him . Junior , insane now with fear , runs smack into a tree , knocked senseless and reeling to the ground . Bunny turning back too late . The crazy drug - high Shape is yelling something like :</scene_description> <character>NVA SOLDIER</character> <dialogue>Diiiiikaaeeeeeee!</dialogue> <scene_description>And jumps right into the hole blasting Bunny point - blank in the chest . Bunny struggling to consciousness at the bottom of the hole . THUCK ! A boot in the gaping hole where his chest was . Bunny , his eyes uncomprehending . A muzzle is jammed into his mouth , breaking his teeth with an ugly sound . Another yell from the NVA trooper . A flash of orange red light . Bunny 's face blown to bits . Junior , dizzy from the blow to his head , looks up . A yellow flare somewhere out there and a SHADOW above him digging a bayonet into his belly with a grunt . A long oozing sigh of belly gas . An explosion . The Shadow with the bayonet staggering blind without eyes , holding his brains with his hands . Barnes throws open the empty LAAW rocket casing he has just fired off and charges forward with a yell , cutting down another NVA in Bunny 's old foxhole . Jumping into the hole , the bottom of which is a liquid pit of guts , blood , ooze . Another Enemy running in on him . A short burst of fire . Barnes hit . Firing into each other . Barnes draggin him down into the pit with him , grappling alongside the corpse of Bunny . Barnes uses an entrenching tool to finish him off .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - PLATOON CP - NIGHT</stage_direction> <scene_description>At the Platoon CP , small arms fire is all over the place , the NVA closing the ring . Ace , in the foxhole , yells to Wolfe .</scene_description> <character>ACE</character> <dialogue>Negative contact. Ca n't raise Barnes, Two Bravo, Two Charlie, nothin'!</dialogue> <character>WOLFE</character> <dialogue>Get me Six!</dialogue> <scene_description>Nervously aiming his rifle as a man comes running towards them , staggering .</scene_description> <character>ACE</character> <dialogue>It's Doc!</dialogue> <scene_description>Doc plops down , out of breath , drained , bleeding all over his chest .</scene_description> <character>DOC</character> <dialogue>They're coming through all over! I ca n't. I ca n't do.</dialogue> <character>WOLFE</character> <dialogue>Where's Barnes!</dialogue> <character>DOC</character> <dialogue>I think he's dead. it's awful, they're all dying.</dialogue> <scene_description>Wolfe is stunned , Barnes his last crutch against the chaos . Ace handing him the handset .</scene_description> <character>ACE</character> <dialogue>Six!</dialogue> <character>CAPTAIN HARRIS' VOICE</character> <dialogue>Yeah! Send traffic or clear this goddamn net!</dialogue> <character>WOLFE</character> <dialogue>We've been overrun Captain, we're pulling back. Over!</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - COMPANY CP - NIGHT</stage_direction> <scene_description>At the Company CP , things are just as bad . A Radioman is sprawled over a smashed radio . Captain Harris is in a bunker working the radios himself , as his Radiomen fire at yelling , running FIGURES scurrying all over the inner perimeter .</scene_description> <character>HARRIS</character> <parenthetical>( furious voice . )</parenthetical> <dialogue>Bravo Two, Six! Goddamit where the hell you plannin' to pull back to! They're all over the perimeter. Be advised Lieutenant, you WILL hold in place and you will FIGHT and that means YOU, Lieutenant. Out!</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - PLATOON CP - NIGHT</stage_direction> <scene_description>At the Platoon CP , Wolfe is astounded by the message . Ace looking at him straight in the eye .</scene_description> <character>ACE</character> <dialogue>You're an asshole Lieutenant, you know that.</dialogue> <scene_description>As he abandons his radio , grabs up his 16 and moves to an adjacent position . Doc , a quiet man up to now , is treating a wounded Parker who is now hit by bullets and thrashes wildly and jerks to a stop . He is obviously dead but Doc goes on trying to finish the bandage . Suddenly he goes beserk , grabs a 16 , starts firing and yelling .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - COMPANY CP - NIGHT</stage_direction> <scene_description>At the Company CP , Harris gets on the radio with the air strike . One of the RTOs on a separate radio calls over .</scene_description> <character>RTO #5</character> <dialogue>Captain, Third Battalion Armoured's on its way with tracks ` bout 2 kliks west!</dialogue> <character>HARRIS</character> <parenthetical>( ignores it , into radio . )</parenthetical> <dialogue>Snakebite leader, Ripper Bravo Six, we're gon na need you soonest be advised I've got zips in the wire down here, over!</dialogue> <character>PILOT'S VOICE</character> <parenthetical>( distorted high frequency . )</parenthetical> <dialogue>Roger your last Bravo Six, Snakebite lead we ca n't run it any closer. We're hot to trot and packing snape and nape but we're bingo fuel. It's your call, Six actual, Over.</dialogue> <scene_description>Harris looks around . The decision made .</scene_description> <character>HARRIS</character> <dialogue>Snakebite leader, Bravo Six, for the record, it's my call. Dump everything you got left ON MY POS. I say again, I want all you're holding INSIDE the perimeter. It's a lovely war. Bravo Six Actual and Out.</dialogue> <scene_description>Pilot 's reaction . Very calm . A Farmboy twang .</scene_description> <character>PILOT'S VOICE</character> <dialogue>Roger your last Bravo Six. We copy it's your call. Get em in their holes down there. Hang tough, Bravo Six we are coming cocked for treetops. Whiskey to Echo. Snakebite Two, this is lead. Last pass on zero niner. Watch my smoke to target, expend all remaining. Follow my trace.</dialogue> <scene_description>The transmission drops out . Harris now looking up into the darkened skies . The planes in no way evident - but they 're there . And they 're coming .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - PLATOON CP - NIGHT</stage_direction> <scene_description>At the Platoon CP , the NVA are sweeping fast , crouched , using cover , yelling . Small fires are raging all over the perimeter . Ace putting out fire , is hit . The NVA are coming over his sandbags . A burst of fire . Ace goes down . Doc has cracked up , firing at anything , indifferent to his safety . One of the NVA goes down . The Doc is hit in the side , wounded , struggles , is hit again , but keeps trying to fire . He 's hit a third time - in the jugular vein . Nearby , Wolfe is firing madly at the oncoming NVA . One goes down . A second is wounded , yelling in pain . Wolfe reloading his 16 , popping up , too late . One of them is coming over the sandbags . He sees Wolfe . Wolfe sees him . In the same moment . Wolfe hesitates , frozen up . The gook unloads his AK - 47 , a magazine worth , into Lieutenant Wolfe , who crashes down , sprawled unnaturally on the jungle floor . A spasm shakes his body . Then stops . Dead . Boots run by .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - NIGHT</stage_direction> <scene_description>At his foxhole , O'Neill peeks up out of the hole . Several NVA are darting through the jungle 20 yards away , coming towards him , talking loudly to each other . He quickly slips back down in the hole , entwining himself with the approaching NVA , clinking metal . The NVA stop , glance in the hole . Something is muttered . They run out . O'Neill opens his eyes , breathes .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - BARNES' FOXHOLE - NIGHT</stage_direction> <scene_description>BARNES swings his mashed M - 16 full into the FACE of an enemy SOLDIER who screams and goes down , Barnes chopping at him with his club . His helmet is gone , his shirt ripped to shreds , his shoulder bleeding , making his last stand against the hated Gooks . Nearby HUFFMEISTER is hit in the shoulder by a running FIGURE and collapses into the bottom of the foxhole , crying out in pain . The running FIGURE runs past right into the full force of BARNES ' swinging rifle . SMACK ! He crumples . INTERCUT Chris bellies into the area , see Barnes , recognizes him , amazed . An ENEMY fires , taking Barnes high in the left thigh . A patch of skin blowing off . Barnes rigidly goes down on his left knee like a wounded horse . Holds there , staring into the Enemy , waiting for the coup de grace . A series of SHOUTS and the Enemy staggers dead as : Chris lays out a curtain of fire . A GRENADE goes off near him , blowing off his helmet . Dazed , Chris rushes forward firing from the hip - sucked into Barnes ' suicidal vacuum . He cuts down an Enemy as : Barnes , given a new lease , limps angrily forward and tackles a wounded Enemy trying to crawl away , terrified at the sight of Barnes coming after him . Barnes lets out a vivid scream . And beats the soldier mercilessly , half the stock of his M - 16 flying apart broken . Chris swivels alert on his knees . A pause . No more enemy . Turns to Barnes , his back to Chris still beating at the dead corpse .</scene_description> <character>CHRIS</character> <dialogue>Barnes!</dialogue> <scene_description>Barnes swivels instinctively off the corpse and for a petrifying moment Chris sees : A maddened scar of a face , lips specked with foam . The EYES - refracted in a red - green flare overhead - the pupils distorted into angry red points . For Chris it is no doubt the most frightening single image he has seen in his life . It will be in his nightmares forever . The essence of evil : wrath , obsession , anger , fear , hatred , permanence - he is paralyzed . Barnes smashes him full across the face with the broken stock of his M - 16 . Not even conciously , for at this point , his mind has gone over the edge and the entire world is his enemy . American or Vietnamese , it makes no difference as he strikes Chris harder and harder . Chris struggles , moans , his teeth and nose cracked . Barnes emits another chilling yell an springs like a humpback up on his good right leg , the left bent - set to deliver the killing blow , the mangled rifle pulled to its highest arc .</scene_description> <character>CHRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Nooooooooo!</dialogue> <scene_description>The PHANTOM FIGHTER JET comes now like a great white whale . One big beautiful monstrous beat of deafening sound . Its silver and white belly hurtling low over the treeline in one giant leap of sound momentarily illuminated by a flare . Then a monstrous ROAR of anger . The bomb ripping Barnes off the body of Chris and spitting Chris across the jungle floor - crashing into a tree some 30 yards away . FADE OUT</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - CHRIS' JUNGLE - DAWN</stage_direction> <scene_description>FADE BACK IN . Vague sunlight . Blurry . Chris fluttering his eyes . A sharp MOVEMENT in the bush . His eyes fight their way open . SOFT EYES are watching him from behind foliage . A soft , furry head , alert , rigidly still . Chris fights his way up to his elbow , in pain , looking at the eyes . The head turns and in one fluid move , bolts . Gone . Like the wind . A deer . A big brown deer . Or was it ? Chris will never be quite sure . But whatever it was , it was surely a sign of grace - the grace of Elias . This he knows as he feels himself for the first time alive . And in pain . His left hand torn and bleeding , shrapnel in his side , cuts on his face , dried blood caking him . Looking around his garden of eden . A messy jungle floor . Cordite fumes . Burned bush and trees . Torn sandbags . Dead NVA . Bird songs somewhere in the distance . It is the very crack of dawn , a pink - red sun casting long oblique light patterns through the trees . A holy light . Chris pushes himself to his feet , feels his weight and the pain . He walks . In the near distance , towards the LZ area , there 's the sound of Armored Personnel carriers grinding , men moving , calling out in Americanese . But Chris is alone here . He fishes up an AK - 47 from a dead NVA . Checks it , a weapon . Walks on .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - BARNES' FOXHOLE - DAY</stage_direction> <scene_description>Past scores of NVA bodies . Past the Foxhole where Bunny lays dead in the bottom , faceless . Looking over at Junior bayoneted to the ground , dead . NVA everywhere around the hole , some of them still moving , badly wounded . Chris looking around , then noticing a movement a little further out in the Jungle . Then he sees who . The uniform is shredded , the figure obviously hurt in several places -LRB- thigh , back , neck , hand -RRB- but not mortally so , now struggling to right itself , dragging its face up from a belly - down position . Streaked with dirt and blood , we see Barnes once again re - emerging from the dead . Chris steps over to him , a solemn look on his face . Barnes looks up , begs .</scene_description> <character>BARNES</character> <dialogue>Get me a Medic will ya. Go on.</dialogue> <scene_description>Chris does n't move . Barnes looks at him again , reading the intention that has crossed Chris ' mind . An expression of surprise crosses his face , then amazement , almost shock .</scene_description> <character>BARNES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck you in hell.</dialogue> <scene_description>Chris shoots him . Once . Twice . Three times . Silence . Barnes is finally dead . Chris looking at the corpse , numbed , no exultation in his expression . Just cold satisfaction and little feeling left . Behind him , the SOUND of a big machine moving . He turns . A huge Nazi flag on an antenna looms up in the bush , followed by the great belly of a turreted dragon crunching down a tree for its breakfast . A big tough GERMAN SHEPARD comes boudning at him sniffs , followed by a flak - jacketed MONSTER MAN - filthy and greasy , unshaven face , earring in his left ear , ` DEATH CORPS ' scrawled on his shirtless flak jacket and a drawing of a death 's head , he looks like a cross between a pirate and a hell 's angel . Behind him , a SECOND MONSTER MAN and the ARMORED PERSONNEL CARRIER grinding its engine , a human skull hanging from its turret .</scene_description> <character>MONSTER MAN</character> <parenthetical>( to Dog . )</parenthetical> <dialogue>Bozo! Get back here!</dialogue> <scene_description>His eyes passing on Chris like so much meat .</scene_description> <character>MONSTER MAN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Chris . )</parenthetical> <dialogue>Can you walk outta here?</dialogue> <scene_description>Chris nods . The Soldier pointing to the LZ behind him as a sign he should go that way . The other Soldier already stripping the NVA dead , as the APC grinds on into the jungle , reconnoitering . Chris walks out of the jungle , head bowed , nauseated , mixed feelings roiling him .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - FRANCIS' FOXHOLE - DAY</stage_direction> <scene_description>In another foxhole , Francis waits , the sounds of the approaching APC cutting through . He thinks about it a moment . It must be fast . It must be a hard cold decision . Now ! He pulls out his K - bar and with one last anguished hesitation , drives it into his thigh muscle . Francis yells out and collapses in his hole .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - O'NEILL'S FOXHOLE - DAY</stage_direction> <scene_description>In another foxhole , O'Neill , unscratched but covered with dirt , waits tentatively as SOLDIERS arrive at his hole . They 're a little awed by the sight of the tough - looking O'Neill emerging from his foxhole like Sgt.Rock , dozens of dead NVA littered around him .</scene_description> <character>APC SOLDIER #1</character> <dialogue>You alone Sarge?</dialogue> <character>O'NEILL</character> <dialogue>Fuck yeah. They all left me, bunch of fuckin'</dialogue> <scene_description>faggots .</scene_description> <character>APC SOLDIER #2</character> <dialogue>Man, you gon na get yoself a silver star.</dialogue> <character>O'NEILL</character> <dialogue>Fuck the silver star. You got any booze?</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - RHAH'S FOXHOLE - DAY</stage_direction> <scene_description>Rhah , alive and well , is poking around the NVA corpses with a long gnarled walking stick , looking like a crazy Johnny Appleseed with his pants rolled up on his thin hairy ankles and wearing a red bandana tied in a four - knot around his head . As one of the APC SOLDIERS carves an ear off a dead NVA , Rhah works his way through the torn bloody pocket of an NVA Troop in full rigor mortis , extracting what he thought was there - a wrapped cellophane of heroin . Rhah 's face glows with satisfaction as he tastes it , then snorts it . With a certain satisfaction of triumph over the grim circumstances .</scene_description> <character>RHAH</character> <parenthetical>( to the powder . )</parenthetical> <dialogue>Yeah, that's good shit.</dialogue> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - LZ - DAY</stage_direction> <scene_description>CHRIS is hauled out on a litter . Morphined , his eyes watching it all from somewhere deep in his brain . Passing : Groups of SOLDIERS looking like bowery bums and moving like rats through the smoke and garbage snooping for souvenirs with wheezy tired eyes and grunts of greed . Passing a bulldozed PIT with heaps of NVA BODIES in them . a BULLDOZER pushing another set of bodies in , like photos of a Nazi death camp . Nearby , two burly SOLDIERS lift a WOMAN NURSE and with a once - through build for momentum , toss the fresh body into the pit . Chris , numb , goes by .</scene_description> <character>RADIO OPERATOR</character> <parenthetical>( into radio , exhausted . )</parenthetical> <dialogue>- 37 U.S. KIA, 122 wounded and still counting. Estimate 500 Victor Charlie KIA, 22 wounded and still counting. Over.</dialogue> <character>2ND RADIO OPERATOR</character> <dialogue>Sir, a television crew's coming in with the General -</dialogue> <scene_description>CAPTAIN HARRIS does n't respond ; at this point he does n't give a shit , standing apart from the radios looking numbly at the remnants of his boys filtering by on litters . Chris intersects him now , Harris ' eyes looking blankly , then nodding sickly trying to give him encouragement . Just coming to the edge of tears , choking it back , and turning back . These are his sons who are lost . A good officer . Rodriguez , wounded , is lifted up in his litter and moved out to the waiting MEDIVAC CHOPPER , a huge red cross painted on a white square . Doc goes by on another litter , then Ace , Adams , Huffmeister , etc. . Then Francis is littered by , bandages around his leg , a big smile on his face .</scene_description> <character>FRANCIS</character> <dialogue>Hey Taylor, you okay man?</dialogue> <character>CHRIS</character> <dialogue>Yeah. How ` bout you?</dialogue> <character>FRANCIS</character> <dialogue>Jes' fine man, jes fine! Ai n't never felt better! Both of us two timers man, we're out.</dialogue> <parenthetical>( gives him a slap as he goes by . )</parenthetical> <dialogue>See you at the hospital man, we gon na get high - high yessir.</dialogue> <parenthetical>( goes off . )</parenthetical> <dialogue /> <scene_description>The Medic points to the chopper .</scene_description> <character>MEDIC</character> <parenthetical>( to Chris . )</parenthetical> <dialogue>That's your ride man, you ready?</dialogue> <character>CHRIS</character> <parenthetical>( tries a smile . )</parenthetical> <dialogue>You bet.</dialogue> <scene_description>Chris starts towards it , the Medic assisting him .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - LZ - DAY</stage_direction> <scene_description>Sgt.O ` Neill watches the loading process forlornly from the distance . Captain Harris intersects him .</scene_description> <character>HARRIS</character> <dialogue>You got Second Platoon Sergeant.</dialogue> <character>O'NEILL</character> <parenthetical>( reflexively . )</parenthetical> <dialogue>Yes sir -</dialogue> <scene_description>And as Harris moves away , O'Neill is left thinking . Finally there is a certain frustration to his actions ; he has taken such great pains to stay alive that the tuition he pays is precisely to stay in this Jungle . Inevitably his time will come - one way or another . His eyes now follow the MEDIVAC CHOPPER upwards , whatever is left of his shrunken soul yearning to go with it .</scene_description> </scene> <scene> <stage_direction>EXT/INT: PERIMETER #3 LZ CHOPPER - DAY</stage_direction> <scene_description>As the Chopper rises off the battlefield , Chris , who is sitting at the edge so that he has a full view out the open door , waves back at Rhah .</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER #3 - DAY</stage_direction> <scene_description>Rhah , at the edge of the treeline , vigorously shakes his walking stick at him , his other hand a fist , waving them , emitting his cry .</scene_description> <character>RHAH</character> <dialogue>Baaaaaaaaa!</dialogue> <scene_description>Defiance . Pride . Dig me , I 'm Rhah - and there is n't nobody like me in the world .</scene_description> </scene> <scene> <stage_direction>EXT/INT: PERIMETER #3 - LZ CHOPPER - DAY</stage_direction> <scene_description>The chopper - with its huge red cross painted on - now rising to meet God . Smashed on morphine , Chris looking out at the waving ants below . Now the trees , the skyline and the chopper is moving fast over the devestation . The jungle forever locked in his memory , Chris looks back , copious , quiet tears flowing from his eyes .</scene_description> <character>CHRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I think now, looking back, we did not fight the enemy, we fought ourselves - and the enemy was in us. The war is over for me now, but it will always be there - the rest of my days. As I am sure Elias will be - fighting with Barnes for what Rhah called possession of my soul. There are times since I have felt like the child born of those two fathers. but be that as it may, those of us who did make it have an obligation to build again, to teach to others what we know and to try with what's left of our lives to find a goodness and meaning to this life.</dialogue> <scene_description>The music surges now to its full strength as we replay bits of film with each actor 's name listed - some with silly , clowning looks , others sober , haunted . Gardner , Tex , King , Rhah , Lerner , Sanderson , Manny , Big Harold - all the boys . and then Barnes staring quietly into the camera , and lastly Elias - shirt off , bowl of grass in hand , his big , beautiful smile .</scene_description> </scene> </script>

In 1967, Chris Taylor has dropped out of college and volunteered for combat duty in Vietnam. Assigned to Bravo Company, 25th Infantry Division near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. One night his unit is set upon by a group of North Vietnamese Army (NVA) soldiers, who retreat after a brief gunfight. New recruit Gardner is killed while another soldier, Tex, is maimed by friendly fire from a grenade thrown by Sergeant "Red" O'Neill, with Taylor being mistakenly reprimanded by the ruthless Staff Sergeant Barnes. Taylor eventually gains acceptance from a tight-knit group in his unit who socialize and use drugs in a cabin clubhouse. He finds a mentor in Sergeant Elias as well as the elder King and becomes friends with Gator, Lerner and Rhah. During one patrol, a soldier named Manny is found mutilated and tied to a post while two others, Sal and Sandy, are killed by a booby-trap. As tension mounts, the platoon soon reaches a nearby village where a supply cache is discovered. Taylor finds a disabled young man and an elderly woman hiding in a spider hole. Taylor snaps, screaming and threatening the man but is shocked to see Bunny then bludgeon him to death. Using Lerner as a translator, Barnes interrogates the village chief to determine if they have been aiding the NVA. Despite the villagers' adamant denials, with Lerner also agreeing that they are telling the truth, Barnes shoots and kills the chief's wife due to her persistent arguing. Barnes then takes the child of the woman at gunpoint, threatening to shoot her if the villagers do not reveal information. Elias arrives, scolds Barnes and engages in a scuffle with him over the incident. Platoon commander Lieutenant Wolfe orders the men to leave with the villagers and burn the village. As they leave, Taylor stops a group of soldiers from raping two girls. Upon returning to base, Captain Harris warns that if he finds out that an illegal killing took place, a court-martial will be ordered, which concerns Barnes as Elias might testify against him. On their next patrol, the platoon is ambushed and pinned down in a firefight, in which numerous soldiers, including Lerner and Big Harold are wounded. Lerner is taken back to the helicopter landing area while Wolfe calls in a mortar strike on incorrect coordinates, resulting in friendly fire casualties. Elias takes Taylor, Crawford and Rhah to intercept flanking enemy troops. Barnes orders the rest of the platoon to retreat, and goes back into the jungle to find Elias' group. Barnes finds Elias and shoots him, returning to tell the others that Elias was killed by the enemy. While they are leaving, a wounded Elias emerges from the jungle, running from a group of North Vietnamese soldiers. Taylor glances over at Barnes and reads the apprehension on his face as Elias dies. At the base, Taylor attempts to talk his group into retaliation when a drunken Barnes enters the room and taunts them. Taylor attacks him but is cut near his eye as a result. The platoon is sent back into the combat area to maintain defensive positions. King is sent home and Taylor shares a foxhole with Francis. That night, an NVA assault occurs and the defensive lines are broken. Several soldiers in the platoon including Junior, Bunny and Wolfe, are killed, while O'Neill barely escapes death by hiding under a dead soldier. To make matters worse, an NVA sapper armed with explosives rushes into battalion headquarters, self-detonating and killing everyone inside. Meanwhile, Captain Harris orders his air support to expend all remaining ordnance inside his perimeter. During the chaos, Taylor encounters Barnes, but the wounded sergeant attacks him. Just before Barnes can pummel Taylor, both men are knocked unconscious by an air strike on the overrun base. Taylor regains consciousness the following morning, picks up an enemy Type 56, and finds an injured Barnes, who dares him to pull the trigger. Taylor shoots Barnes, killing him. Taylor then sits until reinforcements arrive and find him. Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been twice wounded, they can return home. Taylor encounters his and Elias' old friend Rhah one last time, apparently unscathed and returning with American Armor Cavalry, Rhah then bids them farewell with a battle cry. O'Neill, who desperately wants to go home, is given a promotion to platoon leader and is told he will remain in duty and replace Lt. Wolfe. The helicopter flies away and Taylor weeps as he stares down at multiple craters full of corpses, friend and foe alike.

Rush_2013

tt1979320

<script> <scene> <character>RUSH</character> <dialogue>By</dialogue> <scene_description>Peter Morgan December 6th, 2011</scene_description> </scene> <scene> <stage_direction>EXT. CLOUDY SKY - GERMANY - DAY</stage_direction> <scene_description>Dark clouds passing overhead. The bad weather that has hovered over the Eifel mountains, (in Germany), the past three days is on it's way out.. AN EYE FLICKERS - WIDE OPEN - STARING INTENTLY A pupil dilates and contracts in the light. The eye stares. Blinks. Thinks. Making evaluations..</scene_description> </scene> <scene> <stage_direction>EXT. CLOUDY SKY - GERMANY - DAY</stage_direction> <scene_description>The first rays of sunshine break through. The voices of international TV commentators in different languages.</scene_description> <character>COMMENTATORS</character> <dialogue>...in places the track is still dangerously wet, but following a drivers meeting the decision has been taken. The race is going ahead...</dialogue> </scene> <scene> <stage_direction>INT. FERRARI - DAY</stage_direction> <scene_description>The eye belongs to a 27 year old Formula 1 RACING DRIVER wearing a fireproof balaclava... Highly intelligent, he also happens to be World Champion. His name is painted on the side of his Ferrari. NIKI LAUDA.</scene_description> <character>NIKI (V/O)</character> <dialogue>My grandfather always said history is cruel and reductive and no matter how long we live, or how much we achieve - we are remembered for very little. So make sure it's the right things.</dialogue> <scene_description>NIKI stares up at the clouds. His eyelids flicker. Thinking. Agonizing. Wrestling with an all important decision... Is it going to carry on raining? Or become dry? Should he be using slicks or wets?</scene_description> </scene> <scene> <stage_direction>EXT. STARTING GRID - DAY</stage_direction> <scene_description>We widen to find ourselves on the starting grid of a major Grand Prix. All around us... CONTINUED: Engines scream into life as DRIVERS start their cars. An OFFICIAL walks through the cars holding aloft a sign, "One Minute"... Deafening, angry thunder as engines rev impatiently.</scene_description> <character>NIKI</character> <dialogue>This is bullshit. We have no control over our legacy. We cannot choose what we are remembered for...</dialogue> <scene_description>A Ferrari MECHANIC rushes towards NIKI, and shouts in Italian above the noise, (we see sub-titles)...</scene_description> <character>MECHANIC</character> <dialogue>Mass usa slicks. Le vuoi cambiare anche tu?</dialogue> <parenthetical>(Mass is going on slicks. You want to change?)</parenthetical> <dialogue>NIKI looks in his wing-mirror back to see a red McLaren, white helmet, number 12, several rows behind him. A team of MECHANICS hastily changing the tyres to dry tyres.</dialogue> <character>NIKI</character> <dialogue>Otherwise I wouldn't be remembered for my rivalry with this asshole. And the 1976 season.</dialogue> <scene_description>NIKI then looks over at the car in pole position beside him. Another McLaren, but with number 11, and a Union Jack...</scene_description> <character>NIKI</character> <dialogue>What about Hunt? Has he changed?</dialogue> <character>MECHANIC</character> <dialogue>No, he's going on wets.</dialogue> <scene_description>The car in pole position: JAMES HUNT, surrounded by TV crews, mechanics, girlfriends, hangers-on.. The Maclaren team is less than half the size of Ferrari's, but HUNT makes up for this with magnetism. The rock star of F1. NIKI's face: a stab of envy seeing a flash of his rival's glamorous long blonde hair disappearing into his balaclava, flirting with several hot-looking GIRLS..</scene_description> <character>NIKI</character> <dialogue>I don't know why it became such a big thing. We were just drivers. Busting each other's balls. To me this is perfectly normal. But other people saw it differently.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>NIKI</character> <dialogue>That whatever it was between us went deeper. And changed us both somehow. Forever.</dialogue> <scene_description>NIKI stares, then...</scene_description> <character>NIKI</character> <dialogue>Be, allora usiamo anche noi quells da bagnato.</dialogue> <parenthetical>(Then we go on wets, too.)</parenthetical> <dialogue>The ten-second board is held up.</dialogue> <dialogue>NIKI pulls down his visor...as he and HUNT's eyes meet for a split-second, eyes staring...</dialogue> <dialogue>NIKI selects second gear for the wet track and revs the engine. The dashboard needle climbs through 8000, 9000, 10000 RPM.</dialogue> <character>NIKI</character> <dialogue>Maybe that explains the state of mind I was in. And why it happened. The other thing I'm remembered for.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>On August 1st, that same year…</dialogue> <scene_description>CAPTION: "AUGUST 1st, 1976". The STARTER waves the flag. NIKI's foot hits the floor - his engine screams that deafening, stomach rearranging high-pitch scream, drowning out the roar of the 180,000 crowd. NIKI's car is catapaulted forward violently, the wheel-spin leaving livid black scars on the asphalt.. NIKI gets away first. A good start! But within seconds there's a McLaren car right behind him, breathing down his neck. His arch-rival. HUNT. But as the McLaren roars past, NIKI sees a white helmet. Number 12. It's not Hunt. It's MASS. On his bald, slick tyres. NIKI curses under his breath. He screwed up. Made the wrong decision. Should have gone on slicks. He urgently needs to change tyres... NIKI swerves angrily into the pits. Ferrari's pit is right at one end...</scene_description> </scene> <scene> <stage_direction>INT. PITS - DAY</stage_direction> <scene_description>Commentary from all the world's TV stations explaining the crazy, panicked situation as all the DRIVERS come into the pits to change to dry tyres. It's chaos. A traffic jam of Formula 1 cars... The Ferrari team frantically work. Changing NIKI's tyres. Four men with air guns, two men with rapid-duty jacks. The same Italian MECHANIC appears, 'plugs in' his headset to the car..</scene_description> <character>MECHANIC</character> <dialogue>Hair visto? Ti aveto detto di usare le slicks!</dialogue> <parenthetical>(See? I told you to go on slicks!!)</parenthetical> <character>NIKI</character> <dialogue>Bullshit. Where's Hunt?</dialogue> <character>MECHANIC</character> <dialogue>There!</dialogue> <scene_description>NIKI looks up to see the name JAMES HUNT written on the black helmet roar out of the pits ahead, with new tyres on...</scene_description> <character>NIKI</character> <dialogue>C'mon...!!</dialogue> <scene_description>NIKI screams at the MECHANICS, who are struggling. The airguns make a high-pitched noise...something's not right.</scene_description> <character>NIKI</character> <dialogue>What's GOING ON???</dialogue> <scene_description>"Thump", new (slick) tyres hit the tarmac, engines scream, and NIKI exit the pits in pursuit of HUNT. But the delay has cost him dear...</scene_description> </scene> <scene> <stage_direction>EXT. NUBURGRING - DAY</stage_direction> <scene_description>Archive TV commentary from the world's race COMMENTATORS stations informs us of the positions. MASS leading, HUNT in 3rd, LAUDA in 20th...</scene_description> </scene> <scene> <stage_direction>INT. NIKI'S CAR - DAY</stage_direction> <scene_description>NIKI gives it everything he's got. Tearing through the gears, trying to catch JAMES HUNT, breaking as late as he can, engine screaming. CONTINUED: He flies over the take-off hump between Pflanzgarten and Swallowtail - passes one car after another. Into 13th place now. Pulling off outrageous manoeuvres. NIKI's P.O.V: the world flies past in a blur. The steering wheel shakes. The car is right on the edge. Cannot be driven any harder. NIKI approaches the Streckenteil Adenauer-Brucke section of the course...turns left at the Bergwerk corner. Crazy speed. And tight. Too tight. A mistake... "Thump", his wheels come into contact with the kerb on the inside. NIKI tries to counter-steer, but is travelling at 155 mph. The car jerks horribly to the right.. "Crunch", hits the embankment, then "Bang", hits the barrier, and is thrown across the track.. Fire breaks out in the engine. NIKI's eyes widen in horror, with another car bearing down upon him...</scene_description> <character>NIKI</character> <dialogue>No...!</dialogue> <scene_description>The oncoming car crashes head-on into our car, "Crash", a sickening, terrifying impact. The car explodes. Seventy litres of burning high-octane gasoline, with NIKI strapped inside, unable to undo his seatbelt. Locked in a blast furnace. NIKI screams as the flames engulf him. 800 degrees temperature. Trapped inside his car. Burning smoke fills his helmet, scarring his lungs... Pandemonium: commentary in different languages as panicked TV commentators helplessly describe what's happening.. NIKI's POV: he can just make out the barely recognizable figures of the other DRIVERS rushing towards NIKI.. Their hands get burnt in the flames as they try unsuccessfully to undo NIKI's seatbelt.. Fire extinguishers blast at the car. Dry powder extinguishers. Covering NIKI's helmet. Blurring his vision, as he cries out in agony, inhaling the powder.. Screaming voices. Panicked reactions. On the side of the car, the painted name 'Niki Lauda' blisters and melts. CONTINUED: (2) Then sound fades. As NIKI blacks out - losing consciousness. FADE TO BLACK: Over this: the sound of a ringing phone...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL A&amp;E UNIT - (ACCIDENT AND EMERGENCY) - DAY</stage_direction> <scene_description>We're in a busy hospital A&amp;E unit. Noise. Crowds. A regular Saturday late afternoon. The phone continues to ring.. Finally, an attractive station NURSE in her 20's, run-off-her- feet, breathlessly picks up the phone.</scene_description> <character>NURSE</character> <dialogue>Emergency...</dialogue> <scene_description>She covers her ears, straining to hear, listening to what is being said. Then her expression changes...</scene_description> <character>NURSE</character> <dialogue>Okay...standing by!</dialogue> <scene_description>The NURSE hangs up...then calls out to her NURSE and DOCTOR colleagues...</scene_description> <character>NURSE</character> <dialogue>That was the race-track..! There's been an accident..! A driver's been injured and is on his way in..!</dialogue> <scene_description>Instantly the atmosphere changes. A hive of activity as DOCTORS and NURSES prepare themselves for a major trauma... All PATIENTS with minor injuries are cleared out of the way. The NURSE rings upstairs to the operating theatres and consultant surgeons, telling them to stand by...</scene_description> <character>CAPTION: "EIGHTY-EIGHT RACES EARLIER"</character> <dialogue>Swing doors open, and a pair of shoeless, BARE FEET walks through and into the accident and emergency unit.</dialogue> <dialogue>Camera tilts up a pair of long legs in white racing overalls...to reveal a tall, good-looking driver, JAMES HUNT, (mid 20's), tanned, athletic, surfer long blonde hair...</dialogue> <dialogue>A man about whom a word comes to mind one would rarely use to describe an Englishman. SEXY.</dialogue> <dialogue>Blood trickles from his nose, there is bruising to his lip and the formation (already) of a nasty black eye, but make no mistake. He rocks. Drop-dead gorgeous..</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>I think the racetrack telephoned ahead that I was coming? Hunt? James Hunt..?</dialogue> <scene_description>JAMES notices all the NURSES staring..</scene_description> <character>JAMES</character> <dialogue>What's the matter? No one seen a spot of blood before?</dialogue> <character>NURSE</character> <dialogue>Are you all right?</dialogue> <character>JAMES</character> <dialogue>Absolutely fine.</dialogue> </scene> <scene> <stage_direction>INT. A&amp;E UNIT - DAY</stage_direction> <scene_description>The attractive NURSE is examining JAMES, opening his overalls, checking for wounds, cuts and bruises...</scene_description> <character>NURSE</character> <dialogue>We all thought you'd been in an accident.</dialogue> <character>JAMES</character> <dialogue>I have. If you call a friendly disagreement with another driver an accident.</dialogue> <character>NURSE</character> <dialogue>What did you disagree about?</dialogue> <character>JAMES</character> <dialogue>None of your business. Ouch.</dialogue> <character>NURSE</character> <dialogue>Sorry.</dialogue> <character>JAMES</character> <dialogue>His wife.</dialogue> <character>NURSE</character> <dialogue>That's going to need a couple of stitches. It's a nasty cut.</dialogue> <character>JAMES</character> <dialogue>It was a nasty blow. Done with a bloody spanner.</dialogue> <character>NURSE</character> <dialogue>Why? What did you do?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>Nothing! Only what she begged me to do.</dialogue> <scene_description>The NURSE notices bruising on JAMES's chest...</scene_description> <character>NURSE</character> <dialogue>Which was..?</dialogue> <scene_description>She examines him, testing his ribs for fractures, his chest.. JAMES looks up. Their eyes meet..</scene_description> <character>JAMES</character> <dialogue>Be happy to show you if you like.</dialogue> </scene> <scene> <stage_direction>INT. JAMES'S APARTMENT - NIGHT</stage_direction> <scene_description>'Crash', the door flies open as JAMES and the NURSE stumble through, mid-embrace, tearing at one another's clothes... The apartment is basic. Cramped. Messy. Like that of a poor student. Ashtrays filled with half-smoked joints. Empty beer cans. A toaster. A kettle. A stereo. A cage containing two budgerigars. A mattress on the floor. Newspapers with headlines about the Dockers Strike, England's crumbling economy, Rolls Royce being bailed out by the government - subtle reminders of Britain in transition, leaving behind its strong, imperial past. JAMES and the NURSE stand against the wall, still half- dressed, but already passionately making love...</scene_description> <character>JAMES (V/O)</character> <dialogue>I have a theory why women like racing drivers. It's not because they respect what we do...driving round and round in circles. Mostly they think that's pathetic. And they're probably right..</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>It's our closeness to death.</dialogue> <scene_description>JAMES and the NURSE continue noisily, tirelessly making love in the shower...</scene_description> <character>JAMES (V/O)</character> <dialogue>The closer you are to death, the more alive you FEEL...the more alive you ARE. And they can see that in you. FEEL that in you. The way you live. Willing to risk everything.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES (V/O)</character> <dialogue>With no thought for tomorrow...as if each day is your last. It's a wonderful way to live...and the ONLY way to drive. The only way to get that tenth of a second on everyone else...</dialogue> <scene_description>The lovemaking becomes more intense...</scene_description> <character>JAMES (V/O)</character> <dialogue>To dare to be one step bolder...one step faster...</dialogue> <scene_description>JAMES is covered in perspiration, out on the edge...</scene_description> <character>JAMES (V/O)</character> <dialogue>Sure one step closer to death...</dialogue> <scene_description>JAMES and the NURSE, both screaming as they approach orgasm...</scene_description> <character>JAMES (V/O)</character> <dialogue>But one step closer to victory, too...</dialogue> <scene_description>JAMES and the NURSE both climax together...and collapse on the bed. Exhausted.</scene_description> </scene> <scene> <stage_direction>EXT. CRYSTAL PALACE RACE TRACK - DAY</stage_direction> <scene_description>A grotty old race track in South London. JAMES and the NURSE arrive at Crystal Palace race track in his battered old mini. They get out. She looks up, seeing the mechanics, the racing teams, the cars..</scene_description> <character>NURSE</character> <dialogue>I've never been to a Grand Prix before.</dialogue> <character>JAMES</character> <dialogue>You still haven't. This is Formula 3.</dialogue> <character>NURSE</character> <dialogue>What's that?</dialogue> <character>JAMES</character> <dialogue>A lower division. Where people like me mess about in the hope of finding sponsors or being talent-spotted to race in Formula 1.</dialogue> <scene_description>JAMES leads the NURSE into... THE PADDOCK - CRYSTAL PALACE - DAY The pits where JAMES introduces her to his team...</scene_description> <character>JAMES</character> <dialogue>Everyone, this is Nursie.</dialogue> <character>NURSIE</character> <parenthetical>(correcting)</parenthetical> <dialogue>Gemma...</dialogue> <character>JAMES</character> <dialogue>Nursie, this is Doc our designer...</dialogue> <character>DOC</character> <dialogue>How do you do?</dialogue> <character>JAMES</character> <dialogue>Bubbles, our chief mechanic.</dialogue> <character>BUBBLES</character> <dialogue>How do you do?</dialogue> <character>JAMES</character> <dialogue>Le Patron - Alexander, Lord Hesketh.</dialogue> <character>HESKETH</character> <dialogue>How do you do?</dialogue> <character>NURSE</character> <dialogue>Fine, thanks. Blimey...is everyone in Formula 3 this posh?</dialogue> <character>HESKETH</character> <dialogue>Glass of champagne, Nursie?</dialogue> <character>NURSE</character> <dialogue>It's Gemma. No, thanks.</dialogue> <character>HESKETH</character> <dialogue>You sure? It's Krug. Clos de Mesnil.</dialogue> <character>NURSE</character> <dialogue>It's also ten in the morning.</dialogue> <character>HESKETH</character> <dialogue>Oh, dear. Superstar? You haven't brought us a bore, have you?</dialogue> <scene_description>JAMES strips off, changing into his racing overalls.</scene_description> <character>JAMES</character> <dialogue>Trust me. Nursie's anything BUT a bore..</dialogue> <scene_description>CONTINUED: The NURSE, meanwhile, drifts over to look at the car where BUBBLES is making last minute checks...</scene_description> <character>NURSE</character> <dialogue>That's the car?</dialogue> <character>BUBBLES</character> <dialogue>That's her. The Dastle Mk 9...with the Lotus twin-cam sixteen hundred engine. She's no beauty. But goes like the clappers.</dialogue> <scene_description>An odd-looking car. A bit like a giant Go-kart, blue with yellow strips along the side and James's name in small letters. It looks small, dangerously fragile.</scene_description> <character>JAMES</character> <dialogue>Uuuurrrrrkkkkkkggghghhhh.</dialogue> <scene_description>The NURSE is shocked to hear a dreadful watery vomiting sound. She sees JAMES bent over behind the truck...</scene_description> <character>HESKETH</character> <dialogue>Nothing to be worried about! Does it before every race! Good sign, actually. Means he's stoked!</dialogue> </scene> <scene> <stage_direction>EXT. PADDOCK - SAME TIME</stage_direction> <scene_description>JAMES continues vomiting...</scene_description> <character>JAMES (V/O)</character> <dialogue>There's a lie that all drivers tell themselves. "Death is something that happens to other people." That's how you find the courage to get in the car in the first place...</dialogue> <scene_description>JAMES emerges, wiping his mouth...</scene_description> <character>HESKETH</character> <dialogue>All right, Superstar?</dialogue> <character>JAMES</character> <dialogue>Never better, Patron.</dialogue> <character>JAMES (V/O)</character> <dialogue>Because bad things only happen to others, right?</dialogue> <character>HESKETH</character> <dialogue>Have a gargle with this.</dialogue> <scene_description>CONTINUED: JAMES takes a quick swig of the champagne...gargles, then swallows, puts on his balaclava...</scene_description> <character>JAMES (V/O)</character> <dialogue>Problem is deep down you know that's a lie. That it could happen to you at any moment.</dialogue> <character>HESKETH</character> <dialogue>Quick toke of this...</dialogue> <scene_description>HESKETH passes over a joint, which JAMES inhales, taking a huge lungful from....</scene_description> <character>JAMES (V/O)</character> <dialogue>So how do you make that terror go away? Well, booze is good for that. And wacky baccy. But better than everything else is...sex.</dialogue> <scene_description>JAMES goes to the NURSE...and kisses her full on the lips, then puts on his helmet, and athletically vaults into the car. JAMES hits the ignition, and a deafening high-pitched SCREAM as the engine starts...</scene_description> <character>HESKETH</character> <dialogue>Ahhhh! What music! They could never have predicted it, those pioneers that invented the automobile that it would possess us like this, in our imaginations, our dreams. Nursie, men love women...but even more than that, men love CARS...</dialogue> </scene> <scene> <stage_direction>EXT. PADDOCK - CRYSTAL PALACE - DAY</stage_direction> <scene_description>JAMES notices another driver (NIKI LAUDA), his car already unloaded, (number 35) and mechanics working on it..</scene_description> <character>JAMES</character> <dialogue>Who's that?</dialogue> <character>DOC</character> <dialogue>He's new. Some German.</dialogue> <character>BUBBLES</character> <parenthetical>(corrects)</parenthetical> <dialogue>Austrian.</dialogue> <character>JAMES</character> <dialogue>Is there a difference?</dialogue> <scene_description>CONTINUED: JAMES looks over. On the side of the car, painted markings, in the form of a signature, "Niki Lauda".</scene_description> <character>JAMES</character> <dialogue>All bloody Goosesteppers.</dialogue> </scene> <scene> <stage_direction>EXT. RACE TRACK - CRYSTAL PALACE - DAY</stage_direction> <scene_description>JAMES is neck and neck with NIKI. They go into a corner. NIKI gets there first. Up ahead though, approaching the second bend...JAMES sees the tiniest, slimmest crack to overtake. No right-minded driver would risk it. Only a suicidal maniac. Which just happens to describe JAMES perfectly.. JAMES goes for it. Daringly. Brilliantly. And forces NIKI to slam on his brakes to prevent a certain crash...</scene_description> </scene> <scene> <stage_direction>EXT. PITS - SAME TIME</stage_direction> <scene_description>HESKETH, BUBBLES, DOC and the NURSE watch from the sidelines...</scene_description> <character>BUBBLES</character> <dialogue>That move was suicide!</dialogue> <character>HESKETH</character> <dialogue>It was also quite brilliant!! God he's got balls!!</dialogue> </scene> <scene> <stage_direction>EXT. RACE TRACK - DAY</stage_direction> <scene_description>JAMES carries on driving. Flat out. But on the flat, NIKI suddenly comes out of nowhere. As if his car has 50 bhp more. And overtakes JAMES. NIKI begins to pull away. And has the Englishman beaten.. JAMES sees red mist...and in an act of do-or-die vengeful madness, JAMES goes into a corner far too fast... ...yanks his steering wheel. And outrageously shunts NIKI's car. An unforgivable act of unsportsmanlike vindictiveness. NIKI and JAMES's cars both veer off...go into wild, lethal spins..but luckily for JAMES he ends up facing the right way... CONTINUED: ...and despite being badly shaken, dizzy, JAMES is able to change gears, and continue driving... NIKI's car, by contrast, has stalled...and now ends up facing THE WRONG WAY on the track... NIKI's eyes look up to see all the cars coming over a brow, like a herd of Wildebeest, heading towards him...</scene_description> <character>NIKI</character> <dialogue>Umgotteswillen...</dialogue> <scene_description>NIKI rips open his seat-belt, is about to get out of his car, when one car shoots straight over the nose of his car. NIKI ducks, then bravely leaps for cover, as.... "SMASH", one of the oncoming cars shunts into his car, (it would have killed him instantly). "WHAM", another car narrowly misses him... "CRASH", another car forces NIKI into an evasive dive... Cars scream past him on all sides as the race continues... NIKI, battered, shaken, has had an unbelievably close escape. He rips off his helmet, furious... And now we see NIKI LAUDA's face for the first time. Sharp- featured. Intelligent eyes. Dark hair. Protruding teeth. Something unmistakably rat-like about him.</scene_description> </scene> <scene> <stage_direction>EXT. CRYSTAL PALACE RACE TRACK - LATE AFTERNOON</stage_direction> <scene_description>JAMES is on the podium, having won. He's with the NURSE, and HESKETH and BUBBLES and his team, spraying them with champagne.. NIKI walks past the podium, holding his blue helmet, and shouts out, still incandescent...</scene_description> <character>NIKI</character> <dialogue>Hey...asshole! That was my line! I had that corner...</dialogue> <character>JAMES</character> <dialogue>You mean the one you spun out of? And finished facing the other way? I think that corner had you.</dialogue> <scene_description>Laughter. CONTINUED:</scene_description> <character>NIKI</character> <dialogue>That move was total suicide. What if I hadn't braked? We'd have crashed..!!</dialogue> <character>JAMES</character> <dialogue>But we didn't, did we? Thanks to your impeccable 'survival' instincts...</dialogue> <scene_description>JAMES makes chicken noises...</scene_description> <character>NIKI</character> <dialogue>Fuck you! What's your name?</dialogue> <character>HESKETH</character> <dialogue>James Simon Wallis Hunt. Remember it, my little Jerry friend. Because one day he will be World Champion.</dialogue> <character>JAMES</character> <dialogue>Jawohl. Remember ze name. Very simple. "Hunt". It rhymes with....</dialogue> <scene_description>"BEEEEP", a car horn hoots nearby, blocking out JAMES's c-word insult...</scene_description> <character>JAMES</character> <dialogue>...a word that happens to describe you perfectly.</dialogue> <scene_description>Laughter. NIKI gives JAMES the finger, "Screw you, asshole". The NURSE watches NIKI go..</scene_description> <character>NURSE</character> <dialogue>Who was that?</dialogue> <character>JAMES</character> <dialogue>No one. Chippy little Kraut. Bad loser. Forget him.</dialogue> <scene_description>NIKI continues to walk off, middle finger raised..</scene_description> </scene> <scene> <stage_direction>EXT. VIENNA SKYLINE - DAY</stage_direction> <scene_description>To establish: the Austrian capital. OVER THIS: the sound of NIKI's voice...</scene_description> <character>NIKI (V/O)</character> <dialogue>In my home town, Vienna, my family is famous for one thing. Business. My grandfather was a businessman, my father, too...</dialogue> </scene> <scene> <stage_direction>INT. NIKI'S APARTMENT - DAY</stage_direction> <scene_description>NIKI is in front of a mirror, and dresses smartly in a jacket, and open necked shirt, evidently a little nervous...</scene_description> <character>NIKI (V/O)</character> <dialogue>So when they heard I wanted to race cars for a living, they had a few things to say...</dialogue> </scene> <scene> <stage_direction>INT. LAUDA GRANDFATHER HOUSE - NIGHT</stage_direction> <scene_description>A large, forbidding dining room. NIKI's FATHER and terrifying GRANDFATHER, are eating supper. GRANDFATHER shakes his head, clearly disapproves and barks in German...(we see subtitles)</scene_description> <character>GRANDFATHER</character> <dialogue>Never! Racing is for playboys and dilettantes. Frivolous amateurs with nothing in their heads. The name 'Lauda' appears on the front pages, with politicians and economists, not on the back pages with...</dialogue> <parenthetical>(gestures in contempt)</parenthetical> <dialogue>...footballers and skiers. If you want my money, you do as I say and follow me into my business..</dialogue> <scene_description>NIKI stares at his GRANDFATHER..</scene_description> <character>NIKI (V/O)</character> <dialogue>It's in moments like this that you discover who you really are..</dialogue> <scene_description>...and in a move that he knows will rupture the family for ever, NIKI gets to his feet..</scene_description> <character>NIKI</character> <dialogue>Fine. Keep your money. Don't invest in me. But when I'm World Champion, and I have the trophy, and my name is not just on the back pages, but on the front too, you will regret it.</dialogue> <scene_description>NIKI walks out, the old man's insults ringing in his ears...</scene_description> <character>GRANDFATHER</character> <dialogue>You dare sit at my table and lecture me on what I will or won't regret? Get out! Impertinent wretch! Consider yourself disowned!</dialogue> </scene> <scene> <stage_direction>INT. RAIFEISENKASSE - BANK - DAY</stage_direction> <scene_description>NIKI is in a meeting with visibly concerned BANKERS and LAWYERS. They speak in German...</scene_description> <character>BANKER</character> <dialogue>Another loan? Herr Lauda, you still haven't repaid the other...</dialogue> <character>BANKER 2</character> <dialogue>Three..</dialogue> <character>BANKER</character> <dialogue>Totalling millions of Schillings. Plus your Grandfather called to inform us he will no longer be offering security.</dialogue> <character>NIKI</character> <dialogue>I know. There is no room for failure. I understand that.</dialogue> <character>NIKI (V/O)</character> <dialogue>But I was still a Lauda...</dialogue> </scene> <scene> <stage_direction>INT. NIKI'S CAR/ ROAD TO VIENNA AIRPORT - DAY</stage_direction> <scene_description>NIKI is driving his car. Beside him, is the attache case on his lap. His car passes under a motorway sign reading "Flughafen". (Airport)...</scene_description> <character>NIKI (V/O)</character> <dialogue>...which meant I was still a businessman above everything else.</dialogue> </scene> <scene> <stage_direction>EXT. VIENNA AIRPORT - DAY</stage_direction> <scene_description>A private jet. A balding, blazered Englishman in late middle- age (LOUIS STANLEY), owner of BRM racing, disembarks onto the tarmac...</scene_description> <character>NIKI (V/O)</character> <dialogue>It just so happens that the business I deal in is speed.</dialogue> </scene> <scene> <stage_direction>INT. VIENNA AIRPORT - CAFE</stage_direction> <scene_description>NIKI sits with LOUIS STANLEY in an airport cafe. Contracts are open on the table. NIKI is signing. LOUIS STANLEY is counter-signing... CONTINUED:</scene_description> <character>STANLEY</character> <dialogue>In return for your money you get a car, mechanics and a place on the team. Plus fifty per cent of starting fees and bonuses for podium finishes.</dialogue> <character>NIKI</character> <dialogue>Who's the number one driver?</dialogue> <character>STANLEY</character> <dialogue>Clay Regazzoni and you will defer to him at all times.</dialogue> <scene_description>NIKI takes out his cheque book and pen. He looks up...</scene_description> <character>NIKI</character> <dialogue>Why would I defer to him if I am paying his wages?</dialogue> <scene_description>NIKI writes the cheque. STANLEY's smile fades..</scene_description> <character>STANLEY</character> <dialogue>Because he's a proven winner at the highest level, a good guy, and someone who quite frankly, could teach you a thing or two.</dialogue> <scene_description>NIKI ignores this, continues scrutinizing the contract...</scene_description> <character>NIKI</character> <dialogue>OK. There is one clause missing.</dialogue> <character>STANLEY</character> <dialogue>The one about mechanics' exclusivity? Sorry. We have a cardinal rule at BRM. All information is shared between ALL our drivers..</dialogue> <character>NIKI</character> <dialogue>And I made it perfectly clear that my mechanics work for me. No one else. This is something I cannot sign.</dialogue> <scene_description>NIKI takes back the cheque. STANLEY stares...</scene_description> <character>STANLEY</character> <dialogue>All right. I'll have the lawyers amend it.</dialogue> <character>NIKI</character> <dialogue>While you're at it you can tell them to amend the clause for podium finishes. Podium is first THREE places, not just wins.</dialogue> <scene_description>CONTINUED: (2) NIKI puts the cheque in his attache case. Snaps it shut, taking it with him..</scene_description> <character>NIKI</character> <dialogue>You'll get the money on signature, as agreed. See you at winter testing.</dialogue> <scene_description>NIKI gets to his feet, and leaves. STANLEY watches the attache case disappear.</scene_description> <character>STANLEY</character> <dialogue>If that little git drives half as well as he negotiates, we're going to be fine.</dialogue> <scene_description>CUT TO: OMITTED</scene_description> </scene> <scene> <stage_direction>INT. AWARD CEREMONY - NIGHT</stage_direction> <scene_description>An awards ceremony is in progress. The room is thick with cigar and cigarette smoke. A presenter on stage, wearing black tie...</scene_description> <character>PRESENTER</character> <dialogue>I'm delighted to say the winner of the British Guild of Motoring Writers award for the 'Most Promising Driver of the Year' is James Hunt...</dialogue> <scene_description>A loud, boisterous cheer goes up at the Hesketh Racing table. JAMES turns to a (new/different) girlfriend beside him, gives her a lingering kiss on the lips, then gets to his feet, shakes hands with HESKETH, and BUBBLES and skips up to the podium...</scene_description> <character>JAMES</character> <dialogue>Thank you. My parents always wanted me to be a doctor, or stockbroker, and gave me a first class education...but to no avail. My brothers are the success stories. I get bored easily. I have a hot head, an inability to tolerate discipline. I fall out with people left and right. I'm quick to settle matters with my fists. The only creatures I've ever loved and treated well, are budgerigars. In any normal area of life, I'd be...or AM...a total liability. All I've got going for me is I'm quick in a car.</dialogue> <scene_description>CONTINUED: A good-looking woman calls out..</scene_description> <character>WOMAN</character> <dialogue>That's not all!</dialogue> <scene_description>Laughter.</scene_description> <character>JAMES</character> <dialogue>So thank you for acknowledging that. And giving me this...</dialogue> <parenthetical>(indicating trophy)</parenthetical> <dialogue>I'm going to give it to my Dad, and tell him to put it on the mantle-piece and imagine it's a first class degree in medicine.</dialogue> </scene> <scene> <stage_direction>INT. AWARDS CEREMONY - LATER</stage_direction> <scene_description>Afterwards: everyone is celebrating. Thanks to JAMES, every pretty woman in the club is around. The trophy is perched beside bottles of champagne...</scene_description> <character>HESKETH</character> <dialogue>Well done, Superstar. One more season in F2 then I'll move you up. To the big time.</dialogue> <character>JAMES</character> <dialogue>You don't think I'm ready now?</dialogue> <character>HESKETH</character> <dialogue>You are! I'm not! I've got to find you a car first. And the money. The economics of Formula 1 are terrifying.</dialogue> <character>BUBBLES</character> <dialogue>Hurry up. You don't want him to do what Lauda did.</dialogue> <scene_description>'Pop', HESKETH opens a bottle of champagne...</scene_description> <character>BUBBLES</character> <dialogue>The Goosestepper. Remember him?</dialogue> <scene_description>JAMES makes the chicken noises again..</scene_description> <character>BUBBLES</character> <dialogue>Said he no longer wanted to risk his life with "a bunch of crazy amateurs and losers..."</dialogue> <character>JAMES</character> <dialogue>Is that what he called us?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DOC</character> <dialogue>Charming!</dialogue> <character>HESKETH</character> <dialogue>Nothing wrong with being an amateur!</dialogue> <character>BUBBLES</character> <dialogue>Said if he was going to risk his life, he would only do so on the big roulette table. Formula 1. So he got himself a drive with BRM.</dialogue> <character>JAMES</character> <dialogue>What? How? He never won a thing! Not a single bloody race.</dialogue> <character>HESKETH</character> <dialogue>Amateurs are what made this country great.</dialogue> <character>BUBBLES</character> <dialogue>Took out a loan, apparently. Paid for it himself.</dialogue> <character>HESKETH</character> <dialogue>"In war, as in lovemaking, amateurs are invariably better than professionals." Napoleon Bonaparte.</dialogue> <character>BUBBLES</character> <dialogue>A hundred and fifty grand!</dialogue> <character>JAMES</character> <dialogue>A hundred and fifty grand?</dialogue> <scene_description>JAMES stares. Already sick with envy.</scene_description> <character>JAMES</character> <dialogue>That's either an act of utter lunacy, or the ballsiest thing I ever heard.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT/EXT. RECEPTION PAUL RICARD CIRCUIT - FRANCE - DAY</stage_direction> <scene_description>The PAUL RICARD circuit near Marseilles in the South of France. Where all winter training and testing is done. NIKI arrives. An attractive woman (AGNES) greets him...</scene_description> <character>NIKI</character> <dialogue>Niki Lauda. Here for pre-season testing. BRM?</dialogue> <scene_description>CONTINUED:</scene_description> <character>AGNES</character> <dialogue>Take a seat, please. I'll get someone to come and collect you...</dialogue> <scene_description>NIKI watches as she telephones the BRM workshops...</scene_description> <character>AGNES</character> <dialogue>Hi. There's someone here for you?</dialogue> <character>NIKI</character> <parenthetical>(prompting)</parenthetical> <dialogue>Lauda.</dialogue> <character>AGNES</character> <parenthetical>(misunderstanding, speaking louder)</parenthetical> <scene_description>SOMEONE HERE TO SEE YOU.: She hangs up. NIKI decides against pointing out her mistake.</scene_description> <character>AGNES</character> <dialogue>They'll be right here.</dialogue> <character>NIKI</character> <dialogue>Thank you.</dialogue> <scene_description>A silence. The RECEPTIONIST continues with her work. NIKI watches her, unsure what to say, (small-talk not his forte)...</scene_description> <character>NIKI</character> <dialogue>Worked here long?</dialogue> <character>AGNES</character> <dialogue>Excuse me?</dialogue> <character>NIKI</character> <dialogue>Just wondered if you've worked here long?</dialogue> <character>AGNES</character> <dialogue>Almost eight years.</dialogue> <character>NIKI</character> <dialogue>That long? And they didn't promote you yet?</dialogue> <character>AGNES</character> <dialogue>Yes, several times. I am the AGNES. Agnes Bonnet. If you're looking for the receptionist, she's on her lunch.</dialogue> <scene_description>NIKI is thrown. Feels humiliated. A total jerk. He is about to say something when the door opens, and... Two other F1 DRIVERS walk in.. CONTINUED: (2) Glamorous, long-haired, tanned, fashionable - like rock stars, they talk effortlessly and flirt confidently with AGNES. What are you doing answering the phones? New haircut! Like it. What have you done to the weather? They make her laugh. And smile. NIKI feels invisible. Embarrassed. Awkward. Inadequate. He gets to his feet. And goes to the car that has come to collect him. As he goes, (unseen by NIKI), AGNES watches him. Ignoring the other DRIVERS. Intrigued. He's different. Interesting. Intense. Intelligent eyes.</scene_description> </scene> <scene> <stage_direction>EXT. BRM WORKSHOPS - DAY</stage_direction> <scene_description>The car pulls up outside the workshops. NIKI gets out of the car, and is greeted by LOUIS STANLEY, and the BRM team...</scene_description> <character>STANLEY</character> <dialogue>Niki, let me introduce you to our number 1 driver, Clay Regazzoni..and our number 2, Jean Pierre Beltoise..</dialogue> <scene_description>The intimidating, muscular, moustachioed figure of CLAY REGAZZONI, the Swiss driver. NIKI and CLAY shake hands.</scene_description> <character>STANLEY</character> <dialogue>And these are your mechanics, reporting exclusively to you. As per contract...</dialogue> <scene_description>REGAZZONI, BELTOISE and STANLEY exchange looks as NIKI shakes hands, ad-libbed greetings with his MECHANICS.</scene_description> <character>MECHANIC</character> <dialogue>You want to see the car?</dialogue> </scene> <scene> <stage_direction>INT/EXT. BRM WORKSHOPS - DAY</stage_direction> <scene_description>NIKI is led into the workshop to see a red and white Marlboro sponsored car, number 21, with a tall air-intake duct just above the driver's helmet...</scene_description> <character>MECHANIC</character> <dialogue>There she is. The P160..</dialogue> <character>NIKI</character> <dialogue>Same as Regazzoni's?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MECHANIC</character> <dialogue>Identical in every detail.</dialogue> <scene_description>NIKI scrutinizes the car...</scene_description> <character>NIKI</character> <dialogue>She looks heavy. How much does she weigh?</dialogue> <character>MECHANIC</character> <dialogue>540 kilos.</dialogue> <character>NIKI</character> <dialogue>That's crazy. Why so heavy..?</dialogue> <character>MECHANIC</character> <dialogue>It's a 3 litre, V12 engine, that thing weighs 190k alone.</dialogue> <character>NIKI</character> <dialogue>What horsepower are you getting out of it?</dialogue> <character>NIKI</character> <dialogue>Not enough. Needs to be 500 and the engine needs to be 20k lighter.</dialogue> <character>MECHANIC</character> <dialogue>We already tried...</dialogue> <character>NIKI</character> <dialogue>Did you use magnesium parts?</dialogue> <scene_description>The MECHANICS look at one another skeptically...</scene_description> </scene> <scene> <stage_direction>INT. BRM WORKSHOPS - NIGHT</stage_direction> <scene_description>Shooting from above: The entire car has been stripped to a thousand pieces. Now spread all over the workshop floor. NIKI's team of mechanics reluctantly work through the night making the adjustments which NIKI is suggesting...</scene_description> <character>NIKI</character> <dialogue>Any solid plate, strip it out...</dialogue> <scene_description>More disbelieving, skeptical looks. The car is in pieces on the floor. NIKI brews coffee to keep people alert. Focused. CONTINUED:</scene_description> <character>NIKI</character> <dialogue>And when we've done that, we need to look at the aerodynamics. Front and rear wing..</dialogue> <scene_description>More mutinous looks. "Who is this asshole?"</scene_description> </scene> <scene> <stage_direction>EXT. BRM WORKSHOPS - FIRST LIGHT</stage_direction> <scene_description>Daylight breaks over the race-track. The doors to the workshop open, and the MECHANICS and NIKI emerge - their work done. NIKI goes to shake hands with the MECHANICS...</scene_description> <character>NIKI</character> <dialogue>OK. Thank you. Good night..</dialogue> <scene_description>But they're exhausted. Refuse to shake hands with this nut.</scene_description> </scene> <scene> <stage_direction>EXT. PAUL RICARD CIRCUIT - DAY</stage_direction> <scene_description>LATER: one of the BRM cars screams round the race-track... NIKI watches on the sidelines as CLAY REGAZZONI is time- testing his car. He walks over to where LOUIS STANLEY and several MECHANICS are doing the timings...</scene_description> <character>NIKI</character> <dialogue>What was his time?</dialogue> <character>STANLEY</character> <dialogue>Two minutes six seconds.</dialogue> <character>NIKI</character> <dialogue>OK. Now put him in my car, and he'll go round under two minutes.</dialogue> <character>STANLEY</character> <dialogue>Six seconds faster? Impossible.</dialogue> <scene_description>NIKI looks up to see AGNES, the attractive TRACK MANAGER again on the other side of the track. NIKI waves hi. AGNES waves back. Smiles. NIKI raises his eyebrow. Surprised.</scene_description> </scene> <scene> <stage_direction>EXT. PAUL RICARD CIRCUIT - DAY</stage_direction> <scene_description>REGAZZONI gets into NIKI's car.</scene_description> </scene> <scene> <stage_direction>EXT. PAUL RICARD CIRCUIT - DAY</stage_direction> <scene_description>REGAZZONI races round the track at full speed. REGAZZONI roars past the finishing line in NIKI's car. LOUIS STANLEY looks at the stop watch.. His expression changes.</scene_description> </scene> <scene> <stage_direction>INT. PAUL RICARD CIRCUIT - DAY</stage_direction> <scene_description>STANLEY comes into the workshop where NIKI and his MECHANICS are in conversation, getting changed...</scene_description> <character>STANLEY</character> <dialogue>All right. What did you do to the car?</dialogue> <character>NIKI</character> <dialogue>That's information I will share with you under certain conditions only.</dialogue> <scene_description>STANLEY stares, bracing himself..</scene_description> <character>STANLEY</character> <dialogue>Go on...</dialogue> <character>NIKI</character> <dialogue>A guaranteed place in the team, and a paid contract on equal terms with Regazzoni for two years.</dialogue> <character>STANLEY</character> <dialogue>Are you crazy? Clay's a senior figure in Formula One...you're a rookie. The only reason we took you ON was because you were paying us.</dialogue> <character>NIKI</character> <dialogue>Well, as of now, if you want me to stay, we rip up the contract. I don't pay you a cent.</dialogue> <character>STANLEY</character> <dialogue>It's outrageous.</dialogue> <character>NIKI</character> <dialogue>Was he quicker in my car? He was, wasn't he?</dialogue> <scene_description>STANLEY stares...</scene_description> <character>NIKI</character> <dialogue>Did he go under two minutes?</dialogue> <scene_description>CONTINUED:</scene_description> <character>STANLEY</character> <parenthetical>(quiet)</parenthetical> <dialogue>One fifty-six.</dialogue> <character>NIKI</character> <dialogue>So have a think, work out your priorities, and get back to me.</dialogue> <scene_description>NIKI turns, and goes. STANLEY stares...</scene_description> <character>STANLEY</character> <dialogue>Not even my WIFE speaks to me like that.</dialogue> </scene> <scene> <stage_direction>EXT. PAUL RICARD CIRCUIT - DAY</stage_direction> <scene_description>CLAY REGAZZONI emerges from testing his car. Still amazed by the improved performance. Talking to his MECHANICS. In awe. He removes his helmet, then stops. In the distance he sees NIKI talking to AGNES the attractive TRACK MANAGER. They are clearly hitting it off..</scene_description> </scene> <scene> <stage_direction>INT. PAUL RICARD CIRCUIT - WORKSHOPS - LOCKER-ROOM - DAY</stage_direction> <scene_description>NIKI is in the showers, then getting changed for his date with AGNES. He is about to go, when he stops, and sees... CLAY REGAZZONI getting undressed, looking at NIKI. CLAY speaks English with an Italian accent..</scene_description> <character>REGAZZONI</character> <dialogue>I know what you're going to say. That it's none of my business...</dialogue> <character>NIKI</character> <dialogue>What?</dialogue> <character>REGAZZONI</character> <dialogue>If it's the Track Manager you're taking on your date tonight?</dialogue> <scene_description>NIKI immediately becomes defensive...</scene_description> <character>NIKI</character> <dialogue>It's none of your business.</dialogue> <character>REGAZZONI</character> <dialogue>Okay, but if you want my advice...I'd let this one go. I'm not questioning your taste. She's a great girl.</dialogue> <scene_description>CONTINUED:</scene_description> <character>REGAZZONI</character> <dialogue>But Agnes's last boyfriend was a British Formula 2 driver, who has a reputation for two things. For being a suicidal jerk on the track, and for going all night, and all day afterwards...and all night again in bed. He's an OK driver, but an IMMORTAL fuck, apparently. I don't know about you, but that's not an act I'd like to follow.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>But if that doesn't bother you...</dialogue> <character>NIKI</character> <dialogue>What's his name? The driver?</dialogue> <character>REGAZZONI</character> <dialogue>Hunt. James Hunt.</dialogue> <scene_description>NIKI stares. Can hardly believe it.</scene_description> <character>REGAZZONI</character> <dialogue>See? You share information, I share information.</dialogue> <scene_description>CLAY slaps NIKI on his back, and goes into the showers..</scene_description> <character>REGAZZONI</character> <dialogue>That's what team-mates are for.</dialogue> <character>NIKI</character> <parenthetical>(quiet/defeated)</parenthetical> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - NIGHT</stage_direction> <scene_description>A restaurant in Marseilles. Through the window we can see AGNES, the attractive TRACK MANAGER sitting at a table alone. Waiting for NIKI. Reverse angle to reveal:</scene_description> </scene> <scene> <stage_direction>INT. NIKI'S CAR/ MARSEILLES STREET - SAME TIME</stage_direction> <scene_description>NIKI is sitting in a car across the street. He stares at AGNES in the restaurant. Then starts his car, and drives off. FADE TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. EASTON NESTON - HESKETH RACING HQ - DAY</stage_direction> <scene_description>Easton Neston. Set in 3,300 acres, one of England's great country houses. Home to the Fermor-Hesketh family since 1700. JAMES and a new GIRLFRIEND drive up the gravel drive in his anything but grandiose Mini. It splutters to a stop, just in time. They are greeted by uniformed STAFF who take his tatty bags from his filthy car.</scene_description> </scene> <scene> <stage_direction>INT. HESKETH RACING WORKSHOPS - EASTON NESTON - DAY</stage_direction> <scene_description>The Hesketh Racing workshops, situated in the converted stables on the estate. HESKETH leads a blindfolded JAMES in...</scene_description> <character>HESKETH</character> <dialogue>Keep them closed...! Wait for it, wait for it...</dialogue> <scene_description>HESKETH removes JAMES's blindfold...</scene_description> <character>HESKETH</character> <dialogue>There! What do you say?</dialogue> <scene_description>JAMES opens his eyes to see a gorgeous F1 racing car, plain white, no stickers...</scene_description> <character>HESKETH</character> <dialogue>Isn't she a beauty? The March 731. Converted by the brilliant Doc..!</dialogue> <scene_description>DOC POSTLETHWAITE takes a modest bow. JAMES shakes hands with everyone, including his brother, (and manager), PETER..</scene_description> <character>JAMES</character> <dialogue>She is a beauty. But...haven't you made a mistake?</dialogue> <character>HESKETH</character> <dialogue>What?</dialogue> <character>JAMES</character> <dialogue>That's not a Formula 2 car. She's F1.</dialogue> <character>HESKETH</character> <dialogue>She is, Superstar. Why? Because I got together with the beancounters, and it turns out that the economics of F1 are not so significantly different to the economics of Formula 2...</dialogue> <scene_description>BUBBLES clears his throat, dutifully bites his tongue.. CONTINUED:</scene_description> <character>HESKETH</character> <dialogue>So we thought if we were going to be messing about losing money we might as well be doing it with the big boys.</dialogue> <character>JAMES</character> <dialogue>Are you serious?</dialogue> <character>HESKETH</character> <dialogue>Never been more serious in my life!</dialogue> <scene_description>JAMES embraces HESKETH in excitement, kisses him...</scene_description> <character>HESKETH</character> <dialogue>Actually, I got the idea after what you said about the Austrian chap who bought his way in rather than waste his time in the lower divisions. I thought, "Bloody hell, he's right!"</dialogue> <scene_description>JAMES slips into the cockpit...</scene_description> <character>JAMES</character> <dialogue>Well done the Goosestepper!!</dialogue> <character>HESKETH</character> <parenthetical>(indicates car)</parenthetical> <dialogue>No sponsorship, Superstar! I hope you approve.</dialogue> <character>JAMES</character> <dialogue>I do, Patron.</dialogue> <character>HESKETH</character> <dialogue>No vulgar logos for cigarettes, or condoms. Just plain white. With the Union Jack. And racing overalls which read...</dialogue> <scene_description>HESKETH indicates JAMES's hanging racing overalls...</scene_description> <character>HESKETH</character> <dialogue>"Sex. Breakfast of Champions." Unless it's me, of course, in which case it's two kippers, porridge, boiled eggs, and half a dozen slices of toast...</dialogue> <scene_description>Laughter.</scene_description> <character>JAMES</character> <dialogue>So when do we start?</dialogue> <character>HESKETH</character> <dialogue>Soon as you're ready.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAMES</character> <dialogue>I'm ready now.</dialogue> <character>HESKETH</character> <dialogue>That's my boy!</dialogue> <scene_description>HESKETH pops champagne...</scene_description> <character>HESKETH</character> <dialogue>They won't know what's hit them!</dialogue> </scene> <scene> <stage_direction>EXT. SPANISH GP - RACE TRACK -27 APRIL 1975- DAY</stage_direction> <scene_description>To establish: a Formula 1 race track on Grand Prix week-end.. A helicopter comes in to land. The Hesketh Racing Team makes a grand entrance with a retinue of BUTLERS, GIRLS, ROLLS' ROYCE's, oysters, champagne... A famous ex-champion TV REPORTER is there (Stirling Moss) providing skeptical commentary about Hesketh's debut...</scene_description> <character>STIRLING MOSS</character> <dialogue>...hard to tell whether Lord Hesketh and his team of upper class enthusiasts is bringing glamour to the racing community, or just comedy...</dialogue> <scene_description>They walk around in their own branded clothing. Alexander's jacket reads, "Le Patron". He speaks to MOSS. Rolled eyes among other racing teams who express surprise, curiosity (and frequently disapproval) at these new arrivals..</scene_description> <character>STIRLING MOSS</character> <dialogue>It's certainly the first time I can remember seeing a butler serving caviar and oysters in the pits...</dialogue> <scene_description>Suddenly pandemonium breaks out. Screams. Something has happened. A bad accident on the track. During testing...</scene_description> <character>STIRLING MOSS</character> <parenthetical>(holding ear-piece)</parenthetical> <dialogue>...reports are reaching me of a serious accident that has just taken place in qualifying....</dialogue> <scene_description>All smiles fade. The party atmosphere changes in a flash. Panic breaks out. The sound of sirens. Ambulances rushing to the scene of the accident. All the JOURNALISTS and TV CREWS rush off, too. CONTINUED: HESKETH, BUBBLES and JAMES look at one another, put down their champagne glasses, and follow...</scene_description> </scene> <scene> <stage_direction>EXT. RACE TRACK - SPAIN - DAY</stage_direction> <scene_description>Mangled wreckage. A car has crashed into (badly installed) Armco guard rails, splitting the railing in two... The DRIVER has been decapitated. His helmeted HEAD lies cleanly severed on the ground... A goldfish-bowl of blood. It's a horrific accident. People SCREAM and look away. Even hardened medical professionals... JAMES, HESKETH, BUBBLES arrive on the scene of the accident. But they are kept away, at a distance...</scene_description> <character>STIRLING MOSS</character> <dialogue>...it seems the driver...just twenty- six years old....was killed on impact...and the death toll in Formula 1 shows no sign of slowing down...</dialogue> </scene> <scene> <stage_direction>INT. HESKETH PITS - SPANISH GRAND PRIX - DAY</stage_direction> <scene_description>JAMES, dressed in his overalls, is violently retching. Sick with nerves. A TV plays in the pits...</scene_description> <character>COMMENTATOR</character> <dialogue>...in the last five years alone Formula 1 has lost Piers Courage, Jo Siffert, Peter Revson, Jochen Rindt, Francois Cevert, Roger Williamson...</dialogue> <scene_description>ON TV: quickfire clips of the terrible, violent deaths. BUBBLES hastily switches off the TV as JAMES walks past...</scene_description> </scene> <scene> <stage_direction>EXT. PADDOCK - DAY</stage_direction> <scene_description>JAMES walks out of the paddock, towards his car. Other DRIVERS gathered in concerned groups, talking...</scene_description> <character>DRIVER (O.S.)</character> <dialogue>It's terrible.</dialogue> <character>JAMES</character> <dialogue>They should cancel the race.</dialogue> <scene_description>Then, a distinctive Austrian accent.. CONTINUED:</scene_description> <character>NIKI</character> <dialogue>Why? No one came to see him anyway. He made a mistake. Went into the corner too fast.</dialogue> <character>JAMES</character> <dialogue>Is that right? So says the nobody who had to pay for his own drive. How's that working out, by the way?</dialogue> <character>NIKI</character> <dialogue>Fine. How's it at the back?</dialogue> <character>JAMES</character> <dialogue>Not planning on being there for long.</dialogue> <character>NIKI</character> <dialogue>Good. Look forward to you showing me the way today.</dialogue> <character>JAMES</character> <dialogue>'Be happy to. I'll have you inside lap one.</dialogue> <character>NIKI</character> <dialogue>Yeah right.</dialogue> <scene_description>JAMES walks off to his car, shaking his head..</scene_description> <character>JAMES</character> <dialogue>Asshole.</dialogue> <scene_description>NIKI walks to his car, putting on his helmet.</scene_description> <character>NIKI</character> <dialogue>Asshole.</dialogue> <scene_description>OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED CONTINUED: (2) OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH GRAND PRIX PADDOCK/ PODIUM - DAY</stage_direction> <scene_description>NIKI is on the podium, spraying champagne. He is wearing the victor's garland... Meanwhile: JAMES's car is embarrassingly being brought back by a tow-truck. NIKI watches from the podium.. His eyes meet JAMES's..</scene_description> </scene> <scene> <stage_direction>INT. BAR - HOTEL - NIGHT</stage_direction> <scene_description>JAMES and BUBBLES and PETER HUNT (JAMES's blazer-wearing manager and elder brother), sit together at a table in the corner. It's late. A frank post-mortem. Drinking and talking..</scene_description> <character>JAMES</character> <dialogue>Niki humiliated me today. He lapped me three times.</dialogue> <character>BUBBLES</character> <dialogue>He lapped Carlos Pace six times.</dialogue> <character>JAMES</character> <dialogue>That's supposed to console me? What do I need to do?</dialogue> <character>PETER</character> <dialogue>Grow up.</dialogue> <character>JAMES</character> <dialogue>Shut up, Moneyman. 'Didn't ask you..</dialogue> <character>BUBBLES</character> <dialogue>Your brother's right. You've got to change your attitude. We all do. And match it with a whole different mental approach. Professionalism. Maturity. Like Niki.</dialogue> <character>PETER</character> <dialogue>Bet he doesn't go out every night, drink and screw himself stupid.</dialogue> <character>JAMES</character> <dialogue>So speaks the jealous married man..</dialogue> <character>PETER</character> <dialogue>No. So speaks the manager who's wasting his time, making ten per cent of absolutely nothing.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BUBBLES</character> <dialogue>You've just got to take it more seriously. Yourself more seriously.</dialogue> <character>PETER</character> <dialogue>Something he's never done.</dialogue> <character>JAMES</character> <dialogue>Don't patronize me, Pete...</dialogue> <character>BUBBLES</character> <dialogue>We need you to spend less time in bars and nightclubs...</dialogue> <character>PETER</character> <dialogue>Make that NO time...</dialogue> <character>BUBBLES</character> <dialogue>And more time with the mechanics, setting up the car. That's what Lauda does. 24 hours a day.</dialogue> <scene_description>JAMES rolls his eyes...</scene_description> <character>BUBBLES</character> <dialogue>God knows there's nothing wrong with your talent. Or courage. It's purely a character issue right now.</dialogue> <character>JAMES</character> <dialogue>And the good news is I've got Sigmund Freud Horsely, failed driver par excellence, and a washed-up accountant to lecture me on it.</dialogue> <character>PETER</character> <parenthetical>(closes eyes)</parenthetical> <dialogue>Jesus, James...</dialogue> <scene_description>BUBBLES walks off. PETER HUNT walks off. JAMES calls out..</scene_description> <character>JAMES</character> <dialogue>Bubbles? I'm sorry..! I didn't mean that! Come back..!</dialogue> <scene_description>OMITTED OMITTED OMITTED OMITTED OMITTED CONTINUED: (2) OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. EASTON NESTON - DAY</stage_direction> <scene_description>The grand Hesketh estate in the Northamptonshire countryside.</scene_description> </scene> <scene> <stage_direction>INT. HESKETH RACING WORKSHOPS - EASTON NESTON - DAY</stage_direction> <scene_description>JAMES is in the workshops, his hands and arms filthy, he's been working on the car - but now his eyes are closed. Memorizing tracks. Around him people are working on the car..</scene_description> <character>JAMES</character> <dialogue>....along the Beau Rivage, long left into Massenet, into the short right of Casino. Sharp right into Mirabeau, then sharp left into Loews, mind the guard rails...</dialogue> <character>VOICE</character> <dialogue>Is Alexander around..?</dialogue> <scene_description>JAMES opens his eyes to see an endless pair of legs, a drop- dead gorgeous figure, and the beautiful smiling face of SUZY MILLER, the most successful model of the day.</scene_description> <character>JAMES</character> <dialogue>He was. Then went to the house to take a call. He'll be back shortly.</dialogue> <character>SUZY</character> <dialogue>Only he wanted to show off his pride and joy...</dialogue> <scene_description>SUZY indicates the car...</scene_description> <character>SUZY</character> <dialogue>...rhymes with 'boy' if you ask me. And 'toy'. I can't believe what I'm seeing.</dialogue> <character>JAMES</character> <dialogue>Why?</dialogue> <character>SUZY</character> <dialogue>It's just so small! For something that costs so much. And so flimsy. There's no comfort. No protection. Nothing.</dialogue> <character>JAMES</character> <dialogue>No. Just a little coffin, surrounded by high-octane fuel, being driven round at 170 miles per hour..</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <parenthetical>(becoming grave)</parenthetical> <dialogue>To all intents and purposes a bomb. On wheels.</dialogue> <character>SUZY</character> <dialogue>Why don't they make it safer?</dialogue> <character>JAMES</character> <dialogue>No one wants it to be. It's like saying why not make bullfighting safer? It's a blood sport. The risk of death turns people on. Without it, I guess, it'd be half the fun. Which is fine for the voyeurs, fine for TV, fine for everyone..</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>...except us drivers.</dialogue> <scene_description>SUZY looks JAMES up and down. Sees the bare feet, the rock star good looks...</scene_description> <character>SUZY</character> <dialogue>You're James, aren't you?</dialogue> <character>JAMES</character> <dialogue>Yes.</dialogue> <character>SUZY</character> <dialogue>Thought so. You fit the description.</dialogue> <parenthetical>(shaking hands)</parenthetical> <dialogue>Suzy. Friend of Alex's.</dialogue> <character>JAMES</character> <dialogue>I know exactly.</dialogue> <scene_description>In the background: one of the MECHANICS shows DOC a picture of SUZY from a tabloid newspaper. She's clearly the most famous model in Britain, and a star in her own right...</scene_description> <character>JAMES</character> <dialogue>What was the description?</dialogue> <character>SUZY</character> <dialogue>Mostly positive in terms of appearance. Negative only in terms of character. I've been told to avoid you.</dialogue> <character>JAMES</character> <dialogue>By whom?</dialogue> <character>SUZY</character> <dialogue>Alex. He says you're a bad boy.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAMES</character> <dialogue>Was. Not any more. New me very professional. Early to bed. Early to rise. All very dull.</dialogue> <character>SUZY</character> <dialogue>Really?</dialogue> <character>JAMES</character> <dialogue>Round-the-clock work, practise and focus. Tedious, but apparently the only way to vin against ze Goosestepper..</dialogue> <character>SUZY</character> <dialogue>Is that what you were doing when you came in?</dialogue> <character>JAMES</character> <dialogue>Visualization techniques. Memorizing the circuit, in this case Monaco, which is next up. Eyes closed, know your way round in your sleep...</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I know...I've always been a great believer in getting there on the day, putting the old foot down and playing chicken with everyone else.</dialogue> <scene_description>SUZY laughs..</scene_description> <character>JAMES</character> <dialogue>But they don't want me to do that anymore...they want my body like a temple. My mind like Monk.</dialogue> <character>SUZY</character> <dialogue>And your soul? Your heart?</dialogue> <character>JAMES</character> <dialogue>What does that mean?</dialogue> <character>SUZY</character> <dialogue>You can't be so disciplined in all areas of your life, can you..?</dialogue> <character>JAMES</character> <dialogue>They want me to stop messing around, get married and settle down with the next nice girl I meet. They think it would be good for me.</dialogue> <character>SUZY</character> <dialogue>What do you think?</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>JAMES</character> <dialogue>Sounds bloody awful.</dialogue> <scene_description>SUZY laughs again...</scene_description> <character>JAMES</character> <dialogue>But since they're right about most things, they're probably right about that, too.</dialogue> <scene_description>JAMES looks SUZY up and down...</scene_description> <character>JAMES</character> <dialogue>You don't fancy getting married, do you?</dialogue> </scene> <scene> <stage_direction>EXT. BROMPTON ORATORY CHURCH - LONDON - DAY</stage_direction> <scene_description>The sound of ringing bells. London's grandest Catholic church in the heart of Knightsbridge.. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BROMPTON ORATORY CHURCH - DAY</stage_direction> <scene_description>JAMES and SUZY, top hat and tails, flowing white wedding dress, looking ravishing, emerge from the church. JAMES and SUZY fall into a passionate, sexy embrace for the paparazzi cameras. Loud cheers go up, led by HESKETH and BUBBLES. They make their way to the waiting convoy of cars... On his way: JAMES spots a serious-faced HESKETH and DOC POSTLETHWAITE in conversation with some Formula 1 types in the crowd.. SUZY is pulled away for photos. Clearly a bigger star even than JAMES. JAMES turns to BUBBLES, indicates HESKETH...</scene_description> <character>JAMES</character> <dialogue>What's up?</dialogue> <character>BUBBLES</character> <dialogue>Nothing. I don't want to ruin your day.</dialogue> <scene_description>BUBBLES stares, then reluctantly... CONTINUED:</scene_description> <character>BUBBLES</character> <dialogue>It seems your revenge against the Goosestepper might have to wait a little longer than you'd hoped.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>He's just been signed by Ferrari.</dialogue> <character>JAMES</character> <dialogue>WHAT??? But that's the best team in the world. They could have ANYONE. Did he pay his way in there, too?</dialogue> <character>BUBBLES</character> <dialogue>Apparently they took back Regazzoni and he insisted they give Lauda a trial. Thinks he's a genius. Setting up the cars...</dialogue> <scene_description>JAMES stares...then is pulled away to pose in photographs with SUZY and her FAMILY.</scene_description> </scene> <scene> <stage_direction>EXT. FIORANO - NORTHERN ITALY - DAY</stage_direction> <scene_description>FERRARI's state-of-the-art practise facilities and private test-track in Northern Italy.</scene_description> </scene> <scene> <stage_direction>72A INT. FERRARI CONTROL ROOM 72A</stage_direction> <scene_description>Closed circuit television, with 10 cameras and a complex track timing system and computers....</scene_description> </scene> <scene> <stage_direction>72B EXT. FIORANO - TRACK SIDE 72B</stage_direction> <scene_description>ENZO FERRARI himself, the Commendatore, a formidable white- haired patriarch in Onassis dark glasses, reads newspapers, sitting by the race tracks, barely looking up as two red Ferrari's roar round the track... LUCA DI MONTEZEMOLO, the young, dynamic, aristocratic manager of the Scuderia, by contrast, watches eagle-eyed..</scene_description> </scene> <scene> <stage_direction>72C EXT. FIORANO - TRACKSIDE - LATER 72C</stage_direction> <scene_description>The two cars stop, and NIKI and CLAY REGAZZONI gets out. NIKI talks (in a mix of Italian and English) to his MECHANIC, giving them typically blunt feedback...</scene_description> <character>NIKI</character> <dialogue>It's terrible! Drives like a pig!</dialogue> <scene_description>72C CONTINUED: 72C</scene_description> <character>MECHANIC</character> <dialogue>Sssshhh! You can't say that!</dialogue> <character>NIKI</character> <dialogue>Why not?</dialogue> <character>MECHANIC</character> <dialogue>It's a Ferrari!</dialogue> <character>NIKI</character> <dialogue>I've driven better milk floats. It understeers like crazy and the weight distribution is a disaster...</dialogue> <scene_description>The MECHANIC gulps, then walks over to where the terrifying COMMENDATORE and LUCA DI MONTEZEMOLO are sitting, and passes on the information...</scene_description> <character>MECHANIC</character> <dialogue>He says the car is magnificent, a masterpiece, but he has suggestions for one or two minor refinements...</dialogue> </scene> <scene> <stage_direction>INT. FERRARI PRESS CONFERENCE - DAY</stage_direction> <scene_description>A large press conference, with motoring JOURNALISTS and television CREWS from all over the world attending... ENZO FERRARI and LUCA DI MONTEZEMOLO addresses the conference (in Italian) which is translated by a translator...</scene_description> <character>ENZO</character> <dialogue>We are happy to welcome back to the Ferrari family our good friend, Clay Regazzoni...and also to introduce, from Austria Niki Lauda..</dialogue> <scene_description>A burst of flash photography. NIKI and REGAZZONI sit side by side.</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN COUNTRY ROADS - DAY</stage_direction> <scene_description>A car drives fast on country roads in Northern Italy...</scene_description> </scene> <scene> <stage_direction>INT. CAR - SAME TIME</stage_direction> <scene_description>CLAY REGAZZONI is driving, NIKI is in the passenger seat...</scene_description> <character>REGAZZONI</character> <dialogue>"Ferrari Family". "Our good friend, Clay Regazzoni".</dialogue> <scene_description>CONTINUED:</scene_description> <character>REGAZZONI</character> <dialogue>You're friend and family to the Commendatore as long as you win. The minute you don't..</dialogue> <parenthetical>(mimes execution)</parenthetical> <character>NIKI</character> <dialogue>I understand. It's business. I would be the same.</dialogue> <character>REGAZZONI</character> <dialogue>But it isn't just business, is it? What we do? It's passion. Love. Which is why we're prepared to risk our lives for it.</dialogue> <character>NIKI</character> <dialogue>Not me. If I thought I had more talent and could earn better money doing something else, I would.</dialogue> <character>REGAZZONI</character> <dialogue>But how do you know you will make money here? You haven't yet.</dialogue> <character>NIKI</character> <dialogue>Not yet. But I will.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>If you can, I can.</dialogue> <scene_description>REGAZZONI shakes his head, can't help smiling...</scene_description> <character>REGAZZONI</character> <dialogue>You know, are you ever NOT an asshole?</dialogue> <scene_description>NIKI laughs...</scene_description> <character>NIKI</character> <dialogue>Why am I an asshole? You know by now I'm both quicker than you and better at setting up the car. You can't deal with that, then you're the asshole.</dialogue> <character>REGAZZONI</character> <dialogue>Screw you.</dialogue> <scene_description>REGAZZONI pulls up outside the house...</scene_description> <character>REGAZZONI</character> <dialogue>I brought you along today because you seem like a lonely kind of guy. I thought if I introduce you to some nice people, it'd be good for you. Forget it. Make your own friends.</dialogue> <scene_description>CONTINUED: (2) REGAZZONI walks ahead, disappears through the front door, where he is warmly welcomed, and invited into a party. NIKI calls after him...</scene_description> <character>NIKI</character> <dialogue>I'm sorry. C'mon, Clay...</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY HOUSE - NORTHERN ITALY - DAY</stage_direction> <scene_description>NIKI stares through the window. Inside: a very appealing looking bunch - young, good-looking, cool, sexy GUESTS - all having a good time.. By contrast: NIKI catches his own reflection in the glass reflection. Pale. Intense. The outsider. Inside: REGAZZONI is surrounded by friends, telling a story. Everyone laughs. NIKI watches. Then turns to walk away. As he goes, the front door opens... And a beautiful dark-haired woman (MARLENE) emerges loading several BAGS into a car. Brunette, tan. Wearing a white dress.</scene_description> <character>NIKI</character> <dialogue>Are you leaving?</dialogue> <character>MARLENE</character> <dialogue>Yes.</dialogue> <character>NIKI</character> <dialogue>Can you give me a lift to the nearest town? Anywhere with a train station.</dialogue> <character>MARLENE</character> <dialogue>Sure. Nearest town is half an hour's drive. Get in.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAY</stage_direction> <scene_description>The car drives. The radio plays. Marlene sings along. NIKI can't help noticing something. He turns down the music. MARLENE's smile fades..</scene_description> <character>MARLENE</character> <dialogue>What are you doing?</dialogue> <scene_description>CONTINUED:</scene_description> <character>NIKI</character> <dialogue>You hear that noise when you accelerate?</dialogue> <character>MARLENE</character> <dialogue>No.</dialogue> <character>NIKI</character> <dialogue>Your drive belt is loose.</dialogue> <character>MARLENE</character> <dialogue>My what?</dialogue> <character>NIKI</character> <dialogue>Alternator. And when you brake, your foot goes all the way down. Means there's air in the system.</dialogue> <character>MARLENE</character> <dialogue>Anything else?</dialogue> <character>NIKI</character> <dialogue>No. Apart from the rear brakes are imbalanced. The front right wheel is flat, and it feels like a crack in the engine block...which explains why you're drifting so much.</dialogue> <character>MARLENE</character> <dialogue>How can you tell?</dialogue> <character>NIKI</character> <dialogue>My ass.</dialogue> <character>MARLENE</character> <dialogue>What?</dialogue> <character>NIKI</character> <dialogue>God gave me an OK mind, but a really good ass, which can feel everything in a car.</dialogue> <character>MARLENE</character> <dialogue>You don't know what you're talking about. The car is fine. And it just had a service a week ago.</dialogue> <character>NIKI</character> <dialogue>Not a good one.</dialogue> <character>MARLENE</character> <dialogue>A very good one. From a proper garage. It cost a fortune. This car is good as new. Relax.</dialogue> </scene> <scene> <stage_direction>EXT. MOTORWAY - HARD SHOULDER - DAY</stage_direction> <scene_description>White smoke pours from the engine. The car has broken down. Bonnet up. NIKI has tried fixing it, but to no avail. NIKI has a fan belt in his hand, but it's all but disintegrated under the heat of the over-worked engine. NIKI's hands are covered in oil. He is pushing a pen into a large crack in the engine, slick with oil and grease.</scene_description> <character>NIKI</character> <dialogue>Nothing I can do here. The car needs a garage.</dialogue> <character>MARLENE</character> <dialogue>I'm sorry. You're not in a hurry, are you?</dialogue> <character>NIKI</character> <dialogue>No. As long as I'm back in Maranello by Monday morning.</dialogue> <scene_description>NIKI walks out into the road. Sticks out his thumb...</scene_description> <character>MARLENE</character> <dialogue>So who are you anyway?</dialogue> <scene_description>MARLENE breaks into GERMAN...(we see sub-titles)...</scene_description> <character>MARLENE</character> <dialogue>You're from Vienna, aren't you. We can speak German. How do you know Curd?</dialogue> <character>NIKI</character> <dialogue>Who's Curd?</dialogue> <character>MARLENE</character> <dialogue>Curd Jurgens. The actor. It's his house. He is, or was until yesterday, my boyfriend. I must have been mad! There is something very attractive about an older man when they behave like one. But when they behave like a frightened child..</dialogue> <scene_description>MARLENE gets to her feet...</scene_description> <character>MARLENE</character> <dialogue>C'mon, let me do this. Otherwise we'll never get out of here. We're in Italy, after all.</dialogue> <scene_description>MARLENE indicates that NIKI should take a back seat, hitches up her skirt, showing long, tanned legs.. CONTINUED:</scene_description> <character>SSSCCCREEEEEEEEECCCCCHHHHHHH!!!!!</character> <dialogue>Immediately a passing car screeches to a halt, then reverses noisily to pull level. MARLENE smiles at NIKI...</dialogue> <character>MARLENE</character> <dialogue>Not bad, eh? Three seconds. Admit it, you're impressed..!</dialogue> <scene_description>MARLENE smiles flirtatiously at the handsome, young Italian MEN driving the open-topped sports car..</scene_description> <character>MARLENE</character> <dialogue>Ciao, Regazzi...!</dialogue> <scene_description>But the Italian MEN walk right past her, not seeing her, as if she's invisible, and stare at NIKI...</scene_description> <character>ITALIAN MAN</character> <parenthetical>(in Italian)</parenthetical> <dialogue>Excuse me...are you Niki Lauda?</dialogue> <character>NIKI</character> <dialogue>Yes.</dialogue> <character>ITALIAN MAN</character> <parenthetical>(in Italian)</parenthetical> <dialogue>Oh, my God...!!! I told you it was him..!!!</dialogue> <parenthetical>(blown away)</parenthetical> <dialogue>Do you need a ride?</dialogue> <character>NIKI</character> <dialogue>Yes, we do...</dialogue> <scene_description>The ITALIAN MAN gestures to his car, as his friend loads MARLENE's luggage inside...</scene_description> <character>ITALIAN MAN</character> <dialogue>An honour, please!!! But on one condition..</dialogue> <scene_description>The ITALIAN MAN whisper in NIKI's ear. MARLENE stares, not understanding, as NIKI protests, but then slowly, reluctantly gets into the car. He starts the engine. MARLENE watches as the ITALIAN MEN strap themselves in with the seat-belts, tightening them...giggling like schoolboys..</scene_description> <character>MARLENE</character> <dialogue>Will someone please tell me what's going on?</dialogue> <scene_description>MARLENE turns to NIKI... CONTINUED: (2)</scene_description> <character>MARLENE</character> <dialogue>Who are you, anyway? What do you DO?</dialogue> <character>ITALIAN MAN</character> <dialogue>You don't know? He's a Formula I driver. Who just signed for Ferrari!</dialogue> <character>MARLENE</character> <dialogue>Him? Never. Impossible!</dialogue> <character>ITALIAN MAN</character> <dialogue>Why?</dialogue> <character>MARLENE</character> <dialogue>Formula 1 drivers have long hair, are sexy, have shirts open to here..</dialogue> <scene_description>MARLENE indicates...</scene_description> <character>MARLENE</character> <dialogue>Anyway, look at the way he's driving!! Like an old man!!</dialogue> <scene_description>It's true. NIKI is driving in the slow lane. Like a pensioner.</scene_description> <character>NIKI</character> <dialogue>No need to drive fast. It only increases the percentage of risk. We're not in a hurry. No one is paying me. Right now, with zero incentive or reward, why would I drive fast?</dialogue> <scene_description>MARLENE looks at him with her dark green eyes...</scene_description> <character>MARLENE</character> <parenthetical>(in German)</parenthetical> <dialogue>Because I'm asking you to.</dialogue> <character>NIKI</character> <parenthetical>(in German)</parenthetical> <dialogue>And do you always get what you want?</dialogue> <character>MARLENE</character> <parenthetical>(in German)</parenthetical> <dialogue>Usually.</dialogue> <scene_description>NIKI stares, trying to resist...but cannot. He does a lightning double-declutch... "SLAM", NIKI's foot hits the floor, the engine screams, the rev counter flies to the right... And the open-topped sports car lurches into warp-drive... CONTINUED: (3) MARLENE is thrown back hard in her seat, "Jesus", her eyes widen in terror and amazement..</scene_description> <character>MARLENE</character> <dialogue>Oh, my God...!!</dialogue> <scene_description>The ITALIAN MEN scream in excitement, holding on for dear life as NIKI, his heart not a beat over 60, takes the car to breaking point, in a way it's never been driven before... NIKI overtakes everyone on the motorway, fearlessly weaving between cars at twice their speed.. We CLOSE on NIKI's eyes, remaining dead calm as his passengers scream all around him, as he accelerates through the other cars on the motorway... His EYES remain calm, his WHEELS a blur of speed, and we... MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. USA GP - WATKINS GLEN - 5TH OCTOBER 1975 - TRACK - DAY</stage_direction> <scene_description>Calm EYES, and WHEELS moving in a blur of speed. We're in the middle of a Grand Prix, and NIKI is driving at the limit...</scene_description> <character>CAPTION: "1975".</character> <dialogue>Ahead of him: a familiar sight. The back of JAMES HUNT's Hesketh..</dialogue> </scene> <scene> <stage_direction>EXT. PITS - DAY</stage_direction> <scene_description>MARLENE watches on TV in the pits as NIKI is engaged in an epic tussle with JAMES... Commentators note the improvement in JAMES's technique, maturity and performance. But then, "Puff", a plume of smoke comes out of JAMES's engine. The engine has blown... Immediately JAMES loses speed, and NIKI sails past, overtaking effortlessly. Taking the chequered flag. Television commentary in various languages tells us: NIKI LAUDA has become world champion...</scene_description> </scene> <scene> <stage_direction>EXT. FERRARI PITS/USA GP TRACK SIDE - DAY</stage_direction> <scene_description>NIKI's car pulls in, to be mobbed by jubilant MECHANICS as he gets out of his car, removing his helmet, embraced by a delighted LUCA DI MONTEZEMOLO... CONTINUED: ...then falling into a passionate kiss with MARLENE... Champion of the World, he is immediately swallowed up by REPORTERS who are demanding interviews in Italian, German, English...</scene_description> </scene> <scene> <stage_direction>EXT. USA GP/PADDOCK - DAY</stage_direction> <scene_description>An impromptu party in the paddock area. The victor's garland still round his neck, proudly holding the FIA World Champion trophy, his hair matted with champagne, NIKI passes through the crowds, accepting everyone's congratulations.. He runs into JAMES, who's in bare feet as usual. MARLENE is pulled away to talk to someone else..</scene_description> <character>JAMES</character> <dialogue>Congratulations.</dialogue> <character>NIKI</character> <dialogue>Thank you.</dialogue> <character>JAMES</character> <dialogue>Though with a car like that, the rest of us never stood a chance...</dialogue> <character>NIKI</character> <dialogue>Maybe the fact the car is so good might have something to do with me.</dialogue> <character>JAMES</character> <dialogue>You're still in a Ferrari. And I'm still in a Hesketh. On equal terms, the way it was in Formula 3, I'd beat you, and you know it.</dialogue> <character>NIKI</character> <dialogue>Never. You might get lucky and win one race. Maybe two. Because you're aggressive. But in the long run, over the course of a season, no chance.</dialogue> <character>JAMES</character> <dialogue>Why's that?</dialogue> <character>NIKI</character> <dialogue>Because you're not serious. You're just a party guy. Which is why everyone likes you.</dialogue> <character>JAMES</character> <dialogue>Now try saying that and tell me you're not jealous.</dialogue> <scene_description>CONTINUED:</scene_description> <character>NIKI</character> <dialogue>But all that affection, all those smiles is also a sign of their disrespect! They don't fear you. Whereas compare that to me...</dialogue> <character>JAMES</character> <dialogue>Whom no one likes...</dialogue> <character>NIKI</character> <dialogue>Right..</dialogue> <character>JAMES</character> <dialogue>Not even his own team-mates..</dialogue> <character>NIKI</character> <dialogue>Right! Because I'm relentless. I don't screw up. I go to bed early. I look after myself, look after my car. And then, soon as the race is finished, I go home. You should go home more often, too. I heard you got married.</dialogue> <character>JAMES</character> <dialogue>I did.</dialogue> <character>NIKI</character> <dialogue>So where is she?</dialogue> <character>JAMES</character> <dialogue>In New York. Working.</dialogue> <character>NIKI</character> <dialogue>You know I've never seen you with her, once...</dialogue> <scene_description>NIKI turns to MARLENE, "Let's go"..</scene_description> </scene> <scene> <stage_direction>EXT. EASTON NESTON - DAY</stage_direction> <scene_description>JAMES's Mini roars furiously up the long gravel driveway towards Easton Neston. Screeches to a halt. JAMES gets out of the car. Is greeted by staff, whom he uncharacteristically ignores, storming past...</scene_description> </scene> <scene> <stage_direction>INT. EASTON NESTON - WORKSHOP - DAY</stage_direction> <scene_description>JAMES walks into the workshops where BUBBLES HORSLEY is busy doing something... CONTINUED:</scene_description> <character>JAMES</character> <dialogue>Right, whatever it takes to beat Lauda, just say it, your word is my command. I'll do it. There are no lengths to which I will not go. And I mean it this time...</dialogue> <scene_description>JAMES stops, noticing BUBBLES's expression...</scene_description> <character>JAMES</character> <dialogue>What's the matter?</dialogue> <scene_description>Then JAMES notices what BUBBLES is doing. He's packing.</scene_description> <character>JAMES</character> <dialogue>What are you doing?</dialogue> <scene_description>Then JAMES notices the lack of activity in the workshops. None of the usual mechanics, or engineers..</scene_description> <character>JAMES</character> <dialogue>Where is everyone?</dialogue> <scene_description>BUBBLES looks up. Unsure how to break it to him.</scene_description> </scene> <scene> <stage_direction>INT. DRAWING-ROOM - EASTON NESTON - DAY</stage_direction> <scene_description>An old drawing-room. The open fire roars. But HESKETH is uncharacteristically quiet. Defeated..</scene_description> <character>HESKETH</character> <dialogue>Do you know what the date is today?</dialogue> <character>JAMES</character> <dialogue>November 14th.</dialogue> <character>HESKETH</character> <dialogue>Do you have any idea of the significance of that date?</dialogue> <character>JAMES</character> <dialogue>I'm assuming it refers to some animal you are allowed or no longer allowed to slaughter on your estate.</dialogue> <character>HESKETH</character> <dialogue>Actually it's the deadline for securing sponsorship for the forthcoming Formula 1 season.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Which elapsed at midnight last night. And we didn't attract any.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>So? We aren't looking for sponsorship. Condoms and cigarettes. Vulgar, right?</dialogue> <character>HESKETH</character> <dialogue>Right. Except we are. Or were. I've made something of a miscalculation. The economics. Formula 1. Reality thereof. Turns out not like the lower divisions at all.</dialogue> <character>JAMES</character> <dialogue>What are you saying?</dialogue> <character>HESKETH</character> <dialogue>I'm saying it's over, Superstar. The banks have stepped in. Read me the riot act. Started laying everyone off. Probably have to sell this place. Fun while it lasted, would do it all again and all that...</dialogue> <parenthetical>(ashen)</parenthetical> <dialogue>I daren't tell you the actual figures.</dialogue> <scene_description>JAMES stares at a devastated HESKETH...</scene_description> <character>JAMES</character> <dialogue>Christ.</dialogue> </scene> <scene> <stage_direction>INT. JAMES'S FLAT - LONDON - NIGHT</stage_direction> <scene_description>JAMES is on the phone to his brother PETER, while playing Scale-electrix cars on a track alone, barefoot...</scene_description> <character>JAMES</character> <dialogue>I need a drive, Pete. Need you to find me a drive.</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>What does that mean? "My reputation precedes me?"</dialogue> <scene_description>"Crash", the electric toy car crashes...</scene_description> <character>JAMES</character> <parenthetical>(listens)</parenthetical> <dialogue>Really? Is that what they said?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Did they at least say a "Quick arsehole?"</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>Bollocks to Lotus. Find me someone else. I'll go mad otherwise.</dialogue> <scene_description>"Click", JAMES hangs up. SUZY walks in. Sees his mood.. CONTINUED:</scene_description> <character>SUZY</character> <dialogue>Don't worry. Something will turn up.</dialogue> <scene_description>JAMES opens a bottle of Scotch, pours himself a drink...</scene_description> <character>SUZY</character> <dialogue>But I doubt that will help in the meantime.</dialogue> <scene_description>JAMES knocks back the drink...</scene_description> <character>SUZY</character> <dialogue>Why don't we go away for the week-end? Before I leave again for New York?</dialogue> <scene_description>JAMES carries on drinking..</scene_description> <character>SUZY</character> <dialogue>Talk to me, James. Don't make a stranger of me.</dialogue> <scene_description>JAMES doesn't react...</scene_description> <character>SUZY</character> <dialogue>I can't watch this.</dialogue> <scene_description>SUZY picks up her coat, and bag..</scene_description> <character>JAMES</character> <dialogue>What were you hoping for? A well- adjusted knight in shining armour?</dialogue> <character>SUZY</character> <dialogue>No danger of that....</dialogue> <character>JAMES</character> <dialogue>Let me give you some advice.</dialogue> <character>SUZY</character> <dialogue>I'm all ears...</dialogue> <character>JAMES</character> <dialogue>Don't go to men who are willing to kill themselves driving in circles looking for normality.</dialogue> <character>SUZY</character> <dialogue>Well, I certainly didn't get that...</dialogue> <character>JAMES</character> <dialogue>Should have gone for one of my brothers.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SUZY</character> <dialogue>There goes that self-pity again. How striking it is -</dialogue> <character>JAMES</character> <dialogue>What's that? Tell me..</dialogue> <character>SUZY</character> <dialogue>The gulf between appearance and reality. Look at you, all sunshine blonde beauty and smiles...yet the reality is...a frightened, immature, depressed, self-pitying child...</dialogue> <character>JAMES</character> <dialogue>At least there's SOMETHING behind the facade.</dialogue> <character>SUZY</character> <dialogue>With a nasty temper..</dialogue> <character>JAMES</character> <dialogue>Fuck off to New York, dear. There must be a moisturizer or eye shadow somewhere that needs your vapid mush to flog it.</dialogue> <character>SUZY</character> <dialogue>How quickly beauty can turn ugly.</dialogue> <character>JAMES</character> <dialogue>Agreed. Repellent.</dialogue> <scene_description>SUZY stares...and goes. JAMES carries on drinking. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S FLAT - FOLLOWING MORNING</stage_direction> <scene_description>The following morning. The phone rings. Piercing the darkness. JAMES, clearly the worse for wear, is talking to his beloved budgies...</scene_description> <character>JAMES</character> <dialogue>Good girl...</dialogue> <scene_description>A surprising vulnerability, and childlike innocence about JAMES. He strokes the birds with real tenderness.. The phone continues ringing. JAMES picks it up... CONTINUED:</scene_description> <character>JAMES (INTO PHONE)</character> <dialogue>Hello?</dialogue> <scene_description>JAMES listens, then hears something on the phone that makes him sit up...</scene_description> <character>JAMES (INTO PHONE)</character> <dialogue>Who? McLaren?</dialogue> <scene_description>JAMES is waking rapidly now..</scene_description> <character>JAMES (INTO PHONE)</character> <dialogue>Just get me in a room with them, Pete. Say anything. Today? Yes, I can do today.</dialogue> <parenthetical>(checks watch)</parenthetical> <dialogue>I can be there in an hour.</dialogue> <scene_description>JAMES starts scribbling down the address.</scene_description> </scene> <scene> <stage_direction>EXT. MCLAREN HQ - TO ESTABLISH</stage_direction> <scene_description>The headquarters of McLaren Racing in Colnbrook, Bucks. A small, unassuming building on the Poyle Trading Estate. Bare brickwork surrounds a brash yellow facade, with the words 'MCLAREN RACING' in large white letters.</scene_description> </scene> <scene> <stage_direction>INT. MCLAREN HQ - BOARDROOM - DAY</stage_direction> <scene_description>A large boardroom. Team Director TEDDY MAYER (American, from Pennsylvania, short, lawyerly, 50's - hair turning grey) sits at the head of the table. Next to him is Aussie Marlboro spokesman JOHN HOGAN and McLaren Team Manager and chief mechanic ALASTAIR CALDWELL. The atmosphere is tense, uncomfortable...</scene_description> <character>MAYER</character> <dialogue>I'll come straight to the point. Our esteemed lead driver...</dialogue> <character>CALDWELL</character> <dialogue>Fitti-fucking-paldi..</dialogue> <character>MAYER</character> <dialogue>Has ditched us for another team at the last minute..</dialogue> <character>CALDWELL</character> <dialogue>In November. Fucking outrageous.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYER</character> <dialogue>And we need a replacement. Asap. Thankfully a few hands have already gone up. Good people...</dialogue> <character>CALDWELL</character> <dialogue>Like Jackie Ickx.</dialogue> <character>JAMES</character> <dialogue>I'm quicker than Jackie.</dialogue> <character>MAYER</character> <dialogue>But he's consistent, dependable. Sponsor friendly. He'll dress up nice. Say the right things.</dialogue> <character>JAMES</character> <dialogue>What do you want? A driver or a brushes salesman?</dialogue> <character>MAYER</character> <dialogue>We want to be successful.</dialogue> <character>JAMES</character> <dialogue>So do I. But I measure that in podium finishes and beating Niki Lauda not being a show pony for sponsors.</dialogue> <character>MAYER</character> <dialogue>I've heard about this thing with Lauda.</dialogue> <character>CALDWELL</character> <parenthetical>(rolls eyes)</parenthetical> <dialogue>Everyone has..</dialogue> <character>MAYER</character> <dialogue>You really think you can beat him? He's World Champion.</dialogue> <character>JAMES</character> <dialogue>I beat him in Formula 3.</dialogue> <character>CALDWELL</character> <dialogue>This season alone he's had eight podiums, five wins, you've had what?</dialogue> <character>HOGAN</character> <dialogue>One.</dialogue> <character>JAMES</character> <dialogue>Only because I've been in the wrong car. I beat him when the playing field was level. I'd beat him again in a McLaren.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAMES</character> <dialogue>It's the only car out there as good as the Ferrari. Which is why I'm here, begging.</dialogue> <scene_description>JAMES stares imploringly..</scene_description> <character>JAMES</character> <dialogue>I'll do whatever you ask. Even put on a suit, talk to sponsors and say the right thing. I promise.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Just give me the drive...</dialogue> <scene_description>CALDWELL, HOGAN and MAYER look at one another... OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH AFRICA GRAND PRIX - KYALAMI - 6TH MARCH 1976- DAY</stage_direction> <scene_description>Various shots, to establish. South Africa in the apartheid era. We notice black race FANS unable to get into the track..</scene_description> <character>CAPTION: "THE 1976 FORMULA 1 SEASON"</character> <dialogue>COMMENTATOR</dialogue> <scene_description>...welcome to the Kyalami Racetrack where the big news is..</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH AFRICA - KYALAMI RACE TRACK - DAY</stage_direction> <scene_description>Crowds flood to the spectator stands. The pit lane stretches into the distance, filled with cars, drivers and mechanics...</scene_description> <character>COMMENTATOR</character> <dialogue>...that Britain's James Hunt in his first race for Mclaren has qualified fastest, beating Niki Lauda's Ferrari to pole by two hundredths of a second. In the crowds to watch the race none other than movie stars Richard Burton and Liz Taylor...</dialogue> <scene_description>We pick out RICHARD BURTON and LIZ TAYLOR waving to screaming FANS.</scene_description> </scene> <scene> <stage_direction>EXT. STARTING GRID - KYALAMI - DAY</stage_direction> <scene_description>NIKI and JAMES's cars lined up in positions 1 and 2 on the starting grid. JAMES proudly indicates to NIKI...</scene_description> <character>JAMES</character> <dialogue>New car.</dialogue> <character>NIKI</character> <dialogue>I noticed.</dialogue> <character>JAMES</character> <dialogue>Pole position.</dialogue> <character>NIKI</character> <dialogue>I noticed that, too.</dialogue> <character>JAMES</character> <dialogue>Level playing field now, my ratty little friend.</dialogue> <character>NIKI</character> <dialogue>Let's see where we are at the end of lap one.</dialogue> <scene_description>NIKI calls after JAMES as he walks to his car...</scene_description> <character>NIKI</character> <dialogue>Let's see where we are in six races time!!</dialogue> <scene_description>JAMES turns, makes a ratty face at NIKI. Protruding teeth.</scene_description> </scene> <scene> <stage_direction>EXT. VIP GRANDSTAND - DAY</stage_direction> <scene_description>RICHARD BURTON and LIZ TAYLOR are shown into the VIP area of the paddock. They take their seats.</scene_description> <character>LIZ TAYLOR</character> <parenthetical>(bored already)</parenthetical> <dialogue>Will this take very long?</dialogue> <scene_description>An OFFICIAL introduces BURTON to various people - among them SUZY HUNT...</scene_description> <character>OFFICIAL</character> <dialogue>Richard Burton...Suzy Miller, also known as Mrs. James Hunt.</dialogue> <character>BURTON</character> <dialogue>Who?</dialogue> <scene_description>There it is. The deep, dark, sonorous Welsh baritone voice...scarred by alcohol and cigarettes... CONTINUED:</scene_description> <character>SUZY</character> <dialogue>James Hunt. One of the racers.</dialogue> <character>BURTON</character> <dialogue>Forgive me. Richard.</dialogue> <parenthetical>(extending hand)</parenthetical> <dialogue>Also known as Mr. Elizabeth Taylor.</dialogue> <scene_description>He indicates LIZ who is deeply bored..</scene_description> <character>LIZ TAYLOR</character> <dialogue>What does a girl have to do to get a drink around here?</dialogue> <scene_description>SUZY smiles. Their eyes meet. And no eyes are more beautiful than SUZY's. An immediate connection between them. Their hands hold a fraction too long as they shake... OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RACE TRACK - DAY</stage_direction> <scene_description>NIKI's car roars past the finishing line first. JAMES closely behind... CAPTION: "SOUTH AFRICA. LAUDA WINS. HUNT SECOND."</scene_description> </scene> <scene> <stage_direction>104AEXT. PODIUM - KYALAMI - DAY 104A</stage_direction> <scene_description>JAMES and NIKI are on the podium together...</scene_description> <character>JAMES</character> <dialogue>My car wasn't right today. Next time I'll have you..</dialogue> <character>NIKI</character> <dialogue>Yeah, yeah...</dialogue> <scene_description>OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH GRAND PRIX - JARAMA, 2ND MAY 1976- DAY</stage_direction> <scene_description>JAMES's car takes the chequered flag, finishing first!!!</scene_description> </scene> <scene> <stage_direction>108AINT/EXT. MCLAREN PITS 108A</stage_direction> <scene_description>In the pits: TEDDY MAYER, ALASTAIR CALDWELL and JOHN HOGAN leap to their feet in delight. Punching the air. Victory.. CAPTION: "RACE 3. SPAIN. HUNT WINS..."</scene_description> </scene> <scene> <stage_direction>108BEXT. SPANISH GRAND PRIX PODIUM/ PITLANE 108B</stage_direction> <scene_description>Afterwards: JAMES and NIKI are on the podium together...</scene_description> <character>JAMES</character> <dialogue>What did I tell you? Car fixed. Equal terms. You'd better get used to this.</dialogue> <scene_description>JAMES walks off, to celebrate with the McLaren team... NIKI stares darkly - threatened - watching JAMES go.. ...then goes to talk to LUCA DE MONTEZEMOLO and the FERRARI team. CAPTION: "...BUT IS THEN DISQUALIFIED".</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH GP PADDOCK/ PARC FERME- DAY</stage_direction> <scene_description>A huge furore as several OFFICIALS and FERRARI TEAM MEMBERS, and TV CREWS surround JAMES's car... Raised voices debating the width of the car, HUNT furious, people almost coming to blows...</scene_description> <character>OFFICIAL</character> <dialogue>The car is too wide..</dialogue> <character>JAMES</character> <dialogue>Five eighths of an inch..!</dialogue> <character>OFFICIAL</character> <dialogue>Which makes it illegal! If you want to compete, you have to change it.</dialogue> <character>JAMES</character> <dialogue>What? You can't just 'change it'. That means rebuilding the car. Who lodged the complaint? It was Ferrari, wasn't it?</dialogue> <scene_description>The two rival PIT CREWS, (McLaren and Ferrari), scream abuse at one another in Italian and English - a highly charged and explosive atmosphere.... CAPTION: "LAUDA GETS MAXIMUM POINTS" CONTINUED: NIKI watches from the inside of the FERRARI TRAILER.</scene_description> </scene> <scene> <stage_direction>INT. MCLAREN WORKSHOP - NIGHT</stage_direction> <scene_description>The McLaren MECHANICS, supervised by Alastair Caldwell, are making adjustments to the car to make it 'legal'..</scene_description> <character>MAYER</character> <dialogue>...we have to move the wing forward. To make it legal...</dialogue> <character>CALDWELL</character> <dialogue>But that'll have a knock-on effect on the oil coolers..</dialogue> <scene_description>JAMES watches - already fearing the worst - as the car is stripped down, effectively being rebuilt... OMITTED</scene_description> </scene> <scene> <stage_direction>111AEXT. WATKINS GLEN 1976 - DAY 111A</stage_direction> <scene_description>"BANG", JAMES's car shudders violently, the wheels shake as the drive shaft snaps... CAPTION: "RACE 4. LAUDA WINS. HUNT RETIRES."</scene_description> </scene> <scene> <stage_direction>111BEXT. MONACO GRAND PRIX 1976- DAY 111B</stage_direction> <scene_description>"BOOM", a loud explosion. A thick plume of black smoke billows from the engine...</scene_description> <character>JAMES</character> <dialogue>No! No! No!</dialogue> <scene_description>CAPTION: "RACE 5. LAUDA WINS AGAIN. HUNT RETIRES."</scene_description> </scene> <scene> <stage_direction>111CEXT. BELGIUM GP 1976 - ZOLDER - DAY 111C</stage_direction> <scene_description>"CRASH" - JAMES spins out...and a tyre bounces along the track...JAMES's car has crashed into a wall...</scene_description> <character>JAMES</character> <dialogue>I can't stand it...</dialogue> <scene_description>The tyre continues bouncing, people diving out of it's path, before the tyre finally smashes into a hot-dog stand... CAPTION: "RACE 6. LAUDA WINS AGAIN. HUNT RETIRES." 111CCONTINUED: 111C OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BELGIUM GRAND PRIX - ZOLDER - PITLANE - DAY</stage_direction> <scene_description>JAMES storms back into the pits, screaming at MAYER, CALDWELL and the MECHANICS...</scene_description> <character>JAMES</character> <dialogue>What's happened? What have you DONE?? The car's evil! It's undriveable..!</dialogue> <scene_description>CAPTION: "LAUDA 56 POINTS, HUNT 6"</scene_description> </scene> <scene> <stage_direction>113AINT. PADDOCK/PRESS TENT - DAY 113A</stage_direction> <scene_description>Later: the victorious NIKI, wearing the garland, is all smiles, giving 'winner' interviews, surrounded by MARLENE and a delighted LUCA DI MONTEZEMOLO. JAMES is also giving interviews, but in a total fury. Vibrating with anger. Still complaining about the disqualification. Complaining about a conspiracy. Complaining. NIKI finishes talking to JOURNALISTS, and walks off, through crowds, and bumps into JAMES..</scene_description> <character>NIKI</character> <dialogue>So...six races in. How's it going so far?</dialogue> <character>JAMES</character> <dialogue>Fine! Just got a little problem with a bad loser rat and his team of Italian saboteurs who've destroyed my car.</dialogue> <character>NIKI</character> <dialogue>What are you talking about?</dialogue> <character>JAMES</character> <dialogue>I won that race in Spain. And you know it.</dialogue> <character>NIKI</character> <dialogue>In an illegal car.</dialogue> <character>JAMES</character> <dialogue>The aerofoil was five eighths of an inch too long!! Something that doesn't have the slightest effect on car speed. You complained. Now we've had to totally rebuild the car and it's become a monster.</dialogue> <scene_description>113ACONTINUED: 113A</scene_description> <character>NIKI</character> <dialogue>At least it's a LEGAL monster.</dialogue> <character>JAMES</character> <dialogue>A car that was beating you week in week out, so you have to resort to this. Cheating.</dialogue> <character>NIKI</character> <dialogue>He drives in an illegal car and he calls ME the cheat? Let me tell you: two weeks before that race in Spain, we put 20-inch rims on the rear wheels. We get an extra half second speed on each lap!! But the Old Man tells me we can't use those rims, they make the car too wide. Against the rules. So we go back to 19-inch rims making the car slower again. Rules are rules. For all of us. You're just a bad loser who can't accept that.</dialogue> <parenthetical>(tapping head, to MARLENE)</parenthetical> <dialogue>Komm, he's crazy. Sick in the head.</dialogue> <scene_description>NIKI turns to MARLENE, speaks in German...</scene_description> <character>NIKI</character> <dialogue>Den Trottel lassen wir alleine..</dialogue> <parenthetical>(Let's go. Leave this jerk alone.)</parenthetical> <dialogue>No wonder she left him...</dialogue> <scene_description>NIKI and MARLENE go. JAMES is left staring. Not understanding.</scene_description> </scene> <scene> <stage_direction>INT/EXT. ZOLDER PADDOCK/ MCLAREN TRUCK - DAY</stage_direction> <scene_description>JAMES walks into the crowded MCLAREN pits. Sees TEDDY MAYER and ALASTAIR CALDWELL...</scene_description> <character>JAMES</character> <dialogue>Is there something I should know about Suzy? Where is she? Wasn't she supposed to be here today?</dialogue> <scene_description>CALDWELL nervously indicates the Sunday newspapers...</scene_description> <character>CALDWELL</character> <dialogue>We kept it from you. Didn't want to tell you before the race...</dialogue> <scene_description>JAMES looks at the newspapers, then his expression changes. CONTINUED: Lurid headlines about SUZY HUNT in New York with RICHARD BURTON. Pictures all over the front pages of RICHARD BURTON, ELIZABETH TAYLOR, SUZY and JAMES. JAMES's face falls..</scene_description> <character>JAMES</character> <dialogue>Jesus.</dialogue> </scene> <scene> <stage_direction>EXT. RUNWAY - DAY</stage_direction> <scene_description>A jumbo jet roars down the runway and takes off... OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN - DAY</stage_direction> <scene_description>The unmistakable skyline. Among the ten thousand craggy rooftops and skyscrapers... A grand, five-star hotel overlooking Central Park in Manhattan's mid-town district...</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - MANHATTAN - DAY</stage_direction> <scene_description>A huge collection of paparazzi SNAPPERS and Journalist HACKS is camped outside the hotel. Immediately a surge of activity, "Here he is"... A burst of flashlights and a volley of questions from the JOURNALISTS as JAMES - gets out of the taxi and runs the gauntlet of humiliation... ...into the hotel.. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SUITE - DAY</stage_direction> <scene_description>A large hotel suite. There are flowers everywhere. Newspapers are all over the table. JAMES sits opposite SUZY. He sees an expensive gift; recently opened. A diamond necklace..</scene_description> <character>JAMES</character> <dialogue>That from him?</dialogue> <scene_description>SUZY nods. Even the uninitiated eye can tell: it's worth a fortune. CONTINUED:</scene_description> <character>SUZY</character> <dialogue>Why have you come here, James?</dialogue> <character>JAMES</character> <dialogue>To get you back.</dialogue> <character>SUZY</character> <dialogue>You don't want me back...you never wanted to be married in the first place. You did it because you hoped it might change you...settle you down... help with the racing. Not because you loved me. And who knows, if it had been just the drinking, or the dope, or the infidelity, or the moods...it might even have worked...but when it's all of them?</dialogue> <character>JAMES</character> <dialogue>I know. I'm terrible.</dialogue> <character>SUZY</character> <dialogue>No, you're not terrible. You're just...who you are...at this point in your life. And God help anyone that wants more.</dialogue> <character>JAMES</character> <dialogue>Will he be able to give you more? He has quite the bad boy reputation himself.</dialogue> <character>SUZY</character> <dialogue>What's important is how it feels to me. And it feels like he adores me.</dialogue> <scene_description>A flicker behind JAMES's eyes. Failure.</scene_description> <character>JAMES</character> <dialogue>Right.</dialogue> <character>SUZY</character> <dialogue>He's aware of the delicacy of the situation, and how it looks. Having raided your larder. Plundered your safe. Smash and grab, and so forth. So he's assured me he'll take care of the financial side. And will be very generous.</dialogue> <scene_description>JAMES manages a brave smile.</scene_description> <character>JAMES</character> <dialogue>Fine. I'll give him a call.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SUZY</character> <dialogue>No. His lawyers will contact you.</dialogue> <scene_description>JAMES notices the vast unmade bed. Where, until recently, two people had slept.</scene_description> </scene> <scene> <stage_direction>121AEXT. HOTEL - MANHATTAN - DAY 121A</stage_direction> <scene_description>JAMES emerges from the hotel - into the storm of paparazzi again. He manages a brave smile...</scene_description> <character>JAMES</character> <dialogue>It's all very amicable. My wife has found herself a new backer...I mean lover...which makes her happy..</dialogue> <parenthetical>(laughter)</parenthetical> <dialogue>Mr. Burton has found a way of feeling young again...let's hope his pockets are deep...they'll need to be...</dialogue> <parenthetical>(laughter)</parenthetical> <dialogue>And I've found a way to be single again without it costing me a penny, which has to go down as the biggest win of my career.</dialogue> <scene_description>Laughter from the JOURNALISTS who are hungrily writing down the copy. But JAMES's hollow smile fools no one...</scene_description> </scene> <scene> <stage_direction>INT. JUMBO JET - FIRST CLASS - DAY</stage_direction> <scene_description>JAMES sits alone in the first class section. A loser on the track, and a loser in love, too. Being played out in the full glare of publicity. On the front pages. Being read by everyone on the plane. A STEWARDESS looks over, catches his eye. Smiles.</scene_description> </scene> <scene> <stage_direction>INT. JUMBO JET - WC - DAY</stage_direction> <scene_description>JAMES and the STEWARDESS fucking. Hard. Nothing to do with pleasure. An analgesic - a way of blocking out the pain. JAMES catches his own reflection in the mirror. Teeth clenched. Eyes burning with anger and self-loathing... OVER THIS: we fade in the ROAR of car engines...</scene_description> </scene> <scene> <stage_direction>123AINT. FRENCH GP 1976 - PAUL RICARD - 4TH JULY 1976 123A</stage_direction> <scene_description>JAMES's teeth still clenched. Eyes still burning with anger. Driving flat out. At the limit. 123ACONTINUED: 123A Suzy's words still ringing in his ears. Make that beyond the limit. At the point of no return. The car shaking. Weaving recklessly through other cars... Where death has become a real option. Because he doesn't care anymore. Because it's all he deserves anyway... And in that moment, in reaching his lowest point, JAMES has unwittingly stumbled on the one thing that gives him an advantage over everyone else... The fact that he doesn't care. The fact that death has become an option. The fact that there is no risk he is not prepared to take... So every corner is tighter, every braking point later, every gap is an opening, no matter how tiny...</scene_description> </scene> <scene> <stage_direction>EXT. FRENCH GRAND PRIX 1976 - PAUL RICARD - DAY</stage_direction> <scene_description>The chequered flag waves as JAMES's car roars across the finish line... JAMES screams with released rage.... CAPTION: "RACE 7. HUNT WINS. LAUDA's ENGINE BLOWS UP"</scene_description> </scene> <scene> <stage_direction>INT. MCLAREN PITS - PAUL RICARD - DAY</stage_direction> <scene_description>Afterwards: TEDDY MAYER, ALASTAIR CALDWELL and JOHN HOGAN celebrate in delight...cheering... OMITTED</scene_description> </scene> <scene> <stage_direction>126AEXT. BRITISH GRAND PRIX - 18TH JULY 1976- DAY 126A</stage_direction> <scene_description>NIKI's car is pursued by JAMES's. They disappear behind a copse of trees. Out of sight. When they re-emerge, JAMES is ahead of NIKI, having overtaken him - to the delight of the partisan crowd. The chequered flag waves again as JAMES's car roars across the finish line... CAPTION: "RACE 8. HUNT WINS. LAUDA 2nd." JAMES screams in catharsis and triumph. Teeth clenched. Eyes wide and staring with concentration. 126ACONTINUED: 126A We notice SCREAMING GIRL FANS cheering him now. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. FIA HEADQUARTERS - DAY</stage_direction> <scene_description>A blazer-wearing FIA OFFICIAL addresses a room full of sports and motoring JOURNALISTS, TV CREWS, etc...</scene_description> <character>FIA OFFICIAL</character> <dialogue>Following an inquiry into the disqualification of driver James Hunt from the Spanish Grand Prix, it has been decided to overturn this disqualification...and to restore his victory, and reinstate his points..</dialogue> </scene> <scene> <stage_direction>INT. MCLAREN HQ - BRANDS HATCH -DAY</stage_direction> <scene_description>JAMES, TEDDY MAYER, ALASTAIR CALDWELL, and all the MECHANICS are watching on TV... Huge celebrations. Cheering and whooping. SCREAMING GIRLS. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BRAND'S HATCH - PRESS TENT - DAY</stage_direction> <scene_description>A crowded PRESS room. In opposite corners of the room, JAMES and NIKI are giving interviews to different PRESS and TV journalists. Stirling Moss is talking to JAMES...</scene_description> <character>STIRLING MOSS</character> <dialogue>...James, a few weeks ago, you were out of the running for this season completely, now you're right back in it. What's changed...?</dialogue> <scene_description>Screaming GIRLS in the background, shouting "James, we love you." JAMES stares across the room at NIKI...</scene_description> <character>JAMES</character> <dialogue>A combination of factors, not all of which I'm prepared to discuss here. Justice being done re: the disqualification in Spain helps, and having my old car back of course...</dialogue> <scene_description>In the other corner: NIKI is doing his interviews in German, (we see sub-titles)... CONTINUED:</scene_description> <character>JOURNALIST</character> <dialogue>Mathematically in theory it's now possible for Hunt to catch you. Are you worried?</dialogue> <character>NIKI</character> <dialogue>Not at all. For him to catch me, he'd have to win all the remaining races, and I'd have to lose them. And pigs would have to fly.</dialogue> <scene_description>Laughter among the confident GERMANS.</scene_description> <character>NIKI</character> <dialogue>Now if you'll excuse me, I have a private family matter to attend to.</dialogue> <scene_description>NIKI takes MARLENE's hand, and leads her away.</scene_description> </scene> <scene> <stage_direction>EXT. VIENNESE REGISTRY OFFICE - DAY</stage_direction> <scene_description>To establish: the Viennese skyline.</scene_description> </scene> <scene> <stage_direction>INT. REGISTRY OFFICE - DAY</stage_direction> <scene_description>NIKI and MARLENE get married. In stark contrast to JAMES's wedding...it's a small, intimate affair. Modest. Not showy. Away from the cameras. Just them. And a witness from the pub.</scene_description> </scene> <scene> <stage_direction>EXT. AIRFIELD - DAY</stage_direction> <scene_description>A small aeroplane takes off...</scene_description> </scene> <scene> <stage_direction>INT. AEROPLANE - DAY</stage_direction> <scene_description>NIKI and an INSTRUCTOR are in the plane. In the cockpit. With MARLENE, who watches... NIKI is learning to fly. MARLENE watches as NIKI soaks up the instruction, asking questions, happy. It's another side to him, completely.</scene_description> </scene> <scene> <stage_direction>EXT. IBIZA - NIGHT</stage_direction> <scene_description>NIKI and MARLENE in a pool. In Ibiza. Playing. Laughing. Honeymooning. Then NIKI's expression changes. His smile fades.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - HOUSE - IBIZA - NIGHT</stage_direction> <scene_description>MARLENE is fast asleep. She wakes, to discover the bed is empty beside her..</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - IBIZA - NIGHT</stage_direction> <scene_description>MARLENE walks through the house, looking for NIKI. Then finds him on a balcony...alone..</scene_description> <character>MARLENE</character> <dialogue>Come to bed.</dialogue> <scene_description>MARLENE notices his mood. It's different.</scene_description> <character>MARLENE</character> <dialogue>What's the matter?</dialogue> <character>NIKI</character> <dialogue>It's the enemy, you know. Happiness.</dialogue> <scene_description>NIKI looks up at MARLENE...</scene_description> <character>NIKI</character> <dialogue>It weakens you. Puts doubt in your mind. Because all of a sudden you have something to lose..</dialogue> <scene_description>MARLENE stares at him.</scene_description> <character>MARLENE</character> <dialogue>When you call happiness an enemy, then it's too late.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Then you have lost already.</dialogue> <scene_description>MARLENE turns, and goes.. NIKI is left alone. We can tell from his expression, he is struggling with something for the first time. Fear.</scene_description> </scene> <scene> <stage_direction>EXT. NURBURGRING - DAY</stage_direction> <scene_description>The notoriously difficult and treacherous German race track. Testing is underway. A CAR (from one of the other teams) skids, and crashes violently.</scene_description> </scene> <scene> <stage_direction>139AEXT. NURBURGRING - CRASH SITE - DAY 139A</stage_direction> <scene_description>AMBULANCES arrive. The Driver is badly hurt. Screaming in pain. His leg is crushed. Bone is sticking out. A brutal compound fracture. He is taken away.</scene_description> </scene> <scene> <stage_direction>139BINT/EXT. NURBURGRING PITLANE - DAY 139B</stage_direction> <scene_description>In the pits, everyone is shaken. JAMES, REGAZZONI, and other DRIVERS nervously talk among themselves as the Ambulance races past. NIKI's face: visibly pale. More frightened than ever.</scene_description> </scene> <scene> <stage_direction>EXT. NURBURGRING - DAY</stage_direction> <scene_description>Race-day. Huge crowds arrive at the Nurburgring. And rain. Heavy rain falling. Television commentary informs us about the Nurburgring's terrible reputation as a 'graveyard' track.</scene_description> </scene> <scene> <stage_direction>EXT. NURBURGRING - DAY</stage_direction> <scene_description>JAMES arrives at the race track, to find ALASTAIR CALDWELL waiting for him, a concerned look on his face...</scene_description> <character>CALDWELL</character> <dialogue>We've just been told, a driver's meeting has been called.</dialogue> <character>JAMES</character> <dialogue>Who by?</dialogue> <character>CALDWELL</character> <dialogue>Niki.</dialogue> <scene_description>JAMES's face. Instantly suspicious.</scene_description> </scene> <scene> <stage_direction>INT. MEETING ROOM - NURBURGRING RACE TRACK - DAY</stage_direction> <scene_description>About sixty people, (26 DRIVERS and all the different team REPRESENTATIVES), are assembled in the room, where a blazered FIA OFFICIAL and a member of the DRIVERS SAFETY COMMITTEE are sitting behind a table... A buzz of anticipation and curiosity. What's going on? What is all this about? NIKI gets to his feet, raises his hands calling for silence... CONTINUED:</scene_description> <character>NIKI</character> <dialogue>Thank you. I called this meeting because as all drivers know the Nurburgring is a race track from the Stone Ages. The most stupid, barbaric, outdated, dangerous, track in the world. You've all seen the rain which has been falling this morning. Those of you with experience know the Ring needs perfect conditions to be even remotely acceptable in terms of risk. As you can see today is anything BUT perfect, so I called this meeting to take a vote to cancel the race.</dialogue> <scene_description>A ripple of astonished reactions among the drivers..</scene_description> <character>NIKI</character> <dialogue>There would be no change to the situation as far as points is concerned. The race would simply be cancelled.</dialogue> <scene_description>TEDDY MAYER looks over at FERRARI representatives....</scene_description> <character>MAYER</character> <dialogue>This is bullshit...</dialogue> <scene_description>Another DRIVER (GUY EDWARDS) gets to his feet...</scene_description> <character>EDWARDS</character> <dialogue>If the race is cancelled, none of us get our race fees...</dialogue> <character>NIKI</character> <dialogue>It's true. You leave without your fee, but you might leave with your LIFE.</dialogue> <scene_description>Another voice pierces the controversy...</scene_description> <character>VOICE</character> <dialogue>It also means you would effectively win the championship.</dialogue> <scene_description>It's JAMES HUNT, who is standing up...</scene_description> <character>JAMES</character> <dialogue>So I can see why this suits you just fine.</dialogue> <character>NIKI</character> <dialogue>Why? There would be no points for me either...</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAMES</character> <dialogue>But there would be one race less where I, or anyone else, could catch you.</dialogue> <scene_description>Uproar in the room...</scene_description> <character>BRETT LUNGER</character> <dialogue>James is right! This is just tactics!</dialogue> <character>ARTURO MERZARIO</character> <dialogue>Ferrari's dirty tricks! We've seen it before!</dialogue> <character>HARALD ERTL</character> <dialogue>Maybe it's just that he's frightened?</dialogue> <scene_description>Laughter among the DRIVERS...</scene_description> <character>NIKI</character> <dialogue>Which asshole said this?</dialogue> <scene_description>Silence. No hand goes up. No one has the courage to own up.</scene_description> <character>NIKI</character> <dialogue>Yes, I am frightened. Always a little bit when I race. I accept every time I get in my car there is 20% chance that I could die. But not one per cent more. And today, with the rain the risk IS more. How dare you accuse me of lack of courage? Let me remind you. I have the track record here. I am the only person in history to do the Ring in under 7 minutes. So actually it's to my ADVANTAGE to race here today. Because I'm quicker than all of you.</dialogue> <scene_description>A stunned silence. One voice pierces the room...</scene_description> <character>JAMES</character> <dialogue>Fine. Then let's race!</dialogue> <scene_description>It's JAMES who stares at NIKI: a ripple of excitement and enthusiasm among the other drivers...</scene_description> <character>JAMES</character> <dialogue>There's a hundred thousand fans out there who would never forgive us if we didn't.</dialogue> <character>MERZARIO</character> <dialogue>And some of us need our race fees!!</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>FIA OFFICIAL</character> <dialogue>All those in favour of cancelling the race?</dialogue> <scene_description>NIKI puts his hand up. One or two other racers, too...</scene_description> <character>FIA OFFICIAL</character> <dialogue>All those in favour of racing?</dialogue> <scene_description>JAMES puts his hand up. Clearly the more popular, charismatic figure among the DRIVERS, everyone else follows.</scene_description> <character>FIA OFFICIAL</character> <dialogue>Gentlemen, start your engines!!</dialogue> <scene_description>A clear victory for JAMES. He has swung the room. Everyone leaves the room. JAMES and TEDDY MAYER give one another a discreet hi-five... But we rack focus through the crowd to see NIKI staring at JAMES accusingly...holding his gaze.</scene_description> </scene> <scene> <stage_direction>EXT. STARTING GRID - DAY</stage_direction> <scene_description>"RRRROAAAR", an explosion of noise, as we widen and find ourselves on the starting grid of the German Grand Prix. An OFFICIAL walks through the cars holding aloft a sign, "One Minute"... Deafening, angry thunder, as cars rev their engines. 143AAN EYE FLICKERS - WIDE OPEN - STARING INTENTLY 143A A pupil dilates and contracts in the light. The eye stares. Blinks. Thinks. Making evaluations..</scene_description> </scene> <scene> <stage_direction>EXT. CLOUDY SKY - GERMANY - DAY</stage_direction> <scene_description>This time the eye belongs to JAMES. He stares up at the clouds. His eyelids flicker. Thinking. Agonizing. Wrestling with an all important decision... Is it going to carry on raining? Or become dry? ALASTAIR CALDWELL comes up to JAMES, and shouts above the noise - no time to plug his headset in... CONTINUED:</scene_description> <character>CALDWELL</character> <dialogue>Jochen's going on slicks. You want to change?</dialogue> <scene_description>JAMES looks in his wing-mirror back to his colleague, JOCHEN MASS's car, number 12, several rows behind him. White helmet. A team of Mclaren MECHANICS hastily changing the tyres to bald, dry tyres - ('slicks'). Then JAMES looks over at the car beside him...</scene_description> <character>JAMES</character> <dialogue>Has Niki changed?</dialogue> <character>CALDWELL</character> <dialogue>No. He's going on wets.</dialogue> <scene_description>NIKI's car: surrounded by Italian Ferrari MECHANICS.</scene_description> <character>JAMES</character> <dialogue>Then we go on wets, too.</dialogue> <scene_description>JAMES pulls down his visor...as he and NIKI's eyes meet for a split-second, then... The STARTER waves the flag. They're off! JAMES's foot hits the floor - his engine screams at almost 9,000 rpms, drowning out the roar of the 180,000 crowd. The car is catapaulted forward, the wheel-spin leaving livid black scars on the asphalt.. JAMES and NIKI both make good starts, and are neck and neck, but within seconds there's a McLaren right behind them, gaining fast. JAMES realizes it's his team-mate, JOCHEN MASS in a white helmet. Number 12. On his slick tyres. MASS was right to gamble on the track drying out. JAMES curses under his breath...</scene_description> <character>JAMES</character> <dialogue>Shit...!</dialogue> <scene_description>JAMES screwed up. Made the wrong decision. He urgently needs to change tyres. With barely one lap completed... He swerves angrily into the pits..</scene_description> </scene> <scene> <stage_direction>INT. PITS - DAY</stage_direction> <scene_description>Commentary from all the world's TV stations explaining the crazy, panicked situation as JAMES comes into the pits to change to dry tyres. The McLaren team frantically changes the tyres. Four men with air guns, two men with rapid-duty jacks. ALASTAIR CALDWELL appears, talks to JAMES..</scene_description> <character>CALDWELL</character> <dialogue>See? I told you to go on slicks!! You didn't take my advice...</dialogue> <character>JAMES</character> <dialogue>Shut up! Where's Niki?</dialogue> <character>CALDWELL</character> <dialogue>Behind you! He made the same mistake!</dialogue> <scene_description>JAMES looks in his mirror to see NIKI's red helmet behind him in the pits, then... "Thump", new (slick) tyres hit the tarmac. JAMES gets the signal, 'Clear!'</scene_description> <character>CALDWELL</character> <dialogue>Go! Go!! Go!!</dialogue> <scene_description>JAMES's foot hits the floor. He roars out, with new tyres, leaving NIKI behind him in the pits...</scene_description> </scene> <scene> <stage_direction>EXT. NUBURGRING - DAY</stage_direction> <scene_description>Archive commentary: from the world's TV stations informs us that JAMES roars up into 3rd position..</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S CAR - DAY</stage_direction> <scene_description>JAMES gives it everything he's got. Tearing through the gears, breaking as late as he can, engine screaming. The world flies past in a blur. The steering wheel shakes. The car cannot be driven any harder. No thought for safety. No thought of failure.. Failure is unimaginable. Unconscionable. He turns into the final straight, then stops when he sees something ahead. CONTINUED: Flags. Red flags. RACE MARSHALLS. Something has clearly happened. An accident.. The race is being stopped. JAMES brakes, slowing down. He pulls level with a uniformed MARSHALL..</scene_description> <character>JAMES</character> <dialogue>What's up?</dialogue> <character>MARSHALL</character> <dialogue>Accident. Bad one.</dialogue> <character>JAMES</character> <dialogue>Who?</dialogue> <character>MARSHALL</character> <dialogue>We don't know yet.</dialogue> </scene> <scene> <stage_direction>INT. NIKI'S CAR - SAME TIME</stage_direction> <scene_description>NIKI's POV: a continuation of the opening scene. Burning smoke fills NIKI's helmet, burning his lungs. He cries out in agony.</scene_description> <character>NIKI</character> <dialogue>AAAAARRRRGHGHGGHGH!!!!</dialogue> <scene_description>We can just make out the barely recognizable figures of the other DRIVERS rushing towards him, as their hands get burnt in the flames as they try unsuccessfully to undo his seatbelt... We notice it is the same DRIVERS that were critical of NIKI in the driver's meeting. HARALD ERTL, BRETT LUNGER, ARTURO MERZARIO, GUY EDWARDS... Fire extinguishers blast at the car. Covering NIKI's helmet. Filling his lungs with chemicals, along with the smoke and fumes, blurring his vision, as he screams horribly.. The sound of panicked TV COMMENTARY in different languages. Screaming voices. Panicked reactions. Then sound fades. As NIKI blacks out - losing consciousness. FADE TO BLACK: OVER THIS: the hypnotic sound of helicopter blades...</scene_description> <character>NIKI (V/O)</character> <dialogue>August 1st, 1976, I discovered comas exist for a reason.</dialogue> </scene> <scene> <stage_direction>EXT. MANNHEIM UNIVERSITY HOSPITAL - DAY</stage_direction> <scene_description>NIKI's POV: the door to a helicopter opens, as it arrives at Mannheim University Hospital... The sound of shouting voices. Hospital STAFF pull reach towards NIKI, pull his stretcher out. NIKI's internal voice groans: cries out at the pain.</scene_description> <character>NIKI (V/O)</character> <dialogue>Some things are better not remembered.</dialogue> </scene> <scene> <stage_direction>INT. MANNHEIM UNIVERSITY HOSPITAL - DAY</stage_direction> <scene_description>"Crash", doors burst open and NIKI is rushed into emergency. Neon ceiling lights pass overhead... The sound of difficult breathing. His stretcher is surrounded by DOCTORS, talking urgently, making quick assessments.. NIKI's POV: fading in and out of consciousness. Bursts of concerned, urgent, overlapping dialogue among the German DOCTORS which NIKI can barely make out..</scene_description> </scene> <scene> <stage_direction>INT. INTENSIVE CARE UNIT - MANNHEIM HOSPITAL - DAY</stage_direction> <scene_description>Two narrow, barely open slits of light. NIKI's swollen eye- lids. NIKI's POV: barely making out MARLENE standing beside the senior burns specialist DOCTOR. NIKI hears voices...</scene_description> <character>DOCTOR</character> <dialogue>It's not the burns to his face that are the danger. It's the burns to his lungs. His blood oxygen level is currently...</dialogue> <character>NURSE</character> <dialogue>6.8.</dialogue> <character>DOCTOR</character> <dialogue>Which is not enough to maintain life...</dialogue> <scene_description>NIKI slips out of consciousness again. MARLENE is distraught, in tears. OMITTED OMITTED TELEVISION NEWS - FULL-FRAME TV news: giving the latest information on NIKI's condition.</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S APARTMENT - LONDON - NIGHT</stage_direction> <scene_description>JAMES sits watching the news on TV in his apartment, while feeding his budgerigars, (the collection has grown).. He feels terrible. He goes to his desk, pulls out paper and pen... JAMES tries to find the right words, tries to write, tries to put his feelings on paper, but words in general, and letters in particular have never been his thing... JAMES scrunches up the pieces of paper, throws it away. The budgerigars, sensing his distress, flutter and peep..</scene_description> </scene> <scene> <stage_direction>INT. INTENSIVE CARE UNIT - DAY</stage_direction> <scene_description>NIKI's P.O.V: feels someone touching his forehead and his hands with oil...and the sound of a WOMAN weeping...</scene_description> <character>PRIEST</character> <dialogue>...durch diese heilige Salbung helfe dir der Herr in seinem reichen Erbarmen, er stehe dir bei mit der Kraft des Heiligen Geistes...</dialogue> <scene_description>NIKI's eyes barely crack open, barely manage to focus to see an ELDERLY PRIEST is giving him the last rites in German.. The sound of MARLENE crying somewhere in the room.</scene_description> <character>PRIEST</character> <dialogue>Der Herr der dich von Sunden befreit, rette dich in seiner Gnade richte er dich auf...</dialogue> <scene_description>NIKI strains to move. A sense of excruciating pain. He fights to open his eyes, give an indication...ANY indication of the fact that he is hearing this, and is alive and able to fight for life... But to no avail. The PRIEST continues giving last rites. MARLENE continues to cry. The PRIEST touches NIKI's shoulder...</scene_description> <character>NIKI (V/O)</character> <dialogue>I'm here! Can't you tell? I'm here!</dialogue> <scene_description>CONTINUED: NIKI screams inside. Wanting to be heard. Wanting to give them a sign. He's OK. He's still there. But it's no use. NIKI blacks out again. The pain is too great. FADE TO BLACK:</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - HOSPITAL - DAY</stage_direction> <scene_description>Sunrise: MARLENE has been sitting in the hospital all night supported by members of FAMILY and several FRIENDS. Niki's MOTHER and FATHER. CLAY REGAZZONI. Presently: the door to the intensive care unit opens and a DOCTOR comes out, beckoning her...</scene_description> <character>DOCTOR</character> <dialogue>Frau Lauda? Bitte kommen Sie! He's awake! And just spoke!</dialogue> <scene_description>MARLENE scrambles to her feet...</scene_description> <character>MARLENE</character> <dialogue>What did he say?</dialogue> <character>DOCTOR</character> <dialogue>"Tell the Priest to fuck off! I'm still alive!!"</dialogue> <scene_description>MARLENE covers her mouth, laughs nervously, already in tears. She and the DOCTOR rush into the intensive care unit.</scene_description> </scene> <scene> <stage_direction>EXT. INTENSIVE CARE UNIT - DAY</stage_direction> <scene_description>Shooting through the window we see MARLENE approach NIKI's bed. She sees NIKI.. And gasps. Trying to control her expression. Not give away to him how horrified she is. NIKI's face: is grotesque. His head has swollen to double it's size. The skin has burned off on his head, his eyes. MARLENE bravely composes herself. Then, without displaying the shock she feels - she goes over and kisses him. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. NIKI'S HOSPITAL ROOM/TELEVISION COVERAGE FULL FRAME -DAY</stage_direction> <scene_description>The starter's flag drops. On television we see the Austrian Grand Prix start. NIKI watches the race on television, while beginning his rehab in bed, in pain as bandages are changed.. ON TV: JAMES narrowly misses out on a podium, but still gains on NIKI in his points total... CAPTION: "RACE 11. HUNT FINISHES 4th"</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY - (A WEEK LATER)</stage_direction> <scene_description>NIKI continues his rehab in the hospital, now out of bed... ON TV: the starter's flag drops. Another Grand Prix starts. This time at Zandvoort, in the Netherlands.. NIKI watches the race on television as DOCTORS put a vacuuum pump into his lungs. It's AGONY. JAMES leads, driving the perfect race...</scene_description> <character>YOUNG GERMAN DOCTOR</character> <dialogue>We need to vacuum the lungs. Without this, they can't heal. But it will hurt.</dialogue> <scene_description>An unimaginably painful pump is forced down his burned lungs, to try to hoover out the impurities.. COMMENTATORS ON TV: talk about how HUNT is catching up with LAUDA on points. It spurs NIKI on, through gritted teeth.</scene_description> <character>NIKI</character> <dialogue>Aaarrrggghhhh...</dialogue> <scene_description>The chequered flag. JAMES crosses the line in first position. CAPTION: "RACE 12. HUNT WINS." The DOCTORS tell NIKI he's had enough vacuum treatment. He's had more than enough pain. But NIKI waves them aside...</scene_description> <character>NIKI</character> <dialogue>Again!!</dialogue> <scene_description>The DOCTOR nods. The vacuum is turned on again. NIKI screams in agony. Eyes bulging. MARLENE and NIKI's family cannot bear to watch... CONTINUED: He watches as ON TV: JAMES is on the victory podium spraying champagne.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>NIKI continues screaming in pain, watching the Canadian GP on TV as.. CAPTION: "RACE 13 CANADIAN GRAND PRIX. HUNT WINS AGAIN" For the first time, JAMES has taken the lead in points. NIKI stares at the TV: his expression changes. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>NIKI screams again. MARLENE, NIKI's family and the DOCTORS are deeply distressed, cannot bring themselves to watch, as...</scene_description> <character>NIKI</character> <dialogue>Aaaaarrrrggghghhhhhh!!</dialogue> <scene_description>We WIDEN to reveal what NIKI is doing. What has caused these unbearable, bloodcurdling screams of agony..</scene_description> <character>NIKI</character> <dialogue>I know what you're all thinking...</dialogue> <scene_description>Now we see. With great difficulty NIKI has put his racing helmet on for the first time. Pressing into his open burn wounds...</scene_description> <character>NIKI</character> <dialogue>But if you love me - all of you - you won't say a word.</dialogue> <scene_description>He is almost unconscious with pain. His legs are weak. But he has done it...</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN GRAND PRIX - MONZA - 12TH SEPT 1976 -DAY</stage_direction> <scene_description>The Italian Grand Prix. TELEVISION COMMENTARY sets the scene. JAMES and the MCLAREN TEAM arrive in the pits to see a vast commotion going on elsewhere...</scene_description> <character>JAMES</character> <dialogue>What's going on?</dialogue> <character>CALDWELL</character> <dialogue>Jesus. It's Niki.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>What about him?</dialogue> <character>CALDWELL</character> <dialogue>He's here! He's racing!</dialogue> <character>JAMES</character> <dialogue>What?? They said he was half-dead.</dialogue> <scene_description>JAMES stares. Shaken.</scene_description> </scene> <scene> <stage_direction>EXT. MONZA PITLANE/ FERRARI PITS - DAY</stage_direction> <scene_description>JAMES pushes through the pitlanes, until he reaches the crowded FERRARI pits. He sees a racer in the background. The name LAUDA on his overalls...</scene_description> <character>JAMES</character> <dialogue>Niki?</dialogue> <scene_description>NIKI turns round. JAMES sets eyes on him for the first time. JAMES reels, visibly horrified by his appearance. His bandages are blood stained. He has no hair. Looks grotesque.. NIKI sees the horror in JAMES's face. Sees the shock. The horror. And recognizes in that moment, this is how it's going to be - this is how people will respond to him - forever.</scene_description> <character>NIKI</character> <dialogue>Wow. It's that bad, huh?</dialogue> <scene_description>JAMES opens his mouth. Tries to say something.</scene_description> <character>NIKI</character> <dialogue>In the hospital I told them to tell me straight, no bullshit - how bad it would be. My appearance. They said with time it'd be fine. But it won't. I can tell, seeing your reaction. I am going to spend the rest of my life with a face that frightens people.</dialogue> <scene_description>NIKI stares at JAMES, at his rival's beauty, his blonde, tanned perfection. His matinee idol, movie star looks...</scene_description> <character>NIKI</character> <dialogue>That's a tough one to get used to.</dialogue> <character>JAMES</character> <dialogue>I wrote you a letter at the time. To apologize.</dialogue> <parenthetical>(a beat)</parenthetical> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>The driver's meeting in Germany? Before the race? I swayed the room.</dialogue> <character>NIKI</character> <dialogue>Yes. You did.</dialogue> <character>JAMES</character> <dialogue>That race should never have gone ahead.</dialogue> <character>NIKI</character> <dialogue>No.</dialogue> <character>JAMES</character> <dialogue>So in some ways...I feel responsible for what happened. I'm sorry.</dialogue> <character>NIKI</character> <dialogue>Trust me, watching you win those points and all those races while I was in hospital fighting for my life...you were equally responsible for getting me better.</dialogue> <scene_description>Ouch. That could have been meant generously. But in this case it wasn't. It was a cold slap in the face. NIKI turns and goes.</scene_description> </scene> <scene> <stage_direction>INT. MONZA GRAND PRIX - PRESS CONFERENCE - DAY</stage_direction> <scene_description>A packed press conference. The world's media. NIKI's accident and recovery (as a story) has reached way beyond F1 race fans. This is front page news around the globe.. NIKI walks out onto the podium - all eyes staring at him - the sense of a ghoulish, voyeuristic freak show.... NIKI sits on the podium, in front of microphones, flanked on both sides by FERRARI drivers and top brass. But no one wants to talk to them. Everyone's here to talk to NIKI..</scene_description> <character>JAPANESE JOURNALIST</character> <dialogue>How are you feeling, Niki?</dialogue> <character>NIKI</character> <dialogue>Fine.</dialogue> <character>AMERICAN JOURNALIST</character> <dialogue>Can you confirm for us exactly which procedures you have had? And the expectations for your recovery?</dialogue> <scene_description>CONTINUED:</scene_description> <character>NIKI</character> <dialogue>Sure. I had a skin graft operation where they put half my right thigh in my face. It doesn't look too good but one unexpected advantage is it's impossible to perspire through a skin graft, so sweat will never run in my eyes again - which is good for a driver.</dialogue> <scene_description>Laughter. At the back of the hall, JAMES HUNT creeps in, (unseen by anyone, disguised in a hat), to listen.</scene_description> <character>BRAZILIAN JOURNALIST</character> <dialogue>When they heard about your condition, Ferrari immediately hired another driver, Carlos Reutemann.</dialogue> <character>NIKI</character> <dialogue>Ja. Before even my first operation.</dialogue> <character>JAPANESE JOURNALIST</character> <dialogue>Is he your replacement now?</dialogue> <character>NIKI</character> <dialogue>No. Just another team-mate. Keen to make an impression. So let's see where Mr. Reutemann finishes today.</dialogue> <scene_description>Laughter.</scene_description> <character>JAPANESE JOURNALIST</character> <dialogue>James Hunt and McLaren have caught up a lot while you were away.</dialogue> <character>NIKI</character> <dialogue>Yes.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Is there a question now? Or are you just trying to piss me off?</dialogue> <scene_description>Laughter.</scene_description> <character>JAPANESE JOURNALIST</character> <dialogue>You think you can still win?</dialogue> <character>NIKI</character> <dialogue>Of course. I have the better car. I'm the better driver. But he's a clever guy and has used the time well while I was lying half-dead in hospital to win some points..</dialogue> <scene_description>Laughter. CONTINUED: (2)</scene_description> <character>BRITISH JOURNALIST</character> <dialogue>What did your wife say when she saw your face?</dialogue> <character>NIKI</character> <dialogue>She said, "Sweetie, you don't need a face to drive. Only a right foot."</dialogue> <scene_description>Laughter.</scene_description> <character>BRITISH JOURNALIST</character> <dialogue>I'm being serious. Do you really think your marriage can survive? With the way you look now?</dialogue> <scene_description>Silence. NIKI squints into the lights..</scene_description> <character>NIKI</character> <dialogue>And I'm being serious, too. Which asshole said this? Jesus..</dialogue> <scene_description>No one moves. NIKI, disgusted, rips off his microphone..</scene_description> <character>NIKI</character> <dialogue>Fuck you. Press conference over.</dialogue> <scene_description>NIKI walks out. The Press Conference breaks up... JAMES sees the REPORTER who asked the question, laughing with his friends. JAMES watches as the REPORTER leaves...</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE PRESS CONFERENCE - SAME TIME</stage_direction> <scene_description>JAMES goes after the REPORTER, and calls him..</scene_description> <character>JAMES</character> <dialogue>Hey..!</dialogue> <scene_description>The REPORTER turns, recognizes JAMES..</scene_description> <character>JAMES</character> <dialogue>I've got something for you on that last question...</dialogue> <scene_description>The BRITISH JOURNALIST smiles, "Great, thanks James!" Pulls out a tape recorder. JAMES takes him to one side, then... "WHACK, WHACK, WHACK" - JAMES punches his lights out, then takes the tape recorder, stuffs it into the JOURNALISTS mouth.</scene_description> <character>JAMES</character> <dialogue>Now go home to your wife and ask her how YOU look!!</dialogue> <scene_description>CONTINUED: "CRASH" a final, sickening blow splits the REPORTER's nose..</scene_description> <character>JAMES</character> <dialogue>Prick!</dialogue> </scene> <scene> <stage_direction>EXT. STARTING GRID - MONZA - DAY</stage_direction> <scene_description>JAMES walks out to his car. TV CREWS. Banks of PHOTOGRAPHERS. Commentators talk in different languages. Everyone talking about NIKI's comeback. NIKI is in his car. The MECHANICS are talking to him in Italian... But NIKI hears nothing. He looks at the steering wheel, the shell of the car, the gear stick. And then we see.. His hands are shaking violently. He's utterly terrified. The light turns green. They're off! Other cars (including JAMES's), roar forward. But NIKI is frozen.</scene_description> </scene> <scene> <stage_direction>EXT. TRACK - DAY</stage_direction> <scene_description>NIKI's mind is a mess - terrified - he starts slowly...finding his courage.. COMMENTATORS point out it's madness. It was clearly too soon. Ferrari were right to hire a replacement. NIKI is a wreck.. NIKI suffers terrible flashbacks from his accident... NIKI shakes himself out...gradually building up speed - ignoring the cars overtaking him all around him... NIKI begins to accelerate. Gently at first. Then a bit more. Trusting himself. Gaining confidence.. Blocking out further flashbacks...</scene_description> </scene> <scene> <stage_direction>170AINT. HOSPITAL - DAY 170A</stage_direction> <scene_description>Watching NIKI from the hospital where he had his treatment is the DOCTOR who treated him...</scene_description> </scene> <scene> <stage_direction>170BEXT. TRACK - DAY 170B</stage_direction> <scene_description>COMMENTATORS look up. Notice NIKI's slow increase in speed. What's this? Maybe there's life in him yet... NIKI changes gears smoothly. He begins to overtake. The old feelings come back..</scene_description> </scene> <scene> <stage_direction>170CEXT. PADDOCK/PITS - SAME TIME 170C</stage_direction> <scene_description>MARLENE watches from the pits. Can hardly bring herself to look...</scene_description> </scene> <scene> <stage_direction>170DEXT. TRACK - DAY 170D</stage_direction> <scene_description>COMMENTATORS begin to get excited. LAUDA has started to overtake the back-markers... An incredible sequence. As NIKI gains more confidence, more speed, and begins to work his way through the field.. COMMENTATORS now buzzing with excitement. This is incredible, as NIKI overtakes first CARLOS REUTEMANN, the driver hired to replace him, then others, working his way through the field...</scene_description> </scene> <scene> <stage_direction>170EINT. JAMES'S CAR - SAME TIME 170E</stage_direction> <scene_description>JAMES sees NIKI coming up behind him. Cannot believe his eyes. JAMES move to block NIKI's path... NIKI attacks fearlessly. Despite terrible pain. NIKI moves to overtake JAMES. Utterly intimidated by NIKI's bravery, JAMES panics, and loses control of the car. He spins out.. COMMENTATORS cannot believe their eyes. HUNT's blown it! LAUDA's overtaken him! It's a miracle. It defies belief. As NIKI crosses the line.... CAPTION: "RACE 15. NIKI 4th. JAMES RETIRED." OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. MONZA - DAY</stage_direction> <scene_description>The Italian crowds are ecstatic. Delirious. NIKI is a national hero. Lazarus back from the dead. Superhuman. CONTINUED: TV commentary in different languages elaborates on what an extraordinary, superhuman achievement they have just seen... CAPTION: "LAUDA 68 POINTS. HUNT 65 POINTS."</scene_description> <character>STIRLING MOSS</character> <dialogue>What a race! What a man! What a season! Now it all boils down to the final race in Japan!</dialogue> <scene_description>Hunt walks past, staring at a triumphant Niki.</scene_description> </scene> <scene> <stage_direction>172AINT. HOSPITAL - SAME TIME 172A</stage_direction> <scene_description>The DOCTOR in the hospital shakes his head, cannot believe what he has just witnessed...</scene_description> </scene> <scene> <stage_direction>172BEXT. PITS - SAME TIME 172B</stage_direction> <scene_description>The Ferrari Mechanics that had initially so disliked NIKI, are overwhelmed by what he has achieved...</scene_description> </scene> <scene> <stage_direction>172CEXT. TRACK - DAY 172C</stage_direction> <scene_description>A reluctant, modest NIKI carried on shoulders, surrounded by LUCA DI MONTEZEMOLO, MARLENE and the PRESS... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FUJI SPEEDWAY - JAPAN - DAY</stage_direction> <scene_description>Mount Fuji towers imperiously, dramatically above the Japanese race track, dominating the skyline on a clear day.. Television cameras and press photographers assemble at the race track for the biggest sporting event of the year...</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>JAMES sits alone in his hotel suite. Speaking to an old, trusted friend at the other end...</scene_description> <character>JAMES (ON PHONE)</character> <dialogue>The man was in a coma. His doctors pronounced him dead!! Then he comes back and does THAT???</dialogue> </scene> <scene> <stage_direction>174AINT. BUBBLES HORSELY HOME - MORNING 174A</stage_direction> <scene_description>BUBBLES HORSLEY back at home in England. At a breakfast table..</scene_description> <character>BUBBLES (ON PHONE)</character> <dialogue>What did you expect? That Niki would give you the championship lying down? Of course not. He's a fighter. He's going to come at you with everything he's got. But you can do this. As a driver, you're his equal - better, maybe. And God knows you're quick and brave enough. You just..</dialogue> <character>JAMES (ON PHONE)</character> <dialogue>What?</dialogue> <character>BUBBLES (ON PHONE)</character> <dialogue>Need to find the respect for yourself to close out when it really matters. You don't much like yourself, James - that's the problem, therefore don't believe you deserve it.</dialogue> </scene> <scene> <stage_direction>174BINT. JAMES'S HOTEL ROOM - NIGHT 174B</stage_direction> <scene_description>A knock at JAMES's hotel room door..</scene_description> <character>JAMES</character> <dialogue>I've got to go.</dialogue> <scene_description>JAMES hangs up, and goes to the door. He snaps it open to reveal.. Two gorgeous-looking BOAC Stewardesses standing outside. Smart blue blazers, short skirts, white gloves, blue caps..</scene_description> <character>STEWARDESS</character> <dialogue>Hi. We've come for the party?</dialogue> <character>JAMES</character> <dialogue>What party?</dialogue> <character>STEWARDESS</character> <dialogue>The party we were told was going on in room 2109.</dialogue> <scene_description>Sure enough: on JAMES's door, the number 2109.</scene_description> <character>JAMES</character> <dialogue>Who sent you here?</dialogue> <scene_description>174BCONTINUED: 174B</scene_description> <character>STEWARDESS</character> <dialogue>A man. On the phone. He didn't give his name.</dialogue> <character>JAMES</character> <dialogue>This man. Did he speak with an accent?</dialogue> <character>STEWARDESS</character> <dialogue>Yes. German accent.</dialogue> <scene_description>JAMES can't believe it. NIKI.</scene_description> <character>JAMES</character> <dialogue>I'm afraid it was a joke..</dialogue> <character>STEWARDESS</character> <parenthetical>(liking the look of JAMES)</parenthetical> <dialogue>Awwww. Pity.</dialogue> <character>JAMES</character> <dialogue>Sorry, ladies. Any other time. Not tonight.</dialogue> <scene_description>JAMES closes the door. Goes back into his hotel room. Then, after a moment... He snaps open the door. The STEWARDESSES are about to disappear into the elevator...</scene_description> <character>JAMES</character> <dialogue>Wait..!</dialogue> </scene> <scene> <stage_direction>EXT. TOKYO SKYLINE - DAWN</stage_direction> <scene_description>The following morning, day barely breaks. The skies are ominously dark over Tokyo. Thick, black clouds. It's raining heavily...</scene_description> </scene> <scene> <stage_direction>INT. NIKI'S BEDROOM - HOTEL - DAY</stage_direction> <scene_description>NIKI wakes up and looks out of the window. Sees the heavy rain which is falling outside... His expression changes.</scene_description> </scene> <scene> <stage_direction>INT. JAMES'S BEDROOM - HOTEL - DAY</stage_direction> <scene_description>JAMES wakes up. Flinches. JAMES looks around, bleary-eyed. Hungover. He's in a room that looks like a bomb has hit it. CONTINUED: The two STEWARDESSES are still asleep in the bed beside him. Uniforms discarded on the floor. Memories are now flooding back. Jesus, what was he THINKING? JAMES leaps out of bed.</scene_description> </scene> <scene> <stage_direction>INT. NIKI'S ROOM - HOTEL - DAY</stage_direction> <scene_description>NIKI is being massaged by WILLI DUNGL in his hotel room in preparation for the race. NIKI continues to stare out of the window. They speak in German. We see sub-titles..</scene_description> <character>NIKI</character> <dialogue>Can't see the mountain.</dialogue> <character>DUNGL</character> <dialogue>So?</dialogue> <character>NIKI</character> <dialogue>The locals here believe if you can see the mountain in the morning, it brings good luck.</dialogue> <scene_description>NIKI's POV: the view. Nothing but mist, dark skies and rain. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. JAPANESE GRAND PRIX - FUJI SPEEDWAY - 24TH OCT 1976 -DAY</stage_direction> <scene_description>Inside the race track: puddles everywhere. The rain continues to fall. The circuit is covered in water... DRIVERS and the TEAMS arrive at the race track. JAMES and TEDDY MAYER and ALASTAIR CALDWELL among them... SPECTATORS are huddled under umbrellas. TV CREWS struggle to keep expensive equipment dry... An American VOICE comes over the tannoy...</scene_description> <character>TANNOY</character> <dialogue>All drivers to the control tower, please. Immediately.</dialogue> <scene_description>JAMES looks at CALDWELL...</scene_description> </scene> <scene> <stage_direction>INT. CONTROL TOWER - MEETING ROOM - DAY</stage_direction> <scene_description>A driver's meeting has been called. All the DRIVERS are in a small room, arguing and remonstrating with FIA OFFICIALS and blazer-wearing POWERS THAT BE... A Japanese official, (AKIYAMA), is trying to keep the peace...</scene_description> <character>AKIYAMA</character> <dialogue>One at a time! Gentlemen, please!</dialogue> <scene_description>Local JAPANESE DRIVERS are complaining in Japanese, (we see sub-titles)...</scene_description> <character>TAKAHARA</character> <dialogue>You can't send us out in that! It's a death sentence!</dialogue> <character>HASEMI</character> <dialogue>You have to postpone the race!</dialogue> </scene> <scene> <stage_direction>181AINT. CONTROL TOWER - CORRIDOR OUTSIDE - SAME TIME 181A</stage_direction> <scene_description>JAMES, MAYER and CALDWELL arrive in a corridor outside the meeting room...</scene_description> <character>MAYER</character> <dialogue>Niki's talking to them about cancelling the race.</dialogue> <scene_description>JAMES's POV: he can see NIKI, his wounds horribly visible, remonstrating with the JAPANESE OFFICIAL about the dangerous track conditions... JAMES turns to TEDDY and ALASTAIR...</scene_description> <character>JAMES</character> <dialogue>I don't want any part of this. I'm not going to be responsible for turning the room again.</dialogue> <character>CALDWELL</character> <dialogue>But you have no option. You HAVE to race, James. It's your only shot. If you don't, Niki wins..</dialogue> <character>JAMES</character> <dialogue>I'm not voting against Niki again....or forcing fellow drivers to risk their lives. Sorry. World Championship or not...</dialogue> <scene_description>JAMES raises his hands and walks off. CALDWELL shouts after him, "James, wait..!" Then MAYER reassures CALDWELL... 181ACONTINUED: 181A</scene_description> <character>MAYER</character> <dialogue>Don't worry, this race is going ahead. The TV rights have been sold all around the world.</dialogue> <scene_description>MAYER can see that a vote is taking place in the room. Many of the drivers have their hands in the air, voting... The JAPANESE OFFICIAL is struggling to keep order in the room.</scene_description> <character>MAYER</character> <dialogue>The drivers can vote all they like.</dialogue> <scene_description>A round of applause in the room, as the DRIVERS vote to cancel the race. But unseen by the DRIVERS.. The FIA OFFICIALS, TV NETWORK EXECUTIVES, and the blazered POWERS THAT BE are in dark, conspiratorial discussion.. ...making the decision that the race goes ahead. ARCHIVE TELEVISION FOOTAGE NEWSCASTERS from all over the world, in several different languages, announce that a decision has been made.. The JAPANESE Grand Prix is definitely going ahead. The drivers have been called to the starting grid... OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PITS - VARIOUS - DAY</stage_direction> <scene_description>In the pits alongside JAMES... A series of shots of the other DRIVERS...being sent out like lambs to the slaughter... Visibly terrified, mouthing prayers, smoking last cigarettes, meditating, crossing themselves, hands shaking.. Among them the JAPANESE DRIVERS. All laughter gone now. Realizing what they've got into. Risking their lives. Finally we come to rest on NIKI. Strangely calm. NIKI puts on his balaclava over his still-raw wounds, wincing with pain as he puts on his helmet..</scene_description> </scene> <scene> <stage_direction>EXT. JAPANESE GP - STARTING GRID - DAY</stage_direction> <scene_description>JAMES is piggy-backed to his car by MECHANICS so his feet don't get soaked in the water pooling deep on the track.</scene_description> </scene> <scene> <stage_direction>EXT. JAPANESE GP - STARTING GRID - DAY</stage_direction> <scene_description>JAMES lowers himself into a car with puddles on the seat. He straps himself in. ALISTAIR CALDWELL approaches with a power-drill. Leans towards JAMES, with the screaming drill...</scene_description> <character>CALDWELL</character> <dialogue>Keep still...</dialogue> <character>JAMES</character> <dialogue>What are you doing???</dialogue> <scene_description>'ZZZZ", "ZZZZ", "ZZZZ", CALDWELL drill holes in JAMES's visor.</scene_description> <character>CALDWELL</character> <dialogue>To let the condensation out.</dialogue> <character>JAMES</character> <dialogue>But it will also let the water in.</dialogue> <character>CALDWELL</character> <dialogue>Not if you're leading.</dialogue> <scene_description>CALDWELL stares at JAMES...</scene_description> <character>CALDWELL</character> <dialogue>Trust me. This race is all about the start. Whoever's in front will see everything. Whoever's second...</dialogue> <scene_description>CALDWELL gestures, "Nothing"..</scene_description> <character>CALDWELL</character> <dialogue>Good luck.</dialogue> <scene_description>They shake hands. JAMES starts the engine with a roar.</scene_description> </scene> <scene> <stage_direction>EXT. STARTING GRID - DAY</stage_direction> <scene_description>NIKI's engine replies with a loud roar. He looks over at JAMES. JAMES turns to face NIKI.. ALL SOUND GOES SILENT...</scene_description> </scene> <scene> <stage_direction>..as JAMES and NIKI stare at one another. All around them, the world slows down. Comes to a standstill.</stage_direction> <scene_description>CONTINUED: THEIR EYES MEET... A connection between them. Unspoken realization of where they have both got to. What this moment means. For them both.. It's what they have been waiting for. Working towards. All this time. NIKI raises his hand. In a gesture only JAMES sees. JAMES raises his in return. A private salute. Chivalric. From a bygone era. And in that moment, enemies become brothers. Two men. Risking their lives. THE TEN SECOND FLAG IS RAISED.. The moment's truce is broken. They return to the task at hand. THE FLAG DROPS. THEY'RE OFF.</scene_description> </scene> <scene> <stage_direction>EXT. RACE - JAPANESE GRAND PRIX - DAY</stage_direction> <scene_description>HUNT's foot hits the floor. NIKI's foot hits the floor... JAMES gets the better start. His car aquaplanes like crazy, skating over the water, totally out of control...</scene_description> </scene> <scene> <stage_direction>EXT. FUJI PIT WALL - DAY</stage_direction> <scene_description>CALDWELL and MAYER watch from the pit wall...</scene_description> <character>CALDWELL</character> <dialogue>Hold onto it, James..!</dialogue> </scene> <scene> <stage_direction>EXT. RACE - JAPANESE GRAND PRIX - DAY</stage_direction> <scene_description>Miraculously JAMES steadies the car... The spray from his wheels creates a curtain of mist. The other cars are wrapped inside it... But JAMES has a clear view ahead. He slams his foot down..</scene_description> <character>COMMENTATOR (V/O)</character> <dialogue>It's the perfect start for Hunt!</dialogue> </scene> <scene> <stage_direction>INT. NIKI'S CAR - SAME TIME</stage_direction> <scene_description>NIKI can see nothing. Surrounded by spray, water, noise. CONTINUED: Other cars are spinning all around him. It's chaos. NIKI bravely accelerates into blindness...</scene_description> <character>COMMENTATOR (V/O)</character> <dialogue>But Lauda's car is right on his tail! Barely visible in the spray..!</dialogue> </scene> <scene> <stage_direction>EXT. RACE - JAPANESE GRAND PRIX - DAY</stage_direction> <scene_description>JAMES goes to a corner, then his car twitches, aquaplanes again...badly...almost losing it completely...</scene_description> <character>COMMENTATOR (V/O)</character> <dialogue>Hunt turns too tightly! He almost lost his car right there...!</dialogue> </scene> <scene> <stage_direction>INT. EASTON NESTON - DAY</stage_direction> <scene_description>BUBBLES HORSLEY, ALEXANDER HESKETH and a number of the characters from the Hesketh Racing days are all watching...</scene_description> <character>HESKETH</character> <dialogue>Concentrate, Superstar!</dialogue> </scene> <scene> <stage_direction>INT. JAMES'S CAR - DAY</stage_direction> <scene_description>JAMES struggles to hold onto his car. He steadies it, maintaining the lead.</scene_description> </scene> <scene> <stage_direction>194AINT. NIKI'S CAR - SAME TIME 194A</stage_direction> <scene_description>JAMES's spray makes it impossible for NIKI to see. NIKI can't blink his eyes...it's agony. Half-blind, NIKI tries to overtake. Gives it everything he's got, breaking as late as he can, tearing through the gears... For NIKI the world flies past in a near-blind blur. The steering wheel shakes. The car cannot be driven any harder. But the visibility is terrible. The spray tears into his scarred eyes. He is unable to see anything but... MARLENE's beautiful face: staring at him. Smiling tenderly. Kissing him tenderly. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RACE TRACK - JAPAN - SAME TIME</stage_direction> <scene_description>JAMES continues to race flat out. Engine screaming. Foot to the floor. His car aquaplanes again...almost skidding out...</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - MANHATTAN - SAME TIME</stage_direction> <scene_description>SUZY HUNT is watching on television as RICHARD BURTON talks in the background on the telephone...</scene_description> <character>SUZY</character> <parenthetical>(urging him on)</parenthetical> <dialogue>Come on, James...</dialogue> </scene> <scene> <stage_direction>EXT. PITS - RACE TRACK - JAPAN - DAY</stage_direction> <scene_description>A sign is held up as JAMES races. Lap 39. But there are problems with the car. One of the tyres...</scene_description> <character>CALDWELL</character> <dialogue>God! His front tyre! Look! It's completely frayed!</dialogue> <scene_description>CALDWELL and TEDDY MAYER watch in horror from the pits and on TV. They can see the shaking car..</scene_description> <character>COMMENTATOR</character> <dialogue>Hunt's car has problems...it's shaking...the Englishman is definitely getting slower...</dialogue> </scene> <scene> <stage_direction>199AEXT. PITS - RACE TRACK - JAPAN - DAY 199A</stage_direction> <scene_description>ALASTAIR CALDWELL holds up a sign....</scene_description> <character>CHANGE TYRE</character> <dialogue>COMMENTATOR</dialogue> <scene_description>...with just a few laps to go, McLaren are calling for Hunt to come into the pits to change tyres... JAMES's car roars past the pits, refusing to stop...</scene_description> <character>COMMENTATOR</character> <dialogue>But Hunt is refusing! Simply ignoring his team's orders...! He's made the calculation that he can still hold onto the lead...!</dialogue> </scene> <scene> <stage_direction>199BINT. EASTON NESTON - SAME TIME 199B</stage_direction> <scene_description>HESKETH and BUBBLES cover their eyes. Can't look...</scene_description> <character>BUBBLES</character> <dialogue>James!! What are you doing???</dialogue> <character>HESKETH</character> <dialogue>I can't bear it!</dialogue> </scene> <scene> <stage_direction>199CINT. JAMES'S CAR - JAPAN GRAND PRIX - SAME TIME 199C</stage_direction> <scene_description>Suddenly, a Ferrari in JAMES's wing mirror. Unmistakably, even in the spray, he can see the distinctive RED HELMET... It's NIKI. JAMES's blood runs cold...</scene_description> <character>JAMES</character> <dialogue>No! No! NO!!!!</dialogue> <scene_description>JAMES tries to fend NIKI off. Swerves this way and that. But his wounded car is now running at seventy per cent at best... ...and disaster!!! NIKI OVERTAKES HIM... JAMES screams in agony and frustration. He's lost it! And has no one to blame but himself! His own arrogance. And stubbornness. NIKI's overtaken him! THE CHEQUERED FLAG. JAMES roars past. Has finished in third place. But that is no consolation. NIKI has beaten him. As far as he's concerned.. JAMES has lost. Lost everything.</scene_description> </scene> <scene> <stage_direction>EXT. PITS - DAY</stage_direction> <scene_description>JAMES's car arrives in the pits. In a fury. At himself. For refusing to listen. What a disgrace. What shame. What a fool. But he is engulfed. JAMES gets out of his car, raging...</scene_description> <character>JAMES</character> <dialogue>I'm sorry!</dialogue> <scene_description>But TEDDY MAYER is celebrating wildly. ALASTAIR CALDWELL, too. The world's media descends on JAMES...</scene_description> <character>MAYER</character> <dialogue>Sorry?? What are you talking about?? You did it!</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAMES</character> <dialogue>What?</dialogue> <character>MAYER</character> <dialogue>You WON!!</dialogue> <character>JAMES</character> <dialogue>Rubbish!! What about Niki?? He overtook me!! I saw it!! A Ferrari with a red helmet..</dialogue> <character>MAYER</character> <dialogue>That wasn't Niki. That was Regazzoni.</dialogue> <character>JAMES</character> <dialogue>What???</dialogue> <character>MAYER</character> <dialogue>Niki withdrew. Said it was too dangerous, refused to drive!!</dialogue> <parenthetical>(gestures)</parenthetical> <dialogue>You're Champion of the World, kiddo!</dialogue> <scene_description>TEDDY MAYER takes JAMES's number '11' from the side of his car, and tears it in two, leaving number '1'. JAMES's face: as he realizes. Then explodes with happiness.</scene_description> </scene> <scene> <stage_direction>200AINT. EASTON NESTON - DAY 200A</stage_direction> <scene_description>HESKETH and BUBBLES cheer in celebration...</scene_description> <character>HESKETH</character> <dialogue>He did it! He bloody well did it!</dialogue> </scene> <scene> <stage_direction>200BINT. HOSPITAL - NIGHT 200B</stage_direction> <scene_description>A television plays in the Emergency Ward of the hospital. NURSIE catches sight of the victory, patients cheering and applauding... NURSIE allows herself a smile.</scene_description> </scene> <scene> <stage_direction>200CINT. HOTEL - MANHATTAN - SAME TIME 200C</stage_direction> <scene_description>BURTON is at the door in tuxedo, waiting to go. SUZY, dressed glamorously, smiles.</scene_description> <character>SUZY</character> <dialogue>Well done, James..</dialogue> <scene_description>Then turns the TV off. And follows BURTON out.</scene_description> </scene> <scene> <stage_direction>200DEXT. JAPAN GRAND PRIX - DAY 200D</stage_direction> <scene_description>JAMES is embraced by CALDWELL and MAYER.</scene_description> </scene> <scene> <stage_direction>EXT. FUJI PADDOCK - HELICOPTER - SAME TIME</stage_direction> <scene_description>Across the race-track, the sound of helicopter blades turning. JAMES looks over to see... NIKI in the helicopter with MARLENE and a PILOT. NIKI, now the ex-World Champion, looks over to see a triumphant JAMES surrounded by press, McLaren colleagues, etc</scene_description> <character>MARLENE</character> <dialogue>Are you OK?</dialogue> <scene_description>NIKI turns, takes MARLENE's hand as he answers.</scene_description> <character>NIKI</character> <dialogue>Fine. It's just one race.</dialogue> <scene_description>The helicopter lifts into the air, and flies off...</scene_description> </scene> <scene> <stage_direction>EXT. PADDOCK - SAME TIME</stage_direction> <scene_description>JAMES watches as the helicopter carrying NIKI flies away, then turns to see... ...the world's press begins to descend on him, and the biggest party of JAMES HUNT's life is about to begin.. In the background, the two JAPANESE DRIVERS are giving interviews again. They didn't just survive, MASAHIRO HASEMI got the fastest lap of the race, and NORITAKE TAKAHARA came 9th... And at that moment, magically, the sun breaks through, and the snowy peak of Mount Fuji is finally revealed. A QUICKFIRE MONTAGE Of newspaper headlines, television talk shows, lucrative endorsements, TV commercials, sponsorship, public billboards. JAMES's world championship victory has made him a rich man. His movie star looks make him an international STAR and marketing man's dream. Girls, more girls, and even more girls. CONTINUED: JAMES, dashing in a white suit, plays trumpet on the UK's most famous talk show... FADE TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. RUNWAY - DAY</stage_direction> <scene_description>We're on the runway of an airport in Northern Italy. CAPTION: "THREE MONTHS LATER" A stretch limousine pulls up on the tarmac. A still-drunk JAMES HUNT and several good-looking WOMEN, rowdy FRIENDS (and hangers-on) spill out of the limo... They cross the tarmac towards their waiting private jet, passing other jets, when JAMES stops. He's seen something that has caught his eye. JAMES sends his FRIENDS on ahead to their waiting jet, and walks over to a small private jet, (a Learjet 35)...</scene_description> <character>JAMES</character> <dialogue>I heard you were spending more and more time in one of these...</dialogue> <scene_description>A hunched PILOT doing final checks. The figure turns. It's NIKI. His wounds have healed a little, but it's still a painful sight...</scene_description> <character>NIKI</character> <dialogue>Do you fly?</dialogue> <character>JAMES</character> <dialogue>No.</dialogue> <character>NIKI</character> <dialogue>You should try it. If something goes wrong up there, you're on the edge, but have to stay within the rules. Stick to regulations. Suppress the ego. It's good discipline for the racing.</dialogue> <character>JAMES</character> <dialogue>And there I was thinking you were about to wax lyrical about the romance of flight. I should have known better.</dialogue> <character>NIKI</character> <dialogue>What brings you here?</dialogue> <scene_description>CONTINUED: JAMES indicates his rowdy, cool-looking friends..</scene_description> <character>JAMES</character> <dialogue>A friend's wedding. At least I think it was a wedding. Might have been a birthday. All a bit of a blur. How about you? Been at Fiorano?</dialogue> <character>NIKI</character> <dialogue>Pre-season testing.</dialogue> <character>JAMES</character> <dialogue>Already? In February? You're relentless.</dialogue> <character>NIKI</character> <dialogue>Thank you.</dialogue> <character>JAMES</character> <dialogue>I'm not sure I meant it as a compliment.</dialogue> <character>NIKI</character> <dialogue>But it is one. Relentlessness is good. Means you're a fighter. That you never give up. Behind my back I know some of you guys call me 'The Rat.' Because I look like one. It's meant as an insult. But I don't mind it. Rats are ugly, sure. And no one likes them. But they're intelligent. With a strong survival instinct.</dialogue> <scene_description>JAMES can't help smiling. That's NIKI.</scene_description> <character>NIKI</character> <dialogue>So when do you start testing? Next week?</dialogue> <character>JAMES</character> <dialogue>Are you mad? I didn't just win the biggest thing of my life so I could get right back to work.</dialogue> <character>NIKI</character> <dialogue>Why? You need to. To prove to all the people who will always say you only won it because...</dialogue> <character>JAMES</character> <dialogue>Because what...? Because of your accident? Is that other people, Niki? Or you? I won. On the all important day when it came down to it, we raced on equal terms in equally good cars.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAMES</character> <dialogue>You bottled and I had the guts to see it through.</dialogue> <character>NIKI</character> <dialogue>It's true. You won that race. And believe me if I had to lose that title to anyone, I'm happy it was you. But that doesn't change the fact you have to win again.</dialogue> <character>JAMES</character> <dialogue>Why?</dialogue> <character>NIKI</character> <dialogue>Because that's what it means to be a winner, no? It's a permanent condition. Never stops or goes away. It stays with you always.</dialogue> <character>JAMES</character> <dialogue>That's winning? Sounds like losing to me. Some of life needs to be for pleasure, Niki. What's the use of having a million cups and medals if you never have any fun? How is that winning?</dialogue> <scene_description>The plane load of JAMES's friends call out..."C'mon, James!"</scene_description> <character>NIKI</character> <dialogue>You're right. I could learn from you. In hospital the toughest part of my treatment was the vacuum. Pumping the shit out of my lungs. It was agony. While doing it, I was watching television...you winning all those races...and I was cursing you.. "That bastard, Hunt", I would shout, "I hate that guy." one day the doctor said, "Mr. Lauda, may I offer one piece of advice? Stop thinking of it as a curse to have been given an enemy in life. It can be a blessing, too." I said, "Who are you, Confucius?" He said, "A wise man gets more from his enemies than a fool from his friends." And you know, he's right. Look at us. We were a pair of kids when we first met. Hotheaded jerks in Formula 3. Headed nowhere. Now we're both Champions of the world. Not bad.</dialogue> <character>JAMES</character> <dialogue>No, not bad.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>NIKI</character> <dialogue>So don't let me down now. I need you busting my balls. Get back to work.</dialogue> <character>JAMES</character> <dialogue>I will, Niki. But I intend to enjoy myself first. And so should you. You think you can?</dialogue> <scene_description>NIKI stares. A blank look..</scene_description> <character>JAMES</character> <dialogue>See you on race day, Champ.</dialogue> <character>NIKI</character> <dialogue>You will. Champ.</dialogue> <scene_description>JAMES goes. NIKI watches him, pulled into his plane by his laughing, cool FRIENDS. An unmistakable flicker of envy in his eyes. Then NIKI turns, alone, and resumes his safety checks.</scene_description> </scene> <scene> <stage_direction>EXT. RUNWAY - AIRFIELD - DAY</stage_direction> <scene_description>JAMES's plane roars down the runway and takes off into the azure blue sky... FADE TO BLACK: CAPTION: "JAMES RETURNED THE FOLLOWING SEASON, BUT WAS NEVER A CHALLENGER AGAIN. HE RETIRED IN 1979. AFTER SHORT CAREERS IN BROADCASTING AND BUDGIE BREEDING HE DIED OF A HEART ATTACK. AGED 45." CAPTION: "NIKI LAUDA WENT ON TO BECOME WORLD CHAMPION IN 1977. AND AGAIN IN 1984. HE NOW RUNS A SUCCESSFUL COMMERCIAL AIRLINE. HE STILL CLAIMS TO HAVE NO FRIENDS." The End</scene_description> </scene> </script>

James Hunt, a brash and self-confident individual, and Niki Lauda, a cool and calculating technical genius who relies on practice and precision, are exceptional racing car drivers who first develop a fierce rivalry in 1970 at a Formula Three race in London, when both their cars spin before Hunt wins the race. Lauda takes a large bank loan from Austria's Raiffeisen Bank to buy his way into the BRM Formula One team, meeting teammate Clay Regazzoni for the first time. Meanwhile, Hesketh Racing, the fledgling racing team Hunt drives for, enters Formula One. Lauda then joins Scuderia Ferrari with Regazzoni and wins his first championship in 1975. Hesketh closes down after failing to secure a sponsor, but Hunt joins the McLaren team. During this time, Hunt marries supermodel Suzy Miller, while Lauda develops a relationship with German socialite Marlene Knaus. The 1976 season starts with Lauda dominating the first two races while Hunt struggles to catch up. Hunt wins the Spanish Grand Prix, but is disqualified after a post-race inspection results in a ruling that the width of his car was greater than permitted. Struggling to comply with F1 rules, McLaren suffers a series of racing setbacks, and Hunt's situation is further exacerbated when Suzy starts a relationship with actor Richard Burton. Following his divorce, Hunt regains his competitive spirit and, when his disqualification in Spain is overturned, the restored points put him into championship contention. Lauda marries Marlene in a private ceremony but begins to have concerns about the effects of his newfound happiness, worrying that he has become vulnerable as a racer, as he now has something to lose. On the day of the German Grand Prix, Lauda calls a drivers' meeting, urging the F1 committee to cancel the race due to heavy rain on the notoriously dangerous Nürburgring Nordschleife; the vote goes against cancellation after Hunt argues that Lauda is trying to personally benefit in competition by reducing the number of remaining races at a time where Lauda already has a significant points lead towards the season's championship. Most drivers start the race with wet weather tyres, which becomes a costly tactic due to most of the track quickly drying. They all change tyres during the second lap, pushing Hunt ahead of Lauda; the latter's attempts to catch up result in a suspension arm in his Ferrari breaking, causing a loss of control and crash of the car into an embankment, where it bursts into flames. Lauda is airlifted to hospital with third-degree burns to his head and face and internal burns to his lungs. For six weeks, Lauda is treated for his injuries while he watches Hunt - who is otherwise guilt-ridden by Lauda's condition - dominate the races in his absence. Despite his doctor's orders, he decides to return to drive his Ferrari at the Italian Grand Prix, finishing fourth while Hunt fails to finish. The 1976 season comes to a climax at the rain-soaked Japanese Grand Prix. Hunt's late rally in Lauda's absence has pulled him within three points of Lauda. Hunt argues that the race should be cancelled, but since the television rights were sold everywhere around the world, the Grand Prix still takes place. At the end of the second lap, after his car has slid several times, Lauda returns to the pits and decides to retire from the race, considering it too dangerous and opting to stay with Marlene instead. This allows Hunt to win the championship if he can finish third or better. After facing stiff competition under gruelling conditions, tyre problems and a hand injury due to the gear shifter knob breaking, Hunt finishes third, winning the championship by a single point. Hunt spends the rest of the year revelling with fame, sex and drugs, while Lauda takes an interest in flying private planes. At a private airfield in Bologna, Lauda suggests to Hunt that he focus on the next racing season to defend his title, but Hunt argues that his glamorous lifestyle is the highlight of being world champion; Lauda realises that Hunt no longer feels he needs to prove himself to anyone. In voiceover, Lauda reflects on how Hunt's continued hedonism led to limited future success and his eventual death at age 45, but also on how their great rivalry and personality differences spurred each other on that one season, and states that Hunt was the only person he ever envied.

Made in Heaven_1987

tt0093467

<script> <scene> <character>MADE IN HEAVEN</character> <dialogue>Written by</dialogue> <scene_description>Bruce A. Evans and Raynold Gideon Shooting Script, 1987 Copyright © 1987 Lorimar Film Entertainment, Culver City, CA</scene_description> <character>FADE IN:</character> <dialogue>BLACK SCREEN</dialogue> <dialogue>SUPER the following in white letters:</dialogue> <character>THE STORY YOU ARE ABOUT TO SEE IS TRUE. YOU MAY EVEN KNOW</character> <dialogue>SOME OF THE PEOPLE.</dialogue> <character>FADE IN:</character> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - DAY</stage_direction> <scene_description>Just about all the KIDS in the neighborhood have gathered on the porch of the house in front of US. They are milling about impatiently and at one time or another everyone's eyes drift to RUSTY (12) and his sister HEATHER (8), who are acting as lookouts up at the corner. SUPER: SUNBURY, PENNSYLVANIA - 1948. Heather is bored with waiting and while Rusty scans all the streets coming into the intersection, she's looking back toward the house.</scene_description> <character>HEATHER</character> <parenthetical>(tugs at Rusty's sleeve)</parenthetical> <dialogue>Is that it?</dialogue> <scene_description>Rusty looks to where she's pointing. He squints against the sun, then his eyes open wide.</scene_description> <character>RUSTY</character> <dialogue>It's coming! It's coming!</dialogue> <scene_description>A panel truck with "Big Bob's TV - The Customer is Always Right" painted on its side comes down the street and stops in front of the house. Babbling excitedly, the kids crowd around MIKE SHEA, a handsome, simple man of twenty three, dressed in "Big Bob" coveralls and a baseball cap, and SKUNK, a tan-and-white collie, as they get out of the truck and go around to open the double doors at the back.</scene_description> <character>KID #1</character> <dialogue>Hey, you're the same guy who put up our television. You're Mike.</dialogue> <character>MIKE</character> <dialogue>How you doing, Scotty?</dialogue> <character>KID #1</character> <dialogue>That's my brother. I'm Ralph.</dialogue> <character>KID #2</character> <dialogue>Mr. Mike, what's your dog's name?</dialogue> <character>RALPH (KID #1)</character> <dialogue>Skunk, right, Mike? He calls him Skunk because he has gas. Right, Mike?</dialogue> <character>KID #2</character> <parenthetical>(over the group's laughter and groans)</parenthetical> <dialogue>Does he bite?</dialogue> <character>RALPH</character> <dialogue>No, he's real nice.</dialogue> <scene_description>Mike opens the doors and swings himself onto the truck bed.</scene_description> <character>RUSTY</character> <dialogue>Which one is for us?</dialogue> <character>MIKE</character> <parenthetical>(puts his hands on a box)</parenthetical> <dialogue>This one right here.</dialogue> <character>HEATHER</character> <dialogue>We got the biggest one!! We got the biggest one!!</dialogue> </scene> <scene> <stage_direction>EXT. ROOF - DAY</stage_direction> <scene_description>Mike has the antenna up and, under the watchful eyes of the few kids who have braved the climb, is stripping the plastic from the ends of the antenna wires. Down in the yard, Skunk is playing with the other kids.</scene_description> <character>MIKE</character> <dialogue>There're these waves in the air. All around us.</dialogue> <scene_description>The kids look around.</scene_description> <character>MIKE</character> <dialogue>You can't see them but this antenna can. And it grabs these waves and sends them down through these special wires here...</dialogue> <parenthetical>(hooks them on the screws)</parenthetical> <dialogue>... to the television set and then there's this big dohickey in the</dialogue> <character>MIKE</character> <dialogue>back there that changes these waves into the pictures that you see.</dialogue> <character>KIDS</character> <dialogue>Wow!!</dialogue> <character>RUSTY</character> <dialogue>How does it do that, Mike?</dialogue> <character>MIKE</character> <parenthetical>(furrows his brow)</parenthetical> <dialogue>I don't know.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - MODEST HOUSE - DAY</stage_direction> <scene_description>Mike is busy stringing antenna wire through the window to the back of a new (1948) Philco television set. The kids are fighting for the best seats around the tiny static-filled screen.</scene_description> <character>HEATHER</character> <parenthetical>(to Mike)</parenthetical> <dialogue>My mommy said she went to school with you.</dialogue> <scene_description>Mike glances at the attractive WOMAN standing at the back of the room with a thick-necked MAN.</scene_description> <character>MIKE</character> <dialogue>She sure did.</dialogue> <character>RALPH</character> <dialogue>This is not a very good picture, Mr. Mike.</dialogue> <character>RUSTY</character> <dialogue>He has to connect the antenna, stupid.</dialogue> <scene_description>Mike screws down one of the antenna wires. The kids squeal with excitement as the "test" pattern flashes on the screen. It is quickly lost again in the static. Mike screws down the second wire. With a slight hum, the "test" pattern returns. This time it stays. The kids cheer. END TITLES.</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - SUNBURY - NOON</stage_direction> <scene_description>Still in his coveralls and baseball cap, Mike comes out of a grocery store with a Coke in his hand. Skunk falls in step next to him. It's a nice fall day and Mike's feeling pretty good about himself. He smiles at the people in the store windows that he passes. When he comes to Nadine's Beauty Parlor, he opens the door and steps inside.</scene_description> </scene> <scene> <stage_direction>INT. NADINE'S BEAUTY PARLOR - NOON</stage_direction> <scene_description>It's a three-chair shop. BRENDA CARLUCCI, a pleasantly plump bleached-blonde brunette in her early twenties, looks up from doing a finger wave on a blue-haired WOMAN in the first chair.</scene_description> <character>BRENDA</character> <dialogue>Hi, Mikey.</dialogue> <scene_description>Mike takes a swig of his Coke. Brenda exchanges a glance with TIMMY, the only other man in the shop.</scene_description> <character>MIKE</character> <dialogue>I got a joke for you. There's this city guy going through Booneville...</dialogue> <scene_description>The WOMEN lean out from under their hair dryers.</scene_description> <character>MIKE</character> <dialogue>... and he sees a pig in one of the fields with a wooden leg. So he stops and asks the farmer, `Why does your pig have a wooden leg?' The farmer says, `That is the smartest pig in the world. I bought him in Pittsburg. I put him in the North pasture and guess what? In a week this pig rooted around and found me an oil well.'</dialogue> <scene_description>Mike begins to laugh at his own joke.</scene_description> <character>WOMAN IN CURLERS</character> <dialogue>Is this going to be dirty?</dialogue> <character>MIKE</character> <dialogue>The city slicker says, `Yeah, but what about the wooden leg?' And the farmer says, `That pig, let me tell you, is so smart -- one night my wife and me are asleep and the house catches on fire. That pig charged in, woke us up, pulled us out and saved our lives.' `Huh? I understand that. But why does he have a wooden leg?' `Well,' the farmer said, `A pig that smart you don't eat him all at once.'</dialogue> <scene_description>Everybody but Timmy laughs.</scene_description> <character>MIKE</character> <parenthetical>(to Brenda)</parenthetical> <dialogue>You wanna go to a movie tonight?</dialogue> </scene> <scene> <stage_direction>EXT. BIG BOB'S TV - LATE AFTERNOON</stage_direction> <scene_description>Mike, with Skunk on the seat next to him, swings the truck into the parking area.</scene_description> </scene> <scene> <stage_direction>INT. BIG BOB'S TV - LATE AFTERNOON</stage_direction> <scene_description>Mike is taking off his coveralls in the repair area. Through a glass partition, we SEE BIG BOB, a large, balding man, early sixties, arguing with his WIFE. We can't hear what they're saying, but it's obvious they're both very upset. The Wife is pointing at Mike and finally Big Bob heaves himself out of his chair and opens the door to the repair area. Mike turns around from hanging up his coveralls.</scene_description> <character>MIKE</character> <dialogue>Hi, Mr. Williams. I got a good joke for you.</dialogue> <character>BIG BOB</character> <dialogue>Not right now, Mike... Oh damn, I don't know how to do this but to do this. I'm sorry, Mike, but I'm gonna have to let you go.</dialogue> <character>MIKE</character> <parenthetical>(stunned)</parenthetical> <dialogue>Why?!! What did I do wrong, Mr. Williams?!!</dialogue> <character>BIG BOB</character> <dialogue>You didn't do anything wrong. That's the terrible thing. It's my son. He flunked out of college and I have to give him a job.</dialogue> <character>MIKE</character> <dialogue>Yeah, but I'm never late. I'm nice to people. I'm always on time. I take good care of the truck. You can't fire me, Mr. Williams.</dialogue> <character>BIG BOB</character> <dialogue>I'm not firing you, Mike. I'm letting you go.</dialogue> <character>MIKE</character> <dialogue>Am I going to be working here anymore?</dialogue> <character>BIG BOB</character> <dialogue>No.</dialogue> <character>MIKE</character> <dialogue>Then you're firing me.</dialogue> <character>BIG BOB</character> <dialogue>I'm sorry, Mike.</dialogue> <scene_description>He looks back at his wife, then hands Mike an envelope.</scene_description> <character>BIG BOB</character> <dialogue>There's an extra week in there for you.</dialogue> <character>MIKE</character> <parenthetical>(takes the envelope and looks at it)</parenthetical> <dialogue>This isn't fair, Mr. Williams.</dialogue> <character>BIG BOB</character> <dialogue>I know.</dialogue> <scene_description>CUT TO: CARY GRANT SUPPORTING INGRID BERGMAN on their way down the stairs at the end of "Notorious".</scene_description> <character>DEVLIN (CARY GRANT)</character> <dialogue>Hang on. Twenty yards to go.</dialogue> <character>ALICIA (INGRID BERGMAN)</character> <dialogue>All right, Dev.</dialogue> <scene_description>A REVERSE REVEALS A PACKED HOUSE watching the movie. As the action continues on the screen, we FIND Mike slumped down in an aisle seat next to Brenda. His mood is not quite as light as it was this afternoon.</scene_description> <character>BRENDA</character> <parenthetical>(trying to cheer him up)</parenthetical> <dialogue>We lead such dull lives.</dialogue> <scene_description>Mike grunts. Back up on the screen, Devlin helps Alicia into the car. The group of Nazis is watching from the open door- way. The car shoots off. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP - NIGHT</stage_direction> <scene_description>The table in front of Brenda and Mike is littered with the remains of B.L.T.'s and fries.</scene_description> <character>BRENDA</character> <parenthetical>(sucking on a Coke)</parenthetical> <dialogue>I read in Photoplay that Ingrid Bergman does all her own cooking. That she doesn't act like a star at all in real life. She's just a regular person... You listening to me?</dialogue> <character>MIKE</character> <parenthetical>(hasn't been)</parenthetical> <dialogue>Yeah, sure.</dialogue> <character>BRENDA</character> <dialogue>Mike, don't worry. You're going to get another job.</dialogue> <character>MIKE</character> <dialogue>Maybe I should go to California and be Ingrid Bergman's cook.</dialogue> <character>BRENDA</character> <dialogue>You know what you should do. Seriously? Go see Orrin. He's assistant manager now. Maybe he could get you a job as a teller.</dialogue> <character>MIKE</character> <dialogue>Orrin Blake's a jerk. He's always been a jerk.</dialogue> <character>BRENDA</character> <dialogue>Maybe he's a jerk. But he's got jobs.</dialogue> <character>MIKE</character> <dialogue>There are a lot of other jobs around. I'm gonna go see Bill Bender out on the highway. Maybe he needs somebody.</dialogue> <character>WAITRESS</character> <parenthetical>(drops the check)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Brenda picks it up.</scene_description> <character>MIKE</character> <dialogue>Brenda.</dialogue> <character>BRENDA</character> <dialogue>You always pay for me. I thought I'd pay for you.</dialogue> <character>MIKE</character> <dialogue>Come on, Brenda.</dialogue> <scene_description>She gives him the check.</scene_description> <character>MIKE</character> <dialogue>Thanks, anyway.</dialogue> <character>BRENDA</character> <dialogue>One of the ladies at the shop said they were starting a new thing at Edison for assistant engineers.</dialogue> <character>MIKE</character> <dialogue>I'm a worker, Brenda. I don't sit behind a desk and think. I don't have the brains for that.</dialogue> <scene_description>He gets up and Brenda follows.</scene_description> <character>MIKE</character> <dialogue>I liked doing the TVs. It's not like I did anything wrong.</dialogue> <character>BRENDA</character> <dialogue>You know this could be the best thing that ever happened to you.</dialogue> <scene_description>Brenda's voice trails off as they go to the cash register.</scene_description> <character>BRENDA</character> <dialogue>Remember when I got fired from the donut shop? I thought it was the end of the world. Now I'm Nadine's best girl. I could open my own shop if I wanted to.</dialogue> <scene_description>CUT TO: CLOSE ON A PLAQUE THAT READS ORRIN BLAKE, ASSISTANT MANAGER</scene_description> </scene> <scene> <stage_direction>INT. SMALL-TOWN BANK - DAY</stage_direction> <scene_description>Mike, in a white shirt, tie, bomber jacket, and wishing he were elsewhere, is sitting across from ORRIN, who, if looks are true, more than lives up to Mike's earlier description of him.</scene_description> <character>ORRIN</character> <parenthetical>(looking over the top of Mike's application)</parenthetical> <dialogue>Do you have a suit?</dialogue> <character>MIKE</character> <dialogue>I'll buy one.</dialogue> <character>ORRIN</character> <parenthetical>(enjoying this)</parenthetical> <dialogue>You'd need more than one.</dialogue> <character>MIKE</character> <dialogue>Okay.</dialogue> <character>ORRIN</character> <dialogue>I can't believe that you really want to be a teller, Mike. I know you.</dialogue> <character>MIKE</character> <parenthetical>(grits his teeth)</parenthetical> <dialogue>I do, Orrin. I really do.</dialogue> <character>ORRIN</character> <dialogue>I have the image of the bank to consider. After all, we do handle people's money.</dialogue> <character>MIKE</character> <dialogue>Call Big Bob Williams. I'm as honest as the day is long.</dialogue> <character>ORRIN</character> <dialogue>He did fire you.</dialogue> <character>MIKE</character> <dialogue>He let me go because his son needed the job.</dialogue> <character>ORRIN</character> <dialogue>Well...</dialogue> <character>MIKE</character> <parenthetical>(swallowing his pride)</parenthetical> <dialogue>I need the work, Orrin.</dialogue> <character>ORRIN</character> <dialogue>And I could give it to you. I have that power now. But I don't know if you'd fit in here among us.</dialogue> <scene_description>Mike looks around the bank and slowly gets to his feet.</scene_description> <character>MIKE</character> <dialogue>You're a jerk, Orrin. You were a jerk in high school and I don't care how many suits you have, you'll always be a jerk.</dialogue> </scene> <scene> <stage_direction>INT. CAB - 1939 FORD PICKUP - NIGHT</stage_direction> <scene_description>Her eyes closed and her lips half open, Brenda is laying back against the passenger door while Mike kisses her bare shoulders. A COWBOY SONG about "lost love" PLAYS ON THE RADIO. Suddenly, Brenda sneezes.</scene_description> <character>MIKE</character> <parenthetical>(from somewhere on her chest)</parenthetical> <dialogue>Bless you...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I just got a great idea. Maybe you and I should go to California.</dialogue> <scene_description>Brenda's eyes snap open.</scene_description> <character>MIKE</character> <dialogue>There's a lot of work out there. A lot more TVs than they have here. You could probably open your own shop.</dialogue> <character>BRENDA</character> <dialogue>Eh... Mikey honey... Timmy asked me to marry him.</dialogue> <scene_description>Mike raises his head and looks at her.</scene_description> <character>BRENDA</character> <dialogue>I was waiting till you got a job to tell you.</dialogue> <character>MIKE</character> <dialogue>The new guy at the shop?!</dialogue> <character>BRENDA</character> <dialogue>Yeah. I was going to tell you the night we went to the movies, but you'd just been fired and...</dialogue> <character>MIKE</character> <parenthetical>(sits up)</parenthetical> <dialogue>When did you get to know him?</dialogue> <character>BRENDA</character> <dialogue>Mikey, it's not as if you and I have been going steady or anything like that.</dialogue> <character>MIKE</character> <dialogue>What did you say?</dialogue> <character>BRENDA</character> <dialogue>I guess I kinda said yes.</dialogue> <scene_description>Pause. Then Mike begins to laugh at himself.</scene_description> <character>MIKE</character> <dialogue>And I thought he was a fruit.</dialogue> <scene_description>Brenda catches his mood and laughs, too.</scene_description> <character>BRENDA</character> <dialogue>Not at all.</dialogue> <scene_description>Their laughter trails off and they sit there, each of them half naked, listening to the COWBOY SONG and thinking about their futures.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - SUNBURY - SUNRISE</stage_direction> <scene_description>With Skunk already in the cab, Mike's '39 pickup is parked in front of the garage of a small two-story weathered house. Mike gives his MOTHER an awkward hug while his FATHER, a working man in his mid-forties, swings a battered suitcase into the back of the truck.</scene_description> <character>MOTHER</character> <dialogue>Be good, Mikey.</dialogue> <character>MIKE</character> <dialogue>I will, Ma.</dialogue> <scene_description>The Father opens the cab door. Mike shakes his hand.</scene_description> <character>MIKE</character> <dialogue>Thanks for everything, Dad.</dialogue> <scene_description>For a moment nobody knows what to say.</scene_description> <character>FATHER</character> <parenthetical>(handing Mike a twenty- dollar bill)</parenthetical> <dialogue>Here. Your mother and I thought you might need this.</dialogue> <character>MIKE</character> <dialogue>I'm okay, Dad.</dialogue> <character>FATHER</character> <dialogue>Take it.</dialogue> <scene_description>Choked up, Mike gets behind the wheel.</scene_description> <character>MIKE</character> <dialogue>I'll write as soon as I get there.</dialogue> <scene_description>His parents wave as the truck pulls out.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERSIDE HIGHWAY - DAY</stage_direction> <scene_description>Mike is pushing his old pickup to its limit.</scene_description> </scene> <scene> <stage_direction>INT. PICKUP - DAY</stage_direction> <scene_description>"I'M LOOKING OVER A FOUR-LEAF CLOVER" is PLAYING ON the RADIO. Mike is singing along. A station wagon HONKS TWICE and easily passes him. Two KIDS in the back of the station wagon wave to Mike. He waves back as the station wagon accelerates away from him. A Chevrolet passes him and falls in behind the station wagon. With a start, Mike crinkles his nose and begins to crank down his window.</scene_description> <character>MIKE</character> <dialogue>Oh jeez, Skunk, did you fart again?</dialogue> <scene_description>Skunk looks at him apologetically.</scene_description> <character>MIKE</character> <dialogue>Why don't you open a window when you know you're going to do that?</dialogue> <scene_description>Suddenly, Mike can see the accident coming. The station wagon edges out from behind a slow-moving bus to see if the on- coming lane is clear. It is. But what Mike can see that the driver can't is a dairy tanker preparing to turn into that oncoming lane. The station wagon pulls out around the bus. The dairy tanker pulls into that lane. The bus SOUNDS A WARNING on its AIR HORN but the station wagon is already committed. The bus slams on its brakes. The station wagon races desperately for the opening created. The dairy tanker slams on its brakes. Just as the station wagon gets to the opening, the dairy tanker fishtails. Its rear end SMASHES into the station wagon and sends it sailing off the embankment into the river.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERBANK - DAY</stage_direction> <scene_description>By the time Mike arrives, the PEOPLE from the bus, tanker and Chevrolet are screaming hysterically among themselves as they watch the river's current rock the half-submerged station wagon teetering on the edge of a sandbar. Nobody knows what to do. Mike is already kicking off his shoes and, with Skunk leading the way, scrambles out of his pickup. As he runs down the embankment, he peels off his shirt and dives into the water. Long, powerful strokes bring him quickly alongside the car. Through a passenger window, he sees that the DRIVER (a woman) is bloody and dazed but alive. SCREAMS from the bed of the station wagon draw him around to the back where the window has been blown out. One of the kids, a little GIRL, is hanging onto the tailgate, shrieking. Her BROTHER is unconscious and bleeding from a scalp wound, his head propped on the wheel well. Every time the car shifts, his mouth drops closer to the water. Ignoring the little Girl, Mike reaches in and gently pulls the little boy to him. He lifts him over the tailgate, then reaches for the Girl. Instinctively, she takes his hand.</scene_description> <character>MIKE</character> <dialogue>Put your arms around my shoulders.</dialogue> <scene_description>Still crying, the little Girl does as she is told and, holding the boy under the chin with one hand, Mike sidestrokes toward the bank. A human chain has extended a short distance into the river. The depth won't allow any more. Mike hands over the kids to the first MAN in the chain and heads back for their mother. Barking at him, Skunk dashes back and forth along the shore. The mother is in the same position as before. Mike floats over the corner of the tailgate that's quickly sinking under the water. He pulls himself over the back seat and reaches forward for her.</scene_description> <character>MOTHER</character> <dialogue>My leg's broken.</dialogue> <character>MIKE</character> <dialogue>You can't stay here.</dialogue> <scene_description>He gets a hand under her arm and pulls. She groans. But he manages to float her free.</scene_description> <character>MIKE</character> <dialogue>Can you swim?</dialogue> <scene_description>She nods. He guides her over the seats to the tailgate. The water around them trembles as the car slides another foot off the sandbank. Mike waits for it to settle, then eases the woman through the water over the corner of the tailgate and out of the car. She begins to dog paddle. One of her feet hits the car. It shudders and, with Mike still inside, the river sucks it under. The people on the bank fall silent. Skunk stops running. He stands shaking at the water's edge, then begins to whine. Our VIEW MOVES IN ON the black water, SEARCHING FOR Mike. The WATER GETS DARKER AND DARKER until it's BLACK. And then the BLACKNESS BEGINS TO MOVE. SLOW AT FIRST, THEN FASTER AND FASTER. As we REACH MAXIMUM VELOCITY, CHUNKS OF LIGHT BEGIN TO HURTLE OUT OF the DARKNESS AT US. Suddenly, we're in a TUNNEL OF COLORED WHITE LIGHT, GOING EVEN FASTER than we were in the darkness. And then we STOP. In a WHITE ROOM. Mike is standing in the center of it. We're now in COLOR. And Mike is naked.</scene_description> <character>FEMALE VOICE</character> <dialogue>Hello, Mikey.</dialogue> <scene_description>Startled, Mike whirls around. His hands fly over his genitals when he sees who the speaker is.</scene_description> <character>MIKE</character> <dialogue>Aunt Lisa?!</dialogue> <scene_description>AUNT LISA, a tall, handsome, seventy year old in gray slacks and a well-cut pink blouse, comes toward Mike.</scene_description> <character>AUNT LISA</character> <dialogue>They told me you were arriving today. So I came to pick you up.</dialogue> <character>MIKE</character> <dialogue>But you're dead!</dialogue> <character>AUNT LISA</character> <dialogue>So are you, kiddo. Welcome to Heaven. Here, put these on.</dialogue> <scene_description>She holds out a bundle of clothes to him.</scene_description> <character>MIKE</character> <dialogue>No. I got out of that car. I didn't drown. I'm too good a swimmer.</dialogue> <character>AUNT LISA</character> <dialogue>Mikey, please don't give me a hard time. I'm your closest relative up here, so they've asked me to meet you. I don't know the answers. I just know you're dead. But dead up here is not bad. It's wonderful.</dialogue> <character>MIKE</character> <dialogue>This is not right, Aunt Lisa. I want to talk to the man in charge. Right now. You hear me. Right now.</dialogue> <character>AUNT LISA</character> <dialogue>Well, you're not going to talk to him right now, I can tell you that. His name's Emmett Humbird and he hates to talk to new arrivals.</dialogue> <character>MIKE</character> <dialogue>I refuse to believe any of this. I'm not dead.</dialogue> <character>AUNT LISA</character> <dialogue>I know it was sudden and you weren't prepared for this, but Mikey, you bought the farm. You kicked the bucket. You're dead. Now put these on. I hate standing here talking to you with your wing wang hanging out.</dialogue> <scene_description>Mike bites his lower lip. Tears well up in his eyes and he begins to cry.</scene_description> <character>MIKE</character> <dialogue>I'm dead...</dialogue> <scene_description>Aunt Lisa steps forward and puts her arms around him.</scene_description> <character>AUNT LISA</character> <dialogue>Oh Mikey, don't do that.</dialogue> <character>MIKE</character> <dialogue>Shit, I'm dead. I don't want to be dead. What's going to happen to Skunk?</dialogue> <character>AUNT LISA</character> <parenthetical>(pats him on the back)</parenthetical> <dialogue>Now, now, now... It's a wonderful adventure. You've been here before, Mikey. We all have.</dialogue> </scene> <scene> <stage_direction>INT. ARRIVAL HALLWAY - HEAVEN</stage_direction> <scene_description>It's also white but there seems to be no walls and no floor. Mike is now dressed -- kind of 1948 Preppie. He and Aunt Lisa are on their way, through the crush of other new ARRIVALS and their RELATIVES, to a sky-blue door hanging in the whiteness (think Magritte).</scene_description> <character>AUNT LISA</character> <dialogue>How's your mother?</dialogue> <character>MIKE</character> <dialogue>Oh, she's fine. Well, she was fine till this.</dialogue> <scene_description>It's hard for Mike to concentrate on what he's saying because scattered throughout the hall, people are constantly disappearing. A couple will be walking along, then "poof", they're gone, leaving behind nothing but two little contrails of COLORED LIGHT.</scene_description> <character>AUNT LISA</character> <dialogue>Don't worry about Annette. She's made of iron. Did she ever get her bedroom set?</dialogue> <character>MIKE</character> <parenthetical>(points to a contrail)</parenthetical> <dialogue>What's... ?</dialogue> <character>AUNT LISA</character> <dialogue>If they had any manners they'd wait till they got to the door. Walking out in the middle of a room is very rude. What's Albert doing these days?</dialogue> <character>MIKE</character> <parenthetical>(still distracted)</parenthetical> <dialogue>Eh... he... Mom's not talking to him anymore... He... eh... he married a real young woman about two months after you died.</dialogue> <character>AUNT LISA</character> <dialogue>Oh, good. I hope she's the one meant for him. I sure wasn't. Does he still have the store?</dialogue> <character>MIKE</character> <dialogue>I think so.</dialogue> <character>AUNT LISA</character> <dialogue>He had a good head for business.</dialogue> <character>MIKE</character> <parenthetical>(points to a patch on his left breast pocket)</parenthetical> <dialogue>What does the angel mean?</dialogue> <character>AUNT LISA</character> <dialogue>You're a new arrival. It's one of Emmett's jokes. I don't think it's very funny.</dialogue> <parenthetical>(as she opens the sky- blue door)</parenthetical> <dialogue>Who's President now?</dialogue> <character>MIKE</character> <dialogue>Truman.</dialogue> <character>AUNT LISA</character> <dialogue>Oh dear.</dialogue> <scene_description>Mike steps forward, then gasps and pulls back when he sees that another step would have sent him tumbling into the immense chasm of eternity.</scene_description> <character>AUNT LISA</character> <dialogue>Relax, Mike. You're already dead. Here, put your hand in mine.</dialogue> <scene_description>Warily, Mike puts his hand in hers.</scene_description> <character>AUNT LISA</character> <dialogue>I'm going to take you home. You can stay with me until you find out what you want to do.</dialogue> <scene_description>She closes the door and instantly they turn into BITS OF ENERGY and SHOOT OFF INTO THE CHASM. All that is left behind are two little contrails of COLOR-BANDED LIGHT.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT -- HEAVEN</stage_direction> <scene_description>It's huge and yet homey and it's obvious that a very good artist works here. Gigantic canvases done in a glorious modern style litter the room in their various stages of completion. Something trailing TWO SWATHS OF LIGHT the same height as a human being begins moving rapidly across the floor. Mike and Aunt Lisa appear at the head of the swaths of light. They decelerate through a SERIES OF STOP-FRAMES that advance them further into the room until they are walking normally.</scene_description> <character>MIKE</character> <dialogue>Holy mackerel, Aunt Lisa!! That was fantastic!! How did you do that?!!</dialogue> <character>AUNT LISA</character> <dialogue>That's how we travel up here. You think of where you want to go and you're there. I guess you could use a car, but...</dialogue> <character>MIKE</character> <dialogue>No, no. This is much better.</dialogue> <scene_description>Mike begins to take in his surroundings.</scene_description> <character>MIKE</character> <dialogue>This is very nice, Aunt Lisa.</dialogue> <character>AUNT LISA</character> <dialogue>I think so.</dialogue> <character>MIKE</character> <dialogue>Who's doing the paintings?</dialogue> <character>AUNT LISA</character> <dialogue>I am. Do you like them? A lot of people do.</dialogue> <character>MIKE</character> <dialogue>They're wonderful.</dialogue> <character>AUNT LISA</character> <dialogue>You're not just saying that because I'm your aunt?</dialogue> <character>MIKE</character> <dialogue>Not at all. I love them. They're wonderful. I didn't even know you painted.</dialogue> <character>AUNT LISA</character> <dialogue>I didn't on Earth. But I do here. So help me I don't know why. One day I just picked up a brush and it was there. And it's not like I wanted to be a painter. You can't do that. It's... eh... I don't know...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Maybe it's my reward for being so untalented on Earth.</dialogue> <scene_description>The two of them stare at the paintings for a long moment.</scene_description> <character>MIKE</character> <dialogue>They're real good, Aunt Lisa.</dialogue> <character>AUNT LISA</character> <dialogue>You must be tired. Let me show you your room.</dialogue> <scene_description>Mike falls into step behind her.</scene_description> <character>AUNT LISA</character> <dialogue>Are you hungry? Would you like something to eat?</dialogue> <character>MIKE</character> <dialogue>No thanks, I just had a hot dog... before I...</dialogue> <character>AUNT LISA</character> <parenthetical>(absently)</parenthetical> <dialogue>Hot dogs are very bad for you, Mikey.</dialogue> <scene_description>She ushers Mike into a simple room with a bed and a book- shelf full of books.</scene_description> <character>AUNT LISA</character> <dialogue>This is yours for as long as you want it. There's another set of clothes in the closet. If you want to freshen up, the bathroom's across the hall.</dialogue> <character>MIKE</character> <dialogue>Thank you, Aunt Lisa. I don't know what to say.</dialogue> <character>AUNT LISA</character> <parenthetical>(gestures it's nothing)</parenthetical> <dialogue>I'm going to get back to work. You try and get some sleep. I'm sure you're tired. I know I was. I slept for days. When you get up we'll go sightseeing.</dialogue> <character>MIKE</character> <dialogue>Are you going to paint?</dialogue> <character>AUNT LISA</character> <dialogue>Yes, I was right in the middle of the one on the end when I got the call to come and pick you up. I've got the idea now, I'd like to finish it.</dialogue> <character>MIKE</character> <dialogue>You mind if I watch?... I'm not very tired.</dialogue> <character>AUNT LISA</character> <dialogue>I get nervous when people watch me.</dialogue> <character>MIKE</character> <dialogue>No problem. I understand. I'll stay in here and try to get some sleep.</dialogue> <character>AUNT LISA</character> <dialogue>You do understand, Mikey?</dialogue> <character>MIKE</character> <dialogue>Oh yes. I'll be fine. Don't worry about me.</dialogue> <character>AUNT LISA</character> <dialogue>We'll go sightseeing later.</dialogue> <scene_description>She leaves and closes the door. Mike sits on the bed. He looks around the room, then selects a book off the shelf and leafs through the pages to the beginning. As he's doing this, he kicks off his shoes, then lays back and begins to read. After a few seconds, he lowers the book onto his chest and stares up at the ceiling.</scene_description> <character>MIKE</character> <dialogue>I'm dead. I'm deader than a doornail.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Aunt Lisa gets a modern can of Coke out of her refrigerator and rips off the pop-top. She takes a sip and walks toward her easel. Before she gets there, she stops and looks back at Mike's room. Damn. She tiptoes down the hall and very quietly cracks the door and peeks in. Mike is staring up at her.</scene_description> <character>AUNT LISA</character> <dialogue>You're not asleep?</dialogue> <character>MIKE</character> <dialogue>No.</dialogue> <character>AUNT LISA</character> <dialogue>If you're in here alone, I feel guilty. Do you have any friends you'd like to visit?</dialogue> <scene_description>There's a beat while Mike looks at his aunt.</scene_description> <character>MIKE</character> <dialogue>You mean dead friends?</dialogue> <character>AUNT LISA</character> <dialogue>Well of course, Mikey.</dialogue> </scene> <scene> <stage_direction>EXT. TERRACE - AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Mike and Aunt Lisa are walking toward the end.</scene_description> <character>AUNT LISA</character> <dialogue>Think of his face and think of you being with him. That's all there is to it.</dialogue> <character>MIKE</character> <parenthetical>(nods, not quite sure)</parenthetical> <dialogue>Okay...</dialogue> <character>AUNT LISA</character> <dialogue>When you want to come back here, just think of me or the room.</dialogue> <parenthetical>(she hugs him)</parenthetical> <dialogue>It's a great adventure, Mikey. Now go ahead. I have to work.</dialogue> <scene_description>She steps back. Mike closes his eyes to concentrate, then opens them to look at her.</scene_description> <character>MIKE</character> <dialogue>Is there anything else I should know?</dialogue> <character>AUNT LISA</character> <parenthetical>(thinks)</parenthetical> <dialogue>Yes... Never drop in in the middle of a room. Always arrive outside the front door and you can't smoke.</dialogue> <character>MIKE</character> <dialogue>Oh... okay.</dialogue> <scene_description>He closes his eyes and ZIP, he's gone.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - MIDDLE-CLASS HOUSE - HEAVEN</stage_direction> <scene_description>The PACKERTS (Mother, Father, Son, and Daughter) are startled and look up from their dinner as Mike's CONTRAIL WHIPS THROUGH THE ROOM and Mike walks out of it and bangs into the wall. The family just stares at him while he staggers back and gets his bearings.</scene_description> <character>MIKE</character> <dialogue>I'm sorry. I missed the front door.</dialogue> <scene_description>His gaze brushes over the Daughter, who's already staring at him. She's in her early twenties with a face of extraordinary sweetness and beauty.</scene_description> <character>MIKE</character> <dialogue>I'm looking for a friend... Larry Pulsky...</dialogue> <character>FATHER</character> <dialogue>I believe you have the wrong house.</dialogue> <character>MIKE</character> <dialogue>Sergeant Larry Pulsky... He was killed at Omaha Beach... I was with him.</dialogue> <character>MOTHER</character> <dialogue>You're a new arrival, aren't you?</dialogue> <character>SON</character> <parenthetical>(aged 9)</parenthetical> <dialogue>Didn't you see how he landed?</dialogue> <character>MOTHER</character> <dialogue>Billy...</dialogue> <character>MIKE</character> <dialogue>I'm real sorry for barging in on you like this. It's my first time.</dialogue> <character>MOTHER</character> <dialogue>It happens to all of us.</dialogue> <character>DAUGHTER</character> <dialogue>Don't be nervous. Just concentrate on what Larry Pulsky looks like and you'll be fine.</dialogue> <scene_description>Mike nods and, with the whole group watching, very self- consciously closes his eyes and concentrates. Nothing happens. Annie (the Daughter) giggles and the rest smile. Mike opens his eyes and shrugs.</scene_description> <character>MIKE</character> <dialogue>This is very embarrassing.</dialogue> <character>ANNIE</character> <dialogue>Well, back to work.</dialogue> <parenthetical>(she crosses to Mike)</parenthetical> <dialogue>I'm Annie.</dialogue> <character>MIKE</character> <parenthetical>(dry throat)</parenthetical> <dialogue>Mike...</dialogue> <character>ANNIE</character> <dialogue>Take my hand.</dialogue> <scene_description>Mike looks at her and hesitates, then slowly puts his hand in hers.</scene_description> <character>ANNIE</character> <dialogue>Now think of your friend.</dialogue> <parenthetical>(to her parents)</parenthetical> <dialogue>Bye.</dialogue> <parenthetical>(to Mike)</parenthetical> <dialogue>Hang on, Earthie.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - GRAMMAR SCHOOL - HEAVEN</stage_direction> <scene_description>While Annie steps out of her VAPOR TRAIL OF LIGHT as smooth as a whisper, Mike flies out of his and stumbles quite a distance up the corridor. He looks back and finds Annie coming toward him, smiling.</scene_description> <character>MIKE</character> <dialogue>Geez, you go fast.</dialogue> <character>ANNIE</character> <dialogue>You're going to have to work on those landings.</dialogue> <scene_description>A BELL RINGS, the classroom doors are thrown open, and the hall fills with BOYS and GIRLS (6 to 10) in salmon blazers. They're all laughing and chattering on their way to another class.</scene_description> <character>MIKE</character> <dialogue>This is a school?!</dialogue> <character>ANNIE</character> <dialogue>What makes you think that?</dialogue> <parenthetical>(with a smile)</parenthetical> <dialogue>Try 203.</dialogue> <character>MIKE</character> <dialogue>Thank you.</dialogue> <scene_description>He hesitates, then starts down the hall.</scene_description> <character>ANNIE</character> <dialogue>Mike...</dialogue> <parenthetical>(she points to the stairs in the opposite direction)</parenthetical> <dialogue>It's probably on the second floor.</dialogue> <character>MIKE</character> <parenthetical>(passing her on the way to the stairs)</parenthetical> <dialogue>I was just... Next time I'll drive.</dialogue> <scene_description>Mike steps on the first stair and looks back. Annie is still watching him.</scene_description> <character>MIKE</character> <dialogue>How do you know he's in 203?</dialogue> <character>ANNIE</character> <dialogue>I like you, Earthie.</dialogue> <character>MIKE</character> <dialogue>What?!...</dialogue> <scene_description>But he's talking to the BAND OF COLORED LIGHT she's left behind.</scene_description> </scene> <scene> <stage_direction>INT. GRAMMAR SCHOOL - SECOND FLOOR - HEAVEN</stage_direction> <scene_description>On his way to 203, Mike glances through the glass panel on the first door he passes. What he sees stops him cold and he moves closer for a better look. A gleaming steel octopus that we RECOGNIZE as a weather satellite floats in the middle of the room. A class of OLDER STUDENTS is busy assembling the solar panels that jut out like tentacles from its body. Mike looks around for somebody to explain this. There's no one in the hallway. He whistles under his breath, steps away only to step back for another look and almost reluctantly resumes his journey to 203. The scene in the next classroom startles him as much as the first. Beyond the traditional arrangement of desks and chairs, Mike finds himself looking into a cross section of a tropical lagoon that takes the place of the fourth wall of the room. STUDENTS in scuba gear are walking in and out of the wall to tend the fish on the other side. He can hear LAUGHTER coming through the next door and pulls himself forward to see what's going on there. Even he has to smile when he sees what it is. A whole classroom of KIDS in their salmon blazers and white skirts and pants are joyously trying out hula hoops with their TEACHER. Carrying his smile, Mike arrives at 203. There, the readout screens of the SEVEN and EIGHT YEAR OLDS' desk-top computers sparkle as they whip through a test in higher mathematics. Mike looks around the room for Larry Pulsky. His smile fades when he sees a bookish, short, skinny red-headed MAN with dark-rimmed glasses standing against the wall. Mike checks the room number. It is 203. The Man comes and opens the door.</scene_description> <character>MIKE</character> <parenthetical>(in a whisper)</parenthetical> <dialogue>Excuse me, I'm sorry to bother you. I'm looking for Larry Pulsky.</dialogue> <character>MAN</character> <dialogue>Oh, Pulsky's gone back.</dialogue> <character>MIKE</character> <dialogue>Back?</dialogue> <character>MAN</character> <dialogue>Back to Earth.</dialogue> <character>MIKE</character> <dialogue>Huh?</dialogue> <character>MAN</character> <dialogue>No one told you? He's a baby again. He's reborn.</dialogue> <character>MIKE</character> <dialogue>We go back to Earth?!!!</dialogue> <character>MAN</character> <dialogue>Oui, Monsieur. Larry's little soul is down there somewhere right now filling diapers.</dialogue> <scene_description>Mike whistles and turns and takes a few steps away from the Man.</scene_description> <character>MIKE</character> <parenthetical>(mumbling)</parenthetical> <dialogue>Schools... houses... Go back...</dialogue> <parenthetical>(he sits on the couch outside the classroom)</parenthetical> <dialogue>This is not how I imagined Heaven at all.</dialogue> <character>MAN</character> <dialogue>You're going to love it. It's a real pisser. You get to do things up here that are great.</dialogue> <character>MIKE</character> <dialogue>How long do you stay here before you go back?</dialogue> <character>MAN</character> <dialogue>It's different with everybody. I heard of one fellow who was here only an hour, then there are people who've been here thousands of years. I've been here eight years.</dialogue> <character>MIKE</character> <dialogue>So you don't know?</dialogue> <character>MAN</character> <dialogue>Who would want to know? Tell me.</dialogue> <character>MIKE</character> <dialogue>Yeah, I guess...</dialogue> <scene_description>The Man looks down at Mike, who is lost in thought, and extends his hand.</scene_description> <character>MAN</character> <dialogue>I'm Guy Blanchard.</dialogue> <character>MIKE</character> <parenthetical>(shaking hands)</parenthetical> <dialogue>Mike Shea... What are those things the kids are using?</dialogue> <character>GUY (MAN)</character> <dialogue>Computers.</dialogue> <character>MIKE</character> <dialogue>Stupid question. What's a computer?</dialogue> <character>GUY</character> <dialogue>Not a stupid question at all. You don't have it on Earth yet. It's a very fast calculating machine. If you have a problem that would take ten engineers, working full time, a year to solve, the computer can do it in less than a tenth of a second.</dialogue> <scene_description>In kind of a daze, Mike nods, then motions down the hall.</scene_description> <character>MIKE</character> <dialogue>And that big piece of machinery with... like wings...</dialogue> <character>GUY</character> <parenthetical>(pleased)</parenthetical> <dialogue>Pretty terrific, eh? That's a weather satellite. It'll float above the Earth and tell people whether or not they'll have a nice day.</dialogue> <scene_description>Mike looks at his shoes and sighs.</scene_description> <character>MIKE</character> <dialogue>I'm very tired, Guy... I've had a hell of a week... eh... a heck of a week.</dialogue> <character>GUY</character> <dialogue>Hey, it's not every day you die.</dialogue> <character>MIKE</character> <dialogue>I think I should go back to my aunt's and get some sleep.</dialogue> <parenthetical>(getting to his feet)</parenthetical> <dialogue>Now how do I do this?...</dialogue> <character>GUY</character> <parenthetical>(clapping Mike on the shoulder)</parenthetical> <dialogue>Let's stay in touch, okay, Mike? One night maybe you and me and Bella, the woman who teaches satellite, we go for a beer.</dialogue> <character>MIKE</character> <dialogue>Beer?!!...</dialogue> <character>GUY</character> <dialogue>Or whatever you want.</dialogue> <character>MIKE</character> <dialogue>This is not how I imagined Heaven at all, at all... I just think of my aunt real hard and I'm there?</dialogue> <character>GUY</character> <dialogue>That's it.</dialogue> <character>MIKE</character> <dialogue>I'm going to close my eyes now, Guy. I have to do that.</dialogue> <character>GUY</character> <dialogue>It's okay. I understand. Nice meeting you, Mike.</dialogue> <scene_description>Mike closes his eyes and concentrates. Nothing happens. He opens one eye and looks at Guy.</scene_description> <character>MIKE</character> <dialogue>Excuse me.</dialogue> <scene_description>He turns his back to Guy, closes his eye, and is gone. VOID - HEAVEN A light, pinkish-gray place with no sides, no top, and no bottom. Mike's CONTRAIL ENTERS and he steps out onto nothing. Mike opens his eyes and looks around.</scene_description> <character>MIKE</character> <dialogue>Oh no! Where am I now?...</dialogue> <parenthetical>(shouts)</parenthetical> <dialogue>Aunt Lisa... Aunt Lisa... Yoo hoo, Aunt Lisa. It's Mike... Aunt Lisa...</dialogue> <scene_description>Nothing. Mike looks around, looks down, looks up. Nothing.</scene_description> <character>MIKE</character> <dialogue>I'm stupid. That's what it is. Concentrate, concentrate... What does Aunt Lisa look like?... Paintings...</dialogue> <scene_description>Mike puts his hands over his eyes and an EXECUTIVE TYPE dressed like Mike drops out of a CONTRAIL next to him.</scene_description> <character>MIKE</character> <parenthetical>(screams)</parenthetical> <dialogue>Aghh!!</dialogue> <parenthetical>(and jumps back)</parenthetical> <dialogue>What are you doing here?!! Are you from Aunt Lisa?!!</dialogue> <character>EXECUTIVE</character> <dialogue>You're not my brother.</dialogue> <character>MIKE</character> <dialogue>No!!</dialogue> <character>EXECUTIVE</character> <dialogue>You're new, too.</dialogue> <character>MIKE</character> <dialogue>You too?</dialogue> <character>EXECUTIVE</character> <dialogue>We're new... I'm looking for my brother Harold.</dialogue> <character>MIKE</character> <dialogue>I'm looking for my Aunt Lisa.</dialogue> <character>EXECUTIVE</character> <dialogue>Where do you think we are?</dialogue> <character>MIKE</character> <dialogue>You got me.</dialogue> <character>EXECUTIVE</character> <dialogue>Well, let's give it another try.</dialogue> <scene_description>The men look at each other awkwardly, then turn their backs on each other and put their hands over their eyes. SNAP. Mike doesn't want to look. But he lowers his hands and peers over his fingernails. The Executive is gone and Mike is once again alone in the void.</scene_description> <character>MIKE</character> <parenthetical>(frantic)</parenthetical> <dialogue>Aunt Lisa... Aunt Lisa...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I better get the hang of this or I'm going to become a joke up here.</dialogue> <scene_description>Annie steps out of her CONTRAIL in the void behind Mike.</scene_description> <character>ANNIE</character> <dialogue>Having a little trouble, Earthie?</dialogue> <character>MIKE</character> <parenthetical>(turns around)</parenthetical> <dialogue>I don't know where I am, but this can't be Heaven.</dialogue> <parenthetical>(strides toward her)</parenthetical> <dialogue>This is the most inconsistent, screwiest, dumbest, stupidest place I've ever been in. And I was in the Army.</dialogue> <character>ANNIE</character> <dialogue>Gee, I'm sorry you feel that way, Earthie, because I sort of run things for Emmett around here.</dialogue> <character>MIKE</character> <parenthetical>(this only stuns Mike, it doesn't stop him)</parenthetical> <dialogue>Well, then, let me tell you. You're not doing a very good job. Larry Pulsky wasn't in 203. He's already gone back. He's not even here anymore.</dialogue> <character>ANNIE</character> <dialogue>I knew that. But you got to meet Guy Blanchard, you saw the satellite and the hula hoops...</dialogue> <character>MIKE</character> <parenthetical>(holds his arm out to her)</parenthetical> <dialogue>Pinch me. This has got to be a bad dream.</dialogue> <scene_description>Without warning she slaps him across the face.</scene_description> <character>MIKE</character> <dialogue>Owww!!! What did...?</dialogue> <character>ANNIE</character> <dialogue>You see. You're in Heaven. And Heaven's real simple. I didn't hurt you, did I?</dialogue> <character>MIKE</character> <dialogue>Eh... no.</dialogue> <scene_description>Annie sits down. It looks like she's sitting in a comfortable armchair, but we can't see the chair. She motions for Mike to sit next to her. After the slap he is a little afraid not to obey. His behind searches for the seat and he is surprised when he makes contact.</scene_description> <character>ANNIE</character> <dialogue>As I was saying, Heaven's real simple. Anything that you can imagine, is. And anything that is in Heaven will eventually find its way back to Earth. Nothing is lost.</dialogue> <scene_description>Mike thinks about this.</scene_description> <character>ANNIE</character> <dialogue>Do you understand?</dialogue> <character>MIKE</character> <dialogue>No.</dialogue> <character>ANNIE</character> <dialogue>You start with things that you've seen. Things that you remember. Like trees in a field with a lake and a setting sun.</dialogue> <scene_description>Before Mike's eyes, a stand of firs FADES INTO EXISTENCE in the void and a GREEN FIELD RISES under their feet out of the pinkish gray and a LAKE begins to extend from the edge of the field and sparkle under a setting sun.</scene_description> <character>MIKE</character> <parenthetical>(looks around in wonder)</parenthetical> <dialogue>How did you do that?!!!</dialogue> <character>ANNIE</character> <dialogue>Just imagine.</dialogue> <parenthetical>(she starts to walk)</parenthetical> <dialogue>And when you get good at this, you imagine things that don't exist and then you imagine how to make them work.</dialogue> <scene_description>Mike slaps a tree behind his back to see if it's real. It is.</scene_description> <character>MIKE</character> <dialogue>How does it work?</dialogue> <character>ANNIE</character> <dialogue>Just imagine.</dialogue> <character>MIKE</character> <parenthetical>(runs to catch up)</parenthetical> <dialogue>Am I going to be able to do this?</dialogue> <character>ANNIE</character> <dialogue>Well... I don't know, Earthie.</dialogue> <scene_description>She sees the disappointment on his face and punches him in the arm.</scene_description> <character>ANNIE</character> <dialogue>I'm teasing you, Earthie. Of course you're going to be able to do this.</dialogue> <character>MIKE</character> <dialogue>Really?</dialogue> <character>ANNIE</character> <dialogue>You can't lie in Heaven.</dialogue> <character>MIKE</character> <dialogue>Oh... of course. Would a guy like me be able to imagine something like the satellite... someday?</dialogue> <character>ANNIE</character> <dialogue>A guy like you did imagine the satellite.</dialogue> <character>MIKE</character> <parenthetical>(looking around)</parenthetical> <dialogue>Wow!!</dialogue> <scene_description>A young BOY, about 12, steps out of his CONTRAIL in front of them.</scene_description> <character>BOY</character> <dialogue>Are you Annie?</dialogue> <character>ANNIE</character> <dialogue>Yup.</dialogue> <character>BOY</character> <dialogue>I have a problem. I'm dead but I still have my body...</dialogue> <scene_description>Instantly, the SCENE CHANGES TO A WHITE NOTHINGNESS with three RAINBOW-HUED BALLS OF LIGHT rocking approximately where Mike, Annie, and the Boy were.</scene_description> <character>MIKE</character> <dialogue>Wait! What's happening?!</dialogue> <character>BOY</character> <dialogue>Oh, I see... This is what we really look like in Heaven.</dialogue> <character>ANNIE</character> <dialogue>On Earth, too.</dialogue> <scene_description>Each person's LIGHT GLOWS BRIGHTER AND JIGGLES when they speak.</scene_description> <character>MIKE</character> <dialogue>Really?</dialogue> <character>BOY</character> <dialogue>One more question. I like it because I'm from Paris, but why does everyone speak French in Heaven?</dialogue> <character>MIKE</character> <dialogue>I'm speaking English.</dialogue> <character>MIKE/BOY</character> <dialogue>Ohhh... I see...</dialogue> <character>BOY</character> <dialogue>Thank you, Annie.</dialogue> <scene_description>His LIGHT ZIPS OFF and the SCENE FADES BACK INTO Annie and Mike standing in the FIELD.</scene_description> <character>MIKE</character> <parenthetical>(to Annie)</parenthetical> <dialogue>Are you God?</dialogue> <scene_description>This cracks Annie up. Mike watches her laugh.</scene_description> <character>MIKE</character> <dialogue>Well, are you?</dialogue> <character>ANNIE</character> <parenthetical>(starts to walk again)</parenthetical> <dialogue>No. I just help Emmett.</dialogue> <scene_description>Without Mike noticing it, a MIST has begun to creep around their legs.</scene_description> <character>MIKE</character> <dialogue>Is Emmett God?</dialogue> <character>ANNIE</character> <dialogue>No. He just runs things.</dialogue> <character>MIKE</character> <dialogue>But there is a God?</dialogue> <character>ANNIE</character> <dialogue>Of course.</dialogue> <scene_description>Mike thinks about this for a moment.</scene_description> <character>MIKE</character> <dialogue>Good.</dialogue> <scene_description>Two steps later he stops. He's noticed that they're walking on clouds.</scene_description> <character>MIKE</character> <dialogue>We're walking on clouds!!</dialogue> <character>ANNIE</character> <parenthetical>(teasing)</parenthetical> <dialogue>Very good, Earthie.</dialogue> <scene_description>Mike looks back. What he sees below and behind him takes his breath away. The field and the lake and the sun are floating on clouds in the void. Mike opens his mouth to say something, but he can't find the words to express what he feels. He can only point. Annie looks to where he is pointing and just nods. As they walk on, Mike takes a last look over his shoulder.</scene_description> <character>MIKE</character> <dialogue>This is neat.</dialogue> <character>ANNIE</character> <dialogue>Yeah, it is, isn't it?</dialogue> <scene_description>Annie smiles as Mike kicks at the cloud and watches the mist float off his foot. She laughs as he bounces around her to test its firmness. When he settles down and comes back to walk next to her, she reaches over and gently lets her hand crawl into his. Mike looks at her, but she won't look at him. And hand in hand they continue on over the clouds until finally they step out of a wall of mist and look down on a pocket city.</scene_description> <character>ANNIE</character> <parenthetical>(stopping)</parenthetical> <dialogue>There's your Aunt Lisa's.</dialogue> <scene_description>The clouds lead down to the balcony on the top floor of an apartment building.</scene_description> <character>ANNIE</character> <dialogue>Think you can get there without me?</dialogue> <character>MIKE</character> <parenthetical>(refusing to be baited)</parenthetical> <dialogue>I just imagine. Right?</dialogue> <character>ANNIE</character> <dialogue>Right. I'll see you around, Earthie.</dialogue> <scene_description>FLASH. She's gone.</scene_description> <character>MIKE</character> <parenthetical>(screams at her vapor trail of light)</parenthetical> <dialogue>Wait!! Wait!!</dialogue> <scene_description>The LIGHT TURNS AROUND and COMES BACK and she steps out of it in front of him.</scene_description> <character>MIKE</character> <dialogue>What if I imagine something bad?</dialogue> <character>ANNIE</character> <dialogue>You can't, Earthie. You're in Heaven. If you could imagine something bad, you'd be in Hell.</dialogue> <character>MIKE</character> <dialogue>There's a Hell?!!</dialogue> <character>ANNIE</character> <dialogue>Where do you think all the bad people in the world come from?</dialogue> <scene_description>With that she's gone.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Wearing a "new arrival" bathrobe, Mike is standing in front of the bathroom mirror brushing his teeth. As he thinks, his brushing slows down and he steps out of the bathroom and around the corner to stand in the doorway of Aunt Lisa's bedroom. Aunt Lisa, in curlers, is propped up in her bed, reading.</scene_description> <character>MIKE</character> <dialogue>How will I know what I'm supposed to do in Heaven?</dialogue> <character>AUNT LISA</character> <dialogue>You're not `supposed' to do anything.</dialogue> <character>MIKE</character> <dialogue>Yeah, but you just picked up a paint brush and look what you can do. How will I know what I can do?</dialogue> <character>AUNT LISA</character> <dialogue>This is Heaven, Mikey... Do you want to do something?</dialogue> <character>MIKE</character> <dialogue>Yeah.</dialogue> <character>AUNT LISA</character> <dialogue>Then it'll happen.</dialogue> <scene_description>The DOORBELL RINGS. Mike looks at the door, then at Aunt Lisa in bed.</scene_description> <character>MIKE</character> <dialogue>You want me to get that?</dialogue> <character>AUNT LISA</character> <dialogue>It's for you.</dialogue> <character>MIKE</character> <dialogue>For me?!</dialogue> <scene_description>He walks to the door and opens it. A short, slight, bespectacled MAN is standing there waiting for him.</scene_description> <character>MAN</character> <dialogue>Idea for you, Mike Shea. Fleas that cut your hair. Think about it.</dialogue> <scene_description>And he's gone.</scene_description> <character>MIKE</character> <parenthetical>(turns toward Aunt Lisa and wails)</parenthetical> <dialogue>Aunt Lisa! ...</dialogue> <scene_description>Aunt Lisa is already laughing.</scene_description> <character>AUNT LISA (O.S.)</character> <dialogue>That's an idea man, darling. Now that you want to work, you'll get a lot of those.</dialogue> <character>MIKE</character> <dialogue>What did he mean about fleas cutting my hair?</dialogue> <character>AUNT LISA (O.S.)</character> <dialogue>It's just an idea for somebody to work on.</dialogue> <character>MIKE</character> <dialogue>Fleas?! ...</dialogue> <scene_description>He turns back to close the door and finds himself face to face with a white-haired, pink-cheeked Santa Claus of a MAN in his sixties.</scene_description> <character>MAN</character> <dialogue>Little Mikey Shea.</dialogue> <scene_description>Mike takes a step back.</scene_description> <character>MIKE</character> <dialogue>Hello.</dialogue> <character>MAN</character> <dialogue>You don't remember me, do you?</dialogue> <character>MIKE</character> <parenthetical>(looks at him vacantly)</parenthetical> <dialogue>Sorry ...</dialogue> <character>MAN</character> <dialogue>Al Bjornstead, I used to be your postman ...</dialogue> <scene_description>Mike still wears a vacant look.</scene_description> <character>MR. BJORNSTEAD (MAN)</character> <dialogue>You were probably only about 11 or 12 when I died. You liked my wife's gingersnaps.</dialogue> <character>MIKE</character> <dialogue>Oh yessss!!!. Mr. Bjornstead!!! Your appendix broke. My parents were very upset. We went to your funeral.</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Well, thank you. That was very nice of you.</dialogue> <character>MIKE</character> <dialogue>I never expected to see you again. Did Mrs. Bjornstead ...?</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Yeah. We're here together.</dialogue> <character>MIKE</character> <dialogue>Mr. Bjornstead! ...</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Al, Al ...</dialogue> <character>MIKE</character> <dialogue>Al ...</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>What I came by for is there's a bunch of us from Sunbury up here, some of them you know, and when you're feeling up to it, we'd like to have you catch us up on all the news.</dialogue> <character>MIKE</character> <dialogue>Oh, yeah. Sure! I can't travel yet, but ... Is old man Fenster up here?</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Yeah, yeah. Jim's with us.</dialogue> <character>MIKE</character> <dialogue>Oh, wow! What about Mr. and Mrs. Waples?</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Dora didn't make it to Heaven.</dialogue> <character>MIKE</character> <parenthetical>(too bad)</parenthetical> <dialogue>Ahhhh ...</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>You haven't changed a whole lot, Mikey.</dialogue> <character>MIKE</character> <dialogue>Neither have you, Al.</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>If you don't mind my asking, Mike. How did you die? Everybody'll want to know.</dialogue> <character>MIKE</character> <dialogue>I drowned.</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>Drowned ... okay. Well, it's real nice to have you up here, Mike.</dialogue> <character>MIKE</character> <dialogue>I guess it's nice to be here, Al.</dialogue> <character>MR. BJORNSTEAD</character> <dialogue>I'll tell Julia to start baking the gingersnaps.</dialogue> <scene_description>Mr. Bjornstead DISAPPEARS.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S BEDROOM -- HEAVEN</stage_direction> <character>AUNT LISA</character> <dialogue>Who was that, Mikey?</dialogue> <scene_description>No answer.</scene_description> <character>AUNT LISA</character> <dialogue>Mikey? ...</dialogue> <scene_description>Still no answer. Puzzled, she gets out of bed and crosses the hall to look in Mike's room. Still in his bathrobe, Mike is sprawled out on the bed sound asleep. Gently, Aunt Lisa pulls a blanket up over him and leaves, softly closing the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT -- HEAVEN -- DAYS LATER</stage_direction> <scene_description>Aunt Lisa, now in a blouse and slacks, is carrying a yellow chair to the far end of the room.</scene_description> <character>AUNT LISA</character> <dialogue>Now I want you to think of yourself as being in this yellow chair.</dialogue> <scene_description>Mike is seated in a red chair at the opposite end of the room.</scene_description> <character>MIKE</character> <dialogue>That's too far. Can't we start closer?</dialogue> <character>AUNT LISA</character> <parenthetical>(sets down the yellow chair)</parenthetical> <dialogue>Distance doesn't matter in Heaven.</dialogue> <character>MIKE</character> <dialogue>I can hardly see it from here.</dialogue> <character>AUNT LISA</character> <dialogue>Michael Allen Shea, you think of yourself as being in this chair now.</dialogue> <scene_description>Mike closes his eyes and, after a grimace of concentration, rises out of his chair. He HOVERS for a moment, then his figure begins to STROBE ACROSS the room towards the yellow chair.</scene_description> <character>AUNT LISA</character> <dialogue>Good... good... you got it. Noooo...</dialogue> <scene_description>Mike VEERS OFF COURSE and CRASHES into one of her paintings.</scene_description> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>Mike, carrying the red and yellow chairs, follows Aunt Lisa as she marches to the center of a tree-lined street. Aunt Lisa stops and points at the ground.</scene_description> <character>AUNT LISA</character> <dialogue>Red.</dialogue> <scene_description>Mike puts down the red chair.</scene_description> <character>AUNT LISA</character> <parenthetical>(pointing to the end of the block)</parenthetical> <dialogue>Yellow.</dialogue> <scene_description>Mike takes a few steps in that direction. DOTS OF LIGHT on the sidewalks BECOME PEOPLE who have stopped to watch.</scene_description> <character>MIKE</character> <parenthetical>(turns back)</parenthetical> <dialogue>This is embarrassing.</dialogue> <character>AUNT LISA</character> <dialogue>You went through three paintings, Mikey.</dialogue> <scene_description>Mike sighs and heads for the end of the block. He hasn't gone far when Annie falls in step next to him.</scene_description> <character>ANNIE</character> <dialogue>Hi, Earthie, I haven't seen you for a while. Where have you been?</dialogue> <character>MIKE</character> <dialogue>Sleeping.</dialogue> <character>ANNIE</character> <dialogue>What are you doing? Moving?</dialogue> <character>MIKE</character> <dialogue>How are you? You're looking good.</dialogue> <character>ANNIE</character> <dialogue>It would be too bad if you ended up the only person in Heaven who couldn't travel.</dialogue> <character>MIKE</character> <dialogue>I'm trying to concentrate on something important now, Annie.</dialogue> <character>ANNIE</character> <dialogue>Well, I'd be the one who'd pick you up and take you everywhere.</dialogue> <character>MIKE</character> <dialogue>I'd die first.</dialogue> <character>ANNIE</character> <dialogue>Such pride. How did you get into Heaven with such pride?</dialogue> <character>MIKE</character> <parenthetical>(turns back to Aunt Lisa and shouts)</parenthetical> <dialogue>Is this far enough?</dialogue> <character>AUNT LISA</character> <dialogue>I'm waiting.</dialogue> <scene_description>Mike sets the chair down and looks at Annie, who is just standing there trying to look innocent.</scene_description> <character>MIKE</character> <dialogue>Don't you have something else to do?</dialogue> <character>ANNIE</character> <dialogue>Just think of me as a fly on the wall.</dialogue> <scene_description>Mike tries to give Annie a withering look before he sits down.</scene_description> <character>ANNIE</character> <dialogue>Don't forget to turn around at the other end.</dialogue> <character>MIKE</character> <dialogue>I know what I'm doing.</dialogue> <character>ANNIE</character> <dialogue>Maybe it's the color of the chairs.</dialogue> <character>MIKE</character> <dialogue>You like this, don't you?</dialogue> <character>ANNIE</character> <dialogue>Bzzzz ...</dialogue> <scene_description>Mike turns away from her and clears his throat. Almost immediately, his BODY RISES out of the chair, STROBES OVER the street and, with a whisper, turns and lands in the red chair. The people on the sidewalks applaud.</scene_description> <character>ANNIE</character> <dialogue>Way to go, Earthie!!</dialogue> <scene_description>In two blinks Mike is in the yellow chair and back in the red one. Then Aunt Lisa, Mike, and the chairs DISAPPEAR.</scene_description> <character>ANNIE</character> <dialogue>Mike!!</dialogue> <scene_description>Sensing the show is over, the people on the sidewalks return to BITS OF ENERGY, leaving Annie alone in the street.</scene_description> <character>ANNIE</character> <dialogue>I'll get you for this, Mike Shea.</dialogue> <scene_description>Mike pops out of his CONTRAIL in front of her.</scene_description> <character>MIKE</character> <dialogue>You don't like it when somebody does it to you, do you?</dialogue> <character>ANNIE</character> <parenthetical>(smiles)</parenthetical> <dialogue>Congratulations.</dialogue> <character>MIKE</character> <dialogue>What happens now? I can go anyplace. Do I get a license plate? Somebody stamp my hand?...</dialogue> <scene_description>A four-engine LOCKHEED CONSTELLATION ROARS down the street at them at treetop level. Mike throws himself to the ground as it passes overhead. Annie just stands there and watches it go.</scene_description> <character>MIKE</character> <parenthetical>(scrambles up)</parenthetical> <dialogue>Did you see that?!!! Was that real?!!!</dialogue> <character>ANNIE</character> <dialogue>You mean the elephant?</dialogue> <character>MIKE</character> <dialogue>Elephant! That was a Lockheed Constellation! I went ...</dialogue> <parenthetical>(sees the look on her face)</parenthetical> <dialogue>You're doing it again, aren't you?</dialogue> <character>ANNIE</character> <dialogue>Now that you can travel, you're beginning to imagine things that you remember.</dialogue> <character>MIKE</character> <dialogue>Yeah, but...</dialogue> <character>ANNIE</character> <dialogue>You'll be able to control them soon. I hope they won't all be airplanes.</dialogue> <character>MIKE</character> <dialogue>How did you get into Heaven with your mouth?</dialogue> <character>ANNIE</character> <dialogue>I was born here.</dialogue> <character>MIKE</character> <dialogue>Come on, Annie. Give me a break.</dialogue> <character>ANNIE</character> <dialogue>No, I was. Cross my heart and hope to die. I'm a new soul. I haven't been to Earth yet.</dialogue> <character>MIKE</character> <dialogue>You mean your parents did it in Heaven?</dialogue> <character>ANNIE</character> <dialogue>At least twice. I have a brother.</dialogue> <character>MIKE</character> <dialogue>Boy, is my mother in for a surprise.</dialogue> <scene_description>Mike stops. A mussed-up double bed with a round-mouth shovel leaning against it has APPEARED in front of him. Mike looks at Annie.</scene_description> <character>MIKE</character> <dialogue>This your imagination or mine?</dialogue> <character>ANNIE</character> <dialogue>I don't know about the shovel, but I have a much better imagination than that.</dialogue> <scene_description>Mike starts to step around the bed.</scene_description> <character>ANNIE</character> <dialogue>You're not going to leave your bed and shovel in the middle of the street.</dialogue> <scene_description>Mike thinks about that for a second and the bed and shovel launch themselves into the air and DISAPPEAR instantly.</scene_description> <character>ANNIE</character> <dialogue>Not bad.</dialogue> <scene_description>As they walk on in silence, Mike looks at the houses that face the street.</scene_description> <character>MIKE</character> <dialogue>This is not how I imagined Heaven at all.</dialogue> <character>ANNIE</character> <dialogue>I know. I'm always surprised at how surprised people are at what Heaven is.</dialogue> <character>MIKE</character> <dialogue>Well, hey, on Earth we're told that Heaven is angels with wings playing harps on clouds.</dialogue> <character>ANNIE</character> <dialogue>Oh, we have them. They're the old guard.</dialogue> <character>MIKE</character> <dialogue>Oh, really. I even had a friend who thought Heaven would be a water planet and we'd all be fish.</dialogue> <character>ANNIE</character> <dialogue>What's that?</dialogue> <scene_description>Mike looks to where she is pointing.</scene_description> <character>MIKE</character> <parenthetical>(whispers)</parenthetical> <dialogue>That's my house!</dialogue> <scene_description>And it is. And it's sitting in the middle of the street.</scene_description> <character>MIKE</character> <dialogue>I was born in that house. I grew up there.</dialogue> <parenthetical>(points to the roof)</parenthetical> <dialogue>That's a TV antenna. I put it up. That's what I used to do.</dialogue> <scene_description>He reaches back and takes Annie's hand. Together, they climb the steps to the front door. There they stop. Mike doesn't know what he's going to see on the other side. He takes a deep breath. Slowly, he pushes the door open and stands there looking in. A RADIO is PLAYING MUSIC somewhere in the back of the house. A light breeze is rippling the curtains in the windows. A faded, braded-rag rug centers the living room with armchairs on either end.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - HEAVEN</stage_direction> <scene_description>With Annie's hand still in his, Mike steps over the threshold. He pauses at the end of the entryway. The details are becoming clearer. He lets go of Annie's hand and turns slowly to take them all in. A half-read newspaper is draped over the arm of one of the armchairs. His Mother's sewing basket is tucked into a corner of the couch. Beyond the living room in the dining area, three full water glasses sit on the table in front of place settings. Annie is as interested in the surroundings as he is. Mike lets his fingers trail over the nicks in the banister of the stairs leading to the second floor.</scene_description> <character>MIKE</character> <parenthetical>(almost tears)</parenthetical> <dialogue>It's so real.</dialogue> <parenthetical>(pause; he points at the sofa)</parenthetical> <dialogue>I got that for my mother when I got out of the Army. I had it shipped all the way from Philadelphia.</dialogue> <scene_description>On his wander toward the dining area, he catches sight of himself in a mirror. He stops and Annie comes to stand next to him.</scene_description> <character>MIKE</character> <dialogue>I don't look any different.</dialogue> <character>ANNIE</character> <dialogue>Too bad.</dialogue> <scene_description>Mike shoots her a look, then continues on his way. At the dining room table, he straightens a fork. White cubes of ice float in the tumblers. Mike reaches forward and flicks his finger against the glass. TING! The water ripples inside, then is calm again. The late-afternoon sun makes the tablecloth glow orange. THUMP!! THUMP!! Mike's eyes widen and his head jerks up. THUMP!! THUMP!! THUMP!! A pink rubber ball walks its way down the stairs and rolls into the entryway. Holding his breath, Mike goes to the foot of the steps and looks up. He jumps when Annie sticks her head around the corner of the upstairs hall.</scene_description> <character>ANNIE</character> <dialogue>Boo.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - HEAVEN</stage_direction> <scene_description>We are LOOKING AT a group of framed family pictures arranged on a breakfront. Annie's hand reaches in and tilts back a rose-tinted wedding picture.</scene_description> <character>MIKE (O.S.)</character> <dialogue>That's my mother and father the day they got married.</dialogue> <character>ANNIE (O.S.)</character> <dialogue>They look happy.</dialogue> <scene_description>Mike and Annie are leaning together beside the breakfront.</scene_description> <character>MIKE</character> <dialogue>I think they were.</dialogue> <character>ANNIE</character> <dialogue>Who's this?</dialogue> <character>MIKE</character> <dialogue>I don't know... Maybe the pinochle champion of Sunbury. Something like that... That's me and my mother. I was about six months old.</dialogue> <character>ANNIE</character> <dialogue>Did you like Earth?</dialogue> <character>MIKE</character> <parenthetical>(reflective)</parenthetical> <dialogue>Yeah... I sure didn't want to leave.</dialogue> <scene_description>Annie picks up a crinkled, unframed snapshot of a crying ten- year-old BOY holding up a fish.</scene_description> <character>MIKE</character> <dialogue>My mother wanted a picture of me with a fish. It wasn't my fish. It was my cousin's fish.</dialogue> <character>ANNIE</character> <dialogue>Was that important?</dialogue> <character>MIKE</character> <dialogue>It was at the time.</dialogue> <scene_description>Mike watches her put down the picture and there is a long pause.</scene_description> <character>MIKE</character> <dialogue>Is there any way to find out how they're doing?</dialogue> <character>ANNIE</character> <dialogue>No.</dialogue> <scene_description>Mike nods to himself. He and Annie are very close. The house is quiet and cozy around them. Slowly, Mike leans in and brushes a kiss over Annie's lips.</scene_description> <character>ANNIE</character> <dialogue>Did I say you could do that?</dialogue> <character>MIKE</character> <dialogue>No.</dialogue> <character>ANNIE</character> <dialogue>Do it again.</dialogue> <scene_description>This time the kiss is long and hard. When it's over, Annie puts her head on his chin and speaks into his neck.</scene_description> <character>ANNIE</character> <dialogue>You like that, don't you?</dialogue> <scene_description>Mike holds her close and looks around the rooms.</scene_description> <character>MIKE</character> <dialogue>Would they know I'm in the house?</dialogue> <character>ANNIE</character> <dialogue>I don't know anything about that.</dialogue> <scene_description>Mike holds her for a moment longer. When they separate, she watches him write something with his finger in the dust on the breakfront. With a rueful smile, he takes her hand and they walk to the door. "I'm okay. Mikey" is the message left in the dust.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Mike lands on the balcony and comes in.</scene_description> <character>MIKE</character> <dialogue>Aunt Lisa... Aunt Lisa...</dialogue> <parenthetical>(he can't stop smiling)</parenthetical> <dialogue>Aunt Lisa...</dialogue> <scene_description>He catches himself. She might be asleep. He takes off his shoes and goes down the hall to her bedroom. She's not there. He retraces his steps to the kitchen where he puts his shoes on top of the refrigerator and is about to take a look inside when the DOORBELL RINGS. He answers it and finds a tall, distinguished SPOKESMAN type standing in the corridor.</scene_description> <character>SPOKESMAN</character> <dialogue>Mike Shea?</dialogue> <character>MIKE</character> <dialogue>Yes.</dialogue> <character>SPOKESMAN</character> <dialogue>Ted Bagdadi. I'm a recruiter. Are you working with somebody or have you had an original idea yet?</dialogue> <character>MIKE</character> <dialogue>No... and no.</dialogue> <character>SPOKESMAN</character> <dialogue>In that case, Sam Morell would like to speak to you...</dialogue> <parenthetical>(he hands Mike a picture of a black man)</parenthetical> <dialogue>... about light amplification by stimulated emission of radiation.</dialogue> <character>MIKE</character> <dialogue>I don't know what the heck you're talking about.</dialogue> <character>SPOKESMAN</character> <dialogue>Lasers, Mr. Shea. Lasers.</dialogue> <character>MIKE</character> <parenthetical>(shaking his head "no")</parenthetical> <dialogue>I can tell you right now you have the wrong guy.</dialogue> <character>SPOKESMAN</character> <dialogue>Don't be so sure, Mr. Shea. In Heaven you can never tell where your future may be. You have Sam's picture. Look us up.</dialogue> <scene_description>He slaps Mike on the shoulder and is gone.</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Still in his clothes, Mike is lying on the bed. His arms are behind his head and he is staring up at the ceiling.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>Annie is lying fully clothed in her bed staring up at a moon in a dark sky.</scene_description> <character>MIKE (V.O.)</character> <dialogue>Annie?</dialogue> <scene_description>When Annie answers, her lips don't move and her voice seems to be coming from somewhere above her.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>Hello, Mike.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - AUNT LISA'S LOFT - HEAVEN</stage_direction> <character>MIKE (V.O.)</character> <parenthetical>(looking at Sam's picture)</parenthetical> <dialogue>Do you know a guy -- Sam Morell?</dialogue> <scene_description>As with Annie, Mike's lips don't move when he speaks and his voice is coming from somewhere above him.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>No.</dialogue> <character>MIKE (V.O.)</character> <dialogue>He's into lasers. Do you know what those are?</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <character>ANNIE (V.O.)</character> <dialogue>Yeah. Light amplification by stimulated emission of radiation.</dialogue> <character>MIKE (V.O.)</character> <parenthetical>(stumbles)</parenthetical> <dialogue>Oh! Oh, yeah... eh... well, geez... eh... His recruiter was just here... eh... maybe I should try TVs first, though...</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Maybe.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>There's a pause.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>Is that it?</dialogue> <character>MIKE (V.O.)</character> <dialogue>Yeah. I was just thinking of you and I thought I'd give you a call.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Okay. Bye.</dialogue> <character>MIKE (V.O.)</character> <dialogue>Oh, Annie... Before I forget, I... I think I'm in love with you.</dialogue> <scene_description>The reaction to Mike's big announcement is total silence.</scene_description> <character>MIKE (V.O.)</character> <parenthetical>(sits up)</parenthetical> <dialogue>Annie?!</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Made you nervous, didn't I?</dialogue> <scene_description>Mike grins and lays back on the bed.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - HEAVEN</stage_direction> <scene_description>The walls, ceiling, and floor are covered with slide projections depicting various laser applications: eye surgery, metal cutting, fiber optics, supermarket scanning, microchip etching, high-speed printing, photo copying, robotics, etc... Pieces of these images play across the faces of Mike and SAM MORELL, a large man, about 50, in jeans and a T-shirt that reads "Boogie Till You Puke" as they walk around the room.</scene_description> <character>MIKE</character> <dialogue>Were you a scientist or a college professor or something on Earth?</dialogue> <character>SAM</character> <dialogue>No. I was a blacksmith in Liverpool, England. One day I bent over to tie my shoelaces and my ticker gave out. The last thing I saw on Earth was a horse turd.</dialogue> <parenthetical>(he laughs)</parenthetical> <dialogue>True story. That was 1806. First twenty-five years here all I did was read murder mysteries. Then I was lucky enough to get this idea.</dialogue> <scene_description>Mike looks at his shadow on the wall and at all the images around him.</scene_description> <character>MIKE</character> <dialogue>Holy mackerel!!</dialogue> </scene> <scene> <stage_direction>EXT. DESERT - HEAVEN</stage_direction> <scene_description>An amphitheatre of tall, thin mirrors focuses the sun's rays on a central receiving tower that glows white against the blue sky.</scene_description> <character>MR. BJORNSTEAD (V.O.)</character> <dialogue>The sunlight from the mirrors heats up that tower and converts the water in it to steam, which generates the electricity.</dialogue> <scene_description>Mike and Mr. Bjornstead are dwarfed by the mirrors around them.</scene_description> <character>MR. BJORNSTEAD (V.O.)</character> <dialogue>I think the next step would be to go directly from the heat to electricity.</dialogue> <character>MIKE</character> <dialogue>Oh wow, Al... I... thanks for thinking of me, but... you know I couldn't do that.</dialogue> <character>MR. BJORNSTEAD (V.O.)</character> <dialogue>Sure you can. We'll work on it together. Just two souls from Sunbury.</dialogue> <character>MIKE</character> <parenthetical>(indicating the mirrors)</parenthetical> <dialogue>Al, I know you. How in God's name did you think of all this?</dialogue> <character>MR. BJORNSTEAD (V.O.)</character> <parenthetical>(laughs)</parenthetical> <dialogue>I don't know. But it's fun.</dialogue> <character>MIKE</character> <dialogue>Now when you go back, is this what you're going to take back with you?</dialogue> <character>MR. BJORNSTEAD (V.O.)</character> <dialogue>No, no, no... Well, I might. Only a few souls take back a whole idea. Most of the time we just take back bits and pieces of an idea. Usually, it's something we haven't even seen or heard. But it's in the air. It's all around us. That's the great thing about the system, Mikey. We all take back a piece of Heaven. What we do with it once we get down there is up to us.</dialogue> <scene_description>CUT TO: A TV IMAGE OF MIKE'S FACE FILLS THE SCREEN There is a giant left hand holding the top of the image and a giant right hand at the bottom. As they move, the image undulates.</scene_description> </scene> <scene> <stage_direction>INT. WORKSHOP - HEAVEN</stage_direction> <scene_description>A Japanese MAN in a lab coat aims a futuristic portable color video camera at Mike's face. We SEE that the image we were just looking at is on a sheet of mylar being held up by another Japanese MAN. In fact, Mike's image is on all the TVs in the room. TVs that range from one on a wristwatch to one that covers an entire wall. Mike frowns and a hundred images frown with him.</scene_description> </scene> <scene> <stage_direction>INT. CONCERT HALL LOBBY - HEAVEN</stage_direction> <scene_description>PEOPLE in formal dress are arriving for a recital by the Heavenly Choir. Mike, in a tuxedo, is standing in front of Annie, who is dressed in a gown. She's doing his bow tie.</scene_description> <character>MIKE</character> <dialogue>I couldn't help any of these guys if I stayed up here a million years.</dialogue> <character>ANNIE</character> <dialogue>So what? Then you'll think of something new.</dialogue> <character>MIKE</character> <dialogue>I don't have that kind of brain.</dialogue> <character>ANNIE</character> <dialogue>MIKE</dialogue> <scene_description>Yeah, I know. But you got to be realistic.</scene_description> <character>ANNIE</character> <dialogue>No, you don't. Just imagine and believe in yourself.</dialogue> <parenthetical>(finishes the bow)</parenthetical> <dialogue>There.</dialogue> <character>MIKE</character> <parenthetical>(straightening the lapels on his tux)</parenthetical> <dialogue>How do I look? I always wanted to try one of these. Guys looked so good in them in the movies.</dialogue> <character>ANNIE</character> <dialogue>It helps.</dialogue> <scene_description>A tall good-looking MAN, also in a tuxedo, walks by them.</scene_description> <character>MAN</character> <dialogue>Hi, Annie.</dialogue> <character>ANNIE</character> <dialogue>Hello, Dave.</dialogue> <character>DAVE (MAN)</character> <dialogue>I missed you.</dialogue> <character>ANNIE</character> <dialogue>I've been busy.</dialogue> <character>DAVE</character> <dialogue>You look great.</dialogue> <scene_description>And he's lost in the crowd.</scene_description> <character>MIKE</character> <dialogue>Who's Dave?</dialogue> <character>ANNIE</character> <dialogue>Just a friend.</dialogue> <scene_description>She takes Mike's arm and they start toward their seats.</scene_description> <character>MIKE</character> <dialogue>You sure I'm going to like this?</dialogue> <character>ANNIE</character> <dialogue>It's culture. You need it.</dialogue> </scene> <scene> <stage_direction>INT. CONCERT HALL - HEAVEN</stage_direction> <scene_description>On stage the choir is trilling through an obscure Italian composition.</scene_description> <character>CHOIR</character> <dialogue>Hahahahahahahehehehehohohohoho hahahahehehehohohoho...</dialogue> <scene_description>In the balcony, Mike's eyes are beginning to glaze. Next to him Annie stifles a yawn.</scene_description> <character>CHOIR</character> <dialogue>Hahahahahahahehehehehohohohoho hahahahehehehohohoho...</dialogue> <scene_description>Annie speaks to Mike without moving her lips.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>How do you like it?</dialogue> <character>MIKE (V.O.)</character> <dialogue>They're lucky this is free.</dialogue> <scene_description>Annie drops her head on his shoulder and begins to snore. Mike, embarrassed, tries to straighten her up. But she goes limp and falls to the other side. He pulls her back.</scene_description> <character>MIKE (V.O.)</character> <dialogue>Come on, Annie. Don't be silly.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Let's get out of here.</dialogue> <character>MIKE (V.O.)</character> <dialogue>We can't walk out on the Heavenly Choir!</dialogue> <character>ANNIE</character> <dialogue>Oh yeah...</dialogue> <scene_description>She reaches over and grabs his pinkie and SNAP, they're gone.</scene_description> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>It is WHITE ON WHITE. Mike's flailing hands ENTER the TOP OF THE FRAME next to Annie's feet. They are very close TO US.</scene_description> <character>MIKE (O.S.)</character> <parenthetical>(panicked)</parenthetical> <dialogue>What did you do?!!</dialogue> <character>ANNIE (O.S.)</character> <dialogue>We're falling.</dialogue> <scene_description>Mike's head COMES INTO VIEW. He's looking AT US UPSIDE DOWN. Annie's legs have drifted away from him a little bit.</scene_description> <character>MIKE</character> <dialogue>I know that!! What went wrong?!!</dialogue> <character>ANNIE (O.S.)</character> <dialogue>It's fun.</dialogue> <character>MIKE</character> <dialogue>Fun?!!</dialogue> <scene_description>Mike's head DISAPPEARS INTO THE BOTTOM OF THE FRAME as Annie's APPEARS OUT OF THE TOP.</scene_description> <character>ANNIE</character> <dialogue>Try it this way.</dialogue> <scene_description>Annie reaches down and rights him so that he is falling feet first next to her.</scene_description> <character>ANNIE</character> <dialogue>See.</dialogue> <scene_description>Mike has to waggle his arms to stay upright.</scene_description> <character>MIKE</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Oh yeah... This is a lot of fun...</dialogue> <character>ANNIE</character> <dialogue>Just lay back and relax.</dialogue> <scene_description>She swings her legs up and spreads out her arms. Mike doesn't trust the physics of Heaven yet. He leans back warily. He's almost lying down when OOPS!, he goes over in a back flip.</scene_description> <character>MIKE</character> <dialogue>Aaagghhh!!!</dialogue> <scene_description>He struggles back to sit uncomfortably in a semireclining position. Annie stretches to the tips of her fingers and toes.</scene_description> <character>ANNIE</character> <dialogue>I used to do this for hours when I was a kid.</dialogue> <character>MIKE</character> <dialogue>You would... Are we going to hit anything?</dialogue> <character>ANNIE</character> <dialogue>Not unless you imagine it.</dialogue> <scene_description>That's a terrifying thought for Mike and he almost throws himself off-balance again as he tries to look down. Annie takes his hand.</scene_description> <character>ANNIE</character> <dialogue>Just relax.</dialogue> <scene_description>Mike spreads his arms and lays back. He can do it.</scene_description> <character>MIKE</character> <parenthetical>(imitating)</parenthetical> <dialogue>Hahahahahehehehohohoho...</dialogue> <scene_description>Annie laughs and together they glide OUT OF THE FRAME. NEW FRAME Mike and Annie drift TOWARD US from far back in the whiteness. They look at each other and Mike reaches over and takes Annie's hand.</scene_description> <character>MIKE</character> <dialogue>I like this.</dialogue> <scene_description>They sail UNDER US. NEW FRAME Same WHITE ON WHITE. As they drop slowly down, Mike brings Annie to him and takes her in his arms. With her head on his shoulder, they float OUT OF SIGHT. NEW FRAME Upright and still hugging, Mike and Annie continue to fall. Annie speaks without moving her lips.</scene_description> <character>ANNIE (V.O.)</character> <parenthetical>(whispers)</parenthetical> <dialogue>Have you ever made love?</dialogue> <character>MIKE (V.O.)</character> <dialogue>Yes.</dialogue> <scene_description>Pause.</scene_description> <character>MIKE (V.O.)</character> <dialogue>Have you?</dialogue> <character>ANNIE (V.O.)</character> <dialogue>No.</dialogue> <scene_description>They continue to fall. NEW FRAME Laying over each other with only their lips touching, Mike and Annie tumble gently downward. NEW FRAME Annie breaks the kiss.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>Would you make love to me?</dialogue> <scene_description>Mike puts his arms around her and they kiss again. And from above, we WATCH as they fall and fall and fall until they hit a cloud that splashes open, then folds softly back to cover them. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>Wrapped in an embrace, Mike and Annie are sitting on the edge of a cloud watching the sunrise.</scene_description> <character>ANNIE</character> <dialogue>I'm going to have to get back to work soon.</dialogue> <character>MIKE</character> <parenthetical>(meaning the sunrise)</parenthetical> <dialogue>Is this my imagination or yours?</dialogue> <character>ANNIE</character> <dialogue>It's gotta be mine.</dialogue> <character>MIKE</character> <dialogue>I think it's ours.</dialogue> <character>ANNIE</character> <dialogue>I'm glad you died, Earthie.</dialogue> <character>MIKE</character> <dialogue>So am I.</dialogue> <scene_description>Pause. Annie reaches up and kisses Mike and lays her head on his chest.</scene_description> <character>ANNIE</character> <dialogue>I love you very much, Mike.</dialogue> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Aunt Lisa is in an alcove behind her canvases mixing paints.</scene_description> <character>MIKE (O.S.)</character> <dialogue>Aunt Lisa...</dialogue> <character>AUNT LISA</character> <dialogue>Here...</dialogue> <scene_description>Mike sticks his head around a canvas.</scene_description> <character>MIKE</character> <dialogue>I think I'm going to get my own place, Aunt Lisa.</dialogue> <character>AUNT LISA</character> <parenthetical>(busy with the paints)</parenthetical> <dialogue>This is Heaven, Mikey.</dialogue> <character>MIKE</character> <parenthetical>(walking away)</parenthetical> <dialogue>I love you, Aunt Lisa.</dialogue> <character>AUNT LISA</character> <parenthetical>(still busy)</parenthetical> <dialogue>That's nice.</dialogue> <scene_description>Aunt Lisa dabs some paint on a test board. Mike comes back around the canvas carrying the shovel we SAW EARLIER.</scene_description> <character>MIKE</character> <dialogue>Did you put this in my room?</dialogue> <character>AUNT LISA</character> <parenthetical>(glances over her shoulder)</parenthetical> <dialogue>Nope.</dialogue> <scene_description>The DOORBELL RINGS.</scene_description> <character>MIKE</character> <parenthetical>(on his way to answer it)</parenthetical> <dialogue>Then it is my imagination.</dialogue> <scene_description>Mike opens the door. Standing in the hall is a large, lanky, chain-smoking MAN (55) in blue coveralls and a flannel shirt.</scene_description> <character>MAN</character> <dialogue>Emmett Humbird, Mike. Glad to meet you.</dialogue> <scene_description>Mike just stares at him.</scene_description> <character>EMMETT (MAN)</character> <dialogue>I'm not what you expected, am I?</dialogue> <character>MIKE</character> <dialogue>No, it's not that. It's your cigarette... I... I thought you couldn't smoke in Heaven.</dialogue> <character>EMMETT</character> <dialogue>I run the place.</dialogue> <character>AUNT LISA (O.S.)</character> <dialogue>Hi, Emmett.</dialogue> <character>EMMETT</character> <dialogue>Hello, Lisa.</dialogue> <parenthetical>(back to Mike)</parenthetical> <dialogue>I just came by to see if you had any questions.</dialogue> <character>AUNT LISA (O.S.)</character> <dialogue>Now that the boy's stopped crying and settled in, you show up, eh, Emmett?</dialogue> <character>EMMETT</character> <dialogue>You did a better job than I could have done, Lisa.</dialogue> <parenthetical>(back to business)</parenthetical> <dialogue>Do you have any questions, Mike?</dialogue> <scene_description>Mike goes blank for a second.</scene_description> <character>MIKE</character> <dialogue>This shovel... I've imagined it twice.</dialogue> <character>EMMETT</character> <dialogue>Then it must mean something.</dialogue> <character>MIKE</character> <dialogue>Do you know what?</dialogue> <character>EMMETT</character> <dialogue>Oh, no. That's entirely up to you... Anything else?</dialogue> <character>MIKE</character> <dialogue>Well... I hope I can imagine something new for Heaven.</dialogue> <character>EMMETT</character> <dialogue>When you believe you can, you will. In the meantime, enjoy yourself. Okay?</dialogue> <character>MIKE</character> <dialogue>Okay.</dialogue> <character>EMMETT</character> <dialogue>You're going to do very well up here, Mike.</dialogue> <scene_description>He DISAPPEARS right out of Mike's hand. CUT TO: CLOSE ON A PINK WINDUP MOUSE With a WHIR, it slowly bends forward, then throws itself into a perfect back flip.</scene_description> <character>MIKE (V.O.)</character> <dialogue>Annie...</dialogue> </scene> <scene> <stage_direction>INT. TOY FACTORY - HEAVEN</stage_direction> <scene_description>The mouse flips again. Annie is watching a demonstration of windup toys taking place on a sheet of Plexiglas. The INVENTOR of the toys is talking to her. We can SEE his lips move but we can't hear what he's saying. Annie answers Mike without moving her lips.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>Yes.</dialogue> <character>MIKE (V.O.)</character> <dialogue>I think I figured out what I'm supposed to do.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Oh great! What is it?</dialogue> <character>MIKE (V.O.)</character> <dialogue>It would be better if I showed you. But don't come now. I have a lot to do. Give me some time.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Can you give me a hint?</dialogue> <character>MIKE (V.O.)</character> <dialogue>The shovel showed up again.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>Mike, now in work clothes, is using his new shovel to turn over the sod. He finishes a row in a garden-size patch and straightens up to look at a small, porched, single-story house set at the edge of a clump of trees not far away. As he looks at it, the house changes color from buff to brown. He turns another shovelful of earth and squints back at the house. He's not satisfied. The brown changes to green. NEW ANGLE Mike has finished another row and is staring at the house. Green is not quite it. So he tries white. He starts a new row, stops, and looks at the house again. Curtains appear in the windows.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>The house is now blue. Annie is standing in the middle of the rectangular patch of overturned earth.</scene_description> <character>ANNIE</character> <dialogue>What is it going to be?</dialogue> <scene_description>From the edge of the patch, Mike shouts back at her.</scene_description> <character>MIKE</character> <dialogue>A vegetable garden. I know that's not a new idea, but it feels right. I don't know what the new idea is, but I'm pretty sure it's here.</dialogue> <character>ANNIE</character> <parenthetical>(walks toward him)</parenthetical> <dialogue>This is exciting, Earthie. What could it be?... You're right, I'm sure you're right. What else could you do with a shovel?... A new vegetable?</dialogue> <character>MIKE</character> <dialogue>I thought of that. But I haven't been able to imagine anything but regular vegetables yet.</dialogue> <character>ANNIE</character> <dialogue>Well... a garden doesn't have a lot of moving parts, that's one good thing... What about flowers?</dialogue> <character>MIKE</character> <dialogue>I don't think you put flowers in a vegetable garden.</dialogue> <character>ANNIE</character> <dialogue>Flowers would look pretty. Maybe lilac bushes through the whole thing.</dialogue> <character>MIKE</character> <dialogue>I don't know... Lilac bushes with corn and tomatoes? Yeah, why not?</dialogue> <scene_description>She puts an arm around his waist.</scene_description> <character>MIKE</character> <dialogue>What do you think of the house?</dialogue> <character>ANNIE</character> <dialogue>I don't know why you need a house.</dialogue> <character>MIKE</character> <dialogue>Because I'd feel like a horse sleeping in a field.</dialogue> <character>ANNIE</character> <dialogue>It's fine.</dialogue> <character>MIKE</character> <dialogue>I could change the color or I can make it bigger or smaller if you think that would be better.</dialogue> <character>ANNIE</character> <dialogue>No. I like it.</dialogue> <scene_description>Together, they just stand there looking over the homestead.</scene_description> <character>MIKE</character> <dialogue>What I have here, Annie, isn't much, but if you'd be willing to take a chance on me I'd like to marry you.</dialogue> <character>ANNIE</character> <dialogue>I hate to be the one to break the news to you, Earthie, but according to Heaven we already are.</dialogue> <character>MIKE</character> <dialogue>Really?!!</dialogue> <character>ANNIE</character> <dialogue>I'm afraid so.</dialogue> <character>MIKE</character> <dialogue>Really?!!</dialogue> <scene_description>Annie nods.</scene_description> <character>MIKE</character> <dialogue>Oh... I see... Then would you mind too much if we had a wedding?</dialogue> <character>ANNIE</character> <dialogue>I don't know about that, Earthie.</dialogue> <character>MIKE</character> <dialogue>Without a wedding, I'd always feel I was just living with you and I love you too much to just live with you.</dialogue> <character>ANNIE</character> <dialogue>Would we have to stand up in front of a whole bunch of people and you'd say I love you to me and I'd say I love you to you?</dialogue> <character>MIKE</character> <dialogue>I'd like that a whole lot.</dialogue> <character>ANNIE</character> <dialogue>It would scare me to death.</dialogue> <character>MIKE</character> <parenthetical>(puts his arms around her neck)</parenthetical> <dialogue>You're very strange.</dialogue> </scene> <scene> <stage_direction>INT. ANNIE'S PARENTS' HOUSE - HEAVEN</stage_direction> <scene_description>Mike is sitting across the dining room table from Mr. and Mrs. Packert. Annie is hovering in the b.g. with a smile that keeps threatening to become something more.</scene_description> <character>MIKE</character> <dialogue>Mr. and Mrs. Packert, your daughter and I have...</dialogue> <scene_description>Annie smothers a giggle. Mike loses his place.</scene_description> <character>MIKE</character> <dialogue>Your daughter and I have fallen in love and we...</dialogue> <scene_description>Annie giggles again and Mike loses his place again.</scene_description> <character>MIKE</character> <dialogue>What I'm trying to say...</dialogue> <scene_description>Annie can't contain it any longer. She bursts into a joyous, nervous laugh and can't stop. Mr. and Mrs. Packert pointedly ignore their daughter and remain solemnly intent on Mike.</scene_description> <character>MIKE</character> <dialogue>Mr. and Mrs. Packert, I love Annie and... I know we're married, but I'd like to have a wedding.</dialogue> <scene_description>Annie howls.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Annie has taken Aunt Lisa's hands and is speaking directly to her. Laughter still lurks in her voice and Aunt Lisa is smiling.</scene_description> <character>ANNIE</character> <dialogue>Aunt Lisa, I'm married to your nephew Mike. But he wants to have a wedding. I promise that I'll love him and cherish him and make him happy...</dialogue> <parenthetical>(she starts to bubble over)</parenthetical> <dialogue>... and work in his garden.</dialogue> <scene_description>The two women convulse with laughter and fall into each other's arms. Off to one side, Mike looks on, pleased, but slightly embarrassed.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>The earth has been worked into furrows and drills and green shoots are beginning to poke through the soil toward the sunlight. Mike and Annie are stretching a sheet of cheese cloth onto a frame over the garden. Guy Blanchard, the computer teacher, is standing under Mike's ladder.</scene_description> <character>GUY</character> <parenthetical>(excited)</parenthetical> <dialogue>What does the best man have to do?</dialogue> <character>MIKE</character> <dialogue>Just hang onto the rings until the angel asks for them.</dialogue> <character>GUY</character> <dialogue>Will there be a lot of people?</dialogue> <character>ANNIE</character> <dialogue>My mother's invited everybody but the Chinese.</dialogue> <character>GUY</character> <dialogue>Oh fabulous! What am I going to wear?</dialogue> <character>MIKE</character> <dialogue>Mrs. Packert calls it a Prince Albert. You'll ...</dialogue> <character>GUY</character> <dialogue>The one with the tails and a vest. I know. I look good in that.</dialogue> <scene_description>Annie reaches up and pinches Mike on the ass.</scene_description> <character>GUY</character> <dialogue>You guys can count on me.</dialogue> </scene> <scene> <stage_direction>INT. GYMNASIUM -- HEAVEN</stage_direction> <scene_description>Mrs. Packert seats Annie and Mike in the first row.</scene_description> <character>MRS. PACKERT</character> <dialogue>Now this is a `maybe' for the music. It's not a `for sure'.</dialogue> <scene_description>She points to a conductor on the stage.</scene_description> <character>CONDUCTOR</character> <dialogue>We're ready, Mr. Wainfield.</dialogue> <scene_description>MR. WAINFIELD taps on the music stand with his baton and 12 BOYS, ranging in age from 9 to 17, snap out of their CONTRAILS in sequence on the two risers in front of him. The conductor's arms move down. One of the nine-year-old Boys opens his mouth and the VIOLIN STRAINS OF THE SECOND MOVEMENT OF MOZART'S CONCERTO NO. 21 IN C (Elvira Madigan theme) come out. The other Boys join in and the SOUNDS OF THE OTHER INSTRUMENTS come out of their mouths. A beautiful blond 15-year-old is the PIANO and he creates a sound purer and more beautiful than we've ever heard from that instrument itself. The MUSIC CONTINUES OVER:</scene_description> </scene> <scene> <stage_direction>INT. DRESSMAKER'S SHOP - HEAVEN</stage_direction> <scene_description>The final touches are imagined onto Annie's wedding dress by an older MALE DESIGNER. And with Mrs. Packert, Aunt Lisa, the Designer, and his ASSISTANTS watching, Annie models the dress. She's radiant in the white.</scene_description> </scene> <scene> <stage_direction>INT. GYMNASIUM - HEAVEN</stage_direction> <scene_description>The MUSIC CONTINUES. Mike, Annie, and Mrs. Packert are enjoying the Boys' performance. Mike turns to look at Annie's profile. Something he sees there drains the happiness from his face and the MUSIC FADES INTO THE SIX-NOTE ELVIRA MADIGAN THEME that is REPEATED hauntingly over and over on the piano.</scene_description> <character>MIKE (V.O.)</character> <parenthetical>(screams)</parenthetical> <dialogue>Emmett!!! Emmett!!!</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>The MUSIC CONTINUES. Mike and Annie are hoeing in the garden. The plants are a little bigger.</scene_description> <character>MIKE</character> <dialogue>Do you want kids?</dialogue> <character>ANNIE</character> <parenthetical>(after a beat)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>They continue hoeing.</scene_description> <character>MIKE</character> <dialogue>How many do you think we should have?</dialogue> <character>ANNIE</character> <dialogue>Six.</dialogue> <scene_description>Pause. Mike turns away from her.</scene_description> <character>MIKE</character> <dialogue>We'll grow cucumbers and kids.</dialogue> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>The MUSIC CONTINUES. Mike and Emmett are standing on a cloud. Mike is crying and they are arguing, but the MUSIC IS TOO LOUD and we're too far away to hear what's being said.</scene_description> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>Annie is lying spread-eagled on her back in a field of daisies. Mike is lying on his stomach at her head. He is propped up on one elbow and looking down on her face.</scene_description> <character>MIKE</character> <dialogue>I hope the garden is the right thing.</dialogue> <character>ANNIE</character> <dialogue>It is.</dialogue> <character>MIKE</character> <dialogue>Have you ever had a new idea?</dialogue> <character>ANNIE</character> <dialogue>You want me to answer that?</dialogue> <character>MIKE</character> <dialogue>Oh no...</dialogue> <character>ANNIE</character> <dialogue>You saw it... the hula hoops.</dialogue> <character>MIKE</character> <dialogue>Why did I ask?</dialogue> <character>ANNIE</character> <dialogue>You're going to have to run awfully fast to keep up with me, Earthie.</dialogue> <scene_description>Mike looks at her for a long time, then leans over and kisses her.</scene_description> <character>ANNIE</character> <dialogue>What was that for?</dialogue> <scene_description>Mike smiles.</scene_description> <character>MIKE</character> <dialogue>Because...</dialogue> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>The MUSIC CONTINUES. From far far away, we are LOOKING DOWN ON Annie and Mike's valley. Everything is gray except for a shaft of sunlight that spills through the clouds and frames their house and garden.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>Back to back, Mike and Annie are hoeing "catch ponds" around the lilac shoots. The MUSIC CONTINUES.</scene_description> <character>MIKE</character> <dialogue>What do you want to do later?</dialogue> <character>ANNIE</character> <dialogue>Rest.</dialogue> <character>MIKE</character> <dialogue>Oh, come on. Let's do something. You're the hula hoop kid, imagine something neat for us. I'll do anything. Surprise me.</dialogue> <character>ANNIE</character> <dialogue>Anything, huh?</dialogue> <character>MIKE</character> <dialogue>Absolutely anything. I'll go anyplace you want. I'll do anything you want.</dialogue> <scene_description>Annie thinks she's got something he wouldn't want to do.</scene_description> <character>ANNIE</character> <dialogue>You know what we've never done?</dialogue> <character>MIKE</character> <dialogue>What?</dialogue> <scene_description>The MUSIC ENDS.</scene_description> <character>ANNIE</character> <dialogue>We've...</dialogue> <parenthetical>(her face falls)</parenthetical> <dialogue>Never...</dialogue> <parenthetical>(softly)</parenthetical> <dialogue>Danced...</dialogue> <parenthetical>(she's not looking at Mike)</parenthetical> <dialogue>I'm going back, aren't I?</dialogue> <character>MIKE</character> <parenthetical>(quiet)</parenthetical> <dialogue>Yes.</dialogue> <character>ANNIE</character> <parenthetical>(gives a little laugh)</parenthetical> <dialogue>I don't know what to do.</dialogue> <scene_description>Mike takes her in his arms.</scene_description> <character>ANNIE</character> <dialogue>Don't cry, Earthie. Please don't cry.</dialogue> <character>MIKE</character> <parenthetical>(holding it in)</parenthetical> <dialogue>Why does it have to be you?</dialogue> <character>ANNIE</character> <dialogue>It's not sad. I'm going to be somebody's baby.</dialogue> <scene_description>Mike and Annie stand there silently, holding each other.</scene_description> <character>ANNIE</character> <dialogue>Well, I wonder what I'll be. Maybe I'll be a boy. That would be a kick, wouldn't it? I could play football and chase girls.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>A gentle RAIN is falling on the garden and nowhere else. Mike and Annie are sitting on the porch in separate chairs.</scene_description> <character>ANNIE</character> <dialogue>We'll have to cancel the wedding. I'll say goodbye to my parents and Billy. I don't want anybody else to know.</dialogue> <scene_description>Still on the verge of tears, Mike nods.</scene_description> <character>ANNIE</character> <dialogue>Are you going to be able to do that?</dialogue> <character>MIKE</character> <dialogue>I'll miss you so much.</dialogue> <character>ANNIE</character> <dialogue>You can't. You've got too much to do.</dialogue> <character>MIKE</character> <dialogue>Finding a new idea sure doesn't seem important anymore.</dialogue> <character>ANNIE</character> <dialogue>I want you to promise me something, Earthie.</dialogue> <character>MIKE</character> <dialogue>Uh huh.</dialogue> <character>ANNIE</character> <dialogue>Wherever you are, up here or down there, imagine and believe in yourself.</dialogue> </scene> <scene> <stage_direction>INT. ANNIE'S PARENTS' HOUSE - HEAVEN</stage_direction> <scene_description>With her father and mother looking on, Annie hugs her brother. Everyone is close to crying. Mike stands awkwardly nearby.</scene_description> <character>ANNIE</character> <dialogue>Goodbye, Billy.</dialogue> <character>BILLY</character> <dialogue>I love you, Annie.</dialogue> <scene_description>Annie stands up and looks at her parents.</scene_description> <character>ANNIE</character> <dialogue>Thank you for everything.</dialogue> <character>MRS. PACKERT</character> <dialogue>I hope your new parents love you as much as we do.</dialogue> <scene_description>Annie gives her mother a quick hug.</scene_description> <character>ANNIE</character> <dialogue>Goodbye.</dialogue> <scene_description>She takes Mike's hand and they're gone.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - HEAVEN</stage_direction> <scene_description>Mike is working alone in the garden. A tall, thin WOMAN with glasses steps out of a CONTRAIL in front of him.</scene_description> <character>WOMAN</character> <dialogue>Idea for you, Mike Shea. Powdered water. Think about it.</dialogue> <scene_description>She takes a step backward and VANISHES. Mike returns to the hoeing.</scene_description> </scene> <scene> <stage_direction>INT. MIKE AND ANNIE'S HOUSE - HEAVEN</stage_direction> <scene_description>It's one big room with a fireplace, a bathtub, a bed, and two chairs. A low fire flickers in the fireplace. Annie is sitting in the shadows at the foot of the bed watching Mike sleep. It's as if she's trying to memorize his face. After a long time, she gets up and brushes a damp curl off of his forehead. She goes to a window and stares out at the garden. The light is soft. She sighs and returns to the edge of the bed. Mike is still sleeping peacefully. She kneels down and kisses him awake.</scene_description> <character>ANNIE</character> <dialogue>It's time.</dialogue> <scene_description>Mike looks at her.</scene_description> <character>ANNIE</character> <dialogue>Will you hold me?</dialogue> </scene> <scene> <stage_direction>EXT. HEAVEN</stage_direction> <scene_description>It's WHITE ON WHITE. Mike and Annie, their arms wrapped around one another, are falling.</scene_description> <character>ANNIE</character> <dialogue>Come on, Earthie. Buck up. Tell me about Heaven.</dialogue> <character>MIKE</character> <dialogue>I can't.</dialogue> <character>ANNIE</character> <dialogue>Where did we meet?</dialogue> <character>MIKE</character> <dialogue>I'm so afraid you're going to be hurt.</dialogue> <character>ANNIE</character> <dialogue>Where did we meet?</dialogue> <character>MIKE</character> <parenthetical>(through a throatful of tears)</parenthetical> <dialogue>In your dining room...</dialogue> <character>ANNIE</character> <dialogue>And then what happened?</dialogue> <character>MIKE</character> <dialogue>You told me to take your hand...</dialogue> <scene_description>Mike can't go on.</scene_description> <character>ANNIE</character> <dialogue>Where did we go then?...</dialogue> <character>MIKE</character> <parenthetical>(pleading)</parenthetical> <dialogue>Annie...</dialogue> <character>ANNIE</character> <dialogue>Everybody forgets Heaven, Mike. I don't want to forget us.</dialogue> <character>MIKE</character> <parenthetical>(struggling)</parenthetical> <dialogue>You took me to the school and... when you left you said you liked me...</dialogue> <character>ANNIE</character> <dialogue>I fell in love with you the very first moment I saw you.</dialogue> <character>MIKE</character> <dialogue>And then you took me out of the void... and then you told me to imagine... and then you walked me over the clouds to...</dialogue> <character>ANNIE</character> <dialogue>Hold me tight.</dialogue> <scene_description>Mike squeezes her to him.</scene_description> <character>ANNIE</character> <dialogue>I'm sorry about the wedding.</dialogue> <scene_description>There is nothing that Mike can say and, with tears streaming down his face, he just holds her.</scene_description> <character>ANNIE</character> <dialogue>I'll always love you, Earthie.</dialogue> <scene_description>Slowly, Mike opens his arms and lets Annie go. She turns into a BLINDING RAINBOW COLORED BALL OF LIGHT that washes Mike into a shadow behind it. The LIGHT FALLS OUT OF FRAME and then so does Mike.</scene_description> </scene> <scene> <stage_direction>INT. MIKE AND ANNIE'S HOUSE - HEAVEN</stage_direction> <scene_description>Mike is sitting on the edge of the bed sobbing into his hands. We WATCH his pain for a long moment.</scene_description> </scene> <scene> <stage_direction>EXT. MIKE AND ANNIE'S HOUSE - HEAVEN</stage_direction> <scene_description>Mike is on the top step of the porch looking out at the garden. His eyes are red. There are fewer tears now. He is in control of himself. Suddenly, he gets an idea. He's not certain of it at first, but the more he thinks about it the more he likes it. He gets up and starts to pace. He makes his decision, closes his eyes, and concentrates. POP! He's gone. VOID - HEAVEN Mike lands screaming.</scene_description> <character>MIKE</character> <dialogue>Emmett!!! Emmett!!! Emmett!!!</dialogue> <scene_description>He concentrates again and DISAPPEARS, but is back almost immediately.</scene_description> <character>MIKE</character> <dialogue>Emmett, don't block me out. Come on, Emmett, I have to talk to you. Emmett!!!</dialogue> <scene_description>He waits. Nothing happens.</scene_description> </scene> <scene> <stage_direction>INT. AUNT LISA'S LOFT - HEAVEN</stage_direction> <scene_description>Aunt Lisa is painting.</scene_description> <character>MIKE</character> <parenthetical>(stepping out of CONTRAIL)</parenthetical> <dialogue>How do I find Emmett?</dialogue> <character>AUNT LISA</character> <dialogue>I heard about Annie. I'm sorry, Mikey.</dialogue> <character>MIKE</character> <dialogue>I have to find Emmett.</dialogue> <character>AUNT LISA</character> <dialogue>You don't find Emmett. Emmett finds you.</dialogue> <scene_description>Mike stands stock still, thinking. Then slowly, a smile spreads across his face.</scene_description> <character>AUNT LISA</character> <dialogue>What's the matter, Mikey?</dialogue> <scene_description>He puts his hands on her shoulders and kisses her on the cheek.</scene_description> <character>MIKE</character> <dialogue>Goodbye, Aunt Lisa. Thanks for everything.</dialogue> <scene_description>BOOM! He's gone.</scene_description> </scene> <scene> <stage_direction>INT. REHEARSAL HALL - HEAVEN</stage_direction> <scene_description>Under Emmett's watchful eye, six DANCERS are running through a Fosse-like routine. He looks over as Mike slips into the seat next to him.</scene_description> <character>EMMETT</character> <dialogue>The answer is no.</dialogue> <character>MIKE</character> <dialogue>Is she a girl?</dialogue> <character>EMMETT</character> <dialogue>The answer is no.</dialogue> <character>MIKE</character> <dialogue>Is she a girl?</dialogue> <character>EMMETT</character> <dialogue>Yes.</dialogue> <character>MIKE</character> <dialogue>Then send me back as a boy.</dialogue> <character>EMMETT</character> <dialogue>I can't do that.</dialogue> <character>MIKE</character> <dialogue>You can do anything, Emmett. I know you can.</dialogue> <scene_description>Emmett gets up.</scene_description> <character>EMMETT</character> <dialogue>I didn't want to see you. How did you find me?</dialogue> <character>MIKE</character> <dialogue>The cigarette. You're the only one who smokes in Heaven.</dialogue> <character>EMMETT</character> <dialogue>Oh frock. Now that's in the air. I'll probably have to quit.</dialogue> <character>MIKE</character> <dialogue>I'm not asking you to put me next door, Emmett. Just put me in the same country and I'll find her.</dialogue> <character>EMMETT</character> <dialogue>Mike, the two of you fell in love in Heaven. One day you'll fall in love with her on Earth and you'll be together forever.</dialogue> <character>MIKE</character> <dialogue>When does that happen?</dialogue> <character>EMMETT</character> <dialogue>How would I know? Maybe one lifetime. Maybe two or two hundred. How would I know? But you'll love her again.</dialogue> <character>MIKE</character> <dialogue>But I want to be with her now.</dialogue> <character>EMMETT</character> <dialogue>You'll be out of your time. You Americans drive me crazy. You're so impatient. You're going to mess everything up.</dialogue> <character>MIKE</character> <dialogue>I'm not happy here without her.</dialogue> <scene_description>Emmett turns and watches the dancers. Mike waits.</scene_description> <character>EMMETT</character> <dialogue>I can only give you thirty years. And if you don't find her in that time, you'll never find her again.</dialogue> <character>MIKE</character> <dialogue>If I believe I can find her, I will, right?</dialogue> <scene_description>The two men look at each other.</scene_description> <character>EMMETT</character> <dialogue>You hear what I'm saying to you, Mike. If you don't find her this time, she's gone. You'll never find her. You'll fall in love again and she'll fall in love again, but you'll never be happy.</dialogue> <character>MIKE</character> <dialogue>I'll find her.</dialogue> <character>EMMETT</character> <dialogue>Come here.</dialogue> <scene_description>He puts his arms around Mike and holds him tight.</scene_description> <character>EMMETT</character> <dialogue>You're lucky I've been in love.</dialogue> <scene_description>With a FLASH, Mike becomes a BALL OF RAINBOW-COLORED LIGHT that wipes out Emmett and the dancers and FILLS THE SCREEN. FADE TO: BLUE SKY - SOMEWHERE BETWEEN HEAVEN AND EARTH Mike's LIGHT IS FALLING and, as we WATCH it fall, we HEAR A BEWITCHING ARRANGEMENT OF "GOOD NIGHT, IRENE". Slowly, the rainbow-colored BALL TAKES ON the FEATURES AND FORM OF A BABY BOY. Just as it LEAVES THE FRAME, the baby smiles AT US.</scene_description> </scene> <scene> <stage_direction>EXT. EARTH - DAY</stage_direction> <scene_description>The sky turns gray. It gets grayer and grayer and we COME DOWN ONTO the squalor of KITTERY, MAINE, home of the Ports- mouth Naval Shipyards. SLAP! And a BABY BEGINS TO CRY. The SOUND IS LOST IN "GOOD NIGHT, IRENE" and, THROUGH A SERIES OF LAP DISSOLVES, we MOVE FROM the docks THROUGH downtown TO the poorer section of Kittery. We END ON a grimy local hospital.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>The MUSIC CONTINUES as a very attractive GIRL in her teens carries a brand new baby BOY down the hall to the front desk. A NEWS ITEM telling US that North Korean troops have invaded South Korea COMES FROM A RADIO behind the nurse.</scene_description> <character>NURSE</character> <dialogue>Have you thought of a name, Miss Barnett?</dialogue> <scene_description>The baby gurgles.</scene_description> <character>MISS BARNETT</character> <dialogue>Elmo.</dialogue> <character>NURSE</character> <parenthetical>(typing)</parenthetical> <dialogue>And the father's name?</dialogue> <scene_description>The MUSIC STOPS.</scene_description> <character>MISS BARNETT</character> <dialogue>Just put down `friend'.</dialogue> <scene_description>CLOSE ON THE TYPEWRITER KEYS as they rap out UNKNOWN in the blank next to FATHER.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MODEST HOUSE - NIGHT</stage_direction> <scene_description>A three-year-old version of Annie, ALLY CHANDLER, is brushing her teeth.</scene_description> <character>MOTHER</character> <parenthetical>(passing the door)</parenthetical> <dialogue>Time for bed, Ally.</dialogue> <scene_description>Her father, Air Force Sergeant BEN CHANDLER (30's), comes into the bathroom. He's in uniform.</scene_description> <character>BEN</character> <dialogue>Are you done?</dialogue> <scene_description>Ally takes the brush out of her mouth.</scene_description> <character>ALLY</character> <dialogue>Mike just thinks of a place and he's there, Daddy. Why can't I do that?</dialogue> <character>BEN</character> <parenthetical>(hands Ally a glass of water)</parenthetical> <dialogue>Here. Rinse.</dialogue> <character>ALLY</character> <dialogue>I'm not done.</dialogue> <parenthetical>(starts brushing again)</parenthetical> <dialogue>Mike says he's going to visit me all the time now.</dialogue> <character>BEN</character> <dialogue>Let me see.</dialogue> <scene_description>Ally bares her teeth.</scene_description> <character>BEN</character> <dialogue>Oh, that looks good.</dialogue> <scene_description>He hands her the water. She fills her mouth and sloshes. He waits until she nods her head, then pops her cheeks and she spits the water into the sink. As she giggles he sweeps her up into his arms and heads for the door.</scene_description> <character>ALLY</character> <dialogue>Daddy, Mike wants to come.</dialogue> <scene_description>Her father stops and looks around the room. He and Ally are alone.</scene_description> <character>BEN</character> <dialogue>Who's Mike?</dialogue> <character>ALLY</character> <dialogue>He's my friend.</dialogue> <character>BEN</character> <dialogue>Where is he?</dialogue> <scene_description>Ally points to an empty space above the clothes hamper.</scene_description> <character>ALLY</character> <dialogue>Right there.</dialogue> <scene_description>Ben squeezes Ally and kisses her on the forehead.</scene_description> <character>BEN</character> <dialogue>I love you so much.</dialogue> <scene_description>He reaches out and pulls in an armful of air.</scene_description> <character>BEN</character> <dialogue>Upsy daisy, Mike. He's a fine-looking boy. How long have you known Mike?</dialogue> <character>ALLY</character> <dialogue>Since today. He comes from Sunbury and he lives on the smell of flowers.</dialogue> <scene_description>WE BEGIN TO HEAR A TINKLY VERSION OF "GOOD NIGHT, IRENE": PLAYED ON A CHILD'S PIANO.:</scene_description> <character>BEN</character> <parenthetical>(as they walk out)</parenthetical> <dialogue>If he eats flowers, they'll make him sick.</dialogue> <character>ALLY (O.S.)</character> <dialogue>Not the flowers, Daddy. The smells.</dialogue> </scene> <scene> <stage_direction>EXT. SLUM AREA - BANGOR, MAINE - MORNING</stage_direction> <scene_description>It's DRIZZLING. A group of LITTLE KIDS is horsing around with a football in the vacant lot next to a shabby blue house. "GOOD NIGHT, IRENE" is obviously coming from the house.</scene_description> <character>MALE VOICE (O.S.)</character> <parenthetical>(from inside the house)</parenthetical> <dialogue>Elmo!! I told you to stop playing that goddamn thing.</dialogue> <scene_description>Elmo doesn't stop.</scene_description> <character>MISS BARNETT (O.S.)</character> <parenthetical>(From inside the house)</parenthetical> <dialogue>Elmo!! Your Uncle Gus is trying to sleep.</dialogue> <scene_description>Elmo doesn't seem to care.</scene_description> <character>MISS BARNETT (O.S.)</character> <dialogue>Didn't you hear me? What's the matter with you?</dialogue> <scene_description>SLAP! The MUSIC STOPS and Elmo starts to cry.</scene_description> <character>MISS BARNETT (O.S.)</character> <dialogue>You're driving us crazy. You're always in the house. Go outside and play.</dialogue> <scene_description>The door opens and a toy piano sails out and smashes onto the scabby front lawn. Elmo, a four-year-old version of Mike, is shoved out next and the door is slammed shut behind him. He stumbles and falls and lays there, sobbing.</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - OMAHA, NEBRASKA - DAY</stage_direction> <scene_description>A white sky stretches out above Ally (now six) and her Father and GRANDMOTHER as they lay flowers on a new grave. During their silent prayers, we READ the INSCRIPTION on a simple marble cross -- Beth Chandler 1926 - 1956. Ben wipes a tear out of his eye. The two adults take Ally's hands and walk toward the road where a station wagon pulling a U-haul trailer loaded with household goods waits at the curb.</scene_description> <character>GRANDMOTHER</character> <dialogue>You're gonna have to take care of your daddy now, Ally.</dialogue> <scene_description>Ally looks quizzically up at her Grandmother.</scene_description> </scene> <scene> <stage_direction>INT. STATION WAGON - NEBRASKA HIGHWAY - NIGHT</stage_direction> <scene_description>Ben is humming "The Tennessee Waltz" as he drives. Ally, half asleep, is leaning against her Grandmother.</scene_description> <character>GRANDMOTHER</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Are you really thinking about getting out of the service?</dialogue> <character>BEN</character> <parenthetical>(nods to Ally)</parenthetical> <dialogue>Going base to base like this is no life for her.</dialogue> <scene_description>Ally sneezes sharply.</scene_description> <character>GRANDMOTHER</character> <dialogue>Bless you.</dialogue> <scene_description>Ben cocks his head. There's the FAINT SOUND OF HEAVEN in the car.</scene_description> <character>GRANDMOTHER</character> <parenthetical>(wiping Ally's nose with a Kleenex)</parenthetical> <dialogue>Are you catching cold?</dialogue> <character>BEN</character> <dialogue>I just got a great idea... Toys that make people laugh. What do you think?</dialogue> <character>GRANDMOTHER</character> <dialogue>What do you mean?</dialogue> <character>BEN</character> <dialogue>Just that. Toys that make people laugh.</dialogue> <scene_description>Its dome light flashing, a police car jumps out of the darkness behind them. It's going so fast to somewhere important that it takes a moment for the SIREN to catch up. Ben and his Mother watch it rush into the darkness ahead of them. A blast of "PURPLE HAZE" BY JIMI HENDRIX yanks us to 1968 and we are:</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED SLUM WAREHOUSE - BANGOR, MAINE - DAY</stage_direction> <scene_description>A police car cruises by on the street and we BEGIN TO HEAR the SOUNDS OF A PICKUP GAME OF BASKETBALL.</scene_description> </scene> <scene> <stage_direction>INT. ABANDONED WAREHOUSE - DAY</stage_direction> <scene_description>The game is going on under a hoop that has been wired to one of the pillars. The MUSIC is COMING FROM A GHETTO BLASTER on the floor next to a pile of hastily discarded shirts and jackets. Not one of the six GUYS is any good. There is more laughter and pushing and cursing than there is finesse. A heavyset kid rumbles down the middle, knocks over his opponent, and manages to get the lay-up. Amid cries of foul, Elmo (now 19 and played by the same actor who played Mike) retrieves the ball, steps out of the playing area, and takes a long swig of beer from a quart bottle. His T-shirt reads -- Property of Lincoln High. The in-bound pass is caught by the other team. While his teammates yell at him, the other guys take a shot at the basket. They miss. The ball comes back out to Elmo, who, buzzing a little from the beer, shoots. A little too hard. The ball ricochets off the pillar and THWACK!! lodges itself in an angle of the rafters. A collective moan goes up from the guys. Elmo starts to laugh.</scene_description> <character>GUY #1</character> <dialogue>Asshole, Barnett.</dialogue> <character>GUY #2</character> <dialogue>You put it up there. You get it down.</dialogue> <character>ELMO</character> <dialogue>Come on, Marty. Bend over.</dialogue> <scene_description>Elmo speaks with a slight stutter. Still laughing, he crawls up the heavyset kid's back until he is able to stand on his shoulders and lean against the pillar.</scene_description> <character>ELMO</character> <dialogue>Okay. Straighten up... slowly!</dialogue> <scene_description>Elmo's fingers can just touch the rafters and in that position he and Marty crab toward the ball.</scene_description> <character>GUYS</character> <dialogue>Marty's beginning to shake. You fall now, Barnett, you're going to lose your nuts. What nuts?</dialogue> <scene_description>The strain is too much for Marty and he farts.</scene_description> <character>GUY #2</character> <dialogue>Class, Marty. You're all class.</dialogue> <scene_description>Elmo stretches as high as he can but he can't reach the ball.</scene_description> <character>ELMO</character> <dialogue>Get me something.</dialogue> <scene_description>Marty farts again and begins to laugh.</scene_description> <character>GUY #3</character> <dialogue>You better get down, Barnett, before he shits himself.</dialogue> <scene_description>One of the guys finds an old discarded shovel against the wall. He hands it up to Elmo. Elmo swings the handle of the shovel and knocks the ball loose.</scene_description> <character>GUY #1</character> <dialogue>Okay, let's go.</dialogue> <character>GUY #4</character> <dialogue>Oh shit, it's 12:40. Why didn't you guys tell me?</dialogue> <scene_description>Elmo throws the shovel to one side and jumps down. The shovel clangs onto the cement and comes to rest in a spot of sunlight. Elmo is about to rejoin his buddies when the smoke of a memory stops him and he turns back and looks at the shovel. It is exactly like the shovel he kept finding in Heaven. As the argument continues behind him, he goes to pick it up.</scene_description> <character>GUY #1</character> <dialogue>Five more minutes. What can that hurt?</dialogue> <character>GUY #4</character> <dialogue>Me.</dialogue> <character>GUY #2</character> <dialogue>Why did you take that stupid job anyway?</dialogue> <character>GUY #4</character> <dialogue>Because I don't have a sister that gives me money.</dialogue> <character>GUY #2</character> <dialogue>I don't have a father to give me a job.</dialogue> <character>GUY #4</character> <dialogue>Screw you.</dialogue> <scene_description>With the shovel in his hand, Elmo looks over at his buddies. Guy #4 tucks in his shirt as he runs off.</scene_description> <character>GUYS</character> <parenthetical>(Yelling after him)</parenthetical> <dialogue>Candy ass... Chicken shit...</dialogue> <scene_description>One of the guys lights up a joint and begins to pass it around. Another guy screws the top off a bottle of wine. The game is over. Elmo looks at the shovel. The RADIO FADES and we HEAR THE FAINT SOUND OF HEAVEN in the distance. Elmo leans the shovel tenderly against the wall. GRACE SLICK'S "SOMEBODY TO LOVE" PICKS UP ON THE SOUNDTRACK and CONTINUES OVER:</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>A semi is sliding directly AT US, its tires bouncing on the pavement as the DRIVER stands on the brakes. Fortunately, it stops just before we join the bugs in its grillwork. Our VIEW MOVES TO THE LEFT and we SEE Elmo, now in baggy pants and a leather jacket, running along the shoulder. Panting, he jumps up on the step and opens the door to the cab.</scene_description> </scene> <scene> <stage_direction>INT. CAB - DAY</stage_direction> <scene_description>Elmo throws a new paperback onto the seat and pulls his travel bag in after him. The Driver, a balding BLACK MAN, starts to ease his rig back into the traffic. "SOMEBODY TO LOVE" COMES TO AN ABRUPT STOP for the dialogue.</scene_description> <character>ELMO</character> <dialogue>Th-thanks.</dialogue> <character>BLACK MAN</character> <dialogue>Where you headed, sport?</dialogue> <character>ELMO</character> <dialogue>Wherever you are.</dialogue> <scene_description>The Driver cackles.</scene_description> <character>BLACK MAN</character> <dialogue>If you don't know where you're going, I guess any road will take you there.</dialogue> <scene_description>"SOMEBODY TO LOVE" ROCKS FORWARD.:</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>The semi rushes out from under an overpass and we WATCH it until it gets small on the southern horizon and all we are LOOKING AT is sky.</scene_description> <character>FEMALE VOICE (V.O.)</character> <dialogue>There's this missionary driving through China and he sees this dog in one of the fields with a wooden leg.</dialogue> <scene_description>Our VIEW MOVES DOWN TO:</scene_description> </scene> <scene> <stage_direction>EXT. COLUMBIA UNIVERSITY - NEW YORK CITY - DAY</stage_direction> <scene_description>The campus is crowded. Ally (now 19 and played by the same actress who played Annie) is walking TOWARD US. She carries a binder and books and is accompanied by three friends -- PAT, KARIN, and LYNN.</scene_description> <character>LYNN (FEMALE VOICE)</character> <dialogue>So he stops and asks the farmer, `Why does your dog have a wooden leg?' The farmer says...</dialogue> <parenthetical>(bad Chinese accent)</parenthetical> <dialogue>`That is the smartest dog in the whole world. I bought him in Shanghai. I put him in the north field. And in one week he had found me a big pile of Ginseng.' Yes, but why...</dialogue> <scene_description>The girls start to enter an intersection on the walkway. TOM DONNELLY, 21 -- shaggy hair, attractive, granny glasses, coming in from a side path -- calls to them.</scene_description> <character>TOM</character> <dialogue>Excuse me. Can you help me? I'm looking for Larry Pulsky's class... It's a production class... It's in the film department.</dialogue> <character>PAT</character> <dialogue>You're not even close.</dialogue> <scene_description>Tom's gaze brushes over Ally, who's staring at him. She's already beginning to hear the echoes.</scene_description> <character>KARIN</character> <dialogue>It's behind the library.</dialogue> <character>TOM</character> <dialogue>I have no idea where the library is.</dialogue> <character>LYNN</character> <dialogue>You're new, aren't you?</dialogue> <character>PAT</character> <dialogue>Of course he's new. Didn't you just hear him say he didn't know where the library was?</dialogue> <character>KARIN</character> <dialogue>Go back this way to the student union, go left, you'll pass a brick building on your right, go right, just past it cut through the quad, you'll be in front of the library, the film deparment is in the building behind that.</dialogue> <scene_description>TOM CONCENTRATES, THEN:</scene_description> <character>TOM</character> <dialogue>Thank you.</dialogue> <scene_description>He starts off in the direction she's indicated. He hasn't gone six feet when he turns around.</scene_description> <character>TOM</character> <dialogue>I'm sorry. This is very embarrassing. Could you go through that again? I'm totally lost.</dialogue> <character>LYNN</character> <dialogue>Don't worry. It happens to all of us.</dialogue> <character>ALLY</character> <dialogue>I'll take you over there. I'm going in that direction anyway. I'll see you guys later.</dialogue> <character>PAT</character> <parenthetical>(as Ally and Tom walk off)</parenthetical> <dialogue>I thought you had English Lit next.</dialogue> <character>ALLY</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>I hope this isn't too far out of your way.</dialogue> <character>ALLY</character> <dialogue>It is... but you're new. I'm Ally Chandler.</dialogue> <character>TOM</character> <parenthetical>(takes her hand)</parenthetical> <dialogue>Tom Donnelly.</dialogue> <scene_description>Their fingers slip slowly apart. A little further on, Ally sneaks a look at Tom. She's met someone this way before and he was wonderful. Tom is looking straight ahead.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - BOSTON PUBLISHING HOUSE - DAY</stage_direction> <scene_description>Elmo, dressed in a cheap tie and sweater, is waiting across a large mahogany desk from MR. TURNER. The afternoon sun that almost silhouettes the senior editor washes across Elmo's face, exposing his innocence and his hope. Mr. Turner puts down Elmo's application. He takes off his bifocals and spins them while he thinks. They flash like mirrors when hit by the light.</scene_description> <character>MR. TURNER</character> <parenthetical>(kind)</parenthetical> <dialogue>I'm very intrigued, Mr. Barnett. You're a high school dropout. Why did you apply for a job in publishing? It's all books.</dialogue> <character>ELMO</character> <parenthetical>(with his stutter)</parenthetical> <dialogue>I've always liked to read. I thought maybe there was something I could do with that.</dialogue> <character>MR. TURNER</character> <dialogue>That's very well said. Now why should I hire you?</dialogue> <character>ELMO</character> <parenthetical>(pause, then:)</parenthetical> <dialogue>Because I need a future and I'm willing to work hard for it.</dialogue> <character>MR. TURNER</character> <dialogue>Do you have any idea what kind of job you'd want?</dialogue> <character>ELMO</character> <dialogue>I don't even know what kind of jobs you have. But I'll do anything to start. I'm not dumb, Mr. Turner. I'm only 20. I can learn. And you can get me cheap.</dialogue> <character>MR. TURNER</character> <dialogue>You're very tempting, Mr. Barnett.</dialogue> <scene_description>You'd certainly bring a different point of view to things. That wouldn't necessarily be bad.</scene_description> <character>ELMO</character> <dialogue>Give me a chance.</dialogue> <character>MR. TURNER</character> <dialogue>I see you're not married. Are you engaged?</dialogue> <character>ELMO</character> <dialogue>No... I guess I haven't found the right girl yet.</dialogue> <scene_description>Mr. Turner spins his glasses and thinks.</scene_description> <character>MR. TURNER</character> <dialogue>I'll tell you my biggest fear. I think you could do it... but I don't know if you'd stick with it. I just feel that one day you'd up and take off and where would that leave me?</dialogue> <character>ELMO</character> <parenthetical>(looking at the desk)</parenthetical> <dialogue>I understand.</dialogue> <character>MR. TURNER</character> <parenthetical>(genuine)</parenthetical> <dialogue>I'm sorry, Mr. Barnett.</dialogue> <scene_description>Elmo rises with Mr. Turner and the two men shake hands.</scene_description> <character>ELMO</character> <dialogue>I understand. Thanks a lot for seeing me. You've been very nice.</dialogue> <character>MR. TURNER</character> <dialogue>Thank you.</dialogue> <scene_description>He remains standing as Elmo leaves.</scene_description> <character>MR. TURNER</character> <dialogue>Mr. Barnett...?</dialogue> <scene_description>Elmo looks back from the doorway.</scene_description> <character>MR. TURNER</character> <dialogue>Please don't give up.</dialogue> <character>ELMO</character> <dialogue>Not me. I'm gonna do great.</dialogue> <scene_description>CUT TO: A BEAUTIFUL WHITE SANDY BEACH with palm trees and blue water. As we PULL BACK, we FIND Elmo in a corporal's uniform. He is 23 years old and his hair is short. As we PULL FURTHER BACK, we REALIZE that the sandy beach is on a travel poster advertising the Virgin Islands and that Elmo is standing in front of a "ride shelter" outside the FORT LEONARD WOOD ARMY BASE in KANSAS. He has his thumb out to the traffic and his collar up against the wind. It's SNOWING LIGHTLY. The COWBOY SONG about "lost love" that was playing on the pickup radio when Mike asked Brenda to go to California FADES UP ON THE SOUNDTRACK. A new (1972) Ford Fairlane slows to a stop and the passenger door is thrown open. Elmo looks in at a burly, red-headed "feed" SALESMAN.</scene_description> <character>SALESMAN</character> <dialogue>Where do you want to go, Corporal?</dialogue> <character>ELMO</character> <dialogue>Wherever you are?</dialogue> <character>SALESMAN</character> <dialogue>Hop in.</dialogue> <scene_description>As Elmo throws his travel bag in the back, the Salesman notices the Silver Star medal on his chest.</scene_description> <character>SALESMAN</character> <dialogue>Where you get that?</dialogue> <character>ELMO</character> <dialogue>Hue.</dialogue> <character>SALESMAN</character> <dialogue>Holy Jesus Christ, boy, you're lucky to be alive.</dialogue> <scene_description>The Fairlane pulls back onto the highway.</scene_description> </scene> <scene> <stage_direction>INT. FORD FAIRLANE - NIGHT</stage_direction> <scene_description>The Salesman is smoking a cigar and watching the headlights of the oncoming traffic. The COWBOY SONG is NOW COMING FROM the RADIO. Elmo turns from a reflection of himself in the windshield and stares out at the darkened landscape. The SONG CONTINUES OVER:</scene_description> </scene> <scene> <stage_direction>INT. ST. PATRICK'S CATHEDRAL -- DAY</stage_direction> <scene_description>It's decorated for a wedding and half filled with well-dressed FRIENDS and RELATIVES. At the altar, Ben looks on with pride and a tear in his eye as Ally, dazzlingly beautiful in her wedding gown, stands with Tom before the MONSIGNOR. The COWBOY SONG ENDS and the Monsignor turns to Ally.</scene_description> <character>MONSIGNOR</character> <dialogue>Do you, Ally Chandler, take Tom Donnelly to be your lawful wedded husband, to love and to hold in sickness or in health, till death do you part?</dialogue> <character>ALLY</character> <dialogue>I do.</dialogue> </scene> <scene> <stage_direction>EXT. CHANDLER ESTATE -- GREAT NECK -- LONG ISLAND -- DAY</stage_direction> <scene_description>A BAND LEADER gives a downbeat and his MUSICIANS slip into "The Tennessee Waltz". The wedding guests applaud as Tom leads Ally to the middle of a parquet floor set up on the lawn. He takes her in his arms and, with everyone watching, they begin to dance. A middle-aged MAN in an Air Force uniform sidles up to Ben and whispers in his ear.</scene_description> <character>MAN</character> <dialogue>Bet this spread set you back a couple hula hoops, Sarge.</dialogue> <character>BEN</character> <parenthetical>(twists around and greets the Man warmly)</parenthetical> <dialogue>Hey, Andy, glad you could make it.</dialogue> <character>ANDY (MAN)</character> <dialogue>She's beautiful, Ben. I'd never know she was your daughter.</dialogue> <scene_description>They turn back to the dance floor.</scene_description> <character>MAN</character> <dialogue>He makes movies, doesn't he?</dialogue> <character>BEN</character> <dialogue>Right now he's parking cars for a living.</dialogue> <scene_description>A light breeze billows the catering tent behind them.</scene_description> <character>MAN</character> <dialogue>Look at them... isn't it great? They're in love and they've got the whole world ahead of them.</dialogue> <character>BEN</character> <dialogue>I just hope he loves her as much as she loves him.</dialogue> <scene_description>On the floor, the couple splits and, as Tom goes over to get his mother, Ally comes over to Ben.</scene_description> <character>ALLY</character> <dialogue>Come on, Dad, it's your dance.</dialogue> <scene_description>Ben is very happy to take his daughter in his arms and she's very happy to be there. She lays her head on his shoulder and we WATCH them for a long time as they glide around the floor.</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK -- MIDWESTERN TOWN -- DAY</stage_direction> <scene_description>We TAKE A LONG LOOK AT the pulsing, wobbling flow of PEDESTRIAN traffic. Our VIEW at first IS RANDOM, then it PICKS OUT a well-endowed WOMAN in a halter top and tight jeans.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>Look at this... look at 'em bounce... Look at 'em... God, I love to watch tits bounce. I love to feel them. I love to taste them. That's what life's all about.</dialogue> <scene_description>A box-back truck with "Hot &amp; Cold Insulation" emblazoned on its side sits at the curb. Elmo and his co-worker, SHORTY (the name says it all), are lunching and girl watching in their coveralls from the open bay door.</scene_description> <character>ELMO</character> <parenthetical>(scratching under the goggles hanging from his neck)</parenthetical> <dialogue>Check out this guy.</dialogue> <scene_description>A man wearing an abusively ugly hat goes by them.</scene_description> <character>ELMO</character> <dialogue>It's got to be his lucky hat.</dialogue> <scene_description>Elmo sneezes sharply.</scene_description> <character>SHORTY</character> <dialogue>Bless you.</dialogue> <scene_description>He cocks his head. There's the FAINT SOUND OF HEAVEN around them.</scene_description> <character>SHORTY</character> <dialogue>I just got a great idea. Garbage cans that repel ants. What do you think?</dialogue> <character>ELMO</character> <dialogue>What do you mean?</dialogue> <character>SHORTY</character> <dialogue>Just that. Garbage cans that repel ants. You know when you go out at night and you feel around to stuff the garbage bag in the can, always when you pull your hands out you have ants crawling all over your arms. An hour later you're still picking them out of your hair.</dialogue> <scene_description>Elmo is looking so intently at him that it makes Shortly nervous.</scene_description> <character>SHORTY</character> <dialogue>You think I'm crazy but it's true. Who do you know who likes ants? Nobody. It's a good idea, Elmo.</dialogue> <character>ELMO</character> <dialogue>I think it's great.</dialogue> <character>SHORTY</character> <dialogue>Really?</dialogue> <character>ELMO</character> <dialogue>Absolutely. It's wonderful. It's never been done.</dialogue> <character>SHORTY</character> <dialogue>Oh my God!... Look at this. Look at this.</dialogue> <scene_description>Coming along the sidewalk is a beautiful young WOMAN. A vision. An angel. She seems to float while the rest of the pedestrians walk.</scene_description> <character>ELMO (O.S.)</character> <dialogue>It's a great idea, Shorty. We've got to do something with it.</dialogue> <character>SHORTY (O.S.)</character> <dialogue>We will. She's gorgeous. She wins today.</dialogue> <scene_description>We just WATCH the girl as she continues TOWARD US.</scene_description> <character>ELMO (O.S.)</character> <dialogue>You ever wonder who they are, Shorty? Where girls like that are from? Who are their friends? Where do they go at night? Who do they marry?</dialogue> <character>SHORTY</character> <dialogue>Miss...</dialogue> <scene_description>The vision turns toward them.</scene_description> <character>SHORTY</character> <dialogue>Could you come here?</dialogue> <character>ELMO</character> <dialogue>Oh geez, Shorty. Come on.</dialogue> <scene_description>Slightly wary, the girl approaches. Elmo is looking for a place to hide.</scene_description> <character>SHORTY</character> <dialogue>My friend here wants to ask you a question.</dialogue> <scene_description>Elmo just stares at her.</scene_description> <character>SHORTY</character> <dialogue>It's your dime, Elmo.</dialogue> <character>ELMO</character> <parenthetical>(stutters)</parenthetical> <dialogue>Hi.</dialogue> <character>GIRL</character> <dialogue>Hi.</dialogue> <scene_description>We HEAR A CAR HONK O.S.</scene_description> </scene> <scene> <stage_direction>INT. ALLY'S OFFICE - LATE AFTERNOON</stage_direction> <scene_description>Our VIEW PANS OVER a drawing of a child's slipper made in the shape of a red Corvette. A FRONT VIEW SHOWS it with the headlights on. Ally is bent over the drawing putting the black on the tires with a flow-tip pen. BZZZZZ! She jumps and fumbles off the ALARM ON HER WRISTWATCH.</scene_description> </scene> <scene> <stage_direction>INT. CHANDLER TOY CO. -- NEW YORK CITY -- LATE AFTERNOON</stage_direction> <scene_description>Ally comes out of her office. She's in a hurry and struggling with a stylish coat, a shoulder bag, and a sheaf of drawings. We FOLLOW her DOWN the hallway THROUGH a reception area that displays some of the toys the Chandler Co. makes -- the hula hoop, a skiing penguin, a pair of clacking dentures -- TO her father's office. She taps and, without waiting for an answer, enters.</scene_description> </scene> <scene> <stage_direction>INT. BEN'S OFFICE -- LATE AFTERNOON</stage_direction> <scene_description>At the work table Ben is going over the blueprints for a new toy with a couple of ENGINEERS.</scene_description> <character>ALLY</character> <parenthetical>(interrupting)</parenthetical> <dialogue>These are the footlight things I was telling you about.</dialogue> <scene_description>She gives her father the drawings, kisses him on the cheek, and heads for the door.</scene_description> <character>BEN</character> <dialogue>Wait, wait...</dialogue> <parenthetical>(on the way to his desk)</parenthetical> <dialogue>I finished reading this last night.</dialogue> <scene_description>He picks a manuscript off his desk and hands it to Ally.</scene_description> <character>BEN</character> <dialogue>I didn't know you remembered Mike.</dialogue> <character>ALLY</character> <dialogue>Did you like it?</dialogue> <character>BEN</character> <dialogue>A lot. What are you gonna do with it?</dialogue> <character>ALLY</character> <parenthetical>(blushes)</parenthetical> <dialogue>I don't know. Maybe try and get it published... something... you know...</dialogue> <parenthetical>(recovers)</parenthetical> <dialogue>The batteries are going to be the problem with the footlights. There's nothing on the market right now that's small enough. I'll see you in the morning.</dialogue> </scene> <scene> <stage_direction>EXT. ELEGANT RESTAURANT -- LONG ISLAND -- NIGHT</stage_direction> <scene_description>It's busy. Cars are lined up on the street. Ally, in a wind- breaker and jeans, scribbles a number on a claim check and hands it to a man getting out of a Jaguar. Another ATTENDANT jumps behind the wheel of the Jaguar and takes off. A silver Mercedes moves up. Tom backs a yellow Corvette down in front of it and, while he holds the door for his PATRONS, the COUPLE getting out of the Mercedes catches his eye. Ally hands the long-haired man a claim check. Tom gets his tip and trots over to the stand. Ally gives him a flying kiss.</scene_description> <character>ALLY</character> <dialogue>I love you.</dialogue> <character>TOM</character> <parenthetical>(looking at the long- haired man)</parenthetical> <dialogue>That's Nort Thorton.</dialogue> <character>ALLY</character> <dialogue>Who's Nort Thorton?</dialogue> <character>TOM</character> <dialogue>He's a terrific commercial director.</dialogue> <character>ALLY</character> <dialogue>Go talk to him.</dialogue> <character>TOM</character> <dialogue>You crazy?</dialogue> <character>ALLY</character> <dialogue>Why not?</dialogue> <character>TOM</character> <dialogue>Because I'll lose my job if I start doing that.</dialogue> <character>ALLY</character> <dialogue>So what? This isn't the job you want. That's the job you want.</dialogue> <scene_description>A CAR in line HONKS.</scene_description> <character>TOM</character> <parenthetical>(starts towards the Mercedes)</parenthetical> <dialogue>He wouldn't be interested, anyway.</dialogue> <character>ALLY</character> <parenthetical>(following)</parenthetical> <dialogue>You don't know that unless you talk to him.</dialogue> <character>TOM</character> <dialogue>Don't push it, Ally.</dialogue> <character>ALLY</character> <dialogue>But you're good. You're not asking for a favor. You're good.</dialogue> <character>TOM</character> <dialogue>He's a commercial director. I want to do features.</dialogue> <character>ALLY</character> <dialogue>It would be a place to start.</dialogue> <character>TOM</character> <dialogue>You better get that car.</dialogue> <scene_description>Ally just stands there and watches Tom gun the Mercedes up the ramp.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT -- GOODYEAR TIRE AND RUBBER PLANT -- LUNCH</stage_direction> <character>HOUR</character> <dialogue>Elmo and Shorty get out of the "Hot &amp; Cold Insulation" truck and start toward the building. Shorty's borrowed sports coat is sizes too big for him and Elmo's is just the wrong side of tight. Both men are very nervous.</dialogue> <character>ELMO</character> <dialogue>All we've got to remember is that it's a great idea and there's nothing like it on the market.</dialogue> <character>SHORTY</character> <dialogue>Okay, okay.</dialogue> <parenthetical>(points)</parenthetical> <dialogue>Nice car.</dialogue> <character>ELMO</character> <dialogue>What?... Oh, yeah.</dialogue> <parenthetical>(looks at Shorty again)</parenthetical> <dialogue>I think your tie goes better with what I'm wearing and my tie goes better with what you're wearing.</dialogue> <character>SHORTY</character> <dialogue>Okay, okay.</dialogue> <scene_description>Without stopping the men remove their ties, exchange them, and begin to put them on.</scene_description> <character>ELMO</character> <parenthetical>(during the exchange)</parenthetical> <dialogue>Remember, we want ten thousand dollars apiece.</dialogue> <character>SHORTY</character> <dialogue>Okay, okay.</dialogue> <character>ELMO</character> <dialogue>And ten percent of the profits and we want to be involved.</dialogue> <character>SHORTY</character> <dialogue>Okay, okay.</dialogue> <scene_description>They walk on.</scene_description> <character>SHORTY</character> <dialogue>What if they offer us eight percent?</dialogue> <character>ELMO</character> <dialogue>Then we'll negotiate.</dialogue> <scene_description>Elmo and Shorty enter the building.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE -- GOODYEAR TIRE AND RUBBER PLANT -- DAY</stage_direction> <scene_description>A lean, gray-haired MAN with dark-rimmed glasses and a large Adam's apple is rocking back and forth in his chair howling with laughter while Elmo and Shorty stare at him in stunned silence. Weakly, he reaches out and jabs the intercom.</scene_description> <character>MAN</character> <dialogue>Burt, you gotta get in here and listen to what these two guys came up with. Hurry.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT -- GOODYEAR TIRE AND RUBBER PLANT -- DAY</stage_direction> <scene_description>His jaw set against the world, Elmo strides angrily back toward the car. Shorty trots anxiously alongside.</scene_description> <character>SHORTY</character> <dialogue>He's an asshole. Forget it. We'll take it someplace else.</dialogue> <scene_description>Elmo rips the tie from around his neck and throws it into the cars. Shorty's eyes follow it. That's his tie! But Elmo is right.</scene_description> <character>SHORTY</character> <parenthetical>(whipping the tie from around his neck)</parenthetical> <dialogue>They're assholes. All of 'em. Assholes.</dialogue> <parenthetical>(turns and throws the tie at the building)</parenthetical> <dialogue>Assholes!!</dialogue> <scene_description>He starts to catch up with Elmo, but his anger is still not satisfied and he whirls around to face the building again. ASSHOLES!!!!:</scene_description> </scene> <scene> <stage_direction>INT. OFFICES -- HOT &amp; COLD INSULATION -- LATE AFTERNOON</stage_direction> <scene_description>Nervously twirling his cap, Elmo, now in his coveralls, waits on the edge of the bench in the reception area. He looks at the SECRETARY. Her face is blank.</scene_description> <character>ELMO</character> <dialogue>You know what he wants me for? Was it because Shorty and I were late after lunch?</dialogue> <scene_description>She shrugs. Elmo shuffles his feet. At the end of the hallway, a man with a crew cut, MR. MULVEHILL, sticks his head out of an office.</scene_description> <character>MR. MULVEHILL</character> <dialogue>Elmo...</dialogue> <scene_description>He waits for Elmo to come to him, then without a word ushers him into the office and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE -- LATE AFTERNOON</stage_direction> <character>MR. MULVEHILL</character> <dialogue>Sit down.</dialogue> <parenthetical>(watches Elmo do as he's told)</parenthetical> <dialogue>Elmo, I want you to be my foreman.</dialogue> <scene_description>Elmo just looks at him.</scene_description> <character>MR. MULVEHILL</character> <dialogue>You can smile. This is a promotion.</dialogue> </scene> <scene> <stage_direction>INT. ONE-BEDROOM APARTMENT -- DAWN</stage_direction> <scene_description>A crack of light from the hallway falls across a nurse's cap on a dresser littered with a collection of dolls. In the bed, the girl Elmo and Shorty thought was so beautiful on the street lies asleep in a tangle of sheets. Elmo is watching her from a chair next to the door. He looks sad. Finally, he rubs his eyes and, clutching a handful of shirts, stands up. IN THE BATHROOM he takes a razor, toothbrush, aspirin, and a nail clipper out of the medicine chest and tosses them into his shaving kit. IN THE KITCHEN with the cold gray light of dawn seeping in the windows, he stuffs the shirts, shaving kit, and a stack of paperbacks into his travel bag, then shrugs into a jacket. The house key clinks softly as he lays it on the counter. He turns to pick up his travel bag. The girl is standing in the archway. There are tears in her eyes.</scene_description> <character>GIRL</character> <dialogue>Is it me? Did I do something wrong?</dialogue> <scene_description>Elmo looks at his shoe tops.</scene_description> <character>GIRL</character> <dialogue>What do you want, Elmo? What's the matter?</dialogue> <character>ELMO</character> <dialogue>Nothing.</dialogue> </scene> <scene> <stage_direction>EXT. CARPORT -- DAWN</stage_direction> <scene_description>His head down, Elmo walks slowly across the back yard to a '59 Impala convertible that was once white. He gets to the car, turns around, and heads back to the apartment building. Halfway there he stops, turns around, and goes back to the car. He stands quietly next to it thinking, then explodes. The travel bag is slammed against the car, his fists flail at the wall of the carport, his feet dent the door of the car. All this is done without uttering a sound and then it's over. He stands there panting, exhausted.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY -- DAWN</stage_direction> <scene_description>The '59 Impala is cruising along with Elmo behind the wheel. On the RADIO there's a NEWS ITEM ABOUT NIXON'S RESIGNATION. FROM WAY ABOVE the highway, we WATCH as the Chevy comes to a four-way intersection in the middle of nowhere. There is no other traffic. The Chevy starts straight across, then changes its mind and goes left. But that's not right and it goes left again, making a circle in the intersection. Finally, it decides on the only direction left to it and it clatters off, trailing a column of smoke. We BEGIN TO HEAR THE SOUND OF APPLAUSE.</scene_description> </scene> <scene> <stage_direction>INT. BALLROOM -- CLIO AWARDS -- NIGHT</stage_direction> <scene_description>On stage the PRESENTER waits for the applause to die down.</scene_description> <character>PRESENTER</character> <dialogue>And now the winner for best comedy commercial of the year...</dialogue> <parenthetical>(he rips open an envelope and reads)</parenthetical> <dialogue>... Volkswagen's `No Gas', Producer Paul Esposito, Director Tom Donnelly.</dialogue> <scene_description>At their table Ally and Tom kiss and embrace and, while Ally claps proudly, Tom and a good-looking older MAN bound on stage and accept their Clio's. Arm in arm they hold them up to the applause of the audience.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL -- NEW YORK -- NIGHT</stage_direction> <scene_description>The show is over and the black tie CROWD is drifting out. Ally and Tom are among those waiting for their limousines. Ally has both arms around Tom's waist and her head on his chest. His tie is undone and, with the Clio in one hand, he has both arms around her.</scene_description> <character>ALLY</character> <dialogue>How would you feel about us having a baby?</dialogue> <character>TOM</character> <parenthetical>(wary)</parenthetical> <dialogue>Are you pregnant?</dialogue> <character>ALLY</character> <dialogue>No... but I've been thinking about it. That could be our thing for next year. You'll make a movie and I'll have a baby.</dialogue> <character>TOM</character> <parenthetical>(forcing enthusiasm)</parenthetical> <dialogue>Eh... yeah.</dialogue> <scene_description>The GIRL in a couple about their age looks at them and whispers to her COMPANION. He nods.</scene_description> <character>GIRL</character> <parenthetical>(to Ally)</parenthetical> <dialogue>Excuse me. You wrote `The Care and Feeding of Mike', didn't you?</dialogue> <character>ALLY</character> <parenthetical>(slightly embarrassed, unwraps herself from Tom)</parenthetical> <dialogue>Eh... yes, yes, I did.</dialogue> <character>GIRL</character> <dialogue>I loved it. I had a pretend friend, too, and just like Mike he would take me places and I blamed things on him and we told each other secrets... really. It was great. Really.</dialogue> <character>ALLY</character> <dialogue>Thank you. Thank you very much.</dialogue> <scene_description>Tom looks on with a vague disquiet.</scene_description> <character>GIRL'S COMPANION</character> <dialogue>I didn't have a pretend friend. But when Mike had to leave, I cried. It was great.</dialogue> <parenthetical>(afterthought to Tom)</parenthetical> <dialogue>Congratulations.</dialogue> <character>TOM</character> <dialogue>Thank you.</dialogue> <scene_description>The couples go back to ignoring each other.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - NEW YORK - NIGHT</stage_direction> <scene_description>Ally is snuggled up to Tom.</scene_description> <character>ALLY</character> <dialogue>I'm glad you were lost at school.</dialogue> <character>TOM</character> <parenthetical>(after too long a pause)</parenthetical> <dialogue>So am I.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - MIDWESTERN TOWN - EVENING</stage_direction> <scene_description>The people are flowing TOWARD US. We ARE ELMO'S EYES. Even though he doesn't know it, he is LOOKING FOR Annie. YOUNG COUPLES, LOVERS, WOMEN, and GIRLS come under closer scrutiny than anyone else. Some of the returned glances are interested, but they're not right and Elmo passes them by. As he stands at a street corner waiting for a light, a large digital clock face in a store behind him flips off the seconds -- 58, 59, 60, ending the minute, changing the hour. Elmo starts across the street. He's beginning to realize he has a deadline.</scene_description> </scene> <scene> <stage_direction>INT./EXT. WOODEN SHED - DOCK AREA - CHESAPEAKE BAY -</stage_direction> <character>AFTERNOON</character> <dialogue>The needle on an upright scale swings across the numbers. A CHECKER in a white smock registers the weight and nods. Elmo lifts a crate of live hard-shell crabs off the scale plate and starts across the cement. The crabs reach through the slats with their claws and snap at his eyes. There are crabs everywhere. They scuttle underfoot. One of them has attached itself to Elmo's pant leg. He tries to kick it off as he goes to drop the crate into the back of a pickup parked in the doorway. He spends the afternoon lifting these crates off stacks and onto scales and into the backs of a succession of pickups. At the end of the shift, his BOSS counts two crisp ten-dollar bills into Elmo's outstretched hand.</dialogue> <character>BOSS</character> <dialogue>There you be.</dialogue> </scene> <scene> <stage_direction>INT./EXT. '59 IMPALA CONVERTIBLE - MORNING</stage_direction> <scene_description>Elmo is driving with one hand. The other runs the TUNER THROUGH THE RADIO BANDS searching for something to listen to. We CATCH A BIT OF A NEWS ITEM on the CAPTURE OF PATTY HEARST before he SETTLES ON A good old-fashioned ROCK AND ROLL FOOT STOMPER, Frankie Ford's "SEA CRUISE".</scene_description> </scene> <scene> <stage_direction>INT. ALLY AND TOM'S APARTMENT - NEW YORK - MORNING</stage_direction> <scene_description>It's big and sparsely but beautifully furnished. The RADIO is up so LOUD that "SEA CRUISE" is ricocheting off the walls. Ally, wearing nothing but a pair of bikini panties, is all alone and having the time of her life dancing to the music. She ponys around the couch to the breakfast bar to pick up a piece of toast. Without missing a beat she twirls around and takes a bite.</scene_description> </scene> <scene> <stage_direction>INT./EXT. '59 IMPALA CONVERTIBLE - MORNING</stage_direction> <scene_description>"SEA CRUISE" ROCKS ON. Elmo is slapping the steering wheel in rhythm. A six pack of Kellogg's breakfast cereals is wedged into the seat next to him. He reaches down and thumbs open a Sugar Pops and shakes some into his mouth.</scene_description> </scene> <scene> <stage_direction>INT. ALLY AND TOM'S NEW YORK APARTMENT - MORNING</stage_direction> <scene_description>Ally takes a sip of orange juice and pretends that this was just an interruption in her performance of "SEA CRUISE". She joins Frankie, making the song a duet as she struts her stuff across the living room.</scene_description> </scene> <scene> <stage_direction>INT./EXT. '59 IMPALA CONVERTIBLE - MORNING</stage_direction> <scene_description>Elmo is rocking out, bouncing up and down in his seat while he sings along with Frankie.</scene_description> </scene> <scene> <stage_direction>INT. ALLY AND TOM'S NEW YORK APARTMENT - MORNING</stage_direction> <scene_description>Ally is dancing. The PHONE RINGS. It RINGS AGAIN. She TURNS OFF the RADIO and, in the quiet, walks over and picks up the receiver.</scene_description> <character>ALLY</character> <dialogue>Hello... Oh, hi love...</dialogue> <scene_description>"SEA CRUISE" JUMPS UP and bites US in the ass.</scene_description> </scene> <scene> <stage_direction>INT./EXT. '59 IMPALA CONVERTIBLE - MORNING</stage_direction> <scene_description>At the top of his lungs Elmo blazes through the finale. CRASH!!!! It could have been the music, it could have been the pounding on the dash, or just old age. But whatever it was, the Chevy's transmission has fallen out onto the highway along with a lot of other parts.</scene_description> </scene> <scene> <stage_direction>EXT. SERVICE BAY - GAS STATION - AFTERNOON</stage_direction> <scene_description>A dejected Elmo is looking at his dead car.</scene_description> <character>MECHANIC</character> <parenthetical>(standing next to him)</parenthetical> <dialogue>Let's see here. Parts, labor... we're looking at five fifty.</dialogue> <scene_description>Elmo takes a long look at the Impala.</scene_description> <character>ELMO</character> <dialogue>How much will you give me for it?</dialogue> <character>MECHANIC</character> <dialogue>What would I want with this piece of shit?</dialogue> </scene> <scene> <stage_direction>INT. TRUCK CAB - NIGHT</stage_direction> <scene_description>Elmo, sporting a black eye and a split lip, climbs in with his travel bag and a paperback. The DRIVER, a skinny blond man with a pockmarked face, moves his rig back out onto the highway.</scene_description> <character>DRIVER</character> <dialogue>Where you headed?</dialogue> <character>ELMO</character> <dialogue>Wherever you are, pal.</dialogue> </scene> <scene> <stage_direction>EXT. BIG SKY COUNTRY - LATE AFTERNOON</stage_direction> <scene_description>Elmo is a mere dot, trudging along the side of the road. Behind him the clouds hang low over a beautiful valley. It is misting and Elmo is thinking.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY HIGHWAY - LATE AFTERNOON</stage_direction> <scene_description>A car comes along and Elmo sticks out his thumb. The car doesn't stop, but as Elmo swivels to follow its progress, he sees a man sitting on a rock next to the road up ahead. That's strange. Elmo can't remember him being there before. He switches his travel bag from one shoulder to the other and continues. As Elmo gets closer, the man on the rock takes a drag on his cigarette and stands up. He is wearing old blue coveralls and a flannel shirt. Emmett Humbird is waiting for Elmo.</scene_description> <character>EMMETT</character> <dialogue>Happy birthday, Elmo.</dialogue> <scene_description>Elmo stops. He has no idea who this man is. Emmett takes a fresh cigarette out of his breast pocket and suddenly, FROM ELMO'S POV, EVERYTHING SLOWS DOWN. He WATCHES INTENTLY as Emmett lights the new cigarette off the butt of the old one. The glowing tip presses into the new tobacco. The paper sizzles and begins to burn. ZAP! Echoes from Heaven whisper through Elmo's mind.</scene_description> <character>ECHOES</character> <dialogue>Emmett Humbird, Mike. Glad to meet you.</dialogue> <parenthetical>(A little fainter)</parenthetical> <dialogue>Emmett Humbird, Mike. Glad to meet you.</dialogue> <scene_description>Things RETURN TO NORMAL SPEED... ALMOST.</scene_description> <character>EMMETT</character> <dialogue>Thanks to you I can only smoke down here.</dialogue> <character>ELMO</character> <dialogue>Am I supposed to know you?</dialogue> <character>EMMETT</character> <parenthetical>(after a long drag)</parenthetical> <dialogue>We met in Heaven.</dialogue> <character>ELMO</character> <parenthetical>(crosses the road)</parenthetical> <dialogue>Why don't you take the next car? I'll walk on this side for a while.</dialogue> <character>EMMETT</character> <dialogue>You think you're looking for her, but you're just drifting.</dialogue> <character>ELMO</character> <dialogue>I'm not the only one who's drifting, pal.</dialogue> <character>EMMETT</character> <dialogue>That promotion at the insulation company... it wasn't the trap you thought it was. Shorty's idea about the garbage cans, you should have stuck with that, you could have made it something.</dialogue> <scene_description>Elmo is starting to really get scared and picks up his pace. In the distance we can SEE a white van coming along the road TOWARD US.</scene_description> <character>EMMETT</character> <parenthetical>(paralleling him)</parenthetical> <dialogue>You asked for this life, Elmo. You asked to be born.</dialogue> <character>ELMO</character> <parenthetical>(over his shoulder)</parenthetical> <dialogue>I don't know what you're talking about, man. I don't know what you're talking about.</dialogue> <character>EMMETT</character> <dialogue>I know things have been hard for you but you better start believing in yourself or you're going to miss her. And if you miss her this time you'll never find her again.</dialogue> <scene_description>Elmo whirls to point a finger at Emmett.</scene_description> <character>ELMO</character> <dialogue>Listen, asshole, if you don't stop following me, I'm gonna come over there and break you in half.</dialogue> <character>EMMETT</character> <dialogue>Did you notice you're not stuttering?</dialogue> <scene_description>Elmo puts a hand to his mouth. He realizes he hasn't been.</scene_description> <character>EMMETT</character> <dialogue>Remember Heaven, Elmo. Just think of where you want to be and you're there...</dialogue> <parenthetical>(points to a spot in front of him)</parenthetical> <dialogue>Come here.</dialogue> <scene_description>Elmo takes a step back and stumbles into a run.</scene_description> <character>EMMETT</character> <dialogue>Oh damn...</dialogue> <scene_description>He snaps his fingers. In midstride, Elmo is jerked off the ground and strobed back across the road to face Emmett.</scene_description> <character>ELMO</character> <dialogue>Wha...?!!!!</dialogue> <scene_description>His knees give way and Emmett grabs his arms to steady him.</scene_description> <character>EMMETT</character> <dialogue>Listen to me. You're 27 today. You only have three more years. So you better get moving.</dialogue> <scene_description>The van stops opposite them.</scene_description> <character>EMMETT</character> <parenthetical>(softly)</parenthetical> <dialogue>I've got to go now... It's all very simple, Elmo. Just imagine and believe in yourself.</dialogue> <scene_description>He lets go of Elmo's arms and walks backward to the van.</scene_description> <character>EMMETT</character> <dialogue>I care about you, Elmo.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>I want you to get the girl.</dialogue> <scene_description>He disappears behind the van and, without hearing a door open or close, it immediately speeds off. As Elmo watches it go, the clouds above break and a shaft of sunlight falls across the highway. The van hits it and VANISHES. Elmo's amazement is cut short by the SOUND OF A VOICE behind him.</scene_description> <character>VOICE</character> <dialogue>Hey, you want a ride or don't you?</dialogue> <scene_description>Elmo looks back. An old Plymouth is waiting for him on the shoulder. The DRIVER is standing next to it.</scene_description> <character>ELMO</character> <parenthetical>(stuttering again)</parenthetical> <dialogue>Did you just see a white van go by?</dialogue> <character>DRIVER</character> <dialogue>I haven't seen a car for miles. That's why I stopped for you. Do you want a ride?</dialogue> <scene_description>After a last glance at the shaft of light, Elmo runs to the car.</scene_description> </scene> <scene> <stage_direction>INT. PLYMOUTH - LATE AFTERNOON</stage_direction> <scene_description>It is moving.</scene_description> <character>DRIVER</character> <dialogue>Where you headed?</dialogue> <character>ELMO</character> <parenthetical>(mumbles)</parenthetical> <dialogue>I don't know.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - LATE AFTERNOON</stage_direction> <scene_description>The Plymouth is the only car in sight.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING - NEW YORK - EVENING</stage_direction> <scene_description>Ally is leaning against the wall in a hallway. She's frail and drawn and struggling to hold herself together. The SOUNDS OF MONDAY NIGHT FOOTBALL are seeping out of a nearby office. Two older MEN pass her locked in their own conversation. They're nothing to Ally. Her face brightens when the door she's been watching opens and a group of advertising MEN files out and moves toward the elevators. Tom is among them.</scene_description> <character>ALLY</character> <dialogue>Tom...</dialogue> <scene_description>He looks annoyed to see her.</scene_description> <character>TOM</character> <parenthetical>(to the Men)</parenthetical> <dialogue>Excuse me.</dialogue> <scene_description>He crosses to Ally.</scene_description> <character>ALLY</character> <dialogue>I just came over to give you this.</dialogue> <scene_description>She holds out the pink toy mouse we SAW in Heaven.</scene_description> <character>ALLY</character> <dialogue>It's our Christmas thing. It was my idea. It does a back flip.</dialogue> <scene_description>Tom reluctantly takes the gift and looks toward the Men waiting for him.</scene_description> <character>TOM</character> <dialogue>It's nice.</dialogue> <scene_description>Pause.</scene_description> <character>ALLY</character> <dialogue>I must look terrible. I haven't been sleeping too much.</dialogue> <character>TOM</character> <dialogue>I'm sorry.</dialogue> <character>ALLY</character> <dialogue>I love you.</dialogue> <scene_description>Tom doesn't answer. One of the Men calls from the elevators.</scene_description> <character>MAN</character> <dialogue>We'll see you downstairs, Tom.</dialogue> <character>ALLY</character> <dialogue>What are you working on?</dialogue> <character>TOM</character> <dialogue>I'm doing a bunch of spots for the Jimmy Carter campaign.</dialogue> <character>ALLY</character> <dialogue>Oh, that's great.</dialogue> <scene_description>Pause.</scene_description> <character>TOM</character> <dialogue>I gotta go.</dialogue> <character>ALLY</character> <dialogue>I know it's over between us, but... eh... so I'll know what to do in the future... what did I do wrong?</dialogue> <character>TOM</character> <dialogue>You didn't do anything wrong.</dialogue> <character>ALLY</character> <dialogue>Then why don't you love me?</dialogue> <character>TOM</character> <dialogue>Ally, you're a wonderful girl. There's going to be a lot of other guys.</dialogue> <scene_description>Ally fights back the tears.</scene_description> <character>ALLY</character> <dialogue>But I want you.</dialogue> <character>TOM</character> <dialogue>Oh please, Ally, don't cry...</dialogue> <character>ALLY</character> <dialogue>Are we going to be able to see each other?</dialogue> <character>TOM</character> <dialogue>... No...</dialogue> <character>ALLY</character> <dialogue>I love you so much.</dialogue> <scene_description>Tom leans in and kisses her on the cheek.</scene_description> <character>TOM</character> <dialogue>I gotta go. Take care of yourself.</dialogue> <scene_description>He turns away and then turns back; there are tears in his eyes.</scene_description> <character>TOM</character> <dialogue>You always thought I could do anything. I can't. You pushed too hard. You expected too much of me.</dialogue> <character>ALLY</character> <dialogue>But I didn't expect anything that wasn't there.</dialogue> <character>TOM</character> <dialogue>Jesus, Ally...</dialogue> <character>ALLY</character> <dialogue>I'll change. Really, Tom, I promise I'll change.</dialogue> <character>TOM</character> <dialogue>Listen to me, Ally. I'm not telling you to change. I'm telling you I'm tired of trying to keep up with you.</dialogue> <parenthetical>(he's crying now)</parenthetical> <dialogue>Maybe it's because you work in toys. I don't know. You're like a kid. You don't think anything's impossible. You get an idea and just go ahead and do it. That's not the way it is with most people. And it's goddamned hard to live with.</dialogue> <scene_description>He and Ally just stand there crying. There's nothing more to say. Tom wipes a hand over his eyes and leaves her. Ally tries to shield her tears from the people passing by. CHEERS FLOAT IN FROM THE MONDAY NIGHT FOOTBALL.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - TRUCK STOP - NIGHT</stage_direction> <scene_description>Elmo is standing in a shower stall with the WATER POUNDING against his neck. His head is down and he is lost in himself. There are other stalls in use, but ALL SOUND FADES AS WE MOVE IN ON Elmo. A smile flickers across his face. He's made a decision and likes it. He raises his head and looks DIRECTLY INTO THE CAMERA and we HOLD ON him FOR A LONG MOMENT.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - NEW YORK - NIGHT</stage_direction> <scene_description>Concern etched on his face, Ben Chandler waits at the front desk. It's a busy night and he looks out of place in his tuxedo. The door leading to the cells opens and Ben's heart goes into his throat. Ally stumbles out on the arm of a MATRON. She's ridiculously drunk. Mascara streaks her face and there's vomit down her front. Just before Ben reaches her, she slips out of the Matron's grasp and lands with a thump on her ass. Some people in the crowd laugh. One MAN claps. Ally begins to cry. Ben kneels down next to her and puts his arms around her.</scene_description> <character>BEN</character> <dialogue>Shh... shh... it's okay, Ally. It's okay...</dialogue> <character>ALLY</character> <dialogue>Daddy...</dialogue> <character>BEN</character> <dialogue>Everything's going to be okay...</dialogue> <character>ALLY</character> <dialogue>Daddy...</dialogue> <character>BEN</character> <dialogue>Let's go. Come on. Upsy daisy...</dialogue> <scene_description>He gently raises her to her feet and tries to steady her.</scene_description> <character>MATRON</character> <dialogue>You need any help?</dialogue> <character>BEN</character> <dialogue>We're gonna be fine. Thank you. Let's go, baby...</dialogue> <scene_description>He tries to walk Ally out, but her legs are gone and she sags against him.</scene_description> <character>ALLY</character> <dialogue>Why doesn't he love me, Daddy?</dialogue> <scene_description>He kisses her on the cheek, lifts her into his arms, and carries her out of the station.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - LONG ISLAND - DAY</stage_direction> <scene_description>It's early winter and gray. A four-year-old BOY with a Great Dane on a leash is walking AWAY FROM US. The dog is a little taller than the boy.</scene_description> <character>BEN (O.S.)</character> <dialogue>Why don't you get away from here for a while? Go out to Los Angeles and take over the footlights project. Nobody can figure out how to make them work. Maybe you can.</dialogue> <scene_description>Ally and her father ENTER OUR VIEW. They're also walking AWAY FROM US.</scene_description> <character>ALLY</character> <dialogue>I don't want to do that anymore. I'm tired of working in toys. I feel stupid. I want to grow up.</dialogue> <character>BEN</character> <dialogue>You don't think I'm grown up?</dialogue> <character>ALLY</character> <dialogue>You know what I mean.</dialogue> <character>BEN</character> <dialogue>If by growing up you mean that you would abandon your talent to create toys that make children smile, which in turn make their parents happy, and when they go to work they do something nice for someone else and the world is a better place for it, then I would look real hard at growing up.</dialogue> <scene_description>The SOUND OF THE WAVES fills their silence.</scene_description> <character>ALLY</character> <dialogue>How can I get him back?</dialogue> <character>BEN</character> <dialogue>You can't... You did a lot for Tom. He'll be fine... I'll make you a deal. Give me a year. If at the end of that you feel the same way about toys, then we'll sell the company.</dialogue> <character>ALLY</character> <dialogue>That's not what I'm saying.</dialogue> <character>BEN</character> <dialogue>I know that. But I built it for you. And if you don't want it, then it's not going to be the same.</dialogue> <scene_description>Ally and her father LEAVE OUR VIEW.</scene_description> <character>ALLY (O.S.)</character> <dialogue>Dad, that's not fair.</dialogue> <character>BEN (O.S.)</character> <dialogue>Don't worry about that. What do you say?</dialogue> <character>ALLY (O.S.)</character> <dialogue>I'll give you a year.</dialogue> <scene_description>The little boy and the dog continue on their way.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT HIGHWAY - DAY</stage_direction> <scene_description>Elmo is standing on the shoulder holding up a sign that reads "California" to the oncoming traffic. His eyes follow the passing cars and then go back to an open paperback in his left hand. A new ('76) Ford Grenada passes him and begins to pull over. It stops so far down the road Elmo isn't sure it's for him until it starts to back up. He grabs his travel bag and runs to meet it. There is an older COUPLE in the front seat. Elmo opens the back door.</scene_description> <character>ELMO</character> <dialogue>Thanks a lot...</dialogue> <scene_description>The Man and Woman smiling at him as he wriggles in are the parents Elmo had when he was Mike. They are a little older but easily RECOGNIZABLE.</scene_description> </scene> <scene> <stage_direction>INT. FORD GRENADA - DAY</stage_direction> <scene_description>It is back in the flow of traffic.</scene_description> <character>ELMO</character> <dialogue>How far are you folks going?</dialogue> <character>MOTHER</character> <dialogue>We'll be able to take you to California. We're going to Los Angle- eze.</dialogue> <character>ELMO</character> <dialogue>Oh, that's great... that's great.</dialogue> <character>FATHER</character> <dialogue>You live in Los Angle-eze?</dialogue> <character>ELMO</character> <dialogue>No... I... eh... I'm from Maine.</dialogue> <character>FATHER</character> <dialogue>You're a long way from home.</dialogue> <character>MOTHER</character> <dialogue>So are we, Steve.</dialogue> <character>ELMO</character> <dialogue>Where you from?</dialogue> <character>FATHER</character> <dialogue>You probably never heard of it. Sunbury, Pennsylvania... north of Harrisburg on the Susquehanna River.</dialogue> <scene_description>Elmo nods. Everybody nods. Nobody knows what to say. Finally:</scene_description> <character>MOTHER</character> <dialogue>I'm Annette Shea and this is my husband Steve...</dialogue> <scene_description>Elmo shakes hands awkwardly with both of them.</scene_description> <character>ELMO</character> <dialogue>Elmo... Elmo Barnett...</dialogue> <character>MOTHER</character> <dialogue>We usually don't pick up hitchhikers but... you looked like...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You looked like you needed a ride.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE -- WEST HOLLYWOOD HILLS -- DAY</stage_direction> <scene_description>Ally and an old real estate LADY are walking up the pathway to the front door.</scene_description> <character>LADY</character> <parenthetical>(rasps)</parenthetical> <dialogue>This is a lovely area. I think you'd be very happy up here. You can also enter through the garage.</dialogue> <parenthetical>(she sticks the key into the lock)</parenthetical> <dialogue>Huh... it's open.</dialogue> <parenthetical>(she cautiously enters the foyer)</parenthetical> <dialogue>Hello... hello... somebody showing?</dialogue> <parenthetical>(to Ally)</parenthetical> <dialogue>I was mugged once. I hate it when they don't relock the door.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE -- DAY</stage_direction> <character>LADY</character> <parenthetical>(walking through)</parenthetical> <dialogue>Guest room... guest bath... nice -- sized shower...</dialogue> <scene_description>The Lady opens the glass door.</scene_description> <character>ALLY</character> <dialogue>Uh huh...</dialogue> <character>IN THE LIVING ROOM</character> <dialogue>The Lady motions to the view.</dialogue> <character>LADY</character> <dialogue>You can see all the way from Century City to downtown.</dialogue> <character>ALLY</character> <dialogue>Do you hear water running?</dialogue> <character>LADY</character> <dialogue>... Nooo...</dialogue> <scene_description>She leads the way up the stairs.</scene_description> <character>LADY</character> <dialogue>It's a great house for entertaining.</dialogue> <character>IN THE MASTER BATH</character> <dialogue>she flips a switch.</dialogue> <character>LADY</character> <dialogue>Heat lamps... Jacuzzi tub... and... a double-headed shower...</dialogue> <scene_description>She opens the frosted glass door and screams. Ally screams. There's a naked MAN standing in the shower holding a wad of clothes over his genitals. The real estate Lady crashes to the floor in a faint. Ally and the Man look at her, then at each other. The Man holds out his hand.</scene_description> <character>MAN</character> <dialogue>Hello... I'm Donald Sutherland.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE -- WEST HOLLYWOOD HILLS -- DAY</stage_direction> <scene_description>The real estate Lady's Cadillac burns rubber as it blasts away from the curb. Ally and Donald watch her go.</scene_description> <character>DONALD</character> <dialogue>I always try out the showers when I'm thinking of buying a house. If the showers are good, you can pretty much work around anything else.</dialogue> <scene_description>Ally starts to her car, a white Rabbit convertible.</scene_description> <character>ALLY</character> <dialogue>It was nice meeting you.</dialogue> <character>DONALD</character> <parenthetical>(follows)</parenthetical> <dialogue>Maybe I should send her some flowers... Somebody should have told her I was coming. Would you like to go to dinner?</dialogue> <character>ALLY</character> <dialogue>No.</dialogue> <character>DONALD</character> <dialogue>Is there a husband?</dialogue> <scene_description>Ally doesn't answer.</scene_description> <character>DONALD</character> <dialogue>That was tacky of me, wasn't it? How about lunch?</dialogue> <character>ALLY</character> <dialogue>No.</dialogue> <character>DONALD</character> <dialogue>Can I have your phone number? I promise I'll only call you once a day. You've already seen me naked.</dialogue> <character>ALLY</character> <parenthetical>(smiles)</parenthetical> <dialogue>This is very flattering, Mr. Sutherland. But I'm really not interested.</dialogue> <character>DONALD</character> <dialogue>Donald...</dialogue> <character>ALLY</character> <dialogue>Okay, Donald. I'm really not interested.</dialogue> </scene> <scene> <stage_direction>EXT. DESERT HIGHWAY -- DAY</stage_direction> <scene_description>Mike's parent's Ford Grenada comes out from behind a mountain and starts down the hill.</scene_description> <character>MOTHER (V.O.)</character> <parenthetical>(singing)</parenthetical> <dialogue>Irene Good night... Irene Good night...</dialogue> </scene> <scene> <stage_direction>INT. FORD GRENADA -- DAY</stage_direction> <character>MOTHER</character> <dialogue>Good night, Irene... Irene good night... I'll see you in my dreams...</dialogue> <character>FATHER</character> <dialogue>Last Saturday night... Come on, Elmo. I got married...</dialogue> <character>ELMO &amp; FATHER</character> <dialogue>Me and my wife settled down...</dialogue> <scene_description>Elmo has no stutter when he sings.</scene_description> <character>ELMO &amp; FATHER</character> <dialogue>Now me and my wife are parted, So I'm gonna take a little trip downtown...</dialogue> <scene_description>The Mother joins in.</scene_description> <character>ALL</character> <dialogue>Irene good night... Irene good night...</dialogue> </scene> <scene> <stage_direction>EXT. DESERT HIGHWAY -- DAY</stage_direction> <scene_description>The SONG FADES as the car rushes on.</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT -- DAY</stage_direction> <scene_description>Elmo and the Father and Mother are getting out of the car in the parking lot.</scene_description> <character>ELMO</character> <dialogue>Why don't you folks go ahead? I'm not really hungry. I'll go look at the shops and meet you back here.</dialogue> <character>MOTHER</character> <dialogue>You sure you don't want something to eat?</dialogue> <character>ELMO</character> <dialogue>No, I'm fine.</dialogue> <character>FATHER</character> <dialogue>You're welcome to join us.</dialogue> <character>ELMO</character> <dialogue>I'm fine.</dialogue> <character>FATHER</character> <dialogue>Okay.</dialogue> <scene_description>The Mother and Father start for the restarant. We FOLLOW Elmo ACROSS the lot TO a row of shops. A music store catches his eye and for some reason he is drawn to it. He stares through the window at the instruments. There's the FAINT SOUND OF HEAVEN in the air. The Father steps in next to him.</scene_description> <character>FATHER</character> <dialogue>You play an instrument, son?</dialogue> <character>ELMO</character> <dialogue>I think I can. That's stupid. No, I don't.</dialogue> <scene_description>The Father looks at the store, then back at Elmo.</scene_description> <character>FATHER</character> <dialogue>You don't have any money, do you?</dialogue> <scene_description>Elmo looks at his shoes.</scene_description> <character>FATHER</character> <dialogue>Come on, you're going to eat with us.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY -- AFTERNOON</stage_direction> <scene_description>The Ford Grenada is back on the road.</scene_description> </scene> <scene> <stage_direction>INT. FORD GRENADA -- AFTERNOON</stage_direction> <scene_description>The Father is asleep in the back. The Mother is in the passenger seat and Elmo is driving. The windows are up and the RADIO IS DOWN LOW.</scene_description> <character>MOTHER</character> <parenthetical>(after a look at her husband)</parenthetical> <dialogue>He's out cold.</dialogue> <character>ELMO</character> <dialogue>He's driven a long way today.</dialogue> <scene_description>There's a long pause. It's very comfortable in the car. The Mother wants to say something and is about to a few times... but can't. Elmo is unaware of this and yet is.</scene_description> <character>ELMO</character> <dialogue>I'm glad it was you guys that picked me up.</dialogue> <scene_description>The Mother gives him a quick smile and returns to her thoughts. Elmo ADJUSTS THE RADIO. He shifts in his seat. The Mother twists her wedding ring and stares straight ahead.</scene_description> <character>MOTHER</character> <parenthetical>(soft)</parenthetical> <dialogue>I'm dying, Elmo.</dialogue> <scene_description>He looks at her.</scene_description> <character>MOTHER</character> <parenthetical>(nervously laughs through a sigh)</parenthetical> <dialogue>That's a relief. I finally said it.</dialogue> <parenthetical>(she looks at Elmo)</parenthetical> <dialogue>I'm sorry... it's... I just had to tell somebody.</dialogue> <character>ELMO</character> <dialogue>That's okay. I don't mind.</dialogue> <character>MOTHER</character> <dialogue>Steve doesn't know... I'm scared. I'm real scared.</dialogue> <character>MOTHER</character> <parenthetical>(pause)</parenthetical> <dialogue>We had a son... Mike... Mikey... He was about your age and... like you he was going to California... without a job... He got killed about a hundred miles from home. And... eh... there was an accident. A car went into the river. Mikey rescued a woman and her two children, but he drowned. I was... I loved him so much... Steve was a rock. And one day I was setting the table for dinner and I set a place for Mike. I forgot. When I saw what I'd done, I started to cry. I picked up Mike's plate to put it back in the breakfront and suddenly... I knew Mikey was okay, that he was in a good place, that he was happy and that he was trying to tell me that... So really I shouldn't be scared... I shouldn't be scared.</dialogue> <character>ELMO</character> <parenthetical>(after a pause)</parenthetical> <dialogue>This trip is for Mike?</dialogue> <character>MOTHER</character> <dialogue>Kind of. Every Christmas we get cards from the two children. The little girl is married and has children of her own and the little boy is a doctor in Boston. Poor you... all you wanted was a ride to California and you get a crazy old lady who probably has scared the dickens out of you.</dialogue> <character>ELMO</character> <parenthetical>(shakes his head "no")</parenthetical> <dialogue>No way.</dialogue> <parenthetical>(he puts a hand over hers; pause)</parenthetical> <dialogue>Don't be afraid.</dialogue> <scene_description>The RADIO PLAYS ON. Elmo squeezes her hand.</scene_description> <character>ELMO</character> <dialogue>I'm sure there's no reason for you to be afraid.</dialogue> </scene> <scene> <stage_direction>EXT. LOS ANGELES -- NIGHT</stage_direction> <scene_description>The skyline glitters over the city. Traffic is light and the Ford Grenada, with the Father driving, is sailing west on the Santa Monica Freeway.</scene_description> </scene> <scene> <stage_direction>EXT. SERVICE STATION - NIGHT</stage_direction> <scene_description>The Ford Grenada is stopped in a corner away from the pumps. The Father comes around to open the trunk and Elmo and the Mother get out on the passenger side.</scene_description> <character>MOTHER</character> <dialogue>Now let us know where you are.</dialogue> <character>ELMO</character> <parenthetical>(folds their address into his shirt pocket)</parenthetical> <dialogue>I will.</dialogue> <character>MOTHER</character> <dialogue>I mean it.</dialogue> <scene_description>The Father hands Elmo his duffle bag, then reaches back into the well and comes up with a guitar.</scene_description> <character>FATHER</character> <parenthetical>(holding it out to Elmo)</parenthetical> <dialogue>Don't say anything. You'll just offend us.</dialogue> <character>ELMO</character> <dialogue>I can't take...</dialogue> <character>FATHER</character> <dialogue>Don't be stupid.</dialogue> <parenthetical>(he sets down the guitar)</parenthetical> <dialogue>I know you want it. Take it and do something with it.</dialogue> <character>ELMO</character> <dialogue>No. I...</dialogue> <character>FATHER</character> <parenthetical>(closing the trunk)</parenthetical> <dialogue>You're offending us.</dialogue> <parenthetical>(going around the car)</parenthetical> <dialogue>You're a good boy, Elmo. It was nice meeting you.</dialogue> <character>ELMO</character> <parenthetical>(shaken, touched; to both of them)</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>(to the Mother)</parenthetical> <dialogue>Thank you.</dialogue> <character>MOTHER</character> <dialogue>Thank you, Elmo.</dialogue> <parenthetical>(She gives him an awkward hug)</parenthetical> <dialogue>Be good now.</dialogue> <character>FATHER</character> <parenthetical>(from the driver's door)</parenthetical> <dialogue>If you can't learn to play it, sell the damn thing.</dialogue> </scene> <scene> <stage_direction>EXT. TREE-LINED LOS ANGELES STREET - NIGHT</stage_direction> <scene_description>Ally is sitting in the passenger seat of Donald Sutherland's `75 red Pontiac convertible. The top is down, the WIND is ruffling their hair, and LINDA RONSTADT is ON THE RADIO. As they pass a gas station off to their right, we SEE Elmo waving goodbye to Mr. and Mrs. Shea. Inside the Pontiac, Ally's left hand is resting on the seat between her and Donald. Casually, Donald reaches over and covers her hand with his. She looks at him and he looks at her and smiles, then turns back to the traffic. She continues to look at him until it becomes a stare. The street lamps throw waves of light across her face. She's confused and afraid and intrigued. She looks away and then looks back and stares again and then she looks away.</scene_description> </scene> <scene> <stage_direction>INT. LUXURY APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Donald and Ally are walking along the hallway in silence. Ally is wrapped tightly in herself and her mind is racing ahead to the moment at the door. Their shoulders touch and we can almost SEE the sparks. Ally widens the distance between them. Donald throws something in the air and catches it in his mouth.</scene_description> <character>ALLY</character> <dialogue>What was that?</dialogue> <character>DONALD</character> <dialogue>My circus act...</dialogue> <scene_description>Ally doesn't smile.</scene_description> <character>DONALD</character> <dialogue>A corn nut... You want one?</dialogue> <scene_description>The strings inside Ally shake her head "no".</scene_description> <character>DONALD</character> <dialogue>There was this little Italian restaurant in New York that I went to all the time. One day one of the customers choked to death on a meatball. The owner closed the restaurant and turned it into a shoe store. I have no idea what that means. Gee, this is a long hallway.</dialogue> <character>ALLY</character> <dialogue>Maybe he wanted to save his soul.</dialogue> <scene_description>Donald smiles goofily at Ally and raises his eyebrows. They reach the door. Donald takes Ally's key. He turns the lock and hands it back to her. They stand there for a moment wondering what will happen next. It's up to Ally.</scene_description> <character>ALLY</character> <dialogue>I'm sorry. I'm still in love with my husband.</dialogue> <character>DONALD</character> <dialogue>I understand.</dialogue> <character>ALLY</character> <parenthetical>(holds out her hand)</parenthetical> <dialogue>Thank you very much, Donald. I had a lovely time.</dialogue> <character>DONALD</character> <parenthetical>(going along)</parenthetical> <dialogue>So did I.</dialogue> <scene_description>He takes her hand and kisses her on the cheek.</scene_description> <character>DONALD</character> <dialogue>Take care of yourself.</dialogue> <scene_description>He starts down the hallway.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - NIGHT</stage_direction> <scene_description>Ally closes the door behind her and clenches her fists in anger.</scene_description> <character>ALLY</character> <parenthetical>(to the foyer mirror)</parenthetical> <dialogue>Ally Chandler, you are a jerk. You're such a schmuck. Shit!!</dialogue> <scene_description>She wheels around and opens the door to go after Donald. He is standing in the hallway in front of her writing something on a scrap of paper.</scene_description> <character>DONALD</character> <dialogue>I was just going to give you my number in case...</dialogue> <character>ALLY</character> <dialogue>Would you like to come in?</dialogue> <character>DONALD</character> <dialogue>I'd like to very much.</dialogue> <scene_description>He steps inside and Ally closes the door. They don't move from the foyer. Ally comes easily into Donald's arms and he cradles her against his chest.</scene_description> <character>ALLY</character> <dialogue>I haven't done this with anybody else for a long time. I may not be very good.</dialogue> <character>DONALD</character> <dialogue>Ally, you're very beautiful and you're a lot of fun to be with and I've been wanting to make love to you all evening.</dialogue> <scene_description>Ally starts to laugh.</scene_description> <character>DONALD</character> <dialogue>What did I say? What?</dialogue> <character>ALLY</character> <parenthetical>(her head against his chest)</parenthetical> <dialogue>You may not be any good either.</dialogue> </scene> <scene> <stage_direction>EXT. BUS STOP - DAY</stage_direction> <scene_description>Plunka plunka plunka dong... plunka plunka plunka dong dong ... Elmo is sitting on the bench trying to learn to play his guitar. There are three other PEOPLE on the bench with him. Dong dong tinka tinka dongggg... one by one the people get up and leave. Elmo stops playing and looks around. He's going to have to get better. Plunka plunka plunka... dink.</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF CHINESE RESTAURANT - DAY</stage_direction> <scene_description>Strum strum strum... While his CO-WORKER, a huge Chinaman, stares off into space, Elmo practices chords. Both men are wearing dishwashers' aprons.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - AFTERNOON</stage_direction> <scene_description>It's late and a WIND is BLOWING. Elmo is sitting alone on the sand with his guitar. In a series of fits and starts, he is trying to pick out the melody line of Kristofferson's "HELP ME MAKE IT THROUGH THE NIGHT" COMING FROM A TRANSISTOR RADIO in front of him. The SONG ENDS and Elmo SPINS THE DIAL searching for another song to practice to. Along with the squeaks and squawks, there are SNIPPETS OF NEWS -- STAR WARS is a phenomenon, the CONCORDE lands in America, ELVIS PRESLEY DIES. This is OVERCOME BY a guitar playing Bruce Springsteen's "BADLANDS".</scene_description> </scene> <scene> <stage_direction>INT. TROUBADOUR - LOS ANGELES - DAY</stage_direction> <scene_description>Elmo is on stage playing and trying to sing "Badlands". On the floor other ACTS are waiting to audition.</scene_description> <character>TALENT COORDINATOR</character> <dialogue>Thank you...</dialogue> <scene_description>Elmo stops.</scene_description> <character>TALENT COORDINATOR</character> <dialogue>Your playing's pretty good, Elmo, but I don't think God meant for you to be a singer.</dialogue> <character>ELMO</character> <dialogue>I think you're right.</dialogue> <character>TALENT COORDINATOR</character> <dialogue>Next.</dialogue> <scene_description>As Elmo leaves the stage, JANICE, a very attractive redhead, takes his place. She starts to sing "Me and Bobby McGee", a cappella, and her voice turns him around. As he watches her, we can SEE Elmo fall in love. Her SONG CONTINUES OVER:</scene_description> </scene> <scene> <stage_direction>INT. GREEN `56 STUDEBAKER - LOS ANGELES - AFTERNOON</stage_direction> <scene_description>Elmo has one eye on the traffic and the other on a list of calls for the day. He crosses the last one off. Janice is in the passenger seat next to him.</scene_description> </scene> <scene> <stage_direction>EXT. INTERSECTION - AFTERNOON</stage_direction> <scene_description>The Studebaker stops at a red light. A white VW convertible with the top down and Ally driving comes up to stop next to it.</scene_description> </scene> <scene> <stage_direction>INT. STUDEBAKER - AFTERNOON</stage_direction> <scene_description>Elmo casually looks over at the girl in the car next to him. He sees Ally's profile. It's attractive. He looks again, then back at the light.</scene_description> </scene> <scene> <stage_direction>INT. VW CONVERTIBLE - AFTERNOON</stage_direction> <scene_description>Ally casually looks over at the man in the car next to her. She sees Elmo's profile. It's attractive. She looks again, then back at the light. The light changes.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LOS ANGELES - AFTERNOON</stage_direction> <scene_description>The white VW spurts ahead of the Studebaker and shifts into the same lane. For a long while Elmo is actually following Ally, then the Studebaker turns onto a side street and Ally continues on her course.</scene_description> </scene> <scene> <stage_direction>EXT. ELEGANT RESTAURANT - SANTA MONICA - NOON</stage_direction> <scene_description>Ben is waiting at the door. He's aged since we last SAW him. As Ally walks up to greet him, JANICE'S SINGING GROWS FAINT AND DISAPPEARS.</scene_description> <character>BEN</character> <dialogue>I'm not real hungry. Do you mind if we just walk?</dialogue> </scene> <scene> <stage_direction>EXT. PARK - SANTA MONICA - NOON</stage_direction> <scene_description>Ben and Ally are walking on the grass between the palm trees.</scene_description> <character>BEN</character> <dialogue>The year's up. What are you going to do?</dialogue> <character>ALLY</character> <parenthetical>(leans her head on her father's shoulder)</parenthetical> <dialogue>I don't know, Dad. I don't know. Maybe something on my own. I don't know.</dialogue> <character>BEN</character> <parenthetical>(covers his hurt)</parenthetical> <dialogue>That would be good.</dialogue> <scene_description>Pause.</scene_description> <character>ALLY</character> <dialogue>I want to be in love with a man who's in love with me.</dialogue> <character>BEN</character> <dialogue>Well, I know it isn't the same thing, but I love you.</dialogue> <scene_description>JANICE'S VOICE IS BACK WITH AN ORIGINAL SONG that we've never heard before.</scene_description> </scene> <scene> <stage_direction>INT. SMALL OFFICE - CAPITOL RECORDS BUILDING - AFTERNOON</stage_direction> <scene_description>Elmo and Janice are sitting across from a teenage A&amp;R EXECUTIVE in glasses and pimples. The SONG IS COMING FROM HIS SOUND SYSTEM.</scene_description> <character>EXECUTIVE</character> <parenthetical>(to Elmo)</parenthetical> <dialogue>You wrote and produced it and...</dialogue> <parenthetical>(to Janice)</parenthetical> <dialogue>... you're singing.</dialogue> <scene_description>They nod.</scene_description> <character>EXECUTIVE</character> <dialogue>How old are you?</dialogue> <character>JANICE</character> <dialogue>Twenty three.</dialogue> <character>ELMO</character> <dialogue>Twenty nine.</dialogue> <character>EXECUTIVE</character> <dialogue>That's tough. Most people have careers by the time they're twenty nine.</dialogue> <character>ELMO</character> <dialogue>It's never too late to start.</dialogue> <character>EXECUTIVE</character> <dialogue>Do you know anybody that can say you're good? Like Stewart or Ronstadt or Ringo?</dialogue> <character>JANICE</character> <dialogue>No.</dialogue> <character>EXECUTIVE</character> <dialogue>You're going to need a lot of luck.</dialogue> <character>ELMO</character> <dialogue>But you can hear it's good.</dialogue> <character>EXECUTIVE</character> <dialogue>Elmo, nothing is good or bad until it's bought.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - ELMO'S APARTMENT - MORNING</stage_direction> <scene_description>Elmo is standing in his shorts in front of the sink. He has toothpaste on his lips and is pointing at his image in the mirror with a toothbrush.</scene_description> <character>ELMO</character> <dialogue>You're good. You're good. You're good. You're good. You're good. Your music is good. You're good. You're good. You're good.</dialogue> <parenthetical>(he slows down and varies the emphasis on the words)</parenthetical> <dialogue>You are good. You are good. You are good.</dialogue> <parenthetical>(he speeds up getting faster and faster)</parenthetical> <dialogue>You're good you're good you're good you'regoodyou'regoodyou'regoodyou're goodyou'regoodyou'regoodyou'regood. Whew!...</dialogue> <scene_description>He runs out of breath and staggers OUT OF FRAME.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - CHANDLER ESTATE - GREAT NECK - DAY</stage_direction> <scene_description>We are CLOSE ON Ally's face. It is sad and haggard but composed. We can SEE pieces of people moving behind her and HEAR the MURMUR OF their VOICES. ANOTHER ANGLE REVEALS that Ally is seated beside the bed and the people are DOCTORS and NURSES. There are also three MEN in business suits. The wasted figure on the bed is her father. Ally is holding his hand and he's dying. The SOUND OF BEN HUMMING "THE TENNESSEE WALTZ" in the old station wagon so many years ago FADES UP and we MOVE IN ON Ally's face. CUT TO:</scene_description> <character>A MEMORY IN BLACK AND WHITE OF:</character> <dialogue>her father as a young man in uniform coming down the ramp of an airplane. He spots Ally (four years old) and her Mother in the crowd at the gate and waves. Ally and her Mother break away and start running across the runway toward him.</dialogue> <character>ALLY</character> <dialogue>Daddy, Daddy, Daddy...</dialogue> <scene_description>They catch him at the foot of the ramp and he drops his duffle bag and scoops up Ally with one arm and throws the other around his wife. As they kiss, Ally is hugged between them. CUT TO: THE MEMORY REPLAYED</scene_description> <character>ALLY</character> <parenthetical>(running across the runway)</parenthetical> <dialogue>Daddy, Daddy, Daddy...</dialogue> <scene_description>Her father scoops her up with one arm and throws the other around his wife. As they kiss, Ally is hugged between them. CUT TO: THE MEMORY REPLAYED</scene_description> <character>ALLY</character> <parenthetical>(running across the runway)</parenthetical> <dialogue>Daddy, Daddy, Daddy...</dialogue> <scene_description>Her father scoops her up with one arm and throws the other around his wife. As they kiss, Ally is hugged between them. The IMAGE FADES and we are BACK IN THE BEDROOM. Ben opens his eyes weakly and tries to smile at his daughter.</scene_description> <character>BEN</character> <parenthetical>(whispers)</parenthetical> <dialogue>People are wonderful.</dialogue> <scene_description>"THE TENNESSE WALTZ" MELTS AWAY. From the doorway, we WATCH as a doctor steps forward and takes Ben's wrist.</scene_description> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>Elmo and Janice are standing on the sidelines watching an electronic GROUP tune up. In the booth behind them we can SEE a young male PRODUCTION ASSISTANT lean over and say something to the PRODUCER while pointing vaguely in the direction of Elmo and Janice. On his way to the coffee stand, one of the Group makes eye contact with Elmo.</scene_description> <character>ELMO</character> <dialogue>Hi.</dialogue> <character>GROUP MEMBER</character> <dialogue>Hi.</dialogue> <character>PRODUCTION ASSISTANT (O.S.)</character> <dialogue>Elmo Barnett?</dialogue> <scene_description>Elmo turns around.</scene_description> <character>PRODUCTION ASSISTANT</character> <dialogue>Hi, I'm Phil. We spoke on the phone.</dialogue> <parenthetical>(he holds out a cassette)</parenthetical> <dialogue>I'm sorry, but Bob doesn't feel this is right for him at this time.</dialogue> <character>ELMO</character> <parenthetical>(takes the cassette)</parenthetical> <dialogue>Oh... well... that's too bad.</dialogue> <character>PRODUCTION ASSISTANT</character> <parenthetical>(to Janice)</parenthetical> <dialogue>We liked your voice, though. Could we have your number?</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - CHANDLER ESTATE - GREAT NECK - DAY</stage_direction> <scene_description>Ally, still in mourning, with her hair pulled back and no makeup, sits at the head of the table. A small army of LAWYERS, ACCOUNTANTS, and EXECUTIVES are seated along the sides. At the far end a LAWYER (60) is reading from her father's will.</scene_description> <character>LAWYER</character> <dialogue>... the plant in Taiwan, the plant in Mexico, the plant and research center in California, the offices and research center in Manhattan, the patents and copyrights...</dialogue> <scene_description>LYMAN McCRAY, pleasant, late 30's, leans out from the row of Executives and smiles roguishly at Ally. She notices him but that's all.</scene_description> <character>LAWYER</character> <dialogue>... the land holdings in Utah, Colorado, and California, the art, stocks, and bonds total 59 million two hundred and forty-six thousand dollars. This, with your personal worth of 19 million one hundred and seven thousand dollars, gives you a combined total worth of 78 million</dialogue> <character>LAWYER</character> <dialogue>three hundred and fifty-three thousand dollars... not bad for a man who started out to make toys that would make people laugh.</dialogue> <character>ALLY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Thank you.</dialogue> <character>EXECUTIVE</character> <dialogue>Excuse me, Miss Chandler...</dialogue> <character>ALLY</character> <dialogue>Yes, Allan.</dialogue> <character>EXECUTIVE</character> <dialogue>Shortly before your father's death, a group of us at this table spoke to him about purchasing the company.</dialogue> <scene_description>It's very profitable at the moment and it would be a good time for you to sell. A year, two years from now it could be worth a lot less. We would, of course, wish to retain you in a creative capacity.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- CHANDLER ESTATE -- DAY</stage_direction> <scene_description>It's later and the shadows are long. Ally and Lyman are seated at the island. Ally is staring at a point inside herself.</scene_description> <character>ALLY</character> <parenthetical>(Finally)</parenthetical> <dialogue>Lyman, do you think toys are stupid?</dialogue> <character>LYMAN</character> <dialogue>The company is strong right now. You would get a lot of money for it.</dialogue> <character>ALLY</character> <dialogue>So you think I should sell?</dialogue> <character>LYMAN</character> <dialogue>That's not what I said.</dialogue> <parenthetical>(serious)</parenthetical> <dialogue>Would you like to go to dinner tonight?</dialogue> <character>ALLY</character> <parenthetical>(absently)</parenthetical> <dialogue>I don't think we should get involved that way.</dialogue> <character>LYMAN</character> <dialogue>Look at it this way. You've never run a company before; you might be very good at it. And two years from now Chandler Toys could be worth a lot more than it is now. Then again, it could be worth a lot less. It all depends on whether you want it or not.</dialogue> <scene_description>Ally looks at him.</scene_description> <character>LYMAN</character> <dialogue>I'm your lawyer, I'm just trying to give you all sides...</dialogue> <character>ALLY</character> <parenthetical>(nods)</parenthetical> <dialogue>I never told him how much I loved him.</dialogue> </scene> <scene> <stage_direction>EXT. ADULT CINEMA -- LOS ANGELES -- NIGHT</stage_direction> <scene_description>Elmo, in the uniform of the theatre, is taking tickets at the door. An OLDER MAN, also in uniform, crosses the lobby from the manager's office and takes Elmo's place. Elmo gets his guitar from the ticket booth and, with a wave "good night", leaves.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING -- LOS ANGELES -- NIGHT</stage_direction> <scene_description>Elmo's Studebaker turns off the street and dips into the underground parking lot.</scene_description> </scene> <scene> <stage_direction>INT. JANICE'S APARTMENT -- NIGHT</stage_direction> <scene_description>Elmo lets himself in. He throws his guitar and jacket on the sofa and starts down the hallway. Janice comes out of the bedroom pulling on a robe.</scene_description> <character>ELMO</character> <dialogue>Arthur decided to come in, I didn't have to...</dialogue> <scene_description>He stops. In the bed behind Janice is the Production Assistant who said he liked her voice. Janice won't meet Elmo's look.</scene_description> <character>ELMO</character> <parenthetical>(crushed whisper)</parenthetical> <dialogue>I'll get my things.</dialogue> <scene_description>He passes her and goes into the bathroom and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM -- NIGHT</stage_direction> <scene_description>All that Elmo is able to do is stand in the middle of the floor and struggle to breathe. Reflexively, he looks around but he's not really seeing anything now. Finally, he reaches for the door.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING -- LOS ANGELES -- NIGHT</stage_direction> <scene_description>The Studebaker roars out of the underground parking lot, bumps over the curb, and fishtails into the street.</scene_description> </scene> <scene> <stage_direction>INT. STUDEBAKER -- NIGHT</stage_direction> <scene_description>Tears track Elmo's cheeks.</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD -- NIGHT</stage_direction> <scene_description>It's deserted. The Studebaker rockets BY US.</scene_description> </scene> <scene> <stage_direction>INT. STUDEBAKER -- NIGHT</stage_direction> <scene_description>Elmo is still crying. He doesn't seem to notice that all the lights for ten blocks ahead are flashing red.</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD -- NIGHT</stage_direction> <scene_description>The Studebaker whistles through a red light.</scene_description> </scene> <scene> <stage_direction>INT. STUDEBAKER -- NIGHT</stage_direction> <scene_description>We can SEE the red wash over Elmo's face as he rushes under one, two, three, four lights. A car coming along a side street suddenly jumps into the corner of OUR EYE. Elmo doesn't see it until it fills the windshield in front of him. Instinctively, he throws the wheel to the left.</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD -- NIGHT</stage_direction> <scene_description>The other driver counters by swerving to the right. In a cloud of burnt rubber, the two cars miss. Elmo's skid stops against the curb with the Studebaker now facing the direction it came from. The other car keeps going.</scene_description> </scene> <scene> <stage_direction>INT. STUDEBAKER -- NIGHT</stage_direction> <scene_description>Elmo's head rests between his hands on the steering wheel. A little ways ahead of him behind the windows of an art gallery are Aunt Lisa's paintings. Elmo raises his head and turns the key. The STARTER GRINDS. Then he sees them.</scene_description> <character>FLASH CUT -- PICTURE AND MUSIC</character> <dialogue>of Elmo/Mike looking at the paintings in Aunt Lisa's loft in Heaven.</dialogue> </scene> <scene> <stage_direction>EXT. SIDEWALK -- NIGHT</stage_direction> <scene_description>Mike is standing with his hands on the gallery window staring at the paintings.</scene_description> <character>FLASH CUT -- PICTURE AND MUSIC</character> <dialogue>of Elmo watching the little boys whose voices sound like instruments.</dialogue> </scene> <scene> <stage_direction>EXT. SIDEWALK -- NIGHT</stage_direction> <scene_description>Elmo has his hands up on the side window to look at a different grouping of Aunt Lisa's paintings.</scene_description> <character>FLASH CUT -- PICTURE AND MUSIC</character> <dialogue>Elmo/Mike and Ally/Annie falling through Heaven.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN FRONT SIDEWALK -- VENICE, CALIFORNIA -- DAY</stage_direction> <scene_description>A floppy felt hat with change and a couple dollar bills in it sits on the concrete. Behind it, Elmo is trying to talk to a BLACK MAN who is tuning an electric piano powered by a car battery.</scene_description> <character>ELMO</character> <dialogue>I wouldn't be able to pay you. But I'll give you a piece of the album.</dialogue> <scene_description>The Man chuckles.</scene_description> <character>ELMO</character> <dialogue>I think it's going to be real good... real good... And it'll be a chance to play on an album.</dialogue> <character>BLACK MAN</character> <parenthetical>(looks at Elmo for the first time)</parenthetical> <dialogue>If I like your music I'll play it. If I don't I won't.</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO -- DAY</stage_direction> <scene_description>We are LOOKING AT the control booth. It's empty.</scene_description> <character>ELMO (O.S.)</character> <dialogue>The first one goes something like this... well, not something like this. This is how it goes.</dialogue> <scene_description>As we HEAR his GUITAR begin to play a melody we've never heard before, our VIEW MOVES BETWEEN the baffles and music stands TO FIND Elmo perched on a stool in the middle of the floor. The Black keyboard player is watching him -- as well as a DRUMMER and a base GUITARIST. During the reprise we DISSOLVE FORWARD: The Drummer starts to tap out a rhythm. This draws in the Keyboard Player and the Guitarist. Although it's sketchy and rough, the music is taking on an urgency of its own. We're WATCHING a song being born. DISSOLVE FORWARD: AND PICK UP the sounds of an electric violin and a saxophone that have been added to the group. Elmo holds up a hand and the music stutters to a stop.</scene_description> <character>ELMO</character> <parenthetical>(to the Drummer)</parenthetical> <dialogue>Bill, can we try it in 2 and 4...</dialogue> <parenthetical>(to the violinist)</parenthetical> <dialogue>Jenny, come in a little earlier with the harmonics on the turnaround... Okay... one, two, three, four... One, two, three...</dialogue> <scene_description>The group starts but grinds to a stop almost immediately.</scene_description> <character>KEYBOARD PLAYER</character> <dialogue>Sorry about that...</dialogue> <character>JENNY</character> <dialogue>That's one for Henry...</dialogue> <character>ELMO</character> <dialogue>One, two, three, four... One, two, three...</dialogue> <scene_description>This time they get off and it's starting to sound good. DISSOLVE FORWARD: A BONGO PLAYER has been added. The piece is picking up speed. While the music continues, we DISSOLVE FORWARD TO:</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - CHANDLER TOY CO. - DAY</stage_direction> <scene_description>Ally stands up INTO FRAME and addresses the Executives gathered around the table. Many of them were present at the reading of the will.</scene_description> <character>ALLY</character> <dialogue>I've called you all here to tell you that I've decided to keep the company. I would like you all to remain with Chandler Toys, but if any of you feel that you can't work for me, I understand and I am prepared to unhappily accept your resignations.</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>A male SINGER has been added and the lyrics are good. But to Elmo in the booth, something's not right. DISSOLVE FORWARD: The lyrics are the same but now there are four male SINGERS. Elmo is still not satisfied. DISSOLVE FORWARD: Same lyrics but now a WOMAN is singing them and through her we SEE what Elmo has in mind for the song. It's going so well that we're shocked by the: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>Elmo is standing across a cluttered desk from WILEY, the black owner of the studio. Wiley is wearing a T-shirt that reads "Boogie Till You Puke".</scene_description> <character>ELMO</character> <dialogue>I'll be your security guard. I'll work at night.</dialogue> <character>WILEY</character> <dialogue>I already have a security guard.</dialogue> <character>ELMO</character> <dialogue>What if I clean up? I'll wash the floors, the bathrooms, whatever you want.</dialogue> <character>WILEY</character> <dialogue>I can't give you any more time.</dialogue> <character>ELMO</character> <dialogue>I'll give you a percentage of the album.</dialogue> <character>WILEY</character> <dialogue>Do you know how many albums I have a percentage of? None of them have paid my bills.</dialogue> <character>ELMO</character> <dialogue>I promise no matter what I'll pay you for every hour I use. I give you my word. I'll sign anything you want.</dialogue> <character>WILEY</character> <dialogue>Don't do that to me, Elmo. I like you. I bent over backward for you. I need money.</dialogue> <character>ELMO</character> <dialogue>I believe in this, Wiley. Please let me finish it.</dialogue> <scene_description>The two men look at each other for a long time. Finally, Wiley tears a piece of paper out of a notepad and hands it up to Elmo.</scene_description> <character>WILEY</character> <dialogue>Write on there what percentage you want to give me.</dialogue> <character>ELMO (V.O.)</character> <dialogue>One, two, three, four...</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>Elmo finishes the count on the floor.</scene_description> <character>ELMO</character> <dialogue>One, two, three...</dialogue> <scene_description>What began as a melody on Elmo's guitar is a rocker and the street musicians are making it soar. When the Singer comes in, she only lifts it higher. This is the final version of the song and we will HEAR IT FROM BEGINNING TO END OVER:</scene_description> <character>THE SCREEN GOES DARK</character> <dialogue>Two pairs of headlights come TOWARD US out of the gloom. They rise up and set down, rise up and set down like they're going over dips in the road. Another two pairs of headlights appear behind the first and another after that and another and another. The first pair of headlights turns sideways TO US and the Porsche that they're attached to has an ankle coming out of its roof. We REALIZE we are:</dialogue> </scene> <scene> <stage_direction>INT. NEIMAN-MARCUS - DALLAS, TEXAS - DAY</stage_direction> <scene_description>Dozen KIDS in pajamas with Ally's "Footlight" slippers on their feet circle a ramp. Off to one side, Ally introduces each model to her audience of BUYERS. She has a microphone in her hand, but we don't hear what she's saying. We just SEE the slippers -- Corvette, Ferrari, Chevy, Trans/Am, Jaguar, VW, etc...</scene_description> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>With earphones on, the Singer stands in front of a microphone singing to playback. Elmo and his engineer are watching her from the booth. Wiley slips in quietly behind them. In no time his head is nodding with the rhythm.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - DALLAS, TEXAS - DAY</stage_direction> <scene_description>Ally and Lyman are in the back seat. The MUSIC GOES INTO AN INSTRUMENTAL PHASE.</scene_description> <character>ALLY</character> <dialogue>I think it went well. Don't you?</dialogue> <character>LYMAN</character> <dialogue>I don't understand why we're doing this. You have a hundred salesmen who could do the same thing.</dialogue> <character>ALLY</character> <dialogue>My father said that you always introduce a new product yourself.</dialogue> <scene_description>It shows that you believe in it and that you care for the people who are going to buy it.</scene_description> <character>LYMAN</character> <parenthetical>(looks out the window)</parenthetical> <dialogue>Let's get married.</dialogue> <scene_description>Tears sting Ally's eyes and she turns to her window.</scene_description> <character>LYMAN</character> <dialogue>You know I'm in love with you.</dialogue> <parenthetical>(he looks at her)</parenthetical> <dialogue>I'd like to marry you.</dialogue> <character>ALLY</character> <dialogue>Can I think about it?</dialogue> <character>LYMAN</character> <dialogue>Is that a maybe?</dialogue> <character>ALLY</character> <dialogue>Yes.</dialogue> <character>LYMAN</character> <dialogue>A strong maybe, a weak maybe, a zero maybe?</dialogue> <character>ALLY</character> <dialogue>A maybe.</dialogue> <character>LYMAN</character> <dialogue>I'll make you very happy.</dialogue> <scene_description>The VOCAL PICKS UP.</scene_description> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>The musicians are in their cubicles. A chorus of friends and lovers is around a microphone. The Singer is in front of another one. The song pumps to the end and then it's over. In the complete silence that follows, the musicians begin to FADE OUT OF SIGHT, one by one, RIGHT BEFORE OUR EYES -- the Keyboard Player, the Violinist, the chorus, the Singer, until they're all gone and Elmo is alone in the studio picking up coffee cups and emptying ashtrays. There's a KNOCK and Elmo looks up to find a man standing in the studio doorway. Elmo doesn't recognize him but we do. He was Guy Blanchard, the fellow who was going to be Mike's best man in Heaven.</scene_description> <character>MAN</character> <dialogue>I'm looking for Elmo Barnett.</dialogue> <character>ELMO</character> <dialogue>You found him.</dialogue> <character>MAN</character> <parenthetical>(extending his hand)</parenthetical> <dialogue>I'm Brian Dutton. I have a small label. Wiley played me some of your stuff. I think it's great.</dialogue> <scene_description>A TELEVISION SET WITH DAVID HARTMAN interviewing Elmo FILLS THE SCREEN.</scene_description> <character>HARTMAN (V.O.)</character> <dialogue>One of the amazing things about your album is that you used all street musicians. And they're wonderful.</dialogue> <character>ELMO (V.O.)</character> <dialogue>There's an awful lot of people out there that are good that just haven't gotten a chance.</dialogue> <scene_description>The IMAGE SPLITS INTO TWO and on the second set JANE PAULEY is interviewing Elmo.</scene_description> <character>PAULEY (V.O.)</character> <dialogue>But you believed in them.</dialogue> <character>ELMO (V.O.)</character> <dialogue>And they believed in me.</dialogue> <scene_description>The TWO SETS SPLIT INTO FOUR adding more INTERVIEWERS. The FOUR INTO EIGHT, the EIGHT INTO SIXTEEN until the SCREEN IS FILLED WITH INTERVIEWERS interviewing Elmo. The babble of questions and answers continues until it is overpowered by a large group of ragged VOICES SINGING "HAPPY BIRTHDAY". They continue through:</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK SIDEWALK - DAY</stage_direction> <scene_description>Elmo and Brian walk up to a crowded corner of an intersection. While they wait for the light to change, we SEE that Ally is only one person ahead of Elmo. The light changes and almost together Elmo and Ally walk across the street. When they reach the other side, Elmo turns left and Ally goes right.</scene_description> </scene> <scene> <stage_direction>INT. FOUR SEASONS RESTAURANT - NEW YORK - AFTERNOON</stage_direction> <scene_description>The record Executives standing at their places around a banquet table finish their song.</scene_description> <character>EXECUTIVES</character> <dialogue>... happy birthday, dear Elmo, happy birthday to you.</dialogue> <scene_description>Elmo, seated behind a record-shaped cake with "Happy 30th" written on it, shyly acknowledges their applause. Elmo looks up at Brian, who is standing next to him.</scene_description> <character>ELMO</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. BLOOMINGDALE'S - NEW YORK - AFTERNOON</stage_direction> <scene_description>Ally is browsing at one of the cosmetic counters. She sprays a scent on her hand and, as she raises it to her nose, she sees Tom turn away from another cosmetic counter on the other side of the aisle. Maybe he feels her eyes on him, but for some reason he looks over and sees her. For a beat they stare at each other and then Tom crosses the aisle to her.</scene_description> <character>TOM</character> <dialogue>Hi.</dialogue> <character>ALLY</character> <dialogue>Hi.</dialogue> <character>TOM</character> <dialogue>How are you?</dialogue> <character>ALLY</character> <dialogue>Fine. How about you?</dialogue> <character>TOM</character> <dialogue>Good. I hear you're running the company.</dialogue> <character>ALLY</character> <dialogue>I'm trying to.</dialogue> <character>TOM</character> <dialogue>You look great.</dialogue> <scene_description>Ally is embarrassed.</scene_description> <character>TOM</character> <dialogue>I haven't done my feature yet. I'm still doing commercials.</dialogue> <character>ALLY</character> <dialogue>You will.</dialogue> <scene_description>A petite BLONDE, more of a girl than a woman, slips up and attaches herself to Tom.</scene_description> <character>TOM</character> <dialogue>Oh, eh... Ally, I'd like you to meet my wife. Pam, this is Ally.</dialogue> <character>PAM</character> <dialogue>Oh. Hello, Ally.</dialogue> <character>ALLY</character> <dialogue>Hello.</dialogue> <character>PAM</character> <dialogue>We better go, Tom, we're gonna be late.</dialogue> <character>TOM</character> <dialogue>Let's have lunch some time; I'll give you a call.</dialogue> <character>ALLY</character> <dialogue>Okay...</dialogue> <character>PAM</character> <dialogue>Nice meeting you.</dialogue> <scene_description>Ally nods and we WATCH the sadness fill her face as she watches them go.</scene_description> </scene> <scene> <stage_direction>EXT. FOUR SEASONS - LATE AFTERNOON</stage_direction> <scene_description>It's RAINING. A limousine is waiting for Elmo and Brian as they come out of the restaurant. They're about to get into it when Elmo stops.</scene_description> <character>ELMO</character> <dialogue>I think I'll walk.</dialogue> <character>BRIAN</character> <dialogue>It's raining.</dialogue> <character>ELMO</character> <dialogue>Yeah... I just feel like I want to walk.</dialogue> <character>BRIAN</character> <parenthetical>(getting into the car)</parenthetical> <dialogue>Okay, I'll see you back at the hotel.</dialogue> <character>ELMO</character> <parenthetical>(stops the closing door)</parenthetical> <dialogue>Hey, Brian... is this real?</dialogue> <character>BRIAN</character> <dialogue>It's real.</dialogue> </scene> <scene> <stage_direction>INT. CHANDLER TOY CO. - LATE AFTERNOON</stage_direction> <scene_description>Ally comes out of her office. She's troubled.</scene_description> <character>ALLY</character> <parenthetical>(to secretary)</parenthetical> <dialogue>I'm leaving, Candy.</dialogue> <character>CANDY</character> <dialogue>Lyman called while you were on the phone.</dialogue> <character>ALLY</character> <dialogue>I'll call him later.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR - LATE AFTERNOON</stage_direction> <scene_description>Ally is all alone. She is leaning against the back wall, thinking.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATE AFTERNOON</stage_direction> <scene_description>It's RAINING. There is a limo waiting at the curb. When the CHAUFFEUR sees Ally coming, he moves to open the door.</scene_description> <character>ALLY</character> <dialogue>I'm gonna walk tonight, Bill. I'll see you in the morning.</dialogue> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>It's STILL RAINING. Elmo is smiling as he wends his way along the sidewalk. His MUSIC IS EVERYWHERE. A GHETTO BLASTER is PLAYING IT. It's coming from a shop front; from a passing CAR. It RICOCHETS around him like echoes in a canyon.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>The music is all around Ally but she's sad.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Elmo is halfway through the intersection when it happens. A car runs the light and hits him. He is thrown up on the sidewalk and he lays there very still. His eyes are closed. As we MOVE IN ON his face, the SCREEN GETS DARKER AND DARKER UNTIL IT'S BLACK. And then the BLACKNESS BEGINS TO MOVE. SLOW AT FIRST, THEN FASTER AND FASTER. As we REACH MAXIMUM VELOCITY, CHUNKS OF LIGHT HURTLE out of the darkness AT US. Suddenly, we're IN A TUNNEL OF COLORED WHITE LIGHT, going EVEN FASTER than we were in the darkness. And then we STOP. In a WHITE ROOM. Elmo is standing in the middle of it. And he's naked.</scene_description> <character>EMMETT (O.S.)</character> <dialogue>Hello, Elmo.</dialogue> <scene_description>Elmo turns around. Emmett, in his blue coveralls and flannel shirt, is coming toward him.</scene_description> <character>ELMO</character> <dialogue>Where am I? What happened?</dialogue> <character>EMMETT</character> <dialogue>You were hit by a car. But you're gonna be all right. She found you.</dialogue> <character>ELMO</character> <dialogue>I don't understand. What do you mean?</dialogue> <character>EMMETT</character> <dialogue>I love you, Elmo.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - EVENING</stage_direction> <scene_description>The "ELVIRA MADIGAN" THEME FADES IN. Ally is sitting in the shadows at the foot of the bed watching Elmo sleep. It's as if she's trying to remember where she saw his face before. After a long time she gets up and brushes a damp curl off his forehead. She goes to the window and stares out. The rain has stopped. In the last light of day, a rainbow arcs over the city. She sighs and goes to the edge of the bed. Elmo is still sleeping peacefully. She takes his hand. Life is what happens while you're making other plans. FADE OUT:</scene_description> <character>THE END</character> </scene> </script>

In a small Pennsylvania town in 1957, Mike Shea (Hutton) dreams of escaping small-town life and moving to California with his girlfriend Brenda Carlucci. But Brenda leaves him with his motor running and Mike takes off alone. On the way to California, Mike rescues a woman and her children from their car which went into a river but he perishes. Finding himself in Heaven, his Aunt Lisa greets him, and explains the rules and regulations. While searching for someone he used to know, Mike comes across heavenly guide Annie Packert (McGillis), and instantly they fall in love. Unlike Mike, Annie has not yet lived on Earth, so their love is abruptly interrupted, just as they are going to perform a wedding ceremony. As she has not yet earned her wings on Earth, she must leave on a tour of duty and put in time inhabiting a human body. Mike is beside himself with despair, but the heavenly powers, in the form of Emmett Humbird, chain-smoking and sporting an orange crew-cut, offer him a deal. Mike can return to Earth, with the stipulation that neither he nor Annie will remember each other. He then has 30 years in which they must find each other again. Ally, the reincarnation of Annie, names her imaginary friend Mike. She grows up, gets married and writes a book whose protagonist is Mike. Her husband leaves her, and she is disconnected for a time. She dreams and daydreams of Mike, which confuses her, as she's not met him yet in this life. Mike is reborn as Elmo, at 28 Emmett visits him because he is pretty much a lost soul. Just conned by a woman, he's wandering down the road. Later, he gets a copy of Ally's book. Mike ends up meeting his original parents while hitchhiking, they are kind to him and buy him a trumpet. As a result, Elmo starts his musical career and ends up writing a hit song that he had been working on in Heaven. The song was "We Never Danced", a very ‘80s sounding song and one of the last words Annie spoke to Mike in heaven. Mike/Elmo ends up finding Ally/Annie on the street at the end of the film, and their eyes lock on one another. It's his 30th birthday, they met in the nick of time.

Toy Story 4_2019

tt1979376

<script> <scene> <scene_description>Toy Story 4 Written by Andrew Stanton Stephany Folsom ON BLACK Lightning flash! Torrential rain. Dark skies. CHYRON: Nine Years Ago The tone is ominous and quiet. Too quiet. We PULL BACK to reveal...ANDY'S ROOM JESSIE and BULLSEYE stare out the window. Worried.</scene_description> <character>JESSIE</character> <dialogue>Whoa! It's raining cats and dogs out there! I hope they make it back alright...</dialogue> <scene_description>FOOTSTEPS. Coming fast. The few toys littered about the room race back to their places.</scene_description> <character>HAMM</character> <dialogue>Heads up! Andy's coming!</dialogue> <scene_description>ANDY (8) bursts in. Slightly wet, but triumphant. Dumps an arm-full of toys on his bed: WOODY, BUZZ, REX, SLINKY, THE POTATO HEADS, THE ALIENS. Equally wet. Stained with grass and dirt.</scene_description> <character>ANDY'S MOM (O.S.)</character> <dialogue>Andy! Time for dinner.</dialogue> <character>ANDY</character> <dialogue>Yes! I'm starving!</dialogue> <scene_description>Andy runs out, leaving the door ajar. We LISTEN TO THE FOOTSTEPS descend...fade away...and... THUNDER -- THE TOYS JUMP TO LIFE IN A COMPLETE PANIC!! Woody's already at the windowsill, searching. Buzz is close behind.</scene_description> <character>BUZZ</character> <dialogue>Do you see him?</dialogue> <character>WOODY</character> <dialogue>No.</dialogue> <character>SLINKY DOG</character> <dialogue>Well, he's done for.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>REX</dialogue> <scene_description>He'll be lost! Forever!</scene_description> <character>WOODY</character> <dialogue>Jessie. Buzz. Slink. Molly's room.</dialogue> <scene_description>Woody is already on the move.</scene_description> <character>WOODY</character> <dialogue>The rest of you stay put.</dialogue> <scene_description>ON UPSTAIRS HALLWAY Woody checks the coast is clear...sneaks fast across the exposed expanse to MOLLY'S OPEN DOOR. Peers in... BO PEEP (+ SHEEP) stands on HER LAMP. The rotating lampshade casting POINTS OF LIGHT, like stars, around the room. Woody smiles at the sight of her. Steps forward -- then jumps back as MOLLY (6) runs out and downstairs. That was close. Woody waves for Jessie, Slinky and Buzz to follow him... INTO MOLLY'S ROOM Bo comes to life, ready for action. Offers her staff to pull Woody up to the nightstand.</scene_description> <character>BO</character> <dialogue>Situation?</dialogue> <character>WOODY</character> <dialogue>Lost toy. Side yard.</dialogue> <character>BO</character> <parenthetical>(hushed, urgent)</parenthetical> <dialogue>Billy. Goat. Gruff. Raise the blinds.</dialogue> <scene_description>Her sheep BLEAT. Take a flying leap off the nightstand with the cord in their mouths, raising the blinds as they descend.</scene_description> <character>WOODY</character> <dialogue>They have names? You never told me that.</dialogue> <character>BO</character> <dialogue>You never asked.</dialogue> <scene_description>Woody, Bo, Jessie and Buzz at the window, searching.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>JESSIE</dialogue> <scene_description>Where is he? FLASH OF LIGHTNING!!</scene_description> <character>WOODY</character> <dialogue>There!</dialogue> <scene_description>It's RC CAR. Stuck in the driveway's CHANNEL DRAIN. His wheels spin desperately as rainwater rushes past him.</scene_description> <character>BUZZ</character> <dialogue>How do we reach him?</dialogue> <scene_description>Bo and Woody share a look.</scene_description> <character>BO/WOODY</character> <dialogue>Operation Pull-Toy!</dialogue> <scene_description>They look to their respective toys:</scene_description> <character>WOODY</character> <dialogue>Slink!</dialogue> <character>SLINKY DOG</character> <dialogue>You got it Woody!</dialogue> <character>BO</character> <dialogue>Barbies!</dialogue> <scene_description>The Barbies parkour up a tall dresser as a ROW OF BIRTHDAY DOLLS create a CHILDREN'S BOOK SEE-SAW on the lower nightstand. Jessie crouches on one end of the book. Ready.</scene_description> <character>BO</character> <dialogue>Go!</dialogue> <scene_description>The Barbies jump down on the book's other end, flinging Jessie up to the TOP OF THE WINDOW SILL. She tugs open the lock. Voilá. Window open. Rain sprays in.</scene_description> <character>BO</character> <dialogue>Flashlight!</dialogue> <scene_description>The light sweeps down on RC, struggling against the current. Woody squeezes his mid-section just behind the FRONT END OF SLINKY, wearing him like a life-preserver. Bo makes sure Woody's secure. Straightens his hat. Looks into his eyes. A small confident smile: we can do this. She HOOKS HER STAFF to SLINKY'S TAIL. Other toys grab hold.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Woody and Slinky drop...</dialogue> <scene_description>SIDE DRIVEWAY</scene_description> </scene> <scene> <stage_direction>..and land. Through SHEETS OF RAIN, they spot RC on the other side. The toy car tries to reach them, but only slips farther down the drain towards the street's RUSHING RIVER!</stage_direction> <scene_description>Woody crosses the driveway, stretching Slinky as far as he can...comes up short. Has to separate from Slinky, and hold his paw, to extend his reach. Not enough...RC slips further, when -- Woody suddenly can grab hold of RC!</scene_description> </scene> <scene> <stage_direction>..He looks back to BO AT THE WINDOW. A CHAIN OF "BARREL FULL OF MONKEYS" now extends from her staff to Slink's tail. Phew!</stage_direction> <scene_description>-- a CAR pulls into the driveway! Headlights LIGHT UP WOODY. The three toys go still and are SHOT BACK to the house. Slam against the siding. Unawares, a MAN (VISTOR FATHER) jumps out of the car and rushes to the front door. ON MOLLY'S WINDOW The toys drag Slinky back up. Pull RC inside first. Bo smiles down at Woody as he climbs. They did it -- Suddenly Bo turns back inside... SLAM! THE WINDOW SHUTS ON SLINKY! OUTSIDE Woody clambers up. PEEKS INSIDE to see...</scene_description> </scene> <scene> <stage_direction>..Mom grab Bo Peep.</stage_direction> <character>VISITOR FATHER</character> <dialogue>Oh, it's beautiful...</dialogue> <character>ANDY'S MOM</character> <dialogue>...I'm so glad to see this old lamp go to a good home. We've had it since Molly was a baby.</dialogue> <scene_description>To Woody's shock; Mom places Bo, her sheep, and lamp into a CARDBOARD BOX.</scene_description> <character>VISITOR FATHER</character> <dialogue>Molly, are you sure it's alright?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>MOLLY</dialogue> <scene_description>Yeah, I don't want it anymore. Woody watches, helpless, as Mom hands off the box to the Visitor Father. They head back downstairs... INSIDE The toys jump up! Throw open the window! Pull up Slinky Dog and...nobody else?</scene_description> <character>BUZZ</character> <dialogue>Where's Woody?</dialogue> <scene_description>OUTSIDE The Visitor Father walks to the trunk of his car. Sets the box down to search his pockets. Jogs back to the house and knocks. Mom answers...</scene_description> <character>VISITOR FATHER</character> <dialogue>Yeah hi, I think I left my keys in here...</dialogue> <scene_description>In that unattended moment, BO'S BOX IS SUDDENLY DRAGGED... UNDER THE CAR LIGHTNING FLASHES to reveal Woody opening the box. Bo is comforting her sheep in the darkness. WOODY-- !</scene_description> <character>WOODY</character> <dialogue>Quick! We'll sneak in the hedges before he's back--</dialogue> <character>BO</character> <dialogue>Woody, it's okay...</dialogue> <character>WOODY</character> <dialogue>Wha--? No! No, no. You can't go. What's best for Andy is that you--</dialogue> <character>BO</character> <dialogue>Woody. I'm not Andy's toy.</dialogue> <character>WOODY</character> <dialogue>Wha-- What?</dialogue> <scene_description>Woody goes still. Looks at Bo. She's right.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>It's time for the next kid. The two toys check the front door as they HEAR THE VISITOR FATHER SAY HIS GOODBYES -- Time is running out. Bo looks back to Woody. Hesitant.</scene_description> <character>BO</character> <dialogue>You know...kids lose their toys every day. Sometimes they get left in the yard...or put in the wrong box...</dialogue> <scene_description>Woody looks from Bo to the box. The sheep back up to make room. He understands.</scene_description> <character>WOODY</character> <dialogue>And that box...gets taken away.</dialogue> <scene_description>A small hopeful nod from Bo. Woody places his hands on the edge of the box --</scene_description> <character>ANDY (O.S.)</character> <dialogue>Mom, where's Woody?</dialogue> <scene_description>Woody is drawn to the sound of Andy's voice. The boy is now searching the yard.</scene_description> <character>ANDY'S MOM</character> <dialogue>Andy! Come inside!</dialogue> <character>ANDY</character> <dialogue>I can't find Woody!</dialogue> <scene_description>Bo watches WOODY'S HANDS slip away from the box. His eyes then meet hers. He can't do it. Bo gives a pained smile of understanding. She straightens Woody's hat one last time. Gently touches his face. WIDE ON THE CAR The Visitor Father exits the house...</scene_description> <character>VISITOR FATHER</character> <dialogue>Well, good night.</dialogue> <scene_description>...as the box scoots back out from under the car.</scene_description> <character>ANDY'S MOM</character> <dialogue>Goodbye! Drive safe.</dialogue> <scene_description>MOMENTS LATER The car backs out of the driveway to reveal... WOODY lying in the exposed rainy driveway. His eyes watch the TAIL LIGHTS SHRINK and disappear in the driving rain...then go lifeless as...</scene_description> <character>ANDY</character> <dialogue>There you are!</dialogue> <scene_description>...Andy picks him up.</scene_description> <character>ANDY</character> <dialogue>Mom I found him! I found him!</dialogue> <character>ANDY'S MOM</character> <parenthetical>(chuckle)</parenthetical> <dialogue>Oh good. Come on, get inside.</dialogue> <scene_description>Andy runs to the warm light of the open front door. WE RISE UP IN THE AIR. The rain clears. The sky goes from dark to light until we see...WHITE CLOUDS IN A BLUE SKY that recall Andy's wallpaper. OPENING CREDITS As "YOU'VE GOT A FRIEND IN ME" PLAYS we FOLLOW WOODY through the years: Young Andy gallops Woody around his backyard. He swings his the doll. We see "ANDY" written on the SOLE OF HIS BOOT...</scene_description> </scene> <scene> <stage_direction>..A year later, Andy flies Jessie and Buzz around his bedroom...</stage_direction> </scene> <scene> <stage_direction>..Now a slightly older Andy runs down the street. Buzz in one hand, Woody in the other...</stage_direction> </scene> <scene> <stage_direction>..OUTSIDE BONNIE'S HOUSE, a YOUNG ADULT ANDY hands Woody lovingly over to BONNIE (4) She hugs Woody, then jumps to her feet and flies the doll around the yard...</stage_direction> </scene> <scene> <stage_direction>..Bonnie in her backyard, swinging with HER TOYS, now mingled with ANDY'S TOYS. Woody SWINGS AT CAMERA...</stage_direction> </scene> <scene> <stage_direction>..then PULLS AWAY. Now in BONNIE'S ROOM. She sets Woody aside. Flies the other toys around the room in a box made to look like an airplane. DISSOLVE TO...</stage_direction> <character>©2019 DISNEY€�PIXAR</character> <dialogue>...Woody. One year later. Still on the sidelines, watching in "toy mode" as Bonnie leaps with the</dialogue> <scene_description>other toys into a pile of pillows. Written on the SOLE OF WOODY'S BOOT is the word "BONNIE". END CREDITS FADE TO BLACK Then...TOY VOICES in the dark. ALL OF THEM:</scene_description> <character>TRIXIE/MR. POTATO</character> <dialogue>HEAD/HAMM/BUTTERCUP/SLINKY DOG</dialogue> <scene_description>It's getting hot in here...Where's my ear...You're on my foot...Ow-- Hey, quit shoving...Sorry. That was my horn...Could you move over a bit, please? SHHHH!!!</scene_description> <character>BUZZ VOICEBOX (O.S.)</character> <dialogue>"To Infinity and Beyond-- "</dialogue> <character>BUZZ (O.S.)</character> <dialogue>I know that was you, Potato Head.</dialogue> <scene_description>A MISCHIEVOUS CHORTLE from Potato Head. Reveal ALL OF BONNIE'S TOYS are crammed INSIDE A DARK CLOSET, like soldiers on a Higgins boat, waiting to storm the beach. DOLLY stands on a STACK OF GAMES, looking over the squished toy troops. She addresses them like their CO:</scene_description> <character>DOLLY</character> <dialogue>Everyone listen, I thought I told you -- when Mom quickly cleans the bedroom like that, expect to be put in the closet.</dialogue> <scene_description>Rex WAILS. Woody gets to his feet.</scene_description> <character>REX</character> <dialogue>How much longer?</dialogue> <character>WOODY</character> <dialogue>Keep it to a dull roar, Rex.</dialogue> <scene_description>He wanders through the ranks, checking in on his pals. Jessie is HYPERVENTILATING. Slinky is nervously wagging.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Deep breaths, Jessie. Deep breaths. (to Slink's back-end) Settle down, Slink. Sit, good boy. He meets up with Dolly, who's been clocking him.</scene_description> <character>DOLLY</character> <dialogue>Sheriff, do I need to be worried?</dialogue> <character>WOODY</character> <dialogue>Nah. My guys are veterans. They'll hang in there.</dialogue> <character>DOLLY</character> <dialogue>Good. Just keep'em calm until we get word.</dialogue> <character>WOODY</character> <dialogue>Yes, ma'am.</dialogue> <scene_description>Dolly PEERS THROUGH THE SLATS to a TOY HANGING FROM THE DOORKNOB of Bonnie's bedroom door. It shakes its head. Nothing yet. Woody paces near BUZZ.</scene_description> <character>BUZZ</character> <dialogue>How are you, uh... feeling about today?</dialogue> <character>WOODY</character> <dialogue>Uh, good, good. Yeah...good. I'm good.</dialogue> <character>BUZZ</character> <dialogue>Uh... good.</dialogue> <scene_description>IN THE BEDROOM The doorknob toy suddenly kicks its legs, BELLS CHIME.</scene_description> <character>DOLLY</character> <dialogue>We're on! Bonnie's done with breakfast! Any minute now-- !</dialogue> <character>WOODY</character> <dialogue>Ya hear that? Any minute now. Wind 'em if you got 'em. Keep your batteries clean. Your joints unlocked--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DOLLY</dialogue> <scene_description>Thanks, Woody. I got it.</scene_description> <character>WOODY</character> <dialogue>Yes, I'm sorry. You're right, you're right...</dialogue> <scene_description>FOOTSTEPS!! The toys drop. The CLOSET DOOR flies open, revealing Bonnie!</scene_description> <character>BONNIE</character> <dialogue>The town is open!</dialogue> <scene_description>QUICK CUTS to individual toys picked up for playtime:</scene_description> <character>BONNIE</character> <dialogue>Hi, Mayor!</dialogue> <parenthetical>(grabs Dolly...)</parenthetical> <dialogue>--Banker--</dialogue> <parenthetical>(Hamm)</parenthetical> <dialogue>--Hi, Ice Cream Man--</dialogue> <parenthetical>(Slinky Dog)</parenthetical> <dialogue>--Hi, Hat Shop Owner--</dialogue> <parenthetical>(Trixie)</parenthetical> <dialogue>--Mail Man--</dialogue> <parenthetical>(Buzz)</parenthetical> <dialogue>--AND the sheriff!</dialogue> <scene_description>Bonnie picks up Woody. Plucks HIS BADGE from his shirt. Drops him back on the floor.</scene_description> <character>BONNIE</character> <dialogue>Okay, bye toys!</dialogue> <scene_description>The closet doors shuts. From his dumped position, Woody can see THROUGH THE SLATS as Bonnie plays with Jessie, now wearing his badge.</scene_description> <character>BONNIE</character> <dialogue>YEE-HA! Sheriff Jessie! Giddy-up Bullseye!</dialogue> <scene_description>Woody sits up. It's just him and the TODDLER TOYS Bonnie has outgrown, and left in the closet. Awkward silence. Woody feigns disinterest. Stretches. Nothing to see here. Starts playing solitaire with a stray deck of cards. An "OLD TIMER" TOY CLOCK watches him deal.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE (O.S.)</dialogue> <scene_description>You have so many hats for sale! The toddler toys' attention shifts to Bonnie's play. They shuffle over to THE DOOR SLATS to watch.</scene_description> <character>MELEPHANT BROOKS</character> <dialogue>Wow... they're doing "hat shop".</dialogue> <character>CARL REINEROCEROS</character> <dialogue>When's the last time we ever got to play that?</dialogue> <character>CHAIROL BURNETT</character> <dialogue>Remember when she played house?</dialogue> <character>MELEPHANT BROOKS</character> <dialogue>I liked "House".</dialogue> <character>BITEY WHITE</character> <dialogue>Those were the days.</dialogue> <character>MELEPHANT BROOKS</character> <dialogue>It was basic. You made a house, you lived in it, done.</dialogue> <scene_description>ON WOODY AND OLD TIMER</scene_description> <character>OLD TIMER</character> <dialogue>That's the third time you haven't been picked this week.</dialogue> <character>WOODY</character> <dialogue>I don't know. I don't keep count.</dialogue> <character>OLD TIMER</character> <dialogue>Oh you don't have to. I'll do it for you.</dialogue> <character>WOODY</character> <dialogue>Okay, okay, okay I get it. It's been awhile.</dialogue> <character>OLD TIMER</character> <dialogue>Ooh looky there, you got your first dust bunny.</dialogue> <scene_description>Woody picks a BALL OF DUST out of his holster.</scene_description> <character>CHAIROL BURNETT</character> <dialogue>Awww, how adorable. Whatcha gonna name it?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>OLD TIMER</dialogue> <scene_description>What about Dusty? As Woody tries to shake off the dust, the TODDLER TOYS DEBATE over a name:</scene_description> <character>TODDLER TOYS</character> <dialogue>Francis?...Harry...Karen...Fuzzball ...Le Bron?...No, Fluffy...How 'bout Thumper?...Tumbleweed?... "Tumbleweed." Oh that's good, that's good...Well, he's a cowboy so that makes a lot of sense...</dialogue> <scene_description>Woody ignores them. PEERS THROUGH THE SLATS at the play. BONNIE'S DAD enters.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Bonnie? Go get your shoes on, we gotta go. You don't want to be late for kindergarten orientation do you?</dialogue> <scene_description>Bonnie deflates. Eyes downcast...</scene_description> <character>BONNIE</character> <dialogue>But...I don't want to go.</dialogue> <character>BONNIE'S DAD</character> <dialogue>We talked about this. We're going to meet your teachers, see your classroom--</dialogue> <character>BONNIE</character> <dialogue>Can I bring a toy?</dialogue> <character>BONNIE'S DAD</character> <dialogue>Toys don't go to school, that's the rule.</dialogue> <scene_description>WOODY watches Dad lead her out of the room. Door shuts. -- Dolly pops up! Runs the room like a frustrated mother:</scene_description> <character>DOLLY</character> <dialogue>Freeze! Nobody move! Bonnie always forgets something. She'll be back any second.</dialogue> <scene_description>Slinky stops in his tracks, slinky coil quivering.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DOLLY</dialogue> <scene_description>That goes for you too, Hamm. Hamm is reaching for a coin on the floor.</scene_description> <character>HAMM</character> <dialogue>But it's money!</dialogue> <scene_description>ON THE CLOSET Woody emerges. Heads for Dolly. Passes Buzz and Jessie...</scene_description> <character>BUZZ</character> <dialogue>You alright, Woody? I'm sure she'll pick you next time.</dialogue> <character>WOODY</character> <dialogue>Come on. I'm fine, no problem.</dialogue> <scene_description>Jessie hands Woody back his BADGE.</scene_description> <character>JESSIE</character> <dialogue>Hey, Woody. Here.</dialogue> <character>WOODY</character> <dialogue>Oh, thanks, Jessie.</dialogue> <character>BUZZ</character> <dialogue>We're here for you buddy.</dialogue> <scene_description>Woody keeps going. Buzz and Jessie exchange a concerned look. ON DOLLY</scene_description> <character>MR. PRICKLEPANTS</character> <dialogue>I don't want to play the baker.</dialogue> <character>DOLLY</character> <dialogue>Pricklepants--</dialogue> <character>MR. PRICKLEPANTS</character> <dialogue>The hat shop owner is the role I was born to play!</dialogue> <character>DOLLY</character> <dialogue>Okay. Alright, alright. Pricklepants, back to your bakery.</dialogue> <scene_description>Woody taps Dolly on the shoulder.</scene_description> <character>WOODY</character> <dialogue>S'cuse me, Dolly?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DOLLY</dialogue> <scene_description>Woody, can't you see I'm threatening everyone? Go back to the closet!</scene_description> <character>WOODY</character> <dialogue>Yeah, I know, I know. It's just-- I'm worried about Bonnie. A toy should go with her to orientation.</dialogue> <scene_description>Dolly ushers Woody back toward the closet.</scene_description> <character>DOLLY</character> <dialogue>Didn't you hear Dad? You'll get Bonnie in trouble.</dialogue> <character>WOODY</character> <dialogue>Yeah, but kindergarten is so different. It can be too much for a kid. Having a buddy with them to get through it can really help things. I remember with Andy I would go to school with him--</dialogue> <character>DOLLY</character> <dialogue>--Uh huh. I'm sorry, Woody, I hate to sound like a broken record but Bonnie's not Andy.</dialogue> <character>WOODY</character> <dialogue>No, no, no, of course, I get that, but, if you would just hear me--</dialogue> <scene_description>-- SLAM! Dolly closes the closet door on him.</scene_description> <character>DOLLY</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>Places everyone!</dialogue> <scene_description>The toys drop. INSIDE THE CLOSET Woody SIGHS with resignation. HEARS BONNIE BURST BACK IN the room...</scene_description> </scene> <scene> <stage_direction>..Is she crying?</stage_direction> <scene_description>Woody searches through the slats. Finds Bonnie hiding under the bed, softly crying. Her parents enter.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S MOM (O.S.)</dialogue> <scene_description>Bonnie, what are you doing back there? Come on we have to go. Woody watches Bonnie with deep concern. Thinks... IN THE ROOM Bonnie wipes away a tear and gets up.</scene_description> <character>BONNIE'S MOM</character> <dialogue>That's my big girl.</dialogue> <scene_description>Dad takes her hand.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Come on. We gotta hurry, okay? Don't forget your backpack.</dialogue> <scene_description>She grabs her backpack on the way out. Door closes. The toys all jump to life. Dolly OPENS THE CLOSET...</scene_description> <character>DOLLY</character> <dialogue>Alright. Now what was it you were saying, Woody--?</dialogue> <scene_description>Only the toddler toys stare back. No Woody.</scene_description> <character>DOLLY</character> <dialogue>Woody?</dialogue> </scene> <scene> <stage_direction>INT. BONNIE'S FAMILY CAR - DRIVING - DAY</stage_direction> <scene_description>Bonnie stares out the window, uncharacteristically quiet. Next to her, on the seat, lies her BACKPACK. It ever-so- slightly UNZIPS itself to reveal...Woody.</scene_description> <character>BONNIE'S MOM (O.S.)</character> <dialogue>Here we are.</dialogue> </scene> <scene> <stage_direction>EXT./INT. SCHOOL - DAY</stage_direction> <scene_description>Bonnie keeps close to her mom. They walk inside. FROM THE BACKPACK, Woody scopes out the surroundings as they enter THE KINDERGARTEN CLASSROOM Woody observes Bonnie shrink back. Bury her face in her Mom.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S MOM</dialogue> <scene_description>Bonnie honey, it'll be okay.</scene_description> <character>KINDERGARTEN TEACHER (O.S.)</character> <dialogue>Hi. Are you Bonnie?</dialogue> <scene_description>Bonnie peeks up at the KINDERGARTEN TEACHER, bending down to talk to her.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>My name is Miss Wendy. I'm going to be your kindergarten teacher.</dialogue> <parenthetical>(friendly whisper)</parenthetical> <dialogue>We have a special place where you can put your backpack. You want to see?</dialogue> <scene_description>Reluctantly, Bonnie lets the teacher take her hand and lead her to a ROW OF CUBBIES. Both Woody and Bonnie take one last look back at Mom as she leaves.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>Here we are Bonnie. Just for you.</dialogue> <scene_description>Her backpack is hung in a cubby labeled with Bonnie's name.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>Okay class let's all find a seat at a table so we can start craft time.</dialogue> <scene_description>Bonnie sits at the closest CRAFT TABLE. ON WOODY Through the OPEN ZIPPER, he watches Bonnie, sitting alone, quiet and anxious.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>On the first day of school, you'll need a place to put your pencils. So, today we're going to make pencil holders. Now everyone take a cup and we'll use the art supplies to decorate them.</dialogue> <scene_description>Bonnie reaches for her CADDY OF SUPPLIES, when a LITTLE BOY EATING AN APPLE runs up to the table...</scene_description> <character>BONNIE</character> <dialogue>Hi.</dialogue> <scene_description>...and steals the caddy from the table.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Woody GASPS with anger.</dialogue> <dialogue>Bonnie sinks in her chair, on the verge of tears.</dialogue> <dialogue>Woody glares at the Little Boy as the kid dumps his apple in a NEARBY TRASHCAN. It knocks SOME SUPPLIES into the can.</dialogue> <dialogue>Woody thinks fast! Sneaks out of the backpack...makes his way, unseen, over to the trashcan...dives in. TOSSES CRAYONS from the trash at Bonnie's feet.</dialogue> <dialogue>Bonnie notices. Leans down to pick up the crayons...</dialogue> <dialogue>Woody then grabs an armful of STRAY TRASH (GLUE BOTTLE, POPSICLE STICKS, PENCILS, GOOGLEY-EYES, SPORK...) and dumps it all on her table before she sits back up.</dialogue> <dialogue>Woody returns to the backpack, and watches with delight as Bonnie discovers the supplies. She smiles, and METHODICALLY BUILDS her new creation...</dialogue> <scene_description>A PLASTIC SPORK WITH GOOGLY EYES. Bonnie grins. Writes HER NAME on his feet. Shows it to the teacher.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>Oh Bonnie. That is so clever.</dialogue> <character>BONNIE</character> <dialogue>Doo-do-de-doot. Hello, I'm Forky. Nice to meet you!</dialogue> <scene_description>Bonnie makes Forky's pipe cleaner arm wave.</scene_description> <character>KINDERGARTEN TEACHER</character> <dialogue>Well hello Forky, it's nice to meet you! I'm Miss Wendy.</dialogue> <scene_description>Woody CHUCKLES. Job well done.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction> <scene_description>Bonnie and the other kids burst out of the classroom. She runs to her waiting Mom and Dad, waving Forky.</scene_description> <character>BONNIE</character> <dialogue>Mom! Dad! Look what I made! His name is Forky!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S MOM &amp; DAD</dialogue> <scene_description>Oh wow! Look at that!...That is so cool!</scene_description> <character>BONNIE</character> <dialogue>I finished kindergarten!</dialogue> <scene_description>Mom and Dad share a look.</scene_description> <character>BONNIE'S MOM</character> <dialogue>Um, no. That was just orientation.</dialogue> <character>BONNIE'S DAD</character> <dialogue>But for being such a brave girl, we have a surprise for you.</dialogue> <character>BONNIE</character> <dialogue>What is it?!</dialogue> <scene_description>INSIDE BONNIE'S BACKPACK Woody listens.</scene_description> <character>BONNIE'S DAD (O.S.)</character> <dialogue>Since school doesn't start for another week, we are going on a road trip!</dialogue> <character>BONNIE (O.S.)</character> <dialogue>Can I bring Forky?</dialogue> <character>BONNIE'S MOM (O.S.)</character> <dialogue>Of course you can!</dialogue> <character>BONNIE (O.S.)</character> <dialogue>Yay!</dialogue> <scene_description>Woody smiles -- then ducks behind a notebook as BONNIE PLACES FORKY INSIDE. Zip. Woody admires his handiwork:</scene_description> <character>WOODY</character> <dialogue>And they said I shouldn't go to school with Bonnie. We've got this kindergarten thing under control eh?</dialogue> <parenthetical>(laughs to self)</parenthetical> <dialogue>I can't believe I'm talking to a spork.</dialogue> <scene_description>One of Forky's GOOGLY EYES SETTLES. Woody freezes. Did I just see that? Moves in for a closer look... -- FORKY TAKES IN A HUGE BREATH, AS IF RESUSCITATED!!</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Woody freaks!</dialogue> </scene> <scene> <stage_direction>INT. BONNIE'S ROOM - AFTERNOON</stage_direction> <scene_description>Bonnie enters. Throws her backpack down. Runs back out.</scene_description> <character>BONNIE</character> <dialogue>Hi toys! Bye toys!</dialogue> <scene_description>The backpack UNZIPS. Woody crawls out. Trixie GASPS.</scene_description> <character>TRIXIE</character> <dialogue>He DID go to kindergarten!</dialogue> <character>MR. POTATO HEAD</character> <dialogue>I knew it!</dialogue> <character>WOODY</character> <dialogue>No, no guys--</dialogue> <character>BUTTERCUP</character> <dialogue>You tryin' to get Bonnie in trouble?!</dialogue> <character>WOODY</character> <dialogue>No, of course not--</dialogue> <character>DOLLY</character> <dialogue>You could have been confiscated.</dialogue> <character>REX</character> <dialogue>What does that mean?</dialogue> <character>HAMM</character> <dialogue>Taken away.</dialogue> <character>REX</character> <dialogue>No!</dialogue> <character>JESSIE</character> <dialogue>Or worse. You could've been lost.</dialogue> <character>WOODY</character> <dialogue>No, no, no guys listen. Bonnie had a great day in class and we're going on a road trip--</dialogue> <character>BUZZ</character> <dialogue>Road trip?!</dialogue> <scene_description>The toys CHEER.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>...But then something really weird happened...Bonnie made a friend in class.</scene_description> <character>DOLLY</character> <dialogue>Oh, she's already making friends!</dialogue> <character>WOODY</character> <dialogue>No. She literally MADE a new friend.</dialogue> <parenthetical>(to the backpack; gently)</parenthetical> <dialogue>Hey...it's okay. Come on out. That's it. Come on, there you go...</dialogue> <scene_description>From inside, the sound of NERVOUS WHIMPERS.</scene_description> <character>WOODY</character> <dialogue>Come on, let's get you out of there. You got this. Good, Good.</dialogue> <scene_description>Like a frightened baby fawn, the plastic spork squints into the sunlight. Woody takes him by his pipe cleaner hand. Helps him up on his popsicle stick feet.</scene_description> <character>WOODY</character> <dialogue>Everyone, I want you to meet... Forky!</dialogue> <character>SLINKY DOG/JESSIE/MR. POTATO HEAD/REX</character> <dialogue>Golly...Bob...Howdy.../ Wow! / Look at that! / Look how long his arms are!</dialogue> <scene_description>Forky stares back at all the toys, like a lost child.</scene_description> <character>FORKY</character> <dialogue>Trash?</dialogue> <character>WOODY</character> <dialogue>No..."TOYS". They're all toys.</dialogue> <character>FORKY</character> <dialogue>T-t-to--trash.</dialogue> <scene_description>Woody indicates Bonnie's WASTEBASKET.</scene_description> <character>WOODY</character> <dialogue>No, no, no-- THAT'S the trash. These are your friends!</dialogue> <character>BONNIE'S TOYS</character> <dialogue>Hi!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>STARTLED, Forky falls over.</dialogue> <character>FORKY</character> <dialogue>Trash!</dialogue> <character>WOODY</character> <dialogue>Shhh, no no, it's okay...</dialogue> <scene_description>Forky tries to make a run for the wastebasket, REPEATING THE WORD "TRASH". Woody constantly returning him to the group as the toys question him:</scene_description> <character>TRIXIE</character> <dialogue>Woody, I have a question. Um, well actually, not just one, I have all of them. I have all the questions.</dialogue> <character>BUTTERCUP</character> <dialogue>Uh... why does he want to go to the trash?</dialogue> <character>WOODY</character> <dialogue>Because he was made from trash. Look, I know this is a little strange, but you gotta trust me on this - Forky is THE most important toy to Bonnie right now.</dialogue> <character>MR. PRICKLEPANTS</character> <dialogue>Important? He's a spork!</dialogue> <scene_description>Woody holds squirming Forky as he reattaches a stray eye.</scene_description> <character>WOODY</character> <dialogue>Yes, yeah, I know, but this spork - this toy - is crucial to Bonnie getting adjusted to kindergarten.</dialogue> <character>DOLLY</character> <dialogue>Woody, aren't you being a little dramatic about all this?</dialogue> <character>WOODY</character> <dialogue>I know this is new to everybody, but you should see how much this little guy means to Bonnie.</dialogue> <parenthetical>(sets Forky down)</parenthetical> <dialogue>When she started playing with him, she had the biggest smile on her face, I wish you could have seen it.</dialogue> <parenthetical>(walks up to the toys)</parenthetical> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Bonnie was really upset, and I swear, once she made Forky it was a complete transformation.</scene_description> <character>JESSIE</character> <dialogue>Uh, Woody...?</dialogue> <character>WOODY</character> <dialogue>Just a second Jessie. So we all have to make sure nothing happens to him.</dialogue> <character>JESSIE</character> <dialogue>Something happened to him.</dialogue> <scene_description>Jessie points to FORKY JUMPING INTO THE WASTEBASKET WITH GLEE.</scene_description> <character>WOODY</character> <dialogue>Chutes and Ladders.</dialogue> <scene_description>Woody leaps in after him. The gang just watches with fascination as he struggles to pull Forky out:</scene_description> <character>WOODY</character> <dialogue>Well I guess I'll...just babysit him until he's used to the room.</dialogue> <character>FORKY</character> <dialogue>(struggles) Trash!...Trash!...</dialogue> <scene_description>-- BONNIE ENTERS! The toys all drop just in time. Bonnie climbs on her bed. Searches through her backpack...</scene_description> <character>BONNIE</character> <dialogue>Forky? Where are you, Forky?</dialogue> <scene_description>Behind her, Forky is suddenly LAUNCHED out of the wastebasket and onto the bed. Bonnie turns.</scene_description> <character>BONNIE</character> <dialogue>There you are! I thought I'd lost you, silly.</dialogue> <scene_description>She returns to her backpack -- FORKY JUMPS BACK into the wastebasket...is thrown back up...THIS REPEATS... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BONNIE'S BEDROOM - NIGHT</stage_direction> <scene_description>...to past bedtime. A SLEEPING BONNIE relaxes her hold on Forky...who jumps back into the wastebasket... ...right into Woody's exhausted arms. This time, Woody climbs up on the bed himself to put Forky back on the pillow...</scene_description> <character>FORKY</character> <dialogue>No, no, no...Big girl scary!</dialogue> <character>WOODY</character> <parenthetical>(hushed)</parenthetical> <dialogue>Like I said before, Bonnie's not scary. She loves you and you need to--</dialogue> <scene_description>Bonnie rolls over in her sleep, and PULLS WOODY CLOSE TO HER. Woody (still holding Forky) smiles with bliss...and relaxes into Bonnie's embrace. A feeling he'd nearly forgotten. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. BONNIE'S ROOM - MORNING</stage_direction> <scene_description>Woody wakes. Bonnie's still asleep, but Forky is gone! In a panic, Woody crawls to the edge of the bed.</scene_description> <character>WOODY</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>Forky?!</dialogue> <scene_description>BELOW, INSIDE THE WASTEBASKET Forky sleeps like a baby, nestled in the trash. Woody SIGHS WITH RELIEF. Goes to fish him out --</scene_description> <character>BONNIE'S DAD (O.S.)</character> <dialogue>Bonnie!</dialogue> <scene_description>Woody is forced to go limp. Tumbles off the side. Hits the wastebasket. Forky spills out onto the floor. DAD ENTERS.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Let's go! Rise and shine!</dialogue> <scene_description>Dad STEPS ON WOODY as walks to the bed. Bonnie stirs awake.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Who wants to go on a road trip?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE</dialogue> <scene_description>Me! I'm gonna bring Dolly, and Buttercup, and Forky, and... (looks around) Forky? Where are you?</scene_description> <character>BONNIE'S DAD</character> <dialogue>He's gotta be here somewhere...</dialogue> <scene_description>BELOW, Woody tosses Forky up on the bed. Bonnie finds him. Hugs Forky tight:</scene_description> <character>BONNIE</character> <dialogue>Forky!</dialogue> <character>BONNIE'S DAD</character> <dialogue>Come on. Let's eat some breakfast and hit the road!</dialogue> <character>BONNIE</character> <dialogue>Let's go Forky!</dialogue> <scene_description>Again, Dad steps on Woody's head as they exit. Door shuts. Woody sits up. Rubber head caved in, woozy. Buzz steps up.</scene_description> <character>BUZZ</character> <dialogue>Whoa. He's quite a handful Woody. You need help with him on the road trip?</dialogue> <character>WOODY</character> <dialogue>No. No, no. I got it, I got it.</dialogue> <scene_description>Woody gets to his feet. Holds his nose and blows -- his head POPS back into shape.</scene_description> <character>WOODY</character> <dialogue>We'll just be stuck in an RV, he can't get far. I got this! I got it.</dialogue> </scene> <scene> <stage_direction>EXT./INT. RV TRAILER - VARIOUS LOCATIONS</stage_direction> <scene_description>As the family travels West, A SHORT SERIES OF MOMENTS play of Bonnie playing with Forky and her toys. At every chance, Forky tries to throw himself away, and Woody is forced to save him. All to the RANDY NEWMAN SONG: "I CAN'T LET YOU THROW YOURSELF AWAY."</scene_description> </scene> <scene> <stage_direction>EXT. RV - LATE NIGHT</stage_direction> <scene_description>The RV driving down a wooded highway. Passes a HIGHWAY DIRECTION SIGN FOR "GRAND BASIN".</scene_description> </scene> <scene> <stage_direction>INT. RV TRAILER - CONTINUOUS</stage_direction> <scene_description>Bonnie sleeps, buckled up at the kitchen table. Holds a frustrated Forky tightly in her hand. ON WOODY He lies slumped on the floor, keeping his tired eyes trained on Forky. Buzz sneaks his way over.</scene_description> <character>BUZZ</character> <dialogue>Hey Buddy.</dialogue> <character>WOODY</character> <dialogue>Hey, Buzz.</dialogue> <scene_description>Buzz sits down beside his old friend.</scene_description> <character>BUZZ</character> <dialogue>You doing okay?</dialogue> <character>WOODY</character> <dialogue>I don't know, Buzz, I know you weren't around when Andy was little but...I don't remember it being this hard...</dialogue> <scene_description>They glance up at Bonnie as she stirs in her sleep.</scene_description> <character>BUZZ</character> <dialogue>Want me to take next watch? I'll keep an eye on Forky.</dialogue> <character>WOODY</character> <dialogue>No, no. I need to do this. That little voice inside me would never leave me alone if I gave up.</dialogue> <character>BUZZ</character> <dialogue>Hmmm... Who do you think it is?</dialogue> <character>WOODY</character> <dialogue>Who?</dialogue> <character>BUZZ</character> <dialogue>The voice inside of you. Who do you think it is?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Uh. Me? You know, my conscience? (off Buzz's puzzled look) The part of you that...tells you things? What you're really thinking? Buzz considers this.</scene_description> <character>BUZZ</character> <dialogue>Fascinating. So your inner voice... advises you.</dialogue> <scene_description>Buzz taps Woody's PULL STRING RING...then ponders his own VOICE COMMAND BUTTON. Presses it -- "IT'S A SECRET MISSION IN UNCHARTED SPACE. LET'S GO!" Woody jumps on Buzz to quiet him. They glance up at Bonnie -- still sleeping. PHEW -- Wait. Bonnie's HAND IS EMPTY!</scene_description> <character>BUZZ</character> <dialogue>Where's Forky?</dialogue> <scene_description>Frantically, they scan the room. Find Forky on the REAR BED...waddling towards the OPEN REAR WINDOW!</scene_description> <character>WOODY</character> <dialogue>Oh no! Forky! Forky!</dialogue> <character>FORKY</character> <dialogue>I am not a toy! I'm a spork! I was made for soup, salad, maybe chili, and then the trash. I'm litter.</dialogue> <scene_description>Forky jumps out the window!!</scene_description> <character>FORKY</character> <dialogue>Freedom!</dialogue> <scene_description>Woody freaks! Now all the other toys are up. Everyone forced to SPEAK IN WHISPERS:</scene_description> <character>WOODY</character> <dialogue>Hamm, how far to our next stop?</dialogue> <scene_description>Hamm peeks up front at GPS DISPLAY SCREEN.</scene_description> <character>HAMM</character> <dialogue>5.32 miles, give or take.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>I can make that. I'll meet you at the RV park.</scene_description> <character>BUZZ</character> <dialogue>Woody hold on a minute--</dialogue> <scene_description>Too late. Woody is already climbing out the window... OUTSIDE THE RV Woody swings down to the REAR BUMPER. Stares down at the ROARING HIGHWAY. This is crazy. Before he can commit to jumping, the RV HITS A POTHOLE. Woody goes tumbling to the ground. Hard. WOODY'S UPSIDE-DOWN POV on the RV lights shrinking. He gets up. Dusts himself off. Straightens his hat...</scene_description> <character>WOODY</character> <parenthetical>(calls out)</parenthetical> <dialogue>Forky!</dialogue> <scene_description>...and starts walking.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT</stage_direction> <scene_description>Woody walks down the dark, empty road.</scene_description> <character>WOODY</character> <dialogue>Forky, where are you?</dialogue> <scene_description>Woody stops. Hears a STRUGGLE in the grass. Finds Forky stuck with his prongs embedded in the dirt.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - LATER</stage_direction> <scene_description>Woody is now dragging Forky by his pipe cleaner hand.</scene_description> <character>FORKY</character> <dialogue>Carry me?</dialogue> <character>WOODY</character> <dialogue>No.</dialogue> <character>FORKY</character> <dialogue>Why do I have to be a toy?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Because you have Bonnie's name written on the bottom of your sticks.</scene_description> <character>FORKY</character> <dialogue>Why do I have Bonnie's name written on the bottom of my sticks?</dialogue> <character>WOODY</character> <dialogue>Because she--</dialogue> <parenthetical>(tries a new tactic)</parenthetical> <dialogue>Look, she plays with you all the time. Right?</dialogue> <character>FORKY</character> <dialogue>Uh, yes.</dialogue> <character>WOODY</character> <dialogue>And who does she sleep with every night?</dialogue> <character>FORKY</character> <dialogue>The big white fluffy thing?</dialogue> <character>WOODY</character> <dialogue>No, not her pillow - you.</dialogue> <parenthetical>(considers)</parenthetical> <dialogue>Alright, Forky. You have to understand how lucky you are right now. You're Bonnie's toy. You are going to help create happy memories that will last for the rest of her life.</dialogue> <scene_description>Woody stops to see if this is getting through to him. Nope. Forky's been distracted by the existence of his own hand.</scene_description> <character>FORKY</character> <dialogue>Huh? What?</dialogue> <scene_description>Woody is furious. Turns away to calm himself:</scene_description> <character>WOODY</character> <dialogue>Okay, doing it for Bonnie...Doing this for Bonnie...I'm doing it for Bonnie...</dialogue> <parenthetical>(turns back to Forky)</parenthetical> <dialogue>Okay, like it or not, you are a toy. Maybe you don't like being one but you are one nonetheless. Which means you are going to be there for Andy, when he--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Who's Andy?</scene_description> <character>WOODY</character> <dialogue>--I mean, Bonnie! You have to be there for Bonnie. That is your job.</dialogue> <scene_description>He takes up Forky's hand. They start walking again.</scene_description> <character>FORKY</character> <dialogue>Then what's your job?</dialogue> <character>WOODY</character> <dialogue>Right now it's to make sure you do yours.</dialogue> <character>FORKY</character> <dialogue>Carry me?</dialogue> <character>WOODY</character> <dialogue>No!</dialogue> <scene_description>They walk in silence for a beat.</scene_description> <character>FORKY</character> <dialogue>Who's Andy?</dialogue> <character>WOODY</character> <dialogue>...Andy was my other kid.</dialogue> <character>FORKY</character> <dialogue>You had another kid?</dialogue> <character>WOODY</character> <dialogue>Yeah. For a long time. And it was pretty great...I was a favorite toy actually. Running the room was my job. Keeping all the toys in place...</dialogue> <scene_description>DISSOLVE - LATER IN THE WALK</scene_description> <character>FORKY</character> <dialogue>So... he thought Andy's room was a planet? Wow, that is messed up.</dialogue> <character>WOODY</character> <dialogue>Right! That's exactly what I thought when he first showed up.</dialogue> <character>FORKY</character> <dialogue>I mean, how is that NOT annoying.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Thank you! ANOTHER DISSOLVE - EVEN LATER (SUNRISE) Woody now carries Forky in his arms.</scene_description> <character>WOODY</character> <dialogue>...Well then you watch 'em grow up, become a full person...and then they leave. They go off and do things you'll never see - Don't get me wrong you still feel good about it - but then somehow you find yourself after all those years, sitting in a closet just feeling...</dialogue> <character>FORKY</character> <dialogue>Useless?</dialogue> <character>WOODY</character> <dialogue>Yeah.</dialogue> <character>FORKY</character> <dialogue>Your purpose fulfilled.</dialogue> <character>WOODY</character> <dialogue>Exactly.</dialogue> <character>FORKY</character> <dialogue>Woody, I know what your problem is.</dialogue> <character>WOODY</character> <dialogue>You do?</dialogue> <character>FORKY</character> <dialogue>You're just like me. Trash!</dialogue> <character>WOODY</character> <dialogue>What is it with you and trash?</dialogue> <character>FORKY</character> <dialogue>It's warm...It's cozy...</dialogue> <character>WOODY</character> <dialogue>Ew...I guess...</dialogue> <character>FORKY</character> <dialogue>...and safe. Like somebody's whispering in your ear -- everything's going to be okay.</dialogue> <character>WOODY</character> <dialogue>Forky! That's it! That's how Bonnie feels when she's with YOU.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>She does? YES!</scene_description> <character>FORKY</character> <dialogue>Wait a sec--</dialogue> <scene_description>Forky thinks. Jumps out of Woody's arms and faces him.</scene_description> <character>FORKY</character> <dialogue>You mean she thinks I'm warm...?</dialogue> <character>WOODY</character> <dialogue>(following along) Yep.</dialogue> <parenthetical>(beat) (beat)</parenthetical> <dialogue>...and cozy...? Uh-huh.</dialogue> <parenthetical>(beat) (beat)</parenthetical> <dialogue>...and sometimes kinda Mmmm...that too. Yes. squishy?</dialogue> <dialogue>Forky's entire body trembles with epiphany. He GASPS.</dialogue> <character>FORKY</character> <dialogue>I get it now. I'm Bonnie's trash.</dialogue> <character>WOODY</character> <dialogue>Yes! -- Wait, what?</dialogue> <character>FORKY</character> <dialogue>I AM Bonnie's trash!</dialogue> <character>WOODY</character> <dialogue>No, no, no, not exactly...</dialogue> <character>FORKY</character> <dialogue>Oh, she must be feeling awful without me. Woody, we got to get going, she needs me!</dialogue> <scene_description>Forky breaks away, running ahead towards the LIGHTS OF THE TOWN OF GRAND BASIN.</scene_description> <character>FORKY</character> <dialogue>Bonnie! I'm coming!</dialogue> <character>WOODY</character> <dialogue>Whoa whoa! Forky slow down! Forky!</dialogue> <scene_description>Woody runs to catch up.</scene_description> </scene> <scene> <stage_direction>EXT. GRAND BASIN - MAIN STREET - DAWN</stage_direction> <scene_description>A quaint turn-of-the-century, roadside town. Made up of a few streets. Only one of everything. A banner over the street advertises "CARNIVAL DAYS". The entire town still asleep. Nothing moves, except... TWO SMALL TOYS Woody and Forky skirt cautiously along the empty street, trying to stay hidden. Woody spies the illuminated "RV PARK" SIGN, poking above the one-story buildings, one street over.</scene_description> <character>WOODY</character> <dialogue>Forky, look. Bonnie's right over there.</dialogue> <character>FORKY</character> <dialogue>Hurry!</dialogue> <scene_description>Forky starts running towards the RV park. Woody is right behind him -- then stops short. POINTS OF LIGHT dot the ground at his feet? He looks up at a STOREFRONT WINDOW to see... BO PEEP'S LAMP Like out of a dream, it GLOWS on display amongst ANTIQUES. What the...? Woody walks towards it, like a mirage. Forky realizes Woody isn't with him. Returns.</scene_description> <character>FORKY</character> <dialogue>Woody?</dialogue> <character>WOODY</character> <dialogue>Bo...?</dialogue> <scene_description>Woody gets a good look at the lamp. Yep, it's hers. Glances back at the RV park sign. Makes a decision...and heads for the STORE'S FRONT DOOR.</scene_description> <character>FORKY</character> <dialogue>Woody? Aren't we - aren't we going to Bonnie?</dialogue> <scene_description>Woody peers into the dark store. Assesses the locked door.</scene_description> <character>WOODY</character> <dialogue>I know, I know, but my friend might be in there.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Friend?</scene_description> <character>WOODY</character> <dialogue>Uh? A friend...Well a friend is like you and me.</dialogue> <character>FORKY</character> <dialogue>Trash?</dialogue> <character>WOODY</character> <dialogue>Tra--like...yes. And I'm very worried that she might be lost.</dialogue> <character>FORKY</character> <dialogue>But Woody, Bonnie's right there.</dialogue> <character>WOODY</character> <dialogue>Yeah, we'll have you back before she wakes up. Come on.</dialogue> <scene_description>Clutching Forky, Woody climbs through the FRONT DOOR MAIL SLOT. The name of the store reads: SECOND CHANCE ANTIQUES.</scene_description> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - CONTINUOUS</stage_direction> <scene_description>The two toys stand in the midst of an OVERWHELMING COLLECTION OF ANTIQUES. To them, it's a small city, the mis-matched cabinetry are like skyscrapers, the aisles avenues, but it's chaotic - a virtual maze. It feels more like a spooky museum. VARIOUS SHOTS of Woody and Forky wandering the store. Every time Woody calls out, Forky mimics him:</scene_description> <character>WOODY</character> <dialogue>Bo?</dialogue> <character>FORKY</character> <dialogue>Bo?</dialogue> <scene_description>Nothing. The store is dead. Forky starts to play with the word "Bo". Bored.</scene_description> <character>FORKY</character> <dialogue>Bo-bo-bo-bo-bo-bo! - Can we go back to Bonnie now? I don't see your friend.</dialogue> <scene_description>Woody can't hide his disappointment.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Yeah okay... she's not in here. Come on, let's go. The sound of SQUEAKY WHEELS... It's coming towards them! Woody pulls Forky behind some FLOOR-LEVEL KNICK-KNACKS. They watch as AROUND THE CORNER appears...</scene_description> </scene> <scene> <stage_direction>..A BABY DOLL CARRIAGE.</stage_direction> <scene_description>And it's being walked by a VENTRILOQUIST DUMMY?! No emotions. Just a slow, mindless stroll.</scene_description> <character>FORKY</character> <dialogue>Is that Bo?</dialogue> <scene_description>-- The dummy stops. Its head snaps unnaturally far over its shoulder, and STARES STRAIGHT AT THEM. Caught, Woody steps out. All casual.</scene_description> <character>WOODY</character> <dialogue>Uh... Hey, Howdy, hey there. Sorry to bother you, um, but--</dialogue> <character>VOICE (O.S.)</character> <parenthetical>(happy chuckle)</parenthetical> <dialogue>Why you're not a bother at all.</dialogue> <scene_description>A BABY DOLL (GABBY GABBY) sits up in the carriage. Smiles.</scene_description> <character>GABBY GABBY</character> <dialogue>We were just out for my early morning stroll - and look -</dialogue> <parenthetical>(happy laugh)</parenthetical> <dialogue>- We met you! My name is Gabby Gabby. And this is my very good friend Benson.</dialogue> <scene_description>Benson's hinged jaw opens for a creepy dummy smile.</scene_description> <character>WOODY</character> <dialogue>Woody. Pleasure to meet you.</dialogue> <character>GABBY GABBY</character> <dialogue>Well it's nice to meet you Woody. And you are...?</dialogue> <character>WOODY</character> <dialogue>This is Forky.</dialogue> <character>FORKY</character> <dialogue>I'm trash.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Ah -- our kid made him.</scene_description> <character>GABBY GABBY</character> <dialogue>Kid? Toys around here don't have kids. Are you two lost?</dialogue> <character>WOODY</character> <dialogue>Lost? No, no, but we are looking for a lost toy.</dialogue> <scene_description>As Woody speaks, Gabby locks in on WOODY'S PULL-STRING reflected in a silver tray behind him.</scene_description> <character>WOODY</character> <dialogue>She's a figurine? Used to be on that lamp in the window? Name's Bo Peep?</dialogue> <character>GABBY GABBY</character> <dialogue>Bo Peep?! Oh. Yes. I know Bo.</dialogue> <character>WOODY</character> <dialogue>You do?</dialogue> <character>GABBY GABBY</character> <dialogue>Hop on in. We'll take you to her.</dialogue> <character>WOODY</character> <dialogue>Oh, um, you don't have to do that--</dialogue> <scene_description>Before they can decide, the dummy grabs them. Drops them in the carriage, opposite Gabby.</scene_description> <character>WOODY</character> <dialogue>Ah, well. Okay.</dialogue> <character>GABBY GABBY</character> <dialogue>Benson, be careful with our new friends.</dialogue> <scene_description>AS THEY STROLL THE STORE:</scene_description> <character>FORKY</character> <dialogue>Wow, what service.</dialogue> <character>WOODY</character> <parenthetical>(uncomfortable)</parenthetical> <dialogue>Uh. Thank you for your help, I haven't seen Bo in years--</dialogue> <character>GABBY GABBY</character> <dialogue>May I ask, when were you made?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Me? Oh, I'm not sure. Late fifties?</scene_description> <character>GABBY GABBY</character> <dialogue>Me too! Gee, I wonder if we were made in the same factory. Wouldn't that be something? I gotta say, you are in great condition.</dialogue> <character>WOODY</character> <dialogue>Well...I try to stay active.</dialogue> <character>GABBY GABBY</character> <dialogue>And look at that, you have a voicebox like me. Benson, show him.</dialogue> <character>WOODY</character> <dialogue>Oh, that's really not necessary...</dialogue> <scene_description>Benson stops the carriage. REMOVES GABBY'S VOICEBOX from her back. Pulls the string:</scene_description> <character>GABBY GABBY VOICEBOX</character> <parenthetical>(distorted)</parenthetical> <scene_description>"I'M GABBY GABBY AND I LOVE YOU!"</scene_description> <character>FORKY</character> <dialogue>Wow, you need to fix that.</dialogue> <character>GABBY GABBY</character> <dialogue>My record works just fine. It's the voicebox that's broken. Does yours still work?</dialogue> <scene_description>Before Woody can answer, Benson pulls his string.</scene_description> <character>WOODY</character> <dialogue>Hey-- !</dialogue> <scene_description>"THERE'S A SNAKE IN MY BOOT!"</scene_description> <character>GABBY GABBY</character> <dialogue>Listen to that! Let's see it. I bet it's the same type.</dialogue> <character>WOODY</character> <dialogue>No-No thanks, mine's sewn inside. Is Bo around here? Because we need--</dialogue> <scene_description>A GRANDFATHER CLOCK STRIKES 8 o'clock.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>GABBY GABBY</dialogue> <scene_description>Oh! The store is about to open. Don't worry, we'll take you where no one will see us.</scene_description> <character>WOODY</character> <dialogue>Oh, no. We can't stay.</dialogue> <character>GABBY GABBY</character> <parenthetical>(giggles)</parenthetical> <dialogue>Yes, you can!</dialogue> <scene_description>On cue, THREE MORE DUMMIES emerge from the shadows. Surround the carriage and escort it further down the aisle towards the back. A terrified Woody WHISPERS TO FORKY:</scene_description> <character>WOODY</character> <dialogue>We gotta go.</dialogue> <character>GABBY GABBY</character> <dialogue>You can't leave yet! You have what I need.</dialogue> <parenthetical>(points to Woody's chest)</parenthetical> <dialogue>Right...inside...there.</dialogue> <scene_description>The front door CHIMES. Gabby looks across the store as the STORE OWNER (MARGARET) ENTERS. Joined by her DAUGHTER (CAROL) and GRANDDAUGHTER (HARMONY). They CASUALLY CHAT. Gabby's eyes light up.</scene_description> <character>GABBY GABBY</character> <dialogue>Harmony!</dialogue> <scene_description>Woody grabs Forky and jumps! Hits the ground -- only has Forky's pipe cleaner arm. Shoot!</scene_description> <character>GABBY GABBY</character> <parenthetical>(to dummies; polite)</parenthetical> <dialogue>Stop him please.</dialogue> <character>FORKY</character> <dialogue>Woody!</dialogue> <scene_description>A dummy lunges for Woody. Snatches back Forky's stray arm instead. Woody is forced to run as the dummies give chase. He rounds the corner -- sees Harmony in the aisle! GOES LIMP and PULLS HIS STRING: "I'D LIKE TO JOIN YOUR POSSE BOYS, BUT FIRST I'M GONNA SING A LITTLE SONG."</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Harmony turns to find a Woody doll on the floor. No sign of the dummies.</dialogue> <scene_description>AT THE FRONT DESK Harmony runs up to Margaret. Shows her Woody.</scene_description> <character>HARMONY</character> <dialogue>Grandma, look what I found. Can I take it to the park?</dialogue> <character>MARGARET</character> <dialogue>Sure.</dialogue> <character>CAROL</character> <dialogue>Mom, she has enough toys from the store.</dialogue> <character>MARGARET</character> <dialogue>Oh it's fine. Nobody buys the toys anyway.</dialogue> <character>HARMONY</character> <dialogue>Thanks, Grandma!</dialogue> <scene_description>OUTSIDE THE STORE Harmony and Carol exit.</scene_description> <character>HARMONY</character> <dialogue>Mom, can we go to the carnival?</dialogue> <character>CAROL</character> <dialogue>We're going to the park. Maybe later, sweetie.</dialogue> <scene_description>Woody watches from over Harmony's shoulder as BENSON RISES IN THE STORE WINDOW, one wooden hand clamped over Forky's mouth.</scene_description> </scene> <scene> <stage_direction>EXT. RV PARK - MORNING</stage_direction> <scene_description>The RV is set-up. Awning open. Mom and Dad sit outside having their morning coffee. Birds chirp. INSIDE THE TRAILER Bonnie lies asleep. Buzz, Jessie and the other toys are all bunched at the foot of her bed, staring at her.</scene_description> <character>JESSIE</character> <dialogue>Maybe we should have gone with a fork.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BUZZ</dialogue> <scene_description>The spoon is safer. We now notice that Bonnie sleeps with a SPOON in her hand. The toys watch as her eyes flutter open...she sits up...and looks straight away at the spoon she is holding.</scene_description> <character>BONNIE</character> <dialogue>Forky? Where's Forky?! Mom! Dad!</dialogue> <scene_description>Searches. Becoming more panicked. Mom and Dad rush in.</scene_description> <character>BONNIE'S DAD</character> <dialogue>What's wrong honey?</dialogue> <character>BONNIE'S MOM</character> <dialogue>Are you okay?</dialogue> <character>BONNIE</character> <dialogue>I can't find Forky! He's missing!</dialogue> <character>BONNIE'S MOM</character> <dialogue>Bonnie, it'll be alright. I'm sure he's here somewhere.</dialogue> <scene_description>Buzz and Jessie exchange a worried look. Mom comforts a crying Bonnie as Dad searches.</scene_description> <character>BONNIE'S MOM</character> <dialogue>You know if we don't find him, you can make a new one...</dialogue> <character>BONNIE</character> <dialogue>No. There's only one Forky.</dialogue> <character>BONNIE'S DAD</character> <dialogue>Uh...let's go look outside, maybe he...he fell on the ground somewhere...?</dialogue> <scene_description>They exit the RV. ON THE BED, the toys jump back to life. Watch out the REAR WINDOW, as Bonnie and her parents continue to search.</scene_description> <character>DOLLY</character> <dialogue>Aw. Poor Bonnie.</dialogue> <character>BUZZ</character> <dialogue>Woody was right. We all should have been safeguarding the utensil.</dialogue> <character>TRIXIE</character> <dialogue>Why isn't Woody back yet?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>REX</dialogue> <scene_description>Oh, do you think he's lost?!</scene_description> <character>BUTTERCUP</character> <dialogue>Buzz, what do we do?</dialogue> <character>TRIXIE</character> <dialogue>What do we do, Buzz?</dialogue> <scene_description>Buzz's STAMMERS to come up with an answer as Trixie gets in his face:</scene_description> <character>TRIXIE</character> <dialogue>...Buzz, what do we do?...What do we do, Buzz?...What do we do Buzz?...Buzz--Buzz-- !</dialogue> <character>BUZZ</character> <dialogue>Uh...Oh, uh...Uh...</dialogue> <character>REX</character> <dialogue>What would Woody do?</dialogue> <character>HAMM</character> <dialogue>Jump out of a moving vehicle.</dialogue> <character>BUZZ</character> <parenthetical>(to himself)</parenthetical> <dialogue>What would Woody do?</dialogue> <scene_description>While the TOYS PANIC, Buzz thinks. Looks down to his chest. Turns away, and PRESSES HIS VOICE COMMAND BUTTON: "IT'S A SECRET MISSION IN UNCHARTED SPACE. LET'S GO!" Buzz turns back to the toys. Interrupts.</scene_description> <character>BUZZ</character> <dialogue>--I think... I have... to go.</dialogue> <character>REX/SLINKY/TRIXIE/POTATO HEAD</character> <dialogue>Where?!...Where you goin'? Why?...Should we all go? Are we going?...And then what?!</dialogue> <scene_description>Buzz doesn't have an answer. Presses his button again: "NO TIME TO EXPLAIN! ATTACK!"</scene_description> <character>BUZZ</character> <dialogue>No time to explain!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Buzz DIVES OUT THE WINDOW. The TOYS ALL GASP.</dialogue> <character>JESSIE</character> <dialogue>Buzz!</dialogue> <character>DOLLY</character> <dialogue>Okay. What is with everyone jumping out the window?</dialogue> </scene> <scene> <stage_direction>EXT. RV PARK - CONTINUOUS</stage_direction> <scene_description>Buzz races across the RV park grounds, keeping low. He leaps over the legs of a picnic table, through a fence and onto... THE EDGE OF THE TOWN'S CARNIVAL GROUNDS Buzz ducks behind a TRASHCAN. Stops to think.</scene_description> <character>BUZZ</character> <dialogue>Woody and Forky were last seen on the highway...but where is the highway?</dialogue> <scene_description>Presses his voice button: "THE SLINGSHOT MANEUVER IS ALL WE'VE GOT! FULL SPEED AHEAD!" He looks up. AN "OCTOPUS RIDE" spins and dips right in front of him.</scene_description> <character>BUZZ</character> <dialogue>Thanks, inner voice!</dialogue> <scene_description>Buzz charges under the ride's barricade. Grabs onto the BOTTOM OF A SPINNING CAR. It lifts him high into the air, where he can now see...</scene_description> <character>BUZZ</character> <dialogue>The highway! On my way, Woody!</dialogue> <scene_description>Buzz lets go. His WINGS POP OUT as the momentum of the ride sling-shots him in a high arc... ...straight at a SALAD SPINNER RIDE! -- Buzz rebounds off the ride... ...off a BOUNCY HOUSE... ...then an UMBRELLA...</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>...and SLAMS into a PORT-O-POTTY...</dialogue> <dialogue>...but still manages to land in a crouch on the grass. Phew! He stands -- WHAM! -- the PORT-O-POTTY DOOR opens, knocking Buzz over. A CARNIE steps out. Picks up the Buzz doll.</dialogue> <character>STAR ADVENTURER CARNIE</character> <dialogue>Rad.</dialogue> <scene_description>ON GAME BOOTH - MOMENTS LATER The carnie zip-ties Buzz to a WALL OF PRIZES.</scene_description> <character>STAR ADVENTURER CARNIE</character> <parenthetical>(bored)</parenthetical> <dialogue>Step right up, put your money down, get yourself a real Buzz Lightyear, hey, hey...</dialogue> <scene_description>PULL BACK to show kids crowding around the booth, eager for a chance to win a real Buzz Lightyear.</scene_description> </scene> <scene> <stage_direction>EXT. LOCAL PARK/PLAYGROUND - DAY</stage_direction> <scene_description>LOW ANGLE on blue sky. Lifeless Woody rises into frame in a baby swing. Harmony pushing him. Carol calls from a table:</scene_description> <character>CAROL</character> <dialogue>Harmony, honey! Sunscreen!</dialogue> <character>HARMONY</character> <dialogue>Okaaaaay!</dialogue> <parenthetical>(to Woody)</parenthetical> <dialogue>Be right back, Mr. Cowboy.</dialogue> <scene_description>The second he's alone, Woody scrambles for cover behind a play structure post.</scene_description> <character>WOODY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Okay, antique store...</dialogue> <scene_description>Spots the FERRIS WHEEL above the distant trees.</scene_description> <character>WOODY</character> <dialogue>Oh! That way!</dialogue> <scene_description>He starts in that direction -- A BUS OF SUMMER CAMP KIDS pulls up. Blocks his way. Woody retreats... INTO A SANDBOX</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>A CUPCAKE TOY pops out of the sand, startling Woody.</dialogue> <character>CUPCAKE TOY</character> <dialogue>Did you see'em? How many are there?</dialogue> <scene_description>Woody ducks as a SKYDANCER DOLL helicopters in.</scene_description> <character>SKYDANCER DOLL</character> <dialogue>We got a busload of campers!</dialogue> <scene_description>A COMBAT CARL, ICE ATTACK COMBAT CARL, AND VOLCANO ATTACK COMBAT CARL run in formation into the sandbox.</scene_description> <character>COMBAT CARLS</character> <dialogue>Hut. Hut. Hut. Here they come!</dialogue> <scene_description>Everyone around Woody DROPS INTO TOY MODE. The sand rhythmically vibrates beneath his feet -- BOOM. BOOM. BOOM. Woody dives against the sandbox barrier for cover, just as... ...THE SUMMER KIDS JUMP IN! Woody watches them find the lost toys, picking them up and running around the playground. Woody sneaks over to the slide. Has to drop into toy mode when a GIRL flies off it, leaving a SHARK IN A BOAT behind. The toy rows back up the slide...</scene_description> <character>SHARK IN A BOAT</character> <dialogue>Oh baby, it's a good day to play! Am I right?</dialogue> <scene_description>Flummoxed, Woody searches for a way out, when -- he catches A GLIMPSE OF TOY SHEEP scurrying to the MERRY-GO-ROUND. Huh?! Woody sneaks after them under the play structure, but FEET drop down in front of him! He goes limp. A LITTLE GIRL (LISA) smiles down at Woody...picks him up...holds him up to the toy in her other hand...</scene_description> </scene> <scene> <stage_direction>..BO PEEP</stage_direction> <scene_description>TIME SLOWS. Locked in toy mode, Woody and Bo silently face each other for the first time in nine years.</scene_description> <character>LISA</character> <parenthetical>(as Bo Peep)</parenthetical> <dialogue>Hello, Mr. Cowboy. How are you today? Do you like riding horses?</dialogue> <scene_description>Woody and Bo are brought closer together, when...</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FRIEND (O.S.)</dialogue> <scene_description>Want to play on the swings? Lisa sets them down. Runs off. Woody starts to get up...</scene_description> <character>WOODY</character> <dialogue>Bo?</dialogue> <scene_description>-- but Bo pushes him back down as kids run by. Then, when the coast is clear, Bo pulls Woody to his feet.</scene_description> <character>BO</character> <dialogue>Come on.</dialogue> <scene_description>She steps on the edge of a DISCARDED FRISBEE, flipping it onto its side. Hidden behind the rolling disc, she leads them through the busy playground and leaps -- INTO THE BUSHES Woody tumbling in the dirt. Bo laughs and helps him up.</scene_description> <character>WOODY</character> <dialogue>Bo-?...Bo Peep?!</dialogue> <character>BO</character> <dialogue>Woody! I can't believe it's you! I never thought I'd see you again!</dialogue> <scene_description>She adjusts his hat. Just like the old days. Starts to dust him off. Woody mistakes it for a hug...opens his arms -- Awkward. Both flounder and look to the playground:</scene_description> <character>BO</character> <dialogue>So which kid is yours?</dialogue> <character>WOODY</character> <dialogue>Which one is yours?</dialogue> <parenthetical>(beat) (beat)</parenthetical> <dialogue>None. No one.</dialogue> <parenthetical>(beat) (beat)</parenthetical> <dialogue>You're a lost toy?! Wait - You're a lost toy?!</dialogue> <parenthetical>(beat) (beat)</parenthetical> <dialogue>That's great! -- Huh? That's awful...</dialogue> <character>WOODY</character> <dialogue>...I mean awfully great! That you are lost...out here...</dialogue> <scene_description>Suddenly -- A SKUNK! -- is charging right for them!</scene_description> <character>WOODY</character> <dialogue>Skunk.. Skunk! SKUNK!</dialogue> <character>BO</character> <dialogue>Watch out!</dialogue> <scene_description>Woody falls to the ground. But Bo stops the skunk in its tracks with her crook.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>I told you not to drive so fast. You almost ran him over. Bo FLIPS OPEN THE SKUNK! It's a mocked up REMOTE CONTROL CAR. BO'S SHEEP at the wheel. They tackle Woody, BLEATING with excitement.</scene_description> <character>WOODY</character> <dialogue>Well, hey guys! I missed you, too. If it isn't...Bobby? Gus? Uh...Lefty?!</dialogue> <scene_description>The sheep hop off him. Take offense.</scene_description> <character>BO</character> <dialogue>Billy, Goat, and Gruff?</dialogue> <character>WOODY</character> <dialogue>Right! Sorry, guys.</dialogue> <character>BO</character> <dialogue>Girls.</dialogue> <character>WOODY</character> <dialogue>Girls! Of course!</dialogue> <scene_description>They BAA, indignant. Bo pets them.</scene_description> <character>BO</character> <dialogue>Alright, alright.</dialogue> <parenthetical>(to Woody)</parenthetical> <dialogue>Okay. Let's get a look at you. You need any repairs?</dialogue> <character>WOODY</character> <dialogue>Repairs? No, I'm fine.</dialogue> <scene_description>Already scavenging, the sheep present Bo with a safety pin. She adds it to her COLLECTION OF REPAIR PARTS in the skunk.</scene_description> <character>BO</character> <dialogue>Hey! Nice find girls.</dialogue> <character>WOODY</character> <dialogue>Where'd you get all this stuff?</dialogue> <character>BO</character> <dialogue>Here and there. You know, some kids play rougher than others, so I try to be prepared.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>How long have you been out on your own?</scene_description> <character>BO</character> <dialogue>Seven fantastic years!</dialogue> <character>WOODY</character> <dialogue>Seven?!</dialogue> <character>BO</character> <dialogue>You would not believe the things I've seen--</dialogue> <parenthetical>(the sheep bring her a bottle cap)</parenthetical> <dialogue>Uh, no.</dialogue> <scene_description>Woody is still processing this, when -- Bo taps on a TOY POLICE BADGE CASE sitting in the skunk.</scene_description> <character>BO</character> <dialogue>Gigs! Come on out, there's someone I'd like you to meet.</dialogue> <scene_description>The badge flips open. OFFICER GIGGLE MCDIMPLES, a half-inch tall toy, sits inside a tiny police headquarters.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Yo! Be right down.</dialogue> <scene_description>Giggle bounces down a tiny set of stairs, hops into her tiny car and drives across a tiny road to the front of the badge case. She bounces up to perch on Bo's shoulder.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>What's the situation, we heading out of town or -- Whoa! Who's this?</dialogue> <character>BO</character> <dialogue>You remember the rag doll I told you about?</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>The cowboy? No way!</dialogue> <scene_description>Giggle laughs. Her eyes on Woody.</scene_description> <character>BO</character> <dialogue>Don't stare.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>I'm totally staring.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Woody, this is Giggle McDimples.</scene_description> <character>WOODY</character> <dialogue>Oh, hi Giggle.</dialogue> <character>GIGGLE MCDIMPLES</character> <parenthetical>(re: Woody's BADGE)</parenthetical> <dialogue>Whoah. You didn't tell me he was a cop!</dialogue> <scene_description>She bounces onto Woody's shoulder.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Howdy sheriff. OFFICER Giggle McDimples. I run Pet Patrol for Mini-Opolis. Search and rescue. Ants, caterpillars, miniature poodles, spiders--</dialogue> <scene_description>HUT! HUT! HUT! HUT! The COMBAT CARLS emerge from the bushes. Stand at attention.</scene_description> <character>BO</character> <dialogue>Carl! Where you headed?</dialogue> <character>COMBAT CARL</character> <dialogue>Combat Carl just heard there's a birthday party at the playground on main street.</dialogue> <character>VOLCANO ATTACK COMBAT CARL</character> <dialogue>Rumor has it they've got two pinatas.</dialogue> <character>ICE ATTACK COMBAT CARL</character> <dialogue>That could be twenty to thirty kids.</dialogue> <scene_description>Giggle and Bo high-five.</scene_description> <character>BO</character> <dialogue>Nice.</dialogue> <character>COMBAT CARL</character> <dialogue>Oh yeah! Combat Carl's gettin' played with.</dialogue> <scene_description>Carl and Volcano' high-five. Ice' is left hanging.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>COMBAT CARL</dialogue> <scene_description>You guys in?</scene_description> <character>BO</character> <dialogue>You bet! Woody, you are gonna love this.</dialogue> <character>WOODY</character> <parenthetical>(to Carl)</parenthetical> <dialogue>Uh- no, I can't...sir.</dialogue> <parenthetical>(to Bo)</parenthetical> <dialogue>Bo, I need to get back to my kid.</dialogue> <character>THE CARLS</character> <dialogue>What?!...You gotta kid?</dialogue> <scene_description>Bo is thrown hearing this, but then quickly hides her shock.</scene_description> <character>WOODY</character> <dialogue>Yeah.</dialogue> <character>COMBAT CARL</character> <dialogue>Way to beat the odds, soldier.</dialogue> <scene_description>Carl hi-fives Woody and then Volcano', and unintentionally leaves Ice' hanging again.</scene_description> <character>COMBAT CARL</character> <dialogue>Meet you at the playground, Peep. Combat Carls' got a piñata party to crash. Alright, move out!</dialogue> <scene_description>The Carls "Hut! Hut!" into the bushes. Woody turns to Bo (Giggles back on her shoulder.)</scene_description> <character>BO</character> <dialogue>So... you're with a kid? It's not Andy is it?</dialogue> <character>WOODY</character> <dialogue>No, no, he went off to college. But he gave us to Bonnie, she's this--</dialogue> <character>BO</character> <dialogue>You have a little girl?</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>No way.</dialogue> <character>WOODY</character> <dialogue>Yeah, it's why I'm out here. Her other toy is trapped in this antique store--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Second Chance Antiques? (shares a look w/ Giggle) We know that store.</scene_description> <character>WOODY</character> <dialogue>That's great! If you know the store, you could really help me find him--</dialogue> <character>BO</character> <dialogue>No way. We wasted years there, just sitting on a shelf collecting dust.</dialogue> <character>WOODY</character> <dialogue>Oh Bo, that's awful. But...I don't have a choice. I have to get that toy from Gabby.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Whoa, steer clear of that weirdo.</dialogue> <character>BO</character> <dialogue>If I were you, I'd cut my losses and go home.</dialogue> <scene_description>Bo starts packing up the "Skunkmobile".</scene_description> <character>WOODY</character> <dialogue>But Bonnie needs him to get through kindergarten.</dialogue> <character>BO</character> <dialogue>Kids lose toys everyday. Bonnie will get over it.</dialogue> <character>WOODY</character> <dialogue>No, no - but, you see, Bonnie needs him just like Molly needed you!</dialogue> <scene_description>Something passes over Bo's face at the mention of Molly's name. The sheep rush over to Woody. BLEAT with anticipation.</scene_description> <character>WOODY</character> <dialogue>No. Sorry, girls. Molly's not here.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Molly? Bo, I didn't know you had a kid.</dialogue> <character>BO</character> <dialogue>Oh, it was a long time ago.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Oh, Bo's kid was something special. She was the cutest thing, but...so afraid of the dark.</scene_description> <character>BO</character> <dialogue>It was just a phase.</dialogue> <character>WOODY</character> <dialogue>Oh, you weren't there in the beginning. Hearing Molly cry each night broke every toy's heart. And then...Bo came into the room. Her lamp was the only thing that made Molly feel safe. Mom would let her keep Bo on all night.</dialogue> <scene_description>The memory brings a small smile to Bo.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Ha! Who knew you were such a softy?</dialogue> <character>WOODY</character> <dialogue>And Molly would fall asleep with her hand resting on Bo's feet--</dialogue> <scene_description>Bo playfully throws a TOY STICKY RUBBER HAND at Woody.</scene_description> <character>BO</character> <dialogue>Okay, okay, I get it.</dialogue> <character>WOODY</character> <dialogue>Bo, my kid really needs this toy. Will you help me? For old time's sake.</dialogue> <character>BO</character> <dialogue>Alright, alright.</dialogue> <character>WOODY</character> <parenthetical>(hugs Bo)</parenthetical> <dialogue>Thank you, thank you!</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Alright, guess we're doing this. Lets ride!</dialogue> <scene_description>They all pile into the Skunkmobile. Sheep at the controls.</scene_description> <character>BO</character> <dialogue>Second Chance Antiques, and step on it.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The skunk takes off!</dialogue> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - DAY</stage_direction> <scene_description>We close in on... GABBY'S DISPLAY CABINET Gabby eyes her reflection in a handheld mirror as she applies dots of paint with a brush to freshen her freckles.</scene_description> <character>FORKY (O.S.)</character> <parenthetical>(struggles)</parenthetical> <dialogue>Hey. Hey!...</dialogue> <scene_description>Gabby looks at Benson, struggling with Forky out of view.</scene_description> <character>GABBY GABBY</character> <dialogue>Benson? Are we finished?</dialogue> <scene_description>Benson steps back to reveal Forky with his arms reattached.</scene_description> <character>FORKY</character> <dialogue>...Oh, that feels great.</dialogue> <character>GABBY GABBY</character> <dialogue>Look at that! Good as new.</dialogue> <character>FORKY</character> <dialogue>Yeah. Thank you...uh...Benson.</dialogue> <scene_description>Benson gives an unsettling smile. Forky a little freaked out.</scene_description> <character>FORKY</character> <dialogue>Um, so when's Woody coming back?</dialogue> <character>GABBY GABBY</character> <dialogue>Like I said, soon. He won't forget about you.</dialogue> <character>FORKY</character> <dialogue>How do you know?</dialogue> <character>GABBY GABBY</character> <dialogue>You have your child's name written on your feet...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>...sticks. That makes you a very important toy.</dialogue> <character>FORKY</character> <dialogue>That's exactly what Woody says!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>GABBY GABBY</dialogue> <scene_description>Hmmm... Interesting... The front door bell CHIMES.</scene_description> <character>HARMONY (O.S.)</character> <dialogue>Hi Grandma! We're back!</dialogue> <character>GABBY GABBY</character> <dialogue>She's back!</dialogue> <scene_description>Gabby rushes to the cabinet glass. Forky joins her.</scene_description> <character>FORKY</character> <dialogue>Who is she?</dialogue> <character>GABBY GABBY</character> <dialogue>Harmony.</dialogue> <character>FORKY</character> <dialogue>Wait a second, she took Woody!</dialogue> <parenthetical>(gasp)</parenthetical> <dialogue>Did she lose him?</dialogue> <character>GABBY GABBY</character> <dialogue>No! My Harmony is perfect.</dialogue> <scene_description>Gabby moves to get a better view of Harmony. The girl runs to her favorite area, pulls out a TEA SET, and begins to play. Gabby brightens.</scene_description> <character>GABBY GABBY</character> <dialogue>Forky, it's Tea time. It's tea time!</dialogue> <character>FORKY</character> <dialogue>Woohoo! ...What is tea time?</dialogue> <character>GABBY GABBY</character> <dialogue>Oh -- I'll show you!</dialogue> <scene_description>She picks up a SMALL STORYBOOK titled "GABBY GABBY, A VERY SPECIAL DAY". Flips it open to an ILLUSTRATION of a Gabby doll and a little girl playing tea. As Harmony reaches for her teacup, Gabby picks up her own. She matches Harmony's every move, as if playing together.</scene_description> <character>GABBY GABBY</character> <dialogue>I've been practicing. How do I look?</dialogue> <scene_description>Forky peers at the book illustration.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Uh...little higher. Gabby raises the cup a higher...</scene_description> <character>FORKY</character> <dialogue>Stick out your pinky.</dialogue> <scene_description>...sticks out her pinky.</scene_description> <character>FORKY</character> <dialogue>Nice.</dialogue> <scene_description>Gabby lovingly gazes down to Harmony and takes a pretend sip.</scene_description> <character>CAROL (O.S.)</character> <dialogue>Harmony, sweetie! I'm leaving! Come give me a hug!</dialogue> <character>HARMONY</character> <dialogue>Bye, Mom!</dialogue> <scene_description>Gabby's smiles fades as she watches Harmony skip away. The longing for her little girl to return written all over her face. Her attention drifts back to the book. Forky watches Gabby FLIP THROUGH THE PAGES: a girl pushing her doll on the swing...spinning the doll through sunflowers...hugging the doll close...then pulling on the pullstring. Gabby tenderly touches the page.</scene_description> <character>GABBY GABBY</character> <dialogue>When my voicebox is fixed, I'll finally get my chance.</dialogue> <scene_description>Forky places a comforting pipe cleaner hand on hers. A sweet moment between them. Gabby closes the book. Pulls Forky on to her lap.</scene_description> <character>GABBY GABBY</character> <dialogue>Now, about our friend Woody. I want to know everything about him.</dialogue> <character>FORKY</character> <dialogue>Oh yeah, Woody. I've known that guy my whole life. Two days. Hey, did you know that Bonnie was not his first kid. He had this other kid, Andy...and you know what? I don't think he's ever gotten over him...</dialogue> </scene> <scene> <stage_direction>EXT. CARNIVAL - STAR ADVENTURER BOOTH - DAY</stage_direction> <character>©2019 DISNEY€�PIXAR</character> <dialogue>A kid shoots and loses. The carnie leans against the booth bored, headphones on, music blaring. As the kid leaves, Buzz comes to life, and wrestles with the zip-tie holding him to the prize wall.</dialogue> <character>BUNNY (O.S.)</character> <dialogue>Psst, Hey! Lightyear.</dialogue> <character>DUCKY (O.S.)</character> <dialogue>Hey -- up here, Astro-boy.</dialogue> <scene_description>Buzz looks up. TWO PRIZE STUFFIES, DUCKY &amp; BUNNY (hands sewn together in friendship), hang above him.</scene_description> <character>BUNNY</character> <dialogue>If you think you can just show up and take our top prize spot, you're wrong.</dialogue> <character>DUCKY</character> <dialogue>Dead wrong.</dialogue> <character>BUZZ</character> <dialogue>You don't understand. I'm trying to...</dialogue> <character>DUCKY</character> <dialogue>--Cheat the system and get with a kid? Yeah, we know.</dialogue> <character>BUZZ</character> <dialogue>No, I need--</dialogue> <character>BUNNY</character> <dialogue>--A child to shower you with unconditional love? Join the club, pal.</dialogue> <character>DUCKY</character> <dialogue>Yeah, join the club.</dialogue> <character>BUZZ</character> <dialogue>C'mon, help me get outta here.</dialogue> <character>DUCKY</character> <dialogue>I'll help you...with MY FOOT!</dialogue> <scene_description>Ducky kicks at him. Not even close. Frustrated, Ducky looks up to Bunny:</scene_description> <character>DUCKY</character> <dialogue>Bunny, what are you doing?...I can't reach him. Help me out here, c'mon...What's not to understand?...You're gonna make me say it?...With these tiny legs, I cannot reach without your help...</dialogue> <character>BUNNY</character> <dialogue>...Hmm?...Oh. Sorry, Ducky. I'm not a mind reader, you know...Hmm?...What?...Oh. Uh- huh. Well...</dialogue> <scene_description>Buzz struggles to free himself as Ducky and Bunny squabble:</scene_description> <character>DUCKY</character> <dialogue>...THIS is what I've been talking about Bunny, you need to work on paying attention and your listening skills...</dialogue> <scene_description>DUCKY'S FOOT suddenly makes contact with Buzz's head. Buzz SIGHS as the ineffectual padded foot keeps kicking him:</scene_description> <character>DUCKY</character> <dialogue>AHA! How you like THAT, cheater? Huh? P-SKWOW!</dialogue> <parenthetical>(Kick.)</parenthetical> <dialogue>Ha ha! To infinity and... MY FOOT!</dialogue> <parenthetical>(Kick.)</parenthetical> <dialogue>BOOM! In a galaxy far far away... you got kicked in the head. BOOM!</dialogue> <character>BUZZ</character> <parenthetical>(to self)</parenthetical> <dialogue>How do I get out of here?</dialogue> <scene_description>Then he remembers. Pushes his voice button: "THIS PLANET IS TOXIC. CLOSING HELMET TO CONSERVE OXYGEN." Buzz smirks. As Ducky swings in for another kick...</scene_description> <character>DUCKY</character> <dialogue>In the vacuum of space, they cannot hear you scREEEAM!</dialogue> <scene_description>...Buzz SHUTS THE HELMET on his foot. Ducky SCREAMS in pain. Ducky &amp; Bunny pull hard, yanking Buzz out of the ziptie. The weight of all three pulls them to the ground. ON THE BOOTH FLOOR</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DUCKY</dialogue> <scene_description>So THAT'S what gravity feels like.</scene_description> <character>BUNNY</character> <dialogue>Yeah, that's it.</dialogue> <scene_description>Ducky &amp; Bunny sit up to see Buzz...</scene_description> <character>DUCKY</character> <dialogue>Hey, where you going?!</dialogue> <scene_description>...LEAP OUT THE ELECTRICAL HATCH DOOR of the booth.</scene_description> <character>DUCKY</character> <dialogue>Hey, where you going?! You better get over here spaceman!</dialogue> <character>BUNNY</character> <dialogue>Put us back up there!</dialogue> <scene_description>Ducky &amp; Bunny follow after him through the flap -- but Bunny gets wedged. Ducky dangles from his hand, useless.</scene_description> <character>DUCKY</character> <dialogue>Bunny, what are you doing? He's getting away, let's go!...Come on!</dialogue> <character>BUNNY</character> <dialogue>I'm trying!</dialogue> </scene> <scene> <stage_direction>EXT. CARNIVAL PARKING LOT - DAY</stage_direction> <scene_description>The Skunkmobile bursts from the bushes. Barrels towards the CARNIVAL. INSIDE THE SKUNK</scene_description> <character>BO</character> <dialogue>Antique store, here we come!</dialogue> <character>WOODY</character> <dialogue>Bo, why do you ride around in a skunk?</dialogue> <scene_description>OUTSIDE, the Skunkmobile WEAVES THROUGH THE FOOT TRAFFIC. Folks SCREAM at the sight of a skunk. Jump out of its way. BACK INSIDE</scene_description> <character>WOODY</character> <dialogue>Oh, I get it. Smart.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Corndogs, corndogs, CORNDOGS!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The Skunkmobile side-swipes a CORN DOG CART'S WHEEL. They go careening off course. Crashing --</dialogue> <scene_description>UNDER THE CAROUSEL All spill out. Bo lands on Woody. Glares at her sheep:</scene_description> <character>BO</character> <dialogue>Why are you so bad at driving? You got six eyes.</dialogue> <parenthetical>(pats Woody)</parenthetical> <dialogue>Thanks for the landing.</dialogue> <scene_description>He chuckles, flustered. Bo offers to help Woody up.</scene_description> <character>BO</character> <dialogue>Come on, follow me--</dialogue> <scene_description>He takes her hand -- POP! Her ARM COMES OFF in his hand. Woody SCREAMS. Bo SCREAMS!!...Then starts laughing.</scene_description> <character>BO</character> <dialogue>I'm fine! I'm fine.</dialogue> <parenthetical>(re: Woody's face)</parenthetical> <dialogue>Don't worry. Happens all the time.</dialogue> <parenthetical>(calls out)</parenthetical> <dialogue>Tape!</dialogue> <scene_description>Giggles tosses her a TAPE ROLL from the skunk. Bo catches it with her broken stump.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Not a bad hiding spot.</dialogue> <character>BO</character> <parenthetical>(looks around)</parenthetical> <dialogue>Yeah! Leave the skunk, we'll fix it later.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Ten-four.</dialogue> <character>BO</character> <dialogue>This will be more fun.</dialogue> <scene_description>Bo hops up the RIDE'S CENTER SPINDLE. Calls back to Woody:</scene_description> <character>BO</character> <dialogue>Let's get you to that store!</dialogue> <scene_description>ON THE CAROUSEL'S CENTER SCENIC PANELS</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Bo and Giggle have a brief moment to themselves as Bo tapes up her arm. They peek over the top edge.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Okay, spill it. The cowboy. What's the deal?</dialogue> <character>BO</character> <dialogue>There's no deal.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Uh huh...Don't do this to yourself, cowboy's got a kid.</dialogue> <character>BO</character> <dialogue>Giggle--</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Trust me, I've been there. You know about me and He-Man. I'm not proud. Shh, here he comes!</dialogue> <scene_description>Woody arrives. Giggle LAUGHS TOO LOUD to cover.</scene_description> <character>WOODY</character> <dialogue>What?</dialogue> <character>BO</character> <dialogue>Second Chance Antiques. Straight ahead.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Heavy foot traffic at the entrance.</dialogue> <character>BO</character> <dialogue>Easiest way in is...</dialogue> <character>BO</character> <dialogue>The roof.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>The roof.</dialogue> <character>BO</character> <dialogue>Let's go antiquing. Hold on!</dialogue> <scene_description>Bo grabs the STICKY HAND, her STAFF...and Woody. Lassos the the UPPER FRAMEWORKS of the ride with the sticky hand, and sends them... HIGH ABOVE THE CAROUSEL HORSES Bo leads the way, racing along the steel struts...</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Bo, how did you end up here? I thought you were given to a new family. Woody tries to keep up as Bo scales the CABLES to the roof.</scene_description> <character>BO</character> <dialogue>Oh you know how it goes. Their little girl grew up and didn't need me anymore so --</dialogue> <parenthetical>(raspberry)</parenthetical> <character>WOODY</character> <dialogue>Oh, I'm sorry, Bo...</dialogue> <character>BO</character> <dialogue>Eh, who needs a kid's room...</dialogue> <scene_description>ATOP THE CAROUSEL, Bo and Woody emerge on the roof spire. Take in the breathtaking view. THRONGS OF KIDS below, playing at the carnival.</scene_description> <character>BO</character> <dialogue>...when you can have all of this.</dialogue> <scene_description>Woody's gaze turns to Bo. He smiles. Giggle jumps on his shoulder.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Whatcha lookin' at Sheriff?</dialogue> <character>WOODY</character> <dialogue>What? Oh, uh, nothing. I was looking at -- the STORE. Right there. I was looking at the antique store.</dialogue> <scene_description>Now Bo is smiling at Woody.</scene_description> <character>BO</character> <dialogue>Giggle. Count us down.</dialogue> <scene_description>Bo spins her dress into a cape. Giggle COUNTS DOWN FROM "5".</scene_description> <character>WOODY</character> <dialogue>Count down? For what?</dialogue> <character>BO</character> <dialogue>You want to get to the store, dontcha?!</dialogue> <scene_description>Grabs Woody's hand...</scene_description> <character>©2019 DISNEY€�PIXAR</character> </scene> <scene> <stage_direction>..1!</stage_direction> <scene_description>...and jumps. Woody yells as they slide down the carousel roof...to the top of a bouncy castle...then off a pair of cafe umbrellas toward the store...</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>Buzz peeks out BEHIND A PLANTER by the antique store.</scene_description> <character>BUZZ</character> <dialogue>The highway exit has to be somewhere...where is it?</dialogue> <scene_description>Presses his voice-command button: "METEOR SHOWER! LOOK OUT!" Buzz obeys. Looks up just in time to catch WOODY, GIGGLE, BO &amp; SHEEP LEAPING onto the ANTIQUE STORE AWNING.</scene_description> <character>BUZZ</character> <dialogue>Woody? Good work inner voice!</dialogue> <scene_description>UP ON THE STORE ROOF Bo leads the group up the roof's incline...</scene_description> <character>BO</character> <dialogue>So, how 'bout you? How's your new kid?</dialogue> <character>WOODY</character> <dialogue>Bonnie? Oh, she's great. Jessie is loving it--</dialogue> <character>BO</character> <dialogue>Jessie's still with you?</dialogue> <character>WOODY</character> <dialogue>Oh yeah, the whole gang's still together...well, I mean, most of us.</dialogue> <scene_description>Bo glances back with a smile. She knows what he means.</scene_description> <character>BO</character> <dialogue>What about Rex?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Yeah, yeah, Rex, Bullseye, Slinky, the Potato Heads...</scene_description> <character>BO</character> <dialogue>Buzz?</dialogue> <scene_description>Unawares to Woody, Bo is looking past him at BUZZ JOGGING TOWARDS THEM on the roof.</scene_description> <character>WOODY</character> <dialogue>Yeah, Buzz too. I cannot wait to see his face when he hears that I found--</dialogue> <character>BUZZ</character> <dialogue>Bo Peep?!</dialogue> <scene_description>Buzz and Bo hug.</scene_description> <character>BO</character> <dialogue>My old moving buddy!!</dialogue> <character>WOODY</character> <dialogue>Buzz?</dialogue> <character>BO</character> <dialogue>It's so good to see you!</dialogue> <character>BUZZ</character> <dialogue>Woody, it's Bo Peep.</dialogue> <character>BUZZ</character> <dialogue>(to Bo)</dialogue> <character>WOODY</character> <dialogue>(to Buzz)</dialogue> <scene_description>What are you doing here? What are you doing here? -- Ducky &amp; Bunny suddenly SLAM into Buzz! All three roll down the roof. Crash against the facade. Buzz pinned beneath the two stuffies.</scene_description> <character>BUNNY</character> <dialogue>Three years!</dialogue> <character>DUCKY</character> <dialogue>Three. Years.</dialogue> <character>BUNNY</character> <dialogue>That's how long we've been hanging up there waiting for a kid.</dialogue> <character>BUZZ</character> <dialogue>Look. I'm sorry about that--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DUCKY</dialogue> <parenthetical>(crying)</parenthetical> <dialogue>You ruined our lives! Shame on you!</dialogue> <scene_description>Woody and Bo catch up to them.</scene_description> <character>WOODY</character> <dialogue>Who are these guys?</dialogue> <character>DUCKY</character> <dialogue>Lightyear promised us a kid!</dialogue> <character>WOODY</character> <dialogue>You did what?</dialogue> <scene_description>Buzz gets to his feet.</scene_description> <character>BUZZ</character> <dialogue>I did not.</dialogue> <scene_description>They tackle him again, setting off BUZZ'S VOICEBOX.</scene_description> <character>WOODY</character> <dialogue>Alright, come on, stop it! Cut it out, now!</dialogue> <character>BO</character> <dialogue>C'mon guys break it up.</dialogue> <scene_description>Woody raises his boot. Show's off BONNIE'S NAME on the sole.</scene_description> <character>WOODY</character> <dialogue>Guys, I have a kid!</dialogue> <scene_description>Woody suddenly has their undivided attention.</scene_description> <character>DUCKY</character> <dialogue>You got a kid?</dialogue> <character>BUNNY</character> <dialogue>Like a KID kid?</dialogue> <character>DUCKY</character> <dialogue>Like a human kid, not a baby goat?</dialogue> <character>WOODY</character> <dialogue>Yeah. Now, let go of Buzz, and come with me. I'll take you to Bonnie.</dialogue> <character>DUCKY</character> <dialogue>W-we're...we're gettin' a kid?</dialogue> <character>BUNNY</character> <dialogue>Yes!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Alright, let's go.</scene_description> <character>BUZZ</character> <parenthetical>(to Woody)</parenthetical> <dialogue>Where's Forky?</dialogue> <character>WOODY</character> <dialogue>Long story...</dialogue> <scene_description>DUCKY &amp; BUNNY IMPROVISE A HAPPY SONG and dance as they follow the gang towards the CHIMNEY VENT.</scene_description> </scene> <scene> <stage_direction>INT. RV - DAY</stage_direction> <scene_description>ON BONNIE'S TOYS bunched up on the rear bed. Sad eyes. They are all peering up at the FRONT OF THE RV... Mom and Dad are CONSOLING BONNIE. She's been crying awhile:</scene_description> <character>BONNIE</character> <dialogue>He's not anywhere. Forky's gone!</dialogue> <character>BONNIE'S MOM</character> <dialogue>Oh honey, I'm sorry.</dialogue> <character>BONNIE'S DAD</character> <dialogue>Okay. Let's look outside one more time...but then we have to keep driving, ok?</dialogue> <scene_description>As the family exits, the toys jump to life.</scene_description> <character>JESSIE</character> <dialogue>They're about to leave!</dialogue> <character>REX</character> <dialogue>The panic is attacking me...!</dialogue> <scene_description>Rex paces. His tail knocking pieces off Potato Head.</scene_description> <character>MR. POTATO HEAD</character> <dialogue>Hey! Watch it buddy!</dialogue> <character>MRS. POTATO HEAD</character> <dialogue>What do we DO?!</dialogue> <character>JESSIE</character> <dialogue>We have to stop them.</dialogue> <character>DOLLY</character> <dialogue>How?!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Jessie thinks to herself, her mind racing...</dialogue> <character>BUTTERCUP</character> <dialogue>We could frame Dad for a crime so he goes to jail...</dialogue> <character>REX</character> <dialogue>Or go back in time and warn Woody about the future...</dialogue> <character>TRIXIE</character> <dialogue>That's crazy. Time is a flat circle.</dialogue> <scene_description>An idea hits Jessie. She runs and JUMPS OUT THE WINDOW!</scene_description> <character>REX</character> <dialogue>Ahh! Jessie!</dialogue> <scene_description>UNDER THE RV Jessie sneaks her way towards the front, while nearby Bonnie talks with her parents.</scene_description> <character>BONNIE'S MOM</character> <dialogue>I'm sorry Bonnie, we looked everywhere. But we need to get going now, okay?</dialogue> <character>BONNIE</character> <dialogue>Can we please leave a note for Forky so he knows where we're going? He has to go to kindergarten.</dialogue> <scene_description>-- A sudden POP. A HISSING noise. Dad watches in horror as the RV slumps. Rushes to the front to discover...A FLAT TIRE.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Are you kidding me?! Just -- everything's going perfectly. I--</dialogue> <parenthetical>(incoherent swearing)</parenthetical> <character>BONNIE'S MOM</character> <dialogue>Okay... Daddy's going to use some words. How about we go to the carnival? Or maybe check out some of those shops in town?</dialogue> <scene_description>BACK INSIDE THE RV Jessie crawls in through the back window. Joins the toys.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DOLLY</dialogue> <scene_description>What did you do?</scene_description> <character>JESSIE</character> <dialogue>We're not going anywhere!</dialogue> <scene_description>She brandishes a NAIL.</scene_description> <character>JESSIE</character> <dialogue>...If you get my point.</dialogue> <scene_description>The toys all CHEER.</scene_description> <character>DOLLY</character> <dialogue>I'm sure Buzz and Woody are on their way back right now.</dialogue> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - RAFTERS - DAY</stage_direction> <scene_description>CLOSE ON THE CHIMNEY FAN. Bo's crook pokes through the vent. Lifts it off. The gang look down into the store. It's enormous. Customers roam the aisles.</scene_description> <character>BUZZ</character> <dialogue>Forky's in...there?</dialogue> <character>WOODY</character> <dialogue>Yeah.</dialogue> <character>BUNNY</character> <dialogue>Now hold on. I have a question. Who will Bonnie love more? Ducky or me? Say me.</dialogue> <character>DUCKY</character> <dialogue>No say Ducky...Ducky.</dialogue> <character>BUNNY</character> <dialogue>Bunny...Bunny.</dialogue> <character>BO</character> <dialogue>Okay guys. Playtime is over. You have to follow my lead. We stay together, we stay quiet. Are we clear?</dialogue> <character>WOODY</character> <dialogue>Absolutely. Lead the way.</dialogue> <scene_description>The toys slide down the INNER TRUSSES of the roof. Bo silently takes the lead as they stick to the shadows. ON THE FLOOR</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The toys drop into view. MOVE FAST down a NARROW ALLEYWAY between the cabinetry. Ducky &amp; Bunny try to squeeze through:</dialogue> <character>DUCKY/BUNNY</character> <dialogue>Are you kidding me?...Move over...You move over...Quit push--</dialogue> <scene_description>Bo's sheep spin 180 to SHUSH them.</scene_description> <character>BUNNY</character> <dialogue>Oh my maker! That sheep has three heads!...All six eyes just looked into my soul.</dialogue> <character>DUCKY</character> <dialogue>Oh no no no no-- Gonna have nightmares.</dialogue> <scene_description>Bo navigates a JUNGLE OF ELECTRICAL CORDS to the edge of an aisle. Points to a TOWERING GLASS DISPLAY CABINET. The centerpiece of the store.</scene_description> <character>BO</character> <dialogue>That's most likely where your Forky is being kept.</dialogue> <scene_description>DUMMIES are propped atop the cabinet. Positioned to have a 360 degree view of the store.</scene_description> <character>WOODY</character> <dialogue>Alright, this isn't so bad. We just can't be seen by the dummies.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Not just the dummies.</dialogue> <character>BO</character> <dialogue>Her cabinet is surrounded by a moat of exposed aisle.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>Where Dragon roams.</dialogue> <scene_description>Bo points to A STORE CAT (DRAGON), curled up on the floor. It gives a cute little meow, stretches...</scene_description> <character>BUZZ</character> <dialogue>We can handle a cat.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>No. Not this one.</dialogue> <scene_description>...and gets up, revealing the SHREDDED BOTTOM HALF OF A PLUSH ZEBRA. Everyone GASPS in horror.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BUNNY</dialogue> <scene_description>Is that how we look...on the inside?</scene_description> <character>DUCKY</character> <dialogue>There's so much...f-f-fluff...</dialogue> <character>WOODY</character> <dialogue>So how do you propose we get up there?</dialogue> <scene_description>Bo DRAWS A PATH IN THE AIR WITH HER STAFF from the top of a tall booth across the aisle to Gabby's cabinet.</scene_description> <character>BO</character> <dialogue>We could go straight across.</dialogue> <character>WOODY</character> <dialogue>How?</dialogue> <character>BUZZ</character> <dialogue>That's quite a jump.</dialogue> <character>BO</character> <dialogue>We know the perfect toy to help.</dialogue> <scene_description>-- The front door CHIMES.</scene_description> <character>BONNIE'S MOM (O.S.)</character> <dialogue>Oh Bonnie! Check it out. Look at all this cool stuff.</dialogue> <scene_description>The gang all look to the FRONT DOOR -- Bonnie and her mom enter the store!</scene_description> <character>WOODY</character> <dialogue>Bonnie! We've gotta get Forky now!</dialogue> <scene_description>Woody darts out of hiding. Sprints for the cabinet.</scene_description> <character>BO</character> <dialogue>Woody, don't --</dialogue> <parenthetical>(to Giggle)</parenthetical> <dialogue>Stick to the plan!</dialogue> <scene_description>Giggle hops to Buzz's shoulder as Bo chases after Woody.</scene_description> <character>GIGGLES MCDIMPLES</character> <dialogue>Follow me.</dialogue> <character>BUZZ</character> <dialogue>Roger that.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Giggle leads Buzz, Ducky &amp; Bunny back down the alleyway.</dialogue> <scene_description>ON WOODY He climbs the cabinet up to its DOORKNOB...It won't budge. INSIDE THE CABINET Up on the shelf, Forky brushes Gabby's hair.</scene_description> <character>GABBY GABBY</character> <dialogue>Woody just sits in the closet? With no play time?</dialogue> <character>FORKY</character> <dialogue>Yeah, he told me himself. He's useless.</dialogue> <character>GABBY GABBY</character> <dialogue>That's awful.</dialogue> <scene_description>OUTSIDE THE GLASS DOOR, Woody pops up behind them -- but Bo's crook yanks him back down out of sight.</scene_description> <character>FORKY</character> <dialogue>Such pretty hair.</dialogue> <scene_description>BELOW THE DISPLAY CABINET Bo pulls Woody into the shadows. Covers his mouth.</scene_description> <character>BO</character> <parenthetical>(hushed)</parenthetical> <dialogue>What are you doing?! You need to stick to the plan.</dialogue> <character>WOODY</character> <dialogue>But it's Bonnie. She's right--</dialogue> <scene_description>The door CHIMES again. They watch Bonnie and Mom exit.</scene_description> <character>WOODY</character> <dialogue>...there.</dialogue> <character>BO</character> <parenthetical>(grabs Woody)</parenthetical> <dialogue>Come on. Stay quiet. You better hope the dummies didn't see--</dialogue> <scene_description>TWO DUMMIES hop down in front of them!!</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>They lunge for Woody...Bo knocks one away with her staff. Her SHEEP BITE DOWN on the other dummy's butt (BENSON). Won't let go. Benson screams in silent pain.</dialogue> <dialogue>The fight rolls them into the OPEN AISLE. A CUSTOMER suddenly turns in the direction of the noise to see...</dialogue> <dialogue>...all the toys lying lifeless in the aisle.</dialogue> <dialogue>All except Benson.</dialogue> <dialogue>The dummy (w/ sheep still attached) made it behind the cabinetry. Bo is forced to watch Benson DISAPPEAR INTO THE</dialogue> <scene_description>SHADOWS. Finally, the customer walks away. Bo jumps to life. Races after Benson.</scene_description> <character>BO</character> <dialogue>My sheep!</dialogue> <scene_description>BEHIND THE MAZE OF CABINETRY Livid, Bo searches in all directions. Woody trails behind.</scene_description> <character>BO</character> <dialogue>What did I say to you? I lead. You follow.</dialogue> <character>WOODY</character> <dialogue>Bo I'm so sorry. Really -- Just tell me how to help.</dialogue> <character>BO</character> <dialogue>You really wanna help?</dialogue> <parenthetical>(spins around)</parenthetical> <dialogue>Then stay out of my way. I'm getting my sheep back.</dialogue> <character>WOODY</character> <dialogue>What about the others?</dialogue> <character>BO</character> <dialogue>Giggle knows what to do.</dialogue> <scene_description>Bo heads deeper into the maze, not waiting for Woody... BACK AT GABBY'S DISPLAY CABINET Margaret unlocks its doors to show a customer an item.</scene_description> <character>GIGGLE MCDIMPLES (O.S.)</character> <dialogue>There's our objective.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FROM A CHINA CABINET ACROSS THE WAY, Giggle, Buzz, Ducky &amp; Bunny observe her holding THE KEY.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>We have to get that key. It's the only way inside the cabinet.</dialogue> <character>BUZZ</character> <dialogue>You can't be serious. How are we supposed to do that?</dialogue> <character>DUCKY</character> <dialogue>You know what, leave that to us.</dialogue> <character>BUNNY</character> <dialogue>We know exactly what to do.</dialogue> <scene_description>MOMENTS LATER Margaret wanders down the aisle. Notices the stuffed Ducky &amp; Bunny posed on the shelf.</scene_description> <character>MARGARET</character> <dialogue>Awww, where did you two come from --</dialogue> <scene_description>WHAM! Ducky &amp; Bunny clamp onto her face, not letting go!!</scene_description> <character>DUCKY &amp; BUNNY</character> <dialogue>The keys!...Hand'em over lady! The keys!...Give'em up!...Where are they?!...Give us the KEYS! --</dialogue> <scene_description>CUT TO: REALITY. The toys still hiding on the cabinet as before.</scene_description> <character>BUZZ</character> <dialogue>Well, we're NOT doing that.</dialogue> <character>DUCKY</character> <dialogue>Yeah, yeah I agree, too visible.</dialogue> <character>BUNNY</character> <dialogue>Good point. It's a good point. Something more subtle.</dialogue> <character>DUCKY</character> <dialogue>Ooo! What about "Winner, winner, chicken dinner?"</dialogue> <character>BUNNY</character> <dialogue>Yes.</dialogue> <scene_description>REPLAY OF THE IMAGINARY PLAN - Again, Margaret walks down the aisle. This time a BASEBALL rolls across her path. She investigates where it came from -- WHAM! Ducky &amp; Bunny on her face again!</scene_description> <character>DUCKY &amp; BUNNY</character> <dialogue>The keys!...Hand'em over lady! The keys!...Give'em up!...Where are they?!...Give us the KEYS! --</dialogue> <scene_description>BACK TO REALITY</scene_description> <character>BUZZ</character> <dialogue>Uh... you're kidding.</dialogue> <character>BUNNY</character> <dialogue>Really? Okay, okay...You just...alright...well...OH!</dialogue> <parenthetical>(to Ducky)</parenthetical> <dialogue>What about the ol' "Plush Rush?"</dialogue> <character>DUCKY</character> <dialogue>There you go!</dialogue> <scene_description>ANOTHER IMAGINARY PLAN - Margaret again walks down the aisle, turns toward the shelf, and...nothing. Takes the money from the cash register. - BACKSEAT POV of Margaret driving home that night. She checks her rearview mirror. Nothing.</scene_description> <character>GIGGLES MCDIMPLES (O.S.)</character> <dialogue>Ugh!</dialogue> <scene_description>BACK TO REALITY Giggle is impatient.</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Where's this going?</dialogue> <character>DUCKY</character> <dialogue>Shhh! Don't interrupt.</dialogue> <scene_description>RETURN TO THE PLAN - INSIDE OF MARGARET'S REFRIGERATOR as she opens the door, pulls out a dish, and...nothing. Closes the door.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>- Margaret relaxes in a BUBBLE BATH. Nurses a glass of wine, and...nothing happens.</dialogue> <dialogue>- IN BED. Margaret snores. Slowly, Ducky &amp; Bunny RISE OVER HER...CUT WIDE ON HER HOUSE: Her SCREAM echoes in the night.</dialogue> <scene_description>BACK TO REALITY Ducky &amp; Bunny raise their eyebrows. Pretty good, right?</scene_description> <character>BUZZ</character> <dialogue>Not gonna happen. N. O.!</dialogue> <character>BUNNY</character> <dialogue>Okay, do you want the key or not?</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>What is wrong with you!</dialogue> <character>DUCKY</character> <dialogue>What is wrong with -- We just gave you three brilliant ideas--</dialogue> <character>BUNNY</character> <dialogue>It's like, it's one thing to say no. It's another to offer a reason--</dialogue> <scene_description>As they continue to argue, Buzz stares hard at THE KEY IN MARGARET'S HAND from across the way.</scene_description> <character>BUZZ</character> <dialogue>How do we get that key?</dialogue> </scene> <scene> <stage_direction>INT. GABBY'S DISPLAY CABINET - ON THE SHELF - SAME</stage_direction> <scene_description>Benson whispers into Gabby's ear. Forky on her lap.</scene_description> <character>GABBY GABBY</character> <dialogue>You're kidding! Really? Woody's back?</dialogue> <character>FORKY</character> <dialogue>Woody's back?!</dialogue> <character>GABBY GABBY</character> <dialogue>And you're sure it's Bo Peep who's with him?</dialogue> <scene_description>The dummy turns to reveal BO'S SHEEP still biting down on his behind. Gabby giggles happily:</scene_description> <character>GABBY GABBY</character> <dialogue>Thank you Benson. Make sure the others are ready.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Benson nods and discreetly exits the cabinet.</dialogue> <character>FORKY</character> <dialogue>Woody's back! I'm coming Bonnie!</dialogue> <scene_description>Forky runs for the closing door -- SLAMS into the glass. Nonplussed, he sits up and peers eagerly out into the store.</scene_description> <character>FORKY</character> <parenthetical>(to self)</parenthetical> <dialogue>Bonnie...</dialogue> <character>GABBY GABBY</character> <dialogue>First - we must prepare for his arrival.</dialogue> <character>FORKY</character> <dialogue>Prepare?</dialogue> <character>GABBY GABBY</character> <dialogue>Have you ever played hide and seek?</dialogue> <character>FORKY</character> <dialogue>No. But it sounds complicated.</dialogue> <character>GABBY GABBY</character> <dialogue>Oh, it's easy. I'll teach you, okay?</dialogue> <scene_description>Gabby takes his pipe cleaner hand. Leads him down the shelf.</scene_description> <character>FORKY</character> <dialogue>Okay!</dialogue> <character>GABBY GABBY</character> <dialogue>The first thing you do is one of us finds a place to hide.</dialogue> <scene_description>OUTSIDE THE CABINET, THEIR VOICES FADE as we PAN DOWN...</scene_description> <character>FORKY (O.S.)</character> <dialogue>Scary!</dialogue> <character>GABBY GABBY (O.S.)</character> <dialogue>While the other one counts to ten and tries to...</dialogue> <scene_description>...to THE ALLEY BEHIND HER CABINET, where a solemn Woody follows a fuming Bo. Bo dashes out of hiding. Approaches an OLD PINBALL MACHINE. Clambers up floor items to its front. PUSHES THE COIN RETURN repeatedly - a secret code. Woody joins her.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>What are we doing-- ?</scene_description> <character>BO</character> <dialogue>Shh! Just stand there. And be quiet. I'll do the talking.</dialogue> <scene_description>The coin door opens. The sound of a ROWDY CROWD spills out. A WIND-UP TIN TOY (TINNY) peers out. Sees Bo, and grins.</scene_description> <character>BO</character> <dialogue>Hi Tinny!</dialogue> <scene_description>Tinny SPEAKS IN SOUND EFFECTS from his one man band, accordion, horns and drum. He is very excited to see Bo.</scene_description> <character>BO</character> <dialogue>Nice to see you, too.</dialogue> <parenthetical>(off Tinny's glance at Woody)</parenthetical> <dialogue>Yeah, he's with me.</dialogue> <scene_description>Woody wants to say something, but keeps his mouth shut. Tinny gestures for them to follow... INSIDE THE PINBALL GAME The cramped space is filled with an odd assortment of VINTAGE TOYS from different eras. A party atmosphere. Tinny SQUEAKS:</scene_description> <character>BO</character> <dialogue>My friend? No, no, no. He's my accessory.</dialogue> <scene_description>She tosses Woody her staff and cape. Follows Tinny into the crowd. They all HAIL BO like an old friend.</scene_description> <character>BO</character> <dialogue>Hey guys! Long time no see.</dialogue> <scene_description>She eyes the TOP-HALF OF THE ZEBRA DOLL Dragon dismembered.</scene_description> <character>BO</character> <dialogue>Hey Doug, saw your better half at the front of the store.</dialogue> <character>DOUG</character> <dialogue>Yeah, you mess with the cat you get the claws, heh-heh!</dialogue> <scene_description>Random toys COMMENT AND QUESTION BO as she proceeds, crowding Woody out. He gets Bo's attention. PULLS HIS STRING:</scene_description> <character>©2019 DISNEY€�PIXAR</character> <scene_description>"WE GOT TO GET THIS WAGON TRAIN A MOVIN'."</scene_description> <character>BO</character> <dialogue>Agreed...Cheater.</dialogue> <scene_description>Bo taps a bent-over KAIJU TOY. It pops upright.</scene_description> <character>BO</character> <dialogue>Have you seen Duke?</dialogue> <character>KAIJU TOY</character> <parenthetical>(mouth sparking)</parenthetical> <dialogue>He's in the back.</dialogue> <scene_description>HARD CUT CLOSE UPS OF DUKE CABOOM on his STUNT CYCLE. He rolls in like a bigger than life hero. Fingers smoothing his mustache. He smiles - TING!</scene_description> <character>DUKE CABOOM</character> <dialogue>Look who jumped forty school buses and landed back into my life.</dialogue> <scene_description>Bo bends down to talk to him. REVEAL Duke is half her size.</scene_description> <character>BO</character> <dialogue>Hi Duke.</dialogue> <character>DUKE CABOOM</character> <dialogue>Who's the cowboy?</dialogue> <character>BO</character> <dialogue>Duke meet Woody. Woody meet--</dialogue> <character>DUKE CABOOM</character> <dialogue>--Duke Caboom. Canada's greatest stuntman.</dialogue> <scene_description>Duke strikes stunt poses on his cycle. Woody is confused.</scene_description> <character>BO</character> <dialogue>He's posing.</dialogue> <parenthetical>(to Duke)</parenthetical> <dialogue>Duke, Duke we need to--</dialogue> <character>DUKE CABOOM</character> <dialogue>Hold on. One more. Oh yeah!</dialogue> <parenthetical>(holds his last pose)</parenthetical> <dialogue>What brings you back Peep?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>We need your help. Gabby Gabby has his toy and my sheep.</scene_description> <character>DUKE CABOOM</character> <dialogue>No. Billy, Goat, and Gruff? Those are my girls...</dialogue> <scene_description>Woody rolls his eyes.</scene_description> <character>DUKE CABOOM</character> <dialogue>What were you doing getting tangled up with Gabby Gabby? You know better.</dialogue> <character>BO</character> <dialogue>Yeah. Some toy thought it would be a good idea to wander into the aisle.</dialogue> <character>DUKE CABOOM</character> <dialogue>That doesn't make any sense.</dialogue> <character>BO</character> <dialogue>It doesn't, does it.</dialogue> <character>DUKE CABOOM</character> <dialogue>Everybody knows the best route is behind the shelves.</dialogue> <character>BO</character> <dialogue>That would have been a better route, wouldn't it.</dialogue> <character>DUKE CABOOM</character> <dialogue>Wow, this toy sounds like a complete idiot.</dialogue> <character>BO</character> <parenthetical>(looking at Woody)</parenthetical> <dialogue>He does.</dialogue> <scene_description>Woody HUFFS. Duke looks to Woody.</scene_description> <character>DUKE CABOOM</character> <dialogue>Wait, are you that toy?</dialogue> <character>BO</character> <dialogue>So here's the plan: We need to jump over the aisle to Gabby's cabinet. And YOU are the toy to do it.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>DUKE CABOOM</dialogue> <scene_description>No.</scene_description> <character>BO</character> <dialogue>Duke--</dialogue> <scene_description>Duke turns his back and STARTS POSING AGAIN, rejecting Bo with each pose:</scene_description> <character>BO</character> <dialogue>Duke -- Duke -- Duke -- Duke -</dialogue> <character>DUKE CABOOM</character> <dialogue>Nope...Nuh-uh...No</dialogue> <scene_description>- Duke -- Duke -- way!...Pass...Negative... Rejected-- Woody can't stay quiet any longer.</scene_description> <character>WOODY</character> <dialogue>Please, Mr. Caboom, this is really important. My kid--</dialogue> <scene_description>Bo GASPS and CLAMPS her hand over Woody's mouth.</scene_description> <character>DUKE CABOOM</character> <dialogue>You have a kid?</dialogue> <character>BO</character> <parenthetical>(nervous laughter)</parenthetical> <dialogue>Hey Duke, show us some more poses whaddaya say?</dialogue> <character>DUKE CABOOM</character> <dialogue>I had a kid...</dialogue> <character>BO</character> <dialogue>Oh no.</dialogue> <character>DUKE CABOOM</character> <dialogue>...Rejean.</dialogue> <scene_description>Duke's mustache quivers with emotion.</scene_description> <character>DUKE CABOOM</character> <dialogue>Rejean was so excited when he got me after Christmas...</dialogue> <scene_description>FLASHBACK - REJEAN'S HOUSE REJEAN (10) sits on the floor by the Christmas tree. He holds Duke, smiling.</scene_description> <character>DUKE CABOOM (V.O.)</character> <dialogue>It was the happiest Boxing Day of my life...</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>SECONDS LATER - Rejean watches a TV COMMERCIAL where Duke lands perfectly.</dialogue> <character>COMMERCIAL ANNOUNCER (V.O.)</character> <dialogue>Duke Caboom, riding the amazing Caboom stunt cycle. CA-BOOOOOM!</dialogue> <scene_description>Rejean beams at the real Duke Caboom toy in his hand.</scene_description> <character>DUKE CABOOM (V.O.)</character> <dialogue>I was ready to finally do what I was made to do.</dialogue> <scene_description>...Revs up Duke. Sends him up his TOY RAMP... CA-BOOOOOM! But Duke clatters to the floor far short of his plastic RING OF FIRE ACCESSORY. Rejean's face falls.</scene_description> <character>DUKE CABOOM (V.O.)</character> <dialogue>But when Rejean realized I couldn't jump as far as the toy in the commercial...</dialogue> <scene_description>Rejean kicks the launcher over. Leaves the room...and Duke lying abandoned on the floor. BACK TO THE PRESENT Duke caught up in the moment.</scene_description> <character>DUKE CABOOM</character> <dialogue>...It's a commercial! It's not real! Rejean threw me away! It's not fair, why Rejean! WHY!</dialogue> <scene_description>SOBBING, Duke collapses with his bike to the floor.</scene_description> <character>BO</character> <dialogue>Okay, okay. Calm down, Duke. That was a long time ago. Right now we need the only toy who can "crash" us onto Gabby's cabinet.</dialogue> <character>WOODY</character> <dialogue>Crash?</dialogue> <character>DUKE CABOOM</character> <dialogue>-- Crash?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Any Duke Caboom toy can land, but you are the only one that can "crash" the way you do.</scene_description> <character>DUKE CABOOM</character> <dialogue>I am?</dialogue> <character>BO</character> <dialogue>Yes! Forget Rejean. Forget your commercial. Be the Duke you are right now - the one who jumps and crashes.</dialogue> <scene_description>Duke thinks.</scene_description> <character>DUKE CABOOM</character> <dialogue>Be who I am...right now.</dialogue> <scene_description>Woody looks at Bo. Takes in her words of wisdom.</scene_description> <character>BO</character> <dialogue>Who's the Canuck with all the luck?</dialogue> <character>DUKE CABOOM</character> <dialogue>Caboom?</dialogue> <character>BO</character> <dialogue>Who's the greatest of the great white north?</dialogue> <character>DUKE CABOOM</character> <dialogue>Caboom!</dialogue> <scene_description>ON WOODY admiring Bo's ability to pump Duke up.</scene_description> <character>BO</character> <dialogue>Who's the most spectacular daredevil Canada has ever seen?</dialogue> <character>DUKE CABOOM</character> <dialogue>Duke Caboom!</dialogue> <character>BO</character> <dialogue>Can you do the jump?</dialogue> <character>DUKE CABOOM</character> <dialogue>Yes I Canada!</dialogue> <scene_description>Duke springs to his feet. Strikes TRIUMPHANT POSES. Doesn't stop. Bo smiles at Woody.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>We've got our ride.</scene_description> <character>WOODY</character> <parenthetical>(pulls string: VOICEBOX)</parenthetical> <scene_description>"YEE-HA!" Bo smirks. Suddenly -- Giggle jumps on her shoulder!</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Yo, Bo!</dialogue> <character>BO</character> <dialogue>Gigs! You made it!</dialogue> <scene_description>Bo turns to find Buzz, Ducky &amp; Bunny also there. Buzz holds up the key to Gabby's cabinet!</scene_description> <character>BO</character> <dialogue>Good work.</dialogue> <character>WOODY</character> <dialogue>How'd you get it?</dialogue> <scene_description>FLASH BACK TO BUZZ AND OTHERS ON THE CHINA CABINET Buzz thinking hard.</scene_description> <character>BUZZ</character> <dialogue>How do we get that key?</dialogue> <scene_description>Margaret passes - the toys freeze! She SETS THE KEYS DOWN RIGHT IN FRONT OF THEM, and walks away. BACK TO THE PRESENT</scene_description> <character>BUNNY</character> <dialogue>It was hard.</dialogue> <character>BUZZ</character> <dialogue>Very difficult.</dialogue> <character>DUCKY</character> <dialogue>Barely made it out alive.</dialogue> <character>BUNNY</character> <dialogue>Yeah.</dialogue> <character>DUCKY</character> <dialogue>So, you're welcome.</dialogue> <character>BO</character> <dialogue>Okay. Let's do this.</dialogue> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - LATE AFTERNOON</stage_direction> <scene_description>Hidden behind a floor display, Woody, Bo and the rest of the toy gang observe Margaret making a sale at the front counter.</scene_description> <character>BO</character> <dialogue>Good. That sale buys us some time.</dialogue> <scene_description>Woody starts to move -- Bo holds him back. Indicates THE DUMMIES ATOP GABBY'S CABINET. Waits for their rotating heads to turn away...</scene_description> <character>BO</character> <dialogue>Wait for it...Alright, let's go!</dialogue> <scene_description>The gang moves fast down the exposed aisle. Ducky &amp; Bunny carrying DUKE'S BIKE LAUNCHER. Bo and Woody branch off. He fights to keep up with her acrobatics as she climbs up shelves to a FILM PROJECTOR. Bo and Woody unspool a REEL OF FILM to the TOYS BELOW. Attach the launcher. Start reversing the reels to raise it up...</scene_description> <character>WOODY</character> <dialogue>So how long were you in this store?</dialogue> <character>BO</character> <dialogue>I don't know...a couple years. I didn't want to sit on a shelf waiting for my life to happen. So I left.</dialogue> <character>WOODY</character> <dialogue>Wow...you've handled this lost toy life better than I could.</dialogue> <scene_description>Launcher raised. Bo hooks it with her staff...</scene_description> <character>BO</character> <dialogue>Aw, Sheriff. You're selling yourself short. I think you'd make a great lost toy.</dialogue> <scene_description>...The two work together, carrying it like a couch, ACROSS THE CABINETRY...</scene_description> <character>WOODY</character> <dialogue>You really don't think you'll ever be in a kid's room again, huh?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Nope. And now with the carnival traveling through, it's our chance to hop a ride and leave town.</scene_description> <character>WOODY</character> <dialogue>You're -- you're leaving?</dialogue> <character>BO</character> <dialogue>Sure am. You ever think about getting out there and seeing the world?</dialogue> <character>WOODY</character> <dialogue>Without a kid...?</dialogue> <parenthetical>(chuckles)</parenthetical> <dialogue>...No. You can't teach this old toy new tricks.</dialogue> <character>BO</character> <dialogue>You'd be surprised...</dialogue> <scene_description>Bo, in the lead, reaches THE TOP OF THE CABINET OPPOSITE GABBY'S. Pulls Woody up to join her.</scene_description> <character>BO</character> <dialogue>So...How'd you end up in the store in the first place?</dialogue> <character>WOODY</character> <dialogue>Well, I...I saw your lamp in the window...and...I thought maybe...uh...maybe you were inside, and so I, uh...I...</dialogue> <scene_description>Woody trails off. Realizes Bo is distracted. Follows her gaze to... A SEA OF SPARKLING CRYSTAL CHANDELIERS</scene_description> </scene> <scene> <stage_direction>..hanging from the rafters. The light of the SETTING SUN sparkles through them all. A truly magical moment.</stage_direction> <character>WOODY</character> <dialogue>Wow. Will you look at that.</dialogue> <character>BO</character> <dialogue>Yeah. This is the only part of the store I ever liked.</dialogue> <scene_description>Woody privately watches Bo take in all the beauty. None of it as beautiful as who he sees before his eye.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>That's gonna be quite a jump for you and Duke. He gives a loopy little laugh. The spell suddenly breaks.</scene_description> <character>WOODY</character> <dialogue>-- FOR ME!?</dialogue> <scene_description>Woody looks back at the GAPING EXPANSE BETWEEN THEIR CABINET AND GABBY GABBY'S...</scene_description> <character>BO</character> <parenthetical>(pats him on the back)</parenthetical> <dialogue>Didn't I tell you? You're going with him.</dialogue> <character>WOODY</character> <dialogue>I-I am?</dialogue> <scene_description>MOMENTS LATER Duke's bike locks into the launcher. Woody sits behind him on the tiny stunt cycle, YARN TIED AROUND HIS WAIST.</scene_description> <character>DUKE CABOOM</character> <dialogue>Let's Caboom!</dialogue> <scene_description>Ducky &amp; Bunny man the launcher controls. Buzz stands by, holding the yarn's spool.</scene_description> <character>BO</character> <dialogue>It'll be fine, Duke's the best.</dialogue> <character>WOODY</character> <dialogue>Yeah. At crashing!</dialogue> <scene_description>ON GIGGLES From A TALL SHELF, she monitors the Dummies. Dragon dozes on the floor. Waits for Margaret to pass through...</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>And... now!</dialogue> <scene_description>She yanks the CHAIN OF A NEON SIGN. It blinks on. Signals Bo.</scene_description> <character>BO</character> <dialogue>Go!</dialogue> <scene_description>The bike launches!</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Woody holds tight, terrified. Yarn unspooling fast from Buzz's grip. Duke focused on THE MAKESHIFT RAMP and Gabby's cabinet beyond it. But then...</dialogue> <dialogue>DUKE'S VISION WARPS into the disapproving floating head of...</dialogue> <character>DUKE CABOOM</character> <dialogue>Rejean... It's a commercial! It's not real! I can't do this!</dialogue> <parenthetical>(lifts hands in defeat)</parenthetical> <dialogue>I'm sorry, Rejean!!</dialogue> <character>WOODY</character> <dialogue>No, no, no, no, no, no, no...!</dialogue> <scene_description>The bike swerves. Woody grabs Duke by the helmet. Course corrects him. The bike HITS THE RAMP! They arc over the aisle...and come up short. Thinking fast, Woody leaps off the bike -- GRABS HOLD OF GABBY'S CABINET DOOR KNOB. Duke crashes to the ground. Wakes Dragon. Speeds away.</scene_description> <character>DUKE CABOOM</character> <dialogue>What's new pussycat?</dialogue> <scene_description>The cat gives pursuit, while HIGH ABOVE, Woody clings to the knob. Yanks on the yarn. ACROSS THE WAY Bo takes her cue. Hooks the yarn with her staff. ZIP-LINES over to Woody. They unlock the door with MARGARET'S KEY. INSIDE THE CABINET Bo and Woody climb onto Gabby's shelf. No sign of anyone.</scene_description> <character>BO</character> <dialogue>Girls?</dialogue> <character>WOODY</character> <dialogue>Forky? Forky, where are you?</dialogue> <character>FORKY (O.S.)</character> <parenthetical>(muffled)</parenthetical> <dialogue>You're never gonna find me....</dialogue> <character>WOODY</character> <dialogue>Forky?</dialogue> <scene_description>MUFFLED GIGGLES from inside GABBY'S ORIGINAL BOX. Woody opens it to find Forky alone. He uncovers his eyes.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Woody! How'd you find me?</scene_description> <character>WOODY</character> <dialogue>Bo, I found him!</dialogue> <scene_description>Bo stares at Forky in disbelief.</scene_description> <character>FORKY</character> <dialogue>Hi.</dialogue> <character>BO</character> <dialogue>Wait. It's an actual fork?</dialogue> <scene_description>ACROSS THE WAY Buzz, Ducky &amp; Bunny hold tight to the yarn. Giggle HOPS on Buzz's shoulder:</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Buzz! The Dummies are gone!</dialogue> <scene_description>He looks across -- the top of Gabby's cabinet is empty.</scene_description> <character>BUZZ</character> <dialogue>What? Where'd they go?</dialogue> <scene_description>The toys all turn...TWO DUMMIES LOOM OVER THEM. They SCREAM. BACK IN THE CABINET</scene_description> <character>WOODY</character> <dialogue>Okay, we can go now!</dialogue> <character>BO</character> <dialogue>No, I need to find my girls.</dialogue> <character>GABBY GABBY (O.S.)</character> <dialogue>Hello, Woody...Bo.</dialogue> <scene_description>Gabby and Benson step out of hiding. Bo wields her staff.</scene_description> <character>BO</character> <dialogue>Where are my sheep?</dialogue> <character>FORKY</character> <dialogue>Look! Woody found me!</dialogue> <scene_description>Another dummy comes up behind Woody. Surrounded.</scene_description> <character>GABBY GABBY</character> <dialogue>I just want to talk.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Yeah, with my voicebox! ACROSS THE WAY The others wrestle with their dummies over the spool of yarn. Buzz looks over to see...Gabby and Benson closing in on Woody and Bo! -- Buzz knocks away the dummies. The gang grab hold of the yarn -- TUG HARD! PULL! BACK IN THE CABINET Woody (holding Forky) is suddenly YANKED off the shelf! Gabby GRABS ON TO WOODY'S PULL STRING as he flies past her... OVER THE AISLE Woody and Forky are now suspended mid-air. It's a TUG-O-WAR! "YOU'RE MY FAVORITE -- SOMEBODY'S POISONED THE WATER -- I'D LIKE TO JOIN YOUR POSSE -- FOR THE SKY!" ON THE FLOOR Woody's voicebox draws Dragon's attention. The cat swipes up at him -- Suddenly, Woody (still holding Forky) is YANKED...! BACK INTO THE CABINET The force TEARS OPEN WOODY'S BACK, exposing his VOICEBOX -- Benson makes a grab for it -- reveals BO'S SHEEP biting his backside -- Bo WHACKS Benson over with her staff...</scene_description> <character>BO</character> <parenthetical>(to sheep)</parenthetical> <dialogue>Girls! Drop it.</dialogue> <scene_description>The sheep release their grip. Rush to Bo. The other dummy attacks Woody -- and knocks Forky out the cabinet to the floor below!</scene_description> <character>WOODY</character> <dialogue>No. No! Forky!</dialogue> <character>BO</character> <dialogue>We've gotta go!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Sheep under her arm, Bo ziplines back across...</dialogue> <character>WOODY</character> <dialogue>No -- Wait! FORKY!</dialogue> <scene_description>Woody looks below at Dragon stalking Forky...looks across at Bo just reaching the other side...makes his choice... ...and JUMPS DOWN ON DRAGON! Woody rides the cat like a bucking bronco. But with Woody still tied to the yarn, it means... ...all the other toys are pulled to the floor! The sheep crack -- Giggles is swallowed by Dragon -- and Buzz lands next to...</scene_description> </scene> <scene> <stage_direction>..BONNIE'S BACKPACK?</stage_direction> <scene_description>It lies amongst the floor items. Forgotten. Only Buzz has the chance to see it. UP ABOVE, Gabby's dummies leap from the shelves:</scene_description> <character>GABBY GABBY</character> <dialogue>Don't let Woody leave!</dialogue> <scene_description>The dummies encircle the gang. Dragon still bucking Woody. Bo takes charge of the situation:</scene_description> <character>BO</character> <dialogue>Grab on!</dialogue> <scene_description>The toys all grab the yarn hanging off Woody.</scene_description> <character>BO</character> <dialogue>Duke! Get us out of here!</dialogue> <character>DUKE CABOOM</character> <dialogue>Oui! Here kitty, kitty!</dialogue> <scene_description>Duke takes off on his bike, making Dragon give chase, and dragging the TOW LINE OF TOYS away. All except...</scene_description> <character>WOODY</character> <dialogue>Wait! We don't have Forky!</dialogue> <scene_description>Too late. One dummy grabs Forky. The other three keep after the Woody-Dragon-toy train racing to the BACK OF THE STORE... With her staff, Bo YANKS A PASSING DRAWER OPEN! -- It clotheslines the dummies.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Duke rides his bike OUT A BROKEN WINDOW. The cat leaps out after him, towing the rest of the gang...</dialogue> </scene> <scene> <stage_direction>EXT. ANTIQUE STORE/BACK ALLEY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Duke lands. Dragon lands, spinning in a panic. The TOYS ARE THROWN IN ALL DIRECTIONS. Dragon SLAMS into a dumpster -- HACKS OUT GIGGLE -- hops back to the window. Hisses. Returns inside. Woody scrambles to his feet. Grabs his hat...</scene_description> <character>WOODY</character> <dialogue>Is everyone okay?</dialogue> <scene_description>Buzz helps Giggle as she shakes off cat drool...Bo comforts her sheep...Duke comforts his bike...</scene_description> <character>BO</character> <dialogue>Shh, it's okay.</dialogue> <character>DUKE CABOOM</character> <dialogue>Shhhhh... It's okay.</dialogue> <scene_description>...while Ducky can't find Bunny. Only a CLUMP OF FLUFF.</scene_description> <character>DUCKY</character> <dialogue>Bunny? -- BUNNY?!</dialogue> <scene_description>Ducky grabs the fluff, CRYING. Doesn't see it's attached to BUNNY LYING IN THE TRASH. He stands. Lifts Ducky in the air.</scene_description> <character>DUCKY</character> <parenthetical>(gasps; hugs him)</parenthetical> <dialogue>Oh Bunny!</dialogue> <character>BUNNY</character> <dialogue>It's gonna be okay...</dialogue> <character>WOODY</character> <dialogue>Forky's still in there. If we hurry, we can get him before they lock him up.</dialogue> <scene_description>Woody starts walking back towards the window.</scene_description> <character>DUCKY</character> <dialogue>You want us to go back in there?</dialogue> <character>DUKE CABOOM</character> <dialogue>We barely got out alive.</dialogue> <character>BUZZ</character> <dialogue>Woody, it's better if we wait--</dialogue> <character>WOODY</character> <dialogue>No, no. There's no time. We can easily get back inside -- By my count there are only four dummies -- and we out number them. So we have the advantage--</dialogue> <character>BUZZ</character> <dialogue>-- But I saw Bonnie's -- But the backpack --</dialogue> <character>BO</character> <dialogue>Woody, look at us!</dialogue> <scene_description>Woody finally stops. Takes in the gang. A broken mess.</scene_description> <character>BO</character> <dialogue>Nobody is with you. It's over, okay?</dialogue> <scene_description>Determined, Woody picks up Duke's bike...</scene_description> <character>WOODY</character> <dialogue>No, no. We're wasting time. We can do this.</dialogue> <character>BUNNY</character> <dialogue>Come on, Pullstring.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>It's not worth it.</dialogue> <scene_description>Woody helps Bunny with his stuffing. He's not giving up...</scene_description> <character>DUCKY</character> <dialogue>Yeah, listen to her!</dialogue> <character>BO</character> <dialogue>Nobody wants this!</dialogue> <character>WOODY</character> <dialogue>I do!</dialogue> <character>BO</character> <dialogue>Why?</dialogue> <character>WOODY</character> <dialogue>Because!</dialogue> <character>BO</character> <dialogue>Why?!</dialogue> <character>WOODY</character> <dialogue>Just -- because.</dialogue> <scene_description>-- Bo HOOKS WOODY. Forces him to look her in the eye.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <scene_description>WHY?! BECAUSE IT'S ALL I HAVE LEFT TO DO! (more sober) I don't have anything else. Awkward silence.</scene_description> <character>BO</character> <dialogue>So the rest of us don't count?</dialogue> <character>WOODY</character> <dialogue>T-that's not what I meant. Bonnie needs Forky.</dialogue> <character>BO</character> <dialogue>No. YOU need Bonnie...Open your eyes Woody. There's plenty of kids out there...It can't be just about the one you're still clinging to.</dialogue> <scene_description>Woody winces. Then bristles.</scene_description> <character>WOODY</character> <dialogue>It's called "loyalty." Something a lost toy wouldn't understand.</dialogue> <scene_description>Bo is stunned. Woody wavers, seeing the hurt in her eyes... then digs back in. Stubborn.</scene_description> <character>BO</character> <dialogue>I'm not the one who's lost.</dialogue> <parenthetical>(to the others)</parenthetical> <dialogue>Let's get out of here. We've got a carnival that leaves in the morning.</dialogue> <scene_description>Bo starts walking away. Giggle hops up on her shoulder. Duke, Ducky &amp; Bunny join them.</scene_description> <character>BUNNY</character> <dialogue>C'mon. We'll find our OWN kid.</dialogue> <character>DUCKY</character> <parenthetical>(to Woody)</parenthetical> <dialogue>You're crazy.</dialogue> <character>WOODY</character> <dialogue>Bo-- !</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Bye, Woody. Good luck with Bonnie. Bo and her gang disappear into the darkness. It's just Buzz and Woody now.</scene_description> <character>BUZZ</character> <dialogue>Woody...you did all you could. ...Time to go home.</dialogue> <scene_description>But Woody barely hears him, still staring off, still stuffing the pain down -- there's a job to do (or else who am I now?)</scene_description> <character>WOODY</character> <dialogue>No.</dialogue> <scene_description>Woody heads for the store...climbs up to the window...</scene_description> <character>BUZZ</character> <dialogue>Woody...</dialogue> <character>WOODY</character> <dialogue>I don't leave toys behind, Buzz.</dialogue> <character>BUZZ</character> <dialogue>Yeah, but, Woody, you're actually lea--</dialogue> <character>WOODY</character> <dialogue>Not now. Not ever.</dialogue> <scene_description>...and disappears inside.</scene_description> <character>BUZZ</character> <dialogue>...Aaaaaand he left me behind.</dialogue> <parenthetical>(looks around; then to himself)</parenthetical> <dialogue>What now, inner voice?</dialogue> <scene_description>PRESSES his voice command button. "MISSION ACCOMPLISHED, RETURN TO BASE."</scene_description> <character>BUZZ</character> <dialogue>Go back to the RV? What about Woody?</dialogue> <scene_description>KEEPS PRESSING for a better answer:</scene_description> <character>©2019 DISNEY€�PIXAR</character> <scene_description>"WE'RE GOING HOME, SPACE RANGER." (again) "FALL BACK, THIS PLANET IS--" (again) "RETREAT! THERE'S TOO--" (many times) "GO--TIME TO FLY--EXIT THE--FALL BACK--RUN--GET OUT--RETURNING TO STAR COMMAND!"</scene_description> <character>BUZZ</character> <dialogue>Okay! Okay...Thanks a lot, inner voice.</dialogue> <scene_description>With a SIGH, he heads down the alley towards the RV park.</scene_description> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - BACK STORAGE AREA - MOMENTS LATER</stage_direction> <scene_description>Margaret calls out as she leaves the storage area...</scene_description> <character>MARGARET</character> <dialogue>Harmony, honey, help Grandma close up for the night!</dialogue> <scene_description>...and closes the curtain.</scene_description> <character>HARMONY (O.S.)</character> <dialogue>Okay. Then can we go to the carnival?</dialogue> <scene_description>Woody steps out of the shadows. Tiptoes to the curtain. Opens it -- Gabby and her dummies are waiting on the other side!!</scene_description> <character>GABBY GABBY</character> <dialogue>Hello, Woody. I knew you'd be back.</dialogue> <scene_description>Woody grabs a STRAY PENCIL. Walks backwards with it to defend himself as Gabby and dummies advance.</scene_description> <character>WOODY</character> <dialogue>You don't know me.</dialogue> <character>GABBY GABBY</character> <dialogue>But I do...you were left in the closet...feeling useless... wondering if you'll ever get played with...</dialogue> <character>WOODY</character> <dialogue>I'm not leaving without Forky.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>GABBY GABBY</dialogue> <scene_description>Can we agree on just one thing?</scene_description> <character>WOODY</character> <dialogue>What?</dialogue> <character>GABBY GABBY</character> <dialogue>That being there for a child is the most noble thing a toy can do.</dialogue> <scene_description>Woody stops. Suspicious, but willing to listen.</scene_description> <character>WOODY</character> <dialogue>Okay...</dialogue> <character>GABBY GABBY</character> <dialogue>I was defective right out of the box.</dialogue> <scene_description>Gabby raises her hand to halt the dummies. Alone, she moves closer to Woody as she pleads her case:</scene_description> <character>GABBY GABBY</character> <dialogue>I can only imagine what it must have been like for you. All that time you spent with Andy...riding a bike with him for the first time, comforting him when he skinned his knee, proudly watching him grow up, and then you got a second chance with Bonnie, giving her comfort when she's scared at school, helping her when she needs it most. You've been there through all their ups and downs...Please. Be honest with me - was it as wonderful as it sounds?</dialogue> <scene_description>Woody takes this in. His eyes can't deny it.</scene_description> <character>WOODY</character> <dialogue>...It was.</dialogue> <scene_description>Gabby smiles sadly.</scene_description> <character>GABBY GABBY</character> <dialogue>All I want is a chance for just one of those moments. I'd give anything to be loved the way you have.</dialogue> <scene_description>Woody is quiet. Knowing what he has to do.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>Just leave me Forky. Bonnie needs him.</scene_description> <character>GABBY GABBY</character> <dialogue>Of course.</dialogue> <scene_description>Gabby steps back. The dummies close in around Woody.</scene_description> </scene> <scene> <stage_direction>EXT. RV PARK - EVENING</stage_direction> <scene_description>Dad tightens the last lug nut on the new tire.</scene_description> <character>BONNIE'S DAD</character> <parenthetical>(triumphant laugh)</parenthetical> <dialogue>Finally! The flat tire is fixed!</dialogue> <scene_description>INSIDE THE RV The toys sit grouped on the bed, waiting by the REAR WINDOW.</scene_description> <character>JESSIE</character> <dialogue>Come on Woody, hurry up! Where is he-- ?</dialogue> <scene_description>BUZZ POPS UP right in front of her! The startled toys YELL! Dolly and Jessie help him back inside.</scene_description> <character>JESSIE</character> <dialogue>Buzz!</dialogue> <character>DOLLY</character> <dialogue>Where's Woody?</dialogue> <character>HAMM</character> <dialogue>And Forky?</dialogue> <character>BUZZ</character> <dialogue>We have a situation. They need to be extracted from the antique store.</dialogue> <character>REX</character> <dialogue>How do we do that?</dialogue> <scene_description>Before Buzz can answer -- BONNIE AND HER PARENTS ENTER! Everyone is forced to goes limp.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Okay. Let's make sure we have everything.</dialogue> <character>BONNIE'S MOM</character> <dialogue>Finally!</dialogue> <scene_description>CLOSE ON BONNIE'S TOYS They glance to Buzz with concern, but he remains confident. As WE WATCH BONNIE SCAN THE RV, Buzz explains:</scene_description> <character>BUZZ</character> <parenthetical>(low whisper)</parenthetical> <dialogue>It's okay. Any minute now, Bonnie will notice her backpack is missing, she'll realize she left it at the antique store, and we'll head back in there.</dialogue> <character>BONNIE'S MOM</character> <dialogue>Looks like we have everything. You good, Bonnie?</dialogue> <character>BONNIE</character> <dialogue>Yep.</dialogue> <character>BONNIE'S DAD</character> <dialogue>Great. Let's get out of here.</dialogue> <scene_description>Mom buckles Bonnie into her carseat. Dad STARTS THE ENGINE.</scene_description> <character>HAMM</character> <dialogue>Okay, genius. Whadda we do now?</dialogue> <scene_description>Buzz rolls over. Starts pressing his voice command button: "SCANNING PERIMETER -- LASER AT FULL POWER! SHIELDS TO MAXIMUM!..."</scene_description> <character>REX</character> <dialogue>Buzz what are you doing?</dialogue> <character>BUZZ</character> <dialogue>I'm thinking.</dialogue> <scene_description>BUZZ KEEPS PRESSING, but no solution is coming.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Honey, will you please shut that toy off?</dialogue> <character>BUZZ</character> <dialogue>"...NO TIME TO METEOR SHOWER, SECRET MISSION</dialogue> <character>VOICEBOX</character> <dialogue>EXPLAIN! ATTACK! -- LOOK OUT! -- IT'S A IN UNCHARTED SPACE!</dialogue> <scene_description>LET'S GO!..."</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S MOM</dialogue> <scene_description>Yeah, I got it. Dad puts the car into gear. Mom picks up Buzz...</scene_description> <character>BONNIE'S MOM</character> <dialogue>Bonnie, how do you turn this off?</dialogue> <character>BONNIE</character> <dialogue>I dunno.</dialogue> <scene_description>...Mom looks him over, but every time Buzz's BACK FACES HER he SNEAKS ANOTHER PRESS of his voice command: "...BUZZ LIGHTYEAR TO THE RESCUE! -- FULL SPEED AHEAD! -- OPEN THE POD BAY DOORS! -- IT'S JUST YOU AND ME NOW CADET. -- A DISTRESS SIGNAL IS COMING FROM THAT ROCK! -- TO INFINITY AND BEYOND!..." OUT THE RV, Buzz sees the antique store getting further away.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Just toss it in a drawer!</dialogue> <scene_description>Mom opens a cupboard, places Buzz inside...No more time!!</scene_description> <character>BUZZ</character> <scene_description>YOUR BACKPACK'S IN THE ANTIQUE STORE! LET'S GO! Bonnie suddenly remembers!</scene_description> <character>BONNIE</character> <dialogue>Oh no my backpack!</dialogue> <scene_description>WIDE ON THE RV It brakes mid-turn out of the park.</scene_description> <character>BONNIE (CONT'D; O.S.)</character> <dialogue>I left my backpack in the antique store!</dialogue> <character>BONNIE'S MOM (O.S.)</character> <dialogue>You did?</dialogue> <character>BONNIE'S DAD (O.S.)</character> <parenthetical>(frustrated sigh)</parenthetical> <dialogue>Alright, let's swing by and get it.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The RV backs up, and heads towards the store.</dialogue> </scene> <scene> <stage_direction>EXT. CAROUSEL AREA - NIGHT</stage_direction> <scene_description>BELOW SOME BUSHES, Bo, Giggle, Duke, Ducky &amp; Bunny pause for the coast to be clear to access the CAROUSEL. The toys all wait for Bo's signal (Giggle on her shoulder):</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>I can't believe the nerve of that cowboy. Who does he think he is?</dialogue> <parenthetical>(re: sheep BLEAT)</parenthetical> <dialogue>Exactly! He was way outta line. You did the right thing leaving him behind.</dialogue> <scene_description>Bo, is quiet. Focused...yet distracted.</scene_description> <character>DUKE CABOOM</character> <dialogue>Hey, lambchops.</dialogue> <character>BO</character> <dialogue>Hm?</dialogue> <character>DUKE CABOOM</character> <dialogue>Coast is clear.</dialogue> <character>BO</character> <dialogue>Oh!</dialogue> <scene_description>Bo snaps out of it. Leads the gang across the clearing to... UNDER THE CAROUSEL Holding at the LIP EDGE, Bo points to the CENTER OF THE RIDE:</scene_description> <character>BO</character> <dialogue>Head to the middle. When the carnival leaves tomorrow, we'll hide right there.</dialogue> <scene_description>Between them and the center is a MAZE OF ROTATING PISTONS (horse rods.) One rod CRUSHES A SODA CAN as it passes.</scene_description> <character>DUCKY/BUNNY/DUKE CABOOM</character> <dialogue>Oh, no way!/Stuff that!/Awesome.</dialogue> <character>BO</character> <dialogue>Stick with me, you'll be fine. Ready?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <scene_description>NO!! Giggle is back in Bo's ear:</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>And another thing, Woody asked you for help...and he</dialogue> <character>BO</character> <dialogue>(waits) On your mark...get set...</dialogue> <scene_description>treats you like that?... (crouches to run)</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>...He only cares about himself.</dialogue> <scene_description>Bo stops and turns.</scene_description> <character>BO</character> <dialogue>-- No!</dialogue> <scene_description>But Ducky &amp; Bunny go -- SLAM!! -- The very first rod sweeps the two plushies out of sight.</scene_description> <character>BO</character> <dialogue>You're wrong. Woody's always trying to do right by his kid...</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>...by putting everyone in danger. Ugh, that kinda crazy loyalty...just...</dialogue> <character>BO</character> <dialogue>You gotta love him for it.</dialogue> <scene_description>Bo and the others weave effortlessly through the moving rods. Ducky &amp; Bunny come screaming past again...</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Whoa, say what now?...Hey hey hey, Bo! What's the plan? Fill me in here!</dialogue> <scene_description>...They reach the center. Bo rights the OVERTURNED SKUNKMOBILE. The sheep jump in...Duke rides in...Bo, at the wheel, CALLS OUT to Ducky &amp; Bunny as they come back around:</scene_description> <character>BO</character> <dialogue>Get in! We're going back.</dialogue> <scene_description>Ducky &amp; Bunny jump off. Can barely stand up, dizzy...</scene_description> <character>BUNNY</character> <dialogue>Hold on, we just got here--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>GIGGLE MCDIMPLES</dialogue> <scene_description>You heard Bo, we're going back. Move your plush. Let's ride! Bo practically sweeps them up as the SKUNKMOBILE RACES AWAY! BLACK NOISES in the dark. A RIP...RHYTHMIC SEWING...Now voices: "YOU'RE MY FAVORITE--ZENNED THE WATERHO--THERE'S A SNAKE--!" An IMAGE COMES INTO FOCUS. It's WOODY'S POV. We're in...</scene_description> </scene> <scene> <stage_direction>INT. ANTIQUE STORE - SEWING "NOTIONS" BOOTH</stage_direction> <scene_description>Woody lies under an old sewing machine, operated by Benson. The dummy bites down on the thread sewn into Woody. He GROANS, and sits up. Woozy.</scene_description> <character>GABBY GABBY (O.S.)</character> <dialogue>Yay!</dialogue> <scene_description>Gabby SITS up beside him, clapping for joy. Pulls her string: "YOU ARE MY BEST FRIEND. LET'S PLAY ALL DAY!" (to Benson; as herself) Oh, Benson! Did you hear that? Isn't that lovely? (pulls again; VOICEBOX) "TIME FOR TEA!" (to Woody; as herself) Oh, thank you, Woody! Thank you! All my dreams are coming true because of you. Thank you! Thank you! She hugs Woody tight.</scene_description> <character>WOODY</character> <dialogue>Uhhh...your welcome.</dialogue> <character>GABBY GABBY</character> <dialogue>It's time Benson.</dialogue> <scene_description>Benson pulls up the BABY CARRIAGE. Forky sits inside. Gabby climbs in.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>GABBY GABBY</dialogue> <scene_description>Goodbye Forky. I'm going to miss our talks.</scene_description> <character>FORKY</character> <dialogue>Me too. Good luck, Gabby.</dialogue> <character>GABBY GABBY</character> <dialogue>Thank you my little utensil.</dialogue> <scene_description>A farewell hug. She helps Forky up to the sewing table. Benson wheels Gabby away.</scene_description> <character>FORKY</character> <dialogue>Bye Gabby! Good Bye Benson!</dialogue> <scene_description>Benson's head lolls back, mouth open wide in a... smile?</scene_description> <character>FORKY</character> <parenthetical>(nervous laugh)</parenthetical> <dialogue>He is terrifying...</dialogue> <scene_description>The front door CHIMES!</scene_description> <character>BONNIE'S MOM</character> <dialogue>Hi.</dialogue> <character>WOODY</character> <parenthetical>(gasp)</parenthetical> <dialogue>Bonnie?</dialogue> <scene_description>Woody scrambles to get a look at BONNIE AND HER MOM ENTERING THE STORE:</scene_description> <character>MARGARET</character> <dialogue>Hello. Can I help you with anything?</dialogue> <character>BONNIE'S MOM</character> <dialogue>We called about the backpack?</dialogue> <character>MARGARET</character> <dialogue>Oh, yes. I couldn't find it. Feel free to look around.</dialogue> <scene_description>Woody SCANS THE STORE. He can't believe it -- there's BONNIE'S BACKPACK on the floor beside Gabby's case!</scene_description> <character>WOODY</character> <dialogue>Quick! Before she finds it!</dialogue> <scene_description>Woody sprints for the backpack. Forky follows...then suddenly STOPS.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Look! There's Harmony. PEEKING BETWEEN THE ANTIQUES, Forky can see Gabby Gabby sitting on shelf...near Harmony (who reads a book.) Gabby surreptitiously pulls her own string: "YOU MAKE ME SO HAPPY. LET'S BE BEST FRIENDS." Harmony looks up. Eyes the Gabby Gabby doll on the shelf...</scene_description> <character>FORKY</character> <dialogue>Oh this is it!</dialogue> <scene_description>BACK WITH WOODY He reaches the backpack. Dives inside!</scene_description> <character>WOODY</character> <dialogue>We're going home Forky!</dialogue> <scene_description>Looks around. No Forky. Woody peeks out...</scene_description> <character>WOODY</character> <parenthetical>(loud whisper)</parenthetical> <scene_description>FORKY?! ...and spots Forky down the aisle, transfixed by something. Annoyed, Woody rushes back to get him -- but Forky points:</scene_description> <character>FORKY</character> <dialogue>No no no Woody, look -- it's really happening!</dialogue> <scene_description>WE STAY WITH WOODY AND FORKY as they watch... Harmony take Gabby down from the shelf. She turns the doll over. Pulls her string... "I'M GABBY GABBY, AND I LOVE YOU."</scene_description> <character>FORKY</character> <dialogue>Oh, I'm gonna cry!</dialogue> <scene_description>Harmony touches Gabby's face. The doll's eyes locked with hers. At last...</scene_description> <character>MARGARET</character> <dialogue>Oh, what have you got there?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>HARMONY</dialogue> <scene_description>I found this old doll.</scene_description> <character>MARGARET</character> <dialogue>You can take it home if you want.</dialogue> <scene_description>Beat.</scene_description> <character>HARMONY</character> <dialogue>Nah.</dialogue> <scene_description>Harmony tosses her in an OLD CRATE. Skips away. The lifeless Gabby just lies there. Stunned. Discarded. Woody and Forky GASP WITH SHOCK:</scene_description> <character>FORKY</character> <dialogue>What happened? Gabby was supposed to be her toy...</dialogue> <character>BONNIE (O.S.)</character> <dialogue>There's my backpack! Mom! It's over here!</dialogue> <scene_description>No more time! Clutching Forky, Woody races to the backpack, leaps in, and zips it closed just before... ...Bonnie picks it up. Checks inside...</scene_description> <character>BONNIE</character> <dialogue>Forky! Mom! I found him!</dialogue> <character>BONNIE'S MOM</character> <dialogue>THERE he is. Now please leave him in there so he doesn't get lost again.</dialogue> <scene_description>INSIDE THE BACKPACK As Bonnie carries them away, Woody STARES OUT THE BACKPACK WINDOW - eyes locked on the crate Gabby was tossed in.</scene_description> <character>FORKY</character> <dialogue>But, what about Gabby?</dialogue> <scene_description>Woody makes a decision. Looks to Forky.</scene_description> <character>WOODY</character> <dialogue>Forky, listen to me very carefully, this is important. Tell Buzz to get the RV to the Merry-go-Round. You understand?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>FORKY</dialogue> <scene_description>Absolutely! What is a merry-go- round?</scene_description> <character>WOODY</character> <dialogue>The spinny ride, with lights and horses!</dialogue> <character>FORKY</character> <dialogue>Oh...you mean a carousel?</dialogue> <character>WOODY</character> <dialogue>Yes, yes, a--</dialogue> <parenthetical>(surprised)</parenthetical> <dialogue>Carousel. Yes! Meet me at the carousel.</dialogue> <character>FORKY</character> <dialogue>Got it.</dialogue> <scene_description>Woody sneaks out of the backpack, and drops into the shadows just as... ...Bonnie and Mom exit the store. Margaret flips the sign to CLOSED. MOMENTS LATER Woody appears next to Gabby's crate. He peeks in. GABBY LIES amongst the junk, unmoving. Her back to him.</scene_description> <character>WOODY</character> <parenthetical>(whisper)</parenthetical> <dialogue>Gabby! Hey, Gabby!</dialogue> <character>GABBY GABBY</character> <dialogue>You can have your voice box back. I don't need it anymore.</dialogue> <scene_description>Woody climbs in. Tries to pull Gabby up.</scene_description> <character>WOODY</character> <dialogue>Oh, yes you do. Harmony wasn't your only chance, Gabby, but we have to hurry, come on--</dialogue> <character>GABBY GABBY</character> <parenthetical>(pulls away; adamant)</parenthetical> <dialogue>No. Harmony was my chance. My time's over. Now please go away.</dialogue> <scene_description>Woody SIGHS. Takes a seat beside her. Knows all too well what she's going through. Then, in the stillness...</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>WOODY</dialogue> <scene_description>...You hear that? Gabby listens. Turns her head towards the FRONT WINDOW. Carnival lights glow across the street. The distant, muffled shrieks of joy can be heard. CHILDREN.</scene_description> <character>WOODY</character> <dialogue>A friend once told me, "There are plenty of kids out there."</dialogue> <scene_description>ON GABBY GABBY The yearning in her eyes says, "If only that were true."</scene_description> <character>WOODY</character> <dialogue>And one of them is named "Bonnie." She's waiting for you right now. She just doesn't know it yet.</dialogue> <scene_description>Gabby isn't convinced.</scene_description> <character>GABBY GABBY</character> <dialogue>What if...you're wrong?</dialogue> <character>WOODY</character> <parenthetical>(stands)</parenthetical> <dialogue>Well...If you sit on a shelf the rest of your life, you'll never find out, will ya?</dialogue> <scene_description>Bo suddenly drops into the crate from the shadows. She and Woody exchange a knowing smile.</scene_description> <character>BO</character> <dialogue>He's right.</dialogue> <scene_description>His eyes stay locked on Bo as he adds:</scene_description> <character>WOODY</character> <dialogue>I learned that from the best.</dialogue> <character>BO</character> <dialogue>Come on, Gabby. Let's get you to Bonnie.</dialogue> <scene_description>Bo offer her hand. Gabby cautiously takes it.</scene_description> </scene> <scene> <stage_direction>EXT. GRAND BASIN STREET - NIGHT</stage_direction> <scene_description>The RV is headed out of town. INSIDE THE RV Bonnie sleeps in her car seat, holding Forky upside down. He CONVERSES IN WHISPERS with the other TOYS UNDER THE TABLE:</scene_description> <character>BUZZ</character> <dialogue>The carousel?</dialogue> <character>FORKY</character> <dialogue>Yeah, it's the spinny ride with lights and horses. Woody said to meet him there.</dialogue> <character>MR. POTATO HEAD</character> <dialogue>You gotta be kiddin!</dialogue> <character>TRIXIE</character> <dialogue>How do we do that?</dialogue> <character>BUTTERCUP</character> <dialogue>Oh! We could a--</dialogue> <character>DOLLY</character> <dialogue>We're not sending Dad to jail.</dialogue> <character>BUTTERCUP</character> <dialogue>You're no fun.</dialogue> <character>GPS (O.S.)</character> <dialogue>Left. Turn. In. Point five. miles.</dialogue> <scene_description>Jessie's attention is drawn to the GPS SCREEN ON THE DASH.</scene_description> <character>JESSIE</character> <dialogue>Wait a second. I have an idea...</dialogue> </scene> <scene> <stage_direction>INT. SECOND CHANCE ANTIQUES - NIGHT</stage_direction> <scene_description>Gabby, Woody and Bo sit in the BABY CARRIAGE, with Benson at the ready. Bo looks below to her sheep, who sit in the SKUNKMOBILE, carrying Duke, Ducky &amp; Bunny. They watch MARGARET OUTSIDE, bringing in a street sign. Bo gives the signal -- and the skunk takes off towards the OPEN FRONT DOOR...Benson pushes the carriage fast right behind them...hops inside just as they zoom past an oblivious Margaret, and... RACE ACROSS THE STREET</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The toy caravan jumps the curb INTO THE CARNIVAL CROWD, crashing into a metal barricade. The carriage tips over.</dialogue> <dialogue>A CONCERNED WOMAN rushes over. Lifts up the carriage, to reveal -- only a frozen Benson. She SCREAMS IN HORROR.</dialogue> </scene> <scene> <stage_direction>EXT. CARNIVAL - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Woody, Bo, Gabby and the others are HIDDEN BETWEEN BOOTHS, taking in THE SEA OF CARNIVAL-GOERS:</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Too many people. Gonna need an alternate route.</dialogue> <character>GABBY GABBY</character> <parenthetical>(worried)</parenthetical> <dialogue>Will we make it to the carousel in time?</dialogue> <scene_description>Looking past her, Woody and Bo EYE THE FERRIS WHEEL turning next to them. Both get the same idea:</scene_description> <character>BO/WOODY</character> <dialogue>Yes, we Canada.</dialogue> <scene_description>They look at Duke, who just stares back.</scene_description> <character>DUKE CABOOM</character> <dialogue>What? What is it?</dialogue> <scene_description>BACK IN THE RV Dad signals to turn left, when the GPS SUDDENLY INTERRUPTS:</scene_description> <character>TRIXIE (O.S.)</character> <parenthetical>(as GPS)</parenthetical> <dialogue>Recalculating. Take. A. Right.</dialogue> <scene_description>Dad looks at the dash. Confused.</scene_description> <character>BONNIE'S DAD</character> <dialogue>What? A right?</dialogue> <character>TRIXIE (O.S.)</character> <parenthetical>(as GPS)</parenthetical> <dialogue>Right. Turn. Ahead.</dialogue> <character>BONNIE'S DAD</character> <dialogue>Huh. Does the GPS sound funny to you?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S MOM</dialogue> <scene_description>Honey, it's fine. Just drive.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Huh. Thought it sounded funny.</dialogue> <scene_description>UNDER THE DASH Trixie is taking her voice commands from Mrs. Potato Head (sans one ear), who is taking her cues from... ATOP THE RV</scene_description> </scene> <scene> <stage_direction>..Buzz. Crouched on the roof. Focused on the LIGHTS OF GRAND BASIN in the distance. He talks into MRS. POTATO HEAD'S EAR:</stage_direction> <character>BUZZ</character> <dialogue>Another right!</dialogue> <scene_description>INSIDE / ATOP THE RV</scene_description> <character>MRS. POTATO HEAD</character> <dialogue>Right!</dialogue> <character>TRIXIE (GPS)</character> <dialogue>Take. A. Nother. Right.</dialogue> <character>BONNIE'S MOM (O.S.)</character> <dialogue>Huh?</dialogue> <character>BONNIE'S DAD</character> <dialogue>Another right? Really?</dialogue> <character>BUZZ</character> <parenthetical>(panicked)</parenthetical> <dialogue>Turn right!</dialogue> <scene_description>Mrs. Potato Head points right urgently. NOW! TURN RIGHT!! Startled, Dad quickly turns right. Buzz almost slides off the roof as the RV crosses all lanes, and TAKES THE EXIT. Hamm, Rex, Slinky look out the window.</scene_description> <character>HAMM</character> <dialogue>We're heading back.</dialogue> <character>SLINKY DOG</character> <dialogue>There's the carousel...</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>REX</dialogue> <parenthetical>(nervous)</parenthetical> <dialogue>You think Woody will get there in time?</dialogue> </scene> <scene> <stage_direction>EXT. CARNIVAL - FERRIS WHEEL - NIGHT</stage_direction> <character>DUKE CABOOM</character> <dialogue>Nope. No way. Decline. No dice. Rejected --</dialogue> <scene_description>The toy gang now sit atop the CENTER SPINDLE of the Ferris Wheel. A STRING OF CARNIVAL FLAGS fastened to the back of Duke's bike. Ducky &amp; Bunny rev up his rear wheel as Woody and Bo coach:</scene_description> <character>BO</character> <dialogue>Duke, Duke, you got this.</dialogue> <character>WOODY</character> <dialogue>This is the fastest way to the carousel. You made the last jump.</dialogue> <character>DUKE CABOOM</character> <dialogue>Yeah, but that was four feet. This is forty!</dialogue> <character>BO</character> <dialogue>Exactly! Duke Caboom would never repeat a stunt.</dialogue> <character>DUKE CABOOM</character> <dialogue>No. He'd never do that.</dialogue> <character>WOODY</character> <dialogue>No, no, no. He's the toy that went on to crash forty feet...into that target.</dialogue> <scene_description>Woody points to the HOLE IN THE ROOF SIGN of the "Star Adventurer" booth, far on the other side.</scene_description> <character>DUKE CABOOM</character> <dialogue>Yeah...He is. I'M DUKE CA-BOOM! Oh man, I can DO this!</dialogue> <character>WOODY</character> <dialogue>Yes you Canada!</dialogue> <character>DUKE CABOOM</character> <dialogue>I can do it with my eyes closed.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BO</dialogue> <scene_description>Yes, you -- what?</scene_description> <character>DUKE CABOOM</character> <dialogue>3-2-1-- GO!</dialogue> <character>WOODY</character> <dialogue>What?! What? Wait!</dialogue> <scene_description>Too late. Duke takes off down a FERRIS WHEEL SPOKE as it SLOWLY RISES, making it the perfect ramp...Duke hops to his feet on the bike...</scene_description> <character>GABBY GABBY</character> <dialogue>What is he doing?</dialogue> <character>BO</character> <dialogue>Oh no...</dialogue> <scene_description>...and LAUNCHES off the ferris wheel!...The string of flags unfurling behind him... MID-AIR Duke soars over the carnival. Arms out. Eyes closed...</scene_description> <character>DUKE CABOOM</character> <dialogue>This is for you, Rejean.</dialogue> <scene_description>...and threads a perfect needle THROUGH THE TARGET! CRASHES on the roof behind.</scene_description> <character>DUKE CABOOM</character> <dialogue>Caboom.</dialogue> <scene_description>Dukes drives circles around a booth strut. Secures the line. BACK ON THE FERRIS WHEEL The GANG ALL CHEER! Woody hurries the others:</scene_description> <character>WOODY</character> <dialogue>Alright, our turn.</dialogue> <character>BO</character> <dialogue>You heard the Sheriff, let's go.</dialogue> <scene_description>The toys all ZIP-LINE down the string of flags over the unsuspecting crowd.</scene_description> </scene> <scene> <stage_direction>INT. RV - SAME</stage_direction> <scene_description>Dad continues to drive.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>TRIXIE (O.S.; GPS)</dialogue> <scene_description>Another. Right.</scene_description> <character>BONNIE'S DAD</character> <dialogue>Another right? But that's the wrong way.</dialogue> <character>BONNIE'S MOM</character> <dialogue>Are you sure?</dialogue> <character>BONNIE'S DAD</character> <dialogue>Ugh, stupid rental. I'm turning us around.</dialogue> <character>TRIXIE (O.S.; GPS)</character> <dialogue>No! -- Recalculating! Turn. Right.</dialogue> <scene_description>Mom takes a closer look at the GPS.</scene_description> <character>BONNIE'S MOM</character> <dialogue>Must be broken.</dialogue> <character>TRIXIE (O.S.; GPS)</character> <dialogue>No! No!</dialogue> <scene_description>Dad turns left, moving away from the carousel. BELOW THE DASH, Mrs. Potato Head YANKS a panicked Trixie out of the way -- signals to BUTTERCUP! The stuffed unicorn sneaks under Dad's feet...and JAMS THE GAS PEDAL in place. The RV starts speeding.</scene_description> <character>BONNIE'S MOM</character> <dialogue>Honey, what are you doing? Slow down!</dialogue> <character>BONNIE'S DAD</character> <dialogue>What's happening?! I can't! I can't!</dialogue> <scene_description>ATOP THE RV Buzz POPS his helmet closed. Braces himself. BACK INSIDE, it's a battle between Dad on the brake and Buttercup the on gas!</scene_description> <character>BONNIE'S DAD</character> <dialogue>Ahh! What is-- happening?! I'm-- trying! It won't-- stop! What-- is wrong with--</dialogue> <character>BONNIE'S MOM</character> <dialogue>Press the brake. What are you doing? Press it! Harder! Watch the road!</dialogue> <scene_description>OUTSIDE Pedestrians gawp as the RV LURCHES AND STOPS, making it's way very slowly down Main street...</scene_description> </scene> <scene> <stage_direction>EXT. MIDWAY GAME BOOTH ROOFTOPS - NIGHT</stage_direction> <scene_description>Bo and Woody lead the toys, jumping across the tops of the game booths. They can spot the RV IN THE DISTANCE, lurching towards the carousel!</scene_description> <character>GIGGLE MCDIMPLES</character> <dialogue>Got a visual on the RV heading southbound.</dialogue> <scene_description>Woody looks back -- Gabby has stopped at the edge of the roof, looking down at something...</scene_description> <character>WOODY</character> <dialogue>Gabby?</dialogue> <scene_description>Woody rush over to her -- then sees what has her attention. A LOST LITTLE GIRL (6) stands in the shadows behind the midway. Scared, alone. Crying.</scene_description> <character>GABBY GABBY</character> <dialogue>I think she's lost.</dialogue> <scene_description>Gabby turns to Woody. A plea in her eyes. ...Woody gets it.</scene_description> <character>WOODY</character> <dialogue>Are you sure?</dialogue> <scene_description>Gabby nods. Bo joins them. Tracks their gaze to the lost girl. Bo's eyes meet Woody's, already understanding.</scene_description> <character>WOODY</character> <dialogue>Change of plans.</dialogue> <scene_description>BACK AT THE RV It lurches down the street. The interior lights strobe...car windows randomly open and shut... UNDER THE DASH, Mrs. Potato Head unplugs-and-plugs electrical connectors. A POLICE CAR appears behind them.</scene_description> <character>POLICE OFFICER</character> <parenthetical>(over speaker)</parenthetical> <dialogue>Pull. Over.</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BONNIE'S DAD</dialogue> <scene_description>I-I can't! This is a rental! I don't know what's happening! BACK AT THE CARNIVAL The Lost Girl cowers from the foot traffic. Afraid to make her plight known. NEAR HER FEET, the toys now hide BEHIND STORAGE CRATES. Woody and Bo flank Gabby Gabby:</scene_description> <character>GABBY GABBY</character> <dialogue>I'm so nervous. What if she doesn't like me?</dialogue> <character>WOODY</character> <dialogue>Gabby--</dialogue> <character>GABBY GABBY</character> <dialogue>I don't know if I can do this...</dialogue> <character>WOODY</character> <dialogue>Gabby, it's just like you said...this is the most noble thing a toy can do.</dialogue> <scene_description>Gabby looks to Bo. She gives a nod of encouragement. Coaxes Gabby out into the open, behind the Lost Girl:</scene_description> <character>BO</character> <dialogue>Okay. Just edge yourself a bit into the light - Not too far...That's it...</dialogue> <scene_description>Gabby, now exposed, sits on the ground. Goes into toy mode.</scene_description> <character>BO</character> <dialogue>...Perfect.</dialogue> <scene_description>Woody cues Ducky &amp; Bunny, hiding on the other side.</scene_description> <character>BUNNY</character> <dialogue>Winner, winner...</dialogue> <character>DUCKY</character> <dialogue>Chicken dinner.</dialogue> <scene_description>They gently ROLL A SOFTBALL in front of the girl. She watches it roll past... ...and bump into Gabby Gabby.</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Sniffling, she walks over to the doll...PICKS GABBY UP.</dialogue> <character>LOST GIRL</character> <dialogue>...Are you lost too?</dialogue> <scene_description>Tries Gabby's pullstring: "I'M GABBY GABBY. WILL YOU BE MY FRIEND?" She hugs Gabby Gabby tight.</scene_description> <character>LOST GIRL</character> <dialogue>I'll help you.</dialogue> <scene_description>THE TOYS WATCH as the Lost Girl, with newfound courage from the doll in her arms, approach a PASSING SECURITY GUARD.</scene_description> <character>LOST GIRL</character> <dialogue>Excuse me, can you help us?</dialogue> <character>SECURITY GUARD</character> <dialogue>Oh, honey, what's wrong?</dialogue> <character>LOST GIRL</character> <dialogue>I can't find my mom and dad.</dialogue> <scene_description>The Security Guard takes the Lost Girl's hand...</scene_description> <character>SECURITY GUARD</character> <dialogue>It's okay. I'll help you find them. I'm sure they're not far.</dialogue> <scene_description>...and leads her and Gabby Gabby away. MOMENTS LATER - ATOP THE CAROUSEL THE TOY GANG WATCHES FROM ABOVE as the Lost Girl is reunited with her WORRIED PARENTS.</scene_description> <character>LOST GIRL</character> <dialogue>Mommy! Daddy!</dialogue> <scene_description>The girl runs into her parent's arms, safe. Shows them Gabby Gabby...</scene_description> <character>LOST GIRL</character> <dialogue>...I couldn't find you, and then I found this doll...</dialogue> <character>LOST GIRL'S MOM</character> <dialogue>You did?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>LOST GIRL</dialogue> <scene_description>Her Name is Gabby Gabby. CLOSE ON GABBY GABBY From over the girl's shoulder, GABBY SMILES UP AT THE GANG, as the girl and her parents walk away. Gabby closes her eyes; finally happy. ATOP THE CAROUSEL</scene_description> <character>DUKE CABOOM</character> <dialogue>Whoah... We actually did that.</dialogue> <scene_description>Woody and Bo share a quiet smile. Yeah, we did. The gang WHOOP and CHEER. A police siren blurts.</scene_description> <character>POLICE OFFICER (O.S.)</character> <parenthetical>(through speaker)</parenthetical> <scene_description>PULL. OVER. NOW. The toys look to see BONNIE'S RV lurching toward the CAROUSEL, three police cars close behind. ATOP THE RV</scene_description> <character>BUZZ</character> <parenthetical>(into the ear)</parenthetical> <dialogue>Almost...there... STOP!</dialogue> <scene_description>INSIDE THE RV Mrs. Potato Head signals Trixie, who orders Buttercup to RELEASE THE GAS PEDAL:</scene_description> <character>TRIXIE</character> <parenthetical>(whispers)</parenthetical> <scene_description>STOP! OUTSIDE The RV jolts to a hard stop...right alongside the carousel. INSIDE Sleeping Bonnie finally stirs.</scene_description> <character>BONNIE</character> <parenthetical>(yawning)</parenthetical> <dialogue>Are we home?</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Mom and Dad are frozen in shock. A POLICE OFFICER TAPS at Dad's window. He jumps with a start. Rolls down the window...</dialogue> <character>POLICE OFFICER</character> <dialogue>Sir, will you please step out of the vehicle...</dialogue> <scene_description>ON BUTTERCUP</scene_description> <character>BUTTERCUP</character> <parenthetical>(snickers)</parenthetical> <dialogue>Dad's totally going to jail!</dialogue> <scene_description>MOMENTS LATER The toys watch Bonnie and her parents, outside the RV, converse with the cop. Above the toys...</scene_description> </scene> <scene> <stage_direction>..Buzz pops open the SKYLIGHT. Calls down:</stage_direction> <character>BUZZ</character> <dialogue>Everyone. Top side. Let's move.</dialogue> <parenthetical>(to Forky)</parenthetical> <dialogue>Forky, I've got a very important job for you.</dialogue> <character>FORKY</character> <dialogue>For me?</dialogue> <scene_description>OUTSIDE THE RV The police cars drive away as Bonnie and her parents head back towards the RV. Crisis averted.</scene_description> <character>BONNIE'S DAD</character> <parenthetical>(to police officer)</parenthetical> <dialogue>Have a good night.</dialogue> <scene_description>Dad moves to open the driver door and -- CLICK! The DOOR LOCKS. Dad presses his key fob. The locks go up...then goes right back down.</scene_description> <character>BONNIE'S DAD</character> <dialogue>What the--? You gotta be kidding me!</dialogue> <scene_description>HIDDEN INSIDE, Forky mans the DOOR LOCK BUTTON. Pressing it locked every time Dad opens it. Giggles with delight. Meanwhile, the other toys have stacked vertically to reach THE AWNING SWITCH. They open it. OUTSIDE</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>Mom and Dad are too preoccupied with the door lock to notice...the AWNING UNFURL to form a bridge from the RV to the carousel roof.</dialogue> <dialogue>Buzz waves to Woody to cross over. It's time to go.</dialogue> <character>BUNNY</character> <dialogue>Hey...um...So long cowboy.</dialogue> <character>DUCKY</character> <dialogue>Happy trails.</dialogue> <scene_description>Woody tips his hat to them -- Bo's sheep nose his legs, BLEATING. He kneels down.</scene_description> <character>WOODY</character> <dialogue>Billy, Goat, Gruff...Take care of her, girls.</dialogue> <scene_description>Sad looks from all three. Woody then stands to face... BO They hold each other's gaze.</scene_description> <character>BO</character> <dialogue>I'm, uh...</dialogue> <character>WOODY</character> <dialogue>(fumphering)</dialogue> <character>BO</character> <dialogue>...I'm glad I got to see you again.</dialogue> <scene_description>Woody struggles. So much to say. Where to begin...?</scene_description> <character>WOODY</character> <dialogue>I...I don't...</dialogue> <scene_description>Bo rescues him from the moment. Hugs him goodbye. Woody then steps down onto the RV awning. His HANDS CLING TO THE EDGE OF THE RIDE, like they did to the box long ago when Bo was given away. Woody looks up at her. She adjusts his hat.</scene_description> <character>WOODY</character> <dialogue>...Goodbye, Bo.</dialogue> <scene_description>He turns and walks across the awning to Buzz...Everything feels wrong.</scene_description> <character>WOODY</character> <dialogue>Buzz...I -- I...</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BUZZ</dialogue> <scene_description>She'll be okay. Woody sags with resignation. Buzz smiles.</scene_description> <character>BUZZ</character> <dialogue>Bonnie...will be okay.</dialogue> <scene_description>Surprised, Woody looks him in the eye. The words sinking in.</scene_description> <character>WOODY</character> <dialogue>...You sure?</dialogue> <character>BUZZ</character> <dialogue>Hey. Listen to your inner voice.</dialogue> <scene_description>Woody turns back to Bo. No words needed to be said. Bo can already tell from the look on his face...She JUMPS DOWN to the awning... ...Both toys RUN INTO EACH OTHER'S ARMS. The kind of embrace that one waits a lifetime for. Then, Woody notices -- ALL THE TOYS are now atop the RV. They rush cross the awning. Overjoyed to reunite. Jessie hugs Bo:</scene_description> <character>BO</character> <dialogue>(softly)</dialogue> <character>JESSIE</character> <dialogue>Bo!</dialogue> <scene_description>Jessie... Woody looks at the faces of all of his friends, old and new. So much shared between them acknowledged in silence. Woody then REMOVES HIS BADGE and...PINS IT ON JESSIE. The meaning sinks in for her. Overcome, Jessie bear hugs Woody. Spins him around... The rest of Andy's toys take Jessie's cue, and JOIN IN A GROUP HUG, jostling and laughing together... ...except Buzz. The space ranger hangs back. As the laughter dies down, Woody steps up to his old pal...AND THE TWO EMBRACE. A deep "thank you" for a friendship earned like no other. -- Something tugs at Woody? Looks down to find Forky hugging his knees.</scene_description> <character>WOODY</character> <dialogue>So long, Forky.</dialogue> <scene_description>They hug. Buzz smiles -- then realizes...</scene_description> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BUZZ</dialogue> <scene_description>Forky? Who's watching the doors? The RV ENGINE starts! The toys scatter - Woody and Bo back to the carousel, Bonnie's toys to the RV... INSIDE THE RV Mom helps Bonnie into her seat. Suddenly --</scene_description> <character>BONNIE'S MOM</character> <dialogue>Oh my goodness, the awning. What is going on?</dialogue> <scene_description>As she turns to flip the switch, the TOYS DROP TO THE BED FROM THE SKYLIGHT! Bonnie looks back to see... ...Forky nestled safely with all of her toys. ATOP THE CAROUSEL Woody and Bo watch the RV pull away. He then looks to Bo, who reaches for his hat...and yanks it over his eyes. She takes off running. Woody chases her to the PEAK OF THE CAROUSEL ROOF. They watch the RV continue to drive away... INSIDE THE RV BONNIE'S TOYS have gathered at the REAR WINDOW, looking back.</scene_description> <character>REX</character> <dialogue>Does this mean Woody's a lost toy?</dialogue> <character>BUZZ</character> <dialogue>He's not lost. Not anymore.</dialogue> <scene_description>CLOSE ON BUZZ, gaze fixed on the carousel.</scene_description> <character>BUZZ</character> <dialogue>To infinity...</dialogue> <scene_description>CLOSE ON WOODY, Bo at his side, as they wave goodbye.</scene_description> <character>WOODY</character> <dialogue>...and beyond.</dialogue> <scene_description>Above it all, the moon shines fully in the clear night sky, championing the endless possibilities ahead. THE END \[FIRST END CREDIT CARDS\]</scene_description> </scene> <scene> <stage_direction>EXT. SEASIDE TOWN - DAY</stage_direction> <scene_description>A CARNIVAL is set up along the beach. At THE STAR ADVENTURER BOOTH, the bored carnie listens to his headphones while a HAPPY LITTLE BOY skips away with a winning prize. CLOSE ON THE PRIZE WALL Two morose PLUSH FROGS contemplate their fates.</scene_description> <character>CARNIVAL PRIZE FROG #1</character> <dialogue>There goes another one.</dialogue> <character>CARNIVAL PRIZE FROG #2</character> <dialogue>We're never getting out of here.</dialogue> <character>BUNNY (O.S.)</character> <dialogue>Psst, Frog legs.</dialogue> <character>DUCKY (O.S.)</character> <dialogue>Up here, Rainbow Connection.</dialogue> <scene_description>Ducky and Bunny hang above them.</scene_description> <character>BUNNY</character> <dialogue>You Mr. Toads wanna take a wild ride with a kid?</dialogue> <character>DUCKY</character> <dialogue>We can make that happen...</dialogue> <character>CARNIVAL PRIZE FROG #1 &amp; 2</character> <dialogue>You CAN?!...Really?!</dialogue> <character>DUCKY</character> <dialogue>Oh, yeah! Leave it to us, Jeremiah.</dialogue> <scene_description>MOMENTS LATER A LITTLE GIRL shoots at the target. Misses. Behind the scenes, Ducky &amp; Bunny pull down the target anyway. DING! She won! BELOW THE COUNTER, Bo gives the signal -- Duke and Woody toss a Carnival Frog onto the counter for the girl. She skips away with her prize, elated. The carnie oblivious. \[MORE END CREDIT CARDS\] BACK AT THE STAR ADVENTURER BOOTH A LONG LINE OF KIDS step up -- shoot, miss -- win a prize. Repeat. The carnie still oblivious... DISSOLVE TO NIGHT The clueless carnie now leans against a COMPLETELY EMPTY BOOTH. BEHIND THE COUNTER, The toy rescue gang conference:</scene_description> <character>WOODY</character> <dialogue>Alright, nice job, gang!</dialogue> <character>BO</character> <dialogue>Every prize with a kid.</dialogue> <character>GIGGLE MCDIMPLES</character> <dialogue>What's next?</dialogue> <character>DUCKY</character> <dialogue>Leave that to us.</dialogue> <character>BUNNY</character> <dialogue>We know EXACTLY what to do.</dialogue> <character>DUCKY</character> <dialogue>Mmm-Hmm.</dialogue> <scene_description>\[MORE END CREDIT CARDS\]</scene_description> </scene> <scene> <stage_direction>EXT. STAR ADVENTURER BOOTH - NIGHT</stage_direction> <scene_description>The Carnie yawns, turns back to the booth -- shocked to see it empty of toys. He leans over the counter... -- Ducky and Bunny attach to his face!!</scene_description> <character>BUNNY</character> <dialogue>PLUSH RUSH! That's right!</dialogue> <character>DUCKY</character> <dialogue>PLUSH RUSH! How you like THAT?! Huh?! You got Plush Rushed, son!</dialogue> <scene_description>The Carnie PANICS, rips the plush dolls off him. Bunny SHOOTS LASERS FROM HIS EYES at the carnie's feet.</scene_description> <character>DUCKY</character> <dialogue>Dance, HA HA! Dance! Get your knees up! Let's see those feet move!</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>The Carnie runs. Ducky &amp; Bunny hulk out, laughing maniacally as they GROW to full Kaiju size. Stomp after him firing lasers, breathing fire --</dialogue> <scene_description>BACK TO REALITY Still behind the counter, a normal-sized Ducky &amp; Bunny make laser sounds as the toy gang stare at them, unfazed.</scene_description> <character>BO</character> <dialogue>OR, we could get more toys to kids...</dialogue> <character>WOODY</character> <dialogue>Yeah, let's do that.</dialogue> <scene_description>Bo and Woody exit. Eyes wide, Duke rolls forward on his bike.</scene_description> <character>DUKE CABOOM</character> <dialogue>Do you...really have laser eyes?</dialogue> <scene_description>Ducky and Bunny exchange a look.</scene_description> <character>BUNNY</character> <dialogue>Yeah.</dialogue> <character>DUKE CABOOM</character> <dialogue>Whoa.</dialogue> <scene_description>\[MORE END CREDIT CARDS\]</scene_description> </scene> <scene> <stage_direction>INT. BONNIE'S ROOM - DAY</stage_direction> <scene_description>Bonnie enters, drops off her backpack and leaves.</scene_description> <character>BONNIE</character> <dialogue>Hi toys. Bye Toys.</dialogue> <scene_description>The toys approach the backpack. Something stirs inside...it unzips...and Jessie steps out.</scene_description> <character>DOLLY</character> <dialogue>Jessie's back!</dialogue> <character>TRIXIE</character> <dialogue>What's first grade like? Tell me everything.</dialogue> <character>JESSIE</character> <dialogue>Well, it was--</dialogue> <character>©2019 DISNEY€�PIXAR</character> <dialogue>BUZZ</dialogue> <scene_description>How was "Present and Explain"?</scene_description> <character>HAMM</character> <dialogue>Uh...you mean "Show and Tell", there, big guy.</dialogue> <character>BUTTERCUP</character> <dialogue>You see any kids eat paste?</dialogue> <character>JESSIE</character> <dialogue>Guys, listen. Bonnie had a great day in First Grade. She even made a new friend in class.</dialogue> <character>REX</character> <dialogue>Oh, she's already making friends!</dialogue> <character>JESSIE</character> <dialogue>No, no, she MADE a new friend.</dialogue> <parenthetical>(to the bag)</parenthetical> <dialogue>Come on out, it's okay...</dialogue> <scene_description>What emerges is a plastic fork with yarn hair, pipe cleaner arms, a construction paper dress, and googly eyes... Meet KAREN BEVERLY. The astonished toys part to reveal...Forky, gob-smacked. Romantic music SWELLS...They waddle towards each other...</scene_description> <character>FORKY</character> <dialogue>Hi. I'm, uh...I'm Forky.</dialogue> <character>KAREN BEVERLY</character> <dialogue>T-t...trash?</dialogue> <character>FORKY</character> <dialogue>No, no. TOY. I am a -- WE are all toys. Unique, beautiful toys. I will explain everything.</dialogue> <character>KAREN BEVERLY</character> <dialogue>How am I alive?</dialogue> <character>FORKY</character> <dialogue>...I don't know.</dialogue> <scene_description>IRIS OUT ON Forky. \[END CREDIT CRAWL ROLLS\]</scene_description> <character>©2019 DISNEY€�PIXAR</character> </scene> </script>

Between the second and third films, Woody and Bo Peep rescue Andy's remote control car, RC, from being washed away in a storm, before Bo and her lamp are donated to a new owner. Woody is distraught but Bo has accepted her fate as part of a toy's life. Woody shares a heartfelt goodbye with her. Nine years later, after a college-bound Andy has donated his toys to Bonnie, Woody struggles to adapt as Bonnie shows little interest in playing with him. When she creates a doll from a spork, it comes to life as Forky. Forky suffers an existential crisis, seeing himself as trash, not a toy. As Forky quickly becomes Bonnie's favorite toy, Woody tries to stop Forky from throwing himself away. When Bonnie's family goes on a road trip, Forky jumps out of the window of the RV. Woody goes after him and helps Forky overcome his existential crisis. As they pass an antique store, window, he recognizes Bo Peep's lamp in the window, and detours inside to find her. They encounter a talking doll named Gabby Gabby and her ventriloquist dummy friends, who try to take Woody's voice box to replace Gabby's broken one. Woody escapes, though Forky does not. At a playground nearby, Woody reunites with Bo Peep and her sheep, who have become "Lost Toys," free from owners and able to do as they please, along with their new friend Giggles McDimples. They agree to help Woody rescue Forky. Buzz Lightyear, trying to find Woody, gets lost in a traveling carnival and encounters prize toys Bunny and Ducky. They find Woody and Bo, who takes them to Canadian stunt bike toy Duke Caboom. They attempt to rescue Forky, only to nearly get killed by the store owner's cat. The toys refuse to go back as it is not worth it, but Woody, desperate to be necessary to Bonnie, inadvertently insults Bo and is left alone to rescue Forky. When Gabby explains that she has wanted a child's love her entire life, Woody sympathizes and gives her his voice box on the condition that Forky is released. Woody and Forky see Gabby callously rejected by the store owner's granddaughter despite her fixed voice box. Woody convinces her to come to Bonnie's house with him. Bo, Caboom, and the rest of the gang return and help the pair escape and Bo and Woody reconcile. Bonnie's toys take over the RV and drive it to the carnival to reach the group. On the way, Gabby notices a lost child at the carnival and leaves the group to comfort her until the parents arrive, gaining a new home in the process. Woody, in love with Bo, is hesitant to leave her yet again. Buzz assures him that Bonnie will be okay without him and that he can start a new chapter of his life with Bo. Woody passes his sheriff badge to Jessie and shares an emotional goodbye with his friends. In an epilogue, the "Lost Toys" travel with the carnival and help prize toys find owners. Bonnie creates a companion for Forky from a plastic knife.

Dumb and Dumberer: When Harry Met Lloyd_2003

tt0329028

<script> <scene> <character>DUMB AND DUMBERER</character> <dialogue>When Harry Met Lloyd</dialogue> <scene_description>Based on characters created by Bobby Farrelly &amp; Peter Farrelly &amp; Bennet Yellin Screenplay by Robert Brener and Troy Miller</scene_description> </scene> <scene> <stage_direction>INT. DELIVERY ROOM - DAY</stage_direction> <scene_description>BLACK. WE HEAR the sounds of a woman in labor.</scene_description> <character>DOCTOR O.S.</character> <dialogue>Push... That's it.</dialogue> <scene_description>The darkness slowly gives way to light as we reveal a smallish 60's style delivery room. SUPER TITLE: RHODE ISLAND 1969.</scene_description> <character>DOCTOR</character> <dialogue>Okay... Mrs. Dunne you're doing great. There's the head... I can see it now... Congratulations, uhh, it's... gone back in.</dialogue> <scene_description>MRS. DUNNE is confused, as are the doctors and nurses. The DOCTOR makes another attempt. The doctor reaches towards camera and we pull back into the blackness. Fade up on white letters: H A R R Y. A small baby hand REACHES IN and turns the second "R" backwards!</scene_description> <character>DOCTOR V.O.</character> <dialogue>You're going to need to push harder.</dialogue> <character>MRS. DUNNE V.O.</character> <dialogue>It feels like he's holding on.</dialogue> <scene_description>The doctor reaches in and pulls out a tiny foot. A tug-ofwar ensues between the baby foot and the large doctor hand, and it looks like the baby's winning.</scene_description> <character>DOCTOR</character> <dialogue>You got a shy one here.</dialogue> <scene_description>The doctor reaches back in and pulls out another foot. The feet kick their way out of the doctor's hand.</scene_description> <character>DOCTOR</character> <dialogue>Come out you little bastard!</dialogue> <character>MRS. DUNNE</character> <parenthetical>(gasping)</parenthetical> <dialogue>I think it's holding onto my lungsungs- ungs- ungs.</dialogue> <scene_description>We see her chest shaking. The doctor reaches in, yes - way in and feels around.</scene_description> <character>DOCTOR</character> <dialogue>It's a boy! Ow, he bit me.</dialogue> <parenthetical>(to nurses)</parenthetical> <dialogue>A little help.</dialogue> </scene> <scene> <stage_direction>EXT. DUNNE HOUSE Ð MOMENTS LATER</stage_direction> <scene_description>A Police car pulls to a stop and the two patrolmen rush out.</scene_description> </scene> <scene> <stage_direction>EXT. DUNNE HOUSE BACKYARD Ð DAY</stage_direction> <scene_description>EIGHT YEAR OLD HARRY, standing over a old well in the backyard. The Police approach as Harry pulls up the end of a rope.</scene_description> <character>TEN-YEAR OLD HARRY</character> <dialogue>Captain Rob fell in the well! Help him! Captain Rob, can you hear me!?</dialogue> <scene_description>The Cops look anxiously down into the well bur see that it's not a real 'well' at all.</scene_description> <character>OFFICER DAVE</character> <dialogue>Now Harry we can't keep coming out</dialogue> <dialogue>here getting your... friend out of trouble. You see it's keeping us from chasing the real bad guys.</dialogue> <character>TEN-YEAR OLD HARRY</character> <dialogue>Thanks for saving Captain Rob.</dialogue> <parenthetical>(hears O.S.)</parenthetical> <dialogue>Okay - wait for me!</dialogue> <scene_description>HARRY runs off, leaving the policeman a bit bewildered as MRS. DUNNE approaches.</scene_description> <character>MRS. DUNNE</character> <dialogue>I'm sorry David, He just gets a little mixed up sometimes.</dialogue> <character>OFFICER DAVE</character> <dialogue>Oh that's okay. Harry's a fine boy, overly active imagination is all.</dialogue> <character>TEN-YEAR OLD HARRY O.S.</character> <dialogue>Lay off the breaks, Captain Rob.</dialogue> <scene_description>PAN TO see Harry push an empty go-cart to the front yard.</scene_description> </scene> <scene> <stage_direction>EXT. DUNNE HOUSE - FRONT YARD - TEN YEARS LATER</stage_direction> <scene_description>HARRY stands in the front yard looking around for Captain Rob. A beat later Mrs. Dunne appears in the doorway holding a rolled up scroll.</scene_description> <character>HARRY</character> <dialogue>Is it true what you said to Captain Rob?</dialogue> <character>MRS. DUNNE</character> <dialogue>Yes, Harry. I can't home school you anymore. So maybe it's time to make some new friends, some friends your own age...</dialogue> <character>HARRY</character> <dialogue>I'm just not ready.</dialogue> <scene_description>Dejected, Harry starts back inside. Mrs. Dunne stops him.</scene_description> <character>MRS. DUNNE</character> <dialogue>Oh, I almost forgot. Captain Rob left this behind for you, he said count your steps very carefully.</dialogue> <scene_description>She hands him a rolled-up scroll. Harry brightens, his dream again alive. He unrolls the scroll and we see his mother has drawn a crude map, with an "X" marking the school.</scene_description> <character>HARRY</character> <parenthetical>(impressed)</parenthetical> <dialogue>Wow, a treasure map! What's the treasure?</dialogue> <character>MRS. DUNNE</character> <dialogue>It could be anything. You're going to discover a whole new world when you get to school.</dialogue> <character>HARRY</character> <dialogue>Wow just like Marco Polo.</dialogue> <character>MRS. DUNNE</character> <dialogue>I don't follow.</dialogue> <character>HARRY</character> <dialogue>You know Mom, like in the pool.</dialogue> <scene_description>She acts like she gets it. They have a deep heart-felt hug.</scene_description> <character>MRS. DUNNE</character> <dialogue>You're going to be just fine, HARRY.</dialogue> <character>HARRY</character> <dialogue>I know I am, Mom.</dialogue> <character>MRS. DUNNE</character> <dialogue>Here's your lunch. And an apple and banana for extra energy.</dialogue> <character>HARRY</character> <parenthetical>(excited)</parenthetical> <dialogue>Maybe the treasure's a chest full of apples and bananas!</dialogue> <character>MRS. DUNNE</character> <dialogue>Could be. Sweet boy.</dialogue> <scene_description>She tries to comb Harry's hair, but the COMB GETS STUCK.</scene_description> <character>HARRY</character> <dialogue>Mom, you know that never works.</dialogue> <character>MRS. DUNNE</character> <dialogue>Right.</dialogue> <scene_description>She pats down his hair with her hands. Harry puts the banana in his pants pocket and starts walking right.</scene_description> <character>MRS. DUNNE</character> <dialogue>Other left. And now it's nine hundred sixty seven. Bye Harry! I love you!</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL BASEMENT - CONTINUOUS</stage_direction> <scene_description>Angle on LLOYD CHRISTMAS, getting his hair trimmed by his father, RAY.</scene_description> <character>RAY</character> <parenthetical>(chokes up)</parenthetical> <dialogue>Senior year. My little boy. Who woulda thunk it?</dialogue> <parenthetical>(as he cuts)</parenthetical> <dialogue>You're a good kid, Lloyd. I don't say it enough, but I'm proud of you son.</dialogue> <character>LLOYD</character> <parenthetical>(in the bowl, echoes)</parenthetical> <dialogue>Thanks, Pop.</dialogue> <scene_description>RAY pulls the bowl off his head and dusts him off.</scene_description> <character>RAY</character> <dialogue>Here's for not crying.</dialogue> <scene_description>RAY hands him a lollipop from the pile of chewed gum.</scene_description> <character>RAY</character> <dialogue>School's gonna open soon. Go get cleaned up.</dialogue> <character>LLOYD</character> <dialogue>Keys, please.</dialogue> <scene_description>RAY throws him a huge ring of keys. Lloyd catches it and does a quick spin with them, like a ninja-locksmith. MUSIC/TITLES BEGIN (or) CONTINUE</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - MORNING</stage_direction> <scene_description>Exiting a door that reads 'CUSTODIAN CLOSET', Lloyd dances along to a fast paced rhythm. He walks past the gymnasium (and a sign reading "Boy's Showers").</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - MOMENTS LATER</stage_direction> <scene_description>LLOYD enters a door that reads, "Chemistry Lab".</scene_description> </scene> <scene> <stage_direction>INT. CHEMISTRY CLASS - MOMENTS LATER</stage_direction> <scene_description>A poster on the wall reads: 'Chemical Shower - For Use In Case of Contamination only!' And a drawing of a man pulling a chain over his head. LLOYD still sings as he pulls the chain, which starts the extremely brief fire extinguisher-like chemical shower. He pulls again and again while soaping up. He shakes himself off, refreshed.</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - MOMENTS LATER</stage_direction> <scene_description>TIGHT SHOT on napkin dispenser, Lloyd's hand delicately pulls one napkin out - the last one. Still singing, we reveal, LLOYD, his wet naked body plastered with hundreds of paper napkins he's been using to dry himself. He walks off doing an impression of a mummy.</scene_description> </scene> <scene> <stage_direction>INT. AUTO SHOP - MOMENTS LATER</stage_direction> <scene_description>LLOYD, still covered in napkins, presses a button and a massive paint drying fan fires up. All the napkins fly off him, as Lloyd backs up, stepping on a FLOOR-CREEPER which rolls quickly out of frame. SFX: Crash Reveal Lloyd has landed in a spill-barrel of transmission fluid. SMASH CUT TO: INT. CHEMISTRY CLASS - MOMENTS LATER Once again Lloyd showers, and shakes himself off, refreshed.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY/LOST &amp; FOUND - MOMENTS LATER</stage_direction> <scene_description>LLOYD walks out of the closet wearing an assortment of odd clothing. RAY exits another classroom at the same time.</scene_description> <character>RAY</character> <parenthetical>(full of pride)</parenthetical> <dialogue>You sure are looking sharp there in your back to school outfit.</dialogue> <scene_description>RAY pulls out an old camera from lost and found.</scene_description> <character>RAY</character> <dialogue>Let me take your picture.</dialogue> <character>LLOYD</character> <dialogue>No can do. Gotta catch my bus. See ya, Pop!!</dialogue> <scene_description>We HOLD ON Ray as he watches Lloyd run off.</scene_description> <character>RAY</character> <dialogue>But you're already at school!</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>We go through this every year.</dialogue> <scene_description>He picks up and eats an old sandwich from the lost and found.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL - SECONDS LATER</stage_direction> <scene_description>LLOYD rushes out the school's front doors, going against the flow of people entering. Books and papers fly as he runs away from the school.</scene_description> <character>LLOYD</character> <dialogue>Out of my way! Can't miss my bus! Gotta get to school!</dialogue> <scene_description>Then he tears off down the street. Some students look back at him.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - CONTINUOUS</stage_direction> <scene_description>HARRY, with his combed hair, is reading his map as he finishes the apple.</scene_description> <character>HARRY</character> <parenthetical>(counting steps, eating his apple)</parenthetical> <dialogue>Seven hundred thirty two... bite number six... Follow the map, find a friend - how does the apple work into this.</dialogue> <parenthetical>(he stops)</parenthetical> <dialogue>This is distracting. One of these has to go.</dialogue> <scene_description>He looks at the map, he looks at the apple, then the map, than the apple.</scene_description> <character>HARRY</character> <dialogue>I sure hope I'm making the right decision.</dialogue> <scene_description>He looks at the apple again.</scene_description> <character>HARRY</character> <dialogue>Now take your seeds and grow into a beautiful pie.</dialogue> <scene_description>He tosses the apple. It lands in a yard where it hits a MEAN LOOKING DOG in the head. The dog looks up, growls when he sees Harry and begins the chase in full attack mode. HARRY hears the growling dog, turns and after a swallowed cry starts running. The dog's overly long chain unravels as he gains on Harry.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL STREET - CONTINUOUS</stage_direction> <scene_description>We see Lloyd running towards camera in the opposite direction.</scene_description> <character>LLOYD</character> <dialogue>Must catch bus...</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - CONTINUOUS</stage_direction> <scene_description>Back on Harry as the dog is about to bite his ass. Then very quickly we see the chain stop the dog in mid-air with a yelp, just as Harry rounds the corner and SMASHES HEAD FIRST INTO LLOYD. It looks very painful as they both fall to the ground. LLOYD shakes it off and holds his mouth. Harry's once combed hair is now permanently disheveled.</scene_description> <character>LLOYD</character> <dialogue>Somebody chipped my tooth.</dialogue> <scene_description>REVEAL his trademarked chipped tooth.</scene_description> <character>HARRY</character> <dialogue>How do you think I feel? Someone bit me in the forehead.</dialogue> <scene_description>REVEAL the piece of tooth is stuck in his forehead. Harry plucks it out and tosses it away.</scene_description> <character>LLOYD</character> <dialogue>You could've saved that for the tooth fairy!</dialogue> <character>HARRY</character> <dialogue>That's stupid! I happen to know my mom is the tooth fairy.</dialogue> <character>LLOYD</character> <dialogue>Your mom is the tooth fairy? That is so cool!</dialogue> <character>HARRY</character> <dialogue>Yeah, she must do all the flying around when I'm asleep.</dialogue> <parenthetical>(extends his hand)</parenthetical> <dialogue>HARRY Dunne.</dialogue> <character>LLOYD</character> <dialogue>No thanks, not hungry. Harry Dunne. Why does that name not sound familiar?</dialogue> <character>HARRY</character> <dialogue>Probably because we've never met.</dialogue> <character>LLOYD</character> <dialogue>No, that's not it. Anyway -</dialogue> <parenthetical>(extends his hand)</parenthetical> <dialogue>LLOYD Christmas.</dialogue> <character>HARRY</character> <dialogue>Here I am bragging my Mom is the tooth fairy, and I'm talking to Santa's kid!</dialogue> <character>LLOYD</character> <dialogue>I haven't seen you around here before.</dialogue> <character>HARRY</character> <dialogue>Home school. Til today.</dialogue> <character>LLOYD</character> <dialogue>Home school? What's that?</dialogue> <character>HARRY</character> <dialogue>I go to school where I live.</dialogue> <character>LLOYD</character> <dialogue>Me too!</dialogue> <scene_description>LLOYD sees his school bus pass.</scene_description> <character>LLOYD</character> <dialogue>Aw, I missed it. Now I gotta walk.</dialogue> <character>HARRY</character> <parenthetical>(hold up map)</parenthetical> <dialogue>I think it's just over there.</dialogue> <character>LLOYD</character> <dialogue>Is that what I think it is?</dialogue> <character>HARRY</character> <dialogue>No, it's a treasure map.</dialogue> <character>LLOYD</character> <dialogue>Cool.</dialogue> <character>HARRY</character> <dialogue>My mom says the treasure's somewhere in the school.</dialogue> <character>LLOYD</character> <dialogue>I don't know. I'm pretty familiar with the school and I've never seen that "X". But... I do know something.</dialogue> <character>HARRY</character> <parenthetical>(leans in)</parenthetical> <dialogue>What?</dialogue> <character>LLOYD</character> <parenthetical>(he tags him)</parenthetical> <dialogue>You're it.</dialogue> <scene_description>LLOYD takes off.</scene_description> <character>HARRY</character> <parenthetical>(calls after him)</parenthetical> <dialogue>I'm "it"? What's "it"?</dialogue> <scene_description>LLOYD stops.</scene_description> <character>LLOYD</character> <dialogue>I don't really know. But whatever</dialogue> <dialogue>it is, it's something you don't want to be. And, right now, you are.</dialogue> <scene_description>He walks away. Harry catches up to him, and as they walk away we watch them tag back and forth.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL QUAD - MOMENTS LATER</stage_direction> <scene_description>They walk through the crowd. Harry is pleasantly overwhelmed by all the attractive girls.</scene_description> <character>LLOYD</character> <dialogue>High school is all about looking cool. So stick with me.</dialogue> <scene_description>They see a group of CHEERLEADERS.</scene_description> <character>HARRY</character> <parenthetical>(ga-ga)</parenthetical> <dialogue>Wow. Are those cheerleaders, just like on TV?</dialogue> <scene_description>LLOYD turns Harry away from the girls as if avoiding homeless people.</scene_description> <character>LLOYD</character> <dialogue>Yeah, dangerous cult. Don't make eye contact or they might talk to you.</dialogue> <character>HARRY</character> <dialogue>Don't we want them to talk to us?</dialogue> <character>LLOYD</character> <parenthetical>(confidently)</parenthetical> <dialogue>No no no no no.</dialogue> <character>HARRY</character> <dialogue>Why not?</dialogue> <character>LLOYD</character> <dialogue>Well, besides cooties and other medical reasons, they're not in the cool crowd. Which I am, and you want to be. Know what I mean?</dialogue> <character>HARRY</character> <dialogue>No.</dialogue> <scene_description>HARRY turns and sees JESSICA, a beautiful seventeen-year-old. DRAMATIC MUSIC comes up, Harry is entirely in love. He spends a few very uncomfortable moments trying to remember how to breathe.</scene_description> <character>HARRY</character> <dialogue>What about her?</dialogue> <character>LLOYD</character> <dialogue>She's a total dork. Just look how she dresses.</dialogue> <scene_description>LLOYD points to Jessica in her short, sexy skirt.</scene_description> <character>LLOYD</character> <dialogue>Check out her skirt, it's so short. I mean, where's the flood?</dialogue> <scene_description>He points at her tight shirt and ample cleavage.</scene_description> <character>LLOYD</character> <dialogue>And look at her shirt, it's not even buttoned right. Her milk bubbles are popping out! Loser!</dialogue> <scene_description>JESSICA drops something and picks it up.</scene_description> <character>HARRY</character> <dialogue>Oh my gosh, I don't think she's even wearing underwear!</dialogue> <character>LLOYD</character> <dialogue>How nerdy is that? I'm wearing two pairs right now.</dialogue> <character>HARRY</character> <dialogue>Me too!</dialogue> <scene_description>LLOYD raises his hand to high five. Harry doesn't know what he's doing and in self defense, punches Lloyd in the chest. LLOYD goes in to poke him in the eye. They are about to (playfully) get into it when, suddenly, LLOYD is bumped from behind, as we reveal TURK, a LOST BOYS type with a SHITTY TOUGH GUY HAIRCUT. He reaches up and GRABS LLOYD by the neck.</scene_description> <character>LLOYD</character> <parenthetical>(choked)</parenthetical> <dialogue>This is my Injun friend, Turk. He's part of the cool crowd.</dialogue> <parenthetical>(to Turk)</parenthetical> <dialogue>Hey Kimosabe!</dialogue> <character>TURK</character> <dialogue>Shut up, ass face.</dialogue> <character>LLOYD</character> <parenthetical>(proud)</parenthetical> <dialogue>That's the Iroquois name he's given me because I have the strong face of an ass.</dialogue> <scene_description>TURK drags Lloyd away.</scene_description> <character>LLOYD</character> <dialogue>See ya, Harry! Gotta have a little pow wow.</dialogue> <scene_description>HARRY is left alone for a moment. Looking down, he turns away, running headfirst into JESSICA.</scene_description> <character>JESSICA</character> <parenthetical>(to Harry)</parenthetical> <dialogue>Hi.</dialogue> <character>HARRY</character> <parenthetical>(stumbling for something to say)</parenthetical> <dialogue>Well I hope the carpet matches the drapes.</dialogue> <character>JESSICA</character> <dialogue>Excuse me.</dialogue> <character>HARRY</character> <parenthetical>(points to her newspaper)</parenthetical> <dialogue>In the new library there.</dialogue> <character>JESSICA</character> <dialogue>Oh, yeah. I don't think they do. You're new here, right?</dialogue> <character>HARRY</character> <dialogue>Depends how you define 'new'...</dialogue> <character>JESSICA</character> <dialogue>You're the kid who was home schooled.</dialogue> <character>HARRY</character> <dialogue>Yeah. How'd you know?</dialogue> <character>JESSICA</character> <dialogue>I've been assigned to write an article about you for the school paper. It was either a feature on you or the new four-color ink pens at the student store.</dialogue> <character>HARRY</character> <dialogue>Four colors? Neato!</dialogue> <character>JESSICA</character> <dialogue>Yeah, well, I'd much rather write an expose or a hard hitting investigative piece, but nothing really ever happens around here. But, I chose you and that's fine.</dialogue> <parenthetical>(she extends her hand)</parenthetical> <dialogue>I'm Jessica Matthews.</dialogue> <character>HARRY</character> <dialogue>HARRY Dunne.</dialogue> <scene_description>HARRY has never had a part of a girl so close to him so he just stares in awe of her hand for a long beat. Finally Harry gathers the courage to shake her hand and just as they're about to touch, Turk comes over with Lloyd in tow.</scene_description> <character>TURK</character> <parenthetical>(laughs to Harry)</parenthetical> <dialogue>Hey, freak show, did Jessica give you that banana in your pants?</dialogue> <scene_description>HARRY does in fact have a banana in his front pocket.</scene_description> <character>HARRY</character> <parenthetical>(looks down)</parenthetical> <dialogue>Naw, my Mom did.</dialogue> <character>TURK</character> <parenthetical>(grimacing)</parenthetical> <dialogue>Gross!</dialogue> <character>HARRY</character> <parenthetical>(pull's out his banana)</parenthetical> <dialogue>Wanna bite?</dialogue> <character>JESSICA</character> <dialogue>TURK, leave him alone.</dialogue> <character>TURK</character> <parenthetical>(mimicking Jessica)</parenthetical> <dialogue>TURK, leave him alone.</dialogue> <parenthetical>(to Harry)</parenthetical> <dialogue>You're coming too.</dialogue> <scene_description>He pushes Harry away from Jessica.</scene_description> <character>LLOYD</character> <parenthetical>(to Harry)</parenthetical> <dialogue>Hey, Turk rescued you from the nerd. You're in!</dialogue> <character>JESSICA</character> <parenthetical>(to Harry)</parenthetical> <dialogue>I'll talk to you later.</dialogue> <scene_description>TURK leads Lloyd away with Harry.</scene_description> <character>TURK</character> <parenthetical>(to Harry)</parenthetical> <dialogue>So have you been held back two years like Lloyd?</dialogue> <character>HARRY</character> <parenthetical>(as if)</parenthetical> <dialogue>No. I've been held back three.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>PRINCIPAL COLLINS, the forty-something headmaster of this painfully below average school, is there with the attractive, albeit overly done head lunch lady, MS. HELLER.</scene_description> <character>MS. HELLER</character> <dialogue>... and, Principal Collins, you'll be pleased to know that this year Wednesdays are "South of the Border" days. We'll serve a spicy tuna tamale along with a cheese quesadilla.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Good. Good. Good. Well, that's good.</dialogue> <scene_description>PRINCIPAL COLLINS gets up.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Well it sounds like it's going to be another hot year in the kitchen.</dialogue> <scene_description>They lunge at each other. They pull at each others clothes, bang into walls, fall to the floor and as Heller goes down.</scene_description> <character>MS. HELLER</character> <dialogue>God, I've missed you.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>And I you.</dialogue> <scene_description>More kissing.</scene_description> <character>MS. HELLER</character> <dialogue>Yes.</dialogue> <character>PRINCIPAL COLLINS V.O</character> <parenthetical>(passionately)</parenthetical> <dialogue>Yes. Yes. Oh yes.</dialogue> <scene_description>They hotly embrace and fall back behind the desk (Heller opens the center drawer on the way down). There's a KNOCK ON THE DOOR. A PREPPY FEMALE student, TALIA, enters and stands in the doorway, looks around at the empty room.</scene_description> <character>TALIA</character> <dialogue>PRINCIPAL COLLINS? Hello?</dialogue> <scene_description>Still on his knees, he shoves Ms. Heller under the desk and pushes in the center drawer - this SLAMS INTO HELLER'S HEAD.</scene_description> <character>PRINCIPAL COLLINS O.S.</character> <dialogue>Yes, what is it?</dialogue> <scene_description>Collins doesn't appear.</scene_description> <character>TALIA</character> <parenthetical>(slightly confused)</parenthetical> <dialogue>Uhh, Sir it's time for morning announcements.</dialogue> <scene_description>Collins POPS UP, still on his knees, looking a little disheveled, glasses askew.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Yes, I know dear. Well, why don't you do the announcements this morning.</dialogue> <character>TALIA</character> <dialogue>But what do I announce?</dialogue> <scene_description>He pops back up.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>You announce the most important news of the day.</dialogue> <character>TALIA</character> <dialogue>Which is?</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(snaps)</parenthetical> <dialogue>Make something up.</dialogue> <scene_description>She WALKS AWAY a bit confused.</scene_description> </scene> <scene> <stage_direction>INT. PRINCIPAL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Collins comes out from behind the desk. Heller follows, zipping up her dress.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>You know honey, I've finally figured out a way of bilking enough money from the school to get us that condo in Waikiki.</dialogue> <character>MS. HELLER</character> <dialogue>How baby-cakes? You've done it all.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL'S OFFICE - CONTINUOUS</stage_direction> <character>PRINCIPAL COLLINS</character> <dialogue>Small potatoes. This one is big time. This is visionary. This idea is genius.</dialogue> <scene_description>She nuzzles up to him.</scene_description> <character>MS. HELLER</character> <dialogue>It's the big potato.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Yes, it's the big potato. Just have a look at this.</dialogue> <scene_description>He picks up a TATTERED GRANT BOOK.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>The Richard Moffit Special Needs Grant. Unbelievable. This kid was in a Special Needs program, learned how to string a couple of sentences together and now he's some successful hot shot.</dialogue> <character>MS. HELLER</character> <dialogue>Like you.</dialogue> <scene_description>INSERT: There's a PHOTOGRAPH OF A MAN over the LISTING.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Anyway, the state is giving a hundred thousand dollars in his name to every school that has a Special Needs class.</dialogue> <character>MS. HELLER</character> <dialogue>Oh, this is fantastic. So all we have to do is kill this Moffit guy and we get all the money!</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>No. No. That's not it. We don't kill him. We don't kill anybody. But I like the way you're thinking. You're focused and you're trying to follow. No, what we need to do is start a fake Special Needs class.</dialogue> <character>MS. HELLER</character> <dialogue>We start our own class?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Maybe someday. Aloha cold weather, aloha hot weather.</dialogue> <scene_description>MS. HELLER looks confused.</scene_description> <character>MS. HELLER</character> <dialogue>You said "aloha" twice.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Aloha means hello and goodbye.</dialogue> <character>MS. HELLER</character> <dialogue>Oh wow. Look at you.</dialogue> <scene_description>They hug.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Now, the problem is where do we find kids we can pass off as "special"?</dialogue> <scene_description>Out the window they see the back of Harry and Lloyd rise into frame, being hoisted up the flagpole by their underwear.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Bingo.</dialogue> <character>MS. HELLER</character> <dialogue>Times two.</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(sneaky)</parenthetical> <dialogue>I think you'll make a good teacher.</dialogue> <scene_description>MS. HELLER looks at him.</scene_description> <character>MS. HELLER</character> <dialogue>Me?</dialogue> <scene_description>Collins puts his arm around her and strokes her head. Ms. Heller looks at him, he's not quite sure if she gets it.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL FLAG POLE - CONTINUOUS</stage_direction> <scene_description>HARRY and Lloyd look down at the school crowd below.</scene_description> <character>LLOYD</character> <dialogue>You know Harry, this is my favorite time of day.</dialogue> <character>HARRY</character> <dialogue>Yeah, it's nice. And your friend TURK is totally great.</dialogue> <character>LLOYD</character> <dialogue>Yeah, he's aces.</dialogue> <parenthetical>(calling down)</parenthetical> <dialogue>Thanks, Turk!</dialogue> <scene_description>HARRY sees Jessica in the crowd below looking up at them.</scene_description> <character>HARRY</character> <dialogue>God, she's beautiful. My wiener's all tingly.</dialogue> <character>LLOYD</character> <parenthetical>(re: wedgie)</parenthetical> <dialogue>Shift to your left.</dialogue> </scene> <scene> <stage_direction>INT. MAKESHIFT CLASSROOM/ KITCHEN - LATER</stage_direction> <scene_description>MS. HELLER is addressing the class.</scene_description> <character>MS. HELLER</character> <dialogue>Welcome to Special Needs orientation. I'm Ms. Heller, the lunch lady, er, I mean your new teacher.</dialogue> <scene_description>Reveal Harry and Lloyd, beaming with pride, are the only two students there, and the classroom is actually just a corner of the kitchen. As he talks Lloyd takes notes, Harry copies.</scene_description> <character>MS. HELLER (CONT'D)</character> <dialogue>And the reason you two are here before the class officially starts is because you're 'extra' special. And were personally selected by PRINCIPAL COLLINS.</dialogue> <character>HARRY</character> <parenthetical>(to Lloyd)</parenthetical> <dialogue>Who's Principal Collins?</dialogue> <character>LLOYD</character> <dialogue>The principal.</dialogue> <character>HARRY</character> <dialogue>Wow.</dialogue> <character>MS. HELLER</character> <dialogue>Your assignment is to pick the class. Find some other students just as special as you.</dialogue> <character>LLOYD</character> <dialogue>Will that be on the midterm?</dialogue> <character>MS. HELLER</character> <dialogue>No.</dialogue> <scene_description>LLOYD furiously erases all his notes, Harry follows.</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - LATER</stage_direction> <scene_description>HARRY and Lloyd, with a TRAY OF FOOD, walk along a bad 70's MURAL of the PYRAMIDS OF EGYPT.</scene_description> <character>LLOYD</character> <dialogue>You know, you're the first person I've brought here.</dialogue> <character>HARRY</character> <dialogue>Oh, is this your special place?</dialogue> <character>LLOYD</character> <dialogue>No, I just usually eat my lunch on the crapper. Saves time. Out with the old, in with the new.</dialogue> <character>HARRY</character> <dialogue>Can we eat there tomorrow?</dialogue> <character>LLOYD</character> <dialogue>Sure, but first we have to find kids special, needy and classy enough to be in Special Needs.</dialogue> <character>HARRY</character> <dialogue>It'll be like taking candy from a stranger.</dialogue> <scene_description>They sit and Harry picks up a clipboard with a sign-up sheet that says "Special Needs". We see Harry and Lloyd's childish scrawl on the first and second lines.</scene_description> <character>LLOYD</character> <parenthetical>(sounding it out)</parenthetical> <character>H A R R Y...</character> <dialogue>HARRY</dialogue> <scene_description>The second R is silent.</scene_description> <character>LLOYD</character> <dialogue>Oh, of course.</dialogue> <scene_description>Just then a SKATER PUNK limps by.</scene_description> <character>LLOYD</character> <dialogue>Look, a little crippled boy.</dialogue> <character>HARRY</character> <dialogue>His curse is our blessing.</dialogue> <scene_description>They walk over to Toby, a seventeen year old student on crutches. He looks perfectly healthy except for a CAST on both his leg and hand.</scene_description> <character>LLOYD</character> <parenthetical>(speaking slowly)</parenthetical> <dialogue>Hello, little orphan boy. What happened to you?</dialogue> <character>TOBY</character> <dialogue>Skateboard.</dialogue> <character>HARRY</character> <dialogue>One day they'll find a cure.</dialogue> <character>LLOYD</character> <dialogue>You brave soldier.</dialogue> <character>TOBY</character> <dialogue>What? It's nothing, the cast comes</dialogue> <dialogue>off in six weeks.</dialogue> <character>LLOYD</character> <parenthetical>(patronizing)</parenthetical> <dialogue>Of course it does.</dialogue> <parenthetical>(sotto to Harry)</parenthetical> <dialogue>Obviously in denial.</dialogue> <parenthetical>(to Toby)</parenthetical> <dialogue>Maybe we can help.</dialogue> <character>HARRY</character> <dialogue>We're part of a special class taught by the lunch lady, er, I mean Ms. Heller. Maybe you'd like to join us, it doesn't require any walking.</dialogue> <character>LLOYD</character> <dialogue>And nobody will make fun of your horrible deformity.</dialogue> <character>TOBY</character> <dialogue>How much homework is there?</dialogue> <character>LLOYD</character> <dialogue>That's the downside. There is none.</dialogue> <character>TOBY</character> <dialogue>Wait a minute. I can spend the whole year in a class taught by the lunch lady? Can I bring my girlfriend?</dialogue> <character>LLOYD</character> <parenthetical>(with great pity)</parenthetical> <dialogue>You can bring whatever you want, little friend.</dialogue> <scene_description>Music: An inexpensive genre defining discovery... Recruiting montage begins. HARRY holds the clip board as Lloyd hands Toby a pen. He signs his name like a three year old because of his cast. The 'O' in TOBY dissolves through to:</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S LOCKER ROOM - DAY</stage_direction> <scene_description>A CUT-OUT HOLE POV in the locker room. PUSH CLOSER IN to see girls walking around in various stages of undress. One girl stops, bends down, looks right at the camera and screams. She shoots her shampoo bottle TOWARDS CAMERA. ANGLE ON: what she's looking at. It's a small hole in the wall with an eyeball looking in.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - SHORT TIME LATER</stage_direction> <scene_description>Covering his eye, Turk is being hauled away by a UNIFORMED SECURITY GUARD, some of the girls (wrapped in towels) stand in the background). HARRY and Lloyd approach, take out wallet badges reading "Special Needs" and wave them at the security guard. The guard shrugs and leaves Turk with Harry and Lloyd.</scene_description> <character>TURK</character> <dialogue>Okay. I owe you this one.</dialogue> <scene_description>HARRY BENDS OVER as Lloyd puts the clipboard on his back so TURK can sign. As he messily scribbles his name, we see HARRY's BUTT CRACK. The 'T' in Turk DISSOLVES through to:</scene_description> </scene> <scene> <stage_direction>EXT. FOOTBALL FIELD - DAY</stage_direction> <scene_description>Tight on football T-SHAPED GOAL POST. TILT to reveal a practice game in progress. A player, CARL catches a pass, screams as he crashes through blockers and runs head on into the goal post! He's on the ground. Teammates crowd around as the couch eases his helmet off. Harry and Lloyd push their way through, see how dazed he is, gives each other a thumbs up. TWO OTHER PLAYERS put him on a stretcher. They start to carry him away when Lloyd taps the guy at the head of the stretcher on the shoulder a la "We'll take it from here." Then Harry takes lead on the stretcher as Lloyd puts a pen in Carl's hand and helps him scrawl his name on the class list. His entire name - 'Carl', DISSOLVES through to:</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF SCHOOL GRASS AREA - DAY</stage_direction> <scene_description>TIGHT ON NOODLES in a bowl that spell 'CARL'. CHOPSTICKS ENTER FRAME and mixes then up. CUT WIDE to reveal: HARRY is with an attractive Asian girl eating the noodles from the bowl. Lloyd walks in with Toby, Turk and Carl who leans on him for support.</scene_description> <character>HARRY</character> <dialogue>...oh also, we even have a slogan. 'S' and 'P' stands for 'Special People', which is the kind of kids we are. 'A' and 'Z' is for 'Aren't Zeros' because that is less then one, and when you put it all together it spells...</dialogue> <character>LLOYD</character> <parenthetical>(listens then interrupts)</parenthetical> <dialogue>HARRY, what are you doing? She's a</dialogue> <dialogue>foreign exchange student. She doesn't speak the English.</dialogue> <parenthetical>(to girl)</parenthetical> <dialogue>CHING CHONG ching chingy chingy chong chong.</dialogue> <scene_description>She sees Turk standing there. They share a flirtatious glance then she looks back at Lloyd, signs her name on their list in Asian characters. DISSOLVE the bottom character through to:</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - DAY</stage_direction> <scene_description>CLOSE ON the exact Asian character, it's on a small flyer with more writing including a header: 'The Goeku School of Fancy Writing'. WATER SPRAYS into frame and we REVEAL that the flyer is under a windshield wiper and we are at a WET T-SHIRT CONTEST/CHEERLEADER CAR WASH. A horse runs up, actually a BOY IN A WELL-USED HORSE COSTUME (his feet are the horses front legs). He wears a sign that reads "Support the Stallions Car Wash!" As the cheerleaders wash cars, he lopes around. HARRY, Lloyd, Toby, Turk, Carl and Ching Chong are watching from the side.</scene_description> <character>TOBY</character> <dialogue>How about Lewis?</dialogue> <character>HARRY</character> <dialogue>Which one's Lewis.</dialogue> <character>TOBY</character> <dialogue>The horse.</dialogue> <character>LLOYD</character> <dialogue>A horse? I don't think so, pal.</dialogue> <scene_description>The horse nudges a cheerleader - who removes his head. REVEAL LEWIS, is the boy in the costume. His arm's are locked in to the suit so the cheerleader hold's a bottle of water for him.</scene_description> <character>HARRY</character> <dialogue>Wow! It's a half-boy, half-horse. The boys walk up to him, impressed.</dialogue> <character>LLOYD</character> <dialogue>Now that's more of what we're looking for.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>LEWIS HOLDS the clipboard with his front horse hooves.</scene_description> <character>LEWIS</character> <dialogue>Well I need to get a job and you're telling me that if I join up - I</dialogue> <dialogue>can really come and go whenever I want?</dialogue> <character>LLOYD</character> <dialogue>You were born free and free you should remain.</dialogue> <scene_description>LEWIS signs, hoof-signature is barely legible. Harry pops a sugar cube in his mouth. Lewis reacts and spits it out. HARRY tries to calm the beast--</scene_description> <character>HARRY</character> <dialogue>Whoa, Nellie!</dialogue> <scene_description>LLOYD holds up the clipboard to check out the list.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction> <character>LLOYD V.O.</character> <dialogue>Special Needs class 1986.</dialogue> <character>HARRY V.O.</character> <dialogue>We are the chosen ones.</dialogue> <scene_description>TIGHT on Harry and Lloyd. HEROIC MUSIC PLAYS as we PULL BACK to see our Seven Samurai each DRAMATICALLY SILHOUETTED in the hallway. There's the half-horse, half- boy, a kid on crutches, a football player holding a helmet, a girl with Chinese pig-tails, a kid with a spikey mohawk and of course - Harry and Lloyd. Bored, the group slowly stops, except for Harry and Lloyd. TURK stops first, Ching Chong runs to him, then Lewis and TOBY stop to chill, while Carl collapses against the lockers.</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S LOCKER ROOM - CONTINUOUS</stage_direction> <scene_description>The girls shower and soap themselves, also IN SILHOUETTE. The Blackness of a girl in silhouette wipes us to:</scene_description> </scene> <scene> <stage_direction>EXT. HARRY'S HOUSE - NIGHT</stage_direction> <scene_description>Our ANGLE crashes down from the night sky to establish.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S DINING ROOM - CONTINUOUS</stage_direction> <scene_description>HARRY and Lloyd are sitting at the dining room table, finishing off their bowls of food.</scene_description> <character>HARRY</character> <dialogue>Maybe we should ask Jessica to join the class.</dialogue> <character>LLOYD</character> <dialogue>JESSICA? Please hold for my reaction.</dialogue> <scene_description>With determination he drinks a mouthful of red HAWAIIAN PUNCH, makes a "wait for it" gesture then does a huge spit take.</scene_description> <character>LLOYD</character> <dialogue>No nerds!</dialogue> <character>HARRY</character> <dialogue>Right, I forgot.</dialogue> <scene_description>MRS. DUNNE enters with dessert as Lloyd is licking the bottom of his bowl.</scene_description> <character>LLOYD</character> <dialogue>Thanks for the grub, Mrs. D. Where's Mr. D?</dialogue> <character>MRS. DUNNE</character> <dialogue>He passed away three years ago.</dialogue> <character>LLOYD</character> <parenthetical>(chipper)</parenthetical> <dialogue>Well he missed a great pot of stew!</dialogue> <character>MRS. DUNNE</character> <dialogue>It was meatloaf. You just put everything in your soup.</dialogue> <character>LLOYD</character> <dialogue>I liked it a lot.</dialogue> <scene_description>MRS. DUNNE leans down to Harry.</scene_description> <character>MRS. DUNNE</character> <dialogue>Oh, Harry, I'm so proud of you making a real friend.</dialogue> <character>HARRY</character> <dialogue>Is it okay if he spends the night?</dialogue> <character>MRS. DUNNE</character> <parenthetical>(to Lloyd)</parenthetical> <dialogue>LLOYD, did you ask your parents?</dialogue> <character>LLOYD</character> <dialogue>Yeah, I left my dad a note.</dialogue> <scene_description>WHIP PAN TO:</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL GYMNASIUM - DAY</stage_direction> <scene_description>CLOSE ON: NOTE "Pop, I'm sleeping at Harry's tonight. Love, Lloyd. P.S. Out of Ketchup". PULL BACK TO REVEAL the note is actually GIGANTIC, as it has been written on the gymnasium floor in ketchup. The last "u" and "p" are written in mustard. Ray chuckles and starts mopping, quickly realizing he's made a discovery with the ketchup/mustard combo wax.</scene_description> <character>RAY</character> <dialogue>Huh! Who woulda' thought the combination of these condiments would leave such a shine...</dialogue> <scene_description>WHIP BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S DINING ROOM - LATER THAT NIGHT</stage_direction> <scene_description>Mrs Dunne sits with them and dishes up apple pie.</scene_description> <character>MRS. DUNNE</character> <dialogue>Then a sleep-over is okay by me. Okay boys, eat up.</dialogue> <character>HARRY</character> <dialogue>Oh Lloyd, you gotta taste my Mom's pie!</dialogue> <character>MRS. DUNNE</character> <dialogue>So boys, how was your first day?</dialogue> <scene_description>HARRY and Lloyd talk at the same time interrupting each other excitedly eating while talking, spraying food all over their table. Mrs. Dunne patiently listens to their gibberish as food flies out of their mouth.</scene_description> </scene> <scene> <stage_direction>EXT. HARRY'S HOUSE ESTABLISHING - NIGHT</stage_direction> <scene_description>A light is on in the upstairs window.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>HARRY and Lloyd are in cowboy and spaceman pajamas. Harry is leaning over his bed playing cards with Lloyd who is lying on the floor. LLOYD holds up his hand.</scene_description> <character>LLOYD</character> <dialogue>Got any crazy eights?</dialogue> <character>HARRY</character> <dialogue>Go fish.</dialogue> <scene_description>LLOYD pulls a card off the top of the deck and looks at it. It's a King. We see he already has two in his hand. He throws it down, face up.</scene_description> <character>LLOYD</character> <dialogue>Nothin'.</dialogue> <scene_description>HARRY places a two down beside it.</scene_description> <character>HARRY</character> <dialogue>War!</dialogue> <scene_description>LLOYD hands him a dice. Harry rolls a four.</scene_description> <character>LLOYD</character> <dialogue>Ha! Now move your peg seven spaces and put your shirt on backwards. Boy, you really suck at this game.</dialogue> <scene_description>HARRY's shirt is already on backwards. He turns it the right side around and Lloyd cracks up.</scene_description> <character>HARRY</character> <dialogue>Oh, yeah. Well I almost always beat Captain Rob.</dialogue> <character>LLOYD</character> <dialogue>Who's Captain Rob?</dialogue> <character>HARRY</character> <dialogue>Just a guy I hang out with.</dialogue> <character>LLOYD</character> <dialogue>I know the type. Lives in the basement, smells like a sponge...</dialogue> <character>HARRY</character> <dialogue>No! Captain Rob is seven feet tall, wears an eye patch, got a hook for a hand...</dialogue> <character>LLOYD</character> <dialogue>Sounds like a pirate.</dialogue> <character>HARRY</character> <dialogue>What? No no. He's got a parrot on his shoulder, buries treasure...</dialogue> <character>LLOYD</character> <dialogue>Yeah, he's a pirate.</dialogue> <character>HARRY</character> <dialogue>I don't think so. This guy drinks rum from a barrel, says "yo ho ho" has a peg leg...</dialogue> <character>LLOYD</character> <dialogue>Peg leg?</dialogue> <character>HARRY</character> <dialogue>Yeah, go-cart accident.</dialogue> <character>LLOYD</character> <dialogue>Exactly! A pirate!</dialogue> <character>HARRY</character> <dialogue>If he heard you talking like that</dialogue> <dialogue>he'd make you walk the plank.</dialogue> <parenthetical>(moving dice)</parenthetical> <dialogue>Three, two, one. Now it's your turn, spin.</dialogue> <character>LLOYD</character> <dialogue>A-ha! You landed on Candyland! Now swallow it!</dialogue> <scene_description>LLOYD tosses the monopoly game piece into Harry's mouth. He chokes it down.</scene_description> <character>HARRY</character> <dialogue>Mmm, that's good top hat.</dialogue> <scene_description>MRS. DUNNE enters.</scene_description> <character>MRS. DUNNE</character> <dialogue>Hey you two. Lights out.</dialogue> <character>LLOYD</character> <dialogue>Hey can be on top?</dialogue> <character>HARRY</character> <dialogue>Only If I can be on the bottom</dialogue> <scene_description>They jump into the top and bottom of Harry's bunk-beds. MRS. DUNNEr gives harry a kiss as he tucks himself in.</scene_description> <character>HARRY</character> <dialogue>`Night, mom.</dialogue> <character>LLOYD</character> <dialogue>`Night, Mrs. D.</dialogue> <scene_description>She leans up to Lloyd and gives him a peck on the forehead.</scene_description> <character>MRS. DUNNE</character> <dialogue>Thank you, for being a friend to my HARRY.</dialogue> <scene_description>She turns off the light and exits. Lloyd is a little taken aback from the kiss. He leans down to Harry.</scene_description> <character>LLOYD</character> <dialogue>Whoa. What was that?</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>LLOYD</character> <dialogue>Your mom made a move on me.</dialogue> <character>HARRY</character> <dialogue>She did not.</dialogue> <character>LLOYD</character> <dialogue>Who knows? Maybe someday I'll be your new daddy.</dialogue> <character>HARRY</character> <dialogue>LLOYD, she's my mom.</dialogue> <character>LLOYD</character> <dialogue>I can't help my heart. And when I'm your dad, you'll have to do as I say.</dialogue> <character>HARRY</character> <dialogue>Will not.</dialogue> <character>LLOYD</character> <dialogue>Don't use that tone with me, young man.</dialogue> <character>HARRY</character> <dialogue>Shut up!</dialogue> <character>LLOYD</character> <dialogue>I will stop this car right now.</dialogue> <character>HARRY</character> <dialogue>You're not my real dad.</dialogue> <character>LLOYD</character> <dialogue>You take that back!</dialogue> <character>HARRY</character> <dialogue>Shut Up! Buttlick!</dialogue> <character>LLOYD</character> <dialogue>Where did you learn that word?</dialogue> <character>HARRY</character> <parenthetical>(breaking down)</parenthetical> <dialogue>I learned it from listening to you! I hate you!</dialogue> <character>LLOYD</character> <dialogue>Kids.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - THE - NEXT DAY</stage_direction> <scene_description>A group of NERDY, COMPUTER STUDENTS are being shuffled out of the class by Collins.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Let's go. Let's go. Let's go. No class today. Take a lunch, a long lunch.</dialogue> <scene_description>Collins looks the other way and then motions for Heller to usher in the Special Needs Class.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Hurry! Now! Now!</dialogue> </scene> <scene> <stage_direction>INT. COMPUTER CLASSROOM - CONTINUOUS</stage_direction> <scene_description>Everyone enters and gathers round.</scene_description> <character>MS. HELLER</character> <dialogue>Everyone thank Principal Collins for creating our very own Special Needs class.</dialogue> <character>CLASS</character> <parenthetical>(disjointed)</parenthetical> <dialogue>Thank you Principal Collins blah blah for the new blah blah blah...</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(sotto to Heller)</parenthetical> <dialogue>They're perfect.</dialogue> <parenthetical>(to the class)</parenthetical> <dialogue>You are pioneers of Providence Hill High. The first special needs class.</dialogue> <scene_description>Collins starts changing the sign. Over a COMPUTER STUDIES sign, he adds a banner that says "SPECIAL NEEDS CLASS".</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>To commemorate this occasion, we'll now take a class picture. Come on! Come on! Gather around!</dialogue> <scene_description>MS. HELLER stands next to Collins. He looks at her and then takes Heller step to the side.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>You do remember why we're here?</dialogue> <character>MS. HELLER</character> <dialogue>To take a picture for Superintendent Zimmer?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Yes!</dialogue> <scene_description>Collins gets back into the picture.</scene_description> <character>PRINCIPAL COLLINS</character> <parenthetical>(to the class)</parenthetical> <dialogue>Okay smile.</dialogue> <scene_description>Heller takes a photo.</scene_description> <character>MS. HELLER</character> <dialogue>My god, what stinks?</dialogue> <scene_description>LLOYD raises his hand.</scene_description> <character>LLOYD</character> <dialogue>That would be me, sir. The wife made stew last night.</dialogue> <character>HARRY</character> <dialogue>Shut up Lloyd. You're not married yet.</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(interrupts them)</parenthetical> <dialogue>Well I hope you enjoy your new classroom. This isn't it. You'll be going to a new wing behind the school built especially for you.</dialogue> <character>LLOYD</character> <dialogue>Cool! A new wing!</dialogue> <character>MS. HELLER</character> <dialogue>Okay, kids, let's go.</dialogue> <scene_description>The kids start filling out.</scene_description> <character>HARRY</character> <dialogue>What about the crippled boy?</dialogue> <character>TOBY</character> <dialogue>Dude, I can walk.</dialogue> <character>LLOYD</character> <dialogue>You brave, beautiful, naive bastard.</dialogue> <scene_description>LLOYD picks up Toby and carries him out, bumping his head on the door as he exits.</scene_description> <character>HARRY</character> <parenthetical>(to Lloyd)</parenthetical> <dialogue>Collins is a great man!</dialogue> <character>LLOYD</character> <dialogue>Now you see why he was elected principal?</dialogue> <scene_description>They exit as Heller smiles at Collins.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>So far so good. We'll need more pictures. Why don't you take them on a field trip tomorrow.</dialogue> <character>MS. HELLER</character> <dialogue>And...?</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(biting his lip)</parenthetical> <dialogue>And, take some more pictures.</dialogue> <character>MS. HELLER</character> <dialogue>Wow, you are smart.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>And you are great in bed.</dialogue> <scene_description>They kiss.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Don't you have a phony class to teach?</dialogue> <character>MS. HELLER O.S.</character> <dialogue>I put in for a sub.</dialogue> <scene_description>They go at it. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPECIAL NEEDS BUILDING - DAY</stage_direction> <scene_description>PAN from the school to a weathered tin building that sits behind the school's antiquated heating ducts and trash bins.</scene_description> <character>LLOYD (V.O.)</character> <dialogue>Hello, students.</dialogue> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS BUILDING - CONTINUOUS</stage_direction> <scene_description>LLOYD turns and writes as he's talking.</scene_description> <character>LLOYD</character> <dialogue>... I'm Mr. Christmas and I've been assigned as your substitute teacher for today. I think you'll find me tough but fair. And, I imagine I'll learn as much.. from you.. as you will from.. me.</dialogue> <scene_description>He chuckles.</scene_description> <character>LLOYD</character> <dialogue>First question.</dialogue> <parenthetical>(turns to class)</parenthetical> <dialogue>Does anyone know how to get Magic Marker off a wall?</dialogue> <scene_description>Reveal he's written everything he's said on the wall.</scene_description> <character>LLOYD</character> <dialogue>It may take a while for me to learn everyone's name, so bear with me.</dialogue> <scene_description>HARRY waves his hand wildly.</scene_description> <character>LLOYD</character> <dialogue>Yes, you.</dialogue> <character>HARRY</character> <dialogue>HARRY.</dialogue> <character>LLOYD</character> <dialogue>You look familiar. Did I have your brother?</dialogue> <character>HARRY</character> <dialogue>No.</dialogue> <character>LLOYD</character> <dialogue>Okay. Anyone else have any questions?</dialogue> <scene_description>Pan the room and see nobody's listening but Harry. TOBY, "the cripple" is making out with TERRI his girlfriend. CARL, the football player, seems to be drifting into a coma, TURK, the hood is hitting on CHING CHONG, the Asian student, and LEWIS, the once horse mascot, is now dressed in a FOAM CARTOON-Y SUN: WEARING A SASH THAT READS: "UNLIMITED TANNING: $19.95."</scene_description> <character>HARRY</character> <dialogue>What's with horse-boy, now he's a bright shiny sun?</dialogue> <character>LLOYD</character> <dialogue>Don't look directly at him.</dialogue> <scene_description>RAY sticks his head in.</scene_description> <character>RAY</character> <dialogue>LLOYD, may I see you a minute?</dialogue> <character>LLOYD</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Class, please study on your own. There seems to be a family emergency because there's no other reason why my father would interrupt me WHILE I'M WORKING!</dialogue> <character>HARRY</character> <parenthetical>(impressed)</parenthetical> <dialogue>That's your dad?</dialogue> <scene_description>HARRY follows Lloyd outside.</scene_description> </scene> <scene> <stage_direction>EXT. SPECIAL NEEDS BUILDING - CONTINUOUS</stage_direction> <character>HARRY</character> <parenthetical>(noticing coveralls)</parenthetical> <dialogue>You must be in the Air Force.</dialogue> <character>RAY</character> <dialogue>I'm a custodian.</dialogue> <character>HARRY</character> <dialogue>Well then...</dialogue> <scene_description>HARRY salutes Ray.</scene_description> <character>RAY</character> <dialogue>What are you crazy kids doing in my tool shed?</dialogue> <character>LLOYD</character> <dialogue>We're not crazy. We're "special". PRINCIPAL COLLINS wants us to have our own classroom!</dialogue> <character>RAY</character> <parenthetical>(proudly)</parenthetical> <dialogue>My boy's special, well how about that. I knew you were different.</dialogue> <character>LLOYD</character> <dialogue>So I guess you'll need a new spot for your moonshine.</dialogue> <character>RAY</character> <dialogue>I reckon so.</dialogue> <scene_description>RAY slides out a cracked cinder block and pulls out a couple of dusty bottles.</scene_description> <character>RAY</character> <parenthetical>(re: bottle)</parenthetical> <dialogue>Chateau Lafite Rothchild '61. That's good firewater.</dialogue> <scene_description>HARRY leans over him as he reaches into a WINE BOTTLE rack for more.</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS BUILDING - CONTINUOUS</stage_direction> <scene_description>LEWIS is now addressing the other students.</scene_description> <character>LEWIS</character> <dialogue>Can someone tell me why we're in a tool shed?</dialogue> <character>TURK</character> <dialogue>Who cares Lewis? It's better than real school. If we don't mess this up, we can go the whole year without doing any real work at all.</dialogue> <character>TOBY</character> <dialogue>We can do anything we want.</dialogue> <character>TERRI</character> <parenthetical>(sexy to Toby)</parenthetical> <dialogue>Anything.</dialogue> <scene_description>TOBY nods.</scene_description> <character>LEWIS</character> <dialogue>So if I had a girlfriend like TERRI, I could like, bring her here, and do stuff?</dialogue> <character>TURK</character> <dialogue>You got it, jerk-off.</dialogue> <character>CHING CHONG</character> <dialogue>But I came here to learn about America.</dialogue> <character>TURK</character> <dialogue>Baby listen, there's nothing more American than not doing anything and getting away with it.</dialogue> <character>CHING CHONG</character> <dialogue>Then I'm in. Just like Jerk-Off.</dialogue> <scene_description>CARL finally starts to shake off the effects of the concussion.</scene_description> <character>CARL</character> <parenthetical>(still cloudy)</parenthetical> <dialogue>Wha-wha-what am I doing here? I'm supposed to be in A.P. Biology.</dialogue> <scene_description>TURK throws a look to Toby. They both "huddle" around Carl.</scene_description> <character>TOBY</character> <dialogue>Come on kid! It's fourth and goal! Ten seconds left on the clock!</dialogue> <character>TURK</character> <dialogue>We need you now! Get it together!</dialogue> <scene_description>TURK slaps him across the face like a coach would, but much harder. This gets him going.</scene_description> <character>CARL</character> <dialogue>Let's get 'em!</dialogue> <scene_description>CARL runs full steam across the room and CRASHES through a wall and runs off. Toby and Turk HIGH FIVE.</scene_description> <character>TOBY</character> <dialogue>He's in.</dialogue> <character>TURK</character> <dialogue>If he comes back.</dialogue> <scene_description>SFX: school bell ring - end of day</scene_description> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - AFTERNOON</stage_direction> <scene_description>HARRY and Lloyd walk past the GAS PUMPS in front of this rural convenience store that has a GIANT "A" on the roof.</scene_description> <character>HARRY</character> <dialogue>...and who was Benjamin Franklin again?</dialogue> <character>LLOYD</character> <dialogue>The pilgrim who used penicillin to kill Godzilla.</dialogue> <character>HARRY</character> <dialogue>I didn't know that.</dialogue> <character>LLOYD</character> <dialogue>Welcome to public school, my friend.</dialogue> <character>HARRY</character> <dialogue>Hey, teach, how'd you get so smart?</dialogue> <character>LLOYD</character> <dialogue>When you live in the basement of the school, you breathe in a lot of chalk dust. It writes out all the answers on your brain.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Now how about a slushee?</dialogue> <character>HARRY</character> <dialogue>A. Slushee. Don't tell me.</dialogue> <parenthetical>(remembering)</parenthetical> <dialogue>Abraham Slushee. Third president of the United States.</dialogue> <character>LLOYD</character> <parenthetical>(nodding)</parenthetical> <dialogue>And he invented fire.</dialogue> </scene> <scene> <stage_direction>INT. BIG 'A' GAS N' STUFF - CONTINUOUS</stage_direction> <scene_description>LLOYD points to a big two-banger 'ICE-BOOM' slushee machine.</scene_description> <character>LLOYD</character> <dialogue>And this is the frozen delicious treat he was named after.</dialogue> <scene_description>HARRY and Lloyd approach the slushee machine and fill up their big gulp cups. As it's filling up, Harry notices an ADJACENT MAGAZINE RACK JUST AS BEAUTIFUL GIRL WITH NICE... JUGS WALKS BY.</scene_description> <character>HARRY</character> <dialogue>Nice jugs.</dialogue> <character>LLOYD</character> <parenthetical>(see's it too)</parenthetical> <dialogue>They can't be real.</dialogue> <scene_description>HARRY picks up the magazine, it's 'POTTERY MONTHLY'.</scene_description> <character>LLOYD</character> <dialogue>Oh, Harry. I just realized something!?</dialogue> <character>HARRY</character> <parenthetical>(worried)</parenthetical> <dialogue>What!?</dialogue> <scene_description>LLOYD tags him.</scene_description> <character>LLOYD</character> <dialogue>You're it.</dialogue> <character>HARRY</character> <dialogue>Oh, no. You're not gettin' me again.</dialogue> <scene_description>This goes on for awhile until, finally ending near the register as Lloyd walks over to pay for the drinks. CALE CLARK, the CLERK, is a LONG-HAIRED METAL-HEAD wearing an 'ANTHRAX' t-shirt. He looks up from a VICTORIA SECRET lingerie catalog.</scene_description> <character>LLOYD</character> <parenthetical>(re: magazine)</parenthetical> <dialogue>Hey. Fella. Victoria's Secret huh? Ya know those clothes are for chicks.</dialogue> <scene_description>CALE hits the register.</scene_description> <character>CALE</character> <dialogue>Two fifty.</dialogue> <scene_description>HARRY approaches and tags Lloyd.</scene_description> <character>HARRY</character> <dialogue>You're it.</dialogue> <character>LLOYD</character> <dialogue>Oh! Ho! Okay. You wanna go?</dialogue> <scene_description>LLOYD tags Harry with purpose.</scene_description> <character>CALE</character> <dialogue>That's two fifty.</dialogue> <scene_description>They don't even notice him.</scene_description> <character>LLOYD</character> <dialogue>You're it.</dialogue> <scene_description>LLOYD and Harry tag back and forth a half dozen times.</scene_description> <character>CALE</character> <dialogue>Please pay me two fifty.</dialogue> <scene_description>LLOYD TAGS Cale.</scene_description> <character>LLOYD</character> <dialogue>You're it.</dialogue> <scene_description>They both stare at him for a long beat. He doesn't move.</scene_description> <character>LLOYD</character> <dialogue>You're it.</dialogue> <character>CALE</character> <dialogue>No, I'm not it.</dialogue> <character>HARRY</character> <dialogue>Yeah, you are. He touched you. You're "it" until you touch someone else.</dialogue> <character>CALE</character> <dialogue>I have five kids at home, I know how it works. I'm just not "it". Okay guys? Two fifty.</dialogue> <scene_description>LLOYD grabs the Cale's arm and makes it touch Harry.</scene_description> <character>LLOYD</character> <parenthetical>(to Harry)</parenthetical> <dialogue>You're it.</dialogue> <scene_description>HARRY immediately tags the store employee back.</scene_description> <character>HARRY</character> <dialogue>You're it.</dialogue> <character>CALE</character> <dialogue>Guys. Give me the two fifty and go away.</dialogue> <scene_description>HARRY grabs his other arm and tags Lloyd with it.</scene_description> <character>HARRY</character> <parenthetical>(to Lloyd)</parenthetical> <dialogue>You're it.</dialogue> <scene_description>LLOYD immediately tags the store employee back.</scene_description> <character>LLOYD</character> <dialogue>You're it.</dialogue> <scene_description>Then Lloyd grabs the guy's arm and tags Harry.</scene_description> <character>LLOYD</character> <parenthetical>(to Harry)</parenthetical> <dialogue>You're it.</dialogue> <scene_description>This goes back and forth almost impossibly fast. Harry with one arm and Lloyd with the other. They say, "You're it" with each tag. Cale's arms are now flailing. He finally erupts.</scene_description> <character>CALE</character> <dialogue>Enough!!</dialogue> <scene_description>He tags Lloyd. Hard.</scene_description> <character>CALE</character> <parenthetical>(building anger)</parenthetical> <dialogue>You're it!</dialogue> <character>CALE</character> <dialogue>No touch backs, no do overs, no erasees, stamped to infinity plus one and THIS WHOLE STORE IS HOME FREE!!</dialogue> <scene_description>HARRY and Lloyd look impressed.</scene_description> <character>HARRY</character> <dialogue>Can he do that?</dialogue> <character>LLOYD</character> <parenthetical>(staring at the clerk)</parenthetical> <dialogue>HARRY, he can and he did. And now it's on like Donkey Kong.</dialogue> <scene_description>LLOYD and the Cale glare at each other.</scene_description> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - MOMENTS LATER</stage_direction> <scene_description>HARRY and Lloyd walk out of the store sipping their drinks.</scene_description> <character>HARRY</character> <dialogue>These are really cold, huh?</dialogue> <character>LLOYD</character> <dialogue>That's why you have to drink it fast, trust me.</dialogue> <scene_description>They both take huge fast sips. Our angle follows the icy liquid INTO THE STRAW and then we move (in a stylized way) into Harry's brain to see BLOOD VESSELS STOP and the brain get FROSTED OVER. Then PULL OUT from Harry's head to see a quick half-dissolve that shows three-quarters of his brain with a layer of white frost. They both continue to get brain freezes as the scene goes on but they don't realize it's from the drink.</scene_description> <character>HARRY</character> <dialogue>Owww... refreshing.</dialogue> <character>LLOYD</character> <dialogue>Ow... What do you want to do, HARRY?</dialogue> <scene_description>LLOYD gets a brain freeze. Harry keeps slurping.</scene_description> <character>LLOYD</character> <dialogue>Owww.</dialogue> <character>HARRY</character> <dialogue>I don't know. Owwww.</dialogue> <character>LLOYD</character> <dialogue>Maybe I should go home and grade papers. Owwww.</dialogue> <scene_description>They sip harder. Their eyes twitch as the pain sears through their heads.</scene_description> <character>HARRY</character> <dialogue>My head is suddenly killing me. Maybe it's from all the learning today.</dialogue> <character>LLOYD</character> <dialogue>Put some ice on it.</dialogue> <scene_description>He sips some more.</scene_description> <character>HARRY</character> <dialogue>Owww.</dialogue> <character>LLOYD</character> <dialogue>And my mouph is frozen.</dialogue> <scene_description>JESSICA jogs over. She's wearing tight running shorts and a jogging- bikini top.</scene_description> <character>JESSICA</character> <dialogue>Hey guys.</dialogue> <character>HARRY</character> <dialogue>Heddo Jeth-ica.</dialogue> <scene_description>Because of the brain freeze, Harry and Lloyd both talk to her with very slurred speech and drooling a little. Jessica talks to them sweetly, like they're slow.</scene_description> <character>JESSICA</character> <dialogue>HARRY, I heard Collins has you in</dialogue> <dialogue>some kind of special class.</dialogue> <character>LLOYD</character> <dialogue>If dou're trying to get in, dou're doo late.</dialogue> <character>JESSICA</character> <dialogue>Oh no, I know that class isn't for me. But I'm happy for you guys.</dialogue> <character>HARRY</character> <dialogue>Do you thill want to do an arwticle on me, Jethica?</dialogue> <character>JESSICA</character> <dialogue>Yes, you and the whole Special Needs class.</dialogue> <character>LLOYD</character> <dialogue>Why ith dat newth?</dialogue> <character>JESSICA</character> <dialogue>This school's never had one before. I'd like to talk to you and all your special friends.</dialogue> <character>HARRY</character> <dialogue>Tomorrow we go on a fee-eee-eee- wald twrip.</dialogue> <character>JESSICA</character> <dialogue>A field trip? Maybe I'll join you. See you tomorrow.</dialogue> <scene_description>She jogs off, her tight shorts and top bouncing as she goes.</scene_description> <character>HARRY</character> <dialogue>There she goes, now wearing nothing but her underwear.</dialogue> <character>LLOYD</character> <dialogue>What a nerd. I don't know where that girl's ever gonna find a husband.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL'S OFFICE - NIGHT</stage_direction> <scene_description>PRINCIPAL COLLINS and Ms. Heller are in his office. It's the only light on in the building. Don Ho's "Tiny Bubbles" plays on a record player. Ms. Heller wears a coconut bra and a grass skirt. She does a hula for Collins. He sips his tenth umbrella'd drink and snaps a Polaroid.</scene_description> <character>MS. HELLER</character> <dialogue>Knock knock.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Who's there?</dialogue> <character>MS. HELLER</character> <parenthetical>(modelling)</parenthetical> <dialogue>Guess what"s under these coconuts.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>What?</dialogue> <character>MS. HELLER</character> <dialogue>It's a surprise.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Well I've got a little surprise for you.</dialogue> <character>MS. HELLER</character> <dialogue>You got the Extender?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>No. No. I heard from Superintendent ZIMMER this morning and evidently he's so impressed with our Special Needs class, he's bringing Richard MOFFIT himself to the Thanksgiving Day parade- check in hand.</dialogue> <character>MS. HELLER</character> <dialogue>Monkey, this is too exciting! I can't believe our dream is coming true.</dialogue> <scene_description>Collins picks up a POLAROID CAMERA.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Smile sweetheart.</dialogue> <scene_description>He snaps a shot of Ms. Heller's chest. He waves it dry.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>More pictures for the chest.</dialogue> <scene_description>He opens a chest by his desk and drops the photos into it.</scene_description> <character>MS. HELLER</character> <dialogue>So what do you keep in there?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Oh, things. Photos. Tapes. I tape everything that goes on in this office.</dialogue> <character>MS. HELLER</character> <dialogue>Everything?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Everything. Just for the record.</dialogue> <scene_description>He hits the stop button on small tape recorder in an open drawer of his desk. He ejects the tape and puts it into the wooden chest.</scene_description> <character>MS. HELLER</character> <dialogue>Oh, just like the President.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Just like the President.</dialogue> <scene_description>Angle holds on the chest, which Collins has left unlocked.</scene_description> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - A LITTLE LATER</stage_direction> <scene_description>LLOYD runs up and sees Harry, who's dressed like a QUEEN, complete with tiara and flowing gown made from a drape.</scene_description> <character>HARRY</character> <dialogue>LLOYD, where've you been? I've been waiting forever. I'm so embarrassed.</dialogue> <character>LLOYD</character> <dialogue>Sorry. Why are you dressed like a Queen!?</dialogue> <character>HARRY</character> <dialogue>...cause you said...</dialogue> <character>LLOYD</character> <dialogue>HARRY, I said don't 'dress like a Queen'!</dialogue> <character>HARRY</character> <parenthetical>(getting it)</parenthetical> <dialogue>Oh... that makes much more sense. I had a heck of time getting these drapes from my mom. You don't want to know where I put the cord.</dialogue> <character>LLOYD</character> <parenthetical>(interrupting)</parenthetical> <dialogue>HARRY! Here he comes.</dialogue> <scene_description>We see Cale the clerk closing up the store. Lloyd and Harry sneak over. Cale turns and sees Lloyd the Ninja and Harry the Queen.</scene_description> <character>LLOYD</character> <dialogue>So you're out of the store, huh?</dialogue> <character>CALE</character> <dialogue>Yeah, we're closed. So go away.</dialogue> <character>HARRY</character> <parenthetical>(holding back the urprise)</parenthetical> <dialogue>Actually we have something for you.</dialogue> <scene_description>LLOYD taps him lightly on the shoulder.</scene_description> <character>LLOYD</character> <dialogue>You're it!</dialogue> <scene_description>The Ninja and the Queen run away laughing maniacally. Cale looks confused and hurt.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - CONTINUOUS</stage_direction> <scene_description>JESSICA, carrying a camera, approaches Ms. Heller getting out of her car.</scene_description> <character>JESSICA</character> <dialogue>MS. HELLER, mind if I tag along on your field trip? I'm thinking of doing a story on your special needs class.</dialogue> <character>MS. HELLER</character> <dialogue>I'm not interested. Not after the smear story you did on my chicken sushi.</dialogue> <character>JESSICA</character> <dialogue>Well, when 200 students are hospitalized with stomach cramps I think it's newsworthy.</dialogue> <character>MS. HELLER</character> <dialogue>Nevertheless, you could have mentioned the sauce.</dialogue> <parenthetical>(noticing camera)</parenthetical> <dialogue>Well, I see you have a camera.</dialogue> <character>JESSICA</character> <dialogue>So can I come along?</dialogue> <character>MS. HELLER</character> <parenthetical>(grabs the camera)</parenthetical> <dialogue>No.</dialogue> <scene_description>JESSICA notices something under Ms. Heller's shirt.</scene_description> <character>JESSICA</character> <dialogue>Are you wearing a coconut bra?</dialogue> <character>MS. HELLER</character> <dialogue>Oh, you're good.</dialogue> <character>JESSICA</character> <dialogue>Why are you teaching Special Needs? You're the lunch lady.</dialogue> <character>MS. HELLER</character> <dialogue>Dietician! This interview is over. You can have the camera back</dialogue> <dialogue>tomorrow. Come by the classroom. Heller heads off.</dialogue> <character>JESSICA</character> <dialogue>You mean the lunch room?</dialogue> <scene_description>Heller stops and turns back to her.</scene_description> <character>MS. HELLER</character> <dialogue>Well played.</dialogue> <scene_description>MS. HELLER storms away, leaving a confused Jessica.</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - DAY</stage_direction> <scene_description>LLOYD unrolls the map. Behind them there is a 'SLOW CHILDREN CROSSING' sign.</scene_description> <character>LLOYD</character> <dialogue>According to the map, we're just about at school.</dialogue> <character>HARRY</character> <dialogue>Yeah, but we still haven't found any treasure.</dialogue> <scene_description>A long yellow school bus is parked in front of the school. TURK, Ching Chong and Carl stand next to the front door.</scene_description> <character>LLOYD</character> <dialogue>I think we may have found something even better.</dialogue> <scene_description>The bus now appears to be GETTING LONGER! Then we see that it was actually a long bus PARKED BEHIND a SUPER-SHORT BUS. SFX: Majestic chorus. They look like they've seen the Holy Grail (if they knew what that was).</scene_description> <character>LLOYD</character> <dialogue>Look! Look!</dialogue> <scene_description>The short bus is even shorter than a regular short bus. It's custom suited to the Special Needs class, as it only has three rows of seats. Harry and Lloyd run up to it.</scene_description> <character>HARRY</character> <dialogue>What?</dialogue> <character>LLOYD</character> <dialogue>Our own special bus.</dialogue> <character>HARRY</character> <dialogue>How do you know it's for us?</dialogue> <character>LLOYD</character> <dialogue>Duh. The cool kids sit in the back of the bus. Here, every row is in the back. We're all cool!</dialogue> <scene_description>LLOYD and Harry run in. Lloyd runs as fast as he can down the tiny aisle, and smacks into the back of the bus.</scene_description> <character>LLOYD</character> <parenthetical>(brings head up - giddy)</parenthetical> <dialogue>It's even shorter than I imagined!</dialogue> <scene_description>HARRY runs smack into the back of the bus.</scene_description> <character>HARRY</character> <dialogue>Are you sure? It feels about right to me.</dialogue> <scene_description>LLOYD gets up and again runs into the back of the bus.</scene_description> <character>LLOYD</character> <dialogue>Nope. I was right.</dialogue> <character>HARRY</character> <dialogue>Wanna bet?</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL BUS - CONTINUOUS</stage_direction> <scene_description>In the parking lot, Jessica approaches the Special needs kids congregating outside the short bus. Over the following, we continue to hear the thumping of Harry and Lloyd smash into the back of the bus.</scene_description> <character>JESSICA</character> <dialogue>TURK, what are you doing here?</dialogue> <character>TURK</character> <dialogue>Special Needs class.</dialogue> <character>JESSICA</character> <dialogue>Being a jerk doesn't make you special.</dialogue> <character>TURK</character> <dialogue>You're just jealous.</dialogue> <character>JESSICA</character> <dialogue>And, Ching Chong, you're not a Special Needs kid. You're just a foreign exchange student.</dialogue> <character>CHING CHONG</character> <parenthetical>(defiant)</parenthetical> <dialogue>I ride with my man.</dialogue> <scene_description>She hugs Turk and buries her face in his chest.</scene_description> <character>TURK</character> <parenthetical>(to Jessica)</parenthetical> <dialogue>This is the greatest class ever, don't ruin it.</dialogue> <scene_description>They start to board the bus as Ms. Heller approaches.</scene_description> <character>MS. HELLER</character> <parenthetical>(to Jessica)</parenthetical> <dialogue>I thought I told you to get lost.</dialogue> <character>JESSICA</character> <dialogue>Look Ms. Heller, there's something fishy here, and I don't think it's Friday's special.</dialogue> <character>MS. HELLER</character> <dialogue>I wouldn't know. Being that I'm just the teacher and all.</dialogue> <scene_description>MARGIE, the BUS DRIVER, a crotchety old matron in her early sixties, passes Ms. Heller and boards the bus.</scene_description> <character>MARGIE</character> <dialogue>You ever have one of those days when you just want to drive the bus into a wall and end it all?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Okay, everyone in.</dialogue> <scene_description>MS. HELLER follows her on and slams the door in Jessica's face. Jessica looks determined. She's found her story!</scene_description> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>MS. HELLER sits behind Margie as she starts the engine.</scene_description> <character>MS. HELLER</character> <dialogue>Let's go Margie. The museum ain't going to teach itself.</dialogue> <character>MARGIE</character> <dialogue>Museum huh, haven't been there since my husband left me. I love art.</dialogue> <scene_description>She throws it in gear and pulls away.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - CONTINUOUS</stage_direction> <scene_description>As the bus heads up the street, Jessica hops into her PARENT'S STATION WAGON, which is actually three or four feet LONGER than the short bus!</scene_description> <character>JESSICA</character> <dialogue>This is a much bigger story than four color pens.</dialogue> </scene> <scene> <stage_direction>EXT. STREET CORNER - MOMENTS LATER</stage_direction> <scene_description>The bus pulls to a stop. On the corner is a NEBBISH GUY carrying a fish tank. He waits - then Margie waves him to go across. Then she honks the horn, LOUD. He jumps - throwing the fish tank in the air.</scene_description> <character>MARGIE</character> <parenthetical>(laughs)</parenthetical> <dialogue>Fun stuff.</dialogue> <scene_description>She drives on - BURNING RUBBER! We see that Jessica is following.</scene_description> </scene> <scene> <stage_direction>INT. BUS - MOMENTS LATER</stage_direction> <scene_description>MS. HELLER looks out the back window and sees Jessica following in her station wagon.</scene_description> <character>MS. HELLER</character> <dialogue>Looking for a scoop, huh? I'll give you a scoop... of short bus.</dialogue> <parenthetical>(to Margie)</parenthetical> <dialogue>Lose her!</dialogue> <character>MARGIE</character> <dialogue>Loser... oh yeah he was a loser alright. A big loser.</dialogue> <character>MS. HELLER</character> <dialogue>What?</dialogue> <character>MARGIE</character> <dialogue>He was a big loser! What are you deaf!?</dialogue> <character>MS. HELLER</character> <dialogue>Uh, no and I don't appreciate...turn down here!</dialogue> <scene_description>MARGIE yanks the wheel, making a sharp turn to the left. We CRANE down as it passes. And pick it up further down the street. Our ANGLE is inside a RECORD STORE as we see the bus make a hard right turn - followed by Jessica.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET HILLS - CONTINUOUS</stage_direction> <scene_description>The bus careens down the street followed by Jessica's station wagon. Jessica is almost along side them.</scene_description> <character>MS. HELLER</character> <dialogue>Don't let her pass!</dialogue> <scene_description>Heller leans forward and hits the 'NO PASSING' TOGGLE.</scene_description> </scene> <scene> <stage_direction>EXT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>SIDE OF THE BUS as the big 'No Passing' SIGN FLIPS OUT, close to Jessica's windshield. She almost HITS IT then slows.</scene_description> <character>MARGIE O.S.</character> <dialogue>Yeah it started with a pass...</dialogue> </scene> <scene> <stage_direction>INT. SHORT BUS - CONTINUOUS</stage_direction> <character>MARGIE</character> <dialogue>..."hi cutie, nice knockers", then same old same old.</dialogue> <character>MS. HELLER</character> <parenthetical>(to Margie)</parenthetical> <dialogue>That's great, now make a left, then straight!</dialogue> <character>MARGIE</character> <dialogue>Oh, yeah he was straight all right, just wasn't very good in the sack. I used to give him directions. Higher, lower, faster, harder, small circles, do the alphabet. Useless.</dialogue> </scene> <scene> <stage_direction>EXT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>REAR OF THE BUS, red lights flash, sign reads: 'No Passing When Red Lights Flash'. The road narrows so Jessica must again fall in line behind her.</scene_description> </scene> <scene> <stage_direction>INT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>MS. HELLER sees a street up ahead.</scene_description> <character>MS. HELLER</character> <dialogue>Left here! Left!</dialogue> <character>MARGIE</character> <dialogue>You bet I left him, took the dog and we was history.</dialogue> <scene_description>MS. HELLER sees a tiny alley between two buildings. They turn left, power-sliding down an alley, Jessica misses the turn and makes a one- eighty.</scene_description> <character>MS. HELLER</character> <parenthetical>(looking behind them)</parenthetical> <dialogue>Ha! Too big to make the turn!</dialogue> <character>MARGIE</character> <dialogue>No, it actually fit quite nicely.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Well, except for the fact that it wasn't really as long as it was wide.</dialogue> </scene> <scene> <stage_direction>INT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>They do a rough turn and exit the alley. Ms. Heller looks around for Jessica.</scene_description> <character>MS. HELLER</character> <dialogue>I think you did it.</dialogue> <character>MARGIE</character> <dialogue>Damn right I did it. Went back and set the house on fire, his little floozy testified in court - and I ended up doing ten years at Rikers, got my teeth knocked out by Mike the Dyke.</dialogue> <character>MS. HELLER</character> <parenthetical>(now paying attention)</parenthetical> <dialogue>What the hell are you talking about?</dialogue> <scene_description>ANGLE ON: Lloyd, Harry and Carl. Once again, Carl is starting to get better, he notices his surroundings.</scene_description> <character>CARL</character> <dialogue>Hey, I'm not supposed to be on the short bus. I've got a Calculus class.</dialogue> <character>LLOYD</character> <parenthetical>(to Harry, whimsical)</parenthetical> <dialogue>He's a dreamer.</dialogue> <character>CARL</character> <dialogue>No, actually I think I'm all better.</dialogue> <scene_description>ANGLE ON: Heller. IN THE MIRROR, she sees Jessica pull up behind them.</scene_description> <character>MS. HELLER</character> <dialogue>Turn here! Go, go, go!</dialogue> <scene_description>And she SLAMS her foot on Margie's gas pedal, as Margie makes a turn through a DIRT CONSTRUCTION SITE.</scene_description> </scene> <scene> <stage_direction>EXT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>In the lot, the bus leaves a trail of dust as Jessica's car follows.</scene_description> </scene> <scene> <stage_direction>EXT. SHORT STEEP STREET - MOMENTS LATER</stage_direction> <scene_description>A serene moment before a far away scream is heard, then the SHORT BUS CRASHES THROUGH A FENCE, fully launched in the air! While in the air, our angle FLOWS INTO the bus.</scene_description> </scene> <scene> <stage_direction>INT. SHORT BUS SLOW-MO - CONTINUOUS</stage_direction> <scene_description>In ULTRA-SLOW MOTION, it's ZERO GRAVITY as we TRACK through the bus to see: MARGIE'S UNFAZED, but her dentures FLOAT OUT OF HER MOUTH. MS. HELLER, frozen in a scream, legs in the air. As CARL floats past TOBY, then past LEWIS, CHING CHONG and TURK who are in a jumble of arms and legs. CARL continues on to HARRY and LLOYD who act as if they are on Apollo 13, tongue's out both chasing the same FREEZE-DRIED ICE CREAM, come together almost for a KISS, then grossed out, break apart. Other food from their lunch bags is floating around.</scene_description> </scene> <scene> <stage_direction>EXT. SHORT BUS - CONTINUOUS</stage_direction> <scene_description>We BURST OUT of the bus as it LANDS ROUGHLY ON THE STREET, SLAMMING CARL hard against the back window, followed by a mess of food stuffs and Margie's dentures that get slammed against the window and sandwiched by half of a peanut butter sandwich. The Short Bus ambles on.</scene_description> <character>HARRY (O.S.)</character> <parenthetical>(re: bus ride)</parenthetical> <dialogue>Again, again! Everyone shouts "Again!".</dialogue> </scene> <scene> <stage_direction>EXT. JESSICA'S CAR - CONTINUOUS</stage_direction> <scene_description>She lands even more roughly, and must LOCK UP HER BRAKES as a BIG TRUCK backs into her path. Beyond the truck she sees the Short Bus driving away. She's defeated.</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM LOBBY - LATER - DAY</stage_direction> <scene_description>WE SEE the bus on the street outside the glass doors.</scene_description> <character>MS. HELLER (O.S.)</character> <dialogue>Here we are.</dialogue> <scene_description>The kids file inside. They are disheveled, covered in food, drooling, tripping, Carl's back to his old, cloudy way - you get the picture. TWO PASSERSBY, a MAN and a WOMAN, notice the motley crew.</scene_description> <character>MAN</character> <parenthetical>(sympathetic)</parenthetical> <dialogue>Special needs.</dialogue> <character>WOMAN</character> <dialogue>Well, aren't they just so sweet.</dialogue> <character>MS. HELLER</character> <dialogue>Everyone find a partner. You're not any good to me dead.</dialogue> <scene_description>The class ad-libs partnering up: Turk with Ching Chong, Toby with Terri, Lewis with Carl. Harry and Lloyd look around nervously for a partner.</scene_description> <character>HARRY</character> <dialogue>Uh oh. Captain Rob's always been my partner.</dialogue> <character>LLOYD</character> <dialogue>Sucks for you.</dialogue> <character>HARRY</character> <dialogue>Who's your partner?</dialogue> <character>LLOYD</character> <parenthetical>(looks around at the obviously partnered class)</parenthetical> <dialogue>I don't know. I haven't decided yet.</dialogue> <character>HARRY</character> <dialogue>Well... Uh...maybe... jeez, how can I say this... you and I could...perhaps ...maybe...uh... partner up?</dialogue> <character>LLOYD</character> <dialogue>You and me? Dream on, desperado.</dialogue> <character>HARRY</character> <dialogue>Oh. Sorry. You're right, field trip partner is a big commitment.</dialogue> <character>LLOYD</character> <dialogue>I'm kidding! Of course I'll be your partner.</dialogue> <scene_description>LLOYD puts his arm around Harry and they head into the museum.</scene_description> <character>LLOYD</character> <dialogue>You have some serious self-worth issues, my ugly, stupid, pudgy little friend.</dialogue> <character>HARRY</character> <dialogue>Stop it, you're embarrassing me.</dialogue> </scene> <scene> <stage_direction>INT. MUSEUM - LATER</stage_direction> <scene_description>CLOSE ON a giant white polar bear in menacing pose, arms up, teeth bared.</scene_description> <character>HARRY (V.O.)</character> <dialogue>I've always wanted to be a polar bear. Tall, strong, six stomachs. He's the most beautiful creature in the forest.</dialogue> <scene_description>REVEAL Harry and Lloyd looking up at the polar bear. Harry's in awe.</scene_description> <character>LLOYD</character> <dialogue>That's a cow, Harry.</dialogue> <character>HARRY</character> <dialogue>Well, I could go for a tall glass of polar bear milk right now.</dialogue> <scene_description>MS. HELLER ENTERS and corrals Harry, Lloyd, and the rest of the Special Needs class.</scene_description> <character>MS. HELLER</character> <dialogue>Okay, class, everyone gather round. Mr. Collins wants a picture to prove you were here.</dialogue> <parenthetical>(catching herself)</parenthetical> <dialogue>And to cherish.</dialogue> <scene_description>She unfurls a banner, and hands it to Turk and Ching Chong to hold. It reads "SPECIAL NEEDS CLASS FIELD TRIP 1986". She spots a nearby MUSEUM DOCENT.</scene_description> <character>MS. HELLER</character> <dialogue>Excuse me, Do you mind?</dialogue> <scene_description>She hands her camera to the Docent who snaps their photo.</scene_description> <character>MS. HELLER</character> <dialogue>Good, got it.</dialogue> <parenthetical>(to docent)</parenthetical> <dialogue>How long is the average field trip here?</dialogue> <character>DOCENT</character> <dialogue>To fully experience all we have to offer? Maybe two hours.</dialogue> <character>MS. HELLER</character> <dialogue>Alright. I'll be back in four. Give them the tour twice and talk slowly.</dialogue> <scene_description>She puts the camera away and walks off.</scene_description> <character>DOCENT</character> <parenthetical>(to class)</parenthetical> <dialogue>Okay, okay, listen up everybody. Welcome to the Shea Museum of Natural History. Where your journey into the past comes alive! She turns and faces the polar bear.</dialogue> <character>DOCENT</character> <parenthetical>(bad acting polar bear)</parenthetical> <dialogue>Grrr. Roar. Grrr. My name is Ursus Maritmus and I live in parts of Northern Canada and the Antarctic. Grr. Roar. Grr. I</dialogue> <dialogue>rely on a keen sense of a smell to sniff out prey. My long neck helps me view my habitat and pluck fish from the sea. Roar. Glub glub. Roar.</dialogue> <scene_description>She turns back around in a menacing polar bear pose and sees everyone's gone except for Harry and Lloyd.</scene_description> <character>DOCENT</character> <dialogue>Uh-oh scared them away. Too many "Roars."</dialogue> <scene_description>The young boy raises his hand.</scene_description> <character>YOUNG BOY</character> <parenthetical>(points)</parenthetical> <dialogue>What's his name?</dialogue> <character>DOCENT</character> <parenthetical>(impatient)</parenthetical> <dialogue>Like I said, Ursus Maritimus.</dialogue> <character>LLOYD</character> <parenthetical>(to boy with authority)</parenthetical> <dialogue>That's not a real name. His parents called him "Snowy".</dialogue> <character>YOUNG BOY</character> <dialogue>What's his name?</dialogue> <scene_description>He points to a Snow Fox.</scene_description> <character>LLOYD</character> <dialogue>Also Snowy.</dialogue> <character>YOUNG BOY</character> <dialogue>I like his answers better.</dialogue> <character>LLOYD</character> <parenthetical>(to the Docent)</parenthetical> <dialogue>LLOYD Christmas - Special Needs. I'll take over from here ma'am.</dialogue> <scene_description>She just eyes him passively then walks away.</scene_description> <character>LLOYD</character> <parenthetical>(to kid)</parenthetical> <dialogue>You see, the animal kingdom is actually very simple. Everything is named Snowy, at least in cold climates. On the other hand, "Scorchy" over here...</dialogue> <scene_description>LLOYD points to a camel in a desert exhibit and leads the kid off, leaving Harry alone, entranced by the polar bear.</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM LOBBY - CONTINUOUS - DAY</stage_direction> <scene_description>JESSICA ENTERS, we see out the doors that her car is parked behind the bus.</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM GALLERY - MOMENTS LATER</stage_direction> <scene_description>JESSICA enters the gallery. She approaches Harry who is standing alone staring at the polar bear.</scene_description> <character>JESSICA</character> <dialogue>HARRY!</dialogue> <character>HARRY</character> <dialogue>MS. HELLER said not to talk to you.</dialogue> <character>JESSICA</character> <dialogue>That's because Ms. Heller doesn't want you to know this whole thing is a scam.</dialogue> <character>HARRY</character> <dialogue>A-ha! I had a feeling it was all a fake.</dialogue> <character>JESSICA</character> <dialogue>You did?</dialogue> <character>HARRY</character> <dialogue>Yeah. Look at this polar bear. It hasn't moved in half an hour. And those Eskimos over there...I'm sure at least one of them is a mannequin.</dialogue> <character>JESSICA</character> <dialogue>Oh Harry, you're so funny. Now I have something that's kind of delicate...</dialogue> <character>HARRY</character> <dialogue>Oh, you want to talk about your delicates?</dialogue> <character>JESSICA</character> <dialogue>Are you trying to be funny? Or are you actually re--, re...special</dialogue> <character>HARRY</character> <dialogue>We're all special. Everyone Lloyd and I chose for the class is special.</dialogue> <character>JESSICA</character> <dialogue>You and Lloyd chose the class!?</dialogue> <scene_description>JESSICA, thinks a moment as she figures things out.</scene_description> <character>JESSICA</character> <dialogue>This is starting to make more sense.</dialogue> <scene_description>Just then, Jessica sees Turk walking down a corridor towards them - he's goofing around with Lewis and Ching Chong.</scene_description> <character>JESSICA</character> <dialogue>We can't really talk here. Can you come to my house tonight?</dialogue> <character>HARRY</character> <parenthetical>(stunned)</parenthetical> <dialogue>Excuse me?</dialogue> <character>JESSICA</character> <dialogue>Come over around seven.</dialogue> <character>HARRY</character> <dialogue>O'clock?</dialogue> <character>JESSICA</character> <dialogue>Yeah...</dialogue> <character>HARRY</character> <dialogue>Gotcha.</dialogue> <scene_description>JESSICA walks off.</scene_description> <character>HARRY</character> <parenthetical>(sotto)</parenthetical> <dialogue>A date.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - LATER</stage_direction> <scene_description>ANGLE ON the empty hallway. WE HEAR muffled voices from above. Some dust falls into frame then ABRUPTLY, Harry and LLOYD fall directly in front of us from above. With some plaster ceiling following. Harry loved the fall, Lloyd doesn't much care.</scene_description> <character>LLOYD</character> <dialogue>Sorry about that Harry, first time I've brought a friend up there. You okay?</dialogue> <character>HARRY</character> <dialogue>Yea!</dialogue> <scene_description>LLOYD throws a ceiling piece back up and they walk on.</scene_description> <character>HARRY</character> <dialogue>So Lloyd, you gotta help me. A real live date with a real live girl.</dialogue> <character>LLOYD</character> <dialogue>Who cares? Chicks are for fags.</dialogue> <character>HARRY</character> <dialogue>I think she wants me to come over to put me into the right position to check out her delicates, what ever that means.</dialogue> <character>LLOYD</character> <dialogue>Oh yeah, buddy, you're gonna get "some".</dialogue> <character>HARRY</character> <dialogue>Some what?</dialogue> <character>LLOYD</character> <dialogue>You know... She's gonna be all over you like a barrel of monkeys, with her tight shirt and short skirt... Eeeww, it's so faggy I can't even talk about it.</dialogue> <character>HARRY</character> <dialogue>Come on, Lloyd. You must know someone I can talk to.</dialogue> <character>LLOYD</character> <dialogue>Sure I do. On one condition.</dialogue> <character>HARRY</character> <dialogue>You can't marry my mom.</dialogue> <character>LLOYD</character> <dialogue>It's really not up to you, Harry. But we just want you to feel like you're part of the decision.</dialogue> <character>HARRY</character> <dialogue>Shut up!</dialogue> <character>LLOYD</character> <dialogue>Alright, if you really want to go down this road, well girl's like chocolate.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - LATER</stage_direction> <scene_description>Tight on a candy vending machine. HARRY sees CHOCOLATE BARS for sale behind the glass, among other edible goodies including CLEAR PACKAGES OF PEANUTS called: SONNIE JEWEL PEANUTS, and next to it - VIOLET CRUMBLE He puts in some coins and presses what he thinks the code for chocolate is. But he's off by one and the peanuts next to the chocolate drops down. He tries again. And the Violet Crumble drops down. Again, some lifesavers fall. He tries again. Nope. Baked apple pie. He puts in more coins... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - A FEW MINUTES LATER</stage_direction> <scene_description>The vending machine is almost completely empty -- except for the chocolate bars. Snack goods fill the dispenser tray and spill out onto the floor around Harry. He reaches in and is out of coins. Frustrated, he reaches up into the candy return at the bottom. After a few beats, the look on his face tells us he's stuck. Maybe forever.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - ABOUT A HALF-HOUR LATER</stage_direction> <scene_description>HARRY's arm is now incredibly jammed half-way up INTO THE MACHINE. He's twisted into a pretzel, and just as he's about to grab a HANDFUL of the chocolate bars from the rack inside. Then the whole machine CRASHES DOWN ON HIM. CLOSE ON: His hand reaching out, grabs some of the prized chocolate bars and Sonnie Jewel Peanuts that have spilled on the floor.</scene_description> </scene> <scene> <stage_direction>EXT. JESSICA'S HOUSE - NIGHT</stage_direction> <scene_description>CLOSE ON Harry outside her front door.</scene_description> <character>HARRY</character> <parenthetical>(practicing)</parenthetical> <dialogue>Hello, Jessica. It's nice to see you, Jessica. No that's not right. JESSICA, hi. It's Harry, remember me from before? No, that's stupid. JESSICA, hello. Hello, Jessica. JESSICA Jessica Jessica. Mrs. HARRY Jessica. Mr. Harry Jessica. J-e-s-s-i-s-s-i-p-p-i--</dialogue> <character>JESSICA O.S.</character> <dialogue>HARRY!</dialogue> <scene_description>Reveal Harry has actually been standing in front of Jessica the whole time. She's putting a stop to this. But handles it with kid gloves, still not sure if he's mentally challenged.</scene_description> <character>JESSICA</character> <parenthetical>(carefully)</parenthetical> <dialogue>HARRY, let's go inside.</dialogue> </scene> <scene> <stage_direction>INT. JESSICA'S HOUSE - CONTINUOUS</stage_direction> <scene_description>JESSICA ushers Harry inside.</scene_description> <character>JESSICA</character> <dialogue>Wipe your feet. My parents are totally anal.</dialogue> <character>HARRY</character> <dialogue>Ooh gross.</dialogue> <character>JESSICA</character> <dialogue>Would you like something to drink?</dialogue> <character>HARRY</character> <dialogue>Yeah, but I'm buying.</dialogue> <scene_description>He giggles, clearly nervous beyond belief. JESSICA HARRY, I have a lot of questions to ask you so let's just do it upstairs? HARRY Good plan. I'm not ready for "downstairs."</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>JESSICA sits on the bed, going over notes.</scene_description> <character>JESSICA</character> <dialogue>Okay, there's a lot for us to go over, so it may get hard for you.</dialogue> <character>HARRY</character> <dialogue>Hard for me? Hard for me? Hard for me? Hard for me?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You had questions?</dialogue> <character>JESSICA</character> <dialogue>I checked with the school board, she's not an accredited teacher.</dialogue> <character>HARRY</character> <dialogue>That's okay. Lloyd's really the one teaching the class.</dialogue> <character>JESSICA</character> <dialogue>LLOYD? What about Ms. Heller?</dialogue> <character>HARRY</character> <dialogue>She says that she's got more important things to do now that the new mall opened.</dialogue> <character>JESSICA</character> <dialogue>Sit down, I have something to tell you.</dialogue> <character>HARRY</character> <parenthetical>(sits on radiator)</parenthetical> <dialogue>I'm fine.</dialogue> <character>JESSICA</character> <dialogue>Well, I'll tell you what I think. I think she and Principal Collins are embezzling money from the school, and I think they've been doing it for years.</dialogue> <scene_description>CLOSE UP on Harry's face as she continues to lay out her theory. He's hasn't paid any attention to her.</scene_description> <character>HARRY (V.O.)</character> <dialogue>Wow, She's really making me feel hot. Must be those feelings Lloyd was talking about.</dialogue> <scene_description>As she prattles on, Harry doesn't realize the "small bench" he sat on is actually a radiator. CLOSE UP on Harry's butt as steam wafts up.</scene_description> <character>JESSICA</character> <dialogue>And if that's not bad enough, I think your so-called 'Special Needs class' is all a scam! But I just need proof.</dialogue> <scene_description>HARRY's not really hearing any of this.</scene_description> <character>HARRY (V.O.)</character> <dialogue>I don't know how long I can sit here. I didn't think the first time would hurt so much...</dialogue> <parenthetical>(out loud)</parenthetical> <dialogue>Especially in the ass.</dialogue> <scene_description>She goes to him, puts hand on his shoulder.</scene_description> <character>JESSICA</character> <dialogue>What? Well now I'm in a position where I may just heed your help.</dialogue> <character>HARRY</character> <dialogue>Po, po, position...? Hey, here's thought, have you a bathroom?</dialogue> <character>JESSICA</character> <dialogue>Just down the hall.</dialogue> <character>HARRY</character> <dialogue>Very good. Back in a jiff.</dialogue> <scene_description>He does a little bow and exits the bedroom slowly so Jessica doesn't see his scalded butt.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>HARRY walks down the hallway in utter pain. He can't make any noise, but is face looks like he's about to burst. WE SEE SMOKE drifting up from his hot ass.</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S BATHROOM - CONTINUOUS</stage_direction> <scene_description>HARRY backs into the bathroom and slowly closes the door. He carefully locks it, then--</scene_description> <character>HARRY</character> <dialogue>Aaaaaaaaaaaaaaaaaaaaaaaah!</dialogue> <scene_description>Three minutes of scalding ass comes out in a primal cry. He jumps up and down in pain and grabs his butt in a desperate attempt to cool it off. Then he looks at his hand. It's brown with peanuts in it.</scene_description> <character>HARRY</character> <dialogue>Aaaaaaaaaaaaaaaaaaaaaaaaaah!</dialogue> <scene_description>Could the heat have possibly compromised his sphincter control? He brings his hand up and inspects it. Then he smells it. Then he tastes it (not bad). Then he examines his stained hand a little closer, picks off a coagulated CHUNK OF PEANUT, pops that in his mouth and begins eating it.</scene_description> <character>HARRY</character> <dialogue>Yummy.</dialogue> <scene_description>He reaches back down into his pants and this time pulls out the Sonnie Day Peanuts bag and chocolate bar wrapper. A huge wave of relief wafts over his face. He takes another lick as he grabs a white towel off the rack and starts to wipe off the chocolate. He makes grunting noises as he wipes.</scene_description> <character>HARRY</character> <dialogue>Oh, what a mess.</dialogue> <scene_description>In trying to clean-up he only make its worse. Chocolate is quickly everywhere: On his hands, face, shirt, towels, all over his pants, the sink, the mirrors, etc. He panics.</scene_description> <character>JESSICA (O.S.)</character> <dialogue>HARRY? Are you okay?</dialogue> <character>HARRY</character> <dialogue>Are you kidding? I couldn't be more okay.</dialogue> <character>JESSICA (O.S.)</character> <dialogue>My mom wants to know if you can stay for dinner.</dialogue> <character>HARRY</character> <dialogue>Are you kidding? I'll be down in a "I-crapped-my-pants."</dialogue> <character>JESSICA (O.S.)</character> <dialogue>What?</dialogue> <character>HARRY</character> <dialogue>Coming.</dialogue> </scene> <scene> <stage_direction>EXT. TOWN MAIN STREET - SAME TIME</stage_direction> <scene_description>LLOYD cruises down the sidewalk on Ray's floor waxer. The "WAX ON" lever is accidentally activated from the jostling and wax starts to spray out behind him. HEAD ON shot of Lloyd driving down the sidewalk as pedestrians behind him slip and fall on the steaming wax.</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S BATHROOM - MOMENTS LATER</stage_direction> <scene_description>The place is now a disaster! Harry tries to hide the chocolate covered towels in the cabinets, spreading the mess everywhere.</scene_description> <character>JESSICA O.S.</character> <dialogue>HARRY, are you coming down?</dialogue> <character>HARRY</character> <dialogue>Just... cleaning up.</dialogue> <scene_description>He surveys the disaster and realizes there is only thing to do. He climbs out the window.</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S ROOF/FRONT YARD- CONTINUOUS</stage_direction> <scene_description>He climbs out on the roof to escape.</scene_description> <character>LLOYD O.S.</character> <dialogue>HARRY!</dialogue> <scene_description>HARRY jumps - almost falls off. Looks, sees Lloyd down below. HARRY'S POV:</scene_description> <character>HARRY</character> <dialogue>Oh hey Lloyd, why are you here?</dialogue> <character>LLOYD</character> <dialogue>Just wanted to see how your doing.</dialogue> <character>HARRY</character> <dialogue>I kinda screwed things up.</dialogue> <character>LLOYD</character> <dialogue>I'm sure you're overreacting.</dialogue> <character>HARRY</character> <dialogue>I don't think so.</dialogue> <character>LLOYD</character> <dialogue>You're always your harshest critic.</dialogue> <character>HARRY</character> <dialogue>She wants me to stay for dinner, I don't know what to say to her.</dialogue> <character>LLOYD</character> <dialogue>Okay, I saw this in a movie once. Open the dining room window and follow my lead. Say what I say.</dialogue> <character>HARRY</character> <dialogue>Good - thanks Lloyd! I'll meet you downstairs, I gotta find some clothes.</dialogue> <scene_description>HARRY glances in a different window and sees some dry cleaning that looks like a looks like a man's blue suit hanging on a hook.</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>HARRY walks down the stairs wearing the suit. TILT TO REVEAL it's actually a woman's pant suit with shoulder pads and a very blousy cut jacket a la Nancy Regan circa 1985.</scene_description> <character>JESSICA</character> <dialogue>What are you wearing?</dialogue> <character>HARRY</character> <dialogue>I, uh... changed for dinner. I get dressed for all my meals. Except breakfast and bath-meal.</dialogue> <parenthetical>(then, bad acting)</parenthetical> <dialogue>Boy, it's hot in here. Mind if I open a window?</dialogue> <scene_description>He opens the window. ANGLE ON - LLOYD sneaks up under the window. We CUT BACK AND FORTH.</scene_description> <character>LLOYD</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>HARRY, can you hear me?</dialogue> <character>HARRY</character> <dialogue>Yes.</dialogue> <character>JESSICA</character> <dialogue>Yes, what?</dialogue> <character>LLOYD</character> <dialogue>Don't answer me. Say what I say.</dialogue> <character>HARRY</character> <dialogue>Okay.</dialogue> <character>JESSICA</character> <dialogue>Okay, what?</dialogue> <character>LLOYD</character> <dialogue>You have beautiful eyes.</dialogue> <character>HARRY</character> <dialogue>You have beautiful eyes.</dialogue> <character>JESSICA</character> <dialogue>Thank you.</dialogue> <scene_description>LLOYD looks down to see the family dog on his leg.</scene_description> <character>LLOYD</character> <dialogue>Hey, where did you come from?</dialogue> <character>HARRY</character> <dialogue>Hey, where did you come from?</dialogue> <character>JESSICA</character> <dialogue>Well I was born in St. Louis.</dialogue> <character>LLOYD</character> <dialogue>Do you want me to pet your head?</dialogue> <character>HARRY</character> <dialogue>Do you want me to pet your head?</dialogue> <character>LLOYD</character> <dialogue>I bet you want your head scratched.</dialogue> <character>HARRY</character> <dialogue>I bet you want your head scratched.</dialogue> <character>JESSICA</character> <dialogue>No, why? I think we still have more to talk about.</dialogue> <scene_description>LLOYD goes to pet the dog's head and it growls at him.</scene_description> <character>LLOYD</character> <dialogue>Don't snap at me like that. You're lucky I don't punch you right in the face.</dialogue> <character>HARRY</character> <dialogue>Don't snap at me like that. You're lucky I don't punch you right in the face.</dialogue> <scene_description>She is hurt and takes a step back.</scene_description> <character>LLOYD</character> <dialogue>Now what are you staring at, you ugly monkey?</dialogue> <character>HARRY</character> <dialogue>What are you staring at, you ugly monkey?</dialogue> <scene_description>We see Jessica's WASPY father now standing there with her.</scene_description> <character>JESSICA'S DAD</character> <dialogue>Uh... not a great first impression... Dinner's ready.</dialogue> <character>HARRY</character> <dialogue>Then what are we doing sitting</dialogue> <dialogue>around yapping? Let's eat!</dialogue> <scene_description>He puts his arm around Jessica's father and leads him into the dining room.</scene_description> <character>HARRY</character> <dialogue>So what business are you in, Charlie?</dialogue> <character>JESSICA'S DAD</character> <dialogue>The name's Walter.</dialogue> <character>HARRY</character> <dialogue>Well la de da.</dialogue> <character>LLOYD</character> <parenthetical>(whispers)</parenthetical> <dialogue>Hey? Hello? It's me?</dialogue> <scene_description>JESSICA hears this and goes to the window. She sees Lloyd.</scene_description> <character>JESSICA</character> </scene> <scene> <stage_direction>EXT. JESSICA'S HOUSE - CONTINUOUS</stage_direction> <scene_description>JESSICA opens the door.</scene_description> <character>JESSICA</character> <dialogue>What are you doing here?</dialogue> <character>LLOYD</character> <dialogue>Checking up on my friend, Harry.</dialogue> <character>JESSICA</character> <dialogue>Oh Harry's doing just fine, he's just about to open up.</dialogue> </scene> <scene> <stage_direction>INT. JESSICA'S DINING ROOM - CONTINUOUS</stage_direction> <scene_description>HARRY is now at the table with Jessica's dad, who watches him cut and eat pads of butter.</scene_description> <character>JESSICA'S DAD</character> <dialogue>We've got some margarine too if you'd like to scoop it out of the tub.</dialogue> <character>HARRY</character> <dialogue>No, I'm fine thanks.</dialogue> <character>JESSICA'S DAD</character> <dialogue>Well save room for Mrs. Matthews famous baked brisket.</dialogue> <character>HARRY</character> <dialogue>Famous? I've never heard of it.</dialogue> <scene_description>JESSICA's mom enters and puts the food on the table. She notices Harry's suit.</scene_description> <character>JESSICA'S MOM</character> <dialogue>You know, they make that suit for women, too.</dialogue> <scene_description>HARRY's now stuffing a roll in his mouth - he nods.</scene_description> <character>JESSICA'S MOM</character> <dialogue>So I see you like my rolls.</dialogue> <character>HARRY</character> <parenthetical>(mouth full)</parenthetical> <dialogue>Sure, I like a woman with some meat on her bones.</dialogue> </scene> <scene> <stage_direction>EXT. JESSICA'S HOUSE - CONTINUOUS</stage_direction> <character>LLOYD</character> <dialogue>So, have you given him "some" yet?</dialogue> <parenthetical>(he winks)</parenthetical> <character>JESSICA</character> <dialogue>What?</dialogue> <character>LLOYD</character> <dialogue>You know, "some". The fag stuff.</dialogue> <character>JESSICA</character> <dialogue>HARRY and I have been talking about school. In fact, I want to ask you something.</dialogue> <character>LLOYD</character> <dialogue>I know, you want go for a ride.</dialogue> <scene_description>He points to his waxer gyrating around on the lawn, with a trail of smashed flowers behind it.</scene_description> <character>JESSICA</character> <dialogue>Where'd that come from? He holds up a giant key chain.</dialogue> <character>LLOYD</character> <dialogue>Come on, I live with the janitor. I have a key to every room in the school.</dialogue> <character>JESSICA</character> <dialogue>So could you get us into the principal's office?</dialogue> <character>LLOYD</character> <dialogue>Principal's office? Yeah, I guess I can swing that.</dialogue> <scene_description>With expert Ninja-like agility, Lloyd grabs the key.</scene_description> <character>JESSICA</character> <dialogue>Oh, Lloyd! That's it. Maybe I'll get my story after all!</dialogue> <scene_description>In a fit of exhilaration, she takes Lloyd's face and kisses him on the lips.</scene_description> </scene> <scene> <stage_direction>INT. JESSICA'S DINING ROOM - CONTINUOUS</stage_direction> <scene_description>JESSICA's Dad is now calming down.</scene_description> <character>JESSICA'S DAD</character> <dialogue>...now let's just have a quiet dinner, and forget this ever happened.</dialogue> <scene_description>Over this, Harry sees Jessica kissing Lloyd out the door behind Jessica's Dad. He drops his glass of grape juice and it explodes in a mess on the white carpet.</scene_description> <character>JESSICA'S MOM/ JESSICA'S DAD</character> <dialogue>Aaaaaahhhhhhhhhhhhhhh!</dialogue> <character>HARRY</character> <parenthetical>(reacting to kiss and then)</parenthetical> <dialogue>Ooohhhhhhhhhhhhhhhhhh!</dialogue> <character>JESSICA'S MOM</character> <dialogue>I'll get the carpet cleaner.</dialogue> <character>JESSICA'S DAD</character> <dialogue>I'll get some towels!</dialogue> <scene_description>Her father runs upstairs as Harry runs to the front door.</scene_description> </scene> <scene> <stage_direction>EXT. JESSICA'S HOUSE - CONTINUOUS</stage_direction> <scene_description>JESSICA pulls away from Lloyd. He's never felt this feeling before. Instant love. Jessica, isn't aware of her impact. Just then Harry bursts out.</scene_description> <character>HARRY</character> <parenthetical>(to Lloyd)</parenthetical> <dialogue>Two-timing slut!</dialogue> <character>HARRY</character> <parenthetical>(to Jessica)</parenthetical> <dialogue>And you! I thought you were from St. Louis!</dialogue> <parenthetical>(back to Lloyd)</parenthetical> <dialogue>I never want to see you again. Captain Rob was right. You are an arrrrrs-hole.</dialogue> <scene_description>LLOYD ignores Harry. He can't keep his eyes off his new love, Jessica.</scene_description> <character>HARRY</character> <dialogue>I'm going home. After I thank your parents for a wonderful evening.</dialogue> <scene_description>HARRY goes back into the house and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>JESSICA's father enters and sees the room covered with brown stains.</scene_description> <character>JESSICA'S DAD</character> <dialogue>Aaaaaahhhhhhhhhhhhhh! Oh my god!</dialogue> </scene> <scene> <stage_direction>EXT. JESSICA'S HOUSE - CONTINUOUS</stage_direction> <character>JESSICA'S DAD (O.S.)</character> <dialogue>Oh my God, he shit everywhere! There's shit everywhere! Oh my God. Get up here. There's shit on the window. Son of a bitch. He shit all over my bathroom. Shit. Shit- shit- shit.</dialogue> <character>JESSICA'S MOM (O.S.)</character> <dialogue>Aaaahh. Shit! Oh my God. It's all poo. There's poo everywhere.</dialogue> <scene_description>The front door opens and Harry walks out trying to look dignified for Lloyd's benefit. After a few steps, he starts to run down the sidewalk at full speed.</scene_description> <character>JESSICA</character> <dialogue>So, when can we do it?</dialogue> <character>LLOYD</character> <dialogue>Tomorrow night?</dialogue> <character>JESSICA'S MOM O.S.</character> <dialogue>Aaaahhhhhhhhhhhhhhhh!</dialogue> <character>JESSICA'S DAD O.S.</character> <dialogue>Look!! It's all shit! He shit all over! There's shit everywhere!!</dialogue> <character>JESSICA'S MOM (O.S.)</character> <dialogue>Aaaahhhhhhhhhhhhhhhh!</dialogue> <scene_description>JESSICA runs in, leaving Lloyd happy to be in love.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>HARRY sits on his bed and tears up the treasure map his mom made for him.</scene_description> <character>HARRY</character> <dialogue>I was an idiot to ever leave the house, go to school, meet new friends. That won't happen again, will it, Captain?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And you know why...</dialogue> <scene_description>He pushes a wall unit book shelf over to block the window.</scene_description> <character>HARRY</character> <dialogue>... because you're never gonna jump ship on me again.</dialogue> <scene_description>He pushes a book shelf in front of the window, it gives way falling apart - spilling it's contents to the floor.</scene_description> <character>HARRY</character> <parenthetical>(to Captain Rob)</parenthetical> <dialogue>You did not know that was going to happen!</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL MAIN ENTRANCE - NIGHT</stage_direction> <scene_description>LLOYD is sitting on the front steps with flowers and a casette tape. He looks up at the school's clock, it reads 7:55. Then looks at his palm - where he's drawn a pocket watch. It also says 7:55.</scene_description> <character>LLOYD</character> <dialogue>Won't be long now.</dialogue> <scene_description>He looks off and we see his POV, a DATE FANTASY:</scene_description> </scene> <scene> <stage_direction>EXT. PLAYBOY MANSION GROTTO - NIGHT</stage_direction> <scene_description>LLOYD sits in a hot tub surrounded by a bevy of Playmates. He has them captivated.</scene_description> <character>LLOYD</character> <dialogue>... And that, ladies, is why God gave women two breasts instead of three. Although you're OK.</dialogue> <scene_description>He points at one beautiful girl who has three beautiful breasts. They all laugh and giggle. One heretofore unseen Jessica EMERGES FROM THE WATER, god knows what she's been doing. Wink wink.</scene_description> <character>JESSICA</character> <dialogue>Oh, baby, you're the bestest.</dialogue> <character>LLOYD</character> <dialogue>Oh, go on.</dialogue> <scene_description>JESSICA laughs.</scene_description> <character>LLOYD</character> <dialogue>No seriously, go on.</dialogue> <scene_description>And HE PUSHES HER BACK UNDERWATER.</scene_description> <character>MRS. DUNNE O.S.</character> <dialogue>Oh, Lloyd...</dialogue> <scene_description>He looks and we pan to see the beautiful Mrs. Dunne who removes the same Mom-pajamas she wore in Harry's bedroom, revealing a bathing suit as she steps into the pool.</scene_description> <character>LLOYD</character> <dialogue>Mrs. D! I was hoping you'd show up.</dialogue> <character>MRS. DUNNE</character> <dialogue>Oh honey, I wouldn't miss this for the world.</dialogue> <character>LLOYD</character> <dialogue>Have you got what I want?</dialogue> <character>MRS. DUNNE</character> <dialogue>You know I do!</dialogue> <character>LLOYD</character> <dialogue>Oh yeah, give it to me.</dialogue> <scene_description>MRS. DUNNE takes Lloyd's face and virtually EATS HIS FACE in a kiss that will stop time.</scene_description> <character>LLOYD</character> <dialogue>Not what I had in mind but much better than the meatloaf stew.</dialogue> <scene_description>JESSICA interrupts them as she comes up from the under the water holding wet papers.</scene_description> <character>LLOYD</character> <parenthetical>(to Mrs. Dunne)</parenthetical> <dialogue>I meant 'give me some pie'...</dialogue> <character>JESSICA</character> <dialogue>LLOYD, I finished all of your homework.</dialogue> <scene_description>MRS. DUNNE approaches Jessica.</scene_description> <character>MRS. DUNNE</character> <dialogue>Get lost sister he's mine!</dialogue> <character>JESSICA</character> <dialogue>In your dreams! I saw him first!</dialogue> <character>MRS. DUNNE</character> <dialogue>You only want him for his hot rack.</dialogue> <character>JESSICA</character> <dialogue>Well you only want him because he's a genius like Albert Frankenstein.</dialogue> <scene_description>This starts a pushing match and water slap fight.</scene_description> <character>LLOYD</character> <dialogue>Girls! Girls! Please.</dialogue> <scene_description>They both stop.</scene_description> <character>LLOYD</character> <dialogue>There's only one, fair way to settle this. Make-out contest!</dialogue> <scene_description>SMASH CUT TO: SFX: DING DING DING Both girls square off the come together to kiss EACH OTHER. LLOYD's the referee, he walks around them to make sure there's no cheating. He wears a ref's shirt and bow tie. SFX: BUZZER The girls turn to Lloyd so he can announce the winner.</scene_description> <character>MRS. DUNNE</character> <dialogue>How was that?</dialogue> <character>LLOYD</character> <dialogue>It's too close to call.</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>Okay next contest, now lets...</dialogue> <scene_description>HARRY SUDDENLY APPEARS from above RIDING A JET PACK and wearing a bad helmet. He lands on the side of the jacuzzi.</scene_description> <character>HARRY</character> <dialogue>LLOYD, what are you doing? That's JESSICA and... my mom.</dialogue> <character>LLOYD</character> <dialogue>HARRY, this is my fantasy! I suggest you leave - before I imagine something horrible.</dialogue> <character>HARRY</character> <dialogue>But-</dialogue> <scene_description>HARRY!</scene_description> <character>HARRY</character> <dialogue>You're right. Hey, thanks for the jet pack. Your fantasies are so much cooler than mine. Bye Mom.</dialogue> <scene_description>MRS. DUNNE smile and waves. Harry flies out of frame he goes by a bikini beauty who DIVES into the pool. We see her UNDERWATER. As she swims by Lloyd a BURST of FART BUBBLES come from his shorts. SFX: Underwater bubbles. The bubbles rise to the surface and we see Lloyd.</scene_description> <character>LLOYD</character> <parenthetical>(guilty)</parenthetical> <dialogue>Oopsy-daisy.</dialogue> <scene_description>JESSICA and Mrs. Dunne stare at Lloyd.</scene_description> <character>JESSICA</character> <dialogue>LLOYD, did you just fart?</dialogue> <scene_description>CLOSE ON Lloyd.</scene_description> <character>LLOYD</character> <parenthetical>(flirty)</parenthetical> <dialogue>Maybe.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL MAIN ENTRANCE - CONTINUOUS</stage_direction> <scene_description>REVEAL Jessica is standing in front of Lloyd at the school and has just really asked Lloyd if he farted.</scene_description> <character>JESSICA</character> <dialogue>Well, something stinks.</dialogue> <character>LLOYD</character> <dialogue>Maybe it's this mix tape I made you. Or maybe these flowers. He gives Jessica the flowers and tape.</dialogue> <character>JESSICA</character> <dialogue>Uh, thanks. God I'm so excited! So, are you ready to take me to the principal's office? He whips out the key, she takes it.</dialogue> <character>LLOYD</character> <dialogue>So no small talk? Good, 'cause I don't know how to make that. Yep. Small talk. Not for me. Not a fan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Got any hobbies? How 'bout this weather?</dialogue> <scene_description>LLOYD looks around and she's gone.</scene_description> </scene> <scene> <stage_direction>INT. COLLINS OFFICE - MOMENTS LATER</stage_direction> <scene_description>JESSICA's frantically looking for something- opening drawers, throwing books off shelves, scattering papers. She sees a chest, opens it and continues searching- unsuccessfully.</scene_description> <character>JESSICA</character> <dialogue>Nothing.</dialogue> <scene_description>LLOYD enters, seductively sliding onto Collins' desk.</scene_description> <character>JESSICA</character> <dialogue>What are you doing?</dialogue> <character>LLOYD</character> <dialogue>What are you doing?</dialogue> <character>JESSICA</character> <dialogue>Let's just do it and get out of here.</dialogue> <scene_description>She goes back to searching the office. Loyd watches her.</scene_description> <character>LLOYD</character> <dialogue>Oh, wow. Straight to the business. But okay, I'll get ready.</dialogue> <scene_description>LLOYD lifts his leg up to take off a shoe. He hops around on the other leg, struggling and jumping up and down.</scene_description> <character>LLOYD</character> <dialogue>I just can't get it off.</dialogue> <character>JESSICA</character> <dialogue>I'm so close I can feel it.</dialogue> <character>LLOYD</character> <dialogue>Me too. I'm almost there.</dialogue> <character>JESSICA</character> <dialogue>That's it. I'm done.</dialogue> <character>LLOYD</character> <dialogue>That was fast. Well, did you at least enjoy it?</dialogue> <character>JESSICA</character> <dialogue>No, it was a complete waste of time.</dialogue> <character>LLOYD</character> <dialogue>This is so embarrassing, it's never happened before. Well, maybe a couple of times, but I was alone.</dialogue> <scene_description>SFX: Horn honks. She looks out the window to see a handsome guy sitting in a car.</scene_description> <character>JESSICA</character> <dialogue>That's my boyfriend.</dialogue> <character>LLOYD</character> <dialogue>Boyfriend? What about all that talk about riding my waxer?</dialogue> <character>JESSICA</character> <dialogue>Thanks, Lloyd. But I didn't find what I was looking for. Oh can you do me a favor and clean up? Collins can't know we were here.</dialogue> <scene_description>She exits.</scene_description> <character>LLOYD</character> <dialogue>Don't worry! I don't kiss and tell.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Ooh, messy.</dialogue> <scene_description>LLOYD starts to clean up. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. COLLINS' OFFICE - LATER</stage_direction> <scene_description>The office is back to normal. Lloyd is just finishing when he picks a lamp off the ground and spies a steel chest with a padlock sitting under a table in the center of the room.</scene_description> <character>LLOYD</character> <dialogue>Oh. My. God. The treasure chest. This must be the chest Harry's been looking for. This is it. I found HARRY's treasure! Harry! Harry!</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - MOMENTS LATER</stage_direction> <scene_description>LLOYD is dragging the very heavy treasure chest.</scene_description> <character>LLOYD</character> <parenthetical>(yelling)</parenthetical> <dialogue>HARRY! Harry!</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>I should probably do this yelling at Harry's house.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL - MOMENTS LATER</stage_direction> <scene_description>LLOYD pushes the chest and it bounces down the stairs.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S HOUSE LIVING ROOM - NIGHT</stage_direction> <scene_description>HARRY sits in a chair NOT watching an episode of LAVERNE AND SHIRLEY in fact he hates that show. He hears the sounds of pebbles hitting the window. After a beat we see Lloyd's head slowly appear in the window straining as hard as a face possibly could to look over the ledge. It can't hold the position any more and drops out of frame. A second later, a huge amount of gravel and stones pelt the window. Then a gigantic cinder block comes flying through the glass. The window explodes. Harry looks at the cinder block. There is a note attached: "LOOK OUT WINDOW. I'M TRYING TO GET YOUR ATTENTION."</scene_description> </scene> <scene> <stage_direction>EXT. HARRY'S HOUSE - DINING ROOM - CONTINUOUS</stage_direction> <scene_description>Reveal Harry's on the first floor, and Lloyd is inches away outside the window. Harry's head pokes out.</scene_description> <character>LLOYD</character> <dialogue>HARRY! I found the treasure!</dialogue> <character>HARRY</character> <dialogue>Go away, assface.</dialogue> <character>LLOYD</character> <dialogue>Did you hear what I said? The treasure! Like on your map!</dialogue> <character>HARRY</character> <dialogue>Yeah, right. Why don't you show it to your "girlfriend"?</dialogue> <character>LLOYD</character> <dialogue>JESSICA and I are through. I couldn't stand being with her knowing you liked her. It wasn't worth our friendship. Oh, and she also has a boyfriend.</dialogue> <character>HARRY</character> <dialogue>Do you hear something, Captain Rob?</dialogue> <character>LLOYD</character> <dialogue>Captain Rob came back?</dialogue> <character>HARRY</character> <parenthetical>(to Captain Rob)</parenthetical> <dialogue>Yeah, he does sound like a rat fink.</dialogue> <character>LLOYD</character> <dialogue>Hey, there's no reason to use that kind of language!</dialogue> <character>HARRY</character> <parenthetical>(beat, then laughs)</parenthetical> <dialogue>Good one, Captain Rob. He does look like a you-know-what.</dialogue> <character>LLOYD</character> <dialogue>Oh, telling inside jokes now, are we? That's it. You're out of the cool crowd. Next time Turk's passing out wedgies, you ain't gettin' one.</dialogue> <scene_description>HARRY slams the window. An angry Lloyd storms away.</scene_description> <character>LLOYD</character> <dialogue>We're through, pal. Finito. No mas. Auf Weinerschnitzel. The end.</dialogue> <scene_description>HARRY sadly watches him go. He picks up his gallon of ice cream and "Tiger Beat" magazine, and sulks. As we begin a sad Harry-Lloyd montage...</scene_description> </scene> <scene> <stage_direction>INT. RAY'S BASEMENT APARTMENT</stage_direction> <scene_description>LLOYD has stuffed pillows and blankets and has built a stuffed Harry. His head is the mound of chewed gum from earlier with chemistry goggles and crazy-mop hair attached. LLOYD falls asleep on the bed and Harry's gum-ball head sticks to Lloyd. Lloyd wakes up and has a Siamese twin Harry stuck to him.</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS CLASSROOM - NEXT MORNING</stage_direction> <scene_description>LLOYD is in front of the class, teaching. Harry is whispering to the empty desk next to him and starts giggling.</scene_description> <character>LLOYD</character> <dialogue>HARRY, would you like to share with the rest of us what's so funny?</dialogue> <character>HARRY</character> <dialogue>You wouldn't get it. Just a private joke between best friends.</dialogue> <scene_description>LLOYD snaps a piece of chalk in jealous rage.</scene_description> <character>LLOYD</character> <dialogue>Okay, class. Who can tell me who painted the Declaration of Independence?</dialogue> <scene_description>The class ignores him, but Harry shoots his hand in the air.</scene_description> <character>HARRY</character> <dialogue>Ooh, ooh. Call on me!</dialogue> <scene_description>LLOYD looks around the class, pretending not to see Harry. TURK and Ching Chong are making out, Terri is painting her nails, Toby is asleep on her lap. Carl is near a black-board that has the 'x's and 'o's of a football play, he's scribbling circles around one of the 'x's , mumbling to himself. Lewis is engrossed in a book- "Getting that Mascot Scholarship."</scene_description> <character>LLOYD</character> <dialogue>No one knows?</dialogue> <character>HARRY</character> <dialogue>Me, me, me!</dialogue> <character>LLOYD</character> <dialogue>The answer is George Jefferson.</dialogue> <scene_description>HARRY slams his fist on the desk in frustration.</scene_description> <character>HARRY</character> <dialogue>I knew that!</dialogue> <scene_description>LLOYD snickers.</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - DAY</stage_direction> <scene_description>HARRY, spitting food out talking. The kids across from him leave, disgusted. Directly BEHIND him, Lloyd is doing the same thing. The people across from him leave. Harry and Lloyd both turn and see each other, almost have a moment - then get mad again and turn back. Harry finally decides to make amends and turns back around - but Lloyd's gone.</scene_description> </scene> <scene> <stage_direction>EXT. PETE'S FISH SHANTY - NIGHT</stage_direction> <scene_description>Out in front of this fish-theme restaurant, Lewis - dressed in a pirate's costume, is talking to the owner.</scene_description> <character>LEWIS</character> <dialogue>I have a lot of experience wearing mascot suits and I can start most mornings at eleven. Except for Thursdays, when I can start at ten.</dialogue> <character>OWNER</character> <dialogue>Don't you have school?</dialogue> <character>LEWIS</character> <dialogue>Kind of. Not really.</dialogue> <character>OWNER</character> <dialogue>Alright, just don't piss anyone off and you've got the job.</dialogue> <character>LEWIS</character> <dialogue>I won't let you down, sir.</dialogue> <scene_description>LEWIS puts on a giant foam pirate head.</scene_description> </scene> <scene> <stage_direction>EXT. PETE'S FISH SHANTY - LATER - NIGHT</stage_direction> <scene_description>LLOYD walks by the restaurant as Lewis, now in the foam head, stands outside passing out coupons.</scene_description> <character>LEWIS</character> <dialogue>Hey, Lloyd.</dialogue> <scene_description>LLOYD stops dead in his track and turns around.</scene_description> <character>LLOYD</character> <dialogue>Do I know you?</dialogue> <character>LEWIS</character> <dialogue>Duh. I'm in your class at school.</dialogue> <character>LLOYD</character> <dialogue>Oh my God, it's really you. You're HARRY's friend, right?</dialogue> <character>LEWIS</character> <dialogue>I don't know if you'd call us "friends"...</dialogue> <character>LLOYD</character> <dialogue>You really are a pirate.</dialogue> <character>LEWIS</character> <dialogue>Can you believe it?</dialogue> <character>LLOYD</character> <dialogue>So I'm an "arrrrrs-hole", eh Captain Rob?</dialogue> <character>LEWIS</character> <dialogue>What are you talking about?</dialogue> <scene_description>LLOYD exits frame. We hold a beat, as Lewis hands out a flyer then Lloyd comes FLYING through frame, TACKLING Lewis. On the ground he slugs him through the eye-patch in his Pirate head.</scene_description> <character>LLOYD</character> <dialogue>I want my friend back!</dialogue> <scene_description>LLOYD storms off. Lewis POV: From the hole in the head, he sees the owner come outside and stand over him. Lewis takes his pirate head off.</scene_description> <character>OWNER</character> <dialogue>I think I have to let you go. And you gotta pay for the busted head.</dialogue> <scene_description>INT. HARRY'S LIVING ROOM Ñ NEXT MORNING There is STATIC on the TV, Harry's fallen asleep on the couch. Pebbles hit his now taped up window, it wakes him up. HARRY looks and sees Lloyd's head popping up and down as if jumping up from a lower floor. He walks over revealing they are on the first floor, and Lloyd's outside doing push-ups.</scene_description> <character>HARRY</character> <dialogue>LLOYD, doing girlie push-ups is not going to impress me.</dialogue> <scene_description>LLOYD stands up.</scene_description> <character>LLOYD</character> <dialogue>Well how about this.</dialogue> <scene_description>LLOYD points to the gigantic polar bear from the museum standing on the side of the house behind him.</scene_description> <character>HARRY</character> <dialogue>You took the polar bear out of it's natural habitat?</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NATURAL HISTORY MUSEUM - CONTINUOUS</stage_direction> <scene_description>A mom and her little girl stand in front of the Arctic exhibit. Little baby polar bears surround the place where the big polar bear used to be. A LITTLE GIRL is with her MOM.</scene_description> <character>LITTLE GIRL</character> <dialogue>Mommy, where's the Daddy polar bear?</dialogue> <character>MOM</character> <dialogue>He was shot by a hunter. Just like your father.</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. HARRY'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>HARRY leans out his upstairs window.</scene_description> <character>HARRY</character> <parenthetical>(angry)</parenthetical> <dialogue>LLOYD! I can't believe you! Just when I thought I couldn't get any madder at you, you do something like this...</dialogue> <scene_description>LLOYD's face falls.</scene_description> <character>HARRY</character> <parenthetical>(ecstatic)</parenthetical> <dialogue>... And I can't even remember why I was mad at you! Get that polar bear off my lawn, and bring it up to my room!</dialogue> <scene_description>LLOYD's look tells us it'll never fit through the door.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S STAIRS - MOMENTS LATER</stage_direction> <scene_description>LLOYD and Harry drag the polar bear up the stairs, knocking pictures off the wall.</scene_description> <character>LLOYD</character> <dialogue>By the way, did Captain Rob mention how I beat the crap out of him this afternoon?</dialogue> <character>HARRY</character> <dialogue>No. What happened?</dialogue> <character>LLOYD</character> <parenthetical>(covering)</parenthetical> <dialogue>Nothing. Why, whaddya hear?</dialogue> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL - MONDAY MORNING</stage_direction> <scene_description>Kids arriving at school. Lloyd and Harry walk up, one wearing a polar bear jacket and the other in polar bear pants. They see Lewis with a black eye.</scene_description> <character>LLOYD</character> <dialogue>Hey buddy, what happened to you?</dialogue> <scene_description>Seeing Lloyd, Lewis runs off in the other direction.</scene_description> <character>HARRY</character> <dialogue>Must be jealous of our polar wear.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL COLLINS'S OFFICE - LATER</stage_direction> <scene_description>Collins frantically looking around the office. Ms. Heller enters.</scene_description> <character>MS. HELLER</character> <dialogue>Baby, I'm going to spend the morning at the mall. You know, shop for Waikiki. Honey, what are you looking for?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>The chest! The chest that I put my papers in.</dialogue> <character>MS. HELLER</character> <dialogue>What papers?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>The documents. The photos! The tapes! The evidence.</dialogue> <character>MS. HELLER</character> <dialogue>The evidence of what?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Sweetheart keep up with me for half a minute. The evidence of every scam we ever pulled. The evidence that's going to put us away for twenty years.</dialogue> <scene_description>Now Ms. Heller starts to panic.</scene_description> <character>MS. HELLER</character> <dialogue>Where is it?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>I don't know where it is. It's not here. It's been stolen.</dialogue> <character>MS. HELLER</character> <dialogue>Wait a minute, I think I know who stole it.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>No you don't know who stole it. Just let me do the thinking.</dialogue> <scene_description>Collins paces for beat.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Okay, what have you got?</dialogue> <character>MS. HELLER</character> <dialogue>It was Jessica. That girl who tried to follow me on the field trip.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>JESSICA. Are you sure?</dialogue> <character>MS. HELLER</character> <dialogue>She's been snooping around a lot, asking questions.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Okay, I'll take care of Jessica.</dialogue> <character>MS. HELLER</character> <dialogue>Are you going to kill her?</dialogue> <character>PRINCIPAL COLLINS</character> <parenthetical>(exasperated to the nth degree)</parenthetical> <dialogue>Why don't you see to it the kids are ready for the parade tomorrow. I have to pay somebody a little visit.</dialogue> </scene> <scene> <stage_direction>EXT. SPECIAL NEEDS CLASSROOM</stage_direction> <scene_description>An establishing angle on the dilapidated building</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS CLASS - LATER</stage_direction> <scene_description>MS. HELLER is addressing the class. We see on the blackboard behind her, she has written 'Special Needs Parade float project' and a poor CHALK-SKETCH of a float.</scene_description> <character>MS. HELLER</character> <dialogue>So, any ideas for a float?</dialogue> <scene_description>HARRY and Lloyd, best friends once again, sit near the front.</scene_description> <character>LLOYD</character> <dialogue>A raft.</dialogue> <character>HARRY</character> <dialogue>A blimp.</dialogue> <character>LLOYD</character> <dialogue>A turd.</dialogue> <character>MS. HELLER</character> <dialogue>Not things that float. Ideas for a float. Can we hear from anyone else?</dialogue> <scene_description>The class ignores her. As Toby flirts with Terri, Lewis lifts his wallet from his back pocket.</scene_description> <character>LLOYD</character> <dialogue>Sorry, Ms. Heller. I think they're used to me teaching.</dialogue> <character>MS. HELLER</character> <parenthetical>(to others)</parenthetical> <dialogue>People! Come on. "Parade" float.</dialogue> <scene_description>CHING CHONG nods her head like she gets it and stands up next to Turk.</scene_description> <character>CHING CHONG</character> <dialogue>Ting tao kuun jahn leeka leeka powww.</dialogue> <character>TURK</character> <parenthetical>(overlaps with a stereotypical Asian accent)</parenthetical> <dialogue>She's saying... a beautiful swan...</dialogue> <character>CHING CHONG</character> <dialogue>Sleeeeew sheek baw...</dialogue> <character>TURK</character> <dialogue>... flying gracefully... over the rice fields.</dialogue> <scene_description>CHING CHONG looks very lovingly at Turk.</scene_description> <character>CHING CHONG</character> <dialogue>Kan maaaaw Roy Orbison kin nah mah oh che.</dialogue> <character>TURK</character> <dialogue>... to the tune of "Only the Lonely" by Roy Orbison.</dialogue> <character>MS. HELLER</character> <parenthetical>(getting impatient)</parenthetical> <dialogue>Focus. This is for Thanksgiving. Now think hard - what are you all thankful for?</dialogue> <scene_description>Nobody really cares - except for Lloyd and Harry who think hard. Lewis has Toby's wallet and takes cash out.</scene_description> <character>LLOYD</character> <parenthetical>(calls out)</parenthetical> <dialogue>George Washington!</dialogue> <character>HARRY</character> <dialogue>Who?</dialogue> <character>LLOYD</character> <parenthetical>(pointing to the dollar bill that Lewis has)</parenthetical> <dialogue>Hello, he only invented money!</dialogue> <scene_description>TOBY takes his wallet back and SMACKS Lewis.</scene_description> <character>MS. HELLER</character> <dialogue>That's not bad. How about a float of George Washington crossing the Delaware?</dialogue> <character>LLOYD</character> <dialogue>Or maybe crossing a river!</dialogue> <character>HARRY</character> <dialogue>Like the Atlantic!</dialogue> <character>MS. HELLER</character> <dialogue>So it's settled.</dialogue> <character>TOBY</character> <dialogue>You mean we have to parade around in front of everyone?</dialogue> <character>TURK</character> <dialogue>On a float of George Washington?</dialogue> <character>LLOYD</character> <dialogue>This is gonna be the best Thanksgiving ever!</dialogue> <character>TERRI</character> <dialogue>We're gonna look like idiots.</dialogue> <character>MS. HELLER</character> <dialogue>Exactly.</dialogue> <character>TOBY</character> <dialogue>No way.</dialogue> <character>MS. HELLER</character> <dialogue>Did I mention if you don't make a float, there'll be no Special Needs class next semester?</dialogue> <scene_description>LLOYD and Harry look horrified.</scene_description> <character>MS. HELLER</character> <dialogue>Which means back to homework, real grades and actually having to attend class.</dialogue> <scene_description>This sinks in for a beat, then as one they all run out.</scene_description> </scene> <scene> <stage_direction>EXT. FLOAT BUILDING MONTAGE - DAY</stage_direction> <scene_description>We hear the theme from the "A-Team" re-mixed with an Eban Schletter brass section. We see some quick smash cuts of the individual kids grabbing the pieces that will make up the float. They include: HANDS grab tools off of the tractor shed's wall. EXTREME CLOSE-UP of a hammer driving nails. EXTREME ANGLE on a wood saw cutting through wood. TURK rips out some heating duct, hands it down to Ching Chong. EXTREME CLOSE-UP of a paint brush painting on wood. LLOYD carrying rolls of toilet paper from a supply room - trailing a piece from his pants, err - I mean, poophole. CARL does a rush towards a chicken wire fence - pulling it out around him. LEWIS, TOBY and TERRI roll him up in it like it's a rug and sneakily walk away. CLOSE ON the famous painting, "Washington Crossing the Delaware". Lewis lowers the print TO REVEAL a pretty decent replica of the picture - now done as a parade float. The whole class congratulates themselves.</scene_description> </scene> <scene> <stage_direction>INT. PRINCIPAL COLLINS' CAR - MOMENTS LATER</stage_direction> <scene_description>Collins is driving with Jessica in his snazzy Olds Cutlass.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>You had some questions.</dialogue> <character>JESSICA</character> <dialogue>Last year Toby was in A.P. English. And Lewis won the Science Fair. What are they doing in Special Needs?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Poor question. Too wordy. A good question gets right to the point. Example, where's my chest?</dialogue> <character>JESSICA</character> <dialogue>I don't know what you're talking about.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Oh I think you do.</dialogue> <scene_description>He clicks the automatic locks click as the car makes a turn.</scene_description> <character>JESSICA</character> <parenthetical>(scared)</parenthetical> <dialogue>My parents are going to wonder where I am.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>One phone call from the principal will take care of that, my dear.</dialogue> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - MOMENTS LATER</stage_direction> <scene_description>PRINCIPAL COLLINS is on a pay-phone while Jessica sits in his car outside.</scene_description> <character>PRINCIPAL COLLINS</character> <parenthetical>(doing a high- pitched girl's voice)</parenthetical> <dialogue>Hello? It's me, Brenda. Jessica's friend. She wanted me to call you and tell you we're going to the liberry... yes - Brenda...</dialogue> </scene> <scene> <stage_direction>INT. BIG 'A' GAS N' STUFF - CONTINUOUS</stage_direction> <scene_description>CLOSE ON slushee machine.</scene_description> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - CONTINUOUS</stage_direction> <scene_description>HARRY and Lloyd stand outside the store, eyeing the slushee machine inside. They're drooling like dogs.</scene_description> <character>LLOYD</character> <dialogue>Wow, we built a whole float in one afternoon. And now the reward.</dialogue> <character>HARRY</character> <dialogue>What do you mean? We can't go in there or we'll be "it".</dialogue> <scene_description>CALE, appears next to the slushee machine and looks out at HARRY and Lloyd. He rubs the machine sexily and gives them a "you want it? Come and get it" look.</scene_description> <character>HARRY</character> <dialogue>What's so bad about being "it"?</dialogue> <character>LLOYD</character> <dialogue>If you have to ask, you don't know.</dialogue> <character>HARRY</character> <dialogue>Yeah, that's why I asked.</dialogue> <character>LLOYD</character> <dialogue>You certainly did.</dialogue> <character>HARRY</character> <dialogue>I know I did.</dialogue> <character>LLOYD</character> <dialogue>Sorry, no further questions.</dialogue> <scene_description>A TEN YEAR-OLD KID walks out of the store.</scene_description> <character>LLOYD</character> <dialogue>Hey, kid, you wanna make two dollars?</dialogue> <character>TEN YEAR-OLD KID</character> <dialogue>Sure.</dialogue> <character>LLOYD</character> <dialogue>Go in there and get us two slushees.</dialogue> <character>TEN YEAR-OLD KID</character> <dialogue>Okay.</dialogue> <character>LLOYD</character> <dialogue>Do we have a deal?</dialogue> <character>TEN YEAR-OLD KID</character> <dialogue>Yeah, deal. Give me the two dollars.</dialogue> <character>LLOYD</character> <dialogue>Ha! I said "doll-hairs." Psych! But a deal's a deal, my friend. In you go.</dialogue> <character>TEN YEAR-OLD KID</character> <dialogue>Fine. Give me the doll hairs.</dialogue> <character>LLOYD</character> <dialogue>Uh-oh. Harry?</dialogue> <scene_description>HARRY shakes his head.</scene_description> <character>TEN YEAR-OLD KID</character> <dialogue>A deal's a deal.</dialogue> <character>HARRY</character> <dialogue>Would you take five bucks instead?</dialogue> <scene_description>HARRY hands him five bucks and the kid runs inside. Harry and Lloyd high-five. They watch as the kid walks into the store and ask for two slushees.</scene_description> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - MOMENTS LATER</stage_direction> <scene_description>PRINCIPAL COLLINS is still on the pay-phone while Jessica sits in his car outside.</scene_description> <character>PRINCIPAL COLLINS</character> <parenthetical>(still doing the high- pitched girl's voice)</parenthetical> <dialogue>Yes Mrs. Matthews, we have lots of studying to do so we're going to pull an all nighter... No, we're not meeting boys. If only.</dialogue> </scene> <scene> <stage_direction>EXT. BIG 'A' GAS N' STUFF - CONTINUOUS</stage_direction> <scene_description>The kid comes out holding two slushees. He hands them to HARRY and Lloyd.</scene_description> <character>HARRY/LLOYD</character> <dialogue>Slushee!/ Yum!</dialogue> <scene_description>LLOYD and Harry look at Cale through the glass and make a big scene to let him know they got slushees from him without having to go inside. They do a big "we-have-slushees-and-wedidn't- have-to-go-inside" dance.</scene_description> <character>TEN YEAR-OLD KID</character> <dialogue>That guy told me to give you this.</dialogue> <scene_description>He tags Harry.</scene_description> <character>TEN YEAR-OLD KID</character> <dialogue>You're it.</dialogue> <character>HARRY/LLOYD</character> <dialogue>Awww./ Nooo.</dialogue> <scene_description>CALE laughs at them from inside. He gives them the famous "you're-it- now-buttheads" dance.</scene_description> <character>TEN YEAR-OLD KID</character> <dialogue>And grow up.</dialogue> <scene_description>The kid starts to walk off.</scene_description> <character>LLOYD</character> <dialogue>He said that?</dialogue> <scene_description>Over his shoulder--</scene_description> <character>TEN YEAR-OLD KID</character> <dialogue>No, that's from me.</dialogue> <scene_description>And he's gone. Harry and Lloyd watch him go for a beat. Then, Harry tags Lloyd.</scene_description> <character>HARRY</character> <dialogue>You're it.</dialogue> <character>LLOYD</character> <dialogue>Am not.</dialogue> <character>HARRY</character> <dialogue>Are, too.</dialogue> <character>LLOYD</character> <dialogue>D2.</dialogue> <scene_description>HARRY's about to take a big drink. Lloyd stops him.</scene_description> <character>HARRY</character> <dialogue>It's okay. I want the rush.</dialogue> <character>LLOYD</character> <dialogue>No. Look.</dialogue> <scene_description>LLOYD points to Jessica, sitting alone in Collins' parked car.</scene_description> <character>HARRY</character> <dialogue>Hey, it's Jessica.</dialogue> <character>LLOYD</character> <dialogue>That must be her boyfriend's car.</dialogue> <scene_description>They see Principal Collins hang up the phone, walk over to the car and get in. LLOYD (cont'd) Look, it's Principal Collins! HARRY and Lloyd look at each other.</scene_description> <character>HARRY</character> <dialogue>PRINCIPAL COLLINS is her boyfriend!</dialogue> <character>LLOYD</character> <dialogue>Now it makes total sense why she didn't want him to know we were in his office the other night.</dialogue> <scene_description>Collins starts up the car.</scene_description> <character>LLOYD</character> <dialogue>Don't let him see us.</dialogue> <scene_description>HARRY and Lloyd run over to the gas pumps and try to hide by looking nonchalant. Over the following, Harry pumps gas into a side window of a car while Lloyd actually sprays gas all over the windshield.</scene_description> <character>HARRY</character> <dialogue>No wonder we both struck out with her. Who can compete with the sexual power of the man who occupies the highest office in the land?</dialogue> <character>LLOYD</character> <dialogue>He's like the Pope. Like we're gonna snake a girl away from the Pope.</dialogue> <character>HARRY</character> <dialogue>Hey, let's go spy on them.</dialogue> <scene_description>Collins backs out of the gas station. Harry and Lloyd put the gas pumps back. Lloyd jumps in a shopping cart and Harry starts pushing. Cale comes out of the store, takes a drag of his cigarette and gets in his car (the car Harry and Lloyd gassed up and in).</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - CONTINUOUS</stage_direction> <scene_description>HARRY and Lloyd have wheeled after Collins, when a huge explosion erupts. The gas pumps are now a ball of fire. HARRY and Lloyd stop, look back and stare. From above, Cale flies into frame, landing right in front of them.</scene_description> <character>HARRY</character> <dialogue>Oh my god, are you alright?</dialogue> <character>CALE</character> <dialogue>Yeah, I think.</dialogue> <scene_description>LLOYD leans down and pokes him.</scene_description> <character>LLOYD</character> <dialogue>You're it!</dialogue> <parenthetical>(to Harry)</parenthetical> <dialogue>Come on Harry, let's go.</dialogue> <character>CALE</character> <dialogue>Hey! That's my shopping cart!</dialogue> <scene_description>The boys race off in the cart, down the street, following Collins.</scene_description> </scene> <scene> <stage_direction>INT. PRINCIPAL COLLINS CAR - CONTINUOUS</stage_direction> <scene_description>They are oblivious to the explosion behind them.</scene_description> <character>JESSICA</character> <dialogue>So what did you say to my parents on the phone?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Not to expect you tonight.</dialogue> <scene_description>Through the rear window WE SEE Harry and Lloyd roll up in the cart and crouch down.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - SAME TIME</stage_direction> <scene_description>HARRY and Lloyd grab on to the rear bumper of the car and hang on as Collins drives on. EXT CITY STREET - MOMENTS LATER HARRY and Lloyd riding Collins' car through the streets. They swing out into the street and almost crash head-on into a FIRE TRUCK with a DALMATION riding on top. They turn back and watch it go away.</scene_description> <character>HARRY</character> <dialogue>Cute puppy.</dialogue> <character>LLOYD</character> <dialogue>He must be on his way to pee out a fire.</dialogue> <scene_description>Up ahead, they see a 'MR. SOFTEE' ICE CREAM TRUCK with a softserve cone on top.</scene_description> <character>HARRY</character> <dialogue>Hey, look. Ice cream.</dialogue> <character>LLOYD</character> <dialogue>You thinking what I'm thinking?</dialogue> <scene_description>As Collins' car stops for a red light, the boys race through the intersection and grab a hold of the ice cream truck.</scene_description> </scene> <scene> <stage_direction>INT. MR. SOFTEE ICE CREAM TRUCK - CONTINUOUS</stage_direction> <scene_description>We see that the DRIVER has no idea what's going on.</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER CITY STREET - A LITTLE LATER</stage_direction> <scene_description>The boys are at the side window of the ice cream truck, now each holding ice cream cones.</scene_description> <character>LLOYD</character> <dialogue>Hey Harry, want dessert!</dialogue> <scene_description>They SPLIT OFF from the ice cream truck. CUT TO: INT./EXT. COLEY DOG - HOT DOG CAR - CONTINUOUS TIGHT ON the Hot Dog ship's Captain then BOOM OUT to see it's actually a Hot Dog car and the Boy's are at the back eating dogs that are covered in ketchup and mustard. Happy as can be they all motor off down the road.</scene_description> </scene> <scene> <stage_direction>INT. COLLINS'S LIVING ROOM - NIGHT</stage_direction> <character>PRINCIPAL COLLINS</character> <dialogue>I'm going to ask you one last time and if I don't get an answer, I don't even want to think about the consequences which would be frightening to say the least. Where's my chest, Jessica?</dialogue> <character>JESSICA</character> <dialogue>I don't know what you're talking</dialogue> <dialogue>about.</dialogue> <scene_description>Collins empties out Jessica's backpack. He holds up a tape.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Well, what have we here? It appears be a tape.</dialogue> <character>JESSICA</character> <dialogue>That's not your tape.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Then where did you get this not my tape.</dialogue> <character>JESSICA</character> <dialogue>THAT'S NOT YOUR TAPE.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Don't play with me dear, you're way out of your league.</dialogue> <scene_description>Collins exits with the tape.</scene_description> </scene> <scene> <stage_direction>EXT. COLLINS HOUSE - MOMENTS LATER</stage_direction> <scene_description>HARRY and Lloyd road weary and wind blown, approach the house. They peek in a window and see the back of Jessica's head. She's alone in the room. Harry taps on the window.</scene_description> <character>HARRY</character> <dialogue>JESSICA!</dialogue> <scene_description>JESSICA turns, sees Harry and Lloyd outside the window. They are a mess - covered in ice cream, ketchup and mustard.</scene_description> <character>JESSICA</character> <dialogue>HARRY! Lloyd! You guys are a mess.</dialogue> <character>LLOYD</character> <parenthetical>(debonair)</parenthetical> <dialogue>Looks like the best man won.</dialogue> <character>HARRY</character> <dialogue>Why didn't you tell us your boyfriend was Principal Collins?</dialogue> <character>JESSICA</character> <dialogue>What? No! Look.</dialogue> <scene_description>She holds up her hand which is handcuffed to the table.</scene_description> <character>HARRY/LLOYD</character> <dialogue>Kinky!</dialogue> <scene_description>Suddenly they hear the sound of Lloyd's mix tape.</scene_description> <character>LLOYD</character> <dialogue>Hey, that's my mix tape! You're using it for your seduction? I'm flattered.</dialogue> </scene> <scene> <stage_direction>INT. COLLINS STUDY - CONTINUOUS</stage_direction> <scene_description>Collins is at a tape recorder, looking very confused at LLOYD's singing. He presses fast forward and is annoyed when all he hears is Lloyd's rambling.</scene_description> <character>LLOYD</character> <dialogue>... If I may quote the twentieth century poet</dialogue> <parenthetical>(mispronounces 'Piscopo')</parenthetical> <dialogue>- Joe Piscahpo:</dialogue> <parenthetical>(Like Billy Crystal)</parenthetical> <dialogue>You look Marvelous...</dialogue> </scene> <scene> <stage_direction>INT. COLLINS LIVING ROOM - CONTINUOUS</stage_direction> <character>JESSICA</character> <dialogue>LLOYD, when we were in Principal Collins's office, did you see any kind of chest?</dialogue> <character>LLOYD</character> <dialogue>HARRY's treasure chest? Sure. I know where that is.</dialogue> <character>HARRY</character> <dialogue>You found my treasure? Why didn't you tell me.</dialogue> <character>LLOYD</character> <dialogue>Three words. I did. But you were all mad at me and wouldn't listen.</dialogue> <character>HARRY</character> <dialogue>Well, I'm listening now.</dialogue> <character>LLOYD</character> <dialogue>Me, too. This is my favorite part of the tape.</dialogue> <scene_description>LLOYD bops along as he listens to his mix tape.</scene_description> <character>JESSICA</character> <dialogue>HARRY, Lloyd, listen to me. I only have time to say this once. Collins is a criminal. He's kidnapped me. The evidence you need to convict him is in that chest. You've got to take what's in that chest and make sure people know about it before the parade tomorrow and Collins and Heller get</dialogue> <dialogue>their money and leave town...</dialogue> <scene_description>The boys hear none of this. We hear their thoughts as their minds wander.</scene_description> <character>LLOYD (V.O.)</character> <dialogue>God she's cute. Look at her teeth. I bet she could bite through anything. Yes, yes she could.</dialogue> <scene_description>JESSICA sees Lloyd nodding like he's paying attention. She looks at Harry, who's also nodding.</scene_description> <character>HARRY (V.O.)</character> <dialogue>I wonder what Lloyd's thinking about?</dialogue> <parenthetical>(Harry glances over at LLOYD, then back at JESSICA)</parenthetical> <dialogue>Look at all that hair. She must have millions of tiny holes in her head. Otherwise it would just bunch all up on her brain...</dialogue> <character>JESSICA</character> <dialogue>So guys, you listening to me?</dialogue> <character>HARRY/LLOYD</character> <dialogue>Yeah./ Sure.</dialogue> <character>JESSICA</character> <dialogue>Remember, before the parade.</dialogue> <character>HARRY/LLOYD</character> <dialogue>Right, right. The parade.</dialogue> <scene_description>Just then Ms. Heller ENTERS in the background with some SUITCASES.</scene_description> <character>HARRY</character> <dialogue>Hey look, it's our teacher.</dialogue> <character>JESSICA</character> <dialogue>Of course, she's in on it too. Don't let her see you. Just go get that chest and show the world what Collins has been doing. I'm staying here.</dialogue> <character>LLOYD</character> <parenthetical>(lewdly)</parenthetical> <dialogue>Obviously.</dialogue> <character>MS. HELLER</character> <parenthetical>(calls out to Jessica)</parenthetical> <dialogue>So miss snoopy reporter girl, it appears that you've snooped yourself into a corner and snoopcuffed yourself to a desk. Whose wearing the Coconut bra now?</dialogue> <scene_description>JESSICA just stares at her.</scene_description> <character>MRS. HELLER</character> <dialogue>Well I just have one word for you. Aloha. The one that means goodbye!</dialogue> <scene_description>With confidence, Heller heads off down the hallway.</scene_description> <character>JESSICA</character> <parenthetical>(to Harry and Lloyd)</parenthetical> <dialogue>Don't worry about me, I'll be fine. I can take care of myself and I'm getting the story every high school reporter dreams of.</dialogue> <character>LLOYD</character> <parenthetical>(to Harry)</parenthetical> <dialogue>"My dream date with Principal Collins."</dialogue> <character>HARRY</character> <dialogue>I wish I was the one writing that story.</dialogue> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS CLASSROOM - DAY</stage_direction> <scene_description>TIGHT ON the lock as Lloyd is about to break it. Harry stops him.</scene_description> <character>HARRY</character> <dialogue>You know Lloyd, the real treasure is our friendship.</dialogue> <character>LLOYD</character> <dialogue>How true. But I still feel I deserve more than you do of this treasure. I mean, I found it.</dialogue> <character>HARRY</character> <dialogue>But my mom gave me the map.</dialogue> <character>LLOYD</character> <dialogue>I lugged it all over town!</dialogue> <character>HARRY</character> <dialogue>I made the polar bear pants.</dialogue> <character>LLOYD</character> <dialogue>But I ate your Mom's pie.</dialogue> <character>HARRY</character> <parenthetical>(struggling)</parenthetical> <dialogue>I... found that rock.</dialogue> <character>LLOYD</character> <dialogue>It was a diamond and you swallowed it.</dialogue> <character>HARRY</character> <dialogue>We were all out of top hats.</dialogue> <character>LLOYD</character> <dialogue>Enough! Look what this cursed chest is doing to us.</dialogue> <character>HARRY</character> <dialogue>I don't know who we are anymore.</dialogue> <scene_description>TIGHT ON the trunk. Lloyd breaks the lock. They open the chest, MUSIC SWELLS. WE SEE a shot of Collins' incriminating files, photos, etc.</scene_description> <character>HARRY</character> <dialogue>What is all this?</dialogue> <character>LLOYD</character> <dialogue>I have no idea - it's full of files and documents and tapes.</dialogue> <character>HARRY</character> <dialogue>Do you know what this means?</dialogue> <character>HARRY/LLOYD</character> <parenthetical>(ecstatic)</parenthetical> <dialogue>We're rich!</dialogue> <scene_description>They take the chest contents and throw it like gold coins.</scene_description> <character>LLOYD</character> <dialogue>Buddy, we hit the jackpot!</dialogue> </scene> <scene> <stage_direction>INT. SPECIAL NEEDS CLASSROOM - MOMENTS LATER</stage_direction> <scene_description>HARRY and Lloyd rolling around in the papers and rubbing them all over their bodies. Harry picks up a casette tape.</scene_description> <character>HARRY</character> <dialogue>Hey Lloyd. This looks like another one of your mix tapes.</dialogue> <character>LLOYD</character> <dialogue>Maybe the pirate who buried this treasure chest made it. Put it on.</dialogue> <scene_description>HARRY sticks the tape in a player.</scene_description> <character>PRINCIPAL COLLINS (O.S.)</character> <dialogue>Principal's log, September twenty third. Check, check, sound check,</dialogue> <dialogue>check.</dialogue> <character>HARRY</character> <dialogue>Hey, it's Principal Collins.</dialogue> <character>LLOYD</character> <dialogue>That makes total sense. The treasure chest was in his office. Which means Principal Collins is a pirate! I'm surprised Captain Rob never mentioned him.</dialogue> <character>HARRY</character> <dialogue>That's because Captain Rob is not a pirate. We've been through this.</dialogue> <character>PRINCIPAL COLLINS (O.S.)</character> <dialogue>Testing, testing, one two three...</dialogue> <character>HARRY</character> <dialogue>Boy, his mix tape really isn't as good as yours, Lloyd.</dialogue> <character>PRINCIPAL COLLINS (O.S.)</character> <dialogue>Check, check, check, check...</dialogue> <character>HARRY</character> <dialogue>Although he speaks pretty good Chinese.</dialogue> <character>LLOYD</character> <dialogue>That's not Chinese.</dialogue> <scene_description>LLOYD fast forwards the tape. We hear FAST FORWARD NOISE.</scene_description> <character>LLOYD</character> <dialogue>That's Chinese.</dialogue> <scene_description>LLOYD presses play again.</scene_description> <character>PRINCIPAL COLLINS (O.S.)</character> <dialogue>... Find idiots for phony Special Needs class, take the Moffit grant money and deposit it in an illegal personal account...</dialogue> <character>LLOYD</character> <dialogue>Hmm, I don't get it.</dialogue> <character>HARRY</character> <dialogue>What was it Jessica wanted us to do with this chest again?</dialogue> <character>LLOYD</character> <dialogue>Something about showing the world what Principal Collins has done.</dialogue> <character>HARRY</character> <dialogue>Right. She's so proud of her boyfriend.</dialogue> <scene_description>LLOYD fast forwards a little more.</scene_description> <character>PRINCIPAL COLLINS (O.S.)</character> <dialogue>... And that is how I, Principal Collins, became the mastermind behind this glorious plan. And the Special Needs brats don't know anything about it. It's the crime of the century.</dialogue> <character>LLOYD</character> <dialogue>He's right. We have committed the crime of the century.</dialogue> <character>HARRY</character> <dialogue>What? What did we do?</dialogue> <character>LLOYD</character> <dialogue>We never thanked him for giving us our Special Needs class.</dialogue> <character>HARRY</character> <parenthetical>(eureka!)</parenthetical> <dialogue>That's what Jessica was talking about!</dialogue> <character>LLOYD</character> <dialogue>She wants us to show the world what a great guy Principal Collins is.</dialogue> <character>HARRY</character> <dialogue>And like she said, do it before the parade.</dialogue> <scene_description>LLOYD sees the poor chalk drawing of a float on the blackboard that Heller left.</scene_description> <character>LLOYD</character> <dialogue>A float!</dialogue> <character>HARRY</character> <dialogue>That's it. Build him a float for the Thanksgiving Day parade!</dialogue> <scene_description>LLOYD starts's modifying the float-sketch - it's scribble.</scene_description> <character>LLOYD</character> <dialogue>HARRY, we found the real thing to be thankful for. Screw George Washington!</dialogue> <character>HARRY</character> <dialogue>Yes. Screw George Washington. Just</dialogue> <dialogue>like Marilyn Monroe did.</dialogue> </scene> <scene> <stage_direction>INT. TRACTOR SHED - THAT NIGHT</stage_direction> <scene_description>The doors open to REVEAL we're inside the darkened room as the overhead door slides open revealing Harry and Lloyd, hands on hips, ready to work.</scene_description> <character>HARRY</character> <dialogue>Ready Lloyd?</dialogue> <character>LLOYD</character> <dialogue>Put a fork in me Harry, lets get started.</dialogue> <scene_description>LLOYD hits the lights to REVEAL the float of George Washington built by the Special Needs class. Lloyd picks up a sledgehammer.</scene_description> <character>LLOYD</character> <dialogue>Good bye, George Washington, hello PRINCIPAL COLLINS.</dialogue> <scene_description>HARRY stops him.</scene_description> <character>HARRY</character> <dialogue>Wait a minute! Have you ever noticed Principal Collins looks a little like George Washington?</dialogue> <scene_description>HARRY holds us a photo of Collins.</scene_description> <character>LLOYD</character> <dialogue>No. I think he looks a lot like George Washington.</dialogue> <scene_description>LLOYD starts to swing his hammer. Harry stops him.</scene_description> <character>HARRY</character> <dialogue>Wait, wait!</dialogue> <character>LLOYD</character> <dialogue>HARRY, are we gonna build this thing or not?</dialogue> <character>HARRY</character> <dialogue>LLOYD, what I'm saying is we may already have what we want.</dialogue> <scene_description>LLOYD takes a long look at Collins' photo, then at Washington's head. He smiles at Harry.</scene_description> <character>LLOYD</character> <dialogue>Oh. I get it now.</dialogue> <scene_description>Once again he raises his hammer to take another swing, and HARRY restrains him, the two share an awkward moment.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL STADIUM - NEXT MORNING</stage_direction> <scene_description>We start CLOSE ON a small aquarium that has been all taped together (from the bus chase), the NEBBISH GUY stands nearby as we BOOM UP past a MIDWAY CARNIVAL to see the High School's Thanksgiving Day parade is in progress. The bleachers are full of students and townspeople watching. Cheerleaders carry a banner reading, "PROVIDENCE HILL HIGH SCHOOL THANKSGIVING 1986".</scene_description> </scene> <scene> <stage_direction>EXT. BLEACHERS - CONTINUOUS</stage_direction> <scene_description>PRINCIPAL COLLINS is nervously watching. Heller approaches and sits down next to him.</scene_description> <character>MS. HELLER</character> <dialogue>So the chest is still out there somewhere.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Yes. So as soon as Zimmer shows up, we'll get our check and blow this pop stand before anyone finds out anything.</dialogue> <character>MS. HELLER</character> <parenthetical>(looking at parade)</parenthetical> <dialogue>This band sounds terrible.</dialogue> <scene_description>We see the marching band playing instruments that are old, damaged or home made.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>I sold all the wind instruments.</dialogue> <parenthetical>(holds up tickets)</parenthetical> <dialogue>Hawaiian Air, business class. And you like that new fur coat?</dialogue> <character>MS. HELLER</character> <dialogue>Love it!</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Well there's a reason why that mascot isn't a stallion anymore.</dialogue> <scene_description>In front of a MARCHING BAND is a boy leading a goat, holding a flag reading "GO STALLIONS!"</scene_description> <character>MS. HELLER</character> <dialogue>This is horse?</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>No... no it's not horse, you see I sold the horse.</dialogue> <scene_description>Behind the boy, Ray is driving a Cadillac convertible, waving at the crowd. A sign on the car reads "Custodian of the Year". And an ad that READS: 'Buy Original Ray's WAX - made from real ketchup and mustard!'</scene_description> </scene> <scene> <stage_direction>EXT. TRACTOR SHED - CONTINUOUS</stage_direction> <character>TOBY (O.S.)</character> <dialogue>What the hell?</dialogue> </scene> <scene> <stage_direction>INT. TRACTOR SHED - CONTINUOUS</stage_direction> <scene_description>We HEAR THE MARCHING BAND in the distance, as the Special needs students, Toby, Terri, Carl, Turk, Ching Chong and LEWIS are looking up in disbelief.</scene_description> <character>TURK</character> <dialogue>What'd you morons do? Where's George Washington?</dialogue> <character>TERRI</character> <dialogue>Yeah, why'd you give him a makeover?</dialogue> <scene_description>REVEAL Harry and Lloyd putting the finishing touches on the NEW FLOAT. They've RE-SCULPTED "Washington crossing the Delaware" into "Principal Collins the Pirate". With his statue now on a PIRATE SHIP. This is all made from found objects that were in the Special Needs class and tractor shed. The statue's glasses are made from shovels and George Washington's white hair is now black and he has bushy black eyebrows matching Collins. Just then Lewis enters wearing the tattered old horse mascot uniform and carrying the head. Half his hair is cut close and tattered.</scene_description> <character>LEWIS</character> <dialogue>Sorry I'm late but I woke up tied to the bed and...</dialogue> <scene_description>He see's Washington/Collins eyebrows.</scene_description> <character>LEWIS</character> <dialogue>Hey - that's my hair! Someone cut it while I slept!</dialogue> <scene_description>HARRY and Lloyd 'act casual' whistle and look around. The kids walk closer in towards the float and we see: Washington's/Collins' outstretched hand has been replaced with a pirate's hook fashioned from the heating duct. There's a large sign that reads, "PRINCIPAL = PIRATE" and the original treasure chest is now prominently displayed as part of the float. The whole thing is attached to Lloyd's waxer with a rope. Harry and Lloyd walk to the side of the boat</scene_description> <character>HARRY</character> <dialogue>Guys, this is much better.</dialogue> <character>LLOYD</character> <dialogue>PRINCIPAL COLLINS is a greater American than George Washington will ever be.</dialogue> <character>TURK</character> <dialogue>I don't get it. Why'd you make him a pirate?</dialogue> <character>CHING CHONG (O.S.)</character> <parenthetical>(breaks the silence)</parenthetical> <dialogue>I'll tell you why!</dialogue> <scene_description>Reveal Ching Chong at the treasure chest looking through it. For the first time Ching Chong speaks in a perfect American Accent.</scene_description> <character>CHING CHONG</character> <dialogue>You won't believe these documents. They provide evidence of a long history of fraud and embezzlement from the school by Principal Collins and Ms. Heller, a.k.a. the Lunch Lady.</dialogue> <character>HARRY</character> <dialogue>Oh my god. Can you believe your ears?</dialogue> <character>LLOYD</character> <dialogue>Yeah! No more clicks and whistles! Now she speaks perfect English!</dialogue> <character>HARRY</character> <dialogue>You're a great teacher, Lloyd.</dialogue> <scene_description>TURK approaches Ching Chong.</scene_description> <character>TURK</character> <parenthetical>(saddened)</parenthetical> <dialogue>CHING CHONG, What happened to your beautiful Asian accent?</dialogue> <character>CHING CHONG</character> <parenthetical>(no accent)</parenthetical> <dialogue>Actually, my name is Cindy, the accent just helps me meet boys.</dialogue> <scene_description>She notices Turk's sad face.</scene_description> <character>CHING CHONG</character> <dialogue>You want it back - you got it Joe!</dialogue> <scene_description>TURK brightens and hugs her as they join the others who are now examining the documents.</scene_description> <character>TOBY</character> <dialogue>We got state money for a ski club? We never had a ski club.</dialogue> <character>TERRI</character> <dialogue>Collins took two thousand dollars that was supposed to go to a new</dialogue> <dialogue>state of the art stallion mascot uniform.</dialogue> <character>LEWIS</character> <dialogue>I never saw that. Why have I been wearing this one with puke in the head?</dialogue> <character>TURK</character> <dialogue>We've gotta tell people about Collins.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL BUILDING - STREET ADJACENT - DAY</stage_direction> <scene_description>A small GROUP of students rush by as Police Detective Moffit (Dana Gould) gets out of his UNMARKED POLICE CAR. School Superintendent ZIMMER APPROACHES.</scene_description> <character>ZIMMER</character> <dialogue>I'm not sure if I can do this.</dialogue> <character>MOFFIT</character> <dialogue>Sure you can. We gotta nail this guy. You'll be fine.</dialogue> <character>ZIMMER</character> <dialogue>Collins can be a pretty crafty guy, what do I do if he smells the trap.</dialogue> <character>MOFFIT</character> <parenthetical>(as he hides his badge)</parenthetical> <dialogue>I don't think he'll smell anything - just make sure he takes the check. I've been through this a hundred times.</dialogue> <character>ZIMMER</character> <dialogue>Well you know Detective, he's expecting</dialogue> <parenthetical>(fingers in quotes)</parenthetical> <dialogue>'Moffit' to be someone who has... certain... well...</dialogue> <character>MOFFIT</character> <parenthetical>(interrupts him)</parenthetical> <dialogue>Yeah, I get it. Don't worry I studied acting at the police academy just let me do the talking and you'll be fine.</dialogue> <scene_description>ZIMMER walks off and is followed by Moffit.</scene_description> </scene> <scene> <stage_direction>EXT. BLEACHERS CONTINUOUS - DAY</stage_direction> <scene_description>SUPERINTENDENT ROGER ZIMMER approaches Principal Collins.</scene_description> <character>SUPERINTENDANT ZIMMER</character> <dialogue>PRINCIPAL COLLINS.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Ah, Superintendent Zimmer, hello.</dialogue> <character>SUPERINTENDANT ZIMMER</character> <dialogue>I'd like to introduce you to Richard Moffit - former Special Needs student and now American success story.</dialogue> <scene_description>He gestures to MR. MOFFIT, who is mid 30's. Collins notices that he's only wearing one shoe, the other foot is bare.</scene_description> <character>PRINCIPAL COLLINS</character> <parenthetical>(to Zimmer)</parenthetical> <dialogue>It seems Mr. Moffit has forgotten his shoe.</dialogue> <character>SUPERINTENDANT ZIMMER</character> <parenthetical>(shrugs, then quietly)</parenthetical> <dialogue>What're you gonna do. At least today he remembered his pants.</dialogue> <parenthetical>(then, to Moffit)</parenthetical> <dialogue>Richard, this is Principal Collins.</dialogue> <scene_description>PRINCIPAL COLLINS takes Moffit's hand and shakes it - doesn't let go - Collins sees a folded paper in his pocket (check?).</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>Mr. Moffit, it's a great pleasure to meet you sir. And is that what I think it is...?</dialogue> <scene_description>MOFFIT pulls the paper out of his pocket, it is a CHILD LIKE DRAWING OF AN AIRPLANE.</scene_description> <character>MOFFIT</character> <dialogue>Yes! I drew this.</dialogue> <scene_description>Collins looks at Zimmer. Zimmer puts hands in air as 'quotes'.</scene_description> <character>ZIMMER</character> <parenthetical>(whispers)</parenthetical> <dialogue>Special Needs.</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Aren't you going to present to the grant check today.</dialogue> <character>MOFFIT</character> <parenthetical>(interrupting)</parenthetical> <dialogue>I am strong!</dialogue> <character>ZIMMER</character> <parenthetical>(to Moffit)</parenthetical> <dialogue>Yes you are.</dialogue> <parenthetical>(to Collins)</parenthetical> <character>ZIMMER</character> <dialogue>I think Mr. Moffit is looking forward to seeing the float from your Special Needs class first.</dialogue> <scene_description>He pats an envelope in his breast pocket. Principal Collins stares at the envelope.</scene_description> <character>MOFFIT</character> <dialogue>I can turn on all the faucets in my house.</dialogue> <parenthetical>(close to Collins)</parenthetical> <dialogue>Even the hose.</dialogue> <character>ZIMMER</character> <parenthetical>(to Moffit)</parenthetical> <dialogue>But we don't drink from the house do we.</dialogue> <scene_description>Collins reacts uncomfortably to all this... ANGLE ON a few other floats and a band pass. CLOSE-ON MARGIE the bus driver.</scene_description> <character>MARGIE</character> <parenthetical>(leaning out window)</parenthetical> <dialogue>Move it will ya! C'mon I got better things to do.</dialogue> <scene_description>REVEAL she's driving the SPECIAL NEEDS BUS that is now PULLING the SPECIAL NEEDS FLOAT - with the ENTIRE CLASS riding it. She's yelling at the band ahead of her.</scene_description> <character>MS. HELLER</character> <dialogue>Oh, here it comes. You're gonna love what the children have done.</dialogue> <scene_description>CLOSE ON Harry and Lloyd on the float.</scene_description> <character>HARRY</character> <dialogue>Start the tape, Lloyd.</dialogue> <character>LLOYD</character> <dialogue>Roger that, Wilco.</dialogue> <scene_description>HARRY grabs two rods which are attached to the Collins float head and operates the mouth. Lloyd hits a tape recorder button and Collins' voice comes booming out of speakers.</scene_description> <character>PRINCIPAL COLLINS VOICE (O.S.)</character> <dialogue>I found a way to bilk enough money from the school to put us over the</dialogue> <dialogue>top.</dialogue> <scene_description>ANGLE ON: Principal Collins and the others in the bleachers.</scene_description> <character>MOFFIT</character> <parenthetical>(pulls his jacket)</parenthetical> <dialogue>That sounds like you!</dialogue> <character>PRINCIPAL COLLINS</character> <dialogue>Oh my God. They got the chest!</dialogue> <character>SUPERINTENDANT ZIMMER</character> <dialogue>Is that a float of you, Collins? Why are you a pirate?</dialogue> <scene_description>BACK TO FLOAT where we continue to hear Collins' voice blare from the speakers that ARE ATTACHED TO THE FLOAT.</scene_description> <character>PRINCIPAL COLLINS VOICE (O.S.)</character> <dialogue>We've done it all. Trilingual education... twelve hundred dollars for fake mock government... twelve hundred charging tuition...</dialogue> <scene_description>Just then police cars zoom up and screech to a halt. TWO POLICE OFFICERS jump out with Jessica.</scene_description> <character>HARRY</character> <dialogue>Oh, good. There's Jessica.</dialogue> <character>LLOYD</character> <dialogue>How could she miss this? This whole salute to Collins was her idea.</dialogue> <scene_description>ANGLE ON bleachers again.</scene_description> <character>PRINCIPAL COLLINS</character> <dialogue>I don't know what those kids are doing. Nothing they do makes any sense. That's why we started the Special Needs class.</dialogue> <parenthetical>(sees police)</parenthetical> <dialogue>And that's why we need that check!</dialogue> <scene_description>Collins grabs the check... ANGLE ON The float. Harry and Lloyd see Collins running away.</scene_description> <character>HARRY</character> <dialogue>Hey there goes Principal Collins!</dialogue> <character>LLOYD</character> <dialogue>He's so modest. Probably embarrassed by all the attention.</dialogue> <character>HARRY</character> <dialogue>Well, that's too bad, this is his day.</dialogue> <scene_description>Collins sees the police coming from the other direction, so he turns around and starts running back - towards the float.</scene_description> <character>HARRY</character> <dialogue>Oh, good, he's reconsidered.</dialogue> <scene_description>HARRY waves at Jessica, dropping the hydraulic rod connected to the pirate hook. Just then, Collins runs by, and get's caught up on the hook. HARRY resumes his rod motion - which raises Collins into the air. Held only by the back of his jacket. REVEAL Collins - now DANGLING FROM THE HOOK of the Pirate Collins float. HELLER SEES this and tries to make a hasty retreat out the back, turns face to face with Jessica and a BURLY POLICEMAN.</scene_description> <character>HELLER</character> <parenthetical>(casually)</parenthetical> <dialogue>Oh, hello Jessica.</dialogue> <character>JESSICA</character> <dialogue>Now who's going to be handcuffed?</dialogue> <scene_description>Heller makes a feeble attempt to run, but the Cop easily picks her up, as Jessica heads towards the boys. ANGLE back on Collins still struggling on the hook.</scene_description> <character>PRINCIPAL COLLINS</character> <parenthetical>(yelling)</parenthetical> <dialogue>I did it all for the children...</dialogue> <scene_description>The crowd laughs and points. Moffit acts as if he got free pickles in his ice cream.</scene_description> <character>MOFFIT</character> <dialogue>This is the best parade ever!</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. POLICE CAR - A HALF HOUR LATER</stage_direction> <scene_description>JESSICA and all of the SPECIAL NEEDS KIDS watch as a handcuffed Collins and Ms. Heller are put in a police car.</scene_description> <character>JESSICA</character> <dialogue>He's going to be in jail for a long time.</dialogue> <character>LLOYD</character> <dialogue>Principal of jail. Wow. What a promotion.</dialogue> <character>HARRY</character> <dialogue>Those inmates are lucky!</dialogue> <character>JESSICA'S BOYFRIEND O.S.</character> <dialogue>JESSICA!</dialogue> <scene_description>JESSICA turns and see's her boyfriend.</scene_description> <character>JESSICA</character> <parenthetical>(to Harry and Lloyd)</parenthetical> <dialogue>See you guys later.</dialogue> <scene_description>She runs off to her great-looking jock boyfriend.</scene_description> <character>HARRY</character> <dialogue>Oh my God! She's two-timing PRINCIPAL COLLINS!</dialogue> <character>LLOYD</character> <dialogue>And with that complete loser</dialogue> <scene_description>JESSICA and her boyfriend run off.</scene_description> </scene> <scene> <stage_direction>EXT. STREET/SCHOOL ADJACENT - MOMENTS LATER</stage_direction> <scene_description>The boy's walk away from a school parking lot.</scene_description> <character>LLOYD</character> <dialogue>Ya know Harry, I think this whole experience has soured me on women.</dialogue> <character>HARRY</character> <dialogue>Yeah, we should never let a woman come between us again.</dialogue> <character>LLOYD</character> <dialogue>I don't think that'll happen. We've learned a valuable lesson we won't ever forget.</dialogue> <scene_description>They hear a loud honk, turn to see a COOL 4 SEATER SPORTS CAR with TWO HOT IDENTICAL TWIN GIRLS in matching sexy outfits.</scene_description> <character>FRIEDA</character> <dialogue>Excuse us... You're Harry and Lloyd right?</dialogue> <character>HARRY</character> <dialogue>Actually, I'm Harry and he's Lloyd.</dialogue> <character>FRIEDA</character> <dialogue>Well, we're the Felchers. My name's Freida and this is Rita.</dialogue> <character>RITA</character> <dialogue>We're going to go check out the all girl's college. Do you guys want to come?</dialogue> <character>HARRY</character> <dialogue>Sure!</dialogue> <scene_description>HARRY steps forward, but is quickly stopped by Lloyd.</scene_description> <character>LLOYD</character> <parenthetical>(whispers to Harry)</parenthetical> <dialogue>Hold up. First, we have to decide who gets who, remember? No more competition?</dialogue> <character>HARRY</character> <parenthetical>(steps back)</parenthetical> <dialogue>Right.</dialogue> <character>LLOYD</character> <dialogue>Okay. Which one do you want?</dialogue> <scene_description>HARRY checks out the IDENTICAL twin hotties.</scene_description> <character>HARRY</character> <dialogue>The one on the left.</dialogue> <character>LLOYD</character> <dialogue>Damn! What are the odds?</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>LLOYD</character> <dialogue>That's the one I wanted.</dialogue> <scene_description>They both look at the girls, as WE PAN from one to another. There's not a difference between them.</scene_description> <character>HARRY</character> <dialogue>She's one of a kind.</dialogue> <character>LLOYD</character> <dialogue>Try one in a million!</dialogue> <character>HARRY</character> <dialogue>Well, what should we do?</dialogue> <scene_description>LLOYD takes a beat figuring it out.</scene_description> <character>LLOYD</character> <dialogue>You take her.</dialogue> <character>HARRY</character> <parenthetical>(firm)</parenthetical> <dialogue>No Lloyd. Chicks are for fags - I'm not going to do it.</dialogue> <scene_description>LLOYD takes a moment to figure it all out. Then makes the decision.</scene_description> <character>LLOYD</character> <parenthetical>(to the girls)</parenthetical> <dialogue>Look, why don't you girls go on without us okay?</dialogue> <scene_description>HARRY smiles. The girls look confused. LLOYD walks closer to the girl on the left (in the passenger seat).</scene_description> <character>LLOYD</character> <dialogue>You may find a great guy like Harry someday - but I wouldn't count on it.</dialogue> <parenthetical>(glance at the other girl - quickly)</parenthetical> <dialogue>Oh, and I'm sure you're friend here is real sweet too.</dialogue> <scene_description>Hearing this, the girls are miffed, and speed away. The back tire spins up the GUTTER FULL OF MUD.</scene_description> <character>HARRY</character> <dialogue>Thanks Lloyd. You're always looking out for me.</dialogue> <scene_description>LLOYD sees the mud coming his way.</scene_description> <character>LLOYD</character> <dialogue>Look out!</dialogue> <scene_description>LLOYD jumps out of the way PULLING HARRY IN FRONT of him. HARRY's upper body get's soaked in the MUDDY, POO-LIKE COATING. LLOYD peeks out from behind muddy Harry.</scene_description> <character>LLOYD</character> <dialogue>Phew, that was close...</dialogue> <scene_description>HARRY - turns away, stepping into the street to wipe the mud from his face. HARRY starts to reply when he is HIT BY A CAR! Knocked out of frame. SMASH CUT TO: HARRY screaming - seen through the windshield of the car that hit him. The car comes to a rapid stop, as Harry holds on to the windshield wipers - his face pressed up tightly against the glass. Still covered in wet mud - He open's his eyes.</scene_description> <character>HARRY</character> <dialogue>Charlie?</dialogue> <scene_description>REVEAL it's JESSICA'S DAD (Bob Saget)! Who can't help but be freaked out by the shit covered loser attached to his windshield. So HE SCREAMS.</scene_description> <character>JESSICA'S DAD</character> <dialogue>Not you! Not again! Look what you've done! There's shit all over</dialogue> <scene_description>my car! HARRY gets off the car as Lloyd APPROACHES.</scene_description> <character>HARRY</character> <dialogue>Sorry, Charlie.</dialogue> <character>LLOYD</character> <dialogue>Hey, where'd you go?</dialogue> <scene_description>They see Jessica's Dad freaking out in the car as they start to walk away.</scene_description> <character>LLOYD</character> <dialogue>What's with him?</dialogue> <character>HARRY</character> <dialogue>Beats me. It's Jessica's Dad - she said he's really anal.</dialogue> <character>LLOYD</character> <dialogue>That's gross.</dialogue> <character>HARRY</character> <dialogue>I know.</dialogue> <scene_description>As we fade out, Jessica's Dad continues to scream about his shit- covered car. THE END</scene_description> </scene> </script>

In 1986, Harry Dunne finally gets his chance to go to regular school. At the same time, Lloyd Christmas has been adopted and exchanged several times until he is finally accepted by the school janitor, Ray. Harry bumps into Lloyd on the way to school, in search of a treasure his mother asked him to find, and as if it were destiny, the two instantly became the best of friends. Lloyd introduces Harry to his "friend", Turk, the school bully whose main function in life appears to be making Lloyd's life miserable. After putting Lloyd in a trash can, he hoists the two friends up a flagpole. Meanwhile, the corrupt Principal Collins is searching for a way to get a large amount of money to get a condominium in Waikiki, Hawaii for him and his girlfriend, Ms. Heller, the school's cafeteria lady. Seeing Harry and Lloyd getting hoisted on a flagpole, Principal Collins decides to establish a fake "special needs" class to swindle $100,000 from a former Special Needs student named Richard Moffit. Obviously, Harry and Lloyd are more than thrilled to help, unaware of the real reason, and thus find themselves signing up people who are "special" enough for the class. These include a reluctant Turk; a teen named Toby who broke his leg and arm in a skateboarding accident—and whom Lloyd believes is a "little crippled boy"; Toby's gorgeous girlfriend, Terri; geeky Lewis, whom Harry and Lloyd believe is a centaur after seeing him half-dressed in his horse mascot uniform; Cindy, also known as "Ching-Chong", a Chinese exchange student who later becomes Turk's girlfriend; and Carl, a badly injured football player obsessed with his sport. Ms. Heller becomes the teacher of the fake class and holds it in Ray's tool shed. Jessica Matthews, a headstrong student and reporter for the school paper, is suspicious of Principal Collins' sudden contribution. Jessica invites Harry over to her house for dinner and asks Harry for information. Harry, who thinks that she is flirting with him, turns to Lloyd for courtship tips. A repulsive disaster involving Jessica's bathroom and a melted chocolate bar that looks like feces makes her father, Walter, freak out, inadvertently directing her attention to Lloyd. Soon, Harry and Lloyd get into a fight over Jessica, without her knowing it, which causes the duo to angrily break off their friendship. Inevitably, the two make amends when Harry and Lloyd realize that they were nothing without each other. They find Principal Collins' chest in his office which contains evidence of every scam he and Ms. Heller ever pulled, and that evidence could put them away for 20 years. The next day, Principal Collins finds his evidence chest missing, and Ms. Heller falsely accuses Jessica of taking it. As a result, Principal Collins prank calls her parents and keeps her at his house overnight in an attempt to interrogate her. Meanwhile, the Special Needs class builds a float of George Washington for the Thanksgiving Parade. However, after Lloyd and Harry discover the evidence in the chest, they change the float to look like Principal Collins instead. After the class discovers his evidence, they agree to use him as the float instead. They also plan on having it pulled by the class's special bus. Before bringing out the float, they call the police. During the parade, the superintendent of the school district has a police detective pose as Richard Moffit, so Principal Collins would take the grant. Eventually, the Special Needs class brings out their float and proves Principal Collins and Ms. Heller as thieves by putting their recordings over loudspeakers, therefore exposing their plot. Before Principal Collins and Ms. Heller escape with the money, they are arrested by the police. Jessica is grateful for Harry and Lloyd and regards them as heroes, but just like in the original film, the duo's advances to Jessica are in vain, as it turns out that Jessica had a boyfriend. He commends Harry and Lloyd for exposing Collins' and Heller's plot and rides off with Jessica. Harry and Lloyd vow never to fight and risk their friendship over a woman, but as they head home, they are approached by Fraida Felcher and her twin sister, Rita in a red Ferrari 308 GTS, who offer to take them to visit a new girls' college. After Harry and Lloyd get into another debate over which girl they want, Lloyd declines the offer to settle the debate, and Fraida and Rita furiously drive off, splattering Harry with mud in the process. Walter accidentally hits Harry with his Mercedes, resulting in Harry getting the windshield and hood covered with mud. Jessica's father recognizes Harry and as he frantically thinks his car is covered in feces, Harry and Lloyd casually walk away.

Denial_2016

tt4645330

<script> <scene> <scene_description>e t re</scene_description> <character>DENIAL</character> <dialogue>Screenplay by David Hare</dialogue> <scene_description>Based on the book HISTORY ON TRIAL by Deborah E. Lipstadt St</scene_description> <character>03/11/15 - SHOOTING SCRIPT</character> <dialogue>04/12/15 - FULL BLUE SCRIPT</dialogue> <dialogue>er</dialogue> <scene_description>ck ee Bl DENIAL LTD 12-48 Southampton Row LONDON WC1B 4AF</scene_description> </scene> <scene> <stage_direction>EXT. AUSCHWITZ. DAY</stage_direction> <scene_description>Dawn. Mist. Drizzle. Watchtowers, ruined structures, bare trees, fences. Through the rain, the sound of feet shuffling, children's voices crying, metal doors clanging. Then, in sharp contrast, the sound of a large audience laughing t heartily at the plummy, confident voice of DAVID IRVING addressing them over a PA system. e</scene_description> <character>IRVING (VOICE)</character> <dialogue>I don't see any reason to be tasteful about Auschwitz...</dialogue> <scene_description>re</scene_description> </scene> <scene> <stage_direction>INT. MEETING HALL. CALGARY. NIGHT</stage_direction> <scene_description>Grainy newsreel footage of DAVID IRVING, mid-fifties, powerfully built, in perfect English tailoring. St</scene_description> <character>IRVING</character> <dialogue>I say to you, quite tastelessly, that more women died in the backseat of Edward Kennedy's car at Chappaquiddick than ever died in a gas chamber at Auschwitz.</dialogue> <scene_description>Applause and laughter carry over into: er</scene_description> </scene> <scene> <stage_direction>EXT. ATLANTA. EARLY MORNING. CREDITS</stage_direction> <scene_description>DEBORAH LIPSTADT, red-haired, 47, vital, determined, is jogging through bosky suburbs. Sunlit greenery hanging from the trees. Good trainers, stout socks. She has a Sony Walkman on her belt and headphones. She is followed by a joyful ck medium-sized rescue dog, The Mutt. A montage of VOICES:</scene_description> <character>NEWS VOICE 1</character> <dialogue>... media commentator Pat Buchanan caused a stir yesterday when he suggested it would have been physically impossible for Nazi gas</dialogue> <scene_description>ee chambers to have produced enough lethal carbon monoxide to have killed camp victims in Treblinka...</scene_description> <character>NEWS VOICE 2</character> <dialogue>On Phil Donahue tonight, "Did six million really die?"</dialogue> <scene_description>Bl</scene_description> <character>NEWS VOICE 3</character> <dialogue>... National Front leader Jean Marie le Pen asserted that he had never seen any evidence of gas chambers and that many historians doubted if they ever existed...</dialogue> <character>NEWS VOICE 4</character> <dialogue>... A new national poll suggests as many as 22% of US adults and 20% of high school students think it's possible the Holocaust may never have happened...</dialogue> <scene_description>t</scene_description> <character>IRVING'S VOICE</character> <dialogue>e</dialogue> <scene_description>One year from now the Holocaust will have been discredited. No- one's going to like it when they find out that for fifty years re they've been believing a legend based on baloney.</scene_description> </scene> <scene> <stage_direction>EXT. DEBORAH'S HOUSE. MAILBOX. DAY</stage_direction> <scene_description>DEBORAH runs in past a mailbox with "Lipstadt" on the side, St and into her house.</scene_description> </scene> <scene> <stage_direction>INT. DEBORAH'S HOUSE. KITCHEN/BEDROOM. DAY. CREDITS</stage_direction> <scene_description>DEBORAH, sweating, towel round her neck, forks dog-food from a can. She clangs the side of the bowl and The Mutt appears at once. DEBORAH clicks on the coffee machine, pours a smoothie, and scrapes out the heart of a bagel with a spoon. er NPR radio is playing: Bob Edwards with Morning Edition. CAPTION: ATLANTA NOVEMBER 11th 1994</scene_description> </scene> <scene> <stage_direction>INT. DEBORAH'S OFFICE. DAY. CREDITS</stage_direction> <scene_description>ck Later. It's now Julie McCarthy on NPR. DEBORAH, showered and dressed, is multitasking, gulping coffee, picking up a stack of freshly marked student essays, also picking up a big cardboard box of books, from under her desk - the title briefly glimpsed DENYING THE HOLOCAUST. The essays are slapped down on top of the books. ee</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR &amp; DEBORAH'S OFFICE. EMORY UNIVERSITY. DAY.</stage_direction> <character>CREDITS</character> <dialogue>DEBORAH walks briskly into her office with the box. The Mutt, following, dives to his usual place under the desk. DEBORAH'S ASSISTANT, LEONIE, hands her another coffee in a paper cup, some papers, and message slips.</dialogue> <scene_description>Bl</scene_description> <character>LEONIE</character> <dialogue>I've done your corrections. Two copies. Here. Jamie called from NBC. They still want the interview about the book.</dialogue> <scene_description>LEONIE hands over some tapes.</scene_description> <character>LEONIE</character> <dialogue>Clips. Edited. Marked. Cues on script.</dialogue> <character>DEBORAH \*</character> <dialogue>He needs some water. \*</dialogue> <scene_description>t DEBORAH is already through the door with box, tapes, speech, e coffee. LEONIE is too late.</scene_description> <character>LEONIE</character> <dialogue>You want a hand with that?</dialogue> <scene_description>re</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DEKALB COLLEGE. ATLANTA. DAY. CREDITS</stage_direction> <scene_description>DEBORAH confidently pushes her way into a hall, with columns and rows of empty seats, heading towards the speaker's lectern. The event's organizer is GLORIA, black, 40s, is St trying to keep up with DEBORAH'S brisk pace.</scene_description> <character>DEBORAH</character> <dialogue>I do a lot of these events, so I have quite a clear idea how best to handle them. If you can put a table at the back. Right by the door, perfect as they leave.</dialogue> <scene_description>er</scene_description> <character>GLORIA</character> <dialogue>Certainly will.</dialogue> <character>DEBORAH</character> <dialogue>I took the liberty of calling a couple of local papers for coverage. Mia Daniels, Grant from \*</dialogue> <scene_description>ck the Inquirer... \*</scene_description> <character>GLORIA</character> <dialogue>Oh good. We were going to do that. You're one step ahead.</dialogue> <character>DEBORAH</character> <dialogue>ee</dialogue> <scene_description>Well I hope so. I like to be. DEBORAH looks round the hall, checking the first arrivals.</scene_description> </scene> <scene> <stage_direction>INT &amp; EXT. CAR &amp; STREETS. ATLANTA. DAY. CREDITS</stage_direction> <scene_description>Two MEN in the front - heavy, determined. In the back, a Bl third MAN, whose face is not seen. They're all quiet. They drive along busy streets: downtown Atlanta, aspiring, skyscrapered. The traffic thins as they approach the college.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DAY. CREDITS</stage_direction> <scene_description>DEBORAH is at the table at the back, taking books out, arranging notebook, pen, ledger, cashbox: the perfect professional. STUDENTS are arriving, most black, most young. t</scene_description> <character>GLORIA</character> <dialogue>Can I help?</dialogue> <scene_description>e</scene_description> <character>DEBORAH</character> <dialogue>You're going to laugh, sorry, but I've got a system. It works for me.</dialogue> <scene_description>re They smile. The result is indeed impressive, completed at the end by her putting an author photograph against the books. The credits end.</scene_description> </scene> <scene> <stage_direction>EXT. DEKALB. DAY</stage_direction> <scene_description>St The car draws up in a car park outside. The two MEN get out. The third MAN'S shoes, English, beautifully polished, land on the tarmac. The trunk at the back is opened, and inside there is a huge cardboard box, and a big black case. These are taken out. Bang, the trunk is closed.</scene_description> </scene> <scene> <stage_direction>INT &amp; EXT. ENTRANCE &amp; AUDITORIUM. DAY</stage_direction> <scene_description>er The legs of the THREE MEN as they come into the building, then along a polished corridor to the auditorium. One of them is carrying the big black case. The THIRD has shopping bags. They turn into the hall. DEBORAH is at the front giving an interview to STUDENT JOURNALISTS. \* ck</scene_description> <character>DEBORAH \*</character> <dialogue>One thing I've noticed about these \* events you always sell 37 books. \* Regardless of the size of the \* audience. 500 people, 37 books. 50 \* people, 37 books. I've started to \* wonder if it's all fixed. \*</dialogue> <scene_description>ee The students are laughing at her jokes. She is in her element \* and doesn't notice as one of the MEN opens the case, takes out a tripod, and sets it up close to a column. Meanwhile, at the back, the third MAN'S hand, unidentified, picks up DENYING THE HOLOCAUST. More STUDENTS file in. DEBORAH sits, waiting. GLORIA stands to introduce her. Bl</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. DAY</stage_direction> <scene_description>Back outside the hall, the third MAN'S fingers opening the book, finding the index. Running a finger down until coming upon 'Irving, David, 8, 14, 111, 161-163, 170'.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DAY</stage_direction> <scene_description>The last object from the box - a video camera is taken out by a hand from the box, and put on top of the tripod. t</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. DAY</stage_direction> <scene_description>e The MAN'S fingers are rifling through the book to check the references as from inside the hall he hears:</scene_description> <character>GLORIA (V.O.)</character> <dialogue>re</dialogue> <scene_description>Everyone, it's my pleasure to introduce the holder of the Dorot Chair in Jewish and Holocaust studies at Emory University, and author of Denying the Holocaust: the Growing Assault on Truth and Memory, Deborah Lipstadt. St The sound of applause. It's DAVID IRVING outside.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DAY</stage_direction> <scene_description>DEBORAH is at the microphone, well into her speech.</scene_description> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>We have to accept there'll be many reasons why people may be deniers. When you look closely, they often have some agenda which they don't own up to. In any field, denial may just be a pick to undo the lock and open the door to something else. ck A girl MEG, 18, in the audience puts up her hand.</scene_description> <character>DEBORAH</character> <dialogue>Yes?</dialogue> <character>MEG</character> <dialogue>ee</dialogue> <scene_description>Somebody told me you don't debate with people who say the Holocaust didn't happen.</scene_description> <character>DEBORAH</character> <dialogue>I don't, it's true. Like I don't talk to people who say Elvis is alive.</dialogue> <scene_description>Bl There is laughter. The SECOND MAN deep in the audience looks across to the FIRST MAN who is working the camera.</scene_description> <character>MEG</character> <dialogue>Talking to people you don't agree with, that's democracy, isn't it? It's supposed to be a free country. \*</dialogue> <character>MEG</character> <dialogue>They've an opinion. So have you. It's cowardly not to talk to them.</dialogue> <character>DEBORAH</character> <dialogue>You calling me a coward?</dialogue> <scene_description>t</scene_description> <character>MEG</character> <dialogue>Well...</dialogue> <scene_description>e Everyone is amused.</scene_description> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>Let me tell you, I don't see it that way. You can have opinions about the Holocaust. You can argue about why it happened and how it happened. But what I won't do is meet with anyone - anyone - who says it didn't happen. The \* St Holocaust happened. It happened. That isn't opinion. That's fact. I won't debate fact. That way madness lies. At the back, DAVID IRVING slips in the door, unobserved. He goes and sits. The SECOND MAN holds up his hand.</scene_description> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>Yes?</scene_description> <character>SECOND MAN (AMERICAN)</character> <dialogue>In your book, why do you continually denigrate the work of David Irving? He's a scholar, he's a fluent German speaker, he's</dialogue> <scene_description>ck discovered all sorts of primary sources no-one else knew about...</scene_description> <character>DEBORAH</character> <dialogue>To be honest, I don't think I do denigrate him. I just don't think about him that much. He's not</dialogue> <scene_description>ee important. This last statement has been seen through the first MAN'S video camera, and now the image whip-pans to the back of the hall where IRVING is standing, hand raised.</scene_description> <character>IRVING</character> <dialogue>Professor Lipstadt, I am right in</dialogue> <scene_description>Bl believing you are not a historian, you are a professor of religion?</scene_description> <character>DEBORAH</character> <dialogue>Well that isn't quite the case. I \* am a historian, a historian of \* religion. \*</dialogue> <character>IRVING</character> <dialogue>Let me reveal something to you, Professor. I am that David Irving about whom you have been so rude.</dialogue> <scene_description>People turn, amazed. DEBORAH, too, is taken aback. t</scene_description> <character>IRVING</character> <dialogue>e</dialogue> <scene_description>Yes, I am he. And it puzzles me why you think yourself qualified to attack me, given that I have thirty years' experience in the archives, re and my books have been published by some of the greatest publishing houses in the world - Viking Press, William Morrow, E.P. Dutton. I have to conclude the reason you don't engage with people you disagree with is because you can't. And you St might learn some facts - facts, Miss Lipstadt, which don't suit your opinions. Well? Well? DEBORAH is seen through the viewfinder of the camera, in grainy black and white, flustered, not knowing to react.</scene_description> <character>DEBORAH</character> <dialogue>No. I won't. I've said this. I</dialogue> <scene_description>er won't debate. Not with deniers. DEBORAH looks urgently across to GLORIA.</scene_description> <character>IRVING</character> <dialogue>Today I've heard you telling lies to students. You want gullible</dialogue> <scene_description>ck students to believe that there are mounds of documents which prove a Holocaust. You even said that Hitler ordered it. Well I've got a thousand dollars here in my pocket, and I'm happy to give that thousand dollars to anyone - anyone - who ee can show me a document which proves that Hitler ordered the killing of the Jews. A thousand dollars! Here it is! A thousand! IRVING is holding the money above his head. DEBORAH has gone into panicked consultation with GLORIA, who has got up. A couple of people have shouted at IRVING to sit down, but most Bl STUDENTS are enjoying him.</scene_description> <character>IRVING</character> <dialogue>Why don't you tell the students who pays for you to write your books, who finances all these expensive trips you make round the</dialogue> <character>DEBORAH</character> <dialogue>I'm sorry, but I'm going to have to put an end to this... I'm going to have to ask you to sit down... I'm not willing to do this, I really</dialogue> <scene_description>t world? Let them know that, do have to ask you to be why don't you? You talk about quiet... e documents, I have a document here. It's an aerial photograph of Auschwitz... re</scene_description> <character>IRVING</character> <dialogue>Professor Lipstadt not only won't debate, she calls security to stop me debating.</dialogue> <scene_description>DEBORAH has been forced to shout to make herself heard. He's reached into his shopping bag. People are running back and St forth, and an armed SECURITY MAN is approaching IRVING to take his arm.</scene_description> <character>IRVING</character> <dialogue>All right. But if anyone wants, I'll be signing my books after the event. They're free. Please, come and get one.</dialogue> <scene_description>er IRVING sits down, still hissing and waving dollar bills. 'A thousand dollars! A thousand!" The SECURITY MAN backs off. DEBORAH stands alone at the microphone. Silence at last.</scene_description> <character>DEBORAH</character> <dialogue>Thank you. So.</dialogue> <scene_description>ck</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DAY</stage_direction> <scene_description>The meeting is over. DEBORAH is sitting at the table with a pile of books. No-one near. She looks across to where IRVING has a line of admiring STUDENTS for whom he's chattily signing free books. The MAN with the video is disappearing ee from the hall. An older woman, SHIRA picks up a book.</scene_description> <character>SHIRA</character> <dialogue>I think you're right. I think you're right not to speak to him.</dialogue> <character>DEBORAH</character> <dialogue>Sure. Great tactic, isn't it?</dialogue> <scene_description>Bl Worked brilliantly.</scene_description> </scene> <scene> <stage_direction>EXT. CAR. DAY</stage_direction> <scene_description>IRVING's car speeds up on the on-ramp to I75 with signs to Alabama and Florida. Whoosh of car by.</scene_description> </scene> <scene> <stage_direction>INT. CAR. DAY</stage_direction> <scene_description>IRVING and the other MEN drive away, in high spirits. In the back the MAN has the video camera, and hands it to IRVING. In the eyepiece it plays back film of IRVING speaking triumphantly over DEBORAH. Then IRVING freezes the image of t DEBORAH, flustered, floundering, lost for a response. e</scene_description> <character>IRVING</character> <dialogue>Perfect.</dialogue> <scene_description>re</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM. DAY</stage_direction> <scene_description>DEBORAH is thoughtful. She takes out her cellphone and starts to dial.</scene_description> </scene> <scene> <stage_direction>INT. SEMINAR ROOM. EMORY. DAY</stage_direction> <scene_description>St RACHEL BLOCH, 60s, frail, with a cane is standing in front of 40 casually dressed students - all backgrounds. DEBORAH is at the side, mesmerized.</scene_description> <character>RACHEL</character> <dialogue>I was fifteen years old when I arrived at Auschwitz. That's why I was spared. I was young and strong.</dialogue> <scene_description>er There was soot in the air. You could smell it. It smelled like \* nothing on earth. For a moment, she can't go on. DEBORAH watches her. An image flashes suddenly into her head. ck AUSCHWITZ. DAY (IN DEBORAH'S HEAD) In close-up, a young girl's face, squished between the heavy coats of unseen women. Black flakes float in the air. The image lasts less than a second. ee</scene_description> </scene> <scene> <stage_direction>INT. SEMINAR ROOM. EMORY. DAY</stage_direction> <scene_description>DEBORAH gently touches Rachel's arm and smiles encouragement. Rachel gathers herself and continues.</scene_description> <character>RACHEL</character> <dialogue>There were maybe 2000 people in the</dialogue> <scene_description>Bl train from Theresienstadt. Only 30 of us were put to work, everyone else was killed. I had a job in the kitchens, so I spoke to fellow prisoners who saw what happened. Everyone was taken to a dressing room and ordered to undress.</scene_description> <character>RACHEL</character> <dialogue>There was a sign in the wall "Put shoes in cubbyholes and tie them together so you will not lose them. After your shower you will receive hot coffee." Then they were gassed. It takes about three minutes to gas</dialogue> <scene_description>t four hundred people. e RACHEL stares out, picking out individual GIRLS.</scene_description> <character>RACHEL</character> <dialogue>I was a young girl. Just as you</dialogue> <scene_description>re are. And you. And you. The students are electrified. DEBORAH watches, intent.</scene_description> </scene> <scene> <stage_direction>INT. SEMINAR ROOM. EMORY. DAY</stage_direction> <scene_description>St Later. The students have gone. The Mutt is asleep. Only DEBORAH and RACHEL are left. RACHEL sits in a chair.</scene_description> <character>RACHEL</character> <dialogue>I don't know. Sometimes I wonder if this is worth doing.</dialogue> <character>DEBORAH</character> <dialogue>Is what worth doing?</dialogue> <scene_description>er</scene_description> <character>RACHEL</character> <dialogue>Talking about it all.</dialogue> <character>DEBORAH</character> <dialogue>Are you crazy? Look at the kids. Look at their faces. \*</dialogue> <scene_description>ck</scene_description> <character>RACHEL</character> <dialogue>They listen, but they don't see. Not really. They don't see it.</dialogue> <scene_description>DEBORAH leans over her gets up and gives her a hug, kissing her gently on the top of her head. They hold on a moment. ee</scene_description> <character>DEBORAH</character> <dialogue>I think they do.</dialogue> <character>RACHEL</character> <dialogue>And when we're gone?</dialogue> <scene_description>Bl EXT DEBORAH'S HOUSE. DAY DEBORAH returns from a run and stops at her mailbox. Opening it, she finds a couple of the usual hate-mail letters and discards them. At the back is an envelope with the distinctive Penguin logo.</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS. EMORY. ATLANTA. DAY</stage_direction> <scene_description>DEBORAH crosses the classic Southern campus - heroic Greek architecture, students sitting around, playing with frisbees, chatting. Teenage utopia. She's on her cell phone, followed by The Mutt. She's got the envelope in her hand. t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>Anthony, is that you?</scene_description> <character>FORBES WATSON (PHONE)</character> <dialogue>Deborah, I'm glad you've called.</dialogue> <scene_description>re It's wonderful to hear from you.</scene_description> </scene> <scene> <stage_direction>EXT. THE STRAND. LONDON ENGLAND. DAY.</stage_direction> <character>CAPTION: SEPTEMBER 25 1996</character> <dialogue>St</dialogue> <scene_description>The weather is glowering, rainy, in stark contrast to Atlanta over the view from the Strand towards St Paul's Cathedral.</scene_description> </scene> <scene> <stage_direction>INT. PENGUIN OFFICES. STRAND. DAY</stage_direction> <scene_description>ANTHONY FORBES-WATSON is on the phone at the window in a huge, book-lined room with a letter in his hand. He's owlish, sandy-haired, 40s. HELENA PEACOCK, 40s, tall, white-bread, \* er legal advisor, is listening nearby.</scene_description> <character>FORBES WATSON</character> <dialogue>I'm guessing you got our letter.</dialogue> <character>DEBORAH</character> <dialogue>That's what I'm calling about.</dialogue> <scene_description>ck</scene_description> <character>FORBES WATSON</character> <dialogue>There's a fresh development. Irving's just sent us notice of a suit to be filed in the High Court because we've failed to withdraw the book.</dialogue> <scene_description>ee</scene_description> <character>DEBORAH (PHONE)</character> <dialogue>The High Court?</dialogue> <character>FORBES WATSON</character> <dialogue>The High Court in London.</dialogue> <character>DEBORAH (PHONE)</character> <dialogue>Bl</dialogue> <scene_description>That's London, England, is it?</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS. EMORY. ATLANTA. DAY</stage_direction> <character>FORBES WATSON (PHONE)</character> <dialogue>He's saying you're part of a concerted world-wide conspiracy to rob him of his reputation as a</dialogue> <scene_description>t professional historian and thereby of his livelihood. e</scene_description> <character>DEBORAH</character> <dialogue>I wish. Let me know where I can join. So what's the next step?</dialogue> <scene_description>re</scene_description> <character>FORBES WATSON (PHONE)</character> <dialogue>Next step is, you tell us if you want to fight.</dialogue> </scene> <scene> <stage_direction>INT. DEBORAH'S HOUSE. ATLANTA. NIGHT</stage_direction> <scene_description>St A convivial dinner party in DEBORAH'S pleasant, two-levelled home. Ten people. SAM GLASS, 50s, his wife STORM, 40s. SAM is \* arguing with LIBBY HOLBROOK, 30s, lively. DEBORAH starts \* gathering plates. \*</scene_description> <character>SAM \*</character> <dialogue>He's not going to get re-elected. \*</dialogue> <scene_description>er</scene_description> <character>DEBORAH \*</character> <dialogue>Is that what you think? \*</dialogue> <character>SAM \*</character> <dialogue>I've seen the polls, tell me I'm \* crazy, but when it comes to it, \* who's going to vote for that man a \*</dialogue> <scene_description>ck second time? \*</scene_description> <character>LIBBY</character> <dialogue>You're looking at her. I would.</dialogue> <character>SAM</character> <dialogue>He's not going to make it.</dialogue> <scene_description>ee</scene_description> <character>LIBBY</character> <dialogue>Well I'm sure he'll be heartbroken to hear that. \*</dialogue> <character>SAM</character> <dialogue>Would you like a bet? Four more years of William Jefferson Clinton</dialogue> <scene_description>Bl sleeping in the White House. You say he will, I say he won't. Cries of 'Take the bet', 'Buddhists don't gamble' 'Well, Jews \* gamble.' DEBORAH smiles absently and goes out. \*</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NIGHT 31 \*</stage_direction> <scene_description>DEBORAH, clearing up, The Mutt at her feet. Disorderly \* political chat coming from the other room about Clinton's \* empathy for different groups. LIBBY follows DEBORAH into the \* kitchen. \* t</scene_description> <character>LIBBY</character> <dialogue>e</dialogue> <scene_description>Are you OK?</scene_description> <character>DEBORAH</character> <dialogue>I'm OK. I got another letter,</dialogue> <scene_description>re that's all. From my publishers. About David Irving. It's like having a stalker.</scene_description> <character>LIBBY</character> <dialogue>What's he saying this time?</dialogue> <scene_description>St</scene_description> <character>DEBORAH</character> <dialogue>Just how if I don't apologize, he's going to ruin my life.</dialogue> <character>LIBBY</character> <dialogue>On the floor. Quick. Grovel.</dialogue> <scene_description>LIBBY is pointing, but DEBORAH is unamused. er</scene_description> <character>LIBBY</character> <dialogue>What's happened, Deborah? Have you lost your sense of humour?</dialogue> <character>DEBORAH</character> <dialogue>No. I've mislaid it.</dialogue> <scene_description>ck</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM. DEBORAH'S HOUSE. ATLANTA. NIGHT</stage_direction> <scene_description>An unflattering photo of DEBORAH snarling as she shouts back at IRVING at De Kalb. Underneath, abusive copy - Irving Trounces Holocaust Expert. "Empty vapourings" "Reduced to shouting" are glimpsed. Then the context is revealed. The ee image is on a computer screen. DEBORAH is on the floor in the near-dark with the Mutt, staring unhappily at her own image. It still hurts. Pained, DEBORAH clicks to a film of IRVING in the square of the German town Halle, using a loudspeaker to flag-waving skinheads and neo-Nazis. The sub-titles show him telling Germans they no longer have anything to be ashamed of. This is met with a chorus of 'Sieg Heils'. He praises Rudolf Hess as a German hero. Then he is led to a van and Bl driven away. Next, he's speaking in a hall of American supporters. He's articulate, persuasive.</scene_description> <character>IRVING (FILM)</character> <dialogue>I'm waging an international campaign for real history.</dialogue> <character>IRVING (FILM)</character> <dialogue>It's the word 'real' which frightens my opponents, because for fifty years they've got away with their Madison Avenue, Hollywood versions of history. Real history is what we find in the archives,</dialogue> <scene_description>t and it frightens my opponents because it takes the planks out e from under their feet. The film changes again: IRVING addressing a large group of JOURNALISTS in the street. re</scene_description> <character>IRVING</character> <dialogue>According to the evidence I have seen, there were no gas chambers anywhere at Auschwitz. I'm dealing with Auschwitz because it's the capital ship of the whole Holocaust</dialogue> <scene_description>St campaign. If Auschwitz sinks - and it is, believe me, a very leaky vessel indeed - then the whole Holocaust campaign is in doubt. DEBORAH freezes the image. Then, decisive, she gets up.</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS. EMORY COLLEGE. ATLANTA. DAY</stage_direction> <scene_description>er DEBORAH walks across the busy lawn, The Mutt in tow. Everyone else is lounging around, she alone is steely with purpose.</scene_description> <character>DEBORAH (O.S)</character> <dialogue>Holocaust denial rests essentially on four basic assertions.</dialogue> <scene_description>ck</scene_description> </scene> <scene> <stage_direction>INT. SEMINAR ROOM. EMORY. DAY</stage_direction> <scene_description>DEBORAH is speaking with vigour to her class. She points to the four ideas she has already pentelled in ee large letters, and underlines them one by one. She underlines 1. 'Killings Not Systematic.'</scene_description> <character>DEBORAH</character> <dialogue>That there was never any systematic or organized attempt by the Nazis to kill all of Europe's Jews.</dialogue> <scene_description>Bl She underlines 2. 'Numbers Exaggerated.'</scene_description> <character>DEBORAH</character> <dialogue>That the number killed was far fewer than five or six million.</dialogue> <scene_description>She underlines 3.'Auschwitz not built for extermination.' \*</scene_description> <character>DEBORAH</character> <dialogue>That there were no gas chambers or any specially built extermination facilities.</dialogue> <scene_description>She underlines 4. 'Holocaust A Myth.' t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>That the Holocaust is therefore a myth invented by Jews who use it to get themselves financial compensation and to advance the re fortunes of the state of Israel. She then throws the pentel down and moves into the class like a lawyer in court.</scene_description> <character>DEBORAH</character> <dialogue>War, they say, is a bloody</dialogue> <scene_description>St business. There's nothing special about the Jews. Jews are not unique in their suffering, they're just everyday casualties of war. What's the fuss? DEBORAH looks as if genuinely asking that question. The students are confused. er</scene_description> <character>DEBORAH</character> <dialogue>OK, and here's another question: How do we prove the Holocaust happened? Seriously. I'm asking. How do we prove it?</dialogue> <scene_description>The class looks a little blank. ck</scene_description> <character>DEBORAH</character> <dialogue>Not a single person in this room or \* outside it has ever seen a photograph of Jews in a gas chamber. Why? Because the Germans made sure that none were taken. So</dialogue> <scene_description>ee how do we know so many were murdered? Because you saw Schindler's List? I don't think so. DEBORAH waits a moment, her concern real.</scene_description> <character>DEBORAH</character> <dialogue>What's the proof? Where's the</dialogue> <scene_description>Bl proof? And how strong is it? \*</scene_description> </scene> <scene> <stage_direction>INT. CANTEEN. EMORY. DAY</stage_direction> <scene_description>STAFF and STUDENTS lunching in the Tao of Chow, a huge grey hall. DEBORAH, in grim mood, is in line with LIBBY, collecting food. It's all steam and clatter.</scene_description> <character>LIBBY</character> <dialogue>I don't understand. Why do you get so worked up? Nine tenths of these things don't even get to court.</dialogue> <character>DEBORAH \*</character> <dialogue>t</dialogue> <scene_description>Oh is that right? You know about \* this, do you? From what they're \* e telling me, if I fail to answer his \* challenge, if I give him a free \* ride, Irving can go to the American \* courts and get my property \* re attached. He can take my home. \*</scene_description> <character>LIBBY \*</character> <dialogue>Oh, OK. \*</dialogue> <character>DEBORAH \*</character> <dialogue>The man's a liar and someone needs \*</dialogue> <scene_description>St to get out there and say so. \* They go and sit down with their food. \*</scene_description> <character>LIBBY \*</character> <dialogue>What I don't get: why's he chosen \* you. \*</dialogue> <character>DEBORAH \*</character> <dialogue>er</dialogue> <scene_description>I have two essential qualifications \* for Mr Irving. I'm a woman, and I'm \* a Jew. He gets more bang for his \* buck. \*</scene_description> <character>LIBBY</character> <dialogue>Hang on, it is your book about</dialogue> <scene_description>ck denial he's objecting to?</scene_description> <character>DEBORAH</character> <dialogue>Correct.</dialogue> <character>LIBBY</character> <dialogue>You told me it sold 20 copies in</dialogue> <scene_description>ee the UK last year.</scene_description> <character>DEBORAH</character> <dialogue>LIBBY</dialogue> <scene_description>Did you even mention Irving? What did you say about him? Bl</scene_description> <character>DEBORAH</character> <dialogue>I called him 'a Hitler partisan who distorted evidence in order to reach historically untenable conclusions.'</dialogue> <scene_description>The words are engraved on her memory. LIBBY is deadpan.</scene_description> <character>LIBBY</character> <dialogue>OK, well maybe you'd better get lawyered up.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT. ATLANTA. DAY</stage_direction> <scene_description>t DEBORAH'S car pulls up at the valet parking stand of a grand- e looking restaurant. She gets out.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT. ATLANTA. DAY</stage_direction> <scene_description>re ANTHONY JULIUS is sitting by himself making notes in a book \* in upscale surroundings. He is 40, ascetic, and he looks out \* of place among the upmarket, largely black clientele. He looks up and sees DEBORAH through the window. St</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT. DAY (JULIUS POV)</stage_direction> <scene_description>DEBORAH standing by her car, gets a ticket from the valet. She's nervous and it shows in how she's slightly over-dressed for the meeting. She heads inside.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT. DAY</stage_direction> <scene_description>er JULIUS looks up, relieved.</scene_description> <character>DEBORAH \*</character> <dialogue>Ah you must be Anthony Julius. \*</dialogue> <character>JULIUS \*</character> <dialogue>And you must be Deborah Lipstadt. \*</dialogue> <scene_description>ck</scene_description> <character>DEBORAH \*</character> <dialogue>It's good of you to come all this \* way. \*</dialogue> <character>JULIUS \*</character> <dialogue>It's nice to combine our meeting \*</dialogue> <scene_description>ee with a lecture. \* JULIUS puts his hand on the book. T.S. Eliot. \*</scene_description> <character>DEBORAH \*</character> <dialogue>Anti-Semitism in the poetry of T.S. \* Eliot? \*</dialogue> <scene_description>Bl</scene_description> <character>JULIUS \*</character> <dialogue>Correct. \*</dialogue> <character>DEBORAH \*</character> <dialogue>I can't wait. You're not frightened \* of the big boys, are you? \*</dialogue> <character>JULIUS \*</character> <dialogue>I try not to be. \*</dialogue> <scene_description>They both smile. \*</scene_description> <character>JULIUS</character> <dialogue>t</dialogue> <scene_description>In fact I wondered if it was my \* interest in anti-Semitism which \* e made you consider me to represent \* you. \*</scene_description> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>In fact not.</scene_description> <character>JULIUS</character> <dialogue>Or whether it was the Diana thing.</dialogue> <character>DEBORAH</character> <dialogue>No, as it happens, you were \*</dialogue> <scene_description>St recommended to me. Someone I know. \* They said "You need a junkyard dog. \* In England, that's Anthony Julius." \*</scene_description> <character>JULIUS \*</character> <dialogue>A junkyard dog? \*</dialogue> <character>DEBORAH</character> <dialogue>Someone ferocious in court.</dialogue> <scene_description>er</scene_description> <character>JULIUS</character> <dialogue>Oh, I'm afraid I don't appear in court. I prepare the case, I don't present it. In Britain, solicitor and barrister are quite different functions.</dialogue> <scene_description>ck The crowd in the restaurant are having a good time.</scene_description> <character>DEBORAH</character> <dialogue>'The Diana thing'? I'm not sure what that is.</dialogue> <scene_description>ee</scene_description> <character>JULIUS</character> <dialogue>Diana? She's the Princess of Wales.</dialogue> <character>DEBORAH</character> <dialogue>Yes, I know that. It's your connection...</dialogue> <character>JULIUS</character> <dialogue>Bl</dialogue> <scene_description>Oh just, Diana wanted to divorce. I acted for her.</scene_description> <character>DEBORAH</character> <dialogue>You acted for her?</dialogue> <character>JULIUS</character> <dialogue>Yes.</dialogue> <character>DEBORAH</character> <dialogue>I don't understand. I thought you did defamation.</dialogue> <character>JULIUS</character> <dialogue>You're right. I put that point to</dialogue> <scene_description>t Diana myself. I said, I'm afraid I've never handled a divorce case e before. She said 'That's all right, Mr. Julius, I've never been divorced before.' Interesting woman. re A WAITRESS appears.</scene_description> <character>JULIUS</character> <dialogue>The crispy catfish. Is that a local delicacy?</dialogue> <scene_description>St</scene_description> <character>DEBORAH \*</character> <dialogue>Fins and scales. \*</dialogue> <scene_description>She gestures to say: not allowed. They both smile. \*</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT. DAY</stage_direction> <scene_description>Later in the meal. The restaurant is quieter and JULIUS and er DEBORAH have relaxed.</scene_description> <character>JULIUS \*</character> <dialogue>I have to warn you: there's a \* reason Mr Irving is bringing the \* case in London. \*</dialogue> <scene_description>ck</scene_description> <character>DEBORAH \*</character> <dialogue>I wondered about that. \*</dialogue> <character>JULIUS \*</character> <dialogue>It gives him an advantage. Over \* here, if you're accused of defaming \* someone, then the burden of proof \*</dialogue> <scene_description>ee lies with the accuser. It's up to \* them to prove what you said was \* untrue. In England it's the other \* way round. It's up to the defendant \* to prove that it's true. \*</scene_description> <character>DEBORAH \*</character> <dialogue>Wait. I have to prove what I said \*</dialogue> <scene_description>Bl was true? \*</scene_description> <character>JULIUS \*</character> <dialogue>Correct. \*</dialogue> <character>DEBORAH \*</character> <dialogue>But that's crazy. \*</dialogue> <character>JULIUS \*</character> <dialogue>Nevertheless. \*</dialogue> <character>DEBORAH \*</character> <dialogue>What is this? Dickens? \*</dialogue> <scene_description>t</scene_description> <character>JULIUS \*</character> <dialogue>As good as. Why do you think \*</dialogue> <scene_description>e London's the libel capital of the \* world? \*</scene_description> <character>DEBORAH \*</character> <dialogue>re</dialogue> <scene_description>I'm the innocent party. A man \* accuses you of something and you \* have to prove he's wrong? That's \* against natural justice. In the US, \* there's a presumption of innocence. \*</scene_description> <character>JULIUS \*</character> <dialogue>St</dialogue> <scene_description>Yes. Not in the UK. Tricky, isn't \* it? \* He's thoughtful a moment. \*</scene_description> <character>JULIUS (CONT'D) \*</character> <dialogue>One thing by the way I did want to \* mention: if you do take us on, \* there's no question of your having \*</dialogue> <scene_description>er to pay. For this case our firm \* would be happy to waive fees. If \* you'd be at peace with that. \*</scene_description> <character>DEBORAH \*</character> <dialogue>I could come to terms with it. \*</dialogue> <scene_description>ck They both smile. JULIUS looks shrewdly at her a moment. \*</scene_description> <character>JULIUS</character> <dialogue>What do you know about Mr Irving? \*</dialogue> <character>DEBORAH</character> <dialogue>I've read every word he's written. \*</dialogue> <scene_description>ee I know some of the personal stuff. \* His father abandoned him when he \* was four. He fell in love with \* Hitler at the age of eight. His \* brother says he ran around bombed- \* out buildings in London in the \* blitz shouting 'Heil Hitler...' \* He's self-educated. And extremely \* Bl proud of it. \*</scene_description> <character>JULIUS</character> <dialogue>He learned his German working in a factory.</dialogue> <character>DEBORAH</character> <dialogue>I've heard it's perfect.</dialogue> <character>JULIUS</character> <dialogue>Yours?</dialogue> <character>DEBORAH \*</character> <dialogue>Adequate. \*</dialogue> <scene_description>t JULIUS takes this in. \* e</scene_description> <character>JULIUS \*</character> <dialogue>Irving wants it both ways. He wants \* to be the brilliant maverick, the \* provocateur who comes along and re- \*</dialogue> <scene_description>re interprets the Second World War. \* But he also wants the respect of \* his colleagues. England's a club \* and he wants to join. \*</scene_description> <character>DEBORAH</character> <dialogue>But he's an anti-Semite.</dialogue> <scene_description>St</scene_description> <character>JULIUS</character> <dialogue>Clearly. But you'd be surprised how many military historians think that's just a detail. They think \* Irving's a serious historian who happens to see things from Hitler's point of view.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>But it's not a detail. I think it's at the centre of everything he thinks and does.</dialogue> <character>JULIUS</character> <dialogue>So do I.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>He's a liar and falsifier of \* history.</dialogue> <scene_description>JULIUS sustains his look to her. ee</scene_description> <character>DEBORAH</character> <dialogue>A few weeks ago, a survivor came to speak to my class. There's a chain, isn't there?</dialogue> <character>JULIUS</character> <dialogue>A chain?</dialogue> <scene_description>Bl</scene_description> <character>DEBORAH</character> <dialogue>A chain of testimony. Passing the \* torch. \*</dialogue> <scene_description>She leans in.</scene_description> <character>DEBORAH</character> <dialogue>Anthony, this isn't random. A couple of years ago, Irving came all the way to Dekalb. Then there were threats. Now there's a lawsuit. There's a strategy</dialogue> <scene_description>t underlying all this. My mother called me Devorah. It was her idea. e Leader. Defender of her people. \* They both smile. re</scene_description> <character>DEBORAH</character> <dialogue>There was an expectation. When I was a kid. My mother always said there was going to be an event. I was picked out, she said. I was chosen. Well, here it is.</dialogue> <scene_description>St</scene_description> </scene> <scene> <stage_direction>EXT. MEWS. MAYFAIR. LONDON. DAY</stage_direction> <scene_description>1999. A CHAUFFEUR is polishing the 'Spirit of Ecstasy' symbol on a Rolls Royce. JAMES LIBSON and LAURA TYLER walking along carrying boxes of papers. LIBSON is in his 30s, with steel glasses; LAURA is tall, striking, 23. er</scene_description> </scene> <scene> <stage_direction>EXT. MOUNT STREET. MAYFAIR. LONDON. DAY</stage_direction> <scene_description>LISBON and LAURA knock at an impressive black door. A Barbadian MAID comes to answer.</scene_description> <character>LIBSON</character> <dialogue>Good morning, I think we're</dialogue> <scene_description>ck expected.</scene_description> </scene> <scene> <stage_direction>INT. IRVING'S APARTMENT. MOUNT STREET. DAY</stage_direction> <scene_description>IRVING is lying on the floor playing with his four year old daughter JESSICA as LIBSON and LAURA are ushered in to the ee markedly old-fashioned surroundings.</scene_description> <character>IRVING</character> <dialogue>Ah yes, hello, I'm delighted to see you, I'm David Irving. Here - can you take Jessica please?</dialogue> <scene_description>He has got up and hands JESSICA over to the MAID to take out. Bl He kisses JESSICA'S forehead as he hands her over. LIBSON throws a glance at LAURA as if to say 'Is this for real?' But IRVING is the soul of courtesy.</scene_description> <character>IRVING</character> <dialogue>You must be bringing me Miss Lipstadt's documents.</dialogue> <character>LIBSON</character> <dialogue>Everything that contributed to her analysis, the full extent of her research.</dialogue> <scene_description>IRVING gestures towards an area already lined with papers. t</scene_description> <character>IRVING</character> <dialogue>e</dialogue> <scene_description>Thank you, by all means, put everything down over there. And you must be her representatives. Welcome. re</scene_description> <character>LIBSON</character> <dialogue>I'm James Libson. This is Miss Tyler, our para-legal.</dialogue> <character>IRVING</character> <dialogue>Para-legals, indeed! David against</dialogue> <scene_description>St Goliath, already. You work with the famous Mr Julius? It's going to be a fascinating encounter don't you think?</scene_description> <character>LAURA</character> <dialogue>Fascinating.</dialogue> <scene_description>IRVING is reaching out his hand. She takes it nervously. er</scene_description> <character>IRVING</character> <dialogue>As I see it, academia versus the rest. Remember, the greatest historians have never been academics. We're outsiders. Cato, \* Thucydides, Gibbon, Churchill... I</dialogue> <scene_description>ck field a very strong team. Perhaps you'd like a cup of tea?</scene_description> <character>LIBSON</character> <dialogue>No thank you.</dialogue> <scene_description>LIBSON looks at him. ee</scene_description> <character>LIBSON</character> <dialogue>Before we go, just one thing.</dialogue> <character>IRVING</character> <dialogue>Of course. Please.</dialogue> <character>LIBSON</character> <dialogue>Bl</dialogue> <scene_description>You keep a diary. We'd like to apply to include that diary in the process of discovery. IRVING smiles.</scene_description> <character>LIBSON</character> <dialogue>You're smiling.</dialogue> <character>IRVING</character> <dialogue>Forgive me, I don't fancy the prospect of Miss Lipstadt poring over my private writings.</dialogue> <character>LIBSON</character> <dialogue>t</dialogue> <scene_description>Access will be limited to the legal team only. e</scene_description> <character>IRVING</character> <dialogue>Come.</dialogue> <scene_description>re IRVING leads them across the room. Then he gestures to yards and yards of shelves covered with identical black notebooks.</scene_description> <character>IRVING</character> <dialogue>I've kept a diary for twenty years. Promise, I have nothing to hide. But I doubt if even Goliath has the</dialogue> <scene_description>St resources to read between ten and twenty million words. He smiles. LIBSON and LAURA stare in dismay.</scene_description> </scene> <scene> <stage_direction>INT/EXT. IRVING'S APARTMENT. MOUNT STREET. DAY 44 \*</stage_direction> <scene_description>A point of view from the window down to the street of the er backs of LIBSON and LAURA walking away in animated conversation. IRVING, standing next to the curtain, watches them as they go. He's thoughtful, enigmatic.</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT RUNWAY. HEATHROW. DAY</stage_direction> <scene_description>ck 1999. Through heavy rain, a haze of fuel fumes, the back of an arriving plane. The landing tackle descends then there is a crash of rubber, sparks and spray.</scene_description> </scene> <scene> <stage_direction>EXT. STRAND. DAY</stage_direction> <scene_description>ee A taxi splashes its way through the pouring rain and bus traffic. DEBORAH frowns at the incomprehensible talk about football coming from his radio. She looks up through the rain- spattered window to see the imposing facade of the Royal Courts of Justice as they pass.</scene_description> </scene> <scene> <stage_direction>EXT. MISHCON DE REYA. DAY</stage_direction> <scene_description>Bl In the driving rain, DEBORAH raises an umbrella, then pays the fare, struggling with the unfamiliar currency.</scene_description> </scene> <scene> <stage_direction>INT. MISHCON DE REYA. STAIRCASE &amp; OFFICES. DAY</stage_direction> <scene_description>Shaking out her umbrella, DEBORAH is led quickly up a staircase by an ASSISTANT, who takes it from her and parks it with dozens of others. Wet raincoats are all puddling water onto the floor. As she comes into JULIUS' office it is full t of people - including JULIUS himself, JAMES LIBSON, LAURA TYLER, RICHARD EVANS and others. Heads turn as she arrives, e coffees are being distributed, although everyone seems \* insanely caffeinated already.</scene_description> <character>JULIUS</character> <dialogue>re</dialogue> <scene_description>Ah here she is, excellent, our client's arrived. The defendant. All the way from Atlanta.</scene_description> <character>DEBORAH</character> <dialogue>My God, sure you got enough people?</dialogue> <scene_description>St</scene_description> <character>JULIUS</character> <dialogue>I'll give you their names as we go along. For now, everyone: Deborah Lipstadt. Say good morning.</dialogue> <scene_description>The whole room says 'Good morning' and 'Good morning, Deborah.' The ASSISTANT gestures towards an empty seat. She finds herself next to a saturnine Welshman in a suit, 40s. Behind them, a poster framed on the wall which reads PRINCESS er WINS RECORD LIBEL SETTLEMENT. DEBORAH downs her coffee in one \* go.</scene_description> <character>EVANS \*</character> <dialogue>I'm Richard Evans. How do you do? \*</dialogue> <character>JULIUS \*</character> <dialogue>ck</dialogue> <scene_description>Richard is Professor of Modern \* History at Cambridge. \*</scene_description> <character>DEBORAH \*</character> <dialogue>Yes I know. He was my idea, \* remember? I asked for you \* specially. \*</dialogue> <scene_description>ee</scene_description> <character>JULIUS \*</character> <dialogue>He's one of our eight expert \* witnesses. \*</dialogue> <character>EVANS \*</character> <dialogue>It's a pleasure to meet you.</dialogue> <scene_description>Bl She sees a postcard stuck in the corner of the poster. "Another victory for the eminent lawyer." Then the signature: Diana. JULIUS notices.</scene_description> <character>JULIUS \*</character> <dialogue>Yes, we're aiming for a similar \* result. \*</dialogue> <character>DEBORAH \*</character> <dialogue>Do to Holocaust deniers what you \* did to the monarchy? \*</dialogue> <character>JULIUS \*</character> <dialogue>Sort of. \*</dialogue> <scene_description>t DEBORAH has taken out twenty closely-typed pages from her e briefcase, and hands them across the desk to JULIUS.</scene_description> <character>DEBORAH \*</character> <dialogue>I've prepared a document on the \*</dialogue> <scene_description>re approach I think we should take. \* Our central claim should be that \* Irving is not a real historian. \*</scene_description> <character>JULIUS</character> <dialogue>Excellent, that will be most valuable, thank you. James?</dialogue> <scene_description>St JULIUS drops her document casually on the very side of his desk, with no interest at all.</scene_description> <character>JULIUS</character> <dialogue>Deborah, James is going to start by explaining to you what your legal options are.</dialogue> <scene_description>er</scene_description> <character>LIBSON \*</character> <dialogue>I'm James Libson. I work with \* Anthony. \*</dialogue> <character>DEBORAH</character> <dialogue>I recognize your voice. We've spoken, haven't we?</dialogue> <scene_description>ck</scene_description> <character>JULIUS \*</character> <dialogue>Quite. Carry on.</dialogue> <scene_description>LIBSON stops for a moment and gathers himself.</scene_description> <character>LIBSON</character> <dialogue>ee</dialogue> <scene_description>To explain: There are three routes a libel defendant can take. First, you can argue that Irving is misinterpreting the offending words. Since at one point in the book you say that Irving seems to conceive of himself as carrying on Hitler's work, then I don't think Bl we can claim he's misinterpreting.</scene_description> <character>DEBORAH</character> <dialogue>I don't think we can.</dialogue> <character>LIBSON</character> <dialogue>Nor can we take the second route which would be to claim that the words written are not as offensive as Irving makes out.</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>We can't take that route.</dialogue> <scene_description>e</scene_description> <character>LIBSON</character> <dialogue>They are offensive.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>I hope so. I certainly tried to be.</dialogue> <character>LIBSON</character> <dialogue>So that leaves us with only one option.</dialogue> <scene_description>St JULIUS looks pleased.</scene_description> <character>JULIUS</character> <dialogue>We call this the atom bomb defence. And this is the one we're going to go for. We plead justification.</dialogue> <character>LIBSON</character> <dialogue>Even if the words are defamatory,</dialogue> <scene_description>er they are nevertheless true.</scene_description> <character>JULIUS</character> <dialogue>Quite. Not every word. It doesn't \* have to be every word. You can get \* some small detail wrong, but we do \* have to prove what we call 'the \*</dialogue> <scene_description>ck sting' of the libel. We will argue \* that Irving deliberately \* subordinated the truth in order to \* propagate anti-Semitism and to \* engender sympathy for the Third \* Reich. \* ee There is an impressed silence, no-one wanting to speak.</scene_description> <character>JUNIOR</character> <dialogue>More coffee?</dialogue> <scene_description>Silently, DEBORAH takes a second coffee.</scene_description> <character>JULIUS \*</character> <dialogue>Bl</dialogue> <scene_description>We have to deal with the special \* problem that in the UK the burden \* of proof lies with accused. I'd \* like you to listen to Laura. Have \* you met Laura?</scene_description> <character>LAURA</character> <dialogue>Ms. Lipstadt.</dialogue> <character>JULIUS</character> <dialogue>She's 23. This is her first case. She and I have been discussing this very point. Attack it, Laura.</dialogue> <scene_description>LAURA smiles, nervous in this packed room. t</scene_description> <character>LAURA</character> <dialogue>e</dialogue> <scene_description>We feel... Anthony feels, in this \* particular case, the peculiarity of \* the British law can actually work \* to our advantage. \* re</scene_description> <character>JULIUS</character> <dialogue>Say.</dialogue> <character>LAURA</character> <dialogue>The first reaction everyone has when they hear about this trial is</dialogue> <scene_description>St horror.</scene_description> <character>DEBORAH</character> <dialogue>Horror? More like disbelief. More like fury. A court of law has to be a lousy place to judge history.</dialogue> <scene_description>EVANS is shaking his head in corroboration. \* er</scene_description> <character>EVANS \*</character> <dialogue>I must agree. As a historian. \*</dialogue> <character>LAURA</character> <dialogue>They say: 'My God, are you serious? You sit down in a court and some pompous English judge rules on</dialogue> <scene_description>ck whether the Holocaust happened?'</scene_description> <character>DEBORAH \*</character> <dialogue>Yeah, and let's think about this: what happens if we lose? We lose and what? Suddenly it's respectable - it's legal - to say the Holocaust</dialogue> <scene_description>ee didn't happen? Unless I prove it did? Has anyone begun to think what that will mean? JULIUS is smiling tolerantly. He nods at LAURA to carry on.</scene_description> <character>LAURA</character> <dialogue>But the wonderful thing is, you</dialogue> <scene_description>Bl see, if we play this right, it's not going to be Irving putting the Holocaust on trial. No. It's going to be us putting Irving on trial.</scene_description> <character>JULIUS</character> <dialogue>Laura's right...</dialogue> <character>LAURA</character> <dialogue>Thank you...</dialogue> <character>JULIUS</character> <dialogue>Laura's very sound on this. Really.</dialogue> <scene_description>t LAURA is blushing at the great man's praise, so hurries on. e</scene_description> <character>LAURA</character> <dialogue>If we can concentrate on his lies, and - equally important - his motives for lying, then there's</dialogue> <scene_description>re absolutely no reason we should have to produce eye-witnesses.</scene_description> <character>DEBORAH</character> <dialogue>Hang on, I don't get this. What, the survivors won't appear?</dialogue> <scene_description>St</scene_description> <character>LIBSON</character> <dialogue>No. We don't want them to.</dialogue> <character>DEBORAH</character> <dialogue>No survivors?</dialogue> <character>JULIUS</character> <dialogue>No. Under no circumstances.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>Why not? Why the hell not?</dialogue> <character>JULIUS</character> <dialogue>Because even to let survivors appear would be to legitimise Irving's right to question them.</dialogue> <scene_description>ck DEBORAH shakes her head, furious at the ambush.</scene_description> <character>DEBORAH</character> <dialogue>Before you settle on this strategy, \* can I point out the obvious \* contradiction? \*</dialogue> <scene_description>ee</scene_description> <character>JULIUS</character> <dialogue>Please do. \*</dialogue> <character>DEBORAH</character> <dialogue>You once told me this trial might \* have implications for the fate of \* the whole Jewish people. Now you \*</dialogue> <scene_description>Bl say you're not going to allow them \* to speak. \* The lawyers are looking as if working out what they're trying to deal with here. When LIBSON speaks he's tactful.</scene_description> <character>LIBSON</character> <dialogue>OK, just to explain the thinking, so you understand the thinking:</dialogue> <character>DEBORAH</character> <dialogue>Oh yeah, please, I'd love to</dialogue> <scene_description>t understand the thinking. e</scene_description> <character>LIBSON</character> <dialogue>We believe Irving's planning to be what's called a litigant in person.</dialogue> <scene_description>re</scene_description> <character>JULIUS</character> <dialogue>He plans to conduct his own case.</dialogue> <character>DEBORAH</character> <dialogue>He's not hiring lawyers?</dialogue> <character>JULIUS</character> <dialogue>St</dialogue> <scene_description>You got it. Just think about it: That man. In person. There he is, in court, David Irving, international Holocaust denier, finally getting his hands on a survivor. Imagine. Imagine the hurt he'll cause. The damage. The insult. It's unthinkable. I'm not going to allow it. I'm not going to er allow it to happen. JULIUS has become passionate. The whole room is stilled.</scene_description> <character>DEBORAH</character> <dialogue>So what are you allowing?</dialogue> <scene_description>ck</scene_description> <character>JULIUS \*</character> <dialogue>David Irving keeps a diary. Has \* done for years. \*</dialogue> <character>DEBORAH \*</character> <dialogue>He mentions it on his website. \*</dialogue> <scene_description>ee</scene_description> <character>LIBSON \*</character> <dialogue>He said he had nothing to hide, but \* we still had to subpoena him to get \* hold of it. \*</dialogue> <character>DEBORAH</character> <dialogue>You've been to see him? In person?</dialogue> <scene_description>Bl DEBORAH is shocked, but JULIUS is smiling.</scene_description> <character>JULIUS</character> <dialogue>Deborah, the best defence is a strong offence. First rule...</dialogue> <character>LIBSON</character> <dialogue>First rule of litigation: whether you're prosecuting or defending, always run the case as if you're prosecuting.</dialogue> <scene_description>t</scene_description> <character>JULIUS</character> <dialogue>Good rule. That's why Laura will be</dialogue> <scene_description>e leading a team of researchers...</scene_description> <character>LAURA</character> <dialogue>They're joining next week...</dialogue> <scene_description>re</scene_description> <character>JULIUS</character> <dialogue>Combing through all the diaries, in particular looking for contact with right-wing groupings...</dialogue> <character>LAURA</character> <dialogue>St</dialogue> <scene_description>Neo-Nazis, skinheads, anti-Semites, SS revival groups, all kinds of assorted riff-raff... LAURA glows, cheerful.</scene_description> <character>LIBSON</character> <dialogue>Also, just as important, Professor Evans here, with his two of his</dialogue> <scene_description>er able graduate students, Nik Wachsman and Thomas... Thomas... Thomas...</scene_description> <character>THOMAS</character> <dialogue>Thomas Skelton-Robinson...</dialogue> <scene_description>ck</scene_description> <character>LIBSON</character> <dialogue>Got it.</dialogue> <scene_description>More laughter. THOMAS is shambling, sweet, disorganized, 20s, NIK is German, polo-necked, crop-haired, also 20s.</scene_description> <character>EVANS</character> <dialogue>ee</dialogue> <scene_description>I'm delaying taking up my position at Cambridge...</scene_description> <character>DEBORAH</character> <dialogue>They're letting you do that?</dialogue> <character>JULIUS</character> <dialogue>Of course. Cambridge thinks the</dialogue> <scene_description>Bl case is important.</scene_description> <character>EVANS</character> <dialogue>My team will be doing the historiography. Examining every published word Irving ever wrote...</dialogue> <character>THOMAS</character> <dialogue>Checking sources, comparing editions...</dialogue> <character>EVANS</character> <dialogue>Generally testing the reliability</dialogue> <scene_description>t of his history. e</scene_description> <character>NIK</character> <dialogue>You can't imagine what fun we're having.</dialogue> <scene_description>re</scene_description> <character>THOMAS</character> <dialogue>We're going to end up with a charge sheet of inaccuracies as long as your arm.</dialogue> <character>NIK</character> <dialogue>One mistake after another!</dialogue> <scene_description>St THOMAS and NIK overlap, laughing happily together.</scene_description> <character>EVANS</character> <dialogue>We think it'll take the three of us about a year. Full-time.</dialogue> <scene_description>JULIUS smiles, pleased. DEBORAH looks round, impressed and appalled at the same time. er</scene_description> <character>DEBORAH</character> <dialogue>Well I'm glad to know you guys have got everything sewn up.</dialogue> <character>JULIUS</character> <dialogue>We aim to.</dialogue> <scene_description>ck He looks round, a little nervous. \*</scene_description> <character>JULIUS (CONT'D) \*</character> <dialogue>There is one outstanding question. \* I'd been hoping to speak to you. As \* you know, the firm had been \*</dialogue> <scene_description>ee planning to do everything for free. \* But really, the scale of the thing. \* I fear we're going to have re-visit \* the question of charges. \* DEBORAH looks at him, level. \*</scene_description> <character>JULIUS (CONT'D) \*</character> <dialogue>Bl</dialogue> <scene_description>I'm wondering if we can lend a \* hand. If we fail, then of course \* we're ready to carry the costs. \*</scene_description> <character>DEBORAH \*</character> <dialogue>So the stupid American gets to do \* something? Fund-raise? \*</dialogue> </scene> <scene> <stage_direction>EXT. LEVY'S HOUSE. WEST HAMPSTEAD. NIGHT 49 \*</stage_direction> <scene_description>The last of a group of expensive cars backs into a parking space, revealing the Mercedes symbol on its hood. t</scene_description> <character>LEVY (V.O.)</character> <dialogue>So are you enjoying your time in \*</dialogue> <scene_description>e London?</scene_description> </scene> <scene> <stage_direction>INT. LEVYS' HOUSE. WEST HAMPSTEAD. NIGHT</stage_direction> <scene_description>re A dinner with SONIA and RICHARD LEVY. Eight guests. RACHEL's \* in her 40s, nervous, blonde, RICHARD more expansive, dark, \* 40s. Everything's a little heavy - the decor, the food and \* the atmosphere. RABBI BRENNER, heaviest of all, a thickset \* man, 50s, beside DEBORAH. Good china. Good glass. They are \* all sipping soup. \* St</scene_description> <character>DEBORAH</character> <dialogue>I'm in meetings all day. I get to see so little of the city.</dialogue> <character>RICHARD \*</character> <dialogue>I think people here do have concerns. About the trial.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>I have concerns myself.</dialogue> <character>SONIA \*</character> <dialogue>The community's very keen to support you.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>I'm glad to hear it.</dialogue> <character>SONIA \*</character> <dialogue>But we're also interested to know what you're thinking.</dialogue> <scene_description>ee</scene_description> <character>RABBI BRENNER</character> <dialogue>Mr Julius is a very brilliant young man. Can we speak frankly? There's a fear you may have fallen under his spell.</dialogue> <scene_description>From the end, an older woman, JANINE STONE speaks robustly. Bl</scene_description> <character>JANINE</character> <dialogue>You won't be the first woman to be attracted to his intellect. Diana.</dialogue> <scene_description>Some crude laughter.</scene_description> <character>DEBORAH</character> <dialogue>So far, I've raised most of my \* costs back home. \*</dialogue> <character>RICHARD \*</character> <dialogue>And was that easy?</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>It wasn't difficult.</scene_description> <character>RABBI BRENNER</character> <dialogue>Not as difficult as in London, is</dialogue> <scene_description>re that what you're saying?</scene_description> <character>DEBORAH</character> <dialogue>It's a principle and I've stuck to \* it. No single source of finance. \* One man offered to pay for the \* whole thing. But when the history \*</dialogue> <scene_description>St of this moment comes to be written, \* I think it's important many people \* gave, not one. \* There are uneasy looks up and down the table.</scene_description> <character>RICHARD \*</character> <dialogue>You talk about history. Look at it from our point of view. We live</dialogue> <scene_description>er with David Irving. He's British. He's a has-been. What's a trial going to do? It's going to give him a new lease of life.</scene_description> <character>DEBORAH</character> <dialogue>I can't help that. I didn't bring</dialogue> <scene_description>ck the prosecution. He did.</scene_description> <character>RICHARD \*</character> <dialogue>No, but you could prevent the whole thing from happening.</dialogue> <character>DEBORAH</character> <dialogue>ee</dialogue> <scene_description>How would I do that?</scene_description> <character>RICHARD \*</character> <dialogue>Settle. I mean it. Sign some piece of paper. Is that so terrible? He's never going to give you Auschwitz. OK, but then he's David Irving. We've lived with worse.</dialogue> <scene_description>Bl</scene_description> <character>DEBORAH</character> <dialogue>And what do you want me to settle for? Four million dead? Three? One? What are you comfortable with?</dialogue> <scene_description>DEBORAH looks at him, not yielding.</scene_description> <character>DEBORAH</character> <dialogue>If I may say so, Mr Irving thrives on exactly this kind of blackmail. If you're Jewish, keep your head down, lay low, and be grateful. Here in England, you may like</dialogue> <scene_description>t appeasement, but I don't. e</scene_description> <character>RABBI BRENNER</character> <dialogue>I don't think you should be using a word like appeasement.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>Shouldn't I? Then what word should I use?</dialogue> <character>SONIA \*</character> <dialogue>All we're saying: beware of Anthony Julius. He does these things for</dialogue> <scene_description>St his own glory. Other women have been in his pocket and they've found it an uncomfortable place to be.</scene_description> <character>DEBORAH</character> <dialogue>Well if it's pockets we're talking about, perhaps you can explain why the British find them so hard to</dialogue> <scene_description>er open.</scene_description> </scene> <scene> <stage_direction>EXT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>A taxi swooshes past on the wet street. ck</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM. ATHENAEUM. NIGHT</stage_direction> <scene_description>DEBORAH is lying in bed, unable to sleep. She turns over a few times. Then she throws back the covers and gets up. ee</scene_description> </scene> <scene> <stage_direction>EXT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>DEBORAH, in track suit, slips out of the small entrance at the side and runs off down Picadilly.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON. NIGHT</stage_direction> <scene_description>Bl DEBORAH runs along by the Houses of Parliament, Westminster, the river Thames. She comes to the statue of Boadicea, the heroic warrior queen on the south corner of Westminster Bridge. She stops and looks up at it, angry. The sound of the next scene laps over.</scene_description> <character>DEBORAH (O.S.)</character> <dialogue>I had a hellish night, I couldn't sleep. I was so angry.</dialogue> </scene> <scene> <stage_direction>EXT. FLEET STREET. DAY</stage_direction> <scene_description>t JULIUS, DEBORAH and LAURA, all in coats, are coming quickly e along a busy pavement. Roaring traffic. Gusty wind.</scene_description> <character>JULIUS</character> <dialogue>Oh really? Why?</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>I had dinner last night with leaders of the Jewish community.</dialogue> <character>JULIUS</character> <dialogue>The community, eh? And did they</dialogue> <scene_description>St tell you it would suit them better if you dropped the case?</scene_description> <character>DEBORAH</character> <dialogue>I was defending you.</dialogue> <character>JULIUS</character> <dialogue>Were you? Well I'm sure you did a very good job. Perhaps you should</dialogue> <scene_description>er take it up professionally. JULIUS throws an amused look, picking up on her tone.</scene_description> </scene> <scene> <stage_direction>EXT. BRICK COURT. DAY</stage_direction> <scene_description>ck Contrasting calm. They have entered a fine square of 18th century terraces, with staircases like an Oxbridge college.</scene_description> <character>DEBORAH</character> <dialogue>They seem to think you're taking over this case for your own glory.</dialogue> <scene_description>ee</scene_description> <character>JULIUS</character> <dialogue>Glory? Goodness. I hadn't thought about glory. Fascinating. What on earth did they give you to eat?</dialogue> <scene_description>He dives through a darkened arch and up a staircase. Bl</scene_description> </scene> <scene> <stage_direction>INT. RAMPTON'S CHAMBERS. DAY</stage_direction> <scene_description>A Dickensian rabbit-hole of papers, legal bundles. A roaring coal fire. A powdered horse-hair wig on a stand, an elaborate black silk robe on a hanger. A desk in the corner, largely innocent of technology. RAMPTON is standing with a computer mouse in his hand. He's a white-haired upper-class Scot, avuncular, 60s, with gold-rimmed glasses.</scene_description> <character>RAMPTON</character> <dialogue>I don't understand this thing, I really don't...</dialogue> <scene_description>Beside him is HEATHER, 30s, glasses, plain suit, no-nonsense. t</scene_description> <character>JULIUS</character> <dialogue>Deborah Lipstadt, this is Richard</dialogue> <scene_description>e Rampton. RAMPTON reaches out to shake hands. re</scene_description> <character>RAMPTON</character> <dialogue>'Aha, 'tis the author of our misfortune...' Come in, please do. Warm yourselves.</dialogue> <character>JULIUS</character> <dialogue>Richard's your leading counsel.</dialogue> <scene_description>St</scene_description> <character>DEBORAH</character> <dialogue>Hi.</dialogue> <character>JULIUS</character> <dialogue>I've explained to Deborah the difference between barrister and solicitor. Our legal system seems forbidding but it works.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>If your legal system worked, I wouldn't be in this mess. I don't mind Dickensian, it's Kafkaesque I'm worried about.</dialogue> <scene_description>ck RAMPTON throws an amused glance at JULIUS.</scene_description> <character>RAMPTON</character> <dialogue>And this is our junior counsel, Heather Rogers.</dialogue> <character>DEBORAH</character> <dialogue>ee</dialogue> <scene_description>Hello, Heather.</scene_description> <character>HEATHER</character> <dialogue>How are you?</dialogue> <scene_description>RAMPTON has an already-open bottle of good Burgundy, and some contrasting plastic glasses. Bl</scene_description> <character>RAMPTON</character> <dialogue>I've opened a decent red. You don't mind plastic, I hope?</dialogue> <character>JULIUS</character> <dialogue>I'm not going to drink, Richard, I haven't eaten. And Deborah hasn't slept.</dialogue> <character>DEBORAH</character> <dialogue>I'll taste the wine. Why not? Everything else is being decided for me.</dialogue> <scene_description>RAMPTON smiles, loving this reply. He sees DEBORAH taking in t towers of books about World War Two and the camps. e</scene_description> <character>RAMPTON</character> <dialogue>Yes, indeed, Heather and I have been introducing ourselves to the subject.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>I can see.</dialogue> <character>RAMPTON</character> <dialogue>A little light reading...</dialogue> <scene_description>St LAURA has replied to RAMPTON's mimed offer of wine with a smile of assent. DEBORAH is looking at a picture of RAMPTON in fly-fishing gear.</scene_description> <character>DEBORAH</character> <dialogue>You ever catch anything?</dialogue> <character>RAMPTON</character> <dialogue>From time to time.</dialogue> <scene_description>er Then she looks at his books. A German dictionary.</scene_description> <character>DEBORAH</character> <dialogue>You don't speak German?</dialogue> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>Ah! Like a barrister. Straight to my weakest point. I do know the libretto of The Magic Flute, that's the only German I have. Probably of little use in the forthcoming encounter. Cheers! ee</scene_description> <character>DEBORAH &amp; LAURA</character> <dialogue>Cheers!</dialogue> <scene_description>RAMPTON smiles broadly. His manner is feathery.</scene_description> <character>RAMPTON</character> <dialogue>I was hoping to get on with writing my life of Mozart, but I see I</dialogue> <scene_description>Bl shall have to postpone again.</scene_description> <character>JULIUS</character> <dialogue>Richard is the most skilful advocate in the country. I don't mind saying it.</dialogue> <scene_description>But RAMPTON has sat down with his wine, grave.</scene_description> <character>RAMPTON</character> <dialogue>In this case, I wish I thought skill were enough.</dialogue> <character>DEBORAH</character> <dialogue>What will it need then?</dialogue> <scene_description>t</scene_description> <character>RAMPTON</character> <dialogue>e</dialogue> <scene_description>A rarer quality.</scene_description> <character>DEBORAH</character> <dialogue>What's that?</dialogue> <scene_description>re</scene_description> <character>RAMPTON</character> <dialogue>Appetite.</dialogue> <scene_description>RAMPTON is sombre. The room goes quiet.</scene_description> <character>RAMPTON</character> <dialogue>St</dialogue> <scene_description>Plainly I shall have to go to Auschwitz. I hope you'll be kind enough to accompany me.</scene_description> <character>DEBORAH</character> <dialogue>Why do you need to go?</dialogue> <scene_description>RAMPTON lights a Gitane and looks a moment, impenetrable. er</scene_description> <character>RAMPTON</character> <dialogue>Legal reasons.</dialogue> </scene> <scene> <stage_direction>EXT. AUSCHWITZ. POLAND. DAWN</stage_direction> <scene_description>Water drips from one of the iron letters of the arched ck message 'Arbeit Macht Frei." The flat space beyond the arrival area is completely deserted. Mist. Barbed wire is faintly detectable, not much else.</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. AUSCHWITZ. DAWN</stage_direction> <scene_description>ee Huge masses of spectacles, artificial limbs, children's shoes, suitcases, chamber pots and 80,000 single shoes. RAMPTON has a small Leica. He is taking flash photos through display cabinet windows, his expression intense, unreadable. He winds the camera on.</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAWN</stage_direction> <scene_description>Bl Near the Crematorium ruins, in wasteland, DEBORAH is in sneakers, near HEATHER. A little way off, PROFESSOR ROBERT JAN VAN PELT, thin, boyish, in black leather jacket, black polo neck, black jeans. His hair is dyed blonde. His research assistant, OMER ARBEL, has large files of papers. There is a long silence. It's cold. No-one wants to be there.</scene_description> <character>DEBORAH</character> <dialogue>Is he coming? He wants us here, and then he doesn't show up. \*</dialogue> <character>HEATHER</character> <dialogue>He's late, that's all. He's often</dialogue> <scene_description>t late. e</scene_description> <character>DEBORAH</character> <dialogue>Is he late for court?</dialogue> <scene_description>re</scene_description> </scene> <scene> <stage_direction>EXT. PERIMETER FENCE. AUSCHWITZ. SS BARRACKS. DAWN</stage_direction> <scene_description>RAMPTON stands alone in the mist. He has a small tourist map and a pocket compass. He looks at the map, then deliberately starts pacing. Watch-towers and fences loom around him. St</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAWN</stage_direction> <scene_description>The group is waiting as RAMPTON approaches through the mist. He is still pacing. DEBORAH watches. RAMPTON stops and makes a note, then continues towards them.</scene_description> <character>RAMPTON</character> <dialogue>Good morning, everyone. You must be Professor van Pelt?</dialogue> <scene_description>er</scene_description> <character>ROBERT JAN</character> <dialogue>I am.</dialogue> <character>RAMPTON</character> <dialogue>Good. Then let's get down to business. Deborah. Heather.</dialogue> <scene_description>ck They have shaken hands. RAMPTON seems to want to move on.</scene_description> <character>RAMPTON</character> <dialogue>Professor?</dialogue> <character>ROBERT JAN</character> <dialogue>ee</dialogue> <scene_description>I suggest we start by taking a walk round the perimeter fence.</scene_description> <character>RAMPTON</character> <dialogue>I just did that.</dialogue> <scene_description>ROBERT JAN stands, slightly taken aback. Bl</scene_description> <character>ROBERT JAN</character> <dialogue>Good. Then let's look at the plans. Omer?</dialogue> <scene_description>ARBEL opens the file and takes out the papers. Everyone gathers round to look.</scene_description> <character>ROBERT JAN</character> <dialogue>I want you to understand the scale of the operation. What you're looking at here is one of the largest and most efficient killing machines in human history.</dialogue> <scene_description>t</scene_description> <character>RAMPTON</character> <dialogue>e</dialogue> <scene_description>Yes, we know what it is. It's how we prove what it is, that's what we're interested in. We're not here on a pilgrimage, we're here to re prepare a case. DEBORAH throws a glance to HEATHER who remains impassive. JAN gestures to the map and to the pile of rubbish and bricks.</scene_description> <character>ROBERT JAN</character> <dialogue>This is where we are. This is</dialogue> <scene_description>St Crematorium II. The buildings were deliberately demolished by the Germans in the autumn of 1944 to destroy the evidence of what they did here. They dynamited them again one week before the end of the war. ROBERT JAN leads the group to the top of a small set of brick steps. They peer down in the rubble and broken concrete. er</scene_description> <character>ROBERT JAN</character> <dialogue>These steps led down into the undressing room. The Olere drawings please.</dialogue> <scene_description>ARBEL opens the drawings. They are in graphite pencil and ck very precise.</scene_description> <character>ROBERT JAN</character> <dialogue>David Olere was a French artist. A survivor. He was able to draw a lot of what he'd seen.</dialogue> <scene_description>ee ROBERT JAN points to the ruined steps, matching those in the drawing. ROBERT JAN runs his finger along as they walk along the brick edge of the ruins.</scene_description> <character>ROBERT JAN</character> <dialogue>The victims walked down into the \* undressing rooms. Then they were \* led through here, past a sign that</dialogue> <scene_description>Bl said 'To the Baths' and into the gas chamber here. They have come to the edge of a large mass of crumpled and shattered concrete. ROBERT JAN climbs cautiously onto the remains of the roof. The others follow.</scene_description> <character>ROBERT JAN</character> <dialogue>Please watch your step. Tread carefully. This is a shrine. What we are standing on is all that remains of the gas chamber itself. This was the roof. The chamber was</dialogue> <scene_description>t right under here. The doors were locked and cyanide crystals - e Zyklon B - were poured in on them through holes in the roof. They all look round the rubble at their feet. No-one speaks. re As RAMPTON turns to go, he trips on something sharp.</scene_description> <character>RAMPTON</character> <dialogue>Shit!</dialogue> <scene_description>The others turn, shocked. To cover the moment, RAMPTON lights a Gitane. He gestures the others to move on. RAMPTON pulls St something from the sole of his shoe - a rusty twist of barbed wire.</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAY</stage_direction> <scene_description>They arrive at a bare-brick building. RAMPTON impatiently lights a second cigarette from the stub of the first. er</scene_description> <character>ROBERT JAN</character> <dialogue>Now here are the delousing chambers. Typhus was a terrible problem at the camp and the lice that carried it had to be destroyed.</dialogue> <scene_description>ck</scene_description> <character>RAMPTON</character> <dialogue>Ah good, now we get to it. We need to talk about Leuchter.</dialogue> <character>ROBERT JAN</character> <dialogue>I'm coming to Leuchter.</dialogue> <scene_description>ee</scene_description> </scene> <scene> <stage_direction>INT. DELOUSING CHAMBERS. BIRKENAU. DAY</stage_direction> <scene_description>The group comes into the building.</scene_description> <character>ROBERT JAN</character> <dialogue>This is the building in which the prisoners' clothes were deloused.</dialogue> <scene_description>Bl They used Zyklon B for that too. To kill the lice.</scene_description> <character>RAMPTON</character> <dialogue>We know that?</dialogue> <character>ROBERT JAN</character> <dialogue>Yes.</dialogue> <character>RAMPTON</character> <dialogue>For sure? You can prove it? We can't take anything for granted. I'm going to need to see the proof.</dialogue> <character>ROBERT JAN</character> <dialogue>t</dialogue> <scene_description>I can give you proof. e ROBERT JAN produces a copy of the Leuchter Report.</scene_description> <character>ROBERT JAN</character> <dialogue>However, in February 1988, a</dialogue> <scene_description>re Holocaust denier called Ernst Zundel sent Fred Leuchter, an engineer and self-styled execution expert, from America to test in different parts of the camp for evidence of traces of poison gas in the brickwork. He brought a camera- St man with him to document what he found.</scene_description> <character>DEBORAH</character> <dialogue>I've seen the footage. \*</dialogue> <scene_description>ROBERT JAN puts his hand on the wall, as if to feel it.</scene_description> <character>ROBERT JAN</character> <dialogue>er</dialogue> <scene_description>He was testing for levels of hydrogen cyanide. HCN. Look, the blue stains. Here. And here.</scene_description> <character>DEBORAH</character> <dialogue>He came with a chisel.</dialogue> <scene_description>ck</scene_description> <character>ROBERT JAN</character> <dialogue>That's right.</dialogue> <character>DEBORAH</character> <dialogue>And hacked away...</dialogue> <character>ROBERT JAN</character> <dialogue>ee</dialogue> <scene_description>Correct.</scene_description> <character>DEBORAH</character> <dialogue>...illegally, without the permission of the authorities...</dialogue> <character>ROBERT JAN</character> <dialogue>Indeed.</dialogue> <scene_description>Bl</scene_description> <character>DEBORAH</character> <dialogue>... and then smuggled the pieces out of Poland in his suitcase. Wrapped in his dirty underwear.</dialogue> <scene_description>DEBORAH is fierce, indignant. RAMPTON just looks.</scene_description> <character>RAMPTON</character> <dialogue>Be that as it may. We can criticise his methods, but it's his conclusions we have to discredit.</dialogue> <character>ROBERT JAN</character> <dialogue>t</dialogue> <scene_description>He found higher levels of HCN here in the delousing chambers than he e did in the gas chambers themselves. From this he concluded that no human beings were killed at Auschwitz. Only lice were killed. re There's a silence. DEBORAH shakes her head.</scene_description> <character>DEBORAH</character> <dialogue>I don't understand. Why are we wasting our time? Leuchter's not worth the paper it's written on.</dialogue> <scene_description>St</scene_description> <character>RAMPTON</character> <dialogue>So you say. You have to say why.</dialogue> <character>DEBORAH</character> <dialogue>Well of course he found higher concentrations in here. Think about it: It's exactly what you'd expect. It takes over twenty times more</dialogue> <scene_description>er cyanide to kill lice than it does human beings. Twenty times! Leuchter didn't even know that! RAMPTON still seems annoyed.</scene_description> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>The whole thing's infuriating.</scene_description> <character>ROBERT JAN</character> <dialogue>I know.</dialogue> <character>RAMPTON</character> <dialogue>It beggars belief. Why has no</dialogue> <scene_description>ee proper scientific study been done of the whole site? By reputable scientists? Fifty years on? It's ridiculous. It's unprofessional. Where's the proof? Where's the evidence? I need to know that.</scene_description> <character>DEBORAH</character> <dialogue>Bl</dialogue> <scene_description>Why do we need a study? We have the \* evidence. \* DEBORAH is furious. RAMPTON looks at her.</scene_description> <character>RAMPTON</character> <dialogue>I need to ask some more questions. Are you happier outside?</dialogue> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAY</stage_direction> <scene_description>DEBORAH is standing by herself, pacing. HEATHER is a little way off. Some time goes by. Inside RAMPTON can be heard still aggressively arguing small points with ROBERT JAN. t</scene_description> <character>DEBORAH</character> <dialogue>I thought we weren't going to try</dialogue> <scene_description>e the Holocaust.</scene_description> <character>HEATHER</character> <dialogue>We're not.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>We're not going to debate 'Did the Holocaust happen?' That's what we agreed.</dialogue> <scene_description>There is a silence. DEBORAH paces. St</scene_description> <character>DEBORAH</character> <dialogue>That's what we agreed!</dialogue> <character>HEATHER</character> <dialogue>He's asking questions. That's all. He has to ask questions. This is not about memorialising, it's about forensics.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>Do you know how many people died here? And he's asking questions about what really happened?</dialogue> <scene_description>ck</scene_description> </scene> <scene> <stage_direction>INT. DELOUSING CHAMBERS. DAY</stage_direction> <scene_description>RAMPTON, still going at it inside with ROBERT JAN, has turned to listen. The sound of DEBORAH'S anger drifting across to him, discernible but indistinct. He looks at ROBERT JAN. ee</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DUSK</stage_direction> <scene_description>Later. DEBORAH walks back alone to the remains of Crematorium II. She stands, looking at the steps down to the rubble. She closes her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAY</stage_direction> <scene_description>Bl In her mind's eye, a great mass of women's feet staggering down the steps that led to the undressing room. Glimpsed in between the legs, a small girl's terrified face - like a young RACHEL BLOCH. No longer than a second or two. Then</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DUSK</stage_direction> <scene_description>DEBORAH bows her head.</scene_description> <character>DEBORAH</character> <dialogue>God, full of mercy, who dwells in</dialogue> <scene_description>t the heights, Provide a sure rest upon the Divine e Presence's wings, Within the range of the holy, pure and glorious, Whose shining resemble the sky's... re Hearing a voice join in beside her, DEBORAH looks to find ROBERT JAN. He takes out a yarmulka from his pocket. They exchange a look, then lower their heads and together start the prayer again, this time in Hebrew. El Molei Rachamim... Some way off, RAMPTON appears, looking towards them, silent, thoughtful. St</scene_description> </scene> <scene> <stage_direction>EXT. MARKET SQUARE. KRAKOW. NIGHT</stage_direction> <scene_description>The old town centre. The grim little GROUP, carrying their bags, move across to their hotel. From the church towers, a trumpeter sounds the hour from the belfry. er</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR. KRAKOW. NIGHT</stage_direction> <scene_description>DEBORAH in the corner at a basic wooden table. HEATHER and ROBERT JAN at another banquette. RAMPTON appears above her with a chilled bottle of vodka and two shot glasses.</scene_description> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>I brought you a drink. I thought you might need one.</scene_description> <character>DEBORAH</character> <dialogue>Thank you. I do.</dialogue> <scene_description>He sits down and pours, saying nothing. ee</scene_description> <character>DEBORAH</character> <dialogue>Did you get what you wanted from the visit?</dialogue> <scene_description>RAMPTON looks up, stopped by her hostility.</scene_description> <character>RAMPTON</character> <dialogue>Bl</dialogue> <scene_description>Deborah, you mustn't characterise me without feelings. I have feelings.</scene_description> <character>DEBORAH</character> <dialogue>What did you feel today?</dialogue> <character>RAMPTON</character> <dialogue>Shame.</dialogue> <scene_description>RAMPTON pushes the glass across to her with one finger.</scene_description> <character>RAMPTON</character> <dialogue>t</dialogue> <scene_description>I have a terrible fear that if I'd been asked to draw up those plans, e I might have agreed. Out of sheer weakness.</scene_description> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>That's honest of you to say so.</scene_description> <character>RAMPTON</character> <dialogue>Just a fact. The world is full of cowards and I'm one of them. There's a line of Goethe's. "Der Feige droht nur, wo er sicher ist."</dialogue> <scene_description>St "The coward only threatens when he feels secure."</scene_description> <character>DEBORAH</character> <dialogue>I thought you didn't speak German.</dialogue> <scene_description>RAMPTON shrugs, modest.</scene_description> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>You've learnt German? In the last year?</scene_description> <character>RAMPTON</character> <dialogue>How else was I to master the documents? Irving has a forty-year start on me. I've had to try and</dialogue> <scene_description>ck catch up.</scene_description> <character>DEBORAH</character> <dialogue>And have you?</dialogue> <character>RAMPTON</character> <dialogue>No.</dialogue> <scene_description>ee There is a trace of self-mockery in this chilly exchange. RAMPTON pours two more shot glasses.</scene_description> <character>RAMPTON</character> <dialogue>We'll get a trial date soon. Nine- tenths of court craft is preparation.</dialogue> <scene_description>Bl DEBORAH looks at him a moment, thoughtful.</scene_description> <character>DEBORAH</character> <dialogue>You haven't taken my statement yet.</dialogue> <character>RAMPTON</character> <dialogue>No. No, I haven't.</dialogue> <character>DEBORAH</character> <dialogue>Why is that?</dialogue> <character>RAMPTON</character> <dialogue>Anthony hasn't talked to you?</dialogue> <scene_description>t DEBORAH shakes her head. e</scene_description> <character>RAMPTON</character> <dialogue>Very well. We made a couple of decisions.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>Tell me.</dialogue> <character>RAMPTON</character> <dialogue>First, we decided we don't want to put the case before a jury. We think it's safer to do it before a</dialogue> <scene_description>St judge.</scene_description> <character>DEBORAH</character> <dialogue>A single judge?</dialogue> <character>RAMPTON</character> <dialogue>Yes.</dialogue> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>Everything depending on one man? Is that a good idea? RAMPTON shrugs.</scene_description> <character>RAMPTON</character> <dialogue>We're worried about what antics</dialogue> <scene_description>ck Irving might get up to with an audience of twelve.</scene_description> <character>DEBORAH</character> <dialogue>I'm surprised it's our choice.</dialogue> <character>RAMPTON</character> <dialogue>ee</dialogue> <scene_description>It's not. We have to get Irving to agree.</scene_description> <character>DEBORAH</character> <dialogue>Why would he do that?</dialogue> <character>RAMPTON</character> <dialogue>Oh. We have a notion.</dialogue> <scene_description>Bl RAMPTON smiles to himself. DEBORAH doesn't understand.</scene_description> <character>DEBORAH</character> <dialogue>And the other one?</dialogue> <character>RAMPTON</character> <dialogue>Sorry?</dialogue> <character>DEBORAH</character> <dialogue>A couple of decisions, you said.</dialogue> <character>RAMPTON</character> <dialogue>Oh yes of course.</dialogue> <scene_description>t RAMPTON looks at her, absent for a moment. e</scene_description> <character>RAMPTON</character> <dialogue>We decided... Anthony and I both think it would be better if you didn't testify.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>I'm sorry?</dialogue> <character>RAMPTON</character> <dialogue>That's it. We don't believe you should testify.</dialogue> <scene_description>St There is a silence. DEBORAH is fixed on him. Then DEBORAH reaches and pours herself another shot.</scene_description> <character>DEBORAH</character> <dialogue>It's me...</dialogue> <character>RAMPTON</character> <dialogue>I know...</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>It's me he's chosen...</dialogue> <character>RAMPTON</character> <dialogue>I'm aware of that.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Of all the people who've written \* about him, David Irving has targeted me. I have to defend myself.</dialogue> <character>RAMPTON</character> <dialogue>ee</dialogue> <scene_description>Of course. I know that's how it seems. But. He stops, reluctant to go on.</scene_description> <character>DEBORAH</character> <dialogue>What? I sit at my trial every day, I listen to my reputation being</dialogue> <scene_description>Bl destroyed - someone attacks me, attacks my work, my profession, my integrity, and I say nothing? Is that the idea? RAMPTON opens his hands as if to say 'Yes, that's it.'</scene_description> <character>DEBORAH</character> <dialogue>Why? Because you don't trust me?</dialogue> <character>RAMPTON</character> <dialogue>No.</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>You think I might get emotional?</dialogue> <scene_description>e</scene_description> <character>RAMPTON</character> <dialogue>On today's evidence...</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>We were at Auschwitz, Richard.</dialogue> <scene_description>But RAMPTON looks right back at her.</scene_description> <character>DEBORAH</character> <dialogue>Can I remind you: I teach, I</dialogue> <scene_description>St lecture, I talk to the press...</scene_description> <character>RAMPTON</character> <dialogue>I know.</dialogue> <character>DEBORAH</character> <dialogue>I order ideas. That's what I do. That's what I'm good at. You think you need to protect me?</dialogue> <scene_description>er</scene_description> <character>RAMPTON</character> <dialogue>I'm not protecting you, I'm protecting our case. Our strategy is to keep the focus on Irving and Irving alone. The trial is not a test of your credibility, it's a</dialogue> <scene_description>ck test of his. DEBORAH looks at him, shaken. \*</scene_description> <character>DEBORAH</character> <dialogue>You don't think I'm good enough.</dialogue> <scene_description>ee</scene_description> <character>RAMPTON</character> <dialogue>I haven't said that. Irving's an expert. He's a scholar.</dialogue> <character>DEBORAH</character> <dialogue>And I'm not?</dialogue> <character>RAMPTON</character> <dialogue>Bl</dialogue> <scene_description>You're in a different field. You're not a historian of the Third Reich. RAMPTON waits. It's on a knife-edge. \*</scene_description> <character>RAMPTON</character> <dialogue>Represent yourself. Go in the box. Why not? Irving will be delighted.</dialogue> <character>RAMPTON</character> <dialogue>He's got a huge dossier. Everything you ever said or did. It's what he's always wanted. To get his hands on you and tear you apart.</dialogue> <character>DEBORAH</character> <dialogue>t</dialogue> <scene_description>And no doubt you think he'd succeed? You don't trust me. e RAMPTON is inscrutable, knowing this is a decisive moment.</scene_description> <character>RAMPTON</character> <dialogue>re</dialogue> <scene_description>Everything you have to say you said in your book. Our task is to starve Irving. Putting you on the stand would feed him. The trial's happening to you, but it's not about you. St</scene_description> <character>DEBORAH</character> <dialogue>This man hates me. He's coming for \* me. It's personal. When someone \* hates you, you take them on. \*</dialogue> <scene_description>Silence. Then:</scene_description> <character>DEBORAH</character> <dialogue>You know what people will say.</dialogue> <scene_description>er</scene_description> <character>RAMPTON</character> <dialogue>I'm afraid I do.</dialogue> <character>DEBORAH</character> <dialogue>They'll say I'm a coward. "She didn't dare go into the box,</dialogue> <scene_description>ck because she knew she would lose."</scene_description> <character>RAMPTON</character> <dialogue>You're right. They will say that.</dialogue> <character>DEBORAH</character> <dialogue>I'll have to live with that.</dialogue> <scene_description>ee</scene_description> <character>RAMPTON</character> <dialogue>Yes. Yes. That's the price you'll pay for winning.</dialogue> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>Bl The imposing facade. Underneath:</scene_description> <character>TRENCH (V.O.)</character> <dialogue>Mr Julius, is there any other housekeeping we need to do before we close the pre-trial hearing?</dialogue> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>A small room. Almost informal, just a single JUDGE, JOHN TRENCH, 60s. IRVING, now 61, at one table, JULIUS at another, in suit and tie, with LIBSON behind him. t</scene_description> <character>JULIUS</character> <dialogue>Just one question, my Lord.</dialogue> <scene_description>e</scene_description> <character>TRENCH</character> <dialogue>What is it?</dialogue> <scene_description>re</scene_description> <character>JULIUS</character> <dialogue>On our side, we're beginning to feel that for the layman this particular subject may represent an impossible challenge.</dialogue> <character>TRENCH</character> <dialogue>St</dialogue> <scene_description>I see. You're asking to dispense \* with a jury? \*</scene_description> <character>JULIUS</character> <dialogue>We are, my Lord.</dialogue> <character>TRENCH</character> <dialogue>Have you asked Mr Irving his views? Mr Irving?</dialogue> <scene_description>er IRVING stirs, uncertain. But JULIUS modestly interrupts.</scene_description> <character>JULIUS</character> <dialogue>Perhaps, before Mr Irving speaks?</dialogue> <character>TRENCH</character> <dialogue>ck</dialogue> <scene_description>Go ahead.</scene_description> <character>JULIUS</character> <dialogue>We all know: Mr Irving has devoted his life to the study of the Third Reich. I admit myself to having sometimes struggled with the</dialogue> <scene_description>ee demands of the material. I wonder if Mr Irving really believes that it's fair to ask the regular Joe or Joan who walks in from the street to grasp in a mere few weeks what he himself has taken a life-time to master. Bl IRVING is looking at him. Which way will be jump? Then:</scene_description> <character>IRVING</character> <dialogue>I agree. The issues before the court are sufficiently complex to require the attention of a learned judge, and too complex to confront a jury with.</dialogue> <character>TRENCH</character> <dialogue>Are you sure, Mr Irving?</dialogue> <character>IRVING</character> <dialogue>Quite sure.</dialogue> <scene_description>t JULIUS looks, his bluff perfect. e</scene_description> <character>TRENCH</character> <dialogue>A trial by judge alone it is then.</dialogue> <scene_description>re</scene_description> </scene> <scene> <stage_direction>INT. DEBORAH'S ROOM. ATHENAEUM HOTEL. DAY</stage_direction> <scene_description>DEBORAH is unpacking - unfamiliar adaptor plugs, guide books. She's thought of everything. Then a framed photo of herself with The Mutt goes in pride of place. DAVID IRVING is on TV, doing a respectful studio interview. St</scene_description> <character>IRVING (TV)</character> <dialogue>Naturally, I'm delighted this case is finally coming to court.</dialogue> <character>INTERVIEWER (TV)</character> <dialogue>You're representing yourself?</dialogue> <character>IRVING (TV)</character> <dialogue>I have the advantage that although</dialogue> <scene_description>er I don't know the law, I do know the topic. It would cost me half a million pounds to hire professional representation. And unlike Miss Lipstadt, I don't have access to a network with that kind of money. ck</scene_description> <character>DEBORAH</character> <dialogue>Oh this is about money, is it?</dialogue> <scene_description>DEBORAH is shaking her head. A knock at the door.</scene_description> <character>DEBORAH</character> <dialogue>Come in.</dialogue> <scene_description>ee A BELL-BOY appears with a huge bunch of white lilies.</scene_description> <character>BELLBOY</character> <dialogue>The manager wants you to have these. He's wishing you luck.</dialogue> <character>DEBORAH</character> <dialogue>Bl</dialogue> <scene_description>Thank you. Thank you very much. I'm just asking, but in your country are white lilies lucky?</scene_description> <character>BELLBOY</character> <dialogue>I think so, yes.</dialogue> <character>DEBORAH</character> <dialogue>Just how in the States you usually see them on a grave.</dialogue> </scene> <scene> <stage_direction>INT. DEBORAH'S ROOM. NIGHT</stage_direction> <scene_description>t DEBORAH is turning her room into an operations centre: e unpacking books, videotapes, files onto the desk. From the Sunday Times, she cuts out a photo of IRVING: "Irving Predicts Complete Victory". She tapes it to the side of her computer screen. On the TV, Victoria Wood in Dinner Ladies: re DEBORAH looks bewildered at this most English of comedies.</scene_description> </scene> <scene> <stage_direction>INT. IRVING'S APARTMENT. MOUNT STREET. NIGHT</stage_direction> <scene_description>The television in IRVING'S room is also playing Dinner Ladies. IRVING looks at it a moment, enjoying the humour. St Then turns back to his desk to carry on his preparation. On his computer a screen-grab of DEBORAH being humiliated at DeKalb. He works on.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. FLEET STREET. DAY</stage_direction> <scene_description>NETWORK REPORTERS are speaking straight to camera, from the middle of a pavement scrum - photographers, reporters. er</scene_description> <character>NETWORK REPORTER</character> <dialogue>This morning will see the beginning of an extraordinary case in which a well-known historian and an obscure American academic will do battle to decide whether the Holocaust took</dialogue> <scene_description>ck place...</scene_description> <character>NETWORK REPORTER 2</character> <dialogue>Sources are saying that a whole network of supporters in the United States, including the film director Stephen Spielberg, are paying for</dialogue> <scene_description>ee Miss Lipstadt's defence...</scene_description> <character>NETWORK REPORTER 3</character> <dialogue>... Mr Irving is rumoured to have a list of over 4,000 contributors. They include a former U-boat captain who lives in Hawaii...</dialogue> <scene_description>Bl</scene_description> <character>NETWORK REPORTER 4</character> <dialogue>It's expected that this trial will be a long one, both sides digging in for a protracted fight...</dialogue> <scene_description>CAPTION: JANUARY 11th, 2000 On the opposite pavement, DEBORAH, dressed in coat and scarf, is amazed to see the scrum. Resolutely she starts crossing the road. The press has recognized her and is calling out 'Deborah, Deborah' and 'Miss Lipstadt.' She takes out a piece of paper and turns to read from it. As she does, JULIUS and LAURA appear from nowhere like policemen. t</scene_description> <character>JULIUS</character> <dialogue>e</dialogue> <scene_description>Good morning, Deborah. DEBORAH turns in surprise. JULIUS is wearing a black robe. re</scene_description> <character>JULIUS</character> <dialogue>We wanted to make sure you didn't go in alone.</dialogue> <character>DEBORAH</character> <dialogue>That's sweet of you.</dialogue> <scene_description>St</scene_description> <character>JULIUS</character> <dialogue>It's not sweet at all. We wanted to make sure you didn't speak.</dialogue> <character>DEBORAH</character> <dialogue>It's just a short statement. Look, there's Julie McCarthy, NPR...</dialogue> <scene_description>But he has already put his arm round her and LAURA has taken er the other, manoeuvring her into the building. A man appears in front of DEBORAH's face.</scene_description> <character>MAN</character> <dialogue>Lying Jewish bitch! \*</dialogue> <scene_description>But JULIUS has her quickly out of the way. As the MAN is \* ck hustled away by POLICE, he is heard shouting "Don't think \* there's anywhere to hide. We're going to finish what Hitler \* started." \*</scene_description> </scene> <scene> <stage_direction>INT. CLOISTERS AND INTERIOR. LAW COURTS. DAY</stage_direction> <scene_description>ee Inside they let go, and suddenly DEBORAH is all alone, looking at the amazing Gothic scale and splendour of the building. She's awed, but her contemplation of it is disturbed by the arrival at the entrance of IRVING outside, lit by camera lights, the press surrounding him.</scene_description> <character>IRVING</character> <dialogue>Good morning, everyone. I'm looking</dialogue> <scene_description>Bl forward to this, if I may say a few words... She watches furious as the press write down everything he says. She catches up with JULIUS, with NIK and THOMAS carrying boxes of documents towards the court.</scene_description> <character>DEBORAH</character> <dialogue>Did you see him? He'll be all over the front pages...</dialogue> <character>JULIUS</character> <dialogue>Deborah, there's only one person</dialogue> <scene_description>t who matters and that's the judge. If you don't speak in court and you e do speak in the press, the judge is going to be furious. And rightly.</scene_description> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>Yeah, well, we both know the answer to that. DEBORAH looks at JULIUS bitterly.</scene_description> <character>JULIUS</character> <dialogue>And another thing. You jog the same</dialogue> <scene_description>St way every day. Don't.</scene_description> <character>DEBORAH</character> <dialogue>What are you saying?</dialogue> <character>JULIUS</character> <dialogue>I'm not saying anything. I'm just saying, vary your route.</dialogue> <scene_description>er DEBORAH looks back outside. The angry MAN is still there.</scene_description> </scene> <scene> <stage_direction>INT. COURTROOM. DAY</stage_direction> <scene_description>An obvious contrast: DEBORAH waiting on the left-hand side of the court which is full - DEBORAH now smiles at FORBES-WATSON ck who smiles back. RAMPTON is in wig and silk robe, alongside JULIUS, LIBSON, HELENA, HEATHER and the team of researchers led by LAURA. Stack upon stack of boxes and bundles of evidence. DEBORAH turns and looks up to the gallery. Some obvious Irving supporters - skinheads in T-shirts and tattoos and some less obvious - Aryan women and middle-aged men. Then she looks to the deserted opposite side as IRVING comes in, ee papers under his arm, bare space all around. He puts his papers down in silence. JULIUS smiles.</scene_description> <character>JULIUS</character> <dialogue>David and Goliath. As advertised.</dialogue> <scene_description>IRVING suddenly turns and looks straight at DEBORAH. OK Corral - their look held. Bl</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS. DAY</stage_direction> <scene_description>CHARLES GRAY, a suave, upper-class Englishman, 50s, in wig and gown is reading alone. The CLERK knocks on the door.</scene_description> <character>CLERK</character> <dialogue>Sir, they're ready.</dialogue> <character>GRAY</character> <dialogue>Thank you.</dialogue> <scene_description>t GRAY closes the book. It's HITLER'S WAR by David Irving, covered in post-its and handwritten notes. GRAY finishes his e cup of tea then puts it down on a desk covered with evidence submissions, video-tapes and tottering mountains of books. He gets up, nods at the CLERK and leaves the room. re</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR &amp; COURTROOM. DAY</stage_direction> <scene_description>GRAY sweeps along the corridor and into the court.</scene_description> <character>COURT USHER</character> <dialogue>Court rise.</dialogue> <scene_description>St Everyone stands. GRAY takes his place. The whole court bows. JULIUS whispers to DEBORAH.</scene_description> <character>JULIUS</character> <dialogue>Bow.</dialogue> <character>DEBORAH</character> <dialogue>I'm American. Everything else but</dialogue> <scene_description>er no bowing.</scene_description> </scene> <scene> <stage_direction>INT. COURTROOM. DAY</stage_direction> <scene_description>Later. The court is packed except for the solitary area around IRVING. He is on his feet and addressing the judge, ck eloquent, commanding, his hands mostly behind his back. DEBORAH is watching closely, trying to get his measure.</scene_description> <character>IRVING</character> <dialogue>My Lord, I intend to show that far from being a Holocaust denier, I have repeatedly drawn attention to</dialogue> <scene_description>ee major aspects of the Holocaust. These defendants have done very real damage to my professional existence. By virtue of the activities of Miss Lipstadt and those who funded her and guided her hand, since 1996 I have seen one fearful publisher after another Bl falling away from me and turning their backs on me when I approach. My Lord, if we were to seek a title for this libel action, I would venture to suggest "Pictures at an Execution" - my execution. RAMPTON, a compulsive cartoonist, is drawing IRVING in the side of a document. DEBORAH, looking round, sees an OLDER WOMAN, VERA REICH, small, upright, 70s, Polish, watching from the public gallery.</scene_description> <character>IRVING</character> <dialogue>t</dialogue> <scene_description>These defendants did not act alone. They were part of an organized e international endeavour to discredit me. The word 'denier' is particularly evil. The phrase is a poison to which there is virtually re no antidote, less lethal than a hypodermic with nerve gas jabbed in the neck, but deadly all the same. For the chosen victim it is like being called a wife beater or a paedophile. It is enough for the label to be attached for the St attachee to find himself designated as a pariah, an outcast from normal society. It is a verbal Yellow Star. IRVING has turned to look at DEBORAH, putting the accusation to her. DEBORAH stares back. RAMPTON's cartoon shows IRVING hanging from a gallows, the noose captioned 'Facts'. Underneath he has put the title "Pictures at an Execution." er</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT LOBBY. DAY</stage_direction> <scene_description>Recess. Everyone is pouring out of the court into the vaulted hall. DEBORAH is with LAURA, JULIUS and LIBSON. ck</scene_description> <character>LAURA</character> <dialogue>So, what you did think of him?</dialogue> <character>DEBORAH</character> <dialogue>Irving? I thought he was oddly impressive.</dialogue> <scene_description>ee</scene_description> <character>JULIUS</character> <dialogue>Impressive?</dialogue> <scene_description>JULIUS smiles, patronising. \*</scene_description> <character>DEBORAH</character> <dialogue>The only thing that confused me... It was like Irving already knew all</dialogue> <scene_description>Bl our questions and points.</scene_description> <character>JULIUS</character> <dialogue>Yes of course. We sent them to him.</dialogue> <character>DEBORAH</character> <dialogue>You sent all our questions? In advance? I don't get it. Isn't that revealing our strategy?</dialogue> <character>JULIUS</character> <dialogue>t</dialogue> <scene_description>Deborah, we have no strategy. We plan to box him in with the truth. e</scene_description> </scene> <scene> <stage_direction>INT. COURT. DAY</stage_direction> <scene_description>re DEBORAH watches IRVING closely as RAMPTON rises to his feet, at all times addressing GRAY, never once looking at IRVING.</scene_description> <character>RAMPTON</character> <dialogue>My Lord, Mr Irving calls himself a historian. The truth, however, is that he is not a historian at all,</dialogue> <scene_description>St but a falsifier of history. To put it bluntly, he is a liar. DEBORAH looks sharply across at RAMPTON, realising he is using her words. RAMPTON has two books in front of him, separate editions of HITLER'S WAR. He holds up the first and then the second.</scene_description> <character>RAMPTON</character> <dialogue>er</dialogue> <scene_description>Between the publication of the first edition of Hitler's War in 1977, and its second edition in 1991, Mr Irving's views about the Holocaust underwent a sea-change. In 1977, he accepted it as a historical truth in all its ck essentials - systematic mass murder of the Jews in purpose-built extermination factories. But in the 1991 edition, all trace of the Holocaust in this sense has disappeared. What are the reasons for this astounding volte-face? The ee principal reason can be expressed in one word: Leuchter.</scene_description> <character>DEBORAH</character> <dialogue>The man with the dirty underwear.</dialogue> <scene_description>DEBORAH is so rapt she has spoken to herself. LIBSON shoots a glance to JULIUS behind, who has also heard her. Bl</scene_description> <character>RAMPTON</character> <dialogue>According to Mr Irving, the Leuchter report is "the biggest calibre shell that has yet hit the battleship Auschwitz".</dialogue> <character>RAMPTON</character> <dialogue>Unfortunately for Mr Irving, the Leuchter report is bunk and he knows it. So why then did Mr Irving embrace the Leuchter report with such enthusiasm? Why did he choose to publish it himself and even to</dialogue> <scene_description>t write an introduction? The answer must be that he wanted it to be e true. After all if the Holocaust never happened, then Hitler cannot have ordered it or known about it. re</scene_description> <character>DEBORAH</character> <dialogue>And that's the point.</dialogue> <scene_description>This time JULIUS puts a finger to his mouth to bid silence. RAMPTON picks up another piece of paper and reads from it.</scene_description> <character>RAMPTON</character> <dialogue>St</dialogue> <scene_description>In September 1991 Mr Irving spoke to an audience in Calgary, Alberta. This is what he said: "I don't see any reason to be tasteful about Auschwitz. It's baloney. It's a legend. Oh you think that's tasteless? How about this? There are so many Auschwitz survivors going round, in fact their number er increases as the years go past, that I'm going to form an association of Auschwitz Survivors, Survivors of the Holocaust and Other Liars called A-S-S-H-O-L-S, pronounced no doubt 'asshols'..." ck RAMPTON puts down the paper. The court is silenced. Nobody moves. IRVING looks away, uninterested.</scene_description> <character>RAMPTON</character> <dialogue>My Lord, this is obviously an important case. For if it be true that Mr Irving has devoted his</dialogue> <scene_description>ee energy to the deliberate falsification of this tragic episode in history, then by exposing that dangerous fraud in this court, the defendants may properly be applauded for having performed a significant public service, not just in this country Bl but wherever in the world anti- Semitism and bigotry is waiting to be fed.</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT ATRIUM. DAY</stage_direction> <scene_description>A buzz as everyone flows out into the echoing space.</scene_description> <character>DEBORAH</character> <dialogue>Wow! I thought we were pretty effective.</dialogue> <character>JULIUS</character> <dialogue>Really?</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>That was a pretty good start.</scene_description> <character>JULIUS</character> <dialogue>I'm glad you're happy.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>I saw his face. When we called him a liar. I don't think he's used to hearing things like that. It was exciting.</dialogue> <scene_description>St VERA has put herself in DEBORAH'S way.</scene_description> <character>VERA</character> <dialogue>Excuse me. Miss Lipstadt?</dialogue> <character>DEBORAH</character> <dialogue>Yes?</dialogue> <character>VERA</character> <dialogue>er</dialogue> <scene_description>May I speak to you?</scene_description> <character>DEBORAH</character> <dialogue>You go ahead, I'll catch up.</dialogue> <scene_description>DEBORAH has said this to JULIUS who hesitates, then goes on. ck</scene_description> <character>VERA</character> <dialogue>I want you to come and meet some of my friends. Friends with something \* in common.</dialogue> <scene_description>VERA rolls up her sleeve. A tattooed number. DEBORAH stares. ee</scene_description> <character>VERA</character> <dialogue>We want to know: How can you let this happen? We don't understand. How can it be happening? This is what you call a strategy? None of us have been called. We have to be heard. The voice of suffering has to be heard. A trial of the</dialogue> <scene_description>Bl Holocaust and no witnesses? How can that be right? DEBORAH looks, her own doubts confirmed.</scene_description> <character>VERA</character> <dialogue>There's a whole group of us. Deborah, we have to testify.</dialogue> <character>VERA</character> <dialogue>We have to. On behalf of the others. For the dead.</dialogue> <scene_description>DEBORAH nods slightly. They are in a quiet corner. She reaches out and touches VERA'S arm. t</scene_description> <character>DEBORAH</character> <dialogue>I make you a promise. The voice of</dialogue> <scene_description>e suffering will be heard. It will. I promise you that. re</scene_description> </scene> <scene> <stage_direction>EXT. FLEET STREET. DAY</stage_direction> <scene_description>DEBORAH comes out into the roar of traffic. The others have gone. She steps out and nearly gets run over by a bus, forgetting they drive on the left. A passerby calls out "Watch out!" A close thing. St</scene_description> </scene> <scene> <stage_direction>INT. BRICK COURT. DAY</stage_direction> <scene_description>DEBORAH runs up the stairs and into chambers. It looks like a party. LAURA, NIK, THOMAS, HEATHER etc. RAMPTON is opening a filing cabinet and getting out a bottle of red wine.</scene_description> <character>RAMPTON</character> <dialogue>I see this could well become a</dialogue> <scene_description>er ritual. A welcome ritual, don't misunderstand. Deborah?</scene_description> <character>DEBORAH</character> <dialogue>No, thank you.</dialogue> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>A well-known Attorney General taught me very early on, one's always a more effective advocate after a few glasses of claret. And some sandwiches. With a flourish, he opens a dusty cupboard and inside there ee are plates of cut sandwiches. Everyone laughs and piles in. DEBORAH moves across to JULIUS in the corner.</scene_description> <character>DEBORAH</character> <dialogue>I need to talk to you. It's urgent. I've just spoken with a survivor.</dialogue> <character>JULIUS</character> <dialogue>Bl</dialogue> <scene_description>Yes. Well that's likely. I've seen several in the court. Someone hands JULIUS a glass of wine.</scene_description> <character>JULIUS</character> <dialogue>Deborah, we're not going to discuss this again.</dialogue> <character>DEBORAH</character> <dialogue>Why not?</dialogue> <character>JULIUS</character> <dialogue>I've explained to you.</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>I don't think so.</dialogue> <scene_description>e</scene_description> <character>JULIUS</character> <dialogue>Whatever you say, the survivors are not on trial. That's how it is.</dialogue> <scene_description>re They confuse the issue. Keep them out of it. JULIUS has raised his voice. RAMPTON is alert to every word, but pretending not to listen.</scene_description> <character>DEBORAH</character> <dialogue>St</dialogue> <scene_description>You can look them in the face, can you, you can look survivors in the face and tell them they have no right to testify? They were there! They have the authority.</scene_description> <character>JULIUS</character> <dialogue>Deborah, these people came out of hell. I understand that. After all</dialogue> <scene_description>er these years, they still haven't processed the experience. I know that too. But a trial, I'm afraid, isn't therapy. Still less is it vindication. It isn't our job to give emotional satisfaction to a whole lot of people who can never ck forget what happened to them.</scene_description> <character>DEBORAH</character> <dialogue>You think they want to testify for themselves? They don't give a damn about themselves. It's the others. It's their families. It's their</dialogue> <scene_description>ee friends. If you were in their shoes, what would you feel? JULIUS just looks, not answering.</scene_description> <character>DEBORAH</character> <dialogue>Anthony, I promised them they would be heard. I made a promise.</dialogue> <scene_description>Bl</scene_description> <character>JULIUS</character> <dialogue>Well then you'd better go back out and break your promise.</dialogue> <scene_description>DEBORAH looks straight at him, then leaves.</scene_description> </scene> <scene> <stage_direction>EXT. BRICK COURT. DAY</stage_direction> <scene_description>DEBORAH is sitting on the wall opposite, watching as the happy little team comes chattering out of RAMPTON'S chambers - JULIUS, HEATHER, NIK, TOMAS, LAURA. She looks grim, alone. They pass into the distance, chattering. But before they t disappear, RAMPTON turns back, unseen, and looks at DEBORAH. e</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>DEBORAH, with boxes of Chinese takeout half-eaten, is re watching one of her videos: scratchy film from 1962 of an SS MAN, HANS STARK, being interviewed. He speaks German, overlaid with an English interpreter.</scene_description> <character>STARK (GERMAN)</character> <dialogue>One day I was ordered to pour Zyklon B into the room because only</dialogue> <scene_description>St one medical orderly had shown up. The Zyklon B was in granular form, so it trickled down over people as it poured in. Then they started to cry out terribly because they knew what was happening to them. After a few minutes, there was silence. DEBORAH stares. er</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAY</stage_direction> <scene_description>In her head DEBORAH sees a flash of what STARK is describing: a slit of bright daylight as the hatch is opened, gas mask, blue pellets pouring down touching bare flesh, a hatch ck slammed shut. Screams and cries.</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>DEBORAH closes her eyes. ee</scene_description> </scene> <scene> <stage_direction>EXT. DEBORAH'S HOUSE. ATLANTA. NIGHT</stage_direction> <scene_description>LIBBY is house-sitting. She is on the deck, legs in front of her, in the dark. The Mutt is beside her.</scene_description> <character>LIBBY</character> <dialogue>What's wrong? You don't sound</dialogue> <scene_description>Bl happy. What's happening?</scene_description> <character>DEBORAH (PHONE)</character> <dialogue>How's The Mutt?</dialogue> <character>LIBBY</character> <dialogue>The Mutt's lonely. He's putting on a show but he's not fooling anybody. You?</dialogue> <scene_description>t</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM. NIGHT</stage_direction> <scene_description>e DEBORAH is sitting on the side of the bed. Her room is an unvisited tip. She says nothing to LIBBY'S question.</scene_description> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>I'll tell you what's happening. Today one of the lawyers, the \* creepy one, told me if I'd promised anything to the survivors, I'd have to break my promise.</scene_description> <character>LIBBY</character> <dialogue>St</dialogue> <scene_description>He said that?</scene_description> <character>DEBORAH</character> <dialogue>Libby, I arrived in London, I thought 'These men know best, it's their country, it's their system.' I'm with a lot of people who understand the facts. They know all \* the facts. But God knows where they \*</dialogue> <scene_description>er keep their hearts.</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>ROBERT JAN is in the witness box. He has toned down the colour of his hair and he has a perfect three-piece suit. ck Arranged on easels are large colour photographs of Birkenau and Auschwitz. Beside them are black and white drawings of the gas chamber interior. IRVING is examining him.</scene_description> <character>IRVING</character> <dialogue>May I first of all welcome you to our country and say what a great</dialogue> <scene_description>ee pleasure I had in reading your book on Auschwitz. You were deeply moved to visit the actual location?</scene_description> <character>ROBERT JAN</character> <dialogue>More than moved. I was frightened. It's an awesome responsibility.</dialogue> <scene_description>Bl DEBORAH looks to the gallery. VERA'S look back is unwavering.</scene_description> <character>IRVING</character> <dialogue>Professor van Pelt, would you agree it is the duty of historians to remain completely unemotional?</dialogue> <character>ROBERT JAN</character> <dialogue>One's duty is to be unemotional, to be objective, but one's duty I think is to remain human in the exercise.</dialogue> <scene_description>t IRVING nods, as if this is just something JAN has to say. e</scene_description> <character>IRVING</character> <dialogue>The site of Auschwitz has not changed very much since the end of World War 2, apart from the</dialogue> <scene_description>re barracks being torn down and re- cycled. Can you explain to the court, please, why it is that in the very earliest references to Auschwitz published by the Russians after the capture of the camp in January 1945, there is no reference St whatsoever to the discovery of gas chambers?</scene_description> <character>ROBERT JAN</character> <dialogue>I would need to see the documents you refer to.</dialogue> <character>GRAY</character> <dialogue>That's fair, I think.</dialogue> <scene_description>er IRVING smiles tolerantly at the judge's interruption.</scene_description> <character>IRVING</character> <dialogue>It is fair, my Lord. Your report quotes extensively from first-hand testimony from a man called Tauber.</dialogue> <scene_description>ck</scene_description> <character>ROBERT JAN</character> <dialogue>Yes. Tauber was a Sonderkommando in Crematorium Number 2. He helped with the prisoners, he was in charge of roll call.</dialogue> <scene_description>ee</scene_description> <character>IRVING</character> <dialogue>In charge of roll call, yes.</dialogue> <character>ROBERT JAN</character> <dialogue>He was interrogated at the end of May 1945. \*</dialogue> <character>IRVING</character> <dialogue>Bl</dialogue> <scene_description>And, in his document, what does Tauber tell us about the liquidation procedure?</scene_description> <character>ROBERT JAN</character> <dialogue>The simulation, please.</dialogue> <scene_description>ROBERT JAN looks to the judge, who nods permission. A computer simulation of the crematorium is now displayed. The camera moves through the concrete-lined rooms. DEBORAH looks up to VERA, who is turned away, unable to watch.</scene_description> <character>ROBERT JAN</character> <dialogue>t</dialogue> <scene_description>What he describes is the underground arrangement of the e crematorium. The entrance was through an undressing room. The \* prisoners went into a corridor, then through a door on the right re into the gas chamber. The door was closed hermetically by means of iron bars which were screwed tight. The roof of the gas chamber was supported by concrete columns and wire-mesh pillars. St</scene_description> <character>IRVING</character> <dialogue>Professor?</dialogue> <scene_description>ROBERT JAN pauses the simulation. IRVING gestures towards one of the photographs, an aerial view of the collapsed roof.</scene_description> <character>IRVING</character> <dialogue>In your simulation that is the roof we can see on this big photograph</dialogue> <scene_description>er here?</scene_description> <character>ROBERT JAN</character> <dialogue>Yes.</dialogue> <character>IRVING</character> <dialogue>It is that self-same roof?</dialogue> <scene_description>ck ROBERT JAN points to his line drawings.</scene_description> <character>ROBERT JAN</character> <dialogue>Yes. Tauber says the sides of these pillars which went up through the roof were of heavy wire mesh, like</dialogue> <scene_description>ee this. IRVING frowns as if not understanding.</scene_description> <character>IRVING</character> <dialogue>What does it mean when it says "the pillars went up through the roof". Went up to the roof, presumably?</dialogue> <scene_description>Bl</scene_description> <character>ROBERT JAN</character> <dialogue>Yes, but they popped out above the roof.</dialogue> <character>IRVING</character> <dialogue>The pillars popped out?</dialogue> <character>ROBERT JAN (INDICATING)</character> <dialogue>The pillars went through a hole in the roof and the earth which was assembled on top of the roof, and then there was a little kind of chimney on top of that.</dialogue> <scene_description>t</scene_description> <character>IRVING</character> <dialogue>e</dialogue> <scene_description>What was the purpose of that, architecturally speaking?</scene_description> <character>ROBERT JAN</character> <dialogue>re</dialogue> <scene_description>Because these were hollow pillars and these were the pillars where the crystals of Zyklon B were inserted into the gas chamber. IRVING gestures to the drawings. St</scene_description> <character>IRVING</character> <dialogue>My Lord, you can see the lay out. You can see the pillars with the wire mesh columns next to them.</dialogue> <scene_description>DEBORAH is worried. RAMPTON looks up, also concerned.</scene_description> <character>IRVING</character> <dialogue>You have drawn in those wire mesh</dialogue> <scene_description>er columns have you not? In the sketches and on the computer?</scene_description> <character>ROBERT JAN</character> <dialogue>One of my students drew them, yes.</dialogue> <character>IRVING</character> <dialogue>ck</dialogue> <scene_description>Yes but the wire mesh is an addition, it's not based on drawings and blueprints, is it?</scene_description> <character>ROBERT JAN</character> <dialogue>It is based on a drawing made by the man who actually made these</dialogue> <scene_description>ee pillars. Michael Kula. In the camp workshop. In August 1941, he...</scene_description> <character>IRVING</character> <dialogue>So this hole in the roof, or these holes in the roof, how many wire mesh columns were there? Four?</dialogue> <scene_description>Bl</scene_description> <character>ROBERT JAN</character> <dialogue>Four.</dialogue> <scene_description>IRVING laughs and throws down his documents.</scene_description> <character>IRVING</character> <dialogue>Professor Pelt, we are wasting our time really, are we not?</dialogue> <character>IRVING</character> <dialogue>You yourself have stood on that roof and looked for those holes and not found them. Our experts have stood on that roof and not found them.</dialogue> <scene_description>t IRVING points at the photo of the roof as it is today, just an overgrown heap of rubble, then turns to GRAY. e</scene_description> <character>IRVING</character> <dialogue>My Lord, there are no holes in that roof. There never were any holes.</dialogue> <scene_description>re Therefore they cannot have poured cyanide capsules through that roof. You will appreciate that if there had been those holes in the roof, which are the cardinal lynch-pin of the defence in this action, they would have been found by now. They St have not found them and all the eyewitnesses on whom he relies are therefore exposed as the liars they are. DEBORAH has looked up to where REPORTERS in the gallery are scribbling frantically. VERA is shifting, trying to attract DEBORAH'S attention. She is scrawling a note to JULIUS: THIS WILL KILL US IN THE PRESS. IRVING looks to the clock, er victorious.</scene_description> <character>IRVING</character> <dialogue>My Lord, it is four minutes to four. Unless Mr Rampton wishes to say something to repair the damage...</dialogue> <scene_description>ck</scene_description> <character>ROBERT JAN</character> <dialogue>My Lord, may I respond to this?</dialogue> <character>GRAY</character> <dialogue>You may. But not until tomorrow. We adjourn for today. Ten-thirty.</dialogue> <scene_description>ee Thank you.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>NETWORK REPORTERS are already facing the camera.</scene_description> <character>NETWORK REPORTERS (OVERLAPPING)</character> <dialogue>Bl</dialogue> <scene_description>The Lipstadt trial took an extraordinary turn in the High Court today when evidence was presented which cast doubt on the idea that Auschwitz was ever used as an extermination camp. The historian David Irving - DEBORAH, JULIUS, HEATHER, LAURA and LIBSON are pouring out of the court in some disarray. DEBORAH is furious.</scene_description> <character>JULIUS</character> <dialogue>Just walk away. Say nothing.</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>Why did Rampton drop it? Why did he \*</dialogue> <scene_description>e let it go?</scene_description> <character>JULIUS</character> <dialogue>Deborah, there are journalists.</dialogue> <scene_description>re Keep walking and look straight ahead. They walk past ANOTHER REPORTER doing a piece to camera.</scene_description> <character>ANOTHER REPORTER</character> <dialogue>Mr Irving was effectively arguing</dialogue> <scene_description>St 'No holes, no holocaust...' DEBORAH is stony-faced. RAMPTON has appeared beside them.</scene_description> <character>JULIUS</character> <dialogue>Richard, if you could give us some time...</dialogue> <character>RAMPTON</character> <dialogue>er</dialogue> <scene_description>I don't have long.</scene_description> <character>JULIUS</character> <dialogue>It's all right, we won't take long. We have an unhappy client.</dialogue> <scene_description>RAMPTON notices as VERA steps into DEBORAH'S path. ck</scene_description> <character>VERA</character> <dialogue>Deborah, this is disastrous. This is what I told you. I told you! Why didn't you listen?</dialogue> <scene_description>The group sweeps on, silent. ee</scene_description> </scene> <scene> <stage_direction>INT. MISHCON DE REYA. STAIRCASE &amp; OFFICES. DAY</stage_direction> <scene_description>The group comes up the stairs in moody silence. They sweep into JULIUS's office. JULIUS throws down his gown.</scene_description> <character>JULIUS</character> <dialogue>Bl</dialogue> <scene_description>All right, let's look at this calmly. There's no need to panic.</scene_description> <character>RAMPTON</character> <dialogue>Irving pulled a rabbit out of the hat. He thinks it's clever. It's not clever.</dialogue> <character>RAMPTON</character> <dialogue>You produce some supposedly devastating piece of evidence at five minutes to four.</dialogue> <scene_description>JULIUS is now reaching for documents and photographs. t</scene_description> <character>JULIUS</character> <dialogue>Here we are, look. It's amateur.</dialogue> <scene_description>e JULIUS is holding out photographs. He and DEBORAH talk over each other. RAMPTON has sat down in a big armchair. re</scene_description> <character>DEBORAH</character> <dialogue>That doesn't mean it isn't effective.</dialogue> <character>JULIUS</character> <dialogue>Robert Jan will deal with it tomorrow. Look, look at these.</dialogue> <scene_description>St</scene_description> <character>DEBORAH</character> <dialogue>I've looked at them, I know them.</dialogue> <character>JULIUS</character> <dialogue>Here we are look, perfectly clear, the Olere drawings, the USAF aerial photos, the Little Train photo...</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>I know these photos, I've seen them a thousand times, I don't need to look, that's not the point I'm making...</dialogue> <character>JULIUS</character> <dialogue>There they are. The holes, in all the photos in exactly the same place, same pattern, that's what Robert Jan's going to say, Robert Jan will say...</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Yes, and we know what Irving is \* going to say. He's going to say \* they're not holes, they're shadows. \* They're glitches on the negative. \* Or they're forgeries. Or they're \*</dialogue> <scene_description>ee paint-cans on the roof. \*</scene_description> <character>JULIUS</character> <dialogue>And we'll prove otherwise.</dialogue> <character>DEBORAH</character> <dialogue>How do you prove that? It's too \* late. It's already out there! It's</dialogue> <scene_description>Bl in the press.</scene_description> <character>JULIUS</character> <dialogue>So?</dialogue> <character>DEBORAH</character> <dialogue>Irving's got what he came for. He wanted headlines.</dialogue> <character>DEBORAH</character> <dialogue>Well he's got 'em. 'No holes, no holocaust!' It's O.J. all over again! 'If the glove doesn't fit, you must acquit.' That's what he wanted. He wanted a catchy phrase. And now he's got it. It's like a</dialogue> <scene_description>t virus - e</scene_description> <character>LAURA</character> <dialogue>Do you want tea?</dialogue> <character>DEBORAH</character> <dialogue>LAURA (TO HERSELF)</dialogue> <scene_description>re No I don't want tea. You know Just asking. what he's doing...</scene_description> <character>DEBORAH</character> <dialogue>He's making it respectable to say there are two points of view. People hear the news, they think:</dialogue> <scene_description>St 'Oh I see, some people believe there were gas chambers at Auschwitz, and hey, this is interesting - some people don't.' JULIUS looks to RAMPTON, but he is staring ahead, uninvolved. LAURA is giving them all tea. NIK and THOMAS are coming in to pick up the photos and get them duplicated. er</scene_description> <character>LIBSON</character> <dialogue>Deborah, you know why Irving chose Auschwitz-Birkenau in the first place?</dialogue> <character>DEBORAH</character> <dialogue>Why he chose Auschwitz? Because</dialogue> <scene_description>ck everyone's heard of it.</scene_description> <character>LIBSON</character> <dialogue>No.</dialogue> <character>DEBORAH</character> <dialogue>Because of its emotional impact.</dialogue> <scene_description>ee</scene_description> <character>LIBSON</character> <dialogue>No.</dialogue> <character>DEBORAH</character> <dialogue>Well?</dialogue> <character>LIBSON</character> <dialogue>Bl</dialogue> <scene_description>Because it was not built as an extermination camp, it was built as a labour camp. Then it was modified.</scene_description> <character>DEBORAH</character> <dialogue>I know that.</dialogue> <character>JULIUS</character> <dialogue>Yes, but that's why he's going after it. It's a battering ram into a much bigger subject. Auschwitz is at the centre of Holocaust belief, that's why it's also at the centre</dialogue> <scene_description>t of Holocaust denial. If you think of it logically, it makes no sense e at all, what he said. Think what he's saying... "No holes, no Holocaust!" He seizes one tiny fact, and because some detail can't re still be physically proved, he says "Oh well then, that means everything's thrown into doubt. No- one in the camp was ever murdered. They all died of typhus! It wasn't the Nazis who killed them, it was disease!" St DEBORAH is shaking her head, not satisfied.</scene_description> <character>DEBORAH</character> <dialogue>I know, I know he does that...</dialogue> <character>JULIUS</character> <dialogue>For goodness' sake, it's the same with the Hitler trick, offering a</dialogue> <scene_description>er thousand dollars...</scene_description> <character>LIBSON</character> <dialogue>Exactly the same.</dialogue> <character>DEBORAH</character> <dialogue>Tell me about it, I'm the one he</dialogue> <scene_description>ck did it to. "Oh well if you can't find a piece of paper where Hitler says 'Please murder the Jews', then that proves Hitler never wanted them to die in the first place. Hitler was the Jews' best friend." He said that! He actually said it! ee JULIUS, LIBSON and DEBORAH are absorbed in their argument, but RAMPTON has sat listening quietly throughout.</scene_description> <character>RAMPTON</character> <dialogue>I have to go.</dialogue> <character>DEBORAH</character> <dialogue>Bl</dialogue> <scene_description>No, hold on...</scene_description> <character>RAMPTON</character> <dialogue>What?</dialogue> <character>DEBORAH</character> <dialogue>I want to say something and for once I want everyone to listen. I'm the fucking defendant!</dialogue> <scene_description>Frustrated and angry, DEBORAH has lost it completely, but t RAMPTON is staring at her, thoughtful. e</scene_description> <character>DEBORAH</character> <dialogue>Even I know what the rule is. The client instructs. That's the rule. Well the client's instructing. The</dialogue> <scene_description>re survivors go on the stand. And I go on the stand as well. She waits for the impact of her statement. But RAMPTON just gets up and starts to leave.</scene_description> <character>RAMPTON</character> <dialogue>St</dialogue> <scene_description>Gentlemen.</scene_description> <character>DEBORAH</character> <dialogue>What's happening? Where are you going? Why's he leaving? Richard, wait.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY &amp; STAIRS. MISHCON DE REYA. DAY</stage_direction> <scene_description>er DEBORAH follows but RAMPTON is already disappearing down the stairs, with a broad grin and an ironic wave of the hand. JULIUS follows DEBORAH out.</scene_description> <character>JULIUS</character> <dialogue>Because he has to prepare! That's</dialogue> <scene_description>ck why he's leaving. He doesn't just turn up in court. He devotes his whole day, every minute of his day, rigorously, to this case and nothing but! And that's the point! JULIUS has now lost it as well. DEBORAH is already shaking ee her head. But JULIUS is heading into a conference room.</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM. DAY</stage_direction> <scene_description>JULIUS comes in, and starts looking through videos as they argue. Bl</scene_description> <character>DEBORAH</character> <dialogue>What you're ignoring, what you refuse to deal with: we know what happened at Auschwitz because there are people who actually saw it...</dialogue> <character>JULIUS</character> <dialogue>Oh Deborah...</dialogue> <character>DEBORAH</character> <dialogue>Yes. With their own eyes. They're called survivors.</dialogue> <character>JULIUS</character> <dialogue>Yes. And put survivors on the stand</dialogue> <scene_description>t and Irving will humiliate them. Remember the Zundel trial. Remember e the Exodus trial. The survivors got torn apart. Because survivors don't remember. Not every detail. They get something wrong - they say a re door was on the left, when actually it was on the right - and wham! Irving's in. "You see! They're liars, you can't trust anything they say..."</scene_description> <character>LIBSON</character> <dialogue>St</dialogue> <scene_description>That's it, that's the technique. JULIUS has put a tape in the machine. LIBSON and LAURA have followed the argument into the room.</scene_description> <character>JULIUS</character> <dialogue>There are survivors who believe they were examined by Dr Mengele. They never even met Mengele, he was</dialogue> <scene_description>er at another camp altogether. But they met a doctor and today they believe it was him. Do you think Irving is going to respect them? You want that, do you? Holocaust survivors mocked and humiliated? ck He turns up the sound on a TV image of IRVING with a crowd in Florida. He is holding up a photo of a survivor with a tattoo on her arm.</scene_description> <character>IRVING (TV)</character> <dialogue>... and I'll say to her "Mrs. Altman, how much money have you</dialogue> <scene_description>ee made out of that tattoo since 1945?" JULIUS turns off the TV and throws down the control.</scene_description> <character>JULIUS</character> <dialogue>You want more of that? You think that's helpful? \*</dialogue> <scene_description>Bl</scene_description> </scene> <scene> <stage_direction>EXT. MISHCON. NIGHT</stage_direction> <scene_description>DEBORAH steps into the path of a taxi with outstretched arm, forcing it to screech to a halt.</scene_description> </scene> <scene> <stage_direction>INT. TAXI. NIGHT</stage_direction> <scene_description>DEBORAH has got into a taxi outside Mishcon de Reya. Bad- tempered, she leans forward to the DRIVER.</scene_description> <character>DEBORAH</character> <dialogue>t</dialogue> <scene_description>We're going to the Athenaeum, you want to go to Pall Mall, it's e quickest.</scene_description> <character>DRIVER</character> <dialogue>Sorry, but in this country we don't</dialogue> <scene_description>re tell the cabbie which route to take.</scene_description> <character>DEBORAH</character> <dialogue>I see. And in this goddam country \* is anyone allowed to say anything at all?</dialogue> <scene_description>St</scene_description> </scene> <scene> <stage_direction>EXT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>DEBORAH, in a fury, gets out of the taxi, slamming the door. Walks angrily across the pavement, past the saluting DOORMAN.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS. NIGHT</stage_direction> <scene_description>er Out she comes again, in jogging gear. A few PASSERS BY stare as DEBORAH moves down Picadilly, an angry woman at speed. She slows by an Evening Standard news poster: NO HOLES, NO HOLOCAUST. She runs on, working out her emotion. Then by Westminster Bridge she comes to the statue of Boadicea - heroic as ever. She looks at it bitterly, her hands on hips. ck</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM. NIGHT</stage_direction> <scene_description>From the shower, DEBORAH is watching the television through a gap in the plastic curtain. IRVING is seen outside court. ee</scene_description> <character>IRVING (TV)</character> <dialogue>Professor Lipstadt is clearly afraid to go into the witness box. What is she scared of? She's scared of free debate. Is her case really that weak? I'm alone in there and I'm speaking. She's got more than thirty barristers, lawyers,</dialogue> <scene_description>Bl experts, historians and she's silent. She's effectively pleading the Fifth Amendment, and we all know that's traditionally the route of people who've got something to hide. DEBORAH, in despair, slaps the shower curtain and lets out a howl of pure rage.</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>t A towel round her head, DEBORAH is at her computer e-mailing JULIUS: "Anthony, we have to talk." The phone goes. e</scene_description> <character>DEBORAH</character> <dialogue>Hello?</dialogue> <scene_description>re</scene_description> <character>LAURA (PHONE)</character> <dialogue>Deborah, it's Laura.</dialogue> <character>DEBORAH</character> <dialogue>Laura.</dialogue> <scene_description>St</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S FLAT. NIGHT</stage_direction> <scene_description>LAURA is in a bed-sitter. SIMON is serving supper. The bed is behind. It's warm, friendly. SIMON tries to move LAURA's ubiquitous work papers off the table, as though they were just an inconvenience, but she grabs them.</scene_description> <character>LAURA</character> <dialogue>I'm sorry, it's none of my</dialogue> <scene_description>er business, but I wanted to make sure you were all right.</scene_description> <character>DEBORAH (PHONE)</character> <dialogue>That's kind of you, Laura.</dialogue> <character>LAURA</character> <dialogue>ck</dialogue> <scene_description>I could see you were unhappy. I \* know Anthony can be a little \* brutal. \*</scene_description> <character>DEBORAH (PHONE) \*</character> <dialogue>No. Really? \*</dialogue> <scene_description>ee</scene_description> <character>LAURA \*</character> <dialogue>But it's from the best motives. He \* really does want to help you. I \* wanted you to know that. \*</dialogue> </scene> <scene> <stage_direction>INT. ATHENAEUM. NIGHT 106 \*</stage_direction> <scene_description>Bl</scene_description> <character>DEBORAH \*</character> <dialogue>That's kind of you, Laura. But I \* don't want to be helped. I want to \* help. \*</dialogue> <scene_description>107 SCENE CUT 107 \*</scene_description> </scene> <scene> <stage_direction>INT. RAMPTON'S CHAMBERS. NIGHT 108 \*</stage_direction> <scene_description>RAMPTON is at his desk, buried below mounds of documents. His lone light burns deep. His whisky bottle is empty, he goes to the cupboard to get another. Finds a curly old sandwich left over from lunch. Eats it. Goes back to his desk. Pours. As he t puts the bottle down, he sees the small piece of barbed wire from Auschwitz. He picks it up, feels it. e</scene_description> </scene> <scene> <stage_direction>EXT. LONDON. DAY</stage_direction> <scene_description>re The sun breaking over the Thames.</scene_description> </scene> <scene> <stage_direction>INT. RAMPTON'S CHAMBERS. DAY</stage_direction> <scene_description>HEATHER arrives for work and knocks. Hearing nothing, she goes in. RAMPTON is asleep at his desk. She touches his St shoulder.</scene_description> <character>HEATHER</character> <dialogue>Richard.</dialogue> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>Faded black and white photos of ventilators, and doors with er peepholes and grills are set out on easels. IRVING is in the witness box. DEBORAH looks round for JULIUS but he's not there. Instead RAMPTON turns and looks at her very directly. She's surprised. Then he gets up, no sign of the night's work on his face.</scene_description> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>So now, Mr Irving, I will ask you to explain why, if as you claim, there were no gas chambers at Auschwitz, the gratings taken in 1945 by the Polish authorities from Morgue 1 of Crematorium 2 were covered with cyanide ; and why the ee camp's chief architect, Karl Bischoff, specifically refers to Morgue 1 as a Vergasungskeller - a gassing cellar. Well? IRVING shifts slightly, before answering.</scene_description> <character>IRVING</character> <dialogue>Bl</dialogue> <scene_description>I am willing to concede that they did indeed find in the ventilator grating traces of cyanide.</scene_description> <character>RAMPTON</character> <dialogue>They did?</dialogue> <character>IRVING</character> <dialogue>Yes. And I will also concede that the room was indeed a gassing cellar.</dialogue> <character>RAMPTON</character> <dialogue>t</dialogue> <scene_description>It was? e</scene_description> <character>IRVING</character> <dialogue>Yes.</dialogue> <character>RAMPTON</character> <dialogue>re</dialogue> <scene_description>Good. So, gassing what?</scene_description> <character>IRVING</character> <dialogue>I think the evidence is clear that it was used as a gassing cellar for fumigating cadavers.</dialogue> <scene_description>St</scene_description> <character>RAMPTON</character> <dialogue>Fumigating cadavers?</dialogue> <character>IRVING</character> <dialogue>Yes.</dialogue> <scene_description>GRAY looks up, frowns.</scene_description> <character>RAMPTON</character> <dialogue>er</dialogue> <scene_description>What exactly makes you say that?</scene_description> <character>IRVING</character> <dialogue>That is what mortuaries are for. In mortuaries you put cadavers.</dialogue> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>What is the evidence for that?</scene_description> <character>IRVING</character> <dialogue>I beg your pardon?</dialogue> <character>RAMPTON</character> <dialogue>What is the evidence that they used</dialogue> <scene_description>ee that room for gassing corpses?</scene_description> <character>IRVING</character> <dialogue>That is what it was built for.</dialogue> <scene_description>GRAY stirs, not understanding.</scene_description> <character>GRAY</character> <dialogue>Bl</dialogue> <scene_description>I am sorry, this seems a crude question, but what is the point of gassing a corpse?</scene_description> <character>IRVING</character> <dialogue>Because, my Lord, they came in heavily infested with the typhus- bearing lice which had killed them.</dialogue> <scene_description>There is a pause. RAMPTON'S eyes narrow. He points to the photos of the door with the peephole and grill.</scene_description> <character>RAMPTON</character> <dialogue>Did they? Did they, Mr Irving? Did they indeed? So why, then, please,</dialogue> <scene_description>t explain to me, why did it need a gas-tight door with a peep hole e with double eight millimetre glass and a metal grill on the inside? It's the kill. Time seems to slow to nothing. DEBORAH closes re her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. DAY (IN DEBORAH'S HEAD)</stage_direction> <scene_description>For a brief moment, she sees the peep hole in the door. Barely discernible, close-packed faces crying out in panic St and terror, fingers clawing at the metal grill. A small girl's face lost in the turmoil, terrified.</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>DEBORAH whips round and stares accusingly at IRVING. He is aware of her, but avoids her gaze. Time begins to move again. er</scene_description> <character>IRVING</character> <dialogue>You will remember at this time most of Germany was under the weight of Royal Air Force bomber command. There was a concern about the need to build bomb-tight shelters.</dialogue> <scene_description>ck</scene_description> <character>RAMPTON</character> <dialogue>So now it's an air-raid shelter, is it?</dialogue> <character>IRVING</character> <dialogue>I beg your pardon?</dialogue> <scene_description>ee</scene_description> <character>RAMPTON</character> <dialogue>It is either a cellar for gassing already-dead corpses, or else it's an air-raid shelter?</dialogue> <character>IRVING</character> <dialogue>Did I say either or?</dialogue> <scene_description>Bl</scene_description> <character>RAMPTON</character> <dialogue>In early 1943? An air-raid shelter, when you know perfectly well that the first bombing raid near Auschwitz was not until late '44?</dialogue> <scene_description>IRVING says nothing.</scene_description> <character>RAMPTON</character> <dialogue>And the placing of this supposed air-raid shelter? If it was for the SS, then it was a terribly long way from the SS barracks, wasn't it? Have you thought about that? Two</dialogue> <scene_description>t and half miles isn't it? They would all be dead before they got there e if there was bombing raid. DEBORAH is amazed, having at last realised what RAMPTON is up to. An image of RAMPTON pacing out distances at Auschwitz re flashes into her head as she remembers.</scene_description> <character>RAMPTON</character> <dialogue>Do you really see a whole lot of heavily armed soldiers running two and half to three miles from the SS barracks to these cellars at the</dialogue> <scene_description>St far end of Birkenau camp? RAMPTON is lethal, in complete control now.</scene_description> <character>RAMPTON</character> <dialogue>You see I'm trying to understand, if there was this dual function, if you can help me, if the corpses were also gassed in there, then as</dialogue> <scene_description>er I understand it, they were then sent to be incinerated?</scene_description> <character>IRVING</character> <dialogue>Yes.</dialogue> <character>RAMPTON</character> <dialogue>ck</dialogue> <scene_description>Mr Irving, what would be the point of gassing a corpse which was shortly going to be burnt? IRVING looks away. DEBORAH stares in intense anger.</scene_description> <character>IRVING</character> <dialogue>ee</dialogue> <scene_description>I am not sure, saying this off the top of my head, Mr Rampton. I'm not a Holocaust historian, I'm a Hitler historian.</scene_description> <character>RAMPTON</character> <dialogue>Then why don't you keep your mouth shut about the Holocaust?</dialogue> <scene_description>Bl RAMPTON's contempt is now complete.</scene_description> <character>RAMPTON</character> <dialogue>The truth is that, as usual, Mr Irving, you dive in off the board, saying whatever rubbish comes into your head in order to avoid drawing the obvious conclusion. This is not</dialogue> <scene_description>t because you're a rotten historian. It's because you're a bent one, as e well. Silence. No-one moves. Inadvertently IRVING finds DEBORAH's stare, but looks away at once as if nothing has happened. re</scene_description> </scene> <scene> <stage_direction>INT. LOBBY. HIGH COURT. DAY</stage_direction> <scene_description>DEBORAH comes out, very moved by what she has heard. There are not many people about. She sees VERA sitting by herself on a bench, also plainly stunned by the morning. DEBORAH, St saying nothing, goes and sits next to her. Then she takes her hand and holds it her. VERA squeezes hers in response.</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM. NIGHT</stage_direction> <scene_description>RAMPTON is standing in the corridor. He is holding a bottle of red wine. He knocks on the door. He waits a few moments, and DEBORAH opens it. She is wearing a dressing gown over her er day clothes, and is plainly not expecting him. She's shocked.</scene_description> <character>RAMPTON</character> <dialogue>Forgive me. Perhaps I should have rung. I thought it would be interesting to see where you lived.</dialogue> <scene_description>ck DEBORAH says nothing.</scene_description> <character>RAMPTON</character> <dialogue>Is that all right?</dialogue> <character>DEBORAH</character> <dialogue>Yes. Of course it's all right. Come</dialogue> <scene_description>ee in.</scene_description> <character>RAMPTON</character> <dialogue>Thank you.</dialogue> <character>DEBORAH</character> <dialogue>I'm afraid I'm a little bit disorganized.</dialogue> <scene_description>Bl</scene_description> <character>RAMPTON</character> <dialogue>Well I'm sure that's not going to bother me.</dialogue> <scene_description>RAMPTON enters. It's a bit of a pigsty. She's been here for weeks, and stuff has accumulated. He holds up the wine.</scene_description> <character>RAMPTON</character> <dialogue>The 1995 Pommard Les Epenots is quite special, I think, don't you? You had it before, remember?</dialogue> <character>DEBORAH</character> <dialogue>t</dialogue> <scene_description>Oh. Yes. e</scene_description> <character>RAMPTON</character> <dialogue>You could call it our wine.</dialogue> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>There are glasses here.</scene_description> <character>RAMPTON</character> <dialogue>Shame. I rather like plastic, but you can't have everything.</dialogue> <scene_description>He smiles at her, easy. She's bewildered by his visit. She St gets the glasses. He sits down with the corkscrew.</scene_description> <character>RAMPTON</character> <dialogue>I like to treat myself a little, don't you? Why should all the bad people have all the good things in life? Like this?</dialogue> <scene_description>He holds the bottle up again. er</scene_description> <character>DEBORAH</character> <dialogue>You had a good morning.</dialogue> <character>RAMPTON</character> <dialogue>I did, didn't I? I felt it rather went my way. Cheers.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Cheers.</dialogue> <scene_description>They raises glasses and drink.</scene_description> <character>DEBORAH</character> <dialogue>ee</dialogue> <scene_description>It's paying off.</scene_description> <character>RAMPTON</character> <dialogue>What is?</dialogue> <character>DEBORAH</character> <dialogue>Your technique. The idea you had of never catching his eye.</dialogue> <scene_description>Bl</scene_description> <character>RAMPTON</character> <dialogue>Oh you've noticed, have you?</dialogue> <character>DEBORAH</character> <dialogue>What do you think I've been doing the last few weeks?</dialogue> <character>RAMPTON</character> <dialogue>It's my way of telling him what I think of him. I don't even look at him. It's getting under his skin.</dialogue> <scene_description>DEBORAH is looking at him now. t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>I owe you an apology.</scene_description> <character>RAMPTON</character> <dialogue>Do you? I can't think what for.</dialogue> <scene_description>re</scene_description> <character>DEBORAH</character> <dialogue>At Auschwitz.</dialogue> <character>RAMPTON</character> <dialogue>Ah.</dialogue> <scene_description>St</scene_description> <character>DEBORAH</character> <dialogue>I thought you were late. And I thought you were rude. Of course now I understand. You were pacing the distance.</dialogue> <character>RAMPTON</character> <dialogue>I had to.</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>I understand that now.</dialogue> <character>RAMPTON</character> <dialogue>It's a murder scene, you go to the site of the crime.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>You were preparing a case. You had to be sure. However disrespectful \* you seemed. However heartless.</dialogue> <character>RAMPTON</character> <dialogue>Of course. That's what I do.</dialogue> <scene_description>ee RAMPTON looks at her. He is very moved.</scene_description> <character>RAMPTON</character> <dialogue>I had no idea what to expect. It was a brief. My previous brief, believe it or not, was working for Macdonalds. I thought I knew what</dialogue> <scene_description>Bl six million meant. But I didn't. It was just a number. If I'd stayed in that place any longer, I would have been too angry to handle the case. How could Auschwitz just be a brief? I was amazed that you seemed to think it could ever be that. DEBORAH acknowledges this silently.</scene_description> <character>RAMPTON</character> <dialogue>It's painful for me to watch a client in such distress. We didn't set out to make you unhappy.</dialogue> <scene_description>t</scene_description> <character>DEBORAH</character> <dialogue>e</dialogue> <scene_description>I know that.</scene_description> <character>RAMPTON</character> <dialogue>Well?</dialogue> <scene_description>re DEBORAH hesitates.</scene_description> <character>DEBORAH \*</character> <dialogue>I never trusted anyone to do \* anything. Since I was a child. All \* I have is my voice, my conscience. \*</dialogue> <scene_description>St Just that. And I have to listen to \* it. \*</scene_description> <character>RAMPTON</character> <dialogue>Your conscience?</dialogue> <character>DEBORAH</character> <dialogue>Yes.</dialogue> <scene_description>er</scene_description> <character>RAMPTON</character> <dialogue>Interesting things, consciences. Problem is: What feels best isn't always what works best. By all means, stand up, look the devil in the eye, have a go at him. Yes, very satisfying. Why not? See what</dialogue> <scene_description>ck happens. And risk losing. Not just for yourself. For the others. For everyone. For ever. DEBORAH gets up and moves across the room. It's unbearable.</scene_description> <character>DEBORAH</character> <dialogue>ee</dialogue> <scene_description>Or?</scene_description> <character>RAMPTON</character> <dialogue>You know 'or'. Stay seated. Bite your tongue. Defeat him for good. I need an act of denial.</dialogue> <character>DEBORAH \*</character> <dialogue>Bl</dialogue> <scene_description>How can you ask me that? Do you \* have any idea how hard it is to \* hand your conscience over to \* somebody else? It's everything I \* thought I never would do. All \* right, I'll hand mine over to a fly- \* fishing, whisky-drinking Scotsman. \*</scene_description> <character>RAMPTON</character> <dialogue>Thank you, Deborah. I appreciate that.</dialogue> </scene> <scene> <stage_direction>INT. ATHENAEUM. NIGHT 116 \*</stage_direction> <scene_description>t DEBORAH closes the door. RAMPTON has gone. She goes to the e table. There, the empty bottle of red wine, the two glasses. She picks up a cartoon which RAMPTON has left for her. She looks at it, relieved. Then she drains the wine from one of the glasses. re</scene_description> </scene> <scene> <stage_direction>EXT. STRAND. DAY</stage_direction> <scene_description>The law-courts in the morning. Across the street, a small, unpretentious cafe. St</scene_description> </scene> <scene> <stage_direction>INT. CAFE. DAY</stage_direction> <scene_description>Eggs sizzle on a grill. RAMPTON is sitting eating bacon and eggs. There's condensation on the windows, back-lit by pale wintry sunshine. DEBORAH comes in to join him. She nods at the large fearsome-looking black lump on his plate.</scene_description> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>There you are. What is that?</scene_description> <character>RAMPTON</character> <dialogue>Black pudding. Traditional. It's made from blood.</dialogue> <character>DEBORAH</character> <dialogue>ck</dialogue> <scene_description>And you want to live to the end of the trial, do you?</scene_description> <character>RAMPTON</character> <dialogue>Well you've cheered up since last night.</dialogue> <scene_description>ee</scene_description> <character>DEBORAH</character> <dialogue>I've cheered up because of last night.</dialogue> <scene_description>A WAITRESS has appeared.</scene_description> <character>RAMPTON</character> <dialogue>Black pudding for my friend please.</dialogue> <scene_description>Bl</scene_description> <character>DEBORAH</character> <dialogue>Ignore him. A bagel. You know? Plain. Round. With a hole. Like a \* doughnut. \*</dialogue> <character>WAITRESS</character> <dialogue>We know what a bagel is.</dialogue> <scene_description>She goes. DEBORAH calls after her. \*</scene_description> <character>DEBORAH \*</character> <dialogue>And not toasted! \*</dialogue> <character>RAMPTON \*</character> <dialogue>t</dialogue> <scene_description>I need this. It's going to be a \* tough day. \* e</scene_description> <character>DEBORAH \*</character> <dialogue>Proving intention? \*</dialogue> <scene_description>re</scene_description> <character>RAMPTON \*</character> <dialogue>Richard Evans has given us plenty \* of places where Irving got his \* facts wrong. \*</dialogue> <character>DEBORAH \*</character> <dialogue>But we have to prove he got them \*</dialogue> <scene_description>St wrong intentionally. \*</scene_description> <character>RAMPTON \*</character> <dialogue>Exactly. \*</dialogue> <character>DEBORAH \*</character> <dialogue>I love Irving's defence. It makes \* me laugh. "Be fair, I'm an honest \* historian, I may have made a few \*</dialogue> <scene_description>er mistakes. Historians do. Yes, I \* screwed up, but I didn't screw up \* deliberately." \*</scene_description> <character>RAMPTON \*</character> <dialogue>He's fighting for his life. \* Remember, he knows the law just as \*</dialogue> <scene_description>ck well as we do. Unless we can prove \* Irving's mistakes were deliberate, \* we lose. We lose. \*</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>ee EVANS is in the box. IRVING is cross-examining. DEBORAH looks across to two perfect blonde WOMEN, who look like Valkyries in leather and furs behind IRVING. GRAY shifts, impatient.</scene_description> <character>GRAY</character> <dialogue>Mr Irving, the defence are claiming that you deliberately falsified evidence to suit your own political</dialogue> <scene_description>Bl purposes. You must address that charge. We must deal with what we call 'keine liquidierung'. GRAY gestures to him to continue.</scene_description> <character>IRVING</character> <dialogue>Very well. We are looking first at the November 30th entry, am I right?</dialogue> <scene_description>IRVING is about to speak but EVANS turns to GRAY. \* t</scene_description> <character>EVANS</character> <dialogue>e</dialogue> <scene_description>My Lord, if I may explain the context?</scene_description> <character>GRAY</character> <dialogue>re</dialogue> <scene_description>Please.</scene_description> <character>EVANS</character> <dialogue>Heinrich Himmler, the Head of the SS, kept a log in which he made a record of every telephone call he gave and received. In 1941, he</dialogue> <scene_description>St called Heydrich from Hitler's bunker to give him instructions. After the call he wrote some words. "Judentransport aus Berlin. Keine Liquidierung." Which clearly means "The Jew Transport from Berlin. No liquidation." For emphasis he repeats the line slowly. er</scene_description> <character>EVANS</character> <dialogue>"The Jew Transport" - singular - "From Berlin."</dialogue> <scene_description>EVANS picks up HITLER'S WAR. DEBORAH looks expectantly to RAMPTON as if to say 'Is this the moment?' RAMPTON tilts his ck head to get DEBORAH to look towards EVANS.</scene_description> <character>EVANS</character> <dialogue>In HITLER'S WAR you write something completely different. "At 1.30 Himmler was obliged to telephone from Hitler's bunker to Heydrich</dialogue> <scene_description>ee the explicit order that Jews were not to be liquidated." In other words, you mistranslate the log so as to pretend that this order came directly from Hitler - which it didn't - they hadn't even met that day - and that it applied not to just one particular trainload but Bl to all Jews throughout Germany. And in order to bolster this false impression, you omit the word 'Berlin' altogether. EVANS smiles, conclusive. Now RAMPTON and DEBORAH both lean in, scenting the kill.</scene_description> <character>EVANS</character> <dialogue>So your claim to have incontrovertible proof that Hitler tried to stop the liquidation of the Jews - as opposed to one particular trainload of Jews - is</dialogue> <scene_description>t false. You knew it then and you know it now. It's wrong. e IRVING smiles as though he knows better.</scene_description> <character>IRVING</character> <dialogue>re</dialogue> <scene_description>Of course if you privately decided that it was a reasonable kind of mistake to make when one is reading a new document for the first time, you would immediately tell the court, would you not? St</scene_description> <character>EVANS</character> <dialogue>Of course I would. I do not feel this is a reasonable mistake to make. I believe it's deliberate.</dialogue> <scene_description>DEBORAH lets out an involuntary snort. The Nordic blondes and IRVING hear it and turn to her, glaring. RAMPTON whispers to \* DEBORAH. \* er</scene_description> <character>RAMPTON \*</character> <dialogue>Don't worry, they can't turn you to \* stone. \*</dialogue> <character>DEBORAH \*</character> <dialogue>I got to go pee. \*</dialogue> <scene_description>ck DEBORAH gets up to go out. JULIUS sitting next to LAURA \* signals to her with a tilt of the head. \*</scene_description> </scene> <scene> <stage_direction>INT. LADIES' ROOM. DAY</stage_direction> <scene_description>DEBORAH opens the door of her stall, comes out. There is only ee one basin vacant, between the two Aryan women. One of them is adjusting her make-up, the other washing her hands. Suddenly very aware of being a Jew among Nazis, DEBORAH goes to the middle basin and washes. The two WOMEN stare at her, silent. Then DEBORAH goes to dry her hands on the towel. The two WOMEN are still staring. Bl</scene_description> </scene> <scene> <stage_direction>INT. LAW COURTS. DAY 121 \*</stage_direction> <scene_description>DEBORAH comes out, shaken. LAURA waiting for her outside. \* They say nothing as they return to the court, side by side. \*</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S FLAT. NIGHT</stage_direction> <scene_description>LAURA is working at documents at the little table under a single light. SIMON is already in bed. He sits up.</scene_description> <character>LAURA</character> <dialogue>t</dialogue> <scene_description>What? e</scene_description> <character>SIMON</character> <dialogue>Because I'm tired of it. You didn't even want to be a lawyer.</dialogue> <scene_description>re She's tired, and could do without this. He's gentle.</scene_description> <character>SIMON</character> <dialogue>Holocaust, holocaust. There are other things. At some point doesn't everyone have to let go? Is this going to go on for ever? It's an</dialogue> <scene_description>St obsession. How many years? Are they ever going to let go of this grievance?</scene_description> <character>LAURA</character> <dialogue>I think it's rather more than a grievance.</dialogue> <scene_description>LAURA doesn't turn, she's too angry. She works on. SIMON gets er up and comes to try and kiss her, but she's cold.</scene_description> <character>LAURA</character> <dialogue>I don't think you should say any more.</dialogue> <scene_description>ck</scene_description> </scene> <scene> <stage_direction>EXT. COURT. DAY</stage_direction> <scene_description>The familiar NETWORK REPORTERS outside a busy court.</scene_description> <character>NETWORK REPORTERS (OVERLAPPING)</character> <dialogue>Today, this punishing trial finally heads towards its conclusion. The</dialogue> <scene_description>ee defence will have its fifth and final chance to examine David Irving. The defence will be seeking to make a connection between Irving's work as a historian and what they allege is his more general anti-Semitism and racism... Bl</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>The court is once more packed. IRVING is seen on video.</scene_description> <character>IRVING (VIDEO)</character> <dialogue>I find the whole Holocaust story utterly boring.</dialogue> <character>IRVING (VIDEO)</character> <dialogue>The Jews keep going on about the Holocaust because it is the only interesting thing which has happened to them in 3,000 years. I'm not interested in the Holocaust, I don't know anyone who</dialogue> <scene_description>t is. e RAMPTON freezes the image.</scene_description> <character>RAMPTON</character> <dialogue>That's an excerpt from a speech you</dialogue> <scene_description>re made at the Best Western Hotel in Tampa on July 25th 1998.</scene_description> <character>IRVING</character> <dialogue>I remember speaking, I do not know what the date was.</dialogue> <scene_description>St</scene_description> <character>RAMPTON</character> <dialogue>You said "I think 95% of the thinking public find the Holocaust endlessly boring but they dare not say it, because it is politically incorrect."</dialogue> <scene_description>IRVING shrugs as if to say "Well it's true." DEBORAH is watching like a hawk, eyes on RAMPTON. er</scene_description> <character>RAMPTON</character> <dialogue>Mr Irving, next I want to refer you to a talk you gave to the Clarendon Club, whatever that may be, on 19th September 1992. The transcripts. Tab 5, My Lord, page 35.</dialogue> <scene_description>ck</scene_description> <character>GRAY</character> <dialogue>Thank you.</dialogue> <scene_description>A VIDEO plays of IRVING at the Clarendon Club.</scene_description> <character>IRVING (VIDEO)</character> <dialogue>ee</dialogue> <scene_description>But if there is one thing that gets up my nose I must admit it is this. I switch on my television set and see one of them reading our news to us. RAMPTON stops the video. Bl</scene_description> <character>RAMPTON</character> <dialogue>Now, Mr. Irving, who is the "them" and who is the "us"?</dialogue> <character>IRVING</character> <dialogue>Trevor McDonald.</dialogue> <character>GRAY</character> <dialogue>McDonald?</dialogue> <character>IRVING</character> <dialogue>A newsreader, my Lord.</dialogue> <scene_description>t</scene_description> <character>RAMPTON</character> <dialogue>A black newsreader.</dialogue> <scene_description>e</scene_description> <character>IRVING</character> <dialogue>Well in fact this is a stock speech I used to make. I would say "In the</dialogue> <scene_description>re good old days, the announcer used to wear a dinner jacket, but now they have women reading the news, and they have -" it's part of a general speech.</scene_description> <character>RAMPTON</character> <dialogue>St</dialogue> <scene_description>Yes. "It is our news and they're reading it to me." RAMPTON starts the video again.</scene_description> <character>IRVING (VIDEO)</character> <dialogue>If "they" could have their own news which they were reading to us I suppose it would be very</dialogue> <scene_description>er interesting. For the time being, I would be prepared to accept that the BBC should have a dinner- jacketed gentleman reading all the important news, followed by a lady reading all the less important news. Followed by Trevor McDonald ck giving all the latest news about muggings and drug busts. RAMPTON turns the video off.</scene_description> <character>RAMPTON</character> <dialogue>"Rest lost in loud laughter and</dialogue> <scene_description>ee applause." Are you not appalled by that?</scene_description> <character>IRVING</character> <dialogue>Not in the least. This is a witty speech delivered after dinner to an audience in a private club.</dialogue> <scene_description>Bl</scene_description> <character>RAMPTON</character> <dialogue>'Witty', did you say?</dialogue> <character>IRVING</character> <dialogue>Well, it got laughter.</dialogue> <character>RAMPTON</character> <dialogue>No doubt. As Dr Goebbels' audience would have laughed at him.</dialogue> <scene_description>LAURA is watching intently, appalled. DEBORAH looks down to the familiar cartoon in front of her, and for the first time t looks not at her own gagged figure but at RAMPTON leading the charge. She smiles to herself. e</scene_description> <character>RAMPTON</character> <dialogue>"I am not anti-coloured, take it from me. Nothing pleases me more</dialogue> <scene_description>re than when I arrive at an airport and I see a coloured family there - When I see black families arriving at the airport I am happy. And when I see them leaving at London airport I am happy." Well, Mr Irving? Well? St IRVING shrugs, as if it were nothing.</scene_description> <character>IRVING</character> <dialogue>I think we all dislike tourists of any colour.</dialogue> <character>RAMPTON</character> <dialogue>Tourists? These are black people.</dialogue> <scene_description>er You were speaking to a bunch of racists.</scene_description> <character>IRVING</character> <dialogue>No I was not. They were perfectly ordinary guests at a...</dialogue> <scene_description>ck</scene_description> <character>RAMPTON</character> <dialogue>If they were ordinary, why were there cheers?</dialogue> <character>IRVING</character> <dialogue>Well obviously they liked the jokes.</dialogue> <scene_description>ee RAMPTON looks at him in disbelief.</scene_description> <character>RAMPTON</character> <dialogue>Mr Irving, before we proceed any further, I think you might be advised to have a look at your own diary, if you would not mind.</dialogue> <scene_description>Bl 38, please, Mr Irving. 38, tab 10 of the bundle K4. RAMPTON is forbidding now, lifting a new document. It's tense as IRVING and GRAY both turn pages. Then:</scene_description> <character>RAMPTON</character> <dialogue>"A quiet evening at home. Jessica..." Who is Jessica?</dialogue> <character>IRVING</character> <dialogue>My little infant child.</dialogue> <scene_description>t</scene_description> <character>RAMPTON</character> <dialogue>e</dialogue> <scene_description>Yes.</scene_description> <character>IRVING</character> <dialogue>She was nine months old at this</dialogue> <scene_description>re time.</scene_description> <character>RAMPTON</character> <dialogue>Nine months old in September 1994. "Jessica is turning into a fine little lady. She sits very upright on an ordinary chair, a product of</dialogue> <scene_description>St our regular walks to the bank, I am sure. On those walks we sing the binkety-bankety-bong song. She stars in a poem when half-breed children are wheeled past." And then you go into italics: "I am a baby Aryan/ Not Jewish or sectarian/ I have no plans to marry/ An ape or Rastafarian." er There is a silence. RAMPTON puts the document down. DEBORAH is open-mouthed in disbelief.</scene_description> <character>RAMPTON</character> <dialogue>Racist, Mr Irving? Anti-Semitic, Mr Irving?</dialogue> <scene_description>ck</scene_description> <character>IRVING</character> <dialogue>I do not think so.</dialogue> <character>RAMPTON</character> <dialogue>Teaching your little child this kind of poison?</dialogue> <scene_description>ee</scene_description> <character>IRVING</character> <dialogue>Do you think a nine month old can understand words spoken in English or any other language?</dialogue> <character>RAMPTON</character> <dialogue>The poor little child has been</dialogue> <scene_description>Bl taught a racist ditty by her perverted racist father.</scene_description> <character>IRVING</character> <dialogue>Have you ever read Edward Lear or Hilaire Belloc?</dialogue> <character>RAMPTON</character> <dialogue>They have not brought a libel action, Mr Irving. You have. Mr Irving, you sued because you said we called you a racist and an extremist.</dialogue> <scene_description>t</scene_description> <character>IRVING</character> <dialogue>e</dialogue> <scene_description>Yes, but I am not a racist. RAMPTON is finished. He does not even look at IRVING. re</scene_description> <character>RAMPTON</character> <dialogue>Mr Irving, look at the words on the page.</dialogue> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>St The whole gang coming out together - DEBORAH, RAMPTON, LAURA, JULIUS, LIBSON etc. They are high as kites.</scene_description> <character>LAURA</character> <dialogue>That was good stuff...</dialogue> <character>LIBSON</character> <dialogue>Well done, there it is. Anti- Semitism, racism, holocaust denial:</dialogue> <scene_description>er we always said it was a package didn't we? Symptoms, motive, purpose. What else do they want? DEBORAH looks at JULIUS who is impassive.</scene_description> <character>DEBORAH</character> <dialogue>ck</dialogue> <scene_description>What did you think, Anthony?</scene_description> <character>JULIUS</character> <dialogue>Think? I thought nothing. Much the most boring morning we've had in court so far.</dialogue> <scene_description>ee</scene_description> <character>DEBORAH</character> <dialogue>My God... You do love to be contrary.</dialogue> <character>JULIUS</character> <dialogue>The man's an anti-Semite. It's like having shit on your shoe. You wipe it off. You don't have to study it.</dialogue> <scene_description>Bl</scene_description> <character>DEBORAH \*</character> <dialogue>Thanks Anthony. My whole life's \* been studying it. \*</dialogue> <scene_description>They both laugh. \*</scene_description> </scene> <scene> <stage_direction>125A EXT. STRAND. DAY 125A \*</stage_direction> <scene_description>Continuous. DEBORAH takes JULIUS on one arm and RAMPTON on \* the other as they prepare to cross the road. As they wait for \* a bus to pass, IRVING is talking to KATE KELLAND, a Reuters \* reporter in the background. \* t</scene_description> <character>IRVING</character> <dialogue>e</dialogue> <scene_description>You can hardly accuse me of being a racist. Among my domestic staff I had a Barbadian, a Punjabi, a Sri Lankan, and Pakistani. And I can re tell you they were all very attractive girls with very nice breasts. KELLAND stands, amazed. IRVING is matter of fact.</scene_description> <character>KELLAND</character> <dialogue>St</dialogue> <scene_description>I'm sorry? Can you say that again?</scene_description> </scene> <scene> <stage_direction>INT. RAMPTON'S CHAMBERS. DAY</stage_direction> <scene_description>Everyone gathered together for the last time, eating sandwiches, drinking wine - DEBORAH, JULIUS, LAURA, HEATHER, LIBSON, NIK, THOMAS. There is a silence. Then: er</scene_description> <character>RAMPTON</character> <dialogue>You know what I'll miss? I'll miss these lunches.</dialogue> <character>ALL</character> <dialogue>Me too. Me too.</dialogue> <scene_description>ck They look round, smiling. Then raise their glasses silently. \* LAURA looks to DEBORAH. \*</scene_description> <character>LAURA \*</character> <dialogue>It's something I never expected. My \* parents made me take up law. And \* the first case I get, I feel I'm \*</dialogue> <scene_description>ee making a difference. It's a \* wonderful feeling. I never, ever \* expected that. \*</scene_description> <character>RAMPTON \*</character> <dialogue>But, Laura, why on earth do you \* think it's any different for me? \*</dialogue> <scene_description>Bl RAMPTON has looked up in genuine surprise. \*</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>The pavements are crammed again, with news crews, as the GROUP returning from lunch pass the NETWORK REPORTERS. \*</scene_description> <character>NETWORK REPORTERS</character> <dialogue>This trial has been both long, now running for almost eight weeks and hugely expensive. Its cost is currently estimated at over three million pounds. Some are saying</dialogue> <scene_description>t this trial raises serious issues for freedom of speech. Now only the e two summings-up remain before the judge, Charles Gray QC, retires for what we are told will be at least four weeks to consider his verdict. re</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <scene_description>The court overflowing now. RAMPTON comes across to DEBORAH.</scene_description> <character>RAMPTON</character> <dialogue>St</dialogue> <scene_description>Is your survivor friend in the court?</scene_description> <character>DEBORAH</character> <dialogue>Why?</dialogue> <scene_description>DEBORAH nods up to VERA sitting in her place. RAMPTON puts his hand on her arm, then moves across to address the court. er</scene_description> <character>RAMPTON</character> <dialogue>My Lord, I start with this, that if one had read some of the media reports, one might have supposed that Mr Irving had been dragged into this court to defend his freedom of speech. The history of</dialogue> <scene_description>ck the matter is quite the reverse. The defendant did make serious charges. But, as it turns out from the evidence, the accusations are true in every significant respect. RAMPTON shares a look with DEBORAH before continuing. He ee really wants her to hear this.</scene_description> <character>RAMPTON</character> <dialogue>The Holocaust took place in stages. The first stage, beginning in 1941, consisted of mass shootings carried out by specially formed SS groups and their local allies.</dialogue> <scene_description>Bl DEBORAH closes her eyes. There is a moment as the faces of a multitude of people are shown on the walls of the court, as if the ghosts of the dead were present.</scene_description> <character>RAMPTON</character> <dialogue>This resulted in the deaths of up to 1.5 million Jews living in Russia and the Baltic States. The second stage, which began in December 1941, consisted of the</dialogue> <scene_description>t gassing of Jews of the Warthegau and Poland. This resulted in the e deaths of probably as many as 2.6 million. The third stage, beginning with mass deportations in 1941, culminated in the gassing, mostly re at Auschwitz, of Jews from Central, Western and Southern Europe. This stage lasted until late 1944. At this point RAMPTON looks to DEBORAH then turns and looks up to the gallery where VERA and the other SURVIVORS are sitting. He addresses them. St</scene_description> <character>RAMPTON</character> <dialogue>The total achievement of this systematic mass murder was probably between five and six million innocent souls.</dialogue> <scene_description>RAMPTON bows imperceptibly to VERA who stares back, moved. The multitude disappears. DEBORAH watches, not breathing. er</scene_description> <character>RAMPTON</character> <dialogue>It is wildly implausible therefore to present Adolf Hitler as a somewhat harried business executive, too preoccupied to know what was happening in the branch</dialogue> <scene_description>ck offices in Treblinka and Auschwitz. During this trial we have heard from Professor Evans and others of at least twenty five major falsifications of history. Well, says Mr Irving, all historians make mistakes. But there is a difference ee between negligence, which is random in its effect and a deliberateness which is far more one-sided. All Mr Irving's little fictions, all his tweaks of the evidence, all tend in the same direction: exculpation of Adolf Hitler. It is, to use an analogy, like a waiter who always Bl gives the wrong change. If the waiter is honest, then we may expect his mistakes sometimes to benefit the customer, sometimes himself. But Mr Irving is the dishonest waiter. Every one of his mistakes works in his own favour. For once at the trial DEBORAH smiles.</scene_description> <character>RAMPTON</character> <dialogue>How far, if at all, Mr Irving's anti-Semitism is a cause of his Hitler apology, or vice versa, is</dialogue> <scene_description>t unimportant. Whether they are taken together or individually it is e clear they have led him to prostitute his reputation as a serious historian for the sake of a bogus rehabilitation of Hitler, and re the dissemination of virulent anti- Semitic propaganda. GRAY stirs at this point.</scene_description> <character>GRAY</character> <dialogue>Yes, this is a question I have to</dialogue> <scene_description>St ask you, Mr Rampton.</scene_description> <character>RAMPTON</character> <dialogue>By all means, my Lord.</dialogue> <character>GRAY</character> <dialogue>My question is this: if somebody is anti-Semitic, anti-Semitic and extremist, he is perfectly capable</dialogue> <scene_description>er of being honestly anti-Semitic? Yes? He is holding those views and expressing those views because they are indeed his views. RAMPTON is thrown, unsteady, bewildered by the question. ck</scene_description> <character>RAMPTON</character> <dialogue>Well, yes.</dialogue> <character>GRAY</character> <dialogue>And so it seems to me, if it comes down to it, that the anti-Semitism is a completely separate allegation</dialogue> <scene_description>ee which has precious little bearing on your broader charge that he has manipulated the data?</scene_description> <character>RAMPTON</character> <dialogue>No, my Lord. No. The whole endeavour of the defence has been to prove that the two are</dialogue> <scene_description>Bl connected.</scene_description> <character>GRAY</character> <dialogue>Yes, but he might believe what he is saying. That is the point. That is why it's important.</dialogue> <scene_description>DEBORAH looks to JULIUS, who looks equally alarmed. For a moment, RAMPTON is lost.</scene_description> <character>RAMPTON</character> <dialogue>My Lord, if we know for a fact that \* Mr Irving is an anti-Semite, and if \*</dialogue> <scene_description>t we also know that there is no \* historical justification for \* e Holocaust denial, then surely it's \* not a great stretch to see the two \* things must be connected? \* re</scene_description> <character>GRAY</character> <dialogue>Yes, thank you. Carry on.</dialogue> <scene_description>DEBORAH turns again to JULIUS, who is shaking his head.</scene_description> <character>DEBORAH</character> <dialogue>What the fuck just happened?</dialogue> <scene_description>St JULIUS looks to RAMPTON, for the first time fear in his eye. \*</scene_description> </scene> <scene> <stage_direction>INT &amp; EXT. DEBORAH'S HOUSE. DAY</stage_direction> <scene_description>The Mutt runs happily across the kitchen to be beside DEBORAH, a towel round her neck, fresh from jogging as she vigorously throws cut lemons into a blender. The blender er whirs. She makes an icy jug of lemonade. She takes the \* lemonade through to the pretty terrace where LIBBY is \* sitting.</scene_description> <character>LIBBY</character> <dialogue>Well? How was it?</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Oh...</dialogue> <character>LIBBY</character> <dialogue>You've hardly said anything since \* you got back. \*</dialogue> <scene_description>ee DEBORAH looks at her, as if finally about to say. \*</scene_description> <character>DEBORAH \*</character> <dialogue>I'll tell you what happened at the end. We summed up. Irving summed up.</dialogue> <character>LIBBY</character> <dialogue>Bl</dialogue> <scene_description>And?</scene_description> <character>DEBORAH \*</character> <dialogue>Everyone kept saying, this is all great, everything's going to be fine. Then suddenly this judge, this unbelievable Englishman from Masterpiece Theatre -</dialogue> <character>LIBBY</character> <dialogue>I like Masterpiece Theatre.</dialogue> <character>DEBORAH</character> <dialogue>OK. At the last moment he looks up \* and says "Well maybe Irving \*</dialogue> <scene_description>t actually believes it. He's an anti- \* Semite and he believes it. You e can't say someone's lying if they say something they genuinely believe." re</scene_description> <character>LIBBY</character> <dialogue>But that's crazy. It's mad.</dialogue> <scene_description>DEBORAH nods as if to say 'Yip.'</scene_description> <character>DEBORAH</character> <dialogue>And that's when I thought 'I've \*</dialogue> <scene_description>St been suckered.' I've stared at this \* judge for forty days. I thought I \* saw wisdom, but maybe I was just \* looking at prejudice. He doesn't \* understand anything. \*</scene_description> <character>LIBBY</character> <dialogue>What can you do?</dialogue> <scene_description>er</scene_description> <character>DEBORAH</character> <dialogue>Just wait.</dialogue> <scene_description>LIBBY doesn't know what to say. DEBORAH drinks her lemonade.</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS. DAY</stage_direction> <scene_description>ck GRAY puts down his cup of tea at the table, piled with more documents. He clears a space and takes a clean sheet of paper. He writes DAVID IRVING VERSUS PENGUIN BOOKS AND DEBORAH E. LIPSTADT. JUDGEMENT. ee</scene_description> </scene> <scene> <stage_direction>EXT. BARBECUE. DEBORAH'S HOUSE. NIGHT</stage_direction> <scene_description>DEBORAH is barbecuing on a great Southern night, doing \* burgers and chops. The old crowd, SAM, STORM, LIBBY, all \* relaxing with wine. Behind, a convivial table is discussing \* the Atlanta Braves. \*</scene_description> <character>SAM</character> <dialogue>Bl</dialogue> <scene_description>So, Deborah, are you going to be with us for long?</scene_description> <character>DEBORAH</character> <dialogue>I don't know. I have to go back at some point.</dialogue> <character>SAM</character> <dialogue>But when?</dialogue> <character>DEBORAH</character> <dialogue>Oh you know. When the judge is ready. Could be weeks, could be</dialogue> <scene_description>t months. e</scene_description> <character>SAM</character> <dialogue>And then you just get on a plane?</dialogue> <character>DEBORAH</character> <dialogue>re</dialogue> <scene_description>When somebody phones.</scene_description> <character>STORM</character> <dialogue>And do they tell you the result in advance?</dialogue> <character>DEBORAH</character> <dialogue>St</dialogue> <scene_description>No. But my lawyers get told.</scene_description> <character>STORM</character> <dialogue>You're joking. They get told? And they can't tell you?</dialogue> <scene_description>DEBORAH shakes her head.</scene_description> <character>DEBORAH</character> <dialogue>er</dialogue> <scene_description>They get the verdict twenty four hours in advance. 9am, the day before. To the minute. To give them time to prepare a response. And what's worse...</scene_description> <character>STORM</character> <dialogue>ck</dialogue> <scene_description>There's worse?</scene_description> <character>DEBORAH</character> <dialogue>Irving gets it too.</dialogue> <character>LIBBY</character> <dialogue>Why?</dialogue> <scene_description>ee</scene_description> <character>DEBORAH</character> <dialogue>Because he's his own lawyer. So he's allowed it. And I'm not.</dialogue> <character>SAM</character> <dialogue>How do you live with this nonsense?</dialogue> <scene_description>Bl They all laugh. DEBORAH smiles.</scene_description> <character>DEBORAH</character> <dialogue>Funny thing is, I miss it.</dialogue> <character>SAM</character> <dialogue>Why? Why do you miss it?</dialogue> <character>DEBORAH</character> <dialogue>Oh. Because I became part of a \* team. \*</dialogue> <scene_description>DEBORAH is still. The others don't know how to react. She's lost for a moment in her own thoughts. e t</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS. NIGHT</stage_direction> <scene_description>GRAY reaches for another file. He is working under a desk lamp. He refers back over several pages, holding them with re thumb and finger. Then he continues hand-writing. THEREFORE IT IS CLEAR FROM ANY DISPASSIONATE READING OF THE EVIDENCE...</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM. EMORY. DAY</stage_direction> <scene_description>New students. Fresh faces, fresh clothes. DEBORAH standing, St leaning against her desk. The Mutt, moody at her side.</scene_description> <character>DEBORAH \*</character> <dialogue>When people say glibly "Oh if I'd \* been in Germany then of course I'd \* never have collaborated, I'd have \* resisted," then I just want to \* laugh. Do you have any idea how \* difficult and dangerous it was? \*</dialogue> <scene_description>er Standing up to the enemy was \* arduous and uncertain and \* exhausting. But they had to do it. \* It's only with hindsight things get \* called heroic. At the time you're \* just fearful. Fearful how they're \* going to work out. \* ck</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS. DAY 134 \*</stage_direction> <scene_description>A CLERK clears away the tea things as GRAY finishes writing the frontispiece: IN THE HIGH COURT OF JUSTICE, QUEENS BENCH DIVISION. Then his name: THE HON. MR. JUSTICE GRAY. He sits ee back, content, stacking the papers.</scene_description> </scene> <scene> <stage_direction>EXT. WOOD. DAY</stage_direction> <scene_description>DEBORAH is running through spring growth, The Mutt extremely happy at her heels. A phone is audible from her pocket. She fumbles for it. Bl</scene_description> <character>DEBORAH</character> <dialogue>Deborah Lipstadt.</dialogue> <character>JULIUS (PHONE)</character> <dialogue>Ah good, there you are.</dialogue> <character>DEBORAH</character> <dialogue>Is that you, Anthony?</dialogue> </scene> <scene> <stage_direction>INT. MISHCON DE REYA. OFFICES. DAY</stage_direction> <scene_description>t JULIUS is sitting, calm at his desk, LAURA opposite. e</scene_description> <character>JULIUS</character> <dialogue>Just to say we've been told to expect the verdict on Tuesday.</dialogue> <scene_description>re</scene_description> <character>DEBORAH (PHONE)</character> <dialogue>Tuesday? Are you sure?</dialogue> <character>JULIUS</character> <dialogue>Do you know, I don't think they'd have said it unless it were true?</dialogue> <scene_description>St</scene_description> </scene> <scene> <stage_direction>EXT. WOOD. DAY 137 \*</stage_direction> <scene_description>DEBORAH is rushing in the opposite direction, much faster to \* get back home. The Mutt is frantic to keep up. \*</scene_description> <character>DEBORAH</character> <dialogue>I've been wondering if we could work some sort of code. When you</dialogue> <scene_description>er have the verdict. Like, I'd call \* and say 'How's the weather?' and you'd say 'Good' meaning...</scene_description> <character>JULIUS (PHONE)</character> <dialogue>I get it.</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Or you say 'Weather's bad' meaning... \*</dialogue> <character>JULIUS (PHONE)</character> <dialogue>Only of course I'd be disbarred. I'd never be allowed to practice</dialogue> <scene_description>ee law in England again.</scene_description> <character>DEBORAH</character> <dialogue>Good. So there would be an upside.</dialogue> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. LONDON. NIGHT</stage_direction> <scene_description>Bl DEBORAH is back in the very same room, looking around - her cases on the bed, half-unpacked. A knock on the door. The very same BELLBOY, carrying the very same gift of lilies, as in Scene 74. Neither of them say anything. Then they both smile. The TV is on in the corner. A TELEVISION HISTORIAN is speaking.</scene_description> <character>HISTORIAN</character> <dialogue>This trial is sending a chill through the community of 20th century historians. Which historian isn't thinking 'Would my work really survive this kind of</dialogue> <scene_description>t scrutiny'? Show me one historian who has not broken into a cold e sweat at the thought of undergoing similar treatment. DEBORAH frowns, worried. re</scene_description> </scene> <scene> <stage_direction>INT. MISHCON DE REYA. LOBBY, STAIRS &amp; OFFICE. DAY</stage_direction> <scene_description>DEBORAH is on a bench. She looks at the clock on the wall. 8.57 am. 8.58. 8.59. Interminable. It ticks over to 9.00. St CAPTION: APRIL 11th, 2000 An ASSISTANT appears.</scene_description> <character>ASSISTANT</character> <dialogue>Mr Julius is waiting.</dialogue> <scene_description>DEBORAH follows. They go up the stairs, one by one, DEBORAH behind. It's like going to an execution. Then into JULIUS' er office. There are three people - LIBSON, LAURA and JULIUS all waiting. In front of each of them, a large white document.</scene_description> <character>JULIUS</character> <dialogue>Deborah.</dialogue> <character>DEBORAH</character> <dialogue>ck</dialogue> <scene_description>Well?</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>Pandemonium. Police barriers. Onlookers, photographers and reporters. DEBORAH pushes her way through with JULIUS, both ee inscrutable. In response to the shouts, they say nothing. They go inside. IRVING gets out of a car. Everyone shouts at him for a quote, but he just smiles. An egg flies through the air and lands on his shoulder. He moves on, taking no notice.</scene_description> </scene> <scene> <stage_direction>INT. JUDGE'S CHAMBERS. DAY</stage_direction> <scene_description>Bl GRAY sits, sipping tea. There is a box of thick white documents on his desk, but otherwise it is clear. The CLERK knocks at the door. GRAY nods. The CLERK takes the box away.</scene_description> </scene> <scene> <stage_direction>INT. COURTROOM. DAY</stage_direction> <scene_description>All the documents and computers have gone. IRVING comes into the court, alone. IRVING goes to take his usual place opposite RAMPTON. Meticulously he takes off his egg-stained jacket. DEBORAH watches, impassive. The CLERK comes out with t copies of the verdict and the COURT USHER distributes them to NEWSMEN. They run out of the court, desperately turning to e the last page. Just the word VERDICT. Then a blank. What the hell? re</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>NETWORK REPORTERS are all doing versions of:</scene_description> <character>NETWORK REPORTERS</character> <dialogue>This massive 334 page document, which does not disclose the final</dialogue> <scene_description>St verdict, is studiously even-handed, praising David Irving's skill as a military historian, while at the same time drawing attention to flaws in some of his reasoning.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR &amp; COURTROOM. DAY</stage_direction> <scene_description>er GRAY sweeps along the corridor, his determination apparent. He goes into the packed court.</scene_description> <character>COURT USHER</character> <dialogue>Court rise.</dialogue> <scene_description>He sees IRVING on one side, FORBES WATSON and DEBORAH on the ck other. As the whole court bows, for the first time, DEBORAH lowers her head. JULIUS smiles at the gesture. Then GRAY sits.</scene_description> <character>GRAY</character> <dialogue>I shall read my judgement.</dialogue> <scene_description>ee</scene_description> </scene> <scene> <stage_direction>EXT. HIGH COURT. DAY</stage_direction> <scene_description>LAURA comes out into the street. She lights a cigarette and wanders away from the scrum. She begins to shake. Tears pour down her face. A PASSER-BY asks her if she's all right.</scene_description> <character>LAURA</character> <dialogue>Bl</dialogue> <scene_description>Yes. Yes, really. Really I'm fine.</scene_description> </scene> <scene> <stage_direction>INT. HIGH COURT. DAY</stage_direction> <character>GRAY</character> <dialogue>It appears to me that the correct and inevitable inference must be that the falsification of the</dialogue> <scene_description>t historical record was deliberate and that Irving was motivated by a e desire to present events in a manner consistent with his own ideological beliefs even if that involved distortion and re manipulation of historical evidence. In the result therefore, the defence of justification succeeds. The court finds for the defence. A cry from the gallery of 'Yes!' DEBORAH is stunned for a St moment. Then she, too, air-punches. At once chaos breaks out. Supporters stand up and clap. The T-shirted and tattooed Irving supporters look thunderstruck. The blonde women mutter furiously with IRVING. Everyone rushes across to DEBORAH to congratulate her, 'Well done', and thumbs-up, hugs, JULIUS looking sheepish, RAMPTON beaming, LAURA returned, NIK and THOMAS slapping her back.</scene_description> <character>LIBSON/JULIUS/LAURA</character> <dialogue>er</dialogue> <scene_description>Congratulations!</scene_description> <character>DEBORAH</character> <dialogue>I can't believe it.</dialogue> <character>LIBSON</character> <dialogue>It's true.</dialogue> <scene_description>ck</scene_description> <character>JULIUS</character> <dialogue>You've been brilliant. Brilliant.</dialogue> <character>DEBORAH</character> <dialogue>Brilliant? I haven't done anything.</dialogue> <scene_description>ee</scene_description> <character>JULIUS</character> <dialogue>Well nor have I! English legal system. Barrister/solicitor, remember? You think it was hard for you. Try being me!</dialogue> <scene_description>JULIUS hugs DEBORAH. LAURA and LIBSON are standing beside them. Bl</scene_description> <character>JULIUS</character> <dialogue>Anyway, it's not true. It was all \* you. Your book held up. In every \* aspect. In every detail. We may \* have defended it. But it was your \* book which won. \*</dialogue> <scene_description>JULIUS stops, strong emotion showing in his eyes. They look \* across to RAMPTON by himself in his robe. Suddenly he looks completely exhausted - a year and a half of work. IRVING is heading over to him in his shirtsleeves. When he gets there, he holds out his hand. t</scene_description> <character>IRVING</character> <dialogue>Well done. Well done.</dialogue> <scene_description>e RAMPTON, refusing to take it, turns away, refusing eye contact. Symbolically, JULIUS puts his polished shoe on the chair in front of him, and mimes flicking something away. re IRVING, departing catches the gesture and looks directly at JULIUS. But JULIUS is unwavering, finally looking IRVING in the eye. And in the contest, it is IRVING who finally looks down and turns away.</scene_description> </scene> <scene> <stage_direction>INT &amp; EXT. HIGH COURT. DAY</stage_direction> <scene_description>St Pandemonium. DEBORAH comes out with the team and walks through the lobby. There is the sound of the NETWORK REPORTERS: "One of the most crushing libel judgements in history." "The Judge called Mr Irving an anti-Semite, a racist and a distorter of history." A cheer goes up from the crowd. A barrage of photographers flash in her face. JULIUS smiles at the REPORTERS. er</scene_description> <character>JULIUS</character> <dialogue>We won. We won big. It's as if we \* wrote it ourselves.</dialogue> <scene_description>The REPORTERS shout at DEBORAH.</scene_description> <character>REPORTERS</character> <dialogue>ck</dialogue> <scene_description>Deborah! Deborah! Do you have anything to say? How are you feeling? What's your response to the verdict? Trained to silence, DEBORAH says nothing. But JULIUS whispers in her ear. ee</scene_description> <character>JULIUS</character> <dialogue>Now you can speak. \*</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BALLROOM. DAY</stage_direction> <scene_description>FORBES WATSON is sitting taking a press conference. Bl</scene_description> <character>FORBES WATSON</character> <dialogue>We saw this as a free speech issue. Penguin defended D.H. Lawrence, we defended Salman Rushdie. It was inconceivable we wouldn't defend Deborah Lipstadt.</dialogue> <scene_description>DEBORAH appears beside him. There is applause as she sits. Then, among flashbulbs, questions are called out at random.</scene_description> <character>REPORTER 1</character> <dialogue>Miss Lipstadt, can I ask, do you have any regrets about bringing the</dialogue> <scene_description>t case? e</scene_description> <character>DEBORAH</character> <dialogue>I don't know how to say this often enough. I didn't bring the case. Mr Irving did.</dialogue> <scene_description>re There's laughter. She holds up a thick white document.</scene_description> <character>DEBORAH</character> <dialogue>Of course I'm not sure he realised when he agreed to a trial by a single judge, that it would mean a</dialogue> <scene_description>St written judgement. This judgement's going to stand against him forever. There are some flashes, more questions. DEBORAH motors on through them, the flood-gates are open at last.</scene_description> <character>DEBORAH</character> <dialogue>Now some people fear that the only effect of this trial will be to</dialogue> <scene_description>er close down free speech. I don't accept that. I'm not attacking free speech. On the contrary. I've been defending it against someone who wanted to abuse it. People can be as sceptical as they like. What they can't be is dishonest. Freedom ck of speech doesn't include freedom to get away with lying. Not all \* opinions are equal. Some things do \* happen, just like we're told they do. Slavery happened. The black death happened. The world is round. The ice-caps are melting. Elvis is ee dead.</scene_description> <character>REPORTER 2</character> <dialogue>You've conducted yourself with dignity throughout the trial.</dialogue> <character>DEBORAH</character> <dialogue>Thank you. But I know what dignity</dialogue> <scene_description>Bl means. It means I've shut up. I don't promise to shut up in future.</scene_description> <character>REPORTER 3</character> <dialogue>You always said you refused to debate with deniers, but that's exactly what this trial has been doing. What will you do in the future?</dialogue> <scene_description>t DEBORAH holds up the judgment. e</scene_description> <character>DEBORAH</character> <dialogue>This is the future. That's the beauty of this verdict. The</dialogue> <scene_description>re question has been settled once and for all. We'll never need to speak to them again.</scene_description> <character>REPORTER 1</character> <dialogue>If you could say something now to David Irving, what would you say?</dialogue> <scene_description>St</scene_description> <character>DEBORAH</character> <dialogue>I wouldn't speak to him. I'd speak to the survivors. And to the murdered. I'd say 'You were remembered. The voice of suffering was heard.'</dialogue> <scene_description>She looks straight toward VERA standing at the back. VERA er begins to cry.</scene_description> <character>REPORTER 4</character> <dialogue>How convinced were you that this trial was going to have a good outcome - for you?</dialogue> <scene_description>ck</scene_description> <character>DEBORAH</character> <dialogue>Do you know, I believed before I came to London that a court of law was not a great place to investigate historical truth. But I underestimated the value of a team. Of real teamwork. It turns out,</dialogue> <scene_description>ee it's not a bad place as long as you have great lawyers. With great passion. And boy, did I have great lawyers. RAMPTON is standing at the back, next to LAURA. At these words, he takes off his glasses and his eyes water. Bl</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BALLROOM. DAY</stage_direction> <scene_description>The press conference is over. DEBORAH, the conquering hero, is pushing her way through JOURNALISTS to reach the back where RAMPTON is smiling with LAURA. Laughing, DEBORAH throws her arms round RAMPTON. For her it's spontaneous, for him, a touch awkward. Behind his back she whispers in his ear.</scene_description> <character>DEBORAH</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. NIGHT</stage_direction> <scene_description>t DEBORAH is on the bed with a large glass of wine, watching TV. Beside, the bottle - 1995 Pommard Les Epenots - and a e card propped up against it: TO THE AUTHOR OF OUR MISFORTUNES, WITH LOVE. RICHARD. Newsnight is running on TV. JEREMY PAXMAN is with IRVING, in a silk waistcoat, still without his jacket. re</scene_description> <character>IRVING (TV)</character> <dialogue>I think if you read the judgement closely, you'll find there are all sorts of things there in my favour.</dialogue> <character>PAXMAN (TV)</character> <dialogue>St</dialogue> <scene_description>You're not seriously telling me that this is a judgement that supports you?</scene_description> <character>IRVING (TV)</character> <dialogue>Plainly, I ran rings round the defence. My only regret is that I didn't use a mallet of sufficient calibre to ram my case into the</dialogue> <scene_description>er thick skull of the judge. I've always been taught that whatever the result of the game it's how you play it that counts. I went over to congratulate Mr Rampton and he turned his back on me. That hurt. And I thought I have not been ck dealing with ordinary English people here. These are people who have been operating in the pay of a foreign power.</scene_description> <character>PAXMAN (TV)</character> <dialogue>What we all want to know, Mr</dialogue> <scene_description>ee Irving: on the basis of this judgement, will you stop denying the Holocaust?</scene_description> <character>IRVING (TV)</character> <dialogue>Good Lord, no.</dialogue> <scene_description>The phone goes. DEBORAH picks it up and lowers the TV volume. Bl</scene_description> <character>JULIUS (PHONE)</character> <dialogue>Deborah?</dialogue> <character>DEBORAH</character> <dialogue>Is that you Anthony?</dialogue> </scene> <scene> <stage_direction>INT. JULIUS' OFFICE. MISHCON DE REYA. NIGHT</stage_direction> <scene_description>JULIUS is watching the same interview on a TV in his office, lit by a single angle-poise lamp.</scene_description> <character>JULIUS</character> <dialogue>t</dialogue> <scene_description>Are you watching? e</scene_description> <character>DEBORAH (PHONE)</character> <dialogue>Can't tear myself away.</dialogue> <scene_description>IRVING on TV is heard saying 'The fact that she didn't even \* re dare appear tells you everything you need to know about Miss \* Lipstadt." \*</scene_description> <character>JULIUS \*</character> <dialogue>He seems to be saying he won. \*</dialogue> <scene_description>St</scene_description> </scene> <scene> <stage_direction>INT. ATHENAEUM HOTEL. NIGHT 152 \*</stage_direction> <character>DEBORAH \*</character> <dialogue>Yeah. He used to be a Holocaust \* denier, now he's a verdict denier. \* Why don't we just turn him off? \*</dialogue> <character>IRVING (TV) \*</character> <dialogue>I don't think her Brooklyn accent \*</dialogue> <scene_description>er would have endeared her to the \* court.' \*</scene_description> <character>DEBORAH \*</character> <dialogue>Queens. \*</dialogue> <scene_description>She picks up the remote and does exactly that. The screen ck goes to a spot, and blank.</scene_description> </scene> <scene> <stage_direction>EXT. BBC TV CENTRE. WOOD LANE. LONDON. NIGHT</stage_direction> <scene_description>All smiles and charm IRVING comes out through the glass doors, shaking hands with a couple of NEWS STAFF. Then he ee heads off alone, his smile gone. The doughnut-shaped building gleams behind him. He sets off walking down the rain-soaked streets, wiping the egg-stain off his shoulder as he goes.</scene_description> </scene> <scene> <stage_direction>EXT. HALF MOON STREET. NIGHT</stage_direction> <scene_description>A deserted exit. Padding out into the street comes DEBORAH, Bl in her running clothes. She runs out into a silent Piccadilly. She passes that same Evening Standard billboard. This time it says IRVING CASE VERDICT: HE LIED. She smiles.</scene_description> </scene> <scene> <stage_direction>EXT &amp; INT. TUBE. NIGHT</stage_direction> <scene_description>VERA comes alone into a deserted station. She goes through the barrier and onto an escalator, away down into the underground and out of sight. The shot is held for a moment. t</scene_description> </scene> <scene> <stage_direction>EXT. PICCADILLY. NIGHT.</stage_direction> <scene_description>e A milk-cart. A lone woman moving silently along empty pavements. London glowing slightly. DEBORAH runs away into the distance. re</scene_description> </scene> <scene> <stage_direction>INT. RAMPTON'S CHAMBERS. NIGHT</stage_direction> <scene_description>RAMPTON packs up his books and papers. As he does, he sees the small piece of barbed wire on his desk. He picks it up and puts it in his pocket. Then turns out the light. St</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S FLAT. NIGHT</stage_direction> <scene_description>LAURA gets matches from the stove. SIMON is sitting already at the table. She lights candles. He looks up at her. Close on the candle flame. er</scene_description> </scene> <scene> <stage_direction>EXT. EMBANKMENT. NIGHT</stage_direction> <scene_description>For the third and last time DEBORAH runs up the statue of Boadicea. She stops, hands on hips. This time she smiles up at it, makes a little victory sign and a small air-punch. ck</scene_description> </scene> <scene> <stage_direction>EXT. BIRKENAU. AUSCHWITZ. NIGHT</stage_direction> <scene_description>Birkenau empty, the ruins floodlit in the rain. The deserted ground, the fences, the abandoned track. Ruins. \* The camera is still for a moment, then it tracks right into \* the wreckage. There is a hole in the rubble where there is a ee rectangular opening. The camera moves right in to the blackness of the hole. In the dark, a message: \*</scene_description> <character>SIX MONTHS AFTER THE VERDICT, A SCIENTIFIC INVESTIGATION AT</character> <dialogue>AUSCHWITZ FOUND THREE OF THE FOUR HOLES IN THE GAS CHAMBER</dialogue> <character>ROOF</character> <dialogue>Bl</dialogue> </scene> </script>

Deborah Lipstadt is an American professor of Holocaust studies whose speaking engagement is disrupted by David Irving, a British writer on Nazi Germany. He files a libel lawsuit in the United Kingdom against Lipstadt and her publisher for declaring him a Holocaust denier in her books. As the burden of proof in UK libel cases lies with the defendant, Lipstadt and her legal team, led by solicitor Anthony Julius and barrister Richard Rampton, must prove that Irving lied about the Holocaust. To prepare their defence, Lipstadt and Rampton tour the site of the former Auschwitz concentration camp in Poland along with Professor Robert van Pelt who explains about the operation of the gas chambers, while the research team subpoenas Irving's extensive personal diaries. Lipstadt is annoyed by Rampton's apparently disrespectful questions on the subject; the team reduces her involvement in the case, arguing that she harms its chances of success. Members of the British Jewish community plead with her to settle out of court to avoid creating publicity for Irving. However, her team has a promising start when they persuade Irving, by appealing to his ego, to agree to a trial by judge instead of a jury, which he could have manipulated to his advantage. Irving conducts his own legal representation, facing Lipstadt's legal team. Irving endeavours to twist the presented evidence for the defence. Lipstadt is approached by a Holocaust survivor who pleads for the chance to testify, but Lipstadt's legal team insists on focusing the trial on Irving. Irving tries to discredit Professor van Pelt's evidence for the existence of gas chambers at Auschwitz, claiming there were no holes on the roof for the Zyklon B gas crystals to be introduced. His soundbite "no holes, no Holocaust" dominates the media coverage. Furious, Lipstadt demands that she and the Holocaust survivors be allowed to take the stand. Julius angrily counters that Irving would only humiliate and exploit a survivor on cross-examination, as he has in the past. Rampton visits Lipstadt at her home to explain his approach and earns her trust. In court, he subjects Irving to a skillful cross-examination and exposes his claims as absurd, while expert testimony from respected scholars like Richard J. Evans expose the distortions in Irving's writings. As the trial concludes, the judge, Charles Gray, worries the defence by suggesting that, if Irving honestly believes his own claims, then he cannot be lying as Lipstadt asserted. Gray eventually rules for the defence, however, convinced of the truth of Lipstadt's portrayal of Irving as deceitful. Lipstadt is hailed for her dignified demeanour, while her legal team reminds her that, despite her silence during the trial, it was her writing that countered Irving's lies and provided the basis for the victory. At a press conference, Lipstadt praises her lawyers for their strategy.

The Best Exotic Marigold Hotel_2011

tt1412386

<script> <scene> <character>THE BEST EXOTIC MARIGOLD HOTEL</character> <dialogue>Written by</dialogue> <dialogue>Ol Parker</dialogue> <scene_description>Based on the book THESE FOOLISH THINGS by Deborah Moggach 10/01/11</scene_description> <character>1 OVER BLACK 1</character> <dialogue>Muffled music; soothing, generic.</dialogue> <character>AUTOMATED VOICE</character> <dialogue>Thank you for your patience. Your call is important to us. We will be with you shortly.</dialogue> <character>2 INT. MANSION FLAT, LONDON - DAY 2</character> <dialogue>A neat, well-appointed flat, tastefully decorated. Framed against a large window which looks out over the city, an elegant woman in her 70's: EVELYN GREENSLADE. She's on the phone, on hold. On the desk in front of her is a brand new laptop computer; the screen reads 'Getting Started ...'</dialogue> <character>AUTOMATED VOICE</character> <parenthetical>(ON PHONE)</parenthetical> <dialogue>Thank you for your patience. Your call is important to us. We will be with you shortly. Evelyn's patience is strained nonetheless. She taps her fingers on the desk. AUTOMATED VOICE</dialogue> <character>(ON PHONE)</character> <dialogue>Thank you for your patience. Your call is -</dialogue> <dialogue>A slightly-accented voice finally interrupts.</dialogue> <character>FEMALE VOICE</character> <dialogue>Mrs Greenslade, thank you for</dialogue> <character>WAITING -</character> <dialogue>EVELYN</dialogue> <character>(OVERLAPPING)</character> <dialogue>Yes, now if you could stay on the phone for a moment and talk to me, just talk to me. I'm not even clear, I don't actually understand what it is I'm trying to order. Is wireless the same as wi-fi? And what do either of them have to do with broadband?</dialogue> <character>FEMALE VOICE</character> <dialogue>Mrs Greenslade, since the account is not in your name, before we can make any changes we need to speak to the account holder. Can I please talk to the account holder?</dialogue> <character>EVELYN</character> <dialogue>What?</dialogue> <character>FEMALE VOICE</character> <dialogue>I'm asking if I can speak to the account holder. Before we can make any changes -</dialogue> <character>EVELYN</character> <dialogue>You can't talk to him, no.</dialogue> <character>(BEAT)</character> <dialogue>He's dead. He died. There's only me.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR/JUDGES CHAMBERS. INNS OF COURT - NIGHT</stage_direction> <scene_description>GILES, a judge in full wig and robes, moves quickly down a corridor. He passes other judges, going the opposite way. He arrives at the office of GRAHAM DASHWOOD, goes in. GRAHAM is at his desk. His robes are on a hanger, his wig is on a stand beside him.</scene_description> <character>GILES</character> <dialogue>We're late.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. INNS OF COURT - NIGHT</stage_direction> <scene_description>Moments later. Graham and Giles walk down the corridor.</scene_description> <character>GRAHAM</character> <dialogue>Bloody retirement parties. Hard cheese, soft wine, and endless speeches. Why do people do that? No one ever said about any kind of party: it was a wonderful occasion, just a shame that the speeches were so short.</dialogue> <character>GILES</character> <dialogue>it'll be you one day.</dialogue> <character>GRAHAM</character> <dialogue>One day very soon.</dialogue> <character>GILES</character> <dialogue>You've been saying that for years.</dialogue> <dialogue>They walk into a large room, full of lawyers.</dialogue> </scene> <scene> <stage_direction>4A INT. HALL. INNS OF COURT - CONTINUOUS 4A</stage_direction> <scene_description>At one end of the hall, a very old JUDGE is giving a very dull speech.</scene_description> <character>JUDGE</character> <dialogue>An occasion such as this leads one to cast ones mind back to the days when I first entered my pupillage. I had the very good fortune of serving as a junior to Mr Justice Stancombe</dialogue> <dialogue>Graham's not listening any more. He's looking around the room. At the old, tired faces.</dialogue> <character>JUDGE</character> <dialogue>. the unwelcome news that I would transfer Chambers, bringing to mind the old adage a fronte praecipitium, a tergo 1upi</dialogue> <dialogue>Everything seems to slow down, the judge's mouth moving more and more sluggishly, though his voice remains the same. The effect is strange .. then the sound of laughter.</dialogue> <character>GRAHAM</character> <dialogue>This is the day. Everyone looks round at him. He's almost as surprised as they are that he's spoken out loud.</dialogue> <character>GILES</character> <dialogue>Graham?</dialogue> <character>GRAHAM</character> <dialogue>This is the day. He turns and walks out.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Staff bustle around a busy A &amp; E ward. MURIEL lies on a bed in the corridor. The Head Nurse, KAREN, rushes past.</scene_description> <character>MURIEL</character> <dialogue>Listen, young lady. I want a cup of tea, and I want it now.</dialogue> <character>KAREN</character> <dialogue>The trolley will be along shortly.</dialogue> <character>MURIEL</character> <dialogue>How hard d'you have to fall down before you get some proper attention? Hours I've been lying here, and not a single doctor has come to see me.</dialogue> <scene_description>3A.</scene_description> <character>KAREN</character> <dialogue>Now that's not quite true, is it Mrs Donnelly?</dialogue> <character>KAREN</character> <dialogue>A doctor did try and examine you, and you sent him away.</dialogue> <character>MURIEL</character> <dialogue>That one? She looks up to the far end of the ward, where a doctor is washing his hands. He's black.</dialogue> <character>MURIEL</character> <dialogue>He can wash all he likes, that colour's not coming out. I want an English doctor.</dialogue> <character>KAREN</character> <dialogue>An English doctor? Why didn't you say so? I'll get one right away.</dialogue> <dialogue>She goes away, comes back moments later with a tall, handsome doctor. The bad news for Muriel is</dialogue> <character>KAREN</character> <dialogue>This is Dr Ghujarapartidar. And this is Mrs Donnelly.</dialogue> </scene> <scene> <stage_direction>5A EXT. NEW HOUSING ESTATE - DAY 5A</stage_direction> <scene_description>A crescent of identical bungalows, part of a brand new retirement facility. A mobility scooter carrying an elderly resident trundles down the road. ESTATE AGENT (O.S.)</scene_description> </scene> <scene> <stage_direction>. with an unlimited range of leisure opportunities just a stone's throw away...</stage_direction> </scene> <scene> <stage_direction>INT. NEW HOUSING DEVELOPMENT - DAY</stage_direction> <scene_description>A young estate agent, EVAN, is showing DOUGLAS and JEAN around a very small, and very beige bungalow.</scene_description> <character>EVAN</character> <dialogue>So as I say, what you're looking at here is very competitively priced, you can't get better value for your grey pound. Another little feature, not necessary right now, but give it a couple of years</dialogue> <character>(POINTS)</character> <dialogue>. rails on the walls to help you get around, and down here, a panic button in case of a sudden fall, brings the Warden running.</dialogue> <scene_description>4A.</scene_description> <character>JEAN</character> <dialogue>What if we fell somewhere else?</dialogue> <character>EVAN</character> <dialogue>Sorry?</dialogue> <character>JEAN</character> <dialogue>It's just that we might not manage to plan our sudden fall in the exact corner where the button is.</dialogue> <character>EVAN</character> <dialogue>Yeah. As I say -</dialogue> <character>JEAN</character> <dialogue>And would it be possible to get the rail to go through the middle of the room as well?</dialogue> <character>DOUGLAS</character> <dialogue>DARLING</dialogue> <character>JEAN</character> <dialogue>To help us get across, not just around?</dialogue> <character>DOUGLAS</character> <parenthetical>(TO EVAN)</parenthetical> <dialogue>Could we have a moment, please? Thanks. Thanks so much. Evan goes.</dialogue> <character>JEAN</character> <dialogue>Thirty years in the Civil Service and this is all we can afford?</dialogue> <character>DOUGLAS</character> <dialogue>Would it help if I apologized again?</dialogue> <character>JEAN</character> <dialogue>No. But try it anyway.</dialogue> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>JUDITH (40ish) is sitting opposite someone. We don't see whom.</scene_description> <character>JUDITH</character> <dialogue>And then after that I worked as a systems analyst for a few years but I just found it so dull, what I really wanted was to do something that was more creative, that matched my ...</dialogue> <character>(BEAT)</character> <dialogue>I'm sorry. On the form they asked for our age bracket, and the age we wanted to meet . and in both cases I ticked 35-45.</dialogue> <dialogue>Now we see the man she's talking to. It's NORMAN. He's dapper, nice looking. And at least 70.</dialogue> <character>NORMAN</character> <dialogue>That's right, yes. So did I. They're at a speed dating evening. Numbered tables, etc.</dialogue> <character>NORMAN</character> <dialogue>Anyway, don't stop. Something</dialogue> <character>JUDITH</character> <dialogue>How old are you?</dialogue> <character>NORMAN</character> <dialogue>Early 40's.</dialogue> <character>JUDITH</character> <dialogue>D'you mean you were born in the early 40's?</dialogue> <character>NORMAN</character> <dialogue>Judy, I know what you're asking -</dialogue> <character>JUDITH</character> <dialogue>It's Judith.</dialogue> <character>NORMAN</character> <dialogue>Judith. And trust me, I've still got it.</dialogue> <dialogue>The bell goes; the signal for the women to get up and move along to the next table. Judith leaves without looking back.</dialogue> <character>NORMAN</character> <dialogue>I just can't find anyone that wants it.</dialogue> <dialogue>Another hopeful candidate arrives opposite Norman. And looks crestfallen at what's on offer.</dialogue> </scene> <scene> <stage_direction>INT/EXT. BEDROOM/STAIRS/HALL. FAMILY HOUSE - DAY</stage_direction> <scene_description>MADGE is in her bedroom. She's arguing with her son-in-law CRAIG. Madge's suitcases are by the door.</scene_description> <character>CRAIG</character> <dialogue>This is crazy. You're crazy. You can't just up and leave like this.</dialogue> <character>MADGE</character> <dialogue>And yet if you watch me, that's exactly what you'll see happen.</dialogue> <dialogue>She picks up her suitcases, heads out of the room. Madge's daughter JESSICA is on the landing.</dialogue> <character>JESSICA</character> <dialogue>What's going on?</dialogue> <character>CRAIG</character> <dialogue>Your mother's lost it.</dialogue> <character>JESSICA</character> <dialogue>My mother never had it.</dialogue> <character>CRAIG</character> <dialogue>Talk to her. She doesn't listen to me.</dialogue> <character>MADGE</character> <dialogue>Nobody listens to you. She heads down the stairs. Craig and Jessica follow.</dialogue> <character>MADGE</character> <parenthetical>(TO JESSICA)</parenthetical> <dialogue>It's one of the great mysteries of life that someone so vibrant and fascinating as my daughter should choose to spend her life with this fraction of a man.</dialogue> <character>JESSICA</character> <dialogue>I still don't understand what's going on.</dialogue> <character>CRAIG</character> <dialogue>I just asked her to babysit. And now she says she's leaving.</dialogue> <dialogue>They're at the bottom of the stairs. Jessica's children, LIAM and KATIE, are watching.</dialogue> <character>JESSICA</character> <dialogue>But you love babysitting.</dialogue> <character>MADGE</character> <dialogue>I loved it last night.</dialogue> <character>LIAM</character> <dialogue>We had pizza and stayed up late.</dialogue> <character>MADGE</character> <dialogue>And the night before.</dialogue> <character>KATIE</character> <dialogue>We had Chinese and stayed up late.</dialogue> <character>LIAM</character> <dialogue>If you don't go, tonight we could do a curry.</dialogue> <character>MADGE</character> <dialogue>It's tempting, my darlings, but you know why I must leave.</dialogue> <character>LIAM</character> <dialogue>We know.</dialogue> <character>KATIE</character> <dialogue>(to her parents) Being here is stopping her finding a husband.</dialogue> <character>CRAIG</character> <dialogue>Another one?</dialogue> <scene_description>LIAM AND KATIE Bye Granny.</scene_description> <character>MADGE</character> <dialogue>Don't let the buggers get you down.</dialogue> <dialogue>Madge turns to go.</dialogue> <character>CRAIG</character> <dialogue>How many husbands have you had, anyway?</dialogue> <dialogue>She turns back, smiles.</dialogue> <character>MADGE</character> <dialogue>Including my own? Then she's out of the front door, and heading for the taxi.</dialogue> <character>JESSICA</character> <dialogue>Mother? Mother!</dialogue> </scene> <scene> <stage_direction>INT/EXT. TAXI - DAY</stage_direction> <scene_description>Moments later. Madge climbs into the back of the cab.</scene_description> <character>TAXI DRIVER</character> <dialogue>Name the place, darling. Where are you going? Madge smiles.</dialogue> <character>MADGE</character> <dialogue>I have absolutely no idea.</dialogue> </scene> <scene> <stage_direction>INT. MANSION FLAT - DAY</stage_direction> <scene_description>Evelyn, whom we saw earlier on the phone, is in the living room. Her son CHRISTOPHER is there. And her lawyer HAROLD.</scene_description> <character>CHRISTOPHER</character> <dialogue>There's no other way There just isn't. Harold told us this three months ago.</dialogue> <character>HAROLD</character> <dialogue>And I'm afraid matters have only got worse.</dialogue> <scene_description>8A.</scene_description> <character>CHRISTOPHER</character> <dialogue>We can't wait any longer. We need to put this flat on the market, and at least make a start at paying off Dad's debts.</dialogue> <scene_description>Christopher turns to Harold.</scene_description> <character>CHRISTOPHER</character> <dialogue>I've talked it through with Polly and the boys, and of course we all agreed. Ma will move in with us.</dialogue> <character>HAROLD</character> <dialogue>I think that's best, Evelyn. It's what Hugh would've wanted.</dialogue> <dialogue>They wait for confirmation from Evelyn. None comes.</dialogue> <character>CHRISTOPHER</character> <dialogue>Good. Settled. End of discussion.</dialogue> <character>EVELYN</character> <dialogue>That's what your father used to say.</dialogue> <character>CHRISTOPHER</character> <dialogue>MA -</dialogue> <character>EVELYN</character> <dialogue>When there'd never really been any discussion at all.</dialogue> <character>CHRISTOPHER</character> <dialogue>I want to look after things for you.</dialogue> <character>EVELYN</character> <dialogue>Like he did for forty years</dialogue> <character>CHRISTOPHER</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>And look how that turned out. She turns to Harold</dialogue> <character>EVELYN</character> <dialogue>How can any of us know what Hugh would've wanted? And would he have seen fit to tell us anyway?</dialogue> <character>(BEST)</character> <dialogue>Obviously the flat has to be sold. (Best, then to Christopher) And you're very kind. And dear Polly. But no, I won't be coming to live with you.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Muriel has now been transferred to a ward. She is listening to DR GHUJARAPARTIDAR.</scene_description> <character>DR GHUJARAPARTIDAR</character> <dialogue>You need a new hip, Mrs Donnelly. It's not a difficult operation.</dialogue> <character>MURIEL</character> <dialogue>Easy for you to say, you're not having it.</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>Regardless. You do need a new hip.</dialogue> <character>MURIEL</character> <dialogue>I'm not getting it from you.</dialogue> <dialogue>2nd Green Revisions I0/01/11 10.</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>Not me personally, no.</dialogue> <character>MURIEL</character> <dialogue>Not any of your lot.</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>I see.</dialogue> <character>MURIEL</character> <dialogue>So when do I have the operation?</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>I'm afraid you'll be on a waiting list for at least six months.</dialogue> <character>MURIEL</character> <dialogue>At my age, I can't plan that far ahead. I don't even buy green bananas.</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>There is another way. Our hospital trust is funding a new pilot scheme, that will enable us to out-source you to another hospital, where they can perform the procedure almost immediately, and at a fraction of the cost.</dialogue> <character>MURIEL</character> <dialogue>Is it local?</dialogue> <character>DR GHUJARAPARTIDAR</character> <dialogue>That depends how you define local.</dialogue> </scene> <scene> <stage_direction>INT. EVELYN'S FLAT/CHRISTOPHER'S OFFICE - NIGHT</stage_direction> <scene_description>Evelyn is on the phone to her son Christopher. They're both sitting at computers. Evelyn's new-found dexterity is impressive. Around Evelyn's room are packing boxes, some already full.</scene_description> <character>CHRISTOPHER</character> <parenthetical>(ON PHONE)</parenthetical> <dialogue>When did you get a computer?</dialogue> <character>EVELYN</character> <dialogue>How far along is the progress bar? The strip at the bottom that tells you -</dialogue> <character>CHRISTOPHER</character> <dialogue>I know what it is. What are you showing me anyway?</dialogue> <scene_description>The webpage has come up. It's a picture of a beautiful old building. And underneath is written 'THE BEST EXOTIC MARIGOLD HOTEL'. As Christopher gapes in horror, he hears a mellifluous Indian voice.</scene_description> <character>INDIAN VOICE</character> <dialogue>'Come and spend your autumn years in an Indian palace with the sophistication of an English country manor. Steeped in the tradition of the Raj, tucked away on the outskirts of Jaipur .'</dialogue> </scene> <scene> <stage_direction>INT. INTERNET CAFE - DAY</stage_direction> <scene_description>The mellifluous tones continue. Madge mouths the words to herself as she scans the same web-page.</scene_description> <character>INDIAN VOICE</character> <dialogue>it exudes historical ambience and is graced with breathtaking surroundings .'</dialogue> </scene> <scene> <stage_direction>INT. SALON - DAY</stage_direction> <scene_description>Jean whom we earlier saw looking at the bungalow, is at the hairdressers. Her stylist ABI listens to her reading a computer printout for the same hotel. Which looks classy, elegant, and welcoming. Madge's voice bleeds into Jean's.</scene_description> <character>JEAN</character> <parenthetical>(READING)</parenthetical> <dialogue>'Lofty terraces, open courtyards, domes, arches and canopied balconies transport one back in time.'</dialogue> <character>ABI</character> <dialogue>I wouldn't mind going there myself.</dialogue> </scene> <scene> <stage_direction>EXT. GOLF COURSE - DAY</stage_direction> <scene_description>In the background, a train rumbles along the Piccadilly Line towards Heathrow. Douglas, Jean's husband, is on the green with his friend SIMON. Douglas is lining up a tricky putt.</scene_description> <character>SIMON</character> <dialogue>There won't be any golf courses.</dialogue> <character>DOUGLAS</character> <dialogue>Just as well. I can't afford the green fees.</dialogue> <character>SIMON</character> <dialogue>But a retirement home? Douglas misses his putt.</dialogue> <character>DOUGLAS</character> <dialogue>It's a luxury development, where all the residents are in their golden years.</dialogue> <character>SIMON</character> <dialogue>Like the Costa Brava.</dialogue> <character>DOUGLAS</character> <dialogue>Yes. But with more elephants. Simon holes out.</dialogue> </scene> <scene> <stage_direction>INT. JUDGES CHAMBERS - DAY</stage_direction> <scene_description>Graham, the judge, is in his office. It's nearly empty; his entire life is being packed away. His friend Giles watches him put more things in boxes.</scene_description> <character>GILES</character> <dialogue>How long have we known each other? And you've never once talked about India.</dialogue> <character>GRAHAM</character> <dialogue>D'you want these books?</dialogue> <character>GILES</character> <dialogue>You might need them again. Graham smiles at him, calls out.</dialogue> <character>GRAHAM</character> <dialogue>Mrs Megson! His cleaner, MRS MEGSON, comes in.</dialogue> <character>MRS MEGSON</character> <dialogue>Sir? Graham takes a beautiful vase off the shelf, gives it to her.</dialogue> <character>GRAHAM</character> <dialogue>I want you to have this.</dialogue> <character>MRS MEGSON</character> <dialogue>Are you sure?</dialogue> <character>GRAHAM</character> <dialogue>Absolutely. There's a slight crack on the bottom. But I think you might know something about that already. Mrs Megson goes.</dialogue> <character>GRAHAM</character> <dialogue>I used to live there. A long time ago.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT BEDSIT. EARLS COURT - DAY</stage_direction> <scene_description>A bedsit. Slightly down at heel, and sparsely furnished. Norman, whom we met speed dating, is talking to someone. We don't see who. Quietly, in the background, Radio 2 music from an old battery radio.</scene_description> <character>NORMAN</character> <dialogue>I have to go. I do. And I could say I wish you'd come, but I've never lied to you. We both know I need more than you can offer. We know that. Don't we?</dialogue> <dialogue>We see who's sitting in front of him. An ancient dachshund.</dialogue> <character>NORMAN</character> <dialogue>(to the dog) Don't make that face at me.</dialogue> <dialogue>Norman's Polish landlady, MRS JELLINEK, is at the door.</dialogue> <character>MRS JELLINEK</character> <dialogue>(to her dog) You. Upstairs.</dialogue> <dialogue>The dog hops off the chair, and leaves. Norman watches him go.</dialogue> <dialogue>MRS JELLINEK (cont'd) Any warm clothes you have use for no more, I take them. And not forget to leave keys when you go. She leaves. Norman is left alone.</dialogue> <character>NORMAN</character> <dialogue>I'll miss you too.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSING ESTATE - DAY</stage_direction> <scene_description>The district ambulance driver, JACKSON, is pushing Muriel in a wheelchair across a housing estate.</scene_description> <character>MURIEL</character> <dialogue>You know who'll be there, don't you? Indians. Loads of them, A sea of brown faces and black hearts, all greasy haired and reeking of spices. Never see one on their own, do you? No, becuase they hunt in packs. All the better to rob me blind and -</dialogue> <character>JACKSON</character> <dialogue>You know what? You can take it from here.</dialogue> <character>MURIEL</character> <dialogue>You're supposed to see me into my flat. That's what they said.</dialogue> <character>JACKSON</character> <dialogue>My wife is from Mumbai. He heads off. Muriel shouts after him.</dialogue> <character>MURIEL</character> <dialogue>No good moaning to me, mate. You married her! But he's gone.</dialogue> <dialogue>Muriel wheels herself on over the bumpy ground.</dialogue> </scene> <scene> <stage_direction>EXT. PASSENGER DROP-OFF. STANSTED AIRPORT - EVENING</stage_direction> <scene_description>A reluctant Christopher is pushing a trolley carrying Evelyn's cases to the terminal.</scene_description> <character>CHRISTOPHER</character> <dialogue>You're sure your tickets are in order?</dialogue> <character>EVELYN</character> <dialogue>They should be. The hotel paid for them. I'm sure they'd rather have us there than not. And its fantastically cheap for the first three months.</dialogue> <character>CHRISTOPHER</character> <dialogue>I wonder why. They walk on in silence.</dialogue> <character>CHRISTOPHER</character> <dialogue>How will we know you're alright?</dialogue> <character>EVELYN</character> <dialogue>I'll call. They do have phones there, you know. Or you can just read my blog.</dialogue> <character>CHRISTOPHER</character> <dialogue>Your what?</dialogue> <character>EVELYN</character> <dialogue>On the interweb. You can log in whenever you like, read my news.</dialogue> <character>CHRISTOPHER</character> <dialogue>I just hope the first item will be announcing your return. I don't suppose they'll be paying for the journey back...?</dialogue> <dialogue>Evelyn stops. They've reached the terminal.</dialogue> <character>EVELYN</character> <dialogue>Could you please, before I go, say one thing that is supportive? Because I've never done anything like this before.</dialogue> <character>CHRISTOPHER</character> <dialogue>Without Dad, you never did anything at all. And i don't think you'll be able to cope.</dialogue> <character>EVELYN</character> <dialogue>Well. I suppose we'll find out, won't we?</dialogue> <dialogue>They head into the building.</dialogue> </scene> <scene> <stage_direction>INT. CHECK-IN AREA. AIRPORT - EVENING</stage_direction> <scene_description>Madge is at the First Class Check-In desk.</scene_description> <character>MADGE</character> <dialogue>And the connecting flight to Jaipur is first class too?</dialogue> <dialogue>The check-in girl nods, hands Madge back her passport.</dialogue> <character>MADGE</character> <dialogue>I tell you, it's tough to get upgraded nowadays. I had to flirt so hard with the travel agent, it was practically phone sex.</dialogue> </scene> <scene> <stage_direction>INT. SECURITY AREA. AIRPORT - EVENING</stage_direction> <scene_description>The light is fading.</scene_description> <character>15A.</character> <dialogue>Norman appears to be relishing a detailed search from a female Security Guard.</dialogue> <character>NORMAN</character> <dialogue>Come on. Thorough as you like Muriel is waiting to collect her bag from the belt.</dialogue> <character>SECURITY GUARD</character> <dialogue>We'd like to take a look in this bag, Madam, if you don't mind.</dialogue> <dialogue>He lifts the bag onto a table. It's heavier than he thought.</dialogue> <scene_description>SECURITY GUARD (cont'd) What you got in here anyway? He opens the bag, stares in astonishment.</scene_description> <character>MURIEL</character> <dialogue>PG Tips. Brown sauce. Ten jars of Marmite. Thirty one packets of Chocolate Hobnobs. Pickled onions. Pickled eggs. And pickle.</dialogue> <character>SECURITY GUARD</character> <dialogue>No liquids on the plane.</dialogue> <character>MURIEL</character> <dialogue>What does that mean?</dialogue> <character>SECURITY GUARD</character> <dialogue>It means you can't take the pickled onions. Or the pickled eggs.</dialogue> <character>(BEAT)</character> <dialogue>The pickle's fine.</dialogue> </scene> <scene> <stage_direction>INT. BOARDING GATE. AIRPORT - EVENING/NIGHT</stage_direction> <scene_description>The passengers from Flight 1045 to Delhi are seated at the gate, waiting to board. Muriel is wheeled up by an attendant and parked at the end of the only remaining row of empty chairs. Douglas and Jean are already sitting there. Jean smiles politely as Graham sits down a couple of seats away. Norman arrives, carrying his battery radio, sees an empty place between Jean and Madge, who is sitting at the end. He smiles knowingly at Madge as he sits. Finally Evelyn takes the only available space, between Graham and Douglas. And there the seven passengers wait patiently, unaware of their common fate. The sound of a jet engine, quiet at first, finally engulfs them.</scene_description> </scene> <scene> <stage_direction>EXT. RUNWAY. INDIA - DAWN</stage_direction> <scene_description>The plane cruises down through a stunning sunset, and lands at Delhi Airport.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT TERMINAL, DELHI - DAY</stage_direction> <scene_description>Evelyn, Douglas, Jean and Graham are descending on an escalator. Madge is a few steps up.</scene_description> <character>JEAN</character> <dialogue>Obviously one's read one's Kipling, but we view this as an opportunity to explore another culture, as well as making new friends. And a retired judge is just the class of guest one was hoping for, isn't it Douglas?</dialogue> <character>DOUGLAS</character> <dialogue>I'm sorry?</dialogue> <character>GRAHAM</character> <parenthetical>(TO EVELYN)</parenthetical> <dialogue>And is this your first time in India?</dialogue> <character>JEAN</character> <dialogue>You don't seem like an experienced traveller.</dialogue> <character>EVELYN</character> <dialogue>I'm not. Although one has read one's guidebooks.</dialogue> <dialogue>Jean blinks. Evelyn and Graham share a smile. Douglas hides his. And Madge sees it all.</dialogue> <dialogue>As they head towards the baggage carousel, they're met by Muriel and Norman, emerging from the elevator. Norman is pushing Muriel's wheelchair.</dialogue> <character>NORMAN</character> <dialogue>Norman Cousins.</dialogue> <character>MADGE</character> <dialogue>Madge Hardcastle. A pleasure.</dialogue> <character>NORMAN</character> <dialogue>Play your cards right, it could be.</dialogue> <dialogue>Madge stares at him. A voice comes over the tannoy.</dialogue> <character>AIRPORT ANNOUNCER</character> <dialogue>Ladies and gentlemen, we regret to inform you that owing to bad weather, Flight 105 to Jaipur has been cancelled. The airline is happy to arrange</dialogue> <character>CUT TO:</character> <dialogue>INT. AIRPORT. DELHI - DAY</dialogue> <dialogue>Hours later. The airport is deserted, except for the Marigold Hotel party, who sit slumped and exhausted on another row of seats, with Muriel's wheelchair at the other end.</dialogue> <dialogue>After a moment, Graham says</dialogue> <character>GRAHAM</character> <dialogue>Alright. Plan B.</dialogue> </scene> <scene> <stage_direction>INT. DELHI AIRPORT - DAY</stage_direction> <scene_description>Moments later. They're all moving briskly through the hi- tech, ultra-modern, beautifully air-conditioned building.</scene_description> <character>JEAN</character> <dialogue>Of course it's a good idea. Who can you trust if not a High Court Judge?</dialogue> <character>DOUGLAS</character> <dialogue>And this way we see more of the country.</dialogue> <dialogue>Norman is pushing Muriel's wheelchair.</dialogue> <character>NORMAN</character> <dialogue>(leaning down, to</dialogue> <character>MURIEL)</character> <dialogue>If anyone asks, say you're my mother. I don't want people to think we're together.</dialogue> <character>MURIEL</character> <dialogue>In your dirty dreams.</dialogue> <character>JEAN</character> <dialogue>Douglas, these are not words that often pass my lips, but you may actually be right. The country seems to be rather more civilised than one originally thought.</dialogue> </scene> <scene> <stage_direction>EXT. DELHI BUS STATION - EVENING</stage_direction> <scene_description>Moments later. Our heroes are in the middle of an extraordinary scene. Stifling heat, deafening noise; the chaos, the bustle, the grime, the crowds, the life. They're surrounded by taxi drivers, baggage handlers,beggars etc. All clamouring for their attention. Evelyn looks a little shocked. Jean is traumatized, a handkerchief to her face. Graham, at the ticket booth, triumphantly holds up a fistful of tickets.</scene_description> <character>GRAHAM</character> <dialogue>(shouting over the din) The bus will drop us in the centre of town. We can take tuk- tuks the rest of the way!</dialogue> <dialogue>They follow him through the hordes. And see their bus. It's absolutely rammed. People are practically hanging out of the windows.</dialogue> <character>MADGE</character> <dialogue>There's not enough room.</dialogue> <character>GRAHAM</character> <dialogue>It's time to prove the first and only rule of India: there's always room.</dialogue> <dialogue>He starts to fight his way to the door. Evelyn's at the back. She stops, for a moment, looks around her.</dialogue> <character>EVELYN</character> <dialogue>What larks, Pip. Douglas is just ahead of her. He turns, smiles.</dialogue> <character>DOUGLAS</character> <dialogue>Let's hope so.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - EVENING</stage_direction> <scene_description>Muriel's wheelchair is strapped to the back of the bus, which is screaming down the six-lane highway. A huge tower of luggage is piled precariously on the roof. The road appears to be complete chaos; cars, buses, even cows overtaking each other. The bus pulls into the outside lane to follow a truck which is overtaking some slower vehicles. As the truck pulls back into the inside lane, it reveals a huge truck barrelling towards them on the wrong carriageway. Norman, sitting at the front, screams his last scream... NOOOOOOO... . U At the last minute, the bus pulls back into the inside lane. The Indians on the bus take absolutely no notice.</scene_description> </scene> <scene> <stage_direction>INT. BUS - EVENING</stage_direction> <scene_description>Norman is grinning from ear to ear.</scene_description> <character>NORMAN</character> <dialogue>I'm loving this! Evelyn is sitting next to Madge.</dialogue> <character>EVELYN</character> <dialogue>A few months ago I was organising the church flowers.</dialogue> <character>MADGE</character> <dialogue>Are you struggling with the feeling you're not in control of your circumstances?</dialogue> <character>EVELYN</character> <dialogue>A little.</dialogue> <character>MADGE</character> <dialogue>You know what the shortest prayer in the world is?</dialogue> <character>EVELYN</character> <dialogue>No.</dialogue> <character>MADGE</character> <dialogue>Fuck it. Evelyn laughs.</dialogue> <character>MADGE</character> <dialogue>You're not doing the church flowers any more. May as well enjoy the ride.</dialogue> <dialogue>Douglas is watching a nice Indian family. They're having a picnic. The father notices Douglas looking, offers him some food.</dialogue> <dialogue>Douglas makes the namaste gesture, takes some happily.</dialogue> <character>JEAN</character> <dialogue>Are you insane? "Avoid all food not from a reputable vendor, it will have been washed with impure water."</dialogue> <dialogue>Douglas keeps eating, with great enjoyment.</dialogue> <character>DOUGLAS</character> <dialogue>It's just a sandwich.</dialogue> <character>JEAN</character> <dialogue>Marvellous. Then I'll have the ham, cheese, and streptococcus, please. Or perhaps the bacteria, lettuce and tomato. Douglas turns to Muriel.</dialogue> <character>DOUGLAS</character> <dialogue>Would you like some of this? I believe it's aloo ka paratha.</dialogue> <character>MURIEL</character> <dialogue>If I can't pronounce it, I'm not eating it.</dialogue> <dialogue>The cacophony of horns continues. Jean screams, as another collision looms.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - DUSK</stage_direction> <scene_description>The last of the light. The bus moves on through a beautiful landscape.</scene_description> </scene> <scene> <stage_direction>INT. BUS - NIGHT</stage_direction> <scene_description>Everyone is asleep, or trying to sleep. Except Muriel. She reaches into her bag, and carefully removes a biscuit. She surreptitiously lifts it to her mouth, and starts to chew. Madge has fallen asleep on Evelyn's shoulder. But Evelyn is still awake, as is Graham.</scene_description> <character>EVELYN</character> <dialogue>How long since you were here?</dialogue> <character>GRAHAM</character> <dialogue>Forty years.</dialogue> <character>EVELYN</character> <dialogue>As long as I was married.</dialogue> <character>(BEAT)</character> <dialogue>He died recently. My husband.</dialogue> <character>GRAHAM</character> <dialogue>I'm sorry.</dialogue> <character>EVELYN</character> <dialogue>D'you think we're going to be alright?</dialogue> <character>GRAHAM</character> <dialogue>God, don't ask me. I'm more scared than you are.</dialogue> <dialogue>They both smile, sit in silence for a bit.</dialogue> <character>GRAHAM</character> <dialogue>Yes. I think it's going to be extraordinary.</dialogue> </scene> <scene> <stage_direction>EXT. BUS - DAWN</stage_direction> <scene_description>The sun rises. A beautiful, pearly dawn. The bus drives through the great gates of Jaipur. Below, the city shimmers in the heat. It's a magnificent sight. EVELYN (O.S.) What exactly is a tuk-tuk?</scene_description> </scene> <scene> <stage_direction>EXT. JAIPUR STREET - DAWN</stage_direction> <scene_description>Our heroes are squashed into a pair of them, facing forwards and backwards, attempting not to swallow too much dust as they wheel crazily through the teeming morning streets of the city. They stare in amazement at the world racing past them. A scooter overtakes. A young man is driving, his girlfriend riding side-saddle on the back. Her sari billows out behind her. Douglas and Evelyn both watch her, struck by this image of beauty, youth and vitality.</scene_description> </scene> <scene> <stage_direction>EXT. STREET/GARDEN PATH. MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>The tuk-tuks have pulled up, and our travellers emerge, exhausted and dirty, staring through some garden gates at the Marigold Hotel. Once a beautiful building, once possibly even luxurious, it is clearly in the process of being given at least half the face-lift it badly needs. Parts of the building are freshly painted, some of the ornate balconies are crumbling, and one wall is clad with crazily skewed bamboo scaffolding. A huge old tree towers over an untended garden, its branches poking into the windows of the building.</scene_description> </scene> <scene> <stage_direction>34A EXT. ROOFTOP. MARIGOLD HOTEL - MORNING 34A</stage_direction> <scene_description>A young man leans out from an upper balcony to see the arrival below: SONNY KAPOOR (early 20's). He deposits a paint pot and brush on a parapet, and races off across the rooftop.</scene_description> </scene> <scene> <stage_direction>34B EXT. GARDEN PATH/COURTYARD. MARIGOLD HOTEL - MORNING 34B</stage_direction> <scene_description>Dazed and horrified, the travellers wander up the pathway. A cow standing in front of them is pushed into the garden by a couple of young houseboys who then run to the tuk-tuks to collect their luggage.</scene_description> </scene> <scene> <stage_direction>34C EXT. STAIRWAY/COURTYARD. MARIGOLD HOTEL - MORNING 34C</stage_direction> <scene_description>Sonny clatters down the steep steps, and comes tearing out onto a verandah, as the travellers arrive in the courtyard below. He spreads his arms wide.</scene_description> <character>SONNY</character> <dialogue>Welcome to India!!! They stare up at him.</dialogue> </scene> <scene> <stage_direction>EXT/INT. COURTYARD/HALLWAY.BEDROOM. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>The courtyard is not without charm, although somewhat delapidated. A fountain at the centre does not look as if it has seen water in years, and faded awnings are strung up haphazardly. Sonny is leading Madge into the darkness of the building, towards her room.</scene_description> <character>SONNY</character> <dialogue>This is a building of the utmost character, which means that perhaps not everything will function in the way you expect it to. But as the manager and chief executive supervising officer of the Marigold Hotel, I can tell you with great pride that the building has stood for centuries, and will stand for many more, in 100% shipshape condition. Please follow me, carefully avoiding that naughty stone there round this corner, leading us most successfully all the way to . your bedroom! The room is very small, comfortable, and tastefully decorated. But there's no door.</dialogue> <character>MADGE</character> <dialogue>Where?</dialogue> <character>SONNY</character> <dialogue>Here. In here.</dialogue> <character>MADGE</character> <dialogue>My dear man. Rooms have doors. What you're showing me here is an alcove.</dialogue> <character>SONNY</character> <dialogue>The door is coming soon, most definitely.</dialogue> <character>MADGE</character> <dialogue>How soon?</dialogue> <character>SONNY</character> <dialogue>Let us not concern ourselves with details, Mrs Hardcastle. Rather than speaking of doors, we should instead take pleasure in the freedom to roam.</dialogue> <character>MADGE</character> <dialogue>Does your room have a door?</dialogue> <character>SONNY</character> <dialogue>Oh yes.</dialogue> <character>MADGE</character> <dialogue>Then that's where I'll be staying.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Douglas and Jean arrive at their room. Douglas goes in through the arched doorway, promptly comes back out again.</scene_description> <character>DOUGLAS</character> <dialogue>Bird in the room! Bird in the room!</dialogue> <dialogue>Jean pushes him aside, goes on in. Several pigeons are flying around in some panic.</dialogue> </scene> <scene> <stage_direction>EXT/INT. VERANDAH/BEDROOM. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Evelyn arrives at her room, goes on in. The room is light and airy. And rather nice. But all the furniture is covered in sheets. As Evelyn stands there, Sonny comes rushing in, yanks all the sheets off, and runs out again.</scene_description> </scene> <scene> <stage_direction>EXT/INT. BEDROOMS/TERRACE. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Muriel wheels herself towards her room. Standing inside is a male nurse, AJIT. Muriel swivels her chair around. Graham is just going into his room.</scene_description> <character>MURIEL</character> <dialogue>There's an Indian in there! Graham smiles, goes on into his room. Which is dusty, but comfortable and pleasant.</dialogue> <dialogue>He looks around with satisfaction.</dialogue> </scene> <scene> <stage_direction>EXT. STAIRWAY, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Norman is laboriously climbing the stairs to his room. He stops, catches his breath.</scene_description> </scene> <scene> <stage_direction>EXT. TERRACE, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Ajit is attempting to explain himself to Muriel.</scene_description> <character>MURIEL</character> <dialogue>My what?</dialogue> <character>AJIT</character> <dialogue>Your physiotherapist. To help with your recovery after the operation.</dialogue> <character>MURIEL</character> <dialogue>You're not touching me.</dialogue> <character>AJIT</character> <dialogue>Traditionally that is how physiotherapy is practised.</dialogue> </scene> <scene> <stage_direction>EXT. ROOF, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Norman comes out onto the roof of the hotel. His room is right in front of him, a kind of penthouse cabin. A bed, but not much else. The trees poke in through the open window. He walks through the room, hangs his battery radio on a hook and leans out of the balcony, surveying the view.</scene_description> <character>NORMAN</character> <dialogue>This'll do.</dialogue> </scene> <scene> <stage_direction>INT. RECEPTION - DAY</stage_direction> <scene_description>Jean is confronting Sonny.</scene_description> <character>JEAN</character> <dialogue>I want to stay at the other hotel, the one in the brochure.</dialogue> <character>SONNY</character> <dialogue>Mrs Ainslie, prepare to be amazed. This is that very building!</dialogue> <character>JEAN</character> <dialogue>You've Photoshopped it!</dialogue> <character>SONNY</character> <dialogue>I have offered a vision of the future.</dialogue> <character>SONNY</character> <dialogue>Of course I had hoped that by now it would be the present. But in India we have a saying: everything will be alright in the end. So if it is not alright, then it is not yet the end.</dialogue> <character>JEAN</character> <dialogue>What will start to make this alright is for you to give us a refund.</dialogue> <character>SONNY</character> <dialogue>Of course if that is what you desire, you must have it. Absolutely no problem, I will refund you completely.</dialogue> <character>JEAN</character> <dialogue>You will? Straight away?</dialogue> <character>SONNY</character> <dialogue>Without question, Mrs Ainslie, I most definitely will. Straight away in three months.</dialogue> </scene> <scene> <stage_direction>INT. GRAHAM'S ROOM. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Graham is taking some things out of his bag: an old map of Jaipur, sepia-tinted photographs of a British family during the Raj, official documents yellowing with age. He picks up a photograph, looks at it. From outside, we can hear Ajit, the physiotherapist AJIT (O.S.) a stay of five days and it is done under general anaesthesia. A hip replacement usually takes only two hours</scene_description> </scene> <scene> <stage_direction>EXT. TERRACE. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Ajit's explanation continues. Muriel is trying not to panic.</scene_description> <character>AJIT</character> <dialogue>Your surgeon will remove the top end of the thigh bone, and insert an artificial bone instead. A most routine procedure.</dialogue> <character>MURIEL</character> <dialogue>Have you got a marker pen on you?</dialogue> <character>AJIT</character> <dialogue>Why?</dialogue> <character>MURIEL</character> <dialogue>I want to mark it. So you don't take the wrong hip.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER VERANDAH. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Douglas is on his way down the stairs. Evelyn comes out of her bedroom.</scene_description> <character>EVELYN</character> <dialogue>Oh, hello.</dialogue> <character>DOUGLAS</character> <dialogue>Is everything alright?</dialogue> <character>EVELYN</character> <dialogue>I was just going to find the manager.</dialogue> <character>DOUGLAS</character> <dialogue>I'm afraid he's dealing with my wife. Or vice versa.</dialogue> <character>EVELYN</character> <dialogue>I promised I'd call my son, to tell him I'd arrived, and -</dialogue> <character>DOUGLAS</character> <dialogue>And the phone in your room doesn't work. May I?</dialogue> </scene> <scene> <stage_direction>45A INT. EVELYN'S ROOM. MARIGOLD HOTEL - DAY 45A</stage_direction> <scene_description>Douglas picks up the very old-style phone. Evelyn is watching.</scene_description> <character>DOUGLAS</character> <dialogue>Now, did you try jiggling it a bit?</dialogue> <character>EVELYN</character> <dialogue>Yes, did that.</dialogue> <character>DOUGLAS</character> <dialogue>Did you kind of bang it lightly on the desk a few times?</dialogue> <character>EVELYN</character> <dialogue>That too.</dialogue> <character>DOUGLAS</character> <dialogue>Hmm. He twists off the mouthpiece of the receiver, lifts the receiver carefully. And blows on it.</dialogue> <character>EVELYN</character> <dialogue>How did you come to be here? In India.</dialogue> <character>DOUGLAS</character> <dialogue>I invested our - well, my - retirement money in our daughter's internet company. She assured me that as soon as the start-up actually started up, and the conversion from virtual to actual proved sufficiently viable, then she would be able to pay it all back.</dialogue> <character>EVELYN</character> <dialogue>I'm not sure I understand what most of those words mean.</dialogue> <character>DOUGLAS</character> <dialogue>It turns out neither did she. Douglas has put the mouthpiece back on, holds the receiver to his ear.</dialogue> <character>DOUGLAS</character> <dialogue>There you are. Good as new.</dialogue> <character>EVELYN</character> <dialogue>Really?</dialogue> <character>DOUGLAS</character> <dialogue>No, of course not. I've got no idea what I'm doing. Evelyn bursts out laughing.</dialogue> <character>DOUGLAS</character> <dialogue>Now, would you like me to not fix that chair? Because I can do that too.</dialogue> </scene> <scene> <stage_direction>45B EXT. STAIRWAY. MARIGOLD HOTEL - NIGHT 45B</stage_direction> <scene_description>The houseboys are struggling with the unequal task of pulling Muriel's wheelchair, with Muriel in it, up the narrow steps. SONNY (O.S.) In honour of your arrival, a special welcome British roast for you all!</scene_description> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD - NIGHT</stage_direction> <scene_description>A group of mismatched table and chairs, that constitute the dining area of the hotel. Sonny is serving up a meal. His guests, wearing garlands of marigolds, listen politely.</scene_description> <character>SONNY</character> <dialogue>.Cooked lovingly by myself and my most loyalist factotum and helper, Young Wasim ...</dialogue> <dialogue>He points to YOUNG WASIM. Who is about 80, and is sitting in the corner, fast asleep.</dialogue> <character>MADGE</character> <dialogue>Roast what?</dialogue> <character>SONNY</character> <dialogue>A wonderful taste of Blighty.</dialogue> <character>MADGE</character> <dialogue>Roast what?</dialogue> <character>SONNY</character> <dialogue>Roast goat curry.</dialogue> <character>DOUGLAS</character> <dialogue>Yes please.</dialogue> <character>JEAN</character> <dialogue>So the upshot is that he's spent all our money getting us here, and we can't leave till he's made some more.</dialogue> <dialogue>Muriel has arrived at her table.</dialogue> <character>SONNY</character> <dialogue>Gentle friends, you have found your way to this place, bequeathed to me by my beloved father, that I have raised from the ruins of his broken dreams, and renamed The Best Exotic Marigold Hotel For The Elderly And Beautiful. Yes, I use the words most deliberately...</dialogue> <dialogue>Norman is not looking very well at all. Sonny doesn't notice, keeps on going.</dialogue> <character>SONNY</character> <dialogue>.You have all heard the chimes at midnight, and long in tooth have youbecome. Who knowshow many daysyou have left?But we are mosthonoured that youhave chosen tospend that time with us.</dialogue> <dialogue>Norman's head suddenly tips forward, and he falls from his chair onto the floor.</dialogue> <scene_description>General panic. Everybody crowds round, but no one knows what to do.</scene_description> <character>SONNY</character> <dialogue>Let me through, please. My brother is a doctor.</dialogue> <dialogue>He kneels next to Norman, and checks his watch as he feels for a pulse.</dialogue> <dialogue>Everybody waits. And then</dialogue> <character>SONNY</character> <dialogue>This man is dead. An appalled silence.</dialogue> <character>SONNY</character> <dialogue>Please, we must cover his face. We should preserve his dignity at this terrible moment.</dialogue> <dialogue>Madge looks around. All there is is a napkin. She passes it Sonny, who lays it over the face of Norman. Who promptly coughs.</dialogue> <character>DOUGLAS</character> <dialogue>He just coughed. I heard him cough!</dialogue> <character>EVELYN</character> <dialogue>He moved! He's alive!</dialogue> <character>MADGE</character> <dialogue>He's fainted, that's all. Sonny shakes his watch next to his ear. It's stopped. Norman sits up.</dialogue> <character>NORMAN</character> <dialogue>What's going on? Did I nod off? Everyone crowds round Norman, helps lift him back up. Except Muriel. She just stares at them all.</dialogue> <character>MURIEL</character> <dialogue>Hell. I'm in hell.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>The sun rises. A washer-man bicycles up to the hotel, a load of clean sheets balanced on his handlebars. Shopkeepers on the street are beginning to set out their wares. EVELYN (V.0.) Day Nine. Old habits die easier than we think, and new ones form.</scene_description> </scene> <scene> <stage_direction>INT. EVELYN'S ROOM, MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Evelyn is typing - hunt and peck - at her computer. Beside her, the classified pages of the local newspaper. EVELYN (V.0.) No longer do I reach out in the morning for Radio 4. My news comes instead from the Jaipur</scene_description> </scene> <scene> <stage_direction>EXT. STREET, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>A sign reads: 'THE BEST EXOTIC MARIGOLD HOTEL FOR THE ELDERLY AND BEAUTIFUL - OPEN FOR BUSINESS.' Sonny affixes a sticker: 'NOW WITH GUESTS!' EVELYN (V.0.)</scene_description> </scene> <scene> <stage_direction> Soon I might even grow accustomed to the storm of car horns and vendors.</stage_direction> </scene> <scene> <stage_direction>EXT. STREET, CENTRAL JAIPUR - DAY</stage_direction> <scene_description>The main road in Jaipur is chaotically busy. Crowds, bikes, cows, dust, noise, and laughter. Sonny's battered old car has broken down. Madge is in the front seat, Douglas and Jean in the back. Sonny is aiming a couple of kicks at the engine. EVELYN (V.0.) Can there be anywhere else in the world that is such an assault on the senses?</scene_description> </scene> <scene> <stage_direction>EXT/INT. PUBLIC RECORDS OFFICE, JAIPUR - DAY</stage_direction> <scene_description>An office out of a Kafka novel; cloth bags containing files are piled all around the room, floor to ceiling. Graham is seated at a desk, in front of a sober official. He is filling in a form. EVELYN (V.0.) Those who know the country of old just go about their business. But nothing can prepare the uninitiated for this riot of noise and colour ...</scene_description> </scene> <scene> <stage_direction>51A EXT. JANTAR MANTAR OBSERVATORY. JAIPUR - DAY 51A</stage_direction> <scene_description>Norman seems less interested in the astonishing geometric devices of the ancient observatory than in the female tourists who have come to see them...</scene_description> </scene> <scene> <stage_direction>EXT. STREET, CENTRAL JAIPUR - DAY</stage_direction> <scene_description>The chaos and din of the street is even more mind-boggling. Madge now has the bonnet up, and is studying the engine. Douglas stands in the street, staring in wonderment around him. Inside the car, Jean looks utterly traumatized, shrinking lower in her seat as a horde of kids swarm at the windows, shouting, wheedling, gesticulating. Sonny does his best to wave them away. EVELYN (V.0.)</scene_description> </scene> <scene> <stage_direction>.. for the heat, the motion, the perpetual teeming crowds. Sonny is conducting his own personal assault on our senses</stage_direction> </scene> <scene> <stage_direction>INT. UPPER COURTYARD, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>The guests look on with trepidation, as another meal is laid before them. EVELYN (V.0.) with the flow of exotic dishes he demands daily from the kitchen. Mooli Moong Dal. Baghara Baingan. Banjari Gosht. Paneer Methi Chaman ... As the list unfolds, the guests, one by one, enter their bathrooms; a litany of doors closing Until Norman. EVELYN (V.0.) (cont'd) Mutton Vindaloo ... Norman lies on his bed, reading the Kama Sutra. He spins the book round, in order to study an illustration more intently.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL, JAIPUR - DAY</stage_direction> <scene_description>The hospital puts the NHS to shame. It's hi-tech, bright, and spanking clean. Sonny pushes Muriel through the doors of the lobby. The reception area is a forest of dark skin. Muriel is rigid with fear. EVELYN (V.0.) Initially you're overwhelmed. But gradually you realise: it's like a wave. Resist, and you'll be knocked over ... Sonny is in discussion with some doctors. Then he turns to see that Muriel has vanished. Through the window Muriel can be seen frantically wheeling herself away down the path... EVELYN (V.0.) Dive into it, and you'll swim out the other side.</scene_description> </scene> <scene> <stage_direction>EXT/INT. STREET/ROOM, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Madge is exchanging some coins with a street trader in return for a mobile phone. In her room, Madge scans a phone directory, and dials a number. EVELYN (V.0.) This is a new and different world.</scene_description> </scene> <scene> <stage_direction>INT. EVELYN'S ROOM, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Evelyn is finishing her blog. She picks up the paper, checks something. EVELYN (V.0.) The challenge is to cope with it.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Evelyn is coming down the path to the gate. EVELYN (V.0.) And not just cope ... but thrive.</scene_description> </scene> <scene> <stage_direction>EXT. STREET, JAIPUR - DAY</stage_direction> <scene_description>Evelyn is walking down a rough street on the outskirts of the city. Kids are everywhere, laughing, shouting, doing tricks, begging. Evelyn approaches them, holding up a piece of paper.</scene_description> <character>EVELYN</character> <dialogue>Please, can anyone direct me to this address?</dialogue> <dialogue>Evelyn's piece of paper gets passed around: none of the kids can read. An older boy finally points. Suddenly there's lots of pointing.</dialogue> <character>EVELYN</character> <dialogue>Thank you. She goes to move, but the kids are still all around her.</dialogue> <character>EVELYN</character> <dialogue>I'm sorry, I don't . I don't really have much ...</dialogue> <dialogue>She gives them the contents of her pockets.</dialogue> <character>EVELYN</character> <dialogue>Alright? Alright now? Goodbye. She starts to walk, is surprised that the entire posse of kids walks with her. In fact, the group seems to be growing exponentially. She looks like the Pied Piper.</dialogue> </scene> <scene> <stage_direction>INT. DOUGLAS AND JEAN'S ROOM, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Douglas is getting ready to go out. Jean clearly isn't.</scene_description> <character>DOUGLAS</character> <dialogue>Graham was talking about this marvellous temple. I thought you might want to come with me.</dialogue> <character>JEAN</character> <dialogue>I'm your wife. Have we met?</dialogue> <character>DOUGLAS</character> <dialogue>You'd really rather stay here all day?</dialogue> <character>JEAN</character> <dialogue>Given the alternative, yes.</dialogue> <character>DOUGLAS</character> <dialogue>When I walk out in the morning, the street kids all smile at me.</dialogue> <character>JEAN</character> <dialogue>Because you give them money.</dialogue> <character>DOUGLAS</character> <dialogue>One does this trick where he holds his hands out in front of himself, and then swings through his own arms. Got to be worth a rupee or two.</dialogue> <scene_description>34A.</scene_description> <character>DOUGLAS</character> <parenthetical>(BEAT)</parenthetical> <dialogue>I'll go on my own then.</dialogue> </scene> <scene> <stage_direction>EXT. CHAND POLE STREET. JAIPUR - DAY</stage_direction> <scene_description>The road is absolutely rammed; with cars, bikes and rickshaws. All honking horns, all seemingly headed in different directions. Evelyn has somehow made it to the central reservation. She takes a deep breath, and plunges into the maze of traffic, heading for the other side.</scene_description> </scene> <scene> <stage_direction>EXT. RICKSHAW. SUBURBAN ROAD, JAIPUR - DAY</stage_direction> <scene_description>Graham is in a rickshaw. The rickshaw driver, PRAVESH, is driving it through a neighborhood in transition. Skeletal structures of a new India rise above the houses.</scene_description> </scene> <scene> <stage_direction>61A EXT. BUILDING SITE/STREET. JAIPUR - DAY 61A</stage_direction> <scene_description>Some kids playing cricket. The rickshaw weaves its way through them and comes to a halt. Graham gets out, and stands in the street, dwarfed by a huge modern building, some months away from completion.</scene_description> <character>GRAHAM</character> <dialogue>This can't be right, surely?</dialogue> <character>PRAVESH</character> <dialogue>I am thinking so, saab.</dialogue> <character>GRAHAM</character> <dialogue>But there were houses all along here . these were homes.</dialogue> <character>PRAVESH</character> <dialogue>I can take you some other place..?</dialogue> <character>GRAHAM</character> <dialogue>No. That'll do for now. Thank you.</dialogue> <dialogue>He hands over some money, and Pravesh pedals away. Graham turns to look at the boys playing cricket. One of them, SANJAY, is batting.</dialogue> <character>GRAHAM</character> <dialogue>Excuse me. There used to be</dialogue> <character>HOUSES HERE</character> <dialogue>SANJAY</dialogue> <scene_description>All knocked down.</scene_description> <character>GRAHAM</character> <dialogue>And the people? The families?</dialogue> <character>SANJAY</character> <dialogue>They move. Graham nods, turns to look at the giant structure that has taken over, then turns back.</dialogue> <character>GRAHAM</character> <dialogue>Don't grip so tightly with your right hand.</dialogue> <dialogue>Sanjay looks puzzled.</dialogue> <character>GRAHAM</character> <dialogue>On the bat. The right is just a guide. Keep your left elbow high, play down the line of your arm, and then you'll hit through</dialogue> <character>THE BALL</character> <dialogue>Sanjay looks at him, squinting in the sun.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR. HOSPITAL - DAY</stage_direction> <scene_description>Ajit is wheeling Muriel through the hospital.</scene_description> <character>MURIEL</character> <dialogue>When can I go back to England?</dialogue> <character>AJIT</character> <dialogue>As soon as you can walk onto the plane. How does the hip feel?</dialogue> <character>MURIEL</character> <dialogue>They must have got lucky.</dialogue> <character>AJIT</character> <dialogue>It's strange. I think the more operations they perform, the luckier they get. He glances down at Muriel, who betrays no signof getting Ajit's joke.</dialogue> </scene> <scene> <stage_direction>EXT. MARKET. BACK STREETS - DAY</stage_direction> <scene_description>Evelyn is still searching for the right address. She's turned off the main road, and is heading down a narrow side streets. The city has become denser, and the walls seem to have closed in. She pushes her way through the crowded market.</scene_description> </scene> <scene> <stage_direction>63A EXT. PASSAGE/COURTYARD - DAY 63A</stage_direction> <scene_description>Uncertain, Evelyn turns down a narrow alley, and suddenly finds herself in an enclosed courtyard strewn with makeshift washing lines. The atmosphere is faintly threatening. As she tries to find her way out, she becomes aware that she is being watched: the walls are full of doorways, and people have come out to stare at her. She has stumbled into their home. Evelyn tries to suppress her panic, turning from one face to another.</scene_description> <character>EVELYN</character> <dialogue>I'm so sorry. I didn't realise - She backs into a kind of flatbed trolley, piled high with cooking utensils, which clatter noisily to the ground. She goes to pick them up.</dialogue> <character>EVELYN</character> <dialogue>Oh, I'm dreadfully sorry... A man is staring at her: SURESH.</dialogue> <character>SURESH</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>I'm sorry, I'm just trying to get to this address.</dialogue> <character>SURESH</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>Do you understand me? Can you help me find this place?</dialogue> <character>SURESH</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>Is that yes you understand, or yes you can help me?</dialogue> <character>SURESH</character> <dialogue>Yes. Some of the children who have gathered laugh at this, and the tension is broken slightly.</dialogue> <character>EVELYN</character> <dialogue>Let's go with both, shall we?</dialogue> </scene> <scene> <stage_direction>63B EXT. STREET. JAIPUR - DAY 63B</stage_direction> <scene_description>Suresh's flatbed trike is rolling down the street, piled impossibly high with bundles of brightly-coloured textiles. On the back, enthroned in the fabric, is Evelyn.</scene_description> </scene> <scene> <stage_direction>EXT. WASTELAND - DAY</stage_direction> <scene_description>Graham is playing cricket with the teenagers. He's good, too. He whacks a ball off into the distance.</scene_description> <character>GRAHAM</character> <scene_description>YES! A boy runs off to fetch the ball. Graham half-runs, half- walks to the other end, then turns for a second run, breathing heavily. Then walks back to the crease, gets ready for the next delivery. It's hot and he's tired, but he hasn't felt this good for years.</scene_description> <character>SANJAY</character> <dialogue>Give me the ball. I can take him.</dialogue> <dialogue>He turns cheerily to Graham.</dialogue> <character>SANJAY</character> <dialogue>Down is where you're going, Uncle.</dialogue> <character>GRAHAM</character> <dialogue>Come on. Do your worst. They're both enjoying the banter, as Sanjay heads back to the beginning of his run-up, then turns and sprints in to bowl.</dialogue> <dialogue>As Graham watches Sanjay running towards him, Sanjay seems to slow, his movements becoming sluggish, never seeming to reach the crease. He looks at the faces of the other boys, frozen, waiting. The ball seems to take forever to leave Sanjay's hand.</dialogue> <dialogue>Graham steps back, completely fails to play a stroke, and is bowled.</dialogue> <character>SANJAY</character> <dialogue>That's what I'm talking about! I felt the need, the need for - Graham still hasn't moved.</dialogue> <character>SANJAY</character> <dialogue>Are you alright, Uncle? Graham finds his voice at last.</dialogue> <character>GRAHAM</character> <dialogue>Yes. Yes, I'm fine.</dialogue> </scene> <scene> <stage_direction>EXT. STREET/CALL CENTRE BUILDING - DAY</stage_direction> <scene_description>Suresh brakes, stops outside a glass-clad high-rise building.</scene_description> <character>SURESH</character> <dialogue>Yes. Suresh helps Evelyn down off the back.</dialogue> <character>EVELYN</character> <dialogue>Thank you.</dialogue> <character>SURESH</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>This is it?</dialogue> <character>SURESH</character> <dialogue>Yes.</dialogue> <character>EVELYN</character> <dialogue>Then thank you. You're very kind.</dialogue> <character>SURESH</character> <dialogue>Yes. He rides off. Evelyn looks nervously up at the building.</dialogue> </scene> <scene> <stage_direction>INT. OPERATIONS ROOM. CALL CENTRE - DAY</stage_direction> <scene_description>A brightly-lit open plan office on a high floor of the building. The city sprawls magnificently below. Partitions divide off the cubicles. Within them sit rows of workers, all early 20's, all with headsets clamped to their ears. As chaotic as the streets of Jaipur are, this place is immaculate, controlled and efficient. We hear snatches of what they're saying.</scene_description> <character>TELEMARKETERS</character> <dialogue>Thank you for talking to us today We do appreciate your call while I have you on the</dialogue> <dialogue>phone, can I talk to you about our special offers . your call is important to us . now is there anything else I can help you with ... shouldn't take more than five minutes . your custom is valuable to us</dialogue> <scene_description>39A.</scene_description> <character>TELEMARRETERS</character> <dialogue>I'm afraid I'll have to refer that to my supervisor just a routine security check before we start . Thank you for talking to us today</dialogue> <dialogue>Through a glass partition, Evelyn can be seen sitting at a desk, talking to someone.</dialogue> </scene> <scene> <stage_direction>INT. SUPERVISOR'S OFFICE. CALL CENTRE - DAY</stage_direction> <scene_description>JAY (late 20's) is talking to Evelyn.</scene_description> <character>JAY</character> <dialogue>You're sure I can't offer you something? We have English Breakfast Tea. Building Tea, as you call it.</dialogue> <character>EVELYN</character> <dialogue>Builder's tea. It's called builder's tea. And no, I'm fine. Thank you.</dialogue> <character>JAY</character> <dialogue>Tell me then. How can I help you? Beat.</dialogue> <character>EVELYN</character> <dialogue>I don't think you can. I'm sorry, I shouldn't have come. She stands.</dialogue> <character>JAY</character> <dialogue>WAIT -</dialogue> <character>EVELYN</character> <dialogue>I saw your advertisement in the local paper, and it specifically mentioned the ability to talk to older people. But this is not what I imagined ...</dialogue> <character>JAY</character> <dialogue>You came for a job?</dialogue> <character>EVELYN</character> <dialogue>I've wasted your time.</dialogue> <character>JAY</character> <dialogue>Mrs Greenslade. Everyone working here is a graduate of a good university. This is a place for ambitious people. Young people.</dialogue> <character>EVELYN</character> <dialogue>I see that. Good day.</dialogue> <character>JAY</character> <dialogue>Please. One second. Evelyn stops.</dialogue> <character>JAY</character> <dialogue>It is really builder's tea?</dialogue> <character>EVELYN</character> <dialogue>Yes. We dunk biscuits into it.</dialogue> <character>JAY</character> <dialogue>You dunk?</dialogue> <character>EVELYN</character> <dialogue>It means lowering a biscuit into your tea, letting it soak in there, then trying to calculate the exact moment just before it dissolves to whip it up to the mouth, and enjoy the blissful union of biscuit and tea combined.</dialogue> <character>(BEAT)</character> <dialogue>It's more relaxing than it sounds.</dialogue> <character>JAY</character> <dialogue>Perhaps you can help us after all.</dialogue> </scene> <scene> <stage_direction>INT. OPERATIONS ROOM. CALL CENTRE - DAY</stage_direction> <scene_description>A few minutes later. From the open-plan office Evelyn can be seen talking to Jay. One person watching is SUNAINA (20's). She's talking on the phone.</scene_description> <character>SUNAINA</character> <dialogue>We do appreciate your custom, which is very important to us. And can I draw your attention to our special -</dialogue> <dialogue>But the person at the other end has hung up. Sunaina starts to dial another number.</dialogue> <dialogue>Then the clock hits 11, and a buzzer sounds. Sunaina gets up, heads for the door.</dialogue> </scene> <scene> <stage_direction>EXT. FORECOURT. CALL CENTRE - DAY</stage_direction> <scene_description>Dozens of motorcycles are parked in front of the building. People are hanging around chatting and smoking. Sonny arrives on his motorcycle, a bag of marigolds strapped to the pillion seat. Sunaina, who is with some friends, spots him, comes over. She smiles as he pulls her to him.</scene_description> <character>SUNAINA</character> <dialogue>I get two breaks in eight hours. Explain to me why I would want to waste one of them with you -</dialogue> <scene_description>He kisses her. She kisses him back.</scene_description> <character>SONNY</character> <dialogue>Leave this place. Come and work for me.</dialogue> <character>SUNAINA</character> <dialogue>You can't afford me.</dialogue> <character>SONNY</character> <dialogue>I cannot afford anything.</dialogue> <character>SUNAINA</character> <dialogue>Still tempting. I miss you. Am I coming round tonight?</dialogue> <character>SONNY</character> <dialogue>Let's meet somewhere else. I will rent a hotel room.</dialogue> <character>SUNAINA</character> <dialogue>Sonny, you own a hotel. It has many rooms.</dialogue> <character>SONNY</character> <dialogue>Some of them now occupied. With actual real guests.</dialogue> <character>SUNAINA</character> <dialogue>Paying guests?</dialogue> <character>SONNY</character> <dialogue>Why must you nitpick? It is not an attractive quality.</dialogue> <character>SUNAINA</character> <dialogue>It isn't? They kiss again, start to make out a bit. Then</dialogue> <character>JAY (O.S.)</character> <dialogue>Sunaina! They turn to see Jay who has come out of the Call Centre.</dialogue> <character>JAY</character> <dialogue>(calling, to Sonny) You can let go of my sister now. Break's over.</dialogue> <character>SONNY</character> <dialogue>Hello Jay.</dialogue> <character>JAY</character> <dialogue>Sonny boy.</dialogue> <character>SONNY</character> <dialogue>Don't call me that. Jay smiles, holds the door open for Sunaina.</dialogue> <character>JAY</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN - EVENING</stage_direction> <scene_description>Jean is sitting in a chair, reading. Graham comes up the path.</scene_description> <character>JEAN</character> <dialogue>Good evening, Your Honour.</dialogue> <character>GRAHAM</character> <dialogue>Mrs Ainslie. I hope you had a good day. What did you get up to?</dialogue> <character>JEAN</character> <dialogue>Well, I started in my bedroom, where I had a lovely couple of hours giving all the cockroaches names. Then after a lunch that will long have a place in my heartburn, I came out here and stared blindly at a book waiting for someone - anyone to rescue me. And how glad I am it was you.</dialogue> <character>GRAHAM</character> <dialogue>Why would you not go out? There's so much to see.</dialogue> <dialogue>Jean had hoped for some appreciation of her wit, and is floored by his question. She can hardly understand, let alone tell him, the depths of her discomfort.</dialogue> <character>GRAHAM</character> <dialogue>Open your eyes, Mrs Ainslie. All life is here, I tell you.</dialogue> <dialogue>Jean stares at him. He goes on through the archway into the hotel. Then stops.</dialogue> <character>GRAHAM</character> <dialogue>I could talk to the chef, if you like. Perhaps get you some grilled chicken, plain rice.</dialogue> <character>JEAN</character> <dialogue>I would appreciate that very much.</dialogue> <dialogue>Graham goes on in. Jean just sits there. Wishing he'd come back out again.</dialogue> </scene> <scene> <stage_direction>EXT. TERRACE. MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Muriel is back. She's in her chair, on the terrace outside her room. A young hotel worker, ANOKHI, brings out a tray of food to her. Muriel watches her, but Anokhi is deferential, won't meet Muriel's eyes. She puts the tray down and leaves. Muriel just sits there, glaring balefully into the night, the untouched tray of food by her side.</scene_description> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD - NIGHT</stage_direction> <scene_description>Evelyn comes into the dining area. Graham is there, at a table in the corner.</scene_description> <character>GRAHAM</character> <dialogue>Good evening.</dialogue> <character>EVELYN</character> <dialogue>Good evening. Evelyn sits at her table.</dialogue> <character>EVELYN</character> <dialogue>I trust you had a good day?</dialogue> <character>GRAHAM</character> <dialogue>I'd rather hear about yours.</dialogue> <character>EVELYN</character> <dialogue>I got a job. My first. Ever. I'm going to be a sort of cultural advisor.</dialogue> <character>GRAHAM</character> <dialogue>A role I'm sure you'll perform with great distinction.</dialogue> <dialogue>He's about to inquire further, when Evelyn sees Douglas and Jean emerge from their room.</dialogue> <character>EVELYN</character> <dialogue>Perhaps if you wouldn't mind keeping that news to yourself.</dialogue> <character>GRAHAM</character> <dialogue>I'm flattered you shared it with me.</dialogue> <dialogue>He turns to greet the new arrivals.</dialogue> <character>GRAHAM</character> <dialogue>Good evening, the Ainslies.</dialogue> <character>EVELYN</character> <dialogue>Have you had a good day?</dialogue> <character>DOUGLAS</character> <dialogue>Spectacular.</dialogue> <character>(TO GRAHAM)</character> <dialogue>I went to the temple you told me about. A place of meditation and peace, quite stunning.</dialogue> <character>JEAN</character> <dialogue>So spiritual, I bet you hardly noticed the smell of elephant dung.</dialogue> <character>DOUGLAS</character> <dialogue>No elephants, sadly. Still none.</dialogue> <character>(TO GRAHAM)</character> <dialogue>I thought I might see you there. Where did you get to instead?</dialogue> <character>JEAN</character> <dialogue>Yes, where do you get to every day?</dialogue> <character>GRAHAM</character> <dialogue>Well, I've just finished telling Mrs Greenslade all about it.</dialogue> <dialogue>Evelyn registers the lie, but says nothing.</dialogue> <character>JEAN</character> <dialogue>I'm sure she wouldn't mind hearing it again.</dialogue> <dialogue>She waits. But Graham is as elusive as he is tactful.</dialogue> <character>GRAHAM</character> <dialogue>I talked to the chef for you. He said it will be no problem.</dialogue> <character>JEAN</character> <dialogue>Did you hear that, Douglas? Plain grilled food; manna from heaven.</dialogue> <character>DOUGLAS</character> <dialogue>I don't have to have it too, do</dialogue> <scene_description>I?</scene_description> <character>JEAN</character> <parenthetical>(TO GRAHAM)</parenthetical> <dialogue>I don't know how to thank you.</dialogue> <character>DOUGLAS</character> <parenthetical>(TO EVELYN)</parenthetical> <dialogue>You really should see this temple.</dialogue> <character>EVELYN</character> <dialogue>I'd like that very much.</dialogue> <character>DOUGLAS</character> <dialogue>But maybe take a clothes peg for your nose.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD/UPPER VERANDAH, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Graham and Evelyn emerge through the arch heading for their rooms. Graham starts down the stairs.</scene_description> <character>EVELYN</character> <dialogue>Goodnight.</dialogue> <character>GRAHAM</character> <dialogue>Goodnight to you. He seems about to say something else. She waits for a moment, then walks on.</dialogue> <character>GRAHAM</character> <dialogue>Mrs Greenslade?</dialogue> <character>EVELYN</character> <dialogue>Evelyn.</dialogue> <character>GRAHAM</character> <dialogue>Can I show you something?</dialogue> </scene> <scene> <stage_direction>INT. GRAHAM'S ROOM - NIGHT</stage_direction> <scene_description>Moments later. Evelyn is sitting in front of Graham's collage.</scene_description> <character>GRAHAM</character> <dialogue>I grew up here. Just a short drive away. It was a big house, and we had servants, everyone did. We knew their wives, their children. One boy, Manoj, became my friend. We played a lot of cricket together, played anything we could. And that's how it stayed for years. Until one night, he became something more.</dialogue> <character>(BEAT)</character> <dialogue>We had a few months, we had that. There was a weekend in Udaipur, we sat by a lake and watched the sun go down, and I remember thinking . I will never be this happy again. And I was right. Because quite suddenly it was over. We'd fallen asleep, and they found us.</dialogue> <character>GRAHAM</character> <parenthetical>(BEAT)</parenthetical> <dialogue>For me it was bad enough. But I already knew who I was, and I think my family had guessed. For Manoj, the disgrace was absolute; a double taboo. His father was fired, they were sent away, all of them. I don't know what I could've done, but it should've been more than nothing. I put up no fight. I let it happen.</dialogue> <character>(BEAT)</character> <dialogue>Soon afterwards I went to England, to University. I always told myself I'd come back. But I never did.</dialogue> <character>EVELYN</character> <dialogue>Until now.</dialogue> <character>GRAHAM</character> <dialogue>And now I think .. what if I am the last person on earth he wants to see?</dialogue> <dialogue>Evelyn says nothing.</dialogue> <character>GRAHAM</character> <dialogue>I don't think I can go through with it.</dialogue> <character>EVELYN</character> <dialogue>Do you want to see him again?</dialogue> <character>GRAHAM</character> <dialogue>Yes. Yes. Oh yes.</dialogue> <character>EVELYN</character> <dialogue>Then you must.</dialogue> </scene> <scene> <stage_direction>EXT. TEMPLE/STREET. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>As the bell tolls, the faithful arrive at the temple for morning prayers.</scene_description> </scene> <scene> <stage_direction>75A EXT. UPPER VERANDAH/SERVANTS COURTYARD - DAY 75A</stage_direction> <scene_description>Evelyn stands outside her room, listening to the bells, sipping a cup of tea, pensive. She looks down into a dilapidated part of the building, where the staff are housed. Women in bright saris go about their business.</scene_description> </scene> <scene> <stage_direction>INT/EXT. MURIEL'S ROOM/VERANDAH, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>From her wheelchair, Muriel is re-making her bed. She tucks in a perfect hospital corner. She looks up. Anokhi is on the verandah, replacing her untouched supper tray with breakfast. Anokhi is about to leave, but stops. Then she goes to fetch Muriel's jar of pickle from the windowsill, and places it on the table. Muriel watches, then wheels herself outside, looks at the tray. From outside, Sonny's voicecan be heard. SONNY (O.S.) And so now that we are fully operational, Mr Maruthi, it is clear that with a small injection of funds for the Phase Two Development ...</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN/COURTYARD. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Brimming with confidence, Sonny is walking a wealthy investor, MR MARUTHI, around the grounds. Some builders are dismantling scaffolding.</scene_description> <character>SONNY</character> <dialogue>.. the Best Exotic Marigold Hotel can rise like a phoenix to its previous state of glory. And when I say small injection, I mean small in the sense of medium- sized. Possibly larger.</dialogue> <character>MR MARUTHI</character> <dialogue>This hotel was never glorious.</dialogue> <character>SONNY</character> <dialogue>Just the phoenix part then.</dialogue> <character>MR MARUTHI</character> <dialogue>How many rooms will there be?</dialogue> <character>SONNY</character> <dialogue>Many.</dialogue> <character>MR MARUTHI</character> <dialogue>How many?</dialogue> <character>SONNY</character> <dialogue>A great amount. Plenty of rooms, no question.</dialogue> <dialogue>They've arrived in the courtyard.</dialogue> <character>SONNY</character> <dialogue>I am not a details man, Mr Maruthi.</dialogue> <character>MR MARUTHI</character> <dialogue>Nor was your father. They see Muriel on her verandah.</dialogue> <character>SONNY</character> <dialogue>Mr Maruthi, I present to you one of our beloved guests. Dear Mrs Donnelly, please describe in as much detail as you desire your experience of the ambience and atmosphere of the Best Exotic Marigold Hotel.</dialogue> <character>MURIEL</character> <dialogue>Kill me. Kill me now. Sonny steers Mr Maruthi towards the reception, speaks quietly.</dialogue> <character>SONNY</character> <dialogue>The wheel is spinning. But the hamster is dead.</dialogue> <dialogue>He stops, as he sees an elegant older woman standing in the doorway. This is the redoubtable MRS KAPOOR.</dialogue> <character>SONNY</character> <dialogue>Mummyji! What are you doing here?</dialogue> <character>MRS KAPOOR</character> <dialogue>You called. I came.</dialogue> <character>SONNY</character> <dialogue>I couldn't have called. The phones don't work.</dialogue> <character>MRS KAPOOR</character> <dialogue>That's why I came.</dialogue> </scene> <scene> <stage_direction>INT. SONNY'S OFFICE. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Moments later. Sonny closes the door behind him. His mother starts going through the contents of his desk.</scene_description> <character>MRS KAPOOR</character> <dialogue>Who was that man out there?</dialogue> <character>SONNY</character> <dialogue>The contents of this desk are mine. Don't open the drawers. I must insist you don't open the drawer.</dialogue> <dialogue>Mrs Kapoor opens the drawer.</dialogue> <character>SONNY</character> <dialogue>Tell me why you have come.</dialogue> <character>MRS KAPOOR</character> <dialogue>Do I need a reason to visit my favourite son?</dialogue> <character>SONNY</character> <dialogue>No. He is in his mansion in Delhi.</dialogue> <character>MRS KAPOOR</character> <dialogue>My second favourite.</dialogue> <character>SONNY</character> <dialogue>He went to Kerala to make his fortune.</dialogue> <character>MRS KAPOOR</character> <dialogue>But make it, he did.</dialogue> <character>SONNY</character> <dialogue>As I will make mine. I have a dream, Mummyji. A most brilliant one: to out-source old age. And not just for the British. There are many other countries where they don't like old people too.</dialogue> <character>MRS KAPOOR</character> <dialogue>Your brothers own a third of the hotel each, they are entitled to a third of the profits.</dialogue> <character>SONNY</character> <dialogue>Success does not happen overnight, Mummyji. This is blue sky thinking, and it requires long-term strategy and patience.</dialogue> <character>MRS KAPOOR</character> <dialogue>How is your girlfriend?</dialogue> <character>SONNY</character> <dialogue>I look forward to you meeting her.</dialogue> <character>MRS</character> <dialogue>And I look forward the woman you will from a good family</dialogue> <character>KAPOOR</character> <dialogue>to you meeting marry. She is in Delhi.</dialogue> <character>SONNY</character> <dialogue>I can marry as I choose, Mummyji. I need no permission.</dialogue> <character>MRS KAPOOR</character> <dialogue>I presume it is your girlfriend who teaches you such nonsense. One reason not to marry her.</dialogue> <character>SONNY</character> <dialogue>What if I love her?</dialogue> <character>MRS KAPOOR</character> <dialogue>An even better reason. Now send Young Wasim to the car for my luggage.</dialogue> <character>SONNY</character> <dialogue>He cannot carry, he has a dicky back ... wait, your luggage? How long are you staying?</dialogue> <character>MRS KAPOOR</character> <dialogue>As long as it takes.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM. DOUGLAS AND JEAN'S. MARIGOLD HOTEL -</stage_direction> <character>DAY</character> <dialogue>Jean is looking out of her bathroom window, down into the courtyard.</dialogue> <dialogue>She sees Graham come out of his room. She turns back to the mirror, looks at herself.</dialogue> </scene> <scene> <stage_direction>EXT. MURIEL'S TERRACE. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Near to Muriel, Anokhi is sweeping the floor.</scene_description> <character>MURIEL</character> <dialogue>You won't get the dirt out like that.</dialogue> <dialogue>Anokhi just smiles at her radiantly.</dialogue> <character>MURIEL</character> <dialogue>I worked in service for years, looked after a lovely house. I kept it spotless. You need a bit more pressure on that brush. Graham walks past, on his way out.</dialogue> <character>GRAHAM</character> <dialogue>She won't speak English. She's what used to be called an Untouchable. An outcast, born below society. To a good Hindu, even her shadow is polluted.</dialogue> <dialogue>He greets Anokhi in Hindi, and heads for the door.</dialogue> <character>MURIEL</character> <dialogue>Where d'you go every day? Is it a woman? Nip round there for a curry and a bit of afters?</dialogue> <character>GRAHAM</character> <dialogue>I don't think so. I'm gay. Although nowadays more in theory than practice. Good day.</dialogue> <dialogue>He leaves. A moment later, Jean comes rushing out. Immediately she realises two things; first, that Graham has already gone. And second, that Muriel is watching her.</dialogue> <character>JEAN</character> <dialogue>Good morning. Muriel says nothing.</dialogue> <character>JEAN</character> <dialogue>Lovely day. Still nothing from Muriel.</dialogue> <character>JEAN</character> <dialogue>Lovely.</dialogue> <character>(BEAT)</character> <dialogue>Lovely. She turns and goes back in.</dialogue> <dialogue>Muriel thinks for a while, then turns to Anokhi.</dialogue> <character>MURIEL</character> <dialogue>Long old life, isn't it?</dialogue> </scene> <scene> <stage_direction>EXT. VICEROY CLUB - DAY</stage_direction> <scene_description>A classic colonial building, straight out of the English Raj. Madge is being shown around by an elderly secretary, MR DHARUNA.</scene_description> <character>MR DRARUNA</character> <dialogue>The Viceroy Club was opened by the great Lord Kitchener himself, and many of the fixtures have remained unchanged since then.</dialogue> <character>MADGE</character> <dialogue>Yes, I see that. Perhaps you could tell me a little about the clientele? Any maharajahs? Wealthy widowed land-owners?</dialogue> <character>MR DHARUNA</character> <dialogue>It is not the policy of this club to divulge details of our members.</dialogue> <dialogue>They go past a very handsome older Indian man. Who radiates wealth and privilege.</dialogue> <scene_description>MR DHARUNA (cont'd) Good morning, Your Excellency.</scene_description> <character>MADGE</character> <dialogue>Where do I sign up?</dialogue> <character>MR DHARUNA</character> <dialogue>The admission fee is 120,000 rupees, and thereafter 15,000 rupees each month.</dialogue> <character>MADGE</character> <dialogue>I wonder if I might get a little discount. Owing to my status.</dialogue> <character>MR DHARUNA</character> <dialogue>Your status, madam?</dialogue> <character>MADGE</character> <dialogue>Yes. One was rather hoping to fly under the radar, but one is a member of the Royal Family.</dialogue> <character>MR DHARUNA</character> <dialogue>Which member, madam?</dialogue> <character>MADGE</character> <dialogue>I'm Princess Margaret.</dialogue> <character>MR DHARUNA</character> <parenthetical>(BOWING SLIGHTLY)</parenthetical> <dialogue>It is most surely an honour to meet you. And may I say how well you look. Especially taking into account that you died nine years ago.</dialogue> <character>(BEAT)</character> <dialogue>Your real name please, madam. And 120,000 rupees.</dialogue> </scene> <scene> <stage_direction>INT. PUBLIC RECORDS OFFICE - DAY</stage_direction> <scene_description>Graham comes into the chaotic office. The bookish official, MR CHIDAMBRAM, is behind the desk.</scene_description> <character>GRAHAM</character> <dialogue>Good morning.</dialogue> <character>MR CHIDAMBRAM</character> <dialogue>Good morning, Sir. Did I not say that we will contact you when there is information regarding your inquiry?</dialogue> <character>GRAHAM</character> <dialogue>Yes, you did say that. You did.</dialogue> <character>MR CHIDAMBRAM</character> <dialogue>While it is most pleasant to see you, your presence does not actually accelerate our investigation.</dialogue> <character>GRAHAM</character> <dialogue>I'll try not to come in tomorrow.</dialogue> <character>MR CHIDAMBRAM</character> <dialogue>I expect I will see you then.</dialogue> </scene> <scene> <stage_direction>INT. CALL CENTRE - DAY</stage_direction> <scene_description>None of the operators are on the phone. Instead they are sitting in a semi-circle, looking curiously at Evelyn. Who is sitting next to Jay, a little daunted by the attention.</scene_description> <character>EVELYN</character> <dialogue>.You ring in the morning. Let's assume the person answering will be a woman. She will have had her breakfast. Tea or coffee. Semi-skimmed milk, always. If she's under 50 she'll be contemplating yet another diet, over 50 she'll have more or less given up, and be eating toast. The radio may be playing, or more likely daytime TV. A chat show, or a programme with a moderator speaking to a panel of young women whose boyfriends have all slept with their mothers. The girlfriends' mothers, I mean, not their own. Although Anyway, then the boyfriends usually come out, and everybody fights.</dialogue> <dialogue>Sunaina is in the audience. She calls out.</dialogue> <character>SUNAINA</character> <dialogue>I'm not surprised people hang up on us. Laughter.</dialogue> <character>EVELYN</character> <dialogue>That's the point. When the phone rings and it's this robot nobody wants a machine, but it's almost worse when it's a person behaving like one. All these sales cliches just strung together. 'Your call is important to us'. Is it? Well then sound like it.</dialogue> <character>SUNAINA</character> <dialogue>'Your custom is valuable'.</dialogue> <character>EVELYN</character> <dialogue>Right. That one. Don't ever say that.</dialogue> <character>SUNAINA</character> <dialogue>'Service is our middle name'.</dialogue> <character>EVELYN</character> <dialogue>Yes, when your middle name is</dialogue> <character>ACTUALLY</character> <dialogue>SUNAINA</dialogue> <scene_description>Shantanu.</scene_description> <character>EVELYN</character> <dialogue>Which is beautiful. You people are young, vibrant, real. I'm sure the typical housewife would enjoy talking to each and every one of you.</dialogue> <character>SUNAINA</character> <dialogue>Her morning sounds like fun. What are you doing here? Beat.</dialogue> <character>EVELYN</character> <dialogue>I suppose I'm not typical anymore.</dialogue> <character>(TO JAY)</character> <dialogue>Is that the sort of thing?</dialogue> </scene> <scene> <stage_direction>INT. MADGE'S ROOM - EVENING</stage_direction> <scene_description>Madge is at her mirror, doing her make-up with great care. She looks beautiful.</scene_description> </scene> <scene> <stage_direction>EXT. VICEROY CLUB BAR - EVENING</stage_direction> <scene_description>Madge walks up the gravel path towards the magnificent building. She's superbly dressed, looks great. She goes up to the BARMAN.</scene_description> <character>MADGE</character> <dialogue>Excuse me. Would there be any wealthy single men in tonight?</dialogue> <character>BARMAN</character> <dialogue>There is one. Madge puts some money into his breast pocket.</dialogue> <character>MADGE</character> <dialogue>Perhaps you could seat me next to him?</dialogue> <character>BARMAN</character> <dialogue>This way, madam. He leads her along across the terrace. Madge follows, checking her hair, her breath, etc.</dialogue> <dialogue>The barman reaches an ornate suite of furniture. There's someone sitting there, his back to us, an elegant arm draped over the side of the chair.</dialogue> <character>BARMAN</character> <dialogue>His Royal Highness Prince Michael of Kent.</dialogue> <dialogue>The man rises from his chair and turns. And Madge is left staring at Norman.</dialogue> <dialogue>There's a pause. Then Madge reaches into the barman's breast pocket, and removes her money.</dialogue> <character>MADGE</character> <dialogue>I'll have that back, thank you very much.</dialogue> </scene> <scene> <stage_direction>EXT. MARIGOLD HOTEL - EVENING</stage_direction> <scene_description>Graham comes through the courtyard, heads for his room. Muriel is on her verandah.</scene_description> <character>GRAHAM</character> <dialogue>Good evening. Muriel nods at him, and he goes on into his room. A moment later, Jean sits down next to Muriel.</dialogue> <character>JEAN</character> <dialogue>You know where he goes. I know you know. But you won't tell me. Muriel says nothing.</dialogue> <character>JEAN</character> <dialogue>I can get Hobnobs out here, you know. I know a way.</dialogue> <character>(BEAT)</character> <dialogue>As many as you want. Milk or plain. Long pause.</dialogue> <character>MURIEL</character> <dialogue>Public Records Office.</dialogue> <character>JEAN</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. WELL - EVENING</stage_direction> <scene_description>A huge construction, centuries old, with a series of steps reaching down deep into the earth, so people can climb down to get their water. Young couples sit on the steps in the evening heat, boys leap into the water. Sonny and Sunaina are watching the swimmers.</scene_description> <character>SONNY</character> <dialogue>My father used to bring me to this well to swim. He said the water was better, and so were the people we would meet.</dialogue> <character>(BEAT)</character> <dialogue>He would have liked you so much. Sunaina smiles at this.</dialogue> <character>SONNY</character> <dialogue>My mother doesn't want us to be married.</dialogue> <character>SUNAINA</character> <dialogue>She hasn't met me yet.</dialogue> <character>SONNY</character> <dialogue>She doesn't need to meet you Sunaina absorbs this.</dialogue> <character>SONNY</character> <dialogue>She knows you are not from Delhi. That you have no family money, and work in a call centre. You are a part of a new India she cannot welcome.</dialogue> <character>SUNAINA</character> <dialogue>Isn't this where you tell her what you want?</dialogue> <character>SONNY</character> <dialogue>That conversation will be easier when the hotel is a success.</dialogue> <character>SUNANINA</character> <dialogue>Do you love me?</dialogue> <character>SONNY</character> <dialogue>I have found a new investor. I am most optimistic that he will enable us to move forward with Phase Two of the Marigold Hotel</dialogue> <character>PROJECT</character> <dialogue>SUNANINA</dialogue> <scene_description>Shouldn't you finish Phase One first?</scene_description> <character>SONNY</character> <dialogue>In business, if you stand still, you move backwards. No, I have that wrong. If you stand still, you are overtaken by people going the other way. Wait -</dialogue> <character>SUNAINA</character> <dialogue>You didn't answer the question. Do you love me?</dialogue> <character>SONNY</character> <dialogue>My feelings for you cannot be reduced to a single word.</dialogue> <character>SUNAINA</character> <dialogue>It's a nice word, Sonny. And people like hearing it.</dialogue> <character>SONNY</character> <dialogue>Sunaina, please. My mother is wrong. It is you who are too good for me.</dialogue> <character>SUNANINA</character> <dialogue>You say that a lot. You shouldn't I'll start to believe you.</dialogue> <dialogue>They watch the boys in the water.</dialogue> </scene> <scene> <stage_direction>INT. VICEROY CLUB BAR - NIGHT</stage_direction> <scene_description>Madge and Norman are sitting together. Norman is looking across at the bar, where an attractive older ex-pat lady is sitting, thus far resisting Norman's attempts to catch her eye.</scene_description> <character>NORMAN</character> <dialogue>I still think you're cramping my style.</dialogue> <character>MADGE</character> <dialogue>Please. You have no style to cramp.</dialogue> <scene_description>58A.</scene_description> <character>NORMAN</character> <dialogue>That lady at the bar keeps looking at me.</dialogue> <character>MADGE</character> <dialogue>As one would something in a museum.</dialogue> <character>NORMAN</character> <dialogue>Why must you mock? I just want to feel young again, to be needed as much as I need, if only for one night, one wonderful night. Tell me you don't know how that feels.</dialogue> <scene_description>Silence for a bit.</scene_description> <character>MADGE</character> <dialogue>Give me a minute. Then join us. She gets up, heads towards the bar. Where she sits a couple of seats away from the woman. Who is called CAROL. She sits there a moment, then sighs, and starts to talk to the barman.</dialogue> <character>MADGE</character> <dialogue>Rejected again. Many years ago, that man over there gave me the most extraordinary night of my life. He may seem coarse and uncouth, but that only disguises a tenderness and an exquisite sensitivity to a woman's needs Norman arrives at the bar.</dialogue> <character>NORMAN</character> <dialogue>Those drinks not ready yet? Madge turns to Carol.</dialogue> <character>MADGE</character> <dialogue>They say patience is passion tamed.</dialogue> <dialogue>Carol smiles.</dialogue> <character>MADGE</character> <dialogue>I'm Madge.</dialogue> <character>CAROL</character> <dialogue>Carol.</dialogue> <character>MADGE</character> <dialogue>And this . is Norman.</dialogue> <character>CAROL</character> <dialogue>How do you do?</dialogue> <character>NORMAN</character> <dialogue>Carol? As in Christmas? Madge winces.</dialogue> <character>CAROL</character> <dialogue>I suppose.</dialogue> <character>NORMAN</character> <dialogue>Great. Silence.</dialogue> <character>MADGE</character> <dialogue>So what brings you to Jaipur, Carol?</dialogue> <character>NORMAN</character> <dialogue>Yes, Carol. What brings you to Jaipur?</dialogue> <character>CAROL</character> <dialogue>I run a small boutique travel agency. But I've actually lived here all my life. My father worked in the Foreign Office. Another silence.</dialogue> <character>NORMAN</character> <dialogue>You're very fit.</dialogue> <character>CAROL</character> <dialogue>I beg your pardon?</dialogue> <character>MADGE</character> <dialogue>Oh god.</dialogue> <character>NORMAN</character> <dialogue>I mean you look like you keep yourself in shape. Physically.</dialogue> <character>CAROL</character> <dialogue>Well, I did join a gym last year. It cost a fortune, and I didn't get any fitter. Apparently you have to actually go.</dialogue> <dialogue>Madge laughs. Norman doesn't. Then realizes that it was a joke, lets out a too-loud bray of laughter.</dialogue> <character>CAROL</character> <dialogue>And so what do you do, Norman?</dialogue> <character>NORMAN</character> <dialogue>Me?</dialogue> <character>CAROL</character> <dialogue>Yes.</dialogue> <character>NORMAN</character> <dialogue>Oh. I'm</dialogue> <character>MADGE</character> <dialogue>Norman's in business.</dialogue> <character>CAROL</character> <dialogue>Really?</dialogue> <character>NORMAN</character> <dialogue>Yes.</dialogue> <character>CAROL</character> <dialogue>What business?</dialogue> <character>NORMAN</character> <parenthetical>(TO MADGE)</parenthetical> <dialogue>You tell her.</dialogue> <character>MADGE</character> <dialogue>Import-Export.</dialogue> <character>NORMAN</character> <dialogue>Although these days there's rather more Ex- than Im-, if you see what I mean.</dialogue> <character>CAROL</character> <dialogue>I'm afraid I don't. Madge gets up.</dialogue> <character>MADGE</character> <dialogue>I have to splash some water on my face. Please God I drown in it. She heads for the bathroom.</dialogue> <dialogue>Norman and Carol share another silence.</dialogue> <character>CAROL</character> <dialogue>Well look, it's been lovely chatting.</dialogue> <character>NORMAN</character> <dialogue>No it hasn't.</dialogue> <character>CAROL</character> <dialogue>No. It hasn't. But I really</dialogue> <character>MUST -</character> <dialogue>NORMAN</dialogue> <scene_description>Carol? She was about to go, stops.</scene_description> <character>NORMAN</character> <dialogue>Can we drop all this pretence? And start again? I'm not charming. I'm not good at repartee. And I'm not a plutocrat with the sexual capacity of a rutting rhino. My name is Norman. And I'm lonely.</dialogue> <character>CAROL</character> <dialogue>My name is Carol. So am I.</dialogue> </scene> <scene> <stage_direction>INT. VICEROY CLUB BAR - NIGHT</stage_direction> <scene_description>Minutes later. Madge comes out of the bathroom. EVELYN (V.0.) Day 22. Like Darwin's finches, we are slowly adapting to our environment. And when one does adapt, my god, the riches that are available. Madge looks across the bar. And is startled to see Norman and Carol chatting up a storm, laughing together. As she watches, Norman orders more drinks, then turns smiling back to his new friend. Madge walks slowly out of the bar, and into the night.</scene_description> </scene> <scene> <stage_direction>INT. EVELYN'S ROOM. MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>Evelyn is at her computer, typing. EVELYN (V.0.) There is no past that we can bring back by longing for it</scene_description> </scene> <scene> <stage_direction>EXT. PATH/GARDEN. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Ajit is pushing Muriel down to the gate for her morning constitutional.</scene_description> <character>EVELYN</character> <dialogue>. only a present that builds and creates itself as the past withdraws ...</dialogue> </scene> <scene> <stage_direction>INT. SUPERVISOR'S OFFICE. CALL CENTRE - DAY</stage_direction> <scene_description>Jay is counting out cash into Evelyn's hand; her first paycheck.</scene_description> <character>EVELYN</character> <dialogue>And India, like so many things in life, like life itself I suppose, is about what you bring to it.</dialogue> </scene> <scene> <stage_direction>EXT. JAIPUR STREET - DAY</stage_direction> <scene_description>Ajit is pushing Muriel through a poor neighborhood. Muriel is looking left and right, astounded by the life she sees.</scene_description> <character>MURIEL</character> <dialogue>Where's this? Where are we?</dialogue> <character>AJIT</character> <dialogue>Janta Colony Kachi Basti.</dialogue> <character>MURIEL</character> <dialogue>What happened to my usual route?</dialogue> <character>AJIT</character> <dialogue>Anokhi has invited you to her home.</dialogue> <character>MURIEL</character> <dialogue>You didn't tell me.</dialogue> <character>AJIT</character> <dialogue>You'd have said no.</dialogue> </scene> <scene> <stage_direction>INT. DOUGLAS AND JEAN'S ROOM. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Jean is sitting, reading a book.</scene_description> <character>JEAN</character> <dialogue>Will you check in at the bank? Douglas emerges from the bathroom.</dialogue> <character>DOUGLAS</character> <dialogue>I checked yesterday. And the day before. As requested.</dialogue> <character>(BEAT)</character> <dialogue>Will you be staying in again?</dialogue> <character>JEAN</character> <dialogue>Why do you ask that every morning?</dialogue> <character>DOUGLAS</character> <dialogue>Because I hope for a different answer. Because I think you'll be hurt if I don't. And because it's not healthy for you to spend all day and every day in the confines of the hotel.</dialogue> <dialogue>He goes back into the bathroom. Jean changes the subject.</dialogue> <character>JEAN</character> <dialogue>I didn't sleep a wink. The tap in there never stops dripping.</dialogue> <scene_description>DOUGLAS (O.S.) I talked to Young Wasim about it.</scene_description> <character>JEAN</character> <dialogue>What did he say?</dialogue> <scene_description>DOUGLAS (O.S.) No idea. It was in Hindi. Douglas comes out of the bathroom, holding the tap.</scene_description> <character>DOUGLAS</character> <dialogue>I thought I might get it fixed myself.</dialogue> <scene_description>63A.</scene_description> <character>DOUGLAS</character> <dialogue>No time like the present. Actually I say that, but I enjoyed yesterday, and I'm optimistic about tomorrow too.</dialogue> <character>JEAN</character> <dialogue>I wish I could say the same.</dialogue> <character>DOUGLAS</character> <dialogue>So do I. He goes.</dialogue> <dialogue>Jean sits for a while, looking utterly disconsolate and lost. Then she gets up, goes over to the balcony. Down below she can see Graham leaving.</dialogue> </scene> <scene> <stage_direction>EXT. LOWER COURTYARD - DAY</stage_direction> <scene_description>Madge is sitting on a chair. Norman arrives.</scene_description> <character>NORMAN</character> <dialogue>Your Madgesty.</dialogue> <character>MADGE</character> <dialogue>I gather the night went well.</dialogue> <character>NORMAN</character> <dialogue>Would you like to hear about it?</dialogue> <character>MADGE</character> <dialogue>Not in the least.</dialogue> <character>NORMAN</character> <dialogue>Good. Because you're going to. Two drinks, some sexually charged</dialogue> <character>BANTER -</character> <dialogue>Douglas comes out, carrying a tap. And heads out of the archway.</dialogue> <character>DOUGLAS</character> <dialogue>Morning. Lovely day.</dialogue> <character>MADGE</character> <dialogue>Good morning. They watch him leave.</dialogue> <character>NORMAN</character> <dialogue>Two drinks, some sexually charged banter, and we were heading back to her place. Bidding the rickshaw farewell, I walked her to the door.</dialogue> <character>NORMAN</character> <dialogue>And there, my young friend, I leaned forward, and I kissed her. Beat.</dialogue> <character>MADGE</character> <dialogue>And?</dialogue> <character>NORMAN</character> <dialogue>And what?</dialogue> <character>MADGE</character> <dialogue>Is that all? You didn't seal the deal?</dialogue> <character>NORMAN</character> <dialogue>We have a date next week.</dialogue> <character>MADGE</character> <dialogue>What is wrong with you?</dialogue> <character>NORMAN</character> <dialogue>I wanted to prolong the anticipation. To spend some time with the knowledge that soon I'm going to eat, drink, and laugh with someone, hold her to me, kiss her softly. Then go back to her place and get my end away.</dialogue> </scene> <scene> <stage_direction>EXT. MARKET - DAY</stage_direction> <scene_description>The market is buzzing with commerce. Evelyn is at a stall selling fabrics, talking to the vendor, AKRAM.</scene_description> <character>EVELYN</character> <dialogue>(holding up a pashmina) Bow much for this, please Kitna</dialogue> <character>PAISE</character> <dialogue>AKRAM</dialogue> <scene_description>One thousand rupees Ek hazaar</scene_description> <character>RUPIA</character> <dialogue>EVELYN</dialogue> <scene_description>Thank you. She reaches for her wallet. Then Douglas speaks from behind her.</scene_description> <character>DOUGLAS</character> <dialogue>No no, forgive me. That's not how it works.</dialogue> <character>65A.</character> <dialogue>Evelyn turns, happy to see him.</dialogue> <character>EVELYN</character> <dialogue>Good morning.</dialogue> <character>DOUGLAS</character> <dialogue>And to you. Sorry to butt in, but you don't ask him how much he wants, you just tell him how much you'll pay.</dialogue> <character>(TO AKRAM)</character> <dialogue>She'll give you two hundred. Absolutely no more, final offer.</dialogue> <character>AKRAM</character> <dialogue>One thousand rupees.</dialogue> <character>DOUGLAS</character> <dialogue>Pity.</dialogue> <character>(TO EVELYN)</character> <dialogue>Now walk away. Walk away.</dialogue> <character>EVELYN</character> <dialogue>BUT -</dialogue> <character>DOUGLAS</character> <dialogue>I know what I'm doing. Evelyn complies, and they turn and walk away.</dialogue> <character>EVELYN</character> <dialogue>Yes. The thing is, you see, I did actually want to buy that. To brighten up my room.</dialogue> <character>DOUGLAS</character> <dialogue>He'll come after us.</dialogue> <character>EVELYN</character> <dialogue>Do you think so?</dialogue> <character>DOUGLAS</character> <dialogue>Absolutely. This is how the game is played. Just keep on walking. They push through the crowds.</dialogue> <character>DOUGLAS</character> <dialogue>He's playing it cool, but he'll come.</dialogue> <dialogue>They keep walking.</dialogue> <character>DOUGLAS</character> <dialogue>He's playing it very cool. They keep walking. Then Douglas stops. Evelyn looks at him.</dialogue> <character>DOUGLAS</character> <dialogue>He's not coming.</dialogue> <character>CUT TO:</character> <dialogue>Moments later. They're back at Akram's stall. Evelyn counts out the money.</dialogue> <character>EVELYN</character> <dialogue>Eight hundred and fifty, nine hundred, nine hundred and fifty, one thousand.</dialogue> <dialogue>She turns to Douglas, smiles.</dialogue> <character>EVELYN</character> <dialogue>You'll get him next time. Then she notices something.</dialogue> <character>EVELYN</character> <dialogue>Why are you carrying a tap?</dialogue> </scene> <scene> <stage_direction>INT. MARIGOLD HOTEL, DOUGLAS AND JEAN'S ROOM - DAY</stage_direction> <scene_description>Jean gives up on the sentence she has already read a hundred times, and snaps her book shut. She stands, then sits again. Then stands.</scene_description> </scene> <scene> <stage_direction>EXT. SWEEPER COLONY - DAY</stage_direction> <scene_description>Ajit is now pushing Muriel through a poverty-stricken slum. The people live on the streets, or in collapsing tin shacks. Everywhere there is struggle and deprivation. And yet the pervasive atmosphere is nowhere near as depressing as we would expect. The colours are bright, the smiles on the children's faces even brighter. Not that Muriel can recognise the joy, of course. She's horrified by her surroundings. And acutely aware of the stares of the slum-dwellers.</scene_description> </scene> <scene> <stage_direction>98A EXT. ANOKHI'S HUT - DAY 98A</stage_direction> <scene_description>A primitive brick and cement hut, one of the few amongst dwellings made mostly from sticks and plastic bags. A bunch of young kids are fascinated by Muriel's wheelchair, pushing it around and taking turns to sit on it.</scene_description> </scene> <scene> <stage_direction>INT. ANOKHI'S HUT - DAY</stage_direction> <scene_description>Muriel sits on the only chair. Opposite - squashed together as if posing for a photograph - are all the generations of Anokhi's family: Anokhi herself, her husband, mother, grandmother, and several children. They all smile at Muriel. A long pause. Then Muriel turns to Ajit.</scene_description> <character>MURIEL</character> <dialogue>How soon can I leave?</dialogue> </scene> <scene> <stage_direction>INT/EXT. HARDWARE SHOP - DAY</stage_direction> <scene_description>Douglas is talking to JAMSHED, who works behind the counter. Evelyn sits outside.</scene_description> <character>DOUGLAS</character> <dialogue>You see what I think, and of course I'm no expert, is that the valve seat has eroded, so we'll need the washer changed and a new seat re-ground.</dialogue> <dialogue>Douglas glances back at Evelyn. Who betrays not the slightest scepticism. Jamshed studies the tap.</dialogue> <character>JAMSHED</character> <dialogue>The gland nut has come away from the spindle.</dialogue> <character>DOUGLAS</character> <dialogue>Well of course, it could be that too. Can you fix it?</dialogue> <character>JAMSHED</character> <dialogue>Not cheaply. Not cheaply. Most expensively indeed.</dialogue> <dialogue>Jamshed takes the tap to a workstation at the back, starts to fiddle with it. Douglas joins Evelyn.</dialogue> <character>DOUGLAS</character> <dialogue>I was in a tuk-tuk the other day, didn't seem to be taking the usual route back to the hotel. It turned out that the driver had decided to take me to another hotel, that he was sure I would prefer. And of course one wants to believe that he genuinely had my welfare at heart, and that it wasn't run bg his brother-in-law.</dialogue> <character>DOUGLAS</character> <dialogue>One wants to trust, in general, don't you think? But you never really know, do you?</dialogue> <dialogue>Jamshed stops fiddling with the tap. And takes a hammer to it.</dialogue> <character>EVELYN</character> <dialogue>The day I met my husband was the day the fair came to town. My girlfriend and I went on the carousel. Her horse was fine. But when the ride began I felt mine give a little, like it might collapse. Then these strong arms were around me, holding the horse together. And a voice in my ear said "Just trust me". And I did. Without question. Until the day he died.</dialogue> <character>DOUGLAS</character> <dialogue>How wonderful.</dialogue> <character>EVELYN</character> <dialogue>The sale of our flat went through last week. I had to sell it to pay off Hugh's debts.</dialogue> <character>(BEAT)</character> <dialogue>I've been forced to get a job out here. Which, in fact, I love. But even at Sonny's rates, I still couldn't make ends meet. After what my own husband did to our life savings.</dialogue> <character>(BEAT)</character> <dialogue>So no. You're right. You never know.</dialogue> <dialogue>Jamshed holds up the tap. Which is now in several parts.</dialogue> <character>JAMSHED</character> <dialogue>No good. You must be buying another.</dialogue> </scene> <scene> <stage_direction>EXT. PATHWAY/GATE/STREET, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Jean walks down the path to the gate. She stops, looks fearfully at the chaotic sea of humanity outside. She's unable to move. Finally, she steps out. And is of course immediately assaulted by the assorted kids, beggars, street vendors, etc. As anxiety begins to engulf her, she quickens her pace, brushing through them as best she can, until she is almost running.</scene_description> </scene> <scene> <stage_direction>INT. ANOKHI'S HUT - DAY</stage_direction> <scene_description>Muriel is still at the tea party. Anokhi speaks. Ajit translates.</scene_description> <character>AJIT</character> <dialogue>She wants to thank you for your kindness.</dialogue> <character>MURIEL</character> <dialogue>I haven't been kind.</dialogue> <character>AJIT</character> <dialogue>You're the only one that acknowledges her.</dialogue> <dialogue>Anokhi brings out a plate of food.</dialogue> <character>ANOKHI</character> <dialogue>Tarkha dhal. Chapati.</dialogue> <character>MURIEL</character> <dialogue>I'm not eating that.</dialogue> <character>AJIT</character> <dialogue>You will insult her very deeply if you do not.</dialogue> <dialogue>Muriel looks up. They're all still watching, waiting smiling.</dialogue> <dialogue>She looks at Anokhi's grandmother, as dignified as she is old.</dialogue> <dialogue>Muriel reaches out, takes something off the tray. And has a bite. It's not too bad.</dialogue> <character>MURIEL</character> <dialogue>I'd still rather a Scotch Egg. Then she sees something through the open doorway: the children have turned her wheelchair on its side and are spinning the wheels.</dialogue> <dialogue>She's on her feet in a flash.</dialogue> <character>MURIEL</character> <dialogue>Get off! Get off it, you dirty thieving bastards!</dialogue> <scene_description>Several terrified faces turn. One little girl starts to cry. Everyone is staring at Muriel.</scene_description> <character>MURIEL</character> <dialogue>I didn't see. They were playing. I'm sorry. I'm sorry</dialogue> <character>103 EXT. STREET. JAIPUR - DAY 103</character> <dialogue>Jean is now in a tuk-tuk, lurching and weaving through the traffic, a handkerchief clasped firmly over her mouth, panic in her eyes.</dialogue> </scene> <scene> <stage_direction>INT. STAIRCASE/CORRIDORS/OFFICE. PUBLIC RECORDS</stage_direction> <scene_description>OFFICE.104</scene_description> <character>JAIPUR - DAY</character> <dialogue>The corridors are full of people patiently waiting their turn to grapple with a vast bureaucracy. Reaching the top of the staircase, Jean takes it all in. She walks down another corridor. Then stops. Through a doorway, she sees Graham at the desk, talking to Mr Chidambram.</dialogue> <character>CUT TO:</character> <dialogue>In the office.</dialogue> <character>GRAHAM</character> <dialogue>But I've filled out that form. I've given it to you. Many times.</dialogue> <character>MR CHIDAMBRAM</character> <dialogue>There is a process. You are making an enquiry. For each enquiry a form must be filled in.</dialogue> <character>GRAHAM</character> <dialogue>But it's the same enquiry I make every day.</dialogue> <character>MR CHIDAMBRAM</character> <dialogue>And therefore the same form you must fill in. Graham glances towards the doorway, catches sight of Jean. Their eyes lock, then Jean pulls back out of sight, panicked.</dialogue> <scene_description>10414A Jean is hurrying down a corridor. Behind her, Graham emerges from a doorway, and calls to her</scene_description> <character>GRAHAM</character> <dialogue>Mrs Ainslie... .?</dialogue> <character>105 OMITTED 105</character> <dialogue>106 INT. TEA ROOM. JAIPUR - DAY 106</dialogue> <dialogue>Later. Jean and Graham are sitting in an elegant tea room. Jean is still very shaken.</dialogue> <character>JEAN</character> <dialogue>I don't know how you can bear this country. What do you see that I don't?</dialogue> <character>GRAHAM</character> <dialogue>Unutterable beauty. Everywhere. In the light, the colours, the smiles, the people who see life as a privilege not a right, and so teach me something every day. The waiter brings their tea.</dialogue> <character>JEAN</character> <dialogue>Is this milk pasteurized?</dialogue> <character>WAITER</character> <dialogue>Yes madam.</dialogue> <character>JEAN</character> <dialogue>But that's not true, is it? You're just lying to me right now</dialogue> <character>GRAHAM</character> <dialogue>It'll be fine. The waiter goes.</dialogue> <character>GRAHAM</character> <dialogue>It's a pleasant surprise to see you out and about.</dialogue> <character>JEAN</character> <dialogue>Is it? She looks at him.</dialogue> <character>GRAHAM</character> <dialogue>Yes. That's progress. Where were you going?</dialogue> <character>JEAN</character> <dialogue>To the bank. I . was going to the bank. Not that there's any reason to think something has changed. But our daughter, you see, she did promise, and one does try to remain optimistic. One has to. Otherwise</dialogue> <character>OTHERWISE</character> <dialogue>Graham worries she might be about to break down. He reaches across the table, puts his hand on hers.</dialogue> <dialogue>She leans forward, puts her other hand over his, holds on tightly.</dialogue> <dialogue>Graham is startled. He tries gently to pull back, but she holds on.</dialogue> <character>GRAHAM</character> <dialogue>JEAN -</dialogue> <character>JEAN</character> <dialogue>Oh god. Is it possible you feel the same?</dialogue> <scene_description>She brings his hand to her mouth, kisses it.</scene_description> <character>JEAN</character> <dialogue>The way you talk to me. Your compassion, your understanding .. the wonderful, tender consideration, it had to be more than just -</dialogue> <character>GRAHAM</character> <dialogue>I'm gay. She stares at him. Beat.</dialogue> <character>JEAN</character> <dialogue>As in ... happy? Graham says nothing. Jean lets go of his hand.</dialogue> <character>JEAN</character> <dialogue>Yes. I see. Of course I see. The ghastly inappropriateness of it all settles on them both.</dialogue> <character>JEAN</character> <dialogue>I appear to have humiliated myself. And embarrassed you.</dialogue> <character>GRAHAM</character> <dialogue>I'm not embarrassed. Jean smiles wanly, grateful for his lie.</dialogue> <character>JEAN</character> <dialogue>Like I said. This country is driving me mad.</dialogue> <character>(BEAT)</character> <dialogue>Shall we go?</dialogue> <scene_description>Evelyn is outside in the courtyard. We don't see Douglas.</scene_description> <character>EVELYN</character> <dialogue>Anything?</dialogue> <scene_description>DOUGLAS (O.S.) Not yet. Evelyn waits a moment.</scene_description> <character>EVELYN</character> <dialogue>How about now?</dialogue> <scene_description>DOUGLAS (O.S.) One second. Another pause. DOUGLAS (O.S.) (cont'd) Oh good lord.</scene_description> <character>EVELYN</character> <dialogue>What?</dialogue> <scene_description>DOUGLAS (O.S.) Listen. The sound of a flowing tap. DOUGLAS (O.S.) (cont'd) And now ... The tap stops. DOUGLAS (O.S.) (cont'd) No drip. He appears in the doorway, triumphant.</scene_description> <character>DOUGLAS</character> <dialogue>No drip! He walks towards her, hand in the air.</dialogue> <character>DOUGLAS</character> <dialogue>Hi-five ! Evelyn just looks at him. She's never hi-fived anyone in her life.</dialogue> <dialogue>After a moment Douglas puts his hand down.</dialogue> <character>DOUGLAS</character> <dialogue>I've never done that before. It just seemed appropriate.</dialogue> <dialogue>Jean has appeared at the other side of the courtyard. Douglas senses her mood, moves towards her.</dialogue> <character>DOUGLAS</character> <dialogue>Darling!</dialogue> <character>EVELYN</character> <dialogue>Mrs Ainslie, how are you? Did you have a good day?</dialogue> <dialogue>Jean doesn't answer. She's staring at Douglas. Who looks so happy.</dialogue> <character>DOUGLAS</character> <dialogue>Let me tell you about ours. Your husband of many a year, who has never even known which end of a hammer to use, has actually managed to -</dialogue> <character>JEAN</character> <parenthetical>(SUDDENLY INTERRUPTING)</parenthetical> <dialogue>We have to get out of here.</dialogue> <character>DOUGLAS</character> <dialogue>What did you say?</dialogue> <character>JEAN</character> <dialogue>I can't stay in this country a moment longer.</dialogue> <character>DOUGLAS</character> <dialogue>Why ...?</dialogue> <character>EVELYN</character> <dialogue>Do excuse me. She makes a tactful exit. Jean is going past Douglas into their room.</dialogue> <character>DOUGLAS</character> <dialogue>I don't understand</dialogue> <character>JEAN</character> <parenthetical>(INTERRUPTING)</parenthetical> <dialogue>Pick a reason. Pick ten. The climate, the squalor, the poverty She goes past him into their room.</dialogue> </scene> <scene> <stage_direction>INT. DOUGLAS AND JEAN'S ROOM - CONTINUOUS</stage_direction> <character>JEAN</character> <dialogue>. we should never have come. This whole trip is a grotesque fantasy. It's time to go home.</dialogue> <dialogue>Jean starts to pack. Irrationally, compulsively.</dialogue> <character>DOUGLAS</character> <dialogue>Who's paying for the tickets?</dialogue> <character>JEAN</character> <dialogue>(not hearing him) Look at us. A group of self- deluding old fossils traipsing around as if it's our bloody gap year. Humiliating ourselves</dialogue> <character>DOUGLAS</character> <dialogue>Not us, we can't pay. And I don't see you asking our friends</dialogue> <character>BACK HOME</character> <dialogue>JEAN</dialogue> <character>(OVERLAPPING)</character> <dialogue>.. We should just face up to the truth. That we're all old, we're all past it. That's the real truth, the raw, unvarnished fact of the matter. All we're good for now is the beige bloody bungalow with the sodding panic button in the sodding corner ...</dialogue> <dialogue>She stops packing, and subsides onto the bed, crying quietly.</dialogue> <dialogue>Nobody speaks for a while.</dialogue> <character>DOUGLAS</character> <parenthetical>(GENTLY)</parenthetical> <dialogue>We just have to make the best of it, darling. I really think that's the best thing to do.</dialogue> <character>JEAN</character> <dialogue>Yes, well. When I want your opinion, I'll give it to you.</dialogue> </scene> <scene> <stage_direction>INT. MEEHAR CLINIC - MORNING</stage_direction> <scene_description>An impossibly small roadside clinic. Norman is sitting there, the only man in three rows of brightly dressed women. DR RAMA comes out of the consulting area.</scene_description> <character>DR RAMA</character> <dialogue>Mr John Smith. No response. The doctor looks at Norman, who has forgotten his own alias. DR RAMA (cont'd) Mr John Smith? Norman jumps up.</dialogue> <character>NORMAN</character> <dialogue>That's right! Me!</dialogue> </scene> <scene> <stage_direction>EXT/INT. MARKET/OPERATIONS ROOM. CALL CENTRE - DAY</stage_direction> <scene_description>Sonny is at the flower market, sitting on his motor bike, waiting for the flower vendor to tie up his bundle of marigolds. He's on his phone.</scene_description> <character>SONNY</character> <dialogue>Come on. Pick up pick up pick up.</dialogue> <dialogue>The phone is answered at the other end.</dialogue> <character>SONNY</character> <parenthetical>(INTO PHONE)</parenthetical> <dialogue>Sunaina, I must see you. I must. If I cannot hold your body against mine, I swear I will go mad.</dialogue> <dialogue>We cut to the call centre. It's not Sunaina on the phone, but Jay, who is standing next to her.</dialogue> <character>SONNY'S VOICE</character> <parenthetical>(ON PHONE)</parenthetical> <dialogue>I yearn for you, I burn for you,</dialogue> <character>I -</character> <dialogue>JAY</dialogue> <scene_description>I think it's my sister you're burning for there, Sonny boy.</scene_description> <character>SONNY</character> <dialogue>Thank you, Jay. Thank you. Jay hands the phone to Sunaina.</dialogue> <character>SUNAINA</character> <dialogue>Hey.</dialogue> <character>SONNY</character> <dialogue>Private line, Sunaina. Do those words mean nothing to you?</dialogue> <character>SUNAINA</character> <dialogue>He took the phone. What could I do?</dialogue> <character>SONNY</character> <dialogue>I miss you. I miss you every moment. Come and see me. Tonight.</dialogue> <character>SUNAINA</character> <dialogue>I cannot tonight. It is my parents 25th wedding anniversary. Tell your mother that.</dialogue> <character>SONNY</character> <dialogue>Come after. Come late</dialogue> <character>SUNANINA</character> <dialogue>You'll be asleep.</dialogue> <character>SONNY</character> <dialogue>I'll be waiting.</dialogue> <character>SUNANINA</character> <dialogue>You'll be asleep. But i can wake you in that special way...</dialogue> <character>SONNY</character> <dialogue>You will sneak in?</dialogue> <character>SUNAINA</character> <dialogue>I'm not ashamed.</dialogue> <character>SONNY</character> <dialogue>Neither am I. Absolutely not. There is no shame. You do not have to sneak.</dialogue> <character>(BEAT)</character> <dialogue>All the same, if you did want to be very quiet, and not let anyone see you, it couldn't hurt.</dialogue> </scene> <scene> <stage_direction>INT. CONSULTING ROOM - DAY</stage_direction> <scene_description>Norman is talking to DR RAMA.</scene_description> <character>NORMAN</character> <dialogue>I'm worried there's no lead in my pencil.</dialogue> <character>DR RAMA</character> <dialogue>OK. I don't know what that means.</dialogue> <character>NORMAN</character> <dialogue>No snap in my celery.</dialogue> <character>DR RAMA</character> <dialogue>I'm still not quite with you.</dialogue> <scene_description>78A.</scene_description> <character>NORMAN</character> <dialogue>I plan to party hearty tonight, but I can't guarantee that my love gun will fire.</dialogue> <character>DR RAMA</character> <dialogue>Mr Smith -</dialogue> <character>NORMAN</character> <dialogue>Will the lance dance, and the trouser lion roar?</dialogue> <character>DR RAMA</character> <dialogue>What is your problem?</dialogue> <character>NORMAN</character> <dialogue>I don't know if I can still have sex.</dialogue> <character>DR RAMA</character> <dialogue>Ah.</dialogue> <character>NORMAN</character> <dialogue>I'm not a young man anymore, doctor. And I'm a little bit scared. Truth be told, I'm a lot scared.</dialogue> <character>DR RAMA</character> <dialogue>How long since you've been with a woman?</dialogue> <character>NORMAN</character> <dialogue>What's today?</dialogue> <character>DR RAMA</character> <dialogue>Monday.</dialogue> <character>NORMAN</character> <dialogue>Six years.</dialogue> <character>DR RAMA</character> <dialogue>I've got some pills that'll help.</dialogue> </scene> <scene> <stage_direction>EXT. SERVANTS COURTYARD. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>The back of the hotel, where Sonny envisages his Phase Two development. Very dilapidated. Anokhi is cleaning pots. Young Wasim sits in the corner. Ajit has just wheeled Muriel into the courtyard.</scene_description> <character>MURIEL</character> <parenthetical>(TO ANOKHI)</parenthetical> <dialogue>I wanted to tell you something... Anokhi looks up.</dialogue> <character>MURIEL</character> <parenthetical>(TO AJIT)</parenthetical> <dialogue>Tell her. Tell her I was glad to come, glad she invited me. Ajit translates.</dialogue> <character>MURIEL</character> <dialogue>Glad to meet her family. Her grandmother. Her kids.</dialogue> <dialogue>Ajit translates. Anokhi speaks.</dialogue> <character>AJIT</character> <dialogue>She asks if you have children?</dialogue> <character>MURIEL</character> <dialogue>I looked after somebody else's. Ajit translates.</dialogue> <character>MURIEL</character> <dialogue>This one family, years I was with them. I ran the house, looked after the money, did it all, cared for them like they were my own.</dialogue> <dialogue>Ajit starts to translate. But Muriel doesn't wait.</dialogue> <character>MURIEL</character> <dialogue>That's the mistake, see. You don't want to get like that, to start feeling part of something. One day they decided I needed some help. I was grateful, I tried to teach her. Not just the books, but how to crisp up the bacon like the gentleman preferred it, the way the little one liked to have her hair brushed. The things you only know if you care. But then they said I was no longer useful to them. Thanked me for my service. As if that's all it was.</dialogue> <character>(BEAT)</character> <dialogue>I got a flat in the end. I'm the only one in the building not a foreigner. More Indians there than here! But before I came to this place, my biggest problem was what to do with all the time I had. Because that flat's so small, I can have the whole place spotless in half an hour. And then what am I supposed to do for the rest of the day?</dialogue> <dialogue>There's silence for a bit. Then Ajit speaks.</dialogue> <character>AJIT</character> <dialogue>Did you want me translate that as well?</dialogue> <dialogue>Muriel smiles. It's the first time we've seen this. Muriel stops, thrusts something into Ajit's hand.</dialogue> <character>MURIEL</character> <dialogue>Give her these.</dialogue> <scene_description>Ajit hands Anokhi what Muriel gave him: a packet of Chocolate Hobnobs. This time it's Muriel who cannot meet Anokhi's eye. Tries to hide her desire to leave. Ajit turns her chair and pushes her away. Over this, the sound of singing</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP. MARIGOLD HOTEL - EVENING</stage_direction> <scene_description>Norman's on his rooftop, under the primitive spout of water that passes as his shower. Hanging from a nail in the wall, the battery radio is pumping out a bizarre Indian cover version of the Chic song "Le Freak". Norman is naked, and singing along lustily.</scene_description> <character>NORMAN</character> <dialogue>Aaaaaah, freak out! Le freak, c'est chic .. Aaaah, freak out!</dialogue> <dialogue>Feet slapping in the soapy water, he performs a nifty disco move.</dialogue> </scene> <scene> <stage_direction>INT. SONNY'S OFFICE. MARIGOLD HOTEL - EVENING</stage_direction> <scene_description>Sonny is in his office, going through the accounts. There's a strange ringing somewhere nearby. He pays no attention, then stops and thinks for a moment. Then realises what it is. He sweeps the pile of papers off the desk, starts frantically looking for the telephone.</scene_description> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD. MARIGOLD HOTEL - EVENING</stage_direction> <scene_description>Graham and Evelyn are having drinks.</scene_description> <character>EVELYN</character> <dialogue>I've been getting out and about as much as I can, but I feel I've hardly scratched the surface. And of course I'd love to see Udaipur. The lake you talked about.</dialogue> <character>GRAHAM</character> <dialogue>I'd love to take you. Perhaps - He breaks off. Douglas and Jean have come in. Jean looks rather desperate.</dialogue> <scene_description>EVELYN AND DOUGLAS</scene_description> <character>(SIMULTANEOUSLY)</character> <dialogue>Good evening.</dialogue> <character>81A.</character> <dialogue>An awkward moment. Graham stands.</dialogue> <character>GRAHAM</character> <dialogue>Good evening, Mrs Ainslie. Please allow me.</dialogue> <dialogue>He pulls a chair out for her. She shoots him a look of passionate gratitude for his exquisite sensitivity.</dialogue> <character>JEAN</character> <dialogue>You're very kind. But I rather think I'll turn in early. Goodnight everyone. She goes into her room.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD. MARIGOLD HOTEL - EVENING</stage_direction> <scene_description>Muriel is sitting outside her room, doing the crossword. Madge is coming through the arch, stops dead. Norman is standing in front of her, on his way out. He looks transformed. And rather handsome.</scene_description> <character>MADGE</character> <dialogue>Is this it?</dialogue> <character>NORMAN</character> <dialogue>This is it.</dialogue> <character>MADGE</character> <dialogue>You're not worried about the danger of having sex at your age? Norman shrugs.</dialogue> <character>NORMAN</character> <dialogue>If she dies, she dies. He leaves. Sonny sprints into the courtyard.</dialogue> <character>SONNY</character> <dialogue>Progress, Mrs Donnelly, Mrs Hardcastle! The wheel is turning most assuredly in our favour! He shoots up the stairs.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD. MARIGOLD HOTEL - EVENING.</stage_direction> <scene_description>Douglas, Graham and Evelyn are looking at the menu. Sonny bursts in.</scene_description> <character>SONNY</character> <dialogue>Mr Dashwood! Everybody! Great news!</dialogue> <character>GRAHAM</character> <dialogue>What is it, Sonny?</dialogue> <character>SONNY</character> <dialogue>They are working, they are working!</dialogue> <character>GRAHAM</character> <dialogue>That is great news. What are working?</dialogue> <character>SONNY</character> <dialogue>The telephones of the Marigold Hotel.</dialogue> <character>GRAHAM</character> <dialogue>Well, congratulations.</dialogue> <character>SONNY</character> <dialogue>Thank you. I must tell everybody. I must tell my mother!</dialogue> <dialogue>He runs off. Comes back.</dialogue> <character>SONNY</character> <dialogue>Oh wait. You have a phone call.</dialogue> </scene> <scene> <stage_direction>EXT. STREET, POOR NEIGHBOURHOOD. JAIPUR - EVENING</stage_direction> <scene_description>Graham, Evelyn, and Douglas are walking quickly up a quiet street.</scene_description> <character>GRAHAM</character> <dialogue>It's a false alarm. There's no way they could find anything in that office. They probably just picked an address at random, just to keep me off their backs. I'm sure that's what happened. It's going to be nothing. Don't you think it's going to be nothing?</dialogue> <character>EVELYN</character> <dialogue>I think you should knock on the door and see.</dialogue> <character>GRAHAM</character> <dialogue>Yes. Yes I should.</dialogue> <character>(BEAT)</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE - EVENING</stage_direction> <scene_description>Some men sit under a tree, playing cards. Across the street, Graham approaches a house. At a polite distance, Evelyn and Douglas wait. Graham knocks at the open door. A woman, GAURIKA, appears. She stares at Graham.</scene_description> <character>GRAHAM</character> <dialogue>I'm sorry to disturb you so late. My name is Graham Dashwood. A long time ago I -</dialogue> <character>GAURIKA</character> <dialogue>I know who you are. Beat.</dialogue> <character>GRAHAM</character> <dialogue>I am afraid I don't know you.</dialogue> <character>GAURIKA</character> <dialogue>I am Gaurika. The wife of Manoj.</dialogue> <character>GRAHAM</character> <dialogue>(after a fraction of a</dialogue> <character>BEAT)</character> <dialogue>I'm very pleased to meet you. And if you could, if you would tell him that I called around, I'd appreciate that very much,</dialogue> <character>AND -</character> <dialogue>He breaks off. She's walked past him, looking to the other side of the road.</dialogue> <dialogue>He turns to look at the men playing cards. Gaurika calls in Hindi.</dialogue> <dialogue>A beautiful-looking man looks up. MANOJ. He looks across at the house. Stands up slowly as Graham walks across the street towards him.</dialogue> <dialogue>Graham reaches him. The two men just stand there for a moment. Then they hug very tightly.</dialogue> <dialogue>From the steps of the house, Gaurika watches. Evelyn looks at her, fascinated.</dialogue> <dialogue>Across the street, Manoj and Graham are still holding each other, unable to let go.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Douglas and Evelyn are walking.</scene_description> <character>DOUGLAS</character> <parenthetical>(a tiny bit sloshed)</parenthetical> <character>DOUGLAS</character> <dialogue>First time going in to London with my dad, on his commute... He'd always been so extraordinary to me, so unique. But there he was standing on the station platform, utterly indistinguishable from all the other men in suits. And then of course a few years later I was one of them... Hated my job. Hated it.</dialogue> <character>(BEAT)</character> <dialogue>Sorry, talking too much. Blame a good dinner out.</dialogue> <character>EVELYN</character> <dialogue>What was she thinking?</dialogue> <character>DOUGLAS</character> <dialogue>I beg your pardon?</dialogue> <character>EVELYN</character> <dialogue>His wife. Manoj's wife. She knew who Graham was. Had he told her?</dialogue> <character>(BEAT)</character> <dialogue>D'you think we'll find out tomorrow?</dialogue> <character>DOUGLAS</character> <dialogue>Not me, I'm heading up to the Badi Mahal Palace. Very excited, been reading all about it.</dialogue> <character>EVELYN</character> <dialogue>Tell me.</dialogue> <character>DOUGLAS</character> <dialogue>I would, if I could remember a word.</dialogue> <dialogue>Evelyn laughs. Then Douglas suddenly grabs her. And pulls her out of the way of a motor bike, zooming past them. Sunaina hasn't realised she nearly hit them, and powers on towards the Marigold.</dialogue> <dialogue>Douglas and Evelyn stand for a moment, startled, holding each other. Something passes between them that embarrasses them both. Then they part quickly, guiltily.</dialogue> <dialogue>They're outside a small restaurant, and with exquisite timing, a group of musicians start to play a romantic tune.</dialogue> <character>WAITER</character> <dialogue>Come, please. Nice meal, please...</dialogue> <character>DOUGLAS</character> <parenthetical>(NAMASTE GESTURE)</parenthetical> <dialogue>We've eaten, thank you... They continue on their way. Slightly further apart than before.</dialogue> </scene> <scene> <stage_direction>EXT. MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>It's the middle of the night, and everything's quiet Or as quiet as it can be in the middle of the usual night-time Indian cacophony. Sunaina parks her bike outside the hotel, goes on in.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sonny is sleeping peacefully.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sunaina moves across the courtyard. Not sneaking, exactly. But making no sound.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sonny sleeps on.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sunaina is definitely sneaking now. She aims down the passage towards Sonny's room.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sonny stirs, but doesn't wake up.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sunaina comith esno te bedroom. She takes off her clothes. And climbs, naked, into bed beside the sleeping figure.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>A loud scream. In a different bed, in a different room, Sonny wakes up. And remembers.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>It's Sunaina that's screamed. Because she's in bed with Madge. Who couldn't be happier.</scene_description> <character>MADGE</character> <dialogue>A midnight booty call. How utterly marvellous.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sonny hares out of his temporary bedroom, and races down the corridor, towards Madge's room.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sunaina has jumped out of the bed and across the room, grabbing one of Madge's generous scarves to cover her nakedness.</scene_description> <character>SUNAINA</character> <dialogue>I'm so sorry, I'm so sorry . I don't know what your name is, but I'm incredibly sorry.</dialogue> <character>MADGE</character> <dialogue>Don't be. Most action I've had in weeks.</dialogue> <character>SUNAINA</character> <dialogue>If you could just please not</dialogue> <character>MENTION -</character> <dialogue>Sonny bursts in.</dialogue> <character>SONNY</character> <dialogue>Do not worry, Mrs Hardcastle! I can explain each and every thing! Hesees Sunaina.</dialogue> <character>SONNY</character> <dialogue>Oh my god you are naked. He turns to Madge.</dialogue> <character>SONNY</character> <dialogue>Mrs Hardcastle, I must apologise with deep and profound sincerity -</dialogue> <character>SUNAINA</character> <dialogue>How could you not tell me you weren't in your room!</dialogue> <character>SONNY</character> <dialogue>Yes, Sunaina, to you too I must apologise with equally deep and profound sincerity. Now go. Get out. Quickly.</dialogue> <character>SUNAINA</character> <dialogue>I'm going. Just let me get dressed, and -</dialogue> <character>SONNY</character> <dialogue>No no, quicker than that. You must leave, before -</dialogue> <dialogue>MrsKapoor flings open the door.</dialogue> <character>MRS KAPOOR</character> <dialogue>What is going on here? Who screamed?</dialogue> <dialogue>She sees the nearly-naked Sunaina. MRS KAPOOR</dialogue> <dialogue>No no no no no. No! This is a respectable hotel, not a brothel.</dialogue> <character>(TO SUNAINA)</character> <dialogue>You, get out.</dialogue> <character>(TO MADGE)</character> <dialogue>And Mrs Hardcastle, I expected better of you. Actually, this is exactly what I expected of you, but nevertheless -</dialogue> <character>SUNAINA</character> <dialogue>Mrs Kapoor, I'm Sunaina.</dialogue> <character>MRS KAPOOR</character> <dialogue>Since I will not be paying for your services, your name is of no interest to me.</dialogue> <character>(BEAT)</character> <dialogue>How do you know mine? Sunaina is shocked to realise that Mrs Kapoor doesn't know her name. Sonny steps forward reluctantly.</dialogue> <character>SONNY</character> <dialogue>Because this . is my Sunaina.</dialogue> <character>MRS KAPOOR</character> <dialogue>The girl who my son described as not too modern.</dialogue> <character>MADGE</character> <dialogue>This is getting interesting.</dialogue> <character>MRS KAPOOR</character> <parenthetical>(TO SUNAINA)</parenthetical> <dialogue>Tell me, please.</dialogue> <scene_description>MRS KAPOOR (cont'd) Is there anyone in this building you haven't slept with?</scene_description> <character>SONNY</character> <dialogue>Mummyji, do not get the wrong idea. Sunaina was not here to be with Mrs Hardcastle. She was here to have sex with me!</dialogue> <dialogue>Mrs Kapoor turns to Sunaina. Who is speechless.</dialogue> <character>MRS KAPOOR</character> <dialogue>This is the sort of woman you are. OK. Each to her own. But do not ever try and tell me that you are suitable wife for my son.</dialogue> <character>(BEAT)</character> <dialogue>Find your clothes and go. I don't expect to see you again.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN/PATHWAY. MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Sunaina is leaving the hotel, angry and humiliated. Evelyn and Douglas are coming up the path.</scene_description> <character>EVELYN</character> <dialogue>Sunaina? And now Sunaina is even more humiliated.</dialogue> </scene> <scene> <stage_direction>132A EXT. STREET. MARIGOLD HOTEL - NIGHT 132A</stage_direction> <scene_description>Sunaina roars away on her scooter.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>The same street. The sun is just coming up, and traders are setting up their stalls, spreading their wares on rugs on the ground. One trader is unloading some fruit. A few guava roll off the edge of his wagon. Someone picks them up for him. It's Graham, who smiles as he puts them back. The trader gives him a fresh one. Graham takes it, and walks on, munching the delicious fruit. A contented man.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Norman is sitting on a stone bench under a spreading tree. GRAHAM (O.S.) How did it go? Norman turns, to see Graham standing above him.</scene_description> <character>NORMAN</character> <dialogue>I have seen the top of the mountain. And it is good.</dialogue> <dialogue>Graham nods, sits down next to him. They gaze out at the waking city.</dialogue> <character>GRAHAM</character> <dialogue>I saw someone yesterday, a man I hadn't seen for many years. A man I've loved all my life. Norman is a bit startled by this.</dialogue> <character>NORMAN</character> <dialogue>A man... .?</dialogue> <character>GRAHAM</character> <dialogue>Yes.</dialogue> <character>NORMAN</character> <dialogue>Carry on.</dialogue> <character>GRAHAM</character> <dialogue>(smiling, unperturbed) I didn't know how he'd been in the meantime, didn't want to guess. I brought disgrace upon him and his family, and imagined he might hate me for it.</dialogue> <character>(BEAT)</character> <dialogue>But we talked all night. He's been happy. He's led a peaceful life, married to a woman who understood him and loved him nonetheless. But he's never forgotten me. That's what he said.</dialogue> <character>(BEAT)</character> <dialogue>I asked his forgiveness anyway. He said he had nothing to forgive me for. That instead I should forgive myself.</dialogue> <character>(BEAT)</character> <dialogue>All that time. All that time I believed I'd sentenced him to a life of shame. When I was the one in prison.</dialogue> <character>(BEAT)</character> <dialogue>But not any more.</dialogue> <scene_description>Silence for a while.</scene_description> <character>NORMAN</character> <dialogue>Top of the mountain.</dialogue> <character>GRAHAM</character> <dialogue>Yes. Norman smiles, then stands and goes on inside.</dialogue> <dialogue>Graham settles back into his chair, looks out at the world.</dialogue> <character>GRAHAM</character> <dialogue>Not any more.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD/VERANDAH, MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Norman comes into the courtyard. Madge, sipping from a cup of chai, calls down from her verandah.</scene_description> <character>MADGE</character> <dialogue>How was the night?</dialogue> <character>NORMAN</character> <dialogue>Rather special. He leaves. Madge just stares after him.</dialogue> </scene> <scene> <stage_direction>EXT. STAIRCASE. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Norman on the stairs to his room. He stops, catches his breath.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Graham is watching a stunningly beautiful bird. A snow crane; white and magnificent. It's on the grass in front of him. Then it opens its huge wings, takes off. And flies up into the bright blue sky. It's an extraordinary sight. As Graham watches the snow crane swoop and dip, it appears suddenly to slow and stall, until it seems to hang in the air, almost motionless.</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP. MARIGOLD HOTEL - DAWN</stage_direction> <scene_description>Norman crosses the rooftop to his bedroom. He comes inside, sits on the bed.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN, MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>Graham is still sitting in the garden. EVELYN (O.S.) You're back. He doesn't turn round. Evelyn has come out to the garden. She goes over to him.</scene_description> <character>EVELYN</character> <dialogue>It's been rather an extraordinary night all round. First tell me your news, and then - She breaks off. Graham is dead.</dialogue> </scene> <scene> <stage_direction>139A EXT. COURTYARD. MARIGOLD HOTEL - DAY 139A</stage_direction> <scene_description>EVELYN (V.0.) Day 45. Of course it was inevitable. Put enough old people in the same place, it won't be too long before one of them goes... Jean, Douglas, Madge, Norman and Muriel shocked and sobered</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - DAY</stage_direction> <scene_description>A train is crossing the endless fields.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>Evelyn stares out of the window. Madge, Norman, Douglas and Jean are behind her. Opposite sits Manoj. Evelyn turns to look at him, and at Gaurika, Manoj's wife, who sits beside him. EVELYN (V.0.) We all know it'll happen, but few of us know when. Graham died of a heart attack, evidently not his first. So he had a better idea than most what was coming, he just neglected to tell us. His prerogative.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAWN</stage_direction> <scene_description>Three white vehicles are driving across a narrow causeway, which barely rises above the surface of the lake. They seem to be floating. Clouds of dust billow behind them. EVELYN (V.0.) There was talk of sending the body home, but Manoj felt he should have a Hindu burial. At the place they had visited together. Not a holy place. Although for them perhaps it was.</scene_description> </scene> <scene> <stage_direction>EXT. FUNERAL PYRE, RUINS - DAY</stage_direction> <scene_description>A ruined garden, surrounded by the waters of the lake, crumbling pillared porticoes and arches. What must once have been a royal retreat is now long abandoned and overgrown. Graham's friends stand watching the pyre, transfixed by the flames. Manoj, dressed in white, stands with Gaurika. He recites a Hindi prayer. EVELYN (V.0.) A body takes a long time to be consumed. Many hours for the mourners to remember their dead. The fire must be lit at dawn, and by sunset, there must be nothing left but ash.</scene_description> </scene> <scene> <stage_direction>EXT. LAKESIDE - SUNSET</stage_direction> <scene_description>Stripped to the waist, Manoj walks into the water, holding a bowl. EVELYN (V.0.) Where do our souls go? is that all of us that is left behind? Perhaps the most we can ask is that when we do shuffle off, we do so knowing that we were loved Manoj pours Graham onto the water. The ashes shim r and dance, caught in the gentle currents.</scene_description> </scene> <scene> <stage_direction>EXT. SERVANT'S GARDEN. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Muriel and Anokhi are in the servants' garden. Young Wasim sits silently in the corner.</scene_description> <character>MURIEL</character> <dialogue>So there's a process, they call it pickling. I have no idea what it is, or how they do it, but whoever invented it was a smart man. But the real genius was the one who introduced an onion into the system. That I could never have thought of.</dialogue> <scene_description>Ajit looks at her, ready to translate.</scene_description> <character>MURIEL</character> <dialogue>No, forget it. Muriel is looking out at the yard. She sees Mrs Kapoor, talking to some surveyors. They're mapping out the building.</dialogue> <dialogue>Mrs Kapoor sees Muriel watching her, comes over to them.</dialogue> <character>MRS KAPOOR</character> <dialogue>Mrs Donnelly, what are you doing here? You should not be here, talking with this one.</dialogue> <character>MURIEL</character> <dialogue>I'm helping her clean. If these pots get any dirtier, you'll have to serve the food with penicillin.</dialogue> <character>MRS KAPOOR</character> <dialogue>We have other rooms. Go to one of them instead. While this is still a hotel.</dialogue> <dialogue>She turns back to the surveyors.</dialogue> <character>MURIEL</character> <parenthetical>(TO AJIT)</parenthetical> <dialogue>What's her problem? What's happening here?</dialogue> <dialogue>Ajit can't answer. But he knows a man who can. He points to Young Wasim.</dialogue> <character>AJIT</character> <dialogue>He can tell you.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP BAR, BHARATPUR PALACE HOTEL. UDAIPUR -</stage_direction> <character>EVENING</character> <dialogue>A stunning view over the city. Madge is having a drink with Norman. Douglas is sitting on the wall, but keeps looking down towards the stairs.</dialogue> <character>MADGE</character> <dialogue>When someone dies, you think about your own life. And in my case, there is less of it in front of me than behind. And I don't want to grow older. I</dialogue> <dialogue>don't want to be condescended to, ignored and marginalised by society. To become peripheral to the action.</dialogue> <scene_description>MADGE (coat' d) I don't want to be the first person let off the plane in a hostage crisis. They laugh together. And don't even see Douglas go.</scene_description> </scene> <scene> <stage_direction>EXT. LANDING. BHARATPUR PALACE HOTEL - EVENING</stage_direction> <scene_description>The landing is large, and open to the sky. Evelyn has just come up the stairs to go to her room. She's leaning against the stone baluster.</scene_description> <character>DOUGLAS</character> <dialogue>I wondered where you'd been. Evelyn turns. Douglas is on the stairs above her.</dialogue> <character>DOUGLAS</character> <dialogue>We're all up top, having a drink.</dialogue> <character>EVELYN</character> <dialogue>I went to see Gaurika. Manoj's wife. I wanted to ask her what she knew. And the answer was that she knew everything, that he'd loved another man, and always would. He told her when the marriage was arranged.</dialogue> <character>(BEAT)</character> <dialogue>They had no secrets from each other, none.</dialogue> <dialogue>Suddenly she's crying. Unable to stop. Douglas puts his arms around her, and holds her to him.</dialogue> <character>EVELYN</character> <dialogue>And that's right, don't you see? That must be right. Because what is the point of a marriage in which nothing is shared?</dialogue> <dialogue>Her words hang in the air. They stand there for a moment. Jean has come out of her room, and stands there, watching them.</dialogue> <character>JEAN</character> <dialogue>Mrs Greenslade, might I have my husband back now? They spring apart.</dialogue> <character>JEAN</character> <dialogue>Douglas? She walks off back into the room. Douglas turns to Evelyn.</dialogue> <character>DOUGLAS</character> <dialogue>FORGIVE ME</dialogue> <character>EVELYN</character> <dialogue>Yes, of course.</dialogue> <character>DOUGLAS</character> <dialogue>Forgive me. Evelyn goes quickly to her room, leaving him standing there.</dialogue> </scene> <scene> <stage_direction>INT. DOUGLAS AND JEAN'S ROOM - EVENING</stage_direction> <scene_description>Douglas closes the door.</scene_description> <character>DOUGLAS</character> <dialogue>She was upset.</dialogue> <character>JEAN</character> <dialogue>Spare me your explanations. D'you think I'm jealous?</dialogue> <character>DOUGLAS</character> <dialogue>I don't see why else you would have embarrassed me. And Evelyn.</dialogue> <character>JEAN</character> <dialogue>You were already doing a perfectly good job of embarrassing yourself. Can you imagine how ghastly it's been for everyone to watch you mooning around after that simpering doe- eyed ex-housewife, taking advantage of her loneliness and -</dialogue> <character>DOUGLAS</character> <dialogue>God, can you hear yourself? Can you? Do you have any idea what a terrible person you've become? Jean is stunned into silence.</dialogue> <character>DOUGLAS</character> <dialogue>All you give out is this endless negativity, a refusal to see any kind of light and joy even when it's right in your face, and a desperate need to squash any sign of happiness in me or anyone else .. it's a wonder I don't fling myself at the first kind word or gesture that comes my way. But I don't. Out of some dried-out notion of loyalty and respect, neither of which I ever bloody get in return.</dialogue> <scene_description>There's a long silence.</scene_description> <character>JEAN</character> <dialogue>I checked my emails. This came. She hands him a piece of paper.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP BAR. BHARATPUR PALACE HOTEL - EVENING</stage_direction> <scene_description>Evelyn comes onto the terrace, and heads for Madge and Norman. She picks up Madge's glass.</scene_description> <character>MADGE</character> <dialogue>Are you alright?</dialogue> <character>EVELYN</character> <dialogue>I just need some water. She drains the glass.</dialogue> <character>MADGE</character> <dialogue>That was a gin and tonic.</dialogue> <character>EVELYN</character> <dialogue>Yes. I know that now.</dialogue> <character>MADGE</character> <dialogue>What's happened?</dialogue> <character>NORMAN</character> <dialogue>Good evening, the Ainslies. Douglas and Jean are approaching them.</dialogue> <character>MADGE</character> <dialogue>How are you both?</dialogue> <character>JEAN</character> <dialogue>We're particularly well. Douglas, tell them our news.</dialogue> <dialogue>She looks to him, waits. He says nothing. So she turns, and smiles.</dialogue> <character>JEAN</character> <dialogue>We're going home.</dialogue> </scene> <scene> <stage_direction>EXT. EVELYN'S VERANDAH/KITCHEN. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Sonny is with his investor, Mr Maruthi. They emerge from the upper courtyard onto the terrace overlooking the back of the hotel.</scene_description> <character>SONNY</character> <dialogue>And so I would ask you to loosen the strings on your purse, Mr Maruthi, and to do it most rapidly. So that Phase Two Development of the Best Exotic Marigold Hotel can begin with immediate effect.</dialogue> <dialogue>Mr Maruthi looks down, sees Muriel. She's with Anokhi, Ajit, and Young Wasim. He calls down to her.</dialogue> <character>MR MARUTHI</character> <dialogue>Mrs Donnelly, I believe. Sonny spots the danger, tries to lead Mr Maruthi away.</dialogue> <character>SONNY</character> <dialogue>And now if you would please be following me to the ground floor</dialogue> <character>ROOMS</character> <dialogue>Mr Maruthi ignores him, calls down again.</dialogue> <character>MR MARUTHI</character> <dialogue>How are things at the hotel?</dialogue> <character>SONNY</character> <dialogue>Mr Maruthi -</dialogue> <character>MURIEL</character> <parenthetical>(CALLING BACK)</parenthetical> <dialogue>Better. They're going better. Sonny takes a moment to recover.</dialogue> <character>SONNY</character> <dialogue>You see? Profound satisfaction. Such is the inevitable result of a prolonged stay at the Marigold Hotel.</dialogue> <dialogue>And now Mr Maruthi has spotted something else. The surveyors, who are still taking their measurements.</dialogue> <character>MR MARUTHI</character> <dialogue>What are those men doing?</dialogue> <character>SONNY</character> <dialogue>(Glancing back for a moment) Working for me, Mr Maruthi. To create a home for the elderly so wonderful that they will simply refuse to die! Stare death in the face and say-</dialogue> <scene_description>98A.</scene_description> <character>SONNY</character> <dialogue>(follows Mr Maruthi's</dialogue> <character>GAZE)</character> <dialogue>What are those men doing?</dialogue> </scene> <scene> <stage_direction>EXT. KITCHEN/SERVANT'S GARDEN. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Moments later. Through the window, Muriel watches Sonny confronting his mother.</scene_description> <character>SONNY</character> <dialogue>Mummyji, what is going on here?</dialogue> <character>MRS KAPOOR</character> <dialogue>I have spoken to your brothers. They want to sell the hotel. These men are here to value the building.</dialogue> <character>SONNY</character> <dialogue>They are valuing the land. My brothers do not care about the building. They will knock it down.</dialogue> <character>MRS KAPOOR</character> <dialogue>They could just wait a month for it to fall down of its own accord.</dialogue> <character>SONNY</character> <dialogue>You joke, Mummyji, but inside I know you are not laughing. You do not want to see this dream destroyed. Send these people away.</dialogue> <character>MRS KAPOOR</character> <dialogue>No, my son. It is too late.</dialogue> </scene> <scene> <stage_direction>INT. SONNY'S OFFICE - NIGHT</stage_direction> <scene_description>Mrs Kapoor is at the desk, going through the accounts. Sonny stands opposite her.</scene_description> <character>SONNY</character> <dialogue>Mummyji, please -</dialogue> <character>MRS KAPOOR</character> <dialogue>These figures do not support your argument.</dialogue> <character>SONNY</character> <dialogue>There is still time to turn things around. With a small injection of funds, we can -</dialogue> <character>MRS KAPOOR</character> <dialogue>Who is trusting you with that money? Eh? You, who cannot run a chai stand. Just like your father.</dialogue> <scene_description>Beat. Then Sonny speaks quietly.</scene_description> <character>SONNY</character> <dialogue>Do I remind you of him so much? Is that why you must be cruel to me?</dialogue> <character>MRS KAPOOR</character> <dialogue>You think I am cruel?</dialogue> <character>SONNY</character> <dialogue>You loved my father. And he loved this hotel.</dialogue> <character>MRS KAPOOR</character> <parenthetical>(FIERCELY)</parenthetical> <dialogue>Two mistakes. There will not be a third.</dialogue> <character>(BEAT)</character> <dialogue>Say goodbye to all this, Sonny. And come with me to Delhi. Your life will become easier.</dialogue> <character>SONNY</character> <dialogue>Not easier, Mummyji. Smaller. He leaves.</dialogue> <dialogue>Mrs Kapoor comes back to the desk, fiddling with some paperwork, discomfited.</dialogue> <dialogue>She turns to the doorway. Muriel is there, in her chair.</dialogue> <character>MRS KAPOOR</character> <dialogue>Mrs Donnelly. Can I help you?</dialogue> <character>MURIEL</character> <dialogue>Depends. Do you know how to use a computer?</dialogue> <character>MRS KAPOOR</character> <dialogue>I assume you are joking.</dialogue> <character>MURIEL</character> <dialogue>Mrs Ainslie said she had an address where I could get some things I need. Some biscuits. She said I could get them on the line.</dialogue> <character>MRS KAPOOR</character> <dialogue>I wish you luck. Mrs Kapoor smiles, and leaves.</dialogue> <dialogue>Muriel watches her go, then turns to the computer. Her fingers fly across the keyboard.</dialogue> </scene> <scene> <stage_direction>INT. TRAIN - NIGHT</stage_direction> <scene_description>The train rattles its way through the night. Jean is chatting away, in a better mood than we've seen her for some time. Evelyn listens in silence.</scene_description> <character>JEAN</character> <dialogue>The whole thing is actually tremendously exciting. Not just getting on a plane, but getting on a plane and turning left.</dialogue> <character>NORMAN</character> <dialogue>Turning left?</dialogue> <character>JEAN</character> <dialogue>First class. And home in time for our 40th wedding anniversary. We haven't yet decided how to mark the occasion.</dialogue> <character>MADGE</character> <dialogue>Perhaps a minute's silence?</dialogue> </scene> <scene> <stage_direction>INT. SONNY'S OFFICE, MARIGOLD HOTEL - NIGHT</stage_direction> <scene_description>Ajit keeps watch, while Muriel is at the printer. Waiting as it disgorges pages.</scene_description> </scene> <scene> <stage_direction>155A EXT. STREET. JAIPUR STATION - DAY 155A</stage_direction> <scene_description>The tuk-tuks are lined up.</scene_description> <character>NORMAN</character> <dialogue>(hailing a tuk-tuk) Two should fit us all, I think.</dialogue> <character>EVELYN</character> <dialogue>I'm actually going to walk. Apparently they're getting ready for a festival.</dialogue> <character>DOUGLAS</character> <dialogue>Perhaps you'd like one of us to accompany you.</dialogue> <character>MADGE</character> <dialogue>I'm happy to walk with you.</dialogue> <character>EVELYN</character> <dialogue>I'll be fine. Evelyn speaks to both Douglas and Jean.</dialogue> <character>EVELYN</character> <dialogue>I'm delighted for your daughter's success. I wish you all every happiness.</dialogue> <character>JEAN</character> <dialogue>Thank you. Evelyn turns, and walks away.</dialogue> </scene> <scene> <stage_direction>INT. TUK-TUX - DAY</stage_direction> <scene_description>Douglas and Jean are in the tuk-tuk with Madge and Norman. There is a sombre atmosphere. A motor-bike hurtles past them, going the other way.</scene_description> <character>DOUGLAS</character> <dialogue>Was that Sonny?</dialogue> </scene> <scene> <stage_direction>INT. CHRISTOPHER'S HOUSE, LONDON - DAY</stage_direction> <scene_description>A phone is ringing. Christopher is still in bed, his wife Polly asleep next to him. He answers.</scene_description> <character>CHRISTOPHER</character> <dialogue>YES</dialogue> <parenthetical>(can't believe his ears)</parenthetical> <dialogue>Ma?</dialogue> <scene_description>Evelyn stands under the awning of the ticket office.</scene_description> <character>EVELYN</character> <dialogue>I just wanted to hear your voice.</dialogue> <character>(BEAT)</character> <dialogue>No, I'm sorry, I didn't think about the time . How are you? And Polly? The boys . how are the boys? She listens to him. She's holding back tears.</dialogue> <character>EVELYN</character> <dialogue>Oh good, I'm glad you've been reading it. Yes. Yes, I've made some very good friends.</dialogue> <character>(BEAT)</character> <dialogue>No, I'm fine, of course I am.</dialogue> <scene_description>As much as she had wanted to speak to him, she now wants the conversation to be over.</scene_description> <character>EVELYN</character> <dialogue>I think my money is running out, I'd better go. Goodbye for now, darling. I'll call again later. She hangs up. And stays there with her hand on the phone. Out on the street, Sonny is pulling up. She looks over to him.</dialogue> <character>SONNY</character> <dialogue>Mrs Greenslade. Where are the others?</dialogue> <character>EVELYN</character> <dialogue>They're on their way to the hotel.</dialogue> <dialogue>Sonny looks around, at a loss.</dialogue> <character>EVELYN</character> <dialogue>What's the matter?</dialogue> <character>SONNY</character> <dialogue>I wanted to warn you before you see for yourself of the most momentous changes that are occurring, absolutely all of them without question for the very positive.</dialogue> <character>EVELYN</character> <dialogue>What are you talking about?</dialogue> <character>SONNY</character> <dialogue>I am delighted to announce the closing of the Best Exotic Marigold Hotel, and the joyful return of all of its inhabitants to their home country.</dialogue> <character>EVELYN</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN PATH. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Norman and Madge have arrived back at the hotel. Mrs Kapoor is breaking the news to them.</scene_description> <character>MRS KAPOOR</character> <dialogue>Please relax in the knowledge that your journey home is being arranged, and paid for by the hotel.</dialogue> <character>MADGE</character> <dialogue>Our journey here was arranged and paid for by the hotel, and look how that went. I'd rather walk back to England.</dialogue> <character>NORMAN</character> <dialogue>I'd rather not go back at all. A voice comes behind them. Carol has come out of the courtyard.</dialogue> <character>CAROL</character> <dialogue>Why would you have to?</dialogue> </scene> <scene> <stage_direction>EXT. JAIPUR STATION - DAY</stage_direction> <scene_description>Sonny and Evelyn are still talking.</scene_description> <character>SONNY</character> <dialogue>And for myself the news is even better. I shall be moving to Delhi to live with my mother, and furthermore I shall be wed to a most suitable person of her choice, whom I look forward very much to meeting before I spend the rest of my life with her.</dialogue> <character>EVELYN</character> <dialogue>But what about your girlfriend?</dialogue> <character>SONNY</character> <dialogue>She is no longer my girlfriend.</dialogue> <character>EVELYN</character> <dialogue>This is a disaster.</dialogue> <character>SONNY</character> <dialogue>Then we must treat it just the same as we would treat a triumph, is that not what your Mr Kipling tells us? Although of course, here we have a problem. Because I, Sunil Indrajit Kapoor, have never had a triumph, so of course I do not know how to treat one. No, all I have had is an constant series of disasters interspersed with the occasional catastrophe, an unending stream of total -</dialogue> <character>EVELYN</character> <dialogue>Sonny, do you love her? Sunaina?</dialogue> <character>SONNY</character> <dialogue>Most deeply.</dialogue> <character>EVELYN</character> <dialogue>Have you told her you love her?</dialogue> <character>SONNY</character> <dialogue>It is because I love her that I must not tell her. She can do so much better than me.</dialogue> <character>EVELYN</character> <dialogue>And you have told her that?</dialogue> <character>SONNY</character> <dialogue>Many times.</dialogue> <character>EVELYN</character> <dialogue>Good. Women love it when you say that kind of thing. It's a powerful aphrodisiac.</dialogue> <character>SONNY</character> <dialogue>Really?</dialogue> <character>EVELYN</character> <dialogue>No, of course not. Go and find her right now, before you lose her forever. Her future is hers to choose, and so is yours. You can have anything you want, Sonny. You just need to stop waiting for someone to tell you you deserve it. Or you can just keep failing yourself, and hurting the ones you love -</dialogue> <character>SONNY</character> <dialogue>Mrs Greenslade, stop drilling! You have struck oil!</dialogue> <dialogue>He goes to his bike, climbs on, and rockets off.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER COURTYARD. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Madge is sitting, pensive. Carol comes in.</scene_description> <character>MADGE</character> <dialogue>Where's Norman?</dialogue> <character>CAROL</character> <dialogue>Packing.</dialogue> <character>MADGE</character> <dialogue>But we don't have to leave yet.</dialogue> <character>CAROL</character> <dialogue>I asked him to come and stay with me.</dialogue> <character>MADGE</character> <dialogue>Is that wise? I'm not sure he's trained.</dialogue> <character>CAROL</character> <dialogue>You think it's too soon.</dialogue> <character>MADGE</character> <dialogue>It doesn't matter what I think.</dialogue> <character>CAROL</character> <dialogue>It is too soon. But at our age we can't afford the luxury of taking it slow. And it's either this or he goes home and I don't want him to go home.</dialogue> <dialogue>Madge looks at her for a while. Then smiles.</dialogue> <character>MADGE</character> <dialogue>I wish you both the very best.</dialogue> <character>CAROL</character> <dialogue>You haven't met anyone?</dialogue> <character>MADGE</character> <dialogue>Single by choice. Just not my choice.</dialogue> <character>(BEAT)</character> <dialogue>I actually think it might be over. For me. With men. And if that's gone, I'm not quite sure what's left.</dialogue> <character>BEAT</character> <dialogue>CAROL</dialogue> <scene_description>Did you know Norman brought pills? The first night he stayed with me?</scene_description> <character>MADGE</character> <dialogue>They obviously did the trick.</dialogue> <character>CAROL</character> <dialogue>I saw them in his pocket. I didn't want it to be like that. So when I had the chance I swapped them.</dialogue> <character>(BEAT)</character> <dialogue>106A.</dialogue> <character>CAROL</character> <dialogue>He went all night on two aspirin.</dialogue> <character>(BEAT)</character> <dialogue>It's never over. Norman appears with his one bag and his battery radio.</dialogue> <character>NORMAN</character> <dialogue>Ready?</dialogue> </scene> <scene> <stage_direction>EXT. STREET, CENTRAL JAIPUR - DAY</stage_direction> <scene_description>Sonny roars through the streets on his bike.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Evelyn approaches. She sees a taxi waiting outside the hotel.</scene_description> </scene> <scene> <stage_direction>EXT. STAIRCASE, MARIGOLD HOTEL - CONTINUOUS</stage_direction> <scene_description>The houseboy is carrying Douglas and Jean's bags down to the car.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD, MARIGOLD HOTEL - CONTINUOUS</stage_direction> <scene_description>Evelyn comes into the courtyard. Muriel is sitting there. The two women stare at each other.</scene_description> <character>MURIEL</character> <dialogue>Do you want him to see you?</dialogue> </scene> <scene> <stage_direction>165A EXT. STREET. JAIPUR 165A</stage_direction> <scene_description>Sonny is waiting at a junction, texting into his mobile phone.</scene_description> </scene> <scene> <stage_direction>INT. DOUGLAS AND JEAN'S ROOM, MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Douglas is checking they haven't left anything. Jean is at the door. She's impatient.</scene_description> <character>JEAN</character> </scene> <scene> <stage_direction>166A INT. CALL CENTRE - DAY 166A</stage_direction> <scene_description>Sunaina picks up her mobile, looks at the message.</scene_description> </scene> <scene> <stage_direction>EXT/INT. TAXI/STREET. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Jean is sitting in the taxi, which is driven by BARUM. Douglas climbs in. A beat.</scene_description> <character>DOUGLAS</character> <dialogue>My wallet, I forgot my wallet. One second.</dialogue> <dialogue>Before Jean has a chance to say anything, he goes back in.</dialogue> <scene_description>She watches him go.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD, MARIGOLD HOTEL - CONTINUOUS</stage_direction> <scene_description>Douglas comes back into the courtyard, heads towards the staircase to Evelyn's room. Then Muriel speaks from her verandah.</scene_description> <character>MURIEL</character> <dialogue>She's not back yet. Douglas stops. Beat.</dialogue> <character>DOUGLAS</character> <dialogue>Right.</dialogue> <character>(BEAT)</character> <dialogue>Then perhaps you could tell her I said goodbye.</dialogue> <dialogue>He turns and walks out.</dialogue> </scene> <scene> <stage_direction>INT. EVELYN'S ROOM, MARIGOLD HOTEL - CONTINUOUS</stage_direction> <scene_description>Evelyn is at her window, listening. She turns to watch him leave.</scene_description> </scene> <scene> <stage_direction>EXT. MARIGOLD HOTEL - CONTINUOUS</stage_direction> <scene_description>Douglas gets back into the taxi.</scene_description> <character>DOUGLAS</character> <dialogue>(slamming the door) False alarm. Had it the whole time. Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. CALL CENTRE - DAY</stage_direction> <scene_description>Sonny roars into the forecourt, gets off his bike, and runs into the building. A SECURITY GUARD goes to stop him, but Sonny's already running up the stairs.</scene_description> </scene> <scene> <stage_direction>172A INT. STAIRWELL/LANDING. CALL CENTRE - DAY 172A</stage_direction> <scene_description>Sonny keeps going up, floor after floor.</scene_description> <character>SONNY</character> <parenthetical>(YELLING)</parenthetical> <dialogue>Sunaina! Sunaina! He reaches the seventh floor.</dialogue> <dialogue>Jay appears on the landing above him.</dialogue> <character>JAY</character> <dialogue>What's going on? Sonny is doubled over, totally out of breath. Holds up a finger.</dialogue> <character>JAY</character> <dialogue>Sonny?</dialogue> <character>SONNY</character> <dialogue>I need to see Sunaina!</dialogue> <character>JAY</character> <dialogue>Her shift's not over. And when it is, she doesn't want to see you. Beat.</dialogue> <character>SONNY</character> <dialogue>Jay, you are the son my mother wished I was; an intelligent man, with a strong head for business. You see things as they are, not as you wish them to be. So fuck off out of my way. Jaydoesn't move.</dialogue> <character>SONNY</character> <dialogue>Or you can give her a message. Sunaina is standing against the wall, unseen by Sonny, listening.</dialogue> <character>SONNY</character> <dialogue>Tell her from me what I should have told her the day we met. What I will announce to anyone who asks. And many who do not. Sunaina speaks to Jay.</dialogue> <character>SUNAINA</character> <dialogue>Including your mother?</dialogue> <character>JAY</character> <parenthetical>(TO SONNY)</parenthetical> <dialogue>Including my mother?</dialogue> <character>SUNAINA</character> <dialogue>His mother.</dialogue> <character>JAY</character> <parenthetical>(TO SONNY)</parenthetical> <dialogue>Your mother.</dialogue> <character>SONNY</character> <dialogue>I will tell every mother in the land.</dialogue> <character>SUNAINA</character> <parenthetical>(TO JAY)</parenthetical> <dialogue>What will you tell them?</dialogue> <character>JAY</character> <parenthetical>(TO SONNY)</parenthetical> <dialogue>What will you tell them?</dialogue> <character>SONNY</character> <dialogue>The only thing that matters in this world. That I love you. And always will.</dialogue> <character>(BEAT)</character> <dialogue>And by you, I mean Sunaina, Jay, not you. Although if you are to be my brother-in-law, I hope we can become better friends.</dialogue> <character>SUNAINA</character> <dialogue>Why is he only saying this now?</dialogue> <character>JAY</character> <parenthetical>(TO SUNAINA)</parenthetical> <dialogue>You ask him.</dialogue> <character>SUNAINA</character> <dialogue>Why are you only saying this now?</dialogue> <character>SONNY</character> <dialogue>Because, Sunaina, love of my life, no more will I believe that I am not worthy, for only by loving you as you deserve will I become so.</dialogue> <dialogue>On Sunaina's face as she hears this.</dialogue> </scene> <scene> <stage_direction>EXT. STREET, CENTRAL JAIPUR - DAY</stage_direction> <scene_description>The cacophonous sound of drumming: a small band of players are beating out a deafening, syncopated rhythm as the Ganeshi festival begins to unfold. Sonny is on his bike, Sunaina riding side-saddle on the back. They're speeding through the city. Sonny rockets through an arch way up a side street, is confronted by a huge traffic jam. The Ganeshi procession is bringing everything to a standstill. He does a U-turn, speeds off back the way they came.</scene_description> </scene> <scene> <stage_direction>INT/EXT. TAXI/STREET - DAY</stage_direction> <scene_description>Douglas and Jean are sitting in the traffic jam.</scene_description> <character>DOUGLAS</character> <dialogue>It's funny. They call it rush hour, but nothing actually moves.</dialogue> <character>(BEAT)</character> <dialogue>It's not that funny.</dialogue> <character>(BEAT)</character> <dialogue>Although I suppose it's all about context, isn't it? I mean -</dialogue> <character>JEAN</character> <dialogue>Douglas?</dialogue> <character>DOUGLAS</character> <dialogue>Yes?</dialogue> <character>JEAN</character> <dialogue>If you say one more word, I'll kill you with my thumbs.</dialogue> </scene> <scene> <stage_direction>174A EXT. COURTYARD. MARIGOLD HOTEL - DAY 174A</stage_direction> <scene_description>Muriel sits alone in the courtyard, under her awning. Then Carol and Norman appear from reception, followed by Mrs Kapoor. They cross towards the arch.</scene_description> <character>MURIEL</character> <dialogue>Where d'you think you're going?</dialogue> <character>MADGE</character> <dialogue>You may well ask. Madge is sitting under the shade of a tree..</dialogue> <character>NORMAN</character> <dialogue>We're moving in together.</dialogue> <character>MURIEL</character> <dialogue>Already?</dialogue> <character>CAROL</character> <dialogue>That point has been made.</dialogue> <character>MRS KAPOOR</character> <dialogue>The hotel is closing.</dialogue> <character>MURIEL</character> <dialogue>Doesn't have to. Silence. Everyone stares at Muriel. She takes out the spreadsheets.</dialogue> <character>MURIEL</character> <dialogue>I've been going over the accounts.</dialogue> </scene> <scene> <stage_direction>174B EXT. STREET, CENTRAL JAIPUR - DAY 174B</stage_direction> <scene_description>If anything, the traffic is now worse. Jean and Douglas's taxi has progressed a few yards, and is now wedged into the arch. The Ganeshi procession is completely blocking the far entrance to the archway. Jean gets out, looks at the sea of unmoving traffic ahead and behind.</scene_description> <character>JEAN</character> <dialogue>This is ridiculous. It could go on for hours. There's no way we're ever going to get out of here.</dialogue> <character>DOUGLAS</character> <dialogue>Maybe there is. A rickshaw arrives next to them, swerving through the traffic. It is ridden by IFTI.</dialogue> <character>JEAN</character> <dialogue>You. Can you get us to the airport?</dialogue> <character>IFTI</character> <dialogue>Sorry long way sore legs not possible.</dialogue> <character>JEAN</character> <dialogue>I'll give you everything I have.</dialogue> <character>IFTI</character> <dialogue>Step right in mind your head let's go.</dialogue> <character>JEAN</character> <dialogue>Come on, Douglas. Come on! Douglas gets the suitcases out of the trunk of the cab.</dialogue> <character>IFTI</character> <dialogue>Sorry no manage people and cases.</dialogue> <character>JEAN</character> <dialogue>(grabbing her suitcases) What?</dialogue> <character>IFTI</character> <dialogue>Not possible. Two person, no cases; one person, and cases.</dialogue> <character>JEAN</character> <dialogue>(taking off her watch) How about if I give you something else? My watch?</dialogue> <character>IFTI</character> <parenthetical>(TAKES IT)</parenthetical> <dialogue>Sure. Thank you. Still not possible.</dialogue> <character>DOUGLAS</character> <dialogue>We'll get another flight. We can go back to the hotel, and leave in the morning.</dialogue> <character>JEAN</character> <dialogue>No.</dialogue> <character>DOUGLAS</character> <dialogue>Jean, you heard what he said. He can't do it.</dialogue> <character>JEAN</character> <dialogue>He can do one person, and cases.</dialogue> <character>DOUGLAS</character> <dialogue>Yes, but</dialogue> <character>JEAN</character> <dialogue>Could fate find a better way to tell us what we need to hear?</dialogue> <character>DOUGLAS</character> <dialogue>Which is what?</dialogue> <character>JEAN</character> <dialogue>That it's over. It was over a long long time ago.</dialogue> <character>DOUGLAS</character> <dialogue>This is not the time to talk about this. Let's wait till we</dialogue> <character>GET-</character> <dialogue>JEAN</dialogue> <scene_description>I have to go, Douglas.</scene_description> <character>DOUGLAS</character> <dialogue>I won't let you.</dialogue> <character>JEAN</character> <dialogue>No, you'll want to come after me. Chase me to the airport and tell me everything will be fine. But please don't. Because the truth is we both deserve more than we've had. You're just too kind and too loyal to admit it.</dialogue> <character>113A.</character> <dialogue>Beat.</dialogue> <character>JEAN</character> <dialogue>I will be alright.</dialogue> <character>(SHE SMILES)</character> <dialogue>I'm turning left. She climbs onto the rickshaw.</dialogue> <dialogue>As the drumming intensifies, Douglas stands holding his suitcase, watching her weave through the traffic and out of sight.</dialogue> </scene> <scene> <stage_direction>174C EXT. STREET. MARIGOLD HOTEL - DAY 174C</stage_direction> <scene_description>Sonny and Sunaina roar towards the hotel, drive into the gate and up the path...</scene_description> </scene> <scene> <stage_direction>EXT. STREET/COURTYARD. MARIGOLD HOTEL - DAY</stage_direction> <scene_description>Mrs Kapoor is studying the spreadsheets.</scene_description> <character>MRS KAPOOR</character> <dialogue>I don't know what any of these figures mean.</dialogue> <dialogue>Sonny and Sunaina drive into the courtyard, screech to a halt.</dialogue> <dialogue>They dismount.</dialogue> <character>SONNY</character> <dialogue>Mummyji? Mummyjit</dialogue> <character>MRS KAPOOR</character> <dialogue>Right here, you do not need to shout.</dialogue> <character>SONNY</character> <dialogue>Do you remember what my father used to say? That nothing happens unless first we dream. Like him I have dreamt, Mummyji, and like him, I have failed. The Marigold Hotel is crumbling into dust. And it turns out I can live with that. But the one thing I will not do is live without this girl. To whom I did not introduce you properly before.</dialogue> <character>(BEAT)</character> <dialogue>This is Sunaina Shantanu Palawat. The woman I love, and wish to marry.</dialogue> <character>SUNAINA</character> <dialogue>I am very pleased to meet you, Mrs Kapoor.</dialogue> <scene_description>Sunaina puts out her hand. Mrs Kapoor will not take it.</scene_description> <character>MRS KAPOOR</character> <dialogue>(shaking her head) No. I forbid it. I forbid this match. Utterly and completely. Do you hear me, Sonny? This cannot happen.</dialogue> <dialogue>And then a low, rumbling sound comes from the corner. Like a quiet volcano.</dialogue> <dialogue>Young Wasim is speaking. It's a long, poetic and heartfelt speech.</dialogue> <dialogue>Unfortunately it's in Hindi.</dialogue> <character>MADGE</character> <dialogue>What is he saying?</dialogue> <character>MURIEL</character> <dialogue>What he said to me, I imagine. She turns to Sunaina.</dialogue> <character>MURIEL (CON'TD)</character> <dialogue>Can you help?</dialogue> <character>SUNAINA</character> <dialogue>He is saying . he is saying that he has been with this family as long as he can remember. Given them a lifetime of service. And that he remembers another fight, between two young people and their parents. And he remembers the moment where the young man stood up to his mother</dialogue> <character>MRS KAPOOR</character> <dialogue>. and said yes, I want to marry this woman. Yes, she is from a different community. But she is smart, she is beautiful, and I love her. Long pause.</dialogue> <dialogue>MRS KAPOOR (cont'd) I don't know who he's talking about.</dialogue> <dialogue>She offers Sunaina her hand. MRS KAPOOR</dialogue> <dialogue>Take care of my favourite son. Sunaina shakes her hand.</dialogue> <character>NORMAN</character> <dialogue>So I'm not clear now. Am I staying or going?</dialogue> <character>MURIEL</character> <dialogue>Depends how you read the accounts.</dialogue> <character>SONNY</character> <dialogue>The accounts?</dialogue> <character>MURIEL</character> <dialogue>Turns out the original plan is good, it works. Just not in the hands of an imbecile.</dialogue> <character>SONNY</character> <dialogue>I knew that plan was good!</dialogue> <character>MURIEL</character> <dialogue>What the place needs is more money.</dialogue> <character>SONNY</character> <dialogue>Unfortunately my investor, Mr Maruthi has decided that while he greatly admires my endeavors, he</dialogue> <character>CANNOT -</character> <dialogue>MURIEL</dialogue> <scene_description>He's reconsidered.</scene_description> <character>SONNY</character> <dialogue>You spoke to him?</dialogue> <character>MURIEL</character> <dialogue>So long as there is someone to help the manager.</dialogue> <character>SONNY</character> <dialogue>The manager needs no help.</dialogue> <character>SUNAINA</character> <dialogue>Sonny...</dialogue> <character>SONNY</character> <dialogue>The manager needs a little help.</dialogue> <character>MURIEL</character> <parenthetical>(TO NORMAN)</parenthetical> <dialogue>So will you stay? Norman looks at Carol.</dialogue> <character>NORMAN</character> <dialogue>I'd like to.</dialogue> <character>CAROL</character> <dialogue>In the shack on the roof?</dialogue> <character>NORMAN</character> <dialogue>I sleep in the trees.</dialogue> <character>SONNY</character> <parenthetical>(TO CAROL)</parenthetical> <dialogue>We have a double room. Bathroom ensuite. And a fully working door.</dialogue> <dialogue>He points to Graham's room.</dialogue> <character>SONNY</character> <dialogue>A guest has recently checked out. Madge can't believe he just said that.</dialogue> <character>CAROL</character> <dialogue>I'll think about it.</dialogue> <character>MURIEL</character> <parenthetical>(TO MADGE)</parenthetical> <dialogue>Mrs Hardcastle ? You're staying.</dialogue> <character>MADGE</character> <dialogue>On my own?</dialogue> <character>MURIEL</character> <dialogue>You're off your game. Lost your confidence, maybe. But you're a thoroughbred. You'll be back. Madge smiles.</dialogue> <character>MURIEL (CON'TD)</character> <dialogue>And what about you, Mrs Greenslade?</dialogue> <dialogue>Evelyn has come down, unnoticed by all. Except Muriel.</dialogue> <character>EVELYN</character> <dialogue>What about me, Mrs Donnelly?</dialogue> <character>MURIEL</character> <dialogue>We haven't talked much, you and</dialogue> <scene_description>I.</scene_description> <character>EVELYN</character> <dialogue>My loss, evidently.</dialogue> <character>(BEAT)</character> <dialogue>I'm not sure what I should do. Nothing here has quite worked out as I hoped.</dialogue> <scene_description>117A.</scene_description> <character>MURIEL</character> <dialogue>Most things don't. But sometimes what happens instead is the good stuff.</dialogue> <character>(BEAT)</character> <dialogue>MURIEL</dialogue> <scene_description>Haven't you got work in the morning? Evelyn nods.</scene_description> <character>MURIEL</character> <dialogue>Besides, he'll be back.</dialogue> <character>EVELYN</character> <dialogue>You don't know him. He's the most loyal man I've ever met.</dialogue> <character>MURIEL</character> <dialogue>50,000 rupees says I'm right. At your current salary that should take you three months to pay off.</dialogue> <dialogue>Muriel stands up. Everybody stares. She starts to walk slowly but proudly across the courtyard. She reaches the doorway, turns back.</dialogue> <character>MURIEL</character> <dialogue>If you'll excuse me, someone's waiting to help me make mango chutney. Why did no one tell me about that stuff?</dialogue> <character>MRS KAPOOR</character> <dialogue>Who is the new assistant manager?</dialogue> <character>MURIEL</character> <dialogue>Why? Are you thinking of applying for the job?</dialogue> <dialogue>She gestures for her wheelchair. Sonny rushes up with it. She sinks down.</dialogue> <character>MURIEL (CONT'D))</character> <dialogue>That's enough exercise for one day.</dialogue> </scene> <scene> <stage_direction>175A EXT. AIRPORT ROAD. JAIPUR - EVENING 175A</stage_direction> <scene_description>Jean sits in the rickshaw, surrounded by her luggage, carried by Ifti's strong legs towards her future. EVELYN (V.0.) Day 51. The only real failure is the failure to try.</scene_description> </scene> <scene> <stage_direction>175B INT. EVELYN'S ROOM, MARIGOLD HOTEL - EVENING 175B</stage_direction> <scene_description>Evelyn is at her computer typing. EVELYN (V.0.) And the measure of success is how we cope with disappointment. As we always must.</scene_description> </scene> <scene> <stage_direction>175C EXT. STREET, CENTRAL JAIPUR - NIGHT 175C</stage_direction> <scene_description>Douglas, still holding his suitcase, is surrounded by Ganeshi drummers, silhouetted against the lights of the city. The sound fades as he disappears into the celebration, and is replaced by the gentle sound of temple bells, ringing for morning prayers. EVELYN (V.0.) We came here, and we tried. All of us, in our different ways.</scene_description> </scene> <scene> <stage_direction>INT. EVELYN'S ROOM, MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>Evelyn is still sitting, fully dressed in her room. She's been up all night. Her alarm clock buzzes. She turns it off.</scene_description> </scene> <scene> <stage_direction>EXT. EVELYN'S TERRACE, MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>Evelyn comes out of her room, walks across the terrace.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD, MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>EVELYN (V.0.) Some achieved more than others. but we did our best. Nothing else matters. Evelyn walks through the courtyard, and on out of the hotel.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN/PATHWAY, MARIGOLD HOTEL - MORNING</stage_direction> <scene_description>Evelyn walks down the path towards the street. Then Douglas comes through the gate, with his suitcase. They stand there, looking at each other for a moment.</scene_description> <character>EVELYN</character> <dialogue>Good morning.</dialogue> <character>DOUGLAS</character> <dialogue>It is, isn't it?</dialogue> <character>EVELYN</character> <dialogue>You're still here.</dialogue> <character>DOUGLAS</character> <dialogue>I missed the plane.</dialogue> <character>EVELYN</character> <dialogue>What about Jean?</dialogue> <character>DOUGLAS</character> <dialogue>She didn't. Beat.</dialogue> <character>DOUGLAS</character> <dialogue>(putting down his</dialogue> <character>SUITCASE)</character> <dialogue>I had quite an interesting night, actually. I met the same taxi driver, but this time I let him take me to his brother's hotel. Which turned out to be less of a hotel, and more of a brothel, really. They gave me this pipe, said it was apple tobacco, but that's not what we called it when I was a student. So I made my excuses and left, wanted some time to think. This city at night is extraordinary.</dialogue> <character>(BEAT)</character> <dialogue>Of course the apple tobacco helped.</dialogue> <character>(BEAT)</character> <dialogue>Guess what? I finally saw an elephant.</dialogue> <dialogue>Silence for a bit.</dialogue> <character>EVELYN</character> <dialogue>I'm late for work. She goes past him.</dialogue> <character>DOUGLAS</character> <dialogue>Um ... She stops, turns.</dialogue> <character>DOUGLAS</character> <dialogue>What time do you finish?</dialogue> <character>EVELYN</character> <dialogue>I get back about 5.</dialogue> <character>DOUGLAS</character> <dialogue>Tea time.</dialogue> <character>EVELYN</character> <dialogue>Yes.</dialogue> <character>DOUGLAS</character> <dialogue>How do you take it?</dialogue> <character>EVELYN</character> <dialogue>With a little milk. She turns and walks away. She's smiling.</dialogue> </scene> <scene> <stage_direction>EXT. MARKET, JAIPUR - DAY</stage_direction> <scene_description>EVELYN (V.0.) Perhaps it's true: we don't stop playing because we grow old, we grow old because we stop playing. Douglas is haggling with a motorbike mechanic. He seems to be having more success with the price than in earlier days.</scene_description> </scene> <scene> <stage_direction>180A EXT. ROOFTOP, MARIGOLD HOTEL - DAY 180A</stage_direction> <scene_description>Carol is lying on Norman's bed, reading a book, while he washes his socks in a bucket. EVELYN (V.0.) All we really know about the future is that it will be different.</scene_description> </scene> <scene> <stage_direction>EXT. VICEROY CLUB. JAIPUR - DAY</stage_direction> <scene_description>Madge is chatting vivaciously to someone. It's the elegant older man we saw earlier. And he seems utterly smitten. EVELYN (V.0.) So we must celebrate the changes.</scene_description> </scene> <scene> <stage_direction>EXT. STREET. JAIPUR - DAY</stage_direction> <scene_description>Sonny and Sunaina race through the streets on his motorbike. Sonny raises a fist in salute. EVELYN (V.0.) Let them come. Bring them on. Because as someone once said, everything will be alright in the end ... Coming from the other direction, another motorbike, Douglas at the handlebars, returning Sonny's greeting. And on the pillion seat, riding side-saddle, her scarf flying in the breeze, is Evelyn, on her way home from work. EVELYN (V.0.) So if it's really not alright, then trust me: it's not yet the end.</scene_description> </scene> </script>

Several British retirees decide to move to Jaipur, India, to stay in the Best Exotic Marigold Hotel, advertised as an exotic retirement home. Evelyn Greenslade, a widowed housewife, must sell her house to pay off her husband's debts; Graham Dashwood, a High Court judge who lived in Jaipur as a child, abruptly retires to return there; Jean and Douglas Ainslie hope to have an affordable retirement, after investing in their daughter's internet business; Muriel Donnelly, a former housekeeper, decides to have a cheaper hip operation in India; Madge Hardcastle, after several unsuccessful marriages, searches for new romance overseas; and Norman Cousins, an aging lothario, attempts to relive his youth. After an eventful journey to Jaipur, the retirees discover the hotel is a dilapidated site, run by the energetic but inept manager, Sonny Kapoor. Sonny's mother moves into the hotel in the hope of convincing her son to invest in a more secure job. Evelyn gets a job at a local call centre, where Sonny's girlfriend Sunaina and her older brother Jay work. Graham takes long walks in search of familiar ground. While Jean hides in the hotel, overwhelmed by the cultural changes, Douglas explores the city. Muriel, at first xenophobic to Indians, comes to appreciate her doctor, and maid Anokhi. Madge joins the Viceroy Club, surprised to find Norman there, and helps him get into a relationship with a woman named Carol. Graham confides to Evelyn that he is gay, returning to Jaipur to find his long lost Indian lover Manoj, whom he had to leave due to a scandal involving the pair. He, Evelyn, and Douglas eventually find Manoj, who has been happily married for years, but is overjoyed to see Graham again. Some time later, Graham passes away peacefully from an existing heart condition. After Graham's funeral, Evelyn breaks down in Douglas' arms, over her husband's death. Jean, increasingly pessimistic and envious, accuses Douglas of having an affair, only for Douglas to denounce their marriage. Jean then reveals their daughter's business has paid off, and they can return home. Sonny and Sunaina have a falling out over a misunderstanding when Madge sleeps in Sonny's bedroom, further worsened when Mrs. Kapoor rejects Sunaina. Sonny becomes disheartened and decides to close the hotel. Evelyn encourages Sonny to express his love to Sunaina. Together, they race to the hotel, announcing to Mrs. Kapoor their intention to marry, regardless of her approval. Young Wasim, a hotel employee, reminds Mrs. Kapoor she and her late husband were in a similar situation when they wished to marry against their families' wishes. Moved, Mrs. Kapoor blesses Sonny's marriage. Muriel, investigating the hotel's accounts, convinces an investor to keep the hotel open, but she will act as a deputy manager to help Sonny. The residents agree to remain in the hotel, Carol moving in with Norman. Jean, realising her marriage is dead, encourages Douglas to return to stay in the hotel, whilst she returns to England. After a night of wandering, Douglas returns to the hotel, much to Evelyn's joy. The hotel flourishes thanks to Sonny and Muriel's partnership, with the residents staying to enjoy their retirement, Evelyn commenting with the moral, "We get up in the morning, we do our best".

The Third Man_1949

tt0041959

<script> <scene> <stage_direction>"THE THIRD MAN"</stage_direction> <scene_description>HIGH ANGLE - FULL SHOT - CITY OF VIENNA The title VIENNA SUPERIMPOSED FADES OUT - commentary commences .</scene_description> <character>COMMENTATOR</character> <dialogue>I never knew the old Vienna before the war, with its -</dialogue> <scene_description>MED . SHOT - STATUE OF A VIOLINIST There is snow on it .</scene_description> <character>COMMENTATOR</character> <dialogue>Strauss music, its glamour and easy charm.</dialogue> <scene_description>MED . SHOT - ROW OF STONE STATUES ornamenting the top of a building . In the b.g. the top of a stone archway . They are snow - sprinkled .</scene_description> <character>COMMENTATOR</character> <dialogue>Constantinople suited.</dialogue> <scene_description>MED . SHOT - SNOW - COVERED STATUE Trees in b.g.</scene_description> <character>COMMENTATOR</character> <dialogue>me better. I really got to know it in the.</dialogue> <scene_description>CLOSE SHOT - TWO MEN talking in the street .</scene_description> <character>COMMENTATOR</character> <dialogue>- classic period of the black.</dialogue> <scene_description>CLOSEUP - SUITCASE opens toward camera , revealing contents consisting of tins of food , shoes , etc. . The hands of a man come in from f.g. to take something out .</scene_description> <character>COMMENTATOR</character> <dialogue>- market. We'd run anything.</dialogue> <scene_description>CLOSEUP - HANDS OF TWO PEOPLE standing side by side in the street . The person CL running hands through a pair of silk stockings .</scene_description> <character>COMMENTATOR</character> <dialogue>- if people wanted it enough.</dialogue> <scene_description>CLOSEUP - HANDS OF TWO PEOPLE A woman 's hands CL wearing a wedding ring - a man 's hands CR holding in RH two small cartons - hands them over to her in exchange for some notes which she hands him .</scene_description> <character>COMMENTATOR</character> <dialogue>- and had the money to pay.</dialogue> <scene_description>CLOSE SHOT - FIVE WRIST WATCHES on a man 's wrist from which the coat sleeve is turned back .</scene_description> <character>COMMENTATOR</character> <dialogue>Of course a situation like that -</dialogue> <scene_description>LONG SHOT - CAPSIZED SHIP in shallow water with a drowned body floating on the water CR of it .</scene_description> <character>COMMENTATOR</character> <dialogue>- does n't tempt amateurs. You know, they ca n't stay the course like a professional.</dialogue> <scene_description>MED . LONG SHOT - THROUGH STONE ARCHWAY with Church seen in b.g. through it . A large board in R. f.g. , CS reading : `` ENTERING AMERICAN ZONE '' .</scene_description> <character>COMMENTATOR</character> <dialogue>Now the city is divided -</dialogue> <scene_description>CLOSE SHOT - BOARD in CR f.g. - gateway CL of it reading : `` BRITISH ZONE '' .</scene_description> <character>COMMENTATOR</character> <dialogue>- into four zones, you know -</dialogue> <scene_description>CLOSE SHOT - A LARGE BOARD TOP CR of an ornamental double gateway - wrought iron gates . The inscription is in Russian - corresponding to the two previous zone boards .</scene_description> <character>COMMENTATOR</character> <dialogue>- each occupied by a power.</dialogue> <scene_description>CLOSE SHOT - A LARGE BOARD bearing the words : `` DEBUT ZONE FRANCAIS '' .</scene_description> <character>COMMENTATOR</character> <dialogue>American, British, Russian and the French.</dialogue> <scene_description>CLOSE SHOT - FOUR SHIELDS resting on a ledge at the top of a building . From CL American , British , French and Russian Provost Marshals shields .</scene_description> <character>COMMENTATOR</character> <dialogue>But the center of the city, that's -</dialogue> <scene_description>MED . CLOSE SHOT An American officer CL and Russian officer CR . They are facing each other in profile . They exchange salutes . CAMERA PANS RL with the American as they turn away from each other - losing the Russian . The former is on the move RL as we :</scene_description> <character>COMMENTATOR</character> <dialogue>- international, policed by an international patrol, one member of each of the four powers.</dialogue> <scene_description>LONG SHOT of a parked row of American - type patrol wagons . M.P. 's of the four occupying powers lined up in front of them , waiting for orders .</scene_description> <character>COMMENTATOR</character> <dialogue>Wonderful! What a hope they had. All strangers to the place.</dialogue> <scene_description>MED . LONG SHOT - PATROL WAGON nearest camera drives away from the parked line toward camera , LR M.P. 's dispersed round the remaining wagons .</scene_description> <character>COMMENTATOR</character> <dialogue>- and none of them could speak the same language.</dialogue> <scene_description>CLOSE SHOT - THE FOUR REPRESENTATIVE M.P. 'S of the International patrol seated in patrol wagon -LRB- open -RRB- . Driving LR through streets of Vienna .</scene_description> <character>COMMENTATOR</character> <dialogue>Except of course a smattering of German. Good fellows on the whole. Did their best, you know.</dialogue> <scene_description>LONG SHOT - SQUARE IN VIENNA Bomb damaged buildings in R of picture .</scene_description> <character>COMMENTATOR</character> <dialogue>Vienna does n't really look.</dialogue> <scene_description>LONG SHOT - CITY OF VIENNA Tower of a church scaffolded in repair in b.g. Woman crosses f.g. RL .</scene_description> <character>COMMENTATOR</character> <dialogue>- any worse than.</dialogue> <scene_description>MED . SHOT - MONUMENT with buildings of the city in b.g. and bomb damaged roof in R of picture .</scene_description> <character>COMMENTATOR</character> <dialogue>- a lot of other European cities.</dialogue> <scene_description>LONG SHOT - MAN walking over the rubble of a bombed building .</scene_description> <character>COMMENTATOR</character> <dialogue>Bombed about a bit.</dialogue> <scene_description>CLOSE SHOT Front rank of uniformed American soldiers on parade rifles and bayonets at `` present arms '' position . They are at attention in R profile .</scene_description> <character>COMMENTATOR</character> <dialogue>Oh, I was going to tell you.</dialogue> <scene_description>LONG SHOT - A GROUP OF AMERICAN AND RUSSIAN OFFICERS standing at attention at the salute on the steps of a large building . At the top of the steps , in b.g. behind them , other Russian soldiers seen .</scene_description> <character>COMMENTATOR</character> <dialogue>I was going to tell you about Holly Martins.</dialogue> <scene_description>CLOSE SHOT Front rank of a parade of Russian soldiers , rifles at the `` present arms '' in front of them . They are in L profile . CAMERA PANS RL slightly to reveal the roadway in front of them .</scene_description> <character>COMMENTATOR</character> <dialogue>- an American came all the way here to visit a friend of his - the name.</dialogue> <scene_description>MED . SHOT - COMPANY OF RUSSIAN SOLDIERS with rifles and fixed bayonets marching LR .</scene_description> <character>COMMENTATOR</character> <dialogue>- was Lime. Harry Lime. Now -</dialogue> <scene_description>CLOSE SHOT - STEAM ENGINE at a standstill , puffing . On wall behind it in large letters - WIEN - WEST - BHF</scene_description> <character>COMMENTATOR</character> <dialogue>Martins was broke and Lime had offered him some sort - I do n't know - some sort of a job.</dialogue> <scene_description>CLOSE SHOT - STEAM ENGINE moving downstage RL as if to exit past CL . Music crescendo .</scene_description> <character>COMMENTATOR</character> <dialogue>Anyway, there he was, poor chap. Happy as a lark, and without a cent.</dialogue> <scene_description>CLOSE SHOT - TRAIN CARRIAGE WINDOW pulling into station RL . Holly Martins ' head out of the window , looking off CL . Train draws to a standstill . Martins opens the door of the compartment and pulling down his grip from the rack , gets out , and exits CL . MED . SHOT - MARTINS making his way down the platform , toward the ticket barrier in f.g. Train stationary CL far side of barrier . M.P. 's -LRB- British and Russian -RRB- CL near side of barrier . American M.P. CR .</scene_description> <character>U.S.M.P.</character> <dialogue>Passport, please.</dialogue> <character>MARTINS</character> <dialogue>Oh.</dialogue> <scene_description>Martins hands his passport to M.P. CAMERA TRACKS IN to CLOSE TWO SHOT .</scene_description> <character>U.S.M.P.</character> <dialogue>What's the purpose of your visit here?</dialogue> <scene_description>CAMERA STOPS TRACKING .</scene_description> <character>MARTINS</character> <dialogue>A friend of mine offered me a job here.</dialogue> <character>U.S.M.P.</character> <dialogue>Where are you staying?</dialogue> <character>MARTINS</character> <dialogue>With him. Fifteen Stiffgasse.</dialogue> <character>U.S.M.P.</character> <dialogue>His name?</dialogue> <scene_description>He looks off CL .</scene_description> <character>MARTINS</character> <dialogue>Lime. Harry Lime.</dialogue> <character>U.S.M.P.</character> <dialogue>Okay.</dialogue> <character>MARTINS</character> <dialogue>I thought he'd be here to meet me.</dialogue> <scene_description>CLOSE SHOT - PORTER on landing above - candle bracket CR of him , looking down off L for Martins .</scene_description> <character>PORTER</character> <dialogue>Das ist niemand mein hier. Sie lauten un sonst.</dialogue> <scene_description>LONG SHOT - MARTINS on the floor below , from Porter 's viewpoint . He is looking up off past CR from Porter .</scene_description> <character>MARTINS</character> <dialogue>Speak English?</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>English?</dialogue> <scene_description>CLOSE SHOT - PORTER looking down off L for Martins . He steps forward to bannister rail from candles .</scene_description> <character>PORTER</character> <dialogue>Little, little. Sie kommen zehn minuten zu spat. Ten minutes too late.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off R for the Porter .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Already gone.</dialogue> <character>MARTINS</character> <dialogue>Who?</dialogue> <scene_description>CLOSE SHOT - PORTER leaning on bannister rail and looking down off L for Martins .</scene_description> <character>PORTER</character> <dialogue>His friends and - er - the coffin.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking up off R for Porter .</scene_description> <character>MARTINS</character> <dialogue>Coffin?</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Lime's. Accident.</dialogue> <scene_description>CLOSE SHOT - PORTER looking down off L for Martins .</scene_description> <character>PORTER</character> <dialogue>Knocked over by a car, here in front of the house.</dialogue> <scene_description>LONG SHOT - MARTINS from Porter 's eye line , on the floor below , looking up off R for him .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Have seen it myself, killed at once, immediately.</dialogue> <scene_description>CLOSE SHOT - PORTER looking down L for Martins off .</scene_description> <character>PORTER</character> <dialogue>Already in hell or in heaven.</dialogue> <scene_description>CLOSEUP - MARTINS looking up off R for Porter . CAMERA TRACKS in to BIG CLOSEUP .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm sorry for the grave diggers. Hard work in this frost.</dialogue> <scene_description>LONG SHOT - CEMETERY Music starts . Martins walking down roadway CR of it to camera . Peasant woman in L of picture , putting some flowers on a grave . He exits CL . MED . SHOT - GROUP OF MOURNERS in black , round a newly dug grave . Priest reading over the service in L profile in f.g. CLOSE SHOT - CALLOWAY Martins discovered in picture , moves downstage to stand CL of him .</scene_description> <character>MARTINS</character> <dialogue>Can you tell me whose.</dialogue> <character>CALLOWAY</character> <dialogue>Fellow called Lime.</dialogue> <scene_description>Martins exits CL f.g. LONG SHOT - MARTINS moving upstage through the cemetery , toward the group round the grave . MED . SHOT - THE MOURNERS round the grave . Priest reading from his book . Anna discovered CR .</scene_description> <character>PRIEST</character> <dialogue>Gelitten unter Pontius Pilatus.</dialogue> <scene_description>CLOSE SHOT - KURTZ AND DR. WINKEL looking off CR .</scene_description> <character>PRIEST</character> <dialogue>- gekreuzuget, gestorben und begraben. Abestiengen zu.</dialogue> <scene_description>CLOSE SHOT - ANNA near the grave . Martins moving downstage , taking off hat , stands just behind her CR .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>- der hoelle am dritten tage. Wieder auferstanden von den toten. Aufgerfahren in den Himmel siszet zur rechten.</dialogue> <scene_description>CLOSE SHOT - KURTZ AND DR. WINKEL looking off CR .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>- hand gottes des allmaechtigen vater.</dialogue> <character>KURTZ</character> <dialogue>Wer ist das?</dialogue> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Von dannen er kommen wird zu richten die lebendigen toten.</dialogue> <scene_description>CLOSEUP - MARTINS looking off past CR , reacting to the service .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ich glaube an den heiligen geist die heilige katholische.</dialogue> <scene_description>CLOSE SHOT - KURTZ AND DR. WINKEL looking off , CR , reacting to the service .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>- kirche. Gemeinschaft der heiligen.</dialogue> <scene_description>CLOSEUP - MARTINS looking off , CR , reacting to service .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ablass der sueden. Auferstehung des fleisches.</dialogue> <scene_description>CLOSEUP - ANNA in L profile , her eyes lower from Martins ' eye line .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ein ewiges leben. Herr.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL at Anna .</scene_description> <character>PRIEST</character> <parenthetical>( O.S . )</parenthetical> <dialogue>gib ihner die ewige ruhe.</dialogue> <scene_description>MED . SHOT - PRIEST with the graveyard attendant in L profile beside him .</scene_description> <character>MEN</character> <dialogue>Und das ewige licht leuchte ihnen.</dialogue> <character>PRIEST</character> <dialogue>Im namen des vater des sohnes und des heiligen geistes. Amen.</dialogue> <scene_description>Priest sprinkles some earth on the grave and moves as if to exit DR. Sound of music . CLOSE SHOT - KURTZ AND DR. WINKEL looking off CR . MED . SHOT - PRIEST moving upstage , back to camera , to Anna and Martins CR of her . He touches her , hands sympathetically , then moves on upstage between the two of them . CLOSE SHOT - GRAVE DIGGER looking off CL . CLOSE SHOT - ANNA AND MARTINS standing side by side . Anna turns away and moves upstage , back to camera . Martins moves forward . MED . CLOSE SHOT - GRAVE DIGGER Martins enters from CR . The former gives him a spoonful of earth and Martins sprinkles it on the grave CL out of picture . He exits CR . Kurtz standing behind him , takes spoon from grave digger . Winkel standing behind CL of him looking after Martins CR . MED . SHOT - MARTINS puts on his hat , and makes his way upstage , back to camera , through the graves LR . CLOSE SHOT - CALLOWAY looking off CL for Martins . He exits CL . CLOSE SHOT - DR. WINKEL taking spoon from grave digger . Kurtz CR of him , holding wreath and looking off past CR after Martins . CAMERA PANS R as Dr. Winkel hands back spoon and moves LR to Kurtz to take wreath . He stoops down to lay the wreath on the grave off L below frame - and Kurtz steps forward as : LONG SHOT - CEMETERY Martins making his way downstage through cemetery , followed by Calloway . They exit CR . LONG SHOT - THE ROADWAY outside the cemetery , which is in L picture . Martins followed by Calloway enters from CL ; he is moving upstage LR .</scene_description> <character>CALLOWAY</character> <dialogue>Like a lift?</dialogue> <scene_description>He turns round as Calloway calls to him . MED . SHOT - MARTINS looks off past CL for Calloway .</scene_description> <character>CALLOWAY</character> <dialogue>to town?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CR for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>I've got a car here.</dialogue> <scene_description>LONG SHOT - THE ROAD outside the cemetery . Calloway moves downstage LR to car parked in R f.g. Martins follows him .</scene_description> <character>MARTINS</character> <dialogue>Thanks.</dialogue> <scene_description>CLOSE SHOT - PAINE in R profile in jeep , magazine in hand . He is looking off R reacting to Calloway . He puts down the magazine and makes a move as if to start the car . LONG SHOT - DOOR OF CALLOWAY 'S CAR closes and it drives off upstage . MED . SHOT - PAINE driving his jeep , moves out of picture LR . CLOSE SHOT - MARTINS AND CALLOWAY seated in the back of the car . Martins ' CL - both full face .</scene_description> <character>CALLOWAY</character> <dialogue>My name is Calloway.</dialogue> <character>MARTINS</character> <dialogue>Martins.</dialogue> <character>CALLOWAY</character> <dialogue>You a friend of Lime's?</dialogue> <character>MARTINS</character> <dialogue>Yes.</dialogue> <character>CALLOWAY</character> <dialogue>Been here long?</dialogue> <character>MARTINS</character> <dialogue>No.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA walking along the road at the side of the cemetery in R profile , from Calloway 's eye line in the car . CAMERA TRAVELS BACK at speed of car , Anna receding into LONG SHOT , still walking . In b.g. , CL Paine 's jeep is seen slowly following the car . CLOSE SHOT - MARTINS AND CALLOWAY seated in the back of the car traveling LR .</scene_description> <character>CALLOWAY</character> <dialogue>You've had a bit of a shock, have n't you? You could do with a drink.</dialogue> <character>MARTINS</character> <dialogue>Could you buy me one. I have n't got any Austrian kroners. Thanks.</dialogue> <character>CALLOWAY</character> <dialogue>Schmolka!</dialogue> <scene_description>Music stops . MED . SHOT - MARTINS CL , and Calloway seated at a table in the Kartnerstrasse bar . A bottle is on the table , and each has a glass in front of him .</scene_description> <character>MARTINS</character> <dialogue>I guess nobody knew Harry like he did - I did.</dialogue> <scene_description>He reaches for the bottle and pours Martins another</scene_description> <character>CALLOWAY</character> <dialogue>How long ago?</dialogue> <scene_description>CAMERA TRACKS IN to CLOSE TWO SHOT .</scene_description> <character>MARTINS</character> <dialogue>Back in school. Never so lonesome in my life till he showed up.</dialogue> <character>CALLOWAY</character> <dialogue>When did you see him last?</dialogue> <character>MARTINS</character> <dialogue>September' 39.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Martins in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>When the business started?</dialogue> <scene_description>Martins drinks from his glass .</scene_description> <character>MARTINS</character> <dialogue>Mmmm.</dialogue> <scene_description>Putting a cigarette to his mouth .</scene_description> <character>CALLOWAY</character> <dialogue>See much of him before that?</dialogue> <character>MARTINS</character> <dialogue>Once in a while.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Calloway in R f.g. Martins has glass in hand .</scene_description> <character>MARTINS</character> <dialogue>Best friend I ever had.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Martins in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>That sounds like a cheap novelette.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Calloway in R f.g.</scene_description> <character>MARTINS</character> <dialogue>Well, I write cheap novelettes.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Martins in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>I'm afraid I've never heard of you. What's your name again?</dialogue> <character>MARTINS</character> <dialogue>Holly Martins.</dialogue> <character>CALLOWAY</character> <dialogue>No, sorry.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Calloway in L f.g. , who is drinking .</scene_description> <character>MARTINS</character> <dialogue>Did you ever hear of `` The Lone Rider of Santa Fe?''</dialogue> <character>CALLOWAY</character> <dialogue>I ca n't say that I have.</dialogue> <character>MARTINS</character> <dialogue>`` Death at the Double X Ranch'' - Ra - a - nch.</dialogue> <character>CALLOWAY</character> <dialogue>No.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Martins in L f.g. People seen through the window , passing in b.g.</scene_description> <character>MARTINS</character> <dialogue>Must have known I was broke. Even sent me an airplane ticket. It's a shame.</dialogue> <character>CALLOWAY</character> <dialogue>What?</dialogue> <character>MARTINS</character> <dialogue>Him dying like that.</dialogue> <character>CALLOWAY</character> <dialogue>Best thing that ever happened.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>to him.</dialogue> <character>MARTINS</character> <dialogue>What are you trying to say?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He was.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off past CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>about the worst racketeer who ever made a dirty living in this city.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>Policeman, eh?</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>Come on, have another drink.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>No. I never did like.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>policemen. I have to call them sheriffs.</dialogue> <character>CALLOWAY</character> <dialogue>Ever seen one?</dialogue> <character>MARTINS</character> <dialogue>Pin it on a.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>Dead man.</dialogue> <scene_description>CLOSE SHOT - PAINE seated at table in the bar , looking at a magazine . He looks up from it off CR , reacting to the conversation between Martins and Calloway .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Some petty racket with gasoline or something.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>Just like.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>a cop. You're a real cop I suppose.</dialogue> <character>CALLOWAY</character> <dialogue>It was n't petrol.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway . He gets to his feet , CAMERA PANS UP with him .</scene_description> <character>MARTINS</character> <dialogue>So, it was n't petrol. So it was.</dialogue> <scene_description>CLOSE SHOT - PAINE seated at the table looking off CR for Martins . He gets to his feet as we :</scene_description> <character>MARTINS</character> <dialogue>tires, or saccharin.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off past CL for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Why do n't you catch a few murderers for a change?</dialogue> <character>CALLOWAY</character> <dialogue>Well, you could say that murder was part.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS slightly under the influence of drink , standing behind the table .</scene_description> <character>CALLOWAY</character> <dialogue>of his racket.</dialogue> <scene_description>He leans forward to CR to strike Calloway . As he does so , a hand comes in from L of picture and swings him back RL , CAMERA PANNING with him , revealing Paine CL of him - and he swings Martins round . The latter grabs the post at the corner of the bench and swings round with it and sits down on far side , losing his balance .</scene_description> <character>CALLOWAY</character> <dialogue>It's all right.</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY CAMERA HOLDING him as he gets to his feet , looking off CL for Paine .</scene_description> <character>CALLOWAY</character> <dialogue>Paine.</dialogue> <scene_description>CAMERA PANS RL with him , revealing Paine and Martins seated DR of him on far side of bench in L profile . He crosses to them .</scene_description> <character>CALLOWAY</character> <dialogue>He's only a scribbler with too much drink in him. Take Mr. Holly home.</dialogue> <scene_description>He exits in CS CAMERA L . The other two look after him .</scene_description> <character>PAINE</character> <dialogue>Holly Martins, sir?</dialogue> <scene_description>CLOSE TWO SHOT - PAINE standing CL looking down at Martins seated in R f.g.</scene_description> <character>PAINE</character> <dialogue>The writer? The author of `` Death at the Double X Ranch?''</dialogue> <scene_description>MED . CLOSE SHOT - WAITER AND CALLOWAY who is three - quarters back to camera , taking money out of his pocket to pay the bill . He looks back , reacting to Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Listen, Callaghan.</dialogue> <character>CALLOWAY</character> <dialogue>Calloway - I'm English, not Irish.</dialogue> <scene_description>CLOSE SHOT - PAINE standing CL of Martins , seated in L profile R f.g. . They are looking off CL after Calloway .</scene_description> <character>MARTINS</character> <dialogue>You're not going to close your files at a dead man's.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY cigarette in hand , looking off past CR for Martins . Takes his change from off L.</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>expense.</dialogue> <character>CALLOWAY</character> <dialogue>Going to find me the real criminal? It sounds like one of your stories.</dialogue> <scene_description>Takes change .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>When I've finished with you.</dialogue> <scene_description>CLOSE SHOT - PAINE standing CL looking down at Martins seated in L profile . R f.g. , looking off CL for Calloway .</scene_description> <character>MARTINS</character> <dialogue>you'll leave Vienna, you'll look so silly.</dialogue> <scene_description>MED . SHOT - CALLOWAY standing CR of the waiter at the far side of the table , his change in his hands . He leaves the waiter , crossing back to Martins , who is revealed with Paine in R of picture . CAMERA PANS LR losing the waiter .</scene_description> <character>CALLOWAY</character> <parenthetical>( he stuffs some notes into Martins ' outside overcoat pocket . )</parenthetical> <dialogue>Here's some army money. Should see you through tonight at Sacher's Hotel, if you do n't drink too much at the bar. We'll keep a seat for you on tomorrow's plane.</dialogue> <scene_description>He exits CR in CS . MED . SHOT - PAINE and Calloway re - enters from CR to him and Martins . Calloway crosses screen RL his hat now on , and as he passes , Martins gets to his feet and grabs him , ready to strike him , but Paine , standing behind them , strikes him on the jaw and he jerks back LR , as we - MED . SHOT - MARTINS staggers back between the table CL and the bench . Paine enters from CL f.g. and helps him to his feet , and sits him down on the bench CR - CAMERA PANNING UP with them .</scene_description> <character>PAINE</character> <dialogue>Please be careful, sir. Up we come. Written anything lately?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Take him to Sacher's.</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY looking off CR for Martins . He turns and walks away upstage toward the door of the cafe in b.g.</scene_description> <character>CALLOWAY</character> <dialogue>Do n't hit him again if he behaves.</dialogue> <parenthetical>( looking back over his shoulder for Martins . )</parenthetical> <dialogue>You go carefully there.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated in L profile L f.g. Paine full face CR of him .</scene_description> <character>CALLOWAY</character> <dialogue>It's a military hotel.</dialogue> <character>PAINE</character> <dialogue>I'm so glad to have met you, sir. I've read quite a few of your books.</dialogue> <scene_description>Paine leans toward camera and brings Martins ' grip up into picture from off R. Martins gets up , helped by Paine . CAMERA PANS UP RL with them as they move to central aisle and toward the door , backs to camera , revealing waiter standing in b.g.</scene_description> <character>WAITER</character> <dialogue>Auf wiedersehn meine herren.</dialogue> <character>PAINE</character> <dialogue>I like a good western.</dialogue> <scene_description>LONG SHOT - MARTINS entering the lobby of Sacher 's hotel , followed by Paine . CAMERA TRACKS back with them as they move down the corridor . Paine catches him up .</scene_description> <character>PAINE</character> <dialogue>That's what I like about them, sir. You can pick them up and put them down any time.</dialogue> <scene_description>Paine calls to Hartman as he crosses picture RL and the reception desk and clerk are revealed in L of picture . He approaches it , followed by Martins .</scene_description> <character>PAINE</character> <dialogue>Oh, Mr. Hartman.</dialogue> <character>PORTER</character> <dialogue>Yes, sir?</dialogue> <character>PAINE</character> <dialogue>Major Calloway says this gentleman's got to have a room for tonight. He'll be off tomorrow.</dialogue> <character>PORTER</character> <dialogue>Passport, please.</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN leading a lady through the swing doors from the lounge into the lobby .</scene_description> <character>CRABBIN</character> <dialogue>I ca n't very well introduce you to everybody.</dialogue> <scene_description>They move to exit CR . CLOSE SHOT - PAINE - CL - AND MARTINS at the hotel reception desk .</scene_description> <character>PORTER</character> <dialogue>Would you mind filling this in?</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN AND GIRL with him . Paine enters from CR to them . CAMERA PANS L , slightly , as girl friend crosses picture , RL , and stands on L edge of frame , back to camera .</scene_description> <character>PAINE</character> <dialogue>Mr. Crabbin.</dialogue> <character>CRABBIN</character> <dialogue>What is it, Sergeant?</dialogue> <character>PAINE</character> <dialogue>Mr. Holly Martins, sir.</dialogue> <character>CRABBIN</character> <dialogue>Who?</dialogue> <character>PAINE</character> <dialogue>The author. Thought you might be interested.</dialogue> <character>CRABBIN</character> <dialogue>Never heard of him.</dialogue> <character>PAINE</character> <dialogue>Oh, he's very goad, sir. I've read quite a few of his books.</dialogue> <character>CRABBIN</character> <dialogue>Have you, Sergeant? Author - Martins. Thank you, Sergeant.</dialogue> <scene_description>Raising his R index finger , cautioningly to the girl with him - CL - he exits past CR . CLOSE SHOT - MARTINS - PAINE CR Crabbin moves downstage RL to him as he is writing in the hotel register . He stands CR of Martins .</scene_description> <character>CRABBIN</character> <dialogue>Oh, Mr. Martins, my name is Crabbin. I represent the C.R.S. of G.H.Q.</dialogue> <scene_description>He continues registering .</scene_description> <character>MARTINS</character> <dialogue>You do!</dialogue> <character>CRABBIN</character> <dialogue>Yes, Cultural re - education Section Propaganda. Very important in a place like this. We do a little show each week. Last week we did `` Hamlet'' and the week before we had something.</dialogue> <character>PAINE</character> <dialogue>Striptease, sir.</dialogue> <character>CRABBIN</character> <dialogue>Yes, Hindu dances, thank you, Sergeant. This is the first opportunity we've had of making an American author welcome.</dialogue> <character>MARTINS</character> <dialogue>Welcome?</dialogue> <character>CRABBIN</character> <dialogue>I'll tell you what, Mr. Martins. On Wednesday night at our institute, we are having a little lecture on the contemporary novel. I thought perhaps you'd like to speak.</dialogue> <scene_description>Martins puts his handkerchief to his sore jaw - looks at Crabbin .</scene_description> <character>MARTINS</character> <dialogue>They would n't know me.</dialogue> <character>CRABBIN</character> <dialogue>Nonsense. Your novels are very popular here. Are n't they, Sergeant?</dialogue> <character>PAINE</character> <dialogue>Very popular, sir.</dialogue> <character>CRABBIN</character> <dialogue>Very popular. Are you staying long?</dialogue> <character>MARTINS</character> <dialogue>How long can one stay here on this stage money?</dialogue> <character>CRABBIN</character> <dialogue>Listen, Mr. Martins, if you'd agree to be our guest, we'd be delighted to have you.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Crabbin .</scene_description> <character>MARTINS</character> <dialogue>Would you?</dialogue> <scene_description>CLOSE SHOT - PAINE AND CRABBIN CR looking off CL for Martins .</scene_description> <character>CRABBIN</character> <dialogue>For as long as you care to stay.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Crabbin .</scene_description> <character>PAINE</character> <dialogue>But he's due to.</dialogue> <scene_description>CLOSE SHOT - PAINE - CRABBIN CR They are looking off CL for Martins .</scene_description> <character>PAINE</character> <dialogue>leaving tomorrow, sir.</dialogue> <character>CRABBIN</character> <dialogue>Excuse me, have you got tooth.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR - a man entering through b.g. CL .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>ache.</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Number eight, Mr. Martins.</dialogue> <character>MARTINS</character> <dialogue>Come upstairs a moment.</dialogue> <character>CRABBIN</character> <dialogue>I know a very good dentist.</dialogue> <character>MARTINS</character> <dialogue>I do n't need a dentist. Somebody hit me, that's all.</dialogue> <scene_description>LONG SHOT - RECEPTION DESK The Porter ushers Martins downstage with Crabbin , Paine following .</scene_description> <character>PORTER</character> <dialogue>Bitte.</dialogue> <scene_description>Martins and Paine walk forward to CS . CAMERA TRACKS , back with them , PANNING LR , to reveal staircase , and losing Paine out of picture CL .</scene_description> <character>CRABBIN</character> <dialogue>Goodness, we must report that to the police. Did they try to rob you?</dialogue> <scene_description>Martins takes off his hat .</scene_description> <character>MARTINS</character> <dialogue>It was just a soldier. I was trying to punch his major in the eye.</dialogue> <character>CRABBIN</character> <dialogue>No, a major, were you really?</dialogue> <character>MARTINS</character> <dialogue>Heard of Harry Lime?</dialogue> <character>CRABBIN</character> <dialogue>I've heard of him, of course, but I did n't exactly know him.</dialogue> <scene_description>They reach the stairs and start up them .</scene_description> <character>MARTINS</character> <dialogue>I was going to stay with him, but he died Thursday.</dialogue> <character>CRABBIN</character> <dialogue>Goodness, that's awkward.</dialogue> <character>MARTINS</character> <dialogue>Is that what you say to people after death? `` Goodness that's awkward.''</dialogue> <character>RECEPTION PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Martins.</dialogue> <scene_description>CLOSE SHOT - RECEPTION PORTER holding up telephone , off receiver .</scene_description> <character>PORTER</character> <dialogue>Excuse me. Telephone.</dialogue> <scene_description>MED . SHOT - MARTINS on the staircase - Crabbin CR of him - both turn back to look off L for reception desk .</scene_description> <character>MARTINS</character> <dialogue>Who is it?</dialogue> <scene_description>CLOSE SHOT - RECEPTION PORTER behind desk . Martins enters from CR f.g. to him .</scene_description> <character>PORTER</character> <dialogue>Baron Kurtz.</dialogue> <character>MARTINS</character> <dialogue>Must be some mistake.</dialogue> <scene_description>CLOSE SHOT - BACK OF MARTINS ' HEAD as he speaks into the phone .</scene_description> <character>MARTINS</character> <dialogue>Yes.</dialogue> <character>BARON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I was a friend of Harry Lime.</dialogue> <scene_description>He turns round into full face position , talking into the phone .</scene_description> <character>MARTINS</character> <dialogue>I would very much like to meet you, Baron. Come around.</dialogue> <character>BARON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Austrians are n't allowed in your hotel. Could n't we meet at the Mozart cafe?</dialogue> <character>MARTINS</character> <dialogue>Where?</dialogue> <character>BARON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Just around the corner.</dialogue> <character>MARTINS</character> <dialogue>How will I know you?</dialogue> <character>BARON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'll carry a copy of one of your books. Harry gave it to me.</dialogue> <scene_description>He puts down the receiver . He looks off CR for Crabbin .</scene_description> <character>MARTINS</character> <dialogue>I'll be there in a moment. Wait a minute, if I do.</dialogue> <scene_description>MED . SHOT - CRABBIN in R f.g. Martins enters from CL and stands in R profile , looking at him .</scene_description> <character>MARTINS</character> <dialogue>this lecture business, you'll put me up here a while?</dialogue> <character>CRABBIN</character> <dialogue>Certainly.</dialogue> <scene_description>CAMERA PANS RL and TRACKS FORWARD very slightly , revealing Paine and the swing doors in b.g.</scene_description> <character>MARTINS</character> <dialogue>It's a deal. Did you ever read a book of mine called `` The Lone Rider of Sante Fe?''</dialogue> <scene_description>Martins starts walking to them , as does Crabbin CR and Paine .</scene_description> <character>PAINE</character> <dialogue>No, not that one, sir.</dialogue> <character>MARTINS</character> <dialogue>It's a story of a man who hunted down a sheriff who was victimizing his best friend.</dialogue> <scene_description>Martins exits through the swing doors , and turns round to re - enter through the other one .</scene_description> <character>CRABBIN</character> <dialogue>Seems exciting.</dialogue> <character>MARTINS</character> <dialogue>It is, and I'm gunning just the same way for your Major Callaghan.</dialogue> <character>PAINE</character> <dialogue>Sounds anti - British, sir.</dialogue> <scene_description>Martin goes out through the door .</scene_description> </scene> <scene> <stage_direction>EXT. MOZART CAFE - LONG SHOT</stage_direction> <scene_description>Cafe tables are outside on the pavement . Baron Kurtz is discovered moving downstage to tables in f.g. book in his hand . Music starts . Traffic noise is heard . CLOSE SHOT - MARTINS coming through a swing door . LONG SHOT - BARON holding the book prominently in his hand to show cover , moving downstage between the tables looking to right and left . CLOSEUP - BOOK in the Baron 's hand . The cover depicting a cowboy holding a revolver and titled : `` OKLAHOMA KID . ''</scene_description> <character>MARTINS</character> <dialogue>Baron Kurtz?</dialogue> <scene_description>MED . SHOT - KURTZ Martins enters from CL . They shake hands . CAMERA PANS RL as they move to a table . Waiter with tray in his hands is revealed on the far side of the table . Martins sit down at the table .</scene_description> <character>KURTZ</character> <dialogue>Mr. Martins. Delighted to meet you. Come let's sit down here. Ober! Zwei. What would you like. Tea? Coffee?</dialogue> <character>MARTINS</character> <dialogue>Coffee.</dialogue> <character>KURTZ</character> <dialogue>Zwei zwartze.</dialogue> <scene_description>CLOSE SHOT - KURTZ who sits into picture full face , past Martins in L f.g. Kurtz is still holding the book .</scene_description> <character>KURTZ</character> <dialogue>It's wonderful how you keep the tension.</dialogue> <character>MARTINS</character> <dialogue>Tension?</dialogue> <character>KURTZ</character> <dialogue>Suspense.</dialogue> <scene_description>CLOSE SHOT - MARTINS SHOOTING PAST Kurtz in R. f.g.</scene_description> <character>MARTINS</character> <dialogue>You really liked it?</dialogue> <character>KURTZ</character> <dialogue>At the end of every chapter -</dialogue> <scene_description>CLOSE SHOT - KURTZ SHOOTING PAST Martins in L. f.g. . He is looking at Martins .</scene_description> <character>KURTZ</character> <dialogue>You are left guessing what he'll be up to next.</dialogue> <scene_description>CLOSE SHOT - MARTINS Past Kurtz in R. f.g.</scene_description> <character>MARTINS</character> <dialogue>So you were a friend of Harry's?</dialogue> <scene_description>CLOSE SHOT - KURTZ Past Martins in L. f.g.</scene_description> <character>KURTZ</character> <dialogue>I think his best, except for you, of course.</dialogue> <scene_description>CLOSE SHOT - MARTINS Past Kurtz in R. f.g.</scene_description> <character>MARTINS</character> <dialogue>The police have a crazy notion that he was mixed up in some sort of racket.</dialogue> <scene_description>CLOSE SHOT - KURTZ Past Martins in L. foreground . Traffic noise is heard .</scene_description> <character>KURTZ</character> <dialogue>Everyone in Vienna is. We all sell cigarettes and that kind of thing. I tell you I've done things that would have seemed unthinkable before the war. Once, when I was hard up, I sold some tires on the black market. I wonder what my father would have said.</dialogue> <scene_description>CLOSE SHOT - MARTINS Past Kurtz in R. foreground .</scene_description> <character>MARTINS</character> <dialogue>I'm afraid the police meant more than that.</dialogue> <scene_description>CLOSEUP - KURTZ Looking off CL for Martins</scene_description> <character>KURTZ</character> <dialogue>They get rather absurd ideas sometimes. He's somewhere now, he wo n't mind about that.</dialogue> <scene_description>CLOSEUP - MARTINS Looking off CR for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>Even so, I'm not going to leave it at this. Will you help me?</dialogue> <scene_description>CLOSEUP - KURTZ Looking off CR for Martins .</scene_description> <character>KURTZ</character> <dialogue>I wish I could, but you know I am an Austrian. I have to be careful with the police. I'm afraid I ca n't help you, except with advice of course. Advice.</dialogue> <scene_description>The music stops . LONG SHOT - KURTZ - CL - MARTINS walking down the street outside the building of Harry 's flat , which is CR . They start to cross road , CAMERA PANNING RL with them . They stop in the middle of the road . He stops and points out as he speaks . He is holding a small dachshund in his arm . Traffic noise is heard over scene .</scene_description> <character>KURTZ</character> <dialogue>We came out of his place like this, and were walking this way. A friend of his called to him from over there. Harry went across and from up there came the truck. It was just about here.</dialogue> <character>MARTINS</character> <dialogue>Here?</dialogue> <scene_description>CLOSE SHOT - PORTER sweeping the road in front of Harry 's apartment . He glances up from his work to look off L at Martins and Kurtz .</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>MED . SHOT - MARTINS AND KURTZ who is CR standing talking in the center of the street .</scene_description> <character>KURTZ</character> <dialogue>His friend and I picked him up, carried him across over here.</dialogue> <scene_description>They turn and start to cross to other side . Car honks . CLOSE SHOT - PORTER 'S WIFE cleaning windows of apartment . She is looking off CL for Martins and Kurtz .</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It was a terrible thing. Terrible.</dialogue> <scene_description>MED . SHOT - MARTINS - CL Kurtz CR backs to camera walking upstage across the pavement .</scene_description> <character>KURTZ</character> <dialogue>We laid him down just about here. And this is where he died.</dialogue> <scene_description>They stop and Kurtz , the dog still in his arm , leans back against a dustbin CR in L. profile , looking at Martins who is facing him . CLOSEUP - KURTZ looking off CL for Martins .</scene_description> <character>KURTZ</character> <dialogue>Even at the end, his thoughts.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Kurtz - in R. profile .</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>were of you.</dialogue> <character>MARTINS</character> <dialogue>What did he say?</dialogue> <scene_description>CLOSEUP - KURTZ looking off CL for Martins . CAMERA PANS UP slightly as he gets up from leaning position .</scene_description> <character>KURTZ</character> <dialogue>I do n't remember the exact words, Holly. I may call you Holly, may n't I? He always called you that to us.</dialogue> <parenthetical>( dog whimpers . )</parenthetical> <dialogue>He was anxious that I look after you when you arrived. To see that you got safely home. Tickets.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Kurtz - in R. profile .</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>you know and all that.</dialogue> <character>MARTINS</character> <dialogue>But he said he died instantaneously.</dialogue> <scene_description>CLOSEUP - KURTZ looking off L. MED . LONG SHOT - PORTER sweeping road outside Harry 's apartment , from Kurtz ' eye line . CLOSEUP - KURTZ looking off CL for Martins . He glances off CR at the Porter .</scene_description> <character>KURTZ</character> <dialogue>Well he died before the ambulance could reach us.</dialogue> <scene_description>CLOSEUP - MARTINS in R. profile looking off CR for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>Well, there was only you, and this friend of his. Who is he?</dialogue> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>A Roumanian.</dialogue> <scene_description>CLOSEUP - KURTZ looking off CL for Martins .</scene_description> <character>KURTZ</character> <dialogue>Mr. Popescu.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Kurtz , in R. profile .</scene_description> <character>MARTINS</character> <dialogue>I'd like to talk to him.</dialogue> <scene_description>CLOSEUP - KURTZ Looking off CL for Martins .</scene_description> <character>KURTZ</character> <dialogue>He's left Vienna.</dialogue> <scene_description>CLOSEUP - MARTINS He steps forward and out of picture CR . CLOSEUP - KURTZ Martins enters from CL crossing screen LR and exiting CR . Kurtz looks after him . Dog whimpers .</scene_description> </scene> <scene> <stage_direction>EXT. HARRY'S APARTMENT - LONG SHOT</stage_direction> <scene_description>The porter , finished sweeping , is just going inside the door . Martins moves upstage back to camera toward him .</scene_description> <character>MARTINS</character> <dialogue>Excuse me!</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes, sir.</dialogue> <scene_description>CLOSE SHOT - PORTER in doorway . Martins enters to him from ` CL and stands CL of him in R. profile .</scene_description> <character>MARTINS</character> <dialogue>Did you know Mr. Lime well?</dialogue> <character>PORTER</character> <dialogue>Mr. Lime - yes.</dialogue> <character>MARTINS</character> <dialogue>You remember me? Upstairs.</dialogue> <character>PORTER</character> <dialogue>Yes, yes, I remember you.</dialogue> <scene_description>CLOSEUP - KURTZ looking off past CR for Martins and Porter , he moves to exit CR .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well, who used to visit Mr. Lime?</dialogue> <scene_description>CLOSE SHOT - MARTINS AND PORTER at door . Kurtz enters from f.g. and stands CR looking at them .</scene_description> <character>PORTER</character> <dialogue>Visit? Was will er wissen?</dialogue> <character>KURTZ</character> <dialogue>Er will wissen wer hier verkehrt.</dialogue> <character>PORTER</character> <dialogue>So, es kommen so viele lauter heir - sie - den der.</dialogue> <scene_description>CLOSE SHOT - PORTER 'S WIFE at window . She turns away into the room .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Popescu.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS , PORTER AND KURTZ CR</scene_description> <character>PORTER</character> <dialogue>und ich kann nicht alle kennen.</dialogue> <character>MARTINS</character> <dialogue>What does he say?</dialogue> <character>KURTZ</character> <dialogue>He says he does n't know everybody.</dialogue> <character>WIFE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Carl.</dialogue> <scene_description>CLOSE SHOT - PORTER 'S WIFE at the door , looking off CL for the Porter .</scene_description> <character>WIFE</character> <dialogue>Kannst due einen moment zu mir herein kommen?</dialogue> <scene_description>CLOSEUP - PORTER past Kurtz tipping R edge of frame . He glances over his L shoulder off CR for his wife . He turns back full face .</scene_description> <character>PORTER</character> <dialogue>Ein moment.</dialogue> <scene_description>MED . SHOT - PORTER 'S WIFE moves downstage .</scene_description> <character>WIFE</character> <dialogue>Du musst zum telefon.</dialogue> <scene_description>CLOSEUP - PORTER past Kurtz tipping R edge of frame . He turns away to exit CR .</scene_description> <character>PORTER</character> <dialogue>Excuse me.</dialogue> <scene_description>MED . SHOT - PORTER 'S WIFE The Porter comes in from CL ; she shepherds him through the door and inside . CLOSE SHOT - MARTINS looking CR for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>Who was at the funeral besides.</dialogue> <scene_description>CLOSE SHOT - KURTZ past Martins in L f.g.</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>you.</dialogue> <character>KURTZ</character> <dialogue>Only his doctor, Dr. Winkel.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>Was n't there a girl there?</dialogue> <scene_description>CLOSE SHOT - KURTZ past Martins in L f.g. . He steps forward . Dog whines .</scene_description> <character>KURTZ</character> <dialogue>Some girl of the Josefstadt theatre. Well you know what Harry was. You ought n't to speak to her. It would only cause her pain.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Kurtz in R f.g. . The latter steps up to Martins who moves upstage - slightly close to the wall of the building . CAMERA TRACKS IN slightly and Martins takes up his position CR of Kurtz , CAMERA HOLDING them in CLOSE SHOT .</scene_description> <character>MARTINS</character> <dialogue>Not necessarily. She'd probably want to help.</dialogue> <character>KURTZ</character> <dialogue>What's the good of another post mortem? Suppose you dig up something - well - discreditable to Harry?</dialogue> <character>MARTINS</character> <dialogue>Will you give me.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in L f.g.</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>your address?</dialogue> <character>KURTZ</character> <dialogue>I live in the Russian sector, but you'll find me at the Casanova Club every night. One has to work.</dialogue> <scene_description>CLOSEUP - MARTINS past Kurt in R f.g.</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>the best way one can, you know.</dialogue> <character>MARTINS</character> <dialogue>What's the name of this girl?</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in L f.g.</scene_description> <character>KURTZ</character> <dialogue>I do n't know. I do n't think I ever heard it.</dialogue> <scene_description>CLOSEUP - MARTINS past Kurtz in R f.g.</scene_description> <character>MARTINS</character> <dialogue>But you did mention the theatre.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in L f.g.</scene_description> <character>KURTZ</character> <dialogue>The Josefstadt. But I still think it wo n't do Harry any good. You'd do better to think of yourself.</dialogue> <scene_description>CLOSEUP - MARTINS past Kurtz in R f.g. . He smiles at Kurtz .</scene_description> <character>MARTINS</character> <dialogue>I'll be all right.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in L f.g.</scene_description> <character>KURTZ</character> <dialogue>I'm so glad to have met you.</dialogue> <scene_description>He crosses f.g. RL and exits CL in front of Martins . MED . LONG SHOT - KURTZ AND MARTINS backs to camera walking along the pavement with the building of Harry 's apartment CR of them . Kurtz holds up Martins ' book . CAMERA TRACKS with them . They pass a commissionaire moving downstage who passes between them .</scene_description> <character>KURTZ</character> <dialogue>A master of suspense. Such a good cover, I think.</dialogue> <scene_description>MED . SHOT - PAINE AND MARTINS at the reception desk of the hotel , Martins CR . The Reception Porter far aside .</scene_description> <character>MARTINS</character> <dialogue>Number 8, please.</dialogue> <scene_description>Holding up ticket in hand .</scene_description> <character>PAINE</character> <dialogue>Major Calloway's compliments, sir, and here's the ticket for the plane tomorrow.</dialogue> <character>MARTINS</character> <dialogue>Tell the Major, I wo n't need it.</dialogue> <scene_description>He turns from the desk to leave , to camera crossing f.g. LR in CS . CAMERA PANNING with him , losing Paine . He calls back to the Porter .</scene_description> <character>MARTINS</character> <dialogue>Oh, and Porter, order me a ticket tonight for the Josefstadt theatre.</dialogue> <scene_description>He starts to mount the stairs revealed in f.g. , moving up them back to camera . Crabbin , with his girl friend CR of him is revealed coming down the CR side .</scene_description> <character>CRABBIN</character> <dialogue>Oh, Mr. Martins, good evening.</dialogue> <character>MARTINS</character> <dialogue>Good evening Mr. Crabbin.</dialogue> <scene_description>Paine enters from CL f.g. and Crabbin and the girl with him exit past him RL .</scene_description> <character>PAINE</character> <dialogue>He said I was to drive you to the airfield or take you to the bus, whichever you prefer.</dialogue> <scene_description>Paine holds up the ticket to Martins a few steps up looking down CL at him .</scene_description> <character>MARTINS</character> <dialogue>Did n't you hear Mr. Crabbin offer me the hospitality of the H.Q.B.M.T?</dialogue> </scene> <scene> <stage_direction>INT. JOSEFSTADT THEATRE - LONG SHOT - THE STAGE</stage_direction> <scene_description>over the backs of the heads of audience in darkened theatre in f.g. . A costume play is in progress . The stage is crowded with actors bewigged and actresses in powdered wigs and crinolines . Music starts .</scene_description> <character>ACTORS</character> <parenthetical>( on stage . )</parenthetical> <dialogue>Ich bitte dich. Ich bitte dich. Ich bitte dich. Ferisiche uns jetzt nur nicht streng zu kommen.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated in stalls , L profile favoring camera . He is opening his program to study it .</scene_description> <character>ACTORS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>sonze sagen wir alles der Frau Mama.</dialogue> <scene_description>CLOSE SHOT - ANNA in L profile in powdered wig and costume on stage , performing . CAMERA PANS RL with her as she , laughing , steps back to join other actors revealed in L of picture .</scene_description> <character>ACTOR</character> <dialogue>Um gotteswillem. Nein, nein, nur das nicht mein herzensguten wenn ich der Mama nicht zage das stubenmaedshen nich eimmer in die wange zwekst. Laesse du nich dann den Wolfgang Heiraten.</dialogue> <scene_description>CLOSE SHOT - MARTINS in L proflle looking at program then to stage .</scene_description> <character>ACTOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Jas das ist ja glatte expressung.</dialogue> <scene_description>CLOSEUP - ANNA on stage .</scene_description> <character>ACTORS</character> <dialogue>Ja, ja, ja, - also - also.</dialogue> <character>ACTOR</character> <dialogue>Ja, ja, ja, na wenn ich drei madelen nicht nat' dakonnt' ich mir auch drei.</dialogue> <scene_description>CLOSE SHOT - MARTINS gets up from his seat at the end of the row to leave . He exits CL .</scene_description> <character>ACTOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>krenzottern halten. Giftiger - kommen die auch nicht stechen. au.</dialogue> <scene_description>MED . LONG SHOT - MARTINS enters from CR moving upstage back to camera , along a corridor to backstage . A man crosses the corridor LR from door to door in front of Martins . Hand clapping and music is heard . MED . SHOT - ANNA backstage , she moves downstage to CS . CAMERA PANNING RL with her as she leans against pillar in L f.g. MED . SHOT - MARTINS looking off CR for Anna . He moves forward into CLOSEUP fully opening the door - part opening through which we have seen him . CLOSEUP - ANNA in R profile leaning by pillar , looking down , adjusting her costume . Other artists around her . CLOSEUP - MARTINS at open door , looking in CR at her .</scene_description> <character>MARTINS</character> <dialogue>I was a friend of Harry Lime's.</dialogue> <scene_description>CLOSEUP - ANNA as she looks up , reacting to him off CL . Other artists around her .</scene_description> <character>ANNA</character> <dialogue>Afterwards.</dialogue> <scene_description>LONG SHOT - ANNA makes her way on stage from the wings , moving upstage , back to camera . Girls laughing on stage . Actor on stage speaks over the laughter .</scene_description> <character>ACTOR</character> <dialogue>Ich habe gleich fier mid geniesse das ehelebon in vierfacher auflage.</dialogue> <scene_description>CLOSE SHOT - ANNA on stage curtseying , looking laughingly up off L for her actor partner . Laughing , on stage . CLOSEUP - MARTINS at door looking off CL for Anna . Music over . Chatter from stage . CLOSEUP - ANNA on stage looking off CR for Martins in wings . She gets to her feet from curtseying position , helped by her partner 's hand from off L.</scene_description> <character>ACTOR</character> <dialogue>Kind das nene chiffonk leid furdich ist bestellt.</dialogue> <scene_description>CLOSE SHOT - MARTINS at open door of Anna 's dressing room . Anna 's maid exits past him through door .</scene_description> <character>MAID</character> <dialogue>Good night.</dialogue> <character>ANNA</character> <dialogue>Good night.</dialogue> <scene_description>CLOSE SHOT - ANNA seated in L profile at her dressing table , she is removing the jewelry from her costume . Jewelry drops onto dressing table . Music stops . CLOSEUP - MARTINS in open doorway looking off CL into the dressing room for Anna .</scene_description> <character>MARTINS</character> <dialogue>Miss Schmidt?</dialogue> <scene_description>CLOSE SHOT - ANNA seated at dressing table , looks up off R for Martins at the door . She gets up out of picture LR as we cut .</scene_description> <character>ANNA</character> <dialogue>Oh, come in.</dialogue> <scene_description>MED . SHOT - ANNA comes into picture from CL to Martins who moves downstage slightly to her from the door . Girl enters from CL and exits through door . CAMERA PANS L slightly as they move to dressing table .</scene_description> <character>MARTINS</character> <dialogue>Thank you.</dialogue> <character>ANNA</character> <dialogue>Sit down.</dialogue> <character>MARTINS</character> <dialogue>Thank you. I enjoyed the play very much.</dialogue> <character>GIRL</character> <parenthetical>( exiting . )</parenthetical> <dialogue>Guten nacht, Anna.</dialogue> <character>ANNA</character> <dialogue>Guten nacht.</dialogue> <scene_description>Martins sits down at the dressing table .</scene_description> <character>MARTINS</character> <dialogue>You were awfully good.</dialogue> <character>ANNA</character> <dialogue>Do you understand German?</dialogue> <character>MARTINS</character> <dialogue>No, no. oh. excuse me.</dialogue> <scene_description>He gets up , realising he has been sitting on something , crushable . He stands in R f.g. so that we shoot past his L shoulder to CLOSE SHOT of Anna standing with her back to the dressing table .</scene_description> <character>MARTINS</character> <dialogue>But I could follow it fine. Perhaps Harry told you about me. My name's Holly Martins.</dialogue> <character>ANNA</character> <dialogue>No, he never told me about his friends. Would you like some tea?</dialogue> <scene_description>She has picked up a packet of tea , and is holding it up in her hand .</scene_description> <character>MARTINS</character> <dialogue>Thank you.</dialogue> <scene_description>CAMERA PANS RL as she crosses over to small stove - losing Martins . She stands in front of it and glances off R for Martins .</scene_description> <character>ANNA</character> <dialogue>Someone threw me a packet last week. Sometimes the British do, instead of flowers you know, on the first night.</dialogue> <scene_description>She picks up a bottle and holds it up , showing it to him .</scene_description> <character>ANNA</character> <dialogue>There was a bouquet too, from an American. Would you rather have a whiskey?</dialogue> <scene_description>CLOSE SHOT - MARTINS standing , looking off CL for Anna .</scene_description> <character>MARTINS</character> <dialogue>Tea's fine.</dialogue> <scene_description>CLOSE SHOT - ANNA in L profile at stove .</scene_description> <character>ANNA</character> <dialogue>Good, I wanted to sell it. Oh, there's some tea left.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Anna , he moves forward .</scene_description> <character>MARTINS</character> <dialogue>Had you known him - some time?</dialogue> <scene_description>CLOSE SHOT - ANNA holding cup and saucer in hand , looking CR for Martins off .</scene_description> <character>ANNA</character> <dialogue>Yes.</dialogue> <scene_description>Martins enters from CR and CAMERA PANS LR slightly to center them in a TWO SHOT . CLOSE SHOT - MARTINS past Anna in L f.g. . She hands him the cup and saucer and he holds it in both hands . She offers him an open tin of milk .</scene_description> <character>MARTINS</character> <dialogue>I wanted to talk to you. - No, thank you. I wanted to talk to you about him.</dialogue> <scene_description>CLOSE SHOT - ANNA past Martins in R f.g.</scene_description> <character>ANNA</character> <dialogue>There's nothing really to talk about, is there? Nothing.</dialogue> <scene_description>She moves forward as if to exit CR . MED . SHOT - ANNA moves into her chair in front of the dressing table in profile . Martins is seen upstage of her - standing at her R side full face looking down at her . She takes off her wig .</scene_description> <character>MARTINS</character> <dialogue>Well, I saw you at the funeral.</dialogue> <character>ANNA</character> <dialogue>I'm so sorry, I did n't notice much.</dialogue> <character>MARTINS</character> <dialogue>You were in love with him, were n't you?</dialogue> <character>ANNA</character> <dialogue>I do n't know. How can you know a thing like that afterwards. I do n't know anything any more.</dialogue> <scene_description>CLOSEUP - ANNA in L profile seated in front of dressing table taking off her false eye - lashes .</scene_description> <character>ANNA</character> <dialogue>Except that I want to be dead too. Some more tea?</dialogue> <scene_description>She looks up at him off CL . CLOSEUP - MARTINS looking down off CR for Anna , seated .</scene_description> <character>MARTINS</character> <dialogue>No, not tea. Would you like a cigarette?</dialogue> <scene_description>CAMERA PANS LR with him as he moves to offer her one from a packet . CLOSE SHOT - ANNA seated at dressing table . Martins standing upstage of her at her R side , facing camera -LRB- head out of picture above frame -RRB- . She takes one of the cigarettes he offers her . She runs her fingers through her hair . He sits down into picture upstage of the corner of the dressing table in R profile , looking at her .</scene_description> <character>ANNA</character> <dialogue>Oh, American, thank you. I like them.</dialogue> <character>MARTINS</character> <dialogue>I was talking to another friend of Harry's. A Baron Kurtz - do you know him?</dialogue> <scene_description>He lights her cigarette .</scene_description> <character>ANNA</character> <dialogue>No.</dialogue> <character>MARTINS</character> <dialogue>He has a little dog.</dialogue> <character>ANNA</character> <dialogue>Oh, yes, yes.</dialogue> <scene_description>Anna puts her cigarette down . She picks up the wig block at her side and mounts her wig on it .</scene_description> <character>MARTINS</character> <dialogue>Do n't understand what Harry saw in a fellow like that.</dialogue> <character>ANNA</character> <dialogue>That was the man that brought me some money when Harry died. He said Harry had been anxious at the last moment.</dialogue> <scene_description>Anna starts to work on the curls of the wig . Re - dressing it .</scene_description> <character>MARTINS</character> <dialogue>He said he remembered me too. Seems to show he was n't in much pain.</dialogue> <character>ANNA</character> <dialogue>Dr. Winkel told me that.</dialogue> <character>MARTINS</character> <dialogue>Dr. Winkel? Who is he?</dialogue> <character>ANNA</character> <dialogue>The doctor Harry used to go to. He was passing just after it happened.</dialogue> <character>MARTINS</character> <dialogue>His own doctor?</dialogue> <character>ANNA</character> <dialogue>Yes.</dialogue> <character>MARTINS</character> <dialogue>Were you at the inquest?</dialogue> <scene_description>Still working on the wig .</scene_description> <character>ANNA</character> <dialogue>Yes. They said it was n't the driver's fault. Harry often said what a careful driver he was.</dialogue> <character>MARTINS</character> <dialogue>He was Harry's driver?</dialogue> <character>ANNA</character> <dialogue>Mmmm.</dialogue> <scene_description>He starts to get up from chair .</scene_description> <character>MARTINS</character> <dialogue>I do n't get it.</dialogue> <scene_description>MED . SHOT - MARTINS makes last move up from chair , and moves away back to camera upstage . He walks up and down as he speaks .</scene_description> <character>MARTINS</character> <dialogue>All of them there. Kurtz, this Roumanian, Popescu, his own driver knocking him over. His own doctor passing by. No strangers there.</dialogue> <scene_description>CLOSEUP - ANNA working on the curls on her wig .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>at all.</dialogue> <character>ANNA</character> <dialogue>I know. I wondered about it a hundred times, if it really was an accident.</dialogue> <scene_description>CLOSEUP - MARTINS back to camera , swings round full face to look off past CR at Anna , reacting to her remark . Music crescendo . CLOSEUP - ANNA working on wig , looking up off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>What difference does it make? He's dead, is n't he?</dialogue> <scene_description>MED . SHOT - MARTINS looking off CR for Anna .</scene_description> <character>MARTINS</character> <dialogue>Well, if it was n't an acci.</dialogue> <character>MANAGER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Miss Schmidt!</dialogue> <scene_description>MED . CLOSE SHOT - ANNA at dressing table , working at wig . She looks up off CR , reacting to Manager 's summons .</scene_description> <character>ANNA</character> <dialogue>Ja, herr Hogan. I must hurry. They do n't like us to use the light.</dialogue> <scene_description>She gets up and moves to exit CL . CLOSE SHOT - MARTINS looking off CL for Anna .</scene_description> <character>MARTINS</character> <dialogue>The porter saw it happen.</dialogue> <scene_description>CLOSE SHOT - ANNA undoing the back of her dress , partly concealed behind her dressing table , which she is using as a screen .</scene_description> <character>ANNA</character> <dialogue>Then why worry?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking at his watch .</scene_description> <character>MARTINS</character> <dialogue>Do you know that porter?</dialogue> <scene_description>CLOSE SHOT - ANNA behind dressing table looking off CR for Martins . She hesitates before she answers .</scene_description> <character>ANNA</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - HARRY'S APARTMENT - MED. SHOT</stage_direction> <scene_description>The Porter moves upstage to the closed windows followed by Anna , CL and Martins . He opens them .</scene_description> <character>PORTER</character> <dialogue>Sehen sie da gleich da unter. Da unten ist est passiert. Passiert - English.</dialogue> <character>MARTINS</character> <dialogue>What's he saying?</dialogue> <character>ANNA</character> <dialogue>He says it happened right down there.</dialogue> <scene_description>CLOSE SHOT - PORTER AND MARTINS CR in L profile looking at him .</scene_description> <character>PORTER</character> <dialogue>Happened. Yes happened right down there.</dialogue> <character>MARTINS</character> <dialogue>You saw it?</dialogue> <character>PORTER</character> <dialogue>Not saw, heard. heard. I heard the brakes. Wham! And I got to the window and saw them carry the body to the other side of the er. er Joseph. that's Joseph Emperor Joseph Statue.</dialogue> <character>MARTINS</character> <dialogue>Why did n't they bring him in the house?</dialogue> <scene_description>LONG SHOT - ANNA moves through the open doors from the living room into the bedroom and switches on the light . In the b.g. Porter and Martins can still be seen , standing together at the window , talking . CAMERA TRACKS BACK with her . She takes off hat and moves to sit down at dressing table . CLOSE SHOT - ANNA sits into position at the dressing table , and taking comb from dressing table drawer starts to comb her hair . CLOSE SHOT - PORTER AND MARTINS who is CR - both in profile , talking to each other .</scene_description> <character>MARTINS</character> <dialogue>Could he have been conscious?</dialogue> <character>PORTER</character> <dialogue>Conscious? Cas soll ich auch noch wissen?</dialogue> <character>MARTINS</character> <dialogue>Oh, er - oh. was he - was he still alive?</dialogue> <character>PORTER</character> <dialogue>Er, alive? He could n't have been alive, not with his head in the way it was.</dialogue> <character>MARTINS</character> <dialogue>I was told that he did not die at once.</dialogue> <character>PORTER</character> <dialogue>Ah, er war gleich tot - I mean, sie war gleich tot - brauchen kein angst zu. Ein moment. Wart ein bissel. Wartein bissel. Fraulein Schmidt!</dialogue> <scene_description>LONG SHOT - PORTER walking through the living room downstage toward the bedroom . Martins enters from the window CL b.g. and follows after him .</scene_description> <character>PORTER</character> <dialogue>Wis sagt men in English gleich tot?</dialogue> <scene_description>CLOSE SHOT - ANNA combing her hair at the dressing table in R profile .</scene_description> <character>ANNA</character> <dialogue>He was quite dead.</dialogue> <scene_description>LONG SHOT - PORTER in living room facing camera , looking off into bedroom . He turns round to left and right looking for Martins , then discovers him behind him .</scene_description> <character>PORTER</character> <dialogue>He was quite dead.</dialogue> <scene_description>CLOSE SHOT - ANNA at dressing table in R profile looking into the mirror off R.</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>But that sounds crazy. If he was.</dialogue> <scene_description>CLOSEUP - INSERT Anna picks up a photograph without a frame , of herself standing at the open door of a car , waving .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>killed at once, how could he have talked about me, and this lady here, after he was dead?</dialogue> <scene_description>CLOSE SHOT - ANNA seated at dressing table in R profile . She puts the photograph in the drawer of the dressing table .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Why did n't you say all this at the inquest?</dialogue> <scene_description>MED . SHOT - MARTINS past Porter in L f.g. . He walks to Martins and stands CL of him L profile favoring .</scene_description> <character>PORTER</character> <dialogue>It is better not to be mixed up in things like this.</dialogue> <scene_description>CLOSEUP - MARTINS past Porter in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Things like what?</dialogue> <scene_description>CLOSEUP - PORTER past Martins in R f.g.</scene_description> <character>PORTER</character> <dialogue>I was not the only one who did not.</dialogue> <scene_description>CLOSEUP - MARTINS past Porter in L f.g.</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>give evidence.</dialogue> <character>MARTINS</character> <dialogue>Who else?</dialogue> <scene_description>CLOSEUP - PORTER past Martins in R f.g.</scene_description> <character>PORTER</character> <dialogue>Three men helped to carry your friend to the statue.</dialogue> <scene_description>CLOSEUP - MARTINS past Porter in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Kurtz.</dialogue> <character>PORTER</character> <dialogue>Yes.</dialogue> <character>MARTINS</character> <dialogue>The Roumanian?</dialogue> <character>PORTER</character> <dialogue>Yes.</dialogue> <character>MARTINS</character> <dialogue>And?</dialogue> <scene_description>CLOSEUP - PORTER past Martins in R. f.g.</scene_description> <character>PORTER</character> <dialogue>There was a third man - he did n't give evidence.</dialogue> <character>MARTINS</character> <dialogue>You do n't mean that doctor?</dialogue> <character>PORTER</character> <dialogue>No, no. He came late after they carried him to the Joseph Statue.</dialogue> <scene_description>CLOSEUP - MARTINS past Porter in L f.g.</scene_description> <character>MARTINS</character> <dialogue>What did this man look like?</dialogue> <scene_description>CLOSEUP - PORTER past Martins in R f.g.</scene_description> <character>PORTER</character> <dialogue>I did n't see his face.</dialogue> <scene_description>CLOSEUP - MARTINS past Porter in L f.g. . He exits CL .</scene_description> <character>PORTER</character> <dialogue>He did n't look up.</dialogue> <scene_description>CLOSEUP - PORTER looking off CR after Martins .</scene_description> <character>PORTER</character> <dialogue>He was quite - gewernlich. ordinary.</dialogue> <scene_description>MED . SHOT - MARTINS moves RL to the open window CL and stands looking out of it to the street below .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He might have been.</dialogue> <scene_description>LONG SHOT the lamp lit street below from Martins eye line as he looks out of the window .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Just anybody.</dialogue> <scene_description>CLOSEUP - MARTINS in L profile looking down off L out of the window .</scene_description> <character>MARTINS</character> <dialogue>Just anybody.</dialogue> <scene_description>The telephone rings off . MED . CLOSE SHOT - ANNA sits into position LR on the bed CL of bedside table . She picks up the phone to answer it . In the b.g. in living room beyond we see the Porter . As she answers - she idly opens the lid of a box at the side of the bed on the table , and taking dice and shaker from it starts to throw them . Martins comes into picture from CL in living room in b.g.</scene_description> <character>ANNA</character> <dialogue>Hullo. hullo. Wer ist da? Hullo? Warum antworten sie nicht? Hullo?</dialogue> <scene_description>MED . SHOT - MARTINS with Porter CR of him from Anna 's eye line . They are both looking off CR for Anna . She replaces phone on hook .</scene_description> <character>MARTINS</character> <dialogue>Who was that?</dialogue> <scene_description>CLOSE SHOT - ANNA seated on the bedside table rolling dice .</scene_description> <character>ANNA</character> <dialogue>I do n't know. They did n't answer.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I was told there were only two men there.</dialogue> <scene_description>MED . SHOT - MARTINS walks upstage a few steps to stand close CL of the Porter in R profile , talking to him .</scene_description> <character>MARTINS</character> <dialogue>You got ta tell your story to the police.</dialogue> <character>PORTER</character> <dialogue>Police? Why police? Das ist alles blodsum was sie da sangen. No, no. It is all nonsense ; it was an accident.</dialogue> <character>MARTINS</character> <dialogue>You do n't know it was an accident. You only saw a dead man and three men carry him.</dialogue> <character>PORTER</character> <dialogue>Der ami macht mich noch ganz deppert. I should have listened to my wife. She said you were up to no good. Gossip.</dialogue> <character>MARTINS</character> <dialogue>Suppose I take.</dialogue> <scene_description>CLOSE SHOT floor between wide open double doors from living room to landing beyond . A large , child 's rubber ball rolls through them into the room .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>your evidence to the police?</dialogue> <scene_description>CLOSE SHOT on to landing through wide open doors . A woolly mitten appears round the CR door , and then slowly the face of a small boy , dressed for the street , appears round the corner of the door . He looks off CL , reacting to the two men 's angry words .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Fer von mir aus gehen sie zur gansalt aber mich lassen sie aus mit der politzei.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Now, hold on.</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Das hat man davon wenn man freundlich ist mit den auslandern.</dialogue> <scene_description>LONG SHOT CAMERA TILTED at an angle , from the boy 's eye line . Porter CL in the living room - and Martins CR - Martins back to camera .</scene_description> <character>PORTER</character> <dialogue>I have no evidence. I saw nothing. I said nothing. It's not my business.</dialogue> <character>MARTINS</character> <dialogue>Well make it your business.</dialogue> <scene_description>CLOSE SHOT - HANSEL in the doorway looking off CL for the two men .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ach jetzt hates aber zwolte geschlagen. Jetzt heh ` ma aber.</dialogue> <scene_description>LONG SHOT CAMERA TILTED - Porter with Martins CR . Anna enters from bedroom in b.g. putting out light . She moves downstage to the two men . The Porter picks up the rubber ball and throws it off CL to the boy .</scene_description> <character>PORTER</character> <dialogue>Fr lein Schmidt. ebs sie waren mir mier sympatische. I have always liked you but you must not bring this gentleman here again. You must go at once please. Sonst fergesseich meinen wienerischen charm. Please.</dialogue> <scene_description>MED . SHOT - HANSEL picks up ball as it rolls into picture and runs off with it upstage along the corridor outside the room . LONG SHOT Anna CL and Martins walking side by side along the wet lamplit street . Buildings CL of the pavement . CAMERA TRACKS BACK with them . They stop in CS in f.g.</scene_description> <character>ANNA</character> <dialogue>You should n't get mixed up in this.</dialogue> <character>MARTINS</character> <dialogue>Well, if I do find out something, can I look you up again?</dialogue> <character>ANNA</character> <dialogue>Why do n't you leave this town - go home?</dialogue> <scene_description>MED . CLOSE SHOT - LANDLADY eider - down wrapped round her shoulders over clothes - hair unkempt , calling to Anna who enters from R f.g.</scene_description> <character>WOMAN</character> <dialogue>Wo unglaublich stecken sie denn Fraulein Schmidt. Die Politzei is oben.</dialogue> <scene_description>She opens the wrought iron doorway . CLOSEUP - ANNA looking up off CL at the building .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sie suchen nach papieron.</dialogue> <scene_description>CLOSE SHOT - MARTINS CL and Anna looking up off CL to the building 's higher stories .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Une lesen alle ihre briefe.</dialogue> <scene_description>LONG SHOT the lighted windows above from Anna and Martins eye line .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Als wenn man ein werbrecher ware.</dialogue> <scene_description>CLOSE SHOT - MARTINS AND ANNA looking off CL for the Landlady .</scene_description> <character>MARTINS</character> <dialogue>What is it?</dialogue> <scene_description>CLOSE SHOT - LANDLADY looking off CR for Martins and Anna</scene_description> <character>WOMAN</character> <dialogue>Was will die politzei von ihnen?</dialogue> <scene_description>CLOSE SHOT - MARTINS AND ANNA looking up off CL . Anna turns away . Martins looks after her then off CL for Landlady .</scene_description> <character>ANNA</character> <dialogue>Ich weiss nicht.</dialogue> <character>WOMAN</character> <dialogue>Das mussen sie doch wissen. Ich meine ohne grund wird die politzei doch nicht ins Hans komme Fraulein Schmidt, ein schande.</dialogue> <character>MARTINS</character> <dialogue>What's she talking about?</dialogue> <character>ANNA</character> <dialogue>The police. They're searching my room. Sie mussen doch wissen.</dialogue> <scene_description>MED . SHOT - LANDLADY in doorway . Anna and Martins enter from CR f.g. , and crossing in front of her enter the building .</scene_description> <character>WOMAN</character> <dialogue>Une was es sich handelt, Mein Eott das ist doch ichrecklich.,.</dialogue> <scene_description>LONG SHOT from top of stairs Anna comes through archway at bottom of stone stairs followed by Martins and the Landlady .</scene_description> <character>WOMAN</character> <dialogue>Man ist ja nicht mehr herr in seinem eigenen Hans.</dialogue> <scene_description>MED . SHOT - OLD LADY looking through the iron bannister rails off R. at Martins and Anna as they mount the stairs .</scene_description> <character>WOMAN</character> <dialogue>Wein es noch die Oesterreichische politzei ware.</dialogue> <scene_description>LONG SHOT - MARTINS led by Anna walking along corridor from stone stairs . CAMERA PANS LR with them revealing a marble corridor and they walk upstage along this , backs to camera .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>einen nach rechtzatig.</dialogue> <scene_description>LONG SHOT Anna 's room , the Police of the International Patrol , with the Austrian police , are searching it . Opening drawers , turning things over , etc. . Anna followed by Martins enters from CR and moves downstage to Calloway in f.g.</scene_description> <character>MARTINS</character> <dialogue>What the devil?</dialogue> <character>CALLOWAY</character> <dialogue>Getting around, Martins.</dialogue> <character>MARTINS</character> <dialogue>Oh, pinning things on girls now.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna in L f.g. MP 's of the patrol seen in b.g.</scene_description> <character>CALLOWAY</character> <dialogue>Miss Schmidt, I should like to see your papers, please.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA past Calloway in R f.g. - Martins enters CR of her just behind her L shoulder .</scene_description> <character>MARTINS</character> <dialogue>Do n't give him anything.</dialogue> <scene_description>Anna takes out her passport and hands it to Calloway . Martins turns away .</scene_description> <character>CALLOWAY</character> <dialogue>Thank you.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna in L f.g. . He looks at her passport .</scene_description> <character>CALLOWAY</character> <dialogue>You were born in Graz of Austrian.</dialogue> <scene_description>CLOSE SHOT - ANNA Calloway in R f.g.</scene_description> <character>CALLOWAY</character> <dialogue>parents.</dialogue> <character>ANNA</character> <dialogue>Yes.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>Paine.</dialogue> <scene_description>He takes a step LR CAMERA PANNING WITH HIM to reveal Paine , and lose Anna . He shows Paine the passport . They stand together - Paine CR looking at it . Paine holds it up to the light .</scene_description> <character>CALLOWAY</character> <dialogue>Hmmm.</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Paine and Calloway . CLOSE SHOT - CALLOWAY AND PAINE</scene_description> <character>PAINE</character> <dialogue>It's very good sir, is n't it?</dialogue> <scene_description>Calloway looks off CL for Anna .</scene_description> <character>CALLOWAY</character> <dialogue>How much did you pay.</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Calloway .</scene_description> <character>CALLOWAY</character> <dialogue>for this?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY AND PAINE looking at passport , then off CL for Anna .</scene_description> <character>CALLOWAY</character> <dialogue>I'm afraid I'll have to keep this -</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for them .</scene_description> <character>CALLOWAY</character> <dialogue>- for a while Miss Schmidt.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking off CR for Calloway . Soldiers in b.g. still searching room .</scene_description> <character>MARTINS</character> <dialogue>How do you expect her to live in this city without papers?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY AND PAINE Calloway hands passport to Paine who exits CL - and Calloway moves away upstage - CAMERA PANNING RL slightly , and revealing Anna and holding her in CLOSE SHOT . In b.g. Martins is discovered ; he follows Calloway to the back of the room .</scene_description> <character>CALLOWAY</character> <dialogue>Write her out a receipt, Paine. Give her a receipt for these letters too.</dialogue> <character>PAINE</character> <dialogue>This way, miss.</dialogue> <scene_description>Anna exits quickly CL .</scene_description> <character>MARTINS</character> <dialogue>I suppose it would n't interest you to know that Lime was murdered? You're too busy. You have n't even bothered to get complete evidence.</dialogue> <scene_description>MED . SHOT - PAINE In L f.g. seated at a table , he is holding a few letters in his hands . Anna walks up to the table CR of him . CLOSE SHOT - PAINE seated at table , letters in hand . Anna enters from CL to stand at his side , CAMERA TRACKS IN to hold them in CLOSE SHOT .</scene_description> <character>ANNA</character> <dialogue>Must you take those?</dialogue> <character>PAINE</character> <dialogue>They'll be returned, miss.</dialogue> <character>ANNA</character> <dialogue>They are - private - letters.</dialogue> <character>PAINE</character> <dialogue>That's all right, miss, do n't worry. We're used to it - like doctors.</dialogue> <scene_description>MED . SHOT - CALLOWAY AND MARTINS CR of him . Police around them still carrying an the search . There is a slight commotion .</scene_description> <character>MARTINS</character> <dialogue>And there was a third man there. I suppose that does n't sound peculiar to you.</dialogue> <character>CALLOWAY</character> <dialogue>I'm not interested in whether a racketeer like Lime was killed by his friends or by accident. The only important thing is that he's dead.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CR reacting to his remark .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY Martins steps up beside him CL .</scene_description> <character>MARTINS</character> <dialogue>Tactful too, are n't we, Callaghan?</dialogue> <character>CALLOWAY</character> <dialogue>Calloway.</dialogue> <scene_description>Anna enters from CL , CAMERA TRACKS BACK PANNING LR losing Martins - Calloway stops in f.g. in CLOSE SHOT having walked downstage a little way - Anna walks beside him and stops beside him CL - and they are held in CLOSE SHOT TOGETHER .</scene_description> <character>ANNA</character> <dialogue>Must you take those letters?</dialogue> <character>CALLOWAY</character> <dialogue>Yes, I'm afraid so.</dialogue> <character>ANNA</character> <dialogue>They're Harry's.</dialogue> <character>CALLOWAY</character> <dialogue>That's the reason.</dialogue> <character>ANNA</character> <dialogue>You wo n't learn anything from them. They are only love letters. There are not many of them.</dialogue> <character>CALLOWAY</character> <dialogue>They'll be returned to you, Miss Schmidt, as soon as they've been examined.</dialogue> <character>ANNA</character> <dialogue>There's nothing in them.</dialogue> <scene_description>CLOSE SHOT - ANNA past Calloway in R f.g.</scene_description> <character>ANNA</character> <dialogue>Harry never did any thing. Only a small thing once, out of kindness.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>And what was that?</dialogue> <scene_description>CLOSE SHOT - ANNA past Calloway in R f.g.</scene_description> <character>ANNA</character> <dialogue>You've got it in your hand.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna . He reacts off L as the M.P. calls him .</scene_description> <character>M.P.</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Calloway!</dialogue> <scene_description>CLOSE SHOT - AMERICAN M.P. past Russian M.P. in L f.g. and Austrian policemen in R of picture .</scene_description> <character>AMERICAN M.P.</character> <dialogue>Finished?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes.</dialogue> <character>AMERICAN M.P.</character> <dialogue>Okay.</dialogue> <scene_description>He signals to his partners that the search is over and throws some papers back in a drawer that has been taken out . Moves to exit CR . CLOSE SHOT - CALLOWAY past Anna in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>You'll have to come with us.</dialogue> <scene_description>CLOSEUP - ANNA looking off CR .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Miss Schmidt.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You're not locking her up?</dialogue> <scene_description>Anna moves to exit CL .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Go home, Martins, like a sensible chap. You do n't know what you're mixing in.</dialogue> <scene_description>MED . SHOT - MARTINS AND CALLOWAY who turns away and walks behind Martins RL . CAMERA PANS RL SLIGHTLY with him . Policemen cross f.g. RL . CAMERA PANS LR again . Calloway moves downstage again CR and in front of Martins who looks after him . He moves to exit .</scene_description> <character>CALLOWAY</character> <dialogue>Get the next plane.</dialogue> <character>MARTINS</character> <dialogue>As soon as I get to the bottom of this, I'll get the next plane.</dialogue> <character>CALLOWAY</character> <dialogue>Death is at the bottom of everything, Martins. Leave death to the professionals.</dialogue> <character>MARTINS</character> <dialogue>Do you mind if I use that line in my next Western? You ca n't chuck me out, my papers are in order.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA in kitchen alcove with Paine CR of her . He has the letters in his hand which he passes to her .</scene_description> <character>PAINE</character> <dialogue>There you are, miss, your receipt for the letters.</dialogue> <character>ANNA</character> <dialogue>I do n't want it.</dialogue> <character>PAINE</character> <dialogue>Well, I've got it when you want it, miss.</dialogue> <scene_description>He moves away upstage back into the main part of the room again . Martins enters to her from the room , and stands CR of her .</scene_description> <character>MARTINS</character> <dialogue>Anything really wrong with your papers?</dialogue> <character>ANNA</character> <dialogue>They're forged.</dialogue> <character>MARTINS</character> <dialogue>Why?</dialogue> <character>ANNA</character> <dialogue>The Russians would claim me. I come from Czechoslovakia.</dialogue> <scene_description>MED . SHOT - GERMAN LANDLADY with police searching the room around her . She is clutching the eiderdown about her . She speaks to a Russian soldier in L f.g. who ignores her .</scene_description> <character>WOMAN</character> <dialogue>Wie die Vandalen! Ja sie wo schlep - wo schleppen sie schlon das wieder hir! Mein gott sie kommen doch nicht das gause Hans auf den Kopf stellen S. Monsieur och versteht er auch nicht - Mensch zimmer einer - dame.</dialogue> <scene_description>CAMERA PANS R with her as she moves LR to a British soldier revealed in R f.g. , who moves across screen RL paying no attention to her . CAMERA PANS RL again with her revealing an American MP in CLOSE SHOT in L f.g. going over the content of a box in his hands . He ignores her and exits CL putting down the box . She looks off CL for Anna .</scene_description> <character>WOMAN</character> <dialogue>Fraulein Schmidt - erklaren sie doch.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA looking off CR for the Landlady . Martins CR of her turns his head to look at Anna then off R for the Landlady .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Den leuten.</dialogue> <character>ANNA</character> <dialogue>Ja, ja, ja.</dialogue> <character>WOMAN</character> <dialogue>Sayen sie ed our den Leuten damit sie es auch wissen.</dialogue> <character>MARTINS</character> <dialogue>What did she say?</dialogue> <scene_description>CLOSE SHOT - LANDLADY looking off . CL for Anna .</scene_description> <character>WOMAN</character> <dialogue>Hier sind fruher Fursten ans unt eingeganger. Hier hat sogar ein Metternich verkehrt.</dialogue> <scene_description>CLOSE SHOT - ANNA AND MARTINS</scene_description> <character>ANNA</character> <dialogue>Give her some cigarettes.</dialogue> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Das worren nooh zeiten.</dialogue> <scene_description>MED . SHOT - LANDLADY soldiers in b.g.</scene_description> <character>WOMAN</character> <dialogue>Da hut man sich noch austandig benomen da war?</dialogue> <scene_description>Martins enters from CL and holds out a packet of cigarettes to her .</scene_description> <character>MARTINS</character> <dialogue>Cigarette?</dialogue> <scene_description>Paine enters from CR . She takes one .</scene_description> <character>WOMAN</character> <dialogue>Danke, danke.</dialogue> <character>MARTINS</character> <dialogue>Please take some more.</dialogue> <scene_description>Calloway is seen behind and between Martins and the Landlady .</scene_description> <character>WOMAN</character> <dialogue>sehr liebernsurdig danke, danke, danke vielmals sie sind wieklich der einsige austandige Mensch hier.</dialogue> <scene_description>Calloway calls off CL to Anna , and Paine in R f.g. watches him .</scene_description> <character>CALLOWAY</character> <dialogue>Miss Schmidt.</dialogue> <scene_description>CLOSE SHOT - ANNA standing at the window . A kitten seen on the window sill outside .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ready?</dialogue> <scene_description>She turns to look back over her L shoulder CR for Calloway . Martins enters from CR f.g. to stand CL of her .</scene_description> <character>MARTINS</character> <dialogue>Look, look, I'll straighten out all this nonsense about Harry. You'll be all right.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins . She turns and exits CR .</scene_description> <character>ANNA</character> <dialogue>Sometimes he said I laughed too much.</dialogue> <scene_description>MED . SHOT - DOORWAY crowded with police exiting through it . Anna comes through the door escorted by two Austrian police , with Paine seen behind her CL . CAMERA TRUCKS BACK as they come out of the door . Martins pushes his way through the group behind Anna , and makes his way to side of CR policemen and calls across him to Anna RL .</scene_description> <character>MARTINS</character> <dialogue>Oh, what was the name of that doctor? Harry's doctor?</dialogue> <character>ANNA</character> <dialogue>Dr. Winkel.</dialogue> <scene_description>She exits CL and as the doorway clears of police , Calloway appears in it behind Martins and CL of him .</scene_description> <character>CALLOWAY</character> <dialogue>What do you want to see a doctor for, huh?</dialogue> <character>MARTINS</character> <dialogue>A bruised lip.</dialogue> <scene_description>Calloway exits CL into the corridor , after Anna and Paine . As he does so , the Landlady appears in the open doorway . LONG SHOT of the hall , Anna escorted , in b.g. moving upstage along the corridor back to camera , followed by Paine , and Calloway enters from CR calling to Martins off .</scene_description> <character>PAINE</character> <dialogue>Good!</dialogue> <scene_description>CLOSE SHOT a drawer taken out of its chest resting on Calloway 's desk . Music starts . It contains some papers - boxes of powder , etc. . Some hands from CR replace some things - another soldier 's hands from off L put some papers back in the drawer .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Laboratory?</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CR for Calloway and other soliders .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We're coming right down.</dialogue> <scene_description>LONG SHOT - THREE M.P. 'S group round Calloway 's desk . Calloway is standing behind it . CAMERA PANS RL as carrying the drawer the soldiers followed by Calloway cross the room , revealing Anna .</scene_description> <character>CALLOWAY</character> <dialogue>You wait here, Miss Schmidt.</dialogue> <scene_description>The soldier exits through door CL followed by Calloway . She walks downstage to CLOSE SHOT . CAMERA TRUCKING BACK WITH HER . She looks out of the window which looks on to the corridor - and a soldier passes along it . LONG SHOT from Anna 's eye line of a wide open door to an office on opposite side of the corridor . An Austrian policeman showing a Russian officer some papers . The open door bears the inscription : `` RUSSIAN LIAISON OFFICER . '' The policeman moves towards door as if to exit . CLOSEUP - ANNA looking through window into the corridor off CL . CLOSE SHOT - RUSSIAN leaving the Russian office walking RL CAMERA TRACKING BACK with him and PANNING DOWN to CLOSE SHOT of Anna 's passport which he is looking at held open in his hands - we see her photograph . CLOSEUP - ANNA looking out of the window CR watching for the policeman off . LONG SHOT - MARTINS walking down dark street , buildings on CR and CL . He is smoking . Music stops . Footsteps are heard on pavement and a tug hoots . CLOSE SHOT - CHICKEN being carved on a plate - from CR .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Haben sie lieber den flugel oder das bein?</dialogue> <scene_description>CLOSE SHOT the closed front door , past Martins in R f.g. . The door opens a little and a maid appears , she looks out at Martins .</scene_description> <character>MAID</character> <dialogue>Die sprechstund zwischen is von drei bis funf.</dialogue> <character>MARTINS</character> <dialogue>Dr. Winkel - I'm sorry I do n't speak German.</dialogue> <character>MAID</character> <dialogue>Nein.</dialogue> <character>MARTINS</character> <dialogue>Please, wo n't you say that I'm a friend of Harry Lime.</dialogue> <scene_description>CLOSE SHOT - CHICKEN being carved from off CR .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hilda!</dialogue> <character>MAID</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ja.</dialogue> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Fuhren sie den herre herein.</dialogue> <scene_description>MED . CLOSE SHOT - MAID in doorway past Martins in R f.g. Martins steps forward back to camera , and taking off his hat enters past her .</scene_description> <character>MAID</character> <dialogue>Bitte.</dialogue> <scene_description>LONG SHOT - MARTINS comes into the living room ushered by the maid . She closes the double doors behind him exiting . We hear a clock chiming .</scene_description> <character>MAID</character> <dialogue>Bitte sir.</dialogue> <scene_description>CLOSE SHOT - WINKEL looking through glass door into room at Martins off CR . LONG SHOT - MARTINS in the living room turns looking around him . CLOSE SHOT - WINKEL moves round the glass door and moves forward exiting CR , to enter the living room .</scene_description> <character>WINKEL</character> <dialogue>Guton.</dialogue> <scene_description>CLOSE SHOT - MARTINS turns round full face and looks off CL for Winkel reacting to hearing his voice .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>abend.</dialogue> <scene_description>CLOSE SHOT - WINKEL Martins enters from CR f.g. and we shoot past him in R f.g. CAMERA TRACKS BACK slightly .</scene_description> <character>MARTINS</character> <dialogue>Dr. Winkel?</dialogue> <character>WINKEL</character> <dialogue>Vinkel.</dialogue> <character>MARTINS</character> <dialogue>Vinkel. You've got quite a collection of er - collection.</dialogue> <character>WINKEL</character> <dialogue>Yes.</dialogue> <scene_description>CLOSE SHOT - DACHSHUND looking up off CR for his master . Dog yelps . CLOSEUP - MARTINS looking down CR for dog .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Was wilst du hier?</dialogue> <scene_description>CLOSE SHOT - WINKEL looking down CL for the dog .</scene_description> <character>WINKEL</character> <dialogue>Du hast hier earnichts verloren mach dass du rauskommst. Ja, komm, komm, komm, komm, komm, hier.</dialogue> <scene_description>CLOSE SHOT - DOG sitting on carpet looking up off CR . He exits CR .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Komm, sei brav nu sei bray ja.</dialogue> <scene_description>CLOSEUP - MARTINS looking down off CL for the dog .</scene_description> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Nu mach schon - mach schon.</dialogue> <scene_description>CLOSE SHOT - GROUND between open doors . Winkel 's foot hustles the dog through it LR .</scene_description> <character>WINKEL</character> <dialogue>Mach schon. So, so is gut.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Winkel . He steps forward .</scene_description> <character>MARTINS</character> <dialogue>Is that your dog?</dialogue> <scene_description>MED . SHOT - WINKEL walking down stage from the door . Martins enters from CR and crosses to stand CL of him .</scene_description> <character>WINKEL</character> <dialogue>Yes. Would you mind. er. er.</dialogue> <scene_description>CAMERA TRACKS BACK as Winkel walking to camera pulls forward a chair for Martins in R f.g.</scene_description> <character>MARTINS</character> <dialogue>Martins.</dialogue> <character>WINKEL</character> <dialogue>Coming to the point, please.</dialogue> <character>MARTINS</character> <dialogue>Thank you.</dialogue> <character>WINKEL</character> <dialogue>I have guests waiting.</dialogue> <scene_description>Martins crosses in front of Winkel and sits down in chair in L profile - Winkel standing CL of him looking down at him .</scene_description> <character>MARTINS</character> <dialogue>We were both friends of Harry Lime.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated in chair , past Winkel in L f.g.</scene_description> <character>MARTINS</character> <dialogue>I want to find out all I can.</dialogue> <scene_description>CLOSE SHOT - WINKEL standing looking down at Martins in R f.g.</scene_description> <character>WINKEL</character> <dialogue>Find out?</dialogue> <character>MARTINS</character> <dialogue>Hear the details.</dialogue> <character>WINKEL</character> <dialogue>I can tell you very little. He was run over by a car. He was dead when I arrived.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated , past Winkel in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Who was with him?</dialogue> <scene_description>CLOSE SHOT - WINKEL past Martins in R f.g.</scene_description> <character>WINKEL</character> <dialogue>Two friends of his.</dialogue> <scene_description>CLOSE SHOT - MARTIN past Winkel in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Sure, two?</dialogue> <scene_description>CLOSE SHOT - WINKEL past Martins in R f.g. . He exits CL .</scene_description> <character>WINKEL</character> <dialogue>Quite sure.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS seated in chair , looking off CL for Winkel .</scene_description> <character>MARTINS</character> <dialogue>Could he have been at all conscious?</dialogue> <character>WINKEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I understand.</dialogue> <scene_description>CLOSE SHOT - WINKEL entering from CR moving RL in L profile . He stops in front of a candle stick and pulls at the unlighted wick . He turns his head to look off CR for Martins .</scene_description> <character>WINKEL</character> <dialogue>he was. Yes, for a short time, while they carried him across the road.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In great pain?</dialogue> <character>WINKEL</character> <dialogue>Not necessarily.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS seated looking off CL for Winkel .</scene_description> <character>MARTINS</character> <dialogue>Well, could he have been capable of making plans.</dialogue> <scene_description>MED . CLOSE SHOT - DR. WINKEL pacing up and down in a small area . He walks downstage RL into CLOSE SHOT . CAMERA PANNING WITH HIM and stops behind a small ornamental statue on a table .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>for me and others, just. just during those few moments? I understand he left some instruction before he died.</dialogue> <scene_description>He blows some imaginary dust off the statue .</scene_description> <character>WINKEL</character> <dialogue>I can not give any opinion. I was not there. My opinion is limited as to the cause of death.</dialogue> <scene_description>He looks off R for Martins .</scene_description> <character>WINKEL</character> <dialogue>Have you any reason to be dissatisfied?</dialogue> <scene_description>CLOSE SHOT - MARTINS seated in chair looking off CL for Winkel .</scene_description> <character>MARTINS</character> <dialogue>Was - is it possible that his death might have been - not accidental?</dialogue> <scene_description>CLOSEUP - WINKEL looking off CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Could he have been. could he have been.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Winkel .</scene_description> <character>MARTINS</character> <dialogue>pushed, Dr. Winkel?</dialogue> <scene_description>CLOSE SHOT - WINKEL looking off CR for Martins .</scene_description> <character>WINKEL</character> <dialogue>I can not give an opinion, the injuries to the head and skull would have been the same.</dialogue> <scene_description>MED . SHOT - ANNA CAMERA PANNING RL with her as she walks along the glass partition of Calloway 's office overlooking the corridor . Calloway comes into picture from CL walking toward the door . As he opens the door we see the Russian Officer in the opposite office , papers in hand , looking at Calloway .</scene_description> <character>RUSSIAN</character> <dialogue>Major, may I see you for a moment, please?</dialogue> <scene_description>Calloway turns back .</scene_description> <character>CALLOWAY</character> <dialogue>Certainly, Brodsky.</dialogue> <scene_description>CLOSE SHOT - BRODSKY Calloway enters from CR and stands in L profile CR of him as Russian turns over pages of passport .</scene_description> <character>CALLOWAY</character> <dialogue>What is it?</dialogue> <character>RUSSIAN</character> <dialogue>This is forgery. It is very clever.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA behind CR side of open glass door to Calloway 's office looking off CL for him .</scene_description> <character>RUSSIAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We are interested in this case. Have you arrested the girl?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No, not yet.</dialogue> <scene_description>CLOSE SHOT - BRODSKY AND CALLOWAY The former gives Calloway the passport .</scene_description> <character>RUSSIAN</character> <dialogue>Please keep this passport to yourself, until I make some inquiries, will you, Major?</dialogue> <character>CALLOWAY</character> <dialogue>Yes, of course.</dialogue> <character>RUSSIAN</character> <dialogue>Thank you.</dialogue> <scene_description>Brodsky exits into his office again . MED . SHOT - CALLOWAY enters from CL to Anna in R f.g. CAMERA TRACKS AND PANS LR , as he crosses screen then exits CR - but holding Anna in CLOSEUP .</scene_description> <character>CALLOWAY</character> <dialogue>Right. Sit down Miss Schmidt, we will send your letters and things back to you.</dialogue> <character>ANNA</character> <dialogue>And my passport?</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY behind his desk .</scene_description> <character>CALLOWAY</character> <dialogue>We will need that for a while longer.</dialogue> <scene_description>CLOSE SHOT - ANNA turns away . MED . LONG SHOT - BRODSKY in his office taking down a file from the cabinet - across the corridor , from Anna 's eye line . CLOSE SHOT - ANNA in L profile looking off CL for the Russian .</scene_description> <character>ANNA</character> <dialogue>What does he mean?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY at his desk looking off CL for Anna . He picks up a photo from his desk and moving round it CAMERA PANNING RL with him in CLOSEUP - Anna is revealed . He stops in profile Anna CR of him - and we hold them in a CLOSE SHOT .</scene_description> <character>CALLOWAY</character> <dialogue>You know as much as I do, Miss Schmidt - you were intimate with Lime, were n't you?</dialogue> <character>ANNA</character> <dialogue>We loved each other, do you mean that?</dialogue> <scene_description>He holds a photograph of a man up to her .</scene_description> <character>CALLOWAY</character> <dialogue>Do you know this man?</dialogue> <character>ANNA</character> <dialogue>I have never seen him.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Anna in R f.g. . He is holding up the photograph to her .</scene_description> <character>CALLOWAY</character> <dialogue>Joseph Harbin.</dialogue> <character>ANNA</character> <dialogue>No.</dialogue> <character>CALLOWAY</character> <dialogue>He works in a military hospital.</dialogue> <character>ANNA</character> <dialogue>No.</dialogue> <character>CALLOWAY</character> <dialogue>It's stupid to lie to me, Miss Schmidt. I'm in a position to help you.</dialogue> <scene_description>He turns away and exits CR . Anna turns in R profile and looks after him CR .</scene_description> <character>ANNA</character> <dialogue>I'm not lying. You're wrong about Harry - you are wrong about everything.</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY hands in pockets standing behind his desk looking off CL for Anna .</scene_description> <character>CALLOWAY</character> <dialogue>In one of his letters he asked you to telephone - a good friend of his called Joseph. He gave you the number of the Casanova Club. That is where a lot of friends of Lime used to go.</dialogue> <scene_description>CLOSEUP - ANNA</scene_description> <character>ANNA</character> <dialogue>It was n't important.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Anna .</scene_description> <character>CALLOWAY</character> <dialogue>What was the message?</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Calloway .</scene_description> <character>ANNA</character> <dialogue>Something about meeting Harry at his home.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Anna .</scene_description> <character>CALLOWAY</character> <dialogue>Harbin disappeared the day you telephoned. We've got to find him.</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Calloway .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You can help us.</dialogue> <character>ANNA</character> <dialogue>What can I tell you but that you have got everything upside down.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Anna . He turns to window CAMERA PANNING LR slightly with him .</scene_description> <character>CALLOWAY</character> <dialogue>Okay. That American friend of yours is still waiting for you.</dialogue> <scene_description>LONG SHOT - THE STREET - FROM CALLOWAY 'S EYE LINE Martins pacing on the far corner - looking up at the window . Tram passes LR .</scene_description> <character>CALLOWAY</character> <dialogue>He wo n't do you much good.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY at the window . He turns baok to look off CL for Anna . Music starts .</scene_description> <character>CALLOWAY</character> <dialogue>Thank you, Miss Schmidt. We will send for you when we want you.</dialogue> <scene_description>He moves over to CL window CAMERA PANNING RL slightly with him . Tram running along . CLOSEUP - ANNA in R profile eyes lowered . She turns away . CLOSE SHOT - NEON SIGN over club entrance reading : CASANOVA REVUE BUHNE BAR . Traffic noise . MED . SHOT - ANNA entering the club RL past a commissionaire , followed by Martins .</scene_description> <character>DOORMAN</character> <dialogue>Bitte schoen.</dialogue> <scene_description>CAMERA PANS RL as they leave door and move into hall losing the door , and revealing Crabbin and his girl friend . Anna exits . Martins stands CL of Crabbin , they shake hands - the girl stands CR of Crabbin waiting for him .</scene_description> <character>CRABBIN</character> <dialogue>Hello - Mr. Martins, we tried to get you at your hotel. We have arranged that lecture for tomorrow.</dialogue> <character>MARTINS</character> <dialogue>What about?</dialogue> <character>CRABBIN</character> <dialogue>On the modern novel - you remember what we arranged and we want you to talk on the Crisis of Faith.</dialogue> <scene_description>Crabbin 's friend exits CR and Martins hands his hat and coat to the hat check girl .</scene_description> <character>MARTINS</character> <dialogue>What's that?</dialogue> <character>CRABBIN</character> <dialogue>Oh, I thought you would know, you're a writer. Of course you do. Good night, old man.</dialogue> <scene_description>He starts to exit CR then turns back .</scene_description> <character>CRABBIN</character> <dialogue>Oh, I've forgotten my hat. I'll let you know the time later.</dialogue> <scene_description>Crabbin exits CR and CAMERA TRACKS BACK as Martins walks forward to CLOSE SHOT . CAMERA PANS RL with him as he turns to his R and walks through archway into the empty bar revealed beyond . Anna the only customer is seated back to camera on a stool at the bar - the barman CR of her . She is the only customer . Martins walks upstage to her , back to camera . CLOSE SHOT - ANNA seated in R profile at the bar . Martins comes to stand at her R side - looks at her for a moment - then turns to lean with his back against the bar facing her - in L profile .</scene_description> <character>MARTINS</character> <dialogue>Drink?</dialogue> <character>ANNA</character> <dialogue>Whiskey.</dialogue> <scene_description>To bartender off R.</scene_description> <character>MARTINS</character> <dialogue>Two whiskeys.</dialogue> <scene_description>CLOSE SHOT - FAT WOMAN CUSTOMER at a table in restaurant - past man with her in R f.g. opposite side of the table . She is eating soup . Kurtz is standing CR of her - leaning over her serenading with a violin . CLOSE SHOT - ANNA AND MARTINS Barman puts drinks on the counter in front of them in f.g. from o.s. R .</scene_description> <character>BARMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Zwei whiskeys.</dialogue> <character>MARTINS</character> <dialogue>How much?</dialogue> <character>BARMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Zwanzig schillings.</dialogue> <character>ANNA</character> <dialogue>They do n't take army money here.</dialogue> <scene_description>Anna starts rummaging in her handbag for money - in the process some of the contents tumble out on to the counter including a photograph . Martins picks it up .</scene_description> <character>MARTINS</character> <dialogue>Harry?</dialogue> <character>ANNA</character> <dialogue>Yes. He moved his head, but the rest is good, is n't it?</dialogue> <scene_description>She takes back the photo and puts it in her bag again . CLOSEUP - WOMAN CUSTOMER at the table , with Kurtz bending down close CR of her - smiling and playing the violin . He suddenly reacts to sighting Martins off CR . He finishes playing and straightens up CAMERA PANNING UP LR with him and losing the woman customer - and we HOLD HIM IN CLOSEUP looking off CR still . CLOSE SHOT - POPESCU seated at table reading a paper , and smoking a cigar . CLOSEUP - KURTZ nods off R at Popescu , then narrowing look off closer to camera for Martins moves forward to exit CR . CLOSE SHOT - POPESCU looks off wider CR for Martins paper still in hand . CLOSE SHOT - ANNA AND MARTINS CR of her . Kurtz moves downstage to stand between them full face .</scene_description> <character>KURTZ</character> <dialogue>Good evening, Miss Schmidt.</dialogue> <scene_description>Martins puts down his glass .</scene_description> <character>ANNA</character> <dialogue>Good evening.</dialogue> <character>KURTZ</character> <dialogue>So, you have found out my little secret. A man must live.</dialogue> <parenthetical>( to Martins . )</parenthetical> <dialogue>How goes the investigation? Have you proved to the police they are wrong?</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>Not yet.</dialogue> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>But you will.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in R f.g.</scene_description> <character>KURTZ</character> <dialogue>Our friend Dr. Winkel said you had called. Was n't he helpful?</dialogue> <scene_description>CLOSEUP - MARTINS past Kurtz in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Well, he was - er - limited.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in R f.g.</scene_description> <character>KURTZ</character> <dialogue>Mr. Popescu is here tonight.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Roumanian?</dialogue> <character>KURTZ</character> <dialogue>Yes. The man who helped carry him.</dialogue> <scene_description>CLOSEUP - MARTINS past Kurtz in L f.g.</scene_description> <character>MARTINS</character> <dialogue>I thought he left Vienna?</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in R f.g.</scene_description> <character>KURTZ</character> <dialogue>He is back now.</dialogue> <scene_description>CLOSEUP - MARTINS past Kurtz in L f.g.</scene_description> <character>MARTINS</character> <dialogue>I'd like to meet all of Harry's friends.</dialogue> <scene_description>CLOSEUP - KURTZ past Martins in R f.g. . He exits CR .</scene_description> <character>KURTZ</character> <dialogue>I'll bring him to you.</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>Have n't you done enough for tonight?</dialogue> <scene_description>CLOSEUP - MARTINS CAMERA PANNING DOWN RL to bring in Anna as he leans down on bar CR of her full face .</scene_description> <character>MARTINS</character> <dialogue>The porter said three men carried the body - and two of them are here.</dialogue> <scene_description>LONG SHOT from Martins ' eye line some members of the International Patrol appear in the doorway to the bar . MED . CLOSE SHOT - ANNA AND MARTINS CR leaving on the bar . Behind them in the reflection of the wall mirror Martins watches the International Patrol as they enter bar . An American M.P. followed by a Russian enter from CL crossing screen behind Anna and Martin LR . As they go Martins turns back to the bar .</scene_description> <character>MARTINS</character> <dialogue>Who are you looking for now?</dialogue> <character>ANNA</character> <dialogue>Sssh. Do n't. Do n't, please.</dialogue> <character>MARTINS</character> <dialogue>Silly looking bunch.</dialogue> <scene_description>MED . LONG SHOT - KURTZ followed by Popescu making their way through the tables and some members of the patrol CAMERA TRACKING BACK with them and PANNING RL revealing Anna and Martins at the bar in f.g. . They stop facing them - Kurtz CL . Kurtz introduces Popescu .</scene_description> <character>KURTZ</character> <dialogue>Mr. Popescu - Mr. Martins.</dialogue> <character>MARTINS</character> <dialogue>How do you do.</dialogue> <character>POPESCU</character> <dialogue>Any friend of Harry's is a friend of mine.</dialogue> <character>KURTZ</character> <dialogue>I'll leave you together.</dialogue> <scene_description>Kurtz exits CR .</scene_description> <character>POPESCU</character> <dialogue>Good evening, Miss Schmidt. You remember me?</dialogue> <character>ANNA</character> <dialogue>Of course.</dialogue> <character>POPESCU</character> <dialogue>I helped Harry fix her papers, Mr. Martins.</dialogue> <character>MARTINS</character> <dialogue>Oh, you did.</dialogue> <character>POPESCU</character> <dialogue>Not the sort of thing I should confess to a total stranger, but you have to break the rules sometimes. Humanity's duty.</dialogue> <scene_description>He puts a cigarette in his mouth from a packet in his hand and offers it to Anna .</scene_description> <character>POPESCU</character> <dialogue>Cigarette, Miss Schmidt?</dialogue> <character>ANNA</character> <dialogue>Thank you.</dialogue> <character>POPESCU</character> <dialogue>Keep the packet.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Popescu in L f.g.</scene_description> <character>MARTINS</character> <dialogue>I understand you were with.</dialogue> <scene_description>CLOSE SHOT - POPESCU past Martins in R f.g.</scene_description> <character>MARTINS</character> <dialogue>Harry.</dialogue> <character>POPESCU</character> <dialogue>Two double whiskeys. Was wunschen sie?</dialogue> <scene_description>He looks off CL for Anna .</scene_description> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Nichts danke. Kein.</dialogue> <character>POPESCU</character> <dialogue>Entschuldigen sie. It was a terrible thing.</dialogue> <scene_description>CLOSEUP - ANNA holding glass looking down thoughtfully .</scene_description> <character>POPESCU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I was just crossing the road to go to Harry.</dialogue> <scene_description>MED . SHOT - POPESCU AND MARTINS crossing bar into restaurant . CAMERA PANNING AND TRACKING LR with them and revealing the almost empty tables beyond . They move upstage backs to camera , and stop in the center of the room .</scene_description> <character>POPESCU</character> <dialogue>He and the Baron were on the sidewalk. If I had n't started to cross the road it would n't have happened. I ca n't help blaming myself and wishing things had been different. Anyway he saw me, and stepped off the sidewalk to meet me, and the truck.</dialogue> <scene_description>CLOSE SHOT - POPESCU past Martins in R f.g. Martins walks forward and stands CR of him in L profile .</scene_description> <character>POPESCU</character> <dialogue>It was terrible, Mr. Martins - terrible. I have never seen a man killed before.</dialogue> <scene_description>He lights a cigarette .</scene_description> <character>MARTINS</character> <dialogue>I thought there was something funny about the whole thing.</dialogue> <character>POPESCU</character> <dialogue>Funny?</dialogue> <character>MARTINS</character> <dialogue>Something wrong.</dialogue> <character>POPESCU</character> <dialogue>Of course there was. Some ice for Mr. Martins.</dialogue> <scene_description>A tray with two drinks comes into picture from CL and they each take one .</scene_description> <character>MARTINS</character> <dialogue>You think so, too?</dialogue> <scene_description>Martins walks round Popescu RL .</scene_description> <character>POPESCU</character> <dialogue>It was so terrible for a man like Harry to be killed in an ordinary street accident.</dialogue> <scene_description>Martins is now CL of him in L f.g.</scene_description> <character>MARTINS</character> <dialogue>That's all you meant?</dialogue> <character>POPESCU</character> <dialogue>What else?</dialogue> <scene_description>CLOSEUP - MARTINS past Popescu in R f.g. Music stops .</scene_description> <character>MARTINS</character> <dialogue>Who was the third man?</dialogue> <scene_description>CLOSEUP - GLASS to his lips , lowers it smiling - past Martins in L f.g.</scene_description> <character>POPESCU</character> <dialogue>I ought n't to drink it. It makes me acid. What man would you be referring to, Mr. Martins?</dialogue> <scene_description>CLOSEUP - MARTINS past Popescu in R f.g.</scene_description> <character>MARTINS</character> <dialogue>I was told that a third man helped you and Kurtz to carry the body.</dialogue> <scene_description>CLOSEUP - POPESCU past Martins in L f.g.</scene_description> <character>POPESCU</character> <dialogue>I do n't know how you could have heard that here. The finding of the body was in the police report. There was just the two of us - me and the Baron. Who could have told you a story like that?</dialogue> <scene_description>CLOSEUP - MARTINS past Popescu in R f.g. . He raises glass to drink .</scene_description> <character>MARTINS</character> <dialogue>The Porter at Harry's place - he was cleaning the window at the time.</dialogue> <scene_description>CLOSEUP - POPESCU past Martins drinking from his glass in L f.g.</scene_description> <character>POPESCU</character> <dialogue>And saw the accident.</dialogue> <scene_description>CLOSEUP - MARTINS past Popescu in R f.g.</scene_description> <character>MARTINS</character> <dialogue>No, no. He did n't see the accident - but he saw three men carrying the body.</dialogue> <scene_description>CLOSEUP - POPESCU past Martins in L f.g.</scene_description> <character>POPESCU</character> <dialogue>Was n't he at the police inquiry?</dialogue> <character>MARTINS</character> <dialogue>He did n't want to get involved.</dialogue> <character>POPESCU</character> <dialogue>Will we never teach these Austrians to be good citizens. It was his duty to give the evidence.</dialogue> <scene_description>Popescu moves away LR upstage back to camera , CAMERA PANNING with him , and losing Martins . He sits down in a chair .</scene_description> <character>POPESCU</character> <dialogue>Even so - he remembered wrong.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS moves down stage to CL of Popescu seated in L profile R f.g. at a table smoking . CAMERA PANS LR with Martins as he crosses in front of Popescu .</scene_description> <character>POPESCU</character> <dialogue>What else did he tell you?</dialogue> <character>MARTINS</character> <dialogue>That Harry was dead before you got him to that statue.</dialogue> <scene_description>Martins sits down CAMERA PANNING DOWN SLIGHTLY with him as he sits CR of Popescu and we SHOOT PAST him in R f.g. , to the former .</scene_description> <character>MARTINS</character> <dialogue>He probably knows a lot more than that. Somebody's lying.</dialogue> <character>POPESCU</character> <parenthetical>( he drinks . )</parenthetical> <dialogue>Not necessarily.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL for Popescu .</scene_description> <character>MARTINS</character> <dialogue>The police say he was mixed up in some racket.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR for Martins .</scene_description> <character>POPESCU</character> <dialogue>Oh, that's quite impossible. He had a great sense of duty.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL .</scene_description> <character>MARTINS</character> <dialogue>Your friend Kurtz, seems to think it was possible.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR .</scene_description> <character>POPESCU</character> <dialogue>I understand how an Anglo - Saxon feels. The Baron has n't travelled, you know.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL . He looks away for a moment .</scene_description> <character>MARTINS</character> <dialogue>He seems to have been around a bit. Do you know a man called - er - Harbin?</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR for Martins .</scene_description> <character>POPESCU</character> <dialogue>No.</dialogue> <character>MARTINS</character> <dialogue>Joseph Harbin.</dialogue> <character>POPESCU</character> <dialogue>Joseph Harbin? No. no.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CL - he looks off CR for Anna .</scene_description> <character>POPESCU</character> <dialogue>That's a nice girl that, but she ought to go careful in Vienna. Everybody ought to go careful in a city like this.</dialogue> <scene_description>Music starts . CLOSE SHOT - POPESCU seated in chair talking into phone . He replaces the receiver .</scene_description> <character>POPESCU</character> <dialogue>You will meet us at the bridge. Good.</dialogue> <scene_description>CLOSE SHOT - KURTZ coming out of a door of a house into the street . LONG SHOT - STREET Dr. Winkel comes out of a passage in a building CR wheeling a bicycle RL . CAMERA PANS SLIGHTLY with him . CLOSE SHOT - POPESCU comes out of door into street . LONG SHOT - SUSPENSION BRIDGE Center of this in far b.g. are discovered Winkel , Kurtz and Popescu in a group . They start to move away off upstage . LONG SHOT - HIGH ANGLE down onto the bridge , the three men walking away upstage RL . LONG SHOT - MARTINS outside Harry 's apartment building . He starts to cross the road RL . CLOSE SHOT - MAN looking off CL for Martins . LONG SHOT - MARTINS in the middle of the road . He turns away to walk upstage but is arrested by a call and reacts to it .</scene_description> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hullo!</dialogue> <scene_description>MED . LONG SHOT - PORTER at the upstairs window from Martins ' eye line . He is looking down off L for Martins .</scene_description> <character>PORTER</character> <dialogue>Hey - is it so very important for you?</dialogue> <scene_description>LONG SHOT - MARTINS standing in the middle of the road looking up off CR for the Porter .</scene_description> <character>MARTINS</character> <dialogue>Yes, it is.</dialogue> <character>PORTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I am not a bad man.</dialogue> <scene_description>MED . SHOT - PORTER at the open window looking down past CL .</scene_description> <character>PORTER</character> <dialogue>I would like to tell you something.</dialogue> <scene_description>LONG SHOT - MARTINS standing in the deserted street looking up CR for the Porter off .</scene_description> <character>MARTINS</character> <dialogue>Tell me, how did a car.</dialogue> <scene_description>MED . SHOT - PORTER at window , looking down off L for Martins .</scene_description> <character>PORTER</character> <dialogue>Come tonight. My wife goes out.</dialogue> <scene_description>LONG SHOT - MARTINS in the street looking up off R for the Porter .</scene_description> <character>MARTINS</character> <dialogue>All right, I'll come back, but.</dialogue> <scene_description>MED . SHOT - PORTER at window - he holds his finger to his lips - then goes back into the room .</scene_description> <character>PORTER</character> <dialogue>Ssh! Tonight.</dialogue> <scene_description>CLOSE SHOT - PORTER as he closes the windows and turns back into the room full face . He suddenly looks fearfully off past CR and CAMERA TRACKS INTO CLOSEUP - he is transfixed . Music crescendo . CLOSE SHOT - ANNA seated on the bed in her room . There is a knock at the door .</scene_description> <character>ANNA</character> <dialogue>Wer ist da?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS enters through door from CR into Anna 's room . He looks off CL for her .</scene_description> <character>MARTINS</character> <dialogue>That mean come in?</dialogue> <scene_description>CLOSE SHOT - ANNA seated on bed looking ott CR for Martins . She gets up out of picture .</scene_description> <character>ANNA</character> <dialogue>Oh, yes, yes. Come in.</dialogue> <scene_description>MED . SHOT - MARTINS in CR f.g. , Anna picks up a bundle of clothes and crosses in front of him LR CAMERA PANNING with her . She puts things in a chest of drawers .</scene_description> <character>MARTINS</character> <dialogue>The Porter is going to talk to us tonight.</dialogue> <character>ANNA</character> <dialogue>Need we go through it all again?</dialogue> <scene_description>Martins CL of her who has been standing behind a pile of boxes picks up a script on the top of them and looks at it .</scene_description> <character>MARTINS</character> <dialogue>Might as well I suppose. Are you busy?</dialogue> <character>ANNA</character> <dialogue>Just another part I've got to learn.</dialogue> <scene_description>CAMERA PANS RL with Anna as she moves to CR of Martins .</scene_description> <character>MARTINS</character> <dialogue>Can I hear you?</dialogue> <character>ANNA</character> <dialogue>In German?</dialogue> <character>MARTINS</character> <dialogue>I can try. Is it comedy, or tragedy?</dialogue> <character>ANNA</character> <dialogue>Comedy. I do n't play tragedy.</dialogue> <scene_description>He puts down his coat .</scene_description> <character>MARTINS</character> <dialogue>Do I.</dialogue> <character>ANNA</character> <dialogue>Well you read this.</dialogue> <scene_description>She moves upstage towards the window . Martins moves forward to lean in CLOSE SHOT on boxes looking at the script .</scene_description> <character>MARTINS</character> <dialogue>Gestern bein heurigen.</dialogue> <character>ANNA</character> <dialogue>What's that?</dialogue> <character>MARTINS</character> <dialogue>`` Ein hurigan'' - I guess.</dialogue> <scene_description>CLOSE SHOT - MARTINS Anna enters from CL and stands beside him and we HOLD THEM BOTH IN CLOSE SHOT .</scene_description> <character>MARTINS</character> <dialogue>H - E - Z - T.</dialogue> <character>ANNA</character> <dialogue>Oh, let me see. No, no that's not the cue. It means she has to sit down.</dialogue> <scene_description>She exits CL and CAMERA PANS LR slightly to center on Martins .</scene_description> <character>MARTINS</character> <dialogue>Well, Frau Housman.</dialogue> <scene_description>CLOSE SHOT - ANNA at end of bed standing in L profile . She sits down on the end of the bed CAMERA CENTERING HER .</scene_description> <character>ANNA</character> <dialogue>No ` no. It's no good.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking off CL for Anna - script still in hand .</scene_description> <character>MARTINS</character> <dialogue>Bad day?</dialogue> <scene_description>CLOSE SHOT - ANNA seated on bed R profile favoring camera . She is looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>It is always bad about this time. He used to look in around six ; I've been frightened at being alone without friends and money. But I've never known anything like this. Please talk.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking off CL for Anna .</scene_description> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Tell me about him.</dialogue> <character>MARTINS</character> <dialogue>Tell you what?</dialogue> <scene_description>CLOSE SHOT - ANNA seated on bed , R profile favoring camera .</scene_description> <character>ANNA</character> <dialogue>Oh, anything - just talk. When did you see him last?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS lowering script - not looking at her .</scene_description> <character>ANNA</character> <dialogue>When. what did you do?</dialogue> <character>MARTINS</character> <dialogue>Oh, we did n't make much sense. Drank too much. Once he tried.</dialogue> <scene_description>CLOSE SHOT - ANNA seated on end of bed looking off CR for Martins .</scene_description> <character>MARTINS</character> <dialogue>to steal my girl.</dialogue> <character>ANNA</character> <dialogue>Where is she?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS throws down script . CAMERA PANS RL with him as he moves upstage , revealing Anna seated on end of bed back to camera , and the window in b.g.</scene_description> <character>MARTINS</character> <dialogue>Oh, that was many years ago.</dialogue> <character>ANNA</character> <dialogue>Tell me more.</dialogue> <character>MARTINS</character> <dialogue>Oh, it's very difficult. You know Harry. we did n't do.</dialogue> <scene_description>CLOSE SHOT - MARTINS at the window standing full face - not looking at Anna off .</scene_description> <character>MARTINS</character> <dialogue>anything very amusing. He just made everything seem like such - er - fun.</dialogue> <scene_description>CLOSE SHOT - ANNA seated on bed looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>Was he clever when he was a boy?</dialogue> <scene_description>CLOSE SHOT - MARTINS standing full face CR of the window .</scene_description> <character>MARTINS</character> <dialogue>I suppose so - he could fix anything.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>What sort of things?</dialogue> <scene_description>CLOSE SHOT - MARTINS lights a match .</scene_description> <character>MARTINS</character> <dialogue>Oh, little things. How to put your temperature up before an exam. the best cribs. How to avoid this and that.</dialogue> <scene_description>He lights his cigarette . CLOSE SHOT - ANNA looking up off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>He fixed my papers for me. He heard that the Russians were repatriating people like me who came from Czechoslovakia. He knew the right person straight away, for forging stamps.</dialogue> <scene_description>CLOSE SHOT - MARTINS at the window . He looks off R for Anna - then off left out of the window . Blows out match .</scene_description> <character>MARTINS</character> <dialogue>Yes.</dialogue> <scene_description>CLOSE SHOT - MARTINS moves closer to the window - looks at window box .</scene_description> <character>MARTINS</character> <dialogue>When he was fourteen, he taught me the three card trick. That's growing up fast.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>He never grew up. The world grew up round him that's all.</dialogue> <scene_description>MED . SHOT - MARTINS standing by the window - cigarette in hand looking off CR for Anna back to window .</scene_description> <character>ANNA</character> <dialogue>and buried him.</dialogue> <character>MARTINS</character> <dialogue>Anna.</dialogue> <scene_description>CLOSEUP - ANNA looks up off CR for Martins . MED . SHOT - MARTINS looking off CR for Anna .</scene_description> <character>MARTINS</character> <dialogue>You'll fall in love again.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins - she gets up CAMERA PANNING UP with her and turns away back to camera .</scene_description> <character>ANNA</character> <dialogue>Ca n't you see I do n't want to. I do n't ever want to.</dialogue> <scene_description>MED . SHOT - MARTINS at window looking off R for Anna .</scene_description> <character>MARTINS</character> <dialogue>Come on out and have a drink.</dialogue> <scene_description>CLOSEUP - ANNA looking off for Martins .</scene_description> <character>ANNA</character> <dialogue>Why did you say that?</dialogue> <scene_description>MED . SHOT - MARTINS picks up coat . Anna moves to his side in the corner of the room and CAMERA TRACKS IN AND HOLDS THEM IN CLOSE SHOT . Martins puts down her coat instead of helping her on with it .</scene_description> <character>MARTINS</character> <dialogue>Seemed like a good idea.</dialogue> <character>ANNA</character> <dialogue>It's just what he used to say.</dialogue> <character>MARTINS</character> <dialogue>Well, I did n't learn that from him.</dialogue> <character>ANNA</character> <dialogue>If we have to see the Porter we'd better go.</dialogue> <character>MARTINS</character> <dialogue>What's the hurry? Ca n't we talk quietly for a couple of minutes?</dialogue> <character>ANNA</character> <dialogue>I thought you wanted.</dialogue> <character>MARTINS</character> <dialogue>A moment ago you said you did n't want to see the Porter.</dialogue> <character>ANNA</character> <dialogue>We're both in it, Harry.</dialogue> <character>MARTINS</character> <dialogue>Holly.</dialogue> <character>ANNA</character> <dialogue>I'm so sorry.</dialogue> <character>MARTINS</character> <dialogue>It's all right.</dialogue> <scene_description>He exits CR . MED . CLOSE SHOT - MARTINS enters from CL picking up coat and hat .</scene_description> <character>MARTINS</character> <dialogue>You might get the name right.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA at door looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>Do you know - you ought to find yourself a girl.</dialogue> <scene_description>She opens the door and Martins enters from CR . Music stops . LONG SHOT - ANNA AND MARTINS CL walking down side of wet dark street toward camera which is TRACKING BACK WITH THEM . They stop in f.g. in CLOSE SHOT .</scene_description> <character>MARTINS</character> <dialogue>His English is very bad. We'll let him talk German. You'll just be good enough to trans.</dialogue> <scene_description>Anna looks off RL .</scene_description> <character>ANNA</character> <dialogue>Look!</dialogue> <scene_description>LONG SHOT - GROUP OF PEOPLE clustered round the doorway of the entrance to Harry 's apartment . An ambulance is parked outside its doors open toward camera .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>That's Harry's place, is n't it?</dialogue> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA AND MARTINS She backs away and CAMERA TRACKS IN A LITTLE as he follows her .</scene_description> <character>ANNA</character> <dialogue>Let's go away.</dialogue> <character>MARTINS</character> <dialogue>What's the matter?</dialogue> <character>ANNA</character> <dialogue>Let's not get into any more trouble.</dialogue> <character>MARTINS</character> <dialogue>Wait here.</dialogue> <scene_description>He moves to exit CL . Sound of airplane engine . LONG SHOT - MARTINS enters from CR f.g. and moves upstage toward group outside the apartment . MED . SHOT - GROUP OF PEOPLE gathered outside the doorway . CLOSE SHOT - MAN outside CR side of door and Martins in L profile CR of him .</scene_description> <character>MARTINS</character> <dialogue>What's the matter - er - What is loos?</dialogue> <character>MAN</character> <dialogue>De Porter ist um gebracht worden.</dialogue> <scene_description>CLOSE SHOT - HANSEL holding his father 's hand , from Martins ' eye line down to him .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't understand.</dialogue> <character>MAN</character> <dialogue>The Porter.</dialogue> <scene_description>CLOSE SHOT - MAN past Martins in R f.g.</scene_description> <character>MAN</character> <dialogue>Dead.</dialogue> <scene_description>CLOSE SHOT - ANOTHER MAN past Martins in R profile in L f.g.</scene_description> <character>MAN</character> <dialogue>Kaput - he's murdered. The Porter is - odraht - kaput -</dialogue> <scene_description>Makes a slitting movement with his hand across his throat . CLOSEUP - HANSEL looking up off CL for his father .</scene_description> <character>HANSEL</character> <dialogue>Papa. papa.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS CL and father of Hansel , who looks down CR for him off .</scene_description> <character>FATHER</character> <dialogue>Was willst den Hansel?</dialogue> <scene_description>CLOSEUP - HANSEL pointing off CR .</scene_description> <character>HANSEL</character> <dialogue>Papa der war's.</dialogue> <scene_description>CLOSE SHOT - MARTINS AND HANSEL 'S FATHER looking down off R for Hansel . Martins turns his head to look off CL toward the door . Hansel 's Father points at Martins still looking off R.</scene_description> <character>FATHER</character> <dialogue>Was den herr da?</dialogue> <scene_description>CLOSEUP - HANSEL holding ball , looking up off CL for his father .</scene_description> <character>HANSEL</character> <dialogue>Ja, papa. Ich hab's doch g ` sehen!</dialogue> <scene_description>CLOSEUP - MAN in the street looking off CR for the boy .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Papa der ist der murder.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking back over his shoulder for Anna . Hansel 's father CR of him who looks at him . LONG SHOT - ANNA standing close to the wall of the building CL of her on the pavement looking off CL .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Murder! Murder!</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking off CL with Hansel 's father CR of him . The latter taps him on the shoulder .</scene_description> <character>FATHER</character> <dialogue>Sagen sie haben sie einen streit gehabt mit dem portier.</dialogue> <scene_description>He exits CL .</scene_description> <character>MARTINS</character> <dialogue>I do n't understand.</dialogue> <scene_description>CLOSE SHOT - HANSEL looking up off CR .</scene_description> <character>HANSEL</character> <dialogue>Hey, vo gest due mir?</dialogue> <scene_description>CLOSE THREE SHOT a woman and man either side of Hansel 's father looking off CL . CLOSE SHOT - HANSEL moving among the legs of the spectators outside the house , making his way to camera . He stops in f.g. tugging at the sleeve of Martins ' coat which is in R of picture and looking up off R for him .</scene_description> <character>HANSEL</character> <dialogue>Ta papa der war's.</dialogue> <scene_description>CLOSEUP - MARTINS looking down off L for Hansel .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Der war's.</dialogue> <scene_description>CLOSE SHOT - HANSEL 'S FATHER between the man and woman in the crowd . They are looking off CR .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ja papa, der ist der murder.</dialogue> <scene_description>CLOSE SHOT - ANNA and Martins at her CR side looking off CL towards the boy off .</scene_description> <character>ANNA</character> <dialogue>What is it?</dialogue> <scene_description>MED . SHOT - STRETCHER BEARERS bringing the stretcher out of the house RL through the people gathered round the door .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Porter has been murdered.</dialogue> <scene_description>CLOSE SHOT - ANNA AND MARTINS he is looking off CL reacting to the body being carried out . Anna is looking off CR listening .</scene_description> <character>FATHER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Warms er ist der mit.</dialogue> <scene_description>CLOSE SHOT - HANSEL 'S FATHER between the woman CL and the man CR .</scene_description> <character>FATHER</character> <dialogue>Dem portier die rauferei gehabt hat.</dialogue> <scene_description>CLOSE SHOT - ANNA with Martins CR of her . She is looking off CR listening to Hansel 's father . She leans back to whisper to Martins .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Warscheinlich ist der murder.</dialogue> <character>ANNA</character> <dialogue>They think you did it.</dialogue> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Morder!</dialogue> <scene_description>MED . SHOT - GROUP OF MEN among the spectators looking off CR for Martins .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Morder!</dialogue> <scene_description>CLOSE SHOT - ANNA with Martins CR of her . CLOSE SHOT - HANSEL looking up off CL for his father . He makes a gesture of cutting his throat with his hand .</scene_description> <character>HANSEL</character> <dialogue>So gemascht odraht.</dialogue> <scene_description>CLOSE SHOT - ANNA AND MARTINS They start to turn away . Music starts .</scene_description> <character>HANSEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Der - der - der.</dialogue> <scene_description>CLOSEUP - THE MAN Martins first addressed in the crowd - from low angle . CLOSE SHOT - ANNA in the lead , with Martins making their way through the people Anna exits CR . Martins follows her . MED . SHOT - HANSEL from his height , making his way through the people . He runs out of picture CR .</scene_description> <character>HANSEL</character> <dialogue>Papa.</dialogue> <scene_description>LONG SHOT - ANNA with Martins CL making their way at a run down stage - away from Harry 's apartment . Hansel is seen running after them b.g. CL .</scene_description> <character>HANSEL</character> <dialogue>Papa der war's.</dialogue> <scene_description>MED . SHOT - SPECTATORS with Hansel 's father among them looking off CR .</scene_description> <character>FATHER</character> <dialogue>Hullo. Warten sie bissl.</dialogue> <scene_description>He moves to exit CR . LONG SHOT - ANNA with Martins walking upstage backs to camera they turn and look back . MED . CLOSE SHOT - MAN moving downstage LR .</scene_description> <character>MAN</character> <dialogue>Sie moment mal.</dialogue> <scene_description>LONG SHOT - ANNA AND MARTINS moving upstage along the pavement . Hansel enters from CL running upstage after them . Anna and Martins turn corner going out of picture CL . Hansel stops and turns round to look back for his father .</scene_description> <character>HANSEL</character> <dialogue>Papa!</dialogue> <scene_description>MED . SHOT - HANSEL standing full face at the street corner looking back for his father .</scene_description> <character>HANSEL</character> <dialogue>Papa!</dialogue> <scene_description>MED . SHOT - GROUP OF SPECTATORS with Hansel 's father .</scene_description> <character>FATHER</character> <dialogue>Stock stehen hier.</dialogue> <scene_description>He exits CR . LONG SHOT - HANSEL turns away and runs up the street again exiting round corner CL after Martins and Anna . LONG SHOT - MARTINS AND ANNA running down stone steps with church in b.g. LONG SHOT - SPECTATORS running upstage backs to camera toward corner after Hansel , off . LONG SHOT - SPECTATORS coming round corner at a run toward camera . LONG SHOT - STONE STEPS with church in b.g. Hansel running down them leading the crowd of spectators . LONG SHOT - OUTSIDE THEATRE Martins CL and Anna walking along the street LR . She is stopped by Martins as she is about to pass the cinema .</scene_description> <character>MARTINS</character> <dialogue>In here.</dialogue> <scene_description>MED . SHOT - MARTINS enters from CL to box office followed by Anna .</scene_description> <character>ANNA</character> <dialogue>That money is no good. Zwei bitte.</dialogue> <scene_description>She gives him some money and he buys the tickets . LONG SHOT - HANSEL comes round corner CR with spectators moving downstage . MED . SHOT - ANNA at the box office . Martins pulls her out of picture CR to go into cinema . MED . SHOT - ANNA enters from CL to row of seats . Martins also enters and sits in a seat just behind her . There is sound of distorted sound track from German film being shown . Not clearly audible . CLOSE SHOT - ANNA in L profile favoring camera . Martins seated in the row behind her , leans forward over her R shoulder to whisper to her .</scene_description> <character>MARTINS</character> <dialogue>Sneak out the other way, and go back to your theatre. I'd better not see you again.</dialogue> <character>ANNA</character> <dialogue>What are you going to do?</dialogue> <character>MARTINS</character> <dialogue>I wish I knew.</dialogue> <character>ANNA</character> <dialogue>Be sensible - tell Major Calloway.</dialogue> <scene_description>She gets up and exits CR . Martins looks after her . CLOSE SHOT - TAXI DRIVER in the lobby of Sacher 's hotel . He is at the reception desk - the clerk tipping L edge of frame .</scene_description> <character>DRIVER</character> <dialogue>Sagen sie furmal hab dieser Mr. Martins garnichts unter lassen wegen eine taxi.</dialogue> <character>CLERK</character> <dialogue>Nein garnichts.</dialogue> <scene_description>LONG SHOT - PARKED TAXI outside Sacher 's Hotel in R of picture . Martins walking downstage to it from hotel . CLOSE SHOT - MARTINS comes into picture from CL . Wheel of taxi and flag reading `` FREI '' in f.g. . He looks for the driver . CLOSE SHOT - TAXI DRIVER leaves the reception desk : CAMERA PANS with him LR as he walks back to camera upstage to door to street . As he does so Martins comes into picture through the door passing the driver CL of him and looking off L for the desk , exits to it . The taxi driver looks after him .</scene_description> <character>MARTINS</character> <dialogue>Get me Major Callaghan on the phone.</dialogue> <character>CLERK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh, Mr. Martins.</dialogue> <scene_description>MED . SHOT - MARTINS moving in to reception desk from CR standing in front of it facing the receptionist , in R profile .</scene_description> <character>CLERK</character> <dialogue>excuse me.</dialogue> <character>MARTINS</character> <dialogue>Please hurry up - just get him on the telephone.</dialogue> <character>CLERK</character> <dialogue>Do you know his number?</dialogue> <character>MARTINS</character> <dialogue>No, I do n't know.</dialogue> <scene_description>CLOSE SHOT - TAXI DRIVER looking off CL for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>his number.</dialogue> <character>CLERK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'll look it up for you.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well, look, is there a car here I can use?</dialogue> <scene_description>MED . SHOT - MARTINS in R profile facing the receptionist across the desk . The latter points off CR .</scene_description> <character>CLERK</character> <dialogue>Of course - there's one waiting for you.</dialogue> <scene_description>CLOSE SHOT - TAXI DRIVER beckoning to Martins off CL .</scene_description> <character>DRIVER</character> <dialogue>Bitte schoen mein herr. Bitte schoen.</dialogue> <scene_description>He moves upstage toward the door in b.g. CLOSE SHOT - MARTINS leaves the reception desk and walks away exiting CR .</scene_description> <character>MARTINS</character> <dialogue>Never mind about the number.</dialogue> <scene_description>MED . SHOT - MARTINS enters from CL f.g. as taxi driver is going through the swing doors past the porter in the doorway . Martins follows him out . MED . CLOSE SHOT - TAXI DRIVER gets into front seat of taxi in f.g. , with windscreen and wheel . Martins crosses b.g. LR to back of car . CLOSE SHOT - MARTINS gets into the back of the taxi and sits into position in L profile looking off CL through barred partition to driver 's seat .</scene_description> <character>MARTINS</character> <dialogue>Take me to headquarters.</dialogue> <scene_description>CLOSE SHOT - DRIVER starts up taxi and it drives away RL . CLOSE SHOT - MARTINS falls back with a jerk as taxi suddenly starts . LONG SHOT - TAXI drives away upstage - a couple of porters outside Sacher 's . CLOSE SHOT - MARTINS recovering his balance leans forward CL to the driver 's window and bangs on it . CLOSE SHOT - DRIVER in L of picture Martins seen through the barred partition , in the back of the car behind him .</scene_description> <character>MARTINS</character> <dialogue>Hold on! Hold on! I have n't even told you where to take me yet.</dialogue> <character>DRIVER</character> <dialogue>Bleiben sie doch ruhig.</dialogue> <scene_description>MED . LONG SHOT - TAXI driving through the deserted streets RL . It exits CL . CLOSE SHOT - MARTINS in L profile banging on the barred partition .</scene_description> <character>MARTINS</character> <dialogue>Driver! Driver!</dialogue> <scene_description>LONG SHOT - TAXI driving downstage RL . Peasant woman crossing street in f.g. LR . It exits CL at speed . CLOSE SHOT - DRIVER in L of picture full face - Martins seen behind him CR .</scene_description> <character>MARTINS</character> <dialogue>Hey! Stop!</dialogue> <scene_description>He falls back into the back of the taxi . CLOSE SHOT - TAXI from low angle driving through the streets at a high speed . It narrowly misses a woman pedestrian in the quiet street and swerves on off out of picture CL . CLOSE SHOT - DRIVER full face in L of picture with Martins behind him CR looking through partition - leaning forward from back seat - in order to do so .</scene_description> <character>MARTINS</character> <dialogue>Have you got orders to kill me? Hey, stop.</dialogue> <scene_description>LONG SHOT - TAXI racing through streets . Man in CR f.g. at bin - CAMERA PANS RL with taxi losing him . Taxi turns R and exits CL . CLOSE SHOT - MARTINS in back of taxi he looks back over his L shoulder . CLOSE SHOT - MAN eating a crust of bread and looking off CL after the taxi . LONG SHOT - TAXI driving away down stage at a high speed to camera . CAMERA PANS RL as it swerves round corner turning to its R and then moves upstage away from camera . CLOSE SHOT - MARTINS in back of taxi looking back over his L shoulder . CLOSE SHOT - MAN looking over fanlight above door , gaze travelling RL as he reacts to watching the taxi race by . LONG SHOT from HIGH ANGLE of taxi driving along deserted street in the center of the tram lines - narrowly missing the only pedestrian . CLOSEUP - MARTINS in L profile in the back of the taxi . He looks back over his L shoulder . CLOSE SHOT - TWO MEN in street looking off CL after the taxi racing by . CLOSE SHOT - MARTINS in back of taxi in L profile , he bangs on the partition to the driver . LONG SHOT - TAXI driving into large gateway LR . LONG SHOT - TAXI comes through archway and draws up in R f.g. MED . SHOT - DRIVER gets out of taxi . He opens door in CR f.g. into a building . MED . CLOSE SHOT - MARTINS opens door of taxi and looks out CR still sitting in the taxi . CLOSE SHOT - TAXI DRIVER in doorway looking off CL for Martins . He points into doorway , off .</scene_description> <character>DRIVER</character> <dialogue>Bitte schoen, gehen sie herein mein herr.</dialogue> <scene_description>MED . SHOT - MARTINS gets out of taxi LR and moves forward into CLOSE SHOT in R profile - then swings round to push back the door of the taxi , which open bars his way out and moves to run upstage , then reacts to hearing door open and a pool of light is thrown on him . He backs against the side of the taxi in R profile looking off CR . LONG SHOT past a man opening the door to Crabbin walking forward to door - behind him seen a large hall , with men and women seated on benches inside seated backs to camera , but all turned round to look to camera toward the door . A table just inside the door has large notice propped against it which reads in English and German : WELCOME TO THE BRITISH CULTURAL CENTER . ADMISSION FREE . Crabbin walks forward into CLOSE SHOT smiling and looking off L for Martins .</scene_description> <character>CRABBIN</character> <dialogue>Oh Mr. Martins. What a relief to see you. I was beginning to think something had happened to you. Come along.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking incredulously off past CR into the hall and at Crabbin .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Martins, everything is ready for you.</dialogue> <scene_description>MED . LONG SHOT - AUDIENCE turning round from platform to face camera and look off for Martins . They applaud .</scene_description> <character>CRABBIN</character> <dialogue>I was frantic in case.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Crabbin .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>you had n't got my message at the hotel. The porters out here are so unreliable if you know what I mean.</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN Martins enters from L f.g. to him and he leads him upstage to the hall .</scene_description> <character>CRABBIN</character> <dialogue>We're all set for a wonderful evening.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS close to camera in R profile being led by the arm by Crabbin at his L side LR toward the platform - audience seen in b.g. CAMERA PANS LR with them . A member of the audience is revealed standing in the aisle clapping as they pass .</scene_description> <character>CRABBIN</character> <dialogue>You'll find the audience most appreciative. Oh let me take your coat. I've got it.</dialogue> <scene_description>They stop in the aisle and Crabbin starts to help him off with his coat . He takes it with his hat and continues to lead the way to the platform CAMERA PANNING WITH THEM - Martins following .</scene_description> <character>CRABBIN</character> <dialogue>Come along now, Mr. M. follow me.</dialogue> <scene_description>LONG SHOT the platform the backs of heads of the front rows of audience in f.g. Crabbin 's girl friend is discovered standing on the CL side of the platform . Crabbin hurries into picture onto the platform from CR followed by Martins . There is applause .</scene_description> <character>CRABBIN</character> <dialogue>Here we are, ladies and gentlemen. All's well that ends well. Would you look after that for me?</dialogue> <scene_description>Hands Martins ' hat and coat to the girl who takes them .</scene_description> <character>CRABBIN</character> <dialogue>Would you like to sit there, Mr. Martins?</dialogue> <parenthetical>( Martins sits . )</parenthetical> <dialogue>That's right.</dialogue> <scene_description>Crabbin indicates a seat CR of him as he stands at speakers ' table in center of platform . Martins sits . Crabbin stands looking off CL for the audience .</scene_description> <character>CRABBIN</character> <dialogue>Ladies and gentlemen, I have much pleasure in introducing Mr. Holly Martins, from the other side.</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN sits down and Martins stands to speak . Crabbin 's girl friend seen in L of picture .</scene_description> <character>MARTINS</character> <dialogue>Well.</dialogue> <scene_description>He looks helplessly out CL . CLOSE SHOT - POPESCU standing talking into phone - switchboard and girl operator CL of him .</scene_description> <character>POPESCU</character> <dialogue>Bring the car. and anyone else who'd like to come. Do n't be too long, hmm.</dialogue> <scene_description>He replaces receiver , takes up hat and exits CL . MED . CLOSE SHOT - MARTINS standing on the platform with Crabbin seated CL of him . He is looking out off R for a member of the audience .</scene_description> <character>MARTINS</character> <dialogue>Well, yes. I suppose that is what I meant to say.</dialogue> <character>CRABBIN</character> <dialogue>Of course, of course, of course.</dialogue> <scene_description>MED . SHOT - THE AUDIENCE Man at back CR stands up and looks off CR for Martins on the platform .</scene_description> <character>MAN</character> <dialogue>Do you believe, Mr. Martins, in the stream of consciousness?</dialogue> <scene_description>CLOSE SHOT - CRABBIN looking up off CR for Martins . CLOSEUP - MARTINS looking off CL for man at the back of the hall .</scene_description> <character>MARTINS</character> <dialogue>Stream of consciousness.</dialogue> <scene_description>CLOSEUP - CRABBIN looks up CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well - well.</dialogue> <scene_description>LONG SHOT from the back of the hall . Martins standing on the platform , Crabbin seated CL of him - girl CL on platform . One or two members of the audience get up to leave .</scene_description> <character>MAN</character> <dialogue>What author has chiefly influenced you?</dialogue> <scene_description>MED . SHOT - MARTINS standing in R of picture with Crabbin seated CL , of him - his girl friend wide CL ; Martins is looking off CL into the audience .</scene_description> <character>MARTINS</character> <dialogue>Grey.</dialogue> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Grey?</dialogue> <scene_description>CLOSE SHOT - WOMAN seated in audience looking off R for Martins . Another woman CR of her gets up and leaves .</scene_description> <character>WOMAN</character> <dialogue>What grey?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS with Crabbin seated CL of him . He is looking off CL .</scene_description> <character>MARTINS</character> <dialogue>Zane Grey.</dialogue> <character>CRABBIN</character> <dialogue>Oh, that is Mr. Martins' little joke, of course.</dialogue> <scene_description>LONG SHOT - POPESCU coming through door into hall , another man enters from CR f.g. , and exits through door in b.g. , Popescu walks forward taking off his hat .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We all know perfectly well that Zane Grey wrote what we call Westerns - cowboys.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL reacting to sighting Popescu .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>and bandits.</dialogue> <scene_description>A man in the audience off calls another question .</scene_description> <character>MAN</character> <dialogue>Mr. James.</dialogue> <scene_description>MED . SHOT - POPESCU stops in f.g. leaning on the rail of the stove in f.g. , at the back of the hall . Looking off CL for Martins . Some of the audience exiting through doors in b.g.</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Joyce, now. where would you put him?</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN with Martins standing CR of him looking off CL .</scene_description> <character>MARTINS</character> <dialogue>Oh, would you mind repeating that question?</dialogue> <scene_description>CLOSEUP - MAN in audience looking up off CR for Martins - he is seated .</scene_description> <character>MAN</character> <dialogue>I said where would you put Mr. James Joyce?</dialogue> <scene_description>MED . CLOSE SHOT - CRABBIN seated CL and Martins standing CR of him looking off CL for Popescu -</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In what category?</dialogue> <character>POPESCU</character> <dialogue>Can I ask.</dialogue> <scene_description>He reacts to hearing him speak . CLOSE SHOT - POPESCU looking off CR for Martins on the platform .</scene_description> <character>POPESCU</character> <dialogue>is Mr. Martins engaged on a new book?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Popescu .</scene_description> <character>MARTINS</character> <dialogue>Yes, it is called the.</dialogue> <scene_description>CLOSE SHOT - POPESCU from low angle looking off CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Third Man.</dialogue> <character>POPESCU</character> <dialogue>A novel, Mr. Martins?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Popescu .</scene_description> <character>MARTINS</character> <dialogue>It's a murder story. I've just started it.</dialogue> <scene_description>CLOSE SHOT - POPESCU looking off CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>based on fact.</dialogue> <scene_description>LONG SHOT of the rapidly emptying hall . The three still on the platform with Martins standing .</scene_description> <character>CRABBIN</character> <dialogue>Why, it's Mr. Popescu. Very great pleasure to see you here, Mr. Popescu. As you know, ladies and gentlemen, Mr. Popescu is a very great supporter of one of our medical.</dialogue> <scene_description>CLOSE SHOT - POPESCU looking off CR for Martins .</scene_description> <character>CRABBIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>charities.</dialogue> <character>POPESCU</character> <dialogue>Are you a slow writer.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS with Crabbin CL of him - head between his hands . Martins looking off CL for Popescu .</scene_description> <character>POPESCU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Martins.</dialogue> <character>MARTINS</character> <dialogue>Not when I get interested.</dialogue> <scene_description>CLOSE SHOT - POPESCU leaning on the stove rail looking off CR for Martins .</scene_description> <character>POPESCU</character> <dialogue>I see you are doing something pretty dangerous.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Popescu .</scene_description> <character>POPESCU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>this time.</dialogue> <character>MARTINS</character> <dialogue>Yes.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR for Martins .</scene_description> <character>POPESCU</character> <dialogue>Mixing fact and fiction.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS standing CR of Crabbin who has head in hands . The former is looking off CR .</scene_description> <character>MARTINS</character> <dialogue>Should I make it all fact?</dialogue> <character>POPESCU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Why no, Mr. Martins.</dialogue> <scene_description>CLOSE SHOT - POPESCU looking off CR .</scene_description> <character>POPESCU</character> <dialogue>I'd say stick to fiction. Straight fiction.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Popescu .</scene_description> <character>MARTINS</character> <dialogue>I'm too far along with the book, Mr. Popescu.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR .</scene_description> <character>POPESCU</character> <dialogue>Have n't you ever scrapped a book.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Popescu .</scene_description> <character>POPESCU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Martins?</dialogue> <character>MARTINS</character> <dialogue>Never.</dialogue> <scene_description>CLOSEUP - POPESCU looking off CR for Martins . He turns away .</scene_description> <character>POPESCU</character> <dialogue>Pity.</dialogue> <scene_description>LONG SHOT the hall which is now nearly empty , the last two or three members of the audience are getting up to leave . The three men still on the platform , with Martins standing CR .</scene_description> <character>CRABBIN</character> <dialogue>Ladies and gentlemen, if there are no more questions for Mr. Martins, I think I can call the meeting officially closed.</dialogue> <scene_description>LONG SHOT the lobby of the hall . Two men in hats and raincoats come in to Popescu . Some members of the audience leaving through doors in b.g. Music starts . MED . SHOT - MARTINS hat and coat over his arm moves downstage CAMERA PANS RL with him as he comes into lobby . CLOSE SHOT - POPESCU with the two men CL of him . LONG SHOT - MARTINS looking off L reacts to seeing the two men with Popescu - then suddenly turns to his R and darts to doorway in b.g. L through which can be seen iron spiral staircase , he starts up it at a run . CLOSE SHOT - POPESCU with the two men CL of him , they are looking off CR and reacting to Martins ' action . Popescu gestures to the men to go after him .</scene_description> <character>POPESCU</character> <dialogue>Loos.</dialogue> <scene_description>MED . SHOT up to the bannisters of the spiral staircase curving round and upwards . Martins moving RL across screen up them . LONG SHOT through bannister rails the two men moving through the deserted hall to doorway leading to spiral stairs . LONG SHOT up the bannisters of the spiral staircase , Martins disappearing on a landing at the top CL . LONG SHOT from top of stairs down to the doorway leading from the hall to the spiral stairs . The two men are hurrying up the stairs LR . MED . CLOSE SHOT through bannister rails in f.g. up to Martins approaching a door on landing CR . MED . SHOT - MARTINS entering room CAMERA TRACKS IN to CLOSE SHOT . Parrot is heard squawking . Martins turns his head and looks off CR reacting to the parrot .</scene_description> </scene> <scene> <stage_direction>INT. THE ROOM - LONG SHOT</stage_direction> <scene_description>The room is in darkness - from Martins ' eye line . CLOSE SHOT - MARTINS at door looking off CR . LONG SHOT room from Martins ' eye line . CLOSE SHOT - MARTINS at door - he exits CR . LONG SHOT - MARTINS enters from CL moving across the room downstage to light hanging down in f.g. . He steps forward into CLOSE SHOT and reaches up and puts it on , looking off CR . LONG SHOT the lighted room from Martins ' eye line . Parrot discovered seated on a perch CR of the window among some artist 's requisites . CLOSE SHOT - MARTINS he puts on hat and moves to exit . MED . SHOT - MARTINS enters from CL hat on , and putting on coat . He moves upstage toward window CL of parrot . CLOSE SHOT - PARROT on his perch pecks at Martins ' hand as he opens window . MED . CLOSE SHOT - MARTINS at window sucks his pecked finger - then starts to climb out of the window . LONG SHOT derelict building street lamp in R of picture . Martins jumps down from a doorway high up - onto some rubble . MED . SHOT closed door in the room - Popescu 's two men enter through it then exit CR . LONG SHOT crumbling wall over a heap of rubble . Martins entering from CR scrambles down it RL . LONG SHOT through tunnel in f.g. to heap of rubble - Popescu 's two men scramble down the slope toward camera . LONG SHOT through tunnel . Martins making his way upstage at a run - over some rubble - back to camera . LONG SHOT through arches - Martins enters from CL running upstage back to camera . LONG SHOT flight of steps leading up toward church in b.g. Martins runs into picture from CL looking back over his shoulder CL - and starts up the steps . LONG SHOT one of the two men making his way across some rubble downstage toward camera at a run . Train whistle is heard . LONG SHOT - MARTINS at the top of the steps outside the church looks back - then runs out CR . VERY LONG SHOT of the road leading to the church and steps . The two men enter at a run from CL f.g. and start upstage toward steps . MED . LONG SHOT to a mound of rubble with an abandoned derelict car in f.g. - building in b.g. Martins runs down from the top of the heap of rubble and dives down into the car . CLOSE SHOT - MARTINS falls into position into derelict car LR looking off R. LONG SHOT the two men run on to heap of rubble looking off CL . CLOSEUP - MARTINS in back of derelict car looking off CR for the two men . LONG SHOT over the car in f.g. to the two men standing on the summit of the heap of rubble . They exit CL . CLOSE SHOT - MARTINS in back of car , moves RL to get out of it . CLOSE SHOT - MARTINS getting out of back of derelict car RL . LONG SHOT - OF THE STREETS Martins enters from L f.g. running upstage back to camera . LONG SHOT - COBBLED STREET Martins running downstage toward camera , looking back over his shoulder as he does so . He slows down to a walk and exits CL . CLOSE SHOT - CALLOWAY seated on window sill CAMERA PANS LR with him as he gets up and walks round desk revealing Paine in L f.g. and losing him again as Calloway passes him and revealing Martins leaning against the ledge of the stove in b.g. Music stops .</scene_description> <character>CALLOWAY</character> <dialogue>I told you to go away, Martins. This is n't Santa Fe. I'm not a Sheriff, and you are n't a cowboy. You have been blundering around with the worst bunoh of racketeers in Vienna. your precious Harry's friends, and now you're wanted for murder.</dialogue> <scene_description>Calloway is passing in front of Martins LR as he walks round room and back toward desk again . CAMERA PANNING WITH HIM .</scene_description> <character>MARTINS</character> <dialogue>Put in drunk and disorderly, too.</dialogue> <scene_description>Calloway catches sight of Martins hurt finger , and looks back now stopping CR of him .</scene_description> <character>CALLOWAY</character> <dialogue>I have. What's the matter with your hand?</dialogue> <scene_description>CAMERA PANS RL as Calloway crosses baok in front of Martins .</scene_description> <character>MARTINS</character> <dialogue>A parrot bit me.</dialogue> <character>CALLOWAY</character> <dialogue>Oh, stop behaving like a fool, Martins.</dialogue> <character>MARTINS</character> <dialogue>I'm only a little fool - I'm an amateur at it - you're a professional. You've been shaking your cap and bells all over town.</dialogue> <scene_description>CAMERA PANS LR with Calloway as he crosses in front of Martins again losing the latter out of picture L and he goes to his desk - we HOLD HIM IN CLOSE SHOT .</scene_description> <character>CALLOWAY</character> <dialogue>Paine, get me the Harry Lime file and Mr. Martins a large whiskey.</dialogue> <scene_description>Paine crosses f.g. RL exiting . CLOSE SHOT - MARTINS seated CR of stove looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>I do n't need your drinks, Calloway.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY standing behind his desk looking off L for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>You will.</dialogue> <scene_description>He sits in the chair behind the desk , CAMERA PANNING DOWN with him and he swivels round on his chair to face away from Martins , picking up his stick from the desk in front of him .</scene_description> <character>CALLOWAY</character> <dialogue>I do n't want another murder in this case, and you were born to be murdered. So you're going to hear the facts.</dialogue> <scene_description>MED . LONG SHOT - MARTINS looking off CR for Calloway . He walks forward .</scene_description> <character>MARTINS</character> <dialogue>You have n't told me a single one yet.</dialogue> <scene_description>CLOSEUP - CALLOWAY seated behind his desk looking off L for Martins . He reaches across and tips up desk lampshade .</scene_description> <character>CALLOWAY</character> <dialogue>Have you ever heard of penicillin?</dialogue> <scene_description>CLOSE SHOT - MARTINS seated on arm of chair looking off CR for Calloway .</scene_description> <character>MARTINS</character> <dialogue>Well?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In Vienna.</dialogue> <scene_description>CLOSEUP - CALLOWAY seated at desk looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>there has n't been enough penicillin to go round. So a nice trade started here. Stealing penicillin from the Military hospitals - diluting it to make it go further and selling it to patients.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do you see what that means?</dialogue> <character>MARTINS</character> <dialogue>Are you too busy chasing a few tubes of penicillin to investigate a murder?</dialogue> <scene_description>CLOSEUP - CALLOWAY seated looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>These were murders. Men with gangrene legs. women in child birth. and there were children, too.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Calloway .</scene_description> <character>CALLOWAY</character> <dialogue>They used some of this diluted penicillin against meningitis. The lucky children died.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>The unlucky ones went off their heads. You can see them now in the mental ward.</dialogue> <scene_description>CLOSEUP - MARTINS looking down thoughtfully .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>That is the racket Harry Lime organized.</dialogue> <character>MARTINS</character> <dialogue>Calloway, you have n't shown me one shred of evidence.</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>We're just coming to that. Paine, a magic lantern show.</dialogue> <scene_description>He gets up and exits CR . CLOSE SHOT - LANTERN PROJECTOR Paine enters from CR and starts to move the machine away CR .</scene_description> <character>PAINE</character> <dialogue>Very good, sir.</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You know, Paine's one of your devoted readers. He's promised.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CR for Martins - he unrolls lantern screen with R hand .</scene_description> <character>CALLOWAY</character> <dialogue>to lend me one of your books. which one is it, Paine?</dialogue> <scene_description>MED . CLOSE SHOT - PAINE with the lantern slide projector - and Martins seated CR of him in f.g. cigarette in hand .</scene_description> <character>PAINE</character> <dialogue>`` The Lone Rider of `` Santa Fe,'' sir.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY adjusting screen back to camera .</scene_description> <character>CALLOWAY</character> <dialogue>That's right - `` The Lone Rider.</dialogue> <scene_description>MED . CLOSE SHOT - PAINE upstage CL with Martins in R f.g. looking off CL . Paine is preparing the lantern slides .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>of Santa Fe.''</dialogue> <character>PAINE</character> <dialogue>I'd like to visit Texas one day, sir.</dialogue> <character>MARTINS</character> <dialogue>Come on, show me what you've got to show.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CR for Paine screen CR or him .</scene_description> <character>CALLOWAY</character> <dialogue>All right, Paine?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS in R f.g. looking off CL - Paine in b.g. preparing lantern projector puts out light .</scene_description> <character>PAINE</character> <dialogue>Yes, sir.</dialogue> <scene_description>Light goes out . CLOSE SHOT - CALLOWAY in R profile the screen CR of him . A slide of a rhinoceros is projected onto it .</scene_description> <character>CALLOWAY</character> <dialogue>Paine, Paine, Paine.</dialogue> <scene_description>CLOSE SHOT - PAINE at lantern projector . He is changing the slide .</scene_description> <character>PAINE</character> <dialogue>I got them muddled. This is the new lot that's just come in from Mr. Crabbin.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY the screen CR of him . A slide is projected onto the screen , of two civilians talking to a British soldier . Calloway points to the civilian in L f.g. with stick then looks off CR for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>You see this man here - a fellow called Harbin, medical orderly at the general hospital. He worked for Lime and helped to steal the stuff from the laboratories. we forced him to give information to us which led us as far as Kurtz and Lime. but we did n't arrest them, as our evidence was n't complete and it might have spoiled our chances of getting the others.</dialogue> <scene_description>CLOSE SHOT - MARTINS in R f.g. with Paine seen behind him CL at the lantern projector .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Next, Paine.</dialogue> <character>MARTINS</character> <dialogue>I would like a word with this orderly Harbin.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY CL of screen on which is projected on CL side a set of finger prints labelled : RECORDED FINGER PRINT OF HARRY LIME On the CR side of the screen is a jar with finger prints on it from which the enlarged finger print was taken .</scene_description> <character>CALLOWAY</character> <dialogue>So would I.</dialogue> <character>MARTINS</character> <dialogue>Bring him in.</dialogue> <character>CALLOWAY</character> <dialogue>I ca n't. He disappeared.</dialogue> <scene_description>CLOSE SHOT - MARTINS with Paine seen behind him CL at lantern projector .</scene_description> <character>CALLOWAY</character> <dialogue>a week ago.</dialogue> <character>MARTINS</character> <dialogue>It's more like a mortuary than police headquarters.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY screen CR of him . Harry Lime 's finger prints still projected on it . He points to the jar .</scene_description> <character>CALLOWAY</character> <dialogue>We have better witnesses. Look here.</dialogue> <scene_description>CLOSEUP or a man 's L eye . Music starts . CLOSEUP - LEATHER CORNER DESK BLOTTING PAD with three blots of ink writing ringed and arrowed . A hand with small mirror comes in from R f.g. , holding it against the writing . CLOSEUP - CALLOWAY holding two test tubes up to the light and comparing them . CLOSEUP - FILE on desk , hearing words : `` HARBIN 'S FINGERPRINTS ON MEDICINE CABINET , '' hand in f.g. holding magnifying glass over prints . BIG CLOSEUP - MARTINS looking down in front of him - bewildered . LONG SHOT - FROM HIGH ANGLE - CALLOWAY 'S OFFICE Calloway , seated at his desk , Martins facing him , with another office CL . The desk is littered with papers , etc. . MED . SHOT - MARTINS past Calloway in R f.g.</scene_description> <character>MARTINS</character> <dialogue>How could he have done it?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>Seventy pounds a tube. Go back to the hotel. And do keep out of trouble. I'll try and fix things with the Austrian police. You'll be all right in the hotel, but I ca n't.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off past CR for Calloway . CAMERA PANS UP as he gets to his feet .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>be responsible for you in the streets.</dialogue> <character>MARTINS</character> <dialogue>I'm not asking you to.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CL for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>I'm sorry, Martins.</dialogue> <scene_description>CLOSE SHOT - MARTINS at the door , coat over his arm , looking off CR . CAMERA PANS RL as he moves to door , revealing Paine who is opening the door . He hands him his hat .</scene_description> <character>MARTINS</character> <dialogue>I'm sorry, too. Still got that aeroplane ticket on you?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY seated behind his desk . Picks up phone , looking off CL for Martins</scene_description> <character>CALLOWAY</character> <dialogue>We'll send one across to your hotel.</dialogue> <scene_description>CLOSE SHOT - PAINE - CL AND MARTINS at the open door , looking off CR .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>in the morning.</dialogue> <character>MARTINS</character> <dialogue>Thank you. Excuse me.</dialogue> <scene_description>Martins is about to leave when the Russian officer appears from the office across the hall and crosses to enter the room . He comes through the goor between Paine and Martins the latter goes out of door , and the Russian exits CR to Calloway .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Get me.</dialogue> <scene_description>MED . CLOSE SHOT - RUSSIAN moving downstage to Calloway 's desk - past the latter in R f.g. , telephone in hand . The Russian stands at the CR end of the desk , looking down at Calloway .</scene_description> <character>CALLOWAY</character> <dialogue>Austrian Police Headquarters.</dialogue> <character>RUSSIAN</character> <dialogue>Can I have that woman's passport?</dialogue> <scene_description>CLOSE SHOT - RUSSIAN OFFICER smoking a cigarette and looking down off R for Calloway .</scene_description> <character>RUSSIAN</character> <dialogue>You know, the Anna Schmidt one.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY seated at desk , holding phone .</scene_description> <character>CALLOWAY</character> <dialogue>Oh, we're not going to pick her up for that, are we?</dialogue> <scene_description>CLOSE SHOT - RUSSIAN OFFICER looking down off R , for Calloway .</scene_description> <character>RUSSIAN</character> <dialogue>What can we do?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY seated at desk , looking up off L . He opens drawer at his side and takes out passport .</scene_description> <character>RUSSIAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We have our instructions. Thank you.</dialogue> <scene_description>CLOSEUP - INSERT OF PASSPORT as Calloway throws it onto desk . It bears Anna Schmidt 's name . The Russian 's hand comes in from CL and picks it up . LONG SHOT - DANCE FLOOR inside club . A waiter is moving downstage with a drink on a tray . The floor and tables are deserted , but for one spectator in b.g. . The waiter exits CR . CLOSE SHOT - MARTINS seated at a table , an empty glass and some money in front of him . Waiter enters from CL and puts drink on the table in front of him . Martins pays him . MED . SHOT - ROW OF GIRLS seated at the bar , backs to camera , but all turned round to look off CR for Martins . CLOSE SHOT - MARTINS at table with drink . He looks up off CR , then CL . CLOSE SHOT - WOMAN FLOWER SELLER holding two bunches of Chrysanthemums , leaning against a pillar . She is looking off CR for Martins . CLOSE SHOT - MARTINS seated at table , sipping drink . He is looking off CL . He puts glass down , beckons to flower seller off L , gets up and exits CL , as we MED . CLOSE SHOT - FLOWER SELLER offers Martins CR of her , a bunch of flowers . He takes them both , giving her some money . He moves away , upstage , toward door and she moves to exit CR . CLOSEUP - ANNA lying in bed in darkened room R , profile favoring camera . There is a knock on door . She gets up and exits CR .</scene_description> <character>ANNA</character> <dialogue>Wer ist da?</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Me.</dialogue> <scene_description>LONG SHOT - ANNA enters from the bedroom CL , and taking her dressing gown from end of it , moves upstage LR toward light switch . She puts this on . There is a knock on the door . She puts on her dressing gown , crosses LR to door , CAMERA PANNING with her . CLOSE SHOT - ANNA at door . She opens CR side . Martins is revealed in the open doorway , his arms full of flowers .</scene_description> <character>MARTINS</character> <dialogue>Hullo.</dialogue> <scene_description>CLOSEUP - ANNA at door , looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>What is it? What's happened to you?</dialogue> <scene_description>CLOSEUP - MARTINS over the top of Anna 's head in R f.g.</scene_description> <character>MARTINS</character> <dialogue>I just came to see you.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>Come in.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS in door , past Anna in R f.g. . He comes in and exits CL .</scene_description> <character>ANNA</character> <dialogue>I thought you were going to go away. Are n't the police after you?</dialogue> <character>MARTINS</character> <dialogue>I do n't know.</dialogue> <scene_description>As she closes door , calls after him .</scene_description> <character>ANNA</character> <dialogue>You're drunk, are n't you?</dialogue> <scene_description>MED . SHOT - MARTINS puts down his hat , and looks back off R for Anna . He walks forward , CAMERA PANNING RL slightly .</scene_description> <character>MARTINS</character> <dialogue>A bit. Sorry. but I did want to say good - bye before I pushed off.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CL for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm going back home.</dialogue> <character>ANNA</character> <dialogue>Why?</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Anna . He walks forward to the end of the bed RL , CAMERA PANNING with him , and holding the flowers , he leans over the end of the bed in L profile , looking down off L for kitten .</scene_description> <character>MARTINS</character> <dialogue>It's what you've always wanted. all of you. Kitty, kitty, kitty, kitty.</dialogue> <scene_description>CLOSE SHOT - MARTINS leaning over bed rail and dangling a piece of string from the bunch of flowers , to a small kitten sitting on the end of the bed below , to tempt it to play .</scene_description> <character>MARTINS</character> <dialogue>Kitty, kitty.</dialogue> <scene_description>CLOSEUP - ANNA looking off L for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do n't you want to play, kitty.</dialogue> <scene_description>CLOSE SHOT - KITTEN seated on end of bed - the piece of string dangling into picture . He yawns . CLOSEUP - MARTINS holding flowers , looking down , off L , for kitten , dangling string .</scene_description> <character>MARTINS</character> <dialogue>Sleepy, kitty?</dialogue> <scene_description>CLOSE SHOT - KITTEN gets up and jumps off bed LR .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Not very.</dialogue> <scene_description>LONG SHOT - KITTEN enters from CL , jumps onto window sill and out through window .</scene_description> <character>MARTINS</character> <dialogue>Sociable, is he?</dialogue> <scene_description>CLOSE SHOT - ANNA takes a few steps RL to CL of Martins . CAMERA PANS with her .</scene_description> <character>ANNA</character> <dialogue>No. He only liked Harry. What made you decide so suddenly?</dialogue> <character>MARTINS</character> <dialogue>I brought you these. They got a little wet.</dialogue> <parenthetical>( gives her flowers . )</parenthetical> <dialogue /> <character>ANNA</character> <dialogue>What happened to your hand?</dialogue> <character>MARTINS</character> <dialogue>A parrot. Let it go.</dialogue> <character>ANNA</character> <dialogue>Have you seen Calloway?</dialogue> <character>MARTINS</character> <dialogue>Can you imagine a parrot nipping a man?</dialogue> <character>ANNA</character> <dialogue>Have you?</dialogue> <scene_description>He walks away upstage , toward window in b.g.</scene_description> <character>MARTINS</character> <dialogue>Oh, I've been saying good - bye all over.</dialogue> <scene_description>CLOSEUP - ANNA holding flowers and looking off CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>you know.</dialogue> <character>ANNA</character> <dialogue>He told you, did n't he?</dialogue> <scene_description>MED . SHOT - MARTINS from Anna 's eye line , leaning against window and looking CL for her .</scene_description> <character>MARTINS</character> <dialogue>Told me?</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>About Harry.</dialogue> <scene_description>MED . SHOT - MARTINS at the window , looking off CL for Anna .</scene_description> <character>MARTINS</character> <dialogue>You know?</dialogue> <scene_description>CLOSEUP - ANNA looking off CR for Martins . She turns away .</scene_description> <character>ANNA</character> <dialogue>I've seen Major Calloway today.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CL for Anna . He moves forward and exits CL . TRACK IN to CS at the window box . LONG SHOT - HIGH ANGLE from Anna 's window . Harry Lime is seen in the street , far below . He dodges into a doorway . LONG SHOT - LOW ANGLE - COBBLED STREET Kitten comes into picture , round corner from CR , moving downstage . CLOSE SHOT feet of Harry Lime as he stands in doorway . MED . CLOSE SHOT - KITTEN making his way round the corner . He exits past CR . LONG SHOT - KITTEN walking along the CR side of the pavement , close to the wall . You hear the kitten 's `` miaow . '' The doorway tips the R edge of frame in f.g. Kitten walks up steps , exiting CR . CLOSE SHOT - HARRY LIME 'S FEET Kitten jumps up between them and looks up at him . CLOSE SHOT - KITTEN playing with Harry 's R shoelace . MED . CLOSE SHOT - ANNA seated on edge of bed , full face , Martins on far side of room , walking about .</scene_description> <character>ANNA</character> <dialogue>He's better dead. I know he was mixed up - but not like that.</dialogue> <character>MARTINS</character> <parenthetical>( leans on back of a chair . )</parenthetical> <dialogue>I knew him for twenty years - at least I thought I knew him. I suppose he was laughing at fools like us all the time.</dialogue> <character>ANNA</character> <dialogue>He liked to laugh.</dialogue> <character>MARTINS</character> <parenthetical>( crosses LR to window . )</parenthetical> <dialogue>Seventy pounds a tube. He wanted me to write for his great medical charity.</dialogue> <character>ANNA</character> <dialogue>I'll put these flowers in water.</dialogue> <scene_description>She picks them up and exits CL . CAMERA TRACKS IN , PANNING LR to center , Martins in MED . CLOSE SHOT .</scene_description> <character>MARTINS</character> <dialogue>Perhaps I could have raised the price to eighty pounds for him.</dialogue> <scene_description>LONG SHOT - ANNA putting flowers on table in kitchen alcove , looking off R for Martins .</scene_description> <character>ANNA</character> <parenthetical>( moves to get water jug from stand behind her . )</parenthetical> <dialogue>Oh, please, for heaven's sake. Stop making him in your image. Harry was real. He was n't just your friend.</dialogue> <scene_description>LONG SHOT - MARTINS standing looking off CL for Anna .</scene_description> <character>ANNA</character> <dialogue>and my lover. He was Harry.</dialogue> <character>MARTINS</character> <dialogue>Well, do n't preach wisdom to me. You talk about him as if he had occasional bad manners.</dialogue> <scene_description>CLOSE SHOT - ANNA pouring water into vase .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't know - I'm just a hack.</dialogue> <scene_description>CLOSE SHOT - MARTINS leaning against trunks and playing idly with piece of string .</scene_description> <character>MARTINS</character> <dialogue>writer who drinks too much - and falls in love with girls. You.</dialogue> <scene_description>CLOSE SHOT - ANNA jug in hand , looking off R for Martins .</scene_description> <character>ANNA</character> <dialogue>Me?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CL for Anna .</scene_description> <character>MARTINS</character> <dialogue>Do n't be such a fool - of course.</dialogue> <scene_description>CLOSE SHOT - ANNA putting flowers in vase , looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>If you'd rung me up and asked me if you were fair or dark - or had a moustache. I would n't have known.</dialogue> <scene_description>CLOSE SHOT - MARTINS CAMERA PANNING RL with him as he crosses to window again .</scene_description> <character>MARTINS</character> <dialogue>I'm leaving Vienna. I do n't care whether Harry was murdered by Kurtz or Popescu, or a third man.</dialogue> <scene_description>He switches the light on and off CR of the window .</scene_description> <character>MARTINS</character> <dialogue>Whoever killed him, there was some sort of justice. Maybe I'd have killed him myself.</dialogue> <scene_description>He moves away from the window again , CAMERA PANNING RL with him . He stops in L profile in front of dressing table . LONG SHOT - ANNA walking downstage , holding vase of flowers - looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>A person does n't change because you find out more.</dialogue> <scene_description>MED . LONG SHOT - MARTINS standing at dressing table , holding small animal mascot he has picked up from it .</scene_description> <character>MARTINS</character> <dialogue>Look, I've got a splitting headache and you just stand there and just talk, and talk, and talk.</dialogue> <scene_description>CLOSE SHOT - ANNA holding flowers . She puts them down in f.g. , laughing . She moves away CL , still laughing .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I hate it.</dialogue> <scene_description>MED . LONG SHOT - MARTINS looking off CL for Anna . He walks forward a few steps , still holding on to the back of the upright chair , CAMERA PANNING LR with him .</scene_description> <character>MARTINS</character> <dialogue>First time I ever saw you laugh. Do it.</dialogue> <scene_description>CLOSE SHOT - ANNA looking down - then moves forward and sits down in CLOSEUP in f.g. on the bed , CAMERA PANNING with her . She leans on the bed rail .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>again.</dialogue> <character>ANNA</character> <dialogue>There is n't enough for two laughs.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for her . He exits CR . CLOSE SHOT - ANNA seated at end of bed . Martins moves downstage to her and leans over bed rail , close to her CR . CAMERA TRACKS IN to HOLD THEM in CLOSE TWO SHOT .</scene_description> <character>MARTINS</character> <dialogue>I make comic faces, and stand on my head and grin at you between my legs, and tell all sorts of jokes. I would n't stand a chance, would I?</dialogue> <scene_description>CLOSEUP - ANNA tears in her eyes . CLOSE SHOT - MARTINS looking down off CL for Anna . CLOSEUP - ANNA crying . CLOSEUP - ANNA AND MARTINS leaning over bed rail CR of her . She lowers her head in tears .</scene_description> <character>MARTINS</character> <dialogue>All right. you did tell me I had to find myself a girl.</dialogue> <scene_description>LONG SHOT - LIGHTED STREET man walking along it , upstage . LONG SHOT - DOORWAY with kitten seated on step , washing its paw . LONG SHOT - MARTINS enters from R f.g. , moving upstage , back to camera . LONG SHOT - DOORWAY kitten sitting on step - from Martins ' eye line . LONG SHOT - MARTINS crossing street to corner of building CR , CAMERA PANNING with him .</scene_description> <character>MARTINS</character> <dialogue>What kind of a spy do you think you are?</dialogue> <scene_description>LONG SHOT - KITTEN on doorstep . Music stops .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>satchel foot</dialogue> <scene_description>CLOSE SHOT - MARTINS at street corner , calling off CR to doorway .</scene_description> <character>MARTINS</character> <dialogue>What are you tailing me for?</dialogue> <scene_description>LONA SHOT - DOORWAY with kitten on step from Martins ' eye line .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Cat got your tongue?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS walking down stage RL , looking off R.</scene_description> <character>MARTINS</character> <dialogue>Come on out!</dialogue> <scene_description>LONG SHOT - STREET outside the doorway . Martins CL , calling across the street toward it .</scene_description> <character>MARTINS</character> <dialogue>Come out - come out wherever you are!</dialogue> <scene_description>CLOSE SHOT - KITTEN in doorway , playing between Lime 's feet . Sound of a motor car .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Step out in the light, let's have a look at you.</dialogue> <scene_description>LONG SHOT - WINDOW from street below . Light goes on . A woman calls off from inside the room .</scene_description> <character>WOMAN</character> <dialogue>Was ist den da los?</dialogue> <scene_description>Music starts . CLOSE SHOT - HARRY LIME in the doorway , looking up , full face CL . The light from the window falls onto his face .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Was bilden sie sich ein.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR , starts forward , reacting to glimpsing Harry Lime .</scene_description> <character>WOMAN</character> <dialogue>sind sie teppert. So.</dialogue> <scene_description>CLOSE SHOT - LIME looking off L.</scene_description> <character>WOMAN</character> <dialogue>Wie kommen sie.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Harry - transfixed .</scene_description> <character>WOMAN</character> <dialogue>einen krowall zu machen!</dialogue> <scene_description>LONG SHOT - WOMAN at the open window , looking down off CR for the disturbers . CLOSE SHOT - HARRY LIME CAMERA TRACKS IN to CLOSEUP . He is looking off CL , smiling . CLOSEUP - MARTINS looking off R for Harry .</scene_description> <character>MARTINS</character> <dialogue>Harry!</dialogue> <scene_description>CLOSE SHOT - LIME looking off CL .</scene_description> <character>WOMAN</character> <dialogue>Wie kommen sie einen krowell zu machen.</dialogue> <scene_description>LONG SHOT - WOMAN moving back from window . CLOSEUP - LIME in doorway . Light from window goes out and his face is in darkness again . CLOSE SHOT - MARTINS exits past CR . LONG SHOT - MARTINS entering from CL f.g. , crossing street in doorway LR . Car enters from CL f.g. , moving upstage and narrowly missing Martins who dodges back out of its way . It exits b.g. L. LONG SHOT - CAR driving downstage and exiting CR , f.g. Martins crosses street LR to doorway of building - CAMERA TILTED . -LRB- Footsteps -RRB- CLOSE SHOT - MARTINS entering to doorway from CL . It is bricked up . -LRB- Sound of car driving away -RRB- . He feels it with both hands . There is no one there . He steps down to camera . LONG SHOT - MARTINS steps down on to pavement from doorway . He looks round , then back over his shoulder . He reacts to hearing the footsteps behind him , and turns and runs upstage to corner of street in b.g. LONG SHOT - STREET with a man 's shadow running along CL wall LR .</scene_description> <character>MARTINS</character> <dialogue>Harry!</dialogue> <scene_description>CLOSE SHOT - MARTINS CAMERA TILTED - running to camera along street , -LRB- sound of footsteps -RRB- he exits CR . LONG SHOT - DARK STREET Shadow disappearing at far CL end of street . Martins enters from L f.g. , running upstage , back to camera . LONG SHOT reverse of the archway at the end of the street , along which the shadow was seen . Martins comes through it , running downstage to camera . LONG SHOT - DESERTED SQUARE kiosk near f.g. Martins enters from CL - he looks round and starts to run upstage toward the kiosk . MED . SHOT - MARTINS entering from CL , running round kiosk , the side of which is in L of picture . He looks around . LONG SHOT - KIOSK Martins corning round CL side of it . He pushes his hat to the back of his head and walks to camera which TRACKS BACK with him . He stops in f.g. at a fountain - he takes a handful of water from it and splashes it on his face . He looks round suddenly . Music stops . LONG SHOT - MARTINS leading Calloway and Paine through the arch at the end of the street leading to the square . They stop in f.g. , then Martins walks away upstage again , followed by Calloway - leaving Paine leaning on the fountain in L f.g.</scene_description> <character>MARTINS</character> <dialogue>I followed his shadow until suddenly.</dialogue> <character>CALLOWAY</character> <dialogue>Well?</dialogue> <character>MARTINS</character> <dialogue>This is where he vanished.</dialogue> <character>CALLOWAY</character> <dialogue>I see.</dialogue> <character>MARTINS</character> <dialogue>I suppose you do n't believe me.</dialogue> <character>CALLOWAY</character> <dialogue>No.</dialogue> <character>MARTINS</character> <dialogue>Look. I tell you, you do n't think I'm blind, do you?</dialogue> <character>CALLOWAY</character> <dialogue>Yes. Where were you when you saw him first?</dialogue> <character>MARTINS</character> <dialogue>Fifty yards right down there.</dialogue> <character>CALLOWAY</character> <dialogue>Which side of the road?</dialogue> <character>MARTINS</character> <dialogue>I was on that side, the shadow was on that side, and no turnings on either side.</dialogue> <character>CALLOWAY</character> <dialogue>How about the doorway?</dialogue> <character>MARTINS</character> <dialogue>I tell you I heard him running ahead of me.</dialogue> <character>CALLOWAY</character> <dialogue>Yes, yes, yes, and then he vanished out there, I suppose with a puff of smoke and like a clap of.</dialogue> <scene_description>Martins starts to walk away upstage again . Calloway looks intently off R , a sudden thought striking him . Music starts . LONG SHOT - KIOSK from Calloway 's eye line . MED . CLOSE SHOT - CALLOWAY with Paine and Martins behind him CL . He steps forward and exits CR . Paine follows . LONG SHOT - THE SQUARE The kiosk in f.g. Calloway walks up to it , Paine following him . Martins enters from L f.g. after them . CLOSE SHOT - CALLOWAY CR of the kiosk in L profile . Paine enters from CL as Calloway opens door . Paine looks in past Calloway . LONG SHOT down a spiral stone staircase inside the kiosk , from Paine 's eye line at the top . Music stops . CLOSE SHOT - PAINE with Calloway CR of him , beside the kiosk .</scene_description> <character>CALLOWAY</character> <dialogue>It was n't the German gin.</dialogue> <scene_description>Calloway exits down the stairs , out of picture CL . Paine and Martins follow . MED . CLOSE SHOT - CALLOWAY coming down the spiral staircase , followed by Paine and Martins - he exits CL down the stairs , followed by Paine . MED . CLOSE SHOT - CALLOWAY walking along tunnel of the sewer toward camera , followed by Paine and Martins . He walks into closeup . CAMERA PANS RL with him as he turns corner in tunnel , moving upstage back to camera , followed by Paine , who re - enters from CR . Martins is lost out of picture on PAN . LONG SHOT overflow gushing , down over wall in R of picture to balcony above this . Calloway stands on the balcony , looking down to sewer canal below . Paine enters from CR and stands at his side . LONG SHOT overflow gushing , down over sewer wall to canal below , from Calloway 's eye line . MED . SHOT - CALLOWAY followed by Paine and Martins , making their way along narrow alley - way over water in sluice . CAMERA PANS LR as Calloway turns R , losing Paine and Martins . Paine re - enters from CL , then we lose him again as CAMERA PANS on , revealing the main tunnel of the sewer , water running through it . MED . CLOSE SHOT - MARTINS looking off CR . He exits CR . MED . SHOT - CALLOWAY Martins and Paine enter to him from CL . CAMERA TRACKS BACK as Calloway steps forward to CS , leaving Martins and Paine standing behind him .</scene_description> <character>MARTINS</character> <dialogue>What's this - where are we?</dialogue> <scene_description>CLOSE SHOT - MARTINS AND PAINE CR of him .</scene_description> <character>PAINE</character> <dialogue>It's the main sewer. runs right into the Blue Danube. Smells sweet, does n't it?</dialogue> <scene_description>Paine crosses in front of Martins RL , exiting . CLOSE SHOT - CALLOWAY in L f.g. . He is looking down thoughtfully off CR . Paine moves downstage to CR of him .</scene_description> <character>CALLOWAY</character> <dialogue>We should have dug deeper than a grave.</dialogue> <scene_description>Sound of rushing water in sewer steps . Music starts . LONG SHOT - CEMETERY Martins and Calloway in L f.g. Paine CR f.g. . At the grave in b.g. L some men are grouped round - they are about to exhume Harry Lime 's body . MED . SHOT - GRAVE DIGGERS grouped round the grave - some are standing inside it and throw their shovels to the top . MED . SHOT - MARTINS seated in profile in L f.g. heating a glass over a burning torch . Calloway seen behind him , upstage , looking toward the grave . MED . SHOT - GRAVE DIGGERS pulling up the coffin . Cemetery official walks downstage holding a lighted flare .</scene_description> <character>OFFICIAL</character> <dialogue>So jetz.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated , holding flaring torch in L f.g. on edge of graves .</scene_description> <character>OFFICIAL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>bringen wir den sarg heraus.</dialogue> <scene_description>Martins gets to his feet to exit . MED . SHOT of the grave - coffin being pulled up . Calloway entering to the grave .</scene_description> <character>CALLOWAY</character> <dialogue>Auf machen.</dialogue> <scene_description>CLOSE SHOT - GRAVE DIGGER CAMERA PANNING DOWN as he kneels in L of picture and looks down into the grave . MED . LONG SHOT - CALLOWAY with Paine CR of him , looking down into grave in f.g. Grave digger Official CL f.g. , raising the lid of the coffin . They look in - Calloway and Paine move away CR . CLOSEUP - MARTINS in L profile , looking off L . He moves away . Music stops .</scene_description> <character>OFFICIAL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You knew him.</dialogue> <scene_description>MED . SHOT - CALLOWAY walking upstage , Paine CR of him - Graveyard Official , in L f.g.</scene_description> <character>OFFICIAL</character> <dialogue>Major?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY past Official in L f.g. . He walks LR into CLOSEUP , CAMERA PANNING with him , losing Official . Paine is seen behind him CL .</scene_description> <character>CALLOWAY</character> <dialogue>Hmm, yes, yes. Joseph Harbin. medical orderly at the General Hospital. He used to work for Harry Lime.</dialogue> <scene_description>He turns away . CLOSE SHOT - MARTINS looking off CL for Calloway .</scene_description> <character>MARTINS</character> <dialogue>Joseph Harbin?</dialogue> <scene_description>CLOSEUP - CALLOWAY past Official in L f.g. - he looks off CR at Martins .</scene_description> <character>CALLOWAY</character> <dialogue>Yes, he's the man I told you was missing. Next time, we'll have a foolproof coffin.</dialogue> <scene_description>Music starts . CLOSE SHOT - ANNA 'S OPEN PASSPORT on a desk . Hand picks it up to look at it from f.g. LONG SHOT - FOUR MEMBERS OF THE INTERNATIONAL PATROL outside closed door of the office . Brodsky , the Russian officer , enters through them , carrying Anna 's passport , and calls to the Russian representative , who leaves the others and goes to him .</scene_description> <character>BRODSKY</character> <dialogue>Smirnoff! Peshalnite suda - vosmite etot pasport I proisvedite arast.</dialogue> <character>SOLDIER</character> <dialogue>Slushayus Toverich Commandir.</dialogue> <scene_description>He starts to walk away , back to the others . CLOSE SHOT - INTERNATIONAL PATROL in open jeep , traveling toward camera . LONG SHOT over iron bannister rail in Anna 's house . The members of the International Patrol , making its way up the stairs LR . Anna 's landlady comes into picture from CL , following them up , and calling after them .</scene_description> <character>LANDLADY</character> <dialogue>Sie kommen doch nicht alleine da harauf gahen warten wie doch bis ich nachkornen ich cann ja nicht so rennen.</dialogue> <scene_description>MED . SHOT - LANDLADY eiderdown wrapped round her , looking up off CL at the Patrol from the corner of the staircase .</scene_description> <character>LANDLADY</character> <dialogue>Schlicselich ist das aach eine austan diges naus and keine kasorpe.</dialogue> <scene_description>CLOSEUP - ANNA in R profile , lying awake on her pillow . Footsteps are heard .</scene_description> <character>POLICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Aufmachen!</dialogue> <character>ANNA</character> <dialogue>We ist da?</dialogue> <character>POLICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>International politzel.</dialogue> <scene_description>Anna gets up and exits CR . LONG SHOT - ANNA walking across the room toward the door LR . She picks up her dressing - gown from end of bed and starts to put it on , CAMERA PANNING LR with her . CLOSE SHOT - ANNA opens inner and outer doors , leadlng to her room . Russian soldier with other members of the patrol behind him , is revealed outside . He steps forward to CS past Anna in L f.g.</scene_description> <character>RUSSIAN</character> <dialogue>Fraulein Schmidt?</dialogue> <character>ANNA</character> <dialogue>Ja, was wollen sie?</dialogue> <character>RUSSIAN</character> <dialogue>Sie mussen mit uns kommen.</dialogue> <scene_description>CLOSE SHOT - ANNA past Russian in R f.g. . He is holding her passport .</scene_description> <character>ANNA</character> <dialogue>Warum?</dialogue> <scene_description>CLOSE SHOT - RUSSIAN past Anna in L f.g. , holding up her passport .</scene_description> <character>RUSSIAN</character> <dialogue>Ist das ihre pass?</dialogue> <scene_description>CLOSE SHOT - ANNA past Russian in R f.g. , holding up her passport for her to see .</scene_description> <character>ANNA</character> <dialogue>Ja.</dialogue> <scene_description>CLOSE SHOT - RUSSIAN past Anna in L f.g. . He is holding up her passport .</scene_description> <character>RUSSIAN</character> <dialogue>Bitte - siechen sie sick an.</dialogue> <scene_description>CLOSE SHOT - ANNA past Russian in R f.g. . She turns away . LONG SHOT - ANNA in center of room . She picks up her clothes from back of chair . MED . SHOT - RUSSIAN just inside the room , holding Anna 's passport , other members of the Patrol behind him . He walks forward , looking off CR for Anna . LONG SHOT - ANNA at chair , clothes in her arms , bends to pick up shoes from the floor . Sound of door opening . She walks upstage , toward darkened alcove in b.g.</scene_description> <character>LANDLADY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Was ist donn nun wieder les. Wird das so weiter gehen? Kommen sie jetz jeden tag zu uns? Was machen, denn die dadringen.</dialogue> <scene_description>CLOSE SHOT - LANDLADY AND BRITISH SOLDIER of the Patrol , leaning against pillar CR of her .</scene_description> <character>LANDLADY</character> <dialogue>Kommen sie nicht rader ja nichten nichten nichten. Das kennen jeder.</dialogue> <scene_description>The solider ignoring her , moves away from the pillar and goes to door . She turns to call after him upstage .</scene_description> <character>LANDLADY</character> <dialogue>Rade sollen sie kommen sie nicht deutch? Die sprechen hatten sie schon langst lernen kommen. Large genug sind sie jat hier, jetz geht er. Was glotzen sie mich an? Habon sie nach nie einen turkey geschen?</dialogue> <scene_description>LONG SHOT - ANNA putting on her jacket , walks downstage past Russian soldier in L f.g. . She exits CR and he turns to look after her . LONG SHOT past Russian soldier who has turned round in L f.g. Anna moves to switch on light CR of American member of the patrol standing in the window . Russian soldier crosses f.g. LR and Anna picks up her coat in b.g. and is helped on with it by American .</scene_description> <character>ANNA</character> <dialogue>Where are you taking me?</dialogue> <character>AMERICAN</character> <dialogue>International Police Headquarters, just to check up.</dialogue> <scene_description>CLOSEUP - LANDLADY in doorway , looking off CL for Anna .</scene_description> <character>LANDLADY</character> <dialogue>Haben sie denn garne in shame.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CR for landlady .</scene_description> <character>ANNA</character> <dialogue>Aber regen sie sich nicht auf.</dialogue> <character>LANDLADY</character> <dialogue>Un glaublich!</dialogue> <character>RUSSIAN</character> <dialogue>Ist gut - ist gut.</dialogue> <scene_description>CLOSE SHOT - RUSSIAN enters from CL and turns to look back off CL for Anna .</scene_description> <character>RUSSIAN</character> <dialogue>Bernigen sie sich sind sie fertig fraulein?</dialogue> <scene_description>CLOSE SHOT - BRITISH SOLDIER looking off CL for Anna , who enters from CL .</scene_description> <character>BRITISH SOLDIER</character> <dialogue>I'm sorry, Miss, it's orders. We ca n't go against the Protocol.</dialogue> <character>ANNA</character> <dialogue>I do n't even know what the Protocol means.</dialogue> <character>BRITISH SOLDIER</character> <dialogue>Neither do I, Miss..</dialogue> <scene_description>MED . SHOT - ANNA with Russian CR of her , and other members of the Patrol following , coming out of her door , into the corridor . Landlady in CR f.g. French soldier comes up behind Anna CL and hands Anna her lipstick -</scene_description> <character>FRENCH SOLDIER</character> <dialogue>Mademoiselle, your lipstick.</dialogue> <scene_description>She turns to take it . LONG SHOT - MARTINS pacing about on the large main staircase of the International Police Headquarters . LONG SHOT - ANNA escorted by the International Patrol , entering the main hall of the Police Headquarters . CLOSEUP - MARTINS looking off R , reacting to hearing Anna approach . He moves to exit - MED . SHOT - ANNA coming up the stairs with an MP either side of her .</scene_description> <character>MARTINS</character> <dialogue>Anna, what's happened to you?</dialogue> <scene_description>LONG - HIGH ANGLE SHOT - ANNA with escort , coming up the stairs RL toward Martins , on first landing . He runs up after them .</scene_description> <character>M.P.</character> <dialogue>All right, all right, keep out of this.</dialogue> <character>MARTINS</character> <dialogue>Listen, I've got to talk to you. I've just seen a dead man walk.</dialogue> <scene_description>MED . SHOT - ANNA with her escort , including the Russian soldier , coming into picture , upstairs LR in R profile . Martins runs after them .</scene_description> <character>M.P.</character> <dialogue>All right chum, get back.</dialogue> <character>MARTINS</character> <dialogue>I saw him buried!</dialogue> <scene_description>The M.P. 's push him away .</scene_description> <character>M.P.</character> <dialogue>Cut it out.</dialogue> <scene_description>CLOSE SHOT - ANNA and her escorts crossing screen LR up the stairs .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>And now I've seen him alive.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY comes out of door , holding some documents . He walks forward , and stops looking off . LONG SHOT from HIGH ANGLE down to first floor of Headquarters . Anna and her escort coming up to top of stairs LR - Calloway standing outside door of his office CR of picture .</scene_description> <character>CALLOWAY</character> <dialogue>Just a minute. Bring her in here. You stay out here.</dialogue> <scene_description>He goes through the door , and Anna and the Patrol follow . CLOSE SHOT - CALLOWAY going into the door of his office , followed by Anna , a member of the patrol just behind .</scene_description> <character>CALLOWAY</character> <dialogue>Come in, Miss Schmidt.</dialogue> <scene_description>He closes door , leaving the patrol outside , seen through the glass window to the corridor beyond . He closes door and crosses in front of her RL , CAMERA PANNING with him , Anna following , and we SHOOT PAST him in L f.g. to Anna .</scene_description> <character>CALLOWAY</character> <dialogue>Now then, Miss Schmidt, I'm not interested in your forged papers - that's purely a Russian case. When did you last see Lime?</dialogue> <character>ANNA</character> <dialogue>Two weeks ago.</dialogue> <scene_description>He steps to her .</scene_description> <character>CALLOWAY</character> <dialogue>I want the truth, Miss Schmidt. We know he is alive.</dialogue> <character>ANNA</character> <dialogue>It's true then?</dialogue> <scene_description>He crosses in front of her LR , CAMERA PANNING with him - he stops in R f.g.</scene_description> <character>CALLOWAY</character> <dialogue>Joseph Harbin's body was found in the coffin.</dialogue> <character>ANNA</character> <dialogue>What did you say? I'm sorry.</dialogue> <scene_description>He crosses in front of her again RL , CAMERA PANNING - and stands in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>I said another man was buried in his place.</dialogue> <character>ANNA</character> <dialogue>Where's Harry?</dialogue> <character>CALLOWAY</character> <dialogue>That's what we want to find out.</dialogue> <character>ANNA</character> <dialogue>I'm sorry - I do n't seem able to understand anything you say. He's alive now this minute - he's doing something.</dialogue> <character>CALLOWAY</character> <dialogue>Miss Schmidt, we know he is somewhere across the canal in the Russian sector. You may as well help us. In a few minutes Colonel Brodsky will be questioning you about your papers. Tell me where Lime is.</dialogue> <character>ANNA</character> <dialogue>I do n't know.</dialogue> <character>CALLOWAY</character> <dialogue>If you help me, I am prepared to help you.</dialogue> <character>ANNA</character> <dialogue>Martins always said you were a fool.</dialogue> <scene_description>He crosses in front of her LR , CAMERA PANNING to door and opens it .</scene_description> <character>CALLOWAY</character> <dialogue>Vienna is a closed city, Miss Schmidt, he ca n't get away.</dialogue> <character>ANNA</character> <dialogue>Poor Harry, I wish he was dead, he would be safe from all of you then.</dialogue> <scene_description>She goes through door . LONG SHOT - MARTINS walking down cobbled street , toward Kurtz ' house in L f.g. Rubble in b.g. LONG SHOT from ground level , Kurtz looking down over the balcony to doorway below .</scene_description> <character>KURTZ</character> <dialogue>Why that's you!</dialogue> <scene_description>LONG SHOT - MARTINS standing in front of the house , looking up off L in L profile for Kurtz .</scene_description> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come up!</dialogue> <scene_description>LONG SHOT - KURTZ on the balcony . He calls off into the room behind him .</scene_description> <character>KURTZ</character> <dialogue>Winkel, look who's here!</dialogue> <scene_description>MED . SHOT - MARTINS in the street , looking up off L for Kurtz on the balcony . Tram crossing in b.g.</scene_description> <character>MARTINS</character> <dialogue>I want to speak to you, Kurtz.</dialogue> <character>KURTZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Of course. come up.</dialogue> <character>MARTINS</character> <dialogue>I'll wait here.</dialogue> <scene_description>LONG SHOT - KURTZ with Winkel now CR of him , looking down off CR for Martins .</scene_description> <character>KURTZ</character> <dialogue>I do n't understand.</dialogue> <scene_description>MED . SHOT - MARTINS in street , looking up off CL for Kurtz and Winkel .</scene_description> <character>MARTINS</character> <dialogue>I want to talk to Harry.</dialogue> <scene_description>CLOSE SHOT - KURTZ AND WINKEL on the balcony , looking down off R for Martins .</scene_description> <character>KURTZ</character> <dialogue>Are you mad?</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>All right - I'm mad. I've seen a ghost.</dialogue> <scene_description>MED . SHOT - MARTINS looking up , off CL for Kurtz .</scene_description> <character>MARTINS</character> <dialogue>You tell Harry I want to see him.</dialogue> <scene_description>CLOSE SHOT - KURTZ AND WINKEL looking down off CR for Martins .</scene_description> <character>KURTZ</character> <dialogue>Be reasonable - come up and talk.</dialogue> <scene_description>MED . SHOT - MARTINS with the big wheel in b.g. . He moves away upstage , pointing to the wheel and calling back .</scene_description> <character>MARTINS</character> <dialogue>No thank you - I like the open. Tell him I'll wait by that wheel there. Or do ghosts only ride by night, Dr. Winkel? Got an opinion on that?</dialogue> <scene_description>CLOSE SHOT - KURTZ AND WINKEL on the balcony , looking down off R for Martins . They turn away . Music starts . LONG SHOT - MARTINS seated on parapet of `` Chairoplane '' at deserted fair ground , the big wheel behind him . He gets up and starts to walk round the `` Chairoplane '' stand . LONG SHOT - MERRY - GO - ROUND It is still and nobody near it . LONG SHOT - MARTINS standing CR of the `` Chairoplane '' stand , the big wheel behind him in b.g. . He walks forward into MED . CLOSE SHOT , looking off CL . LONG SHOT - MERRY - GO - ROUND and deserted fair ground , with Harry Lime seen in far b.g. walking downstage - from Martins ' eye line . MED . CLOSE SHOT - MARTINS looking off CL . MED . LONG SHOT - HARRY moving downstage , looking off CR , smiling for Martins - he exits CR . Music stops . MED . SHOT - HARRY walks downstage to Martins in R f.g. . He walks round him and stops in L profile R f.g. , facing Martins .</scene_description> <character>HARRY</character> <dialogue>Hello, old man. How are you?</dialogue> <scene_description>Fair attendant passes in b.g.</scene_description> <character>MARTINS</character> <dialogue>Hello, Harry.</dialogue> <character>HARRY</character> <dialogue>Well, well, they seem to've been giving you quite some busy time.</dialogue> <character>MARTINS</character> <dialogue>Listen.</dialogue> <character>HARRY</character> <dialogue>Yes.</dialogue> <character>MARTINS</character> <dialogue>I want to talk to you.</dialogue> <character>HARRY</character> <dialogue>Talk to me? Of course. Come on.</dialogue> <scene_description>LONG SHOT - SHOOTING UP through the structure of the big wheel from ground level - CAMERA PANS UP slightly . MED . SHOT - HARRY taking off his coat , enters from CR , followed by Martins . The girl attendant of the wheel enters b.g. CL .</scene_description> <character>HARRY</character> <dialogue>Kids used to ride this thing a lot in the old days. They have n't got the money nowadays, poor little devils.</dialogue> <scene_description>Harry gets the tickets from her .</scene_description> <character>GIRL</character> <dialogue>Zwei steck.</dialogue> <character>HARRY</character> <dialogue>Geht in ordung.</dialogue> <scene_description>They enter the carriage of the wheel .</scene_description> <character>GIRL</character> <dialogue>Vielen danke.</dialogue> <scene_description>MED . SHOT - MARTINS enters carriage RL , followed by Harry . Girl attendant closes the door and starts the wheel in motion .</scene_description> <character>MARTINS</character> <dialogue>Listen, Harry - I did n't believe that.</dialogue> <character>HARRY</character> <dialogue>It's good to see you, Holly.</dialogue> <scene_description>CLOSEUP - MARTINS in R profile , looking off L for Harry .</scene_description> <character>MARTINS</character> <dialogue>I was at your funeral.</dialogue> <scene_description>CLOSE SHOT - HARRY looking off L for Martins - the wheel is turning - ground seen through window in b.g.</scene_description> <character>HARRY</character> <dialogue>It was pretty smart, was n't it? Oh, the same old indigestion.</dialogue> <parenthetical>( takes a tablet . )</parenthetical> <dialogue>Holly. these are the only things that help - these tablets. These are the last. Ca n't get them anywhere in Europe any more.</dialogue> <scene_description>CLOSEUP - MARTINS in R profile , looking off CL for Harry .</scene_description> <character>MARTINS</character> <dialogue>Do you know what's happened to your girl?</dialogue> <scene_description>CLOSE SHOT - HARRY in L profile - window in b.g. - and Vienna far below . He looks off R for Martins .</scene_description> <character>HARRY</character> <dialogue>Hmm.</dialogue> <character>MARTINS</character> <dialogue>She's been arrested.</dialogue> <character>HARRY</character> <dialogue>Tough. tough. Do n't worry, old man, they wo n't hurt her.</dialogue> <scene_description>CLOSEUP - MARTINS looking off CR for Harry .</scene_description> <character>MARTINS</character> <dialogue>They are handing her over to the Russians.</dialogue> <scene_description>CLOSE SHOT - HARRY looking off CL for Martins - ground seen through window in b.g.</scene_description> <character>HARRY</character> <dialogue>What can I do, old man, I'm dead, are n't I?</dialogue> <character>MARTINS</character> <dialogue>You can help her.</dialogue> <character>HARRY</character> <dialogue>Holly.</dialogue> <scene_description>He exits past CL . CLOSE SHOT - MARTINS Harry enters from CR to him and stands in L profile , looking out of the window , then at him , as he stops in front of him .</scene_description> <character>HARRY</character> <dialogue>exactly who did you tell about me? Hmm?</dialogue> <character>MARTINS</character> <dialogue>I told the police.</dialogue> <scene_description>CLOSEUP - HARRY past Martins in L f.g. . He is in L profile , looking out of the window .</scene_description> <character>HARRY</character> <dialogue>Unwise, Holly.</dialogue> <character>MARTINS</character> <dialogue>And - Anna.</dialogue> <character>HARRY</character> <dialogue>Did the police believe you?</dialogue> <character>MARTINS</character> <dialogue>You do n't care anything at all about Anna, do you?</dialogue> <scene_description>He laughs .</scene_description> <character>HARRY</character> <dialogue>Well, I've got quite a lot on my mind.</dialogue> <character>MARTINS</character> <dialogue>You would n't do anything.</dialogue> <scene_description>Harry looks at Martins .</scene_description> <character>HARRY</character> <dialogue>What do you want me to do?</dialogue> <character>MARTINS</character> <parenthetical>( overlap . )</parenthetical> <dialogue>You can get somebody else.</dialogue> <character>HARRY</character> <dialogue>Do you expect me to give myself up?</dialogue> <character>MARTINS</character> <dialogue>Why not?</dialogue> <character>HARRY</character> <dialogue>It's far better thing that I do. Holly, you and I are n't heroes, the world does n't make any heroes.</dialogue> <character>MARTINS</character> <dialogue>You've got plenty of contacts.</dialogue> <character>HARRY</character> <dialogue>Outside of your stories. I've got to be careful.</dialogue> <scene_description>He turns away to exit CR . MED . SHOT - HARRY enters from CL and stands , in R profile , near the window .</scene_description> <character>HARRY</character> <dialogue>I'm only safe in the Russian Zone. I'm safe as long as they can use me.</dialogue> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>As long as they can use you?</dialogue> <character>HARRY</character> <dialogue>I wish I could get rid of this thing.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Harry .</scene_description> <character>MARTINS</character> <dialogue>Oh, so that's how they found out about Anna.</dialogue> <scene_description>CLOSE SHOT - MARTINS entering from CL to Harry , standing by the window of the carriage . CAMERA PANS LR slightly as he walks to and fro in front of Harry .</scene_description> <character>MARTINS</character> <dialogue>You told them, did n't you?</dialogue> <character>HARRY</character> <dialogue>Do n't try to be a policeman, old man.</dialogue> <character>MARTINS</character> <dialogue>What did you expect me to be - part of your.</dialogue> <scene_description>He crosses LR .</scene_description> <character>HARRY</character> <dialogue>Part? You can have any part you want, so long as you do n't interfere. I have never cut you out of anything yet.</dialogue> <character>MARTINS</character> <dialogue>I remember when they raided the gambling joint - you know a safe way out.</dialogue> <character>HARRY</character> <dialogue>Sure.</dialogue> <scene_description>CLOSEUP - MARTINS in L profile . Sound of wheel over scene .</scene_description> <character>MARTINS</character> <dialogue>Yes, safe for you. not safe for me.</dialogue> <scene_description>CLOSE SHOT - HARRY Martins ' head tipping L edge of frame -</scene_description> <character>HARRY</character> <dialogue>Old man - you never should have gone to the police. You know you ought to leave this thing alone.</dialogue> <scene_description>Martins turns his head so that we SHOOT PAST him R profile in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Have you ever seen any of your victims?</dialogue> <character>HARRY</character> <dialogue>Do you know, I do n't ever feel comfortable on these sort of things. Victims?</dialogue> <scene_description>He opens the door of the carriage .</scene_description> <character>HARRY</character> <dialogue>Do n't be melodramatic.</dialogue> <scene_description>MED . SHOT - MARTINS in L f.g. , Harry opening door in b.g.</scene_description> <character>HARRY</character> <dialogue>Look down there.</dialogue> <scene_description>LONG SHOT from Martins ' eye line of the fair ground far below and the people now on it .</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Would you feel any pity if one of those dots stopped moving forever?</dialogue> <scene_description>CLOSE SHOT - HARRY looking off CL for Martins .</scene_description> <character>HARRY</character> <dialogue>If I offered you # 20,000 for every dot that stopped - would you really, old man, tell me to keep my money? Or would you calculate how many dots you could afford to spare? Free of Income Tax, old man.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Harry .</scene_description> <character>HARRY</character> <dialogue>free of Income Tax.</dialogue> <scene_description>CLOSE SHOT - HARRY looking off CL for Martins . Sound of wheel over scene .</scene_description> <character>HARRY</character> <dialogue>It's the only way to save money nowadays.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Harry . He moves forward .</scene_description> <character>MARTINS</character> <dialogue>Lot of good your money will do you in jail.</dialogue> <scene_description>Exits CR . MED . LONG SHOT - HARRY standing CR of the open window . Martins enters from CL .</scene_description> <character>HARRY</character> <dialogue>That jail is in another zone.</dialogue> <scene_description>CLOSE SHOT - HARRY over Martins ' R shoulder .</scene_description> <character>HARRY</character> <dialogue>There's no proof against me, beside you.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking down CR , Harry tipping R edge of frame . CLOSE SHOT - HARRY over Martins ' R shoulder . CLOSE SHOT - MARTINS over Harry 's L shoulder .</scene_description> <character>MARTINS</character> <dialogue>I should be pretty easy to get rid of.</dialogue> <scene_description>CLOSE SHOT - HARRY over Martins ' R shoulder .</scene_description> <character>HARRY</character> <dialogue>Pretty easy.</dialogue> <scene_description>CLOSE SHOT - MARTINS over Harry 's L shoulder .</scene_description> <character>MARTINS</character> <dialogue>I would n't be too sure.</dialogue> <scene_description>CLOSE SHOT - HARRY over Martins ' R shoulder .</scene_description> <character>HARRY</character> <dialogue>I carry a gun. I do n't think they'd look for a bullet wound after you'd hit that ground.</dialogue> <scene_description>CLOSE SHOT - MARTINS over Harry 's L shoulder . Sound of wheel over .</scene_description> <character>MARTINS</character> <dialogue>They have dug up your coffin.</dialogue> <scene_description>CLOSE SHOT - HARRY over Martins ' R shoulder .</scene_description> <character>HARRY</character> <dialogue>And found Harbin? Hmm, pity.</dialogue> <scene_description>MED . SHOT - MARTINS CL - Harry turning back in R f.g. to look at him .</scene_description> <character>HARRY</character> <dialogue>Oh, Holly, what fools we are, talking to each other this way. As though I would do anything to you - or you to me.</dialogue> <scene_description>Harry moves upstage to Martins , CAMERA TRACKS IN with him - and Martins exits CL . Harry closes the door of the carriage .</scene_description> <character>HARRY</character> <dialogue>You're just a little mixed up about things.</dialogue> <scene_description>CLOSE SHOT - MARTINS sits down into position at the side of the carriage , looking thoughtfully off R.</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>in general. Nobody thinks in terms.</dialogue> <scene_description>CLOSE SHOT - HARRY walks downstage RL , CAMERA TRACKS BACK with him - and he stops in CLOSEUP , looking off L for Martins .</scene_description> <character>HARRY</character> <dialogue>of human beings. Governments do n't, so why should we? They talk about the people, and the Proletariat. I talk about the suckers and the mugs.</dialogue> <parenthetical>( walks away upstage to M.C.S. at window . )</parenthetical> <dialogue>It's the same thing. They have their five - year plan, and so have I.</dialogue> <scene_description>CLOSE SHOT - MARTINS seated , looking off R - the window behind him .</scene_description> <character>MARTINS</character> <dialogue>You used to believe in God.</dialogue> <scene_description>CLOSE SHOT - HARRY at window , looking back over his shoulder off L for Martins .</scene_description> <character>HARRY</character> <dialogue>I still do believe in God, old man. I believe in God and Mercy and all that. The dead are happier dead. They do n't miss much here.</dialogue> <scene_description>CAMERA PANS RL with him as he moves slightly still , looking off L , and starts to idly write on the window at his side - out of picture . CLOSE SHOT - THE WINDOW Wheel turning over scene . Harry 's hand in picture from CR - he has drawn on the steamed - up window a heart with an arrow through it . He is writing the word ANNA above it .</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>poor devils.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off R , reacting to the heart on the window pane . CLOSE SHOT - HARRY at the window , looking off L for Martins .</scene_description> <character>HARRY</character> <dialogue>What do you believe in?</dialogue> <scene_description>He exits CR . Wheel noise stops . MED . SHOT - HARRY walking to window LR . Martins enters from L f.g. , moving up to his side . We see they are now on ground level , through the window .</scene_description> <character>HARRY</character> <dialogue>Well, if you ever get Anna out of this mess, be kind to her.</dialogue> <scene_description>He opens the door and Martins starts to go through .</scene_description> <character>HARRY</character> <dialogue>You'll find she's worth it.</dialogue> <scene_description>MED . SHOT - MARTINS coming out of the carriage of the big wheel , followed by Harry . CAMERA TRACKS BACK with them and stops as they stop in CS in f.g. - Martins CL .</scene_description> <character>HARRY</character> <dialogue>I wish I had asked you to bring me some of these tablets from home. Holly, I would like to cut you in, old man. Nobody left in Vienna I can really trust - and we have always done everything together. When you make up your mind, send me a message. I'll meet you any place, any time. And when we do meet, old man, it is you I want to see, not the police. Remember that, wo n't you?</dialogue> <scene_description>Martin moves away LR , CAMERA PANNING with him - but Harry back up and bars his way on the steps . Music starts .</scene_description> <character>HARRY</character> <dialogue>Do n't be so gloomy. After all, it's not that awful. Remember what the fellow said.</dialogue> <scene_description>He backs a little down the steps in CS and CAMERA PANS LR with him , losing Martins .</scene_description> <character>HARRY</character> <dialogue>- in Italy, for thirty years under the Borgias, they had warfare, terror, murder, bloodshed, but they produced Michaelangelo - Leonardo Da Vinci, and the Renaissance. In Switzerland, they had brotherly love. They had five hundred years of democracy and peace, and what did that produce? The cuckoo clock. So long, Holly.</dialogue> <scene_description>He exits quickly CR . CLOSEUP - MARTINS leaning on the rail , looking down thoughtfully . LONG SHOT - MERRY - GO - ROUND - a small boy going round on it . Harry enters from CR f.g. , looks back - then continues on upstage , toward the merry - go - round . Music stops . MED . SHOT - CALLOWAY in his office . Martins in L f.g. Calloway moves upstage to map on wall and gestures to it .</scene_description> <character>CALLOWAY</character> <dialogue>Look here, Martins. You can always arrange to meet him at some cafe here in the International zone.</dialogue> <scene_description>He walks away LR , CAMERA TRACKING AND PANNING with him , losing Calloway and revealing Paine - Martins continues on behind Calloway 's desk , losing Paine - and looks off L for Calloway .</scene_description> <character>MARTINS</character> <dialogue>It would n't work.</dialogue> <character>CALLOWAY</character> <dialogue>We'll never get him in the Russian zone.</dialogue> <character>MARTINS</character> <dialogue>Calloway, you expect too much. I know he deserves to hang, you proved your stuff. But twenty years is a long time - do n't ask me to tie the rope.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off R for Martins , CAMERA PANS LR with him as he moves away .</scene_description> <character>CALLOWAY</character> <dialogue>Okay, forget it.</dialogue> <scene_description>MED . SHOT - RUSSIAN OFFICER comes through door -LRB- sound of door opening -RRB- - looks off R for Calloway .</scene_description> <character>BRODSKY</character> <dialogue>Busy, Major?</dialogue> <scene_description>CLOSE SHOT - CALLOWAY looking off CL for Russian .</scene_description> <character>CALLOWAY</character> <dialogue>What is it, Brodsky?</dialogue> <scene_description>MED . SHOT - RUSSIAN holding file , looking off R for Calloway . He walks forward to CS and hands file off R to Calloway .</scene_description> <character>BRODSKY</character> <dialogue>We have identified the girl. Here is her. report.</dialogue> <scene_description>Music starts . MED . CLOSE SHOT - CALLOWAY past Russian in L f.g. , Calloway looking at file . He puts passport down on desk . CLOSE SHOT - PASSPORT falling onto desk as Calloway puts it down .</scene_description> <character>CALLOWAY</character> <dialogue>I've questioned her - we've.</dialogue> <scene_description>CLOSEUP - MARTINS looking down off CR at the passport on the table .</scene_description> <character>CALLOWAY</character> <dialogue>got nothing against her.</dialogue> <character>BRODSKY</character> <dialogue>We shall.</dialogue> <scene_description>CLOSE SHOT - RUSSIAN OFFICER looking off R for Calloway .</scene_description> <character>BRODSKY</character> <dialogue>apply for her at the Four Power Meeting tomorrow. She has no right to be here.</dialogue> <scene_description>CLOSEUP - MARTINS looking down off R at the passport . CLOSE SHOT - ANNA 'S PASSPORT lying on Calloway 's desk . MED . CLOSE SHOT - CALLOWAY past Russian in L f.g.</scene_description> <character>CALLOWAY</character> <dialogue>I've asked your people to help with Lime.</dialogue> <character>BRODSKY</character> <dialogue>That's.</dialogue> <scene_description>CLOSE SHOT - RUSSIAN looking off R for Calloway .</scene_description> <character>BRODSKY</character> <dialogue>a different case. It's being looked into. So long.</dialogue> <scene_description>CLOSE SHOT - MARTINS looking down . He walks away upstage RL , CAMERA PANNING with him .</scene_description> <character>BRODSKY</character> <dialogue>Major.</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In the last war, a General would hang his opponent's picture on the wall.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY seated at desk .</scene_description> <character>CALLOWAY</character> <dialogue>He got to know him that way.</dialogue> <scene_description>CLOSEUP - BACK OF MARTINS ' HEAD favoring his L profile . He turns around to look off for Calloway .</scene_description> <character>CALLOWAY</character> <dialogue>I think this would have worked with your help.</dialogue> <scene_description>CLOSE SHOT - HARRY 'S OPEN FILE with two photographs . PAN RL to Anna 's passport . CLOSEUP - MARTINS in L profile , looking at him .</scene_description> <character>MARTINS</character> <dialogue>What price would you pay?</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off R for Martins .</scene_description> <character>CALLOWAY</character> <dialogue>Name it.</dialogue> <scene_description>CLOSE SHOT - MARTINS at station barrier . Train in b.g. Music stops . Sound of steam train . LONG SHOT - ANNA with Paine CR coming up steps of station . -LRB- Sound of train . -RRB- LR , they exit CR . CLOSE SHOT - MARTINS at barrier , looking off L for Anna . He moves to exit R. MED . SHOT - ANNA enters from L f.g. followed by Paine . Train in b.g. . She moves away upstage . CLOSE SHOT - MARTINS behind barrier , looking off L. MED . SHOT - PAINE getting into train compartment , followed by Anna . CAMERA TRACKS in to interior of carriage .</scene_description> <character>PAINE</character> <dialogue>Here we are. You'll be all right here, Miss..</dialogue> <character>ANNA</character> <dialogue>I do n't.</dialogue> <scene_description>CLOSE SHOT - ANNA in corner of compartment , looking at passport .</scene_description> <character>ANNA</character> <dialogue>understand Major Calloway.</dialogue> <scene_description>MED . CLOSE SHOT CAMERA AT AN ANGLE . He puts things on rack , looks off R for Anna .</scene_description> <character>PAINE</character> <dialogue>I expect he has a soft spot for you, Miss..</dialogue> <scene_description>CLOSE SHOT - ANNA passport in hands , looking off L for Paine . -LRB- Train noise . -RRB-</scene_description> <character>ANNA</character> <dialogue>Why has he done all this?</dialogue> <scene_description>MED . CLOSE SHOT - PAINE reaching up to luggage rack - CAMERA TILTED .</scene_description> <character>PAINE</character> <dialogue>Do n't you worry, Miss.. You're well out of things.</dialogue> <scene_description>CLOSE SHOT - PAINE putting a bundle on the CR rack .</scene_description> <character>PAINE</character> <dialogue>There you are, Miss..</dialogue> <scene_description>CAMERA TRACKS BACK to MED . SHOT , revealing outside of carriage .</scene_description> <character>ANNA</character> <dialogue>Thank you, you have been so kind.</dialogue> <scene_description>Anna moves down to stand CL of Paine .</scene_description> <character>PAINE</character> <dialogue>Well, I'll be saying good night. Good night, Miss..</dialogue> <character>ANNA</character> <dialogue>Good - bye.</dialogue> <scene_description>He exits to camera and Anna closes door of carriage behind him and turns back into carriage . CLOSE SHOT - ANNA in train , sits down in corner . She takes off hat - rubs window and looks off CL . LONG SHOT - MARTINS walking upstage , along platform to buffet . CLOSE SHOT - ANNA looking off L - gets up . LONG SHOT - MARTINS going into buffet from Anna 's eye line . CLOSE SHOT - ANNA gets out of compartment . MED . SHOT through door of buffet . Anna enters , CAMERA TRACKING AND PANNING RL with her and revealing Martins seated at bar . He looks up .</scene_description> <character>ANNA</character> <dialogue>Are you going, too?</dialogue> <character>MARTINS</character> <dialogue>Oh.</dialogue> <scene_description>MED . SHOT - ANNA past Martins in L f.g.</scene_description> <character>ANNA</character> <dialogue>What are you doing here?</dialogue> <scene_description>MED . SHOT - MARTINS standing at bar , looking off R for Anna .</scene_description> <character>MARTINS</character> <dialogue>I wanted to see you off.</dialogue> <scene_description>MED . SHOT - ANNA standing , looking off L for Martins .</scene_description> <character>ANNA</character> <dialogue>See me off? From here?</dialogue> <scene_description>MED . SHOT - MARTINS looking for Anna .</scene_description> <character>MARTINS</character> <dialogue>Oh, I watched you on the train. No harm in that.</dialogue> <scene_description>MED . SHOT - ANNA looking off L for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>is there?</dialogue> <character>ANNA</character> <dialogue>How did you know I would be here?</dialogue> <scene_description>MED . SHOT - MARTINS looking off R for Anna .</scene_description> <character>MARTINS</character> <dialogue>I heard something about it at Police.</dialogue> <scene_description>MED . SHOT - ANNA at door - she walks forward CL .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Headquarters.</dialogue> <character>ANNA</character> <dialogue>Have you been seeing Major Calloway again?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off R for Anna , who enters from CR .</scene_description> <character>MARTINS</character> <dialogue>Of course not. I do n't live in his pocket.</dialogue> <scene_description>CLOSE SHOT - ANNA past Martins in L f.g.</scene_description> <character>ANNA</character> <dialogue>Harry, what is it?</dialogue> <scene_description>CLOSE SHOT - MARTINS past Anna in R f.g. -LRB- Train noises over . -RRB-</scene_description> <character>MARTINS</character> <dialogue>For heaven's sake - stop calling me.</dialogue> <scene_description>CLOSE SHOT past Martins in L f.g.</scene_description> <character>MARTINS</character> <dialogue>Harry.</dialogue> <character>ANNA</character> <dialogue>I'm sorry.</dialogue> <scene_description>CLOSE SHOT - MARTINS past Anna in R f.g. . He reacts to station announcer in b.g.</scene_description> <character>MARTINS</character> <dialogue>Let's go.</dialogue> <scene_description>MED . SHOT - MARTINS takes Anna 's arm and CAMERA PANS LR as they start toward door , Martin CR .</scene_description> <character>ANNA</character> <dialogue>What is on your mind? Why did you hide?</dialogue> <character>MARTINS</character> <dialogue>Hide? Ca n't a fellow have a drink?</dialogue> <scene_description>He puts his coat round her shoulders and CAMERA continues to PAN them to door .</scene_description> <character>MARTINS</character> <dialogue>Here, it will be cold on that train.</dialogue> <character>ANNA</character> <dialogue>I shall be all right.</dialogue> <character>MARTINS</character> <dialogue>You send me a wire as soon as you arrive.</dialogue> <scene_description>They exit through door CR . CAMERA TRACKS RL to shoot through buffet window , past Anna to Martins .</scene_description> <character>ANNA</character> <dialogue>What is going to happen? Where is Harry?</dialogue> <character>MARTINS</character> <dialogue>He's safe in the Russian zone.</dialogue> <character>ANNA</character> <dialogue>How do you know?</dialogue> <character>MARTINS</character> <dialogue>I saw him today.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA looking off L for Martins - door of the buffet behind her .</scene_description> <character>ANNA</character> <dialogue>How is he?</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS opening outer door to let Anna out .</scene_description> <character>MARTINS</character> <dialogue>He can look after himself, do n't worry.</dialogue> <scene_description>MED . CLOSE SHOT - ANNA looking off CL for Martins , who enters from CL to her R side , to hurry her out . CAMERA TRACKS IN as she moves back against inner door away from him , and WE SHOOT over his R shoulder to her .</scene_description> <character>ANNA</character> <dialogue>Did he say anything about me - tell me?</dialogue> <character>MARTINS</character> <dialogue>Oh, the usual things.</dialogue> <character>ANNA</character> <dialogue>There's something wrong. Did you tell Calloway about meeting Harry?</dialogue> <scene_description>CAMERA PANS RL slightly as Martins crosses f.g.</scene_description> <character>MARTINS</character> <dialogue>Of course I did n't tell Calloway.</dialogue> <character>ANNA</character> <dialogue>Why should he help me like that? The Russians will only make trouble for him.</dialogue> <scene_description>Anna starts to back through swing doors , back into the buffet , Martins looking at her . She exits CR .</scene_description> <character>MARTINS</character> <dialogue>That's his headache.</dialogue> <character>ANNA</character> <dialogue>His.</dialogue> <character>MARTINS</character> <dialogue>Oh, well.</dialogue> <character>ANNA</character> <dialogue>Why are you lying?</dialogue> <character>MARTINS</character> <dialogue>We're getting you out of here, are n't we?</dialogue> <scene_description>CLOSE SHOT - ANNA looking off L for Martins .</scene_description> <character>ANNA</character> <dialogue>I'm not going.</dialogue> <scene_description>MED . SHOT - MARTINS at door . CAMERA PANS L with him following Anna and crosses from door to her . WE SHOOT OVER her L shoulder to him in CS .</scene_description> <character>MARTINS</character> <dialogue>You. Anna, do n't you recognize a good turn when you see one.</dialogue> <scene_description>CLOSE SHOT - ANNA over Martins ' shoulder . She steps forward .</scene_description> <character>ANNA</character> <dialogue>You have seen Calloway. What are you two doing?</dialogue> <scene_description>CLOSE SHOT - MARTINS over Anna 's L shoulder .</scene_description> <character>MARTINS</character> <dialogue>Well, they asked me to help take him, and I'm helping.</dialogue> <scene_description>CLOSEUP - ANNA looking off L for Martins . CLOSE SHOT - MARTINS over Anna 's L shoulder . He turns away to exit CL . CLOSEUP - ANNA looking down CR .</scene_description> <character>ANNA</character> <dialogue>Poor Harry.</dialogue> <scene_description>MED . SHOT - MARTINS by tables in buffet , bapk to camera .</scene_description> <character>MARTINS</character> <dialogue>Poor Harry?</dialogue> <scene_description>CLOSEUP - ANNA looking down CR . MED . SHOT - MARTINS standing by tables , looking off CL for Anna .</scene_description> <character>MARTINS</character> <dialogue>Poor Harry! Would n't even lift a finger to help you.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>Oh, you've got your precious honesty and do n't want anything else.</dialogue> <scene_description>MED . SHOT - MARTINS looks off CL for Anna , then turns away .</scene_description> <character>MARTINS</character> <dialogue>You still want him.</dialogue> <scene_description>CLOSE SHOT - ANNA in front of coffee bar , looking off CR for Martins . Sound of train whistle .</scene_description> <character>ANNA</character> <dialogue>I do n't want him any more. I do n't want to see him or hear him, but he is still part of me, that's a fact. I could n't do a thing to harm him.</dialogue> <scene_description>CLOSE SHOT - MARTINS steps forward , reacting to whistle , looking off CR for train . LONG SHOT - PLATFORM from Martins ' eye line and train moving out in cloud of steam . CLOSE SHOT - MARTINS looking off CL for Anna . CLOSE SHOT - ANNA looking L for Martins LONG SHOT - WINDOW from Anna 's eye line . The steam covers it as train goes out . CLOSE SHOT - ANNA looking off CR . Music starts . CLOSE SHOT - MARTINS looking off CL for Anna , CAMERA PANNING RL with him as he moves across .</scene_description> <character>MARTINS</character> <dialogue>Oh, Anna, why do we always have to.</dialogue> <scene_description>CLOSE SHOT - ANNA looking ahead of her . She tears her passport in two . Martins enters from CR and leans on bar in b.g.</scene_description> <character>MARTINS</character> <dialogue>quarrel?</dialogue> <character>ANNA</character> <dialogue>If you want to sell your service, I'm not willing to be the price. I loved him. You loved him. What good have we done him. Look at yourself, they have names for faces like that.</dialogue> <scene_description>She turns away and exits CL . CAMERA TRACKS IN to CLOSEUP of Martins as he looks after her . CLOSE SHOT doors of the buffet swinging to and fro after the departed Anna . CAMERA PANS DOWN to his coat , lying just inside the doors in a discarded heap . Music stops . LONG SHOT - MARTINS running up stairs of International Police Headquarters . CAMERA PANS with him RL . He passes International Patrol coming down CR side . CLOSE SHOT - MARTINS opens door to Calloway 's office . CAMERA TRACKS IN as he enters , revealing Calloway and another officer CL of him - followed by Paine coming to door .</scene_description> <character>MARTINS</character> <dialogue>Calloway!</dialogue> <character>CALLOWAY</character> <dialogue>Oh, there you are. Come in here, there is n't much time.</dialogue> <scene_description>Martins moves upstage to them and stands center .</scene_description> <character>MARTINS</character> <dialogue>I want to get a plane out of here tonight.</dialogue> <scene_description>MED . CLOSE SHOT - PAINE AND CALLOWAY CR , looking off L for Martins . They walk forward .</scene_description> <character>CALLOWAY</character> <dialogue>So she talked you out of it?</dialogue> <scene_description>CLOSE SHOT - MARTINS looking off CR for Calloway . He is holding the two pieces of Anna 's passport .</scene_description> <character>MARTINS</character> <dialogue>She gave me these.</dialogue> <scene_description>CLOSE SHOT - ANNA 'S TORN PASSPORT as Martins throws it down on desk from CL . MED . CLOSE SHOT - CALLOWAY walking downstage RL , CAMERA PANNING with him . Paine enters from CR , following him , then is lost out of picture . Martins is revealed CL .</scene_description> <character>CALLOWAY</character> <dialogue>A girl of spirit.</dialogue> <character>MARTINS</character> <dialogue>She's right. It's none of my business.</dialogue> <scene_description>Martins crosses picture LR and exits CR , holding Calloway in CS .</scene_description> <character>CALLOWAY</character> <dialogue>It wo n't make any difference - in the long run. I'll get him.</dialogue> <scene_description>Martins re - enters from CR , crossing screen RL .</scene_description> <character>MARTINS</character> <dialogue>I wo n't have helped.</dialogue> <scene_description>Calloway moves away LR , CAMERA PANNING with him and losing Martins .</scene_description> <character>CALLOWAY</character> <dialogue>That will be a fine boast to make. Well, I always wanted you to catch that plane.</dialogue> <scene_description>MED . CLOSE SHOT - MARTINS looking off R for Calloway .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Did n't I?</dialogue> <character>MARTINS</character> <dialogue>You all did.</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY looking off L for Martins - he starts to move away .</scene_description> <character>CALLOWAY</character> <dialogue>I'd better see if there's anyone still at the terminus. You may need a priority.</dialogue> <scene_description>CLOSE SHOT - MARTINS CL and Calloway driving in the open jeep with Paine - traveling downstage LR .</scene_description> <character>CALLOWAY</character> <dialogue>Do you mind if I drop off somewhere on the way? I've got an appointment, wo n't take five minutes.</dialogue> <character>MARTINS</character> <dialogue>Of course.</dialogue> <character>CALLOWAY</character> <dialogue>Why do n't you come in, too - you're a writer. Might interest you.</dialogue> <scene_description>MED . CLOSE SHOT - CALLOWAY AND MARTINS entering ward of children 's hospital from door CR , past nun nurse . CAMERA TRACKS RL with them as they make their way along the ward between the cots .</scene_description> <character>CALLOWAY</character> <dialogue>This is the biggest children's hospital in Vienna. All the kids in here are the result of Lime's penicillin racket.</dialogue> <scene_description>Martins exits CL . Music starts . LONG SHOT through surgical trolley of the ward , Calloway and Martins walking along between the cots , nursing nun CL of them . CLOSE SHOT - MARTINS over the rail at end of cot , looks down CR off for the occupant . CAMERA TRACKS RL with him as he continues to next bed . CLOSE SHOT - CALLOWAY with nun CL of him - bending over cot . He is looking off R for Martins . CLOSE SHOT - MARTINS looking down off R at occupant of cot . Calloway comes down to his L side , coming into picture from behind him , CR . CAMERA PANS L slightly as he also looks into cot , CL .</scene_description> <character>CALLOWAY</character> <dialogue>It had meningitis.</dialogue> <scene_description>CLOSE SHOT - NUN leaning over cot rail , CR , shaking thermometer .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>They gave it some of Lime's penicillin.</dialogue> <scene_description>CLOSE SHOT - CALLOWAY with Martins CR , still looking down into cot . CAMERA IS TILTED SLIGHTLY .</scene_description> <character>CALLOWAY</character> <dialogue>Terrible pity, is n't it.</dialogue> <scene_description>LONG SHOT through surgical trolley - two nursing nuns CL - Martins looking into CR row of cots . Calloway crosses RL to cot - Martins follows . CLOSE SHOT - NURSING NUN giving oxygen to child in cot , out of picture below frame . Oxygen cylinder in R f.g. , operated by nun off R. CLOSEUP - MARTINS looking off CR in R profile . CLOSE SHOT - TWO NUNS attending bed - one behind screen CL - another in L profile R f.g. - the latter moves across RL with bowl of surgical swabs . CLOSEUP - MARTINS looking off CR to cot . He turns his head to look off L. CLOSEUP - TEMPERATURE CHART on desk being filled in by the hand of a nursing nun . MED . SHOT - NURSING NUN hanging up temperature chart CR head of cot - off . She drops woolly toy from LH to bedside table shelf CL of her , as she turns away and CAMERA PANS DOWN TO HOLD basket of toys in CS . CLOSE SHOT - TEDDY BEAR lying face down on shelf . CLOSE SHOT - MARTINS CL of Paine who is driving open jeep . Calloway seated in the back . Traveling downstage LR . CAMERA TRACKS IN to CS of Martins and Calloway as Calloway leans forward - Paine now tipping R edge of frames .</scene_description> <character>CALLOWAY</character> <dialogue>Paine lent me one of your books ; `` Oklahoma Kid,'' I think it was. Read a bit of it. Think it's pretty good. What made you take up this sort of thing? Been doing it for long?</dialogue> <character>MARTINS</character> <dialogue>All right, Calloway. You win.</dialogue> <character>CALLOWAY</character> <dialogue>I never knew there were snake charmers in Texas.</dialogue> <character>MARTINS</character> <dialogue>I said you win.</dialogue> <character>CALLOWAY</character> <dialogue>Win what?</dialogue> <character>MARTINS</character> <dialogue>I'll be your dumb decoy duck.</dialogue> <scene_description>LONG SHOT - CAFE MARC AUREL its awning down . It is dark outside . MED . CLOSE SHOT - MARTINS through window of cafe , seated at table , looking out off R. LONG SHOT - STREET outside cafe from Martins ' eye line , CAMERA TRACKING RL along it . It is empty . MED . CLOSE SHOT - MARTINS leaning sideways in his chair , looking off close to entrance of building CL . LONG SHOT - DESERTED STREET outside cafe from Martins ' eye line . MED . SHOT - POLICEMAN standing above fountain from Martins ' eye line . LONG SHOT - DESERTED STREET glistening pavements - from his eye line . CLOSE SHOT - POLICEMAN in profile , looking off CL . LONG SHOT - DESERTED STREET from his eye line - CAMERA TILTED . CLOSEUP - POLICEMAN looking off CL in L profile . LONG SHOT - NARROW ALLEYWAY deserted from his eye line . CLOSE SHOT - ANOTHER POLICEMAN full face , looking off CL . LONG SHOT - DARK AND DESERTED STREET approaching cafe , from his eye line . CLOSEUP - POLICEMAN looking off CL . LONG SHOT - STREET deserted from his eye line . MED . CLOSE SHOT - MARTINS through window of cafe , seated at table with cup of coffee in front of him . LONG SHOT - POLICEMAN on steps of fountain , looking down CL . LONG SHOT - THE SQUARE which is deserted . Round the corner in far CL b.g. , the shadow of a man appears on the wall . LONG SHOT - POLICEMAN on fountain , looking down off R. CAMERA CRANES DOWN , revealing Calloway . Paine comes out of shadow of fountain to stand CL of him .</scene_description> <character>POLICEMAN</character> <dialogue>Psst!</dialogue> <character>CALLOWAY</character> <dialogue>Paine!</dialogue> <scene_description>LONG SHOT - THE SQUARE with the man 's shadow moving LR along wall at far CL corner . CLOSEUP - POLICEMAN looking CR . MED . CLOSE SHOT - MARTINS seated at table in cafe . He turns to his L and looks off CR , into the street . LONG SHOT - THE SQUARE shadow still moving along the building . A man comes into picture LR in far b.g. and starts to walk across the square . MED . SHOT - PAINE AND CALLOWAY in shadow of fountain , they step back into deeper shadow . CLOSEUP - POLICEMAN looking off CR , then CL . MED . CLOSE SHOT - MARTINS through window of cafe , looking off CR . He leans back onto table . CLOSE SHOT - CALLOWAY with Paine CL of him . A policeman moves into L profile in R profile in CU . They all look CL .</scene_description> <character>PAINE</character> <dialogue>Look, sir!</dialogue> <scene_description>CLOSE SHOT - MARTINS seated at cafe table , in R profile . He turns his head to look off L , reacting to sound of door opening . MED . CLOSE SHOT - ANNA entering cafe door , RL from Martins ' eye line . She leans against CR wall in CS , looking off CR for Martins .</scene_description> <character>ANNA</character> <dialogue>How much longer are you going to sit here?</dialogue> <scene_description>CLOSE SHOT - PAINE AND CALLOWAY CR of him .</scene_description> <character>PAINE</character> <dialogue>Shall I go over there, sir?</dialogue> <character>CALLOWAY</character> <dialogue>No, no. Leave them for a while.</dialogue> <scene_description>Paine looks off R. LONG SHOT - STREET outside cafe , which is in far b.g. L . An old man carrying a bunch of toy balloons enters from CR . CLOSE SHOT - PAINE AND CALLOWAY he turns away . LONG SHOT - THE BALLOON MAN moving down the street very slowly with the aid of a stick - toward camera . CLOSE SHOT - PAINE over Calloway 's L shoulder - policeman tipping R edge of frame .</scene_description> <character>BALLOON MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Wollen sie habe balloon?</dialogue> <scene_description>Calloway turns to look over his L shoulder off L.</scene_description> <character>CALLOWAY</character> <dialogue>Nein danke.</dialogue> <scene_description>CLOSE SHOT - BALLOON MAN looking off CR for Calloway . MED . CLOSE SHOT - PAINE over Calloway 's L shoulder . The latter turns in CU to look off CL for balloon man .</scene_description> <character>BALLOON MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Balloons?</dialogue> <character>CALLOWAY</character> <dialogue>Vyter gehen fair schtangzel nicht?</dialogue> <character>PAINE</character> <dialogue>Gehen sie weiter go on - scarper!</dialogue> <scene_description>CLOSE SHOT - BALLOON MAN looking off R for Calloway . CLOSEUP - CALLOWAY turns to look off CL for balloon man - Paine behind him .</scene_description> <character>BALLOON MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Balloon, mein herr?</dialogue> <character>CALLOWAY</character> <dialogue>Gehen sie weiter, bitte.</dialogue> <scene_description>LONG SHOT - PAINE steps forward to CS from shadow , looking off L for balloon man and leans forward and a balloon is handed in to him from off L . He starts to move back again to Calloway - then calls back over his shoulder off L.</scene_description> <character>PAINE</character> <dialogue>Nur einen. Come on schnell, schnell. All right, only one. Scarper!</dialogue> <scene_description>CLOSE SHOT - BALLOON MAN turns away to exit CL . LONG SHOT the top of a derelict bombed building . CAMERA IS TILTED . LONG SHOT - HARRY comes round top of corner of derelict building . He is smoking . He stops , looking down off R. LONG SHOT - THE SQUARE BELOW from Harry 's eye line . Two horses and carriages seen below . CAMERA PANS RL , then TRACKS IN as the cafe is revealed below . MED . SHOT - MARTINS seated at table in window of cafe in R profile . Anna in R f.g.</scene_description> <character>MARTINS</character> <dialogue>You should have gone. How did you know I was here.</dialogue> <scene_description>CLOSE SHOT - ANNA looking off CL for Martins . She is leaning on the bar of the cafe . CAMERA PANS LR as she moves to center of room .</scene_description> <character>MARTINS</character> <dialogue>anyway?</dialogue> <character>ANNA</character> <dialogue>From Kurtz. They have just been arrested. But Harry wo n't come, he's not a fool.</dialogue> <scene_description>CLOSE SHOT - PAINE CL and Calloway looking off past CL for the cafe .</scene_description> <character>CALLOWAY</character> <dialogue>Yes, Paine, slip over there. See what she is up to.</dialogue> <scene_description>Paine moves to exit .</scene_description> <character>PAINE</character> <dialogue>Right, sir.</dialogue> <scene_description>MED . CLOSE SHOT - BACK DOOR OF THE CAFE CAMERA TILTED at AN ANGLE R . It opens slightly and Harry comes in .</scene_description> <character>ANNA</character> <dialogue>You ca n't tell me you're doing all this for nothing.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins .</scene_description> <character>ANNA</character> <dialogue>What is your price this time?</dialogue> <scene_description>CLOSE SHOT - MARTINS seated at table in R profile .</scene_description> <character>MARTINS</character> <dialogue>No price.</dialogue> <scene_description>CLOSEUP - ANNA looking off CL for Martins . She steps back .</scene_description> <character>ANNA</character> <dialogue>Honest, sensible, sober, harmless Holly Martins. Holly, what a silly name.</dialogue> <scene_description>CLOSE SHOT - HARRY comes through door , looking off CL for Martins and Anna - the CAMERA TILTED . He reacts to what Anna is saying .</scene_description> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You must feel very proud to be a police informer.</dialogue> <scene_description>MED . SHOT - ANNA turns and catches sight of Harry off CR , Martins unaware , seated behind her in R profile at the table . CAMERA PANS L with her as she moves to lean both hands on table CL and calls off frantically to Harry .</scene_description> <character>ANNA</character> <dialogue>Harry, get away!</dialogue> <scene_description>CLOSE SHOT - HARRY looking off CL takes out gun .</scene_description> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The police are outside.</dialogue> <scene_description>CLOSEUP - MARTINS at table , looks up off CR and gets up out of picture LR .</scene_description> <character>ANNA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Quick!</dialogue> <scene_description>CLOSE SHOT - HARRY gun in hand , looking off L for Martins - he gestures to Anna to get out of the way .</scene_description> <character>HARRY</character> <dialogue>Anna!</dialogue> <scene_description>MED . SHOT - PAINE reaches front entrance of cafe and moves to door . CLOSE SHOT - HARRY turns away to his R , toward door - he runs out of it and up steps . Door opening to back of hinge -LRB- already unclasped -RRB- . MED . SHOT - PAINE turns and runs out of door of cafe again , back to camera and outside - calls off R.</scene_description> <character>PAINE</character> <dialogue>Sir!</dialogue> <scene_description>Music stops . LONG SHOT - HARRY making his way over pile of rubble at back of cafe , downstage LR , CAMERA PANNING with him . Sound of police whistle . He exits CR .</scene_description> <character>PAINE</character> <dialogue>The back, the back!</dialogue> <scene_description>LONG SHOT - HIGH PILE OF RUBBLE some soldiers making their way over the top of it RL . MED . CLOSE SHOT - HARRY CAMERA PANS RL with him , he looks down off L , then starts down slope , exiting CL . LONG SHOT - HARRY running down slope of rubble , back to camera exiting CL . LONG SHOT - POLICE running in from R f.g. and on upstage . LONG SHOT - NARROW STREET Harry running upstage in far b.g. and exiting CL . LONG SHOT - STEPS outside a church - soldier running down them RL , led by Paine and Martins who exit CL . LONG SHOT - SQUARE Harry running down stage LR . He gets down on hands and knees and opens manhole - takes off hat and climbs down inside . LONG SHOT - POLICEMEN running along arched passage , toward camera . LONG SHOT - SQUARE MANHOLE open in f.g , Policeman enters at run from CR and starts down it . Paine is seen running down to it from b.g. with Calloway behind him . LONG SHOT - HARRY inside sewer , running along the gallery , over the overflow RL . He exits CL . Sound of running water over entire into sewer sequence starts . CLOSE SHOT - POLICEMEN running down spiral stairs , followed by Paine and Calloway . LONG SHOT over water overflow in f.g. to gallery over it . Calloway and Paine enter from CR . LONG SHOT overflow and sluice below - Harry seen close to side of doorway , leading on into sewer from CL . He disappears through upstage . LONG SHOT - CALLOWAY , PAINE AND MARTINS making their way round gallery over water overflow . CLOSE SHOT - HARRY back to wall , looking off CR . LONG SHOT - TUNNEL CAMERA TILTED . Calloway leading Martins and Paine , comes toward camera . CLOSE SHOT - HARRY moves away quickly CL , CAMERA PANNING with him and revealing the rest of the tunnel , water running through the center of it . CLOSE SHOT - CALLOWAY looking off R , Paine behind him . He exits Cl , followed by Paine and Martins . LONG SHOT - HARRY disappearing at far end of long sewer tunnel . CLOSE SHOT - PAINE comes into picture through tunnel from CL , looks off L. LONG SHOT - CALLOWAY , PAINE AND MARTINS making their way along CL side of sewer tunnel . Calloway backs up close to wall , CAMERA PANNING RL with him - the other two follow suit . LONG SHOT sewer from Calloway 's eye line . Harry is nowhere in sight . LONG SHOT - MARTINS splashing his way through water in center of the tunnel , LR .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Martins - get back!</dialogue> <scene_description>CLOSEUP - CALLOWAY AND PAINE CR of him . LONG SHOT - MARTINS in the center of the tunnel . CAMERA PANS RL with him as he splashes through water and exits CL to Calloway . One policeman seen on far side of tunnel close to wall . LONG SHOT - STREET ABOVE THE SEWER A police wagon comes into picture and draws up CR . A number of police get out and run downstage toward camera . A tram passes in b.g.</scene_description> <character>POLICE</character> <dialogue>Drei mann unten in Donanskanal. Verkrochen!</dialogue> <scene_description>They open manhole in f.g. and start down it . CLOSE SHOT - MAN running down steps of sewer , entering from R f.g. Sound of rushing water starts , carried over entire interior sewer scene . LONG SHOT - THREE POLICEMEN at manhole in street . Tram noise - no water noise on this cut . Policemen snouting instructions in German inaudible above tram noise . LONG SHOT - SEWER Police entering from L foreground into tunnel , CAMERA PANNING LR . Water noise continues . LONG SHOT tunnel with water rushing through from policeman 's eye line - the light moves round it . It is deserted . MED . CLOSE SHOT - SEWER POLICEMAN with lamp - shining it round tunnel . LONG SHOT - TUNNEL with water running through - light at far end . CLOSE SHOT - HARRY full face against the wall , he runs away upstage RL , CAMERA PANNING with him to center of tunnel .</scene_description> <character>POLICEMAN</character> <dialogue>Los!</dialogue> <scene_description>CLOSE SHOT - CALLOWAY AND MARTINS The former exits CL . Martins is about to follow . LONG SHOT empty tunnel with Harry seen in very LONG SHOT at far end , Calloway at a run from CR . Paine and Martins following . MED . SHOT narrow tunnel - Harry enters from CR - runs downstage , CAMERA PANS RL as he dodges behind corner in f.g. LONG SHOT dark tunnel light at far end , and storm troop police coming into view at far end , shining a light .</scene_description> <character>POLICEMAN</character> <dialogue>Halt!</dialogue> <scene_description>Remainder of shouts indistinguishable . MED . CLOSE SHOT - HARRY at corner of sewer . CAMERA PANS RL with him as he turns , revealing another tunnel .</scene_description> <character>POLICEMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Stehen. bleiben oder ich schisse. Bleib hier ich lauf hinunter.</dialogue> <scene_description>LONG SHOT - HARRY running upstage , back to camera , along dark passage . He exits at end , upstairs , CL . CLOSEUP - HARRY looking up off CL . LONG SHOT - POLICE in square , opening manhole to sewer . No water noise over this cut . Noise of tram . LONG SHOT - FROM LOW ANGLE Harry enters from CR f.g. , stops CR side of passage . He is stooping and bending to pass under very low tunnel . LONG SHOT - POLICE in square , going down manhole . Other police on ground level about to follow . No water noise on this cut . CLOSE SHOT - HARRY stooping in low tunnel - looking off past CR . LONG SHOT - SEWER POLICE moving along the passageway RL . LONG SHOT - SEWER POLICE carrying lighted torches going through archway from main tunnel , into narrow side tunnel . They move down stage to CS , looking off R. LONG SHOT opposite side of end tunnel - policeman 's shadow on archway of opposite wall - otherwise deserted - from policeman 's eye line .</scene_description> <character>POLICEMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hier ist nichts los toter.</dialogue> <scene_description>CLOSE SHOT - POLICEMAN holding torch and revolver , looking back over his shoulder to police behind him .</scene_description> <character>POLICEMAN</character> <dialogue>Gang gehen richtung stadtpark.</dialogue> <scene_description>They turn and go . LONG SHOT through archway of sewer police making their way along main tunnel - backs to camera . They turn and start back again , toward camera . CLOSE SHOT - HARRY looking off past CR - he is crouched in tunnel . Sound of distant shouts . MED . SHOT gallery round water overflow and main sewer . Sewer police with flaming torches enter from CR , moving RL . LONG SHOT water overflow in L f.g. , falling down over wall into sewer from police eye line . MED . SHOT large round hole in wall , leading to a tunnel . A policeman 's head , looking off CL . LONG SHOT empty main sewer tunnel from policeman 's eye line . LONG SHOT SHOOTING UP over overflow fall in R f.g. - Harry is seen peeping round CR corner of gallery . LONG SHOT sewer police coming through round hole in wall , leading to branching tunnel - to main tunnel . They move upstage LR . A policeman speaks in German but it is unintelligible . LONG SHOT over overlow fall in R f.g. , to tne gallery above . Harry is seen peeping round corner in R b.g. , disappears behind it LR again . German police instructions are being shouted but not intelligible . LONG SHOT - SEWER POLICE moving RL along tunnel - carrying torches . German shouts - unintelligible . CLOSE SHOT - SEWER POLICEMAN shining lamp off CR . LONG SHOT from policeman 's eye line of tunnel as he shines torch into it . CLOSE SHOT - SEWER POLICEMAN looking off CL . LONG SHOT - TUNNEL with policeman 's light shining on it , moving round - CAMERA TILTED . CLOSE SHOT - SHOCK TROOPER looking off CR , small machine gun in hand . LONG SHOT the sewer from policeman 's eye line . CLOSE SHOT - SEWER POLICEMAN looking off CL . LONG SHOT - SEWER POLICE climbing down wall ladder inside sewer , carrying torches . MED . CLOSE SHOT - SEWER POLICEMAN at foot of ladder , shining torch off CR - others coming down ladder into picture , CR . CAMERA PANS L with him as he moves along the wall RL , shining torch . LONG SHOT dark tunnel from policeman 's eye line . It is deserted . Sound of disturbed stone . CLOSE SHOT - SEWER POLICEMAN looking off CL . CLOSE SHOT another sewer policeman holding lamp -LRB- which is off -RRB- looking off CL . LONG SHOT - TUNNEL from policeman 's eye line . MED . CLOSE SHOT - TWO SEWER POLICEMAN Sound of a disturbed stone .</scene_description> <character>POLICEMAN</character> <dialogue>Licht!</dialogue> <scene_description>VERY LONG SHOT of the tunnel and light being shone down on it from far end . LONG SHOT - HARRY with light shining on him - back to camera - feet splashing through water . CLOSEUP - SEWER POLICEMAN looking off CR for Harry . CLOSE SHOT - STORM TROOPER with machine gun , exits CR . Police whistle . CLOSEUP - SEWER POLICEMAN moving out of picture CR . Police whistle . LONG SHOT - DARK TUNNEL Harry exits at a run past CL . In the b.g. light shone by policemen is moving rapidly downstage . Police whistle .</scene_description> <character>POLICE</character> <dialogue>Halt - stehen - bleiben oder wir schissen! Halt - stehen - bleiben oder wir schisson!</dialogue> <scene_description>LONG SHOT - HARRY climbing over the rail of a small gallery and down ladder , to camera . LONG SHOT - POLICE running along the tunnel , shining light . They move to exit CL . LONG SHOT - HARRY running along , close to the wall of the tunnel , RL . CAMERA CRANES UP with him as he runs up staircase in L of picture - RL - then reaching the landing , continues on up a wall ladder in CS . LONG SHOT - SEWER POLICE opening flaps of manhole - from Harry 's eye line - and looking down .</scene_description> <character>POLICEMAN</character> <dialogue>Rasch, rasch. Zwei mann alserbach, zwei mann schotterfang rechts hinaber.</dialogue> <scene_description>MED . CLOSE SHOT CAMERA PANS DOWN with Harry as he climbs down again . He runs to corner of tunnel , downstage into CU , then turns the corner and runs upstage , back to camera , moving to exit , CL . LONG SHOT across overflow in R f.g. to gallery above it . Harry comes into picture on the gallery from CR , looks off L , then starts to climb over the gallery rail . CLOSE SHOT - HARRY 'S FEET dropping into picture from above - they reach ground - and CAMERA PANS LR with his feet as they move upstage through water in tunnel , until he is wholly revealed in LS , running away upstage , back to camera . CLOSE SHOT - SEWER POLICE enter from CR , moving upstage , backs to camera . LONG SHOT - POLICE moving along the tunnel . Smaller tunnels branching off CR . CLOSE SHOT - HARRY enters from CR f.g. and reacting to shouts , looks back over his shoulder off R.</scene_description> <character>POLICEMAN</character> <dialogue>Franz da geh' riber.</dialogue> <scene_description>LONG SHOT - THE WATERFALL tunnels in background . Sewer police slide down it on rope RL , CAMERA PANNING DOWN with the firestone to the bottom two , others slide into picture down the rope , and they start off upstage . LONG SHOT - TUNNEL with gallery over it . Harry comes into picture at top of same CL - running LR . In the tunnel underneath , we see sewer police , moving downstage to camera . Harry reaches corner of staircase , down to tunnel , reacts to sound of footsteps and we : CLOSE SHOT - HARRY at corner of stairs , looking down . He moves LR , CAMERA PANNING with him and he presses himself against the side of the wall adjoining the gallery . The police with flares are seen down below . CAMERA PANS RL with him as he darts once more to corner of steps . LONG SHOT top of the small gallery where we have just seen Harry - storm troopers coming through doorway CR - and below Harry running away through lower archway , upstage , back to camera . MED . SHOT - THE SPIRAL STAIRCASE Harry enters from CL - running up the stairs , back to camera RL . MED . SHOT - TWO STORM TROOPERS with an Alsatian looking down manhole from Harry 's eye line . CLOSEUP - HARRY looking up off L for police . He turns and exits CR . MED . SHOT - TWO STORM TROOPERS and dog looking down into manhole from Harry 's eye line . LONG SHOT along the narrow tunnel . Harry seen in main sewer , running to camera . MED . CLOSE SHOT - HARRY looking off CL in L profile - he stops in f.g. panting . Sound of distorted echoing voices . LONG SHOT - HARRY in center of main sewer - deserted . He is looking round him . CLOSE SHOT empty doorway in tunnel - CAMERA TILTED L from Harry 's eye line . CLOSE SHOT - HARRY in L profile , looking off CL and around him . CLOSE SHOT - TWO DOORWAYS from Harry 's eye line - into main tunnel . CLOSE SHOT - HARRY in R profile , looking around him . CLOSE SHOT dark and empty doorway into main sewer from Harry 's eye line - CAMERA TILTED . CLOSE SHOT - HARRY in L profile , looking around him . CLOSE SHOT two more deserted doorways leading into other tunnels from Harry 's eye line . MED . SHOT deserted passage from Harry 's eye line . MED . SHOT round hole leading into main sewer from Harry 's eye line . CLOSE SHOT - HARRY looking round him to L and R.</scene_description> <character>POLICE</character> <dialogue>Halt da ismer.</dialogue> <parenthetical>( remainder unintelligible . )</parenthetical> <dialogue /> <scene_description>LONG SHOT the main tunnel of the sewer - Harry standlng alone in the center of it . Harry runs to an arch and exits CR through it . CLOSE SHOT - MARTINS in tunnel , looking off CL . LONG SHOT tunnel - Harry climbs down ladder against wall CL into another tunnel . MED . CLOSE SHOT - MARTINS looking off CL .</scene_description> <character>MARTINS</character> <dialogue>Harry!</dialogue> <scene_description>LONG SHOT of the tunnel wlth Harry just dropping off iron steps CAMERA L , and running upstage back to camera . He falls against the CR side of the wall for cover . CLOSE SHOT - HARRY falling back against the wall , looking off CL for Martins , then over his shoulder upstage for flight of steps seen in b.g. CLOSE SHOT - MARTINS looking off CL for Harry - he also falls back against wall CL .</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Is that you?</dialogue> <scene_description>CLOSE SHOT - HARRY back to wall , looking over shoulder for steps in b.g.</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You're through, Harry!</dialogue> <scene_description>LONG SHOT - SPIRAL STEPS from Harry 's eye line .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come out! You have n't got a chance.</dialogue> <scene_description>CLOSE SHOT - HARRY looking off CR for Martins .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>this way.</dialogue> <character>HARRY</character> <dialogue>What do you want?</dialogue> <scene_description>CLOSE SHOT - PAINE revolver in hand looking back over his R shoulder , off CL . He exits CL .</scene_description> <character>MARTINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You might as well give up.</dialogue> <scene_description>CLOSE SHOT - HARRY pressed close to wall , looking over his shoulders to steps - then off CR for Martins . LONG SHOT - PAINE running along the CR side of the tunnel to camera .</scene_description> <character>PAINE</character> <dialogue>Mr. Martins, sir, get back!</dialogue> <scene_description>CLOSEUP - CALLOWAY looking off CL .</scene_description> <character>PAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Get back!</dialogue> <scene_description>LONG SHOT - PAINE running down passage , followed by Calloway in far b.g. . He runs down into MS , looking off .</scene_description> <character>PAINE</character> <dialogue>Keep back sir, come back!</dialogue> <scene_description>CLOSE SHOT - HARRY holding revolver - shoots off .</scene_description> <character>PAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hurry, come back, sir!</dialogue> <scene_description>MED . CLOSE SHOT - PAINE followed by Calloway moving downstage RL , revolver in hand . He stops in f.g. , then slowly crumpling up , falls forward . You hear the splashing of water . MED . SHOT - PAINE falls to ground in f.g. CLOSEUP - MARTINS looking off CL against wall - exits CR . CLOSE SHOT - HARRY moves away from wall , exiting CL . LONG SHOT along dark tunnel - Harry comes into picture from CL , running . MED . SHOT - CALLOWAY steps from shadow in tunnel , firing off R with revolver . LONG SHOT - HARRY at far end of tunnel , back to camera , staggers . He falls . Revolver report - sound of saw starts . CLOSE SHOT - PAINE doubled up on the ground in f.g. Calloway comes to him from CR and Martins from CL . They turn him over , and Calloway starts to undo his collar . LONG SHOT - HARRY at foot of iron staircase , crawling along the ground toward them . MED . CLOSE SHOT down the spiral stairs , Harry crawling up them , slowly and painfully . LONG SHOT from Harry 's eye line of the grille at the top of the stairs to the street . CLOSE SHOT - HARRY crawling up the stairs toward camera . CLOSE SHOT through iron steps - Harry 's face as he crawls up staircase . MED . CLOSE SHOT - MARTINS AND CALLOWAY bending over Paine 's body . CLOSE SHOT - HARRY climbing on all fours , slowly up the stairs , looking up off R for the top . MED . CLOSE SHOT - GRILLE at top of stairs from Harry 's eye line . CLOSEUP - HARRY making his way to top of stairs . CLOSE SHOT - MARTINS bending over Paine 's body - he takes his gun from his hand and gets up . Calloway in R f.g. CLOSEUP - HARRY through the iron steps as he crawls to top . LONG SHOT - MARTINS walking along tunnel , back to camera . CLOSE SHOT - HARRY climbing up into picture on the stairs from CL - he reaches up for the grille above him . LONG SHOT - THE STREET immediately above the grille . Harry 's hands coming up into picture through the top , groping to get a hold . CLOSEUP - HARRY looking up , off CR , the light from the street above shining on his face . MED . SHOT - MARTINS coming round corner of tunnel from CR , looking off R for Harry . CLOSE SHOT - HARRY reaching up to the grille , above his head again . CLOSE SHOT - HARRY 'S HANDS in f.g. , coming through the grille above ground and groping to get a hold . His hands grope in the air for a moment , then disappear below ground again . CLOSE SHOT - HARRY collapses at the top of the stairs and is still , his head buried in his arms . MED . CLOSE SHOT - MARTINS gun in hand , looking off CR for Harry . He moves forward into CU , light falling onto his face . CLOSE SHOT - HARRY collapsed on the stairs , looking from the corner of his eye for the approach of Martins off L. MED . SHOT - CALLOWAY gets to his feet from beside Paine 's body - CAMERA PANS UP with him - he looks off CR and calls .</scene_description> <character>CALLOWAY</character> <dialogue>Martins!</dialogue> <scene_description>Sewer police move up in b.g. . He exits CL . CLOSE SHOT - HARRY lying on the stairs , looking up stealthily through crook of arm off L for Martins - gun in hand .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Be careful, Martins!</dialogue> <scene_description>LONG SHOT - CALLOWAY gun in hand , making his way along CL side of tunnel .</scene_description> <character>CALLOWAY</character> <dialogue>Do n't take any chances.</dialogue> <scene_description>CLOSE SHOT - HARRY looking through crook of arm , off L . He raises head .</scene_description> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>If you see him, shoot.</dialogue> <scene_description>Sound of music . CLOSEUP - MARTINS looking off CR for Harry . CLOSE SHOT - HARRY on the stairs , looking off L for Martins . CLOSEUP - MARTINS looking off R for Harry . CLOSE SHOT - CALLOWAY walking downstage , along the tunnel to camera RL . You hear the report of revolver - music stops - saw stops . LONG SHOT - TUNNEL from Calloway 's eye line . At the far end in VERY LS , Martins comes into picture , walking slowly downstage . MED . SHOT - PRIEST with graveyard attendant and his assistant beside him .</scene_description> <character>PRIEST</character> <dialogue>Herr gib ihnen die ewige ruh und das ewige licht leutche ihnen. Herr lass sie ruhen in frieden. Amen. In namen des vaters des sohnes und des heiligen geistes. Amen.</dialogue> <scene_description>He sprinkles spoonful of soil on the grave , then moves to exit CR . Music starts . MED . SHOT - MARTINS CL f.g. - Anna facing the new grave . She takes spoon of earth from graveyard attendant and sprinkles it on grave - moving to exit CR . CLOSEUP - MARTINS Calloway walks up to him from behind . LONG SHOT - THE GRAVEYARD with Harry 's new grave in f.g. Martins CL - Calloway 's back to camera . They move downstage - Martins replacing his hat . LONG SHOT - ROAD CR of the graveyard , Anna walking upstage , back to camera . She exits CR . MED . LONG SHOT - JEEP in R f.g. Calloway enters it RL . Martins walks round the back of it , looking at watch - then off CL , after the departing Anna .</scene_description> <character>CALLOWAY</character> <dialogue>What time is it?</dialogue> <character>MARTINS</character> <dialogue>Two thirty.</dialogue> <scene_description>LONG SHOT - ANNA walking upstage , back to camera . CLOSE SHOT - CALLOWAY seated in R profile in jeep - Martins gets in LR , beside him . The jeep drives out CR .</scene_description> <character>CALLOWAY</character> <dialogue>I'll have to step on it, if you're going to catch that plane.</dialogue> <scene_description>CLOSE TWO SHOT - MARTINS CL and Calloway CR - riding in the open jeep LR . CAMERA TRACKS IN to single CU of Martins looking off R for Calloway . He looks back over his shoulder .</scene_description> <character>MARTINS</character> <dialogue>Calloway, ca n't you do something about Anna?</dialogue> <character>CALLOWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'll do what I can, if she'll let me.</dialogue> <scene_description>LONG SHOT - ANNA walking along the street - CAMERA DOLLYING BACK as from Martins ' eye line in jeep . She gets further and further away . CLOSE TWO SHOT - MARTINS AND CALLOWAY seated in jeep , driving RL .</scene_description> <character>MARTINS</character> <dialogue>Wait a minute - let me out.</dialogue> <character>CALLOWAY</character> <dialogue>Well, there's not much time.</dialogue> <character>MARTINS</character> <dialogue>One ca n't just leave - please.</dialogue> <scene_description>MED . SHOT - JEEP drives up to curb LR - Martins climbs out near side to camera and CAMERA PANS RL as he moves to back of jeep and takes out his grip and turns away to exit CL . We HOLD Calloway in back of jeep , looking after him .</scene_description> <character>CALLOWAY</character> <dialogue>Be sensible, Martins.</dialogue> <character>MARTINS</character> <dialogue>I have n't got a sensible name, Calloway.</dialogue> <scene_description>LONG SHOT along the avenue of trees , Anna in far b.g. , walking downstage . Martins enters from CR f.g. , moving upstage , back to camera . He puts down his grip on a cart in L f.g. and stands waiting . CLOSE SHOT - CALLOWAY in jeep looking back over his shoulder off L for Martins . He starts to drive away upstage . LONG SHOT - MARTINS in L f.g. , Anna in the middle of the road , coming downstage toward camera . She passes Martins without a glance , and continues on , looking straight ahead of her and out of picture CR - Martins takes out a cigarette and lights it . FADE OUT THE END</scene_description> </scene> </script>

The American pulp Western writer Holly Martins arrives in post–Second World War Vienna seeking his childhood friend, Harry Lime, who has offered him a job. Martins is told that Lime was killed by a car while crossing the street. At Lime's funeral, Martins meets two British Royal Military Police: Sergeant Paine, a fan of Martins's books, and his superior, Major Calloway. Afterwards Martins is asked to give a lecture to a book club a few days later. He then meets a friend of Lime's, "Baron" Kurtz, who tells Martins that he and another friend, Popescu, carried Lime to the side of the street after the accident and, before he died, Lime asked them to take care of Martins and Lime's actress girlfriend, Anna Schmidt. Martins goes to see Anna and becomes suspicious that Lime's death was not an accident. The porter at Lime's apartment building says that Lime was killed immediately and that three men carried the body, not two. Martins and Anna discover that the police are searching her flat; the police confiscate a forged passport and detain her. The next evening Martins visits Lime's "medical adviser", Dr. Winkel, who says that he arrived at the accident after Lime was dead, and only two men were there. The porter offers to give Martins more information, but someone kills him before Martins can see him. When Martins arrives, the crowd believes that he is involved and becomes hostile. Escaping from them, Martins returns to the hotel, and a cab immediately takes him to the book club, where he makes a poor speech. When Popescu enters, he asks about Martins's next book. Martins says that it will be called The Third Man, "a murder story" inspired by facts. Popescu tells Martins that he should stick to fiction. Martins sees two thugs advancing towards him and flees. Calloway again advises Martins to leave Vienna, but Martins refuses and demands that Lime's death be investigated. Calloway reveals that Lime's racket was stealing penicillin from military hospitals, diluting it, and selling it on the black market, leading to many deaths. Martins, convinced, agrees to leave. Martins learns that Anna too has been told about Lime's crimes and is about to be sent to the Soviet sector. Leaving her apartment, Martins notices someone watching from a dark doorway. A shaft of light reveals the person to be Lime, who flees, ignoring Martins's calls, and vanishes. Martins summons Calloway, who deduces that Lime has escaped through the sewers. The British police exhume Lime's coffin and discover that the body is that of the orderly who stole the penicillin for Lime. The next day, Martins meets with Lime, and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime obliquely threatens Martins, reveals the full extent of his ruthlessness, and then reiterates his job offer before leaving quickly. Calloway then asks Martins to help capture Lime, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange. However, when Anna learns this, she refuses to leave. Exasperated, Martins decides to leave, but on the way to the airport, Calloway stops at a hospital to show Martins children dying of meningitis that had been treated using Lime's diluted penicillin. Lime arrives to rendezvous with Martins, but Anna warns him. He tries once again to escape using the sewer tunnels, but the police are there in force. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating, but he cannot lift it. Martins then kills him using Paine's revolver. Later, Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, he waits to speak to Anna, but she ignores him and walks past.

Extract_2009

tt1225822

<script> <scene> <scene_description>Mike Judge March 2008</scene_description> </scene> <scene> <stage_direction>EXT. REYNOLD'S EXTRACT BUILDING - DAY</stage_direction> <scene_description>An idyllic American factory. There's a huge, long lawn in front. A Reynolds Extract sign in brick with flowers/landscaping around it, sits near the entrance. We see from the number of cars in the parking lot that it's a company of about 50 - 75 employees.</scene_description> </scene> <scene> <stage_direction>INT. REYNOLD'S EXTRACT BUILDING - DAY</stage_direction> <scene_description>We are in a manufacturing area of an assembly-line production. It's a big room full of intricate machines, huge vats of different colored extract and other food flavoring products, conveyor belts, bottling machines, etc. It has a high ceiling with offices on the second floor that have big windows overlooking this manufacturing area. We PAN up to the main office. INSIDE THE OFFICE JOEL REYNOLDS, head of the company, mid-thirties, is on the phone with his friend DEAN. DEAN (v.o.) You should come by tonight. Half price well drinks while the game's going.</scene_description> <character>JOEL</character> <dialogue>You always give me free drinks though. DEAN (v.o.)</dialogue> <dialogue>Oh yeah. Well come by anyway.</dialogue> <character>JOEL</character> <dialogue>Yeah?... Might as well. No action going on at my house, that's for a month.</dialogue> <dialogue>DEAN (v.o.) You guys having problems or something?</dialogue> <character>JOEL</character> <dialogue>No. This is pretty much normal these days...</dialogue> <dialogue>As CREDITS continue, camera PULLS OUT, back down to the manufacturing area, past a big vat of orange extract, down through various stages of assembly line production, then follows several bottles of orange extract moving past HECTOR, a Mexican immigrant employee in his thirties. The camera stops on him. Talking to Hector is STEP, a short, beady-eyed Charles-Manson-looking guy with a beard and mustache. Step is in his forties. He makes everything he says sound as macho and important as possible.</dialogue> <character>STEP</character> <dialogue>You get this job through Manpower?</dialogue> <character>HECTOR</character> <dialogue>Yeah.</dialogue> <character>STEP</character> <dialogue>I started here with Manpower too. Started out on the line just like you.</dialogue> <character>(DEAD-SERIOUS)</character> <dialogue>Only I did better... 40 crates a</dialogue> <scene_description>day. Beat. Hector is not quite sure what he's talking about. STEP continues telling his tale in such a way that the only polite reaction would be one of total amazement. too many tatoos, hair shaved on the side with a ponytail, lots of bad piercings, wearing baggy shorts with lots of pockets and some kind of gothy T-shirt -- a look that ought to be out of style by now. Rory is putting stickers on boxes with a sticker gun. He flips the sticker gun around unnecessarily between each application, adding a few unnecessary moves/motions, slapping each box when he's done, generally making the activity look like more of a skill than it actually is. He approaches Step and Hector, pulling out some fliers from his many pockets.</scene_description> <character>RORY</character> <parenthetical>(hands them each a flier)</parenthetical> <dialogue>My band's playing this Friday, come check us out. Hector looks down at the flier. It's xeroxed with fifties clip-art, cut out letters and the name of the band, "God's Cock". Hector just looks at it confused, not knowing much English, not sure what he's supposed to be doing with the flier. AT THE END OF THE LINE, where boxes are loaded onto pallets, sits MARY, 58 years old, wearing a 15-year-old pair of acid- wash jeans, and an oversized tweety-bird T-shirt, fanny</dialogue> <scene_description>pack, and dayglow yellow triangle-shaped earrings. She's pear- shaped with short hair. She's bitter and bossy, always shaking her head at everyone. She sits on a stool with a clipboard, looks over her glasses at Hector, shaking her head. She talks to Gabriella, a Hispanic woman in her forties.</scene_description> <character>MARY</character> <dialogue>You see that... That new guy. He's holding us up. It's not my job to tell them to hold the line</dialogue> <scene_description>(folds her arms, fed up) I'm just gonna sit here.</scene_description> <character>GABRIELLA</character> <dialogue>You're not gonna shut it off?</dialogue> <character>MARY</character> <dialogue>I'm not gonna hold the line. If they're not gonna do their job, why should I do mine.</dialogue> <dialogue>Mary sits there, arms folded, lips pursed, refusing to pause the conveyor belt.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Joel is still on the phone with Dean.</scene_description> <character>JOEL</character> <dialogue>If I don't get home before about 8:00, she puts on the sweatpants and once the sweatpants are on, it's over -- I get nothing. (notices something down</dialogue> <character>BELOW)</character> <dialogue>Shit. I'm gonna have to call you back.</dialogue> <dialogue>Joel hangs up and runs downstairs.</dialogue> <scene_description>ON THE MANUFACTURING FLOOR: Boxes start to accumulate and fall off the end of the line. Step sees this, runs to shut off the line, yelling at Mary.</scene_description> <character>STEP</character> <dialogue>What are you doing?! Rory</dialogue> <scene_description>and Gabriella. Joel runs over, shuts off the conveyor belt.</scene_description> <character>JOEL</character> <dialogue>All right. Now, what's the problem? They all erupt in more BICKERING AND FINGER POINTING.</dialogue> <character>JOEL</character> <dialogue>Okay! Okay, everyone settle down. Now Mary. Hector here is new okay? It's gonna take him a couple of days, maybe his English isn't so good. You gotta be patient.</dialogue> <character>STEP</character> <dialogue>That's what I was tryin' to say.</dialogue> <character>JOEL</character> <dialogue>And Step, if you wanna be Floor Manager, this is the kind of thing you're going to have to deal with.</dialogue> <character>STEP</character> <parenthetical>(KISS-ASS)</parenthetical> <dialogue>Exactly.</dialogue> <character>JOEL</character> <dialogue>Okay, now Step, Rory, Hector, let's get this cleaned up, and get rolling again. We can't afford to fall behind today. Joel walks away. People resume their posts. Mary starts right back up with Gabriella.</dialogue> <scene_description>Joel sits in his swivel chair, looking down at the production floor, shaking his head. BRIAN, Joel's second in command, walks in. He's a little older than Joel, neatly trimmed beard, aviator glasses, and a bit of a gut. He wears a Reynold's Extract golf shirt and Khaki pants. He walks over to the window, joins Joel, looking down at the employees.</scene_description> <character>JOEL</character> <dialogue>Jesus... They're like a bunch of goddamned children.</dialogue> <character>BRIAN</character> <dialogue>Tell me about it. Sorry I missed the drama; I was showing boy-genius down there how to back up a forklift. ANGLE ON Rory, driving the forklift, handing out a flier as he passes someone.</dialogue> <character>BRIAN</character> <dialogue>That's his whole career, driving that damn forklift. You'd think he'd wanna learn how.</dialogue> <character>JOEL</character> <dialogue>Well, I guess he's got that band he's in too...</dialogue> <character>BRIAN</character> <parenthetical>(disgust at the word "BAND")</parenthetical> <dialogue>"Band", ugh...</dialogue> <scene_description>Dinkus down there...</scene_description> <character>JOEL</character> <dialogue>Who, Mary?</dialogue> <character>BRIAN</character> <dialogue>No, the other one -- what's-her- face -- she asked me -- or rather "axed" me -- for more personal days. Just like that. I told her maybe if she figures out how to fill out the time sheets correctly I'll give her more personal days... (Off Joel's look)</dialogue> <dialogue>Don't worry, she will never fill out her time sheets correctly.</dialogue> <dialogue>Joel looks down at the production floor. Joel's POV: ANGLE ON: Mary and Step bickering. Step walks off. Mary and Gabrielle shaking their heads and yapping like a couple of old hens.</dialogue> <scene_description>JOEL (O.S.) Look at 'em... I am so sick of baby sitting these assholes. (looks at his watch) I better get going... Joel leaves in a hurry, mumbling something about "sweatpants."</scene_description> </scene> <scene> <stage_direction>INT. JOEL'S CAR - LATE AFTERNOON</stage_direction> <scene_description>Joel drives home, in a hurry, checking his dashboard clock. It's an upscale neighborhood of McMansions in a town like Lincoln Nebraska. He turns a corner, slows down suddenly when he sees something.</scene_description> <character>JOEL'S POV:</character> <dialogue>NATHAN, a middle-aged, overweight, annoying guy is going out to the street to get his mail.</dialogue> <character>JOEL</character> <dialogue>(to himself, praying) Please go back inside... Please just turn around.. .Come on...don't notice me...</dialogue> <dialogue>It's too late. Nathan turns, sees Joel's car and waves, then crosses the street to Joel's driveway and waits to talk to him.</dialogue> <character>JOEL</character> <parenthetical>(TO HIMSELF)</parenthetical> <dialogue>Shit! Joel pulls into his driveway as Nathan flags him down. Joel begrudgingly rolls down the passenger side window so Nathan can talk to him.</dialogue> <character>NATHAN</character> <dialogue>Hi there Joel! Glad I caught ya... Nathan settles in like he's going to be there a while, leaning with his arms folded, hanging inside the car, trapping Joel.</dialogue> <character>NATHAN</character> <dialogue>How've ya been? I left you a message last week. I don't know if you got it or not.</dialogue> <character>JOEL</character> <dialogue>Yeah, actually Nathan, I'm kind of in a hurry here.</dialogue> <character>NATHAN</character> <dialogue>Oh yeah? You been busy?</dialogue> <character>JOEL</character> <dialogue>Yeah, in fact... (checks his watch)</dialogue> <dialogue>I should go right now actually. I gotta call the office before they leave.</dialogue> <character>NATHAN</character> <dialogue>Well, real quick while I got ya here -- what're you guys doing November 17th?</dialogue> <character>JOEL</character> <dialogue>NATHAN</dialogue> <scene_description>Oh yeah? Where you going?</scene_description> <character>JOEL</character> <dialogue>Ah...</dialogue> <character>NATHAN</character> <dialogue>Oh, wait a minute -- I'm sorry, I meant the 7th. Yeah, November 7th. You'll be in town then right?</dialogue> <character>JOEL</character> <parenthetical>(DEFEATED)</parenthetical> <dialogue>Ah...Yeah.</dialogue> <character>NATHAN</character> <dialogue>Great. There's this dinner Leslie and I are going to. It's an annual thing -- we do it every year with the Rotary Club -- it's for charity. It's just a whole lot of fun, and we wanted to invite you and Suzie to be our guests at our table. It's--</dialogue> <character>JOEL</character> <dialogue>I'm sorry, I ah... I just don't think that's something we're gonna want to do.</dialogue> <character>NATHAN</character> <dialogue>Really? Why not? It's a lot of fun. Why not?</dialogue> <character>JOEL</character> <dialogue>Well, we wouldn't know anybody there. She get's kind of uncomfortable.</dialogue> <character>NATHAN</character> <dialogue>Oh no -- It's not like that. She won't be uncomfortable. I guarantee it. No, it's not like that at all. It's not formal or anything. Trust me. It's just a real loose bunch.</dialogue> <character>JOEL</character> <dialogue>I just don't...</dialogue> <character>NATHAN</character> <dialogue>I tell you what. Why don't we do this -- I'll go ahead and get tickets, since they're gonna sell out fast. You talk to Suzie. See what she says. Like I say, she won't be uncomfortable at all. Maybe I'll have Leslie give her a call -- you know how it is when the wives talk, heh heh-- Joel is about to snap.</dialogue> <character>JOEL</character> <dialogue>Um, why don't we talk about this later. (looks at his watch)</dialogue> <dialogue>I gotta make this call before they</dialogue> <scene_description>Sorry... I just gotta make this call!</scene_description> <character>INT. JOEL'S GARAGE - CONTINUOUS</character> <dialogue>Joel pulls the car in, steps out and is shocked to see</dialogue> <scene_description>Nathan right there in his garage.</scene_description> <character>NATHAN</character> <dialogue>Sorry, I almost forgot -- the tickets are forty dollars a plate. I know that's a little steep, but the food is fantastic and it's for a good cause. So that'd be eighty dollars total. There's no tax or anything.</dialogue> <character>JOEL</character> <dialogue>Ah, look Nathan, I really gotta get inside and make this call. Let's talk about this another time. Joel has his finger on the button to shut the garage door, waiting for Nathan to get out. Nathan stops, just inside.</dialogue> <character>NATHAN</character> <dialogue>Oh, and if you need us to look out for the house or anything when you go out of town -- Joel's finger still on the garage door button.</dialogue> <character>NATHAN</character> <dialogue>Well, just let us know. Where you guys going anyway?</dialogue> <character>NATHAN</character> <dialogue>Alright then. We'll see ya. Nathan finally steps out of the garage. Joel breaths a huge sigh of relief. Then,</dialogue> <scene_description>ANGLE ON THE GARAGE DOOR: As it gets halfway down, we see Nathan's legs, heading back towards the door. Nathan leans down into frame as the door goes down.</scene_description> <character>NATHAN</character> <dialogue>Oh, Joel one more thing-- Joel lets the door shut on him, and bolts into the house.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - EVENING</stage_direction> <scene_description>Joel walks into the living room just as his wife, SUZIE, enters from the bedroom pulling on her SWEATPANTS. A look of disappointment on Joel's face. Suzie is a decent looking woman, about Joel's age.</scene_description> <character>JOEL</character> <dialogue>Man, that Nathan won't shut up.</dialogue> <character>SUZIE</character> <dialogue>Yeah, what an asshole. I don't even go into the front yard anymore. That wife of his is even worse.</dialogue> <dialogue>Suzie plops down on the couch looking tired and pissed off. Joel sits down next to her.</dialogue> <character>SUZIE</character> <dialogue>We gotta get a new pool cleaner.I don't think that asshole checked .and every time he is here, he goes on and on about some problem with the goddamn filter, and I have no idea what he's talking about... Delayed reaction -- she notices Joel is getting frisky. He gets closer, starts kissing her neck.</dialogue> <character>SUZIE</character> <parenthetical>(UNCOMFORTABLE)</parenthetical> <dialogue>Ah,...Joel?</dialogue> <character>JOEL</character> <dialogue>What?</dialogue> <character>SUZIE</character> <dialogue>I'm sorry. It's just... I'm a little tired, and, I don't know, it's the middle of the week...</dialogue> <character>JOEL</character> <dialogue>It's not the middle of the week. It's Monday. Why can't--</dialogue> <character>SUZIE</character> <dialogue>Monday? (Freezes, suddenly</dialogue> <character>REALIZING SOMETHING)</character> <dialogue>Oh shit!</dialogue> <character>JOEL</character> <parenthetical>(WORRIED)</parenthetical> <dialogue>What?!</dialogue> <character>SUZIE</character> <dialogue>Idol! Suzie jumps up with newfound energy, runs for the remote and turns on the TV. Joel just sits there. Sorry honey. Maybe this weekend. Joel leaves the room.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S BATHROOM -- LATER</stage_direction> <scene_description>\[Quick scene of Joel trying to masturbate (off screen of course), but he's too distracted by the sounds of a bad out- of-tune Idol audition blaring through the wall.\]</scene_description> </scene> <scene> <stage_direction>EXT. SCOREBOARDS SPORTS BAR -- NIGHT</stage_direction> <scene_description>Establishing shot. A sports bar that's part of a Holiday Inn.</scene_description> </scene> <scene> <stage_direction>INT. SCOREBOARDS -- CONTINUOUS</stage_direction> <scene_description>Joel sits at the bar. DEAN, the owner of the bar, late forties, and an old friend of Joel's, sits behind the bar on a stool.</scene_description> <character>JOEL</character> <dialogue>I gotta get a house with a bathroom that's doesn't share a wall with the TV.</dialogue> <character>DEAN</character> <dialogue>Why don't you do that in another bathroom. You've got three of 'em.</dialogue> <character>JOEL</character> <dialogue>It would look suspicious. We never use those other bathrooms... Maybe if I had some insulation put in...</dialogue> <character>DEAN</character> <dialogue>Insulation?... All I know is, you shouldn't move man; you've got a nice house. I mean you've got the American dream really -- you own your own company. I can't believe you used to bar back for me here, and now you've got all that.</dialogue> <character>JOEL</character> <dialogue>But what do I have really? It's a</dialogue> <character>JOEL</character> <dialogue>I'm always working; can't stop or the whole place will fall apart. And what good does it do me anyway? I don't get laid. That stock guy with the shitty band that works for me probably gets laid more than I do.</dialogue> <character>DEAN</character> <parenthetical>(trying to help)</parenthetical> <dialogue>Yeah, but he probably lives in a crappy apartment.</dialogue> <character>JOEL</character> <dialogue>Hell, I'd move into a crappy apartment if the bathroom wasn't right next to the TV.</dialogue> </scene> <scene> <stage_direction>INT. MUSIC STORE - DAY</stage_direction> <scene_description>CINDY, a girl in her early twenties, is at the counter looking at a new Gibson hollow-body electric guitar -- one of the really nice ones. The price tag says $3,950. She's beautiful and sexy and all that, but there's something vulnerable and sweet about her as well. Two SALESMEN, typical music store employees -- long-haired, goateed, nerdy cocky guitar-hacks are giving her way too much attention. It's clear that they don't usually have women this hot in their store. They practically stumble over each other trying to help her.</scene_description> <character>SALESMAN #1</character> <dialogue>Yeah, it's expensive but it's sweet... Are you familiar with the Gibson humbucking pickups?</dialogue> <character>SALESMAN #2</character> <dialogue>Ah, that's nice... Your Dad would love these humbuckings. They really kick ass. An annoyed MALE CUSTOMER has been waiting behind Cindy, trying to get some help, but he might as well be invisible. He tries to address Salesman #2, off to the side.</dialogue> <character>MALE CUSTOMER</character> <dialogue>Excuse me... I just have a quick question... Salesman #2 is oblivious, never takes his eyes off Cindy.</dialogue> <character>SALESMAN #2</character> <parenthetical>(OBLIVIOUS)</parenthetical> <dialogue>So, what kind of music did he play? Both Salesmen's eyes are glued to Cindy as Male Customer finally gets sick of waiting and storms off into the</dialogue> <scene_description>keyboard room.</scene_description> <character>CINDY</character> <dialogue>I think he played like, jazz or something. I'm not sure.</dialogue> <character>SALESMAN #2</character> <dialogue>Well this is an excellent jazz guitar. It's what Pat Metheny plays.</dialogue> <character>SALESMAN #1</character> <dialogue>Is your Dad into Metheny at all?</dialogue> <character>CINDY</character> <dialogue>CINDY</dialogue> <scene_description>I don't really know much about it...</scene_description> <character>SALESMAN #2</character> <dialogue>I play fusion guitar so... Just curious.</dialogue> <character>CINDY</character> <dialogue>Um, do they come in any other colors?</dialogue> <character>SALESMAN #1</character> <dialogue>You mean different finishes? There's a sunburst finish we might have in stock.</dialogue> <character>SALESMAN #2</character> <dialogue>Yeah, do you wanna see it? I'll go get it.</dialogue> <character>SALESMAN #1</character> <dialogue>Or I could go. Whatever.</dialogue> <character>CINDY</character> <dialogue>Are you sure?</dialogue> <character>SALESMAN #1/SALESMAN #2</character> <dialogue>Oh totally./ No prob!/ I'll show you the case it comes with too. The salesmen practically trip over each other, going into</dialogue> <scene_description>the back to find the other guitar. Cindy stands there alone for a beat. She looks around. Then casually picks up the four-thousand dollar guitar and walks the guitar in the trunk, gets in and takes off.</scene_description> </scene> <scene> <stage_direction>INT. MUSIC STORE - CONTINUOUS ACTION</stage_direction> <scene_description>The two Salesmen return -- one carrying the sunburst-finish guitar and the other with the hard-shell case. They look around, notice she's gone. They stand there for a beat, disappointed, before they realize what just happened.</scene_description> <character>SALESMAN #1</character> <dialogue>Oh shit!...</dialogue> <character>(FRANTICALLY LOOKING</character> <scene_description>THE GIBSON! They run out the front door, but Cindy is long gone.</scene_description> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - DAY</stage_direction> <scene_description>Joel is at his desk. Brian comes in, excited.</scene_description> <character>BRIAN</character> <dialogue>You're not gonna believe this. Remember the guy from General Mills that called a while back? Talking like he wanted to buy us out?</dialogue> <character>JOEL</character> <dialogue>I thought you said he wasn't serious; he was just sniffing around.</dialogue> <character>BRIAN</character> <dialogue>Yeah, well he's serious now. He No. It must be part of some bigger strategic move, because it's over market value I think.</dialogue> <character>JOEL</character> <dialogue>Wow... Joel lets it sink in. He walks over to the window, looking down on the production floor.</dialogue> <character>JOEL</character> <dialogue>I could unload all this... I could probably retire...</dialogue> <character>BRIAN</character> <dialogue>I mean, yeah, there's a lot of details to work out, but this could be great. They'll be calling back next week, what should I tell them?</dialogue> <dialogue>Joel looks down, sees Mary sitting with her arms folded, shaking her head.</dialogue> <character>JOEL</character> <dialogue>Tell 'em hell yes.</dialogue> </scene> <scene> <stage_direction>INT. MANUFACTURING FLOOR - CONTINUOUS</stage_direction> <scene_description>Mary sits with her arms folded, refusing to hold the line.</scene_description> <character>MARY</character> <dialogue>I already warned him. This is the last time. I'm just gonna sit here.</dialogue> <dialogue>In SLOW MOTION, we see:</dialogue> <dialogue>- The first box falls off the end of the assembly line, bottles shatter.</dialogue> <scene_description>pallets land on a bunch of pipes and high-pressure valves which burst open sending a piece of shrapnel flying across the room heading straight for - STEP'S CROTCH. The shrapnel heads straight for his genitalia, as we</scene_description> <character>CUT TO:</character> <dialogue>EXT. REYNOLD'S EXTRACT BUILDING - DAY</dialogue> <scene_description>Step is on a stretcher being loaded into a MEDIVAC helicopter by a couple of EMS guys. Step moans in pain as Joel tries to comfort him. A small crowd of employees watch. ANGLE ON Mary in the crowd, shaking her head.</scene_description> <character>MARY</character> <dialogue>I knew it. That's what happens when you don't pay attention.</dialogue> <character>INT. SCOREBOARDS -- LATER</character> <dialogue>Joel sits at the bar, on a cell phone. Dean sits behind the bar on a stool.</dialogue> <character>JOEL</character> <parenthetical>(to the person on the PHONE)</parenthetical> <dialogue>Uh-huh... Alright. Let me know if you hear anything else. He hangs up, talks to Dean.</dialogue> <character>JOEL</character> <dialogue>Well, he's definitely lost one of 'em. They think they might be able to re-attach the other one, but they're not sure.</dialogue> <character>JOEL</character> <dialogue>Yeah... I'm not sure how it happened, but we have a great safety record and we comply with all the safety codes so... it was just a freak accident. There'll be an investigation of some kind I'm sure.</dialogue> <character>DEAN</character> <dialogue>Well, you have insurance for that kind of thing, right?</dialogue> <character>JOEL</character> <dialogue>Oh yeah. Of course. In fact, he'll probably get a huge settlement.</dialogue> <character>DEAN</character> <dialogue>Yeah. I would think so. I mean, it's your balls...</dialogue> <dialogue>Beat, as they contemplate the profundity of it.</dialogue> <character>JOEL</character> <dialogue>Boy it really makes you stop and think about how fragile we are -- especially our balls. They're just hanging there in a little sack between our legs. At any moment they could be cut off forever.</dialogue> <character>DEAN</character> <dialogue>Yeah. And your balls are really important man. Your balls are everything. What kind of life would you have with no testicles? Can you imagine that shit?</dialogue> <character>JOEL</character> <dialogue>Yeah... Beat.</dialogue> <character>JOEL</character> <dialogue>You know Dean, my life wouldn't be much different than it is now</dialogue> <character>JOEL</character> <dialogue>Except for once every three months when I have sex with my wife. In fact, I might even be better off...</dialogue> <character>DEAN</character> <dialogue>Wait. Three months? I thought you said it was once a month.</dialogue> <character>JOEL</character> <dialogue>I did? I must've been lying. I don't know... Maybe things'll get better when I sell the company. I'll be around more...</dialogue> <character>DEAN</character> <dialogue>Well, I hope so. That would suck... I get laid all the time. (off Joel's reaction) Sorry.</dialogue> <character>JOEL</character> <dialogue>Ah, it's all right...</dialogue> <character>(THINKS)</character> <dialogue>Actually, it sucks.</dialogue> <character>DEAN</character> <dialogue>Yeah, sexual frustration is bad news... You know what you oughtta do?</dialogue> <character>JOEL</character> <dialogue>What?</dialogue> <character>DEAN</character> <dialogue>Get some Xanax. problem. I mean, basically it just makes you feel good, so it sort of works for anything. I even take it when I have a cold. It's probably great for sexual frustration. Want me to get you some?</dialogue> <character>JOEL</character> <dialogue>No.</dialogue> <character>DEAN</character> <dialogue>You know what else is good? Codeine cough syrup.</dialogue> <character>JOEL</character> <dialogue>For what?</dialogue> <character>DEAN</character> <dialogue>It's just good. Joel looks at Dean for a beat.</dialogue> <character>JOEL</character> <dialogue>Are you on something now?</dialogue> <character>DEAN</character> <dialogue>No... Well, I guess I took some Vicodin this morning. But that was just 'cause I was hung-over.</dialogue> </scene> <scene> <stage_direction>EXT. PAWN SHOP - DAY</stage_direction> <scene_description>Establishing shot, a pawn shop in a strip mall. Cindy's car parked out in front.</scene_description> </scene> <scene> <stage_direction>INT. PAWN SHOP - CONTINUOUS</stage_direction> <scene_description>supposed to say this... but since this belonged to your father, and since he passed away and all...</scene_description> <character>(QUIETLY)</character> <dialogue>You could probably get a better deal at a music store.</dialogue> <character>CINDY</character> <dialogue>Oh, that's okay. Thanks. But I just kind of wanna get it over with, you know? It's kind of hard for me.</dialogue> <scene_description>PAWN SHOP GUY I understand. He looks around to see if his boss is watching, then counts off a FEW MORE TWENTIES, feeling sorry for her.</scene_description> <character>PAWN SHOP GUY</character> <dialogue>Here.</dialogue> </scene> <scene> <stage_direction>INT. CINDY'S CAR - MOMENTS LATER</stage_direction> <scene_description>Cindy puts the money in her wallet, along with a driver's license. CLOSE ON THE WALLET. Cindy shuffles through three or four different driver's licenses. On one, her name says MISTY PATTERSON. It's a Kansas license. She takes another one out from Colorado, with the name CINDY METZLER on it and puts that in front, then puts the wallet away. A newspaper sits on the front seat. Something grabs her attention. ANGLE ON THE NEWSPAPER: ".. .potentially big settlement..." "...no testicles..." "several million dollars" then back to "no testicles" then quickly back and forth several times -- "million dollars" "no testicles" "million dollars" "no testicles" ON CINDY'S FACE - A look of determination. She looks one more time at the name under the picture -- Don "Step" Wilkenson, then zeroes in on the words "Reynold's Extract." She starts the car and speeds away.</scene_description> <character>INT. REYNOLD'S EXTRACT BUILDING - CONFERENCE ROOM - DAY</character> <dialogue>Joel sits with Brian. Brian has a clipboard, going over the day's business.</dialogue> <character>BRIAN</character> <dialogue>So obviously Step's not coming back anytime soon. I had to hire a couple temps. Is that okay?</dialogue> <character>JOEL</character> <dialogue>Yeah, sure. How is Step?</dialogue> <character>BRIAN</character> <dialogue>Better. They say he's going home in a couple of days. Speaking of which, the guys at General Mills heard about this whole Step thing. They're worried. If Step decides to sue us -- beyond the insurance settlement -- it could be a serious liability. They don't want to make an offer until this thing has settled.</dialogue> <character>JOEL</character> <dialogue>asked a bunch of jurors how much you'd have to pay 'em to cut their balls off? I mean, I wouldn't let someone cut my balls off for a billion dollars. Seriously -- unless there were some kind of really expensive operation that could give you artificial balls or something. Would you?</dialogue> <character>JOEL</character> <dialogue>No, I guess not.</dialogue> <character>BRIAN</character> <dialogue>Anyway, I wouldn't worry. He says he's not going to sue us. Says he</dialogue> <character>(CRUDE IMITATION)</character> <dialogue>"don't want somethin' fer nothin "' and "What's right is right." If we can just get him to sign something to that effect we should be fine.</dialogue> <character>JOEL</character> <dialogue>Boy, Step sure is being mellow about all this.</dialogue> <character>BRIAN</character> <dialogue>Yeah, well I think when you lose your balls it mellows you out. You don't get as pissed off and aggressive about things. I know it's true for horses, and bulls.</dialogue> <character>JOEL</character> <dialogue>Boy, it sure does make you think.. Who?</dialogue> <character>BRIAN</character> <dialogue>(GESTURES INDISCRIMINATELY</dialogue> <scene_description>to someone downstairs) Dinkus. Can you believe that?</scene_description> <character>JOEL</character> <dialogue>Brian, you call everyone here "Dinkus." I don't know who you're talking about.</dialogue> <character>BRIAN</character> <dialogue>You know, Forklift-Dinkus?</dialogue> <character>JOEL</character> <dialogue>Oh... I thought you call him "boy- genius."</dialogue> <character>BRIAN</character> <dialogue>Yeah, well boy-genius asked for a raise. I said, "are you kidding? You nearly got someone killed last week," and then he blamed it on Dinkus over there.</dialogue> <character>JOEL</character> <dialogue>You know Brian, you really ought to learn the employees' names.</dialogue> <character>BRIAN</character> <dialogue>Well, I was thinking about that, but hey, if this deal goes through next week, I won't have to. It's not like I'm gonna be inviting Dinkus and Boy-Genius over for dinner.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - NEXT DAY</stage_direction> <scene_description>Joel stands on one side of his office looking down through a long window overlooking the manufacturing area. Dean comes in, walks over to the window, looks down at the production floor with Joel.</scene_description> <character>DEAN</character> <dialogue>Hey man. What's goin' o-- Whoa! DEAN'S POV: It's CINDY, now working down on the floor, on the assembley line.</dialogue> <character>DEAN</character> <dialogue>Damn! Who's she? Is she new?</dialogue> <character>JOEL</character> <dialogue>Yeah. She's a temp.</dialogue> <character>DEAN</character> <dialogue>She's a tramp?</dialogue> <character>JOEL</character> <dialogue>No a temp. Quit staring.</dialogue> <character>DEAN</character> <dialogue>Damn, she's hot! Way to go.</dialogue> <character>JOEL</character> <dialogue>Hey, I didn't hire her. She came here through Manpower, like everybody else. They just sent her over.</dialogue> <character>DEAN</character> <dialogue>Manpower, huh? Maybe I should give them a call. You don't usually have girls anywhere near that hot working here. What's the deal?</dialogue> <character>JOEL</character> <dialogue>Yeah, I know. I guess it makes sense though if you think about it. Hot girls need a job just as much as anyone else.</dialogue> <character>DEAN</character> <dialogue>(thinks for a second) Do they really?... Huh... You just don't see 'em here. Usually your</dialogue> <character>DEAN</character> <dialogue>What?</dialogue> <character>JOEL</character> <dialogue>She came on to me.</dialogue> <character>DEAN</character> <dialogue>No way! Really?</dialogue> <character>JOEL</character> <dialogue>Yeah. I mean, I'm pretty sure. I could be wrong, but...</dialogue> <character>DEAN</character> <dialogue>Hey, I'm sure she did. Are you kidding? You could have any girl down there.</dialogue> <character>JOEL</character> <dialogue>I don't know about that.</dialogue> <character>DEAN</character> <dialogue>I'm serious. Dude, you're the big shot here. You're the king of... What do you call that shit you make here again?</dialogue> <character>JOEL</character> <dialogue>Extract. And spray-dried flavoring, and we're branching out</dialogue> <character>INTO--</character> <dialogue>DEAN</dialogue> <scene_description>Yeah, you're the Extract King man. So how did she come on to you?</scene_description> <character>JOEL</character> <dialogue>Well, first she started asking me about what happened to Step and all that stuff -- you know, just sort of making conversation?</dialogue> <character>DEAN</character> <dialogue>Yeah.</dialogue> <character>JOEL</character> <dialogue>But it really seemed like she was flirting with me, you know?</dialogue> <character>JOEL</character> <dialogue>Then, she just sort of asked me out... I think.</dialogue> <character>DEAN</character> <dialogue>Really? How?</dialogue> <character>JOEL</character> <dialogue>Well, you see that guy down there by the fork lift?</dialogue> <dialogue>ANGLE ON Rory, the indi-rock guy with tattoos, etc.</dialogue> <character>JOEL</character> <dialogue>His band is playing somewhere, at some party this weekend, and she asked me if I wanted to go with her.</dialogue> <character>DEAN</character> <dialogue>Suzie... It'd be nice if I got laid at home once in a while though...</dialogue> <character>DEAN</character> <dialogue>(still staring at her) Man, she is fine. You mind if I hit that then? Beat.</dialogue> <character>JOEL</character> <dialogue>Yeah, I do sort of... We see a COMMOTION down on the floor. Mary runs out of the Women's locker room SCREAMING AND YELLING.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLD'S EXTRACT / MANUFACTURING AREA - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Mary runs over to where Hector is working, hysterical.</dialogue> <character>MARY</character> <dialogue>My purse is stolen! It's gone! (pointing at Hector)</dialogue> <dialogue>He did it! He stole my purse!</dialogue> <dialogue>Brian runs over and stands between them, trying to calm Mary down, but she keeps ranting. Hector looks confused and worried.</dialogue> <character>BRIAN</character> <dialogue>Now hold on--</dialogue> <character>MARY</character> <dialogue>I won't hold on! I'll call the cops!</dialogue> <dialogue>Espera un momento Hector. Tu sabes donde esta su... uh, purse?</dialogue> <dialogue>ANGLE ON CINDY, watching the whole thing-- completely unfazed.Joel rushes in.</dialogue> <character>JOEL</character> <dialogue>Now wait a second. Calm down Mary. How do you know it was stolen?</dialogue> <character>MARY</character> <dialogue>It's gone! That's how.</dialogue> <character>JOEL</character> <dialogue>Well, what did it look like.</dialogue> <character>MARY</character> <dialogue>It was black with a fur, leopard style border...</dialogue> <dialogue>As Mary describes the purse, we</dialogue> </scene> <scene> <stage_direction>INT. CINDY'S CAR - AFTERNOON</stage_direction> <scene_description>Cindy sits in her parked car, going through the purse Mary just described. She takes some cash, puts it in her pocket, then finds what she's looking for -- the address book. ANGLE ON ADDRESS BOOK. Cindy turns to the Ws and finds Step Wilkenson. She notes his address. She starts the car and takes off.</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF STEP'S HOUSE - A LITTLE LATER</stage_direction> <scene_description>Cindy sits and waits, listening to the radio. It's a very Step wheels his shopping cart into one of the checkout lines. He uses the cart as a crutch to help him walk. Cindy gets in line behind him. She only has one item, a bottle of Reynold's Orange Extract. Step notices her.</scene_description> <character>STEP</character> <dialogue>You can go ahead of me if that's all you have.</dialogue> <character>CINDY</character> <parenthetical>(SWEETLY)</parenthetical> <dialogue>Thank you so much. (holds up extract bottle) I can't believe I'm buying this stuff -- I work at the factory.</dialogue> <character>STEP</character> <dialogue>Really? I work there too. Or, ah, I used to.</dialogue> <character>CINDY</character> <dialogue>Really? You're kidding! I just started there. What's your name?</dialogue> <character>STEP</character> <dialogue>I go by Step. Yeah, I'm the fastest sorter there... As Cindy and Step get to know each other we</dialogue> <character>CUT TO:</character> <dialogue>INT. JOEL'S HOUSE - NIGHT</dialogue> <dialogue>Joel enters the living room. He first sees the sweatpants, then sees Suzie is sound asleep on the couch. He sighs, then turns and leaves.</dialogue> <scene_description>Joel sits at the bar talking to Dean. Joel is drinking some kind of hard liquor, getting a buzz.</scene_description> <character>JOEL</character> <dialogue>I'm sick of it Dean. I'm sick of being turned down in my own house by my own wife. We're turning into one of those brother-sister couples.</dialogue> <character>DEAN</character> <dialogue>Huh...Now that you mention it, you guys kind of look alike too.</dialogue> <character>JOEL</character> <parenthetical>(GROSSED OUT)</parenthetical> <dialogue>No we don't!</dialogue> <character>DEAN</character> <dialogue>Okay.</dialogue> <character>JOEL</character> <dialogue>(takes a drink) Maybe things will be better after I sell the company... Or maybe it's just going to mean more time to sit around and contemplate not getting laid.</dialogue> <dialogue>Dean nods sympathetically.</dialogue> <character>DEAN</character> <dialogue>What about that girl at work? She still into you?</dialogue> <character>JOEL</character> <dialogue>Yeah... she was really coming on to me. She gave me her phone number and everything. Told me to call her if I wanted to go to that party. Can you believe that? And there's nothing I can do about it, but just be sexually frustrated.</dialogue> <character>JOEL</character> <dialogue>No thanks...</dialogue> <character>DEAN</character> <dialogue>Well maybe you should call that girl.</dialogue> <character>JOEL</character> <dialogue>No, I can't. I can't cheat on Suzie. I just gotta power through it until I'm so old that I can't get it up anymore.</dialogue> <character>DEAN</character> <dialogue>What about if Suzie cheated on you?</dialogue> <character>JOEL</character> <dialogue>Hmm... I hadn't even thought of that...</dialogue> <character>(BEAT)</character> <dialogue>I wish she would.</dialogue> <character>DEAN</character> <dialogue>You wish she would cheat on you? Wouldn't that bother you? Joel thinks about it.</dialogue> <character>JOEL</character> <dialogue>No. I don't think it would actually. (occuring to him)</dialogue> <dialogue>I guess that's weird huh?</dialogue> <character>DEAN</character> <dialogue>Yeah, it's a little weird. Sort of.</dialogue> <dialogue>Do you think she would cheat on you?</dialogue> <character>JOEL</character> <dialogue>Nah...</dialogue> <character>DEAN</character> <dialogue>You sure?</dialogue> <character>JOEL</character> <parenthetical>(CONSIDERS IT)</parenthetical> <dialogue>Well, I don't know. Hmm... Maybe if she were really tempted she would. Like if some really studly guy came on to her.</dialogue> <character>DEAN</character> <dialogue>So you're saying she would probably cheat on you if she was put in temptation's way?</dialogue> <character>JOEL</character> <dialogue>Yeah, maybe.</dialogue> <character>DEAN</character> <dialogue>You know what you oughtta do?</dialogue> <character>JOEL</character> <parenthetical>(WEARY)</parenthetical> <dialogue>I don't wanna do any drugs Dean.</dialogue> <character>DEAN</character> <dialogue>No, no. Check this out -- If you really wish your wife would cheat Hire a gigolo to have an affair with your wife.</dialogue> <character>JOEL</character> <dialogue>What?</dialogue> <character>DEAN</character> <dialogue>I'm serious. I know a guy.</dialogue> <character>JOEL</character> <parenthetical>(INCREDULOUS)</parenthetical> <dialogue>You know a gigolo?</dialogue> <character>DEAN</character> <dialogue>Yeah.</dialogue> <character>JOEL</character> <dialogue>How do you know a gigolo?</dialogue> <character>DEAN</character> <dialogue>This guy Brad. He comes in here all the time. He's a friend of Vic's. You could hire him to have an affair with Suzie.</dialogue> <character>JOEL</character> <dialogue>Come on Dean.</dialogue> <character>DEAN</character> <dialogue>Why not? You said you wouldn't care if she cheated on you. Then you'd be free to go out with that Cindy chick and get your ya-yas out -- with no guilt. Problem solved. that Xanax.</dialogue> <dialogue>Dean reaches down under the cash register and whips out a little box and pulls out a pill.</dialogue> </scene> <scene> <stage_direction>EXT. LAKE -- SAME TIME</stage_direction> <scene_description>Step's truck is parked out at a lake in the country. He and Cindy sit next to each other on the tailgate, looking at the stars, talking.</scene_description> <character>STEP</character> <dialogue>I just believe that what's right is right.</dialogue> <character>CINDY</character> <dialogue>That's right Step, and what's right is for you to send a message.</dialogue> <character>STEP</character> <dialogue>A message?</dialogue> <character>CINDY</character> <dialogue>You need to send a message so that a horrible accident like this never happens to anyone else ever again. That's what's right. And the way you do that is to take them to court.</dialogue> <character>STEP</character> <dialogue>You think?</dialogue> <character>CINDY</character> <dialogue>Yes Step... That's why I called a lawyer for you -- that guy on all the bus stop benches.</dialogue> <character>CINDY</character> <dialogue>Mmm hmm... I just want you to do what's right Step.</dialogue> <dialogue>They start cuddling, kissing. Cindy pulls away.</dialogue> <character>CINDY</character> <dialogue>I'm sorry Step, your doctor said you shouldn't get aroused.</dialogue> <character>STEP</character> <dialogue>No he didn't.</dialogue> <character>CINDY</character> <dialogue>Maybe it was your lawyer, but he talked to your doctor. And your doctor said it's very important not to get aroused until after the trial... I'm sorry.</dialogue> <character>STEP</character> <dialogue>That's okay... You're so good to me Cindy.</dialogue> <dialogue>They start cuddling again.</dialogue> <character>CINDY</character> <dialogue>Look Step, you're getting me turned on, I'm getting you turned on... I better just go.</dialogue> </scene> <scene> <stage_direction>INT. SCOREBOARDS SPORTS BAR -- LATER</stage_direction> <scene_description>Joel is starting to look really tweaked as the drug-alcohol combination begins to kick in. Dean is examining a pill under the cash register light, trying to read the small print. He looks concerned. Huh?</scene_description> <character>DEAN</character> <dialogue>Damn. I don't think it was Xanax. I think that might've been Ritalin... Or "Special K."</dialogue> <character>JOEL</character> <dialogue>(feeling the buzz) Ah, who cares?</dialogue> <character>DEAN</character> <dialogue>It's just that, ah, Special K is a horse tranquilizer, kinda has a weird effect when people take it but... well, don't worry about it... You might not want to drink too much more though.</dialogue> <character>JOEL</character> <dialogue>(beginning to slur his</dialogue> <character>SPEECH)</character> <dialogue>You know that thing you were talking about? About the gigolo?</dialogue> <character>DEAN</character> <dialogue>Yeah?</dialogue> <character>JOEL</character> <dialogue>Do you think it would be wrong to do that? I mean morally wrong?</dialogue> <character>DEAN</character> <dialogue>(with full authority) Oh nooo. Definitely not. What could be morally wrong about it?</dialogue> <character>JOEL</character> <dialogue>I don't know...</dialogue> <character>DEAN</character> <dialogue>Look, if she doesn't want to go for it, she doesn't have to. And if she does, then she's the one who sinned, and then it's perfectly</dialogue> <character>JOEL</character> <parenthetical>(SLURRED SPEECH)</parenthetical> <dialogue>Yeah, I guess you're right. I can't think of anything morally wrong about it either. Beat.</dialogue> <character>JOEL</character> <dialogue>And this guy, he's a friend of yours? What's his name?</dialogue> <character>DEAN</character> <dialogue>Brad. You want me to give him a call?</dialogue> <character>JOEL</character> <dialogue>I don't know. It's kinda weird even talking about it.</dialogue> <character>DEAN</character> <dialogue>Look, this is no big deal Joel. I'm serious.</dialogue> <character>JOEL</character> <dialogue>Really?</dialogue> <character>DEAN</character> <dialogue>Yeah. I mean, you can't lose. Just say you're hiring him to come clean the pool or something. See what happens. If she doesn't go for it, then at least you know you're doing the right thing by being faithful.</dialogue> <character>JOEL</character> <dialogue>Yeah, I guess you're right... I don't know. It's crazy.</dialogue> <dialogue>Dean pours Joel another drink.</dialogue> <character>JOEL</character> <dialogue>Alright. What the hell. Joel takes a big swig of liquor.</dialogue> <character>INT. SCOREBOARDS SPORTS BAR - BACK OFFICE -- NIGHT</character> <dialogue>Dean and Joel are talking with BRAD, the gigolo. He's</dialogue> <scene_description>young, blonde, super good-looking, but clearly a complete airhead. Joel looks really messed up now.</scene_description> <character>JOEL</character> <dialogue>So it's two-hundred dollars then?</dialogue> <character>BRAD</character> <dialogue>Yeah, two-hundred.</dialogue> <character>DEAN</character> <dialogue>Well yeah, but don't forget, I'm getting ten percent.</dialogue> <character>JOEL</character> <dialogue>What, so you're a pimp now?</dialogue> <character>DEAN</character> <parenthetical>(CONDESCENDING CHUCKLE)</parenthetical> <dialogue>I don't think they're called "pimps" when it's with male prostitutes, okay. There's some other word for it -- it's not a "john," but it's something like that. Besides, I'm the one who hooked all this up. And don't worry 'cuz it's coming out of Brad's</dialogue> <scene_description>So it's two-hundred dollars then?</scene_description> <character>DEAN</character> <dialogue>Two-hundred and twenty.</dialogue> <character>JOEL</character> <dialogue>Wait a minute--</dialogue> <character>BRAD</character> <dialogue>Um, I have a question?</dialogue> <character>JOEL</character> <dialogue>Yeah? Brad looks at Joel, deeply concerned.</dialogue> <character>BRAD</character> <dialogue>So like, are you gonna, like, watch or something?</dialogue> <character>JOEL</character> <dialogue>No no no. God no! It's not like that. I won't even be there. I'll be at work. Remember? We already talked about this.</dialogue> <dialogue>Brad looks blank, like he's not getting it.</dialogue> <character>JOEL</character> <dialogue>What you'll do, is come to my house pretending to be the new pool cleaner. Then you simply try to seduce my wife. Okay? If she doesn't respond, you simply clean the pool and leave. That's all. It's that simple.</dialogue> <dialogue>Hold on Brad for a long beat.</dialogue> <scene_description>will not be there. I will be at work. You come over to my house while I'm not there, posing as the new pool cleaner and then try to seduce her... Brad finally makes a breakthrough.</scene_description> <character>BRAD</character> <dialogue>Oooh, I see. Sorry man. Yeah, yeah. I get it now. You're not even gonna be there...</dialogue> <character>JOEL</character> <dialogue>Yeah, that's right.</dialogue> <character>BRAD</character> <dialogue>Yeah... cool. No problem. This is gonna be great!</dialogue> <character>JOEL</character> <dialogue>Remember, she might not go for it-- Brad starts to get a little too excited.</dialogue> <character>BRAD</character> <dialogue>Yeah, this is gonna be cool! I can hardly wait! Awesome. Hey man, if you know anyone else who needs -- you know -- what I do, like you know, lonely housewives and shit, maybe you could tell 'em about me, you know... Joel looks on with growing concern as Brad can't seem to</dialogue> <scene_description>stop talking.</scene_description> <character>BRAD</character> <dialogue>DEAN</dialogue> <scene_description>Referrals.</scene_description> <character>BRAD</character> <dialogue>Yeah yeah, those things. Then those women could tell more women and then it'd be like I was, like, uh... branching or..</dialogue> <character>DEAN</character> <dialogue>Networking.</dialogue> <character>BRAD</character> <dialogue>Yeah, networking! Totally. Then if I got enough of 'em, maybe I could quit my landscaping job and do this full time. That would be awesome! Cause I hate landscaping. I like getting laid a lot better, and my boss is a total dick...</dialogue> </scene> <scene> <stage_direction>EXT. SCOREBOARDS' PARKING LOT -- NIGHT</stage_direction> <scene_description>Joel and Dean are at Dean's car, trying to say goodbye to Brad, who still won't shut up.</scene_description> <character>BRAD</character> <dialogue>Like I say, if your wife has any housewife friends who might-- Dean finally puts his foot down.</dialogue> <character>DEAN</character> <dialogue>Okay, you've said that a few times now Brad. Go on to your car. Okay?</dialogue> <character>BRAD</character> <dialogue>Okay. See you later. Brad finally leaves.</dialogue> <character>DEAN</character> <dialogue>Let me drive you home. You're in no condition to drive.</dialogue> <dialogue>Joel stumbles into Dean's car.</dialogue> <character>JOEL</character> <dialogue>Are you sure about this guy Dean? He acts like he's never done this before.</dialogue> <character>DEAN</character> <dialogue>Oh no. He does it all the time. Don't worry. He just gets a little excited sometimes. He's cool.</dialogue> <character>JOEL</character> <dialogue>I don't know. He sure doesn't seem too bright.</dialogue> <character>DEAN</character> <dialogue>Yeah well, what do you excpect? He's a whore.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - EMPLOYEE BREAK ROOM - NEXT MORNING</stage_direction> <scene_description>A break room with a kitchen. Joel is badly hungover. He looks like he's about to throw up as he reaches into the cupboard above the sink, downs a couple of aspirin, then drops some alka-seltzer in to a glass of water. Cindy comes in. Where was I? Joel nods, tries to grin and look cool as he takes a sip of his alkaseltzer. Then his eyes go wide, he almost does a spit-take as something suddenly dawns on him...</scene_description> <character>JOEL</character> <dialogue>Oh shit! He runs out of the room.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE</stage_direction> <scene_description>Joel grabs the phone and dials frantically. Dean answers.</scene_description> <character>JOEL</character> <dialogue>Dean?</dialogue> <scene_description>DEAN (V.0.)</scene_description> <character>(WAKING UP)</character> <dialogue>Oh, hey Joel.</dialogue> <character>JOEL</character> <dialogue>Thank God you're home. Ah,... did that really happen last night? I mean, did we go through with it -- with that gigolo stuff?</dialogue> <character>DEAN</character> <dialogue>Ah, yeah. As far as I know.</dialogue> <character>JOEL</character> <dialogue>Shit! What was I thinking?! We gotta call it off. Right now. Can you call that guy, Brad?</dialogue> <character>DEAN</character> <dialogue>Okay...</dialogue> <character>JOEL</character> <dialogue>Tell him I'll pay him anyway, whatever, just don't come over. God, what was I thinking?!</dialogue> <character>DEAN</character> <dialogue>Sure, I'll call him. No problem... Oh wait a second. I don't think I have his number.</dialogue> <character>JOEL</character> <dialogue>What? I thought you called him last night.</dialogue> <character>DEAN</character> <dialogue>Yeah, but I got his number from Vic.</dialogue> <character>JOEL</character> <dialogue>Well get it from him again.</dialogue> <character>DEAN</character> <dialogue>Vic doesn't have a phone right now.</dialogue> <character>JOEL</character> <dialogue>Shit! I'll try information. What's Brad's last name? Pause.</dialogue> <character>DEAN</character> <dialogue>Hmm... it's something like,... I think it's a Mexican name.</dialogue> <character>JOEL</character> <parenthetical>(LOSING PATIENCE)</parenthetical> <dialogue>Mexican?! The guy's got blonde hair and blue eyes!</dialogue> <character>DEAN</character> <dialogue>Yeah, I thought it was weird too -- a guy like that with a Mexican last name... It's like Lopez, or Sanchez or something.</dialogue> <dialogue>Joel looks at his watch. It's 11:15.</dialogue> <character>JOEL</character> <dialogue>Brian walks in.</dialogue> <character>BRIAN</character> <parenthetical>(CONCERNED)</parenthetical> <dialogue>Joel, we gotta talk.</dialogue> <character>JOEL</character> <dialogue>Not now Brian.</dialogue> <character>BRIAN</character> <dialogue>Ah yeah, it's kind of important -- kind of really important. It's</dialogue> <character>ABOUT STEP-</character> <dialogue>Joel rushes past him.</dialogue> <character>JOEL</character> <dialogue>Not now! We FOLLOW Joel as he rushes past his SECRETARY.</dialogue> <character>SECRETARY</character> <dialogue>Excuse me Joel? There's a Brad Chavez on line one for you.</dialogue> <character>JOEL</character> <dialogue>I can't, I-- Joel stops suddenly.</dialogue> <character>JOEL</character> <dialogue>Who?</dialogue> <character>SECRETARY</character> <dialogue>Brad Chavez. He said he's done with the job you guys talked about cleaner. I better take that.</dialogue> <dialogue>Joel goes back in his office. HOLD on Brian, confused.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Joel stares at the phone for a beat then picks it up.</scene_description> <character>JOEL</character> <dialogue>Hello?</dialogue> <scene_description>BRAD (V.0.) Hey, is this Joel?</scene_description> <character>JOEL</character> <dialogue>Yes.</dialogue> <scene_description>BRAD (V.0.) Hey, it's Brad. Mission accomplished dude.</scene_description> <character>JOEL</character> <dialogue>What do you mean?</dialogue> <scene_description>BRAD (V.0.) I mean it worked. She totally went for it.</scene_description> <character>JOEL</character> <dialogue>What? What're you...? (looks at his watch)</dialogue> <dialogue>You weren't even supposed to be there for another 45 minutes.</dialogue> <scene_description>BRAD (V.0.) Oh really? I forgot what time you guys said, and I was so excited guys...? BRAD (V.0.) Yup. It was easy.</scene_description> <character>JOEL</character> <parenthetical>(AGITATED)</parenthetical> <dialogue>Easy? What do you mean "easy"?</dialogue> <scene_description>BRAD (V.0.) Oh, I don't mean easy like she was easy -- like she was a slut or anything. I just mean it wasn't hard to get her to... Never mind.</scene_description> <character>JOEL</character> <dialogue>No. Tell me. Tell me how it happened.</dialogue> <character>(BRACES HIMSELF)</character> <dialogue>I wanna hear everything.</dialogue> <character>BRAD</character> <dialogue>You sure?</dialogue> <character>JOEL</character> <dialogue>Yeah.</dialogue> <scene_description>BRAD (V.0.) Okay. Well, she let me in, so I went back like I was cleaning the pool...</scene_description> </scene> <scene> <stage_direction>EXT. JOEL'S HOUSE - POOL -- DAY</stage_direction> <scene_description>.I don't know anything about pool cleaning, so I was just faking it. She was in her bathing suit... Suzie comes out and lies on one of the reclining chairs.</scene_description> <character>BRAD (V.0.)</character> <dialogue>.So I struck up a conversation...</dialogue> <character>BRAD</character> <dialogue>This is a really nice house.</dialogue> <character>SUZIE</character> <dialogue>Thanks.</dialogue> <character>BRAD</character> <dialogue>Is it your Dad's house?</dialogue> <character>SUZIE</character> <dialogue>No. It's ours.</dialogue> <character>BRAD</character> <dialogue>Wow, you look so young to be living in a house this nice.</dialogue> <character>SUZIE</character> <dialogue>Oh, thanks. Beat.</dialogue> <character>BRAD</character> <dialogue>Do you have any sunscreen? I forgot mine.</dialogue> <dialogue>Brad's dopey narration comes back in...</dialogue> <scene_description>BRAD (V.0.) I thought that was pretty smart of me -- to ask her to borrow We see Brad rubbing lotion on Suzie's back as she lies face- down on the chair. BRAD (V.0.) Once I was rubbing the sunscreen on her, the rest was easy... We see Brad's hands working their way down Suzie's back. Just as they start to move down towards her butt, Joel interrupts, YANKING US OUT OF THE FLASHBACK.</scene_description> <character>JOEL</character> <dialogue>Okay that's enough! Stop!</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - CONTINUOUS</stage_direction> <character>JOEL</character> <dialogue>I don't need to hear anymore.</dialogue> <scene_description>BRAD (V.0.) Okay, cool. Hey, like I say, if you know of anyone else, or if you ever need me to do it again--</scene_description> <character>JOEL</character> <dialogue>NO! No. Look, I gotta go. Bye. Joel hangs up the phone and falls back into his chair, in a state of shock.</dialogue> <character>JOEL</character> <dialogue>(quietly, to himself) Holy shit.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S CAR - LATE AFTERNOON</stage_direction> <scene_description>Joel drives home from work. He still looks freaked out. He notices something ahead, and suddenly SLAMS ON THE BREAKS. yard, puttering around with the mail.</scene_description> <character>JOEL</character> <parenthetical>(TO HIMSELF)</parenthetical> <dialogue>No... not today...</dialogue> <scene_description>Joel puts the car in reverse, starts to pull behind a parked car in an attempt to hide, but Nathan notices him, waves and crosses the street. Joel reluctantly pulls ahead to his driveway.</scene_description> <character>NATHAN</character> <dialogue>How's it goin'?</dialogue> <character>JOEL</character> <dialogue>Oh, I'm kind of busy actually.</dialogue> <character>NATHAN</character> <dialogue>Yeah. Well I won't keep you. I just wanted to let you know, I got those tickets to that dinner we talked about on the 7th. I think I told you they were forty dollars a piece, but it turns out it's a tad more this year -- fifty-five -- so if I could go ahead and just get a check from you guys...</dialogue> <character>JOEL</character> <dialogue>Look, ah, we can't go. Remember?</dialogue> <character>NATHAN</character> <dialogue>No, this is the 7th. You said you're going out of town on the 17th.</dialogue> <character>JOEL</character> <dialogue>Yeah, but remember, I told you we didn't really want to go to this thing. Nathan looks dumbfounded. Joel is about to snap.</dialogue> <character>NATHAN</character> <dialogue>But I already bought the tickets.</dialogue> <character>NATHAN</character> <dialogue>It's just a whole lot of fun. You guys'll have a great time.</dialogue> <character>JOEL</character> <dialogue>Look, I gotta get going.</dialogue> <character>NATHAN</character> <dialogue>Alright then... Joel starts to pull away.</dialogue> <character>NATHAN</character> <dialogue>Oh, one more thing -- Joel just keeps driving, almost knocking Nathan over.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - EVENING</stage_direction> <scene_description>Joel and Suzie are eating dinner. Suzie has a glow about her, looking better than ever -- relaxed, satisfied, etc. Joel's has a quietly pissed off demeanor. They eat in silence for a beat.</scene_description> <character>SUZIE</character> <dialogue>So... How's work?</dialogue> <character>JOEL</character> <dialogue>It sucks.</dialogue> <character>SUZIE</character> <dialogue>Really? What's wrong?</dialogue> <character>JOEL</character> <dialogue>Nothing. Suzie looks a little puzzled. They keep eating in silence for a beat.</dialogue> <scene_description>From the window in his office, Joel watches Cindy working down on the production floor. Cindy looks up, they make eye contact for a brief moment. She gives him a flirtacious wave. Joel waves back. Then Rory comes by, starts talking to Cindy.</scene_description> </scene> <scene> <stage_direction>INT. REYNOLD'S EXTRACT /MANUFACTURING AREA - CONTINOUS</stage_direction> <character>CINDY</character> <dialogue>So you're in a band?</dialogue> <character>RORY</character> <dialogue>.Actually, I'm in five bands right now. But Godscock is basically the same four guys as Fighthead, but Fighthead's more of a thrash/skatepunk thing. Godscock is more melodic stuff. Cindy nods politely. Rory thinks she's interested.</dialogue> <character>RORY</character> <dialogue>So you comin' Friday?</dialogue> <character>CINDY</character> <dialogue>Yeah, definitely. (looks at her watch) Ooh, I gotta go. Dentist appointment.</dialogue> <character>RORY</character> <dialogue>Cool. Cindy leaves. ANGLE ON Mary, on the other side of the room, watching them.</dialogue> <scene_description>Now she's a good sorter. They need to hire more people like her.</scene_description> <character>GABRIELLA</character> <dialogue>She's so nice too. Hector walks by. Mary just shakes her head.</dialogue> <character>MARY</character> <dialogue>I can't believe he's still working here. You know Silvia can't find her wallet. Thinks it was stolen. And guess who was in the locker room last? Hector.</dialogue> <dialogue>They both look at Hector and shake their heads in disgust.</dialogue> <character>MARY</character> <dialogue>You know, I could get a job at Southwest Airlines. My Niece works there. I'd get better benefits than we get here too.</dialogue> <character>GABRIELLE</character> <dialogue>Mmm hmm. I could get a job at Gemco. You think they would put up with this stuff at Gemco? Mmm mmn. They run a tight ship.</dialogue> <character>MARY</character> <dialogue>That's right.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Joel's POV of Mary and Gabrielle, yacking self-righteously. Joel looks on with disgust... You got a second? I think we might have a big problem here. I'm not sure what happened, but all of the sudden Step says he doesn't want to settle anymore. I think he might've talked to a lawyer. Joel goes to his desk, sits down.</scene_description> <character>BRIAN</character> <dialogue>Like I say, General Mills isn't going to make their offer official until this settles. Joel considers this.</dialogue> <character>JOEL</character> <dialogue>I think Step is just chest-beating. He does this all the time. He gets all wound up, talks big, then he always backs down. And that's with his balls.</dialogue> </scene> <scene> <stage_direction>INT. PAROLE OFFICE - AFTERNOON</stage_direction> <scene_description>It's a bleak looking office with rows of cubicles. We PAN past several cubicles where hardass parole officers meet with their parolees -- various gang-bangers, drug dealers, junkies, a hideous transvestite prostitute, etc. As we pan, each officer is giving them nothing -- "this is your last chance," "You expect me to believe that?", etc. We continue past officers giving them nothing, giving them nothing, ending on a cubicle with Cindy, where a PAROLE OFFICER is giving Cindy everything -- almost apologetic.</scene_description> <character>PAROLE OFFICER</character> <dialogue>on his belt.</dialogue> <character>CINDY</character> <dialogue>Nope. I'm staying at Extended Stay until I can find a place...</dialogue> <dialogue>She smiles, flirtatiously waves her key/card.</dialogue> <character>CINDY</character> <dialogue>See?</dialogue> <character>(SINCERE)</character> <dialogue>I really feel like I've turned my life around. Thanks in large part to you.</dialogue> <character>PAROLE OFFICER</character> <parenthetical>(ALMOST BLUSHING)</parenthetical> <dialogue>It's okay. I'm just glad to see you're doing so well... Ah, one more thing I just need to ask you: We had a little incident up in Templeton a couple weeks back where someone stole an expensive guitar from a music store? Someone who fit your description. You know anything about that?</dialogue> <character>CINDY</character> <dialogue>Huh? No... I was probably at work that day.</dialogue> <character>PAROLE OFFICER</character> <dialogue>Look Cindy, you realize you can't screw up anymore right? I mean, even something minor, and you could talent. I'm tone deaf. They both laugh.</dialogue> <character>PAROLE OFFICER</character> <dialogue>Heh heh, So am I. I can't carry a tune to save my life.</dialogue> <character>CINDY</character> <dialogue>Really? Wow... Cindy acts fascinated by Parole Officer's lack of musical talent. He happily goes on about it, forgetting about the guitar...</dialogue> <character>PAROLE OFFICER</character> <dialogue>Yeah, I could barely sing the Star Spangled Banner in school...</dialogue> </scene> <scene> <stage_direction>EXT. REYNOLD'S EXTRACT BUILDING - PARKING LOT - DAY</stage_direction> <scene_description>It's the end of the workday. People walk to their cars. Joel turns a corner and finds Cindy right in front of him.</scene_description> <character>CINDY</character> <dialogue>Hey Mr. Reynolds.</dialogue> <character>JOEL</character> <dialogue>Oh, hey Cindy. You can just call me Joel.</dialogue> <character>CINDY</character> <parenthetical>(FLIRTATIOUS)</parenthetical> <dialogue>Okay Joel. So you going to the party tonight?</dialogue> <character>JOEL</character> <dialogue>Oh yeah. Right, that's tonight...</dialogue> <character>(AWKWARD)</character> <dialogue>JOEL (CON T - D )</dialogue> <dialogue>Yeah, I was thinking about it. Are you going?</dialogue> <character>CINDY</character> <dialogue>Yeah, definitely. Maybe I'll see you there?</dialogue> <character>JOEL</character> <dialogue>Yeah, I think I'll probably go.</dialogue> <character>CINDY</character> <dialogue>Do you have the directions?</dialogue> <character>JOEL</character> <dialogue>I'm not sure...</dialogue> <character>CINDY</character> <dialogue>Here, I'll write it down just in</dialogue> <character>CASE</character> <dialogue>Cindy opens her purse. We see at least FIVE WALLETS, SEVERAL WATCHES, JEWELRY, etc. She takes out a pen and a piece of pink, girly stationary and starts writing.</dialogue> <character>CINDY</character> <dialogue>I'll also put my number on here. In case you want to call me some time -- if you want.</dialogue> <dialogue>Joel blushes awkwardly, like a junior high school kid.</dialogue> <character>JOEL</character> <dialogue>Um... Okay. Sure.</dialogue> </scene> <scene> <stage_direction>EXT. JOEL'S HOUSE - EVENING</stage_direction> <scene_description>Joel pulls into the driveway and is STARTLED as he practically runs over Nathan, flagging him down. Joel MUTTERS obscenities as he reluctantly stops and rolls down the window.</scene_description> <character>NATHAN</character> <dialogue>Hi there. Almost missed ya. We're thinking of changing services.</dialogue> <character>JOEL</character> <dialogue>Look Nathan, I gotta... Wait, you mean yesterday, don't you?</dialogue> <character>NATHAN</character> <dialogue>Huh?</dialogue> <character>JOEL</character> <dialogue>The new pool cleaner. You saw him yesterday right? Not today.</dialogue> <character>NATHAN</character> <dialogue>No. It was today. The new guy.</dialogue> <character>JOEL</character> <dialogue>What'd he look like?</dialogue> <character>NATHAN</character> <dialogue>Blonde haired kid, about this high, good looking. Real good looking.</dialogue> <character>IN FACT--</character> <dialogue>JOEL</dialogue> <scene_description>You sure it was today? Not yesterday?</scene_description> <character>NATHAN</character> <dialogue>Yeah.</dialogue> <character>JOEL</character> <dialogue>You're absolutely sure? dollars a plate, so that'd be 110 total. There's no tax...</dialogue> <dialogue>Nathan leans up to scratch his back. Joel seizes the opportunity and pulls away, burning a little rubber.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - BEDROOM -- MOMENTS LATER</stage_direction> <scene_description>Joel is on his cell phone, yelling in hushed tones at Brad. He has the door shut so Suzie won't hear him.</scene_description> <character>JOEL</character> <dialogue>What the hell were you doing at my house today?!</dialogue> <scene_description>BRAD (V.0.) Oh, umm... nothing.</scene_description> <character>JOEL</character> <dialogue>Bullshit!</dialogue> <scene_description>BRAD (V.0.) Look, don't worry about it bro'. I won't charge you for this one.</scene_description> <character>JOEL</character> <dialogue>Won't charge me for...? You had sex with my wife again?!</dialogue> <scene_description>BRAD (V.0.) Well, I figured we already did it once, so what's the big deal? I mean, she said to stop by if I was in the neighborhood, so... Besides, I'm not gonna charge you--</scene_description> <character>JOEL</character> <dialogue>Joel slams down the phone. Then realizes it's a cell phone, picks it back up and hits the "End" button.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - LIVING ROOM -- NIGHT</stage_direction> <scene_description>Suzie is asleep on the couch in her sweatpants. Joel walks through, mumbles something about going to a party.</scene_description> </scene> <scene> <stage_direction>INT. JOEL'S CAR -- NIGHT</stage_direction> <scene_description>Joel pulls up to the house where the party is going on. He stays in the car, checking it out. Scanning Joel's POV, we see the band, Godscock, playing in the backyard, with Rory on bass. They are set up on the patio of this small two-bedroom suburban house. Most of the people at the party are crowded around the keg, which is on the other side of the backyard, ignoring the band. The band sounds awful -- loud as hell, unmusical, uninspired. The lead singer sings in that awful Eddie Vedder style, but even more loud and overly dramatic. Rory acts all intense, in stark contrast to the non-intensity of the music. They all have that baggy-shorts tattooed mid-nineties look. It's downright pathetic. There's one drunk guy off to the side banging his head, playing air-guitar and stumbling into the bushes. Joel spots Cindy over by the keg, drinking, mingling. He watches her for a beat, then shakes his head and drives away.</scene_description> </scene> <scene> <stage_direction>INT. SCOREBOARDS SPORTS BAR -- NIGHT</stage_direction> <scene_description>Joel sits at the bar talking to Dean, drinking a beer.</scene_description> <character>JOEL</character> <dialogue>JOEL</dialogue> <scene_description>I guess I didn't really think about it long enough... I just wish it hadn't been so easy for him.</scene_description> <character>DEAN</character> <dialogue>Yeah, I'm tellin' ya, chicks really go wild for that Brad... (Off Joel's look) Sorry.</dialogue> <character>JOEL</character> <dialogue>No, you're right. He may be a stupid, dull-witted moron, but he can get any girl he wants. Me, I had to work for it. I had to work hard, get a career going, take Suzie out a bunch of times, marry her. But not Brad. He gets to waltz into my house and have sex with my wife just like that. Oh, and by the way? That little prick was at my house again today.</dialogue> <character>DEAN</character> <dialogue>No shit? What was he doing?</dialogue> <character>JOEL</character> <dialogue>Take a wild guess.</dialogue> <character>DEAN</character> <dialogue>Wow... You pay a guy to do a job, then he comes back and does it for free.</dialogue> <character>JOEL</character> <dialogue>Oh, I don't know. The same, I guess. Why?</dialogue> <character>DEAN</character> <dialogue>Hmm... So should I get my twenty dollars from Brad then or... Joel shoots Dean an angry look.</dialogue> <character>DEAN</character> <dialogue>We can worry about that later... Look at the bright side, now you can call Cindy.</dialogue> <character>JOEL</character> <dialogue>I don't know... I feel weird about it. Besides, she's at the party, she probably won't be home 'til late.</dialogue> <character>DEAN</character> <dialogue>You know what you need to do?</dialogue> <character>JOEL</character> <dialogue>(rolling his eyes) I don't wanna do drugs Dean.</dialogue> <character>DEAN</character> <dialogue>Look, I know I joke around a lot, but this time I'm serious. (like a doctor)</dialogue> <dialogue>You should try smoking a little pot. It's just an herb, it heals. Stress can kill you, and--</dialogue> <character>JOEL</character> <dialogue>I get paranoid when I smoke pot.</dialogue> <scene_description>Willie? Great guy. Really great guy. (as if it's a positive) He's the guy I got that horse tranquilizer from.</scene_description> <character>JOEL</character> <dialogue>Oh, wonderful.</dialogue> <character>INT. WILLIE'S APARTMENT -- NIGHT</character> <dialogue>WILLIE loads up some kind of giant three-foot tall bong and inhales a massive bong-load. He's a burly ex-football player type who looks like he might have an extra y-chromosome or two. Joel watches Willie, feeling a little uneasy. Dean pontificates.</dialogue> <character>DEAN</character> <dialogue>I've been reading about it -- they're making technological advances now, coming up with great drugs that can make you happy and won't leave you with a hangover or nothin'.</dialogue> <character>WILLIE</character> <parenthetical>(holding in bong-hit)</parenthetical> <dialogue>Right on. Willie finally exhales. The exhale seems to go on way longer than humanly possible, endless amounts of pot-smoke</dialogue> <scene_description>billowing out (accomplished with special FX). He finally hands the bong and lighter to Joel.</scene_description> <character>JOEL</character> <dialogue>Oh, I don't know... I'm kind of a light weight. I think that's too much for me--</dialogue> <character>WILLIE</character> <parenthetical>(still holding out the bong and lighter)</parenthetical> <dialogue>Bullshit.</dialogue> <character>DEAN</character> <dialogue>Come on Joel. Don't worry, this</dialogue> <scene_description>DEAN (CON T-D) He gets paranoid when he gets too stoned. Joel looks at Willie then at Dean, then takes the bong, partly out of being intimidated by Willie.</scene_description> <character>JOEL</character> <dialogue>Ah, what the hell. Willie instructs Joel on the bong usage in the same condescending way a weight-lifting instructor would.</dialogue> <character>WILLIE</character> <dialogue>Okay, now this is a gravity bong. Have you ever used one before?</dialogue> <character>JOEL</character> <dialogue>Umm, I think... no.</dialogue> <character>WILLIE</character> <dialogue>Okay, pay attention. Put your thumb right here on the carburetor. When I pull the plunger up and say, "let go" I want you to let go and inhale hard.</dialogue> <dialogue>Joel's POV: Looking down the barrel of the three-foot bong with macho-man Willie holding the lighter at the bowl.</dialogue> <character>WILLIE</character> <dialogue>Okay exhale!</dialogue> <character>JOEL</character> <dialogue>You know, maybe I should just let</dialogue> <character>YOU GUYS--</character> <dialogue>WILLIE</dialogue> <scene_description>(starting to get scary) Let go! Inhale! NOW! Joel lets go of the carburator, inhales.</scene_description> <character>WILLIE</character> <scene_description>GO! GO! HARDER!!! Joel inhales with all his might, sucking up massive amounts of thick pot smoke as Willie pushes down the plunger.</scene_description> <character>STONER-RIPPLE</character> <scene_description>WILLIE'S APARTMENT -- NIGHT Willie, Dean and Joel sitting around, completely baked -- especially Joel. (We play most of the scene from Joel's stoned, paranoid POV.) Dean makes some kind of barely audible mumble -- or did he?</scene_description> <character>JOEL</character> <dialogue>What? Long pause.</dialogue> <character>DEAN</character> <dialogue>Huh? Joel's POV: looking from Dean to Willie. Willie sits there with red eyes barely open. Willie turns slowly to Joel.</dialogue> <character>WILLIE</character> <dialogue>Huh?</dialogue> <character>JOEL</character> <dialogue>Oh, I thought somebody said something.</dialogue> <dialogue>Joel jumps back, scared shitless. Willie starts laughing his ass off.</dialogue> <character>WILLIE</character> <dialogue>Haaaah ha... The look on your face!</dialogue> <character>(INSANE CACKLE)</character> <dialogue>Man you really do get paranoid when you get stoned.</dialogue> <character>JOEL</character> <dialogue>(fake, timid laugh) Yeah, heh heh...</dialogue> <character>DEAN</character> <dialogue>Hey Joel, why don't you call that chick now?</dialogue> <character>JOEL</character> <dialogue>What time is it?</dialogue> <character>WILLIE</character> <dialogue>Time for you to call her and finally get laid man! (handing him the phone) Come on!</dialogue> <character>DEAN</character> <dialogue>It's twelve thirty. She might be back by now.</dialogue> <character>JOEL</character> <dialogue>Alright. Joel gets the phone number out of his pocket. looking...</dialogue> <character>WILLIE</character> <dialogue>What do you mean by that? Willie stares at Joel for a beat. Joel can't tell if he's offended Willie or not.</dialogue> <character>JOEL</character> <dialogue>Umm... Oh you know,...</dialogue> <character>WILLIE</character> <dialogue>Is she kind of slutty lookin'?</dialogue> <character>JOEL</character> <dialogue>Yeah... Beat. Joel's not sure if that was the right answer either.</dialogue> <character>WILLIE</character> <dialogue>Alright! That's how I like 'em.</dialogue> <character>JOEL</character> <dialogue>Yeah...</dialogue> <character>(UNCOMFORTABLE LAUGH)</character> <dialogue>Kinda nasty, heh heh... Joel starts dialing the number.</dialogue> <character>JOEL</character> <dialogue>I hope I don't wake her up...</dialogue> <character>(LISTENS)</character> <dialogue>It's busy.</dialogue> <character>DEAN</character> <dialogue>Alright. At least you know she's home.</dialogue> <dialogue>Joel hits redial.</dialogue> <character>JOEL</character> <dialogue>Still busy... Man, what kind of person doesn't have call-waiting.</dialogue> <character>WILLIE</character> <dialogue>I don't have call-waiting. I hate call-waiting. Every time I hear that goddamn clicking sound, I wanna put my fist through someone's head.</dialogue> <dialogue>Beat. Once again, Joel doesn't know whether to shit or wind his watch. Willie stares at him, then</dialogue> <character>WILLIE</character> <dialogue>Haaa ha! Man you really do get paranoid when you're stoned... Seriously though, I fuckin' hate call-waiting.</dialogue> <character>JOEL</character> <parenthetical>(NERVOUS CHUCKLE)</parenthetical> <dialogue>Yeah... Willie grabs the phone.</dialogue> <character>WILLIE</character> <dialogue>Here let me dial. You're too stoned.</dialogue> <dialogue>Willie grabs the piece of paper with Cindy's number. He looks at it, starts to dial, then pauses, realizing something.</dialogue> <dialogue>Willie looks up at Joel, with slowly building rage, then hangs up the phone. Beat.</dialogue> <character>JOEL</character> <dialogue>Oh... You're joking right? Trying to make me paranoid?</dialogue> <dialogue>Joel waits for Willie to start cracking up. He doesn't. He just continues glaring at Joel. We hear the FRONT DOOR UNLOCK. Everyone looks. CINDY enters.</dialogue> <character>CINDY</character> <dialogue>Hi. Sorry I'm late, I...</dialogue> <character>(NOTICING JOEL)</character> <dialogue>Joel? What are you doing here...? Willie stands up and walks over to Joel's chair. Dean suddenly stands up.</dialogue> <character>DEAN</character> <dialogue>Well, it looks like you guys got a lot to talk about here so I think I'm just gonna go ahead and take off. Later guys.</dialogue> <dialogue>Dean bolts. Willie moves in closer on Joel. Joel starts to leave, but Willie blocks him.</dialogue> <character>WILLIE</character> <dialogue>Kinda slutty? Willie grabs Joel and throws him against the wall. Joel tries to make a break for the door, but Willie hauls off and punches him across the face. The ass-kicking begins as we</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE -- NIGHT</stage_direction> <scene_description>Joel.</scene_description> <character>SUZIE</character> <dialogue>Oh my God Joel, are you alright? What happened?</dialogue> <character>JOEL</character> <dialogue>I'm fine. I'm fine. I just ah... got my ass kicked. Go back to sleep.</dialogue> <character>SUZIE</character> <dialogue>What? By who? What happened?</dialogue> <character>JOEL</character> <dialogue>It was just... some guy over at Scoreboards.</dialogue> <character>SUZIE</character> <dialogue>Let me drive you to the hospital. You need to get checked out.</dialogue> <character>JOEL</character> <dialogue>No. I'll be fine. I just want to sleep right now, okay?</dialogue> <character>SUZIE</character> <dialogue>You sure you're okay? It looks like your nose is broken, and your</dialogue> <character>EYE--</character> <dialogue>JOEL</dialogue> <character>(AGITATED)</character> <dialogue>Don't worry about it! People get their asses kicked all the time! It's no big deal. Go back to sleep.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLD'S EXTRACT BUILDING - MORNING</stage_direction> <scene_description>Joel walks past his Secretary.</scene_description> <character>SECRETARY</character> <dialogue>Hi Joel. Brian wanted to see you--</dialogue> <character>(NOTICING)</character> <dialogue>Oh my God, what happened? Joel keeps walking, MUMBLES something about falling down</dialogue> <scene_description>some stairs, goes into his office and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE -- CONTINUOUS ACTION</stage_direction> <scene_description>Joel walks over to the window overlooking the production area. He looks down and sees Cindy working, with her back turned. Shakes his head. Brian KNOCKS on the door and enters, looking worried.</scene_description> <character>BRIAN</character> <dialogue>Hi... Did you talk to Step yet?</dialogue> <character>JOEL</character> <dialogue>He isn't returning my calls.</dialogue> <character>BRIAN</character> <dialogue>Shit... We've got problems. He did hire a lawyer -- Joe Adler -- he's that personal injury lawyer you see on all the bus-stop benches. You oughtta see this guy. He's a real piece of shi-- (noticing Joel's face) Oh man, what happened to you?</dialogue> <character>JOEL</character> <dialogue>Oh, I fell down some stairs.</dialogue> <character>BRIAN</character> <dialogue>Damn... Well anyway, I hate to say this, but I think we're screwed. There's no way this Adler guy is gonna settle for anything less then bankrupting us. Says he'll sue us into the stone age.</dialogue> <character>BRIAN</character> <dialogue>Man, everyone's getting hurt. Cindy came in with a black eye today. You hear how she got it?</dialogue> <character>JOEL</character> <dialogue>Ah... no.</dialogue> <character>BRIAN</character> <dialogue>Step did it. Can you believe that?</dialogue> <character>JOEL</character> <dialogue>No he--!</dialogue> <character>(CATCHES HIMSELF)</character> <dialogue>What? Where did you hear that?</dialogue> <character>BRIAN</character> <dialogue>That's what she told Mary.</dialogue> <character>JOEL</character> <dialogue>But... Step? Does he even know her?</dialogue> <character>BRIAN</character> <dialogue>Apparently they've been going out.</dialogue> <character>JOEL</character> <dialogue>What?!</dialogue> <character>BRIAN</character> <dialogue>I know, it's weird. They didn't even meet here. They met at a grocery store or something. Just a total coincidence.</dialogue> <dialogue>Joel looks down at Cindy on the production floor, his mind</dialogue> <character>JOEL</character> <dialogue>Really?</dialogue> <character>BRIAN</character> <dialogue>Yep. And if it's okay with you, I'd like to go ahead and fire Hector.</dialogue> <character>JOEL</character> <dialogue>Fire Hector? What for?</dialogue> <character>BRIAN</character> <dialogue>You know, Mary's purse? Sylvia's wallet? It's gotta be him. Who else could it be?</dialogue> <dialogue>Joel looks down at Cindy with growing suspicion.</dialogue> <character>JOEL</character> <dialogue>No. Don't fire him. Just trust me on this. Give him another week. If anything else is stolen, then you can fire him.</dialogue> <character>BRIAN</character> <parenthetical>(PUZZLED)</parenthetical> <dialogue>Alright. If you say so. Brian looks Joel over.</dialogue> <character>BRIAN</character> <dialogue>Man, are you okay? Have you seen a doctor?</dialogue> <dialogue>Joel's Secretary BEEPS in. I better get this. Brian leaves.</dialogue> <character>JOEL</character> <dialogue>Hello.</dialogue> <character>DEAN</character> <dialogue>Hey man. Sorry I bailed on you like that last night. It's just that I don't like to get involved in other people's personal shit, you know what I mean?</dialogue> <character>JOEL</character> <dialogue>Uh-huh.</dialogue> <character>DEAN</character> <dialogue>I didn't even know Willie had a girlfriend. She must be new. Man, Willie looked pissed.</dialogue> <character>(CHUCKLES)</character> <dialogue>DEAN (CON T'D)</dialogue> <dialogue>I thought he was gonna take a swing at you there for a second.</dialogue> <character>JOEL</character> <dialogue>He did take a swing at me Dean. Several swings. In fact, he beat the living shit out of me.</dialogue> <character>DEAN</character> <dialogue>Wow. Man, that really goes to show you -- this town is smaller than you think. You really gotta be careful. Joel hangs up and walks out of his office, past his Secretary.</dialogue> <character>JOEL</character> <dialogue>I'm not feeling well. I'm going to go home early.</dialogue> <character>INT. JOEL'S CAR -- DAY</character> <dialogue>Joel turns the corner to his house and does a double-take as he sees BRAD'S TRUCK going the opposite direction.</dialogue> <character>JOEL</character> <dialogue>Shit! Joel slams on the brakes, turns around, chases Brad's truck down and cuts him off, forcing him to stop. They both get</dialogue> <scene_description>out of their vehicles. Joel is livid.</scene_description> <character>JOEL</character> <dialogue>What the hell were you doing on my street again?!</dialogue> <character>BRAD</character> <dialogue>Dude, you weren't supposed to be home for another four hours-- Whoa, what happened to your face?</dialogue> <character>JOEL</character> <parenthetical>(trying to improvise a tough, snappy comeback, but can't quite make it WORK)</parenthetical> <dialogue>The same thing that's gonna happen.. Your face is gonna look worse if... GOD DAMMIT! If I ever catch you anywhere near my house or my wife again, I'll have you arrested.</dialogue> <character>BRAD</character> <dialogue>For what? Suzie let me in. Joel is stumped -- Brad actually has a point.</dialogue> <character>JOEL</character> <dialogue>What the hell is wrong with you anyway? Do you do this with all your clients -- just keep coming back and hanging around?</dialogue> <character>BRAD</character> <dialogue>I don't know. This is my first one.</dialogue> <character>JOEL</character> <dialogue>What?! I thought you were a professional!</dialogue> <character>BRAD</character> <dialogue>Look man, I know she's your wife an' shit, but you might as well know -- I think we're in love.</dialogue> <character>JOEL</character> <dialogue>In love?!</dialogue> <character>(COMING UNGLUED)</character> <dialogue>HA! Man are you stupid. You are so goddamn dumb. You think she loves you? You're nothing but a piece of ass to her. That's all.</dialogue> <character>BRAD</character> <dialogue>I don't think so dude.</dialogue> <character>JOEL</character> <dialogue>Oh, you don't think so "dude?" Well did you ever think about this: she doesn't even know that I paid</dialogue> <character>JOEL</character> <dialogue>How about I go home right now and tell her? Tell her you did it for the money. How about that loverboy?</dialogue> <dialogue>Brad suddenly looks worried. This really freaks him out.</dialogue> <character>BRAD</character> <dialogue>You wouldn't do that.</dialogue> <character>JOEL</character> <dialogue>You don't think so? Watch me.</dialogue> <character>BRAD</character> <dialogue>(realizing he's serious) No... Dude, please don't. Please? Joel starts back to his car.</dialogue> <character>BRAD</character> <dialogue>Look man, we really have a special thing going on. Please don't mess it up... Joel stops.</dialogue> <character>JOEL</character> <dialogue>Don't mess it up?! You're talking about my wife! My house! Stupid- ass!</dialogue> <dialogue>Joel gets in his car and starts it.</dialogue> <character>BRAD</character> <dialogue>(calls out to him) Dude, you can't do this to me.</dialogue> <character>JOEL</character> <dialogue>Oh yes I can... Joel peels out, drives half a block and turns into his</dialogue> <character>SUZIE</character> <dialogue>Oh hi. You're home early.</dialogue> <character>JOEL</character> <parenthetical>(COLD)</parenthetical> <dialogue>Hi. Joel walks over to the sliding glass door, looks outside at the pool. It's filthy.</dialogue> <character>JOEL</character> <dialogue>So how was that new pool cleaner? Suzie is caught off guard -- wonders if she's busted -- but she plays it cool.</dialogue> <character>SUZIE</character> <dialogue>Um... What do you mean?</dialogue> <character>JOEL</character> <dialogue>What do you think I mean?... Did he do a good job cleaning the pool?</dialogue> <character>SUZIE</character> <dialogue>Ah... well--</dialogue> <character>JOEL</character> <dialogue>Did he get all the... leaves? It doesn't really look that clean. I mean I'm looking at it, and I'd say it's pretty goddamn filthy. Did the guy even clean it at all? It sure doesn't look like it.</dialogue> <character>SUZIE</character> <dialogue>don't think we should use him anymore.</dialogue> <character>SUZIE</character> <dialogue>Okay.</dialogue> <character>JOEL</character> <dialogue>Okay. Suzie watches Joel leave, a slight look of guilt on her</dialogue> <scene_description>face.</scene_description> <character>SUZIE</character> <dialogue>Are you all right, Joel? You want an aspirin or anything?</dialogue> <character>JOEL</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Quick shot of Joel staring up at the ceiling shaking his head, can't believe all this.</scene_description> </scene> <scene> <stage_direction>EXT. STEP'S HOUSE -- NEXT DAY</stage_direction> <scene_description>In a WIDE SHOT we see Joel's car is parked on the street. He walks up and rings the doorbell. We see Step answer, talk to him and then invite him in.</scene_description> </scene> <scene> <stage_direction>INT. STEP'S HOUSE -- CONTINUOUS</stage_direction> <scene_description>Step and Joel enter. Step's 300 POUND HALF-BROTHER sits on a ratty couch watching TV, drinking a huge plastic bottle of Pepsi. He looks like he's been sitting there for years. The (talking above the TV) Yeah, I don't think so. I would've remembered...</scene_description> <character>STEP</character> <dialogue>This is my half brother Phil. Joel starts to motion "don't get up," then realizes that's not happening anyway. Phil nods.</dialogue> <character>JOEL</character> <dialogue>Hi... Hey Step, can we talk in another room.</dialogue> <character>STEP</character> <dialogue>Sure, let's go out back.</dialogue> </scene> <scene> <stage_direction>EXT. STEP'S HOUSE - BACK YARD -- A LITTLE LATER</stage_direction> <scene_description>Joel and Step sit at a picnic table.</scene_description> <character>STEP</character> <dialogue>You know, my lawyer told me not to talk to you.</dialogue> <character>(BEAT)</character> <dialogue>You're not here to try to talk me out of suing are you?</dialogue> <character>JOEL</character> <dialogue>Oh, no... No, I'm just kind of curious about... ah... So you've been going out with Cindy, huh?</dialogue> <character>STEP</character> <dialogue>Yes sir. She's my girlfriend. We saying you gave Cindy that black eye.</dialogue> <character>STEP</character> <dialogue>What? That ain't true at all.</dialogue> <character>JOEL</character> <dialogue>Yeah, I know it's not.</dialogue> <character>STEP</character> <dialogue>She got it from falling down some stairs.</dialogue> <character>JOEL</character> <dialogue>Hmm... Look, you might wanna be careful with Cindy.</dialogue> <character>STEP</character> <parenthetical>(DEFENSIVE)</parenthetical> <dialogue>What do you mean?</dialogue> <character>JOEL</character> <dialogue>Well, I'm not sure how to put this, but... You know, you got a lot of money coming your way with this settlement. You might wanna be</dialogue> <character>CAREFUL--</character> <dialogue>STEP</dialogue> <scene_description>Oh no. No, she didn't even know about that 'til after we started going out.</scene_description> <character>JOEL</character> <dialogue>tell a girl you just met that you lost one of your balls. Especially a girl as hot as Cindy.</dialogue> <character>JOEL</character> <dialogue>Yeah...</dialogue> <character>(DELICATELY)</character> <dialogue>You know she lives with this guy Willie right?</dialogue> <character>STEP</character> <dialogue>That's her ex. She broke up with him. She's gonna move out. She just needs to get all her stuff outta there.</dialogue> <character>JOEL</character> <dialogue>You sure about that?</dialogue> <character>STEP</character> <dialogue>Oh yeah. She's moving in with me.</dialogue> <character>JOEL</character> <dialogue>Oh. Hmm...</dialogue> <character>STEP</character> <dialogue>Look, I know Cindy's got some problems, but she means well. She's the best thing that ever happened to me.</dialogue> <character>JOEL</character> <dialogue>Well, okay... If you say so. Another thing -- you just might want to watch your back. Some of the guys at work who think you gave Cindy the black eye were talking about paying you a visit -- you know, getting even.</dialogue> <character>STEP</character> <dialogue>Oh. Well I'm not worried about that. (dead-serious, proud)</dialogue> <dialogue>I could kick anyone's ass at that</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S HOUSE - DAY</stage_direction> <scene_description>Brad and Suzie are by the pool which is filthy. Brad starts coming on to Suzie. She pushes him away.</scene_description> <character>SUZIE</character> <dialogue>No Brad, we can't. I'm sorry, but we have to stop doing this.</dialogue> <character>BRAD</character> <dialogue>Why?</dialogue> <character>SUZIE</character> <dialogue>It's not right. I feel horrible. Besides, I think Joel's getting suspicious. And you gotta start cleaning the pool too.</dialogue> <character>BRAD</character> <dialogue>But I've never felt this way about anyone before. And I've been with a lot of chicks.</dialogue> <character>SUZIE</character> <parenthetical>(TURNED OFF)</parenthetical> <dialogue>Uh-huh... Look Brad, the truth is I love my husband. I really do. This was all a big mistake. I'm sorry. I don't know what got into me, but we have to stop this. I want to make my marriage work again. I'm going to tell Joel about the whole thing and just hope he forgives me. And even if he doesn't, at least I won't be carrying around this horrible feeling. I just can't stand that he doesn't know.</dialogue> <character>BRAD</character> <dialogue>Why?</dialogue> <character>SUZIE</character> <dialogue>Because of all the things I just said.</dialogue> <character>SUZIE</character> <parenthetical>(PATIENTLY)</parenthetical> <dialogue>Do you need me to say them again?</dialogue> <character>BRAD</character> <dialogue>Can I see you tomorrow?</dialogue> <character>SUZIE</character> <dialogue>No.</dialogue> <character>BRAD</character> <parenthetical>(PLEADING)</parenthetical> <dialogue>How about next week?</dialogue> <character>SUZIE</character> <dialogue>No. Look, you gotta go Brad. Joel could be home any second.</dialogue> <character>BRAD</character> <dialogue>I'll call you tomorrow.</dialogue> <character>SUZIE</character> <dialogue>(just trying to get rid of</dialogue> <character>(TO HERSELF)</character> <dialogue>God, what a moron.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - DAY</stage_direction> <scene_description>Joel sits deep in his chair, bummed out, staring down at the manufacturing area. Brian walks in.</scene_description> <character>BRIAN</character> <dialogue>So... you ready?</dialogue> <character>JOEL</character> <dialogue>Huh?</dialogue> <character>BRIAN</character> <dialogue>The meeting with Step's lawyer. Or lawyers I should say. It's today remember?</dialogue> <character>JOEL</character> <dialogue>Oh shit... Alright. Joel drags himself out of the chair.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - CONFRENCE ROOM - DAY</stage_direction> <scene_description>JOE ADLER, is holding court with the various lawyers and paralegals waiting for the meeting to start. As promised, he is awful. He looks like Henry Winkler with an extra Y chromosome and a lot of steroids. (Maybe cast Gene Simmons with his hair pulled back in a pony tail.)</scene_description> <character>ADLER</character> <dialogue>.You see, if both his balls had been knocked clean off, he would be he/she freak. But Step. He's still got one ball - barely. He's still a man. A man who's very manhood has been jeopardized, but still a man. And that manhood, that very sense of what you are as a human being is hanging by a thread. Jesus, you can't get more dramatic than that. That brave ball, hanging on for dear life, hanging on for justice, is going to be the hero of this trial. I'm tellin' ya this Step guy is the fuckin' Holy Grail, the Powerball Jackpot. And you all laughed at me when I bought those bus bench ads. But I knew the asses of those poor slobs that sit on those benches and ride those sweaty, stinking, cattle cars are our future. And I -- Joel and Brian walk in.</dialogue> <character>ADLER</character> <dialogue>Oh, hello. I'm Joe Adler... Everybody starts introducing each other.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - EMPLOYEE BREAK ROOM - DAY</stage_direction> <scene_description>A bunch of employees including Mary, Garielle, and Rory are talking, getting worked up.</scene_description> <character>RORY</character> <dialogue>.And when they sell the company, Joel and Brian are gonna be the one's who get rich, and--</dialogue> <character>RORY</character> <dialogue>It's bullshit man. We should get a piece of it. I work my ass off.</dialogue> <character>MARY</character> <dialogue>Gabrielle and I work harder than anybody. I should be making what Brian makes. If you add up all the crates I move, I lift 10,000 pounds a day. Minimum.</dialogue> <character>GABRIELLE</character> <dialogue>That's right. Here he's gonna make a million dollars, and we're the ones who do everything. I went to college. For three years.</dialogue> <character>MARY</character> <dialogue>If we quit, this place couldn't run. They wouldn't be able to sell this place for anything.</dialogue> <dialogue>JIM, a tall skinny 50-something guy with a ridiculously big mustache and a little paunch, chimes in.</dialogue> <character>JIM</character> <dialogue>That's why what we should do is, is we should all go on strike -- demand stock in the company before it sells. If General Mills knew we were on strike, they wouldn't buy this place until the strike was over. That way they'd have to give us stock.</dialogue> <dialogue>Jim points to his head, gives everyone a "how's that" nod. It starts to build steam.</dialogue> <character>RORY</character> <dialogue>That's right man. We should do it. We should strike.</dialogue> <dialogue>That's right. I could get a job at Gemco like that. At Gemco, all the employees are owners -- even says so on the name tags.</dialogue> <character>GABRIELLE</character> <dialogue>Mmm hmm. I could get a job at Southwest Airlines...</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - CONFRENCE ROOM - DAY</stage_direction> <scene_description>The meeting is already in progress. On Adler's side of the table are two other lawyers and a couple of paralegals. On Joel's side it's just he, Brian and Joel's secretary. Maybe one lawyer who doesn't say much. Everybody has in front of them a small stack of documents. The confrence room, like Joel's office, has a full length window facing the manufacturing area.</scene_description> <character>ADLER</character> <dialogue>Ok gentlemen. We've gone through everything and the only way we would even begin to consider a settlement would be to the tune of the number you see on the bottom of page 18. Does everyone have this? Joel and the rest of them find page 18. Joel is stunned by the number.</dialogue> <character>JOEL</character> <dialogue>What!!!? (so pissed he can barely get the words out)</dialogue> <dialogue>We don't have this much money! Not even close!</dialogue> <character>ADLER</character> <dialogue>Not in cash you don't. Of course not. But if you were to sell off your assets: the property lease, the equipment, the--</dialogue> <character>JOEL</character> <dialogue>What the ff-- Are you shitting me!? That would bankrupt us!</dialogue> <character>JOEL</character> <dialogue>If you think I'm just going to give up this entire company that I built from the ground up--</dialogue> <dialogue>Adler jumps up, dripping with phoney, forced indignation.</dialogue> <character>ADLER</character> <dialogue>How about what my client gave up!? His testicles! How about that!? He walks over to the door...</dialogue> <character>ADLER</character> <dialogue>In fact, I'll make a deal with you - - we will drop this case right now if you come over here and put your testicles right here (indicates the space between the door and the</dialogue> <character>HINGES)</character> <dialogue>and let me slam this door like this...</dialogue> <dialogue>Adler SLAMS the door ridiculously hard.</dialogue> <character>ADLER</character> <dialogue>Go ahead. We can settle this right now -- call it even. I will drop this case right now if you let me slam your balls in this door,</dialogue> <scene_description>BECAUSE THAT IS WHAT HAPPENED TO MY CLIENT!</scene_description> <character>JOEL</character> <dialogue>It was an accident!</dialogue> <character>ADLER</character> <dialogue>The employees, same ones in the breakroom, are milling around, talking, the idea of the strike gaining momentum. Rory points up to the confrence room.</dialogue> <character>RORY</character> <dialogue>I heard those guys up there are the guys from General Mills.</dialogue> <dialogue>Employees' POV: Adler pacing around, yelling, Joel yelling back, etc. \[They can't hear any of it.\]</dialogue> <character>MARY</character> <dialogue>Mmm hmm...</dialogue> <character>JIM</character> <dialogue>See, now they're probably up there negotiating right now -- cuttin' up the pie that we baked. That's what it looks like to me.</dialogue> <dialogue>The employees all nod in agreement. Employees POV: Adler pointing at his balls, pointing to the door again, about to slam it. One of his lawyers stops him.</dialogue> <character>RORY</character> <dialogue>We gotta act fast. They could be about to close the deal.</dialogue> <character>JIM</character> <dialogue>Yeah, and leave us out in the cold.</dialogue> <character>RORY</character> <dialogue>Yeah, then it's too late. If they've already sold it we can't get a piece of it. We gotta act fast. We need to do one of those walk outs. never...</dialogue> <dialogue>We PAN around the employees as the idea builds momentum, ending on HECTOR, who looks completely confused by it all.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - CONFRENCE ROOM - CONTINUOUS</stage_direction> <scene_description>The meeting heats up.</scene_description> <character>ADLER</character> <dialogue>Okay then, let me go back to my previous offer: I will gladly come down on that price -- I'll come all the way down to zero and drop this case -- if you go over there right now and slam your testicles in that door! Because--</dialogue> <character>JOEL</character> <dialogue>I don't wanna slam my testicles in the door! I want you to be reasonable! You won't even budge one penny! Come on!</dialogue> <character>ADLER</character> <dialogue>Like I say, if you slam your--</dialogue> <character>JOEL</character> <dialogue>I'll slam your balls in the door!</dialogue> <character>ADLER</character> <dialogue>I'm sorry, did you just threaten me?</dialogue> <dialogue>Brian puts his hand on Joel, motions him to calm down.</dialogue> <character>BRIAN</character> <dialogue>Look, we need to cool off a minute. I don't need this. I'm going home.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - MANUFACTURING AREA - CONTINUOUS</stage_direction> <scene_description>Joel walks down the stairs. The group of employees see him and ready themselves for the big confrontation. Joel notices them all looking at him and stops.</scene_description> <character>JOEL</character> <dialogue>Yeah?... What? But they are ill-prepared. No one knows who should talk first. It's incredibly awkward. They all look at each other and mutter things like, "go ahead" "you first". Finally...</dialogue> <character>RORY</character> <dialogue>Umm... We were just uh...</dialogue> <character>JIM</character> <dialogue>Well, Rory was talking about how you guys are doing this deal with General Mills and we just think that ah... We were considering the idea of ah...</dialogue> <character>RORY</character> <dialogue>Well, we just think that we should maybe get a piece of it, you know cuz we do all the work... And if we don't... um...</dialogue> <dialogue>Joel's in no mood for this. He goes off on them.</dialogue> <character>JOEL</character> <dialogue>You know what? Fine. Fine. You're all in charge -- all of you. (gestures to all the</dialogue> <scene_description>boss! Joel storms out, leaving the employees standing there. A BICKERING MATCH erupts over who was supposed to do the talking, who said they would say what, who backed down first, etc. "I was gonna say something but you interrupted," "You didn't say anything when he was leaving, so I thought you were quitting. I would've stood up to him." As the argument dies down, one by one they all go back to their posts, muttering.</scene_description> <character>INT. JOEL'S HOUSE - KITCHEN - DAY</character> <dialogue>Joel is sitting at the table, picking at some food, looking miserable. Suzie comes over, gathers up her nerve.</dialogue> <character>SUZIE</character> <dialogue>Listen Joel, there's something I have to tell you. I think we need to be honest with each other. Suzie sits down.</dialogue> <character>SUZIE</character> <dialogue>I'm not sure how to say this, but -- well, you've been so caught up in you're work lately, and I'm here alone all day and sometimes I just--</dialogue> <character>JOEL</character> <dialogue>You banged the pool cleaner.</dialogue> <character>SUZIE</character> <dialogue>Wha... Suzie is stunned.</dialogue> <character>JOEL</character> <dialogue>Yes I knew. I hired him.</dialogue> <character>SUZIE</character> <dialogue>Well I know you hired him, but how did you know about--</dialogue> <character>JOEL</character> <dialogue>I don't mean I hired him to clean the pool, I mean I hired him to have sex with you.</dialogue> <character>SUZIE</character> <dialogue>What?</dialogue> <character>JOEL</character> <dialogue>He's a gigolo Suzie. Suzie is stupefied.</dialogue> <character>SUZIE</character> <dialogue>But... what... Why? Joel is so fed up, he just tells her everything.</dialogue> <character>JOEL</character> <dialogue>I hired him to have an affair with you so that I could have an affair without feeling guilty. I was really drunk and on some kind of horse tranquilizer and--</dialogue> <character>SUZIE</character> <dialogue>Brad was getting paid?... (disbelief, hurt)</dialogue> <dialogue>So you've been paying Brad this whole time? All fifteen times?! I only paid him once -- well, twice. The rest was on the house.</dialogue> <dialogue>Long beat as Suzie tries to let it all sink in.</dialogue> <character>SUZIE</character> <dialogue>You wanted to have an affair with another woman?</dialogue> <character>JOEL</character> <dialogue>Yes. But I didn't. Suzie paces around for a moment, reeling, processing all this. Then, decisively,</dialogue> <character>SUZIE</character> <dialogue>You asshole.</dialogue> <character>JOEL</character> <dialogue>Oh, I'm the asshole?</dialogue> <character>SUZIE</character> <dialogue>Yes! How could you?</dialogue> <character>JOEL</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>How could I? How could you?!!! You didn't have to have sex with him. You could've simply said "No thanks. Just clean the pool," but you didn't, did you?! No, you took him up on his little offer and had sex with him -- fifteen times!</dialogue> <character>SUZIE</character> <dialogue>None of this would've happened if you hadn't hired him.</dialogue> <dialogue>prostitute to seduce you. But if you had simply been faithful, none of this would've happened.</dialogue> <dialogue>Suzie just looks at him for a beat.</dialogue> <character>SUZIE</character> <dialogue>You're sick, you know that? Beat. Joel can't really argue this point.</dialogue> <character>JOEL</character> <dialogue>What do you see in Brad anyway? He's borderline retarded. You probably could've been arrested for having sex with a guy that dumb.</dialogue> <character>SUZIE</character> <dialogue>That's it. I'm leaving. Suzie heads for the door. Joel follows after her.</dialogue> <character>JOEL</character> <dialogue>No. You're not leaving me. I'm leaving you!</dialogue> <character>SUZIE</character> <dialogue>Fine. Joel opens the door, about to storm out, only to find NATHAN, standing right there about to ring the doorbell.</dialogue> <character>NATHAN</character> <dialogue>Oh, hey guys. Glad I caught ya. You guys hardly ever answer the door. Heh heh.</dialogue> <dialogue>They are both so flustered, they can barely talk.</dialogue> <character>SUZIE</character> <dialogue>Now's not a good time Nathan. Joel turns around, storms off back into the house.</dialogue> <character>NATHAN</character> <dialogue>Oh, you guys goin' somewhere? No. Look, we can't talk right now.</dialogue> <character>NATHAN</character> <dialogue>Well, you think I could go ahead and get that check from ya then? I'm just trying to balance my checkbook here...</dialogue> <character>SUZIE</character> <dialogue>Now's not a good time.</dialogue> <character>NATHAN</character> <dialogue>When would be a good time, you think?</dialogue> <character>SUZIE</character> <dialogue>I don't know.</dialogue> <character>NATHAN</character> <dialogue>See the thing is--</dialogue> <character>SUZIE</character> <dialogue>Okay tomorrow.</dialogue> <character>NATHAN</character> <dialogue>Great, what time?</dialogue> <character>SUZIE</character> <dialogue>I don't know. Just come by tomorrow. I can't talk now.</dialogue> <character>NATHAN</character> <dialogue>Okay great. And if you could just go ahead and have that check, that'd be great. It's a hundred and ten. That's two plates at</dialogue> <character>FIFTY-FIVE--</character> <dialogue>SUZIE</dialogue> <scene_description>Yeah, Okay... Suzie shuts the door, cutting him off.</scene_description> </scene> <scene> <stage_direction>EXT. EXTENDED STAY AMERICA SUITES -- DAY</stage_direction> <scene_description>Joel checks into an Extended Stay America hotel.(a chain of He turns on Spectravision and surfs the Adult titles, decides he's not into it and switches back to regular TV only to find American Idol is on. He stares at it for a beat, then flops down on the bed and stares at the ceiling.</scene_description> </scene> <scene> <stage_direction>INT. SCOREBOARDS SPORTS BAR -- NIGHT</stage_direction> <scene_description>Joel sits at the bar, drowning his sorrows. Dean is over by the cash register, tending to some business. Brad enters, walks over to Joel. Joel looks the other way.</scene_description> <character>BRAD</character> <dialogue>Hey man... I know you probably want to kick my ass, but--</dialogue> <character>JOEL</character> <dialogue>I couldn't kick your ass if I wanted to. You're a good 10 years younger than me, and I'm a pussy. So why don't you just leave me alone.</dialogue> <character>BRAD</character> <dialogue>I just wanted to tell you, I'm not gonna see Suzie anymore. You don't have to worry. Joel keeps drinking his beer, stares straight ahead.</dialogue> <character>BRAD</character> <dialogue>The last time I was over there, she broke it off; told me to quit coming over... She said she was gonna tell you everything -- you know, about us. She's really into you dude. I guess that's why she married you an' shit... You're a lucky guy... Sorry if I messed shit</dialogue> <scene_description>want.</scene_description> <character>BRAD</character> <dialogue>Yeah, but I want Suzie. And I can't have her.</dialogue> <character>JOEL</character> <dialogue>You had her fifteen times.</dialogue> <character>BRAD</character> <dialogue>Yeah, but she doesn't love me dude. It's just not the same... Anyway, just wanted to tell you that.</dialogue> <character>JOEL</character> <dialogue>Well... You told me.</dialogue> <character>BRAD</character> <dialogue>Alright, later... Brad starts to leave. Then he stops, turns around.</dialogue> <character>BRAD</character> <dialogue>Oh, one more thing... I quit my landscaping job... And I don't think I'm really cut out to be a gigolo. So I was wondering if you had any openings over there at your extract place?</dialogue> <character>JOEL</character> <parenthetical>(EXASPERATED SIGH)</parenthetical> <dialogue>Brad, you had sex with my wife. I'm not gonna give you a job, okay?</dialogue> <character>BRAD</character> <dialogue>Brad stops.</dialogue> <character>BRAD</character> <dialogue>Yeah?</dialogue> <character>JOEL</character> <dialogue>I don't know... Maybe come by the office tomorrow. Fill out an application. I'll see what I can do.</dialogue> <character>BRAD</character> <dialogue>Cool. Thanks man.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - NEXT DAY</stage_direction> <scene_description>Brian sits with Joel. They both look pretty miserable. Brian looks down at some papers, shaking his head.</scene_description> <character>BRIAN</character> <dialogue>We're screwed. General Mills has pretty much withdrawn the offer pending a really favorable settlement with Step. (shaking his head)</dialogue> <dialogue>Not only do we not sell the company, we could wind up bankrupt.</dialogue> <character>JOEL</character> <dialogue>(muttering to himself) So I don't sell the company, don't get the money, I'm bankrupt, I don't get Cindy, I paid a guy to have sex with my wife, and she actually did it...</dialogue> <dialogue>Suzie is trying to clean the pool herself, struggling with the long pole with the net at the end. She looks miserable.</dialogue> <scene_description>NATHAN (O.S.) Hello? Nathan enters through the back gate.</scene_description> <character>SUZIE</character> <parenthetical>(MUTTERS)</parenthetical> <dialogue>Shit... Nathan walks over to Suzie. She's in no mood for this. She acts as unfriendly as possible.</dialogue> <character>NATHAN</character> <dialogue>Why are you cleaning the pool yourself? That new guy didn't work out?</dialogue> <character>SUZIE</character> <dialogue>Yeah, didn't work out.</dialogue> <character>NATHAN</character> <dialogue>Boy, you just can't get good help, eh?</dialogue> <character>SUZIE</character> <dialogue>Yeah.</dialogue> <character>NATHAN</character> <dialogue>So, did you get a chance to write that check?</dialogue> <character>SUZIE</character> <dialogue>me that before I went and bought the tickets.</dialogue> <character>SUZIE</character> <dialogue>Joel never agreed to this Nathan, and neither did I.</dialogue> <character>NATHAN</character> <dialogue>Well, it sure sounded like you guys were going. Leslie was gonna talk to you about it, but you didn't return our calls. I mean, I already bought these tickets. They're nonrefundable. I really wish you guys had been a little more clear with me...</dialogue> <dialogue>It's the last straw. Suzie has had enough. She unleashes all her pent-up aggression on Nathan.</dialogue> <character>SUZIE</character> <dialogue>Okay, let me be really clear with you then. When we say "I don't think so," or even "I'm not sure," that means "no." Why can't you understand that?</dialogue> <character>NATHAN</character> <dialogue>Well, I just--</dialogue> <character>SUZIE</character> <dialogue>Shut up! In fact, let me be even more clear with you. We don't like you! Is that clear enough? You're dull, you never shut up, you never listen, and we don't want anything to do with you ever again!</dialogue> <scene_description>Nathan?! Is that...? Nathan starts to go into some kind of seizure.</scene_description> <character>SUZIE</character> <parenthetical>(WORRIED)</parenthetical> <dialogue>Nathan? Nathan's eyes roll back into his head, and he collapses. Suzie SCREAMS.</dialogue> </scene> <scene> <stage_direction>EXT. EXTENDED STAY AMERICA SUITES -- NIGHT</stage_direction> <scene_description>Joel pulls into the parking lot. He looks surprised, seeing something on the other side of the lot that gets his attention.</scene_description> <character>JOEL</character> <parenthetical>(TO HIMSELF)</parenthetical> <dialogue>No way... From JOEL'S POV, we see Cindy pull up and get out of her</dialogue> <scene_description>car. Joel watches as she gets out with a grocery bag and heads up the stairs. Joel gets out and watches her from a distance. He sees her go into a room and shut the door. He stares up at the door for a beat. Then, with a look of determination, Joel walks up the stairs and knocks on her door.</scene_description> </scene> <scene> <stage_direction>INT. CINDY'S ROOM -- CONTINUOUS ACTION</stage_direction> <scene_description>Cindy opens the door, a little startled to see Joel, but pleasant to him.</scene_description> <character>CINDY</character> <dialogue>Oh... Joel. I ah,...</dialogue> <scene_description>you know I was here?</scene_description> <character>JOEL</character> <dialogue>Ah, actually, I'm staying here too. Down on the first floor, around the back. I thought I saw you so I ah...</dialogue> <character>CINDY</character> <dialogue>Well, come in. Joel enters, stands in the living room. Cindy heads in to the kitchen.</dialogue> <scene_description>CINDY (O.S.) Do you want something to drink? I think all I have is Diet Coke. Joel notices MARY'S PURSE lying on the coffee table. He stares at it.</scene_description> <character>JOEL</character> <dialogue>No thanks. Cindy comes back in with a Diet Coke.</dialogue> <character>CINDY</character> <dialogue>Have a seat. Joel remains standing, looking at the purse.</dialogue> <character>JOEL</character> <dialogue>That's Mary's purse... Isn't it?</dialogue> <character>CINDY</character> <dialogue>What?</dialogue> <character>JOEL</character> <dialogue>Right there. That's Mary's purse.</dialogue> <character>CINDY</character> <dialogue>Oh that? No, that's mine... So how are things at work?</dialogue> <character>JOEL</character> <dialogue>That's Mary's purse. You stole it, didn't you? Cindy acts like he's being silly. There's nothing about her demeanor that would make anybody think she's lying.</dialogue> <character>CINDY</character> <dialogue>No. It probably just looks like it. There's a lot of those.</dialogue> <character>JOEL</character> <dialogue>I've never seen another one. You probably have Sylvia's wallet in here somewhere too, don't you? And everything else that's been stolen from my employees.</dialogue> <character>CINDY</character> <dialogue>Joel, are you okay?</dialogue> <character>JOEL</character> <dialogue>No, I'm not. That's Mary's purse Goddammit! Okay? Everyone blamed Hector. He almost got fired. Doesn't that bother you?</dialogue> <character>CINDY</character> <dialogue>(innocent, sweet) Joel, I don't know what you're--</dialogue> <character>JOEL</character> <dialogue>Hector! Hard working guy, never did anything wrong. And what are you doing with Step? You're trying to screw him out of his settlement money aren't you?</dialogue> <character>CINDY</character> <dialogue>I have no idea what you're talking about.</dialogue> <character>JOEL</character> <dialogue>Yes you do! You're the only reason he's suing us aren't you? You know how much work it took for me to build up that company? You just don't care about anybody do you? What are you, some kind of do it.</dialogue> <character>JOEL</character> <dialogue>In fact, you probably can't tell the truth about much of anything, can you?...</dialogue> <dialogue>Cindy turns away from him, looking down at the floor.</dialogue> <character>JOEL</character> <dialogue>I bet Cindy's not even your real name is it? Who are you? Where the hell are you from?</dialogue> <dialogue>Cindy, still looking away, doesn't answer.</dialogue> <character>JOEL</character> <dialogue>You can't answer can you? Because if you said one true thing, you'd have to tell the truth about something else and then it would all unravel wouldn't it? Then</dialogue> <dialogue>you'd have to admit that you stole this purse and God knows what else.</dialogue> <dialogue>Beat. Cindy still looking away, down at the floor. We see her eyes well up, about to cry, but Joel doesn't notice.</dialogue> <character>JOEL</character> <parenthetical>(COMPOSES HIMSELF)</parenthetical> <dialogue>Well, I'm leaving now. Joel picks up the purse.</dialogue> <character>JOEL</character> <dialogue>And I'm taking this purse with me. If it really is yours, you can call</dialogue> <character>CINDY</character> <dialogue>Please don't... Joel stops.</dialogue> <character>JOEL</character> <dialogue>What?</dialogue> <character>CINDY</character> <dialogue>(still looking down) Please don't report it to the police. I'm on probation. I'll go to jail. For a long time.</dialogue> <character>JOEL</character> <dialogue>Well... Maybe you should've thought about that before you started ripping off my employees. Joel starts to open the door.</dialogue> <character>CINDY</character> <dialogue>Joel? Please? I'll leave Step alone. I promise. He'll drop the lawsuit.</dialogue> <dialogue>Joel considers this.</dialogue> <character>JOEL</character> <dialogue>How do I know that?</dialogue> <character>CINDY</character> <dialogue>You can keep the purse. If I don't leave him alone; if he doesn't drop the lawsuit, then you can report me. Please? Beat.</dialogue> <dialogue>Well... Okay then. I guess that works.</dialogue> <character>(REALIZING)</character> <dialogue>And I guess you just admitted that you stole the purse. That's good, I guess... A step in the right direction...</dialogue> <dialogue>Joel sits down on the couch also. With her head still down, Cindy is weeping quietly. Joel doesn't notice, looking straight ahead.</dialogue> <character>JOEL</character> <dialogue>So what's your deal anyway?... I mean, how did you end up like this?</dialogue> <dialogue>Joel finally looks over, notices that she's crying. He's caught off guard.</dialogue> <character>JOEL</character> <dialogue>.Ah... Cindy? Cindy breaks down and starts bawling.</dialogue> <character>JOEL</character> <dialogue>Okay, now you see... that's what I'm talking about. You're trying to manipulate me now, and I'm not gonna fall for it...</dialogue> <dialogue>Cindy starts bawling even harder.</dialogue> <character>JOEL</character> <dialogue>I really hope you're not faking this right now, because I'm feeling really bad. Are you faking it? Cindy shakes her head "no." or</dialogue> <scene_description>comfort her in any way.</scene_description> <character>JOEL</character> <dialogue>Never mind. I'm sorry... Joel tentatively puts a comforting arm around her and she leans in to him, crying on his chest. He puts his other arm around her and she snuggles in even closer. As her crying gradually subsides she snuggles in even more. Finally, she lifts her head and they start kissing. As they get hot and heavy we</dialogue> </scene> <scene> <stage_direction>EXT. EXTENDED STAY AMERICA SUITES -- MORNING</stage_direction> <scene_description>Wide shot of the Hotel. It's a beautiful morning.</scene_description> </scene> <scene> <stage_direction>INT. CINDY'S ROOM - DAY</stage_direction> <scene_description>Joel wakes up, looking more relaxed than we've ever seen him. We PULL OUT to reveal that he's alone in Cindy's bed. He sits up, yawns. He has a big satisfied smile on his face.</scene_description> <character>JOEL</character> <dialogue>Cindy? He looks around, realizes he's alone. Then suddenly looks worried.</dialogue> <character>JOEL</character> <dialogue>Oh shit! He scrambles for his pants, then looks relieved as he realizes his wallet is still there. He sets down the pants, then after a beat, picks them up again, checks inside the wallet and sees there's still cash and credit cards. Then he</dialogue> <scene_description>Extract bottles moving along the assembly line full steam. Mary and Gabriella gossiping.</scene_description> <character>MARY</character> <dialogue>(looks at her watch) Joel hasn't been in all morning. can you believe that?</dialogue> <character>GABRIELLE</character> <dialogue>If we come in late, we get fired. And here we're working our tails off, and he's gonna get rich.</dialogue> <dialogue>Joel walks in, bright-eyed and cheery, greeting people. He walks over to Mary carrying her PURSE.</dialogue> <character>JOEL</character> <dialogue>Here you go Mary.</dialogue> <dialogue>Joel hands her the purse. Mary looks at it, not quite sure how to react, not ever wanting to appear grateful for anything -- not in her nature.</dialogue> <character>JOEL</character> <dialogue>And by the way, Hector didn't take it. Cindy did.</dialogue> <dialogue>Joel walks off. Mary just shakes her head at him. She whispers to Gabriella.</dialogue> <character>MARY</character> <dialogue>Can you believe that? Blaming Cindy just to protect Hector.</dialogue> </scene> <scene> <stage_direction>INT. JOEL'S OFFICE - DAY</stage_direction> <scene_description>Joel is at his desk. Brian comes in.</scene_description> <character>BRIAN</character> <dialogue>No, he's outside. At the loading dock. Wants to talk to you alone back there for some reason.</dialogue> <character>(CRUDE IMMITATION)</character> <dialogue>"Man to man."</dialogue> </scene> <scene> <stage_direction>EXT. REYNOLDS EXTRACT - LOADING DOCK</stage_direction> <scene_description>Step is pacing around, waiting. Joel comes out.</scene_description> <character>JOEL</character> <dialogue>Hi Step...</dialogue> <character>STEP</character> <dialogue>Hey.</dialogue> <character>JOEL</character> <dialogue>How you doin'? How's your, ah...</dialogue> <character>STEP</character> <dialogue>(looking down at his</dialogue> <character>CROTCH)</character> <dialogue>Oh it's okay. Some days it still hurts, but they've got me on some pills. It's not too bad I guess...</dialogue> <character>JOEL</character> <dialogue>Well... that's good. They both sit down on the edge of the dock.</dialogue> <character>STEP</character> <dialogue>Look, ah... Cindy left me. Joel's nods, not surprised, but sympathetic. my balls knocked off, but you know what the worse part is? Dealin' with all this bullshit... I'm sick of that Adler guy tellin' me what to do. He's a real dick.</dialogue> <character>JOEL</character> <dialogue>Yeah, he sure is.</dialogue> <character>STEP</character> <dialogue>The truth is, I just want to have my old life back -- I just want to go back to work. I'm a workin' man; that's what I do.</dialogue> <character>JOEL</character> <dialogue>Yeah... I'm beginning to think I might be the same way... I'm a little worried about what I'd do with too much time on my hands.</dialogue> <character>STEP</character> <dialogue>I just lay around and watch TV all day.</dialogue> <character>JOEL</character> <dialogue>Yeah,... I think I do a lot worse.</dialogue> <character>STEP</character> <dialogue>The problem is, if I bankrupt the company, there won't be a job to go back to.</dialogue> <character>JOEL</character> <dialogue>You don't have to bankrupt the company.</dialogue> <character>JOEL</character> <dialogue>Well, maybe I don't have to sell the company... You know I've been thinking; all these years I've been building this company, dreaming about the day I could sell it and retire, but what would I really do if I retired? It's like that old saying -- it's not about the destination, it's about the journey?</dialogue> <dialogue>Step just stares at him blankly, he lost him.</dialogue> <character>JOEL</character> <dialogue>I guess what I'm saying is, too much free time might not be such a good thing -- like that old saying, idle hands are the Devil's playground?</dialogue> <dialogue>Step's never heard that one either.</dialogue> <character>STEP</character> <dialogue>I'm sorry, I don't do much book readin'.</dialogue> <character>JOEL</character> <dialogue>What I'm saying is, I'm thinking maybe I won't sell the company...</dialogue> <character>STEP</character> <dialogue>Really?</dialogue> <character>JOEL</character> <dialogue>that is, if you dropped the lawsuit. -- and remember, you'll still get that insurance money -- probably a couple hundred thousand. What do you think?</dialogue> <character>STEP</character> <dialogue>Hmm. That sounds fair... But under one condition...</dialogue> <character>JOEL</character> <dialogue>What's that?</dialogue> <character>STEP</character> <dialogue>You make me floor manager.</dialogue> <character>JOEL</character> <dialogue>Deal. They shake hands.</dialogue> </scene> <scene> <stage_direction>INT. REYNOLDS EXTRACT - MANUFACTURING AREA</stage_direction> <scene_description>Joel walks in with Step at his side. Addresses the employees.</scene_description> <character>JOEL</character> <dialogue>Hold the line! Mary shuts off the conveyer belt.</dialogue> <character>JOEL</character> <dialogue>Okay, listen up everybody. (Waits for them to settle) I've decided not to sell the company...</dialogue> <dialogue>Gasps and murmurs among the employees.</dialogue> <character>JOEL</character> <dialogue>And I'm making Step the new Floor Manager.</dialogue> <dialogue>More gasps and murmurs.</dialogue> <character>JOEL</character> <dialogue>And if anyone doesn't like it, I hear they're hiring over at Gemco... But just remember, at Gemco, the owner doesn't know your names; you never even meet him, he's at an office up in Chicago somewhere and you get an auto- response if you try to email him to complain about anything. Here, you can come up to my office any time you have a problem. Thanks.</dialogue> <dialogue>Joel walks off. Brian catches up with him.</dialogue> <character>JOEL</character> <dialogue>It's about the journey Brian. The journey.</dialogue> <dialogue>ANGLE on Mary. She and Gabrielle start right back up.</dialogue> <character>MARY</character> <dialogue>You know, if Joel's going to put him in charge, we should go on strike. You know, at Gemco, the union handles the strikes and you don't even have to--</dialogue> <dialogue>PULL OUT as Step cuts her off.</dialogue> <character>STEP</character> <dialogue>Quit yapping and get back to work or you're fired.</dialogue> <dialogue>Step walks off -- maybe pops a testosterone pill. Mary and Gabrielle keep muttering and shaking their heads.</dialogue> <dialogue>LONG PULL OUT as things get back to normal at the factory.</dialogue> </scene> <scene> <stage_direction>INT. CHAPEL - DAY</stage_direction> <scene_description>We are CLOSE ON NATHAN, in a coffin, embalmed. We PULL OUT to see mourners lined up, taking a last look at the body. Joel is among them. He looks down at Nathan for a moment and then continues to his seat. A few rows back, we see SUZIE, sitting by herself, dressed in black.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Quick shot of Nathan's casket being lowered into the ground as the priest says the last few words.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - A LITTLE LATER</stage_direction> <scene_description>People hug and console each other. Joel sees Suzie, walks over to her.</scene_description> <character>JOEL</character> <dialogue>I heard you were right there when it happened. That must've been rough.</dialogue> <character>SUZIE</character> <dialogue>It was horrible Joel. He came over to ask for that check, and I just...</dialogue> <dialogue>Suzie breaks down, starts CRYING.</dialogue> <character>SUZIE</character> <dialogue>.I just lost it. I started yelling at him. I said horrible things. He had an aneurism and I probably caused it.</dialogue> <character>(CRYING UNCONTROLLABLY)</character> <dialogue>I think the last thing I said to him was "shut up." Those were the last words he heard. Joel hugs her, consoling.</dialogue> <character>JOEL</character> <dialogue>It's okay, it's not your fault... It's not your fault.</dialogue> <dialogue>Suzie's crying subsides a little.</dialogue> <character>SUZIE</character> <dialogue>It could happen to any of us Joel. Any of us could have an aneurism. We could die at any moment.</dialogue> <character>JOEL</character> <dialogue>Yeah, I know... I know... But we probably won't. It'll be alright. Beat. Suzie still sniffling a little.</dialogue> <character>SUZIE</character> <dialogue>Yeah, okay. Sure.</dialogue> <dialogue>They walk off towards the cemetery gates. After a while, Joel hands Suzie a Kleenex.</dialogue> <character>JOEL</character> <dialogue>Here...</dialogue> <character>SUZIE</character> <dialogue>Thanks. They walk a little further. Joel looks at the Chapel nearby.</dialogue> <character>JOEL</character> <dialogue>Maybe we should've been married in a Church like that one. Instead of the Botanical Gardens.</dialogue> <character>SUZIE</character> <dialogue>I thought you liked the Botanical Gardens?</dialogue> <character>JOEL</character> <dialogue>Yeah, but... a church just seems more -- I don't know -- official.</dialogue> <character>SUZIE</character> <dialogue>You think it would've made a difference?</dialogue> <character>JOEL</character> <dialogue>I don't know... So, are we still married?</dialogue> <character>SUZIE</character> <dialogue>Hmmm... We can talk about it I suppose.</dialogue> <character>JOEL</character> <dialogue>Alright. They walk for a beat.</dialogue> <character>JOEL</character> <dialogue>You know, this is really bad, but... Oh never mind.</dialogue> <character>SUZIE</character> <dialogue>What?</dialogue> <character>JOEL</character> <dialogue>Well, as I was looking down at Nathan there, I was thinking... That's the longest I've ever seen him with his mouth shut.</dialogue> <dialogue>Suzie LAUGHS in spite of herself.</dialogue> <character>SUZIE</character> <dialogue>Joel! They walk off into the distance as we</dialogue> <scene_description>FADE OUT.</scene_description> <character>THE END</character> </scene> </script>

Joel Reynolds is the owner and founder of Reynolds Extract, a flavoring extracts company. Although his business is successful, his marriage lacks passion. He is also often accosted by his annoying neighbor, Nathan. One day, a series of mishaps occur at the extract factory, resulting in an employee, Step, losing a testicle. Cindy, a con artist, reads a news story about the accident. Hatching a get-rich-quick scheme, she gets a temporary job at the factory, manipulating Joel into giving her more information about Step. She also begins a series of petty thefts from her co-workers, who openly accuse each other of the thefts. Although Step initially decides not to sue the company, he changes his mind after a meeting with Cindy, which she sets up in order to meet and flirt with him. Under Cindy's influence, Step hires attorney Joe Adler. Joel, mistaking Cindy's manipulations for genuine attraction to him, entertains the idea of an affair with her; however, he still loves his wife, and wants to avoid actions that would leave him with regrets later. While visiting his friend Dean and complaining about his situation, Dean suggests that Joel hire a gigolo to seduce his wife, so that Joel can then have a guilt-free "revenge" affair. Joel initially balks at the idea; but, after his judgment is impaired after ingesting a ketamine tablet that Dean mistakenly told him was Xanax, Joel agrees. The friends hire Brad to seduce his wife, Suzie, into an affair, while posing as the pool cleaner. The next morning, Joel sobers up, realizes what he has done, and tries to stop Brad from going to his house; by then, Brad and Suzie have already begun an affair. Brad falls in love with Suzie and wants to run away with her. After smoking marijuana with Dean and his friend Willie, Joel attempts to call Cindy, but soon realizes that he is calling Willie's number. Just then, Cindy walks into the apartment. Willie discovers Joel's intentions, and punches Joel in the face. Joel meets with Adler and his associates to discuss the terms of the settlement for Step. The workers, believing that the meeting is about a buy-out of the factory by General Mills, organize a strike. Frustrated by Adler's uncompromising negotiating style and the growing disrespect from his employees, Joel storms out and goes home—where Suzie admits her affair with Brad. Joel admits to Suzie that he hired Brad to do it, then leaves after arguing with his wife. Joel moves into a motel, where he spots Cindy, staying in another room. When he goes to her room, he notices a purse stolen from one of his employees, along with other stolen items, and realizes that Cindy is not only a thief, but is also behind many of the company's problems. Joel threatens to call the police, but softens when Cindy breaks down in tears. Cindy promises to talk to Step and get him to drop the lawsuit. Ultimately, the two spend the night together. The next morning, Cindy disappears, but leaves the stolen items behind. Step meets with Joel at the factory, where he offers to drop the lawsuit if Joel promotes him to floor manager. Meanwhile, Nathan stops by Joel's house again, making Suzie lose her temper and finally tell him what she really thinks of him. Just as she finishes her tirade, he collapses and dies; feeling guilty, Suzie attends the funeral, where she runs into Joel. After an awkward moment, the two agree to share a ride. It is revealed that Cindy has stolen Adler's luxury car, leaving him Step's truck in its place.

Home Alone_1990

tt0099785

<script> <scene /> <scene> <stage_direction>........</stage_direction> <character>€�</character> <dialogue>HOMEALONE</dialogue> <scene_description>r</scene_description> <character>FOURTHDRAFT</character> <dialogue>January 17, 1990</dialogue> <character>REVISED-BLUE</character> <dialogue>REVISED2/2/90</dialogue> <character>2/2/90</character> <dialogue>-</dialogue> <character>1</character> <dialogue>A big, old, three-story brick house in a small Chicago suburb. Three days before Christmas. decorations on the house and the surrounding</dialogue> <character>EXT. BOUSE- EVENING</character> <dialogue>There are lights houses.</dialogue> <character>2</character> <dialogue>OMITTED</dialogue> <character>3</character> <dialogue>A uniformed POLICE OFFICER is standing here. Paunchy.</dialogue> <character>INT. BOUSE- FOYER- NIGHT.</character> <dialogue>Middle-aged. He's standing alone trying to catch the attention</dialogue> <scene_description>of passing adults and children who cross the foyer, go up and down the stairs and in and out of the house carrying clothing, luggage, toiletries and wrapped Christmas gifts.</scene_description> <character>POLICE OFFICER</character> <dialogue>Excuse me••• May I ... ? Is your mother home?</dialogue> <scene_description>I~ 4 OMITTED</scene_description> <character>4A INT. MASTERBEDROOM</character> <dialogue>- NIGHT</dialogue> <scene_description>KATEMcCALLISTERis talking on the phone and packing a suitcase. She's handsome and energetic, in her early forties. Still dressed from work.</scene_description> <character>KATE</character> <dialogue>I don't want any calls. I'm not going to France so I can spend the holidays on the phone.</dialogue> <scene_description>KEVIN McCALLISTERenters. He's seven.</scene_description> <character>KEVIN</character> <dialogue>Mom? Uncle Frank won't let me watch the movie but the big kids can. Why can't I?</dialogue> <character>KATE</character> <dialogue>Kevin. I'm on the phone.</dialogue> <character>KEVIN</character> <parenthetical>(insistent)</parenthetical> <dialogue>It's not even an "R". Be's just being a jerk.</dialogue> <character>KATE</character> <parenthetical>(to the phone)</parenthetical> <dialogue>Excuse me.</dialogue> <parenthetical>(to Kevin)</parenthetical> <dialogue>If Uncle Frank says, no. I say no.</dialogue> <scene_description>Kevin flops down on the bed.</scene_description> <character>KATE</character> <dialogue>Get off there.</dialogue> <parenthetical>(to the phone)</parenthetical> <dialogue>I'm sorry. say that again.</dialogue> <parenthetical>(to Kevin)</parenthetical> <dialogue>Get out of here!</dialogue> <character>KEVIN</character> <dialogue>Hang up the phone and make me, why don't you?</dialogue> <scene_description>Her husband, PETER, comes out of the bathroom with his electric razor. He's 40, good-looking, easygoing.</scene_description> <character>PETER</character> <dialogue>Kate? Where's the voltage adaptor thing?</dialogue> <character>KATE</character> <dialogue>1~· I didn't have time to pick one up.</dialogue> <scene_description>'·</scene_description> <character>PETER</character> <dialogue>How am I going to shave?</dialogue> <character>KEVIN</character> <dialogue>Dad. Nobody'll let me do anything.</dialogue> <character>PETER</character> <dialogue>I'll let you do something. Pick up your MicroMachines. stepped on one and almost fell down.</dialogue> <character>I</character> <dialogue>! Aunt Leslie</dialogue> <character>KATE</character> <parenthetical>(covering the phone)</parenthetical> <dialogue>And he was in the garage again. Playing with the glue gun.</dialogue> <character>PETER</character> <dialogue>What have I told you about that?</dialogue> <character>KEVIN</character> <dialogue>Did I burn down the joint? I don't think so.· I was making ornaments out of fish hooks.</dialogue> <character>PETER</character> <dialogue>My good fish hooks?!?</dialogue> <character>KEVIN</character> <dialogue>I can't make ornaments out of the old ones with the dried worm guts stuck on them.</dialogue> <scene_description>A woman, LESLIE McCALLISTER,comes into the room. She's in her late thirties she's a bit chunky, extreme in her dress and coiffure. She's Peter and Kate's sister-in-law.</scene_description> <character>LESLIE</character> <dialogue>There's a policeman downstairs.</dialogue> <character>PETER</character> <dialogue>What's he want?</dialogue> <character>KEVIN</character> <dialogue>Aunt Leslie? How come Uncle Frank won't •• ?</dialogue> <character>LESLIE</character> <dialogue>In a minute, Kevin.</dialogue> <parenthetical>(to Peter)</parenthetical> <dialogue>I have no idea.</dialogue> <character>KEVIN</character> <dialogue>I'm sick of everybody saying •••</dialogue> <parenthetical>(mocks her)</parenthetical> <dialogue>••• "in a minute."</dialogue> <character>PETER</character> <dialogue>Kevin! out!</dialogue> <parenthetical>(to Leslie)</parenthetical> <dialogue>Do you have a voltage adaptor?</dialogue> <character>LESLIE</character> <dialogue>That's just what I was going to ask I you. !</dialogue> </scene> <scene> <stage_direction>INT. FOYER- NIGHT</stage_direction> <scene_description>The Police Officer is still waiting. TRACEYMcCALLISTER crosses through the dining room into the foyer. She's 14. Very pretty. But dressed a little cheap.</scene_description> <character>POLICE OFFICER</character> <dialogue>Pardon me? Are your parents home?</dialogue> <character>TRACEY</character> <dialogue>Yeah. But they don't live here.</dialogue> <scene_description>She heads up the stairs as HEATHERMCCALLISTERcomes down the stairs. She's nineteen and a cousin. She's wearing a Northwestern University sweatshirt.</scene_description> <character>HEATHER</character> <parenthetical>(to Tracey and Megan)</parenthetical> <dialogue>Did you call for the pizzas?</dialogue> <character>TRACEY</character> <dialogue>Buzz did. My dad said an American hair dryer won't work in France. Is that true?</dialogue> <character>HEATHER</character> <dialogue>You need a voltage adaptor.</dialogue> <character>TRACEY</character> <dialogue>What's that?</dialogue> <character>HEATHER</character> <dialogue>Ask your mom.</dialogue> <scene_description>Tracey heads upstairs. The cop catches Heather's attention.</scene_description> <character>POLICE OFFICER</character> <dialogue>Excuse me. Are your parents here?</dialogue> <character>HEATHER</character> <dialogue>My parents live in Paris. Sorry.</dialogue> <scene_description>She exits into the dining room, as SONDRAMcCALLISTER, enters the foyer. She's 11.</scene_description> <character>SONDRA</character> <parenthetical>(to Heather)</parenthetical> <dialogue>Bonjour.</dialogue> <character>HEATHER</character> <dialogue>Wrong. That's good day.</dialogue> <character>POLICE OFFICER</character> <dialogue>Hi. Are your parents home?</dialogue> <character>SONDRA</character> <dialogue>Yeah.</dialogue> <character>POLICE OFFICER</character> <dialogue>Do they live here?</dialogue> <character>SONDRA</character> <dialogue>No.</dialogue> <scene_description>thru OMJ:'rTED t</scene_description> <character>13</character> <dialogue>A LITTLE NERO'S PIZZA delivery a cartoon rendering NO FIDDLIN' AROUND the side and on the lighted</dialogue> <character>EXT. BOUSE·~ NIGHT</character> <dialogue>car -- a Red Ford Geo -- with of a Roman holding a pizza and the slogan PIZZA IN 'l'HIRTYMINUTESOR LESS painted on roof sign whips into the driveway</dialogue> <scene_description>and skids to a stop. . ·</scene_description> <character>13A INT. HOUSE- UPSTAIRS HALLWAY</character> <dialogue>- NIGHT</dialogue> <scene_description>Kevin and JEFF MCCALLISTERcome out of their bedroom. Jeff's Kevin's nine year-old brother. He's lugging a large canvas duffel bag. He's stocky and build, aggressive and confident.</scene_description> <character>. KEVIN</character> <dialogue>I don't know how to pack a suitcase. I've never done it once in my whole life.</dialogue> <character>JEFF</character> <dialogue>Tough.</dialogue> <character>KEVIN</character> <dialogue>That's what Megan said.</dialogue> <scene_description>MEGANMcCALLISTERcomes out of her room into the hall. She's I~</scene_description> <character>\</character> <dialogue>15, aloof, regal, vain, self-absorbed.</dialogue> <character>MEGAN</character> <dialogue>What did I say?</dialogue> <character>JEFF</character> <dialogue>You told Kevin, "tough".</dialogue> <character>MEGAN</character> <dialogue>The dope was whining about a suitcase. What am I supposed to do? Shake his hand and say, "Congratulations, you're an idiot"?</dialogue> <character>KEVIN</character> <dialogue>I'm not an idiot!</dialogue> <character>MEGAN</character> <dialogue>Oh really? You're completely helpless. Everybody has to do everything for you.</dialogue> <character>JEFF</character> <dialogue>She's right, Kev.</dialogue> <scene_description>Megan heads down the hall to the stairs and bounces down.</scene_description> <character>KEVIN</character> <dialogue>LINNIE McCAtLISTER, walks out of her room. She's twelve. Perfectly beautiful.</dialogue> <character>LINNIE</character> <dialogue>I hope you didn't just pack crap, Jeff.</dialogue> <character>JEFF</character> <dialogue>Shut-up, Linnie.</dialogue> <character>KEVIN</character> <parenthetical>(to Linnie)</parenthetical> <dialogue>Do you know what I should pack?</dialogue> <character>JEFF</character> <dialogue>Buzz told you, cheek-face, toilet paper and water.</dialogue> <scene_description>Jeff continues to the stairs. Kevin hangs back with Linnie.</scene_description> <character>LINNIE</character> <dialogue>What're you worried about? Mom's gonna pack your stuff anyway. You're what the French call les Incompetant.</dialogue> <scene_description>Linnie turns on her heels and goes into room.</scene_description> <character>LINNIE</character> <dialogue>P.s. You have to sleep on the hide-a-bed with Fuller and he still wets his bed.</dialogue> <character>KEVIN</character> <dialogue>What happened to my room?</dialogue> <character>LINNIE</character> <dialogue>Heather,</dialogue> <character>I</character> <dialogue>Tracey, and Sondra took it.</dialogue> <scene_description>!:</scene_description> <character>KEVIN</character> <dialogue>This house is so full of people, it makes me sick! When I grow up and get married, I'm living alone!</dialogue> <scene_description>Be stomps away. Linnie laughs. 13B IN'l'. HALLWAY-STAIRS/ FOYER Jeff slings the duffel down the stairs.·</scene_description> <character>JEFF</character> <dialogue>BOMBSAWAY!</dialogue> <scene_description>r CLOSE-UP POLICE OFFICER</scene_description> <character>14</character> <dialogue>- NIGHT</dialogue> <character>INT. BUZZ'S. BEDROOM</character> <dialogue>BUZZMCCALLISTER and ROD MCCALLISTER are in Buzz's room. Buzz is packing his suitcase. He's stocky and muscular, a jock with a three-inch, waxed flattop. Rod is thin and lanky, dull and bookish. Rod is looking at Buzz's tarantula.</dialogue> <character>ROD</character> <dialogue>Who's gonna feed your spider while you're gone?</dialogue> <character>BUZZ</character> <dialogue>He just ate a shitload of mice guts. He's good for a couple weeks.</dialogue> <scene_description>(pause) . Is it true that French babes don't shave their pits?</scene_description> <character>ROD</character> <dialogue>Some don't.</dialogue> <character>BUZZ</character> <dialogue>And they got nude beaches?</dialogue> <character>ROD</character> <dialogue>Not in the winter.</dialogue> <scene_description>r Kevin opens the door and walks in.</scene_description> <character>KEVIN</character> <dialogue>Buzz?</dialogue> <scene_description>Buzz turns angrily to him.</scene_description> <character>BOZZ</character> <dialogue>Don't you know how to knock, dick I rash? I</dialogue> <character>.:KEVIN</character> <dialogue>Can I sleep in your room? I don't wanna sleep in the family room.</dialogue> <character>BOZZ</character> <dialogue>I wouldn't let you sleep in my room</dialogue> <scene_description>if you were growing on my ass. Buzz notices something out the window. He moves to the window and points it out to Rod.</scene_description> <character>BUZZ</character> <dialogue>Check it out. Old man Marley.</dialogue> <character>CLOSE-UPKEVIN</character> <dialogue>r The mention of Marley's name gives Kevin pause.</dialogue> <character>€�</character> <dialogue>r' ROOM WINDOW</dialogue> <scene_description>Buzz and Ro~ peer through the window.</scene_description> <character>15</character> <dialogue>A grizzled old fellow with a mangy Howard Hughes white hair</dialogue> <character>BUZZ'S POV - MARLEY- NIGHT</character> <dialogue>and beard, shuffles out to his mailbox in a bathrobe and boots. He gets his mail, hurriedly running back into the house.</dialogue> <character>16</character> <dialogue>ROD</dialogue> <character>BACK TO SCENE -</character> <dialogue>Who's he?</dialogue> <character>BUZZ</character> <dialogue>Ever heard of the South Bend Shovel Slayer?</dialogue> <character>ROD</character> <dialogue>No •.•</dialogue> <character>BUZZ</character> <dialogue>That's him. Back in '58, murdered his whole family and half the people</dialogue> <scene_description>1( on his block with a snow shovel. Been - hiding out in our neighborhood ever since.</scene_description> <character>ROD</character> <dialogue>If he's the slayer ••• How come the cops don't arrest him?</dialogue> <character>BUZZ</character> <dialogue>They got no proof. But everybody around here knows he did it. That's why he only comes out once a day. To get his mail. His groceries and everything else gets delivered. He lives by himself. Never says a word to anybody •.</dialogue> <character>ROD</character> <dialogue>Wow•••</dialogue> <character>BUZZ</character> <dialogue>I keep watchin' that show ••• "America's Most Wanted." I know he's gonna be on it someday. Then I'm gonna call that 900 number. Turn his ass into·the authorities. Make a trillion dollars.</dialogue> <scene_description>(. BUZZ (mean) And if you don't get outta my room ••• I'm gonna tie you to his front porch and ring the doorbell until he comes out. Kevin backs out of the room, scared. Buzz slams the door in his face. He turns to Rod with a grin.</scene_description> <character>BUZZ</character> <dialogue>The microweenie has the balls of a butterfly.</dialogue> <character>17</character> <dialogue>The PIZZA BOYnervously</dialogue> <character>INT. FOYER- NIGHT</character> <dialogue>offers</dialogue> <scene_description>Police Officer.</scene_description> <character>PIZZA BOY</character> <dialogue>. (to the Officer)</dialogue> <scene_description>$122.50. Sir.</scene_description> <character>· POLICE OFFICER</character> <dialogue>I don't live here.</dialogue> <character>PIZZA BOY</character> <dialogue>Just here for the holidays?</dialogue> <character>17A</character> <dialogue>- NIGHT</dialogue> <character>INT. HALLWAY</character> <dialogue>FRANK McCALLISTER comes out of the bathroom with a Michelin Guide under his arm. He's Peter's brother. A bit younger, bulky and balding in department store casual clothes. Kevin comes out of Buzz's room. Frank gives him an affectionate, if a bit too hard, pat on the head with his Michelin Guide.</dialogue> <character>FRANK</character> <dialogue>Parlez vous Francais yet, squirt?</dialogue> <scene_description>Kevin gives him a chilly look.</scene_description> <character>KEVIN</character> <dialogue>My name's Kevin.</dialogue> <character>FRANK</character> <dialogue>Yeah? You know what they're gonna call you in France don't you?</dialogue> <scene_description>lCEVIN What? r Frank reaches around behind him, grabs the waist of his pants (</scene_description> <character>YANK!</character> <dialogue>He snorts and continues down the hall. Kevin glowers at him.</dialogue> <character>17B INT. FOYER- NIGHT</character> <dialogue>CLOSE-UPPOLICE OFFICER AND PIZZA BOY</dialogue> <dialogue>They're staring down. THEIR POV FULLERand BROOKEMcCALLISTERare staring back up at them. Fuller is five and wearing glasses. Brooke is eight and she's wearing glasses. The Pizza Boy leans over to Brooke and Fuller.</dialogue> <character>PIZZA BOY</character> <dialogue>You dinks are my witnesses. I was here in 30 minutes or less.</dialogue> <scene_description>Frank comes down the stairs.</scene_description> <character>FRANK</character> <dialogue>Pizza's here!</dialogue> <scene_description>He takes the pizzas from the Boy.</scene_description> <character>PIZZA BOY</character> <dialogue>$122.50.</dialogue> <character>FRANK</character> <dialogue>My brother'll get it. 'l'his is his I house. !</dialogue> <scene_description>He exits with the pizzas. A stream of kids run down the stairs and cross into the dining room to the kitchen. Aunt Leslie follows.</scene_description> <character>POLICE OFFICER</character> <dialogue>Are you Mrs. Mccallister?</dialogue> <character>AUNTLESLIE</character> <dialogue>Yes. But I'm not the Mrs. Mccallister that lives here.</dialogue> <scene_description>She exits into the dining room.</scene_description> <character>AUNTLESLIE</character> <parenthetical>(calls)</parenthetical> <dialogue>Use paper plates, Frankl And don't give FUller any Coke!</dialogue> <character>POLICE OFFICER</character> <dialogue>Are you the Mr. Mccallister who lives here?</dialogue> <character>PETER</character> <dialogue>Yes.</dialogue> <character>PIZZA BOY</character> <dialogue>Good. 'Cause somebody owes me $122.50.</dialogue> <character>POLICE OFFICER</character> <dialogue>I need a word with you, sir.</dialogue> <character>PETER</character> <dialogue>My wife's coming right down. She'll take care of both of you. Excuse me •••</dialogue> <scene_description>Peter exits. The cop and the Boy exchange confused looks. 18 INT. RITCHEN- NIGH'l' It's a pizza orgy. The boxes are spread across the counters and table. Everybody's talking at once, grabbing pizza, opening and closing the refrigerator, drawers, cupboards.</scene_description> <character>AUNTLESLIE</character> <dialogue>Take napkins and get your own drinks.</dialogue> <character>FULLER</character> <dialogue>What time do we have to go to bed?</dialogue> <character>ONCLEFRANK</character> <dialogue>Early. We're leaving the house at I eight A. M. On the button. I</dialogue> <scene_description>Kate comes down the back stairs into the kitchen.</scene_description> <character>KATE</character> <dialogue>Everybody have milk? I have to get rid of it.</dialogue> <character>BROOKE</character> <dialogue>Mom••• Does Santa have to go through customs?</dialogue> <character>PETER</character> <parenthetical>(to Kate)</parenthetical> <dialogue>Honey? The pizza kid needs $122.SO.</dialogue> <character>RATE</character> <dialogue>For pizza?</dialogue> <character>UNCLEFRANK</character> <dialogue>Ten pizzas times twelve bucks.</dialogue> <character>AUNTLESLIE</character> <dialogue>Frank? You have money, don't you?</dialogue> <character>UNCLEFRANK</character> <dialogue>Traveller's checks.</dialogue> <character>KATE</character> <dialogue>We have it.</dialogue> <scene_description>Kevin sifts through the pizza boxes.</scene_description> <character>KEVIN</character> <parenthetical>(looking up)</parenthetical> <dialogue>Did anybody order me plain cheese?</dialogue> <scene_description>Buzz, his mouth packed with pizza, looks at Kevin.</scene_description> <character>BUZZ</character> <dialogue>Yeah. But if you want any, somebody's gonna have to barf theirs up because it's gone.</dialogue> <scene_description>Kevin glares at Buzz·, who smiles sadistically and begins to feign a barf. Kevin charges Buzz, knocking the loaded plate of pizza from his hands and ramming him into the counter, knocking over a half-gallon carton of milk. CLOSE-OP PASSPORTS A stack of fifteen passports. Dosed with milk. BACK TO SCENE Kate grabs Kevin. Peter lunges from his seat, knocking the table, spilling a glass of milk.</scene_description> <character>PETER</character> <dialogue>THE PASSPORTS!</dialogue> <scene_description>Frank shoves his. chair.back to avoid the river of milk heading his way.</scene_description> <character>FRANK</character> <dialogue>LOOKOUT!</dialogue> <scene_description>He pins Fuller between the wall and the back of his chair.</scene_description> <character>FOLLER</character> <dialogue>DAD!.</dialogue> <character>AUNTLESLIE</character> <parenthetical>(noticing Fuller)</parenthetical> <character>FRANK</character> <dialogue>GET A NAPKIN!</dialogue> <scene_description>Kate pulls Kevin off Buzz. Peter rescues the passports and tickets.</scene_description> <character>KATE</character> <dialogue>What's the matter with you?</dialogue> <scene_description>She gives him a violent shake.</scene_description> <character>KEVIN</character> <dialogue>HE STARTEDIT! HE ATE MY PIZZA ON</dialogue> <character>PURPOSE. HE ICNOWSI HATE SAUSAGEAND</character> <dialogue>OLIVES AND ONIONSAND •••</dialogue> <character>KATE</character> <dialogue>You get upstairs! Right this instant!</dialogue> <character>KEVIN</character> <dialogue>Why?\_!?</dialogue> <character>TRACEY</character> <dialogue>Kevin. You're such a disease.</dialogue> <character>KEVIN</character> <dialogue>, Shut up.</dialogue> <character>PETER</character> <dialogue>Get upstairs!</dialogue> <character>KATE</character> <dialogue>Say good night, Kevin.</dialogue> <scene_description>Kate yanks him.out of the kitchen. Peter holds the drenched passports and tickets over the sink.</scene_description> </scene> <scene> <stage_direction>INT. FOYER- NIGHT</stage_direction> <scene_description>The cop and the Pizza Boy are still waiting. They look to the dining room as Kate drags a struggling Kevin through.</scene_description> <character>KEVIN</character> <dialogue>Why do I always get treated like scuml?</dialogue> <character>POLICE OFFICER</character> <dialogue>Ma'am?</dialogue> <scene_description>She hands the Pizza Boy his money.</scene_description> <character>KATE</character> <parenthetical>(to the cop as she pays the boy)</parenthetical> <dialogue>I'm sorry. We're ioing out of town tomorrow and it's just crazy around here. My husband's brother transferred to Paris during the summer and his daughter goes to college here and his son is finishing high school and staying with my brother-in-law.</dialogue> <scene_description>Kate gives the last of the cash to the Pizza Boy.</scene_description> <character>PIZZA BOY</character> <dialogue>Nice tip. Thank you. Have a very Merry.</dialogue> <character>KATE</character> <dialogue>You, too.</dialogue> <scene_description>He exits. Kate continues explaining to the cop.</scene_description> <character>KATE</character> <dialogue>so ••• as a Christmas present ••• My husband's brother gave us all a trip to Paris ••• So we can all be together for the holidays. My brother-in-law</dialogue> <scene_description>I~ drove in from Ohio today ••• we all leave for Paris in the morning. We have a house full of people here and ••• (referring to Kevin) ••• this one's a little out of sorts. Give me a minute and I'll be right with you.</scene_description> <character>POLICE OFFICER</character> <dialogue>Fine.</dialogue> <character>I</character> <dialogue>She marches Kevin up the stairs. CLOSE-OPKEVIN He looks back at the police· officer.</dialogue> <character>20</character> <dialogue>Moving away from the Police The cop's upper right incisor</dialogue> <character>KEVIN'S</character> <dialogue>Officer, who smiles is gold.</dialogue> <character>21</character> <dialogue>- NIGHT</dialogue> <character>INT. HOUSE- UPSTAIRS HALLWAY</character> <dialogue>Kate and Kevin round the landing and come up into the hallway.</dialogue> <character>KATE</character> <dialogue>There are fifteen people in this house. And you're the only one who has to make trouble.</dialogue> <character>KEVIN</character> <dialogue>I'm the only one getting dumped on.</dialogue> <character>KATE</character> <dialogue>You're th~.only one acting up. Now get upstairs.</dialogue> <character>KEVIN.</character> <dialogue>I am upstairs, dummy.</dialogue> <scene_description>Kate resists the urge to belt him. She reaches up, pulls open the door at the end of the hall. A stairwell to the third floor.</scene_description> <character>KEVIN</character> <dialogue>The third floor?.</dialogue> <scene_description>Solemn, distant CHURCHBELLS TOLL. Kevin's tough, little face droops. "Third Floor" is parent for "Bell." Kate knows she has the upper hand.</scene_description> <character>KATE</character> <dialogue>Go.</dialogue> <character>KEVIN</character> <dialogue>It's scary up there.</dialogue> <character>I</character> <dialogue>KATE</dialogue> <scene_description>You should have thought about that</scene_description> <character>I</character> <dialogue>before you lost your temper.</dialogue> <character>KEVIN</character> <dialogue>I'm sorry.</dialogue> <character>KATE</character> <dialogue>It's too late. Go.</dialogue> <scene_description>Kevin realizes the softer approach won't work.</scene_description> <character>KEVIN</character> <dialogue>Everybody in this family hates me!</dialogue> <character>KATE</character> <dialogue>Then maybe you should ask Santa Claus for a new family.</dialogue> <scene_description>·'</scene_description> <character>KEVIN</character> <dialogue>I don't want a new family! I don't want any family! Families suck!</dialogue> <character>KATE</character> <dialogue>You stay up there. I don't want to see you for the rest of the night!</dialogue> <character>KEVJ:N·</character> <dialogue>I don't want to ever see you again for the rest of my whole life and I don't want to see anybody else either!</dialogue> <character>KATE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>I hope you don't mean that.· You'd feel pretty sad if you woke up tomorrow and we were all gone.</dialogue> <scene_description>Kevin bas shocked himself. But he doesn't give in. As much to save face as to continue the battle.</scene_description> <character>, KEVIN</character> <dialogue>·. No, I wouldn't.</dialogue> <scene_description>A long, hurt stare is on Kate's face.</scene_description> <character>KATE</character> <dialogue>Say it again, then. Maybe it'll happen.·</dialogue> <scene_description>She closes the door.</scene_description> <character>22</character> <dialogue>- NIGHT</dialogue> <character>INT. STAIRWELL</character> <dialogue>Kevin's furious that Kate closed the door on him. That he lost.</dialogue> <character>KEY.IN ,</character> <dialogue>I hope I never see any of you jerks again!. ·</dialogue> <scene_description>Hearing himself, he realizes how wicked and horrible it sounds. He feels immediate remorse. · 23 INT. UPSTAillS HALLWAY/FOYER - NIGH'l' Kate is hurt, but dismisses it as temper. She turns and heads down the stairs. She slows and stops as she looks down into the Foyer. -~ HER POV</scene_description> <character>CLOSE-UPKATE ·</character> <dialogue>A curious look •. Why did he leave? She shru~s it off and continues down. · ···</dialogue> <scene_description>thru OMITTED. t</scene_description> <character>25</character> <dialogue>I</dialogue> <scene_description>l ; ~ ·.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL.~NIGHT - THIRD FLOOR-- CLOSEUP - KEVIN .</stage_direction> <scene_description>He slowly walks up the stairs. He's worried and frightened. Has he gone to~ far~ · . ·.: .... '· ' ...: ,- ,':</scene_description> </scene> <scene> <stage_direction>EXT. HOOSE- NIGHT· . ' .</stage_direction> <character>' , ...</character> <dialogue>The lights are out. · A strong wind is blowing. Trees sway. Christmas decorations blow over. A plastic Santa tumbles across the lawn. A large limb snaps. It falls across the power and phone lines, bringing them down in a shower of sparks • ..\_,.· .\_•· ··· ·,. · · .</dialogue> <character>' €� ' .€�€�,:·\':::·,;</character> <dialogue>'';'•'·.\.'•&gt;l::.\·:,</dialogue> <character>..:,,.,,-€� , ,, €� ;· ,I</character> <scene_description>.. €� 1 €� ',, .:, ~:</scene_description> </scene> <scene> <stage_direction>EXT. HOOSE- MORNING</stage_direction> <character>,. --€�-"-.</character> <dialogue>': \ •\~</dialogue> <scene_description>..:••:.-J.•·;',t.~\&gt;.••••••</scene_description> <character>. €�€�\_'€�,-..&gt;:-.\_I,'€�:,, I</character> <dialogue>Two blue· ·and yellow· airport minivans are parked in the driveway.·· Two uniformed drivers are on the porch. one is hammering on the door.: The other steps back from the house, trying to see:if there is anyone inside.. ~ .</dialogue> <scene_description>.• i, • -\_-;\_-:,-·~-, "~: • ~ ,' '1 ...</scene_description> <character>,.</character> <dialogue>A Power Company truck is parked in the street. A LINEMANis repairing th~ wire. · '·.</dialogue> <scene_description>.r ' . €�·.: -~:</scene_description> <character>. ,, .- -··</character> </scene> <scene> <stage_direction>INT. MCCALLISTER</stage_direction> <character>HOUSE~ MASTERBEDROOM</character> <dialogue>- MORNING'</dialogue> <scene_description>• o • • •j ' '• o ' •' '. I\_,,;';'••,:; ' • . - • Peter and Kate are still sleeping.· We hear the DOORBELLand . the POUNDING. • Kate stirs. · Confused.· She sits up, looks at the clock. It takes a moment for her to realize that it's not working. She quickly looks at her wristwatch on the night stand and seeing the\_real\_time, Kate panics.</scene_description> <character>KATE</character> <dialogue>Peter!</dialogue> </scene> <scene> <stage_direction>INT. HOUSE.:\_FOYER- MORNING</stage_direction> <scene_description>Parents and kids clamor down the stairs.</scene_description> <character>KATE</character> <dialogue>Where're the passports?</dialogue> <character>PETER</character> <dialogue>You have 'em!</dialogue> <character>AUNTLESLIE</character> <dialogue>I have 'em.</dialogue> <character>KATE</character> <dialogue>ours!</dialogue> <character>FRANK</character> <dialogue>You know what they're goMa call you in France, Pete?</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE- MORNING</stage_direction> <scene_description>The two drivers, who load a suitcase and duffel bags into the two minivans. A neighbor BOY is watching them. He's Kevin's age.</scene_description> <character>BOY</character> <dialogue>You guys going out of town?</dialogue> </scene> <scene> <stage_direction>INT. FOYER- MORNING</stage_direction> <scene_description>Kate and Peter, Aunt Leslie and Uncle Frank, are making a last minute check of money and passports and tickets. Peter's adjusting his trousers. I</scene_description> <character>KATE</character> <dialogue>I</dialogue> <scene_description>Peter, you have the tickets.</scene_description> <character>PETER</character> <dialogue>Yes.</dialogue> <character>KATE</character> <dialogue>Count 'em.</dialogue> <scene_description>Peter counts.</scene_description> <character>AUNTLESLIE</character> <dialogue>Frank? You have the money?</dialogue> <character>UNCLEFRANK</character> <dialogue>Son of a bitch.</dialogue> <character>AUNTLESLIE</character> <dialogue>UNCLEFRANK</dialogue> <scene_description>No. I'm wearing a dirty shirt.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE- MORNING</stage_direction> <scene_description>Heather wearily goes through her head count including the neighbor Boy who is turned away, looking into the van.</scene_description> <character>HEATHER</character> <dialogue>Six ••• seven ••• Eight •••</dialogue> <character>BUZZ</character> <parenthetical>(loudly, to throw her off)</parenthetical> <dialogue>Ninety-three ••• Six hundred ••• Elevendy-trillion •••</dialogue> <character>HEATHER</character> <dialogue>Nine. Buzz. Don't be a moron. Ten ••• Eleven.</dialogue> <parenthetical>(to the kids)</parenthetical> <dialogue>Get in! Half in here, half in the front one.</dialogue> <scene_description>She shuffles to the van pulled first into the drive and gets in. The older girls follow her. The boys and the little girls get into the other van. The kids are tired and groggy. CLOSE-UPNEIGHBORBOY He wishes the kids a good trip.</scene_description> <character>BOY</character> <dialogue>Have a good trip. Bring me something French. I</dialogue> <scene_description>I:</scene_description> </scene> <scene> <stage_direction>34A EXT. FRONTPORCH- MORNING</stage_direction> <scene_description>The parents come out. Peter locks the door. Leslie and Kate hurry to the first van. Frank hangs back with Peter.</scene_description> <character>UNCLE FRANK</character> <dialogue>No way on earth we're gonna make that plane. It leaves in forty five minutes.</dialogue> <character>PETER</character> <dialogue>Think positive.</dialogue> <scene_description>tJNCLE FRANK You be positive. I'll be realistic. ("" thru OMITTED t ' 36</scene_description> <character>37</character> <dialogue>The electric</dialogue> <character>EXT. PORCH- MORNING</character> <dialogue>company LINEMANapproaches</dialogue> <character>LINEMAN</character> <dialogue>Power's fixed. Phone lines were tore up real bad, though ••• It's gonna take Ma Bell a couple days to make a house call ••• 'specially around the holidays</dialogue> <character>€�€�€�</character> <dialogue>KATE</dialogue> <scene_description>• (not listening, passes by) Excuse me. I've got to catch a plane. The Lineman shrugs. Kate and Leslie hurry to the first van. Peter and Uncle Frank get inside the other van.</scene_description> <character>38</character> <dialogue>Kate turns</dialogue> <character>INT. VAN - MORNING</character> <dialogue>to Heather,</dialogue> <scene_description>closed.</scene_description> <character>KATE</character> <dialogue>Heather? You counted heads?</dialogue> <character>HEATHER</character> <dialogue>Eleven. Including me. Five boys. Six girls. Four parents. Two drivers and a partridge in a pear tree.</dialogue> <character>39</character> <dialogue>The two vans zip out of the drive street.</dialogue> <character>EXT. HOUSE- STREET - MORNING</character> <dialogue>and speed off down the</dialogue> <character>40</character> <dialogue>- MORNING</dialogue> <character>INT. O'HARE AIRPORT- CONCOURSE</character> <dialogue>The two frenzied families run down the corridor.</dialogue> <character>41</character> <dialogue>AREA- MORNING</dialogue> <character>INT. DEPARTURE</character> <dialogue>The Air France flight has boarded. A COON'l'ERPERSONexits the ramp, and secures the door. The Mccallister horde thunders into tbe departure area •</dialogue> <character>. KATE</character> <dialogue>The Counter· Person glances around the board to the windows and sees the plane is still in place.</dialogue> <character>COUNTERPERSON</character> <dialogue>No. You just made it.</dialogue> <scene_description>She hurriedly takes all of the tickets, counting them quickly.</scene_description> <character>COUNTER PERSON</character> <dialogue>Four in First class. Eleven in coach.</dialogue> <character>KATE</character> <dialogue>Right.</dialogue> <character>COUNTERPERSON</character> <parenthetical>(as she hands the tickets back)</parenthetical> <dialogue>Single seats only in coach. Take whatever's free.</dialogue> <scene_description>The family storm into the tunnel as a·group.</scene_description> <character>42</character> <dialogue>r</dialogue> <character>OMITTED</character> <dialogue>42A</dialogue> <scene_description>Kate and Peter move to their section. The kids hurry through the curtain, to the back of the plane.</scene_description> <character>PETER</character> <dialogue>We.made it.</dialogue> <character>KATE</character> <dialogue>I hope we didn't forget anything.</dialogue> <character>43</character> <dialogue>OMITTED</dialogue> <character>44</character> <dialogue>- THIRDFLOORDOOR-MORNING</dialogue> <character>INT. HOOSE- UPSTAIRS HALLWAY</character> <dialogue>It's closed. A long beat. The door opens. Kevin pokes his head out.</dialogue> <character>45</character> <dialogue>An Air France</dialogue> <character>EXT. AIRPORT- MORNING</character> <dialogue>747 takes</dialogue> <character>46</character> <dialogue>- MORNING</dialogue> <character>INT. HALLWAY</character> <dialogue>o.s. a TOILET FLUSHES. Kevin exits the bathroom, heads down</dialogue> </scene> <scene> <stage_direction>(" 47 INT. FOYER..;,.MORNING</stage_direction> <scene_description>Kevin comes down the stairs. Still unaware that he's alone.</scene_description> <character>48</character> <dialogue>Kevin walks in, turns ON the TV and sits down at the kitchen</dialogue> <character>INT. KITCHEN- MORNING</character> <dialogue>table. He waits for his breakfast to be served. Kevin sits hunched over, chin resting on his hands, his eyelids slung low, his hair twisted and twirled from sleep. He sits for a long beat before looking to the side.</dialogue> <character>49</character> <dialogue>Sink. Something He turns,</dialogue> <character>KEVIN'S POV - MORNING</character> <dialogue>Stove. is starting to bother looking around behind</dialogue> <character>50</character> <dialogue>The dining Kevin turns back. He slides off the chair</dialogue> <character>KEVIN'S POV - MORNING</character> <dialogue>room table and walks to the</dialogue> <scene_description>TV. He turns it OFF and listens.</scene_description> <character>KEVIN</character> <dialogue>Mom?</dialogue> <character>51</character> <dialogue>I</dialogue> <character>OMITTED</character> <dialogue>l</dialogue> <character>51A INT. 747 FIRST CLASS - MORNING ··</character> <dialogue>Kate and Peter are having breakfast. Frank and Leslie are across the aisel from them.</dialogue> <character>PETER</character> <dialogue>Do you feel like a heel flying First Class while the kids fly coach?</dialogue> <character>UNCLEFRANK</character> <dialogue>When I was a kid we didn't even fly coach. We flew station wagon. And it wasn't to France. They're fine.</dialogue> <character>KATE .</character> <dialogue>Do you know how strange it's going</dialogue> <scene_description>~ \ to be to come home from a vacation to a house where the beds haven't been l ·s2 IN'l'. MASTElfBEDROOM</scene_description> <character>- MORNING</character> <dialogue>The bed is unmade. Kevin enters the room.</dialogue> <scene_description>Dad? He walks toward the master bath. Kevin peeks into the shower, looks into the linen closet.</scene_description> <character>KEVIN</character> <dialogue>Where are you guys?!</dialogue> <scene_description>thru OMITTED t 55 IN'l'. BUZZ'S ROOM- MORNING- CLOSEUP-TARANTULA</scene_description> <character>AQUARIUM</character> <dialogue>THROUGH the glass, PAST the tarantula, we see Kevin step into the room. Kevin scans the room.</dialogue> <character>KEVIN</character> <dialogue>Buzz?</dialogue> <character>HIS</character> <dialogue>POV,</dialogue> <scene_description>Buzz's messy room is dominated by sports and muscle heroes. There is a row of sports figurines on one shelf.</scene_description> <character>SSA INT.BASEMENT- MORNING</character> <dialogue>He opens the door and looks</dialogue> <character>SSAA</character> <dialogue>into</dialogue> <character>KEVIN</character> <dialogue>Is this Frank?</dialogue> <character>I</character> <dialogue>a joke? Megan? Rod? Uncle Uncle Frank? Is this a joke?</dialogue> <character>HIS</character> <dialogue>POV</dialogue> <scene_description>Moving from one side to the other, past the accumulated rubbish of a couple of generations. Boxes, old furnishings, lamps, discarded toys, a huie, old boiler with wrapped pipes that look like tentacles reaching into the floor and the house above, a pair of naked store manne911ins, a work bench loaded with old tools, jars of nails and paint cans and finally, a collection of a dozen, old, tattered, marionettes hangini from the rafters by their strings. It's an altogether unsettling place for a lonely, young boy. CU&gt;SEOPKEVIN He gulps at the mass of potentially scary material. r-- 558 INT. HOUSE ... BASEMENT STAIRS - MORNING Kevin charges up the stairs as fast as he can go and slams the door. thru OMITTED</scene_description> <character>60</character> <dialogue>Kevin unlocks</dialogue> <character>EXT. HOUSE- PORCH- MORNING</character> <dialogue>the door and peeks out into</dialogue> <character>HIS POV</character> <dialogue>The garage door is open. A Ford wagon and a Ford Taurus are parked in the garage. CLOSSEUPKEVIN A look of deep concern.</dialogue> <character>KEVIN</character> <dialogue>The cars are still here. They didn't go to the airport!</dialogue> <parenthetical>(worried)</parenthetical> <dialogue>Oh, no. What did I do?</dialogue> <scene_description>He goes back inside.</scene_description> <character>61</character> <dialogue>Kevin leans on the counter to sort things out in his mind.</dialogue> <character>INT. KITCHEN- MORNING</character> <dialogue>Something occurs to him. He slowly looks down at the counter and recoils. The coffee maker is still "on." A full pot. Kevin is in horror as he comes to a chilling conclusion.</dialogue> <character>KEVIN</character> <dialogue>I made my family disappear!</dialogue> <character>62</character> <dialogue>'l'he Air France 747 drifts</dialogue> <character>EXT. SKY - DAY</character> <dialogue>AWAYFROMCAMERA.</dialogue> <character>63</character> <dialogue>A dirty, salt-stained</dialogue> <character>EXT. STREET- DAY</character> <dialogue>Ford van drives slowly down the street.</dialogue> <scene_description>r- 1 Painted on the side PLUMBING." of the van is -- "OH-KAYHEATINGAND</scene_description> <character>64</character> <dialogue>Two men in the van. The one driving we recognize as the police officer from the night before. His name is HARRYLYME. His partner, beside Harry. blotter perfect crook. Thin. under his deep set eyes.</dialogue> <character>INT. VAN - DAY</character> <dialogue>He's no longer in uniform. MARVINMORCHENS,sits Marvin is in his late thirties. Bad skin. Tattoos on the back of his hands.</dialogue> <scene_description>These two are obvious burglars~</scene_description> <character>HARRY</character> <dialogue>Five families gone on one block alone. And they told me from their own mouths.</dialogue> <character>MARV</character> <dialogue>It's almost too easy.</dialogue> <character>HARRY</character> <dialogue>Remember the old days, Marv? When everybody stayed home for the Holidays?</dialogue> <character>MARV</character> <dialogue>. Now it's off to Hawaii. Aspen.</dialogue> <scene_description>Paris. Whatever happened to just sittin' around the fireplace with your family ••• ? Roastin' chestnuts ••• ? Singin' Christmas Carols?</scene_description> <character>HARRY .</character> <dialogue>People have become too cynical. Too jaded. Just another sign of ongoin' moral decay of contemporary society.</dialogue> <character>MARV</character> <dialogue>Yeah ••• .</dialogue> <parenthetical>(long pause)</parenthetical> <dialogue>So which house you wanna' hit first?</dialogue> <character>65</character> <dialogue>HOUSE- FOYER- DAY</dialogue> <character>INT. MCCALLISTER</character> <dialogue>Kevin yells at the top of his voice.</dialogue> <character>KEVIN</character> <dialogue>Somebody? Anybody? I'm starving!</dialogue> <scene_description>66 EXT. STREE'l'- DAY Barry and Marv's van pulls deep into the neighbor driveway. r CAMERA down. SWINGSBACKto reveal the Mccallister house a few doors r 67 INT. KITCHEN- DAY Kevin's in the kitchen, standing before the open refrigerator.</scene_description> <character>KEVIN</character> <dialogue>I don't remember the food groups!</dialogue> <character>68</character> <dialogue>- DAY</dialogue> <character>INT. NEIGHBOR'SHOOSE- BASEMENT</character> <dialogue>A cellar door bursts open. Harry and Marv enter.</dialogue> <scene_description>thru OMITTED</scene_description> <character>74A</character> <dialogue>CLOSE-OP TELEVSION SET A Mccallister family video is playing. shot of a Busch Garden's brochure. that Megan is holding the brochure.</dialogue> <character>INT. FAMILYROOM- DAY</character> <dialogue>The image is a hand held CAMERAZOOMSBACKto reveal She's wearing a nightgown.</dialogue> <scene_description>The drapes are drawn. Kevin is in his pajamas. We hear PETER NARRATING.</scene_description> <character>PETER</character> <dialogue>We're here in our luxurious hotel at Busch Gardens in Tampa Bay Florida.</dialogue> <character>74B</character> <dialogue>A half sticky, beside</dialogue> <character>INT. KITCHEN - CLOSE-UP ICE CREAM CARTON- DAY</character> <dialogue>gallon container ice-cream-covered the container.</dialogue> <scene_description>I:</scene_description> <character>7 4C</character> <dialogue>CLOSE-OP KEVIN He's the video tape. bites,</dialogue> <character>INT. FAMILYROOM- DAY</character> <dialogue>sitting Be's eating he dips</dialogue> <scene_description>Pepsi. CLOSE-UP TELEVISION Kevin is now standing next to Megan. He slips on an elephant mask with a rubber trunk. Buzz steps INTO FRAME. He's in shorts with no shirt.</scene_description> <character>PETER</character> <dialogue>Our first guest is Kevin the elephant</dialogue> <character>BUZZ</character> <parenthetical>(stepping around behind Kevin)</parenthetical> <dialogue>Hold on, Dad. Elephants don't wear •••</dialogue> <scene_description>Buzz slaps his hands to Kevin's hips and yanks down his pajama bottoms.</scene_description> <character>BUZZ·</character> <dialogue>PAJAMAS!</dialogue> <scene_description>Kevin swings at him and catches Megan in the belly.</scene_description> <character>MEGAN</character> <dialogue>OOFl YOULITTLE BASTARD!</dialogue> <character>PETER (O.S.)</character> <dialogue>CUT IT OUT!</dialogue> <scene_description>The CAMERA swings down and goes off. It goes back on with Kevin yelling and screaming to Peter.</scene_description> <character>KEVIN</character> <dialogue>THIS IS THE WORSTVACATIONOF MYLIFE!</dialogue> <character>HOWWOULDYOULIKE TO HAVESOMEBODY</character> <dialogue>PULL YOURPANTSDOWNIN FRONTOF</dialogue> <character>FEMALE RELATIVESWJ:TH BIG MOUTHS?</character> <dialogue>HUH?!</dialogue> <scene_description>Kate rushes into FRAMEand speaks to the CAMERA.</scene_description> <character>KATE</character> <dialogue>Buzz! Turn that damn thing off!</dialogue> <parenthetical>(to Kevin)</parenthetical> <dialogue>Get in the other room!</dialogue> <scene_description>I:</scene_description> <character>XEVIN</character> <dialogue>Buzz pants'd</dialogue> <character>I</character> <dialogue>me!</dialogue> <character>'KATE</character> <dialogue>I don't care what Buzz did, nobody in this family hits anybody!</dialogue> <character>REVIN</character> <dialogue>Why am I always the one who gets in trouble? I should never have come here with your stupid children.</dialogue> <character>KATE</character> <dialogue>Maybe you'd like to spend this vacation by yourself?</dialogue> <scene_description>·("' Fine.</scene_description> <character>:KATE</character> <dialogue>We oughta just leave you and teach you a lesson.</dialogue> <parenthetical>(to CAMERA)</parenthetical> <character>BUZZ! SHUT THATTHINGOFF!</character> <dialogue>CLOSE-UPKEVIN</dialogue> <dialogue>He points the remote at the TV. CLOSE-UPTV The tape rewinds, stops and starts.</dialogue> <character>KEVIN</character> <dialogue>Fine.</dialogue> <character>:KATE</character> <dialogue>We oughta just leave you and teach you a lesson.</dialogue> <scene_description>The FRAME FREEZES. CLOSE-UPKEVIN A little g;-in sneaks across his lips. 75 CLOSEUP- KEVIN - DAY He bounces IN and OUT OF FRAME.</scene_description> </scene> <scene> <stage_direction>INT. MEGAN'SBEDROOM</stage_direction> <character>- DAY</character> <dialogue>Kevin's jumping on the bed as he eats microwave popcorn •</dialogue> <scene_description>77 CLOSEUP- PLAYBOY</scene_description> <character>MAGAZINE - DAY</character> <dialogue>A stack of Playboys.</dialogue> </scene> <scene> <stage_direction>77A INT. BUZZ'S BEDROOM</stage_direction> <character>- DAY</character> <dialogue>Kevin has gone through Buzz's room and discovered his secret suitcase. He's looking through a Playboy. It's not so great.</dialogue> <scene_description>l&lt;EVIN No clothes on anybody. Sickening. He flips it aside, reaches into the trunk and comes up with a package of firecrackers. ( He reaches.into it again and comes up with a handful of candy.</scene_description> <character>KEVIN</character> <dialogue>I'll save this for later.</dialogue> <parenthetical>(yells)</parenthetical> <dialogue>Buzz? I'm going through all your private stuff! You better come cut and pound me!</dialogue> <scene_description>He pulls out a 4x6 school photo of a girl.</scene_description> <character>KEVIN</character> <dialogue>Buzz! Your girlfriend? Woof!</dialogue> <character>77B OMITTED</character> <dialogue>78 IN'l'. HALLWAY</dialogue> <character>- DAY</character> <dialogue>Kevin comes out of Buzz's room with a stack of sports figurines. He crosses to the laundry chute and opens the door.</dialogue> <character>KEVIN</character> <dialogue>We'll just store.these •••</dialogue> <scene_description>He dumps the sports figurines down the chute. He listens as they clang and bang down to the basement.</scene_description> <character>KEVIN</character> <dialogue>••• in the basement.</dialogue> <scene_description>He heads down the stairs. thru OMITTED t BlA INT. KITCHEN- DAY- CLOSEUP- ICE CREAMCARTON A half gallon container sits on the counter. Dripping. A sticky, ice-cream-covered spoon protrudes from the container.</scene_description> <character>. 82 CLOSEUP- VCR - DAY</character> <dialogue>A movie is playing. We hear the dialogue.</dialogue> <scene_description>MAN'S (V. o.) Who is it?l</scene_description> <character>SECONDMAN'S (V.O.)</character> <dialogue>It's me, Winston. I got the stuff.</dialogue> <scene_description>( ~ SECONDMAN'S (V.O.) \ Awright, Johnny. But what about my money?</scene_description> <character>83</character> <dialogue>An action scarfaced</dialogue> <character>CLOSEUP- TV - DAY</character> <dialogue>film is now playing. mobster looks out.</dialogue> <character>MOBSTER (V. 0. )</character> <dialogue>What money?</dialogue> <scene_description>A thin, ashen-faced young man cowers at the sight of the mobster.</scene_description> <character>MAN'S (V. O.)</character> <dialogue>Acey said you'd have some dough for me.</dialogue> <character>MOBSTER(V.O.)</character> <dialogue>That a fact? How much do I owe you?</dialogue> <character>- 84 INT. FAMILYROOM - DAY</character> <dialogue>Kevin is sitting in his father's chair, watching the videotape. He's eating a huge bowl of ice cream. He's drinking a Pepsi.</dialogue> <character>KEVIN</character> <dialogue>You guys? I'm watching an 'R' movie! You better stop me!</dialogue> <character>MAN'S (V. O.)</character> <dialogue>Acey said ten percent.</dialogue> <character>MOBSTER (V. 0. )</character> <dialogue>Too bad Acey ain't</dialogue> <character>I</character> <dialogue>in charge</dialogue> <character>MAN'S (V. 0. )</character> <dialogue>What do you mean?</dialogue> <character>MOBSTER(V. 0. )</character> <dialogue>He's upstairs taking a bath. He'll call you when he gets out.</dialogue> <character>85</character> <dialogue>The young man rears back in horror. He knows that dead. The mobster leans in. CLOSEand ugly.</dialogue> <character>CLOSEUP- TV - DAY</character> <dialogue>Acey is</dialogue> <character>MOBSTER (V. 0. )</character> <dialogue>I'll tell you what I'm gonna give you, snakes. I'm gonna give you to the count of ten to get your ugly, yella, no-good ass off my property before I pump your guts fulla lead.</dialogue> <character>MAN'S (V. 0. )</character> <dialogue>Awright, Johnny. I'm sorry. I'm goin'.</dialogue> <character>MOBSTER(V. 0. )</character> <dialogue>One! Two! ••• Ten!</dialogue> <scene_description>The mobster lifts a MACHINEGUNINTO FRAMEand OPENSFIRE. Kevin's eyes are open wide. Filled with horror. The GUNFIRE ENDS.</scene_description> <character>MOBSTER (V. 0. )</character> <dialogue>Keep the change, you filthy animal.</dialogue> <scene_description>Kevin grabs the remote control and STOPS the movie to avoid seeing the bloody carcass.</scene_description> <character>KEVIN</character> <dialogue>Mom!</dialogue> <scene_description>86 CLOSEUP- KATE- FIRST CLASS SECTION- NIGH'l' She's sleeping against Peter's shoulder. Suddenly, her eyes pop out. She sits up. CAMERA PULLS BACK. A movie plays in the cabin. The plane's shades are drawn. Passengers are watching and chuckling. Peter lowers his book and looks at Kate. She's in the first stages of a full panic., She opens her purse. ·</scene_description> <character>PETER</character> <dialogue>What's the matter?</dialogue> <scene_description>Kate rummages through the purse, comes up with passports and money.</scene_description> <character>PETER</character> <dialogue>Honey?</dialogue> <character>KATE</character> <dialogue>I have a terrible feeling.</dialogue> <character>PETER</character> <dialogue>About what?</dialogue> <scene_description>(</scene_description> <character>KATE</character> <dialogue>PETER</dialogue> <parenthetical>(smiles warmly)</parenthetical> <dialogue>It's just that we left in a hurry. We took care of eveeything.</dialogue> <character>KATE</character> <dialogue>I turned off the coffee?</dialogue> <character>PETER</character> <dialogue>I did.</dialogue> <character>KATE</character> <dialogue>You locked up?</dialogue> <scene_description>Peter nods in the affirmative. Her thoughts are coalescing, taking a disturbing form.</scene_description> <character>KATE</character> <dialogue>Put the timers on the lights?</dialogue> <character>PETER</character> <dialogue>Yeah •••</dialogue> <scene_description>Peter starts to worry that they've forgotten something important.</scene_description> <character>PETER</character> <dialogue>I closed the garage?</dialogue> <scene_description>Kate nods slowly.</scene_description> <character>KATE</character> <dialogue>Did you put the answering machine on?</dialogue> <scene_description>Peter thinks. That's the one.</scene_description> <character>PETER</character> <dialogue>No. That's it. I forgot to put on the machine.</dialogue> <character>KATE</character> <dialogue>That's not it.</dialogue> <scene_description>She thinks. Peter thinks.</scene_description> <character>PETER</character> <dialogue>I don't know. What else could we be forgetting?</dialogue> <scene_description>She stares into his eyes. It suddenly occurs to Kate what's troubling her. She grabs Peter's arm. She screams.</scene_description> <character>KATE</character> <dialogue>Kevin!</dialogue> <character>87</character> <dialogue>OMITTED</dialogue> <scene_description>88 IN'l'. HOOSE - FOYER- STAIRS - DUSK Kevin is at the top of the stairs on his saucer sled. He pushes off, flies down the stairs, across the foyer floor and out the door.</scene_description> <character>89</character> <dialogue>Kevin shoots</dialogue> <character>EXT. PORCH - DUSK</character> <dialogue>out of the door,</dialogue> <scene_description>the yard. Kevin rolls over. Dazed and sore. He's taken a big hit. He sits up and rubs his roasted ass. He glances around slowly. The sun is setting. A florid, yellow, purple and black winter sunset. Kevin looks up. The bare trees move in the breeze. Kevin is getting nervous. He looks across the street. To old man Marley's house. Marley is scraping his front walk with a snow shovel. Kevin Freaks.</scene_description> <character>.</character> <dialogue>· 90 EXT. HOUSE - DUSK- WIDE</dialogue> <scene_description>The street lights go on. Kevin jumps up and runs into the house. He slams the door.</scene_description> <character>91</character> <dialogue>Kate's calmed down a fraction.</dialogue> <character>INT.</character> <dialogue>Frank and Leslie</dialogue> <scene_description>their best to console both Kate· and Peter.</scene_description> <character>AUNTLESLIE</character> <dialogue>We'll call as soon as we land. I'm sure everything's o~ay.</dialogue> <scene_description>Kate isn't interested in Leslie's consolations. Frank leans across.</scene_description> <character>UNCLEFRANX</character> <parenthetical>(to Peter)</parenthetical> <dialogue>If it makes you feel any better, I forgot my reading glasses.</dialogue> <character>92</character> <dialogue>The street lamps are fading "On". Harry and Marv's van is</dialogue> <character>EXT. STREET</character> <dialogue>parked at the far end of the street.</dialogue> <scene_description>(</scene_description> <character>92A</character> <dialogue>Harry and Marv sit from his wristwatch</dialogue> <character>INT. VAN</character> <dialogue>inside, surveying the street. to the various houses.</dialogue> <character>HARRY</character> <dialogue>Check it out. All the houses with nobody home have automatic timers on their lights ••• I got it all figured out ••• Number 1128 should go on right about ••• now•••</dialogue> <scene_description>Outside, the white Christmas house lights of address #1128 turn on. Harry points to another house, while glancing to his watch.</scene_description> <character>HARRY</character> <dialogue>Number 1135 ••• Now.</dialogue> <scene_description>outside, the Mccallister house lights FLASH ON. Harry smiles.</scene_description> <character>HARRY</character> <dialogue>That's the one, Marvin. That's the silver tuna.</dialogue> <character>MARV</character> <dialogue>It's very G.</dialogue> <character>HARRY</character> <dialogue>It's loaded. Lots of top-flight goods. Antiques, collectibles, objects d'art. Lots of kids means lots of stereos, VCR's, TV's. We're probably looking at some nice jewelry, possible cash hoard, the odd I marketable security. Who knows. It's I a gem.</dialogue> <character>'MARVIN</character> <dialogue>We'll probably need a night and day in there to clean it out.</dialogue> <character>HARRY</character> <dialogue>Grab the crowbar.</dialogue> <character>92B EXT. HOOSE- LATER</character> <dialogue>The house is dark.</dialogue> </scene> <scene> <stage_direction>~- 93 INT. MCCALISTERFAMILYROOM- NIGHT</stage_direction> <scene_description>Kevin is asleep. The house is silent. Dark. Save for the Howling. Kevin wakes. The house boards creak. Kevin's eyes are wide. Afraid. He hears a sound. His name. Echoing in a scratchy, eerie whisper. Kevin. Kevin. Kevin. He slowly turns to the sound. It is only a branch, scratching against the window. Kevin takes a breath, gathers his courage, attempting to calm himself.</scene_description> <character>KEVIN</character> <dialogue>Okay. Just relax. stay calm. Just like Dad always says, "Don't let your fears g~t the best of you. It's all in your imagination."</dialogue> <scene_description>Suddenly, Kevin hears more voices. Singing. An accapella, devilish version of "Silent Night". Kevin turns. The nutcrackers are singing. Their mouths flapping wildly. Kevin screams and runs out of the room.</scene_description> <character>€� 9 3A INT. FOYER- NIGHT</character> <dialogue>Kevin skids to a stop. A long, shadow of a man in a hat is on</dialogue> <scene_description>~ \ the wall. The shadow transforms into a "Night on Bald Mountain" demon. Kevin jumps back, cries out and runs out of the room. CAMERA WHIPS to the source of a shadow. It's only hat and coat, hanging from the hall cloak rack. The shadow is back to normal.</scene_description> <character>93B</character> <dialogue>Kevin dashes inside. The clock-suddenly for a moment, scaring the hell out of Kevin.</dialogue> <character>INT. DINING ROOM- NIGHT</character> <dialogue>Face to face with the Grandfather comes to life. Its face and body di torts Kevin screams and</dialogue> <scene_description>dashes out of the room.·</scene_description> <character>93C INT. KITCHEN- NIGHT</character> <dialogue>Kevin stops. Catches his breath. Gets a sudden chill.</dialogue> <character>KEVIN</character> <dialogue>It's freezing.</dialogue> <parenthetical>(a realization)</parenthetical> <dialogue>The furnace.</dialogue> <parenthetical>(a worse realization)</parenthetical> <dialogue>The pilot light.</dialogue> </scene> <scene> <stage_direction>(' 93D INT. BASEMENT - NIGHT</stage_direction> <scene_description>A LOWANGLEWIDE SHOT, from the bottom of the basement stairs. The top stair opens. Kevin stands here, looking down at the longest descent of his life. CLOSE-UP: KEVJ:N. Pondering.</scene_description> <character>XEVIN</character> <dialogue>Like Dad always says "You gotta face your fears if you wanna' conquer 'em."</dialogue> <scene_description>(gulp). If I don't face my fears now ••• I'll be a dreamsicle by tomorrow morning. Kevin takes a deep breath. He slowly takes a step. Into the basement. The stair creaks. Kevin gingerly walks down the stairs. The basement is dark. Damp. He arrives at the bottom of the stairs. Kevin's foot hits something. He looks down. It's the mannequin head. Its blank features have been replaced by a face. The head is alive. It SPEAKS to Kevin.</scene_description> <character>MANNEQUIN HEAD</character> <dialogue>Only a dummy would come into the basement.</dialogue> <scene_description>The mannequin head laughs. Joined by more laughter. Kevin looks up. The other mannequins are laughing. Headless bodies slap their knees. Disembodied heads chuckle. Kevin closes his eyes.</scene_description> <character>KEVIN</character> <dialogue>It's not real.</dialogue> <scene_description>Kevin slowly opens his eyes. The mannequins are calm. Quiet. The head at his feet is faceless. Kevin turns. Be looks at the enormous FURNACEahead of him. Kevin slowly walks to the furnace. Be gets to his knees and moves toward a mouth-like opening, located near the bottom of the furnace. Kevin reaches for the lever that opens the furnace. He pulls the lever forward. A loud grinding sound is heard. The mouth opens. Kevin peers inside. KEVIN'S POV A red button. Tiny letters read: PILOT above the sign. A few mousetraps, laced with cheese, are scattered on the floor in front of the pilot light. A nervous Kevin slowly moves his arm into the opening. His trembling hands pass only inches above the mousetraps. The sound of several squealing mice fill Kevin's head. Getting louder. Louder. Kevin closes his eyes to stop the sound.</scene_description> <character>I</character> <dialogue>STOP!</dialogue> <character>KEVIN</character> <dialogue>The sounds stop. Kevin continues to move his hand toward the pilot light button. He presses the button. The furnace erupts •. Kevin jumps back and looks up. The furnace has COMETO LIFE. Its mouth roars. Its dials become bulging eyes. Steam rushes from its cracked pipes. Kevin turns and runs up the stairs. CAMERA PANS BACKto the furnace. It is calm. Still. Purring gently.</dialogue> <scene_description>· 93E thru OMITTED t 93J</scene_description> </scene> <scene> <stage_direction>93K INT. FAMILYROOM- NIGHT</stage_direction> <scene_description>Kevin wakes up with a scream.</scene_description> </scene> <scene> <stage_direction>93L EXT. CHARLESDEGAULLEINTERNATIONAL</stage_direction> <character>AIRPORT - MORNING</character> <dialogue>The 747 touches down.</dialogue> </scene> <scene> <stage_direction>93M EXT. MCCALLISTER</stage_direction> <character>HOOSE- NIGHT</character> <dialogue>Harry and Marv's Ford van pulls in the driveway.</dialogue> </scene> <scene> <stage_direction>9 3N INT. VAN- NIGHT,</stage_direction> <scene_description>Harry shuts off the lights and turns off the engine. They exit the van.</scene_description> </scene> <scene> <stage_direction>INT. FAMILYROOM- NIGHT. ·</stage_direction> <scene_description>Kevin's sitting in the chair, ~reathing heavy, shaking off the dream. He looks at the TV. He scr8lllbles to his feet and turns on the light. he turns on another.</scene_description> </scene> <scene> <stage_direction>("""' 93P EXT. HOUSE.·- BACKYARD- NIGHT</stage_direction> <scene_description>'· Harry and Marv walk down the cellar stairs</scene_description> <character>93Q INT. BASEMENT- NIGHT</character> <dialogue>Harry and Marv peek in the dirty windows of the cellar door.</dialogue> <character>93R</character> <dialogue>Harry positions light.</dialogue> <character>EXT. HOUSE- CELLARSTAIRS - NIGHT</character> <dialogue>his</dialogue> <character>93S</character> <dialogue>Kevin's turned basement stairs CLOSE--OP SWITCH He turns</dialogue> <character>INT. KITCHEN - NIGHT</character> <dialogue>on the kitchen and ••• on the basement</dialogue> <character>93T</character> <dialogue>Through the glass,</dialogue> <character>INT. BASEMENT- CLOSE-OP HARRYANDMARV- NIGHT</character> <dialogue>looks</dialogue> <character>930</character> <dialogue>Kevin turns</dialogue> <character>INT. KITCHEN - NIGHT</character> <dialogue>on the kitchen</dialogue> <scene_description>.I:</scene_description> <character>93V</character> <dialogue>Harry and Marv hear the</dialogue> <character>EXT. HOUSE- CELLARSTAIRS - NIGHT</character> <dialogue>rrv. They turn to see</dialogue> <character>HARRY</character> <dialogue>Shit.</dialogue> <character>MARV</character> <dialogue>I thought you said they were gone?!?</dialogue> <character>HARRY</character> <dialogue>They were supposed to leave this morning!</dialogue> <character>MARV</character> <dialogue>We gotta get outta.here!</dialogue> <scene_description>They race across the back yard, back to their van. thrU OMIT'l'ED</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT- ARRIVALAREA - MORNING</stage_direction> <scene_description>ROB MCCALLISTER,his wife, GEORGETTE,their eight year old son, KEITH, and eleven year old son, STEFFAN. Rob looks down at his kids.</scene_description> <character>ROB</character> <dialogue>Okay, kids. Try the sign.</dialogue> <scene_description>The kids grumble and unenthusiastically unfurl a long computer sign that reads -- WELCOME TO PARIS! MERRYCHRISTMAS. Rob is craning his neck to see over the crowd. He spots the McCallisters.</scene_description> <character>ROB</character> <dialogue>There they are!</dialogue> <scene_description>Rob puts his arm around Georgette and grins.</scene_description> <character>ROB</character> <dialogue>Look how excited they are to see us!</dialogue> <scene_description>135 ROB'S POV - MORNING Kate and Peter lead the horde from the arriving flight. They're running. Aunt Leslie, Uncle Frank and the kids trail behind. Nothing is stopping Peter and Rate.</scene_description> <character>ROB</character> <parenthetical>(wave)</parenthetical> <dialogue>Pete! Kate!</dialogue> <character>I</character> <dialogue>l</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT- MORNING ·</stage_direction> <scene_description>Peter and Kate burst through the sign. Uncle Frank and Aunt Leslie follow, then the kids, all running past. Rob, Georgette and his family are completely stunned. 137 OMITTED 138 CLOSEUP-PAY PHONEAREA - MORNING In the foreground. 'l'he running throng approaches, like a festive, holiday marathon. Kate arrives and grabs the phone. She turns and shouts orders to the others.</scene_description> <character>KATE</character> <dialogue>I'm gonna try our house. Peter, you call the Bensons. If they're home, they can run over and get Kev.</dialogue> <parenthetical>(to the kids)</parenthetical> <dialogue>Kids. Get some change. Start calling people you know.</dialogue> <parenthetical>(to Leslie)</parenthetical> <dialogue>Leslie. Frank.· Take my address book. Call anybody who lives on our street. Maybe somebody will still be home.</dialogue> <scene_description>139 OMITTED</scene_description> </scene> <scene> <stage_direction>139A INT. MCCALLISTER - NIGHT</stage_direction> <scene_description>HOUSE- UPST.Al:RSHALLWAY</scene_description> <character>CLOSEUPKEVIN</character> <dialogue>Kevin sitting on the top stair. He's terrified and breathing heavily.</dialogue> </scene> <scene> <stage_direction>- 14 0 INT. AIRPORT - PHONEAREADAY.- KATEANDPETER</stage_direction> <scene_description>Kate stands at the phone, listening with distress. In the background; the kids huddle around another phone, trying various numbers. Aunt Leslie and Uncle Frank are on another telephone. Kate hangs up the phone. Frustrated.</scene_description> <character>KATE</character> <dialogue>The phone's still out of order.</dialogue> <scene_description>Kate hurriedly dials another number. 141 INT. POLICE STATION- NIGB'l' A switchboard OPERATORanswers a call.</scene_description> <character>OPERATOR</character> <dialogue>Oak Park Police Department. M:mDlHmmm. You want to report a missing child?</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT - DAY/NIGHT</stage_direction> <scene_description>The following scene INTERCUTSBETWEEN the switchboard Operator and Rate, between DAY/NJ:GB'l'.</scene_description> <character>KATE</character> <dialogue>He's not missing.</dialogue> <character>PETER</character> <dialogue>Missing?</dialogue> <character>KATE</character> <parenthetical>(waves him silent)</parenthetical> <dialogue>He's at home. We left on an overseas flight and somehow, we had eleven kids, somehow we overlooked him.</dialogue> <character>OPERATOR</character> <dialogue>The child is not missing?</dialogue> <character>KATE</character> <parenthetical>(frustration growing)</parenthetical> <dialogue>Ma'am. I need someone to go to my house and see if my child is alright and to tell him that •••</dialogue> <scene_description>She looks to Peter.</scene_description> <character>PETER</character> <dialogue>We're coming home for him.</dialogue> <character>KATE</character> <dialogue>••• that.we're</dialogue> <scene_description>. ., coming home for him •</scene_description> <character>OPERATOR</character> <dialogue>Let me connect you with family crisis intervention.</dialogue> <character>KATE</character> <dialogue>It's not a family crisis.</dialogue> <character>OPERATOR</character> <parenthetical>(making the transfer)</parenthetical> <dialogue>Bold on.</dialogue> <scene_description>Kate curses silently, and silently turns to Peter.</scene_description> <character>KATE</character> <dialogue>Go down to the ticket counter. Book a flight •.</dialogue> <character>PETER</character> <dialogue>For all of us?</dialogue> <character>KATE</character> <dialogue>There's no sense taking the kids. You stay here with them.- I'll go get Kevin and come back.</dialogue> <parenthetical>(tender)</parenthetical> <dialogue>You hold Christmas.for us.</dialogue> <scene_description>Peter nods, gives a comforting smile and hurries off to the ticket counter. A voice interrupts Kate on the phone.</scene_description> <character>KATE</character> <dialogue>Hello?</dialogue> <character>143</character> <dialogue>A grumpy, prune faced officer in a rumpled</dialogue> <character>INT. POLICE STATION - OFFICE - NIGHT/DAY</character> <dialogue>uniform</dialogue> <scene_description>a desk. His PHONERINGS and he answers.</scene_description> <character>OFFICER BALZAK</character> <dialogue>Family crisis intervention. Sergeant Balzak.</dialogue> <character>KATE</character> <parenthetical>(begins to explain)</parenthetical> <dialogue>Hi ••• Look ••• I'm calling from Paris ••• I have a little boy who's home alone •••</dialogue> <character>OFFICER BALZAK</character> <dialogue>Has the child been involved in a violent altercation with a drunken or mentally ill family member?</dialogue> <character>KATE</character> <dialogue>No •••</dialogue> <scene_description>( OFFICERBALZAK Has the child been involved in a household accident?</scene_description> <character>KATE</character> <dialogue>I don't think so •••</dialogue> <character>OFFICER</character> <dialogue>Has the child swallowed poison or an object that has become lodged in his throat?</dialogue> <character>KATE</character> <dialogue>'</dialogue> <parenthetical>(hysterical)</parenthetical> <character>NO! HE'S JUST HOMEALONE! I JUST</character> <dialogue>WANTYOOTO SEND SOMEBODY OVER TO THE</dialogue> <character>HOOSE1 JUST TO CHECK ON HIM!</character> <dialogue>OFFICER</dialogue> <scene_description>You want someone to go over to your house and check on your son?</scene_description> <character>KATE</character> <parenthetical>(breathless)</parenthetical> <character>YES!</character> <dialogue>OFFICER</dialogue> <scene_description>Let me transfer you to the police</scene_description> <character>( KATE</character> <dialogue>But they just transferred me to you •••</dialogue> <character>OFFICER</character> <parenthetical>(making the transfer)</parenthetical> <dialogue>Hold on.</dialogue> <scene_description>Kate stops herself from smashing the receiver into the wall. The kids, Leslie and Frank surround her. Kate gives a hopeful look.</scene_description> <character>KATE</character> <dialogue>Any luck?</dialogue> <scene_description>The kids shake their heads. Kate turns to Frank and Leslie. They shake their heads.</scene_description> <character>AUNTLESLIE</character> <dialogue>Nothing but a bunch of answering machines.</dialogue> <scene_description>thru OMITTED</scene_description> <character>146A</character> <dialogue>- NIGHT</dialogue> <character>INT. HOUSE- UPSTAIRS HALLWAY</character> <dialogue>I</dialogue> <character>~</character> <dialogue>\</dialogue> <character>. '~</character> <dialogue>Kevin stands</dialogue> <character>'</character> <dialogue>up. The sadness is gone. He's finding his</dialogue> <scene_description>courage.</scene_description> <character>147</character> <dialogue>- DAY</dialogue> <character>INT. FRENCHAIRPORT - TICKET COUNTER</character> <dialogue>Peter is there. Kate walks into the scene. Peter turns to Kate. He is solemn.</dialogue> <scene_description>I:</scene_description> <character>PETER {</character> <dialogue>Tonight's flights are all booked.</dialogue> <character>KATE</character> <dialogue>To Chicago.</dialogue> <character>PETER</character> <dialogue>To Chicago. New York. Detroit. I tried everything.</dialogue> <character>KATE</character> <dialogue>What about a private plane?</dialogue> <character>PETER</character> <dialogue>I checked. Nothing. I'm booking you on a flight that leaves Friday morning.</dialogue> <character>(</character> <dialogue>KATE</dialogue> <scene_description>( Kate gives a frustrated sigh. Peter tries to comfort her.</scene_description> <character>PETER</character> <dialogue>Look, honey ••• We've done all we can here ••• The kids are exhausted. Let's go to Rob's. We can call the police again from there •••</dialogue> <character>KATE·</character> <parenthetical>(strong-willed)</parenthetical> <dialogue>No. I have a child at home alone. I'm not leaving here unless it's on an airplane.</dialogue> <scene_description>Peter sighs, helpless. The TICKET AGENT, a French woman with a light accent, having overheard the conversation, looks at Kate.</scene_description> <character>TICKET AGENT</character> <dialogue>Ma'am.:. If you stay at the airport ••• Maybe we can get you on standby ••• There's a very slim chance that a seat will open up ••• And you may have to wait several hours ••• But it is the Holiday season. Miracles can happen.</dialogue> <scene_description>r" Kate nods. It's her\_. only hope.</scene_description> <character>148</character> <dialogue>EXT. MCCALLISTER The door swings open.</dialogue> <character>HOUSE- FRONTDOOR- NIGHT</character> <dialogue>Kevin marches out to the end of the</dialogue> <scene_description>driveway.· Angry, he looks left and right and yells at the top of his little voice.</scene_description> <character>KEVIN</character> <dialogue>I'm not afraid anymore!</dialogue> <scene_description>Mr. Marley steps out of the darkness, standing a few feet in front of Kevin. Marley is holding the snow shovel. He nods to Kevin. Kevin's eyes pop wide in fear. His face goes white. He screams, turns and runs into the house. He slams the door. Marley turns to the curb and continues poking the handle at a clog in the gutter.</scene_description> <character>149</character> <dialogue>OMITTED</dialogue> <character>149A</character> <dialogue>Kevin runs into the Foyer screaming. runs up the stairs screaming.</dialogue> <character>INT. FOYER- NIGHT</character> <dialogue>Be slams the door and</dialogue> </scene> <scene> <stage_direction>(' 149B INT. KITCHEN - NIGHT</stage_direction> <scene_description>Kevin runs down the back stairs screaming. He stops at the foot of the stairs. He sees he's run back down stairs, turns and runs back up. Screaming.</scene_description> <character>149C</character> <dialogue>- NIGHT</dialogue> <character>INT. KEVIN'S BEDROOM</character> <dialogue>Kevin jumps into his bed and scrambles under the covers.</dialogue> <character>149D</character> <dialogue>A Police</dialogue> <character>EXT. KEVIN'S HOUSE - NIGHT</character> <dialogue>Officer</dialogue> <character>149E</character> <dialogue>- NIGHT</dialogue> <character>INT. KEVIN'S BEDROOM</character> <dialogue>CLOSEUPKEVIN</dialogue> <dialogue>He peaks out from under the covers. Be's shocked.</dialogue> <character>'149F EXT. FRONT PORCH- NIGHT 1</character> <dialogue>The Officer bangs on the door.</dialogue> <scene_description>~ ,\</scene_description> <character>149G INT. KEVIN'S BEDROOM-NIGHT</character> <dialogue>CLOSEUPKEVIN His eyes are wide with terror.</dialogue> <character>1</character> <dialogue>Be pulls</dialogue> <scene_description>head.</scene_description> <character>149H</character> <dialogue>The Police Officer steps back and looks up at the house. looks okay to him. He returns to his car.</dialogue> <character>EXT. HOUSE - NIGHT</character> <dialogue>It</dialogue> <character>150</character> <dialogue>A soft, sweet voice croons "I'LL BE HOMEFOR CHRISTMAS"in French over the airport goodbyes to Kate. Rob and the rest of the family. a moment. Saddened.</dialogue> <character>INT. OEGAULLEAIRPORT - DAY</character> <dialogue>speakers. With a final kiss, Peter and the kids join They exit. She takes a seat.</dialogue> <scene_description>airport. ·</scene_description> </scene> <scene> <stage_direction>( 152 EXT. MCCALLISTERHOOSE- NEXT MORNING</stage_direction> <scene_description>A dark, grey day. thru OMITTED</scene_description> <character>157</character> <dialogue>He's taken a shower. wrapped around his waist.</dialogue> <character>INT. BATHROOM- DAY</character> <dialogue>His hair is wet and he has a towel He's being very adult and very</dialogue> <scene_description>conscientious about his brushing.</scene_description> <character>KEVIN</character> <dialogue>I took a shower, washing every body part with actual soap including all my major crevices including between my toes and my belly button which I never did before but sort of enjoyed. I washed my hair with adult-formula shampoo and I used cream rinse for the just-washed shine. I can't find my toothbrush so I'll pick one up when I go out today. Other than that I'm in good shape.</dialogue> <scene_description>He opens a bottle of after-shave, splashes a quantity on his hands, as his father does, and slaps it on his cheeks. He smiles at himself. Then screams!</scene_description> <character>157A</character> <dialogue>EXT. MCCALISTERHOOSE - DAY</dialogue> <scene_description>We hear Kevin scream inside. thru OMITTED · t</scene_description> <character>161</character> <dialogue>Kevin pulls a chair over to a shelving unit attached to the wall. of the unit and a tin baseball woefully short-armed. his foot. steps up on the next shelf, top.</dialogue> <character>INT. BUZZ'S ROOM- DAY</character> <dialogue>He stands on the chair and tries card box. He tests the strength He begins to climb the shelf unit. then the next. His little</dialogue> <scene_description>The box slides forward into his hand as the shelving unit pulls away from the wall. The shelf unit topples, throwing Kevin and everything on the shelves to the floor. CRASBl ( The tin box hits the floor and splits open, spilling coins and Kevin emerges stunned and shocked, but unharmed from the heap of rubbish that was once Buzz's shelves. CAMERA PANS a few feet away. The tarantula is free from its shattered aquarium. It skates across the floor.</scene_description> <character>162</character> <dialogue>Kevin comes out the door, bundled in his coat, hat and scarf.</dialogue> <character>EXT. HOOSE - BACK DOOR - IATER'-</character> <dialogue>He leaves the door WIDE OPEN, as he would if his mother were there to close it for him. He jumps down off the porch and heads around the corner of the house, to the driveway.</dialogue> <character>163</character> <dialogue>Kevin tiptoes across the street, is clear. down the drive to the sidewalk and heads up the street.</dialogue> <character>EXT. HOOSE - FRONT YARD - DAY</character> <dialogue>around the corner of the house. to Marley'shouse, making sure that the coast It is. He</dialogue> <scene_description>glances to his left. 'l6JA thru OMITTED ~ 163B I</scene_description> <character>164</character> <dialogue>The van is parked</dialogue> <character>HIS POV~ DAY·</character> <dialogue>far up the driveway</dialogue> <scene_description>house across the street. They're back. Kevin notes the van with curiosity. He whispers to himself.</scene_description> <character>KEVIN</character> <dialogue>I thought the Murphy's</dialogue> <character>I</character> <dialogue>went to</dialogue> <scene_description>Florida ••• Kevin shrugs and EXlTS FRAME,hurrying by Marley's house.</scene_description> <character>165</character> <dialogue>OMITTED</dialogue> <scene_description>165A EXT. PARIS - NIGH'l' The Christmas lights are shining bright. Traffic's moving. The city is charged with spirit and movement. CAMERAPULLS BACK. This is the view from the window of 166 IN'l'. ROB MCCALLISTER'SAPARTMENT</scene_description> <character>- NIGHT</character> <dialogue>Peter stands in the foreground on the telephone. Megan and</dialogue> <character>MEGAN</character> <dialogue>You aren't even worried. Are you?</dialogue> <character>BUZZ</character> <dialogue>Why should I be?</dialogue> <character>MEGAN</character> <dialogue>He's home alone.</dialogue> <character>BUZZ</character> <dialogue>Good. He's acted like an asshole once too many times and this time he caught it in the butt.</dialogue> <character>MEGAN</character> <dialogue>He's so little and helpless~ Don't you think he's flipped out?</dialogue> <character>BUZZ</character> <dialogue>He's probably going through a stage ten brain fry-down right now, but he asked for it.</dialogue> <character>MEGAN</character> <dialogue>You're really cruel.</dialogue> <character>BUZZ</character> <dialogue>.t' The little trout can use a couple</dialogue> <scene_description>in the real world. days</scene_description> <character>MEGAN</character> <dialogue>You're not at all worried that something might happen to him?</dialogue> <character>BUZZ</character> <dialogue>No. For three reasons. A. I'm not that lucky. 2. We have smoke detectors and D. We live on the most boring street in the United States of America where nothing even remotely dangerous is ever, did ever, or will ever happen. Period.</dialogue> <character>167</character> <dialogue>OMITTED</dialogue> <character>167A</character> <dialogue>- DAY</dialogue> <character>INT. MURPHY'SHOUSE- BEDROOM</character> <dialogue>Marv and Harry are sacking the house. Marv is dumping drawers. The PHONERINGS. He freezes. An ANSWERINGMACHINECLICKS ON.</dialogue> <character>MALEVOICE (V.O.)</character> <dialogue>Hello. We're not home right now. If you'll leave your name and number, and the time you called, we'll get back to you as soon as possible. Thank you.</dialogue> <character>BEEP.</character> <dialogue>PETER (V. O.)</dialogue> <scene_description>Chuck? This is Peter Mccallister again. We' re in Paris. At my brother's aparbnent. Let me give you the number here ••• The country code is ••• As Peter recites the number, Marv recognizes something in Peter's message.</scene_description> <character>MARV</character> <dialogue>Harry! The house we were at last night, was that Mccallister?</dialogue> <character>HARRY (O.S.)</character> <dialogue>Yeah •. .' ,. , .. , MARV</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>You're right. They're gone.</dialogue> <character>168</character> <dialogue>- DAY</dialogue> <character>INT. DRUGSTORE</character> <dialogue>CLOSE-OP PHARMACY</dialogue> <dialogue>.</dialogue> <character>CLERIC</character> <dialogue>.</dialogue> <scene_description>LEANINGINTO CAMERA.A WOMAN in her mid-fifties. A little too much make-up, a little too much hairspray~ She's grinning.</scene_description> <character>CLERK</character> <dialogue>How may I help you?</dialogue> <character>DRUGSTORE</character> <dialogue>It's a small, local drug store. Drugs. Toiletries. Notions. Kevin's at the pharmacy counter. He sets a toothbrush on the counter.</dialogue> <character>KEVIN</character> <dialogue>Is this·toothbrush approved by the American Dental Association? .</dialogue> <scene_description>DOOR- CIDSE-tJP FEE'l' ( The door opens and a pair of worn galoshes shuffle in.</scene_description> <character>PHARMACY</character> <dialogue>COONTER</dialogue> <scene_description>The clerk is wearing half-glasses trying to read the printing on the toothbrush package.</scene_description> <character>CLERK</character> <dialogue>It doesn't say, hon.</dialogue> <character>STORE - CLOSE-UPGALOSHES</character> <dialogue>Shuffling down an aisle. CLOSE-UPCLERX She sets down the toothbrush and turns back to the counter.</dialogue> <character>CLERK</character> <dialogue>Herb? I have a question about a toothbrush.</dialogue> <character>CLOSE-UPKEVIN</character> <dialogue>He awaits his answer. he reaches into his pocket and takes a twenty dollar bill. Behind him a FIGURE approaches. CLOSE-UP COUNTER Kevin fiddles with the toothbrush. He turns it over. Suddenly, a bloodied hand slaps down on the counter. CLOSE-UPKEVIN His eyes open wide in fear as he looks at the hand. BIS POV - CLOSE-OPBAND CAMERAfollows the hand up to a tattered overcoat sleeve to •• . CLOSE-OPMARLEY He's looking down at Kevin. A HORRORSTING. CLOSE-UPKEVIN TERROR!He backs away from the counter. CLOSE-UP CLERK She turns back to the counter. HER POV</dialogue> <dialogue>Marley's at the counter, looking back at Kevin as he moves away</dialogue> <scene_description>F' I from the counter. The toothbrush is still in his hand. ,·</scene_description> <character>CLOSE-UPCLERK</character> <dialogue>She calls to Kevin.</dialogue> <character>CLERK</character> <dialogue>Bon? you pay for that here.</dialogue> <character>CLOSE-UPKEVIN</character> <dialogue>He doesn't hear her, pars her no mind, doesn't think that he has the toothbrush in his hand. He's only interested in getting out. HIS POV</dialogue> <character>MOVING</character> <dialogue>AWAY.The Clerk is calling to him. Marley's watching</dialogue> <scene_description>him.</scene_description> <character>CLERK</character> <dialogue>Son? Come back! Hey!</dialogue> <character>STORE-WIDER.</character> <dialogue>Kevin keeps moving, not taking his eyes ~ff Marley. CLOSE-UPCLERK She yells.</dialogue> <character>CLERK</character> <dialogue>Stop that boy!</dialogue> <character>CLOSE-OPSTOCKBOY</character> <dialogue>He looks up from the shelf he's stocking. I</dialogue> <character>I</character> <dialogue>CLOSE-OPKEVIN.</dialogue> <dialogue>He's overwhelmed by panic. Be turns and bursts out of the store.·</dialogue> <character>168A</character> <dialogue>thru' OMITTED</dialogue> <character>170</character> <dialogue>Kevin speeds out of the'drugstore,</dialogue> <character>EXT. TOWNSQUARE- DAY</character> <dialogue>across the street, past</dialogue> <scene_description>Santa's Village. 'l'he Stockboy breaksout of the store and charges after Kevin, who runs across the street, past Santa's Village. A police car is parked a few feet away. 'l'he Stockboy sees the cop,grins, puts his fingers to his mouth and whistles, ( waving to the cop. The police car stops. THE COP rolls down ·' his window and looks to the Stockboy People within earshot turn at the stockboy's cr:y. All eyes are upon Kevin. Accusing. Angr:y. A frightened Kevin sprints. Pumping his legs as hard and fast as they'll go. The cop begins to follow Kevin, chasing the scared little boy through the town square.</scene_description> <character>. .</character> <dialogue>Kevin'runs onto the ICE SKATINGRINK. He hits the ice SPRINTING. Kevin crouches down and GLIDES across the ice, barely avoiding a collision with several skaters.</dialogue> <character>170A KEVIN'S MOVINGPOV</character> <dialogue>Ice ska~ers leaping out of his path.</dialogue> <character>170B EXT. TOWNSQUARE</character> <dialogue>The cop attempts to make his way across the ice rink. • Stumbling.- Be takes a few steps and FLIPS BACKWARD, falling on his ass •. Kevin emerges on the opposite side of the rink. Kevin escapes across a bridge leading into the suburbs. Be glances back. ~-. · ·</dialogue> <character>... '</character> <dialogue>KEVIN'S POV/'.\_\_</dialogue> <character>.· · ::· ; . ,° · €�</character> <dialogue>.. -·~,.;</dialogue> <character>·:·</character> <dialogue>.~</dialogue> <character>·,:: .: / ·:.!.:</character> <dialogue>-...'</dialogue> <scene_description>The cop is being</scene_description> <character>. :,</character> <dialogue>'</dialogue> <scene_description>helped . to his feet by two skaters. Kevin turns ~d continues running, DISAPPEARINGinto the suburbs.</scene_description> <character>170C</character> <dialogue>thru OMITTED t</dialogue> <character>176A INT. DRUGSTORE.:-PHARMACY</character> <dialogue>. . . COUNTER</dialogue> <character>- DAY</character> <dialogue>• ' I '</dialogue> <scene_description>Marley is paying for a purchase.</scene_description> <character>INSERT - A BAANDAID</character> <dialogue>BOX</dialogue> <character>177</character> <dialogue>STREET - LATER- DAY</dialogue> <character>EXT. NEIGHBORHOOD</character> <dialogue>·. :: - ~ ~-</dialogue> <scene_description>Kevin shuffles down the street, tired,' cold and frightened. Be looks at the toothbrush in his hand.</scene_description> <character>KEVIN</character> <dialogue>I'm a criminal.</dialogue> <character>178</character> <dialogue>HOUSEACROSSSTREET-·LIVING ROOM-DAY</dialogue> <character>INT. MORPHY</character> <dialogue>It has been sacked, thoroughly searched and plundered.,. Cabinets are smashed and overturned, tables upended. The</dialogue> <scene_description>~ Be ·exits toward</scene_description> <character>, , ....·,</character> <dialogue>the back of the house.</dialogue> <scene_description>As he passes through.the kitchen, Marv stuffs a dish towel in the sink drain. H~. turns on the water. He grins sadistically. ';.:·::/:rt~:,:</scene_description> <character>'. .,~:::~</character> <dialogue>....</dialogue> <character>.. .... .'</character> <dialogue>179 E~. HOOSE·-, DAY ··o;· ~-,</dialogue> <scene_description>l :-. ,. •• -~. ' ~ -- • I· , • ,,, ,;\_ . .. .. van~-.:·· Th~ Harry, s i~ .,th~;, .MOTOR,s RUNNING. Marv comes out, looks to the street-and quickly deposits his loot in the van. €� ! ' : , €�. ' ~:</scene_description> <character>€�€� !,,</character> <dialogue>t ·:• ~ ,.\_ •</dialogue> <character>INT.</character> <dialogue>.::\.&lt;{·::</dialogue> <character>VAN -</character> <dialogue>~-~-</dialogue> <character>.'.·\:. €� €� .</character> <dialogue>A huge haul from the house sits in the back of the van. The</dialogue> <scene_description>· door slides shut.- A grinning Harv gets inside. Harry glare\_s·· at him·· · . ,,, ·· ... . '</scene_description> <character>:€�· ·\_:,:-, '.T''&gt;::\_:··. ,,.·~·&lt;.:·-.:.'€�\_'.. ·,</character> <dialogue>,.</dialogue> <scene_description>· ·.·f .?· · · ..· ··· HARRY .</scene_description> <character>· · .,· €�</character> <dialogue>···.··::···,You did it again.</dialogue> <scene_description>. --'{ '.,: left the water runnin' •. Didn.'t ya'? You</scene_description> <character>,\_;'..~</character> <dialogue>----~-.,</dialogue> <character>~·:</character> <dialogue>\/~--~~.:.··\_</dialogue> <character>...</character> <dialogue>7?~J~-~---</dialogue> <character>~·~·:-/</character> <dialogue>·:.:,:.~~~·</dialogue> <character>;';' ;,,.. .' . -. .- . . . .</character> <dialogue>Marv continues. to ''smile. deviou~ly, saying nothing •</dialogue> <character>.·:::</character> <dialogue>.·:..·~-</dialogue> <scene_description>\~;-\:{tt:f{?r·:/tf\;:";:~f):~ \~y . ·.: . - ·, ·· · ....,, .:~-.-:/ ·-i~,:/~:~/ti:,.f\ ..reason I ~old yfou tito stop\_ that ..., ·,.. · ,.. ,.,,,,.,..,.·•··. or •. ·.. ·•,.. •. There's</scene_description> <character>·-'··..</character> <dialogue>no;,f:.:\_</dialogue> <character>- -.\_,:?\_:</character> <dialogue>; '.';.)\:~t?l~~~rf;./f</dialogue> <scene_description>'.&gt;:-:t.:ritt~ef ·-MARV.:</scene_description> <character>: , . .,::-.</character> <dialogue>.. !.,.:· Harry~\'~ ·,. It's</dialogue> <scene_description>...'.{;;\_(\'.;\_- our calling· card •. All ·, , . --·;:·::·,\_:·::ti·~ the great, ones 1eave their mark.·</scene_description> <character>. ·''.·.. ":\_·-/</character> <dialogue>.::·:•\_:·</dialogue> <scene_description>•;;(:'.,:&gt;&gt;:,:: ~t?:~~::~~~~{if.~~t '.--B~~its.</scene_description> <character>·€�··</character> <dialogue>Ha~ stares· incredulously at Harv for a moment, then puts the</dialogue> <scene_description>.van ¼'.\*~J(!{?i~; ..nr•~;~i~:if ·..·.· , ·. /,• Sick bastard.· -· ··--: ·...·tt\r-:;\_,</scene_description> <character>:,€�...-..-:·:</character> <dialogue>181 · EXT. HOOSE·.:.: oRIVEWii.'\:·</dialogue> <scene_description>~i~ ... ·. ... ' . ' :, :t·~,~:--' - ... The vanbacks' 0ut.'Fs-,~~v~~,.continues to walk down the street. 182 EXT, B~S~::Lk/ '.i?~}'ii''''•·.··• Th~ v~ ;c~;:~~'-do~.:~e- drive. Kevin is in line for a . collision.· .. Harry glances into the van's side mirror. Kevin is visible in the mirror, walking across the drive. seeing this, Harry reacts .with surprise and jams the brakes on. The van's 'l'IRE LOCKS and SKIDS on the· slick pavement. Kevin looks up and around in shock, as the van slides in front of him. Missing . . .him by inches. ; '.· .· :'. - · · · · - · ,,.</scene_description> <character>183</character> <dialogue>\</dialogue> <character>KEVIN'S POV·- DAY</character> <dialogue>The van slides to a stop on Harry's face.</dialogue> <character>184</character> <dialogue>Kevin's Harry feigns a look of false concern.</dialogue> <character>HARRY'SPOV - DAY</character> <dialogue>frightened Be doesn't</dialogue> <scene_description>Kevin. He rolls down his window.</scene_description> <character>HARRY</character> <dialogue>Keep an eye out for traffic, son.</dialogue> <scene_description>Marv leans around Harry and adds his less skillful two cents.</scene_description> <character>MARV</character> <dialogue>Santa don't visit the funeral hemes, little buddy.</dialogue> <character>HARRY</character> <dialogue>step back. ·</dialogue> <scene_description>Kevin takes a step back away from the van. Harry smiles and winks, revealing his geld tooth.</scene_description> <character>, HARRY</character> <dialogue>Merry Christmas!</dialogue> <scene_description>Kevin recognizes Harry as the police officer who was at his house the night before. Kevin's jaw drops. The van pulls out of the driveway. Kevin watches it. Be starts to run across the street. The van stops.</scene_description> <character>185</character> <dialogue>Harry looks back out the window.</dialogue> <character>INT.</character> <dialogue>MARV</dialogue> <scene_description>What's the matter?</scene_description> <character>BARRY</character> <dialogue>I don't know. I don't like the way the kid looked at me.</dialogue> <character>MARV</character> <dialogue>You ever seen him?</dialogue> <character>· HARRY</character> <dialogue>( I seen a hundred kids this week. fF" , 186 CLOSEUP - KEVIN - DAY</dialogue> <scene_description>Kevin reaches the parkway, when he realizes that the van has stopped. Be slows and peeks over his shoulder.</scene_description> <character>KEVIN</character> <dialogue>You're not afraid •••</dialogue> <character>187</character> <dialogue>The van, waiting</dialogue> <character>KEVIN'S POV - DAY</character> <dialogue>in the middle of the street.</dialogue> <character>CLOSEE-UP KEVIN</character> <dialogue>Kevin wants to cry, he's so scared. Be stops when he reaches the sidewalk. Be looks at his house. Makes a quick decision, turns and heads down the street, passing the house.</dialogue> <character>188</character> <dialogue>Barry watches</dialogue> <character>INT.</character> <dialogue>the mirror.</dialogue> <character>189</character> <dialogue>OMITTED</dialogue> <scene_description>190 EX'l'. STREET - DAY Kevin is walking down the street. The van is tailing him. Kevin hurriedly begins to sprint. Be turns and disappears around the corner. The van follows.</scene_description> <character>190A</character> <dialogue>As Barry Harry's</dialogue> <character>INT.</character> <dialogue>and Marv turn face.</dialogue> <character>HARRY</character> <dialogue>ANDMARV'SPOV</dialogue> <scene_description>The street. Bare. No sign of Kevin. He's disappeared. thru OMITTED th</scene_description> <character>193</character> <dialogue>Harry and Marv squint.</dialogue> <character>INT.</character> <dialogue>Baffled.</dialogue> <character>HARRY</character> <dialogue>Shit! Where'd he go?</dialogue> <scene_description>fi?" 193A EXT. STREET - CHURCH- DUSK Harry and Marv's van pass the Church. A LIFE-SIZE NATIVITY SCENE decorates the church's front lawn. Figures of Joseph, Mary, Jesus, the Wise Men and various animals are here. There is also a very realistic LITTLE DRUMMER BOY standing over the manger. Head lowered.</scene_description> <character>193B</character> <dialogue>Staring</dialogue> <character>EXT. VAN- MOVINGSHOT - MARV- DUSK</character> <dialogue>out the window,</dialogue> <scene_description>away.</scene_description> <character>193C EXT. NATIVITY SCENE - DUSK</character> <dialogue>CAMERA COLLIES TOWARD the Little raises his head. and holding the drum.</dialogue> <character>1</character> <dialogue>Drummer Boy. He slightly It is Kevin, dressed in the statue's Kevin watches Harry and Marv's van TURN</dialogue> <scene_description>and DISAPPEARaround the corner.</scene_description> <character>193D INT. VAN - DUSK</character> <dialogue>Harry is still</dialogue> <character>1</character> <dialogue>baffled.</dialogue> <character>HARRY</character> <dialogue>How could he just disappear like that?</dialogue> <character>MARV</character> <dialogue>Why don't we forget it, huh? You shouldn't be following a kid, man. That's like sending invitations to the cops.</dialogue> <character>I</character> <dialogue>I don't at me.</dialogue> <character>HARRY</character> <dialogue>like the way that kid looked ' MARV</dialogue> <scene_description>You're just gettin' an edge on ya'. We're doin' good. Now, c'mon. It's gettin' dark. Let's drop this stuff off, get a bite to eat and come back for some more Holiday surprises. Harry grins. Marv laughs. Harry hits the gas.</scene_description> <character>193E</character> <dialogue>Kevin hurriedly hurries are turning on.</dialogue> <character>EXT. NATIVITYSCENE - DUSK</character> <dialogue>removes the Little away from the church. It is getting dark.</dialogue> </scene> <scene> <stage_direction>F'. 194 EXT. STREET- NIGHT</stage_direction> <scene_description>Kevin runs as fast as he can. All up and down the block. The CHURCHBELI.S strike a fifth time, calling it five o'clock. The timers in the houses of the people away for the holidays turn on the Christmas lights. Kevin arrives at his driveway.</scene_description> <character>194A</character> <dialogue>thru</dialogue> <character>1</character> <dialogue>OMITTED</dialogue> <character>206</character> <dialogue>Kevin runs in and turns door, secures the chain</dialogue> <character>INT. HOUSE- NIGHT</character> <dialogue>on the foyer light, and the deadbolt.</dialogue> <character>KEVIN</character> <dialogue>This is my house. I have to defend it.</dialogue> <scene_description>He runs up the stairs.</scene_description> <character>207</character> <dialogue>All of the upstairs and downstairs lights are on. A beat, and</dialogue> <character>EXT. HOUSE- LATER - NIGHT</character> <dialogue>the attic lights go on. BRENDALEE'S "ROCKIN' AROUND THE CHRISTMASTREE" FILLS THE SOUNDTRACK.A MONTAGE BEGINS.</dialogue> <character>207A</character> <dialogue>MONTAGE</dialogue> <scene_description>The Brenda Lee song plays over the following images: Kevin arranging the living room chairs to face toward the windows, a Piano song book being flipped to "Joy To The World", the Sports hero poster being peeled from Buzz's wall, an ELECTRIC/ TRAIN being removed from the closet, a laugh box being removed from Jeff's drawer, one of the nutcrackers with a rifle being snatched from the piano top, Kevin carrying mannequins up from the basement and carrying stereo speakers from the family room to the kitchen. END OF MONTAGE. thru OMITTED th</scene_description> <character>223</character> <dialogue>A Little The delivery boy, who we remember·from earlier,</dialogue> <character>EXT. HOUSE- LATER - NIGHT</character> <dialogue>Nero's Pizza delivery car pulls into the driveway. walks to the</dialogue> <scene_description>--.,\_,\_\_ porch. ("' The Pizza boy reads the note and shrugs. The back door is no problem for him. He hops down off the porch and walks around to the back door.</scene_description> <character>224</character> <dialogue>Kevin is listening to the Brenda Lee song. 'l'HE DOORBELL</dialogue> <character>INT. FAMILYROOM- NIGHT</character> <dialogue>RING</dialogue> <scene_description>Kevin jumps up, turns OFF the CD PLAYERand sneaks into the kitchen. ·</scene_description> <character>225</character> <dialogue>The Pizza Boy tries to look in the window. The kitchen door</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>curtains are closed. He knocks. A voice comes from inside.</dialogue> <character>MAN (V. O.)</character> <dialogue>Who is it?</dialogue> <scene_description>PIZZA BOY Little Nero's Pizza, sir! I have your pizza.</scene_description> <character>226</character> <dialogue>~</dialogue> <character>CLOSEUP - TELEVISION - NIGHT</character> <dialogue>The mobster MOVIEfast-forwards,</dialogue> <character>€�€�€�</character> <dialogue>MOBS'l'ER (V. 0. )</dialogue> <scene_description>Leave it on the doorstep and get the hell outta here. The picture freezes. MtJ'1'E comes on and it steps to the next cut.</scene_description> <character>227</character> <dialogue>The Pizza Boy is startled</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>by the angry tone of the man's voice.</dialogue> <character>PIZZA BOY</character> <parenthetical>(timidly)</parenthetical> <dialogue>Okay. But what about the money?</dialogue> <character>228</character> <dialogue>Kevin holds the remote towards the combination TV- VCR. The speakers are hooked up to the television.</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>Kevin un-pauses the</dialogue> <scene_description>video picture.</scene_description> <character>MOBSTER(V. 0. )</character> <dialogue>What money?</dialogue> <character>PIZZA BOY (O.S.)</character> <dialogue>You have to pay for the pizza, sir.</dialogue> <scene_description>229 CLOSEUP- TELEVISION- NIGH'l' The picture unfreezes.</scene_description> <character>MOBSTER(V. 0. )</character> <dialogue>That a fact? Bow much do I owe you?</dialogue> <scene_description>230 EXT. PORCH- NIGH'l' The Pizza Boy looks'at the ticket.</scene_description> <character>PIZZA BOY</character> <dialogue>$11.80, sir.</dialogue> <scene_description>231 INT. KITCHEN- NIGH'l' Kevin counts out twelve dollars of Buzz's money. It's difficult for him. He lifts the doggie door and flips the money out. ~- ·. 232 EXT. PORCH- NIGH'l' The Pizza Boy.reaches down for the money and is disappointed to see ~at it's only twelve dollars.</scene_description> <character>MOBSTER (V. 0. )</character> <dialogue>Keep the change, you filthy animal!</dialogue> <character>PIZZA</character> <dialogue>(under his breath)</dialogue> <character>BOY</character> <dialogue>Cheapskate.</dialogue> <character>233</character> <dialogue>Kevin flips on a desk lamp that rests behind the Nutcracker, which is positioned Nutcracker's rifle is extended. of the nutcracker</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>on the counter in front of the door. The light casts a large shadow on the kitchen curtains.</dialogue> <scene_description>video "Play" button.</scene_description> <character>MOBSTER (V. 0. )</character> <dialogue>I'm gonna give you to the count of ten to get your ugly, yella, no good ass off my property •••</dialogue> <character>234</character> <dialogue>The Pizza Boy stares fearfully at the shadow of the which resembles a gangster holding a gun.</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>Nutcracker,</dialogue> <character>MOBSTER(V. 0. )</character> <dialogue>Onel Two! ••• Ten!</dialogue> <character>234A INT. KITCHEN- NIGHT</character> <dialogue>Kevin drops a row of LIT FIRECRACKERSinto the metal kitchen garbage can. They EXPLODE, creating a LOUDGUNFIRESOUND.</dialogue> <character>234B EXT. BACKPORCH- NIGHT</character> <dialogue>Hearing the "gunfire', the Pizza Boy picks himself up and scraml:)les to his car.</dialogue> <character>235</character> <dialogue>They SPIN and the car zips OUT OF FRAME.</dialogue> <character>CLOSEUP- PIZZA CAR - NIGHT - REAR TIRES</character> <dialogue>236</dialogue> <dialogue>I~</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>Kevin cautiously opens the door and retrieves his pizza. He comes back in, grinning.</dialogue> <character>KEVIN</character> <dialogue>A lovely pizza just for me.</dialogue> <character>237</character> <dialogue>I</dialogue> <character>OMITTED</character> <dialogue>I</dialogue> <scene_description>237A INT. FRltNCH AIRPORT -NIGHT Kate has snared a MIDDLE-AGEDWOMAN and is trying to talk her out of her seat assigbment.</scene_description> <character>KATE</character> <dialogue>I have the five hundred dollars, pocket translater, the first class -- that's an upgrade from your coach seat.</dialogue> <character>WOMAN</character> <dialogue>Is that a real Rolex?</dialogue> <character>KATE</character> <dialogue>Do you think it is?</dialogue> <character>WOMAN</character> <dialogue>KATE</dialogue> <scene_description>But who can tell? And I have a ring. She displays a modest sapphire ring.</scene_description> <character>WOMAN</character> <dialogue>It's lovely.</dialogue> <scene_description>A MIDDLE-AGED MAN joins them.</scene_description> <character>MAN</character> <dialogue>Come on, Irene. They're boarding.</dialogue> <character>WOMAN</character> <dialogue>This gal's offered us two first class seats back to Chicago next week plus a ring, a watch, a pocket translator, five hundred dollars and •••</dialogue> <character>KATE</character> <dialogue>The Samsonite luggage.</dialogue> <character>MAN</character> <parenthetical>(thinks)</parenthetical> <dialogue>What do we do about our Christmas plans?</dialogue> <character>KATE</character> <dialogue>You forgot the bracelet.</dialogue> <character>WOMAN</character> <dialogue>I didn't care for the bracelet.</dialogue> <scene_description>Kate holds out her wrist.</scene_description> <character>MAN</character> <dialogue>I don't like it either.</dialogue> <character>I</character> <dialogue>I</dialogue> <parenthetical>(shakes his bead)</parenthetical> <dialogue>Tha~ anyway.</dialogue> <character>KATE</character> <dialogue>You liked the necklace, ma'am.</dialogue> <character>MAN</character> <dialogue>She's got a necklace.</dialogue> <parenthetical>(to the wife)</parenthetical> <dialogue>Let's go.</dialogue> <character>KATE</character> <parenthetical>(almost breaking down)</parenthetical> <dialogue>My little boy's home all by himself. I'm desperate. I beg you. From A mother to a mother. Please.</dialogue> <character>WOMAN</character> <dialogue>MAN</dialogue> <parenthetical>(taps his ear)</parenthetical> <dialogue>Hearing aid went out. Damn. Come on, honey. Hello? Hello?</dialogue> <scene_description>He takes her arm and leads her away.</scene_description> <character>MAN</character> <dialogue>Say what?</dialogue> <scene_description>He sneaks a look back at Kate. CLOSE-UPKATE She's crushed. Boarding PASSENGERSjostle her as they head for the ramp.</scene_description> <character>238</character> <dialogue>Harry and Marv's van slowly</dialogue> <character>EXT. NEIGHBORHOOD- NIGHT</character> <dialogue>PULLS UP to the front</dialogue> <scene_description>Mccallister house.</scene_description> <character>- 239 .</character> <dialogue>INT. VAN - NIGHT</dialogue> <scene_description>I ~ Harry and Marv look out. They exchange puzzled glances and look again to the house.</scene_description> <character>240</character> <dialogue>The lights are all on. Two chairs are turned toward the</dialogue> <character>THEIR POV - NIGHT</character> <dialogue>window. ·We can see the back of a man's head and the back of a woman's head. They're both wearing hats and jerking slightly back and forth. LAUGHTER and MUSIC is heard.</dialogue> <character>241</character> <dialogue>Marv is completely baffled. the dining room window.</dialogue> <character>INT. VAN - NIGHT</character> <dialogue>He shifts</dialogue> <character>242</character> <dialogue>A shirtless</dialogue> <character>EXT. HOUSE- NIGHT·</character> <dialogue>sports</dialogue> <character>243</character> <dialogue>Harry looks</dialogue> <character>INT. VAN - NIGHT</character> <dialogue>around Marv.</dialogue> <character>MARV</character> <dialogue>Did they come home?</dialogue> <character>HARRY</character> <dialogue>From Paris?</dialogue> <scene_description>They shrug and continue to watch.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE- DINING ROOM- NIGHT</stage_direction> <scene_description>CLOSE-UP: ELECTRIC TRAIN. The.train is set up on a winding track that is spread across the dining room. CAMERA FOLLOWS the train, CAMERA RISES and WIDENSto reveal a straightened coat hanger taped to the train cars. The life-size sports hero cut-out from Buzz's room is taped, from the back to the hanger which runs up the\_spine. A piano plays "JOY TO THE WORLD".</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM- NIGHT - CLOSEUP- PIANO KEYS</stage_direction> <scene_description>Kevin's uncertain fingers play with the keys. He tries to concentrate on the sheet music. Each time there is a break in the music, Kevin reaches over and touches the LAUGHBOX, causing the laughter to begin. CAMERA MOVESDOWNFROMthe keys TO Kevin's foot.· A pair of taut strings are tied to his ankle. He's wiggling his foot to the music. CAMERATURNSAWAYto reveal,· sitting in the chairs at the window, the mannequins from the basement. They're dressed in Kate and Peter's clothes. String is tied around their waists. The wiggling of Kevin's foot rocks the mannequins in time to the music. 246 INT. VAN - NIGH'l' A confused and worried Harry and Marv continue to watch the activity. Marv turns to Harry.</scene_description> <character>MARV</character> <dialogue>Somebody'.s in there.</dialogue> <character>HARRY</character> <dialogue>Yeah. C'mon. Let's get outta' here before somebody sees us. We'll come back again tomorrow. Maybe they'll be gone by then.</dialogue> <scene_description>247 EX'l'. HOUSE- NIGHT The van pulls away. CAMERAPANS TO the dining room window. Kevin's head peers up over the windowsill. Seeing the van pull out of the driveway, Kevin smiles·to himself. ·</scene_description> </scene> <scene> <stage_direction>~ 248 INT. MASTERBEDROOM</stage_direction> <character>- LATER - NIGHT</character> <dialogue>Kevin finishes flossing his teeth, shuts off the bathroom light, turns ON the TV, crosses to the bed and gets in. JOHNN CARSON.</dialogue> <character>KEVIN</character> <dialogue>Beeeeeeere's Jo~y.</dialogue> <character>249</character> <dialogue>OMITTED</dialogue> <character>250</character> <dialogue>A cold sun is a moment away from rising.</dialogue> <character>EXT. PARIS - NIGHT</character> <dialogue>251</dialogue> <dialogue>- GUEST ROOM- NIGHT</dialogue> <character>INT. ROB MCCALLISTER'SAPARTMENT</character> <dialogue>Peter is in bed. He's not sleeping. He's staring out the window.</dialogue> <character>- 252 CLOSEUP- MEGAN- NIGHT</character> <dialogue>She's in bed with Linnie. She's not sleeping. CAMERA SLIDES OVERTO Linnie. She's not sleeping, either.</dialogue> <character>253</character> <dialogue>Be's</dialogue> <character>CLOSEUP- JEFF - NIGHT</character> <dialogue>in bed with Fuller.</dialogue> <character>254</character> <dialogue>I</dialogue> <character>CLOSEUP- BUZZ - NIGHT</character> <dialogue>He's snoring like a bear.</dialogue> <character>INT. MASTERBEDROOM</character> <dialogue>Kevin watches TV for a moment before the lonely thoughts creep into his head. He turns to the nightstand.</dialogue> <character>2</character> <dialogue>He picks up a</dialogue> <scene_description>family portrait in a silver frame. Kevin pushes out his lower lip to keep from crying as he looks at the photo.</scene_description> <character>KEVIN</character> <dialogue>I didn't mean it. If you come back, I'll never.be a pain in the ~utt again. I promise.</dialogue> <scene_description>~' He searches for and finds hi~ strength. He addresses the ~ KEVIN I Geed night. Kevin looks around the room. An instinctive reaction to what will be an embarrassing act. He kisses the picture and puts it back on the nightstand. He turns off the light. CLOSE-UP TELEVISION Johnny Carson is reading kid's letters to Santa Claus.</scene_description> <character>255</character> <dialogue>OMITTED</dialogue> <character>256</character> <dialogue>Kate is sleeping for a pillow.</dialogue> <character>INT.</character> <dialogue>on the seats. She's curled up with her purse A P.A. ANNOUNCEMENTwakes her.</dialogue> <character>MALEVOICE</character> <dialogue>This is the final call for boarding American Airlines flight 561 to Boston connecting to Detroit. Standby passenger McCal-lister please come to the ticket counter.</dialogue> <scene_description>Kate sits up. She grabs her purse and her overnight bag. She takes off. thru OMITTED</scene_description> <character>263</character> <dialogue>STORE - NEX'l'DAY - DAY</dialogue> <character>INT. GROCERY</character> <dialogue>Kevin is pushing a grocery cart. He's wearing a hat that's I pulled down over his eyes. The collar on his coat is turned up. He stops at the dairy section and picks up a carton of milk.</dialogue> <character>264</character> <dialogue>Kevin comes down the aisle.</dialogue> <character>INT.</character> <dialogue>He selects</dialogue> <scene_description>.WOMANshopper comes up behind him.</scene_description> <character>WOMAN</character> <dialogue>Pushing the cart for Mommy?</dialogue> <character>KEVIN</character> <dialogue>Yes, ma'am.</dialogue> <character>WOMAN</character> <dialogue>What a good littlehelper you are. I'll bet you'll be getting lots of swell things from Santa tomorrow morning, huh?</dialogue> <character>KEVIN.</character> <dialogue>You never know.</dialogue> <scene_description>The woman smiles as she passes him.</scene_description> <character>KEVIN</character> <dialogue>Excuse me. What's the stuff you put in the washing machine to make clothes feel as fluffy soft as a kitten and smell as fresh as a springtime breeze?</dialogue> <scene_description>The Woman is puzzled by the request.</scene_description> <character>KEVIN</character> <dialogue>It's for ••• Mommy.</dialogue> <character>WOMAN</character> <dialogue>Fabric softener. Two aisles over.</dialogue> <scene_description>Ir KEVIN Thank you and have a most Merry, Merry, Merry Christmas. He turns his cart around and heads up the aisle.</scene_description> <character>265</character> <dialogue>COUNTER</dialogue> <character>INT. STORE- CHECKOUT</character> <dialogue>- DAY</dialogue> <scene_description>A college age CHECKOUT GIRL begins ringing up Kevin's purchases. He smiles at her. She looks at him curiouslf. He picks up a "Woman's Day" and leafs through it. She rings up the milk, fabric softener, bread, soup, a microwave dinner.</scene_description> <character>KEVIN</character> <parenthetical>(refering to the dinner)</parenthetical> <dialogue>Are those any good?</dialogue> <character>CHECKOUT</character> <dialogue>GIRL</dialogue> <scene_description>I don't know.</scene_description> <character>KEVIN</character> <dialogue>I'll give 'em a wh~rl.</dialogue> <scene_description>He goes back to the magazine. 1'he Girl rings up a jar of jelly, a bottle of Tide liquid, a four-pack of toilet paper. KEVnf I wish I could use the stove. I'd make.some of these Macafurters. Be shows her the magazine.</scene_description> <character>KEVIN</character> <dialogue>They look good, don't they?</dialogue> <scene_description>He smiles. The Girl nods. She can't figure him out. She rings up a large pac~age of plastic Army men.</scene_description> <character>KEVIN</character> <dialogue>For the kids.</dialogue> <scene_description>The Girl picks up the final item -- a quart carton of orange juice.</scene_description> <character>KEVIN</character> <dialogue>Hold on.</dialogue> <scene_description>He hands her a coupon.</scene_description> <character>KEVIN</character> <dialogue>It was in the paper this morning.</dialogue> <scene_description>~ She rings up the orange juice, less the coupon savings.</scene_description> <character>CHECKOUT</character> <dialogue>GIRL</dialogue> <character>$19.83.</character> <dialogue>Okay~</dialogue> <scene_description>Kevin reaches into his jacket and takes out Buzz's twenty.</scene_description> <character>266</character> <dialogue>OMITTED</dialogue> <scene_description>266A EX'l'. ALLEY-DAY 2 Kevin walks down the alley with his groceries. THe bags are soft from wear and pose a terrible threat to break open. a dozen steps and the bottoms burst on both bags and the groceries tumble to the ground. Kevin sighs and begins picking up the groceries. thru OMITTED t</scene_description> </scene> <scene> <stage_direction>( 281 INT. MCCALLISTER</stage_direction> <character>HOUSE- BASEMENT</character> <dialogue>- LA'l'ER- DAY</dialogue> <scene_description>( He places the dress on top of a laundry basket already loaded with clothes. He lifts the basket and heads up the stairs.</scene_description> <character>281A</character> <dialogue>OMITTED</dialogue> <scene_description>282 EX'l'. HOUSE- VAN - DAY The Ford van is parked deep in the driveway of the house next to the McCallister's.</scene_description> <character>283</character> <dialogue>Harry and Marv are studying</dialogue> <character>INT. VAN- DAY</character> <dialogue>the back of the Mccallister</dialogue> <character>HARRY</character> <dialogue>I can't figure it. Right now, it don't seem like anybody's home. But last night ••• The place is jumpin' ••• Somethin' ain't right •••</dialogue> <character>CLOSE-UPHARRYY</character> <dialogue>ANDMARV</dialogue> <scene_description>Looking out of the van. Harry opens the door.</scene_description> <character>MARV</character> <dialogue>What're you doing?</dialogue> <character>HARRY</character> <dialogue>I'm not convinced.</dialogue> <character>283A</character> <dialogue>DAY</dialogue> <character>EXT. BACKYARDS-</character> <dialogue>2</dialogue> <character>I</character> <dialogue>Harry crosses the neighbors yard to the McCallister's yard. I</dialogue> <character>283B</character> <dialogue>Kevin's</dialogue> <character>INT. KITCHEN- DAY ·</character> <dialogue>doing dishes.</dialogue> <character>HIS POV</character> <dialogue>Harry sneaks across the yards. CLOSE-UPREVIN A flash of fear. He's too prepared to let it cripple him. He pulls the kitchen curtains closed and jumps down from the chair he's standing on.</dialogue> <scene_description>\[</scene_description> </scene> <scene> <stage_direction>~ 283C INT. FAMILYROOM- DAY</stage_direction> <scene_description>Kevin races into the family room and slams on the VCR. He grabs the remote and dashes into the kitchen.</scene_description> <character>283D EXT. HOUSE- BACKPORCH-</character> <dialogue>DAY</dialogue> <scene_description>Harry walks up the steps and tries to peek in the drapes. He steps back and pushes the doggie door with his foot.</scene_description> <character>283E</character> <dialogue>Kevin nervously</dialogue> <character>INT. KITCHEN- DAY</character> <dialogue>watches</dialogue> <character>HIS POV</character> <dialogue>The doggie door flaps as Harry kicks it. The door knob rattles. CLOSE-OP KEVIN He hits the remote; 'l'he movie starts.</dialogue> <character>MAN'S VOICE</character> <dialogue>Awright,. Johnny. But what about my money?</dialogue> <character>MOBSTER'SVOICE</character> <dialogue>What money?</dialogue> <character>283F</character> <dialogue>Harry's</dialogue> <character>EXT. HOUSE- BACKPORCH- DAY</character> <dialogue>completely</dialogue> <character>MOBSTER'SVOICE</character> <dialogue>He's upstairs taking a bath.</dialogue> <character>I</character> <dialogue>He 1 11-</dialogue> <scene_description>cal~ you ~hen he gets out. Harry steps away from the door, jumps off the porch and runs back to the van.</scene_description> <character>283G</character> <dialogue>Harry jumps into</dialogue> <character>INT. VAN - DAY</character> <dialogue>the van and slams the door.</dialogue> <character>MARV</character> <dialogue>What happened?</dialogue> <character>HARRY</character> <dialogue>I'm goin' nuts! Now there's two guys</dialogue> <scene_description>l \ in the house and another guy upstairs takin' a bath. ( 283H IN'l'. 747 - NIGHT - KATE She's sleeping on the plane. 28JI IN'l'. PARIS APARTMENT</scene_description> <character>- LIVING ROOM- NIGHT</character> <dialogue>Peter's sitting alone in the l~ving room, looking out at the lights, thinking. LINNIE She comes into the room. She's in her pajamas. She can't sleep.</dialogue> <character>LINNIE</character> <dialogue>Dad?</dialogue> <character>CLOSE-UPPETER</character> <dialogue>He turns. to her.</dialogue> <character>PETER</character> <dialogue>What're you doing up, sweetheart?</dialogue> <character>CLOSE-UPLINNIE</character> <dialogue>She's troubled.</dialogue> <character>LINNIE</character> <dialogue>Where's Mom?</dialogue> <character>WIDER</character> <dialogue>Peter waves her over to him.</dialogue> <character>PETER</character> <dialogue>She stayed at the airport. She's just got en a flight for Detroit.</dialogue> <scene_description>Linnie sits down next to Peter.</scene_description> <character>LINNIE</character> <dialogue>She won't be here for Christmas. Kevin.won't be here for Christmas. It won't even be like Christmas.</dialogue> <character>PETER</character> <dialogue>We're just gonna delay it a little bit.· · ·</dialogue> <character>LINNIE</character> <dialogue>I think it's a bad'idea.</dialogue> <scene_description>( PETER We don't have much choice, sweetheart.</scene_description> <character>LINNIE</character> <dialogue>Families shouldn't be apart on Christmas. No matter how mean they are to each other the rest of the year. Us here. Them there. It's stu~id, Daddy. Christmas isn't about Paris.</dialogue> <character>CLOSE-UP PETER</character> <dialogue>There's a lot of truth in what Linnie is saying. He looks away and nods as he comes to a realization.</dialogue> <character>283J</character> <dialogue>The van's</dialogue> <character>EXT. DRIVEWAY- VAN - DAY</character> <dialogue>still</dialogue> <character>283K</character> <dialogue>Harry and Marv are sleeping,</dialogue> <character>INT. VAN. - DAY</character> <dialogue>snoring</dialogue> <character>283L</character> <dialogue>Kevin comes outside.</dialogue> <character>EXT. MCCALLISTERHOUSE - BACKPORCH- DAY</character> <dialogue>He slams the door.</dialogue> <character>283M</character> <dialogue>CLOSE-OP HARRY One eye opens. He sits up, realizing</dialogue> <character>INT. VAN\_-DAY</character> <dialogue>he's</dialogue> <scene_description>his shift~ He looks out the window. thru OMITTED</scene_description> <character>308</character> <dialogue>Kevin walks down off the porch with a saw and disappears the back yard.</dialogue> <character>EXT. MCCALLISTERHOOSE - HARV'S POV - BACK PORCH - DAY</character> <dialogue>into</dialogue> <scene_description>thru OMITTED</scene_description> <character>311</character> <dialogue>Harry smacks Marv. He wakes with</dialogue> <character>INT. VAN -DAY</character> <dialogue>a</dialogue> <scene_description>( MARV</scene_description> <character>HARRY</character> <dialogue>I got a bad feeling we're getting scammed by a kindygartener.</dialogue> <character>MARV</character> <dialogue>Huh?</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE- BACKYARD- DAY .</stage_direction> <scene_description>Kevin saws the top off a six-foot fir tree behind the garage.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM- LATER - DAY</stage_direction> <scene_description>Kevin has put the little tree into the tree stand. He's found lights and ornaments and is decorating the tree.</scene_description> </scene> <scene> <stage_direction>EXT. HOOSE- BACKYARD- DAY</stage_direction> <scene_description>Marv is on the back porch, trying to look in the doggie door. Harry is on the other corner. He peeks in a window.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM- CLOSEUP- KEVIN - DAY</stage_direction> <scene_description>THROUGH the tree. He hangs a round, red glass ornament, blocking his face. A beat and he gently pushes the ornament aside and looks ahead fearfully. 316 KEVIN'S POV - DAY PAST the ornament, THROUGH the tree TO the window and Harry's face peering in. The ornament slowly returns to its original; position.· We see Kevin reflected in its surface. I CLOSEE-UP XEVIN Kevin yells at the top of his yoice.</scene_description> <character>KEVIN</character> <dialogue>Dad! Can you come here and help me?!</dialogue> <scene_description>317 EX'l'. BOOSE - BACKYARD- DAY Marv has joined Harry. Harry smiles.</scene_description> <character>. HARRY</character> <dialogue>The kid we saw th~ other day. He lives here.</dialogue> <character>MARV</character> <dialogue>HARRY</dialogue> <parenthetical>(shakes his head)</parenthetical> <dialogue>No. He's home alone.</dialogue> <scene_description>Marv grins. 318 IN'l'. HOUSE- BUZZ'S ROOM- DAY Kevin runs in, grabs Buzz's BB 'gun off the rack above his bed, whips open his nightstand drawer and grabs a box of BBs. He da~hes out.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - CLOSEST WINDOWTO BACKYARD- DAY</stage_direction> <scene_description>Kevin appears in the window with a BB gun. Kevin opens it and looks out. 3·20 KEVIN'S POV - DAY Next door. Harry and Marv walk toward their van. They are talking.· Kevin listens. Marv is·incredulous.</scene_description> <character>MARV</character> <dialogue>You can't be serious ••• You wanna come back tonight?</dialogue> <character>HARRY</character> <dialogue>MmmHmmm~</dialogue> <character>MARV</character> <dialogue>Even with the kid here?</dialogue> <scene_description>HllRY</scene_description> <character>:MDDDHJDJDJD. I</character> <dialogue>I</dialogue> <character>MARV</character> <dialogue>I don't think it's a very good idea •••</dialogue> <character>HARRY</character> <parenthetical>(intense, angry)</parenthetical> <dialogue>Look ••• That house is the only reason we started workin' this block in the first place. Ever since I laid eyes on that house ••• I wanted it. That house is the difference between me havin' a good or a bad Christmas. And Marv ••• I ain't had a good Christmas since 1962.</dialogue> <character>MARV</character> <dialogue>That long?</dialogue> <character>MARV</character> <dialogue>Gee, Harry. I don't wanna spoil Christmas for ya'.</dialogue> <character>HARRY</character> <dialogue>Good. Now let's take this one step at a time ••• We'll unload the van, take a shower, get a bite to eat and come back tonight ••• when it's dark ••• around nine o'clock.</dialogue> <character>MARV</character> <parenthetical>(smiles)</parenthetical> <dialogue>Yeah. Kids are ascared of the dark.</dialogue> <scene_description>Kevin listens intently. Harry and Marv get inside the van. The van backs out of the driveway.</scene_description> <character>321</character> <dialogue>Kevin's face is filled He whispers to himself</dialogue> <character>BACKTO SCENE - DAY</character> <dialogue>with concern, turning to worry and fear. in a voice filled with fear.</dialogue> <character>KEVIN</character> <dialogue>Molli~-.\_Where are you?</dialogue> </scene> <scene> <stage_direction>(' 321A INT. DETROITMETROPOLITAN</stage_direction> <character>AIRPORT- DAY</character> <dialogue>A heavy snow falls outside. A desperate, pleads with the TICKET AGENT.</dialogue> <character>3</character> <dialogue>tired</dialogue> <scene_description>. . KA'l'E Everything's full? TICXE'l' AGEN'l' (nods) It~s Christmas Eve. KA'l'E What about another airline?</scene_description> <character>TICKET AGENT</character> <dialogue>. (taps computer)</dialogue> <scene_description>Nothing available. I suggest you get a hotel room in the city. Tomorrow afternoon ••• We can get you a flight to Chicago ••• KA'l'E I can't wait that long. TICKET AGEN'l' , I'm. terribly sorry, M'am. There's</scene_description> <character>. KATE</character> <dialogue>. (freaks, snaps)</dialogue> <scene_description>.. Hopeless? l .?• • • Hopeless? 1?. • • Lady, I've beeri awake for almost 60 hours ••• I've travelled from Chicago to Paris · ·.J• to to New Jersey just to get home to my eight year old son~ •• And now that I'm this close ••• you're telling me it's hopeless?17 ••• Uh-uh. No way. .. It's Christmas. The season of goddamn ·.·:· ·.:·.' perpetual hope. And I don't care if · . '' \ • I have to to hijack a pilot at . . . , · gunpoint,-' if I have to fly through . . '. a 3 00 mile wall of solid snow, if it :·--·.costs me· everything I own, or if I· . .. ,. have I to sell my soul to the devil .'· himself; • -~ I'm going to get home to · ~-,: ". my son! 11/') -· The· ticke:t\_ ~gent,-:j~s~/ ~~~~e~ at Kate, as does everyone in the terminal.· Suddenly, a hand APPEARS on Kate's shoulder •</scene_description> <character>€�.\</character> <dialogue>~i: . '</dialogue> <character>(</character> <dialogue>·r: ,:!, \(-~~;::\{ ~f::):?::·;·,.sus·:</dialogue> <character>..:&gt;:..',';,;.': 1</character> <dialogue>J</dialogue> <scene_description>€� , €� €�€�€� ~ ' ..~' €� €�:</scene_description> <character>.,·</character> <dialogue>~ :. :. • '. i ' ' '</dialogue> <scene_description>-t-.• Maybe'. I can help.</scene_description> <character>., .. · · &lt;·-.'·</character> <dialogue>• 'I•, • ,/' :~• .:;:&gt;•~\-,:••:?-.;:.-~:•,,,:•:•.~~jJ.l:;~:~;}:•r..~</dialogue> <scene_description>;€�:\€�€�;~€�-:</scene_description> <character>'€�'' ' . €� :: €�€� €�, €� €� €�€�€� .·,(</character> <dialogue>Kate turns·/\_-:::\_A. curly. haired· man in his late thirties/ GUS: . -~·-. · POLINSKY/. stan~s .. beside her •.. Gus is dressed in his travelling· clothes·;·"):- A· sky· blue banlon shirt, sansabelt slacks, plastic loafers 'and"'a red··satiri jacket with the words· "GUS POLINSKI , .. AND THE KENOSHAKICKERS." eml:&gt;lazened across the back.· He is holding ari accordion case.-. Gus extends his hand •</dialogue> <character>..::··-:"</character> <dialogue>..:{{~·;/.·:\_,\_;;.;J•jf{\~:r,:~~~?\?:~s</dialogue> <character>·.; · · , · · .. · .</character> <dialogue>.\_··, ·:·:.;•r:c.:~-- Gus Polinski.'.- Polka king of the</dialogue> <scene_description>. ·.•-~ "•.:rr. · midwest~•:·: That's my band over there ••• · · • · .\_: · ·; :\_,Oi:'/' '::';·The· Kenosha Kickers. • • · · ... · ..~•.-:&lt;·-r:::} .: '· ·, : •··:r~-,,-L· ',.t~ ~.:?:t•.~.&lt;·.· ·: ~· · . Gus points to a row of men, seated a few feet away, dressed. in pastel; banlon shirts and iolyester slacks, wearing red satin jackets and hclding the r packed musical instruments. Gus continues to speak ..with Kate. . .· . . .·,..",:·,?/({;\_i .</scene_description> <character>. . GUS</character> <dialogue>You a polka fan?</dialogue> <scene_description>..~ .'\·'•.'\::f:'/~t¥:=~'.~./: '.-~~... €�,€�:</scene_description> <character>,'</character> <dialogue>A littl• .•.• .- ::</dialogue> <scene_description>· &lt; ~•..·:1~:. f•l~'=&lt;:~?~~- ..; - ~·· .:</scene_description> <character>GUS</character> <dialogue>Ever heard of the "I Don't Want Her You Can Take Ber She can't Stuff the Kielbasa Polka"?</dialogue> <character>.-: . ,. ,-</character> <dialogue>KATE</dialogue> <scene_description>., Sounds familiar . ...:</scene_description> <character>GUS</character> <dialogue>That's us. Sold six hundred and fifty-eight copies. In Sheboygan alone. That's a record for a polka band.</dialogue> <scene_description>XA'l'E Congratulations.</scene_description> <character>GUS</character> <dialogue>Yeah. We were playing a 'Holly and Hops' ~arty at the Asbury Park V.F.W. last night. We got a Christmas gig lined up tomorrow at the Milwaukee Jaycees ••• But they cancelled our flight. So I sent Stash, my clarinet player, to "Avis" ••• He's gonna rent us a truck. We're gonna brave this treacherous weather and drive to Wisconsin. Since Chi-town's on the way •••</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>I figured you might like to hop a ride with us •••</dialogue> <scene_description>Kate's eyes light. A POLKAversion of "HAVEA HOLLYJOLLY CHRISTMAS"FILIS THE SOUNDTRACK.WE CUT TO: (</scene_description> <character>321B EXT. DETROITEXPRESSWAY</character> <dialogue>- DAY 3</dialogue> <scene_description>Heavy snow continues to fall. A bright yellow Astro van barrels along the icy, snow covered highway.</scene_description> <character>321C</character> <dialogue>STASH, a curly haired fellow, of the van. instruments, and singing-along. accordion.</dialogue> <character>INT.</character> <dialogue>drives •. CAMERA PANS TO the backl Gus and his band sit here, playing their Gus leads the vocals and plays Kate sits amongst the polkateers.</dialogue> <scene_description>on her face.</scene_description> <character>321D</character> <dialogue>thru OMITTED 321E 321F</dialogue> <character>3</character> <dialogue>th 3 EXT. DEPARTMENT</dialogue> <character>STORE- DUSK</character> <dialogue>A small</dialogue> <character>3</character> <dialogue>department</dialogue> <character>KEVJ:N (OS.)</character> <dialogue>I'd rather stand if that's okay. I'm</dialogue> <scene_description>( a little old to sit on your lap.</scene_description> </scene> <scene> <stage_direction>(' 321G INT. DEPARTMENT</stage_direction> <character>STORE - DUSK</character> <dialogue>Kevin is standing at the lo)ee of a store Santa.</dialogue> <scene_description>SAN'l'A Whatever. You want to tell Santa what you want for Christmas? And let me add that we close soon and Santa has a little party to go to.</scene_description> <character>KEVIN</character> <dialogue>Sure. I understand. Okay. I know you're not the real Santa Claus. And to be honest I'm not real sure the real Santa Claus is real but just in case he is I'd like you to.tell him something this year from Kevin Mccallister, 1135 Rivard Blvd. Do you need the phone number?</dialogue> <scene_description>Santa shakes his head, no.</scene_description> <character>KEVIN</character> <dialogue>Okay. This is extremely important. Would you please tell him that instead of presents this year I just want my family back.</dialogue> <scene_description>Santa doesn't understand.</scene_description> <character>KEVIN</character> <dialogue>No toys. Nothing but Peter, Kate, Buzz, Megan, Linnie and Jeff and my aunt and my cousins and if he has time, my Uncle Frank. Okay?</dialogue> <character>SANTA</character> <dialogue>I'll</dialogue> <character>I</character> <dialogue>see what I can do.</dialogue> <character>. KEVIN</character> <dialogue>Thanks.</dialogue> <scene_description>Be starts to walk away.</scene_description> <character>SANTA</character> <dialogue>You want a candy cane?</dialogue> <character>. KEVIN</character> <dialogue>No, thanks. I don't want to spoil my• appetite.</dialogue> <scene_description>Be pulls his hat down over his ey~s and takes off. ( CLOSE-OPSAN'l'A He's completely baffled. thru OMITTED</scene_description> <character>325</character> <dialogue>Kevin's walking home. It's dark. The street lights are on.</dialogue> <character>EXT. STREET - LATER - NIGHT</character> <dialogue>Kevin is walking slowly. Be's looking at the houses.</dialogue> <character>326</character> <dialogue>A house with lights around the door, lights burning in big windows. People inside celebrating.</dialogue> <character>HIS POV - MOVING- NIGHT</character> <dialogue>Kids running around,</dialogue> <scene_description>grandparents,aunts, uncles, cousins. It seems as if their excitement and joy was made in the extreme to emphasize Kevin's sorrow. CLOSEE-UP KEVIN Shuffling down the sidewalk, eyes on the house he's passing. He looks forward and stops suddenly. HIS POV A young MANand WOMAN,she carrying a baby, he loaded with gifts, walking from their car which is parked far down in a crowded driveway ta the sidewalk of the house Kevin's watching.</scene_description> <character>326A</character> <dialogue>The young family continues up the walk to the house. Kevin</dialogue> <character>EXT. HOUSE- NIGHT</character> <dialogue>stands at the foot of the walk, watching. CHURCHBELLS RING in the distance. CLOSE-UP: KEVIN Kevin's eyes are brimming with tears. As strong as he wants to be, it's too much for him. A tear falls. He wipes it away, only causing more to fall.</dialogue> <character>326B</character> <dialogue>Kevin's framed in the door of the holiday house as the young</dialogue> <character>INT. HOUSE- NIGHT</character> <dialogue>family passes off the baby and the gifts and takes off their coats. Great warmth and cheer. Christmas music is playing. Children are running wild, old men are laughing, ~annies, are yakking. It's everything Kevin wants. He stands like a sobbing statue at the end of the walk, lit by a coach light, wiping tears from his cheeks with the backs of his cold, bare hands. The door closes on him.</dialogue> <scene_description>( thru OMITTED</scene_description> <character>329</character> <dialogue>- NIGH'I'</dialogue> <character>EXT. CHURCH</character> <dialogue>A small, old frame church. We can hear the voices of a CHOIR rehearsing for the midnight mass. Kevin approaches the church slowly, apprehensively. He-looks u~ at the steeple, listens to the sweet voices inside mixing with the RINGINGBELLS. Kevin gathers his courage and walks in.</dialogue> <character>330</character> <dialogue>A couple with the program. rows back. silhouette</dialogue> <character>INT. CHURCH- NIGHT</character> <dialogue>of people sit in• the first An elderly They're praying. of a man sitting</dialogue> <scene_description>off his hat and holds it tight to his belly. 331 HIS POV - MOVING- NIGH'l' into the light, spaciousness and beauty of the old church.</scene_description> <character>332</character> <dialogue>Kevin looks up into the ceiling the aisle. a little The silhouetted leans forward,</dialogue> <character>BACKTO SCENE - NIGHT</character> <dialogue>as he slowly makes his way dow He slips into a pew and sits. bit and looks to his left. man sits across the aisle from Kevin. out of the shadows and into the light.</dialogue> <character>MARLEY.</character> <dialogue>MARLEY</dialogue> <scene_description>MI great s nging. granddaughter's upthere Kevin is startled that he has relatives. Didn't he kill his family?</scene_description> <character>MARLEY</character> <dialogue>She's a very pretty little girl. You might know her. .</dialogue> <character>:KEVIN</character> <dialogue>I don't go to this church. I'm sure she's very nice. And very pretty.</dialogue> <character>MARLEY</character> <dialogue>You live across the way from me.</dialogue> <scene_description>( Kevin kods</scene_description> <character>MARLEY</character> <dialogue>You gonna sing tonight?</dialogue> <character>KEVIN</character> <dialogue>No, sir.</dialogue> <character>MARLEY</character> <parenthetical>(looking up)</parenthetical> <dialogue>I was baptized in this church.</dialogue> <scene_description>Kevin looks up.</scene_description> <character>MARLEY</character> <dialogue>I got married in this church. My boys got married in this church. I said goodbye to my wife in this.church.</dialogue> <scene_description>Kevin looks down from the ceiling to Marley.</scene_description> <character>KEVIN</character> <parenthetical>(after a long pause)</parenthetical> <dialogue>You got divorced in a church?</dialogue> <character>333</character> <dialogue>They end their number and look to the back of the church as</dialogue> <character>CHOIR - NIGHT</character> <dialogue>we hear the old man SNORTand CBUCKLE.Onevery pretty twelve year old GIRL turns away, knowing that it's her grandfather.</dialogue> <character>334</character> <dialogue>Kevin smiles. laughter.</dialogue> <character>BACKTO SCENE- NIGHT</character> <dialogue>Marley pats him on the knee and stops his He takes his hankie out and blows his nose with a</dialogue> <scene_description>loud honk!</scene_description> <character>MARLEY</character> <dialogue>,</dialogue> <character>I</character> <dialogue>I don't laugh too much anymore, but you got me.</dialogue> <scene_description>He puts his hankie back.</scene_description> <character>MARLEY</character> <dialogue>What I meant was. • • was that the services for my wife, when she died, were here. In this church.</dialogue> <scene_description>Kevin feels terrible.</scene_description> <character>MARLEY</character> <dialogue>It won't be too long before they have my services here.</dialogue> <scene_description>,. KEVIN</scene_description> <character>MARLEY</character> <dialogue>I'm an old man. I've had a lot of living.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'd like to be with my wife again.</dialogue> <character>KEVIN</character> <dialogue>Is that possible?</dialogue> <character>MARLEY</character> <dialogue>I believe it. Up in the kingdom, not here.</dialogue> <parenthetical>(points)</parenthetical> <dialogue>Up there.</dialogue> <character>KEVIN</character> <dialogue>Oh.</dialogue> <character>MARLEY</character> <dialogue>This time for eternity.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You been a good boy this year?</dialogue> <scene_description>Kevin looks up at Marley. After a long beat he shakes his head, no.</scene_description> <character>MARLEY</character> <dialogue>Fighting?</dialogue> <scene_description>Kevin nods.</scene_description> <character>MARLEY</character> <dialogue>Back-talking? Disrespecting?</dialogue> <scene_description>Kevin nods.·</scene_description> <character>MARLEY</character> <dialogue>Telling fibs? I</dialogue> <scene_description>Kevin thinks.</scene_description> <character>KEVIN</character> <dialogue>A few.</dialogue> <character>MARLEY</character> <dialogue>Maybe you oughta tell him.</dialogue> <character>KEVIN</character> <dialogue>Who?</dialogue> <scene_description>Marley shifts his eyes up to the ceiling.</scene_description> <character>MARLEY</character> <dialogue>Him.</dialogue> <scene_description>/</scene_description> <character>,.</character> <dialogue>r' MARLEY I</dialogue> <scene_description>He's open all year 'round. Twenty four hours a day.</scene_description> <character>KEVIN</character> <dialogue>Okay.</dialogue> <character>MARLEY</character> <dialogue>He'll listen. You're a good soul.</dialogue> <character>KEVIN</character> <dialogue>I'm not sure if I am anymore.</dialogue> <character>MARLEY</character> <dialogue>You are. Bad souls can't bring themselves to come in places like this.</dialogue> <character>KEVIN</character> <dialogue>Is that true?</dialogue> <character>MARLEY</character> <dialogue>That's true. And you tell him about the trouble you had with your folks.</dialogue> <scene_description>Kevin's startled that Marley knows. ( KEVIN You know about they?</scene_description> <character>MARLEY</character> <dialogue>Just a guess. You get on your knee and you ask Him to fix things for you and your folks. You say please and you say thank you for all the other things he does for you. And then you, go on home where you belong.</dialogue> <scene_description>Kevin leans forward and kneels. He clasps his hands and bows his head. He closes his eyes and silently prays. Marley sits back and watches with a grin. Kevin finishes and sits back in the pew. Be looks a~ Marley.</scene_description> <character>KEVIN</character> <dialogue>How long does it usually take for these things to work?</dialogue> <character>MARLEY</character> <dialogue>Give him 'till morning.</dialogue> <character>KEVIN</character> <dialogue>Okay.</dialogue> <scene_description>~ Marley holds out his hand.</scene_description> <character>!</character> <dialogue>MARLEY</dialogue> <scene_description>Nice talking to you on this Christmas Eve. Kevin shakes his hand. It feels good to him to touch another person. Kevin gets up and steps around Marley. He stops, turns back and pats him on the shoulder.</scene_description> <character>DVIN</character> <dialogue>Say hello to your wife for me when you see her.</dialogue> <character>MARLEY</character> <dialogue>I sure will. And I hope you get a big surprise when you get home•.</dialogue> <scene_description>Kevin smiles. He turns and walks up the aisle. CLOSE-OPKEVIN He thinks about what the old man said. He's forgotten all about the crooks. He stops cold, a look of panic comes over him.</scene_description> <character>335</character> <dialogue>f"</dialogue> <character>EXT. CHURCH- NIGHT</character> <dialogue>Kevin blasts</dialogue> <scene_description>thru OMITTED t</scene_description> <character>BEGINS</character> <dialogue>0</dialogue> <character>3</character> <dialogue>DARLENE LOVE'S ncmu::sTMAS,BABYPLEASECOMEHOMEnFIUS THE SOU</dialogue> <scene_description>playing over the following images of Kevin preparing the house for the burglar's arri~al: Kevin's hands draw out a·battle plan on a large sheet of paper. ·ae places Micromachines on the floor, pours water on the front and back stairs, sets a pillow and electric fan on the dining room table, ties rope to the handle of a metal paint can, pushes roofing nails through an asphalt shingle, painting roofing tar on the basement stairs, removes the front door knob, plugging in the soldering iron and jamming it into the hole and attaching a rope from the third floor window to his tree house.</scene_description> <character>MONTAGE</character> <dialogue>ENDS.</dialogue> <scene_description>357 CLOSEUP- CHRJ:S'l'MASTREE - NIGH'l' ,. The lights go on.</scene_description> </scene> <scene> <stage_direction>( 358 EXT. HOUSE·- NIGHT</stage_direction> <scene_description>The picture perfect Christmas card house. Warm. Inviting. Welcoming.</scene_description> <character>359</character> <dialogue>- NIGHT</dialogue> <character>CLOSEUP- MICROWAVE</character> <dialogue>It goes off with a DING! Kevin opens it and takes out a turkey dinner.</dialogue> <character>360</character> <dialogue>Kevin sits at the kitchen table.</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>He's using a placemat, linen</dialogue> <scene_description>napkin, crystal glass. As if his mother had set the table for him. He bows his head over the microwave dinner and says grace.</scene_description> <character>KEVIN</character> <dialogue>Bless this highly nutritious microwaveable turkey dinner and the people who sold it on sale. Amen.</dialogue> <scene_description>Kevin puts his napkin in his lap. He is about to take a bite out of the dinner. There is a DISTANTCHURCHBELL CHIME. Kevin glances to the kitchen clock. It CLICKS to 9:00 P.M. Kevin jumps up from the table and shoves the dinner back into the microwave. He hurriedly cleans off the table. A SECOND BELL CHIMES.</scene_description> <character>361</character> <dialogue>The van pulls</dialogue> <character>EXT. HOUSE- NIGHT</character> <dialogue>into</dialogue> <scene_description>and stops.</scene_description> <character>362</character> <dialogue>Kevin's cleaning up the kitchen. his BB gun and runs to the lights.</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>He hears</dialogue> <character>KEVIN</character> <dialogue>This is it. Don't get scared now.</dialogue> <scene_description>Kevin turns off the light.</scene_description> <character>363</character> <dialogue>Harry and Marv get out of the van •. A FIFTH BELL CHIMES. Harry</dialogue> <character>EXT. HOUSE- NIGHT</character> <dialogue>has the crowbar.</dialogue> <character>MARV</character> <dialogue>HARRY</dialogue> <scene_description>May as well knock and see if he'll open up. Who knows?</scene_description> <character>MARV</character> <dialogue>Yeah. He's a kid. Kids are stupid. I know I was.</dialogue> <character>HARRY·</character> <dialogue>You still are.</dialogue> <character>IQ.RV</character> <dialogue>Yeah, but I was a lot worse.</dialogue> <character>A</character> <dialogue>364</dialogue> <character>SIXTH BELL CHIMES.</character> <dialogue>INT. XITCHEN- NIGHT</dialogue> <scene_description>Kevin is standing at the door, peeking out through the curtains. He backs away. A beat and there's a sharp KNOCK.</scene_description> <character>HARRY (O.S.)</character> <dialogue>Merry Christmas, little fella. We know you're in tpere and that you're all alone.</dialogue> <character>MARV (O.S.)</character> <dialogue>Yeah, come on. Open up, kid. It's Santa Claus and his elf.</dialogue> <character>A SEVENTH</character> </scene> <scene> <stage_direction>EXT. HOUSE- CLOSEUP- DOGGIEDOOR- NIGHT</stage_direction> <character>I</character> <dialogue>The barrel of the BB gun slowly sneaks out of the doggie door; and poinus up.</dialogue> <character>HARRY (O.S.)</character> <dialogue>We ain't gonna hurt you.</dialogue> <character>MARV (O.S.)</character> <dialogue>We got so~e nice presents for ya.</dialogue> <scene_description>An EIGHTHBELL CHIMES. 366 CLOSEUP - HARRY'S CROTCH- NIGHT SEEN DOWNthe BARR.EL of the BB gun.</scene_description> <character>HARRY (O.S.)</character> <dialogue>Be a good boy and open the door.</dialogue> <scene_description>( 367 CLOSEUP- TRIGGER- NIGHT Kevin's little finger squeezes the.trigger.</scene_description> <character>368</character> <dialogue>A sharp CHIMING.</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>POP! and a TWINGJ Followed by the NINTH CHURCH BELL Barry howls</dialogue> <scene_description>Yeeuuutzl ••• and grabs his groin. Marv drops to his knees and whips open the doggie door.</scene_description> <character>369</character> <dialogue>Marv's curious and angry face open wide in fear.</dialogue> <character>INT. KITCHEN- DOGGIEDOOR- NIGHT</character> <dialogue>appears.</dialogue> <character>370</character> <dialogue>The muzzle of the BB GUN. POP!</dialogue> <character>MARV'SPOV - NIGHT</character> <dialogue>~</dialogue> <character>371</character> <dialogue>Marv jumps back,</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>clutching</dialogue> <character>MARV</character> <dialogue>Eeeeesssssssshhhh!</dialogue> <scene_description>Barry is off the porch, pinching his groin. Marv joins him.</scene_description> <character>MARV</character> <dialogue>The little bastard's armed!</dialogue> <character>HARRY</character> <dialogue>I'll go around the front way. You go in the basement.</dialogue> <scene_description>Harry limps around the side of the house. Marv hangs back a moment, rubbing his forehead.</scene_description> <character>372</character> <dialogue>Barry hustles around the front of the house and jumps up on the porch.</dialogue> <character>EXT. FRONTPORCH- NIGHT</character> <dialogue>It's a sheet of ice •. Be hits it, falls to his ass</dialogue> <scene_description>and slips into the bushes. ,I r 373 EXT. BASEMENT STUBS - NIGHT Marv starts down the stairs. Ice again. One step and Marv's legs go out from under him.</scene_description> <character>374</character> <dialogue>THROUGH the window, we see Marv fly down the iced stairs. He</dialogue> <character>INT. BASEMENTDOOR- NIGHT</character> <dialogue>hits the basement door with a whaml The CROWBAR CLANGS!He pulls himself up. A beat and he falls again.</dialogue> <character>375</character> <dialogue>Harry grabs He straddles</dialogue> <character>EXT.</character> <dialogue>a porch pillar the pillar</dialogue> <scene_description>knob.</scene_description> <character>376</character> <dialogue>STAIRWELL</dialogue> <character>EXT. BASEMENT</character> <dialogue>- NIGHT</dialogue> <scene_description>.~ Marv jams the ·crowbar in the door and cracks it open.</scene_description> <character>3 77</character> <dialogue>I</dialogue> <character>EXT.</character> <dialogue>'</dialogue> <character>~</character> <dialogue>'</dialogue> <scene_description>I Harry pushes off the pillar, slides toward the door, doesn't quite make it, starts to slide back, steps forward and falls o his face.</scene_description> <character>378</character> <dialogue>Marv steps into the basement. doesn't go on. He feels his way through</dialogue> <character>INT. BASEMENT- NIGHT.</character> <dialogue>Be feels the dark to a hanging</dialogue> <character>~-</character> <dialogue>378A INT. HOOSE - SECONDFLOORHALLWAY</dialogue> <character>- LAUNDRY</character> <dialogue>CHUTE- NIGHT</dialogue> <scene_description>A steam iron with a· string attached to the handle is resting on the edge of the open chute. The string runs down the chute.</scene_description> <character>379</character> <dialogue>OMITTED</dialogue> <character>380 :INT. BASEMENT-MARV</character> <dialogue>Be grabs the chain and yanks on it. The chain, socket, bulb, and cord come loose in his hand. He looks at it as OS we HEAR THE HORRIBLECLATTEROF 'l'HE IRON FALLINGDOWN'l'HE CHUTE. Marv looks up.</dialogue> <character>,,</character> <dialogue>HIS POV</dialogue> <dialogue>Into the chute. The iron FALLS INTO CAMERA. BACK TO SCENE Marv catches the iron square in the face and hits the deck.</dialogue> <character>381</character> <dialogue>Harry is back on the porch, clutching himself away from the pillar, using the crowbar. is within easy reach now.</dialogue> <character>EXT. HOUSE- FRONTPORCH- NIGHT</character> <dialogue>the pillar. The doorknob</dialogue> <character>382</character> <dialogue>- NIGHT</dialogue> <character>CLOSEUP- DOORKNOB</character> <dialogue>It's glowing red with heat.</dialogue> <character>383</character> <dialogue>A big ~in grabs</dialogue> <character>BACK TO SCENE - NIGHT</character> <dialogue>is on Harry's it</dialogue> </scene> <scene> <stage_direction>~· 384 INT. FOYER - NIGHT</stage_direction> <scene_description>Kevin shakes his fist victoriously.</scene_description> <character>385</character> <dialogue>He drops the crowbar and the knob. His extreme reaction</dialogue> <character>EXT. PORCH- NIGHT</character> <dialogue>takes</dialogue> <scene_description>him off his feet and he lands square on his back and slides / down the steps, yowling in agony. Harry thrusts his hand intq a pile of dirty corn snow. ·</scene_description> <character>386</character> <dialogue>OMITTED</dialogue> <character>386A</character> <dialogue>- CLOSE-UP STEPS - NIGHT</dialogue> <character>INT.</character> <dialogue>3</dialogue> <scene_description>One of Marv's shoes is stuck in the thick, drying roof tar. CAMERA MOVESUP the stairs. One of Marv's socks is stuck in the next stair. CAMERAcontinues to move. Marv's other shoe is stuck in the next step. His other sock is stepping onto the top step. CAMERA PANS UP. Marv is stepping out of the sock, in his BAREFEET. He has a triangular series of indentations peaking at his hairline caused by the perforated ,.~ underside of the iron. There is murder in Marv's eyes as he steps onto the top landing.</scene_description> <character>I</character> <dialogue>r-- CLOSE-UP LANDING</dialogue> <scene_description>A shingle with protruding nails waits for Marv's approaching, NAKEDFOOT. CLOSE-UPMARV He freezes for a moment, looks down and then howls with pain. BASEMENT STAIRS Marv lifts his foot and the shingle. To steady himself he grabs the stairrail. It comes loose in his hand and he takes a backwards tumble down the stairs. 387 EX'l'. HOOSE- BACKPORCH- NIGH'l' Harry limps up the.porch steps, clutching his burned hand. With some difficulty he manages to jimmie the door with his crowbar, using only one hand. Be sticks the crowbar under his arm and carefully opens the door.</scene_description> <character>· 388 INT. KITCHEN- NIGHT</character> <dialogue>Harry enters slowly. As the door opens, the tension on the wire ignites the torch. Harry's naked head is scorched. He shrieks and jumps back out the door. rt closes and the torch goes off.</dialogue> <character>389</character> <dialogue>- NIGHT</dialogue> <character>EXT. BOUSE- SNOWBANK</character> <dialogue>Harry drives his flaming head into the snowbank. The fire is extinguished with a SIZZLE. I</dialogue> <character>390</character> <dialogue>Lit by flashlight.</dialogue> <character>CLOSEUP- KEVIN'S BATTLEPLAN - NIGHT</character> <dialogue>Kevin draws an "X" through</dialogue> <scene_description>the torched door. thru OMITTED t</scene_description> <character>393</character> <dialogue>He rises INTO FRAME. The hair on the top of Harry's head is burned away, his sideburns</dialogue> <character>CLOSEUP- BARRY - NIGHT</character> <dialogue>smoldering, blisters rising,</dialogue> <scene_description>eyel:)rows singed, eyes wild with rage and teeth gritted •</scene_description> </scene> <scene> <stage_direction>.</stage_direction> </scene> <scene> <stage_direction>EXT. HOOSE... BACK PORCH- NIGHT</stage_direction> <scene_description>Barry kicks open the door, snapping the torch wire. He marches into the house.</scene_description> <character>HARRY</character> <dialogue>Where are you? ••• You little bastard?!?</dialogue> <scene_description>thru OMITTED t 396</scene_description> </scene> <scene> <stage_direction>396A INT. BASEMENT -NIGHT</stage_direction> <scene_description>Marv stumbles to the door.</scene_description> </scene> <scene> <stage_direction>396B INT. KITCHEN - NIGHT</stage_direction> <scene_description>Harry listens at the dining room door. It's closed.</scene_description> <character>HARRY</character> <dialogue>It's too late for you, kid! We're in the house ana we're comin' for ya •.</dialogue> <character>KEVIN (O.S.)</character> <dialogue>Okay.</dialogue> <scene_description>Harry grins. 396A OMITTED 3</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - NIGHT</stage_direction> <scene_description>A room fan is resting on the table pointed at the dining room door. A pillow's worth of feathers is heaped in front of the fan. CLOSE-UPFAN· A pencil is stuck in the fan blades. The MOTORSTRUGGLES against the pencil. A string runs from the pencil to the handle of the dining room door. 397A OMI'rn:D 3</scene_description> </scene> <scene> <stage_direction>INT. FOYER - TOP OF STAIRS - NIGHT,</stage_direction> <scene_description>Revin is sitting at the top of the stairs. He calls to Barry with complete confidence.</scene_description> <character>KEVIN</character> <dialogue>Come and get me.</dialogue> <character>399</character> <dialogue>Harry pulls The pencil is pulled out of the fan.</dialogue> <character>INT. KITCHEN - NIGHT</character> <dialogue>open the dining The fan blades</dialogue> <scene_description>The feathers blow into the air. Harry storms into the room and straight into the glued Saran Wrap that spans the doorway. It sucks tight around his face. Harry roars with anger and peels off the wrap. Feathers immediately stick to his face.</scene_description> <character>HARRY</character> <dialogue>Shit!</dialogue> <character>400</character> <dialogue>Marv steps gingerly up the porch stairs in his bare feet. .· ,</dialogue> <character>INT. KITCHEN- NIGHT</character> <dialogue>and into</dialogue> <character>MARV</character> <dialogue>What happened?!?</dialogue> <scene_description>thru OMITTED t</scene_description> <character>403</character> <dialogue>Kevin stands</dialogue> <character>INT. FOYER- STAIRS - NIGHT</character> <dialogue>up.·</dialogue> <scene_description>house.</scene_description> <character>KEVIN</character> <dialogue>Do you guys give upl?</dialogue> <character>404</character> <dialogue>CLOSEUP - HARRY- NIGHT</dialogue> <scene_description>He turns to reveal his face full of feathers, his hair burned.</scene_description> <character>405</character> <dialogue>Be's</dialogue> <character>CLOSEUP -</character> <dialogue>just</dialogue> <character>MARV.</character> <dialogue>I wanna kill himl</dialogue> </scene> <scene> <stage_direction>.,.,,.\_,...\_</stage_direction> </scene> <scene> <stage_direction>( 406 INT. FOYER.·- NIGHT</stage_direction> <scene_description>Harry and Marv charge into the foyer.Marv's walking on his heels to spare his punctured soles of his feet.</scene_description> <character>HARRY</character> <dialogue>Why the hell did you take your shoes off?</dialogue> <character>MARV</character> <dialogue>Why the hell did you set your head on fire?</dialogue> <scene_description>They hit the MicroMachine~ and hit the deck. Kevin, standing in the middle of the stairs, takes aim with his BB GUN. Kevin PUMPS a SUCCESSION of BBs at the crooks before running up the stairs.</scene_description> <character>KEVIN</character> <dialogue>Come and get me!</dialogue> <scene_description>Marv and Harry scramble to their feet, rubbing their stinging butts and backs. Marv dashes up the stairs. Harry follows. At the top of the stairs, Kevin.holds a can of paint over his head. He lets it fly. The paint can arcs out, the rope tied to it pulls taut and the can swings rapidly into the stairwell. Marv looks up as he runs up the stairs. His eyes widen in horror.</scene_description> <character>HEAD'S</character> <dialogue>UP!</dialogue> <character>407</character> <dialogue>The paint</dialogue> <character>MARV'S POV - NIGHT</character> <dialogue>can swings</dialogue> <character>408</character> <dialogue>Marv ducks, revealing can strikes Harry. feet, off the stairs</dialogue> <character>BACK TO SCENE</character> <dialogue>Harry's unsuspecting face. The paint Square on the chin, knocking him off his and into the foyer.</dialogue> <scene_description>second can. Marv looks back down at Harry.</scene_description> <character>MARV</character> <dialogue>I'll get him for ya, Harry.</dialogue> <scene_description>Marv turns and screams. Marv catches the second paint can. He's knocked off his feet. Barry.is on his back in the foyer. Be opens his eyes. ~ 409 HARRY'S POV -NIGHT Marv is sailing down on him.</scene_description> <character>410</character> <dialogue>And it's</dialogue> <character>BACK TO SCENE - NIGHT</character> <dialogue>a burglar</dialogue> <character>411</character> <dialogue>- NIGHT</dialogue> <character>INT. HALLWAY</character> <dialogue>Kevin scoots down the hallway on his hands and knees, toward the master bedroom.</dialogue> <character>412</character> <dialogue>Marv helps Harry to his feet.</dialogue> <character>INT.</character> <dialogue>MARV</dialogue> <scene_description>He's only a kid, Harry. We can take him.</scene_description> <character>HARRY.</character> <dialogue>Shut up.</dialogue> <character>MARV</character> <dialogue>You're missing some teeth.</dialogue> <scene_description>Harry shoves Marv away and heads up the stairs.</scene_description> <character>413</character> <dialogue>- NIGH'l'</dialogue> <character>INT.</character> <dialogue>Kevin is on the telephone. I</dialogue> <character>KEVIN</character> <dialogue>I</dialogue> <scene_description>Help! My house is being robbed! I live at 1132 Rivard. My name's Murphy. 414 INT. FOYER - STAIRS - NIGH'l' Barr'f and Marv trudge up the stairs. They are cautious, keeping an alert eye on the railing above.</scene_description> <character>HARRY</character> <dialogue>You bomb me with another can, kid and I'll snap off your cajones and boil them in motor oil.-</dialogue> </scene> <scene> <stage_direction>/</stage_direction> </scene> <scene> <stage_direction>(' 415 INT. HALLWAY</stage_direction> <character>- NIGHT</character> <dialogue>Kevin crawls out of the master bedroom.</dialogue> <character>416 - NIGHT</character> <dialogue>INT. UPSTAIRSHALLWAY</dialogue> <scene_description>Harry and Marv make the turn up the stairs and see Kevin.</scene_description> <character>HARRY</character> <dialogue>There he is!</dialogue> <scene_description>Kevin scampers down the hallway to the third floor stairs.</scene_description> <character>""</character> <dialogue>With the little strength they have left, Harry and Marv take off do~ the hall,. after Kevin.</dialogue> <character>417</character> <dialogue>- NIGHT</dialogue> <character>CLOSEUP- DOORKNOB</character> <dialogue>A wire is tightly fastened around the knob. CAMERA PANS ALON the wire, it is connected to another doorknob, across the hall.</dialogue> <character>· 418 BACKTO SCENE - NIGHT</character> <dialogue>r Harry charges down the hall. Suddenly he's off his feet,</dialogue> <scene_description>flipped forward with a TWANG! With the wire snapped, Marv keeps moving." He jumps over the fallen Harry and lunges for Kevin. Marv-'s hand grabs Kevin's ankle. Kevin holds onto the third floor doorknob with both hands. He screams. With his free leg he repeatedly kicks Marv in the head.</scene_description> <character>MARV</character> <dialogue>Harry! Get up 1 Grab him!</dialogue> <scene_description>Harry doesn't move. He is lying on the floor. His eyes open in horror.</scene_description> <character>419</character> <dialogue>The tarantula</dialogue> <character>HARRY'S POV,- NIGHT</character> <dialogue>runs INTO CAMERA.</dialogue> <character>420</character> <dialogue>Harry stands up, with the spider clinging to his face. is screaming. He peels off the spider and throws it. turns back to Harry.</dialogue> <character>BACK TO SCENE - NIGHT</character> <dialogue>Harry Marv</dialogue> <character>MARV</character> <dialogue>Har ••• !</dialogue> <scene_description>,,I The spider lands on Marv's face. Marv lets go of Kevin's ankle.</scene_description> <character>. ,</character> <dialogue>.-""""4'\_ In a panic;· Marv grabs his crowbar, draws it back, draws a bead</dialogue> <scene_description>on the spider ••• Barry is shivering with revulsion. The spider climbs up on Barry's shoe.</scene_description> <character>421</character> <dialogue>Marv has lost his senses for the moment. Be brings down the</dialogue> <character>SEVERE UP-ANGLE - NIGHT</character> <dialogue>crowbar with all his force. Harry screams as the crowbar slams down on his foot.</dialogue> <character>422</character> <dialogue>'</dialogue> <character>IN'I'. BUZZ'S ROOM- NIGHT</character> <dialogue>-</dialogue> <scene_description>The tarantula scoots back inside the room.</scene_description> <character>423</character> <dialogue>- NIGHT</dialogue> <character>IN'I'. HALLWAY</character> <dialogue>Marv drops the crowbar, realizing what he's done.</dialogue> <character>MARV</character> <dialogue>Barry! I'm •••</dialogue> <character>.</character> <dialogue>Harry belts Marv in the face.</dialogue> <scene_description>~ 424 IN'I'. ATTIC STAIRWELL- NIGHT</scene_description> <character>' '</character> <dialogue>'.</dialogue> <scene_description>Kevin stands at the top of the stairs. Be looks down into the stairwell.</scene_description> <character>425</character> <dialogue>Steep drop. - Barry, stairs.</dialogue> <character>KEVIN'S POV - NIGHT</character> <dialogue>then Marv appear at the bottom of the</dialogue> <character>HARRY</character> <dialogue>Now where you gonna go?</dialogue> <character>- MARV</character> <dialogue>We was just gonna kidnap you. Now we're gonna kidnap ya and feed ya to the fishes.·</dialogue> <scene_description>426 BACK 'l'O SCENE - NIGHT Kevin yells down to Harry and Marv. llv.Lk Go kiss a dog on the lips!</scene_description> <character>(</character> <dialogue>Kevin dashes OFFSCREEN.</dialogue> </scene> <scene> <stage_direction>.~</stage_direction> <character>426A</character> <dialogue>Harry and Marv hobble</dialogue> <character>INT. STAIRWELL- NIGHT</character> <dialogue>up the stairs</dialogue> <character>MARV</character> <dialogue>Can :r: shoot him?</dialogue> <character>HARRY</character> <dialogue>Right after I strangle him.</dialogue> <character>426B</character> <dialogue>thru OMITTED t</dialogue> <character>431</character> <dialogue>-</dialogue> <character>EXT. ATTIC WINDOW</character> <dialogue>NIGHT</dialogue> <scene_description>Kevin climbs into the window. He fastens a large metal hook onto the rope. He secures his grip on the rope tied through an eye on the handle. He looks down fearfully. 432 KEV:r:N'SPOV - NIGHT It is three stories down to the cold, dark, ground. · 433 BACK TO SCENE - NIGHT ~ Kevin gulps back his nerves and swings out of the window.</scene_description> <character>434</character> <dialogue>Kevin slides down the rope,</dialogue> <character>EXT. BACKYARD- NIGHT</character> <dialogue>picking</dialogue> <scene_description>his tree house. I: I:</scene_description> <character>435</character> <dialogue>MOVING\_DOWN</dialogue> <character>KEVIN'S POV - NIGHT</character> <dialogue>the rope.</dialogue> <character>436</character> <dialogue>Kevin sails down the rope into</dialogue> <character>INT.</character> <dialogue>the tree</dialogue> <scene_description>legs to absorb the impact. 437 EXT. TREE HOUSE- N:CGH'l' The back side. Kevin's legs burst through the weathered wood. r ..I</scene_description> <character>438</character> <dialogue>.~</dialogue> <character>OMITTED</character> <dialogue>439</dialogue> <scene_description>Kevin brushes himself off and shakes off the hurt.</scene_description> <character>440</character> <dialogue>- NIGHT</dialogue> <character>INT. ATTIC BEDROOM</character> <dialogue>Harry and Marv enter. They are quick to see the open window.</dialogue> <character>MARV</character> <dialogue>Maybe be committed suicide.</dialogue> <scene_description>Harry climbs up on the student desk beneath the window and looks out.</scene_description> <character>441</character> <dialogue>Harry scans</dialogue> <character>EXT. ATTIC WINDOW- NIGHT</character> <dialogue>the yard.</dialogue> <character>442</character> <dialogue>Kevin waves to him from the tree</dialogue> <character>HIS POV - NIGHT</character> <dialogue>house.</dialogue> <character>KEVIN</character> <dialogue>Down here you big horse's ass! Come and get me before I go call the police!</dialogue> <character>443</character> <dialogue>- NIGHT</dialogue> <character>INT. ATTIC BEDROOM</character> <dialogue>Marv calls up to Harry.</dialogue> <character>MARV</character> <dialogue>Come on!</dialogue> <character>I</character> <dialogue>!</dialogue> <scene_description>He starts for the stairs.</scene_description> <character>HARRY</character> <parenthetical>(looking back from the window)</parenthetical> <dialogue>That's exactly what the little shit wants us to do. Go back down through his fun house and get tore up more.</dialogue> <character>MARV</character> <dialogue>You gonna let him call the cops?!</dialogue> <scene_description>Harry pulls out his handkerchief and wraps it around his hand.</scene_description> <character>MARV</character> <dialogue>Not out the window, Harry..,,</dialogue> <character>HARRY</character> <dialogue>That's just what the kid's sayin' •. Come on.</dialogue> <character>444</character> <dialogue>Harry swings out the window on the rope and begins down it.\_ Marv joins him.</dialogue> <character>EXT. BACKYARD- NIGHT</character> <dialogue>hand-walking</dialogue> <character>445</character> <dialogue>Kevin grins</dialogue> <character>INT. TREE HOUSE- KEVIN - NIGHT</character> <dialogue>and brings</dialogue> <character>446</character> <dialogue>He stops</dialogue> <character>CLOSEUP- HARRY- NIGHT</character> <dialogue>cold,</dialogue> <character>HARRY</character> <dialogue>Oh, no • • •</dialogue> <character>447</character> <dialogue>..</dialogue> <character>BACKTO SCENE - NIGHT</character> <dialogue>~·</dialogue> <scene_description>Kevin snips the rope. Harry and Marv crash into the side of ~ \ the house.· They slide down the house and fall to the ground. Dazed. Shaken. · Kevin scampers down from the tree house and runs to the van. He opens the door to the van, puts it in neutral and runs down the driveway. The van rolls down the driveway and hits the curb. Kevin runs across the street, to the Murphy house. thru OMITTED t</scene_description> <character>451</character> <dialogue>Kevin arrives in the front yard. across the street,</dialogue> <character>EXT. MURPHYHOUSE - NIGHT</character> <dialogue>He stops, to his house.·</dialogue> <character>452</character> <dialogue>Scratched and bruised~ Harry and Marv stagger the pile of broken icicles. they see Kevin across the street •.</dialogue> <character>KEVIN'S POV - NIGHT</character> <dialogue>out from beneath Their eyes filled</dialogue> <scene_description>i .I</scene_description> <character>453</character> <dialogue>Kevin waves to the two crooks.</dialogue> <character>BACK TO SCENE - NIGHT</character> <dialogue>KEVIN</dialogue> <scene_description>I'm calling the cops! Harry and Marv take off after Kevin. Kevin races across the Murphys' lawn. Harry and Marv·hobble across the street, trying to catch up. . Kevin rounds the front corner of the house and runs into the backyard.</scene_description> <character>454</character> <dialogue>HOUSE - BACKYARD- NIGHT</dialogue> <character>EXT. MURPHY</character> <dialogue>Kevin whips around into the back yard, runs down the cellar steps and inside.</dialogue> <character>455</character> <dialogue>HOUSE - BASEMENT-</dialogue> <character>INT. MURPHY</character> <dialogue>NIGHT</dialogue> <scene_description>Kevin enters. He· looks around in the darkness, sees the stairs leading upstairs and runs towards them. He sprints up the stairs. He pulls the door open. CLOSE-UP. KEVIN ·.-~... &lt;... ~ He 'recoils ~. in. fea\_-:c'</scene_description> <character>HIS POV</character> <dialogue>Harry and Marv are standing in the door.</dialogue> <character>... ·. HARRY</character> <dialogue>Evening, little nipper.</dialogue> <character>'. :·..·' ·, ' . .</character> <dialogue>Kevin steps down off the top stair. STAIRS - HARRYANDMARV Marv reaches for Kevin~ He's tapped on the shoulder. Be turns.</dialogue> <character>. .: :.· MARV</character> <dialogue>Huh?••</dialogue> <character>MARV'S POV</character> <dialogue>A man is swinging a wide metal snow shovel toward his head. Before Marv can react he is slammed in the face with the snow shovel. Marv collapes. Harry turns.</dialogue> <character>..</character> <dialogue>HARRY'SPOV</dialogue> <scene_description>r The snow shovel. Swinging into CAMERA.WHAM!The snow shovel connects with Harry. He falls to the floor beside Marv. --~</scene_description> <character>CLOSE-UPKEVIN</character> <dialogue>He looks up BIS POV Marley steps out of the shadows to reveal himself to Kevin.</dialogue> <character>MARLEY</character> <dialogue>A little trick I learned in South Bend.</dialogue> <scene_description>He winks.</scene_description> <character>· 456 EXT. MURPHY</character> <dialogue>HOUSE- NIGHT - LATER</dialogue> <scene_description>A pair of squad cars are pulled up in front of the Murphy house. Officers are coming and going from the house.</scene_description> <character>457</character> <dialogue>OMITTED</dialogue> <scene_description>·458 INT. SQUADCAR - NIGH'l' ( Marv.and Harry, handcuffed and looking half-dead, drop into the back seat from either side. They sit exhausted, confused, defeated, injured and humiliated. 458A EX'l'. HOOSE- SQUADCAR - NIGHT 4 Harry looks out the window. 459 HARRY'SPOV - NIGH'l' 'l'he shirtless sports hero is in the window of the Mccallister house. Rocking back and forth. Kevin pops up beside the sports hero. Seeing Barry\_, Kevin grins.</scene_description> <character>460</character> <dialogue>curls</dialogue> <character>HARRY- NIGHT</character> <dialogue>his lip</dialogue> <scene_description>461 EX'l'. STREET- NIGH1' The two squad cars drive off into the night.</scene_description> </scene> <scene> <stage_direction>""""~ 462 INT. MCCALLISTER</stage_direction> </scene> <scene> <stage_direction>'~ 463 INT. LIVING. ROOM- NIGHT</stage_direction> <scene_description>Kevin sets a glass of milk and a plate of cookies and a plate of carrots. He adjusts the family stockings that he's taped to the mantel, and looks around proudly.</scene_description> <character>464</character> <dialogue>A picture-perfect</dialogue> <character>EXT. HOOSE- MORNING</character> <dialogue>snowfall</dialogue> <scene_description>the night.</scene_description> <character>465</character> <dialogue>- DAY</dialogue> <character>INT. MASTERBEDROOM</character> <dialogue>. .</dialogue> <scene_description>Kevin is at the end of his sleep. He stirs, suddenly sits up and listens carefully. 'l'he house is silent. He looks to the window. · ·</scene_description> <character>466</character> <dialogue>The glass Kevin smiles.</dialogue> <character>KEVIN'S POV - DAY</character> <dialogue>is frosty He leaps</dialogue> <character>KEVIN</character> <dialogue>Mom!</dialogue> <character>467</character> <dialogue>Kevin scrambles down the stairs, jumping the and skidding on the wooden floor. room.</dialogue> <character>INT. FOYER- DAY</character> <dialogue>last He shoots ·</dialogue> <character>I</character> <dialogue>Kevin grinds to a halt, his face glowing with the biggest smiie of his life. ·</dialogue> <character>468</character> <dialogue>No one's Kevin's smile falls~ his reformation,</dialogue> <character>KEVIN ANDHIS POV - DAY</character> <dialogue>there. He's crushed. his</dialogue> <scene_description>nothing. Dammit! Be stom~s to the coffee table and·picks up a crystal paperweight. He draws his arm hack to heave it at the tree. He ·pauses, thinks better of it. He slowly re-turns the paperweight to the tahl~.</scene_description> </scene> <scene> <stage_direction>'~ 469 INT. FOYER~ DAY</stage_direction> <scene_description>Kevin walks slowly out of the living room, into the foyer. He stops at the bottom of the stairs. Something occurs to him He crosses to the door and opens it.</scene_description> <character>470</character> <dialogue>Kevin in his pajamas. A beat. The sound of</dialogue> <character>EXT. HOUSE- DAY</character> <dialogue>He sees nothing. POLKAMUSIC is heard.</dialogue> <scene_description>FILLING the FRAME. Kate steps out of the van, waving "Good-bye," thanking and wishing a "Merry Christmas" to the musicians inside. She gives a quick kiss to Gus. The van drives off. Kate looks to the house.</scene_description> <character>471</character> <dialogue>Kate peeks in. cautious.</dialogue> <character>INT. FOYER- DAY -·</character> <dialogue>She steps softly inside. She quietly closes the door behind her.</dialogue> <scene_description>in the dining room. Then in the living room. She looks back to the stairs~ Thinks for a split second and then turns quickly bac~ to the living room.</scene_description> <character>472</character> <dialogue>Kate enters</dialogue> <character>INT. LIVING ROOM- DAY</character> <dialogue>slowly.</dialogue> <character>473</character> <dialogue>Kevin's cookies</dialogue> <character>HER POV - DAY</character> <dialogue>tree, the gifts, and the carrots.</dialogue> <character>474</character> <dialogue>KATE</dialogue> <scene_description>Kate's eyes are filled with tears. She puts her hand to her mouth to keep from crying •.</scene_description> <character>475</character> <dialogue>- DAY</dialogue> <character>INT. MASTERBEDROOM</character> <dialogue>•</dialogue> <scene_description>Kevin is sitting on the bed, holding the family portrait.</scene_description> <character>476</character> <dialogue>Kate plucks a little off the tree.</dialogue> <character>CLOSEUP- KEVIN'S TREE - DAY</character> <dialogue>antique silver She shakes it.</dialogue> <character>477</character> <dialogue>No tears.</dialogue> <character>CLOSEUP- KEVIN - DAY</character> <dialogue>Just defeat and sorrow. o.s. we hear the TINKLE</dialogue> <scene_description>of the BELL. Kevin looks up, thinking he's hearing things. Another TINXLE of the BELIS. Kevin puts the photograph down and covers his ears to see if the sound is in his head. It's not. Be stands.</scene_description> <character>478 - DAY</character> <dialogue>INT. UPSTAIRSHALLWAY</dialogue> <dialogue>The BELL CONTINUES~ · Kevin pokes his head out of the bedroom door, walks to the railing and looks over. Be can't see anything. But he can hear the BELL. He walks around the railing and down t~the landing.</dialogue> <character>479</character> <dialogue>Kevin appears at the top of the stairs. doesn't</dialogue> <character>INT. HOOSE- FOYER- DAY</character> <dialogue>He looks down and see anything.</dialogue> <scene_description>the stairs •. · A loose , STAIR CREAKS. ·</scene_description> <character>..·;....</character> <dialogue>,</dialogue> <character>......</character> <dialogue>. .</dialogue> <character>· 480 CLOSEUP- :KATE- DAY</character> <dialogue>She knows now that he's home. She grabs the bell to silence it.- :\·.· -·-., .</dialogue> <scene_description>481 CLOSEUP- lCEvIN - DAY· He comes down the stairs, into the foyer and turns into the dining room.·</scene_description> <character>482</character> <dialogue>She's standing in the entrance to the living through her tears. ·she rings the bell.</dialogue> <character>CLOSEUP- KATE~ DAY</character> <dialogue>room, smiling</dialogue> <character>483</character> <dialogue>•·</dialogue> <character>BER POV</character> <dialogue>Kevin has his back to her. Be straightens up and turns.</dialogue> <scene_description>484 Hl:S POV Rate rings the bell.</scene_description> <character>KATE</character> <dialogue>Merry Christmas, sweetheart •</dialogue> </scene> <scene> <stage_direction>..:</stage_direction> <character>(1"' 485 CLOSEUP - KEVIN</character> <dialogue>The sight of his mother is so overwhelming he doesn't react.</dialogue> <character>486</character> <dialogue>She thinks</dialogue> <character>CLOSEUP - KATE</character> <dialogue>his hesitation</dialogue> <character>KATE</character> <dialogue>I'm sorry.</dialogue> <character>487</character> <dialogue>He walks slowly to her,</dialogue> <character>CLOSEUP - KEVIN</character> <dialogue>stopping</dialogue> <character>488</character> <dialogue>Kate kneels before him. She kisses his forehead.</dialogue> <character>INT. FOYER- DAY</character> <dialogue>He suddenly</dialogue> <scene_description>throws his arms around her and squeezes for all he's worth. She grabs him tight to her. She breaks the embrace and kisses both his cheeks.</scene_description> <character>KEVIN</character> <dialogue>Where's ~verybody else?</dialogue> <character>P-</character> <dialogue>l I,\_</dialogue> <character>KATE</character> <dialogue>I'm sorry, honey. They're all •••</dialogue> <character>489</character> <dialogue>It swings open and the haggard, bickering remainder family stumbles in.</dialogue> <character>INT. FOYER- FRONTDOOR- DAY</character> <dialogue>of the Buzz looks back to Megan.</dialogue> <character>I</character> <dialogue>. BUZZ</dialogue> <scene_description>I didn't fall asleep in the cab and drool all over you, did I?</scene_description> <character>MEGAN</character> <dialogue>I don't drool.</dialogue> <character>LINNIE</character> <dialogue>Will you guys please shut up?</dialogue> <character>PETER</character> <dialogue>Come on, you jerks, it's Christmas!</dialogue> <scene_description>They notice Kate and Kevin.</scene_description> <character>PETER</character> <dialogue>Kev! ·t</dialogue> <character>€�</character> <dialogue>r~. PETER</dialogue> <scene_description>I . You're okayl Buzz walks up to Kevin and grins.</scene_description> <character>BUZZ</character> <dialogue>It's pretty cool you didn't burn the place down.</dialogue> <scene_description>Buzz holds out his hand and smiles warmly. Kevin slaps it. Kate gives an incredulous look to Peter.</scene_description> <character>KATE</character> <dialogue>How.did you guys? •• ·• I mean ••• ?</dialogue> <character>PETER</character> <dialogue>Wedecidedto get on the morning</dialogue> <scene_description>flight back. Remember? The one you didn't want to wait for?</scene_description> <character>&lt;- .. ,</character> <dialogue>Kate nods. If she wasn't so happy, she'd would be frustrated. She kisses her husband and looks at everyone.</dialogue> <character>.</character> <dialogue>a•</dialogue> <character>:;\_;</character> <dialogue>KATE</dialogue> <scene_description>Who wants breakfast? .Jii</scene_description> <character>PETER</character> <dialogue>~ Who·wants to get the presents</dialogue> <scene_description>. · , · the car? Jeff? . -·· out of</scene_description> <character>.,</character> <dialogue>.- JEFF ..</dialogue> <scene_description>I haven't even said 'hello' to my brother. ·· .:\_(to Kevin) -· ·. - , Hi. You didn't miss anything.· The T.V. shows are all in French. -I I:</scene_description> <character>.~ .</character> <dialogue>. LINNIE</dialogue> <scene_description>:~. ,' . . ... (to Kevin) . . '· I'll be the only decent person in the</scene_description> <character>,,,~-.</character> <dialogue>•:1. family and say that I really, really</dialogue> <scene_description>. .-!" • missed you and was worried about you. But you can't use that against me. Okay? .. - Kevin nods. Megan turns to Linnie.</scene_description> <character>MEGAN</character> <dialogue>So you're saying I didn't miss him? I cried several times and often it was for real.</dialogue> <character>PETER--·</character> <dialogue>Go get the presents. ..</dialogue> <character>KATE</character> <dialogue>Somebody has to run out and find a store open. We don't even have milk.</dialogue> <character>KEVIN</character> <dialogue>I went shopping yesterday • . ,:</dialogue> <scene_description>Everybody looks at him.</scene_description> <character>KEVIN</character> <dialogue>We have milk. And eggs. And fabric softener.</dialogue> <character>PETER</character> <dialogue>What else did you do while we were</dialogue> <scene_description>· gone~· ·</scene_description> <character>490</character> <dialogue>OMITTED</dialogue> <scene_description>49 l ' CLOSEUP- KEVIN .;. DAY· .</scene_description> <character>( ' ..·.. ..; ..;·\_-~:'</character> <dialogue>··, .</dialogue> <scene_description>He thinks for a moment.·</scene_description> <character>..</character> <dialogue>. \ 1· .. :~;·.r.:-:\_.-;\_</dialogue> <scene_description>·- . mm ·-·~ .: ;: . :~;;:J~f°-'.hung around. ,..</scene_description> <character>. ·.' ;--..~~ ..~.!)·~··:'·/\:,.:€�. ,</character> <dialogue>Everybody pauses~··· Kevin smiles and turns to CLOSEthe front door. He looks across the street for a moment.</dialogue> <character>491A</character> <dialogue>: ·:,-;..·:,. .··.</dialogue> <character>KEVIN'S</character> <dialogue>Marley ·stands at the curb of his house, being greeted by a family of five, emerging from astation wagon Marley embraces his son. 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The McCallister family is preparing to spend Christmas in Paris, gathering at Kate and Peter's home in a Chicago suburb on the night before their departure. Kate and Peter's youngest son, Kevin, is ridiculed by his siblings and cousins due to his immaturity. Kevin inadvertently ruins the family dinner after a scuffle with his oldest brother Buzz, in which Kevin's airplane ticket is unknowingly thrown away, resulting in Kate sending him up to the attic. Kevin berates his mother for allowing the rest of the family to pick on him and wishes that his family would disappear. During the night, heavy winds create a power outage, disabling the alarm clocks and causing the family to oversleep. In the confusion and rush to get to the airport, Kevin is accidentally left behind. Kevin wakes to find the house empty and the family cars still in the garage, unaware that they had rented vans to take them to the airport. Thinking that his wish has come true, he is overjoyed with his newfound freedom. Later, Kevin becomes frightened by his next-door neighbor, "Old Man" Marley, rumored to be a serial killer who murdered his own family. The McCallister home is soon stalked by the "Wet Bandits", Harry and Marv, a pair of burglars who have been breaking into other vacant houses in the neighborhood. Kevin tricks them into thinking that his family is still home, forcing them to postpone their plans to rob the McCallister house. Kate realizes mid-flight that Kevin was left behind, and upon arrival in Paris, the family discovers that all flights for the next two days are booked, and that the phone lines are still down back home in Chicago. Peter and the rest of the family stay in his brother's apartment in Paris, while Kate manages to get a flight back to Scranton, Pennsylvania. She fails to find a flight to Chicago, but meets Gus Polinski, the lead member of a traveling polka band, who offers to let her travel with them to Chicago in a moving van. On Christmas Eve, Harry and Marv finally realize that only Kevin is in the McCallister home, and Kevin overhears them discussing plans to break into the house that night. Kevin starts to miss his family and asks the local Santa Claus impersonator if he could bring them back for Christmas. He goes to church and watches a choir perform, eventually re-encountering Marley, who proves the rumors about him are false. Marley points out his granddaughter in the choir and mentions he has never met her since she is the daughter of his estranged son. Kevin suggests Marley should reconcile with his son. Kevin returns home and rigs the house with booby traps. Harry and Marv break in, spring the traps, and suffer various injuries. Kevin calls the police and lures the duo into a vacant neighboring house that they had previously broken into. Harry and Marv ambush Kevin and prepare to get their revenge, but Marley intervenes and knocks them out with his snow shovel. The police arrive and arrest Harry and Marv, having identified all the houses that they broke into due to their habit of flooding them. On Christmas Day, Kevin is initially disappointed to find that his family is still gone, but Kate arrives home, and they reconcile. The rest of the family then returns after waiting in Paris for a direct flight to Chicago. Kevin keeps silent about his encounter with Harry and Marv, although Peter finds Harry's knocked-out gold tooth. Kevin then happily watches Marley reuniting with his son, daughter-in-law, and granddaughter.

12 Monkeys_1995

tt0114746

<script> <scene> <stage_direction>INT. CONCOURSE/AIRPORT TERMINAL - BAY</stage_direction> <scene_description>CLOSE ON A FACE . A nine year old boy , YOUNG COLE , his eyes wide with wonder . watching something intently . We HEAR the sounds of the P.A. SYSTEM droning Flight Information mingled with the sounds of urgent SHOUTS , running FEET , EXCLAMATIONS . YOUNG COLE 'S POV : twenty yards away , a BLONDE MAN is sprawled on the floor , blood oozing from his gaudy Hawaiian shirt . A BRUNETTE in a tight dress , her face obscured from YOUNG COLE 'S view , rushes to the injured man , kneels beside him , ministering to his wound . ANGLE ON YOUNG COLE , flanked by his PARENTS , their faces out of view , as they steer him away .</scene_description> <character>FATHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Come on, Son - this is no place for us.</dialogue> <scene_description>YOUNG COLE resists momentarily , mesmerized by the drama . YOUNG COLE 'S POV : intermittently visible through a confusion of FIGURES rushing through the foreground , the BLONDE MAN reaching up and touching the cheek of the kneeling BRUNETTE in a gesture of enormous tenderness , a gesture of farewell , while the P.A. SYSTEM continues its monotonous monotone .</scene_description> <character>P.A. SYSTEM</character> <dialogue>Flight 784 for San Francisco is now ready for boarding at inmate number 66578, Greely.</dialogue> </scene> <scene> <stage_direction>INT. PRISON DORMITORY/FUTURE - ETERNAL NIGHT</stage_direction> <character>PRISON P.A. SYSTEM</character> <dialogue>- number 5429, Garcia - number 87645, Cole.</dialogue> <scene_description>COLE , late thirties , dark hair , comes awake in a bunk cage , one of many stacked four high along both sides of a long dim corridor . He blinks in the near dark , shaken , disoriented . Then , as he `` recovers '' from his very vivid dream , WE GET OUR FIRST LOOK AT HIS ENVIRONMENT . A WINDOWLESS UNDERGROUND WORLD OF ETERNAL NIGHT SOMETIME IN THE FUTURE . AN ALMOST COLORLESS `` REALITY '' OF BLURRED EDGES AND ECHOEY SOUNDS , MUCH MORE `` DREAMLIKE '' THAN HIS DREAM . Flashlights glare . In the half - light , COLE sees spooky figures , GUARDS , moving among the locked bunk/cages . COLE turns and whispers to the occupant of the next cage , JOSE .</scene_description> <character>COLE</character> <dialogue>Ssssst! Jose, what's going on?</dialogue> <scene_description>JOSE 's face is almost lost in shadow . What there is of it is youthful . He 's just a scared Puerto Rican kid !</scene_description> <character>JOSE</character> <dialogue>`` Volunteers'' again.</dialogue> <scene_description>JOSE immediately rolls over and feigns sleep as SCARFACE , a menacing guard with a jagged scar running down his cheek , looms close to COLE 's cage and unlocks it .</scene_description> <character>SCARFACE</character> <dialogue>`` Volunteer duty''.</dialogue> <scene_description>The PRISONERS in the other cages watch silently with narrowed eyes .</scene_description> <character>COLE</character> <dialogue>I did n't volunteer.</dialogue> <character>SCARFACE</character> <dialogue>You causing trouble again?</dialogue> <character>COLE</character> <parenthetical>( controls his temper . )</parenthetical> <dialogue>No trouble.</dialogue> </scene> <scene> <stage_direction>INT. EQUIPMENT ROOM - ETERNAL NIGHT</stage_direction> <scene_description>COLE 's alone , struggling to get into what looks like a space suit in a room where suits hang like ghosts with blank eyes . TITLES BEGIN SUPERED OVER THE SCENE COLE has the torso of the suit on now and is trying to close it .</scene_description> <character>OFFSCREEN VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>All openings must be closed.</dialogue> <scene_description>COLE looks for the source of the voice , a tiny grate in the wall .</scene_description> <character>OFFSCREEN VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>If the integrity of the suit is compromised in any way, if the fabric is torn or a zipper not closed, readmittance will be denied.</dialogue> </scene> <scene> <stage_direction>INT. SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT)</stage_direction> <scene_description>COLE , wearing the `` space suit '' and a helmet with a plastic visor , steps into a tiny chamber , a kind of air lock . The heavy door clangs shut behind him . He 's alone . COLE 'S breath comes quicker now as he sucks oxygen from the air tanks on his back . On the opposite wall is another door with a huge wheel lock . COLE turns the heavy wheel , opens the door , steps through It</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - SECONDS LATER (ETERNAL NIGHT)</stage_direction> <scene_description>COLE 'S in an ascending elevator that groans and creaks . He looks down at a crudely drawn map he holds in his gloved hand . The map shows a series of tunnels and ladders .</scene_description> </scene> <scene> <stage_direction>INT. SEWER PIPE - MINUTES LATER (NIGHT)</stage_direction> <scene_description>COLE pans a flashlight , probing the filthy sewer he 's wading through RATS flee the blade of light , scurry across islands of rusting junk . The flashlight beam settles on a ladder mounted in the wall . Reaching the rusted ladder , COLE starts to climb awkwardly .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET/FUTURE - MOMENTS LATER (NIGHT)</stage_direction> <scene_description>A SCRAPING NOISE as a heavy man - hole cover is pushed up and moved aside . COLE 'S helmeted head emerges from below . COLE 'S POV THROUGH HIS PLASTIC - VISORED HELMET : a city in moonlight ! A surreal image of abandoned buildings . No people anywhere . The only sounds are the WIND and COLE 'S BREATHING .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER CITY STREET - MINUTES LATER (NIGHT)</stage_direction> <scene_description>COLE 'S light reveals abandoned vine - covered automobiles . Moving to the nearest car , COLE searches in the vines for something . Finds it . An insect . COLE takes the bug in his gloved hand . As he clumsily inserts it into a collection tube , something makes him turn . There 's something across the street in the dark . Something alive . COLE points his flashlight and reveals . a BEAR ! Startled by the light , the animal blinks , then stands on its rear legs and ROARS . ANGLE ON COLE , staring wide - eyed . Then , the BEAR sinks down onto all fours and , trying to avoid the flashlight , it pads quickly down the street .</scene_description> </scene> <scene> <stage_direction>INT. SUBTERRANEAN PARKING GARAGE - NIGHT</stage_direction> <scene_description>Using the flashlight to see , COLE reaches down to the cracked floor and gets another specimen . DOGSHIT ! The only sound is COLE 'S labored BREATHING . Then , a different SOUND . GRRRR ! A dog . More GRRRRS . More dogs . Then , a YIP . Then , VICIOUS GROWLS . It 's a DOGFIGHT !</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT (FIRST LIGHT)</stage_direction> <scene_description>A giant OWL , perched on an overhead traffic light , raises its wings and lifts off . rising higher and higher into the brightening sky . Below , on the street , COLE trudges along , passing deserted buildings , windows broken , rusted signs dangling .</scene_description> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE - NIGHT (FIRST LIGHT)</stage_direction> <scene_description>COLE 'S light reveals a spider web just inside the store . A large SPIDER tries to hide from the light . COLE reaches carefully into the web and plucks the spider and puts it into one of his specimen tubes . Then , he shines his light all around the once elegant store . There 's nothing but aisle after aisle of moldering consumer goods .</scene_description> </scene> <scene> <stage_direction>EXT. DEPARTMENT STORE - DAWN</stage_direction> <scene_description>As COLE comes out of the store , the first rays of the sun hit the building . COLE stops , squints into the light through his visor . COLE 'S POV : spray - painted on the wall a long time ago is a stenciled logo of twelve monkeys holding hands in a circle . Over it is written , `` WE DID IT ! '' COLE looks up . COLE 'S POV : high up on a building across the street , a LION patrols a ledge , pauses , looks out majestically over his world . TTTLES END</scene_description> </scene> <scene> <stage_direction>INT. FIRST UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT</stage_direction> <scene_description>ROARING WATER , powerful torrents gushing from nozzles in the wall , pummel the still - suited COLE .</scene_description> </scene> <scene> <stage_direction>INT. SECOND UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT</stage_direction> <scene_description>Stark naked and shivering , COLE is being scrubbed with brushes on long poles -LRB- like the ones used to wash cars -RRB- wielded by two HULKING FIGURES in bulky decontamination suits , their personas lost in their windowed masks . It 's a grim scene in a grim cement room with damp , dripping walls . From an unseen source comes an AMPLIFIED VOICE ,</scene_description> <character>AMPLIFIED VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Raise your arms above your head.</dialogue> <scene_description>COLE lifts his arms and the FIGURES start scrubbing his armpits .</scene_description> </scene> <scene> <stage_direction>INT. TINY CHAMBER - SHORTLY (ETERNAL NIGHT)</stage_direction> <scene_description>Still naked , COLE is seated on a stool while a MASKED TECHNICIAN in a less elaborate , less bulky decontamination outfit draws blood from COLE 'S arm with an old - fashioned hypodermic needle . COLE glances toward a single , nearly opaque `` window '' of thick plastic in the rusty iron wall . VAGUE FIGURES seem to lurk behind the translucent aperture , studying him . The TECHNICIAN slips the blood sample through a slot in the wall .</scene_description> </scene> <scene> <stage_direction>INT. ENGINEERING OFFICE/FUTURE WORLD - ETERNAL NIGHT</stage_direction> <scene_description>Ushered in by two guards , TINY and SCARFACE , COLE looks around . COLE 'S POV : wails hidden by old headlines , articles , maps , charts . a blackboard covered with elaborate , sophisticated formulae . surfaces heaped with cracked monitors , gerry - rigged computers held together with string , lasers lost in tangles of cable , ancient tube amplifiers , a dilapidated cardboard reconstruction of a city , stacks of moldering books and tattered computer printouts . and , seated at a long conference table , staring at COLE , six SCIENTISTS : an ASTROPHYSICIST , ENGINEER , BOTANIST , MICROBIOLOGIST , ZOOLOGIST , and a GEOLOGIST . They represent a `` modern '' science where brilliant new ideas interface with crude , outdated , patched - together technologies .</scene_description> <character>TINY</character> <dialogue>James Cole. Cleared from quarantine.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>Thank you. You two wait outside.</dialogue> <character>SCARFACE</character> <dialogue>He's got a history, Doctor. Violence.</dialogue> <scene_description>COLE 'S eyes return to the walls . Headlines : `` CLOCK TICKING ! NO CURE YET ! ''</scene_description> <character>SCARFACE</character> <dialogue>Anti - social six - doing 25 to life.</dialogue> <character>ENGINEER</character> <dialogue>I do n't think he's going to hurt us. You're not going to hurt us, are you Mr. Cole?</dialogue> <scene_description>COLE 'S head turns quickly to the ENGINEER .</scene_description> <character>COLE</character> <dialogue>No, sir.</dialogue> <scene_description>The GUARDS exchange a look , shrug , exit , closing the door .</scene_description> <character>MICROBIOLOGIST</character> <dialogue>Why do n't you sit down, Mr. Cole.</dialogue> <scene_description>COLE goes to the empty chair at the conference table , sits down .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>We want you to tell us about last night.</dialogue> <character>COLE</character> <dialogue>I went to the surface and I collected specimens like I was told.</dialogue> <scene_description>The SCIENTISTS do n't say anything . They just study him carefully .</scene_description> <character>COLE</character> <parenthetical>( worried . )</parenthetical> <dialogue>I mashed the spider, did n't I?</dialogue> <character>MICROBIOLOGIST</character> <dialogue>We'll get to the spider later, Mr. Cole. Right now, we want to know everything that you saw.</dialogue> </scene> <scene> <stage_direction>INT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT)</stage_direction> <scene_description>COLE , starting to look very tired now , stands at the blackboard sketching a detailed map of exactly where he was last night .</scene_description> <character>ASTPOPHYSICIST</character> <dialogue>Where you collected sample # 4, what street was that?</dialogue> <character>COLE</character> <dialogue>Uh.</dialogue> <character>BOTANIST</character> <dialogue>It's important to observe everything.</dialogue> <character>COLE</character> <dialogue>I think it was. I'm sure it was 2nd Street.</dialogue> <scene_description>As the SCIENTISTS start to whisper animatedly among themselves , COLE 'S eyes drift across the newspaper clippings taped to the wall . One headline screams , `` VIRUS MUTATING ! '' Another features a photo of an OLD MAN -LRB- DR. MASON , who we 'll see again later on -RRB- and the words , SCIENTIST SAYS , `` IT 'S TOO LATE FOR CURE '' .</scene_description> <character>ASTROPHYSICIST'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Close your eyes, Cole.</dialogue> <scene_description>Startled , COLE closes his eyes obediently . BLACKNESS . Like COLE , WE SEE NOTHING . But we HEAR their VOICES .</scene_description> <character>ENGINEER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Tell us in detail what you've seen in this room.</dialogue> <character>COLE'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Uh, in this room? Uh.</dialogue> <character>MICROBIOLOGIST'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>How many of us are there?</dialogue> <character>COLE'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Six. seven, if you count me.</dialogue> <character>ASTROPHYSICIST'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Tell us about the pictures on the wall.</dialogue> <character>COLE'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Uh, you mean the newspapers?</dialogue> <character>A MONTAGE OF OVERLAPPING VOICES</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Tell us about the newspapers. Can you hear my voice? What do I look like? What does he look like, the man who just spoke? How old were you when you left the surface?</dialogue> <scene_description>The VOICES blur into a cacophony and FADE INTO the droning P.A. SYSTEM at the airport .</scene_description> </scene> <scene> <stage_direction>INT. CONCOURSE/AIRPORT - DAY</stage_direction> <scene_description>THE DREAM AGAIN ! But at an earlier moment . YOUNG COLE , flanked by his PARENTS , whose faces are out of view , is watching a PLANE land through one of the big glass windows that lines the concourse leading to the departure gates .</scene_description> <character>P.A. SYSTEM</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Flight 784 now boarding at gate.</dialogue> <scene_description>Suddenly , a SHOUT , followed by raised VOICES , interrupts the monotonous airport routine . As YOUNG COLE and his PARENTS turn to see what 's going on , a man we 'll call MR. PONYTAIL , his face averted , hurries past them , bumping YOUNG COLE with a Chicago Hulls Sports Duffle Bag .</scene_description> <character>MR. PONYTAIL</character> <dialogue>WATCH IT!</dialogue> <scene_description>YOUNG COLE sees little more than the gaudy pants , the duffle , and the man 's ponytail flopping as he rushes towards the gates . Just then , a WOMAN 'S VOICE cries out , `` NOOOOOOOOO ! '' YOUNG COLE turns back toward the Security Check Point just as TRAVELERS scatter madly , some diving to the floor , others running . A TERRIFIED TRAVELER , hitting the floor close by , looks up at YOUNG COLE with panicky eyes , and asks .</scene_description> <character>TERRIFIED TRAVELER</character> <dialogue>Just exactly why did you volunteer?</dialogue> </scene> <scene> <stage_direction>INT. ENGINEERING OFFICE/FUTURE WORLD - (ETERNAL NIGHT)</stage_direction> <scene_description>COLE comes abruptly awake . Seated now , he 's facing the SCIENTISTS .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>Wake up, Cole.</dialogue> <character>COLE</character> <dialogue>Uh, I did n't hear the.</dialogue> <character>MICROBIOLOGIST</character> <parenthetical>( tapping a pencil on the table . )</parenthetical> <dialogue>I asked you, why did you volunteer?</dialogue> <character>COLE</character> <dialogue>Well, the guard woke me up. He told me I volunteered.</dialogue> <scene_description>The SCIENTISTS react , whispering urgently among themselves . COLE starts to nod off again , then comes awake with a start as the ENGINEER speaks to him .</scene_description> <character>ENGINEER</character> <dialogue>We appreciate you volunteering. You're a very good observer, Cole.</dialogue> <character>COLE</character> <dialogue>Uh, thank you.</dialogue> <character>ENGINEER</character> <dialogue>You'll get a reduction in sentence.</dialogue> <scene_description>COLE keeps his face impassive .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>To be determined by the proper authorities.</dialogue> <character>ENGINEER</character> <dialogue>You do n't want to jeopardize that reduction, do you, Cole? Have it taken away?</dialogue> <character>COLE</character> <dialogue>No, sir!</dialogue> <character>ASTROPHYSICIST</character> <dialogue>We have a very advanced program, something very different, requires very skilled people.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>An opportunity to reduce your sentence considerably.</dialogue> <character>ZOOLOGIST</character> <dialogue>And possibly play an important role in returning the human race to the surface of the earth.</dialogue> <character>ENGINEER</character> <dialogue>We want tough minded people. Strong mentally. We've had some. misfortunes with `` unstable'' types.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>For a man in your position. an opportunity.</dialogue> <character>BOTANIST</character> <dialogue>Not to volunteer could be a real mistake.</dialogue> <character>MICROBIOLOGIST</character> <parenthetical>( tapping his pencil again . )</parenthetical> <dialogue>Definitely a mistake!</dialogue> <scene_description>COLE gives away nothing . He 's in a box here . He has no choices . He stares at the tapping pencil .</scene_description> </scene> <scene> <stage_direction>INT. ART GALLERY - NIGHT</stage_direction> <scene_description>A strikingly `` real '' world of bright colors . Extravagant paintings adorn the walls . A POET , tiny and ruddy faced , squints over his glasses as he reads in a booming voice to an AUDIENCE of thirty seated on folding chairs .</scene_description> <character>POET</character> <dialogue>Still among the myriad microwaves, the infra - red messages, the gigabytes of ones and zeroes, we find words, infinitesimally small, byte - sized now, tinier even than science lurking in some vague electricity where, if we listen we can hear the solitary voice of that poet telling us, `` We are no other than a moving row Of Magic shadow - shapes that come and go Round with the Sun - illumined Lantern hold In Midnight by the Master of the show.''</dialogue> <scene_description>As the POET reads , we STUDY the audience , mostly YUPPIE CULTURE JUNKIES or BOHEMIANS . Among them , a light - haired woman of twenty - eight , soberly dressed , wearing glasses . She 's KATHRYN RAILLY . And it 's her beeper that suddenly BEEPS . BEEP ! BEEP !</scene_description> <character>POET'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>`` The Moving Finger writes ; and, having writ, Moves on : nor all your Piety nor Wit Shall lure it back to cancel half a Line, Nor all your Tears wash out a Word of it.''</dialogue> <scene_description>BEEP ! BEEP ! Scowling at the outrageous interruption , the POET looks up from the text just as RAILLY , tumbling , shuts off the beeper and rises , embarrassed . As she makes her way to an exit , the glaring POET continues .</scene_description> <character>POET</character> <dialogue>`` Yesterday This Day's Madness did prepare ; Tomorrow's Silence, Triumph or Despair : Drink! for you know not whence you came, nor why : Drink! for you know not why you go, nor where.''</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR/POLICE STATION - NIGHT</stage_direction> <scene_description>DETECTIVE FRANKI leads RAILLY past crowded holding cells .</scene_description> <character>FRANKI</character> <dialogue>- so they get there and they ask the guy real nice for some kind of i.d., and he gets agitated, starts screaming about viruses. Totally irrational, totally disoriented, does n't know where he is, what day it is, alla that stuff. All they got was his name. They figure he's stoned out of his mind, it's some kinda psychotic episode, so they're gon na bring him.</dialogue> <character>RAILLY</character> <dialogue>He's been tested for drugs?</dialogue> <character>FRANKI</character> <dialogue>Negative for drugs. But he took on five cops like he was dusted to the eyeballs. No drugs. You believe that?</dialogue> <scene_description>FRANKI pauses , indicating a tiny observation window of thick meshed glass in an otherwise solid door , and RAILLY looks through it . RAILLY 'S POV THROUGH THE WINDOW : a MAN , his back to her , in strait - jacket and prison denims , examining the wall of the padded cell with the distorted intensity of a `` mental case '' .</scene_description> <character>RAILLY</character> <dialogue>You have him in restraints.</dialogue> <character>FRANKI</character> <dialogue>Were you listening? We got two officers in the hospital. Yeah, he's in restraints, plus the medic gave him enough stellazine to kill a horse. Look at him! Still on his feet.</dialogue> <scene_description>RAILLY 'S POV THROUGH THE WINDOW : the MAN in the cell turns , looks right at her . In spite of the cuts and welts , it 's clearly COLE .</scene_description> <character>RAILLY</character> <dialogue>That would explain the bruises, I guess. The struggle.</dialogue> <character>FRANKI</character> <dialogue>You want to go in? Examine him?</dialogue> <character>RAILLY</character> <dialogue>Yes, please. You said he gave a name.</dialogue> <character>FRANKI</character> <parenthetical>( unlocking the door . )</parenthetical> <dialogue>James Cole. That's everything we got. None of the James Coles on the computer match him. No license, no prints, no warrants. Nothing. You want me to go in with you?</dialogue> <character>RAILLY</character> <parenthetical>( entering . )</parenthetical> <dialogue>No, thank you.</dialogue> <character>FRANKI</character> <dialogue>I'll be right here. just in case.</dialogue> </scene> <scene> <stage_direction>INT. ISOLATION CELL</stage_direction> <scene_description>COLE stares at RAILLY . The environment is intensely real . vivid colors . each sound , however slight , very distinct , almost loud . and yet she appears to him almost like a vision .</scene_description> <character>RAILLY</character> <dialogue>Mr. Cole? My name is Doctor Railly. I'm a psychiatrist. I work for the County - I do n't work for the police. My only concern is your well being - do you understand that?</dialogue> <character>COLE</character> <dialogue>I need to go now.</dialogue> <character>RAILLY</character> <dialogue>I'm going to be completely honest. I'm not going to lie to you. I ca n't make the police let you go. but I do want to help you. And I want you to trust me. Can you do that, James? May I call you `` James''?</dialogue> <character>COLE</character> <dialogue>`` James''! Nobody ever calls me that.</dialogue> <character>RAILLY</character> <parenthetical>( frowns , studies him . )</parenthetical> <dialogue>Have you been a patient at County? Have I seen you someplace?</dialogue> <character>COLE</character> <dialogue>No, not possible. Listen, I have to get out of here. I'm supposed to be getting information.</dialogue> <character>RAILLY</character> <dialogue>What kind of information?</dialogue> <character>COLE</character> <dialogue>It wo n't help you. You ca n't do anything about it. You ca n't change anything.</dialogue> <character>RAILLY</character> <dialogue>Change what?</dialogue> <character>COLE</character> <dialogue>I need to go.</dialogue> <character>RAILLY</character> <dialogue>Do you know why you're here, James.</dialogue> <character>COLE</character> <dialogue>Because I'm a good observer. Because I have a tough mind.</dialogue> <character>RAILLY</character> <dialogue>I see. You do n't remember assaulting a police officer. several officers?</dialogue> <character>COLE</character> <dialogue>They wanted identification. I do n't have any identification. I was n't trying to hurt them.</dialogue> <character>RAILLY</character> <dialogue>You do n't have a driver's license, James? Or a Social Security card?</dialogue> <character>COLE</character> <dialogue>No.</dialogue> <character>RAILLY</character> <dialogue>Why not? Most people have some ID.</dialogue> <character>COLE</character> <dialogue>You would n't understand.</dialogue> <character>RAILLY</character> <dialogue>You've been in an institution, have n't you, James? A hospital?</dialogue> <character>COLE</character> <dialogue>I have to go.</dialogue> <character>RAILLY</character> <dialogue>A jail? Prison?</dialogue> <character>COLE</character> <dialogue>Underground.</dialogue> <character>RAILLY</character> <dialogue>Hiding?</dialogue> <character>COLE</character> <dialogue>I love this air. This is wonderful air.</dialogue> <character>RAILLY</character> <dialogue>What's wonderful about the air, James?</dialogue> <character>COLE</character> <dialogue>It's so clean. No germs.</dialogue> <character>RAILLY</character> <dialogue>You're afraid of germs?</dialogue> <character>COLE</character> <dialogue>I have to go.</dialogue> <character>RAILLY</character> <dialogue>Why do you think there are n't any germs in the air, James?</dialogue> <character>COLE</character> <dialogue>This is April, right?</dialogue> <character>RAILLY</character> <dialogue>July.</dialogue> <character>COLE</character> <parenthetical>( sudden panic . )</parenthetical> <dialogue>July?!</dialogue> <character>RAILLY</character> <dialogue>Do you know what year it is?</dialogue> <character>COLE</character> <dialogue>What year is it?</dialogue> <character>RAILLY</character> <dialogue>What year do you think it is?</dialogue> <character>COLE</character> <dialogue>1995?</dialogue> <character>RAILLY</character> <dialogue>You think it's July of 1995? That's the future, James. Do you think you're living in the future?</dialogue> <character>COLE</character> <parenthetical>( slightly confused . )</parenthetical> <dialogue>No, 1995 is the past.</dialogue> <character>RAILLY</character> <dialogue>1995 is the future, James. This is 1989.</dialogue> <scene_description>COLE looks stunned .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION CORRIDOR - MORNING</stage_direction> <scene_description>COLE , bound tightly by the strait - jacket , heavy manacles on his ankles , is being escorted down the corridor by two surly POLICEMEN .</scene_description> <character>COLE</character> <dialogue>Where are you taking me?</dialogue> <character>POLICEMAN #1</character> <dialogue>South of France, buddy. Fancy hotel. You're gon na love it.</dialogue> <character>COLE</character> <dialogue>South of France?! I do n't want to go to the South of France. I want to make a telephone call.</dialogue> <scene_description>POLICEMAN # 2 smirks as he unlocks a heavy steel door .</scene_description> <character>POLICEMAN #2</character> <dialogue>Zip it, scumbag - you fooled the shrink with your act, but you do n't fool us.</dialogue> <scene_description>Then , POLICEMAN # 2 swings the steel door open and sunlight overwhelms COLE , blinding him in a dazzling fury of white light .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET/MINI-VAN - DAY</stage_direction> <scene_description>A Mini - van , the kind of vehicle used to transport a half dozen prisoners , crawls through a busy street . The Police Department logo is prominent on the side of the van beneath barred windows .</scene_description> </scene> <scene> <stage_direction>INT. COUNTY HOSPITAL/SHOWERS - AN HOUR LATER (MORNING)</stage_direction> <scene_description>Fierce spray recalls the decontamination in the future . COLE stands stark naked under the shower while two muscular attendants , PALMER and BILLINGS , supervise . As PALMER shuts off the water , BILLINGS hands COLE a towel and starts inspecting his scalp .</scene_description> <character>BILLINGS</character> <dialogue>Lem me see your head, Jimbo, see if you got any creepy crawlies.</dialogue> <character>COLE</character> <dialogue>I need to make a telephone call.</dialogue> <character>BILLINGS</character> <parenthetical>( pulling Cole 's head . )</parenthetical> <dialogue>Got ta work that out with a doctor, Jimbo. Ca n't make no calls'til the doctor says.</dialogue> <character>COLE</character> <dialogue>It's very important.</dialogue> <character>BILLINGS</character> <dialogue>What chew got ta do, Jimbo, is take it easy, relax into things. We all gon na get along fine if you just relax.</dialogue> <scene_description>COLE gets the hint of menace in the message and submits to the lice inspection , only his eyes revealing his frustration .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY)</stage_direction> <scene_description>COLE stands in the doorway , stunned by his first sight of the large room . His eyes go to the heavily - grilled windows where light pours in from outside . Then , to the TV , where a CARTOON COMMERCIAL makes raucous noises . PATIENTS , in K - Mart street clothes or ratty robes , stare gloomily at the TV , or play cards , pace , or just stare blankly . BILLINGS is at COLE 'S side , beckoning to a patient , JEFFREY MASON , a twenty year old white youth dressed in khakis and a plaid shirt .</scene_description> <character>BILLINGS</character> <dialogue>Jeffrey. Yo! Jeffrey. This here is James. Whyncha show James around? Tell him the TV rules, show him the games an' stuff, okay?</dialogue> <character>JEFFREY</character> <parenthetical>( with a sly look . )</parenthetical> <dialogue>How much you gon na pay me? Huh? I'd be doing your job.</dialogue> <character>BILLINGS</character> <dialogue>Five thousand dollars, my man. That enough? I'll wire it to your account as usual, okay?</dialogue> <character>JEFFREY</character> <dialogue>Okay, Billings. Five thousand. That's enough. Five thousand dollars. I'll give him the Deluxe Mental Hospital Tour.</dialogue> <scene_description>As BILLINGS walks away chuckling , JEFFREY turns to COLE .</scene_description> <character>JEFFREY</character> <dialogue>Kid around, kid around. It makes them feel good, we're all pals. We're prisoners, they're the guards, but it's all in good fun, you see?</dialogue> <scene_description>COLE nods and JEFFREY indicates card tables where PATIENTS are playing cards , checkers , chess , or working on jig saw puzzles .</scene_description> <character>JEFFREY</character> <dialogue>Here's the games. Games vegitize you. If you play the games, you're voluntarily taking a tranquilizer.</dialogue> <scene_description>COLE sees a partially completed puzzle of the well - known painting , THE PEACEABLE KINGDOM , depicting a serene world of animals in harmony .</scene_description> <character>JEFFREY</character> <dialogue>What'd they give you? Thorazine? How much? Learn your drugs - know your doses.</dialogue> <character>COLE</character> <dialogue>I need to make a telephone call.</dialogue> <character>JEFFREY</character> <dialogue>A telephone call? That's communication with the outside world! Doctor's discretion. Hey, if alla these nuts could just make phone calls, it could spread. Insanity oozing through telephone cables, oozing into the ears of all those poor sane people, infecting them! Whackos everywhere! A plague of madness.</dialogue> <parenthetical>( suddenly sly and confidential . )</parenthetical> <dialogue>In fact, very few of us here are actually mentally ill. I'm not saying you're not mentally ill, for all I know you're crazy as a loon. But that's not why you're here. Why you're here is because of the system, because of the economy.</dialogue> <parenthetical>( indicating the TV . )</parenthetical> <dialogue>There's the TV. It's all right there. Commercials. We are not productive anymore, they do n't need us to make things anymore, it's all automated. What are we for then? We're consumers. Okay, buy a lot of stuff, you're a good citizen. But if you do n't buy a lot of stuff, you know what? You're mentally ill! That's a fact! If you do n't buy things. toilet paper, new cars, computerized blenders, electrically operated sexual devices.</dialogue> <parenthetical>( getting hysterical . )</parenthetical> <dialogue>SCREWDRIVERS WITH MINIATURE BUILT - IN RADAR DEVICES, STEREO SYSTEMS WITH BRAIN IMPLANTED HEADPHONES, VOICE - ACTIVATED COMPUTERS, AND.</dialogue> <scene_description>A woman orderly , TERRY , turns from the feeble PATIENT she 's helping .</scene_description> <character>TERRY</character> <dialogue>Take it easy, Jeffrey. Be calm.</dialogue> <scene_description>Abruptly , JEFFREY stifles his hysteria , takes a deep breath and continues , completely calm now . But COLE is n't listening . He 's mesmerized by the TV .</scene_description> <character>JEFFREY</character> <dialogue>So if you want to watch a particular program, say `` All My Children'' or something, you go to the Charge Nurse and tell her what day and time the show you want to see is on. But you have to tell her before the show is scheduled to be on. There was this one guy who was always requesting shows that had already played. He could n't quite grasp the idea that the Charge Nurse could n't just make it be yesterday for him, turn back time ha ha. What a fruitcake!</dialogue> <scene_description>This last thought actually penetrates COLE 'S focus on the TV and he turns to JEFFREY who 's picking up speed again .</scene_description> <character>JEFFREY</character> <dialogue>Seriously, more and more people are being defined now as mentally ill. Why? Because they're not consuming on their own. But as patients, they becone consumers of mental health care. And this gives the so - called sane people work!</dialogue> <parenthetical>( hysteria again . )</parenthetical> <dialogue>WHOOO! SHOCK THERAPY! GROUP THERAPY! HALLUCINATIONS! THERAPEUTIC DRUGS! IGGIDY DIGGIDY DIG! PERFECT! THE SYSTEM IN HARMONY LIKE A BIG MACHINE.</dialogue> <character>TERRY</character> <dialogue>Okay, that's it, Jeffrey, you're gon na get a shot. I warned you.</dialogue> <character>JEFFREY</character> <parenthetical>( calming himself , smiling . )</parenthetical> <dialogue>Right! Right! Carried away, heh heh. I got `` carried away''. Explaining the workings of. the institution.</dialogue> <scene_description>Just then , TJ WASHINGTON , a somber - looking African American in a bathrobe , taps COLE on the shoulder .</scene_description> <character>TJ WASHINGTON</character> <dialogue>I do n't really come from outer space.</dialogue> <character>JEFFREY</character> <dialogue>This is TJ Washington, Jim - he does n't really come from outer space.</dialogue> <character>TJ WASHINGTON</character> <dialogue>Do n't mock me, my friend.</dialogue> <parenthetical>( to Cole . )</parenthetical> <dialogue>It's a condition of `` mental divergence''. I find myself on another planet, Ogo, part of an intellectual elite, preparing to subjugate barbarian hordes on Pluto. But even though it's a totally convincing reality in every way. I can feel, breathe, hear. nevertheless, Ogo is actually a construct of my psyche. I am mentally divergent in that I am escaping certain unnamed realities that plague my life here. When I stop going there, I will be well. Are you also divergent, friend?</dialogue> <scene_description>The P.A. SYSTEM interrupts , startling COLE .</scene_description> <character>P.A. SYSTEM</character> <parenthetical>( v.o . )</parenthetical> <dialogue>James Cole. Report to Staff. James Cole!</dialogue> <character>JEFFREY</character> <dialogue>Staff! Whoo! Time for Staff. Now the geniuses cure you. Hallelujah!</dialogue> </scene> <scene> <stage_direction>INT. PSYCH WARD CONFERENCE ROOM - MINUTES LATER (DAY)</stage_direction> <scene_description>COLE is agitated , speaking forcefully .</scene_description> <character>COLE</character> <dialogue>This is a place for crazy people! I'm not crazy!</dialogue> <scene_description>RAILLY , four other PSYCHIATRIC RESIDENTS , including RAILLY 'S best friend , MARILOU MARTIN , and their chief , DR. OWEN FLETCHER , sit around a beat - up conference table , watching COLE , who sits facing the doctors , with BILLINGS looming behind him . -LRB- Some of the DOCTORS bear a strong resemblance to the SCIENTISTS OF THE FUTURE . -RRB-</scene_description> <character>RESIDENT #1</character> <dialogue>We do n't use that term. `` crazy'', Mr. Cole.</dialogue> <character>COLE</character> <dialogue>Well, you've got some real nuts in here! Listen to me, all of you - I have to tell you something that's going to be difficult for you to understand, but.</dialogue> <character>DR. RAILLY</character> <dialogue>James. please. These are all doctors here and we want to help you.</dialogue> <character>DR. FLETCHER</character> <dialogue>Mr. Cole - last night you told Dr. Railly you thought it was.</dialogue> <parenthetical>( checking a file . )</parenthetical> <dialogue>1995. How about right now? Do you know what year it is right now?</dialogue> <character>COLE</character> <dialogue>1989. Look, I'm not confused. There's been a mistake, I've been sent to the wrong place.</dialogue> <scene_description>Suddenly , COLE reaches out and BILLINGS lunges forward , but COLE is just grabbing a pad and pencil .</scene_description> <character>COLE</character> <dialogue>Hey, I'm not going to hurt anybody.</dialogue> <scene_description>FLETCHER restrains BILLINGS with a hand signal .</scene_description> <character>COLE</character> <parenthetical>( drawing . )</parenthetical> <dialogue>Do any of you know anything about the Army of the Twelve Monkeys? They paint this, stencil it, on buildings, all over the place.</dialogue> <scene_description>COLE waves a sketch of the dancing monkey logo we saw earlier .</scene_description> <character>DR. CASEY</character> <dialogue>Mr. Cole.</dialogue> <character>COLE</character> <dialogue>Right. I guess you would n't, this is 1989, they're probably not active yet. That makes sense! Okay. Listen to me, three billion people died in 1995. Three billion, got that? Almost the whole population. Of the world! Only about one percent survived.</dialogue> <scene_description>DOCTORS exchange knowing looks . This is an old story , apparently .</scene_description> <character>RESIDENT #2</character> <dialogue>Are you going to save us, Mr. Cole?</dialogue> <character>COLE</character> <dialogue>Save you? How can I save you? It already happened! I ca n't save you. I'm simply trying to get some information for people in the present so that someday.</dialogue> <parenthetical>( sees their eyes . )</parenthetical> <dialogue>You do n't believe me. You think I'm crazy. But I'm not crazy. I'm a convict, sure, I have a quick temper, but I'm as sane as anyone in this room. I.</dialogue> <scene_description>COLE stops , sees DR. FLETCHER tapping his pencil . COLE 'S seen that tapping before - in the future ! It disorients him .</scene_description> <character>DR. RAILLY</character> <dialogue>Can you tell us the name of the prison you've come from?</dialogue> <scene_description>COLE does n't answer . He 's staring at the tapping pencil .</scene_description> <character>DR. FLETCHER</character> <dialogue>Does this bother you, Mr. Cole?</dialogue> <character>COLE</character> <parenthetical>( recovering , new tack . )</parenthetical> <dialogue>No! Look, I do n't belong here! What I need to do is make a telephone call to straighten everything out.</dialogue> <character>DR. FLETCHER</character> <dialogue>Who would you call, Mr. Cole, who would straighten everything out?</dialogue> <character>COLE</character> <dialogue>Scientists. I'm supposed to report in to them. They'll want to know they sent me to the wrong time.</dialogue> <character>DR. FLETCHER</character> <dialogue>So you could talk to these scientists and they do what? Send you to the future?</dialogue> <character>COLE</character> <dialogue>No, no. I ca n't talk to them. It's called, `` voice mail''. I'm supposed to leave messages. They monitor it from the present.</dialogue> <character>RESIDENT #2</character> <dialogue>`` From the present.'' We're not in the present now, Mr. Cole?</dialogue> <character>COLE</character> <dialogue>No, no. This is the past. This has already happened. Listen.</dialogue> <character>RESIDENT #3</character> <dialogue>Mr. Cole, you belong in 1995 - that's the present, is that it?</dialogue> <character>COLE</character> <dialogue>No, 1995 is the past, too. Look.</dialogue> <character>DR. FLETCHER</character> <dialogue>These scientists, Mr. Cole? Are they doctors like ourselves?</dialogue> <scene_description>Two of the residents exchange quick knowing looks .</scene_description> <character>COLE</character> <dialogue>No! I mean yes, but. Look, I've been given a lot of drugs but I'm still perfectly lucid. You have to let me use the phone. One call!</dialogue> <scene_description>COLE looks desperately toward RAILLY , pleading eyes meeting hers .</scene_description> </scene> <scene> <stage_direction>INT. LOW RENT APARTMENT - DAY</stage_direction> <scene_description>Four little KIDS SCREAM and SQUABBLE while the phone CHIRPS insistently in the tiny , cluttered apartment and a harried MOTHER lunges for the phone , answers sharply .</scene_description> <character>MOTHER</character> <dialogue>Yes?</dialogue> <parenthetical>( listens , frowns , then . )</parenthetical> <dialogue>Whaaaaat? `` Voice mail''! I do n't know what you're talkin' about. Is this a joke? I do n't know any scientists. James who? Never heard of you!</dialogue> <scene_description>The MOTHER slams down the phone .</scene_description> </scene> <scene> <stage_direction>INT. RAILLY'S OFFICE/COUNTY HOSPITAL - DAY</stage_direction> <scene_description>A dismayed COLE still has the receiver in his hand . Sympathetically , RAILLY takes it from him .</scene_description> <character>RAILLY</character> <dialogue>It was n't who you expected?</dialogue> <scene_description>COLE is clearly agitated , starts to pace , upset . Nuts ?</scene_description> <character>COLE</character> <dialogue>It was some lady. She did n't know anything.</dialogue> <character>RAILLY</character> <dialogue>Perhaps it was a wrong number.</dialogue> <character>COLE</character> <dialogue>No. That's the reason they chose me - I remember things.</dialogue> <scene_description>RAILLY frowns , studying the distracted man with intense interest . It 's clear COLE is becoming a special patient and RAILLY 'S cool , detached demeanor is giving way ever so slightly .</scene_description> <character>RAILLY</character> <dialogue>James, where did you grow up? Was it around here? Around Baltimore?</dialogue> <character>COLE</character> <parenthetical>( lost in thought . )</parenthetical> <dialogue>What?</dialogue> <character>RAILLY</character> <dialogue>I have the. strangest feeling I've met you before. a long time ago, perhaps. Were you ever?</dialogue> <character>COLE</character> <dialogue>Wait! This is only 1989! I'm supposed to be leaving messages in 1995. It's not the right number yet. That's the problem. Damn! How can I contact them?</dialogue> <scene_description>RAILLY recovers her distance , her poise , as she takes a bottle , pours out some tablets , and holds them out to COLE .</scene_description> <character>RAILLY</character> <dialogue>James, take these.</dialogue> <parenthetical>( watching him step back . )</parenthetical> <dialogue>Please - I helped you like I said I would. Now I want you to trust me.</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT CONCOURSE - DAY (THE DREAM)</stage_direction> <scene_description>MR. PONYTAIL races past the startled YOUNG COLE .</scene_description> <character>MR. PONYTAIL</character> <dialogue>WATCH IT!</dialogue> <scene_description>Was it JEFFREY wearing gaudy pants and a ponytail ? It was definitely JEFFREY 'S VOICE . TRAVELERS dive for cover as a WOMAN 'S VOICE cries out .</scene_description> <character>WOMAN'S VOICE</character> <dialogue>NOOOOOOOOOO!</dialogue> <scene_description>The TERRIFIED TRAVELER looks up at YOUNG COLE , makes eye contact , but does n't speak . The TERRIFIED TRAVELER looks a lot like DR. FLETCHER ! Just then , YOUNG COLE is distracted by a running figure . It 's the BLONDE MAN in the Hawaiian shirt , but he 's not injured . He 's sprinting toward the gates , glancing back over his shoulder , his moustache slightly askew ! A sharp CRACK of a GUNSHOT rings out ! Then , DAZZLING LIGHT . Everything goes white !</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT</stage_direction> <scene_description>COLE 'S eyes blink awake , blinded by a flashlight . He 's lying in one of thirty beds in a darkened ward . Disoriented . Which world is this ? The room is full of BREATHING , SNORING , occasional MOANS . He can barely discern the shadowy figures of an ORDERLY and a NURSE , making their rounds , checking each bed . His eyes adjusting to the darkness , COLE watches them exit . He turns and sees a patch of moonlight coming in a barred window . With a quick glance at the sleeping PATIENTS , he slips out of bed , makes his way stealthily to the window , peers out . COLE 'S POV : the moon , glowing in the sky , illuminating a single tree . Under the tree , in silhouette , a COUPLE embraces , kisses . ANGLE ON COLE , looking out the window , absorbed .</scene_description> <character>VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>It wo n't work. You ca n't open it.</dialogue> <scene_description>Alarmed , COLE turns , sees JEFFREY in the next bed .</scene_description> <character>JEFFREY</character> <dialogue>You think you can remove the grill but you ca n't. It's welded.</dialogue> <scene_description>COLE checks the grill anyway .</scene_description> <character>JEFFREY</character> <dialogue>See? I toldja. And all the doors are locked, too. They're protecting the people on the outside from us. But the people outside are as crazy as us.</dialogue> <scene_description>COLE has become preoccupied with a small SPIDER creeping along the window sill . He 's staring at it when he 's distracted by a sudden SOUND . Grabbing the SPIDER , COLE scrambles back into bed just as the door opens and an ORDERLY probes the dark room with the blade of his flashlight . ANGLE ON COLE , in bed , feigning sleep . The flashlight clicks off and COLE hears the door close . For a long moment the ward is silent except for BREATHING , SNORES , occasional MOANS . Then , COLE hears JEFFREY 'S hoarse whisper , picking up right where he left off .</scene_description> <character>JEFFREY</character> <dialogue>You know what `` crazy'' is? `` crazy'' is `` majority rules''. Take germs for example.</dialogue> <scene_description>Although COLE is preoccupied with the SPIDER struggling to get out of his fist , he ca n't help reacting to the word , `` germs '' !</scene_description> <character>COLE</character> <dialogue>Germs?!</dialogue> <character>JEFFREY</character> <dialogue>In the 18th century there was no such thing! Nobody'd ever imagined such a thing - no sane person anyway. Along comes this doctor. Semmelweiss, I think. He tries to convince people. other doctors mostly. that there are these teeny tiny invisible `` bad things'' called germs that get into your body and make you. sick! He's trying to get doctors to wash their hands. What is this guy. crazy? Teeny tiny invisible whaddayou call'em? `` germs''!</dialogue> <scene_description>As JEFFREY warms to his subject , getting excited , COLE tries to figure out where to put the SPIDER .</scene_description> <character>JEFFREY</character> <parenthetical>( cont . )</parenthetical> <dialogue>So cut to the 20th century! Last week in fact, right before I got dragged into this hellhole. I order a burger in this fast food joint. The waiter drops it on the floor. He picks it up, wipes it off, hands it to me. like it was all okay.</dialogue> <scene_description>No alternative . COLE pops the SPIDER in his mouth and swallows it as JEFFREY prattles on .</scene_description> <character>JEFFREY</character> <dialogue>`` What about the germs?'' I say. He goes, `` I do n't believe in germs. Germs are just a plot they made up so they can sell you disinfectants and soap!'' Now, he's crazy, right? Hey, you believe in germs, do n't you?</dialogue> <character>COLE</character> <dialogue>I'm not crazy.</dialogue> <character>JEFFREY</character> <dialogue>Of course not, I never thought you were. You want to escape, right? That's very sane. I can help you. You want me to, do n't you? Get you out?</dialogue> <character>COLE</character> <dialogue>If you know how to escape, why do n't you?</dialogue> <character>JEFFREY</character> <dialogue>Why do n't I escape, that's what you were going to ask me, right?'Cause I'd be crazy to escape! I'm all taken care of, see? I've sent out word.</dialogue> <character>COLE</character> <dialogue>What's that mean?</dialogue> <character>JEFFREY</character> <dialogue>I've managed to contact certain underlings, evil spirits, secretaries of secretaries, and assorted minions, who will contact my father. When he learns I'm in this kind of place, he'll have them transfer me to one of those classy joints where they treat you. properly. LIKE A GUEST! LIKE A PERSON! SHEETS! TOWELS! LIKE A BIG HOTEL WITH GREAT DRUGS FOR THE NUT CASE LUNATIC MANIAC DEVILS.</dialogue> <scene_description>PATIENTS are waking up as the NURSE and two ORDERLIES burst into the dorm and head straight for JEFFREY who 's struggling to calm himself .</scene_description> <character>JEFFREY</character> <dialogue>Sorry. Really sorry. Got a little agitated. The thought of escaping crossed my mind and suddenly. suddenly I felt LIKE BENDING THE FUCKING BARS BACK, RIPPING OFF THE GODDAMN WINDOW FRAMES AND. EATING THEM, YES, EATING THEM, AND LEAPING, LEAPING.</dialogue> <scene_description>COLE watches the ORDERLIES grab JEFFREY and haul him away .</scene_description> <character>JEFFREY</character> <dialogue>You dumb assholes! I'm a mental patient! I'm supposed to act out. Wait til you morons find out who I am. My father's gon na be really upset. AND WHEN MY FATHER GETS UPSET, THE GROUND SHAKES! MY FATHER IS GOD! I WORSHIP MY FATHER.</dialogue> </scene> <scene> <stage_direction>INT. WARD DAYROOM - MORNING</stage_direction> <scene_description>ANGLE ON TV SCREEN/A VIDEO IMAGE OF A LAB MONKEY , convulsing pathetically , a victim of shocks from the numerous wires attached to his tiny , restrained body . ANGLE ON COLE , sitting , writing intensely in a magazine with crayon , surrounded by dull - eyed PATIENTS in pajamas and ratty robes , staring at the shuddering LAB MONKEY on the TV screen .</scene_description> <character>JEFFREY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Torture! Experiments! We're all monkeys</dialogue> <scene_description>COLE locks up , startled , as JEFFREY , one eye bruised black , takes the seat next to him .</scene_description> <character>COLE</character> <dialogue>They hurt you!</dialogue> <character>JEFFREY</character> <dialogue>Not as bad as what they're doing to kitty.</dialogue> <scene_description>ANGLE ON TV , showing a laboratory CAT turning in mad circles , eating its own tail , while a NEWS REPORTER narrates .</scene_description> <character>TV NEWS REPORTER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>These video tapes were obtained by animal rights activists who worked underground as laboratory assistants for several months. Authorities say there is little they can do until.</dialogue> <scene_description>The video footage now shows LAB WORKERS watching the results of their experiments passively . ANGLE ON COLE , reacting angrily .</scene_description> <character>COLE</character> <dialogue>Look at those assholes, they're asking for it! Maybe people deserved to be wiped out!</dialogue> <character>JEFFREY</character> <parenthetical>( startled , turning . )</parenthetical> <dialogue>Wiping cut the human race! That's a great idea! But it's more of a long term thing - right now we have to focus on more immediate goals.</dialogue> <parenthetical>( sudden whisper . )</parenthetical> <dialogue>I did n't say a word about `` you know what''.</dialogue> <character>COLE</character> <dialogue>What are you talking about?</dialogue> <character>JEFFREY</character> <dialogue>You know - your plan.</dialogue> <scene_description>As COLE stares , befuddled , JEFFREY sees COLE 'S magazine .</scene_description> <character>JEFFREY</character> <dialogue>What're you writing? You a reporter?</dialogue> <character>COLE</character> <parenthetical>( shielding the magazine . )</parenthetical> <dialogue>It's private.</dialogue> <character>JEFFREY</character> <dialogue>A lawsuit? You going to sue them?</dialogue> <scene_description>Just then BILLINGS looms over COLE , extending a cup full of pills .</scene_description> <character>BILLINGS</character> <dialogue>Yo, James - time to take your meds.</dialogue> </scene> <scene> <stage_direction>INT. DAY ROOM/HOSPITAL - THIRTY MINUTES LATER (MORNING)</stage_direction> <scene_description>ANGLE ON THE TV , a commercial playing : a beautiful couple romps in the surf in slow motion while an eager NARRATOR encourages .</scene_description> <character>NARRATOR</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Take a chance. Live the moment. Sunshine. Gorgeous beaches. The Florida Keys!</dialogue> <scene_description>ANGLE ON COLE , very drugged , seated in front of the TV along with other drugged PATIENTS , staring at the screen . ANGLE ON THE TV , showing a picture of the Marx Brothers .</scene_description> <character>TV AWNOUNCER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>We'll return to the Marx Brothers in `` Monkey Business'' following these messages.</dialogue> <character>JEFFREY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Monkey Business! Monk Key Business.</dialogue> <scene_description>COLE sees JEFFREY sliding into the next chair and smirking .</scene_description> <character>JEFFREY</character> <dialogue>Get it? Monk - Key. Monk!</dialogue> <parenthetical>( big grin . )</parenthetical> <dialogue>Key!</dialogue> <scene_description>JEFFREY flashes his palm open for one quick moment . A KEY !</scene_description> <character>COLE</character> <parenthetical>( groggy . )</parenthetical> <dialogue>What??</dialogue> <character>JEFFREY</character> <dialogue>Wooooo, they really dosed you, bro. Major load! Listen up - try and get it together. Focus! Focus! The plan! Remember? I did my part.</dialogue> <character>COLE</character> <dialogue>What??</dialogue> <character>JEFFREY</character> <dialogue>Not, `` what'', babe! When! `` When?''</dialogue> <character>JEFFREY</character> <parenthetical>( pressing the key into Cole 's hand . )</parenthetical> <dialogue>Now!</dialogue> <character>VOICE/TV</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Let us guide you to the stocks and bonds that will enhance your portfolio.</dialogue> <character>JEFFREY</character> <parenthetical>( leaping to his feet . )</parenthetical> <dialogue>YES - NOW! BUY NOW! STOCKS AND BONDS! NO MORE MONKEY BUSINESS - BUY NOW.</dialogue> <scene_description>ANGLE ON TV , almost mimicking JEFFREY with an ad . a BULL and a BEAR and a computer screen showing stock prices fluctuating .</scene_description> <character>VOICE/TV</character> <parenthetical>( v.o . )</parenthetical> <dialogue>A portfolio tailored to your specific needs and the needs of your loved ones.</dialogue> <scene_description>ANGLE ON COLE , dumbfounded , watching JEFFREY dance crazily .</scene_description> <character>JEFFREY</character> <dialogue>YES, YES. ENHANCE YOUR PORTFOLIO NOW!</dialogue> <scene_description>ANGLE ON BILLINGS , across the ward , reacting to JEFFREY , lets go of the OLD MAN he 's helping as another orderly , TERRY , presses a beeper , calling for help . ANGLE ON COLE , flabbergasted , as JEFFREY cavorts around the room .</scene_description> <character>JEFFREY</character> <dialogue>BUY! SELL! SEIZE THE OPPORTUNITY!</dialogue> <scene_description>ANGLE ON A HAND , inserting the last piece into the PEACEABLE KINGDOM JIGSAW PUZZLE . Just then , JEFFREY 'S HAND sweeps the puzzle off the table , scattering it into a thousand pieces . ANGLE ON JEFFREY , dancing away while the PATIENT who just completed the puzzle stares , very upset . Other PATIENTS are getting agitated , too , as JEFFREY avoids a lunge by BILLINGS and dances off , using PATIENTS as a shield .</scene_description> <character>HEAVY WOMAN PATIENT</character> <dialogue>I'M GETTING DIZZY. MAKE HIM STOP!</dialogue> <character>SKINNY MAN PATIENT</character> <dialogue>HERE THEY COME! THEY'RE COMING!</dialogue> <character>OLD MAN PATIENT</character> <dialogue>FIVE HUNDRED DOLLARS! I GOT FIVE HUNDRED DOLLARS! I'M INSURED!</dialogue> <character>JEFFREY</character> <dialogue>OPPORTUNITY! DEFINITELY! A WINDOW OF OPPORTUNITY! OPENING NOW! NOW'S THE TIME FOR ALL GOOD MEN TO SEIZE THE MOMENT! YES! YES! MASTERCARD! VISA! THE KEY TO HAPPINESS!</dialogue> <scene_description>ANGLE ON COLE , realizing through the haze of drugs that JEFFREY is sending a message to him . COLE looks at the ward door . COLE 'S POV : the WARD DOOR opens and two husky ORDERLIES enter . One locks the door with a key , one of many on a key ring attached to his belt , as the other ORDERLY rushes to join the pursuit .</scene_description> <character>JEFFREY</character> <dialogue>SEIZE THE MOMENT! GET RICH! NOW'S THE TIME! GO FOR IT!</dialogue> <character>BILLINGS</character> <parenthetical>( missing a tackle . )</parenthetical> <dialogue>God damn you, Jeffrey, quit playing the fool.</dialogue> <scene_description>ANGLE ON COLE , hesitating . He locks at the door . blurring in and out of focus . He looks down at the key in his hand . ANGLE ON JEFFREY , being grabbed by the ORDERLIES . JEFFREY resists wildly as they struggle to overpower him .</scene_description> <character>JEFFREY</character> <dialogue>LAST CHANCE! LAST CHANCE! HEY - OW!</dialogue> <scene_description>ANGLE ON COLE , moving to the door . He reaches it and tries to insert the key in the lock . ANGLE ON LOCK , as the key keeps missing the hole . ANGLE ON COLE , glancing nervously over his shoulder . COLE 'S POV : ORDERLIES swarm over JEFFREY , do n't notice COLE . ANGLE ON COLE , managing to insert the key . It wo n't turn . A PATIENT , close at hand , startles COLE , speaking into his ear .</scene_description> <character>PATIENT</character> <dialogue>Place to go would be. Florida. The keys are lovely this tine of year.</dialogue> <scene_description>COLE , unnerved , desperate tries the key again . It turns .</scene_description> <character>PATIENT</character> <dialogue>Be careful. J. Edgar Hoover is n't really dead.</dialogue> <scene_description>COLE pauses , stares , not understanding . Then , he opens the door .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR/COUNTY HOSPITAL</stage_direction> <scene_description>Stepping through the door , COLE finds himself in an ante - room facing several elevators . A uniformed SECURITY MAN sitting at a near - by desk does n't even lock up from the magazine he 's reading . Barely daring to breathe , COLE steps toward the elevators so his back is to the SECURITY MAN . But he does n't know how to control this elevator . What should he do ?</scene_description> <character>SECURITY MAN'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Two's not working today. Use one.</dialogue> <scene_description>COLE freezes , sneaks a glance over his shoulder . COLE 'S POV : the SECURITY MAN continues his reading . He 's a big guy with reading glasses perched on his nose . He looks exactly like the MENACING GUARD IN THE FUTURE . SCARFACE ! ANGLE ON COLE , stunned ! Just then , an elevator door slides open . The elevator 's empty . COLE steps into it .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR/COUNTY HOSPITAL</stage_direction> <scene_description>The door closes , isolating COLE in the elevator . COLE finds the down button , is about to push it when the elevator springs to life . The numbers on the indicator over the door start to rise . 7 . 8 . 9 . Then , the elevator stops and the door opens . Two DOCTORS and an AIDE stand in front of the door , waiting . COLE hesitates . They look at him . They seem to expect him to exit . Avoiding eye contact , COLE exits the elevator . As they enter the elevator , the DOCTORS look back at COLE and frown .</scene_description> </scene> <scene> <stage_direction>INT. RAILLY'S OFFICE - MORNING</stage_direction> <scene_description>RAILLY has just arrived for work . She 's slipping on her white doctor 's coat when . DR. CASEY , one of the other residents , sticks his head in the door waving a crayoned message on a page torn from a magazine .</scene_description> <character>DR. CASEY</character> <dialogue>This was in my box, but I have a slight suspicion it was n't meant for me.</dialogue> <scene_description>CASEY enters the room , reading the scrawled words dramatically .</scene_description> <character>DR. CASEY</character> <dialogue>`` You are the most beautiful woman I have ever seen. You live in a beautiful world. But you do n't know it. You have freedom, sunshine, air you can breathe.''</dialogue> <character>RAILLY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Cole. James Cole - right?</dialogue> <scene_description>She reaches for the note but CASEY moves it out of her grasp .</scene_description> <character>DR. CASEY</character> <dialogue>`` I would do anything to stay here, but I must leave. Please, help me.''</dialogue> <character>RAILLY</character> <dialogue>Poor man.</dialogue> <scene_description>CASEY is handing her the note when another resident , DR. GOODINS , sticks his head in the door . He 's upset .</scene_description> <character>DR. GOODINS</character> <dialogue>Hey, Kathryn, James Cole is one of yours, right?</dialogue> <scene_description>RAILLY and CASEY stare at him .</scene_description> <character>DR. GOODINS</character> <dialogue>He got out. Took off. Last seen, he was up on nine.</dialogue> </scene> <scene> <stage_direction>INT. X-RAY DEPARTMENT/BASEMENT - DAY</stage_direction> <scene_description>A PATIENT is being swallowed by a large tube , a CAT SCANNER , while a DOCTOR in a white coat speaks reassuringly .</scene_description> <character>DOCTOR</character> <dialogue>Just relax - do n't fight it. We have to know exactly what's there so we can.</dialogue> <scene_description>The DOCTOR stops , astonished , as the door bursts open . It 's COLE ! He stares at the PATIENT and the Cat Scanner . The PATIENT lifts his head up and stares at COLE .</scene_description> <character>DOCTOR</character> <dialogue>Eh, excuse me. Can I help you?</dialogue> <scene_description>COLE turns and rushes back out the door .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR/COUNTY HOSPITAL</stage_direction> <scene_description>COLE steps into the corridor , turns to his right , freezes . A POSSE of SECURITY GUARDS is headed in his direction . COLE turns to his left . Four ORDERLIES are coming that way . COLE 'S trapped . A beat . He attacks the nearest man . BILLINGS .</scene_description> </scene> <scene> <stage_direction>INT. TECH ROOM/PSYCH WARD - SHORTLY (DAY)</stage_direction> <scene_description>RAILLY prepares a hypo , turns to COLE who is strapped tightly on a gurney with BILLINGS and an RN standing on either side , tense for more trouble . One of BILLINGS ' eyes is starting to swell shut .</scene_description> <character>RAILLY</character> <dialogue>It's just a shot to calm you.</dialogue> <character>COLE</character> <dialogue>No more drugs. Please.</dialogue> <character>RAILLY</character> <dialogue>I have to do this, James. You're very confused.</dialogue> <scene_description>RAILLY pushes the needle into COLE 'S skin .</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM/PSYCH WARD - LATER (DAY)</stage_direction> <scene_description>DR. FLETCHER faces RAILLY across the conference table . DR. CASEY , DR. GOODINS , DR. MARILOU MARTIN are also there .</scene_description> <character>DR. FLETCHER</character> <dialogue>Do n't be defensive, Kathryn, this is n't an inquisition.</dialogue> <character>RAILLY</character> <dialogue>I did n't think I was being defensive. I was just.</dialogue> <character>DR. FLETCHER</character> <dialogue>He should have been in restraints. It was bad judgment on your part, plain and simple. why not just cop to it?</dialogue> <character>RAILLY</character> <dialogue>Okay, it was bad judgment. But I have the strangest feeling about him - I've seen him somewhere and.</dialogue> <character>DR. FLETCHER</character> <parenthetical>( impatient , not interested . )</parenthetical> <dialogue>Two policemen were already in the hospital and now we have an orderly with a broken arm and a Security Officer with a fractured skull.</dialogue> <character>RAILLY</character> <dialogue>I said it was bad judgment! What else do you want me to say?</dialogue> <character>DR. FLETCHER</character> <dialogue>You see what I mean? You're being defensive.</dialogue> <parenthetical>( to Dr. Casey . )</parenthetical> <dialogue>Is n't she being defensive, Bob?</dialogue> <scene_description>But just then , BILLINGS sticks his head in the door .</scene_description> <character>BILLINGS</character> <dialogue>Uh, Dr. Fletcher - we got another. situation.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR/PSYCH WARD - MOMENTS LATER (DAY)</stage_direction> <scene_description>DR. FLETCHER looks into an empty padded cell as RAILLY , MARTIN , GOODIN , BILLINGS , PALMER and the NURSE crowd behind him .</scene_description> <character>DR. FLETCHER</character> <dialogue>He was in full restraints? And the door was locked?</dialogue> <character>BILLINGS</character> <dialogue>Yes, sir. Did it myself.</dialogue> <character>DR. FLETCHER</character> <dialogue>And he was fully sedated?</dialogue> <character>RAILLY</character> <dialogue>He was fully sedated!</dialogue> <character>DR. FLETCHER</character> <dialogue>Then are you trying to tell me that a fully sedated, fully restrained patient somehow slipped out that vent, replaced the grill behind him and that he's wriggling through the ventilation system right now?</dialogue> <scene_description>DR. FLETCHER indicates an impossibly tiny vent high in the wall .</scene_description> </scene> <scene> <stage_direction>INT. CONCOURSE/AIRPORT - DAY (THE DREAM)</stage_direction> <scene_description>Seen through the glass windows , a 747 takes off , climbing into the sky as the airport P.A. System drones .</scene_description> <character>P.A. SYSTEM</character> <dialogue>Flight 784 to San Francisco now boarding at Gate 38.</dialogue> <scene_description>YOUNG COLE , watching the 747 , whirls at the SOUND of a COMMOTION . MR. PONYTAIL bumps him . The BLONDE MAN sprints past . The WOMAN 'S VOICE calls out !</scene_description> <character>WOMAN'S VOICE</character> <dialogue>NOOOOOOOOOO!</dialogue> <scene_description>TRAVELERS dive for cover briefly revealing the mysterious BRUNETTE running after the BLONDE MAN ! But this time , YOUNG COLE catches just a glimpse of her face . She looks a little like RAILLY except for the dark hair , the make - up . and the flashy earrings . She calls out , her VOICE blending weirdly with the P.A. SYSTEM .</scene_description> <character>BRUNETTE/P. A. SYSTEM</character> <dialogue>A. SYSTEM says. The Freedom For Animals Headquarters now boarding on Second Avenue. The Army of the Twelve Monkeys.</dialogue> <character>ENGINEER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Cole, you moron - wake up!</dialogue> </scene> <scene> <stage_direction>INT. ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE</stage_direction> <scene_description>As COLE blinks awake , the digitized monotone of the P.A. SYSTEM continues to drone in an unearthly VOICE .</scene_description> <character>UNEARTHLY VOICE/P.A. SYSTEM</character> <dialogue>A. SYSTEM says. - they're the ones who are going to do it.</dialogue> <scene_description>COLE 'S eyes seek the source of the sound and find it on the table in front of the panel of disapproving SCIENTISTS facing him . It 's a beat - up old tape recorder .</scene_description> <character>UNEARTHLY VOICE/TAPE RECORDER</character> <dialogue>I ca n't do anything more. The Police are after me.</dialogue> <scene_description>The tape ends , runs off the reel , flap . flap . flap .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>Well?</dialogue> <character>COLE</character> <dialogue>Uh, what?</dialogue> <character>ENGINEER</character> <dialogue>He's drugged out of his mind! He's completely zoned out.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>Cole, did you or did you not record that message?</dialogue> <character>COLE</character> <dialogue>Uh, that message. me?</dialogue> <character>MICROBIOLOGIST</character> <dialogue>It's a digital reconstruction of a message, Cole, from a weak signal on our contact number. Did you make that call?</dialogue> <character>COLE</character> <parenthetical>( angrily . )</parenthetical> <dialogue>I could n't call! You sent me to the wrong year! It was 1989.</dialogue> <character>SCIENTISTS</character> <dialogue>1989!</dialogue> <scene_description>The SCIENTISTS react , exchanging looks , whispers . Then ,</scene_description> <character>ZOOLOGIST</character> <dialogue>You're certain of that?</dialogue> <character>GEOLOGIST</character> <parenthetical>( before Cole can answer . )</parenthetical> <dialogue>What did you do with your time, Cole? Did you waste it on drugs? Women?</dialogue> <character>COLE</character> <dialogue>They forced me to take drugs.</dialogue> <character>BOTANIST</character> <dialogue>Forced you! Why would someone force you to take drugs?</dialogue> <character>COLE</character> <dialogue>I got into trouble. I got arrested. But I still got you a specimen - a spider - but I did n't have anyplace to put it, so I ate it. It was the wrong year anyway, so I guess it does n't matter.</dialogue> <scene_description>The SCIENTISTS stare incredulously , then turn , exchange knowing looks , huddle , start whispering to one another . Struggling to stay awake COLE sees , blurrily , the MICROBIOLOGIST staring at COLE intently . For one moment , the face belongs to DR. FLETCHER ! COLE blinks hard . and the MICROBIOLOGIST has his own face , again . COLE 'S head slumps forward now . and everything goes dark .</scene_description> <character>GEOLOGIST'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Cole!</dialogue> </scene> <scene> <stage_direction>INT. ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE</stage_direction> <scene_description>COLE comes awake with a start . The room is dark now , except . a slide is being projected on a torn screen . It 's a picture of a stenciled graffiti . the logo of The Army of the 12 Monkeys .</scene_description> <character>ENGINEER</character> <dialogue>What about it, Cole?</dialogue> <character>ZOOLOGIST</character> <dialogue>Did you see it?</dialogue> <character>COLE</character> <dialogue>Uh, no, sir. I.</dialogue> <scene_description>Another slide CLICKS into place . Youthful PROTESTERS , their placards featuring slogans and images of Animal Atrocities , confront POLICE in riot gear .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>What about these people? Did you see any of these people?</dialogue> <scene_description>Zooming in , panning , the SCIENTISTS emphasize the FACES of the PROTESTERS . The FACES are unfamiliar to COLE -LRB- though WE will recognize some of them later on -RRB- .</scene_description> <character>COLE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Uh, no, sir, I. wait!</dialogue> <scene_description>The image pans back to a much enlarged blurry FACE among the PROTESTERS . In spite of the poor image , the expression of rage is clear , and it seems to resemble a somewhat older JEFFREY MASON .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>Him? You saw that man?</dialogue> <character>COLE</character> <dialogue>Uh, I think so. In the mental hospital.</dialogue> <character>MICRO3IOLOGIST</character> <parenthetical>( switching on the light . )</parenthetical> <dialogue>You were in a mental institution?!</dialogue> <scene_description>The SCIENTISTS MUTTER disapprovingly among themselves .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>You were sent to make very important observations!</dialogue> <character>BOTANIST</character> <dialogue>You could have made a real contribution.</dialogue> <character>GEOLOGIST</character> <dialogue>Helped to reclaim the planet.</dialogue> <character>ZOOLOGIST</character> <dialogue>As well as reducing your sentence.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>The question is, Cole - `` Do you want another chance?''</dialogue> <scene_description>COLE stares at them , trying to figure out what they mean .</scene_description> </scene> <scene> <stage_direction>INT. CONCOURSE/AIRPORT - DAY (THE DREAM)</stage_direction> <scene_description>The BRUNETTE runs up the concourse , her back to YOUNG COLE , as frightened PASSENGERS duck for cover , SHOUTING !</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Hey! Who's that?</dialogue> </scene> <scene> <stage_direction>INT. CELL - ETERNAL NIGHT</stage_direction> <scene_description>COLE opens his eyes . Where is he ? Silence as he examines the tiny cell . Bare cement walls . High ceiling . Same color and size as the isolation room at the county hospital .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Hey, Bob. what's your name?</dialogue> <scene_description>COLE looks around frantically . Up , down . Where is the VOICE coming from ? Maybe from that tiny vent high in the wall .</scene_description> <character>COLE</character> <dialogue>Where are you?</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You can talk! Wah ` dja do, Bobby boy? Volunteer?</dialogue> <character>COLE</character> <dialogue>My name's not `` Bob''.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Not a prob, Bob. Where'd they send you?</dialogue> <character>COLE</character> <dialogue>Where are you?</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Another cell. Maybe.</dialogue> <character>COLE</character> <dialogue>What do you mean, `` maybe''? What's that supposed to mean?</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Maybe. Means `` maybe'' I'm in the next cell, another `` volunteer'' like you - or `` maybe'' I'm in the Central Office spying on you for all those science bozos. Or, hey, `` maybe'' I'm not even here. `` Maybe'' I'm just in your head. No way to confirm anything. Ha Ha. Where'd they send you?</dialogue> <scene_description>COLE does n't answer .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Not talking, huh, Bob? That's okay I can handle that.</dialogue> <character>COLE</character> <dialogue>1989.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>89! How was it? Good drugs? Lotsa pussy? Hey, Bob, you do the job? D'ju find out the `` big info''? Army of the Twelve Monkeys. where the virus was prior to mutation?</dialogue> <character>COLE</character> <dialogue>It was supposed to be 1995.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Science is n't an exact science with these clowns. You're lucky you did n't end up in ancient Egypt!</dialogue> </scene> <scene> <stage_direction>INT. LAB - ETERNAL NIGHT OF THE FUTURE</stage_direction> <scene_description>COLE is strapped on a gurney . SCIENTISTS hover near - by , whispering . The walls of the gloomy chamber are damp , sweating .</scene_description> <character>GEOLOGIST</character> <dialogue>No mistakes this time, Cole.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>Stay alert. Keep your eyes open.</dialogue> <character>ZOOLOGIST</character> <dialogue>Good thinking about that spider, Cole. Try and do something like that again.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>Just relax now - do n't fight it. We have to know exactly what's there so we can fix it.</dialogue> <scene_description>The gurney is being wheeled into a crudely welded steel tube . reminiscent of the cat scanner in County Hospital . COLE 'S POV : a last glimpse of anxious FACES , then the chamber door is CLANGED shut . EVERYTHING IS BLACK . A HUM BUILDS . THE BLACKNESS VIBRATES , THE HUM REACHES A DEAFENING LEVEL , THEN DIMUENDOS . WE BEGIN TO HEAR BURSTS OF MACHINE GUN FIRE , VOICES SHOUTING IN FRENCH , A SUDDEN HUGE EXPLOSION ! THEN .</scene_description> </scene> <scene> <stage_direction>EXT. TRENCH/FRANCE - DAY</stage_direction> <scene_description>DRIZZLING RAIN . And SCREAMS . COLE 'S in a deep trench , naked , eyes wide with terror . What 's going on ? Where is he ? SOLDIERS in gas masks push urgently past him rushing toward their injured COMRADES who 've been ripped apart by the shell that just hit fifteen yards away . Muffled VOICES shout through gas masks . in FRENCH . COLE does n't know it , but this is World War I ! Suddenly , a SERGEANT confronts him , shouting in French .</scene_description> <character>SERGEANT</character> <parenthetical>( FRENCH , subtitled . )</parenthetical> <dialogue>Where's your mask?! And your clothes. and your weapon, you idiot?!</dialogue> <character>COLE</character> <dialogue>What? What?</dialogue> <scene_description>COLE looks around desperately . A horribly WOUNDED MAN is being stretchered past them in the narrow trench . Machine guns chatter close at hand . AAK AAK AAK . A grenade EXPLODES . Reacting to the foreign word , the SERGEANT jams his bayonet into COLE 'S ribs .</scene_description> <character>SERGEANT</character> <parenthetical>( FRENCH , subtitled . )</parenthetical> <dialogue>Captain! A Kraut! We got a Kraut!</dialogue> <character>COLE</character> <dialogue>I do n't understand. Where am I?</dialogue> <scene_description>The CAPTAIN hurries over , snapping at COLE in German .</scene_description> <character>CAPTAIN</character> <parenthetical>( GERMAN , subtitled . )</parenthetical> <dialogue>How'd you get here, soldier? What's your rank? Where are your clothes?</dialogue> <character>COLE</character> <dialogue>I. do n't understand.</dialogue> <character>CAPTAIN</character> <parenthetical>( frowning , GERMAN , subtitled . )</parenthetical> <dialogue>German! Speak German! What are you doing here?</dialogue> <character>VOICE</character> <parenthetical>( o.s . )</parenthetical> <parenthetical>( pleading in English . )</parenthetical> <dialogue>I got ta find'em. I got ta find'em. Please, you got ta help me!</dialogue> <scene_description>COLE turns , sees . It 's his friend , JOSE , the Puerto Rican kid from the next cell in the `` underground '' time . He 's being carried past COLE now on a stretcher , blood all over his torso , horribly wounded .</scene_description> <character>COLE</character> <dialogue>JOSE!</dialogue> <character>JOSE</character> <dialogue>Cole! Oh, God, Cole, where are we?</dialogue> <scene_description>JOSE reaches out to COLE just as a PHOTOGRAPHER takes a FLASH PICTURE of the kid being carried off on the stretcher . SUDDENLY , SHOTS RING OUT . COLE goes down . Hit in the leg ! SOLDIERS in gas masks rush past him like giant insects . Looking to his left , COLE sees the CAPTAIN lying beside him , dead from a chest wound , his gas mask half off . COLE is reaching for the mask when . A SHELL HITS CLOSE BY WITH AN ENORMOUS EXPLOSION .</scene_description> </scene> <scene> <stage_direction>EXT. COLLEGE CAMPUS - NIGHT</stage_direction> <scene_description>Stunningly quiet . We are on a placid campus looking at the dignified architecture of Breitrose Hall . MOVING IN we FOCUS ON a large poster advertising `` The Alexander Lectures , Spring 1995 '' . WE SKIM the listings -LRB- Jon Else on The Nuclear Agony , Dr. Andrew Miksztal on Biological Ethics , etc. -RRB- until we SETTLE ON . DR. KATHRYN RAILLY . MADNESS AND APOCALYPTIC VISIONS . MAY 17 .</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM/BREITROSE HALL - NIGHT</stage_direction> <scene_description>A large screen dominates the auditorium stage . On the screen is a slide of an engraving from the Middle Ages showing a MADMAN in apparent agony , his mouth shaped to a scream , as he is restrained by PEASANTS . The projector ZOOMS slowly in on the agonized FACE of this MADMAN as we HEAR RAILLY 'S VOICE lecturing .</scene_description> <character>RAILLY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>According to the accounts of local officials at that time, this gentleman, judged to be about forty years of age, appeared suddenly in the village of Wyle near Stonehenge in the West of England in April of 1162. Using unfamiliar words and speaking in a strange accent, the man made dire prognostications about a pestilence which he predicted would wipe out humanity in approximately 8OO years. Deranged and hysterical, the man raped a young woman of the village, was taken into custody, but then mysteriously escaped and was not heard of again.</dialogue> <scene_description>WE DISCOVER RAILLY , six years older now , standing at a lectern in a pool of light . She 's dwarfed by the giant screen where the engraving is replaced by a series of slides of woodcuts showing scenes of pestilence in the Middle Ages as she lectures to an audience of mostly SCHOLARLY TYPES .</scene_description> <character>RAILLY</character> <parenthetical>( cont . )</parenthetical> <dialogue>In 1841, Mackay wrote, `` During seasons of great pestilence, men have often believed the prophecies of crazed fanatics, that the end of the world was come.'' Obviously, this plague/doomsday scenario is considerably more compelling when reality supports it in some form, whether it's the Bubonic Plague, smallpox, or AIDS. In addition to these `` natural'' contagions, there are now technological horrors as well : besides radiation, consider our lurking fear of germ warfare and its close approximation, chemical warfare, which first reared its ugly head in the deadly mustard gas attacks during the First World War.</dialogue> <scene_description>ON THE SCREEN , a SERIES of SLIDES show images of WORLD WAR I SOLDIERS in gas masks , in death throes , etc .</scene_description> <character>RAILLY'S VOICE</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>During such an attack in the French trenches in October, 1917, we have an account of this soldier.</dialogue> <scene_description>ON THE SCREEN , a slide of an old deteriorated photograph shows JOSE , the Puerto Rican kid , strapped to a stretcher , being carried by SOLDIERS through the trenches during an attack . JOSE appears to be ranting madly as the projector ZOOMS CLOSER on his face until the image approximates Munch 's famous painting .</scene_description> <character>RAILLY'S VOICE</character> <parenthetical>( cant .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>- who, during an assault, was wounded by shrapnel and hospitalized behind the lines where Doctors discovered he had lost all comprehension of French but spoke English fluently, albeit in a regional dialect they did n't recognize. The man, although physically unaffected by the gas, was hysterical. He claimed he had come from the future, that he was looking for a pure germ that would ultimately wipe mankind off the face of the earth in the year. 1995!</dialogue> <scene_description>The AUDIENCE gives a nervous CHUCKLE . ON THE SCREEN , a different old photograph of JOSE . This time he 's in a military hospital , gaunt , haunted , very ill .</scene_description> <character>RAILLY'S VOICE</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>Although seriously injured, the young soldier disappeared from the hospital before more data could be gathered. No doubt, he was trying to carry on his mission to warn others, substituting for the agony of war. a self - inflicted agony we call the `` Cassandra Complex''.</dialogue> <scene_description>As RAILLY continues , we SCAN the AUDIENCE and DISCOVER MARILOU MARTIN , RAILLY 'S friend , and MARILOU 'S HUSBAND , WAYNE CHANG , both listening attentively . Further away , another MAN listens intently . A MAN with shoulder - length carrot - colored hair . His name is DR. PETERS .</scene_description> <character>RAILLY</character> <parenthetical>( cont . )</parenthetical> <dialogue>Cassandra, in Greek legend you will recall, was condemned to know the future but to be disbelieved when she foretold it. Hence, the agony of foreknowledge combined with impotence to do anything about it.</dialogue> </scene> <scene> <stage_direction>INT. RECEPTION ROOM - AN HOUR LATER (NIGHT)</stage_direction> <scene_description>A stack of new books . THE DOOMSDAY SYNDROME , Apocalyptic Visions of the Mentally Ill by Dr. Kathryn Railly Surrounded by enthusiastic members of the audience , RAILLY is seated at the table signing books but DR. PETERS has her ear .</scene_description> <character>DR. PETERS</character> <dialogue>I think, Dr. Railly, you have given your alarmists a bad name. Surely there is very real and very convincing data that the planet can not survive the excesses of the human race : proliferation of atomic devices, uncontrolled breeding habits, the rape of the environment, the pollution of land, sea, and air. In this context, is n't it obvious that `` Chicken Little'' represents the sane vision and that Homo Sapiens' motto, `` Let's go shopping!'' is the cry of the true lunatic?</dialogue> <scene_description>DR. PETERS smiles self - importantly at RAILLY as an elderly disheveled PROFESSOR elbows in front of him .</scene_description> <character>DISHEVELED PROFESSOR</character> <dialogue>Doctor Railly - please! I wonder if you're aware of my own studies which indicate that certain cycles of the moon actually impact on the incidence of apocalyptic predictions as observed in urban emergency rooms and.</dialogue> <scene_description>As the PROFESSOR babbles , MARILOU MARTIN and her husband , WAYNE CHANG , appear and whisper .</scene_description> <character>MARILOU</character> <dialogue>You were great.</dialogue> <character>RAILLY</character> <dialogue>You're leaving?</dialogue> <character>MARILOU</character> <dialogue>The reservation's at nine thirty - it's getting late.</dialogue> <character>DISHEVELED PROFESSOR</character> <dialogue>Doctor Railly - please - this is very important!</dialogue> <character>WAYNE CHANG</character> <parenthetical>( checking the professor . )</parenthetical> <dialogue>You sure you're gon na be all right?</dialogue> <character>RAILLY</character> <parenthetical>( smiles , checks her watch . )</parenthetical> <dialogue>I'll be there in twenty minutes.</dialogue> <character>DISHEVELED PROFESSOR</character> <dialogue>Dr. Railly, I simply can not understand your exclusion of the moon in relation to apocalyptic dementia.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT/BREITROSE HALL - NIGHT</stage_direction> <scene_description>A full moon . COLLEAGUES in a VOLVO pull out of the parking lot , calling , `` Congratulations '' to RAILLY . She waves back as she hurries to her black ACURA , one of the last cars left in the lot . The outside lights of Breitrose Hall go off . RAILLY seems to be alone in the lot as she fishes keys from her purse , unlocks her car door , starts to open it when . Suddenly , she 's grabbed from behind in a choke - hold by a large shadowy MAN looming out of the darkness behind her .</scene_description> <character>MAN'S VOICE</character> <dialogue>Get in!</dialogue> <scene_description>Unable to scream , she writhes and kicks as he forces her into the front seat .</scene_description> <character>MAN'S VOICE</character> <dialogue>I've got a gun.</dialogue> <scene_description>RAILLY freezes , terrified , as he opens the rear door and scrambles in behind her .</scene_description> </scene> <scene> <stage_direction>INT. ACURA/PARKING LOT</stage_direction> <scene_description>Fighting to suppress the quaver in her voice , RAILLY says .</scene_description> <character>RAILLY</character> <dialogue>You can have my purse. I have a lot of cash and credit.</dialogue> <character>MAN'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Start the car.</dialogue> <scene_description>Glancing in the rear view mirror , RAILLY sees penetrating eyes peering out of the shadows , no other features . Half - turning in the seat , she holds out the keys to him .</scene_description> <character>RAILLY</character> <dialogue>Here! You can have the keys. You can.</dialogue> <scene_description>He grabs her hair and yanks her head back hard , speaking fiercely into her ear , his face last in shadow .</scene_description> <character>MAN</character> <dialogue>START THE CAR! NOW!</dialogue> </scene> <scene> <stage_direction>EXT. ACURA/PARKING LOT</stage_direction> <scene_description>The engine STARTS , the Acura backs up , then heads for the exit .</scene_description> </scene> <scene> <stage_direction>INT. ACURA</stage_direction> <scene_description>Steering fearfully , RAILLY hears him speak more calmly now .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I do n't want to hurt you. But I will. I've hurt people before when. when I had no choice. Turn left.</dialogue> <scene_description>As she makes the turn , RAILLY glances in the rear view mirror , sees him unfolding a tattered map . His face is lost in darkness but she glimpses ragged , torn clothing as he tries to read the map by the intermittent glow of passing street lights .</scene_description> <character>RAILLY</character> <dialogue>Where. where are we going'</dialogue> <character>MAN</character> <dialogue>I need you to drive me to Philadelphia.</dialogue> <character>RAILLY</character> <parenthetical>( startled , horrified . )</parenthetical> <dialogue>But that's. that's more than 200 miles!</dialogue> <character>MAN</character> <dialogue>That's why I ca n't walk there. Turn here. I think.</dialogue> <scene_description>RAILLY obeys . She glances in the mirror again , hesitates , then boldly switches on the dome light , holding her breath fearfully for his reaction . He grunts appreciatively . Relieved , she looks in the mirror again , trying to get a better look at him , but now his features are concealed by the map .</scene_description> <character>RAILLY</character> <dialogue>If you make me go with you, it's kidnapping. That's a serious crime. If you let me go, you could just take the car and.</dialogue> <character>MAN</character> <dialogue>I do n't know how to drive! We went underground when I was nine, I told you that. When you come to the corner, turn right.</dialogue> <scene_description>Startled , RAILLY whirls , looks right at him . He 's lowered the map . It 's COLE ! Haggard , unshaven , dirty .</scene_description> <character>RAILLY</character> <dialogue>Cole! James Cole! You escaped from a locked room six years ago.</dialogue> <character>COLE</character> <dialogue>1989. Six years for you. There's the sign! Right here!</dialogue> <scene_description>COLE is indicating a freeway entrance . RAILLY turns the wheel sharply .</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY - NIGHT</stage_direction> <scene_description>The Acura veers up the ramp and onto the freeway .</scene_description> </scene> <scene> <stage_direction>INT. ACURA/FREEWAY - NIGHT</stage_direction> <scene_description>RAILLY glances in the mirror , sees COLE settling back wearily against the seat . She says carefully .</scene_description> <character>RAILLY</character> <dialogue>I ca n't believe this is a coincidence, Mr. Cole. Have you been. following me?</dialogue> <character>COLE</character> <dialogue>You told me you'd help me. I know this is n't what you meant, but. I was desperate. no money. bum leg. sleeping on the streets. I probably smell bad. Sorry about that. But then I saw your book in a store window with a notice about your lecture.</dialogue> <parenthetical>( sudden pride . )</parenthetical> <dialogue>I can read, remember?</dialogue> <character>RAILLY</character> <dialogue>Yes, I remember.</dialogue> <parenthetical>( a beat , then . )</parenthetical> <dialogue>Why do you want to go to Philadelphia?</dialogue> <character>COLE</character> <dialogue>It's the next step. I checked out the Baltimore information, it was nothing. It's Philadelphia, that's where they are, the ones who killed everyone.</dialogue> <parenthetical>( pointing suddenly , eagerly . )</parenthetical> <dialogue>Zs that a radio? Does it play music?</dialogue> <scene_description>RAILLY turns on the radio and immediately WE HEAR the SOUND of SURF and the CRIES of gulls , background to an oozing baritone COMMERCIAL .</scene_description> <character>COMMERCIAL/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This is a personal message to you.</dialogue> <scene_description>COLE sits up , alert , listening intently .</scene_description> <character>COMMERCIAL/RADIO</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>Are you at the end of your rope? Are you dying to get away?</dialogue> <scene_description>COLE 'S eyes narrow , concentrating on this personal message .</scene_description> <character>COMMERCAIL/RADIO</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s. -RCB- . )</parenthetical> <dialogue>The Florida Keys are waiting for you.</dialogue> <scene_description>COLE frowns as the SOUND of breaking SURF and crying GULLS fills the car . It 's confusing ! He blurts out .</scene_description> <character>COLE</character> <dialogue>I've never seen the ocean!</dialogue> <scene_description>Observing his confusion in the mirror , RAILLY assumes her professional tone .</scene_description> <character>RAILLY</character> <dialogue>It's an advertisement, Mr. Cole. You do understand that, do n't you? It's not really a special message to you.</dialogue> <scene_description>COLE frowns . He did think it was for him , but she 's probably right .</scene_description> <character>COLE</character> <dialogue>You used to call me `` James''.</dialogue> <character>RAILLY</character> <dialogue>You'd prefer that? James. you do n't really have a gun, do you.</dialogue> <character>COLE</character> <parenthetical>( cynical laugh . )</parenthetical> <dialogue>Everybody's got a gun. In this city.</dialogue> <scene_description>He breaks off reacting to the RADIO MUSIC ! FATS DOMINO singing `` BLUEBERRY HILL '' ! COLE grins , mouth agape , eyes wide like a kid 's .</scene_description> <character>COLE</character> <dialogue>Can you. can you make it louder? I love hearing twentieth century music! Hearing music and breathing air!</dialogue> <scene_description>As RAILLY cranks up the volume , she watches the mirror incredulously , sees him stick his head out the window into the wind , mouth open , `` eating '' the air hungrily .</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY/ACURA - NIGHT</stage_direction> <scene_description>`` BLUEBERRY HILL '' BLARES as the Acura , COLE 'S head out the rear window , zips past a sign at 65 mph . The sign says , `` PHILADELPHIA 233 MILES . ''</scene_description> </scene> <scene> <stage_direction>INT. ACURA/FREEWAY - NIGHT</stage_direction> <scene_description>RAILLY glances in the mirror at the nut in the rear seat with his head out the window . what can she do ? Just then , while she 's trying to figure something out , an ANNOUNCER 'S VOICE breaks in .</scene_description> <character>ANNOUNCER/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This just in from Fresno, California : emergency crews are converging on a cornfield where playmates of nine year old Ricky Neuman say they saw him disappear right before their eyes.</dialogue> <scene_description>COLE pulls his head back inside with a frown , troubled now .</scene_description> <character>ANNOUNCER/RADIO</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>Young Neuman apparently stepped into an abandoned well shaft and is lodged somewhere in the narrow 150 foot pipe, possibly alive, possibly seriously injured. Playmates claim they heard him cry out faintly but since then there has been no contact with.</dialogue> <character>COLE</character> <dialogue>`` Never cry wolf!''</dialogue> <character>RAILLY</character> <dialogue>What?</dialogue> <character>COLE</character> <dialogue>My father told me that. `` Never cry wolf.'' Then people wo n't believe you if. something really happens.</dialogue> <character>RAILLY</character> <dialogue>`` If something really happens''. like what, James?</dialogue> <character>COLE</character> <dialogue>Something bad. Is that all the music? I do n't want to hear this stuff.</dialogue> <scene_description>RAILLY glances at him as she scans stations .</scene_description> <character>RAILLY</character> <dialogue>Did something terrible happen to you when you were a child? Something so bad?</dialogue> <character>COLE</character> <dialogue>Ohhhh, that one! Can we hear that one?</dialogue> <scene_description>It 's IVORY JOE HUNTER singing , `` SINCE I MET YOU , BABY '' .</scene_description> <character>IVORY JOE/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>`` Since I met you, baby, My whole life has changed.</dialogue> <scene_description>Ecstatic , COLE sticks his head out the window again .</scene_description> </scene> <scene> <stage_direction>EXT. ACURA/FREEWAY</stage_direction> <scene_description>COLE 'S POV : the heavens , glittering with a million stars and a lover 's moon as IVORY JOE croons the achingly romantic lyrics .</scene_description> <character>IVORY JOE/RADIO</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . ) ''</parenthetical> <dialogue>- cause since I met you, baby. All I need is you.''</dialogue> <scene_description>ANGLE ON COLE , wind in his hair , eyes shining , gulping air blissfully .</scene_description> </scene> <scene> <stage_direction>INT. RAILLY'S APARTMENT - MORNING</stage_direction> <scene_description>Two POLICE OFFICERS and an anxious MARILOU MARTIN listen to an answering machine 's message while a hungry CAT cries plaintively .</scene_description> <character>ANSWERING MACHINE</character> <dialogue>Dr. Railly - this is Palmer from Psych Admitting. There was a guy here this afternoon looking for you. He seemed very agitated. We tried to keep him, but he refused'n I kept thinking, I know this guy. Then, just a few minutes ago, it came to me. It's Cole! James Cole. Remember him? The paranoid who pulled the Houdini back in' 89. Well, he's back and he's. cuckoo. and he's looking for you. I thought you oughta know.</dialogue> <scene_description>The machine switches off . The POLICE OFFICERS exchange a look .</scene_description> <character>MARILOU MARTIN</character> <dialogue>It's just as I told you - my husband and I had gone ahead - she never showed. That's totally unlike her!</dialogue> <character>OFFICER TWO</character> <parenthetical>( pulls out his notebook . )</parenthetical> <dialogue>Do you happen to know the make of her car?</dialogue> <character>MARILOU MARTIN</character> <dialogue>Um. Acura.'92 Acura. Also, that cat's starving! She would never neglect her cat!</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL - MORNING</stage_direction> <scene_description>The ACURA is parked outside room 46 of the HIGHWAYS &amp; BYWAYS MOTEL , which has definitely seen better days .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM 46</stage_direction> <scene_description>The TV is on . A commercial is just starting . A catfood jingle . The sound of HEAVY BREATHING . ANGLE ON COLE , sweating , BREATHING HEAVILY , sprawled on one side of the double bed , sound asleep .</scene_description> </scene> <scene> <stage_direction>INT. CONCOURSE/AIRPORT - DAY (THE DREAM)</stage_direction> <scene_description>GUNSHOT ! YOUNG COLE glimpses the BLONDE MAN staggering , wounded . The mysterious BRUNETTE races past him toward the BLONDE MAN , and YOUNG COLE again glimpses the resemblance to RAILLY , in spite of the dark hair , the make - up , the flashy earrings . Close at hand , YOUNG COLE 'S FATHER , his face still out of view , says ,</scene_description> <character>FATHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Son, it's important for your cat to have the nourishment necessary for healthy bones and a rich coat.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL ROOM 46</stage_direction> <scene_description>COLE comes awake with a start . He stares , disoriented , at the CATFOOD COMMERCIAL on the TV .</scene_description> <character>RAILLY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Please untie me. I'm very uncomfortable.</dialogue> <scene_description>COLE turns to RAILLY , beside him on the bed , frightened and helpless , her jacket arranged to restrain her like a strait - jacket . COLE 'S instinct is to free her at once , but he controls his impulse . He looks away , gets up , and , wincing , limps to the dresser , stepping around empty fast - food cartons . He pulls a razor and shaving soap from a paper bag , then goes into the bathroom , leaving the door open , and starts to shave .</scene_description> <character>COLE</character> <dialogue>You were in my dream just now. Your hair was different, but I'm sure it was you.</dialogue> <character>RAILLY</character> <dialogue>We dream about what's important in our lives. And I seem to have become pretty important in yours. What was the dream about?</dialogue> <character>COLE</character> <dialogue>About an airport. before everything happened. It's the same dream I always have - the only one. I'm a little kid in it.</dialogue> <character>RAILLY</character> <dialogue>And I was in it? What did I do?</dialogue> <character>COLE</character> <dialogue>You were very upset. You're always very upset in the dream, but I never knew it was you before.</dialogue> <character>RAILLY</character> <dialogue>It was n't me before, James. It's become me now because of. what's happening. Please untie me.</dialogue> <scene_description>Finished shaving , COLE re - enters the bedroom , toweling his face .</scene_description> <character>COLE</character> <dialogue>No, I think it was always you. It's very strange.</dialogue> <character>RAILLY</character> <dialogue>You're flushed. And you were moaning. I think you're running a fever. What are you doing?</dialogue> <scene_description>COLE is rummaging through RAILLY 'S wallet , pulling out money .</scene_description> <character>COLE</character> <dialogue>I'll be back in a minute.</dialogue> <scene_description>He heads for the door .</scene_description> <character>RAILLY</character> <dialogue>No! Do n't leave me here like this!</dialogue> <scene_description>Too late ! He shuts the door behind him , leaving her alone . ANGLE ON THE TV SCREEN , where an ANCHORMAN sits at a News Set .</scene_description> <character>TV ANCHORMAN</character> <dialogue>And in Fresno, California. crews continue to attempt to rescue nine year old Ricky Neuman.</dialogue> <scene_description>ANGLE ON RAILLY , twisting and struggling on the bed , trying to get loose , tears welling in her eyes .</scene_description> <character>TV ANCHORMAN</character> <parenthetical>( cont .</parenthetical> <parenthetical>o.s . )</parenthetical> <dialogue>The boy was playing ball with four other children when he literally disappeared off the face of the earth.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL CORRIDOR - MORNING</stage_direction> <scene_description>COLE puzzles over a junk food vending machine , inserts coins tentatively .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM</stage_direction> <scene_description>ANGLE ON TV , the picture of RAILLY filling the screen .</scene_description> <character>COLE</character> <dialogue>My notes. Observations. Clues.</dialogue> <character>RAILLY</character> <dialogue>Clues? What kind of clues?</dialogue> <character>COLE</character> <dialogue>A secret army. The Army of The Twelve Monkeys. I've told you about them. They spread the virus. That's why we have to get to Philadelphia. I have to find them - it's my assignment.</dialogue> <character>RAILLY</character> <dialogue>What will you do. when you find this. secret army?</dialogue> <character>COLE</character> <dialogue>I just have to locate the virus in its original form before it mutates. So scientists can come back and study it and find a cure. So that those of us who survived can go back to the surface of the earth.</dialogue> <scene_description>RAILLY maintains a professional deadpan , says nothing as they pass a pickup truck with a MOTHER , FATHER , and five KIDS in the back . COLE stares at the KIDS , a sad look in his eyes .</scene_description> <character>COLE</character> <dialogue>You wo n't think I'm crazy next month. People are going to start dying. At first the papers will say it's some weird fever, some virus. Then they'll begin to catch on. They'll get it.</dialogue> <character>RADIO NEWSCASTER</character> <parenthetical>( o.s . )</parenthetical> <dialogue>We interrupt this program with a special bulletin.</dialogue> <scene_description>RAILLY and COLE both react to the radio , suddenly alert .</scene_description> <character>RADIO NEWSCASTER</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This report just in from Fresno, California. Naval sonar specialists who were flown to the site.</dialogue> <character>COLE</character> <dialogue>I thought it was about us. I thought maybe they'd found us and arrested me or something.</dialogue> <scene_description>RAILLY stares at COLE .</scene_description> <character>COLE</character> <dialogue>Just a joke.</dialogue> <character>RADIO NEWSCASTER</character> <parenthetical>( o.s . )</parenthetical> <dialogue>- an hour ago have been unable to determine the location of the boy in the 150 foot shaft. but a TV sound man who lowered an ultra - sensitive microphone into the narrow tube claims he heard breathing sounds coming from approximately seventy feet down.</dialogue> <scene_description>COLE reaches over and changes stations . MUSIC again .</scene_description> <character>RAILLY</character> <dialogue>Does that disturb you, James? Thinking about that little boy in the well?</dialogue> <character>COLE</character> <dialogue>When I was a kid I identified with that kid, down there alone in that pipe. a hundred feet down - does n't know if they're going to save him.</dialogue> <character>RAILLY</character> <dialogue>What do you mean - when you were a kid?</dialogue> <character>COLE</character> <dialogue>Nevermind. It's not real - it's a hoax. A prank. He's hiding in a barn. Hey, turn left here. Left!</dialogue> <scene_description>COLE quickly checks the map as RAILLY stares , then turns left .</scene_description> </scene> <scene> <stage_direction>EXT. SKID ROW STREET/PHILADELPHIA - DAY</stage_direction> <scene_description>An elderly EVANGELIST with long stringy hair , wearing a tattered bathrobe , stands on a Skid Row corner WAVING a worn Bible as he rants at disinterested DERELICTS , WINOS , and BAG LADIES .</scene_description> <character>EVANGELIST</character> <dialogue>`` And the wild beasts of the islands shall cry in their desolate houses and dragons in their pleasant palaces : and her time is near to come, and her days shall not be prolonged.''</dialogue> <scene_description>ANGLE ON RAILLY 'S ACURA , crawling down the street , RAILLY driving , COLE , beside her , staring out the window .</scene_description> </scene> <scene> <stage_direction>INT. ACURA/SKID ROW STREET</stage_direction> <scene_description>COLE is scrutinizing the crumbling walls , boarded - up store fronts , tattered posters , decaying signs , miserable `` RESIDENTS '' .</scene_description> <character>COLE</character> <dialogue>Where I come from we think of this as Eden. If we could just see the sun, eat sun - grown food. Eden! Look at them! They donut know what they have. They do n't see the sky. They do n't feel the air!</dialogue> <scene_description>COLE 'S POV : a BMW speeds toward them , passes , its radio BLARING !</scene_description> <character>COLE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>And the ones who are n't hungry are so smug they have n't a clue. WAIT! STOP!</dialogue> </scene> <scene> <stage_direction>EXT. ACURA/SKID ROW</stage_direction> <scene_description>On foot now , COLE pulls an astonished RAILLY to a wall covered with graffiti , a hopeless tangle of symbols , words , and crude pictures . Clueless , RAILLY stares at the wall , then at COLE . COLE touches a bit of red - stenciled graffiti hidden under gang insignias . We can just see TWELVE MONKEYS holding hands in a circle .</scene_description> <character>COLE</character> <dialogue>The Twelve Monkeys! They're here.</dialogue> <parenthetical>( looks around . )</parenthetical> <dialogue>Somewhere. Come on!</dialogue> <scene_description>He pulls her along the sidewalk . No question , he 's insane . At the next alley entrance , COLE stops abruptly . Then , still keeping a firm grip on RAILLY 'S arm , he starts ripping down newly tacked - up posters announcing a Rap concert . RAILLY stares at him , then turns and is looking all around when , suddenly , COLE pulls her up tight and threatens .</scene_description> <character>COLE</character> <dialogue>Look, I'm warning you. You do anything, I'm going to go crazy - hurt people!</dialogue> <character>RAILLY</character> <dialogue>I'm not going to `` do'' anything, I promise. But you need help, James. None of this is what you think it is.</dialogue> <scene_description>ANGLE ON COLE , not listening , staring triumphantly ! He 's found another partially obscured stencil of THE TWELVE MONKEYS ! But just then , a raspy VOICE startles COLE .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You ca n't hide from them, Bob.</dialogue> <scene_description>COLE whirls , sees a derelict , LOUIE , leering at him , speaking in a voice eerily like the RASPY VOICE from the next cell in the future .</scene_description> <character>LOUIE</character> <dialogue>No, sir, Old Bob - do n't even try.</dialogue> <parenthetical>( conspiratorially . )</parenthetical> <dialogue>They hear everything. They got that tracking device on you. They can find you anywhere. Anytime. Ha Ha!</dialogue> <scene_description>RAILLY looks from LOUIS to COLE , sees COLE 'S stunned reaction .</scene_description> <character>LOUIE</character> <parenthetical>( touches his back jaw . )</parenthetical> <dialogue>In the tooth, Bob! Right?</dialogue> <parenthetical>( sudden triumphant grin . )</parenthetical> <dialogue>But I fooled'em, old buddy!</dialogue> <scene_description>He opens his mouth wide . NO TEETH ' COLE grabs RAILLY and pulls her into the alley and down it .</scene_description> <character>COLE</character> <dialogue>They're keeping an eye on me.</dialogue> <character>RAILLY</character> <dialogue>Who's keeping an eye on you?</dialogue> <character>COLE</character> <dialogue>The man. with the voice. I recognized him. He's from the present. He.</dialogue> <scene_description>COLE breaks off , freezes as he sees . there on a brick wall is a stencil of the DANCING MONKEYS And further on , another red stencil !</scene_description> </scene> <scene> <stage_direction>EXT. VACANT LOT - MOMENTS LATER (DAY)</stage_direction> <scene_description>CRACKHEADS huddle against a building , sucking their pipes , oblivious to COLE pulling RAILLY past . COLE scans the walls for messages in the confusion of graffiti . RAILLY is considering her surroundings dubiously when , suddenly , COLE pulls her toward the mouth of a dark and forbidding alley .</scene_description> <character>RAILLY</character> <dialogue>James, no - we should n't be here!</dialogue> <scene_description>COLE ignores her , yanking her after him into the alley .</scene_description> </scene> <scene> <stage_direction>INT. DARK ALLEY - DAY</stage_direction> <scene_description>Two TOM CATS face off , arching their backs and HISSING menacingly . COLE avoids them as he pulls RAILLY into the gloom . ANGLE ON RAILLY , seeing something alarming twenty yards ahead ! RAILLY 'S POV : TWO THUGS , standing over a MAN , kicking him . RAILLY tries to stop , but COLE , intent on the wall messages , does n't notice the THUGS . The TWO THUGS turn and spot COLE and RAILLY moving toward them . These creeps have mean eyes , predator faces . RAILLY digs her heels in , forcing COLE to stop .</scene_description> <character>RAILLY</character> <dialogue>James! We have to go back. Those men.</dialogue> <scene_description>Too late . While COLE turns and stares at her , uncomprehending , the TWO THUGS are approaching .</scene_description> <character>FIRST THUG</character> <dialogue>Hey, buddy.</dialogue> <scene_description>Startled , COLE turns to face them . The SECOND THUG lunges for RAILLY 'S purse , yanks it from her . COLE reaches to grab it back , but . WHACK ! The FIRST THUG smacks COLE hard across the face with something metallic . Bloody - faced , dazed , COLE does n't even have a chance to clear his head as the FIRST THUG shoves the hard object against COLE 'S cheek . It 's a cheap thirty - eight pistol . RAILLY turns to run , gets two steps before the SECOND THUG knocks her roughly to the ground .</scene_description> <character>SECOND THUG</character> <dialogue>Stick around, bitch.</dialogue> <scene_description>Looming over her , the SECOND THUG starts to unzip his fly . RAILLY looks over to COLE , SEES . COLE dropping to his knees , groveling at the FIRST THUG 'S feet .</scene_description> <character>COLE</character> <dialogue>Please! Please do n't hurt me!</dialogue> <scene_description>The FIRST THUG steps close , kicks COLE contemptuously , cocks his foot for a second kick when . COLE uncoils , lunging , rising , his strong arms around the bigger man 's calves , lifting him mightily , high off the ground . The gun FIRES wildly as COLE staggers forward with the FIRST THUG in his arms and smashes the man into the brick wail behind him . The FIRST THUG goes down in a heap , dropping the pistol . Zipping his fly hastily , the SECOND THUG turns to deal with COLE but COLE attacks him . rocking him again and again with savage blows that come one after another with lightning speed . The SECOND THUG staggers back , bloody and dazed as RAILLY watches , amazed . Turning back to the FIRST THUG , COLE sees the MAN reaching for the dropped pistol . COLE kicks him viciously in the jaw . The FIRST THUG 'S head whips back . SNAP ! He collapses against the brick wall . COLE turns back to see the SECOND THUG retreating down the alley as fast as he can stagger . RAILLY stares up at COLE . He looks very dangerous . He glances in her direction as he pockets the pistol .</scene_description> <character>COLE</character> <dialogue>Are you hurt?</dialogue> <character>RAILLY</character> <dialogue>Uh, no. Yes. I mean, just some scrapes.</dialogue> <scene_description>As RAILLY gets to her feet , she sees COLE bend over the motionless THUG and quickly go through his pockets .</scene_description> <character>RAILLY</character> <dialogue>Is he. alive?</dialogue> <scene_description>COLE ignores the question as he pockets the man 's wallet and a handful of bullets , then turns and snaps at RAILLY .</scene_description> <character>COLE</character> <dialogue>Come an. We're running out of time. You ca n't help him.</dialogue> <scene_description>As COLE yanks her roughly away , she looks back , sees the FIRST THUG 'S sightless eyes , wide open . staring blankly .</scene_description> <character>RAILLY</character> <dialogue>Oh, Jesus, James! You killed him!</dialogue> <character>COLE</character> <dialogue>I did him a favor. Now come on.</dialogue> <scene_description>COLE , pulling her again , sees more `` 12 MONKEYS '' on the wall .</scene_description> <character>RAILLY</character> <dialogue>You did n't have a gun before, did you?</dialogue> <character>COLE</character> <dialogue>I've got one now.</dialogue> </scene> <scene> <stage_direction>EXT. SECOND AVE - DAY</stage_direction> <scene_description>The EVANGELIST , spotting COLE and RAILLY hurrying past him , points urgently at COLE .</scene_description> <character>EVANGELIST</character> <dialogue>You! You! You're one of us, are n't you?</dialogue> <scene_description>But COLE has stopped and is staring at . A STOREFRONT OFFICE . its windows covered with posters . The sign over the office says , FREEDOM FOR ANIMALS ASSOCIATION .</scene_description> </scene> <scene> <stage_direction>INT. FAA STORE - MOMENTS LATER (DAY)</stage_direction> <scene_description>Earnest young activists , FALE , deathly pale , BEN , long haired , and TEDDY , muscular , are gathered around a counter collating leaflets that demand an END TO SPECIEISM . Behind them , a large poster proclaims , `` ANIMALS HAVE SOULS , TOO '' . Just then , there 's a tremendous CLAP OF THUNDER as the ACTIVISTS look up and see COLE and RAILLY enter . COLE looks startled . It sounds like torrential RAIN POURING in here . Maintaining a tight grip on RAILLY 'S wrist , he looks around frantically for an explanation for the tropical downpour . Bookshelves line two walls . The front window is blanked cut with posters of Animal Rights demonstrations , newspaper clippings , photos of animal atrocities . The fourth wall features the counter where the three ACTIVISTS face COLE as a JUNGLE BIRD SCREAMS in the DOWNPOUR .</scene_description> <character>FALE</character> <dialogue>Uh, can we help you?</dialogue> <scene_description>COLE looks confused as the RAIN abates and an ELEPHANT trumpets an urgent warning .</scene_description> <character>FALE</character> <dialogue>Excuse me. You looking for something in particular?</dialogue> <character>RAILLY</character> <dialogue>It's all right, James - it's just a tape.</dialogue> <scene_description>COLE 'S eyes follow her look . It 's a tape recorder underneath a sign advertising , `` THE TRUE MUSIC OF THE WORLD '' .</scene_description> <character>COLE</character> <dialogue>I, uh, I'm looking for the, ah, the Army of the Twelve Monkeys.</dialogue> <scene_description>FALE glances at BEN and TEDDY . `` We have a problem ! '' the look says . MONKEYS start CHATTERING on the tape as TEDDY comes around the counter , bigger than COLE , physically imposing , menacing .</scene_description> <character>TEDDY</character> <dialogue>We do n't know anything about any `` Army of the Twelve Monkeys'', so why do n't you and your friend disappear, okay?</dialogue> <scene_description>COLE backs away , a firm grip on RAILLY , as a LION ROARS .</scene_description> <character>COLE</character> <dialogue>I just need some information.</dialogue> <character>TEDDY</character> <dialogue>Did n't you hear me? We're not.</dialogue> <scene_description>TEDDY breaks off mid - sentence . freezes . COLE is pointing a pistol at them . A TIGER SNARLS .</scene_description> <character>RAILLY</character> <dialogue>James, no - do n't hurt them.</dialogue> <parenthetical>( to the activists . )</parenthetical> <dialogue>Please, I'm a psychiatrist - just do whatever he tells you to do. He's. upset - disturbed. Please - he's dangerous - just cooperate.</dialogue> <scene_description>MONKEYS CHATTER wildly as TEDDY backs up .</scene_description> <character>FALE</character> <dialogue>What do you want - money? We only have a few bucks.</dialogue> <scene_description>COLE is suddenly very much in charge and self - confident again . A BABOON HOWLS with laughter .</scene_description> <character>COLE</character> <dialogue>I told you what I want.</dialogue> <parenthetical>( snaps at Railly . )</parenthetical> <dialogue>Lock the door!</dialogue> <character>RAILLY</character> <dialogue>James, why do n't we?</dialogue> <character>COLE</character> <dialogue>Lock it now!</dialogue> <scene_description>RAILLY hurries to the door to lock it as BEN says to FALE ,</scene_description> <character>BEN</character> <dialogue>I told you that fuckhead Mason would get us into something like this.</dialogue> <character>FALE</character> <dialogue>Shut up!</dialogue> <character>COLE</character> <dialogue>Mason?</dialogue> <character>RAILLY</character> <dialogue>Jeffrey Mason?</dialogue> <character>BEN</character> <dialogue>Yeah, tucking, crazy Jeffrey Mason.</dialogue> </scene> <scene> <stage_direction>INT. FAA STORE BASEMENT - TWENTY MINUTES LATER (DAY)</stage_direction> <scene_description>The three ACTIVISTS are tied tightly together in the middle of the floor in this dimly - lit , windowless basement . They 're very frightened , eager to cooperate .</scene_description> <character>FALE</character> <dialogue>Then, Jeffrey becomes like this. big star - the media latch on to him because he's picketing his own father, a `` famous Nobel Prize winning virologist''. You musta seen all that on TV.</dialogue> <character>COLE</character> <dialogue>No, I do n't watch TV.</dialogue> <scene_description>COLE , the gun next to him , rummages through boxes of papers while RAILLY watches helplessly . Suddenly , COLE finds something he thinks he 's seen before . He holds it up .</scene_description> <character>COLE</character> <dialogue>Is this him - Dr. Mason?</dialogue> <scene_description>It 's a photograph of DR. MALCOLM MASON , being escorted by a phalanx of riot cops through a mob of raging activists .</scene_description> <character>FALE</character> <dialogue>That's him.</dialogue> <character>BEN</character> <parenthetical>( very frightened . )</parenthetical> <dialogue>What are you going to do with us?</dialogue> <character>COLE</character> <parenthetical>( stares at the photo , then . )</parenthetical> <dialogue>Tell me more about Jeffrey.</dialogue> <character>FALE</character> <parenthetical>( a helpless shrug to his cohorts . )</parenthetical> <dialogue>Jeffrey started getting bored with the shit we do. picketing, leafleting, letter - writing stuff. He said we were, `` ineffectual liberal jerkoffs''. He wanted to do guerrilla `` actions'' to `` educate'' the public.</dialogue> <scene_description>COLE holds up a clipping showing horrified SENATORS standing on their desks as RATTLESNAKES slither along the Senate Floor .</scene_description> <character>FALE</character> <dialogue>Yeah, that's when he let a hundred snakes loose in the Senate.</dialogue> <character>TEDDY</character> <dialogue>But we were n't into that kind of stuff. It's counter productive, we told him.</dialogue> <character>FALE</character> <dialogue>So he and eleven others split off and became this underground. `` army''</dialogue> <character>COLE</character> <dialogue>The Army of The Twelve Monkeys.</dialogue> <character>BEN</character> <dialogue>They started planning a `` Human Hunt''.</dialogue> <character>TEDDY</character> <dialogue>They bought stun guns and nets and bear traps. They were gon na go to Wall Street and trap lawyers and bankers.</dialogue> <character>BEN</character> <dialogue>But they did n't do it. They did n't do any of it.</dialogue> <character>TEDDY</character> <dialogue>Yeah, just like always, Mr. Big Shot sold his friends out!</dialogue> <character>COLE</character> <dialogue>What's that mean?</dialogue> <character>FALE</character> <dialogue>He goes on TV, gives a news conference, tells the whole world he just realized his daddy's experiments are vital for humanity and that the use of animals is absolutely necessary and that he, Jeffrey Mason, from now on, is going to personally supervise the labs to make sure all the little animals are n't going to suffer.</dialogue> <character>COLE</character> <parenthetical>( holding up a rolodex . )</parenthetical> <dialogue>What's this?</dialogue> </scene> <scene> <stage_direction>EXT. FREEWAY - AFTERNOON</stage_direction> <scene_description>In the crawling traffic , WE FIND a battered FORD covered with bumper stickers and painted slogans . `` I BRAKE FOR ANIMALS '' . `` FREE THE ANIMALS '' . `` WOULD YOU LET A MINK WEAR YOUR SKIN ? ''</scene_description> <character>RAILLY</character> <parenthetical>( v.o . )</parenthetical> <dialogue>You ca n't just barge in on a famous scientist. They'll have security guards, gates, alarm systems. It's insane, James.</dialogue> </scene> <scene> <stage_direction>INT. MOVING FORD/FREEWAY</stage_direction> <scene_description>A ROLODEX CARD with an address on `` Outerbridge Road '' for `` Jeffrey Mason c/o Dr. Malcolm Mason '' rests on a map spread across COLE 'S lap . COLE is in the passenger seat , RAILLY 'S at the wheel , maneuvering in heavy traffic .</scene_description> <character>RAILLY</character> <dialogue>If those young men do n't get loose, they could die in that basement.</dialogue> <scene_description>COLE glances out the window , indicates the PEOPLE in passing cars . COMMUTERS , FAMILIES , TRUCKERS .</scene_description> <character>COLE</character> <dialogue>All I see are dead people. Everywhere. What's three more?</dialogue> <character>RAILLY</character> <parenthetical>( a beat , carefully , a new tack . )</parenthetical> <dialogue>You know Dr. Mason's son, Jeffrey Mason, do n't you, James? You met him in the County Hospital six years ago.</dialogue> <scene_description>COLE is studying the map again .</scene_description> <character>COLE</character> <dialogue>The guy was a total fruitcake.</dialogue> <character>RAILLY</character> <dialogue>And he told you then his father was a famous virologist.</dialogue> <scene_description>COLE is absorbed in the map , his finger tracing `` Outerbridge Road '' .</scene_description> <character>COLE</character> <dialogue>No - he said his father was `` God''!</dialogue> </scene> <scene> <stage_direction>EXT./INT. FORD/COUNTRY HIGHWAY - LATER (DAY)</stage_direction> <scene_description>The RADIO BLARES a country song as the Ford zips along an open highway . COLE has his head out the window , sucking air , loving the music , but his bliss is feverish now - he 's not well . As the SONG ends , he pulls his head inside . An ANNOUNCER 'S VOICE intones over the RADIO .</scene_description> <character>RADIO ANNOUNCER</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This just in : police are widening their search for Dr. Kathryn Railly, prominent psychiatrist and author. Authorities confirm that Dr. Railly has been abducted by escaped mental patient, James Cole. The two are believed to be traveling in Railly's 1992 black Acura, license plate H - E - A - D - D - R.</dialogue> <scene_description>RAILLY glances at him , sees he 's in pain . She feels so badly for him . She wants to help him . She says , tenderly .</scene_description> <character>RAILLY</character> <dialogue>This ca n't go on, James. You're not well. You're burning with fever.</dialogue> <scene_description>COLE , refusing to succumb , instead , leans over to check the gas gauge .</scene_description> <character>COLE</character> <dialogue>We need gas.</dialogue> <character>RAILLY</character> <dialogue>I thought you did n't know how to drive.</dialogue> <character>COLE</character> <dialogue>I said I was too young to drive. I did n't say I was stupid.</dialogue> <character>RAILLY</character> <dialogue>What's the matter with your leg?</dialogue> <character>COLE</character> <dialogue>I got shot. Look - there's a gas station up ahead.</dialogue> <character>RAILLY</character> <dialogue>Shot! Who shot you?</dialogue> <character>COLE</character> <dialogue>It was some kind of. war. Never mind, you would n't believe me. Turn off here.</dialogue> </scene> <scene> <stage_direction>INT. PARKED FORD/GAS STATION - MINUTES LATER (AFTERNOON)</stage_direction> <scene_description>The GAS STATION ATTENDANT checks the oil while COLE and RAILLY remain in the car . She 's pulling a gas card from her wallet .</scene_description> <character>COLE</character> <dialogue>You were going to run out off gas on purpose, were n't you?</dialogue> <character>RAILLY</character> <dialogue>No. I want you to turn yourself in, James - It'll go much better for you if you do - but I'm not going to trick you.</dialogue> <character>COLE</character> <parenthetical>( sees the credit card . )</parenthetical> <dialogue>That has your name on it. Give him cash.</dialogue> <scene_description>RAILLY puts the card back into her wallet and pulls out cash as the GAS STATION ATTENDANT slams the hood down . RAILLY starts opening the door . Alarmed , COLE tries to stop her .</scene_description> <character>COLE</character> <dialogue>Where are you going?</dialogue> <scene_description>She looks him in the eye , then indicates the tiny Convenience Store appended to the Gas Station .</scene_description> <character>RAILLY</character> <dialogue>You can come with me. I have to get some things. Scissors, bandages, some alcohol or whiskey. I have to look at your leg, James. I'm a doctor.</dialogue> <scene_description>COLE looks helpless , hesitant . She 's in charge . for the moment .</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING/WOODS - AN HOUR LATER (AFTERNOON)</stage_direction> <scene_description>The sun dazzles through the canopy of leaves . We HEAR the CAR RADIO but not the engine .</scene_description> <character>RADIO ANNOUNCER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Meanwhile in Fresno, where mining engineers continue their desperate attempt to sink a shaft parallel to the ant in which nine year old.</dialogue> <scene_description>COLE , in his underwear , leans back on a large rock beside the Ford , his pants hanging on the car 's open door . He 's staring up at the sun and the sky . RAILLY finishes bandaging his thigh .</scene_description> <character>RAILLY</character> <dialogue>You should n't put your weight on it. You need stitches and antibiotics. Lucky for you it was near the surface.</dialogue> <scene_description>RAILLY wraps the bullet in some gauze and sticks it in her pocket while COLE continues staring up at the sky .</scene_description> <character>COLE</character> <dialogue>I love seeing the sun.</dialogue> <scene_description>A beat . COLE tries to stand up .</scene_description> <character>RAILLY</character> <dialogue>Wait - let me help you.</dialogue> <scene_description>RAILLY puts an arm around him and helps him to his feet . A beat . They 're very close . They do n't move . RAILLY looks like she can barely breathe .</scene_description> <character>COLE</character> <parenthetical>( leans closer , shuts his eyes . )</parenthetical> <dialogue>You smell so good.</dialogue> <character>RAILLY</character> <parenthetical>( trying to concentrate . )</parenthetical> <dialogue>You have to give yourself up, you know.</dialogue> <scene_description>A beat . The spell is broken . He reaches for his pants , then turns back to her , suddenly grim .</scene_description> <character>COLE</character> <dialogue>I have to do something now. Something I do n't want to do. I'm so sorry.</dialogue> <scene_description>RAILLY reacts , sudden fear in her eyes . He looms over her . He 's cold now , steeled .</scene_description> <character>COLE</character> <dialogue>I have a mission. It's important.</dialogue> <scene_description>RAILLY steps back . horrified , realizing she 's going to die .</scene_description> </scene> <scene> <stage_direction>EXT. MASON MANSION - NIGHT</stage_direction> <scene_description>A SECRET SERVICE AGENT ambles vigilantly among the rows of luxury cars parked beside the brightly - lit rural mansion . Encountering another AGENT , he pauses .</scene_description> <character>FIRST AGENT</character> <dialogue>They find him?</dialogue> <character>SECOND AGENT</character> <dialogue>Who?</dialogue> <character>FIRST AGENT</character> <dialogue>That kid. The one in the pipe.</dialogue> <character>SECOND AGENT</character> <dialogue>You believe this? They're dropping a monkey down there with a miniature infra - red camera strapped on him and a roast beef sandwich wrapped in tinfoil.</dialogue> <character>FIRST AGENT</character> <dialogue>You're making that up!</dialogue> <scene_description>ANGLE UNDER A PARKED MERCEDES , where COLE is hiding , listening to the receding VOICES of the AGENTS .</scene_description> <character>SECOND AGENT</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I shit you not. Man, life is weird! A monkey and a sandwich. Wonder who thought that one up.</dialogue> <character>FIRST AGENT</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Probly give the sonafabitch a Nobel Prize!</dialogue> <scene_description>Quickly , COLE rolls to the next car and under it . He does n't see . the pistol fell out of his pocket , under the Mercedes .</scene_description> </scene> <scene> <stage_direction>INT. MASON MANSION/DINING ROOM - NIGHT</stage_direction> <scene_description>A formal dinner for forty . Desert has been served . DR. MALCOLM MASON rises to the enthusiastic applause of the GUESTS .</scene_description> <character>DR. MASON</character> <dialogue>Would that I could enjoy this opulent dinner and this excellent and stimulating company for itself, with no sense of purpose. But alas, I am `` burdened'' with the sense that with all this excess of public attention and this cacophony of praise, there comes great responsibility. Indeed, I practically feel a soapbox growing under my feet whenever I stand for more than a few seconds.</dialogue> <scene_description>While GUESTS laugh at DR. MASON 'S last remark , SECRET SERVICE AGENT # 3 enters the room , scowling , looking for someone .</scene_description> <character>DR. MASON</character> <parenthetical>( o.s . )</parenthetical> <dialogue>The dangers of science are a time worn threat, from Prometheus stealing fire from the Gods to the Cold War era of the Dr. Strangelove Terror.</dialogue> <scene_description>AGENT # 3 spots who he 's looking for . JEFFREY MASON !</scene_description> <character>DR. MASON</character> <parenthetical>( cont . )</parenthetical> <dialogue>But never before, not even at Los Alamos when the scientists made bets on whether their first atomic bomb test would wipe out New Mexico, has science given us so much reason to fear the power we have at hand.</dialogue> <scene_description>ANGLE ON JEFFREY , as AGENT # 3 whispers in his ear .</scene_description> <character>JEFFREY</character> <dialogue>What are you talking about? What friend? I'm not expecting anyone.</dialogue> <scene_description>ANGLE ON DR. MASON , reacting with irritation to the disturbance .</scene_description> <character>DR. MASON</character> <dialogue>Current genetic engineering as well as my own work with viruses has presented us with powers as terrifying as any.</dialogue> <scene_description>ANGLE ON JEFFREY , following the AGENT out of the dining room , grumbling loudly enough to disturb his father 's audience .</scene_description> <character>JEFFREY</character> <dialogue>This is ridiculous. My father is making a major address.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY/MASON MANSION</stage_direction> <scene_description>The conversation continues as JEFFREY and AGENT # 3 enter the hall .</scene_description> <character>AGENT #3</character> <dialogue>Normally if we caught a guy sneaking around like this with no I.D., we'd bust his ass, excuse the French, but this one said he knows you.</dialogue> <parenthetical>( smirk , smirk . )</parenthetical> <dialogue>- and, since you seem to have had some. uh. unusual. uh. `` associates'', we certainly did n't want to arrest one of your, uh, closest. pals.</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY/MASON MANSION</stage_direction> <scene_description>COLE , smudged with dirt and car grease , sitting in the shadows in a wingback chair , looks up as JEFFREY and AGENT # 3 enter the room . A FOURTH AGENT looms beside the wingback chair .</scene_description> <character>JEFFREY</character> <parenthetical>( dismissing Cole casually . )</parenthetical> <dialogue>Never saw him before in my life. Go ahead and shoot him or torture him or whatever it is you do.</dialogue> <character>COLE</character> <parenthetical>( rising . )</parenthetical> <dialogue>You do know me. You helped me once.</dialogue> <character>JEFFREY</character> <parenthetical>( turning to leave . )</parenthetical> <dialogue>That would be totally out of character. Helping people is against my principles.</dialogue> <parenthetical>( to the Agents . )</parenthetical> <dialogue>See, he definitely does n't know me. Now, I'm going to go back and listen to my father's very eloquent discourse on the perils of science WHILE YOU TORTURE THIS INTRUDER TO DEATH.</dialogue> <character>COLE</character> <dialogue>I'm here about some monkeys.</dialogue> <scene_description>Halfway out the door , JEFFREY freezes . A beat .</scene_description> <character>JEFFREY</character> <dialogue>Excuse me - what did you say?</dialogue> <character>COLE</character> <dialogue>Monkeys. Twelve of them.</dialogue> <scene_description>JEFFREY frowns , turns , considers COLE . Then , suddenly , JEFFREY rushes to COLE and embraces him .</scene_description> <character>JEFFREY</character> <dialogue>Arnold. Arnold.</dialogue> <scene_description>COLE is astonished . The AGENTS are , too .</scene_description> <character>JEFFREY</character> <parenthetical>( stepping back . )</parenthetical> <dialogue>My God, Arnie, what's happened to you? You look like shit</dialogue> <character>AGENT #3</character> <parenthetical>( dubious . )</parenthetical> <dialogue>You know this man?</dialogue> <character>JEFFREY</character> <dialogue>Of course I know him. What do you think - I act like this to strangers? Listen - you fellas are terrific. I thought you were pulling a number on me. What a terrible thing if you'd thrown old Arnie out. I owe you guys the big apologia! Mea culpa, fellas.</dialogue> <parenthetical>( turning to Cole . )</parenthetical> <dialogue>Christ, Arnie, it's black tie! I mean, I said, `` drop by,'' but, like, this is Dad's big `` do''. vips, senators, secret service, and. and everything.</dialogue> <scene_description>JEFFREY throws an arm around COLE 'S shoulder and starts leading him toward the door as the two AGENTS exchange narrow - eyed looks .</scene_description> <character>AGENT #4</character> <dialogue>`` Arnie?''</dialogue> <character>JEFFREY</character> <dialogue>Arnold Pettibone. Old Arnie Pettibone. Used to be my best friend. Still is. What've you lost, Arnie - forty pounds? No wonder I did n't know you. You hungry? Lots of dead cow, dead lamb, dead pig. Real killer feast we're putting on tonight.</dialogue> <scene_description>The AGENTS watch JEFFREY lead the limping , disheveled COLE out .</scene_description> <character>AGENT #4</character> <dialogue>These people - all of'em - are true weirdoes!</dialogue> <character>AGENT #3</character> <parenthetical>( moving to the phone . )</parenthetical> <dialogue>I'm gon na call in a description of this `` Pettibone'' character. You go keep an eye on him. Make sure he does n't do one of the guests with a fork.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY/MASON MANSION</stage_direction> <scene_description>GUESTS pouring from the dining room into the hall meet JEFFREY and a very disconcerted COLE .</scene_description> <character>JEFFREY</character> <dialogue>Hey, nice ta see ya. Lookin' good! Hi, there. Yes, it has been a long time.</dialogue> <scene_description>In the b.g. , too far away to hear them , AGENT # 4 trails JEFFREY and COLE as they maneuver through the GUESTS toward the grand staircase .</scene_description> <character>JEFFREY</character> <parenthetical>( whispers to Cole . )</parenthetical> <dialogue>County Hospital, right? 1989. The `` Immaculate Escape'' - am I right?</dialogue> <parenthetical>( smiling to guests . )</parenthetical> <dialogue>Why, thank you - you look wonderful, too.</dialogue> <character>COLE</character> <dialogue>Listen to me - I ca n't do anything about what you're going to do. I ca n't change anything. I ca n't stop you. I just want some information.</dialogue> <character>JEFFREY</character> <dialogue>We need to talk. Come on. Upstairs.</dialogue> <parenthetical>( to a guest . )</parenthetical> <dialogue>I am a new person! I'm completely adjusted. Witness the tux. It's Armani.</dialogue> <parenthetical>( whispers to Cole . )</parenthetical> <dialogue>Who chattered? Goines? Weller?</dialogue> <character>COLE</character> <dialogue>I just need to have access to the pure virus, that's all! For the future!</dialogue> <scene_description>JEFFREY studies COLE . COLE does n't just talk crazy . He looks crazy !</scene_description> <character>JEFFREY</character> <dialogue>Come on, follow me. You do n't lock so good.</dialogue> <scene_description>JEFFREY starts guiding COLE up the grand staircase as COLE , glancing back , spots AGENT # 3 and AGENT # 4 , both keeping an eye on him now .</scene_description> <character>COLE</character> <dialogue>I do n't have time to go upstairs. The police are looking for me. I need to know where it is and exactly what it is.</dialogue> <character>JEFFREY</character> <parenthetical>( brightening suddenly . )</parenthetical> <dialogue>I get it! This is your old plan, right?</dialogue> <character>COLE</character> <dialogue>Plan? What are you talking about?</dialogue> <character>JEFFREY</character> <dialogue>Remember? We were in the dayroom, watching TV, and you were all upset about the. desecration of the planet. And you said to me, `` Would n't it be great if there was a germ or a virus that could wipe out mankind and leave the plants and animals just as they are?'' You do remember that, do n't you?</dialogue> <character>COLE</character> <dialogue>Bulishit! You're fucking with my head!</dialogue> <character>JEFFREY</character> <dialogue>And that's when I told you my father was this famous virologist and you said, `` Hey, he could make a germ and we could steal it!''</dialogue> <character>COLE</character> <parenthetical>( grabbing Jeffrey . )</parenthetical> <dialogue>Listen, you dumb fuck! The thing mutates We live underground! The world belongs to the fucking dogs and cats. We're like moles or worms. All we want to do is study the original.</dialogue> <character>AGENT #4'S VOICE</character> <dialogue>Okay - take it easy. We know who you are, Mr. Cole.</dialogue> <scene_description>COLE feels a firm grip on his shoulder , turns and sees AGERT # 4</scene_description> <character>AGENT #4</character> <dialogue>Let's go somewhere and talk this thing over. Okay? Just come with me.</dialogue> <character>JEFFREY</character> <dialogue>You're right! Absolutely right. Me's a nut case, totally deranged. Delusional! Paranoid. HIS PROCESSOR'S ALL FUCKED UP, HIS INFORMATION TRAY IS JAMMED.</dialogue> <scene_description>AGENT # 4 is wishing JEFFREY would chill out even as the THIRD AGENT is climbing up the staircase to help . COLE is like a trapped animal . He 's being led down the staircase now with JEFFREY , right on his heels , yelling so EVERYONE can hear .</scene_description> <character>JEFFREY</character> <dialogue>YOU KNOW WHAT IT IS, THE `` ARMY OF THE TWELVE MONKEYS''? IT'S A COLLECTION OF NATURE KOOKS WHO RUN A STORE DOWNTOWN. SPACE - CASE DO - GOODERS SAVING RAIN FORESTS. I HAVE NOTHING TO DO WITH THOSE BOZOS ANYMORE. I QUIT BEING THE RICH KID FALL GUY FOR A BUNCH OF INEFFECTUAL BANANAS. SO MUCH FOR YOUR GRAND PLOT!</dialogue> <scene_description>COLE stares back at JEFFREY as both AGENTS hustle COLE down the stairs . It sounds true ! JEFFREY 'S so confident .</scene_description> <character>AGENT #3</character> <dialogue>Take it easy, Mr. Mason, we've got him. Everything's.</dialogue> <character>JEFFREY</character> <dialogue>MY FATHER HAS BEEN WARNING PEOPLE ABOUT THE DANGERS OF EXPERIMENTATION WITH VIRUSES AND DNA FOR YEARS. YOU'VE `` PROCESSED'' THAT INFORMATION THROUGH YOUR ADDLED PARANOID INFRA - STRUCTURE AND LO AND BEHOLD, I'M FRANKENSTEIN AND THE `` ARMY OF THE TWELVE MONKEYS'' BECOMES SOME SORT OF SINISTER REVOLUTIONARY CABAL. THIS MAN IS TOTALLY BATSHIT! YOU KNOW WHERE HE THINKS HE COMES FROM?</dialogue> <scene_description>Suddenly , COLE , catching the AGENTS by surprise , wrenches free , shoves them aside , and stumbles down the rest of the staircase .</scene_description> </scene> <scene> <stage_direction>INT. FOYER/MASON MANSION</stage_direction> <scene_description>COLE heads for the front door , but there 's an AGENT there ! COLE turns and limps madly toward the dining room , pushing his way through the crowd of amazed GUESTS .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM/MASON MANSION</stage_direction> <scene_description>SERVANTS , clearing the table , look up astonished as two AGENTS burst into the room .</scene_description> <character>AGENT #4</character> <dialogue>Did a man just come through here. limping?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN/MASON MANSION</stage_direction> <scene_description>COOKS stare , amazed , as two OTHER AGENTS burst into the kitchen and look about urgently .</scene_description> </scene> <scene> <stage_direction>INT. DEN/MASON MANSION</stage_direction> <scene_description>A large projection TV is on and a knot of GUESTS is gathered in front of it . watching the spooky VIDEO IMAGES .</scene_description> <character>TV REPORTER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>These pictures we are seeing are coming to us live from deep inside the pipe. You can just make out the metal wall behind those roots and I guess those must be spider webs.</dialogue> <scene_description>MRS. McCANN , a guest , watching the TV , expresses concern .</scene_description> <character>MRS. McCANN</character> <dialogue>Well, if you ask me, I think that monkey is going to eat the sandwich himself.</dialogue> <scene_description>Just then , two AGENTS burst into the den . The GUESTS turn from the TV , startled , stare open - mouthed , but the AGENTS have spotted an open window and are hurrying to it . AGENTS POV OUT THE WINDOW : the rows of expensive parked CARS . ON THE TV SCREEN , RAILLY 'S photograph appears .</scene_description> <character>TV ANCHOR</character> <parenthetical>( v.o . )</parenthetical> <dialogue>This just in : Police say that the body of a woman found strangled in the Knutson state Park could be kidnap victim, Dr. Kathryn Railly.</dialogue> <scene_description>As the AGENTS run out of the room , a photo of RAILLY 'S abandoned Acura comes up on the TV screen .</scene_description> <character>TV ANCHOR</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Earlier in the day, police located Railly's abandoned car not far from a building where three animal rights activists were found bound and gagged.</dialogue> </scene> <scene> <stage_direction>EXT. MASON MANSION - MINUTES LATER (NIGHT)</stage_direction> <scene_description>Pistols drawn , AGENTS move cautiously among the rows of parked luxury cars , checking inside and under the vehicles .</scene_description> <character>AN AGENT'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>COME ON OUT, MR COLE - WE'RE NOT GOING TO HURT YOU.</dialogue> </scene> <scene> <stage_direction>INT. PARKED GREEN JAGUAR</stage_direction> <scene_description>COLE , scrunched down on the floor next to the driver 's seat , spots the key dangling from the ignition , then lifts his head slightly to study the shift mechanism , trying to figure it out .</scene_description> </scene> <scene> <stage_direction>EXT. PARKED CARS/MASON MANSION</stage_direction> <scene_description>AGENTS continue to move cautiously among the parked cars .</scene_description> </scene> <scene> <stage_direction>INT. PARKED GREEN JAGUAR</stage_direction> <scene_description>COLE eases himself into the driver 's seat , tentatively slides the shift into `` Drive '' , then turns the key . Nothing happens . Panic . COLE studies the shift again .</scene_description> </scene> <scene> <stage_direction>EXT. PARKED CARS/MANSION</stage_direction> <scene_description>AGENT # 5 approaches the row where the Jaguar is parked .</scene_description> </scene> <scene> <stage_direction>INT. PARKED GREEN JAGUAR</stage_direction> <scene_description>COLE slides the shift from D -LRB- Drive -RRB- to N -LRB- Neutral -RRB- . He twists the key again . The engine ROARS . SEVEN THOUSAND RPM !</scene_description> </scene> <scene> <stage_direction>EXT. LAWN/MANSION</stage_direction> <scene_description>AGENT # 5 whirls at the sound . SMASH . The JAGUAR clips the Mercedes parked in front of it and accelerates right at him ! AGENT # 5 dives aside just as the speeding JAGUAR whizzes past him , slams into a parked Cadillac , bounces off , grinds between two other parked vehicles with a fierce scream of tearing metal .</scene_description> </scene> <scene> <stage_direction>INT. MOVING JAGUAR</stage_direction> <scene_description>Caught between two cars , COLE can only lean on the gas pedal . The JAGUAR comes free with a great SCCCREEEEECH . COLE sees the driveway ahead in the moonlight . Steering madly , he plows through shrubs and gardens heading for the driveway .</scene_description> </scene> <scene> <stage_direction>EXT. MASON MANSION - NIGHT</stage_direction> <scene_description>Lights off , veering wildly , the JAGUAR reaches the driveway . AGENTS are leaping into cars and a HELICOPTER is coming to life , its rotors whipping around .</scene_description> </scene> <scene> <stage_direction>INT. SPEEDING JAGUAR/OUTERHRIDGE?OAD - NIGHT</stage_direction> <scene_description>COLE turns onto the road , careening crazily from one side to the other , unable to see ahead with no headlights .</scene_description> <character>COLE</character> <dialogue>LIGHTS! LIGHTS!</dialogue> <scene_description>He starts hitting switches . The wipers come on , the RADIO BLARES .</scene_description> <character>RADIO REPORTER'S VOICE/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>- when they pulled the monkey out, it was still clutching the tinfoil wrapped sandwich.</dialogue> <scene_description>Rounding a bend , an ONCOMING CAR heads straight at COLE . COLE yanks the wheel as the OTHER CAR , horn BLARING , just misses him . Recovering , COLE loses the road , speeds crazily along the shoulder .</scene_description> </scene> <scene> <stage_direction>INT. FLYING HELICOPTER - NIGHT</stage_direction> <scene_description>The PILOT , an agent , steers the chopper while the CO - PILOT pans a spotlight over the two lane road beneath them . Just then , the PILOT sees headlights below .</scene_description> <character>PILOT</character> <dialogue>There! He's showing lights.</dialogue> </scene> <scene> <stage_direction>INT. SPEEDING JAGUAR - NIGHT</stage_direction> <scene_description>COLE can see the road now in his headlights as the windshield wipers scrape frantically and the RADIO BLARES .</scene_description> <character>RADIO REPORTER'S VOICE/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>We do n't know what to think. They did n't locate him and they do n't know how much longer he can last, that's assuming the boy is still alive.</dialogue> <scene_description>A spotlight hits the car and COLE hears the sound of the HELICOPTER as it lowers over him !</scene_description> </scene> <scene> <stage_direction>EXT. OUTERBRIDGE ROAD</stage_direction> <scene_description>The HELICOPTER maneuvers over the speeding JAGUAR .</scene_description> </scene> <scene> <stage_direction>INT. SPEEDING JAGUAR</stage_direction> <scene_description>COLE can see the underbelly of the HELICOPTER a few feet above his front windshield . Desperate , he yanks the wheel hard , veering off the road . COLE 'S POV THROUGH THE WINDSHIELD : dense woods ahead .</scene_description> </scene> <scene> <stage_direction>EXT. HELICOPTER/WOODS</stage_direction> <scene_description>The chopper pulls up sharply , avoiding the trees , then levels out .</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER</stage_direction> <scene_description>The PILOT skims the top of the trees while the CO - PILOT rakes the forest below with his spotlight .</scene_description> <character>PILOT</character> <dialogue>Goddamnit! Where is he?</dialogue> <scene_description>The CO - PILOT gets a brief glimpse of headlights through the leaves .</scene_description> <character>CO-PILOT</character> <dialogue>There! Over there.</dialogue> <character>PILOT</character> <dialogue>Where?</dialogue> <character>CO-PILOT</character> <dialogue>Eight o'clock! He was right there.</dialogue> <scene_description>The headlights are gone . Nothing but darkness below .</scene_description> <character>PILOT</character> <dialogue>He musta turned his lights of if.</dialogue> <character>CO-PILOT</character> <dialogue>Could n't drive down there without lights. We just ca n't see'em.</dialogue> <character>PILOT</character> <dialogue>Maybe he's not driving!</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - LATER (NIGHT)</stage_direction> <scene_description>A weather forecast BLARES from the radio of the steaming Jaguar , crumpled into a tree , the driver 's door open . A POLICE OFFICER , pistol drawn , approaches the car cautiously , as OTHER OFFICERS and AGENTS stay behind trees , weapons ready . The POLICE OFFICER lunges forward , pointing his weapon into the Jaguar . He inspects the car , then turns and calls out .</scene_description> <character>POLICE OFFICER</character> <dialogue>He's not in here.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS/CLEARING - NIGHT</stage_direction> <scene_description>Limping , bleeding from various cuts , COLE CRASHES through underbrush as he follows a stream through the woods . Suddenly , he sees what he 's looking for . The FORD . barely visible in the moonlight , parked in the trees beside the stream . The car looks empty .</scene_description> </scene> <scene> <stage_direction>INT. TRUNK/FORD</stage_direction> <scene_description>Total blackness ! The sound of keys in the lock . Then , the trunk swings open and COLE stands in the moonlight , looking down RAILLY is in the trunk , tears of rage and frustration in her eyes .</scene_description> <character>RAILLY</character> <dialogue>You bastard! You total bastard!</dialogue> </scene> <scene> <stage_direction>EXT. FORD</stage_direction> <scene_description>COLE backs away , as RAILLY scrambles out of the trunk , swinging . He slips , falls , and she starts kicking him as she rants hysterically .</scene_description> <character>RAILLY</character> <dialogue>I could have died in there. If something had happened to you I would have died.</dialogue> <scene_description>COLE is lying on the ground , looking up , his lip caked with blood .</scene_description> <character>COLE</character> <dialogue>I. I. I'm really sorry.</dialogue> <scene_description>Noticing his cuts and torn clothes , she stops kicking him .</scene_description> <character>RAILLY</character> <dialogue>What have you done? Did you. kill someone?</dialogue> <character>COLE</character> <parenthetical>( getting to his feet . )</parenthetical> <dialogue>No! I. do n't think so. I stole a car and they chased me. I hit a tree.</dialogue> <character>RAILLY</character> <dialogue>See - you can drive after all!</dialogue> <character>COLE</character> <dialogue>Yeah, sort of, I guess. I. I'm sorry I locked you up. I thought. I thought. I think maybe I am crazy!</dialogue> <scene_description>She looks at him . Breakthrough ? Very calm now , the doctor .</scene_description> <character>RAILLY</character> <dialogue>What made you think that?</dialogue> <character>COLE</character> <dialogue>Jeffrey Mason said it was my idea about the virus. And suddenly, I was n't sure. We talked when I was in the institution, and it was all. fuzzy. The drugs and stuff.</dialogue> <parenthetical>( horrified . )</parenthetical> <dialogue>You think maybe I'm the one who wiped out the human race? It was my idea?</dialogue> <character>RAILLY</character> <dialogue>Nobody is going to wipe out the human race. Not you or Jeffrey or anybody else. You've created something in your mind, James - a substitute reality. In order to avoid something you do n't want to face.</dialogue> <character>COLE</character> <dialogue>I'm. `` mentally divergent''. I would love to believe that.</dialogue> <character>RAILLY</character> <dialogue>It can be dealt with, but only if you want to. I can help you.</dialogue> <scene_description>COLE reacts to the sound of VOICES in the woods , dogs BARKING .</scene_description> <character>COLE</character> <dialogue>I need help all right. They're coming after me.</dialogue> <character>RAILLY</character> <dialogue>First, it's important that you surrender to them instead of them catching you running. Okay?</dialogue> <character>COLE</character> <parenthetical>( brightening . )</parenthetical> <dialogue>It would be great if I'm crazy. If I'm wrong about everything. the world will be okay. I'll never have to live underground.</dialogue> <character>RAILLY</character> <dialogue>Give me the gun.</dialogue> <character>COLE</character> <dialogue>The gun! I lost it</dialogue> <character>RAILLY</character> <dialogue>You're sure?</dialogue> <character>COLE</character> <parenthetical>( showing her . )</parenthetical> <dialogue>No gun!</dialogue> <parenthetical>( looking up . )</parenthetical> <dialogue>Stars! Air! I can live here. Breathe!</dialogue> <scene_description>RAILLY starts around to the front of the car .</scene_description> <character>RAILLY</character> <dialogue>I'm going to attract their attention, let them know where we are, okay?</dialogue> <scene_description>RAILLY gets in the driver 's seat . and starts to HONK the horn .</scene_description> <character>RAILLY</character> <parenthetical>( calling out . )</parenthetical> <dialogue>They'll tell you to put your hands on top of your head. Do what they tell you. You're going to get better, James - I know it!</dialogue> <scene_description>ANGLE ON COLE , spotting something on the ground . An insect ! He reaches down to grab it , but , instead , grins , grabs some grass , stands , and starts rubbing it happily all over his face . The HORN BLARES as COLE looks up at the sky . ANGLE ON THE NIGHT SKY , the moon full , the sky rich with stars . ANGLE ON COLE , tears of joy running down his face .</scene_description> <character>COLE</character> <dialogue>I love this world!</dialogue> <scene_description>ANGLE ON RAILLY , in the driver 's seat , hearing near - by SHOUTS from the woods . The police are almost here . She gets out of the car , starts around toward COLE .</scene_description> <character>RAILLY</character> <dialogue>Remember, I'm going to help you. I'll stay with you. I wo n't let them.</dialogue> <scene_description>She breaks off mid - sentence . stares , stunned ! COLE is gone . Disappeared .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION OFFICE - MORNING</stage_direction> <scene_description>RAILLY is being `` debriefed '' by POLICE OFFICERS and FBI AGENTS .</scene_description> <character>RAILLY</character> <dialogue>Then I said something to him about cooperating and he said he would do that, so I got in the car and started honking the horn. When I got out, he was gone.</dialogue> <character>LIEUTENANT HALPERIN</character> <dialogue>You lucked out. For a while we thought you were a body they found down state. mutilated.</dialogue> <scene_description>A COP enters , hands a photo to LIEUTENANT HALPERIN who studies it .</scene_description> <character>RAILLY</character> <dialogue>He would n't do something like that - he.</dialogue> <character>LIEUTENANT RALPERIN</character> <parenthetical>( interrupts , hands her the photo . )</parenthetical> <dialogue>This the man he attacked?</dialogue> <scene_description>RAILLY looks at the photo , an 8 x 10 of the FIRST THUG , slumped against the alley wall , obviously dead .</scene_description> <character>RAILLY</character> <dialogue>I'd like to be clear about this. That man and the other one were. `` severely'' beating us. James Cole did n't start it. In fact - he saved me!</dialogue> <character>LIEUTENANT RALPERIN</character> <dialogue>Funny thing, Doctor, maybe you can explain it to me, you being a psychiatrist - why do kidnap victims almost always try to tell us about the guys who grabbed'em and try to make us understand how kind these bastards really were?</dialogue> <character>RAILLY</character> <parenthetical>( as if reciting . )</parenthetical> <dialogue>It's a normal reaction to a life - threatening situation.</dialogue> <parenthetical>( suddenly animated . )</parenthetical> <dialogue>He's sick. He thinks he comes from the future. He's been living in a carefully constructed fantasy world and that world is starting to disintegrate. He needs help!</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT CONCOURSE/THE DREAM</stage_direction> <scene_description>YOUNG COLE stares , eyes wide . He sees the BRUNETTE , cradling the head of the BLONDE MAN as he sprawls on the concourse .</scene_description> <character>ASTROPHYSICIST'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Wake up! Wake up!</dialogue> <character>GEOLOGIST'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I think we gave him too much.</dialogue> <character>MICROBIOLOGIST'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>WAKE UP, PRISONER!</dialogue> </scene> <scene> <stage_direction>INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT</stage_direction> <scene_description>COLE blinks awake . All he can see are blurry faces hovering over him , hammering him with questions .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>Come on, Cole, cooperate!</dialogue> <character>GEOLOGIST</character> <dialogue>Spit it out. you went to the home of a famous virologist.</dialogue> <character>COLE</character> <parenthetical>( weakly . )</parenthetical> <dialogue>You. do n't. exist! You're in my mind.</dialogue> <character>SCIENTISTS</character> <parenthetical>( IN RAPID SUCCESSION . )</parenthetical> <dialogue>What? What's that? What did he say? His brain's fried. Give him another shot! SPEAK UP, COLE. WHAT DID YOU DO NEXT?</dialogue> </scene> <scene> <stage_direction>INT. RAILLY'S APARTMENT - EVENING</stage_direction> <scene_description>The TV shows film of RAILLY leaving the police station .</scene_description> <character>TV REPORTER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>The kidnap victim seemed exhausted but apparently unharmed by her 30 hour ordeal as she left the police station in Philadelphia this morning. So far she has refused to make a public statement.</dialogue> <scene_description>RAILLY 'S friends , MARILOU and WAYNE , are watching the TV . A door opens and KATHRYN RAILLY , wearing a robe , comes out of her bedroom . She still looks exhausted Followed by her cat , she enters the kitchen area and turns on the kettle as WAYNE hastily turns down the TV .</scene_description> <character>WAYNE</character> <dialogue>Sorry.</dialogue> <character>RAILLY</character> <dialogue>No - I'm in a state of hyper - alertness. I ca n't sleep.</dialogue> <character>MARILOU</character> <dialogue>Did you take the sedative?</dialogue> <character>RAILLY</character> <dialogue>I hate those things. They mess my head up.</dialogue> <scene_description>The old mug shot of COLE appears on the screen and RAILLY remotes the volume up .</scene_description> <character>TV REPORTER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Along with the kidnapping of the Baltimore woman, James Cole is now also wanted in connection with the brutal slaying of Rodney Wiggins, an ex - convict from.</dialogue> <scene_description>RAILLY goes to the window , pushes aside the drape , and sees . HER POV : ACROSS THE STREET . A COP keeps watch .</scene_description> <character>RAILLY</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Do they really expect him to come here?</dialogue> <scene_description>RAILLY returns to the kitchen area where MARILOU is getting the tea things out .</scene_description> <character>TV REPORTER on air</character> <dialogue>And in Fresno, California.</dialogue> <character>RAILLY</character> <parenthetical>( glances sadly toward the TV . )</parenthetical> <dialogue>He's dead, is n't he - that little boy?</dialogue> <character>WAYNE</character> <dialogue>He's fine. It was just a `` prank'' he and his friends pulled.</dialogue> <scene_description>CLOSE ON RAILLY 'S FACE . SHOCKED . ANGLE ON THE TV SCREEN , showing footage of a sheepish nine year old boy being led out of a barn by the police . The cops look grim .</scene_description> <character>TV REPORTER</character> <parenthetical>( v.o . )</parenthetical> <dialogue>Authorities have so far been noncommittal about whether they will try to file charges against the families of the children involved in the hoax.</dialogue> <scene_description>RAILLY stares at the TV , stunned .</scene_description> </scene> <scene> <stage_direction>INT. "HOSPITAL" ROOM - ETERNAL NIGHT</stage_direction> <scene_description>VOICES ! SINGING ! COLE blinks awake , looks around , confused , then stares in disbelief . Crowded around COLE 'S bed , the SCIENTISTS are concluding a ragged , out of tune , rendition of `` BLUEBERRY HILL . ''</scene_description> <character>SCIENTISTS</character> <dialogue>- found my thrills on Blueberry Hill.</dialogue> <scene_description>Seeing he 's awake , SCIENTISTS break off the song and applaud .</scene_description> <character>SCIENTISTS</character> <dialogue>Well done, James! Well done! Nice going! Congratulations! Good for you!</dialogue> <character>BOTANIST</character> <dialogue>During your `` interview,'' while you were. `` under the influence,'' you told us you liked music!</dialogue> <scene_description>COLE , confused , looks around , sees he 's in a one - bed windowless room adorned with cheap reproductions of 19th and 20th century landscapes . The BOTANIST responds to COLE 'S obvious disbelief with a friendly smile and the others join in rapid fire , overlapping .</scene_description> <character>ZOOLOGIST</character> <dialogue>This is n't the prison, James.</dialogue> <character>BOTANIST</character> <dialogue>This is a hospital.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>But just until you recover your, uh,. equilibrium.</dialogue> <character>ENGINEER</character> <dialogue>You're still a little. disoriented.</dialogue> <character>GEOLOGIST</character> <dialogue>Stress! Time travel!</dialogue> <character>ASTROPHYSICIST</character> <dialogue>You stood up very well, considering.</dialogue> <character>GEOLOGIST</character> <dialogue>Superior work! Superior!</dialogue> <character>BOTANIST</character> <dialogue>You connected the Army of the 12 Monkeys to a world famous virologist and his son.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>Others will take over now.</dialogue> <character>ZOOLOGIST</character> <dialogue>We'll be back on the surface in a matter of months.</dialogue> <character>GEOLOGIST</character> <dialogue>We'll retake the planet.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>We're very close! Because of you!</dialogue> <character>ENGINEER</character> <parenthetical>( unrolling a document . )</parenthetical> <dialogue>This is it, James. what you've been working for.</dialogue> <character>BOTANIST</character> <dialogue>A full pardon!</dialogue> <character>MICROBIOLOGIST</character> <dialogue>You'll be out of here in no time.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>Women will want to get to know you.</dialogue> <character>COLE</character> <dialogue>I DO N'T WANT YOUR `` WOMEN,'' YOU BRAINLESS TWIT! I WANT TO BE WELL!</dialogue> <scene_description>Unseen until now , two guards , TINY and SCARFACE , suddenly break through the ring of SCIENTISTS , push COLE down , and tighten the loose restraints , already in place , but unnoticed before .</scene_description> <character>ASTROPHYSICIST</character> <parenthetical>( sympathetically . )</parenthetical> <dialogue>Of course you want to be well, James. And you will be. soon.</dialogue> <scene_description>COLE bursts into hysterical laughter .</scene_description> <character>COLE</character> <dialogue>YOU DO N'T EXIST, YOU SILLY BOZOS! YOU'RE NOT REAL! HA HA HA! PEOPLE DO N'T TRAVEL IN TIME! YOU ARE N'T HERE. MADE YOU UP! YOU CA N'T TRICK ME! YOU'RE IN MY MIND! I'M INSANE AND YOU'RE MY INSANITY!</dialogue> </scene> <scene> <stage_direction>INT. PSYCHIATRIST'S OFFICE - DAY</stage_direction> <scene_description>CLOSE ON KATHRYN RAILLY , insisting fiercely to someone ,</scene_description> <character>RAILLY</character> <dialogue>He not only used the word `` prank'' - he said the boy was hiding in a barn.</dialogue> <scene_description>RAILLY 's talking to her former boss , DR. OWEN FLETCHER , psychiatrist sitting across from her in his office , tapping his pen .</scene_description> <character>DR. FLETCHER</character> <dialogue>He kidnapped you, Kathryn. You saw him murder someone. You knew there was a real possibility he would kill you, too. You were under tremendous emotional stress.</dialogue> <character>RAILLY</character> <dialogue>For God sakes, Owen, listen to me - he knew about the boy in Fresno and he says three billion people are going to die!</dialogue> <character>DR. FLETCHER</character> <dialogue>Kathryn, you know he ca n't possibly know that. You're a rational person. You're a trained psychiatrist. You know the difference between what's real and what's not.</dialogue> <character>RAILLY</character> <dialogue>And what we believe is what's accepted as `` truth'' now, is n't it, Owen? Psychiatry - it's the latest religion. And we're the priests - we decide what's right and what's wrong - we decide who's crazy and who is n't. I'm in trouble, Owen. I'm losing my faith.</dialogue> </scene> <scene> <stage_direction>INT. "HOSPITAL" CELL - ETERNAL NIGHT</stage_direction> <scene_description>Alone in his `` hospital '' room , COLE struggles without success to free himself from his restraints .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You sure fucked up, Bob!</dialogue> <scene_description>Startled , COLE freezes , then ignores the RASPY VOICE and continues his feverish struggle .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>But I can understand you do n't want your mistakes pointed out to you. I can relate to that, old Bob.</dialogue> <scene_description>COLE looks around in spite of himself . Nothing to see but the walls and the landscape paintings .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Hey, I know what you're thinking. You're thinking I do n't exist except in your head. I can see that point of view. But you could still talk to me, could n't you? Carry on a decent conversation?</dialogue> <character>COLE</character> <parenthetical>( blurting . )</parenthetical> <dialogue>I saw you! In 1995! In the real world! You were a bum! You pulled out your teeth.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Why would I pull out my teeth, Bob? They do n't like that. That's a no - no. And when did you say you saw me? In. 1872?</dialogue> <character>COLE</character> <dialogue>FUCK YOU!</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Yelling wo n't get you what you want. You have to be smart to get what you want.</dialogue> <character>COLE</character> <dialogue>Oh, yeah? What do I want?</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You do n't know what you want? Sure you do, Bob. You know what you want.</dialogue> <scene_description>COLE , agitated , rocks back and forth . Then .</scene_description> <character>COLE</character> <dialogue>Tell me. Tell me what I want.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>To see the sky - and the ocean - to be topside - breathe the air - to be with her. Is n't that right? Is n't that what you want?</dialogue> <scene_description>Completely shaken , COLE hesitates for a long moment . When he speaks , it comes out of him like air . a whisper .</scene_description> <character>COLE</character> <dialogue>More. than. anything.</dialogue> </scene> <scene> <stage_direction>INT. RAILLY'S BEDROOM - MORNING</stage_direction> <scene_description>RAILLY 'S in bed , asleep , having a very bad dream . Suddenly , the bedside phone RINGS . Her eyes snap open . A beat to orient herself . RING . She reaches for the phone . INTERCUT LIEUTENANT HALPERIN 'S OFFICE/RAILLY 'S BEDROOM CLOSE ON HALPERIN , at his desk , talking into the phone .</scene_description> <character>LIEUTENANT HALPERIN</character> <dialogue>Dr. Railly? Jim Halperin, Philly P.D. Sorry to call so early but.</dialogue> <scene_description>CLOSE ON RAILLY , eager , concerned . into the phone ,</scene_description> <character>RAILLY</character> <dialogue>You found him? Is he all right?</dialogue> <scene_description>CLOSE ON HALPEPIN , noting her reaction with raised eyebrows giving an `` I told you so '' look to the BLACK PLAINCLOTHES cop across his desk , then continuing into the phone ,</scene_description> <character>LIEUTENANT HALPERIN</character> <dialogue>Au contraire, Doctor. No sign of your good friend, the kidnapper. However, the plot thickens. I have a ballistic report on my desk that says the bullet you claim you removed from Mr. Cole's thigh is an antique. and all indications are it was fired. sometime prior to 1920.</dialogue> <scene_description>ANGLE ON RAILLY , reacting , stunned . ANGLE ON HALPERIN , continuing soberly now ,</scene_description> <character>LIEUTENANT RALPERIN</character> <dialogue>So what I was thinking was, maybe if I sent a detective down there to talk with you, you could maybe revise or amplify on the circumstances. Hello? Hello? Dr. Railly?</dialogue> <scene_description>HALPERIN considers the dead phone , glances at the COP again .</scene_description> </scene> <scene> <stage_direction>INT. RAILLY'S BEDROOM/STUDY</stage_direction> <scene_description>Her hand still on the receiver , RAILLY looks shocked . Then , she hurries into her study and starts frantically pulling neatly arranged piles of papers and books from a bookcase until she finds a copy of her book . She leafs through it hurriedly , locates the picture of the Puerto Rican KID -LRB- JOSE -RRB- in WWI . Peering closely , she tries to see everything in the picture . Then , she turns and reaches for a research folder of old photographs and rummages through it until she finds !</scene_description> <character>RAILLY</character> <dialogue>No!</dialogue> <scene_description>It 's an uncropped shot of JOSE being carried on the stretcher in the trenches . And there in the corner with no helmet , no gas mask , and just a bit of bare shoulder showing . it 's COLE !</scene_description> </scene> <scene> <stage_direction>INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT</stage_direction> <scene_description>Clean shaven , clear eyed , COLE sits before the frowning SCIENTISTS .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>The food, the sky, the certain, uh, sexual temptations - you have n't become `` addicted'' have you, Cole? To that `` dying'' world'</dialogue> <character>COLE</character> <dialogue>No, sir! I just want to do my part. To get us back on top. in charge of the planet. And I have the experience, I know who the people are.</dialogue> <character>BIOLOGIST</character> <dialogue>He really is the most qualified.</dialogue> <character>GEOLOGIST</character> <dialogue>But all that. `` behavior''.</dialogue> <character>ASTROPHYSICIST</character> <parenthetical>( to Cole , a little hurt . )</parenthetical> <dialogue>You said we were n't `` real,'' Cole.</dialogue> <character>COLE</character> <dialogue>Well, sir, I do n't think the human mind was built to exist in two different. whatever you call it. `` dimensions.'' It's stressful, you said it yourselves, it gets you confused. You do n't know what's real and what's not.</dialogue> <character>MICROBIOLOGIST</character> <dialogue>But you know what's real now?</dialogue> <character>COLE</character> <dialogue>Yes, sir.</dialogue> <scene_description>The SCIENTISTS start to confer openly among themselves</scene_description> <character>GEOLOGIST</character> <dialogue>He'd have to bone up, catch up to our research, the latest clues.</dialogue> <character>ZOOLOGIST</character> <dialogue>He's proved to be a quick study.</dialogue> <scene_description>The ASTROPHYSICIST fixes COLE with a sharp , penetrating look .</scene_description> <character>ASTROPHYSICIST</character> <dialogue>You ca n't trick us, you know. It would n't work.</dialogue> <character>BIOLOGIST</character> <dialogue>And why would you want to? It'll be dangerously close to the end.</dialogue> <character>COLE</character> <dialogue>I understand. There'd be no point.</dialogue> <character>ASTROPHYSICIST</character> <dialogue>We're going to think about it, Cole. Among ourselves. We'll get back to you.</dialogue> </scene> <scene> <stage_direction>INT. DR. MASON'S OFFICE - DAY</stage_direction> <scene_description>Standing in front of a wall of glass in his office , overlooking a hi - tech lab below where WORKERS in white `` space suits '' work methodically , DR. MASON speaks angrily into a phone . His male ASSISTANT , whose features we do n't see , stops writing a formula on a blackboard and listens .</scene_description> <character>DR. MASON</character> <dialogue>You have reason to believe that my son may be planning to do what?!</dialogue> </scene> <scene> <stage_direction>INT. RAILLY'S APARTMENT/STUDY</stage_direction> <scene_description>RAILLY , trying to stay calm , is talking to Dr. Mason on the phone .</scene_description> <character>RAILLY</character> <dialogue>Please, I know it sounds insane but.</dialogue> </scene> <scene> <stage_direction>INT. DR. MASON'S OFFICE</stage_direction> <scene_description>Dr. Mason on the phone .</scene_description> <character>DR. MASON</character> <parenthetical>( into the phone . )</parenthetical> <dialogue>I'm afraid this does n't seem very professional to me, in fact it's distressingly unprofessional for some - one who treated my son briefly.</dialogue> <parenthetical>( if indeed you actually are who you say you are . )</parenthetical> <dialogue>to take a sudden unsolicited interest in his mental health six years later, and to telephone a parent to express opinions that would be inappropriate.</dialogue> <parenthetical>( breaks off , listens , then . )</parenthetical> <dialogue>I do n't know anything about `` Monkey armies'', Doctor. Nothing whatsoever. If my son ever was involved in.</dialogue> <parenthetical>( listens , then , . )</parenthetical> <dialogue>It would be doubly inappropriate to discuss matters of security with you, Dr. Railly, but if it will put you at ease, neither my son nor any other unauthorized person has access to any potentially dangerous organisms in this laboratory. Thank you for your concern.</dialogue> <scene_description>DR. MASON hangs up angrily and glares .</scene_description> <character>DR. MASON'S ASSISTANT</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Dr. `` Kathryn'' Railly?</dialogue> <character>DR. MASON</character> <dialogue>The psychiatrist who was kidnapped by that man who broke into my house. She seems to have been suddenly struck by the most preposterous notion about Jeffrey.</dialogue> <character>DR. MASON'S ASSISTANT</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I attended a lecture once. Apocalyptic visions.</dialogue> <scene_description>We see Dr. Mason 's ASSISTANT now . It 's DR. PETERS , the red - haired man who insisted to Dr. Railly you did n't have to be insane to think the world was coming to an end .</scene_description> <character>DR. PETERS</character> <parenthetical>( cont . )</parenthetical> <dialogue>Has she succumbed to her own theoretical. `` disease''?</dialogue> <scene_description>But DR. MASON is lost in thought , not listening .</scene_description> <character>DR. MASON</character> <dialogue>Given the nature of our work, we ca n't ever be careful enough. I think we should review our security procedures, perhaps upgrade them.</dialogue> </scene> <scene> <stage_direction>INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT</stage_direction> <scene_description>COLE is facing the BOTANIST who 's using a pointer to indicate various fading photos and newspaper clippings tacked on the wall .</scene_description> <character>BOTANIST</character> <dialogue>Let's consider again our current information - if the symptoms were first detected in Philadelphia on June 28, 1995, that makes us know that?</dialogue> <character>COLE</character> <dialogue>It was released in Philadelphia, probably on June 14, 1995.</dialogue> <character>BOTANIST</character> <dialogue>And it appeared sequentially after that in?</dialogue> <scene_description>With a quick glance at the panel of SCIENTISTS staring at him from behind the long table , COLE replies like a good pupil ,</scene_description> <character>COLE</character> <dialogue>San Francisco, New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, then Peking.</dialogue> <character>BOTANIST</character> <dialogue>Meaning??</dialogue> <character>COLE</character> <dialogue>That the virus was taken from Philadelphia to San Francisco, then to New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, then Peking.</dialogue> <character>BOTANIST</character> <dialogue>And your only goal is??</dialogue> <character>COLE</character> <dialogue>To find out where the virus is so a qualified scientist can travel back into the past and study the original virus.</dialogue> <character>BOTANIST</character> <dialogue>So that??</dialogue> <character>COLE</character> <dialogue>Uh, so that a vaccine can be developed that will, uh, allow mankind to reclaim the surface of the earth.</dialogue> <scene_description>COLE glances nervously at the suspicious SCIENTISTS as the BOTANIST switches on a slide projector and projects . a magazine photo of wall graffiti : `` ATTENTION ! POLICE ARE WATCHING ! IS THERE A VIRUS ? IS THIS THE SOURCE ? 3 BILLION DIE ? ''</scene_description> <character>BOTANIST</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This is from a magazine printed in late September, 1995. The writer speculated that this graffiti might be related to the epidemic that by that time had already killed thirty million people world - wide and was getting worse. He says, certain people, unnamed, were questioned, but what came of that is not known. But it is a clue you should pursue.</dialogue> <scene_description>COLE stares at the picture .</scene_description> </scene> <scene> <stage_direction>EXT. FAA STOREFRONT - DAY</stage_direction> <scene_description>LOUD BANGING ! The storefront window , completely covered with posters , quivers violently . Images of MONKEYS covered with electrodes , BABY SEALS being viciously clubbed , DOGS jammed into tiny cages quiver as somebody beats on the window . It 's RAILLY .</scene_description> <character>RAILLY</character> <dialogue>IS ANYBODY IN THERE? HELLO? IS SOMEONE IN THERE? IF YOU'RE IN THERE, I NEED TO TALK TO YOU.</dialogue> </scene> <scene> <stage_direction>INT. FAA STORE</stage_direction> <scene_description>JEFFREY , BEN , TEDDY , and two of JEFFREY 'S youthful cohorts , SANDY and KWESKIN , wait motionless beside a heap of cardboard cartons as FALE peeks out the front window through a slit between posters .</scene_description> <character>FALE</character> <dialogue>It's the kidnap woman - the one who was with the guy who tied us up.</dialogue> <character>BEN</character> <dialogue>What's she doing?</dialogue> <character>FALE</character> <dialogue>She's drawing attention to us, that's what she's doing. I do n't know what you're up to this time, Mason, but you're gon na get us in deep shit!</dialogue> <character>JEFFREY</character> <dialogue>Whine, whine, whine. What about walkie talkies? We used to have walkie talkies.</dialogue> </scene> <scene> <stage_direction>EXT. FAA STOREFRONT</stage_direction> <scene_description>From littered doorways , DERELICTS sneak peeks at RAILLY as she , seemingly mad , shakes the doorknob , then hammers on the door .</scene_description> <character>RAILLY</character> <dialogue>I SAW YOU! I SAW SOMEONE MOVING. I KNOW YOU'RE IN THERE!</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Secret experiments!</dialogue> <scene_description>RAILLY whirls , sees LOUIE , the raspy - voiced toothless derelict .</scene_description> <character>LOUIE</character> <dialogue>That's what they do - secret weird stuff!</dialogue> <character>RAILLY</character> <dialogue>You! I know you!</dialogue> <scene_description>But LOUIE is studying the pictures of the tortured animals now .</scene_description> <character>LOUIE</character> <dialogue>Not just on them. Do'em on people, too - down at the shelters. Feed'em chemicals'n take pictures of'em.</dialogue> <character>RAILLY</character> <dialogue>Have you seen James Cole? The man?</dialogue> <character>LOUIE</character> <dialogue>They're watchin' you. Takin' pictures.</dialogue> <scene_description>RAILLY follows his look . ANGLE ON AN OLD CHEVY , parked across the street , the PLAINCLOTHES COP slouched at the wheel , pretending to read a newspaper .</scene_description> <character>RAILLY</character> <dialogue>The police. I know. Listen, I need to talk to James, but he has to be careful how he contacts me. He must n't get caught. Do you understand me?</dialogue> <character>LOUIS</character> <dialogue>Uh, yeah, sure. Uh. who's James?</dialogue> <character>RAILLY</character> <dialogue>He was with me, he spoke to you. Several weeks ago. He said you were from the future. watching him.</dialogue> <scene_description>LOUIS gives her a look that says , `` I 'm outta here ! '' But just then , RAILLY spots two TEZNAGE PUNKS surreptitiously `` tagging '' their way along the street with cans of spray paint . RAILLY stares at the PUNKS .</scene_description> </scene> <scene> <stage_direction>INT. FAA STORE</stage_direction> <scene_description>FALE watches JEFFREY go over a check list while KWESKIN , SANDY , and TEDDY organize materials , and BEN peeks out the small opening between posters at the front window .</scene_description> <character>JEFFREY</character> <dialogue>You get the bolt cutters?</dialogue> <character>KWESKIN</character> <dialogue>One dozen. They're in the van.</dialogue> <character>FALE</character> <dialogue>One dozen bolt cutters! Whadda you gon na do with one dozen bolt cutters?</dialogue> <character>JEFFREY</character> <parenthetical>( grins . )</parenthetical> <dialogue>You really want to know?</dialogue> <character>FALE</character> <dialogue>No! Absolutely not. Do n't tell me anything.</dialogue> <character>BEN</character> <dialogue>Hey! Do you know what she's doing?</dialogue> <scene_description>Everybody freezes , looking toward 3EN , who 's peeking outside . Then , except for JEFFREY , they all crowd around BEN to get a look . POV THROUGH SLIT : a glimpse of RAILLY , spray painting the front of the store !</scene_description> <character>TEDDY</character> <dialogue>What's it say?</dialogue> <character>BEN</character> <dialogue>I ca n't see it.</dialogue> <character>JEFFREY</character> <parenthetical>( erupting . )</parenthetical> <dialogue>WHY DO N'T WE FORGET MY GODDAMN PSYCHIATRIST AND DEAL WITH THE TASK AT HAND. THIS IS IMPORTANT.</dialogue> <character>FALE</character> <parenthetical>( spinning around . )</parenthetical> <dialogue>Your psychiatrist? Did you just say, `` your psychiatrist''?</dialogue> <character>JEFFREY</character> <dialogue>Ex - psychiatrist! Now, what about flashlights? How many flashlights?</dialogue> <character>FALE</character> <dialogue>That woman is. was. your. psychiatrist? And now she's spray - painting our building?</dialogue> </scene> <scene> <stage_direction>EXT. FAA STOREFRONT/SECOND AVENUE</stage_direction> <scene_description>ANGLE ON SLACK PLAINCLOTHES COP , across the street in the CHEVY , amazed , watching RAILLY spray painting . He shakes his head wearily . ANGLZ ON STREET TYPES , inching closer , watching RAILLY with amazement , too . They include . an IRISH DRUNK , white haired , red - faced , bloated . a NATIVE AMERICAN with tormented eyes and a mangled ear . an AFRICAN AMERICAN with one eye . the TEENAGED PUNKS . a WHITE MAN , shabbily dressed , joining the knot of ONLOOKERS , reacting at the sight of RAILLY . It 's COLE ! He pushes toward her .</scene_description> <character>COLE</character> <dialogue>Kathryn!</dialogue> <scene_description>RAILLY stops spraying , whips around at the sound of his VOICE .</scene_description> <character>RAILLY</character> <dialogue>James!</dialogue> <scene_description>With a quick glance toward the PLAINCLOTHES COP , RAILLY takes urgent charge of the situation .</scene_description> <character>RAILLY</character> <dialogue>James! That's a policeman. Pretend you do n't know me. If he sees you.</dialogue> <character>COLE</character> <parenthetical>( turning , looking . )</parenthetical> <dialogue>No, I want to turn myself in. Where is he?</dialogue> <parenthetical>( placing his hands on his head . )</parenthetical> <dialogue>Do n't worry - it's all okay now. I'm not crazy any more! I mean, I am crazy, mentally divergent, actually, but I know it now and I want you to help me. I want to get well.</dialogue> <scene_description>ANGLE on RAILLY , desperately pulling COLE 'S hands off his head as she tries to block the COP 'S view of COLE .</scene_description> <character>RAILLY</character> <dialogue>James - put your hands down and listen to me. Things have changed!</dialogue> <scene_description>ANGLE ON THE PLAINCLOTHES COP , checking the mug shot of COLE on his clipboard , then reaching for his radio mike . ANGLE ON RAILLY , reacting to the COP speaking into his mike : she tosses the spray paint can aside , grabs COLE and tries to pull him along . but COLE is n't moving . He 's staring at the front of the FAA Store with disbelief !</scene_description> <character>RAILLY</character> <dialogue>James, come on! We have to get out of here!</dialogue> <scene_description>COLE looks from the wall to the can rolling on the sidewalk , then back to the wall where RAILLY has sprayed the huge words : ATTENTION ! POLICE ARE WATCHING ! IS THERE A VIRUS ? IS THIS THE SOURCE ? THREE BILLION DIE ? It 's the graffiti COLE saw in the future , in the picture !</scene_description> <character>COLE</character> <dialogue>I've seen that. before.</dialogue> <scene_description>But RAILLY 'S total attention is on their dilemma .</scene_description> <character>RAILLY</character> <dialogue>James, trust me. We're in terrible trouble. We have to run.</dialogue> <scene_description>Very confused , COLE lets her drag him along the sidewalk , past ONLOOKERS . She looks crazier than he does . ANGLE ON THE CHEVY , making a sudden , urgent u - turn , almost colliding with a passing car . BRAKES SQUEAL and a HORN BLARES .</scene_description> </scene> <scene> <stage_direction>INT. FAA STORE - DAY</stage_direction> <scene_description>ANGLE ON BEN , peeking out , reacting to the drama .</scene_description> <character>BEN</character> <dialogue>Wow, a guy in a Chevy is chasing her and some other guy I ca n't see.</dialogue> <character>FALE</character> <dialogue>Hey, no problem, it's probably just another kidnapping featuring Jeffrey's shrink, pardon me, make that ex - shrink.</dialogue> <parenthetical>( indicating Jeffrey to the others . )</parenthetical> <dialogue>This is your leader, a certifiable lunatic who told his former psychiatrist all his plans for God knows what whacko irresponsible schemes, and now who knows what she's painted out there on our wall?</dialogue> <character>JEFFREY</character> <dialogue>WHO CARES WHAT PSYCHIATRISTS WRITE ON WALLS?</dialogue> <parenthetical>( moves to Fale , jabs him with a finger . )</parenthetical> <dialogue>You think I told her about the Army of the 12 Monkeys? Impossible! Know why, you pathetically ineffectual and pusillanimous `` pretend - friend - to - animals''?! I'll tell you why : because when I had anything to do with her six years ago, there was no such thing - I had n't even thought of it yet!</dialogue> <character>FALE</character> <parenthetical>( triumphant . )</parenthetical> <dialogue>Then how come she knows what's going on?</dialogue> <scene_description>JEFFREY abruptly switches from rage to good humor , adopting a supercilious smile and a patronizing tone .</scene_description> <character>JEFFREY</character> <dialogue>Here's my theory on that. While I was institutionalized, my brain was studied exhaustively in the guise of mental health. I was interrogated, x - rayed, studied thoroughly. Then, everything about me was entered into a computer where they created a model of my mind.</dialogue> <scene_description>They all stare , mesmerized , at the strutting JEFFREY . Is he serious ? Is he crazy ? Does n't matter - he 's charismatic .</scene_description> <character>JEFFREY</character> <parenthetical>( cont . )</parenthetical> <dialogue>Then, using the computer model, they generated every thought I could possibly have in the next, say ten years, which they then filtered through a probability matrix to determine everything I was going to do in that period. So you see, she knew I was going to lead the Army of the Twelve Monkeys into the pages of history before it ever even occurred to me. She knows everything I'm ever going to do before I know it myself. How about that?</dialogue> <scene_description>JEFFREY smiles smugly into FALE 'S flabbergasted face .</scene_description> <character>JEFFREY</character> <dialogue>Now I have to get going - do my part. You guys check all this stuff out and load up the van. Make sure you have everything. I'm outta here.</dialogue> <scene_description>JEFFREY exits . The others stare at the door .</scene_description> <character>FALE</character> <dialogue>He's seriously crazy - you know that.</dialogue> </scene> <scene> <stage_direction>EXT. SKID ROW ALLEY - DAY</stage_direction> <scene_description>An overflowing dumpster squats near the mouth of an alley . The unmarked CHEVY crawls slowly past the alley , the PLAINCLOTHES COP 'S eyes searching everywhere . Trash stirs in the dumpster and RAILLY 'S eyes peer up out of the torn cardboard boxes , rotting food , and styrofoam litter . HER POV : the POLICE CAR passes from view . ANGLE ON RAILLY , emerging from the refuse , hissing ,</scene_description> <character>RAILLY</character> <dialogue>James! Come on.</dialogue> <scene_description>A confused COLE emerges from the opposite end of the dumpster , bits of lettuce in his hair .</scene_description> <character>COLE</character> <dialogue>I do n't understand what we're doing.</dialogue> <character>RAILLY</character> <parenthetical>( climbing out of the dumpster . )</parenthetical> <dialogue>We're avoiding the police until I can. talk to you.</dialogue> <character>COLE</character> <parenthetical>( climbing out after her . )</parenthetical> <dialogue>You mean, treat me? Cure me? Kathryn, those words on the wall - I've seen them before. I. I. dreamed them.</dialogue> <scene_description>But she 's not listening . She 's peeking out the alley entrance . RAILLY 'S POV : across the street is a run - down skid row hotel , THE GLOBE , ROOMS WEEKLY , DAILY .</scene_description> </scene> <scene> <stage_direction>INT. GLOBE HOTEL/LOBBY - MINUTES LATER</stage_direction> <scene_description>The DESK CLERK , an old alkie who hates trouble but finds it often , stares across the counter suspiciously at RAILLY and COLE .</scene_description> <character>DESK CLERK</character> <dialogue>Twenty five bucks an hour.</dialogue> <character>RAILLY</character> <dialogue>An hour?!</dialogue> <character>DESK CLERK</character> <dialogue>You want quarter hours, go someplace else.</dialogue> <character>RAILLY</character> <parenthetical>( catches on , pulls out her last bills . )</parenthetical> <dialogue>Here's ninety eight. For the night. Deal?</dialogue> <scene_description>The DESK CLERK squints warily at this turn of events . Then , he turns , gets a key , turns back and hands it to her .</scene_description> <character>DESK CLERK</character> <dialogue>Forty four. Fourth floor, turn right. Elevator's busted.</dialogue> <scene_description>RAILLY turns , COLE follows , and they walk quickly to the stairs passing the stares of gloomy RESIDENTS sitting on torn sofas chairs in front of an old TV with hideous color . ANGLE ON THE DESK CLERK , watching RAILLY and COLE climb stairs . As they disappear from view , he picks up the phone , punches a number , speaks into the phone .</scene_description> <character>DESK CLERK</character> <dialogue>Tommy? This is Charlie at the Globe. You know if Wallace has a new girl? Sort of a rookie type? Blonde?</dialogue> </scene> <scene> <stage_direction>INT. GLOBE HOTEL ROOM 44 - MINUTES LATER (DAY)</stage_direction> <scene_description>COLE sits on the lumpy bed in the dingy room , watching RAILLY pace back and forth like a mad woman .</scene_description> <character>RAILLY</character> <dialogue>Okay. you were standing there looking at the moon. you were eating grass. then what?</dialogue> <character>COLE</character> <dialogue>I thought I was in. prison again.</dialogue> <character>RAILLY</character> <dialogue>Just like that? You were in prison?</dialogue> <character>COLE</character> <dialogue>No, not really. It's. it's in my mind. Like you said.</dialogue> <character>RAILLY</character> <dialogue>You disappeared! One minute you were there, the next minute you were gone. Did you run through the woods?</dialogue> <character>COLE</character> <dialogue>I do n't know - I do n't remember.</dialogue> <character>RAILLY</character> <dialogue>The boy in the well. How did you know that was just a hoax?</dialogue> <character>COLE</character> <dialogue>It was? I did n't. know.</dialogue> <character>RAILLY</character> <dialogue>James, you said he was hiding in the barn.</dialogue> <character>COLE</character> <dialogue>I think I saw a TV show like that when I was a kid. Where a boy.</dialogue> <character>RAILLY</character> <dialogue>IT WAS N'T A TV SHOW! IT WAS REAL!</dialogue> <scene_description>COLE looks at her . She 's really upset .</scene_description> <character>COLE</character> <dialogue>Well, maybe that kid saw the same TV show and copied it. Listen, you were right, it's all in my head. I'm mentally ill, I imagine all that stuff. I know they're not real, I can trick them, make them do what I want. I just worked on them in my head and I got back here. I can get better. I can stay here.</dialogue> <scene_description>RAILLY pulls a photo from her purse , shows it to COLE . It 's the uncropped picture from her book , the photo of JOSE in WWI with a fuzzy image of COLE on the edge of the frame ,</scene_description> <character>RAILLY</character> <dialogue>What does this mean to you?</dialogue> <character>COLE</character> <dialogue>I had a dream about. something like that.</dialogue> <character>RAILLY</character> <dialogue>You had a bullet from World War One in your leg, James! How did it get there?</dialogue> <character>COLE</character> <dialogue>You said I had delusions - that I created a world - you said you could explain everything.</dialogue> <character>RAILLY</character> <dialogue>Well, I ca n't. I mean. I'm trying to. I ca n't believe that everything we do or say has already happened, that we ca n't change what's going to happen, that I'm one of the three billion people who are going to die. soon.</dialogue> <scene_description>COLE stands , moves close to her .</scene_description> <character>COLE</character> <dialogue>I want to be here. In this time. With you. I want to become. become a whole person. I want this to be the present. I want the future to be unknown.</dialogue> <character>RAILLY</character> <parenthetical>( sudden hopeful idea ! )</parenthetical> <dialogue>James. do you remember. six years ago. you had a phone number! You tried to call and.</dialogue> <scene_description>WHAM ! The door flies open , kicked violently , the flimsy lock not holding . A menacing figure stands in the doorway . WALLACE . A wiry biker - type with jail house tattoos and mean eyes . COLE and RAILLY are too stunned to say anything as WALLACE looks them over coldly , insolently , then advances on RAILLY .</scene_description> <character>WALLACE</character> <dialogue>This is my territory, bitch!</dialogue> <character>COLE</character> <parenthetical>( confused , turns to Railly . )</parenthetical> <dialogue>Is this real - or is this one of my delusions?</dialogue> <character>RAILLY</character> <dialogue>This is definitely real :.</dialogue> <parenthetical>( to Wallace . )</parenthetical> <dialogue>Excuse me, I think we have a little misunderstanding here.</dialogue> <scene_description>WALLACE smashes RAILLY in the face . She flies back against the wall and onto the floor as WALLACE spins around to COLE who is stepping toward him , but WALLACE is now holding a knife</scene_description> <character>WALLACE</character> <dialogue>What're you - some kind of tough guy? You wan na be a hero? You gon na try and mess with me? Come on.</dialogue> <scene_description>A beat . COLE puts his hands up placatingly as he backs around WALLACE and moves to RAILLY , whose eye is already swelling .</scene_description> <character>WALLACE</character> <dialogue>Now that's a smart boy. But you, honey, you think you can go ` round me and peddle your fancy ass in this part of town, you bet your life we got what I would call a major goddamn misunderstandin'.</dialogue> <scene_description>RAILLY reaches a hand up to COLE for assistance , but , he grabs her purse instead , swings it around , SMASHES WALLACE in the face with it , then grabs the pimp 's arm and SNAPS it like it was a twig ! The knife clatters to the floor as WALLACE yelps in pain and COLE slams him to the floor , straddles his chest , retrieves the near - by knife , and presses it sharply against WALLACE 'S neck .</scene_description> <character>RAILLY</character> <dialogue>JAMES - DO N'T!</dialogue> <scene_description>COLE hesitates .</scene_description> <character>WALLACE</character> <parenthetical>( eyes bulging . )</parenthetical> <dialogue>You. heard. her. Do n't do it, man.</dialogue> <character>RAILLY</character> <parenthetical>( gets up , looks around . )</parenthetical> <dialogue>Put him in the closet,. But get his money first.</dialogue> <character>COLE</character> <parenthetical>( amazed . )</parenthetical> <dialogue>You want me to rob him?</dialogue> <character>RAILLY</character> <dialogue>I. I. We need cash, James.</dialogue> <scene_description>A shadow . RAILLY turns toward the door and glimpses a FACE disappearing , then hears SHOUTS from the hallway .</scene_description> <character>SHOUTS</character> <parenthetical>( o.s . )</parenthetical> <dialogue>They're killing him! Call the cops.</dialogue> <scene_description>Being very careful not to move his neck , WALLACE reaches into his pocket and produces a thick roll of bills , which RAILLY grabs .</scene_description> <character>WALLACE</character> <dialogue>You two are crazy. I got friends. You put me in a closet, they're gon na be really pissed.</dialogue> <scene_description>COLE moves off Wallace and , keeping the knife close , yanks him to his teeth while RAILLY hurries to the window and looks out . HER POV : A fire escape leads down into an alley . RAILLY turns just in time to see COLE shove WALLACE into the bathroom , follow him in , slam the door behind them , and LOCK it .</scene_description> <character>RAILLY</character> <dialogue>James, no!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <character>RAILLY'S VOICE</character> <parenthetical>( from the other room . )</parenthetical> <parenthetical>( rattling the door knob . )</parenthetical> <dialogue>James, what are you doing?</dialogue> <scene_description>WALLACE cowers back against the shower stall .</scene_description> <character>WALLACE</character> <dialogue>I have friends, man - if you cut me.</dialogue> <scene_description>WALLACE breaks off , bug - eyed , reacting to something we do n't see !</scene_description> <character>WALLACE</character> <dialogue>What. the. fuck. are you doing?</dialogue> </scene> <scene> <stage_direction>INT. GLOBE MOTEL ROOM 44</stage_direction> <scene_description>RAILLY is pounding on the bathroom door now as , suddenly , it opens and COLE steps out , the knife in his right hand , dripping with blood .</scene_description> <character>RAILLY</character> <dialogue>Oh, my God, James. Did you kill him?</dialogue> <scene_description>COLE shakes his head `` no '' as blood oozes from his mouth .</scene_description> <character>COLE</character> <dialogue>Just. just in case. In case I'm not crazy.</dialogue> <parenthetical>( holds up two bloody molars . )</parenthetical> <dialogue>That's how they find us. By our teeth.</dialogue> <parenthetical>( a beat , eye contact . )</parenthetical> <dialogue>I do n't want them to find me. Ever. I do n't want to go back.</dialogue> <scene_description>RAILLY 's astonishment turns to emotion as it dawns on her the choice he 's made . Given up the future -LRB- if it exists , and it 's looking like it does -RRB- ! Risking his life to be with her ! For this brief time ! She 's overwhelmed , lips trembling , tears welling in her eyes . But just then , the SOUNDS of SHOUTS and feet THUNDERING up the stairs snap her back to reality .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL/GLOBE HOTEL</stage_direction> <scene_description>COPS ' boots THUNDER up the stairwell .</scene_description> </scene> <scene> <stage_direction>INT. ROOM 44/GLOBE HOTEL</stage_direction> <scene_description>In between nervous glances toward the door , RAILLY supervises as COLE obediently blocks the bathroom door with the bureau .</scene_description> <character>RAILLY</character> <dialogue>Push it tight!</dialogue> <character>WALLACE'S VOICE</character> <parenthetical>( from the bathroom . )</parenthetical> <dialogue>NO PROBLEM! I'LL JUST STAY IN HERE! DO N'T WORRY ABOUT ME.</dialogue> </scene> <scene> <stage_direction>INT. 4TH FLOOR HALLWAY/GLOBE HOTEL</stage_direction> <scene_description>POLICE OFFICERS , led by the PLAINCLOTHES COP , make a cautious entrance onto the 4th floor , guns drawn . Seedy HOTEL RESIDENTS point to Room 44 , then cower back into their doorways .</scene_description> </scene> <scene> <stage_direction>EXT. GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY</stage_direction> <scene_description>COLE and RAILLY clatter down the fire - escape , COLE in the lead . They come to the end of the metal stairway . It 's a long distance to the ground . COLE jumps down , turns , reaches up to her . She lets herself down to him . Their eyes meet . He holds her in his arms for a moment . Then , reluctantly , he puts her down . They start running down the alley .</scene_description> </scene> <scene> <stage_direction>INT. GLOBE HOTEL FOURTH FLOOR - DAY</stage_direction> <scene_description>The PLAINCLOTHES COP has his pistol out , his back to the wall alongside the open doorway to Room 44 . The UNIFORMED OFFICERS are backing him up , weapons drawn .</scene_description> <character>PLAINCLOTHES COP</character> <dialogue>POLICE! THROW YOUR WEAPONS OUT AND COME OUTTA THERE!</dialogue> <scene_description>No response .</scene_description> </scene> <scene> <stage_direction>INT. GLOBE HOTEL ROOM 44</stage_direction> <scene_description>The PLAINCLOTHES COP charges into the room in a crouch , pistol extended in both hands . He pans the gun around the empty room . HIS POV : the open window . the blood on the floor .</scene_description> <character>WALLACE'S VOICE</character> <parenthetical>( from the bathroom . )</parenthetical> <dialogue>HEY! ZAT THE POLICE! I'M AN INNOCENT VICTIM IN HERE! I WAS ATTACKED BY A COKED - UP WHORE AND A CRAZY DENTIST!</dialogue> </scene> <scene> <stage_direction>EXT. BUS STOP/DOWNTOWN - LATE AFTERNOON</stage_direction> <scene_description>A city bus disgorges a stream of PASSENGERS at a stop in the toney downtown shopping district . Among them , RAILLY looks furtively left and right , COLE on her heels . She 's hidden her bruised eye behind sun glasses ; he 's holding a bloody handkerchief to his mouth . As he steps to the sidewalk , COLE is overwhelmed by the bustling city , the tall downtown buildings . His eyes go up . COLE 'S POV : a building , towering toward the sky . A building with a ledge . The same ledge the lion prowled in the future ! ANGLE ON COLE , shaken , as RAILLY ushers him into the recessed entrance to a store .</scene_description> <character>RAILLY</character> <dialogue>Wait here. I'm going to try that phone number. Let's hope it's nothing!</dialogue> <scene_description>Dazed by his experience and the flow of SHOPPERS , COLE watches her hurry to a pay phone twenty yards away , his view of her made intermittent by PEDESTRIANS streaming past him , their FACES looming frighteningly close . A BUSINESSMAN jostles COLE , forcing him back against the display window . Turning , he faces the angry jaws of a BEAR only inches away Recovering from a jolt of terror , COLE realizes the BEAR is a life - size toy in the display window . Relieved , he looks back at RAILLY . COLE 'S POV : RAILLY , well out of earshot , speaking earnestly into the phone . ANGLE ON COLE , startled , as a BUSINESSMAN , mistaking him for a panhandler , shoves a dollar into his hand . Confused , COLE stares at the dollar , then turns to say something to the retreating BUSINESSMAN , but just then he sees RAILLY rushing toward him , eyes sparkling with happiness , LAUGHING , ebullient .</scene_description> <character>RAILLY</character> <dialogue>James! James! It's okay. We're insane! We're crazy!</dialogue> <scene_description>COLE does n't know how to respond , but a PASSERBY gives them a look .</scene_description> <character>RAILLY</character> <dialogue>It's a Carpet Cleaning Company.</dialogue> <character>COLE</character> <dialogue>A Carpet Cleaning Company?</dialogue> <character>RAILLY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>No superiors! No scientists. No people from the future. It's just a Carpet Cleaning Company. They have voice mail - you leave a message telling them when you want your carpet cleaned.</dialogue> <character>COLE</character> <dialogue>You. you left them a message?</dialogue> <character>RAILLY</character> <parenthetical>( impishly . )</parenthetical> <dialogue>I could n't resist. I was so relieved. Wait'll they hear this nutty woman telling them. they better watch out for the Army of the Twelve Monkeys.</dialogue> <scene_description>Looking at her laughing face , COLE is struck with horror as he realizes the truth ! He starts to recite .</scene_description> <character>COLE</character> <dialogue>`` The Army of the Twelve Monkeys - they're the ones who are going to do it. I ca n't do anything more. The police are watching me.''</dialogue> <scene_description>Now she 's stunned . She glances back and sees the phone booth twenty yards away .</scene_description> <character>RAILLY</character> <dialogue>You. you could n't have heard me.</dialogue> <character>COLE</character> <dialogue>They got your message, Kathryn. They played it for me. It was a bad recording. distorted. I did n't recognize your voice.</dialogue> <scene_description>RAILLY 'S eyes fill with horror as she grasps the meaning . ANGLE ON A UNIFORMED COP , staring out the window of a POLICE CRUISER as it inches along in the bumper to bumper traffic . Noticing something , he reaches for his radio . ANGLE ON RAILLY , spotting the CRUISER , grabbing COLE , pulling him into the CROWD .</scene_description> <character>RAILLY</character> <dialogue>Come on.</dialogue> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE/MEN'S DEPARTMENT - 6:00 PM</stage_direction> <scene_description>RAILLY , whose sun glasses do n't really hide her bruised eye , adds a man 's Hawaiian shirt to the pile of other men 's things heaped on a counter in front of a very suspicious CLERK .</scene_description> <character>RAILLY</character> <dialogue>And this.</dialogue> <parenthetical>( turning . )</parenthetical> <dialogue>Anything else?</dialogue> <scene_description>But COLE 'S not here . He 's a short distance away . staring . COLE 'S POV : aisle after aisle of eager shoppers and a bounty of brand new consumer goods . ANGLE ON COLE , remembering another department store , dark and full of moldering merchandise . ANGLE ON RAILLY , turning again to the CLERK .</scene_description> <character>RAILLY</character> <dialogue>I guess that's it.</dialogue> <character>CLERK</character> <dialogue>Shall I put this on your account, Ma'am?</dialogue> <character>RAILLY</character> <parenthetical>( producing Wallace 's roll of bills . )</parenthetical> <dialogue>No - I'll pay cash.</dialogue> <scene_description>The CLERK stares at the huge roll of bills !</scene_description> <character>RAILLY</character> <dialogue>What floor are the wigs on, please?</dialogue> </scene> <scene> <stage_direction>EXT. PEST CONTROL VAN - NIGHT</stage_direction> <scene_description>Surrounded by stripped and abandoned vehicles , the VAN , with a PEST CONTROL logo on its side , is parked on a trash - littered street beside the massive pillars of a towering freeway .</scene_description> </scene> <scene> <stage_direction>INT. PARKED PEST CONTROL VAN</stage_direction> <scene_description>The VAN is packed with SIX ACTIVISTS , SANDY and KWESKIN among them , all wearing black . Some of them have climbing gear , tool belts , all sorts of paraphernalia . KWESKIN is telling his story .</scene_description> <character>KWESKIN</character> <dialogue>So then he goes into this incredible riff about how his shrink, like, replicated his brain while he was in the nut house. Turned it into a computer.</dialogue> <character>WELLER</character> <dialogue>And Fale believed it?</dialogue> <character>KWESKIN</character> <dialogue>Oh, you know Fale! He's like, `` If you guys get nailed - and I'm sure you will - I never saw you before in nay life!''</dialogue> <scene_description>LAUGHTER from all of them . Then , there 's a sharp , rhythmic series of RAPS on the side door , a signal . POPE quickly slides the door open . It 's JEFFREY . grinning . Three other activists , GOINES , ICHIOKA , and BRUHNS , stagger out of the darkness behind JEFFREY , lugging a huge , squirming GARBAGE BAG . The van occupants react with murmurs of `` Awwwwwright '' and `` Far out '' , then they help maneuver the writhing bag into the van . Then , JEFFREY and the other three scramble in , too .</scene_description> <character>JEFFREY</character> <dialogue>Let's do it!</dialogue> </scene> <scene> <stage_direction>EXT. VAN/FREEWAY</stage_direction> <scene_description>The PEST CONTROL VAN lumbers up a ramp and onto the freeway .</scene_description> </scene> <scene> <stage_direction>INT. PEST CONTROL VAN/MOVING</stage_direction> <scene_description>The GARBAGE BAG squirms and grunts as JEFFREY holds a map under a flashlight and goes over `` the plan '' with the other ACTIVISTS .</scene_description> <character>JEFFREY</character> <dialogue>Okay, that's Stage One. In Stage Two, Monkey Four is over here.</dialogue> <scene_description>A loud GROAN from the bag distracts the others .</scene_description> <character>GOINES</character> <dialogue>What's the harm in opening the bag? His eyes are taped.</dialogue> <character>SANDY</character> <dialogue>Yeah, it's cruel leaving him like that.</dialogue> <character>JEFFREY</character> <dialogue>Ah, but cruelty is his specialty.</dialogue> <character>ICHIOKA</character> <dialogue>So why should we be like him?</dialogue> <scene_description>Shrugging cheerfully , JEFFREY tears open the garbage bag revealing DR. MASON , trussed up , duct tape covering his eyes and mouth .</scene_description> <character>JEFFREY</character> <dialogue>Want the full effect?</dialogue> <scene_description>Grinning wickedly , JEFFREY rips the tape from his father 's mouth .</scene_description> <character>DR. MASON</character> <dialogue>Jeffrey? I know it's you, Jeffrey. I recognize your voice.</dialogue> <scene_description>JEFFREY puts his finger to his lips , silencing everyone .</scene_description> <character>DR. MASON</character> <dialogue>JEFFREY? Very well. You're out of your mind, Jeffrey. I know all about your insane plan. That woman - your psychiatrist - she told me.</dialogue> <scene_description>JEFFREY raises his eyebrows . This he had n't expected .</scene_description> <character>DR. MASON</character> <dialogue>I did n't believe her - it seemed too crazy even for you. But, just in case, I took steps to make sure you could n't do it. I took myself out of the loop! I do n't have the code any more. I do n't have access to the virus. So, go ahead - torture me, but you ca n't extract anything of use to yourself.</dialogue> <scene_description>The ACTIVISTS are all exchanging puzzled looks .</scene_description> <character>JEFFREY</character> <dialogue>What. virus?</dialogue> <character>DR. MASON</character> <parenthetical>( spins his head toward Jeffrey . )</parenthetical> <dialogue>She knew about it, Jeffrey. She knew you were going to try this.</dialogue> <character>JEFFREY</character> <dialogue>What virus are we talking about, Dad?</dialogue> <character>DR. MASON</character> <dialogue>You're insane, Jeffrey.</dialogue> <character>JEFFREY</character> <dialogue>You `` develop'' viruses and you're calling me insane? Typical. What does this virus attack? Do n't tell me, you sick fuck, it does n't matter.</dialogue> <parenthetical>( to the others . )</parenthetical> <dialogue>Have I ever `` developed'' a virus? Do I put helpless animals in cages and measure their reactions to electrical stimuli? Do I inject radioactive substances into living creatures and examine their bowel movements? Wow! And I'm crazy!</dialogue> <character>DR. MASON</character> <dialogue>Please tell me, Jeffrey, what exactly are you going to do? I do n't have to tell you I'm afraid.</dialogue> <character>JEFFREY</character> <dialogue>THIS IS A FUCKING EXPERIMENT! YOU'RE OUR HELPLESS LITTLE TEST ANIMAL, DADDY. GOT THAT? NOW - WHAT FUCKING VIRUS HAVE YOU COME UP WITH, YOU DEMENTED FUCKING MANIAC?</dialogue> </scene> <scene> <stage_direction>INT. MOVIE SCREEN/THEATER - NIGHT</stage_direction> <scene_description>Spooky BERNARD HERRMAN MUSIC , giant redwoods looming skyward . It 's DAYTIME in Muir Woods . SCOTTY -LRB- JAMES STEWART -RRB- AND MADELINE -LRB- KIM NOVAK -RRB- walk toward a display of a cross cut section of a redwood tree . We 're watching Hitchcock 's VERTIGO .</scene_description> <character>SCOTTY</character> <parenthetical>( up on the screen . )</parenthetical> <dialogue>Here's a cross section of one of the old trees that's been cut down.</dialogue> <scene_description>They look at the lines of the tree marked with cards that say , `` BIRTH OF CHRIST '' , `` DISCOVERY OF AMERICA '' , `` MAGNA CARTA SIGNED '' , `` 1066 - BATTLE OF HASTINGS '' , and `` 1930 TREE CUT DOWN '' . ANGLE ON THE THEATER AUDIENCE , empty seats dimly visible in the flickering light , a few shadowy MOVIEGOERS scattered here and there . ANGLE ON THE SCREEN , MADELINE pointing , saying with profound melancholy .</scene_description> <character>MADELINE</character> <parenthetical>( up on the screen . )</parenthetical> <dialogue>Somewhere in here I was born. And here - I die. There's only a moment for you. You do n't notice.</dialogue> <scene_description>ANGLE ON THE AUDIENCE , a shadowy COUPLE near the back of the theater . WE CA N'T REALLY SEE THEM , but we recognize their VOICES</scene_description> <character>RAILLY</character> <dialogue>Here, let me help you.</dialogue> <scene_description>The theater is briefly illuminated by a very bright scene on the screen , revealing enough of COLE and RAILLY for us to see she 's doing something to his upper lip while he tries to watch the movie .</scene_description> <character>COLE</character> <dialogue>I think I've seen this movie before. When I was a kid. It was on TV.</dialogue> <character>RAILLY</character> <parenthetical>( fussing with his upper lip . )</parenthetical> <dialogue>Shh - do n't talk. Hold still.</dialogue> <character>COLE</character> <parenthetical>( moving his head to see the film . )</parenthetical> <dialogue>I have seen it, but I do n't remember this part. Funny, it's like what's happening to us, like the past. The movie never changes - it ca n't change - but everytime you see it, it seems to be different because you're different - you notice different things.</dialogue> <character>RAILLY</character> <dialogue>If we ca n't change anything. because it's already happened, then we ought to at least smell the flowers.</dialogue> <character>COLE</character> <dialogue>Flowers! What flowers?</dialogue> <scene_description>From the darkness , a MOVIE PATRON makes a SSSSHHHHH shound .</scene_description> <character>RAILLY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>It's an expression. Here.</dialogue> <scene_description>She 's pulling something from a shopping bag at her feet , placing it on COLE 'S head , adjusting it .</scene_description> <character>COLE</character> <dialogue>Why are we doing this?</dialogue> <character>RAILLY</character> <dialogue>So we can stick our heads out the window and feel the wind and listen to the music. So we can appreciate what we have while we have it. Forgive me, psychiatrists do n't cry.</dialogue> <scene_description>There are tears in her eyes . They discomfit COLE .</scene_description> <character>COLE</character> <dialogue>But maybe I'm wrong. Maybe you're wrong. Maybe we're both crazy.</dialogue> <character>RAILLY</character> <dialogue>In a few weeks, it will have started or it wo n't. If there are still baseball games and traffic jams, armed robberies and boring TV shows - we'll be so happy, we'll be glad to turn ourselves in to the police.</dialogue> <character>SHADOWY MOVIEGOER</character> <dialogue>SHHHHHHH</dialogue> <character>COLE</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Where can we hide for a few weeks?</dialogue> <scene_description>ANGLE ON THE SCREEN , where SCOTTY and MADELINE are in the foreground , the OCEAN behind them .</scene_description> <character>RAILLY</character> <dialogue>You said you'd never seen the ocean.</dialogue> </scene> <scene> <stage_direction>EXT. GORILLA'S PEN/ZOO - NIGHT</stage_direction> <scene_description>CLOSE ON A GORILLA , by moonlight , angry , a true nightmare vision . URGENT WHISPERS off screen , RUSTLING SOUNDS . Then , METAL ON METAL . Only now are we aware that the GORILLA is in an outdoor zoo pen with phony rocks . Stalking back and forth . Huge . Upset . CLANK . CLANK . METAL ON METAL . GRUNTS of effort , then , DR. MASON 'S VOICE , plaintive , frightened .</scene_description> <character>DR. MASON'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>What are you doing to me? Where are we? Jeffrey, please.</dialogue> <character>SANDY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>For God's sake, put the tape back on his mouth!</dialogue> <scene_description>The GORILLA bellows angrily , beating his chest .</scene_description> <character>JEFFREY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Forget the tape. The monkey's louder than he is. You gon na tape the monkey's mouth?</dialogue> </scene> <scene> <stage_direction>EXT. PANTHERS' PEN/ZOO - NIGHT</stage_direction> <scene_description>Under the full moon , PANTHERS pace back and forth , back and forth , uttering ominous guttural SNARLS .</scene_description> </scene> <scene> <stage_direction>EXT. LION'S PEN/ZOO</stage_direction> <scene_description>The KING OF BEASTS gives a deep , fierce ROAR . From the darkness , unseen ELEPHANTS TRUMPET their response .</scene_description> </scene> <scene> <stage_direction>EXT. AVIARIES/ZOO</stage_direction> <scene_description>A PANDEMONIUM of WINGS RUSTLING , the sharp metallic CLINKING of metal on metal , the MUTTER of HUMAN VOICES , then a cacophonous CRESCENDO of frenzied SCREECHING as PARROTS , COCKATOOS and other EXOTIC BIRDS careen madly in their cages .</scene_description> </scene> <scene> <stage_direction>INT. MOVIE THEATER AUDITORIUM</stage_direction> <scene_description>CLOSE ON COLE , dozing fitfully , as the SOUNDS of SCREAMING BIRDS continue . Suddenly , he comes awake with a start . sees the movie filling his field of vision . HIS POV : the MOVIE SCREEN . TIPPI HEDRIN , overwhelmed by screeching BIRDS in an attic in Hitchcock 's THE BIRDS . ANGLE ON COLE , orienting himself , looking around . Empty seats on both sides of him . He 's alone . He panics .</scene_description> <character>COLE</character> <dialogue>Kathryn?!</dialogue> </scene> <scene> <stage_direction>INT. THEATER LOBBY</stage_direction> <scene_description>A lobby poster boasts `` Classics 24 Hours A Day '' and `` Hitchcock Festival '' . PANNING OFF the poster , passing a SNORING USHER , dead to the world in an old velvet chair , WE DISCOVER a BRUNETTE in a tight dress , just hanging up the lobby pay phone . Turning , she reveals heavy make - up , gaudy costume jewelry , and sun glasses . She 's the BRUNETTE in COLE 'S DREAM ! Crossing the lobby toward the auditorium , it 's a pleasure to watch her nice body undulate in the tight dress . Just then , the auditorium doors burst open and a BLONDE MAN in a Hawaiian shirt appears , the man from COLE 'S DREAM , except this man 's moustache is fixed firmly on his upper lip . The BLONDE MAN stops , stunned at the sight of the BRUNETTE .</scene_description> <character>BRUNETTE</character> <dialogue>We're booked on a 9:30 flight to Key West.</dialogue> <scene_description>The Brunette is RAILLY , no longer the frazzled professional , revealed now by her disguise as a sexy babe . The Blonde Man is COLE ! He 's confused .</scene_description> <character>COLE</character> <dialogue>You were in my dream just now. I did n't recognize you.</dialogue> <character>RAILLY</character> <dialogue>Well, you look pretty different, too.</dialogue> <character>COLE</character> <dialogue>I mean in my dream - I did n't realize it was you. Then. I woke up and I. I thought you were gone.</dialogue> <character>RAILLY</character> <parenthetical>( studies him seriously . )</parenthetical> <dialogue>I remember you. like this. I feel I've known you before. I feel I've always known you.</dialogue> <scene_description>Their eyes lock . Suddenly , she backs up , gently maneuvering him with her , past the sleeping USHER , to and through an unlocked , unmarked door , then closing it behind them .</scene_description> </scene> <scene> <stage_direction>INT. STORAGE ROOM/MOVIE THEATER</stage_direction> <scene_description>RAILLY and COLE are in a dimly lit cluttered storage room . She kisses him hungrily amid the brooms , plastic trash barrels , other janitorial items . COLE responds to her passion as they move deeper into the room , its walls covered with old movie posters . Tearing at each other 's clothes , they collapse on a rolled theater curtain among stacks of ancient theater seats .</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBS - DAWN</stage_direction> <scene_description>The red rim of the rising sun is just becoming visible beyond the silhouetted roofs of an upper middle - class suburban neighborhood . The early light is so vague that when a huge SIBERIAN TIGER pads across a neatly - trimmed lawn , he 's more a shadowy vision than reality . Did we really see him at all ?</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - DAWN</stage_direction> <scene_description>The rising sun flares behind the towering silhouette of an unfinished building , deserted in the early morning light . High up , a MONKEY his head around a girder . Four stories below , other MONKEYS are climbing .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPPING MALL - DAWN</stage_direction> <scene_description>Deserted in the first light of dawn , the stores face each other across a broad promenade with blank staring windows . Nothing happens . For a long moment . Then , an AFRICAN BULL ELEPHANT appears , turning the corner , lumbering toward us along the promenade , raising his trunk to TRUMPET triumphantly to the other ELEPHANTS trotting into view behind him .</scene_description> </scene> <scene> <stage_direction>INT. TAXICAB/CITY STREETS - EARLY MORNING</stage_direction> <scene_description>A fiftyish WOMAN CABBIE with white hair and a Southern twang is at the wheel of the cab .</scene_description> <character>WOMAN CABBlE</character> <dialogue>What time's your flight, friends?</dialogue> <scene_description>In the back seat , COLE , in the blonde wig and moustache , looks to his companion , the sexy babe in sun glasses and heavy make - up , RAILLY .</scene_description> <character>RAILLY</character> <dialogue>Nine thirty</dialogue> <character>WOMAN CABBIE</character> <dialogue>Might be tight.</dialogue> <character>RAILLY</character> <parenthetical>( startled , checks her watch . )</parenthetical> <dialogue>Tight? My watch says 7:30.</dialogue> <character>WOMAN CABBIE</character> <dialogue>On your normal mornin', okay, plenty a time, but today, got ta take inta account your Army - of - the - Twelve - Monkeys factor.</dialogue> <character>RAILLY</character> <dialogue>What? What did you say?</dialogue> <character>WOMAN CABBIE</character> <dialogue>Twelve Monkeys, honey. Guess you folks did n't turn on your radio this morning.</dialogue> <scene_description>COLE and RAILLY exchange a quick look .</scene_description> <character>WOMAN CABBIE</character> <dialogue>Bunch a weirdoes let all the animals outta the zoo last night. Then they locked up this big shot scientist in one of the cages. Scientist's own kid was one a the ones did it!</dialogue> <scene_description>RAILLY and COLE stare at the cabbie , stunned .</scene_description> <character>WOMAN CABBlE</character> <dialogue>Now they got animals all over the place. Buncha zebras shut down the thruway ` bout an hour ago and some kinda thing called an `` e - mu'' it's got traffic blocked for miles over on 22.</dialogue> <scene_description>Flabbergasted , RAILLY 'S eyes suddenly fill with hope .</scene_description> <character>RAILLY</character> <dialogue>That's what they were up to! Freeing animals!</dialogue> <character>COLE</character> <dialogue>On the walls - they meant the animals when they said, `` We did it.''</dialogue> <character>WOMAN CABBIE</character> <dialogue>You can hear it on the radio all the stations.</dialogue> <scene_description>As the WOMAN CAEBIE switches on the RADIO , RA : LLY points and COLE follows her look . COLE 'S POV : two CHEETAHS , sleek and magnificent against the cityscape , streaking past the cab at ninety mph !</scene_description> <character>ANNOUNCER/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>In the meantime, numerous animal rights activists have joined the chorus condemning what they're calling the `` loose canon'' activities of Jeffrey Mason and his Army of the Twelve Monkeys.</dialogue> <character>RIGHTS ACTIVIST/RADIO</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Can these fools seriously believe that releasing a captive animal into an urban environment is being compassionate to the animal? It's mindlessly cruel, almost as indefensible as holding the animal in captivity in the first place.</dialogue> <scene_description>RAILLY and COLE are watching FLAMINGOS cross the sky against a backdrop of skyscrapers in silhouette .</scene_description> <character>RAILLY</character> <dialogue>Maybe it's going to be okay.</dialogue> </scene> <scene> <stage_direction>INT. TICKET COUNTER/AIRPORT TERMINAL - MORNING</stage_direction> <scene_description>CLOSY ON copies of the mug shot of COLE and a photo of RAILLY while the airport P.A. SYSTEM DRONES in the b.g . REVEAL a DETECTIVE , giving the flyers to the uniformed SUPERVISOR at one end of the ticket counter .</scene_description> <character>DETECTIVE</character> <dialogue>Tell your people if they spot either one of them, not to try and apprehend then. They should notify us and.</dialogue> <scene_description>ANGLE ON RAILLY AND COLE , thirty yards away , entering the terminal .</scene_description> <character>P.A. SYSTEM</character> <dialogue>- Flight 531 for Chicago is now ready for boarding at Gate Seventeen.</dialogue> <scene_description>ANGLE ON COLE , reacting to the P.A. , stopping , seeing the bustling airport lobby .</scene_description> <character>COLE</character> <dialogue>I know this place! This is my dream.</dialogue> <character>RAILLY</character> <dialogue>Airports all look the same. Maybe it's.</dialogue> <parenthetical>( turning , reacting . )</parenthetical> <dialogue>James! Your moustache! It's slipping.</dialogue> <scene_description>But COLE is n't listening . He 's looking around , mesmerized .</scene_description> <character>COLE</character> <dialogue>It's not just my dream. I was actually here! I remember now. My parents brought me to meet my uncle. About a week or two before. before. before everybody started dying.</dialogue> <scene_description>RAILLY glances around nervously . RAILLY 'S POV : two UNIFORMED POLICEMEN , strolling through the lobby , their eyes scanning the faces of TRAVELERS . ANGLE ON RAILLY , pulling a small tube from her purse .</scene_description> <character>RAILLY</character> <dialogue>They may be looking for us, James.</dialogue> <parenthetical>( placing the tube in his hand . )</parenthetical> <dialogue>Use this. You can fix it in the Men's Room.</dialogue> <character>COLE</character> <parenthetical>( confounded . )</parenthetical> <dialogue>I was here. as a kid. I think you were here, too. But you. looked just like you look now.</dialogue> <character>RAILLY</character> <parenthetical>( getting desperate . )</parenthetical> <dialogue>James, if we're identified, they're going to send us someplace. but not to Key West!</dialogue> <character>COLE</character> <parenthetical>( snaps out of it , hand to moustache . )</parenthetical> <dialogue>Right! You're right. I have to fix this.</dialogue> <character>RAILLY</character> <parenthetical>( indicating a sign . )</parenthetical> <dialogue>I'll get the tickets and meet you. in the Gift Shop.</dialogue> <scene_description>COLE follows her look , nods , then heads for the Men 's Room as RAILLY , in sun glasses , gaudy outfit , high heels , starts clip clopping toward the ticket counter , her ass attracting admiring glances .</scene_description> </scene> <scene> <stage_direction>INT. TELEPHONES/LOBBY - DAY</stage_direction> <scene_description>BUSINESS TRAVELERS huddle over pay phones , talking earnestly , as COLE walks past on his way to the Men 's Room . Seeing an unoccupied phone , COLE hesitates , considers it . Coming to a decision , he reaches into his pocket , pulls out some change .</scene_description> </scene> <scene> <stage_direction>INT. TZCKET COUNTER/TERMINAL</stage_direction> <scene_description>CLOSE ON the flyer of COLE and RAILLY taped under the counter , hidden from the customers , but in clear view of the TICKET AGENT who has just finished serving a PORTLY GENTLEMAN . The GENTLEMAN walks away . ANGLE ON RAILLY , stepping up to the counter , smiling , looking nothing like the Railly on the flyer .</scene_description> <character>RAILLY</character> <dialogue>Judy Simmons. I have reservations for Key West.</dialogue> </scene> <scene> <stage_direction>INT. PAY PHONES/TERMINAL</stage_direction> <scene_description>COLE is speaking into the phone very low , very private , very intense .</scene_description> <character>COLE</character> <dialogue>Listen, I do n't know whether you're there or not. Maybe you just clean carpets. If you do, you're lucky - you're gon na live a long, happy life. But if you other guys exist and you're picking this up - forget about the Army of The Twelve Monkeys - they did n't do it. It was a mistake' Someone else did it. The Army of The Twelve Monkeys are just dumb kids playing revolutionaries. It was someone else!</dialogue> <scene_description>COLE looks around nervously , catches a BUSINESSMAN at the next phone looking away quickly . COLE touches his loose moustache as he averts his face and speaks into the phone in an urgent whisper .</scene_description> <character>COLE</character> <dialogue>I've done my job. I did what you wanted. Good luck. I'm not coming back!</dialogue> <scene_description>COLE hangs up the phone , looks around , catches a few stares . Averting his face , he heads for the Men 's Room .</scene_description> </scene> <scene> <stage_direction>INT. TICKET COUNTER - DAY</stage_direction> <scene_description>The TICKET AGENT is counting out a stack of bills .</scene_description> <character>TICKET AGENT</character> <dialogue>Do n't see a lot of this. cash.</dialogue> <character>RAILLY</character> <dialogue>It's. a long story.</dialogue> <character>TICKET AGENT</character> <parenthetical>( smiles , hands over the tickets . )</parenthetical> <dialogue>They'll begin boarding in about twenty minutes. Have a nice flight, Mrs. Simmons.</dialogue> <scene_description>Turning to go , RAILLY fumbles the tickets while trying to put them in her purse and they flutter to the floor . As she kneels to retrieve them , WE SEE the long line of waiting TRAVELERS from the waist down . WE SEE a familiar Chicago Bulls Sports Bag resting on the floor beside sneakers and gaudy baggy pants . we 've seen this outfit before . in COLE 'S dream . on MR. PONYTAIL !</scene_description> </scene> <scene> <stage_direction>INT. MEN'S ROOM/AIRPORT - DAY</stage_direction> <scene_description>The P.A. DRONES as CCLE , head down , lingers at a sink , washing and rewashing his hands while another TRAVELER finishes drying his hands , gives COLE a quizzical look , then leaves . Quickly , COLE glances around , checks the seemingly empty Men 's Room , then takes the tube of adhesive from his pocket , puts some goop under the loose edge of his moustache and presses it firmly against his face as he leans close to the mirror .</scene_description> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Got yourself a prob, Bob?</dialogue> <scene_description>COLE whirls , looks for the source of the VOICE . Nothing ! Until he spots shoes peeking from dropped trousers indicating an occupied stall . It must be him !</scene_description> <character>COLE</character> <dialogue>Leave me alone! I made a report. I did n't have to do that.</dialogue> <character>RASPY VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Point of fact - you do n't belong here. It's not permitted to let you stay.</dialogue> <scene_description>A toilet FLUSHES in the `` occupied '' stall . COLE 'S answer is loud and defiant .</scene_description> <character>COLE</character> <dialogue>This is the present. This is not the past. This is not the future. This is right now!</dialogue> <scene_description>A PLUMP BUSINESSMAN emerges from the `` occupied '' stall , gives COLE a wary look and a wide berth as he heads for a sink .</scene_description> <character>COLE</character> <dialogue>I'm staying here! You got that? You ca n't stop me!</dialogue> <character>PLUMP MAN</character> <parenthetical>( high pitched voice . )</parenthetical> <dialogue>Anything you say, chief. It's none of my business.</dialogue> <scene_description>COLE looks dismayed . This guy could n't be `` THE VOICE '' ! And there are no feet showing under the other stalls . Did he imagine it ?</scene_description> </scene> <scene> <stage_direction>INT. TICKET COUNTER - DAY</stage_direction> <scene_description>The Chicago Bulls bag ! It 's on the counter in front of the TICKET AGENT who 's reviewing a stack of tickets in awe .</scene_description> <character>TICKET AGENT</character> <dialogue>Woooo - eeee. San Francisco, New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, Peking! That's some trip you're taking, sir, All in one week!</dialogue> <character>MR. PONYTAIL</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Business.</dialogue> <character>TICKET AGENT</character> <parenthetical>( handing over the tickets . )</parenthetical> <dialogue>Have a good one, sir.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL LOBBY</stage_direction> <scene_description>COLE emerges from the Men 's Room , shaken , paranoid . He glances around nervously . Then , keeping his head down , he starts walking toward the Gift Shop . Before he gets more than a few steps , someone suddenly grabs his shoulder from behind .</scene_description> <character>FAMILIAR VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You got ta be crazy, man!</dialogue> <scene_description>COLE whirls , finds himself facing a Puerto Rican youth in an L.A. Raiders jacket , a sideways baseball cap , and mirrored sun glasses</scene_description> <character>COLE</character> <dialogue>Jo. Jose?</dialogue> <character>JOSE</character> <dialogue>Pulling out the tooth, man, that was nuts! Here, take this.</dialogue> <scene_description>JOSE tries to slip COLE a 9mm pistol . Astonished , COLE resists !</scene_description> <character>COLE</character> <dialogue>What? What for? Are you crazy?</dialogue> <scene_description>Frustrated , JOSE conceals the gun but keeps a grip on COLE 'S arm .</scene_description> <character>JOSE</character> <dialogue>Me? Are you kiddin? You're the one! You were a hero, man. They gave you a pardon! And whadda you do? You come back and fuck with your teeth! Wow!</dialogue> <character>COLE</character> <dialogue>How did you find me?</dialogue> <character>JOSE</character> <dialogue>The phone call, man. The phone call.</dialogue> <character>COLE</character> <dialogue>The call I just made? Five minutes ago?</dialogue> <character>JOSE</character> <dialogue>Hey, five minutes ago, thirty years ago! Yes, that phone call. I been in training for this a couple a months now - ever since I got back from that. `` weird'' war we were in. You remember that?</dialogue> <parenthetical>( pressing the pistol on Cole . )</parenthetical> <dialogue>Here, take it, man! You could still be a hero if you'd cooperate!</dialogue> </scene> <scene> <stage_direction>INT. GIFT SHOP/TERMINAL - DAY</stage_direction> <scene_description>RAILLY takes a travel book on Key West from a rack , considers it , includes it with several magazines she 's holding . She does n't notice MR. PONYTAZL enter the Gift Shop behind her ! The P.A. System DRONES flight info as RAILLY checks her watch and frowns . It 's getting late and where 's Cole ? She turns , heads for the cash register to make her purchases . MR. PONYTAIL , seen from behind , is at the cash register already . He sets a newspaper on the counter and searches for change . The paper features a banner headline . `` ANIMALS SET FREE '' and a sub head . `` PROMINENT SCIENTIST FOUND LOCKED IN GORILLA CAGE '' over a photo of DR. MASON being released from the cage and another photo of a GORILLA perched atop a parked car . Stepping in line behind MR. PONYTAIL , RAILLY checks her watch again . Then , MR. PONYTAIL , having paid , turns to go and RAILLY looks up and sees his face . though it is not visible to us . Startled , RAILLY frowns . Does she know this man ? MR. PONYTAIL pauses for a moment , considering the babe in the shades , gaudy earrings , the tight skirt , and high heels . RAILLY does n't recognize the man , but we do ! He 's DR. MASON 'S ASSISTANT , DR. PETERS . the man who attended RAILLY 's lecture ! Smiling , DR. PETERS steps around RAILLY and exits the Gift Shop . Still puzzled , RAILLY puts her purchases on the counter and the CLERK starts ringing them up as a DELIVERY MAN comes in and drops a bundle of newspapers at her feet . RAILLY 'S POV : the front page shows a photo of three frightened GIRAFFES in freeway gridlock under a headline proclaiming , `` TERRORISTS CREATE CHAOS '' . Further down are two more photos . DR. MASON in the gorilla cage and a file photo of DR. MASON in his lab . CLOSE ON THE SHOT OF DR. MASON in his lab . There 's someone else in the picture . It 's a man wearing a lab coat and a PONYTAIL ! ANGLE ON RAILLY , reacting , suddenly remembering ! MEMORY FLASHBACK ! INT . RECEPTION ROOM/BREITROSE HALL - NIGHT RAILLY looks up from the book she 's signing and sees DR. PETERS .</scene_description> <character>DR. PETERS</character> <dialogue>Is n't it obvious that `` Chicken Little'' represents the sane vision and that Homo Sapiens' motto, `` Let's go shopping!'' is the cry of the true lunatic?</dialogue> </scene> <scene> <stage_direction>INT. GIFT SHOP - DAY</stage_direction> <scene_description>RAILLY , stunned , stares in the direction PETERS/PONYTAIL went .</scene_description> <character>RAILLY</character> <dialogue>Oh, my God!</dialogue> <character>P.A SYSTEM</character> <dialogue>- flight 764 for San Francisco is now ready for boarding at Gate 36.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY - DAY</stage_direction> <scene_description>In the confusion of TRAVELERS streaming in different directions , COLE hurries toward the Gift Shop while JOSE struggles to keep up .</scene_description> <character>JOSE</character> <dialogue>Coma on, Cole, do n't be an asshole.</dialogue> <parenthetical>( then , blurting it out . )</parenthetical> <dialogue>Look, I got orders, man! You know what I'm sposed to do if you do n't go along? I'm sposed to shoot the lady! You got that? They said, `` If Cole do n't obey this time, Garcia, you got ta shoot his girlfriend!''</dialogue> <scene_description>COLE stops in his tracks , blown away , too stunned to speak .</scene_description> <character>JOSE</character> <dialogue>I got no choice, man. These are my orders. Just take it, okay?</dialogue> <scene_description>COLE accepts the gun this time , resigned now . They 've got him .</scene_description> <character>COLE</character> <dialogue>This part is n't about the virus, is it?</dialogue> <character>JOSE</character> <dialogue>Hey, man.</dialogue> <character>COLE</character> <dialogue>It's about obeying, about doing what you're told.</dialogue> <character>JOSE</character> <dialogue>They gave you a pardon, man. Whatdaya want?</dialogue> <character>COLE</character> <dialogue>Who am I supposed to shoot?</dialogue> <scene_description>Just then , RAILLY rushes up to COLE , not even noticing JOSE .</scene_description> <character>RAILLY</character> <dialogue>James! Thank God! I thought you'd disappeared. Listen, I think I know who it is! I saw him! It's Dr. Mason's assistant. An apocalypse nut! The next flight to San Francisco leaves from Gate 38. If he's there, it has to be him.</dialogue> <scene_description>JOSE , having heard this , steps back into the crowd as RAILLY grabs COLE and pulls him toward the Security Check Points .</scene_description> <character>COLE</character> <dialogue>I love you, Kathryn. Remember that.</dialogue> <scene_description>She does n't hear him or see the look of doom in his eyes .</scene_description> <character>RAILLY</character> <dialogue>Maybe we can stop him. Maybe we can actually do something.</dialogue> </scene> <scene> <stage_direction>INT. SECURITY CHECK POINT/TERMINAL - DAY</stage_direction> <scene_description>A young boy of nine passes through the magnetic arch grinning . YOUNG COLE ! Exactly as he appears in the dream ! He joins his PARENTS , who are only visible from their chests down , and they continue along the concourse . WE LINGER and DISCOVER two DETECTIVES watching TRAVELERS as they pass through the magnetic arch and retrieve their bags from the X - ray machine , comparing their faces to photos of COLE and RAILLY . ANGLE ON A SECURITY OFFICER , watching the x - ray monitor . ANGLE ON THE MONITOR , showing the X - RAY IMAGE of a sports bag moving along the conveyer belt . The bag contains some strange objects . ANGLE ON THE SECURITY OFFICER , reacting .</scene_description> <character>SECURITY OFFICER</character> <dialogue>Excuse me, sir. Would you mind letting me have a look at the contents of your bag?</dialogue> <scene_description>ANGLE ON DR. PETERS , coming through the magnetic arch , reacting .</scene_description> <character>DR. PETERS</character> <dialogue>Me? Oh, yes, of course. My samples. I have the appropriate papers.</dialogue> </scene> <scene> <stage_direction>INT. END OF LINE/SECURITY CHECK POINT</stage_direction> <scene_description>RAILLY AND COLE arrive at the very long suddenly stalled line of TRAVELERS waiting to pass through security .</scene_description> <character>RAILLY</character> <dialogue>Oh, God, we do n't have time for this.</dialogue> <scene_description>ANGLE ON THE SECURITY CHECK POINT , where DR. PETERS unpacks his Bulls bag , pulls out six metal cylinders along with a change of clothes and a Walkman .</scene_description> <character>DR. PETERS</character> <dialogue>Biological samples. I have the paperwork right here.</dialogue> <scene_description>DR. PETERS produces a sheaf of official papers while the SECURITY OFFICER examines one of the tubes , turning it over in his hands .</scene_description> <character>SECURITY OFFICER</character> <dialogue>I'm going to have to ask you to open this, sir.</dialogue> <character>DR. PETERS</character> <dialogue>Open it?</dialogue> <parenthetical>( blinks stupidly , then . )</parenthetical> <dialogue>Of course.</dialogue> <scene_description>DR. PETERS takes the metal cylinder and starts opening it . There 's a SOUND of VOICES RAISED behind them . DR. PETERS pays no attention , but the SECURITY OFFICER turns toward the NOISE . SECURITY OFFICER 'S POV : RAILLY , trying to explain something to a SECOND SECURITY OFFICER . ANGLE ON THE TWO DETECTIVES , nearby , showing interest in the commotion . ANGLE ON DR. PETERS , oblivious to the fuss , pulling a closed glass tube out of the metal cylinder .</scene_description> <character>DR. PETERS</character> <dialogue>Here! You see? Biological! Check the papers - it's all proper. I have a permit.</dialogue> <character>SECURITY OFFICER</character> <dialogue>It's empty!</dialogue> <scene_description>Indeed , it looks like a sealed clear glass tube with nothing in it .</scene_description> <character>DR. PETERS</character> <dialogue>Well, yes, to be sure, it looks empty! But I assure you, it's not.</dialogue> <scene_description>ANGLE ON RAILLY , at the end of the line , arguing with the SECOND SECURITY OFFICER .</scene_description> <character>RAILLY</character> <dialogue>Please listen to me - this is very urgent!</dialogue> <character>SECOND SECURITY OFFICER</character> <dialogue>You'll have to get in line, ma'am.</dialogue> <character>TRAVELER</character> <dialogue>We're all in a hurry, lady. What's so special about you?</dialogue> <scene_description>ANGLE ON DR. PETERS , producing the glass tubes from the other metal cylinders as the SECURITY OFFICER examines the papers .</scene_description> <character>DR. PETERS</character> <dialogue>You see! Also invisible to the naked eye.</dialogue> <scene_description>A beat . OR . PETERS grins suddenly , opens one of the glass tubes , and waves it under the SECURITY OFFICER 'S nose !</scene_description> <character>DR. PETERS</character> <dialogue>It does n't even have an odor.</dialogue> <scene_description>The SECURITY OFFICER glances up , sees what DR. PETERS is doing , and smiles as he hands the papers back to the scientist .</scene_description> <character>SECURITY OFFICER</character> <dialogue>That's not necessary, sir. Here you go. Thanks for your cooperation. Have a good flight.</dialogue> <scene_description>Hastily , DR. PETERS snatches up all the tubes and cylinders and shoves them back into his gym bag . ANGLE ON RAILLY , raging as the SECOND SECURITY OFFICER jabs her with his finger .</scene_description> <character>SECOND SECURITY OFFICER</character> <dialogue>Who are you calling a `` moron''?</dialogue> <character>COLE</character> <dialogue>Get your hands off her!</dialogue> <scene_description>The SECOND SECURITY OFFICER stiffens for trouble . ANGLE ON THE DETECTIVES , watching the fuss , ready to get involved . Suddenly , the FIRST DETECTIVE frowns . FIRST DETECTIVE9S POV : COLE 'S moustache is slipping . COLE senses it , reaches up to touch it , catches the DETECTIVE 'S look . For half a second their eyes meet , then COLE looks away . ANGLE ON DR. PETERS , hurrying away .</scene_description> <character>SECURITY OFFICER'S VOICE</character> <parenthetical>( o.s. -RCB- . )</parenthetical> <dialogue>HOLD IT! JUST A MOMENT.</dialogue> <scene_description>DR. PETERS freezes , turns , ashen . The SECURITY OFFICER is retrieving a pair of jockey shorts from the floor beside the search table . He waves them at DR. PETERS . DR. PETERS hurries back for his underpants . ANGLE ON COLE , trying to keep his head turned away as he confronts the SECURITY OFFICER .</scene_description> <character>COLE</character> <dialogue>I said, get your hands off her. She's not a criminal. She's a doctor. a psychiatrist.</dialogue> <scene_description>RAILLY looks alarmed at that . ANGLE ON THE DETECTIVES , coming this way . The FIRST DETECTIVE has the photos in his hand . ANGLE OW DR. PETERS , bagging his jockey shorts , then starting hastily down the windowed concourse toward the gates . ANGLE ON RAZZLY , suddenly spotting DR. PETERS !</scene_description> <character>RAILLY</character> <dialogue>THERE HE IS! HE'S CARRYING A DEADLY VIRUS! STOP HIM!</dialogue> <scene_description>ANGLE ON COLE , following RAILLY 'S look , seeing MR. PONYTAIL , THE MAN FROM HIS DREAM ! ANGLE ON DR. PETERS , frightened , glancing back , walking faster .</scene_description> <character>RAILLY</character> <parenthetical>( o.s . )</parenthetical> <dialogue>PLEASE, SOMEBODY - STOP HIM!</dialogue> <scene_description>ANGLE ON DETECTIVES , reaching RAILLY and COLE .</scene_description> <character>FIRST DETECTIVE</character> <parenthetical>( raising his badge . )</parenthetical> <dialogue>Police Officers. Would you step over here, please.</dialogue> <scene_description>ANGLE ON COLE , spotting something behind the DETECTIVES ! COLE 'S POV : SCARFACE , dressed like a `` businessman '' ! He gives COLE a cold look . A beat . COLE lunges at the SECOND DETECTIVE , knocking him off balance , then sprints toward the magnetic arch and through it . The ALARM goes off ! The FIRST SECURITY OFFICER tries to stop COLE , but COLE knocks him aside like a rag doll . ANGLE ON DR. PETERS , fifty yards up the concourse , glancing back . ANGLE ON COLE , pulling his pistol . ANGLE ON THE SECOND SECURITY OFFICER .</scene_description> <character>FIRST SECURITY OFFICER</character> <dialogue>HE'S GOT A GUN!</dialogue> <scene_description>ANGLE ON THE FIRST DETECTIVE , raising his pistol at COLE .</scene_description> <character>FIRST DETECTIVE</character> <dialogue>STOP OR I'LL SHOOT!</dialogue> <scene_description>ANGLE ON COLE , gun in hand , sprinting along the concourse toward DR. PETERS as frightened TRAVELERS SCREAM and dive for cover . ANGLE ON YOUNG COLE , standing at a concourse window , watching a plane land , flanked by his parents whose faces we do n't see . IT 'S SUDDENLY AS IF THE DREAM IS HAPPENING IN REAL LIFE ! THE SAME MOKENTS INTERSPERSED WITH `` NEW '' MOMENTS FROM THE POV OF YOUNG COLE who , hearing the commotion , turns just as DR. PETERS hurries by . DR. PETERS bumps into YOUNG COLE and reacts by pulling his Bulls bag close to his body and calling .</scene_description> <character>DR. PETERS</character> <dialogue>WATCH IT!</dialogue> <scene_description>ANGLE ON YOUNG COLE , wide eyed , watching . YOUNG COLE 'S POV : a BLONDE MAN . dashing up the concourse , his moustache slipping over his lip , a pistol in his hand . YOUNG COLE 'S POV : the FIRST DETECTIVE aims , looking for a clear shot in the crowded passageway . YOUNG COLE 'S POV : a BRUNETTE in flashy clothes , gaudy earrings , high heels , and sun glasses SCREAMS .</scene_description> <character>BRUNETTE</character> <parenthetical>( RAILLY . )</parenthetical> <dialogue>N0OOOOO0O!</dialogue> <scene_description>YOUNG COLE 'S POV : the FIRST DETECTIVE , firing ! CRACK ! YOUNG COLE 'S POV : the BLONDE MAN , shuddering , staggering , falling . ANGLE ON YOUNG COLE , stunned , as his PARENTS try to shield him .</scene_description> <character>MOTHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>My God! They shot that man!</dialogue> <scene_description>Mesmerized , YOUNG COLE watches the BRUNETTE rush to the BLONDE MAN , kneel beside him , minister to his bloody wound . YOUNG COLE 'S POV : the BLONDE MAN , fatalistically reaching up and tenderly touching the BRUNETTE 'S cheek , touching her tears . -LRB- WE 'VE SEEN THIS EXACT IMAGE IN COLE 'S DREAM , A POWERFUL MOMENT , UNFOLDING UNNATURALLY SLOWLY , OPENING LIKE A FLOWER . -RRB- ANGLE ON YOUNG COLE , not able to hear their words , but he can see emotion as the BLONDE MAN tries to tell the sobbing BRUNETTE something . YOUNG COLE 'S POV : PARAMEDICS , breaking the spell , pushing the BRUNETTE aside as they crouch beside the BLONDE MAN .</scene_description> <character>FATHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Come along, son, this is no place for us.</dialogue> <scene_description>ANGLE ON YOUNG COLE , as his FATHER 'S ARM drapes over his shoulder , steering him . YOUNG COLE turns to look back as he 's led away . YOUNG COLE 'S POV : the PARAMEDICS , exchanging glances , shrugging helplessly . It 's too late . The BLONDE MAN is dead . YOUNG COLE sees the BRUNETTE , her face streaked with tears , suddenly turn and look around , scanning the crowd , searching for something . POLICE OFFICERS approach her , say something to her . Even as she responds , her eyes continue to scan the concourse . ANGLE ON YOUNG COLE , being hurried toward the lobby by his PARENTS -LRB- whose faces remain out of view -RRB- . He ca n't help sneaking another look back . YOUNG COLE 'S POV : POLICE , handcuffing a distracted , unresisting RAILLY . Even now , she continues to look around almost frantically . Suddenly , her gaze falls on YOUNG COLE and she reacts . she 's found what she 's looking for ! ANGLE ON YOUNG COLE , reacting to the intensity of her look . ANGLE ON RAILLY , her eyes speaking to the boy across the crowded concourse . ANGLE ON YOUNG COLE , overwhelmed by the look .</scene_description> <character>FATHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Hurry up, son.</dialogue> <scene_description>With a last lingering look toward the mysterious BRUNETTE , YOUNG COLE turns away , tears welling in his eyes . WE MOVE IN . CLOSE . CLOSE . CLOSER . on his eyes . WE WANT TO KNOW WHAT THE TEAR MEANS , BUT THERE IS NO WAY TO TELL . WE DO N'T KNOW WHAT HE IS THINKING , BUT WE KNOW VERY WELL WHAT HE WILL REMEMBER !</scene_description> <character>MOTHER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Pretend it was just a bad dream, Jimmy.</dialogue> </scene> <scene> <stage_direction>INT. 747 CABIN - DAY</stage_direction> <scene_description>DR. PETERS closes the door to the overhead luggage rack containing his Chicago Bulls bag and takes his seat . Next to him , a FELLOW TRAVELER , unseen , says .</scene_description> <character>FELLOW TRAVELER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>It's obscene, all the violence, all the lunacy. Shootings even at airports now. You might say. we're the next endangered species. human beings!</dialogue> <scene_description>CLOSE ON DR. PETERS , smiling affably , turning to his neighbor .</scene_description> <character>DR. PETERS</character> <dialogue>I think you're right. sir. I think you've hit the nail on the head.</dialogue> <scene_description>DR. PETERS ' POV : the FELLOW TRAVELER , a silver haired gentleman in a business suit , offering his hand congenially . DR. PETERS does n't know who this man is , but we do . It 's the ASTROPHYSICIST !</scene_description> <character>ASTROPHYSICIST</character> <dialogue>Jones is my name. I'm in insurance.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT/AIRPORT</stage_direction> <scene_description>As YOUNG COLE 'S PARENTS -LRB- seen only as sleeves and torsos -RRB- usher YOUNG COLE into their station wagon , the boy hesitates , looks back , watches a 747 climb into the sky .</scene_description> </scene> </script>

A deadly virus released in 1996 wipes out almost all of humanity, forcing survivors to live underground. A group known as the Army of the Twelve Monkeys is believed to have released the virus. In 2035, James Cole is a prisoner living in a subterranean compound beneath the ruins of Philadelphia. Cole is selected to be trained and sent back in time to find the original virus in order to help scientists develop a cure. Meanwhile, Cole is troubled by recurring dreams involving a foot chase and shooting at an airport. Cole arrives in Baltimore in 1990, not 1996 as planned. He is arrested, then hospitalized in a mental hospital on the diagnosis of Dr. Kathryn Railly. There he encounters Jeffrey Goines, a mental patient with fanatical environmentalist and anti-corporatist views. Cole is interviewed by a panel of doctors, and he tries to explain that the virus outbreak has already happened, and nobody can change it. After an escape attempt, Cole is sedated and locked in a cell, but disappears moments later, and wakes up back in 2035. He is interrogated by the scientists, who play a distorted voicemail message that asserts the association of the Army of the Twelve Monkeys with the virus. He is also shown photos of numerous people suspected of being involved, including Goines. The scientists offer Cole a second chance to complete his mission and send him back in time. He arrives at a battlefield during World War I, is shot in the leg, and then is suddenly transported to 1996. In 1996, Railly gives a lecture about the Cassandra complex to a group of scientists. At the post-lecture book signing, she meets Dr. Peters, who tells her that apocalypse alarmists represent the sane vision, while humanity's gradual destruction of the environment is the real lunacy. Cole arrives at the venue after seeing flyers publicizing it, and when Railly departs, he kidnaps her and forces her to take him to Philadelphia. They learn that Goines is the founder of the Army of the Twelve Monkeys, and set out in search of him. When they confront him, Goines denies any involvement with the group and says that in 1990 Cole originated the idea of wiping out humanity with a virus stolen from Goines' virologist father. About to be apprehended by police, Cole is transported back to 2035, where he reaffirms to the scientists his commitment to his mission. But when he finds Railly again in 1996, he tells her he now believes himself crazy as she had suggested all along. Railly, meanwhile, has discovered evidence of his time travel, which she shows him, and she no longer believes he is insane. They decide to depart for the Florida Keys before the onset of the plague. On their way to the airport, they learn that the Army of the Twelve Monkeys was not the source of the epidemic; the group's major act of protest is releasing animals from a zoo and placing Goines' father in an animal cage. At the airport, Cole leaves a last message telling the scientists that in following the Army of the Twelve Monkeys they are on the wrong track, and that he will not return. He is soon confronted by Jose, an acquaintance from his own time, who gives Cole a handgun and ambiguously instructs him to follow orders. At the same time, Railly spots Dr. Peters, and recognizes him from a newspaper photograph as an assistant at Goines' father's virology lab. Peters is about to embark on a tour of several cities that match the locations and sequence of the viral outbreaks. Cole forces his way through a security checkpoint in pursuit of Peters. After drawing the gun he was given, Cole is fatally shot by police. As Cole lies dying in Railly's arms, Railly suddenly begins to scan the crowd around her, seemingly looking for something she knows must be there. She finally makes eye contact with a small boy—the young James Cole witnessing the scene of his own death, which will replay in his dreams for years to come. Peters, safely aboard the plane with the virus, sits down next to Jones, one of the scientists from the future, who comments that her job is “insurance.”

Monty Python and the Holy Grail_1975

tt0071853

<script> <scene> <stage_direction>EXTERIOR - CASTLE WALLS - DAY</stage_direction> <scene_description>Mist . Several seconds of it swirling about . silence possibly , atmospheric music . SUPERIMPOSE `` England AD 787 '' . after a few more seconds we hear hoofbeats in the distance . They come slowly closer . Then out of the mist comes KING ARTHUR followed by a SERVANT who is banging two half coconuts together . ARTHUR raises his hand . ARTHUR Whoa there ! SERVANT makes noises of horses halting , with a flourish . ARTHUR peers through the mist . CUT TO shot from over his shoulder : castle . -LRB- e.g. Bodium -RRB- rising out of the mist . On the castle battlements a SOLDIER is dimly seen . He peers down . SOLDIER Halt ! Who goes there ? ARTHUR It is I , Arthur , son of Uther Pendragon , from the castle of Camelot . King of all Britons , defeator of the Saxons , sovereign of all England ! Pause . SOLDIER Get away ! ARTHUR I am . And this my trusty servant , Patsy . We have ridden the length and breadth of the land in search of knights who will join our court at Camelot . I must speak with your lord and master . SOLDIER What ? Ridden on a horse ? ARTHUR Yes ! SOLDIER You 're using coconuts ! ARTHUR . What ? SOLDIER You 've got two empty halves of coconuts and you 're banging them together . ARTHUR . -LRB- Scornfully . -RRB- So ? We have ridden since the snows of winter covered this land , through the kingdom of Mercea . SOLDIER Where did you get the coconuts ? ARTHUR Through . We found them . SOLDIER Found them ? In Mercea . The coconut 's tropical ! ARTHUR What do you mean ? SOLDIER Well , this is a temperate zone . ARTHUR The swallow may fly south with the sun , or the house martin or the plover seek warmer hot lands in winter , yet these are not strangers to our land . SOLDIER Are you suggesting coconuts migrate ? ARTHUR Not at all . They could be carried . SOLDIER What ? A swallow carrying a coconut ? ARTHUR Why not ? SOLDIER I 'll tell you why not . because a swallow is about eight inches long and weighs five ounces , and you 'd be lucky to find a coconut under a pound . ARTHUR It could grip it by the husk . SOLDIER It 's not a question of where he grips it , It 's a simple matter of weight - ratios . A five - ounce bird could not hold a a one pound coconut . ARTHUR Well , it does n't matter . Go and tell your master that Arthur from the Court of Camelot is here . A Slight pause . Swirling mist . Silence . SOLDIER Look ! To maintain Velocity , a swallow needs to beat its wings four hundred and ninety three times every second . right ? ARTHUR . -LRB- irritated . -RRB- Please ! SOLDIER Am I right ? ARTHUR I 'm not interested . SECOND SOLDIER . -LRB- who has loomed up on the battlements . -RRB- It could be carried by an African swallow ! FIRST SOLDIER Oh yes ! An African swallow maybe . but not a European swallow . that 's my point . SECOND SOLDIER Oh yes , I agree there . ARTHUR . -LRB- losing patience . -RRB- Will you ask your master if he wants to join the Knights of Camelot ?! FIRST SOLDIER But then of course African swallows are non - migratory . SECOND SOLDIER Oh yes . ARTHUR raises his eyes heavenwards and nods to PATSY . They turn and go off into the mist . FIRST SOLDIER So they would n't be able to bring a coconut back anyway . SECOND SOLDIER Wait a minute ! Suppose two swallows carried it together ? FIRST SOLDIER No , they 'd have to have it on a line . Stillness . Silence again .</scene_description> </scene> <scene> <stage_direction>ANIMATION/LIVE ACTION SEQUENCE - DEATH AND DEVASTATION</stage_direction> <scene_description>CUT TO Terry Gilliam 's sequence of Brueghel prints . Sounds of strange medieval music . Discordant and sparse . Wailings and groanings . The last picture mixes through into live action . BIG CLOSE UP of contorted face upside down . A leg falls across it . Creaking noise . The bodies lurch away from CAMERA to reveal they are amongst a huge pile of bodies on a swaying cart that is lumbering away from CAMERA . It is pulled by a couple of ragged , dirty emaciated WRETCHES . Behind the cart walks another MAN who looks slightly more prosperous , but only on the scale of complete and utter impoverishment . He wears a black hood and looks sinister . CART DRIVER Bring out your dead ! We follow the cart through a wretched , impoverished plague - ridden village . A few starved mongrels run about in the mud scavenging . In the open doorway of one house perhaps we jug glimpse a pair of legs dangling from the ceiling . In another doorway an OLD WOMAN is beating a cat against a wall rather like one does with a mat . The cart passes round a dead donkey or cow in the mud . And a MAN tied to a cart is being hammered to death by four NUNS with huge mallets . CART DRIVER Bring out your dead ! There are legs stick out of windows and doors . Two MEN are fighting in the mud - covered from head to foot in it . Another MAN is on his hands in knees shovelling mud into his mouth . We just catch sight of a MAN falling into a well . CART DRIVER Bring out your dead ! LARGE MAN Here 's one ! CART DRIVER Ninepence . BODY I 'm not dead ! CART DRIVER What ? LARGE MAN Nothing . There 's your ninepence . BODY I 'm not dead ! CART DRIVER ` Ere . He says he 's not dead . LARGE MAN Yes he is . BODY I 'm not ! CART DRIVER He is n't . LARGE MAN He will be soon . He 's very ill . BODY I 'm getting better ! LARGE MAN You 're not . You 'll be stone dead in a few minutes . CART DRIVER I ca n't take him like this . It 's against regulations . BODY I do n't want to go on the cart . LARGE MAN Do n't be such a baby . CART DRIVER I ca n't take him . BODY I feel fine . LARGE MAN Do me a favour . CART DRIVER I ca n't . LARGE MAN Well , can you hang around a couple of minutes . He wo n't be long . CART DRIVER I promised I 'd be at the Robinson 's . They 've lost nine today . LARGE MAN When 's your next round ? CART DRIVER Thursday . BODY I think I 'll go for a walk . LARGE MAN You 're not fooling anyone you know . -LRB- to CART DRIVER . -RRB- Is n't there anything you could do ? BODY . -LRB- singing unrecognisably . -RRB- I feel happy . I feel happy . The CART DRIVER looks at the LARGE MAN for a moment . Then they both do a quick furtive look up and down the street . The CART DRIVER very swiftly brings up a club and hits the OLD MAN . -LRB- Out of shot but the singing stops after a loud bonk noise . -RRB- LARGE MAN . -LRB- handing over the money at last . -RRB- Thanks very much . CART DRIVER That 's all right . See you on Thursday . They turn . Suddenly all the village fall to their knees , touching forelocks etc. . ARTHUR and PATSY ride into SHOT , slightly nose to the air , they ride through without acknowledging anybody . After they pass , the LARGE MAN turns to the CART DRIVER . LARGE MAN Who 's that then ? CART DRIVER . -LRB- Grudgingly . -RRB- I dunno , Must be a king . LARGE MAN Why ? CART DRIVER He has n't got shit all over him .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>ARTHUR and PATSY riding . They stop and look . We see a castle in the distance , and before it a PEASANT is working away on his knees trying to dig up the earth with his bare hands and a twig . ARTHUR and PATSY ride up , and stop before the PEASANT ARTHUR Old woman ! DENNIS Man ! ARTHUR Man . I 'm sorry . Old man , What knight live in that castle over there ? DENNIS I 'm thirty - seven . ARTHUR What ? DENNIS : I 'm thirty - seven . I 'm not old . ARTHUR : Well - I ca n't just say : `` Hey , Man ! ' DENNIS Well you could say : `` Dennis '' ARTHUR I did n't know you were called Dennis . DENNIS You did n't bother to find out , did you ? ARTHUR I 've said I 'm sorry about the old woman , but from the behind you looked . DENNIS What I object to is that you automatically treat me like an inferior . ARTHUR Well . I AM king . DENNIS Oh , very nice . King , eh ! I expect you 've got a palace and fine clothes and courtiers and plenty of food . And how d'you get that ? By exploiting the workers ! By hanging on to outdated imperialist dogma which perpetuates the social and economic differences in our society ! If there 's EVER going to be any progress . An OLD WOMAN appears . OLD WOMAN Dennis ! There 's some lovely filth down here . Oh ! how d'you do ? ARTHUR How d'you do , good lady . I am Arthur , King of the Britons . can you tell me who lives in that castle ? OLD WOMAN King of the WHO ? ARTHUR The Britons . OLD WOMAN Who are the Britons ? ARTHUR All of us are . we are all Britons . DENNIS winks at the OLD WOMAN . ARTHUR . and I am your king . OLD WOMAN Ooooh ! I did n't know we had a king . I thought we were an autonomous collective . DENNIS You 're fooling yourself . We 're living in a dictatorship , A self - perpetuating autocracy in which the working classes . OLD WOMAN There you are , bringing class into it again . DENNIS That 's what it 's all about . If only - ARTHUR Please , please good people . I am in haste . What knight lives in that castle ? OLD WOMAN No one live there . ARTHUR Well , who is your lord ? OLD WOMAN We do n't have a lord . ARTHUR What ? DENNIS I told you , We 're an anarcho - syndicalist commune , we take it in turns to act as a sort of executive officer for the week . ARTHUR Yes . DENNIS . But all the decision of that officer . ARTHUR Yes , I see . DENNIS . must be approved at a bi - weekly meeting by a simple majority in the case of purely internal affairs . ARTHUR Be quiet ! DENNIS . but a two - thirds majority . ARTHUR Be quiet ! I order you to shut up . OLD WOMAN Order , eh - who does he think he is ? ARTHUR I am your king ! OLD WOMAN Well , I did n't vote for you . ARTHUR You do n't vote for kings . OLD WOMAN Well , how did you become king , then ? ARTHUR The Lady of the Lake , her arm clad in the purest shimmering samite , held Excalibur aloft from the bosom of the water to signify by Divine Providence . that I , Arthur , was to carry Excalibur . That is why I am your king ! OLD WOMAN Is Frank in ? He 'd be able to deal with this one . DENNIS Look , strange women lying on their backs in ponds handing out swords . that 's no basis for a system of government . Supreme executive power derives from a mandate from the masses , not from some farcical aquatic ceremony . ARTHUR Be quiet ! DENNIS You ca n't expect to wield supreme executive power just 'cause some watery tart threw a sword at you ! ARTHUR Shut up ! DENNIS I mean , if I went around saying I was an Emperor because some moistened bint had lobbed a scimitar at me , people would put me away ! ARTHUR . -LRB- Grabbing him by the collar . -RRB- Shut up , will you . Shut up ! DENNIS Ah ! NOW . we see the violence inherent in the system . ARTHUR Shut up ! PEOPLE . -LRB- i.e. other PEASANTS -RRB- are appearing and watching . DENNIS . -LRB- calling . -RRB- Come and see the violence inherent in the system . Help , help , I 'm being repressed ! ARTHUR . -LRB- aware that people are now coming out and watching . -RRB- Bloody peasant ! -LRB- pushes DENNIS over into mud and prepares to ride off . -RRB- DENNIS Oh , Did you hear that ! What a give - away . ARTHUR Come on , patsy . They ride off . DENNIS . -LRB- in the background as we PULL OUT . -RRB- did you see him repressing me , then ? That 's what I 've been on about .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - FOREST - DAY</stage_direction> <scene_description>MIX THROUGH to ARTHUR and PATSY riding through the forest . They pass rune stones . We TRACK with them . CLOSE - UPS of their faces as they ride . MIX to another TRACKING SHOT of them riding through the forest . They come to a clearing and stop , looking ahead intently . Their eyes light up . Sound FX of fight . CUT TO their eyeline . A clearing on the other side of which is a rough wooden foot - bridge across a stream . At the start of the bridge a tremendous fight is going on . A huge BLACK KNIGHT in black armour , his face totally masked in a visor , is fighting a slightly smaller KNIGHT in green armour . -LRB- Perhaps the GREEN KNIGHT 's armour is identical to the BLACK KNIGHT 's save for the colour . -RRB- CUT BACK TO ARTHUR and PATSY . They watch , growing more impressed as they watch the fight . CUT BACK TO the fight . The GREEN KNIGHT lunges at the BLACK KNIGHT , who avoids the blow with a skillful side - step and parry , knocking the sword out of the GREEN KNIGHT 's hand . CUT BACK TO ARTHUR and PATSY even more impressed . CUT BACK TO the fight . The GREEN KNIGHT has drawn out a particularly nasty mace or spiked ball and chain , much longer than the BLACK KNIGHT 's sword . ARTHUR narrows his eyes , wondering whether the BLACK KNIGHT will survive . CUT BACK to the fight . The GREEN KNIGHT swings at the BLACK KNIGHT , who ducks under the first swing , leaps over the second and starts to close on the GREEN KNIGHT . CUT BACK TO ARTHUR and PATSY watching like a tennis match . Sound FX of the fight reaching a climax . Four almighty clangs . Then Silence . CUT BACK to see the GREEN KNIGHT stretched out . The BLACK KNIGHT sheathes his sword . ARTHUR looks at PATSY . Nods and they move forward . CUT BACK TO the BLACK KNIGHT picking up the GREEN KNIGHT above his head and hurling him into the river . ARTHUR and PATSY approach him . ARTHUR You fight with the strength of many men , Sir knight . BLACK KNIGHT Who dares to challenge the Black Knight ? ARTHUR I do not challenge you . The BLACK KNIGHT stares impassively and says nothing . ARTHUR I am Arthur , King of the Britons . Hint of a pause as he waits for a reaction which dos n't come . ARTHUR is only slightly thrown . ARTHUR . I seek the bravest and the finest knights in all the world to join me in my court at Camelot . The BLACK KNIGHT remains silent ARTHUR You have proved yourself worthy . Will you join me ? Silence . ARTHUR A man of your strength and skill would be the chief of all my knights . BLACK KNIGHT Never . ARTHUR You make me sad . But so be it . Come Patsy . As he moves , the BLACK KNIGHT bars the way . BLACK KNIGHT None shall pass . ARTHUR What ? BLACK KNIGHT None shall pass . ARTHUR I have no quarrel with you , brave Sir knight , but I must cross this bridge . BLACK KNIGHT Then you shall die . ARTHUR I command you , as King of the Britons to stand aside . BLACK KNIGHT I move for no man . ARTHUR So be it ! ARTHUR draws his sword and approaches the BLACK KNIGHT . A furious fight now starts lasting about fifteen seconds at which point ARTHUR delivers a mighty blow which completely severs the BLACK KNIGHT 's left arm at the shoulder . ARTHUR steps back triumphantly . ARTHUR Now stand aside worthy adversary . BLACK KNIGHT . -LRB- Glancing at his shoulder . -RRB- ` Tis but a scratch . ARTHUR A scratch ? Your arm 's off . BLACK KNIGHT No , it is n't . ARTHUR . -LRB- Pointing to the arm on ground . -RRB- Well , what 's that then ? BLACK KNIGHT I 've had worse . ARTHUR You 're a liar . BLACK KNIGHT Come on you pansy ! Another ten seconds furious fighting till ARTHUR chops the BLACK KNIGHTS 's other arm off , also at the shoulder . The arm plus sword , lies on the ground . ARTHUR Victory is mine . -LRB- sinking to his knees . -RRB- I thank thee O Lord that in thy . BLACK KNIGHT Come on then . ARTHUR What ? He kicks ARTHUR hard on the side of the helmet . ARTHUR gets up still holding his sword . The BLACK KNIGHT comes after him kicking . ARTHUR You are indeed brave Sir knight , but the fight is mine . BLACK KNIGHT Had enough ? ARTHUR You stupid bastard . You hav n't got any arms left . BLACK KNIGHT Course I have . ARTHUR Look ! BLACK KNIGHT What ! Just a flesh wound . -LRB- kicks ARTHUR . -RRB- ARTHUR Stop that . BLACK KNIGHT . -LRB- kicking him . -RRB- Had enough ? ARTHUR I 'll have your leg . He is kicked . ARTHUR Right ! The BLACK KNIGHT kicks him again and ARTHUR chops his leg off . The BLACK KNIGHT keeps his balance with difficulty . BLACK KNIGHT I 'll do you for that . ARTHUR You 'll what ? BLACK KNIGHT Come Here . ARTHUR What are you going to do . bleed on me ? BLACK KNIGHT I 'm invincible ! ARTHUR You 're a looney . BLACK KNIGHT The Black Knight always triumphs . Have at you ! ARTHUR takes his last leg off . The BLACK KNIGHT 's body lands upright . BLACK KNIGHT All right , we 'll call it a draw . ARTHUR Come , Patsy . ARTHUR and PATSY start to cross the bridge . BLACK KNIGHT Running away eh ? You yellow bastard , Come back here and take what 's coming to you . I 'll bite your legs off !</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>A village . Sound of chanting of Latin canon , punctuated by short , sharp cracks . It comes nearer . We see it is a line of MONKS ala SEVENTH SEAL flagellation scene , chanting and banging themselves on the foreheads with wooden boards . They pass a group of villagers who are dragging a beautiful YOUNG WOMAN dressed as a witch through the streets . They drag her to a strange house/ruin standing on a hill outside the village . A strange - looking knight stands outside , SIR BEDEVERE . FIRST VILLAGER We have found a witch . May we burn her ? ALL A Witch ! Burn her ! BEDEVERE How do you know she is a witch ? ALL She looks like one . Yes , she does . BEDEVERE Bring her forward . They bring her forward - a beautiful YOUNG GIRL . -LRB- MISS ISLINGTON -RRB- dressed up as a witch . WITCH I am not a witch . I am not a witch . BEDEVERE But you are dressed as one . WITCH They dressed me up like this . ALL We did n't , we did n't ! WITCH This is not my nose , It is a false one . BEDEVERE takes her nose off . BEDEVERE Well ? FIRST VILLAGER . Well , we did do the nose . BEDEVERE The nose ? FIRST VILLAGER And the hat . But she is a witch . ALL A witch , a witch , burn her ! BEDEVERE Did you dress her up like this ? FIRST VILLAGER . Um . Yes . no . a bit . yes . she has got a wart . BEDEVERE Why do you think she is a witch ? SECOND VILLAGER She turned me into a newt . BEDEVERE A newt ? SECOND VILLAGER . -LRB- After looking at himself for some time . -RRB- I got better . ALL Burn her anyway . BEDEVERE Quiet ! Quiet ! There are ways of telling whether she is a witch . ARTHUR and PATSY ride up at this point and watch what follows with interest ALL There are ? Tell up . What are they , wise Sir Bedevere ? BEDEVERE Tell me . what do you do with witches ? ALL Burn them . BEDEVERE And what do you burn , apart from witches ? FOURTH VILLAGER . Wood ? BEDEVERE So why do witches burn ? SECOND VILLAGER . -LRB- pianissimo . -RRB- . Because they 're made of wood ? BEDEVERE Good . PEASANTS stir uneasily then come round to this conclusion . ALL I see . Yes , of course . BEDEVERE So how can we tell if she is made of wood ? FIRST VILLAGER Make a bridge out of her . BEDEVERE Ah . but can you not also make bridges out of stone ? ALL Ah . Yes , of course . um . err . BEDEVERE Does wood sink in water ? ALL No , no , It floats . Throw her in the pond Tie weights on her . To the pond . BEDEVERE Wait . Wait . tell me , what also floats on water ? ALL Bread ? No , no , no . Apples . gravy . very small rocks . ARTHUR A duck . They all turn and look at ARTHUR . BEDEVERE looks up very impressed . BEDEVERE Exactly . So . logically . FIRST VILLAGER . -LRB- beginning to pick up the thread . -RRB- If she . weighs the same as a duck . she 's made of wood . BEDEVERE And therefore ? ALL A witch ! A duck ! A duck ! Fetch a duck . FOURTH VILLAGER Here is a duck , Sir Bedevere . BEDEVERE We shall use my largest scales . He leads them a few yards to a very strange contraption indeed , made of wood and rope and leather . They put the GIRL in one pan and the duck in another . Each pan is supported by a wooden stave . BEDEVERE checks each pan then . ARTHUR looks on with interest . BEDEVERE Remove the supports . Two PEASANTS knock them away with sledge hammers . The GIRL and the duck swing slightly but balance perfectly . ALL A witch ! A witch ! WITCH It 's a fair cop . All Burn her ! Burn her ! Let 's make her into a ladder . The VILLAGERS drag the girl away , leaving ARTHUR and BEDEVERE regarding each other admiringly . BEDEVERE Who are you who are so wise in the ways of science ? ARTHUR I am Arthur , King of the Britons . BEDEVERE My liege . forgive me . ARTHUR looks at PATSY with obvious satisfaction . ARTHUR Good Sir knight , will you come with me to Camelot , and join our number at the Round Table ? BEDEVERE My liege , I am honored . ARTHUR steps forward , drawing his sword , with a slight hint of difficulty ARTHUR What is your name ? BEDEVERE Bedevere , my Liege . ARTHUR Then I dub you . Sir Bedevere . Knight of the Round Table !</scene_description> </scene> <scene> <scene_description>Under this voice over we have a montage of shots of ARTHUR recruiting his Knights : 1 . ARTHUR , PATSY , BEDEVERE and PAGE riding through hillside . 2 . A castle . LONG SHOT of SIR GAWAIN standing outside and ARTHUR 's group approaching and shaking hands perhaps . 3 . MIX TO the group now plus SIR GAWAIN and PAGE . -LRB- who is weighted down by an enormous quantity of luggage -RRB- riding down by a stream and approaching SIR HECTOR . ARTHUR dubs him . 4 . MIX TO the group . -LRB- now plus HECTOR and PAGE -RRB- approaching some group of buildings or whatever . In the distance SIR ROBIN is being taught the lute by one of his MUSICIANS . ARTHUR calls and SIR ROBIN immediately reacts and hands the lute to his MUSICIAN and comes to join ARTHUR &amp; CO. 5 . MIX TO SIR GALAHAD surrounded by chickens . He is wearing a carpenters apron over his immaculate armour and is finishing off a hen - house . We see the group approach and he throws off the apron and puts down the hen - house and goes to join them . 6 . MIX TO the group riding along again . 7 . MIX TO SIR LAUNCELOT handing a BABY to his WIFE . -LRB- who has several other CHILDREN hanging about -RRB- and he strides off to join ARTHUR , leaving his castle , WIFE and CHILDREN . The castle . -LRB- Eilean Donan -RRB- has washing hanging outside it . A real family castle . There are at least six kids . 8 . MIX TO the complete group , i.e. ARTHUR and PATSY , BEDEVERE and PAGE , GAWAIN and PAGE , HECTOR and PAGE , GALAHAD and PAGE , SIR ROBIN and six MUSICIANS , LAUNCELOT and PAGE . CLOSE - UP of a book on which is written : THE BOOK OF THE FILM VOICE OVER The wise Sir Bedevere was the first to join King Arthur 's knights . but other illustrious names were soon to follow . Hand turns page . VOICE OVER Sir Launcelot the Brave . Hand turns page . VOICE OVER Sir Galahad the Pure . Hand turns page . VOICE OVER And Sir Robin - the - not - quite - so - pure - as - Sir - Launcelot . Hand turns page . VOICE OVER . Who had nearly fought the Dragon of Agnor . Hand turns page . VOICE OVER . Who had nearly stood up to to the vicious Chicken of Bristol . Hand turns Page . VOICE OVER . and who had personally wet himself at the Battle of Badon Hill . and the aptly named . Hand turns page . VOICE OVER Sir Not - appearing - in - this - film . Hand turns page . VOICE OVER Together they formed band whose names and deeds were to be retold throughout the centuries . The Knights of the Round Table . A gorilla 's hand snatches away the hand . Music swells and fades and we MIX THROUGH TO :</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SUNSET</stage_direction> <scene_description>Fairly close HEAD - ON SHOT of the KNIGHTS riding along . BEDEVERE and ARTHUR at the front of the group deep in conversation . BEDEVERE And that , my lord , is how we know the Earth to be banana - shaped . ARTHUR This new learning amazes me , Sir Bedevere . Explain again how sheep 's bladders may be employed to prevent earthquakes . BEDEVERE OF course , my Liege . LAUNCELOT . -LRB- he points . -RRB- Look , my liege ! They all stop and look . ARTHUR . -LRB- with thankful reverence . -RRB- Camelot ! CUT TO shot of amazing castle in the distance . Illuminated in the rays of the setting sun . Music . CUT BACK TO ARTHUR and the group . They are all staring with fascination . GALAHAD Camelot . LAUNCELOT Camelot . GAWAIN . -LRB- at the back , to PAGE . -RRB- It 's only a model . ARTHUR . -LRB- turning sharply . -RRB- Sh ! -LRB- to the rest . -RRB- Knights ! I bid you welcome to your new home ! Let us ride . to Camelot .</scene_description> </scene> <scene> <stage_direction>INTERIOR - NIGHT</stage_direction> <scene_description>CUT TO interior of medieval hall . A large group of armoured KNIGHTS are engaged in a well choreographed song - and - dance routine of the very up - beat ` If they could see me now ' type of fast bouncy number . The poorer verses are made clearer by CUTTING to a group of knights actually engaged in the described task while the line itself is sung . They sing : KNIGHTS We 're knights of the round table We dance whene'er we 're able We do routines and chorus scenes With footwork impeccable . We dine well here in Camelot We eat ham and jam and spam a lot . We 're knights of the Round Table Our shows are formidable But many times We 're given rhymes That are quite unsingable We 're opera mad in Camelot We sing from the diaphragm a lot . Booming basses . A routine where two XYLOPHONISTS play parts of KNIGHTS ' armour producing a pleasing effect . KNIGHTS In war we 're tough and able . Quite indefatigable Between our quests We sequin vests And impersonate Clark Gable It 's a busy life in Camelot . SINGLE MAN I have to push the pram a lot . CUT BACK TO ARTHUR and BEDEVERE and COMPANY as we had left them . ARTHUR No , on second thought , let 's not go to Camelot . KNIGHTS Right ! ARTHUR It is a silly place . They set off again almost immediately they are suffused in ethereal radiance and strange heavenly choir music . The PAGES , horselike , take fright for a moment , they whinny and rattle their coconuts . ARTHUR and the KNIGHTS fall on their knees . A holy voice booms out . GOD Arthur ! Arthur . King of the Britons . They all prostrate themselves even further GOD Oh , do n't grovel . do get up ! If there 's one thing I ca n't stand , it 's people grovelling ! ARTHUR and COMPANY rise . ARTHUR Sorry . GOD And do n't apologize . Every time I try to talk to someone it 's sorry this and forgive me that and I 'm not worthy and . What are you doing now ? ARTHUR I 'm averting my eyes , Lord . GOD Well , do n't . I really do n't know where all this got started . It 's like those miserable psalms . they 're so depressing . Now knock it of ARTHUR Yes , Lord . GOD Right . Arthur , King of the Britons , you 're Knights of the Round Table shall have a task to make them an example in these dark times . ARTHUR Good idea , O Lord ! GOD Course it 's a good idea . Suddenly another light glows beside GOD or possibly within the light which is GOD a shape slowly starts to form . GOD Behold . Arthur . this is the Holy Grail . the Sacred Cup from which Christ drank at the Last Supper . The form in the bright light is just discernible as an iridescent chalice . the KNIGHTS gasp .</scene_description> <character>GOD</character> <dialogue>Look well, Arthur. for it is your sacred task to seek this Grail.</dialogue> <scene_description>It begins to fade . Music crescendo as both lights fade . GOD That is your purpose Arthur . the Quest for the Holy Grail . It is gone . All the KNIGHTS are left gasping in awe and wonderment . They all turn and look at ARTHUR . LAUNCELOT A Blessing . A blessing from the lord . BEDEVERE Praise be to God ! An awed pause , then ARTHUR rallies them . ARTHUR We have a task , we must waste no time ! To Camelot ! GALAHAD God be praised ! Stirring music crescendo . They ride off . CUT TO TITLES SEQUENCE Animation : `` The Quest For The Holy Grail '' After titles CUT TO :</scene_description> </scene> <scene> <stage_direction>EXTERIOR - CASTLE - DAY</stage_direction> <scene_description>MIX THROUGH one or two shots of them on their way again , until they approach a terrific castle . -LRB- a little one would do too -RRB- . They advance quite close to the castle and draw themselves into a line . At a signal from ARTHUR the two PAGES step forward and give a brief fanfare . A MAN appears on the battlements . ARTHUR addresses him . ARTHUR Hello . MAN ` Allo . Whoo is eet ? ARTHUR I am King Arthur and these are the Knights of the Round Table . Whose castle is this ? MAN This is the castle of of my master , Guy de Loimbard . ARTHUR Please go and tell your master that we have been charged by God with a sacred quest , and if he will give us food and shelter for this night he can join us in our quest for the Holy Grail . MAN Well , I 'll ask him , but I do n't think he 'll be very keen . He 's already got one , you see ? ARTHUR What ? GALAHAD He says they 've already got one ! They are stunned . ARTHUR Are you sure he 's got one ? MAN Oh yes . It 's very nice CUT TO BATTLEMENTS . THE TAUNTER . -LRB- MAN -RRB- turns to some others . MAN I told him we already got one . They all giggle . ARTHUR Well . can we come up and have a look ? MAN Of course not ! You are English pigs . ARTHUR Well , what are you then ? MAN I 'm French . Why do think I have this outrageous accent , you silly king . GALAHAD What are you doing in England ? MAN Mind your own business . ARTHUR If you will not show us the Grail we shall storm your castle . Murmurs of assent . MAN You do n't frighten us , English pig - dog ! Go and boil your bottoms , son of a silly person . I blow my nose on you , so - called Arthur - king , you and your silly English K . kaniggets . He puts hands to his ears and blows a raspberry . GALAHAD What a strange person . ARTHUR Now look here , my good man ! MAN I do n't want to talk to you , no more , you empty - headed animal , food trough wiper . I fart in your general direction . You mother was a hamster and your father smelt of elderberries . GALAHAD Is there someone else up there we could talk to ? MAN No . Now go away or I shall taunt you a second time . ARTHUR Now this is your last chance . I 've been more than reasonab . MAN Fetchez la vache ! GUARD Quoi ? MAN Fetchez la vache ! CUT BACK TO battlements . A cow is led out of a stall . CUT BACK TO ARTHUR . ARTHUR Now that is my final offer . If you are not prepared to agree to my demands I shall be forced to take . Oh Christ ! A cow comes flying over the battlements , lowing aggressively . The cow lands on GALAHAD 'S PAGE , squashing him completely . ROBIN What a cruel thing to do . BEDEVERE . -LRB- Choking back tears . -RRB- It had n't even been milked . ARTHUR Right ! Knights ! Forward ! ARTHUR leads a charge toward the castle . Various shots of them battling on , despite being hit by a variety of farm animals . ARTHUR . -LRB- as the MAN next to him is squashed by a sheep . -RRB- Knights ! Run away ! Midst echoing shouts of `` run away '' the KNIGHTS retreat to cover with the odd cow or goose hitting them still . The KNIGHTS crouch down under cover . LAUNCELOT The sods ! I 'll tear them apart . ARTHUR . -LRB- restraining LAUNCELOT from going out and having a go . -RRB- No ! BEDEVERE I have a plan sir . CUT BACK TO battlements of castle . FRENCH SENTRIES suspiciously peering towards the English lines . Wind whistles . Shot of the empty scrubland or undergrowth or woodland around the castle . Emptiness . Wind . More shots of the FRENCH SENTRIES peering into the dusk . As night falls . MIX THROUGH TO night On the battlements a brazier burns or torches on the wall as the SENTRIES peer into the dark . Shots of the woodland with fires burning where the English lines are . During all this the sounds of extensive carpentry have possibly been herd , followed by silence , followed by renewed outbursts or activity . CLOSE - UP FRENCH looking very nervous . Dawn breaking . Shot of woodland . Nothing . Wind . Dawn still breaking . Shots of the FRENCH . They suddenly hear something . A faintly detectable squeaking which is getting louder . CUT TO WIDE SHOT of castle and woodland . Squeaking getting louder . Shot of the FRENCH TAUNTER pointing . WIDE SHOT again . The squeaking gets louder an enormous twenty - foot - high wooden rabbit is wheeled out of the undergrowth into the open space in front of the castle . The ENGLISH scuttle back into the undergrowth . The rabbit has a large red bow tied round it and a rather crudely written label , which reads `` Pour votres amis Francais '' . The CHIEF TAUNTER looks at it , narrowing his eyes . Then he turns and leaves battlements . CUT TO ARTHUR and COMPANY watching from the bushes . The main gate of the castle opens a little and the CHIEF TAUNTER 's head sticks out , then another Froggie head , then another . They mutter to each other in French , look rather pleased , then rush out and start to pull the giant rabbit in . CUT BACK TO ARTHUR and COMPANY behind some bushes watching . ARTHUR Now what happens ? BEDEVERE Well now , Launcelot , Galahad , and I wait until nightfall and then leap out of the rabbit and take the French by surprise , not only by surprise but totally unarmed ! ARTHUR Who . Who breaks out ? BEDEVERE Er . We . Launcelot , Galahad , and I . Er . leap out of the rabbit and . LAUNCELOT covers his eyes . BEDEVERE Look , if we were to build a large wooden badger . ARTHUR cuffs him . ARTHUR looks at the battlements . There is a loud twang . Look of horror . The rabbit comes sailing over the battlements . ARTHUR Run away ! More shouts . ARTHUR Run away ! SIR GAWAIN . -LRB- to his PAGE as they run away . -RRB- It 's only a model . ARTHUR Sh ! They continue to retreat . The rabbit lands on GAWAIN 'S PAGE -LRB- who is already weighed down by enormous quantity of luggage -RRB- .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - CASTLE WALLS - DAY</stage_direction> <scene_description>CUT TO a MAN in modern dress standing outside a castle . He speaks straight to CAMERA in a documentary kind of way . SUPERIMPOSE CAPTION : A Very Famous Historian . HISTORIAN 'S SPEECH Defeat at the castle seems to have utterly disheartened King Arthur . The ferocity of the French taunting took him completely by surprise and Arthur became convinced that a new strategy was required if the quest for the Holy Grail were to be brought to a successful conclusion . Arthur , having consulted his closest knights , decided that they should separate , and search for the Grail individually . Now , this is what they did . No sooner . A KNIGHT rides into shot and hacks him to the ground . He rides off . We stay for a moment on the glade . A MIDDLE - AGED LADY in a C. &amp; A. twin - set emerges from the trees and looks in horror at the body of her HUSBAND . MRS HISTORIAN FRANK ! CUT TO animated frame , with the words `` The Tale of Sir Robin '' on it . Pleasant pastoral music . MIX THROUGH TO : VOICE : `` The Tale Of Sir Robin ''</scene_description> </scene> <scene> <stage_direction>EXTERIOR - GLADE - DAY</stage_direction> <scene_description>A KNIGHT is trotting along through a wooden sun - dapled glade , followed by his trusty PAGE banging the usual half coconuts . As we see them approach we hear the beautiful lilting sound of medieval music , and see that the KNIGHT is followed by a small retinue of MUSICIANS in thirteenth - century courtly costume , one sings , and plays the tambourine , one bangs at a tabor . -LRB- A small drum O.E.D -RRB- and one plays the pipes . The KNIGHT looks very proud and firm as we hear the first part of the song , but the combination of the lyrics and the large signs they pass , start to have their effect . Bravely bold Sir Robin , rode forth from Camelot , He was not afraid to die , Oh Brave Sir Robin , He was not at all afraid to be killed in nasty ways Brave , brave , brave , brave Sir Robin . He was not in the least bit scared to be mashed into a pulp Or to have his eyes gouged out and his elbows broken ; To have his kneecaps split and his body burned away And his limbs all hacked and mangled , brave Sir Robin . His head smashed in , and his heart cut out , And his liver removed , and his bowels unplugged , And his nostrils raped , and his bottom burned off , And his penis split . and his . ROBIN Er , That 's . That 's enough music for a while , lads . It Looks as though like there 's dirty work afoot . SINGERS Brave , Sir Rob . ROBIN Shut up . They have ridden past the following signs , all in triplicate : - CAMELOT 43 CERTAIN DEATH I. CAMELOT 43 CERTAIN DEATH I. CAMELOT 43 CERTAIN DEATH I. BEWARE ! GO BACK ! DEAD PEOPLE ONLY ! BEWARE ! GO BACK ! DEAD PEOPLE ONLY ! BEWARE ! GO BACK ! DEAD PEOPLE ONLY !</scene_description> </scene> <scene> <stage_direction>EXTERIOR - GLADE - DAY</stage_direction> <scene_description>They now pass three KNIGHTS impaled to a tree . With their feet off the ground , with one lance through the lot of them , they are skewered up like a barbecue . Then they pass three KNIGHTS sitting on the ground with one enormous axe through their skulls . They look timorous . Then a huge tree is absolutely packed with MAIDENS tied to it . They all look fed up . SIR ROBIN calls out cheerfully as he passes . ROBIN Morning . ONE LADY Bye . SIR ROBIN rides on a little way with the music building up enormous and terrifying tension , until suddenly there standing before him is an enormous THREE - HEADED KNIGHT . THREE HEADS Halt ! Who art thou ? SINGERS He is brave Sir Robin , brave Sir Robin , who . ROBIN . -LRB- to SINGERS . -RRB- Shut up . Oh , nobody really . just passing through . THREE HEADS What do you want ? SINGERS To fight and . ROBIN Shut up . Nothing really . just to pass through , good Sir knight . THREE HEADS I 'm afraid not . This is my bit of the forest . Find your own bit . ROBIN I am a Knight of King Arthur 's Round Table . I seek the Holy Grail - Stand aside and let me pass . THREE HEADS You are a Knight of the Round Table ? ROBIN I am . From now on the THREE HEADS speak individually . SECOND HEAD Shit . FIRST HEAD In that case I shall have to kill you . SECOND HEAD Shall I ? THIRD HEAD Oh , I do n't think so . SECOND HEAD I 'm not sure . MIDDLE HEAD . -LRB- to FIRST . -RRB- What do I think ? LEFT HEAD I think kill him . SECOND HEAD I 'm still not sure . THIRD HEAD All right . How many of me think I should kill him ? FIRST HEAD I do . THIRD HEAD One . SECOND HEAD That 's not a quorum . FIRST HEAD It is if I 'm the Chairman . THIRD HEAD Oo , it 's not . SECOND HEAD I 'm the Chairman this week . FIRST HEAD You 're not . SECOND HEAD Look , it 'll make it much simpler if I vote with me . THIRD HEAD To kill him . SECOND HEAD Yeah . THIRD HEAD . -LRB- tuts . -RRB- Oh , damn . FIRST HEAD . -LRB- to SIR ROBIN . -RRB- Knight , I have decided to kill you . THIRD HEAD With one absenting . FIRST HEAD Knight , I have decided to kill you with one absenting . THIRD HEAD . -LRB- to SIR ROBIN . -RRB- Sorry about this but I have to be fair . ROBIN Oh , that 's all right . So you are going to kill me with your big axe . FIRST HEAD Er no , with my sword . SECOND HEAD Dagger . THIRD HEAD Mace is quicker . FIRST HEAD No , no , the sword , it 's easier . THIRD HEAD He said axe . ROBIN Look , hurry up six eyes , or I shall cut your head off . THIRD HEAD . -LRB- to SIR ROBIN , referring to FIRST HEAD . -RRB- For God 's sake , CUT that one off , and do us all a favour . FIRST HEAD What do you mean ? THIRD HEAD Yapping on all the time . SECOND HEAD You 're lucky , you 're not next to him . THIRD HEAD What do you mean ? SECOND HEAD You snore . THIRD HEAD Oo , lies . Anyway , you 've got bad breath . SECOND HEAD . -LRB- aspirating heavily . -RRB- I have n't . Both THIRD and FIRST HEADS turn away slightly , making faces . SECOND HEAD It 's not my fault . It 's what you both eat . FIRST HEAD Look , stop this bitching . We 've got a knight to kill . SECOND HEAD He 's buggered off . THIRD HEAD So he has . He 's scarpered . FIRST HEAD That 's all your fault . THIRD HEAD No , it 's not . FIRST HEAD . -LRB- swipes at himself . -RRB- Take that . SECOND HEAD Ow . FIRST HEAD I 'm sorry . THIRD HEAD ` Ere , stop it . I 'll teach you . The BODY starts laying into itself with sword and mace , while the HEADS argue and shout with pain . We PAN gently across to the MAIDENS on their tree . They are still very fed up . MAIDEN I suppose we 're lucky he 's only got three heads . LOVELY Chance would be a fine thing . THIRD HEAD Oh ! let 's be nice to him . FIRST HEAD Oh shut up . ROBIN Perhaps I could . FIRST HEAD Oh ! quick ! get the sword out I want to cut his head off . THIRD HEAD Oh , cut your own head off . SECOND HEAD Yes - do us all a favour . FIRST HEAD What ? THIRD HEAD Yapping on all the time . SECOND HEAD You 're lucky , you 're not next to him . THIRD HEAD What do you mean ? SECOND HEAD You snore . THIRD HEAD Ooh , lies ! anyway you 've got bad breath . SECOND HEAD Well only because you do n't brush my teeth . THIRD HEAD Oh ! stop bickering and let 's go and have tea and biscuits . FIRST HEAD All right ! All right ! We 'll kill him first and then have tea and biscuits . SECOND HEAD Yes . THIRD HEAD Oh ! not biscuits . FIRST HEAD All right ! All right ! not biscuits - but lets kill him anyway . WIDE - SHOT THE 3 - HEADED KNIGHT is alone . SECOND HEAD He 's buggered off ! THIRD HEAD So he has ! He 's scarpered .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - GLADE - DAY</stage_direction> <scene_description>Quick sequence of SIR ROBIN . The music is jolly and bright , as if triumphant . ROBIN is not at all happy with the lyrics . SINGERS Brave Sir Robin ran away . ROBIN I did n't . SINGERS Bravely ran away , away . ROBIN No , no , no . SINGERS When danger reared its ugly head , He bravely turned his tail and fled Yes , Brave Sir Robin turned about And gallantly he chickened out Bravely taking to his feet He beat a very brave retreat Bravest of the brave Sir Robin Petrified of being dead Soiled his pants then brave Sir Robin Turned away and fled . They disappear into distance . ANIMATION : `` The Tale Of Sir Galahad ''</scene_description> </scene> <scene> <stage_direction>EXTERIOR - STORM - FOREST - DUSK</stage_direction> <scene_description>As the storm rages we pick up GALAHAD forcing his way through brambles and over slippery rocks . Progress is hard . He pauses and at this moment we hear the howling of wolves . GALAHAD turns , then hurries onward even more urgently . Another louder , closer howl is herd and GALAHAD stumbles and falls heavily . Though obviously injured he bravely struggles forward a little and regains his feed reacting with pain . More louder closer howling . He grips his sword valiantly and as he glances around a flash of lightning reveals the silhouette of a huge terrifying castle , perhaps looking rather derelict . He makes up his mind in an instant and stumbles manfully toward it . More louder howling . He reaches the forbidding and enormous doors of the castle and beats on the doors with the handle of his sword , looking over his shoulder the while . Pause . He beats again , shouting : GALAHAD Open . Open the doors . In the name of King Arthur . Open the doors . I am Sir Galahad , a knight of the Round Table . Some suitable noises are herd inside . GALAHAD I am on a quest for the Holy Grail . I seek shelter . Some rattling chainy noises come from inside with huge bolts being drawn . The wolves ' howling is very close . As the door creaks open GALAHAD steps quickly inside .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CASTLE - NIGHT</stage_direction> <scene_description>From inside we see GALAHAD enter , wiping the rain from his eyes , and turn as the door crashes behind him . GALAHAD turns to the door reacting to the fact he is trapped . ZOOT . -LRB- OUT OF VISION . -RRB- Hello ! GALAHAD turns back . We see from his POV the lovely ZOOT standing by him smiling enchantingly and a number of equally delectable GIRLIES draped around in the seductively poulticed room . They look at him smilingly and wave . GIRLIES Hello ! ZOOT Welcome , gentle Sir knight , welcome to the Castle Anthrax . GALAHAD The Castle Anthrax ? ZOOT Yes . It 's not a very good name , is it ? But we are nice and we shall attend to your every . every need ! GALAHAD Er . You are the keepers of the Holy Grail ? ZOOT The what ? But you are tired and you must rest awhile . Midget ! Crapper ! MIDGET AND CRAPPER Yes , O Zoot ? ZOOT Prepare a bed for our guest . MIDGET AND CRAPPER . -LRB- grovelling with delight . -RRB- Oh thank you , Zoot , thank you , thank you . ZOOT Away varletesses ! -LRB- to GALAHAD . -RRB- The beds here are warm and soft and very , very big . GALAHAD Well , look er , I . ZOOT What is your name , handsome knight ? GALAHAD Er . Sir Galahad . the Chaste . ZOOT Mine is Zoot . Just Zoot . -LRB- she is very close to him for a moment . -RRB- But come . She turns away and leads him towards a door leading to a corner leading to the bedchamber GALAHAD Well Look , I 'm afraid I really ought to be . ZOOT Sir Galahad ! There is a gasp from the other GIRLS ZOOT You would not be so ungallant as to refuse our hospitality . GALAHAD looks at the other GIRLS . They are clearly on the verge of being offended . GALAHAD Well . ZOOT . -LRB- she moves off and GALAHAD unwillingly follows . -RRB- I 'm afraid our life must seem very dull and quiet compared to yours . We are but eightscore young blondes , all between sixteen and nineteen - and - a - half , cut off in this castle , with no one to protect us . Oooh . It is a lonely life . bathing . dressing . undressing . making exciting underwear . They reach the end of the corridor and enter the bedchamber . ZOOT turns ZOOT We are just not used to handsome knights . -LRB- she notices him limping . -RRB- But you are wounded ! GALAHAD No , It 's nothing ! ZOOT You must see the doctors immediately . -LRB- she claps again . -RRB- You must lie down . She almost forces him to lie on the bed as PIGLET and WINSTON enter the room . They are equally beautiful and dressed exotically . They approach GALAHAD . PIGLET Well , what seems to be the trouble ? GALAHAD They 're doctors ? ZOOT They have a basic medical training , yes . Now you must try to rest . Dr. Winston ! Dr. Piglet ! Practice your art ! WINSTON Try to relax . GALAHAD No look , really , this is n't nescess . PIGLET We must examine you . GALAHAD There 's nothing wrong with . that . PIGLET . -LRB- slightly irritated . -RRB- Please . we are doctors . ZOOT reappears . GALAHAD tries for one brief moment to relax . Then there is a sharp boing from the lower part of his armour . WINSTON glances quickly in the appropriate direction as GALAHAD sits up and starts getting off the bed and collecting his armour , saying : GALAHAD No , no , this can not be . I am sworn to chastity ! PIGLET Back to your bed ! At once ! GALAHAD I 'm sorry , I must go . GALAHAD hurries to the door and pushes through it . As he leaves the room we CUT TO the reverse to show that he is now in a room full of bathing and romping GIRLIES , all innocent , wide - eyed and beautiful . They smile enchantingly at him as he tries to keep walking without being diverted by the lovely sights assaulting his eyeballs . He nods to them stiffly once or twice and then his eye catches a particularly stunning YOUNG LADY . He visibly gulps with repressed emotion and can not resist saying : GALAHAD Good evening . Ah , Zoot ! Er . DINGO No , I am Zoot 's identical twin sister , Dingo . GALAHAD Oh . Well , I 'm sorry , but I must leave immediately . DINGO . -LRB- very dramatically . -RRB- No ! Oh , no ! Bad . bad Zoot . GALAHAD Er , why ? DINGO She has been lying again . she told us you had promised to stay for ever ! GALAHAD Oh ! GALAHAD Oh . will you excuse me ? DINGO Where are you going ? GALAHAD I have seen the Grail ! I have seen it - here in this castle ! DINGO No ! Oh , no ! Bad . bad Zoot ! GALAHAD What is it ? DINGO Bad , wicked , naughty Zoot ! She has been setting fire to our beacon , which - I have just remembered - is grail - shaped . It is not the first time we 've had this problem . GALAHAD It 's not the real Grail ? DINGO Wicked wicked Zoot . she is a bad person and she must pay the penalty . And here in Castle Anthrax , we have but one punishment . you must tie her down on a bed . and spank her . Come ! GIRLS A spanking ! A spanking ! DINGO You must spank her well and after you have spanked her you may deal with her as you like and then . spank me . AMAZING And spank me ! STUNNER And me . LOVELY And me . DINGO Yes , yes , you must give us all a good spanking ! GIRLS A spanking . A spanking . There is going to be a spanking tonight . DINGO And after the spanking . the oral sex . GALAHAD Oh , dear ! Well , I . GIRLS The oral sex . The oral sex . GALAHAD Well , I suppose I could stay a BIT longer . At this moment there is a commotion behind and SIR LAUNCELOT and CONCORD , possibly plus GAWAIN , burst into the bathing area with swords drawn and form themselves round SIR GALAHAD threatening the GIRLS . LAUNCELOT Sir Galahad ! GALAHAD Oh . hello . LAUNCELOT Quick ! GALAHAD Why ? LAUNCELOT You are in great peril . DINGO No he is n't LAUNCELOT Silence ! Foul temptress ! GALAHAD Well , she 's got a point . LAUNCELOT We 'll cover your escape ! GALAHAD Look - I 'm fine ! GIRLS Sir Galahad ! He threatens DINGO . GALAHAD No . Look , I can tackle this lot single - handed ! GIRLS Yes , yes , let him Tackle us single - handed ! LAUNCELOT Come Sir Galahad , quickly ! GALAHAD No , really , I can cope . I can handle this lot easily ! DINGO Yes , let him handle us easily . LAUNCELOT No sir . Quick ! He starts pulling GALAHAD away . GALAHAD No , please . Please ! I can defeat them ! There 's only a hundred . GIRLS He will beat us easily . We have n't a chance . DINGO Oh shit ! By now LAUNCELOT and CONCORDE have hustled GALAHAD out of the bathing area and are running through the outside door . LAUNCELOT We were in the nick of time . You were in great peril . GALAHAD . -LRB- dragging his feet somewhat . -RRB- I do n't think I was . LAUNCELOT You were , Sir Galahad , You were in terrible peril . GALAHAD Look , let me go back in there and face the peril ? LAUNCELOT It 's too perilous . They are right outside the castle by now . GALAHAD Look , it 's my duty as a knight to try and sample as much peril as I can . LAUNCELOT No , no , we must find the Grail . The thunderstorm is over . A bunch . -LRB- sic -RRB- of PAGES are tethered to a tree with more MEN waiting . Their tethers are untied and the PAGES start banging away with their coconuts . GALAHAD is swept along with them as they ride off . GALAHAD Oh , let me go and have a bit of peril ? LAUNCELOT No . It 's unhealthy . GALAHAD . I Bet you 're gay . LAUNCELOT No , I 'm not . GAWAIN or CONCORDE gives a knowing glance at LAUNCELOT . VOICE comes in as they ride off . VOICE OVER Sir Launcelot had saved Galahad from almost certain temptation but they were still lost , far from the goal of their search for the Holy Grail . Only Bedevere and King Arthur himself , riding day and night , had made any progress .</scene_description> </scene> <scene> <stage_direction>ANIMATION/LIVE ACTION</stage_direction> <scene_description>ARTHUR and BEDEVERE in the depths of a dark forest with an old blind SOOTHSAYER . He lies in a broken down old woodman 's hut . ARTHUR And this `` Enchanter '' of whom you speak , he has seen the grail ? The SOOTHSAYER laughs forbiddingly , adding to the general spookiness of this encounter . ARTHUR Where does he live ? -LRB- he stares into the blind eyes of the OLD MAN . -RRB- Old man . where does he live . SOOTHSAYER He knows of a cave . a cave which no man has entered . ARTHUR And . the Grail . The Grail is there ? The BLIND MAN laughs again to himself . SOOTHSAYER There is much danger . for beyond the cave lies the Gorge of Eternal Peril which no man has ever crossed . ARTHUR But the Grail . where is the Grail ! ? SOOTHSAYER Seek you the Bridge of Death . ARTHUR The Bridge of Death ? which leads to the Grail ? The OLD MAN laughs sinisterly and mockingly . They look down and he is gone . They stand up . Suddenly behind them is a noise . They turn sharply in the door of the little hut is a cat . It miaows and is gone . They slowly back out of the hut . As they touch the doorposts they just flake away into dust . The whole hut is rotten . It collapses Spooky music . They are thoroughly shaken , and they begin to hear noises of people moving in the forest around them . They start to back cautiously away from the hut , suddenly there is heavy footfall behind them . They turn in fear and : Sudden CUT TO BIG CLOSE - UP of a frightening black - browed evil face . TALL KNIGHT OF NI Ni ! ARTHUR and BEDEVERE recoil in abject fear . PATSY rears up with coconuts . ARTHUR . -LRB- to PATSY . -RRB- Easy . boy , easy . ARTHUR peers into the darkness . ARTHUR Who are you ? SIX VOICES FROM DARKNESS NI ! Peng ! Neeee . Wom ! An extraordinary TALL KNIGHT in all black . -LRB- possibly John with Mike on his shoulders -RRB- walks out from the dark trees . He is extremely fierce and gruesome countenance . He walks towards KING ARTHUR and PATSY , who are wazzing like mad . -LRB- Salopian slang , meaning very scared . almost to the point of wetting oneself , e.g. before an important football match or prior to a postering . Salopian slang meaning a beating by the school praeposters . Sorry about the Salopian slant to this stage direction - Ed . -RRB- ARTHUR . -LRB- wazzed stiff . -RRB- Who are you ? TALL KNIGHT We are the Knights Who Say `` Ni '' ! BEDEVERE No ! Not the Knights Who Say `` Ni '' ! TALL KNIGHT The same ! ARTHUR Who are they ? TALL KNIGHT We are the keepers of the sacred words . NI . Peng . and Neee . Wom ! BEDEVERE Those who hear them seldom live to tell the tale . TALL KNIGHT The Knights Who Say `` Ni '' ! demand a sacrifice . ARTHUR . -LRB- to the TALL KNIGHT . -RRB- Knights Who Say `` Ni '' . we are but simple travellers . We seek the Enchanter who lives beyond this wood and who . TALL KNIGHT NI ! ARTHUR . -LRB- recoiling . -RRB- Oh ! TALL KNIGHT NI ! NI ! ARTHUR . -LRB- he cowers in fear . -RRB- Oh ! TALL KNIGHT We shall say Ni ! again to you if you do not appease us . ARTHUR All right ! What do you want ? TALL KNIGHT We want . a shrubbery ! ARTHUR A what ? TALL KNIGHT Ni ! Ni ! Ni . Peng . Nee . Wum ! The PAGES rear and snort and rattle their coconuts . ARTHUR All right ! All right ! No more , please . We will find you a shrubbery . TALL KNIGHT You must return here with a shrubbery or else . you shall not pass through this wood alive ! ARTHUR Thanks you , Knights Who Say Ni ! You are fair and just . We will return with a shrubbery . TALL KNIGHT One that looks nice . ARTHUR Of course . TALL KNIGHT And not too expensive . ARTHUR Yes . TALL KNIGHT Now - go ! ARTHUR and BEDEVERE turn and ride off . OTHER KNIGHTS Ni ! Ni ! Shouts of `` Ni '' and `` Peng '' ring behind them .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT BACK TO the HISTORIAN lying in the glade . His WIFE , who has been kneeling beside him , rises as two POLICE PATROLMEN enter the glade . They bend over her HUSBAND . One takes out a notebook . CUT TO and animated title - `` The Tale of Sir Launcelot ''</scene_description> </scene> <scene> <stage_direction>INTERIOR - PRINCE'S ROOM IN CASTLE - DAY</stage_direction> <scene_description>A young , quite embarrassingly unattractive PRINCE is gazing out of a castle window . His FATHER stands beside him . He is also looking out . The PRINCE wears a long white undershirt . -LRB- like a night shirt -RRB- . FATHER One day , lad , all this will be yours . PRINCE What - the curtains ? FATHER No ! Not the curtains , lad . All that . -LRB- indicates the vista from the window . -RRB- all that you can see , stretched out over the hills and valleys . as far as the eye can see and beyond . that 'll be your kingdom , lad . PRINCE But , Mother . FATHER Father , lad . PRINCE But , Father , I do n't really want any of that . FATHER Listen , lad , I built this kingdom up from nothing . All I had when I started was swamp . other kings said I was daft to build a castle on a swamp , but I built it all the same . just to show 'em . It sank into the swamp . So I built a another one . that sank into the swamp . I built another one . That fell over and THEN sank into the swamp . So I built another . and that stayed up . And that 's what your gon na get , lad : the most powerful kingdom in this island . PRINCE But I do n't want any of that , I 'd rather . FATHER Rather what ? PRINCE I 'd rather . just . sing . MUSIC INTRO FATHER You 're not going to do a song while I 'm here ! Music stops . FATHER Listen , lad , in twenty minutes you 're going to be married to a girl whose father owns the biggest tracts of open land in Britain . PRINCE I do n't want land . FATHER Listen , Alice . PRINCE Herbert . FATHER Herbert . We built this castle on a bloody swamp , we need all the land we can get . PRINCE But I do n't like her . FATHER Do n't like her ? What 's wrong with her ? She 's beautiful . she 's rich . she 's got huge tracts of land . PRINCE I know . but . I want the girl that I marry to have . a certain . special . something . MUSIC INTO FOR song . FATHER Cut that out ! Music cuts off abruptly . FATHER You 're marrying Princess Lucky , so you 'd better get used to the idea ! Guards ! TWO GUARDS enter and stand to attention on either side of the door One of them has hiccoughs and does so throughout . FATHER Make sure the Prince does n't leave this room until I come and get him . FIRST GUARD Not . to leave the room . even if you come and get him . FATHER No . Until I come and get him . SECOND GUARD Hic . FIRST GUARD Until you come and get him , we 're not to enter the room . FATHER No . You stay in the room and make sure he does n't leave . FIRST GUARD . and you 'll come and get him . SECOND GUARD Hic . FATHER That 's Right . FIRST GUARD We do n't need to do anything , apart from just stop him entering the room . FATHER Leaving the room . FIRST GUARD Leaving the room . yes . FATHER Got it ? SECOND GUARD Hic . FARTHER makes to leave . FIRST GUARD Er . if . we . er . FATHER Yes ? FIRST GUARD If we . er . -LRB- trying to remember what he was going to say . -RRB- FATHER Look , it 's simple . Just stay here and make sure he does n't leave the room . SECOND GUARD Hic . FATHER Right ? FIRST GUARD Oh , I remember . can he . er . can he leave the room with us ? FATHER . -LRB- carefully . -RRB- No . keep him in here . and make sure he does n't . FIRST GUARD Oh , yes ! we 'll keep him in here , obviously . But if he had to leave and we were with him . FATHER No . just keep him in here . FIRST GUARD Until you , or anyone else . FATHER No , not anyone else - just me . FIRST GUARD Just you . SECOND GUARD Hic . FIRST GUARD Get back . FATHER Right . FIRST GUARD Okay . Fine . We 'll remain here until you get back . FATHER And make sure he does n't leave . FIRST GUARD What ? FATHER Make sure he does n't leave . FIRST GUARD The Prince ? FATHER Yes . make sure . FIRST GUARD Oh yes , of course ! I thought you meant him ! -LRB- he points to the other GUARD and laughs to himself . -RRB- You know it seemed a bit daft me havin ' to guard him when he 's a guard . FATHER Is that clear ? SECOND GUARD Hic . FIRST GUARD Oh , yes . That 's quite clear . No problems . FATHER pulls open the door and makes to leave the room . The GUARDS follow . FATHER . -LRB- to the GUARDS . -RRB- Where are you going ? FIRST GUARD We 're coming with you . FATHER No , I want you to stay here and make sure he does n't leave the room until I get back . FIRST GUARD Oh , I see , Right . They take up positions on either side of the door . PRINCE But , Father . FATHER Shut your noise , you , and get that suit on ! He points to a wedding suit on a table or chair . FATHER throws one last look at the BOY and turns , goes out and slams the door . The PRINCE slumps onto window seat , looking forlornly out of the window . MUSIC INTRO to song . The door flies open , the music cuts off and FATHER pokes his head in . FATHER And no singing ! SECOND GUARD Hic . FATHER . -LRB- as he goes out . -RRB- Go and have a drink of water . FATHER slams the door again . The GUARDS take up their positions . The SON gazes out of the window again . sighs . thinks . a thought strikes him . he gets up , crosses to his desk and scribbles a quick note and impales it on an arrow . takes a bow down from the wall . and fires the arrow out of the window . He looks wetly defiant at the GUARDS , who smile pleasantly .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - A FOREST - DAY</stage_direction> <scene_description>CUT TO the middle of the forest . SIR LAUNCELOT is riding along with a trusty servant , CONCORDE . LAUNCELOT And . o v e r . we go ! He strides over a big tree trunk . his `` horse '' does run and jump . LAUNCELOT . -LRB- enthusiastically . -RRB- Well taken , Concorde ! CONCORDE Thank you , sir , most kind . LAUNCELOT And another ! CONCORDE misses a beat . LAUNCELOT Steady ! Good . and the last one . CONCORDE does the run - up with the coconuts . He does the break for the leap . there is a thwack . SIR LAUNCELOT is waiting for the horse to land . CONCORDE Message for you , sir . He falls forward revealing the arrow with the note . LAUNCELOT Concorde - speak to me . He realises he might be in danger and so starts to crawl off . when he notices the note . He takes it out and reads it . LAUNCELOT . -LRB- reading . -RRB- `` To whoever finds this note - I have been imprisoned by my father who wishes me to marry against my will . Please please please please come and rescue me . I am in the tall tower of Swamp Castle . '' SIR LAUNCELOT 's eyes light up with holy inspiration . LAUNCELOT At last ! A call ! A cry of distress . -LRB- he draws his sword , and turns to CONCORDE . -RRB- Concorde ! Brave , Concorde . you shall not have died in vain ! CONCORDE I 'm not quite dead , sir . LAUNCELOT . -LRB- a little deflated . -RRB- Oh , well . er brave Concorde ! You shall not have been fatally wounded in vain ! CONCORDE I think I could pull through , sir . LAUNCELOT Good Concorde . stay here and rest awhile . He makes to leap off dramatically . CONCORDE I think I 'll be all right to come with you , sir . LAUNCELOT I will send help , brave friend , as soon as I have accomplished this most daring , desperate adventure in this genre . CONCORDE Really , I feel fine , sir . LAUNCELOT Farewell , Concorde ! CONCORDE It just seems silly . me lying here . SIR LAUNCELOT plunges off into the forest .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - CASTLE GATEWAY - DAY</stage_direction> <scene_description>Two hanging banners one each side of the gate with the monogram : `` H &amp; L '' . TWO SENTRIES with spears . slightly weddingly . red ribbons on their right spears . We can hear from inside revelry and celebration music . We hear LAUNCELOT 's footsteps . The TWO SENTRIES are watching him . One of them raises his hand . FIRST SENTRY Halt , friend . LAUNCELOT leaps into SHOT with a mighty cry and runs the GUARD through and hacks him to the floor . Blood . Swashbuckling music . -LRB- perhaps -RRB- . LAUNCELOT races through into the castle screaming . SECOND SENTRY Hey ! He looks down at his mutilated comrade .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT TO inside of the castle grounds or courtyard . in the sunlight beautifully dressed WEDDING GUESTS are arriving . Converging on a doorway . A country dance in progress . SIR LAUNCELOT rushes towards them . CUT TO HAND - HELD CLOSE - UPS as he charges through the crowd , hacking right and left a la Errol Flynn at all who come in his way . He fights his way through the country dance . Blood . Shrieks . Bemused looks of GUESTS - not horror so much as uncomprehending surprise . Possibly Errol Flynn music . One COUNTRY DANCER is left holding just a hand . Right and left the GUESTS crumple in pools of blood as he fights his way through the door and into the main hall .</scene_description> </scene> <scene> <stage_direction>INTERIOR - DAY</stage_direction> <scene_description>CUT TO interior of main hall . Sound of busy preparations . MEN setting up huge hogsheads of wine . MEN putting up last minute flower arrangements . COOKS bearing huge trays of food , pies , suckling pigs , a swan , boar 's head , etc. . The BRIDE being dressed by several ATTENDANTS . FATHER ordering SERVANTS around - organizing the STEWARDS etc. . SIR LAUNCELOT bursts through the middle of them , slashing heroically , hacking , wounding and killing . Again fairly CLOSE - UP chaotic SHOTS . We see GUESTS stagger back wounded - a COOK bites the dust , etc. . SIR LAUNCELOT eventually reaches the staircase . runs up it and into a small door .</scene_description> </scene> <scene> <stage_direction>INTERIOR - DAY</stage_direction> <scene_description>CUT TO SIR LAUNCELOT running up spiral staircase . He reaches the door of the PRINCE 's room . he flings it open . FIRST GUARD Ah ! Now . we 're not allowed to . SIR LAUNCELOT runs him through , grabs his spear and stabs the other guard who collapses in a heap . Hiccoughs quietly . SIR LAUNCELOT runs to the window and kneels down in front of the PRINCE , averting his head . LAUNCELOT Oh , fair one , behold your humble servant , Sir Launcelot , from the Court of Camelot . I have come to take you . -LRB- he looks up for the first time and his voice trails away . -RRB- away . I 'm terribly sorry . PRINCE You got my note ! LAUNCELOT Well . yes . PRINCE You 've come to rescue me ? LAUNCELOT Well . yes . but I had n't realised . PRINCE . -LRB- his eyes light up . -RRB- I knew that someone would come . I knew . somewhere out there . there must be . MUSIC INTRO to song . FATHER . -LRB- suddenly looking in the door . -RRB- Stop that ! Music cuts out . FATHER sees SIR LAUNCELOT still kneeling before his son . FATHER Who are you ? PRINCE I 'm . your son . FATHER Not you . LAUNCELOT . -LRB- half standing self - consciously . -RRB- I 'm . er . Sir Launcelot , sir . PRINCE He 's come to rescue me , father . LAUNCELOT . -LRB- embarrassed . -RRB- Well , let 's not jump to conclusions . FATHER Did you kill all those guards ? LAUNCELOT Yes . I 'm very sorry . FATHER They cost fifty pounds each ! LAUNCELOT Well , I 'm really am most awfully sorry but I . I can explain everything . PRINCE Do n't be afraid of him , Sir Launcelot . I 've got a rope here all ready . He throws a rope out of the window which is tied to a pillar in the room He looks rather pleased with himself that he has got it all ready . FATHER You killed eight wedding guests in all ! LAUNCELOT Er , Well . the thing is . I thought your son was a lady . FATHER I can understand that . PRINCE . -LRB- half out of the window . -RRB- Hurry , brave Sir Launcelot ! FATHER . -LRB- to his SON . -RRB- Shut up ! -LRB- to LAUNCELOT . -RRB- You only killed the bride 's father - that 's all - LAUNCELOT Oh dear , I did n't really mean to . FATHER Did n't mean to ? You put your sword right through his head ! LAUNCELOT Gosh - Is he all right ? FATHER You even kicked the bride in the chest ! It 's going to cost me a fortune ! LAUNCELOT I can explain . I was in the forest . riding north from Camelot . when I got this note . FATHER Camelot ? Are you from Camelot ? The PRINCE 's head peeps over the windowsill . PRINCE Hurry ! LAUNCELOT I am , sir . I am a Knight of King Arthur . FATHER ` Mm . very nice castle , Camelot . very good pig country . LAUNCELOT Is it ? PRINCE . -LRB- out of vision . -RRB- I am ready , Sir Launcelot . FATHER Do you want to come and have a drink ? LAUNCELOT Oh . that 's awfully nice . PRINCE . -LRB- OOV . -RRB- -LRB- loud and shrill . -RRB- I am ready ! As they walk past the rope , the FATHER nonchalantly cuts with his knife . there is no sound except after a pause a slight squeal from very far away as the PRINCE makes contact with the ground . LAUNCELOT It 's just that when I 'm in this genre , I tend to get over - excited and start to leap around and wave my sword about . and . FATHER Oh , do n't worry about that . Tell me . does n't Camelot own that stretch of farmland up by the mountains ? He puts his arm round LAUNCELOT 's shoulders as they go though the door .</scene_description> </scene> <scene> <stage_direction>INTERIOR - DAY</stage_direction> <scene_description>CUT TO the great hall . GUESTS wounded and bloody , are tending to the dead and injured , sighs and groans , the PRINCESS in her white wedding dress is holding her chest and coughing blood . People dabbing the stains off her dress . FATHER and SIR LAUNCELOT start to walk down the grand staircase . Talking to each other . One of the GUESTS notices and points to SIR LAUNCELOT . GUEST There he is ! As one man all remaining able - bodied MEN look up and make for the staircase , muttering angrily . SIR LAUNCELOT grabs his sword . FATHER Hold it ! But it is too lake . SIR LAUNCELOT can not be stopped . With fearless abandon he throws himself into the CROWD and starts hacking and slashing . He has carved quite a number up before the FATHER can stop him and pulls him back onto the stairs . Renewed groans and cries . FATHER . -LRB- shouting above noise . -RRB- Hold it ! Please ! LAUNCELOT Sorry ! Sorry . -LRB- with bitter self reproach . -RRB- There you See . I just got excited again and I got carried away . I 'm ever so sorry . -LRB- to the CROWD . -RRB- Sorry . CROWD kneeling round their wounded again . Moans etc. . GUEST He 's killed the best man ! SECOND GUEST . -LRB- holding a limp WOMAN . -RRB- He 's killed my auntie . FATHER No , please ! This is supposed to be a happy occasion ! Let 's not bicker and argue about who killed who . We are here today to witness the union of two young people in the joyful bond of the holy wedlock . Unfortunately , one of them , my son Herbert , has just fallen to his death . Murmurs from CROWD ; the BRIDE smiles with relief , coughs . FATHER But I do n't want to think I 've not lost a son . so much as gained a daughter . Smattering of applause . FATHER For , since the tragic death of her father . SHOUT FROM BACK He 's not quite dead ! FATHER Since the fatal wounding of her father . SHOUT FROM BACK I think He 's getting better ! FATHER nods discreetly to a SOLDIER standing to one side . The SOLDIER slips off . FATHER 's eyes watch him move round to where the voice came from . FATHER For . since her own father . who . when he seemed about to recover . suddenly felt the icy . hand of death upon him . A scuffle at the back . SHOUT FROM BACK Oh , he 's died ! FATHER I want his only daughter , from now onwards , to think of me as her old dad . in a very real and legally binding sense . Applause . FATHER And I 'm sure sure . that the merger . er . the union between the Princess and the brave but dangerous Sir Launcelot of Camelot . LAUNCELOT What ? Gasp from the CROWD . CROWD The dead Prince ! There is CONCORDE holding `` THE DEAD PRINCE '' in his arms . CONCORDE He 's not quite dead ! PRINCE I feel much better . FATHER You fell out of the Tall Tower you creep ! PRINCE I was saved at the last minute . FATHER How ? PRINCE Well . I 'll tell you . MUSIC INTRO to song . CONCORDE stands the SON on his feet and adopts cod `` and now a number from my friend '' pose . FATHER Not like that ! But the music does n't stop and the CROWD starts to sing . CROWD He 's going to tell . FATHER Shut up ! CROWD He 's going to tell . FATHER . -LRB- screaming . -RRB- Shut UP ! As the song starts the FATHER tries yelling at them and eventually gives up . SIR LAUNCELOT joins CONCORDE in the CROWD . LAUNCELOT We must escape . Quickly before the song . CONCORDE Come with me , sir . LAUNCELOT You 're not right for this genre . I must escape more dramatically . CONCORDE Quickly , sir , come this way ! LAUNCELOT No ! It 's not right for my idiom . I must escape more . more . CONCORDE Dramatically , sir ? LAUNCELOT Dramatically . CROWD He 's going to tell He 's going to tell He 's going to tell about his great escape . Oh he fell a long long way But he 's here with us today What a wonderful . escape . CONCORDE goes . SIR LAUNCELOT runs back up the stairs , grabs a rope of the wall and swings out over the heads of the CROWD in a swashbuckling manner towards a large window . He stops just short of the window and is left swing pathetically back and forth . LAUNCELOT Excuse me . could somebody give me a push .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - A DESERTED VILLAGE - DUSK</stage_direction> <scene_description>Toothless old CRONE by the roadside . ARTHUR and BEDEVERE and two PAGES ride up and draw up alongside the CRONE . ARTHUR Is there anywhere where we could buy a shrubbery ? The OLD CRONE crosses herself with a look of stark terror . CRONE Who sent you ? ARTHUR The Knights Who Say Ni ! CRONE Aaaagh ! -LRB- she looks around in rear . -RRB- No ! We have no shrubberies here . BEDEVERE Surely , there must be . ARTHUR restrains from threatening the LADY . ARTHUR . -LRB- aside . -RRB- It will be not good to argue . These simple people are terrified of the Knights Who Say Ni ! CRONE . -LRB- she cowers . -RRB- Ohhh ! ARTHUR takes BEDEVERE further aside . ARTHUR There is only one way to get the information we want . BEDEVERE Send her a letter from a long way away ? ARTHUR Er , no . no , we must . BEDEVERE Talk to her in funny voices ? ARTHUR . -LRB- slightly crossly . -RRB- No . BEDEVERE How about trying ourselves to a tree ? ARTHUR . -LRB- grittily . -RRB- No . Our only hope is to make her as afraid of us as she is of the awful Knights Who Say Ni ! BEDEVERE . -LRB- sagely . -RRB- Ah ! Hit ourselves with a big rock . He nods knowingly . ARTHUR . -LRB- tolerantly but firmly . -RRB- No . Nothing we do to ourselves will frighten her as much as what we can do to her . BEDEVERE Ah ! ARTHUR We must threaten to say `` Ni '' ! BEDEVERE . -LRB- terror . -RRB- Oh , no . They reapproach the OLD CRONE who is cowering more than ever . ARTHUR Listen , old crone ! Unless you tell us where we can buy a shrubbery , my friend and I will . we will say `` Ni ! '' CRONE Do your worst ! I have herd the Knights say `` Ni '' ! in the night . I have herd the hideous Peng ! and they have said `` Nee - wum '' ! to my sister but still I have not revealed . ARTHUR Very well , old crone . Since you will not assist us voluntarily . `` Ni '' ! CRONE No . Never . No shrubberies . ARTHUR Ni ! BEDEVERE Nu ! ARTHUR No . Ni ! More like this . `` Ni '' ! BEDEVERE Ni , ni , ni ! ARTHUR It 's not working . You 're not doing it properly . Ni ! BEDEVERE Ni ! ARTHUR That 's it . Ni ! Ni ! A PASSER - BY on a horse is observing them . ROGER Are you saying `` Ni '' to that old woman ? ARTHUR Erm , yes . ROGER Oh , what sad times are these when passing ruffians can say `` Ni '' at will to old ladies . There is a pestilence upon this land ! nothing is sacred . Even those who arrange and design shrubberies are under considerable economic stress at this point in time . ARTHUR Did you say shrubberies ? ROGER Yes . Shrubberies are my trade . I am a shrubber . My name is Roger the Shrubber . I arrange , design , and sell shrubberies . BEDEVERE . -LRB- rather aggressively , to ROGER . -RRB- Ni ! ARTHUR No . No . No !</scene_description> </scene> <scene> <stage_direction>EXTERIOR - GLADE - DUSK</stage_direction> <scene_description>CUT TO the glade in the forest again . ARTHUR Oh , Knights of Ni , here is your shrubbery . May we go now ? TALL KNIGHT That is a good shrubbery . I like the laurels particularly - But there is one small problem . ARTHUR What is that ? TALL KNIGHT We are now no longer the Knights Who Say Ni ! ONE KNIGHT Ni ! OTHERS Sh ! ONE KNIGHT . -LRB- wispers . -RRB- Sorry . TALL KNIGHT We are now the Knights Who Go Neeeow . wum . ping ! OTHERS Ni ! OTHERS Ni ! ONE KNIGHT Peng ! OTHERS Ni ! OTHERS Sh ! Sh ! TALL KNIGHT Therefore . we are no longer contractually bound by any agreements previously entered into by the Knights Who Say Ni ! ONE KNIGHT Ni ! ANOTHER Peng ! ANOTHER Sh ! TALL KNIGHT Shut up ! -LRB- to ARTHUR . -RRB- Therefore , we must give you a test , a Test to satisfy the Knights who say Neeeow . wum . ping ! OTHERS . -LRB- terrific chorus . -RRB- Neeeow . wum . ping ! ARTHUR What is this test , Knights of N . -LRB- ca n't say it . -RRB- . Recently Knights of Ni ! KNIGHT Ni ! TALL KNIGHT Firstly . You must get us another shrubbery ! OTHER KNIGHTS . -LRB- half seen . -RRB- More shrubberies ! More shrubberies for the ex - Knights of Ni ! ARTHUR Not another shrubbery - TALL KNIGHT When you have found the shrubbery , place the shrubbery here , beside this shrubbery . only slightly higher , so you get a two - level effect with a path through the middle . OTHER KNIGHTS A path ! A little path for the late Knights of Ni ! Chorus of `` Ni ! Ni ! '' TALL KNIGHT When you have found the shrubbery , then you must cut down the mightiest tree in the forest . with a herring . OTHER KNIGHTS Yes ! With a herring ! With a herring ! Cut down with a herring ! ARTHUR We shall do no such thing . let us pass ! TALL KNIGHT Oh , please ! ARTHUR Cut down a tree with a herring ? It ca n't be done ! OTHER KNIGHTS . -LRB- they all recoil in horror . -RRB- Oh ! TALL KNIGHT Do n't say that word . ARTHUR What word ? TALL KNIGHT I can not tell you . Suffice to say is one of the words the Knights of Ni ! can not hear ! ARTHUR How can we not say the word , if you do n't tell us what it is ? TALL KNIGHT . -LRB- cringing in fear . -RRB- You said it again ! ARTHUR What , `` is '' ? TALL KNIGHT . -LRB- dismissively . -RRB- No , no . not `` is '' ! OTHER KNIGHTS Not `` is '' ! Not `` is '' ! Suddenly singing is heard from deep in the forest . SIR ROBIN 'S SINGERS Bravely good Sir Robin was not at all afraid To have his eyeballs skewered . TALL KNIGHT . -LRB- irritated . -RRB- `` Is '' is all right . You would n't get far not saying `` Is '' ! BEDEVERE My liege , it 's Sir Robin ! TALL KNIGHT . -LRB- covering his ears . -RRB- You 've said the word again ! SIR ROBIN and his SINGERS appear in the clearing . The SINGERS are going on cheerfully as usual and ROBIN walks in front of them , continually embarrassed at their presence . SINGERS . and his kidneys burnt and his nipples skewered off . ROBIN holds his hand up for silence . ARTHUR Sir Robin ! He shakes his hand warmly . ROBIN My liege ! It 's good to have found you again . TALL KNIGHT Now he 's said the word ! ARTHUR Where are you going good Sir Robin ? ROBIN 'S SINGERS . -LRB- starting up again . -RRB- He was going home . he was giving up , He was throwing in the sponge . ROBIN . -LRB- to SINGERS . -RRB- Shut up ! No . er . no . I . er . I . er . I certainly was n't giving up . I was actually looking for the grail . er thing . in this forest . ARTHUR No . it lies beyond this forest . TALL KNIGHT Stop saying the word ! OTHER KNIGHTS Stop saying the word ! The word we can not hear ! The word . ARTHUR . -LRB- losing his patience with the fearful KNIGHTS OF `` NI '' . -RRB- Oh , stop it ! Terrific confusion amongst the KNIGHTS OF `` NI '' , they roll on the ground covering their ears . The TALL KNIGHT remains standing trying to control his MEN . OTHER KNIGHTS They 're all saying the word . TALL KNIGHT Stop saying it . AAAArghh ! I 've said it . OTHER KNIGHTS You 've said it ! Aaaaarghhh ! We 've said it . Wwe 're all saying it . ARTHUR beckons to BEDEVERE and ROBIN and they pick their way through the helpless KNIGHTS OF `` NI '' and away into the forest .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - HISTORIAN'S GLADE - DAY</stage_direction> <scene_description>We CUT TO an almost subliminal shot of the HISTORIAN 'S WIFE being shown into a police car , which then roars off out of the glade CUT BACK to the forest . The Knights of `` NI '' are slowly recovering . they get up . TALL KNIGHT Well , At least We 've got ONE shrubbery . OTHER KNIGHTS Yes , Yes . We 've Done very Well . NI ! TALL KNIGHT Ssh ! I think somebody 's coming . We 'll get them to give us another shrubbery . OTHER KNIGHTS Good Idea . More shrubberies . As many as possible . Perhaps we start to TRACK BACK from the scene as they go on talking . TALL KNIGHT What shall we call ourselves this time ? KNIGHT How about `` The knights of Nicky - Nicky '' ?</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>A Small group of PEASANTS are being shuffled into a group formation , at the apparent direction of someone behind the camera . A Few coughs as they shuffle together . a moment of silence . then they burst into pleasant . -LRB- melliflubus -RRB- song . Song : When the trees do blossom full and all the hills are green Oh ! Oh ! We sing hey ! hey ! We sing our count . ry Song . A hail of arrow hits them and they crumple up . sound of raucous laughter OFF CAMERA . CUT TO Reveal a firing squad of ARCHERS kneeling not ten feet away from the group of SINGERS . Sitting on the throne on a dais is KING BRIAN THE WILD . He is roaring with roaring with laughter . and his court is slightly shabby - bearing all the marks of a faded richness . it is a court without women , and nobody does the washing or shaves very well . perhaps there is washing however on the line over the castle . KING BRIAN 'S ADVISERS stand around him . Everyone bears the signs of past injuries . -LRB- Except for BRIAN himself -RRB- I.E. they have an arm in a sling or head bandaged ; all the people at court , except for BRIAN have their left arm missing . -LRB- possibly the result of some violent edict a few years back -RRB- KING BRIAN HA ! HA ! HA ! HA ! HA ! HO ! HO ! HO ! HO ! HA ! HA ! HA ! HA ! Oh ! Very good ! Next ! FIRST ADVISER . -LRB- a Little uncomfortably - perhaps his arm is in a sling obviously giving him some pain . -RRB- There are no more , Sir . KING BRIAN . -LRB- grabbing him by the collar . -RRB- What do ` you mean you filthy dog ! FIRST ADVISER There are no more close harmony groups in the kingdom , Sir . KING BRIAN No more close harmony groups ! FIRST ADVISER We have scoured the kingdom . KING BRIAN . -LRB- lifting him bodily into the air and breaking his arm again slightly . -RRB- You Miserable worm ! you wretch ! You Walking son of a dunghill keeper ! Guards ! Two Rather shabby looking GUARDS approach . -LRB- as everyone else they also have their left arms missing -RRB- FIRST ADVISER have mercy your MAJESTY ! KING BRIAN GUARDS ! Take him away and suspend him by his nostrils from the highest tree in the kingdom ! The Guards grab him unmercifully and drag him off . he whines piteously .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT BACK to the glade where the KNIGHTS OF NI ! were . A police car roars up . Two PLAIN CLOTHES DETECTIVE and a CONSTABLE get out , look around suspiciously , perhaps kneel and examine the ground . one POLICEMAN finds PATSY 's shoe and the other finds a strange scientific instrument that was hanging from BEDEVERE . They nod grimly to each other . Climb back in the car and drive off .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>Back in KING BRIAN 's Court . the FIRST ADVISER has been dragged off . there are muffled screams coming from the nearby tree . the FIRST ADVISER is being hauled up it on pulleys . SECOND ADVISER Your Majesty , I can Find you a Lute player , whose music is passing sweet . KING BRIAN It 's not the same , You thick - headed fool ! -LRB- KING BRIAN hits him on the back of the head . he falls . -RRB- There 's no fun in killing soloists ! SECOND ADVISER . -LRB- picking himself up . -RRB- He may have a friend . KING BRIAN GUARDS ! SECOND ADVISER Oh Please your majesty ! Please ! KING BRIAN Take him away and tie his kidneys to the longest hedge in the kingdom ! The GUARDS drag the ADVISER roughly away . SECOND ADVISER No ! -LRB- he is dragged off screaming and protesting . -RRB- KING BRIAN . -LRB- roaring at the rest of the court . -RRB- I will personally disembowel the next little bastard who tells me that there are no more close harmony . At this moment we hear faintly the sound of singing . KING BRIAN stopped to listen . The entire COURT turns thankfully towards the mellifluous sounds . We 're the knights of the round table our shows are formidable but many times we 're given rhymes that are quite unsingable . KING BRIAN Wait a minute ! Five point harmony with a counter - tenor lead ! Various members of the COURT sigh and breathe more easily . CREEP Thank goodness . KING BRIAN Shut up ! -LRB- punches him right on the end of the nose and shouts to the SECOND ADVISER . -RRB- Oy you ! SECOND ADVISER . -LRB- doubled - up , Surrounded by soldiers busy with his stomach . -RRB- Yes , Your majesty ? KING BRIAN Go and get 'em ! SECOND ADVISER . -LRB- gratefully . -RRB- Thank you sir ! -LRB- He staggers off with some difficulty . -RRB- GUARD ` ere . We 'd just started taking his kidneys out . CUT TO ARTHUR , BEDEVERE , GALAHAD and LAUNCELOT . -LRB- Garwin , thrstam , Hecrot -RRB- plus all their pages . there are riding along singing cheerily . KNIGHTS We 're baby mad and Camelot we nurse and push the pram a lot in war we 're tough and able quite indefatigable between our quests we sequin vests and dress like betty gable it 's a . SECOND ADVISER HALT ! SIR GALAHAD Who are you who dares to halt the knights of king Arthur 's round table in mid - verse ? SECOND ADVISER I bring greetings from the court of king Brian . SIR LAUNCELOT King Brian the wild ? SECOND ADVISER Some call him that , but he 's calmed down allot recently . SIR GALAHAD Are those YOUR kidneys ? SECOND ADVISER . -LRB- covering his stomach . -RRB- No no . It 's nothing - just a flesh wound . -LRB- The KNIGHTS look at each other . -RRB- he has herd your beautiful melody ; and wishes you to come to his court , that he may listen at his ease ooh ! SIR LAUNCELOT You must be joking ! -LRB- general murmur or agreement from the other KNIGHTS . -RRB- Go to the court of king Brian the wild and sing close harmony ! OTHER KNIGHTS No fear etc. . SECOND ADVISER . -LRB- in increasing pain . -RRB- It need not be close harmony oooh agh ! SIR GALAHAD Ah but it would get round to close harmony , would n't it ? SECOND ADVISER Not necessarily . As I say king Brian is much more relaxed than he used to be . SIR GALAHAD I mean could we just stick to one line of plainsong with a bit of straight choral work ? SECOND ADVISER Well obviously he 'd prefer a bit of close harmony arghhh ! KNIGHTS Ah ! There you are ! SIR LAUNCELOT We 'd end un - like the Shalott Choral Society . SECOND ADVISER Oh that was an accident - honestly he 's so calm now oh ! ARTHUR No we must be on our way . They start off . SECOND ADVISER . -LRB- by now lying on the ground at his last gasp but still trying to sound threatening . -RRB- If you do n't come and sing for him . ah . he 'll drive . oh . iron spikes though your heads . KNIGHTS Ah ! That sounds more like Brian the wild ! SECOND ADVISER . -LRB- looking helplessly at his intestines . -RRB- He . he . still gets irritable occasionally . SIR GALAHAD Like with close harmony groups . SECOND ADVISER Ooh . Look if you 're scared . SIR LAUNCELOT We 're not SCARED ! SECOND ADVISER . -LRB- With his last ounce of strength . -RRB- Very well ! King Brian challenges your to sing before him in close harmony ! ARTHUR A challenge ? The KNIGHTS look at each other rather taken aback but an idealistic glow suffuses KING ARTHUR 's eyes as he looks heaven - wards . The other KNIGHTS look at him rather fearfully . ARTHUR . -LRB- majestacally . -RRB- It is a challenge . We can not refuse . SIR GALAHAD King Brian 's a fucking looney . SECOND ADVISER Great ! -LRB- dies . -RRB- SIR GALAHAD Are you all right ? CUT TO KING BRIAN the wild on his dias . he sees the KNIGHTS enter the arena . KING BRIAN Ah good ! CUT TO TRUMPETERS who executes a rather bad fanfare full of missed notes . meanwhile various SHOTS of preparation . KING BRIAN settling down . KNIGHTS being led up to the podium . the last of the previous close harmony group is being loaded onto a cart and pushed away by the cart driver from scene tow . -LRB- Perhaps we see him being paid off -RRB- SHOT of KING BRIAN on his podium and the HERALD being untied and having his gag removed . SHOT of ARTHUR and KNIGHTS getting into a group on the podium still rather nervous . The fanfare comes to an end , and several wrong notes . KING BRIAN . -LRB- who ca n't wait . -RRB- RIGHT ! Carry on gentleman . HERALD KING BRIAN SAYS CARRY ON ! ARTHUR . -LRB- wispering . -RRB- All right . two tenor lines - I 'll take the base . They all nod . One . Two . Three . Sound of Bows being drown very near by . ARTHUR looks up and frowns . CUT to reveal a line of twenty ARCHERS they all have their left leg missing , but they DO have two arms . Their arrows are drawn back and point directly at ARTHUR &amp; CO. . ARTHUR Hold it ! Err . King Brian ! HERALD . -LRB- Louder than ever . -RRB- ARTHUR OF CAMELOT ADDRESSES THEE OH MIGHTY KING BRIAN ! KING BRIAN . -LRB- trueulently . -RRB- What ? ARTHUR What are THEY For ? -LRB- Indicates the archers . -RRB- KING BRIAN Them ? they 're . just to show you where the audience would be . ARTHUR Well we 'd prefer to do it without an audience . KING BRIAN Oh you 've GOT to have an AUDIENCE ! HERALD KING BRIAN THE WISE AND GOOD RULER OF THIS LAND SAYS YOU 'VE GOT TO HAVE AN AUDIENCE ! ARTHUR We 'd rather give a private recital . HERALD THEY SAY THEY 'D RATHER GIVE A PRIVATE RECITAL ! O WISE GOOD AND JUST KING BRIAN AND NOT THE LEAST BIT WILD ! KING BRIAN . -LRB- to himself . -RRB- Turds . HE nods to the ARCHERS who turn and hop smartly off in step . ONE - LEGGED RSM Left . Left . Left , left , left , left Left . Left . Left , left , left , left . They hop round behind a long fence and disappear from sight . -LRB- Fence needs to be about 7 or 9 feet high -RRB- KING BRIAN Right ! Ready when you are . HERALD KING BRIAN IS READY ! ARTHUR And . One . Two . Three . Four . They are just about to sing when the ARCHERS , bows read and arrows points , peep over the top of the fence . ARTHUR HOLD IT ! SIR GAWAIN . -LRB- singing . -RRB- We 're Quick flash of ARCHERS sensed to fire , one tires to hold his shot back but fails and fires his arrows by accident in the air . Quick flash of FIRST ADVISER who is hanging by his nostrils from the highest tree in the kingdom , moaning , getting hit by the arrow . KING BRIAN What is it now ? ARTHUR We 're not entirely happy with the acoustics . HERALD THEY 'RE NOT ENTIRELY HAPPY WITH . KING BRIAN . -LRB- impatiently . -RRB- Oh Sod the acoustics ! Get on with the singing ! HERALD KING BRIAN SAYS SOD THE ACOUSTICS ! ARTHUR In that case we shall just have to perform elsewhere . -LRB- turns to his knights and begins to usher them off . -RRB- HERALD THEY SAY IN THAT CASE THEY SHALL HAVE TO PERFORM ELSEWHERE , O RICH , FAMOUS AND EXTREMELY CALM KING ! KING BRIAN . -LRB- getting very angry and dribbling slightly . -RRB- NO ! you 've GOT to sing on the target are - er - convert . er . thing . HERALD KING BRIAN HAS STUMBLED OVER HIS WORDS ! WHAT A WONDERFULLY HUMAN INCIDENT . KING BRIAN Do n't editorialize ! HERALD SORRY , KING . KING BRIAN Come on you bastards ! Sing close harmony ! KING BRIAN snaps his finders and the ARCHERS rise above the fence without any pretence it concealment - fitting arrows into their bows . HERALD KING BRIAN CALLS THEM BASTARDS AND DEMANDS TO HEAD CLOSE HARMONY ! WHAT WILL HAPPEN NEXT ? KING BRIAN I said do n't . HERALD Sorry , King . KING BRIAN Right ! On the count of three . one . HERALD THE KING 'S SAID ONE ! KING BRIAN Two ! HERALD THE KING 'S SAID TWO ! THEY 'VE ONLY GOT ONE LEFT ! We hear the sound of bows being drawn back . Tension mounts . the KNIGHTS all look pretty grim . The end is clearly pretty near . KING BRIAN . -LRB- face in a paroxysm of blood - lust . -RRB- Three ! HERALD THREE ! Sound in the distance of beautiful close harmony singing `` Bravely , good sir robin was not at all afraid . '' CUT TO see SIR ROBIN and his MINSTRELS approaching from round a corner of the castle . SIR ROBIN walks a few feet in from of the them looking rather embarrassed . KING BRIAN . -LRB- turning to the sound . -RRB- FANTASTIC ! CUT BACK TO ROBIN 'S MINSTRELS `` To have his eyeballs skewered and his kidneys . argh ! '' They are suddenly pin - cushioned with arrows . KING BRIAN HA ! HA ! HA ! HA ! HO ! HO ! HO ! HO ! Oh bloody marvellous ! ROBIN turns and looks at the decimated remains of his MINSTRELS , surprised but relieved . ARTHUR Sir Robin ! this way ! ARTHUR leads is MEN off the platform and they are joined by their PAGES and make good their escape . KING BRIAN HA ! HA ! HA ! HA ! HA ! HA ! HO ! HO ! HO ! HO ! HERALD KING BRIAN 'S SHOT THE WRONG GROUP ! KING BRIAN Shut up ! HE swings his sword and slices the HERALD 'S head off . HERALD 'S HEAD . -LRB- as it rolls away . -RRB- PRESS FREEDOM INFRINGED !</scene_description> </scene> <scene> <stage_direction>EXTERIOR - BEYOND FOREST - DAY - ANIMATION</stage_direction> <scene_description>Shots of ARTHUR etc. . Riding out of the forest . They leave the forest and they meet LAUNCELOT and GALAHAD . VOICE OVER And so Arthur and Bedevere and Sir Robin set out on their search to find the Enchanter of whom the old man had spoken in scene twenty - four . Beyond the forest they met Launcelot and Galahad , and there was much rejoicing .</scene_description> </scene> <scene> <scene_description>MONTAGE of shots of the KNIGHTS . VOICE OVER Autumn changed into Winter . Winter changed into Spring . Spring changed back into Autumn and Autumn gave Winter and Spring a miss and went straight on into Summer . Until one day .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - WASTES - DAY</stage_direction> <scene_description>The KNIGHTS are riding along the top of a ridge . The country is wild and inhospitable . Suddenly some of them see fire in the distance and ride towards it . As they approach they see an impressive WIZARD figure striding around conjuring up fire from the ground and causing various bushes and branches to burst into flame . ARTHUR What manner of man are you that can conjure up fire without flint or tinder ? TIM I am an enchanter . ARTHUR looks at BEDEVERE . ARTHUR By what name are you known ? TIM There are some who call me Tim ? ARTHUR Greetings Tim the Enchanter ! TIM Greetings King Arthur . ARTHUR You know my name ? TIM I do . -LRB- does another fire trick . -RRB- You seek the Holy Grail . ARTHUR That is our quest . You know much that is hidden O Tim . TIM . -LRB- does another fire trick . -RRB- Quite . Ripple of applause from the KNIGHTS . ARTHUR Yes we seek the Holy Grail . -LRB- clears throat very quietly . -RRB- Our quest is to find the Holy Grail . ONE OR TWO KNIGHTS Yes it is . ARTHUR And so we 're looking for it . KNIGHTS Yes , we are . BEDEVERE We have been for some time . KNIGHTS Yes . ROBIN Months . ARTHUR Yes . and obviously any help we get is . is very . helpful . GALAHAD Do you know where it . TIM does another fire trick . ALL OTHER KNIGHTS Sssssh ! ARTHUR Fine . well er . we must n't take up anymore of your time . I do n't suppose . sorry to sort of keep on about it . you have n't by any chance . aaah . any idea where one might find . a . aaa . TIM What ? ARTHUR A G . g . g . TIM A Grail ? They all jump slightly and look about apprehensively . ARTHUR Er . yes . I think so . ALL OTHER KNIGHTS Yes . TIM Yes . KNIGHTS Fine . ROBIN Splendid ! OTHERS Yes , marvellous . TIM looks thoughtful and they all stand around a little . Then TIM produces another fire trick producing several different colours . ARTHUR Look , you 're a busy man . TIM Yes , I can help you with your guest . Slight pause . ALL OTHER KNIGHTS Thank you . Yes , thank you very much . TIM To the north there lies a cave , the cave of Caerbannog , wherein , carved in mystic runes , upon the very living rock , the last words of Olfin Bedwere of Rheged . There is a thunderclap and a wind starts . They KNIGHTS get nervous . TIM . make plain the last resting place of the most Holy Grail . ARTHUR How shall we find this cave , O Tim ? TIM Follow ! The KNIGHTS register delight and wheel round on themselves .</scene_description> <character>TIM</character> <dialogue>But follow only if you are men of valour. For the entrance to this cave is guarded by a monster, a creature so foul and cruel that no man yet has fought with it and lived. Bones of full fifty men lie strewn about its lair. therefore sweet knights if you may doubt your strength or courage come no further, for death awaits you all with nasty pointy teeth. ARTHUR What an eccentric performance!</dialogue> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT TO impressive rock face with caves in it . The KNIGHTS are ` riding ' towards it . A foreboding atmosphere supervenes . TIM gives a signal for quietness . ARTHUR shushes the ` horses ' . ARTHUR Shhh ! The PAGES decrease the amount of noise they are making with the coconuts for a few seconds . Then there is a burst of noise from them including whinnying . BEDEVERE . -LRB- to ARTHUR . -RRB- They 're nervous , sire . ARTHUR Then we 'd best leave them here and carry on on foot . TIM takes a strange look at them . They walk on leaving the PAGES behind . After a few more strides TIM halts them with a sign . TIM Behold the Cave of Caerbannog ! CUT TO shot of cave . Bones littered around . The KNIGHTS get the wind up partially . A little dry ice , glowing green can be seen at the entrance . Suddenly we become aware of total silence . Any noises the KNIGHTS make sound very exaggerated . They unsheathe their swords . ARTHUR Keep me covered . Stir among KNIGHTS . BEDEVERE What with ? ARTHUR Just keep me covered . TIM Too late . ARTHUR What ? TIM There he is ! They all turn , , and see a large white RABBIT lollop a few yards out of the cave . Accompanied by terrifying chord and jarring metallic monster noise . ARTHUR Where ? TIM There . ARTHUR Behind the rabbit ? TIM It is the rabbit . ARTHUR . You silly sod . TIM What ? ARTHUR You got us all worked up . BEDEVERE You cretin ! TIM That is not an ordinary rabbit . ` tis the most foul cruel and bad - tempered thing you ever set eyes on . ROBIN You tit . I soiled my armour I was so scared ! TIM That rabbit 's got a vicious streak . It 's a killer ! GALAHAD Oh , fuck off . Get stuffed . TIM He 'll do you up a treat mate ! GALAHAD Oh yeah ? ROBIN You turd ! Mangy scots git ! TIM Look . I 'm warning you . ROBIN What 's he do ? Nibble your bum ? TIM Well , It 's got huge . very sharp . it can jump a . look at the bones . ARTHUR Go on , Bors , chop its head off . BORS Right . Silly little bleeder . One rabbit stew coming up . TIM Look ! As TIM points they all spin round to see the RABBIT leap at BORS ' throat with an appalling scream . From a distance of about twenty feet there is a tin opening noise , a cry from BORS . A quick CLOSE - UP of a savage RABBIT biting through tin and BORS ' head flies off . The RABBIT leaps back to the mouth of the cave and sits there looking in the KNIGHTS ' direction and growling menacingly . ARTHUR Je . sus Christ ! TIM I warned you ! ROBIN I done it again . TIM Did I tell you ? Did you listen to me ? Oh no , no , you knew better did n't you ? No , it 's just an ordinary rabbit is n't it . The names you called me . Well , do n't say I did n't tell you . ARTHUR Oh , shut up . TIM . -LRB- quietly . -RRB- It 's always the same . if I 've said it once . ARTHUR Charge ! They all charge with swords drawn towards the RABBIT . A tremendous twenty second fight with Peckinpahish shots and borrowing heavily also on the Kung Fu and karate - type films ensues , in which some four KNIGHTS are comprehensively killed . ARTHUR Run away ! Run away ! ALL KNIGHTS . -LRB- taking up cry . -RRB- Run away ! Run away ! They run down from the cave and hide , regrouping behind some rocks . TIM , some way away , is pointing at them and laughing derisively . TIM Ha ha ha . Ha ha ha . ARTHUR Who did we lose ? LAUNCELOT Sir Gawain . GALAHAD Ector . ARTHUR And Bors . Five . GALAHAD Three , sir ! ARTHUR Three . Well , we 'll not risk another frontal assault . That rabbit 's dynamite . ROBIN Would it help to confuse him if we ran away more . ARTHUR Shut up . Go and change your armour . ROBIN leaves , walking strangely . GALAHAD Let us taunt it . It may become so cross that it will make a mistake . ARTHUR Like what ? GALAHAD can not find a suitable answer to this . GALAHAD Do we have any bows ? ARTHUR No . LAUNCELOT We have the Holy Hand Grenade . ROBIN The what ? ARTHUR The Holy Hand Grenade of Antioch . ` Tis one of the sacred relics Brother Maynard always carries with him . ALL Yes . Of course . ARTHUR . -LRB- shouting . -RRB- Bring up the Holy Hand Grenade ! Slight pause . Then from the area where the ` HORSES ' are , a small group of MONKS process forward towards the KNIGHTS , the leading MONK bearing and ornate golden reliquary , and the accompanying MONKS chanting and waving incense . They reach the KNIGHTS . The hand grenade is suffused with the holy glow . ARTHUR takes it . Pause ARTHUR How does it . er . LAUNCELOT I know not . ARTHUR Consult the Book of Armaments . BROTHER MAYNARD Armaments Chapter Two Verses Nine to Twenty One . ANOTHER MONK . -LRB- reading from bible . -RRB- And St. Attila raised his hand grenade up on high saying `` O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits , in thy mercy . `` and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orang - utans and breakfast cereals and fruit bats and . BROTHER MAYNARD Skip a bit brother . ANOTHER MONK . Er . oh , yes . and the Lord spake , saying , `` First shalt thou take out the Holy Pin , then shalt thou count to three , no more , no less . Three shalt be the number thou shalt count , and the number of the counting shalt be three . Four shalt thou not count , neither count thou two , excepting that thou then proceed to three . Five is right out . Once the number three , being the third number , be reached , then lobbest thou thy Holy Hand Grenade of Antioch towards thou foe , who being naughty in my sight , shall snuff it . ARTHUR Right . He pulls Pin out . The MONK blesses the grenade as . ARTHUR . -LRB- quietly . -RRB- One , two , three . , five . GALAHAD Three , sir ! ARTHUR Three . ARTHUR throws the grenade at the RABBIT . There is an explosion and cheering from the KNIGHTS . ALL KNIGHTS Praise be to the lord . Huzzah !</scene_description> </scene> <scene> <stage_direction>INTERIOR - CAVE - DAY</stage_direction> <scene_description>MIX THROUGH TO the KNIGHTS entering the cave . It is a large cave and as they walk inside it we see in the darkness at the side of the cave a fearsome looking CREATURE which watches them with some surprise as they walk to some writing carved on the back of the cave wall . The KNIGHTS are accompanied by BROTHER MAYNARD . ARTHUR There ! Look ! BEDEVERE What does it say ? GALAHAD What language is this ? BEDEVERE Brother Maynard , you are a scholar . BROTHER MAYNARD It is Aramaic ! GALAHAD Of course . Joseph of Aramathea ! ALL Of course . ARTHUR What does it say ? BROTHER MAYNARD It reads . `` Here may be found the last words of Joseph of Aramathea . '' Excitement . BROTHER MAYNARD `` He who is valorous and pure of heart may find the Holy Grail in the aaaaarrrrrrggghhh . '' ARTHUR What ? BROTHER MAYNARD `` The Aaaaarrrrrrggghhh . '' BEDEVERE What 's that ? BROTHER MAYNARD He must have died while carving it . BEDEVERE Oh , come on . BROTHER MAYNARD That 's what it says . ARTHUR . -LRB- miming . -RRB- But if he was dying , he would n't bother to carve `` Aaaaarrrrrrggghhh '' . He 'd just say it . BROTHER MAYNARD It 's down there carved in stone . GALAHAD Perhaps he was dictating . ARTHUR Shut up . Is that all it says ? BROTHER MAYNARD That 's all . `` Aaaaarrrrrrggghhh '' . ARTHUR `` Aaaaarrrrrrggghhh '' . BEDEVERE Do you think he meant the Camargue ? GALAHAD Where 's that ? BEDEVERE France , I think . LAUNCELOT Is n't there a St. Aaaaarrrrrrggghhh 's in Cornwall ? ARTHUR No , that 's Saint Ives . A muffled roar is heard . ROBIN Hey ! BEDEVERE No , that 's in Herefordshire . ROBIN . -LRB- more urgently . -RRB- No . HEY ! LAUNCELOT `` Aaaaarrrrrrggghhh . '' ROBIN No ! `` Hey '' ! is surprise and alarm ! BEDEVERE Oooooh ! LAUNCELOT No `` Aaaaarrrrrrggghhh . '' at the back of the throat . BEDEVERE No ! `` Oooooh ! '' in surprise and alarm ! He indicated the entrance of the cave . They all turn and look . There in the opening is a huge , unpleasant , fairly well drawn cartoon beast . ARTHUR Oh ! GALAHAD My God ! LAUNCELOT What is it ? BEDEVERE I know ! I know ! I Know ! ARTHUR What ? BEDEVERE It 's the . oh . -LRB- snaps his fingers as he tries to remember . -RRB- it 's the . it 's on the tip of my tongue . Another hideous roar . BEDEVERE That 's it ! ARTHUR What ? BEDEVERE It 's The Legendary Black Beast of Aaaaarrrrrrggghhh ! At that moment there is a yell and a scream OUT OF VISION . ARTHUR turns . ARTHUR Who was that ? HECTOR . -LRB- from back of group ; northern and helpful . -RRB- It was Sir Alf . ARTHUR I did n't know we had a Sir Alf . HECTOR He was feeding it bread . ARTHUR . -LRB- shouting back . -RRB- Well , that was a very silly thing to do . Now the rest of you stand well back from the BLACK BEAST of Aaaaarrrrrrggghhh ! HECTOR Aaaaarrrrrrggghhh ! ROBIN Look out . The animation MONSTER starts lumbering towards them . The KNIGHTS retreat into the darkness of the cave . GAWAIN . -LRB- as they run . -RRB- It 's only a cartoon . ARTHUR Sh ! They run off . Darkness . The MONSTER lumbering through on animation . VOICE OVER As the horrendous Black Beast lunged forward , escape for Arthur and his knights seemed hopeless , when , suddenly . the animator suffered a fatal heart attack . ANIMATOR Aaaaagh ! VOICE OVER The cartoon peril was no more . The Quest for Holy Grail could continue . ANIMATED SEQUENCE . Leads through to the group reappearing and seeing a distant opening to the cave . They reach the opening . It is day .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>The KNIGHTS emerge from the mouth of the cave to find themselves in a breathtaking , barren landscape . Glencoe . They are half they way up the side of a mountain . They rest a few seconds and get their breath back . GALAHAD Look ! GALAHAD There it is ! ARTHUR The Bridge of Death ! ROBIN . -LRB- to himself . -RRB- Oh ! Great . They look and see on the side of the mountain there is a sort of milestone which bears the words : `` Aaaaarrrrrrggghhh ! 5 miles '' and an arrow . ARTHUR God be praised . This must be the gorge of which the old man spoke in scene twenty - four . The KNIGHTS set off along and rather perilous track edging along the side of the mountain . GALAHAD is leading . MIX THROUGH they are climbing higher . The path gets more and more slippery and dangerous . They reach another milestone which says : `` Aaaaarrrrrrggghhh ! 4 miles '' and an arrow , and `` Ni ! 82 miles '' and an arrow pointing in the opposite direction . They go on . It is dangerous and difficult . Tension in their faces . As they are climbing , BEDEVERE turns to ROBIN and ARTHUR . BEDEVERE We must find the bridge . the Bridge of Death . ROBIN . -LRB- to himself . -RRB- Oh , great ! BEDEVERE The Bridge is guarded by a bridgekeeper , who asks each traveller three questions . And he who answers the three questions can cross in safety . ROBIN . -LRB- warily . -RRB- And if you get a question wrong ? BEDEVERE You are cast into the Gorge of Eternal Peril .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT TO them struggling along . Perhaps downhill now . It is growing misty . SIR LAUNCELOT stops them and points . They peer . CUT TO see in the mist . a weird bridge with mist swirling up from the gorge below . We can not see the other side . Beside the bridge an OLD MAN stands , he is the blind soothsayer they met earlier in the forest . ARTHUR . -LRB- to BEDEVERE . -RRB- He 's the Keeper of the Bridge . It 's the old man . BEDEVERE . -LRB- swallowing hard . -RRB- Who 's going to answer the questions ? ARTHUR You go , Robin , and God be with you . ROBIN . -LRB- looking round wildly . -RRB- Er . I tell you what - . -LRB- lowering voice . -RRB- Why does n't Launcelot go ? ARTHUR . -LRB- considering a moment . -RRB- Very well . Sir Launcelot . Brave Sir Launcelot . This is the Bridge of Death . LAUNCELOT Oh , yes sir . I will take it single - handed . -LRB- drawing his sword . -RRB- I will . ARTHUR restrains him . ARTHUR No , hang on . All we want is for you to approach the old man and he will ask you three questions . Answer those question as best you can , and we will watch . and pray . LAUNCELOT Yes , my liege . ARTHUR Good luck , brave Sir Launcelot ! Be careful . They shake hands , Arthur 's eyes moisten . LAUNCELOT approaches the Bridge of Death . ARTHUR Listen to the questions . BEDEVERE Look ! It 's the old man from scene 24 - what 's he Doing here ? ARTHUR He is the keeper of the Bridge . He asks each traveler five questions . GALAHAD Three questions . ARTHUR Three questions . he who answers the five questions GALAHAD Three questions . ARTHUR Three questions , may cross in safety . ROBIN . -LRB- warily . -RRB- And if you get a question wrong ? ARTHUR You are cast into the Gorge of Eternal Peril . ROBIN Oh . wacho ! GALAHAD Who 's going to answer the questions ? ARTHUR Sir Robin , Brave Sir Robin you go . ROBIN Hey ! I 've got a great idea ! Why does n't Launcelot go ? LAUNCELOT Yes . Let me . I will take it single - handed . I will make feint to the north - east . ARTHUR No , hang on ! Just answer the five questions . GALAHAD Three questions . ARTHUR Three questions . And we shall watch . and pray . LAUNCELOT I understand , my liege . ARTHUR Good luck , brave Sir Launcelot . God be with you . LAUNCELOT APPROACHES THE BRIDGEKEEPER . BRIDGEKEEPER Stop ! SIR LAUNCELOT stops . The KNIGHTS watch anxiously . ARTHUR sniffs briefly and glances momentarily down at SIR ROBIN 's lower armour . BRIDGEKEEPER Who approaches the Bridge of Death Must answer me These questions three ! Ere the other side he see . LAUNCELOT Ask me the questions , Bridgekeeper . I am not afraid . BRIDGEKEEPER What is your name ? LAUNCELOT My name is Sir Launcelot . BRIDGEKEEPER What is your quest ? LAUNCELOT To find the Holy Grail . BRIDGEKEEPER What is your favorite colour ? LAUNCELOT Blue . BRIDGEKEEPER Right . Off you go . SIR LAUNCELOT runs across into the mist . The bridge perhaps disappears into the mist and we can not see the other side . ARTHUR and SIR ROBIN exchange glances . ROBIN breathes a great sigh of relief . ROBIN That 's easy ! BRIDGEKEEPER Stop ! Who approacheth the Bridge of Death Must answer me These questions three ! Ere the other side he see ! ROBIN Ask me the questions , Bridgekeeper . I am not afraid . BRIDGEKEEPER What is your name ? ROBIN My name is Sir Robin of Camelot ! BRIDGEKEEPER What is your quest ? ROBIN To seek the Grail ! BRIDGEKEEPER What is the capital of Assyria ? ROBIN . -LRB- indignantly . -RRB- I do n't know that ! He is immediately hurled by some unseen force over the edge of the precipice . ROBIN Aaaaarrrrrrggghhh !</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>CUT TO SIR LAUNCELOT who is only just arriving on the other side . He looks back across the invisible chasm . Dimly in the distance he hears : GAWAIN . -LRB- OUT OF VISION . -RRB- Sir Gawain of Camelot ! BRIDGEKEEPER . -LRB- OOV . -RRB- What is your quest ? GAWAIN . -LRB- OOV . -RRB- To seek the Holy Grail . BRIDGEKEEPER . -LRB- OOV . -RRB- What goes : black white . black white . black white ? GAWAIN . -LRB- OOV . -RRB- Oh , er . Babylon ! er . Aaaaarrrrrrggghhh ! SIR LAUNCELOT stands on the other side of the bridge . In the distance we hear the ritual of questions and then a scream and thud , suddenly a hand lands on LAUNCELOT 's shoulder . POLICEMAN . -LRB- VOICE OVER . -RRB- Just want to ask you some questions , sir . LAUNCELOT turns and reacts . He is led away .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - LAKE - DAY</stage_direction> <scene_description>CUT TO ARTHUR , GALAHAD and BEDEVERE struggling towards the lake . BEDEVERE . -LRB- to ARTHUR . -RRB- How did you know how many wing - beats a swallow needs to maintain velocity ? ARTHUR Oh . when you 're king you know all those things . BRIDGEKEEPER What is your favorite colour ? GAWAIN Blue . No yelloooooww ! ARTHUR and BEDEVERE step forward . BRIDGEKEEPER What is your name ? ARTHUR It is Arthur , King of the Britons . BRIDGEKEEPER What is your quest ? ARTHUR To seek the Holy Grail . BRIDGEKEEPER What is the air - speed velocity of an unladen swallow ? ARTHUR What do you mean ? An African or European swallow ? BRIDGEKEEPER Er . I do n't know that . Aaaaarrrrrrggghhh ! BRIDGEKEEPER is cast into the gorge . BEDEVERE How do you know so much about swollows ? ARTHUR Well you have to know these things when you 're a king , you know . Suddenly they appear at water 's edge . They look across the water . A huge expanse disappearing into the mist . How can they cross ? Suddenly the air is filled with ethereal music , and out of the mist appears a wonderful barge silently and slowly drifting towards them . They gaze in wonder . The mysterious boat comes to where they are standing . As if bewitched , they find themselves drawing closer to the boat . As they are about to step in , a ragged figure looks up at them . BOATKEEPER . -LRB- he is the same as the BRIDGEKEEPER and the SOOTHSAYER . -RRB- He who would cross the Sea if Fate must answer me these questions twenty - eight . He fixes them with a baleful eye , ARTHUR and BEDEVERE exchange glances , then turn , with minds made up , pick him up bodily and throw him in the water . They climb into the boat and the boat moves off into the mist FADE OUT ANIMATION A wondrous journey in animation carries them across the lake . MIX TO</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DAY</stage_direction> <scene_description>The boat carries them across a magical lake . They land and get out of the boat , their faces suffused with heavenly radiance , and fall to their knees . Crescendo on music . ARTHUR God be praised ! The deaths of many find knights have this day been avenged . Music swells . They bend their heads in prayer , before the castle for which they have searched for so long . Suddenly a voice comes from the battlements . Music cuts dead . FROG Ha ha ! Hello ! Smelly English K . niggets . and Monsieur Arthur King , who has the brain of a duck , you know . The KNIGHTS look up . FROG We French persons outwit you a second time , perfidious English mousedropping hoarders . how you say : `` Begorrah ! '' ARTHUR stands and shouts . ARTHUR How dare you profane this place with your presence ! I command you , in the name of the Knights of Camelot , open the door to the Sacred Castle , to which God himself has guided us ! -LRB- he turns to the KNIGHTS . -RRB- Come . ARTHUR and the KNIGHTS advance towards the castle . FROG How you English say : I one more time , mac , I unclog my nose towards you , sons of a window - dresser , so , you think you could out - clever us French fellows with your silly knees - bent creeping about advancing behaviour . -LRB- blows a raspberry . -RRB- I wave my private parts at your aunties , you brightly - coloured , mealy - templed , cranberry - smelling , electric donkey - bottom biters . By this time ARTHUR and BEDEVERE and GALAHAD have reached the door . ARTHUR bangs on the door . ARTHUR In the name of the Lord , we demand entrance to this sacred castle . Jeering from the battlements . FROG No chance , English bed - wetting types . We burst our pimples at you , and call your door - opening request a silly thing . You tiny - brained wipers of other people 's bottoms ! French laughter ARTHUR If you do not open these doors , we will take this castle by force . A bucket of slops land on ARTHUR . He tries to retain his dignity . ARTHUR In the name of God . and the glory of our . Another bucket of what can only be described as human ordure hits ARTHUR . ARTHUR . Right ! -LRB- to the KNIGHTS . -RRB- That settles it ! They turn and walk away . French jeering follows them . FROG Yes , depart a lot at this time , and cut the approaching any more or we fire arrows into the tops of your heads and make castanets of your testicles already . ARTHUR . -LRB- to KNIGHTS . -RRB- Walk away . Just ignore them . ARTHUR , BEDEVERE and GALAHAD walk off . A small hail of chickens , watercress , badgers and mattresses follows them . But they are on their dignity as they try to talk nonchalantly as they walk away into the trees . FROG And now remain gone , illegitimate - faced bugger - folk ! And , if you think you got a nasty time this taunting , you ai n't heard nothing yet , dappy k . niggets , and A. King Esquire . CUT BACK TO the drenched BRIDGEKEEPER/SOOTHSAYER beside the lake He rises up into SHOT . BRIDGEKEEPER He would cross the sea of fate , Must answer me these questions Twenty - eight . CUT TO see he is talking to two PLAIN - CLOTHES POLICEMEN and two CONSTABLES . INSPECTOR All right , put him in the van . THE BRIDGEKEEPER is led away and put into a police van . CUT BACK TO ARTHUR still walking away . French taunts still audible in the distance . FRENCH You could n't catch clap in a brothel , silly English K . niggets . ARTHUR . -LRB- to BEDEVERE . -RRB- We shall attack at once . BEDEVERE Yes , my liege . -LRB- he turns . -RRB- Stand by for attack ! CUT TO enormous army forming up . Trebuchets , rows of PIKEMEN , siege towers , pennants flying , shouts of `` Stand by for attack ! '' Traditional army build - up shots . The shouts echo across the ranks of the army . We see various groups reacting , and stirring themselves in readiness . ARTHUR Who are they ? BEDEVERE Oh , just some friends ! We end up back with ARTHUR . He seems satisfied that the ARMY is ready . PANNING down the serried ranks , pikes ready , pennants flapping in the wind . Some of the horses whinny nervously , and rattle their coconuts . ARTHUR is satisfied at last . He addresses the castle . ARTHUR French persons ! Today the blood of many valiant knights shall bee avenged . In the name of God , we shall not stop our fight until each one of you lies dead and the Grail returns to those whom God has chosen . ARTHUR lowers his visor , turns to have a last look at ARMY , then : ARTHUR CHARGE ! The mighty ARMY charges . Thundering noise of feet . Clatter of coconuts . Shouts etc. . The charge towards the castle . Suddenly there is a wail of a siren and a couple of police cars roar round in front of the charging ARMY and the POLICE leap out and stop them . TWO POLICEMAN and the HISTORIAN 'S WIFE . Black Marias skid up behind them . The ARMY halts . HISTORIAN 'S WIFE They 're the ones , I 'm sure . INSPECTOR END OF FILM Grab 'em ! The POLICE grab ARTHUR and bundle him into the maria . SIR BEDEVERE is led off with a blanket over his head . They are bundled into the black maria and the van drives off . The rest of the ARMY stand around looking at a loss . INSPECTOR END OF FILM . -LRB- picks up megaphone . -RRB- All right ! Clear off ! Go on ! A few reaction shots of the ARMY not quite sure what to do . INSPECTOR END OF FILM Move along . There 's nothing to see ! Keep moving ! Suddenly he notices the cameras . As the black maria drives away QUICK SHOT through window of all the KNIGHTS huddled inside . INSPECTOR END OF FILM . -LRB- to Camera . -RRB- All right , put that away sonny . He walks over to it and puts his hand over the lens . The film runs out through the gate and the projector shines on the screen . There is a blank screen for some fifteen seconds . Suddenly jazzy music . Animated titles . -LRB- A new film completely free with the Monty Python film . -RRB- `` THE CREDITS '' . Four or five minute film -LRB- mainly animated -RRB- about the credits , i.e it includes the actual credits for the film but is really elaborate . THE END . Slushy organ music starts and the houselights in the cinema come on . organ music continues as the audience leave .</scene_description> </scene> </script>

In AD 932, King Arthur and his squire, Patsy, travel throughout Britain searching for men to join the Knights of the Round Table. Along the way, he recruits Sir Bedevere the Wise, Sir Lancelot the Brave, Sir Galahad the Pure, Sir Robin the Not-Quite-So-Brave-as-Sir-Lancelot, and Sir Not-Appearing-in-this-Film, along with their squires and Robin's troubadours. Arthur leads the men to Camelot, but upon further consideration (thanks to a musical number) he decides not to go there because it is "a silly place". As they turn away, God (an image of W. G. Grace) speaks to them and gives Arthur the task of finding the Holy Grail. Searching the land for clues to the Grail's location, Arthur and his men come to a castle occupied by rude French soldiers who claim to have the Grail and insult the Englishmen. After being driven back by a shower of catapulted barnyard animals, Bedevere comes up with a plan to sneak in using a Trojan Rabbit, but they mishandle its execution when they forget to hide inside it, and are forced to flee when the Rabbit is flung back at them. Arthur decides that the knights should go their separate ways to search for clues to the Grail's whereabouts. A modern-day historian filming a documentary describing the Arthurian legends is abruptly killed by an unknown knight on horseback, triggering a police investigation. On the knights' travels, Arthur and Bedevere are given directions by an old man in Scene 24 and attempt to satisfy the strange requests of the dreaded Knights Who Say "Ni!". Sir Robin avoids a fight with a Three-Headed Knight by running away while the heads are arguing. Sir Galahad is led by a grail-shaped beacon to Castle Anthrax, populated by 160 nubile young women, but to his chagrin is "rescued" by Lancelot. Lancelot, after receiving an arrow-shot note from Swamp Castle believed to be from a lady being forced to marry against her will, rushes to the castle and slaughters nearly the entire wedding party, only to discover that the note was sent by an effeminate prince whose father had arranged the marriage. Arthur and his knights regroup, and are joined by three new knights, as well as Brother Maynard and his monk brethren. They meet Tim the Enchanter, who directs them to a cave where the location of the Grail is said to be written. The entrance to the cave is guarded by the Rabbit of Caerbannog. Fatally underestimating its lethal prowess, the knights attack the Rabbit, which easily kills Sirs Bors, Gawain and Ector. Arthur uses the "Holy Hand Grenade of Antioch", provided by Brother Maynard, to destroy the creature. Inside the cave, they find an inscription from Joseph of Arimathea, directing them to the Castle of Aarrgh (the name presumably the result of Joseph dying whilst carving the inscription). After barely escaping a giant animated monster that devours Brother Maynard (the animator has a heart attack, which ends the beast's existence), they arrive at the Gorge of Eternal Peril. As they approach the Bridge of Death, the man from Scene 24 challenges them to correctly answer three questions in order to pass - or be cast into the Gorge. Lancelot goes first, easily answers three simple questions and crosses over. Robin is surprised by an unexpectedly difficult question, and Galahad misses the answer to an easy one, and both are flung off the bridge. During Arthur's turn, he responds to the bridge-keeper's last question with a question of his own which stumps the bridge-keeper. As a result, the man from Scene 24 is thrown into the gorge, and Arthur and Bedevere cross. When Arthur and Bedevere reach the bridge's end, they cannot find Lancelot, unaware he has been arrested by the police investigating the historian's death. Arthur and Bedevere eventually reach the Castle of Aarrgh, only to find it occupied by the same French soldiers who taunted them before. After being driven to retreat by showers of manure, they amass a large army of knights and prepare to assault the castle. Just as they are charging in to attack, a large force of police shows up, arrests Arthur and Bedevere for the historian's death and shuts down the film's production. The movie ends with one of the officers breaking the camera.

Planes, Trains & Automobiles_1987

tt0093748

<script> <scene> <scene_description>PLANES, TRAINS AND AUTOMOBILES JOHN HUGHES</scene_description> <character>5/22/86</character> <scene_description>•</scene_description> <character>TRAINS,</character> <dialogue>By</dialogue> <character>PLANES AND AUTOMOBILES</character> <dialogue>John Hughes</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - 59TH AND MADISON</stage_direction> <scene_description>The city is on the edge of winter. Late November. Thanksgiving week. Tuesday. The sky is low and dark. The sidewalks are clogged with pedestrians bundled against the chill wind blowing down the avenue. Shoulder-to-shoulder stampede of independent, socially incompatible human units returning to their domiciles after a day's work. Traffic is as traffic will be. Slow and tangled. Within the protective confines of their rolling pieces of territory, the drivers are more expressive and bold than the foot soldiers on the sidewalks ..</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER</stage_direction> <scene_description>A young MAN of unspecified origin is bustling, stocking caps on a corner.</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER CORNER</stage_direction> <scene_description>A cop is frisking a young BOY against a store, barely noticed by the current of passersby.</scene_description> </scene> <scene> <stage_direction>EXT. MID-BLOCK</stage_direction> <scene_description>A SALVATION ARMY TRIO is singing. Their voices are barely perceptible against the drone of the traffic.</scene_description> </scene> <scene> <stage_direction>EXT. GM BUILDING</stage_direction> <scene_description>The white marble tower dwarfing the thousands crossing its plaza. C.U. ROLEX WATCH On a man's wrist. It reads 5:56. A shirt and jacket cuff slowly slide down over the watch. C.U. SHEET OF PAPER Folded in thirds. A man's hand discreetly opens the top fold to reveal a travel itinerary. His index finger scans a line stopping on ... DEPART NEW YORK 6:00 PM UNITED 105. C.U. NEAL PAGE A handsome young man. Early thirties. Impeccably dressed, perfectly coif~d, elegantly dressed. A successful man deeply in control of his life. His eyes shift from down to up.</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM</stage_direction> <scene_description>A cold, stark conference room. Marble table, harsh cove lighting, black leather, high-back chairs. Neal and an older MAN, JOHN DOLE are on one side of the table. Across from him are three nearly identical middle-aged MEN. Dark suits, white shirts, dark ties, dark hair combed straight back. They're studying a series of ad layouts. The man in the middle is holding one of the ads. C.U. AD It's for lipstick. C.U. NEAL He looks at his watch again. He's nervous about the time. C.U. MAN he's staring at the ad, considering it. Can't make up his mind. C.U. JOHN He looks at Neal. C.U. NEAL He looks at John. Shakes his head in disgust. He taps his watch and mouths, "i GOTTA GO!" C.U. JOHN He nods. He understands. He shrugs. TRIO Still staring at the ad. No expression, blank faces.</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM</stage_direction> <scene_description>Neal looks at his watch again. He leans back in his chair. He's annoyed. The man sets the ad down. He looks across the table, opens his mouth to speak. John and Neal lean forward to receive his words. He shuts his mouth and picks up the ad again.</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA</stage_direction> <scene_description>Luxury and style. Leather and stone. Neal bursts out of the offices and crosses the reception area. He's carrying a briefcase and a two suiter. John is right on his heels.</scene_description> <character>NEAL</character> <dialogue>I swear to God, John, one of these days I'm going to strangle those guys.</dialogue> <scene_description>He hurries out double glass doors into the hallway. He sets down his briefcase and presses the DOWNbutton on the elevator bank.</scene_description> <character>NEAL</character> <dialogue>Two solid hours staring at the layouts to decide to reconvene after the holidays for a fresh look at the material? Are they completely out of their minds or am I being unreasonable?</dialogue> <character>JOHN</character> <dialogue>They're out of their minds but they're the client.</dialogue> <character>NEAL</character> <dialogue>They're not curing cancer, they're selling cosmetics for Christ's sake!</dialogue> <character>JOHN</character> <dialogue>Alot of their cosmetics may well cause cancer. They're rich, they're arrogant and they're stupid. But they pay the bills.</dialogue> <scene_description>Neal presses his finger into the heat-sensitive button again.</scene_description> <character>NEAL</character> <dialogue>You're not going to the airport?</dialogue> <character>JOHN</character> <dialogue>I'm going out in the morning. No way I'm breaking my nuts rushing for</dialogue> <character>JOHN</character> <dialogue>a plane tonight. Why don't you hang with me and we'll fly out tomorrow?</dialogue> <character>NEAL</character> <dialogue>You can pull that with your wife. I can't. If I'm not home tonight, the marriage is a historical fact. It's going to be bad enough getting along with a houseful of relatives but if we're fighting, it's gonna be hell.</dialogue> <character>JOHN</character> <dialogue>What's the difference if you're home at nine tonight or nine tomorrow morning?</dialogue> <character>NEAL</character> <dialogue>To Susan, failure to meet one's scheduled arrival time is a sure sign of marital infidelity.</dialogue> <character>JOHN</character> <dialogue>She doesn't trust you?</dialogue> <character>NEAL</character> <dialogue>Does your wife trust you?</dialogue> <character>JOHN</character> <dialogue>No. But I screw around. You don't.</dialogue> <character>NEAL</character> <dialogue>My mistress is a line of women's cosmetics.</dialogue> <character>JOHN</character> <dialogue>If it's that bad, you better split and you better sit down and decide how you're going to free up some time for the family. A bad marriage eats time like you and me eat peanuts.</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <scene_description>The elevator BELL SOUNDS. He picks up his briefcase.</scene_description> <character>NEAL</character> <dialogue>Have a nice holiday.</dialogue> <character>JOHN</character> <dialogue>That's a contradiction in terms.</dialogue> <character>NEAL</character> <dialogue>Amen.</dialogue> <scene_description>The elevator doors open and Neal turns to face a capacity crowd in the elevator.</scene_description> <character>NEAL</character> <dialogue>Everybody inhale!</dialogue> </scene> <scene> <stage_direction>INT. GM BUILDING - LOBBY</stage_direction> <scene_description>The elevators disgorge their passengers, Neal among them. He's very anxious and annoyed by the slow moving crowd.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - DIFFERENT ANGLE</stage_direction> <scene_description>There's a large crowd at the doors. Neal cranes his neck to see what the delay is.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - REVOLVINGDOORS</stage_direction> <scene_description>An elderly woman is moving through the doors at a snail's pace. She stops, takes a breather, moves another half a foot, stops ...</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING PLAZA</stage_direction> <scene_description>Neal squeezes out of the building and hurries across the plaza.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>A crowd of people waiting for buses and taxis line the curb. Neal slips through to the curb and takes a frantic look up and down the avenue.</scene_description> <character>NEAL</character> <dialogue>Shit ... !</dialogue> </scene> <scene> <stage_direction>EXT. 59TH STREET</stage_direction> <scene_description>Neal hurries down the street, weaving through pedestrians, throwing an arm up and letting out a sharp whistle every time he spots a cab.</scene_description> </scene> <scene> <stage_direction>EXT. PARK AVENUE</stage_direction> <scene_description>A tangle of traffic. People hailing cabs. Arms waving. C.U. CAB LIGHT It goes on. C.U. MAN ON THE STREET A middle-mana&lt;Ji!r sort. He sees the light on the cab, puts his fingers to his lips and lets out with a piercing whistle. HIS POV The cab he's hailing starts a move to the curb.</scene_description> </scene> <scene> <stage_direction>EXT. 59TH STREET</stage_direction> <scene_description>Neal spots a cab, cuts between parked cars into the street. He opens the back door and starts in.</scene_description> <character>NEAL</character> <dialogue>LaGuardia.</dialogue> </scene> <scene> <stage_direction>INT. CAB - DRIVER</stage_direction> <scene_description>He turns in his seat. Gruff Russian immigrant. No bullshit taken.</scene_description> <character>DRIVER</character> <dialogue>I'm off-duty.</dialogue> <scene_description>NEAL He's not going to take no for an answer.</scene_description> <character>NEAL</character> <dialogue>Ten bucks over the meter. I'm in a hurry.</dialogue> <scene_description>DRIVER He's OFF-DUTY!</scene_description> <character>DRIVER</character> <dialogue>I'm off-duty. Get out. Close the door.</dialogue> <scene_description>NEAL He can't believe the guy won't take his offer. He increases it.</scene_description> <character>NEAL</character> <dialogue>Twenty bucks.</dialogue> <scene_description>DRIVER He's pissed.</scene_description> <character>DRIVER</character> <dialogue>You don't close the door? Hell with you ..•</dialogue> <scene_description>He turns in the seat and hits the gas.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>The cab lurches forward, Neal jumps back, his briefc~se goes flying. C.U. BRIEFCASE The aluminum Haliburton case hits pavement and slides under a parked car. The car pulls out, rolling over the briefcase, flattening the center.</scene_description> </scene> <scene> <stage_direction>EXT. PARK AVENUE</stage_direction> <scene_description>The cab we saw before edges toward the curb. It's one lane of traffic away.</scene_description> </scene> <scene> <stage_direction>EXT. 59TH STREET AND PARK</stage_direction> <scene_description>Neal hurries along with his bent briefcase and smoldering temper. He glances at his watch. C.U. WATCH It reads 5:11. C.U. NEAL He's furious and panicked at the same time. He scans the street. HIS POV The cab pulls up to the curb. C.U. NEAL He sees the cab light. C.U. LIGHT Glowing white and free.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>The man who hailed the cab steps into the street and grabs the handle to enter the cab. Neal rushes up.</scene_description> <character>NEAL</character> <dialogue>Are you taking this cab?</dialogue> <character>MAN</character> <dialogue>Yeah. I saw it first.</dialogue> <character>NEAL</character> <dialogue>Can I have it?</dialogue> <character>MAN</character> <dialogue>Can George .Schultz shoot arrows out his ass?</dialogue> <character>NEAL</character> <dialogue>Yes or no?</dialogue> <character>MAN</character> <dialogue>I have no idea. I don't now George Schultz.</dialogue> <scene_description>The man opens the cab door.</scene_description> <character>NEAL</character> <dialogue>Fifty bucks if you let me have the cab.</dialogue> <scene_description>The man hesitates. The CABBIE blows his horn.</scene_description> <character>MAN</character> <dialogue>Fifty bucks?</dialogue> <character>CABBIE (O.C.)</character> <dialogue>Corne on!</dialogue> <character>NEAL</character> <dialogue>Fifty bucks.</dialogue> <character>MAN</character> <dialogue>Anybody who'd pay fifty bucks for a cab will certainly pay seventy-five.</dialogue> <scene_description>Behind Neal's back, a portly man in a navy blue, polyester overcoat drags a streamer trunk, a sample case and suitcase to the cab.</scene_description> <character>NEAL</character> <dialogue>Fine.</dialogue> <character>MAN</character> <dialogue>Good. A hundred bucks.</dialogue> <character>NEAL</character> <dialogue>A hundred bucks?</dialogue> <character>MAN</character> <dialogue>You're the one in the hurry.</dialogue> <scene_description>Neal reaches for his wallet. The Cabbie gets out of the cab and pops the trunk. He helps the portly man hoist the trunk into the cab. They throw the suitcases in and slam the trunk shut.</scene_description> <character>NEAL</character> <dialogue>You're a thief.</dialogue> <character>MAN</character> <dialogue>More or less. I'm an attorney.</dialogue> <scene_description>Neal counts out a hundred dollars in twenties. The portly man gets in the cab and it pulls out. Neal hands over the money.</scene_description> <character>NEAL</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Happy holidays.</dialogue> <character>MAN</character> <dialogue>This'll help.</dialogue> <scene_description>Neal turns to find the cab gone. He snaps his head down the street. HIS POV The cab has pulled away and is working back into the traffic flow.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NEAL</stage_direction> <scene_description>He's furious.</scene_description> <character>NEAL</character> <dialogue>Son of a bitch!</dialogue> <character>MAN</character> <dialogue>Force mejure, my friend. Force mejure.</dialogue> <scene_description>He pockets the cash and steps back up on the curb. Neal takes off after the cab:</scene_description> </scene> <scene> <stage_direction>EXT. STREET - CAB</stage_direction> <scene_description>It's stopped at a light, turning left. Neal runs between the waiting cars to the cab. He whips the door open and looks inside. HIS POV A portly man in his late thirties, DEL GRIFFITH, looks up at him with alarm. He's wearing the navy overcoat, a cheap blue plaid suit, blue, polyester dress shirt and navy polyester tie with a tie bar. C.U. NEAL He's livid.</scene_description> <character>NEAL</character> <dialogue>You took my cab, you son of a bitch!</dialogue> <scene_description>C.U. DEL He's surprised. He thought it was his cab.</scene_description> <character>DEL</character> <dialogue>I did?</dialogue> <scene_description>C.U. TRAFFIC LIGHT From red to green.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>The cab lurches ahead. Neal jumps back, the briefcase goes flying again. C.U. PAVEMENT The case hits the deck and is nailed by a bus tire.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NEAL</stage_direction> <scene_description>He's standing in the middle of the moving traffic. Defeat.</scene_description> </scene> <scene> <stage_direction>EXT. LAGUARDIA AIRPORT</stage_direction> <scene_description>A horrible jam of cars and buses.</scene_description> </scene> <scene> <stage_direction>EXT. ARRIVAL ZONE - BUS</stage_direction> <scene_description>A double decker airport bus is emptying of cut-rate travelers. Loaded tourists, haggard bottom-end business types and Neal. He's carrying his flattened briefcase, the FAO Schwartz bag and his two-suiter. He urges the people along.</scene_description> <character>NEAL</character> <dialogue>Corne on, people, please!</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT</stage_direction> <scene_description>Neal races across the crowded lobby to the ticket counter. A long line. He sets down his stuff and takes his ticket out of breast ~ocket. He looks at it and then •t the line. He looks at his watch. C.U. WATCH It's 5:49. C.U. NEAL He's in a panic.</scene_description> <character>NEAL</character> <dialogue>What's the problem for God's sake?</dialogue> <scene_description>The woman in front of him turns around, glad to share her anger.</scene_description> <character>WOMAN</character> <dialogue>Some jerk's been up there for ten minutes.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY- TICKET COUNTER</stage_direction> <scene_description>A harried FEMALETICKET AGENT is tapping on her computer keys.</scene_description> <character>AGENT</character> <dialogue>Smoking or non-smoking?</dialogue> <scene_description>C.U. DEL GRIFFITH The guy who took Neal's cab is the jerk that's been taking ten minutes.</scene_description> <character>DEL</character> <parenthetical>(to himself)</parenthetical> <dialogue>Smoking or non?</dialogue> <parenthetical>(to the agent)</parenthetical> <dialogue>I'm trying to quit so sometimes I like non-smoking because it forces me to lay off the butts but then if we hit weather and I get shaky, I like to smoke.</dialogue> <scene_description>AGENT He sighs.</scene_description> <character>AGENT</character> <dialogue>Smoking or non-smoking?</dialogue> <scene_description>DEL He thinks, clicks his tongue.</scene_description> <character>DEL</character> <dialogue>Can I get an aisle seat in the last row of the non-smoking section so that if I change my mind I can ask someone to switch? If you don't have an aisle, I'll take a window but if all you have are middle seats, I'll go non-smoking because if I don't have enough elbow room I cheese everybody off reaching for my smokes. Also, is this a dinner flight? But before you answer let me say that I noticed you're wearing a wedding ring and I just want to say that your husband is a very lucky man and your perfume is heavenly.</dialogue> <scene_description>He smiles warmly.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>Neal's running full-out down the corridor. He rounds a corner and comes to a stop.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR- SECURITY CHECK POINT</stage_direction> <scene_description>There's a huge crowd, long line.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR- NEAL</stage_direction> <scene_description>He can't win. He joins the line. Looks at his watch.</scene_description> <character>NEAL</character> <dialogue>Never make it. Never. Dammit!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR- METALDETECTOR</stage_direction> <scene_description>Del Griffith is, again, the cause of the delay. He's emptying his pockets of anything metal. A SECURITY GUARDis scanning with a hand-held detector.</scene_description> <character>DEL</character> <dialogue>You have no idea how often this happens to me.</dialogue> <scene_description>The guard isn't interested in conversation.</scene_description> <character>DEL</character> <dialogue>It doesn't bother me. You're doing a job and I appreciate it. I'm the last person who'll give you flak, believe me.</dialogue> <scene_description>The guard gets a loud reading at Del's feet. C.U. DEL'S FOOT The guard lifts his pant leg to reveal, stuck in the back of his cushion sole loafer, a shoe horn. He pulls it out. GUARDAND DEL He shows Del the shoe horn.</scene_description> <character>DEL</character> <dialogue>Son of a gun\_! I wondered why my damn foot hurt all day. Isn't that something? I must have walked eight miles with that in my shoe.</dialogue> <scene_description>The guard dismisses him. Del takes his sample case and his briefcase and waddles off down the corridor.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - DEPARTURE LOUNGE COUNTER</stage_direction> <scene_description>A harried MALE TICKET AGENT is besieged by angry flyers. He says nothing. Ignores the fray. Goes about his tasks.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - LOUNGE</stage_direction> <scene_description>Neal is in the midst of the angry flyers. He has his smashed briefcase clenched under his arm, his two-suiter over his arm, tie loosened, ticket in hand. C.U. DEL He's holding everything up at the counter.</scene_description> <character>DEL</character> <dialogue>I ordered a special meal. Anyway to let me know if it's confirmed?</dialogue> <scene_description>AGENT He stares at Del.</scene_description> <character>AGENT</character> <dialogue>They'll let you know on board. I can't help you.</dialogue> <scene_description>He hands Del his ticket. C.U. DEL He smiles.</scene_description> <character>DEL</character> <dialogue>You're doing your job and I appreci- ate it. Thanks. I like you, I like your airline.</dialogue> <scene_description>He gives the guy a wink and turns to face Neal. C.U. NEAL he recognizes Del as the person who jumped his cab. NEAL AND DEL Del recognizes Neal.</scene_description> <character>DEL</character> <dialogue>I know you. I'm very good with names but darn if I haven't forgotten it. You're with Mishawauka Fabrics, right?</dialogue> <character>NEAL</character> <dialogue>No. You stole my cab today.</dialogue> <character>DEL</character> <dialogue>I stole a cab today?</dialogue> <parenthetical>(dawns on him)</parenthetical> <dialogue>Oh, yeah! You tried to jump in my cab.</dialogue> <parenthetical>(aside)</parenthetical> <dialogue>I paid for my cab ride.</dialogue> <character>NEAL</character> <dialogue>Forget it. Excuse me.</dialogue> <scene_description>He pushes around Del to the counter. Del feels badly that Neal may be upset with him.</scene_description> <character>DEL</character> <dialogue>Are we having a misunderstanding?</dialogue> <scene_description>Neal ignores Del and hands his ticket to the agent.</scene_description> <character>DEL</character> <dialogue>The cab was just sitting there. I jumped in. Come to think of it, it was awfully easy to come by during rush hour. That was your cab?</dialogue> <character>NEAL</character> <dialogue>Yeah. Forget it.</dialogue> <character>DEL</character> <dialogue>I can't forget something lfke that. I'll bet you're steamed with me. Did you get here okay?</dialogue> <scene_description>Neal looks at him. Says nothing.</scene_description> <character>DEL</character> <dialogue>I guess you did.</dialogue> <scene_description>A SUPERVISOR steps behind the counter and speaks quietly to the agent. The agent hands Neal his ticket and boarding pass.</scene_description> <character>TICKET AGENT</character> <dialogue>Thank you.</dialogue> <scene_description>He turns to the flight board, removes the departure time and replaces it with one that reads, DELAYED. C.U. NEAL He stares at the sign. The rush was for nothing.</scene_description> </scene> <scene> <stage_direction>INT. FLIGHT LOUNGE - LATER</stage_direction> <scene_description>Neal's sitting in one of the row seats reading a newspaper. As he turns a page, something catches his eye. HIS POV Del's directly across from him in the facing seats. He has a cigarette in his mouth, a cardboard food box with a pair of jumbo hot dogs in it. He's applying mustard from individual packets. He takes a final drag on the smoke, ~nuffs it out in the smoker, takes a huge bite of the hot dog and lets the cigarette smoke trail out his nose. NEAL He's revolted. He lifts his paper to shield him from the sight. C.U. WALL CLOCK It reads seven o'clock.</scene_description> </scene> <scene> <stage_direction>INT. FLIGHT LOUNGE</stage_direction> <scene_description>Neal's reading a magazine. He's in shirtsleeves. He lowers the magazine and sniffs. Some horrible odor's disturbing his reading. He looks down. · HIS POV Stocking feet. One foot scratches the other. WE MOVE UP FROM THE FEET TO DEL, He's chomping on a toothpick, reading a pornographic novel. NEAL He goes back to his magazine.</scene_description> </scene> <scene> <stage_direction>INT. MEN'S ROOM</stage_direction> <scene_description>Neal walks in. We HEAR LOUDWHISTLING. Neal stops and looks. HIS POV Del's in his undershirt, face lathered, razor in hand. He looks across at Neal.</scene_description> <character>DEL</character> <dialogue>Howdy, traveler.</dialogue> <scene_description>NEAL He sighs and crosses to the urinal. DEL He continues shaving.</scene_description> <character>DEL</character> <dialogue>On the road quite a bit? I am. I know these airlines. An hour delay means an hour and a half .. Snow in Chi-town. It's the damn lake. All that moisture. Chicago goes and the whole national air transportation schedule takes a dump. I'm used to it. If you told me it was raining carmel corn in Chicago, I'd believe you. Bad weather town. Great pizza, the best hot dogs in the world, great parks. Damn nice zoo. Good aquarium, excellent art museum, although I've never been their personally. Knowledgable cab drivers. Good newspapers. Nice hotels. A bit high-priced but comfortable. You enjoy blues music? Blues? You like the blues?</dialogue> <scene_description>He turns. HIS POV Neal's gone. DEL He's surprised that Neal's left. A little disappointed. He's obviously a man who likes conversation. With anyone. He shrugs, turns back to his shaving. He finishes his conversation.</scene_description> <character>DEL</character> <dialogue>Very good tasting tap water. Friendly, hard-working people •••</dialogue> </scene> <scene> <stage_direction>INT. AIRPLANE</stage_direction> <scene_description>Neal's at the door of the plane arguing with a STEWARDESS.</scene_description> <character>NEAL</character> <dialogue>I couldn't discuss it with the ticket agent because I didn't know he put me in coach. I have a first class. ticket.</dialogue> <character>STEWARDESS</character> <dialogue>I'm sorry, I can't help you. First class is full. Save your boarding pass and you'll get a refund on the difference.</dialogue> <character>NEAL</character> <dialogue>I don't want a refund, I want a seat in first class. Where I belong. Where I was booked and ticketed.</dialogue> <character>STEWARDESS</character> <dialogue>Sir, I can't help you: I have to ask you to take your seat. I'm very sorry.</dialogue> <character>NEAL</character> <dialogue>You delay me, you bump me. What's next?</dialogue> </scene> <scene> <stage_direction>INT. AIRPLANE - COACHCLASS SEATS</stage_direction> <scene_description>Neal's in the middle. seat. ·on one side of him is a WOMAN with a BABY. On the other side is Del Griffith. Neal's burned, fried, defeated, blown-out and comatose.</scene_description> <character>DEL</character> <dialogue>Is this a coincidence or what?</dialogue> <scene_description>Neal doesn't say a word. Del offers his hand.</scene_description> <character>DEL</character> <dialogue>I never introduced myself. Del Griffith, American Light and Fixture, Director of Sales, shower curtain ring division. I sell shower curtain rings. The best in the world.</dialogue> <scene_description>Neal looks at Del's outstretched hand. He sighs. It's going to be a terrible flight. As much as he'd· like to tell Del to take a flyer, he can't. He's not that kind of man. He clasps Del's big, friendly paw.</scene_description> <character>NEAL</character> <dialogue>Neal Page.</dialogue> <scene_description>Del pumps his hand.</scene_description> <character>DEL</character> <dialogue>Nice to know you. What's your business?</dialogue> <character>NEAL</character> <dialogue>Advertising.</dialogue> <character>DEL</character> <dialogue>Advertising? Super. I love advertising. I do a little of that game myself. Not officially. I help our customers with suggestions for their advertisements in trade journals and what not. If you've got a shower curtain in your home, there's a fifty percent chance that the rings holding it up were sold to your supplier by me, myself and I. I like to kid people that if it weren't for me and American Light and Fixture and the shower ring division, Janet Leigh probably wouldn't have caught her lunch in Psycho. You see that flick?</dialogue> <scene_description>Neal nods yes.</scene_description> <character>DEL</character> <dialogue>I like to joke but that one was no joke. I was new to the business when that baby hit the silver sc~een and that shower murder left a crap stain on tne reputation of shower curtains the size of Texas. Pebble glass shower doors took a big bite out of our sales for several years.</dialogue> <character>DEL</character> <dialogue>We're back on our feet now. We're doing good. The young people going into their first homes don't have the same phobia about showers that their parents had. That Alfred Hitchcock. You know what that "Birds" film did to parakeet sales? El Dumpe, Jack. El Dumpe. Good friend of mine lost his shirt. You use curtains or doors in your home?</dialogue> <scene_description>Neal stares at him.</scene_description> <character>DEL</character> <dialogue>Doors? Hell, it's no sweat off my back. I'm just happy to have someone to talk to. I finished my book about an hour ago. Filthy goddarn thing. When you travel as much as I do, you run out of reading material. If it's been published, I've read it. Fiction, nonfiction, the classics. Robbins, Krantz, Hailey, Spillane. You name it, I've read it. I got so hard-up last week on a layover in Atlanta, I read a biography of Prince. That's not his real name, by the way. It's Rogers Nelson.</dialogue> <scene_description>Neal smiles and nods politely.</scene_description> <character>NEAL</character> <dialogue>I'm afraid I'm not much of a conversationalist. I like.to take advantage of flight time to get a little work done.</dialogue> <character>DEL</character> <dialogue>Don't let me stand in your way. The last thing I want to be remembered as is an annoying blabbermouth.</dialogue> <scene_description>Del reaches into the seat pocket in front of him and removes the airline magazine. Neal bends over and opens his crushed briefcase. He takes out a bound report. Del glances down at the briefcase.</scene_description> <character>DEL</character> <dialogue>What the heck happened to your briefcase? A bus run over it?</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <character>DEL</character> <dialogue>I have a Samsonite. Bus ran over it once. Not a scratch. What'd you pay for that one?</dialogue> <character>NEAL</character> <dialogue>It was a gift.</dialogue> <character>DEL</character> <dialogue>Mine, too. Gift from the company for getting the shower ring contract for the U.S. Navy. You know how many rings that is?</dialogue> <character>NEAL</character> <dialogue>Alot.</dialogue> <character>DEL</character> <dialogue>Over a million.</dialogue> <scene_description>Neal smiles and opens his report.</scene_description> <character>DEL</character> <dialogue>I figure that over the years several million sailors are going to use those showers with our rings and if they take the time to ~otice what kind of rings they are and they feel they're good rings, when they get out of the service and consider shower rings, they'll select ours. It's a shot. I look to the long-term. How about yourself?</dialogue> <character>NEAL</character> <dialogue>Yeah. Can you excuse me?</dialogue> <character>DEL</character> <dialogue>Sorry. I'm being a blabbermouth, aren't I?</dialogue> <character>NEAL</character> <dialogue>No, I'd just like to finish ••.</dialogue> <character>DEL</character> <dialogue>Tell me I'm a blabbermouth.</dialogue> <character>NEAL</character> <dialogue>You're not a blabbermouth.</dialogue> <character>DEL</character> <dialogue>I am. Tell me.</dialogue> <character>NEAL</character> <dialogue>It's alright. Really.</dialogue> <character>DEL</character> <dialogue>Come on. Say it.</dialogue> <character>NEAL</character> <dialogue>Alright. You're a blabbermouth.</dialogue> <scene_description>Del stares at him. Hurt.</scene_description> <character>NEAL</character> <dialogue>Sorry. You told me to say it.</dialogue> <character>DEL</character> <dialogue>It's true. I'm the one who's sorry. I won't say another word.</dialogue> <scene_description>Neal sighs. Del's driving him mad.</scene_description> <character>NEAL</character> <dialogue>I really have to finish.</dialogue> <scene_description>Del holds up his hand, cutting Neal off. He leans back in his seat and opens the magazine. Neal waits a beat and opens his report. They both read for a few moments. Del lowers his magazine.</scene_description> <character>DEL</character> <dialogue>You know why we're not taking off? Chicago's socked in. Bet you three bucks and my left nut.</dialogue> </scene> <scene> <stage_direction>EXT. CHICAGO - O'HARE AIRPORT</stage_direction> <scene_description>The airport is nearly lost to a blizzard. All modes of transportation are dead.</scene_description> </scene> <scene> <stage_direction>INT. PLANE - LATER</stage_direction> <scene_description>Del's sound asleep, mouth open, snoring. Neal's sipping coffee, going over papers. He sets down the report and looks at his watch. He looks at Del. HIS POV Del's facing him, eyes closed, mouth open. C.U. NEAL Staring at Del. HIS POV Del opens his eyes.</scene_description> <character>DEL</character> <dialogue>Six bucks and my right nut we're not landing in Chicago.</dialogue> </scene> <scene> <stage_direction>INT. WICHITA AIRPORT - CORRIDOR</stage_direction> <scene_description>Neal's on a pay phone.</scene_description> <character>NEAL</character> <dialogue>Why am I in Wichita? Because we couldn't land in Chicago.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I know it's snowing. That's why we couian•t land.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I have no idea. All the airlines said was we're refueling and continuing on to Chicago. They're probably lying but what else can I do?</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT - DEL</stage_direction> <scene_description>He's in a flight lounge, sitting, smoking, watching Neal. HIS POV Neal's across the corridor, talking on the phone. C.U. DEL He yawns. NEAL He looks at his watch and wraps up the conversation.</scene_description> <character>NEAL</character> <dialogue>It's quarter to eleven. Go back to sleep. I'll be fine. I have a key. You go to sleep. Okay? I love you. Okay. Bye.</dialogue> <scene_description>He hangs up the phone. He curses under his breath and starts back down the corridor. Del calls to him.</scene_description> <character>DEL</character> <dialogue>Neal? There's no way on Earth we're taking off from here tonight.</dialogue> <scene_description>Neal stops and turns. Del gets up from his seat and shuffles into the corridor.</scene_description> <character>DEL</character> <dialogue>I may not know the price of eggs in Sweden, but I know the U.S. air transport system and when you waylay to Wichita enroute to Chicago, you're up the creek. I'd venture to say Old Man Winter's busting records in Chicago right now.</dialogue> <scene_description>Neal's a little worried that Del may be right. But he's not prepared to take any advice.</scene_description> <character>NEAL</character> <dialogue>I guess I'll find out soon enough.</dialogue> <character>DEL</character> <dialogue>By the time you wait for the airlines to pull the plug on the flight, which they will sooner or later, you'll have an easier time finding a three-legged ballerina than a hotel room. I know Wichita. I know airlines. I know the hotel scene. They start diverting flights here and you don't book a room, you're looking at a couple nights on a dirty floor.</dialogue> <character>NEAL</character> <dialogue>You're saying I'll be stuck in Wichita?</dialogue> <character>DEL</character> <dialogue>I'm saying you are stuck in Wichita.</dialogue> <scene_description>C.U. NEAL A look of alarm.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - FLIGHT LOUNGE</stage_direction> <scene_description>Neal's standing at the window, looking out on the field. There's a weary crowd milling about, waiting for news.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - FLIGHT LOUNGE- BOARDINGCOUNTER</stage_direction> <scene_description>An airline REPRESENTATIVEaddresses the crowd over the PA.</scene_description> <character>REP</character> <dialogue>I'm sorry to inform you that we're canceling flight 105 due to severe weather difficulties in Chicago. Representatives will be arriving shortly to assist you in making further arrangements. On behalf of everyone at the airlines, we're sorry. Thank you.</dialogue> <scene_description>he clicks off and prepares for the onslaught. C.U. NEAL He rests his head against the cold glass.</scene_description> <character>NEAL</character> <dialogue>Shit .••</dialogue> </scene> <scene> <stage_direction>INT. BAGGAGEAREA</stage_direction> <scene_description>Del's dragging his trunk across the floor to the doors. He has his sample case, suitcase and briefcase resting on it. Neal's at the door with his two suiter over his arm, his crushed briefcase under his other arm. Del stops, straightens up and addresses him.</scene_description> <character>DEL</character> <dialogue>How many times have I been right so far?</dialogue> <character>NEAL</character> <dialogue>I've lost count.</dialogue> <character>DEL</character> <dialogue>Did you book a room?</dialogue> <scene_description>Neal shakes his head, no.</scene_description> <character>DEL</character> <dialogue>Did you try?</dialogue> <character>NEAL</character> <dialogue>Every place in the book.</dialogue> <character>DEL</character> <dialogue>Filled?</dialogue> <character>NEAL</character> <dialogue>To the rafters.</dialogue> <character>DEL</character> <dialogue>I've slept on many an airport floor in my life and times.</dialogue> <scene_description>He drags the case the rest of the way to the doors.</scene_description> <character>DEL</character> <dialogue>I've been waylayed more times than I can remember. A day here, two days there. Once I was stuck in Salt Lake for four days waiting to get into Denver. I prepare.</dialogue> <character>NEAL</character> <dialogue>You got a room?</dialogue> <character>DEL</character> <dialogue>As soon as I got off the plane. You called home, I called the Interstate Inn.</dialogue> <character>NEAL</character> <dialogue>I missed that one.</dialogue> <character>DEL</character> <dialogue>Most people do. But they'll be plenty popular tonight.</dialogue> <character>NEAL</character> <dialogue>Well, see you around. I'm going across the way to the Hilton and get a bite to eat.</dialogue> <character>DEL</character> <dialogue>Coffee shop closes at eleven.</dialogue> <character>NEJ&gt;,L</character> <dialogue>Elev.en?</dialogue> <character>DEL</character> <dialogue>On the nose. People in this berg live by the clock. I'll tell you what, I know the manager of the Interstate Inn pretty well. Sold him the rings in his showers. You pick up the cab fare, I'll see that he puts you up.</dialogue> <scene_description>For the first time in hours, Neal brightens.</scene_description> <character>DEL</character> <dialogue>Grab an end, will ya?</dialogue> <scene_description>Neal sets his briefcase on top of the trunk and lifts his end.</scene_description> <character>NEAL</character> <dialogue>Jesus Christ! What•ve you got in here? Rocks?</dialogue> <character>DEL</character> <dialogue>When I go out on the road, I go out on the road.</dialogue> <scene_description>They lumber the trunk out the doors to the cab stand.</scene_description> <character>NEAL</character> <dialogue>How far is this place?</dialogue> <character>DEL</character> <dialogue>Just up the road a piece.</dialogue> <scene_description>C.U. TAXI METER It reads $124.50.</scene_description> </scene> <scene> <stage_direction>INT. CAB - BACKSEAT</stage_direction> <scene_description>Del and Neal are in the back of the old Checker.</scene_description> <character>DEL</character> <dialogue>I'll tell you, Adolf Hitler would have been appalled at this bread's morals. I mean she was bad. I don't think there's a worathat's been invented to describe •••</dialogue> <character>NEAL</character> <dialogue>Where the hell is this place?</dialogue> <scene_description>Del leans forward and talks to the driver.</scene_description> <character>DEL</character> <dialogue>How much further, Angus?</dialogue> <character>DRIVER</character> <dialogue>Not much.</dialogue> <character>DEL</character> <dialogue>Why didn't you take the interstate?</dialogue> <character>DRIVER</character> <dialogue>You said your friend's never been here. I thought he might like to have a look around. You don't see nothin' on the interstate but interstate.</dialogue> <scene_description>Del leans back in the seat.</scene_description> <character>NEAL</character> <parenthetical>(lowers his voice)</parenthetical> <dialogue>It's the middle of the night.</dialogue> <character>DEL</character> <parenthetical>(softly)</parenthetical> <dialogue>He's proud of his town. That's pretty darn rare these days.</dialogue> <character>NEAL</character> <dialogue>You know him?</dialogue> <character>DEL</character> <dialogue>I been on the road many years, my friend.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL</stage_direction> <scene_description>Just off the highway. An anonymous cinderblock rectangle. The kind of place you stay in once. Emergency shelter. Trucks parked everywhere. The taxi pulls in.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY</stage_direction> <scene_description>Fake wood and naugahyde. A tiny front desk, two sofas, a rack of tourist info, a pay phone, a newspaper box and an easel with a cardboard sign with words in glitter -- DON PELTRAM'S ACCORDION HIJINX. Del and Neal lug the truck into the lobby and set it down. The DESK CLERK stands up from his chair where he's sitting watching TV.</scene_description> <character>DEL</character> <dialogue>Evening, Gus.</dialogue> <character>CLERK</character> <dialogue>Del Griffith? How the hell are you?</dialogue> <character>DEL</character> <dialogue>I'm still a million bucks shy of being a millionaire. How are you?</dialogue> <character>GUS</character> <dialogue>I was doing pretty good there for a while but Sunday I pissed my pants during "60 Minutes" so I guess I gotta go back in for more plumbing work. I got your room all ready for you.</dialogue> <character>DEL</character> <dialogue>Great, Gus. I'd like you to meet an old friend of mine. This is Neal Page. Neal, this is Gus Mooney.</dialogue> <scene_description>Gus reaches his hand across the desk. Neal shakes it.</scene_description> <character>NEAL</character> <dialogue>Glad to meet you.</dialogue> <character>GUS</character> <dialogue>Likewise.</dialogue> <character>DEL</character> <dialogue>We were flying into Chicago from New York and a storm brought us here.</dialogue> <character>GUS</character> <dialogue>I know all about it. I musta got half your flight already booked in. Now tell me, Del, am I just getting old or are they letting fat gals be stewardesses these days?</dialogue> <character>DEL</character> <dialogue>Times change, Gus. I told Neal you'd be able to fix him up.</dialogue> <scene_description>Gus clucks his tongue.</scene_description> <character>GUS</character> <dialogue>You know, Del, I'd rather shoot arrows out my ass than disappoint you or a friend of yours but I'm booked solid. I got three of those fat gals sharing a single as it is. One twin and two cots and them cots are really built for youngsters.</dialogue> <scene_description>Neal looks at Del with a sigh.</scene_description> <character>DEL</character> <dialogue>Nothing, Gus?</dialogue> <character>GUS</character> <dialogue>If old Herbert Hoover come back from the dead and needed a room for the night, I couldn't help him. Sorry.</dialogue> <character>NEAL</character> <dialogue>That's alright, I'll just go back.</dialogue> <character>DEL</character> <dialogue>You spend a hundred and a half getting here. You want to blow that and more to sleep at the airport?</dialogue> <character>NEAL</character> <dialogue>It's no problem.</dialogue> <character>DEL</character> <dialogue>If you don't mind a little snoring, you can bunk with me.</dialogue> <character>NEAL</character> <dialogue>That's alright. I'll be fine.</dialogue> <character>DEL</character> <dialogue>I don't mind.</dialogue> <character>NEAL</character> <dialogue>It's okay.</dialogue> <character>DEL</character> <dialogue>I'm straight as an arrow.</dialogue> <scene_description>Neal chuckles.</scene_description> <character>DEL</character> <dialogue>It's no skin off my nose·if you sleep in a chair.</dialogue> <character>GUS</character> <dialogue>If you're going back, you better let me know so I can call you a cab. We're pretty far out. It'll take a good while.</dialogue> <character>DEL</character> <dialogue>You may as well stay.</dialogue> <character>NEAL</character> <dialogue>I can't impose on you like that.</dialogue> <character>DEL</character> <dialogue>Tell you what. You pick up the room tab and I won't be imposed on one iota.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM</stage_direction> <scene_description>It's dark, the door opens and Del walks in. He turns on the light. Neal looks in. His face drops. HIS POV A tiny room with a double bed. NEAL AND DEL NEAL IS HORRIFIED. DEL'S EXCITED.</scene_description> <character>DEL</character> <dialogue>New bedspreads!</dialogue> </scene> <scene> <stage_direction>INT. MOTEL ROOM- BATHROOM- SHOWER</stage_direction> <scene_description>Neal's standing in the shower with his face to the spray. He enjoys the relaxing heat and clean. Something occurs to him. He moves his head out of the spray and looks up. HIS POV The shower curtain rings.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Del's in his pajamas. He takes a pillow from out of his trunk and a photograph. He looks at it fondly. C.U. PHOTO It's of a young woman. Friendly and comfy, not very pretty but full of life and smiling like a Crest ad. The photo's probably fifteen years old.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Del kisses the picture and sets it on the nightstand next to the bed. He closes the trunk and slides it against the wall. He takes his dopp kit out of the suitcase, closes it, sets it on top of the trunk and turns on the TV. He dials in a religious program. He slips a quarter into the bed vibrator and lays down.</scene_description> </scene> <scene> <stage_direction>INT. SHOWER</stage_direction> <scene_description>Neal reaches for the soap. Stops short. HIS POV The soap dish. a tiny bar of soap covered with hair. C.U. NEAL He carefully holds the disgusting bar of soap to the spray to wash the hair away.</scene_description> </scene> <scene> <stage_direction>INT. BED</stage_direction> <scene_description>Del's enjoying a good vibration. A beat and there's a knock on the door. Del crosses to the door and opens it. It's a pimply pizza delivery BOY. He has a large pizza and six-pack of beer.</scene_description> <character>DEL</character> <dialogue>How much?</dialogue> <character>BOY</character> <dialogue>Nine bucks.</dialogue> <scene_description>Del takes the pizza and the beer. He sets the pizza on top of his suitcase and the six-pack on the vibrating bed. He looks around for his wallet. He sees Neal's pants hanging over the chair. He hesitates for a moment, throws a look to the bathroom, fishes out the wall~t, extracts a ten and gives it to the boy.</scene_description> <character>DEL</character> <dialogue>Keep it.</dialogue> <character>BOY</character> <dialogue>A dollar?</dialogue> <character>DEL</character> <dialogue>100 pennies. All yours.</dialogue> <character>BOY</character> <dialogue>You got any more?</dialogue> <character>DEL</character> <dialogue>Nope.</dialogue> <character>BOY</character> <dialogue>Okay. Thanks.</dialogue> <scene_description>Del closes the door. He crosses to the pizza and opens the box. C.U. PIZZA The ugliest pizza ever made. Cheese, sausage, olives, green peppers, japalenos, kraut, bacon, beans, corn, anchovies.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Del scoops a piece of the abomination out of the box.</scene_description> <character>DEL</character> <dialogue>Dinner's here!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM- SHOWER</stage_direction> <scene_description>Neal pulls open the curtain to reveal a completely sacked bathroom. Towels on the floor, sink half-filled with soapy water, toothpaste on the counter top, flecks in the mirror, toilet paper unraveled, Del's bathrobe on the back of the door. C.U. NEAL He's revolted, looks for a towel. HIS POV From a wad of used towels in a puddle on the floor to a towel rack with two washcloths. A hand reaches for them. C.U. NEAL He tries his hair with washcloths.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Del's in the vibrating bed, eating pizza, watching TV. A few beats and the bed stops vibrating. Neal comes out of th• bathroom in his boxer shorts.</scene_description> <character>NEAL</character> <dialogue>Do you realize that you used all the towels?</dialogue> <character>DEL</character> <dialogue>I'm pretty big and they were pretty small. I'm sorry. It wasn't too neighborly of me.</dialogue> <character>NEAL</character> <dialogue>And almost all the toilet paper.</dialogue> <character>DEL</character> <dialogue>Those New York hot dogs. I'm guilty.</dialogue> <character>NEAL</character> <dialogue>You left the bathroom a filthy mess.</dialogue> <character>DEL</character> <dialogue>I'm not used to a roommate.</dialogue> <scene_description>Neal sniffs. Makes a horrible face.</scene_description> <character>NEAL</character> <dialogue>What smells?</dialogue> <character>DEL</character> <dialogue>The pizza came.</dialogue> <character>NEAL</character> <dialogue>That's pizza?</dialogue> <character>DEL</character> <dialogue>It's good. I saved you a piece.</dialogue> <character>NEAL</character> <dialogue>You didn't order me a salad? I asked you to.</dialogue> <character>DEL</character> <dialogue>They didn't have salad. I had him put extra vegetables on the pizza.</dialogue> <character>NEAL</character> <dialogue>Beautiful ..•</dialogue> <scene_description>He crosses to the box and looks into it. He makes. another face and takes the box around to the front of the bed and sits down. He scoops out the last slice. He takes a bite.</scene_description> <character>NEAL</character> <dialogue>Mmm. Horrible. If I wasn't so hungry, I'd throw up.</dialogue> <character>DEL</character> <dialogue>Wash it down with a beer.</dialogue> <scene_description>Neal sets the pizza down and pulls a beer off the six-pack.</scene_description> <character>NEAL</character> <dialogue>Warm?</dialogue> <character>DEL</character> <dialogue>It comes out warm, what the hell difference does it make how it goes in? Toss me one.</dialogue> <scene_description>Neal tosses Del the beer. He takes another. He and Del open simultaneously. The vibrating bed has sufficiently shaken the beer to provide a double beer explosion.</scene_description> </scene> <scene> <stage_direction>INT. ROOM - LATER</stage_direction> <scene_description>The lights are out. Del and Neal are in bed. It's quiet.</scene_description> <character>DEL</character> <dialogue>I'd switch pillows with you but I'd sneeze all night. I carry my own pillow. It's hypoallergenic. I had no idea those beers were going to blow like that.</dialogue> <character>NEAL</character> <dialogue>You had the beer on a vibrating bed. What'd you think was going to happen?</dialogue> <character>DEL</character> <dialogue>It's been a long day. It didn't occur to me.</dialogue> <character>NEAL</character> <dialogue>It didn't occur to you so I have to sleep in a puddle of beer.</dialogue> <character>DEL</character> <dialogue>I'm sleeping in pizza. You want to switch?</dialogue> <character>NEAL</character> <dialogue>No. I want to sleep.</dialogue> <character>DEL</character> <dialogue>Same here. I'm bushed.</dialogue> <character>NEAL</character> <dialogue>Good night.</dialogue> <character>DEL</character> <dialogue>Sleep tight.</dialogue> <scene_description>There's a long pause. Del strikes a match and lights a cigarette.</scene_description> <character>NEAL</character> <dialogue>What're you doing?</dialogue> <character>DEL</character> <dialogue>Having a butt.</dialogue> <character>NEAL</character> <dialogue>In bed?</dialogue> <character>DEL</character> <dialogue>Do you have a problem with that?</dialogue> <character>NEAL</character> <dialogue>A big problem.</dialogue> <character>DEL</character> <dialogue>I'm not going to fall asleep.</dialogue> <character>NEAL</character> <dialogue>I'd rather not risk it. I don't smoke. Smoke annoys me. Especially in the dark, in bed.</dialogue> <character>DEL</character> <dialogue>I always have a smoke before I fall asleep.</dialogue> <scene_description>Neal switches on the light.</scene_description> <character>NEAL</character> <dialogue>I was on my way home to spend a nice holiday and five days off with my family and instead I'm in a motel bed with a stranger five hundred miles away from my house and I don't know how or when I'll get there. I'm a patient man. I'm paying for the room. I paid for the cab .•.</dialogue> <character>DEL</character> <dialogue>You paid for the pizza, too.</dialogue> <character>NEAL</character> <dialogue>I did?</dialogue> <character>DEL</character> <dialogue>All I had was a hundred. The kid didn't have change.</dialogue> <character>NEAL</character> <dialogue>You went in my wallet?</dialogue> <character>DEL</character> <dialogue>Are you mad?</dialogue> <character>NEAL</character> <dialogue>You have no right to go in my wallet!</dialogue> <character>DEL</character> <dialogue>What was I supposed to do? I had to pay for the pizza. You were showering. Did you want me to send some punk kid in to look at your dick?</dialogue> <character>NEAL</character> <dialogue>You stay out of my stuff.</dialogue> <character>DEL</character> <parenthetical>(offended)</parenthetical> <dialogue>I'm not interested in your stuff.</dialogue> <character>NEAL</character> <dialogue>Good.</dialogue> <character>DEL</character> <dialogue>In fact, I'm bored with your stuff.</dialogue> <character>NEAL</character> <dialogue>What? You looked?</dialogue> <character>DEL</character> <dialogue>I didn't look.</dialogue> <character>NEAL</character> <dialogue>Then why are you bored with it?</dialogue> <character>DEL</character> <parenthetical>(lying)</parenthetical> <dialogue>It's a figure of speech.</dialogue> <character>NEAL</character> <dialogue>Bullshit! You went through my bags!</dialogue> <scene_description>Del jumps on the defensive.</scene_description> <character>DEL</character> <dialogue>How did I know you weren.•t some kind of shady guy? I'm not sleeping with a stranger without knowing a little about him. What if you had a gun in your bag? I been on the road too long to not know to take a precaution or two.</dialogue> <character>NEAL</character> <dialogue>Did I go through you~ stuff?</dialogue> <character>DEL</character> <dialogue>I don't know. Did you?</dialogue> <character>NEAL</character> <dialogue>No, I did natl And I'm mad as hell that you went through mine.</dialogue> <character>DEL</character> <dialogue>Two suits, two dirty shirts, some stale shorts and some skin magazines.</dialogue> <scene_description>Neal's embarrassed.</scene_description> <character>DEL</character> <dialogue>Don•~ sweat it, Neal. There's a reason every hotel newsstand sells those kind of magazines. There isn't a married· man alive that hasn't •••</dialogue> <character>NEAL</character> <dialogue>You done with your goddamn cigarette?</dialogue> <scene_description>Del takes one last puff. He drops it in a beer can and swishes it out.</scene_description> <character>DEL</character> <dialogue>Done.</dialogue> <scene_description>Neal turns off the light. He settles back into the bed. There's another long pause.</scene_description> <character>DEL</character> <dialogue>Neal?</dialogue> <character>NEAL</character> <dialogue>What!</dialogue> <character>DEL</character> <dialogue>I have got to fart something fierce.</dialogue> <scene_description>Neal turns on the light. He's furious. He grabs his pants and slips them on.</scene_description> <character>DEL</character> <dialogue>Hey! I'm just being honest, for Christ's sake! I could have sneaked it on you.</dialogue> <scene_description>Neal grabs his shirt.</scene_description> <character>DEL</character> <dialogue>Where' re y·ou going?</dialogue> <character>NEAL</character> <dialogue>I'm sleeping in the lobby.</dialogue> <character>DEL</character> <dialogue>Aw, come on! I'll go in the john.</dialogue> <scene_description>He pulls back the covers and slides his legs over the side of the bed.</scene_description> <character>DEL</character> <dialogue>If your kid shits his trousers do you smack him?</dialogue> <scene_description>Neal stops at the door. He throws a look at Del.</scene_description> <character>NEAL</character> <dialogue>What the hell are you talking about?</dialogue> <character>DEL</character> <dialogue>You're not a very tolerant person.</dialogue> <character>NEAL</character> <dialogue>I'm a very tolerant person.</dialogue> <character>DEL</character> <dialogue>Oh, really?</dialogue> <character>NEAL</character> <dialogue>Look, you've been under my skin since New York. You ripped off my cab •..</dialogue> <character>DEL</character> <dialogue>I know all this. You paid for the room; the pizza ••• you•re a tight-ass.</dialogue> <character>NEAL</character> <dialogue>How'd you like a mouthful of teeth?</dialogue> <character>DEL</character> <dialogue>You're hostile, too. Nice personality combination. Hostile and intolerant. That's borderline criminal.</dialogue> <character>NEAL</character> <dialogue>Screw you! You spill beer all over the bed, you smoke, you make a mess of the bathroom •••</dialogue> <character>NEAL</character> <dialogue>And I let you stay in my room. I let you pay for it so you wouldn't feel like an intruder which you most certainly are.</dialogue> <character>NEAL</character> <dialogue>I'm an intruder?</dialogue> <character>DEL</character> <dialogue>You're an intruder. I was having a nice trip until you walked into my life.</dialogue> <character>NEAL</character> <dialogue>I walked into your life?</dialogue> <character>DEL</character> <dialogue>With golf shoes on!</dialogue> <character>NEAL</character> <dialogue>Who talked my ear off on the plane?</dialogue> <character>DEL</character> <dialogue>Who told you to book a room? Out of the goodness of my dumb old heart, I offered you help. You're an ungrateful jackass. Go sleep in the lobby. Go ahead. I hope you wake up so stiff you can't move.</dialogue> <scene_description>Neal hesitates at the door.</scene_description> <character>NEAL</character> <dialogue>You saw me coming. You're no saint. You get a free room. Free cab. And somebody who'll listen to your boring stories.</dialogue> <scene_description>Del glares at Neal.</scene_description> <character>DEL</character> <dialogue>You want to hurt me? Go ahead. If it makes you feel better ••• be my guest. I'm an easy target. I like people, Neal. I even like you. People are my business. They're my business because I've made them my business. Yeah, I talk too much. I also listen too much. You can be a cold-hearted cynic. I don't care. Think what you want about me. I'm not changing. I like me. My wife likes me. My customers like me. Because I'm the real article. I'm a human being. Flaws, fat and farts. I'm flesh and blood.</dialogue> <scene_description>C.U. NEAL He feels like the last slice of a loaf of bread. C.U. DEL He's serious and genuine.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Neal closes the door and walks back to the bed. He steps out of his pants and gets in bed. He turns out the light. Del slips back into bed. They both settle in.</scene_description> <character>NEAL</character> <dialogue>Sorry.</dialogue> <character>DEL</character> <parenthetical>(after a long pause)</parenthetical> <dialogue>So am I .</dialogue> <character>NEAL</character> <dialogue>Night.</dialogue> <character>DEL</character> <dialogue>Sleep tight.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>The pizza boy's still hanging around. He puts his ear to the door and listens. He reaches into his back pocket and withdraws a room key.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - MORNING</stage_direction> <scene_description>it's even uglier in the daylight. In the middle of nothing.</scene_description> <character>INT. BEDROOM- C.U.</character> <dialogue>•</dialogue> <character>DEL AND NEAL</character> <dialogue>Sleeping. Tight ·as spoons. Del has his arm around Neal's chest. Neal's holding Del's hand. Del's face is in the crook of Neal's neck. Nestled tight and warm. They're both sleeping sweet and satisfied. Del snuggles and nibbles Neal's earlobe with his dry lips. Neal smiles in his sleep. A beat and the smile relaxes. Somewhere in his unconscious mind, he senses something's not right. Another beat and Neal opens his eyes. He thinks for a moment. He slowly brings Del's hand up to his face and looks at it. Del's eyes open. He looks around, orients himself. He knows something's terribly wrong.</dialogue> <character>DEL</character> <dialogue>Neal?</dialogue> <character>NEAL</character> <dialogue>Del?</dialogue> <character>DEL</character> <dialogue>Why are you holding my hand?</dialogue> <character>NEAL</character> <dialogue>Why did you kiss my ear?</dialogue> <character>DEL</character> <dialogue>I don't know.</dialogue> <character>NEAL</character> <dialogue>Where's your other hand?</dialogue> <character>DEL</character> <parenthetical>(worried)</parenthetical> <dialogue>I'm not sure.</dialogue> <character>NEAL</character> <dialogue>Find it, Del!</dialogue> <scene_description>Del thinks another beat. His hand emerges from under Neal's pillow.</scene_description> <character>NEAL</character> <dialogue>On the count of three. One ..•</dialogue> <character>DEL</character> <dialogue>Two •••</dialogue> <scene_description>THREE!</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Del and Neal burst out of the bed, screaming and shivering with revulsion.</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP</stage_direction> <scene_description>Del and Neal are eating breakfast.</scene_description> <character>DEL</character> <dialogue>The airlines are lying. While you were in the shower, I watched a little "Today Show" and Willard Scott said it's still snowing in Chicago. If they told you flights are going out to Chicago, they're ~rying to sell you a seat.</dialogue> <character>NEAL</character> <dialogue>I'll go wait it out.</dialogue> <character>DEL</character> <dialogue>You want to be in Chicago by tonight?</dialogue> <character>NEAL</character> <dialogue>At the outside.</dialogue> <character>DEL</character> <dialogue>That's a stretch. I think if you plan on tomorrow morning you're still tugging your tamale.</dialogue> <scene_description>NEAL I'm not spending Thanksgiving in Wichita. DEL Worse things have happened. Ask any wartime resident of Dresden. NEAL That's not fair. I got a family waiting for me to come home. DEL You and everybody else.</scene_description> <character>NEAL</character> <dialogue>I'm home tomorrow come hell or high water.</dialogue> <character>DEL</character> <dialogue>Which do you prefer? I'm going with the high water myself. If you think the airliner gives two craps and doorbell chimes if you eat turkey with your family tomorrow, you're deluded.</dialogue> <character>NEAL</character> <dialogue>That's a switch. You're the biggest humanist.</dialogue> <character>DEL</character> <dialogue>I'm also a realist. You want to get home?</dialogue> <character>NEAL</character> <dialogue>I want and I will get home.</dialogue> <character>DEL</character> <dialogue>Not on an airplane. If it stops snowing right now, O'Hare'll take a good five or six hours to get into operation. Then there's 24 hours of air traffic backed-up. Anyway you slice it, the odds are you and me are eating turkey right here.</dialogue> <dialogue>An anorexic WAITRESS cruises by, refills their coffee cups and drops off the check.</dialogue> <character>DEL</character> <dialogue>If we wait for a flight.</dialogue> <character>NEAL</character> <dialogue>How the hell else will we get home?</dialogue> <character>DEL</character> <dialogue>I've got a buddy at Amtrak.</dialogue> <character>NEAL</character> <dialogue>Train?</dialogue> <character>DEL</character> <dialogue>Why the hell not?</dialogue> <scene_description>Neal shrugs. He smiles.</scene_description> <character>DEL</character> <dialogue>I'm sure everything's booked solid.</dialogue> <scene_description>·But I'm pretty elose to this guy.</scene_description> <character>NEAL</character> <dialogue>Sold him his shower curtain rings?</dialogue> <character>DEL</character> <dialogue>On every damn train.</dialogue> <scene_description>Del grabs the check. Neal snat~hes it away from him.</scene_description> <character>NEAL</character> <dialogue>I've paid for everything else, why break precedent.</dialogue> <character>DEL</character> <dialogue>Hey, I'm starting to feel like a freeloader here.</dialogue> <character>NEAL</character> <dialogue>You get me on the train and you're no freeloader.</dialogue> <character>DEL</character> <dialogue>We'll get a sleeper and you can hold my hand again.</dialogue> <scene_description>Neal laughs. He reaches for his wallet and opens it. It's empty. His laughter ends abruptly. He looks angrily at Del.</scene_description> <character>DEL</character> <dialogue>What?</dialogue> <character>NEAL</character> <dialogue>You know goddamn well, what!</dialogue> <character>DEL</character> <dialogue>I'm sorry, I don't.</dialogue> <scene_description>Neal shows him his empty wallet.</scene_description> <character>NEAL</character> <dialogue>I had seven hundred dollars in here!</dialogue> <character>DEL</character> <dialogue>I don't have your dough, Neal. I'm alot of things but I'm not a thief.</dialogue> <character>NEAL</character> <dialogue>You went through my stuff last night, didn't you? Huh?</dialogue> <character>DEL</character> <dialogue>I didn't touch your money! And I don't care for the accusation.</dialogue> <character>NEAL</character> <dialogue>Well, I had seven hundred dollars in here. You went into it for the pizza. Maybe you ...</dialogue> <scene_description>Del digs his hand into his back pocket and whips out his fat, worn, brown leather wallet. He slaps it on the table.</scene_description> <character>DEL</character> <dialogue>Count it!</dialogue> <character>NEAL</character> <dialogue>Like you'd keep it in your wallet if you stole it.</dialogue> <character>DEL</character> <dialogue>There's two hundred and sixty-three dollars in there. If there's a dollar more you can call me a thief.</dialogue> <character>NEAL</character> <dialogue>That doesn't prove a damn thing!</dialogue> <character>DEL</character> <dialogue>Count itl</dialogue> <scene_description>Neal picks up the wallet and opens it. He looks in the money section.</scene_description> <character>DEL</character> <dialogue>Two hundred and sixty-three ••.</dialogue> <character>NEAL</character> <dialogue>It's empty.</dialogue> <character>DEL</character> <dialogue>Doll .•• huh?</dialogue> <character>NEAL</character> <dialogue>Dry.</dialogue> <scene_description>Del grabs the wallet from him. He looks in it. He glares at Neal.</scene_description> <character>DEL</character> <dialogue>Where is it?</dialogue> <character>NEAL</character> <dialogue>I'm looking for mine!</dialogue> <character>DEL</character> <dialogue>Well, now mine's gone!</dialogue> <character>NEAL</character> <dialogue>I'm out seven hundred and you're out ...</dialogue> <character>DEL</character> <dialogue>Two hundred and sixty-three dollars.</dialogue> <scene_description>They look at each other for a long beat.</scene_description> <character>NEAL</character> <dialogue>You swear you didn't lift my dough?</dialogue> <character>DEL</character> <dialogue>You didn't life mine?</dialogue> <character>NEAL</character> <dialogue>I didn't touch yours.</dialogue> <character>DEL</character> <dialogue>I did~•t touch yours.</dialogue> <character>NEAL</character> <dialogue>Where is it?</dialogue> <character>DEL</character> <dialogue>Could we have been robbed?</dialogue> <character>NEAL</character> <dialogue>By who?</dialogue> <character>DEL</character> <dialogue>Did you lock the door when you came back to bed?</dialogue> <character>NEAL</character> <dialogue>It's always locked.</dialogue> <character>DEL</character> <dialogue>The chin-lock?</dialogue> <scene_description>Neal thinks. He shakes his head.</scene_description> <character>NEAL</character> <dialogue>I don't think so.</dialogue> <character>DEL</character> <dialogue>We had a visitor.</dialogue> <character>NEAL</character> <dialogue>Oh, Jesus.</dialogue> <character>DEL</character> <dialogue>Do you have any money?</dialogue> <scene_description>Neal reaches in his pocket. He takes out a few crumpled bills and some change. Del reaches in his pocket. He comes up with a dollar. Neal looks at the check.</scene_description> <character>NEAL</character> <dialogue>Six fifty.</dialogue> <scene_description>Del counts out the money. He calls the waitress over.</scene_description> <character>DEL</character> <dialogue>Hon? You charged us for bacon?</dialogue> <scene_description>She looks at the check.</scene_description> <character>WAITRESS</character> <dialogue>Yeah.</dialogue> <character>DEL</character> <dialogue>We didn't get it.</dialogue> <character>WAITRESS</character> <dialogue>Sure you did.</dialogue> <character>DEL</character> <dialogue>If we got it, we'd have bacon on our breath. Right?</dialogue> <character>WAITRESS</character> <dialogue>I don't know.</dialogue> <character>DEL</character> <dialogue>Of course we would. Bend over and take a whiff.</dialogue> <scene_description>The waitress rears back.</scene_description> <character>WAITRESS</character> <dialogue>No way.</dialogue> <character>DEL</character> <dialogue>We're not paying for something we didn't get. It's your word against our word and our breath. Just take a whiff. Neal?</dialogue> <scene_description>Neal looks at him curiously. Del opens his mouth. Neal follows suit. The waitress clucks her tongue and yanks the check off the table.</scene_description> <character>WAITRESS</character> <dialogue>I know I brought your bacon because two slices fell off and I remember putting them back on the plate.</dialogue> <character>DEL</character> <dialogue>Well, honey, I'm with the agricul- ture department and I think you'd rather tell your boss you made a mistake on our bill than have me tell !!!Y boss you serve dirty bacon.</dialogue> <scene_description>She quickly scratches off the bacon and retotals.</scene_description> <character>DEL</character> <dialogue>And for your information and edification, you know what that means?</dialogue> <character>WAITRESS</character> <dialogue>No.</dialogue> <character>DEL</character> <dialogue>You look it up when you get home. We didn't get our bacon. Somebody else must have gotten it and you better hope they don't catch something and die.</dialogue> <scene_description>The waitress puts the check down on the table.</scene_description> <character>DEL</character> <dialogue>Alright, let's address the hair in the orange juice.</dialogue> <scene_description>She picks up the check and tears it in two.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL</stage_direction> <scene_description>Del and Neal are sitting on Del's trunk in front of the motel.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - DEL AND NEAL</stage_direction> <scene_description>They're chatting, waiting.</scene_description> <character>DEL</character> <dialogue>What'd your wife say?</dialogue> <character>NEAL</character> <dialogue>She thinks I'm crazy.</dialogue> <character>DEL</character> <dialogue>That goes with the territory.</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <character>DEL</character> <dialogue>Fortunately we're dealing with a small time crook. He didn't bother with the credit cards. We'll charge our way home. What kind of plastic do you carry?</dialogue> <character>NEAL</character> <dialogue>American Express, Mastercharge, Visa, oil cards, Diner's Club. What do you carry?</dialogue> <character>DEL</character> <dialogue>Sears, J.C. Penney, AAA.</dialogue> <character>NEAL</character> <dialogue>No bank cards?</dialogue> <character>DEL</character> <dialogue>I try to deal in cash.</dialogue> <character>NEAL</character> <dialogue>In light of what happened I imagine you'll rethink that one.</dialogue> <character>DEL</character> <dialogue>I don't make a habit of leaving the door unlocked. You have any checks?</dialogue> <character>NEAL</character> <dialogue>My wife keeps the checkbook. You?</dialogue> <character>DEL</character> <dialogue>Strictly cash. I travel too much to write checks. 99% of them would be out of state and an out of state check is about as welcome as a priest in a whorehouse.</dialogue> <character>NEAL</character> <dialogue>You get us to the train station, I'll take care of everything else.</dialogue> <character>DEL</character> <dialogue>Gus said he'd call his son down to give us a lift.</dialogue> <scene_description>Del looks at his watch.</scene_description> <character>DEL</character> <dialogue>He should have been here.</dialogue> <character>NEAL</character> <dialogue>Why didn't you just borrow some dough from Gus?</dialogue> <character>DEL</character> <dialogue>He doesn't have a pot to piss in. I can't take money from him.</dialogue> <character>NEAL</character> <dialogue>You could wire it to him.</dialogue> <character>DEL</character> <dialogue>I have a long standing policy against borrowing money from friends.</dialogue> <character>NEAL</character> <dialogue>But it's okay to borrow from strangers like me, huh?</dialogue> <character>DEL</character> <dialogue>It's incentive for you to become a friend.</dialogue> <scene_description>EXT,MOTEL An old pick-up truck pulls up in front of the motel and blows its- horn. NEAL AND DEL They look at the truck, then at each other.</scene_description> <character>NEAL</character> <dialogue>Is that him?</dialogue> <scene_description>Del calls to the driver.</scene_description> <character>DEL</character> <dialogue>Are you Gus's son?</dialogue> <scene_description>HIS POV A strange, gangly young man, OWEN, looks out the truck at him. Beside him is a TWO-YEAR-OLDstanding on the seat and his WIFE with a BABY in her arms.</scene_description> <character>OWEN</character> <dialogue>I'm Owen. You the shower curtain ring fella?</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL</stage_direction> <scene_description>Del and Neal get up from the trunk.</scene_description> <character>DEL</character> <dialogue>That's me, Del Griffith and this is Neal Page.</dialogue> <character>OWEN</character> <dialogue>Pleased to meet you both. This is my kid and that's my wife and that's my baby.</dialogue> <scene_description>Neal and Del nod to the wife.</scene_description> <character>OWEN</character> <dialogue>You don't gotta say nothin' to her. She's dumb as a melon and she don't remember nothin'. I'm to drive you to Wichita to catch the Amtrak?</dialogue> <character>DEL</character> <dialogue>Yeah. I really appreciate it.</dialogue> <scene_description>He and Neal stoop to lift the trunk.</scene_description> <character>OWEN</character> <dialogue>Don't bother with that.</dialogue> <scene_description>He turns and barks at the wife.</scene_description> <character>OWEN</character> <dialogue>Get out there and put that trunk in the back!</dialogue> <scene_description>Neal and Del quickly intercede.</scene_description> <character>NEAL</character> <dialogue>We got it.</dialogue> <character>OWEN</character> <dialogue>She don't mind. She's short and skinny but she's strong.</dialogue> <character>DEL</character> <dialogue>No, no. We're fine.</dialogue> <scene_description>They lift the trunk and hoist it into the trunk. Barely. They quickly load the other things.</scene_description> <character>NEAL</character> <dialogue>We riding back here?</dialogue> <character>DEL</character> <dialogue>I guess.</dialogue> <character>NEAL</character> <dialogue>Do you know how much this suit cost?</dialogue> <character>OWEN</character> <dialogue>Come on up front!</dialogue> <parenthetical>(barks at the wife)</parenthetical> <dialogue>Get you and them kids in back so the guests ride up here out of the cold.</dialogue> <scene_description>The wife opens the door to get out. Del and Neal jump into the truck.</scene_description> <character>NEAL</character> <dialogue>No problem. We're fine.</dialogue> <character>OWEN</character> <dialogue>She don't mind. She resists the cold real good.</dialogue> <character>DEL</character> <dialogue>So do we and we love it! Let's go!</dialogue> <scene_description>Owen throws the truck in gear and it lurches forward.</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN</stage_direction> <character>WICHITA - TRAIN DEPOT</character> <dialogue>The truck pulls up at the depot. Del and Neal are frozen. Their hair is standing on end. They slowly rise and step down from the truck. Owen and his wife get out of the truck and walk around to the back. Owen opens the gate. His teensy wife picks up the trunk and carries it into the depot. Del and Neal grab the other bags with frozen fingers.</dialogue> </scene> <scene> <stage_direction>EXT. DEPOT - TRAIN</stage_direction> <scene_description>Neal gives Del his ticket.</scene_description> <character>NEAL</character> <dialogue>They didn't have two together. So •••</dialogue> <character>DEL</character> <dialogue>No problem.</dialogue> <scene_description>Neal offers his hand. Del takes it.</scene_description> <character>NEAL</character> <dialogue>If I don't see you again, take care.</dialogue> <character>DEL</character> <dialogue>You too. But I'll probably see you on the train.</dialogue> <character>NEAL</character> <dialogue>I'm going to sleep if I can. But anyway, ·it's been kind of fun.</dialogue> <character>DEL</character> <dialogue>It was a laugh. Good luck to you. And thanks. Oh! Shit! Give your address so I can pay you back for the ticket.</dialogue> <character>NEAL</character> <dialogue>The ticket's a gift.</dialogue> <character>DEL</character> <dialogue>Come on. Give me your address.</dialogue> <character>NEAL</character> <dialogue>Del, it's• gift.</dialogue> <character>DEL</character> <dialogue>Give me your phone number so at least I can find out if you got home okay.</dialogue> <character>NEAL</character> <dialogue>I'll get home okay. But thanks for the concern. See ya, pal.</dialogue> <scene_description>Neal pats Del on the back and boards the train. Del watcpes him board. There's a little sadness. He misses Neal already. He looks at his ticket and waddles down the siding. He boards another car.</scene_description> </scene> <scene> <stage_direction>INT. THEIR CAR</stage_direction> <scene_description>Neal places his briefcase in the overhead baggage compartment and sits down in the window seat. He settles into the seat. He ~ighs with relief. Glad to be seated, glad to be headed home. Glad to be rid of Del. Not in a mean way. Just glad to be on his own, going back to his own life. He closes his eyes.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE</stage_direction> <scene_description>The Amtrak train flies down the tracks across the frosty plains.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN CAR</stage_direction> <scene_description>Neal's sleeping. His face is turned to the window. He stirs and rolls his head to the other side. Right into the snoring mug of Del Griffith. He opens his eyes and rears back. He recovers from the iurprise and slumps in defeat. He shakes his head and sighs. He can't shake the big dude. He leans his head back and closes his eyes. There's a jolt. He opens his eyes and looks out the window. HIS POV The countryside isn't flashing by the window as quickly as it was before. C.U. NEAL Disappointment washes down all over his face. HIS POV The countryside isn't flashing past at all. The train's dead on the tracks.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - TRAIN</stage_direction> <scene_description>Smoke's billowing out of the engine. A perplexed crew is watching the fire.</scene_description> </scene> <scene> <stage_direction>EXT. JEFFERSON CITY, MISSOURI</stage_direction> <scene_description>The Missouri capital.</scene_description> </scene> <scene> <stage_direction>EXT. BUS DEPOT</stage_direction> <scene_description>The Greyhound main terminal.</scene_description> </scene> <scene> <stage_direction>INT. BUS DEPOT</stage_direction> <scene_description>Del and Neal are sitting on benches in the seedy terminal. DEL AND NEAL Del looks at Neal. Neal's bubbling with anger. He looks at his watch. Del looks at him.</scene_description> <character>DEL</character> <dialogue>It's not my fault the train caught on fire.</dialogue> <scene_description>Neal looks at him. He's not so sure.</scene_description> <character>DEL</character> <dialogue>Thank your lucky stars it didn't derail. They derail more often than they catch fire.</dialogue> <character>NEAL</character> <dialogue>It's three fifteen.</dialogue> <character>DEL</character> <dialogue>The bus leaves at four. We' re alright. We'll get into Chicago late tonight. You worry too much. Have you ever thought of going with the flow?</dialogue> <character>NEAL</character> <dialogue>I am going with the flow and you're what floated into my life.</dialogue> <character>DEL</character> <dialogue>If it weren't for me, Mr. Ungrateful, you'd still be at the Wichita airport.</dialogue> <character>NEAL</character> <dialogue>Instead I'm in the Jefferson City bus terminal. Tell. me how that's an improvement?</dialogue> <character>DEL</character> <dialogue>You're a couple hundred miles closer to home.</dialogue> <character>NEAL</character> <dialogue>And I'm out seven hundred bucks cash, two hundred in train tickets •••</dialogue> <character>DEL</character> <dialogue>They're mailing you a refund.</dialogue> <character>NEAL</character> <dialogue>Alot of good that does us here.</dialogue> <character>DEL</character> <dialogue>You're in a pretty lousy mood, huh?</dialogue> <character>NEAL</character> <dialogue>To say the least.</dialogue> <character>DEL</character> <dialogue>You ever traveled by bus?</dialogue> <scene_description>Neal shakes his head, no.</scene_description> <character>DEL</character> <dialogue>Your mood's probably not going to improve much.</dialogue> </scene> <scene> <stage_direction>INT. BUS</stage_direction> <scene_description>Jammed with cut-rate passengers. Screaming BABIES, luggage everywhere, food wrappers, a dozen SERVICEMENwith their Walkman's leaking twelve different songs. CHILDREN cruising the aisles. The engine is ROARING. Someone has a window open. It's hell on wheels. DEL AND NEAL They're toward the back. Neal has a seat in his lap. The person in front of him has the seat all the way back and is sleeping. Del's eating popcorn. Neal's staring out the filthy window. Del pokes Neal. Neal looks at him. Del jerks his head toward the seats opposite them. Neal looks. HIS POV A sleazy, young couple are furiously necking in the seats. His hands are all over her. Inside her clothes, outside her clothes, squeezing, rubbing, stroking. DEL AND NEAL They're both watching.</scene_description> <character>DEL</character> <dialogue>Beats a movie, huh?</dialogue> <scene_description>Neal stares at him.</scene_description> <character>DEL</character> <dialogue>Beggars can't be choosers, Neal. It's better than walking.</dialogue> <character>NEAL</character> <dialogue>Barely.</dialogue> <character>DEL</character> <dialogue>Don't get your jugs in a twist.</dialogue> <scene_description>A child's hand squeezes between Del and Neal's seats and fishes around.</scene_description> <character>DEL</character> <dialogue>This is probably as good a time as any to tell you something.</dialogue> <scene_description>Neal leans back to avoid the child's dirty, probing fingers.</scene_description> <character>NEAL</character> <dialogue>What now?</dialogue> <character>DEL</character> <dialogue>You'll probably be relieved. Seeing as how you're not enjoying bus travel.</dialogue> <character>NEAL</character> <parenthetical>(suspicious)</parenthetical> <dialogue>What?</dialogue> <character>DEL</character> <dialogue>Our tickets are only good to St. Louis.</dialogue> <scene_description>Neal's jaw drops.</scene_description> <character>DEL</character> <dialogue>St. Louis into Chi is booked tighter than Tom Thumb's ass. It's Thanksgiving.</dialogue> <scene_description>C.U. PHOTOGRAPH A picture of a turkey dinner. We MOVE OFF the photo and up to Neal. He's on the phone.</scene_description> <character>NEAL</character> <dialogue>I'm in St. Louis. Why? Because I've always wanted to tour the Anheiser-Busch Brewery. Come on, Sue.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm sorry. It's been hell. I got hooked-up with this shower ring salesman. I told you about him last night. Every time I listen to him .•.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Why do I listen to him? Good question. I'm stuck. No money. Everything's booked-up. I'm in the bus station. I'm tired and hungry and I'm mad.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I want to get home. I can't fly in. I've tried every airline. There isn't a seat left on anything. This is the busiest travel day of the year.</dialogue> <scene_description>Neal turns into the terminal. HIS POV Del's talking with a group of kids. NEAL He turns back to the booth.</scene_description> <character>NEAL</character> <dialogue>I think I'll just rent a car and drive home. It's about eight hours. Honey, I can drive alone. I'm not that tired. I'm not driving home with Del. I don't care if he can share the driving, if I have him along, something'll go wrong. I know it. I don't trust him an inch.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL - DEL</stage_direction> <scene_description>He's talking with the kids.</scene_description> <character>DEL</character> <dialogue>You don't know what an AT&amp;T calling card is? Where have you been? You go to school?</dialogue> <character>KID</character> <dialogue>No.</dialogue> <character>DEL</character> <dialogue>You can call anywhere in the world with it.</dialogue> <character>KID</character> <dialogue>So?</dialogue> <character>DEL</character> <dialogue>Free. Long distance calls for free. You don't see the value of something like that?</dialogue> <character>KID</character> <dialogue>No.</dialogue> <scene_description>NEAL He wraps up his conversation.</scene_description> <character>NEAL</character> <dialogue>Tell the kids that I'll be home. I'll be fine. Don't worry about a thing. I'll call next chance I get. Huh? I called collect because I lost my AT&amp;T card. Whoever took my money must have taken the calling card and my Visa.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL - DEL</stage_direction> <scene_description>He's still hawking the kids.</scene_description> <character>DEL</character> <dialogue>The Visa card's gonna cost you double the calling card.</dialogue> <character>KID</character> <dialogue>I don't have a hundred bucks.</dialogue> <character>DEL</character> <dialogue>What kind of delinquen\_t are you? Small timer. Real small time. I thought you were a heavy hitter.</dialogue> <character>KID</character> <dialogue>I got seventy-five.</dialogue> <character>DEL</character> <dialogue>Sold.</dialogue> </scene> <scene> <stage_direction>INT. BUS STATION RESTAURANT</stage_direction> <scene_description>Del and Neal are eating lunch.</scene_description> <character>DEL</character> <dialogue>That watch belonged to my father and his father before him. You want to feel hurt, sell a family heirloom for seventy-five beans.</dialogue> <character>NEAL</character> <dialogue>You didn't have to sell it.</dialogue> <character>DEL</character> <dialogue>I've steered you wrong so many times, I felt like a shit burger on a steak bun. The least I could do was scrape up a nice meal for you.</dialogue> <character>NEAL</character> <dialogue>Thanks.</dialogue> <character>DEL</character> <dialogue>How's the wife?</dialogue> <character>NEAL</character> <dialogue>Fine.</dialogue> <character>DEL</character> <dialogue>Kids miss their Daddy?</dialogue> <scene_description>Neal smiles.</scene_description> <character>DEL</character> <dialogue>I called an old friend at Eastern Airlines. He says the chances of getting a flight into Chicago from here are about the same as a mouse sexually satisfying a black rhino.</dialogue> <character>NEAL</character> <dialogue>I know. I called all the airlines.</dialogue> <character>DEL</character> <dialogue>Did you call your office? Maybe they have some clout. You have a company plane?</dialogue> <character>NEAL</character> <dialogue>No. The office closed at noon.</dialogue> <character>DEL</character> <dialogue>I have some friends in town. We could probably ...</dialogue> <scene_description>Neal lays the news on Del.</scene_description> <character>NEAL</character> <dialogue>I've been thinking, Del.</dialogue> <character>DEL</character> <dialogue>That's good. This country was built on man's thoughts.</dialogue> <character>NEAL</character> <dialogue>When we put our heads together we get nowhere. I think I'm holding you up.</dialogue> <character>DEL</character> <dialogue>I'm enjoying your company. You're not that bad. You don't react to crisis very well, but I can overlook that. You have plenty of other admirable traits.</dialogue> <character>NEAL</character> <dialogue>I think we'd probably both get home alot sooner if we split up.</dialogue> <scene_description>Del's face drops. He's hurt. He's enjoying the adventure.</scene_description> <character>NEAL</character> <dialogue>One can go faster than two. You have friends here. They'll probably be much more inclined to help you alone than help the two of us.</dialogue> <character>DEL</character> <dialogue>Not necessarily. They're good people.</dialogue> <character>NEAL</character> <dialogue>Why risk it? We'll go alot faster working as singles.</dialogue> <character>DEL</character> <dialogue>You really think so?</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <scene_description>Del looks down at his plate.</scene_description> <character>DEL</character> <dialogue>Okay.</dialogue> <scene_description>There's a long pause.</scene_description> <character>DEL</character> <dialogue>I'm a pain in the ass in other words.</dialogue> <character>NEAL</character> <dialogue>No, not at all, Del.</dialogue> <character>DEL</character> <dialogue>Yeah, I am. Everything I touch turns to shit. This isn't the first time. My mother used to tell me I had twice as much heart as brain.</dialogue> <scene_description>He looks up at Neal.</scene_description> <character>DEL</character> <dialogue>I was only trying to help.</dialogue> <character>NEAL</character> <dialogue>I know, Del. And I appreciate it.</dialogue> <scene_description>Del drops his napkin on his plate. He looks at the check, lays down the appropriate sum plus tip. He counts out half the remaining money and puts it in his pocket. He gets up and stuffs the other half in Neal's suitcoat pocket. He pats him on the shoulder.</scene_description> <character>NEAL</character> <dialogue>I can't take your money.</dialogue> <character>DEL</character> <dialogue>Take it. Buy the kids a chocolate turkey. Tell them it's from an old huckster. Good luck, pal.</dialogue> <scene_description>He shuffles out of the restaurant. Neal watches him go. A sad smile.</scene_description> </scene> <scene> <stage_direction>EXT. ST. LOUIS AIRPORT</stage_direction> <scene_description>Jammed with activity.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - RENTAL CAR COUNTER</stage_direction> <scene_description>It's jammed with people. Huge lines. Deafening din. Neal's at the counter filling out the forms.</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - ARRIVAL AREA</stage_direction> <scene_description>Neal's at the curb with a group of people waiting for the courtesy bus. For the first time since the GM building, he's smiling. He's so light in spirit, he strikes up a conversation with a frail, young man next to him.</scene_description> <character>NEAL</character> <parenthetical>(to the man next to him)</parenthetical> <dialogue>You have no idea what I've been through to get to this point.</dialogue> <character>MAN</character> <dialogue>You have no idea what I've been through.</dialogue> <character>NEAL</character> <dialogue>It can't come close to what I've been through.</dialogue> <character>MAN</character> <dialogue>I had my foot amputated on Thursday.</dialogue> <scene_description>Neal is shocked.</scene_description> <character>MAN</character> <dialogue>I left the hospital in New York to go to Chicago to be with my sister and we got waylayed to Wichita, I got on Amtrak, the train caught fire. I hitchhiked to St. Louis, went to the bus terminal to try to take the bus to Chicago, I discovered along the way somebody's picked my pocket, lifted my wallet. All I had was eighty dollars, I bought a Visa card off a kid in the terminal and illegally used it to rent a car.</dialogue> <character>NEAL</character> <dialogue>Other than that, you looking forward to the holiday?</dialogue> <character>MAN</character> <dialogue>Oh, very much so.</dialogue> </scene> <scene> <stage_direction>INT. COURTESYBUS</stage_direction> <scene_description>One of those vans with the sofas and lamps. It's packed with weary travelers. Neal included. He's squeezed in between two nuns. The van jerks to a stop. A BURLYBLACK DRIVER calls out Neal's name.</scene_description> <character>DRIVER</character> <dialogue>Mr. Page?</dialogue> <scene_description>Neal gets up and squishes his way up to the front. The driver hands Neal his rental agreement envelope and a set of keys.</scene_description> <character>DRIVER</character> <dialogue>Red Mustang. Space E-67.</dialogue> <character>NEAL</character> <dialogue>Thanks. Have a nice holiday.</dialogue> <character>DRIVER</character> <dialogue>Are you kidding? I'm working. You have a nice holiday. I'll be rigE't here. You know what holiday I got off this year? Yorn Kippur. I ate bagels and watched "I Dream of Jeanie."</dialogue> <character>NEAL</character> <dialogue>Well, have a nice day.</dialogue> <character>DRIVER</character> <dialogue>Impossible. These days, it's impossible.</dialogue> <scene_description>He sits down and opens the door. Neal steps down off the van.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>The van pulls away. Neal looks at the envelope. He turns and scans the lot. HIS POV No Red Mustang in sight. NEAL He looks at the keys. Looks up. Looks at the pavement. HIS POV In big, white letters, D-67. NEAL He walks down the row of cars, looking at the space numbers . .He stops at an empty space. C.U. PAVEMENT It's E-67. No Red Mustang. No nothing.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>Neal stands in the empty space looking at the keys and the rental agreement.</scene_description> <character>NEAL</character> <dialogue>son of a bitch •..</dialogue> <scene_description>He looks down the long parking lot aisle. HIS POV The van disappears down the lane. Stops. Discharges passengers. Turns and heads down another aisle. NEAL He takes off down the aisle. HEY!:</scene_description> </scene> <scene> <stage_direction>EXT. VAN</stage_direction> <scene_description>The last passenger gets off. The doors close and the van pulls out. As it pulls out, we see Neal, breathless and exhausted make a last futile attempt to catch the van. He stops.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The van turns onto the highway leading back to the airport. EXT, PARKING LOT Neal drops his two-suiter.</scene_description> <character>SHIT!</character> <dialogue>INT. The doors open and Neal shuffles legs are soaked with road spray. mud. His shoes are saturated</dialogue> <character>YAAA!</character> <dialogue>AIRPORT in. His He's blue in the face. and covered with salt</dialogue> <scene_description>his necktie wrapped around his head to keep his ears warm.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - RENTAL CAR COUNTER</stage_direction> <scene_description>Neal trudges up to the counter. A perky young AGENT finishes her last task and looks up at Neal with a big, friendly, TV ad smile. The smile dissolves as she studies him. C.U. NEAL He looks crazed, frozen, wild and mad as hell. C.U. AGENT She manages a fresh smile. Less enthusiastic.</scene_description> <character>AGENT</character> <dialogue>May I help you?</dialogue> <scene_description>C.U. NEAL He leans forward. Talks very softly.</scene_description> <character>NEAL</character> <dialogue>Yes.</dialogue> <scene_description>C.U. AGENT She leans forward to hear better.</scene_description> <character>AGENT</character> <parenthetical>(softly)</parenthetical> <dialogue>How?</dialogue> <scene_description>NEAL AND THE AGENT He leans a little closer.</scene_description> <character>NEAL</character> <dialogue>You can start by w1p1ng that fucking dumb-ass smile off your rosy fuckin' cheeks. Then you can drop the Miss fuckin' Cheerful bullcrap and give me a fuckin' automobile.</dialogue> <scene_description>The Agent freezes.</scene_description> <character>NEAL</character> <dialogue>A fuckin' Mustang, a fuckin' Toyota, a fuckin' Datsun, a fuckin' Chevy, four fuckin' wheels and a seat!</dialogue> <character>AGENT</character> <dialogue>I don't really care for the way you're talking to me.</dialogue> <character>NEAL</character> <dialogue>I don't really care for the way your fuckin' company left me out in the middle of fuckin' nowhere with fuckin' keys to a fuckin' car that isn't fuckin' there .. And I didn't really care to fuckin' walk down a fuckin' highway and across a fuckin' runway to get back here to have you smile in my fuckin' face. I'm a nice man under normal circumstances and I have nothing against you except your happy demeanor too violently illustrates to me how miserable I am. I want a car.</dialogue> <character>AGENT</character> <dialogue>Can I see your rental agreement?</dialogue> <character>NEAL</character> <dialogue>No.</dialogue> <character>AGENT</character> <dialogue>Why not?</dialogue> <character>NEAL</character> <dialogue>It blew away.</dialogue> <character>AGENT</character> <dialogue>Oh, boy.</dialogue> <character>NEAL</character> <dialogue>Oh, boy, what?</dialogue> <character>AGENT</character> <dialogue>You're fucked.</dialogue> </scene> <scene> <stage_direction>EXT. AIRPORT - ARRIVAL AREA</stage_direction> <scene_description>Neal trudges out of the airport. His eyes are glazed, he's beyond anger. He walks zombie-like to a cab stand. A burly dispatcher addresses him.</scene_description> <character>DISPATCHER</character> <dialogue>Where you goin'?</dialogue> <character>NEAL</character> <dialogue>Chicago.</dialogue> <scene_description>The dispatcher pauses.</scene_description> <character>DISPATCHER</character> <dialogue>Chicago?</dialogue> <character>NEAL</character> <dialogue>Chicago.</dialogue> <character>DISPATCHER</character> <dialogue>Do you know you're in St. Louis?</dialogue> <character>NEAL</character> <dialogue>Yeah. And I want to be in Chicago. That's why I'm talking to you.</dialogue> <character>DISPATCHER</character> <dialogue>You want to take a cab to Chicago?</dialogue> <character>NEAL</character> <dialogue>Yes, I do. Can you help me or are you going to be like everybody else I've been running into lately?</dialogue> <character>DISPATCHER</character> <dialogue>I can't send a cab to Chicago.</dialogue> <character>NEAL</character> <dialogue>Do you know someone who can?</dialogue> <character>DISPATCHER</character> <dialogue>Did you try the airlines? They go to Chicago all the time.</dialogue> <character>NEAL</character> <dialogue>If I wanted to joke, I'd follow you into the john and watch you take a leak.</dialogue> <scene_description>The dispatcher glares at Neal.</scene_description> <character>DISPATCHER</character> <dialogue>If I gotta look at you for anymore than two seconds, you're gonna be lookin' at me upside down and blurry. -</dialogue> <character>NEAL</character> <dialogue>All I asked for was a cab. It is possible for a taxi to transport me to Chicago. I'm prepared to pay whatever the meter says plus tip.</dialogue> <character>NEAL</character> <dialogue>I'd much prefer to fly or drive myself but due to holiday traffic, neither of those options are avail- able to me. Can you help me or are you going to stand there like a slab of meat with mittens?</dialogue> <scene_description>C.U. DISPATCHER He doesn't much care for Neal's attitude.</scene_description> <character>DISPATCHER</character> <dialogue>Time's up.</dialogue> <scene_description>C.U. NEAL Doesn't understand.</scene_description> <character>NEAL</character> <dialogue>Excuse me?</dialogue> <scene_description>C.U. DISPATCHER He draws his fist back.</scene_description> <character>DISPATCHER</character> <dialogue>You're excused.</dialogue> <scene_description>He throws a fist enclosed in leather directly into CAMERA. C.U. NEAL he drops backwards OUT OF FRAME.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Neal falls into the street. Lands on his ass in front of a car. The contents of his briefcase go flying. He screams and covers his head. The car skids to a stop, inches from Neal's body. Horns blow, tires screech. C.U. NEAL Hands over his face. He slowly removes them. HIS POV Del Griffith is over him, looking down. He's startled.</scene_description> <character>DEL</character> <dialogue>Neal?</dialogue> <scene_description>c.u. NEAL He's equally startled.</scene_description> <character>NEAL</character> <dialogue>Del?</dialogue> <scene_description>C.U. DEL He's relieved to find Neal's alright.</scene_description> <character>DEL</character> <dialogue>If I'd had my sunglasses on, I might have run you over.</dialogue> </scene> <scene> <stage_direction>INT. CAR LATER</stage_direction> <scene_description>Del's driving. Neal's next to him. He's cleaning off his face with a handkerchief.</scene_description> <character>DEL</character> <dialogue>I had a feeling when we parted ways that somehow, someday, our paths would cross.</dialogue> <character>NEAL</character> <dialogue>Me, too.</dialogue> <character>DEL</character> <dialogue>Do you have any idea how glad I am that I didn't kill you?</dialogue> <character>NEAL</character> <dialogue>Do you have any idea how disappointed I am that you didn't kill me?</dialogue> <character>DEL</character> <dialogue>Hey, now. Chin up, buddy. We're sailing. You remember what I said about you have to go with the flow a little more? I still stand by it.</dialogue> <character>NEAL</character> <dialogue>How do I go with the flow when the rental car agency leaves me in a hundred acre parking lot with keys to a car that isn't there and I have to walk three miles back to find out they don't have any cars?</dialogue> <character>DEL</character> <dialogue>I got a car. I didn't have to walk. I didn't have to waste one drop of sweat.</dialogue> <character>NEAL</character> <dialogue>You're lucky.</dialogue> <character>DEL</character> <dialogue>No, I just go with the flow. Cute little gal at the rental counter told me they were out of cars. I gave her a set of shower curtain rings and a compliment on her rosy little cheeks and sweet smile and bing! I'm behind the wheel of a Lincoln at the price of a Datsun.</dialogue> <character>NEAL</character> <dialogue>You're a charmed man.</dialogue> <character>DEL</character> <dialogue>Nope.</dialogue> <character>NEAL</character> <dialogue>You just go with the flow.</dialogue> <character>DEL</character> <dialogue>Like a twig on the shoulders of a mighty stream.</dialogue> <scene_description>He puts his arm up on the seat and puts the hammer down.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>A massive green Lincoln speeds past. Del's steamer trunk is hanging out the back of the car trunk which is secured with a length of twine.</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - LATER</stage_direction> <scene_description>The Lincoln's at the pump. Del and Neal are out of the car. Del's stretching.</scene_description> <character>DEL</character> <dialogue>You want to take over for awhile?</dialogue> <character>NEAL</character> <dialogue>You've only been driving half an hour.</dialogue> <character>DEL</character> <dialogue>You haven't driven at all.</dialogue> <character>NEAL</character> <dialogue>I don't care. Fine.</dialogue> <character>DEL</character> <dialogue>My back's bothering me. I'd appreciate it.</dialogue> <scene_description>The attendant returns the hose and caps the tank.</scene_description> <character>ATTENDANT</character> <dialogue>Thirty-eight fifty.</dialogue> <scene_description>Del looks at Neal to say he doesn't have the funds.</scene_description> <character>DEL</character> <dialogue>We better pool our cash for chow. I don't have an oil card. Do you mind?</dialogue> <scene_description>Neal shakes his head, fishes out his wallet and gives the attendant his credit card. He shuffles into the station.</scene_description> <character>DEL</character> <dialogue>I estimate our arrival time around four A,M. Unless you want to stop and get some sleep. I think we could both use it.</dialogue> <character>DEL</character> <dialogue>I'd rather sleep in my own bed, thank you.</dialogue> <character>DEL</character> <dialogue>It's not safe pushing yourself on the highway. You caught a punch in the hooter, you got your dander up, you're anxious, you're in a hurry. A highway safety expert will tell you that that's a classic blue print for a wreck.</dialogue> <character>NEAL</character> <dialogue>I'm fine.</dialogue> <character>DEL</character> <dialogue>We won't have a problem getting a room on this stretch of road. This has been a hell of a day, Neal.</dialogue> <character>NEAL</character> <dialogue>I'm getting home tonight. With or without you.</dialogue> <character>DEL</character> <dialogue>Without me you won't do well. Face the facts. You're probably a brilliant theoretical man but from what I can observe, you have no technique. That's not a criticism. Robert Oppenheimer, the father of the A-bomb had to have Edward Teller tie his shoes. Or so I'm told.</dialogue> <character>NEAL</character> <dialogue>I'm in good shape. Don't bother about me.</dialogue> <scene_description>The attendant returns with the credit card and slip. Neal takes the greasy pen and signs his name.</scene_description> <character>DEL</character> <dialogue>I do worry about you because I care about you.</dialogue> <character>NEAL</character> <dialogue>If you cared about me, you would have left me alone in.Wichita.</dialogue> <scene_description>Neal takes his card and walks around to the driver's side. Del's staring at him.</scene_description> <character>DEL</character> <dialogue>If I'd left you in Wichita, you'd still be in Wichita.</dialogue> <scene_description>Neal gives him a look and gets in the car. Del opens the door.</scene_description> <character>DEL</character> <dialogue>Before we pull out, do you want to call the wife?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I just asked.</dialogue> <scene_description>He gets in and closes the door. Neal starts the car and pulls out.</scene_description> </scene> <scene> <stage_direction>INT. CAR - LATER</stage_direction> <scene_description>Neal's driving. Del's trying to get comfortable. He's running through the electric seat positions. It's annoying the hell out of Nea·1.</scene_description> <character>NEAL·</character> <dialogue>Could you please not do that with the seat? It's bugging me.</dialogue> <character>DEL</character> <dialogue>Once you start screwing around with thes~ damn things, you can't ever get comfortable.</dialogue> <character>NEAL</character> <dialogue>Then quit screwing around with it.</dialogue> <character>DEL</character> <dialogue>I gotta get comfortable. Do you have a bad back?</dialogue> <scene_description>Neal doesn't answer.</scene_description> <character>DEL</character> <dialogue>Well, I do and it hurts like a bugger. There's a couple good positions for it •••</dialogue> <scene_description>He raises the seat bottom and lowers the seat back. The motors grind and squeal.</scene_description> <character>NEAL</character> <dialogue>You wanna break it?</dialogue> <character>DEL</character> <dialogue>I'm not breaking it.</dialogue> <character>NEAL</character> <dialogue>Will you please knock it off?</dialogue> <scene_description>A couple more tries and ~e gets the seat the way he wants it.</scene_description> <character>DEL</character> <dialogue>There.</dialogue> <character>NEAL</character> <dialogue>You done?</dialogue> <character>DEL</character> <dialogue>Almost.</dialogue> <character>NEAL</character> <dialogue>Now what?</dialogue> <character>DEL</character> <dialogue>I can't reach my feet to take off my shoes.</dialogue> <character>NEAL</character> <dialogue>That's just fine. Leave your shoes on.</dialogue> <character>DEL</character> <dialogue>I can't rest with my shoes on.</dialogue> <character>NEAL</character> <dialogue>Your feet smell. Leave the shoes on.</dialogue> <character>DEL</character> <dialogue>When did you smell my feet?</dialogue> <character>NEAL</character> <dialogue>In the airport. Why is it that everything you do bothers me?</dialogue> <character>DEL</character> <dialogue>I don't know. It could be you.</dialogue> <character>NEAL</character> <dialogue>we have another six or seven hours together. Why can't you just cooperate with me?</dialogue> <character>DEL</character> <dialogue>Can I loosen them?</dialogue> <scene_description>·Neal sighs.</scene_description> <character>NEAL</character> <dialogue>Be my guest.</dialogue> <scene_description>Del pushes the chair button. The motor grinds as he rises forward. He loosens his shoes. He pushes the button again and returns to his position. A few more squirts and he's got it just right.</scene_description> <character>DEL</character> <dialogue>You know there're things you do that bug me.</dialogue> <character>NEAL</character> <dialogue>Oh, really? Like what?</dialogue> <character>DEL</character> <dialogue>You play with your balls alot.</dialogue> <scene_description>Neal looks at him. A long stare. Back to the road, back to Del.</scene_description> <character>DEL</character> <dialogue>It's true.</dialogue> <character>NEAL</character> <dialogue>I don't play with my balls.</dialogue> <character>DEL</character> <dialogue>Yes, you do. It's like you're afraid they're gone. You check them a good five, six times an hour.</dialogue> <character>NEAL</character> <dialogue>You want to start a fight?</dialogue> <character>DEL</character> <dialogue>No. I'm just stating a fact. You fiddle with your nuts alot.</dialogue> <character>NEAL</character> <dialogue>I've been wearing the same shorts for two days. They're stretched out.</dialogue> <character>DEL</character> <dialogue>That's a good explanation.</dialogue> <character>NEAL</character> <dialogue>It's good because it's true.</dialogue> <character>DEL</character> <dialogue>Okay.</dialogue> <scene_description>He closes his eyes.</scene_description> <character>DEL</character> <dialogue>Do loose shorts also make you pick. your rump?</dialogue> <scene_description>Neal doesn't look at Del. He puts his foot down. The car thunders ahead.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The car powers past.</scene_description> </scene> <scene> <stage_direction>INT. CAR - LATER</stage_direction> <scene_description>Neal's driving. Del's sound asleep. Snoring. Neal turns up the music to mask the snoring. The snoring gets louder. Neal turns the music up louder. The snoring goes louder. Neal turns the music full blast. He looks at Del. Sleeping like a baby.</scene_description> <character>NEAL</character> <dialogue>Del?</dialogue> <scene_description>No response. He reaches for the electric window buttons. He opens Del's window. Wind whips in. Del doesn't stir. Neal puts down the other windows. No response from Del.</scene_description> <character>NEAL</character> <dialogue>DEL! GRIFFITH! ASSHOLE! LOUD-</dialogue> <character>MOUTHMORON,BUTTHEAD, FAG-BREATH</character> <dialogue>JERK! CHICKEN PICKER! GEEK! DEL!</dialogue> <scene_description>He reaches over and pokes him. He stirs, turns away and closes his mouth. He stops snoring. Neal puts the windows back up. He turns off the radio. Nothing out of Del. He reaches into his lap and adjusts his crotch.</scene_description> <character>DEL</character> <dialogue>Can't leave the walnuts alone, huh?</dialogue> <scene_description>Neal freezes.</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE CAFE</stage_direction> <scene_description>A greasy, little dump dwarfed by the giant rigs and the Lincoln.</scene_description> </scene> <scene> <stage_direction>INT. CAFE</stage_direction> <scene_description>Del and Neal are finishing their. coffee.</scene_description> <character>DEL</character> <dialogue>If you·want I'll drive for awhile.</dialogue> <character>NEAL</character> <dialogue>That's generous of you considering I've driven all day.</dialogue> <character>DEL</character> <dialogue>An hour behind the wheel with my back is like a lifetime for you.</dialogue> <scene_description>Neal grows weary of the bickering. He changes the subject. To what's really bothering him.</scene_description> <character>NEAL</character> <dialogue>I can't believe it's Thanksgiving eve and I'm not home with my family.</dialogue> <character>DEL</character> <dialogue>Yeah.</dialogue> <character>NEAL</character> <dialogue>You never said anything. Do you have a family?</dialogue> <character>DEL</character> <dialogue>Oh, yeah. I'm a big family man. You saw the picture of my wife.</dialogue> <character>NEAL</character> <dialogue>Kids?</dialogue> <character>DEL</character> <dialogue>Three. Two boys and a girl.</dialogue> <character>NEAL</character> <dialogue>I saw your wife. You got pictures of the kids?</dialogue> <character>DEL</character> <dialogue>In my trunk •</dialogue> <character>.NEAL</character> <dialogue>It's hard being away, isn't it?</dialogue> <character>DEL</character> <dialogue>The misery. The absolute misery of it.</dialogue> <character>NEAL</character> <dialogue>We'll be home soon enough.</dialogue> <character>DEL</character> <dialogue>Yeah. Let's roll.</dialogue> <scene_description>They get up from the table and cross to the cash register. The door opens and a TRUCKERwalks in.</scene_description> <character>TRUCKER</character> <parenthetical>(general announcement)</parenthetical> <dialogue>Anybody headed north, think twice. Big front moving down. Chicago's history.</dialogue> <scene_description>He crosses to the counter. Del looks at Neal. Then at the CASHIER.</scene_description> <character>DEL</character> <dialogue>What's the motel situation?</dialogue> <character>CASHIER</character> <dialogue>Pretty good. Ethyl's Motor Mattress always has an open bed or two.</dialogue> <character>NEAL</character> <dialogue>Del, forget it. We'll take it easy. It'll be fine. Pay the lady.</dialogue> <character>DEL</character> <dialogue>Do you take credit cards?</dialogue> <character>CASHIER</character> <dialogue>Diner's Club, Visa, Mastercharge •••</dialogue> <scene_description>Del pats Neal on the back. I'll be out front.</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT- LATER</stage_direction> <scene_description>Del's in the car. The motor's running. Neal comes out and gets in the car. Del guns the engine and whips the Lincoln out of the parking space. Grinds to a stop, throws it in forward and squeals out.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del's barreling down the road. Neal's laying down, trying to get the seat up.</scene_description> <character>DEL</character> <dialogue>I really think we're pressing our luck driving into the teeth of a snow storm.</dialogue> <character>NEAL</character> <dialogue>You broke the seat! You broke the goddamn seat!</dialogue> <scene_description>The motor whinnies as Neal holds his finger on the button.</scene_description> <character>DEL</character> <dialogue>It was fine when I got out.</dialogue> <character>NEAL</character> <dialogue>You messed around with it until you broke it!</dialogue> <character>DEL</character> <dialogue>You want to drive?</dialogue> <character>NEAL</character> <dialogue>No, I don't. Why did you have to do this?</dialogue> <character>DEL</character> <dialogue>I can't be held responsible for faulty engineering.</dialogue> <character>NEAL</character> <dialogue>This is great. Very comfortable.</dialogue> <scene_description>Neal crosses his arms on his chest as he lays practically falls on his back in the broken seat.</scene_description> <character>DEL</character> <dialogue>You like country music?</dialogue> <character>NEAL</character> <dialogue>Hate it.</dialogue> <character>DEL</character> <dialogue>Is the rule whoever drives programs the music?</dialogue> <character>NEAL</character> <dialogue>Not if you're putting on a country station.</dialogue> <character>DEL</character> <dialogue>Boy, you sure like to play the boy prince of France don't you?</dialogue> <character>NEAL</character> <dialogue>I'm not riding in a broken seat listening to country music.</dialogue> <character>DEL</character> <dialogue>I listened to your rock •n• roll shit. •</dialogue> <character>NEAL</character> <dialogue>I'm not going to argue with you. Put on whatever you like. I'm going to sleep.</dialogue> <scene_description>Del flips on the radio and starts scanning the dial. Two second bursts of music and talk. Up and down the FM band. He hits the\_AM band and travels it up and down.</scene_description> <character>NEAL</character> <dialogue>Find the goddamn station!</dialogue> <character>DEL</character> <dialogue>I'm sorry I don't have the worldwide radio network committed to memory.</dialogue> <scene_description>He flips</scene_description> <character>: ... ,·-:· .. , ...'. .. ·..·:, .;.·€�:\·.: ·..· .:·-.·:. ,,</character> <dialogue>back to FM.</dialogue> <scene_description>:.:,-. ·.€�·€�,'€�,; ·. ,/:</scene_description> <character>NEAL</character> <dialogue>Aw, come on!</dialogue> <scene_description>Del turns off the radio.</scene_description> <character>NEAL</character> <dialogue>What?</dialogue> <character>DEL</character> <dialogue>Forget it. You're such a miserable asshole, I don't want to aggravate you anymore than you already are.</dialogue> <character>NEAL</character> <dialogue>I'm not miserable. Turn on the radio and find your station.</dialogue> <character>DEL</character> <dialogue>Forget it. I'm not in the mood for music anymore.</dialogue> <character>NEAL</character> <dialogue>Fine.</dialogue> <character>DEL</character> <dialogue>I was. But you ruined it.</dialogue> <character>NEAL</character> <dialogue>Sorry.</dialogue> <character>DEL</character> <dialogue>No problem. I'll just consult with you from now on about how you want me to behave so that you'll be most. comfortable. After all, I only rented the car. You're the passenger.</dialogue> <character>NEAL</character> <dialogue>Put on the radio.</dialogue> <character>DEL</character> <dialogue>Forget it.</dialogue> <character>NEAL</character> <dialogue>No, put it on.</dialogue> <character>DEL</character> <dialogue>I'd rather not.</dialogue> <character>NEAL</character> <dialogue>Don't play games, Del. Put on the radio.</dialogue> <scene_description>Del doesn't react. Neal leans forward, does a sit up and flips on the radio. He scans down the dial until he hears the· plaintive howl of a steel guitar. He leans back.</scene_description> <character>DEL</character> <dialogue>Thanks, Neal.</dialogue> <character>NEAL</character> <dialogue>My pleasure.</dialogue> <scene_description>He settles into the seat and closes his eyes. Del pushes the cigarette lighter in. He reaches into his pocket and pulls out a cigarette. The lighter pops and lights the smoke.</scene_description> <character>DEL</character> <dialogue>Does my smoke bother you?</dialogue> <character>NEAL</character> <dialogue>Not if you crack your window a little.</dialogue> <scene_description>Del presses the window button. He opens the window a crack.</scene_description> <character>DEL</character> <dialogue>Is that too noisy?</dialogue> <character>NEAL</character> <dialogue>Close it more or open it more.</dialogue> <character>NEAL</character> <dialogue>If I close it more, it'll be closed completely.</dialogue> <scene_description>He opens the window further. Cold wind rushes in.</scene_description> <character>DEL</character> <dialogue>I'll pump the heat, okay?</dialogue> <character>NEAL.</character> <dialogue>Fine.</dialogue> <scene_description>Del blasts the heater fan. Double the noise. He turns up the music above the rush of wind and roar of the fan~</scene_description> <character>DEL</character> <dialogue>Get a little shut-eye so you'll be fresh for your shift.</dialogue> <character>I'LL</character> <dialogue>Del</dialogue> <character>TRY.</character> <dialogue>shifts</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>the Lincoln hurtles down the lonely interstate into the dark of the approaching storm.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal's fallen asleep. Del takes a last puff on the cigarette and carefully slips it out the window. He flicks it away.</scene_description> </scene> <scene> <stage_direction>INT. CAR - BACKSEAT</stage_direction> <scene_description>The butt is sucked back in the window and lands on Neal's two-suiter in the backseat. The window snaps shut.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del bobs his head to the music. He's getting heavily bored. He taps the steering wheel to the beat. Flicks his brights on and off to the beat. It's getting a little warm in the car. He turns off the fan. Drives a bit further. Still too warm. He looks at Neal. He's asleep. He doesn't want to open the window for fear of waking him with the noise. He raises his knees to the steering wheel and attempts to remove his coat.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln from the front. It swerves a little to the left, then back to the -right.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del has his arms around behind his back trying to get his arms out of the sleeves. As he presses back in the seat, his foot buries the accelerator. C.U. PEDALS The accelerator is on the floor.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln screams past.</scene_description> </scene> <scene> <stage_direction>, INT. CAR</stage_direction> <scene_description>Del's steering with his knees, streaking down the highway. He's struggling with his arms. He suddenly realizes that he has a huge problem. He twists to the side. C.U. DEL'S HANDS In trying to take off his coat, he's managed to slip his hands into the epaulets on the cuffs of his overcoat and has effectively handcuffed himself.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del struggles to free his hands, driving with his knees. Neal's asleep, oblivious to everything.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln's roaring along. It glides across two lanes and shoots up an exit ramp.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del rips his hands free, grabs the wheel and hits the brakes. He slams his eyes shut and SCREAMS. The braking force throws Neal and the seat back forward. The seat locks.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln does a 180 and grinds to a halt in a cloud of tire smoke. It comes to rest across the overpass road, pointing toward the ramp it just came up. The engine shudders and dies.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal bends over with the locked seat back holding him doubled over. Del is white as bone china. Speechless, pumped full of adrenalin. Neal looks at him.</scene_description> <character>NEAL</character> <dialogue>What the hell are you doing?</dialogue> <scene_description>Del looks at him. Executes a quick recovery.</scene_description> <character>DEL</character> <dialogue>You almost had venison in your lap. The biggest fuckin• deer I ever saw. At least a ten point buck. Standing in the middle of the highway looking at me like I was a doe in heat.</dialogue> <scene_description>Neal stares at him.</scene_description> <character>DEL</character> <dialogue>If I hit it, we'd be cheese. Go back to sleep. We're making good• time.</dialogue> <character>NEAL</character> <dialogue>I'm stuck.</dialogue> <character>DEL</character> <dialogue>Try the button.</dialogue> <scene_description>Neal tries it. It just whines.</scene_description> <character>DEL</character> <dialogue>Keep your finger on it.</dialogue> <scene_description>The motor continues to whine. Something catches. The back moves to a normal position but the seat moves forward. Almost to the dash. It stops.</scene_description> <character>DEL</character> <dialogue>You got a choice. Leave well enough alone or risk a worse position.</dialogue> <scene_description>Neal does nothing.</scene_description> <character>DEL</character> <dialogue>Good choice.</dialogue> <scene_description>He starts the engine. Guns it. Huge backfire.</scene_description> <character>DEL</character> <dialogue>That wasn't me.</dialogue> <scene_description>He drops it in gear.</scene_description> <character>DEL</character> <dialogue>Go back to sleep. Everything's under control.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD</stage_direction> <scene_description>The Lincoln lurches ahead and heads down the ramp it came up, heading back onto the highway in the wrong direction.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal slumps down in the seat. Del's wide awake. Alert as a bunny. Neal closes his eyes. C.U. BACKSEAT The two-suiter's smoldering. The cigarette's burned a hole in the bag and fallen into the clothes. C.U. NEAL He sniffs. Opens his eyes. Looks at Del.</scene_description> <character>NEAL</character> <dialogue>You took your shoes off.</dialogue> <scene_description>C.U. DEL He looks at Neal.</scene_description> <character>DEL</character> <dialogue>Not so. I'm wearing them.</dialogue> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal sits up.</scene_description> <character>NEAL</character> <dialogue>What smells?</dialogue> <character>DEL</character> <dialogue>Tire rubber probably.</dialogue> <character>NEAL</character> <dialogue>Jeez. What a stink.</dialogue> <scene_description>He settles back in. Del puts his arm up on the window and starts to whistle.</scene_description> </scene> <scene> <stage_direction>INT. CAR - CROSS ANGLE</stage_direction> <scene_description>Across Del to Neal and out the passenger window. We see a car riding alongside the Lincoln. It's across the median strip. It's going the right direction. Del glances across. Sees the car. Smiles. Puts a little more juice into it. The car running\_alongside him blows its horn. Del chuckles. He blows his horn and puts the hammer down a little more. Neal sits up and looks at Del.</scene_description> <character>NEAL</character> <dialogue>What?</dialogue> <character>DEL</character> <dialogue>Some joker wants to race.</dialogue> <scene_description>He motions his head to the other car. It's horn is blaring. Del lays on his horn and slams the accelerator to the floor. Neal looks out the window. HIS POV A sedan is keeping pace across the grass strip dividing the highway. The driver has his window down and is waving his arm furiously.</scene_description> </scene> <scene> <stage_direction>INT. CAR - DEL</stage_direction> <scene_description>He's looking out the passenger window.</scene_description> <character>DEL</character> <dialogue>Is he waving to you? You know him?</dialogue> <scene_description>C.U. NEAL He's watching the car. HIS POV The car running alongside. The driver's screaming. C.U. NEAL He cups his hand to his ear.</scene_description> <character>NEAL</character> <dialogue>He wants something.</dialogue> <scene_description>C. U. DEL He shoots looks out the window.</scene_description> <character>DEL</character> <dialogue>Maybe he's drunk.</dialogue> <scene_description>C.U. NEAL He puts his window down. HIS POV The driver's screaming. C.U. NEAL He screams back. WHAT?!: HIS POV The driver keeps screaming. C.U. NEAL He can't quite make out what the guy's screaming. WRONGWHAT?!: HIS POV The driver continues hollering. C.U. NEAL He sticks his head ~ut the window. WHAT?!: HIS POV The driver shrieks.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal pulls his head back in the window. He looks at Del.</scene_description> <character>NEAL</character> <dialogue>He says we're going the wrong way.</dialogue> <character>DEL</character> <dialogue>He's drunk. How would he know where we're going?</dialogue> <character>NEAL</character> <dialogue>Maybe he is dru ..•</dialogue> <scene_description>Neal snaps his head around. Looks out the window. HIS POV • The screaming driver. POV shifts down to the median strip. The grassy ditch flying past.</scene_description> <character>C.U.</character> <dialogue>It</dialogue> <character>NEAL</character> <dialogue>hits</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - FURTHER AHEAD</stage_direction> <scene_description>A pair of ten-wheelers racing up a hill.</scene_description> <character>INT.</character> <dialogue>Neal screams.</dialogue> <character>CAR</character> <dialogue>Del</dialogue> <scene_description>· front.</scene_description> <character>THEIR POV</character> <dialogue>Four huge, bright sets of headlights breaking the crest of the hill.</dialogue> <character>C.U.</character> <dialogue>Slams</dialogue> <character>DEL</character> <dialogue>his</dialogue> <character>C.U.</character> <dialogue>Eyes</dialogue> <character>NEAL</character> <dialogue>frozen</dialogue> <character>C.U.</character> <dialogue>On the</dialogue> <character>DEL'S</character> <dialogue>brake</dialogue> <character>EXT. HIGHWAY</character> <dialogue>The trucks swerve apart to avoid the Lincoln. They're gone in a flash. The force of the sudden stop sends the steamer trunk hurtling forward. It rips the trunk lid off the car.</dialogue> <scene_description>The steamer trunk and trunk lid sail over the car and skid down the hill.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>The steering wheel's bent over. Del's hands are gripping it. Neal's hands are embedded in the padded dash.</scene_description> <character>DEL</character> <dialogue>I think it's time for you to drive, Neal.</dialogue> <scene_description>Neal looks at him.</scene_description> <character>DEL</character> <dialogue>I'm getting a little tired. And now my back really hurts.</dialogue> <scene_description>Neal looks at his watch.</scene_description> <character>NEAL</character> <dialogue>If it wasn't Thanksgiving, I'd kill you.</dialogue> <character>DEL</character> <dialogue>You don't mean that do you?</dialogue> <character>NEAL</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln pulls slowly around to the side of the road and comes to a stop pointing in the correct direction. The doors open and Neal and Del get out. They walk around to the back and look at the gaping hole in the back of the Lincoln.</scene_description> <character>DEL</character> <dialogue>We could make a jacuzzi out of it.</dialogue> <scene_description>Neal looks at him. He isn't interested in jokes.</scene_description> <character>DEL</character> <dialogue>I'll get my trunk.</dialogue> <scene_description>He heads down the road. He grabs his back, groans.</scene_description> <character>DEL</character> <dialogue>Oh, Jesus. My back!</dialogue> <scene_description>He rubs the small of his back and continues. C.U. NEAL He sighs. He can't let Del drag the trunk back by himself.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Neal follows after Del. As he heads down the highway. we see flames erupt in the backseat of the Lincoln.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Del hobbles toward the trunk. Neal's behind him. In the background we see the interior of the car engulfed in flame. Del stops at the trunk. He grabs one end and drags it to the shoulder. Neal picks up the trunk lid. He carries it to the shoulder and drops it on top of the trunk. He grabs an end. Del grabs the other. They lift and turn to face the Lincoln. They stop, drop the trunk. THEIR POV The ragtop of the Lincoln is on fire. C.U. DEL He can't figure why the car's burning. C.U. NEAL Complete mystification. NEAL AND DEL They watch the car turn.</scene_description> <character>NEAL</character> <dialogue>Why is the car on fire?</dialogue> <scene_description>Del shakes his head.</scene_description> <character>DEL</character> <dialogue>I don't know.</dialogue> <character>NEAL</character> <dialogue>My suitcase is in the backseat.</dialogue> <character>DEL</character> <dialogue>So is your briefcase.</dialogue> <character>NEAL</character> <dialogue>And my wallet.</dialogue> <scene_description>Del looks at Neal.</scene_description> <character>DEL</character> <dialogue>And your coat.</dialogue> <character>NEAL</character> <dialogue>I'll bet my left nut you did that with one of your cigarettes.</dialogue> <character>DEL</character> <dialogue>I don't think so. I only had one. I made sure I tossed it out.</dialogue> <character>NEAL</character> <dialogue>What I smelled before was the backseat. Burning plastic. I'll bet you threw the cigarette out and it came back in.</dialogue> <character>DEL</character> <dialogue>I'm pretty careful. I doubt it. What difference does it make?</dialogue> <character>NEAL</character> <dialogue>Good luck turning the car in. They'll be happy as pigs in shit to see you.</dialogue> <scene_description>Del doesn't say anything. He looks at Neal out the corner of his eye. Something occurs to Neal. He looks at Del.</scene_description> <character>DEL</character> <dialogue>NEAL</dialogue> <scene_description>How could you rent a car without a credit card? Del doesn't know what to say.</scene_description> <character>NEAL</character> <dialogue>You couldn't. How'd you get the car?</dialogue> <character>DEL</character> <dialogue>I gave the girl with the cute cheeks a set of shower curtain rings.</dialogue> <character>NEAL</character> <dialogue>You don't rent a Lincoln on shower curtain rings, Del.</dialogue> <scene_description>Del knows he's caught.</scene_description> <character>DEL</character> <dialogue>What do you want me to say?</dialogue> <character>NEAL</character> <dialogue>Which card did you put it on?</dialogue> <character>DEL</character> <dialogue>Mastercharge.</dialogue> <character>NEAL</character> <dialogue>You stole my Kastercharge?</dialogue> <character>DEL</character> <dialogue>No.</dialogue> <character>NEAL</character> <dialogue>Then how'd you get it?</dialogue> <character>DEL</character> <dialogue>I borrowed it.</dialogue> <character>NEAL</character> <dialogue>You stole it!</dialogue> <character>DEL</character> <dialogue>I was going to send it back to you, but you wouldn't give me your address. I'm sorry. I was stuck.</dialogue> <scene_description>·you ditched me. I had no money. No cards.</scene_description> <character>NEAL</character> <dialogue>Give it back.</dialogue> <character>DEL</character> <dialogue>I can't.</dialogue> <character>NEAL</character> <dialogue>Why\_not?</dialogue> <character>DEL</character> <dialogue>It's in the car.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The interior and the roof of the car is burning bright.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL</stage_direction> <scene_description>A chain motel. Big, bright sign. The charred Lincoln pulls up in front. All that remains of the roof is a twisted black frame. Neal's driving. He's wearing a big, ugly wool overcoat and stocking cap. Del's wearing his overcoat and a couple sweaters and a baseball cap.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>The interior is completely charred. They're sitting on bare, burned springs.</scene_description> <character>DEL</character> <dialogue>Are you still mad at me?</dialogue> <scene_description>Neal doesn't say a word.</scene_description> <character>DEL</character> <dialogue>You know, you could have killed me slugging me in the stomach when I wasn't ready.</dialogue> <character>NEAL</character> <dialogue>I'm sorry I failed.</dialogue> <scene_description>Neal opens the door and gets out.</scene_description> <character>DEL</character> <dialogue>With all this fresh air, we're going to sleep like babies.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL</stage_direction> <scene_description>Neal walks into the motel. He looks like a patron of an Anchorage resale shop. Del follows him in. Neal marches up to the counter.</scene_description> <character>NEAL</character> <dialogue>I need one room.</dialogue> <character>DEL</character> <dialogue>If you're still pissed, maybe we should get separate rooms.</dialogue> <character>NEAL</character> <dialogue>Get your own room.</dialogue> <scene_description>The DESK CLERK slides a registration form across the counter. Neal takes the pen and begins filling it in.</scene_description> <character>CLERK</character> <dialogue>I need a major credit card.</dialogue> <scene_description>Neal reaches into his pocket and hands the clerk a charred, melted hunk of plastic.</scene_description> <character>NEAL</character> <dialogue>You take American Express?</dialogue> <scene_description>He reaches into his other pocket and comes up with another melted wad.</scene_description> <character>NEAL</character> <dialogue>Mastercharge?</dialogue> <scene_description>The clerk stares at the plastic. Neal finishes the form.</scene_description> <character>CLERK</character> <dialogue>These aren't credit cards.</dialogue> <character>NEAL</character> <dialogue>They were. We had a small fire in the car and they melted. I'm sorry. I'll pay cash.</dialogue> <character>CLERK</character> <dialogue>We need a major credit card.</dialogue> <character>NEAL</character> <dialogue>I don't have one. I'm tired. I'm angry and I'm begging your mercy on this Thanksgiving Day.</dialogue> <scene_description>The Clerk considers the request.</scene_description> <character>CLERK</character> <dialogue>Well .••</dialogue> <character>NEAL</character> <dialogue>Be a sport. It's free.</dialogue> <character>CLERK</character> <dialogue>You can't use room service.</dialogue> <character>NEAL</character> <dialogue>I need a toilet, a sink and a bed. I'm.not hungry.</dialogue> <character>CLERK</character> <dialogue>$42.50.</dialogue> <scene_description>Neal reaches into his pocket. Counts out his money.</scene_description> <character>NEAL</character> <dialogue>How about $17?</dialogue> <character>CLERK</character> <dialogue>I can't do that.</dialogue> <character>NEAL</character> <dialogue>How about $17 and a promise that I'll send you a check?</dialogue> <character>CLERK</character> <dialogue>I don't own the place,</dialogue> <character>NEAL</character> <dialogue>How about $17 and a hell of a nice watch?</dialogue> <scene_description>He takes his watch off. The Clerk looks at it.</scene_description> <character>CLERK</character> <dialogue>You can't use the phone either.</dialogue> <character>NEAL</character> <dialogue>How about a couple feet of toilet tissue?</dialogue> <character>CLERK</character> <dialogue>Sure,</dialogue> <character>NEAL</character> <dialogue>Key?</dialogue> <scene_description>The Clerk turns from the desk and selects a room key. He gives it to Neal.</scene_description> <character>NEAL</character> <dialogue>Thanks. Enjoy the watch. It probably cost more than you.</dialogue> <character>DEL</character> <dialogue>Neal? Do you remember where you got that money?</dialogue> <character>NEAL</character> <dialogue>Yep.</dialogue> <character>DEL</character> <dialogue>I gave it to you in St. Joe.</dialogue> <character>NEAL</character> <dialogue>Yep. And where did you get it?</dialogue> <character>DEL</character> <dialogue>What's that have to do with anything?</dialogue> <character>NEAL</character> <dialogue>Where'd you get it?</dialogue> <character>DEL</character> <parenthetical>(ashamed)</parenthetical> <dialogue>I sold your Visa card to a kid at the bus station.</dialogue> <character>NEAL</character> <dialogue>We're even.</dialogue> <scene_description>He exits the lobby. Del watches him go. The Clerk turns to Del.</scene_description> <character>CLERK</character> <dialogue>You need a room?</dialogue> <character>DEL</character> <dialogue>Yeah.</dialogue> <character>CLERK</character> <dialogue>Your credit cards burned up?</dialogue> <character>DEL</character> <dialogue>I don't carry credit cards.</dialogue> <character>CLERK</character> <dialogue>$42 and no room service or phone calls.</dialogue> <character>DEL</character> <dialogue>I don't have $42.</dialogue> <character>CLERK</character> <dialogue>You got $17 and a good watch?</dialogue> <character>DEL</character> <dialogue>I got two bucks and a Casio.</dialogue> <character>CLERK</character> <dialogue>Sorry.</dialogue> <scene_description>He turns from the counter. He puts Neal's watch to his ear and sits down. Del looks out the door.</scene_description> </scene> <scene> <stage_direction>INT. MOTELROOM</stage_direction> <scene_description>Neal's in bed. He exhales loudly. Fluffs his pillow. Sighs. Shifts positions. Fluffs his pillow again. Exhales again. Lays still for a moment. Then he sits up. Another sigh. He gets out of bed and walks to the window. He pulls the curtain aside and looks out. HIS POV Del's sitting in the burned out Lincoln. snowflakes drift down across the parking lot. C.U. NEAL A moment of compassion. Then a moment of reason.</scene_description> <character>NEAL</character> <dialogue>What did I do to get that oaf all over me?</dialogue> <scene_description>HIS POV Del hunkers down in the seat and tries to get comfortable.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Neal lets the curtain close. He walks back to the bed and get sin.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - DEL</stage_direction> <scene_description>He's sitting in the car looking at the motel room. His eyes shift up to the heavy skies.</scene_description> <character>DEL</character> <dialogue>Marie, honey? You were right as rain. I'm the biggest pain in the butt that ever came down the pike. I meet a guy who's company I really enjoy. And go overboard. Smother the poor soul. Cause him more problems than he has a right to. I'm starting to wonder if I'm ever going to wake up arid face the music.</dialogue> <scene_description>He breathes a deep, soulful sigh. The motel door opens. Del shifts his look to the motel. Neal•s in the doorway.</scene_description> <character>NEAL</character> <dialogue>You're gonna freeze to death out there.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL ROOM - LATER</stage_direction> <scene_description>Del and Neal are in the bed.</scene_description> <character>DEL</character> <dialogue>You know how few people give a shit about curtain rings?</dialogue> <character>NEAL</character> <dialogue>Who cares about lipstick ads?</dialogue> <character>DEL</character> <dialogue>At least you deal with pretty girls. You know what shower rings are?</dialogue> <character>NEAL</character> <dialogue>You know what lipstick is?</dialogue> <character>DEL</character> <dialogue>When I'm dead and buried all I'll count for is a quarter million shower curtains that haven't fallen down. That's some legacy, huh?</dialogue> <scene_description>NEAL My life's work will fade and be thrown away. Yours'll last longer than mine.</scene_description> <character>DEL</character> <dialogue>What do you pull down a year?</dialogue> <character>NEAL</character> <dialogue>I do okay?</dialogue> <character>DEL</character> <dialogue>You know what I claimed as income last year?</dialogue> <character>NEAL</character> <dialogue>That means shit. And second string player in the NFL makes more in a week than Van Gogh made in his lifetime.</dialogue> <scene_description>DEL Van Gogh Textiles up in Buffalo?</scene_description> <character>NEAL</character> <dialogue>The painter.</dialogue> <character>DEL</character> <dialogue>Oh.</dialogue> <character>NEAL</character> <dialogue>Money's no measurement of worth. True worth. Worth to the human race.</dialogue> <character>DEL</character> <dialogue>I bang all around this country doing less and less each year. I talk a blue streak but when it comes right down to it, I'm running on fumes. That briefcase I said I got as a sales award? That was fifteen years ago.</dialogue> <character>NEAL</character> <dialogue>So?</dialogue> <character>DEL</character> <dialogue>I've lost half my accounts to a computer catalogue. Every year half a dozen customers retire and the business goes with them. You ever read "Death of a Salesman?"</dialogue> <character>NEAL</character> <dialogue>Sure.</dialogue> <character>DEL</character> <dialogue>Boy, do I know where Wily Loman was coming from. Sometimes I find myself practically quoting him.</dialogue> <character>NEAL</character> <dialogue>He was an older guy. You're young.</dialogue> <character>DEL</character> <dialogue>So what? Youth means diddly squat if you don't have anything to look to but growing old.</dialogue> <character>NEAL</character> <dialogue>At the very lest, at the absolute minimum, you have a woman you love to grow old with.</dialogue> <scene_description>Del doesn't reply.</scene_description> <character>NEAL</character> <dialogue>You love her, don't you? Your wife?</dialogue> <character>DEL</character> <dialogue>Love isn't a big enough word, buddy.</dialogue> <character>NEAL</character> <dialogue>So, there you go. Start with that. You know how guys in this world have money and nobody to spend it on?</dialogue> <scene_description>Del's silent again.</scene_description> <character>NEAL</character> <dialogue>Hey, I'm sorry I popped you in the gut.</dialogue> <character>DEL</character> <dialogue>I deserved it.</dialogue> <character>NEAL</character> <dialogue>No, you didn't.</dialogue> <character>DEL</character> <dialogue>Sure I did. If I didn't have one foot in my mouth and the other in a bucket of shit, I wouldn't recognize myself.</dialogue> <character>NEAL</character> <dialogue>Well, let me just close the conversation by saying you're one unique individual.</dialogue> <character>DEL</character> <dialogue>Unique? That's Latin for asshole.</dialogue> <character>NEAL</character> <dialogue>As much trouble as I've had on this little journey, I'm sure someday, I'll look back and have a good laugh.</dialogue> <character>DEL</character> <dialogue>Yeah. Maybe.</dialogue> <character>NEAL</character> <dialogue>Goodnight. And keep your hands to yourself.</dialogue> <character>DEL</character> <dialogue>If I hold anything, it'll be my own.</dialogue> <scene_description>Neal rolls over.</scene_description> <character>NEAL</character> <dialogue>You gonna have your smoke?</dialogue> <character>DEL</character> <dialogue>No.</dialogue> <character>NEAL</character> <dialogue>Quitting?</dialogue> <character>DEL</character> <dialogue>They burned up in the car.</dialogue> <character>NEAL</character> <dialogue>Consider quitting, willya?</dialogue> <character>DEL</character> <dialogue>My wife used to say that.</dialogue> <character>NEAL</character> <dialogue>When did she finally stop?</dialogue> <character>DEL</character> <parenthetical>(remorseful)</parenthetical> <dialogue>Fifteen years ago March.</dialogue> <character>NEAL</character> <dialogue>Good advice. Take it. Night.</dialogue> <scene_description>A long pause.</scene_description> <character>DEL</character> <parenthetical>(soft and sad)</parenthetical> <dialogue>Sleep tight.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL - MORNING</stage_direction> <scene_description>The snow storm's blown in and left it's white wrath. The Lincoln's filled to the brim with fresh snow.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM</stage_direction> <scene_description>Neal's laying on the bed in his underwear, curled into a ball, without a pillow or a stitch of covering. Del has both · pillows and all the blankets and sheets. Neal wakes with a shiver. He sits up and looks at Del.</scene_description> <character>NEAL</character> <dialogue>Del? Get up. Let's roll.</dialogue> <scene_description>Neal shivers across to the bathroom and goes inside. Del stirs and emerges from the sound of blankets. He's wearing his coat, hat and gloves.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - LATER</stage_direction> <scene_description>Neal and Del are in the car. They've scooped the snow out of the front seat. The back's still piled high. Neal has the car in reverse and is gunning the engine. The car's stuck. Wheels spinning. Nothing happening. Neal lets off the gas.</scene_description> <character>DEL</character> <dialogue>We're stuck tighter than two dogs on their wedding night.</dialogue> <character>NEAL</character> <dialogue>You want to get out and push?</dialogue> <character>DEL</character> <dialogue>Sure.</dialogue> <scene_description>Neal puts the car in park.</scene_description> <character>NEAL</character> <dialogue>Forget it. You'll screw up your back.</dialogue> <scene_description>He gets out of the car.</scene_description> <character>DEL</character> <dialogue>My back's fine. I just didn't feel like driving last night.</dialogue> <character>NEAL</character> <dialogue>I'll push anyway.</dialogue> <scene_description>Del slides over the springs to the driver's side. Neal goes around to the front. Del puts the Lincoln in reverse and hits the gas. Neal pushes with all his soul. Nothing. Del lets off the gas.</scene_description> <character>DEL</character> <dialogue>We better rock it. Get along side.</dialogue> <scene_description>Neal repositions himself on the passenger side. He grips the door handle and ~he outside mirror. Del drops the car in forward and guns it. Neal pulls on the car. Del shifts quickly to reverse and guns it, Neal pushes. They continue rocking the car back and forth.</scene_description> <character>DEL</character> <dialogue>She's starting to grip! A little more. Put your balls into it!</dialogue> <character>NEAL</character> <dialogue>I am!</dialogue> <character>DEL</character> <dialogue>Squeeze your ass and think of Nazis. We're moving this hunk of shit!</dialogue> <scene_description>Del throws the car in reverse, it rocks high up on the ice groove.</scene_description> <character>DEL</character> <dialogue>One more and we're home free!</dialogue> <scene_description>He throws the car in forward and guns it. Rocks a little more, catches, leaps forward and plows into the motel.</scene_description> <character>DEL</character> <dialogue>Oh, Christ! Wouldn't you know it? Hop in!</dialogue> <scene_description>Neal jumps in the car, Del throws it in reverse and plows backwards, up and over the snowbank and into the lot. He dumps it in forward and they're off, leaving a hole in the motel. But no room service charges. Or phone calls.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The charred hulk roars down the highway.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del's driving. Neal's shotgun. They're freezing their asses off. The heater's pumping full blast. They're shouting to each other over the roar of the wind.</scene_description> <character>DEL</character> <dialogue>You ever been to Hawaii?</dialogue> <character>NEAL</character> <dialogue>Once.</dialogue> <character>DEL</character> <dialogue>Nice?</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <character>DEL</character> <dialogue>Marie and I were going there for our honeymoon. We were all set but I got the call from American Light and Fixture. For my job. I not only blame them for all my career misery, I blame them for depriving me and Marie of a honeymoon.</dialogue> <character>NEAL</character> <dialogue>You can always go. It's still there.</dialogue> <character>DEL</character> <dialogue>Yeah but it costs more. How you doing for time?</dialogue> <character>NEAL</character> <dialogue>I don't know. I gave up my watch.</dialogue> <character>DEL</character> <dialogue>I feel bad about that. Why don't you take mine.</dialogue> <character>NEAL</character> <dialogue>It's okay.</dialogue> <character>DEL</character> <dialogue>No, really, take it. I'd feel much better.</dialogue> <character>NEAL</character> <dialogue>I don't want your watch.</dialogue> <character>DEL</character> <dialogue>Not good enough for you?</dialogue> <character>NEAL</character> <dialogue>No. Not at all. I just don't feel right taking your watch.</dialogue> <scene_description>Del lifts his knees again to steer as he takes his hands off the wheel to undo his watch.</scene_description> <character>DEL</character> <dialogue>Take it or I'll throw it out on the highway.</dialogue> <character>NEAL</character> <dialogue>Just watch the road.</dialogue> <character>DEL</character> <dialogue>You're taking the goddamn watch if I have to shove it down your throat.</dialogue> <scene_description>He's having trouble getting it off. He glances down. Then at the road.</scene_description> <character>NEAL</character> <dialogue>Watch the road.</dialogue> <character>DEL</character> <dialogue>No problem. After last •••</dialogue> <parenthetical>(looks at the watch)</parenthetical> <dialogue>••• night, I'm all eyes and ears.</dialogue> <parenthetical>(looks up)</parenthetical> <dialogue>Give me a hand with this damn thing.</dialogue> <character>NEAL</character> <dialogue>I don't want the watch.</dialogue> <character>DEL</character> <dialogue>You're making me feel like crap. You're taking the watch. Here ...</dialogue> <scene_description>He holds out his wrist. Neal takes off a glove and starts to work on the watch.</scene_description> <character>DEL</character> <dialogue>There's a funny little clasp thing underneath. It's a bitch to get off.</dialogue> <character>NEAL</character> <dialogue>My fingers are so numb ••.</dialogue> <character>DEL</character> <dialogue>Here, right here.</dialogue> <scene_description>He takes his other hand off the wheel and points to the clasp.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY- FURTHERAHEAD</stage_direction> <scene_description>A state police car is parked alongside the road with his radar gun, clocking motorists. The Lincoln hurtles past. C.U. COP He stares at the semi-destroyed vehicle with the top down, doing ninety two two guys hunched over in the seats. He bits his siren.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Neal drops Del's wrist and turns around.</scene_description> <character>NEAL</character> <dialogue>Shit! How fast are you going?</dialogue> <scene_description>Del looks at the speedometer. HIS POV The entire dash is melted.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Del's hunched-over looking at the speedometer.</scene_description> <character>DEL</character> <dialogue>It's hard to say, the speedometer's melted.</dialogue> <character>NEAL</character> <dialogue>You better pull over.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln rolls to a stop. The cop car pulls up behind it. The cop gets out and saunters up to the Lincoln. He looks it over carefully.</scene_description> <character>COP</character> <dialogue>Morning.</dialogue> <character>DEL</character> <dialogue>Howdy, officer.</dialogue> <character>NEAL</character> <dialogue>Hi.</dialogue> <character>COP</character> <dialogue>What're you driving here?</dialogue> <character>DEL</character> <dialogue>Lincoln Towncar. '86.</dialogue> <scene_description>The cop looks in the charred backseat.</scene_description> <character>DEL</character> <dialogue>We had a small fire last night.</dialogue> <scene_description>The cop nods.</scene_description> <character>COP</character> <dialogue>You know how fast you were going?</dialogue> <character>DEL</character> <dialogue>Like I was just telling my friend, the speedometer melted. It's a little hard to say with any degree of accuracy.</dialogue> <character>COP</character> <dialogue>.How about 98 miles an hour?</dialogue> <character>DEL</character> <dialogue>Sounds fair. Like I said, it's hard to tell. Although, come to think of it, it sure was windy.</dialogue> <character>COP</character> <dialogue>You consider this vehicle fit for the highway?</dialogue> <character>DEL</character> <dialogue>It doesn't look very pretty but it moves.</dialogue> <character>COP</character> <dialogue>No inside mirror, no functioning gauges.</dialogue> <character>DEL</character> <dialogue>The radio works.</dialogue> <character>COP</character> <dialogue>What're you fellas up to here?</dialogue> <character>NEAL</character> <dialogue>We're just trying to get home for the holidays.</dialogue> <scene_description>The cop reaches into his back pocket pulls out his ticket book.</scene_description> <character>COP</character> <dialogue>Let me see your license.</dialogue> <scene_description>Del reaches inside his coat for his wallet.</scene_description> <character>COP</character> <dialogue>I can't let you fellas go on ahead in this vehicle.</dialogue> <character>NEAL</character> <dialogue>You can't what?</dialogue> <character>COP</character> <dialogue>This vehicle's not fit for the road.</dialogue> <scene_description>Del hands over his license.</scene_description> <character>COP</character> <dialogue>You'll follow me to the station and the vehicle will be impounded until such time as it is made fit for travel on Wisconsin state roads.</dialogue> <character>DEL</character> <dialogue>Do you realize it's Thanksgiving?</dialogue> <character>COP</character> <dialogue>I got a turkey sandwich in the car, fella. I'm well aware. You boys didn't have a little eye-opener this morning, did you?</dialogue> <scene_description>Neal's thinking.</scene_description> <character>DEL</character> <dialogue>Us? No. Me? I don't drink.</dialogue> <character>COP</character> <dialogue>You in the drug business?</dialogue> <character>DEL</character> <dialogue>Shower curtain rings. Drugs?</dialogue> <character>NEAL</character> <dialogue>Excuse me. Did I hear you correctly?</dialogue> <character>COP</character> <dialogue>When I see a vehicle of this sort with a couple sguirrely-looking guys like you in it, I wouldn't be serving my citizenry if I didn't ask a few questions.</dialogue> <character>NEAL</character> <dialogue>No. Before. You saJd "Wisconsin state highways?"</dialogue> <character>COP</character> <dialogue>That's what I said.</dialogue> <character>NEAL</character> <dialogue>Why?</dialogue> <character>COP</character> <dialogue>Because you're on a Wisconsin state highway.</dialogue> <scene_description>Neal looks at Del. He's puzzled.</scene_description> <character>NEAL</character> <dialogue>We overshot Chicago.</dialogue> <character>DEL</character> <dialogue>We did?</dialogue> <character>COP</character> <parenthetical>(suspiciously)</parenthetical> <dialogue>You fellas don't know where you are?</dialogue> <character>NEAL</character> <dialogue>Not exactly. Can you help us out?</dialogue> <character>COP</character> <dialogue>You're about six miles outside of Oconomowoc.</dialogue> </scene> <scene> <stage_direction>EXT. SMALL TOWN - COURTHOUSE</stage_direction> <scene_description>Del and Neal come out the front doors. Neal's limping a little.</scene_description> <character>DEL</character> <dialogue>How do you feel?</dialogue> <character>NEAL</character> <dialogue>Oh, just great.</dialogue> <character>DEL</character> <dialogue>I've never been strip-searched. Look on the bright side. You were clean. That's probably why they didn't bother checking me. Chalk it up to experience.</dialogue> <character>NEAL</character> <dialogue>Why don't you shut-up, Del?</dialogue> <character>DEL</character> <dialogue>I'm sorry, pal. I really am. I don't know how in the hell we got so lost. I was watching those signs religiously.</dialogue> <character>NEAL</character> <dialogue>I knew I should have driven.</dialogue> <character>DEL</character> <dialogue>From now on, I won't touch a car.</dialogue> <character>NEAL</character> <dialogue>we don't have a car.</dialogue> <character>DEL</character> <dialogue>True. I don't think there's much point in trying to fix it, either. It's pretty well shot. You have insurance, right?</dialogue> <scene_description>They reach the curb where Del's trunk and suitcases are piled.</scene_description> <character>NEAL</character> <dialogue>That's the rental car company's problem.</dialogue> <character>DEL</character> <dialogue>Yeah.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Maybe. Maybe not.</dialogue> <character>NEAL</character> <dialogue>What do you mean?</dialogue> <character>DEL</character> <dialogue>Since I was using your card and I felt guilty about it, I tried to save you a few bucks.</dialogue> <character>NEAL</character> <dialogue>Don't say it, Del. For your health and safety, don't say it.</dialogue> <character>DEL</character> <dialogue>I waived the insurance.</dialogue> </scene> <scene> <stage_direction>INT. COFFEE SHOP</stage_direction> <scene_description>Del's holding an ice cube wrapped in a napkin to his eye. Neal shuffles over to the booth and sits down.</scene_description> <character>DEL</character> <dialogue>You know this is twice in less than twenty-four hours that you've slugged me.</dialogue> <character>NEAL</character> <dialogue>I just called my wife and you'll be happy to know she's pissed off and hung up on me.</dialogue> <character>DEL</character> <dialogue>Oh, no.</dialogue> <scene_description>Del lowers the ice cube to reveal a little shiner.</scene_description> <character>NEAL</character> <dialogue>She didn't believe a word I said.</dialogue> <character>DEL</character> <dialogue>I'll be happy to confirm anything you'd like with her.</dialogue> <character>NEAL</character> <dialogue>Dinner hits the table right after the football game.</dialogue> <scene_description>He looks at a wall clock.</scene_description> <character>NEAL</character> <dialogue>Right now, it's eleven fifteen.</dialogue> <character>DEL</character> <dialogue>Let's pray for double overtime.</dialogue> <character>NEAL</character> <dialogue>I have a house full of family, a wife that's ready to kill me ••.</dialogue> <character>DEL</character> <dialogue>Neal, I'm going to step up to this challenge.</dialogue> <character>NEAL</character> <dialogue>Please don't.</dialogue> <character>DEL</character> <dialogue>No, I am. I'll have you home before the yams hit the table.</dialogue> <scene_description>He gets up from the booth.</scene_description> <character>NEAL</character> <dialogue>Del, I'm begging you to sit down and leave the situation alone.</dialogue> <character>DEL</character> <dialogue>What can happen? You get home. Or you don't. Isn't it worth one last shot?</dialogue> <character>NEAL</character> <dialogue>No. Things are bad enough. Leave it alone.</dialogue> <character>DEL</character> <dialogue>Neal, you've hit rock bottom. It doesn't get much lower than having a state trooper shine a flashlight up your can.</dialogue> <scene_description>He hurries out of the coffee shop. The handful of patrons in the coffee shop turn and look at Neal. They've all overheard Del's remark. Neal smiles meekly.</scene_description> <character>PATRON</character> <dialogue>So, you met Sergeant Kudner, did you?</dialogue> <scene_description>The patrons burst into laughter. Neal shrinks in his seat.</scene_description> <character>PATRON</character> <dialogue>He's bent as a willow branch in a hurricane. Happy Thanksgiving to you, stranger.</dialogue> <scene_description>The cafe is rocking with howls of laughter.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>Neal's standing on the corner, leaning against a mailbox, enjoying his misery. He hears the GASP OF AIR BRAKES. He looks down the street. HIS POV A semi rolls to a stop and Del climbs down from the passenger side.</scene_description> <character>DEL</character> <dialogue>Our ship has come in!</dialogue> <scene_description>C.U. NEAL A wary look. C.U. DEL He waves Neal on.</scene_description> <character>DEL</character> <dialogue>It's free and it's a non-stop!</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The semi rolls across the Wisconsin ~ountryside.</scene_description> </scene> <scene> <stage_direction>INT. TRAILER</stage_direction> <scene_description>Del and Neal are in the trailer surrounded by wooden crates.</scene_description> <character>DEL .</character> <dialogue>Beats walking, huh? We'll be in Chicago in three hours.</dialogue> <parenthetical>(smacks one of the crates)</parenthetical> <dialogue>Cheese.</dialogue> <character>NEAL</character> <dialogue>Yeah.</dialogue> <character>DEL</character> <dialogue>Smells, doesn't it?</dialogue> <scene_description>Neal nods.</scene_description> <character>DEL</character> <dialogue>I guess you wouldn't mind if I slipped off my shoes now, huh?</dialogue> <scene_description>Neal shakes his head, no.</scene_description> <character>DEL</character> <dialogue>Too bad it's so cold.</dialogue> <scene_description>A long pause. Neal's not in the mood for a conversation.</scene_description> <character>DEL</character> <dialogue>Too bad we don't have a box of crackers.</dialogue> <scene_description>Neal stares at Del. He smiles.</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO</stage_direction> <scene_description>The truck barrels down the expressway, heading into the city.</scene_description> </scene> <scene> <stage_direction>EXT. DEPOT</stage_direction> <scene_description>The semi backs into a loading dock.</scene_description> </scene> <scene> <stage_direction>EXT. TRUCK- BACK DOORS</stage_direction> <scene_description>A hand hits the lock and swings the doors open. Del and Neal are sitting on Del's trunk.</scene_description> <character>DEL</character> <dialogue>We're here!</dialogue> </scene> <scene> <stage_direction>EXT. LOADINGDOCK</stage_direction> <character>DRIVER</character> <dialogue>I'm gonna get a cup of coffee, you jokers start unloading.</dialogue> <scene_description>He heads down the dock.</scene_description> </scene> <scene> <stage_direction>INT. TRUCK</stage_direction> <scene_description>Neal looks around slowly at Del. Del smiles.</scene_description> <character>DEL</character> <dialogue>Nothing•s free in this world. You're in the advertising business, you oughta know that. Right?</dialogue> <scene_description>C.U. TV SCREEN A black and white picture of a football game. Third quarter stats.</scene_description> <character>INT.</character> <dialogue>The driver game.</dialogue> <character>WAREHOUSEOFFICE</character> <dialogue>and the dock worker are in the Del</dialogue> <character>DEL</character> <dialogue>We're outta here.</dialogue> <character>DRIVER</character> <dialogue>Done?</dialogue> <character>DEL</character> <dialogue>Yep.</dialogue> <character>DRIVER</character> <dialogue>Thanks.</dialogue> <character>DEL</character> <dialogue>Thank you.</dialogue> <character>NEAL</character> <dialogue>How much time left in the game?</dialogue> <character>DRIVER</character> <dialogue>Fourth quarter's just starting.</dialogue> <scene_description>Del looks at Neal with a smile.</scene_description> <character>DEL</character> <dialogue>You win. You can make it.</dialogue> <scene_description>Neal actually smiles.</scene_description> <character>EXT. ELEVATED TRAIN PLATFORM</character> <dialogue>Del and Neal lug the steamer trunk up the stairs. They set it down. Del reaches into his pocket and removes the last of the money.</dialogue> <character>DEL</character> <dialogue>I'll pop for the token. Where you headed?</dialogue> <character>NEAL</character> <dialogue>Wilmette.</dialogue> <character>DEL</character> <dialogue>I'll be right back.</dialogue> <scene_description>Del shuffles over to the ticket window. Neal tries to straighten himself up. He brushes off his coat and pats his hair down. L-</scene_description> </scene> <scene> <stage_direction>EXT. PLATFORM</stage_direction> <scene_description>Del and Neal are on the platform waiting for the trains.</scene_description> <character>NEAL</character> <dialogue>I can't say I had a great time but I can say that after all is said and done, you did get me home.</dialogue> <character>DEL</character> <dialogue>Next time we'll try to go for a little more comfort and style.</dialogue> <character>NEAL</character> <dialogue>I hope there isn't a next time.</dialogue> <scene_description>A train pulls into the station.</scene_description> <character>DEL</character> <dialogue>This is· you.</dialogue> <scene_description>Neal offers his hand to Del. Del clasps it with both hands.</scene_description> <character>DEL</character> <dialogue>You're a hell of a good man, Neal. I'm sorry for all the trouble I caused you.</dialogue> <character>NEAL</character> <dialogue>It all came out in the wash. Don't worry about it.</dialogue> <scene_description>The train pulls to a stop. The doors open.</scene_description> <character>NEAL</character> <dialogue>Have a nice holiday.</dialogue> <character>DEL</character> <dialogue>You too. Give my best to everybody you love. Hope someday I can meet 'em.</dialogue> <scene_description>Neal gives Del a bear hug and runs down the cars to an open door and disappears inside. Del waves to him.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN</stage_direction> <scene_description>Neal slides into a seat. He breathes a huge sigh of relief.</scene_description> <character>NEAL</character> <dialogue>What a trip •..</dialogue> <scene_description>He reaches cross the aisle and snares a discarded newspaper off the seat. He opens it. The train jolts ahead.</scene_description> </scene> <scene> <stage_direction>EXT. WILMETTESUBWAYSTATION</stage_direction> <scene_description>A neat little brick building in the sedate suburb. A taxi pulls away from the front.</scene_description> </scene> <scene> <stage_direction>INT. STATION</stage_direction> <scene_description>The train pulls in. The doors open. Neal steps off the train and heads into the station. He's buried in his newspaper, reading as he walks.</scene_description> </scene> <scene> <stage_direction>INT. STATION</stage_direction> <scene_description>Neal pushes open the door and walks into the station. He's stiff reading the paper. He passes the benches and Del Griffith. Del's sitting on the bench. Neal takes a few steps and stops. He lowers the paper, thinks and turns. C.U. DEL He smiles sheepishly. C.U. NEAL He's dumbfounded. C.U. DEL Clears his throat.</scene_description> <character>DEL</character> <dialogue>Hi.</dialogue> <scene_description>C.U. NEAL He's beyond words.</scene_description> </scene> <scene> <stage_direction>INT. STATION</stage_direction> <scene_description>Del looks away. Neal walks over to him.</scene_description> <character>NEAL</character> <dialogue>Del? What are you doing here?</dialogue> <scene_description>Del looks up at him. He doesn't say anything.</scene_description> <character>NEAL</character> <dialogue>You said you were going to Homewood. What're you doing here?</dialogue> <character>DEL</character> <dialogue>I don't live in Homewood.</dialogue> <character>NEAL</character> <dialogue>I'm not getting into this, Del. I don't know what you're up to but I'm going home.</dialogue> <scene_description>Del ·nods. He's serious·and somber. The old enthusiasm and bullshit has evaporated. Neal heads to the doors. He starts to exit. Stops. A long beat and he kicks the door.</scene_description> <character>NEAL</character> <dialogue>God damn it!</dialogue> <scene_description>Del jumps from the sudden noise. Neal turns to him.</scene_description> <character>DEL</character> <dialogue>Go ahead, Neal. I'm sorry. I shouldn't be here.</dialogue> <character>NEAL</character> <dialogue>You're right, Del. I don't know what the deal is with you but you ought to be home. I oughta be home. I don't understand you, I don't understand any of this. I've said goodbye to you ten times in two days.</dialogue> <character>DEL</character> <dialogue>I know. Go on home. I'm fine.</dialogue> <character>NEAL</character> <dialogue>Don't give me that shit, Del. Why don't you go home?</dialogue> <scene_description>Del looks at the floor.</scene_description> <character>NEAL</character> <dialogue>Huh?</dialogue> <scene_description>Del doesn't answer.</scene_description> <character>NEAL</character> <dialogue>What's the matter with you? Why the hell don't you go home!?</dialogue> <scene_description>Del looks up at him.</scene_description> <character>DEL</character> <dialogue>I can't.</dialogue> <character>NEAL</character> <parenthetical>(loud and angry)</parenthetical> <dialogue>What do you mean, you can't? Why not?</dialogue> <scene_description>There's a long pause. C.U. DEL Serious, dying inside. C.U. NEAL Waits for a response. Holds his anger at bay. C.U. DEL Looks away, looks back.</scene_description> <character>DEL</character> <dialogue>I don't have a home.</dialogue> <scene_description>C.U. NEAL The anger fades. To be replaced by confusion. C. U. DEL Looks at Neal. Sorry he's burdened him, sorry for everything he's done. But lost and down and completely out of emotional options.</scene_description> <character>DEL</character> <dialogue>Marie's been dead fifteen years.</dialogue> <scene_description>C.U. NEAL Like a knife through his heart.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN STATION - LATER</stage_direction> <scene_description>Del and Neal are sitting on facing benched. Del's smoking.</scene_description> <character>DEL.</character> <dialogue>She was sick when we got married. Her bones. She just never got better. Once she was gone, I sold the place. I didn't much feel like being there. My life was empty enough as it was. The thought of rambling around the place without Marie there ••• I just closed it up, took a few things and I've been on the road since.</dialogue> <character>NEAL</character> <dialogue>The trunk?</dialogue> <scene_description>Del reaches in his pocket and comes up with a key. He unlocks the trunk and opens it. C.U. TRUNK The remnants of Del's domestic life. A lamp, some sheets, towels, pictures, a couple pans, fragile things wrapped in newspaper.</scene_description> </scene> <scene> <stage_direction>INT. STATION</stage_direction> <scene_description>Neal leans back from the trunk. He closes the lid.</scene_description> <character>DEL</character> <dialogue>I didn't have much family. A brother in Montana, some cousins, Marie's folks died back-to-back the year after we married. They were pretty old. She was a late child. we didn't have kids. we had plans.</dialogue> <scene_description>He smiles sadly.</scene_description> <character>DEL</character> <dialogue>She wanted three kids. Two boys and a girl. She couldn't have any, though. So we didn't a.nd I guess it's just as well. I number about 300 motels as my home. I sort of attach myself to people from time to time. Like with you. Especially around the holidays. I can take it in March, July, October. I don't mind it. But it gets hard about this time of year. I've never had much of a chance to be a family man but it gets really hard. And you know what it is?</dialogue> <scene_description>Neal shakes his head. He's about to cry.</scene_description> <character>DEL</character> <dialogue>I don't get to give any of myself to anybody. It's not the getting I miss, it's the giving. I sat on that plane with you and I thought about you heading home to be with your people. And Tuesday night when you were in the shower and I looked at the picture of your kids, man, I thought you gotta be the luckiest man on Earth to go home and put those little guys on your knee and hug •em and kiss 'em. I'm thirty- nine years old and I never had that and ..• I never will. I'm sorry about all this. I just kinds lost control this time. Every year since Marie's been gone, I've gotten closer and closer to losing it. Usually, I head for a church. I can feel like I'm part of something when I'm in a church. This time •.• I guess I didn't get to the church fast enough. I just couldn't let go.</dialogue> <scene_description>He looks at his watch.</scene_description> <character>DEL</character> <dialogue>I vowed I'd never burden anybody with this. And I broke my vow, held you away from your family. Caused you a hell of a lot of trouble. You better run.</dialogue> <scene_description>Neal stares at the floor, devastated by Del's story.</scene_description> <character>DEL</character> <dialogue>I •.m gonna head back downtown. He stands up. I know the firm you work for. I read your business card. I've kept a sort of tab on what I owe you and I'll get it all back to you. And I just want to say, in fifteen years on the road, I never met a nicer guy than you.</dialogue> <scene_description>He bends over and slaps the lock on the trunk.</scene_description> <character>DEL</character> <dialogue>And that comes straight from my heart. God bless you, buddy. A few more like you and the planet'd be in good shape.</dialogue> <scene_description>He lifts one end of the trunk and picks up his suitcase and sample case.</scene_description> <character>DEL</character> <dialogue>When I give my thanks, it's gonna be for meeting you.</dialogue> <scene_description>He starts to drag the trunk back to the platform. Neal looks up. Looks at Del.</scene_description> <character>NEAL</character> <dialogue>Same here.</dialogue> <scene_description>Del stops. He looks back at Neal. Gives him a wink and continues across the station.</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - HOUSE</stage_direction> <scene_description>It's dark, cars are parked up and down both sides of the street. Lights are burning in a big, old two-story colonial.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - FAMILY ROOM</stage_direction> <scene_description>The football game's just ended. Neal's father-in-law, MARTIN, and his father, HAROLD, are in the family room watching the TV. A two-year-old girl, MARTI, is on, the floor combing her My Little Pony's hair. A five-year-old boy, LITTLE NEAL, is sharing a chair with Martin.</scene_description> <character>MARTIN</character> <dialogue>I'm telling you, the Lion's never fail to disappoint.</dialogue> <character>HAROLD</character> <dialogue>They won, for God's sake.</dialogue> <character>MARTIN</character> <dialogue>It was a squeaker, Hal. If they win it's always a squeaker.</dialogue> <character>LITTLE NEAL</character> <dialogue>What's a squeaker?</dialogue> <character>MARTIN</character> <dialogue>You just watched one.</dialogue> <character>LITTLE NEAL</character> <dialogue>I did? And I didn't know it?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Neal's wife, SUE, is finishing a relish tray. Her mother, JOY, is stirring gravy. And her mother-in-law, PEG, is whipping mashed potatoes with an egg-beater.</scene_description> <character>SUE</character> <dialogue>For all I know, Neal could be splattered all over some highway somewhere.</dialogue> <scene_description>Peg shuts off the beater. It's her son.</scene_description> <character>PEG</character> <dialogue>Are you just trying to upset me?</dialogue> <character>JOY</character> <dialogue>Of course not.</dialogue> <parenthetical>(to Sue)</parenthetical> <dialogue>Last time he called he said what?</dialogue> <character>SUE</character> <dialogue>He said he and this Del Griffith person were in Oconomowoc, Wisconsin •••</dialogue> <character>PEG</character> <dialogue>Martin and I have friends in Oconomowoc, the Kudners. Their boy's a state trooper.</dialogue> <character>SUE</character> <dialogue>I think he's full of crap. He said the rental car burned up. He said he got robbed. He and this Del Griffith.</dialogue> <character>JOY</character> <dialogue>Who's Del Griffith?</dialogue> <character>SUE</character> <dialogue>Some guy he met at the airport in New York.</dialogue> <scene_description>Sue stops her work.</scene_description> <character>PEG</character> <dialogue>The airport was closed, honey. I don't know how you expect him to get in when the airport's closed.</dialogue> <character>SUE</character> <dialogue>He was with Jerry Lane in New York. I called Jean Lane this morning.</dialogue> <character>SUE</character> <dialogue>She said Jerry left New York Tuesday morning. A day later than Neal, and he's home, so don't tell me he couldn't get home!</dialogue> <scene_description>She undoes her apron and throws it down on the table. She storms out of the room.</scene_description> <character>JOY</character> <dialogue>Oh, boy.</dialogue> <character>PEG</character> <dialogue>Neal wouldn't lie to her.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Would he?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - FOYER</stage_direction> <scene_description>Little Neal's crossing the foyer heading for the dining room. Sue stomps in from the living room and heads up the stairs.</scene_description> <character>LITTLE NEAL</character> <dialogue>When are we going to eat?</dialogue> <character>SUE</character> <dialogue>Never!</dialogue> <character>LITTLE NEAL</character> <dialogue>Never? Never again?</dialogue> <scene_description>The grandfathers come into the foyer from the living room. Joy and Peg come in from the dining room. SETH stumbles up to Harold and grabs his pant leg. Marti peeks through the grandpas.</scene_description> <character>MARTIN</character> <dialogue>What's the fuss?</dialogue> <character>JOY</character> <dialogue>Sue's a little upset.</dialogue> <character>HAROLD</character> <dialogue>What's the problem?</dialogue> <character>MARTI</character> <dialogue>Because Daddy's not here.</dialogue> <character>JOY</character> <dialogue>I'll go have a word with her. Why don't you all go sit down.</dialogue> <scene_description>Joy starts for the stairs. The doorbell rings.</scene_description> <character>MARTIN</character> <dialogue>Who the heck's calling at this hour on Thanksgiving?</dialogue> <scene_description>Marti bursts through the grandpas and charges to the door. She grabs the knob with both hands and pulls it open. DADDY!: HER POV Neal and Del Griffith are standing at the door holding the trunk.</scene_description> <character>NEAL</character> <dialogue>Hi, sweetie!</dialogue> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <scene_description>Peg leans up the stairs ·and calls to Sue.</scene_description> <character>SUSAN!</character> <dialogue>INT. Neal Neal</dialogue> <character>NEAL'S HOME!</character> <dialogue>FOYER and Del lug the closes the door.</dialogue> <character>NEAL</character> <dialogue>Did I miss the turkey?</dialogue> <character>LITTLE NEAL</character> <dialogue>We're never eating again.</dialogue> <character>NEAL</character> <dialogue>What?</dialogue> <character>MARTIN</character> <dialogue>What the hell happened to you fellas?</dialogue> <character>NEAL</character> <dialogue>Dad this is Del Griffith.</dialogue> <parenthetical>(to Del)</parenthetical> <dialogue>This is my Dad, Martin Page.</dialogue> <scene_description>Del shakes Martin's hand. Neal introduces everybody to Del. Del shakes hands all around.</scene_description> <character>NEAL</character> <dialogue>My mother, Peg, father-in-law, Harold, mother-in-law, Joy. This little guy's Neal, Jr., this is my little gem, Marti, and •••</dialogue> <scene_description>He picks up Seth.</scene_description> <character>NEAL</character> <dialogue>This is my baby boy, Seth.</dialogue> <scene_description>He kisses Seth.</scene_description> <character>NEAL</character> <parenthetical>(to Seth)</parenthetical> <dialogue>Can you say, hi?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - TOP OF THE STAIRS</stage_direction> <scene_description>Susan's at the top of the stairs, looking down. Her eyes are darkened with mascara moistened by her tears. She sniffles and composes herself.</scene_description> </scene> <scene> <stage_direction>INT. FOYER - NEAL</stage_direction> <scene_description>He looks past Seth to the stairs and sees Susan. He smiles from rim to rim.</scene_description> <character>NEAL</character> <dialogue>Honey? I'd like you to meet a friend of mine.</dialogue> <scene_description>Del looks up the stairs. He pushes his·mussed hair back and smiles humbly. C.U. SUSAN She smiles.</scene_description> <character>SUE</character> <dialogue>Hello, Mr. Griffith.</dialogue> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <scene_description>Neal gives Seth to Del and charges up the stairs. Susan tuns down and they embrace mid-way. Neal kisses her like never before.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - LATER</stage_direction> <scene_description>The family is seated at the table. Del's at the head of the table, a huge tom turkey before him. Neal's at the other end of the table. Kids and grandparents on either side. Susan to Neal's right. Del and Neal have showered, shaved and changed.</scene_description> <character>DEL</character> <dialogue>It's been a long time since I sat behind a turkey like this.</dialogue> <character>SUE</character> <dialogue>It might be a little done.</dialogue> <character>DEL</character> <dialogue>I want to thank you all for letting me be a part of your holiday. You'll never know how much it means to me. I've always had alot of things to be thankful for. But never more than right now.</dialogue> <character>NEAL</character> <dialogue>Same ·here, pal.</dialogue> <character>SUE</character> <dialogue>Marti? Do you want to say something?</dialogue> <scene_description>Marti looks at her for a moment. Susan nods to her, to help her remember what she has to say.</scene_description> <character>MARTI</character> <dialogue>Oh, yeah.</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>Heap high the board with ..• What?</dialogue> <character>SUE</character> <dialogue>Plentious cheer.</dialogue> <character>MARTI</character> <dialogue>With plentious cheer. And gather to the ..• what?</dialogue> <character>SUE</character> <dialogue>Feast.</dialogue> <character>MARTI</character> <dialogue>Feast. And •.•</dialogue> <scene_description>She thinks as hard as she can.</scene_description> <character>DEL</character> <dialogue>Toast the sturdy Pilgrim band ..•</dialogue> <character>MARTI</character> <dialogue>Toast the sturdy Pilgrim band ...</dialogue> <character>MARTI AND DEL</character> <dialogue>••• whose courage never ceased.</dialogue> <scene_description>Everybody joins in.</scene_description> <character>ALL</character> <dialogue>Give praise to that Almighty Gracious One ..•</dialogue> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <scene_description>We hold on the trunk sitting in the middle of the room as the voices spill out from the dining room.</scene_description> <character>ALL</character> <dialogue>... by whom their steps were led, And thank unto the harvest's Lord who sends our daily bread.</dialogue> <character>LITTLE NEAL</character> <dialogue>Amen.</dialogue> <character>DEL</character> <dialogue>Amen.</dialogue> <scene_description>FADE DOWN. END TITLE.</scene_description> <character>THE END</character> </scene> </script>

Neal Page is an advertising executive on a business trip in New York City, eager to return to his family in Chicago two days before Thanksgiving. After a late-running business meeting with an indecisive client named Mr. Bryant, Neal struggles to hail a cab during rush hour. As he bribes a man to let him have a cab he has hailed, someone else takes it. Neal arrives at LaGuardia Airport just as his flight is delayed. While waiting, he meets the person who unwittingly stole his cab, Del Griffith, a talkative shower curtain ring salesman. To his dismay, Neal is assigned a seat next to Del on the crowded flight to O'Hare International Airport. A blizzard in Chicago diverts the plane to Wichita, Kansas, where Neal and Del must stay overnight as Neal tells his wife, Susan, what happened. Neal is unable to book a room, but Del has reserved one, so he reluctantly accepts Del's promise of a room if Neal pays for their taxi ride to the motel. During check-in, however, Del mistakenly takes Neal's credit card and vice versa. Forced to share the last available room and after a series of mishaps involving beer being spilled on the only bed and Del leaving the bathroom a mess, Neal loses his temper over Del's irritating behavior. Del is hurt, but both men calm down and awkwardly share the bed. While they sleep, a burglar steals their cash. The next day, with air travel still prohibitively delayed, Neal buys them both train tickets to Chicago, with seats in separate cars. However, the locomotive breaks down near Jefferson City, Missouri, stranding its passengers in a field. Neal takes pity on Del struggling with his trunk, and they reunite, traveling on a crowded bus to St. Louis, where Del raises cash by selling curtain rings to passersby as earrings. However, Neal accidentally offends Del over lunch with the suggestion of going their own directions, and the men part ways again. At the St. Louis Airport, Neal attempts to rent a car, but it is missing when he gets to the lot. After a long and perilous walk back to the terminal, he vents his anger in a profane tirade at the rental agent to no avail. He attempts to book a taxi to Chicago but impatiently insults the dispatcher, who then punches him in the face. By chance, Del arrives at the scene in his own rental car and takes the dazed Neal with him. As they drive, they argue again, and Del nearly gets them killed overnight when he drives in the wrong direction on a freeway. As they compose themselves by the side of the road, Del's carelessly discarded cigarette sets the car on fire. Neal initially gloats, thinking that Del is liable for the damage, until Del reveals he had found Neal's credit card in his wallet and used it to rent the car, much to his ire. With his credit cards destroyed in the fire, Neal barters his expensive watch for a motel room. Del has nothing of value, so he attempts to sleep in the charred, roofless car. Seeing this, Neal pities Del and invites him inside. They share Del's collection of miniature liquors and laugh about the events of the past two days. The next day, the pair resume their trip in the burnt car, but the Illinois State Police impounds it for being unroadworthy. Del persuades a trucker to take them to Chicago, and they ride in the truck's refrigerated trailer. At a Chicago "L" station, Neal sincerely thanks Del for getting him home, and they part ways with affection. As Neal rides a commuter train to his neighborhood, he recalls some of Del's odd comments and silences during the journey. It occurs to him that Del has not actually been trying to get home himself. Neal returns to the station, where he finds Del still sitting. Del explains to him that he is homeless and a widower, as his wife had died eight years earlier. Neal decides to bring Del home for Thanksgiving dinner, and introduces his family to his new friend. In a post-credits scene, Mr. Bryant is still in the office alongside a half-eaten Thanksgiving dinner, still trying to decide on a poster.

Hustlers_2019

tt5503686

<script> <scene> <character>HUSTLERS</character> <dialogue>Written by</dialogue> <scene_description>Lorene Scafaria Based on the article "The Hustlers at Scores" by Jessica Pressler April 19, 2019 INSPIRED BY A TRUE STORY. IN THE BLACK--</scene_description> <character>JANET JACKSON (V.O.)</character> <dialogue>This is a story about control.</dialogue> <scene_description>Janet Jackson's "Control" begins over...</scene_description> </scene> <scene> <stage_direction>INT. MOVES GENTLEMAN'S CLUB - LOCKER ROOM - NIGHT</stage_direction> <scene_description>Janet continues over the speakers and in the next room. ONE SHOT: CLOSE on DESTINY (20s) sitting in front of the mirror, putting on her make-up.</scene_description> <character>JANET JACKSON (V.O.)</character> <dialogue>My control. Control of what I say. Control of what I do. And this time, I'm gonna do it my way.</dialogue> <scene_description>The locker room is packed with DANCERS (18-49) getting ready for the shift, talking, laughing, socializing, touching, smacking each other's butts to the music.</scene_description> <character>JANET JACKSON (V.O.)</character> <dialogue>I hope you enjoy this as much as I do. Are we ready? I am. Cause it's all about control. And I've got lots of it.</dialogue> <scene_description>Destiny puts on her mascara, as A MAN's VOICE booms in-and- out over the music...</scene_description> <character>DJ (O.S.)</character> <dialogue>We got a bit of entertainment for you folks tonight...</dialogue> <scene_description>Destiny looks past her reflection, at the other girls having fun together. She's not part of any group.</scene_description> <character>DJ (O.S.)</character> <dialogue>I'm gonna introduce you to the dream team...</dialogue> <scene_description>JUSTICE (20s) leans down to Destiny.</scene_description> <character>JUSTICE</character> <dialogue>Hey you got a safety pin?</dialogue> <character>DESTINY</character> <dialogue>No, sorry--</dialogue> <character>JUSTICE</character> <dialogue>Where's Mom? Mom??</dialogue> <scene_description>MOM (60s, house mom) appears out of nowhere with a wide variety of safety pins.</scene_description> <character>MOM</character> <dialogue>Right here hon. What size you need?</dialogue> <scene_description>Mom follows her off. Destiny reaches for a glass of vodka and downs it. Then stands, slings her bejeweled purse over her shoulder. Her clear heels turn.</scene_description> <character>DJ (O.S.)</character> <dialogue>We got a parade of beauties coming at you folks, right now...</dialogue> <dialogue>We follow the back of her head as she joins the rest, like football players leaving the tunnel, making their way DOWN THE HALLWAY. For a moment, they plunge into darkness. Then--</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - CONTINUOUS</stage_direction> <scene_description>Destiny steps into the light. The music is overwhelming. It takes a moment for our eyes to adjust. The room is enormous, two floors, no windows, pink and red neon lights, smoke machines, strobes, mirrors. The girls are transformed.</scene_description> <character>DJ (O.S.)</character> <dialogue>Here at Moves, we're gonna give you the opportunity to have fun with any one of these lovely ladies...</dialogue> <scene_description>Destiny walks across the floor, looking at the shapes of mostly men clustered, scattered throughout the room. We PIVOT off of her and get a look at the DJ (30s) taking a sip of his soda before he's back on the mic.</scene_description> <character>DJ</character> <dialogue>Coupla' ATMs in the building... Accepting all major credit cards... Just see our bartender, we'll get you all signed up there...</dialogue> <scene_description>We pivot back to Destiny as she steps on-stage.</scene_description> <character>DJ (O.S.)</character> <dialogue>C'mon boys where's that energy? Make some noise for the new girl!</dialogue> <scene_description>Destiny does a quick spin to some cheers.</scene_description> <character>DJ (O.S.)</character> <dialogue>New York, we got a lotta beautiful girls.</dialogue> <scene_description>Destiny steps off-stage, the girls disperse.</scene_description> <character>DJ (O.S.)</character> <dialogue>Folks we're gonna get it cranked up here, Justice is gonna join us on the main stage, round number one, kicking off our three song special, here she is... Justice is served!</dialogue> <scene_description>Justice takes the MAIN-STAGE. The crowd cheers. SONG ONE. Justice begins her routine. Destiny starts making the rounds.</scene_description> <character>WALL STREET GUY</character> <dialogue>Hey, Lucy Liu! C'mere, Lucy Liu!</dialogue> <scene_description>A group of YOUNG WALL STREET GUYS calls her over. She walks up to them. They push the SHYEST ONE on her.</scene_description> <character>WALL STREET GUY</character> <dialogue>Dan-ny! Don't be a pussy, Danny!</dialogue> <scene_description>Destiny leads the shyest guy by the hand to the PRIVATE AREA. A YOUNG MANAGER (30s) takes his ID, swipes his credit card -- CLOSE on APPROVED! Destiny leads the shy guy to a booth, sits him down...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - PRIVATE AREA - LATER</stage_direction> <scene_description>Destiny dances for a BEARDED GUY.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - PRIVATE AREA - LATER</stage_direction> <scene_description>An OLD MAN bounces Destiny on his lap while he talks.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - MAIN STAGE - LATER</stage_direction> <scene_description>Destiny pole-dances in the spotlight.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - MOMENTS LATER</stage_direction> <scene_description>Destiny dances for THREE STOCKBROKERS IN SUITS (30s). The guys pass coke back and forth to each other. The ALPHA does a bump, then looks at Destiny in disgust.</scene_description> <character>ALPHA</character> <dialogue>Who hurt you?</dialogue> <scene_description>The other guys laugh at her expense. Sniff their coke.</scene_description> <character>ALPHA</character> <dialogue>C'mon, what'd Daddy do to you? You can tell me.</dialogue> <scene_description>Laugh. Sniff.</scene_description> <character>ALPHA</character> <dialogue>Yeah, you like that, slut?</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - LATER</stage_direction> <scene_description>Destiny does the rounds.</scene_description> <character>DESTINY</character> <dialogue>Anybody wanna dance?</dialogue> <scene_description>A few guys look at her and look away. Destiny walks by the stage. Up to a BALD GUY sitting alone.</scene_description> <character>DESTINY</character> <dialogue>Hey, you wanna--</dialogue> <scene_description>From on-stage, DIAMOND (20s) grabs Destiny by her hair.</scene_description> <character>DESTINY</character> <dialogue>Ow!</dialogue> <character>DIAMOND</character> <dialogue>Back off, bitch!</dialogue> <scene_description>Destiny stumbles, looks back at Diamond waving her off.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - MANAGER'S OFFICE - LATER</stage_direction> <scene_description>End of the night. The young manager sits behind a desk with a calculator and various stacks of money.</scene_description> <character>YOUNG MANAGER</character> <dialogue>... minus forty percent...is...two eighty-seven...</dialogue> <scene_description>He counts out two hundred eighty-seven dollars.</scene_description> <character>YOUNG MANAGER</character> <dialogue>... minus one-sixty...</dialogue> <character>DESTINY</character> <dialogue>I thought it was one-thirty...</dialogue> <character>YOUNG MANAGER</character> <dialogue>You got here after 5, didn't you?</dialogue> <scene_description>He removes one hundred-sixty dollars and adds it to the giant stack for the house. Hands her the remaining $127. She takes it, disappointed. He reaches out his hand. She looks at him. Then takes twenty dollars out of her stack and puts it back in his hand. He pockets it. Leans back in his chair. She starts away.</scene_description> <character>YOUNG MANAGER</character> <dialogue>Hey, you wanna work Saturdays?</dialogue> <scene_description>He unbuttons his pants. She turns away, starts out...</scene_description> <character>YOUNG MANAGER</character> <dialogue>What? I thought we could bond.</dialogue> <scene_description>She walks straight into a Skinny Manager.</scene_description> <character>SKINNY MANAGER</character> <dialogue>Is he bothering you?</dialogue> <scene_description>She looks up at him. He puts a hand on her shoulder.</scene_description> <character>SKINNY MANAGER</character> <dialogue>Listen if he bothers you, you got my number, right? You call me...you need anything, someone to talk to, coke, anything, you want to keep working VIP...and don't go telling Mom every little thing, okay? She worries cause it's her job to but she doesn't need to know everything.</dialogue> <scene_description>He gives her shoulder a squeeze. Destiny looks up at him. CLOSE on Destiny's hands as she puts a twenty in the Skinny Manager's palm. He pockets it.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - LATER</stage_direction> <scene_description>The girls change back in their plain clothes. Destiny counts out her tips, deflated.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - STAIRWAY - MOMENTS LATER</stage_direction> <scene_description>Destiny hurries down the stairs and out the side door.</scene_description> </scene> <scene> <stage_direction>EXT. MOVES - CONTINUOUS</stage_direction> <scene_description>Destiny walks up the street, away from the club.</scene_description> </scene> <scene> <stage_direction>INT. CAB - EARLY MORNING</stage_direction> <scene_description>The sun is coming up. Destiny looks out the window, exhausted, the sound of Howard Stern on the radio.</scene_description> <character>HOWARD STERN (ON RADIO)</character> <dialogue>If Angelina Jolie is a 5, what's Jennifer Aniston?</dialogue> <character>DONALD TRUMP (ON RADIO)</character> <dialogue>I'd say she's a 6 or a 7...</dialogue> <character>ROBIN (ON RADIO)</character> <dialogue>Really? Wow!</dialogue> <character>HOWARD STERN (ON RADIO)</character> <dialogue>Who's a 9?</dialogue> <character>DONALD TRUMP (ON RADIO)</character> <dialogue>Howard. My standards are very high.</dialogue> <character>HOWARD STERN (ON RADIO)</character> <dialogue>Angelina Jolie has a great body, big boobs, big natural lips...</dialogue> <character>DONALD TRUMP (ON RADIO)</character> <dialogue>She's got bad skin...</dialogue> <character>HOWARD STERN (ON RADIO)</character> <dialogue>Does she...</dialogue> <character>DONALD TRUMP (ON RADIO)</character> <dialogue>She's got scars all over...</dialogue> </scene> <scene> <stage_direction>EXT. DESTINY'S GRANDMOTHER'S HOUSE - LATER</stage_direction> <scene_description>Destiny shuffles up the front steps of the small house.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S GRANDMOTHER'S HOUSE - LATER</stage_direction> <scene_description>She walks in the front door, the decor hasn't changed in thirty years. Destiny climbs the steps, sore.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S CHILDHOOD BEDROOM - LATER</stage_direction> <scene_description>The alarm sounds. 3:00 PM. Destiny wakes in her twin bed, shuts off the alarm, half-asleep.</scene_description> </scene> <scene> <stage_direction>INT. TINY BATHROOM - LATER</stage_direction> <scene_description>Destiny blow-dries her hair, a drink on the sink.</scene_description> </scene> <scene> <stage_direction>INT. SMALL LIVING ROOM - LATER</stage_direction> <scene_description>Destiny comes down the stairs with her gym bag to see her GRANDMA (70s) sitting in her chair watching the news on an old TV. Destiny goes to her.</scene_description> <character>DESTINY</character> <dialogue>I gotta run.</dialogue> <character>DESTINY'S GRANDMOTHER</character> <dialogue>Did you eat something?</dialogue> <character>DESTINY</character> <dialogue>I'll eat at the diner.</dialogue> <scene_description>Destiny bends down to kiss her goodbye, notices something.</scene_description> <character>DESTINY</character> <dialogue>Where's your necklace?</dialogue> <scene_description>Her grandmother touches her bare neck.</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>... it's fine, Dorothy.</dialogue> <scene_description>Destiny looks at her grandmother, feeling guilty. She reaches into her bag and pulls out her cash.</scene_description> <character>DESTINY</character> <dialogue>Here.</dialogue> <character>DESTINY'S GRANDMOTHER</character> <dialogue>No, you keep it.</dialogue> <scene_description>Destiny puts the money in her hand.</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>You take such good care of me.</dialogue> <scene_description>We PUSH in on Destiny's determined face and CUT TO...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - NIGHT</stage_direction> <scene_description>The music is pumping. The floor is packed. Destiny looks around the room, through the strobes at the other girls. She sees TWO BRUNETTES "competing" for a MAN's attention. She turns to see TWO BLONDES in baby doll dresses. They are all paired off. Destiny is alone.</scene_description> <character>DJ (O.S.)</character> <dialogue>And now, let's welcome to the main- stage...the one, the only...Ramona.</dialogue> <scene_description>Destiny turns to see RAMONA (10 years older than Destiny) take the main-stage like a boxer entering the ring. Ramona dances, commanding the room. The crowd is wild, throwing money until the stage is covered. Destiny is mesmerized. Ramona finishes her routine with one final flourish, smacks an armful of money to her chest, and steps off-stage. Destiny watches in awe as Ramona crosses the room, all different guys reaching out. Ramona looks them in the eyes, whispers in their ears, glides away with cash in hand. Destiny can't look away, as Ramona walks by, turns to her:</scene_description> <character>RAMONA</character> <dialogue>Doesn't money make you horny?</dialogue> <scene_description>Destiny goes to respond, but Ramona is already gone. Off Destiny's face, we... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MOVES - ROOFTOP - LATER</stage_direction> <scene_description>Ramona, sits against a skylight in her fur coat, smoking. The club noise is drowned out by the sounds of the city. Destiny hurries outside, cigarette in her mouth. The heavy door slams behind her. She turns to Ramona.</scene_description> <character>DESTINY</character> <dialogue>Can I get a light?</dialogue> <scene_description>Ramona turns to her, holds a lighter up to her cigarette.</scene_description> <character>RAMONA</character> <dialogue>Where's your coat?</dialogue> <character>DESTINY</character> <dialogue>I left it inside.</dialogue> <character>RAMONA</character> <dialogue>... well climb in my fur, baby.</dialogue> <scene_description>Destiny looks at her. Ramona opens her fur coat. Destiny takes a seat on the step below Ramona. Ramona wraps her coat around Destiny, warming her. Destiny looks like a baby kangaroo. They smoke together.</scene_description> <character>DESTINY</character> <dialogue>Is Justice a model?</dialogue> <character>RAMONA</character> <dialogue>She'd like to think so. A few of the girls have been in Playboy, Hustler... I was a centerfold once.</dialogue> <character>DESTINY</character> <dialogue>No way...</dialogue> <scene_description>'93.</scene_description> <character>DESTINY</character> <dialogue>... no way.</dialogue> <character>RAMONA</character> <dialogue>That was back when Stevie Wonder came in.</dialogue> <character>DESTINY</character> <parenthetical>(laughing)</parenthetical> <dialogue>Stevie Wonder? Noooo...what for?</dialogue> <character>RAMONA</character> <dialogue>Casey had him in the champagne room. Swears he isn't blind.</dialogue> <scene_description>Destiny laughs into a sigh. Then...</scene_description> <character>DESTINY</character> <dialogue>Hey how come you're so good with everybody? I mean, I've seen you with the guys, all different guys, and...I don't know, you seem to have 'em all figured out.</dialogue> <scene_description>Ramona takes a drag.</scene_description> <character>RAMONA</character> <dialogue>I'm just a people person, I guess.</dialogue> <parenthetical>(exhales)</parenthetical> <dialogue>It's easier if you think of them as your rich friends. Especially if you gotta see the same ones all the time. Some of 'em aren't so bad.</dialogue> <scene_description>Ramona starts playing with Destiny's hair.</scene_description> <character>RAMONA</character> <dialogue>Where else you dance?</dialogue> <character>DESTINY</character> <dialogue>I was at Sin City. For too long. And then I heard some boiler room guys saying all the money was in the city so...</dialogue> <character>RAMONA</character> <dialogue>You followed the green brick road.</dialogue> <character>DESTINY</character> <parenthetical>(slight laugh)</parenthetical> <dialogue>Yeah.</dialogue> <character>RAMONA</character> <dialogue>So far, so good?</dialogue> <scene_description>Destiny gestures "so-so".</scene_description> <character>RAMONA</character> <dialogue>Get out. You must be cleaning up. You're new. You're Asian. You're gorgeous. You're a triple-threat.</dialogue> <scene_description>Destiny laughs. Ramona keeps playing with her hair.</scene_description> <character>DESTINY</character> <dialogue>... well... maybe you could show me some... new moves... sometime...</dialogue> <scene_description>Ramona looks at Destiny. It takes a moment. Then...</scene_description> <character>RAMONA</character> <dialogue>Maybe we could work together. I could give you a crash course in this place. Introduce you to some of my regulars. Mostly Wall Street guys looking to spend money on pretty girls. Would you like that?</dialogue> <scene_description>As a smile spreads across Destiny's face, we hear...</scene_description> <character>YOUNG WOMAN'S VOICE (V.O.)</character> <dialogue>So it was Ramona's idea that you work together...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FANCY HOUSE - DAY</stage_direction> <scene_description>SOME YEARS LATER. Destiny (designer clothes) sits on a white couch in an immaculate, all-white living room. Across from her is a YOUNG WOMAN (same age, conservatively-dressed).</scene_description> <character>DESTINY</character> <dialogue>That's right. I mean, at this point everything was above board. I thought she was...nice.</dialogue> <scene_description>Destiny shifts in her seat, her jewelry making a lot of noise.</scene_description> <character>YOUNG WOMAN</character> <dialogue>So when would you say things got out of control?</dialogue> <character>DESTINY</character> <dialogue>Control?</dialogue> <scene_description>Destiny looks far off, thinking. Then, shakes her head.</scene_description> <character>DESTINY</character> <dialogue>Ramona was always in control.</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - DAY \[2007\]</stage_direction> <scene_description>Chopin's Etude Op. 25, No. 1 in A Flat Major. The club is closed. Ramona and Destiny are on the main stage.</scene_description> <character>RAMONA</character> <dialogue>... of course you know the basics.</dialogue> <scene_description>Destiny watches Ramona do various moves and poses, narrating.</scene_description> <character>RAMONA</character> <dialogue>You got the carousel... the fireman... front-hook... ankle- hook... stag... reverse stag... peter pan... superman... you could try the scissor sit... fairy sit... genie... martini... hood ornament... table top... and, of course, the inverted crucifix.</dialogue> <scene_description>Destiny watches Ramona slide down the pole with just her legs, face-first. Ramona rolls back up, ass first.</scene_description> <character>DESTINY</character> <dialogue>Jesus Christ.</dialogue> <scene_description>LATER -- Destiny tries to climb up the pole. She can't help but laugh, as her arms and legs struggle. Ramona pushes up her butt. Destiny laughs, sliding back down. LATER -- Destiny pulls herself up the pole.</scene_description> <character>RAMONA</character> <dialogue>There it is.</dialogue> <scene_description>Destiny is at the top, leaning back. Ramona cheers her on.</scene_description> <character>RAMONA</character> <dialogue>Keep your legs straight.</dialogue> <scene_description>Destiny spirals around the pole.</scene_description> <character>RAMONA</character> <dialogue>Yes, look at that! That's gorgeous!</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - LATER</stage_direction> <scene_description>Ramona introduces Destiny to Diamond.</scene_description> <character>RAMONA</character> <dialogue>You know Diamond from the Bronx?</dialogue> <scene_description>Diamond extends her fingernails to Destiny.</scene_description> <character>DIAMOND</character> <dialogue>Boogie Down heyyyyyy.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - MOMENTS LATER</stage_direction> <scene_description>Ramona and Diamond show Destiny how to give a lap-dance. Destiny straddles Diamond.</scene_description> <character>RAMONA</character> <dialogue>That's good. Arch your back a little.</dialogue> <character>DIAMOND</character> <dialogue>Throw your hair around. Guys like it when you throw your hair around.</dialogue> <scene_description>Destiny throw her hair around.</scene_description> <character>DIAMOND</character> <dialogue>Yeah that's it.</dialogue> <character>RAMONA</character> <dialogue>You don't have to be the best dancer. You just need to make their eyes move an inch.</dialogue> <character>DIAMOND</character> <dialogue>But you gotta slow that shit down.</dialogue> <scene_description>Diamond sits on Ramona and shows Destiny how it's done.</scene_description> <character>DIAMOND</character> <dialogue>Let me tell you something...some motherfucker's saying shit to you, being a racist piece a shit, you take your fucking time with him. Your time is his money. You slow. That shit. Down. You a motherfuckin' sloth. Drain the clock, not the cock.</dialogue> <scene_description>The girls crack up laughing.</scene_description> <character>RAMONA</character> <dialogue>Yeah! Are we gonna make some money tonight?</dialogue> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - LATER</stage_direction> <scene_description>The girls are getting ready. Ramona walks in with Destiny.</scene_description> <character>RAMONA</character> <dialogue>I said are we gonna make some fucking money tonight?!</dialogue> <scene_description>The girls all cheer, greeting Ramona, talking over each other. Ramona introduces Destiny to some of the OTHER GIRLS.</scene_description> <character>RAMONA</character> <dialogue>Tracy? Have you met Destiny?</dialogue> <scene_description>TRACY (30s) looks up and smiles.</scene_description> <character>DESTINY</character> <dialogue>Hey.</dialogue> <character>TRACY</character> <dialogue>You're from Queens?</dialogue> <character>DESTINY</character> <dialogue>Kew Gardens.</dialogue> <character>TRACY</character> <dialogue>Briarwood.</dialogue> <character>DESTINY</character> <dialogue>No way...</dialogue> <scene_description>STAR (30s) walks up naked, singing opera.</scene_description> <character>RAMONA</character> <dialogue>And this is Star...</dialogue> <scene_description>Star shakes her hand, still singing.</scene_description> <character>RAMONA</character> <dialogue>And you gotta meet Liz.</dialogue> <scene_description>Destiny turns to LIZ (20s) playing a flute.</scene_description> <character>RAMONA</character> <dialogue>... Liz?</dialogue> <scene_description>MERCEDES (20s) takes a seat next to them.</scene_description> <character>MERCEDES</character> <dialogue>She's playing a song for Jackie's new titties.</dialogue> <character>RAMONA</character> <dialogue>Jackie's got new titties? Lemme see.</dialogue> <scene_description>JACKIE (30s) stands up and turns around.</scene_description> <character>RAMONA</character> <dialogue>Oh, these are good. Who did these?</dialogue> <character>JACKIE</character> <dialogue>Dr. Bobby...</dialogue> <character>RAMONA</character> <dialogue>God bless Dr. Bobby. And this is my baby Mercedes.</dialogue> <scene_description>Mercedes shakes Destiny's hand.</scene_description> <character>MERCEDES</character> <dialogue>Nice to meet you.</dialogue> <scene_description>Ramona sits next to Diamond, Destiny sits next to her, in the middle of the group. Justice comes in off the floor.</scene_description> <character>JUSTICE</character> <dialogue>Tracy. Your boyfriend's here.</dialogue> <character>TRACY</character> <dialogue>Tsk. Again?</dialogue> <character>JUSTICE</character> <dialogue>He looks like he's been crying.</dialogue> <character>MERCEDES</character> <dialogue>What's wrong with Rodrigo?</dialogue> <character>TRACY</character> <dialogue>I don't know, he's been really jealous lately.</dialogue> <character>RAMONA</character> <dialogue>You can't let him drop you off.</dialogue> <character>TRACY</character> <dialogue>I know...at first he liked it...</dialogue> <character>DIAMOND</character> <dialogue>Of course he did. Guys think they wanna date a stripper until they realize we work 6 nights a week, and on our one night off, the last thing we wanna do is look at their fucking dicks.</dialogue> <scene_description>Destiny laughs. The other girls chime in, in agreement.</scene_description> <character>LIZ</character> <dialogue>I want to sit on my couch in my feety pajamas, no make-up...</dialogue> <character>JACKIE</character> <dialogue>I tell my boyfriend, don't even look at me.</dialogue> <character>STAR</character> <dialogue>I haven't had sex in two years.</dialogue> <character>JUSTICE</character> <dialogue>My boyfriend never sees me naked. I change under the covers.</dialogue> <character>DIAMOND</character> <dialogue>You wanna meet my boyfriend?</dialogue> <scene_description>Diamond pulls a VIBRATOR out of her purse. The others laugh.</scene_description> <character>DIAMOND</character> <dialogue>He doesn't get jealous. He's not aggressive, unless I want him to be. And he never lets me down.</dialogue> <character>RAMONA</character> <dialogue>... too bad he's not rich.</dialogue> <character>DIAMOND</character> <dialogue>Well...you can't have everything.</dialogue> <scene_description>Mom comes in with a HOMEMADE CAKE, GET $ in frosting.</scene_description> <character>MOM</character> <dialogue>Who wants cake??</dialogue> <scene_description>The girls all react to the cake in different ways.</scene_description> <character>RAMONA</character> <dialogue>Ma, what are you doing to us?</dialogue> <character>MOM</character> <dialogue>Just a little motivation for my babies.</dialogue> <scene_description>Someone hands Destiny a piece of cake. Destiny looks at Ramona.</scene_description> <character>RAMONA</character> <dialogue>I'm gonna take a tiny sliver, Ma, cause I know you made it with love.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - BY THE BAR - LATER</stage_direction> <scene_description>Destiny gets a drink. Ramona comes up to her.</scene_description> <character>RAMONA</character> <dialogue>Are you an investor in this place?</dialogue> <parenthetical>(putting her drink down)</parenthetical> <dialogue>Then quit putting money back into it. Let the guys get fucked up.</dialogue> <scene_description>We follow Ramona and Destiny toward the floor.</scene_description> <character>RAMONA</character> <dialogue>Start 'em off with a single, then a double, then a triple, then back to a double, and back to a single. You want 'em drunk enough to get their credit card then sober enough to sign the check.</dialogue> <scene_description>They pass the DJ. Ramona hands him a twenty.</scene_description> <character>RAMONA</character> <dialogue>C'mon, Lenny. Give us a beat.</dialogue> <scene_description>The DJ hurriedly picks a SONG. It begins as...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - CONTINUOUS</stage_direction> <scene_description>SLOW-MOTION: Ramona and Destiny hit the floor, Ramona walking slightly ahead of Destiny. They're in control.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>According to Ramona, there were three tiers of Wall Street guys...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT OFFICE - DAY</stage_direction> <scene_description>A "BOTTOM-TIER" BROKER (30s) bounces his leg while cold- calling. Ramona's voice takes over...</scene_description> <character>RAMONA (V.O.)</character> <dialogue>The guys at the bottom don't do anything dirty to make money, so most of 'em don't have any. But if they do, you can milk 'em for every penny.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - PRIVATE AREA - NIGHT</stage_direction> <scene_description>Destiny and Ramona dance for the bottom-tier guy. Ramona SHOUTS over the music but for some reason, he can't hear her.</scene_description> <character>RAMONA</character> <dialogue>Maybe they're in a loveless marriage or single and feeling dejected. Either way, you can string 'em along without getting physical. Chuck here pays for my place on the Upper East Side, I've never even sniffed his dick.</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT - BULLPEN - DAY</stage_direction> <scene_description>The bullpen is packed with BROKERS on their phones, shouting, cursing, high-fiving. We focus on one MIDDLE-TIER GUY.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>The guys in the middle will get their hands a little dirty, but they have their limits...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - FLOOR - NIGHT</stage_direction> <scene_description>Ramona and Destiny watch this Middle-Tier Guy with his boys.</scene_description> <character>MIDDLE TIER-GUY</character> <dialogue>Don't taze me, bro!</dialogue> <character>RAMONA</character> <dialogue>They dabble in greed, but they don't cross a certain line.</dialogue> <character>RAMONA</character> <dialogue>Or maybe they're not as good at it. Which is why they all share a two- bedroom in Cobble Hill.</dialogue> <scene_description>The guys high-five and clink their Heinekens, but don't do a lot of spending. Ramona steers Destiny away from them.</scene_description> <character>RAMONA</character> <dialogue>Then there's the motherfuckers on top...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT - PENTHOUSE OFFICE - NIGHT</stage_direction> <scene_description>An ASSISTANT brings a note to a CORPORATE RAIDER (50s). There's porn playing on his computer. He takes the note but doesn't dismiss her, making her watch the porn with him.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>CEOs, CFOs, investment bankers, corporate raiders, hedge funders, ax-murderers... coming straight from the crime scene into the club.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - LATER</stage_direction> <scene_description>The same high-powered man walks through the BACK DOOR, his expensive shoes hit the carpet.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>But not through the front. These guys don't want to be written about on Page Six.</dialogue> <scene_description>Ramona greets the man. Introduces him to Destiny.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>They come through the back. They take the private elevator to the one room without cameras.</dialogue> <scene_description>Ramona and Destiny lead the man into the ELEVATOR.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>And they don't leave til they spent ten thousand, fifteen thousand dollars in one night.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - LATER</stage_direction> <scene_description>Destiny opens the curtain for the man. He disappears inside. Ramona shuts the curtain behind them.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>They can be degrading. Possessive. Aggressive. Violent. And they never get in any trouble. Because everyone is willing to cover their tracks. Cause deep down they all want what they got. They all want to be on top. Where there are no consequences.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - MOMENTS LATER</stage_direction> <scene_description>The man puts a hundred dollars on the couch beside him. Destiny stands front and center. Ramona stands behind her.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>You are just another deal to them. And that's all they are to you.</dialogue> <scene_description>The girls look at him, unwavering, in control. He lays down a hundred more.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>It's business. And it's a more honest transaction than anything else they did that day.</dialogue> <scene_description>Ramona takes one of Destiny's bra straps and slowly slides it off her shoulder. The man counts out another hundred. Ramona unhooks Destiny's bra and Destiny slides it off. Another hundred.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>All you have to do is figure out who you're dealing with. And then play them at their level.</dialogue> <scene_description>Ramona bends down, puts her thumbs under Destiny's thong, holds out the sides, stops. The man looks at them, desperate. He puts down another and another and another and another...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - LATER</stage_direction> <scene_description>End of the night. Destiny counts out her tips, marveling at the stack. She looks at the other girls, Jackie, Tracy, Justice, changing back into their plain clothes, talking. Destiny turns to Ramona lining her knee-high boots with cash. So Destiny does the same. She stuffs the bills, managing to zip up one boot, can't quite get the other. Ramona sees her.</scene_description> <character>RAMONA</character> <dialogue>Here...</dialogue> <scene_description>Ramona goes to help, shoving the cash further down Destiny's boot. Then holds her heel, leg in the air, while Destiny tugs on the zipper. The two of them start laughing, then really laugh, cracking up, together.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>She wasn't in it to make friends. It just happened.</dialogue> </scene> <scene> <stage_direction>INT. HIGH-END DEPARTMENT STORE - UPTOWN - DAY</stage_direction> <scene_description>Chopin's Etude Op. 25 No. 9 in G-flat major. Fendi. Valentino. Balenciaga. Destiny and Ramona glide through the handbag section. Destiny poses with a gigantic Gucci bag.</scene_description> <character>DESTINY</character> <dialogue>Is it too big?</dialogue> <character>RAMONA</character> <dialogue>Are you kidding? A bag can never be too big. C'mon, let's ring you up.</dialogue> </scene> <scene> <stage_direction>INT. HIGH-END DEPARTMENT STORE - UPTOWN - MOMENTS LATER</stage_direction> <scene_description>The SALESGIRL watches Ramona watch Destiny count out a thousand dollars on the counter. In ones.</scene_description> </scene> <scene> <stage_direction>EXT. UPTOWN STREET - LATER</stage_direction> <scene_description>Through the window of another moving car, we see an ESCALADE rolling through traffic, the sun glinting off of every curve, Ramona's hands on the wheel, Destiny in the passenger seat, sunglasses on, talking, laughing, passing us by.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - LATER</stage_direction> <scene_description>It's nice but not totally extravagant. Destiny stands in Ramona's WALK-IN CLOSET looking wide-eyed at all of Ramona's things. Fur coats. A wall of heels.</scene_description> <character>RAMONA (O.S.)</character> <dialogue>Oh-kay...</dialogue> <scene_description>Destiny turns around to see Ramona presenting several HOMEMADE BATHING SUITS laid out on the bed.</scene_description> <character>RAMONA</character> <dialogue>Ta-da! I'm designing my own swim- line.</dialogue> <character>DESTINY</character> <dialogue>Wow. You made these?</dialogue> <scene_description>Destiny walks into the bedroom, looks at Ramona's creations.</scene_description> <character>RAMONA</character> <dialogue>I like to use a lotta mixed media, so...I find these leather pieces and I make little belts out of chains and these here are called epaulets? Which is French for little shoulders. A lot of people are scared to wear denim in the ocean but I swear these get more comfortable when they're wet. Specifically saltwater. Try 'em on.</dialogue> <scene_description>Destiny steps right into the denim bikini bottoms under her skirt. Ramona goes for a piece of paper.</scene_description> <character>RAMONA</character> <dialogue>It's gonna take forever to save up the money to start a label. But one of my clients is a graphic designer and he made me this logo. Look at that. Swimona. It's catchy right?</dialogue> <character>DESTINY</character> <dialogue>... did you go to school for it?</dialogue> <character>RAMONA</character> <dialogue>Yup. Only thirteen credits away from graduating... Oh my god those look so good on you. See?</dialogue> <scene_description>They look in the mirror together, like sisters. The sound of the front door...</scene_description> <character>RAMONA</character> <dialogue>Bear cub, is that you?</dialogue> <scene_description>Ramona's daughter, JULIET (9) comes running into the room in her school uniform, followed by her NANNY (50s). Ramona wraps her arms around Juliet, kissing her head over and over.</scene_description> <character>RAMONA</character> <dialogue>How's my genius? How's that great big brain of yours?</dialogue> <character>RAMONA</character> <dialogue>Juliet, this is Mommy's friend Dorothy, can you say hi? ... She gets shy around anyone that's not a cute boy.</dialogue> <character>JULIET</character> <dialogue>Mom...</dialogue> <scene_description>Ramona tickles Juliet. Juliet laughs. Destiny smiles at them.</scene_description> <character>RAMONA</character> <dialogue>Thank you, Manuela! I'll take it from here.</dialogue> <character>MANUELA</character> <dialogue>Okay, good-night, Miss! Bye Juju!</dialogue> <scene_description>Manuela waves goodbye. Ramona looks at her daughter.</scene_description> <character>RAMONA</character> <dialogue>What do you want for dinner?</dialogue> <character>JULIET</character> <dialogue>Chicken fingers.</dialogue> <character>RAMONA</character> <dialogue>Chicken fingers? No, I'm gonna make you something better than that. Go on, get out of your school clothes.</dialogue> <scene_description>Juliet runs out. Ramona watches her go, beaming.</scene_description> <character>DESTINY</character> <dialogue>She looks just like you.</dialogue> <character>RAMONA</character> <dialogue>Good, I like to think I made her myself.</dialogue> <character>DESTINY</character> <dialogue>... it's just the two of you?</dialogue> <character>RAMONA</character> <dialogue>And Manuela. I don't know what I'd do without Manuela.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - LIVING ROOM - LATER</stage_direction> <scene_description>After dinner, Ramona and Destiny sit on the couch. Juliet is asleep in Ramona's lap. Ramona plays with her hair. Ramona and Destiny are talking quietly.</scene_description> <character>DESTINY</character> <dialogue>I just don't ever want to be dependent on anyone. Like ever. I just want to be able to take care of my grandma for the rest of her life. And maybe go shopping once in awhile.</dialogue> <character>RAMONA</character> <dialogue>Yeah, that's how I feel. I just want my daughter to be able to do whatever she wants, you know? Go to whatever school she wants, or not, if that's what she wants. I swear, I'd do anything for this kid.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Motherhood is a mental illness.</dialogue> <scene_description>Destiny looks at her. Half-laughs.</scene_description> <character>DESTINY</character> <dialogue>Well, that explains my mother....</dialogue> <scene_description>Ramona looks at Destiny and pouts sympathetically...</scene_description> <character>YOUNG WOMAN (V.O.)</character> <dialogue>Is that how you'd describe her?</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - YEARS LATER</stage_direction> <scene_description>We RETURN to the white living room, Destiny and the young woman on the opposite couch.</scene_description> <character>DESTINY</character> <dialogue>My mother?</dialogue> <character>YOUNG WOMAN</character> <dialogue>I mean, Ramona.</dialogue> <scene_description>Destiny glances down at a DIGITAL RECORDER on the table between them. Destiny's jewelry makes noise.</scene_description> <character>DESTINY</character> <dialogue>... how much of this is going in the article? Cause I hope it's not about all strippers being thieves or something.</dialogue> <character>YOUNG WOMAN</character> <dialogue>Not at all...</dialogue> <character>DESTINY</character> <dialogue>Cause they're not. It's things like this that add to the stigma. I don't want to perpetuate anything.</dialogue> <character>YOUNG WOMAN</character> <dialogue>Of course.</dialogue> <scene_description>Destiny looks at her.</scene_description> <character>DESTINY</character> <dialogue>You gotta understand, I was making an honest living then. Everything was good. Everybody was making money.</dialogue> <scene_description>Sean Kingston's "Beautiful Girls" takes us... BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. GRANDMA'S HOUSE - DAY \[2007\]</stage_direction> <scene_description>Destiny gives her grandmother a stack of cash.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>I helped my grandma get out of debt...</dialogue> </scene> <scene> <stage_direction>INT. DESTINY'S APARTMENT - DAY</stage_direction> <scene_description>Ramona helps Destiny arrange her furniture. The place is small, but new, and all hers.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>I got my own place in the city...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - DAY</stage_direction> <scene_description>Destiny sits at the bar, studying. The place is mostly empty. A few regulars. Some strippers on the floor with them.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Ramona inspired me to go back to school.</dialogue> <character>STEPHEN (O.S.)</character> <dialogue>Wow.</dialogue> <scene_description>Destiny looks over at STEPHEN (40s) eating wings.</scene_description> <character>STEPHEN</character> <dialogue>Sorry. It's just....your penmanship is really remarkable.</dialogue> <scene_description>She gives him a look, can't help but laugh at him. He doesn't notice, face full of wing sauce. He slides down a stool.</scene_description> <character>STEPHEN</character> <dialogue>Are you a student?</dialogue> <character>DESTINY</character> <dialogue>Yeah.</dialogue> <character>STEPHEN</character> <dialogue>Oh, that's great... What do you study?</dialogue> <character>DESTINY</character> <dialogue>Psychology...I really am a student.</dialogue> <character>STEPHEN</character> <dialogue>Oh no I believe you.</dialogue> <character>DESTINY</character> <dialogue>I'm just saying, a lot of girls here say they're students but I really am getting my degree.</dialogue> <character>STEPHEN</character> <dialogue>And I think that's great. Stephen.</dialogue> <character>DESTINY</character> <dialogue>Destiny.</dialogue> <character>STEPHEN</character> <dialogue>Destiny. You're very...exotic- looking. I mean, I'm into Asian girls. It's kinda my thing.</dialogue> <scene_description>She looks at him. The sound of a cash register ka-ching!</scene_description> <character>DESTINY</character> <dialogue>And what do you do, Stephen?</dialogue> <character>STEPHEN</character> <dialogue>I work at Lehman Brothers. I'm sorry I don't mean to stare. I'm just...really blown away by your penmanship. Seriously, you could be a font. They can do that, you know. You can...they can make a font of your own handwriting. So you can put it on your computer.</dialogue> <character>DESTINY</character> <dialogue>I don't have a computer.</dialogue> <character>STEPHEN</character> <dialogue>Oh...</dialogue> <character>DESTINY</character> <dialogue>Guess that's why my handwriting's so good.</dialogue> <scene_description>She smiles at him. He laughs, charmed, fish in a barrel.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - NIGHT</stage_direction> <scene_description>Destiny does homework on a BRAND NEW LAPTOP. Ramona walks by, kisses Destiny's head, proud. Destiny smiles.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>2007 was the fucking best...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - NIGHT</stage_direction> <scene_description>Destiny and Ramona dance for TWO AGGRESSIVE BIG SHOTS (40s).</scene_description> <character>DESTINY (V.O.)</character> <dialogue>I made more money that year than a goddamn brain surgeon. And sure, some days sucked, like any other job. But other days...</dialogue> </scene> <scene> <stage_direction>INT. ESCALADE - DAY</stage_direction> <character>RAMONA</character> <dialogue>What do you think?</dialogue> <scene_description>Destiny sits in the driver's seat, feeling the steering wheel in her hands, Ramona next to her.</scene_description> <character>DESTINY</character> <dialogue>Oh yeah. This is fucking it.</dialogue> <scene_description>We see the Escalade is parked on a SHOWROOM FLOOR. Ramona turns on the RADIO: It's Britney, bitch. "Gimme More". They sing along to the song, dancing in their seats, making the Escalade shake, the SALESMEN watching from a few feet away, wide-eyed. Britney continues over:</scene_description> <character>CUT TO: VARIOUS</character> <dialogue>We INTERCUT the WALL STREET GUYS and the DANCERS...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT OFFICES - DAY</stage_direction> <scene_description>The guys in their offices, hustling their clients...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - NIGHT</stage_direction> <scene_description>On the floor, Destiny, Ramona, Diamond, Mercedes, Justice, Tracy, Star, and Jackie are all hustling the guys. The guys are making it rain. The girls are securing the bag. Stephen puts a diamond necklace around Destiny's neck. Tracy gently talks down her BOYFRIEND. She kisses him and sends him on his way. Then gets back to work.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LATER</stage_direction> <scene_description>Diamond yells at one of the managers. He can't get a word in.</scene_description> <character>DIAMOND</character> <dialogue>I'm telling you right now, Carmen, you fuck with my money, I'm gonna fuck with your whole life. You hear me? What the fuck do you do here anyway? I know what the bouncers and the waitresses and the DJ's doing, what the fuck do you do?</dialogue> <parenthetical>(walking away, still shouting)</parenthetical> <dialogue>Get the fucking stage fixed.</dialogue> </scene> <scene> <stage_direction>EXT. GANSEVOORT ROOFTOP POOL - DAY</stage_direction> <scene_description>Destiny and Ramona are hanging out when A HANDSOME MAN (30s) comes up to Destiny. Instant chemistry. This is JOHNNY. As Destiny and Johnny flirt, we PUSH in Ramona looking at them. She's got a bad vibe about him...</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S APARTMENT - NIGHT</stage_direction> <scene_description>In the midst of Destiny and Ramona's success, we also see Destiny and Johnny arguing with each other in the kitchen...</scene_description> <character>JOHNNY</character> <dialogue>Who gave it to you?!</dialogue> <character>DESTINY</character> <dialogue>Fuck off!</dialogue> <scene_description>We whip away from them and zoom in on the TV. KEEPING UP WITH THE KARDASHIANS. PILOT EPISODE.</scene_description> <character>KIM KARDASHIAN (TALKING HEAD)</character> <dialogue>Welcome to my family. I'm Kim Kardashian.</dialogue> <scene_description>KIM ENTERS THEIR HUGE HOUSE WITH SHOPPING BAGS.</scene_description> <character>KIM KARDASHIAN</character> <dialogue>The princess is in the building!</dialogue> <character>QUICK FLASHES:</character> <dialogue>MONEY exchanging hands over and over...</dialogue> <character>DESTINY (V.O.)</character> <dialogue>The last great night I remember...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE LAST GREAT NIGHT</stage_direction> <character>DESTINY (V.O.)</character> <dialogue>It was the night Usher came in.</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM - THE LAST GREAT NIGHT</stage_direction> <scene_description>Liz screams to the other strippers.</scene_description> <character>LIZ</character> <dialogue>Motherfuckin' Usher's here!</dialogue> </scene> <scene> <stage_direction>INT. MOVES - THE LAST GREAT NIGHT</stage_direction> <scene_description>SUPER SLOW-MOTION. USHER comes in the club. We're on the back of his head as the sea of people part for him. The strippers are freaking out, screaming for him. The Wall Street guys are more-than-psyched to join his entourage.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>They put his own music on...</dialogue> <scene_description>The DJ spins Usher. It feels like a fucking music video.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>And all the girls lined up to dance for him...</dialogue> <scene_description>Usher slips into a seat at the end of the stage, a long row of gorgeous girls as far as anyone can see lines up to dance for him, Destiny, Ramona, Justice, and Diamond among them. The club at its peak.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>And for one last moment, everything was so glamorous and cool.</dialogue> <scene_description>FADE TO: BLACK: SEPTEMBER 29, 2008. PUSH in on a SCREEN, BRIAN WILLIAMS talking to camera:</scene_description> <character>BRIAN WILLIAMS</character> <dialogue>... we begin our story tonight with what's been called the worst financial crisis in modern times, the largest financial disaster in decades in this country, and perhaps the end of an era in American business, some of the biggest names in American business are tonight gone, along with a lot of money and a lot of jobs...</dialogue> </scene> <scene> <stage_direction>INT. DESTINY'S APARTMENT - DAY</stage_direction> <scene_description>Destiny and Johnny sit on the bed reeling, the sound of Brian Williams on TV in the background.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>The crash put everybody out of business. But I had other things on my mind.</dialogue> <scene_description>CLOSE on a PREGNANCY TEST in her hand. She starts to cry.</scene_description> <character>DESTINY</character> <dialogue>How am I gonna make money?</dialogue> <scene_description>Johnny pulls her into his arms.</scene_description> <character>JOHNNY</character> <dialogue>I'll take care of you.</dialogue> <scene_description>On Destiny's face, realizing she's dependent on him now.</scene_description> <character>DESTINY</character> <dialogue>... I hope it's a boy.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOX STORE - DAY \[2011\]</stage_direction> <scene_description>Destiny pushes her cart around the wide aisles, her DAUGHTER (2) sitting in the front, holding a Barbie.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>After I stopped working, I lost touch with Ramona. It's just what happens when you have a kid.</dialogue> <scene_description>Destiny buys diapers in bulk. She browses the clothes. The shoes. The handbags.</scene_description> </scene> <scene> <stage_direction>INT. BOX STORE - LATER</stage_direction> <scene_description>Destiny stands in a long line, watching the SALESGIRL (her age) ring up her bulk items. Each BEEP across the scanner is like a knife in Destiny's head. She looks around at the other MOMS pushing carts, wrangling their kids. BEEP. BEEP. BEEP.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S APARTMENT - NIGHT</stage_direction> <scene_description>Destiny and Johnny are in the middle of a bad fight. She's crying, storming after him. The baby is crying on the floor.</scene_description> <character>DESTINY</character> <dialogue>Good, go! We don't need you!</dialogue> <scene_description>Johnny walks out the front door. Slamming it behind him. Destiny goes to her daughter, picks her up, rocks her.</scene_description> <character>DESTINY</character> <dialogue>Shhhh, it's okay. Mommy's got you.</dialogue> <scene_description>PRE-LAP: a RINGING PHONE...</scene_description> </scene> <scene> <stage_direction>INT. UPSCALE HOUSE - DAY</stage_direction> <scene_description>Stephen crosses his huge living room to answer his phone.</scene_description> <character>STEPHEN</character> <dialogue>Hello?</dialogue> <character>DESTINY (O.S.)</character> <dialogue>Stephen? It's Destiny.</dialogue> <character>STEPHEN</character> <dialogue>Destiny? Wow...it's been a few years.</dialogue> <character>DESTINY (O.S.)</character> <dialogue>Yeah, time flies.</dialogue> <scene_description>It sounds like she's been crying.</scene_description> <character>STEPHEN</character> <dialogue>Where are you?</dialogue> <scene_description>We follow Stephen down a flight of stairs to the third level. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S APARTMENT - SAME</stage_direction> <character>DESTINY</character> <dialogue>I just got back to the city. I moved to Arizona for a few years but I didn't really like it. I missed the seasons and...I missed you. The guys in Arizona are nothing like here...</dialogue> <scene_description>Her BABY makes noises next to her.</scene_description> <character>DESTINY</character> <dialogue>Are you still there?</dialogue> <character>STEPHEN</character> <dialogue>Yeah, I -- Do you need to get that?</dialogue> <character>DESTINY</character> <dialogue>What?</dialogue> <character>STEPHEN</character> <dialogue>Do you need to help the baby?</dialogue> <character>DESTINY</character> <dialogue>It's my friend's baby, I'm just watching it. Listen, I don't mean to bother you. If you're not happy to hear from me, I can call some--</dialogue> <character>STEPHEN</character> <dialogue>No, I'm happy. I just...</dialogue> <parenthetical>(lowering his voice)</parenthetical> <dialogue>I wish you'd called sooner...Fatima came back.</dialogue> <character>DESTINY</character> <dialogue>Who?</dialogue> <character>STEPHEN</character> <dialogue>My fiancee. I mean, my wife. My fiancee became my wife.</dialogue> <scene_description>Destiny's face/voice immediately changes.</scene_description> <character>DESTINY</character> <dialogue>Right, well, that's how it happens. Okay, bye Stephen.</dialogue> <scene_description>She hangs up. Destiny looks down at a hand-written list labeled GET MONEY. She crosses Stephen's name off the bottom of the list. Destiny looks at her baby, starting to panic...</scene_description> </scene> <scene> <stage_direction>INT. HIGH-END DEPARTMENT STORE - MOMENTS LATER</stage_direction> <scene_description>Destiny sits at the make-up counter with a EUROPEAN WOMAN. The woman looks at Destiny's RESUME for a long time. Destiny shifts in her seat, her jewelry making noise.</scene_description> <character>INTERVIEWER</character> <dialogue>... so your last job was in 2008?</dialogue> <character>DESTINY</character> <dialogue>Yes. It's not like I...I had a kid, so...I was busy doing that.</dialogue> <character>INTERVIEWER</character> <dialogue>A year of waitressing. Did you graduate high school? Oh, I see here, you got your GED. Five years at Privilege Gentleman's Club. What did you do there exactly?</dialogue> <character>DESTINY</character> <dialogue>Bartending. Mostly.</dialogue> <character>INTERVIEWER</character> <dialogue>... and what about at...Moves?</dialogue> <character>DESTINY</character> <dialogue>Mostly bartending.</dialogue> <character>INTERVIEWER</character> <dialogue>... so you don't have any retail experience?</dialogue> <character>DESTINY</character> <dialogue>Not yet. But...that's why I'd really like to get experience...so that I would have it.</dialogue> <character>INTERVIEWER</character> <dialogue>We're really looking for someone with retail experience.</dialogue> <character>DESTINY</character> <parenthetical>(laughing)</parenthetical> <dialogue>Well, how am I supposed to get retail experience without retail experience? I mean, I sold...beer. What's the difference?</dialogue> <character>INTERVIEWER</character> <dialogue>Maybe you should go back to bartending.</dialogue> <scene_description>Destiny stands up and starts out. Turns back.</scene_description> <character>DESTINY</character> <dialogue>Could I get that back? I only have one copy.</dialogue> <scene_description>The woman gives Destiny her resume.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S GRANDMOTHER'S HOUSE - LATER</stage_direction> <scene_description>Destiny walks in to see her daughter sitting alone on the floor, Destiny's GRANDMOTHER asleep in her chair, the TV on. Destiny goes to her daughter and picks her up, kissing her head. She carries her upstairs, whispering...</scene_description> <character>DESTINY</character> <dialogue>You tired? Did you get a nap?</dialogue> </scene> <scene> <stage_direction>INT. DESTINY'S CHILDHOOD BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Destiny lays her daughter down in her old twin bed and climbs in next to her, under the covers. Destiny looks up at the ceiling, her arm around her daughter. Slowly, the SOUNDS of the club get louder and louder, until we inevitably CUT TO...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - NIGHT</stage_direction> <scene_description>Destiny sits in her old spot, putting on her make-up.</scene_description> <character>RUSSIAN STRIPPER (O.S.)</character> <dialogue>You're in my seat.</dialogue> <scene_description>She looks up at a RUSSIAN STRIPPER (20s).</scene_description> <character>DESTINY</character> <dialogue>Oh. Sorry.</dialogue> <scene_description>Destiny moves out of her way. Taking the next seat. The Russian checks her hair in the mirror. She is model-flawless.</scene_description> <character>DESTINY</character> <dialogue>... you're so pretty.</dialogue> <scene_description>Just then, ANOTHER RUSSIAN STRIPPER (20s) steps up behind her. She's just as beautiful. They speak Russian to each other, then walk away. Destiny looks around the room. The girls are all drop-dead. Not a familiar face in sight.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - LATER</stage_direction> <scene_description>Destiny circulates the half-empty room. The mood is different. The club has changed. None of the old regulars. No longer fun or harmless. Destiny sees--</scene_description> <character>DESTINY</character> <dialogue>Mom!</dialogue> <scene_description>Mom is working behind the bar, slinging Red Bulls.</scene_description> <character>MOM</character> <dialogue>Welcome back, sweetie.</dialogue> <character>DESTINY</character> <dialogue>They got you out front now?</dialogue> <character>MOM</character> <dialogue>Yup. Talent squandered.</dialogue> <scene_description>Mom tosses a can in the trash.</scene_description> <character>DESTINY</character> <dialogue>What happened?</dialogue> <character>MOM</character> <dialogue>2008 happened. The guys don't wanna spend money. The girls don't wanna share tips. The busboys are finding more cash in the couch cushions. The managers took the cameras outta the champagne room, so nobody's looking out. And I'm stuck in customer service...</dialogue> <parenthetical>(turning to a customer)</parenthetical> <dialogue>Yes, I see you, hello. Another Red Bull?</dialogue> <scene_description>Destiny looks around the room.</scene_description> <character>DESTINY</character> <dialogue>Who are these girls?</dialogue> <character>MOM</character> <dialogue>Russians, mostly.</dialogue> <character>DESTINY</character> <dialogue>They look like models.</dialogue> <character>MOM</character> <dialogue>They're giving blow jobs for three hundred dollars a pop.</dialogue> <scene_description>Mom slides away. Destiny scans the room, knowing she can't compete, knowing she can't work it alone.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - LATER</stage_direction> <scene_description>Destiny dances for an aggressive STOCK BROKER (40s).</scene_description> <character>STOCK BROKER</character> <dialogue>Yeah, what else you got? C'mon don't be a tease. Are you a tease? Feel how hard you make me.</dialogue> <scene_description>Destiny looks where the cameras used to be.</scene_description> <character>DESTINY</character> <dialogue>...we're not supposed to...</dialogue> <character>STOCK BROKER</character> <dialogue>C'mon just stroke it. I'll give you a hundred. A hundred? One hundred?</dialogue> <scene_description>Destiny deliberates. He sees her consideration and pulls out his wallet.</scene_description> <character>STOCK BROKER</character> <dialogue>Yeah. Stroke it. Come on.</dialogue> <scene_description>He puts three bills on the couch.</scene_description> <character>STOCK BROKER</character> <dialogue>Here. Three hundred. Please? Just for a minute. Come on...</dialogue> <scene_description>He pulls out a small vile of cocaine.</scene_description> <character>STOCK BROKER</character> <dialogue>We'll make each other feel good.</dialogue> <scene_description>He taps a bump of coke on his hand, snorts it. Then taps another. Puts it in front of her. She reluctantly leans in.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - BATHROOM - LATER</stage_direction> <scene_description>Destiny sits on the toilet seat, crying. Then takes off her heels and rubs her sore foot, wincing from the pain. She puts her bare feet flat on the bathroom floor.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>When I got off the floor, I saw he gave me three twenties.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - DAY \[YEARS LATER\]</stage_direction> <scene_description>Destiny looks away, her eyes welling at the thought. Elizabeth looks at her, pained for her. Destiny wipes a tear.</scene_description> <character>DESTINY</character> <dialogue>You don't need to believe me. I'm used to people not believing me. I'm only telling you so you understand where my head was at when I saw her.</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - NIGHT \[2011\]</stage_direction> <scene_description>Destiny walks out of the bathroom, still shaken. Flo Rida's "Club Can't Handle Me" is playing too loud. Destiny looks around, lost, when she catches sight of a familiar face -- EVERYTHING SLOWS -- Ramona. Button-down shirt, pencil skirt. She's now rolling with Mercedes and a PETITE GIRL (18). The three of them corral a SHIT-FACED GUY toward the Champagne Room. Ramona spots Destiny. They lock eyes. Like long lost sisters with a secret. Ramona takes a few steps in Destiny's direction. Destiny does the same. They cross the room to each other, meet in the middle, face-to-face. Ramona smiles and holds out her arms. Destiny practically collapses into them.</scene_description> <character>RAMONA</character> <dialogue>Whoa...</dialogue> <scene_description>Ramona holds her up, Destiny burrows into Ramona. They embrace in the middle of the room, swaying back and forth.</scene_description> </scene> <scene> <stage_direction>INT. DINER - LATER</stage_direction> <scene_description>Destiny and Ramona sit in a booth across from each other. Ramona is looking at pictures on Destiny's phone.</scene_description> <character>RAMONA</character> <dialogue>Oh my god she's gorgeous, of course. How old is she?</dialogue> <character>DESTINY</character> <dialogue>Two-and-a-half.</dialogue> <scene_description>Destiny takes her phone back. Ramona looks at her, smiling.</scene_description> <character>RAMONA</character> <dialogue>There's nothing like it, is there? Juliet still lets me sleep in her bed but I just know she's gonna kick me out any day.</dialogue> <scene_description>They look at each other, bursting with years of stories.</scene_description> <character>RAMONA</character> <dialogue>I missed you, you know.</dialogue> <character>DESTINY</character> <dialogue>I missed you, too.</dialogue> <character>RAMONA</character> <dialogue>Where'd you go baby?</dialogue> <scene_description>Destiny shakes her head.</scene_description> <character>RAMONA</character> <dialogue>What happened with Johnny?</dialogue> <scene_description>They hold hands across the table. Sending messages.</scene_description> <character>RAMONA</character> <dialogue>Why didn't you call me? You and Lily can always stay with me and Juju. You know that.</dialogue> <scene_description>Destiny goes to pull her hands away but Ramona holds on.</scene_description> <character>RAMONA</character> <dialogue>C'mon don't do that thing. It's me.</dialogue> <scene_description>Destiny looks up at her.</scene_description> <character>DESTINY</character> <dialogue>I'm so tired. It's exhausting...</dialogue> <scene_description>Ramona smiles. Destiny tries to but tears fall from her eyes. She quickly wipes them away.</scene_description> <character>RAMONA</character> <dialogue>Hey. Remember what we were like back then? Remember? We were fucking hurricanes, weren't we?</dialogue> <character>DESTINY</character> <dialogue>I just need to make money. I need to be independent. Me and Lily.</dialogue> <scene_description>Ramona looks at Destiny. Squeezes her hand.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>She told me what happened after the crash...</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR \[2008\]</stage_direction> <scene_description>Ramona looks around the room. The place is almost completely empty. The few patrons are crying on the girls' shoulders.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - LOCKER ROOM - LATER</stage_direction> <scene_description>The girls are all crying on each other's shoulders. For the first time, Ramona looks very worried. She takes out her iPhone and calls Destiny. But Destiny doesn't answer.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>With half of Wall Street unemployed, Ramona wasn't far behind...</dialogue> </scene> <scene> <stage_direction>INT. CLOTHING STORE - DAY \[2010\]</stage_direction> <scene_description>Ramona's working retail, folding clothes at the back of the store with Mercedes.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Mercedes got her a job in fashion.</dialogue> <character>MERCEDES</character> <dialogue>... I can't believe he got arrested. Like now what am I supposed to do? How am I supposed to pay for lawyers when I can't even afford his half of the rent?</dialogue> <character>MERCEDES</character> <dialogue>It's like...enough to make me call off the wedding.</dialogue> <character>RAMONA</character> <dialogue>Well? Listen, Mercedes...and you know I love Dragon...but do you really wanna marry someone who's probably going to prison?</dialogue> <character>MERCEDES</character> <dialogue>I don't know. I mean...three-to- five is a big commitment.</dialogue> <scene_description>A RESERVED WOMAN (50s) comes out of the dressing room.</scene_description> <character>RESERVED WOMAN</character> <dialogue>I can't get the zipper.</dialogue> <character>RAMONA</character> <dialogue>Let me help you, dear.</dialogue> <scene_description>Ramona goes to help the woman. Zips her up.</scene_description> <character>RAMONA</character> <dialogue>Wow this looks so good on you. And who doesn't love khaki, am I right?</dialogue> </scene> <scene> <stage_direction>INT. CLOTHING STORE - MANAGER'S OFFICE - LATER</stage_direction> <scene_description>Ramona takes a breath and knocks on the half-open door.</scene_description> <character>RAMONA</character> <dialogue>Hey...Mark?</dialogue> <scene_description>The MANAGER (20s) looks up from his sandwich.</scene_description> <character>RAMONA</character> <dialogue>Hey, I was hoping you wouldn't mind if I ducked out early on Fridays so I could pick up my daughter at school? She has half days for the rest of the year...</dialogue> <character>MANAGER</character> <parenthetical>(mouth full)</parenthetical> <dialogue>Rest of the year? No.</dialogue> <character>RAMONA</character> <dialogue>Rest of the school year.</dialogue> <scene_description>It takes him too long to finish a bite and swallow.</scene_description> <character>MANAGER</character> <dialogue>No.</dialogue> <character>RAMONA</character> <dialogue>... well, what if I could find someone to switch shifts with? Mercedes said she'd--</dialogue> <scene_description>He sighs, rolling his head around.</scene_description> <character>MANAGER</character> <dialogue>It took me forever to figure out everyone's stupid schedules...</dialogue> <character>RAMONA</character> <dialogue>I know, Mark. I just...I wouldn't ask if it wasn't for my kid, she's...at a difficult age and, well, lately she's been having a hard time at her new school--</dialogue> <character>MANAGER</character> <dialogue>Am I the father?</dialogue> <scene_description>Ramona stops, confused. He looks at her.</scene_description> <character>RAMONA</character> <dialogue>What?</dialogue> <character>MANAGER</character> <dialogue>Am I the father?</dialogue> <scene_description>She looks at him. Of course not.</scene_description> <character>RAMONA</character> <dialogue>No...</dialogue> <character>MANAGER</character> <dialogue>Then why would I give a shit?</dialogue> <scene_description>He gets back to his sandwich.</scene_description> <character>MANAGER</character> <dialogue>Don't you have a babysitter or a nanny or something?</dialogue> <scene_description>Ramona shakes her head.</scene_description> <character>RAMONA</character> <dialogue>... I can't afford that.</dialogue> <character>MANAGER</character> <dialogue>Well, maybe if you put in more hours instead of racing out all the time...Craig's got two kids, you don't see him rushing home every time someone gets a nosebleed...</dialogue> <scene_description>His voice is drowned out by Kelly Rowland's "Motivation", as we PUSH IN on Ramona's face...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - NIGHT</stage_direction> <scene_description>Ramona is back at it, dancing alongside TWO GIRLS (20s) for a pair of COOL GUYS (20s, dressed down). They're paying much more attention (money) to the other girls. Ramona sees one of the guys gesture at her, then lean over and whisper something to his boy. His boy calls Ramona over. She dances up to them. One of them pulls out a twenty.</scene_description> <character>COOL GUY</character> <dialogue>Hey, why don't you take a break? No offense, we're just not feeling ya.</dialogue> <scene_description>She looks at them. Takes the twenty and walks out.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - MOMENTS LATER</stage_direction> <scene_description>Ramona walks off the floor and into the dressing room where she sees a small girl sitting on the floor, crying.</scene_description> <character>RAMONA</character> <dialogue>What's wrong, baby?</dialogue> <scene_description>ANNABELLE (18, the petite girl we saw Ramona rolling with) looks up at her with big eyes.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - MOMENTS LATER</stage_direction> <scene_description>Annabelle watches Ramona use a tiny pair of scissors to cut the string off a tampon.</scene_description> <character>RAMONA</character> <dialogue>There...we...go. You're gonna have to reach in there to get it out.</dialogue> <scene_description>Annabelle smiles, grateful.</scene_description> <character>ANNABELLE</character> <dialogue>How d'you learn to do that?</dialogue> <character>RAMONA</character> <dialogue>Oh, some...old......</dialogue> <parenthetical>(trails off, half-laughs)</parenthetical> <dialogue>Don't you have sisters?</dialogue> <scene_description>Annabelle shakes her head, starts crying again.</scene_description> <character>ANNABELLE</character> <dialogue>My brothers don't talk to me anymore. I told my mom and dad I worked here and they kicked me out of the house.</dialogue> <scene_description>Ramona looks at Annabelle's innocent face, plays with her hair.</scene_description> <character>RAMONA</character> <dialogue>... you wanna go fishing?</dialogue> <scene_description>Annabelle looks at Ramona, that infectious smile.</scene_description> <character>YOUNG WOMAN (V.O.)</character> <dialogue>What's fishing?</dialogue> <scene_description>The sound of the NYSE CLOSING BELL takes us to...</scene_description> </scene> <scene> <stage_direction>EXT. FINANCIAL DISTRICT OFFICES - END OF WORK DAY</stage_direction> <scene_description>Guys in suits pour out of their offices...</scene_description> </scene> <scene> <stage_direction>EXT. FINANCIAL DISTRICT BAR - END OF WORK DAY</stage_direction> <scene_description>And into the bars. We PAN OVER to find Ramona, Mercedes and Annabelle seated at one of the outdoor bars, sizing them up.</scene_description> <character>RAMONA</character> <dialogue>Since the recession, the clubs need customers. So all we gotta do is reel 'em in...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - LATER</stage_direction> <scene_description>Among the happy-hour crowd, we find Mercedes sitting in a form-fitting dress at the bar.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>Anyone can own one nice suit. You wanna look at their shoes, their watches, briefcases...</dialogue> <scene_description>Mercedes makes eye contact with a BUSINESSMAN.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>Their wedding rings. Always look for a wedding ring.</dialogue> <scene_description>His wedding ring glints in her eye. Mercedes goes in.</scene_description> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - LATER</stage_direction> <scene_description>Mercedes sits with the married businessman. They clink glasses. She touches his upper thigh. He looks down, psyched.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>Once you got 'em on the hook, that's when we get the net.</dialogue> <scene_description>Just then, Annabelle and Ramona roll up to the bar.</scene_description> <character>MERCEDES</character> <dialogue>Spencer, these are my co-workers!</dialogue> <scene_description>The girls all surround Spencer, touching him, passing around shots, pretending to drink them, passing around coke, pretending to sniff it. Spencer really does the shots. Spencer really sniffs the coke.</scene_description> <character>RAMONA</character> <dialogue>Let's go to a club!</dialogue> <character>MERCEDES</character> <dialogue>Let's go to a strip club!</dialogue> <character>ANNABELLE</character> <dialogue>Oh I don't know...</dialogue> <scene_description>Annabelle rubs Spencer's arm. Mercedes touches his leg.</scene_description> <character>RAMONA</character> <dialogue>C'mon! We're all gonna be at our desks at 9am regretting the moment we could've gone to a strip club together and didn't...let's do it!</dialogue> <character>SPENCER</character> <dialogue>I'm in!</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - LATER</stage_direction> <scene_description>They all pile in, Ramona behind the wheel.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>Then we steer him to the club...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - LATER</stage_direction> <scene_description>The girls escort Spencer through the front door.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>...where we've negotiated ourselves a percentage of his spending...</dialogue> <scene_description>The MANAGER gives them a nod.</scene_description> <character>RAMONA (V.O.)</character> <dialogue>...and then we run up his credit card as far as we can push it.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - PRIVATE AREA - LATER</stage_direction> <scene_description>Mercedes holds up an empty vodka bottle.</scene_description> <character>MERCEDES</character> <dialogue>Another round?</dialogue> <scene_description>Spencer hands over his credit card.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - BEHIND THE BAR - MOMENTS LATER</stage_direction> <scene_description>Mom swipes his credit card through the machine.</scene_description> </scene> <scene> <stage_direction>INT. MOVES - PRIVATE AREA - MOMENTS LATER</stage_direction> <character>RAMONA</character> <dialogue>Shots!</dialogue> <scene_description>All the girls hold their shot glasses in the air. Spencer too, though he clearly doesn't need it. He slams his. They pretend to slam theirs. Someone puts the bill in front of him, puts the pen in his hand. He signs without looking.</scene_description> </scene> <scene> <stage_direction>EXT. MOVES - LATER</stage_direction> <scene_description>The girls fold Spencer into the back of a cab.</scene_description> <character>RAMONA</character> <dialogue>Okay, Spencer, tell the nice man where you live.</dialogue> <character>SPENCER</character> <dialogue>N'York.</dialogue> <character>RAMONA</character> <dialogue>Little more specific.</dialogue> <character>SPENCER</character> <dialogue>Fith Avenue.</dialogue> <character>RAMONA</character> <dialogue>Close enough.</dialogue> <scene_description>Ramona shuts the door. The cab pulls away. The girls can't help but crack up, laughing.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>But going fishing doesn't mean you catch a marlin...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - ANOTHER NIGHT</stage_direction> <scene_description>Annabelle sits in a form-fitting dress at the bar, sizing up a GOOD-LOOKING GUY in a nice suit. He turns, smiles at her. She looks down at his shitty shoes. She sighs and turns away.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>... and some of these guys didn't want to party.</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - ANOTHER NIGHT</stage_direction> <scene_description>The girls try the same thing on a STRAIGHT-LACED MAN (40s). Mercedes holds up shots. He shakes his head.</scene_description> <character>STRAIGHT-LACED MAN</character> <dialogue>Oh no. No thank you.</dialogue> <scene_description>Mercedes and Annabelle look at each other.</scene_description> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - ANOTHER NIGHT</stage_direction> <scene_description>The girls try again on a MAN IN GLASSES (30s).</scene_description> <character>MAN IN GLASSES</character> <dialogue>Oh I can't, but...this was fun.</dialogue> <scene_description>He slips out, leaving the three girls alone. Another waste of a night. The bartender hands Ramona the bill.</scene_description> <character>RAMONA</character> <dialogue>Fffuck.</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - LATER</stage_direction> <scene_description>Ramona, Mercedes and Annabelle sit together, defeated.</scene_description> <character>ANNABELLE</character> <dialogue>... what do we do now?</dialogue> <character>MERCEDES</character> <dialogue>I'm supposed to meet a new lawyer for Dragon. I can't fucking afford him now.</dialogue> <scene_description>Annabelle starts crying.</scene_description> <character>ANNABELLE</character> <dialogue>I can't move back home.</dialogue> <character>MERCEDES</character> <dialogue>Guess it's back to the pole.</dialogue> <scene_description>Ramona looks at them, the wheels turning.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>That's when Ramona came up with her special recipe.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - ANOTHER NIGHT</stage_direction> <scene_description>Parked outside of the bar. Ramona shows Annabelle and Mercedes a vile of powder. They look at her wide-eyed.</scene_description> <character>ANNABELLE</character> <dialogue>Are you serious?</dialogue> <character>RAMONA</character> <dialogue>It's barely any different than what we're doing now. It's a short-cut. A sure thing.</dialogue> <character>ANNABELLE</character> <dialogue>What if someone gets hurt?</dialogue> <character>RAMONA</character> <dialogue>Nobody'll get hurt. At worst, they'll have a bad hangover.</dialogue> <character>MERCEDES</character> <dialogue>What if they go to the cops?</dialogue> <character>RAMONA</character> <dialogue>And say what? I just spent five grand at a strip club? Send help? They won't know what happened til they look at their bank account.</dialogue> <scene_description>Annabelle exhales.</scene_description> <character>ANNABELLE</character> <dialogue>I think I'm gonna throw up.</dialogue> <character>RAMONA</character> <dialogue>We're not the only ones doing this. How do you think the clubs stay in business? Post-2008. It's a side hustle. Everybody's had to get creative.</dialogue> <character>MERCEDES</character> <dialogue>... I know a girl from Queens who did this.</dialogue> <character>ANNABELLE</character> <dialogue>Did she get caught?</dialogue> <character>MERCEDES</character> <dialogue>Nah. She sent her two kids to college. Now she lives in Miami. Started her own nail salon.</dialogue> <scene_description>The girls look at each other.</scene_description> <character>RAMONA</character> <dialogue>So what do you think?</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT \[2011\]</stage_direction> <scene_description>Destiny looks at Ramona, wide-eyed with all the information.</scene_description> <character>DESTINY</character> <dialogue>What is it?</dialogue> <character>RAMONA</character> <dialogue>Ketamine and MDMA. The Ketamine wipes their memory and the MDMA makes them happy.</dialogue> <character>DESTINY</character> <dialogue>How many times have you done it?</dialogue> <character>RAMONA</character> <dialogue>Three. Including tonight.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We made five grand. Split three ways.</dialogue> <scene_description>Destiny exhales.</scene_description> <character>RAMONA</character> <dialogue>Could make it four.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>It'd be like old times.</dialogue> <scene_description>Ramona pushes back Destiny's hair. Destiny's head is spinning. Ramona leans in.</scene_description> <character>RAMONA</character> <dialogue>We gotta start thinking like these Wall Street guys. I mean, look what they did to this country. They stole from everybody. Hard-working people lost everything. And not a single one of these guys went to jail. Is that fair? They're coming in the club with stolen money. That's who's paying for the blow jobs. The fucking firefighter retirement fund. Fuck these guys.</dialogue> <scene_description>A WAITRESS comes over and pours more coffee. Destiny looks at her. She walks away. Destiny watches the waitress work.</scene_description> <character>RAMONA</character> <dialogue>We can't dance forever. You want to go back to minimum wage?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The game is rigged. And it doesn't reward the people who play by the rules. You can either stand in the corner or get in the ring.</dialogue> <scene_description>Destiny's wheels are turning. She looks up at Ramona.</scene_description> <character>DESTINY</character> <dialogue>I don't want to hurt anybody. I'm not out for revenge.</dialogue> <character>RAMONA</character> <dialogue>Me either. They would do this anyway. It's like robbing a bank. Except they're giving us the keys. Nobody gets hurt.</dialogue> <scene_description>Ramona looks at her.</scene_description> <character>RAMONA</character> <dialogue>... so are you in?</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - NIGHT</stage_direction> <scene_description>Mercedes sits close with a SHORT GUY (30s, tailored suit.)</scene_description> <character>SHORT GUY</character> <dialogue>Well it's getting late....</dialogue> <character>MERCEDES</character> <dialogue>Oh I guess it is. That's a shame...</dialogue> <scene_description>She crosses her legs. He tries to look up her skirt.</scene_description> <character>SHORT GUY</character> <dialogue>What about you? You gotta get up early tomorrow? Or....</dialogue> <character>MERCEDES</character> <dialogue>Mmmmm...let's have one more.</dialogue> <scene_description>She flags down the bartender for one more round. Just then, Annabelle, Destiny and Ramona join them.</scene_description> <character>MERCEDES</character> <dialogue>Hey, these are my sisters!</dialogue> <scene_description>The girls surround him, making introductions, touching him all over, hands everywhere. Ramona gets them all drinks, giving the bartender a huuuge tip. She reaches in her bag. Mercedes gets the short guy's attention, distracting him while Ramona goes for his drink. The guy turns, about to see, when Annabelle steps in front of him, blocking his view with her angelic face. Destiny goes to rub his shoulders. Ramona takes a tiny vile out of her bag and taps it against his glass. The powder drops in his drink. Just a sprinkle.</scene_description> <character>RAMONA</character> <dialogue>To sisters!</dialogue> <character>GIRLS</character> <dialogue>To sisters!</dialogue> <character>SHORT GUY</character> <dialogue>To sisters!</dialogue> <scene_description>He toasts them. Destiny watches him down his drink. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MOVES - NIGHT</stage_direction> <scene_description>CLOSE ON FOUR PAIRS OF HEELS WALKING WITH A MAN'S SHINY SHOES LEVITATING AN INCH OFF THE GROUND. The girls carry the short guy, half-conscious toward the --</scene_description> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - CONTINUOUS</stage_direction> <scene_description>Ramona shuts the curtain behind them. The girls drop the guy on the couch. He bounces off the couch onto the floor. Annabelle grabs a bucket of champagne and throws up in it.</scene_description> <character>ANNABELLE</character> <dialogue>I'm sorry...</dialogue> <character>RAMONA</character> <dialogue>Help her.</dialogue> <character>MERCEDES</character> <dialogue>You okay?</dialogue> <scene_description>Mercedes goes to help Annabelle. Destiny and Ramona drag the guy back up on the couch.</scene_description> <character>DESTINY</character> <dialogue>Does this always happen?</dialogue> <character>RAMONA</character> <dialogue>No...</dialogue> <character>DESTINY</character> <dialogue>Was it too much?</dialogue> <character>RAMONA</character> <dialogue>I don't know...you alright, Gary?</dialogue> <scene_description>Gary smiles and drools.</scene_description> <character>RAMONA</character> <dialogue>Can you open your eyes, Gary?</dialogue> <scene_description>Gary opens one eye.</scene_description> <character>RAMONA</character> <dialogue>What's that, Gary? Another round?</dialogue> <scene_description>Gary won't budge.</scene_description> <character>DESTINY</character> <dialogue>... what do we do?</dialogue> <character>RAMONA</character> <dialogue>Wait!</dialogue> <scene_description>Ramona points. Destiny looks. Gary is ever-so-slowly reaching for his pocket.</scene_description> <character>RAMONA</character> <dialogue>That's it, Gary...</dialogue> <scene_description>He creeps out his wallet, fumbling with his credit cards.</scene_description> <character>RAMONA</character> <dialogue>Which one is it, Gary, this one?</dialogue> <scene_description>He nods yes. Ramona takes it and starts out. We follow her --</scene_description> </scene> <scene> <stage_direction>INT. MOVES - THE FLOOR - CONTINUOUS</stage_direction> <scene_description>Ramona strides up to the bar, hands the card to Mom, then looks at the dancers hard at work. The CREDIT CARD swipes... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - LATER</stage_direction> <scene_description>CHAMPAGNE POPS! CLOSE on Destiny's face, flush with adrenaline. She dances on the couch with Ramona and Mercedes, passing around the champagne bottle, music playing. Annabelle is seated, a little queasy, but happy. They're all laughing.</scene_description> <character>MERCEDES</character> <dialogue>... no, the worst guys are the ones that put condoms on in the bathroom ahead of time. Then you know you gotta grind it out.</dialogue> <scene_description>Mercedes steps over Annabelle, gives her a lap-dance. Annabelle laughs.</scene_description> <character>ANNABELLE</character> <dialogue>We don't have to go back, do we?</dialogue> <character>RAMONA</character> <dialogue>Our dancing days are over.</dialogue> <scene_description>Annabelle smiles. Destiny smiles.</scene_description> <character>DESTINY</character> <dialogue>I can pay off my grandmother's house.</dialogue> <scene_description>Mercedes fans herself with a splay of money.</scene_description> <character>MERCEDES</character> <dialogue>I think I'm gonna get myself an engagement ring. Dragon can sit in jail a few more weeks.</dialogue> <scene_description>They all laugh. Ramona holds up the champagne bottle.</scene_description> <character>RAMONA</character> <dialogue>To Gary!</dialogue> <character>GIRLS</character> <dialogue>To Gary!</dialogue> <scene_description>They lift Annabelle to her feet. The four of them dance.</scene_description> <character>JULIET (O.S.)</character> <dialogue>Mom?</dialogue> <scene_description>They turn to see Juliet in her pajamas. Ramona goes to her.</scene_description> <character>RAMONA</character> <dialogue>Oh baby I'm sorry, did we wake you?</dialogue> <scene_description>Ramona takes Juliet's hands and starts to dance with her. Juliet can't help but laugh, sleepy. Ramona picks her up and carries her over to the other girls. Mercedes and Annabelle are dancing on either side of Destiny.</scene_description> <character>ANNABELLE</character> <dialogue>You guys really are my sisters.</dialogue> <scene_description>Annabelle gives Destiny a "big sis" kiss on the cheek. Destiny beams, wrapping her arms around her "little sis". Mercedes wraps her arms around both of them. Ramona hugs them all.</scene_description> <character>RAMONA</character> <dialogue>That's right. We're a family now. A family with moneyyyyyy!</dialogue> <scene_description>The girls howl. Destiny smiles, part of the family.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Okay I know it sounds bad to say we were, like, drugging people...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - KITCHEN - PRESENT</stage_direction> <scene_description>The young woman looks at Destiny, wide-eyed, recorder in hand.</scene_description> <character>DESTINY</character> <dialogue>... but in our world, it was like, normal. Half of these guys were mainlining coke on the way to work. But still, we needed to make it as safe as possible. So I suggested we tweak the recipe...</dialogue> <scene_description>Destiny turns on the stove. Puts on a teapot. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - KITCHEN - DAY</stage_direction> <scene_description>Ramona and Destiny stand at the counter.</scene_description> <character>DESTINY</character> <dialogue>What do you think, 60/40?</dialogue> <character>RAMONA</character> <dialogue>60/40 what?</dialogue> <character>DESTINY</character> <dialogue>60 MDMA, 40 ketamine?</dialogue> <character>RAMONA</character> <dialogue>... that sounds right.</dialogue> <scene_description>Ingredients on the counter. Pills of MDMA. Viles of liquid K.</scene_description> <character>DESTINY</character> <dialogue>Do we turn the powder into a liquid or turn the liquid into a powder?</dialogue> <scene_description>Ramona thinks. Tapping her nails. Chopin's Etude Op. 10 No. 4 in C-sharp minor. CLOSE ON THE PILLS BEING CRUSHED WITH A PESTLE... CLOSE ON THE BURNER ON HIGH... WATER BOILING... Ramona ties on an apron. Puts a plate on top of the pot of boiling water. Sets the flame low. Destiny pours the ketamine into the plate, Ramona watching, like mother and daughter baking a cake. The liquid slowly evaporates. Ramona stirs. Destiny refills the pan until only a powder remains. They mix the two powders together. Destiny and Ramona each sample a tiny amount. CUT TO: They are asleep on the floor. Ramona slowly wakes up. She leans over and wakes up Destiny. They look at each other.</scene_description> <character>DESTINY</character> <dialogue>Let's try it in the oven.</dialogue> <scene_description>CUT TO: The liquid ketamine bakes in a glass pan. Ramona opens the oven, wearing oven mitts, and pulls out the glass pan. She sets the pan on top of the stove to cool. Destiny looks at the crystals, in awe.</scene_description> <character>DESTINY</character> <dialogue>How much?</dialogue> <character>RAMONA</character> <dialogue>Just a sprinkle.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - KITCHEN - LATER</stage_direction> <scene_description>Ramona and Destiny clean up after themselves.</scene_description> <character>DESTINY</character> <dialogue>I'm still not sure about strangers.</dialogue> <character>RAMONA</character> <dialogue>But that's the beauty of 'em. They're strangers.</dialogue> <character>DESTINY</character> <dialogue>I don't want to slip it to anybody who's not already on something. We gotta know these guys like to party. And that they have money to lose. Enough to not care if some is missing. With strangers, it's unpredictable, there's no guarantee.</dialogue> <scene_description>Ramona nods in agreement. She starts to smile.</scene_description> <character>DESTINY (V.O.)(CONT'D)</character> <dialogue>So we called up some old friends.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - NIGHT</stage_direction> <scene_description>CLOSE on Ramona's phone as she scrolls through her contacts... Dev Bear Stearns, Eddie Goldman Sachs, David Morgan Stanley... She picks one. Like cold-calling. Mercedes and Destiny watch Ramona at work, Annabelle in the background, playing with Juliet and Lily.</scene_description> <character>RAMONA (INTO PHONE)</character> <dialogue>David, is that you? It's Ramona.</dialogue> <character>(...)</character> <dialogue>Well I definitely remember you and I'm sure you remember me because nobody ever forgets meeting me.</dialogue> <character>RAMONA (INTO PHONE)</character> <parenthetical>(...)</parenthetical> <dialogue>Why don't I send you a picture and jog your memory?</dialogue> <scene_description>RAMONA TAKES A PHOTO OF ANNABELLE. RAMONA ATTACHES THE PHOTO TO A TEXT: Hit me up xx. SEND. Almost immediately, Ramona's phone BUZZES with a response.</scene_description> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - LATER</stage_direction> <scene_description>Annabelle sits too close to DAVID (40s). (We remember him as the WALL STREET GUY from the club. Mr. Lucy Liu.) Just then, Mercedes, Ramona, and Destiny roll up to the bar.</scene_description> <character>MERCEDES</character> <dialogue>David, these are my friends!</dialogue> <scene_description>QUICK MONTAGE:</scene_description> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - VARIOUS NIGHTS</stage_direction> <scene_description>A parade of familiar faces, assholes we met before 2008...</scene_description> <character>ANNABELLE</character> <dialogue>These are my sisters!</dialogue> <scene_description>The girls surround Guy #2, touching, distracting Guy #3, handing a drink to Guy #4, Guy #5 takes a sip... CLOSE on the powder dissolving in their drinks... CLOSE on their hands clinking glasses...</scene_description> </scene> <scene> <stage_direction>EXT. FINANCIAL DISTRICT BAR - NIGHT</stage_direction> <scene_description>They pile Guy #6 into Ramona's Escalade...</scene_description> </scene> <scene> <stage_direction>EXT. MOVES - NIGHT</stage_direction> <scene_description>They corral Guy #7 into the club... CUT TO: VARIOUS CREDIT CARDS BEING SWIPED! AND APPROVED!</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - VARIOUS</stage_direction> <scene_description>The girls pop champagne, celebrating.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S GRANDMOTHER'S HOUSE - DAY</stage_direction> <scene_description>Destiny gives her grandmother a giant stack of money and a kiss on the cheek. Her grandmother beams, so proud.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - DAY</stage_direction> <scene_description>Ramona helps her daughter with her homework, as Manuela cleans up after dinner. Ramona smiles, grateful she's back.</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE - DAY</stage_direction> <scene_description>Mercedes shakes hands with a HIGH-POWERED LAWYER for Dragon.</scene_description> </scene> <scene> <stage_direction>INT. ANNABELLE'S BROOKLYN APARTMENT - DAY</stage_direction> <scene_description>Annabelle rearranges furniture in her own place. She sits on her couch with her CAT, looks around, happy, independent.</scene_description> </scene> <scene> <stage_direction>INT. HIGH-END DEPARTMENT STORE - DAY</stage_direction> <scene_description>The four girls try on shoes. Destiny watches Ramona on one of her many cell phones.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Maybe one of 'em would call and complain but we could handle it...</dialogue> <character>RAMONA</character> <dialogue>What are you talking about? You had a great time. You were so happy you kept tipping everybody, remember?</dialogue> <character>DESTINY (V.O.)</character> <dialogue>Ramona could always handle it...</dialogue> <character>RAMONA (INTO PHONE)</character> <dialogue>What are you gonna do? Call the police? Are you really gonna tell your wife and the police what you did? Does that sound worth whatever amount you think you're missing? You went out, you had an epic night, it cost money, why should it cost you any more than that?</dialogue> <character>DESTINY (V.O.)</character> <dialogue>We treated it like a business...</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - DAY</stage_direction> <scene_description>Destiny and Ramona sit at the kitchen table surrounded in paperwork, their daughters play together in the background.</scene_description> <character>RAMONA</character> <dialogue>... so Annabelle'll meet JP Morgan and Mercedes'll meet Wells Fargo.</dialogue> <character>DESTINY</character> <dialogue>Mercedes met Wells Fargo last time.</dialogue> <character>RAMONA</character> <dialogue>How much did we charge last time?</dialogue> <character>DESTINY</character> <dialogue>... five thousand on his American Express and two thousand on his corporate card.</dialogue> <character>RAMONA</character> <dialogue>Does he have any airline miles?</dialogue> </scene> <scene> <stage_direction>INT. HIGH-END DEPARTMENT STORE - DRESSING ROOMS - DAY</stage_direction> <scene_description>Annabelle and Mercedes try on expensive dresses.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>We branched out, cultivated a certain level of clientele...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR / UPSTAIRS RESTAURANT - NIGHT</stage_direction> <scene_description>Annabelle sits next to a HANDSY MAN (40s).</scene_description> <character>ANNABELLE</character> <dialogue>An architect. Whoa. No wonder you got such nice hands.</dialogue> <character>DESTINY (V.O.)</character> <dialogue>... but the bigger the fish, the bigger the bait had to be.</dialogue> <scene_description>The architect bites her neck. She tries to stay playful.</scene_description> <character>ARCHITECT</character> <dialogue>Let's fuck in the bathroom.</dialogue> <character>ANNABELLE</character> <dialogue>Owwwhhh...hang on...my sisters should be here any minute...</dialogue> <scene_description>Annabelle tries to keep his hands at bay...</scene_description> <character>DESTINY (V.O.)</character> <dialogue>So that's when I said...I mean, that's when we realized...</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - NIGHT</stage_direction> <scene_description>Parked. Destiny turns to Ramona in the driver's seat. Destiny's lips move, BUT WE HEAR...</scene_description> <character>DESTINY (V.O.)</character> <dialogue>We need to be outsourcing.</dialogue> <scene_description>Ramona nods and responds, lips moving, BUT WE HEAR... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Destiny hands the young woman a cup of tea.</scene_description> <character>DESTINY</character> <dialogue>So we put an ad in Craigslist.</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. MALL FOOD COURT - DAY \[2012\]</stage_direction> <scene_description>ONE SHOT: FOUR RECRUITS (20-39) sit with trays from the various vendors. The girls are sore thumbs, even at the mall. Mom stands in front of them, clipboard in hand. Destiny stands behind her, taking mental notes.</scene_description> <character>MOM</character> <dialogue>Okay, lovelies. Does anyone have any allergies? Anything life- threatening?</dialogue> <scene_description>GEORGIA (20) speaks up first.</scene_description> <character>GEORGIA</character> <dialogue>I got asthma.</dialogue> <scene_description>Next to her, CRYSTAL (20s).</scene_description> <character>CRYSTAL</character> <dialogue>I don't like feet.</dialogue> <character>MOM</character> <dialogue>You have a foot allergy?</dialogue> <character>CRYSTAL</character> <dialogue>I'm just saying if a foot goes near my face, I will shut down.</dialogue> <scene_description>TRIXIE (30s) raises her hand.</scene_description> <character>TRIXIE</character> <dialogue>I don't mind feet.</dialogue> <character>MOM</character> <dialogue>Great, you two'll work together.</dialogue> <scene_description>Trixie and Crystal wave at each other.</scene_description> <character>MOM</character> <dialogue>Okay, now everybody find a partner and let's work on our fake-drinking and sniffing.</dialogue> <scene_description>Destiny looks up to see Ramona and a STRUNG-OUT BLONDE (30s) walking over. She joins the group with a plate of noodles. Ramona joins Destiny, beverage in hand.</scene_description> <character>DESTINY</character> <dialogue>Where were you?</dialogue> <character>RAMONA</character> <dialogue>They have an Orange Julius.</dialogue> <scene_description>Ramona holds out her Julius. Destiny takes a sip of it.</scene_description> <character>DESTINY</character> <dialogue>What's Coco doing here? We said no junkies, no criminals.</dialogue> <character>RAMONA</character> <dialogue>So?</dialogue> <character>DESTINY</character> <dialogue>So she's a junkie and a criminal.</dialogue> <character>RAMONA</character> <dialogue>People change...</dialogue> <scene_description>They look at Coco practicing a real sniff of cocaine.</scene_description> <character>RAMONA</character> <dialogue>Fine, but I promised her lunch.</dialogue> <parenthetical>(turns, gasps)</parenthetical> <dialogue>And who's this??</dialogue> <scene_description>Ramona runs over to ANGEL (30), a TINY DOG in her purse.</scene_description> <character>ANGEL</character> <dialogue>This is Mr. Bruce.</dialogue> <scene_description>Destiny watches Ramona takes the little dog in her arms.</scene_description> <character>ANGEL</character> <dialogue>I take him with me everywhere, I hope that's not a problem.</dialogue> <character>RAMONA</character> <dialogue>Not at all.</dialogue> <scene_description>Mom tries to wrangle everybody back on course.</scene_description> <character>MOM</character> <dialogue>Okay, angels, eyes up here, now let's work on our etiquette. Does everybody have a fork?</dialogue> <scene_description>The girls all hold up their plastic forks.</scene_description> </scene> <scene> <stage_direction>INT. MALL - LATER</stage_direction> <scene_description>The girls flood the department store, browsing the racks of nicer clothes, trying on make-up, sampling perfume. The other SHOPPERS look on. The SALESGIRLS are shocked. Ramona holds up a dress. Destiny holds up a credit card.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - VARIOUS NIGHTS</stage_direction> <scene_description>Parked. Ramona behind the wheel, Destiny beside her. They turn to see Mercedes and Georgia in back, Herve Leger dresses...</scene_description> <character>DESTINY</character> <dialogue>No drinking. No drugs.</dialogue> <scene_description>INTERCUT WITH: Annabelle and Angel (and Mr. Bruce) in the back-seat...</scene_description> <character>RAMONA</character> <dialogue>Once you get the signature, you can party your head out.</dialogue> <scene_description>INTERCUT WITH: Crystal and Trixie in the back-seat. Ramona hands over a vile of powder. Crystal takes it... Annabelle takes the vile... Mercedes takes the vile. CUE: Scott Walker's "Next"...</scene_description> </scene> <scene> <stage_direction>INT. MOVES - CHAMPAGNE ROOM - VARIOUS</stage_direction> <scene_description>Georgia and Trixie dance for the Stockbroker who gave Destiny three twenties. Just when they think he's gonna pass out, he rises to his feet and dances with them. The girls look at each other. Georgia uses her inhaler. Angel and Annabelle dance for the Alpha, waiting for him to pass out. When he finally does, they play with Mr. Bruce. Crystal and Mercedes are whispering in the Corporate Raider's ear. He looks like a baby in their arms.</scene_description> <character>MERCEDES</character> <dialogue>What's your mother's maiden name?</dialogue> <character>CRYSTAL</character> <dialogue>And what are the last four digits of your social?</dialogue> <scene_description>We JUMP CUT from night to night, as each of the guys begins to lose consciousness...Crystal and Trixie keep going with the dancing stockbroker until... he slowly falls like a tree through the glass table and SMASHES through it. The table shatters into pieces.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - MOMENTS LATER</stage_direction> <scene_description>Parked. Destiny is on the phone, card in hand.</scene_description> <character>DESTINY</character> <dialogue>6-6-1-0. And what's my balance?</dialogue> <scene_description>Ramona looks at Destiny, proud.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>I could do all the math in my head.</dialogue> </scene> <scene> <stage_direction>INT. MOVES - NIGHT</stage_direction> <scene_description>The bouncers hold the doors open for Destiny and Ramona as they walk in like pimps, with their girls in formation.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Like if you told me the bill was 40 grand, I knew everybody's cut.</dialogue> <scene_description>All the employees smile and nod at them, as the girls make their way through the room.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>There were nights and weekends when we brought 100 grand into the club. And everybody got in on the action.</dialogue> <scene_description>SUPER: Moves Gentleman's Club declined to comment.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>The hosts. The managers. The DJ. This is during the recession, mind you. Without me making the effort to go out and market and promote, they wouldn't have a business. We weren't just some disposable dancers anymore. I was CFO of my own fucking corporation.</dialogue> <scene_description>Destiny looks around, standing tall. CUT TO: MOVING MEN. As far as the eye can see, lugging heavy furniture, couches, bed frames, boxes labeled FUR. SHOES. A FEW SWEATING MEN emerge from the truck carrying a TANNING BED. We follow the tanning bed, as they carry it into...</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - DAY</stage_direction> <scene_description>Destiny and Ramona watch the men drag everything inside and up the stairs. Ramona gestures at the living room...</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - CHRISTMAS MORNING</stage_direction> <scene_description>Ramona and Destiny sit around the Christmas tree with their daughters and employees, Mom, Annabelle and Mercedes, and Manuela and her two daughters, all opening gifts. Destiny's grandmother among them. Full house. Destiny's grandmother opens a blue jewelry box and gasps.</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>Oh, Dorothy. What have you done?</dialogue> <character>DESTINY</character> <dialogue>You always said you wanted real pearls.</dialogue> <scene_description>Destiny puts the necklace on her grandmother.</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>Did you go to the bottom of the ocean for these?</dialogue> <character>DESTINY</character> <dialogue>Something like that.</dialogue> <scene_description>Destiny's daughter LILY (now 4) unwraps a Barbie dreamhouse.</scene_description> <character>LILY</character> <dialogue>Mommy it's the one I wanted!</dialogue> <character>DESTINY</character> <dialogue>Say thank you to your Aunt Ramona.</dialogue> <character>LILY</character> <dialogue>Thank you Auntie Mona.</dialogue> <character>RAMONA</character> <dialogue>Of course, Lily girl.</dialogue> <scene_description>Lily gives Ramona a hug. Mercedes opens a box of Louboutins and screams. Destiny and Ramona look at each other, proud. Ramona unwraps a GUCCI PURSE.</scene_description> <character>RAMONA</character> <dialogue>Oh my god, it's enormous!</dialogue> <character>DESTINY</character> <dialogue>Do you like it?</dialogue> <character>RAMONA</character> <dialogue>No...I love it. I'm gonna carry all my other bags in it.</dialogue> <scene_description>Ramona gives Destiny a kiss. Then, hands her a big box.</scene_description> <character>RAMONA</character> <dialogue>Your turn.</dialogue> <scene_description>Destiny unties the red ribbon. Opens the box lid. Gasps.</scene_description> <character>DESTINY</character> <dialogue>What was it?</dialogue> <character>RAMONA</character> <dialogue>Chinchilla.</dialogue> <scene_description>Destiny pulls out a long fur coat. She tries it on. Running her hands all over it. She smiles at Ramona, marveling.</scene_description> <character>RAMONA</character> <dialogue>I'm so proud of you, Dorothy.</dialogue> <scene_description>Destiny stops. Like she's needed to hear that her whole life.</scene_description> <character>RAMONA</character> <dialogue>We don't need anybody else, do we?</dialogue> <scene_description>Destiny shakes her head, smiling.</scene_description> <character>DESTINY</character> <dialogue>Nobody.</dialogue> <scene_description>Ramona throws an arm around Destiny.</scene_description> <character>RAMONA</character> <dialogue>We're the untouchables. Like Kobe and Shaq.</dialogue> <character>DESTINY</character> <dialogue>Who's Kobe?</dialogue> <character>RAMONA</character> <dialogue>I'm Kobe and your Shaq.</dialogue> <character>DESTINY</character> <dialogue>Why do you get to be Kobe?</dialogue> <scene_description>They wrestle into a hug, laughing, making each other laugh harder.</scene_description> <character>MOM</character> <dialogue>Okay, everybody get together!</dialogue> <scene_description>Mom takes a picture of everyone on her new iPhone.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S DINING ROOM - LATER</stage_direction> <scene_description>Chopin's Etude Op. 10 No. 3 in E major. There's an enormous spread. Ramona sits next to Destiny's grandmother, Destiny across from them, everyone's heads bowed in prayer.</scene_description> <character>MERCEDES</character> <dialogue>... and thank you God for all that you have given us...</dialogue> <character>MERCEDES</character> <dialogue>this delicious food, my new Louboutins, and especially for this family, my sisters, we are so blessed. Amen.</dialogue> <character>EVERYONE</character> <dialogue>Amen.</dialogue> <scene_description>They eat family-style, hands passing plates, everyone enjoying each other's company. Destiny looks around, every seat filled. She smiles, surrounded.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S DINING ROOM - LATER</stage_direction> <scene_description>End of the meal. Annabelle clears the table. Ramona is holding court, mid-story. Everyone's listening, captivated.</scene_description> <character>RAMONA</character> <dialogue>... so my friend brings me over to his table and introduces us and, you know, I don't usually get nervous around these types, but suddenly he's in front of me and...</dialogue> <parenthetical>(to Destiny's grandmother)</parenthetical> <dialogue>... do you know who he is, Nana? Do you get UsWeekly?</dialogue> <character>DESTINY</character> <dialogue>She knows. She's seen him. You've seen him, Nan. From the movies.</dialogue> <character>DESTINY'S GRANDMOTHER</character> <dialogue>I seen him. He's very good-looking.</dialogue> <character>RAMONA</character> <dialogue>Well, listen, Nan, he's even better looking in person...</dialogue> <scene_description>Ramona takes Destiny's grandmother's hand. Destiny clocks it.</scene_description> <character>RAMONA</character> <dialogue>... so he picks me up in this white Porsche. And all he had told me was to wear a hat...</dialogue> <character>DESTINY</character> <dialogue>The Kentucky Derby.</dialogue> <character>RAMONA</character> <dialogue>... that's what I thought... But suddenly we're at the airport and we're boarding this private jet to Monaco, and there was champagne and lobster and a butler and...I didn't have the heart to tell him that I hate flying. So there I was, in this gorgeous marble bathroom...</dialogue> <parenthetical>(laughing)</parenthetical> <dialogue>... ten thousand feet in the air, vomiting champagne and lobster...</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>... Bella, come here, you'll like this story...</dialogue> <parenthetical>(to Nan)</parenthetical> <dialogue>... Annabelle can throw up on command. It's one of her many gifts...</dialogue> <parenthetical>(to Annabelle)</parenthetical> <dialogue>... come here, baby...</dialogue> <scene_description>Annabelle comes over to Ramona, laughing. Ramona puts Annabelle on her lap, bouncing her like a kid, continuing...</scene_description> <character>RAMONA</character> <dialogue>... well, eventually the plane landed and, well, we had three of the most magnificent hours before the paparazzi caught up with us. And I'm afraid that's the end of the PG-13 version.</dialogue> <scene_description>Everyone sighs with laughter, wishing the story wouldn't end. Destiny's grandmother slowly leans over to Ramona.</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>I once danced with Frankie Valli...</dialogue> <scene_description>Ramona bursts, grabbing Destiny's grandma's hand. WHAT?? NAN? Everyone bursts with her. Ramona turns to Destiny.</scene_description> <character>RAMONA</character> <dialogue>Did you know this?</dialogue> <scene_description>Destiny shakes her head, smiling, but...</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>It was before he was married. The second time.</dialogue> <character>RAMONA</character> <dialogue>Oh I don't know, Nan, you sure about that?</dialogue> <character>DESTINY'S GRANDMOTHER</character> <dialogue>... pretty sure.</dialogue> <scene_description>Everyone howls, laughing. Ramona screams, stomps her feet.</scene_description> <character>RAMONA</character> <dialogue>This woman is my spirit animal!</dialogue> <scene_description>LATER: RAMONA PUTS FRANKIE VALLI ON THE IPOD. CUE: RAG DOLL. Everyone is dancing in the middle of the living room. Ramona dances with Destiny's grandmother, like old friends. Destiny dances with the others, watching the two of them, smiling.</scene_description> <character>RAMONA</character> <parenthetical>(shouting over the music)</parenthetical> <dialogue>... tell the truth, Nan. If Frankie Valli had shown up on your wedding day and said "it's me or your husband" what would you have said?</dialogue> <scene_description>Her grandmother takes an elderly beat. Then:</scene_description> <character>DESTINY'S GRANDMOTHER</character> <dialogue>"Which car you driving?"</dialogue> <scene_description>Ramona throws her head back and screams, then finds Destiny's face across the room.</scene_description> <character>RAMONA</character> <dialogue>How have we not met sooner??</dialogue> <scene_description>Destiny and Ramona smile at each other. Ramona turns back to Destiny's grandmother and dips her. Grandma laughs.</scene_description> <character>YOUNG WOMAN (V.O.)</character> <dialogue>So...whose idea was it to start drugging them?</dialogue> <scene_description>Destiny stops smiling. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - DAY</stage_direction> <scene_description>Destiny looks at the young woman interviewing her.</scene_description> <character>DESTINY</character> <dialogue>Is that what you're hung up on?</dialogue> <character>YOUNG WOMAN</character> <dialogue>... it's hard not to be.</dialogue> <scene_description>Destiny looks at the recorder.</scene_description> <character>DESTINY</character> <dialogue>What's your name again?</dialogue> <character>YOUNG WOMAN</character> <dialogue>Elizabeth.</dialogue> <character>DESTINY</character> <dialogue>Did you grow up with money, Elizabeth?</dialogue> <character>ELIZABETH</character> <dialogue>We were...comfortable.</dialogue> <character>DESTINY</character> <dialogue>Right. What'd your parents do?</dialogue> <character>ELIZABETH</character> <dialogue>My dad was a journalist. And my mom's a psychiatrist.</dialogue> <character>DESTINY</character> <dialogue>Where'd you go to school?</dialogue> <character>ELIZABETH</character> <dialogue>Brown. For undergrad.</dialogue> <character>DESTINY</character> <dialogue>What would you do for a thousand dollars? Of course the answer depends on what you already have and what you need.</dialogue> <character>ELIZABETH</character> <dialogue>So the drugging was Ramona's idea?</dialogue> <character>DESTINY</character> <dialogue>You know, I don't think I should talk to you anymore. I'm sorry. I don't know you and...these girls are like my sisters. I'm sorry.</dialogue> <scene_description>Destiny reaches for the recorder...</scene_description> <character>ELIZABETH</character> <dialogue>It's okay, I understand...Ramona said the same thing.</dialogue> <scene_description>Destiny stops. She looks up at Elizabeth.</scene_description> <character>DESTINY</character> <dialogue>You talked to Ramona already?</dialogue> <character>ELIZABETH</character> <dialogue>... yeah.</dialogue> <character>DESTINY</character> <dialogue>When?</dialogue> <character>ELIZABETH</character> <dialogue>Yesterday.</dialogue> <character>DESTINY</character> <dialogue>Where?</dialogue> <character>ELIZABETH</character> <dialogue>I went to her work.</dialogue> <character>DESTINY</character> <dialogue>Pfff.</dialogue> <character>ELIZABETH</character> <dialogue>What?</dialogue> <character>DESTINY</character> <dialogue>Nothing. Just...the idea of Ramona Vega going straight. It's like....a vampire doing....</dialogue> <scene_description>Destiny trails off. She can just picture the two of them. FLASH TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S OFFICE</stage_direction> <scene_description>RAMONA AND ELIZABETH TALKING TO EACH OTHER ACROSS RAMONA'S DESK. WE CAN'T HEAR WHAT THEY'RE SAYING. IT'S TORTURE. BACK TO:</scene_description> <character>DESTINY</character> <dialogue>So if you talked to her already, what do you need me for?</dialogue> <character>ELIZABETH</character> <dialogue>I was hoping you could...fill in any blanks.</dialogue> <scene_description>Destiny clenches her jaw. Seeing red.</scene_description> <character>DESTINY</character> <dialogue>Blanks.</dialogue> <scene_description>FLASH TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S OFFICE</stage_direction> <scene_description>RAMONA SAYS SOMETHING THAT MAKES ELIZABETH LAUGH. ELIZABETH WRITES SOMETHING DOWN. CAN'T SEE IT. CAN'T HEAR IT. BACK TO: Destiny shifts in her seat. Her jewelry making noise.</scene_description> <character>DESTINY</character> <dialogue>Hmmmm... where was I?</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S ESCALADE - NIGHT \[2012\]</stage_direction> <scene_description>Ramona and Destiny pull up in front of Moves to see a TEAM of BLONDES leading a DAZED MAN out of their SUV.</scene_description> <character>RAMONA</character> <dialogue>Copycats.</dialogue> <scene_description>Ramona turns to Destiny...</scene_description> <character>RAMONA</character> <dialogue>I don't think we need 'em anymore.</dialogue> <scene_description>WE SEE ELIZABETH IN THE PASSENGER SEAT. IN DESTINY'S PLACE.</scene_description> <character>ELIZABETH</character> <dialogue>Who?</dialogue> <character>RAMONA</character> <dialogue>The clubs.</dialogue> <scene_description>Ramona plays with Elizabeth's hair.</scene_description> <character>RAMONA</character> <dialogue>Why should we have to split anything when we can have it all?</dialogue> <scene_description>FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S BRAND NEW ESCALADE - NIGHT</stage_direction> <scene_description>February, 2013. Ramona sits behind the wheel, her face lit by an iPad, Destiny beside her, looking out the passenger window, anxious. They are parked outside of an UPSCALE HOTEL. They're both in fur coats.</scene_description> <character>RAMONA</character> <dialogue>I think I'm gonna buy these.</dialogue> <scene_description>Destiny looks at Ramona. She's zooming in on a pair of Gucci shoes. Destiny turns back out the window.</scene_description> <character>DESTINY</character> <dialogue>What's taking her so long?</dialogue> <character>RAMONA</character> <dialogue>Relax, she's a pro.</dialogue> </scene> <scene> <stage_direction>INT. UPSCALE HOTEL - MOMENTS LATER</stage_direction> <scene_description>DAWN (20s) comes teetering out of a room in her heels, talking to herself. She hurries down the hall. 3427, 3427, 3427, 3427... She tries not to get distracted by the apartment numbers as she makes her way to the elevator. Hard to tell if she's dumb or on drugs. She presses down. The door opens. She steps in.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction> <scene_description>She looks at the numbers. Tries not to get distracted. 3427, 3427, 3427... A WOMAN (60s) gets in the elevator, on her cell phone.</scene_description> <character>WOMAN ON CELL</character> <dialogue>We could meet at 5 or 6... No, 6 is good... You want 5?</dialogue> <scene_description>Dawn plugs her ears, mumbling. The doors close.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW ESCALADE - CONTINUOUS</stage_direction> <character>RAMONA</character> <dialogue>I'm gonna fucking buy these.</dialogue> <scene_description>Ramona swipes her finger across the screen. Destiny looks at her. We PUSH in on Destiny's face... and hear a DING!</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction> <scene_description>The elevator opens. Dawn hurries away from the woman... 3427, 3427, 3427...</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW ESCALADE - CONTINUOUS</stage_direction> <scene_description>Dawn runs up to Destiny's window, credit card in hand. Dawn is obviously dumb and on drugs. Destiny gives her a furious look. Pulls out her cell.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - NIGHT</stage_direction> <scene_description>Ramona paces. Destiny sits at the table, bouncing her leg.</scene_description> <character>RAMONA</character> <dialogue>Where the fuck are they?</dialogue> <character>DESTINY</character> <dialogue>Annabelle's feeling grossed out lately.</dialogue> <character>RAMONA</character> <dialogue>And what about Mercedes? Is she feeling grossed out? We can't keep giving them their cut if they're gonna disappear for weeks on end. We need a bigger crew.</dialogue> <parenthetical>(pulling out phone)</parenthetical> <dialogue>I'm calling Coco.</dialogue> <character>DESTINY</character> <dialogue>No. She's a cokehead.</dialogue> <character>RAMONA</character> <dialogue>What about Crystal?</dialogue> <character>DESTINY</character> <dialogue>She just got out of jail.</dialogue> <character>RAMONA</character> <dialogue>Trixie?</dialogue> <character>DESTINY</character> <dialogue>She's still in jail. Ramona. Quit...bringing home strays. We're breaking the law here! We don't want to work with criminals!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - THE INTERVIEW</stage_direction> <scene_description>Destiny explains her logic to Elizabeth.</scene_description> <character>DESTINY</character> <dialogue>It's like if we're a team and we're making money and winning games, are you gonna suddenly start trading players and bringing in new people? But did she listen?</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - NIGHT</stage_direction> <scene_description>Destiny walks in to see Ramona with her arm around Dawn.</scene_description> <character>RAMONA</character> <dialogue>Dorothy, this is Dawn.</dialogue> <scene_description>Destiny takes one look at DAWN and hates her rotten guts.</scene_description> <character>DAWN</character> <dialogue>Hiiiiiii.</dialogue> <scene_description>CUE: The Four Seasons' "Dawn (Go Away)" begins to play in Destiny's head. It continues over...</scene_description> <character>CUT TO: LATER</character> <dialogue>The girls are all getting ready together for the night out. Destiny looks across the room at Ramona playing with Dawn's hair. We PUSH in on them. We PUSH in on Destiny.</dialogue> <character>RAMONA</character> <dialogue>As soon as I saw her I said, please, you're gorgeous, you must join us. And she said... Tell 'em what you said, Dawn.</dialogue> <scene_description>Them. Destiny.</scene_description> <character>DAWN</character> <dialogue>I said...what, is it a cult?</dialogue> <scene_description>They laugh. Destiny does not.</scene_description> <character>RAMONA</character> <dialogue>It is a cult, isn't it?</dialogue> <character>DESTINY (V.O.)</character> <dialogue>But the real problem was...Ramona had absolutely zero business sense.</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - NIGHT</stage_direction> <character>DESTINY (V.O.)</character> <dialogue>Look what happened with Victor.</dialogue> <scene_description>Dawn slips too much powder into VICTOR's (40s) drink.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>He was good-looking, had money, not a genius, not a pervert. That's the quadruple-threat right there.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S NEW ESCALADE - PAST</stage_direction> <scene_description>Parked. Ramona on her cell in the driver's seat, Victor's card in hand.</scene_description> <character>RAMONA</character> <dialogue>What's my credit limit again? Fifty thousand?</dialogue> <scene_description>She turns to Destiny. Destiny shakes her head.</scene_description> <character>RAMONA</character> <dialogue>Let's do it for the full fifty.</dialogue> <character>DESTINY</character> <dialogue>We'll never see him again.</dialogue> <character>RAMONA</character> <dialogue>Who cares.</dialogue> <character>DESTINY (V.O.)</character> <dialogue>That's the problem with Ramona. I saw the forest. She saw the fifty thousand dollar tree.</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - NIGHT</stage_direction> <scene_description>Ramona scrolls through her phone. Looking frustrated.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>She burned through our regulars. Which left us with unpredictable strangers...</dialogue> <scene_description>PRE-LAP, a door-bell...</scene_description> </scene> <scene> <stage_direction>INT. RICH MAN'S HOUSE - NIGHT</stage_direction> <scene_description>The door opens. Destiny is on the front porch. Mercedes is crying in the doorway, wearing vintage Swimona.</scene_description> <character>DESTINY</character> <dialogue>Where is he?</dialogue> <character>MERCEDES</character> <dialogue>Out back.</dialogue> <scene_description>Mercedes follows Destiny out back to see --</scene_description> </scene> <scene> <stage_direction>EXT. RICH MAN'S HOUSE - CONTINUOUS</stage_direction> <scene_description>A NAKED MAN face down on the concrete, unconscious, bleeding from his head... a foot away from the pool.</scene_description> <character>DESTINY</character> <dialogue>What happened?</dialogue> <character>MERCEDES</character> <dialogue>He said he could dive off the roof and I said he couldn't.</dialogue> <scene_description>Destiny looks up. Then down.</scene_description> <character>DESTINY</character> <dialogue>... you were right.</dialogue> <scene_description>She goes to him and feels for a pulse. Thank God.</scene_description> <character>DESTINY</character> <dialogue>Where's Georgia?</dialogue> <character>MERCEDES</character> <dialogue>She took off.</dialogue> <character>DESTINY</character> <dialogue>Where the fuck's Ramona? This is her client...</dialogue> <character>MERCEDES</character> <dialogue>I couldn't get a hold of her.</dialogue> <character>DESTINY</character> <dialogue>Goddamn it. Alright, get his legs.</dialogue> <character>MERCEDES</character> <dialogue>Is he dead?</dialogue> <character>DESTINY</character> <dialogue>Not yet.</dialogue> <character>MERCEDES</character> <parenthetical>(crying harder)</parenthetical> <dialogue>We're not gonna kill him, are we?</dialogue> <character>DESTINY</character> <dialogue>No! We're gonna take him to the hospital. Help me get him...</dialogue> <scene_description>Destiny and Mercedes peel him off the ground.</scene_description> </scene> <scene> <stage_direction>EXT. RICH MAN'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>They carry the bleeding man toward Destiny's Escalade and we see Annabelle in the passenger seat. She turns to see them.</scene_description> <character>ANNABELLE</character> <dialogue>Oh no no no no...</dialogue> <character>DESTINY</character> <dialogue>Get the door.</dialogue> <scene_description>Annabelle climbs out, opens the back door, throws up.</scene_description> <character>ANNABELLE</character> <dialogue>I'm sorry...</dialogue> <character>DESTINY</character> <dialogue>Call Ramona. And don't stop until you reach her.</dialogue> <scene_description>Destiny and Mercedes fold his body into the back-seat.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S ESCALADE - LATER</stage_direction> <scene_description>Destiny drives, Annabelle beside her, covering her mouth. Mercedes is in back, the naked man leaning against her, unconscious.</scene_description> <character>DESTINY</character> <dialogue>Has she texted back?</dialogue> <scene_description>Annabelle shakes her head, trying not to vomit. Mercedes sees a COP CAR at the next light.</scene_description> <character>MERCEDES</character> <dialogue>Slow down...</dialogue> <scene_description>Destiny sees it too. Slows down. Just then, the naked man opens his eyes. He turns to Mercedes.</scene_description> <character>MERCEDES</character> <dialogue>Jesus Christ--</dialogue> <scene_description>Annabelle turns to see him and starts screaming. Mercedes jumps, startled, accidentally elbowing the man in the face. He's out cold again. The three women look straight ahead. Waiting for the light to change. We don't see the cop's faces. It takes too long. Finally, a green light. The cop car pulls ahead. Destiny slowly hits the gas. Annabelle throws up on herself.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S ESCALADE - LATER</stage_direction> <scene_description>They pull up to the EMERGENCY DROP-OFF at the hospital.</scene_description> <character>MERCEDES</character> <dialogue>Where are we gonna put him?</dialogue> <character>DESTINY</character> <dialogue>We're gonna take him inside.</dialogue> <character>MERCEDES</character> <dialogue>I thought we were gonna leave him.</dialogue> <character>DESTINY</character> <dialogue>We can't leave him.</dialogue> <character>MERCEDES</character> <dialogue>I'm not going inside.</dialogue> <character>DESTINY</character> <dialogue>Mercedes, this is a business...</dialogue> <scene_description>Mercedes opens the car door and runs away in her bathing suit.</scene_description> <character>DESTINY</character> <dialogue>Mercedes!</dialogue> <scene_description>Destiny calls after, but Mercedes's bare feet are gone. Destiny turns to Annabelle in the passenger seat. Useless. Destiny hops out of the car and goes around back, dragging the unconscious, naked man out. A SECURITY GUARD sees her, calls for the MEDICS who come running out to help. Destiny fake-sobs.</scene_description> <character>DESTINY</character> <dialogue>My husband... my husband...</dialogue> <scene_description>The medics take over as she wails. She looks at Annabelle slumped over. Then, reluctantly helps Annabelle out of the car.</scene_description> <character>DESTINY</character> <dialogue>My sister... my sister...</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL - LATER</stage_direction> <scene_description>Destiny paces outside, covered in blood, cell phone to her ear. The sound of ringing. Then:</scene_description> <character>RAMONA'S VOICE</character> <dialogue>Hi this is Ramona...please leave your name and number and where we met and I'll get right back to you.</dialogue> <character>DESTINY</character> <dialogue>Bitch!</dialogue> </scene> <scene> <stage_direction>INT. DESTINY'S ESCALADE - MORNING</stage_direction> <scene_description>Destiny tears into the driveway, screeches to a stop. She runs out of the car, engine running, races out, still in last night's clothes, and inside --</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - CONTINUOUS</stage_direction> <scene_description>She bursts through the door.</scene_description> <character>DESTINY</character> <dialogue>Lily? Lily?</dialogue> <scene_description>She hurries through the house. Her daughter's room is empty. LILY?? She runs back down the hall to the kitchen where she finds a NOTE. She races out of the house to --</scene_description> </scene> <scene> <stage_direction>EXT. DESTINY'S NEIGHBOR'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Destiny bangs on the door. A WELL-DRESSED WOMAN (30s) answers the door holding Lily.</scene_description> <character>WELL-DRESSED WOMAN</character> <dialogue>There's Mommy...</dialogue> <character>LILY</character> <dialogue>You're late.</dialogue> <character>WELL-DRESSED WOMAN</character> <dialogue>The baby-sitter said she had to go home but we had ourselves a fun sleepover, didn't we?</dialogue> <character>LILY</character> <dialogue>Yeah!</dialogue> <scene_description>Destiny reaches out for Lily, hurriedly taking her in her arms. The woman looks at Destiny's clothes, concerned.</scene_description> <character>DESTINY</character> <dialogue>Yeah, thanks, c'mon, Lily.</dialogue> <character>WELL-DRESSED WOMAN</character> <dialogue>... do you want me to take her?</dialogue> <character>DESTINY</character> <dialogue>I got her, Amy, thanks.</dialogue> <scene_description>Destiny rushes off in her heels with Lily.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S ESCALADE - LATER</stage_direction> <scene_description>Destiny pulls up at the school drop-off, gets out of the car and suddenly realizes what she looks like. She opens the back door, helps Lily out of her car-seat.</scene_description> <character>LILY</character> <dialogue>Aren't you gonna walk me?</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL - CONTINUOUS</stage_direction> <scene_description>Destiny holds Lily's hand as they quickly make their way up to the school. A few other PARENTS look at Destiny. Her five- inch heels. Last night's clothes.</scene_description> <character>PARENT (O.S.)</character> <dialogue>Is that blood?</dialogue> <scene_description>The walk seems to take forever. They finally reach the doors.</scene_description> <character>DESTINY</character> <dialogue>Okay have a good day...</dialogue> <scene_description>Destiny leads Lily inside, then turns and walks all the way back to her car, everyone watching, the sound of her heels.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>Where was Ramona when I needed her?</dialogue> </scene> <scene> <stage_direction>EXT. NYC PRECINCT - SAME TIME</stage_direction> <scene_description>Ramona is bailing Dawn out of jail.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S ESCALADE - LATER</stage_direction> <scene_description>In the school lot, Destiny gets in her parked car, covered in blood. She looks down to see her cell ringing, RAMONA. Destiny answers, furious tears in her eyes.</scene_description> <character>DESTINY</character> <dialogue>Don't ever call me again.</dialogue> <character>RAMONA (THROUGH PHONE)</character> <dialogue>Baby...</dialogue> <scene_description>Destiny hangs up. And starts her car.</scene_description> </scene> <scene> <stage_direction>EXT. DESTINY'S GRANDMOTHER'S HOUSE - LATER</stage_direction> <scene_description>Destiny pulls her Escalade in front. She shuffles up the steps. Opens the front door.</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S GRANDMOTHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Destiny walks in to see her grandmother sitting in her chair. Destiny stops. She knows immediately that her grandmother is dead. Destiny braces herself in the doorway.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Destiny buries her grandmother, her daughter sitting next to her. The PRIEST is speaking when SOMEONE walks up and takes the empty seat next to Destiny. Destiny looks over to see... RAMONA. Wearing black. She reaches out for Destiny's hand. Destiny leans into her, tears rolling down her face. Ramona puts her arm around her, their heads on top of each other.</scene_description> <character>RAMONA</character> <dialogue>I'm sorry I wasn't there, baby.</dialogue> <scene_description>Destiny sobs in Ramona's arms.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - LATER</stage_direction> <scene_description>Juliet and Lily run around in the grass. Ramona and Destiny are still sitting in the same spot.</scene_description> <character>DESTINY</character> <dialogue>I don't want to go home.</dialogue> <character>RAMONA</character> <dialogue>Do you and Lily wanna stay with us?</dialogue> <scene_description>Destiny slowly nods yes.</scene_description> <character>RAMONA</character> <dialogue>I'm supposed to meet someone. If you want to join me.</dialogue> <scene_description>Destiny knows what this means.</scene_description> <character>RAMONA</character> <dialogue>Take your mind off things.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>No pressure.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But if you need the money...</dialogue> <scene_description>We HOLD on them for awhile.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>I knew it had to stop...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - DAY</stage_direction> <scene_description>The interview continues.</scene_description> <character>DESTINY</character> <dialogue>I kept thinking there was this magic number, that if I could save enough money, I could start clean. Me and Lily. Maybe a score so big, we wouldn't need anybody.</dialogue> <character>ELIZABETH</character> <dialogue>Is that what happened with Doug \[BLEEP\]?</dialogue> <scene_description>Destiny looks up at Elizabeth.</scene_description> <character>DESTINY</character> <dialogue>Uh... I don't remember a Doug \[BLEEP\].</dialogue> <character>ELIZABETH</character> <dialogue>Ramona said...</dialogue> <character>DESTINY</character> <dialogue>Well, she's a liar. She'll say anything to make herself sound better. What'd she say about me? I'm sure she had a lot to say. What did she tell you?</dialogue> <scene_description>Elizabeth looks at her. Takes a long pause. Proceeds slowly.</scene_description> <character>ELIZABETH</character> <dialogue>She said you had a tough time growing up. That you spent a lot of time alone. That you got in fights and...had some bad boyfriends.</dialogue> <character>DESTINY</character> <dialogue>What else.</dialogue> <character>ELIZABETH</character> <dialogue>She said your parents were immigrants. And that after your father left, your mother dropped you off at your grandparents...</dialogue> <scene_description>Destiny gets lost in the memory. FLASH TO:</scene_description> </scene> <scene> <stage_direction>EXT. DESTINY'S GRANDMOTHER'S HOUSE - 1989</stage_direction> <scene_description>MOM'S CAR DRIVES AWAY FROM US AND DISAPPEARS OVER THE HILL BACK TO:</scene_description> <character>ELIZABETH</character> <dialogue>... and never came back.</dialogue> <scene_description>Destiny stares off.</scene_description> <character>ELIZABETH</character> <dialogue>Is that true?</dialogue> <scene_description>Destiny nods yes, still lost in the thought.</scene_description> <character>DESTINY</character> <dialogue>I thought maybe she was taking a break...that maybe moms just needed a break.</dialogue> <scene_description>The tears fall, but Destiny wipes them away.</scene_description> <character>DESTINY</character> <dialogue>Why would she tell you all that?</dialogue> <character>ELIZABETH</character> <dialogue>I think she wanted me to understand that...for you it wasn't about revenge. You were just trying to make friends.</dialogue> <scene_description>Destiny can't look at Elizabeth. The tears keep falling.</scene_description> <character>ELIZABETH</character> <dialogue>Destiny. I know I'm supposed to think that what you did is terrible and that these men didn't deserve it, but...the truth is...I don't feel that sorry for them.</dialogue> <scene_description>Destiny wipes her tears away. Nods her head.</scene_description> <character>DESTINY</character> <dialogue>I feel sorry for them.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I keep having this nightmare. Where I'm in the back-seat of a moving car...and then I realize that nobody's driving the car...and like I have to climb in the front seat and try to get hold of the wheel but like...I can't get a grip on it and I can't stop it no matter what and...then I wake up.</dialogue> <scene_description>Destiny looks up at Elizabeth. Then reaches out and pushes STOP on the recorder. The sound DROPS OUT... But it's clear that Destiny is ending the interview. She asks Elizabeth to leave. Escorts her to the front door. Elizabeth walks out. The door shuts on her. We STAY with Elizabeth.</scene_description> </scene> <scene> <stage_direction>INT. ELIZABETH'S HOUSE - LATER</stage_direction> <scene_description>No sound, as Elizabeth shuffles through the door, exhausted. She flops on the couch. A beat, then she stirs, reacting to something. She reaches for her bag. Pulls out her cell. DESTINY CALLING. Elizabeth answers. THE SOUND RETURNS. Destiny's V.O. is now over the phone.</scene_description> <character>DESTINY (THROUGH PHONE)</character> <dialogue>Ramona met Doug years ago...</dialogue> </scene> <scene> <stage_direction>INT. MOVES - \[2011\]</stage_direction> <scene_description>Ramona, in her stripping days, gives comfort and advice to a PALE MAN (30s) who is sitting at the bar, hunched over.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>His friend took him to the club to blow off some steam after a few devastating events that included...</dialogue> <scene_description>CUT TO: STOCK FOOTAGE: SUBURBAN HOMES DESTROYED BY A HURRICANE</scene_description> <character>DESTINY (V.O.)</character> <dialogue>His house being leveled by a hurricane...</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction> <character>DESTINY (V.O.)</character> <dialogue>... and separating from the mother of his young son.</dialogue> <scene_description>DOUG and his LAWYER sit across from his WIFE and HER LAWYER.</scene_description> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR - NIGHT \[2013\]</stage_direction> <scene_description>Destiny and Dawn are sitting at a table with Doug. Dawn is sneaking coke, leaving Destiny and Doug in conversation.</scene_description> <character>DOUG</character> <dialogue>She never really wanted to have kids, you know? So...when we found out he was autistic, I think she just couldn't handle it, you know?</dialogue> <scene_description>Destiny looks at him, sympathetically.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>We talked about our kids. We talked about our exes. We had a heart to--</dialogue> <character>RAMONA</character> <dialogue>Drinks!</dialogue> <scene_description>Ramona returns with their drinks. Doug takes his drink.</scene_description> <character>DOUG</character> <dialogue>Oh thank you.</dialogue> <scene_description>Destiny watches Doug take a big sip. Her hand almost reaches out to stop him, but... he swallows.</scene_description> <character>ELIZABETH (V.O.)</character> <dialogue>And then what happened?</dialogue> <scene_description>THE ROOM GOES QUIET.</scene_description> <character>ELIZABETH (V.O.)</character> <dialogue>Destiny? Destiny??</dialogue> <scene_description>CLOSE on Destiny's guilt-ridden face, as we... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DOUG'S SMALL KITCHEN - DAY</stage_direction> <scene_description>Doug now sits across from Elizabeth. Recorder on the table.</scene_description> <character>DOUG</character> <dialogue>The room was...round?</dialogue> <scene_description>FLASH TO:</scene_description> </scene> <scene> <stage_direction>INT. CHAMPAGNE ROOM - FRED'S POV</stage_direction> <character>DOUG</character> <dialogue>There was a...table?</dialogue> <scene_description>HIS HANDS. BARELY VISIBLE. HE PUTS THEM DOWN ON THE TABLE. BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. DOUG'S SMALL KITCHEN - DAY</stage_direction> <character>DOUG</character> <dialogue>I couldn't feel my face.</dialogue> <scene_description>Elizabeth looks at Doug. He can't even make eye contact.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - DAY \[2013\]</stage_direction> <scene_description>Destiny is on her cell, Doug's voice in her ear, crying.</scene_description> <character>DOUG (THROUGH THE PHONE)</character> <dialogue>Can you please just credit back my debit card? My mortgage payment is on there...</dialogue> <scene_description>Destiny tries to stay strong.</scene_description> <character>DESTINY</character> <dialogue>What are you talking about? You had a good time.</dialogue> <character>DOUG</character> <dialogue>Why are you doing this to me?</dialogue> <parenthetical>(she can't respond)</parenthetical> <dialogue>Please I have nothing. I can't afford to not pay my mortgage.</dialogue> <parenthetical>(she can't respond)</parenthetical> <dialogue>My son.</dialogue> <character>DESTINY</character> <parenthetical>(almost inaudible)</parenthetical> <dialogue>... I'm sorry.</dialogue> <character>RAMONA</character> <dialogue>Hang up the phone, Destiny.</dialogue> <scene_description>We see Ramona sitting nearby. Destiny doesn't hang up. Ramona bursts from her chair then goes for the phone, trying to get it out of Destiny's hand. The two of them fall to the ground. As they roll around, Ramona grabbing at the phone...</scene_description> <character>RAMONA</character> <dialogue>If we. Don't. Do it. Somebody. Else. Will.</dialogue> </scene> <scene> <stage_direction>INT. DOUG'S SMALL KITCHEN - PRESENT DAY</stage_direction> <scene_description>Doug talks to Elizabeth...</scene_description> <character>DOUG</character> <dialogue>They maxed out my corporate card. So my company launched an internal investigation and I was fired.</dialogue> <scene_description>NOW, DESTINY SITS IN ELIZABETH's PLACE. FACE-TO-FACE WITH DOUG.</scene_description> <character>DOUG</character> <dialogue>When I finally got a new job, I was told that my name had been reported to an agency that tracks white- collar crime and I was fired again.</dialogue> <scene_description>Chopin's Etude Op. 25, No. 11...</scene_description> </scene> <scene> <stage_direction>INT. CAB - DAY</stage_direction> <scene_description>Destiny sits in the back-seat, looking out the window at the city passing by. Her eyes are tired, worried, her mind racing. She turns ahead. And we are now in --</scene_description> </scene> <scene> <stage_direction>INT. DAISY'S MOM'S CAR - DAY</stage_direction> <scene_description>NOBODY IS DRIVING THE CAR. WE ARE IN HER NIGHTMARE. Destiny panics. She climbs into the front seat, her body heavy. She grabs the wheel, trying to turn it, but it doesn't work. The brake won't work. As Destiny starts to scream, we.... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NYC PRECINCT - DAY</stage_direction> <scene_description>A DETECTIVE (40s) sits at his desk blotting two slices of pizza on paper plates. His phone rings. He keeps blotting the slices for awhile, then fumbles with the oily napkins, shakes them off into the trash can by his feet. He finally answers.</scene_description> <character>DETECTIVE</character> <dialogue>Precinct.</dialogue> <character>DOUG (THROUGH THE PHONE)</character> <dialogue>Yes hello I... I went to a strip club and I was drugged and my credit card was ran up.</dialogue> <scene_description>The detective hangs up. Then picks up the pizza and takes a bite. After a moment, his phone rings again. He answers.</scene_description> <character>DETECTIVE</character> <dialogue>Precinct.</dialogue> <character>DOUG (THROUGH THE PHONE)</character> <dialogue>I was drugged and I have proof.</dialogue> </scene> <scene> <stage_direction>INT. DINER - ANOTHER DAY</stage_direction> <scene_description>Elizabeth interviews the DETECTIVE and ANOTHER DETECTIVE (50s).</scene_description> <character>DETECTIVE</character> <dialogue>It was weird.</dialogue> <character>DETECTIVE #2</character> <dialogue>It was real weird. If it wasn't for the tape I woulda been like "Dude you're fucking full of shit."</dialogue> </scene> <scene> <stage_direction>INT. DOUG'S APARTMENT - DAY</stage_direction> <scene_description>CLOSE on a TAPE RECORDER playing. Doug sits with members of the DEA TACTICAL-DIVERSION SQUAD, listening to the sound of Doug's recorded tears.</scene_description> <character>DOUG'S VOICE (ON TAPE)</character> <dialogue>Please. I just want to know what happened to me.</dialogue> <scene_description>Recorded Doug sobs. One of the officers stifles a laugh.</scene_description> <character>DAWN'S VOICE (ON TAPE)</character> <dialogue>You were fleeced, that's all.</dialogue> <character>DOUG'S VOICE (ON TAPE)</character> <dialogue>By who?</dialogue> <character>DAWN'S VOICE (ON TAPE)</character> <dialogue>We're like a little gang. You were just a target. We just gave you a sprinkle.</dialogue> <scene_description>THE SCENE FREEZES.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>They never said who it was but I fucking know.</dialogue> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM - DAY</stage_direction> <scene_description>Dawn is dropped in the seat, hands in cuffs. Immediately:</scene_description> <character>DAWN</character> <dialogue>I'll tell you everything. What do you want to know? Please I don't want to go back. I'll do anything.</dialogue> <scene_description>THE SCENE FREEZES.</scene_description> <character>DESTINY (V.O.)</character> <dialogue>The cops won't admit it, but this is exactly how it went down.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Dawn opens the door. Destiny and Ramona are in the hallway. AUDIO: The scene is heard through the WIRE-TAP on Dawn's bra.</scene_description> <character>DAWN</character> <dialogue>Did you bring the drugs?</dialogue> <character>RAMONA</character> <dialogue>Shhhhh...</dialogue> <character>DESTINY</character> <dialogue>Where is he?</dialogue> <character>DAWN</character> <dialogue>He's in the bathroom...</dialogue> <scene_description>They walk inside the suite. Looking around.</scene_description> <character>DAWN</character> <dialogue>I don't think he likes me. I think one of you has to do it.</dialogue> <character>DESTINY</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Are you high?</dialogue> <character>RAMONA</character> <dialogue>Give her a break.</dialogue> <character>DAWN</character> <dialogue>Me? No! No, I...I don't do that anymore.</dialogue> <scene_description>Destiny looks at Dawn, even more suspicious. A toilet flushes. A GUY (30s) emerges from the bathroom to see the three of them.</scene_description> <character>DAWN</character> <dialogue>Hey, these are my friends. This is Ramona and--</dialogue> <character>DESTINY</character> <dialogue>Ronda.</dialogue> <scene_description>Dawn looks at Destiny. The guy looks psyched.</scene_description> <character>HOTEL GUY</character> <dialogue>Well, alright...</dialogue> <character>DAWN</character> <dialogue>Here why don't you sit down and we'll fix you a drink? C'mon girls you want to help me?</dialogue> <scene_description>Dawn forces him into a chair. Ramona and Destiny follow Dawn to the kitchenette/mini bar out of view. Destiny takes a vile out of her purse. Dawn pours a mini scotch into a glass.</scene_description> <character>DAWN</character> <dialogue>Alright, now do it.</dialogue> <scene_description>Destiny looks at her.</scene_description> <character>DESTINY</character> <dialogue>Well, go 'head.</dialogue> <scene_description>Nobody moves. Dawn looks at them, getting frustrated. She grabs the vile, dumps it in the drink, walks it back to him.</scene_description> <character>HOTEL GUY</character> <dialogue>Oh thank you very much.</dialogue> <scene_description>The girls all go back to the living room, sitting around the man as he takes a sip.</scene_description> <character>HOTEL GUY</character> <dialogue>So...how is this usually done?</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S NEW ESCALADE - LATER</stage_direction> <scene_description>Ramona speeds down the FDR. Destiny is panicking beside her, looking back.</scene_description> <character>DESTINY</character> <dialogue>I'm telling you it's the same fucking car.</dialogue> <character>RAMONA</character> <dialogue>You're being paranoid.</dialogue> <character>DESTINY</character> <dialogue>I saw the same fucking Buick parked outside the Gansevoort.</dialogue> <character>RAMONA</character> <dialogue>That's not a Buick.</dialogue> <character>DESTINY</character> <dialogue>Well whatever the fuck it is, it's been following us for twenty minutes. Can't you see? Dawn was setting us up back there.</dialogue> <character>RAMONA</character> <dialogue>Dawn?? Now I know you're paranoid.</dialogue> <character>DESTINY</character> <dialogue>You think Dawn wouldn't sell you out to save herself?</dialogue> <scene_description>Ramona reaches out to her. Destiny smacks her hand away.</scene_description> <character>ELIZABETH (V.O.)</character> <dialogue>So? Was there a sting?</dialogue> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>The detectives try to keep their poker faces with Elizabeth.</scene_description> <character>DETECTIVE #2</character> <dialogue>We...cannot comment on that...at this time...but what we can tell you was that the amount of people willing to talk to us was so small it was absurd.</dialogue> <character>ELIZABETH</character> <dialogue>Why?</dialogue> <character>DETECTIVE #2</character> <dialogue>I guess men don't want to...admit to what happened to them, you know? To being victimized. By a women. But then we found the architect.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET CORNER - DAY</stage_direction> <scene_description>The detective buys a newspaper from a VENDOR, about to walk away when he sees the cover of the DAILY NEWS. He picks it up and opens it, searching for a section. Finds it, reads it, eyes growing wider.</scene_description> <character>DETECTIVE (V.O.)</character> <dialogue>The Connecticut architect who Moves said failed to pay a 135 thousand dollar bill he'd racked up during four visits to the club.</dialogue> </scene> <scene> <stage_direction>INT. NYC PRECINCT - LATER</stage_direction> <scene_description>The detective shows the article to the other detective.</scene_description> <character>DETECTIVE #2</character> <dialogue>"For a night of pleasure he can't even remember..." What a boob.</dialogue> </scene> <scene> <stage_direction>INT. NYC PRECINCT - SARGEANT'S OFFICE - LATER</stage_direction> <scene_description>The detectives show the SERGEANT (60s).</scene_description> <character>SERGEANT</character> <dialogue>So the guy got drugged and then went back three more times? Guess he must've liked it.</dialogue> <scene_description>They all share a hearty laugh.</scene_description> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>The two detectives talk to Elizabeth.</scene_description> <character>DETECTIVE</character> <dialogue>When you look at it out of context it seems like he's making it up...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR / UPSTAIRS RESTAURANT - PAST</stage_direction> <scene_description>We see Annabelle with the handsy architect.</scene_description> <character>ANNABELLE</character> <dialogue>An architect. Whoa.</dialogue> </scene> <scene> <stage_direction>INT. NYC PRECINCT - DAY</stage_direction> <scene_description>The architect gives a statement to a SKEPTICAL COP (50s).</scene_description> <character>DETECTIVE (V.O.)</character> <dialogue>But when we put it together with Doug, it all added up...</dialogue> </scene> <scene> <stage_direction>INT. FINANCIAL DISTRICT BAR / UPSTAIRS RESTAURANT - PAST</stage_direction> <character>ANNABELLE</character> <dialogue>Peter, these are my sisters!</dialogue> <scene_description>We PUSH in on Annabelle as she looks up at Ramona, Destiny, and Mercedes coming to the rescue.</scene_description> <character>DETECTIVE #2 (V.O)</character> <dialogue>It's scary isn't it?</dialogue> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>Elizabeth looks at the two detectives.</scene_description> <character>DETECTIVE #2</character> <dialogue>I mean we all got so spooked...none of us went to the club anymore.</dialogue> <scene_description>Elizabeth writes something down, stifles a smile.</scene_description> </scene> <scene> <stage_direction>INT. RAMONA'S NEW APARTMENT - DAY</stage_direction> <scene_description>Destiny puts the DAILY NEWS down in front of Ramona, open to the architect article. Ramona looks at it. Doesn't flinch.</scene_description> <character>RAMONA</character> <dialogue>Good. Maybe now he'll pay his bill.</dialogue> <scene_description>Ramona goes back to filing her nails. Destiny looks at her. Ghost white. Terrified. Destiny swallows.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - MORNING</stage_direction> <scene_description>CUE: Lorde's "Royals" May 23, 2013. We follow the back of Ramona's head, as she walks down the sidewalk. She's in athleisure, carrying her gym bag. She waves to a neighbor. We follow Ramona all the way to the corner store. She stops in front of an ATM, her back to the street. Slides her card. Gets out $200. No receipt. Cash in hand. Turns around. The COPS have her surrounded, their guns drawn. They didn't make a sound. Ramona puts her fists in the air.</scene_description> <character>COPS (O.S.)</character> <dialogue>Hands where we can see 'em!</dialogue> <scene_description>Ramona has great difficulty opening her fists. She finally does. The money flies out of her hands and down the street.</scene_description> </scene> <scene> <stage_direction>INT. VISITING ROOM - MORNING</stage_direction> <scene_description>Mercedes, dressed up, visits HER BOYFRIEND (20s) in prison. She squeezes his hand, a giant engagement ring on her finger.</scene_description> </scene> <scene> <stage_direction>EXT. PRISON - LATER</stage_direction> <scene_description>The GUARD walks Mercedes outside. Her heels click on the pavement. The gate opens. A row of COPS waits for her. She looks at them. Then looks back at the prison. Confused.</scene_description> </scene> <scene> <stage_direction>INT. ANNABELLE'S APARTMENT - MORNING</stage_direction> <scene_description>Annabelle feeds her cat, then sits with a cup of tea, in her pajamas. Her cell buzzes. It's a TEXT from Destiny: Run. There's a KNOCK at the door. Annabelle looks up. Then bursts from her seat. Grabs her cat. The door is kicked in. Annabelle tries to climb out the fire escape but the COPS grab her. The cat jumps out of her arms. Annabelle throws up.</scene_description> <character>ANNABELLE</character> <dialogue>Oh God, I'm sorry...</dialogue> <scene_description>The cops put her in hand-cuffs, trying to avoid the vomit.</scene_description> </scene> <scene> <stage_direction>EXT. DESTINY'S HOUSE - MORNING</stage_direction> <scene_description>We follow the back of Destiny's head as she walks out her front door, hands in the air, surrendering.</scene_description> </scene> <scene> <stage_direction>EXT. DESTINY'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>They put her in the back of a car. She sees Lily in the neighbor's arms, watching her. Destiny tries to look strong.</scene_description> </scene> <scene> <stage_direction>INT. NYC PRECINCT - LATER</stage_direction> <scene_description>Destiny joins Ramona, Mercedes and Annabelle. They're like different exotic birds chirping in a cage. Annabelle is crying, vomit on her shirt. The detective steps up.</scene_description> <character>DETECTIVE (O.S.)</character> <dialogue>Which one of you's the ringleader?</dialogue> <scene_description>Destiny and Ramona look at each other...</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM - LATER</stage_direction> <scene_description>The two detectives walk Ramona into the room.</scene_description> <character>RAMONA</character> <dialogue>This is unbelievable. You guys really are something, you know that? Does Tony know about this?</dialogue> <character>DETECTIVE #2</character> <dialogue>Sit down, Miss Vega.</dialogue> <scene_description>Ramona sits.</scene_description> <character>RAMONA</character> <dialogue>We didn't do anything wrong. This is crazy. Tony wouldn't let this happen. I'm texting him.</dialogue> <scene_description>She pulls out her phone.</scene_description> <character>DETECTIVE #2</character> <dialogue>Tony doesn't...who gave her her phone back?</dialogue> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM - LATER</stage_direction> <scene_description>The two detectives sit across from Destiny. Destiny looks terrified. We PUSH in on her face as we hear their voices.</scene_description> <character>DETECTIVE #2</character> <dialogue>... think about your daughter.</dialogue> <character>DETECTIVE</character> <dialogue>You're facing felony charges here. You really want to go down for someone else?</dialogue> <character>DETECTIVE #2</character> <dialogue>You want Lily to grow up without her mother?</dialogue> <character>DETECTIVE</character> <dialogue>You think these girls are your friends? You think they're not gonna rat you out?</dialogue> <character>DETECTIVE #2</character> <dialogue>Think about your daughter...</dialogue> </scene> <scene> <stage_direction>EXT. NYC PRECINCT - DAY</stage_direction> <scene_description>Ramona and Destiny walk down the steps of the precinct. Destiny looks dazed, beaten. Ramona's looking at her phone, plotting, as they make their way down the sidewalk.</scene_description> <character>RAMONA</character> <dialogue>Mercedes'll probably use Dragon's lawyer, so you and me and Annabelle should probably lawyer up. Do we know any lawyers from the club? That guy Jeremy. Or maybe Anton?</dialogue> <character>DESTINY</character> <dialogue>... I took the deal.</dialogue> <scene_description>Ramona stops. Turns to her.</scene_description> <character>RAMONA</character> <dialogue>... you did?</dialogue> <scene_description>Destiny nods her head, starts to cry. Ramona looks at her. And explodes:</scene_description> <character>RAMONA</character> <dialogue>Have I taught you fucking nothing?</dialogue> <scene_description>Ramona paces.</scene_description> <character>RAMONA</character> <dialogue>You stupid fucking idiot what the fuck is wrong with you?</dialogue> <scene_description>Ramona grabs Destiny by the shoulders and shakes her.</scene_description> <character>RAMONA</character> <dialogue>How could you do that??</dialogue> <character>DESTINY</character> <dialogue>-- Lily.</dialogue> <scene_description>Ramona stops. She looks at Destiny. Ramona clenches her teeth, but her chin starts to tremble. Ramona shakes her head. Then pulls Destiny in by the shoulders. They hug each other, crying on each other's shoulders.</scene_description> <character>RAMONA</character> <dialogue>Motherhood's a mental illness.</dialogue> <scene_description>Ramona holds Destiny in her arms. They know this is it for them. This is goodbye.</scene_description> <character>DESTINY</character> <dialogue>... I'm sorry.</dialogue> <scene_description>Ramona shakes her head. She squeezes Destiny tight, angry tears on her cheeks.</scene_description> <character>RAMONA</character> <dialogue>... we were fucking hurricanes, weren't we?</dialogue> <scene_description>Ramona pulls away first. Destiny's arms are still reaching out as Ramona walks away from her.</scene_description> <character>CUT TO: BLACK</character> <dialogue>It is quiet. Then... a RINGING PHONE takes us to...</dialogue> </scene> <scene> <stage_direction>INT. ELIZABETH'S HOUSE - DAY \[2014\]</stage_direction> <scene_description>Elizabeth, now pregnant, answers her phone. In the background, a BABY SHOWER in progress. It's a girl.</scene_description> <character>ELIZABETH</character> <dialogue>Hello?</dialogue> <character>DESTINY (O.S.)</character> <dialogue>Elizabeth...it's Destiny.</dialogue> <character>ELIZABETH</character> <dialogue>Hey, Destiny. How are you?</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - SAME</stage_direction> <scene_description>Destiny sits in her living room. Her voice almost echoes from the emptiness. No sound except her jewelry.</scene_description> <character>DESTINY</character> <dialogue>Good. Really good. Lily's good. Um...we're moving back to Queens. But...I've been making a ton of new friends. And I met a man who's helping me get a job in pharmaceuticals. Are you still there?</dialogue> <character>ELIZABETH</character> <dialogue>I'm here, Destiny.</dialogue> <character>DESTINY</character> <dialogue>Well, I've been thinking about things and...maybe the reason we did what we did? Is cause hurt people hurt people. You know?</dialogue> <scene_description>Elizabeth opens a door to another room.</scene_description> <character>DESTINY</character> <dialogue>Have you talked to Ramona lately?</dialogue> <character>ELIZABETH</character> <dialogue>No...just the one time.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Have you?</dialogue> <character>DESTINY</character> <dialogue>No...</dialogue> <scene_description>Destiny looks across the room at her daughter playing.</scene_description> <character>DESTINY</character> <dialogue>Can I ask you...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What else did she say about me?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CLOTHING STORE OFFICE - THE DAY OF RAMONA'S INTERVIEW</stage_direction> <scene_description>Ramona sits across from Elizabeth, now in the manager's chair. There's a warmth between them. Ramona has her big bag open on the desk.</scene_description> <character>RAMONA</character> <dialogue>... so I was living in the Bronx at the time but I was seeing this guy who had this walk-up right next to where I stripped, so I was staying at his place like every night...and then this one morning, I went back to my place and my front door was wide open and it just freaked me out, you know? That all my stuff, all my valuable stuff was in this place that I wasn't even sleeping in...so now I just carry everything with me all the time.</dialogue> <scene_description>Ramona opens up her bag and begins a show-and-tell.</scene_description> <character>RAMONA</character> <dialogue>This was a patch from my grandpa's uniform. He was in the Navy. This was my grandma's wedding band and this was my mother's, see the three birthstones are me and my sisters.</dialogue> <scene_description>Elizabeth looks at her, endeared.</scene_description> <character>RAMONA</character> <dialogue>One lives in Texas, the other one's in Arizona. We try to get together once a year but it's impossible with kids. Do you have kids?</dialogue> <character>ELIZABETH</character> <dialogue>Not yet.</dialogue> <character>RAMONA</character> <dialogue>Oh don't worry, you're young. You have amazing skin. Everyone must tell you that.</dialogue> <scene_description>Elizabeth notices something in the bag.</scene_description> <character>ELIZABETH</character> <dialogue>Is that you?</dialogue> <scene_description>She points at a photo of a YOUNG GIRL. Ramona laughs.</scene_description> <character>RAMONA</character> <dialogue>Yeah, that's me. A senior asked me to the prom. Look how terrified. I like my dress though.</dialogue> <scene_description>Ramona pulls another photo out from behind it. LITTLE DESTINY. We recognize her sweet face.</scene_description> <character>RAMONA</character> <dialogue>And that's Dorothy. Wasn't she the cutest? Who could leave this baby?</dialogue> <scene_description>Ramona gazes lovingly at the photo of Little Destiny.</scene_description> <character>RAMONA</character> <dialogue>We used to say...if only we had known each other back then...you know? Maybe we could've...been there for each other...and maybe our whole lives would've been different, you know?</dialogue> <scene_description>She looks at the two photos side-by-side. Ramona at fifteen. Destiny at five. Ramona gets em at the thought. Tears in her eyes for the first time. She smiles them away.</scene_description> <character>RAMONA</character> <dialogue>Maybe it'd be the same. Who knows. I can't talk to her. But...I still like to carry her with me.</dialogue> <scene_description>Ramona puts her childhood photo face-to-face with Destiny's childhood photo and slides them back in their place. BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - DAY</stage_direction> <scene_description>Destiny holds the phone to her ear. A tear falls. DESTINY AND RAMONA'S FRIENDSHIP IN REVERSE Looking at each other in jail Fighting each other on the floor Holding hands at Grandma's funeral Dancing with the "family" at Christmas Holding hands at the diner Hugging each other again after the crash Destiny trying on Ramona's bathing suit Ramona helping Destiny with the money in her boot Destiny wrapped in Ramona's fur coat, their heads on top of each other.</scene_description> <character>ELIZABETH (V.O.)</character> <dialogue>You should give her a call, Destiny.</dialogue> </scene> <scene> <stage_direction>INT. DESTINY'S HOUSE - DAY</stage_direction> <scene_description>Destiny nods, wiping away the tears, and smiles.</scene_description> <character>DESTINY</character> <dialogue>... yeah.</dialogue> <character>CUT TO: BLACK</character> <dialogue>Destiny pled guilty to conspiracy, grand larceny and attempted assault in exchange for zero jail time.</dialogue> <scene_description>FLASH TO: PHOTO: OUTSIDE THE COURTHOUSE, DESTINY HIDES UNDER HER PURSE Ramona served five years probation. FLASH TO: PHOTO: RAMONA FLIPS OFF THE CAMERAS OUTSIDE OF THE COURTHOUSE</scene_description> <character>CUT TO: BLACK</character> <dialogue>Mercedes and Annabelle were sentenced to weekends in prison and are now on five years' probation.</dialogue> </scene> <scene> <stage_direction>INT. MOVES GENTLEMAN'S CLUB - NIGHT</stage_direction> <scene_description>The world turns. Another night in the club, the floor packed with men paying to watch the women dance. As we witness the exchange, we hear a familiar voice...</scene_description> <character>RAMONA (V.O.)</character> <dialogue>There's really nothing I can say to make sense of what went down. But everybody's hustling...</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S OFFICE - THE DAY OF HER INTERVIEW</stage_direction> <scene_description>Ramona looks just past us.</scene_description> <character>RAMONA</character> <dialogue>This city, this whole country is a strip club. You got people tossing the money. And people doing the dance.</dialogue> <character>CUT TO: BLACK</character> <dialogue>CUE: Janet Jackson's "Miss You Much"...</dialogue> <character>DJ'S VOICE</character> <dialogue>One last time everybody, let's hear it for our girls!</dialogue> </scene> <scene> <stage_direction>INT. RAMONA'S APARTMENT - FLASHBACK</stage_direction> <scene_description>The night of their first big score. Destiny, Ramona, Mercedes, and Annabelle are celebrating together. Janet is playing. They're lined up in the living room. 5-6-7-8. The four girls do choreographed moves together, laughing, cracking up, dancing with each other, dancing for themselves.</scene_description> <character>CUT TO: BLACK</character> </scene> </script>

In 2014, former New York City-based stripper Destiny is invited for an interview with Elizabeth, a journalist working on a story involving Destiny's former friend and mentor, Ramona Vega. Seven years prior, Dorothy, known by her stripper name as Destiny, is working at Moves, a strip club, to support her grandmother but is barely getting by. Mesmerized by Ramona's performance and the tips she earns, Destiny meets her on the roof of the club. Ramona agrees to take Destiny under her wing, and the two form a formidable team. Destiny enjoys newfound wealth and friendship with Ramona. A year later, the financial crisis of 2007–2008 strikes, and both women find themselves short of cash. Destiny becomes pregnant. She kicks her boyfriend out of the house shortly after their daughter's birth, and she is unable to find a new job. With no other options, Destiny starts sleeping at Ramona's place. Moves has changed: the financial crisis has impacted their business, and the club is primarily staffed by immigrant women willing to perform sex acts for money, a line Destiny is unwilling to cross, but she does in a moment of desperation. She reconnects with Ramona, who introduces her to a new scheme. Along with her two protégées, Mercedes and Annabelle, Ramona targets rich men at bars, gets them drunk, and then escorts them to Moves where the girls steal their credit card numbers and charge them to their limit. Destiny joins in, and learns that Ramona uses a mix of ketamine and MDMA to impair judgment and cause memory loss in their targets, a tactic deemed worthwhile since their victims will rarely admit to being robbed by strippers. The scheme works, and the women enjoy their new source of wealth. When some of the targets prove too aggressive for Mercedes and Annabelle to handle, Destiny suggests bringing in other girls, who are carefully trained to avoid drinking or using drugs. Ramona's partnership with Moves makes the credit card fraud lucrative for them. However, cracks start to show in their operation. Other strippers begin to emulate their strategies. Furious, Ramona cuts her business ties with Moves, and the group begins to service clients in hotel rooms or their own homes. Mercedes and Annabelle become increasingly unreliable with this new practice, so Ramona hires women with drug problems and criminal records to replace them, while Destiny balks at bringing in "junkies and criminals". Destiny's fears prove true when a client suffers a near-fatal accident and she must take him to the hospital. Meanwhile, Ramona is busy bailing out a particularly unreliable new hire, Dawn. Destiny returns home to find her grandmother has died. At the funeral, Ramona makes amends and promises to take care of Destiny from now on. In 2014, Destiny becomes uncomfortable and stops the interview when Elizabeth insists on talking about Ramona. When Elizabeth returns home, Destiny calls and agrees to finish their conversation, recalling how her friendship with Ramona – and their crime ring – fell apart. Ramona's callousness drives a wedge between the women, and Destiny feels she can no longer justify her crimes. Dawn is picked up by the police and "flips" on her partners, while investigators manage to locate several victims and identify all of the girls. Destiny, Ramona, Annabelle, and Mercedes are arrested, but, only Destiny (thinking of her daughter) takes a plea deal. Ramona is sentenced to five years probation, while the others serve short jail sentences before being released on probation. A year later, Elizabeth visits Ramona, who is now working a retail job. Ramona reveals a childhood photo of Destiny that she keeps along with her most valued possessions. The article is published, and Elizabeth encourages Destiny to reach out to Ramona and make amends.

The Wolf of Wall Street_2013

tt0993846

<script> <scene> <character>THE WOLF OF WALL STREET</character> <dialogue>Written by</dialogue> <scene_description>Terence Winter Based on the book by Jordan Belfort White Shooting Script - September 7th, 2012 Blue Revised Pages - September 25th, 2012 Pink Revised Pages - October 9th, 2012 Yellow Revised Pages - October 15th, 2012 Green Revised Pages - October 16th, 2012 Goldenrod Revised Pages - October 19th, 2012 Buff Revised Pages - March 5th, 2013 INSERT - TV COMMERCIAL - DAY Over jungle sound effects, the CAMERA is low, moving through brush from the POV of a stalking animal. As the brush parts, revealing Wall Street and the New York Stock Exchange, we HEAR the resonant voice of GENE HACKMAN.</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>The world of investing can be a jungle.</dialogue> <scene_description>1A WE SEE a charging, snorting BULL. 1A</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>Bulls.</dialogue> <scene_description>1B WE SEE a ferocious, growling BEAR. 1B</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>Bears. Danger at every turn.</dialogue> <scene_description>Pretentious CLASSICAL MUSIC kicks in.</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>That's why we at Stratton Oakmont pride ourselves on being the best.</dialogue> <scene_description>1C-1D VARIOUS SHOTS -- a conservative young MAN reviews a stock 1C-1D portfolio with a wealthy older COUPLE; a smiling young WOMAN sits before a computer talking into a headset.</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>Trained professionals to guide you through the financial wilderness.</dialogue> <scene_description>1E WE SEE the Stratton "team" - an ethnically diverse group 1E of ACTORS with their handsome, grey-templed "CHAIRMAN".</scene_description> <character>GENE HACKMAN (V.O.)</character> <dialogue>Stratton Oakmont. Stabilty. Integrity. Pride.</dialogue> <scene_description>1F WE SEE a shot of the black glass Stratton Building, and: 1F</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - DAY (FEB '95)</stage_direction> <scene_description>Absolute bedlam. 300 drunken STOCKBROKERS, most in their early 20s, chant wildly as JORDAN BELFORT, handsome, 30, stands beside a DWARF dressed in tights, cape &amp; helmet.</scene_description> <character>JORDAN</character> <dialogue>Twenty five grand to the first cocksucker to nail a bullseye!</dialogue> <scene_description>The "bullseye" is a large dollar sign in the middle of a giant velcro "dartboard".</scene_description> <character>JORDAN</character> <dialogue>Watch and learn, people!</dialogue> <scene_description>The Brokers go apeshit as Jordan grabs the Dwarf by his pants and collar. In the Crowd, cash flies as side bets are made. Jordan winds up, aims for the "dartboard".</scene_description> <character>JORDAN</character> <dialogue>One. Two. Throw!!</dialogue> <scene_description>The Brokers cheer, and as the screaming Dwarf takes flight, hurtling toward camera, we FREEZE FRAME:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>My name is Jordan Belfort. No, not \* him, me. I'm a former member of \* the middle class raised by two accountants in a tiny apartment in Bayside, Queens.</dialogue> <scene_description>3-3B A SERIES OF POLAROIDS -- (1969) 3-3B</scene_description> <character>\*</character> <dialogue>Jordan, 7, smiles as he poses behind a lemonade stand, his parents Max and Leah behind him; Jordan, 13, stands holding a styrofoam cooler, selling ices on the beach; Jordan, 18, smiles as he holds an Amway sales brochure.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>The year I turned 26, I made 49 million dollars as the head of my own brokerage firm--</dialogue> </scene> <scene> <stage_direction>EXT. LONG ISLAND EXPRESSWAY - DAY (FEB '95)</stage_direction> <scene_description>A CHERRY RED Ferrari Testarossa ZOOMS down the L.I.E.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>--which really pissed me off because it was three shy of a million a week.</dialogue> <scene_description>The Ferrari weaves in and out of traffic.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Hey, my Ferrari was white, like Don Johnson's in Miami Vice.</dialogue> <scene_description>We see the same Ferrari, now in WHITE, as it zooms away, a BLONDE head bobbing up and down in Jordan's lap.</scene_description> </scene> <scene> <stage_direction>EXT. LONG ISLAND'S NORTH SHORE - DAY (FEB '95)</stage_direction> <scene_description>A twin-engine Bell Jet helicopter descends over a huge mansion, with sparkling pool, tennis court and waterfall.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>See that humongous estate down there? That's my house.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (FEB '95)</stage_direction> <scene_description>We see NAOMI, 24, blonde and gorgeous, a living wet dream in LaPerla lingerie.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>My wife, Naomi, the Duchess of Bay Ridge, Brooklyn, a former model and Miller Lite girl.</dialogue> <scene_description>Naomi licks her lips; she's incredibly, painfully hot.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Yeah, she was the one blowing me in the Ferrari, so put your dick back in your pants.</dialogue> <scene_description>Over the following, WE SEE a quick 7-7C SERIES OF SHOTS 7-7C All taken from TV; a mansion from Lifestyles of the Rich and Famous; wealthy PEOPLE applauding at a polo match; a yacht sailing crystal blue seas; Robert Wagner and Stephanie Powers toasting with champagne on Hart to Hart.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>In addition to Naomi and my two perfect kids, I own a mansion, private jet, six cars, three horses, two vacation homes and a 170 foot yacht.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BEDROOM - NIGHT (FEB '95)</stage_direction> <scene_description>Sweaty, wild-eyed and naked, Jordan fucks an HISPANIC HOOKER from behind.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I also gamble like a degenerate, drink like a fish, fuck hookers maybe five times a week and have three different Federal agencies looking to indict me.</dialogue> <scene_description>He dismounts, snorts some coke through a straw, then uses it to blow some into her asshole.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Oh yeah, and I love drugs.</dialogue> <scene_description>Jordan looks up suddenly, paranoid, as if he's hearing voices.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT (FEB '95)</stage_direction> <scene_description>Jordan, drooling and stoned out of his skull, wears a rumpled custom-made business suit as he mans a set of controls next to his frantic co-pilot, CAPTAIN DAVE.</scene_description> <character>CAPTAIN DAVE</character> <dialogue>Pull up! Jesus! We're gonna crash!!</dialogue> <scene_description>Jordan's head bobs as he pulls back on the stick. The helicopter rises sharply, then levels out, hovering 30 feet above a huge mansion. Down below, through Jordan's hazy, DOUBLE VISIONED POV, we see a sparkling pool, tennis court and waterfall.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Check this out -- despite my completely fucked-up state, I could fly straight while still seeing two of everything.</dialogue> <scene_description>He closes one eye; his POV sharpens. Putting pressure on the stick, the helicopter descends slowly over the driving range... then LURCHES and SLAMS to the ground.</scene_description> <character>JORDAN</character> <parenthetical>(to Captain Dave)</parenthetical> <dialogue>Ya guzza git hazarous doozy pay, buddy.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - FRONT DOOR - DAY (FEB '95)</stage_direction> <scene_description>Morning. Sober now, impeccable in suit and tie, Jordan heads for the door holding a glass of orange juice.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Yes, on a daily basis I take enough drugs to sedate greater Long Island.</dialogue> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - CONTINUOUS (FEB '95)</stage_direction> <scene_description>He pops two white pills, swigs some juice, then speaks directly to the camera as he heads for a waiting limo.</scene_description> <character>JORDAN</character> <dialogue>I take Quaaludes for my back, fifteen to twenty a day.</dialogue> <character>JORDAN</character> <dialogue>I use Xanax to stay focused, ambien to sleep, pot to mellow out, cocaine to wake up and morphine because it's awesome.</dialogue> </scene> <scene> <stage_direction>EXT. STRATTON OAKMONT III - LONG ISLAND - DAY (FEB '95)</stage_direction> <scene_description>The limo pulls up to the black glass office building. Jordan gets out, heads inside through a back door.</scene_description> <character>JORDAN</character> <dialogue>But of all the drugs under God's blue heaven, there's one that's my absolute favorite.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY (FEB '95)</stage_direction> <scene_description>Gadgets, computers, oxblood leather furniture. With the DIN of the brokerage firm bleeding in, Jordan uses a credit card to cut a line of coke on his desk. As he peels a crisp $100 DOLLAR BILL off a wad, rolls it up:</scene_description> <character>JORDAN</character> <dialogue>Enough of this shit'll make you invincible, able to conquer the world and eviscerate your enemies.</dialogue> <scene_description>He SNARFS up the line, gestures to the cocaine.</scene_description> <character>JORDAN</character> <dialogue>I'm not talking about this. I'm talking about this.</dialogue> <parenthetical>(Jordan unfurls the $100 with a SNAP)</parenthetical> <dialogue>Money is the oxygen of capitalism and I wanna breathe more than any other human being alive.</dialogue> <scene_description>He crumbles it into a ball and tosses it into a corner, where it comes to rest with two dozen others. Over his back as we TRACK HIM out of his office toward what sounds like the ROAR of a mob--</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Money doesn't just buy you a better life -- better food, better cars, better pussy -- it also makes you a better person. You can give generously to the church of your choice or the political party. You can save the fucking spotted owl with money.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - DAY (FEB '95)</stage_direction> <scene_description>Arms akimbo, Jordan stands above the bullpen, a huge open space with tightly packed rows of maple colored desks.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>But most of all, in any country in the world, money can buy you love. Fuck the Beatles.</dialogue> <scene_description>His 300 BROKERS, mostly young men with their jackets off, scream wildly. They worship him.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>With that in mind, at the tender age of 22, after marrying my girlfriend Teresa--</dialogue> <scene_description>14A SCENES 14A - 18 OMITTED 14A</scene_description> </scene> <scene> <stage_direction>EXT. WALL STREET - DAY (MAY '87)</stage_direction> <scene_description>An express bus pull up -- its sign reads "Wall Street"....</scene_description> <character>JORDAN (V.O.)</character> <dialogue>--I headed to the only place that befit my high-minded ambitions...</dialogue> <scene_description>Jordan emerges, kisses TERESA goodbye, then joins a sea of Commuters heading to work.</scene_description> <character>JERRY FOGEL (PRE-LAP)</character> <dialogue>You are lower than fucking pond scum.</dialogue> </scene> <scene> <stage_direction>INT. L.F. ROTHSCHILD - BULLPEN - DAY (MAY '87)</stage_direction> <scene_description>Computers, telephones everywhere. At their desks, 45 shirt-sleeved BROKERS read their Wall St. Journals, readying for war. Like an eager puppy, Jordan follows broker JERRY FOGEL, 30, thick-lipped and bow-tied...</scene_description> <character>JERRY FOGEL</character> <dialogue>You got a problem with that?</dialogue> <parenthetical>(reads name tag)</parenthetical> <dialogue>Jordan?</dialogue> <character>JORDAN</character> <dialogue>Nope. No problem at all.</dialogue> <character>JERRY FOGEL</character> <dialogue>Your job is 'connector', which means you'll be dialing the phone over 500 times a day, trying to 'connect' me with business owners. And till you pass your Series 7, that's all you'll be doing. Sit.</dialogue> <scene_description>Jordan takes a seat at the desk next to Fogel's.</scene_description> <character>JERRY FOGEL</character> <dialogue>Just so you know, last year I made over 300k and the other guy you'll be working for made a million.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>A million dollars? I could only imagine what a douchebag that guy must be.</dialogue> <scene_description>A manicured hand lands on Jordan's shoulder. It's MARK HANNA, 30s, charismatic, movie-star handsome.</scene_description> <character>MARK HANNA</character> <dialogue>Jordan? Mark Hanna.</dialogue> <parenthetical>(re: Fogel)</parenthetical> <dialogue>Good, you've met Jerry. One of the smartest guys in the office. Who's ever sucked a dog's cock out of loneliness.</dialogue> <scene_description>Fogel's smile turns to a frown. He hands Jordan a stack of 3x5 index cards.</scene_description> <character>JERRY FOGEL</character> <dialogue>Smile and dial. And don't pick your fucking head up till one.</dialogue> <character>MARK HANNA</character> <dialogue>Don't mind Jerry, his father raped him as a child. Besides, I'm senior broker here, he's a worthless piker. I heard you pitched stock at your job interview.</dialogue> <character>JORDAN</character> <dialogue>Had to do something to stand out.</dialogue> <character>MARK HANNA</character> <dialogue>I fuckin' love that! Let's grab lunch later. Windows good with you?</dialogue> <character>JORDAN</character> <dialogue>Great. Yeah.</dialogue> <scene_description>Hanna gives him a wink, looks at the clock on the giant electronic stock ticker encircling the room -- 9:30 a.m.</scene_description> <character>MARK HANNA</character> <dialogue>Let's fuck!!</dialogue> <scene_description>RING!!! Absolute pandemonium at the BELL signalling the opening of the stock market. Feet fly off desks; Brokers and their Connectors dial phones like mad. The CAMERA PUSHES IN on JORDAN, mesmerized as he takes in the ROAR.</scene_description> <character>BROKER #1</character> <parenthetical>(to Broker #2)</parenthetical> <dialogue>Miniscribe's a fuckin' steal! Thirty eight bucks a share!</dialogue> <character>MARK HANNA</character> <parenthetical>(into headset)</parenthetical> <dialogue>Your broker in West Virginia? What are you buying, a coal mine? It's the 80s, the game is high- tech.</dialogue> <character>BROKER #2</character> <parenthetical>(to Broker #3)</parenthetical> <dialogue>Fuckface! I got 50,000 July 50s!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>You want to know what money sounds like? Visit a trading floor on Wall Street. Fuck this, shit that. Cock, cunt, asshole. I couldn't believe how these guys talked to each other--</dialogue> <scene_description>Fogel notices Jordan sitting there frozen. He covers his mouthpiece, kicks the desk violently.</scene_description> <character>JERRY FOGEL</character> <dialogue>Dial the cocksucking phone!</dialogue> <scene_description>Jordan snaps out of it, starts dialing.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I was hooked within seconds.</dialogue> <scene_description>Mark Hanna slams down his phone in victory, scrawls out a "buy" ticket. He places the ticket into a glass cylinder which he slips into a plastic pneumatic tube.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It was like mainlining adrenaline.</dialogue> <scene_description>The tube is WHOOSHED into the ceiling and we're suddenly--</scene_description> </scene> <scene> <stage_direction>INT. WINDOWS ON THE WORLD - DAY (MAY '87)</stage_direction> <scene_description>CLOSE ON a COKE SPOON whose contents disappear up a nostril. PULL BACK TO REVEAL... The lunchtime power spot with panoramic views of the city. At a corner table, a paranoid Jordan looks around as Hanna does another bump of coke. None of the other DINERS seem to notice or care.</scene_description> <character>MARK HANNA</character> <parenthetical>(offering the spoon)</parenthetical> <dialogue>Got enough for one more? Tootski?</dialogue> <character>JORDAN</character> <dialogue>No. Thanks though.</dialogue> <scene_description>Hanna slips the vial into his pocket as HECTOR, the tuxedoed Maitre'D, approaches.</scene_description> <character>HECTOR</character> <dialogue>Mr. Hanna, what can I bring for you on this glorious afternoon?</dialogue> <scene_description>Hanna surreptitiously palms Hector a $100; Jordan notices.</scene_description> <character>MARK HANNA</character> <dialogue>Here's the game plan, Hector. Bring us two Absolut Martinis straight up. Precisely seven and a half minutes after you deliver those you'll bring two more, then two more every five minutes until one of us passes out.</dialogue> <character>HECTOR</character> <dialogue>An excellent strategy, sir.</dialogue> <character>JORDAN</character> <dialogue>Actually, I'm good with 7-Up.</dialogue> <scene_description>Jordan might as well have farted at the table.</scene_description> <character>MARK HANNA</character> <dialogue>First day on Wall Street, Hector. Give him time.</dialogue> <parenthetical>(Hector offers menus)</parenthetical> <dialogue>No thanks, I'm not eating.</dialogue> <scene_description>Hector heads off.</scene_description> <character>JORDAN</character> <dialogue>You can get high during the day and still function?</dialogue> <character>MARK HANNA</character> <dialogue>High is the only way to do this fucking job. Guy who coined the term "three-martini lunch" was a woman. Cocaine and hookers, my friend, the keys to success.</dialogue> <scene_description>Jordan smiles, not sure if Hanna is kidding.</scene_description> <character>JORDAN</character> <dialogue>I gotta say, I'm really excited about being part of your team. I wanna do all I can for our clients and --</dialogue> <character>MARK HANNA</character> <parenthetical>(reciting an ad)</parenthetical> <dialogue>"Here at L.F. Rothschild, our clients aren't just important, they're family." Just as long as we get our taste first. Remember something, Jordan, your top priority in this job: make us money. If the clients get rich along the way, bully for them. Got a girlfriend?</dialogue> <character>JORDAN</character> <dialogue>Wife. She cuts hair.</dialogue> <scene_description>Mark swallows a comment about that. Gets to business.</scene_description> <character>MARK HANNA</character> <dialogue>OK, first rule of Wall Street. Nobody -- and I don't care if you're Warren Buffet or Jimmy Buffet -- nobody knows if a stock's going up, down or fucking sideways, least of all stock brokers. But we have to pretend we know. Make sure you stay relaxed. Nobody wants to buy something from someone who sounds like they haven't gotten laid in a month. Take breaks when you feel stressed, jerk off if you can. You like jerking off, right?</dialogue> <character>JORDAN</character> <dialogue>Well... sure.</dialogue> <character>MARK HANNA</character> <dialogue>Good, jerking off is key. And I highly recommend cocaine, which will make you dial faster, which is good for me. Churn 'em and burn 'em, baby.</dialogue> <scene_description>A BUSBOY stops by with a fresh napkin for Mark who thanks him. Then, discreetly as possible, Mark removes a fresh vial of cocaine tucked within and takes a quick snort. Jordan realizes: that's why he palmed the maitre d' $100.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>For the next six months I learned the ways of Wall Street.</dialogue> </scene> <scene> <stage_direction>INT. STRIP CLUB - NIGHT (OCT '87)</stage_direction> <scene_description>As STRIPPERS grind in b.g, Jordan parties with Mark Hanna and dozens of BROKERS and TRAINEES. Jordan sips a martini and studies Mark Hanna, hitting on a STRIPPER.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>That fall I passed my Series 7. Finally it was here.</dialogue> </scene> <scene> <stage_direction>INT. ROTHSCHILD BUILDING - LOBBY - DAY (OCT '87)</stage_direction> <scene_description>Briefcase in hand, Jordan boards the elevator with a dozen other BROKERS.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>My first day as a stockbroker, a future Master of the Universe.</dialogue> <scene_description>And as the doors close, on screen WE SEE: OCTOBER 19th, 1987</scene_description> </scene> <scene> <stage_direction>INT. L.F. ROTHSCHILD - BULLPEN - DAY (OCT '87)</stage_direction> <scene_description>Total chaos. Jordan dials the phone as all around him Brokers panic, screaming into headsets.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>They called it Black Monday. By four p.m. the market was down 508 points, the biggest one-day drop since the crash of '29.</dialogue> <scene_description>4 p.m. The closing bell RINGS; the entire place goes silent. Brokers look at each other, stunned.</scene_description> <character>MARK HANNA</character> <dialogue>Holy. Fucking. Shit.</dialogue> <scene_description>And as the Brokers start commiserating with each other...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>L.F. Rothschild, a company that had been in business since 1883, closed its doors within a month.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN &amp; TERESA'S APARTMENT - KITCHEN - DAY (DEC '87)</stage_direction> <scene_description>Jordan sits at the table perusing the Times classifieds. Teresa approaches with two coffees. Sits next to him.</scene_description> <character>TERESA</character> <dialogue>So I'll take an extra shift, don't worry about it.</dialogue> <character>JORDAN</character> <dialogue>You work too much as it is.</dialogue> <character>TERESA</character> <dialogue>We could pawn my engagement ring.</dialogue> <character>JORDAN</character> <dialogue>We're not pawning anything. I'm gonna be a millionaire, Teresa.</dialogue> <character>TERESA</character> <dialogue>You know that doesn't matter, right?</dialogue> <scene_description>He smiles, kisses her. Together, they peruse the ads.</scene_description> <character>JORDAN</character> <parenthetical>(points to an ad)</parenthetical> <dialogue>"Nobody Beats the Wiz". I could be a stock boy.</dialogue> <character>TERESA</character> <dialogue>You're a stock broker.</dialogue> <character>JORDAN</character> <dialogue>No one's hiring brokers right now, sweetie.</dialogue> <scene_description>They go back to the ads. After a few beats, she points--</scene_description> <character>TERESA</character> <dialogue>This place is.</dialogue> </scene> <scene> <stage_direction>EXT. STRIP MALL - PARKING LOT - LONG ISLAND - DAY (DEC '87)</stage_direction> <scene_description>In a suit, Jordan emerges from an '85 Datsun. He looks around confused, heads toward an unmarked storefront.</scene_description> </scene> <scene> <stage_direction>INT. INVESTOR'S CENTER - DAY (DEC '87)</stage_direction> <scene_description>The antithesis of L.F. Rothschild, with cheap furniture and a dozen misfit "BROKERS" giving loud, obnoxious sales pitches. Jordan enters, a modern man among cave people. DWAYNE, slovenly, 35, with a walrus mustache, looks up.</scene_description> <character>JORDAN</character> <dialogue>I'm looking for Investor's Center?</dialogue> <character>DWAYNE</character> <dialogue>That's us, hey. Dwayne.</dialogue> <character>JORDAN</character> <parenthetical>(as they shake hands)</parenthetical> <dialogue>Jordan Belfort, I called earlier. I was a broker with Rothschild.</dialogue> <scene_description>Dwayne motions Jordan to a seat. Nearby, a Broker in ratty Keds, TOBY WELCH, is screaming into his phone.</scene_description> <character>TOBY WELCH</character> <dialogue>I'm tellin' you, this stock is goin' up!... Cause I know, okay?!... I have inside information!</dialogue> <scene_description>Jordan looks at him, appalled at what he's hearing.</scene_description> <character>JORDAN</character> <dialogue>Where are your quotrons?</dialogue> <character>DWAYNE</character> <dialogue>No quotrons, we sell off the pink sheets -- penny stocks.</dialogue> <scene_description>Dwayne slides Jordan a large thin book; its pages are literally pink. He explains as Jordan flips the pages:</scene_description> <character>DWAYNE</character> <dialogue>Company don't have enough capital to be listed on NASDAQ, their shares trade here.</dialogue> <parenthetical>(points to the book)</parenthetical> <dialogue>Like these guys, Aerotyne? They make radar detectors out of a garage in Dubuque.</dialogue> <character>JORDAN</character> <dialogue>Six cents a share? Who buys this crap?</dialogue> <character>DWAYNE</character> <dialogue>Schmucks mostly. Mailmen, plumbers, people thinking they can get rich quick. They answer our ads, Popular Mechanics, Hustler.</dialogue> <character>JORDAN</character> <dialogue>The spread on these is huge.</dialogue> <character>DWAYNE</character> <dialogue>So's your commission, that's the point. Blue chips stocks you get what, one percent? Pink sheets are fifty.</dialogue> <character>JORDAN</character> <dialogue>Wait a second. You're telling me if I sell two thousand dollars worth of stock, my commission is a thousand bucks?</dialogue> <character>DWAYNE</character> <dialogue>Technically, yeah, but not even the biggest schmuck buys two thousand dollars of this shit.</dialogue> </scene> <scene> <stage_direction>INT. INVESTOR'S CENTER - (LATER THAT) DAY (DEC '87)</stage_direction> <scene_description>As others Brokers bark into phones, Jordan sits, phone cradled in his shoulder, making notes. A few beats, then:</scene_description> <character>JORDAN</character> <parenthetical>(into phone)</parenthetical> <dialogue>Mr. Fleming, good morning, Jordan Belfort with Investor's Center in New York City. You recently responded to one of our ads...</dialogue> <scene_description>A few of the other Brokers glance over, eavesdropping.</scene_description> <character>JORDAN</character> <dialogue>The reason I'm calling is that an extremely exciting investment opportunity crossed my desk today. Typically our firm recommends no more than five stocks per year: this is one of them...</dialogue> <scene_description>A few more Brokers look over...</scene_description> <character>JORDAN</character> <dialogue>Aerotyne International is a cutting edge tech firm out of the Midwest, awaiting imminent patent approval on a new generation of radar equipment...</dialogue> <scene_description>LATER. Now all the Brokers listen in rapt attention.</scene_description> <character>JORDAN</character> <dialogue>-- so if Aerotyne's shares rise to only a dollar -- and our research indicates they could go much, much higher -- your profit on a mere three thousand dollar investment would be upwards of fifty thousand... That's right, you could pay off your mortgage.</dialogue> <scene_description>Seconds tick by; an eternity, then he starts writing:</scene_description> <character>JORDAN</character> <dialogue>Four thousand dollars, will that be check or money order?... Thank you, sir.</dialogue> <scene_description>Jordan hangs up, scrawls out a "buy" ticket.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Just like that I made two grand. The other guys looked at me like I'd just discovered fire.</dialogue> <scene_description>Toby Welch and the other cave-Brokers stare at him.</scene_description> <character>TOBY WELCH</character> <dialogue>How'd you fuckin' do that?</dialogue> </scene> <scene> <stage_direction>INT. INVESTOR'S CENTER - (ANOTHER) DAY (FEB '88)</stage_direction> <scene_description>Jordan sits at his desk in mid-pitch, totally focused.</scene_description> <character>JORDAN</character> <dialogue>It's a rock-solid company, sir, it's the next Microsoft... Six thousand. Terrific.</dialogue> <scene_description>As Jordan continues talking, wrapping up the sale...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Though I knew I was selling garbage, within twelve weeks I was making a fortune.</dialogue> <scene_description>And as he starts scrawling out a buy ticket...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>And as a wise man once told me, my only responsibility was to put meat on the table.</dialogue> <scene_description>CLOSE ON a 1988 Jaguar, parked outside a diner...</scene_description> </scene> <scene> <stage_direction>INT. KACANDES DINER - BAYSIDE - DAY (JUN '88)</stage_direction> <scene_description>Wearing a suit, Jordan sits in a booth reading the Wall Street Journal as a WAITRESS serves the food. DONNIE AZOFF, preppy-looking, 25, with horn-rims and bright white teeth approaches from the takeout counter.</scene_description> <character>DONNIE</character> <dialogue>That your Jag in the lot?</dialogue> <character>JORDAN</character> <dialogue>Yeah.</dialogue> <character>DONNIE</character> <dialogue>Nice ride. Donnie Azoff.</dialogue> <character>JORDAN</character> <dialogue>Jordan Belfort.</dialogue> <character>DONNIE</character> <dialogue>I've seen it around. We live in the same building. Twelfth floor?</dialogue> <parenthetical>(Jordan nods)</parenthetical> <dialogue>What do you do, bro?</dialogue> <character>JORDAN</character> <dialogue>Stock broker.</dialogue> <character>DONNIE</character> <dialogue>Kids furniture, me and my brother- in-law. Making any money?</dialogue> <character>JORDAN</character> <dialogue>Seventy grand last month.</dialogue> <character>DONNIE</character> <dialogue>Get the fuck out. You made seventy grand in one month.</dialogue> <character>JORDAN</character> <dialogue>Seventy two actually.</dialogue> <scene_description>Donnie studies him, isn't sure if he's full of shit.</scene_description> <character>DONNIE</character> <dialogue>Tell you what. You show me a pay stub with $72,000 on it, I'm quitting my job right now and coming to work with you.</dialogue> <scene_description>As Jordan retrieves his briefcase to find a paystub -- \* 30A SCENE 30A OMITTED \*30A 30B As Jordan hands Donnie his paystub and sure enough, it's \*30B north of seventy-two k. \*</scene_description> <character>DONNIE (CONT'D) \*</character> <dialogue>Holy shit.</dialogue> <scene_description>Jordan watches as Donnie crosses to a pay phone and dials.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>And he did quit his job, which I thought was a little weird. I mean I had just met this fucking guy.</dialogue> <scene_description>A few beats, then into phone:</scene_description> <character>DONNIE</character> <dialogue>Yo Paulie, it's Donnie... Yeah, listen, I quit.</dialogue> <scene_description>Jordan studies Donnie as he continues his conversation...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>There were other things about him too, like his phosphorescent white teeth and the fact that he wore horn rims with clear lenses to look more Waspy. He also married his first cousin --</dialogue> <scene_description>SCENE 31 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BAR - DAY (JUN '88) \*</stage_direction> <scene_description>Jordan sits in mid-conversation with Donnie over beers.</scene_description> <character>DONNIE</character> <dialogue>No problem, if we have a kid who's a retard, we'll just leave it on the steps of some institution.</dialogue> <scene_description>And as they continue drinking...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He was also a closet drug fiend. I'd known him less than a week before he talked me into smoking crack.</dialogue> </scene> <scene> <stage_direction>EXT. BACK OF BAR - DAY (JUN '88) \*</stage_direction> <scene_description>Jordan and Donnie get high. Donnie holds a flame under a crack pipe.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The weird thing was when he'd do crack, his face would contort into this bizarre, frozen mask like the Phantom of the Opera.</dialogue> <scene_description>Donnie does a hit of crack; his jaw twitches, then his facial muscles contort, locking up like a stroke victim. After a few beats, he hands the pipe to Jordan.</scene_description> <character>DONNIE</character> <dialogue>You now, take a hit!</dialogue> <scene_description>Jordan takes a deep hit and holds it. A beat, then:</scene_description> <character>JORDAN</character> <dialogue>Omigod, I fuckin' love you!!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>I knew I had to make him my partner.</dialogue> </scene> <scene> <stage_direction>INT. INVESTOR'S CENTER - DAY (SEP '88)</stage_direction> <scene_description>Jordan looks on as Donnie works the phone like a madman.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Which turned out to be a great move - Donnie was a fast learner who transitioned into the penny stock business quickly.</dialogue> </scene> <scene> <stage_direction>EXT. STRATTON OAKMONT I - AUTO SHOP - DAY (SEP '88)</stage_direction> <scene_description>Jordan and Donnie pull up to a defunct auto body shop, which has a "For Lease" sign in the window.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>So within months we started our own firm out of an abandoned auto body shop.</dialogue> </scene> <scene> <stage_direction>INT. KACANDES DINER - DAY (OCT '88)</stage_direction> <scene_description>Jordan sits with CHESTER MING, ROBBIE FEINBERG, ALDEN KUPFERBERG ("SEA OTTER") and BRAD, muscular and bald, with a Fu Manchu mustache.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>In addition to Donnie, I also recruited my friends Sea Otter, \* Chester and Robbie, who were at \* the time all middling pot dealers.</dialogue> <scene_description>As a WAITRESS serves cheeseburgers:</scene_description> <character>JORDAN</character> <dialogue>--see everyone wants to get rich, so you're already half way there by the time the call starts.</dialogue> <character>SEA OTTER</character> <dialogue>I sold weed once to this Amish dude, had one of those beards with no mustache?</dialogue> <character>ROBBIE FEINBERG</character> <dialogue>So?</dialogue> <character>SEA OTTER</character> <dialogue>He only wanted to make furniture.</dialogue> <character>CHESTER MING</character> <dialogue>What's that got to do with anything?</dialogue> <character>SEA OTTER</character> <dialogue>He just said everyone wants to get rich.</dialogue> <character>ROBBIE FEINBERG</character> <parenthetical>(to Jordan)</parenthetical> <dialogue>That's true, you did.</dialogue> <character>SEA OTTER</character> <dialogue>Buddhists too, they don't give a shit about money either.</dialogue> <character>CHESTER MING</character> <dialogue>Man I could sell weed to anybody, get a convent full of nuns fucking wasted.</dialogue> <scene_description>And as Brad looks at Jordan and shakes his head:</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - BULLPEN</stage_direction> <character>(OCT '88)</character> <dialogue>We see the above guys working the phones.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Brad, the guy I really wanted, took a pass, since he'd become the Quaalude king of Bayside.</dialogue> </scene> <scene> <stage_direction>EXT. BRAD'S HOUSE - BACKYARD GYM - DAY (OCT '88)</stage_direction> <scene_description>Bare-chested, wearing kung fu pants, Brad sells ludes to a couple of HIGH SCHOOL KIDS.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>They were absolute morons, my friends, but like I always said--</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - BULLPEN - DAY</stage_direction> <character>(OCT '88)</character> <dialogue>Jordan emerges from his office into the garage area (the bullpen), looking on as Donnie, Chester, Robbie, Sea Otter and four other BROKERS (now including RUGRAT and Toby) make sales calls from the cheap desks.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Give me them young, hungry and stupid and in no time I'll make them rich.</dialogue> </scene> <scene> <stage_direction>EXT. MARINA - LONG ISLAND - SUNSET (MAY '89)</stage_direction> <scene_description>On lounge chairs at the edge of a dock, bottle of wine nearby, Jordan sits with Teresa. He smiles as she opens a jewelry case -- inside is a diamond tennis bracelet.</scene_description> <character>TERESA</character> <dialogue>Omigod. Jordan.</dialogue> <character>JORDAN</character> <dialogue>You like it?</dialogue> <character>TERESA</character> <dialogue>It's beautiful.</dialogue> <scene_description>Jordan helps her try it on. She smiles, but he detects a wave of... something.</scene_description> <character>JORDAN</character> <dialogue>They're small, I know, but the stones are really high quality.</dialogue> <character>TERESA</character> <dialogue>No, no. I love it.</dialogue> <character>JORDAN</character> <dialogue>Then what?</dialogue> <scene_description>They sit in silence. Finally:</scene_description> <character>TERESA</character> <dialogue>I don't know, it's just -- these stocks, these crappy companies.</dialogue> <character>JORDAN</character> <dialogue>In five years the Corleone family will be completely legitimate.</dialogue> <character>TERESA</character> <dialogue>Why can't you be legitimate now?</dialogue> <character>JORDAN</character> <dialogue>It's not illegal, Teresa, technically. I mean they're real stocks, they're just...</dialogue> <character>TERESA</character> <dialogue>Never gonna make anybody money.</dialogue> <parenthetical>(a few beats; then)</parenthetical> <dialogue>Wouldn't you feel better selling this junk to rich people, who can afford to lose the money at least?</dialogue> <character>JORDAN</character> <dialogue>Rich people don't buy penny stocks.</dialogue> <character>TERESA</character> <dialogue>Why not?</dialogue> <scene_description>And on Jordan's look:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Because they're too smart, that's why not.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - DAY (AUG '89)</stage_direction> <scene_description>CLOSE ON Jordan, brow furrowing as his wheels turn.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I mean what person of any substance would trust this bunch of jerk-offs? Like the Pinhead, \* Robbie Feinberg.</dialogue> <scene_description>SCENES 42 - 46 OMITTED \* 46A INSERT ID PHOTO - TOBY WELCH \*46A</scene_description> <character>JORDAN (V.O.) \*</character> <dialogue>Toby Welch. I mean, look at this \* fucking Cro-Magnon, I wouldn't \* trust him to pick up a rock. \*</dialogue> <character>(ALT) \*</character> <dialogue>JORDAN (V.O.) \*</dialogue> <scene_description>Toby Welch. I mean, look at this \* fucking Cro-Magnon, he couldn't \* even think without moving his \* lips. \* 46B INSERT ID PHOTO - ROBBIE FEINBERG 46B</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Or the Sea Otter.</dialogue> <scene_description>46C INSERT ID PHOTO - THE SEA OTTER 46C</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Chester Ming even, the Depraved Chinaman, with his giant panda head.</dialogue> <scene_description>46D INSERT ID PHOTO - CHESTER MING 46D</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Or Nicky Koskoff, who I called Rugrat because--</dialogue> <scene_description>46E INSERT ID PHOTO - RUGRAT 46E</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Well, you can probably figure that out for yourself.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - REAR - NIGHT</stage_direction> <character>(MAR '90)</character> <dialogue>The camera PUSHES IN on Jordan as he stands before a large dry erase board.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>But what if they didn't sound like jerk-offs? What if I took this bunch of nincompoops and molded them in my own image? I reinvented the company, gave it a new image, a new name. Something patrician, blue-blooded, something that reeked of tradition and anti- semitism.</dialogue> <scene_description>And as his Brokers settle in to folding chairs--</scene_description> <character>JORDAN</character> <dialogue>Gentlemen, welcome to Stratton Oakmont. The clients we've gone after in the past -- they're done. We will now target exclusively the wealthiest one percent of Americans. The methods we've used -- over. Loud, obnoxious sales hype is worthless with these people.</dialogue> <character>JORDAN</character> <dialogue>In military terms it's like carpet- bombing -- noisy, menacing and only marginally effective. As Stratton brokers you will be laser- guided smart-bombs aimed at high- priority targets. You will establish an initial relationship with your clients selling only blue chip stocks -- then and only then will you attempt to sell the pink sheets, where the real money is. Now the key to every sale is this:</dialogue> <scene_description>Jordan writes the word "URGENCY" on the board.</scene_description> <character>JORDAN</character> <dialogue>No one buys stock unless he thinks it's going up and going up now. You must convince your client to buy before the takeover happens, before the lawsuit is settled, before the patent is granted. If he says I'll think about it and call you back, it's over, you're dead! No one calls back! So you have to create urgency --</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <scene_description>Another day. With Stratton Oakmont signage visible in the b.g., Jordan is on speakerphone with a potential CLIENT, the other Brokers listening in.</scene_description> <character>JORDAN</character> <dialogue>--and once Kodak settles the lawsuit, institutions will be permitted to buy their shares in large blocks again. And when that happens, which is any day now, what do you think will happen to the price of Kodak stock?</dialogue> <character>CLIENT (O.S.)</character> <dialogue>It'll go up?</dialogue> <character>JORDAN</character> <dialogue>Exactly. Which is why you should pick up 5000 shares today, a $200,000 investment.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - REAR - NIGHT</stage_direction> <scene_description>Jordan stands addressing his Brokers.</scene_description> <character>JORDAN</character> <dialogue>Then you lower your voice.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <scene_description>Jordan pitches the client, his voice lowered.</scene_description> <character>JORDAN</character> <dialogue>Believe me, sir, you will not be sorry.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - REAR - NIGHT</stage_direction> <scene_description>Jordan stands before the Brokers.</scene_description> <character>JORDAN</character> <dialogue>Then you wait. Whoever speaks first loses. At this point, where are we in the sale? Chester?</dialogue> <character>CHESTER MING</character> <dialogue>About to close?</dialogue> <character>JORDAN</character> <dialogue>No, you sweet and sour douchebag! We're at the beginning of the beginning! This is where the sale starts. You as a salesman are almost hoping he says no so you can finally do your fucking job!</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <scene_description>Jordan sits at the phone, waiting for a response.</scene_description> <character>CLIENT (O.S.)</character> <dialogue>I don't know, I don't think so.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO BODY SHOP - REAR - NIGHT</stage_direction> <scene_description>Jordan stands before the Brokers.</scene_description> <character>JORDAN</character> <dialogue>He doesn't know, he needs to think, he's gotta ask his wife! The fact is it doesn't matter what the fuck he says! If he's already agreed that the stock's going up, then the only real objection he has at this point is he doesn't trust you! And he shouldn't trust you, you're a fucking salesman! So what do you say?</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <scene_description>Donnie talks on the phone to a Client.</scene_description> <character>DONNIE</character> <dialogue>Let me ask you this, sir -- had I been your broker for the past three to four years and made you money on a consistent basis, you probably wouldn't say you need to think about it, you'd probably say pick me up three or four thousand shares, am I right?</dialogue> <character>CLIENT #2 (O.S.)</character> <dialogue>Maybe.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <character>(APR '90)</character> <dialogue>The place is crowded; now 20 Brokers make up the sales force. Sea Otter pitches a client.</dialogue> <character>SEA OTTER</character> <dialogue>Wait a second. You mean to tell me if I put you in Union Carbide at 7 and took you out at 32--</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <character>(MAY '90)</character> <dialogue>Even more crowded, with 30 Brokers.</dialogue> <character>ROBBIE FEINBERG</character> <dialogue>If I put you in Texas Instruments at 11 and took you out at 47--</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT I - AUTO SHOP BULLPEN - DAY</stage_direction> <character>(JUN '90)</character> <dialogue>More Brokers still - now there's 45.</dialogue> <character>CHESTER MING</character> <dialogue>--Walmart at 16 and took you out at 95, you wouldn't say Chester pick me up 10,000 shares? C'mon.</dialogue> <character>CLIENT #3 (O.S.)</character> <dialogue>Well yeah, in that case I would.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT II - BULLPEN - DAY (NOV '90)</stage_direction> <scene_description>New offices now, a real brokerage firm. The bullpen is large, with 75 Brokers at polished maple desks, sitting before computers talking into headsets.</scene_description> <character>DONNIE</character> <dialogue>So the problem is that I don't have the luxury of a track record. Sir, let me reintroduce myself to you. My name is Donnie Azoff--</dialogue> <scene_description>58A CUT TO: 58A</scene_description> <character>RUGRAT</character> <dialogue>--Nicky Koskoff-- \*</dialogue> <scene_description>58B CUT TO: 58B</scene_description> <character>CHESTER MING</character> <dialogue>Chester Ming--</dialogue> <scene_description>58C CUT TO: 58C</scene_description> <character>PETER DEBLASIO</character> <dialogue>Peter DeBlasio from Stratton Oakmont in New York City--</dialogue> <scene_description>58D CUT TO: 58D</scene_description> <character>TOBY WELCH</character> <dialogue>--and I plan on being the top broker in my firm this year.</dialogue> <scene_description>58E CUT TO: 58E</scene_description> <character>SEA OTTER</character> <dialogue>So what about this? We start small with 500 shares, a cash outlay of $20,000.</dialogue> <scene_description>58F CUT TO: 58F</scene_description> <character>KALIL \*</character> <dialogue>If the stock goes up 10%, will that make you a rich man? Of course not.</dialogue> <scene_description>58G CUT TO: 58G</scene_description> <character>KIMMIE BELZER</character> <dialogue>If if goes down 10%, will it make you a poor man? No..</dialogue> <scene_description>58H CUT TO: 58H</scene_description> <character>CHESTER MING</character> <dialogue>What this trade will do is serve as a benchmark for future business.</dialogue> <scene_description>58J CUT TO: 58J</scene_description> <character>PETER DEBLASIO</character> <dialogue>The downside is minimal and the upside is a long-term relationship with a broker on Wall Street who will consistently make you money.</dialogue> <scene_description>58K CUT TO: 58K</scene_description> <character>JORDAN</character> <dialogue>Your only regret will be that I didn't call you six months ago.</dialogue> <scene_description>58L CUT TO: 58L</scene_description> <character>CLIENT #1 (O.S.)</character> <parenthetical>(to Robbie Feinberg)</parenthetical> <dialogue>All right.</dialogue> <scene_description>58M CUT TO: 58M</scene_description> <character>CLIENT #2 (O.S.)</character> <parenthetical>(to Sea Otter)</parenthetical> <dialogue>Give me 300 shares.</dialogue> <scene_description>58N CUT TO: 58N</scene_description> <character>CLIENT #3 (O.S.)</character> <parenthetical>(to Peter DeBlasio)</parenthetical> <dialogue>1200 shares.</dialogue> <scene_description>58P CUT TO: 58P</scene_description> <character>CLIENT #4 (O.S.)</character> <parenthetical>(to Jordan)</parenthetical> <dialogue>I'll take 5000 shares.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT II - BULLPEN - DAY (APR '91)</stage_direction> <scene_description>4PM the place goes nuts as Jordan emerges from his office \* holding a spread sheet. He addresses the crowd of 100 BROKERS, which now includes a dozen WOMEN.</scene_description> <character>JORDAN</character> <dialogue>Everybody have a good week?</dialogue> <scene_description>Applause; war whoops.</scene_description> <character>JORDAN</character> <dialogue>I'd like to read you something.</dialogue> <parenthetical>(reads spread sheet)</parenthetical> <dialogue>Month end, March 1991! $28.7 million in gross commissions - all \* in Stratton issues. Not bad for \* penny stocks, huh boys? Not bad \* for dumpin' penny stocks. \*</dialogue> <scene_description>The place goes WILD with applause.</scene_description> <character>JORDAN</character> <dialogue>And to celebrate with a weekly act of debauchery, I have offered our lovely sales assistant Danielle Harrison ten thousand dollars to \* have her head shaved!</dialogue> <scene_description>Jordan motions to DANIELLE HARRISON, 19, pretty, sitting \* in a chair nearby. Behind her, Rugrat uses clippers to shave her thick brown mane. The place goes nuts.</scene_description> <character>JORDAN</character> <dialogue>FYI, Danielle tells me she's using the money for breast implants! Is this a great company or what?!!</dialogue> <scene_description>More wild applause as Jordan signals across the bullpen to Donnie. We hear the opening strains of "Stars &amp; Stripes Forever" as he opens the door to a</scene_description> <character>COLLEGE MARCHING BAND</character> <dialogue>dressed in underwear and hats. The music continues as somersaulting GYMNASTS and BATON-TWIRLERS bring up the rear. As they march through the bullpen to cheers--</dialogue> <dialogue>FROM THE KITCHEN -- two dozen TUXEDO-CLAD WAITERS emerge carrying trays of champagne and hors d'oeuvres. The music continues as two dozen STRIPPERS bolt in, gyrating among the BROKERS. As Jordan surveys the insanity:</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Word spread throughout Wall Street -- I was becoming a legend. Forbes Magazine even called to do a profile on me...</dialogue> <scene_description>SCENES 60 - 67 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT II - JORDAN'S OFFICE - DAY</stage_direction> <character>(SEP '91)</character> <dialogue>Jordan finishes up an interview with a FEMALE FORBES REPORTER - ALIYAH FARRAN. They shake hands, then he smiles for the camera - CLICK!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>A total fucking hatchet job.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - LIVING ROOM - MORNING</stage_direction> <character>(OCT '91)</character> <dialogue>A gorgeous place; city views. As Teresa sits nearby, a distraught Jordan paces, holding the copy of Forbes.</dialogue> <character>JORDAN</character> <dialogue>That conniving little twat!</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"The Wolf of Wall Street".</dialogue> <character>TERESA</character> <parenthetical>(on the bright side)</parenthetical> <dialogue>Your hair looks good.</dialogue> <character>JORDAN</character> <dialogue>"Jordan Belfort, a twisted version of Robin Hood who takes from the rich and gives to himself and his merry band of brokers".</dialogue> <character>TERESA</character> <dialogue>There's no such thing as bad publicity, sweetie.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT II - BULLPEN - LATER THAT DAY</stage_direction> <scene_description>Bustling with activity. Jordan enters, crosses toward his office. Off to the side of the bullpen, he notices three dozen YOUNG MEN in business suits. He approaches his assistant JANET, 20s, dressed all in black.</scene_description> <character>JORDAN</character> <dialogue>The hell's all this?</dialogue> <character>JANET</character> <dialogue>The Forbes article. They're applying for jobs.</dialogue> <scene_description>They spot Jordan, start clamoring, waving their resumes.</scene_description> <character>JOB APPLICANTS</character> <dialogue>Mr. Belfort! Over here! Sir!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Forbes had made me a superstar. Every day dozens of money-crazed kids beat a path to my door with resumes they hadn't even bothered to spellcheck.</dialogue> <scene_description>Jordan crosses through the packed bullpen, where 150 BROKERS, no older than 22, are crammed elbow to elbow talking into phones. Some have pets, which they tend to while they work -- iguanas, snakes, turtles, even a chimp. Others are getting shoulder rubs by Masseuses or being fitted for suits by a TAILOR. Over the above:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>If we hired 'em, they dropped out of college overnight and blew whatever allowance they had on a new suit from our in-house tailor. The median age of our brokerage couldn't get served in the bar down the street.</dialogue> </scene> <scene> <stage_direction>INT. FBI BREAK ROOM - DAY (OCT '91)</stage_direction> <scene_description>PATRICK DENHAM sits sipping coffee as he reads Forbes.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Not this guy though -- what the fuck is he even doing here? He read the Forbes article, too, but he already had a job.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - DAY (MAR '92)</stage_direction> <scene_description>CLOSE ON two BROKERS wrestling while others cheer them on. PULL BACK to reveal the place from the opening. 300 young Brokers and their hot ASSISTANTS work the phones.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Within months, we doubled in size, moved to even bigger offices.</dialogue> <scene_description>Two other Brokers pump themselves up, chest-bumping and screaming like football players.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It was a madhouse, a greed-fest, with equal parts cocaine, testosterone and body fluids.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - MEN'S ROOM - DAY (MAR '92)</stage_direction> <scene_description>In a stall, two Brokers snort coke, while another Broker fucks a Sales Assistant perched on the sink.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I had to declare the office a fuck- free zone between the hours of 9 and 7, but even that didn't help.</dialogue> <scene_description>Taped to the mirror we see a MEMO -- inside a red circle, two anatomically correct stick figures fuck doggy-style, a red line slashing through them.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Actually the madness started on our very first day, when one of our brokers, Ben Jenner, christened the elevator by getting a blowjob from a sales assistant.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - LOBBY - DAY (JAN '92)</stage_direction> <scene_description>Two dozen Brokers cheer, watching through the rising glass elevator as BEN JENNER, 25, gets a blowjob from a brunette SALES ASSISTANT. \*</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Her name was Pam and to her credit, she did have an amazing technique, with this wild twist and jerk motion.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(FEB '92)</character> <dialogue>As Pam blows Jordan, Donnie fucks her from behind.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Eventually Ben married her, which was pretty amazing considering she blew every guy in the office.</dialogue> <scene_description>75A INSERT POLAROID - (JUN '92) 75A A wedding photo of Ben and Pam.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He got depressed and killed himself three years later.</dialogue> <scene_description>75B INSERT POLAROID - (JUN '95) 75B A crime scene photo; Ben in his underwear, dead on a bathroom floor, a gun near his head, which oozes blood.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Anyway, in an attempt to maintain order, I hired my dad Max as defacto CFO and head of the Gestapo.</dialogue> </scene> <scene> <stage_direction>75C INT. JORDAN'S PARENTS' APARTMENT - LIVING ROOM - NIGHT 75C</stage_direction> <scene_description>MAX BELFORT sits smoking, watching a rerun of "The Equalizer" on TV. His wife, LEAH, does needlepoint.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>We called him Mad Max because of his hair-trigger temper, which could be set off by something as innocuous as a ringing telephone.</dialogue> <scene_description>The phone RINGS.</scene_description> <character>MAX</character> <dialogue>Who the hell has the goddamn gall to call this house on a Tuesday evening! Goddammit!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>But then the weirdest thing would happen. Though he'd never been near England, he'd pick up the phone and affect an ever-so-slight British accent.</dialogue> <scene_description>Greatly agitated, Max stomps toward the phone.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>This was his other persona -- the super polite, ever-gracious Sir Max.</dialogue> <character>MAX</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hello?... Yes, Gene, right-eo. Good-good then... Cheerio.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>It was absolutely bizarre. He'd hang up...</dialogue> <character>MAX</character> <parenthetical>(hangs up phone)</parenthetical> <dialogue>Goddamn fucking halfwit!</dialogue> <character>JORDAN (V.O.)</character> <dialogue>And become Mad Max all over again.</dialogue> <scene_description>Max curses a blue streak as he stomps back to his chair. SCENE 76 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(MAR '92)</character> <dialogue>Holding a HEADSHOT of the Dwarf from the opening, Jordan sits talking with Donnie, Robbie and Rugrat.</dialogue> <character>JORDAN</character> <dialogue>What if he gets hurt?</dialogue> <character>ROBBIE \*</character> <dialogue>He'll be wearing a helmet. Plus they've got, like, superhuman strength anyway.</dialogue> <character>DONNIE \*</character> <dialogue>I did hear you're not supposed to \* make direct eye contact. If you \* look at them too long in their \* eyes they get freaked out - their \* wires cross. \*</dialogue> <character>JORDAN \*</character> <dialogue>I think there's a limit to how far \* we can go... I mean we can throw \* shit at him and - \*</dialogue> <character>DONNIE \*</character> <dialogue>They have a lot of feelings. \*</dialogue> <character>JORDAN \*</character> <dialogue>There's a specific thing that \* they'll do - You can throw him at \* a dart board but if you want him \* to show his cock or - \*</dialogue> <character>ROBBIE \*</character> <dialogue>Yes, that's what this guy does. \*</dialogue> <character>RUGRAT \*</character> <dialogue>That's his gift. \*</dialogue> <character>ROBBIE \*</character> <dialogue>Can we also bowl with him? \*</dialogue> <character>RUGRAT \*</character> <dialogue>His brother is actually the \* bowler. \*</dialogue> <character>ROBBIE \*</character> <dialogue>They strap a skateboard to him and \* throw him down an alley. \*</dialogue> <character>RUGRAT \*</character> <dialogue>They're ornery, too, the little pricks. You gotta be careful.</dialogue> <character>JORDAN</character> <dialogue>Get some tranq darts.</dialogue> <character>DONNIE</character> <dialogue>A little straitjacket. \*</dialogue> <character>JORDAN \*</character> <dialogue>What's the liability on something \* like this?</dialogue> <character>RUGRAT \*</character> <dialogue>That's a whole different thing. I \* can get on the phone with some \* people. I can talk to the \* insurance company and tell them \* exactly what we're going to do. \* But I think we go back to the same \* plan - loophole - if we don't \* really consider them people I \* think we are in the clear. \*</dialogue> <character>DONNIE \*</character> <dialogue>I think we should keep one in the \* office because I think they're \* good luck. \*</dialogue> <character>JORDAN \*</character> <dialogue>Treat it like the fuckin' thing it \* is. He's coming in. We're paying \* him for something. Treat him with \* respect. And you just shake his \* hand like you don't even think \* anything's wrong. \*</dialogue> <character>DONNIE \*</character> <dialogue>You just look like something else \* is going on. \*</dialogue> <character>RUGRAT \*</character> <dialogue>You don't look at his eyes. \*</dialogue> <character>DONNIE \*</character> <dialogue>Say "thank you for being here". \*</dialogue> <character>ROBBIE \*</character> <dialogue>You don't turn your back on him. \* It's a sign of disrespect. \*</dialogue> <character>DONNIE \*</character> <dialogue>If you want a cracker or something \* - I'm gonna have some treats in my \* pocket. I want to be in a strip \* club with you guys. Literally pull \* out a brief case and have a little \* fuckin' guy pop out of there. You \* know how much fuckin' pussy you \* get? \*</dialogue> <character>JORDAN \*</character> <dialogue>The point is get it out. \*</dialogue> <character>DONNIE \*</character> <dialogue>Get the jokes out now. Get the \* fuckin' jokes out now. \*</dialogue> <character>JORDAN \*</character> <dialogue>You're gonna fuck it up. Purge all \* this shit right now. \*</dialogue> <character>DONNIE \*</character> <dialogue>That's what I'm saying - \*</dialogue> <character>JORDAN \*</character> <dialogue>When he comes in the room, I want \* him to feel like a human being - \*</dialogue> <character>DONNIE \*</character> <dialogue>Business. Business. It's fuckin' \* business, bro. \*</dialogue> <character>JORDAN \*</character> <dialogue>I want him to feel just like a \* normal human being. Cause you know \* - like one of us. One of us. \*</dialogue> <character>DONNIE \*</character> <dialogue>Like he's an actual human being. \* One of us. \*</dialogue> <character>JORDAN \*</character> <dialogue>Gobble, gobble we accept you, one \* of us! One of us! \*</dialogue> <character>ALL \*</character> <dialogue>One of us. \*</dialogue> <scene_description>Janet pokes her head in. \*</scene_description> <character>JANET</character> <dialogue>Your dad's coming. With the American Express bill.</dialogue> <character>JORDAN</character> <dialogue>Can you stop him?</dialogue> <character>JANET</character> <dialogue>Fuck you, you stop him.</dialogue> <scene_description>The guys straighten up and head to desk, settle in. Max \* blows in past her, waving a 3-inch-thick bill:</scene_description> <character>MAX</character> <dialogue>$430,000 dollars in one month!! Four-hundred-and-thirty-thousand dollars in one month!!</dialogue> <character>JORDAN</character> <dialogue>Hello, Father. \*</dialogue> <parenthetical>(Max's expression doesn't budge)</parenthetical> <dialogue>They're business expenses. Just \* relax. \*</dialogue> <scene_description>The guys titter at "business expenses."</scene_description> <character>MAX</character> <dialogue>If you bastards don't wipe those smug fucking looks off your faces, I swear to God I'm gonna wipe 'em off for you!</dialogue> <parenthetical>(back to Jordan)</parenthetical> <dialogue>Are you insane?</dialogue> <character>ROBBIE \*</character> <dialogue>Actually, Max, my portion of the bill is hardly anything, so I'm on the same page as you --</dialogue> <character>MAX</character> <dialogue>Shut the fuck up, Feinberg, you only have a portion because of my son, you worthless twerp!</dialogue> <character>DONNIE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>Twerp.</dialogue> <character>MAX</character> <dialogue>You zip it, too, Azoff, those boiling teeth of yours are hurting my fucking eyes!</dialogue> <parenthetical>(turning to Jordan)</parenthetical> <dialogue>My own son! From my very loins! What do you think this is? \*</dialogue> <character>JORDAN</character> <dialogue>Will you calm down --</dialogue> <character>MAX</character> <dialogue>You don't think there's any end in sight, do you? It's all one giant party to you schmendricks!</dialogue> <character>MAX</character> <parenthetical>(holds up AMEX bill)</parenthetical> <dialogue>$26,000 for one dinner!!</dialogue> <character>JORDAN</character> <dialogue>Donnie ordered sides.</dialogue> <character>DONNIE</character> <dialogue>Yeah, that was... Sorry.</dialogue> <character>MAX</character> <parenthetical>(glowering)</parenthetical> <dialogue>What is EJ Entertainment? What is EJ Entertainment?!</dialogue> <character>JORDAN</character> <parenthetical>(restraining a grin)</parenthetical> <dialogue>You tell me, Dad.</dialogue> <character>MAX</character> <dialogue>It's a goddamn prostitution ring is what it is!!</dialogue> <scene_description>Jordan feigns shock, turns to Donnie: did you know it was a prostitution ring?!</scene_description> <character>DONNIE</character> <dialogue>Doesn't the IRS allow for T&amp;A?</dialogue> <character>MAX</character> <dialogue>It's T&amp;E and stop fucking with me! What kind of hookers take credit cards, anyway?!</dialogue> <scene_description>Jordan takes the bill, starts flipping through it.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>In Stratton parlance, there were three kinds of hookers. There were blue chips, the top of the line. Model material. They were priced between $300 and $500 and made you wear a condom unless you gave them a hefty tip, which I always did.</dialogue> <scene_description>77A A "BLUE CHIP" HOOKER FLOATS THROUGH, SURROUNDED BY \*77A</scene_description> <character>STRATTON BROKERS. \*</character> <dialogue>JORDAN (V.O.)</dialogue> <scene_description>Then came NASDAQs, who were pretty, but not great, usually in the two to three hundred dollar range. 77B A "NASDAQ" HOOKER DANCES THROUGH BULLPEN. STRATTON \*77B</scene_description> <character>BROKERS WATCH. \*</character> <dialogue>JORDAN (V.O.)</dialogue> <scene_description>Finally there were pink sheets, skanks, the bottom of the barrel. 77C A "PINK SHEET" HOOKER, COVERED IN TATTOOS, IS ON ALL \*77C</scene_description> <character>FOURS AS SEA OTTER RIDES HER LIKE A PONY. \*</character> <dialogue>JORDAN (V.O.)</dialogue> <scene_description>They usually cost a hundred or less, and if you didn't wear a condom, you'd get a penicillin shot the next day and pray your dick didn't fall off. 77D THE ABOVE-MENTIONED "PINK SHEET" HOOKER SITS ON A STOOL, \*77D</scene_description> <character>AS SEA OTTER FUCKS HER. \*</character> <dialogue>JORDAN (V.O.)</dialogue> <scene_description>Not that we didn't fuck them, too. Believe me, we did. Behind him, the other guys wait their turns. \* 77E BACK TO SCENE 77E Max continues to steam so Jordan ushers Robbie, Rugrat and Donnie out the door.</scene_description> <character>JORDAN</character> <dialogue>Give us a minute, will you, guys?</dialogue> <scene_description>He closes the door, then stretches a bit, exaggeratedly, letting out a little moan.</scene_description> <character>MAX</character> <dialogue>What's the matter?</dialogue> <character>JORDAN</character> <dialogue>Nothing, just... My back's been killing me. Pain shooting down my leg. Not to worry, it'll pass.</dialogue> <character>MAX</character> <dialogue>What do the doctors say?</dialogue> <character>JORDAN</character> <dialogue>Doctors, what do they know? I'm on like twenty different medications.</dialogue> <parenthetical>(re: the Amex bill)</parenthetical> <dialogue>Look, I know it's hard for you to make sense of these expenses, but there's a method here, okay? \*</dialogue> <scene_description>Max waits to hear it; Jordan gestures to the bullpen \*</scene_description> <character>MAX</character> <dialogue>And you have to lead by example, is that it?</dialogue> <parenthetical>(Jordan nods)</parenthetical> <dialogue>I'm tellin' ya, kid, one of these days... one of these days the chickens are gonna come home to \* roost.</dialogue> <character>JORDAN \*</character> <dialogue>In order to keep these guys \* working, I gotta keep 'em \* spending. I need to keep them \* chasing the dream. You flash some \* cash, they do the same. It keeps \* them motivated. \*</dialogue> <character>MAX \*</character> <dialogue>Pissing away money? That's what \* motivates you kids? \*</dialogue> <character>JORDAN \*</character> <dialogue>I could afford to pay them more, \* but then they wouldn't need me as \* much. And as long as they need me \* they'll always fear me. I know it \* sounds crazy. \*</dialogue> <character>MAX \*</character> <dialogue>Crazy? This... is obscene. \*</dialogue> <scene_description>He turns and exits. Jordan watches him go, thinking.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It was obscene -- in the normal world. But who wanted to live there?</dialogue> </scene> <scene> <stage_direction>EXT. BEACH HOUSE - SOUTH HAMPTON - DAY (JUN '92)</stage_direction> <scene_description>Massive, with an Olympic-size pool overlooking the beach. Dozens of luxury cars parked outside. On a balcony, Jordan is mid-speech, in a bathing suit, addressing the Strattonites below, Teresa at his side.</scene_description> <character>JORDAN (O.C.)</character> <dialogue>-- so enjoy yourselves, you all deserve a celebration. 'Cept for Kimmie, she's lazy and she steals. \*</dialogue> <parenthetical>(off laughter, Kimmie \* flips him the bird; he blows her a kiss)</parenthetical> <dialogue>But, everybody, keep this in mind.</dialogue> <character>JORDAN (O.C.)</character> <dialogue>As my friend Donnie Azoff says, "If you wanna party with the boys, you gotta wake up with the men." Monday morning I want you all looking razor-sharp. Cuz Stratton's got a few things on the horizon, things that're gonna take it right up into the fucking stratosphere!</dialogue> <scene_description>The Crowd goes nuts. One Broker lets loose a wolf-howl, and the crowd toasts Jordan, chanting his name.</scene_description> <character>CROWD</character> <dialogue>Jor-dan! Jor-dan! Jor-dan!</dialogue> <scene_description>As Jordan looks down smiling like a benevolent dictator --</scene_description> <character>JORDAN (PRE-LAP)</character> <dialogue>Fuck Merrill Lynch, this way we become the underwriters.</dialogue> <character>ROBBIE (PRE-LAP) \*</character> <dialogue>Like an investment bank.</dialogue> </scene> <scene> <stage_direction>INT. BEACH HOUSE - SOUTH HAMPTON - (LATER THAT) DAY</stage_direction> <scene_description>GORGEOUS PEOPLE dance/drink/snort coke. Upstairs, Jordan plays pool with Sea Otter, Donnie, Robbie, Toby and Rugrat, assigning ludes with every pocketed ball.</scene_description> <character>JORDAN</character> <dialogue>Exactly. We do our own IPO's and we will print money.</dialogue> <character>SEA OTTER</character> <dialogue>Eat like a bird, shit like an elephant, baby!</dialogue> <character>JORDAN</character> <dialogue>They can take their Harvard asses under our desks and suck our cocks.</dialogue> <parenthetical>(to Rugrat)</parenthetical> <dialogue>How soon can you get the paperwork filed?</dialogue> <character>RUGRAT</character> <parenthetical>(super-stoned)</parenthetical> <dialogue>Can't we talk about this Monday?</dialogue> <character>JORDAN</character> <dialogue>It's a simple fucking question.</dialogue> <character>RUGRAT</character> <dialogue>Except I'm looking at three of you right now.</dialogue> <character>ROBBIE \*</character> <dialogue>We've got Arncliffe National, they're looking to go public, we've got --</dialogue> <character>DONNIE</character> <parenthetical>(very luded)</parenthetical> <dialogue>Oh, oh, Steve... Steve...</dialogue> <character>JORDAN</character> <dialogue>What?</dialogue> <character>DONNIE</character> <dialogue>...Steve... M-m-madden...</dialogue> <scene_description>Donnie gesticulates wildly. The guys crack up. WE PUSH IN ON Donnie, practically drooling, as Jordan gives us a quick tutorial on ludes... 79A QUAALUDE TUTORIAL \*79A CUT TO: Extreme close up of guys doing drugs. \*</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The quaalude was first synthesized in 1951 by an Indian doctor -- that's dot Indian, not feathers -- as a sedative, and was prescribed to stressed housewives with sleep disorders. Pretty soon someone figured out that if you resisted the urge to sleep for fifteen minutes, you got a pretty kick-ass high from it. Didn't take long for people to start abusing ludes, 'course, and in 1982 the U.S. Government Schedule One'd them, along with the rest of the world. Which meant there was only a finite amount of these things left. No shit, you can't even find 'em anymore today. You people're all shit outta luck.</dialogue> <scene_description>79B BACK TO SCENE \*79B</scene_description> <character>JORDAN</character> <parenthetical>(to Donnie)</parenthetical> <dialogue>What're you saying, buddy?</dialogue> <parenthetical>(to the others)</parenthetical> <dialogue>Shhhh... listen to him...</dialogue> <character>DONNIE</character> <dialogue>Ssshhhhoes... shhhoooess...</dialogue> <scene_description>Jordan suspects Donnie may actually be onto something. But just then...</scene_description> <character>SEA OTTER</character> <dialogue>Holy fuck.</dialogue> <scene_description>Jordan peers over the balcony where Sea Otter's looking. NAOMI LAPAGLIA. 22, the hottest blonde ever, has entered the party with her date BLAIR. She smiles, full lips parting over perfect white teeth, a ridiculously short dress barely covering her long tan legs and full breasts.</scene_description> <character>RUGRAT</character> <dialogue>My nutsack's about to explode.</dialogue> <character>ROBBIE \*</character> <dialogue>Someone's gotta take that down.</dialogue> <scene_description>There's no debate who that someone should be. Eyes locked on Naomi, Jordan makes his way downstairs. WITH NAOMI taking in the party, her eyes flitting to things: art, chandeliers, crystal, etc.</scene_description> <character>NAOMI (V.O.)</character> <dialogue>A lotta people would look at me and think: "golddigger, she's out to land the richest husband she can." But you see, I came from nothing. Like, below the poverty line. And when you come from nothing, being rich means never having to go back to that.</dialogue> <scene_description>Jordan approaches CRISTY, 20s, one of his guests.</scene_description> <character>CRISTY</character> <dialogue>Jordan, hey.</dialogue> <parenthetical>(he smiles; Cristy picks up his intent)</parenthetical> <dialogue>Have you met my friend Naomi?</dialogue> <scene_description>Jordan takes Naomi's hand, doesn't let go.</scene_description> <character>JORDAN</character> <dialogue>Naomi.</dialogue> <character>NAOMI</character> <dialogue>You have an awesome house. I don't think I've ever been in a house like this.</dialogue> <character>JORDAN</character> <dialogue>You like it? I just got it. I guess it's okay. Six bedrooms, two hot-tubs, one off the master suite overlooking the water. You like to jet-ski?</dialogue> <scene_description>Naomi's date Blair offers his hand to break them apart. Toby Welch lurks behind him, giving him the evil-eye.</scene_description> <character>BLAIR</character> <dialogue>Hi. Blair Hollingsworth.</dialogue> <scene_description>Jordan barely acknowledges him, focused on Naomi. Outside, HILDY AZOFF chats with Teresa. Her eyes stray to Jordan chatting up Naomi. Teresa's eyes follow hers and sees them. Ouch. Hildy goes.</scene_description> <character>JORDAN</character> <dialogue>You're telling me you've never jet- ski'ed in your life?!</dialogue> <character>NAOMI</character> <dialogue>Never.</dialogue> <character>BLAIR</character> <dialogue>Y'know, we really should hit it, there's two other parties we're s'posed to get to --</dialogue> <character>JORDAN</character> <dialogue>What? You just got here. Stay.</dialogue> <scene_description>Naomi looks like she'd like to. Hildy approaches, introduces herself, then:</scene_description> <character>HILDY</character> <dialogue>Jordan, Teresa needs your help.</dialogue> <character>JORDAN</character> <dialogue>With what?</dialogue> <character>HILDY</character> <dialogue>I dunno, you'll have to ask your wife what she wants.</dialogue> <scene_description>Jordan sees: Teresa is watching from afar.</scene_description> <character>DONNIE(O.S.)</character> <dialogue>Oh sweet Jesus!</dialogue> <scene_description>Jordan turns to see a drunk Donnie, cock in hand, jerking off to Naomi. Hildy comes running over.</scene_description> <character>HILDY</character> <dialogue>Donnie! What the fuck are you doing?!</dialogue> <scene_description>During the melee that follows -- Hildy admonishing Donnie, Blair removing Naomi from the party --</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The day I met Naomi was the day I truly became the Wolf. Every guy wanted her -- so I had to have her.</dialogue> <scene_description>-- Jordan watches her go. Naomi shoots a glance back to him and, like that, he's hooked. SCENES 80 - 81 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. SIGN OF THE DOVE - MANHATTAN - NIGHT (JUN '92)</stage_direction> <scene_description>Romantic; elegant. Over a bottle of '53 Lafite, Jordan sits in mid conversation with Naomi, who is stunning in a low-cut black cocktail dress.</scene_description> <character>JORDAN</character> <dialogue>Bay Ridge. That's near Staten Island?</dialogue> <character>NAOMI</character> <dialogue>Brooklyn, across the Verrazano Bridge. Guinea gulch. Ever been?</dialogue> <character>JORDAN</character> <dialogue>You're Italian?</dialogue> <character>NAOMI</character> <dialogue>My dad's side. Also Dutch, German, English -- I'm a mutt. Actually I have family over there, in London. My Aunt Emma.</dialogue> <character>JORDAN</character> <dialogue>That explains it then.</dialogue> <character>NAOMI</character> <dialogue>What?</dialogue> <character>JORDAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>You're a Duchess. The Duchess of Bay Ridge.</dialogue> <scene_description>Naomi smiles, flags a passing WAITER.</scene_description> <character>NAOMI</character> <dialogue>Could I have a straw please?</dialogue> <scene_description>The Waiter nods, heads off. A few beats, then:</scene_description> <character>NAOMI</character> <dialogue>So I was a little surprised you asked Cristy for my number.</dialogue> <character>JORDAN</character> <dialogue>How come?</dialogue> <character>NAOMI</character> <dialogue>Aren't you married?</dialogue> <character>JORDAN</character> <dialogue>Married people can't have friends?</dialogue> <scene_description>Naomi smiles. The Waiter brings the straw. She opens it, slips it in her red wine glass. Off Jordan's look:</scene_description> <character>NAOMI</character> <dialogue>So I don't stain my teeth.</dialogue> <scene_description>And as she sips the wine seductively through the straw...</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN BRIDGE - NIGHT</stage_direction> <scene_description>Jordan's Ferrari makes its way over the bridge, heading back toward Brooklyn.</scene_description> <character>NAOMI (O.S.)</character> <dialogue>--then at night I do my designs.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S FERRARI - CONTINUOUS</stage_direction> <scene_description>Jordan drives, Naomi next to him.</scene_description> <character>NAOMI</character> <dialogue>An entire line of lingerie -- camisoles, bustiers, panties.</dialogue> <scene_description>Jordan glances over -- her dress is riding up her thigh.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>She designs panties?! Jesus fucking Christ!</dialogue> <scene_description>Naomi smiles.</scene_description> <character>JORDAN</character> <dialogue>Sounds like something I might invest in. Venture capital.</dialogue> <character>NAOMI</character> <dialogue>Well we should definitely keep in touch, then.</dialogue> <character>JORDAN</character> <dialogue>Absolutely.</dialogue> <scene_description>He pulls over outside her brownstone.</scene_description> <character>NAOMI</character> <dialogue>That's me.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Think, Jordan, think! How can you get up to her apartment?!</dialogue> <scene_description>They look at each other. We can almost hear Jordan's heart pounding.</scene_description> <character>NAOMI</character> <dialogue>You wanna come up for some tea?</dialogue> </scene> <scene> <stage_direction>INT. NAOMI'S APARTMENT - NIGHT</stage_direction> <scene_description>A small, cozy apartment. Naomi enters, Jordan close behind. She picks up Rocky, her yapping Maltese.</scene_description> <character>NAOMI</character> <dialogue>Say hi, Rocky.</dialogue> <scene_description>Naomi waves Rocky's paw. Jordan smiles.</scene_description> <character>NAOMI</character> <dialogue>Why don't you light a fire? I'll be right out.</dialogue> <scene_description>Jordan nods, takes in her scent as she walks away.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>God, please help me. How can I fuck this girl?</dialogue> <scene_description>As he crouches by the fireplace, his skypager vibrates. He checks the readout: "Teresa". His face falls as he hits the "silent" button, mind racing with guilt.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>That's it, you're leaving. You're going home to your wife.</dialogue> <scene_description>Jordan stands, turns around -- NAOMI is in the doorway, naked except for high heels.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>As you can probably guess, I fucked her goddamn brains out.</dialogue> </scene> <scene> <stage_direction>INT. NAOMI'S BEDROOM - NIGHT</stage_direction> <scene_description>Rocky yaps incessantly as Jordan pounds away atop Naomi.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>For eleven seconds.</dialogue> <scene_description>Jordan cums loudly, convulsively.</scene_description> <character>JORDAN</character> <dialogue>I'm sorry, I--</dialogue> <character>NAOMI</character> <dialogue>Did you cum?</dialogue> <character>JORDAN</character> <parenthetical>(nods; gasping)</parenthetical> <dialogue>Yeah, but I'm still hard.</dialogue> <scene_description>Jordan looks down at her.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Being inside her... was like your cock went to heaven and God himself was cupping your balls.</dialogue> <scene_description>And as they start fucking again...</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(JUN '92)</character> <dialogue>Jordan sits at his desk, telephone to his ear.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>I couldn't get enough.</dialogue> </scene> <scene> <stage_direction>INT. NAOMI'S APARTMENT - DAY (JUN '92)</stage_direction> <scene_description>CLOSE ON Naomi, who talks on the phone, smiling. We PULL BACK to see the apartment is packed with flowers.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Every chance we got, we'd sneak off together...</dialogue> </scene> <scene> <stage_direction>INT. LIMOSINE - NIGHT (AUG '92)</stage_direction> <scene_description>Giggling like a child, Jordan pours coke from a vial, creating a little mound atop one of Naomi's breasts.</scene_description> <character>JORDAN</character> <dialogue>Hold still, don't move.</dialogue> <parenthetical>(to the Driver)</parenthetical> <dialogue>Watch the potholes!</dialogue> <scene_description>More giggling, then he snorts the coke off her breast, burying his face in it as he climbs on top of her. Naomi laughs uncontrollably as the limo glides to a stop. The door opens from outside -- the Doorman?</scene_description> <character>TERESA (O.S.)</character> <dialogue>Get out of the fucking car.</dialogue> <scene_description>Jordan looks up, locks eyes with Teresa. He jumps off Naomi, stumbles out, closing the door behind himself.</scene_description> </scene> <scene> <stage_direction>EXT. JORDAN'S MANHATTAN APARTMENT BUILDING - CONTINUOUS</stage_direction> <character>JORDAN</character> <dialogue>What are you doing home?</dialogue> <character>TERESA</character> <dialogue>That whore from the party? How could you do this to me?!</dialogue> <scene_description>The limo takes off. Teresa starts crying...</scene_description> <character>JORDAN</character> <dialogue>I thought you were at the beach house, I--</dialogue> <character>TERESA</character> <dialogue>I married you when you had nothing--</dialogue> <character>JORDAN</character> <dialogue>Teresa... I don't know what to say.</dialogue> <character>TERESA</character> <dialogue>You're like a totally different person.</dialogue> <character>JORDAN</character> <dialogue>I'm not. I'm sorry. I made a mistake, okay?</dialogue> <character>TERESA</character> <dialogue>Tell me you don't love her.</dialogue> <scene_description>I...:</scene_description> <character>TERESA</character> <parenthetical>(off his silence)</parenthetical> <dialogue>Jordan?</dialogue> <scene_description>Jordan says nothing. Finally, Teresa starts sobbing.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I felt horrible.</dialogue> <scene_description>Jordan holds her, letting her cry.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Three days later I filed for divorce and moved Naomi into the apartment.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - DINING ROOM - DUSK</stage_direction> <character>(SEP '92)</character> <dialogue>Completely remodelled, all new furniture. Jordan and Naomi sit at the table, set for a candle-light dinner.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Say what you will, but the Duchess did have style. She brought in a decorator, feng shui'd the place-- she even hired a gay butler.</dialogue> <scene_description>NICHOLAS THE BUTLER, 40s, enters with hot towels on a silver tray.</scene_description> <character>JORDAN</character> <dialogue>Thank you, Nicholas.</dialogue> <scene_description>Jordan takes a towel, wipes his face. Naomi smiles.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He was smart, sophisticated, really great. Except for that one time...</dialogue> <scene_description>SCENES 92 - 94 OMITTED \*</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - LIVING ROOM - NIGHT \*</stage_direction> <scene_description>A GAY ORGY is in progress, a dozen naked MEN, including Nicholas, in various sexual positions about the room.</scene_description> <character>NAOMI</character> <dialogue>Omigod!</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>Jordan sits across from a very shaken Naomi.</scene_description> <character>NAOMI</character> <dialogue>He must have thought I was at my mother's.</dialogue> <character>JORDAN</character> <dialogue>Where were they? In the bedroom?</dialogue> <character>NAOMI</character> <dialogue>They were right here!</dialogue> <scene_description>A beat, then Jordan realizes. He jumps off the couch like it's on fire.</scene_description> <character>NAOMI</character> <dialogue>It gets worse. After I chased them out, I checked the apartment.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>The motherfucker stole fifty grand in cash and jewelry.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - LIBRARY - DAY</stage_direction> <character>(OCT '92)</character> <dialogue>With Nicholas seated in a chair, Jordan sits across from him. Pacing behind him is Donnie, coked-up, face contorted, frothing with rage. Nearby, giant Chester Ming sits quietly, saying nothing.</dialogue> <character>JORDAN</character> <dialogue>I just want my stuff back, okay?</dialogue> <character>NICHOLAS THE BUTLER</character> <dialogue>I didn't take anything.</dialogue> <character>DONNIE</character> <parenthetical>(in his face)</parenthetical> <dialogue>I should kill you, cocksucker! You do not fuck with this man!</dialogue> <scene_description>Jordan holds Donnie off. Turns back to Nicholas.</scene_description> <character>JORDAN</character> <dialogue>You were high, things got out of control, I get it. Believe me I do, I have a Phd in debauchery.</dialogue> <character>NICHOLAS THE BUTLER</character> <dialogue>I didn't do it.</dialogue> <character>DONNIE</character> <dialogue>I'll knock your fuckin' teeth out, motherfucker!</dialogue> <character>JORDAN</character> <dialogue>Just give me the money, give me the jewelry, and we'll forget the whole thing.</dialogue> <character>NICHOLAS THE BUTLER</character> <dialogue>It's because I'm gay, isn't it?</dialogue> <character>JORDAN</character> <dialogue>Nicholas. You could fuck a baby sheep as far as I care, on my brand new fucking sofa. What I won't stand for is being robbed.</dialogue> <character>NICHOLAS THE BUTLER</character> <dialogue>I'm telling you the truth.</dialogue> <character>JORDAN</character> <dialogue>I'll ask you one last time.</dialogue> <character>DONNIE</character> <dialogue>You're dead, you piece of shit!</dialogue> <character>NICHOLAS THE BUTLER</character> <dialogue>Jordan, please.</dialogue> <character>JORDAN</character> <dialogue>Fine.</dialogue> <scene_description>Jordan nods to Chester. Without a word, he crosses to Nicholas and BAMMM!! Nicholas's nose splits open like a ripe plum, blood spurting everywhere. Tough-guy Donnie takes one look, then SPEWS vomit into a garbage pail. And as Chester pummels Nicholas's face into chopped meat...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It's amazing the kind of loyalty money will buy. I mean Chester almost killed this prick.</dialogue> <scene_description>Chester starts to hang Nicholas over the balcony by his legs. Jordan stops him.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I finally called the cops, mainly to save Nicholas's life.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S MANHATTAN APARTMENT - FOYER - DAY</stage_direction> <scene_description>With the bloodied Nicholas in the background, Jordan talks to two NYPD COPS, handing them each a wad of cash.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I gave them each a thousand bucks and told them what Nicholas had done. Then they kicked his ass.</dialogue> <scene_description>As the Cops swat Nicholas with their nightsticks:</scene_description> <character>COP #1</character> <dialogue>Fuckin' thief, huh?</dialogue> <character>COP #2</character> <dialogue>Piece of shit.</dialogue> <scene_description>And as they hustle Nicholas out...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Loyalty, like I said. Which was the key component to my incredible fucking success.</dialogue> </scene> <scene> <stage_direction>98A EXT. GOLF COURSE - DAY (OCT '92) 98A</stage_direction> <scene_description>As Jordan golfs with Donnie, Chester, Robbie, Toby and \* some hookers, Brad pulls up in a golf cart with a cash- \* filled gym bag.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Besides Brad, I had eight other 'ratholes', close friends who'd own stock on paper, but kick the profits back to me after I drove the price through the roof.</dialogue> <scene_description>They hug, then Jordan adds the gym bag to several others on the back of his golf cart. Donnie tries to befriend Brad; Brad isn't interested.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The SEC knew I was doing something shady, but they couldn't figure out what the fuck it was.</dialogue> <scene_description>SCENES 99 - 100 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - (ANOTHER) DAY</stage_direction> <scene_description>Jordan, Max and securities lawyer MANNY RISKIN exit the kitchen with coffees.</scene_description> <character>MANNY RISKIN</character> <dialogue>I'm telling you -- piss on the SEC's leg, you'll end up with your tits in a ringer.</dialogue> <scene_description>FREEZE FRAME - Manny stuffs a cruller into his mouth.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>My securities attorney, Manny Riskin. Seven hundred an hour to \* be the voice of doom.</dialogue> <character>BACK TO SCENE</character> <dialogue>JORDAN</dialogue> <scene_description>It's under control. Will you relax already? Just then, Max spots a BROKER break-dancing as three other Brokers look on...</scene_description> <character>MAX</character> <dialogue>What the fuck is this imbecile doing?!</dialogue> <scene_description>Max crosses off, starts screaming at the break-dancing Broker. Jordan keeps walking with Manny.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The SEC sent two lawyers down to review our files, so I set them up in our conference room.</dialogue> <scene_description>Jordan passes the conference room, looks in the window-- two SEC ATTORNEYS wear coats as they review documents.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Then I had it bugged and the air conditioning locked till it felt like Antarctica in there.</dialogue> <scene_description>One of the SEC Attorneys blows into his hands for warmth. Manny follows Jordan toward the bullpen, his frenzied Brokers working the phones.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>So here they were, looking for a smoking gun while I was firing a bazooka right under their noses. It was our first IPO, and we were driving the stock price to the fucking moon.</dialogue> <character>BROKER #1</character> <dialogue>Arncliffe National, it's on fire!</dialogue> <character>BROKER #2</character> <parenthetical>(voice lowered)</parenthetical> <dialogue>Believe me, your grandkids will thank you.</dialogue> <character>BROKER #3</character> <parenthetical>(to Sales Assistant)</parenthetical> <dialogue>Arncliffe National, ten thousand shares!</dialogue> <scene_description>Jordan speaks directly to camera as he continues walking through the bullpen.</scene_description> <character>JORDAN</character> <dialogue>See an IPO is an initial public offering, the first time a stock is offered for sale to the general population.</dialogue> <character>JORDAN</character> <dialogue>As the firm taking the company public, we set the initial price, then sold those shares back to -- \*</dialogue> <parenthetical>(stops; then)</parenthetical> <dialogue>You know what, you're probably not \* following what I'm saying. The \* question is, "was it legal?" \* Absolutely not. But we were making \* more money that we knew what to do \* with. \*</dialogue> <scene_description>SCENE 102 OMITTED</scene_description> </scene> <scene> <stage_direction>102A EXT. BANK - DAY - ESTABLISHING (OCT '92) 102A</stage_direction> </scene> <scene> <stage_direction>INT. BANK - SAFE DEPOSIT VAULT - DAY (OCT '92)</stage_direction> <scene_description>Alone in a private room, Jordan unloads a small suitcase filled with stacks and stacks of hundred dollar bills.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>But I figured it out. \*</dialogue> <scene_description>CLOSE ON - a huge diamond engagement ring.</scene_description> <character>NAOMI (O.C.)</character> <dialogue>Omigod!!</dialogue> </scene> <scene> <stage_direction>INT. FOUR SEASONS RESTAURANT - NIGHT (OCT '92)</stage_direction> <scene_description>Jordan is down on one knee, proposing; Naomi hyperventilates as he puts the ring on her finger -- a seven carat, yellow canary diamond in a platinum setting.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I held my bachelor party at the Tangiers in Las Vegas -- one last \* blowout for the Gods before I settled down for good.</dialogue> <scene_description>SCENE 105 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TRANS CAPITAL AIRLINES - JUMBO JET - NIGHT \*</stage_direction> <scene_description>Inside a jumbo jet, a wild, mid-air party is in progress.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>A hundred Strattonites flew in with fifty hookers and enough drugs to open a pharmacy.</dialogue> <scene_description>Various images -- Stratton Brokers drink, do coke, a half- dozen in mid-orgy with Hookers, naked in the aisle as others pour champagne on them.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>All told, the weekend cost me almost two million dollars--</dialogue> <scene_description>PERIOD VEGAS ADS \*</scene_description> </scene> <scene> <stage_direction>INT. TANGIERS - PRESIDENTIAL SUITE - DAY \*</stage_direction> <scene_description>The Tangiers Presidential Suite is a shambles on the \* level of Hiroshima. A giant crystal chandelier lays shattered on the floor; Jordan asleep in the massive bed, a Blue Chip Hooker on either side of him; other passed- out BODIES lay amid debris and broken, toppled furniture.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>But the wedding was like something out of a fairy tale--</dialogue> </scene> <scene> <stage_direction>EXT. OCEAN CLUB - BAHAMAS - SUNSET (DEC '92)</stage_direction> <scene_description>Gorgeous; tropical. Hundreds of FAMILY and FRIENDS (Janet, Toby Welch, Peter DeBlasio and Kimmie Belzer) look on as Jordan and Naomi walk up the aisle.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>--with Naomi my Duchess, me her handsome Duke and The Bahamas Ocean Club our castle.</dialogue> </scene> <scene> <stage_direction>INT. OCEAN CLUB - BAHAMAS - BALLROOM - NIGHT</stage_direction> <scene_description>Jordan and Naomi waltz, their Guests joining in.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Of course after that bachelor party, the Duke needed a few penicillin shots so he could safely consummate the marriage.</dialogue> </scene> <scene> <stage_direction>INT. OCEAN CLUB - BAHAMAS - BALLROOM - LATER</stage_direction> <scene_description>As Jordan and Naomi mingle with a few Strattonites, videographer BARRY KLEINMAN, 40s, approaches Rugrat and his DATE, ABBY with a video camera:</scene_description> <character>BARRY KLEINMAN</character> <dialogue>I'm Barry Kleinman, filming the wedding -- would you like to say something to Jordan and Naomi?</dialogue> <character>RUGRAT / ABBY</character> <dialogue>Good luck! We love you!</dialogue> <scene_description>Across the way, Naomi spots someone through the crowd--</scene_description> <character>NAOMI</character> <dialogue>Omigod! Aunt Emma!</dialogue> <scene_description>Naomi rushes over, hugs her AUNT EMMA, 50s, demure, British. Naomi turns, calls out to Jordan, who is now in a huddle with the guys, his back to her.</scene_description> <character>NAOMI</character> <dialogue>Jordan! Look!</dialogue> <scene_description>Jordan turns, then crosses to them, smiling.</scene_description> <character>AUNT EMMA</character> <dialogue>Jordan dear, how lovely.</dialogue> <character>JORDAN</character> <dialogue>It's so nice to see you again.</dialogue> <scene_description>As he leans in to hug her, Aunt Emma spots some white powder on the edge of Jordan's nostril. Deftly, she wipes it off, smiling.</scene_description> <character>AUNT EMMA</character> <dialogue>Into the donuts, I see.</dialogue> <character>JORDAN</character> <dialogue>Oh, I'm--- uh...</dialogue> <scene_description>Aunt Emma leans in to his ear.</scene_description> <character>AUNT EMMA</character> <dialogue>I lived through the 60s, my dear. Enjoy the day.</dialogue> <scene_description>And with that, she turns back to Naomi.</scene_description> </scene> <scene> <stage_direction>EXT. BAHAMAS - MARINA - DAY (DEC '92)</stage_direction> <scene_description>With Naomi wearing a blindfold, Jordan leads her to the end of a long dock, expensive yachts moored everywhere.</scene_description> <character>JORDAN</character> <dialogue>Careful now. You ready?</dialogue> <scene_description>Jordan removes her blindfold -- there, towering above the others, is a stunning, 120 foot yacht.</scene_description> <character>NAOMI</character> <dialogue>What is this?</dialogue> <character>JORDAN</character> <dialogue>Your wedding present. Check out the name.</dialogue> <scene_description>She does; it's called "Naomi". As she squeals, hugs him-</scene_description> <character>JORDAN (V.O.)</character> <dialogue>For three weeks we sailed the Naomi through the Caribbean--</dialogue> </scene> <scene> <stage_direction>INT. YACHT NAOMI - DAY (DEC '92)</stage_direction> <scene_description>The camera PUSHES IN past a white-jacketed STEWARD, who opens the door to the yacht's main salon; next we see the living room, with its full bar and leather couches; then the bedroom, with a king bed and monogrammed sheets.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>--eventually taking her home to Long Island, where we'd bought a house.</dialogue> </scene> <scene> <stage_direction>EXT. CARIBBEAN - OPEN OCEAN - DAY (DEC '92 - JAN '93)</stage_direction> <scene_description>The Naomi sails the calm waters, Jordan and Naomi popping ludes, sunbathing blissfully on the deck.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Seven acres on the Gold Coast of Long Island--</dialogue> </scene> <scene> <stage_direction>115-115K EXT./INT. JORDAN'S ESTATE - DAY (APR '93) 115-115K</stage_direction> <scene_description>Various shots -- the massive house; the glistening pool; waterfall; fountains; tennis court; driving range; gazebo; gym; sauna; library; media room.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>--the most expensive real estate in the world, with maids, cooks, landscapers, you name it.</dialogue> <scene_description>115L WE SEE the household STAFF lined up outside the house. 115L</scene_description> <character>JORDAN (V.O.)</character> <dialogue>We even had two guards who worked in shifts, both named Rocco.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (FEB '95)</stage_direction> <scene_description>Amid billowing piles of white Chinese silk, Jordan sleeps on his back, snoring blissfully.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It was heaven on earth.</dialogue> <scene_description>On screen WE SEE:</scene_description> <character>18 MONTHS LATER</character> <dialogue>Splash! A glass of water hits him in the face.</dialogue> <character>NAOMI</character> <dialogue>Wake up, you bag of shit!</dialogue> <scene_description>Soaking wet, Jordan sits upright to see Naomi standing over him in a tiny pink chemise, holding an empty glass.</scene_description> <character>JORDAN</character> <dialogue>The fuck are you doing?!</dialogue> <character>NAOMI</character> <dialogue>Who's Venice?</dialogue> <character>JORDAN</character> <dialogue>What?!</dialogue> <character>NAOMI</character> <dialogue>Who is she?! Some little hooker you fucked last night?</dialogue> <character>JORDAN</character> <dialogue>What? No! Naomi!</dialogue> <scene_description>And as Naomi storms off for a re-fill...</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - THE NIGHT BEFORE (FEB '95)</stage_direction> <scene_description>Jordan lies on the ground, hands tied with a lit candle \* up his ass. \*</scene_description> <character>JORDAN \*</character> <dialogue>Venice, where are you? \*</dialogue> <scene_description>VENICE, A Blue Chip Hooker, enters, pulls out a candle \* and straddles him. She drips wax on his back and pulls \* his hair. \*</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (FEB '95)</stage_direction> <scene_description>Back to scene. Naomi holds another full glass, rocking back and forth on the balls of her feet like a fighter.</scene_description> <character>NAOMI</character> <dialogue>You were calling her name in your sleep!</dialogue> <character>JORDAN</character> <dialogue>I can explain everything.</dialogue> <character>NAOMI</character> <dialogue>Go ahead. More lies from the man who lies for a living!</dialogue> <character>JORDAN</character> <dialogue>No, really. Donnie and me, we're investing in a condo development in Venice.</dialogue> <character>NAOMI</character> <dialogue>Italy?!</dialogue> <character>JORDAN</character> <dialogue>California, baby.</dialogue> <character>NAOMI</character> <dialogue>Yeah, right.</dialogue> <character>JORDAN</character> <dialogue>Duchess, come on.</dialogue> <character>NAOMI</character> <dialogue>Don't 'Duchess' me, you scumbag. You think I don't know what you're up to? You're a father now and you act like an infant!</dialogue> <scene_description>Splash! She nails him again, crosses for more water.</scene_description> <character>JORDAN</character> <dialogue>Fuck. Naomi! Why are you so mad?</dialogue> <character>NAOMI</character> <dialogue>Where do you want me to start? How about you flying in here on your stupid helicopter at three in the morning waking up Skylar?!</dialogue> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - YARD - NIGHT (FEB '95)</stage_direction> <scene_description>Jordan crash-lands the helicopter on the driving range. \* He exits, gives Captain Dave a salute, fights his way \* through the bushes, then stumbles toward the house and \* falls into the pool, stoned out of his skull. Security \* floodlights come on and the alarm sounds. \*</scene_description> <character>NAOMI (O.S.)</character> <dialogue>Does it even matter to you that I just had that driving range sodded with Bermuda grass?</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (FEB '95)</stage_direction> <scene_description>Back to scene. Naomi holds another glass of water.</scene_description> <character>NAOMI</character> <dialogue>But why should you give a shit? You're not the one who researched the fucking thing and dealt with the fucking golf course people!</dialogue> <character>JORDAN</character> <dialogue>You're an aspiring landscape architect?! But what happened to wine connoisseur? Oh wait, that was last month!</dialogue> <character>NAOMI</character> <dialogue>Fuck you!</dialogue> <scene_description>Naomi winds up with the water glass. Jordan stands tall, puffs himself up, arms flexed at his sides.</scene_description> <character>NAOMI</character> <dialogue>Stop flexing your arms, you look like a fucking imbecile.</dialogue> <parenthetical>(re: his crotch)</parenthetical> <dialogue>And don't think that impresses me much.</dialogue> <scene_description>Jordan looks down: he has a morning erection.</scene_description> <character>JORDAN</character> <dialogue>I wasn't flexing my arms. You're just lucky to have a husband who's in such great shape. Now get over here and kiss me!</dialogue> <character>NAOMI</character> <dialogue>Kiss you?!</dialogue> <scene_description>Splash! She nails him one last time, then storms out. He stands there dripping wet. To his erection:</scene_description> <character>JORDAN</character> <dialogue>Where the fuck were you last night?</dialogue> <character>JORDAN (V.O.)</character> <dialogue>My morning ritual. First I'd get up and fight with Naomi about whatever I did the night before.</dialogue> </scene> <scene> <stage_direction>120A INT. JORDAN'S ESTATE - STEAM SHOWER - DAY 120A</stage_direction> <scene_description>Jordan stands in the steaming shower.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Next it was a steam so I could sweat out whatever drugs were still in my system.</dialogue> </scene> <scene> <stage_direction>120B INT. JORDAN'S ESTATE - MASTER BATHROOM - CONTINUOUS 120B</stage_direction> <scene_description>Jordan looks at himself in the mirror. His eyes are bloodshot - he looks like shit.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>After that I'd assess the damage.</dialogue> <scene_description>Jordan looks at a Visine bottle - "Recommended Dosage - Two Drops". He squirts six drops in each eye.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>What kind of maniac abuses eye drops?</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - DRESSING ROOM - DAY (FEB '95)</stage_direction> <scene_description>Fully dressed and standing amid hundreds of suits, Jordan pops two white pills, swigs some juice.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Then I'd get dressed, take my "back pills" to get me started, then attempt to make up with her.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - SKYLAR'S ROOM - DAY (FEB '95)</stage_direction> <scene_description>Jordan enters the tiny pink wonderland. On the fluffy pink carpet is Naomi, now in a minidress hiked above her hips, Manolo Blahniks showing polished red toes. Between her legs sits SKYLAR, their 5-month-old daughter.</scene_description> <character>JORDAN</character> <dialogue>Hey, Skylar.</dialogue> <character>NAOMI</character> <parenthetical>(little girl voice)</parenthetical> <dialogue>Good morning Daddy. Where's my kiss?</dialogue> <scene_description>Jordan kisses the baby, picks her up.</scene_description> <character>JORDAN</character> <parenthetical>(playing along)</parenthetical> <dialogue>Does Daddy get to kiss both his girls?</dialogue> <character>NAOMI</character> <dialogue>Ohhh, no! Daddy doesn't even get to touch Mommy for a very, very long time.</dialogue> <scene_description>Naomi lays back on her elbows, thighs parted - she's wearing no panties. The wind goes out of Jordan.</scene_description> <character>JORDAN</character> <dialogue>C'mon, Nay, please. You know how sorry I am. I swear I--</dialogue> <character>NAOMI</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>Daddy shouldn't waste his time. And from now on it's going to be nothing but short, short skirts around the house! And Mommy's so sick and tired of wearing panties, uhhh. In fact she's decided to throw them all away.</dialogue> <parenthetical>(parting her thighs)</parenthetical> <dialogue>So take a good look. You'll be seeing an awful lot of it around the house, but no touching.</dialogue> <scene_description>She licks her lips seductively. Jordan sets Skylar aside, starts grovelling.</scene_description> <character>NAOMI</character> <dialogue>What's wrong, Daddy?</dialogue> <scene_description>Naomi slips her index finger in her mouth, starts sucking it. Jordan can barely speak.</scene_description> <character>JORDAN</character> <dialogue>C'mon, why are you doing this? I said I'm sorry.</dialogue> <character>NAOMI</character> <parenthetical>(pouting)</parenthetical> <dialogue>Ohhhh poor, poor Dada. He loves to say how wrong he is when he's ready to come in his own pants. Isn't that right Dada? Mommy loves Daddy so, so much and there's nothing she wants to do more right now than to make love to Daddy all day long. Well, I guess it's time for Daddy to be taught his first lesson.</dialogue> <scene_description>Naomi runs her fingers over her stomach and on to her inner thigh, then up toward her vagina. Jordan watches transfixed, then a change comes over him...</scene_description> <character>JORDAN</character> <dialogue>I wouldn't do that if I were you Mommy. I think Mommy should hear a story before she decides to please herself like that. Can Daddy tell Mommy a story?</dialogue> <parenthetical>(off her nod)</parenthetical> <dialogue>And does mommy promise to keep her legs spread wide, wide open the whole time?</dialogue> <parenthetical>(she nods dreamily)</parenthetical> <dialogue>Good. Once upon a time there was a great big mansion in Long Island and the people who lived there had lots and lots of money. But of all the possessions they had, there was one thing that was much more valuable than all the rest combined, and that was their little baby daughter.</dialogue> <scene_description>Naomi listens, legs still spread, hand on her crotch.</scene_description> <character>JORDAN</character> <dialogue>Now because he was very security- conscious, the Daddy hired two full-time guards, big hairy men both named Rocco, and they installed security cameras all around the house. And one of those cameras is right over Daddy's shoulder.</dialogue> <scene_description>Naomi's eyes widen -- she look toward a Teddy Bear on a shelf. WE SEE that one of the eyes is a pinhole camera.</scene_description> <character>JORDAN</character> <dialogue>So smile, Mommy! You're on Candid Camera!</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - GUARD HOUSE - DAY (FEB '95)</stage_direction> <scene_description>Mesmerized, ROCCO DAY watches a video screen, on which we see a grainy image of Naomi, hand between her legs.</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - SKYLAR'S BEDROOM - DAY (FEB '95)</stage_direction> <scene_description>Naomi jumps up as if she's been electrocuted.</scene_description> <character>NAOMI</character> <dialogue>You asshole!</dialogue> <scene_description>As she bolts from the room, Jordan plays with Skylar...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The good thing about living with a world-class ballbreaker is they make all the other ballbreakers in your life a little easier to take.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - OUTSIDE JORDAN'S OFFICE - DAY</stage_direction> <character>(FEB '95)</character> <dialogue>Donnie stands talking with Jordan's assistant, Janet. Jordan approaches under a head of steam.</dialogue> <character>DONNIE</character> <dialogue>There he is.</dialogue> <character>JORDAN</character> <parenthetical>(a quick hug; then)</parenthetical> <dialogue>Steve here yet?</dialogue> <character>DONNIE</character> <dialogue>On his way. Very excited.</dialogue> <character>JORDAN</character> <dialogue>Good. Cuz we have a problem.</dialogue> <scene_description>He indicates out to the Bullpen. Donnie and Janet look.</scene_description> <character>JANET</character> <parenthetical>(incredulous)</parenthetical> <dialogue>Is he wearing a bow tie?</dialogue> <scene_description>In the Bullpen WE SEE a young Stratton Broker in a bowtie cleaning a small goldfish bowl on his desk.</scene_description> <character>JORDAN</character> <dialogue>He's got nothing better to do on the day of the biggest IPO in this firm's history?!</dialogue> <scene_description>Jordan watches as Donnie marches toward the Broker in a bowtie...</scene_description> </scene> <scene> <stage_direction>INT. BULLPEN - CONTINUOUS</stage_direction> <character>DONNIE</character> <dialogue>The fuck you doing?</dialogue> <character>BROKER IN A BOWTIE</character> <parenthetical>(bewildered)</parenthetical> <dialogue>Cleaning my fishbowl.</dialogue> <character>DONNIE</character> <dialogue>Oh.</dialogue> <scene_description>Donnie nods, turns to go, but suddenly he turns back and thrusts his arm in the bowl, grabbing for the squirming goldfish. The Broker in a bowtie looks on, horrified.</scene_description> <character>DONNIE</character> <dialogue>On new issue day?! On cocksucking, motherfucking new issue day?!</dialogue> <scene_description>Dozen of Brokers and Sales Assistants look over as Donnie snatches up the fish. Holding it by its tail, he jumps \* up on the desk of the Broker in a bowtie. Now the entire Bullpen looks over.</scene_description> <character>DONNIE</character> <dialogue>This is what happens when you fuck with your pets on new issue day!</dialogue> <scene_description>With the flair of a showman, Donnie pops the fish in his mouth, swallowing it whole. The Brokers cheer wildly. Donnie jumps down, gets in the face of the Broker in a bowtie:</scene_description> <character>DONNIE</character> <dialogue>Now take your bowtie, get your shit and get the fuck out!</dialogue> <scene_description>Bowtie is stunned. And as Donnie storms off, we PUSH IN on Jordan, watching from across the room.</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(FEB '95)</character> <dialogue>Jordan finishes a phone call as Donnie enters with STEVE MADDEN, 30s, dressed in wrinkled navy blazer, cargo pants and T-shirt, a baseball cap over his scraggly, thinning hair. Jordan smiles, crosses to greet him.</dialogue> <character>JORDAN</character> <dialogue>The Cobbler. Ready to get rich?</dialogue> <character>STEVE MADDEN</character> <dialogue>Hey buddy.</dialogue> <scene_description>And as they ad lib greetings, settle in at the couch:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Steve Madden, the shoe designer, was a childhood friend of Donnie's, but I didn't hold that against him. Remember those ads, those giant-headed girls with bug eyes wearing those big clunky shoes?</dialogue> <scene_description>127A INSERT - a quick series of Steve Madden ads. 127A</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He came to me a few years earlier when he was just starting out, so I became a silent partner in his company, buying an 85% stake for only a million bucks.</dialogue> </scene> <scene> <stage_direction>INT. STEVE MADDEN SHOES - DAY</stage_direction> <scene_description>WE SEE various stores, all packed with teenage GIRLS buying shoes and boots.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The company blew up and we were now taking it public. It was the biggest deal we'd ever done and the hottest IPO on Wall Street.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(FEB '95)</character> <dialogue>Jordan and Donnie sit with Steve Madden in mid- conversation.</dialogue> <character>DONNIE</character> <dialogue>--which is why they need to meet you.</dialogue> <character>JORDAN</character> <dialogue>You gotta get 'em fired up so they'll push the shit out of this stock.</dialogue> <character>DONNIE</character> <dialogue>Let them feel your passion.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - DAY (FEB '95)</stage_direction> <scene_description>Bustling with activity. With Jordan and Donnie looking on from nearby, Steve Madden approaches a microphone on the raised platform, in his hands several shoe boxes.</scene_description> <character>STEVE MADDEN</character> <parenthetical>(into mic)</parenthetical> <dialogue>Uhhh... excuse me...</dialogue> <scene_description>The place slowly comes to order.</scene_description> <character>STEVE MADDEN</character> <dialogue>For those of you who don't know me, my name is Steve Madden. I'm --</dialogue> <character>ONE BROKER</character> <dialogue>We know who you are!</dialogue> <scene_description>Steve clears his throat, looks over at Jordan -- he's terrified. Jordan motions for him to calm down.</scene_description> <character>STEVE MADDEN</character> <dialogue>I uh, I'd like to start by telling you about my background in the shoe industry.</dialogue> <character>ANOTHER BROKER</character> <dialogue>Nice fucking hat!</dialogue> <character>STEVE MADDEN</character> <dialogue>I uh... first started working in the shoe industry, in a shoe store. When I was sixteen, my friends were out chasing girls, but I was learning about women's shoes.</dialogue> <character>KALIL</character> <dialogue>Move the mike closer.</dialogue> <character>PETER DEBLASIO</character> <dialogue>We can't fucking hear you!</dialogue> <scene_description>He moves the mic; feedback SCREECHES through the bullpen.</scene_description> <character>STEVE MADDEN</character> <dialogue>Sorry... Anyway, my first job was at a shoe store like I said where I worked in the stockroom. You know, I can honestly say I've been a lover of women's shoes since I was twelve--</dialogue> <character>BROKER #4</character> <dialogue>Freak!</dialogue> <character>STEVE MADDEN</character> <dialogue>No. Heh-heh. Not like that. I mean somehow I became fascinated with the endless design possibilities for women's shoes--</dialogue> <character>BROKER #5</character> <dialogue>Queer!</dialogue> <character>BROKER #6</character> <dialogue>Get a fucking life!</dialogue> <scene_description>Boos, hisses. Steve looks at Jordan, who motions for him to speed up. He grabs a shoe from one of the boxes.</scene_description> <character>STEVE MADDEN</character> <dialogue>This shoe -- the Mary Lou -- is the one that really put me on the map. It's a black patent leather variation of the Mary Jane, but--</dialogue> <scene_description>SPLAT! A half-eaten grapefruit lands at Steve's feet. In a flash, Jordan rushes over, grabs the mic--</scene_description> <character>JORDAN</character> <dialogue>All right, let's hear it for Steve Madden and the wonderful Mary Lou!</dialogue> <scene_description>Huge applause, with stomping feet; howling, etc.</scene_description> <character>JORDAN</character> <dialogue>Okay, now that you got that out of your system, I want you to know why Steve is so completely off the fucking wall... It's because this man is a creative genius. Steve's power, his gift -- is that he creates trends. Artists like Steve come along once a century! Elvis! Andy Warhol! Giorgio Armani! Who knows how high this stock could go? The 20s? The 50s? The 80s?</dialogue> <scene_description>Applause; war whoops. Jordan motions for quiet.</scene_description> <character>JORDAN</character> <dialogue>I want everybody to look down. See that little black box in front of you? It's called a telephone. Now I'm gonna let you in on a little secret about this telephone -- it won't dial itself! That's right -- until you take some action, it's nothing more than a worthless hunk of plastic, like a loaded M16 without a trained Marine to pull the trigger. And in the case of the telephone, it's the action of you, a highly trained Strattonite, a killer who will not take no for an answer! A person who will not hang up the phone until his client either buys or fucking dies!</dialogue> <scene_description>The Brokers go crazy. Jordan looks around.</scene_description> <character>JORDAN</character> <dialogue>I don't care if you graduated from Harvard or Bumfuck University or never got past fourth fucking grade! That phone is the great equalizer!</dialogue> <parenthetical>(pause; looks around)</parenthetical> <dialogue>There is no nobility in poverty. I've been rich, and I've been poor and I choose rich every time.</dialogue> <character>JORDAN</character> <dialogue>At least as a rich man, when I have to face my problems, I show up in the back of a limo wearing a $2000 suit and $40,000 gold watch!</dialogue> <scene_description>Jordan takes off his GOLD WATCH, flings it to the Crowd. Brokers go nuts, fighting over it like a home-run ball.</scene_description> <character>JORDAN</character> <dialogue>And if anyone here thinks I'm crazy, get the fuck out and get a job at McDonald's, because that's where you fucking belong! But before you depart this room full of winners, I want you to take a good look at the person next to you, because one day in the not-so- distant future, you'll be sitting at a red light in your beat-up old Pinto, and that person's gonna pull up in a brand new Porsche, with their gorgeous young wife at their side. And who will you be next to? Some ugly beast with three days of razor-stubble in a sleeveless moo-moo, crammed in next to you with a carload of groceries from the fucking Price Club!</dialogue> <scene_description>He scans the Brokers; they're on the edge of their seats.</scene_description> <character>JORDAN</character> <dialogue>So you listen to me and listen carefully. Are you behind on your credit card bills? Good. Pick up the phone and start dialing. Is your landlord threatening to evict you? Good. Pick up the phone and start dialing. Does your girlfriend think you're a fucking loser? Pick up the phone and start fucking dialing! I want you to deal with your problems by becoming rich! I want you to go out and spend money! Leverage yourself, back yourself into a corner, let the consequences of failure become so fucking unthinkable that you'll have no choice but to do whatever it takes to win!</dialogue> <scene_description>The Brokers go absolutely APESHIT.</scene_description> <character>JORDAN</character> <dialogue>You have an obligation here, people! To your clients! To this firm! An obligation to yourself, godammit! You ram Steve Madden stock down your clients' throats and make them choke on it till they buy 20,000 shares! Be aggressive! Be ferocious! Be telephone fucking terrorists!!</dialogue> <scene_description>Before Jordan is even finished, the Brokers GO BERSERK, some already dialing their phones.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>At 1 p.m. we opened the stock for sale at $4.50 a share. By 1:03 it was over eighteen dollars.</dialogue> </scene> <scene> <stage_direction>130A INT. FBI OFFICES - MANHATTAN - DAY 130A</stage_direction> <scene_description>Agent Denham exits the elevator, arriving for work. He strides between cubicles, briefcase in hand. He enters --</scene_description> </scene> <scene> <stage_direction>130B INT. AGENT DENHAM'S OFFICE - DAY 130B</stage_direction> <scene_description>-- where pinned up on one wall is a massive chart on Stratton's operations: pictures of Jordan, Donnie and others, a hierarchy, a history, an investigation...</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - LATER (FEB '95)</stage_direction> <scene_description>Total sales frenzy. The CAMERA PANS the 300 Brokers, who work the phones like mad.</scene_description> <character>SEA OTTER</character> <dialogue>--the hottest new issue on Wall Street!</dialogue> <character>YOUNG BROKER</character> <dialogue>--up two dollars while I'm talking to you!</dialogue> <scene_description>And as we continue PANNING the room...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Of course I couldn't have done this without help. I'd leaked the word on Wall Street that Stratton was a buyer up until twenty. So not only were we pushing Madden, all the big firms were too.</dialogue> <scene_description>We continue PANNING the frenzied Brokers...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>As long as they knew I'd buy the shares back at the top of the market, they'd drive the price up as high as I fucking wanted.</dialogue> <scene_description>SCENES 132 - 133 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S OFFICE - DAY (FEB '95)</stage_direction> <scene_description>Donnie pours champagne nearby, oblivious to Jordan, who sits at his desk, speaking directly to camera:</scene_description> <character>JORDAN</character> <dialogue>Of the two million shares being offered for sale, a million belonged to me, held in phony accounts by my ratholes. Once the price hit the high teens, I--</dialogue> <scene_description>Jordan abruptly stops. A beat, then:</scene_description> <character>JORDAN</character> <dialogue>Like I said before, who gives a shit? As always, the point is this--</dialogue> <scene_description>BACK TO SCENE -- Donnie hands Jordan a glass of Dom.</scene_description> <character>DONNIE</character> <dialogue>22 million in three fucking hours!</dialogue> <scene_description>They toast, then each pop ludes, which they wash down with champagne. A quick knock; Janet pops her head in.</scene_description> <character>JORDAN</character> <dialogue>Janet, baby. Drink.</dialogue> <character>JANET</character> <dialogue>Call for you. Barry Kleinman from Future Video?</dialogue> <character>JORDAN</character> <dialogue>Who?</dialogue> <character>JANET</character> <dialogue>He filmed your wedding. He says it's urgent.</dialogue> <scene_description>Curious, Jordan leans over, hits the speaker phone:</scene_description> <character>JORDAN</character> <dialogue>Barry?</dialogue> </scene> <scene> <stage_direction>INT. FUTURE VIDEO - DAY (FEB '95)</stage_direction> <scene_description>Barry Kleinman sits at his desk, talking on the phone.</scene_description> <character>BARRY KLEINMAN</character> <dialogue>Jordan, hey. Listen, I got a subpoena. The FBI wants a copy of your wedding video.</dialogue> <scene_description>On Jordan. Uh-oh.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The F-B-fucking-I?</dialogue> </scene> <scene> <stage_direction>135A INT. FIRING RANGE - DAY 135A</stage_direction> <scene_description>Wearing goggles and protective headphones, square-jawed FBI Agent Patrick Denham takes target practice.</scene_description> <character>BO DIETL (V.O.)</character> <dialogue>Name's Denham, he's an agent in the New York office.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>What's his problem?</dialogue> <character>BO DIETL (V.O.)</character> <dialogue>He's a boy scout, thinks you're Gordon Gekko.</dialogue> </scene> <scene> <stage_direction>135B EXT. RAO'S - NIGHT - ESTABLISHING (MAR '95) 135B</stage_direction> </scene> <scene> <stage_direction>INT. RAO'S RESTAURANT - NIGHT (MAR '95)</stage_direction> <scene_description>The East Harlem institution. Jordan sits across a table over pasta with private investigator BO DIETL, 40s.</scene_description> <character>JORDAN</character> <dialogue>But my goddamn wedding video?</dialogue> <character>BO DIETL</character> <dialogue>Got your whole inner circle in one place, faces and names. He's hoping it rattles you, or maybe your wife, so that she starts nagging you to turn witness.</dialogue> <character>JORDAN</character> <parenthetical>(that's laughable)</parenthetical> <dialogue>What? He wants me to rat on myself?</dialogue> <character>BO DIETL</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Good news is I made some calls, DEA, Justice? No one but him even knows who you are.</dialogue> <character>JORDAN</character> <dialogue>Can you bug him or something, tap his phone?</dialogue> <character>BO DIETL</character> <dialogue>Jordan, relax. First off, you don't fuck with these guys, not that way. Secondly, I got a P.I. license, you know?</dialogue> <character>JORDAN</character> <dialogue>Maybe I should call him, see what he wants.</dialogue> <character>BO DIETL</character> <dialogue>No! Anybody does that should be your lawyer. What you do is eat your dinner, drink your drink, and forget about it. Cuz as far as I hear he doesn't have shit.</dialogue> <scene_description>Jordan nods, wheels turning, pretending to do as told. 136A SCENE 136A OMITTED 136A</scene_description> </scene> <scene> <stage_direction>EXT. BATTERY PARK MARINA - DAY (LATE SPRING '95)</stage_direction> <scene_description>As Agent Denham steps into frame, another FED, AGENT \* HUGHES, beside him, both G-man stoic in impenetrably dark \* glasses --</scene_description> <character>JORDAN (O.S.)</character> <dialogue>Patrick? Hey! C'mon aboard!</dialogue> <scene_description>They look up. On the yacht Naomi, Jordan stands waving, drinking wine with two Blue Chip HOOKERS in bikinis.</scene_description> <character>JORDAN</character> <dialogue>Plank's right down there.</dialogue> <scene_description>Denham shares a look with his cohort: it's almost a joke, this display of wealth before a federal agent. Moments later, they step aboard.</scene_description> <character>AGENT DENHAM</character> <dialogue>Mr. Belfort, I'm Agent Denham. This is Agent Hughes.</dialogue> <character>JORDAN</character> <dialogue>Heya! This is Nicole and, um...Heidi. Girls, Patrick and...?</dialogue> <character>AGENT DENHAM</character> <dialogue>Agents Denham and Hughes. Your message said you wanted to speak privately.</dialogue> <character>JORDAN</character> <dialogue>It did. I do.</dialogue> <parenthetical>(off Denham's stare)</parenthetical> <dialogue>Oh, they're just friends.</dialogue> <parenthetical>(to the girls)</parenthetical> <dialogue>Give us a minute, okay?</dialogue> <scene_description>The Hookers head below deck. Jordan shoots Denham a wink-- check out that ass!</scene_description> <character>JORDAN</character> <dialogue>Can I get a glass? Got wine open or any kinda booze. Shrimp and lobster're over there if you're hungry.</dialogue> <character>AGENT DENHAM</character> <dialogue>Bureau forbids us from drinking at sea.</dialogue> <scene_description>Jordan surprised: the guy has a sense of humor.</scene_description> <character>JORDAN</character> <dialogue>I have something for you, I just gotta find it. Have a seat, will ya? Ever been on one of these before?</dialogue> <scene_description>As Jordan rifles through some papers, Denham's eyes scan the deck, casually cataloguing everything.</scene_description> <character>AGENT DENHAM</character> <dialogue>A boat? Learned to sail when I was six.</dialogue> <character>JORDAN</character> <dialogue>I mean, one like this. Just had her extended to put a chopper on the back.</dialogue> <scene_description>Jordan points out the Bell-Jet helicopter.</scene_description> <character>AGENT DENHAM</character> <dialogue>Never been on a boat with a second mode of transportation on top of it.</dialogue> <scene_description>Jordan finds the file he's been looking for, offers it.</scene_description> <character>AGENT DENHAM</character> <parenthetical>(before he'll accept)</parenthetical> <dialogue>What is this?</dialogue> <character>JORDAN</character> <dialogue>Names and addresses of every guest at my wedding. Friends, clients. I even threw in the seating chart. Heard that's why you wanted the video, figured this'd expedite whatever it is you're doing.</dialogue> <parenthetical>(Denham looks: it's indeed a guest list from the wedding)</parenthetical> <dialogue>I wanted to show you I've got nothing to hide. I know you're investigating Stratton but for the life of me I can't figure out why. Sure, my company is unorthodox; what brokerage isn't? Maybe we're a little louder than most but we don't do anything illegal. Talk to the SEC, they'll tell you, they checked us out up and down.</dialogue> <character>AGENT DENHAM</character> <dialogue>The SEC's actually a civil regulatory agency. We pursue criminal activity.</dialogue> <character>JORDAN</character> <dialogue>That's what I'm saying. You guys take on real crime. Which is why I'm so curious: what do you think we did?</dialogue> <scene_description>The reason Jordan asked him here, Denham realizes.</scene_description> <character>AGENT DENHAM</character> <dialogue>I can't discuss ongoing investigations.</dialogue> <character>JORDAN</character> <dialogue>I understand.</dialogue> <character>AGENT DENHAM</character> <dialogue>Though, to be frank, this case kinda got dumped on my desk. Some higher-up felt your shop needed looking into after all that press, fell on me to do the looking.</dialogue> <character>JORDAN</character> <dialogue>You know who you should be looking at? Goldman, Lehman Brothers, Merrill.</dialogue> <character>JORDAN</character> <dialogue>What those guys're up to with collateralized debt obligations? This internet stock bullshit? C'mon. If you want, I'll walk you through exactly --</dialogue> <character>AGENT DENHAM</character> <dialogue>-- that'd be great. And if there's anything you can give me just to close out your file, get it off my desk--</dialogue> <character>JORDAN</character> <dialogue>-- sure, get you back to the real criminals --</dialogue> <character>AGENT DENHAM</character> <dialogue>-- then we could both profit from this little sit-down.</dialogue> <scene_description>Jordan sizes him up: what did Denham mean by "profit"?</scene_description> <character>JORDAN</character> <dialogue>You sure you don't want anything to drink? Water for your pal?</dialogue> <parenthetical>(Denham demurs)</parenthetical> <dialogue>Rumor is your started out in finance. Even got your broker's license before you joined the bureau.</dialogue> <character>AGENT DENHAM</character> <dialogue>Who told you that?</dialogue> <character>JORDAN</character> <parenthetical>(searches his memory)</parenthetical> <dialogue>Jeez, who was it...?</dialogue> <parenthetical>(comes up short)</parenthetical> <dialogue>Ever regret it? Giving up the money-crazed, pin-striped life? Ever think where you'd be if you'd stuck with it?</dialogue> <character>AGENT DENHAM</character> <dialogue>When I'm riding the subway home, sweating my balls off, in a suit I've worn three days, sure.</dialogue> <character>JORDAN</character> <dialogue>Whattaya pull in working at the bureau, if you don't mind me asking. 50-60K a year?</dialogue> <character>AGENT DENHAM</character> <dialogue>Just about. We get a free handgun out of it, though, that doesn't suck.</dialogue> <character>JORDAN</character> <dialogue>S'crazy, the world we live in, the jobs with real value, the ones we should appreciate -- firefighters, teachers, FBI agents -- those are the ones we pay the least.</dialogue> <character>AGENT DENHAM</character> <dialogue>Way of the world.</dialogue> <character>JORDAN</character> <dialogue>That's one thing I like about what I do, the opportunity to make that right. Take this kid we had interning last year. Didn't want to be a broker, wanted to be an environmental scientist or something, he had a student loan debts up to his eyeballs. Anyway, his mom gets sick, all they can afford is third-rate care. Some of us got together, made an investment on his behalf and -- boom -- overnight everything changes, she's seeing the best doctors in the country. Sadly, didn't work out, she passed but still: having the power to do that makes all the other bullshit worth while.</dialogue> <parenthetical>(as Denham considers that)</parenthetical> <dialogue>See, it's all about proper guidance, Pat. Knowing someone with the right relationships, who's discreet. I can change a life almost every day.</dialogue> <scene_description>They measure each other.</scene_description> <character>AGENT DENHAM</character> <dialogue>How much that intern make off your deal?</dialogue> <character>JORDAN</character> <dialogue>North of half a million.</dialogue> <scene_description>Denham summons Agent Hughes over. To Jordan:</scene_description> <character>AGENT DENHAM</character> <dialogue>Can you say that again, what you told me?</dialogue> <parenthetical>(Jordan declines with a smile; to Agent Hughes)</parenthetical> <dialogue>I believe Mr. Belfort just tried to bribe a federal officer.</dialogue> <character>JORDAN</character> <dialogue>What? I was making conversation.</dialogue> <character>AGENT DENHAM</character> <dialogue>Sounds like that to me, Jordan.</dialogue> <character>JORDAN</character> <dialogue>...no, no, no...</dialogue> <character>AGENT DENHAM</character> <dialogue>...sounded like that...</dialogue> <character>JORDAN</character> <dialogue>...no, to constitute a bribe, don't I have to make an explicit offer of money for services? With an exact dollar figure attached? All I said was "north" of half a million. According to the U.S. Criminal Code, that dog won't hunt, Pat.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Heard you were a straight arrow. That you wouldn't bend the rules other agents might. He was right.</dialogue> <character>AGENT DENHAM</character> <dialogue>You did a background check on me?</dialogue> <character>JORDAN</character> <dialogue>Figured you were looking into me, was only fair. Plus you sail on a yacht fit for a Bond villain, sometimes you gotta act the part.</dialogue> <character>AGENT DENHAM</character> <dialogue>This is why you invited me down to your yacht? With a couple hookers on it --</dialogue> <character>JORDAN</character> <dialogue>-- those are friends --</dialogue> <character>AGENT DENHAM</character> <dialogue>-- to get a sense of the guy who was coming after you?</dialogue> <scene_description>Jordan puts his hands up: "you got me."</scene_description> <character>JORDAN</character> <dialogue>Thanks for coming down. Now get off my boat.</dialogue> <character>AGENT DENHAM</character> <dialogue>You know, most of the Wall Street jackasses I bust, they were born to the life.</dialogue> <character>AGENT DENHAM</character> <dialogue>Their father was a douchebag before them, and his father before that. But you, you got this way all on your own. Good for you, Jordan.</dialogue> <parenthetical>(as he starts to go)</parenthetical> <dialogue>Thank you for having us. I'm absolutely certain we'll see each other again.</dialogue> <parenthetical>(before he does)</parenthetical> <dialogue>You know, this is about the nicest boat I've ever been on. Just think what a hero I'll be in the office when the bureau seizes it.</dialogue> <scene_description>Jordan watches him go, temper flaring: he can't let Denham get the final word. He calls after them:</scene_description> <character>JORDAN</character> <dialogue>Hey, Denham! I'm gonna eat a claw of lobster now as I get my cock sucked by Heidi down below. You have a super ride home on the subway thinking about that! \*</dialogue> <scene_description>As he watches them pull away, seething --</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He was a numbers guy, a follow-the- fucking-money'er. He wasn't gonna come at me through my guys, looking for a weak link and a quick kill. He was gonna come at me like an accountant would, the way Ness got Capone, through my books. Which meant? It was ass- covering time.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (SUMMER '95)</stage_direction> <scene_description>As Naomi looks on, 5 months pregnant, Jordan packs a suitcase.</scene_description> <character>NAOMI</character> <dialogue>Switzerland? What the fuck is in Switzerland?</dialogue> <character>JORDAN</character> <dialogue>Swiss cheese, Naomi, what do you fucking think?</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - CONFERENCE ROOM - DAY \*</stage_direction> <character>(SUMMER '95)</character> <dialogue>Jordan sits talking with Rugrat and Donnie.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Rugrat set up a meeting with a Swiss Banker he knew from law school who could launder our money, but it wasn't till noon the next day.</dialogue> <scene_description>Jordan glances at his watch, washes down a few ludes.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I knew if I timed my lude intake right, I'd sleep through the entire overnight flight.</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - DAY (SUMMER '95)</stage_direction> <scene_description>Jordan stands before the Bullpen talking to his Brokers.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>At four p.m. I popped a few ludes, which started kicking in by the time I finished our sales meeting. This was the tingle phase.</dialogue> </scene> <scene> <stage_direction>INT. CANASTEL'S - NIGHT (SUMMER '95)</stage_direction> <scene_description>Over dinner, a visibly high Jordan ravenously digs into his food as Donnie and four Blue Chip Hookers look on.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>By dinner I popped a few more on top of some cocktails and an valium or two. The slur phase.</dialogue> </scene> <scene> <stage_direction>INT. DANCE CLUB - NIGHT (SUMMER '95)</stage_direction> <scene_description>On the crowded dance floor, Jordan gets knocked around like a marionette, saliva strung from his mouth.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>By eight thirty I'd done a few more and pretty much lost my motor skills. This was the drool phase.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL SUITE - NIGHT (SUMMER '95)</stage_direction> <scene_description>Jordan is barely conscious as a Hooker rides him.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>And by ten I didn't know who or what I was doing -- the amnesia phase. We boarded the plane just before midnight.</dialogue> </scene> <scene> <stage_direction>INT. ZURICH AIRLINES - FIRST CLASS - NIGHT (SUMMER '95) \*</stage_direction> <scene_description>Jordan boards, slurring, drooling, completely wasted.</scene_description> <character>JORDAN</character> <parenthetical>(to a Stewardess)</parenthetical> <dialogue>Sweetheart! Look at you!</dialogue> <scene_description>And as he hugs her, then stumbles toward his seat...</scene_description> </scene> <scene> <stage_direction>INT. ZURICH AIRLINES - FIRST CLASS - DAY (SUMMER '95) \*</stage_direction> <scene_description>Quiet; morning sunlight bleeds through the window. Jordan's eyes flicker open. He yawns, looks around, tries to get up; he can't move. He looks down, sees six seat belts restraining his arms and legs. Jordan looks over at Donnie, mouth agape, asleep next to him.</scene_description> <character>JORDAN</character> <dialogue>Donnie. Donnie, wake up.</dialogue> <character>DONNIE</character> <dialogue>Nuuhh?</dialogue> <character>JORDAN</character> <dialogue>Untie me, shitbag. You think this is funny?</dialogue> <character>DONNIE</character> <dialogue>I didn't tie you, the captain did. He almost tasered you.</dialogue> <character>JORDAN</character> <dialogue>Why?</dialogue> <scene_description>FLASHBACK -- As PASSENGERS scream, Jordan wildly humps a STEWARDESS, the CAPTAIN struggling to restrain him.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>This was fucking great. I hadn't laundered a dime yet and already I was under arrest.</dialogue> </scene> <scene> <stage_direction>INT. ZURICH AIRLINES - FIRST CLASS - DAY (SUMMER '95) \*</stage_direction> <scene_description>A pensive Jordan sits, mind racing.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Worse yet was the plastic baggie of ludes that Donnie'd stuffed up his ass.</dialogue> <scene_description>Jordan trades looks with Donnie, who shifts uncomfortably.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>But before he could even get a hemorrhoid--</dialogue> </scene> <scene> <stage_direction>147A INT. GENEVA AIRPORT - CUSTOMS OFFICE - DAY 147A</stage_direction> <character>\*</character> <dialogue>Jordan sits with two CUSTOMS OFFICERS. \*</dialogue> <character>JORDAN (V.O.) \*</character> <dialogue>--the whole thing was quashed by \* our friend the Swiss banker. Which \* was lucky for me, since so far I'd \* been able to keep Agent Fuckface \* unaware of the trip. \*</dialogue> <scene_description>Another CUSTOMS OFFICER enters, whispers something to the \* others. They shake Jordan's hand and he leaves. \*</scene_description> </scene> <scene> <stage_direction>EXT. GENEVA - SHOPPING DISTRICT - DAY (SUMMER '95)</stage_direction> <scene_description>A limo pulls up at an office building. Jordan emerges with Rugrat and Donnie. \*</scene_description> </scene> <scene> <stage_direction>INT. BANQUE REAL DE GENEVE - LOBBY - DAY (SUMMER '95)</stage_direction> <scene_description>JEAN-JACQUES SAUREL greets them. 30s, suave. The lobby is ultra-modernist.</scene_description> <character>SAUREL</character> <dialogue>Jordan Belfort! At last! Nicholas has told me so much.</dialogue> <character>RUGRAT</character> <dialogue>Jordan, Jean-Jacques Saurel.</dialogue> <character>JORDAN</character> <dialogue>Nice to make your acquaintance. This is some lobby you got.</dialogue> <character>SAUREL</character> <dialogue>Ah, yes. We gave our designer an unlimited budget and he exceeded it. Come! You must tell me all about your adventure with the stewardess over coffee!</dialogue> <scene_description>They disappear upstairs. SCENE 150 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BANQUE REAL DE GENEVE - SAUREL'S OFFICE - DAY</stage_direction> <scene_description>Jordan, Rugrat and Donnie drink coffee with Saurel and one other SWISS BANKER. It's an impressive office, with \* an enormous fish tank.</scene_description> <character>DONNIE</character> <dialogue>We have a joke in America. "Heaven is a place where the police are Brits, the chefs are Italian, the car mechanics are German, the prostitutes are French and the bankers are Swiss." I never got it 'til now -- look at those fucking fish! Come here, little guy...</dialogue> <character>SAUREL</character> <dialogue>Yes, we have the same joke here. Only sometimes the English are chauffeurs and the chefs are French. The Germans, alas, are always mechanics; no one wants to grant them more authority than that.</dialogue> <scene_description>Polite laughter. Jordan, not as impressed by the fish, cuts straight to the point:</scene_description> <character>JORDAN</character> <dialogue>I'm curious about your bank secrecy laws.</dialogue> <character>SAUREL</character> <dialogue>Excusez-moi, Jordan, Swiss custom requires ten minutes of idle chit- chat before business can be discussed.</dialogue> <parenthetical>(a smile)</parenthetical> <dialogue>Of course, let's get "down to it." What would you like to know?</dialogue> <character>JORDAN</character> <dialogue>Under what circumstances would you be obligated to cooperate with an FBI or U.S. Justice Department investigation?</dialogue> <character>SAUREL</character> <dialogue>Ca depend.</dialogue> <character>JORDAN</character> <dialogue>Ca depend? Ca depend on what?</dialogue> <character>SAUREL</character> <dialogue>Whether America plans to invade Switzerland in the coming months.</dialogue> <character>RUGRAT</character> <dialogue>Want me to see if tanks are rolling down the Rue de la Croix?</dialogue> <scene_description>More chuckles. Through Jordan's forced smile:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>What I'm asking, you Swiss dick, is are you going to fuck me over.</dialogue> <character>SAUREL (V.O.)</character> <dialogue>I understand perfectly, you American shitheel.</dialogue> <scene_description>Saurel smiles.</scene_description> <character>SAUREL</character> <dialogue>The only way the Banque Real de Geneve would cooperate with a foreign legal body is if the crime being pursued also happened to be a crime in Switzerland. But there are very few Swiss laws pertaining to your "rumored" improprieties. Which is why Mr. Azoff's joke is most appropriate: from a financial standpoint you are now in heaven, and we welcome you. If the U.S. Justice Department or FBI or SEC or IRS sent us a subpoena, it would become papier-toillette. We would wipe our ass with it.</dialogue> <scene_description>Everyone's impressed. Except Jordan.</scene_description> <character>JORDAN</character> <dialogue>Unless it was an investigation into stock fraud -- which is a crime in Switzerland. Then you'd have to cooperate.</dialogue> <character>SAUREL</character> <parenthetical>(now he's impressed)</parenthetical> <dialogue>Yes, we would. Assuming the account is under your name. However, if it were in the name of a nominee of yours...</dialogue> <scene_description>They take each other in.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Was that yodeling I just heard or did you just say what I thought you said?</dialogue> <character>SAUREL (V.O.)</character> <dialogue>Yes! Yes!</dialogue> <scene_description>As the meeting wraps up with handshakes, Jordan's V.O. overwhelms Saurel's V.O..</scene_description> <character>JORDAN (V.O.)</character> <dialogue>He was telling me to use a rathole. Problem was: sneaking a U.S. rathole into Switzerland was a chance I couldn't take. What I needed was somebody with a European passport.</dialogue> <scene_description>SCENES 152 - 153 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. LONDON FLAT - DAY (SUMMER '95)</stage_direction> <scene_description>Naomi's Aunt Emma answers the door.</scene_description> <character>AUNT EMMA</character> <dialogue>Jordan?</dialogue> <character>JORDAN</character> <parenthetical>(big smile, sweating)</parenthetical> <dialogue>Surprise.</dialogue> </scene> <scene> <stage_direction>EXT. HYDE PARK - DAY (SUMMER '95)</stage_direction> <scene_description>Amid towering trees and horse trails, a noticeably twitchy Jordan walks arm-in-arm with Aunt Emma.</scene_description> <character>AUNT EMMA</character> <dialogue>So tell me about this plan of yours.</dialogue> <character>JORDAN</character> <dialogue>I'd like us to go to Switzerland tomorrow so you can open an account. I'll fund it, and I'll pay you really well for your trouble.</dialogue> <character>AUNT EMMA</character> <dialogue>Oh my.</dialogue> <character>JORDAN</character> <dialogue>Next month maybe you can fly to New York and we can start moving the cash.</dialogue> <character>AUNT EMMA</character> <dialogue>Moving the cash.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>I feel like a character in an Ian Fleming novel. It's all quite racy, isn't it?</dialogue> <character>JORDAN</character> <dialogue>It is, and it's illegal too. Of course if you ever got in trouble, I'd come forward in two seconds, say I duped you, but even still.</dialogue> <character>AUNT EMMA</character> <dialogue>Risk is what keeps us young, isn't it darling?</dialogue> <character>JORDAN</character> <dialogue>I like that attitude. Promise me \* you'll spend at least ten thousand pounds per month out of the account, okay?</dialogue> <character>AUNT EMMA</character> <parenthetical>(chuckles)</parenthetical> <dialogue>I wouldn't even know how. I really do have everything I need.</dialogue> <character>JORDAN</character> <dialogue>But I bet you don't have everything you want. How about a bigger apartment so your grandkids can sleep over?</dialogue> <scene_description>Aunt Emma notices that Jordan is sweating, fidgety. He's jonesing.</scene_description> <character>AUNT EMMA</character> <dialogue>Shall we sit?</dialogue> <character>JORDAN</character> <dialogue>Sure, that'd be great.</dialogue> <scene_description>They sit on a nearby bench. After a while:</scene_description> <character>AUNT EMMA</character> <dialogue>Sometimes I wonder if you let money get the best of you, dear.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Among other substances.</dialogue> <character>JORDAN</character> <dialogue>It's that obvious, huh?</dialogue> <character>AUNT EMMA</character> <dialogue>It's the height of summer and \* you've got the chills. \*</dialogue> <character>JORDAN</character> <dialogue>I'm a drug addict, Emma. Coke, \* pills, you name it, whatever you \* got. Sex addict too. \*</dialogue> <character>AUNT EMMA</character> <parenthetical>(laughs)</parenthetical> <dialogue>Well there are worse things to be addicted to than sex.</dialogue> <character>JORDAN</character> <parenthetical>(chuckles; then)</parenthetical> <dialogue>Why did I just tell you that? \*</dialogue> <character>AUNT EMMA</character> <parenthetical>(playful)</parenthetical> <dialogue>Because I'm very easy to talk to.</dialogue> <scene_description>Jordan looks at her. A few beats, then:</scene_description> <character>JORDAN</character> <dialogue>As a matter of fact you are. My \* job, you know, it's tough. I mean \* I'm not complaining, it's just the stress. All these people depending \* on me. Millions of dollars at \* stake every day. I sometimes feel \* I've bitten off more than I can \* chew. \*</dialogue> <character>AUNT EMMA</character> <dialogue>You're a man with large appetites.</dialogue> <scene_description>Jordan looks at her and smiles:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Is she fucking hitting on me?</dialogue> <character>JORDAN</character> <dialogue>I agree. I put it on myself. It's \* hard to control the anxiety, you \* know? It's hard to learn to relax. \*</dialogue> <character>AUNT EMMA</character> <dialogue>To release the tension.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>She is hitting on me! Holy shit!</dialogue> <scene_description>Jordan leans in closer, casually slips an arm around her.</scene_description> <character>JORDAN</character> <dialogue>Exactly, to release the tension. \* Sometimes you gotta learn to do \* what comes natural in life, huh? \*</dialogue> <scene_description>Aunt Emma pulls back slightly.</scene_description> <character>AUNT EMMA (V.O.)</character> <dialogue>Is he fucking hitting on me?</dialogue> <scene_description>He leans in even closer, kisses her, then: \*</scene_description> <character>AUNT EMMA</character> <dialogue>Stability, dear. Family.</dialogue> <character>\*</character> <dialogue>AUNT EMMA (CONT'D) \*</dialogue> <scene_description>You take care of my niece, my love. And I'll take care of everything over here. \* (a beat) \* Ah, once upon a time... \*</scene_description> </scene> <scene> <stage_direction>155A INT. BEACH HOUSE - BEDROOM - SOUTH HAMPTON - DAY 155A</stage_direction> <character>(SUMMER '95)</character> <dialogue>Jordan fucks Naomi. There's a curious thunk-thunk-thunk.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>When I got home, I realized there was no way Aunt Emma could smuggle that much cash by herself. I racked my brain for another person with a foreign passport.</dialogue> <scene_description>The bed's covered with bundles of cash. Every thrust of Jordan's, another bundle plummets to the floor -- thunk. SCENES 156 - 157 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BEACH HOUSE - SOUTH HAMPTON - GUEST BEDROOM - DAY</stage_direction> <character>(SUMMER '95)</character> <dialogue>With $20 mil in CASH on the bed, Jordan and a stoned Donnie watch as Brad tapes stacks of cash to his wife CHANTALLE, a bombshell in panties, bra and sneakers.</dialogue> <character>CHANTALLE</character> <dialogue>Bra-had, theese tape eez focking steeky!</dialogue> <scene_description>As Brad keeps taping her up:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>As a successful drug dealer, Brad spent his winters in the South of France, which is where he met his wife Chantalle, a stripper of Slovenian origin but born in, of all places, Switzerland.</dialogue> <character>CHANTALLE</character> <dialogue>Take eet off, Bra-had! Eet erts!</dialogue> <character>BRAD</character> <dialogue>Shut up, bitch.</dialogue> <character>CHANTALLE</character> <dialogue>You beetch, you focking douche-a- bag-a!</dialogue> <scene_description>Donnie can't help but start laughing at this.</scene_description> <character>DONNIE</character> <dialogue>Take eet off! Take eet off!</dialogue> <scene_description>Brad seethes at this but keeps taping...</scene_description> </scene> <scene> <stage_direction>INT. BEACH HOUSE - SOUTH HAMPTON - BEDROOM - LATER</stage_direction> <character>(SUMMER '95)</character> <dialogue>Chantalle is completely taped up, a cash-covered mummy. Jordan looks on with Brad, Donnie and now Naomi. 90% of the cash is still on the bed.</dialogue> <character>JORDAN</character> <dialogue>Well, this is fucked.</dialogue> <character>NAOMI</character> <dialogue>It's gonna take her like fifty trips.</dialogue> <character>BRAD</character> <dialogue>We'll get her parents to tape up too. They got Swiss passports. Plus her brother and his wife. Five people, six-seven trips?</dialogue> <character>JORDAN</character> <dialogue>How much'll they want for it?</dialogue> <character>BRAD</character> <dialogue>I dunno, not much. Fuck, they'd probably do it just for the miles.</dialogue> <character>DONNIE</character> <dialogue>What about my money?</dialogue> <character>BRAD</character> <dialogue>What?</dialogue> <character>DONNIE</character> <dialogue>My money. I got a few mil of my own I wanna move. I'll call you, you can come pick it up.</dialogue> <character>BRAD</character> <parenthetical>(takes offense to Donnie's presumption)</parenthetical> <dialogue>You'll "call" me.</dialogue> <character>DONNIE</character> <parenthetical>(what part don't you understand?)</parenthetical> <dialogue>And you can come "pick it up."</dialogue> <scene_description>Brad asks Jordan if they can speak in private. MOMENTS LATER, IN PRIVATE: Jordan joins Brad.</scene_description> <character>JORDAN</character> <dialogue>What's wrong?</dialogue> <character>BRAD</character> <dialogue>Don't make me deal with this fucknut, okay?</dialogue> <character>JORDAN</character> <dialogue>Donnie? He's just high is all.</dialogue> <character>BRAD</character> <dialogue>I dunno if he's stupid or a junkie but he's a loose fuckin' cannon. I don't trust him and I don't want him around me.</dialogue> <character>JORDAN</character> <dialogue>Jesus. I thought he was your best customer.</dialogue> <character>BRAD</character> <dialogue>I only sell to him cuz he's your friend.</dialogue> <character>JORDAN</character> <dialogue>Can you just do one trip for him?</dialogue> <scene_description>Brad stews. It's asking a lot.</scene_description> <character>BRAD</character> <dialogue>I'll meet him but I won't pick up. I have a limit of how much of that douchebag I can take.</dialogue> <character>DONNIE</character> <dialogue>I can hear you, motherfucker!</dialogue> <scene_description>Donnie emerges from where he's been eavesdropping.</scene_description> <character>DONNIE</character> <dialogue>I'm a douchebag?!! Well, whose fucking idea was it made us all this money?!! Who fucking knew Steve Madden?!! This douchebag!! So go fuck yourself a little!</dialogue> <scene_description>Brad slaps Donnie so hard across the face he goes down.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The next day, Aunt Emma flew to Geneva, two million in cash in her carry-on.</dialogue> <scene_description>159A SCENES 159A - B OMITTED 159A</scene_description> </scene> <scene> <stage_direction>INT. GENEVA AIRPORT - DAY (SUMMER '95)</stage_direction> <scene_description>Wheeling a small carry-on suitcase, Aunt Emma smiles at a CUSTOMS AGENT, who waves her through.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Which in the big picture was a drop in the Swiss bucket --</dialogue> <scene_description>TIME CUT: 160aA On another day, Chantalle and her family (PARENTS, 160aA BROTHER, his WIFE) pass through Customs, "on vacation."</scene_description> <character>JORDAN (V.O.)</character> <dialogue>-- because the following month, over the course of six round- trips, Chantalle and her family smuggled in over twenty million without even a hiccup.</dialogue> </scene> <scene> <stage_direction>160A INT. BANQUE REAL DE GENEVE - PRIVATE ROOM - DAY 160A</stage_direction> <character>(SUMMER '95)</character> <dialogue>With a cash-filled suitcase on the table, Chantalle remembers a last fold of cash hidden inside her skirt's lining. She laughs with Saurel.</dialogue> <scene_description>SCENES 161 - 170C OMITTED</scene_description> </scene> <scene> <stage_direction>170D EXT. STRIP MALL - PARKING LOT - LONG ISLAND - DAY 170D</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>Brad waits by his Range Rover as Donnie's Rolls careens into the lot. He emerges, briefcase in hand.</dialogue> <character>DONNIE</character> <dialogue>Fu Manchu! Kung fu!</dialogue> <scene_description>Donnie starts doing spastic karate moves. Is he high? Sure looks like it. Brad looks pissed, and Donnie starts laughing. Actually he's dead sober.</scene_description> <character>DONNIE</character> <dialogue>I'm just fucking with you, man. Jesus, the look on your face.</dialogue> <parenthetical>(Brad isn't laughing)</parenthetical> <dialogue>Hey, sorry if I got outta line the other day, I was just, that was the drugs talking...</dialogue> <character>BRAD</character> <dialogue>S'cool, just... gimme the case.</dialogue> <character>DONNIE</character> <parenthetical>(he doesn't)</parenthetical> <dialogue>You know, I always kinda regretted you didn't come to work with us at Stratton. It'd be so cool having you around, man.</dialogue> <character>BRAD</character> <parenthetical>(growing impatient)</parenthetical> <dialogue>Yeah, well...</dialogue> <character>DONNIE</character> <dialogue>You'd be one of us, we'd go out- partying together, you wouldn't have to dress like a mall rat guinea prison bitch all the time.</dialogue> <scene_description>Donnie grins, obviously still smarting from Brad's slap. Brad just wants to take the money and be done.</scene_description> <character>BRAD</character> <dialogue>Give me the money.</dialogue> <scene_description>A DISTANCE AWAY, a COP in a patrol car notices Brad gesturing to Donnie for his briefcase. He nudges his partner: check this out.</scene_description> <character>DONNIE</character> <dialogue>Can I come over and help tape this to your wife? "Eez so focking steeky! Take eet off, Bra-hod!"</dialogue> <scene_description>Brad composes himself, lest he kill the guy.</scene_description> <character>BRAD</character> <dialogue>I'm gonna give you a pass.</dialogue> <character>DONNIE</character> <dialogue>You're what?</dialogue> <character>BRAD</character> <dialogue>I'm gonna give you a pass.</dialogue> <character>DONNIE</character> <dialogue>You're gonna give me a pass?</dialogue> <character>BRAD</character> <dialogue>Yes. Just gimme the money.</dialogue> <character>DONNIE</character> <dialogue>You're gonna give me a pass? Okay...</dialogue> <parenthetical>(offers the case)</parenthetical> <dialogue>Why don't you stick your pass up your Slavic cunt's pussy.</dialogue> <scene_description>That does it. Brad attacks. Donnie throws the case at him, which opens on impact, money spilling out. Brad instinctively tries to contain it... and that's when the POLICE SIRENS start. Here comes the patrol car.</scene_description> <character>BRAD</character> <dialogue>Shit!</dialogue> <scene_description>Donnie bolts. With no time to get to his car, Brad takes off on foot, bleeding briefcase in hand, toward a video store where he stashes his .38 in the return box.</scene_description> <character>POLICE</character> <dialogue>Freeze! Don't move!</dialogue> <scene_description>Brad drops to his knees, briefcase at his feet. From a distance, Donnie peers around a corner to watch him get arrested, knowing he fucked this up. 170E SCENES 170E - 178 OMITTED 170E</scene_description> </scene> <scene> <stage_direction>178A INT. STRATTON OAKMONT III - DONNIE'S OFFICE - DAY 178A</stage_direction> <character>\*</character> <dialogue>(LATE SUMMER '95) \*</dialogue> <dialogue>Donnie is seated at his desk, freaking out and trying to \* figure out what to do. He exits. \*</dialogue> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>With a flourish, Donnie presents a bottle full of ludes. \*</dialogue> <character>DONNIE</character> <dialogue>Jord, do I have a surprise for \* you. Twenty real lemons! A retired \* pharmacist friend of mine's been \* sitting on these the last 15 \* years. \*</dialogue> <character>JORDAN</character> <dialogue>You fucking serious?!</dialogue> <scene_description>CLOSE ON -- a Lemmon 714 Quaalude; pure white, with trademark ridged edges.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The Lemmon 714 was the Holy Grail of Quaaludes, outlawed since the '80s and three times as powerful as anything available today. For a Quaalude addict, it was like finding a 1952 Chateau Margaux.</dialogue> <scene_description>CLOSE ON -- Donnie gauging Jordan's excitement, waiting for the right moment to admit his fuck-up.</scene_description> <character>DONNIE(V.O.)</character> <dialogue>I'd been saving these for a special occasion, like a birthday or celebrating our money being out of the country. Instead I thought I'd better use 'em to help break the news about Brad.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BATHROOM - DAY</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>In his underwear, Jordan kneels over the toilet, sticking his fingers down his throat to make himself vomit.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>That night I cleared my schedule and rid my body of anything that could fuck with my high. It was celebration time.</dialogue> <scene_description>He takes a box off the counter marked "Active Enema". He squats and administers it...</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - BASEMENT - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Massive, with a wet bar, media center and full gym. Giddy as kids on Christmas, Jordan and Donnie sit on the couch, the bottle of Lemmons before them.</scene_description> <character>JORDAN</character> <dialogue>Start with one, see how it goes?</dialogue> <character>DONNIE</character> <dialogue>My guy says one's all we'll need. Salut'.</dialogue> <scene_description>Excited, they each pop a lude, toast with hot sake'...</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - BASEMENT - LATER (LATE SUMMER '95)</stage_direction> <scene_description>Bored, Jordan and Donnie sit on the couch watching "Family Matters" on TV.</scene_description> <character>JORDAN</character> <dialogue>You feeling anything?</dialogue> <character>DONNIE</character> <dialogue>Nope.</dialogue> <parenthetical>(glances at watch)</parenthetical> <dialogue>Thirty five minutes.</dialogue> <character>JORDAN</character> <dialogue>Maybe we've built up a tolerance all these years?</dialogue> <scene_description>Donnie shrugs; they pop another, wash it down with sake'.</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - BASEMENT - LATER (LATE SUMMER '95)</stage_direction> <scene_description>With Jordan running on the treadmill, Donnie pumps away on an exercise bike nearby. They're both sweating.</scene_description> <character>DONNIE</character> <dialogue>This is bullshit, man. My fucking metabolism's pumping and I don't feel shit.</dialogue> <character>JORDAN</character> <dialogue>They're old, maybe they lost their potency.</dialogue> <scene_description>Donnie leans over, picks up the bottle. Reads the label.</scene_description> <character>DONNIE</character> <dialogue>January '81. They're fucking duds.</dialogue> <scene_description>He shakes out more pills, two more apiece. As they pop them, a very pregnant Naomi descends the stairs, now very pregnant.</scene_description> <character>NAOMI</character> <dialogue>What are you two retards doing?</dialogue> <character>JORDAN</character> <dialogue>Nothing. Working out.</dialogue> <character>NAOMI</character> <parenthetical>(a look; then)</parenthetical> <dialogue>Bo Dietl's on the phone.</dialogue> <scene_description>Naomi heads back upstairs. Jordan picks up the phone.</scene_description> <character>JORDAN</character> <dialogue>Bo, hey, what's up?</dialogue> </scene> <scene> <stage_direction>INT. BO DIETL'S CADILLAC - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Bo Dietl talks on his cell phone.</scene_description> <character>BO DIETL</character> <dialogue>I need to talk to you, but not on this phone.</dialogue> <character>INTERCUT JORDAN AND BO</character> <dialogue>JORDAN</dialogue> <scene_description>Why, what's--</scene_description> <character>BO DIETL</character> <dialogue>Leave the house, call me back from a pay phone, you hear me?</dialogue> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Jordan pulls his Lamborghini out of the driveway.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>The Brookville Country Club was a WASP stronghold, a straight shot down the road from my house.</dialogue> </scene> <scene> <stage_direction>EXT. BROOKVILLE COUNTRY CLUB - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Jordan pulls up, exits the car in sweats, flip-flops and a T-shirt. He hustles up a staircase into...</scene_description> </scene> <scene> <stage_direction>INT. BROOKVILLE COUNTRY CLUB - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Jordan stands at a pay phone, receiver to his ear. WE HEAR it ringing, then:</scene_description> <character>BO DIETL (O.S.)</character> <dialogue>Jordan?</dialogue> <character>JORDAN</character> <dialogue>Yeah, I'm at a pay phone. What's going on?</dialogue> <scene_description>INTERCUT:</scene_description> </scene> <scene> <stage_direction>INT. BO DIETL'S CADILLAC - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Bo talks on his cell.</scene_description> <character>BO DIETL</character> <dialogue>Your buddy Brad's in jail.</dialogue> <character>JORDAN</character> <dialogue>Oh, Jesus Christ! What did he do? \*</dialogue> <character>BO DIETL</character> <dialogue>I dunno yet, they arrested him in \* a shopping mall in Long Island \* this morning, I'm finding out. But listen to me. More important than that. The guy Denham I told you about, the Fed? He's got your phones tapped, I'm pretty sure. Home and office. \*</dialogue> <character>JORDAN \*</character> <dialogue>Donnie, that piece of shit. I'm \* gonna kill him! That fat prick \* mother fucker! \*</dialogue> <character>BO DIETL \*</character> <dialogue>But, listen to me. Do me a favor, \* please do not talk on the phone. \*</dialogue> <character>JORDAN</character> <dialogue>Fuck!</dialogue> <character>BO DIETL</character> <dialogue>Did you try to bribe this fuckin' guy?</dialogue> <character>JORDAN</character> <dialogue>What? No! I didn't try to bribe anybody!</dialogue> <character>BO DIETL</character> <dialogue>Jordan? I couldn't understand you. Say that again?</dialogue> <character>JORDAN</character> <dialogue>I zay I zint ty zoo bibe azybuzzy!</dialogue> <character>BO DIETL</character> <dialogue>Are you fucking high?</dialogue> <scene_description>Jordan can't respond. Phone still to his ear, his eyelids droop. Drool spills from his slackened jaw.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>After fifteen years in storage, the Lemmons had developed a delayed fuse.</dialogue> <scene_description>JORDAN'S POV -- is hazy as he stares at his own reflection in the pay phone.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It took 90 minutes for the little fuckers to kick in, but once they did -- pow! I had skipped the tingle phase and went straight to the drool phase.</dialogue> <scene_description>JORDAN'S POV -- the phone gets further and further away.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Actually I'd discovered a new phase: the cerebral palsy phase.</dialogue> <scene_description>BAMMM!! Jordan hits the floor with a thud, crashed out on his back. From the dangling phone, we hear:</scene_description> <character>BO DIETL (O.S.)</character> <parenthetical>(over phone)</parenthetical> <dialogue>Jordan! Jordan! Do not get behind the wheel! Just tell me where you're at, I'll send Rocco!</dialogue> <scene_description>Jordan lolls his head toward the phone, tries to reach for it; he can't. He lays there for a while, then:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>C'mon, stand up!</dialogue> <scene_description>He rolls onto all fours, lifts a hand, topples over.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Okay, walking is off the list of options. All right, what else is there?</dialogue> <parenthetical>(a brainstorm)</parenthetical> <dialogue>I can crawl, like Skylar!</dialogue> <scene_description>Slowly, Jordan begins crawling like an infant to the top of the staircase. 188A SCENES 188A - 188B OMITTED 188A</scene_description> </scene> <scene> <stage_direction>EXT. STAIRCASE - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>The Lamborghini is parked at the bottom, twenty steps down. He starts to crawl down the stairs, stops. Tries again. Can't figure out how to do it.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Fuck! The kid makes it look so easy!</dialogue> <scene_description>An icy wind blows through his T-shirt.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Think, you motherfucker, think!</dialogue> <parenthetical>(a few beats; then)</parenthetical> <dialogue>Wait, I've got it!</dialogue> <scene_description>Jordan slowly curls himself into a ball.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I can roll!</dialogue> <scene_description>Forcing himself over the edge, Jordan begins to descend the steps, one at a time. Thump. Thump. Then faster. Thump- Thump-Thump. Faster still. He loses control, takes all the steps at once. Thump-Thump-Thump-Thump- Thump-Thump. He lands with a crash on the asphalt, drags himself up and into the Lamborghini.</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S LAMBORGHINI - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Ignition on, Jordan sits hunched over, chin resting on the steering wheel. Just then, the car phone RINGS. With great effort, he pushes the speaker phone button:</scene_description> <character>JORDAN</character> <dialogue>...ello?</dialogue> <character>NAOMI (O.S.)</character> <dialogue>Omigod! Jordan, where are you?!</dialogue> <character>JORDAN</character> <dialogue>Whazz a marra?</dialogue> <character>NAOMI (O.S.)</character> <dialogue>It's Donnie, he's totally out of control! He's on the other line with some Swiss guy!</dialogue> <scene_description>Jordan's face reads horror.</scene_description> <character>JORDAN</character> <dialogue>Whaa?!! No!!</dialogue> <character>NAOMI (O.S.)</character> <dialogue>I can't understand you! Just get home, hurry!</dialogue> <scene_description>Naomi clicks off. And as Jordan puts the car in gear...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>They say God protects drunks and babies. I was praying the same held true for drug addicts.</dialogue> </scene> <scene> <stage_direction>EXT. HEGEMAN'S ROAD - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Peering over the wheel like an old lady, Jordan slowly maneuvers the Lamborghini down the dark road.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I was less than a mile from home and drove slower than shit.</dialogue> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - NIGHT (LATE SUMMER 95)</stage_direction> <scene_description>Jordan pulls up in the Lamborghini, shuts the ignition.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Somehow I made it alive, not a scratch on me or the car.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - FAMILY ROOM - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>CLOSE ON the TV, where a POPEYE cartoon is playing. PULL BACK to reveal Skylar watching. As Jordan staggers in, Naomi approaches...</scene_description> <character>JORDAN</character> <dialogue>Where Zonnie?!</dialogue> <character>NAOMI</character> <dialogue>In the kitchen.</dialogue> <scene_description>SCENE 194 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Phone to his ear and at least as stoned as Jordan, Donnie stands at the counter. \*</scene_description> <character>DONNIE</character> <parenthetical>(into phone)</parenthetical> <dialogue>--zee money, I wazza move izz to Zwizzyland...</dialogue> </scene> <scene> <stage_direction>195A INT. SAUREL'S BEDROOM - NIGHT 195A</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>Having been just woken up, Jean-Jacques Saurel sits up in bed, phone to his ear, a perplexed look on his face.</dialogue> <character>SAUREL</character> <dialogue>What language are you speaking, Mr. Azoff?</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - KITCHEN - CONTINUOUS</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>With Naomi looking on, Jordan staggers toward Donnie like a drunk Frankenstein.</dialogue> <character>JORDAN</character> <dialogue>Ge ozza zone! Ge ozza iz!!</dialogue> <character>DONNIE</character> <dialogue>Waz? Iz zoggin oo anzali!</dialogue> <character>JORDAN</character> <dialogue>GE OZZA ZONE!!</dialogue> <scene_description>With all the strength he can muster, Jordan RIPS the phone from the wall, throwing it skittering across the floor with a CLANG.</scene_description> <character>NAOMI</character> <dialogue>What the fuck are you doing?!</dialogue> <character>DONNIE</character> <dialogue>Wazza fuh is wrong wizzz oooo?!! I wuzz awwing to!!</dialogue> <parenthetical>(Jordan grabs him)</parenthetical> <dialogue>Wazza mazzer?! Wazza yoo razy?!!</dialogue> <scene_description>Skylar looks on from the next room, crying as Jordan tries to shake some sense into Donnie. Naomi crosses to \* Skylar and rushes her out of the room. \*</scene_description> <character>JORDAN</character> <dialogue>Zee vone!! He nah zuppose zoo dalk on zee vone!!</dialogue> <character>DONNIE</character> <dialogue>Wuzz?!!</dialogue> <character>JORDAN</character> <dialogue>ZE NAH ZUPPOSE ZOO DALK ON ZEE</dialogue> <character>VONE!! WUZZ AAZZEN TOZAY WIZ</character> <dialogue>ZOD?!</dialogue> <character>DONNIE</character> <dialogue>WUZZ?!</dialogue> <character>JORDAN</character> <dialogue>WUZZ ZOD IN ZAW?!</dialogue> <character>DONNIE</character> <dialogue>WUZZ?!</dialogue> <scene_description>Fuck it. Jordan releases Donnie. Donnie crawls into the \* dining room and starts shoving ham into his mouth in an \* effort to sober up. Just then, we HEAR a horrible \* GAGGING sound. Donnie holds his throat as he falls \* backward choking, taking out the entire glass kitchen table with a tremendous CRASH! Naomi rushes back in. \*</scene_description> <character>NAOMI</character> <dialogue>Omigod, he's choking! Jordan, do something!!</dialogue> <scene_description>Just then, WE HEAR the triumphant Popeye FANFARE -- Jordan looks to the TV, where POPEYE pours a can of spinach down his gullet. Instantly, his chest and arm muscles swell to five times their size. Jordan goes to get his coke. He snarfs up two fat spoonfuls and -- like that -- his chest swells and he takes a deep breath and he dashes back to the rescue... Jordan rushes back to Donnie, who is now blue.</scene_description> <character>NAOMI</character> <dialogue>He's not breathing!</dialogue> <scene_description>Jordan places his fingers over Donnie's artery. Nothing.</scene_description> <character>NAOMI</character> <dialogue>Save him!</dialogue> <scene_description>Jordan kneels, starts furiously pumping Donnie's chest, breathing air into his lungs in rhythmic bursts.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>This stupid sonovabitch! All Donnie ever did was fuck me up and now I had to save his life 'cause I took a CPR class when the baby was learning to swim. Just for the record, I want it noted: not for a second did I even think about letting him choke to death, even though it would've saved me an awful lot of headaches.</dialogue> <scene_description>Donnie still isn't breathing. Jordan flips him over, tries the Heimlich -- we hear a CRUNCH as he breaks Donnie's ribs. He flips him back over, but he's almost completely blue.</scene_description> <character>JORDAN</character> <dialogue>He won't come back!</dialogue> <character>NAOMI</character> <dialogue>Don't let him die! He has children!</dialogue> <scene_description>One last try. Jordan takes a massive breath, blowing as hard as he can into Donnie's lungs. Donnie's stomach distends like a balloon, then suddenly a chunk of ham projects from his mouth and into Jordan's face. Donnie coughs, vomiting. And as he starts breathing again, Jordan exits and passes out on the living room couch. \*</scene_description> <character>FADE TO BLACK.</character> <dialogue>BROOKVILLE POLICE #1 (V.O.)</dialogue> <scene_description>Jordan Belfort?</scene_description> </scene> <scene> <stage_direction>196A INT. JORDAN'S ESTATE - FAMILY ROOM - DAY 196A</stage_direction> <character>(LATE SUMMER '95)</character> <dialogue>Jordan opens his eyes. Through his HAZY POV, we see Violet, the maid standing over him with two OLD BROOKVILLE POLICE OFFICERS as Naomi attends to Donnie in the background.</dialogue> <character>JORDAN</character> <dialogue>Yes?</dialogue> <character>BROOKVILLE POLICE #1</character> <dialogue>Sir, we need to ask you some questions.</dialogue> <scene_description>SCENES 197 - 199 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>Jordan exits the house with the Police Officers. The Lamborghini is TOTALLED, an absolute wreck.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Wow. Maybe I hadn't made it home okay.</dialogue> </scene> <scene> <stage_direction>EXT. HEGEMAN'S ROAD - NIGHT (LATE SUMMER '95)</stage_direction> <scene_description>FLASHBACK. Nodding out, Jordan drives the Lamborghini like a maniac, careening off parked cars and trees.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>It was an absolute miracle I wasn't killed, and an even bigger miracle I hadn't killed anyone.</dialogue> </scene> <scene> <stage_direction>201A INT. POLICE STATION - DAY (LATE SUMMER '95) 201A</stage_direction> <character>\*</character> <dialogue>A MAN steps up to get his mug shot taken, but it's Brad, not Jordan. FLASH. Turn to the side. FLASH.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>But they couldn't arrest me, the cops had no proof I'd been behind the wheel. Meanwhile, Brad did a \* few months in jail for contempt \* because he wouldn't rat Donnie out. They never found his gun, though, so they finally had to let him go.</dialogue> <scene_description>SCENES 202 - 202A OMITTED</scene_description> </scene> <scene> <stage_direction>202B EXT. HORSE FARM - LONG ISLAND - DAY (OCT '95) 202B</stage_direction> <scene_description>Jordan watches an INSTRUCTOR lead Skylar on a pony. Nearby Naomi holds newborn PARKER. Manny Riskin and Max stand beside Jordan.</scene_description> <character>MANNY RISKIN</character> <dialogue>You're a lucky guy, Jordan. Legally I've never seen anyone slip a noose the way you do. Christ, you're lucky to be alive much less not in jail.</dialogue> <character>JORDAN</character> <dialogue>I don't believe in luck.</dialogue> <character>MANNY RISKIN</character> <dialogue>That's what all lucky people say. It's time, Jordan. Let me make a deal with SEC. Before your luck runs out.</dialogue> <scene_description>Skylar waves from the pony and Jordan waves back.</scene_description> <character>JORDAN</character> <dialogue>What kind of terms?</dialogue> <character>MANNY RISKIN</character> <dialogue>You plead guilty to a handful of securities violations -- stock manipulation, high pressure sales tactics, ticky-tack shit like that. You pay a few million dollars in fines and in exchange the SEC fucks off for all time.</dialogue> <character>JORDAN</character> <dialogue>And Stratton? What happens there?</dialogue> <character>MANNY RISKIN</character> <dialogue>You'd have to walk away. Let Donnie take over.</dialogue> <parenthetical>(that one hurts)</parenthetical> <dialogue>Now the FBI's a different animal. They can still pursue you for criminal wrongdoing. But with you on the sidelines, my guess is your best friend Agent Denham'll be left standing around with his dick in his hand.</dialogue> <scene_description>Jordan digests that.</scene_description> <character>MAX</character> <dialogue>You beat them, Jordan. You won. Sail into the sunset with your wife and kids while you can.</dialogue> <character>MANNY RISKIN</character> <dialogue>God knows you'll never have to work again.</dialogue> <scene_description>As Jordan looks at his picture-perfect family, WE HEAR THE ROAR OF A CROWD... 202C SCENES 202C - 202D OMITTED 202C</scene_description> </scene> <scene> <stage_direction>202E INT. STRATTON OAKMONT III - BULLPEN - DAY 202E</stage_direction> <character>(SPRING '96)</character> <dialogue>The troops ROAR as Jordan takes center stage.</dialogue> <character>JORDAN</character> <dialogue>I'm sure many of you have been hearing rumors lately, about me, about the future of this firm, and that's what I'd like to talk to you about today.</dialogue> <parenthetical>(a few beats, then)</parenthetical> <dialogue>Five years ago when I started Stratton with Donnie Azoff, I knew the day would eventually come when I'd be moving on. It's truly with a heavy heart that I tell you that day is here.</dialogue> <scene_description>The place erupts in a chorus of "No!", "Don't go!", etc. Jordan raises his hand for quiet.</scene_description> <character>JORDAN</character> <dialogue>Thank you for that and for your years of incredible loyalty and admiration.</dialogue> <character>JORDAN</character> <dialogue>The point is though, that under Donnie's leadership, along with Robbie Feinberg and Nicky Koskoff moving into key management positions, this place is gonna be better than ever!</dialogue> <scene_description>A smattering of applause. Jordan notices a few Brokers gravely shaking their heads.</scene_description> <character>JORDAN</character> <dialogue>And the fact that I'm gone won't stop me from giving Donnie advice, not that he needs any--</dialogue> <character>DONNIE</character> <parenthetical>(jumping in)</parenthetical> <dialogue>Why would anyone in their right mind not follow JB's advice?</dialogue> <scene_description>Donnie looks petrified; he's used to being an offensive tackle, not the quarterback.</scene_description> <character>JORDAN</character> <dialogue>Before I go, there's something I want to remind you all, and that's this -- Stratton Oakmont is bigger than any one person, even me. Especially me. You guys are Stratton, each and every one of you, and that is why it's sure to remain the best brokerage firm in the fucking world!</dialogue> <scene_description>Thunderous applause spreads through the boardroom, all 300 Brokers on their feet. WE PUSH IN on Jordan.</scene_description> <character>JORDAN</character> <dialogue>See, the very idea of Stratton is that when you come here and step into this bullpen for the first time, you start your life anew. You have a place here and no one can take that away from you! Stratton Oakmont is America! Give me your tired and poor! The very moment you walk through that door and pledge your loyalty to this firm, you become part of a family, you become a Strattonite! It doesn't matter who you are, it doesn't matter where you're from! Whether your family came over on the Mayflower or on a fucking inner tube from Haiti!</dialogue> <scene_description>More applause. Jordan scans the young faces -- they worship him. In the crowd he finds KIMMIE BELZER, 30s.</scene_description> <character>JORDAN</character> <dialogue>Everybody here knows Kimmie Belzer, right?</dialogue> <scene_description>Hoots and hollers... He raises his hand for quiet.</scene_description> <character>JORDAN</character> <dialogue>In case any of you weren't aware of it, Kimmie was one of Stratton's first brokers, one of the original twenty. Now when most of you met Kimmie, you met her the way she is today -- a beautiful woman who drives a brand new Mercedes, a woman who lives in the finest condo complex on Long Island. A woman who wears $3000 Armani suits, who spends her winters in the Bahamas and her summers in the Hamptons!</dialogue> <scene_description>Wild applause.</scene_description> <character>JORDAN</character> <dialogue>But that's not the Kimmie I met. The Kimmie I met was broke, a single mom on the balls of her ass. Three months behind on her rent with an eight year old son! She came to me for a job and when I hired her she asked for a $5000 dollar advance so she could pay his tuition. And what did I do, Kimmie?</dialogue> <character>KIMMIE</character> <dialogue>You wrote me a check for $25,000!</dialogue> <character>JORDAN</character> <dialogue>Because I believed in you, like I believe in each and every one of you!</dialogue> <character>KIMMIE</character> <dialogue>I love you, Jordan!</dialogue> <scene_description>As the Brokers go berserk, Jordan stands basking in the adoration. He looks at Donnie, turns back to the Crowd, looks out at the faces. A change has come over him. He stands there, thinking. An eternity, then:</scene_description> <character>JORDAN</character> <dialogue>You know for years I've been telling you guys not to take no for an answer, to keep pushing, to not hang up the phone till you get what you want. This deal I'm about to sign, barring me from the securities industry, barring me from Stratton, my home... What the fuck is that? I'll tell you what it is, it's me being a hypocrite. It's me taking no for an answer, it's them selling me, not the other way around! Fuck it, I'm not leaving!</dialogue> <scene_description>Jordan smiles, thrusts his hands in the air --</scene_description> <character>JORDAN</character> <dialogue>THE SHOW GOES ON!!</dialogue> <scene_description>The place goes absolutely INSANE. And as Donnie and Max trade looks, TECHNO MUSIC BLASTS taking us to... 202Ea EXT. YACHT NAOMI - AFT DECK - DAY (SPRING '96) 202Ea It's celebration time. DOZENS of Strattonites party, drinking/dancing/snorting, Jordan at the center of it.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Of course, the troops weren't the \* only ones who were thrilled. \*</dialogue> </scene> <scene> <stage_direction>202F INT. DENHAM'S OFFICE - DAY (SPRING '96) 202F</stage_direction> <scene_description>Agent Denham hears the news over the phone. A smile touches his lips: his case goes on... 202Fa EXT. YACHT NAOMI - AFT DECK (SPRING '96) 202Fa</scene_description> <character>\*</character> <dialogue>The party continues as Brad comes aboard. He's welcomed \* and showered with lapdancers. \*</dialogue> <character>JORDAN (V.O.) \*</character> <dialogue>I apologized to Brad and promised \* him he'd never have to deal with \* Donnie again. Even offered to pay \* him for his time in the can. But \* he said no, he was out. Sad thing \* was, he was dead two years later. \* Massive heart attack while sitting \* on the john. \*</dialogue> <scene_description>202G SCENE 202G OMITTED 202G</scene_description> </scene> <scene> <stage_direction>202H INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY 202H</stage_direction> <character>(SPRING '96)</character> <dialogue>Janet enters Jordan's office, leaves a stack of legal papers on his desk.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Within days, subpoenas started flying. They were burying me in paper --</dialogue> <scene_description>202Ha INT. STRATTON OAKMONT III - BULLPEN - DAY (SPRING '96) 202Ha Donnie pisses on a subpoena, to applause.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>-- notices to produce documents, depositions. Donnie couldn't drink water fast enough.</dialogue> </scene> <scene> <stage_direction>202J INT. S.E.C. - CONFERENCE ROOM - DAY (SPRING '96) 202J</stage_direction> <character>\*</character> <dialogue>As Manny Riskin looks on, Jordan sits across from the three SEC Attorneys and a COURT REPORTER.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>They interrogated everybody, it went on for months. It was total fucking harassment...</dialogue> <scene_description>202K-Q A SERIES OF CUTS -- (SPRING '96) 202K-Q</scene_description> <character>\*</character> <dialogue>Various Stratton Brokers are deposed: Robbie; Rugrat, Peter DeBlasio, Sea Otter; Chester Ming.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>... but not a single Strattonite cracked. Donnie and I were given strict instructions not to leave the country...</dialogue> <scene_description>202R SCENES 202R - 207 OMITTED 202R</scene_description> </scene> <scene> <stage_direction>EXT. YACHT NAOMI - AFT DECK - DAY (SUMMER '96)</stage_direction> <character>JORDAN (V.O.) \*</character> <dialogue>...so we took our wives to Italy. \* Each of us had a couple of million \* we needed to deposit anyway -- \*</dialogue> <scene_description>ON A DUFFEL BAG FULL OF MONEY just resting on deck.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>-- this seemed the most civilized way to transport it overseas.</dialogue> <scene_description>ON ANOTHER BAG, this one brimming with bottles of pills, bags of pot, vials of coke. Jordan and Donnie cut up lines as a HOSTESS serves Bloody Marys.</scene_description> <character>HOSTESS</character> <dialogue>Can I get you anything else, gentlemen?</dialogue> <character>JORDAN</character> <dialogue>I have a rare condition that requires me to drink one of these every fifteen minutes. If you could set your egg timer, I'd appreciate it.</dialogue> <scene_description>She goes. The blow is ready for inhaling. Jordan and Donnie are doing a "you first, no, you first" routine with a rolled up $100 when a CELL rings. Donnie grabs it.</scene_description> <character>DONNIE</character> <dialogue>Rugrat! Bongiorno, my bald eagle! \*</dialogue> <scene_description>208A SCENES 208A - 208B OMITTED 208A</scene_description> </scene> <scene> <stage_direction>208C INT. STRATTON OAKMONT III - OFFICE - DAY (SUMMER '96) 208C</stage_direction> <character>\*</character> <dialogue>RUGRAT</dialogue> <scene_description>We may have a problem. Your \* friend, Steve Madden, he's \* unloading shares. \*</scene_description> </scene> <scene> <stage_direction>208D EXT. YACHT NAOMI - DAY (SUMMER '96) 208D</stage_direction> <character>\*</character> <dialogue>Donnie reacts as Rugrat expounds.</dialogue> <character>DONNIE</character> <dialogue>What?! You're fucking kidding?! \*</dialogue> <character>RUGRAT \*</character> <dialogue>No. I wish I was. \*</dialogue> <character>DONNIE \*</character> <dialogue>(to Jordan) \*</dialogue> <scene_description>Rugrat says Steve Madden's \* unloading shares. \*</scene_description> <character>JORDAN \*</character> <dialogue>What?! (Grabs Donnie's phone) \* Rugrat, what the fuck? \*</dialogue> <character>JORDAN</character> <dialogue>(Hands Donnie his phone) Call the \* sonovabitch! Hold on a second. \*</dialogue> <scene_description>BACK AT STRATTON... \*</scene_description> <character>RUGRAT \*</character> <dialogue>I'm looking at the screen and huge \* chunks of Steve Madden are being \* sold. We're not doing it so it's \* gotta be Steve. He's the only \* person who owns that many shares. \*</dialogue> <scene_description>ON THE BOAT... \* Jordan cups the phone, looks to Donnie who shrugs.</scene_description> <character>DONNIE</character> <dialogue>He's not picking up.</dialogue> <character>JORDAN</character> <dialogue>Your fucking friend is trying to fuck me. And you know where he's trying to fuck me? Up the ass.</dialogue> <parenthetical>(back to Rugrat)</parenthetical> <dialogue>I need some time to think. \*</dialogue> <scene_description>Jordan thinks, snorts a line to think better.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Even though I owned 85% of Steve- Cocksucker-Madden-fucking-Shoes, the shares were in his fucking name. Motherfucker knew I was in trouble with the Feds and was trying to take advantage.</dialogue> <scene_description>He gets back on the phone with Rugrat.</scene_description> <character>JORDAN</character> <dialogue>Tell all the brokers to sell. \* Drive the price down. Steve will \* go cockless when he watches me \* turn his company into a penny \* stock. \*</dialogue> <parenthetical>(he hangs up)</parenthetical> <dialogue>Sonovacunt!</dialogue> <parenthetical>(yelling below deck)</parenthetical> <dialogue>Captain Ted!! Start 'er up, we gotta go home! \*</dialogue> <scene_description>The sight of Naomi and Hildy returning from their trip ashore stops him. Because Naomi's weeping, Hildy consoling her.</scene_description> <character>JORDAN</character> <dialogue>What the fuck?! What happened?</dialogue> <character>NAOMI</character> <dialogue>I got a call from cousin Betty. Aunt Emma's dead.</dialogue> <scene_description>Off Jordan's reaction as Naomi weeps and laments the dearly departed: "she was so young, so healthy" etc. --</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Fucking heart attack. Boom-snap, she was gone. Shuffled off her mortal coil and twenty million dollars in a Swiss bank account.</dialogue> </scene> <scene> <stage_direction>208E INT. BANQUE REAL DE GENEVE - SAUREL'S OFFICE - DAY 208E</stage_direction> <character>(SUMMER '96)</character> <dialogue>Jean-Jacques Saurel sits at his desk, calmly smoking as he talks on the phone.</dialogue> <character>SAUREL</character> <dialogue>It is terrible. Your aunt was such an elegant, attractive woman. My condolences to you and your family. You must be --</dialogue> <scene_description>208F INTERCUT JORDAN ON THE BOAT AND SAUREL IN GENEVA 208F</scene_description> <character>JORDAN</character> <parenthetical>(no time for it)</parenthetical> <dialogue>Thanks but where does this leave us in regard to her account? It goes into probate or what?</dialogue> <character>SAUREL</character> <dialogue>Not to worry, Jordan. Your aunt, before she died, signed a document naming you as her successor.</dialogue> <character>JORDAN</character> <dialogue>She did?!</dialogue> <character>SAUREL</character> <parenthetical>(a sly grin)</parenthetical> <dialogue>Well. Not as of yet.</dialogue> <scene_description>And as they continue talking, Jordan pulls out a nautical map of the Italian coastline:</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I gotta say, these Swiss were sneaky motherfuckers. Within minutes he made arrangements to set me up with a forger, the best document specialist in Geneva.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>Thing was: I had to get there in three business days to co-sign on the account.</dialogue> <scene_description>Jordan goes rapid-fire. He yells: \*</scene_description> <character>JORDAN</character> <dialogue>Captain Ted! Change of plan! \* We're going to Monaco. \*</dialogue> <character>NAOMI</character> <dialogue>Monaco, now? \*</dialogue> <character>JORDAN \*</character> <dialogue>Yes, babe. We're going to Monaco \* so then we can go to Switzerland. \*</dialogue> <character>HILDY</character> <dialogue>But her aunt just died, we can't go to --</dialogue> <character>JORDAN</character> <dialogue>I realize that but we have to go \* to Switzerland. \*</dialogue> <character>DONNIE</character> <dialogue>What about -- \*</dialogue> <character>JORDAN</character> <parenthetical>(way ahead of him)</parenthetical> <dialogue>-- keep calling, when the fuck picks up, set a meet with him in three business days. \*</dialogue> <character>NAOMI</character> <dialogue>We gotta go to London. \*</dialogue> <character>JORDAN</character> <dialogue>Why?!</dialogue> <character>NAOMI</character> <dialogue>The funeral.</dialogue> <character>JORDAN \*</character> <dialogue>Honey, I loved your Aunt Emma more \* than anyone in the world, but \* she's still gonna be dead in two \* days. She's not going anywhere. \*</dialogue> <scene_description>Captain Ted Beecham emerges from below.</scene_description> <character>JORDAN</character> <dialogue>Captain Ted, we've gotta get to \* Monaco.</dialogue> <character>CAPTAIN TED \*</character> <dialogue>Monaco? \*</dialogue> <character>JORDAN \*</character> <dialogue>Then we drive to Switzerland so \* they don't stamp our passports. \* Take care of business. Drive back \* to Monaco, fly to London for the \* funeral, fly back to New York to \* be there in three business days - \* That's the fuckin' plan. \*</dialogue> <character>CAPTAIN TED</character> <dialogue>I'm getting reports of some weather out there. Might run into some chop.</dialogue> <character>JORDAN \*</character> <dialogue>The boat's 170 feet long. She can \* handle a little chop. \*</dialogue> <character>HILDY \*</character> <dialogue>We're not going anywhere until he \* says it's safe. \*</dialogue> <character>DONNIE \*</character> <dialogue>Chop is fine. \*</dialogue> <character>JORDAN \*</character> <dialogue>Is it safe? \*</dialogue> <character>CAPTAIN TED \*</character> <dialogue>If we take it slow... \*</dialogue> <character>JORDAN \*</character> <dialogue>We can do it? \*</dialogue> <character>CAPTAIN TED \*</character> <dialogue>Chop is chop. Some chop - it can \* be uncomfortable. \*</dialogue> <character>JORDAN \*</character> <dialogue>Well, that's fine. \*</dialogue> <character>CAPTAIN TED \*</character> <dialogue>Anything is possible. I mean we'll \* have to batten down the hatches \* just to be safe. Could be a few \* broken dishes. \*</dialogue> <character>JORDAN \*</character> <dialogue>A few broken dishes. Isn't that \* great? Let's go to Monaco - \*</dialogue> <scene_description>Jordan, Captain Ted and Donnie rush down stairs. As the \* ENGINE starts... \*</scene_description> </scene> <scene> <stage_direction>EXT. MEDITERRANEAN SEA - NIGHT (SUMMER '96)</stage_direction> <scene_description>The perfect storm. As the Naomi tips at a 45-degree angle, a thick wall of gray water comes rising over her side, slamming onto the bridge with a thunderous CRASH.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Well talk about your shitty vacations...</dialogue> <scene_description>Six Jet Skis plummet off the deck into the raging sea.</scene_description> </scene> <scene> <stage_direction>INT. YACHT NAOMI - BRIDGE - NIGHT (SUMMER '96)</stage_direction> <scene_description>Donnie and Naomi stand on the bridge where Captain Ted \* Beecham holds the ship's wheel with both hands, the radio blaring in the background. Jordan enters. \*</scene_description> <character>JORDAN \*</character> <dialogue>What the fuck is going on? \*</dialogue> <character>CAPTAIN TED \*</character> <dialogue>Jet skis just went overboard. \*</dialogue> <character>RADIO VOICE</character> <dialogue>Gale warning! Gale warning! \*</dialogue> <character>CAPTAIN TED</character> <dialogue>The waves are twenty feet and building!</dialogue> <character>JORDAN</character> <dialogue>Can't you turn us around?!</dialogue> <character>CAPTAIN TED</character> <dialogue>We'll get broad-sided and tip over!</dialogue> <character>RADIO VOICE</character> <dialogue>Gale warning! Gale warning!</dialogue> <scene_description>Naomi turns to Jordan, furious with him.</scene_description> <character>NAOMI</character> <dialogue>You happy now, you piece of shit? \* We're gonna drown. \*</dialogue> <character>JORDAN</character> <dialogue>I'm a master diver. We will not \* drown, I promise you. I got you, \* baby. \*</dialogue> <parenthetical>(realizing she's \* probably right; to Donnie)</parenthetical> <dialogue>The ludes!</dialogue> <character>DONNIE</character> <dialogue>What?</dialogue> <character>JORDAN</character> <dialogue>Get the fucking ludes! \*</dialogue> <character>DONNIE</character> <dialogue>They're below deck! There's like three feet of water down there!</dialogue> <character>JORDAN</character> <dialogue>I can't die fucking sober!</dialogue> <scene_description>As Donnie heads off --</scene_description> <character>NAOMI</character> <dialogue>What is he crazy? Where's he \* going? Donnie! \*</dialogue> </scene> <scene> <stage_direction>210A INT. BELOW DECKS - CONTINUOUS 210A</stage_direction> <character>\*</character> <dialogue>Donnie retrieves the ludes. \*</dialogue> </scene> <scene> <stage_direction>210B INT. YACHT NAOMI - BRIDGE - CONTINUOUS 210B</stage_direction> <character>\*</character> <dialogue>Captain Ted stares through his binoculars.</dialogue> <character>CAPTAIN TED</character> <dialogue>Jesus Christ! \*</dialogue> <character>TIME CUT TO: \*</character> <dialogue>Donnie returns with ludes - feeds to Jordan and then \* himself. \*</dialogue> <character>JORDAN</character> <dialogue>What's happening?! \*</dialogue> <character>CAPTAIN TED \*</character> <dialogue>Rogue wave! \*</dialogue> <scene_description>Jordan grabs Naomi. All at once the boat dips down at an \* impossibly steep angle, until it's pointing almost \* straight down. Captain Ted jams the throttle and the \* boat jerks forward, rising up the face of a giant rogue \* wave, which curls over the top of the bridge and... \* KABOOM! -- Blackness. Slowly, painfully, the boat pops \* up from beneath the water, its helicopter RIPPING from \* the deck and crashing into the sea. \*</scene_description> <character>CAPTAIN TED</character> <parenthetical>(into radio)</parenthetical> <dialogue>Mayday! This is Captain Ted Beecham aboard the Yacht Naomi! This is a Mayday!</dialogue> <character>CAPTAIN TED</character> <dialogue>We are going down at the head fifty miles off the coast of Rome and we require immediate assistance!</dialogue> </scene> <scene> <stage_direction>INT. ITALIAN NAVAL DESTROYER - BELOW DECK - NIGHT \*</stage_direction> <character>(SUMMER '96)</character> <dialogue>Off to the side, Jordan watches as Naomi, their Friends, and the yacht's Crew Members dance to blaring techno music. A small group of Italian SAILORS cheer them on.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>The nice thing about getting rescued by Italians is that the first thing they do is feed you and make you drink red wine. Then they make you dance.</dialogue> <scene_description>Jordan watches as the dancing continues, then casually glances out a porthole, where WE SEE the distant lights of a PLANE making its way across the night sky. After a few beats, the plane EXPLODES, a tiny flash of light.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Did you see that? That was the plane I sent for to come get us. I shit you not, it exploded when a seagull flew into the engine, three people killed. You want a sign from God, well after all this I finally got the message. I had to make some fucking changes.</dialogue> <scene_description>FADE OUT.: SCENES 212 - 214 OMITTED \*</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - LIVING ROOM - DAY (SUMMER '98) \*</stage_direction> <scene_description>Jordan, looking healthier than we've seen him thus far, \* sits on the couch; stacks of paperwork on the coffee \* table. After a few beats, Naomi enters from the kitchen. \*</scene_description> <character>NAOMI \*</character> <dialogue>Dinner's ready. \*</dialogue> <character>JORDAN \*</character> <dialogue>I gotta finish these balance \* sheets, babe. \*</dialogue> <character>NAOMI \*</character> <dialogue>Well, it's there. So the kids are \* gonna start. \*</dialogue> <scene_description>Naomi exits. Jordan goes back to work. Looks up at TV. \* Watches for a bit. \*</scene_description> <character>JORDAN (V.O.) \*</character> <dialogue>What's the single most important \* skill in life you can ever master? \*</dialogue> <scene_description>CUT TO: 215A THE INFOMERCIAL. 215A Shot on 90's-era video, an ad intended for late-night local tv. The defining idea here is that while the commercial may be amateurish, Jordan isn't; he's an excellent salesman even if the ad is cut-rate. WE START WITH FLASHES OF THE SEMINAR: Jordan in front of a dry erase board, lecturing a small audience.</scene_description> <character>JORDAN</character> <dialogue>At the essence of every personal interaction, of every business transaction, of every effective human communication is PERSUASION... once you learn to control the linguistic encounter, you will be SHOCKED at what will happen... you are a person worth listening to, and taking it one step higher than that, you are someone who can help them achieve their goals...</dialogue> <scene_description>215B JORDAN ON THE GROUNDS OF HIS ESTATE, addressing us. 215B</scene_description> <character>JORDAN</character> <dialogue>Do you dream of being financially independent but struggle every month just to pay your bills? Would you like to own a home like \* this one someday but can barely afford to pay your rent?</dialogue> <character>(ZOOM IN ON HIM)</character> <dialogue>My name is Jordan Belfort and there's no secret to wealth creation. No matter who you are, where you came from, you too can \* become financially independent in just a matter of months. All you need is a strategy.</dialogue> <parenthetical>(NEW ANGLE; he enters from same side as previous shot)</parenthetical> <character>JORDAN</character> <dialogue>The first action you have to take is to DECIDE to be wealthy. When I was 24 years old, I made a DECISION not to just survive but to THRIVE. I started my own stock brokerage firm, developing a \* SYSTEM OF SELLING that within a year made me a multi-millionaire.</dialogue> <scene_description>215C-G A SNAPSHOT OF JORDAN'S CHILDHOOD HOME, then OF HIS 215C-G CURRENT ESTATE, FOLLOWED BY EXAMPLES OF WEALTH: his sportscars, Naomi in a bikini, stock footage of a jet...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>From these humble middle-class beginnings, I now live here...with my beautiful wife and kids...living the lifestyle of our dreams...</dialogue> <scene_description>215H THE SEMINAR. Jordan high-fives attendees. 215H</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Now I'm passing along the secrets to my success in my 90-minute free seminar, "Jordan Belfort's Straight Line Persuasion."</dialogue> <scene_description>215J FIRST TESTIMONIAL. A MAN holds a framed check. 215J</scene_description> <character>MAN</character> <dialogue>I have here in my hand, framed, is a check for twenty-seven thousand four hundred and thirty-seven dollars and sixty-three cents that I netted from one deal after attending Jordan Belfort's, um, Straight Line Persuasion seminar.</dialogue> <scene_description>215K JORDAN, on a yacht with NAOMI and some MODELS. 215K</scene_description> <character>\*</character> <dialogue>JORDAN</dialogue> <scene_description>There's nobody stopping you from \* making millions. There is nobody \* holding you back from financial \* freedom. \* (to Naomi) \* Thank You Sweet Heart. \* (back to camera) \* Don't just sit at home or the life \* of your dreams will sail right \* past you. \* 215L TESTIMONIAL #2. A COUPLE in a kitschy living room. 215L</scene_description> <character>HUSBAND</character> <dialogue>Thanks to the Straight Line System, we could afford this home and now we're living the lives of our dreams.</dialogue> <scene_description>215M A HELICOPTER descends to a helipad. 215M</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I've changed all these people's lives and I can change yours, too!</dialogue> <scene_description>It touches down and Jordan jumps out to address us --</scene_description> <character>JORDAN</character> <dialogue>So come to my seminar!! The life of your dreams is only a decision away --</dialogue> <scene_description>-- and BAM! gets clothes-lined by Agent Denham. SCENES 216 - 217 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CENTRAL BOOKING - QUEENS - NIGHT (SEP '98)</stage_direction> <scene_description>CLOSE ON JORDAN'S HANDS, at last in cuffs. PAN UP TO HIM, looking none-too-pleased.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>This one takes the cake. It was Rugrat, he'd been busted down in Miami, and guess who the fuck with?</dialogue> </scene> <scene> <stage_direction>EXT. MIAMI RESTAURANT - NIGHT (SEP '98)</stage_direction> <scene_description>Jean-Jacques Saurel is handcuffed by Feds as Rugrat looks on crying, handcuffed nearby.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>What were the odds? There had to be ten thousand Swiss bankers in Geneva and I choose the one dumb enough to get himself arrested on U.S. soil.</dialogue> </scene> <scene> <stage_direction>INT. MIAMI FBI OFFICE - NIGHT (SEP '98)</stage_direction> <scene_description>CLICK! Saurel gets his mug shot taken.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Even more ironic was he'd gotten himself indicted on charges that had nothing to fucking do with me.</dialogue> </scene> <scene> <stage_direction>EXT. MIAMI MANSION - NIGHT (SEP '98)</stage_direction> <scene_description>ROCKY AOKI, Japanese, 50s, is led out in handcuffs by a MAN in an FBI windbreaker.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Something about laundering drug money through offshore boat racing and a guy named Rocky Aoki, the founder of Benihana.</dialogue> <scene_description>221A INSERT BENI HANA COMMERCIAL -- 221A A smiling Rocky Aoki looks on as a HIBACHI CHEF expertly dices shrimp on a sizzling grill.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Beni-fucking-hana! Why would God be so cruel as to choose a chain of fucking Hibachi Restaurants to bring me down?</dialogue> </scene> <scene> <stage_direction>INT. SAUREL'S BEDROOM - DAY (OCT '95)</stage_direction> <scene_description>Saurel lays on the bed, smoking.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Long story short was Saurel ratted me out, but not before he ratted out Chantalle, who it turns out he'd been fucking every time she went to Switzerland!</dialogue> <scene_description>Chantalle emerges from the bathroom naked. Laughing, she runs and jumps in bed with Saurel.</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL COURT - QUEENS - DAY (SEP '98)</stage_direction> <scene_description>With his criminal attorney NOLAN DRAGER, 40s, next to him, Jordan stands before a JUDGE, being arraigned.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I was indicted for money laundering, securities fraud and an endless list of other shit.</dialogue> <character>\*</character> <dialogue>HON. SAMANTHA STOGEL \*</dialogue> <scene_description>(leafing through a \* subpoena) \* One count engaging in conspiracy \* to commit securities fraud. Two \* counts securities fraud. One \* count engaging in conspiracy to \* commit money laundering. Twenty- \* one counts money laundering. One \* count obstruction of justice. \* (gives Jordan a \* withering glare) \* Bail is set at ten million dollars. The Judge bangs the gavel. 223A US ATTORNEY'S OFFICE - MOVED TO 226A 223A</scene_description> </scene> <scene> <stage_direction>223B INT. FEDERAL COURT LOBBY - DAY 223B</stage_direction> <character>\*</character> <dialogue>Jordan walks with Nolan Drager, who flips through the \* subpoena. \*</dialogue> <character>NOLAN DRAGER \*</character> <dialogue>This is...well, it's not good. \* It's pretty bad actually. How \* much money do you have, Jordan? \*</dialogue> <character>JORDAN \*</character> <dialogue>I can make bail. \*</dialogue> <character>NOLAN DRAGER \*</character> <dialogue>I don't mean the ten million, I \* mean for legal fees. Cuz if you \* want to fight this thing, it's \* gonna be expensive. Like, sell- \* everything-you-own-expensive. \*</dialogue> </scene> <scene> <stage_direction>EXT. U.S. ATTORNEY'S OFFICE - DAY (SEP '98) \*</stage_direction> <scene_description>Jordan exits the building. He's fucked and he knows it. He sees beautiful Naomi waiting for him beside a limosine; life isn't totally hopeless. He approaches.</scene_description> <character>JORDAN</character> <dialogue>Nay, thank God. I'm so glad you're here.</dialogue> <scene_description>They embrace. He can't see her expression: she'd rather be anywhere else. SCENE 225 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. JORDAN'S ESTATE - POOL AREA - DAY (SEP '98)</stage_direction> <scene_description>ON SKYLAR AND PARKER, playing with a NANNY and Rocky the dog. Jordan watches them, sitting by his pool, drinking an O'Douls, weighing his options. Donnie pops into the yard, in "Uncle Donnie" mode.</scene_description> <character>DONNIE</character> <dialogue>Hey, everybody! How're the happiest people in Long Island? Hi, Rocky!!</dialogue> <parenthetical>(joining Jordan)</parenthetical> <dialogue>Hate that fucking dog.</dialogue> <character>JORDAN</character> <dialogue>Tell me about it. It's getting old, starting to shit inside the house again.</dialogue> <scene_description>Jordan offers Donnie an O'Douls; Donnie declines.</scene_description> <character>DONNIE</character> <dialogue>How you doing, brother? How was the food in jail?</dialogue> <character>JORDAN</character> <dialogue>Lobster Newburg sucked. They gave me some jewelry though.</dialogue> <scene_description>He shows off the electronic bracelet around his ankle.</scene_description> <character>DONNIE</character> <dialogue>Wonder if they got one in my size. Fuckin' Rugrat, that wig-wearin' hump. Tell you one thing: I'm never eating at Benihana's again. Where's Naomi?</dialogue> <character>JORDAN</character> <dialogue>Inside. Pissed.</dialogue> <scene_description>Donnie sees Naomi in a window. He waves but she barely registers him.</scene_description> <character>DONNIE</character> <dialogue>What's up her ass?</dialogue> <character>JORDAN</character> <dialogue>Had to mortgage the home to make bail. Probably gonna hafta sell it to pay my lawyers. If we fight this thing.</dialogue> <scene_description>Donnie weighs that.</scene_description> <character>DONNIE</character> <dialogue>The Feds say anything about coming after the rest of us?</dialogue> <scene_description>Jordan thinks, then shakes his head no.</scene_description> <character>DONNIE</character> <dialogue>You know, we're all behind you. Everyone at the office.</dialogue> <parenthetical>(he removes an envelope, hands it to Jordan)</parenthetical> <dialogue>We bought back your mortgage. All the founding partners threw in a million apiece. Figured none of us would have it if it weren't for you.</dialogue> <scene_description>Jordan's profoundly touched. Donnie squeezes his shoulder. A real moment of friendship.</scene_description> <character>DONNIE</character> <dialogue>You gotta fight this thing, baby.</dialogue> <scene_description>Jordan nods.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Like I said, loyalty meant a lot to me. Without your friends and family standing behind you, you're fucked.</dialogue> </scene> <scene> <stage_direction>226A INT. U.S. ATTORNEY'S OFFICE - CONFERENCE ROOM - DAY 226A</stage_direction> <character>\*</character> <dialogue>(SEP '98) \*</dialogue> <dialogue>Jordan sits with Nolan Drager across from FBI Agent \* Denham, U.S. Attorney LUCAS SOLOMON, 50s, and Assistant \* U.S. Attorney ROCHELLE APPLEBAUM, 30s, humorless. \*</dialogue> <character>LUCAS SOLOMON \*</character> <dialogue>There's a term we have around \* here, we don't like to use it \* often, only when circumstances \* dictate. It's called a "Grenada." \* Inspired by our government's \* invasion in 1983 of the island \* nation of only 90,000 people, \* basically it stands for any case \* we get which is pretty much unlose- \* able. We could show up late and \* drunk to court, fuck up left-right- \* and-center and still we'd win. \* Mr. Belfort, you, sir, are a \* "Grenada." \*</dialogue> <character>ROCHELLE APPLEBAUM \*</character> <dialogue>You're looking at real prison \* time. Money laundering gets you \* as much as 20 years. Case \* couldn't be stronger if we'd have \* caught you with your cash in your \* mattress. \*</dialogue> <scene_description>Solomon pushes a box full of evidence across the table. \* Jordan eyeballs Denham. \*</scene_description> <character>LUCAS SOLOMON \*</character> <dialogue>Read the discovery. \*</dialogue> <character>JORDAN \*</character> <dialogue>That your life's work in the box? \*</dialogue> <character>AGENT DENHAM \*</character> <dialogue>Jordan, you rotting in jail til \* your kids're outta college isn't \* our ambition here. You weren't \* the only one involved in all this. \* We think those folks deserve their \* day in court too. \*</dialogue> <character>NOLAN DRAGER \*</character> <dialogue>Why do I get the sense there's an offer in the air? If so, let's \* put it on the table. \*</dialogue> <character>LUCAS SOLOMON</character> <dialogue>Full cooperation. A comprehensive list of all coconspirators spanning the last seven years and he agrees to wear a wire.</dialogue> <character>JORDAN</character> <dialogue>You want me to rat?</dialogue> <character>LUCAS SOLOMON \*</character> <dialogue>We want your cooperation in -- \*</dialogue> <character>AGENT DENHAM \*</character> <dialogue>Yes. We want you to rat. \*</dialogue> <scene_description>SCENES 227 - 229 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - NIGHT (SEP '98)</stage_direction> <character>JORDAN \*</character> <dialogue>How was Christy's party? \*</dialogue> <character>NAOMI \*</character> <dialogue>It was fine. \*</dialogue> <character>JORDAN \*</character> <dialogue>Baby, I talked to the lawyers \* again today. I have some really \* great news. As it turns out you're \* totally off the hook. \*</dialogue> <character>NAOMI \*</character> <dialogue>I know that already. \*</dialogue> <character>JORDAN \*</character> <dialogue>You never did anything wrong \* anyway, right? At the end of the \* day all they really want is for me \* to cooperate - that's it. \* See, apparently, I know so much \* about what's going on in the stock \* market that I could save the \* government years of heartache. But \* it get's even better... You see, \* if I cooperate I'll only have to \* serve four short years and any \* fine I'd have to pay wouldn't be \* due til after I serve my sentence. \* We'll still have plenty of money \* left over. The only thing that I \* was kind of upset about was the \* fact that I might have to give \* them information about my friends. \*</dialogue> <character>NAOMI \*</character> <dialogue>Like you said, "There's no friends \* on Wall Street". \*</dialogue> <character>JORDAN \*</character> <dialogue>But there's a silver lining to \* that too... It turns out that all \* of 'em are probably gonna \* cooperate too. So in the end, that \* won't really be a factor. \*</dialogue> <character>NAOMI \*</character> <dialogue>Well, that's really good news, \* honey. I'm really happy for you. \*</dialogue> <character>JORDAN \*</character> <dialogue>No, it's good for both of us, Nay. \*</dialogue> <character>NAOMI \*</character> <dialogue>Yeah, yeah. \*</dialogue> <character>JORDAN \*</character> <dialogue>Make love to me baby. Make love to \* me nice and slow. \*</dialogue> <character>NAOMI \*</character> <dialogue>No Jordan. Stop! \*</dialogue> </scene> <scene> <stage_direction>230A INT. JORDAN'S ESTATE - MASTER BEDROOM - CONTINUOUS 230A</stage_direction> <character>\*</character> <dialogue>TIME CUT: Jordan is fucking Naomi. It's the best he's \* felt in days. While he's lost in it, she's lost interest, \* going through the motions perfunctorily. \*</dialogue> <character>JORDAN \*</character> <dialogue>I love you, Nay. I love you so \* much. I've loved you from the \* first time I saw you. \*</dialogue> <character>NAOMI \*</character> <dialogue>Fuck you. \*</dialogue> <scene_description>That stops him. \*</scene_description> <character>JORDAN \*</character> <dialogue>What? \*</dialogue> <character>NAOMI \*</character> <dialogue>I fucking hate you. \*</dialogue> <character>JORDAN \*</character> <dialogue>What are you talking about? \*</dialogue> <character>NAOMI \*</character> <dialogue>You don't give a shit about how I \* feel. All you care about is \* yourself. \*</dialogue> <character>JORDAN \*</character> <dialogue>That's not true. What do you mean? \*</dialogue> <character>NAOMI \*</character> <dialogue>You wanna fuck me? Fine. Fuck me \* hard like it's the last time. \*</dialogue> <character>JORDAN \*</character> <dialogue>Hold still. Why are you moving \* like that? \*</dialogue> <character>NAOMI \*</character> <dialogue>Go ahead, fuck me! \*</dialogue> <character>JORDAN \*</character> <dialogue>What are you doing baby? \*</dialogue> <character>NAOMI \*</character> <dialogue>Cum for me. Cum for me, baby. Like \* it's the last time. \*</dialogue> <character>JORDAN \*</character> <dialogue>You want me to cum, baby? \*</dialogue> <character>NAOMI \*</character> <dialogue>Yeah, cum for me baby, cum! \*</dialogue> <scene_description>After a beat... He cums. Jordan rolls off Naomi. They lie \* in uncomfortable silence. \*</scene_description> <character>NAOMI (CONT'D) \*</character> <dialogue>Jordan, that was the last time. I \* want a divorce. \*</dialogue> <character>JORDAN \*</character> <dialogue>What are you talking about? \*</dialogue> <character>NAOMI \*</character> <dialogue>I want a divorce. \*</dialogue> <character>JORDAN \*</character> <dialogue>What? What are you talking about? \* Now? After we just made love? \*</dialogue> <character>NAOMI \*</character> <dialogue>And I wanted to puke. \*</dialogue> <scene_description>Naomi gets up. \*</scene_description> <character>NAOMI (CONT'D) \*</character> <dialogue>I don't love you anymore Jordan. I \* haven't for a long time. \*</dialogue> <character>JORDAN \*</character> <dialogue>You don't love me? Isn't that \* convenient. Now, you don't love \* me? Now while I'm under federal \* indictment with a fucking bracelet \* around my ankle? Now, all of a \* sudden, you decide you don't love \* me? \*</dialogue> <character>NAOMI \*</character> <dialogue>Yes, that's right. \*</dialogue> <character>JORDAN \*</character> <dialogue>What kind of a person are you? \*</dialogue> <character>NAOMI \*</character> <dialogue>You married me. This is how it's \* gonna be. Listen Jordan. I'm \* taking custody of the kids. If you \* agree to the divorce right now, I \* will allow you visitation. Don't \* try to fight it. It will save us \* both a lot of money and I have a \* feeling you're gonna need it. \*</dialogue> <scene_description>Naomi exits to the dressing room. Jordan gets up, follows \* after her. \*</scene_description> <character>JORDAN \*</character> <dialogue>I've got news for you. You're not \* taking my kids. \*</dialogue> <character>NAOMI \*</character> <dialogue>I already spoke to my lawyer. He \* said even if you don't get \* convicted I can still get custody. \*</dialogue> <character>JORDAN \*</character> <dialogue>My lawyers are more powerful than \* yours. You're not taking my kids! \* You vicious cunt! \*</dialogue> <scene_description>Naomi slaps Jordan. Jordan hits her back and exits. \*</scene_description> <character>JORDAN (CONT'D) \*</character> <dialogue>Fuck you! You're not taking my \* kids. You fucking bitch! \*</dialogue> <scene_description>CUT TO: \*:</scene_description> </scene> <scene> <stage_direction>230B INT. HALLWAY - CONTINUOUS 230B</stage_direction> <character>\*</character> <dialogue>Jordan grabs a pair of scissors and starts slashing the \* couch. He retrieves a stash of coke from the couch \* lining. Naomi enters the hallway as Jordan snorts coke. \*</dialogue> <character>NAOMI \*</character> <dialogue>Look at yourself Jordan. You're \* sick, you're a sick man. \*</dialogue> <character>JORDAN \*</character> <dialogue>You're not taking my kids. \*</dialogue> <character>NAOMI \*</character> <dialogue>You think I'd let my kids near \* you? Look at you. You know what my \* lawyers said? You're going to jail \* for twenty years. Twenty fucking \* years, Jordan. You'll be lucky if \* you ever see them again. \*</dialogue> <character>JORDAN \*</character> <dialogue>Oh yeah? You don't think I'm gonna \* see my kids again? Oh yeah? \*</dialogue> <scene_description>Jordan heads towards Skylar's room. She tries to stop \* Jordan. He knocks her to the ground. \* Jordan charges towards Skylar's room. \* Jordan exiting Skylar's room with Skylar crying in his \* arms. Naomi starts to pull herself up from off the floor \* as Jordan races toward the stairs. \*</scene_description> <character>NAOMI \*</character> <dialogue>Put her down Jordan! Put her down! \*</dialogue> <scene_description>Jordan and Skylar descend the stairs. Naomi pulls herself \* together and follows. \*</scene_description> </scene> <scene> <stage_direction>230C INT. / EXT. GARAGE - NIGHT 230C</stage_direction> <character>\*</character> <dialogue>Jordan races through the garage door, slamming and \* locking it behind him. \*</dialogue> <character>NAOMI (CONT'D) \*</character> <dialogue>Violet, Violet! Help me! He's got \* Skylar! Get the key! \*</dialogue> <scene_description>Jordan putting Skylar in the car. \* Naomi and Violet desperately try to open the garage door. \* Naomi races into the garage. Jordan gets in the drivers \* seat, locks the doors and starts the engine. \* Naomi begs him to stop. Violet presses the garage door \* button. Naomi grabs a tool and smashes the driver side \* window. \* Jordan sees the door closing - he thinks "fuck it" - \* slams into reverse, crashing through the garage door. Car \* continues in reverse, crashing into a concrete pillar. \* Naomi and Violet rush to the car, pull Skylar out and \* bring her inside the house. Jordan sits as blood rushes \* down his face. \*</scene_description> <character>LUCAS SOLOMAN (V.O.) \*</character> <dialogue>Paragraph 1. The defendant shall \* plead guilty to all counts of the \* indictment currently pending \* against him in the United States \* District Court for the Eastern \* District of New York. \*</dialogue> <scene_description>230D SCENES 230D - 230E OMITTED 230D</scene_description> </scene> <scene> <stage_direction>230F INT. U.S. ATTORNEY'S OFFICE - CONFERENCE ROOM - DAY 230F</stage_direction> <character>\*</character> <dialogue>OFF A "COOPERATION AGREEMENT," we find -- \*</dialogue> <dialogue>-- Nolan Drager, Lucas Solomon, Rochelle Applebaum and \* Agent Denham all back at the conference table, reading \* copies of the same contract. Lucas does so aloud: \*</dialogue> <character>LUCAS SOLOMON \*</character> <dialogue>Paragraph 2. The defendant shall \* provide information regarding all \* criminal activities of the \* defendant and others from June \* 1st, 1990, onwards. Paragraph 3. \*</dialogue> <character>LUCAS SOLOMON</character> <dialogue>The defendant shall participate in \* undercover activities pursuant to \* the instructions of the FBI, \* including wearing a recording \* device, also known as a 'wire', in \* conjunction with the investigation \* of securities fraud. Paragraph 4. \* The defendant must not commit, or \* attempt to commit, any further \* crimes. \*</dialogue> <scene_description>Jordan's here, too, looking miserable. He stops Lucas. \*</scene_description> <character>JORDAN \*</character> <dialogue>Lemme just sign the fucking thing. \*</dialogue> <scene_description>He signs the fucking thing. \*</scene_description> </scene> <scene> <stage_direction>230G INT. U.S. ATTORNEY'S OFFICE - CONFERENCE ROOM - DAY 230G</stage_direction> <character>\*</character> <dialogue>Jordan sits alone, finishes writing a long list of names on a yellow legal pad.</dialogue> <character>JORDAN (V.O.)</character> <dialogue>For the next six hours, I came up with a list. Friends, enemies, business associates, anybody who'd ever known me or taken so much as a stock tip. The first name on the list was Donnie's.</dialogue> <scene_description>And as Jordan heaves a huge sigh, we're suddenly...</scene_description> </scene> <scene> <stage_direction>INT. FBI OFFICE - DAY (OCT '98)</stage_direction> <scene_description>Agent Denham tapes a recorder to Jordan's inner thigh, runs a microphone wire up his chest. Agent Hughes \* watches. \*</scene_description> <character>AGENT DENHAM</character> <dialogue>Talk normally, breathe normally, within five minutes you'll forget you even have it on.</dialogue> <scene_description>Jordan nods, buttons up his shirt.</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - BULLPEN - DAY (OCT '98)</stage_direction> <scene_description>Wearing a suit and tie, Jordan walks in to the bullpen, where the Brokers spot him, giving him a standing ovation. He forces a smile, waves to the crowd. As Robbie and Chester Ming look on, Jordan forces a smile as he approaches Donnie, who gives him a hug.</scene_description> </scene> <scene> <stage_direction>INT. STRATTON OAKMONT III - JORDAN'S OFFICE - DAY</stage_direction> <scene_description>Jordan and Donnie sit at the coffee table over takeout sushi.</scene_description> <character>JORDAN</character> <dialogue>The trial won't be for months, so obviously I'll be counting on you to pick up the slack.</dialogue> <character>DONNIE</character> <dialogue>Whatever you need, bro. You know that.</dialogue> <scene_description>Jordan reaches in his jacket for a yellow slip of PAPER.</scene_description> <character>JORDAN</character> <dialogue>And you know how much that means to me. Hey, you know what I wanted to ask you?</dialogue> <scene_description>Jordan catches Donnie's eye, pushes the PAPER over in front of him.</scene_description> <character>JORDAN</character> <dialogue>The Steve Madden deal, did he ever come through on that?</dialogue> <scene_description>Donnie looks down at the paper, reads Jordan's writing:</scene_description> <character>"DON'T INCRIMINATE YOURSELF. I'M WEARING A WIRE."</character> <dialogue>JORDAN</dialogue> <scene_description>Remember he was supposed to kick back like four mil from that one account?</scene_description> <character>DONNIE</character> <dialogue>Uh... tell you the truth I was so fucked up, I don't really remember anything about that.</dialogue> <scene_description>Donnie slips the paper in his jacket, gives Jordan a look -- "Thank you." Jordan nods.</scene_description> <character>JORDAN</character> <dialogue>Well if you talk to him, let me know. You want the last yellowtail?</dialogue> <character>DONNIE</character> <dialogue>Why not?</dialogue> <character>JORDAN (V.O.)</character> <dialogue>And thus began my career as a government cooperator. I was a rat...</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - MASTER BEDROOM - DAY (NOV '98)</stage_direction> <scene_description>Jordan lays alone, asleep in bed. We hear the DOORBELL.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>But I wasn't losing any sleep over it.</dialogue> <scene_description>After a few beats, Violet knocks, enters. Jordan stirs.</scene_description> <character>VIOLET</character> <dialogue>I'm sorry, Mr. Jordan. You got a visitor.</dialogue> </scene> <scene> <stage_direction>INT. JORDAN'S ESTATE - FOYER - DAY (NOV '98)</stage_direction> <scene_description>Jordan descends the stairs in sweats and T-shirt. Agents \* Denham and Hughes are waiting. \*</scene_description> <character>AGENT DENHAM</character> <dialogue>I need you to get dressed.</dialogue> <character>JORDAN</character> <dialogue>Why? What's going on?</dialogue> <character>AGENT DENHAM</character> <dialogue>You're going to jail.</dialogue> <scene_description>Agent Denham holds up the slip of yellow paper that Jordan gave to Donnie. And on Jordan's look...</scene_description> <character>JORDAN (V.O.)</character> <dialogue>Donnie Azoff, my partner. My best friend.</dialogue> </scene> <scene> <stage_direction>235A EXT. JORDAN'S ESTATE - DAY 235A</stage_direction> <character>\*</character> <dialogue>A tractor-trailer is parked out front as a group of \* MOVERS carry out paintings and antique furniture under \* the supervision of several FBI Agents in windbreakers. \*</dialogue> <character>JORDAN (V.O.) \*</character> <dialogue>After months of legal wrangling, \* I was finally sentenced to prison. \*</dialogue> <scene_description>WE SEE Jordan's various cars -- Porsche, Mercedes, \* Ferrari, BMW -- loaded onto a large transport vehicle. \*</scene_description> </scene> <scene> <stage_direction>235B INT. STRATTON OAKMONT III - BULLPEN - DAY 235B</stage_direction> <character>\*</character> <dialogue>Jordan stands addressing his 700 Brokers. WE SEE the \* eager young FACES, hanging on his every word. \*</dialogue> <character>JORDAN (V.O.) \*</character> <dialogue>I gave up everyone, and in return \* got three years in some hellhole \* in Nevada I'd never even heard of. \* Like Mad Max'd said, the \* chickens'd come home to roost. \* Whatever the fuck that means. \*</dialogue> </scene> <scene> <stage_direction>INT. FEDERAL COURTROOM - QUEENS - DAY (MAR '99) \*</stage_direction> <scene_description>Sentencing. Jordan's mother is there, tears in her eyes. \*</scene_description> <character>NOLAN DRAGER \*</character> <dialogue>I hope your Honor would agree that \* Mr. Belfort has distinguished \* himself in terms of his \* cooperation in this white collar \* fraud. Mr. Belfort has helped the \* government win convictions over \* two dozen serious offenders and \* helped them recover millions of \* dollars to be made available for \* restitution to the victims. \*</dialogue> <character>HON. RAYMOND SAMITZ \*</character> <dialogue>The sentence of the court shall be \* 48 months in Federal Prison. \*</dialogue> <scene_description>(pause) \* Please remand the defendant. \* Max rolls his eyes: Jordan's so guilty it hurts. As \* Jordan is led away by GUARDS... \*</scene_description> </scene> <scene> <stage_direction>236A INT. STRATTON OAKMONT - DAY 236A</stage_direction> <character>\*</character> <dialogue>Donnie sits in his office, hears something -- a small \* army of FBI AGENTS, led by Agents Denham and Hughes, \* arrest half the office: Sea Otter, Robbie, Kimmie, etc.. \* As the FBI cleans house, Donnie sits on his couch. \*</dialogue> <scene_description>SCENES 237 - 244 OMITTED \*</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - DAY (MAR '99)</stage_direction> <scene_description>CLOSE ON DENHAM, reading a New York Times article on Jordan's sentencing. He looks satisfied with his accomplishment, until he looks up... ... and realizes he's right where Jordan said he'd be: commuting home on the subway, like any other piker.</scene_description> </scene> <scene> <stage_direction>INT. PRISON VAN - DAY (MAR '99)</stage_direction> <scene_description>Jordan rides in back, stares out the window, thinking about all he's done. The van stops as it arrives at the PRISON GATE.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I'm not ashamed to admit, when we arrived to prison, I was absolutely terrified...</dialogue> <character>GUARD (O.S.)</character> <dialogue>Belfort! Fuckin' move!</dialogue> <scene_description>Jordan leaps to his feet.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>I needn't have been.</dialogue> </scene> <scene> <stage_direction>EXT. MINIMUM C PRISON - DAY (SPRING 2000)</stage_direction> <scene_description>A tennis ball hits pavement and WE PAN UP TO JORDAN, in prison fatigues but playing doubles with three other PRISONERS, all white middle-aged EXECUTIVE TYPES.</scene_description> <character>JORDAN</character> <dialogue>Sorry, just out. What is that, forty-thirty?</dialogue> <scene_description>As the game continues, Jordan serving, the CAMERA PULLS UP TO SEE THE WHOLE PRISON YARD: one group of inmates does Tai Chi while another has formed a book club.</scene_description> <character>JORDAN (V.O.)</character> <dialogue>For a brief, fleeting moment, I'd forgotten I was rich and lived in America.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BANQUET HALL - EARLY 2000'S - DAY \*</stage_direction> <character>CLOSE ON A MOVIE SCREEN: DIFFERENT INTERVIEWS... \*</character> <dialogue>AFRICAN KID \*</dialogue> <scene_description>I watch him speak and what he says \* is motivational about life. He \* tells about life and how you can \* be more rich. \*</scene_description> <character>CHINESE KID \*</character> <dialogue>He is going to teach us how to be \* successful, how to set our goals. \*</dialogue> <character>INDIAN KID \*</character> <dialogue>I will build my future by using \* Jordan Belfort as my mentor. \*</dialogue> <character>MEXICAN KID \*</character> <dialogue>Choosing what is good from him and \* being a millionaire. \*</dialogue> <scene_description>Two hundred people attend Jordan's "Straight Line \* Persuasion" seminar, watching a massive screen (on which \* these KIDS have appeared). \* ON-SCREEN: THE "JB" LOGO APPEARS, FOLLOWED BY CLIPS OF \* JORDAN giving seminars in different locations (see \* addendum below), edited in with footage of looming \* economic uncertainties. \* Then: a MAN WITH A MIC steps out... \*</scene_description> <character>MAN WITH A MIC \*</character> <dialogue>Ladies and gentlemen, please join \* me in welcoming to Auckland, New \* Zealand... Mr. Jordan Belfort! \*</dialogue> <scene_description>BIG APPLAUSE as Jordan takes the stage, waving. This \* might go on a while. If so, there COULD be TITLES: \* Jordan Belfort spent 22 months in federal prison \* and paid $100,000,000 in fines. \* THEN: \* His cellmate was, no fucking joke, Tommy Chong. \* THEN: \* Since his release, he's become a multi-millionaire again \* as a motivational speaker. \* When the applause finally dies down... \* ...Jordan doesn't speak. Instead he walks down to the \* front row of his audience, studying faces. He picks one. \* Takes a pen from his coat and offers it to him. \*</scene_description> <character>JORDAN \*</character> <dialogue>Sell me this pen. \*</dialogue> <scene_description>The Kiwi, embarrassed, takes a moment, then: \*</scene_description> <character>KIWI IN AUDIENCE \*</character> <dialogue>Well, it's a good pen, it's a \* ballpoint -- \*</dialogue> <scene_description>Jordan takes the pen back with a smile. Hands it to the \* next person. \*</scene_description> <character>JORDAN \*</character> <dialogue>Sell me this pen. \*</dialogue> <scene_description>As the next person tries... \* WE RAKE ALONGSIDE HIS AUDIENCE, transfixed, desperate for \* Jordan's knowledge, desperate to be molded, to be rich... \*</scene_description> <character>JORDAN (O.S.) (CONT'D) \*</character> <dialogue>Sell me this pen...Sell me this \* pen... Sell me this pen...Sell me \* this pen... \*</dialogue> <scene_description>FADE OUT. \*</scene_description> <character>\*</character> </scene> </script>

In 1987, a 25-year-old Jordan Belfort lands a job as a Wall Street stockbroker for L.F. Rothschild, employed under Mark Hanna. He is quickly enticed by the drug-fueled stockbroker culture and Hanna's belief that a broker's only goal is to make money for himself. Jordan loses his job following Black Monday, the largest one-day stock market drop in history after the 1929 stock market crash, and takes a job at a boiler room brokerage firm on Long Island that specializes in penny stocks. He makes a small fortune thanks to his aggressive pitching style and high commissions. Jordan befriends his neighbor Donnie Azoff, and the two start their own boiler room-styled brokerage company. They recruit Jordan's childhood friends Robbie Feinberg, Alden Kupferburg, Nicky Koskoff, Chester Ming, and Toby Welch, as well as local drug pusher Brad Bonick, all of whom Jordan trains in the art of the "hard sell," and set up the company in an abandoned auto repair shop. Jordan's tactics and salesmanship largely contribute to the success of his pump and dump scheme, in which misleading, positive statements inflate a stock's price so it can be sold at an artificially high price. When the scheme's perpetrators sell their overvalued securities, the price plummets, and those who were conned into buying at the inflated price are left with stock that is suddenly worth much less than they paid for it. To cloak this, Jordan gives the firm the respectable-sounding name Stratton Oakmont in 1989. Soon after, the company becomes immensely successful, moving out of the auto repair shop into a bigger office. An exposé in Forbes, which dubs Jordan "The Wolf of Wall Street" and "a twisted Robin Hood who steals from the rich and gives to himself and his merry band of brokers," causes hundreds of ambitious young financiers to flock to the company, thus causing them to move into even bigger offices. As all this is happening, Jordan becomes immensely successful and slides into a decadent lifestyle of prostitutes and drugs. He has an affair with a woman named Naomi Lapaglia, and when his wife Teresa finds out about this, Jordan divorces her and marries Naomi in 1991. Meanwhile, the SEC and the FBI begin investigating Stratton Oakmont. In 1993, Jordan illegally makes $22 million in three hours after securing the IPO of Donnie's childhood friend and shoe designer Steve Madden. This brings him and his firm further FBI attention. To hide his money, Jordan opens a Swiss bank account with corrupt banker Jean-Jacques Saurel in the name of Naomi's aunt Emma, who is a British subject and thus outside the immediate reach of American authorities. He uses the wife and in-laws of Brad, who have European passports, to smuggle the cash into Switzerland. Donnie and Brad get into a heated argument in public during a money exchange, resulting in Brad's arrest, but Donnie escapes. Jordan learns from his private investigator that the FBI is wiretapping his phones. Fearing for his son, Jordan's father advises him to leave Stratton Oakmont and lie low while Jordan's lawyer negotiates a deal to keep him out of prison. Still, Jordan cannot bear to quit and talks himself into staying in the middle of his farewell speech. In 1996, Jordan, Donnie, and their wives are on a yacht trip to Italy when they learn that Emma has died. Jordan proceeds to Switzerland to forge her name and save the account before going to London to attend her funeral. To bypass border controls, he orders his yacht captain to sail to Monaco, but the ship capsizes in a storm. After their rescue, the plane sent to take them to Geneva is destroyed when a seagull flies into the engine; Jordan takes this as a sign from God to address his worsening drug addiction and attempts to sober up. In 1998, Saurel and Koskoff are arrested for a separate crime and inform the FBI about Jordan. Since the evidence against him is overwhelming, Jordan agrees to gather evidence from the rest of his colleagues in exchange for leniency. After having sex for the last time, Naomi tells Jordan she is divorcing him and wants full custody of their daughter and infant son. In a cocaine-fueled rage, Jordan hits Naomi and tries to drive away with his daughter but crashes his car in the driveway. Later, Jordan wears a wire to work but slips a note to Donnie, warning him. The FBI discovers this, arrests Jordan, and raids and shuts down Stratton Oakmont. Despite breaching his deal, Jordan receives a reduced sentence of 36 months in a minimum security prison for his testimony and is released in 2000 after serving 22 months. After his release, Jordan makes a living hosting seminars on sales techniques.

Memory_2023

tt19864828

<script> <scene> <character>MEMORY</character> <dialogue>by</dialogue> <scene_description>Michel Franco 29 April 2022 MONTAGE OVER CREDITS: Male and female voices over black.</scene_description> <character>BRIAN (V.O.)</character> <dialogue>I remember, like yourself Sylvia, I too came in. I was broken, I was lost, and I was hopeless. With no direction of where I was going to go in my life.</dialogue> <scene_description>JORGE (28, El Salvadorian) speaks with a pronounced accent.</scene_description> <character>JORGE</character> <dialogue>I remember I passed you. You were riding your bicycle up a hill and 90 days sober. I remember thinking: We all got our struggles, but we don't need to get loaded over it.</dialogue> <scene_description>LORRAINE (32) speaks, crying a bit.</scene_description> <character>LORRAINE</character> <dialogue>I'm here. I made it. I got here. And I didn't even know what was gonna be going on. But I'm happy to see Anna. You're what I wish I could have been. I wish my mom... would have been as strong as you, Sylvia.</dialogue> </scene> <scene> <stage_direction>INT. CHURCH HALL (SUNSET PARK) NIGHT</stage_direction> <scene_description>The surroundings blur as the camera focuses on KAREN.</scene_description> <character>KAREN</character> <dialogue>My dear Sylvia. Being your sponsor has been a gift. I know you don't like to hear this, but I really do think you should find yourself a person. So you don't end up alone like me.</dialogue> <scene_description>Karen immediately regrets oversharing. She starts again.</scene_description> <character>KAREN</character> <dialogue>I love you as if you were my own daughter. Maybe because you're like a child in many ways. I want to take care of you. That's why I don't want you to be alone. Anna will grow up. She'll go away, to make it on her own.</dialogue> <character>KAREN</character> <dialogue>We've known each other for thirteen years. That's longer than most marriages nowadays.</dialogue> <scene_description>Laughter and applause. Karen stares lovingly back at Sylvia. John basks in the ensuing applause. Close on EMILY, trembling - her pupils are dilated.</scene_description> <character>EMILY</character> <dialogue>I'm not going to say as much. I've only known you for four days... but I can tell how much everyone loves you. I hope I can get to where you are...</dialogue> <scene_description>She bursts into tears. Close on SYLVIA - slender, fragile looking, sweet smile, baggy clothes - not someone who prioritizes her appearance. Sylvia, celebrating 13 years of sobriety, responds.</scene_description> <character>SYLVIA</character> <dialogue>I'm very grateful for this space and for all of you and definitely nothing would be possible without you. And I'm very grateful for my daughter.</dialogue> <scene_description>ANNA (13) Sylvia's daughter, a fresh and confident version of her mother, aware of every detail, smiles - this is her first time attending an AA event.</scene_description> <character>SYLVIA</character> <dialogue>How do you feel here?</dialogue> <scene_description>Anna hugs her.</scene_description> <character>ANNA</character> <dialogue>Good.</dialogue> <scene_description>Sylvia fights back the tears. Everyone's eyes are on her.</scene_description> <character>SYLVIA</character> <dialogue>Is it what you thought?</dialogue> <character>ANNA</character> <dialogue>Yes! I'm so proud of you.</dialogue> <scene_description>Some members cry while others raise their phones to take pictures of the moment.</scene_description> </scene> <scene> <stage_direction>2A INT. CHURCH HALL (SUNSET PARK) NIGHT 2A</stage_direction> <scene_description>The members are picking up the chairs and getting ready to leave. Sylvia is saying goodbye to the people.</scene_description> <character>KAREN</character> <dialogue>I'm glad you came, Anna.</dialogue> <character>AA MEMBER</character> <dialogue>Congratulations Sylvia! Good night.</dialogue> <character>KAREN</character> <dialogue>Let's have dinner later.</dialogue> </scene> <scene> <stage_direction>EXT. SYLVIA'S NEIGHBORHOOD. NIGHT</stage_direction> <scene_description>Sylvia and Anna arrive to their house in an Uber. They go inside. The neighborhood is not so fancy.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - KITCHEN. MORNING</stage_direction> <scene_description>Sylvia prepares two portions of freshly made dumplings. She places them in plastic containers - they look professionally made. Her movements are quick, precise, elegant. Peeling paint and damp spots scar the walls of the old house. Anna takes an apple out of the fridge.</scene_description> <character>ANNA</character> <dialogue>The fridge broke again?</dialogue> <character>SYLVIA</character> <dialogue>I called to have it fixed.</dialogue> <character>ANNA</character> <dialogue>It's seven thirty.</dialogue> <scene_description>Anna eats the apple on the go - she's in a hurry.</scene_description> </scene> <scene> <stage_direction>A5 EXT. STREET / SCHOOL (SUNSET PARK). DAY A5</stage_direction> <scene_description>Sylvia and Anna rush to school through a grim-looking neighborhood.</scene_description> </scene> <scene> <stage_direction>EXT. STREET / SCHOOL (SUNSET PARK). DAY</stage_direction> <scene_description>The school bell rings. Anna speeds up, leaving Sylvia behind. Sylvia watches her daughter run into the school building. She then crosses the street, and walks back in the direction she came from.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE - HALLWAY / OFFICE ROOM. DAY</stage_direction> <scene_description>Sylvia enters the hallway and greets a resident, ILYA, who is happy to see her. He presents her with a mimed bouquet of flowers which she mimes taking off him, thanking him. She heads into the office where Karen and TARINA are sitting at their desks. They greet her.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE - MAIN ROOM. LATER</stage_direction> <scene_description>Sylvia leads a group stretch with a handful of residents.</scene_description> </scene> <scene> <stage_direction>7A INT. ADULT RESIDENCE - ROOM. LATER 7A</stage_direction> <scene_description>Sylvia is helping a resident, MARIO (30) to get ready to go for a walk.</scene_description> <character>SYLVIA</character> <dialogue>If you're going outside, you need a jacket, Mario. I know you have two things but it is so cold. Do you want to do it yourself?</dialogue> <scene_description>Sylvia is having trouble trying to convince Mario, so she gives up and they walk outside. Sylvia carries the jacket.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE - COMMON ROOM. TWO HOURS LATER</stage_direction> <scene_description>Sylvia and Karen are taking breakfast to the residents in the common room. Sylvia asks Karen for a break so she can go to check on Anna at the school.</scene_description> </scene> <scene> <stage_direction>EXT. STREET / SCHOOL. DAY</stage_direction> <scene_description>Students crowd the patio during recess. Anna and her friends sit on the steps leading to the school. Sylvia watches them from a bench across the street. Anna and Sylvia greet each other discretely from afar, eating lunch at a distance. One of Anna's friends greets Sylvia obnoxiously. Anna smiles through her discomfort. She can't tell whether her friends are making fun of her mother. A boy approaches Anna's group, chats with them, then leaves. Sylvia watches closely. Her phone rings. She puts her boxed lunch aside and answers.</scene_description> <character>SYLVIA</character> <dialogue>Hey... good... yeah. We had a good time... I'm eating outside... No, I don't go to school during recess anymore... I swear I'm not outside. Okay... Listen, could you lend me some money to fix the fridge? It broke again. Okay. See you in a bit.</dialogue> </scene> <scene> <stage_direction>EXT. BEVERLY ROAD SUBWAY STATION (PROSPECT PARK SOUTH) DAY</stage_direction> <scene_description>Anna and Sylvia get out of the subway. The neighborhood is noticeably different - mostly white faces, moms in work-out clothes pushing strollers or walking their small dogs along the pavement lined with high-end boutiques.</scene_description> </scene> <scene> <stage_direction>10A EXT. OLIVIA'S HOUSE. DAY 10A</stage_direction> <scene_description>Anna and Sylvia arrive at the house.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE - KITCHEN. CONTINUOUS</stage_direction> <scene_description>Sylvia is in the kitchen.</scene_description> <character>OLIVIA</character> <parenthetical>(to Lucy)</parenthetical> <dialogue>Wash your hands.</dialogue> <character>LUCY</character> <dialogue>I already did.</dialogue> <character>OLIVIA</character> <dialogue>You were playing with Rocco.</dialogue> <scene_description>Lucy grudgingly washes her hands. Mark, Anna and Ashley come down. Mark continues to tease Anna, asking her to take a photo together for one of their friends. This makes Sylvia visibly uncomfortable. Olivia understands how anxious Sylvia gets when it comes to her daughter.</scene_description> <character>OLIVIA</character> <parenthetical>(calling out)</parenthetical> <dialogue>Cut it out, Mark!</dialogue> <scene_description>Mark gives it a rest, sitting at the kitchen counter.</scene_description> <character>OLIVIA</character> <dialogue>Are you staying for dinner?</dialogue> <character>SYLVIA</character> <dialogue>No, we'll eat at home.</dialogue> <character>OLIVIA</character> <dialogue>Are you going to the Woodbury event on Friday?</dialogue> <scene_description>Sylvia's expression is lackluster.</scene_description> <character>OLIVIA</character> <dialogue>Robert's not going.</dialogue> <scene_description>Anna would like her mother to socialize more.</scene_description> <character>ANNA</character> <dialogue>I'll be your date if you want.</dialogue> <character>SYLVIA</character> <dialogue>Thank you, sweetie.</dialogue> <scene_description>Sylvia shoots Anna a look that says "don't butt into this".</scene_description> <character>OLIVIA</character> <dialogue>It'll be good for you to spend time with...</dialogue> <scene_description>She doesn't need to finish - the comment has already rubbed Sylvia up the wrong way.</scene_description> <character>SYLVIA</character> <dialogue>People who aren't from AA?</dialogue> <character>OLIVIA</character> <dialogue>How did the anniversary meeting go?</dialogue> <scene_description>Lucy runs to the table and sits back on her seat.</scene_description> <character>LUCY</character> <dialogue>What anniversary?</dialogue> <character>OLIVIA</character> <dialogue>Eat some salad.</dialogue> <character>SYLVIA</character> <dialogue>It was nice.</dialogue> <character>SYLVIA</character> <parenthetical>(to Anna)</parenthetical> <dialogue>Wasn't it?</dialogue> <scene_description>Anna nods.</scene_description> <character>SYLVIA</character> <dialogue>I'll tell you about it later.</dialogue> <scene_description>Sylvia knows Olivia only asked to be polite, and would not appreciate an elaborate answer in front of the kids.</scene_description> <character>LUCY</character> <dialogue>What anniversary?</dialogue> <character>OLIVIA</character> <dialogue>Lucy, your food is getting cold.</dialogue> <scene_description>The dog goes up to Anna and rests his head on her knee. She strokes him.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE - LIVING ROOM / TV ROOM. LATE AFTERNOON</stage_direction> <scene_description>Sylvia is having a cup of coffee on the sofa. The kids watch TV. Olivia comes over and hands Sylvia four hundred dollars in small bills.</scene_description> <character>OLIVIA</character> <dialogue>You don't have to pay me back right away. It's not Robert's money.</dialogue> <character>SYLVIA</character> <dialogue>Have you become a drug dealer?</dialogue> <character>OLIVIA</character> <dialogue>The students pay me in cash. Count it. It should all be there.</dialogue> <scene_description>Sylvia puts away the money and smiles at Olivia.</scene_description> <character>OLIVIA</character> <dialogue>I've been meaning to tell you. Mom keeps asking about you and Anna.</dialogue> <character>SYLVIA</character> <dialogue>Is she staying long?</dialogue> <character>OLIVIA</character> <dialogue>What would she go back for? She wasn't doing well without dad.</dialogue> <scene_description>Sylvia collapses onto the sofa and closes her eyes, wincing.</scene_description> <character>SYLVIA</character> <dialogue>Anna? We're leaving!</dialogue> <scene_description>Olivia remains quiet.</scene_description> <character>SYLVIA</character> <dialogue>Could you get me an aspirin?</dialogue> <scene_description>Olivia goes to get one.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT / KITCHEN. DAY</stage_direction> <scene_description>The doorbell rings. Sylvia answers the intercom in her pajamas, still half asleep.</scene_description> <character>SYLVIA</character> <dialogue>Yes?</dialogue> <character>REFRIGERATOR REPAIR MAN (O.S.)</character> <dialogue>Hi ma'am... you've got a situation with your fridge?</dialogue> <character>SYLVIA</character> <dialogue>I asked for a repair woman...</dialogue> <character>REFRIGERATOR REPAIR MAN (O.S.)</character> <dialogue>She wasn't available today... do you want me to leave?</dialogue> <character>SYLVIA</character> <dialogue>No.</dialogue> <scene_description>Sylvia buzzes the repair man in and escorts him into the kitchen to show the fridge. Anna comes into the kitchen barefoot in a pair of shorts.</scene_description> <character>SYLVIA</character> <dialogue>Go back to your room.</dialogue> <character>ANNA</character> <dialogue>But I'm thirsty.</dialogue> <scene_description>Irritated, Anna grabs a glass and fills it with water from the sink. Sylvia turns her attention back to the repair man. Anna leaves the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. SIRICO - ENTRANCE HALL. DAY</stage_direction> <scene_description>Olivia and Sylvia walk into the foyer. About 200 people are gathered for the Woodbury High school fundraiser. Olivia excitedly greets an old classmate with a hug. Sylvia stands back and keeps quiet.</scene_description> <character>OLIVIA</character> <dialogue>Rebecca!</dialogue> <scene_description>REBECCA is obnoxiously happy to see Olivia.</scene_description> <character>OLIVIA</character> <dialogue>Has it been 15 years already??</dialogue> <character>REBECCA</character> <dialogue>More! I was pregnant -</dialogue> <scene_description>REBECCA'S HUSBAND appears. Olivia hugs him. They chat. Even though Sylvia recognizes Rebecca, she stays silent and looks around. She's clearly regretting having come.</scene_description> <character>REBECCA</character> <dialogue>Sylvia? I haven't seen you in ages!</dialogue> <character>SYLVIA</character> <parenthetical>(polite)</parenthetical> <dialogue>Hi. Is your sister here? She told me she was coming.</dialogue> <character>REBECCA</character> <dialogue>She canceled last minute.</dialogue> <character>SYLVIA</character> <dialogue>I was looking forward to seeing her.</dialogue> <scene_description>Olivia greets three girlfriends who are thrilled to see her. Rebecca walks off to greet some other fellow classmates. Sylvia leaves the group and enters the main room.</scene_description> </scene> <scene> <stage_direction>INT. SIRICO'S - BALLROOM. DAY</stage_direction> <scene_description>She moves through the crowd, and sits down at an empty table. A WAITER approaches.</scene_description> <character>WAITER</character> <dialogue>What can I get you? We have red, white -</dialogue> <character>SYLVIA</character> <dialogue>Still water please.</dialogue> <scene_description>The waiter leaves. Sylvia watches people having fun. Most of them have just arrived, and greet their old classmates with affection.</scene_description> </scene> <scene> <stage_direction>INT. SIRICO'S - BALLROOM. DAY</stage_direction> <scene_description>People are starting to get drunk. The mood is definitely more relaxed. Olivia is having a conversation with a pair of TWIN CLASSMATES, and tries to include Sylvia from time to time.</scene_description> <character>TWIN 1</character> <dialogue>I'm sorry but she was too much of a fat-ass to be the P.E teacher.</dialogue> <character>OLIVIA</character> <dialogue>Dance teacher.</dialogue> <character>TWIN 2</character> <dialogue>She taught both. Dance and P.E...</dialogue> <character>OLIVIA</character> <dialogue>Did you have her too?</dialogue> <character>SYLVIA</character> <dialogue>Yes. I think I had her for P.E but not for dance.</dialogue> <character>TWIN 1</character> <dialogue>Dance was an elective. But it was worth it because it clashed with Chemistry, which I hated...</dialogue> <scene_description>MEGAN, Olivia's classmate, interrupts to propose a toast. Musicians are tuning their instruments behind her.</scene_description> <character>MEGAN</character> <dialogue>Hello, hi... I want to thank everyone for coming tonight. It really goes to show how supportive you all are, after all these years... it's just so great to see...</dialogue> <scene_description>Sylvia's eyes roam around the room and land on a man, SAUL, who's staring at her from across the room. She smiles briefly then looks away.</scene_description> <character>MEGAN</character> <dialogue>I'm sure I'm not the only one who can say I've missed this - I've missed Woodbury High...</dialogue> <scene_description>Sylvia sneaks a look back at the man. He's still got his eyes fixed on her. She looks back at him, unnerved, as the speech continues.</scene_description> <character>MEGAN</character> <dialogue>...and what's crazy is that it really feels like no time has passed at all. So let's raise a glass to all of you wonderful people who made high school that joyful period that it was...</dialogue> <scene_description>Sylvia turns her attention back towards Megan's speech, avoiding the man's gaze, trying to focus on the words being said.</scene_description> </scene> <scene> <stage_direction>16A INT. SIRICO'S - BALLROOM. LATER THAT NIGHT 16A</stage_direction> <scene_description>People are dancing to 80s music. Alone at her table, Sylvia has to deal with Saul's permanent gaze. He hasn't looked away once. Olivia dances with a group on the dance-floor. She looks back from time to time, checking on Sylvia, and signals for her to join them. Sylvia doesn't feel like dancing. Olivia gestures again for Sylvia to come over - but she's interrupted by a friend offering everyone shots of tequila on the dance-floor. Sylvia keeps looking to check whether Saul is still staring at her. He is. He's surrounded by a group of people, including his brother ISAAC, but his eyes are fixed on Sylvia. Isaac moves away when a WOMAN approaches Saul and asks him to dance. Saul accompanies her. Despite the fact that he's dancing with the woman, he keeps staring at Sylvia. An acquaintance greets the woman dancing with Saul. Saul stops dancing. He remains motionless in the middle of the dance-floor, eyes glued on Sylvia. Freaked out, Sylvia stands up. She grabs her coat and purse, storming out of the restaurant. Saul follows. Neither his dance partner nor Isaac see him leave.</scene_description> </scene> <scene> <stage_direction>EXT. SIRICO'S / STREETS (BENSONHURST). NIGHT</stage_direction> <scene_description>Sylvia shivers in the crisp November air. She walks fast down the street, packed full of people enjoying their Friday night.</scene_description> </scene> <scene> <stage_direction>EXT. 71ST STREET SUBWAY STATION (BENSONHURST). NIGHT</stage_direction> <scene_description>She doesn't realize Saul is following her until she reaches the subway station. She quickens her step. Saul shivers - he left his coat behind - but he continues to follow Sylvia. Sylvia taps her subway card on the reader and goes through the barrier. She heads up to the open-air platform. It's nearly empty except for a sprinkling of three or four commuters. Waiting on the platform, she sees Saul coming down the stairs. Sylvia moves away from him to stand further down the platform. A train arrives. She quickly gets on.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRAIN. CONTINUOUS</stage_direction> <scene_description>Sylvia is sitting in a near-empty subway car. Saul is standing nearby, looking at her. She shrinks into her seat and makes herself as small as she can. The train stops. Some people get on and off, but Saul stays on. Sylvia moves to a seat further down the carriage.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - PLATFORM. NIGHT</stage_direction> <scene_description>Sylvia gets off the train. She turns to see if Saul is still following. He gets off.</scene_description> </scene> <scene> <stage_direction>EXT. SYLVIA'S NEIGHBORHOOD. NIGHT</stage_direction> <scene_description>Sylvia walks through her neighborhood. Saul follows.</scene_description> </scene> <scene> <stage_direction>EXT. SYLVIA'S APARTMENT. CONTINUOUS</stage_direction> <scene_description>Sylvia walks her street, opens the front door and gets inside.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - STAIRS / ANNA'S BEDROOM.</stage_direction> <character>CONTINUOUS</character> <dialogue>She makes her way up the stairs in the dark and deactivates the house alarm. Sylvia goes to the window, peeking through the blinds. Saul crosses the street and looks up towards Anna's bedroom - the only illuminated room in the house. Sylvia turns off the light and shuts the blinds. She stands by the window, spying on Saul from the side gap.</dialogue> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - KITCHEN. NIGHT</stage_direction> <scene_description>Sylvia obsesses over dinner preparations. Anna walk towards her bedroom.</scene_description> <character>ANNA</character> <dialogue>Mom, I will be in my room.</dialogue> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - ANNA'S BEDROOM. NIGHT.</stage_direction> <scene_description>Anna is looking through the window to the street. She notices Saul. Sylvia arrives and closes the curtains. She looks nervous.</scene_description> <character>SYLVIA</character> <dialogue>What are you doing honey? Stay away, from the window. Please go to bed.</dialogue> <scene_description>Sylvia takes Anna to the bed and turns off the light.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - KITCHEN. NIGHT</stage_direction> <scene_description>Sylvia is washing the dishes, very anxious, in the kitchen. She can't sleep.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM / KITCHEN. LATER</stage_direction> <scene_description>Sylvia watches Saul from the window in her room. She takes two sleeping pills out of a packet from the night table and dials a number as she heads to the kitchen. She pours herself a glass of water. The call goes to voicemail.</scene_description> <character>SYLVIA</character> <dialogue>Karen, I'm sorry to call this late. I normally wouldn't but I think I'm about to have a nervous breakdown. I can't explain it over voicemail... Anyway, just wanted to see if you'd pick up, since you usually can't sleep either... call me back if you can, okay?</dialogue> <scene_description>Sylvia hangs up and takes the pills. Her nerves make her short of breath - tiny sips of the water are all she can handle.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM. DAWN</stage_direction> <scene_description>Sylvia lies in bed. She hasn't slept a wink. She gets up and walks up to the window. From the condensation on the glass she can tell how cold it is outside. Saul is still sitting on the curb, shaking uncontrollably.</scene_description> </scene> <scene> <stage_direction>EXT. SYLVIA'S APARTMENT / STAIRWELL / KITCHEN. MORNING</stage_direction> <scene_description>Sylvia walks out the house in pajamas. She stops in the middle of the street, keeping a safe distance from Saul.</scene_description> <character>SYLVIA</character> <dialogue>Get up.</dialogue> <scene_description>Saul struggles to stand, he's practically frozen.</scene_description> <character>SYLVIA</character> <dialogue>What do you want?</dialogue> <scene_description>Saul doesn't respond. Sylvia keeps the distance from him. Anna comes downstairs, groggy, and sees Saul.</scene_description> <character>ANNA</character> <dialogue>Mom?</dialogue> <scene_description>Saul's eyes snap open.</scene_description> <character>SYLVIA</character> <dialogue>Go to your room!</dialogue> <scene_description>Anna goes back upstairs - turning to steal a look back at Saul, trying to figure out what's going on. Saul shuts his eyes. He's losing consciousness.</scene_description> <character>SYLVIA</character> <dialogue>Do you have your phone?</dialogue> <scene_description>He mumbles something she can't make out.</scene_description> <character>SYLVIA</character> <dialogue>Give me your phone.</dialogue> <scene_description>He doesn't respond. He seems to be unconscious. She looks for his phone in his pants and takes it out, using his face to unlock it. She searches for the most recent dialled number and calls.</scene_description> <character>SYLVIA</character> <dialogue>Hello? Hi. I found Saul on the street where I live... he was outside in the cold... I have no idea how he got here... yes, OK... Sylvia. 264 39th Street. Yes, this is my mobile.</dialogue> <scene_description>Sylvia hangs up.</scene_description> </scene> <scene> <stage_direction>EXT. SYLVIA'S APARTMENT - STREET. 20 MINUTES LATER</stage_direction> <scene_description>Sylvia opens the front door.</scene_description> <character>ISAAC</character> <dialogue>Sylvia? I'm Isaac. We spoke on the phone?</dialogue> <scene_description>Sylvia steps aside. Saul's eyes open. He's not surprised to see his brother.</scene_description> <character>ISAAC</character> <dialogue>Saul... are you alright?</dialogue> <scene_description>Saul is returning to his senses. Sylvia watches him closely.</scene_description> <character>ISAAC</character> <dialogue>Let's go home.</dialogue> <scene_description>Isaac checks Saul's temperature with the back of his hand, clocking how cold Saul's skin is. He helps Saul up and steadies him. He takes his coat off, puts it over his brother's shoulders and guides him towards the car. Sylvia watches Isaac help Saul into the back seat. Isaac comes back to talk to Sylvia.</scene_description> <character>ISAAC</character> <dialogue>I was going crazy looking for him. I called the police but they won't move until someone's missing for 48 hours.</dialogue> <scene_description>Sylvia remains silent.</scene_description> <character>ISAAC</character> <dialogue>Thank you so much.</dialogue> <scene_description>Isaac offers his hand, Sylvia shakes it, mechanically. He hands her his business card.</scene_description> <character>ISAAC</character> <dialogue>If you ever need anything, please call. You have my number. Thank you for helping him.</dialogue> <scene_description>Sylvia watches Isaac get back into the car and drive away. She shuts the front door and looks back at Anna, who's been quietly watching the entire scene.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - BATHROOM. DAY</stage_direction> <scene_description>Saul relaxes in a warm bath. He hears Isaac come in through the door and opens his eyes, but doesn't move his head. Saul gets out of the bath. Drying himself off, he sees his reflection in the mirror. He avoids his own gaze - turning away.</scene_description> </scene> <scene> <stage_direction>EXT. INDUSTRY CITY. DAY</stage_direction> <scene_description>Happy families enjoy their Sunday at the outdoor shopping centre. Isaac and Saul are sitting in a table outside a coffee shop. There is tension between the two of them. SARA (22) Isaac's daughter arrives carrying a backpack.</scene_description> <character>SAUL</character> <dialogue>Sara!</dialogue> <character>SARA</character> <dialogue>You really scared us...</dialogue> <scene_description>The remark does not upset Saul. He gets up and hugs her.</scene_description> <character>ISAAC</character> <dialogue>Would you like a cup of coffee?</dialogue> <character>SARA</character> <dialogue>Hi dad... no, I'm OK.</dialogue> <character>SAUL</character> <dialogue>Did you fly all the way here just to see me?</dialogue> <character>SARA</character> <dialogue>Yes.</dialogue> <character>SAUL</character> <dialogue>You're both taking this too far.</dialogue> <character>SARA</character> <dialogue>You went missing for an entire night!</dialogue> <character>ISAAC</character> <dialogue>It's a miracle you didn't catch pneumonia.</dialogue> <character>SAUL</character> <dialogue>I haven't gotten sick in years.</dialogue> <character>ISAAC</character> <dialogue>He was lost a minute ago.</dialogue> <character>SAUL</character> <dialogue>I was not lost. I went to the bathroom.</dialogue> <character>ISAAC</character> <dialogue>And you forgot how to get back.</dialogue> <character>SAUL</character> <dialogue>That's enough!</dialogue> <scene_description>Saul's outburst provokes an uncomfortable silence. People nearby turn to look.</scene_description> <character>SARA</character> <parenthetical>(to Saul)</parenthetical> <dialogue>He cried on the phone.</dialogue> <scene_description>Isaac looks embarrassed, he did not want that bit of information to go public.</scene_description> <character>ISAAC</character> <dialogue>I'll go get coffee.</dialogue> <scene_description>Isaac leaves. Sara comforts Saul. He finds it hard to stay angry at her.</scene_description> <character>SARA</character> <dialogue>Do you remember leaving the party?</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <character>SARA</character> <dialogue>Did you leave alone?</dialogue> <character>SAUL</character> <dialogue>I don't know.</dialogue> <scene_description>Isaac returns empty-handed.</scene_description> <character>ISAAC</character> <dialogue>The line was too long.</dialogue> <scene_description>Saul seizes the moment to change the subject.</scene_description> <character>SAUL</character> <dialogue>How's... P...P...</dialogue> <character>ISAAC</character> <dialogue>Providence.</dialogue> <character>SARA</character> <dialogue>Good. I like it there.</dialogue> <scene_description>A pensive silence.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - LIVING ROOM. DAY</stage_direction> <scene_description>Sara opens her suitcase and gives Saul a gift - a book of Julian Schnabel paintings. Saul looks through it.</scene_description> <character>SAUL</character> <dialogue>I like it.</dialogue> <character>SARA</character> <dialogue>I knew you would. He's one of my favorites.</dialogue> <scene_description>She gives him a vinyl of Brian Kelly songs. He puts it on and they listen to it together, sitting on the sofa.</scene_description> <character>SAUL</character> <dialogue>It's good.</dialogue> <scene_description>Sara takes something out of her bag and hangs it round Saul's neck.</scene_description> <character>SAUL</character> <dialogue>What is this?</dialogue> <character>SARA</character> <dialogue>You have to wear it when you go out.</dialogue> <scene_description>He looks at it - it's a hand-made necklace with the house address and Isaac's number on a card.</scene_description> <character>SAUL</character> <dialogue>I'm not wearing this.</dialogue> <scene_description>She gives him a stern look.</scene_description> <character>SAUL</character> <dialogue>Okay. Can I wear it inside, at least?</dialogue> <character>SARA</character> <dialogue>Sure. You can wear it inside.</dialogue> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM. DAY</stage_direction> <scene_description>Sylvia is deep in thought, stretched out on her bed. The house alarm beeps - someone's arrived. Olivia walks into the room and sits on the bed next to her sister.</scene_description> <character>OLIVIA</character> <dialogue>Anna told me what happened.</dialogue> <scene_description>Anna stands in the doorway, looking concerned. She opens the curtains.</scene_description> <character>SYLVIA</character> <dialogue>He followed me home from the Woodbury party. He is one of Ben's friends.</dialogue> <character>OLIVIA</character> <dialogue>Are you sure?</dialogue> <character>SYLVIA</character> <dialogue>Why else would he follow me home?</dialogue> <character>OLIVIA</character> <dialogue>What's his name?</dialogue> <character>SYLVIA</character> <dialogue>Saul Shapiro.</dialogue> <scene_description>Sylvia turns to Anna.</scene_description> <character>SYLVIA</character> <dialogue>Do you want to stay with Olivia tonight?</dialogue> <scene_description>Anna agrees with her mom and leaves Olivia and Sylvia alone in the room. Sylvia covers herself with the blankets and continue sleeping. Olivia stays sitting in the bed, watching her sister.</scene_description> </scene> <scene> <stage_direction>34A INT. SYLVIA'S HOUSE. BATHROOM. DAY 34A</stage_direction> <scene_description>Sylvia is taking a shower. She seems very reflexive.</scene_description> </scene> <scene> <stage_direction>34B INT. SYLVIA'S HOUSE. BEDROOM. DAY. 34B</stage_direction> <scene_description>Sylvia is wearing comfortable clothes. She is searching through her contacts to find Isaac's phone. She calls him.</scene_description> <character>SYLVIA</character> <dialogue>Hi Isaac. This is Sylvia, from... The other morning I found Saul outside my house... Yeah... I was wondering if I can come visit you today, if that's okay... Great. Send me your address... Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. SAUL'S HOUSE. DAY</stage_direction> <scene_description>Sylvia walks towards Isaac and Saul's house. She reaches the door, rings the bell.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. CONTINUOUS</stage_direction> <scene_description>Isaac opens the door. He recognizes Sylvia.</scene_description> <character>ISAAC</character> <dialogue>Hello! Come on in...</dialogue> <scene_description>Sylvia enters. The house is tastefully decorated. Sara is nearby. Isaac closes the door behind them and introduces Sylvia to his daughter.</scene_description> <character>ISAAC</character> <dialogue>This is my daughter, Sara.</dialogue> <scene_description>Sara smiles and extends a hand. Sylvia shakes it, gripping her purse tightly in the other.</scene_description> <character>ISAAC</character> <dialogue>Sylvia found Saul.</dialogue> <character>SYLVIA</character> <dialogue>I looked out my window in the morning and saw him in the street.</dialogue> <scene_description>Sara tries not to laugh.</scene_description> <character>SARA</character> <parenthetical>(to Isaac)</parenthetical> <dialogue>How did he get there?</dialogue> <character>ISAAC</character> <dialogue>Thank God Sylvia found him.</dialogue> <character>SARA</character> <dialogue>I'll go get him.</dialogue> <scene_description>Sara gives Sylvia a grateful smile. Sylvia is nervous. Isaac figures she's shy.</scene_description> <character>ISAAC</character> <dialogue>Can I offer you anything to drink?</dialogue> <character>SYLVIA</character> <dialogue>No, thanks. I have to head to work soon.</dialogue> <character>ISAAC</character> <dialogue>On a Saturday?</dialogue> <character>SYLVIA</character> <dialogue>I work at a residence for people \* with developmental disabilities.</dialogue> <scene_description>Sara returns with Saul. Though shy, he's visibly happy to see Sylvia.</scene_description> <character>SAUL</character> <dialogue>Hello.</dialogue> <character>SARA</character> <dialogue>Sylvia.</dialogue> <character>SAUL</character> <dialogue>I know her name.</dialogue> <scene_description>Sylvia's face turns red - her resentment misinterpreted for timidity.</scene_description> <character>SAUL</character> <dialogue>I apologize if I made you feel uncomfortable the other night.</dialogue> <character>SYLVIA</character> <dialogue>It's fine.</dialogue> <character>SAUL</character> <dialogue>Come. Sit down.</dialogue> <scene_description>Sylvia hesitates but follows Sara and Isaac into the living room.</scene_description> <character>SAUL</character> <dialogue>I forget things. Recent things.</dialogue> <scene_description>It's an awkward moment met with silence.</scene_description> <character>SAUL</character> <dialogue>I'll get you a glass of water.</dialogue> <scene_description>Saul leaves. Sylvia looks uncomfortable. She, Sara and Isaac sit in silence.</scene_description> <character>ISAAC</character> <dialogue>He has dementia.</dialogue> <character>SARA</character> <dialogue>He remembers things from years ago but forgets immediate events.</dialogue> <character>ISAAC</character> <dialogue>Our childhood. Our parents...</dialogue> <character>SARA</character> <dialogue>The more recent, the less he remembers.</dialogue> <character>SYLVIA</character> <dialogue>He remembered me.</dialogue> <character>ISAAC</character> <dialogue>Sometimes he's good for weeks and</dialogue> <character>ISAAC</character> <dialogue>remembers everything. Then something like the other night happens. We're not sure why that is.</dialogue> <scene_description>Saul returns with two glasses of water, hands one to Sylvia.</scene_description> <character>SYLVIA</character> <dialogue>Do you remember how you got to my house?</dialogue> <character>SAUL</character> <dialogue>I remember being on the subway. I remember your daughter's long hair. I remember your house... but I don't know how I got there, no.</dialogue> <character>ISAAC</character> <dialogue>Do you remember the Woodbury party?</dialogue> <character>SAUL</character> <dialogue>I don't recall it being the same day...</dialogue> <scene_description>Sara notices her uncle look uncomfortable. She changes the subject.</scene_description> <character>SARA</character> <parenthetical>(to Sylvia)</parenthetical> <dialogue>They still work together. They're accountants.</dialogue> <character>SAUL</character> <dialogue>Actually, I'm his boss. And this is my house.</dialogue> <scene_description>Though Isaac seems a bit annoyed by this, they all laugh in unison.</scene_description> <character>ISAAC</character> <dialogue>He's the big brother. We have an accounting firm.</dialogue> <character>SAUL</character> <dialogue>I hardly work anymore.</dialogue> <scene_description>Sylvia forces a smile.</scene_description> </scene> <scene> <stage_direction>EXT. RUNDOWN PARK. DAY</stage_direction> <scene_description>Saul and Sylvia stroll through a rundown park. A few homeless people amble around.</scene_description> <character>SYLVIA</character> <dialogue>It's changed a lot right?</dialogue> <scene_description>Saul looks around.</scene_description> <character>SAUL</character> <dialogue>I guess it needs some taking care of.</dialogue> <character>SYLVIA</character> <dialogue>I used to play here when I was little.</dialogue> <scene_description>Saul nods.</scene_description> <character>SYLVIA</character> <dialogue>It was nicer then.</dialogue> <scene_description>They walk in silence.</scene_description> <character>SYLVIA</character> <dialogue>Do you remember things that happened a long time ago?</dialogue> <character>SAUL</character> <dialogue>Yes.</dialogue> <character>SYLVIA</character> <dialogue>Okay.</dialogue> <character>SAUL</character> <dialogue>I think about my wife. I replay things from childhood. My parents. My cousins. Holidays.</dialogue> <character>SYLVIA</character> <dialogue>What about school?</dialogue> <character>SAUL</character> <dialogue>I remember school.</dialogue> <scene_description>She sits down on a bench. He joins her.</scene_description> <character>SYLVIA</character> <dialogue>What school did you go to?</dialogue> <character>SAUL</character> <dialogue>Woodbury.</dialogue> <character>SYLVIA</character> <dialogue>So did I.</dialogue> <character>SAUL</character> <dialogue>What! Really??</dialogue> <character>SYLVIA</character> <dialogue>Don't you remember me?</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <character>SYLVIA</character> <dialogue>We've both changed after so many years.</dialogue> <character>SAUL</character> <dialogue>We didn't go to school together.</dialogue> <character>SYLVIA</character> <dialogue>I remember you perfectly.</dialogue> <scene_description>This surprises Saul. He realizes Sylvia is upset. He holds her gaze, trying to figure her out.</scene_description> <character>SYLVIA</character> <dialogue>You really don't remember me?</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <character>SYLVIA</character> <dialogue>Do you remember Ben Goldberg?</dialogue> <character>SAUL</character> <dialogue>Yes. We were in the same class.</dialogue> <character>SYLVIA</character> <dialogue>Ben used to get me drunk after school. I was twelve, he was 17.</dialogue> <scene_description>Saul pays close attention. Sylvia pauses, overcoming her anger.</scene_description> <character>SYLVIA</character> <dialogue>He liked raping me. He liked forcing me to give him blow jobs.</dialogue> <character>SAUL</character> <dialogue>Ben?</dialogue> <character>SYLVIA</character> <dialogue>Sometimes he was alone. Other times he wasn't.</dialogue> <scene_description>Saul finds this shocking.</scene_description> <character>SYLVIA</character> <dialogue>Don't you remember?</dialogue> <character>SAUL</character> <dialogue>I remember Ben.</dialogue> <character>SYLVIA</character> <dialogue>You don't remember being with him and making me suck your dick?</dialogue> <character>SAUL</character> <dialogue>What?</dialogue> <character>SYLVIA</character> <dialogue>You said you remember school.</dialogue> <character>SAUL</character> <dialogue>I don't remember.</dialogue> <character>SYLVIA</character> <dialogue>Why did you follow me home after the party?</dialogue> <scene_description>Saul is troubled by Sylvia's pain, as much as by the accusation.</scene_description> <character>SYLVIA</character> <dialogue>Do you remember the Woodbury party last week?</dialogue> <scene_description>Saul makes an effort.</scene_description> <character>SYLVIA</character> <dialogue>Do you remember following me home?</dialogue> <character>SAUL</character> <dialogue>I remember the party because Isaac showed me pictures. I remember you finding me on the street outside your house.</dialogue> <character>SYLVIA</character> <dialogue>You followed me home.</dialogue> <character>SAUL</character> <dialogue>From where?</dialogue> <character>SYLVIA</character> <dialogue>From the Woodbury party!</dialogue> <character>SAUL</character> <dialogue>You were at Woodbury party?</dialogue> <character>SYLVIA</character> <dialogue>You followed me home from the Woodbury party.</dialogue> <scene_description>Saul tries to process everything.</scene_description> <character>SYLVIA</character> <dialogue>And you sexually abused me when I was twelve and you were seventeen or eighteen.</dialogue> <character>SAUL</character> <dialogue>Are you sure?</dialogue> <character>SYLVIA</character> <dialogue>Do you like thinking about what you used to do to me?</dialogue> <scene_description>Instead of getting defensive, Saul tries to remember.</scene_description> <character>SYLVIA</character> <dialogue>Or do you only remember when it's convenient??</dialogue> <scene_description>The harder he tries, the angrier Sylvia grows.</scene_description> <character>SAUL</character> <dialogue>I don't remember.</dialogue> <character>SYLVIA</character> <dialogue>You deserve being the way you are.</dialogue> <scene_description>Sylvia rips Sara's identification card from his neck. Saul is confused. She takes off without looking back. Saul stands but does not follow. He watches her leave.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STATION. AFTERNOON.</stage_direction> <scene_description>Sylvia is coming back to her house. She is waiting for the subway at the station. The train arrives and she stands up to get in but she hesitates and doesn't enter. The subway doors close. Sylvia stays alone in the station.</scene_description> </scene> <scene> <stage_direction>EXT. RUNDOWN PARK. DUSK.</stage_direction> <scene_description>Sylvia is back in the park. Saul is no longer sitting on the bench. She checks everywhere but the park is empty.</scene_description> <character>SYLVIA</character> <dialogue>Saul! Saul!</dialogue> <scene_description>Anxious, she takes out her phone and dials a number. It goes straight to voicemail.</scene_description> <character>SYLVIA</character> <dialogue>Hey, Isaac. It's Sylvia. Could you call me back please? Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. RUNDOWN PARK - GARBAGE BINS. END OF DAY</stage_direction> <scene_description>Saul is urinating against the wall behind some large industrial bins. A few homeless men are milling around in the background. Sylvia sees Saul from the distance and she walks towards him, relieved. Saul stands still watching her. As Saul walks towards Sylvia she turns and walks out of his reach. Saul notices she's been crying. He walks a few feet behind her. His phone rings. Sylvia takes it out of her purse and hands it to him.</scene_description> <character>SAUL</character> <dialogue>Isaac... fine. We went for coffee and a long walk. We're on our way back home... she called to tell you that we'd be a while... yeah, she's here. See you.</dialogue> <scene_description>Saul ends the call. He follows Sylvia, who watches him from the corner of her eye.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - STUDY. DAY</stage_direction> <scene_description>Saul examines a picture of Ben Goldberg in his school yearbook. He listens to the song A Whiter Shade of Pale by Procol Harum. There's a picture of Saul on the same page. He analyzes both photos, jotting things down in his notebook. He turns the yearbook pages, looking for a photo of Sylvia, but doesn't find one.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. DAY</stage_direction> <scene_description>Sylvia is asleep on the sofa after a late-night binge. Empty packets of crisps, peanuts, pretzels and biscuits lie around her. The doorbell rings. She wakes, groggy and answers the intercom.</scene_description> <character>SARA (O.S)</character> <dialogue>Hi, it's Sara... Saul's niece. Can I come in?</dialogue> <scene_description>Sylvia buzzes her up. She smooths her hair as Sara comes in.</scene_description> <character>SARA</character> <dialogue>I'm sorry... were you sleeping?</dialogue> <character>SYLVIA</character> <dialogue>Oh. No. Don't worry.</dialogue> <character>SARA</character> <dialogue>So I know this may be random but I'm leaving today. I study in Boston, and... since you and Saul got along, my dad and I thought maybe you could care for my uncle during the day.</dialogue> <character>SYLVIA</character> <dialogue>I'm not a nurse.</dialogue> <character>SARA</character> <dialogue>He doesn't want a nurse. You'd only have to be there. Take walks...</dialogue> <character>SYLVIA</character> <dialogue>I don't think I can.</dialogue> <character>SARA</character> <dialogue>We could pay you full-time.</dialogue> <scene_description>Sylvia considers this.</scene_description> <character>SARA</character> <dialogue>He talks about you a lot.</dialogue> <character>SYLVIA</character> <dialogue>Let me think about it. I'll call your dad.</dialogue> <character>SARA</character> <dialogue>Here.</dialogue> <scene_description>Sara takes out some cash from her wallet.</scene_description> <character>SARA</character> <dialogue>We'll pay in advance. In cash. Even if you say no, we'd like you to keep the money as a gesture of thanks for helping my uncle...</dialogue> <scene_description>Sylvia doesn't accept the envelope.</scene_description> <character>SARA</character> <dialogue>You could try it for a few afternoons...</dialogue> <scene_description>She proffers the money again. Sylvia takes it.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE. DAY</stage_direction> <scene_description>Sylvia is absent-minded, washing some dishes at the adult residence. She doesn't care much about what's happening around.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. NIGHT</stage_direction> <scene_description>Sylvia sits, thinking.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - ANNA'S BEDROOM. NIGHT</stage_direction> <scene_description>Sylvia scours every corner of Anna's room. She organizes her daughter's drawers and closet. She can't help but looking through Anna's stuff. She finds a joint in Anna's pencil case. She attempts to log into Anna's computer but the password is invalid.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. MORNING</stage_direction> <scene_description>Sylvia has been up all night cleaning. She cleans her bedroom. She hears the house alarm beep. Anna and Olivia have come in. Sylvia goes to greet them. Anna runs to her bedroom.</scene_description> <character>SYLVIA</character> <dialogue>I decided to make the most of it and got the whole house clean...</dialogue> <scene_description>Anna yells from her bedroom.</scene_description> <character>ANNA (O.S.)</character> <dialogue>You went through my stuff!</dialogue> <character>SYLVIA</character> <dialogue>I organized.</dialogue> <scene_description>Anna comes back. She raises her voice, upset, trying to get Olivia on her side.</scene_description> <character>ANNA</character> <dialogue>Why were you spying on me?</dialogue> <character>SYLVIA</character> <dialogue>I found a joint in your pencil case.</dialogue> <scene_description>Olivia wants no part in this. Anna knows she's in trouble.</scene_description> <character>SYLVIA</character> <dialogue>I want to see what's on your computer. You changed the password.</dialogue> <character>ANNA</character> <dialogue>You don't need to see what's on my computer.</dialogue> <character>SYLVIA</character> <dialogue>Stop talking back!</dialogue> <character>ANNA</character> <dialogue>I hate my life!</dialogue> <scene_description>Anna storms out of the house, slamming the door.</scene_description> <character>SYLVIA</character> <parenthetical>(to Olivia)</parenthetical> <dialogue>Am I wrong?</dialogue> <scene_description>Olivia doesn't answer. Sylvia sits down and shuts her eyes, suddenly overcome with exhaustion.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH HALL (SUNSET PARK). NIGHT</stage_direction> <scene_description>At an AA meeting Sylvia sits next to Emily who talks through sobs. Sylvia looks at her, but her mind is elsewhere.</scene_description> <character>EMILY</character> <dialogue>...without even asking. Last month... I didn't care if my parents found out. It would have been better if they had... I just didn't care. With who or where it was... I'd have sex... when I went to get tested, I was sure I'd get a positive somewhere...</dialogue> <scene_description>Karen hands Sylvia a cup of tea, pulling Sylvia back into the room. She rubs Sylvia's shoulder, supportive.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. LIVING ROOM. DAY.</stage_direction> <scene_description>Sylvia is looking through messages in the living room. Olivia enters the house and gives her a cup of coffee.</scene_description> <character>OLIVIA</character> <dialogue>You never met Saul at school...</dialogue> <character>SYLVIA</character> <dialogue>What?</dialogue> <character>OLIVIA</character> <dialogue>Saul's family are from Reading. They moved in '86 - the year you stopped going to Woodbury.</dialogue> <character>SYLVIA</character> <dialogue>How do you know?</dialogue> <character>OLIVIA</character> <dialogue>Yearbooks, phone calls.</dialogue> <scene_description>Sylvia looks upset. But that makes her think about it. Olivia feels pity about her sister and leaves.</scene_description> </scene> <scene> <stage_direction>INT / EXT. SYLVIA'S APARTMENT / OLIVIA'S CAR - DAY.</stage_direction> <scene_description>Olivia exits her sister's house and jumps into her SUV in the backseat. The chauffer starts driving. In the backseat is SAMANTHA (70), Olivia and Sylvia's fancy mother. Olivia looks through the window, worried.</scene_description> <character>SAMANTHA</character> <dialogue>How is she? Is she doing better?</dialogue> <scene_description>Olivia nods.</scene_description> <character>SAMANTHA</character> <dialogue>Great.</dialogue> <scene_description>Samantha is not so happy about the place where her daughter lives.</scene_description> <character>SAMANTHA</character> <dialogue>I don't love this neighborhood. Is it even safe around here for Anna to grow up?... I'd be happy to give them some money so they can move to a better place.</dialogue> <character>OLIVIA</character> <dialogue>We've offered.</dialogue> <character>SAMANTHA</character> <dialogue>Have you? You're such a good sister. Thank you. That's nice.</dialogue> <character>OLIVIA</character> <dialogue>It's nice in the inside. It's very sweet.</dialogue> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - HALLWAY / LIVING ROOM. DAY.</stage_direction> <character>SYLVIA</character> <dialogue>Saul.</dialogue> <character>ISAAC (O.S.)</character> <dialogue>Who is it?</dialogue> <character>SAUL</character> <dialogue>Sylvia!</dialogue> <scene_description>Sylvia doesn't say anything.</scene_description> <character>SAUL</character> <dialogue>Would you like to come in?</dialogue> <scene_description>She enters. Saul closes the door behind her. Isaac arrives, his presence easing the tension.</scene_description> <character>ISAAC</character> <dialogue>I thought you couldn't come today.</dialogue> <character>SYLVIA</character> <dialogue>I can stay if you'd like.</dialogue> <character>ISAAC</character> <dialogue>Great. I'll get my shoes.</dialogue> <scene_description>Isaac leaves - the tension returns. They walk into the living room. Saul sits down. Sylvia sits across from him. Isaac rushes past the living room, talking on his mobile phone. He gestures goodbye and leaves, slamming the door on his way out. Saul grabs his notebook. He reads through the notes he's taken down.</scene_description> <character>SYLVIA</character> <dialogue>I made a mistake. It wasn't you.</dialogue> <scene_description>Saul is relieved. He wants to clear the air.</scene_description> <character>SYLVIA</character> <dialogue>You registered in '86, which is the year my parents made me switch schools. My mom didn't believe me when I told her about Ben. She thought it'd be easier to put me in a different school. You and I had never seen each other before the other night.</dialogue> <character>SAUL</character> <dialogue>I remember Ben.</dialogue> <character>SYLVIA</character> <dialogue>You had nothing to do with it.</dialogue> <scene_description>Saul takes out his notebook and starts to write.</scene_description> <character>SYLVIA</character> <dialogue>What are you doing?</dialogue> <character>SAUL</character> <dialogue>I'm writing it down so I can remember. Is that OK?</dialogue> <scene_description>OK...:</scene_description> <character>SAUL</character> <dialogue>Why didn't your mom believe you?</dialogue> <scene_description>Sylvia is quiet.</scene_description> <character>SAUL</character> <dialogue>Do you feel like talking about it?</dialogue> <character>SYLVIA</character> <dialogue>Why did you follow me the other night?</dialogue> <character>SAUL</character> <dialogue>I don't know.</dialogue> <scene_description>He feels uncomfortable not knowing - he hates his condition.</scene_description> <character>SAUL</character> <dialogue>I don't remember.</dialogue> <scene_description>Silence. Sylvia laughs out loud. Saul doesn't understand why. Then he understands the whole situation is absurd, and smiles.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRONICS STORE. DAY</stage_direction> <scene_description>Through a store window we see Sylvia comparing two mobile phones, a sales girl standing nearby.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE. DAY</stage_direction> <scene_description>Sylvia rings the doorbell, holding a gift bag. Mark opens.</scene_description> <character>MARK</character> <dialogue>Hi.</dialogue> <scene_description>He runs back to the sofa, where he's watching TV with Anna, Ashley, Robert and Olivia. Sylvia approaches them. Olivia meets her halfway, greeting her sister with a kiss. Anna is still mad - she ignores her mom.</scene_description> <character>ASHLEY</character> <dialogue>Hi.</dialogue> <character>ROBERT</character> <dialogue>Sylvia, hello.</dialogue> <scene_description>Robert attempts to be nice but doesn't stand to greet her.</scene_description> <character>SYLVIA</character> <dialogue>Anna.</dialogue> <scene_description>Sylvia approaches Anna. Anna's behavior changes when her mother hands her a new iPhone.</scene_description> <character>ANNA</character> <dialogue>Mom!</dialogue> <scene_description>She tears it open.</scene_description> <character>SYLVIA</character> <dialogue>Forgive me?</dialogue> <scene_description>Anna gives her mother a kiss.</scene_description> <character>ANNA</character> <dialogue>How could you afford this?</dialogue> <character>SYLVIA</character> <dialogue>I got a second job.</dialogue> <character>OLIVIA</character> <dialogue>What kind of a job?</dialogue> <character>SYLVIA</character> <dialogue>I'm working with the guy that</dialogue> <character>SYLVIA</character> <dialogue>followed me home after the Woodbury event.</dialogue> <scene_description>Ashley joins Anna as she takes her iPhone out of its packaging and sets it up. Sylvia is pleased - she needs to be at peace with Anna. Mark feels the good mood in the room and he decides to ask Sylvia something.</scene_description> <character>MARK</character> <dialogue>I was wondering if Anna could come to a party on Friday?</dialogue> <character>SYLVIA</character> <dialogue>Are there gonna be other kids your age there?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <character>SYLVIA</character> <dialogue>Then no.</dialogue> <character>ANNA</character> <dialogue>Told you.</dialogue> <character>ASHLEY</character> <dialogue>Would you like something to drink Syl?</dialogue> <scene_description>Robert gives Olivia a disapproving look.</scene_description> <character>LUCY</character> <dialogue>Want a beer, Aunt Sylvia?</dialogue> <character>SYLVIA</character> <dialogue>No, thank you.</dialogue> <character>LUCY</character> <dialogue>Why don't you ever drink beer?</dialogue> <character>SYLVIA</character> <dialogue>Because I'm an alcoholic Lucy.</dialogue> <character>ROBERT</character> <dialogue>Sylvia...</dialogue> <character>SYLVIA</character> <dialogue>She asked a question.</dialogue> <scene_description>While Robert disapproves, Olivia doesn't budge - she thinks it's important that her children understand Sylvia's condition.</scene_description> <character>ASHLEY</character> <dialogue>What happens if you drink just one?</dialogue> <character>SYLVIA</character> <dialogue>I'll relapse. I haven't had a drink in thirteen years.</dialogue> <character>ASHLEY</character> <dialogue>Since Anna was born?</dialogue> <character>SYLVIA</character> <dialogue>She's the reason I stopped.</dialogue> <character>ROBERT</character> <dialogue>This conversation's over.</dialogue> <character>MARK</character> <dialogue>Did you take drugs or did you just drink?</dialogue> <character>ROBERT</character> <dialogue>That's enough!</dialogue> <character>ANNA</character> <dialogue>Let's go.</dialogue> <scene_description>Anna puts on her shoes and heads for the door without saying goodbye. Robert turns the volume up on the television.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - KITCHEN. DAY</stage_direction> <scene_description>Sylvia puts the finishing touches on an elaborate dish she's just made. She takes it to the kitchen counter where Saul is waiting and checks to make sure it isn't too hot. Saul eats, enjoying the meal.</scene_description> <character>SAUL</character> <dialogue>This is delicious.</dialogue> <scene_description>Pleased by the compliment, Sylvia serves herself a plate and joins Saul.</scene_description> <character>SYLVIA</character> <dialogue>What should we do after lunch?</dialogue> <character>SAUL</character> <dialogue>Whatever you feel like doing.</dialogue> <character>SYLVIA</character> <dialogue>Would you like to watch a film?</dialogue> <character>SAUL</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - STUDY. DAY</stage_direction> <scene_description>Saul and Sylvia watch a movie.</scene_description> <character>SYLVIA</character> <dialogue>I'm going to the bathroom.</dialogue> <character>SAUL</character> <dialogue>Pause the film.</dialogue> <character>SYLVIA</character> <dialogue>It's fine. I'll be quick.</dialogue> <scene_description>Saul watches her walk away before turning his attention back to the film. An entire scene finishes by the time she gets back.</scene_description> <character>SYLVIA</character> <dialogue>So what happened?</dialogue> <scene_description>Saul squints at her.</scene_description> <character>SYLVIA</character> <dialogue>Could they open the car?</dialogue> <character>SAUL</character> <dialogue>Rewind it if you want.</dialogue> <scene_description>Sylvia rewinds to the scene, watching Saul from the corner of her eye. She's thinking about something other than the film.</scene_description> <character>SYLVIA</character> <dialogue>Are you enjoying the film?</dialogue> <character>SAUL</character> <dialogue>Yes.</dialogue> <scene_description>They pretend to watch.</scene_description> <character>SAUL</character> <dialogue>I don't understand anything. I can't watch films.</dialogue> <character>SYLVIA</character> <dialogue>Why didn't you tell me?</dialogue> <character>SAUL</character> <dialogue>So you could watch it.</dialogue> <scene_description>Sylvia is at a loss. They continue watching the film for a moment, stealing glances at one another. Saul starts laughing. Sylvia joins in.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - STUDY. LATE AFTERNOON</stage_direction> <scene_description>While Saul naps on the sofa, Sylvia goes through family albums. She wants to know more about him. It becomes clear that Saul's ex-wife and Sylvia have a strong resemblance - same figure, same hair color and hairstyle. She finds a Vinyl on the player - A Whiter Shade of Pale. The record sleeve has a dedication from Saul's ex-wife. Holiday photos: young Isaac with his wife and little Sara, Saul and his wife at the beach. Photos of Saul's university graduation. Photos of African landscapes: twenty year-old Saul posing for a photo, backpack hanging off one shoulder. Sylvia puts the photo album back on the shelf. She picks up a school yearbook. She discovers a photo of Saul when he was seventeen. She turns to look at him and compares him to the photograph. She examines photos of other students. Little by little, falling back into the trap of old thoughts and memories.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE. DAY</stage_direction> <scene_description>Anna and Ashley hold a rope for Lucy, showing her how to jump the rope. Samantha comes in carrying shopping bags. Ashley and Lucy run up to greet her. They kiss their grandmother and take the bags from her, then run back to join Anna.</scene_description> <character>ROBERT</character> <dialogue>Thanks Samantha.</dialogue> <character>SAMANTHA</character> <dialogue>My pleasure.</dialogue> <scene_description>Anna looks nervous, not sure what to do.</scene_description> <character>SAMANTHA</character> <dialogue>Hi Anna. I would have gotten you a present too...</dialogue> <character>OLIVIA</character> <dialogue>To get Sylvia even more upset?</dialogue> <character>SAMANTHA</character> <dialogue>Should I leave?</dialogue> <character>OLIVIA</character> <dialogue>No mom... would you like some coffee?</dialogue> <character>SAMANTHA</character> <dialogue>Yes.</dialogue> <character>OLIVIA</character> <dialogue>Anna?</dialogue> <character>ANNA</character> <dialogue>A coke.</dialogue> <scene_description>Olivia heads into the kitchen.</scene_description> <character>ROBERT</character> <dialogue>Were you able to make the Airbnb a long term rental?</dialogue> <character>SAMANTHA</character> <dialogue>I talked to the owner. He's formalizing it.</dialogue> <scene_description>Samantha pulls up a chair so Anna can sit next to her. Robert joins Olivia in the kitchen.</scene_description> <character>SAMANTHA</character> <dialogue>I've seen pictures of you, Anna. Olivia shows them to me. It's so nice to finally see you in person.</dialogue> <scene_description>Anna knows she shouldn't be talking to her grandmother.</scene_description> <character>SAMANTHA</character> <dialogue>You look like your mother.</dialogue> <character>ANNA</character> <dialogue>We all look alike.</dialogue> <character>SAMANTHA</character> <dialogue>Thank goodness no one took after your grandpa.</dialogue> <scene_description>Samantha is kidding.</scene_description> <character>SAMANTHA</character> <dialogue>May he rest in peace.</dialogue> <scene_description>Anna smiles. Robert and Olivia come back with drinks.</scene_description> <character>SAMANTHA</character> <dialogue>I'll have my coffee and get going. I don't want to upset your mom.</dialogue> <character>ANNA</character> <dialogue>I won't tell.</dialogue> <scene_description>Lucy joins them in the dining room. She wears a new shirt. Ashley takes a bit longer to show off her new coat. Samantha makes them twirl - taking pleasure in how they look wearing their gifts. Lucy takes her grandmother by the hand and guides her back to her room.</scene_description> <character>LUCY</character> <dialogue>Come to my room and I'll show you the rest...</dialogue> <scene_description>Samantha lets herself be guided. Ashley follows.</scene_description> <character>ASHLEY</character> <parenthetical>(to Anna)</parenthetical> <dialogue>Come on!</dialogue> <scene_description>Anna follows.</scene_description> </scene> <scene> <stage_direction>INT. SUSHI RESTAURANT. NIGHT</stage_direction> <scene_description>The waiter finishes taking Sylvia and Anna's order at the bar.</scene_description> <character>WAITER</character> <dialogue>One eel bowl, marinated Tuna roll, one edamame and two miso soups.</dialogue> <character>ANNA</character> <dialogue>Yes.</dialogue> <scene_description>The waiter leaves.</scene_description> <character>ANNA</character> <dialogue>How's your new job?</dialogue> <character>SYLVIA</character> <dialogue>Great.</dialogue> <character>ANNA</character> <dialogue>Are you gonna stop working at the residence?</dialogue> <character>SYLVIA</character> <dialogue>No, but I'll be taking care of Saul on the weekends, too.</dialogue> <scene_description>A YOUNG WAITER, handsome and young, arrives holding a pitcher.</scene_description> <character>YOUNG WAITER</character> <dialogue>Would you like some water?</dialogue> <character>ANNA</character> <dialogue>Yes, please.</dialogue> <character>YOUNG WAITER</character> <dialogue>With or without ice?</dialogue> <character>ANNA</character> <dialogue>Without... actually with.</dialogue> <scene_description>They smile at each other.</scene_description> <character>SYLVIA</character> <parenthetical>(to the young waiter)</parenthetical> <dialogue>How old are you?</dialogue> <character>YOUNG WAITER</character> <dialogue>Fifteen.</dialogue> <character>SYLVIA</character> <dialogue>What are you doing working at night?</dialogue> <character>YOUNG WAITER</character> <dialogue>It's my dad's restaurant... with or without ice?</dialogue> <character>SYLVIA</character> <dialogue>Without.</dialogue> <scene_description>As he pours water in Sylvia's glass he and Anna smile at each other. He leaves. Their mutual attraction is obvious - Sylvia is taken aback. The moment becomes uncomfortable.</scene_description> <character>SYLVIA</character> <dialogue>That kid's a character...</dialogue> <scene_description>Anna smiles.</scene_description> <character>ANNA</character> <dialogue>I want to go on a date.</dialogue> <scene_description>Sylvia's mood shifts.</scene_description> <character>SYLVIA</character> <dialogue>Don't start. We've talked about this.</dialogue> <character>ANNA</character> <dialogue>He's in my class. I'm the only girl in my class who doesn't have a boyfriend.</dialogue> <character>SYLVIA</character> <dialogue>What would you do with a boyfriend?</dialogue> <character>ANNA</character> <dialogue>Forget it mom.</dialogue> <scene_description>Another waiter arrives and pours each of them a cup of green tea.</scene_description> </scene> <scene> <stage_direction>EXT. SAUL'S HOUSE. DAY</stage_direction> <scene_description>It's Saturday. Sylvia rushes towards Saul's house, talking on the phone.</scene_description> <character>SYLVIA</character> <dialogue>Yes... I'm here... Okay.</dialogue> <scene_description>Isaac is giving her directions on the other end of the line.</scene_description> <character>SYLVIA</character> <dialogue>I see them...</dialogue> <scene_description>Reaching behind a potted plant, she picks up the house keys and opens the front door.</scene_description> <character>SYLVIA</character> <dialogue>I'm opening the door... okay. Bye.</dialogue> <scene_description>She ends the call, walks inside and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - HALLWAY / BATHROOM / SAUL'S BEDROOM.</stage_direction> <character>SYLVIA</character> <dialogue>Hello! I'm here!</dialogue> <scene_description>No answer. Sylvia heads for Saul's bedroom. He's not there. She hears the sound of the shower running.</scene_description> <character>SYLVIA</character> <dialogue>I'm here! I...</dialogue> <scene_description>She hears a groan. She hesitates before opening the bathroom door, until the sound of Saul's groaning grows more alarming. She walks in and finds Saul in a foetal position on the floor of the shower, disoriented. She goes to help him up. He looks at her, confused.</scene_description> <character>SYLVIA</character> <dialogue>Where are you hurt?</dialogue> <scene_description>He doesn't answer. He manages to get to his feet. They make it to the bed. She checks his body, doesn't find any damage.</scene_description> <character>SYLVIA</character> <dialogue>Did you hit your head?</dialogue> <scene_description>She continues looking for a surface wound, but everything looks fine. She goes to the bathroom and turns the shower off. When she gets back she finds him stretched out naked on the bed. She covers him with a sheet and examines his pupils.</scene_description> <character>SYLVIA</character> <dialogue>Can you hear me?</dialogue> <character>SAUL</character> <dialogue>Yes.</dialogue> <character>SYLVIA</character> <dialogue>I'm calling Isaac so he can send in a doctor.</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <scene_description>Saul sits up on the bed.</scene_description> <character>SAUL</character> <dialogue>I'm okay now.</dialogue> <character>SYLVIA</character> <dialogue>How long have you been lying there?</dialogue> <character>SAUL</character> <dialogue>I don't know.</dialogue> <scene_description>He looks anguished but makes an effort to show he's okay.</scene_description> <character>SAUL</character> <dialogue>I'll get dressed. Don't worry.</dialogue> <character>SYLVIA</character> <dialogue>Are you sure?</dialogue> <character>SAUL</character> <dialogue>Yes. I'm hungry.</dialogue> <scene_description>His behavior reassures Sylvia - but now his nudity makes her uncomfortable.</scene_description> <character>SYLVIA</character> <dialogue>I'll see you in the kitchen.</dialogue> <character>SAUL</character> <dialogue>Thank you.</dialogue> <scene_description>Sylvia leaves. Saul is angry with himself. He slowly gets to his feet. He goes to the dressing room, and picks clothes. He looks at his reflection in the mirror as he gets dressed. Upon examination, he decides he looks like a stranger - one he wouldn't like.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. KITCHEN. DAY</stage_direction> <scene_description>Sylvia and Saul are washing the dishes. They're listening to "A whiter shade of pale" by Procol Harum. Saul is telling Sylvia some fun facts about the songs and he talks about his wife.</scene_description> <character>SYLVIA</character> <dialogue>I didn't know you were married.</dialogue> <character>SAUL</character> <dialogue>I was. She passed away a long time ago.</dialogue> <character>SYLVIA</character> <dialogue>I'm sorry.</dialogue> <scene_description>There's an awkward silence in the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE. NIGHT.</stage_direction> <character>INSERT PHONE SCREEN: PICTURES OF KIDS ON WHEELCHAIRS.</character> <dialogue>Anna is looking at the pictures. In some of them Samantha is hugging the kids.</dialogue> <character>SAMANTHA</character> <dialogue>I want to do the same here. I've been in contact with a few organizations.</dialogue> <character>ANNA</character> <dialogue>You pay for the wheelchairs?</dialogue> <character>SAMANTHA</character> <dialogue>I find the donors.</dialogue> <character>ANNA</character> <dialogue>Are you staying here, for sure?</dialogue> <character>SAMANTHA</character> <dialogue>It doesn't make sense for me to go back to Miami when you're here. What would I go back for?</dialogue> <character>ANNA</character> <dialogue>When did Grandpa pass away?</dialogue> <character>SAMANTHA</character> <dialogue>Less than a year ago.</dialogue> <scene_description>Anna looks at the pictures.</scene_description> <character>ANNA</character> <dialogue>Why did you and mom stop talking?</dialogue> <character>SAMANTHA</character> <dialogue>Your mother was out drinking and going out with boys when she was your age. She was out of control, I couldn't handle her. She kept lying. She would then ask me to stand up for her and for the things she did while she was drunk...</dialogue> <character>ANNA</character> <dialogue>Lying?</dialogue> <character>SAMANTHA</character> <dialogue>She kept making things up... it's similar to what happened with that man she's working for now.</dialogue> <scene_description>Anna doesn't see what her grandmother is getting at. Samantha elaborates.</scene_description> <character>SAMANTHA</character> <dialogue>Your mother accused him for something he wasn't guilty of... She's always been hard to deal with.</dialogue> <character>ANNA</character> <dialogue>Not with me.</dialogue> <character>SAMANTHA</character> <dialogue>That's different, she's a good mother. Though maybe a bit controlling with you, isn't she?</dialogue> <character>ANNA</character> <dialogue>Maybe.</dialogue> <character>SAMANTHA</character> <dialogue>I'd say not allowing you and I to see each other is controlling.</dialogue> <character>ANNA</character> <dialogue>You stopped talking because of what happened to her in school?</dialogue> <character>SAMANTHA</character> <dialogue>When I stopped standing up for the things she lied about, she stopped talking to us.</dialogue> <scene_description>Anna feels bad letting her mother be talked about in this way. She considers what her grandmother has said.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - KITCHEN. NIGHT</stage_direction> <scene_description>Saul listens music while eating on the kitchen counter and writing some notes in his notebook. Sylvia does the dishes. Isaac hurries inside.</scene_description> <character>ISAAC</character> <dialogue>I'm sorry I'm late... is everything OK?</dialogue> <character>SYLVIA</character> <dialogue>Yes, but now I'm running late myself.</dialogue> <scene_description>Isaac pulls out a set of keys, places them on the counter.</scene_description> <character>ISAAC</character> <dialogue>It's better if you have your own.</dialogue> <character>SYLVIA</character> <dialogue>There's leftover pasta if you're hungry. My daughter is waiting for me.</dialogue> <scene_description>Sylvia readies herself to leave. She grabs the keys, looks for her purse.</scene_description> <character>ISAAC</character> <dialogue>Could you come tomorrow?</dialogue> <character>SYLVIA</character> <dialogue>Only if I can bring my daughter.</dialogue> <character>ISAAC</character> <dialogue>Of course.</dialogue> <character>SYLVIA</character> <dialogue>See you tomorrow.</dialogue> <character>SAUL</character> <dialogue>Thank you.</dialogue> <scene_description>Sylvia and Saul exchange smiles. She leaves.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. DAY</stage_direction> <scene_description>Sylvia watches Anna and Saul play GUESS WHO.</scene_description> <character>ANNA</character> <dialogue>Does he have a mustache?</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <scene_description>Anna eliminates three characters.</scene_description> <character>SAUL</character> <dialogue>Is it a man?</dialogue> <character>ANNA</character> <dialogue>Yes.</dialogue> <scene_description>Saul eliminates half of the characters.</scene_description> <character>ANNA</character> <dialogue>Does he have a hat?</dialogue> <character>SAUL</character> <dialogue>Yes.</dialogue> <scene_description>Anna eliminates four characters.</scene_description> <character>SAUL</character> <dialogue>Is he a redhead?</dialogue> <character>ANNA</character> <dialogue>Yes.</dialogue> <scene_description>Saul eliminates all but three of the characters.</scene_description> <character>ANNA</character> <dialogue>Does he wear glasses?</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <scene_description>An alarm sounds on Sylvia's phone.</scene_description> <character>SYLVIA</character> <dialogue>The oven.</dialogue> <scene_description>She rushes to the kitchen.</scene_description> <character>SAUL</character> <dialogue>Is it your turn or mine?</dialogue> <character>ANNA</character> <dialogue>My turn.</dialogue> <character>SAUL</character> <dialogue>Are you sure?</dialogue> <scene_description>An alarm sounds on Saul's phone.</scene_description> <character>SAUL</character> <dialogue>Time for my pills.</dialogue> <scene_description>Saul tries to stand up but Sylvia stops him.</scene_description> <character>SYLVIA</character> <dialogue>Oh, don't worry. I'll bring your pills. You two keep playing.</dialogue> <scene_description>Anna and Saul continues with the game.</scene_description> </scene> <scene> <stage_direction>EXT. SAUL'S HOUSE / OLIVIA'S CAR. DUSK.</stage_direction> <scene_description>Olivia pulls up in an Uber in front of Saul's house. Anna kisses Sylvia goodbye and walks out, greeting Olivia who has stepped out for a moment.</scene_description> <character>SYLVIA</character> <dialogue>Thanks!</dialogue> <character>OLIVIA</character> <dialogue>Have you decided if you're quitting yet?</dialogue> <character>SYLVIA</character> <dialogue>Yes. I told Karen.</dialogue> <scene_description>Saul joins Sylvia on the doorstep.</scene_description> <character>OLIVIA</character> <dialogue>I never liked it there. Lots of weird people, right? Hi! You must be Saul. Olivia. Sylvia's sister.</dialogue> <scene_description>Saul smiles.</scene_description> <character>SYLVIA</character> <dialogue>Thanks again for taking Anna.</dialogue> <scene_description>Sylvia waves goodbye. Olivia gets back in the Uber with Anna and they drive away.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - STUDY. NIGHT</stage_direction> <scene_description>Saul and Sylvia are watching a film on TV. He's lying on the bed, nodding off. The sentimental film moves Sylvia - she tries not to cry. Sylvia glances over at Saul. She sees him sleeping, turns her attention back to the film. A scene makes her cry. She tries to be quiet as she sobs. Saul opens his eyes and watches her cry, then starts sobbing. Worried, Sylvia mutes the volume. His weeping starts to sound like a panic attack. She embraces him. He gradually calms down, like a child in his mother's arms. Sylvia hugs him, caressing the back of his head. She watches the muted film and rocks Saul back to sleep. She continues crying silently, without waking him. She cradles him - her eyes glued to the television set.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - STUDY / STAIRS / HALLWAY. DAY</stage_direction> <scene_description>Sylvia and Saul have spent the night in each other's arms and are in a deep, peaceful sleep. They don't hear the front door open.</scene_description> <character>SARA (O.S.)</character> <dialogue>Hello!</dialogue> <scene_description>Sylvia continues to sleep while Saul momentarily opens his eyes, then shuts them again.</scene_description> <character>SARA (O.S.)</character> <dialogue>Saul?</dialogue> <scene_description>The door inches open. Sara peeks inside, and smiles to see them asleep together. She pulls her phone out and snaps a photo. Sylvia wakes up and sees Sara walking away from the room. Sylvia sits up, dressed in her clothes from the day before. Groggy, she off the couch. She walks out the room, embarrassed when she's confronted by Sara.</scene_description> <character>SYLVIA</character> <dialogue>It's not what it looks like.</dialogue> <scene_description>Sara remains quiet.</scene_description> <character>SYLVIA</character> <dialogue>He started crying last night while we were watching a film. I wanted to help.</dialogue> <scene_description>Sylvia gets increasingly upset. She takes out the house keys from her purse and leaves them on the table.</scene_description> <character>SARA</character> <dialogue>I see...</dialogue> <scene_description>Sylvia heads for the front door and leaves the house. Saul comes out of his room.</scene_description> <character>SAUL</character> <dialogue>Where is she?</dialogue> <character>SARA</character> <dialogue>She left.</dialogue> </scene> <scene> <stage_direction>INT. SYLVIA'S HOUSE. BEDROOM. DAY.</stage_direction> <scene_description>Sylvia arrives to her house and hurries to the bed. She lies there, crying.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL / STREET. DAY</stage_direction> <scene_description>Sylvia waits outside school. Anna comes out.</scene_description> <character>ANNA</character> <dialogue>Wasn't Olivia supposed to come?</dialogue> <character>SYLVIA</character> <dialogue>She's not picking up her phone. She's probably with Samantha.</dialogue> <character>ANNA</character> <dialogue>Why aren't you with Saul?</dialogue> <scene_description>They start walking.</scene_description> <character>SYLVIA</character> <dialogue>Does Samantha visit them often?</dialogue> <character>ANNA</character> <dialogue>I don't know mom.</dialogue> <scene_description>Sylvia knows she should stop probing, but can't help herself.</scene_description> <character>SYLVIA</character> <dialogue>Do they mention her when you're around?</dialogue> <character>ANNA</character> <dialogue>No, mom.</dialogue> <scene_description>Anna feels bad lying.</scene_description> </scene> <scene> <stage_direction>68A EXT/INT. SYLVIA'S APARTMENT / MARK'S CAR. DAY 68A</stage_direction> <scene_description>Sylvia and Anna approach the house - surprised to find Saul and Sara waiting outside with Isaac's car.</scene_description> <character>SAUL</character> <dialogue>Can we talk?</dialogue> <character>SYLVIA</character> <dialogue>Anna, go inside.</dialogue> <scene_description>Anna complies. Sara realizes Sylvia is still upset.</scene_description> <character>SARA</character> <dialogue>I'll leave you two.</dialogue> <scene_description>Sara gets back into Isaac's car to give them some privacy.</scene_description> <character>SAUL</character> <dialogue>Why did you leave?</dialogue> <character>SYLVIA</character> <dialogue>I don't want things to get complicated.</dialogue> <character>SAUL</character> <dialogue>What do you mean?</dialogue> <character>SYLVIA</character> <dialogue>I got my job back... it's better for me to stick to a routine.</dialogue> <character>SAUL</character> <dialogue>Why do you want to stop working with me?</dialogue> <scene_description>Sylvia won't say what she's thinking.</scene_description> <character>SAUL</character> <dialogue>Is it because Sara walked in on us?</dialogue> <character>SYLVIA</character> <dialogue>I'm glad we met, really.</dialogue> <scene_description>Sylvia goes inside her house. Saul goes back to the car and gets in. He takes out his notebook and scribbles something down. Sara watches him in the rear-view mirror.</scene_description> </scene> <scene> <stage_direction>68B INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM / KITCHEN. DAY 68B</stage_direction> <scene_description>Sylvia enters the house. Anna's been watching through Sylvia's bedroom window.</scene_description> <character>ANNA</character> <dialogue>They're not coming in?</dialogue> <character>SYLVIA</character> <dialogue>No.</dialogue> <character>ANNA</character> <dialogue>They didn't want to or you wouldn't let them?</dialogue> <scene_description>Anna walks over to the window and watches the car drive off.</scene_description> <character>ANNA</character> <dialogue>Are you mad at Saul?</dialogue> <character>SYLVIA</character> <dialogue>No.</dialogue> <character>ANNA</character> <dialogue>What did he do?</dialogue> <character>SYLVIA</character> <dialogue>Nothing.</dialogue> <scene_description>Pensive, Sylvia walks into the kitchen and washes her hands.</scene_description> <character>ANNA</character> <dialogue>Why don't you ever tell me the truth?</dialogue> <scene_description>Sylvia ignores Anna.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - SAUL'S BEDROOM. CONTINUOUS</stage_direction> <scene_description>Isaac on the phone:</scene_description> <character>ISAAC</character> <dialogue>Let me know so I know if I need to cancel my afternoon appointments... OK... thank you Sylvia.</dialogue> <scene_description>Isaac hangs up. Saul is next to him.</scene_description> <character>SAUL</character> <dialogue>Why isn't she coming?</dialogue> <character>ISAAC</character> <dialogue>She said she couldn't. I didn't ask why.</dialogue> <scene_description>The news upset Saul.</scene_description> <character>ISAAC</character> <dialogue>I'm going to have to cancel my date with Rachel.</dialogue> <scene_description>Saul isn't really paying attention.</scene_description> <character>ISAAC</character> <dialogue>Would you come?</dialogue> <character>SAUL</character> <dialogue>I don't want to see Rachel, and you don't have to cancel your appointments.</dialogue> <character>ISAAC</character> <dialogue>You're staying here, locked up all day?</dialogue> <character>SAUL</character> <dialogue>I'd rather stay here than be taken on your date like a pet.</dialogue> <scene_description>Isaac doesn't want to argue - he lets his brother be.</scene_description> <character>SAUL</character> <dialogue>Could you lend me a notebook?</dialogue> <character>ISAAC</character> <dialogue>Yeah... sure.</dialogue> <scene_description>Isaac dials a number on his phone and walks out of Saul's room.</scene_description> <character>ISAAC (O.S.)</character> <dialogue>Hey, sorry I can't make it tonight...</dialogue> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. BEDROOM. NIGHT.</stage_direction> <scene_description>Saul is lying on the bed, he seems depressed. In his phone, "A whiter shade of pale" is playing. Saul repeats the song over and over.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. KITCHEN. DAY</stage_direction> <scene_description>Isaac is taking some coffee and getting ready to leave. Saul is looking through the window.</scene_description> <character>ISAAC</character> <dialogue>I couldn't find anyone to help us today so you'll have to stay here alone.</dialogue> <character>SAUL</character> <dialogue>It's okay.</dialogue> <character>ISAAC</character> <dialogue>Unless you want to stay with the neighbors.</dialogue> <character>SAUL</character> <dialogue>No.</dialogue> <character>ISAAC</character> <dialogue>Okay. Call me if you need anything.</dialogue> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. HALLWAY. DAY.</stage_direction> <scene_description>Saul is fixing his hair in front of the mirror. He picks up a jacket and goes outside. A note in the door says DO NOT WALK OUT! Saul ignores it.</scene_description> </scene> <scene> <stage_direction>INT. UBER. DAY.</stage_direction> <scene_description>Saul is in the backseat of an uber, silent.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE. DAY</stage_direction> <scene_description>Karen opens the door to let Saul in, who is outside.</scene_description> <character>KAREN</character> <dialogue>Hello, may I help you?</dialogue> <character>SAUL</character> <dialogue>I'm looking for Feinstein House.</dialogue> <character>KAREN</character> <dialogue>This is it.</dialogue> <character>SAUL</character> <dialogue>Is Sylvia here?</dialogue> <character>KAREN</character> <dialogue>Yes, she's here. What is your name?</dialogue> <character>SAUL</character> <dialogue>Saul.</dialogue> <character>KAREN</character> <dialogue>Okay. Wait here please.</dialogue> <scene_description>He catches Sylvia's eye, and walks up to her.</scene_description> <character>SYLVIA</character> <dialogue>What are you doing here?</dialogue> <character>SAUL</character> <dialogue>I need to talk to you.</dialogue> <character>SYLVIA</character> <dialogue>What happened?</dialogue> <character>SAUL</character> <dialogue>Can we go somewhere private?</dialogue> <character>SYLVIA</character> <dialogue>Of course...</dialogue> <scene_description>Sylvia calls out to Jessica, still drying dishes in the small kitchen.</scene_description> <character>SYLVIA</character> <dialogue>I'll be back in a minute.</dialogue> <scene_description>She gestures for Saul to follow her.</scene_description> </scene> <scene> <stage_direction>EXT. ADULT RESIDENCE. DAY</stage_direction> <scene_description>She leads Saul to a pantry full of dry foods and turns on the light, closing the door. She looks worried.</scene_description> <character>SYLVIA</character> <dialogue>What's going on?</dialogue> <scene_description>Saul doesn't say anything.</scene_description> <character>SYLVIA</character> <dialogue>I need to get back to work...</dialogue> <scene_description>He closes the door behind them. He kisses her. She's a bit surprised - unused to the romance, let alone in her work setting. He stops and looks at her - was it a bad idea? But she smiles and pulls him back, kissing him. A box of crackers falls on Saul's head - they burst out laughing.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL. DAY</stage_direction> <scene_description>Sylvia and Saul walk to school and wait for Anna. Teenagers start walking out. Anna appears and notices them. She's surprised to see Saul.</scene_description> <character>ANNA</character> <dialogue>Hey.</dialogue> <scene_description>Saul waves hello.</scene_description> <character>SYLVIA</character> <dialogue>Saul came by. He's joining us for dinner.</dialogue> <scene_description>Anna smiles, trying to be polite.</scene_description> <character>ANNA</character> <dialogue>Can we get pizza?</dialogue> <character>SYLVIA</character> <dialogue>I was thinking of making something with what we have at home.</dialogue> <scene_description>Sylvia's response further sinks Anna's mood. The trio walk home.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S HOUSE. DAY</stage_direction> <scene_description>Sylvia, Saul and Anna are taking lunch in the terrace.</scene_description> <character>ANNA</character> <dialogue>I told you I wanted pizza.</dialogue> <character>SAUL</character> <dialogue>I can go to get pizza. Or I can call them.</dialogue> <character>SYLVIA</character> <dialogue>No. We're not giving in to this behavior.</dialogue> <character>ANNA</character> <dialogue>What behavior? I just wanted pizza.</dialogue> <character>SAUL</character> <dialogue>This is spicy.</dialogue> <character>ANNA</character> <dialogue>Exactly. You know I don't like spicy...</dialogue> <character>SYLVIA</character> <dialogue>Both of you are belittling me as a chef.</dialogue> <scene_description>The three of them starts laughing.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. NIGHT</stage_direction> <scene_description>Saul is asleep in front of the TV. Sylvia puts a blanket over him. Anna and Sylvia are watching a show with the volume low.</scene_description> <character>ANNA</character> <dialogue>I thought you weren't working with him anymore.</dialogue> <character>SYLVIA</character> <dialogue>I'm not. I'll be back with Karen on Monday.</dialogue> <character>ANNA</character> <dialogue>I don't get it. Why's he here, then?</dialogue> <character>SYLVIA</character> <dialogue>He's here as a friend.</dialogue> <scene_description>They continue watching the TV. Anna is confused. The door buzzer sounds. Sylvia stands and checks who it is. Saul wakes.</scene_description> <character>ISAAC (O.S)</character> <dialogue>Hi Sylvia. Is Saul there?</dialogue> <character>SYLVIA</character> <dialogue>He is. I'll buzz you.</dialogue> <scene_description>Isaac climbs the stairs and enters Sylvia's.</scene_description> <character>ISAAC</character> <dialogue>I've been looking all over for you.</dialogue> <scene_description>Saul sits up.</scene_description> <character>SAUL</character> <dialogue>Don't start.</dialogue> <character>ISAAC</character> <dialogue>What are you doing here?</dialogue> <character>SAUL</character> <dialogue>I came to visit.</dialogue> <character>ISAAC</character> <dialogue>You specifically do what I ask you not to do.</dialogue> <character>SAUL</character> <dialogue>I forgot what you told me not to do.</dialogue> <character>ISAAC</character> <dialogue>Fuck off.</dialogue> <character>SYLVIA</character> <dialogue>Hey!</dialogue> <scene_description>Sylvia tries to get Isaac to stop shouting, which pisses him off even more.</scene_description> <character>ISAAC</character> <parenthetical>(to Sylvia)</parenthetical> <dialogue>I've been calling you. Why haven't you picked up?</dialogue> <character>SYLVIA</character> <dialogue>I haven't looked at my phone.</dialogue> <character>ISAAC</character> <dialogue>What is wrong with you??</dialogue> <character>SYLVIA</character> <dialogue>Excuse me?</dialogue> <scene_description>Isaac raises his voice. Anna is scared.</scene_description> <character>ISAAC</character> <dialogue>Sara showed me the picture of you two.</dialogue> <character>SYLVIA</character> <dialogue>Lower your voice.</dialogue> <scene_description>Isaac grabs Saul by the arm.</scene_description> <character>ISAAC</character> <dialogue>Let's go. We'll talk on the way home.</dialogue> <scene_description>Saul shakes himself free and walks up to Sylvia.</scene_description> <character>SAUL</character> <dialogue>Would you mind if I stay longer?</dialogue> <character>SYLVIA</character> <dialogue>Of course not.</dialogue> <character>SAUL</character> <parenthetical>(to Isaac)</parenthetical> <dialogue>Get out.</dialogue> <scene_description>Isaac leaves, slamming the door behind him.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - ANNA'S BEDROOM / SYLVIA'S BEDROOM.</stage_direction> <character>NIGHT</character> <dialogue>Anna and Sylvia finish putting fresh sheets on Anna's bed.</dialogue> <character>ANNA</character> <dialogue>Good night.</dialogue> <character>SAUL</character> <dialogue>Thanks for lending me your room.</dialogue> <scene_description>Anna smiles and leaves.</scene_description> <character>SYLVIA</character> <dialogue>Got all you need?</dialogue> <character>SAUL</character> <dialogue>Thanks.</dialogue> <scene_description>He smiles.</scene_description> <character>SYLVIA</character> <dialogue>Night.</dialogue> <scene_description>Sylvia smiles back, closes the door and heads back to her room. Anna is already in bed. Sylvia lies down next to her. They hug. Sylvia turns off the light.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM / ANNA'S BEDROOM.</stage_direction> <character>DAY</character> <dialogue>It's early in the morning. Sylvia is up. She wakes Anna.</dialogue> <character>SYLVIA</character> <dialogue>Wake up. It's late.</dialogue> <character>ANNA</character> <dialogue>Okay...</dialogue> <scene_description>Anna gets out of bed and goes to her room. She knocks on the door.</scene_description> <character>ANNA</character> <dialogue>It's me!</dialogue> <character>SAUL (O.S.)</character> <dialogue>Come in.</dialogue> <scene_description>Anna opens the door to find Saul stark naked - just out of the shower.</scene_description> <character>SAUL</character> <dialogue>Good morning.</dialogue> <scene_description>Anna is stunned, she turns around and hurries off. Saul doesn't understand what just happened - he continues drying himself with his towel. Sylvia checks in a moment later. She tries to draw Saul's attention to the fact that he is naked. He's suddenly embarrassed and covers himself with the towel. Sylvia knows he didn't mean anything bad by it. Sylvia collects Anna's clothes, closes the door and goes to her room.</scene_description> <character>ANNA</character> <dialogue>Would it be ok if I stay with Ashley if Saul's staying tonight?</dialogue> <character>SYLVIA</character> <dialogue>He doesn't have to stay...</dialogue> <character>ANNA</character> <dialogue>You like him, he should stay.</dialogue> <character>SYLVIA</character> <dialogue>Okay... you know he doesn't realize the things he does sometimes.</dialogue> <character>ANNA</character> <dialogue>I know.</dialogue> <character>SYLVIA</character> <dialogue>Go take a shower.</dialogue> <scene_description>Sylvia walks out.</scene_description> </scene> <scene> <stage_direction>INT. LUCIEN. DAY</stage_direction> <scene_description>Sylvia and Saul are looking at the menu in a fancy restaurant. The waiter approaches.</scene_description> <character>WAITRESS</character> <dialogue>Welcome, it's been a while.</dialogue> <scene_description>Saul nods, and smiles at Sylvia.</scene_description> <character>WAITRESS</character> <dialogue>The usual appetizers?</dialogue> <character>SAUL</character> <dialogue>We'll take a look at the menu, thanks.</dialogue> <scene_description>The waiter leaves.</scene_description> <character>SYLVIA</character> <dialogue>What are the usual appetizers?</dialogue> <character>SAUL</character> <dialogue>I have no idea.</dialogue> <scene_description>Sylvia can't help but laugh.</scene_description> <character>SYLVIA</character> <dialogue>You do remember the waiter?</dialogue> <scene_description>Saul shake his head. They both laugh out loud.</scene_description> </scene> <scene> <stage_direction>INT. LUCIEN. DAY</stage_direction> <scene_description>Sylvia comes out of the bathroom and joins Saul at their table. They're done eating. The waitress brings the bill. Saul gestures that he wants to pay with his smartphone.</scene_description> <character>WAITRESS</character> <dialogue>I'll get the terminal.</dialogue> <character>SYLVIA</character> <dialogue>Thanks.</dialogue> <character>SAUL</character> <dialogue>My pleasure.</dialogue> <scene_description>The waitress comes back with the card machine. Sylvia gives Saul his card, but the payment is declined. They try again: declined. Sylvia takes out her card, but Saul won't allow it.</scene_description> <character>WAITRESS</character> <dialogue>Would you like us to check with your bank and see if we can validate the payment?</dialogue> <character>SAUL</character> <dialogue>Yes, please.</dialogue> <scene_description>The waitress leaves. Sylvia calls a different WAITER over.</scene_description> <character>SYLVIA</character> <dialogue>Can we have the check, please?</dialogue> <scene_description>The waiter takes a moment to come back with the card machine. Sylvia's card passes instantly.</scene_description> <character>SAUL</character> <dialogue>Hold onto the receipt. I'm paying you back.</dialogue> <character>SYLVIA</character> <dialogue>Are you crazy?</dialogue> <scene_description>They get up and put on their coats. The waiter comes back.</scene_description> <character>WAITRESS</character> <dialogue>I've been told the account is blocked.</dialogue> <character>SAUL</character> <dialogue>He's an asshole.</dialogue> <scene_description>They thank the waiter and leave. Sylvia looks worried.</scene_description> </scene> <scene> <stage_direction>EXT. OLIVIA'S HOUSE - GARDEN. DAY</stage_direction> <scene_description>The family is having a picnic. Robert and Mark are passing a baseball around. Olivia is grilling. Lucy, Ashley and Anna play with the dog, pretending to throw a ball, the dog is confused. Samantha sits down on the grass. The dog jumps on her. Lucy goes to Samantha's rescue.</scene_description> <character>SAMANTHA</character> <dialogue>Anna!</dialogue> <scene_description>Anna has taken a liking to Samantha - she enjoys spending time with her. They sit next to each other while Lucy and Ashley continue playing with the dog.</scene_description> <character>SAMANTHA</character> <dialogue>You don't drink with friends, do you?</dialogue> <character>ANNA</character> <dialogue>No. My mom hardly ever lets me go out. But I don't like drinking.</dialogue> <character>SAMANTHA</character> <dialogue>Does Ashley smoke or just drink alcohol?</dialogue> <character>ANNA</character> <dialogue>I think she stopped smoking.</dialogue> <character>SAMANTHA</character> <dialogue>You're a good girl.</dialogue> <character>ANNA</character> <dialogue>Why did you let mom drink?</dialogue> <character>SAMANTHA</character> <dialogue>You think she asked for permission?</dialogue> <scene_description>Anna remains quiet, Samantha strokes her hair.</scene_description> <character>SAMANTHA</character> <dialogue>Sylvia was a sweet child... Olivia was always jealous of her. Your mom was my favorite. But when she hit her teens she started looking for trouble...</dialogue> <character>ANNA</character> <dialogue>Did she get along with Grandpa better?</dialogue> <character>SAMANTHA</character> <dialogue>She didn't.</dialogue> <character>ANNA</character> <dialogue>Too bad we never met.</dialogue> <scene_description>Mark interrupts, handing Anna a hotdog.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM. NIGHT</stage_direction> <scene_description>Sylvia and Saul enter the house. She drops her purse on the couch. There's tension in the air. They enter her bedroom and they start kissing and undressing each other and make love in an awkward way.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE - FRONT DOOR TO BEDROOM. DAY</stage_direction> <scene_description>Saul unlocks the front door and enters. Sylvia follows him to his bedroom. He takes a suitcase out of the closet. Sylvia helps him pack. Isaac walks in.</scene_description> <character>ISAAC</character> <dialogue>Why are you packing?</dialogue> <scene_description>They ignore Isaac and continue packing.</scene_description> <character>ISAAC</character> <dialogue>You are not sufficiently aware of what you're doing to make rational decisions...</dialogue> <character>SAUL</character> <dialogue>Unblock my account! Or I swear I'll kick you out of my house!</dialogue> <scene_description>Isaac walks out. Saul and Sylvia continue packing in silence. Saul sees the A Whiter Shade of Pale vinyl on his chest of drawers, but decides to leave it there.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM. NIGHT</stage_direction> <scene_description>Saul and Sylvia have eaten dinner naked in bed. We see the remaining crackers, salmon and cream cheese on a tray. Sylvia's phone - it's Anna. She answers, putting Anna on loudspeaker.</scene_description> <character>SYLVIA</character> <dialogue>Hi sweetie, how are you?</dialogue> <character>ANNA (V.O.)</character> <dialogue>Hi mom... can I stay over at Ashley's again tonight?</dialogue> <character>SYLVIA</character> <dialogue>I thought we were going to have dinner the three of us...</dialogue> <character>ANNA (V.O.)</character> <dialogue>C'mon mom. Olivia will drive me over tomorrow after lunch.</dialogue> <scene_description>Saul looks at Sylvia, convincing her to let Anna stay at her cousin's.</scene_description> <character>SYLVIA</character> <dialogue>OK. See you tomorrow then.</dialogue> <scene_description>She hangs up.</scene_description> <character>SYLVIA</character> <dialogue>She is gonna stay at Olivia's again.</dialogue> <scene_description>Saul opts to cheer her up. Sylvia smiles. INSERT: SYLVIA WRITES HER NAME AND INFORMATION DOWN ON A CARD. Sylvia takes off the old card from Sara's handmade necklace and attaches the new one with her address. She hangs it round his neck.</scene_description> <character>SYLVIA</character> <dialogue>I have made myself your new emergency contact.</dialogue> <character>SAUL</character> <dialogue>Nice.</dialogue> <scene_description>He models his look. They laugh.</scene_description> </scene> <scene> <stage_direction>INT. OLIVIA'S HOUSE. DAY</stage_direction> <scene_description>Robert and Olivia watch TV while Mark and Lucy play Twister with Samantha. We hear Anna and Ashley play with the dog in one of the rooms. The doorbell rings. Olivia gets up from the couch and opens. She's surprised to see Sylvia and Saul. They walk in - Saul carries an ice cream tub. Sylvia notices Samantha.</scene_description> <character>SYLVIA</character> <dialogue>Where's Anna?</dialogue> <scene_description>Olivia feels caught out. She doesn't know what to say in order to avoid a fight. Sylvia's nerves threaten to break under her mother's gaze.</scene_description> <character>SAMANTHA</character> <dialogue>Why don't you sit down?</dialogue> <character>SYLVIA</character> <dialogue>Anna!</dialogue> <scene_description>Samantha remains calm.</scene_description> <character>SAMANTHA</character> <dialogue>Hello. You must be Saul.</dialogue> <scene_description>Saul looks but doesn't answer. Anna comes out of Ashley's room - with Ashley beside her.</scene_description> <character>SYLVIA</character> <dialogue>Where did you get that dress?</dialogue> <character>ASHLEY</character> <dialogue>Grandma gave it to her.</dialogue> <character>SYLVIA</character> <dialogue>You'll take it off at home. Let's go.</dialogue> <scene_description>Sylvia grabs Anna by the arm and pulls her away. The dog barks, Lucy calms him down.</scene_description> <character>SAMANTHA</character> <dialogue>Anna, tell your mom you want to spend time with me.</dialogue> <scene_description>Sylvia shouts back.</scene_description> <character>SYLVIA</character> <dialogue>Don't you go near her!</dialogue> <scene_description>Samantha stays calm.</scene_description> <character>SAMANTHA</character> <dialogue>You'll make her live with a man who's mentally ill?</dialogue> <scene_description>Saul grins, bitterly.</scene_description> <character>SYLVIA</character> <dialogue>You protected a pedophile for years.</dialogue> <character>ROBERT</character> <dialogue>I will not accept that kind of talk in my house.</dialogue> <scene_description>Sylvia ignores Robert's remark, and continues staring at Samantha.</scene_description> <character>SAMANTHA</character> <dialogue>I hoped you'd finally stop making things up after so many years...</dialogue> <scene_description>Sylvia shuts her eyes - she feels dizzy. She sits down. Anna looks concerned.</scene_description> <character>SAMANTHA</character> <dialogue>Stop lying.</dialogue> <scene_description>Sylvia looks at Olivia. The sisters stare at each other.</scene_description> <character>SYLVIA</character> <dialogue>Are you finally going to remember or are you going to keep saying nothing happened?</dialogue> <scene_description>Olivia stays quiet.</scene_description> <character>SYLVIA</character> <dialogue>You saw us inside his room more than once.</dialogue> <character>OLIVIA</character> <dialogue>I was eight years old.</dialogue> <character>ANNA</character> <dialogue>What happened?</dialogue> <scene_description>Anna's question goes unanswered.</scene_description> <character>ANNA</character> <dialogue>Mom?</dialogue> <character>SYLVIA</character> <dialogue>Tell her.</dialogue> <scene_description>Olivia doesn't say a word.</scene_description> <character>SAMANTHA</character> <dialogue>Anna, would you rather live here with Olivia?</dialogue> <character>SYLVIA</character> <dialogue>I hate you.</dialogue> <character>SAMANTHA</character> <parenthetical>(calmly)</parenthetical> <dialogue>I always loved and took care of you, and what do I get in return?</dialogue> <character>SYLVIA</character> <dialogue>Tell them how dad used to abuse me when I was a little girl.</dialogue> <character>ROBERT</character> <dialogue>That's enough.</dialogue> <character>SAMANTHA</character> <dialogue>You've been lying since you learned to talk. Your sister never gave us any problems. You gave us nothing but grief - at school, at home. Drinking since you were twelve... You're the only alcoholic in this family.</dialogue> <character>SYLVIA</character> <dialogue>Olivia wasn't raped since she was a kid.</dialogue> <character>ROBERT</character> <dialogue>That's enough. Get out.</dialogue> <character>SAMANTHA</character> <dialogue>Is it my fault you're a failure?</dialogue> <scene_description>Sylvia looks broken - Anna is upset.</scene_description> <character>SAMANTHA</character> <parenthetical>(to Saul)</parenthetical> <dialogue>Do you want to be with a sick woman?</dialogue> <scene_description>Saul doesn't respond. He tries to comfort Sylvia.</scene_description> <character>OLIVIA</character> <dialogue>Dad used to take her to his room and shut the door. He'd say they were going to watch a film together. But he never let me in.</dialogue> <scene_description>They all stare back at Olivia, then Samantha.</scene_description> <character>SAMANTHA</character> <dialogue>So you remember how they used to watch films together?</dialogue> <character>OLIVIA</character> <dialogue>You knew what was going on in that room.</dialogue> <character>SAMANTHA</character> <dialogue>Then why didn't you say anything?</dialogue> <character>OLIVIA</character> <dialogue>I was confused... I always thought he loved Sylvia more than he loved me. I told you once what I saw and you slapped me.</dialogue> <character>SYLVIA</character> <dialogue>You slapped me every single time I told you I didn't like being with dad.</dialogue> <character>SAMANTHA</character> <dialogue>He never touched you.</dialogue> <scene_description>Robert stares at Olivia - she stares back. She looks ashamed. A silence settles in the room.</scene_description> <character>SAUL</character> <dialogue>Let's go home.</dialogue> <scene_description>Saul helps Sylvia up.</scene_description> <character>SYLVIA</character> <dialogue>Anna, let's go.</dialogue> <scene_description>Anna hurries to grab her stuff. The trio walk out.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - SYLVIA'S BEDROOM. DAY</stage_direction> <scene_description>Sylvia is lying down - she looks exhausted. Anna is lying next to her, comforting her. Saul brings some cookies to Sylvia. The doorbell rings. Saul answers.</scene_description> <character>SAUL (O.S.)</character> <dialogue>Yes?</dialogue> <character>OLIVIA</character> <dialogue>It's Olivia.</dialogue> <character>ROBERT</character> <dialogue>We were just hoping to talk to Sylvia.</dialogue> <character>SAUL</character> <dialogue>She is not available right now.</dialogue> <character>ROBERT</character> <dialogue>Oh okay. Please tell her that we're thinking about her and that we'll come back.</dialogue> <scene_description>Anna hugs her mother in the bed.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S HOUSE. KITCHEN. DAY.</stage_direction> <scene_description>Saul and Anna are washing dishes together. They hear Sylvia crying from the bathroom. Saul goes to check on her.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S HOUSE. BATHROOM. DAY</stage_direction> <scene_description>Saul sits next to Sylvia in the bathtub. She is crying and hurries to hug Saul. Accidentally she pulls him over and he fells into the bathtub. They start laughing and kissing.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. DAY</stage_direction> <scene_description>The door bell rings. Anna opens the door and finds Olivia.</scene_description> <character>ANNA</character> <dialogue>She is sleeping.</dialogue> <character>OLIVIA</character> <dialogue>That's why I knocked.</dialogue> <character>ANNA</character> <dialogue>Why did you keep talking to Grandma?</dialogue> <character>OLIVIA</character> <dialogue>It's not that simple.</dialogue> <character>ANNA</character> <dialogue>You knew all along and never said anything.</dialogue> <character>OLIVIA</character> <dialogue>I was a child Anna.</dialogue> <character>ANNA</character> <dialogue>That's not an excuse. If I had a sister I would never do that to her.</dialogue> <scene_description>Olivia remains quiet.</scene_description> <character>ANNA</character> <dialogue>I don't want to see Samantha ever again. I don't even think I want to talk to you, either.</dialogue> <scene_description>Olivia leaves and Anna closes the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. BEDROOM. NIGHT.</stage_direction> <scene_description>Sylvia is sleeping in the middle of the night.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. NIGHT.</stage_direction> <scene_description>Saul wakes up in the middle of the night and tries to go to Sylvia's bedroom. He sees the rooms of Sylvia and Anna closed and he can't remember which door is the one he is looking for. Saul sits on a chair, frustrated.</scene_description> </scene> <scene> <stage_direction>INT. ADULT RESIDENCE - MAIN ROOM. DAY</stage_direction> <scene_description>Sylvia is helping a resident to pick her clothes for the day. From the reception, Sylvia is called.</scene_description> <character>SYLVIA</character> <dialogue>I'll be right back, okay?</dialogue> <scene_description>Sylvia goes to the reception and finds Karen.</scene_description> <character>KAREN</character> <dialogue>Woodhull hospital called. Saul is there. You need to go.</dialogue> <character>SYLVIA</character> <dialogue>Saul? Is he okay?</dialogue> <character>KAREN</character> <dialogue>I don't know. You will have to go there. Keep me posted.</dialogue> <scene_description>Sylvia rushes to the hospital.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - RECEPTION. DAY</stage_direction> <scene_description>Sylvia waits for a receptionist to finish her conversation on the phone - and approaches her after she hangs up.</scene_description> <character>SYLVIA</character> <dialogue>Excuse me, I'm looking for Saul Shapiro.</dialogue> <character>HOSPITAL RECEPTIONIST</character> <dialogue>Just a second.</dialogue> <scene_description>The receptionist checks her computer.</scene_description> <character>SYLVIA</character> <dialogue>They took him in a few hours ago.</dialogue> <character>HOSPITAL RECEPTIONIST</character> <dialogue>What's your name?</dialogue> <character>SYLVIA</character> <dialogue>Sylvia Sanders.</dialogue> <scene_description>The receptionist makes a phone call.</scene_description> <character>HOSPITAL RECEPTIONIST</character> <dialogue>Sylvia Sanders is here... Yes... OK. You can wait over there.</dialogue> <scene_description>She points to a bench. Sylvia sits. She waits a few moments. She looks up and sees Isaac walking towards her - livid. She stands.</scene_description> <character>SYLVIA</character> <dialogue>How is he?</dialogue> <character>ISAAC</character> <dialogue>Go away.</dialogue> <character>SYLVIA</character> <dialogue>Can you at least tell me if he's OK?</dialogue> <character>ISAAC</character> <dialogue>They found him lying unconscious in the street outside you're house.</dialogue> <scene_description>Sylvia looks shocked. Isaac stares at her. Sylvia tries to think of something to say. She realizes it's pointless, and leaves.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. NIGHT</stage_direction> <scene_description>Sylvia can't sleep. She takes her phone from under her pillow and dials Saul. He doesn't answer. She tries again but it goes straight to voicemail.</scene_description> <character>SYLVIA</character> <dialogue>Hi. I just want to know if you're OK. Then I'll leave you alone. Are you OK?</dialogue> <scene_description>She hangs up, and puts her phone under the pillow. She turns over.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH HALL (SUNSET PARK) NIGHT</stage_direction> <scene_description>Karen is setting up the room for the weekly meeting. She notes that Sylvia is not well.</scene_description> <character>KAREN</character> <dialogue>Hey, any news about Saul?</dialogue> <scene_description>Sylvia says no. And without energy, she helps Karen.</scene_description> </scene> <scene> <stage_direction>97A INT. CHURCH HALL (SUNSET PARK) NIGHT 97A</stage_direction> <scene_description>The group is praying.</scene_description> <character>AA MEMBERS</character> <dialogue>God, grant us the strength to accept the things that we cannot change; the courage to change the things we can; and the wisdom to know the difference.</dialogue> <character>AA MEMBERS</character> <dialogue>I have asked a friend to read "What is the AA Program?"</dialogue> <character>LORRAINE</character> <dialogue>AA is a fellowship of people who share their experience...</dialogue> <scene_description>Sylvia is absent-minded while Lorraine speaks. She is not paying attention at all.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT - KITCHEN TO SYLVIA'S BEDROOM. NIGHT</stage_direction> <scene_description>Anna finishes preparing a dish and takes it upstairs. Sylvia is sleeping while "A Whiter Shade of Pale" plays from a speaker. Anna puts the food on the table besides the bed,</scene_description> <character>ANNA</character> <dialogue>You should eat.</dialogue> <scene_description>Sylvia doesn't feel like standing up.</scene_description> <character>SYLVIA</character> <dialogue>No, thank you.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY TRAIN. DAY</stage_direction> <scene_description>Anna travels by subway at rush hour. She looks at her reflection in the blackened window and fixes her hair.</scene_description> </scene> <scene> <stage_direction>EXT. SAUL'S HOUSE. DAY</stage_direction> <scene_description>Anna arrives at Saul's house. She peers through the window, looking in for a while. She crosses the street and rings the bell.</scene_description> </scene> <scene> <stage_direction>EXT. SAUL'S HOUSE. DAY</stage_direction> <scene_description>Anna waits on the front porch. A male nurse opens the door.</scene_description> <character>ANNA</character> <dialogue>Hi. Is Saul home?</dialogue> <character>MALE NURSE</character> <dialogue>Who is asking?</dialogue> <character>ANNA</character> <dialogue>Anna.</dialogue> <character>MALE NURSE</character> <dialogue>Saul! Someone is here looking for you.</dialogue> <scene_description>The male nurse lets Anna in. She walks into the house.</scene_description> </scene> <scene> <stage_direction>INT. SAUL'S HOUSE. HALLWAY. DAY.</stage_direction> <scene_description>Anna is waiting in the living room when Saul comes downstairs. Saul and Anna hug each other, affectively. They sit in the couch.</scene_description> <character>SAUL</character> <dialogue>How are you?</dialogue> <character>ANNA</character> <dialogue>Fine.</dialogue> <scene_description>Saul asks the nurse to leave the room.</scene_description> <character>SAUL</character> <dialogue>This is my friend. Give us some privacy, please.</dialogue> <character>MALE NURSE</character> <dialogue>Sure.</dialogue> <scene_description>The male nurse walks away but stays close. Saul starts to get mad.</scene_description> <character>SAUL</character> <dialogue>Can you go upstairs or are you just going to stand right there?</dialogue> <scene_description>The nurse finally leaves. Saul and Anna stay in silence for a while and smile each other. Anna breaks the silence.</scene_description> <character>ANNA</character> <dialogue>Why haven't you answered my mom's calls?</dialogue> <character>SAUL</character> <dialogue>They took my phone. And my notebook.</dialogue> <scene_description>Saul breaks down in tears.</scene_description> <character>SAUL</character> <dialogue>I'm having a really hard time. They don't let me go outside. The won't even let me go in the kitchen. They don't... Are you sure you don't want something to drink?</dialogue> <character>ANNA</character> <dialogue>No, I'm okay. Thank you.</dialogue> <scene_description>Anna tries to convince Saul to runaway from his house.</scene_description> <character>ANNA</character> <dialogue>Let's go.</dialogue> <character>SAUL</character> <dialogue>Where do you want to go?</dialogue> <character>ANNA</character> <dialogue>Just trust me.</dialogue> <character>SAUL</character> <dialogue>Okay. Alright. Let's go.</dialogue> <scene_description>Saul follows Anna outside the house. He is in pajamas.</scene_description> </scene> <scene> <stage_direction>INT / EXT. SUBWAY STATION. DAY.</stage_direction> <scene_description>Saul and Anna gets into the subway. They share a complicity stare. They look happy and comfortable.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIA'S APARTMENT. DAY</stage_direction> <scene_description>Sylvia is vacuuming the floor. The sound of the vacuum cleaner doesn't let her hear when Anna arrives to the house.</scene_description> <character>ANNA</character> <dialogue>Mom.</dialogue> <scene_description>Sylvia keeps vacuuming.</scene_description> <character>ANNA</character> <dialogue>Mom!</dialogue> <scene_description>Sylvia listens Anna and turns of the vacuum cleaner. She realizes Saul is there too. His presence surprises her.</scene_description> <character>SYLVIA</character> <dialogue>Oh, hey. How did you get here?</dialogue> <character>SAUL</character> <dialogue>I don't know. I guess she helped me.</dialogue> <scene_description>Anna sits in the couch, with a smile on her face, proud of what she has done for her mother. Saul walks towards Sylvia. They stare each other for a while. Then they starts kissing passionately. They have found each other again.</scene_description> </scene> </script>

Sylvia, a single mother, social worker, and recovering alcoholic, reluctantly attends a high school reunion with her younger sister Olivia. Sylvia is perturbed by a man who sits next to and smiles at her. She leaves the event and is followed home by the man, who waits outside in the rain. In the morning, Sylvia finds him sleeping outside, wet, and barely responsive. She finds out his name is Saul and phones his brother, Isaac, to retrieve him. At Saul and Isaac's home she is offered an apology: Saul suffers from early onset dementia, causing him to get disoriented and confused, and hindering his ability to recall or create memories. Sylvia takes Saul to a park to ask why he followed her. Saul says he doesn't know and can't recall meeting her before, which upsets her. Sylvia tells Saul that in high school some of his classmates got her drunk and sexually assaulted her. Sylvia accuses Saul of participating but he insists he doesn't remember that. Enraged, Sylvia steals his necklace with emergency contact info in it, abandons him, changes her mind, returns the necklace, and helps get him home. Sara, Isaac's daughter, offers Sylvia a second job caring for Saul during the day. Sylvia accepts after Olivia assures her that Saul joined their school after Sylvia transferred out, meaning he didn't assault her. Sylvia spends time caring for Saul and they bond. Sylvia learns about Saul's deceased wife, a redhead like her, and he befriends Sylvia's teenage daughter Anna. One day, Sylvia and Saul fall asleep on a sofa holding each other and are found by Sara. Uncomfortable with the incident, Sylvia stops her visits. Saul leaves the house on his own to find her and they begin a romantic relationship, upsetting Issac. Anna secretly gets acquainted with Sylvia and Olivia's mother, Samantha, as Sylvia has always insisted they never contact her . At Olivia's home, Sylvia is confronted by Samantha in front of Saul and Anna. Sylvia is scolded by her mother for dating a man with mental health issues and keeping Anna away from her. After she accuses Sylvia of lying about her assault in high school, Sylvia laments she was also sexually assaulted by her late father before that, and Samantha's refusal to believe her is what drove her away. Olivia admits she remembers their father taking Sylvia into his room multiple times when they were children. When the younger Olivia asked Samantha about it, she was accused of lying too and slapped. Retraumatized, Sylvia secludes herself at home as Saul cares for her. Olivia tries to see Sylvia, but is turned away by Anna, who asks why she never confirmed Sylvia's abuse by their dad until now. Olivia says she was just a child and never sure if she could trust what she saw. Sylvia returns to her daily routines with Saul's help. One night, Saul returns from the bathroom but gets confused about which bedroom door is Sylvia's and which is Anna's, so he decides to sit in the hallway. The next day, while alone, Saul falls from Sylvia's balcony and is hospitalized. Sylvia attempts to visit Saul but is stopped by Issac. Sylvia attempts to call Saul several times and leaves messages he doesn't respond to. Anna visits Saul's home and sees he has a full time nurse. He was unable to contact Sylvia because Issac confiscated his phone and forbade him from leaving the house. Anna convinces Saul to sneak out with her and leads him back to Sylvia who embraces him.

Sphere_1998

tt0120184

<script> <scene> <stage_direction>EXT. OCEAN FLOOR - DAY</stage_direction> <scene_description>BEGIN TITLES . MOVING AMONG the hallucinatory variety of creatures - barbaric , distorted , sublime - that haunt the ocean floor . All but unknown to man except in the deep preconscious brain that houses the family album of the race . Where we remember that they are us . Then . BALLET OF ODD SHAPES and exotic colors - like a living abstract painting - tropical fish moving in the f.g . Aquarium fish - fish we know - fish of the lesser depths , as we RISE UP TOWARD the surface . Then nearer the surface still , fish dart and flee before a distant RUMBLE . that GROWS LOUDER AND LOUDER . HELICOPTER ERUPTS INTO WATERY VIEW as it blasts across the ocean .</scene_description> </scene> <scene> <stage_direction>EXT. PACIFIC OCEAN - DAY</stage_direction> <scene_description>A tropical morning sun paints its luster on the sea - chop . A helicopter hurtles across the Pacific Ocean .</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - SAME TIME</stage_direction> <scene_description>NORMAN GOODMAN , 50s , a day 's growth of beard and eyes sandy with sleep , wakes up . Adjusts his steel - framed glasses . Unballs the tweed jacket he 's been using as a pillow . He 's nearly sitting in the lap of the PILOT , 30s , a tightly wound military type , as they zoom across the waves .</scene_description> <character>PILOT</character> <dialogue>Good sleep?</dialogue> <character>NORMAN</character> <dialogue>Not bad. So, where are we?</dialogue> <character>PILOT</character> <dialogue>Where'd they bring you in from?</dialogue> <character>NORMAN</character> <dialogue>San Diego. Left yesterday.</dialogue> <character>PILOT</character> <dialogue>So you came Honolulu - Guam - Pago - here?</dialogue> <character>NORMAN</character> <dialogue>Yeah.</dialogue> <character>PILOT</character> <dialogue>Long trip. What kind of work do you do, sir?</dialogue> <character>NORMAN</character> <dialogue>I'm a psychologist.</dialogue> <character>PILOT</character> <dialogue>A shrink, huh? Why not. They've called in just about everything else.</dialogue> <character>NORMAN</character> <dialogue>How do you mean?</dialogue> <character>PILOT</character> <dialogue>We've been ferrying people out of Guam for the last two days. Physicists, biologists, mathematicians, you name it. Everybody being flown to the middle of nowhere in the Pacific Ocean.</dialogue> <character>NORMAN</character> <dialogue>What's going on?</dialogue> <character>PILOT</character> <dialogue>They're not telling us anything, sir. What about you? What'd they tell you?</dialogue> <character>NORMAN</character> <dialogue>They told me that there was an airplane crash.</dialogue> <character>PILOT</character> <dialogue>Uh - huh. You get called on crashes?</dialogue> <character>NORMAN</character> <dialogue>I have been, yes.</dialogue> <character>PILOT</character> <dialogue>And why is that, sir?</dialogue> <character>NORMAN</character> <dialogue>I'm on a list of psychologists the F.A.A. brings in when a plane goes down.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So, where exactly are we now?</dialogue> <character>PILOT</character> <dialogue>Well, I'm not supposed to tell you. let's just say we're two hundred miles from nowhere, sir.</dialogue> <character>NORMAN</character> <dialogue>You're not supposed to tell me?</dialogue> <character>PILOT</character> <dialogue>No, sir.</dialogue> <scene_description>Norman looks out of the helicopter , at the ocean .</scene_description> <character>NORMAN</character> <dialogue>Do n't you get bored looking at that?</dialogue> <character>PILOT</character> <dialogue>To tell you the truth, no, sir. I'm real happy to see it flat like this.</dialogue> <character>NORMAN</character> <dialogue>Why?</dialogue> <character>PILOT</character> <dialogue>Good weather. It wo n't hold though. There's a cyclone forming up in the Admiralties, should swing down this way in a few days.</dialogue> <character>NORMAN</character> <dialogue>What happens then?</dialogue> <character>PILOT</character> <dialogue>Everybody just clears the hell out. Weather can be really tough in this part of the world. I was stationed in Florida and I've seen a lot of hurricanes, but you've never seen anything like a Pacific cyclone, sir.</dialogue> <character>NORMAN</character> <dialogue>You never met my first wife.</dialogue> <character>PILOT</character> <dialogue>Do n't be so sure. That's where we're headed, over there. Here take a look.</dialogue> <scene_description>He hands Norman binoculars . NORMAN 'S POV THROUGH BINOCULARS A salvage ship surrounding four other , smaller craft in concentric circles . A mile long circle of bouys . CLOSE ON NORMAN as he absorbs this new information . What 's going on ?</scene_description> <character>NORMAN</character> <dialogue>All this for an airplane crash.</dialogue> <character>PILOT</character> <dialogue>I never mentioned a plane crash.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. SALVAGE SHIP - DAY</stage_direction> <scene_description>The helicopter lands on the salvage ship helipad . Norman hesitates at the door . A seaman coaxes him and he jumps down . Blasted by the downdraft of the rotors , Norman humps his duffel bag across the deck , hustles after his escort .</scene_description> </scene> <scene> <stage_direction>INT. SALVAGE SHIP - LATER</stage_direction> <scene_description>Norman follows a SEAMAN , 20s , as he carries Norman 's duffel bag along the narrow corridors belowdecks .</scene_description> <character>SEAMAN</character> <dialogue>You have any other gear, sir? Watch your step.</dialogue> <character>NORMAN</character> <dialogue>I'd like to call my family.</dialogue> <character>SEAMAN</character> <dialogue>We'll get you settled in quarters, sir. You're to remain there until we send for you.</dialogue> <character>NORMAN</character> <dialogue>I want to get started right now.</dialogue> <character>SEAMAN</character> <dialogue>We'll send for you.</dialogue> <character>NORMAN</character> <dialogue>It's critical that I see them, because -</dialogue> <character>SEAMAN</character> <dialogue>See who?</dialogue> <character>NORMAN</character> <dialogue>The survivors. If I do n't get to them within the first twenty four hours.</dialogue> <character>SEAMAN</character> <dialogue>What survivors?</dialogue> <character>NORMAN</character> <dialogue>The survivors of the plane crash.</dialogue> <character>SEAMAN</character> <dialogue>Plane crash?</dialogue> <character>NORMAN</character> <dialogue>Listen carefully. I deal in post - traumatic stress and survivor guilt - maybe I should talk to someone who knows what's going on.</dialogue> <character>SEAMAN</character> <dialogue>You can talk to the ship's psychiatrist.</dialogue> <character>NORMAN</character> <dialogue>I'm a psychologist, that's why I was sent down here.</dialogue> <scene_description>Norman follows the Seaman through a hydraulic door . They come upon TED FIELDING prowling the corridor .</scene_description> <character>TED</character> <parenthetical>( to Seaman . )</parenthetical> <dialogue>Look, I told you people over an hour ago I need a phone. A phone.</dialogue> <scene_description>The Seaman brusquely continues past with Norman 's duffel bag .</scene_description> <character>SEAMAN</character> <dialogue>You'll have to discuss that with Mr.Barnes.</dialogue> <character>TED</character> <dialogue>That's fine. Barnes. Give me a phone, I'll call him.</dialogue> <scene_description>He recognizes Norman .</scene_description> <character>TED</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Norman. what are you doing here?</dialogue> <scene_description>The Seaman grabs Ted 's arm .</scene_description> <character>TED</character> <dialogue>Would you take your hands off me, please. Do you have any idea who I am?</dialogue> <character>NORMAN</character> <dialogue>He will if you just tell him the name of the book you wrote.</dialogue> <character>TED</character> <dialogue>It's called ` Astrophysics You Can Use'. It was a Book of the Month Club Main Selection.</dialogue> <scene_description>The Seaman turns , ramrod - straight , and fixes Ted with a steely Aryan gaze .</scene_description> <character>SEAMAN</character> <dialogue>Never heard of it. Now back in your quarters.</dialogue> <character>NORMAN</character> <parenthetical>( to Ted . )</parenthetical> <dialogue>You really thought that he read your book. after all these years? You have n't changed.</dialogue> <character>TED</character> <dialogue>Well, it's written for the layman.</dialogue> <character>NORMAN</character> <dialogue>He's not impressed.</dialogue> <character>TED</character> <dialogue>They do n't read.</dialogue> <parenthetical>( to Seaman . )</parenthetical> <dialogue>Is there a phone in here?</dialogue> <scene_description>The Seaman grabs his arm again .</scene_description> <character>TED</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Would you stop doing that! I can go to the room myself.</dialogue> <character>NORMAN</character> <dialogue>I've been trying to call my wife for the last 15 hours.</dialogue> <character>SEAMAN</character> <parenthetical>( sharply to Ted . )</parenthetical> <dialogue>Sir?</dialogue> <scene_description>Ted backs off toward his room , opens the door . The Seaman continues on his way with Norman , unlocks a door - Norman 's quarters . Norman glances up the hall . NORMAN 'S POV - BETH HALPERIN Thirties , a mordant beauty , stands at the threshold of her room . Watching him . A lot going on behind those eyes . She and Norman exchange a look . Then without a word , she returns to her room . CLOSEUP - NORMAN As the Seaman ushers him inside .</scene_description> <character>NORMAN</character> <dialogue>Beth?</dialogue> <scene_description>Then the Seaman closes the door on him .</scene_description> </scene> <scene> <stage_direction>INT. NORMAN'S QUARTERS - LATER</stage_direction> <scene_description>Norman lies on his cot , stares at the ceiling , his tweed jacket folded up like a pillow beneath his head . There 's a knock at the door and it is opened by HARALD COTESWORTH BARNES , 40s , an imposing man in dark glasses and dark dress .</scene_description> <character>BARNES</character> <dialogue>Goodman! You been here long?</dialogue> <scene_description>He shakes Norman 's hand .</scene_description> <character>NORMAN</character> <dialogue>I've been here three hours.</dialogue> <scene_description>Barnes sweeps him along into the hallway .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - SAME TIME</stage_direction> <scene_description>Barnes leads Norman along the hallway and down some stairs .</scene_description> <character>BARNES</character> <dialogue>Welcome aboard. I do n't mind telling you, this thing scares the hell out of me.</dialogue> <character>NORMAN</character> <dialogue>It's probably already too late. You might as well put me on a helicopter and send me back. Whatever damage was done to the survivors, is already done. You know what I mean?</dialogue> <character>BARNES</character> <dialogue>Hold on, we'll get to that.</dialogue> <character>NORMAN</character> <dialogue>I do n't even know who you are.</dialogue> <character>BARNES</character> <parenthetical>( admiring . )</parenthetical> <dialogue>Well, I sure know who you are.</dialogue> <character>NORMAN</character> <dialogue>Who are you. Navy. military? What are you?</dialogue> <character>BARNES</character> <dialogue>You ever hear of the O.S.S.A?</dialogue> <character>NORMAN</character> <dialogue>Yes.</dialogue> <character>BARNES</character> <parenthetical>( proudly . )</parenthetical> <dialogue>Well, they do n't know who I am. That should reassure you.</dialogue> <scene_description>Barnes takes Norman aside .</scene_description> <character>BARNES</character> <dialogue>Look, you have n't talked to anybody about this, have you?</dialogue> <character>NORMAN</character> <dialogue>Well, I talked to the helicopter pilot.</dialogue> <character>BARNES</character> <dialogue>What'd you tell him?</dialogue> <character>NORMAN</character> <dialogue>What did I tell him. I told him I was here to see the plane crash. That's my job.</dialogue> <scene_description>Barnes chews this over thoughtfully .</scene_description> <character>BARNES</character> <dialogue>The plane crash. Good.</dialogue> <character>NORMAN</character> <dialogue>There was no plane crash?</dialogue> <character>BARNES</character> <parenthetical>( confidentially . )</parenthetical> <dialogue>Spacecraft.</dialogue> <character>NORMAN</character> <dialogue>Spacecraft? I guess that explains a lot. NASA?</dialogue> <character>BARNES</character> <dialogue>That does n't surprise you?</dialogue> <character>NORMAN</character> <dialogue>Well at least it explains the secrecy.</dialogue> <character>BARNES</character> <dialogue>The secrecy's critical, Norman. You made that explicit in your report.</dialogue> <character>NORMAN</character> <dialogue>What report?</dialogue> <character>BARNES</character> <dialogue>The ULF.</dialogue> <character>NORMAN</character> <parenthetical>( remembering . )</parenthetical> <dialogue>I wrote that for the Bush Administration.</dialogue> <character>BARNES</character> <dialogue>And that's our Bible here. Every jot and tittle.</dialogue> <character>NORMAN</character> <dialogue>But that was a report about a possible encounter with an alien being.</dialogue> <scene_description>Norman laughs nervously , looks at Barnes . Barnes is n't laughing . Suddenly Norman is n't laughing either .</scene_description> <character>BARNES</character> <dialogue>You want to come with me?</dialogue> <character>NORMAN</character> <dialogue>Oh, boy.</dialogue> </scene> <scene> <stage_direction>INT. BRIEFING ROOM - LATER</stage_direction> <scene_description>A video image of SEAMEN aboard a telephone - cable ship showing the sheared fiber optic cable to the camera as Barnes , laser pointer in hand , delivers a briefing .</scene_description> <character>BARNES</character> <dialogue>About three weeks ago, a ship laying fiber optic cable between Honolulu and Sydney hit an obstruction a thousand feet underwater. Cut the cable clean as a shears. The Navy got interested - sent out a search ship.</dialogue> <scene_description>ANGLE ON BETH As she watches . SUPERED below : DR. BETH HALPERIN : PHYSICIAN/BIOLOGIST ANGLE ON HIGH - RESOLUTION TV IMAGE A sonar image of an enormous triangular fin jutting abruptly from a ridge of coral .</scene_description> <character>BARNES</character> <dialogue>Turns out what did it was this - We took this with the side - looking sonar - an aerodynamic fin longer than a football field. Bigger than any known wingspan.</dialogue> <scene_description>ANGLE ON TED As he watches . SUPERED below : TED FIELDING : ASTROPHYSICIST</scene_description> <character>TED</character> <dialogue>You have any idea what it's made of?</dialogue> <character>BARNES</character> <dialogue>We sent the SCARAB robots to snip a piece out of it.</dialogue> <scene_description>ANGLE ON MICROSCOPE IMAGE of the composition of the fin .</scene_description> <character>BARNES</character> <dialogue>It's a titanium alloy in an epoxy/resin honeycomb. It's more sophisticated than anything we can duplicate.</dialogue> <character>TED</character> <dialogue>The Russians do n't have anything like this?</dialogue> <scene_description>ANGLE ON SONAR IMAGE This one composed of fine dots .</scene_description> <character>BARNES</character> <dialogue>You tell me. That's the fuselage. Ultra - high - res S.L.S. bottom scan, came in a week ago. There it is. buried under about eight yards of coral.</dialogue> <character>BETH</character> <dialogue>There's something wrong with that measurement. Pacific coral grows at a rate of an inch a year. You can set your watch by it.</dialogue> <character>BARNES</character> <dialogue>That's right.</dialogue> <character>BETH</character> <dialogue>So, you're saying the spacecraft crashed in the year.</dialogue> <character>HARRY</character> <parenthetical>( O.C . )</parenthetical> <dialogue>1709.</dialogue> <scene_description>They all turn in the direction of the voice . REVERSE ANGLE ON HARRY ADAMS As he watches , bemused , from a chair in the corner , his fingers forming a steeple . A black man with a dour manner and lightning eyes , Oxford shirt and chinos . SUPERED BELOW : `` HARRY ADAMS : MATHEMATICIAN . ''</scene_description> <character>BETH</character> <dialogue>You're saying this spacecraft crashed three hundred years ago?</dialogue> <character>HARRY</character> <dialogue>Two hundred and eighty - eight.</dialogue> <character>BETH</character> <dialogue>But that's impossible.</dialogue> <character>BARNES</character> <dialogue>It's not impossible if this spacecraft came to earth from an alien civilization.</dialogue> <scene_description>A long beat of wonderment .</scene_description> <character>TED</character> <dialogue>You think this is an alien spacecraft?</dialogue> <character>HARRY</character> <dialogue>You see, it's not impossible. It's ridiculous.</dialogue> <character>BARNES</character> <dialogue>We believe this spacecraft contains an unknown life form. That's why you're here. You're the human contact team recommended in the Goodman Report.</dialogue> <parenthetical>( gestures to each . )</parenthetical> <dialogue>We have a biochemist to assess the physiology of the Unknown Life Form, we have a mathematician, because that'll probably be our common language. and we have an astrophysicist to locate its place in the cosmos.</dialogue> <character>HARRY</character> <dialogue>Led by a psychologist.</dialogue> <character>BARNES</character> <dialogue>That's right.</dialogue> <character>HARRY</character> <dialogue>That's what the little green men say nowadays? ` Take me to your therapist'?</dialogue> <scene_description>Norman bites his tongue . He 's used to it . Barnes refers to his copy of The Goodman Report .</scene_description> <character>BARNES</character> <parenthetical>( reading . )</parenthetical> <dialogue>` Contact teams meeting an unknown life form, or U.L.F., must be prepared for severe psychological impact. Stress reaction when confronted by unknown life has not been sufficiently studied and can not be entirely predicted in advance. But the most likely consequence of contact is absolute terror.'.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That's from Norman's report.</dialogue> <character>TED</character> <dialogue>I'm sorry. are these parameters correct?</dialogue> <character>BARNES</character> <dialogue>Yup.</dialogue> <character>TED</character> <dialogue>So, you're saying you have a fuselage from a spacecraft over a half - mile long that crashed in the ocean three hundred years ago, and it's completely intact?</dialogue> <character>BARNES</character> <dialogue>That's right, and the kicker is, our sonar's picking up a low hum. Something's still running inside.</dialogue> <scene_description>A beat as they all look at each other .</scene_description> <character>HARRY</character> <dialogue>Hold on a second. There's no way that coral could've grown faster than an inch a year?</dialogue> <character>BETH</character> <dialogue>No.</dialogue> <character>TED</character> <dialogue>Well, that's why we're going down there to see, is n't it?</dialogue> <character>HARRY</character> <dialogue>Who said we're going down there?</dialogue> <character>TED</character> <dialogue>Are you kidding? This is the greatest scientific discovery since Copernicus! Bigger than Copernicus! The idea that we're not alone? It'll change everything. We have physical evidence that there's extra terrestrial life. You do n't want to see that?</dialogue> <character>HARRY</character> <dialogue>This is not an equation that needs to be solved. No.</dialogue> <character>NORMAN</character> <dialogue>Harry's got a point. I'm not too sure about this idea of going down a thousand feet either.</dialogue> <character>BARNES</character> <dialogue>How deep have you been, Norman?</dialogue> <character>NORMAN</character> <dialogue>I can snorkle ten to fifteen feet.</dialogue> <character>BARNES</character> <dialogue>Good. You do that, and I'll take care of the rest.</dialogue> <character>HARRY</character> <dialogue>I have got to say, I resent this briefing very much.</dialogue> <character>TED</character> <dialogue>Oh, Jesus!</dialogue> <character>BARNES</character> <dialogue>Why is that, Harry?</dialogue> <character>HARRY</character> <dialogue>Did you decide you have to break the news to us gently?</dialogue> <character>BARNES</character> <dialogue>What news?</dialogue> <character>HARRY</character> <dialogue>About the door.</dialogue> <character>BARNES</character> <dialogue>Harry, we have divers cutting through excavation trenches as we speak, searching for that door.</dialogue> <character>HARRY</character> <dialogue>You know exactly where the door is, am I right. Am I right?</dialogue> <character>BARNES</character> <dialogue>You're right.</dialogue> <character>HARRY</character> <dialogue>One other thing. If Norman's report calls for a biologist, a mathematician, an astrophysicist, and a psychologist. then why are you here?</dialogue> <scene_description>Barnes grins enigmatically .</scene_description> <character>BARNES</character> <dialogue>I'm not here.</dialogue> <parenthetical>( he turns . )</parenthetical> <dialogue>Physical protocols begin in half an hour.</dialogue> <scene_description>He leaves .</scene_description> <character>HARRY</character> <dialogue>He's not here. What the hell does that mean?</dialogue> <character>NORMAN</character> <dialogue>Harry, I'm impressed. You knew he was n't telling the truth about the door. How did you know that?</dialogue> <character>HARRY</character> <dialogue>Oh, there's lots of things he's not telling us about. He's not telling us any of the important things.</dialogue> <character>TED</character> <dialogue>Like what?</dialogue> <character>HARRY</character> <dialogue>You would n't believe it if I told you. but you'd probably publish it.</dialogue> </scene> <scene> <stage_direction>INT. SHIP - SICK BAY - LATER</stage_direction> <scene_description>NORMAN AGAINST A WHITE BACKGROUND .</scene_description> <character>MEDIC</character> <parenthetical>( O/C . )</parenthetical> <dialogue>Do you wear glasses all the time?</dialogue> <character>NORMAN</character> <dialogue>I just started wearing these. er.</dialogue> <scene_description>TED AGAINST A WHITE BACKGROUND .</scene_description> <character>TED</character> <dialogue>Why? Are the glasses a problem? Because I do n't actually need them. Clinically speaking they're just for reading. They're more of a crutch really.</dialogue> <parenthetical>( takes off glasses . )</parenthetical> <dialogue>I see fine without them.</dialogue> <character>MEDIC O/C</character> <dialogue>Could you read the fifth line please.</dialogue> <character>TED</character> <dialogue>Sure.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>From here?</dialogue> <scene_description>NORMAN AGAINST A WHITE BACKGROUND .</scene_description> <character>NORMAN</character> <dialogue>They said there was no problem, but they did n't anticipate that I would be going a thousand feet under the water. I find it interesting that a part of me wants to find a way to get out of this, and another part of me is not trying to get out of it.</dialogue> <character>MEDIC O/C</character> <dialogue>Does this concern you?</dialogue> <character>NORMAN</character> <dialogue>Going down a thousand feet under the water where no fish live but that's where you want to send me? Mildly.</dialogue> <scene_description>BETH AGAINST A WHITE BACKGROUND .</scene_description> <character>MEDIC O/C</character> <dialogue>Do you take any prescription medication?</dialogue> <character>BETH</character> <dialogue>No.</dialogue> <character>MEDIC O/C</character> <dialogue>None whatsoever?</dialogue> <character>BETH</character> <dialogue>You know once in a while. sometimes I might take like a piece of Xanax or something. if I'm nervous. Something like that. Not. much.</dialogue> <scene_description>HARRY AGAINST A WHITE BACKGROUND .</scene_description> <character>MEDIC O/C</character> <dialogue>Would you consider yourself in good physical condition?</dialogue> <character>HARRY</character> <dialogue>Yeah.</dialogue> <character>MEDIC O/C</character> <dialogue>According to your doctor, in 1990.</dialogue> <character>HARRY</character> <dialogue>Wait a minute - you talked to my doctor?</dialogue> <scene_description>NORMAN AGAINST A WHITE BACKGROUND .</scene_description> <character>NORMAN</character> <dialogue>What do you mean, I'm off the graph? I mean, is that a problem?</dialogue> <scene_description>HARRY AGAINST A WHITE BACKGROUND .</scene_description> <character>HARRY</character> <dialogue>Knee surgery. Complete reconstruction of ACL right knee. Still have a steel pin here.</dialogue> <parenthetical>( points to areas in leg . )</parenthetical> <dialogue>. steel pin up here. little medial collateral damage.</dialogue> <scene_description>TED AGAINST A WHITE BACKGROUND .</scene_description> <character>TED</character> <dialogue>I just take over the counter antihistamines. I have some allergies. Not to water, which is good.</dialogue> <scene_description>HARRY AGAINST A WHITE BACKGROUND .</scene_description> <character>MEDIC O/C</character> <dialogue>Do you feel comfortable about this dive?</dialogue> <character>HARRY</character> <dialogue>No. Hell, no! I do n't feel comfortable about this dive. Why would I? It's not something I do on a normal basis.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM - LATER</stage_direction> <scene_description>Norman struggles to stay awake as a DIVE INSTRUCTOR drones .</scene_description> <character>DIVE INSTRUCTOR</character> <dialogue>Let me remind you of a few points. This will be a saturation dive. You're going to be taken to a Habitat at a thousand feet. We have an atmosphere of 21 % OT and 79 % Nitrogen, which means that the PO2 would be.21 and.79. In this case we will be compressing on HE.</dialogue> <scene_description>ANGLE ON HARRY , TED , BETH AND NORMAN as the Dive Instructor continues .</scene_description> <character>DIVE INSTRUCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Compression to a thousand feet will then occur, using pure helium. As you compress, you will experience a warming of the environment and you can also expect to experience High Pressure Nervous Syndrome. HPNS is manifested by trembling, feelings of confusion, disorientation and possible nausea.</dialogue> <character>NORMAN</character> <dialogue>I got that now.</dialogue> <scene_description>The Dive Instructor drones on .</scene_description> <character>DIVE INSTRUCTOR</character> <dialogue>These symptoms should subside after a short time on the bottom. You will also notice marked voice change as the PPHE increases.</dialogue> </scene> <scene> <stage_direction>EXT. SUBMARINE - CLOSE ON NORMAN - DAY</stage_direction> <scene_description>Peering up through the dome of the submarine as it drops away from the mother ship and descends .</scene_description> </scene> <scene> <stage_direction>INT. SUBMARINE - LATER</stage_direction> <scene_description>Norman takes a seat inside the cramped sub .</scene_description> <character>NORMAN</character> <dialogue>Sit anywhere?</dialogue> <scene_description>The rest of the team sits , knee - to - knee . Ted sweats profusely .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Everybody happy?</dialogue> <scene_description>Barnes sits alongside a PILOT in the sub 's cockpit , separated by a wall of Plexiglas .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>The descent will take about thirteen minutes descending at a rate of eighty - feet per minute. It'll get a little chilly. Try and relax.</dialogue> <scene_description>The sub rocks a little .</scene_description> <character>NORMAN</character> <dialogue>Next time, just tell us when you're going to push the button.</dialogue> <scene_description>Barnes flips a switch and a MOZART HORN CONCERTO BLARES cheerily on the PUBLIC ADDRESS . Harry ties his shoes .</scene_description> <character>HARRY</character> <dialogue>Mozart. Horn Concerto in E Flat. K - 447.</dialogue> <character>BETH</character> <dialogue>I'm surprised to see you here, Harry.</dialogue> <character>HARRY</character> <dialogue>Everybody went down but Harry - written down in some secret government file somewhere.</dialogue> <scene_description>Harry turns to Ted , shivering in a cold sweat of nerves .</scene_description> <character>HARRY</character> <dialogue>How you holding up there, Captain Nautical?</dialogue> <character>TED</character> <dialogue>I'm loose.</dialogue> <character>HARRY</character> <dialogue>You're loose?</dialogue> <character>TED</character> <dialogue>I'm loose. I'm loose.</dialogue> <scene_description>Then the sub lurches suddenly .</scene_description> <character>TED</character> <dialogue>I'm a little uptight. What was that?</dialogue> <scene_description>The sub rocks again .</scene_description> <character>NORMAN</character> <dialogue>Are we okay? Why do n't I have a seatbelt?</dialogue> <scene_description>Barnes ' VOICE INTERRUPTS the MOZART .</scene_description> <character>BARNES</character> <dialogue>Oh, shit!</dialogue> <character>BETH</character> <dialogue>Shit?</dialogue> <character>TED</character> <dialogue>What was that?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>We had a little flame out. But do n't worry, we'll ride this current until we get power back.</dialogue> <character>TED</character> <dialogue>Did he just say we lost power?</dialogue> <scene_description>The group contemplates this as the Mozart cheerily resumes .</scene_description> <character>NORMAN</character> <dialogue>Flame out? What's a flame out?</dialogue> <character>BARNES</character> <dialogue>Do n't worry about it. We're in the river now.</dialogue> <character>NORMAN</character> <dialogue>What river?</dialogue> <character>BARNES</character> <dialogue>It's a temperature salinity differential that flows like a river inside the ocean.</dialogue> <character>NORMAN</character> <dialogue>We're in the middle of the ocean under the ocean and there's a river?</dialogue> <character>BARNES</character> <dialogue>That's right.</dialogue> <character>NORMAN</character> <dialogue>You could n't tell us that when you de - briefed us?</dialogue> <character>BARNES</character> <dialogue>Need to know.</dialogue> <character>BETH</character> <dialogue>It's a good thing, Norman.</dialogue> <character>NORMAN</character> <dialogue>It just, you know. lessens the stress response - the more you know in front.</dialogue> <scene_description>Ted is looking very tense .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You okay, Ted?</dialogue> <character>TED</character> <dialogue>No, I'm not okay.</dialogue> <character>NORMAN</character> <dialogue>Look at me.</dialogue> <scene_description>Beth tries to soothe Ted . He gets more tense .</scene_description> <character>NORMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe you should n't touch him, Beth.</dialogue> <parenthetical>( to Ted . )</parenthetical> <dialogue>Just look at me. I want you to breathe. Just look at me. You want to take a breath. On the count of three. one.</dialogue> <scene_description>Ted breathes . Harry begins to hum .</scene_description> <character>TED</character> <dialogue>You're not breathing either, Norman.</dialogue> <character>NORMAN</character> <dialogue>I know I'm not breathing. We're going to breathe together, okay? We're both nervous, yes? Breathe in through your nose. one, two, three and out. It's just a stress response. Out.</dialogue> <character>BETH</character> <dialogue>You're not giving birth here, Ted.</dialogue> <character>NORMAN</character> <dialogue>In and out. two. three. four.</dialogue> <scene_description>Ted and Norman exchange a smile . Harry 's humming gets louder .</scene_description> <character>TED</character> <dialogue>Would you cut that out please, Harry?</dialogue> <character>NORMAN</character> <parenthetical>( to Ted . )</parenthetical> <dialogue>You're having a stress reaction. That's Harry's stress reaction, okay? A bunch of adolescents here.</dialogue> <scene_description>Beth is holding onto Ted 's hand .</scene_description> <character>BETH</character> <dialogue>Okay, man?</dialogue> <scene_description>She lets go of his hand .</scene_description> <character>TED</character> <dialogue>Thank you, that's better. I'm better.</dialogue> <scene_description>He laughs with relief . The sub continues to descend .</scene_description> <character>NORMAN</character> <dialogue>Those noises we're hearing, that's normal?</dialogue> <character>BARNES</character> <dialogue>Those noises are the pressure of the water attacking the integrity of the sub.</dialogue> <character>BETH</character> <dialogue>You know a little something about that, do n't you? Norman? How the pressure can attack your integrity?</dialogue> <character>NORMAN</character> <dialogue>Come on. be nice this trip.</dialogue> <character>BETH</character> <dialogue>Were you nice last time?</dialogue> <character>TED</character> <dialogue>You two want to sit together?</dialogue> <scene_description>Norman wipes sweat off his brow .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - LATER</stage_direction> <scene_description>The sub descends into the gloom . Not much light down here . In the distance , the shadowy monolith of the tail fin looms , like some ancient misplaced totem .</scene_description> </scene> <scene> <stage_direction>INT. SUB - LATER</stage_direction> <scene_description>Ted peers out of the porthole . Then his jaw drops .</scene_description> <character>TED</character> <dialogue>My God! C'mere - look at this!</dialogue> <scene_description>Ted gestures to Norman , and Norman joins him . Peers out . THEIR POV Emerging INTO VIEW from behind a ridge . THE HABITAT A visually breathtaking network of cylinders and domes , in yellow steel and glass , lit up from inside and out - like a vast underwater sculpture - as fish dart around it . BACK ON NORMAN AND TED as Barnes comes over the intercom .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>That's the habitat.</dialogue> <character>TED</character> <dialogue>It ai n't the Motel 6.</dialogue> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>The sub nestles beneath the imposing structure . a HYDRAULIC HISS as the sub 's hatch connects with the airlock .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>JANE EDMUNDS , the unit archivist , monitors the video feed . A video image appears of the team entering through the hatch to the moon pool .</scene_description> <character>EDMUNDS</character> <dialogue>They're here.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT MOON POOL - SAME TIME</stage_direction> <scene_description>The team crawls through the narrow hatch .</scene_description> </scene> <scene> <stage_direction>INT. MOON POOL ROOM - LATER</stage_direction> <scene_description>The team are squeezed face - to - face in a cold steel - walled chamber . Barnes stands outside and talks to them over an intercom . Then a scary HISSING sound as GAS under pressure enters the chamber .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Alright. We're gon na pressurize you now. I know it's hot in there, but you're going to feel coolness. That's the helium.</dialogue> <character>NORMAN</character> <dialogue>Helium?</dialogue> <character>TED</character> <dialogue>Was I the only one paying attention?</dialogue> <scene_description>Ted is so captivated by his pompous explanation that he does n't realize his voice is getting higher and squeakier . In fact , all of their voices have been distorted by the helium .</scene_description> <character>TED</character> <dialogue>Oxygen is a corrosive gas in the same family as chlorine and fluorine. Hydrochloric acid. Hydrofluoric acid.</dialogue> <scene_description>Everyone 's smirking at Ted 's seriousness and his squeaky voice .</scene_description> <character>TED</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Essentially that's why we're breathing helium down here because oxygen at any level higher than 2.3 becomes toxic.</dialogue> <character>NORMAN</character> <dialogue>Can you run that by me again, Ted. I do n't speak fluent balloon.</dialogue> <scene_description>Everyone laughs - a squeaky , high - pitched helium laugh .</scene_description> <character>TED</character> <parenthetical>( off their laughter . )</parenthetical> <dialogue>Yes. that's my voice. The helium resonates differently with my vocal cords.</dialogue> <character>BETH</character> <dialogue>Wait a second.</dialogue> <character>HARRY</character> <dialogue>Follow the yellow brick - road.</dialogue> <character>BARNES</character> <parenthetical>( intercom . )</parenthetical> <dialogue>Alright, kiddies, cut it out. The voice regulators are behind you. Put'em on.</dialogue> <character>NORMAN</character> <parenthetical>( helium voice - to Beth . )</parenthetical> <dialogue>How do you like it?</dialogue> <character>BETH</character> <parenthetical>( helium voice . )</parenthetical> <dialogue>It's nothing compared to the drugs I've done.</dialogue> <scene_description>Everyone laughs - helium laughs .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - POV FROM FIN OF SPACECRAFT - SAME TIME</stage_direction> <scene_description>And the dim sounds of the LAUGHTER inside . As if someone is watching . listening . and the habitat is a craft full of aliens .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - VIDEO ROOM - LATER</stage_direction> <scene_description>TEENY FLETCHER , a gruff O.S.S.A. lifer in her late 30s , works the controls -LRB- joystick , slide switches -RRB- for a remote robot . Jane Edmunds monitors the video feed . ANGLE ON TEAM Clustered around , watching . They all now wear talkers around their necks that normalize their speech .</scene_description> <character>BARNES</character> <parenthetical>( V/O . )</parenthetical> <dialogue>Change the angle - different plane.</dialogue> <scene_description>ANGLE ON MONITORS A large hole has been excavated through the coral , revealing what appears to be a door in the spaceship beneath . As Teeny manipulates the joystick , a suction arm emerges from the robot , latches onto the door .</scene_description> <character>FLETCHER</character> <dialogue>Alright.</dialogue> <character>BARNES</character> <dialogue>Get the plane. get the suction plane flat.</dialogue> <character>FLETCHER</character> <dialogue>This has been a little difficult, sir. No, no. you're doing good. Keep the rubber plane flat.</dialogue> <scene_description>Fletcher continues to manipulate the robot .</scene_description> <character>FLETCHER</character> <dialogue>There we go.</dialogue> <character>BARNES</character> <dialogue>Rotate the clamp.</dialogue> <character>FLETCHER</character> <dialogue>Come on!</dialogue> <character>BARNES</character> <dialogue>No, other way.</dialogue> <character>FLETCHER</character> <dialogue>Okay.</dialogue> <scene_description>Ted is playing with his `` talker '' - the black box around his neck that regulates his voice .</scene_description> <character>TED</character> <dialogue>I ca n't believe these things. mmmmmm.</dialogue> <parenthetical>( starts to sing in helium voice . )</parenthetical> <dialogue>`` Ole man river. that ole man river.''</dialogue> <character>BARNES</character> <dialogue>Turn it to forty five degrees.</dialogue> <character>TED</character> <dialogue>Mmmmmm.</dialogue> <parenthetical>( replaces `` talker '' . )</parenthetical> <dialogue>I'm back.</dialogue> <character>BETH</character> <dialogue>Is that the door?</dialogue> <character>BARNES</character> <dialogue>Looks like it. We did sonar imaging of the interior compartments. That's our best bet.</dialogue> <parenthetical>( to Fletcher . )</parenthetical> <dialogue>Damn it! It wo n't budge will it?</dialogue> <character>HARRY</character> <dialogue>Has it occurred to anyone that maybe we should n't open that door?</dialogue> <character>NORMAN</character> <dialogue>Why do you say that?</dialogue> <character>HARRY</character> <dialogue>We always assume these creatures will be green, or insect - like, but basicaily human. But what if they inhale air and exhale cyanide gas? It's perfectly plausible.</dialogue> <character>BETH</character> <dialogue>Or live forever - like a virus. Or a yeast.</dialogue> <character>NORMAN</character> <dialogue>Why would you assume that an unknown life form would want to kill us?</dialogue> <character>HARRY</character> <dialogue>A creature that ca n't be killed would n't think killing was right or wrong. They'd simply have no concept of it.</dialogue> <scene_description>Ted noses up to the monitor , getting in everyone 's way .</scene_description> <character>TED</character> <dialogue>How tall is that robot?</dialogue> <character>FLETCHER</character> <dialogue>Five feet.</dialogue> <character>HARRY</character> <dialogue>Instant extinction. It's what all the serious scientific literature is about - what little there is on the subject.</dialogue> <parenthetical>( to Norman . )</parenthetical> <dialogue>That is in your report, is n't it, Norman?</dialogue> <character>NORMAN</character> <dialogue>It's in there.</dialogue> <character>BARNES</character> <parenthetical>( to Fletcher . )</parenthetical> <dialogue>Put some suction in it. Is that piston broken?</dialogue> <character>TED</character> <dialogue>That's roughly the same size as an airplane door, is n't it?</dialogue> <character>BARNES</character> <dialogue>Excuse me, Ted.</dialogue> <character>TED</character> <dialogue>I just think that's worth taking note of. Do n't you?</dialogue> <character>BARNES</character> <dialogue>Ted!</dialogue> <parenthetical>( to Fletcher . )</parenthetical> <dialogue>Knock the suction up to point - four.</dialogue> <character>TED</character> <dialogue>Look at how clumsy this thing is. Three million dollars worth of technology and it ca n't open a door.</dialogue> <character>BARNES</character> <dialogue>Alright, Ted!</dialogue> <character>FLETCHER</character> <parenthetical>( through her teeth . )</parenthetical> <dialogue>There's nothing clumsy about the robot.</dialogue> <character>TED</character> <dialogue>I'm sorry. All I'm saying is I think any one of us could do better with a crowbar.</dialogue> <character>BETH</character> <dialogue>Any one of us, Ted? Which any one of us would that be?</dialogue> <character>TED</character> <dialogue>Okay, okay. I admit it. Nothing wrong with a little glory in the name of science? Jesus!</dialogue> <scene_description>CLOSE ON BARNES as he looks at the robot flailing impotently at the door . Then looks at the team .</scene_description> <character>FLETCHER</character> <dialogue>We're not going to be able to control it from here, and all the divers have pulled out.</dialogue> </scene> <scene> <stage_direction>INT. SUIT ROOM - LATER</stage_direction> <scene_description>Lockers with nameplates for the team . Inside each , a diving suit and helmet . Heavier than scuba gear - more like spacesuits . The team sets about changing into them .</scene_description> <character>NORMAN</character> <dialogue>I'm not too thrilled at the prospect of this, you know.</dialogue> <character>BETH</character> <dialogue>You know what, Norman. do n't think of it as swimming, think of it as walking.</dialogue> <character>NORMAN</character> <dialogue>The walking part I can do, it's the underwater part. You drown underwater.</dialogue> <parenthetical>( adjusting equipment . )</parenthetical> <dialogue>If I break anything, does that mean I do n't have to go?</dialogue> <character>TED</character> <dialogue>What if I have to go to the bathroom?</dialogue> <character>HARRY</character> <dialogue>Just go down your leg, Ted.</dialogue> <character>TED</character> <dialogue>Really? You can urinate in these?</dialogue> <character>HARRY</character> <dialogue>You can. Question is, would you want to?</dialogue> <character>NORMAN</character> <parenthetical>( looking at helmet . )</parenthetical> <dialogue>Where's the switch?</dialogue> <character>BETH</character> <dialogue>Okay, let's go.</dialogue> </scene> <scene> <stage_direction>INT. MOON POOL ROOM - LATER</stage_direction> <scene_description>Barnes opens a hatch to the ocean , kept at bay by the positive pressure in the airlock room . Suited up , the team jumps through the hatch and down to the ocean floor .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN FLOOR - CONTINUOUS</stage_direction> <scene_description>Norman emerges from a cloud of bubbles onto the ocean floor , kicking up sand and clouding up the already murky view . NORMAN 'S POV The LABORED sound of Norman 's BREATHING as we look out from inside his helmet .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Alright, Fletcher. We're at one thousand and twenty two feet, ambient temperature thirty four degrees, heading out north, north west three thirty. It's a firm bottom, intermittent coral.</dialogue> <scene_description>Norman turns and sees a blinding light . shields his eyes - it 's the light on Harry 's helmet .</scene_description> <character>HARRY</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, your light's off again. Try the switch at your waist.</dialogue> <scene_description>INSERT - NORMAN 'S GLOVE As he fumbles with the switch on his waist . His helmet light flashes on . WIDER The team makes its way across the ocean floor , their helmet lights sweeping the foggy bottom like headlights .</scene_description> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>This is great you guys. Wow!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Hey, Norman. You know, a space launch costs a hundred million dollars. You could come down here once a day every day for fifty years for that. The ocean is the oldest living environment. so much older than the land, yet we do n't know anything about it.</dialogue> <scene_description>BACK ON NORMAN 'S POV - LONG , HIGH WIDE SHOT He can barely make out the others . This is a long way from sherry at the faculty club . Then he HEARS .</scene_description> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Oh, my God!</dialogue> <character>TED</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Look at the size of that thing.</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>You see that tunnel. we go there. That's the `` heart of darkness''.</dialogue> <scene_description>They continue across the ocean bottom .</scene_description> <character>BARNES</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>We're in the coral pipe now, approaching the airlock.</dialogue> <character>NORMAN</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>I'm feeling pressure in my ears, is that normal?</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Just use your equalizer.</dialogue> <scene_description>Norman adjusts his equipment .</scene_description> <character>NORMAN</character> <dialogue>A little better.</dialogue> <character>BETH</character> <dialogue>You know, the most toxic creatures on earth live down here. The venom of a land animal is nothing by comparison. Even the weakest sea snake is inveritably lethal.</dialogue> <character>NORMAN</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Is that supposed to make me feel good, Beth?</dialogue> <character>HARRY</character> <parenthetical>( looking at coral . )</parenthetical> <dialogue>Amazing. This stuff only grows an inch a year?</dialogue> <character>BARNES</character> <dialogue>Airlock's in sight now.</dialogue> <character>TED</character> <parenthetical>( re : spacecraft . )</parenthetical> <dialogue>This thing is enormous.</dialogue> <scene_description>Norman looks up . LONG , HIGH , WIDE SHOT - THE TEAM As their little helmet lights sweep up towards . SPACECRAFT Buried under a mountain of coral , it 's about as big as an airport terminal . With the titanium fin looming beyond . ANGLE ON BARNES Near the entrance - carved through the coral and lit by tiny hanging bulbs . Barnes waves them on and they follow him down .</scene_description> <character>BARNES</character> <dialogue>This is our airlock. It'll take us from a wet to a dry environment. We're assuming the inside of the ship is sealed.</dialogue> <scene_description>ANGLE ON NORMAN as he descends awkwardly , grabbing clumsily at the bulky iron pitons drilled into the coral walls . till he reaches . PORTABLE AIRLOCK A large Plexiglas tube reinforced with steel struts , butted against the door of the spacecraft . Norman and the rest of the team enter . Barnes seals it shut . there 's a rush of incoming gas which pushes the water out . CLOSE ON NORMAN as the water recedes down past his face - plate . Then he and the rest of the team turn toward . DOOR</scene_description> </scene> <scene> <stage_direction>EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - LATER</stage_direction> <scene_description>Barnes labors over the robot , the innards exposed , with an Allen wrench , Ted hovering over him .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Fletcher watching the team on the bank of videos .</scene_description> <character>FLETCHER</character> <dialogue>Alright. What's happening here guys?</dialogue> </scene> <scene> <stage_direction>EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - SAME TIME</stage_direction> <scene_description>Barnes struggles with the robot .</scene_description> <character>BARNES</character> <dialogue>Put a light in the digit, Norman.</dialogue> <scene_description>Norman shines his flashlight inside the robot hand .</scene_description> <character>BARNES</character> <dialogue>Yeah. maybe it's the hydraulics. The pressure messes everything up at this depth.</dialogue> <scene_description>In frustration , Ted grabs a hammer from Barnes ' tool kit .</scene_description> <character>TED</character> <dialogue>Time for a demonstration in basic physics, gentlemen.</dialogue> <scene_description>He goes to the door and bangs on it .</scene_description> <character>BETH</character> <dialogue>What is this, a pinata party?</dialogue> <character>BARNES</character> <dialogue>No. Dr. Fielding is demonstrating advanced applied physics for us.</dialogue> <scene_description>ANGLE ON HARRY as he notices something . moves toward the door . runs his finger along the edge . Norman moves alongside him .</scene_description> <character>NORMAN</character> <dialogue>What is it, Harry?</dialogue> <character>HARRY</character> <dialogue>Take a look.</dialogue> <scene_description>Norman looks closely at the door .</scene_description> <character>HARRY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's chipped.</dialogue> <scene_description>Then the others gather around them .</scene_description> <character>BARNES</character> <dialogue>It's chipped. So what?</dialogue> <character>HARRY</character> <dialogue>I thought you said there was no damage in the crash. That this titanium alloy was super - strong, there was no way you could hurt it.</dialogue> <character>BARNES</character> <dialogue>I did.</dialogue> <character>HARRY</character> <dialogue>But it gets chipped just from some scientist whacking on it with a hammer?</dialogue> <scene_description>ANGLE ON BETH As she feels the door with her palms .</scene_description> <character>BETH</character> <dialogue>Is there heat coming off this thing, or is it just happy to see me?</dialogue> <character>BARNES</character> <dialogue>Get away from there, Beth.</dialogue> <character>BETH</character> <dialogue>Just one minute.</dialogue> <character>BARNES</character> <dialogue>I said back off! Now!</dialogue> <scene_description>Barnes yanks Beth roughly and shoves her aside . Angry , she glares at him . The door starts to RUMBLE . Barnes unstraps a weapon . Then the door opens . revealing blackness inside .</scene_description> <character>HARRY</character> <dialogue>Is anyone else here wondering who opened the door?</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Fletcher at bank of videos .</scene_description> <character>FLETCHER</character> <dialogue>Yeah. I'd like to know who hit the button too.</dialogue> </scene> <scene> <stage_direction>EXT. SPACECRAFT/INT. PORTABLE AIRLOCK - SAME TIME</stage_direction> <scene_description>Norman and Harry exchange a look . Then , ever so cautiously , Norman moves in , followed by Ted , Harry , Beth and Barnes who closes the door behind them .</scene_description> <character>TED</character> <dialogue>How did that happen?</dialogue> <character>BARNES</character> <dialogue>I'm not sure about the atmosphere. Helmets stay on.</dialogue> <character>TED</character> <dialogue>We come in peace.</dialogue> <parenthetical>( to Harry . )</parenthetical> <dialogue>I always wanted to say that.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - SAME TIME</stage_direction> <scene_description>Norman enters , his helmet light leading the way . He realizes he is walking along a five - foot wide catwalk . NORMAN 'S POV as his helmet light sweeps forty feet down into the maw of the craft , a dense web of struts and buttresses . Beth heads along a separate path of the catwaik . Looks down . Stops . BETH 'S POV as her helmet light sweeps the path . footprints . BACK TO SCENE</scene_description> <character>BETH</character> <dialogue>Somebody's been here.</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>Yeah. There's footsteps, and they ai n't ours.</dialogue> <scene_description>Harry joins her . Looks down . Then Norman joins them .</scene_description> <character>HARRY</character> <dialogue>What do you say, Norman? Time to turn around?</dialogue> <character>NORMAN</character> <dialogue>I'm a little curious.</dialogue> <character>BARNES</character> <dialogue>Let's break up into two squads. We'll never cover the ground otherwise.</dialogue> <character>HARRY</character> <dialogue>Split up?</dialogue> <character>TED</character> <dialogue>He's got a point. We've got maybe a half - hour of gas left.</dialogue> <character>BARNES</character> <dialogue>Ted and Harry you come with me. Beth and Norman stick together. Come on.</dialogue> <character>HARRY</character> <dialogue>I think the people who built this place would call that divide and conquer.</dialogue> <character>NORMAN</character> <dialogue>Whoever built this thing wanted us dead, we'd be dead already.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>As a matter of deductive logic, Harry.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - LATER</stage_direction> <scene_description>Barnes , Harry and Ted move ahead , their helmet lights sweeping the surfaces and structures of the craft - both odd and oddly familiar . Barnes inspects one of the girders with his gloved fingers , then whacks it with the crowbar .</scene_description> <character>BARNES</character> <dialogue>Look at this, Harry. cross - stress bracing for the outer hull. Tremendous support along all axes. This is interesting. This material - strong and soft at the same time. Better than rubber, better than steel.</dialogue> <parenthetical>( off insulation . )</parenthetical> <dialogue>Heck of a lot of radiation shielding. Wonder what that's for?</dialogue> <character>HARRY</character> <dialogue>You seem to know a lot about this.</dialogue> <character>BARNES</character> <dialogue>Huh?</dialogue> <scene_description>-LRB- beat -RRB- Yeah , I , uh , studied aeronautical engineering at M.I.T. Is n't that where you got your Ph.D ?</scene_description> <character>TED</character> <dialogue>Where I got mine. All three of them. A regular hotbed of academic envy though.</dialogue> <character>HARRY</character> <dialogue>Ai n't that the truth. I hated M.I.T.</dialogue> <character>TED</character> <dialogue>Envy?</dialogue> <character>HARRY</character> <dialogue>Puberty.</dialogue> <character>TED</character> <dialogue>Puberty? How old?</dialogue> <character>HARRY</character> <dialogue>First Ph.D, eighteen.</dialogue> <character>TED</character> <dialogue>Damn! One year, Harry. You beat me by one year, Harry.</dialogue> <character>HARRY</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` What a difference a year makes.''</dialogue> <character>TED</character> <dialogue>Where'd Dr. Halperin get her Ph.D?</dialogue> <character>BARNES</character> <dialogue>On her knees, is what I'd guess.</dialogue> <character>HARRY</character> <dialogue>You might be underestimating her.</dialogue> <character>BARNES</character> <dialogue>Oh, yeah?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Let's push on.</dialogue> <scene_description>ANGLE ON TED as he looks around for a place to sit .</scene_description> <character>TED</character> <dialogue>Man. They did n't tell you how heavy these things were out of water.</dialogue> <scene_description>He finds a box . Brushes the silt off the top . Double - takes .</scene_description> <character>TED</character> <dialogue>What the hell -.</dialogue> <parenthetical>( to others . )</parenthetical> <dialogue>Come here - look at this!</dialogue> <scene_description>Barnes and Harry join him . Peer down with their head - lamps . INSERT - BOX Where Ted brushed the silt off , it reads , `` TRASH/BASURA '' .</scene_description> <character>BARNES</character> <parenthetical>( reading . )</parenthetical> <dialogue>` Trash/Basura'?</dialogue> <character>HARRY</character> <dialogue>Trash?</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - HALLWAY AND ELEVATOR - SAME TIME</stage_direction> <scene_description>Norman and Beth move through the craft . Beth finds a door with a control button .</scene_description> <character>BETH</character> <dialogue>What do you think?</dialogue> <scene_description>Norman shrugs . Beth moves to press the button . Norman stops her .</scene_description> <character>NORMAN</character> <dialogue>Listen, Beth, I've got a dilemma. I have to tell you something about the report.</dialogue> <character>BETH</character> <dialogue>Okay.</dialogue> <character>NORMAN</character> <dialogue>You know, I needed the money. Ellen wanted to buy a house and I was broke - the divorce had cleaned me out. These guys show up with a federal grant to study the psychological effects of an alien invasion -</dialogue> <character>BETH</character> <dialogue>What are you saying, Norman?</dialogue> <character>NORMAN</character> <dialogue>I mean. I needed money to buy a house.</dialogue> <character>BETH</character> <dialogue>Uh, huh.</dialogue> <character>NORMAN</character> <dialogue>So I made it up.</dialogue> <character>BETH</character> <dialogue>You made what up?</dialogue> <character>NORMAN</character> <dialogue>I made up the report.</dialogue> <character>BETH</character> <dialogue>You made up the report?</dialogue> <character>NORMAN</character> <dialogue>Not all of it. I mean, I did research on half of it.</dialogue> <scene_description>Beat .</scene_description> <character>BETH</character> <dialogue>Well, who did the other half?</dialogue> <character>NORMAN</character> <dialogue>I borrowed from, you know, good writers. Isaac Asimov. Rod Serling.</dialogue> <character>BETH</character> <dialogue>Rod Serling? This is n't the Twilight Zone, Norman, and I ca n't change the channel, so what do you want me to do now?</dialogue> <character>NORMAN</character> <dialogue>I'm just telling you, Beth. I mean, who the hell would think that anyone would ever read those government reports? What's the odds of it? You know what I mean? I show up and I've got half the Pacific Fleet here. I did n't know what to do. I just wanted to tell you, that's all.</dialogue> <scene_description>Beat .</scene_description> <character>BETH</character> <dialogue>Would this fall under the same category as `` Gee, Beth, I thought you knew I was married?''</dialogue> <character>NORMAN</character> <dialogue>Boy, you do n't forget, do you? I do n't think we have enough oxygen to talk this through now.</dialogue> <character>BETH</character> <dialogue>I do n't think there's nough oxygen to talk this through. ever.</dialogue> <scene_description>Beth angrily presses the button and she heads inside , then stops . Norman tentatively follows her . Suddenly they 're elevated with a fast jolt . Beth screams .</scene_description> <character>NORMAN</character> <dialogue>Who pushed the button? Did you push something?</dialogue> <character>BETH</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - FLIGHT DECK</stage_direction> <scene_description>Norman and Beth arrive at the flight deck . It is extremely dark . They discover a large , contoured console - but with no instrumentation of any kind . Norman feels his way around what seems to be a leather chair .</scene_description> <character>NORMAN</character> <dialogue>This must be the cockpit. Hold on. here's a chair.</dialogue> <scene_description>He sits down .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, this is fairly comfortable.</dialogue> <character>BETH</character> <dialogue>Norman, do you hear a kind of gurgling sound?</dialogue> <character>NORMAN</character> <dialogue>Gurgling. Aaaaargh!</dialogue> <scene_description>Suddenly the chair grabs him . Squeezing his shoulders , grabbing his hips , wrapping around his head . as if it was swallowing him . Beth screams .</scene_description> <character>BETH</character> <dialogue>Norman!</dialogue> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh, yeah. You know, they're seatbelts.</dialogue> <scene_description>CLOSE ON NORMAN As he disappears into the chair . Being swallowed up by it . Beth screaming , `` Norman ! Norman ! '' And then it stops .</scene_description> <character>NORMAN</character> <dialogue>I'm okay.</dialogue> <scene_description>Then a loud WHIR as the CHAIR snaps forward , zooms up tight to the console .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Er. Beth, I could use a little help. Beth.</dialogue> <scene_description>CLOSE ON NORMAN He maintains his composure by dint of will . Then his face is bathed in a soft Christmastime glow of colored lights .</scene_description> <character>BETH</character> <dialogue>Norman! Norman!</dialogue> <scene_description>He gestures down with his eyes . She follows his gaze . ANGLE ON CONSOLE As it begins to take on depth . The instrumentation is somehow within the surface of the console , like a hologram . `` POS THRUSTERS '' . `` F3 PISTON BOOSTER '' . `` GLIDER '' . `` SIEVES '' .</scene_description> <character>NORMAN</character> <dialogue>Beth, you still with me?</dialogue> <character>BETH</character> <parenthetical>( reading . )</parenthetical> <dialogue>Yeah. The symbols. the symbols are in English.</dialogue> <character>NORMAN</character> <dialogue>English?</dialogue> <character>BETH</character> <dialogue>Yes, English. Our mother tongue.</dialogue> <character>NORMAN</character> <dialogue>There must be an explanation.</dialogue> <character>BETH</character> <dialogue>Well, there's something weird going on here, Norman. There's something Barnes is n't telling us.</dialogue> <character>NORMAN</character> <dialogue>Well, Beth, while you're ruminating, do you think you can find the chair release button.</dialogue> <character>BETH</character> <dialogue>Oh!</dialogue> <parenthetical>( reading . )</parenthetical> <dialogue>Ignition.</dialogue> <character>NORMAN</character> <dialogue>No, not that one.</dialogue> <scene_description>Beth explores the console . Finds the appropriate control . Touches it .</scene_description> <character>BETH</character> <dialogue>Here. This is it, I think.</dialogue> <scene_description>The chair unwraps around Norman .</scene_description> <character>NORMAN</character> <dialogue>There you go.</dialogue> <scene_description>Norman relaxes . Beth turns and sees that the chair beside Norman has opened as well . And there 's a skeleton in uniform inside it .</scene_description> <character>BETH</character> <dialogue>Aaaargh!</dialogue> <character>NORMAN</character> <dialogue>Oh, God!</dialogue> <scene_description>Beth examines the skeleton with her scientific sangfroid .</scene_description> <character>BETH</character> <dialogue>Jesus! It's human.</dialogue> <character>NORMAN</character> <dialogue>You mean humanoid?</dialogue> <character>BETH</character> <dialogue>No, Norman. I mean human.</dialogue> <parenthetical>( off skeleton . )</parenthetical> <dialogue>Blunt force trauma. You can see by the direction that the fracture runs, that he was hit in the back of the head.</dialogue> <character>NORMAN</character> <dialogue>What's in his hand?</dialogue> <character>BETH</character> <dialogue>I do n't know.</dialogue> <scene_description>Norman takes a small package from the skeleton 's hand .</scene_description> <character>BETH</character> <dialogue>What is it?</dialogue> <character>NORMAN</character> <dialogue>Smokehouse almonds?</dialogue> <scene_description>They look at each other a beat .</scene_description> <character>BETH</character> <dialogue>My God - it's an American spaceship.</dialogue> <scene_description>They exchange a look as they absorb this stunning revelation .</scene_description> <character>NORMAN</character> <dialogue>It ca n't be an American spaceship. It's three hundred years old. There were n't even Americans, let alone spaceships.</dialogue> <character>BETH</character> <dialogue>Well, it ca n't be, but it is.</dialogue> <character>NORMAN</character> <dialogue>Okay. Let's see if there's some kind of flight recorder or data computer that we can ring up a flight history. Just punch punch. punch. punch something!</dialogue> <character>BETH</character> <dialogue>Alright. Let me try this thing again.</dialogue> <scene_description>Beth touches the console . ANGLE ON THEIR FACEPLATES As data starts to spool out on the console . RV - LHOOQ . DCOMl . ASSIMILATING DATABASE .</scene_description> <character>BETH</character> <dialogue>Alright. Look at this. Okay, good. Here we go.</dialogue> <scene_description>ANGLE ON CONSOLE As Norman punches another button . FLIGHT DATA ENTRIES FDS 01/01/43 - 12/31/45 FDS 01/01/46 - 12/31/48 FDS 01/01/49 - 12/31/51 FDS 02/01/56 - UNKNOWN ENTRY EVENT</scene_description> <character>NORMAN</character> <dialogue>Look at the dates. That ca n't be -</dialogue> <character>BETH</character> <dialogue>It could be. It could be 2043 or 1643. I do n't know which one is weirder.</dialogue> <character>NORMAN</character> <dialogue>` Unknown Entry Event'? Press that.</dialogue> <character>BETH</character> <dialogue>Are you sure?</dialogue> <character>NORMAN</character> <dialogue>Yes.</dialogue> <scene_description>Beth presses the console at `` Unknown Entry Event '' . ANGLE ON SCREEN As it expands . A sort of hologram created all around them . As they streak through a galaxy , stars and planets all around them . They feel like they 're falling into outer space . Then in the middle of the screen , a black spot . That gets bigger . Then suddenly has a white cluster in the middle of it . As if they 're flying toward a giant black donut . And then . nothing . They sit a beat in the eerie blankness and silence .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>This is Barnes. Norman?</dialogue> <scene_description>Norman and Beth exchange a look .</scene_description> <character>NORMAN</character> <dialogue>Yes, I can hear you. I ca n't explain it, but I think we're inside an American spacecraft.</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It gets better.</dialogue> <character>NORMAN</character> <dialogue>This is enough.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - CARGO BAY - LATER</stage_direction> <scene_description>The Sphere , a giant metal ball with an iridescent surface , ten meters across , is held suspended by a giant claw - like apparatus in one of the forward bays . Something mesmerizing about it . The team approaches tentatively .</scene_description> <character>TED</character> <dialogue>What the hell is it?</dialogue> <character>BARNES</character> <dialogue>Whatever it is, it seems to be what this bird was designed to do. Go out into space and gather things like this up and bring it back.</dialogue> <character>TED</character> <dialogue>Yeah. but back from where?</dialogue> <character>HARRY</character> <dialogue>Do n't get too excited, Ted. We'll turn it over and it'll say, ` Made in Korea.'</dialogue> <character>TED</character> <dialogue>Somehow I doubt that, Harry.</dialogue> <character>BARNES</character> <dialogue>What do you think, Norman?</dialogue> <character>NORMAN</character> <dialogue>I'm still working on what the hell is it.</dialogue> <character>BARNES</character> <dialogue>No hinges. No doors of any kind.</dialogue> <character>TED</character> <dialogue>I bet if you put a laser micrometer on this you'd find it's a perfect sphere. I mean a perfect sphere - down to a thousandth of an inch. That's a message in itself.</dialogue> <character>HARRY</character> <dialogue>Really.</dialogue> <character>BARNES</character> <dialogue>What do you mean?</dialogue> <character>TED</character> <dialogue>I mean when Pope Benedict asked Giotto for a drawing to prove his worth as an artist, what he did was draw a perfect circle freehand. Perfection is a powerful message.</dialogue> <character>BETH</character> <dialogue>I know what the Zen masters would say.</dialogue> <character>HARRY</character> <dialogue>What's that?</dialogue> <character>BETH</character> <dialogue>The ball wants to be caught.</dialogue> <character>BARNES</character> <dialogue>Nobody built a thing like this looking into his third eye. They went to a lot of trouble. And they did n't do it for nothing. Something put it out there to get picked up and brought back. Are you forgetting the Trojan Horse? It could be a trap.</dialogue> <character>TED</character> <dialogue>That sounds a little paranoid, do n't you think, Barnes?</dialogue> <character>BARNES</character> <dialogue>Paranoia is a disease. Fear is useful. Defense is basic - down to the simplest one - cell organism. Us. Them.</dialogue> <parenthetical>( checks watch . )</parenthetical> <dialogue>We'll leave a video camera here, keep an eye on it.</dialogue> <character>NORMAN</character> <dialogue>Can I ask you something about this reflective surface -</dialogue> <scene_description>Barnes edges up to the sphere .</scene_description> <character>BARNES</character> <dialogue>It looks like it's made of mercury. Except mercury is a liquid at this temperature.</dialogue> <character>NORMAN</character> <dialogue>No. That's not what I'm talking about. What worries me is that it's reflecting everything but us.</dialogue> <scene_description>Barnes steps back to get a better look . The team edges up beside Norman .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I hate to be the one non - scientist who picks this up, guys. You know what I mean? What do you think it is?</dialogue> <scene_description>THEIR POV It 's true . A perfect mirror image of everything in the cargo bay but them .</scene_description> <character>BARNES</character> <dialogue>I do n't know. Whatever it is, it's alien.</dialogue> <scene_description>SPHERE POV Through a convex lens , of the team looking in . BACK ON NORMAN As he watches Barnes gingerly reach out and touch the surface of The Sphere .</scene_description> </scene> <scene> <stage_direction>INT. BARNES' ROOM</stage_direction> <scene_description>CLOSE ON TELETYPE MACHINE A message types out : `` ADMIRAL MANNION HAS LEARNED CIVILIANS AT SATURATED DEPTHS . DEMANDS THEY BE SENT TOPSIDE IMMEDIATELY . '' Barnes reads message , crumples it into a ball and throws it away , then types a response . `` COULD NOT DE - CODE LAST MESSAGE . TRANSMISSION SCRAMBLED . PLEASE RE - SEND . '' `` CYCLONE DUE 0800 HOURS . GALE FORCE CONDITIONS AND SOUTHEAST SWELLS TOPSIDE . CONTACT TEAM MUST EVACUATE TWO HOURS OR REMAIN HABITAT FOR DURATION OF STORM . OSSA . ''</scene_description> </scene> <scene> <stage_direction>INT. BARNES' ROOM - LATER</stage_direction> <scene_description>Barnes talks on the radio transmission speaker to the surface .</scene_description> <character>BARNES</character> <dialogue>Sounds like it's gon na get pretty hairy up there. What's the word from meteorology?</dialogue> </scene> <scene> <stage_direction>INT. CAFETERIA - MOVING INSIDE</stage_direction> <scene_description>to the galley , where the team , now in their blue jumpsuits , confers over hot coffee . Fletcher bakes something in the oven .</scene_description> <character>TED</character> <dialogue>An American spacecraft - materials and technology more advanced than anything we know of - crashes into the ocean -</dialogue> <character>HARRY</character> <dialogue>If it crashed how come it's not damaged?</dialogue> <character>TED</character> <dialogue>The materials are obviously superstrong.</dialogue> <character>HARRY</character> <dialogue>If that's the case, how come the door chipped just from you banging on it?</dialogue> <scene_description>Fletcher brings them a tray of fresh - baked muffind . They all dig in .</scene_description> <character>TED</character> <dialogue>Okay. Better. It did n't crash. It arrived. Three hundred years ago.</dialogue> <character>BETH</character> <dialogue>From where?</dialogue> <character>TED</character> <dialogue>Not from where, from when.</dialogue> <character>BETH</character> <dialogue>So, you're saying, this thing took a wrong turn?</dialogue> <character>TED</character> <dialogue>Yes, that's right. What if the craft inadvertently flew into a black hole. It arrived in our past from its present. What about those dates you saw on the flight recorder.</dialogue> <character>NORMAN</character> <dialogue>43,'47 -</dialogue> <character>TED</character> <dialogue>That's right. That has to be two thousand forty three. two thousand forty seven. That image that you told me you saw on the monitor. from what you describe that sounds exactly like a black hole. a tear in the space.</dialogue> <character>HARRY</character> <dialogue>We know what a black hole is, Ted.</dialogue> <character>NORMAN</character> <dialogue>I do n't know what a black hole is.</dialogue> <character>HARRY</character> <dialogue>A black hole is a collapsed dead star that has so much gravity it acts like a huge vacuum cleaner, sucking everything into it. A light interstellar dust. time.</dialogue> <character>TED</character> <dialogue>Time.</dialogue> <character>HARRY</character> <dialogue>It's possible, but not plausible.</dialogue> <character>TED</character> <dialogue>It's more than probable, it's rudimentary astrophysics. We just have n't been able to fly into one and prove it.</dialogue> <character>HARRY</character> <dialogue>Well, Ted, sounds like you've got this all figured out.</dialogue> <scene_description>Barnes enters .</scene_description> <character>BARNES</character> <dialogue>Well, I just got off the horn topside. Expecting a bad blow - up there. They're pulling us out.</dialogue> <character>TED</character> <dialogue>Pulling us out? Wait a minute. what do you mean, pulling us out? What does that mean, pulling us out?</dialogue> <character>HARRY</character> <dialogue>What part of ` pull out' do n't you understand, Ted? Extraction. we're leaving.</dialogue> <character>TED</character> <dialogue>No. no. that's ridiculous. I mean, we have n't even begun to scratch the surface down here.</dialogue> <character>BARNES</character> <dialogue>If you've ever seen these Pacific cyclones - what we call a tornado is nothing more than a little fart, so I suggest you go back to the dormitory and take a nap. You need to lower your metabolism before the decompression.</dialogue> <character>TED</character> <dialogue>You're just gon na leave a time - traveling spacecraft at the bottom of the coean?</dialogue> <character>BARNES</character> <dialogue>I'm just going to follow my orders, Ted.</dialogue> <character>BETH</character> <dialogue>We're the Welcome Wagon for the aliens, right? There's no aliens. It's all Made in America.</dialogue> <character>TED</character> <parenthetical>( to Beth . )</parenthetical> <dialogue>What's your point?</dialogue> <character>BETH</character> <dialogue>My point is I'm a biochemist. There's no life down here, and you guys are bugging the shit out of me.</dialogue> <character>TED</character> <dialogue>What is wrong with all of you? That does n't mean there's nothing left to learn - nothing to explore - Jesus!</dialogue> <character>BARNES</character> <parenthetical>( cutting him off . )</parenthetical> <dialogue>She's right, Ted. You guys are the human contact team for an Unknown Life Form. There is no Unknown Life Form.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So, we're pulling out at oh - nine hundred.</dialogue> <character>TED</character> <dialogue>Norman, will you please say something to him.</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>TED</character> <dialogue>I do n't know. Do you not have an opinion about this?</dialogue> <character>NORMAN</character> <dialogue>Yes. I'm delighted we're going back up top. You know what I mean? I mean, I do n't know about you, this might look like a road - side diner, but in the meantime, my ears wo n't pop. if I pull this thing away from my neck I sound like someone's squeezing my testicles. Let's go home.</dialogue> <scene_description>Ted takes Barnes aside .</scene_description> <character>TED</character> <dialogue>Look, why do n't you tell me. What is it you do n't want us to find out, huh?</dialogue> <character>BARNES</character> <dialogue>I do n't want you to find out what I really think of you.</dialogue> <scene_description>ANGLE ON HARRY AND NORMAN</scene_description> <character>NORMAN</character> <dialogue>Harry. Does n't it seem odd to you that Barnes was so excited about coming down here, but he was n't the least bit upset about going up?</dialogue> <character>HARRY</character> <dialogue>We're on the same page.</dialogue> <scene_description>Norman puts his finger in his ear to release pressure .</scene_description> <character>HARRY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Equalize, Norman.</dialogue> <character>NORMAN</character> <dialogue>What do you mean?</dialogue> <character>HARRY</character> <dialogue>You know how to equalize, do n't you? Just pinch your nostrils together and blow.</dialogue> <character>NORMAN</character> <dialogue>Do n't get racy.</dialogue> </scene> <scene> <stage_direction>INT. BARNES' ROOM - LATER</stage_direction> <scene_description>CLOSE on LAPTOP SCREEN as words appear . `` DESPITE RISKS CONTACT TEAM ELECTS BY UNANIMOUS VOTE TO REMAIN HABITAT FOR DURATION OF STORM . BARNES . '' REVERSE ANGLE Barnes hits TRANSMIT BUTTON . BACK ON LAPTOP As the message appears : `` TRANSMISSION COMPLETE '' BACK ON BARNES As he looks around furtively . Turns off his laptop and closes it .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - LATER</stage_direction> <scene_description>Beth and Ted sleep . Harry reads a paperback novel to mask his anxiety . Norman brushes his teeth .</scene_description> <character>HARRY</character> <dialogue>Barnes is wrong, you know.</dialogue> <character>NORMAN</character> <dialogue>What do you mean? Wrong about the storm?</dialogue> <character>HARRY</character> <dialogue>No. about The Sphere.</dialogue> <character>NORMAN</character> <dialogue>What about The Sphere?</dialogue> <character>HARRY</character> <dialogue>It's alive.</dialogue> <scene_description>Norman stops a beat . Thinks . Then turns to Harry .</scene_description> <character>NORMAN</character> <dialogue>Why do you say that, Harry?</dialogue> <character>HARRY</character> <dialogue>There's something inside it.</dialogue> <character>NORMAN</character> <dialogue>How could there be anything inside it? There's no doors, no seams.</dialogue> <character>HARRY</character> <dialogue>The Sphere chooses what it will and wo n't reflect. Does n't that seem like the actions of a conscious being to you?</dialogue> <character>NORMAN</character> <dialogue>Okay. pop psychology - you want to know what this is really about I think, for what it's worth? Your anger towards our friend, Ted in there, is because he figured this out before you did.</dialogue> <scene_description>Beat .</scene_description> <character>HARRY</character> <dialogue>You really think so?</dialogue> <character>NORMAN</character> <dialogue>I do n't know. This is my first underwater session.</dialogue> <scene_description>They laugh .</scene_description> <character>HARRY</character> <dialogue>You're right. Ted did figure it out first, did n't he? Good shrinkage.</dialogue> <scene_description>Harry takes a slow , rueful , ruminative beat . Then :</scene_description> <character>HARRY</character> <dialogue>We're all going to die down here, you know.</dialogue> <scene_description>This stops Norman .</scene_description> <character>NORMAN</character> <dialogue>What? What?</dialogue> <character>HARRY</character> <dialogue>You see, it's curious, Ted did figure it out. Time travel. And when we get back, we're gon na tell everyone. how it's possible. How it's done. What the dangers are. But then why, fifty years in the future, when this spacecraft encounters a black hole, does the computer call it an ` Unknown Entry Event'? Why do n't they know? If they do n't know, it means we never told anyone, and if we never told anyone, it means we never made it back. Hence, we die down here.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Just as a matter of deductive logic, Norman.</dialogue> <scene_description>CLOSE ON NORMAN As he absorbs this .</scene_description> <character>HARRY</character> <dialogue>Damn! I wish I could get inside that Sphere.</dialogue> </scene> <scene> <stage_direction>INT. BARNES' QUARTERS - CLOSE ON PRINTER - SAME TIME</stage_direction> <scene_description>As it TYPES . '' . 30 knots . ETD - 00:19 MIN . ''</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>ALARMS sound and lights flash as Norman hustles past Fletcher .</scene_description> <character>NORMAN</character> <dialogue>What's wrong?</dialogue> <character>FLETCHER</character> <dialogue>Talk to Mr. Barnes.</dialogue> <character>NORMAN</character> <dialogue>Where is he?</dialogue> <character>FLETCHER</character> <dialogue>Video feed room.</dialogue> <character>NORMAN</character> <dialogue>Where's that? I do n't know where the hell anything is.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - SAME TIME</stage_direction> <scene_description>Harry walks towards the Sphere .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - LATER</stage_direction> <scene_description>Norman joins Barnes in the video room .</scene_description> <character>NORMAN</character> <dialogue>What's going on?</dialogue> <character>BARNES</character> <dialogue>I do n't know, Norman. You tell me.</dialogue> <scene_description>Barnes punches up an image on the monitors . They look up . REVERSE ANGLE - MONITOR Harry , in his diving suit , inside the spacecraft as he approaches The Sphere . BACK ON NORMAN AND BARNES As they look up . Then look at each other .</scene_description> <character>NORMAN</character> <dialogue>What the hell is he doing?</dialogue> <character>BARNES</character> <dialogue>I do n't know what he's doing. Do you know what he's doing? Come on, Norman, there's no time. I need to know what you know.</dialogue> <character>NORMAN</character> <dialogue>Nothing. He said he wanted to go inside, I just did n't think -</dialogue> <character>BARNES</character> <dialogue>We are inside, Norman. You mean outside?</dialogue> <character>NORMAN</character> <dialogue>He said inside.</dialogue> <character>BARNES</character> <dialogue>Inside what? Inside the spacecraft.</dialogue> <character>NORMAN</character> <dialogue>I think inside The Sphere.</dialogue> <character>BARNES</character> <dialogue>The Sphere.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - SAME TIME</stage_direction> <scene_description>Harry approaches The Sphere . Unlike before , his image is now reflected in the luminous surface . Harry smiles . Then his image revolves , faster and faster . His grin growing wider and wider . And then the reflection is n't there . REVERSE ANGLE And neither is Harry .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>As Barnes and Norman watch this scene on the monitors .</scene_description> <character>BARNES</character> <dialogue>Holy shit!</dialogue> <character>NORMAN</character> <dialogue>Oh, my God! Did he go inside?</dialogue> <character>BARNES</character> <dialogue>I do n't know. I do n't think he went inside.</dialogue> <character>NORMAN</character> <dialogue>Well, what the hell's going on? He did n't just disappear.</dialogue> <character>BARNES</character> <dialogue>I do n't know. I do n't think he disappeared. I think it's a glitch in the video.</dialogue> <scene_description>Fletcher hustles back inside .</scene_description> <character>BARNES</character> <dialogue>Fletcher, can we get playback on that?</dialogue> <character>FLETCHER</character> <dialogue>Playback coming to you now.</dialogue> <character>BARNES</character> <parenthetical>( turns to Norman . )</parenthetical> <dialogue>You knew he was going to do this and you did nothing.</dialogue> <character>NORMAN</character> <dialogue>I did n't think -</dialogue> <character>BARNES</character> <dialogue>You did n't think, Norman?</dialogue> <character>NORMAN</character> <dialogue>Fella. okay. Mr. Barnes. I was sleeping, you know. I'm a little disoriented.</dialogue> <character>BARNES</character> <dialogue>You're disoriented?</dialogue> <character>NORMAN</character> <dialogue>I did n't think it was possible.</dialogue> <character>BARNES</character> <dialogue>Disoriented? Where are Beth and Ted?</dialogue> <character>NORMAN</character> <dialogue>I do n't know.</dialogue> <character>BARNES</character> <dialogue>You do n't know?</dialogue> <character>NORMAN</character> <dialogue>No, I do n't know. I woke up. I heard bells ringing.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>Edmunds , puzzled , fiddles with a control knob . REVERSE ANGLE The gauge marked `` SUB DESCENT '' . It 's not moving .</scene_description> <character>EDMUNDS</character> <parenthetical>( to microphone . )</parenthetical> <dialogue>I'm not getting an image on the sub, sir.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes pulls on his headset .</scene_description> <character>BARNES</character> <dialogue>That's impossible. I just got a cable in my quarters.</dialogue> <parenthetical>( checks watch . )</parenthetical> <dialogue>They're gon na be here in twenty five minutes or less.</dialogue> <character>EDMUNDS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>The only logical explanation is that the sub is still at the surface.</dialogue> <character>BARNES</character> <dialogue>Is n't it also logically possible your sonar's messed up?</dialogue> <scene_description>Barnes punches up some controls . ON MONITOR As Harry 's image revolves around The Sphere and then Harry disappears .</scene_description> <character>NORMAN</character> <dialogue>Okay, let's just calm down, alright? He did n't just disappear. We're not going to leave him.</dialogue> <character>BARNES</character> <dialogue>You got that right, Norman. We're not going to leave without him. I'm not going to lose a civilian on my watch. so you have just screwed up our trip to the surface. We're not going up to the surface until we find Harry.</dialogue> <parenthetical>( to intercom . )</parenthetical> <dialogue>Harry. We're not going up. Harry, can you hear me? Harry?</dialogue> <scene_description>ANGLE ON MONITOR Harry 's grinning , whirling image on The Sphere as it plays back on the monitors . BACK ON BARNES As he barks into the intercom . Then starts talking to Norman , but Norman 's not there .</scene_description> <character>BARNES</character> <dialogue>This is not a triage situation here.</dialogue> <parenthetical>( turns towards where he expects to see Norman . )</parenthetical> <dialogue>Norman?</dialogue> <scene_description>Norman 's disappeared .</scene_description> <character>BARNES</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( to Fletcher . )</parenthetical> <dialogue>Go and find me Ted and Beth.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>Norman runs through the corridor toward the dressing room .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman. Norman.</dialogue> </scene> <scene> <stage_direction>INT. SUIT ROOM - SAME TIME</stage_direction> <scene_description>Norman climbs into his diving suit .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Stop now, Norman.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Norman, that's an order.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - CORRIDOR TO MOON POOL - ANGLE ON EDMUNDS</stage_direction> <scene_description>As she runs down the corridor . Enters the dressing room . EDMUNDS ' POV - MOON POOL No Norman . Beyond - to the airlock - no Norman .</scene_description> </scene> <scene> <stage_direction>INT. BARNES' QUARTERS - SAME TIME</stage_direction> <scene_description>The PRINTER TYPES , `` ETD - 00:05 min '' .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Norman plunges down from the airlock to the ocean floor in a cloud of bubbles . NORMAN 'S POV The door to the spacecraft illuminated by the airlock tube in the distance . The sound of his BREATHING as he trudges across the ocean floor . Norman goes through airlock . Norman runs on spacecraft catwalk . Norman runs through spacecraft hallway .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes watches on the monitors as he punches up different views of the habitat .</scene_description> <character>EDMUNDS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Sir, I'm still getting no reading on the sub.</dialogue> <character>BARNES</character> <parenthetical>( to microphone . )</parenthetical> <dialogue>Forget about the goddamn sonar. When Beth and Ted get here, keep your eye on them. Make sure they do n't go anywhere, alright?</dialogue> <parenthetical>( mutters . )</parenthetical> <dialogue>I do n't need a submarine, I need a schoolbus.</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - CARGO BAY - LATER</stage_direction> <scene_description>With some trepidation Norman turns the corner . NORMAN 'S POV The Sphere . Its luminous , opalescent surface . BACK ON NORMAN As , cautiously , he approaches The Sphere . Norman approaches The Sphere . Gets closer , till it looms above him . REVERSE ANGLE The curious surface of The Sphere , reflecting the room but not Norman . BACK ON NORMAN As he glances over , doubletakes . Harry has appeared , unconscious , right beside him . Norman kneels .</scene_description> <character>NORMAN</character> <dialogue>Harry. Can you hear me?</dialogue> <scene_description>He checks the vital signs on Harry 's breastplate .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Harry?</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes at the monitors watching Norman .</scene_description> <character>BARNES</character> <dialogue>Norman, is he alive?</dialogue> </scene> <scene> <stage_direction>INT. SPACECRAFT - CARGO BAY - SAME TIME</stage_direction> <scene_description>Norman checking Harry for signs of life .</scene_description> <character>NORMAN</character> <dialogue>Barnes. We have a problem. Harry's out coldhere. His pulse is normal. all his vitals are normal. I do n't get it.</dialogue> <parenthetical>( shaking Harry . )</parenthetical> <dialogue>Harry!</dialogue> <scene_description>The Norman lifts Harry in his arms , looks up . Something he sees stops him . REVERSE ANGLE - THE SPHERE Now Norman is reflected in the liquid surface . CLOSE ON NORMAN As he stops , frozen -</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROM - SAME TIME</stage_direction> <scene_description>Barnes watches on the monitors as Norman approaches The Sphere . Suddenly the monitors go black . Then the lights flicker off .</scene_description> <character>FLETCHER</character> <dialogue>Hello. hello.</dialogue> <character>BARNES</character> <dialogue>Norman. Can you hear me? We lost video here. Can you hear me, Norman. Norman?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That tears it.</dialogue> <character>FLETCHER</character> <dialogue>What, sir?</dialogue> <character>BARNES</character> <dialogue>We're on internal power.</dialogue> <character>FLETCHER</character> <dialogue>I do n't follow you.</dialogue> <character>BARNES</character> <parenthetical>( right back . )</parenthetical> <dialogue>They cut us loose, Teeny. The sub has gone to the surface.</dialogue> <character>FLETCHER</character> <dialogue>I'm not following you.</dialogue> <character>BARNES</character> <dialogue>Get out your Five - Day Deodorant Pads. We're down here for the duration.</dialogue> </scene> <scene> <stage_direction>EXT. OCEAN FLOOR - LATER</stage_direction> <scene_description>The power cable detaches from the habitat .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - LATER</stage_direction> <scene_description>Harry lies unconscious on his cot . Beth finishes taking his vital signs as Fletcher assists her .</scene_description> <character>BETH</character> <dialogue>Everything's normal.</dialogue> <scene_description>Ted enters . Looks down at Harry as he sleeps .</scene_description> <character>TED</character> <dialogue>What's going on? Is it true? Harry went inside? What did he say?</dialogue> <parenthetical>( off Beth 's look . )</parenthetical> <dialogue>I get it - he did n't say. He ca n't talk. He's aphasic.</dialogue> <scene_description>Beth rolls up the stethoscope , hands it to Fletcher .</scene_description> <character>BETH</character> <dialogue>He's asleep, Ted.</dialogue> <character>TED</character> <dialogue>I ca n't believe he went into The Sphere. He did n't say anything. How? There's no door. No entry hatch. How'd he get in?</dialogue> <character>BETH</character> <parenthetical>( cutting him off . )</parenthetical> <dialogue>He sweet talked his way in.</dialogue> <scene_description>Beth exits , Fletcher following . Ted thinks a beat .</scene_description> <character>TED</character> <parenthetical>( to Harry , still sleeping . )</parenthetical> <dialogue>Okay, I get it. In an alternative universe you're actually charming.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Barnes talks on a phone , refers to his watch . Edmunds fiddles with the sonar equipment beside him .</scene_description> <character>EDMUNDS</character> <dialogue>I do n't know why we did n't see the sub on the sonar.</dialogue> <character>BARNES</character> <dialogue>Forget the sub, Edmunds. I think as long as we're stuck here, I want to do another ` reccie' of the spacecraft, only this time I do n't think we need to involve the civilians.</dialogue> <character>EDMUNDS</character> <dialogue>Right, sir.</dialogue> <scene_description>Beth enters .</scene_description> <character>BETH</character> <dialogue>So now what?</dialogue> <character>BARNES</character> <dialogue>Everything's going to be fine, Beth.</dialogue> <character>BETH</character> <dialogue>How much oxygen do we have left?</dialogue> <character>BARNES</character> <dialogue>The storm'll only last 72 hours. At the outside, four days. There's plenty of oxygen, barring any unforeseen -</dialogue> <character>BETH</character> <dialogue>Unforeseen? You mean like Harry going in The Sphere?</dialogue> <character>BARNES</character> <dialogue>What exactly is your point?</dialogue> <character>BETH</character> <dialogue>My point is, Harry should never have been anywhere near that sphere. If you were doing your job instead of fuddling around here like some middle - aged man who's lost his keys, we'd all be breathing fresh air right now instead of worrying about how much oxygen.</dialogue> <character>BARNES</character> <dialogue>For someone who's worried about oxygen, you sure are using it up.</dialogue> <character>BETH</character> <dialogue>I know you're not with O.S.S.A. You're doing a good job of pretending, turning dials and flipping switches, but you do n't know one end of a rudder from the other. We're all counting on you like you know something about how to get us back safely. Or even care.</dialogue> <character>BARNES</character> <dialogue>I know enough not to get killed down here.</dialogue> <character>BETH</character> <dialogue>Good for you.</dialogue> <scene_description>Barnes gives her a hard look .</scene_description> <character>BARNES</character> <dialogue>Beth, let me ask you a question. What exactly are your qualifications for being here?</dialogue> <character>BETH</character> <dialogue>Guess.</dialogue> <character>BARNES</character> <dialogue>Well, I mean Norman chose Harry - a genius kid from the slums of Philadelphia. in six years he had a Ph.D ; Norman chose Ted - a whiz kid astrophysicist. and Norman chose you. Why are you here? Are you the most qualified in your field? Norman must have thought so. Then again, the report's a few years old, maybe things have changed.</dialogue> <scene_description>Beth glares at Barnes . He stares her down . She storms out .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - LATER</stage_direction> <scene_description>The guts of the habitat . Fletcher adjusts a valve as Barnes comes over the intercom .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Can I have your attention? We have lost contact with the surface. The habitat is now operating solely under internal power.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - CORRIDOR - SAME TIME</stage_direction> <scene_description>Beth strides angrily down the corridor .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We have plenty of food, oxygen, and, fresh water to sustain us until the storm is over and we re - establish contact with the surface.</dialogue> </scene> <scene> <stage_direction>INT. DORMITORY - CLOSE ON HARRY - SAME TIME</stage_direction> <scene_description>As he sleeps in his bunk . Visible beneath his eyelids , rapid eye movement as he dreams .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on the intercom . )</parenthetical> <dialogue>. But until that time, this mission is subject to emergency authority under my command. This is Barnes. Over and out.</dialogue> <scene_description>PUSHING THROUGH PORTHOLE Jellyfish swarm outside the habitat .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - LATER</stage_direction> <scene_description>Barnes with Ted and Fletcher as he punches a few commands at the computer . Takes a videotape out of the console . Stacks it up with the other videotapes .</scene_description> <character>FLETCHER</character> <dialogue>I'm going to take this out to the mini - sub, sir.</dialogue> <character>BARNES</character> <dialogue>You're up on the duty roster?</dialogue> <character>FLETCHER</character> <dialogue>Yes, sir.</dialogue> <character>BARNES</character> <dialogue>Alright.</dialogue> <scene_description>Fletcher .</scene_description> <character>TED</character> <dialogue>Where's she going?</dialogue> <character>BARNES</character> <dialogue>Procedures. Everything in the habitat is videoed, so every twelve hours we take the video storage out to the mini - sub and press the reset button. The idea is, if something happens to us and we do n't reset it, the sub goes to the surface automatically, so if we're all dead, they at least have a partial record of what went wrong.</dialogue> <parenthetical>( off Ted 's look . )</parenthetical> <dialogue>Cheerful thought, huh?</dialogue> <parenthetical>( getting up . )</parenthetical> <dialogue>Mind the store a minute.</dialogue> <scene_description>Barnes exits . Ted swivels into position to watch . ANGLE ON MONITORS An exterior view of the habitat as Fletcher splashes down out of the airlock .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - SAME TIME</stage_direction> <scene_description>Beth stands in front of a sink . She opens a bottle of pills . Takes a pill out , breaks it in half and washes it down with water . Then she swallows the other half pill and washes that down .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - CLOSE ON HARRY - SAME TIME</stage_direction> <scene_description>Harry suddenly opens his eyes wide .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Fletcher sweeps through a pretty cloud of pink jellyfish . Like tiny dancers with blooming pink petticoats . The mini - sub visible in the distance .</scene_description> <character>FLETCHER</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>This is beautiful. It's snowing down here. There's got to be a million jellyfish down here.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Ted looks at the view on the monitors .</scene_description> <character>FLETCHER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>I'm having a hard time seeing.</dialogue> <character>TED</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>Hello. hello. hello. hello.</dialogue> <character>FLETCHER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>They're sticking to my face - plate.</dialogue> <character>TED</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>Fletcher, this is Dr. Fielding. Swim through them. They're harmless.</dialogue> <scene_description>Barnes enters , turns to the monitors and his jaw drops . ANGLE ON MONITORS Fletcher all but lost in a dense snowfall of jellyfish .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Fletcher struggles through the sea of jellyfish .</scene_description> <character>FLETCHER</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Hey, guys. I think they feel the heat from my legs -</dialogue> <scene_description>Then Fletcher howls .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( to intercom . )</parenthetical> <dialogue>Fletcher, get out of there.</dialogue> <character>FLETCHER</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>They're stinging me through the -.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Aaaaaargh!</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( to intercom . )</parenthetical> <dialogue>Fletcher, I want you back at the habitat on the double.</dialogue> <scene_description>Fletcher thrashes .</scene_description> <character>FLETCHER</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>I ca n't move my legs. It's burning!</dialogue> <character>BARNES</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>Come back to the habitat.</dialogue> <character>FLETCHER</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>They're inside my suit! They're inside my -</dialogue> <character>BARNES</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>Keep moving. keep moving. Just keep moving.</dialogue> <scene_description>Fletcher thrashes as the water rises inside her faceplate . And then a jellyfish swims up . stings her in the eyeball . Then they 're swarming into her nose , her mouth .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Fletcher, come on.</dialogue> <character>FLETCHER</character> <dialogue>Aaaaaaaaaaargh!</dialogue> <character>TED</character> <dialogue>Jesus Christ! Ca n't you do something?</dialogue> <character>BARNES</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes and Ted watch , horrified , powerless , as Fletcher disappears in the cloud of jellyfish . And then her SCREAMS STOP . And there 's just the jellyfish .</scene_description> <character>TED</character> <dialogue>Jesus Christ! She's dead, there's no bubbles.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATION ROOM - SAME TIME</stage_direction> <scene_description>Edmunds supervises the computers . Suddenly a series of numbers spools across the screen - 00032125252632 032629 301321 04261037 18 3016 06180 8213229033005 1822 04261013 0830162137 1604 083016 21 182204261 013 083016213 7 1604 083016 21 1822 033013130 43200032125252632 032629 301321 04261037 18 3016 .</scene_description> <character>EDMUNDS</character> <dialogue>What the hell's that?</dialogue> <scene_description>Irritated she presses buttons . More numbers appear .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Edmunds?</dialogue> <character>EDMUNDS</character> <dialogue>Yes, sir?</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Come on down here. Something happened to Fletcher.</dialogue> <scene_description>Edmunds hustles out . CLOSE ON MONITOR As Edmunds exits in the f.g. And the numbers return . 00032125252632 032629 301321 04261037 18 3016 06180 29033005 1822 04261013 0830162137 1604 083016 2104261013 0830162137 1604 083016 21033013130432 .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - SICK BAY - LATER</stage_direction> <scene_description>Fletcher lies dead on a gurney , her naked body studded with jellyfish . Beth wears scrubs , a surgical tray beside her . Norman , also in scrubs , watches as Beth reaches for a long stainless - steel tweezers .</scene_description> <character>BETH</character> <dialogue>At this level of toxicity, the blood vessels dilate. Blood pressure falls through the floor. They go right into shock. I saw a little boy down at Orchard Beach attacked by a school of jellyfish.</dialogue> <character>NORMAN</character> <dialogue>You've seen jellyfish aggressive like this?</dialogue> <character>BETH</character> <dialogue>I have n't seen piranha aggressive like this.</dialogue> <parenthetical>( starts working on Fletcher . )</parenthetical> <dialogue>Okay. rock and roll.</dialogue> <scene_description>CLOSE ON FLETCHER As Beth probes with the tweezers up Fletcher 's nose and into her sinus cavity . Norman grimaces , looks away as Beth pulls out a jellyfish . BACK TO SCENE</scene_description> <character>BETH</character> <dialogue>What's the matter, Norman? You never saw a dead body before?</dialogue> <character>NORMAN</character> <dialogue>As a matter of fact, I've seen one dead body in two different counties.</dialogue> <character>BETH</character> <dialogue>Ouch. The plane crashes. I forgot.</dialogue> <character>NORMAN</character> <dialogue>I've just never seen a jellyfish coming out of a human being's nasal cavity before.</dialogue> <character>BETH</character> <dialogue>Well, you live and learn.</dialogue> <character>NORMAN</character> <dialogue>When I was five years old, I was out in a boat with my father, he told me not to jump in so of course I had to. Right into a school of these guys. Not this big though. I think everyone had a shot at me. I do n't know what this lady felt, but man, it went beyond pain. it was. it was.</dialogue> <character>BETH</character> <dialogue>Would it make you feel any better if I tell you this is n't exactly a jellyfish?</dialogue> <character>NORMAN</character> <dialogue>What do you mean?</dialogue> <scene_description>Beth pokes at the jellyfish on the tray .</scene_description> <character>BETH</character> <dialogue>Jellyfish like this are unheard of.</dialogue> <character>NORMAN</character> <dialogue>Well, congratulations. You've just discovered a brand new species.</dialogue> <character>BETH</character> <dialogue>You know, Norman, if you had spent a much time as I have sitting at a lab bench, you would know when something had been touched by the hand of God.</dialogue> <character>NORMAN</character> <dialogue>I'm just complimenting you. Why are you angry? I'm not being critical.</dialogue> <character>BETH</character> <dialogue>I'm just saying. God did n't make this. Okay. It's fictional, it's a forgery, it's a copy. it's. moving!</dialogue> <scene_description>INSERT - JELLYFISH The jellyfish moves toward Beth as she adroitly impales it with a scalpel .</scene_description> <character>NORMAN</character> <dialogue>Beth, are you sure it's moving?</dialogue> <character>BETH</character> <dialogue>No, Norman, I lied.</dialogue> <character>NORMAN</character> <dialogue>Maybe I do n't understand. I was just trying to make the point that you of all people, I would think, would want to keep this creature alive to study, not hack it up. if it was alive.</dialogue> <character>BETH</character> <dialogue>Look, do n't try to get inside my brain, okay?</dialogue> <character>NORMAN</character> <dialogue>I care about you.</dialogue> <character>BETH</character> <dialogue>Great! I like to work alone. Thanks.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT CORRIDOR/SHOWERS - LATER</stage_direction> <scene_description>Ted heads down the corridor . Hears a SOUND coming fron Harry 's room . Sidles up to the door . Hears from inside , HARRY SINGING exuberantly from ` South Pacific ' .</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( sings . )</parenthetical> <dialogue>Where the sky meets the sea. / `` Here I am, your special island! / Come to me, come to me!'' / Bali Ha'i, Bali Ha'i, Bali Ha' i!</dialogue> <scene_description>CLOSE ON TED As he thinks to himself .</scene_description> <character>TED</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Harry?</dialogue> </scene> <scene> <stage_direction>INT. BARNES' QUARTERS - LATER</stage_direction> <scene_description>Barnes reads through the cables with his feet up on his bunk . A KNOCK at his door .</scene_description> <character>BANRES</character> <dialogue>Come on in.</dialogue> <scene_description>Norman enters .</scene_description> <character>NORMAN</character> <dialogue>You called for me?</dialogue> <character>BARNES</character> <dialogue>Have a seat, Norman. Coffee?</dialogue> <character>NORMAN</character> <dialogue>No thanks.</dialogue> <scene_description>Barnes refills his mug from a Thermos .</scene_description> <character>BARNES</character> <dialogue>How long have you known Dr. Halperin?</dialogue> <character>NORMAN</character> <dialogue>I used to teach at UC San Diego, years ago. She came to do her master's there.</dialogue> <character>BARNES</character> <dialogue>What'd you teach - psychology?</dialogue> <character>NORMAN</character> <dialogue>They require a pretty full teaching load - that's one of the reasons I left.</dialogue> <character>BARNES</character> <dialogue>They squeeze you, do n't they? Then you have to see patients on top of it.</dialogue> <character>NORMAN</character> <dialogue>They're gon na get their money's worth, one way or another.</dialogue> <character>BARNES</character> <dialogue>You and Dr. Halperin seen pretty close.</dialogue> <character>NORMAN</character> <dialogue>We've fallen out of touch over the years. Why?</dialogue> <character>BARNES</character> <dialogue>Well, do n't take this personally, Norman, but I assume she was n't a romantic interest of yours.</dialogue> <character>NORMAN</character> <dialogue>I'm sorry. do n't take what personally?</dialogue> <character>BARNES</character> <dialogue>She's a tall, vibrant, younger woman.</dialogue> <character>NORMAN</character> <dialogue>And I was married.</dialogue> <character>BARNES</character> <dialogue>Then you saw her as a patient.</dialogue> <character>NORMAN</character> <dialogue>I'm not at liberty to discuss that. You understand.</dialogue> <character>BARNES</character> <dialogue>What I understand is that an exotic - gas environment a thousand feet underwater with no link to the surface is just about the most dangerous place on the planet. If there's a problem, I need to know.</dialogue> <character>NORMAN</character> <dialogue>Beth is fine.</dialogue> <character>BARNES</character> <dialogue>Beth is fine? Beth is fine?</dialogue> <character>NORMAN</character> <dialogue>She's very fine.</dialogue> <scene_description>Barnes suddenly throws a fax transmission at Norman .</scene_description> <character>BARNES</character> <dialogue>Beth's fine? Okay. what about this? You want to read it? What does it say, Norman?</dialogue> <character>NORMAN</character> <parenthetical>( reading fax . )</parenthetical> <dialogue>These are my actual notes. How in the world did you.</dialogue> <character>BARNES</character> <dialogue>What does it say, Norman?</dialogue> <character>NORMAN</character> <dialogue>She was having some problems with a boyfriend.</dialogue> <character>BARNES</character> <dialogue>Does it say ` suicide attempt'?</dialogue> <character>NORMAN</character> <dialogue>How did you get a hold of my papers?</dialogue> <character>BARNES</character> <dialogue>Does it say ` electric shock therapy'? Is n't that what it says, Norman?</dialogue> <character>NORMAN</character> <dialogue>What's your point?</dialogue> <character>BARNES</character> <dialogue>My point is you did n't feel it was important enough to mention this to somebody? You're willing to jeopardize the lives of all of these people by having someone here who could in fact be mentally unstable?!</dialogue> <character>NORMAN</character> <dialogue>Are you aware of the term ` over - reacting.'</dialogue> <character>BARNES</character> <dialogue>Do n't play with me, you little shit! We're 160 fathoms down and now we've got a nut bag down here who can flip - out and crack up. why did n't you tell me that?</dialogue> <character>NORMAN</character> <dialogue>I ca n't believe you had someone go into my office. take my personal records.</dialogue> <character>BARNES</character> <dialogue>You chose the team, Norman. Why did n't you tell me this?</dialogue> <character>NORMAN</character> <dialogue>When I wrote this report, I did n't know the team was going to be a thousand feet underwater.</dialogue> <character>BARNES</character> <dialogue>It does n't matter if it's a thousand feet or ten feet, why did n't you tell me about her past mental history?</dialogue> <character>NORMAN</character> <dialogue>I did n't think it was pertinent.</dialogue> <character>BARNES</character> <dialogue>It was not for you to make that decision.</dialogue> <character>NORMAN</character> <dialogue>It was a passive attempt.</dialogue> <character>BARNES</character> <dialogue>A passive attempt?</dialogue> <character>NORMAN</character> <dialogue>Yes. People who really want to kill themselves get a gun and shoot themselves, or go off a bridge, they do n't call their boyfriend and say : `` I just took 20 Nebutol. help me.''</dialogue> <character>BARNES</character> <dialogue>She took twenty yellows and you're telling me she's perfect?</dialogue> <scene_description>There 's a KNOCK at the door .</scene_description> <character>BARNES</character> <dialogue>Yeah?</dialogue> <scene_description>Ted enters , thoughtfully rubbing his chin .</scene_description> <character>NORMAN</character> <dialogue>What's going on?</dialogue> <character>TED</character> <dialogue>It's Harry.</dialogue> <character>NORMAN</character> <dialogue>He's awake?</dialogue> <character>TED</character> <dialogue>He's really awake.</dialogue> </scene> <scene> <stage_direction>INT. CAFETERIA - LATER</stage_direction> <scene_description>Harry eats a big farmer 's breakfast with great gusto as the team , skeptical and scared , surround him at the table . Norman prepares food for the others at the stove .</scene_description> <character>HARRY</character> <dialogue>Man oh man, you got a problem with me, Barnes.</dialogue> <parenthetical>( gestures to Norman . )</parenthetical> <dialogue>Because as long as my good buddy Norman keeps cooking like this I ai n't leaving. Wheeee! Ummmmm - ummm. I mean, this toast is good, and the bacon is better. But the eggs are fantastic! What've you got in here? Wait, do n't tell me.</dialogue> <parenthetical>( closes eyes , inhales deeply . )</parenthetical> <dialogue>Parsley. Chives. Tarragon. Chervil! Is it chervil?</dialogue> <character>NORMAN</character> <dialogue>Yes, it is. I'm glad you like it.</dialogue> <character>HARRY</character> <dialogue>Eggs! I'm telling you, eggs? I love eggs!</dialogue> <character>BETH</character> <dialogue>They sure have improved your mood.</dialogue> <character>HARRY</character> <parenthetical>( to Beth . )</parenthetical> <dialogue>How ` bout it? You keep laying them and I'll keep eating them.</dialogue> <scene_description>He elbows her and nearly knocks her off her chair . ANGLE ON NORMAN Watching Harry , as if he 's under a microscope . So is Barnes . They exchange a look . Then Barnes gingerly launches in .</scene_description> <character>BARNES</character> <dialogue>Harry, with you and The Sphere - do you remember what happened?</dialogue> <character>HARRY</character> <dialogue>Of course I remember what happened. I went inside.</dialogue> <character>TED</character> <dialogue>How did you get inside? There are no doors.</dialogue> <character>HARRY</character> <dialogue>This place is full of doors and we ca n't get out. We're still here.</dialogue> <scene_description>Barnes forces a chuckle .</scene_description> <character>BARNES</character> <dialogue>So we are, so we are.</dialogue> <character>TED</character> <dialogue>You still did n't answer my question, Harry.</dialogue> <scene_description>Harry resumes eating his eggs . From behind Harry 's back , Norman assesses Harry with a shrewd , appraising gaze . As if he has eyes in back of his head , Harry catches him doing it .</scene_description> <character>HARRY</character> <dialogue>Why are you looking at me like that, Norman?</dialogue> <scene_description>Then Harry turns . Norman 's eyes crinkle in a kindly smile .</scene_description> <character>NORMAN</character> <dialogue>Er. I'm jealous, Harry. I love eggs, but my cholesterol. You're making me hungry.</dialogue> <scene_description>Harry laughs heartily . Norman brings a big platter of calamari to the table . Harry spears a few with his fork .</scene_description> <character>BARNES</character> <parenthetical>( circling back . )</parenthetical> <dialogue>Are you saying we should n't still be here, Harry?</dialogue> <character>HARRY</character> <parenthetical>( looking around . )</parenthetical> <dialogue>Hey, where's Teeny? I thought she did all the cooking. Not that I'm complaining, Norman, this is great. And grits, you got everything down here. Where did you learn to cook grits, Norman?</dialogue> <character>NORMAN</character> <dialogue>I was n't sure you'd like them.</dialogue> <character>HARRY</character> <dialogue>You had a nanny.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>So, where is Teeny?</dialogue> <character>BARNES</character> <dialogue>Teeny had an unfortunate accident. She was killed.</dialogue> <character>HARRY</character> <dialogue>Killed? How?</dialogue> <scene_description>BEAT .</scene_description> <character>BARNES</character> <dialogue>By jellyfish.</dialogue> <character>HARRY</character> <dialogue>Jellyfish? That's strange.</dialogue> <character>BARNES</character> <parenthetical>( beat . )</parenthetical> <dialogue>Yes, it is strange, is n't it.</dialogue> <scene_description>Norman brings Harry another plate of food .</scene_description> <character>NORMAN</character> <dialogue>Here you go, Harry.</dialogue> <scene_description>Harry digs in .</scene_description> <character>HARRY</character> <dialogue>Whoa, onion rings.</dialogue> <character>NORMAN</character> <dialogue>It's not onion rings.</dialogue> <character>HARRY</character> <dialogue>Good though.</dialogue> <character>NORMAN</character> <dialogue>Guess what it is?</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>NORMAN</character> <dialogue>Calamari.</dialogue> <scene_description>Suddenly , Harry spits out his calamari . Starts to gag .</scene_description> <character>HARRY</character> <dialogue>Uccch! Aaaaargh! Squid!</dialogue> <scene_description>Ted runs around the table and gives Harry the Heimlich maneuver . Harry struggles to say something . Ted vigorously pumps at Harry , lifting him high in the air .</scene_description> <character>TED</character> <dialogue>Okay, Harry, bring it up! Bring it up, big fella!</dialogue> <character>NORMAN</character> <dialogue>Ted. Ted! I think he's trying to say something!</dialogue> <scene_description>Ted stops the Heimlich maneuver . Harry shrugs him off .</scene_description> <character>HARRY</character> <dialogue>I'm not choking, you asshole! I just hate squid!</dialogue> <scene_description>Ted backs off .</scene_description> <character>TED</character> <dialogue>I m sorry. I was trying to help you.</dialogue> <scene_description>Barnes warily takes the platter of calamari away . Harry sits down again . Norman sits opposite him .</scene_description> <character>HARRY</character> <dialogue>I hate squid!</dialogue> <character>NORMAN</character> <dialogue>As long as it was n't my cooking, okay?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Can I ask you something, Harry? Before you went inside The Sphere, you were convinced that we were all going to die down here.</dialogue> <character>HARRY</character> <dialogue>I remember that.</dialogue> <character>NORMAN</character> <dialogue>Do you still believe that?</dialogue> <character>HARRY</character> <parenthetical>( nods . )</parenthetical> <dialogue>Are you afraid to die, Norman?</dialogue> <character>NORMAN</character> <dialogue>You know, I just thought, if we're gon na die, thought I'd have a couple of eggs. Go out in style.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATION ROOM - SAME TIME</stage_direction> <scene_description>Edmunds is sitting at the bank of computers which are all blank . She looks relieved . Suddenly numbers start scrolling up on the monitor directly in front of her . She hits the keyboard to clear the screen , but the numbers keep coming . on another computer screen , then another and another , until all the screens are scrolling numbers . She frantically hits keys , but the numbers remain .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Camera moves around the Habitat .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - SAME TIME</stage_direction> <scene_description>Ted and Norman walk away from the Cafeteria .</scene_description> <character>TED</character> <dialogue>Bullshit! Bullshit! He's hiding something.</dialogue> <character>NORMAN</character> <dialogue>What are you talking about?</dialogue> <character>TED</character> <dialogue>He was in there. He went inside the Sphere. Whatever it was he saw, he does n't want to tell us.</dialogue> <character>NORMAN</character> <dialogue>He does n't remember anything.</dialogue> <character>TED</character> <dialogue>Oh, come on, Norman. You bought that? No! no! That whole food thing, it was all a diversion. He wants to keep it all to himself. Think about it. The guy's willing to put all of our lives on the line because he does n't want to share information.</dialogue> <character>NORMAN</character> <dialogue>Ted, I think.</dialogue> <character>TED</character> <dialogue>I can see it right now. he's making notes for his new book. Wants to win the Nobel Prize.</dialogue> <character>NORMAN</character> <dialogue>And you do n't?</dialogue> <character>TED</character> <dialogue>No! yeah. Norman, you've known me since I was 17 years old. I would love to be the guy who gets the recognition.</dialogue> <character>NORMAN</character> <dialogue>Have you any idea how respected in your field you are?</dialogue> <character>TED</character> <dialogue>I'm not. What have I done? No. I've written one `` Fun with Dick and Jane'' book on physics. I mean, for christ sake, Neils Bohr, he published ` The Quantum Theory of Atomic Structure' I think when he was 28. Einstein - `` Relativity'', 26. Newton - `` Gravity'', 23. Norman, in physics, if you have n't done it by the time you're 35, the chances are you never will.</dialogue> <character>NORMAN</character> <dialogue>And this has nothing to do with being competitive with Harry?</dialogue> <scene_description>Ted gives Norman a look .</scene_description> <character>TED</character> <dialogue>Harry?</dialogue> <character>NORMAN</character> <dialogue>Harry.</dialogue> <character>TED</character> <dialogue>Harry. 19. Wunderkind!</dialogue> <character>NORMAN</character> <dialogue>I rest my case.</dialogue> <character>TED</character> <dialogue>Norman, I'm thirty years old.</dialogue> <character>NORMAN</character> <dialogue>I wish I was.</dialogue> <scene_description>Ted laughs . Then Edmunds comes toward them .</scene_description> <character>EDMUNDS</character> <dialogue>Mr. Barnes would like to see you, Ted.</dialogue> <character>TED</character> <dialogue>Why?</dialogue> <character>EDMUNDS</character> <dialogue>There's something wrong with the computer system.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - CLOSE ON BANK OF COMPUTER SCREENS - LATER</stage_direction> <scene_description>The numbers Edmunds saw earlier - on all of the monitors : 00032125252632 032629 301321 04261037 18 3016 06180 8213229033005 1822 04261013 0830162137 1604 083016 21 182204261 013 083016213 7 1604 083016 21 1822 033013130 432 REVERSE ANGLE - TED as he tinkers at the keyboard , Barnes beside him .</scene_description> <character>BARNES</character> <dialogue>Try purging it.</dialogue> <character>TED</character> <dialogue>Every time I purge it, it comes back.</dialogue> <character>BARNES</character> <dialogue>You think it's a discharge from the buffer memory?</dialogue> <character>TED</character> <dialogue>I ruled that out.</dialogue> <scene_description>Edmunds enters .</scene_description> <character>EDMUNDS</character> <dialogue>You figure that out yet?</dialogue> <character>TED</character> <dialogue>Not yet.</dialogue> <character>EDMUNDS</character> <dialogue>You want me to take a whack at it?</dialogue> <character>TED</character> <dialogue>Why not? I only have three advanced degrees. It's not like I went to cosmetology school.</dialogue> <character>EDMUNDS</character> <parenthetical>( brittle , to Barnes . )</parenthetical> <dialogue>The sonar's still malfunctioning, sir. I'm going to go see if I ca n't clear off the transducer ports. Manual labor - maybe that's more my speed.</dialogue> <character>BARNES</character> <dialogue>Okay. Just be careful out there.</dialogue> <character>EDMUNDS</character> <dialogue>Yes, sir.</dialogue> <scene_description>Edmunds exits . Barnes turns back to Ted .</scene_description> <character>BARNES</character> <dialogue>Why'd you have to bust her chops, huh? She's the only person who knows how to run this joint. A little respect would n't kill you.</dialogue> <character>TED</character> <dialogue>Point taken. I'm sorry.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I think the helium is getting to the chips. Saturation effect.</dialogue> <character>BARNES</character> <dialogue>If that's true, what are the options?</dialogue> <character>TED</character> <dialogue>You'd have to replace the chips.</dialogue> <character>BARNES</character> <dialogue>If we have to operate this place on manual it's gon na be a long four days.</dialogue> <scene_description>ANGLE ON HARRY as he enters , eating an apple . Glances over at the computer .</scene_description> <character>HARRY</character> <dialogue>Hey, boss. Ted.</dialogue> <parenthetical>( off computer . )</parenthetical> <dialogue>You figure that out yet?</dialogue> <character>TED</character> <dialogue>It's some kind of saturation effect.</dialogue> <character>HARRY</character> <dialogue>I do n't think so. If it was a saturation effect it'd be random.</dialogue> <character>TED</character> <dialogue>What do you mean?</dialogue> <character>HARRY</character> <dialogue>This has a pattern. See, it's like a code.</dialogue> <scene_description>Harry leans over to the keyboard , highlights the sequence that repeats . Ted moves closer - upset that he missed it . Harry grabs a pad and pencil , starts to write .</scene_description> <character>BARNES</character> <dialogue>A code from where?</dialogue> <character>TED</character> <parenthetical>( re : Harry 's code letters . )</parenthetical> <dialogue>How do you do that?</dialogue> <character>BARNES</character> <dialogue>How do you see that?</dialogue> <character>HARRY</character> <dialogue>Try it in binary.</dialogue> <scene_description>Ted rattles at the keyboard . ON SCREEN The numbers change to a string of `` 0 `` s and `` 1 `` s . They stare at it a quick beat .</scene_description> <character>HARRY</character> <dialogue>It gives you the letter breaks.</dialogue> <character>TED</character> <dialogue>Do you think it's coming from The Sphere?</dialogue> <character>HARRY</character> <dialogue>Do n't know.</dialogue> <character>BARNES</character> <dialogue>Harry, this whole mission is classified Ultra Top Secret. Any messages you decode are for my eyes only.</dialogue> <scene_description>Harry shows them what he 's been writing . INSERT - HARRY 'S PAD He 's pencilled in the alphabet as it 's arrayed on a computer keyboard . BACK TO SCENE</scene_description> <character>HARRY</character> <dialogue>If you were it, how would you know the alphabet? The way it's organized on the keyboard.</dialogue> <scene_description>Ted thinks hard .</scene_description> <character>TED</character> <dialogue>But, reflected in an orb, spherically.</dialogue> <parenthetical>( off Harry 's look . )</parenthetical> <dialogue>A keyboard, but spherical. Take the keyboard and wind it around a sphere. Then starting at the center key `` g'', number the letters, spiraling out.</dialogue> <scene_description>Harry stops , stunned . Then breaks into a broad smile .</scene_description> <character>HARRY</character> <dialogue>Ted! You're the man!</dialogue> <scene_description>Harry tosses aside the pad , sits down at the computer . Works frantically . Ted rubs his hands together .</scene_description> <character>TED</character> <dialogue>I'm telling you, I still got it. I still got the juice.</dialogue> <scene_description>ANGLE ON NORMAN putting on his glasses to get a better look .</scene_description> <character>NORMAN</character> <dialogue>Oh, boy!</dialogue> <character>TED</character> <parenthetical>( to Norman They let you keep those ?</parenthetical> <dialogue /> <scene_description>Norman offers his glasses to Ted . ANGLE ON COMPUTER As a topographical model of a sphere appears on the screen . Then the computer winds the keyboard around it , starting in the middle with the letter `` J '' and then spiralling around .</scene_description> <character>HARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Now all that's left is to plug in the numbers.</dialogue> <scene_description>Harry selects the sequence of the numbers that repeats , types a command into the computer . ANGLE ON HARRY as he presses enter , the others gather expectantly . CLOSE ON COMPUTER SCREEN as it reads .</scene_description> <character>THE SPHERE</character> <parenthetical>( on computer . )</parenthetical> <dialogue>HELLO. HOW ARE YOU? I AM FINE. WHAT IS YOUR NAME? MY NAME IS JERRY.</dialogue> <scene_description>BACK ON GROUP As they stare at this in amazement . The epiphany of contact with an extraplanetary being .</scene_description> <character>HARRY</character> <dialogue>My friends, in eight thousand years of recorded history, this is a first. You are on - line with an alien intelligence.</dialogue> <scene_description>Ted reaches out , touches the screen reverentially .</scene_description> <character>BARNES</character> <dialogue>You've got to be kidding me. You must have messed up the translation.</dialogue> <character>HARRY</character> <dialogue>I do n't think so.</dialogue> <character>BARNES</character> <dialogue>If this translation is right, this alien sounds like an idiot.</dialogue> <character>BETH</character> <dialogue>It could be something to consider - a stupid alien.</dialogue> <parenthetical>( off Ted 's look . )</parenthetical> <dialogue>Well, they must have them.</dialogue> <character>HARRY</character> <dialogue>The content certainly appears childish. But when you think about it, it's highly logical. A simple message - lucid, friendly, unthreatening - the way you'd address a small child. Or a dog.</dialogue> <character>BARNES</character> <dialogue>You must've made some mistake translating it.</dialogue> <scene_description>ANGLE ON SCREEN As more numbers type out .</scene_description> <character>TED</character> <dialogue>Look at this.</dialogue> <character>BARNES</character> <dialogue>It's making a speech.</dialogue> <scene_description>Harry hits a command and presses enter and the message is translated .</scene_description> <character>THE SPHERE</character> <parenthetical>( on computer . )</parenthetical> <dialogue>I AM PLEASED TO BE IN CONTACT WITH YOUR ENTITIES. I AM ENJOYING THIS MUCH.</dialogue> <character>BARNES</character> <dialogue>Ask him for his last name.</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>BARNES</character> <dialogue>I want a full name for my report. I'm not going to write in my report that a crew member died on a deepsat expedition to find an alien named Jerry. Please. Jerry?</dialogue> <character>TED</character> <dialogue>I think we should tell him we're enjoying it too.</dialogue> <character>BARNES</character> <dialogue>I still ca n't believe we had a President named Jerry.</dialogue> <character>NORMAN</character> <dialogue>Ask him where he's from.</dialogue> <scene_description>ANGLE ON COMPUTER As Harry types . `` WHERE ARE YOU FROM ? '' Then more numbers .</scene_description> <character>THE SPHERE</character> <dialogue>I MAKE A JOURNEY. YOU MAKE A JOURNEY. WE MAKE A JOURNEY TOGETHER.</dialogue> <character>BETH</character> <dialogue>I think Jerry is channeling Deepak Chopra.</dialogue> <character>HARRY</character> <dialogue>A journey from where?</dialogue> <character>THE SPHERE</character> <dialogue>I AM HAPPY.</dialogue> <character>TED</character> <dialogue>He's happy.</dialogue> <character>NORMAN</character> <dialogue>He's crafty.</dialogue> <scene_description>ANGLE ON COMPUTER As Harry types . ' A JOURNEY FROM WHERE ? ' But no response . Norman peers at the screen .</scene_description> <character>HARRY</character> <dialogue>I think he's gone.</dialogue> <character>BARNES</character> <dialogue>Did you -? Did you get a full name for the report?</dialogue> <character>HARRY</character> <dialogue>Oh, please!</dialogue> <character>BARNES</character> <dialogue>Oh, man!</dialogue> <character>TED</character> <dialogue>We're not alone. We are definitely not alone. Harry, it's trying to make contact with us.</dialogue> <character>HARRY</character> <dialogue>Whatever it is, it was inside that Sphere, now it's out, and free to act.</dialogue> <character>TED</character> <dialogue>What do you mean by that?</dialogue> <character>HARRY</character> <dialogue>Free to take over our computers. free to call us on the phone, free to come over and knock on the door if it wants to.</dialogue> <character>TED</character> <dialogue>A physical presence.</dialogue> <character>BARNES</character> <dialogue>What are you thinking about, Norman?</dialogue> <character>NORMAN</character> <dialogue>This last part. Where he says,' I am happy.'</dialogue> <character>HARRY</character> <dialogue>What's the matter, Norman? Do n't you want Jerry to be happy?</dialogue> <character>NORMAN</character> <dialogue>Honestly?</dialogue> <character>BARNES</character> <dialogue>What's on your mind, Norman?</dialogue> <character>NORMAN</character> <dialogue>I would be happy if Jerry had no emotions whatsoever. Because the thing of it is, once you go down that road - here's Jerry, this emotional being, cooped up for three hundred years with no one to talk to, none of the socialization, the emotional growth that comes from contact with other emotional beings.</dialogue> <character>HARRY</character> <dialogue>Yeah?</dialogue> <character>NORMAN</character> <dialogue>What happens if Jerry gets mad?</dialogue> <scene_description>An exchange of looks all around .</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - LATER</stage_direction> <scene_description>Ted fixes coffee . Barnes and Harry sit at the table . Ted brings the coffee to the table , slides one to Barnes . Then Beth enters , approaches Ted with sheaf of papers .</scene_description> <character>BETH</character> <dialogue>You have to look at this.</dialogue> <character>TED</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>There's a record here of a transmission to the surface. Just before the submarine was due to pick us up.</dialogue> <character>BARNES</character> <dialogue>Let me take a look at that.</dialogue> <scene_description>Beth debates turning it over to him . Barnes gives Beth a sardonic look , takes the page and reads it . BARNES ' POV - INSERT as he reads the transmission . `` Although advised of risks , all personnel elect to remain down for duration of storm to continue investigation . '' BACK TO SCENE Barnes thinks a beat . Then smiles his Cheshire cat grin .</scene_description> <character>BARNES</character> <parenthetical>( humoring her . )</parenthetical> <dialogue>But Beth, we never elected to remain. We elected to return.</dialogue> <character>BETH</character> <dialogue>Exactly.</dialogue> <character>TED</character> <dialogue>Who sent the message?</dialogue> <character>BETH</character> <dialogue>The signature is encoded. Remember what happened? The submarine was coming but Edmunds said she was n't getting a reading. But the truth is, the submarine was never coming.</dialogue> <parenthetical>( looking at Barnes . )</parenthetical> <dialogue>Somebody told it not to come.</dialogue> <character>BARNES</character> <dialogue>What are you saying - you think it was me?</dialogue> <character>BETH</character> <dialogue>Was it?</dialogue> <character>BARNES</character> <dialogue>I do n't know, Beth - maybe it was Jerry.</dialogue> <character>BETH</character> <dialogue>Jerry does n't know the code. And he ca n't read minds.</dialogue> <character>BARNES</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Maybe he can. Maybe he can read minds.</dialogue> <character>BETH</character> <dialogue>It had to be you or Edmunds or Fletcher - you're the only ones who knew the codes.</dialogue> <character>BARNES</character> <dialogue>And there's no place else this message could have come from? Like maybe you made it up?</dialogue> <scene_description>Beth looks at Barnes . Turns to Harry .</scene_description> <character>BETH</character> <dialogue>Harry, you think we're going to die down here. How? They told us we'd be safe. Who wants us to die?</dialogue> <character>HARRY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>I do n't know.</dialogue> <character>TED</character> <dialogue>It's not Barnes, Beth. It's jellyfish and God knows what.</dialogue> <character>BETH</character> <dialogue>Do n't you see what's going on? He wanted us to stay down here.</dialogue> <character>TED</character> <dialogue>I wanted to stay down here all along.</dialogue> <character>BETH</character> <dialogue>But he said we were going back. Why did he lie? Why did he send the submarine back?</dialogue> <scene_description>Ted shrugs . Goes back to making his coffee . Barnes grins his enigmatic grin .</scene_description> <character>BARNES</character> <dialogue>You sure are a lot of woman. I wish I could've seen you in the old days. From what Norman tells me you were quite.</dialogue> <scene_description>Barnes lets it hang there . He and Beth exchange a look .</scene_description> <character>BETH</character> <dialogue>What did Norman tell you?</dialogue> <character>BARNES</character> <dialogue>Let's put it this way. If Jerry could read your mind, he'd sure be bored with ours.</dialogue> <scene_description>Beth looks at Barnes . In an instant she knows that Norman betrayed her . She exchanges a look with the others - do they also know ? Then she miles .</scene_description> <character>BETH</character> <dialogue>Okay. So that's how it's gon na be then.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATION ROOM - SAME TIME</stage_direction> <scene_description>Norman sits alone looking at static on the computer screens . We hear THUMP . THUMP . THUMP . Norman looks around .</scene_description> <character>NORMAN</character> <parenthetical>( calling out . )</parenthetical> <dialogue>Edmunds. What's that sound? Did you hear it?</dialogue> <scene_description>There is no response .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Edmunds, can you hear me? Did you hear that thump? Edmunds, what is that sound? Edmunds. can you hear me? Edmunds.</dialogue> <scene_description>She 's not there .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue /> <scene_description>Hell . oh , shit . He rushes out .</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - SAME TIME</stage_direction> <scene_description>Ted , Harry , Beth and Barnes sit drinking coffee . No - one speaks . Then :</scene_description> <character>HARRY</character> <dialogue>What's that noise?</dialogue> <character>TED</character> <dialogue>What noise?</dialogue> <character>HARRY</character> <dialogue>Listen.</dialogue> <scene_description>Dimly , we hear THUMP . THUMP . THUMP .</scene_description> <character>BARNES</character> <dialogue>Christ, Edmunds is still out there.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT MOON POOL - LATER</stage_direction> <scene_description>Norman and Beth jump into the `` pool '' .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes sits . Watches Norman beneath the habitat as Beth plunges down beside him in an explosion of bubbles .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Norman and Beth move cautiously on the ocean floor . NORMAN 'S POV - THROUGH FACEPLATE Beth marches in formation alongside him , spear gun at the ready .</scene_description> <character>BETH</character> <dialogue>Norman. What did you tell Barnes?</dialogue> <character>NORMAN</character> <dialogue>About what?</dialogue> <character>BETH</character> <dialogue>About me, Norman? You told him I took twenty Nebutol and tried to kill myself, did n't you?</dialogue> <character>NORMAN</character> <dialogue>He had my notes, Beth. What did you want me to do?</dialogue> <character>BETH</character> <dialogue>Did you tell him who I called, Norman?</dialogue> <character>NORMAN</character> <dialogue>At the risk of changing the subject, Beth, I think that thumping noise is coming from right about there.</dialogue> <scene_description>Norman looks up .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>Barnes on intercom .</scene_description> <character>BARNES</character> <dialogue>Norman, Beth - did you find that thumping, yet? Norman. Beth. come in.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER HABITAT - REVERSE ANGLE</stage_direction> <scene_description>As Edmunds ' body waves limply in the currents , her helmeted head thumps against the wall of the habitat - her foot caught in the trestle structure underlying the habitat .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATION ROOM - SAME TIME</stage_direction> <scene_description>Barnes on intercom .</scene_description> <character>BARNES</character> <dialogue>Would you hit your call back button, please.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER HABITAT - LADDER - BACK ON NORMAN AND BETH</stage_direction> <scene_description>As they hurry toward Edmunds . Norman reaches her first . As he grabs her , her body swivels and he sees - EDMUNDS ' FACE Smeared inside her squashed helmet . Norman loses his grip . As he slips , Edmunds ' boot hits his glass face plate . As he struggles to get away , Edmunds ' boot slides off , revealing a pulpy , enpurpled foot . Containing his nausea , he grabs Edmunds .</scene_description> <character>BARNES</character> <parenthetical>( V/O . )</parenthetical> <parenthetical>( on intercom . )</parenthetical> <dialogue>Norman. is everything alright out there?</dialogue> <scene_description>ANGLE ON BETH As she moves to help Norman with Edmunds , she grabs Edmunds ' foot . Shocked as her fingers sink into it . She reaches up to feel Edmunds ' ankle , her shin .</scene_description> <character>BETH</character> <dialogue>My God, Norman, she's like a rag doll. Her body's been completely pulverized.</dialogue> <character>NORMAN</character> <dialogue>Beth, I do n't get it. What could have done this to her?</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, is everything okay?</dialogue> <character>BETH</character> <dialogue>Let's get her and get out of here. She's stuck in the thing. let's get her out of here.</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman?</dialogue> <scene_description>Norman and Beth turn , hauling Edmunds toward the habitat . Then a single luminous , glossy white ball , about the size of a baseball , falls slowly through the water between them . like the pearl in the Prell ad . Norman looks up . THEIR POV Thousands of these balls float down through the water , swirl in the currents , catching glints of light , trailing streaks of mucus and falling softly in the sand at their feet . BACK TO SCENE</scene_description> <character>BETH</character> <dialogue>What is this?</dialogue> <character>NORMAN</character> <dialogue>Beth, what does this mean?</dialogue> <character>BETH</character> <dialogue>There's something up here.</dialogue> <scene_description>Then a PONG . PONG . PONG . Heard dimly from the inside of the habitat as Barnes talks on the intercom .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Get inside. I'm getting a reading on the sonar. You're not alone out there.</dialogue> <scene_description>BACK ON NORMAN AND BETH Beth around her . Turns to Norman .</scene_description> <character>BETH</character> <dialogue>What the hell makes eggs this size?</dialogue> <scene_description>The eggs surround them .</scene_description> <character>BETH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Come on, Norman! Jesus, Norman let's go!</dialogue> <character>NORMAN</character> <dialogue>Alright! Alright! Alright!</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Eighty yards and closing! Move!</dialogue> <scene_description>BACK ON NORMAN AND BETH As they run with Edmunds ' body . Stumbling through the sticky eggs as they pile high on the ocean bottom . The PONG . PONG . PONG . audible over the intercom .</scene_description> <character>NORMAN</character> <dialogue>What the hell is it?</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Sixty yards. how close are you?</dialogue> <character>NORMAN</character> <dialogue>I ca n't breathe.</dialogue> <character>BETH</character> <dialogue>Oh, my God!</dialogue> <character>BETH</character> <dialogue>Norman, you're going the wrong way.</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Forty yards. Move! Move! Move! Move! Move!</dialogue> <character>BETH</character> <dialogue>We ca n't see anything through the eggs.</dialogue> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Move! Twenty yards. Move! Move!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Whatever it is, it's directly overhead.</dialogue> <scene_description>NORMAN 'S POV - THROUGH FACEPLATE THROUGH a heavy fog of condensation , Norman sees a shaft of light coming down through the airlock . Eggs falling everywhere . Norman breathing heavily . Then suddenly hands grab Norman . and pull him up to safety .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT MOON POOL - SAME TIME</stage_direction> <scene_description>As Barnes yanks Norman inside , passes him to Harry , who help him to get out of his suit , swaddle him in a blanket . Barnes reaches down again and pulls Beth aboard . Then turns as Edmunds ' squashed head bobs up through the opening . Grimly , Barnes reaches down , pulls Edmunds ' body aboard .</scene_description> <character>BARNES</character> <dialogue>I need a report, Beth.</dialogue> <character>BETH</character> <dialogue>I do n't know what the hell's going on out there. there's eggs everywhere.</dialogue> <character>BARNES</character> <dialogue>You should have brought one back.</dialogue> <character>BETH</character> <dialogue>I was n't up for an Easter egg hunt. Maybe that's what Edmunds was doing. Did you get anything on the sonar?</dialogue> <character>BARNES</character> <dialogue>Whatever it is, it's too big for the sonar.</dialogue> <scene_description>Norman shivers in his blanket . The distant PONG . PONG . PONG . of the sonar in the video room , audible over the intercom . Then it suddenly GROWS SOFTER . And STOPS .</scene_description> <character>TED</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>It's gone.</dialogue> <scene_description>Scared looks all around . CLOSE ON NORMAN As he shivers .</scene_description> <character>NORMAN</character> <dialogue>I want to talk to Jerry.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - CORRIDORS TO VIDEO ROOM - LATER</stage_direction> <scene_description>Norman leads the others through the corridors toward the video room .</scene_description> <character>BARNES</character> <dialogue>I think we need a game plan when we talk to him.</dialogue> <character>HARRY</character> <dialogue>We need to be specific. What is our objective? What do we want to address? Specifics.</dialogue> <scene_description>Barnes goes first into the video room .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>The others file in behind Barnes . A message awaits on the computer .</scene_description> <character>THE SPHERE</character> <parenthetical>( on computer . )</parenthetical> <dialogue>WHAT IS A GAME PLAN?</dialogue> <scene_description>BACK ON TEAM</scene_description> <character>BARNES</character> <dialogue>Oh, my God!</dialogue> <scene_description>As Norman gapes at the screen . The others edge in closer , gape also . Is it possible ?</scene_description> <character>NORMAN</character> <dialogue>Jesus!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Jerry? Jerry, can you hear me?</dialogue> <character>THE SPHERE</character> <parenthetical>( types on computer . )</parenthetical> <dialogue>YES, NORMAN.</dialogue> <character>NORMAN</character> <dialogue>You've heard everything we've been talking about?</dialogue> <character>THE SPHERE</character> <dialogue>YES, NORMAN.</dialogue> <character>BARNES</character> <dialogue>Oh, great.</dialogue> <character>THE SPHERE</character> <dialogue>I AM HAPPY ALSO.</dialogue> <character>TED</character> <dialogue>Jerry, hi, this is Ted here. You know, I'm the guy who actually de - coded the keyboard thing that you.</dialogue> <character>BARNES</character> <dialogue>Shut up! Tell him we need to discuss this together. Alone.</dialogue> <character>NORMAN</character> <dialogue>Jerry.</dialogue> <character>THE SPHERE</character> <dialogue>IT IS NOT NECESSARY TO STOP. I DO NOT WISH IT.</dialogue> <character>BARNES</character> <dialogue>Well, it's necessary to me.</dialogue> <character>THE SPHERE</character> <dialogue>NO. IT IS NOT POSSIBLE. I DO N'T AGREE. NO!</dialogue> <scene_description>ANGLE ON SCREEN As a series of `` NO NO NO NO NO NO NO '' unspools across the entire screen .</scene_description> <character>NORMAN</character> <dialogue>Jerry, use your words. He's mad. Jerry, use your words.</dialogue> <character>BARNES</character> <dialogue>Just pull his plug.</dialogue> <character>NORMAN</character> <dialogue>I'm not sure it's that simple, sir.</dialogue> <character>BARNES</character> <dialogue>It's plenty simple. We leave him alone, he leaves us alone.</dialogue> <character>NORMAN</character> <dialogue>Maybe he does n't want to be left alone. He's been down here in isolation for three hundred years. Maybe Jerry is lonely.</dialogue> <character>BARNES</character> <dialogue>Lonely? That's like saying an artichoke is lonely.</dialogue> <character>NORMAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>He hears everything we're saying.</dialogue> <character>BARNES</character> <dialogue>It's just a figure of speech.</dialogue> <character>NORMAN</character> <dialogue>Tell him. Tell Jerry.</dialogue> <character>THE SPHERE</character> <dialogue>I WANT TO TALK. NOW. NOW. RIGHT NOW. NOW.</dialogue> <scene_description>Then suddenly the SONAR lights up . PONG . PONG . PONG .</scene_description> <character>NORMAN</character> <dialogue>Jerry, someone wants to talk to you.</dialogue> <character>BARNES</character> <dialogue>I'm not talking to a television.</dialogue> <character>NORMAN</character> <dialogue>I think that's more than a television.</dialogue> <scene_description>Beth enters .</scene_description> <character>BETH</character> <dialogue>What's that?</dialogue> <scene_description>Barnes moves to the console . Pushes buttons and turns dials .</scene_description> <character>BARNES</character> <dialogue>Sonar. It's picking something up out there.</dialogue> <character>NORMAN</character> <dialogue>Jerry, we all find you a fascinating and wonderful entity. And we wish to talk to you for many, many hours, Jerry - you know that.</dialogue> <character>THE SPHERE</character> <dialogue>I DO N'T WANT TO STOP. NO.</dialogue> <scene_description>PONG . PONG . PONG . Getting LOUDER and more frequent .</scene_description> <character>NORMAN</character> <dialogue>In your great understanding and wisdom, Jerry, you must understand that entities such as ourselves need to talk alone sometimes.</dialogue> <character>THE SPHERE</character> <dialogue>ARE YOU AFRAID?</dialogue> <character>NORMAN</character> <dialogue>No, Jerry, we're not afraid. We're just a little uncomfortable.</dialogue> <character>THE SPHERE</character> <dialogue>HAVE I OFFENDED YOU?</dialogue> <character>NORMAN</character> <dialogue>You're tops in our books, Jerry. It's just the way we're built, that's all.</dialogue> <character>THE SPHERE</character> <dialogue>DO NOT BE AFRAID.</dialogue> <scene_description>ANGLE ON SCREEN As it goes blank . PONG ! PONG ! PONG . ' .</scene_description> <character>NORMAN</character> <dialogue>Jerry?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Goddammit!</dialogue> <character>BETH</character> <dialogue>Where did he go?</dialogue> <scene_description>Then Barnes turns suddenly alert . He moves to adjust a couple of knobs beneath the gas plasma readouts on the console . Pulls on the headphones .</scene_description> <character>HARRY</character> <dialogue>What's going on?</dialogue> <character>BARNES</character> <dialogue>Something's clogging everything up out there.</dialogue> <scene_description>Beth goes to the porthole .</scene_description> <character>BETH</character> <dialogue>Norman, come here!</dialogue> <scene_description>Norman joins her . THEIR POV - ON MONITOR Thousands of eggs on the monitor , like the ones they saw earlier , falling through the water , streaking mucus . Some of the eggs stick to the window , then more , till their view is obliterated .</scene_description> <character>BETH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's back.</dialogue> <scene_description>ANGLE ON BARNES As he works furiously at the console . Turns to Ted .</scene_description> <character>BARNES</character> <dialogue>Positive thermals on in - line perimeter.</dialogue> <scene_description>They hear a distant METALLIC CLANK .</scene_description> <character>BETH</character> <dialogue>What was that?</dialogue> <character>BARNES</character> <dialogue>It's hitting the grid.</dialogue> <character>BETH</character> <dialogue>Do n't we have any defenses?</dialogue> <character>BARNES</character> <dialogue>High voltage. We can run it across the surface of the Habitat. Every time we've tested it it's started an electrical fire.</dialogue> <scene_description>Suddenly red lights and an ALARM .</scene_description> <character>BARNES</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Peripheral sensors activated. I'm going to try and image it on the fast acting sonar.</dialogue> <scene_description>PONG ! PONG ! PONG ! ANGLE ON SCREEN As Barnes looks at it . An amorphous , streaky blob .</scene_description> <character>BARNES</character> <dialogue>Building image. Eighty yards and moving fast.</dialogue> <scene_description>ANGLE ON SCREEN A new image , not a lot sharper . A blob with streaks spraying out from the center .</scene_description> <character>BETH</character> <dialogue>Can you tell what it is?</dialogue> <character>TED</character> <dialogue>My God, it's forty feet long.</dialogue> <character>BARNES</character> <dialogue>Fifty yards.</dialogue> <parenthetical>( off sonar . )</parenthetical> <dialogue>Re - imaging.</dialogue> <scene_description>ANGLE ON MONITORS A blurred mass and a spray of what might be tentacles fanning out from the center .</scene_description> <character>BETH</character> <dialogue>It looks like a giant squid.</dialogue> <character>TED</character> <dialogue>A giant squid the size of this entire habitat? There's no such animal.</dialogue> <character>BETH</character> <dialogue>That may be, but that does n't mean it's not out there.</dialogue> <character>BARNES</character> <dialogue>Re - imaging. Thirty yards.</dialogue> <scene_description>Another slightly clearer image . It sure looks like a squid . On the video surveillance , blurred images - a tentacle ringed with suckers , an eye - too close and too fast to make out . Then suddenly , all the monitors and sensors go blank .</scene_description> <character>TED</character> <dialogue>What's going on?</dialogue> <character>NORMAN</character> <dialogue>Jerry. Jerry. Jerry. if you can hear me, it's Norman. If we've made you angry, or if you're upset about anything.</dialogue> <character>BARNES</character> <dialogue>Norman, you're psycho - analyzing a toaster.</dialogue> <parenthetical>( looking at control monitor . )</parenthetical> <dialogue>Oh, we've got a pressure drop. Ted, go into the control room. Wait there for my instructions.</dialogue> <character>TED</character> <dialogue>Why?</dialogue> <character>BARNES</character> <dialogue>Just go, please!</dialogue> <scene_description>Ted exits at a run . Then they hear a METALLIC CLANKING .</scene_description> <character>NORMAN</character> <dialogue>What's that sound? What is that?</dialogue> <character>BARNES</character> <dialogue>It sounds like he's right above us.</dialogue> <character>NORMAN</character> <dialogue>I know where it is, but what is it?</dialogue> <scene_description>Then suddenly the MONITORS FLASH ON .</scene_description> <character>THE SPHERE</character> <parenthetical>( on computer . )</parenthetical> <dialogue>I AM HERE.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - LATER</stage_direction> <scene_description>A view of the empty corridor as it SHUDDERS . The harsh sing - song of METAL UNDER STRESS .</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - SAME TIME</stage_direction> <scene_description>Like an earthquake - doors swing open on their hinges , DISHES CRASH to the floor . The large viewing SKYLIGHT CRACKS . INSERT - SEAM IN WALL As it slightly fissures .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Ted fights his way through debris to arrive at the Control Shaft .</scene_description> <character>TED</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>I'm in the control shaft. We've got a leak in here. Hello!</dialogue> <scene_description>More water gushes towards Ted .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Ted. Ted.</dialogue> <scene_description>Ted does n't hear him .</scene_description> <character>TED</character> <dialogue>Holy shit!</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes fusses with the controls .</scene_description> <character>BARNES</character> <parenthetical>( to intercom . )</parenthetical> <dialogue>Ted, do you hear me?</dialogue> </scene> <scene> <stage_direction>INT. HABITAT CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Ted drenched with water .</scene_description> <character>TED</character> <dialogue>Yeah, glad you could join me.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes into intercom .</scene_description> <character>BARNES</character> <dialogue>Alright, Ted, listen to me carefully. The computer's showing we've got structural damage. We've got seams compromised, and we're taking on water all over the habitat. You've got to increase the positive air pressure and drive the water out, do you understand that?</dialogue> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Ted stumbles to his feet , looks for the knob . INTERCUT WITH VIDEO ROOM</scene_description> <character>TED</character> <dialogue>Increase the pressure? Wo n't that use up the air supply?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Ted, you're a smart guy, try to follow this one. If the Habitat is full of water, you'll be dead. Now, open the red gate valve.</dialogue> <character>TED</character> <dialogue>Do n't get technical with me, Barnes. What's a gate valve?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>It's a red knob.</dialogue> <character>TED</character> <dialogue>Good. I can understand knobs. Er. which knob?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Ted, the pressure is dropping. It is dropping, Ted! We'll be crushed like a tin can! Find the red knob, Ted! It's the only one in the room. It's over the console.</dialogue> <character>TED</character> <dialogue>Which console?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>It's the one with the schematics on it, you cretin. What do you have a Ph.D for?!</dialogue> <scene_description>Ted looks for the knob .</scene_description> <character>TED</character> <dialogue>Layout. layout. layout. layout. Bad time not to have my glasses. Shit!</dialogue> <scene_description>Then he finds it .</scene_description> <character>TED</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Got it!</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Turn it counter - clockwise right away. Alright, good. We're getting positive pressure. Alright, not too much now. Start to ease it back.</dialogue> <scene_description>BANG ! Electric sparks fly into Ted . He hits his head and falls to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Bubbles emerge from the seams in the walls .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>As Beth and Norman run . Norman stops and watches as water outflows - as if the film is in reverse motion .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes watches the digital and analog gauges as the gas pressure climbs .</scene_description> <character>BARNES</character> <dialogue>Ted, turn it back. We've got too much pressure, you'll blow the Habitat. Clockwise, Ted, closes it.</dialogue> <scene_description>CLOSE ON GAUGES As the pressure continues to climb .</scene_description> <character>BARNES</character> <dialogue>Ted, turn it back. the pressure is too high. Ted, we'll explode! Can you hear me? Ted, turn it back!</dialogue> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Ted unconscious , his hand clawlike on the pressure knob .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT CORRIDOR - SAME TIME</stage_direction> <scene_description>Norman and Beth run till - BANG ! - another impact bounces them like pinballs along the narrow corridor .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>A seam bursts and water surges into the control room as Norman and Beth rush in and see Ted , practically unconscious .</scene_description> <character>NORMAN</character> <dialogue>We're here! Jesus, Ted.</dialogue> <character>BETH</character> <dialogue>I got him. I got him.</dialogue> <scene_description>She pulls Ted upright out of the water as Norman shuts off the pressure gauge .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman? Norman? Can you hear me?</dialogue> <character>NORMAN</character> <dialogue>What? Jesus!</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>The monitor crashes next to Barnes . Barnes struggles up off the floor , reaches for his headset .</scene_description> <character>BARNES</character> <dialogue>Norman, turn the red gate valve.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>INTERCUT WITH VIDEO ROOM Norman struggles to regain his footing .</scene_description> <character>NORMAN</character> <dialogue>Which way?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Clockwise. Close it.</dialogue> <scene_description>Norman closes the valve . The pressure goes down .</scene_description> <character>BARNES</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Good.</dialogue> <character>NORMAN</character> <dialogue>Done. Barnes! We're still leaking.</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>It's not the outer shell, it's the internal pipes. They're just leaking. We're okay.</dialogue> <scene_description>BANG ! Another impact and the habitat shakes violently .</scene_description> <character>BETH</character> <dialogue>What the hell's out there?</dialogue> <character>BARNES</character> <dialogue>Norman, listen to me, whatever this is, it's not letting go. You've got to pull the green lever marked ` High Voltage Defense System.'</dialogue> <character>BETH</character> <dialogue>No! He said it would start a fire. Do n't do it! Barnes, you said it would start a fire.</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>We're gon na die down here. Pull it!</dialogue> <character>BETH</character> <dialogue>Do n't do it!</dialogue> <character>NORMAN</character> <dialogue>Barnes, do you hear her?</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Do n't listen to her, she's crazy. Pull the green lever. Norman, pull the lever!</dialogue> <character>BETH</character> <dialogue>What are you trying to pull? He's trying to pull something. Do n't do it!</dialogue> <character>NORMAN</character> <dialogue>Do you hear her?!</dialogue> <scene_description>CLOSE ON NORMAN Torn by indecision . Then another JOLT to the habitat .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>You ca n't listen to her. Pull the goddamn lever!</dialogue> <character>BETH</character> <dialogue>Norman, what do we do if there's a fire down here? It'll eat up all our oxygen. Do n't do it.</dialogue> <scene_description>WHAM ! Another strike throws Norman against the box . He grips the lever . He and Beth exchange a look .</scene_description> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>We've got failures all over the place, Norman. we're taking on water.</dialogue> <character>BETH</character> <dialogue>No, do n't do it, Norman!</dialogue> <character>NORMAN</character> <dialogue>What am I gon na do?</dialogue> <character>BETH</character> <dialogue>Norman, it'll start a fire. There's no way out!</dialogue> <character>NORMAN</character> <dialogue>Shut up! What am I gon na do. what am I gon na do?</dialogue> <character>BETH</character> <dialogue>Do n't do it!</dialogue> <character>BARNES</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>You're gon na be squid food. Pull it!</dialogue> <character>NORMAN</character> <dialogue>What am I gon na do? We're falling apart.</dialogue> <scene_description>Norman and Beth exchange a look . Then Norman pulls the lever .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( relieved . )</parenthetical> <dialogue>We're okay. We do n't have to be right all the time. Right? Okay.</dialogue> <character>BETH</character> <dialogue>Right. Okay.</dialogue> <scene_description>Ted suddenly stands up , somewhat dazed .</scene_description> <character>TED</character> <dialogue>Has anybody got some Advil?</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - VARIOUS ANGLES - LATER</stage_direction> <scene_description>on the corridors as a loud ELECTRICAL HUM suffuses the habitat . The lights brown out .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Beth looks around , listens , but suddenly it 's guiet - just the HISS and CHIRP of WATER LEAKING .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Barnes picks himself off the floor . Poised for another jolt that does n't come . He checks the monitors , the gauges . ZOOM IN - a red light . On a fire annunciator . Beneath a label marked `` COMMUNICATIONS ROOM . '' BACK ON BARNES As he sees this .</scene_description> <character>BARNES</character> <dialogue>Oh, hell.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>FIRE ROARS through the walls . Seems to jump out from the walls to flammable materials on the tables , the chairs , that EXPLODE in sudden flame .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL SHAFT - SAME TIME</stage_direction> <scene_description>Beth , Ted and Norman all look around as the FIRE ALARMS and red lights activate .</scene_description> <character>BARNES</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Oh, God! Norman, we've got a fire in the Comm Room. Get up there. I'll meet you with gas masks in case we need them.</dialogue> <scene_description>Beth gets up .</scene_description> <character>BETH</character> <dialogue>Like hell I'm staying here.</dialogue> <scene_description>Norman watches as Beth exits . Then moves to help Ted .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT CLOSET HALLWAY - SAME TIME</stage_direction> <scene_description>Barnes sloshes around the supply depot , piles his arms high with gas masks . Turns to see , at the end of the corridor . ANGLE ON EXIT As the doors automatically close to seal off the leak . BACK ON BARNES As he runs with the gas masks , out of the supply depot and down the narrow , winding corridor . BACK ON DOOR As it closes . BACK ON BARNES As he runs for daylight . It looks like he 's going to make it . He smiles . Then he slips on the wet floor . The steel door closes on him . Barnes groans . Wedges a gas mask in the door . Wriggles to get free . INSERT - BARNES ' HAND As he reaches for a handhold on the other side of the door . Then it 's in his grasp . He moves to pull himself through . Then the gas mask slips . ANGLE ON BARNES As the steel door closes down on him . Barnes howls . Then a terrible CRACKLING CRUNCH - INSERT - DOOR INDICATOR As it lights up : SECURED .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>Beth runs toward the fire , grabs a fire extinguisher . She sprays the extinguisher on the flames . Ted arrives right behind Norman .</scene_description> <character>NORMAN</character> <dialogue>Where are they?</dialogue> <character>BETH</character> <dialogue>Over here. there's one there.</dialogue> <character>NORMAN</character> <dialogue>I got it. How do you work it?</dialogue> <character>TED</character> <dialogue>Pull the pin.</dialogue> <character>NORMAN</character> <dialogue>Pin?</dialogue> <character>TED</character> <dialogue>Are there any more?</dialogue> <character>BETH</character> <dialogue>I saw some in the door.</dialogue> <character>NORMAN</character> <dialogue>We've got ta get out fast or we're gon na die.</dialogue> <scene_description>Ted exits at a run . Norman takes off his sweat jacket and does his best to swat at the flames .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>Ted runs to a supply closet . Finds two fire extinguishers . Turns to run . And for the first time he notices .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - TED'S POV - HARRY</stage_direction> <scene_description>asleep . Snoozing like a baby in his bunk . Ted takes a beat - puzzled and amazed by this . Ted tries to rouse him .</scene_description> <character>TED</character> <parenthetical>( shaking him . )</parenthetical> <dialogue>Harry. Harry!</dialogue> <scene_description>But Harry 's out . Ted then runs with the fire extinguishers .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - FAST-MOVING POV - SAME TIME</stage_direction> <scene_description>GLIDING IN ominously ON the habitat . The preternatural quiet of the deep .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - VIDEO ROOM - SAME TIME</stage_direction> <scene_description>All the monitors are down from the power drain of the high voltage . Suddenly , the computer screens flash on .</scene_description> <character>THE SPHERE</character> <dialogue>I WILL KILL YOU ALL.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>A horrible IMPACT - like a devastating EARTHQUAKE - bounces Norman and Beth off the walls as all the lights go dead .</scene_description> <character>NORMAN</character> <dialogue>It's coming through the ceiling panel. Try to get it through the Cafeteria.</dialogue> <character>BETH</character> <dialogue>Alright. I'll go up. Get back!</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>Beth makes her way to the Cafeteria as everything explodes around her .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - SAME TIME</stage_direction> <scene_description>As Ted runs with the fire extinguishers with flames at his back .</scene_description> <character>TED</character> <dialogue>Norman. Norman. You okay?</dialogue> <scene_description>He tries to extinguish the flames . Norman sits stunned .</scene_description> <character>TED</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Get out! Go! Go!</dialogue> <scene_description>A heavy console falls on top of him . Norman still sits stunned .</scene_description> <character>TED</character> <dialogue>Norman! Norman, get out!</dialogue> <scene_description>He screams as he 's barbecued on the grid .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATION ROOM - SAME TIME</stage_direction> <scene_description>There are explosions and the fire increases . Norman passes out .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>Beth is frozen . FADE TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - LATER</stage_direction> <scene_description>Norman wakes up to the sound of a distant voice .</scene_description> <character>MALE VOICE O/C</character> <dialogue>Dr. Goodman. Dr. Goodman. Dr. Norman Goodman. Dr. Goodman.</dialogue> <character>NORMAN</character> <dialogue>Yes. yes. okay.</dialogue> <scene_description>He gets up , moves toward the door . NORMAN 'S POV - THROUGH PORTHOLE The Pilot and Seaman from earlier scenes , in full dress uniform , stand guard across the corridor . Norman opens the door .</scene_description> <character>NORMAN</character> <dialogue>Thank God you guys are here.</dialogue> <character>SEAMAN</character> <dialogue>Yes, sir.</dialogue> <character>NORMAN</character> <dialogue>It's been like a nightmare. the fire. Ted's dead, and the fire got out of control. We did what we could.</dialogue> <character>PILOT</character> <dialogue>Yes, sir. Just follow us.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - SAME TIME</stage_direction> <scene_description>Norman walks between the Pilot and the Seaman .</scene_description> <character>NORMAN</character> <dialogue>Fletcher's dead. Edmunds is dead. I think Barnes is dead.</dialogue> <character>PILOT</character> <dialogue>Yes, sir.</dialogue> <character>NORMAN</character> <dialogue>Are we leaving now?</dialogue> <character>SEAMAN</character> <dialogue>Yes, sir.</dialogue> <character>NORMAN</character> <dialogue>When did you guys get here?</dialogue> <character>SEAMAN</character> <dialogue>Just now, sir.</dialogue> <character>NORMAN</character> <dialogue>And do the others know yet?</dialogue> <character>PILOT</character> <dialogue>The others, sir?</dialogue> <character>NORMAN</character> <dialogue>The others. There's three of us left. Harry and Beth. We've had a rough time.</dialogue> <character>PILOT</character> <dialogue>I can see that, sir.</dialogue> <character>NORMAN</character> <dialogue>Rough time. So, should n't we go and get them?</dialogue> <character>SEAMAN</character> <dialogue>Yes, sir.</dialogue> <character>NORMAN</character> <dialogue>When?</dialogue> <scene_description>The Seaman and Pilot walk away . Norman stands alone in the corridor .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>When? When? When do we get'em? When? When we do we get'em? When are we gon na get'em? When?</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM</stage_direction> <scene_description>Norman is asleep and wakes himself up with the same refrain .</scene_description> <character>NORMAN</character> <dialogue>When are we gon na get'em? Get'em. when? When?</dialogue> <scene_description>He sits up straight in his chair , looks around - nobody there .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Jerry?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Jerry, it's Norman. Is that you, Jerry? It's Norman.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Jerry, who put out the fire? Jerry?</dialogue> <character>THE SPHERE</character> <parenthetical>( on monitors . )</parenthetical> <dialogue>WHERE IS THE CONTROL ENTITY HARALD C. BARNES? I DO NOT SENSE THAT ENTITY NOW.</dialogue> <scene_description>Norman moves closer to the monitors . ANGLE ON SURVEILLANCE MONITORS Norman sets about flipping switches - different views and angles , some flooded and sealed off , all deserted .</scene_description> <character>NORMAN</character> <dialogue>I do n't know, Jerry. I just woke up. Do you know where he is?</dialogue> <character>THE SPHERE</character> <dialogue>HE WAS NOT FRIENDLY. HE DID NOT ENJOY TO TALKING WITH ME.</dialogue> <character>NORMAN</character> <dialogue>I know. He's a difficult entity sometimes. Can you tell me what happened to him, Jerry?</dialogue> <character>THE SPHERE</character> <dialogue>I DO NOT SENSE THE ENTITY TED.</dialogue> <scene_description>CLOSE ON NORMAN</scene_description> <character>NORMAN</character> <dialogue>I know. Something happened to Ted, Jerry.</dialogue> <character>THE SPHERE</character> <dialogue>BRING HIM BACK.</dialogue> <character>NORMAN</character> <dialogue>I ca n't.</dialogue> <character>THE SPHERE</character> <dialogue>BRING BACK THE ENTITY TED. HE WAS HUMOROUS.</dialogue> <character>NORMAN</character> <dialogue>I ca n't do that, Jerry. It's not in my power.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>There was a fire and I froze. I did n't help him. I wanted to, but I did n't help him. I knew him since he was seventeen years old and I let him go.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Okay, but I'd like to just deal with this at a later time. So, do you want to tell me about the others?</dialogue> <character>THE SPHERE</character> <dialogue>DID YOU LIKE THE GIANT SQUID?</dialogue> <character>NORMAN</character> <dialogue>You made that, Jerry?</dialogue> <character>THE SPHERE</character> <dialogue>DO YOU LIKE IT? I CAN MANIFEST IT MORE FOR YOU.</dialogue> <character>NORMAN</character> <dialogue>No, no. Do n't do that. Nothing more right now, thanks.</dialogue> <character>THE SPHERE</character> <dialogue>I DO NOT WISH TO STOP.</dialogue> <scene_description>ANGLE ON MONITORS As Norman punches a view of the galley . Harry placidly eats a sandwich and reads a book . Then Norman resumes punching up other views of the habitat .</scene_description> <character>NORMAN</character> <dialogue>You see, the problem is, Jerry, your manifestations injure our entities. And pretty soon, there'll be no entities to play with, and you'll be all alone again. All because you ca n't control yourself. Because with all your power you do n't have the power to stop, do you, Jerry.</dialogue> <scene_description>A long beat as Norman waits for a response . Then :</scene_description> <character>THE SPHERE</character> <dialogue>STOP CALLING ME JERRY.</dialogue> <character>NORMAN</character> <dialogue>What name do you want? Jerry. Jerry. What name do you want? Jerry.</dialogue> <scene_description>Norman waits . No response .</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - SAME TIME</stage_direction> <scene_description>Harry munches on his sandwich and reads his book - 20,000 LEAGUES UNDER THE SEA . Norman enters .</scene_description> <character>NORMAN</character> <dialogue>Hey, Harry. How you doin'?</dialogue> <character>HARRY</character> <parenthetical>( looks up . )</parenthetical> <dialogue>Norman.</dialogue> <character>NORMAN</character> <dialogue>Wow, can you believe what happened?</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>NORMAN</character> <dialogue>You know. The attack on the habitat?</dialogue> <parenthetical>( off Harry 's look . )</parenthetical> <dialogue>You know there was an attack on this place?</dialogue> <character>HARRY</character> <dialogue>I must've slept through it.</dialogue> <character>NORMAN</character> <dialogue>You slept through it.</dialogue> <character>HARRY</character> <parenthetical>( yawns . )</parenthetical> <dialogue>I was dead tired.</dialogue> <character>NORMAN</character> <dialogue>It's a good thing you do n't have a living will, Harry. We would've had to have given all your organs away.</dialogue> <scene_description>Harry laughs .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So the smoke did n't bother you? All the leaking. you know.</dialogue> <character>HARRY</character> <parenthetical>( with book . )</parenthetical> <dialogue>Did you ever read this? Twenty Thousand Leagues Under the Sea? I found it in the john - probably somebody's misguided attempt at levity. I always loved this book. I could never get past page eighty - seven, though. Too scary.</dialogue> <character>NORMAN</character> <dialogue>You seem to be, uh, strangely detached, Harry. Given our predicament.</dialogue> <character>HARRY</character> <dialogue>I dunno, Norman. With all your panic and running around, what have you accomplished?</dialogue> <scene_description>Norman looks at Harry 's unnerving , serene smile . Then eases back into the corridor , looks up and down for Beth .</scene_description> <character>NORMAN</character> <dialogue>You knew I was running around?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Have you, uh, seen Beth?</dialogue> <character>HARRY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>No, I thought she was with the others.</dialogue> <character>NORMAN</character> <dialogue>What others? Barnes and Ted are dead, Harry.</dialogue> <parenthetical>( off Harry 's look . )</parenthetical> <dialogue>There's nobody down here who knows how to run the place anymore. The fire screwed up the electronics. We've used up most of our reserve gas. you're reading your book.</dialogue> <scene_description>Harry is saddened by the news of Barnes and Ted . Then his gloom lifts suddenly .</scene_description> <character>HARRY</character> <dialogue>Look on the bright side, Norman.</dialogue> <character>NORMAN</character> <dialogue>What's that?</dialogue> <character>HARRY</character> <dialogue>With Barnes and Ted dead, we do n't need as much gas. And with half this place flooded, we do n't have to worry about filling that space with gas either.</dialogue> <character>NORMAN</character> <dialogue>That's a helluva bright side, Harry.</dialogue> <character>HARRY</character> <dialogue>It is what it is.</dialogue> <scene_description>Suddenly Beth hustles inside . Heads for the refrigerator for a bottle of water .</scene_description> <character>BETH</character> <dialogue>Somebody has to go reset the minisub. If we do n't reset it every twelve hours it floats to the surface. Remember?</dialogue> <character>HARRY</character> <dialogue>I'll go.</dialogue> <character>NORMAN</character> <parenthetical>( quickly . )</parenthetical> <dialogue>No, no. I'll go.</dialogue> <character>HARRY</character> <dialogue>You sure?</dialogue> <character>NORMAN</character> <dialogue>Yeah.</dialogue> <character>BETH</character> <dialogue>It might be our only way out of here.</dialogue> <character>HARRY</character> <parenthetical>( brightly . )</parenthetical> <dialogue>See, there's another bright side, Norman.</dialogue> <character>NORMAN</character> <dialogue>Yeah?</dialogue> <character>HARRY</character> <dialogue>With Barnes and Ted dead - the minisub only holds three people!</dialogue> <scene_description>Norman looks at Harry , grinning at him .</scene_description> <character>NORMAN</character> <dialogue>Beth, could I talk to you for a second?</dialogue> <scene_description>Norman grabs Beth and hurries her out of the galley . Harry returns to reading his book .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDORS - LATER</stage_direction> <scene_description>Beth and Norman head toward the moon pool .</scene_description> <character>NORMAN</character> <dialogue>I do n't want Harry anywhere near that minisub.</dialogue> <character>BETH</character> <dialogue>You think he'll leave without us?</dialogue> <character>NORMAN</character> <dialogue>Oh, I think he's already left without us. I think Harry's in a whole ` nother place.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Did you know he slept through the attack? You do n't think that's a little strange?</dialogue> <scene_description>A beat between them as Beth considers this .</scene_description> <character>BETH</character> <dialogue>Well, I guess it's me and you, Norman. Just like I said at the beginning. It's good I have someone down here I can trust.</dialogue> <character>NORMAN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>You and me Beth.</dialogue> <character>BETH</character> <dialogue>You'd better get going. I'm not sure how much time we have. I'll keep an eye on you from the control room.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And Norman. it's not like swimming, it's walking.</dialogue> <scene_description>Norman smiles .</scene_description> <character>NORMAN</character> <dialogue>Not swimming, but walking. Got it.</dialogue> </scene> <scene> <stage_direction>EXT. HABITAT MOON POOL - LATER</stage_direction> <scene_description>Norman splashes down out of the air lock . Walks out from under the habitat . Turns a corner . NORMAN 'S POV - THROUGH FACEPLATE The minisub , illuminated , moored in an open - girdered dome hangar , about a hundred feet away . Norman starts out toward the minisub .</scene_description> </scene> <scene> <stage_direction>INT. SUB DOME HANGAR/INT. MINI-SUB - LATER</stage_direction> <scene_description>The minisub rocks gently , as if someone 's clambering on top of it . Then the hatch opens . And Norman drops down inside . He hums as he situates himself in the cockpit . ANGLE ON CONSOLE As Norman 's hands run over the controls .</scene_description> <character>NORMAN</character> <parenthetical>( mutters to himself . )</parenthetical> <dialogue>Reset. Reset.</dialogue> <scene_description>Then , up above the dashboard , he finds a flashing red button marked `` TIMER HOLE '' beside a digital clock that 's running down . Norman presses it and a small screen glows . TIMER RESET - COUNT : 12:00:00 It starts counting down . Norman smiles with satisfaction .</scene_description> </scene> <scene> <stage_direction>EXT. SUB DOME HANGAR - SAME TIME</stage_direction> <scene_description>Norman plunges back into the water . NORMAN 'S POV - THROUGH FACEPLATE Of the habitat in the distance . Then the faceplate starts to fog up . Norman 's view is a little woozy . Then he LOOKS DOWN at his gas hose as bubbles slowly start leaking out .</scene_description> <character>NORMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Beth, something's happened to my hose.</dialogue> <scene_description>ANGLE ON NORMAN He fumbles , all thumbs with gloves , his faceplate fogged . trying to tighten the valve where bubbles are coming from . Instead , he loosens it , and more bubbles are released .</scene_description> <character>NORMAN</character> <dialogue>Beth, I've got bubbles coming out.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Beth!</dialogue> <scene_description>NORMAN 'S POV THROUGH FACEPLATE Of the habitat , the nimbus of the lights THROUGH the fog of the FACEPLATE . It looks really far away .</scene_description> <character>NORMAN</character> <dialogue>Beth, can you tell me what to do. It's fogging me all up here.</dialogue> <scene_description>ANGLE ON NORMAN He looks like he 's running in place and getting nowhere . His feet slipping on the silty bottom .</scene_description> <character>NORMAN</character> <dialogue>Beth, there's something wrong here. I've got to get out of here. I've got to get out of here. Where the hell are you!</dialogue> <scene_description>NORMAN 'S POV THROUGH FACEPLATE Thoroughly fogged now . Norman stomping blindly through the ocean , his BREATHING panicked , the INDICATORS BLEEPING in alarm . Then suddenly Harry breaks in over the intercom . BACK TO SCENE</scene_description> <character>HARRY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Hey, watch out for that rock. It's me, Harry.</dialogue> <character>NORMAN</character> <dialogue>Harry.</dialogue> <character>HARRY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Come around the rock. go to the right of the stanchion.</dialogue> <character>NORMAN</character> <dialogue>Harry, I'm hurting. Come around which way? I ca n't breathe Harry.</dialogue> <character>HARRY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( matter - of - fact . )</parenthetical> <dialogue>Yes, you can. You just have a loose valve. It's not gon na kill you. You've got plenty of gas. Can you see the airlock? It's right in front of you.</dialogue> <scene_description>NORMAN 'S POV THROUGH FACEPLATE Heavily fogged , he can dimly MAKE OUT the shaft of light coming down from the airlock . ANGLE ON NORMAN as he stumbles toward the airlock . then his indicator flatlines . Norman looks down at his loose gas hose . INSERT - GAS HOSE No more bubbles . no more gas . BACK ON NORMAN In a total panic , holding his breath . NORMAN 'S POV THROUGH FACEPLATE The fogged glass and murky water . Ca n't see . BACK ON NORMAN thrashing through the water . NORMAN 'S POV THROUGH FACEPLATE As he swims furiously , he sees the light from the moon pool and the ladder leading down , right in front of him . he grabs for the rungs of the ladder . it 's a . SEA SNAKE The sea SNAKE HISSES , then snaps at Norman as Norman lets go , falls to the ocean bottom . NORMAN 'S POV THROUGH FACEPLATE As the snake swipes at his face , its forked tongue smearing slime across the faceplate . then the snake scurries away as . HANDS Grab Norman and pull him up to safety .</scene_description> </scene> <scene> <stage_direction>INT. SUIT ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Harry helps Norman pull off his helmet . Norman gulps for air . then stumbles as Harry helps him to sit down .</scene_description> <character>NORMAN</character> <dialogue>Where is she?</dialogue> <character>HARRY</character> <dialogue>Try and relax your breathing. You're gon na hyperventilate.</dialogue> <character>NORMAN</character> <dialogue>Where is she? She said she'd. keep an eye out for me.</dialogue> <character>HARRY</character> <dialogue>I looked through the whole habitat, I could n't find her. I thought maybe she was with you.</dialogue> <character>NORMAN</character> <dialogue>Where is she? Where is she?</dialogue> <scene_description>Norman looks over . we follow his gaze . ANGLE ON BETH 'S LOCKER Where Beth 's suit and helmet are stored , under a nameplate that reads `` Halperin '' . It 's empty .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Norman and Harry watch on the monitors , scared . THEIR POV - MONITORS A surveillance view of the airlock tube , as Beth enters from the spaceship and it fills with water . then Beth emerges and heads toward the habitat . BACK ON NORMAN He and Harry exchange a look .</scene_description> <character>NORMAN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Did she tell you she was going out?</dialogue> <scene_description>Then Norman addresses the mike .</scene_description> <character>NORMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Beth?</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman? I ca n't hear you.</dialogue> <character>NORMAN</character> <parenthetical>( to Harry . )</parenthetical> <dialogue>If she ca n't hear me, why did she answer? Beth, what are you doing?</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>I went out looking for food. We're out of food.</dialogue> <scene_description>Harry covers the mike with his hand .</scene_description> <character>HARRY</character> <dialogue>There's plenty of food. I was just in there.</dialogue> <scene_description>Norman and Harry exchange a look .</scene_description> <character>NORMAN</character> <dialogue>You went to look for food in the spacecraft? That seems a little odd, do n't you think?</dialogue> <scene_description>BETH As she walks toward the habitat .</scene_description> <character>BETH</character> <dialogue>Why, what's odd about it?</dialogue> <character>NORMAN</character> <dialogue>If there was food? Beth, uh - would n't it be three hundred years old?</dialogue> <character>BETH</character> <dialogue>I was hoping our luck would change and I'd find a cryogenic freezer. Or a bottle of bordeaux.</dialogue> <character>HARRY</character> <dialogue>She's lying.</dialogue> <parenthetical>( off Norman 's look . )</parenthetical> <dialogue>Norman, she's lying about everything.</dialogue> <character>BETH</character> <dialogue>Is Harry there, Norman?</dialogue> <character>NORMAN</character> <dialogue>Why do n't we just talk when you get back? Meet me in the galley. We'll have a cup of coffee.</dialogue> <parenthetical>( charming . )</parenthetical> <dialogue>We still have coffee, do n't we?</dialogue> <character>BETH</character> <dialogue>Very funny. I'll take mine black, like my mood.</dialogue> <character>NORMAN</character> <dialogue>All right. See you soon.</dialogue> <scene_description>Norman turns off the microphone . Turns to Harry .</scene_description> <character>HARRY</character> <dialogue>Norman, what we have here are two ingredients - Beth and this underwater environment. you put them together and you've got one big ass bomb.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - CORRIDOR - LATER</stage_direction> <scene_description>Beth walks up from the corridor from the moon pool toweling her hair dry .</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - CONTINUOUS ACTION</stage_direction> <scene_description>Beth enters . Norman and Harry wait for her , drinking coffee . Beth takes a mug off the counter , pours for herself .</scene_description> <character>BETH</character> <dialogue>How'd it go with the mini - sub?</dialogue> <character>NORMAN</character> <dialogue>It was a little disconcerting out there, actually.</dialogue> <character>BETH</character> <dialogue>Oh?</dialogue> <character>NORMAN</character> <dialogue>Were n't you supposed to be watching out for me from the control room?</dialogue> <character>BETH</character> <dialogue>Harry said he'd take over for me.</dialogue> <parenthetical>( off Harry 's look . )</parenthetical> <dialogue>He sat down right in front of the monitors and - Norman, what happened?</dialogue> <character>NORMAN</character> <dialogue>I was in trouble. Where the hell were you?</dialogue> <character>BETH</character> <dialogue>What's going on, Norman?</dialogue> <character>NORMAN</character> <dialogue>All I know is, going out to find food in the spacecraft when there's plenty of food here is n't exactly normal.</dialogue> <character>BETH</character> <dialogue>What do you mean, plenty of food? I was just here. There's nothing in the -</dialogue> <scene_description>Beth goes to the cupboards , opens them . ANGLE ON OPEN CUPBOARDS Spilling over with food . Beth takes a beat to size up the situation - she can sense their eyes on her .</scene_description> <character>HARRY</character> <dialogue>A veritable horn of plenty.</dialogue> <character>BETH</character> <dialogue>He must've hidden it.</dialogue> <character>HARRY</character> <dialogue>You think I hid all this food?</dialogue> <character>BETH</character> <dialogue>I do n't know what's going on here, but twenty minutes ago I was standing right here and there was no food in the cupboards and no food in the refrigerator.</dialogue> <character>NORMAN</character> <dialogue>Why, Beth? Why would Harry do that? Why would he set you up?</dialogue> <character>BETH</character> <dialogue>I do n't know what happened. All I know is this food was n't here.</dialogue> <character>HARRY</character> <dialogue>Paging Dr. Halperin. Please report to reality. Dr. Halperin?</dialogue> <character>BETH</character> <dialogue>Shut up!</dialogue> <parenthetical>( to Norman . )</parenthetical> <dialogue>Okay, you can see what he's doing to me.</dialogue> <character>NORMAN</character> <dialogue>You were supposed to be watching, Beth. That's the facts. You think Harry said something he did n't. That the cupboards are empty when they're full. Clinically, we would call that a psychotic break.</dialogue> <character>BETH</character> <dialogue>I'm not crazy, Norman. What're you gon na do? Write me a prescription? Just get rid of me? Well, it's not that convenient down here, Norman, okay. I am not psychotic.</dialogue> <character>NORMAN</character> <dialogue>What about a mini - psychotic break.</dialogue> <character>BETH</character> <dialogue>It's not fair.</dialogue> <character>NORMAN</character> <dialogue>Beth.</dialogue> <character>BETH</character> <dialogue>What?</dialogue> <character>NORMAN</character> <dialogue>Beth, I'm down there. I'm hyperventilating, I ca n't breathe. I'm hyperventilating. The man saved me!</dialogue> <character>BETH</character> <dialogue>But I.</dialogue> <character>NORMAN</character> <dialogue>Wait a minute. Now you want me to believe that the man set me up. Why? This is n't ` Alice in Wonderland'. Remember ` just you and me babe'? Is it unrealistic to think that at this point you are a danger to yourself - you are a danger to us. that your misguided anger towards me for something that I do n't know what it was that happened decades ago is spewing out like poison. I was out there. You almost got me killed. The man tried to save my life! You now want me to disbelieve Harry?</dialogue> <character>BETH</character> <dialogue>Yes, I want you to disbelieve Harry. I want you to look at me and believe me for one time, Norman. Do n't you? Just look at me, Norman! Am I telling you the truth?</dialogue> <character>NORMAN</character> <dialogue>You were n't there, Beth.</dialogue> <character>BETH</character> <dialogue>You want to believe Harry, Norman, then that's fine, because he's done everything but part the sea for you since we've been down here, but I'm telling you that he is not telling you the truth.</dialogue> <character>NORMAN</character> <dialogue>This is not about Harry, okay?</dialogue> <character>BETH</character> <parenthetical>( right back . )</parenthetical> <dialogue>He did n't tell you what's inside The Sphere.</dialogue> <parenthetical>( to Harry . )</parenthetical> <dialogue>You did n't tell him, did you? You did n't tell him what's inside the Sphere, did he?</dialogue> <scene_description>An exchange of looks all around .</scene_description> <character>HARRY</character> <dialogue>And how would you know that, Beth?</dialogue> <scene_description>Norman looks at Beth .</scene_description> <character>NORMAN</character> <dialogue>Beth, did you go inside The Sphere?</dialogue> <scene_description>Beth smiles enigmatically .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Answer me. Did you go inside the Sphere?</dialogue> <scene_description>Beth just looks at him .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Why wo n't you answer me, Beth? It's a question.</dialogue> <character>BETH</character> <dialogue>You do n't want to talk to me, remember?</dialogue> <character>NORMAN</character> <dialogue>Answer the question.</dialogue> <scene_description>She gives him a hard look . Then walks out .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What do you think, Harry. Do you think she went into the Sphere?</dialogue> <scene_description>Harry says nothing .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Here. You dropped your book.</dialogue> <scene_description>Norman picks up the book of `` 20,000 Leagues Under The Sea '' to hand to Harry , but sees that he 's still reading the book . Norman thinks a beat . Then opens a cupboard to reveal rows and rows of books of `` 20,000 Leagues Under the Sea '' arranged neatly inside . Puzzled and scared , Norman opens another cupboard - more copies of 20,000 Leagues Under the Sea . row after row of books . BACK ON NORMAN His fear accelerating . struggling to think , to put the pieces together .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - LATER</stage_direction> <scene_description>Norman broods alone . Then he turns to the monitors .</scene_description> <character>NORMAN</character> <dialogue>What is n't Harry telling me? I know you're there, Jerry. What's inside the Sphere, Jerry? Jerry, I know you're there. You're always there.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Harry is reading this book `` 20,000 Leagues Under The Sea''. What makes me nervous is that after page 87.</dialogue> <parenthetical>( he ruffles through the book . )</parenthetical> <dialogue>. it's all blank pages. Harry's upstairs sitting in the cafeteria reading blank pages. Why? Why did he go into the Sphere and come out like this? Why? Why? Why, Jerry? Why is this book half a book, Jerry? Why? What's going on, Jerry? Why, Jerry? Why? Why? Why?</dialogue> <scene_description>No response . Then Norman turns back to 87 . Reads . JUMP CUT BACK ON NORMAN as he works out the code of Jerry 's original message with a pencil .</scene_description> <character>NORMAN</character> <dialogue>So, it's ` g' being one spiraling out from the center and 2 is ` b', that means that h' is 3 and 4 then is ` y'.</dialogue> <scene_description>He completes the sentence : `` My Name Is Harry . '' A piece of the puzzle may be in place . He goes back to the dormitory to check on Harry .</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY - SAME TIME</stage_direction> <scene_description>THROUGH the Porthole in the door , Norman looks in on Harry who is still thoroughly engrossed in 20,000 Leagues Under the Sea .</scene_description> </scene> <scene> <stage_direction>INT. ENGINE ROOM - LATER</stage_direction> <scene_description>The noise of the various PUMPS and COMPRESSORS . Norman , his nerves frayed , juggles a copy of 20,000 Leagues Under the Sea , the printout and the pad as he confers with Beth .</scene_description> <character>NORMAN</character> <dialogue>He makes it real for you, he makes it real for me. he has made it real for everybody. It's really frightening because you do n't know whether it's really real or whether he's made it real for us to believe it's real, and it's because of the Sphere.</dialogue> <character>BETH</character> <dialogue>Our Harry. our Harry is Jerry?</dialogue> <character>NORMAN</character> <dialogue>Come on, Beth, I'm just as tired as you are. Come on, I know you can get this, okay? Here.</dialogue> <scene_description>He hands her a copy of `` 20,000 Leagues Under The Sea '' .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Harry said he could n't get past page 87 because he said it was too scary, okay.</dialogue> <character>BETH</character> <dialogue>If there's nothing on the pages, where's the rest of the book.</dialogue> <character>NORMAN</character> <dialogue>Read what's on page 87.</dialogue> <character>BETH</character> <parenthetical>( reading . ) '</parenthetical> <dialogue>. According to calculations of some naturalists, one of these animals, only six feet long, would have tentacles twenty - seven feet long. That would make a formidable monster.'.</dialogue> <parenthetical>( closes book . )</parenthetical> <dialogue /> <character>NORMAN</character> <dialogue>Yes. And what does Harry hate?</dialogue> <character>BETH</character> <dialogue>Squid.</dialogue> <character>NORMAN</character> <dialogue>And when he read that, it scared him. Getting the picture? Do you remember when all those jellyfish attacked. What was Harry doing?</dialogue> <character>BETH</character> <dialogue>Sleeping.</dialogue> <character>NORMAN</character> <dialogue>He was dreaming, and this is the really wild part - what he dreamed.</dialogue> <character>BETH</character> <dialogue>Happened.</dialogue> <character>NORMAN</character> <dialogue>It happened.</dialogue> <character>BETH</character> <dialogue>You're telling me that because Harry went inside the Sphere, he now has the power to manifest his dreams, his fantasies, his emotions, his fears.</dialogue> <character>NORMAN</character> <dialogue>Manifest. He manifested it. he made it happen.</dialogue> <character>BETH</character> <dialogue>Well, we'd better not piss him off.</dialogue> </scene> <scene> <stage_direction>INT. DORMITORY - CLOSE ON HARRY - SAME TIME</stage_direction> <scene_description>Still reading `` 20,000 Leagues Under The Sea '' . Then he stares into space .</scene_description> </scene> <scene> <stage_direction>INT. ENGINE ROOM - SAME TIME</stage_direction> <scene_description>Beth and Norman still figuring things out .</scene_description> <character>NORMAN</character> <dialogue>It's like an E - ticket ride for Harry's subconscious. It's the wildest ride you could imagine. It's the ultimate acting out. It's not that different when you're a child. A child when it imagines something, thinks that it's real, but it's not. In Harry's case, it's in fact so real that it's not only real to Harry it's real to all of us. and what I ca n't understand is that ever since he went in the Sphere, the Sphere has some kind of power that projects every subconscious thought that Harry has, out to the computer. It prints it out, and we interact with it. We thought it was Jerry. It's not Jerry, it's Harry. Harry's Jerry.</dialogue> <character>BETH</character> <dialogue>Does Harry know this?</dialogue> <character>NORMAN</character> <dialogue>No, and what I do n't understand is that you went in The Sphere and nothing happened.</dialogue> <character>BETH</character> <dialogue>` Cos with my subconscious, can you just imagine? It'd be like Liquid Drano out there.</dialogue> <character>NORMAN</character> <dialogue>But nothing happened.</dialogue> <character>BETH</character> <dialogue>Obviously I did n't go in the Sphere.</dialogue> <character>NORMAN</character> <dialogue>Beth. You never went inside the Sphere. You did n't go in there?</dialogue> <character>BETH</character> <dialogue>I was so angry at you, I wanted you to be scared.</dialogue> <character>NORMAN</character> <dialogue>Maybe you had a right to be.</dialogue> <character>BETH</character> <dialogue>Thanks.</dialogue> <scene_description>Norman looks at her .</scene_description> <character>NORMAN</character> <dialogue>You're sure you did n't go in there?</dialogue> <scene_description>Beth thinks a long beat .</scene_description> <character>BETH</character> <dialogue>We have to kill Harry.</dialogue> <character>NORMAN</character> <dialogue>No, no. We do n't have to kill Harry.</dialogue> <character>BETH</character> <dialogue>Yeah, we do.</dialogue> <character>NORMAN</character> <dialogue>Why?</dialogue> <character>BETH</character> <dialogue>Because, I do n't know about you, Norman, but I do n't feel like dying down here.</dialogue> <character>NORMAN</character> <dialogue>We do n't have to kill him. We just have to find something to put him under, right? So he's in some kind of deep, unconscious sleep.</dialogue> <character>BETH</character> <dialogue>Dreamless sleep, I hope.</dialogue> <character>NORMAN</character> <dialogue>A dreamless sleep, yes. How do we do that?</dialogue> <character>BETH</character> <dialogue>Well, I've got a bunch of drugs up there.</dialogue> <character>NORMAN</character> <dialogue>Fancy that.</dialogue> </scene> <scene> <stage_direction>INT. LAB - LATER</stage_direction> <scene_description>Norman and Beth fumble through the habitat 's pharmacy .</scene_description> <character>NORMAN</character> <dialogue>Diphenyl paralene.</dialogue> <character>BETH</character> <dialogue>Burns.</dialogue> <character>NORMAN</character> <dialogue>Ephedrine hydrochloride.</dialogue> <character>BETH</character> <dialogue>Motion sickness.</dialogue> <character>NORMAN</character> <dialogue>Valdomet.</dialogue> <character>BETH</character> <dialogue>Ulcers. You might want to keep that.</dialogue> <character>NORMAN</character> <dialogue>Sintag.</dialogue> <character>BETH</character> <dialogue>Sintag is a synthetic opiate. It's a painkiller. I might want to keep that.</dialogue> <character>NORMAN</character> <dialogue>What about Parasolutrine?</dialogue> <character>BETH</character> <dialogue>Really? I've got paracin trichloride - that's an anesthetic.</dialogue> <character>NORMAN</character> <dialogue>What do you do, combine it?</dialogue> <character>BETH</character> <parenthetical>( holding up vials . )</parenthetical> <dialogue>Huh, huh. If you've got 20 cc's of this one, six of this one, you're in business.</dialogue> <character>NORMAN</character> <parenthetical>( vial in hand . )</parenthetical> <dialogue>Here's some more Parasolutrine. Will that be enough?</dialogue> <scene_description>ANGLE ON HUGE HYPODERMIC Norman looks on as Beth fills it from the vials .</scene_description> <character>BETH</character> <dialogue>This'll put him under for three to six hours.</dialogue> <character>NORMAN</character> <dialogue>Ca n't we give him a little boost?</dialogue> <character>BETH</character> <dialogue>You want to kill him?</dialogue> <character>NORMAN</character> <dialogue>Yes and no.</dialogue> </scene> <scene> <stage_direction>INT. DORMITORY - SAME TIME</stage_direction> <scene_description>Harry sleeps . A shaft of light as the door opens and Beth and Norman tiptoe in , Beth with the hypodermic .</scene_description> <character>NORMAN</character> <parenthetical>( whispers to Beth . )</parenthetical> <dialogue>I'm gon na hold him.</dialogue> <scene_description>They exchange a look . Then Norman grabs Harry as Beth plunges the needle into him . Harry howls , more from surprise than pain , as Beth pushes the plunger and injects him .</scene_description> <character>HARRY</character> <dialogue>What's going on?</dialogue> <character>NORMAN</character> <dialogue>Nothing. Go back to sleep.</dialogue> <character>HARRY</character> <dialogue>I was asleep.</dialogue> <scene_description>Harry 's eyes roll back into his head and he falls asleep .</scene_description> <character>BETH</character> <dialogue>I was n't sure it would be that fast - acting. Thank God.</dialogue> <character>NORMAN</character> <dialogue>We did n't kill him, did we?</dialogue> <character>BETH</character> <dialogue>I do n't think so.</dialogue> <character>NORMAN</character> <dialogue>Okay.</dialogue> <character>BETH</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - NIGHT</stage_direction> <scene_description>Beth sits at the monitors while Norman stands close by .</scene_description> <character>BETH</character> <dialogue>Come on! Come on! Come on!</dialogue> <scene_description>ANGLE ON MONITORS CQX VDX MOP LKI . BACK ON BETH AND NORMAN</scene_description> <character>BETH</character> <dialogue /> <character>Here we go.</character> <dialogue>says.</dialogue> <character>NORMAN</character> <dialogue>It's a code. How the hell are we supposed to be able to. oh, it's decoding itself.</dialogue> <scene_description>ANGLE ON MONITORS As the letters unjumble and resolve into a decoded message . WEATHER CONDITIONS NORMAL SURFACE SUPPORT VESSELS RETURN . ETA : 16:00:00 hours Then the 16:00:00 begins to count down .</scene_description> <character>BETH</character> <dialogue>Weather conditions normal surface support vessels return.'' 16 hours and we're out of here.</dialogue> <scene_description>CLOSE ON NORMAN As he breaks into a smile . Turns to Beth .</scene_description> <character>NORMAN</character> <dialogue>It's over. If you trust it.</dialogue> <character>BETH</character> <dialogue>You know me. I believe everything.</dialogue> <character>NORMAN</character> <dialogue>Do you trust it?</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - LATER</stage_direction> <scene_description>The sound of RUNNING WATER as Norman washes his face . Then turns OFF the WATER . He hears a HISS like water leaking . He tightens the faucets again . Still that HISS . Norman runs his hands along the pipes , reaches under the sink . INSERT - NORMAN 'S HANDS As they run beneath the sink . To where the pipe turns into . BELCHER 'S SEA SNAKE A wriggling white streak with a long thin fin and black stripes . CLOSE ON NORMAN As he freezes . His skin goes cold and clammy . He peers around the edge of the sink to get a look . NORMAN 'S POV - SNAKE As it HISSES and SLURPS its forked tongue at him , bares its fangs . Its body coiling and uncoiling . BACK ON NORMAN As he faces the snake . Then hears another HISS . Looks down and sees a SECOND SNAKE coiling its way up his leg .</scene_description> <character>NORMAN</character> <dialogue>Aaaaargh! Get out! Get out! Aaaaargh! Get out! Get out!</dialogue> <scene_description>Then the door opens and Beth enters . Sees the snakes .</scene_description> <character>BETH</character> <dialogue>What time is it, Norman?</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>What time is it, Norman?</dialogue> <scene_description>It is all Norman can do to unstick his dry mouth and reply .</scene_description> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>Norman. What time is it?</dialogue> <character>NORMAN</character> <dialogue>I do n't know.</dialogue> <character>BETH</character> <dialogue>Norman, you're scaring me.</dialogue> <character>NORMAN</character> <parenthetical>( struggling with snake . )</parenthetical> <dialogue>Aaaaargh! Get out!</dialogue> <character>BETH</character> <dialogue>Look at your watch, Norman!</dialogue> <character>NORMAN</character> <dialogue>What, are you crazy!</dialogue> <scene_description>NORMAN 'S POV - LOOKING DOWN The SNAKE around his leg HISSES and bares its fangs as Norman slowly turns his wrist . But the crystal is fogged . BACK TO SCENE</scene_description> <character>BETH</character> <dialogue>Is it day or night?</dialogue> <scene_description>Norman thinks hard , trembling with fear .</scene_description> <character>NORMAN</character> <dialogue>It's day. It's morning.</dialogue> <parenthetical>( to snakes . )</parenthetical> <dialogue>Get out! Get out! Get out!</dialogue> <scene_description>With cat - like quickness , Beth plunges in , grabs the snakes right behind the head . Holds them up to inspect them .</scene_description> <character>BETH</character> <dialogue>They're Belcher's sea snakes, Norman They're the most poisonous snakes in the world, but they're nocturnal. They're only dangerous at night.</dialogue> <parenthetical>( holding up snake . )</parenthetical> <dialogue>Say `` Good morning, Beth.''</dialogue> <character>NORMAN</character> <parenthetical>( weakly . )</parenthetical> <dialogue>Good morning.</dialogue> <scene_description>Beth moves with the snakes to exit . She turns , holding the snakes in her hands .</scene_description> <character>BETH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Freud would have a field - day with this.</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>Beth 's voice comes OVER the INTERCOM . as we see Norman slowly climb the stairs to the lab .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, it's Beth could you meet me at the lab, please? Norman, can you meet me at the lab, please? I want to show you something. Norman!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - LATER</stage_direction> <scene_description>Norman enters . Beth 's not there He enters further , looking around . Looks on a notepad to see if she left a note .</scene_description> <character>NORMAN</character> <dialogue>Beth?</dialogue> <scene_description>Then , on the dissecting table , Norman sees something . He moves closer . NORMAN 'S POV - DISSECTING TABLE Alone on the table , a hypodermic needle filled with fluid . BACK ON NORMAN As he hears a CLICK behind him . Turns to see that the DOOR is now closed . The wheel spins . Norman hurries to the door . Ca n't budge it . He locks eyes with Beth THROUGH the porthole in the door . Then a SUCTION noise as the DOOR SEALS SHUT . And Beth disappears . Norman knocks on the glass .</scene_description> <character>NORMAN</character> <dialogue>Beth?</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - SAME TIME</stage_direction> <scene_description>Beth hurries down the hallway toward the video room .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Norman , struggling not to panic , tries to figure a way out . INTERCUT VIDEO ROOM WITH LABORATORY</scene_description> <character>NORMAN</character> <dialogue>What are you doing?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Beth? Why are you locking me in here? Beth! Beth!</dialogue> <scene_description>He looks around the lab and sees jars full of liquid on shelves .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman! Norman! Up here. up here. Norman, it's me, Beth. I'm up here.</dialogue> <character>NORMAN</character> <dialogue>Why are n't you here? Why am I talking to you like this.</dialogue> <character>BETH</character> <dialogue>I'm talking to you from the video room. Norman, listen to me. Turn around. Turn around and look on the table.</dialogue> <scene_description>Norman turns around and sees a hypodermic needle on the table .</scene_description> <character>BETH</character> <dialogue>Do you see the hypodermic needle, Norman?</dialogue> <character>NORMAN</character> <dialogue>Yeah.</dialogue> <character>BETH</character> <dialogue>I want you to inject yourself, Norman.</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>It's the same thing we gave Harry. It's almost the same amount.</dialogue> <character>NORMAN</character> <dialogue>We gave that stuff to Harry because he was manifesting - to make him unconscious. I do n't need to take that stuff.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth talks into the intercom , watches Norman on the monitors , like a caged laboratory rat , pacing off the perimeter .</scene_description> <character>BETH</character> <dialogue>Norman, you're manifesting your fears. The snakes, Norman. the snakes were you. Harry is asleep. It's your fears. You manifested the snakes.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Norman , trapped , looks at the snakes in their specimen jars . He searches the room for a way out .</scene_description> <character>NORMAN</character> <dialogue>Why would the snakes have anything to do with me? I did n't go inside The Sphere.</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Then how did the snakes get there, Norman?</dialogue> <character>NORMAN</character> <dialogue>Maybe they're just snakes. I mean. did you ever think of that?</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Pick up the needle and inject yourself.</dialogue> <character>NORMAN</character> <dialogue>I'm telling you, I did n't go in the Sphere.</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Obviously you went in the Sphere, Norman.</dialogue> <character>NORMAN</character> <dialogue>If I went in the Sphere I would have told you now.</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>If you do n't use the hypodermic needle, I'm going to have to defend myself. Norman, do n't make me do this. I do n't want to do this.</dialogue> <character>NORMAN</character> <dialogue>I did n't manifest anything. I did n't manifest anything. I did n't manifest anything.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth moves a slide switch marked `` A CYL - LAB '' . As the gas pressure gauge dips .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>There 's a SOFT HISS and the ALARM BADGE on Norman 's wrist pad starts to BEEP .</scene_description> <character>NORMAN</character> <dialogue>Beth, what are you doing?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue /> <scene_description>The pressure gauge begins to dip .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Beth. Why does it say that its low level? Why are you taking the oxygen out of this room?</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom - squeaky voice . )</parenthetical> <dialogue>It's not oxygen. It's gas, remember?</dialogue> <character>NORMAN</character> <dialogue>Beth, why are you taking the gas out of the room? Beth? It's my air.</dialogue> <scene_description>A glass explodes .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Think it through. Whose childhood fears were the jellyfish? Remember, Norman. remember?</dialogue> <character>NORMAN</character> <dialogue>Yes, but - anyone could be afraid of jellyfish, Beth.</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, look at your wrists. Remember when you told me about getting burned. You're manifesting fire, Norman. you're manifesting jellyfish. The squid were Harry's, but everything else is you. Is n't it possible that you went inside The Sphere and you just do n't remember.</dialogue> <character>NORMAN</character> <dialogue>Beth, you would've seen it on the video.</dialogue> <character>BETH</character> <dialogue>The video blanked out and you were gone for two hours. So, where were you, Norman?</dialogue> <character>NORMAN</character> <dialogue>Your logic is screwy, okay. Because if I'd gone in the Sphere, I would have been different when I came out. I'd have been strange like Harry.</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Just use the hypodermic needle, Norman.</dialogue> <character>NORMAN</character> <dialogue>Okay, we're not gon na have time to go back and forth on this.</dialogue> <scene_description>Norman opens and closes his jaw , wiggles a finger in his ear as his ears pop . The water level rising on the floor . Then Norman jumps as the medicine BOTTLE BURSTS .</scene_description> <character>NORMAN</character> <dialogue>Beth. What's with this water?</dialogue> <scene_description>The bottles with liquid , now contain snakes . The bottles explode and the snakes are released .</scene_description> <character>NORMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Beth. Beth. It's not me!</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>It's not me. You're doing it.</dialogue> <character>NORMAN</character> <dialogue>Beth. Beth. oh, my God! Beth! Beth!</dialogue> <scene_description>More bottles explode .</scene_description> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, you're manifesting this. Water is your fear, Norman. You said you had n't been in the water since you were a kid. Norman, inject yourself with the hypodermic needle.</dialogue> <character>NORMAN</character> <dialogue>Oh, my God!</dialogue> <character>BETH</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, use the hypodermic needle. It's snakes, it's fear. You can make it go away, Norman. You can make it go away. Pick up the hypodermic needle and inject yourself, Norman.</dialogue> <character>NORMAN</character> <dialogue>No. I'm not going to.</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, you can make it go away.</dialogue> <character>NORMAN</character> <dialogue>No, I'm not going to use it. I told you, it's not me! I ca n't breathe, Beth.</dialogue> <scene_description>Then a BANG ! as another BOTTLE EXPLODES .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth watches Norman on the monitors .</scene_description> <character>BETH</character> <dialogue>Norman, I'm begging you. Pick up the hypodermic needle.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Water rises around Norman .</scene_description> <character>NORMAN</character> <dialogue>No, I'm not gon na use it. It's not me! It's too late anyway! Beth. Beth. what are you doing? You're going to kill me!</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>I ca n't help you, Norman. I'm not doing this.</dialogue> <scene_description>Norman pulls himself up out of the water , hanging onto equipment in the habitat .</scene_description> <character>NORMAN</character> <dialogue>Beth!</dialogue> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Try not to be so afraid, Norman. Let go of your fears and it will all go away. and the ships will come and we'll all get out of here and we'll be fine. You're doing the right thing.</dialogue> <scene_description>CLOSE ON NORMAN Terrified as he watches the water rise around him .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Just climb up. Just get as high as you can get. Try to take a deep breath, Norman.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth watches as water rises in the lab .</scene_description> <character>BETH</character> <dialogue>Try to pull yourself together, Norman. Your fears are going to kill all of us.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Norman opens a cupboard and finds a first aid box . Inside , a small gas tank with a fire mask . He breathes deeply .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>The oxygen in that tank will only last about three or four minutes. It's not gon na save you, Norman. Just get a hold of yourself. Take a few breaths. It'll calm you down.</dialogue> <scene_description>WIDE ANGLE - LAB As water rises rapidly .</scene_description> <character>NORMAN</character> <dialogue>The water's gon na blow you out, Beth.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Norman falls into the water . Then he looks up . NORMAN 'S POV - HATCH At the ceiling of the lab . Carrying his fire mask , Norman climbs up on the counters .</scene_description> <character>BETH</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over intercom . )</parenthetical> <dialogue>Norman, Norman. you can stop it. Norman, what are you doing? Norman, do n't open the hatch, you'll kill yourself. Norman, please!</dialogue> <scene_description>He shoves hard at the lever . Shoves again and the hatch door flies open . WATER explodes down into the laboratory as Norman shoots out .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>As Norman shoots out in a cloud of bubbles . The gas tank in one hand , he grabs wildly at a steel pipe that runs along the habitat . Without weights he has to pull hard to keep from floating to the surface . INSERT - NORMAN 'S HAND Purpled by the cold , as Norman pulls himself along the pipe . Then , from below , a thick flock of jellyfish drift out from beneath the habitat . ANGLE ON NORMAN In a panic , he fumbles the fire mask . Jellyfish swim past him , brush against his flesh , his face . Norman looks down . NORMAN 'S POV The fire mask as it tumbles , bubbling , to the bottom . The GAS TANK COLLIDES with the habitat WALL with a CLANK ! ANGLE ON NORMAN Desperately , he pulls himself down , reaches for the fire mask - ca n't get it . Reaches again as it continues to leak . His fingers clumsy from the cold . He reaches again . And suddenly the bubbles stop . No more gas . CLOSE ON NORMAN The veins bulging in his face , his neck . He uses the pipes to pull himself under the habitat - eyes closed against the pain . Then his eyes flutter open and he sees the airlock .</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth watches as all the monitors go static and flash on and off .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>Barely conscious , Norman bangs his head against the habitat and begins to float . WE HEAR the echoed voice of Harry .</scene_description> <character>HARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>. if we never told anyone, it means we never made it back. Hence, we die down here.</dialogue> </scene> <scene> <stage_direction>INT. VIDEO ROOM - SAME TIME</stage_direction> <scene_description>Beth watches the monitors as the words we 're hearing from Harry are printed on the screens . `` WE DIE DOWN HERE . JUST AS A MATTER OF DEDUCTIVE LOGIC . '' Beth rushes out of the video room .</scene_description> </scene> <scene> <stage_direction>INT. MOON POOL - SAME TIME</stage_direction> <scene_description>Norman bursts up into the moon pool , gulping for air . He clumsily pulls himself up , then slips and falls back into the pool . flails in the water . Then he heaves his chest over the rim and flops onto the deck of the airlock . He peers through heavy - lidded eyes . NORMAN 'S POV - MOON POOL ROOM DOOR Leading inside to the habitat . BACK ON NORMAN He blows into his hands , trying to get warm . Coughs through chattering teeth . He stumbles toward the airlock door .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SAME TIME</stage_direction> <scene_description>Beth ducks around the corner , spins the wheel of a corridor door and it opens . But WATER SURGES in , BLASTS the door Beth throws her body against the door , trying to close it , but the force of the water is too strong . She slips and falls . The water sweeps her down the hall . Then a huge wave sweeps toward her , carrying - BODY OF BARNES Beth finds himself in a macabre embrace with Barnes ' severed torso , Barnes ' face flush against her .</scene_description> <character>BETH</character> <dialogue>Aaaaaaaargh!</dialogue> </scene> <scene> <stage_direction>INT. DORMITORY - CLOSE ON HARRY - SAME TIME</stage_direction> <scene_description>He wakes up with a start .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - ANOTHER CORRIDOR - SAME TIME</stage_direction> <scene_description>Lights flicker in the hall . A DISTANT BEEP . BEEP . BEEP . ANGLE ON NORMAN Wading furiously through knee - deep water like a Marine storming a beachhead . CLOSE ON a limp hand knocking against the floor . It 's Beth . She 's rolled up in a ball on the floor and is in a stupor .</scene_description> <character>NORMAN</character> <dialogue>Beth. Beth. Beth.</dialogue> <scene_description>She looks up at him .</scene_description> <character>BETH</character> <dialogue>Norman? Are you real?</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>Are you real?</dialogue> <character>NORMAN</character> <dialogue>Real as the water that almost killed me. What are you doing?</dialogue> <character>BETH</character> <dialogue>Part of Barnes.</dialogue> <parenthetical>( she sobs . )</parenthetical> <dialogue /> <character>NORMAN</character> <dialogue>What? Part of Barnes?</dialogue> <character>BETH</character> <dialogue>Part of Barnes went by me in the water.</dialogue> <character>NORMAN</character> <dialogue>Where?</dialogue> <character>BETH</character> <dialogue>Right here.</dialogue> <character>NORMAN</character> <dialogue>Here?</dialogue> <character>BETH</character> <dialogue>Here.</dialogue> <character>NORMAN</character> <dialogue>There's no water here. It's dry and your clothes are dry. You must have manifested.</dialogue> <character>BETH</character> <dialogue>I do n't know what's real any more.</dialogue> <character>NORMAN</character> <dialogue>Elizabeth?</dialogue> <character>BETH</character> <dialogue>Huh?</dialogue> <character>NORMAN</character> <dialogue>You went into the Sphere, did n't you?</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - ANOTHER CORRIDOR - SAME TIME</stage_direction> <scene_description>WE SEE the figure of Harry making his way along the corridor .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - PREVIOUS CORRIDOR - SAME TIME</stage_direction> <scene_description>Beth gets up .</scene_description> <character>NORMAN</character> <dialogue>Beth. Beth. You want to answer me?</dialogue> <character>BETH</character> <dialogue>I do n't know what to think, Norman. I feel like I ca n't breathe.</dialogue> <scene_description>ANGLE ON HARRY watching them from a grating above them .</scene_description> <character>BETH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I ca n't breathe. I'm losing it, you know, and I'm trying. I'm trying to get it back.</dialogue> <character>HARRY</character> <dialogue>What's going on? Why did you put me out? Just what are you guys up to?</dialogue> <character>NORMAN</character> <dialogue>You went in the Sphere, Harry. So did Beth, so did I. I think.</dialogue> <character>HARRY</character> <dialogue>And if so, what?</dialogue> <character>NORMAN</character> <dialogue>Whatever the Sphere is, it makes what we feel, real.</dialogue> <character>HARRY</character> <dialogue>Meaning what?</dialogue> <character>NORMAN</character> <dialogue>It happens. What we're thinking, what we're feeling. happens. Like those three astronauts in the spacecraft, Beth, remember? We went in there. the guy, the astronaut in the chair, what did you say about his head?</dialogue> <character>BETH</character> <dialogue>He had blunt force trauma. He got hit in the head.</dialogue> <character>NORMAN</character> <dialogue>They went in the Sphere one by one, and they became more and more afraid of each other until they killed each other off, and we're doing the same thing.</dialogue> <character>BETH</character> <dialogue>I do n't want to kill you, Norman.</dialogue> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Your attention please. All construction personnel must exit the blast area immediately. PANTHER explosives are now activated. Mark thirteen minutes and counting.</dialogue> <character>HARRY</character> <dialogue>Does somebody want to tell me what that voice is?</dialogue> <character>BETH</character> <dialogue>They had explosives down here to blast through the coral, so when I went out before, I set up a defense perimeter around the door of the spaceship. You know, when I went to look for food, Harry. Something must've triggered it.</dialogue> <character>HARRY</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>Something from inside the Sphere.</dialogue> <character>HARRY</character> <dialogue>There's nothing in the Sphere, Beth. You know that. You've been inside it.</dialogue> <character>NORMAN</character> <dialogue>Then what?</dialogue> <character>HARRY</character> <dialogue>I do n't know.</dialogue> <character>NORMAN</character> <dialogue>Then who?</dialogue> <character>BETH</character> <dialogue>It's me.</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>Oh, God! I was just thinking about the explosives. they just flashed inside my mind, and it must have triggered them. I was thinking about wanting to die.</dialogue> <character>HARRY</character> <dialogue>You put explosives near the spacecraft?</dialogue> <character>BETH</character> <dialogue>Yes, I did, but they're about a hundred yards away.</dialogue> <character>HARRY</character> <dialogue>There's a lot of liquid hydrogen left on that spacecraft. If it explodes it'll disintegrate everything for ten miles.</dialogue> <character>NORMAN</character> <dialogue>What do we do?</dialogue> <character>HARRY</character> <dialogue>Mini - sub. Now!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - OUTSIDE B CYLINDER - SAME TIME</stage_direction> <scene_description>Norman , Harry and Beth hustle through the flooded corridor .</scene_description> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Your attention please. All construction personnel must exit the blast area inmediately.</dialogue> </scene> <scene> <stage_direction>INT. SUIT ROOM AND AIRLOCK ROOM - SAME TIME</stage_direction> <scene_description>They hurry into their suits . Harry signals and they all jump down into the pool .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN FLOOR - SAME TIME</stage_direction> <scene_description>Norman , Beth and Harry , in their suits now , run toward the minisub . The explosives arrayed by the spacecraft blink red in the distance .</scene_description> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Eight minutes and counting.</dialogue> </scene> <scene> <stage_direction>INT. SUB DOME HANGAR - SAME TIME</stage_direction> <scene_description>In a panic , Norman moves to climb up onto the sub and slips . The others help him . Clumsily , they climb up on the sub .</scene_description> </scene> <scene> <stage_direction>INT. MINISUB - SAME TIME</stage_direction> <scene_description>Harry drops dawn into the minisub as Norman hustles into the driver 's seat .</scene_description> <character>BETH</character> <dialogue>Okay, hit it! Come on, let's go!</dialogue> <character>NORMAN</character> <dialogue>Wait. wait. wait.</dialogue> <character>HARRY</character> <dialogue>Come on!</dialogue> <character>BETH</character> <dialogue>Norman, let's go.</dialogue> <character>NORMAN</character> <dialogue>Wait, wait. it's not like I drive subs, Beth, okay.</dialogue> <character>BETH</character> <dialogue>Well, you're driving one now, honey.</dialogue> <scene_description>ANGLE ON CONSOLE Buttons that read : ANGLE OF DESCENT . ANGLE OF ASCENT . SECURE . SHUTDOWN . BALLAST . THROTTLE .</scene_description> <character>NORMAN</character> <dialogue>Let's see. ` Shutdown'. ` Ballast'. ` Throttle.'</dialogue> <scene_description>As Norman runs his fingers over the console . Then stops . REVERSE ANGLE - NORMAN 'S FACEPLATE Reflected there , we see the monitors of the video room .</scene_description> <character>NORMAN</character> <dialogue>Oh, my God!</dialogue> </scene> <scene> <stage_direction>INT. HABITAT - VIDEO ROOM - WIDER</stage_direction> <scene_description>They 're back inside the video room .</scene_description> <character>BETH</character> <dialogue>What's going on?</dialogue> <character>NORMAN</character> <dialogue>I do n't know.</dialogue> <character>BETH</character> <dialogue>Why are we inside the spaceship?</dialogue> <character>NORMAN</character> <dialogue>I do n't know.</dialogue> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Seven minutes and counting.</dialogue> <character>HARRY</character> <dialogue>I do n't know either, guys but we do n't have time to figure it out. Let's get out of here.</dialogue> <scene_description>They run out of the video room . to the elevator and get inside .</scene_description> <character>NORMAN</character> <dialogue>It's not moving. Anybody hit the button? What the hell? Wait a minute, this was an elevator before, right?</dialogue> <character>BETH</character> <dialogue>Which one of us is doing this?</dialogue> <character>NORMAN</character> <dialogue>Oh, God!</dialogue> <scene_description>They get out of the elevator and run down a corridor .</scene_description> </scene> <scene> <stage_direction>INT. HABITAT - CORRIDOR - SAME TIME</stage_direction> <scene_description>Beth , Harry and Norman run down the corridor and come to a wall .</scene_description> <character>HARRY</character> <dialogue>It's a dead - end.</dialogue> <character>BETH</character> <dialogue>Where are we?</dialogue> <character>HARRY</character> <dialogue>It's an illusion.</dialogue> <character>BETH</character> <dialogue>It does n't look right, guys. Come on.</dialogue> <scene_description>She leads them down another corridor .</scene_description> <character>NORMAN</character> <dialogue>Beth, which way? Harry, where do we go?</dialogue> <character>HARRY</character> <dialogue>Where? Where's where, Norman? Around that corner - down this corridor - what's there, huh?</dialogue> <scene_description>THEIR POV ANOTHER NORMAN , HARRY AND BETH STAND AT THE END OF THE CORRIDOR</scene_description> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>Another blind alley in the maze of our minds. An illusion.</dialogue> <scene_description>BACK ON OUR TEAM As Norman , Harry and Beth stop .</scene_description> <character>BETH</character> <dialogue>He's right, Norman.</dialogue> <scene_description>REVERSE ANGLE - TEAM TWO</scene_description> <character>NORMAN</character> <parenthetical>( double . )</parenthetical> <dialogue>If he's right, we're dead.</dialogue> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Your attention please. All construction personnel must exit the blast area immediately.</dialogue> <scene_description>BACK ON OUR TEAM who are frantically looking for a way out .</scene_description> <character>HARRY</character> <dialogue>Just go on. Leave me. Leave me alone.</dialogue> <scene_description>BACK ON SECOND TEAM</scene_description> <character>NORMAN</character> <parenthetical>( double . )</parenthetical> <dialogue>Harry, no. no. It's not your time, Harry. Not your time.</dialogue> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Four minutes and counting.</dialogue> <character>BETH</character> <dialogue>What's the point, Norman?</dialogue> <scene_description>She shines her flashlight on the habitat floor .</scene_description> <character>BETH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Somebody's been here.</dialogue> <character>BETH</character> <parenthetical>( double . )</parenthetical> <dialogue>There's footprints, and they ai n't ours.</dialogue> <character>NORMAN</character> <parenthetical>( double . )</parenthetical> <dialogue>Look, I do n't know where we are, Beth and I do n't know where we're stuck in.</dialogue> <character>HARRY</character> <dialogue>Where we are, we are. stuck in the illusion that we can change the future. It's a dead - end, Norman.</dialogue> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>It's just like I said all along, we die down here.</dialogue> <character>NORMAN</character> <dialogue>I'm not going to die down here.</dialogue> <character>NORMAN</character> <parenthetical>( double . )</parenthetical> <dialogue>No. no, you're not going to die down here. Beth's not gon na die down here. I'm not gon na let you die, Harry.</dialogue> <scene_description>They run down another corridor .</scene_description> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>You have to push the button, Norman.</dialogue> <character>NORMAN</character> <dialogue>What button?</dialogue> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>The button. Push the button!</dialogue> <character>NORMAN</character> <dialogue>What button?</dialogue> <character>BETH</character> <parenthetical>( double . )</parenthetical> <dialogue>He does n't know.</dialogue> <character>HARRY</character> <dialogue>Button. the button, Norman.</dialogue> <character>NORMAN</character> <dialogue>I ca n't see the button. I ca n't see the button.</dialogue> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>See the button.</dialogue> <character>NORMAN</character> <dialogue>I ca n't see the button!</dialogue> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>See the button.</dialogue> <character>NORMAN</character> <dialogue>I do n't know what to do!</dialogue> <character>HARRY</character> <parenthetical>( double . )</parenthetical> <dialogue>Push the button. The button - push the button.</dialogue> <character>ALARM VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Two minutes and counting.</dialogue> </scene> <scene> <stage_direction>INT. SUB DOME HANGAR/INT. MINI-SUB - EXTREME TIGHT SHOT</stage_direction> <scene_description>OF RED BUTTON - SAME TIME as it lights up . ASCEND . WIDER - TEAM Inside the minisub now . They look at each other . Then a RUMBLE . Harry jumps in the driver 's seat - Beth and Norman jammed in next to him , as the minisub drops down out of its mooring . The WHIR of the ELECTRIC MOTORS STARTING .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>A high - pitched WHINE as the BALLAST TANKS FILL WITH AIR and the minisub noses sharply up , pulls away from the habitat .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN/INT. MINISUB - SAME TIME</stage_direction> <scene_description>Harry looks at his watch , steers the minisub while Beth straps herself into the shotgun seat with Norman squeezed in between the two of them .</scene_description> <character>BETH</character> <dialogue>Oh God. Thank God. We're out!</dialogue> <character>HARRY</character> <dialogue>Do n't celebrate yet.</dialogue> <character>NORMAN</character> <dialogue>Why not?</dialogue> <character>HARRY</character> <dialogue>I do n't think we're moving fast enough.</dialogue> <character>NORMAN</character> <dialogue>Fast enough for what?</dialogue> <character>HARRY</character> <dialogue>A blast underwater creates a suction. It'll pull us right back down there. If the shock wave does n't kill us first.</dialogue> <scene_description>Norman looks out the rear porthole . NORMAN 'S POV - THROUGH PORTHOLE The ring of explosive red cones with their little digital countdown timers flashing .</scene_description> </scene> <scene> <stage_direction>EXT. MINISUB - SAME TIME</stage_direction> <scene_description>As the minisub accelerates .</scene_description> </scene> <scene> <stage_direction>EXT. HABITAT - SAME TIME</stage_direction> <scene_description>The PANTHER explosives start to flash red as the countdown timers rattle down . Attention , please . You must exit the blast area immediately . This is the last warning you will receive . Thank you for using PANTHER brand , the first choice of blasting professionals , and have a nice day . INSERT - COUNTDOWN TIMER As it counts down from ten . nine . eight .</scene_description> </scene> <scene> <stage_direction>INT. MINISUB - SAME TIME</stage_direction> <scene_description>Harry runs full throttle . Looks at the depth gauge .</scene_description> <character>HARRY</character> <dialogue>Six hundred forty feet. six hundred thirty. six twenty. six hundred ten.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You a religious man, Norman?</dialogue> <character>NORMAN</character> <dialogue>I'm an atheist. But I'm flexible.</dialogue> <scene_description>INSERT - COUNTDOWN TIMER</scene_description> </scene> <scene> <stage_direction>INT. MINI-SUB</stage_direction> <scene_description>Inside the minisub . Five . four . three .</scene_description> </scene> <scene> <stage_direction>EXT. SPACECRAFT - SAME TIME</stage_direction> <scene_description>As the countdown timer goes to zero and the EXPLOSIVES DETONATE . A giant underwater FIREBALL .</scene_description> </scene> <scene> <stage_direction>INT. MINISUB - SAME TIME</stage_direction> <scene_description>They all hold on for dear life as the BLAST spins the minisub like a toy , upends it . A blinding , blistering , white - hot fireball races directly toward the windshield . They all scream .</scene_description> <character>NORMAN</character> <dialogue>Hold on! Hold on! Hold on! Hold on!</dialogue> <character>HARRY</character> <dialogue>Oh, my God, we got turned around. We're going into the blast. This is the wrong way! We're piling into it! Come on Norman, come on!</dialogue> <scene_description>And the screen goes WHITE .</scene_description> </scene> <scene> <stage_direction>INT. SHIP'S DECOMPRESSION ROOM - LATER</stage_direction> <scene_description>A bright white room . ANGLE ON NORMAN As he wakes up in his bunk . Looks over . Sees Harry snoozing in his bunk . Beth looks out the porthole , then turns . She and Norman exchange a look . She sits on the edge of his bunk .</scene_description> <character>NORMAN</character> <dialogue>What's going on?</dialogue> <character>BETH</character> <dialogue>More of nothing.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I want to thank you for saving my life.</dialogue> <character>NORMAN</character> <dialogue>An interesting life to save.</dialogue> <scene_description>She squeezes his hand . Kisses him on the cheek .</scene_description> <character>BETH</character> <dialogue>Get some more sleep.</dialogue> <scene_description>He watches her as she heads back to the porthole to look out at the ocean . Then he rolls over , goes back to sleep .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP'S DECOMPRESSION CHAMBER - SAME TIME</stage_direction> <scene_description>TWO CREWMEN peer inside through one - way glass .</scene_description> <character>CREWMAN #1</character> <dialogue>Which one is Jerry?</dialogue> <character>CREWMAN #2</character> <dialogue>That's our problem, we really do n't know.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP'S DECOMPRESSION CHAMBER - LATER</stage_direction> <scene_description>Norman , Beth and Harry sit at a card table . A long beat - an unspoken question hangs in the air . Then Beth breaks the ice .</scene_description> <character>BETH</character> <dialogue>So, what are we going to tell them?</dialogue> <character>HARRY</character> <dialogue>We ca n't tell them that we found an alien sphere on an American spacecraft from our own future, and we definitely ca n't tell them we discovered the power to manifest, just by imagining, killer jellyfish, a giant squid, sea snakes -</dialogue> <character>BETH</character> <dialogue>No. They're definitely not ready for that.</dialogue> <character>HARRY</character> <dialogue>The greatest discovery in the history of mankind, and we destroyed it. And it's better that we did. What if it fell into the wrong hands?</dialogue> <character>NORMAN</character> <dialogue>We were the wrong hands. That's the scary part, is n't it? All three of us, relatively enlightened, ethical, educated. We think of ourselves as good people. But when The Sphere gave us this power, what did we do with it?</dialogue> <character>BETH</character> <dialogue>We freaked out.</dialogue> <character>NORMAN</character> <dialogue>Yes. We were given the greatest gift in the history of mankind. We were given this magic ball and it says : `` Imagine what you will and you can have it'', and we're so primitive, we have so many fears that we carry with us, that we manifest the worst in us rather than the best in us. and that ai n't gon na change.</dialogue> <character>BETH</character> <dialogue>Maybe we still have it.</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>BETH</character> <dialogue>The power.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Maybe we still have the power to manifest what we will.</dialogue> <character>NORMAN</character> <dialogue>If we do still have the power.</dialogue> <parenthetical>( off her look . )</parenthetical> <dialogue>Then we have the power to forget. To manifest a world in which we do n't have the power.</dialogue> <scene_description>They look at each other .</scene_description> <character>HARRY</character> <dialogue>I say we do that. On a count of three.</dialogue> <scene_description>They all hold hands . Close their eyes .</scene_description> <character>NORMAN</character> <dialogue>One. two. three.</dialogue> <scene_description>Then all open their eyes .</scene_description> <character>HARRY</character> <dialogue>Three what?</dialogue> <character>NORMAN</character> <dialogue>What?</dialogue> <character>HARRY</character> <dialogue>You said three?</dialogue> <character>NORMAN</character> <parenthetical>( blankly . )</parenthetical> <dialogue>Three? Why are you holding my hand?</dialogue> <scene_description>They all laugh .</scene_description> </scene> <scene> <stage_direction>INT. SHIP - DEBRIEFING ROOM - LATER</stage_direction> <scene_description>One by one , Beth , Harry and Norman respond to questions - all against a WHITE BACKGROUND . They seem confused .</scene_description> <character>NORMAN</character> <dialogue>What do you mean? What happened to the Habitat?</dialogue> <character>HARRY</character> <dialogue>Wait. wait. something happened to the Habitat?</dialogue> <character>BETH</character> <dialogue>The Habitat exploded?</dialogue> <character>NORMAN</character> <dialogue>A sphere?</dialogue> <character>BETH</character> <dialogue>Like a circle?</dialogue> <character>HARRY</character> <dialogue>Sphere?</dialogue> <character>BETH</character> <dialogue>Sphere?</dialogue> <character>HARRY</character> <dialogue>No.</dialogue> <character>BETH</character> <dialogue>Barnes?</dialogue> <character>NORMAN</character> <dialogue>Barnes?</dialogue> <character>HARRY</character> <dialogue>Major Barnes?</dialogue> <character>BETH</character> <dialogue>Edmunds and Fletcher?</dialogue> <character>NORMAN</character> <dialogue>I have n't seen Edmunds and Fletcher since we were brought back up.</dialogue> <character>HARRY</character> <dialogue>Something happened to them?</dialogue> <character>BETH</character> <dialogue>Maybe the women. Edmunds and Fletcher are the women.</dialogue> <character>NORMAN</character> <dialogue>Ted? Where is he?</dialogue> <character>HARRY</character> <dialogue>I just assumed he had stayed wth Mr. Barnes.</dialogue> <character>BETH</character> <dialogue>Ted Fielding?</dialogue> <character>NORMAN</character> <dialogue>I would think you could tell me.</dialogue> <character>HARRY</character> <dialogue>He had to go out there and change the tapes.</dialogue> <character>NORMAN</character> <dialogue>The tapes are blank? What do you mean the tapes are blank?</dialogue> <character>BETH</character> <dialogue>The tapes are blank?</dialogue> <character>NORMAN</character> <dialogue>Now why do n't you tell us, but you're not telling us.</dialogue> </scene> <scene> <stage_direction>EXT. HELIPAD - DAY</stage_direction> <scene_description>Norman runs to a waiting helicopter , his hair whipped around by the backwash of the WHIRRING ROTORS . He climbs into . HELICOPTER The PILOT we saw earlier turns to Norman .</scene_description> <character>PILOT</character> <dialogue>So how'd it go, Doc?</dialogue> <scene_description>Norman looks at him , confused .</scene_description> <character>NORMAN</character> <parenthetical>( blankly . )</parenthetical> <dialogue>What?</dialogue> <character>PILOT</character> <dialogue>You know, what they brought you in for.</dialogue> <character>NORMAN</character> <dialogue>I do n't know.</dialogue> <character>PILOT</character> <dialogue>Oh, I get it. classified, big secret, huh?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Hang on. Here we go.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SAME TIME</stage_direction> <scene_description>Beth emerges on the bridge . Watches as Norman 's helicopter takes off . CLOSE ON BETH Thinking . As if she harbors some secret . We FOLLOW her gaze out TO the horizon and OVER the ocean . Then we DIVE DOWN INTO the water . The debris gets thicker as we GO DEEPER . The water gets murkier . Till it clears and we see . The Sphere . FREEZE FRAME . FADE OUT . THE END</scene_description> </scene> </script>

An alien spacecraft is discovered on the floor of the Pacific Ocean, estimated to have been there for nearly 300 years. A team of experts, including marine biologist Dr. Beth Halperin (Stone), mathematician Dr. Harry Adams (Jackson), astrophysicist Dr. Ted Fielding (Schreiber), psychologist Dr. Norman Goodman (Hoffman), and U.S. Navy Capt. Harold Barnes (Coyote), are assembled and taken to the Habitat, a state-of-the-art living environment located near the spacecraft. Upon examination of the spacecraft, they determine that it is not alien at all, but rather American in origin. However, its technology far surpasses any in the present day. The ship's computer logs cryptically suggest a mission that originated either in the distant past or future, but the team manages to deduce that the long dead crew were tasked with collecting an item of scientific importance. Goodman and Halperin discover the ship's logs, which show the ship encountering an "unknown event" (thought to be a black hole) that sends the vessel back in time. Goodman and the others eventually stumble upon a large, perfect sphere hovering a few feet above the floor in the ship's cargo bay. They cannot find any way to probe the inside of the sphere, and the fluidic surface is impenetrable; the crew attaches importance to the fact that the sphere reflects its surroundings but not the humans. They return to the Habitat, and Harry comes to believe that everyone on this team is fated to die. His rationale is that the black hole is referred to as an "unknown event" in the logs, but due to time travel they have foreknowledge of the entire mission. During the night, Harry returns to the spacecraft, is able to enter the sphere, and then returns to the Habitat. The next day, the crew discovers a series of numeric-encoded messages appearing on the computer screens; the crew is able to decipher them and comes to believe they are speaking to "Jerry", an alien intelligence from the sphere. They find Jerry is able to see and hear everything that happens on the Habitat. A powerful typhoon strikes the surface, and the Habitat crew is forced to stay in the Habitat several more days. During that time, a series of tragedies strikes the crew, including attacks from aggressive jellyfish and a giant squid, and equipment failures in the base, which kill Ted and the team's support staff. The survivors, Beth, Harry, and Norman, believe Jerry is responsible. While waiting for rescue, the three realize that the hazards are manifestations of their own fears: all of them have entered the sphere, which has given them the ability to make their imagination real. Norman discovers that they had misinterpreted the initial messages from Jerry, and that the entity speaking to them through the computers is actually Harry himself, transmitted while he is asleep. Under the stress of the situation, Beth has suicidal thoughts which causes the detonation mechanisms on a store of explosives to engage, threatening to destroy the base and the spacecraft. They race to the Habitat's mini-sub, but their combined fears cause them to re-appear back in the spacecraft. As a psychologist, Norman is able to see through the illusion. He triggers the mini-sub's undocking process and overrides the others' fears that they will not escape the destruction of the Habitat and spacecraft. The sphere is untouched by the explosions. The mini-sub makes it to the surface as the surface ships return. As Beth, Harry, and Norman begin safe decompression, they realize that they will be debriefed and their newfound powers discovered. They agree to erase their memories of the event using their powers; this assures that the "unknown event" paradox is resolved. The sphere rises from the ocean and then accelerates off into space.

The Descendants_2011

tt1033575

<script> <scene> <stage_direction>EXT. THE OCEAN - DAY</stage_direction> <scene_description>CLOSE ON a beautiful 40 - YEAR - OLD WOMAN at the helm of a powerful SPEEDBOAT - her hair tossed back by the wind , her mouth in a euphoric grin . FADE OUT . CREDITS - ARCHIVAL FOOTAGE</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>My missionary ancestors came to the islands and told the Hawaiians to put on clothes, work hard, believe in Christ, and stop surfing and hula dancing. They made business deals along the way - buying an island, or marrying a princess and inheriting her land. Now their descendants wear bikinis and running shorts, play beach volleyball and surf, and take up hula dancing. Hawai'i has always been a place of contradiction.</dialogue> </scene> <scene> <stage_direction>EXT. HONOLULU - DAY</stage_direction> <scene_description>VARIOUS SHOTS of Honolulu begin a pattern of montages to be interspersed throughout the film .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>My friends on the mainland think just because I live in Hawai'i, I live in paradise. Like a permanent vacation - we're all just out here drinking mai - tais, shaking our hips, and catching waves. Are they nuts? How can they possibly think our families are less screwed up, our heart attacks and cancers less fatal, our grief less devastating? Hell, I have n't been on a surfboard in fifteen years.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>We ZOOM BACK from a panorama of Honolulu to find 50 - year - old MATT KING seated amid DOCUMENTS atop a makeshift desk - he has brought his work with him .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>For the last 23 days, I've been living in a `` paradise'' of IVs and urine bags and endotracheal tubes and six - month - old US magazines. Paradise. Paradise can go fuck itself.</dialogue> <scene_description>Matt looks up at the WOMAN we saw in the speedboat , now lying stiffly on an upright HOSPITAL BED , her head cocked to one side , a feeding tube in her nose , a ventilator in her trachea , IVs in her arm .</scene_description> <character>MATT</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>This is Elizabeth King, my wife. Twenty - three days ago she was launched from a powerboat during a race and hit her head, almost drowned. Now she's in a coma that scores 5 on the Glasgow scale and 3 on the Rancho Los Amigos scale, scores showing an extremely severe coma. Liz is very competitive. Whatever she does, she does to the fullest.</dialogue> </scene> <scene> <stage_direction>INT. NEUROLOGIST'S OFFICE - DAY</stage_direction> <scene_description>Matt is getting the current DIAGNOSIS .</scene_description> <character>NEUROLOGIST</character> <dialogue>She reacts non - purposefully to stimuli in a non - specific manner, but occasionally her responses are specific, though inconsistent. Her reflexes are primitive and often the same, regardless of stimuli presented.</dialogue> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It was exactly what Elizabeth used to accuse me of.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>Matt continues to observe her .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Twenty - three days in a coma, and any day now the doctors will give me their final verdict if she's going to come out of it or not. Then I have a decision to make. Wait, that's wrong. Liz has a living will. Like always, she makes her own decisions. But I know she's going to pull through.</dialogue> <scene_description>His CELLPHONE RINGS .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hi, Noe, what's up?</dialogue> <character>NOE</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Matt, you have a call from Scottie's teacher. She says it's urgent.</dialogue> <character>MATT</character> <dialogue>Yeah, sure. Put her on.</dialogue> </scene> <scene> <stage_direction>INT. ELEMENTARY SCHOOL CLASSROOM - DAY</stage_direction> <scene_description>A SCRAPBOOK shows PHOTOS OF ELIZABETH lying in her hospital bed . The compositions are odd , the ANGLES uncomfortably CLOSE . WIDE - Matt confers with fifth - grade teacher MS. Hayashi and school counselor MRS. THULL .</scene_description> <character>MS. HAYASHI</character> <dialogue>We just do n't think these photographs are appropriate for Scottie to be sharing with her classmates. Some of them went home quite disturbed, and we got some angry calls from parents.</dialogue> <character>MATT</character> <dialogue>Yeah, she's sort of been going to town with the whole picture - taking thing, but I had no idea -</dialogue> <character>MS. HAYASHI</character> <dialogue>I ca n't tell you how my heart goes out to you and your family, but Scottie just has n't been herself. Principal Cruz agrees with us that it maybe would be better for Scottie to remain at home with you during this difficult time.</dialogue> <character>MATT</character> <dialogue>Home. See, I would think that sticking to her normal routine would be the best thing for her - you know, keep her occupied. I would n't really know how to. I mean, I've kind of got my hands full. And her sister's away at school on the Big Island. I do n't think Scottie would really want to hang out with me when she could be with her friends and people like you who specialize in children.</dialogue> <character>MRS. THULL</character> <dialogue>Mr. King, we see this every day - children acting out at school when something's wrong at home. And your family is facing a devastating crisis. Have you been engaging Scottie in really talking about what's going on? Encouraging her to express her feelings? That's crucial.</dialogue> <character>MATT</character> <parenthetical>( No . )</parenthetical> <dialogue>Oh, yeah. Yeah. Absolutely.</dialogue> <character>SCOTTIE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( singing . )</parenthetical> <dialogue>This shit is bananas. B - a - n - a - n - a - s. This shit is bananas.</dialogue> <scene_description>They look over to see - TEN - YEAR - OLD SCOTTIE KING - EARBUDS in place and in her own world , DANCING just outside the classroom door . A JANITOR down the hall eyes her suspiciously .</scene_description> <character>SCOTTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This shit is bananas. B - a - n - a - n - a - s!</dialogue> <scene_description>Matt stares aghast at this specimen called his daughter . The ladies glance between Scottie and Matt , wondering when , or whether , he 'll intervene . Finally -</scene_description> <character>MS. HAYASHI</character> <dialogue>Scottie, that is not a good choice! Are you making a good choice?</dialogue> <scene_description>Scottie remains oblivious . Ms. Hayashi rises to her feet .</scene_description> <character>MATT</character> <parenthetical>( realizing . )</parenthetical> <dialogue>Yeah, Scottie, come on. Knock it off.</dialogue> </scene> <scene> <stage_direction>EXT. ELEMENTARY SCHOOL - DAY</stage_direction> <scene_description>Matt leads Scottie to the car .</scene_description> <character>MATT</character> <dialogue>What's the matter with you? Showing those pictures of Mom for your art project?</dialogue> <character>SCOTTIE</character> <dialogue>I'm a photographer, Dad, a real photographer.</dialogue> <character>MATT</character> <dialogue>No, you're not. You're overdoing it is what you're doing.</dialogue> <character>SCOTTIE</character> <dialogue>I saw it in a book. Some famous photographer lady took pictures of her mom in the hospital while she was dying, and they're considered art. That's what I'm doing.</dialogue> <character>MATT</character> <dialogue>First of all, your mother's very sick, but she's not dying. Second, you do n't share personal stuff like that with strangers. What's going on with Mom is private.</dialogue> <character>SCOTTIE</character> <dialogue>I'm hungry. Can we get burgers?</dialogue> <character>MATT</character> <dialogue>No.</dialogue> <character>SCOTTIE</character> <dialogue>Can we get smoothies?</dialogue> <character>MATT</character> <dialogue>No.</dialogue> <scene_description>As Scottie continues -</scene_description> <character>MATT</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>The last time I took care of Scottie by myself was when she was one. Now she's ten, and I have no idea what goes on inside her head. She's insane. And with Elizabeth in the hospital, I think she's testing me. I'm the backup parent. The understudy.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>FLASH ! Scottie takes Elizabeth 's picture again .</scene_description> <character>MATT</character> <dialogue>I wish you'd stop doing that. And rather than taking her picture all the time, you should talk to her. I'm tired of asking you. You heard Dr. Johnston - people in a coma can hear you - you know, well, some of them can. It lets them know they're still loved, might even help them wake up sooner. And it'll help you express whatever feelings and emotions you're supposed to be going through - you know, make you feel better.</dialogue> <character>SCOTTIE</character> <dialogue>I do n't know what to say.</dialogue> <character>MATT</character> <dialogue>Tell her a story.</dialogue> <character>SCOTTIE</character> <dialogue>I do n't have a story.</dialogue> <character>MATT</character> <dialogue>Tell her anything. Tell her what's been going on in school.</dialogue> <character>SCOTTIE</character> <dialogue>She never cares about that.</dialogue> <character>MATT</character> <dialogue>I do n't believe that. What about after school? She's always driving you around the island. You know, gymnastics? Soccer?</dialogue> <character>SCOTTIE</character> <dialogue>I do n't do those things anymore.</dialogue> <character>MATT</character> <dialogue>Ballet? Piano? Hula?</dialogue> <character>SCOTTIE</character> <dialogue>Nope.</dialogue> <character>MATT</character> <dialogue>If you're not going to say anything to your mother, we might as well leave.</dialogue> <character>SCOTTIE</character> <dialogue>Okay. Let's go.</dialogue> <character>MATT</character> <dialogue>How about this? Write her a letter.</dialogue> <character>SCOTTIE</character> <dialogue>What would I write?</dialogue> <character>MATT</character> <dialogue>I do n't know. `` Get well. Wake up. I love you. Do n't leave me alone with my idiot Dad.''</dialogue> <character>SCOTTIE</character> <dialogue>How's she going to read it? She's in a coma.</dialogue> <character>MATT</character> <dialogue>Goddammit, Scottie, stop fighting me on everything.</dialogue> <character>SCOTTIE</character> <dialogue>But it does n't make any sense.</dialogue> <character>MATT</character> <dialogue>You know what your mother is hearing right now? You refusing to talk to her. Is that what you want?</dialogue> <character>SCOTTIE</character> <dialogue>I'm starving. And I'm thirsty. I want a soda.</dialogue> <scene_description>He takes Scottie by the hand and sits her down in a chair next to the bed .</scene_description> <character>MATT</character> <dialogue>We're not leaving until you talk to her. I'll even give you privacy. Recite her the alphabet for all I care. What do you want to drink?</dialogue> <character>SCOTTIE</character> <dialogue>Sprite.</dialogue> <character>MATT</character> <dialogue>OK, Sprite. Diet Sprite?</dialogue> <character>SCOTTIE</character> <dialogue>Not diet. Regular. Do you think I'm fat?</dialogue> <character>MATT</character> <dialogue>No, you're not fat.</dialogue> <character>SCOTTIE</character> <dialogue>I'm not the model.</dialogue> <character>MATT</character> <dialogue>It's just that all that sugar makes you cranky.</dialogue> <character>SCOTTIE</character> <dialogue>I'm not cranky!</dialogue> <character>MATT</character> <dialogue>Okay. I'll be right back. Talk.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - DAY</stage_direction> <scene_description>As Matt steps out into the hallway , he passes NURSE JOY .</scene_description> <character>NURSE JOY</character> <dialogue>Mr. King, how are you?</dialogue> <character>MATT</character> <dialogue>Fine, Joy, fine. And you?</dialogue> <character>NURSE JOY</character> <dialogue>I see your picture in the paper today. Have you made your decision yet?</dialogue> <character>MATT</character> <dialogue>My decision?</dialogue> <character>NURSE JOY</character> <dialogue>Your family. About your big land.</dialogue> <scene_description>The other NURSE nudges Joy to be more polite .</scene_description> <character>NURSE JOY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What? Me and Mr. King, we're like this.</dialogue> <character>MATT</character> <dialogue>Well, it's not really my decision. It's my whole family's decision. And furthermore.</dialogue> <parenthetical>( mock scolding . )</parenthetical> <dialogue>. mind your own business, young lady.</dialogue> <scene_description>As he turns away to continue down the hall -</scene_description> <character>MATT</character> <parenthetical>( V.O ; CONT 'D . )</parenthetical> <dialogue>The whole goddamned state is following my decision on who's going to buy 35,000 acres on Kaua'i my family has owned since the 1860s. My cousins and I meet in six days to approve a buyer. Ever since my father died nine years ago, I'm the sole trustee, the controlling trustee, so I hold all the cards. Why does so much have to depend on me - my wife, my daughters, my family's land? I just want to hide.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL GIFT SHOP - DAY</stage_direction> <scene_description>A POSTCARD shows a BEAUTIFUL YOUNG GIRL in a bikini straddling a surfboard , laughing as she 's splashed . Barely containing his rage , Matt stares at postcard before grabbing ALL THE POSTCARDS in that rack . AT THE COUNTER - About to pay for the postcards and two SODAS , Matt notices a HEADLINE atop a stack of NEWSPAPERS : `` Activists Continue Protest of Kaua'i Sale . ''</scene_description> <character>SHOPKEEPER</character> <dialogue>Hey, they all the same cards. You like buy all the same cards?</dialogue> <character>MATT</character> <dialogue>These are inappropriate for a hospital gift shop. This girl is underage. Why do you sell postcards like this? This is a hospital. These are n't get - well cards.</dialogue> <scene_description>The SHOPKEEPER blinks at the man weirdly accosting her .</scene_description> <character>SHOPKEEPER</character> <dialogue>You like buy all the cards? Or you want I put them back?</dialogue> <character>MATT</character> <parenthetical>( pulling out his wallet . )</parenthetical> <dialogue>Never mind. Yes, I'm buying them. And these two sodas.</dialogue> <scene_description>As she rings him up -</scene_description> <character>SHOPKEEPER</character> <dialogue>Okay, you buy underage girl all for yourself.</dialogue> <scene_description>In the lobby just outside the store , he drops the stack of postcards into the GARBAGE .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL STAIRWAY - DAY</stage_direction> <scene_description>Forgoing the elevator - perhaps to squeeze in a little exercise - Matt trudges upstairs .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Elizabeth's going to make it out okay. I know it. It's not her time yet. She'll wake up, Scottie and Alexandra will have their mother back, and we'll talk about our marriage. I'll sell the land and quit my practice and buy her whatever she wants - a big boat, a house in France, a trip around the world, just the two of us. We'll get close again, like the early days. It's still in us. It must be.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - DAY</stage_direction> <scene_description>Approaching the door , Matt hears LAUGHTER from inside .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - CONTINUOUS</stage_direction> <scene_description>Matt enters to find Scottie on a sofa in the corner GIGGLING and TEXTING .</scene_description> <character>MATT</character> <dialogue>Scottie, what are you doing?</dialogue> <character>SCOTTIE</character> <dialogue>I'm hungry. Can we go?</dialogue> <character>MATT</character> <dialogue>You did n't talk to her, did you?</dialogue> <character>SCOTTIE</character> <dialogue>Yes, I did.</dialogue> <character>MATT</character> <dialogue>What did you tell her?</dialogue> <character>SCOTTIE</character> <dialogue>It's private.</dialogue> <character>MATT</character> <dialogue>You're lying. And Jesus Christ, enough with the goddamn texting! Give me that phone! Give it here!</dialogue> <scene_description>Scottie fights him as he snatches her phone away .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jesus, Scottie. Okay, you win. Let's go.</dialogue> <scene_description>Scottie springs up out of the sofa .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>At least say goodbye.</dialogue> <character>SCOTTIE</character> <dialogue>Bye, Mom!</dialogue> <scene_description>Scottie bolts out the door . Matt takes a last look at Liz , panic and sadness rippling across his face .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>My wife - the sportswoman, the model, the drinker.</dialogue> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Would you please wake up already? I need you. I ca n't do this alone.</dialogue> </scene> <scene> <stage_direction>EXT. BRIEF MONTAGE - DAY</stage_direction> <scene_description>Images lead us up the PALI HIGHWAY and into the lush old neighborhood of NU'UANU .</scene_description> </scene> <scene> <stage_direction>EXT. KING HOUSE - DAY</stage_direction> <scene_description>This STATELY OLD HOUSE shows signs of neglect but feels impressive and welcoming nonetheless .</scene_description> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Is this Barb Higgins?</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes, it is.</dialogue> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hi, Matt King returning your call. I assume your daughter is a classmate of my daughter's.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes, Lani is a classmate of Scottie's, yes.</dialogue> </scene> <scene> <stage_direction>INT. KING HOUSE - DAY</stage_direction> <scene_description>As Matt speaks on the PHONE , he wanders out of his cluttered HOME OFFICE and into the DINING ROOM .</scene_description> <character>MATT</character> <dialogue>How can I help you?</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Let's see, where to start? It's Scottie. She's been texting some awful things to Lani, and I'd like her to stop.</dialogue> <character>MATT</character> <dialogue>For instance.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Here's the latest one. `` We all know you grew pubes over the summer.'' She sends little messages like that for no reason. She even wrote it on Lani's Facebook wall.</dialogue> <character>MATT</character> <dialogue>Huh.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>She calls my daughter Lanikai, implying she's like the size of an entire neighborhood. Do you think that's nice?</dialogue> <character>MATT</character> <dialogue>That's not like her at all. She's usually very sweet.</dialogue> <scene_description>He glances out the window at Scottie , who sits on the ground , back turned , POUNDING something with a BIG ROCK .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>As you may know, her mother is n't well, and maybe this is how she's dealing with it.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't care about the backstory, Mr. King. My daughter comes home from school in tears.</dialogue> <character>MATT</character> <dialogue>Yeah, no, I get it. I'm very sorry.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Scottie should be the one who's sorry. I want her to come over and apologize to Lani, and I do n't ever want her to write to my daughter again.</dialogue> <character>LANI</character> <parenthetical>( DISTANT O.S . )</parenthetical> <dialogue>She can in a good way.</dialogue> <character>BARB HIGGINS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>If she does n't apologize, I'm going to tell the headmaster. You ca n't buy your way out of this.</dialogue> <scene_description>Matt draws a long exasperated breath , as if everything else were n't enough already .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>See what I mean? Everybody sees me as the rich guy, the inheritor. People resent us. I resent us. Even our last name - King. How irritating.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S CAR - DAY</stage_direction> <scene_description>Matt drives Scottie .</scene_description> <character>MATT</character> <dialogue>You need to say you're sorry, and you need to mean it. No dicking around. I have a ton of work to do tonight. Do you have any idea how behind I am? You made her cry. Why would you want to be so mean to someone?</dialogue> <character>SCOTTIE</character> <parenthetical>( irritated . )</parenthetical> <dialogue>I do n't know!</dialogue> <character>MATT</character> <dialogue>Is that what you text all the time, nasty things?</dialogue> <character>SCOTTIE</character> <dialogue>No.</dialogue> <character>MATT</character> <dialogue>Well, what then?</dialogue> <character>SCOTTIE</character> <dialogue>I write them with Reina. They make her laugh, and then she shows Megan and Brooke, and they laugh too.</dialogue> <character>MATT</character> <dialogue>I should have known Reina had something to do with it. I do n't want you hanging out with her.</dialogue> <character>SCOTTIE</character> <dialogue>Wait, I told Reina she could visit me in the hospital since I'm not in school anymore. Can she?</dialogue> <character>MATT</character> <dialogue>We'll make a deal. You apologize to this girl, and you talk to your mother, and then we'll see about Reina dropping by the hospital. Okay?</dialogue> <scene_description>Something outside the window catches Scottie 's attention .</scene_description> <character>SCOTTIE</character> <dialogue>Dorks!</dialogue> <scene_description>Matt looks to see - SIX FAMILY MEMBERS , walking on the sidewalk with KAYAKS , wearing T - SHIRTS reading `` Melnick Family Reunion . ''</scene_description> <character>SCOTTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dorks!</dialogue> <character>MATT</character> <dialogue>Scottie, knock it off!</dialogue> <scene_description>Scottie sits back in her seat , laughing . Matt glances in his rearview mirror to see a TEENAGE SON taking off his T - shirt and throwing it to the ground .</scene_description> </scene> <scene> <stage_direction>EXT. LANI'S HOUSE - KAIMUKI - LATE AFTERNOON</stage_direction> <scene_description>The car drives down a block of MODEST HOMES .</scene_description> <character>SCOTTIE</character> <dialogue>Her house is down there on the corner.</dialogue> <character>MATT</character> <dialogue>You've been here before?</dialogue> <character>SCOTTIE</character> <dialogue>Yea - uh. She invites me to her birthday, like, every year.</dialogue> <character>MATT</character> <dialogue>So you guys are actually friends?</dialogue> <character>SCOTTIE</character> <dialogue>Until last year's party, when she locked me out of the house and I had to sit outside all day while everybody was inside. She thought she was so great, but then I became friends with Reina and Brooke and got popular.</dialogue> <character>MATT</character> <parenthetical>( processing . )</parenthetical> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>EXT. LANI'S FRONT PORCH - LATE AFTERNOON</stage_direction> <scene_description>BARB HIGGINS answers the door .</scene_description> <character>BARB HIGGINS</character> <dialogue>Thank you for coming by.</dialogue> </scene> <scene> <stage_direction>INT. LANI'S HOUSE - CONTINUOUS</stage_direction> <scene_description>As Matt and Scottie are shown inside , they remove their shoes .</scene_description> <character>BARB HIGGINS</character> <dialogue>I forgot to mention the time Scottie said she did n't want to be Lani's partner at the rock wall because she did n't want to fall into my daughter's butt crack. That does n't even make sense.</dialogue> <scene_description>Barb now leads them into - THE TV ROOM - - where LANI HIGGINS sits on a couch . Matt is impatient to be done with this meaningless task .</scene_description> <character>MATT</character> <dialogue>Scottie, do you have something you want to say to Lani?</dialogue> <character>SCOTTIE</character> <dialogue>Sorry.</dialogue> <character>LANI</character> <dialogue>It's okay.</dialogue> <character>MATT</character> <dialogue>Great. Well, nice meeting you both. Lani, you should come over sometime. Come for a swim or a hike or something.</dialogue> <character>BARB HIGGINS</character> <dialogue>Scottie, the things you said were simply evil. Do you realize that? I do n't know what's led you to be such a nasty young lady.</dialogue> <character>MATT</character> <dialogue>Hey, hey. We came over. She apologized. We're dealing with it. Kids are mean sometimes. They grow out of it. It's a kid thing. Here, Scottie, you're going to stop, right? And you're really, really sorry, right?</dialogue> <scene_description>Scottie makes a big exaggerated nod .</scene_description> <character>BARB HIGGINS</character> <dialogue>I do n't think she's sorry at all. She's going to keep doing it. I can tell.</dialogue> <character>MATT</character> <dialogue>No, she wo n't. It's like the time Lani locked Scottie out of the house at her birthday party and Scottie sat outside by herself. It was a mean thing to do, but Lani here probably did it just to show off, right?</dialogue> <scene_description>Lani thinks a moment , nods .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But I'm not about to declare that one action defines a human being's entire character. She's a work in progress, and like all complex people is a bundle of contradictions.</dialogue> <character>BARB HIGGINS</character> <dialogue>I did n't know about that.</dialogue> <character>SCOTTIE</character> <dialogue>You brought me cake.</dialogue> <character>MATT</character> <dialogue>You brought her cake. So, I do n't know, maybe Lani should be the one to apologize, since this incident may have been the catalyst for all this. `` evil'' was the word you used.</dialogue> </scene> <scene> <stage_direction>EXT. LANI'S HOUSE - DUSK</stage_direction> <scene_description>The door opens , and Matt and Scottie pause to slip their shoes back on .</scene_description> <character>BARB HIGGINS</character> <dialogue>Oh, and Mr. King?</dialogue> <character>MATT</character> <dialogue>Yes?</dialogue> <character>BARB HIGGINS</character> <dialogue>Good luck with the sale.</dialogue> <scene_description>Matt turns to look at her . So that 's what all this was about on some level ?</scene_description> <character>BARB HIGGINS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They say your decision will have a major impact on Hawai'i's real estate world, not to mention the whole landscape of Kaua'i. Hundreds of millions of dollars, yeah?</dialogue> <character>MATT</character> <dialogue>Big decision.</dialogue> <character>BARB HIGGINS</character> <dialogue>My husband's family is from Kaua'i. Hanapepe, born and bred. They hope you do n't sell.</dialogue> <character>MATT</character> <dialogue>You do n't say.</dialogue> <character>BARB HIGGINS</character> <dialogue>All the traffic it's going to make.</dialogue> <scene_description>Matt and Scottie walk away . Barb closes the door .</scene_description> <character>MATT</character> <dialogue>Are you going to act different with Lani?</dialogue> <character>SCOTTIE</character> <dialogue>I'll try, but it's hard. She has a face you just want to hit.</dialogue> <character>MATT</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S STUDY - NIGHT</stage_direction> <scene_description>The camera makes its way past PHOTOS of Matt 's ancestors , BOOKS of Hawaiian history , other family memorabilia to find Matt at his desk pouring over PAPERS . A clock reads 1:20 .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>My great - great - grandmother was Princess Margaret Ke'alohilani, one of the last direct descendants of King Kamehameha. She was originally supposed to marry her hanai brother, but she fell in love with her haole banker and estate manager, Edward King, whose parents were missionaries. Between his land deals and her huge inheritance, all of their descendants for generations have watched the past unfurl millions into our laps through leases and sales. Now the Rule Against Perpetuities is forcing us to dissolve the trust, and we're selling the last parcel of undeveloped land.</dialogue> <scene_description>Matt looks up , his glance falling on the portraits of Edward and Margaret .</scene_description> <character>MATT</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Soon my daughters and I can just be normal citizens like everybody else, and these dead people will stop controlling our lives.</dialogue> <scene_description>VERY CLOSE ON MATT -</scene_description> <character>MATT</character> <parenthetical>( V O. ; CONT 'D . )</parenthetical> <dialogue>I just want to be a normal guy.</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN HONOLULU - DAY</stage_direction> <scene_description>Establishing - tall buildings , business people , lunch wagons .</scene_description> </scene> <scene> <stage_direction>INT. MATT'S LAW OFFICE - DAY</stage_direction> <scene_description>Matt eats a SACK LUNCH at his desk . His window has a grand view of DOWNTOWN . We glimpse his Punahou , college and law school DIPLOMAS .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Unlike a lot of my cousins, I have n't touched my share of the trust money. Like my father before me, I live only on the income from my law practice. I do n't want my daughters growing up entitled and spoiled. And I agree with my father - you give your children enough money to do something but not enough to do nothing.</dialogue> <scene_description>Matt 's secretary NOE cracks open his door .</scene_description> <character>NOE</character> <dialogue>Mr. King, your cousins are here.</dialogue> </scene> <scene> <stage_direction>INT. LAW OFFICE CONFERENCE ROOM - DAY</stage_direction> <scene_description>Matt enters the room to find SEVEN COUSINS waiting to greet him . From their casual clothing and shaggy hair , an observer might hardly suspect their status .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Not only am I the sole but I'm a commercial real estate and transactional attorney, so the most involved of my cousins have been meeting with me regularly to analyze the bids - Cousin Dave, Cousin Hal, Cousin Six, Cousin Wink, Cousin Lisa, Cousin Connie and Cousin Stan, both of whom oppose the sale entirely. Do n't be fooled by appearances. In Hawai'i some of the most powerful people look like bums and stuntmen.</dialogue> <scene_description>LATER - Matt and his cousins stand above the conference table , looking at blueprints and architectural drawings .</scene_description> <character>MATT</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>The proposals are virtually the same - hotels, shopping centers, condos and golf courses. 3000 new jobs in the first five years. Support letters from the construction industry and unions. A Chicago group is offering half a billion dollars, but we're leaning toward a lower bid from a guy named Don Holitzer. He's actually from Kaua'i and made a fortune in Silicon Valley. Cousin Hugh is pushing us in that direction, and I say why not?</dialogue> <scene_description>CLOSE ON MATT , nodding along but highly distracted , the sound of Liz 's VENTILATOR growing louder in his brain . We CUT TO ARTIST 'S RENDERINGS of comatose Elizabeth - wide , closer , closer still , closer .</scene_description> </scene> <scene> <stage_direction>EXT. QUEENS'S HOSPITAL - DAY</stage_direction> <scene_description>Establishing . Matt walks inside the front door .</scene_description> </scene> <scene> <stage_direction>INT. FAMILY CONSULTATION ROOM - DAY</stage_direction> <scene_description>Matt sits across from old family friend DR. SAM JOHNSTON .</scene_description> <character>DR. JOHNSTON</character> <dialogue>Bad news, Matt. Dr. Chun, Dr. Mueller and I - we believe her condition, which we call a multi - factorial anoxic encephalopathy, is deteriorating. We see no eye movement, no pupillary response, basically no brainstem reflexes whatsoever. The machines could keep her going, but her quality of life would be. very poor. Basically what you see now. She'll never be like she was, Matt. Never. We know that now.</dialogue> <scene_description>Matt sits very still .</scene_description> <character>DR. JOHNSTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I ca n't tell you how sorry I am to have to tell you this. And you have your daughters. There's just nothing we can do.</dialogue> <character>MATT</character> <dialogue>So. if we do go ahead and take her off the machines -</dialogue> <character>DR. JOHNSTON</character> <dialogue>Not if, Matt. When. I have a legal obligation. You know that.</dialogue> <character>MATT</character> <dialogue>How long will she last?</dialogue> <character>DR. JOHNSTON</character> <dialogue>Hard to say. Could be a few days. Could be two weeks. But for planning purposes, you should work off the shortest possible scenario. I know I need to get the ball rolling on organ donations right away.</dialogue> <scene_description>Organ donation ? Forgot about that one .</scene_description> <character>DR. JOHNSTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Elizabeth has so many friends, a big life. Last time I was at your house, must have been 200 people. If you're going to let people know to say goodbye, which is fairly typical protocol in these situations, start now. By the time the last day comes, they feel more ready, as ready as they can feel. I'm so sorry, Matt.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - DAY</stage_direction> <scene_description>His mind spinning , Matt prepares to look at the corpse - to - be . When he opens the door and pulls back the curtain , he finds -</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - CONTINUOUS</stage_direction> <scene_description>- friends MARK AND KAI MITCHELL up for a visit . They 're playing MUSIC for Elizabeth on a mini - boombox , and Kai is APPLYING MAKE - UP to Liz 's face . After cheery greetings -</scene_description> <character>MATT</character> <dialogue>What're you doing?</dialogue> <character>KAI</character> <dialogue>Oh, she's been looking a little pale lately all cooped up in here, and I just know she'd be mortified if no one had thought to help her out with some lipstick and blush. I know she'll grill me.</dialogue> <scene_description>Matt and Mark exchange a look - `` Girls . ''</scene_description> <character>MARK</character> <dialogue>And of course Kai's getting her all caught up on all the latest gossip.</dialogue> <character>KAI</character> <dialogue>Well, I do n't want to have to start from scratch later. Oh, and Matt, on the way here we stopped by and left some more meals in your fridge, all ready to nuke.</dialogue> <scene_description>Matt smiles - he 'd been expecting a grim moment alone with Elizabeth , but instead he finds a room full of warmth and life . Even if it 's a little creepy .</scene_description> <character>MARK</character> <dialogue>So what's the latest anyway, Matt? Any updates?</dialogue> <character>MATT</character> <dialogue>No, no. Just more of the same - monitoring the swelling, keeping her kidneys and other vitals working, you know, hoping for the best.</dialogue> <scene_description>Kai nods sympathetically before turning back to Elizabeth . EXTREME CLOSEUP of Liz 's lips as Kai applies lipstick .</scene_description> </scene> <scene> <stage_direction>EXT. KALAKAUA AVENUE - DAY</stage_direction> <scene_description>JOGGERS go past as Matt 's car pulls into the driveway of the OCEAN OUTRIGGER CLUB .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN OUTRIGGER BEACH - DAY</stage_direction> <scene_description>Matt lies on the beach watching Scottie play in the surf with her snorkel mask on . The melancholy he feels makes him regard his weird little daughter with tenderness .</scene_description> <character>SCOTTIE</character> <parenthetical>( emerging from the water . )</parenthetical> <dialogue>I'm hungry!</dialogue> <character>MATT</character> <dialogue>What else is new? Let's get you something to eat.</dialogue> </scene> <scene> <stage_direction>EXT. OCEAN OUTRIGGER RESTAURANT - DAY</stage_direction> <scene_description>Scottie pops two last FRIES into her mouth , then turns her attention to a strawberry SUNDAE . Anxious to spoil her , Matt watches Scottie dig in . Yet he remains preoccupied , his smile distant .</scene_description> <character>SCOTTIE</character> <dialogue>The food here at the club is so good.</dialogue> <character>MATT</character> <dialogue>Yeah, they do a good job here.</dialogue> <character>SCOTTIE</character> <dialogue>Why is it called a jellyfish? It's not a fish, and it's not jelly.</dialogue> <character>MATT</character> <dialogue>No idea. You ask good questions. You're getting too smart for me, Scottie.</dialogue> <character>SCOTTIE</character> <dialogue>I'm going to find out. Then I'm going to ask Mom when she wakes up and see if she knows. Do you think she's going to know everything she used to know?</dialogue> <scene_description>Matt notices a BUFF GUY and some FRIENDS headed to a nearby table , and his mood sours . Scottie follows his gaze . The guy notices the Kings and feels obliged to mosey over . This is TROY COOK - athletic and rich .</scene_description> <character>TROY</character> <dialogue>Hi, Matt. Hi, Scottie.</dialogue> <character>MATT</character> <dialogue>Troy.</dialogue> <character>TROY</character> <parenthetical>( to his friends . )</parenthetical> <dialogue>I'll catch up to you guys in a second.</dialogue> <scene_description>Matt stares so intensely that Troy averts his gaze .</scene_description> <character>TROY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So, uh, what's going on? I mean, how's Elizabeth doing?</dialogue> <character>MATT</character> <dialogue>Same.</dialogue> <character>TROY</character> <dialogue>I visited her last week, you know. I thought she looked pretty good.</dialogue> <character>MATT</character> <dialogue>So why'd you ask?</dialogue> <character>TROY</character> <dialogue>I do n't know, I just wanted to know the latest. I'm praying for her every day, you guys. Really hard. Seriously. So what I was saying was, when I was there, I talked to her, and her hand moved, so I was pretty encouraged. I thought that was an encouraging sign.</dialogue> <scene_description>Scottie looks up hopefully . Matt notices .</scene_description> <character>MATT</character> <dialogue>That's enough.</dialogue> <character>TROY</character> <dialogue>I really think she heard me.</dialogue> <character>MATT</character> <dialogue>Look, Troy, go to your friends. No hard feelings. Let's just leave it alone.</dialogue> <scene_description>Troy walks away , stops , turns back .</scene_description> <character>TROY</character> <dialogue>I told you, Matt, there were lots of chops and holes that day. I told you a hundred times. Ask anybody. What happened to her could have happened to me. It was a super - hard day on the water.</dialogue> <character>MATT</character> <dialogue>You were n't supposed to be driving, Troy. She was supposed to be driving.</dialogue> <character>TROY</character> <dialogue>She wanted me to drive. And she's the one who told me to pass the other boat right before the turn. And just your whole attitude toward me, Matt - I mean, I feel terrible. I wish it were me and not her. Plus I almost drowned myself when we capsized. And my rotator cuff is never going to be the same, and I'm going to miss Moloka'i.</dialogue> <character>SCOTTIE</character> <dialogue>Just because her hand moved, it does n't mean anything, Troy. Mom twitches at weird times. When you cut off a chicken's head, it runs all around, but it's still a dead chicken.</dialogue> <scene_description>Scottie pushes back from the table and takes off toward the pool . Matt follows , not even gracing Troy with a final look .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN OUTRIGGER POOL - CONTINUOUS</stage_direction> <scene_description>Matt catches up to Scottie .</scene_description> <character>MATT</character> <dialogue>Hey, sport, do n't pay any attention to that guy. That guy's a dope.</dialogue> <character>SCOTTIE</character> <dialogue>I hate him.</dialogue> <character>MATT</character> <dialogue>Yeah.</dialogue> <character>SCOTTIE</character> <dialogue>I did n't mean to say dead chicken. I do n't want Mom to die.</dialogue> <character>MATT</character> <dialogue>I know, I know. Hey, let's get out of here. Let's go do something crazy. Like let's drive to the airport and hop over to the Big Island and surprise your sister. What do you say?</dialogue> <character>SCOTTIE</character> <dialogue>Right now?</dialogue> <character>MATT</character> <dialogue>It'll be fun. She's not expecting us or anything. And we bring her home. I think she should be here with us, do n't you? Do n't you miss her? I miss her.</dialogue> <character>SCOTTIE</character> <dialogue>Yeah, I'm out of school. She should be too!</dialogue> </scene> <scene> <stage_direction>EXT. OUTRIGGER RESTAURANT - DAY</stage_direction> <scene_description>As Matt and Scottie head toward the exit , Scottie FLIPS OFF a crestfallen Troy .</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - DAY</stage_direction> <scene_description>A Hawaiian Airlines inter - island airplane takes off . INSERT - MAP OF THE ISLANDS A DOTTED LINE goes from Honolulu to Kona .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE - DAY</stage_direction> <scene_description>Matt and Scottie look out the window at THE BIG ISLAND coming into view .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Somehow it feels natural to find a daughter of mine on a different island. A family seems exactly like an archipelago - all part of the same geographic expression but still islands - separate and alone, always drifting slowly apart.</dialogue> </scene> <scene> <stage_direction>EXT. KING'S HIGHWAY, BIG ISLAND - DUSK</stage_direction> <scene_description>A RED RENTAL CAR zooms along the famous road near Kona traversing rocky - almost lunar - landscape .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR - DUSK</stage_direction> <scene_description>Matt looks over at Scottie , dozing .</scene_description> </scene> <scene> <stage_direction>EXT. HAWAI'I PREPARATORY ACADEMY - NIGHT</stage_direction> <scene_description>The car turns onto the bumpy gravel road snaking through the campus of this BOARDING SCHOOL .</scene_description> </scene> <scene> <stage_direction>INT. DORM SUPERVISOR'S ROOM HALLWAY - NIGHT</stage_direction> <scene_description>Matt knocks on a door . An exhausted Scottie slouches against a wall . The DORM SUPERVISOR appears in a nightgown . The TV is on in the background .</scene_description> <character>MATT</character> <dialogue>Hi, sorry to bother you. I'm Matt King.</dialogue> <character>DORM SUPERVISOR</character> <dialogue>Yes, hello, Mr. King.</dialogue> <character>MATT</character> <dialogue>I've come to pick up my daughter, Alexandra.</dialogue> <character>DORM SUPERVISOR</character> <dialogue>Did you call Administration?</dialogue> <character>MATT</character> <dialogue>No, I did n't. It's sort of an emergency.</dialogue> <character>DORM SUPERVISOR</character> <dialogue>All right, let's see what we can do.</dialogue> </scene> <scene> <stage_direction>INT. DORM HALLWAY - NIGHT</stage_direction> <scene_description>Scottie runs down the hall , excited by the idea of surprising her sister .</scene_description> <character>SCOTTIE</character> <dialogue>Which door? Which door is it?</dialogue> <character>MATT</character> <dialogue>Scottie, keep it down!</dialogue> <character>DORM SUPERVISOR</character> <dialogue>Will you both keep it down? It's around the corner.</dialogue> <scene_description>They turn down another corridor , and Scottie knocks on a door .</scene_description> <character>DORM SUPERVISOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's the wrong door.</dialogue> <scene_description>The door opens , and a girl pokes her head out .</scene_description> <character>DORM SUPERVISOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go back to sleep, Yuki.</dialogue> <character>MATT</character> <dialogue>Sorry, Yuki.</dialogue> <scene_description>The dorm supervisor knocks on an adjacent door . A moment later a ROOMMATE opens , groggy from sleep .</scene_description> <character>DORM SUPERVISOR</character> <dialogue>Wake your roommate, sweetie.</dialogue> <character>ROOMMATE</character> <parenthetical>( glancing in her room . )</parenthetical> <dialogue>Um. Alex is n't here.</dialogue> <character>DORM SUPERVISOR</character> <dialogue>Where is she?</dialogue> <character>ROOMMATE</character> <dialogue>I think she's. outside somewhere.</dialogue> </scene> <scene> <stage_direction>EXT. SOCCER FIELD - NIGHT</stage_direction> <scene_description>A coat over her nightgown , flashlight in hand , the dorm supervisor leads Matt and Scottie across glistening moist grass . They hear LAUGHTER . TWO FIGURES grow more distinct in the moonlight - GIRLS hitting golf balls - ALEXANDRA KING and friend EMILY .</scene_description> <character>DORM SUPERVISOR</character> <dialogue>Girls! What do you think you're doing out here?</dialogue> <character>EMILY</character> <dialogue>Run!</dialogue> <character>SCOTTIE</character> <dialogue>Hi, Alex! It's me, Scottie!</dialogue> <scene_description>Emily takes off but does n't get far - she falls flat on her face , golf club in one hand , BOTTLE in the other .</scene_description> <character>MATT</character> <dialogue>You know, I pay $ 25,000 year for this crap not to happen. Alex!</dialogue> <character>ALEXANDRA</character> <dialogue>Dad?</dialogue> <parenthetical>( laughing , to Emily . )</parenthetical> <dialogue>My fucking dad is here!</dialogue> <scene_description>This cracks her up even more . Scottie laughs too , though she 's unsure why .</scene_description> <character>DORM SUPERVISOR</character> <dialogue>You do n't talk like that here. This is unacceptable behavior!</dialogue> <character>ALEXANDRA</character> <dialogue>What's up, Dad?</dialogue> <character>EMILY</character> <dialogue>You come out to play a few holes with us?</dialogue> <character>SCOTTIE</character> <dialogue>We came to get you so you can come home. He took me out of school already. I have n't gone for three whole days.</dialogue> <character>ALEXANDRA</character> <parenthetical>( to Matt . )</parenthetical> <dialogue>What's happening? Why are you here?</dialogue> <character>MATT</character> <dialogue>You need to come home and see Mom.</dialogue> <scene_description>Alexandra hears this , takes a few strides , flings her golf club into the night .</scene_description> <character>ALEXANDRA</character> <dialogue>Fuck Mom!</dialogue> <character>DORM SUPERVISOR</character> <dialogue>What did I say about the language?</dialogue> <scene_description>ON MATT -</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What is it about me that makes women in my life want to destroy themselves? Elizabeth with her motorcycles and speedboats and alcoholism.</dialogue> </scene> <scene> <stage_direction>EXT. KING HOUSE - NIGHT</stage_direction> <scene_description>Matt 's car arrives back home , and he and Scottie get out of the car .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Alexandra with her drugs and older guys and modeling.</dialogue> </scene> <scene> <stage_direction>INT. KING HOUSE - NIGHT</stage_direction> <scene_description>Matt carries a passed - out Alex upstairs . Scottie scampers ahead , opening the door to -</scene_description> </scene> <scene> <stage_direction>INT. ALEXANDRA'S ROOM - CONTINUOUS</stage_direction> <scene_description>- where Matt places Alex on her bed , takes off her shoes , covers her with a blanket , and watches this tsunami of a girl at rest .</scene_description> </scene> <scene> <stage_direction>INT. KING KITCHEN - DAY</stage_direction> <scene_description>At the stove , Matt dishes out SCRAMBLED EGGS . Scottie sits in the kitchen nook .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And Scottie, how can I protect her from. me?</dialogue> <scene_description>As he brings her plate over -</scene_description> <character>SCOTTIE</character> <dialogue>I do n't like eggs.</dialogue> <character>MATT</character> <dialogue>Why did n't you say so before I made them?</dialogue> <character>SCOTTIE</character> <dialogue>I thought they were for you.</dialogue> <scene_description>Alex trudges in and pulls a Coca - Cola out of the fridge .</scene_description> <character>MATT</character> <dialogue>Good morning.</dialogue> <parenthetical>( no answer . )</parenthetical> <dialogue>Does Mom let you have Coke for breakfast?</dialogue> <character>ALEXANDRA</character> <dialogue>I'm pretty sure it's after eleven.</dialogue> <scene_description>Now that we get a closer look , we might recognize Alexandra from the postcards at the hospital . We also see a resemblance to her mother .</scene_description> <character>MATT</character> <dialogue>How are you feeling?</dialogue> <scene_description>Shrugging , she plops down near Scottie .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hungover, huh? Why am I not surprised? I do n't know where to start, and we probably should n't in front of Scottie.</dialogue> <character>SCOTTIE</character> <dialogue>I do n't mind.</dialogue> <character>MATT</character> <dialogue>I thought you were supposed to be getting your act together.</dialogue> <character>ALEXANDRA</character> <dialogue>I have gotten my act together. I was just drinking. I've been doing really well, but nobody ever seems to notice my grades are better, and how I was in that stupid play you guys did n't bother to see. Do you even remember the name of it?</dialogue> <scene_description>It 's on the tip of his tongue .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's what I thought. So what if I got drunk on the ONE night you happened to drop in? So the fuck what?</dialogue> <character>MATT</character> <dialogue>Hey, hey, hey. Watch your language in front of Scottie.</dialogue> <character>SCOTTIE</character> <dialogue>I'm okay.</dialogue> <character>MATT</character> <parenthetical>( sitting with them . )</parenthetical> <dialogue>Anyway, it's good to see you. Welcome home. Want some eggs?</dialogue> <character>ALEXANDRA</character> <dialogue>How long do I have to stay?</dialogue> <character>MATT</character> <dialogue>We'll discuss that.</dialogue> <character>ALEXANDRA</character> <parenthetical>( getting up . )</parenthetical> <dialogue>I'm going swimming.</dialogue> <character>MATT</character> <dialogue>Then I'll join you.</dialogue> <character>ALEXANDRA</character> <dialogue>Good times.</dialogue> </scene> <scene> <stage_direction>EXT. KING SWIMMING POOL - DAY</stage_direction> <scene_description>Matt walks out the patio doors . Seated on the steps of the shallow end , Alexandra is on her cellphone .</scene_description> <character>ALEXANDRA</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I got ta go. I'll see you later.</dialogue> <parenthetical>( to Matt . )</parenthetical> <dialogue>The pool's really dirty. What day does the pool guy come?</dialogue> <scene_description>Matt notices all the floating leaves and insects .</scene_description> <character>MATT</character> <dialogue>He comes. you know, I do n't know what day he comes.</dialogue> <character>ALEXANDRA</character> <dialogue>Awesome.</dialogue> <scene_description>Matt grabs a POLE to skim the surface of the water .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sid's coming over.</dialogue> <character>MATT</character> <dialogue>Who's Sid?</dialogue> <character>ALEXANDRA</character> <dialogue>A really good friend from Punahou. We were in school together for years.</dialogue> <character>MATT</character> <dialogue>Oh. Okay.</dialogue> <character>ALEXANDRA</character> <dialogue>He wants to be there for me with all this shit happening.</dialogue> <scene_description>Matt wonders his own version of `` What am I , chopped liver ? ''</scene_description> <character>MATT</character> <dialogue>Do I know his parents?</dialogue> <character>ALEXANDRA</character> <dialogue>No. He might stay over too. Is that cool?</dialogue> <scene_description>Just then , Scottie runs out onto the patio dressed in a BRA AND PANTIES .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the fuck? Get out of my underwear, you freak.</dialogue> <character>SCOTTIE</character> <dialogue>Ooo, la la! Do n't I look divine?</dialogue> <character>MATT</character> <dialogue>Scottie, get back inside and change into your swimsuit.</dialogue> <character>SCOTTIE</character> <dialogue>Why?</dialogue> <character>MATT</character> <dialogue>Now.</dialogue> <scene_description>Scottie flips him off and runs back inside .</scene_description> <character>ALEXANDRA</character> <dialogue>Real good job you're doing.</dialogue> <character>MATT</character> <dialogue>That's part of why I brought you here. You have to help me. I do n't know what to do with her.</dialogue> <scene_description>Alexandra slides into the water , swims to the other side and props herself on the edge , floating her lower body . Matt lowers himself into the water too .</scene_description> <character>ALEXANDRA</character> <dialogue>Maybe if you spent more time with her, she would n't act like such a complete spaz. Get her out of town - go camp on Kaua'i. That's what mom did with me whenever I was losing it.</dialogue> <character>MATT</character> <dialogue>Listen, Alex, your mother is n't well.</dialogue> <character>ALEXANDRA</character> <dialogue>Obviously.</dialogue> <character>MATT</character> <dialogue>They just told me she is n't going to wake up. It's for sure now. The doctors are going to stop caring for her. Do you understand what I'm saying? Your mom wanted it this way.</dialogue> <scene_description>Alex remains silent .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She has a will, see, saying we have to do it like this. We both do. That's why I got you. We're letting her go.</dialogue> <scene_description>Alex looks at him , takes a couple quick , loud inhalations , then slips - UNDERWATER - - where she SWIMS , FACE CONTORTED , hoping to stay down there forever . Finally she emerges - ABOVE THE POOL - - and gets out , grabbing a towel , crying now .</scene_description> <character>ALEXANDRA</character> <dialogue>Why'd you have to tell me in the goddamned pool?</dialogue> <scene_description>Matt climbs out and approaches her , arms extended .</scene_description> <character>MATT</character> <dialogue>Alex. Alex.</dialogue> <character>ALEXANDRA</character> <dialogue>What do you want?</dialogue> <scene_description>Matt drops his arms , crestfallen . Alex scoffs , walks back into the house .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>They sit together now on sofas . Alexandra appears drained from crying .</scene_description> <character>MATT</character> <dialogue>I just found out yesterday. We have to go through this thing together, you and Scottie and I. And I need to go around and tell people what's happening - our family and close friends. Sometimes I'll want you to come with me. Other times I need you to watch Scottie.</dialogue> <character>ALEXANDRA</character> <dialogue>You want me to go around with you and tell everyone that Mom's going to die? What's the point of that? Breaking the news, watching them cry, dealing with their emotions. How depressing is that going to be? Just call them.</dialogue> <character>MATT</character> <dialogue>Alex, nobody wants to do any of this. But we need to tell Grandpa and Tutu, a few friends. They have the right to know and to be able to say goodbye.</dialogue> <character>ALEXANDRA</character> <dialogue>I do n't want to talk about Mom with anyone.</dialogue> <character>MATT</character> <dialogue>Whatever you fought about with her at Christmas, you need to drop it. Grow up. You love your mother. Your mother loves you. Move on.</dialogue> <character>ALEXANDRA</character> <dialogue>I ca n't drop it.</dialogue> <character>MATT</character> <dialogue>You have to.</dialogue> <character>ALEXANDRA</character> <dialogue>You really do n't have a clue, do you? Dad, she was cheating on you.</dialogue> <scene_description>Whoa .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's what we fought about. When I was home at Christmas, I caught her with some guy. It made me sick to see her near you. I went back to school thinking that was it, I was done with her. I was going to call and tell you everything. But then the accident happened, and I was waiting until she woke up, I guess. And you, you did n't even suspect. Right?</dialogue> <parenthetical>( off his silence . )</parenthetical> <dialogue>That disgusted me too. You're always so busy.</dialogue> <character>MATT</character> <dialogue>Caught her with some guy? What does that mean?</dialogue> <character>ALEXANDRA</character> <dialogue>Brandy and I were on our way to swim in the Black Point pool, and suddenly I see Mom and some douchebag walk into a house. His house, I guess.</dialogue> <character>MATT</character> <dialogue>Just a guy? It could have been anybody.</dialogue> <character>ALEXANDRA</character> <dialogue>He had his hand on her ass. It was gross.</dialogue> <character>MATT</character> <dialogue>You're sure it was her.</dialogue> <parenthetical>( off her nod . )</parenthetical> <dialogue>Then what?</dialogue> <character>ALEXANDRA</character> <dialogue>Then nothing. She went into the house. A few days later I told her I knew what she was doing.</dialogue> <character>MATT</character> <dialogue>And?</dialogue> <character>ALEXANDRA</character> <dialogue>First she acted like she did n't know what I was talking about. Like I'm blind. Then she got super - mad and started yelling at me and denied it. That's when I decided I did n't want anything more to do with her.</dialogue> <character>MATT</character> <dialogue>Who is he?</dialogue> <character>ALEXANDRA</character> <dialogue>I do n't know. Some guy.</dialogue> <character>MATT</character> <dialogue>What did he look like?</dialogue> <character>ALEXANDRA</character> <dialogue>Dark hair.</dialogue> <scene_description>Matt stands up , walks in a little circle - he literally does not know which way to turn . Then he knows .</scene_description> <character>MATT</character> <dialogue>Watch Scottie.</dialogue> </scene> <scene> <stage_direction>EXT. KING HOUSE - DAY</stage_direction> <scene_description>Matt bursts out of his house and starts RUNNING down the street .</scene_description> </scene> <scene> <stage_direction>EXT. NU'UANU NEIGHBORHOOD - DAY</stage_direction> <scene_description>Matt comes sprinting around a corner .</scene_description> </scene> <scene> <stage_direction>EXT. THE MITCHELLS' HOUSE - DAY</stage_direction> <scene_description>Matt arrives at his neighbors ' house and lets himself in the kitchen door .</scene_description> </scene> <scene> <stage_direction>INT. THE MITCHELLS' HOUSE - CONTINUOUS</stage_direction> <scene_description>Matt passes through the kitchen into the living room .</scene_description> <character>MATT</character> <dialogue>Hello! It's me, Matt!</dialogue> <scene_description>MARK AND KAI appear at the top of the stairs looking as though they have n't been downstairs all day .</scene_description> <character>KAI</character> <dialogue>Oh, hey, Matt.</dialogue> <character>MATT</character> <dialogue>You guys were n't sleeping, were you?</dialogue> <scene_description>As they come downstairs -</scene_description> <character>KAI</character> <dialogue>No, we were just fighting. Come on in. Want a drink? Want some coffee?</dialogue> <character>MATT</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>What were you fighting about?</dialogue> <character>MARK</character> <dialogue>Stupid.</dialogue> <character>KAI</character> <dialogue>It's not stupid. He wants us to throw parties and have people over, which we do, of course, but who ends up doing all the work? Me.</dialogue> <character>MARK</character> <dialogue>It's work that's totally unnecessary. You do n't have to do anything. Nobody's forcing you to clean and buy a new outfit and think of some goddamn theme cocktail. We can just invite people over last minute and drink whatever we have and hang out. It's more fun that way, anyway.</dialogue> <scene_description>As they continue their argument , Matt is struck by the pettiness of everyday life . He at once pities it , is impatient with it , and longs for it .</scene_description> <character>MARK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know what? We can talk about it later. Matt did n't come over to hear us squabble.</dialogue> <character>KAI</character> <dialogue>Shit, Matt. Is Elizabeth - is there any news?</dialogue> <character>MATT</character> <dialogue>In fact there is. I'll tell you in a moment. Who is he?</dialogue> <parenthetical>( off their silence . )</parenthetical> <dialogue>Does she love him? Who is he?</dialogue> <character>KAI</character> <dialogue>Matt.</dialogue> <character>MATT</character> <dialogue>I'm sorry to put you in this position. But I'm not really the one who put you there, am I? I just want to know who this guy is that my wife has been. seeing.</dialogue> <character>KAI</character> <dialogue>Oh, Matt, you're angry.</dialogue> <character>MATT</character> <dialogue>You could be a therapist. Very keen powers of observation.</dialogue> <character>KAI</character> <dialogue>Wow. I think we should talk another time. I think you need to cool it.</dialogue> <scene_description>Matt sits . He 's not leaving . No one speaks .</scene_description> <character>MATT</character> <dialogue>Is it Troy? That fucking Neanderthal?</dialogue> <character>MARK</character> <dialogue>You do n't know him.</dialogue> <character>KAI</character> <dialogue>Oh, do n't you even, Mark. Shame on you. You're her friend.</dialogue> <character>MARK</character> <dialogue>I'm Matt's friend too. And this is a very unique and dramatic situation. I'd want to know.</dialogue> <character>KAI</character> <dialogue>Do n't betray her when she ca n't even defend herself. Matt, you may not be able to hear this right now, but it's not her fault. Women have needs.</dialogue> <character>MATT</character> <dialogue>Are you fucking kidding me?</dialogue> <character>KAI</character> <dialogue>Your marriage was not. You worked so hard to make partner, and no one can take that away from you. But then you made partner, and you only got busier. And it's not like you were so involved with the girls. She was lonely.</dialogue> <character>MATT</character> <dialogue>So you're going to talk to me in clichés about women? Nothing is ever a woman's fault. Was it still going on when she had the accident?</dialogue> <scene_description>Kai looks away . Mark nods .</scene_description> <character>MARK</character> <dialogue>But I stayed out of it, Matt. Anytime Kai talked about it, I walked away.</dialogue> <character>MATT</character> <parenthetical>( to Kai . )</parenthetical> <dialogue>And you what? You probably egged her on. Add some drama to your life without any actual risk. Whom do you think you're protecting anyway? She does n't need your protection - it's over. She's going to die.</dialogue> <character>KAI</character> <dialogue>Do n't say that.</dialogue> <character>MATT</character> <dialogue>I almost told you yesterday. She's never going to wake up. It's for sure now. You hear me? We're pulling the plug. You were putting lipstick on a corpse.</dialogue> <character>MARK</character> <dialogue>Come on, Matt. That's a little intense.</dialogue> <scene_description>Kai 's face dissolves into tears . Mark reaches out to comfort her . Everybody falls back to Earth .</scene_description> <character>MATT</character> <dialogue>I'm sorry. I did n't mean to take it out on you guys. I just. Does she love him?</dialogue> <scene_description>Matt looks at him blankly , then at Kai . He 'd like to know too .</scene_description> <character>KAI</character> <dialogue>How can you ask about him when she's going to die? Who cares? Yes, she loves him, loved him, whatever. She's crazy about him. She was going to ask you for a divorce.</dialogue> <scene_description>Matt is stunned but oddly relieved . The truth , once revealed , blows a calming wind .</scene_description> <character>MATT</character> <dialogue>You still have n't told me who he is. I guess it does n't matter.</dialogue> <scene_description>Matt rises to his feet and leave .</scene_description> </scene> <scene> <stage_direction>EXT. THE MITCHELLS' HOUSE - DAY</stage_direction> <scene_description>Just as Matt reaches the sidewalk , Mark comes loping out of the house .</scene_description> <character>MARK</character> <dialogue>Brian Speer. His name is Brian Speer. Two e's.</dialogue> <scene_description>A PET GOAT tied up in the front yard watches .</scene_description> </scene> <scene> <stage_direction>EXT. NU'UANU NEIGHBORHOOD - DAY</stage_direction> <scene_description>From a discreet distance , we notice that Matt has stopped walking to cry .</scene_description> </scene> <scene> <stage_direction>EXT. KING SWIMMING POOL - DAY</stage_direction> <scene_description>Wandering up the driveway , Matt finds Alexandra sitting with Scottie and SOME GUY . Scottie now wears an oversized t - shirt reading , `` She 's fat . I 'm drunk . It 's on . '' They stop laughing when they see Matt .</scene_description> <character>SCOTTIE</character> <dialogue>Hi, Daddy.</dialogue> <character>ALEXANDRA</character> <dialogue>Dad, this is Sid.</dialogue> <character>MATT</character> <parenthetical>( sizing him up . )</parenthetical> <dialogue>Hello, Sid.</dialogue> <scene_description>Lanky and odd , a permanent smirk on his face , SID rises from his lounge chair .</scene_description> <character>SID</character> <dialogue>` Sup, bro?</dialogue> <scene_description>As they shake hands , Sid pulls Matt into a man - hug and thumps him on the back .</scene_description> <character>MATT</character> <dialogue>Do n't ever do that to me again.</dialogue> <parenthetical>( to Alexandra . )</parenthetical> <dialogue>Get ready, okay? We're going to Grandma and Grandpa's.</dialogue> <parenthetical>( to Scottie . )</parenthetical> <dialogue>Auntie Esther will come over to watch you.</dialogue> <character>ALEXANDRA</character> <dialogue>Sid's coming with us, okay?</dialogue> <character>MATT</character> <dialogue>Sid, this week, what's going on, is a real family matter. You understand.</dialogue> <parenthetical>( to Alexandra . )</parenthetical> <dialogue>Sid's not going to be interested in meeting your grandparents. He'll be bored stiff.</dialogue> <character>ALEXANDRA</character> <dialogue>Dad, I told you he was going to be with me. I'll be a lot more civil with him around.</dialogue> <character>SID</character> <parenthetical>( arms wide , shrugging . )</parenthetical> <dialogue>What can I say?</dialogue> </scene> <scene> <stage_direction>EXT. KING HOUSE - DAY</stage_direction> <scene_description>Matt approaches the car with Alexandra and the interloper .</scene_description> <character>MATT</character> <dialogue>Does he know what we're doing?</dialogue> <character>ALEXANDRA</character> <dialogue>He knows everything.</dialogue> <character>SID</character> <dialogue>Dude, your wife is dying and then you find out she's been stepping out on you? That's harsh.</dialogue> <character>MATT</character> <dialogue>Get in the car.</dialogue> </scene> <scene> <stage_direction>EXT. MONTAGE - TBD</stage_direction> </scene> <scene> <stage_direction>EXT. THORSON HOUSE - DAY</stage_direction> <scene_description>Matt watches retired military man SCOTT THORSON -LRB- 70s -RRB- mumble as he sits at a table glancing over DOCUMENTS . Sid is splayed out on a nearby lounge chair . Alex seated at his feet . Every so often a PET PARROT squawks loudly .</scene_description> <character>SCOTT THORSON</character> <dialogue>This is like reading Korean.</dialogue> <character>MATT</character> <dialogue>Scott, I'll be happy to walk you through it.</dialogue> <character>SCOTT THORSON</character> <parenthetical>( tossing the papers . )</parenthetical> <dialogue>Jibber - jabber.</dialogue> <character>MATT</character> <dialogue>It's an advanced directive - basically her instructions on what medical procedures she wants or, in this case, does not want. No prolonged mechanical ventilation, no -</dialogue> <character>SCOTT THORSON</character> <dialogue>I know goddamn well what it says. Says she does n't want everyone waiting around while she spoils like milk. Says if the doctors ca n't do squat, she'd just as soon get on with it.</dialogue> <scene_description>He stares off into space .</scene_description> <character>ALEXANDRA</character> <dialogue>Gramps, are you okay?</dialogue> <character>SCOTT THORSON</character> <dialogue>Elizabeth had the good sense to write this thing here. Always a thoughtful girl. A strong girl. A hell of a lot stronger than her brother. Barry whines his way through life. Might even be a homosexual, for all I know.</dialogue> <character>MATT</character> <dialogue>Yeah, Scott, I do n't think so.</dialogue> <character>SCOTT THORSON</character> <dialogue>And she's stronger than you, Matt. She lived more in a year than you did in a decade, sitting in your office, hoarding all your cash. All that money you refuse to use - what the hell good is it? And now you and your family are cashing in your chips - what the hell for? Maybe if you'd let my baby have her own boat and bought her some safe equipment or let her go on those shopping sprees women like, maybe she would n't have gone in for those thrill sports. Maybe if you'd provided more thrills at home.</dialogue> <character>ALEXANDRA</character> <dialogue>Grandpa.</dialogue> <character>SCOTT THORSON</character> <dialogue>And you, Alexandra. Putting your poor mother through hell when all she was trying to do was instill some sense and drive in you. Shame on you. You should try to be more like her. She's a good girl. She's a good girl.</dialogue> <scene_description>The old man climbs to his feet and takes a few steps away . Hands on hips , he looks up as though gauging the weather . Then he clears his throat , wipes his face with his sleeve , turns back .</scene_description> <character>SCOTT THORSON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You all want a drink?</dialogue> <scene_description>As he wanders away toward the kitchen - LATER - Scott returns pushing a little DRINK - CART . Behind him trails his wife ALICE . An Alzheimer 's victim , Alice is a sweet woman , alert but unable to grasp or recall .</scene_description> <character>ALICE</character> <dialogue>Oh, do we have guests?</dialogue> <character>MATT</character> <parenthetical>( kissing her . )</parenthetical> <dialogue>Hi, Alice. Good to see you. It's me, Matt.</dialogue> <character>ALICE</character> <dialogue>Good to see you too.</dialogue> <character>ALEXANDRA</character> <parenthetical>( hugging her . )</parenthetical> <dialogue>Hi, Tutu.</dialogue> <character>SCOTT THORSON</character> <dialogue>That's Alexandra.</dialogue> <character>ALICE</character> <dialogue>Hello.</dialogue> <character>SCOTT THORSON</character> <dialogue>She's your granddaughter. And this is your son - in - law Matt. This is your family. Well, except this kid. I do n't know who the hell he is.</dialogue> <parenthetical>( to Sid . )</parenthetical> <dialogue>Who are you? Why are you here?</dialogue> <character>ALEXANDRA</character> <dialogue>He's my friend.</dialogue> <character>SID</character> <dialogue>Good afternoon.</dialogue> <character>SCOTT THORSON</character> <dialogue>Alice, we're going to go to Queen's Hospital today and see Elizabeth.</dialogue> <character>ALICE</character> <dialogue>We are? Queen Elizabeth? That's wonderful. I've never met a queen before. I have to put on a nice dress.</dialogue> <scene_description>Sid bursts out LAUGHING .</scene_description> <character>SID</character> <dialogue>Is she serious?</dialogue> <character>SCOTT THORSON</character> <dialogue>You be quiet, son.</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>No, Alice. Our Elizabeth. Our baby. We need to go visit her in the hospital. She needs us, just like when she was a little girl. Let's think about what she might want in her room. We'll take it to her and put it next to her bed.</dialogue> <character>ALICE</character> <dialogue>But she's a queen. I have to look good for a queen. Do n't you want me to look good?</dialogue> <scene_description>Sid LAUGHS again .</scene_description> <character>SCOTT THORSON</character> <dialogue>Shut up, Alice.</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>Sorry, old gal. You go ahead and say whatever you want.</dialogue> <character>ALICE</character> <dialogue>I've never met a queen before.</dialogue> <scene_description>When Sid snickers again , Scott Thorson approaches him and glares .</scene_description> <character>SID</character> <dialogue>I'm sorry, man. I was just laughing. It's funny. I think she knows she's being funny.</dialogue> <character>SCOTT THORSON</character> <dialogue>I'm going to hit you.</dialogue> <scene_description>Scott POPS HIS FIST into Sid 's face . Sid FLIES BACK .</scene_description> </scene> <scene> <stage_direction>INT. MATT'S CAR - DAY</stage_direction> <scene_description>The car in motion , Matt glances in the rearview mirror .</scene_description> <character>MATT</character> <dialogue>How's the eye?</dialogue> <scene_description>In the backseat , Sid holds a package of FROZEN PEAS to his puffy blue eye .</scene_description> <character>SID</character> <dialogue>That was unreal. I mean, how often do old people just haul off and fucking cold - cock you in the face?</dialogue> <character>MATT</character> <dialogue>He's hit me a couple times over the years. And watch your language.</dialogue> <character>ALEXANDRA</character> <dialogue>Here, let me kiss it.</dialogue> <character>SID</character> <dialogue>Ow!</dialogue> <character>MATT</character> <dialogue>Hey, could you two just cool it around me? You know, stop. touching each other so much?</dialogue> <character>SID</character> <dialogue>Whoa! Maybe that's why your wife cheated on you, if you're so against touching.</dialogue> <scene_description>SLAMMING ON THE BRAKES , Matt turns around , points a menacing finger . Even Alexandra realizes Sid went too far .</scene_description> <character>MATT</character> <dialogue>You little fuck. Do you get hit a lot?</dialogue> <character>SID</character> <dialogue>I do n't know. I've had my share.</dialogue> <character>MATT</character> <parenthetical>( to Alex. ) Your friend is completely retarded .</parenthetical> <parenthetical>You know that , right ?</parenthetical> <dialogue /> <character>SID</character> <dialogue>Hey, my little brother's retarded. Do n't use that word in a derogatory fashion.</dialogue> <scene_description>Matt looks at him . Given who Sid is , there 's no reason to think he would n't have a retarded brother .</scene_description> <character>MATT</character> <dialogue>Oh.</dialogue> <character>SID</character> <dialogue>Psych! I do n't have a retarded brother!</dialogue> <character>ALEXANDRA</character> <dialogue>You suck, Sid.</dialogue> <character>SID</character> <dialogue>Speaking of retarded, do you ever feel bad for wishing a retarded person or an old person would just hurry up? Sometimes I wait for them to cross the street, and I'm like, come on already! But then I feel bad.</dialogue> <scene_description>Rather than lashing out again at Sid , Matt turns around and lowers his head into one hand , squeezing his temples . It 's all getting to be too much for him .</scene_description> <character>ALEXANDRA</character> <parenthetical>( noticing his anguish . )</parenthetical> <dialogue>Dad?</dialogue> <character>MATT</character> <dialogue>What?</dialogue> <character>ALEXANDRA</character> <dialogue>Do n't forget - I know where he lives.</dialogue> <scene_description>Matt thinks a moment , then -</scene_description> <character>MATT</character> <dialogue>Get in the front seat.</dialogue> </scene> <scene> <stage_direction>EXT. DIAMOND HEAD ROAD - DAY</stage_direction> <scene_description>Matt 's car passes by the well - known crowded surf - point overlook .</scene_description> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Been doing any surfing over there on the Big Island?</dialogue> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I have n't surfed in years.</dialogue> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yeah, how come? You were so good.</dialogue> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>At first I stopped because I got my period and did n't know how to use a tampon.</dialogue> <character>SID</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Did n't want to attract sharks, huh?</dialogue> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>So I would n't go for, you know, five days or so, and then I guess I just stopped.</dialogue> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Why did n't you ask Mom to show you or teach you or whatever?</dialogue> </scene> <scene> <stage_direction>EXT. KAHALA - DAY</stage_direction> <scene_description>The car continues on .</scene_description> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I did n't even tell her I got my period for like a year. She was always pushing me to look older and act older, so I just.</dialogue> <character>SID</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Even I know how to use a tampon.</dialogue> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The first time I got my period I thought I shit my pants.</dialogue> <character>SID</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ew, maybe you did!</dialogue> <character>ALEXANDRA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sid, shut up.</dialogue> <character>MATT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Are you sure he knows what's going on with our family? Because he sure does n't act like it.</dialogue> </scene> <scene> <stage_direction>EXT. BRIAN SPEER'S BLOCK - KAHALA - DAY</stage_direction> <scene_description>The car creeps down a street of lovely homes .</scene_description> <character>ALEXANDRA</character> <dialogue>Do you know anything about him? Like what he does or if he's married?</dialogue> <character>MATT</character> <dialogue>Just his name. Brian Speer.</dialogue> <character>ALEXANDRA</character> <dialogue>Why did n't you ask Kai and Mark?</dialogue> <character>MATT</character> <dialogue>I just did n't.</dialogue> <character>ALEXANDRA</character> <dialogue>Why not?</dialogue> <character>MATT</character> <dialogue>I did n't want to get into it.</dialogue> <character>ALEXANDRA</character> <dialogue>We'll google him later. Okay, there it is. Stop.</dialogue> <scene_description>Matt pulls over opposite a supremely average - looking house .</scene_description> <character>MATT</character> <dialogue>There? He lives there?</dialogue> <character>ALEXANDRA</character> <dialogue>Well, I ca n't say for sure he lives there. That's just where I saw them.</dialogue> <character>MATT</character> <dialogue>And you just happened to be driving by.</dialogue> <character>ALEXANDRA</character> <dialogue>Sadie was driving. We both saw it.</dialogue> <scene_description>They all observe closely , very focused . Nothing happens . It 's just a house .</scene_description> <character>SID</character> <dialogue>That house is a piece of shit. At least go after a guy who's got a mansion. And do you think he's married? That'd be pretty cold - blooded to do it in a house where you're married.</dialogue> <character>ALEXANDRA</character> <dialogue>Sid, please be quiet.</dialogue> <character>MATT</character> <dialogue>What are we going to do?</dialogue> <character>ALEXANDRA</character> <dialogue>I do n't know. I'm just showing you the house.</dialogue> <scene_description>They all think a moment .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Should I go ring the bell?</dialogue> <character>MATT</character> <parenthetical>( tempted , then - . )</parenthetical> <dialogue>No, wait, this is stupid - this stalking, or whatever the hell we're doing. We came, we saw. Whatever. Let's go.</dialogue> <scene_description>No one moves .</scene_description> <character>ALEXANDRA</character> <dialogue>It's not like we're stalking him exactly.</dialogue> <scene_description>A PLUMBING TRUCK drives up the road . The three of them reflexively crouch down before catching themselves .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What would you do if you saw him, anyway? Talk to him or punch him or what?</dialogue> <character>MATT</character> <dialogue>I guess I just want to see him.</dialogue> <character>SID</character> <dialogue>All I know is, someone messed with my girl, all hell would break loose.</dialogue> <character>ALEXANDRA</character> <dialogue>Whatever, Sid.</dialogue> <character>SID</character> <dialogue>I mean, you'd never do that to me, would you? You know, if we ever got married. Fuck around on me.</dialogue> <character>ALEXANDRA</character> <dialogue>Depends on how you treated me.</dialogue> <character>MATT</character> <dialogue>That's enough now.</dialogue> <character>ALEXANDRA</character> <dialogue>And we're not getting married. Jesus.</dialogue> <character>MATT</character> <parenthetical>( starting the car . )</parenthetical> <dialogue>Okay, that's enough. We're getting out of here.</dialogue> </scene> <scene> <stage_direction>EXT. NEARBY STREET - KAHALA - DAY</stage_direction> <scene_description>Matt 's just about to turn back onto Kahala Avenue when -</scene_description> <character>ALEXANDRA</character> <dialogue>Dad, stop!</dialogue> <character>MATT</character> <dialogue>What?</dialogue> <character>ALEXANDRA</character> <dialogue>Go back.</dialogue> <character>MATT</character> <dialogue>Why?</dialogue> <character>ALEXANDRA</character> <dialogue>Just go back a couple of houses.</dialogue> <scene_description>Matt does so , checking that the coast is clear .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There he is.</dialogue> <character>MATT</character> <dialogue>There who is?</dialogue> <character>ALEXANDRA</character> <dialogue>Look.</dialogue> <scene_description>Matt and Sid look toward a HOUSE FOR SALE . At first they do n't get it , but soon their gaze drifts to the - `` FOR SALE '' SIGN complete with a PHOTO of the broker , none other than - BRIAN SPEER - his big white SMILE contrasting starkly with haggard , unshaven Matt 's SCOWL .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now we know what he looks like.</dialogue> <character>SID</character> <dialogue>Must be pretty handy for a dude having an affair to have some empty houses at his fingertips.</dialogue> <parenthetical>( as Matt and Alex look at him . )</parenthetical> <dialogue>I'm just saying. That's how I'd do it.</dialogue> <scene_description>Alexandra climbs out of the car to grab a FLYER and take a photo of Brian Speer with her phone .</scene_description> </scene> <scene> <stage_direction>EXT. BRIEF MONTAGE</stage_direction> <scene_description>Images of Honolulu at DUSK TURNING INTO NIGHT - STREETLIGHTS turning on across an entire neighborhood , boisterous pau - hana DRINKERS AT A BAR , a bus releasing weary commuters , an overhead shot of the environs of the KING HOUSE .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I trusted you. But there was always something about you I did n't trust.</dialogue> <scene_description>The sound of an internal PHONE RING begins .</scene_description> </scene> <scene> <stage_direction>INT. MATT AND LIZ'S BEDROOM - NIGHT</stage_direction> <scene_description>A sitting area off the bedroom is where Elizabeth displays her trophies and sports memorabilia . This is where Matt now sits nursing a whiskey and pressing a PHONE to his ear .</scene_description> <character>BRIAN SPEER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hi, this is Brian Speer at Kaimana - Prudential Realty. Sorry I missed you. Leave a message with your name, number and time of call, and I'll get back to you just as soon as I can. Mahalo.</dialogue> <scene_description>Looking as though he 's about to vomit , Matt hangs up , regards the flyer on the coffee table before him .</scene_description> <character>SID</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey, boss.</dialogue> <scene_description>Matt looks up to see Sid in his boxers .</scene_description> <character>SID</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Did you call him?</dialogue> <character>MATT</character> <dialogue>None of your business. And put some clothes on. And you're not sleeping in Alex's room. In fact, you should really go home, son.</dialogue> <character>SID</character> <dialogue>Alex would n't like that.</dialogue> <character>MATT</character> <dialogue>Guest room. Take it or leave it.</dialogue> <character>SID</character> <dialogue>We're going to do what we're going to do.</dialogue> <character>MATT</character> <dialogue>I'm not going to make it easy for you.</dialogue> <character>SID</character> <dialogue>I'm just fooling with you, man. We're not like that. Guest room's awesome.</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>Just call him. He's nobody. Raise hell.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S BEDROOM - NIGHT</stage_direction> <scene_description>Matt sits on the bed , listening once again to Brian Speer 's outgoing message .</scene_description> <character>MATT</character> <parenthetical>( on the BEEP . )</parenthetical> <dialogue>Yeah, hi, Brian. My name's, uh, Herb Fitzmorris. I'm interested in that house you've got on Koloa Street, the one with the plantation shutters. I'm at 645 - 2796. Thanks.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - DAY</stage_direction> <scene_description>As Matt leads his daughters toward Elizabeth 's room -</scene_description> <character>MATT</character> <dialogue>Let me go in for just a quick moment alone first. I'll be right out.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>Matt closes the glass door behind him and slides the privacy curtain across it . He looks at his wife . She 's starting to look different - her face more gaunt , her hair more matted . Since the last time we saw her , OTHER ITEMS have been added around her bed . Along with draped LEIS , we see a childhood DOLL , DIPLOMAS , and of course SPORTS MEDALS and RIBBONS . An antique QUILT covers her legs . Her father meant it when he said they 'd bring her old things . Matt crouches down bedside .</scene_description> <character>MATT</character> <dialogue>You were going to ask me for a divorce? So you could be with some fucking fuckhead Brian Speer? Are you kidding me? Who are you? Because the only thing I know for sure is that you're a goddamned liar. So what do you have to say for yourself? Go ahead, make a little joke and tell me I've got it all wrong. Tell me again I'm too out of touch with my feelings and need to go to therapy.</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>Is n't the idea of marriage to make your partner's way in life a little easier? For me it was always harder with you. And you're still making it harder. Lying there on a ventilator and still fucking up my life. You're relentless. You know what? I was going to ask you for a divorce some day.</dialogue> <parenthetical>( grabbing a DOLL , tossing it . )</parenthetical> <dialogue>Daddy's little girl.</dialogue> <scene_description>Matt rises , looks at her motionless face , exhales , gets himself together .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm bringing in your daughters now. Alex is home from school. Try to be nice, okay?</dialogue> <scene_description>He slides the curtain open and lets the girls in .</scene_description> <character>SCOTTIE</character> <dialogue>Hi, Mom! Look who's here.</dialogue> <scene_description>Alexandra approaches the bed slowly , startled by the changes in her mother 's appearance and knowing the end is near .</scene_description> <character>SCOTTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Say something, Alex. People in a coma can hear you. You're supposed to talk to them.</dialogue> <character>ALEXANDRA</character> <dialogue>Hi, Mom.</dialogue> <character>SCOTTIE</character> <dialogue>Tell her how you were drunk the other night. Tell her maybe you're an alcoholic.</dialogue> <character>ALEXANDRA</character> <dialogue>I guess it's in the genes.</dialogue> <character>MATT</character> <dialogue>Girls, be serious.</dialogue> <character>ALEXANDRA</character> <dialogue>Hi, Mom. Sorry for being bad. For wasting your money on expensive private schools. Money you could have used on facials and massages and sports equipment. Sorry for everything.</dialogue> <parenthetical>( looking at Matt . )</parenthetical> <dialogue>Sorry we were n't good enough for you - especially Dad.</dialogue> <character>MATT</character> <dialogue>Stop it. That's out of line.</dialogue> <character>ALEXANDRA</character> <dialogue>Or what? You going to ground me? Or ship me off to another boarding school? You going to give me a `` time out?''</dialogue> <character>MATT</character> <dialogue>Goddammit!</dialogue> <scene_description>Unable , in front of Scottie , to remind Alex that Elizabeth is dying , Matt grabs his older daughter and SPANKS her .</scene_description> <character>SCOTTIE</character> <dialogue>You got served!</dialogue> <character>MATT</character> <dialogue>Scottie, out in the hall.</dialogue> <character>SCOTTIE</character> <dialogue>She's the one out of line.</dialogue> <character>MATT</character> <dialogue>Go find Sid.</dialogue> <character>SCOTTIE</character> <dialogue>He's smoking. I should n't be around second - hand smoke.</dialogue> <character>MATT</character> <parenthetical>( raising his hand . )</parenthetical> <dialogue>Now!</dialogue> <scene_description>As Scottie runs outside -</scene_description> <character>ALEXANDRA</character> <dialogue>Did you just spank me?</dialogue> <character>MATT</character> <dialogue>You have no right to talk to your mother that way. She's going to die in a few days. What if those were your last words?</dialogue> <character>ALEXANDRA</character> <dialogue>I have every right to speak this way. I'm mad at her. How can you be so forgiving?</dialogue> <scene_description>Matt considers this . Of course she did n't see his recent outburst , and he 's not about to let on .</scene_description> <character>MATT</character> <dialogue>I'll be angry later. For now let's just think about the good parts. And do n't say that stuff in front of your sister. Do n't ruin her for Scottie. Say something else.</dialogue> <character>ALEXANDRA</character> <dialogue>Look, Mom, I know we fought a lot. But I always wanted to be like you. I am like you. I'm exactly like you. God, that came out so dramatic.</dialogue> <character>MATT</character> <dialogue>You are like her. Mostly in good ways. Maybe some bad ways. Remains to be seen.</dialogue> <scene_description>Sid saunters inside with Scottie in tow .</scene_description> <character>SID</character> <dialogue>I hear you got spanked. I hear all hell's breaking loose in here.</dialogue> <parenthetical>( approaching the bed . )</parenthetical> <dialogue>Hey, Mrs. K., howzit? I'm Sid, Alex's friend from Punahou, remember? Nice day outside. No clouds. Not too hot. You know what I think? Tough lady like you? I think you're going to make it. I mean, I'm no doctor. What do I know? But that's what I think.</dialogue> <scene_description>Matt squints at Sid . Is he stoned ?</scene_description> <character>SID</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm staying at your place to help Alex out. Do n't worry, Mr. K.'s got me on lockdown at night. And I met your dad - he packs a mean punch. Look at this.</dialogue> <parenthetical>( bringing his face closer . )</parenthetical> <dialogue>Wow. You're beautiful.</dialogue> <parenthetical>( to Alexandra . )</parenthetical> <dialogue>If you look anything like her when you're older, you're lucky. I mean, you know, not exactly like she is now. I mean in general.</dialogue> <scene_description>Sid turns back for a long look at Elizabeth .</scene_description> <character>SCOTTIE</character> <parenthetical>( looking at her phone . )</parenthetical> <dialogue>Reina just texted me! She's here visiting her grandma! Can she come visit?</dialogue> <character>MATT</character> <dialogue>Dammit, Scottie, no Reina.</dialogue> <character>SCOTTIE</character> <dialogue>But you said Thursday, and it's almost Thursday. I do n't get to see her in school anymore.</dialogue> <character>MATT</character> <dialogue>Not now.</dialogue> <character>SCOTTIE</character> <dialogue>I need her. Alex needs Sid. I need Reina.</dialogue> <scene_description>Matt looks at Alex , who in turn raises her eyebrows - what harm could it do ? LATER - Scottie pushes open the door , now accompanied by her friend REINA , 12 , who looks around as if the room is dirty . She wears a terry - cloth tennis skirt and hooded terry - cloth sweatshirt .</scene_description> <character>SCOTTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dad, this is Reina. Reina, that's my sister and Sid, and that's my mom on the bed.</dialogue> <character>REINA</character> <dialogue>Hi, everybody.</dialogue> <scene_description>Alex and Matt look at each other , bewildered . Scottie leads Reina to the bed and touches her mother 's shoulder .</scene_description> <character>REINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So this is your mother? I guess it's true. Should I shake her hand?</dialogue> <character>SCOTTIE</character> <dialogue>If you want.</dialogue> <character>REINA</character> <dialogue>No, thanks.</dialogue> <character>MATT</character> <dialogue>So, Reina, I hear your grandmother's not feeling well.</dialogue> <character>REINA</character> <dialogue>Yeah. It's pretty bad. She got her stomach operated on and then got some stupid infection or something. It's pretty gross.</dialogue> <character>MATT</character> <dialogue>Well, Reina, thanks for stopping by, and, here, Scottie, let me give you some money, and you two can go get an ice cream or something.</dialogue> <character>REINA</character> <dialogue>Too many carbs.</dialogue> <character>MATT</character> <dialogue>Carbs. Well, you could go to the cafeteria and get some lettuce.</dialogue> <character>REINA</character> <dialogue>That's okay. I'm done.</dialogue> <parenthetical>( to Scottie , on her way out . )</parenthetical> <dialogue>You are n't a liar after all.</dialogue> <character>SCOTTIE</character> <dialogue>Do n't you want to hang out?</dialogue> <character>REINA</character> <dialogue>No, I should go. I'll see you at the club. Hope your mom gets better.</dialogue> <scene_description>Exit Reina .</scene_description> <character>ALEXANDRA</character> <dialogue>Scottie, what'd she mean by `` You are n't a liar after all?'' What'd she think you were lying about?</dialogue> <character>SCOTTIE</character> <dialogue>She did n't believe Mom was sleeping.</dialogue> <character>ALEXANDRA</character> <dialogue>So you had to prove to that twat that Mom's in a coma? What the fuck is in your skull, a bunch of stupid pills?</dialogue> <character>SCOTTIE</character> <dialogue>Shut up, you motherless whore!</dialogue> <character>SID</character> <dialogue>Whoa, whoa, easy there, half - pipe.</dialogue> <character>MATT</character> <dialogue>Where'd you learn how to talk like that?</dialogue> <scene_description>Scottie points at Alex. Matt 's PHONE RINGS . He pulls it out to silence it but notices the CALLER ID - KAIMANA - PRUDENTIAL REAL ESTATE . He freezes . Sensing something , Alex calmly grabs the phone from him and glances at it .</scene_description> <character>ALEXANDRA</character> <dialogue>Hello? No, you've got the right number. This is his assistant Sharon. How may I help you?</dialogue> <scene_description>Alex listens . Scottie has no idea what 's going on , but it sure is fun .</scene_description> <character>SCOTTIE</character> <dialogue>Who is it?</dialogue> <character>ALEXANDRA</character> <dialogue>Oh, I see. And for how long? Uh - huh. Okay. So one or the other. I'll tell him. Mahalo.</dialogue> <scene_description>Alexandra hangs up , proud . Matt 's proud too .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That was Bonnie Tanaka, a realtor. She says Mr. Speer is on Kaua'i till the 18th, but she'd be happy to show you the house or you can stop by the open house on Sunday.</dialogue> </scene> <scene> <stage_direction>EXT. KING HOUSE - DAY</stage_direction> <scene_description>MANY CARS are parked outside .</scene_description> </scene> <scene> <stage_direction>INT/EXT. KING HOUSE - DAY</stage_direction> <scene_description>PLATTERS of sashimi , fruit , ahi poke and salads lie atop the antique koa dining room table . LONGTIME FRIENDS , 40s to 70s , mingle in the living room and around the pool . We spot Mark and Kai .</scene_description> </scene> <scene> <stage_direction>INT. KING KITCHEN - DAY</stage_direction> <scene_description>Matt is spacing out alone , perhaps mentally rehearsing his speech . Awkward teen BUZZ happens by .</scene_description> <character>BUZZ</character> <dialogue>Hi, Mr. King.</dialogue> <character>MATT</character> <dialogue>Hello, Buzz.</dialogue> <character>BUZZ</character> <dialogue>Sorry about Mrs. King. Hope she gets better real soon.</dialogue> <character>MATT</character> <dialogue>Thanks.</dialogue> <character>BUZZ</character> <dialogue>It really blows.</dialogue> <scene_description>Matt nods , swigs his drink . Buzz now feels emboldened to reveal the cocktail concealed behind his back .</scene_description> <character>BUZZ</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Please do n't tell my mom I'm drinking.</dialogue> <character>MATT</character> <dialogue>I wo n't.</dialogue> <character>BUZZ</character> <dialogue>Sometimes I steal beers from your outdoor fridge.</dialogue> <character>MATT</character> <dialogue>I know.</dialogue> <scene_description>Buzz slinks off .</scene_description> <character>MATT</character> <parenthetical>( PRE - LAP ; CONT 'D . )</parenthetical> <dialogue>You've all been asking about Elizabeth, and I've given vague answers. But the reason I've asked you all to come over today is to tell you.</dialogue> </scene> <scene> <stage_direction>INT. KING LIVING ROOM - DAY</stage_direction> <scene_description>Matt addresses the gathering .</scene_description> <character>MATT</character> <dialogue>that her coma is permanent. She's not going to make it. This week - tomorrow, in fact - as per her wishes, we're going to unhook her from life - support.</dialogue> <parenthetical>( holding for gasps . )</parenthetical> <dialogue>You all know Elizabeth - she always likes to do things on her own. Goddammit.</dialogue> <parenthetical>( almost losing it . )</parenthetical> <dialogue>I wanted to tell you all in person. You're all our dear friends, our best friends. And the girls and I appreciate so much all the ways you've helped these last few weeks - bringing food, calling.</dialogue> <character>ONE GUEST</character> <dialogue>Can we see her?</dialogue> <character>MATT</character> <dialogue>Yes, for God's sake, yes. That's the whole point. Go see her as soon as possible. That's what I wanted to tell you. It should be now, not after. Everyone who loves her deserves a chance to say goodbye.</dialogue> </scene> <scene> <stage_direction>EXT. KING HOUSE DRIVEWAY - DUSK OR NIGHT</stage_direction> <scene_description>Matt waves goodbye to the last guests as they drive off , then turns back toward his house . Halfway there , his exhaustion forces him to COLLAPSE onto the moist lawn . Sitting there , he comes to a REALIZATION - not one he wants , but he knows he must deal with it regardless .</scene_description> <character>ALEXANDRA</character> <parenthetical>( PRE - LAP . )</parenthetical> <dialogue>You've lost your mind.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S STUDY - NIGHT</stage_direction> <scene_description>Matt is catching up on WORK and has a DICTAPHONE in his hand . Alex hovers in the doorway .</scene_description> <character>ALEXANDRA</character> <dialogue>You mean him? Tell him to say goodbye?</dialogue> <character>MATT</character> <dialogue>I'll only be gone a day or so. I'll leave in the morning, and be back tomorrow night. If it takes another day, fine - I'll give it two days tops. If I do n't find him, at least I tried.</dialogue> <character>ALEXANDRA</character> <dialogue>Drop it, Dad. You've got way bigger fish to fry than confronting fucking Brian Speer. Are you recording this?</dialogue> <character>MATT</character> <dialogue>I'm summarizing a deposition.</dialogue> <character>ALEXANDRA</character> <dialogue>How can you work?</dialogue> <character>MATT</character> <dialogue>How can you go to a movie?</dialogue> <character>ALEXANDRA</character> <dialogue>To get Scottie out of the house. And you're going to tell him to come back and see Mom.</dialogue> <character>MATT</character> <dialogue>I think. I just think she would want him to know.</dialogue> <character>ALEXANDRA</character> <dialogue>Just call his office and say it's an emergency.</dialogue> <character>MATT</character> <dialogue>On the phone he can escape. In person he has nowhere to go. I want to see his face. I want to change his life.</dialogue> <scene_description>Alexander senses his resolve - it 's kind of refreshing , actually - then breaks into a wicked little smile .</scene_description> <character>ALEXANDRA</character> <dialogue>Then I want to go too.</dialogue> <character>MATT</character> <dialogue>No, you stay with Scottie.</dialogue> <character>ALEXANDRA</character> <dialogue>Fuck that. Let's all get out of town.</dialogue> </scene> <scene> <stage_direction>EXT. AIRPORT - DAY</stage_direction> <scene_description>A Hawaiian Airlines inter - island airplane takes off .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE - DAY</stage_direction> <scene_description>Matt sits isolated from his daughters and Sid across the aisle from him . INSERT - MAP OF THE ISLANDS A DOTTED LINE goes from Honolulu to Lihue .</scene_description> </scene> <scene> <stage_direction>EXT. KAUAI AIRPORT - DAY</stage_direction> <scene_description>Matt leads his daughters and Sid toward the rental car shuttle when -</scene_description> <character>COUSIN RALPH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yo, Matt King!</dialogue> <scene_description>Matt turns to see COUSIN RALPH loping over , briefcase in hand . Like Matt , he wears the island businessman 's uniform - Khakis and a Reyn 's Spooner shirt . Grinning and nodding , Cousin Ralph gives Matt a back - slap hug and greets Scottie and Alexandra , whose names he clearly forgets .</scene_description> <character>COUSIN RALPH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whatcha doing here?</dialogue> <character>MATT</character> <dialogue>Just came over for a day or two.</dialogue> <character>COUSIN RALPH</character> <dialogue>Yeah, I just got back from Kahului. A little business over there.</dialogue> <character>MATT</character> <dialogue>Yeah.</dialogue> <character>COUSIN RALPH</character> <dialogue>All right. So you here to talk to some of the cousins? Make sure everybody's happy with your choice? Pay your respects to Cousin Hugh?</dialogue> <scene_description>Matt 's smiles to cover the fact that he has n't actually been thinking about this stuff .</scene_description> <character>MATT</character> <dialogue>No, no, nothing like that. Just a little holoholo. Get the kids out of town.</dialogue> <character>COUSIN RALPH</character> <dialogue>But it is Holitzer, right? We all know it's Holitzer. Cousin Hugh wants him, they go way back. I got my misgivings, though. It's not the highest bid by a longshot. There's an argument to be made for maxing it out. We only do this once in a lifetime. And in this economy -</dialogue> <character>MATT</character> <dialogue>Yeah, no, I know. I want to work with you guys, Ralph, I really do. Whatever the majority wants, I'll go along with it. Let's just get it over with.</dialogue> <character>COUSIN RALPH</character> <dialogue>How's Elizabeth doing? She going to be okay?</dialogue> <character>MATT</character> <dialogue>The same.</dialogue> <character>COUSIN RALPH</character> <dialogue>Well, she's a tough gal. She'll be okay. Yeah. Say, where you going, Hanalei?</dialogue> <character>MATT</character> <dialogue>Yeah, Princeville.</dialogue> <character>COUSIN RALPH</character> <dialogue>Come on. I'll give you a ride.</dialogue> </scene> <scene> <stage_direction>EXT. COUSIN RALPH'S JEEP - DAY</stage_direction> <scene_description>It 's an open jeep with bad shocks , and Cousin Ralph drives fast . The passengers hold on , their hair blown back .</scene_description> <character>MATT</character> <dialogue>Hey, Ralph.</dialogue> <character>COUSIN RALPH</character> <dialogue>Yeah.</dialogue> <character>MATT</character> <dialogue>Turn off over here. Let's go see the land.</dialogue> <character>COUSIN RALPH</character> <dialogue>Take a last look, huh?</dialogue> <character>MATT</character> <dialogue>You got time?</dialogue> <character>COUSIN RALPH</character> <dialogue>I got nothing but time.</dialogue> </scene> <scene> <stage_direction>EXT. TURNOFF POINT - DAY</stage_direction> <scene_description>Cousin Ralph makes a turn and heads inland .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction> <scene_description>The Jeep stops at a FENCE , where a HERD OF CATTLE graze on the other side . Matt jumps out to let the jeep through .</scene_description> <character>RALPH</character> <dialogue>I think this is where a golf course is going to be. They want the golf course to rival Pebble Beach, you know, bring in the big boys.</dialogue> </scene> <scene> <stage_direction>EXT. BUMPY ACCESS ROAD - DAY</stage_direction> <scene_description>The Jeep ascends through pastoral countryside .</scene_description> </scene> <scene> <stage_direction>EXT. LOOKOUT POINT - DAY</stage_direction> <scene_description>The Jeep stops at the overlook of an astonishingly beautiful swath of land extending from hilltop to bay . All get out , walk to the edge , look out .</scene_description> <character>SID</character> <dialogue>Are you shitting me? You guys own all this land?</dialogue> <character>MATT</character> <dialogue>Not personally. It belongs to a trust. But yeah, it's ours for a few more days.</dialogue> <character>RALPH</character> <dialogue>The other side of that ridge too. You ca n't see it from here. It's like this, but a little flatter and does n't have as nice a bay.</dialogue> <character>SID</character> <dialogue>This is outrageous.</dialogue> <character>COUSIN RALPH</character> <parenthetical>( pointing , to Matt . )</parenthetical> <dialogue>Yep. Big resort there on that point. Commercial area over there, houses all through there. I think they should put in a big zip - line. Hell, we should have put in a zip - line.</dialogue> <scene_description>All continue to ogle this awe - inspiring sight .</scene_description> <character>RALPH</character> <dialogue>Of course, part of me agrees with the cousins who do n't want to sell. They're going to make a pretty big stink at the meeting.</dialogue> <character>MATT</character> <dialogue>I know, but we have to sell. The trust has to dissolve in seven years, and if we have n't sold, it'll be a huge mess. Selling now and distributing the cash is the only clean way to do it.</dialogue> <character>RALPH</character> <dialogue>But it's a shame, yeah? On the other hand, hey, it's just sitting there. No one's using it. At least this way the whole world will be able to enjoy it.</dialogue> <character>MATT</character> <parenthetical>( to his daughters . )</parenthetical> <dialogue>Take a good look, girls. In the old days, this was part of your great - great grandmother's inheritance going all the way back to Kamehameha I.</dialogue> <scene_description>With them , we look across this land , vivid and verdant .</scene_description> <character>ALEXANDRA</character> <dialogue>Down there is where Mom and I would camp.</dialogue> <character>MATT</character> <dialogue>We all did, all our lives. A lot of memories.</dialogue> <character>SCOTTIE</character> <dialogue>What about me? I want to camp. I wish we lived in the old days.</dialogue> <character>ALEXANDRA</character> <dialogue>We do. We still do.</dialogue> <parenthetical>( to Matt . )</parenthetical> <dialogue>Do we really have to sell?</dialogue> <character>MATT</character> <dialogue>Doing anything else would get extremely complicated. A lot of your cousins just want the money. Everything has its time.</dialogue> <character>SCOTTIE</character> <dialogue>I want us to keep it!</dialogue> <scene_description>Matt looks over at Scottie , then at Alexandra . It 's clear that Alexandra is moved by this sight .</scene_description> <character>SID</character> <dialogue>Can you like specify what businesses they'll put here? Because you should totally get a Cheesecake Factory. Only one so far's in Waikiki, and it's awesome. You definitely need a Cheesecake Factory. And Taco John's.</dialogue> <scene_description>MOMENTS LATER - The Kings approach a nearby MONUMENT commemorating `` John Lowell `` Keoni '' King . 1899 - 1974 . The plaque depicts a smiling man atop a horse .</scene_description> <character>MATT</character> <parenthetical>( to the girls . )</parenthetical> <dialogue>My grandfather. He really loved this place. So did your mother. So does your mother.</dialogue> </scene> <scene> <stage_direction>EXT. COUSIN RALPH'S JEEP - DAY</stage_direction> <scene_description>Cousin Ralph turns off the Kuhio Highway and into PRINCEVILLE , which greets visitors with an immense faux - Italian FOUNTAIN .</scene_description> </scene> <scene> <stage_direction>EXT. PRINCEVILLE - DAY</stage_direction> <scene_description>Passing through this immense development , Matt notices the names of the condo complexes : The Sand Piper , The Island Tropic , etc. . And he observes TOURISTS along the edge of the golf course , with their visors and fanny packs .</scene_description> </scene> <scene> <stage_direction>EXT. ST. REGIS HOTEL FRONT DOORS - DAY</stage_direction> <scene_description>Ralph drops our friends off .</scene_description> </scene> <scene> <stage_direction>INT. ST. REGIS HOTEL LOBBY - DAY</stage_direction> <scene_description>Alex and Sid slump against a marble pillar . Scottie has taken her shoes off to slide across the shiny floor . AT THE FRONT DESK -</scene_description> <character>CLERK</character> <dialogue>Here's your credit card back, Mr. King. And how many keycards will you be needing today for your deluxe suite?</dialogue> <character>MATT</character> <dialogue>Let's say three. By the way. I'm supposed to meet a buddy of mine I think is staying here. Brian Speer. S - P - E - E - R.</dialogue> <character>CLERK</character> <parenthetical>( checking computer . )</parenthetical> <dialogue>I'm not showing anyone by that name.</dialogue> <character>MATT</character> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL SUITE - DAY</stage_direction> <scene_description>Moving in . LATER - Matt is on the telephone , nodding gravely .</scene_description> <character>MATT</character> <dialogue>No, I understand. Okay. Thanks.</dialogue> <scene_description>Matt hangs up , blinks a few times , spaces out a moment . Then he slides open the glass door to the -</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL SUITE LANAI - DAY</stage_direction> <scene_description>- where he finds Alexandra smoking .</scene_description> <character>MATT</character> <dialogue>Put that out, will you please?</dialogue> <scene_description>Alex shoots him a look , then stamps out the butt on the bottom of her shoe .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You could at least smoke lights. Like Sid.</dialogue> <character>ALEXANDRA</character> <dialogue>I could.</dialogue> <character>MATT</character> <dialogue>Just got off the phone with Dr. Johnston. They did what they had to do a couple hours ago. They've moved her to another floor. They say she seems comfortable, still breathing on her own. She's doing okay.</dialogue> <scene_description>Alexandra nods at this news and looks off . Matt joins her in gazing out at Hanalei Bay .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So how are you doing, Alex?</dialogue> <character>ALEXANDRA</character> <dialogue>What do you mean? You mean considering Mom's. circling the drain?</dialogue> <character>MATT</character> <dialogue>No, I mean other than that. In general. You have n't been using, have you?</dialogue> <character>ALEXANDRA</character> <dialogue>No, Jesus, I'm not using.</dialogue> <character>MATT</character> <dialogue>Not at all? I smell pot all the time on Sid.</dialogue> <character>ALEXANDRA</character> <dialogue>That's Sid.</dialogue> <character>MATT</character> <dialogue>So you just stopped? Really?</dialogue> <character>ALEXANDRA</character> <dialogue>Look, Dad, it's no big deal. Kids do drugs and they stop. Unless they're like super - ghetto. And you sent me to boarding school, remember? I could n't get anything anymore. So no, I'm not doing any drugs. But I still think they're fun. Okay, maybe a little pot once in a while.</dialogue> <character>MATT</character> <dialogue>And a little drinking.</dialogue> <scene_description>She ca n't deny that .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why are you being so honest?</dialogue> <character>ALEXANDRA</character> <dialogue>Mom's dying.</dialogue> <character>MATT</character> <dialogue>Yeah, well, I'm proud of you.</dialogue> <character>ALEXANDRA</character> <dialogue>Not much to be proud of.</dialogue> <character>MATT</character> <dialogue>Yeah, there is. We shipped you off. Let them handle it. And now you're here, helping with Scottie, helping me. Thanks.</dialogue> <character>ALEXANDRA</character> <dialogue>You want to know what really pisses me off? That she would n't end it. Not even when she knew she was busted. How are we supposed to feel about that?</dialogue> <character>MATT</character> <dialogue>I guess she really liked him.</dialogue> <character>ALEXANDRA</character> <dialogue>So how are we going to find this guy, Sherlock?</dialogue> <character>MATT</character> <dialogue>Right. Well, why do n't you two take Scottie to the beach? I'm going to call around a little. We're on an island, for Christ's sake. Everything's just one degree of separation.</dialogue> <character>ALEXANDRA</character> <parenthetical>( getting up . )</parenthetical> <dialogue>We'll find him.</dialogue> </scene> <scene> <stage_direction>EXT. ST. REGIS BEACH - DAY</stage_direction> <scene_description>Matt scans the BEACH as he ambles toward Sid and his daughters lying on towels . Scottie is snuggled close to Sid . Matt notices LUMPS OF SAND stuffed into Scottie 's bikini top .</scene_description> <character>MATT</character> <dialogue>Hey, what's in your suit?</dialogue> <character>SCOTTIE</character> <dialogue>They're my beach boobs.</dialogue> <character>MATT</character> <dialogue>Take that out. Right now. Alex, Jesus, why'd you let her do that? You too, Sid.</dialogue> <scene_description>Lying on her stomach , Alex lifts her head .</scene_description> <character>ALEXANDRA</character> <dialogue>I do n't know. Take them out, stupid.</dialogue> <character>SID</character> <dialogue>Yeah, Scottie. Honestly. Big boobs look kind of fatty.</dialogue> <scene_description>Scowling , Scottie gets up and starts pulling the sand out of her suit as she stomps toward the water .</scene_description> <character>ALEXANDRA</character> <dialogue>Any luck?</dialogue> <character>MATT</character> <dialogue>The hotels were a dead end, but I took another shot with his office. He's definitely in Hanalei renting a house somewhere - probably one of those cottages around the bay. Who wants to go for a walk?</dialogue> <character>SID</character> <dialogue>Sounds good.</dialogue> <scene_description>Matt grimaces - not whom he was hoping for . Alex ties the straps of her bikini and flips over .</scene_description> <character>ALEXANDRA</character> <dialogue>Yeah, let's go. Scottie!</dialogue> <scene_description>MOMENTS LATER - Our friends weave their way among BEACH - GOERS . Matt has thought to bring along a print - out of Brian Speer 's PHOTO , which he and Alex glance at discreetly . Sid trails behind .</scene_description> <character>SCOTTIE</character> <parenthetical>( catching up to Matt . )</parenthetical> <dialogue>Can we swim with the sharks? I read in the hotel magazine how they put you in a cage in the ocean and throw shark feed in the water and sharks swim right up to you. Can we do that?</dialogue> <character>ALEXANDRA</character> <dialogue>Scottie, we're not really here to do stuff like that.</dialogue> </scene> <scene> <stage_direction>EXT. HANALEI BAY - PINE TREES - DAY</stage_direction> <scene_description>The sun approaches the horizon . Father , daughters and Sid have walked past people and houses . Now they 're walking just to be walking . We see them from a distance , although we hear them very close .</scene_description> <character>SCOTTIE</character> <dialogue>How'd you and Mom meet?</dialogue> <character>MATT</character> <dialogue>I was with a law school buddy from the mainland, and I took him to the club. We were just coming in from paddling, and your mom was on her way out, and she looked at me and said, `` Do you think it's going to snow today?'' We all got beers when she came back in. I had already seen her around. That was it. I got her number.</dialogue> <character>SCOTTIE</character> <dialogue>Did you think she was pretty?</dialogue> <character>MATT</character> <dialogue>She knocked me out.</dialogue> <character>SCOTTIE</character> <dialogue>What do you love about her?</dialogue> <character>MATT</character> <dialogue>I love. I do n't know. The way we are with each other, most of the time, anyway. I love how she's more capable of feeling joy than anyone I've ever known. I just like being with her, just riding bikes or going out to dinner, even if it's just a plate lunch at Rainbow's. Years ago we used to do a lot of paddling together.</dialogue> <character>ALEXANDRA</character> <dialogue>Can we drop this? Jesus.</dialogue> <parenthetical>( mimicking . )</parenthetical> <dialogue>`` What do you love about Mom, Daddy?'' Shut up, already.</dialogue> <parenthetical>( to Matt . )</parenthetical> <dialogue>And stop babying her.</dialogue> <character>MATT</character> <dialogue>Easy, Alex. We're just talking.</dialogue> </scene> <scene> <stage_direction>EXT. HANALEI BAY FOREST AREA - LATE AFTERNOON</stage_direction> <scene_description>Our friends continue walking , this time amid THICK TREES along the shoreline . Again we see them from afar .</scene_description> <character>MATT</character> <dialogue>Your mom got chased by a shark once. Very close call.</dialogue> <character>ALEXANDRA</character> <dialogue>When was that?</dialogue> <character>MATT</character> <dialogue>We were on Moloka'i with Mark and Kai, and your mom was out surfing and saw a shark right beneath her on a wave. Like right beneath her. She got down on her stomach and started paddling like crazy, and this big fin kept following her. She even paddled up onto the nearest rocks instead of all the way to shore. Got cuts all over her legs and hands. Only time I ever saw your mother scared, and she was really scared. She even threw up. Crying and shaking. I had to hold her for a long time. She really thought she was going to die. Of course she hid all that from the Mitchells, turned it into a funny `` Me - versus - a - shark'' story. I told her.</dialogue> <character>ALEXANDRA</character> <dialogue>Yeah?</dialogue> <character>MATT</character> <dialogue>I told her it was n't her time yet.</dialogue> <scene_description>They continue in silence a few moments .</scene_description> <character>SCOTTIE</character> <dialogue>I wish Mom was here.</dialogue> </scene> <scene> <stage_direction>EXT. ST. REGIS HOTEL BEACH AREA - LATE AFTERNOON</stage_direction> <scene_description>The sun is now very low on the horizon as our friends make their way back to the hotel . Again we see them from a distance .</scene_description> <character>MATT</character> <dialogue>I'll ask you that same question, Scottie. What do you love about Mom?</dialogue> <character>SCOTTIE</character> <dialogue>Lots of stuff. She's not old and ugly like other moms. I like her stories - like how she streaked at the wedding and the time she beat a wild pig with a shoe. How about you, Alex?</dialogue> <character>ALEXANDRA</character> <dialogue>Why are we still talking about this?</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>I like how she's not afraid of anything.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL SUITE SITTING ROOM - NIGHT</stage_direction> <scene_description>The four are splayed out watching TV amid the messy remains of ROOM SERVICE DINNER . Alexandra and Scottie wield the REMOTE and stumble upon the channels promoting direct - access ADULT MOVIES .</scene_description> <character>SCOTTIE</character> <dialogue>Let's watch one of these!</dialogue> <character>ALEXANDRA</character> <dialogue>We're not watching porn.</dialogue> <character>SCOTTIE</character> <dialogue>Reina's dad watches pornos. Reina calls them masturbation movies. Her dad has some. She plays them when her parents are n't home and one time invited boys over to see if they grew down there. One did.</dialogue> <character>SID</character> <dialogue>Reina's awesome.</dialogue> <character>MATT</character> <dialogue>Were you there? Have you seen any of those movies?</dialogue> <character>SCOTTIE</character> <dialogue>No.</dialogue> <character>ALEXANDRA</character> <dialogue>You've got to watch her with the internet. And Reina's dad. Scottie, Reina is a fucked - up ho - bag, and you need to stay away from her. Do you want to end up like me?</dialogue> <character>SCOTTIE</character> <dialogue>Yes.</dialogue> <character>ALEXANDRA</character> <dialogue>I mean the earlier me, when I was mean to you and yelling at mom all the time.</dialogue> <character>SCOTTIE</character> <dialogue>No.</dialogue> <character>ALEXANDRA</character> <dialogue>Well, Reina's going to be a meth - head, and she's going to get used by stupid guys. She's a twat. Say it.</dialogue> <character>SCOTTIE</character> <dialogue>She's a twat.</dialogue> <parenthetical>( running across the room . )</parenthetical> <dialogue>Twat, twat, twat, twat!</dialogue> <character>MATT</character> <dialogue>Stop that!</dialogue> <parenthetical>( to Alexandra . )</parenthetical> <dialogue>I do n't get it. I do n't know what to do. these things she does. What goes on in her head? You were n't like that.</dialogue> <character>ALEXANDRA</character> <dialogue>It'll go away.</dialogue> <character>MATT</character> <dialogue>I'm not so sure. I mean, look how you kids talk in front of me. It's like you do n't respect authority.</dialogue> <scene_description>Alex looks at him - authority ?</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SUITE BEDROOM - NIGHT</stage_direction> <scene_description>Matt tosses and turns , gets up and goes to the bathroom . MOMENTS LATER - Exiting the bathroom , he decides he should make a routine inspection and wanders into -</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SUITE SITTING ROOM - CONTINUOUS</stage_direction> <scene_description>- where he eyes a lump on the FOLD - OUT BED . He creeps up when Sid awakens .</scene_description> <character>SID</character> <dialogue>Hey, what's up?</dialogue> <character>MATT</character> <dialogue>Hi.</dialogue> <character>SID</character> <dialogue>Checking on me or something?</dialogue> <scene_description>A sheepish look on his face , Matt takes a seat on the edge of the bed .</scene_description> <character>MATT</character> <dialogue>I do n't, uh. I have n't been sleeping very much lately.</dialogue> <character>SID</character> <dialogue>Understandable.</dialogue> <character>MATT</character> <dialogue>I'm worried about my daughters. I'm worried there's something wrong with them.</dialogue> <character>SID</character> <dialogue>I used to do some messed - up shit when I was a kid. Still do. It's going to get worse after your wife dies.</dialogue> <character>MATT</character> <dialogue>What does Alex really think about this stuff that's going on? What does she say?</dialogue> <character>SID</character> <dialogue>She does n't.</dialogue> <character>MATT</character> <dialogue>What do you mean? I thought she talks to you all the time.</dialogue> <character>SID</character> <dialogue>We do n't really talk about our like `` issues.'' We just, I do n't know, we deal with our shit by talking about other stuff and having a good time.</dialogue> <character>MATT</character> <dialogue>What would you do if you were me? How would you handle my daughters? How would you handle. the situation of this guy we're trying to find?</dialogue> <scene_description>Matt ca n't believe what he just asked , but he 's desperate for clues from even the unlikeliest source .</scene_description> <character>SID</character> <dialogue>I told you what I'd do - I'd lay his nuts on a dresser and hit ` em with a spiked bat. With the daughters, I do n't know. I'd take them on a trip. Or no, I'd buy ` em a bunch of shit. Like with all the money you're going to get when you sell the land - you're going to make stupid money, right? - dude, you could buy them anything.</dialogue> <scene_description>Matt questions his sanity at having asked Sid any advice .</scene_description> <character>MATT</character> <dialogue>Do you want some of it? Some money?</dialogue> <character>SID</character> <dialogue>Sure.</dialogue> <character>MATT</character> <dialogue>If I gave you a lot of money right now, tonight, would you leave?</dialogue> <character>SID</character> <dialogue>Why would I leave?</dialogue> <character>MATT</character> <dialogue>No, Sid, I'm asking you a favor. If I give you money, will you leave?</dialogue> <character>SID</character> <dialogue>Oh. I get it. Is that what you want? You want me to go?</dialogue> <character>MATT</character> <dialogue>I guess not.</dialogue> <character>SID</character> <dialogue>Look, dude, you're right. If I had daughters, I would n't know what to do. Exchange them for sons, I guess.</dialogue> <character>MATT</character> <dialogue>Then I might wind up with something like you.</dialogue> <character>SID</character> <dialogue>I'm not so bad. I'm smart.</dialogue> <character>MATT</character> <dialogue>You're about a hundred miles away from Smartville. No offense.</dialogue> <character>SID</character> <dialogue>You're mistaken, counselor. I'm smart. I have good hygiene. I'm an decent guitarist, a good cook. I cook food all the time. I'm vice - president of the Punahou chess club. And I always have weed.</dialogue> <character>MATT</character> <dialogue>I'm sure your parents are proud.</dialogue> <character>SID</character> <dialogue>It's possible. My mom's sort of busy right now.</dialogue> <character>MATT</character> <dialogue>What does she do, your mom?</dialogue> <character>SID</character> <dialogue>She's a receptionist at a pet clinic. But mostly she's been getting the house together after my dad died. My dad died a few months ago.</dialogue> <scene_description>At first refusing to fall for it , Matt sees this is no prank .</scene_description> <character>SID</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>November 24th. Drunk driver. Actually both drivers were drunk. Yeah.</dialogue> <scene_description>Sid smiles and nods as though to make Matt feel better about the sad news he just shared .</scene_description> <character>MATT</character> <dialogue>Goodnight, Sid. I'll see you tomorrow.</dialogue> <character>SID</character> <dialogue>Goodnight, boss.</dialogue> </scene> <scene> <stage_direction>EXT. HANALEI BAY - DAWN</stage_direction> <scene_description>SUNRISE . Matt JOGS along the nearly empty beach - just a few surf FISHERMAN and PADDLERS . He 's clearly out of shape but makes a good effort . ANOTHER GUY jogs toward Matt wearing a `` Stanford Lacrosse '' T - shirt and running shorts with long slits up the sides . BRIAN SPEER ! They pass each other . Matt continues on a moment in disbelief , then TURNS AROUND and follows . His strides long and efficient , Brian gives Matt a run for his money . Soon Brian cuts up the beach toward one of the COTTAGES that line the bay . Matt follows , awkwardly trying to appear nonchalant .</scene_description> <character>MATT</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Hi, you do n't know me, but I know you. Hi, you do n't know me, but I know you. Brian Speer, right? Hi, I'm Liz's husband. That's right. Fuckface.</dialogue> <scene_description>Brian disappears up a little PATH through a HEDGE . Matt quickens his pace toward -</scene_description> </scene> <scene> <stage_direction>EXT. HANALEI BEACH COTTAGE - CONTINUOUS</stage_direction> <scene_description>- where he spies on Brian walking across a wide lawn toward a lovely OLD COTTAGE .</scene_description> <character>MATT</character> <dialogue>Hi. You do n't know me, but I know you.</dialogue> <scene_description>Brian disappears inside , emerging moments later chugging GATORADE . Courage gathered , Matt is about to charge forward when he stops short - the door opens again , and out comes a beautiful WOMAN in a white bathing suit and white sun hat . Then two LITTLE BOYS . Fucker 's got a family . Not the right moment .</scene_description> </scene> <scene> <stage_direction>EXT. HANALEI BAY - DAY</stage_direction> <scene_description>The sun is higher , and the BEACH is growing populated . Matt sits on the sand , glancing occasionally back toward the cottage . Next to him lie his daughters and Sid . Suddenly TWO BOYS - Brian 's kids - come running through the hedge and past Matt on their way into the water . Matt turns around to see Brian 's wife JULIE SPEER dutifully trailing behind .</scene_description> <character>JULIE</character> <dialogue>Stay in the zone, please! That means you, Skylar. And you too, Colt.</dialogue> <character>MATT</character> <parenthetical>( low . )</parenthetical> <dialogue>Skylar and Colt?</dialogue> <scene_description>Matt watches the little boys flop into the surf . Mrs. Speer follows , wading in up to her calves . Matt stands to look whether Brian is coming down to the beach too . No such luck .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Alex. ) I 'll be right back .</parenthetical> <dialogue /> <scene_description>Matt gets to his feet , brushes off sand , and walks casually toward Mrs. Speer , maintaining a comfortable distance . Alexandra watches . IN THE SURF - Matt takes up a casual stance near Mrs. Speer and pretends to look out at the water , just hanging out . Mrs. Speer continues to keep a watchful eye on her boisterous boys .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Looks like you got yourself a handful with those two.</dialogue> <character>JULIE</character> <dialogue>Yeah.</dialogue> <character>MATT</character> <dialogue>Must keep you pretty busy.</dialogue> <character>JULIE</character> <dialogue>They're pretty non - stop, but they're at a really fun age.</dialogue> <character>MATT</character> <dialogue>How old are they?</dialogue> <character>JULIE SPEER</character> <dialogue>Eight and ten.</dialogue> <character>MATT</character> <parenthetical>( pointing . )</parenthetical> <dialogue>I have two girls. Ten and seventeen. That whole non - stop thing. That never changes.</dialogue> <character>JULIE SPEER</character> <dialogue>You guys live here?</dialogue> <character>MATT</character> <dialogue>We live on O'ahu.</dialogue> <character>JULIE SPEER</character> <dialogue>Oh, so do we.</dialogue> <character>MATT</character> <dialogue>Yeah, I'm just getting my girls out of town for a couple days. Their, uh, their mother is in the hospital, so I thought I'd give them a little break.</dialogue> <character>JULIE</character> <dialogue>Oh, no.</dialogue> <character>MATT</character> <dialogue>She'll be fine.</dialogue> <character>JULIE</character> <dialogue>What's wrong? If you do n't mind my asking.</dialogue> <character>MATT</character> <dialogue>Just a little boating accident. Hit her head a little too hard.</dialogue> <scene_description>Does Julie recognize any of this , or even recognize him ? Does n't seem like it .</scene_description> <character>JULIE</character> <dialogue>A sailboat? Or one with a motor?</dialogue> <character>MATT</character> <parenthetical>( laughs , then - . )</parenthetical> <dialogue>One with a motor.</dialogue> <scene_description>She 's actually sort of charming , this Julie Speer .</scene_description> <character>JULIE</character> <dialogue>Well, good luck with that. I wish her well. Skylar, do n't go so far!</dialogue> <character>MATT</character> <dialogue>You guys staying in one of the cottages over there?</dialogue> <character>JULIE</character> <dialogue>Yes, my husband had to come here for work, so we thought we'd all make a little vacation of it. He knows the owner, so -</dialogue> <character>MATT</character> <dialogue>Hugh King.</dialogue> <character>JULIE</character> <dialogue>That's right.</dialogue> <character>MATT</character> <dialogue>He's my cousin.</dialogue> <character>JULIE</character> <dialogue>Oh. Then you probably know my husband. Brian Speer?</dialogue> <scene_description>That hangs there a moment . Matt suppresses the sudden desire to spill the beans .</scene_description> <character>MATT</character> <dialogue>No, ca n't say as I do.</dialogue> <character>JULIE</character> <dialogue>Oh, I just assumed, since he's been -</dialogue> <character>SCOTTIE</character> <dialogue>Dad! Dad, come here! Something bit me!</dialogue> <scene_description>Matt looks over to see Scottie very agitated about something .</scene_description> <character>MATT</character> <dialogue>Excuse me. Nice talking to you.</dialogue> <character>JULIE</character> <dialogue>You too. Take care.</dialogue> <scene_description>Matt trots off . A MONTAGE - Images of Hanalei as the sun begins to set over the magnificent taro fields . Wind rustles the trees . Mist falls into the valley .</scene_description> <character>MATT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>How can I forgive her for loving someone else? Did she even know about his family? Was she that in love? Does she miss him from her coma? Does she wish he could be with her and not me?</dialogue> </scene> <scene> <stage_direction>EXT. HANALEI TOWN - DUSK</stage_direction> <scene_description>Our friends walk along roadside tourist shops toward -</scene_description> </scene> <scene> <stage_direction>INT. TAHITI NUI RESTAURANT - DUSK</stage_direction> <scene_description>A lived - in hangout with a wood interior , woven mats on the walls , and tables carved into with steak knives . A UKULELE CLUB jams in a corner . As our foursome enter the joint , Matt notices - COUSIN HUGH yucking it up at the BAR with other REGULARS .</scene_description> <character>MATT</character> <parenthetical>( to Alexandra . )</parenthetical> <dialogue>There's Cousin Hugh. Get us a table. Order me something.</dialogue> <character>ALEXANDRA</character> <dialogue>Like what?</dialogue> <character>MATT</character> <dialogue>Anything.</dialogue> <scene_description>AT THE BAR - Matt wedges his way in beside his third cousin , who despite his booziness and very local flavor is nonetheless a King family patriarch .</scene_description> <character>COUSIN HUGH</character> <dialogue>Heeey! Mattie - boy! What are you doing here? I did n't expect to see you until the meeting.</dialogue> <scene_description>He looks over his shoulder to see whom Matt might have come in with .</scene_description> <character>COUSIN HUGH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is that?</dialogue> <character>MATT</character> <dialogue>Yeah, Scottie and Alex.</dialogue> <character>COUSIN HUGH</character> <dialogue>Big girls now! So what are you doing here, man?</dialogue> <character>MATT</character> <dialogue>Just getting the girls out of the hospital for a couple days, you know, change of scenery.</dialogue> <character>COUSIN HUGH</character> <dialogue>Yeah, boy, what you've been going through. That's a tough deal.</dialogue> <parenthetical>( taking a drink . )</parenthetical> <dialogue>But Elizabeth, hey, she's, she's a tough gal, I'll tell you that. A fighter. She'll make it. Get you a drink?</dialogue> <character>MATT</character> <dialogue>Sure, what're you having?</dialogue> <character>COUSIN HUGH</character> <dialogue>Barney, an old - fashioned for my cousin here. Nice to see you, Matt. How you been otherwise?</dialogue> <character>MATT</character> <dialogue>Not much otherwise. Between our business and the hospital, you know, I've just trying to keep my head above water. So listen, I see you have some people staying in the cottage.</dialogue> <character>COUSIN HUGH</character> <dialogue>Oh, hey, Mattie, if I'd known you were coming, I coulda -</dialogue> <character>MATT</character> <dialogue>No, no, no, I'm just wondering about the guy you're renting to. I think his name is Brian Speer.</dialogue> <character>COUSIN HUGH</character> <dialogue>Yeah, yeah, real determined son - of - a - bitch. He's Lou's sister's. No, wait. Lou has a sister, and the sister's husband. Lou's brother - in - law is cousins with that guy.</dialogue> <character>MATT</character> <dialogue>Huh? Who's Lou?</dialogue> <character>COUSIN HUGH</character> <dialogue>No, wait. You mean the cottages on the bay or the cottage back by the trail?</dialogue> <character>MATT</character> <dialogue>The bay. The guy with the wife and two boys.</dialogue> <character>COUSIN HUGH</character> <dialogue>Yeah, that's right. Determined son - of - a - bitch. Anyway, the point is the guy we're doing business with is that guy's brother - in - law. Works for him.</dialogue> <character>MATT</character> <dialogue>Brian Speer.</dialogue> <character>COUSIN HUGH</character> <dialogue>That's the guy.</dialogue> <character>MATT</character> <dialogue>What do you mean, the guy we're doing business with?</dialogue> <character>COUSIN HUGH</character> <dialogue>Who do you think? Don Holitzer.</dialogue> <character>MATT</character> <dialogue>Holitzer.</dialogue> <character>COUSIN HUGH</character> <dialogue>That's what I'm saying. That's Don's brother - in - law in the cottage. You do n't know him? I would have thought you'd know him. He's a realtor over by you. So if we sell to Don - and that's what we're going to do, right? That's what you want too. Nice guy, Don. He'll do right by us. Then when Don develops and re - sells and leases and all that -</dialogue> <character>MATT</character> <dialogue>Yeah, yeah -</dialogue> <character>COUSIN HUGH</character> <dialogue>He's letting this brother - in - law in the cottage handle the transactions. A lot of them, anyway. Big score for that guy.</dialogue> <scene_description>It takes a moment for this stone to drop to the bottom of Matt 's well .</scene_description> <character>MATT</character> <dialogue>What's he like?</dialogue> <character>COUSIN HUGH</character> <dialogue>Who?</dialogue> <character>MATT</character> <dialogue>Brian Speer - what else do you know about him?</dialogue> <character>COUSIN HUGH</character> <dialogue>Not much. He's lucky. The bugga's lucky. His sister is married to the guy. Son - of - a - bitch is going to make a shitload of money on commissions.</dialogue> <character>MATT</character> <dialogue>Not if we do n't go with that bid.</dialogue> <scene_description>Cousin Hugh 's eyes emerge momentarily from their drunken fog to give Matt a firm , steely warning .</scene_description> <character>COUSIN HUGH</character> <dialogue>We all want Don. You do too, Matt. You've said as much.</dialogue> <character>MATT</character> <dialogue>No, I know. You're right. Okay. Well. Good to see you, Hugh.</dialogue> <character>COUSIN HUGH</character> <dialogue>You too.</dialogue> <character>MATT</character> <dialogue>See you at the meeting.</dialogue> <character>COUSIN HUGH</character> <dialogue>I'll be there.</dialogue> <scene_description>TRACK TO THE TABLE firmly on MATT 'S FACE as he processes this horrifying news delivered so casually . AT THE TABLE - Matt takes a seat . Scottie and Sid eat fried appetizers . Alexandra just sits watching the musicians .</scene_description> <character>SID</character> <dialogue>This place rocks.</dialogue> <character>SCOTTIE</character> <dialogue>Totally.</dialogue> <character>ALEXANDRA</character> <dialogue>We ordered you mahi.</dialogue> <character>MATT</character> <parenthetical>( low . )</parenthetical> <dialogue>Great.</dialogue> <scene_description>The music grows more frenetic . Matt looks around the room , alienated from everything - from the fried food and the tourists , from the umbrellas in the drinks , from his daughters enjoying the music and this cretin called Sid . Why ca n't a nuclear bomb blow the whole island up right now ?</scene_description> </scene> <scene> <stage_direction>EXT. THE ROAD BY THE BAY - SUNSET</stage_direction> <scene_description>The light is swiftly fading , and our heroes are little more than SILHOUETTES as they walk back to the hotel . Sid and Scottie talk and laugh together . Alex walks with her father .</scene_description> <character>MATT</character> <dialogue>So, guess what. Turns out Brian Speer is connected to Don Holitzer.</dialogue> <character>ALEXANDRA</character> <dialogue>Who's Don Holitzer?</dialogue> <character>MATT</character> <dialogue>The guy we're going to sell to. And that woman today at the beach. That was his wife.</dialogue> <character>ALEXANDRA</character> <dialogue>Whose wife?</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>The hottie with the hat? You sure?</dialogue> <parenthetical>( off his nod . )</parenthetical> <dialogue>So he's married. Nice. Why did n't you say anything?</dialogue> <character>MATT</character> <dialogue>It's him I want to talk to, not her. I know where their cottage is.</dialogue> <character>ALEXANDRA</character> <dialogue>You do? So let's do it right now. Let's go knock on his door.</dialogue> <character>MATT</character> <dialogue>That's what I'm saying.</dialogue> <scene_description>Alexandra quietly exults .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't do that. Do n't be excited. This is n't fun.</dialogue> <character>ALEXANDRA</character> <dialogue>Well, it's what we came here to do.</dialogue> <character>MATT</character> <dialogue>So you to talk to his wife while I talk to him. And figure out some way to distract Scottie and their kids.</dialogue> <character>ALEXANDRA</character> <dialogue>Got it. Sid, come here!</dialogue> <scene_description>MOMENTS LATER - The team are gathered for a little huddle .</scene_description> <character>ALEXANDRA</character> <dialogue>Listen, Dad and I are going to go talk to some friends while Sid takes you back to the hotel, okay?</dialogue> <character>SCOTTIE</character> <dialogue>I want to come too.</dialogue> <character>SID</character> <dialogue>I do n't. Who wants to sit around talking in some house? Let's ditch these losers and go watch some serious TV.</dialogue> <character>SCOTTIE</character> <dialogue>Yeah!</dialogue> <scene_description>As they walk away -</scene_description> <character>SID</character> <parenthetical>( to Matt , low . )</parenthetical> <dialogue>Give ` em hell, boss.</dialogue> </scene> <scene> <stage_direction>EXT. HANALEI BAY COTTAGE - NIGHT</stage_direction> <scene_description>Zero hour . Matt and Alexandra approach the cottage from the road and start to walk around it toward the beach .</scene_description> <character>ALEXANDRA</character> <dialogue>Are you ready?</dialogue> <character>MATT</character> <dialogue>No. What should I say?</dialogue> <character>ALEXANDRA</character> <dialogue>You'll think of something. You're a lawyer.</dialogue> <character>MATT</character> <dialogue>I'm sorry for sucking you into this. I should be doing this alone. It's selfish of me.</dialogue> <character>ALEXANDRA</character> <dialogue>I'm the one who sucked you in. I'm the one who knew.</dialogue> <scene_description>Just as they are round the house toward the lanai , Julie Speer backs out of the screen door with a plate of hamburger patties . Alex nudges Matt .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't be a pussy.</dialogue> <character>MATT</character> <parenthetical>( stiffly . )</parenthetical> <dialogue>Hi there!</dialogue> <scene_description>The screen door slams . Julie looks over .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's the guy from the beach today.</dialogue> <character>JULIE</character> <dialogue>Oh, hello.</dialogue> <character>MATT</character> <dialogue>Yeah, hey, I'm such an idiot. I just figured out I do know your husband. My daughter and I were on our way back to the hotel from dinner, and we thought we'd drop by and say howdy.</dialogue> <character>ALEXANDRA</character> <parenthetical>( mouthing . )</parenthetical> <dialogue>Howdy?</dialogue> <character>JULIE</character> <dialogue>Great. Come on up.</dialogue> <character>MATT</character> <dialogue>I'm Matt King. This is Alexandra.</dialogue> <character>JULIE</character> <dialogue>I'm Julie Speer. Yeah, I thought that was you. You've been in the paper so much lately. I figured you had to know Brian. He's been pretty involved.</dialogue> <character>MATT</character> <dialogue>Yeah, no, I know, yeah, super - involved. Maybe I've met him in passing. I do n't know.</dialogue> <character>JULIE</character> <dialogue>So, I guess you guys are deciding really soon. A couple of days, right - you and your family meet? I'm sorry. That's probably a conflict of interest or something.</dialogue> <character>MATT</character> <dialogue>No, it's okay. You're right - it'll all be over in a couple of days.</dialogue> <character>JULIE</character> <dialogue>You guys want a burger?</dialogue> <character>MATT</character> <dialogue>We just ate, thanks.</dialogue> <character>JULIE</character> <dialogue>A drink then.</dialogue> <scene_description>As Alex and Matt agree , a figure appears at the screen door . BRIAN SPEER emerges , a bag of BUNS in one hand .</scene_description> <character>BRIAN SPEER</character> <dialogue>Hi, I'm Brian.</dialogue> <character>MATT</character> <dialogue>Brian, we may have met before. Matt King. My wife is Elizabeth King. I think you may have met her too. Our daughter Alexandra.</dialogue> <scene_description>Brian 's big GRIN WILTS .</scene_description> <character>JULIE</character> <dialogue>I was just going to get drinks.</dialogue> <character>BRIAN SPEER</character> <dialogue>Good, good. Good.</dialogue> <scene_description>Matt nudges Alexandra , who suddenly remembers her duty .</scene_description> <character>ALEXANDRA</character> <dialogue>Do you need help?</dialogue> <character>JULIE</character> <parenthetical>( over her shoulder . )</parenthetical> <dialogue>No, no, I got it.</dialogue> <scene_description>Alex is glad to keep her ringside seat for the moment . All buckle their mental seatbelts .</scene_description> <character>MATT</character> <dialogue>Elizabeth is dying. Oh, wait. Fuck you. And she's dying. We unhooked her from the machines this morning. She'll be dead in a few days.</dialogue> <character>ALEXANDRA</character> <dialogue>We're not here to hurt you. We just thought she'd want you to know.</dialogue> <scene_description>As they 've plotted , Alex and Matt study Brian 's paralyzed face . They exchange a glance , then look back at him .</scene_description> <character>ALEXANDRA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is him? Why would she go for him?</dialogue> <character>MATT</character> <dialogue>Beats me. Well, he's very articulate.</dialogue> <character>BRIAN SPEER</character> <dialogue>I ca n't. I'm sorry. I never thought it would come to this.</dialogue> <character>ALEXANDRA</character> <dialogue>You're sorry my mom's going to die? You're sorry you fucked her? You're sorry you fucked over my dad?</dialogue> <character>BRIAN SPEER</character> <dialogue>I'm sorry for all of it.</dialogue> <character>MATT</character> <dialogue>Look, pal, like she said, I'm not here to wreck your life. I just came to give you a chance to go to the hospital. I do n't know how long you're planning on being here, but I'm sure you can think of an excuse to leave.</dialogue> <character>ALEXANDRA</character> <dialogue>You must be good at that.</dialogue> <character>MATT</character> <dialogue>You can be alone with her to say goodbye or whatever you want. Do you hear what I'm saying?</dialogue> <scene_description>Brian seems deeply lost in his own thoughts . Then -</scene_description> <character>BRIAN SPEER</character> <dialogue>Okay, look, I ca n't have you here. You understand.</dialogue> <scene_description>Julie returns with wine for Matt and a soda for Alex.</scene_description> <character>JULIE</character> <dialogue>Here we go.</dialogue> <parenthetical>( noticing . )</parenthetical> <dialogue>Everyone's so serious. Please do n't tell me you're talking about business.</dialogue> <character>ALEXANDRA</character> <dialogue>We're talking about love.</dialogue> <character>JULIE</character> <dialogue>That's nice. Brian, call the boys in for dinner.</dialogue> <character>BRIAN SPEER</character> <dialogue>They're fine. Let them play a while longer.</dialogue> <scene_description>They all stand there a moment . Matt 's unsure how to play this out . He shoots a quick panicked look at Alex , who scrambles to keep the ball rolling .</scene_description> <character>ALEXANDRA</character> <dialogue>Awesome cottage you're renting.</dialogue> <character>MATT</character> <dialogue>Yeah, say, prime Hanalei location. I used to come here as a kid before it was a vacation rental. Alex, your great - uncle Warren and Aunt Lillian built it back in the 20s. Have n't been inside in years.</dialogue> <character>JULIE</character> <dialogue>Come on. We'll give you a tour.</dialogue> <character>ALEXANDRA</character> <dialogue>Or, Brian, maybe you could give my dad a little walk down memory lane, and Julie and I can chat out here.</dialogue> <character>MATT</character> <dialogue>Yeah, I'd like that, if you do n't mind. Just a quick look.</dialogue> <character>BRIAN SPEER</character> <dialogue>Sure. But it's not like I live here.</dialogue> <scene_description>Matt walks up to the door , making a point to let Brian open it for him .</scene_description> </scene> <scene> <stage_direction>INT. HANALEI BAY COTTAGE - NIGHT</stage_direction> <scene_description>Brian sweeps his hand around the room .</scene_description> <character>BRIAN SPEER</character> <dialogue>Here it is.</dialogue> <character>MATT</character> <dialogue>How did you meet? I'm curious.</dialogue> <scene_description>For a moment Brian looks tricked , as if Matt really did just want a tour of the house .</scene_description> <character>BRIAN SPEER</character> <dialogue>I ca n't do this.</dialogue> <character>MATT</character> <dialogue>Neither can I. How did you meet?</dialogue> <character>BRIAN SPEER</character> <dialogue>I thought you said you came here just to tell me.</dialogue> <character>MATT</character> <dialogue>I changed my mind. And I ca n't very well ask her the details. How'd you meet?</dialogue> <character>BRIAN SPEER</character> <dialogue>At a party.</dialogue> <character>MATT</character> <dialogue>What party?</dialogue> <character>BRIAN SPEER</character> <dialogue>Super Bowl party.</dialogue> <character>MATT</character> <parenthetical>( figuring it out . )</parenthetical> <dialogue>At the Mitchells'.</dialogue> <character>BRIAN SPEER</character> <dialogue>Does that help? Does that make it better?</dialogue> <character>MATT</character> <dialogue>Hey, I'm doing you a favor here. I could go out there right now and fuck you up, so get a better attitude. Then what? How'd you get the nerve to ask her out?</dialogue> <scene_description>Brian drops his head , rubs his temples .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I want to know what makes a person cross that line. Was it about the deal? Is that when you decided she was for you?</dialogue> <character>BRIAN SPEER</character> <dialogue>No, no. It's not what you think. It just happened.</dialogue> <character>MATT</character> <dialogue>Nothing just happens.</dialogue> <character>BRIAN SPEER</character> <dialogue>Everything just happens.</dialogue> <character>MATT</character> <dialogue>Was she going to leave me?</dialogue> <character>BRIAN SPEER</character> <dialogue>She would have. But I, I, uh. I did n't want that. That would n't have happened. I love Julie.</dialogue> <parenthetical>( anguished . )</parenthetical> <dialogue>Please do n't tell her. Please. I do n't know what I've done. I'm sorry.</dialogue> <character>MATT</character> <dialogue>Did she say she loved you?</dialogue> <scene_description>Brian nods slightly .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you love her?</dialogue> <scene_description>Brian looks down .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do n't love her. You do n't love her. You just used her to get to me.</dialogue> <character>BRIAN SPEER</character> <dialogue>No, I told you. I was n't trying to get to you. It was an affair, an attraction. Sex. And she got sort of. carried away with the whole thing, and I guess I went with it. I mean, I did n't exactly say no to things. I should have. I love my family.</dialogue> <character>MATT</character> <dialogue>Then I guess it's all working out. Her lips are sealed, and you do n't have to go through the trouble of dumping her.</dialogue> <character>BRIAN SPEER</character> <dialogue>Hey, hey, that's really unfair. I had - have - a lot of respect for her. She's a wonderful woman.</dialogue> <character>MATT</character> <dialogue>Too bad her husband found out. You ca n't win ` em all. One more question. Have you ever been inside my bedroom?</dialogue> <character>BRIAN SPEER</character> <parenthetical>( tortured . )</parenthetical> <dialogue>Once.</dialogue> <character>MATT</character> <dialogue>You could have had the decency to lie about that one. Well, she's in Queen's Hospital if you want to say goodbye. That really is all I came to say.</dialogue> <character>BRIAN SPEER</character> <dialogue>Should n't you be with her?</dialogue> <scene_description>Matt 's face slackens into overwhelming sadness .</scene_description> </scene> <scene> <stage_direction>EXT. HANALEI BAY COTTAGE - NIGHT</stage_direction> <scene_description>Matt swings the screen door open . Alex sits with Julie . Skylar and Colt are still running around the yard .</scene_description> <character>MATT</character> <dialogue>Yeah, great, all remodeled, new appliances. Nice. Alex, we should be getting back.</dialogue> <character>JULIE</character> <dialogue>Well, hey, thanks for stopping by. Really nice to meet you both. Maybe we'll see you at the beach tomorrow.</dialogue> <character>ALEXANDRA</character> <dialogue>Yeah, maybe.</dialogue> <scene_description>After Alex and Julie share a quick kiss goodbye - a common custom in Hawaii - Julie turns to Matt . Matt leans in , but instead of going for her cheek , he kisses her FULLY ON THE LIPS . He pulls away , and they exchange a brief , vaguely erotic look . Then he turns away and into the night .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE - NIGHT</stage_direction> <scene_description>The plane is dark except for overhead READING LIGHTS . Again Matt , Sid and the girls sit at the very BACK OF THE PLANE .</scene_description> <character>ALEXANDRA</character> <dialogue>So when do you think he'll show up?</dialogue> <character>MATT</character> <dialogue>I have no idea.</dialogue> <scene_description>Sid leans forward from the middle seat .</scene_description> <character>SID</character> <dialogue>Was he sorry? I hope he was sorry, man. You could have told his wife, and you did n't. I hope he knows how lucky he is. I would have told her everything. She deserves to know. Or else she's going to be a dumb bitch the rest of her life.</dialogue> <character>ALEXANDRA</character> <dialogue>Sid.</dialogue> <character>SID</character> <dialogue>I'm just saying.</dialogue> <character>MATT</character> <dialogue>No need to get creepy. Anyway, does n't matter. That's all behind us.</dialogue> <character>ALEXANDRA</character> <dialogue>Yeah, the one we have to worry about telling things to now is Scottie.</dialogue> <character>MATT</character> <dialogue>I've asked Dr. Johnston to help us break the news tomorrow.</dialogue> <scene_description>They turn to look at little Scottie , dead to the world in the window seat .</scene_description> </scene> <scene> <stage_direction>INT. HOSPICE HALLWAY - DAY</stage_direction> <scene_description>Matt and the kids walk slowly through this different , calmer wing of the hospital looking for the right room - number . Finally they find it and push open the door into -</scene_description> </scene> <scene> <stage_direction>INT. HOSPICE ROOM - CONTINUOUS</stage_direction> <scene_description>While still a hospital room , there is no medical equipment present . Bucolic colorful paintings on the wall are intended to be uplifting . But unlike the expansive view outside Elizabeth 's ICU window , here the window looks out partially at a CINDER - BLOCK WALL . Sid and the Kings are greeted by DR. JOHNSTON and grief counselor DR. HERMAN , who affects a comforting smile .</scene_description> <character>DR. JOHNSTON</character> <dialogue>Hello, everyone. Matt.</dialogue> <parenthetical>( off their greetings . )</parenthetical> <dialogue>This is Dr. Herman, whom I told you about. She works with us in counseling.</dialogue> <character>DR. HERMAN</character> <parenthetical>( locking eyes with all . )</parenthetical> <dialogue>Hello, everyone. Hello. Hi. Hello.</dialogue> <scene_description>The two professionals allow the Kings to turn their attention to Elizabeth , who now lies with no machines at all . Around her BALLOONS droop , FLOWERS wilt , get - well CARDS lie in a pile . Elizabeth too is wilting and drooping . Her skin is pasty , and her cheeks are hollow .</scene_description> <character>SCOTTIE</character> <dialogue>How come Mom is n't on any more machines? Is she getting better?</dialogue> <scene_description>The adults exchange glances . Dr. Herman approaches Scottie .</scene_description> <character>DR. HERMAN</character> <dialogue>You must be Scottie.</dialogue> <parenthetical>( off her nod - . )</parenthetical> <dialogue>Scottie, I have a present for you.</dialogue> <scene_description>Dr. Herman hands her a little squeaky RUBBER OCTOPUS she pulls from her pocket .</scene_description> <character>DR. HERMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's right. It's an octopus. Such a funny creature with its eight legs. But did you know octopi are actually extremely intelligent, like dogs and cats? They have unique personalities, and just like us they have a lot of defense mechanisms. I'm sure you know about the ink sac. She uses ink to confuse her predators. She can camouflage herself. She can emit poison, and some can mimic more dangerous creatures, like the eel. I keep her to remind me of our defense mechanisms - our ink, our camouflage, our poison, all the things we use to keep away hurt. The reason Dr. Johnston invited me here today is to meet you, Scottie. I've heard a lot about you.</dialogue> <character>SCOTTIE</character> <dialogue>Like what?</dialogue> <character>DR. HERMAN</character> <dialogue>I've heard that you're a wonderful and unique and spirited girl.</dialogue> <scene_description>Dr. Herman shoots a look at Matt before continuing .</scene_description> <character>DR. HERMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And I've heard your mom's not doing too well and that she's going to die very soon.</dialogue> <scene_description>All watch Scottie react to this news .</scene_description> <character>SCOTTIE</character> <dialogue>Dad, is that true?</dialogue> <character>MATT</character> <dialogue>Yes, Scottie. It's true.</dialogue> <character>DR. HERMAN</character> <dialogue>You're going to have to be a very brave girl right now, and you're surrounded by people who love you. I came to meet you and tell you that if you ever want to talk about what you're feeling, I would like to talk to you too. I can help you face what's going on without all the silly defense mechanisms that work for an octopus but not for us.</dialogue> <character>DR. JOHNSTON</character> <dialogue>Okay. Thank you, Dr. Herman.</dialogue> <scene_description>Dr. Herman looks at everyone with great sincerity before leaving . Scottie is left holding the octopus . She drops it , and it squeaks a little .</scene_description> <character>ALEXANDRA</character> <dialogue>What the fuck was that?</dialogue> <character>DR. JOHNSTON</character> <dialogue>Yes, well, they say she's very good one - on - one.</dialogue> <character>SCOTTIE</character> <dialogue>So Mom's going to die for sure?</dialogue> <character>DR. JOHNSTON</character> <dialogue>Yes. We worked really hard with her, but three other doctors and I agree she's in what we call an irreversible coma. Do you know what that means?</dialogue> <character>SCOTTIE</character> <dialogue>It means she does n't have a brain anymore.</dialogue> <character>DR. JOHNSTON</character> <dialogue>Not exactly, but. yes, that's the general idea. So we're doing exactly what she wanted us to do if that ever happened. That's why she's not attached to the machines anymore.</dialogue> <character>ALEXANDRA</character> <dialogue>It's for the best, Scottie. Look at her. She's not happy like this.</dialogue> <character>DR. JOHNSTON</character> <dialogue>The purpose of medicine is to heal, and we ca n't do that now.</dialogue> <character>MATT</character> <dialogue>Do you understand?</dialogue> <character>SCOTTIE</character> <dialogue>Yes. What will we do with her body?</dialogue> <scene_description>Dr. Johnston looks to Matt for this one .</scene_description> <character>MATT</character> <dialogue>First Mom's going to give some of her organs to other sick people, so she can help save their lives. That's a really neat thing she's doing. Then we're going to. we're going to scatter her ashes in the ocean. You know how Mom always loved the ocean.</dialogue> <character>SCOTTIE</character> <dialogue>Her ashes?</dialogue> <scene_description>Scottie looks at her mother , picturing her as ashes .</scene_description> <character>SCOTTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>When will she die?</dialogue> <character>DR. JOHNSTON</character> <dialogue>Any day now, I'm afraid. But you still have some time.</dialogue> <character>DR. JOHNSTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well. Let me know if you have any more questions.</dialogue> <character>MATT</character> <dialogue>Thanks, Sam.</dialogue> <scene_description>The doctor leaves , and the room is quiet . Scottie is in a sort of trance .</scene_description> <character>ALEXANDRA</character> <dialogue>Come here, Scottie.</dialogue> <scene_description>Scottie goes to her sister , who takes her in her arms .</scene_description> <character>SCOTTIE</character> <dialogue>Do eyeballs burn?</dialogue> <character>SID</character> <dialogue>Hey, Scottie. Do n't think about stuff like that.</dialogue> </scene> <scene> <stage_direction>INT. HOSPICE ROOM - THE NEXT DAY</stage_direction> <scene_description>Matt and the kids sit in a sort of vigil . Alex and Scottie read books , Matt has brought some paperwork , Sid reads a magazine . Elizabeth emits a SIGH . All look up a moment before looking back down . Matt 's PHONE VIBRATES . Checking the caller ID - HUGH KING - he opts not to answer . The door opens , and Elizabeth 's brother BARRY THORSON accompanies his parents Scott and Alice into the room .</scene_description> <character>SCOTT THORSON</character> <dialogue>Here we are.</dialogue> <parenthetical>( to Scottie . )</parenthetical> <dialogue>Hi, Bingo. Alex.</dialogue> <scene_description>Cheerful Alice does n't really get what 's going on . An emotional Barry hugs Matt and the girls .</scene_description> <character>SCOTT THORSON</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( eyeing Sid . )</parenthetical> <dialogue>There you are again.</dialogue> <scene_description>Matt and Alex maneuver seats for the Thorsons to sit near the bed . Barry gets his mother situated , then takes a seat himself . Remaining on his feet , old Scott surveys his daughter from a distance .</scene_description> <character>SCOTT THORSON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So what did you decide?</dialogue> <character>MATT</character> <dialogue>There's not much left to decide. We're just sort of playing it by ear and making sure she's comfortable.</dialogue> <character>SCOTT THORSON</character> <dialogue>I mean what did you decide about the buyer? Who's your buyer?</dialogue> <scene_description>Even Sid and his daughters perk up at this question . Matt is taken aback .</scene_description> <character>SCOTT THORSON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How much are you getting?</dialogue> <character>BARRY THORSON</character> <dialogue>Dad, I'm sure you'll be able to read about it in the paper.</dialogue> <character>SCOTT THORSON</character> <dialogue>I do n't need to read about it. I can hear about it right now.</dialogue> <character>MATT</character> <dialogue>Scott, let's not talk about that here. It's not the time for that.</dialogue> <character>SCOTT THORSON</character> <dialogue>All the same to you, I guess. A million here, a million there. Just ironic, that's all - Elizabeth coming into this misfortune just as you're coming into a fortune. She gave you everything, Matt. A good, happy home, two beautiful daughters.</dialogue> <scene_description>Matt looks to Barry for help , but Barry 's silence and sheepish look imply he buys into his father 's propaganda .</scene_description> <character>MATT</character> <dialogue>Scott, what's your point?</dialogue> <character>SCOTT THORSON</character> <dialogue>She wanted her own boat. She should have had her own boat, one she would have been familiar with.</dialogue> <character>MATT</character> <dialogue>She was n't even driving! Her boat, someone else's boat - it would n't have made any difference. You're not going to blame me for this.</dialogue> <character>SCOTT THORSON</character> <dialogue>Sure, sure, quibble about the details. She was a faithful, devoted wife. She deserved more.</dialogue> <scene_description>Why fight it ?</scene_description> <character>MATT</character> <dialogue>You're right. She deserved more.</dialogue> <character>SID</character> <dialogue>For Christ's sake, take it easy on the man.</dialogue> <scene_description>Scott turns to Sid like he 's about to pop him again .</scene_description> <character>ALEXANDRA</character> <dialogue>My father has been doing a really amazing job under the circumstances.</dialogue> <scene_description>His point made , Scott looks at Matt and the girls and shuffles to Elizabeth 's bedside , puts his hands on Alice 's shoulder .</scene_description> <character>ALICE</character> <dialogue>Are we ready to go?</dialogue> <character>BARRY THORSON</character> <dialogue>No, Mom. Not yet.</dialogue> <character>MATT</character> <parenthetical>( gesturing toward the door . )</parenthetical> <dialogue>Girls, Sid.</dialogue> <scene_description>Matt , Sid and the girls quietly go into -</scene_description> </scene> <scene> <stage_direction>INT. HOSPICE HALLWAY - CONTINUOUS</stage_direction> <scene_description>- where they take a few steps away .</scene_description> <character>SID</character> <dialogue>Man, that guy's a prick. Was he always like that?</dialogue> <character>MATT</character> <dialogue>Yep.</dialogue> <scene_description>Scottie has stayed behind to peek through a crack in the door . Noticing , the others join her . THROUGH THE DOOR - As Barry and Alice remain seated , their backs to us , Scott stands above his daughter , touching her arm , eyes closed .</scene_description> <character>SID</character> <dialogue>Is he praying?</dialogue> <character>MATT</character> <dialogue>No.</dialogue> <character>SCOTT THORSON</character> <parenthetical>( opening his eyes . )</parenthetical> <dialogue>Say goodbye to Elizabeth, Alice.</dialogue> <character>ALICE</character> <dialogue>Oh. Goodbye, Elizabeth.</dialogue> <scene_description>The old man puts his hand over his mouth and squeezes his eyes shut . Then he opens his eyes and places a hand on her forehead , smooths her hair back . WIDE - Matt and his daughters watch without moving .</scene_description> </scene> <scene> <stage_direction>INT. KING HOUSE - MATT'S STUDY - NIGHT</stage_direction> <scene_description>Matt sits at his desk lost in thought . The only sound is the tick - tock of an old clock reading 3:20 . Then he gets up and starts pacing , shooting occasional glances at the BLUEPRINTS and RENDERINGS atop his desk .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY OUTSIDE KING FAMILY SHARED PROPERTY - DAY</stage_direction> <scene_description>Matt turns off the highway and into a long driveway .</scene_description> </scene> <scene> <stage_direction>INT. KING FAMILY SHARED PROPERTY HOUSE - DAY</stage_direction> <scene_description>Matt opens all front doors and lanai doors , letting air into the old place . He notices old PHOTOS OF KING ANCESTORS .</scene_description> </scene> <scene> <stage_direction>EXT. KING FAMILY SHARED PROPERTY - DAY</stage_direction> <scene_description>Matt walks around the property alone , taking it in and thinking . Like everywhere in Hawai'i , the nature here is powerful - TREES , BIRDS , SPIDERWEBS .</scene_description> </scene> <scene> <stage_direction>EXT. KING FAMILY SHARED PROPERTY HOUSE - DAY</stage_direction> <scene_description>Matt plops heavily into a chair on the lanai . WIDER - Matt alone . DISSOLVE TO -</scene_description> </scene> <scene> <stage_direction>EXT. KING FAMILY SHARED PROPERTY HOUSE - LATER</stage_direction> <scene_description>It 's the same angle but now with FORTY KING COUSINS gathered for the poll . We recognize some faces . CLOSER - Amid drinks held aloft , a CALABASH is passed among the cousins into which the each places a folded BALLOT . Matt sits watching the proceedings with Cousin Hugh , Cousin Six and another ELDERLY COUSIN at a table piled with papers and contracts .</scene_description> <character>MATT</character> <dialogue>Elizabeth's not doing well.</dialogue> <character>COUSIN HUGH</character> <dialogue>She'll be okay. She's a fighter.</dialogue> <character>MATT</character> <dialogue>No. She's dying. We took her off the machines.</dialogue> <scene_description>LATER - Matt , Hugh and Six FINISH THE COUNT while others mill about , mingle , drink - an early celebration for all except for a group of DISSENTERS off to one side .</scene_description> <character>COUSIN HUGH</character> <dialogue>Well, no surprise. Other than the holdouts who do n't want to sell at all, it's Don Holitzer. Chicago group a distant second. Feels good. We're doing the right thing, Mattie. At least there ai n't going to be any Wal - Mart. Now it's your call, and we're all behind you, most of us anyway.</dialogue> <parenthetical>( handing him a pen . )</parenthetical> <dialogue>Go ahead, Captain. Make it official.</dialogue> <character>MATT</character> <dialogue>It's strange, that's all.</dialogue> <character>COUSIN HUGH</character> <dialogue>What's strange?</dialogue> <character>MATT</character> <dialogue>We did n't do anything to own that land. It was entrusted to us. And now we're just.</dialogue> <scene_description>Hugh and Six exchange a concerned look . For a moment we go VERY CLOSE on Matt 's eyes . Then -</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I ca n't do it. I wo n't do it. I'm not going to sign.</dialogue> <character>COUSIN HUGH</character> <dialogue>What're you doing, Matt? I mean, we know you have a lot on your plate right now, but you're not going to fuck this up for us. It's over. If we do n't sell now, it'll be a mess when the trust dissolves. Just sign, go to your wife, done.</dialogue> <character>COUSIN SIX</character> <dialogue>It's inevitable, Matt. You know that. We'll get out of debt - the taxes and maintenance have been leaching us for far too long.</dialogue> <character>MATT</character> <dialogue>I do n't want it to go to Holitzer. I do n't want it to go to anyone. I want to keep it.</dialogue> <character>COUSIN SIX</character> <dialogue>For Christ's sake. We ca n't move without your approval. And we do n't want to.</dialogue> <scene_description>Hugh tries forcing Matt 's hand . Matt resists .</scene_description> <character>COUSIN HUGH</character> <dialogue>Your head's not right, Mattie. Your head's not right. You want a couple days to think it over? Take a couple days.</dialogue> <character>MATT</character> <dialogue>I do n't need a couple days. I have the authority, and this is what I want. I have n't wanted something in a long time. We have other businesses we're converting to corporations. We can figure it out.</dialogue> <character>COUSIN SIX</character> <dialogue>But it's utterly unproductive land. It does n't generate enough income to pay the goddamn taxes.</dialogue> <character>COUSIN HUGH</character> <dialogue>You're the trustee. You know better than anyone we only have seven years left.</dialogue> <character>MATT</character> <dialogue>Then I have seven years to figure out how to keep it.</dialogue> <scene_description>Cousin Hugh draws a long breath , looks up at the sky , then back at Matt .</scene_description> <character>COUSIN HUGH</character> <dialogue>We'll come after you. Just because you're a lawyer does n't mean the rest of us would be afraid to come after you. But nobody wants to do that. We're family.</dialogue> <character>MATT</character> <dialogue>People will be relieved, Hugh, the whole state. I sign that document, it's over. End of the line. Something that was ours to protect will be gone. Even though we're haole as shit and go to private schools and clubs and ca n't even speak pidgin, let alone Hawaiian, we still carry Hawaiian blood, and we're still tied to this land. And our children are tied to this land. It's a miracle that for whatever bullshit reason 150 years ago, we own this much of. paradise, but we do. And for whatever bullshit reason now, I'm the trustee. And I'm not signing. And if you sue me, it'll only make us closer.</dialogue> <scene_description>Cousin Hugh releases a long breath more like a belch , quickly picks his nose , exchanges a look with Cousin Six . Then he brings his fingers to his mouth to WHISTLE .</scene_description> <character>COUSIN HUGH</character> <dialogue>All right, everybody, listen up. Cousin Mattie has an announcement. Get ready.</dialogue> <scene_description>Rising to his feet , Matt scans the faces of his relatives .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>From the way Matt , Sid and the girls are positioned around the room , we can tell their presence there is now way of life . Scottie snoozes on the little sofa . We may notice that Elizabeth is even more shrunken . A KNOCK is followed by - A VASE OF FLOWERS appearing in the doorway , topped by blonde hair and held by thin bronzed arms . It 's JULIE SPEER .</scene_description> <character>MATT</character> <dialogue>Julie. What are you doing here?</dialogue> <scene_description>He rises to help her find a spot to put the flowers . She nods to the girls .</scene_description> <character>JULIE</character> <dialogue>I know we just met, but I was thinking about you guys these past few days, and I knew your mom was here. I do n't know. I just felt I should stop by.</dialogue> <character>MATT</character> <dialogue>You remember Alex. This is Scottie. Sid. This is Mrs. Speer.</dialogue> <character>JULIE</character> <dialogue>Julie.</dialogue> <character>SCOTTIE</character> <dialogue>Were you friends with my mom?</dialogue> <character>JULIE</character> <dialogue>No, we never met. But I know a lot about her.</dialogue> <scene_description>As they now do often , Matt and Alex exchange a look .</scene_description> <character>MATT</character> <dialogue>Well, we appreciate your coming by. The flowers are lovely.</dialogue> <character>SID</character> <parenthetical>( heading to the door . )</parenthetical> <dialogue>Scottie, Alex. Let's go to the cafeteria.</dialogue> <scene_description>The girls follow Sid 's prompt , leaving Matt alone with Julie , standing , a dying woman between them .</scene_description> <character>MATT</character> <dialogue>I, uh, I'm not sure how much you know about my wife's condition, but she's going to die very soon. Any minute, really. That's sort of why we're all here.</dialogue> <character>JULIE</character> <dialogue>I know. That's why I came. Because I know. I came because my husband would n't. And that just did n't seem right. I thought someone from my family should come.</dialogue> <scene_description>Wow .</scene_description> <character>MATT</character> <dialogue>I'm sorry I came to your house like that. Just barged in on you.</dialogue> <character>JULIE</character> <dialogue>It's all right. I assume you're angry. Of course you are. I'm angry too.</dialogue> <character>MATT</character> <dialogue>So he told you, huh?</dialogue> <character>JULIE</character> <dialogue>After you left that night, he was acting really weird. Then I started smelling it all over him. I'd already smelled it.</dialogue> <character>MATT</character> <dialogue>You're a woman.</dialogue> <character>JULIE</character> <dialogue>I finally got it out of him. We've been going crazy ever since. Not easy with the kids around. It's all something I never could have imagined. And then your family's decision about the land. I think you're doing the right thing, but Brian is - well, it's all so complicated and confusing.</dialogue> <character>MATT</character> <dialogue>I know.</dialogue> <character>JULIE</character> <dialogue>Brian told me everything. Well, how can I ever know it's everything? When did you find out? Have you known for a while?</dialogue> <character>MATT</character> <dialogue>Just a few days ago.</dialogue> <character>JULIE</character> <dialogue>I'm angry, but I'm just so sorry. I ca n't imagine what you're going through. Do you mind if I say something to her?</dialogue> <scene_description>Matt is unsure but what else can he do ? Julie approaches the bed .</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Elizabeth, I'm Julie. Brian's wife. I just want to say I forgive you. I forgive you for trying to take Brian. I forgive you for almost destroying my family. I have to forgive you. Even though I want to hate you.</dialogue> <character>MATT</character> <dialogue>Okay. All right. That's enough, Julie. I think. I think that's enough.</dialogue> <scene_description>Matt walks to the door and opens it . Alex and Sid - who 've clearly had their ears against the door - scamper away , unnoticed by Matt and Julie .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He did n't love her. Just so you know. He did n't really love her.</dialogue> <character>JULIE</character> <dialogue>That's why I'm here.</dialogue> <scene_description>Julie heads to the door . At the door , she looks at Matt . Matt looks at her . She leaves . Matt is left alone with his wife , and he realizes suddenly that this is his moment . He walks to the bed , takes her hand , rubs his palm over her hair . He says something to her as though silently praying , then realizes he should say it aloud . He presses his lips to hers and puts his hand on her stomach .</scene_description> <character>MATT</character> <dialogue>Goodbye, Elizabeth. Goodbye, my love, my friend, my pain, my joy. Goodbye. Goodbye. Goodbye.</dialogue> </scene> <scene> <stage_direction>INT. HOSPICE HALLWAY - DAY</stage_direction> <scene_description>The door to Elizabeth 's room opens , and Alexandra emerges , a far - away sadness on her face . She walks slowly toward - A NEARBY WAITING AREA - where Matt sits with Scottie and Sid . Matt and Sid rise to comfort her , but she 's not in the mood . She allows them each to hug her briefly before turning to Scottie . Signaling to Matt to let her do this , Alex escorts a fearful Scottie toward Elizabeth 's room , and , reassuring her , guides her little sister inside . Matt and Sid are left alone .</scene_description> </scene> <scene> <stage_direction>EXT. THE OCEAN - DAY</stage_direction> <scene_description>PADDLES in the water . A BOX ENCIRCLED BY LEIS sits tied to the seat of a small outrigger CANOE . MATT AND THE GIRLS navigate the canoe through the surf .</scene_description> <character>SCOTTIE</character> <dialogue>How far do we have to go?</dialogue> <character>MATT</character> <dialogue>Not that far. Just past the break.</dialogue> <character>ALEXANDRA</character> <dialogue>Steer straighter, Dad. And a little faster, okay?</dialogue> <character>MATT</character> <dialogue>I'm trying.</dialogue> <scene_description>LATER - Matt and the girls simply FLOAT , glancing from time to time at the urn in Scottie 's lap . In the distance loom the hotels and high - rises of Waikiki .</scene_description> <character>MATT</character> <dialogue>Well, here we are, just the four of us. For the last time.</dialogue> <parenthetical>( then - . )</parenthetical> <dialogue>Alex, why do n't you start? Scottie, hand her the box.</dialogue> <scene_description>Scottie does so . Alexandra takes the box reverently - she wants to perform this sad , strange ceremony without messing up . She opens the box and pulls out a scoop of ashes , which Scottie looks at unblinking . Alex looks to Matt , who gives her the go - ahead , and without further ceremony pours them into the sea . THE ASHES fall densely in one spot , then slowly darken the water and disappear . Alex looks down , struck by the weirdness of it all , before glancing up at Matt .</scene_description> <character>MATT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Scottie, you're next. Go ahead, it's okay.</dialogue> <scene_description>Alex passes the box and scooper to Scottie .</scene_description> <character>SCOTTIE</character> <dialogue>What should I say?</dialogue> <character>ALEXANDRA</character> <dialogue>Just say goodbye.</dialogue> <scene_description>Scottie looks at Alex and scoops out a pile , holds them at eye - level , and pauses .</scene_description> <character>MATT</character> <dialogue>Come on, Scottie. It's okay.</dialogue> <character>SCOTTIE</character> <parenthetical>( finally . )</parenthetical> <dialogue>Bye, Mom.</dialogue> <scene_description>A sad Scottie pours her scoop into the water . All look down as the ashes descend .</scene_description> <character>MATT</character> <dialogue>All right, Scottie, here. Pass that to me. Good job.</dialogue> <scene_description>Now Matt takes his turn . He looks directly inside the urn at the ashes that were once his wife . ANGLE ON THE ASHES - HIS POV A complex series of emotions passes over his face - love , grief , disappointment , resignation . Without further ceremony he upends the BOX over the water and pours the rest of Elizabeth into the ocean . All three take a long look as the mass of ashes disappears . Matt takes off his LEI and places it into the water . The girls follow suit . WIDE ANGLE of the boat floating as the leis float away .</scene_description> </scene> <scene> <stage_direction>INT. KING HOUSE - NIGHT</stage_direction> <scene_description>Scottie lies on a sofa watching television , draped with the QUILT that lay atop her mother 's hospital bed . Matt comes over with TWO DISHES , hands one to her .</scene_description> <character>MATT</character> <dialogue>One scoop strawberry, one scoop mocha chip.</dialogue> <character>SCOTTIE</character> <dialogue>Great.</dialogue> <scene_description>Matt gets under the quilt with her . Moments later Alexandra wanders in , notices what they 're watching , sits next to Matt , pulls the quilt over her legs .</scene_description> <character>ALEXANDRA</character> <dialogue>Can I have some?</dialogue> <scene_description>His eyes not leaving the TV , Matt hands Alex his ice cream . As they sit there on the sofa , the CREDITS roll quietly over them . THE END</scene_description> </scene> </script>

Matthew "Matt" King is a Honolulu-based attorney and the sole trustee of a family trust of 25,000 acres (100 km2) of pristine land on Kauai. The land has great monetary value, but is also a family legacy. While Matt has always ably managed his own finances, most of his cousins have squandered their inheritances. With the trust expiring in seven years due to the rule against perpetuities, the King clan is pressuring Matt to sell the land for hundreds of millions of dollars. Amidst these discussions, a boating accident has rendered Matt's wife, Elizabeth, comatose. With Elizabeth hospitalized, Matt is forced to cope with his two troubled daughters, 10-year-old Scottie who seeks attention by bullying other children, and 17-year-old Alex who has a history of substance abuse and is away at a private boarding school on the Big Island. Doctors determine that Elizabeth's coma is irreversible and her living will directs all life support to be discontinued. When Matt tells Alex, she reveals that she caught Elizabeth having an affair before the accident, causing a major rift between mother and daughter. Two close family friends tell Matt that Elizabeth was unhappy and wanted to leave him for her lover, Brian Speer, a real estate agent. After Matt arranges for friends to bid Elizabeth goodbye, he decides Speer should also have an opportunity. He and the girls, and also Alex's slacker boyfriend Sid, travel to Kauai to find Brian. While there, Matt's cousin Hugh mentions that Brian is brother-in-law to Don Hollitzer, the developer to whom the family wants to sell the land. Brian stands to make a small fortune from the sales commission. Matt confronts Brian and informs him Elizabeth is dying and offers him an opportunity to see her one last time. Brian declines, admitting that although Elizabeth was in love with him, it was only a fling to him and that he loves his wife Julie and their children, then apologizes to Matt for the pain he caused. When Elizabeth is disconnected from life support, her father Scott admonishes Matt for not being a more generous and loving husband. Choosing not to disclose the details of her affair, Matt agrees, but Sid and Alex both unexpectedly defend Matt. At the King family meeting, Matt overrules the majority of his cousins who favor selling to Hollitzer. Matt decides to keep the land and look for a different solution to the problem posed by the rule against perpetuities. Shocked, Hugh tells Matt that he and the other cousins will take legal action if Matt refuses to sell, but Matt is undeterred. After learning of Brian's affair with Elizabeth and realizing that he will not visit, Julie comes to the hospital. She tearfully admits to Elizabeth that she wants to hate her for "trying to destroy" her family, but that she forgives her. Matt finally comes to terms with his wife's betrayal and her impending death. He kisses her goodbye, followed by Alex and Scottie, and later, they scatter Elizabeth's ashes in the ocean off Waikiki. Later, the three are at home sitting together sharing ice cream and watching television, all wrapped in the Hawaiian quilt Elizabeth had been lying in.

El cantante_2006

tt0458522

<script> <scene> <scene_description>"El Cantante" leon ichaso's draft� oct 07 2005� (not for distribution) CLOSE UP of a pair of hands beating on a CONGA. A TIMBALES roll...an abanico. A Furious rhythm starts. HUNDREDS OF PEOPLE KEEPING THE clave with their hand claps. THE VOICE OF THE SINGER...we dont' see.</scene_description> <character>SINGER</character> <dialogue>Puerto Rico...te quiero de gratis!</dialogue> <scene_description>Fingers FLUTTER ON THE KEYS OF A TRUMPET...as more percussion and BASS cook up the SALSA. We hear thunder. And FRAGMENTS of the face of the singer as lighting strikes. EXTREME CLOSE UPS OF A FACE, DESPERATE EYES. THE DARK SKIES. THE CHEER AND BOOS OF FANS... THEN, A HORRIBLE NOISE: FEEDBACK SCREAMS....an electrical malfunction...and everything turns into A SLOW MOTION NIGHTMARE. A BLACK SCREEN. COMPLETE SILENCE. A PAIR OF BEAUTIFUL EYES OPEN UP AFTER THE BAD MEMORY ENDS. A SCRATCHY CASSETTE. A VOICE IS HEARD. It's the whiny unforgettable voice of HECTOR LAVOE. One of Salsa's biggest. El Cantante de Los Cantantes. The SINGER OF SINGERS...now coming out of an old cassette player.</scene_description> <character>HECTOR</character> <dialogue>...you see, I'm right here with</dialogue> <dialogue>you...okay?</dialogue> </scene> <scene> <stage_direction>INT. PUCHI'S 2002 APARTMENT -- DAY</stage_direction> <scene_description>A simple tenement somewhere in the Bronx. A picture of Hector in his glory days hangs on a wall. Next to him, a beautiful woman, holding on to his arm. He's her prize. She is PUCHI, the love of his life.</scene_description> <character>HECTOR</character> <dialogue>Never never leave you mami...it's</dialogue> <dialogue>not the same thing as being there</dialogue> <dialogue>with you...touching you, kissing</dialogue> <dialogue>you...bueno, I better stop...just</dialogue> <dialogue>wanted to tell you over and over I</dialogue> <dialogue>Love You...and I'm right here with</dialogue> <dialogue>you. See me? Happy birthday Puchi...</dialogue> <parenthetical>(singing)</parenthetical> <dialogue>Happy...</dialogue> <character>PUCHI</character> <parenthetical>(to herself)</parenthetical> <dialogue>...never leave me? But you did.</dialogue> <scene_description>She stops the machine. But the pain doesn't stop. volume up. She listens to the music...and for a moment does a little sway, tries a couple of steps, but it hurts and she stops moving...that's all her broken heart can handle on her special day. AN ABSTRACT BLUR FILLS THE SCREEN. RED COLORS...BRIGHT AS BLOOD...and TROPICAL BLUE, as the most beautiful ocean. The colors move...slowly coming into FOCUS. THE FLAG OF PUERTO RICO bobs in the air. It's a CAP someone's wearing. A DIFFERENT STYLE OF MUSIC PLAYS LOUDLY... it rattles the street with bass and attitude. POUNDING RAP. TITLES BEGIN.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET -- DAY</stage_direction> <scene_description>A young Nuyorican kid moves through a busy MIDTOWN sidewalk. It's 2002. His whole demeanor, rhythm and style is very \* much NOW. The walk is the Bronx-Swing thirty years later. A CITY ANIMAL in his street war uniform. The hip-hop MUSIC screaming out of an appliance store tells a story of rough living and urban anarchy...and it makes the young man wearing the cap feel like he OWNS LIFE. His and everyone else. He stares back at US, knowing we are watching him. He knows THE WHOLE WORLD IS WATCHING him. He winks at someone...at a woman observing him as he struts out of sight. It's Puchi.</scene_description> </scene> <scene> <stage_direction>EXT. STORE WINDOW -- DAY</stage_direction> <scene_description>Now we see her clearly, as she catches her own reflection in the store's mirrored panels...her face, lost amongst every ELECTRONIC gadget imaginable... and the usual array of NYC souvenirs. She stares at herself with the same curiosity as she did when she watched the YOUNG MAN. She likes what she sees. She looks worn and beautifully damaged...someone whose life took as hard as she gave...the EYES you own when you've SURVIVED every war you've created. SHE LOOKS ACROSS THE STREET: Madison Square Garden...yeah there was a time. WE HEAR HER VOICE -- as she goes inside a much more unknown, forgotten and near condemned building on a side street.</scene_description> <character>PUCHI OS</character> <dialogue>He didn't know how much he had...never</dialogue> <dialogue>believed how much people loved him.</dialogue> <scene_description>Puchi is looking straight through us now. A CLOSE UP ON HER FACE...a map of the whole doomed journey now finished.</scene_description> <character>PUCHI</character> <dialogue>He had it all...and he had me.</dialogue> <scene_description>She laughs...we hear the laughter. Yes...through that laugh we can see there was a time when she had that walk and strut and she OWNED LIFE HERSELF...and nothing was going to knock her out of the ring.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>Puchi looks around the forsaken recording studio, where hundreds of hits were once recorded, now waits silent and empty. She's been here before. A piano sits in a corner, crowned with empty cans of soda and dust. Congas in a corner...tipped sideways. A floor littered with maracas and musical instruments...and memories.</scene_description> <character>PUCHI OS</character> <dialogue>...for more than twenty years...</dialogue> <scene_description>A room that has seen better days. Puchi is facing a small crew of YOUNG Latin- music freaks...maybe french-hispanophiles. She smokes nervously, trying to glamorize her last fifteen minutes in the spotlight.</scene_description> <character>PUCHI</character> <dialogue>Was it love? What is? One thing I</dialogue> <dialogue>know; it was special...and when you</dialogue> <dialogue>looked at us, you saw something...so</dialogue> <dialogue>maybe it was. I thought so. I did.</dialogue> <parenthetical>(her eyes coming alive)</parenthetical> <dialogue>Our life was like a dream...</dialogue> <parenthetical>(to CAMERA)</parenthetical> <dialogue>Yeah...I know what you're thinking.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM -- DAY</stage_direction> <scene_description>An IVORY PRINCESS PHONE RINGING is off the hook. The light flickers from the candles on the edge of the marble sink and bathtub. K.C.'s "Get Down Tonight" kicks in as two perfectly pedicured feet with fire red toenails stretch out of the bubbles. One foot clasps around the tub chain and pulls the plug. The shadowy outline of the WOMAN steps out of the tub, grabs a towel, and raps it around her voluptuous body.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM -- DAY</stage_direction> <scene_description>A lavishly furnished BEDROOM. The wardrobe and accessories \* for the night are laid out on either side of the bed. Cartier lighter, monogrammed leather cigar case, her cigars in it, jewelry, fur, purse on the other</scene_description> <character>.</character> <dialogue>THE WOMAN, now dressed to kill, stands in front of a full</dialogue> <dialogue>length mirror</dialogue> <character>.</character> <dialogue>She puts on a GOLD I.D. NECKLACE, the name PUCHI is spelled</dialogue> <dialogue>in diamonds.</dialogue> <character>PUCHI OS</character> <dialogue>Was it good love? Well, that's</dialogue> <dialogue>another story.</dialogue> <scene_description>Puchi . gives her devastating beauty a final look of approval then walks out, grabbing a MAN'S WHITE SUIT off the door hanger on the way. A QUICK FLASH:</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY (2002)</stage_direction> <scene_description>Puchi quickly walks down A DILAPIDATED HALLWAY. Yesterday's Gold records and artwork decorate the walls. She goes to another DOOR, opens it. BACK TO SCENE (55 STREET APT) Disco music blares out of the room. A handsome Puerto-Rican man in his late thirties, is startled by her. His name is COOKIE. A combination of many tasks and no specific job. He grabs a jacket, checks his watch and prepares for an ugly mission.</scene_description> <character>PUCHI \*</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>INT. 55TH ST. APT. LIVING ROOM -DAY</stage_direction> <scene_description>Posters of bands on the wall. A teen-ager stares her down, it's her son TITO. A handsome, defiant young man.</scene_description> <character>PUCHI</character> <parenthetical>(to the kid)</parenthetical> <dialogue>I don't wanna go out looking for you</dialogue> <dialogue>too when we come home, okay?</dialogue> <scene_description>The man-kid ignores her as best as he can. A FLASH OF PUCHI TODAY...(INTERVIEW) \* as she closes her eyes, as if that one memory still BURNS. BACK TO SCENE</scene_description> </scene> <scene> <stage_direction>EXT. HIGH RISE APT (55 ST). BUILDING - DAY \*</stage_direction> <scene_description>Puchi and Cookie walk out of the building up to a waiting LIMO. ANOTHER WORLD. JUNKIES and PREDATORS move through the trash ridden streets of Loisaida. The place stinks of death and \* danger.</scene_description> <character>PUCHI OS</character> <dialogue>Love is never perfect when it's real</dialogue> <dialogue>love...</dialogue> <scene_description>The Limo turns the corner off Ave. D onto 9th Street and stops in front of a squatters TENEMENT BUILDING.</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT - CONTINUOUS</stage_direction> <scene_description>Puchi walks right up the steps, to a scary, intimidating LOOKOUT GUY at the entrance. She stares him down. He moves.</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Puchi passes by the JUNKIES waiting in line. Doesn't even see them.</scene_description> <character>PUCHI OS</character> <dialogue>We were meant for each other for</dialogue> <dialogue>better or worse. We both knew that.</dialogue> </scene> <scene> <stage_direction>INT. TENEMENT - SECOND FLOOR HALLWAY - MOMENTS LATER</stage_direction> <scene_description>A very determined Puchi struts down the abandoned dirty halls. Another LOOKOUT GUY moves aside as his eyes register recognition when he hears the steady clicking of high heels approaching.</scene_description> <character>PUCHI OS</character> <dialogue>...and I don't mean it like today's</dialogue> <dialogue>soulmate type of shit...nah.</dialogue> </scene> <scene> <stage_direction>INT. SHOOTING GALLERY - CONTINUOUS</stage_direction> <scene_description>Three unshaven, stoned MEN, dressed in dirty sweat suits sit on a couch, one wearing SUNGLASSES. The table in front of them is covered with drug gear. \*</scene_description> <character>PUCHI OS</character> <dialogue>It was old fashioned love. It was</dialogue> <dialogue>good, it was bad, it was beautiful.</dialogue> <scene_description>Puchi struts in. Everyone freezes except the guy wearing the sunglasses, who waves...and smiles, unable to disguise the absurdity of playing dead with so much to live for. It's Hector. Just a tad surprised. \*</scene_description> <character>HECTOR</character> <dialogue>Hi, honey...</dialogue> <scene_description>The Limo flies uptown. Puchi and Cookie get to work on Hector like a make over Pit Crew. Off comes the stinky running jacket. Out comes an electric shaver, hair brush, toothbrush...</scene_description> <character>HECTOR</character> <dialogue>You know I love you...</dialogue> <character>PUCHI</character> <dialogue>Yeah...you always love me when you're</dialogue> <dialogue>high.</dialogue> <character>HECTOR</character> <dialogue>Yeah...but I'm always high!</dialogue> <scene_description>Puchi pulls out a coke vial....as the Limo takes a fast turns, she ends up on top of him...and so does the coke. White powder all over his face. Puchi looks at her Hector, licks his cheek and mouth jokingly...she smiles proudly at the</scene_description> <character>\*</character> <dialogue>craziness of it all.</dialogue> <character>PUCHI</character> <dialogue>Look at you.</dialogue> <scene_description>He smiles back...snorting up the rest of the powder spill. \*:</scene_description> <character>HECTOR</character> <dialogue>Look at you.</dialogue> </scene> <scene> <stage_direction>INT. BACK STAGE OFFICE - LATER</stage_direction> <scene_description>JERRY MASUCCI, a bearded Italian plays nervously with the gold chains around his neck....ready to strangle himself with them.</scene_description> <character>JERRY</character> <dialogue>It's not his fault...it's yours...and</dialogue> <character>\*</character> <dialogue>you're my fault. But this is the</dialogue> <dialogue>last time he does this.</dialogue> <scene_description>He points his finger at RALPH, a stocky mulatto skinned balding man. Rican and slick. Ralph's on the phone. He listens, hangs up.</scene_description> <character>RALPH</character> <parenthetical>(grinning)</parenthetical> <dialogue>Elvis is in the building.</dialogue> </scene> <scene> <stage_direction>INT. ARENA HALLWAY -- NIGHT</stage_direction> <scene_description>People rush down a long corridor. The intro to "El Cantante"</scene_description> <character>\*</character> <dialogue>is heard from the stage as our man walks down the corridor,</dialogue> <dialogue>everyone slapping him on the back, like a boxer going into</dialogue> <dialogue>the ring.</dialogue> <scene_description>Move! Move! Let the man through!</scene_description> </scene> <scene> <stage_direction>INT. MADISON SQUARE GARDEN STAGE -- NIGHT</stage_direction> <scene_description>Hector enter stage, as casual as stepping into his living room. As he turns, he sees what awaits him: 20,000 fans cheering. They stand up for him as he shuffles to center stage.</scene_description> <character>MAN</character> <parenthetical>(singing)</parenthetical> <dialogue>Yo soy, Hector Lavoe and...</dialogue> <parenthetical>(with a grin)</parenthetical> <dialogue>I'm here!</dialogue> <scene_description>Thunderous APPLAUSE follows. The BAND goes into second gear as he continues to sing. Hector made it. HE TAKES A GLANCE OFF STAGE, TO THE WINGS, HE SEES PUCHI. He smiles at her. The world is his...tonight. He kicks into the first verse of : "El Cantante". \*</scene_description> <character>HECTOR SINGING</character> <dialogue>"Yo, soy el cantante..."</dialogue> <scene_description>THE FACES IN THE AUDIENCE: sheer adulation. (STOCK FOOTAGE from those days) HECTOR spreads his arms to his thousands of adoring fans. THE PUERTO RICAN FLAG spreads out in the balcony. The crowd CHEERS as the flag DANCES...a subtle, but defining political PARTY, live from New York City.</scene_description> <character>PUCHI OS</character> <dialogue>The more he grew as an artist, the</dialogue> <dialogue>deeper he sank as a person, as a</dialogue> <dialogue>human being...but they loved him.</dialogue> <dialogue>All his faults and trouble....only</dialogue> <dialogue>made him more like one of them...</dialogue> <scene_description>THE MUSIC ECHOES AWAY... as the FLASHBACK ENDS. A POSTER FROM THAT DATE, HANGS ON A WALL...the past is long gone, we're in...</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>INTERVIEW No one is clapping now as she builds up the courage to tell the story in her mind. Whatever that is.</scene_description> <character>PUCHI</character> <dialogue>He was the singer for his father's</dialogue> <dialogue>band since he was a kid...they played</dialogue> <dialogue>all over the city of Ponce ...X-mas</dialogue> <dialogue>parties, weddings, etc. His father \*</dialogue> <scene_description>loved him and was very supportive...his mother died when he was three...but he would talk about her as if she was still alive...he never accepted the fact that she was gone. Hector never had it hard...that was the problem. He made it hard for himself because it had all been too easy. She smiles, as if there was only one reason for everything she does now days. Looks around room, seeing him everywhere.</scene_description> <character>INTERVIWER OS</character> <dialogue>What are you thinking about?</dialogue> <scene_description>Caught.</scene_description> <character>PUCHI</character> <dialogue>What do you think? Him...it's always</dialogue> <dialogue>him.</dialogue> <scene_description>The room falls quiet. This is part of the story.</scene_description> <character>PUCHI OS</character> <parenthetical>(a sigh)</parenthetical> <dialogue>He never goes away...maybe it's just</dialogue> <dialogue>my fucking guilt.</dialogue> <scene_description>We see PUCHI peeking through the glass inside the SOUND BOOTH. It's like walking through the Titanic...death everywhere. No one will ever return to this musical tomb. A LONELY MICROPHONE STANDS IN THE MIDDLE OF THE ROOM...WAITING FOR A SINGER, suddenly... WE HEAR HECTOR'S VOICE...</scene_description> <character>HECTOR</character> <dialogue>"...recuerdas que, caminando por las</dialogue> <dialogue>calles de San Juan...</dialogue> </scene> <scene> <stage_direction>EXT. OLD WORLD STYLE COURTYARD/SAN JUAN -- NIGHT \*</stage_direction> <scene_description>( a GIG with his father's band...) Back home in Puerto Rico, Hector and his father are singing a duet. Hector plays guitar. A BOLERO PLAYS...angels singing. It's a family reunion. A Spanish guitar and a beautiful song, Panchito Riset's " "Blancas Azucenas". A love story of lovers splitting when one of them leaves the island and goes to New York. A classic San Juan/New York tale of immigration breaking love in two. Later to become sort of a love theme. (singing) ...aun guardo las dos blancas azucenas, que me diste hasta despedirte de mi..." Family is watching the magic moment. As the song ends in beautiful harmony of the two men...Hector hugs the old man with a beautiful voice (CHEO FELICIANO)...with a smile on his face, as he sees Hector enjoying the cheers. The old man turns to Hector and without skipping a beat, whispers...totally unexpectedly.</scene_description> <character>FATHER</character> <dialogue>If you go to New York...just imagine</dialogue> <dialogue>I died. I already lost one son...and</dialogue> <dialogue>I am not going to lose another one.</dialogue> <dialogue>It will be you who loses a father</dialogue> <dialogue>...understood?</dialogue> <parenthetical>(to a woman nearby)</parenthetical> <dialogue>Awilda, how'bout a beer for a loving</dialogue> <dialogue>man?</dialogue> <scene_description>He walks away. Leaving Hector shattered. No one around notices the exchange. Hector turns white. It's the nicest threat anyone ever said to him. Tonight, it's his father just telling him 'how serious' a felony it would be for Hector to go north. He gets up himself and walks away from the stage, only the sounds of the COQUIS are heard out there in the darkness... A BLAST OF NEW YORK CITY...</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN STREETS -- DAY/NIGHT \*</stage_direction> <scene_description>The old days in all it's splendor. Tad's Steak, Tie City, The Metropole Cafe, Automats, Theater lights, Penny Arcades, etc. TIMES SQUARE in the sixties...a naive version of SIN. (STOCK) Hector's in heaven.</scene_description> </scene> <scene> <stage_direction>EXT. HUNT'S POINT CASINO - BACK STAGE DOOR -- NIGHT</stage_direction> <scene_description>Just as a BAND BOY carries a Trombone case from a VAN inside the stage door, Hector strolls up. Mister Casual. He sees one of them. A young man we know, a younger, confident Cookie, way before LIFE had turned him into a punchy boxer that never fought a fight.</scene_description> <character>HECTOR</character> <dialogue>Hey, man, you need some help?</dialogue> <character>COOKIE</character> <parenthetical>(looking around)</parenthetical> <dialogue>Yeah...hurry up.</dialogue> <scene_description>He follows the band boy in. Cookie winks an eye at Hector. In and free.</scene_description> </scene> <scene> <stage_direction>INT. CLUB -- NIGHT</stage_direction> <scene_description>A Tropical paradise in the asphalt jungle. The dance floor packed with beautiful, young NUYORICANS dancing to live Salsa music. LARRY HARLOW, a hot new band, plays their asses off. Hector notices a stunningly beautiful woman dancing by herself on the dance floor...as if dancing with each member of the band and busy with every guy in the house. It's Puchi. Younger but never too innocent. Hector sees her, like his dream...a vision he has to look away from, cause she can't be real. Puchi only sees a geeky looking guy drooling like he should.</scene_description> <character>HECTOR \*</character> <dialogue>I thought you were with the band?</dialogue> <character>COOKIE</character> <dialogue>So did I...aren't you?</dialogue> <scene_description>They both laugh. A hopped up cat wearing a silver shark skin suit spots Cookie. \* It's PAPO, he happens to be Puchi's hoodlum brother. He flashes a gold tooth smile of a warning at Hector...who is hypnotized by the Music and the Scene.</scene_description> <character>HECTOR</character> <dialogue>Salsa?</dialogue> <character>COOKIE</character> <dialogue>That's what they call it here in New</dialogue> <dialogue>York. Salsa...it's a mix of Mambo,</dialogue> <dialogue>Bomba, Son...Charanga. It's like a</dialogue> <dialogue>revolution cooking, bro. Everybody</dialogue> <dialogue>is into it. Welcome to New York</dialogue> <dialogue>Bro!</dialogue> <scene_description>Hector nods...yes, this is better than what he always dreamed of. HECTOR WAKES UP...as a woman screams:</scene_description> <character>WOMAN OS</character> <dialogue>Hector wake up!!!</dialogue> </scene> <scene> <stage_direction>INT. PRISCILLLA'S APT. -- DAY</stage_direction> <scene_description>Linoleum, and plastic covered seats. He bolts out of his dream. His sister PRISCILLA, standing by the sofa where he sleeps. I'm giving you two more weeks, you hear me? Hector nods.</scene_description> <character>PRISCILLA</character> <dialogue>Two weeks to get a job or you go</dialogue> <dialogue>back to Puerto Rico. You understand?</dialogue> <character>HECTOR</character> <dialogue>What did I do? Wha'happened?</dialogue> <character>PRISCILLA</character> <dialogue>I'm serious. I don't want dad to</dialogue> <dialogue>disown me too. Okay?</dialogue> <scene_description>Hector sits up. Confronts her as much as you can when you're only wearing baggy shorts and a pajama top.</scene_description> <character>HECTOR</character> <dialogue>I'm here to be a singer Priscilla,</dialogue> <dialogue>not to prove my father wrong. I'll</dialogue> <dialogue>have a job so fast, you wont even</dialogue> <dialogue>know I have a job. You'll be asking</dialogue> <dialogue>'where is he?...where is he...?'.</dialogue> <dialogue>And me...? You'll see.</dialogue> <scene_description>A SUBWAY RATTLES BY...</scene_description> </scene> <scene> <stage_direction>EXT. NIGHTCLUB -- NIGHT \*</stage_direction> <scene_description>A seedy looking storefront underneath the train in a 125th Street. They walk inside the old nightclub.</scene_description> <character>COOKIE</character> <dialogue>Look, these are my friends.</dialogue> <scene_description>The subways rattles by. Hector looks up, startled.</scene_description> <character>HECTOR</character> <dialogue>I better get a job or I'm flying</dialogue> <dialogue>back on Eastern Airlines...you told</dialogue> <dialogue>them about me?</dialogue> <scene_description>Hector belts out a couple of lines from a song.</scene_description> <character>COOKIE</character> <dialogue>Shit, man...you gotta good voice.</dialogue> <dialogue>This is the best time for you to be</dialogue> <dialogue>in New York. But don't get any ideas.</dialogue> <dialogue>They already have a singer. Just</dialogue> <dialogue>enjoy the show, man.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB -- NIGHT \*</stage_direction> <scene_description>The place is half-empty, a sextet is playing, vamping into a song and without a singer. their vocalist. The band is playing "Tus Ojos". A fidgety Hector is standing nearby...singing the song to himself, but loud enough to be heard. The leader of the band sees Cookie, who points to Hector...implying 'he can do it...he can fill in'. The guy waves him over.</scene_description> <character>COOKIE</character> <dialogue>Hector...mira man...</dialogue> <character>HECTOR</character> <dialogue>I know that song better than anyone</dialogue> <dialogue>here tonight.</dialogue> <character>COOKIE</character> <dialogue>You better. It's now or never panita.</dialogue> <scene_description>Hector does the sign of the cross as he makes his way through the crowd as the leader heats up the band and introduced Hector.</scene_description> <character>BAND LEADER</character> <dialogue>You're ready out there for a surprise?</dialogue> <scene_description>Cookie wants to die, as Hector walks up to the stage to show the world. The band starts it up and all it takes is one minute for Hector to own the song.</scene_description> <character>HECTOR</character> <dialogue>Okay...okay.</dialogue> <parenthetical>(confident)</parenthetical> <dialogue>Como esta mi gente esta</dialogue> <dialogue>noche...esperandome, right? I'm here. \*</dialogue> <scene_description>Hector stays on the stage and steals the show. INTERVIEW -</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>Puchi plays with a gold chain she's wearing. Tries not to look at the Camera in front of her.</scene_description> <character>PUCHI</character> <dialogue>...that's how we say in Spanish when</dialogue> <dialogue>you're blessed...you know...some</dialogue> <dialogue>people struggle for years...not</dialogue> <dialogue>him...it's like he always knew it</dialogue> <dialogue>was going to happen...that he'd make</dialogue> <dialogue>it...</dialogue> <parenthetical>(the gold cross in between her fingers)</parenthetical> <dialogue>This is his... That first time I</dialogue> <dialogue>saw him, he was the most ridiculous</dialogue> <dialogue>guy in the place...but the only one</dialogue> <scene_description>who brought me a present...he didn't even know me...but he had manners, that old fashioned thing...I loved that. (to camera) \* You know, it's my birthday today?</scene_description> <character>INTERVIWER OS</character> <dialogue>Happy birthday.</dialogue> <scene_description>A JOE CUBA BOOGALOO blasts. The MUSIC is coming from...</scene_description> </scene> <scene> <stage_direction>EXT. LOWER EAST SIDE. ROOFTOP -- DAY \*</stage_direction> <scene_description>Like a garden for Puerto-Ricans. The city lights in the back as the sun goes down. All the money in the world couldn't buy you this. A Boogaloo line is on full swing. It's dirty dancing a lot dirtier. Hot Nuyorican beauties. Hector has stepped in the new West Side Story, dressed in a 100% polyester. He thinks he looks cool in his Bond's naguahyde leather jacket that you could make a sofa today with it... Jibaro hick in the thick of the SIXTIES MEET THE LATIN THING. Joe Cuba playing on the STEREO "Bang Bang". His eyes go straight to a girl in the dancing line, it's Puchi, the girl from the nightclub. She sees him...and kind of laughs when their eyes meet. Little mockery in the way she throws her head back to the music. Hector takes it well. Laughing is a good thing. She's easily the best dancer in the room and she lets Hector see for himself. It's a music video ahead of it's time. The Latino hoodlum we've seen earlier is there...he's carrying a birthday cake with lit candles and moves all the way in front of Puchi....the music is lowered as the brother starts singing AND SO DOES HECTOR, with the best version of Happy Birthday in the Lower East Side. LATER Hector pretends he's not alone, when he sees Puchi walking towards him, like a vision. He's like a hunter who sees the big game coming to him, but can't shoot. He's going to let the animal eat him alive. Once at close range, he smiles at Puchi for the first time.</scene_description> <character>HECTOR</character> <dialogue>Hello there...happy happy</dialogue> <dialogue>birthday...sorry I didn't remember</dialogue> <dialogue>your name...</dialogue> <scene_description>Puchi stares at Hector, the look you give a big square hick fresh off the island. Are you in the right apartment?</scene_description> <character>HECTOR</character> <dialogue>I think so...</dialogue> <scene_description>Handing her a present.</scene_description> <character>PUCHI</character> <dialogue>For me? Who invited you?</dialogue> <scene_description>Hector looks around, maybe he's at the wrong place. She opens the present.</scene_description> <character>PUCHI</character> <parenthetical>(surprised)</parenthetical> <dialogue>Chocolates, how sweet.</dialogue> <scene_description>Maybe he's at the wrong apartment.</scene_description> <character>PUCHI</character> <dialogue>My brother told me about you.</dialogue> <dialogue>...you're an actor? Not too famous,</dialogue> <dialogue>right?</dialogue> <scene_description>Hector grins sheepishly</scene_description> <character>PUCHI</character> <dialogue>I know you ...you're Trini</dialogue> <dialogue>Lopez...right?</dialogue> <character>HECTOR</character> <parenthetical>(Mexican accent)</parenthetical> <dialogue>That's right...</dialogue> <scene_description>He manages a little smile from her.</scene_description> <character>PUCHI</character> <dialogue>You're the singer, my brother said</dialogue> <dialogue>you're a singer...right? Well, you</dialogue> <dialogue>are...</dialogue> <scene_description>Hector nods humbly. Cuts in. \*</scene_description> <character>HECTOR</character> <dialogue>Bueno...yeah....I am. Everyone's</dialogue> <dialogue>always talking about Puchi this...and</dialogue> <dialogue>Puchi that. And you...? What do</dialogue> <dialogue>you do? You're the famous one.</dialogue> <character>PUCHI</character> <dialogue>Me? I listen.</dialogue> <character>HECTOR</character> <dialogue>That's all I need to sing my best...a</dialogue> <dialogue>good pair of...</dialogue> <parenthetical>(eyeing her)</parenthetical> <dialogue>...ears.</dialogue> <dialogue>You're funny...but your pants are</dialogue> <dialogue>even funnier.</dialogue> <scene_description>He checks himself out. He's the only hick in the room wearing polyester plaid pants. She laughs.</scene_description> <character>HECTOR</character> <parenthetical>(little surprised)</parenthetical> <dialogue>They're four dollar pants. Tu eres</dialogue> <dialogue>mala!</dialogue> <character>PUCHI</character> <dialogue>Mala?</dialogue> <parenthetical>(flirting)</parenthetical> <dialogue>I'm just being me, not mean... honest.</dialogue> <dialogue>Honesty is a virtue, right?</dialogue> <character>HECTOR</character> <dialogue>Look, lie to me, tell me these are</dialogue> <dialogue>the most beautiful pants you've ever</dialogue> <dialogue>seen...cause you know what...they're \*</dialogue> <dialogue>the only ones I got...and unless is</dialogue> <dialogue>okay to take them off...I'm gonna</dialogue> <dialogue>have to wear them al night long.</dialogue> <character>PUCHI</character> <dialogue>You will?</dialogue> <scene_description>She blushes. Hector bends in pain hearing the tease... Papo joins them briefly. Lights a joint. Before Hector can even say hello, he's been handed a joint.</scene_description> <character>PAPO</character> <parenthetical>(to Hector)</parenthetical> <dialogue>Ladies First...</dialogue> <character>HECTOR</character> <dialogue>No...I don't...</dialogue> <scene_description>Puchi goes for the joint, Papo gives the joint right to Hector.</scene_description> <character>PAPO</character> <parenthetical>(to Puchi)</parenthetical> <dialogue>You smoke in front of me and I'll</dialogue> <dialogue>kill you. ..</dialogue> <parenthetical>(to Hector)</parenthetical> <dialogue>do you?</dialogue> <character>HECTOR</character> <dialogue>Okay.</dialogue> <parenthetical>(takes it)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Papo walks away. a drag and blows it right out. Puchi looks on.</scene_description> <character>PUCHI</character> <dialogue>Not like a cigarette, man...</dialogue> <parenthetical>(surprised)</parenthetical> <dialogue>you've never smoked have you...?</dialogue> <scene_description>Hector fears what to say next, he'll do whatever he's got to do to keep her next to him.</scene_description> <character>PUCHI</character> <dialogue>Mira...watch me...</dialogue> <parenthetical>(without a joint)</parenthetical> <dialogue>...look, you're supposed to hold it</dialogue> <dialogue>inside.</dialogue> <scene_description>She mimics a smoking lesson specially for Hector. It's almost a sexual act. Hector watches fascinated.</scene_description> <character>HECTOR</character> <dialogue>Wow! Here...let me try it again...I</dialogue> <dialogue>think I got the rhythm of it...</dialogue> <scene_description>He does it, like a good little student. In...and out...and in and out...a turbo-giant toke that he can't hold....GETS INTO A COUGHING FIT...HAS TO HOLD on to Puchi. Passes the joint to her, she doesn't want it. LATER AT THE PARTY The night is winding down. Puchi and Hector are Slow dancing to the Casino's great LOVE song "Then You can Tell Me Good bye".</scene_description> </scene> <scene> <stage_direction>INT. PAPO'S APT. - NIGHT</stage_direction> <scene_description>The two of them slow dance around them in the funky living room.</scene_description> <character>HECTOR</character> <parenthetical>(eyes closed)</parenthetical> <dialogue>...far out, right?</dialogue> <scene_description>Hector looks blitzed....'arrebatao'. They're now alone in the once crowded room. Hector is only wearing his shorts. and shirt. Puchi is fully dressed. His plaid pants over the sofa. His head in THE SONG:</scene_description> <character>SONG</character> <dialogue>"...kiss me each morning for a million</dialogue> <dialogue>years...hold me each evening, by</dialogue> <dialogue>your side...and if it don't</dialogue> <dialogue>work...then you can tell me</dialogue> <dialogue>goodbye..."</dialogue> <scene_description>But it'll work out...for the next 15 years of the tune. romantic face is turning blue, green, ash and he's losing his balance and he leans closer and closer to her...almost falling over her. She pulls him back, to check him...he's about to pass out. She holds him up, to save him from going backwards and over the sofa.</scene_description> <character>PUCHI</character> <dialogue>Not in the sofa...!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM -- NIGHT</stage_direction> <scene_description>Hector is being revived by Puchi, as he struggles over the toilet, glancing at her...not sure of who she is or where he is or why? A comical but defining moment in their lives. Hector wasted, Puchi to the rescue.</scene_description> <character>PUCHI</character> <dialogue>Come on...are you Okay? What's your</dialogue> <dialogue>name papi...come on, I don't want</dialogue> <dialogue>you to die without knowing your name.</dialogue> <character>HECTOR</character> <dialogue>Hector Perezzz.......</dialogue> <character>PUCHI</character> <dialogue>Don't die on me baby...not on my</dialogue> <dialogue>birthday...promise?</dialogue> <character>HECTOR</character> <dialogue>I prom...</dialogue> <parenthetical>(he can't finish the promise)</parenthetical> <dialogue>He manages a smile from the dead...staring at her...happy to</dialogue> <dialogue>be dying in the arms of the most beautiful woman human eyes</dialogue> <dialogue>ever laid whatever on. Happy dead.</dialogue> <dialogue>She looks at him...smiling again, coming back to life,</dialogue> <dialogue>gesturing with his chin...something...what?</dialogue> <character>PUCHI</character> <dialogue>You need mouth to</dialogue> <dialogue>mouth...resuscitation? Is that it...</dialogue> <scene_description>He nods...yes. She just laughs. He shakes his head...he'll die if he doesn't get it...or dies if he does. From the bottom of this bathroom floor tonight and as dizzy as he was, he was a happy man.</scene_description> </scene> <scene> <stage_direction>EXT. TUXEDO CITY -- DAY \*</stage_direction> <scene_description>Mannequins dressed in every imaginable bad suit in the world. Hector and Cookie land by the window of the place.</scene_description> <character>COOKIE</character> <dialogue>Look at that baby blue tux..</dialogue> <character>HECTOR</character> <dialogue>I can't look...</dialogue> <scene_description>Hector takes a glance at the wigged-mustachioed mannequin, has to look away...the L-train rattles above them.</scene_description> <character>HECTOR</character> <dialogue>I woke up in her arms, man.</dialogue> <dialogue>Beautiful. She took care of</dialogue> <dialogue>business...</dialogue> <character>COOKIE</character> <dialogue>What kind of business?</dialogue> <scene_description>Coming up with a lie, an improvisation...an inspiration.</scene_description> <character>HECTOR</character> <dialogue>...the welfare of a man... dizzy</dialogue> <dialogue>with desire... and passing out with</dialogue> <dialogue>passion...she gave me life back.</dialogue> <character>COOKIE</character> <dialogue>That good?</dialogue> <character>HECTOR</character> <dialogue>No. That bad. I drank, I smoked, I</dialogue> <dialogue>danced and then...I threw up all</dialogue> <dialogue>over the poor girl...I doubt if she'll</dialogue> <dialogue>ever see me again...I wouldn't.</dialogue> <scene_description>They stop before going inside.</scene_description> <character>COOKIE</character> <dialogue>You threw up? She will. Puerto-</dialogue> <dialogue>Rican girls love that savior shit</dialogue> <dialogue>bro...you're in. Did you really</dialogue> <dialogue>vomit?</dialogue> <scene_description>Hector nods.</scene_description> <character>HECTOR</character> <dialogue>You deaf or something? I said I</dialogue> <dialogue>vomited...I was so high and dizzy...I</dialogue> <dialogue>don't wanna do that shit again!</dialogue> <parenthetical>(re: a suit he likes)</parenthetical> <dialogue>I want the green one.</dialogue> <character>COOKIE</character> <dialogue>Pliz!</dialogue> <character>HECTOR</character> <dialogue>One minute I was in floor with a</dialogue> <dialogue>goddess...next thing, I was dying in</dialogue> <dialogue>her arms! My luck...</dialogue> <scene_description>That's good. That's the best impression you can make with Spanish girls...is being sick. Matrimonio brother! You vomit you marry. They're natural born nurses...</scene_description> <character>HECTOR</character> <dialogue>...I woke up in the subway...I rode</dialogue> <dialogue>from Manhattan to the Bronx four or</dialogue> <dialogue>five times, until a cop woke me</dialogue> <dialogue>up...the sun in my face...</dialogue> <character>FRIEND</character> <dialogue>That's love. It's in the marriage</dialogue> <dialogue>brochure for outside of the island</dialogue> <dialogue>romance! You've been rescued, man....</dialogue> <character>HECTOR</character> <dialogue>You high already?</dialogue> <scene_description>Cookies nods a 'guilty with pleasure' 'yes'.</scene_description> <character>HECTOR</character> <dialogue>How am I going to see her again?</dialogue> <dialogue>She liked me!</dialogue> <character>COOKIE</character> <dialogue>You're almost famous, bro. She'll</dialogue> <dialogue>find you...find us.</dialogue> </scene> <scene> <stage_direction>INT. HUNTS POINT CASINO -- NIGHT</stage_direction> <scene_description>The show is wild. The energy is intense as Hector sings an upbeat Salsa tune...and old Tejedor classic: "Escandalo". His charisma with the now- packed- house is mesmerizing. A chorus line of beautiful GIRLS DANCE IN FRONT OF THE BAND...instant GROUPIES latino style. But Puchi is the prettiest. Hector is dressed in the green suit we saw earlier. He sings to Puchi, who dances her way to the front of the stage with another girl, her sister ZAIDA, another stunner, both dressed in mini skirts and Go-go boots. Puchi puts on a show. The other girls don't have a chance, as she elbows and bumps 'accidentally' at the others...to stake her claim... and drive Hector crazy. He shakes his maracas at her...and she shakes back. It makes him laugh and it gets him down from the stage and wrapped himself around her... AT ANOTHER TABLE JOHNNY PACHECO, thirties, goateed and handsome and WILLIE COLON, eighteen, skinny and dangerous, SIT AT A TABLE watching Hector and the crowd with interest. Willie's yesterday's GANGSTA. likes this new guy Hector.</scene_description> </scene> <scene> <stage_direction>INT. CLUB - LATER</stage_direction> <scene_description>Hector steps down after his set and is immediately swarmed by GIRLS.</scene_description> <character>HECTOR</character> <parenthetical>(yelling over music)</parenthetical> <dialogue>Buenas noches ladies! You mind if</dialogue> <dialogue>we sit here with you?</dialogue> <scene_description>Before any of them can answer, Cookie sits, Puchi turns around and sees Hector.</scene_description> <character>PUCHI</character> <dialogue>Hello there...Is this a coincidence?</dialogue> <scene_description>Hector moves his chair closer to one to Puchi.</scene_description> <character>HECTOR</character> <dialogue>What do you think?</dialogue> <scene_description>He wipes HIS GLASSES off on his shirt, puts them back on.</scene_description> <character>HECTOR</character> <dialogue>How do I look to you? Like a</dialogue> <dialogue>coincidence? \*</dialogue> <scene_description>He's wearing the green tux.</scene_description> <character>PUCHI</character> <dialogue>You look...like you still need a</dialogue> <dialogue>fashion consultant. You look like a</dialogue> <dialogue>palm tree. Where do you get these</dialogue> <dialogue>outfits?</dialogue> <character>HECTOR</character> <dialogue>Is a rental...from Radio City.</dialogue> <scene_description>They both laugh.</scene_description> </scene> <scene> <stage_direction>EXT. EMPTY ROOF -- NIGHT</stage_direction> <scene_description>Hector climbs up from the fire escape onto the roof, guitar in hand. A few dogs barking. He sees Puchi's window lit...her silhouette walking by. He lets out a song...</scene_description> <character>HECTOR</character> <parenthetical>(DISCUSS NEW SONG)</parenthetical> <dialogue>" The most beautiful sound I ever</dialogue> <dialogue>heard...Puchi...Puchi...Puchi...I</dialogue> <dialogue>just met a girl named Puchi..."</dialogue> <scene_description>She comes out the window. Sees Hector playing Tony for her...it makes her so happy, he's such a fool in love and so is she. She waves at him...to wait, she'll come down.</scene_description> <character>PUCHI</character> <dialogue>He was funny. Corny. No one I knew \*</dialogue> <dialogue>did any of that. Romantic...yeah he</dialogue> <dialogue>was very romantic...that first time</dialogue> <dialogue>together was pretty</dialogue> <dialogue>impressive...yeah...he went all out</dialogue> <dialogue>for me.</dialogue> </scene> <scene> <stage_direction>EXT. SIDE STREET -- NIGHT</stage_direction> <scene_description>Cookie's Chevy Impala's, parked under a broken street lamp, shakes like a subway car.</scene_description> <character>PUCHI OS</character> <dialogue>Only the best...</dialogue> </scene> <scene> <stage_direction>INT. CAR -- NIGHT</stage_direction> <scene_description>Hector is on top as they make love on the torn back seat.</scene_description> <character>PUCHI</character> <parenthetical>(breathlessly)</parenthetical> <dialogue>Oh, it hurts...it hurts...</dialogue> <character>HECTOR</character> <dialogue>What?...What?...me?</dialogue> <character>PUCHI</character> <dialogue>No, the back seat...</dialogue> <scene_description>Hector holds onto her as he FLIPS HER OVER ON TOP. She smiles with relief, grabs him with her right hand and starts giving him a hand job, winking at him, then starts to wildly ride him.</scene_description> <character>PUCHI</character> <parenthetical>(on fire)</parenthetical> <dialogue>I can't fuckin' believe this...</dialogue> </scene> <scene> <stage_direction>EXT. EAST SIDE HIGHWAY PARK -- NIGHT</stage_direction> <scene_description>Under The Brooklyn Bridge. They're sitting in a small park bench. Smoking the cigarette after. \*</scene_description> <character>PUCHI</character> <dialogue>I don't do this with anyone.</dialogue> <character>HECTOR</character> <dialogue>I hope not.</dialogue> <character>PUCHI</character> <dialogue>I don't. I bet when you become famous</dialogue> <dialogue>you won't even talk to me.</dialogue> <character>HECTOR</character> <dialogue>Are you kidding me? I'm in love</dialogue> <dialogue>with you already... and I don't even</dialogue> <dialogue>know you.</dialogue> <scene_description>back.</scene_description> <character>PUCHI</character> <dialogue>What's the first thing your gonna</dialogue> <dialogue>do?</dialogue> <character>HECTOR</character> <dialogue>When?</dialogue> <character>PUCHI</character> <dialogue>When you become famous, silly.</dialogue> <scene_description>Hector thinks as he watches the lights reflecting in the river.</scene_description> <character>HECTOR</character> <dialogue>Why are so sure I'm gonna become</dialogue> <dialogue>famous?</dialogue> <character>PUCHI</character> <dialogue>I know about these things.</dialogue> <scene_description>Hector decides to think about it.</scene_description> <character>HECTOR</character> <dialogue>Okay. Have a family...and buy a</dialogue> <dialogue>brand new Cadillac. Then we won't</dialogue> <dialogue>have to make love in that old piece</dialogue> <dialogue>of shit...you need a tetanus shot to</dialogue> <dialogue>ride that junk!</dialogue> <scene_description>She laughs. He kisses her, tenderly...we hear music coming from somewhere...</scene_description> <character>HECTOR OS</character> <parenthetical>(singing)</parenthetical> <dialogue>" ...ever since that night, we've</dialogue> <dialogue>been together...lovers at first</dialogue> <dialogue>sight...</dialogue> </scene> <scene> <stage_direction>EXT. FIFTH AVENUE &amp; 23RD STREET. FLAT IRON BUILDING -- NIGHT</stage_direction> <scene_description>The end of ANOTHER night...and not a bad night at all. The sun is coming up as Hector strolls down the empty street singing to the city....still singing. He's a man in love and in luck...and there's no better feeling.</scene_description> <character>HECTOR</character> <dialogue>"...Strangers in the night, two lonely</dialogue> <dialogue>people...we were strangers in the</dialogue> <dialogue>night..."</dialogue> <scene_description>A taxi turns a corner from behind him...HEADLIGHTS spotting Hector on his 'street stage', he turns, opens his arms to the cab...his silhouette against the city lights. He's arrived. Dooby doo be dooo..... The cab stops.</scene_description> <character>HECTOR</character> <dialogue>Hey, brother...you spic'ingli? Si...?</dialogue> <dialogue>'Panita', can you make it to the</dialogue> <dialogue>Bronx for $2.50? It's all I got.</dialogue> <scene_description>A FULL BAND KICKS IN AND PLAYS...</scene_description> </scene> <scene> <stage_direction>INT. HUNTS POINT CASINO -- NIGHT</stage_direction> <scene_description>Frank Sinatra never sounded this hot. HECTOR FINISHES SINGING...his salsafied version of "Stranger's in the Night". The club is full, he's bringing in the crowds...and bringing in other musicians and producers as well.</scene_description> <character>HECTOR SINGING</character> <dialogue>...in love forever, it turned so</dialogue> <dialogue>right...for strangers in the night..."</dialogue> <parenthetical>(soneos)</parenthetical> <dialogue>Johnny Pacheco and Willie Colon are here again.</dialogue> <scene_description>LATER The good guy and the bad guy. Willie with his shades on, a good guy living the thug life...and Pacheco, the teacher. Their guide through the new sound everyone is calling Salsa. Hector is surprised they keep coming back. He walks straight to their table.</scene_description> <character>HECTOR</character> <dialogue>You guys gotta be lost or something?</dialogue> <dialogue>Are you?</dialogue> <scene_description>Willie make no effort to shake Hector's hand. Johnny does.</scene_description> <character>JOHNNY</character> <parenthetical>(broad smile)</parenthetical> <dialogue>Not at all, man. Como esta, my name</dialogue> <dialogue>is Johnny Pacheco from...</dialogue> <character>HECTOR</character> <parenthetical>(amused)</parenthetical> <dialogue>...from Fania Records. I know.</dialogue> <character>JOHNNY</character> <dialogue>I've been hearing a lot about you,</dialogue> <dialogue>we've checked you out. You're good</dialogue> <dialogue>man, you're really good.</dialogue> <scene_description>Willie studies Hector, sipping his drink, pretending to be unimpressed. Gracias, gracias. (to Willie) I know you too. Willie Colon. Un placer.</scene_description> <character>HECTOR</character> <dialogue>Tremendo trombone...no saxophone...I</dialogue> <dialogue>like that...me encanta...tu eres muy</dialogue> <dialogue>bueno, 'men'...chevere.</dialogue> <scene_description>Willie nods as he shakes Hector's hand.</scene_description> <character>WILLIE</character> <dialogue>Thanks. I don't speak Spanish. I \*</dialogue> <dialogue>like you too, bro.</dialogue> <character>HECTOR</character> <dialogue>Pero tu eres Spanish?</dialogue> <scene_description>Willie nods 'yes'.</scene_description> <character>HECTOR</character> <dialogue>Vaya!</dialogue> <scene_description>Johnny smiles, seeing they're getting along. AT THE TABLE LATER Johnny holds court. Hector and Willie listen attentively.</scene_description> <character>JOHNNY</character> <parenthetical>(dramatically)</parenthetical> <dialogue>Do you guys believe in destiny?</dialogue> <scene_description>He leans into the table, motioning them to do the same.</scene_description> <character>JOHNNY</character> <parenthetical>(almost whispering)</parenthetical> <dialogue>Well I do. I believe destiny has</dialogue> <dialogue>brought us to this club, to this</dialogue> <dialogue>very table tonight.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I believe that you two guys have</dialogue> <dialogue>been destined to perform together.</dialogue> <dialogue>I believe that together, you will</dialogue> <dialogue>take this town by storm.</dialogue> <scene_description>He looks from Willie to Hector.</scene_description> <character>JOHNNY</character> <dialogue>You both have what the other one</dialogue> <dialogue>needs.</dialogue> <scene_description>The younger ones shake their heads at that. Sound good? Hector smiles at the sound of that...</scene_description> <character>HECTOR</character> <parenthetical>(to Johnny)</parenthetical> <dialogue>You're a psychic... Everybody seems</dialogue> <dialogue>to know something about my future I</dialogue> <dialogue>don't. You're that sure?</dialogue> <scene_description>Willie smirks his bad boy smile. Hector picks it right up.</scene_description> <character>WILLIE</character> <dialogue>I am.</dialogue> <parenthetical>(to Johnny)</parenthetical> <dialogue>You have anymore grass? \*</dialogue> </scene> <scene> <stage_direction>INT. PRISCILLLA'S APT. -- NIGHT</stage_direction> <scene_description>A quiet dinner with big sister, who is checking Puchi out, protecting little brother.</scene_description> <character>HECTOR</character> <dialogue>This are the best 'habichuelas' in</dialogue> <dialogue>life baby...that's why I still live</dialogue> <dialogue>here...who wants to leave?</dialogue> <scene_description>Priscilla serves Puchi, who tries to be noble and lady like...but suspects the line of questioning.</scene_description> <character>PRISCILLA</character> <dialogue>Where were you born in the island?</dialogue> <character>PUCHI</character> <dialogue>I was born in this island.</dialogue> <character>PRISCILLA</character> <dialogue>Here?</dialogue> <character>PUCHI</character> <dialogue>Yeah...never even visited Puerto</dialogue> <dialogue>Rico...never seen a real palm tree.</dialogue> <character>HECTOR</character> <dialogue>But now she's got me. Palm</dialogue> <dialogue>trees...beaches...mofongo in person.</dialogue> <dialogue>You eat this habichuelas and your</dialogue> <dialogue>Spanish starts coming back to you.</dialogue> <dialogue>It's like Berlitz dining.</dialogue> <scene_description>They laugh...but still, it seems a point of contention that Puchi is a Nuyorican. She gets it.</scene_description> <character>PUCHI</character> <dialogue>Maybe one day I'll make it to Puerto</dialogue> <dialogue>Rico.</dialogue> <parenthetical>(looking at Hector)</parenthetical> <dialogue>I'll get there.</dialogue> <scene_description>Hector takes her hand.</scene_description> <character>HECTOR</character> <dialogue>You're there, mami...next you meet</dialogue> <dialogue>my father.</dialogue> <scene_description>Kisses her hand.</scene_description> <character>PRISCILLA</character> <dialogue>We're from Ponce. All of our family</dialogue> <dialogue>still lives there. Me and Hector</dialogue> <dialogue>are the only ones here. How long</dialogue> <dialogue>have you guys known each other?</dialogue> <character>PUCHI</character> <dialogue>Days...</dialogue> <character>HECTOR</character> <dialogue>But we're destiny, sis.</dialogue> <scene_description>It's his own joke. It's quiet for moment while they eat.</scene_description> <character>PUCHI</character> <dialogue>This is delicious...are they Goya?</dialogue> <scene_description>Priscilla smiles.</scene_description> <character>PRISCILLA</character> <dialogue>All your family here?</dialogue> <scene_description>Puchi nods.</scene_description> <character>PRISCILLA</character> <dialogue>Oh...what does your family do?</dialogue> <scene_description>Putting her fork down.</scene_description> <character>PUCHI</character> <dialogue>Sell dope...what is this? You're</dialogue> <dialogue>with the FBI or something...I came</dialogue> <dialogue>here to eat, not to be grilled.</dialogue> <scene_description>She gets up...ready to walk out. Hector bolts out of his chair...laughing, making light of it.</scene_description> <character>HECTOR</character> <dialogue>No no...Priscilla is with the Ponce</dialogue> <dialogue>police...come on sweetie...it's</dialogue> <dialogue>cool...</dialogue> <character>PUCHI</character> <dialogue>What do you mean 'it's cool'...whose</dialogue> <dialogue>side are you on?</dialogue> <parenthetical>(to Priscilla)</parenthetical> <dialogue>And you? What makes you</dialogue> <dialogue>so...different than me...you British?</dialogue> <dialogue>Gimme a break!</dialogue> <scene_description>Priscilla backs off...even Hector's silent now.</scene_description> <character>PRISCILLA</character> <dialogue>Sorry...I wasn't trying to come on</dialogue> <dialogue>that way...I'm just doing what a</dialogue> <dialogue>mother, sister, father, has to</dialogue> <dialogue>do...don't take it like that...sit</dialogue> <dialogue>down let's eat...we'll fight later.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY STATION -- DAY</stage_direction> <scene_description>Hector looks pretty spruced up...checks himself. New bell- bottoms, paisley shirt, etc. Cookie is briefing Hector about someone he's about to meet. An express train goes by, spooks Hector as it roars through the station, but he's getting the hang of it.</scene_description> <character>COOKIE</character> <dialogue>Jerry used to be a cop, became a</dialogue> <dialogue>lawyer and now he's a thief. Stealing</dialogue> <dialogue>every Latin musician blind...but</dialogue> <dialogue>he's all we got. That's all I gotta</dialogue> <dialogue>say.</dialogue> <parenthetical>(finger on his right eye)</parenthetical> <dialogue>Be careful.</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>(The same FANIA OFFICE we've seen before, but now in better days.) JERRY MASUCCI, bearded Italian, forties, fiddles with his gold neck chains and looks at his watch repeatedly. A biz meeting, Hector is being signed etc.</scene_description> <character>JERRY</character> <dialogue>We have big plans for you and Willie.</dialogue> <scene_description>But something else has to be decided on...he notices the seriousness of their faces. Like some crisis that has to be dealt with soon, before it gets any worst. Hector is a little lost right now.</scene_description> <character>JERRY</character> <dialogue>Starting with a record followed by a \*</dialogue> <dialogue>tour. Now, do you have a lawyer?</dialogue> <character>HECTOR</character> <parenthetical>(nodding to Cookie)</parenthetical> <dialogue>Yeah, sure I do.</dialogue> <dialogue>Have him go over these contracts.</dialogue> <scene_description>Johnny passes the contracts over to Hector. They look on with intrigue as Hector appears to be carefully going over the documents himself.</scene_description> <character>HECTOR</character> <dialogue>They're good. Got a pen?</dialogue> <scene_description>Johnny hands a pen to Hector who signs with a crazy grin.</scene_description> <character>HECTOR</character> <parenthetical>(as he signs)</parenthetical> <dialogue>Hectorrr... Pe...rezzzz!</dialogue> <scene_description>Jerry and Johnny look at him shocked but sure as hell don't try to stop him. They are very pleased.</scene_description> <character>JERRY</character> <parenthetical>(keeping his professional composure)</parenthetical> <dialogue>Now, there is one more thing, and we</dialogue> <dialogue>all gave this a lot of thought...</dialogue> <character>HECTOR</character> <dialogue>Something I did?</dialogue> <scene_description>Pacheco nods 'no'.</scene_description> <character>MASUCCI</character> <dialogue>That name's gotta go...</dialogue> <scene_description>Hector doesn't know who they're talking about.</scene_description> <character>HECTOR</character> <dialogue>Who's gotta go?</dialogue> <character>MASUCCI</character> <dialogue>You...your name. It doesn't mean a</dialogue> <dialogue>thing.</dialogue> <character>HECTOR</character> <dialogue>Perez?</dialogue> <character>MASUCCI</character> <dialogue>Yes, Perez. It's an unemployment</dialogue> <dialogue>line name...you gotta have a name</dialogue> <dialogue>that unemployment line looks up at.</dialogue> <scene_description>Very politically incorrect.</scene_description> <character>HECTOR</character> <dialogue>Like what?</dialogue> <character>MASUCCI</character> <dialogue>Lavoe...</dialogue> <scene_description>La...que?</scene_description> <character>PACHECO</character> <parenthetical>(pipes in)</parenthetical> <dialogue>Lavoe... 'the voice'.</dialogue> <scene_description>Hector thinks, looks around the table. This means a lot to all the money people...so, what the hell.</scene_description> <character>HECTOR</character> <dialogue>Lavoe. Won't the people think I'm</dialogue> <dialogue>French?</dialogue> <scene_description>Masucci starts to explain, but notices Hector is putting all of them on. They all laugh. THE MUSIC STARTS... as the sounds and the voices in the scene FADE... a trombone solo RIPS UP IN New York somewhere...followed by congas and more drums and a band in full throttle...playing for their life. A new sound baptized as salsa is being born in the studio tonight. A mix of MAMBO, CUMBIA...RUMBA, JAZZ, BOMBA, CHA CHA...all of it together like a gumbo: A sauce...SALSA.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- NIGHT</stage_direction> <scene_description>(THIS IS THE SAME STUDIO WE'VE SEEN BEFORE, ABANDONED AND DEAD...now prosperous and new) Here, history is being made inside..Though they might not know it, the magic is in the air and each musician plays furiously and freely. It's a session that will change Latin Music. SERIES OF SHOTS Hector singing in the SOUND BOOTH at Fania Studios. The CORO OF SINGERS...like soldiers...firing up after the MONTUNO. MIDTOWN ROOFTOP... Hector and Puchi are MAKING LOVE ON THE ROOFTOP of the studio. Underneath the water tower, with the city watching...he tells her.</scene_description> <character>HECTOR</character> <dialogue>Do you know how much I love you?</dialogue> <scene_description>She nods.</scene_description> <character>PUCHI</character> <dialogue>No...tell me.</dialogue> <character>HECTOR</character> <dialogue>Well, look out there...see everyone</dialogue> <dialogue>of those little lights...</dialogue> <parenthetical>(teasing him)</parenthetical> <dialogue>The windows...?</dialogue> <scene_description>Hugging her.</scene_description> <character>HECTOR</character> <dialogue>Baby, the stars...they're shining</dialogue> <dialogue>for you...saying: 'Puchi, I love you</dialogue> <dialogue>like no one's ever loved you...baby,</dialogue> <dialogue>I love you'...and every night you</dialogue> <dialogue>look at them, they'll be</dialogue> <dialogue>there...saying the same thing.</dialogue> <character>PUCHI</character> <dialogue>Really? I heard that in the 'novela'</dialogue> <dialogue>the other night...</dialogue> <scene_description>They laugh and kiss. BACK TO SCENE Willie tearing his heart out with a Trombone that speaks every language in life. Hands playing the Congas so fast, Timbales rolling up the dancing thunder...an electric bass pumping the 'new move'. HECTOR SINGING... Puchi watching. Willie and Hector singing harmony...a special moment as we see these two guys singing into one Microphone...their eyes connected, lit up with that special sync, like you're adoring an invisible God that stands between them.. so they don't electrify one another to death: it's the rapture of the Music. (if you've seen it, it's like watching two lover's making MAGIC) THE TAPES ROLL...</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- NIGHT</stage_direction> <scene_description>SUDDENLY The studio looks empty. End of the session. The song is PLAYING, but all the musicians are either lying on the floor or inside the booth listening. Willie sits close to the sound engineer....outside in the studio, we see Hector...like the crazy person he is, talking to himself.</scene_description> <character>HECTOR</character> <dialogue>See what your son is doing mami...not</dialogue> <dialogue>bad, tell dad about it, okay...he</dialogue> <dialogue>listens to you.</dialogue> <scene_description>Puchi sees him. Understand him. MUSIC MONTAGE first songs ever recorded. His first to be a HIT. "EL MALO". "Que Lio", "Che Che Cole", etc. He dances with Puchi inside the empty studio...lost in the moment. Salsa Heaven on Earth. (A GIMME SHELTER ("Wild Horses") STYLE SCENE - In a way it's like a scene out of a Rolling Stones recording...same drive, same days, young people making music no one's heard before. Good drugs, beautiful women, YOUTH...and that feeling WHEN YOU KNOW YOU GOT SOMETHING RIGHTEOUS going. --A PEEK INTO THE LIFE OF A SONG...and being young and eternal) THE MUSIC SEGUES OVER...</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED DOCKS -- DAY</stage_direction> <scene_description>(Under the Brooklyn Bridge or downtown Beach St ALLEY) \* Hector and Willie are both dressed like old- fashioned GANGSTERS. WITH GUNS AND AN OLD HOODLUM CAR next to them. They're shooting the album cover for the cover of "EL MALO". Living so much in this moment, with their guns and admiring women and FLASHING CAMERAS and a future....yes...the good times were never going to end.</scene_description> <character>HECTOR</character> <dialogue>Not bad...</dialogue> <scene_description>Willie adjusts his Al Capone hat. Swaggers closer to the Rolls Royce. He's in a marijuana sixties latitude. Heavy and... heavy. Profound street justice talking.</scene_description> <character>WILLIE</character> <parenthetical>(smoking)</parenthetical> <dialogue>Crime pays Hector...</dialogue> <parenthetical>(coughing)</parenthetical> <dialogue>this is 'nuestra cosa'...our Latin</dialogue> <dialogue>thing.</dialogue> <character>HECTOR</character> <parenthetical>(confused)</parenthetical> <dialogue>I was just talking 'in</dialogue> <dialogue>character'...you know?</dialogue> <character>WILLIE</character> <dialogue>I wasn't.</dialogue> <scene_description>CAMERA FLASHES...he sees a beautiful face in between the blinding lights: Puchi, arriving to the shoot, grinning happily when she sees Hector dressed like Zorro from Chicago. She brings a smile to his face...</scene_description> <character>PHOTOGRAPHER OS</character> <dialogue>Hector...come on, you gotta look</dialogue> <dialogue>bad, man...tough...come on!</dialogue> <scene_description>in a while, like now. With a lust so strong, it's scares you blind. Willie keeps mumbling...</scene_description> <character>WILLIE</character> <parenthetical>(in the background, still waxing poetic)</parenthetical> <dialogue>It's gonna be good to be Nuyorican</dialogue> <dialogue>holding up a trombone instead or a</dialogue> <dialogue>tray or a hotel elevator...</dialogue> <scene_description>A NEEDLE being place on a 33RPM ALBUM. "Juana Pena" plays over...BLACK. "1969" MONTAGE - CROSS CUT WITH CONCERT SHOTS... 8mm HOME MOVIES. TOUR FOOTAGE.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL -- NIGHT \*</stage_direction> <scene_description>MIAMI. Hector, Willie and band having a drunken, rowdy pool party amongst normal guests. The manager comes, Willie tosses him in the pool. Shots of life on the road. A collection of fun memories.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- NIGHT \*</stage_direction> <scene_description>A transistor radio plays Jose Feliciano's hit "California Dreamin". The band members are all passed out in one of the rooms. Hector walks down the hotel corridor. It's the end of a night on the road. Parties in every room. He finally reaches his own room. Inspects the key and room #. Opens the door. The place looks too quiet, too serene. He hears a faint noise coming from the bathroom...the fluorescent light spilling into the dark room. He shuffles slowly to the bathroom. As he opens the door, he catches Cookie wrapping a belt around his arm, a SYRINGE \* between his teeth. He stares at Hector...who watches the DRUG RITUAL, disgusted, at first.</scene_description> <character>COOKIE</character> <dialogue>Get in or get out, man.</dialogue> <scene_description>He closes the door behind him. The needle, a foot away from his face. THIS WAS THE MOMENT HIS PAIN WAS WAITING FOR.</scene_description> </scene> <scene> <stage_direction>EXT. PAPO'S BUILDING. 9TH &amp; D -- NIGHT</stage_direction> <scene_description>Small time drug dealing up and down the block. Hector, is wearing a semi superfly suit and hat. A RUNNER strolls over and hands a BROWN PAPER BAG to Papo. Hector nods and grins widely. Papo turns into a reefer- street- corner philosopher and lays it out...as stoned and as real and believes it himself.</scene_description> <character>HECTOR</character> <dialogue>...once you leave the island you're</dialogue> <dialogue>not really attached to anything,</dialogue> <dialogue>right?</dialogue> <scene_description>Papo doesn't really sees it like that.</scene_description> <character>PAPO</character> <parenthetical>(stoned wise)</parenthetical> <dialogue>You are. To the other</dialogue> <dialogue>island...Riker's Island...where you'll</dialogue> <dialogue>go, even if you claim it was 'self</dialogue> <dialogue>defense'.</dialogue> <scene_description>Now Hector is lost in the street philosophy jive...but slowly it becomes clear...and so does his predicament.</scene_description> <character>PAPO</character> <dialogue>Puchi's a tough woman, man. I could'a</dialogue> <dialogue>killed her myself a couple of</dialogue> <dialogue>times...but, hey...I'm her</dialogue> <dialogue>brother'...so let me give a little</dialogue> <dialogue>advise; 'don't fuck with her unless</dialogue> <dialogue>you wanna fuck with her'. You wanna</dialogue> <dialogue>fuck with her, fuck with her. You</dialogue> <dialogue>got my blessing. Live for today,</dialogue> <dialogue>man, we're family.</dialogue> <scene_description>Papo laughs. A staggered second later, Hector laughs. Fuck it.</scene_description> </scene> <scene> <stage_direction>INT. TROPICORO CLUB - LATER</stage_direction> <scene_description>The energy is intense. The packed dance floor is on fire. Willie is in the middle of a smokin' Trombone solo with a flirtatious DANCER right in front. He sits on the edge of the stage and PUMPS THE TROMBONE SLIDE as the dancer literally STRADDLES IT. Zaida, followed by A VERY PREGNANT PUCHI. \*</scene_description> <character>ZAIDA</character> <dialogue>Move outta the way! Lavoe party</dialogue> <dialogue>comin' through!</dialogue> <scene_description>Puchi pats her stomach. Hector sings "Que Lio" as a group of love- struck girls grab at his pants. table with the Fania business guys. Priscilla, Ralph, Jerry...the entourage. Puchi smiles, blows a kiss. Puchi pushes herself up. The music building, the congas: crazy. We see her belly...and so does Hector.</scene_description> <character>PUCHI</character> <parenthetical>(to no one)</parenthetical> <dialogue>Excuse me.</dialogue> <scene_description>She makes her way to the front of the stage...and just stands there. Puchi and future family. Hector knows what's up, opens his arms wide and yells into the Mic.</scene_description> <character>HECTOR</character> <parenthetical>(singing/soneo)</parenthetical> <dialogue>Okay, would you marry me baby? I'll</dialogue> <dialogue>marry you, if you put it that way...</dialogue> <scene_description>Puchi nods her head.</scene_description> <character>HECTOR</character> <parenthetical>(still improvising)</parenthetical> <dialogue>...I am gonna married this</dialogue> <dialogue>woman...because I love her and if I</dialogue> <dialogue>don't...Ay Que lio!! Candanga con</dialogue> <dialogue>Burundanga!! Te quiero de gratis!</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>The Interview CONTINUES....</scene_description> <character>PUCHI</character> <dialogue>He looked like an innocent choir boy</dialogue> <dialogue>jibaro, but he wasn't.</dialogue> <scene_description>BACK TO SCENE... THE INTERVIEW. Puchi shakes her head...as if listening to him...and agreeing with whatever he's saying. She's almost IN A TRANCE.</scene_description> <character>PUCHI</character> <dialogue>We were both pregnant.</dialogue> <parenthetical>(she still has a memory)</parenthetical> <dialogue>The other 'woman in</dialogue> <dialogue>question'...doesn't really matter at</dialogue> <dialogue>this point...it wasn't meant to be,</dialogue> <dialogue>right? I am the only woman.</dialogue> <scene_description>Whether this is what the film crew came for, or not, this is what they're getting. The love story. The heartbreak story. Fuck Hector's music life...everybody knows that...this is Puchi's Confidential. I just put a little more pressure... or he liked me better...the day Hector was at the baptism for his other son...he left the church and came over to see me. He said: "I'll take you to Puerto Rico and marry you baby"...and he never left. Men we still men then... THE OCEAN WAVES BREAK AGAINST THE REEF... \*</scene_description> </scene> <scene> <stage_direction>EXT. OLD SAN JUAN CHURCH -- DAY \*</stage_direction> <scene_description>One of the oldest churches built by the Spaniards when they discover America. Little did they know... A CHURCH ALTAR...the music stops. Another stage, different performance. Dead quiet.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - DAY</stage_direction> <scene_description>The PRIEST and family stand at the altar waiting along with all the FRIENDS and FAMILY who sit anxiously in the Chapel. Zayda is holding little HECTOR, (Tito) only a couple of weeks old. But someone is missing. PUCHI IS BY THE DOOR... as a look-out dressed in her wedding gown. She peeks her head back in the door, slams it shut. Zaida and the BRIDESMAIDS look at her blankly as she strolls down the aisle...like a gunslinger.</scene_description> <character>PUCHI</character> <dialogue>Somebody give me a cigarette.</dialogue> <scene_description>Zaida lights one, gives it to her. Puchi paces. Turns to Ralph, who has just walked in. The Priest just chills, hoping against hope, this is all a nightmare about to end.</scene_description> <character>PUCHI</character> <dialogue>You're the new manager, right?</dialogue> <character>RALPH</character> <parenthetical>(smiling)</parenthetical> <dialogue>You look beautiful Puchi, beautiful.</dialogue> <character>PUCHI</character> <dialogue>Hector ain't here yet.</dialogue> <character>RALPH</character> <parenthetical>(stoned on weed)</parenthetical> <dialogue>You know Hector...he'll be here.</dialogue> <scene_description>That's right...where the hell is he? Were you at the bachelor party?</scene_description> <character>RALPH</character> <dialogue>Of course I was. Just calm down...</dialogue> <character>PUCHI</character> <dialogue>You calm down! I'm gettin' fuckin'</dialogue> <dialogue>married here and he ain't showin'</dialogue> <dialogue>up. What kind of managing is that?</dialogue> <scene_description>She grabs his hand.</scene_description> </scene> <scene> <stage_direction>EXT. PUERTO RICO -- DAY \*</stage_direction> <scene_description>She marches down the LOBBY with Ralph and the Priest in tow. Zaida picks up the long trail of wedding dress and follows. THE IMAGE FREEZES ON HER FACE.</scene_description> <character>PUCHI OS</character> <dialogue>He was like...on a 'Pussy Safari'...I</dialogue> <dialogue>used to hear everything. Everything.</dialogue> <scene_description>SAME FACE... thirty years later. Still telling the tale.</scene_description> </scene> <scene> <stage_direction>EXT. PUERTO RICO HOTEL - LATER</stage_direction> <scene_description>Puchi, Zaida, Ralph the Priest and a WEDDING PHOTOGRAPHER huddle around the MOTEL MANAGER as he opens the doors to</scene_description> </scene> <scene> <stage_direction>INT. SUITE 315 - CONTINUOUS</stage_direction> <scene_description>Puchi marches in with the Priest to the Bachelor party aftermath. Bottles, drug paraphernalia everywhere. Band members with CHICKS passed out on a couch and floor...the debris of a good Led Zeppelin party. The stillness of dead ecstasy. \* Puchi walks over to Willie, who's sleeping on another couch in his BOXERS with a GIRL in her bra and panties.</scene_description> <character>PUCHI</character> <parenthetical>(shaking him)</parenthetical> <dialogue>Where's the ring?</dialogue> <character>WILLIE</character> <dialogue>Oh, shit...</dialogue> <parenthetical>(sees the priest)</parenthetical> <dialogue>Good morning Father.</dialogue> <scene_description>Willie searches his pants, as if looking for change, brings \* out the RING BOX. Puchi drags him over to the BED where Hector is PASSED OUT in his boxers. (top of her lungs) Hector! Hector jolts up.</scene_description> <character>PUCHI</character> <parenthetical>(sweet and loving)</parenthetical> <dialogue>Stand up honey. We're getting</dialogue> <dialogue>married.</dialogue> <scene_description>Hector, still loaded, can barely stand up or open his eyes.</scene_description> <character>HECTOR</character> <dialogue>I thought we were already married?</dialogue> <scene_description>A bed sheet wrapped around his shoulders like a cape. Puchi motions to the Priest.</scene_description> <character>PUCHI</character> <dialogue>Marry us. Hurry up.</dialogue> <scene_description>Puchi holds Hector's hand.</scene_description> <character>PRIEST</character> <parenthetical>(looking at the decadence)</parenthetical> <dialogue>Dearly Beloved...we are gathered</dialogue> <dialogue>here...</dialogue> <character>PUCHI</character> <dialogue>Forget that shit. Just do the "I</dialogue> <dialogue>do's part."</dialogue> <character>PRIEST</character> <parenthetical>(clearing his throat)</parenthetical> <dialogue>Do you Hector...</dialogue> <character>PUCHI</character> <dialogue>He does. Say I do, Hector.</dialogue> <character>HECTOR</character> <parenthetical>(eyes closed)</parenthetical> <dialogue>I do.</dialogue> <character>PRIEST</character> <dialogue>Do you Puchi...</dialogue> <character>PUCHI</character> <dialogue>I do.</dialogue> <scene_description>She looks at the passed out group.</scene_description> <character>PUCHI</character> <dialogue>Anybody object?</dialogue> <scene_description>Silence. (hushed/sincere) \* Sorry Father. Is there any beer left?</scene_description> <character>PUCHI</character> <dialogue>Give him the ring Willie.</dialogue> <scene_description>Hector takes the ring but needs some help putting it on Puchi's finger. It's not a joke anymore.</scene_description> <character>PRIEST</character> <dialogue>I now pronounce you man and wife.</dialogue> <dialogue>You may now kiss the bride.</dialogue> <scene_description>But Hector stumbles with the moment of truth...his eyes kissing her. A cigarette lit in his hand, he takes a smoke. \*</scene_description> <character>HECTOR \*</character> <parenthetical>(blowing the smoke)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>A camera FLASHES. A CLAVE starts a rhythm. Maracas join in.</scene_description> </scene> <scene> <stage_direction>EXT. EL BARRIO CORNER -- DAY</stage_direction> <scene_description>In between the Botanica and the Bodega, a quintet of barrio drunks, the usual gang of happy derelicts are singing along to the SONG coming out of the ghetto blaster. Hector is there with them, singing to the radio the song. Lip synching himself. Beers, cheers, joints...as they sing and dance, as if on stage....suddenly, one of them spots a COP and elbows Hector...who happens to be taking a toke of the joint. His lungs about to explode, when he sees the cop coming straight at him. But no one stops or runs...the whole gang stays in place singing...going down with the ship.</scene_description> <character>HECTOR</character> <dialogue>"Isla Linda y bonita de palmeras</dialogue> <dialogue>benditas...</dialogue> <scene_description>The cop arrives as Hector exhales to a side...impossible to hide this much smoke...but before he can raise his hands to surrender, the COP TAKES THE MARACAS away from him and starts playing like a pro. The rag tag band is livid and close to heart attack conditions as Hector and the COP HARMONIZE in the chorus.</scene_description> <character>HECTOR/COP</character> <dialogue>...yo le canto a la isla del</dialogue> <dialogue>encanto...</dialogue> <scene_description>No one is getting BUSTED TONIGHT. The MUSIC BLASTS: BLOCK PARTY/ EARLY FANIA MAGIC...in Spanish Harlem. The audience shouts: ...Puerto Rico!!!!!"</scene_description> </scene> <scene> <stage_direction>EXT. EL BARRIO STREET (BLOCK PARTY)-- DAY</stage_direction> <scene_description>( ALT: SAN JUAN/PUERTO RICO STREETS ) The streets are filled with the magic of the music and all of the sudden the sidewalks are turned into pieces of San Juan, Mayaguez, Bayamon or wherever you came from...people dancing and cooking and laughing and feeling more together than they had...a Puerto Rican RENAISSANCE in Manhattan. Dancing in the streets...and on the bandstand, some of the most handsome and fun young singers of the day; Ismael Miranda, Willie Colon and Hector...in his pink glasses and wide hats...and Johnny Pacheco, the band leader supreme. The song Hector's singing is "PUERTO RICO". A gem of a song, almost an anthem to Puerto Rico. If there was ever one moment that galvanized a broken up community, it was NOW. The after sixties- seventies. NOW you weren't afraid of being what you where...and you said it loud: Puerto Rican and Proud! The seeds of a NUROYICAN NATION, if there was ever one. Puchi notices as Hector leaves the stage. LATER... Nighttime. Same neighborhood, different circumstances. HECTOR SCORES. Ends up in some filthy little stairway with some of his FANS...and lots of dope. A post wedding concert celebration, riding the glorious first year of a secret heroin habit.</scene_description> </scene> <scene> <stage_direction>INT. TENEMENT STAIRWAY -- NIGHT</stage_direction> <scene_description>( ALT: LA PERLA -- PUERTO RICO ) We hear voices...someone walking up the stairs. A junkie peeks out the door to his apartment to see what's up.</scene_description> <character>VOICE OS</character> <parenthetical>(rushing up)</parenthetical> <dialogue>Hector's here, man...</dialogue> <scene_description>But they're not talking about music. Around the landing on the last floor is Hector alright. His jacket is off and he's just finished shooting up. He's rolling down his sleeve...jiving happily, dope rushing and rapping. (sees more dope arriving) Vaya! This is where it's happening tonight, man...where the fuck are we?</scene_description> <character>JUNKIE</character> <dialogue>Heaven bro, Here...another bundle...on</dialogue> <dialogue>the house.</dialogue> <scene_description>Around him, three or four Lower East Side hard core dope fiends party with the man. Yes, Hector is theirs too. TIME CUT</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S PLACE -- NIGHT</stage_direction> <scene_description>Puchi is sitting in the living room, pissed. It's one of many nights she's learning to live with. \*</scene_description> <character>HECTOR</character> <dialogue>I just bumped into some friends,</dialogue> <dialogue>men...and you know how it is...</dialogue> <character>PUCHI</character> <dialogue>Yeah, It's okay. I know how it is.</dialogue> <character>HECTOR</character> <dialogue>I was doing nothing...</dialogue> <scene_description>She gets up and gets on his face, grabbing his arm.</scene_description> <character>PUCHI</character> <dialogue>And what is this on you sleeve? A</dialogue> <dialogue>blood test you had done after the</dialogue> <dialogue>show...come on Hector...</dialogue> <character>HECTOR</character> <dialogue>Baby...it's nothing, just having a</dialogue> <dialogue>little fun, experimenting and</dialogue> <dialogue>shit...it's nothing. Everybody doing</dialogue> <dialogue>it. Come on. Everything is</dialogue> <dialogue>good...let's not...</dialogue> <character>PUCHI</character> <dialogue>Let's not what?</dialogue> <scene_description>But Hector can't say it, not with any honesty, so he keeps quiet. If she's ever right, it's tonight.</scene_description> <character>PUCHI</character> <dialogue>Fuck it up? You think I don't know?</dialogue> <dialogue>You know how many friends I had who</dialogue> <dialogue>never got to take the fucking needle</dialogue> <dialogue>out of their arm...you think that</dialogue> <dialogue>growing up in the streets doesn't</dialogue> <scene_description>teach you something? Please...you have family now...I don't wanna bury you on your son's third birthday.</scene_description> <character>HECTOR</character> <dialogue>Oh...come on. Now you're the school</dialogue> <dialogue>cop? You get high...you like this</dialogue> <dialogue>shit...</dialogue> <scene_description>She stops him.</scene_description> <character>PUCHI \*</character> <dialogue>No. Not that shit.</dialogue> <parenthetical>(her back to him)</parenthetical> <dialogue>That's not getting high, man...in my</dialogue> <dialogue>book, that's killing yourself.</dialogue> <scene_description>Silence.</scene_description> <character>PUCHI</character> <dialogue>Hector please...I don't wanna be the</dialogue> <dialogue>school cop. You make it, I make it.</dialogue> <dialogue>Let's make it.</dialogue> <scene_description>He walks over to her.</scene_description> <character>HECTOR</character> <dialogue>I'll be careful...nothing's gonna</dialogue> <dialogue>happen...okay?</dialogue> <scene_description>The song "MONEY, MONEY, MONEY" plays over...</scene_description> </scene> <scene> <stage_direction>INT. CLUB OFFICE - NIGHT</stage_direction> <scene_description>A MONEY COUNTING MACHINE counts bills. Willie and Hector each take a stack. They look like the characters from the gangster album cover, they're living the life. Early Scarface. A FLASH BULB goes off...MUSIC PLAYS.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS - CONFERENCE ROOM - DAY</stage_direction> <scene_description>MORE FLASHES. The room is filled with REPORTERS and PRESS PHOTOGRAPHERS interviewing Hector, DRESSED IN A SHARP WHITE SUIT AND COOL PRESCRIPTION SHADES, and Willie, DRESSED IN ALL BLACK. Both hold GOLD RECORDS in their hands. Jerry, Johnny, and Ralph, big smiles, stand behind them. SUDDENLY THEY FADE from the room...and we are in same room present time, with Puchi. Puchi is walking around, almost recognizing the 30 years old cigarette butts on the ashtray. Searching for a sign of life. Her old life.</scene_description> <character>PUCHI</character> <dialogue>...Hector never really left Puerto</dialogue> <dialogue>Rico, it was more like he brought</dialogue> <dialogue>Puerto Rico over here with him.</dialogue> <dialogue>He...showed us...but didn't know it.</dialogue> <scene_description>LIVE MUSIC PLAYING...</scene_description> <character>PUCHI</character> <dialogue>He was simple...and he had all the</dialogue> <dialogue>island we were missing...that was</dialogue> <dialogue>the thing with Hector. His English</dialogue> <dialogue>was bad, our Spanish was worse...and</dialogue> <dialogue>it clicked. He spoke like</dialogue> <dialogue>family...like someone you knew all</dialogue> <dialogue>your life...his problems were your</dialogue> <dialogue>problems.</dialogue> <scene_description>She straightens one of the Gold records left on the cracked wall.</scene_description> </scene> <scene> <stage_direction>EXT. QUEENS HOUSE - DAY</stage_direction> <scene_description>Hector stands outside on the front lawn, holding a now FOUR YEAR OLD Tito's hand. Puchi opens the door to them. It's \* home.</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE -- DAY</stage_direction> <scene_description>A fire place is going in the living room. The little boy is standing in front of Hector...he looks sad.</scene_description> <character>HECTOR</character> <dialogue>If you also wanted the little train,</dialogue> <dialogue>you better go out the window and</dialogue> <dialogue>tell him, scream it...</dialogue> <parenthetical>(mock scream)</parenthetical> <dialogue>' my little train'...just say you</dialogue> <dialogue>forgot...</dialogue> <scene_description>Little Tito doesn't really buy it....</scene_description> <character>HECTOR</character> <dialogue>Go ahead...tell him before he travels</dialogue> <dialogue>away from Queens.</dialogue> <scene_description>The boy runs to the window and begins hollering.... (top of his lungs) I forgot to ask you for a little train Santa....please....I forgot....a little train... Hector smiles as he watches his naive little son remind Santa of the forgotten toy. His turn to be a good father. The little voice is lost in the...</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK SKYLINE -- NIGHT (STOCK)</stage_direction> <scene_description>Snow falling. A WHITE X MAS...</scene_description> </scene> <scene> <stage_direction>EXT. QUEENS HOUSE - NIGHT \*</stage_direction> <scene_description>Santa Claus is outside Hector's house, smoking a joint. He picks up his Red Bag of presents and climbs up a small ladder, goes through a window.</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE - NIGHT</stage_direction> <scene_description>The room is dark. A little toy train runs through the tracks in the living room...a tricycle next to it...along with many other toys. Little Tito appears at the end of the big room, cued by Puchi. The kid sees the train, wide eyed...and near fainting...he also sees the legendary white bearded man from the cards, the signs, now standing by the moonlight, right across from of him.</scene_description> <character>HECTOR</character> <parenthetical>(latino Santa)</parenthetical> <dialogue>Ho Ho Ho! Are you little Tito...</dialogue> <scene_description>The little boy can barely stand, nevertheless speak...he just stares...Puchi speaks for him.</scene_description> <character>PUCHI</character> <dialogue>Tito...di que si...</dialogue> <parenthetical>(like the boy)</parenthetical> <dialogue>Si...I'm Tito.</dialogue> <scene_description>The boy moves a little closer, seeing the train going around him.</scene_description> <character>HECTOR</character> <dialogue>This is all for you little boy...a</dialogue> <dialogue>present from Santa Claus...bye bye!</dialogue> <parenthetical>(to Puchi)</parenthetical> <dialogue>Tell his father...he's a good boy.</dialogue> <dialogue>Ho Ho Ho...I'm a good boy too...Ho</dialogue> <dialogue>Ho Ho...</dialogue> <scene_description>Santa disappears in the night...we hear a crash after he clears the window...and some grumbling in Spanish. WE HEAR THE SOUND OF THE 'tres' playing softy somewhere... Puchi is asleep, alone in the bed. Right in front of her, is Hector, wearing his pajamas, admiring her, walking around his sleeping beauty, the baby is next to her, lying by her side. He cannot believe his luck...they're his. We hear the sound of a 'cuatro' playing somewhere...a plena- lullaby. He slowly, not to wake anyone up and spoil the magic of the moment, gets himself in the bed next to her. Moving toys out of the way, he rests his head next to Puchi and a Firetruck. The SOUND OF THE 'cuatro" continues... YEARS LATER...ANOTHER CHRISTMAS... "Asalto Navideno" \*</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE -- NIGHT</stage_direction> <scene_description>FELIZ NAVIDAD! The whole room is filled with friends. Willie, Johnny Pacheco, Ralphy, Jerry, Priscilla, Papo, etc. Everyone richer; everyone slicker. A big Puerto-Rican feast on a long table, in the middle of a SUPERFLY fashion blast. On the walls: Leroy Neiman 'salsa' renditions of Hector and other Spanish icons. We peek. It's all candid. Real life. Everyone is singing the same 'plena'. Tonight, Famous Latin musician Yomo Toro does the honors of playing the little 'cuatro' guitar...bringing into snowy New York all the heart and soul Jibaro music. We see Tito, now a happy six years old boy singing along, helping mom out. We also notice a small little poodle wearing a jibaro country hat, a 'pava'...running around...into Hector's arms. Puchi savors every bit of it. This was a great happy time, nothing would ever be the same THE MUSIC FADES OUT. THE IRIS CHACON SHOW IS ON TV... the wild Puerto Rican vedette camping it up, during her famous TV days.</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE -- NIGHT</stage_direction> <scene_description>Puchi dubs the song as Iris dances and shakes her made-her famous- sculptural behind. She's doing an early Tongolele/Grace Jones in the tropics choreography. Leather and banana.</scene_description> <character>PUCHI</character> <dialogue>Te gusta?</dialogue> <scene_description>Schaefer beer. Glassy- eyed, mellow.</scene_description> <character>HECTOR</character> <dialogue>Mami...mira. Move your behind so I</dialogue> <dialogue>can see her behind...ces't vou pliz.</dialogue> <character>PUCHI</character> <dialogue>You're so funny...you can't handle</dialogue> <dialogue>an ass like that.</dialogue> <character>HECTOR</character> <dialogue>How much you wanna bet?</dialogue> <scene_description>She turns to him. Mock-encabrona.</scene_description> <character>PUCHI</character> <dialogue>You know papi. This one you can</dialogue> <dialogue>touch...this one is yours...and that</dialogue> <dialogue>one...?</dialogue> <scene_description>She does a little dance for Hector, imitating Iris, blocking the TV set. Hector pretends to be looking for the TV, then bolts out of his seat, grabbing PuchI from behind...kissing her neck, she laughs...he loves it too....these are two people madly in love with one another.</scene_description> <character>PUCHI</character> <dialogue>Leave me alone...</dialogue> <scene_description>They fall on the floor, in the background, IRIS CHACON bumping and grinding, climbing on top of a Harley Davidson...as Puchi climbs on top of poor skinny little Hector, and starts removing her blouse.</scene_description> <character>PUCHI</character> <parenthetical>(with a wicked smile)</parenthetical> <dialogue>You wanna watch TV...do you papito?</dialogue> <dialogue>You wanna change the channel?</dialogue> <scene_description>She starts kissing Hector...considers...</scene_description> <character>PUCHI</character> <dialogue>Do you think this will end?</dialogue> <scene_description>Hector kisses her back...</scene_description> <character>HECTOR</character> <dialogue>What?</dialogue> <character>PUCHI</character> <dialogue>This...</dialogue> <scene_description>She bites his lip...starts unbuttoning his shirt.</scene_description> <character>HECTOR</character> <dialogue>It's just starting...isn't it.</dialogue> <scene_description>He kisses her face over and over.</scene_description> <character>HECTOR</character> <dialogue>You know... I always dreamed of having</dialogue> <dialogue>someone like you.</dialogue> <scene_description>Kisses her...she kisses him back...and then, he pulls away.</scene_description> <character>HECTOR</character> <dialogue>I have an idea. Wanna do a little</dialogue> <dialogue>coke?</dialogue> <character>PUCHI</character> <dialogue>Now? You nuts? I don't like that</dialogue> <dialogue>stuff...</dialogue> <character>HECTOR</character> <parenthetical>(getting up)</parenthetical> <dialogue>Yeah...but you like me...</dialogue> <parenthetical>(a little devil)</parenthetical> <dialogue>Right? Come on...</dialogue> <scene_description>He takes a vial out of his pocket. MARVIN GAYE PLAYS ON THE STEREO. "Inner City Blues". IT'S MUCH LATER... YEARS LATER. \*</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE - NIGHT</stage_direction> <scene_description>...they're an experienced wasted couple...in their new house. Still half- dressed. Wired and just realizing that it's almost daylight, again. Hector's lying on the floor next to Puchi...who is crawling around the expensive glass table. A drugged predator. Another wasted couple (Willie &amp; Wife) parties around in another part of the living room. Pool water shimmering in the walls... Willie tries his best stoned playing the grand piano in the living room, gives up and walks out into a patio: An electric blue pool empty, waiting for a swimmer.</scene_description> <character>PUCHI</character> <parenthetical>(in a bit of a panic)</parenthetical> <dialogue>Shit...we don't have anymore.</dialogue> <scene_description>Hector smiles, smoking his cigarette, drinking his vodka. A little something hidden up every sleeve. He moves to a sofa.</scene_description> <character>HECTOR</character> <dialogue>Says who?</dialogue> <scene_description>Puchi turns to him. First mad, then glad...still on her knees. He's dangling a little coke bottle in his hand. But you gotta do something for me first... Like a dog...he parts his legs open.</scene_description> <character>PUCHI</character> <dialogue>Anything.</dialogue> <character>HECTOR</character> <parenthetical>(looking at the other woman)</parenthetical> <dialogue>Anything?</dialogue> <scene_description>Puchi gets closer to him, to the coke.</scene_description> <character>HECTOR</character> <dialogue>Baby...look at her...</dialogue> <scene_description>The woman is dancing seductively with Marvin Gaye, unaware of the conversation. Maybe not.</scene_description> <character>HECTOR</character> <parenthetical>(softly)</parenthetical> <dialogue>You always wanted to... make it with</dialogue> <dialogue>a girl...right? You said that....</dialogue> <scene_description>Puchi looks at him, tempted, does a line before giving an answer.</scene_description> <character>PUCHI</character> <dialogue>Yeah...maybe.</dialogue> <character>HECTOR</character> <dialogue>I'd like that...</dialogue> <scene_description>The woman joins her man in the patio, starts stripping to go for a swim, working the diving board like a runaway slut.</scene_description> <character>PUCHI</character> <dialogue>How'bout you...</dialogue> <character>HECTOR</character> <dialogue>I'll just watch...</dialogue> <parenthetical>(does a line)</parenthetical> <dialogue>Cleaning up her nose...</dialogue> <character>PUCHI</character> <dialogue>Yeah...but you go first with...him,</dialogue> <dialogue>with Julio...come on, I wanna watch</dialogue> <dialogue>too...come on papi...</dialogue> <scene_description>He smiles.</scene_description> <character>HECTOR</character> <dialogue>What?</dialogue> <scene_description>Puchi...it's not supposed to be like that...you're fucking with me?</scene_description> <character>PUCHI</character> <dialogue>Why not? It'll turn me on...you</dialogue> <dialogue>like men? You said that one night...</dialogue> <scene_description>Hector looks around the room.</scene_description> <character>HECTOR</character> <dialogue>Of course not!...That's Willie! I am</dialogue> <dialogue>a man...anyway, you'll be jealous</dialogue> <dialogue>baby...</dialogue> <character>PUCHI</character> <dialogue>No I won't...come on papi...go get</dialogue> <dialogue>him.</dialogue> <scene_description>Willie jumps in the pool wearing his suit, let's out a holler...the woman laughs. Sits by the edge of the pool. She spreads her legs slowly... stylishly dirty.</scene_description> <character>PUCHI</character> <dialogue>Then I'll do her...</dialogue> <scene_description>They both start laughing at the absurdity of it. Hector...hears a noise, he looks. A seven- year old Hectito is watching his father and mother in some strange adult freak scene.</scene_description> <character>PUCHI OS</character> <dialogue>...we liked excess, yeah...we both</dialogue> <dialogue>shared that...that sickness...that</dialogue> <dialogue>crazy game...the whole insanity of</dialogue> <dialogue>the coke and having everything...</dialogue> <scene_description>INTERVIEW -</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>Confessions, accusations...the 30 years later version of a lone survivor, when the truth goes in every direction.</scene_description> <character>PUCHI</character> <dialogue>...he went far, I went further...</dialogue> <dialogue>There's no denying it.</dialogue> <parenthetical>(with a smile)</parenthetical> <dialogue>We were terrible for one another.</dialogue> <dialogue>That was the whole basis of the</dialogue> <dialogue>relationship...see who could bang</dialogue> <dialogue>the other one harder in the head...</dialogue> <scene_description>A FLASHBACK: Hector SNEAKS THROUGH THE BACK DOOR OF SOME CLUB. Puchi is waiting for him and as soon as he hits the street, she smacks the shit out of him.</scene_description> <character>PUCHI</character> <dialogue>What? What....what the fuck you're</dialogue> <dialogue>gonna say... you bitch...eh? Who's</dialogue> <dialogue>that bitch...your aunt...?</dialogue> <scene_description>Puchi punches him....as the other woman runs away and no one dares stop the fight. Only Hector who grabs her and shoves her inside her car, parked by the alley. Once inside the car, they look at each other....and start laughing. BACK TO SCENE To Puchi 2002. Getting a drink. A cigarette, acting like she was 'busy' backstage somewhere, in a big concert hall... where Hector is about to perform. She lets her hair down.</scene_description> <character>PUCHI</character> <dialogue>I remember too much...</dialogue> <scene_description>Very faintly, WE HEAR THE VOICE OF AN MC ANNOUNCING A SHOW...'Ladies and Gentlemen...would you...etc'. She drifts, gone for a second.</scene_description> <character>HECTOR OS \*</character> <dialogue>I never forget you.</dialogue> <scene_description>HECTOR's TALKING... it looks as if he was talking back to Puchi.</scene_description> <character>HECTOR</character> <parenthetical>(ref:audience)</parenthetical> <dialogue>...I'm lucky I got you...well, I</dialogue> <dialogue>don't know how lucky...</dialogue> <scene_description>RAPPING IN BETWEEN SONGS as he used to, just everyday talk...his special way of relating to his audience...from a flat tire to a broken heart...yesterday's news or tomorrow's doom or insults. An old black and white piece shot somewhere in the trail, nuggets from the top. Hector does his stand up between songs.</scene_description> <character>HECTOR</character> <dialogue>...let me see...my mother died when</dialogue> <dialogue>I was three, my brother died when I</dialogue> <dialogue>was 15, my grandmother just</dialogue> <dialogue>died...Jesus, I'm gonna have to kill</dialogue> <dialogue>myself so I could have some company!!</dialogue> <dialogue>Don't go anywhere mi gente.</dialogue> <scene_description>Laughter from the crowd. Someone shouts 'sing'. Hector flips them the 'bird'. (acting lost) Fuck you too. Now, what was your question? Oh...the next song we're gonna play? MUSIC STARTS... MUSIC PLAYS...</scene_description> </scene> <scene> <stage_direction>INT. CHEETAH -- NIGHT</stage_direction> <scene_description>(this COULD BE a PUERTO RICO show- OUTDOOR: LA PERLA,SAN JUAN PARK, ETC or THE FLOAT/PR day parade idea--check) THE FANIA ALL STARS AT THEIR BEST. Raw and intense. Camera's rolling. But the band is totally unaware of HISTORY BEING MADE TONIGHT. "Quitate Tu Pa'Ponerme Yo" grooves on, six of the best singers in Salsa sharing a stage and a magic moment. Puchi is on the side of the stage. A witness to the frenzy and part of it...as she dances again for him. Ecstatic.</scene_description> <character>HECTOR SINGING</character> <dialogue>" Move out of the way...quitate tu!"</dialogue> <scene_description>BACKSTAGE The noise of the PRESS, the impressed, musicians, managers, groupies and the usual shatter and electricity of 'after a historical show'. A happy Hector is in the middle of this beautiful moment, as he realizes that Puchi is next to him...sharing the success and the feeling of HAVING IT ALL...of getting here together...and holding on to one another. He gets to make himself invisible in front of everyone and hold her face close to him...the most important face to hold on to.</scene_description> <character>HECTOR</character> <dialogue>Do you believe this?</dialogue> <scene_description>She doesn't need to look around. She believes in him.</scene_description> <character>HECTOR</character> <parenthetical>(whispering)</parenthetical> <dialogue>I love you...and you're here with</dialogue> <dialogue>me.</dialogue> <scene_description>(taking the room) \* It's our time. I mean...you and me. They stare at each, Puchi beaming, giving it all up for him and his dreams coming true.</scene_description> <character>PUCHI</character> <dialogue>I love you.</dialogue> <scene_description>little sly move that no one sees, but we all know, as she passes into his pocket a small little vial...it's a little moment that will be big and damaging in their lives.</scene_description> </scene> <scene> <stage_direction>INT. CLUB BACKSTAGE - NIGHT</stage_direction> <scene_description>Disco music is heard in the b.g. The previous joy and peace is out the window. It's tense inside this room. Puchi sits on a couch with a glass of CHAMPAGNE, smoking a large cigar very elegantly, dressed to ill in silky, rich looking black dress. Willie leans against he door holding on to his Trombone...anxious to get the how going...but Hector's MIA. Willie and the band stand round upset...silent, the before the show shatter all wasted. alph taps his watch, pretending it's not the 20th time he's one it in an hour.</scene_description> <character>PUCHI</character> <dialogue>I'm not a fuckin' baby-sitter...I'm</dialogue> <dialogue>his wife...in case you forgot.</dialogue> <character>RALPH</character> <dialogue>You don't know where he goes?</dialogue> <dialogue>Everybody else does...wife. \*</dialogue> <character>PUCHI</character> <dialogue>Then go find him.</dialogue> <character>WILLIE</character> <dialogue>I don't care if he makes you</dialogue> <dialogue>wait...he's not gonna make me wait...I</dialogue> <dialogue>worked too hard to get to stand on</dialogue> <dialogue>that fucking stage.</dialogue> <scene_description>Puchi gives Willie an amused fuck- you- smile.</scene_description> <character>PUCHI</character> <dialogue>Did you really?</dialogue> <scene_description>It's tense and ugly and different, because it's a woman snarling in a man's world.</scene_description> <character>WILLIE</character> <parenthetical>(to Ralph)</parenthetical> <dialogue>Why is she here?</dialogue> <scene_description>Willie walks out.</scene_description> <character>RALPH</character> <dialogue>Willie is right. You shouldn't be</dialogue> <dialogue>defending Hector this time...he's</dialogue> <dialogue>fucking up.</dialogue> <character>PUCHI</character> <dialogue>Did anybody ask for their money back?</dialogue> <scene_description>Ralph never gets to answer. (pushy) Did they? A moment later, Hector casually walks in...with Willie.</scene_description> <character>WILLIE</character> <dialogue>Everybody out! I gotta talk to</dialogue> <dialogue>Hector.</dialogue> <scene_description>Hector smiles, unaware of any problem, ready with a true- tale of Lavoe's life. After a brief stare down, Ralph walks out followed by the band...Puchi stays.</scene_description> <character>WILLIE</character> <parenthetical>(to Puchi)</parenthetical> <dialogue>You too....please.</dialogue> <scene_description>She struts out.</scene_description> <character>HECTOR</character> <dialogue>Cono man, my dog ran away with my</dialogue> <dialogue>car keys...ate them...I had to borrow</dialogue> <dialogue>a neighbor's car to get here.</dialogue> <scene_description>Hector gives Willie a sheepish smile.</scene_description> <character>WILLIE</character> <dialogue>You fuckin' happy with yourself?</dialogue> <character>HECTOR</character> <dialogue>I don't know...what did I do? That</dialogue> <dialogue>was a true story.</dialogue> <scene_description>Willie almost laughs, but holds on to playing the bad cop.</scene_description> <character>WILLIE</character> <dialogue>It's me Hector. Not the others. I</dialogue> <dialogue>like to fuck around too, Hector but</dialogue> <dialogue>I take this seriously.</dialogue> <character>HECTOR</character> <dialogue>So do I, bro...Willie, listen...</dialogue> <character>WILLIE</character> <dialogue>I wanted you in my band because I</dialogue> <dialogue>saw you had a one in a million voice.</dialogue> <dialogue>And we've gotten far. But if now</dialogue> <dialogue>you wanna fuck yourself up, do it on</dialogue> <dialogue>your own time, not on</dialogue> <dialogue>mine...understand? You need help,</dialogue> <dialogue>I'll help.</dialogue> <scene_description>Off Screen we hear, the MC announcing the start of the show.</scene_description> <character>HECTOR</character> <dialogue>You know I love you, man.</dialogue> <dialogue>If this is about love, try lovin'</dialogue> <dialogue>yourself, I get plenty of love and</dialogue> <dialogue>still get here on time.</dialogue> <scene_description>He embraces Hector...with love, with care.</scene_description> <character>WILLIE</character> <dialogue>I'm your brother. Come on, let's</dialogue> <dialogue>kill them.</dialogue> </scene> <scene> <stage_direction>EXT. QUEENS HOUSE - NIGHT</stage_direction> <scene_description>The driveway is packed with cars, half parked on the front lawn. A NEW MERCEDES pulls up, parks on the street. Puchi jumps out of the car when she sees Tito skating.</scene_description> <character>PUCHI</character> <dialogue>Shit!</dialogue> <scene_description>Tito rides up on his skates.</scene_description> <character>TITO</character> <dialogue>Hi, mommy...</dialogue> <character>PUCHI</character> <dialogue>What are you doing out here at this</dialogue> <dialogue>time?</dialogue> <scene_description>The boy stops, unsure he's doing anything wrong.</scene_description> <character>TITO</character> <dialogue>Playing...dad said it was okay.</dialogue> <character>PUCHI</character> <dialogue>Get inside! Now!</dialogue> </scene> <scene> <stage_direction>INT. HOUSE -- NIGHT</stage_direction> <scene_description>Puchi flies into the living room, dragging Tito by the hand.</scene_description> <character>PUCHI</character> <dialogue>Where is he?</dialogue> <scene_description>As Tito shrugs...GUN SHOTS ring out from under the living room floor.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT -- NIGHT</stage_direction> <scene_description>The band is hangin' out in the Adult Play Room. BARRY WHITE blasting from a JUKE BOX. "Never Never Gonna Give You Up". Hector mocks and lip-syncs Barry. \* A few guys play pool on a NEW POOL TABLE. A couple of others take pot shots with .45's at a DART BOARD riddled with bullet holes, hanging on the wall, also riddled with holes. holds a TRAY FULL OF COCAINE in one hand, a GUN in the other. More shots are taken at the dart board. Just as a GUY leans in to take a snort off the tray. Puchi FLIES down the stairs, races over and SLAPS the whole tray INTO THE AIR.</scene_description> <character>PUCHI</character> <parenthetical>(crazy mad)</parenthetical> <dialogue>Everybody get the fuck out! Now!</dialogue> <scene_description>Everyone scrambles to get out. As the guy attempts to snort some of the lost cocaine off the couch, Puchi kicks him in the ass.</scene_description> <character>PUCHI</character> <dialogue>Hijo de Puta!</dialogue> <scene_description>Hector is left alone, standing with the tray in his hand, gun in the other.</scene_description> <character>HECTOR</character> <dialogue>Puchi, that was some good shit...two</dialogue> <dialogue>grand worth of it! What got you</dialogue> <dialogue>crazy tonight?</dialogue> <scene_description>Puchi grabs the tray and whacks him in the head with it. Hector is too stunned to do anything but back away.</scene_description> <character>PUCHI</character> <dialogue>You let our son out on the street at</dialogue> <dialogue>ten o'clock at night while you're</dialogue> <dialogue>down here with these fuckin' low</dialogue> <dialogue>life leeches...in my house, getting</dialogue> <dialogue>high and shooting off guns!!</dialogue> <character>HECTOR</character> <dialogue>Tito was fine until you came home.</dialogue> <scene_description>All the time, the gun in Hector's hand. Puchi looks at it...it's implications and possibilities.</scene_description> <character>PUCHI</character> <parenthetical>(calmly)</parenthetical> <dialogue>Put that fuckin' thing away.</dialogue> <scene_description>Hector, belts the gun, shrugs and starts for the stairs.</scene_description> <character>HECTOR</character> <dialogue>I'm gonna pretend this didn't happen.</dialogue> <character>PUCHI</character> <dialogue>Yeah...like you always do....it's</dialogue> <dialogue>the story of your life. Nothing</dialogue> <dialogue>happened.</dialogue> <scene_description>Your mother didn't die, your father doesn't hate you...and your brother's still scoring dope in Harlem somewhere. She's crossed the line</scene_description> <character>PUCHI</character> <dialogue>Where you goin'? To do more drugs?</dialogue> <dialogue>To spend all our fucking money on</dialogue> <dialogue>drugs?</dialogue> <scene_description>She goes after him, tries smacking him in the back of the head with the tray. He pushes her away.</scene_description> <character>HECTOR</character> <dialogue>You know the problem with you? You \*</dialogue> <dialogue>should'd been born a man, not a woman.</dialogue> <dialogue>You would've been a great tough guy.</dialogue> <scene_description>Hector starts to run up the STAIRS. Blood running down his face.</scene_description> <character>PUCHI</character> <dialogue>You motherfucker!</dialogue> <scene_description>As she races after him, wildly swinging the tray... She looses her balance, FALLS ON THE TRAY and SLIDES DOWN THE STAIRS. HECTOR looks back at her. She's okay. He laughs and keeps going.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - MOMENTS LATER</stage_direction> <scene_description>Hector walks to his car. Puchi chases him after him.</scene_description> <character>PUCHI</character> <dialogue>Go ahead! Leave your wife and son!</dialogue> <dialogue>You no good piece of shit junkie.</dialogue> <scene_description>He turns around...making sure this is his wife screaming out all this horror.</scene_description> <character>PUCHI</character> <dialogue>You heard me, yeah, I said that...</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- NIGHT \*</stage_direction> <scene_description>The place is empty. Except for Willie. Hector has already cleaned up a little bit.</scene_description> <character>WILLIE</character> <dialogue>You have two problems....and I don't</dialogue> <dialogue>know which is harder to quit...</dialogue> <scene_description>...neither, cause I'm used to both of them...and learned to live with both of them...</scene_description> <character>WILLIE</character> <dialogue>But one will kill you.</dialogue> <character>HECTOR</character> <dialogue>I think drugs are easier to quit</dialogue> <dialogue>than that woman...</dialogue> <scene_description>They remain silent...just the jukebox playing oldies. Hector watches the traffic. Imagines all the happy people passing by in their cars.</scene_description> <character>WILLIE</character> <dialogue>I cannot tell you what to</dialogue> <dialogue>do...stubbornness runs in the</dialogue> <dialogue>family...</dialogue> <scene_description>Hector turns to him, smiles....trying to shift the conversation. Or finally knowing what to say next.</scene_description> <character>HECTOR</character> <dialogue>You know, there's this cop, this</dialogue> <dialogue>woman cop...comes to a lot of my</dialogue> <dialogue>shows...says she loves me...I don't</dialogue> <dialogue>know whether she wants to marry me</dialogue> <dialogue>or bust me...should I just raise my</dialogue> <dialogue>hands and walk out peacefully...?</dialogue> <scene_description>They both laugh.</scene_description> <character>WILLIE</character> <dialogue>You'd be better off arrested...right</dialogue> <dialogue>now any way...look at you....you're</dialogue> <dialogue>like The Fugitive...remember how</dialogue> <dialogue>much you used to like that show?</dialogue> <dialogue>Well, you've become that man...running</dialogue> <dialogue>away from something you haven't done.</dialogue> <character>HECTOR</character> <dialogue>Willie, I'm not that innocent</dialogue> <dialogue>either...</dialogue> <scene_description>Silence.</scene_description> <character>HECTOR</character> <dialogue>...and I love her.</dialogue> </scene> <scene> <stage_direction>EXT. QUEENS STREET -- NIGHT</stage_direction> <scene_description>Hector comes to serenade her in the middle of the night. To ask for forgiveness in the only way he knows how, or the way he dopes it best. A guitar and maracas...like an old fashioned trio from a time warp, in the sidewalks of Queens. life. Willie is with him...ragged trombone moans and all. \* Puchi eventually comes out the window...nodding, hushing him first....then pretending to be forgiving...just in time for the neighbors to become a selected audience to a love trial put to music, as Hector sings soulfully Tito Rodriguez's heart-breaking "Inolvidable". But this alone will not do the trick. INSIDE THE HOUSE ( different exterior LOCATION ?) Puchi listens. Hector explains Hector.</scene_description> <character>HECTOR</character> <dialogue>...I'm sorry baby...what else do you</dialogue> <dialogue>want me to do?</dialogue> <scene_description>She just lets him hang in that awful space a little bit longer.</scene_description> <character>HECTOR</character> <dialogue>...I forget what I have... it's like</dialogue> <dialogue>that.</dialogue> <scene_description>He opens his arms, in that classic and final gesture...finished with his defense and ready for sentencing.</scene_description> <character>PUCHI</character> <dialogue>You know, people tell me I should</dialogue> <dialogue>just dump you...you know how fuckin'</dialogue> <dialogue>pissed off that makes me?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Because I love you... and I love</dialogue> <dialogue>Tito... and I want us to be together.</dialogue> <dialogue>It's that too much? Isn't that what</dialogue> <dialogue>you want?</dialogue> <scene_description>But she doesn't even know what she wants to say or hear.</scene_description> <character>PUCHI</character> <dialogue>Hector...I just...I just want you to</dialogue> <dialogue>say 'you're gonna try to make things</dialogue> <dialogue>work'. I want you to say you're</dialogue> <dialogue>gonna spend more time with Tito. I</dialogue> <dialogue>want you to say you're gonna stop</dialogue> <dialogue>with all the drugs...I want you to</dialogue> <dialogue>say you love me.</dialogue> <character>HECTOR</character> <dialogue>Puchi, you want a lot. I do love</dialogue> <dialogue>you...but I can't make that many</dialogue> <dialogue>promises in one night....I'd be lying</dialogue> <dialogue>to you. Of course I love Tito...it's</dialogue> <dialogue>got nothing to with that...and I</dialogue> <dialogue>know how much to give to me...it's</dialogue> <dialogue>just...</dialogue> <scene_description>private...maybe the one and only thing left all his. Puchi's serious demeanor starts to crack after hearing those words.</scene_description> <character>PUCHI</character> <dialogue>Do you think we could try to love</dialogue> <dialogue>each other a little more...more</dialogue> <dialogue>carefully...maybe become a happy</dialogue> <dialogue>family...that's all I want Hector,</dialogue> <dialogue>is for us to be a happy family.</dialogue> <scene_description>Tears are streaming down her face.</scene_description> <character>PUCHI</character> <dialogue>I never had one...</dialogue> <parenthetical>(with a broken smile)</parenthetical> <dialogue>...I was hoping...</dialogue> <scene_description>Hector leans over, wipes them off. He kisses her tears away...in love with trouble and the wrong lover. No better feeling. INTERVIEW CLOSE ON TODAY'S PUCHI.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>She smiles at the memories, these wars were fun...and were all she ever had.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM -- DAY</stage_direction> <scene_description>Puchi wakes up alone. Hector is gone. She jumps up in a panic, races out of the room. Down the stairs. Through the living room. Dining room. Into KITCHEN where... The table is set and Hector, in his underwear is busy cooking BREAKFAST over the hot stove which is a MESS. He comes out of the smoke...his son helping him.</scene_description> <character>HECTOR</character> <parenthetical>(casually)</parenthetical> <dialogue>Buenos dias, sweetheart.</dialogue> <character>TITO</character> <parenthetical>(excited)</parenthetical> <dialogue>We made fried eggs...and pork chops...</dialogue> <character>PUCHI</character> <dialogue>...and beer.</dialogue> <scene_description>She tries to control herself...and enjoy the day. Oh...that's beautiful...</scene_description> <character>TITO</character> <dialogue>I'm joking...</dialogue> <character>HECTOR</character> <parenthetical>(winking at Puchi)</parenthetical> <dialogue>Sit down, honey. It's all okay. I</dialogue> <dialogue>have a crazy idea.</dialogue> <scene_description>MONTAGE: THE HOME MOVIES (FAMILY VACATION IN PUERTO RICO)</scene_description> </scene> <scene> <stage_direction>INT. COLONIAL HOUSE -- DAY \*</stage_direction> <scene_description>His father walks through the simply furnished LIVING ROOM into the KITCHEN busies himself getting some coffee.</scene_description> <character>HECTOR</character> <dialogue>...how have you been? \*</dialogue> <character>PAPA</character> <dialogue>The same I've always been.</dialogue> <scene_description>Hector realizes this ain't a happy reunion.</scene_description> <character>HECTOR</character> <dialogue>So...I'm here...</dialogue> <character>PAPA</character> <dialogue>I know. I read the papers.</dialogue> <scene_description>Awkward silence. Father gets up, goes inside. After a moment, Hector follows.</scene_description> <character>PAPA</character> <dialogue>... a drug addict with many arrests</dialogue> <dialogue>and scandals. Yes, I've read about</dialogue> <dialogue>you.</dialogue> <scene_description>His father stops abruptly, walks out. Goes back into the living room, randomly starts cleaning. Hector follows again...but now he wants some answers.</scene_description> <character>HECTOR</character> <dialogue>Everyday I do the wrong thing and</dialogue> <dialogue>everyday I find out how to stop from</dialogue> <dialogue>doing the wrong thing...and I'm</dialogue> <dialogue>trying, but I don't stop...I thought</dialogue> <dialogue>that coming here...was the right</dialogue> <dialogue>thing.</dialogue> <character>PAPA</character> <dialogue>Why did you come here? I didn't</dialogue> <dialogue>invite you here...</dialogue> <dialogue>...I wanted to see my father, wanted</dialogue> <dialogue>to surprise you...and I was hoping</dialogue> <dialogue>he wanted to see his son.</dialogue> <scene_description>His father just moves further away...as if Hector wasn't there.</scene_description> <character>HECTOR</character> <dialogue>What's it gonna take, viejo? \*</dialogue> <scene_description>Hector starts looking at OLD FAMILY PHOTOS on the mantel, his brother, sister, grandmother. As he picks up one of his father and mother as a young, happy couple... Hector walks closer to his father.</scene_description> <character>HECTOR</character> <dialogue>Maybe I don't know what it's like to</dialogue> <dialogue>lose your own son.</dialogue> <scene_description>The old man knows, but still turns his back on Hector, looks out the window. As if he knows it too well and now only hears a ghost speaking behind him.</scene_description> <character>HECTOR</character> <dialogue>But I know how it feels...not to</dialogue> <dialogue>care about living anymore because</dialogue> <dialogue>you grieve and you hurt.</dialogue> <character>PAPA</character> <dialogue>I lost a wife and a son...and you.</dialogue> <dialogue>How do you feel? \*</dialogue> <character>HECTOR</character> <dialogue>I don't know. Maybe it's late but,</dialogue> <dialogue>yeah, I'm trying to be your son.</dialogue> <dialogue>Why can't you be my father?</dialogue> <character>PAPA</character> <dialogue>Please, I'm an old man. Leave me in</dialogue> <dialogue>peace.</dialogue> <character>HECTOR</character> <dialogue>I'll leave...but I'll go on with my</dialogue> <dialogue>life. I love my son...and I can say</dialogue> <dialogue>it! I have no problem with that.</dialogue> <scene_description>Hector walks to the door.</scene_description> <character>HECTOR</character> <dialogue>All I ever wanted was for you to</dialogue> <dialogue>tell me you loved me and you were</dialogue> <dialogue>proud of me...you can't do that?</dialogue> <dialogue>It's your problem, I've learned to</dialogue> <dialogue>live with it.</dialogue> <scene_description>FADE OUT:</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Puchi is in the bed, watching Hector fix his tie in the mirror...dressing up for the show. A show in itself.</scene_description> <character>PUCHI</character> <dialogue>Goin' to work early?</dialogue> <character>HECTOR</character> <dialogue>Si, gonna surprise Willie.</dialogue> </scene> <scene> <stage_direction>EXT. LONG ISLAND EXPRESSWAY -- NIGHT</stage_direction> <scene_description>The Caddy is stuck in a HUGE TRAFFIC JAM. A sea of headlights. The MIDTOWN TUNNEL up ahead &amp; Manhattan. \*</scene_description> </scene> <scene> <stage_direction>INT. CADDY -- NIGHT</stage_direction> <scene_description>Stuck in traffic. Hector does a little blow, of course, as if getting higher would get him there faster, but nothing works. The traffic doesn't move. Hector POUNDS on the steering wheel. No cell phones in those days.</scene_description> </scene> <scene> <stage_direction>EXT. EL CORSO CLUB - LATER THAT NIGHT</stage_direction> <scene_description>Discouraged FANS leave the club. A disgusted Willie and The Band are leaving as well. They stand on the sidewalk as the band boy lines up the INSTRUMENT CASES. Hector pulls up in his Caddy, double parks. Hector gets out of the car, stoned, crazed. He walks over to Willie who doesn't even acknowledge him.</scene_description> <character>HECTOR</character> <dialogue>You're not gonna fuckin' believe</dialogue> <dialogue>it...</dialogue> <character>WILLIE</character> <dialogue>You're right, I won't.</dialogue> <scene_description>Willie walks down the sidewalk. Hector follows.</scene_description> <character>HECTOR</character> <dialogue>Pero, Willie. Que pasa? Dejame</dialogue> <dialogue>explicarte. Lemme'splain, man.</dialogue> <scene_description>Willie stops, faces Hector.</scene_description> <character>WILLIE</character> <dialogue>Hector, I can't deal with this shit</dialogue> <dialogue>anymore man...tu sabe? I quit. The \*</dialogue> <dialogue>band is yours.</dialogue> <parenthetical>(bewildered)</parenthetical> <dialogue>Tu esta loco chico? You're gonna</dialogue> <dialogue>break this up because of me...?</dialogue> <dialogue>Come on...don't mind me. Man..not</dialogue> <dialogue>now...we're at the top...</dialogue> <character>WILLIE</character> <dialogue>Good for you. It's your band.</dialogue> <dialogue>Hector, I can't work with your crazy \*</dialogue> <dialogue>shit anymore, man. I'm a musician</dialogue> <dialogue>too, remember? I don't like being</dialogue> <dialogue>the 'straight guy', cause I'm not...</dialogue> <character>HECTOR</character> <dialogue>You're joking right? Ta' jodiendo?</dialogue> <dialogue>You're fucking with me?</dialogue> <scene_description>Willie opens the door to his BUICK ELECTRA. As he puts his Trombone case in, TWO PRETTY WOMEN walk up to Hector. Hardcore fans.</scene_description> <character>WOMAN ONE</character> <parenthetical>(nervously to Hector)</parenthetical> <dialogue>Excuse me...we waited three hours to \*</dialogue> <dialogue>hear you sing...</dialogue> <scene_description>Hector thinks she's gonna smack him. He backs up. \*</scene_description> <character>WOMAN TWO</character> <dialogue>We really did...</dialogue> <scene_description>She pulls out one of Willie and Hector's RECORD ALBUMS...but doesn't hit over the head with them.</scene_description> <character>WOMAN TWO</character> <dialogue>Could you sign this? We just love</dialogue> <dialogue>you.</dialogue> <scene_description>Hector smiles and signs the album as Willie, looks and gets in his car.</scene_description> <character>WOMAN ONE</character> <dialogue>Thank you...hey...</dialogue> <character>WOMAN TWO</character> <dialogue>Come on, Wanda.</dialogue> <scene_description>Willie starts the engine. It makes Hector rush over to try to uselessly stop him.</scene_description> <character>HECTOR</character> <dialogue>Why don't we go talk quietly you and</dialogue> <character>I?</character> <dialogue>The car window goes down.</dialogue> <scene_description>I told Ralphy to cancel all our gigs. I'm moving on. You do the same. I'll work with you, but not on the same stage. I'm around for you anywhere else... Willie smiles, understanding, but terminal.</scene_description> <character>WILLIE</character> <dialogue>...we're family.</dialogue> <scene_description>He drives off. Hector stands stunned, his whole world rocked by his own disorder.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S PLACE. LIVING ROOM -- NIGHT</stage_direction> <scene_description>He walks into the house. Puchi is no where in sight and neither is his son.</scene_description> <character>HECTOR</character> <dialogue>Hello? Mami, where are you? Tito?</dialogue> <scene_description>He looks around. It's too quiet. Goes and searches in the kitchen. No one. MUCH LATER... Hector sees the headlights swing piercingly though the window across the darkened living room...washing over his face, then settling in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. PUCHI'S CAR -- NIGHT</stage_direction> <scene_description>Puchi turns off the lights of the car. She sees that Hector's car is there. She's all made up and dressed to kill...or to fuck another man. She looks tense.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S PLACE. LIVING ROOM -- NIGHT</stage_direction> <scene_description>She comes in shielding herself with Tito. Closes the door behind her. Almost TV casual.</scene_description> <character>PUCHI</character> <dialogue>Hector?</dialogue> <scene_description>Before she can hear a reply, Hector's on top of her, swinging her across the living room...over a sofa.</scene_description> <character>HECTOR</character> <dialogue>Where the fuck were you...you fucking</dialogue> <dialogue>whore, puta de mierda!</dialogue> <scene_description>Puchi lands on the floor...ugly and violent.</scene_description> <character>PUCHI</character> <dialogue>Hector...you're crazy! What's gotten</dialogue> <dialogue>into you?</dialogue> <scene_description>Where the fuck...come on...you're stoned, right? Look at you... She can only come up with a little smile.</scene_description> <character>PUCHI</character> <dialogue>Look at you...</dialogue> <scene_description>The little boy starts crying and screaming.</scene_description> <character>TITO</character> <dialogue>Please stop it...</dialogue> <character>PUCHI</character> <dialogue>I was at my sister's! What's wrong</dialogue> <dialogue>with you.</dialogue> <character>HECTOR</character> <parenthetical>(to the boy)</parenthetical> <dialogue>Was she?</dialogue> <character>PUCHI</character> <dialogue>You fucking bastard! Not the kid...!</dialogue> <scene_description>She punches him back, but he doesn't hit back...he just backs away, to take a better look at her. To get back harder.</scene_description> <character>TITO</character> <parenthetical>(screaming)</parenthetical> <dialogue>Papi stop...stop!</dialogue> <character>HECTOR</character> <dialogue>Dressed like that...como una puta.</dialogue> <character>PUCHI</character> <dialogue>Como una puta...and since when don't</dialogue> <dialogue>you like it?</dialogue> <scene_description>He can't answer to that. Hector looks at Tito, who is once again alone or in the middle...looking at his family, as if looking at strangers.</scene_description> <character>PUCHI</character> <dialogue>I wanted to surprise you...I went by</dialogue> <dialogue>the Club...where were you?</dialogue> <scene_description>Hector is now puzzled, confused, guilty...even is she's not really innocent. He can't speak.</scene_description> <character>PUCHI</character> <dialogue>Where the fuck where you?</dialogue> <scene_description>Hector crumbles down...his turn to cry like a kid himself. It's not about believing or not believing her tonight. No one wins. I'm so sorry...I'm sorry Tito... He tries to grab Tito...who refuses and stays alone. It's a horrible moment when your own son fears you.</scene_description> <character>PUCHI</character> <dialogue>Come on Tito...it's your dad...it's</dialogue> <dialogue>okay...he's just upset at</dialogue> <dialogue>something...not at you...he loves</dialogue> <dialogue>you.</dialogue> <scene_description>She's talks to the boy, while she looks at Hector, playing it out...using the boy, their love, anything to stop him and make him believe her story....and find out his. It's lovers that can only feel through pain and can only exist hurting each other to make sure they're alive.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM -- NIGHT</stage_direction> <scene_description>Hector is sitting by the bed staring at the wall to wall mirror in front of him. He's numb.</scene_description> <character>HECTOR</character> <dialogue>I was late...again.</dialogue> <scene_description>She sits down next to him.</scene_description> <character>PUCHI</character> <dialogue>That motherfucker! What happened?</dialogue> <scene_description>Hector smiles at the absurdity of the end. Speechless.</scene_description> <character>PUCHI</character> <dialogue>So what? People like you, late.</dialogue> <dialogue>He's nothing without you, fuck him!</dialogue> <character>HECTOR</character> <dialogue>Fuck me. I am the one that got</dialogue> <dialogue>fired...He was right, I'm fucking up</dialogue> <dialogue>my career...</dialogue> <character>PUCHI</character> <dialogue>He told you that?</dialogue> <scene_description>He looks away from her, goes for a drink.</scene_description> <character>HECTOR</character> <dialogue>Not in those words.</dialogue> <character>PUCHI</character> <dialogue>You're the best. Everybody knows</dialogue> <dialogue>that, Hector. Let him go out there</dialogue> <dialogue>and sing with that squeaky little</dialogue> <dialogue>voice of his...it's his loss.</dialogue> <scene_description>Puchi starts to take off her fancy dress, Hector notices the black lingerie. And then...it's back to the start. Where were you? She's been through this a hundred times. She knows it and so does he.</scene_description> <character>PUCHI</character> <dialogue>I went to my sister's and then I got</dialogue> <dialogue>some chicken...I thought you were</dialogue> <dialogue>coming in late. Baby...</dialogue> <scene_description>Hector looks right up at her. Even if his worse suspicions are true, he can't let her go.</scene_description> <character>PUCHI</character> <parenthetical>(gently, motherly)</parenthetical> <dialogue>Okay, we're gonna take a couple of</dialogue> <dialogue>Quaaludes, get under the covers and</dialogue> <dialogue>hold on to each other, for a change.</dialogue> <dialogue>When we get up, everything is gonna</dialogue> <dialogue>be okay.</dialogue> <scene_description>She finds the pills, undresses him, gets in the bed and cradles him. They're both feeling numb and peaceful.</scene_description> <character>PUCHI</character> <dialogue>Don't worry Papi, we'll figure it</dialogue> <dialogue>all out.</dialogue> </scene> <scene> <stage_direction>INT. A STAGE SOMEWHERE -- NIGHT</stage_direction> <scene_description>Hector and 'his' band are playing a slow Bolero. He looks alone on stage. Willie's is a confusing loss, another rejection, another brother gone. Now he's a more 'sophisticated' Hector, with the sins and the fads of the moment. Cool, aloof, hardly moving, just the necessary sway for the song...and the mood. Less is more. And the people like him more. The more drama, the more they love him. He has the money, the habit, a future and all the trouble success requires sometimes...but something is off tonight.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE -- NIGHT</stage_direction> <scene_description>Puchi finds him sitting alone in his room....he looks tired and worn, his smile crooked and turned off.</scene_description> <character>HECTOR</character> <dialogue>It was my father's birthday today...I</dialogue> <dialogue>called, but he didn't pick up the</dialogue> <dialogue>phone.</dialogue> <character>PUCHI</character> <parenthetical>(like a bad psychiatrist)</parenthetical> <dialogue>Maybe he wasn't home.</dialogue> <dialogue>I tried ten, fifteen times.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM -- NIGHT</stage_direction> <scene_description>The sound of NIGHT CRICKETS are heard coming through the open window. As Hector stares at the window and listens, his eyes flutter.</scene_description> <character>HECTOR</character> <dialogue>You ever tried looking at the Coqui</dialogue> <dialogue>singing?</dialogue> <scene_description>He picks up a little statuette from the night table. It the classic little green frog native of Puerto Rico. The Coqui. The little COQUI FROG sits on the bed now...</scene_description> <character>PUCHI</character> <dialogue>...in the Bronx...no no, never saw</dialogue> <dialogue>one, you're right? So?</dialogue> <scene_description>She cuddles next to him, he puts her arm around her.</scene_description> <character>HECTOR</character> <dialogue>You see the Coqui? Their singing is</dialogue> <dialogue>a very special sound....but they</dialogue> <dialogue>only sing in two notes...one tune.</dialogue> <dialogue>That's it...over and over.</dialogue> <parenthetical>(imitates them)</parenthetical> <dialogue>That's all... They thrive everywhere</dialogue> <dialogue>in Puerto Rico but they cannot survive</dialogue> <dialogue>anywhere else.</dialogue> <character>PUCHI</character> <parenthetical>(with affection)</parenthetical> <dialogue>You are very much like the Coqui, I</dialogue> <dialogue>guess Hector....fuck, you can be</dialogue> <dialogue>depressing, man. Look at me...am I</dialogue> <dialogue>in love with a frog? Tell me you're</dialogue> <dialogue>depressing...</dialogue> <scene_description>She puts her arms around him and hugs him...</scene_description> <character>HECTOR</character> <dialogue>Watch out...I think you got the little</dialogue> <dialogue>frog right under your...</dialogue> <character>PUCHI</character> <dialogue>Ouch...you.....</dialogue> <parenthetical>(kissing him)</parenthetical> <dialogue>On the TV...news. 1974 Viet Nam. The FALL OF SAIGON...the</dialogue> <dialogue>helicopter shot ABOVE THE American embassy.</dialogue> <dialogue>Puchi blindly feels for Hector in her sleep. Instinct snaps</dialogue> <dialogue>her awake. She gets up and sees...a silhouette.</dialogue> <dialogue>HECTOR sitting in a chair, HOLDING A 45 AUTOMATIC and staring</dialogue> <dialogue>at her with a glazed calm over him.</dialogue> <character>PUCHI</character> <dialogue>Hector....</dialogue> <scene_description>He doesn't respond nor acknowledge her getting up.</scene_description> <character>PUCHI</character> <dialogue>Honey...? You okay?</dialogue> <scene_description>Puchi slowly picks up the phone, dials.</scene_description> <character>PUCHI</character> <parenthetical>(hushed voice)</parenthetical> <dialogue>I need an ambulance, right away...</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL WAITING ROOM - DAWN</stage_direction> <scene_description>Amongst other concerned families, Zayda sits patiently, attending to her own heartbeat...this is difficult on everybody. Puchi talks to a DOCTOR. WE DON`T HEAR THE CONVERSATION, but we know what they saying.</scene_description> <character>DOCTOR</character> <dialogue>... you're aware that your husband</dialogue> <dialogue>is like a walking drugstore? His</dialogue> <dialogue>arms...</dialogue> <scene_description>She cuts in, with a 'please stop the bullshit' left arm gesture that almost hits the Doctor.</scene_description> <character>PUCHI</character> <dialogue>Tell me something' I don't fuckin'</dialogue> <dialogue>know. I wake up and I see my husband</dialogue> <dialogue>lookin' like a character in a horror</dialogue> <dialogue>movie, holding a gun! What the hell</dialogue> <dialogue>is that?</dialogue> <scene_description>IN A WHITE CELL... Hector sits alone, staring off into space. Peacefully turned off. No singing, no talking, no one to watch. Withdrawn and in a drug withdrawal.</scene_description> <character>PUCHI OS</character> <dialogue>...I would've loved checking myself</dialogue> <dialogue>in somewhere and taking a break</dialogue> <dialogue>too...but I couldn't do that.</dialogue> <scene_description>He trembles, shakes, silently begging for a fix, to at least patch things up with himself and go through madness with some dignity. Puchi walks and paces, The CAMERA CHASING her, like a caged panther, hungry...but there's no one here to eat today...she settles for another KOOL. Lights up.</scene_description> <character>PUCHI</character> <dialogue>... we had a kid who kept asking</dialogue> <dialogue>'where's my dad...where did he go?'.</dialogue> <dialogue>What are you gonna tell him...Okay</dialogue> <dialogue>son, your dad is insane and we've</dialogue> <dialogue>locked him up so we wouldn't harm</dialogue> <dialogue>himself or maybe kill me...or</dialogue> <dialogue>you...who knows...'.</dialogue> <scene_description>She checks herself on a reflection by the window...glimpses at the world outside, bad reality on 31 street. She returns to the camera, the fantasy, and a little attention.</scene_description> <character>PUCHI</character> <dialogue>No matter how 'crazy' I got, I</dialogue> <dialogue>couldn't do that...no matter what he</dialogue> <dialogue>did: Daddy was the king...that's all</dialogue> <dialogue>he needed to know...but he knew</dialogue> <dialogue>something was up. Kids know.</dialogue> <scene_description>She thinks for a second, everyone in this story is dead. She shakes her head... in her own crazy moment...a recurring moment that doesn't seem to go away ever.</scene_description> <character>PUCHI</character> <dialogue>But men like Hector don't go to</dialogue> <dialogue>AA...or therapy or nothing...He'd</dialogue> <dialogue>recorded 12 albums by 1975...had</dialogue> <dialogue>like seven #1 Songs. Drugs, sex,</dialogue> <dialogue>wife, kids...other women...all you</dialogue> <dialogue>need for a good guy to break down</dialogue> <dialogue>and...get away...like a vacation.</dialogue> <scene_description>MUSIC PLAYS.... We see a FLASH OF Puchi today (2002)...staring at city, the \* traffic.</scene_description> </scene> <scene> <stage_direction>INT. MERCEDEZ - DAY</stage_direction> <scene_description>The radio plays Bowie's "FASCINATION". In the rear view mirror we see a pair of beautiful darting eyes, as if the were dancing, but they aren't.</scene_description> <character>PUCHI OS</character> <dialogue>A well deserved one.</dialogue> <scene_description>Puchi drives up a long driveway to a gate that reads Creedmore State Hospital in Queens. She finishes doing her lips. She \* looks stunning, cool and confident, as if driving up to her new country home. Not at all like the wife of an UNRAVELED SALSA SINGER playing the nuthouse.</scene_description> </scene> <scene> <stage_direction>EXT. CREEDMORE STATE ASYLUM -- DAY</stage_direction> <scene_description>As Puchi is getting out of the car, she sees Priscilla, who heads directly for her. She notices Puchi's dress.</scene_description> <character>PRISCILLA</character> <dialogue>Going to a dance?</dialogue> <character>PUCHI</character> <dialogue>He's your brother...but he's my</dialogue> <dialogue>husband too. Give me a fucking break,</dialogue> <dialogue>would you?</dialogue> <character>PRISCILLA</character> <dialogue>I wish I could, but from the first</dialogue> <dialogue>day you met him and from the first</dialogue> <dialogue>day I met you...I had a bad feeling.</dialogue> <dialogue>His father never wanted him to come...</dialogue> <dialogue>so he'd never meet people like you.</dialogue> <dialogue>I always wanted to tell you that.</dialogue> <scene_description>Puchi feels the punch, but it's just the wind. She walks \* away, leaving Priscilla talking to herself.</scene_description> <character>PUCHI</character> <dialogue>You said it. I hope you're happy</dialogue> <dialogue>now. Ciao Priscilla...mind your own</dialogue> <dialogue>business...go get fucked and all of</dialogue> <dialogue>that. You may not like 'my kind',</dialogue> <dialogue>but he doesn't seem to mind it too</dialogue> <dialogue>much.</dialogue> <scene_description>Priscilla stops to give it to her.</scene_description> <character>PRISCILLA</character> <dialogue>Look where he is.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM -- NIGHT</stage_direction> <scene_description>Lines of cocaine in the mirror. The face of Puchi appears in the reflection, made up for some kind of 'party', she gets closer to the mirror...hovering over it. Her face closer and closer to it. She looks as crazed as Hector, finally. One down, one to go. AN OLDER PUCHI STARES AT US, AT CAMERA.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY \*</stage_direction> <scene_description>She nods silently, affirming some nightmare she remembers. But she doesn't say a word, maybe for the first during the interview, she can only stay quiet and let the shame stay out of the story. No questions no words....as the CAMERA rolls on and Puchi avoids any incrimination. Cookie and Tito play catch in the front yard. The Mercedes pulls into the driveway. It's Hector coming home reception. As Hector and Puchi get out.</scene_description> <character>TITO</character> <dialogue>Dad!!!!</dialogue> <scene_description>Tito runs over and hugs his daddy. Hector holds on to his son, closes his eyes, pressing the little kids body against his.</scene_description> <character>TITO</character> <dialogue>Dad...I can't breathe! You're killing</dialogue> <dialogue>me!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>They're eating dinner. Puchi eats quietly watching Hector devour his plate of home cooking 'habichuelas'. Tito is making dad catch up.</scene_description> <character>TITO</character> <dialogue>...her name is Geraldine...but we</dialogue> <dialogue>are only friends. She's ten.</dialogue> <character>HECTOR</character> <dialogue>Oh...she's an older woman...likes</dialogue> <dialogue>younger men...like your mom, right?</dialogue> <character>TITO</character> <dialogue>She likes Ivan...he plays foot</dialogue> <dialogue>ball...and he's older. He hates me.</dialogue> <character>HECTOR</character> <dialogue>Have you asked her out?</dialogue> <character>TITO</character> <dialogue>No. Where?</dialogue> <character>HECTOR</character> <dialogue>Here...</dialogue> <character>TITO</character> <parenthetical>(young cool)</parenthetical> <dialogue>Here? She'll think that I'm crazy</dialogue> <dialogue>too...</dialogue> <scene_description>They all burst out laughing. Hector goes over to Tito.</scene_description> <character>HECTOR</character> <parenthetical>(hugging and kissing)</parenthetical> <dialogue>Come here you little cabroncito...I</dialogue> <dialogue>missed you...missed tickling your</dialogue> <dialogue>little...</dialogue> <parenthetical>(grabs the kid)</parenthetical> <dialogue>...stomach like this...</dialogue> <character>TITO</character> <dialogue>Dad...no...</dialogue> <character>HECTOR</character> <dialogue>Oh yes...I missed doing this so</dialogue> <dialogue>much... why don't you marry this</dialogue> <dialogue>chick? Come one...you're old enough?</dialogue> <scene_description>The kid laughs.</scene_description> <character>TITO</character> <dialogue>You're crazy!</dialogue> <scene_description>Yes, dad is crazy. Hector looks at Puchi as he plays and kisses his happy little boy again. Yes, it's good to be home.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM/BATHROOM - NIGHT</stage_direction> <scene_description>Hector lays on the bed, watching Puchi get undressed to her bra and panties. A dozen PILL bottles sit on the night table. He's wearing a the same shirt and tie...ready for the a canceled show or something...backstage at home.</scene_description> <character>HECTOR</character> <dialogue>Look at this...it's like the night</dialogue> <dialogue>table of my grandfather...</dialogue> <character>PUCHI</character> <parenthetical>(half sly)</parenthetical> <dialogue>Take your medication. I don't want</dialogue> <dialogue>you to go crazy on me tonight.</dialogue> <character>HECTOR</character> <dialogue>Okay.</dialogue> <scene_description>As he takes a pill from each vial and swallows, she walks into the bathroom, cool and normal. But nothing is.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <character>PUCHI</character> <parenthetical>(talking into mirror, eyes closed)</parenthetical> <dialogue>Ralphy called...</dialogue> <character>HECTOR OS</character> <dialogue>What did he want?</dialogue> <character>PUCHI</character> <dialogue>What do you think...?</dialogue> <scene_description>She opens her eyes, stares at herself now. He's got a bunch of stuff lined up, show in Los Angeles, Chicago... BACK TO SCENE Hector doesn't want to know about work. He doesn't react to it. She hears that. He's silent and awkward, jumping out of his skin.</scene_description> <character>PUCHI OS</character> <dialogue>I told him that first you had to get</dialogue> <dialogue>back to...spending time with your</dialogue> <dialogue>son...making love to your wife...</dialogue> <scene_description>THE WATER IS TURNED ON... \* Hector LISTENS TO IT. But can't react to that either. He forces himself to take baby steps into the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM -- NIGHT</stage_direction> <scene_description>NEW : Puchi is already naked and inside the bathtub....( almost like in the opening BATH scene...when her toe nails surface through the water...like love fins) Now it's all of her. Just there...waiting...like a shark in the water. One that will tear you apart with a smile in your face. He stands outside, watching her body...a sexy blur. A face to die for. He's a stranger.</scene_description> <character>PUCHI</character> <dialogue>What?</dialogue> <scene_description>Hector walks closer. Can't do a thing. He just stares her right in the face...re-discovering her. The sounds of water filling all the space...their silence.</scene_description> <character>PUCHI</character> <dialogue>What is it baby? Nervous?</dialogue> <scene_description>They both know. He smiles. He half buried in the water, just eyes on the surface.</scene_description> <character>HECTOR</character> <dialogue>Yeah... I'm straight.</dialogue> <scene_description>She grabs him, feels her away around his crotch...her eyes always on him. Still trying to come honest.</scene_description> <character>HECTOR</character> <dialogue>We've never been straight, you and</dialogue> <dialogue>I...and...</dialogue> <scene_description>She slowly pull him to her and takes him into the shower with her. Hector gets inside the tub...FULLY DRESSED. the table on a first date. Yes, this is Hector.</scene_description> <character>PUCHI</character> <dialogue>I know. Come...Yeah...that's it.</dialogue> <dialogue>I'm more scared than you are.</dialogue> <scene_description>He holds on to her. ( NEW: as she slowly undresses him from his soaked shirt and tie...)</scene_description> <character>PUCHI</character> <dialogue>It's like... swimming...like riding</dialogue> <dialogue>a bicycle...it all comes back to</dialogue> <dialogue>you...I'm so fucking nervous too.</dialogue> <scene_description>They kiss, the water falling over them...they hold on to each other...healing....drowning in each other. MONTAGE They make love in the shower,( TUB ) they make love on the sink and she gives him a blow job as he's sitting on it, they fuck everywhere. Passionate and desperate fucking. t does come back to him. AN ACOUSTIC GUITAR PLAYS WE HEAR THE NOISE OF A NIGHTCLUB...</scene_description> </scene> <scene> <stage_direction>INT. EL CORSO NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The place is packed and quiet for a change, as a young man with an acoustic guitar takes the stage. He sits in a chair. He is RUBEN BLADES, the charismatic SPRINGSTEEN OF Salsa. A handsome and smart Panamanian writer/singer in a black Pierre Cardin suit.</scene_description> <character>RUBEN BLADES</character> <dialogue>...Hello I'm Ruben Blades...and</dialogue> <dialogue>tonight I'm here to give someone a</dialogue> <dialogue>present. I wrote this song for Hector</dialogue> <dialogue>Lavoe, someone I really admire, since</dialogue> <dialogue>I was a kid who wanted to be a</dialogue> <dialogue>singer. After I sing it to you,</dialogue> <dialogue>it's his. It's called "El Cantante".</dialogue> <scene_description>He begins...and the story of Hector Lavoe starts unfolding in song, in a beautiful auto-biographical tune that will once again, re-define the career and life of Hector, thus becoming his biggest hit ever...and his signature song for life.</scene_description> <character>RUBEN BLADES</character> <parenthetical>(singing)</parenthetical> <dialogue>Yo...soy el cantante...que hoy a</dialogue> <dialogue>venido a cantar...</dialogue> <scene_description>In a corner of the club Hector listens to the song that will, once again, take him to a higher peak. It's Hector's version of the song now...with it's sweeping violins bridge...and all the drama of his life rolled into a powerful song. A salsa symphony. WE HEAR HECTOR SINGING.... he's in the studio at work. Alone in the booth. Like in the confessional. Wille is inside the booth, in charge.</scene_description> <character>HECTOR SINGING</character> <dialogue>...lo mejor del repertorio...que a</dialogue> <dialogue>ustedes voy a cantar...</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO -- NIGHT</stage_direction> <scene_description>A seven minute masterpiece arranged and produced by his old friend Willie Colon. Hector sings his heart out in his most personal song ever.</scene_description> <character>HECTOR SINGING</character> <dialogue>...y canto a la vida de risas y</dialogue> <dialogue>penas... de momentos malos...</dialogue> <scene_description>Hector is BACK. The more fucked up, the luckier, the bigger, the more people wants him. In the booth, we see Puchi, his Yoko, listening, hypnotized by the power of song. By Hector. THE SONG PLAYS... FIFTH AVENUE We see Hector and Puchi on Fifth Avenue with Tito. Thousands of people crushed around them...the world is theirs. CENTRAL PARK A magic NYC moment..as the Lavoes play in Central Park. And even if it was only for days here and there, what you see today is a happy, successful family. Once again, Hector has been given proof that his gift is his, if he wants it. Lots of people with their eyes on him. A perfect moment to fuck it all up soon.</scene_description> <character>HECTOR SINGING</character> <dialogue>...y de cosas buenas.</dialogue> <scene_description>THE SONG CONTINUES OVER THE NEXT SCENE... telling us the story.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S BEDROOM -- NIGHT</stage_direction> <scene_description>Puchi wakes up, feels bed next to her. Empty. She frantically scans the room. Empty. (singing) ...y nadie pregunta si......si sufro, si lloro, si tengo una pena que llere muy hondo...</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY -- NIGHT</stage_direction> <scene_description>She races out, down the hall, looks into TITO'S ROOM. The kid is asleep. Alone.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM -- NIGHT</stage_direction> <scene_description>Puchi enters. No sign of Hector.</scene_description> <character>HECTOR OS</character> <parenthetical>(singing)</parenthetical> <dialogue>...vinieron a divertirse y pagaron</dialogue> <dialogue>en la puerta...</dialogue> <scene_description>She looks out the window and sees her Mercedes is GONE. She puts two and two together. Her eyes turn dead...the thrill is going, one disappointment at a time.</scene_description> </scene> <scene> <stage_direction>INT. MERCEDEZ -- NIGHT</stage_direction> <scene_description>Hector is driving. He looks at ease, determined, with that addict's drive of going to the end of the earth to get straight, to stop feeling the emptiness...and be selfishly normal. THE SONG PLAYING IS THE ONLY COMPANY HE HAS...</scene_description> </scene> <scene> <stage_direction>EXT. LOWER EAST SIDE. FOURTH STREET -- NIGHT</stage_direction> <scene_description>The Mercedes PULLS UP outside a burnt- out building. Only drug business and stranded Euro-trash give a little life to this cemetery. He gets out of the car briskly. He's home.</scene_description> <character>HECTOR OS</character> <parenthetical>(singing)</parenthetical> <dialogue>...no hay tiempo para tristeza, vamos</dialogue> <dialogue>cantante...comienza!</dialogue> </scene> <scene> <stage_direction>INT. SHOOTING GALLERY -- NIGHT</stage_direction> <scene_description>A very stoned Hector is SLAMMED against a wall by strong BLACK JUNKIE....and a short Puerto Rican woman, who are holding him up...robbing him for whatever he's carrying with him. She pulls out his watch.</scene_description> <character>JUNKIE WOMAN</character> <dialogue>...you got more of these papi...and</dialogue> <dialogue>I need to know the time...very busy</dialogue> <dialogue>lately too...tu sabe.</dialogue> <dialogue>I know...but that's all I got...I'm</dialogue> <dialogue>sorry.</dialogue> <scene_description>The man searches around the table in front of him. It is covered with overflowed ashtrays, water glasses, burnt spoons, cotton balls, syringes and glassine bags of heroin and cocaine...but the black junkie is looking for something. Finds nothing except for a knife in his pocket.</scene_description> <character>BLACK JUNKIE</character> <dialogue>...you ain't got anymore cash? You're</dialogue> <dialogue>the fucking shit now...and you go</dialogue> <dialogue>around broke? What the fuck's wrong</dialogue> <dialogue>with you? You know where you are?</dialogue> <scene_description>Slaps Hector...nothing a broke junkie hates more than a broke junkie. Hector checks his mouth...there's blood.</scene_description> <character>HECTOR</character> <dialogue>Come on man...hit me somewhere</dialogue> <dialogue>else...look, you want my shoes...</dialogue> <character>BLACK JUNKIE</character> <dialogue>What size you wear?</dialogue> <character>HECTOR</character> <dialogue>Nine and half...</dialogue> <scene_description>The black junkie pushes him back.</scene_description> <character>BLACK JUNKIE</character> <dialogue>My dick is nine and a half...that</dialogue> <dialogue>don't fit me...</dialogue> <scene_description>He stares at Hector.</scene_description> <character>HECTOR</character> <dialogue>I'm sorry, man...really, next time I</dialogue> <dialogue>know...yeah.</dialogue> <character>BLACK JUNKIE</character> <dialogue>You're funny eh?</dialogue> <scene_description>The guy punches Hector, throws across the room, kicking him, venting out.</scene_description> <character>BLACK JUNKIE</character> <dialogue>You wanna be funny now?</dialogue> <scene_description>The woman stops him from stabbing Hector.</scene_description> <character>JUNKIE WOMAN</character> <dialogue>...easy Raymond...this guy...people</dialogue> <dialogue>know him and...</dialogue> <scene_description>But she starts nodding off and can't continue...the black man takes Hector's car keys from his hand. sanctuary, not mugging grounds...not for him anyway.</scene_description> <character>BLACK JUNKIE</character> <dialogue>Your lucky day motherfucker...let's</dialogue> <dialogue>make a deal?</dialogue> <scene_description>A CLOSE UP OF PUCHI today....</scene_description> <character>PUCHI OS</character> <dialogue>It scared the hell out of him...</dialogue> <scene_description>INTERVIEW</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <character>PUCHI</character> <dialogue>...nigga never got wear that watch. \*</dialogue> <dialogue>My brother Papo saw the car parked</dialogue> <dialogue>outside...and stopped him. You know,</dialogue> <dialogue>he had his business there...so here</dialogue> <dialogue>we have some black dude strolling</dialogue> <dialogue>out of the competition dope house</dialogue> <dialogue>wearing Hector watch and coat...and</dialogue> <dialogue>heading straight for the Mercedes...</dialogue> </scene> <scene> <stage_direction>INT. PHOTO STUDIO -- DAY</stage_direction> <scene_description>The cover of Hector's album "La Comedia" is being shot. Hector is dressed up like Charlie Chaplin, hat, cane, ill fitting suit. The works...and it works. He looks like a dead ringer for the famous tragic-comic genius. The studio is filled with the usual dozen of hangers on, groupies, drinks, grass, loud disco playing. Hector is doing the classic Chaplin poses against a white background...Puchi is there, sort of....in between Camera Flashes, Hector notices her by the phone and then she's gone.</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH HARLEM TENEMENT -- NIGHT</stage_direction> <scene_description>It's pouring down rain. Hector spies on Puchi from inside his car. He's still wearing his Chaplin outfit. Catches her coming out of a building. He gets out and runs to her...</scene_description> <character>HECTOR</character> <dialogue>Hey Hello....excuse me, you living</dialogue> <dialogue>around here now?</dialogue> <scene_description>She's speechless.</scene_description> <character>HECTOR</character> <dialogue>What the fuck you're doing</dialogue> <dialogue>there...fucking the bass player or</dialogue> <dialogue>the drummer...?</dialogue> <scene_description>You really wanna know who I'm fucking...all of them. The bass player, the drummer, the pianist...all of them except the singer. Yeah...because he's too fucking high to get it up...so I have to get where I can...you understand that? Hector is the one now speechless.</scene_description> <character>PUCHI</character> <dialogue>You've accused me of fucking so many</dialogue> <dialogue>men that I'm finally going to fuck</dialogue> <dialogue>as many men as I'm guilty of</dialogue> <dialogue>screwing...</dialogue> <scene_description>She looks for a cab...there's none.</scene_description> <character>PUCHI</character> <dialogue>Uhmmm...</dialogue> <scene_description>She turns around without waiting for a response, takes off her shoes and starts walking in the rain...in the street...through he traffic... The rain soaking her dress, her hair and hiding the tears running down her face. Traffic swerves away, stops...some too afraid to even offer a ride to this beautiful woman walking in the storm...as if she was walking down a deserted street. MUSIC PLAYS....WE HEAR HECTOR SINGING: "Bandolera". \* Hector goes after her...the rain beating down on him too, soaking him up fast...he takes his glasses off. Suddenly, PUCHI stops one car, any car...and BEFORE HECTOR can catch up to her, she gets inside and disappears from sight. Hector can't do a thing, but feel the frustration of loving a wild animal. He stands in the rain, cars moving around him, honking horns, screaming at the madman. THE MUSIC PLAYS...it's a hooky sound of VALLENATO accordions and CUMBIA that sticks to your skin and gets you up from death. I comes from... TITLE: CALI, COLOMBIA. 1983 \* MONTAGE: The lush Andean landscapes...the beauty of Colombia.</scene_description> </scene> <scene> <stage_direction>EXT. COLOMBIAN VILLA -- NIGHT</stage_direction> <scene_description>This is a major party. Opulent. Decadent. Dangerous. the entrance, as if a Hollywood premiere was taking place somewhere in a forbidden druglords Vegas fantasy in Cali. Hector sees it. A mirage. The HOST, charming &amp; dangerous. \* We've met before, He shows Hector around. A proof of his powers of persuasion.</scene_description> <character>HOST</character> <dialogue>...this is home...and this is not</dialogue> <dialogue>work.</dialogue> <parenthetical>(he touches his heart)</parenthetical> <character>HECTOR</character> <parenthetical>(concerned)</parenthetical> <dialogue>You okay?</dialogue> <scene_description>He nods. It's just to emphasize his coke-dribble.</scene_description> <character>HOST</character> <dialogue>You're here.</dialogue> <scene_description>GUESTS that stink of dirty money, party on the marbled patios donned with fountains/statues and the spacious grounds...filled with crime spent dreams. Cartel Heaven. \*</scene_description> <character>HOST</character> <dialogue>Here, people love you more than</dialogue> <dialogue>anywhere. You know that?</dialogue> <scene_description>WAITERS in white Tuxedos carry trays of exotic live lobsters, hors d'oeuvres, etc. WAITRESSES in mini-dresses carry trays of Cristal and cocaine.</scene_description> <character>HECTOR</character> <dialogue>That's a lot of love...</dialogue> <scene_description>A state of the arts stage, set up for tonight....where the 'vanellato' band fills the night with Cumbia's infectious rhythm. Ticking the cocaine. THE ACCORDION PLAYER jumps off the stage and climbs on top of a table...and then to another table, the guests holding him up...all the time playing his solo...a feverish squawking melody...the crowd is WILD and so is Hector, watching this Jimi Hendrix of the accordion. The guy eventually PLAYS ON HIS BACK AS HE'S PASSED OVER THE CROWD like a human tray, landing back on the stage just in time for the chorus of the song and of course...the strobe lights to start making things more confusing and crazy. LATER...bathed in blue.... All the guys in the band have their own bottles of Aguardiente next to them, as they prepare to play. Hector stands on stage, snorting cocaine off a silver tray held by a beautiful WAITRESS.</scene_description> <character>HECTOR</character> <parenthetical>(serious)</parenthetical> <dialogue>I can't feel the back of my head.</dialogue> <scene_description>Both crack up laughing. Hector grabs the Microphone. SUBTITLES WHEN NEEDED</scene_description> <character>HECTOR</character> <dialogue>Estan todos gozando? I was telling</dialogue> <dialogue>my friend here that I can't feel the</dialogue> <dialogue>back of my head....any of you out</dialogue> <dialogue>there that can't feel the back of</dialogue> <dialogue>their heads...raise your hands...</dialogue> <scene_description>The crowd raises their hands, hollers, etc.</scene_description> <character>GUESTS</character> <dialogue>Si!</dialogue> <scene_description>Hector laughs. Everybody laughs with him. This is unchartered stoned territory.</scene_description> <character>HECTOR</character> <dialogue>I'm glad! I tell you, estoy muy</dialogue> <dialogue>contento de estar aqui.</dialogue> <parenthetical>(taking it all in)</parenthetical> <dialogue>Everybody is laughing, dancing... I</dialogue> <dialogue>may move here tomorrow. Where are</dialogue> <dialogue>we? This is Argentina, right?</dialogue> <scene_description>More laughter. The people love him. The HOST beams.</scene_description> <character>HECTOR</character> <dialogue>Okay...I'm joking...I love Cali!</dialogue> <scene_description>AT A TABLE -- A drunk COLOMBIAN shouts out....becomes the local coke-fried heckler.</scene_description> <character>COLOMBIAN</character> <dialogue>Cabron! Ponte a cantar y no hables</dialogue> <dialogue>tanta mierda!</dialogue> <parenthetical>(Hey Asshole! Sing and don't talk so much shit!)</parenthetical> <dialogue>The song starts. ("El Dia de Mi Suerte")...but the heckler</dialogue> <dialogue>shouts it down.</dialogue> <character>COLOMBIAN</character> <dialogue>Not that one. Pendejo, canta otra</dialogue> <dialogue>cancion. The other song...</dialogue> <scene_description>Hector stops the band...only the percussion cooks and Hector raps...like in a comedy club. \* Que te pasa papi? Dime.... The crowd laughs. The man doesn't think it's funny to be humiliated in front of his hoodlum friends. The Colombian, explodes, whips out his REVOLVER, points it at Hector and walks UP TO THE STAGE. The band stops. The guests stop dancing. The party stops.</scene_description> <character>COLOMBIAN</character> <dialogue>Hijo de Puta, who the fuck you think</dialogue> <dialogue>you are?</dialogue> <scene_description>Two other COLOMBIANS walk up...the Host stares from a table near the stage.</scene_description> <character>COLOMBIAN BODYGUARD</character> <dialogue>Joaquin! Baja el arma. Put the gun</dialogue> <dialogue>down.</dialogue> <scene_description>Joaquin keeps his eyes on Hector, who forces a smile. The gun still pointed straight between his eyes. OVER AT A FRONT TABLE A distinguished looking PATRON in his fifties gets up, to address the concerned guests.( We've seen him before, lurking...seducing Hector.)</scene_description> <character>HOST</character> <dialogue>Todo esta bien...it's okay.</dialogue> <scene_description>He smiles casually as he walks over to Joaquin, with an understanding smile on his face.</scene_description> <character>JOAQUIN</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Patron...</dialogue> <character>HOST</character> <parenthetical>(patiently)</parenthetical> <dialogue>Dame el arma, por favor...'Quiqui'?</dialogue> <scene_description>Joaquin hands him the revolver. The Patron looks at Hector.</scene_description> <character>HOST</character> <dialogue>Senor Lavoe, por favor,</dialogue> <dialogue>disculpeme...tu sabes...</dialogue> <scene_description>In one swift motion...HE SHOOTS JUAQUIN IN THE HEAD three times. Juaquin jumps and jerks as if plug into a wall and shocked, but Juaquin doesn't die. It's a starter's GUN. A coke joke that scares the shit out of everyone in the place, specially Joaquin, who after peeing in his pants starts to laugh at the horror of staying alive...with point blank burns on face and chest...and then looking suits drag him away to go laugh somewhere else. Maybe dead in a ditch near by. And the party goes on. Hector feels the back of his head, does a little more blow and kicks off with a song. MONTAGE: More music. More love. More madness. More dysfunctional behavior between Puchi and Hector. The WAR OF LOVE is taking a toll on everything. \* ON TV... HECTOR IS SPEAKING TO CAMERA..."El Cantante" in the background. It's an Anti-Drug public service spot.</scene_description> <character>HECTOR</character> <dialogue>Hello, my name is hector Lavoe, el</dialogue> <dialogue>cantante. But today I'm not here to</dialogue> <dialogue>sing, I am here to give you a</dialogue> <dialogue>sermon...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>To tell you about drugs. Plain and</dialogue> <dialogue>simple : Drugs will kill you.</dialogue> <dialogue>Yeah...I know you're saying: 'Hey</dialogue> <dialogue>look who's saying it'. Well you</dialogue> <dialogue>know that I know what I'm talking</dialogue> <dialogue>about...think about it...we have</dialogue> <dialogue>enough problems in our communities</dialogue> <dialogue>to keep on going like it's not killing</dialogue> <dialogue>us. It is. Listen to Hector...on</dialogue> <dialogue>the record and off the record. Stay</dialogue> <dialogue>clean.</dialogue> <scene_description>The Image FREEZES. A title card under Hector's earnest face: Las Drogas Matan. Drugs kill. The TV is shut off.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>Jerry, Ralphy and a bunch of other suit and tie guys stop watching, turn to their unpleasant faces and start getting to public relation damage control...basically.</scene_description> <character>JERRY</character> <dialogue>They'll think it's a joke...people</dialogue> <dialogue>will continue doing drugs and we</dialogue> <dialogue>will stop selling records. He's the</dialogue> <dialogue>bad boy of salsa...the only one</dialogue> <dialogue>left...no one will believe this shit!</dialogue> <scene_description>To Ralphy. I say nix it...let's keep Hector as we know him, Okay? It's like those born again people.. Makes a 'who believes them or cares' face.</scene_description> <character>JERRY</character> <dialogue>It'll hurt you and it'll hurt us.</dialogue> <scene_description>Ralph turns to the suits. ( could one of them be the druglord HOST...?)</scene_description> <character>RALPH</character> <dialogue>You can find another spokesman...'our'</dialogue> <dialogue>Spanish world doesn't buy into this</dialogue> <dialogue>confessional trip...I know Hector</dialogue> <dialogue>really wanted to do this...I'll talk</dialogue> <dialogue>to him.</dialogue> </scene> <scene> <stage_direction>EXT. HECTOR'S PLACE -- DAY</stage_direction> <scene_description>The family relaxes by poolside. It almost looks like a normal Sunday afternoon barbecue. It isn't. Behind his shades, Hector idles by...just high enough to endure the lows that come with the highs. A spoiled-twelve \* year old Tito is trying to do some break dancing for his folks.</scene_description> <character>TITO</character> <dialogue>Watch this...</dialogue> <scene_description>He tries a spin, a jump, etc. Hector applauds.</scene_description> <character>HECTOR</character> <dialogue>Beautiful...that's good.</dialogue> <parenthetical>(to Puchi)</parenthetical> <dialogue>I don't want to see anymore doctors.</dialogue> <character>TITO</character> <dialogue>Look now...</dialogue> <scene_description>Another little dance...</scene_description> <character>PUCHI</character> <dialogue>It's not a Doctor.</dialogue> <scene_description>Hector lights a cigarette. Pisses, stalked by Puchi.</scene_description> <character>HECTOR</character> <dialogue>Can't I enjoy watching my son...he's</dialogue> <dialogue>better than seeing any doctor. I</dialogue> <dialogue>enjoy this...dame un break. Okay?</dialogue> <scene_description>Yeah, you should enjoy it since you only see him once every six months...even when you're fuckin' home... Hector barely wants to acknowledge that. \*</scene_description> <character>PUCHI</character> <dialogue>...and don't think I don't know you're</dialogue> <dialogue>high, Hector.</dialogue> <character>HECTOR</character> <dialogue>Come on, don't start with that shit</dialogue> <dialogue>again. I'm just relaxing here...maybe</dialogue> <dialogue>I should find somewhere else to go</dialogue> <dialogue>by myself and chill...</dialogue> <character>PUCHI</character> <dialogue>Yeah...do that...go with some of</dialogue> <dialogue>those whores that keep calling...that</dialogue> <dialogue>should relax you.</dialogue> <scene_description>She gets up and starts walking away when Hector explodes, grabs an ashtray and throws it at her. It misses her by inches and crashes against a wall. It startles Puchi and frightens Tito...who looks at his father and mother, tears welling up in his eyes. Hector doesn't know what to do.</scene_description> <character>HECTOR</character> <dialogue>I'm sorry...</dialogue> <scene_description>The little boy starts picking up the pieces of the broken ceramic ashtray he had so proudly made for his dad. Puchi and Hector stare at their son as he picks up one piece at a time...trying to put it back together, something too broken to be fixed ever. MUSIC STARTS. BATA DRUMS PLAY FURIOUSLY...</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH HARLEM ROOFTOPS -- NIGHT</stage_direction> <scene_description>A peaceful moment from 103 street. Just below, El Barrio...and under a building in 104 street: HOPE. A SONG IN YORUBA IS HEARD...</scene_description> </scene> <scene> <stage_direction>INT. SPANISH HARLEM BASEMENT -- NIGHT</stage_direction> <scene_description>A SANTERIA ritual. White robed dancers, chanting in the ancient YORUBA, spinning, calling the deities on, shaking off the evil eye. The white clad drummers, talking to the Gods...playing their specific beat...eyes closed, in a trance. The room is lit by candles, the place cluttered with Religious Santeria statues, dolls, artifacts...and believers. A woman in her seventies walks in circles around Hector, who stand in the middle of the room. She smokes a cigar, blows the smoke at him...and circles...speaking in tongues. LATER</scene_description> </scene> <scene> <stage_direction>INT. MADRINA'S APARTMENT -- NIGHT</stage_direction> <scene_description>( SCENE PLAYS IN SPANISH ) A small little place. Santeria objects everywhere. She is talking to Hector and Puchi. Hector's quiet, emotional.</scene_description> <character>MADRINA</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>Why don't you accept your gift?</dialogue> <character>HECTOR</character> <dialogue>What?</dialogue> <character>MADRINA</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>Your gift of singing. The Lord has</dialogue> <dialogue>given you the power to sing, the</dialogue> <dialogue>power to bring happiness to millions.</dialogue> <character>HECTOR</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>When my mother died I became a singer,</dialogue> <dialogue>I was five years old...pain gave me</dialogue> <dialogue>a voice...I can't throw away my pain.</dialogue> <scene_description>Madrina smiles knowingly. He's trying to be funny. It's the fear.</scene_description> <character>MADRINA</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>You're walking with the Devil...he</dialogue> <dialogue>pretends he's your friend...actually</dialogue> <dialogue>makes you feel good. He's smart.</dialogue> <scene_description>Hector listens.</scene_description> <character>MADRINA</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>Hector, the power of the Evil Eye</dialogue> <dialogue>can be very dangerous...he can</dialogue> <dialogue>disguise himself as your pain...stop</dialogue> <dialogue>suffering to make him go away.</dialogue> <scene_description>RED BEADED NECKLACE off a STATUE OF SAINT BARBARA. She returns to the tables, kisses the necklace, puts it around his neck.</scene_description> <character>MADRINA</character> <parenthetical>(In Spanish)</parenthetical> <dialogue>Wear these for protection. Santa</dialogue> <dialogue>Barbara will protect you...and be by</dialogue> <dialogue>your side. She will listen and speak</dialogue> <dialogue>to you. But you better listen. You</dialogue> <dialogue>don't play with the saints.</dialogue> <character>MC OS</character> <dialogue>Ladies and gentlemen...</dialogue> <dialogue>OFF SCREEN we Hector signals the band. They play the intro</dialogue> <dialogue>to "EL TODOPODEROSO". The crowd goes wild. People dancing \*</dialogue> <dialogue>in their seats.</dialogue> </scene> <scene> <stage_direction>EXT. CONCERT STAGE -- NIGHT \*</stage_direction> <scene_description>The MC, dressed cool, funky sunglasses, stands center stage.</scene_description> <character>MC</character> <dialogue>...the moment you've all been waiting</dialogue> <dialogue>for. El Cantante de Los</dialogue> <dialogue>Cantantes...Hector Lavoe!</dialogue> <scene_description>The CROWD goes berserk. Hector is energized by the crowd. Hector walks on stage to thunderous applause. As the MC gives him a hug...Hector looks good. Clean and happy. The MC walks off stage. Hector takes the microphone. MONTAGE \* ABSTRACT SERIES OF CONCERT AND CROWDS. (MIX OF STOCK AND OUR STUFF) THINGS COULDN'T BE BETTER MOMENTS...BUT WEREN'T THAT WELL. The CROWD cheers. Hector laughs. Looks a little mean, a little too sharp. Deviled.</scene_description> <character>HECTOR</character> <dialogue>Why do you like me so much...?</dialogue> <dialogue>Something's gotta be wrong with you?</dialogue> <scene_description>More cheers, whistles. As the CROWD waves their hands back and forth. FADE singing...THE CONCERT BECOMES SLOW MO. Even at his happiest or saddest, he could sing...and whatever was going through his brain, made a stop at his face first...as those eyes, those eyes where everything showed. ...he was tired...it was like...it \* was like a religious experience between him and his fans... That was it. He hated it but depended on it.</scene_description> </scene> <scene> <stage_direction>INT. QUEENS HOUSE - NIGHT</stage_direction> <scene_description>Hector sits at the table eating dinner as Puchi sits across from him and eats him up with her eyes. Who's cheating who?</scene_description> <character>PUCHI OS (V.O.)</character> <dialogue>...anyway, I had sent Tito home with</dialogue> <dialogue>my sister...we wanted to be alone.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Hector, cigarette in his mouth, sits watching the news. He puts his hands in his pocket, comes out with a lighter and TWO GLASSINE BAGS of HEROIN.</scene_description> <character>PUCHI OS</character> <dialogue>..he was trying...my God...</dialogue> <scene_description>He tosses the BAGS on the coffee table. He lights the cigarette, taking big drags as his eyes go back and forth from the TV to the BAGS. He rests the cigarette on the table, TAKES OFF HIS SANTERIA NECKLACE, sets it down then picks up the BAGS and walks into the BATHROOM.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Puchi races into the living room. SMOKE EVERYWHERE. She searches through the smoke. Sees the bathroom door ajar, races over, rips it open to find Hector nodded out on the toilet. FLAMES all around him. Puchi shakes him, grabs his hand, they run upstairs.</scene_description> <character>PUCHI (V.O.)</character> <dialogue>...he passed out on the couch and</dialogue> <dialogue>dropped his cigarette...So I woke</dialogue> <dialogue>him up. We couldn't get out the</dialogue> <dialogue>front so he grabbed me by the hand</dialogue> <dialogue>and raced up the stairs...all of the</dialogue> <dialogue>sudden he became Superman. \*</dialogue> <scene_description>A FLASH: HECTOR ON STAGE... TALKING TO HIS AUDIENCE SOMEWHERE ELSE...</scene_description> <character>HECTOR</character> <dialogue>...everybody's saying something</dialogue> <dialogue>different version of what happened</dialogue> <scene_description>but me...someone said: 'Oh...he was free-basing'...he was so high he thought he was Superman' and flew out the window...Jesus...can a man just drop a cigarette butt in the wrong place and start a little fire...? The looks at the cigarette in his hand.</scene_description> <character>HECTOR</character> <dialogue>Fuck them!</dialogue> <scene_description>The crowd cackles, cheers. No matter what he did wrong, it made him more part of them.</scene_description> <character>PUCHI OS</character> <dialogue>...God knows...there were a million</dialogue> <dialogue>stories.</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>PUCHI TODAY -- INTERVIEW. An old photo shows the wall of the 55 Street Apt.</scene_description> <character>PUCHI</character> <dialogue>People like Hector lend themselves</dialogue> <dialogue>to fantasy and to be what everybody</dialogue> <dialogue>wanted his history to be...you know</dialogue> <dialogue>what I'm saying? A million stories...</dialogue> <scene_description>Puchi looks at the picture.</scene_description> </scene> <scene> <stage_direction>INT. 55TH ST. APT. - LIVING ROOM -- NIGHT</stage_direction> <scene_description>GUCCI PUCHI. A beauty in designer everything. She takes a big drag on her cigar, inhales the smoke, blows out the smoke in her new living room. On LEG CASTS ENCASED IN GLASS. She's like caged animal walking around the empty apartment.</scene_description> <character>PUCHI OS</character> <dialogue>...and that's how we got those.</dialogue> <dialogue>Everybody who was anybody in the</dialogue> <dialogue>business came by and signed em' ya</dialogue> <dialogue>know. Like a church service. That</dialogue> <dialogue>was the at the last place we</dialogue> <dialogue>had...yeah.</dialogue> <scene_description>e The CAMERA scans the walls donned with artwork over to th, hall with all the gold records. A bored looking teenager. Tito comes out of his room. Bumps into his crazed mother He looks like a very spoiled kid.</scene_description> <character>PUCHI</character> <dialogue>Where are you going tonight?</dialogue> <scene_description>Don't know...anywhere.</scene_description> <character>PUCHI</character> <dialogue>You're just gonna hit the sidewalk</dialogue> <dialogue>and decide what you're doing...don't</dialogue> <dialogue>talk to me like I'm your grandmother</dialogue> <dialogue>or something...if I ask where the</dialogue> <dialogue>fuck you're going, you tell me...and</dialogue> <dialogue>if you don't know where you're going,</dialogue> <dialogue>you make it up....but please don't</dialogue> <dialogue>say...you don't know...that's pretty</dialogue> <dialogue>lame. Come here.</dialogue> <scene_description>The young man comes over....</scene_description> <character>TITO</character> <dialogue>Mom please...</dialogue> <scene_description>She hugs him, as if he was still her little baby.</scene_description> <character>PUCHI</character> <dialogue>Please what...?</dialogue> <scene_description>She holds on to him, giving him all the love she can. She knows what being this age was like. It's scary today.</scene_description> <character>TITO</character> <dialogue>Ok...I love you.</dialogue> <scene_description>He hugs her even tighter. ON THE HALLWAY... Tito comes out, shows his waiting buddy a peek of the GUN IN HIS WAISTBAND...they slap five. ON A TV... HECTOR IS SINGING. We see him on a TV monitor in the greenroom. His PIXILATED face, like A MAP OF ALL THE PAIN IN THE WORLD. He sings the slow blues bolero: "Taxi". At times looking straight at the CAMERA...as if straight at Puchi....straight at us.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - GREEN ROOM - LATER</stage_direction> <scene_description>Nice, cushy VIP room. Buffet table. Full bar. Hector on TV. A drunk and hostile Puchi sits on the couch ranting to Zaida as other VIP's try to turn a deaf ear. This is the MONSTER she's turned into, by choice or by design. She glances over to a WOMAN in a low cut dress. (loud whisper) Look at that bitch over there with her tits hangin' out. She's been wantin' to fuck Hector for years.</scene_description> <character>ZAIDA</character> <dialogue>I hear ya baby, I hear ya. Did she?</dialogue> <scene_description>Puchi doesn't listen, she's just ranting.</scene_description> <character>PUCHI</character> <parenthetical>(loudly)</parenthetical> <dialogue>Nobody would have been here if it</dialogue> <dialogue>wasn't for me. There would have</dialogue> <dialogue>been NO concert if it wasn't for me.</dialogue> <character>ZAIDA</character> <dialogue>Shit, Hector's lucky you don't sing</dialogue> <dialogue>'cause you'd be doin' that to.</dialogue> <scene_description>They "slap five" together. Cookie sneaks his head in the room. Zayda gets up and leaves for a minute.</scene_description> <character>ZAIDA</character> <dialogue>Gotta pee.</dialogue> <scene_description>Another WOMAN looks over at Puchi.</scene_description> <character>PUCHI</character> <parenthetical>(to the woman)</parenthetical> <dialogue>That's right bitch. Who's dick did</dialogue> <dialogue>you suck to get in here?</dialogue> <scene_description>The prudent 'bitch' ignores her. Ralph walks into the room, gives the woman a kiss. The woman points to Ralph.</scene_description> <character>WOMAN</character> <dialogue>His.</dialogue> <character>PUCHI</character> <parenthetical>(to Ralph)</parenthetical> <dialogue>Hey, Baldy, where's my money?</dialogue> <scene_description>Ralph ignores Puchi, takes the woman's hand and walks out. Puchi stays alone in a fog...no one left to insult. She looks bitter, worn and all alone.</scene_description> </scene> <scene> <stage_direction>EXT. AFTERHOURS -- NIGHT</stage_direction> <scene_description>Hector is walking through the nondescript door. Papo, sees him from inside his car. Doesn't say hello or call him. Can't see you hand in front of your face. A four piece BAND \* plays to beautiful people: drug dealers, musicians, gangsters. A tired Hector pretends to grin and act normal. Cookie is sitting next to him in a private booth, next to a bottle of Curvosier.</scene_description> <character>HECTOR</character> <dialogue>...maybe I rent a small apartment</dialogue> <dialogue>somewhere in Jersey...I gotta do</dialogue> <dialogue>something, man. I'm afraid to stay,</dialogue> <dialogue>but more afraid to go.</dialogue> <scene_description>Hector looks at the band, as they play to the damaged crowd this late...or this early. Yes, he remembers those nights. Cookie breaks the spell with something imprudent to say.</scene_description> <character>COOKIE</character> <dialogue>You know...It's none of my business</dialogue> <dialogue>what she does, but it's my business</dialogue> <dialogue>that she doesn't get you arrested.</dialogue> <scene_description>He nods to Hector, proud that 'he's said it'.</scene_description> <character>HECTOR</character> <dialogue>What are you talking about now?</dialogue> <character>COOKIE</character> <dialogue>Hector, something I heard...from a</dialogue> <dialogue>good source...it's not 'bochinche'.</dialogue> <character>HECTOR</character> <dialogue>What is it? Stop preparing me for</dialogue> <dialogue>it.</dialogue> <character>COOKIE</character> <dialogue>She's dealing coke...small time, a</dialogue> <dialogue>gram here and there...but that's the</dialogue> <dialogue>last thing you need, it's been going</dialogue> <dialogue>on for a while...</dialogue> <character>HECTOR</character> <dialogue>Puchi? She doesn't need the money...</dialogue> <scene_description>Hector turns pale, as the spotlight hits his face, but has no time to digest it. They're spotted.</scene_description> <character>BAND LEADER</character> <dialogue>Hector...we see you. Come up and</dialogue> <dialogue>sing!...You're under arrest...you</dialogue> <dialogue>can't run. We need a singer.</dialogue> <scene_description>It's almost a REPRISE of that night where it all started 20 something years ago. Him and his old friend...and a band without a singer. on to the small stage. Cookie sits on the piano, bad hand and all. He starts to REPRISE the GONE OLD days. The old</scene_description> <character>\*</character> <dialogue>Tejedor classic " ESCANDALO".</dialogue> <dialogue>After a couple of heart felt verses, the trumpet player goes</dialogue> <dialogue>on a solo. He sees Puchi coming in. His face changes into</dialogue> <dialogue>fear...because he sees something in her eyes he's never seen</dialogue> <character>\*</character> <dialogue>before.</dialogue> <dialogue>She looks scary as she floats closer to the stage, walking</dialogue> <dialogue>like a zombie...VINTAGE MADNESS...with a twist. Heads turn.</dialogue> <dialogue>People laugh. But it's not funny. Hector imagines the worst.</dialogue> <dialogue>Hector motions to a BOUNCER, who steps in and grabs her.</dialogue> <dialogue>It's another degrading moment.</dialogue> <character>PUCHI</character> <dialogue>Let go of me! Let go...</dialogue> <scene_description>Hector looks at her as she falls on the floor...trying to pull the bouncer to spit him, to kiss her, to spit him again...taunting the man, like a sloppy drunk, nothing sexy</scene_description> <character>\*</character> <dialogue>about it. She is dragged off screaming and foaming at the</dialogue> <dialogue>mouth...but this time is different...it's difficult.</dialogue> <character>PUCHI</character> <dialogue>You motherfucker! Look what they're</dialogue> <dialogue>doing to your wife...do something</dialogue> <dialogue>you prick...you junkie little</dialogue> <character>\*</character> <dialogue>faggot...come on!</dialogue> <scene_description>But Hector does nothing as they take her away.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET -- NIGHT</stage_direction> <scene_description>An empty street. Puchi is stumbling and ranting in the sidewalk. It's the end of the night and New York feels empty, except for this crazed woman with a torn dress and a torn heart.</scene_description> <character>PUCHI</character> <dialogue>You coward...no wonder your own son</dialogue> <dialogue>fucking hates you!</dialogue> <scene_description>She shoves him again. He stumbles for words.</scene_description> <character>HECTOR</character> <dialogue>Come on...st...stop...I can't...</dialogue> <character>PUCHI</character> <parenthetical>(assassinating)</parenthetical> <dialogue>You can't raise your son. You can't</dialogue> <dialogue>even be a husband...You cant' even</dialogue> <dialogue>fucking sing anymore.</dialogue> <scene_description>Hector starts to unravel himself, he puts his head in his hands. She rests for a second against a parked car. What the hell are you talking about now? What is it with you? Why are you doing this...? Then Puchi backs him into the wall...preps him for the killshot. Lowers her voice.</scene_description> <character>PUCHI</character> <dialogue>You don't have a son....</dialogue> <scene_description>He starts to slump down against the wall. She grabs him.</scene_description> <character>PUCHI</character> <dialogue>You hear me?!</dialogue> <scene_description>As he looks up, eyes glazed over...EVERYTHING GETS SLOW AND HORRIFYING.</scene_description> <character>HECTOR</character> <dialogue>What the fuck are you saying?</dialogue> <scene_description>She painfully tries to reach him, to hold on to something. She collapses into his arms, sobbing.</scene_description> <character>HECTOR</character> <dialogue>What is it...?</dialogue> <scene_description>Sees Puchi...knows something is wrong.</scene_description> <character>PUCHI</character> <parenthetical>(choking on her words)</parenthetical> <dialogue>Tito's dead...he's dead...there was</dialogue> <dialogue>an accident...with a gun...and...he</dialogue> <dialogue>was shot...a friend shot him.</dialogue> <scene_description>INTERVIEW - PUCHI SEARCHES THE ROOM FOR HIM...</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>Puchi is silent. Her eyes finally LAND on a corner of the room and stay there. The Camera rolls silently, until she returns to the Interview.</scene_description> <character>PUCHI</character> <dialogue>...I thought I'd die too...but you</dialogue> <dialogue>live through it...and it hurts much</dialogue> <dialogue>more. Hector? He died with him...</dialogue> <scene_description>A COLOR PHOTO OF TITO FILLS THE SCREEN... it's surrounded by flowers.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY -DAY</stage_direction> <scene_description>Hector's eyes are filled with tears. He touches the microphone, it's almost like he's going to start a song. and family behind them.</scene_description> <character>HECTOR</character> <dialogue>...is not like you can bring him</dialogue> <dialogue>back, like he went to the store...it's</dialogue> <dialogue>something impossible to believe.</dialogue> <dialogue>You can believe in anything in life,</dialogue> <dialogue>you know... no matter how crazy it</dialogue> <dialogue>is...but not this...so...we're here,</dialogue> <dialogue>but we're not here...</dialogue> <scene_description>Hector is unraveling emotionally, but he musters up a smile, not for him, not for the people there, but for Tito.</scene_description> <character>HECTOR</character> <dialogue>See Tito...we're playing hide and</dialogue> <dialogue>seek...for the rest of our lives...but</dialogue> <dialogue>I'm gonna find you where you're</dialogue> <dialogue>hiding...</dialogue> <scene_description>He walks away from the microphone. Puchi doesn't even touch him, he's stays alone. More alone than ever. INTERVIEW...Puchi is crying too.</scene_description> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <scene_description>Very quiet...only distant traffic in the background. A firetruck in the distance.</scene_description> <character>PUCHI</character> <dialogue>...your son's smiling at you one</dialogue> <dialogue>day, you turn around and the next</dialogue> <dialogue>thing you know he's gone...no one</dialogue> <dialogue>prepares for that...all the death in</dialogue> <dialogue>the world doesn't get you ready for</dialogue> <dialogue>that...</dialogue> <parenthetical>(lights a cigarette)</parenthetical> <dialogue>...and I've seen a lot of dying around</dialogue> <dialogue>me...I grew up in streets where they</dialogue> <dialogue>would drop like flies...but for Hector</dialogue> <dialogue>it was very hard...it was something</dialogue> <dialogue>he never got over. Nothing was the</dialogue> <dialogue>same again...life changed and for</dialogue> <dialogue>the two of us...it was never the</dialogue> <dialogue>same again...he died, we died...that</dialogue> <dialogue>simple.</dialogue> <scene_description>She touches her face with his hand...as if it was him caressing her...not letting her get so sad. A tear coming out her eyes.</scene_description> </scene> <scene> <stage_direction>INT. 55TH ST. APT. -- NIGHT</stage_direction> <scene_description>Puchi's eyes swollen with tears. Cookie comes over, hands her a plate of food, she can't have anything. the post funeral reception.</scene_description> <character>PUCHI</character> <dialogue>Thanks...where's my husband?</dialogue> <scene_description>A flash of panic rushes over Cookie's face. He quickly scans the room...No Hector. Cookie looks back at Puchi, knowing what's going through her head. Suddenly Hector comes out of the kitchen. Sees he's across the room.</scene_description> </scene> <scene> <stage_direction>EXT. 55TH STREET APT -- NIGHT</stage_direction> <scene_description>It's right after the funeral, He's still wearing the suit and tie...Puchi looks dead sitting in the red sofa...expressionless. Silence.</scene_description> <character>HECTOR</character> <dialogue>...you and I never talk, never been</dialogue> <dialogue>straight for more than three hours a</dialogue> <dialogue>day, that was when we first met</dialogue> <dialogue>maybe...twenty years ago? And we</dialogue> <dialogue>just go on with life like this...</dialogue> <parenthetical>(looking around)</parenthetical> <dialogue>like...this is our life and it's</dialogue> <dialogue>never gonna stop...or something like</dialogue> <dialogue>that.....I love you...but it's</dialogue> <dialogue>impossible to...</dialogue> <scene_description>She starts talking on her own, like two parallel conversations.</scene_description> <character>PUCHI</character> <dialogue>...impossible to...oh, I get it...</dialogue> <character>HECTOR</character> <dialogue>you know...see, like that...you..</dialogue> <scene_description>...but he stops, fearful of what she'd do next.</scene_description> <character>PUCHI</character> <dialogue>Oh... now that our son is dead it</dialogue> <dialogue>all comes clear to you. I'm a bitch</dialogue> <dialogue>and you're a great guy...and that</dialogue> <dialogue>maybe the best thing for us to do,</dialogue> <dialogue>besides fucking other people...is to</dialogue> <dialogue>make it official, that you and I</dialogue> <dialogue>have all of the fucking sudden</dialogue> <dialogue>realized 'we ain't good' for each</dialogue> <dialogue>other, so we're breaking it up to</dialogue> <dialogue>try to fix it up...fix what up?</dialogue> <scene_description>She paces around the room, like a bull before going into the ring. Gives him a hard, cold look. This? She turns to one of the mirrored walls. We see on the fractured mirrored tiles the two of them. In broken love. THEIR FACES DISSOLVING INTO...BUBBLES. A LIGHTER FLICKS ON. The dope bubbles, cooking in the filthy spoon. Hector lights a cigarette, now he's got all the time in the world. Nothing will stop him to wipe all the pain away. It's serene moment before communion. QUICK CUTS... He ties off his arm. Takes the syringe and slips the needle into his vein. RED BLOOD SHOOTS UP INSIDE THE DROPPER...LIKE A SERPENTINE...a deadly STREAMER spooling on CARNIVAL DAY. SKELETAL SALSA music plays over. A BASS, A SCRATCH, A LONELY TRUMPET...ECHOES.</scene_description> </scene> <scene> <stage_direction>INT. SHOOTING GALLERY -- NIGHT</stage_direction> <scene_description>THIS SCENE WILL BE IN SPANISH. LATER... Hector stares at the TV, holding an ice cream bar that drips down his chest...watching the static on the TV. He's filthy, unshaven, a burned down cigarette dangling from his mouth. As he points to an invisible person, the nodding junkies open their eyes and see nothing. He gets up to greet the INVISIBLE. Talks to the ghost.</scene_description> <character>HECTOR</character> <dialogue>Abuela?...What are you doing here?</dialogue> <dialogue>How did you find me?</dialogue> <scene_description>Doing a woman's voice...playing the GHOST.</scene_description> <character>HECTOR/ABUELA</character> <dialogue>They told me. I came to take you</dialogue> <dialogue>home.</dialogue> <scene_description>It's chilling theater...the never ending tragic-comedy of his life.</scene_description> <character>HECTOR</character> <parenthetical>(frightened)</parenthetical> <dialogue>No, no...I can't...I can't go home.</dialogue> <character>HECTOR/ABUELA</character> <dialogue>Don't talk like that...you are my</dialogue> <dialogue>favorite...my little one.</dialogue> <character>HECTOR</character> <dialogue>No, no, you don't understand</dialogue> <dialogue>Grandma...I killed my little boy.</dialogue> <character>HECTOR/ABUELA</character> <dialogue>Hector, you killed no one.</dialogue> <character>HECTOR</character> <dialogue>See...he needed me. That's all. I</dialogue> <dialogue>should have given him more</dialogue> <dialogue>attention...more love. I thought I</dialogue> <dialogue>had...but I was too busy with...</dialogue> <scene_description>He looks at his small junkie audience, half dead pieces of men and women, staring at him, watching the surreal performance.</scene_description> <character>JUNKIE WOMAN</character> <dialogue>Tito's happy, man. Your son's with</dialogue> <dialogue>God.</dialogue> <scene_description>Hector stares at her.</scene_description> <character>HECTOR</character> <dialogue>Who the fuck are you?</dialogue> <scene_description>Hicks the table in front of her...works and dope and bottles flying into the wall... The dope fiends do nothing, it's all normal to them. Hector sees what's left of him in a sliver of a mirror hanging from the filthy wall...half a face. Half alive. All pain. He closes his eyes and drops to the floor.</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE -- DAY</stage_direction> <scene_description>Hector is sitting alone. He sits up to look better as the Doctor walks in with a folder in his hand.</scene_description> <character>HECTOR</character> <dialogue>So?</dialogue> <scene_description>The Doctor sits across from him.</scene_description> <character>HECTOR</character> <dialogue>It scares me when you sit down.</dialogue> <character>DOCTOR</character> <dialogue>It should.</dialogue> <parenthetical>(he opens the folder)</parenthetical> <dialogue>Cholesterol is okay...sugar is a</dialogue> <dialogue>little off...prostate is fine...</dialogue> <character>HECTOR</character> <dialogue>But?</dialogue> <scene_description>straight at him.</scene_description> <character>DOCTOR</character> <dialogue>The HIV test came back positive...</dialogue> <scene_description>Hector shakes his head, as if he didn't hear well...as if he was spoken to in a foreign language he suddenly understands.</scene_description> </scene> <scene> <stage_direction>EXT. BROADWAY -- NIGHT</stage_direction> <scene_description>Hector walks alone, surrounded by the bright lights. But he looks pensive and distant, carrying bad news, one after another. A street musician blows on a saxophone in front of a store window...</scene_description> <character>HECTOR OS</character> <dialogue>I don't blame her...she's more scared</dialogue> <dialogue>than me.</dialogue> </scene> <scene> <stage_direction>INT. 55TH ST. APT. LIVING ROOM -DAY \*</stage_direction> <scene_description>The new place looks a mess. Hector, in a running suit, sits in a fog pretending to watch TV. He looks frail, sad and abandoned. Willie is sitting next to him. Hector keeps his eyes on the TV...where we see RUN DMC in some music show. It's the future in front of their eyes, but neither man sees it.</scene_description> <character>HECTOR</character> <dialogue>...she tested fine. She goes out,</dialogue> <dialogue>goes anywhere.</dialogue> <scene_description>He shakes his head. Anyone could'a seen it coming.</scene_description> <character>WILLIE</character> <dialogue>Yeah...and we move on.</dialogue> <character>HECTOR</character> <dialogue>The phone doesn't ring except for</dialogue> <dialogue>the bill collectors...and fucking</dialogue> <dialogue>wrong numbers...I'm like 'hello,</dialogue> <dialogue>digame, hello...like, may I help</dialogue> <dialogue>you?' You know, whatever...hey, 'talk</dialogue> <dialogue>to me... Ok? Fuck you. Good-bye'.</dialogue> <scene_description>He smiles. Ralph sits, appeals to him.</scene_description> <character>WILLIE</character> <dialogue>Well, I am here....and there are</dialogue> <dialogue>people still waiting for you to...</dialogue> <dialogue>sing again...to see you. They feel</dialogue> <dialogue>for you, man, they've mourned with</dialogue> <dialogue>you...but they need you...these people</dialogue> <dialogue>love you Hector. No matter what.</dialogue> <scene_description>But they're not gonna wait forever. You know how it is... (beat) You got a show in Puerto Rico. Take it. \* That bothers Hector, but he makes no big deal of it.</scene_description> <character>WILLIE</character> <dialogue>Let the people know you are alive.</dialogue> <scene_description>Instead he looks at Willie as if he agrees with everything, except for the being alive part.</scene_description> <character>HECTOR</character> <dialogue>You know me....I don't listen to</dialogue> <dialogue>anybody.</dialogue> <character>WILLIE</character> <dialogue>Great. Biggest decisions ever in</dialogue> <dialogue>life have been made without thinking</dialogue> <dialogue>about them. Chevere.</dialogue> <parenthetical>(looking in the eye)</parenthetical> <dialogue>Your problem is, that you're a lucky</dialogue> <dialogue>guy.</dialogue> <scene_description>He thinks for a second. Looking straight back at Willie.</scene_description> <character>HECTOR</character> <dialogue>I deserve to be. Shit, I wish I was</dialogue> <dialogue>the president...good luck didn't</dialogue> <dialogue>want to do anything with me...</dialogue> <scene_description>Willie smiles, listening to his old friend riffing, like improvising in they're good old on stage.</scene_description> <character>HECTOR</character> <dialogue>I had more than good luck...and I</dialogue> <dialogue>had you motherfucker.</dialogue> <scene_description>The two old friends embrace one another. An embrace that's been waiting for years. PUERTO RICO...home again.</scene_description> </scene> <scene> <stage_direction>INT. LINCOLN MARK IV - MOVING - DAY</stage_direction> <scene_description>Hector looks out the window at the PUERTO RICAN COUNTRYSIDE, mountains, valleys, panoramic view of the ocean. He closes his eyes as he breathes in that wonderful island smell. It gives him life.</scene_description> <character>HECTOR</character> <parenthetical>(gently)</parenthetical> <dialogue>It's beautiful, right?</dialogue> <parenthetical>(singing)</parenthetical> <dialogue>Why do we leave? \*</dialogue> <scene_description>what's on Hector's mind.</scene_description> </scene> <scene> <stage_direction>EXT. COLISEO RUBEN RODRIGUEZ -- DAY</stage_direction> <scene_description>A crowd carrying Puerto Rican flags and "Hector Lavoe" banners files into the half empty stadium. A different excitement is happening backstage. A bad scene.</scene_description> </scene> <scene> <stage_direction>EXT. COLISEO RUBEN RODRIGUEZ - SIDE STAGE</stage_direction> <scene_description>The scattered crowd screams out his name. The band waits. \* Ralph puffs on a cigar, looking out at the anxious crowd as Hector and Cookie arrive. \* The Promoter comes over, appeals to Hector.</scene_description> <character>PROMOTER</character> <dialogue>Hector, I'm sorry about the situation.</dialogue> <dialogue>I didn't wanna cancel but Ralphy...but</dialogue> <dialogue>there's no one here. They didn't</dialogue> <dialogue>show up, it's not my fault!</dialogue> <scene_description>It hits Hector. His people didn't show up? He stares as the others fight the wrong fight.</scene_description> <character>RALPH</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Hey! What the fuck you doin' talking</dialogue> <dialogue>to the Artists? What you better do</dialogue> <dialogue>is walk out on that fuckin' stage</dialogue> <dialogue>and tell the crowd the show's</dialogue> <dialogue>canceled!</dialogue> <parenthetical>(to the band)</parenthetical> <dialogue>Go back to the hotel, guys.</dialogue> <scene_description>They all wait loyally by Hector.</scene_description> <character>PROMOTER</character> <parenthetical>(panicked)</parenthetical> <dialogue>Are you crazy? I'll have a riot!</dialogue> <parenthetical>(to Hector)</parenthetical> <dialogue>Ralphy wants all the money up front.</dialogue> <dialogue>I told him I'd have it...but look...no</dialogue> <dialogue>one came. \*</dialogue> <scene_description>Hector's eyes are on the crowd, the flags, the banners. Even if it is just a few of his people, that made it more special.</scene_description> <character>HECTOR</character> <dialogue>It's cool. I just wanna sing. Forget</dialogue> <dialogue>about the money, this one is on me.</dialogue> <scene_description>Ralph turns. Foaming at Hector's suggestion...showing his power or rather, Hector's lack of it. Hector, are you crazy? What the fuck are you now; Saint Hector? I already sent all the other acts back to the hotel...this ain't a welfare concert.</scene_description> <character>HECTOR</character> <dialogue>Relax, I'll give you your commission</dialogue> <dialogue>anyway...I just want to sing.</dialogue> <character>RALPH</character> <dialogue>That's not the point! They're tearing</dialogue> <dialogue>down the stage...</dialogue> <scene_description>Hector stops him with his hand.</scene_description> <character>HECTOR</character> <parenthetical>(yelling)</parenthetical> <dialogue>Come on, vamos.</dialogue> <scene_description>Hector walks ON STAGE with the band. The crowd stands cheering...but it's chaos out there. He grabs the mic. THUNDER IS HEARD... The band plugs in...and tentatively takes their places.</scene_description> <character>HECTOR</character> <parenthetical>(yelling)</parenthetical> <dialogue>Que pasa mi gente! I'm here, all</dialogue> <dialogue>yours!</dialogue> <scene_description>The band starts playing. Hector sings. A tropical storm breaks...heavy rain starts pouring, but the show goes on. Until the sound starts going out instrument by instrument until only Hector's mic is on. He looks off stage to the SOUND MEN behind Ralph and Cookie.</scene_description> <character>HECTOR</character> <dialogue>Put the sound back on!</dialogue> <scene_description>SIDE STAGE Ralph throws his hands up.</scene_description> <character>RALPH</character> <dialogue>I fuckin' told him!</dialogue> <scene_description>Cookie goes up to the sound board.</scene_description> <character>COOKIE</character> <dialogue>Put that shit back on...</dialogue> <scene_description>Cookie looks around for the Promoter...gone. ON STAGE</scene_description> <character>HECTOR</character> <dialogue>Give me some Congas...</dialogue> <scene_description>The Conga starts a beat...steady and strong. Hector is soaking wet ready, as close to the audience as he can be. Hector starts singing again...but his mic is suddenly turned off...only the lonely Conga and a couple of horns try to fight it out. Hector keeps singing, but the audience can't hear him. The rain pouring down on him, like tears running down his face. He tries to shouts the song out...but no one can listen as the thunder rolls and the rain drowns out the voice of a man alone on stage...crying out the lyrics to "Mi Gente"...but his people are now just about to start a RIOT. THING TURN INTO SLOW MOTION. A chair FLIES THROUGH THE RAIN...lands next to him. SCREAMS CONTINUE... mixed with the last dying conga sounds... audience echoes and hotel Muzak. A bad recipe cacophony.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR -- NIGHT</stage_direction> <scene_description>The horror has followed to the bar in lobby of the Sheraton, where Hector and Puchi are having it out in front of all the other band members, crew, strangers. They fight, but we don't hear a sound...we've heard plenty of fighting and can only imagine. There is no truce ever with these two. ALL THE SOUNDS FADE OUT... and we only hear the sound of the ocean. Low, night waves...and the barely audible music from a bar blocks away.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- NIGHT</stage_direction> <scene_description>The door opens to the empty suite. Eerily quiet now. Hector walks in. At the end of the room, we see the empty balcony. ( a REPRISE of once in the late 60's...) He walks through the room, opens the sliding door. Hector steps outside.</scene_description> </scene> <scene> <stage_direction>EXT. SUITE BALCONY -- NIGHT</stage_direction> <scene_description>It's finally PEACEFUL. Hector takes a look at the ocean beneath him, the palm trees. Listens to the waves...and feels the strange tranquility around him. He smiles, with very sad look in his face. An emptiness in his eyes BEFORE THEY SHUT TIGHT. A SIREN BLARES... Hector's completely shattered and broken body is laid out on a stretcher, an oxygen mask over face. Paramedics frantically work to keep him alive as Puchi rocks back and forth, praying.</scene_description> <character>PUCHI</character> <dialogue>God, please help him...please help</dialogue> <dialogue>him...</dialogue> </scene> <scene> <stage_direction>INT. CENTRO MEDICO - EMERGENCY WAITING ROOM - LATER \*</stage_direction> <scene_description>Puchi sits all alone and silent in the waiting room. It's a sad lonely picture. The game is over. This is where the long road ends. What we hear is Puchi telling the tale.</scene_description> <character>PUCHI OS</character> <dialogue>...he jumped from the ninth floor...</dialogue> <dialogue>Had multiple fractures, broken bones</dialogue> <dialogue>and massive bruising to all his inner</dialogue> <dialogue>organs, which... are already pretty</dialogue> <dialogue>damaged from all the alcohol and</dialogue> <dialogue>drug abuse. His Liver his Kidneys...</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS -- DAY</stage_direction> <scene_description>INTERVIEW--- Puchi's looking away from the CAMERA...A LITTLE RESTLESS. Too many memories stirred, too many questions that are answered now, years after the fact...too many 'I wish that I' moments...too much pain and regret.</scene_description> <character>PUCHI</character> <dialogue>He lived...yeah...five more years.</dialogue> <scene_description>She thinks about what she says...putting together some sense into a tough past or coming up with final days wisdom.</scene_description> <character>PUCHI</character> <dialogue>But it wasn't real life...</dialogue> <scene_description>She looks straight at CAMERA, AT US...as we hear applause the intro to a song.</scene_description> <character>PUCHI</character> <dialogue>...and I wasn't there for him. I</dialogue> <dialogue>wanted to remember him like he wanted</dialogue> <dialogue>me to.</dialogue> <scene_description>She closes her eyes. FADE TO BLACK. The HORNS announcing the closing words....the parting shot...and it'll be Hector's turn with his side of the story. ON THE BLACK SCREEN The sound of Salsa music and Arena crowd builds in volume.</scene_description> </scene> <scene> <stage_direction>INT. MADISON SQUARE GARDEN -- NIGHT</stage_direction> <scene_description>SIDE STAGE - Puchi stands nest to Hector. She looks into his eyes...THE INTRO FOR "Todo Tiene su Final". The encore.</scene_description> <character>HECTOR</character> <dialogue>I just wanted to tell you that I</dialogue> <dialogue>love you...</dialogue> <character>PUCHI</character> <dialogue>I love you too. Go ahead honey, go</dialogue> <dialogue>tell them. I'll be here.</dialogue> <scene_description>She kisses him. The band picks up the rhythm trying to pump Hector up.</scene_description> <character>HECTOR</character> <parenthetical>(singing)</parenthetical> <dialogue>"...Todo tiene su final, nada dura</dialogue> <dialogue>para siempre...</dialogue> <scene_description>Hector sings it as he knows it. "Everything must come to an end, nothing lasts forever...." A Prophetic salsa marker in his life. It's hurts a bit. THUNDEROUS APPLAUSE follows as he stands walks ON STAGE, singing...every movement he makes: easy, poignant...giving. Hector spreads his arms to his fans...sheer adulation. CLOSE ON PUCHI, HER FACE...as if watching him. BUT WE'RE BACK TO THE INTERVIEW.</scene_description> <character>INTERVIEW OS</character> <dialogue>Do you miss him?</dialogue> </scene> <scene> <stage_direction>INT. FANIA RECORDS. STUDIO -- DAY</stage_direction> <character>PUCHI</character> <dialogue>Everyday. Do you think that you can</dialogue> <dialogue>forget someone like that? they're</dialogue> <dialogue>all around you...wherever you go...he</dialogue> <dialogue>chases me...people like Hector you</dialogue> <dialogue>don't escape...you resign yourself</dialogue> <dialogue>to living your life with an invisible</dialogue> <dialogue>man...with a ghost...sometimes I'm</dialogue> <dialogue>cooking something, whatever...and I</dialogue> <dialogue>ask him 'hey Hector how do you</dialogue> <dialogue>want...?' You know...like he was</dialogue> <dialogue>there...it never goes away...people</dialogue> <dialogue>say, go ahead Puchi...there are a</dialogue> <dialogue>lot of better more normal men</dialogue> <dialogue>around...did I ever want that? you</dialogue> <dialogue>figure it out.</dialogue> <scene_description>confession. Near the end. Out of words. Out of heart. BACK TO SCENE... Hector singing his heart out.</scene_description> <character>INTERVIEW OS</character> <dialogue>What would you tell him if he was</dialogue> <dialogue>here today ?</dialogue> <scene_description>She is caught by surprise with this question. She shakes her head with a wishful smile...</scene_description> <character>PUCHI</character> <dialogue>...you don't wanna know what I'd</dialogue> <dialogue>tell him.</dialogue> <scene_description>She laughs, making light of something so heartbreaking. But the lyrics of the song we hear say for her. 'Everything must come to an end'... and this love story definitely did. Just listen to him. ( SONG WILL BE SUBTITLED) A CU FLASH OF PUCHI 2002: Outside MSG...staring at THE PAST. BACK TO... Hector singing, his inimitable style, ease in front of thousands... THE LAST CONCERT</scene_description> </scene> <scene> <stage_direction>INT. MADISON SQUARE GARDEN -- NIGHT</stage_direction> <character>\*</character> <dialogue>The show goes on. "TODO TIENE SU FINAL" continues.</dialogue> <dialogue>Title Cards over concert shots:</dialogue> <character>\*</character> <dialogue>Hector Lavoe died of AIDS complications on June 23, 1993. He</dialogue> <dialogue>was 43 years old. He is considered to be the greatest Salsa</dialogue> <dialogue>singer of his time and always remembered as a folk hero</dialogue> <dialogue>because he was "Of the people for the people."</dialogue> <dialogue>HECTOR SINGING ON STAGE, waving....</dialogue> <scene_description>ANOTHER TITLE CARD.... Nilda 'Puchi' Roman Perez, died in 2002 of mysterious circumstances.</scene_description> <character>HECTOR</character> <dialogue>Mi gente...te quiero de gratis!</dialogue> <character>\*</character> <dialogue>A fan throws a PUERTO RICAN FLAG on stage. Johnny rushes</dialogue> <dialogue>over picks up the flag, drapes it over Hector. Twenty</dialogue> <dialogue>thousand fans strong cheering. Hector gives the POWER SIGN</dialogue> <dialogue>to his people. THE MUSIC PLAYS ON...</dialogue> <scene_description>FOREVER. ON STAGE THE CROWDS CHEER...he dances, lost in himself. This is how we all want to remember him. He looks around at the audience. No big deal. Life gave him everything...and he never knew it. A cheer brings a smile to his face. DISSOLVE TO: END MONTAGE</scene_description> </scene> <scene> <stage_direction>..but now we see the STOCK FOOTAGE of thousands of his fans</stage_direction> <scene_description>in the streets of the Bronx paying tribute to another gone Hero...mixed in with "Our Latin Thing" SNIPPETS of an UNFORGETTABLE TIME. The people, the music, the singer...the images all SLOWING \* DOWN, transcending the magic and the spell now put on us.</scene_description> </scene> </script>

Puchi (Jennifer Lopez) talks about her late husband, salsa legend Héctor Lavoe "El Cantante De Los Cantantes" ("The singer of all the singers") (Marc Anthony), during a 2002 interview. Héctor Pérez leaves Puerto Rico, even though his father tries to persuade him not to go because if he does he'll lose a father. Héctor decides to go anyway against his father's will in an attempt to pursue his dreams. On his first night in the city he meets Eddie (Manny Pérez) and discovers the new sound of salsa flowing through the streets. He eventually becomes the lead singer in a salsa group performing in a bar. One night he is approached by salsa musicians Willie Colón (John Ortiz) and Johnny Pacheco. Johnny offers them a deal with Fania Records Company and Hector accepts. The company also suggests that he change his name to Héctor Lavoe. "Lavoe" meaning "the voice" in French. Héctor is falling for Puchi, a girl he saw dancing at the club where he was allowed entry and also to perform by her brother Papo (Antone Pagán), the club manager. Papo invites Héctor to the sweet 16 party he is throwing at his apartment for his sister Puchi and there they get to speak further since noticing each other at the club and begin to further fall in love. He confesses to her that his mother died when he was young, his brother was killed the night he came to New York and that he didn't have many people in his life. She tells him that they'll take care of each other. It is revealed that Héctor was cheating on Puchi with another girl named Carmen. Puchi reveals that Carmen and she were pregnant with a baby of his at the same time. But she is the only woman of his life because he chose her. They eventually get married and have a son named Tito. On a night of hard partying, Héctor catches Eddie doing drugs and does so too. This will be the start of his drug addiction. Through the years, after Héctor's consistent tardiness to gigs, Willie grows tired of Héctor's irresponsibility and decides to go solo. Héctor's drug and alcohol addiction continues to grow stronger and becomes very noticeable. Puchi is infuriated when she finds Tito eating alone and Héctor shooting up while the gas was on. She begs Héctor to quit the drugs and to turn his life around for their son and because he is always high and is missing out and she loves him. One night, Puchi wakes up to Héctor sitting with a gun staring into space, suicidally depressed. In fear she sends him to rehab. Puchi can't help feeling extremely guilty when Héctor's sister Priscilla blames all of Héctor's problems on her. She later takes him out and he is put on medication. A jealous Héctor calls Puchi a whore and frequently accuses her of having affairs with many different men. Héctor maintains sobriety and takes his family to Puerto Rico for vacation. When Héctor tries to reconcile with his father after leaving against his will, he rejects Héctor. This causes him more pain. He is diagnosed with HIV and advises Puchi to get tested as well. He maintains sobriety for a while but soon has a relapse and goes back to his old ways. Puchi and Héctor fight often and it usually ends with him leaving the house and then coming back and apologizing to her. Tito is killed when his friend accidentally shoots him while playing with the gun Héctor kept in the house. This scars Héctor for the rest of his life. In the interview, Puchi admits that Héctor was never the same after that, and he died along with their son. She says everyone expected too much from him. Héctor confesses to Willie that he loves Puchi and that he wishes he would've done things differently, but it's too late and nothing is the same anymore. Willie encourages him to perform at a gig in Puerto Rico. At the concert, there is less than half of the audience due to bad managing and advertising. Still, he decides to perform for the few people who still showed up while it starts raining. He just couldn't hold in all the pain anymore. The depression and guilt are too much for Héctor to handle and it drives him to attempt suicide by jumping out a window. He survives the fall and lives another 5 years. Puchi is seen in her new apartment, listening to a voice mail from Hector, wishing her a happy birthday and that he'll always be there and love her. She smiles and begins to dance while looking at a picture of her and Héctor on the wall. The movie ends with Héctor performing and the credits revealing that he died at the age of 46 of AIDS from sharing needles. It is also revealed that Puchi died shortly after this interview in 2002.

Learning to Drive_2014

tt3062976

<script> <scene> <scene_description>LEARNING TO DRIVE by Sarah Kernochan</scene_description> <character>REVISED 08/04/13</character> <dialogue>Time: Present day, month of May. Place: New York City.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVING TEST SITE - LATE AFTERNOON</stage_direction> <scene_description>A small economy CAR proceeds down the street. Driving around a kiddy park and public swimming pool with kids in the background. The PLACARD mounted on top says "WINDSOR DRIVING SCHOOL." We hear a man's voice, with a soft East Indian accent.</scene_description> <character>MAN (O.S.)</character> <dialogue>Make a left.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVING TEST SITE - STUDENT CAR - LATE AFTERNOON</stage_direction> <scene_description>ANGLE ON SIGNAL LEVER - A BOY'S HAND pushes it down. STEERING WHEEL - BOYS' HANDS turn it counterclockwise.</scene_description> <character>MAN (O.S.)</character> <dialogue>Slow down. Execute a three-point turn.</dialogue> <scene_description>THE CAR stops, makes a careful U-Turn. POV THROUGH WINDSHIELD - approaching a line of parked cars. A man's FINGER enters frame, pointing to an empty space.</scene_description> <character>MAN (O.S.)</character> <dialogue>Park there.</dialogue> <scene_description>THE CAR slides expertly into the space. PASSENGER POV - DOOR OPENS, we see the distance to the curb: six inches. Perfect. NEW ANGLE - Now we see the car's occupants. At the wheel, a 16-year-old BOY who looks 12. Beside him: a Sikh man, still handsome in his mid-50's, full beard and sky-blue turban. He holds himself erect and formal, wears a freshly ironed shirt and tie. He would seem severe if not for his great warm, brown eyes. This is DARWAN SINGH.</scene_description> <character>DARWAN</character> <dialogue>Mr. Yampolsky, you have followed all the rules. You will pass your test tomorrow, I am sure of it.</dialogue> <scene_description>The boy DRUMS on the wheel, mimes dancing in his seat. CONTINUED:</scene_description> <character>DARWAN</character> <parenthetical>(gentle but firm)</parenthetical> <dialogue>And after you get your license, I suspect you will buy the biggest, fastest car...and throw all the rules out the window.</dialogue> <parenthetical>(boy grins)</parenthetical> <dialogue>It's not a joke. Remember, driving is a freedom. I wish you to enjoy every kind of freedom, as long you don't hurt someone. So follow the rules. Will you promise me?</dialogue> <character>BOY</character> <dialogue>Okay, Mr. Singh.</dialogue> </scene> <scene> <stage_direction>EXT. WINDSOR DRIVING SCHOOL - LATER - MAGIC HOUR</stage_direction> <scene_description>Darwan parks the student car alongside others like it, behind the Windsor School storefront. He gets out, drops the keys in a locked box.</scene_description> </scene> <scene> <stage_direction>INT. WINDSOR DRIVING SCHOOL - MINUTES LATER - MAGIC HOUR</stage_direction> <character>ANGLE ON TV SCREEN</character> <dialogue>We're watching a driving instruction film made in the 60's. A man (HAROLD SMITH) drives a wide convertible down a boulevard in L.A. He reviews the five principles of safe driving as they flash across the screen:</dialogue> <character>HAROLD SMITH</character> <dialogue>One: Aim High In Steering. Two: Get the Big Picture. Three: Keep Your Eyes Moving.</dialogue> <scene_description>ANOTHER ANGLE - we're in a small classroom, where Darwan's BOSS is teaching Drivers Ed. Watching the film are a HOUSEWIFE, a couple of TEENAGERS, two IMMIGRANT MEN. Darwan sticks his head in the room. His boss comes to the rear of the classroom where he hands Darwan his paycheck.</scene_description> <character>HAROLD SMITH (O.S.)</character> <dialogue>Four: Leave Yourself An Out. Five: Make Sure They See You.</dialogue> </scene> <scene> <stage_direction>EXT. TAXI COMPANY - LATER - NIGHT</stage_direction> <scene_description>TAXI DRIVERS gas up their CABS at a pump beside the garage. Darwan takes over a CAB from another driver ending his shift.</scene_description> </scene> <scene> <stage_direction>EXT. TAXI - A LITTLE LATER - NIGHT</stage_direction> <scene_description>Darwan stands outside of his cab, finishing his supper of fritters and puffed bread from an Indian deli. A radio station plays INDIAN POP MUSIC. A KHANDA, a Sikh talisman, hangs from the rear view mirror. ANGLE ON HIS ID CARD mounted on the Plexiglass barrier behind his head. We see his PHOTO and the name "SINGH, DARWAN." WIDE EXTERIOR - Darwan's cab is parked near the entrance to the QUEENSBOROUGH BRIDGE where he can see the always- spectacular NIGHT SKYLINE OF MANHATTAN. The "ON DUTY" SIGN on top of Darwan's cab LIGHTS UP. He pulls the taxi out and joins the line of CARS inching up to the bridge. Close in on the cabs rooftop sign going on and off continuously, driving around the city. (As if picking up and dropping off passengers. Until...</scene_description> </scene> <scene> <stage_direction>EXT. STREET, EAST SIDE - LATER - NIGHT</stage_direction> <scene_description>MAN tears out of an upscale restaurant, his arm up. Darwan stops. The man (TED) jumps in the back, SLAMMING the door.</scene_description> </scene> <scene> <stage_direction>INT. TAXI - CONTINUOUS - NIGHT</stage_direction> <character>MAN</character> <dialogue>Hudson and Jane! Quick!</dialogue> <scene_description>Darwan throws the meter, touches his foot to the accelerator-- when the REAR DOOR FLINGS OPEN again. A Woman (WENDY) hurls herself onto the seat next to Ted. Both are in their 40's.</scene_description> <character>WENDY</character> <dialogue>How dare you run out on me!</dialogue> <character>TED</character> <dialogue>You threw a bottle at me.</dialogue> <scene_description>CONTINUED: Darwan drives on, checking his rear mirror nervously. The woman's face is contorted with anger; the man is stoic.</scene_description> <character>WENDY</character> <dialogue>Brilliant maneuver! Inform me our marriage is over, in a public restaurant, so I can't make a scene -- and you thought that would work?! I wish my aim was better, you bastard ---</dialogue> <scene_description>Her arm swoops out to hit him; he catches her wrist, throws her back. DARWAN tries to distract them, to defuse the fireworks.</scene_description> <character>DARWAN</character> <dialogue>Excuse me, you said Hudson and Jane Street?</dialogue> <character>TED</character> <dialogue>Yes.</dialogue> <character>WENDY</character> <parenthetical>(to Ted)</parenthetical> <dialogue>Is that where she lives? You cocksucker!</dialogue> <character>TED</character> <dialogue>I'm not going home with you.</dialogue> <scene_description>The woman's fury gives way to tears.</scene_description> <character>WENDY</character> <dialogue>Why? Why? You can't just -- twenty- one years, Ted! How long have you been lying to me?</dialogue> <character>TED</character> <dialogue>I didn't lie.</dialogue> <character>WENDY</character> <dialogue>No, you just didn't say anything, so how could I possibly know anything was wrong, and now you blindside me --</dialogue> <scene_description>Ted turns to her, his voice thick with rage, shaking his finger in her face.</scene_description> <character>TED</character> <dialogue>Blindside?! When do you ever notice anything, Wendy?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>TED</character> <dialogue>On that rare occasion when you look up from your books or your fucking computer, you look right through me! I felt like a ghost!</dialogue> <character>WENDY</character> <dialogue>Well, I'm seeing through you now and you're a prick!</dialogue> <parenthetical>(more sobs; then:)</parenthetical> <dialogue>What is she, one of your students?</dialogue> <scene_description>He looks out the window, ignoring her.</scene_description> <character>WENDY</character> <dialogue>That's as good as a yes. Bet you "supervised her orals"! Bet she was on her knees for that! God damn you --</dialogue> <scene_description>She swings again, and WHOP! connects this time with his eye. He lets out a YELP, pushes her away, fending off her blows. DARWAN'S EYES widen in the rear mirror, watching them struggle. Ted breaks away, shouting to the driver:</scene_description> <character>TED</character> <dialogue>Pull over! Let me out here!</dialogue> <scene_description>As the cab slows, Wendy clings to Ted.</scene_description> <character>WENDY</character> <dialogue>Please! Ted! Come home, we'll talk--</dialogue> <character>TED</character> <dialogue>It won't do any good.</dialogue> <character>WENDY</character> <dialogue>I don't understand -- why? Why?</dialogue> <scene_description>The taxi stops near the curb. Ted is out the door, SLAMMING it firmly. He thrusts cash at Darwan through the window.</scene_description> <character>TED</character> <dialogue>Take her to 600 West 98th.</dialogue> <scene_description>Wendy throws open the door again to follow him. Ted pushes it closed, blocking it with his body as he calls to Darwan: CONTINUED: (3)</scene_description> <character>TED</character> <dialogue>Go! Go!</dialogue> <scene_description>Darwan pulls the taxi away quickly. The momentum bounces her back on the cushion, where she lets out a long, wounded WAIL. Darwan maintains a pained silence as he drives the woman home. He glances now and then in the rear mirror to see her crumpled up and SOBBING without restraint.</scene_description> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - LATER - NIGHT</stage_direction> <scene_description>Darwan pulls up in front of a narrow three-story brownstone.</scene_description> <character>DARWAN</character> <dialogue>We are here. Number six hundred.</dialogue> <scene_description>Wendy stuffs a twenty in his tray and gets out. Her face is obscured but he can tell she's crying. As she stumbles to her door, Darwan jumps out with the money.</scene_description> <character>DARWAN</character> <dialogue>No, please. He paid me already --</dialogue> <scene_description>But Wendy is already inside, and the door SLAMS shut.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - CONTINUOUS - NIGHT</stage_direction> <scene_description>Wendy flicks on the LIGHT and stands numbly in the hall. We get a better look at her. Fierce eyes in a soft, vulnerable face. Attractive but careless about her looks. The hallway is lined with bookcases. Piles of messengered books and mail are on the hall table, and a bowl full of keys and coins. Seen through an open door, the living room is full of dusty Danish-modern furniture, and like the hall is cluttered with books, on shelves and on every surface. Wendy's eyes fall to the two tennis racquets leaning against the wall. They lift to the framed PHOTO of her with Ted, a little girl (TASHA) between them, laughing on top of some mountain. She shakes her head in mute disbelief. She walks mechanically to the coat closet. Removing her jacket, she hangs it up, then pauses at the sight of the empty hanger for his coat.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S BEDROOM - MINUTES LATER - NIGHT</stage_direction> <scene_description>She opens the door, steps in, and stares at the bed. CONTINUED: WENDY'S POV (FANTASY) - Ted lounges in bed, wearing an old t- shirt, grading test papers. He doesn't look up. RUNNING WATER O.S.... WE PAN TO THE OPEN BATHROOM DOOR. Ted's in there, his back to her, bare butt peeking from under the torn t-shirt, brushing his teeth, the faucet running.... FOOTSTEPS BEHIND HER O.S. WENDY turns toward the sound, in the doorway. WENDY'S POV - Ted's going downstairs, into the darkness...A beat...The front door CLOSES WITH A LOUD REPORT -- -- shattering her fantasy. She starts to hyperventilate, gasping for breath. Then she rushes past the empty bed, into the empty bathroom. We hear her VOMITING into the toilet.</scene_description> </scene> <scene> <stage_direction>EXT. TAXI COMPANY - LATER - PRE-DAWN</stage_direction> <scene_description>Back in Queens, Darwan returns the taxi. He removes his belongings, and checks the rear seat. He sees a PADDED ENVELOPE ON THE FLOOR. One of his passengers must have left something. There is no name on the outside of the envelope. The flap is open. He slips his hand in and pulls out a new HARDCOVER BOOK. A letter is clipped to the dustcover. We SKIM DOWN the letter as he reads. The letterhead is a book publisher, addressed to a WENDY SHIELDS, The New Yorker, "Enclosed is a copy of BEATITUDES for your review...." and an editor's sticky note on top reads: "Messenger to 600 West 98 St." OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. STREET, RICHMOND HILL - LATER - EARLY A.M.</stage_direction> <scene_description>The envelope tucked under his arm, Darwan walks wearily up a residential street; past small, drab one-family homes built in the 30's. Only a few other people are on the street this early, all bearded MEN in turbans like Darwan, jackets over long shirts: this is the Punjabi Sikh neighborhood in Queens. Darwan enters the basement apartment of a two-story clapboard house, unpainted in a decade.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - MINUTES LATER - EARLY A.M.</stage_direction> <scene_description>We TRACK WITH DARWAN through the one-bedroom apartment. He passes the open bathroom door where a SIKH MAN, barechested from his shower, winds his turban around his long hair which is knotted on top of his head. Darwan glances inside a tiny bedroom, where ANOTHER SIKH MAN is asleep in the one bed. Darwan's 23-year-old nephew PREET, dressed in construction clothes, is rolling up his mattress on the floor.</scene_description> <character>DARWAN</character> <parenthetical>(WHISPERS)</parenthetical> <dialogue>Preet.</dialogue> <scene_description>The boy doesn't hear at first, his ears blocked by the earbuds from the iPod in his pocket.</scene_description> <character>DARWAN</character> <dialogue>Preet!</dialogue> <scene_description>Preet looks up, smiling sheepishly as he pulls out the earbuds. He joins Darwan in the hallway.</scene_description> <character>PREET</character> <dialogue>Hey. I got another job. Big renovation, four weeks -</dialogue> <character>DARWAN</character> <parenthetical>(interrupts; re: iPod)</parenthetical> <dialogue>Where did you get that?</dialogue> <character>PREET</character> <dialogue>I paid for it.</dialogue> <character>DARWAN</character> <dialogue>Preet, you must save your money.</dialogue> <character>PREET</character> <parenthetical>(grins)</parenthetical> <dialogue>Uncle D, no. I must have music.</dialogue> <character>DARWAN</character> <dialogue>And turn that around.</dialogue> <scene_description>Darwan is referring to Preet's head wrap which is knotted in the back gangsta-style.</scene_description> <character>DARWAN</character> <dialogue>If you can't wear it properly, then put on the dastaar. \[turban\]</dialogue> <scene_description>CONTINUED: Preet wags his finger playfully under Darwan's nose.</scene_description> <character>PREET</character> <dialogue>Uncle D, it's past your bedtime.</dialogue> <scene_description>Darwan has to smile. He raps his knuckle on Preet's head and lets him go. As Preet exits for work, Darwan proceeds into the living room, where a THIRD SIKH MAN is rising from his bed on the couch. Too tired to talk, Darwan nods at him, taking his place on the couch while the other man pads, yawning, to the bathroom. Darwan PLACES THE PADDED ENVELOPE CAREFULLY ON THE TEA TABLE, then burrows under the blanket. Darwan then starts unravelling his turban. CONTINUED: (2)</scene_description> </scene> <scene> <stage_direction>16A INT. NPR RADIO STUDIO - DAY 16A</stage_direction> <scene_description>An ENGINEER makes last minute adjustments to LAVALIER MICS on a public radio HOST (50's) and his three guests: HOWARD (70), ROSE (55) and WENDY, all seated at a round table. Wendy has made an attempt to pull herself together, but she seems harried and unfocussed. Self-medication: a very tall takeout container of COFFEE she's downing. The Engineer exits to the glass control BOOTH. Rose leans over to whisper to Wendy.</scene_description> <character>ROSE</character> <dialogue>I heard about you and Ted. I'm really sorry.</dialogue> <character>WENDY</character> <parenthetical>(recoils)</parenthetical> <dialogue>You heard what, exactly?</dialogue> <character>ROSE</character> <parenthetical>(on the spot)</parenthetical> <dialogue>Well - that you -</dialogue> <character>WENDY</character> <dialogue>We're just taking a breather, for God's sake.</dialogue> <character>ENGINEER (O.S.)</character> <parenthetical>(over squawkbox)</parenthetical> <dialogue>Standby.</dialogue> <scene_description>The Engineer signals the Host to begin.</scene_description> <character>HOST</character> <dialogue>Joining me for today's topic "Are Critics Necessary?" are three columnists from the New Yorker: film critic Howard Mintz, art critic Rose Belknap, and Wendy Shields, who reviews books. Let's start with Wendy. No child dreams of becoming a literary critic, so what led you to it?</dialogue> <character>WENDY</character> <dialogue>I wanted anything to do with words. I grew up in a house that was far from peaceful, and books just...</dialogue> <scene_description>16A CONTINUED: 16A</scene_description> <character>WENDY</character> <dialogue>floated me away. It's part of my job to read bad books, too, but the great ones still carry me off.</dialogue> <character>HOST</character> <dialogue>What current authors do you enjoy reviewing?</dialogue> <character>WENDY</character> <dialogue>Well, Martin Amis, Toni Morrison, uh...Delia Krauss -</dialogue> <scene_description>Suddenly the other guests go tense, exchanging alarmed glances; Rose looks dumbfounded.</scene_description> <character>WENDY (CONT'D)</character> <dialogue>- I especially love her short stories. The magazine publishes most of them -</dialogue> <scene_description>Wendy notices the others' reactions. She laughs uncertainly.</scene_description> <character>WENDY (CONT'D)</character> <dialogue>What, nobody likes Delia Krauss?</dialogue> </scene> <scene> <stage_direction>16B INT. ELEVATOR BANK - LATER - DAY 16B</stage_direction> <scene_description>ANGLE ON WENDY AND ROSE waiting for the elevator, backs to camera.</scene_description> <character>WENDY</character> <dialogue>DeeDee Krauss?! That whore?!</dialogue> <character>ROSE</character> <dialogue>We thought you knew.</dialogue> <character>WENDY</character> <dialogue>I thought it was one of Ted's students. Now I get it. She was Writer-in-Residence last year.</dialogue> <parenthetical>(fake-laughing)</parenthetical> <dialogue>She plowed through half the faculty. We all said DeeDee Krauss would fuck gravel.</dialogue> <character>ROSE</character> <dialogue>Maybe it won't last. He'll come back.</dialogue> <scene_description>16B CONTINUED: 16B</scene_description> <character>WENDY</character> <dialogue>Remind me to change the locks. God, every time I open up the magazine I'm going to see her name -</dialogue> <scene_description>DING: an elevator arrives. Rose leaves frame to catch it.</scene_description> <character>ROSE</character> <parenthetical>(over her shoulder)</parenthetical> <dialogue>Are you heading to the office?</dialogue> <scene_description>ANGLE ON WENDY - she doesn't respond for a half-beat, rooted to the spot, as the shock enters her heart.</scene_description> <character>WENDY</character> <parenthetical>(distantly)</parenthetical> <dialogue>No, I'm going to work at home...for a while...</dialogue> </scene> <scene> <stage_direction>INT. STUDY - WENDY'S HOUSE - DAY</stage_direction> <scene_description>Wendy sits in an easy chair, humped over a book, rapidly reading and making notes. There are stacks of review books everywhere. It's dark and hermetic; her computer SCREEN GLOWS on the desk, amid coffee-stained mugs, plates with food crumbs.</scene_description> <character>GIRL'S VOICE (O.S.)</character> <dialogue>Mom?</dialogue> <scene_description>Wendy looks up.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - SECONDS LATER - DAY</stage_direction> <scene_description>Wendy comes down the stairs. Her daughter (TASHA, 19) stands at the bottom, having just let herself in.</scene_description> <character>WENDY</character> <dialogue>Tasha!</dialogue> <character>TASHA</character> <dialogue>Hi, Mom.</dialogue> <scene_description>Wendy embraces her daughter. CONTINUED:</scene_description> <character>WENDY</character> <dialogue>I didn't expect you so early, sweetheart.</dialogue> <character>TASHA</character> <dialogue>Have you got any quarters? I have to feed the meter.</dialogue> <scene_description>Wendy digs in the bowl on the hall table for change.</scene_description> <character>WENDY</character> <dialogue>You must have had a long drive.</dialogue> <character>TASHA</character> <dialogue>Five hours. Fantastic weather. I listened to Vampire Weekend the whole way.</dialogue> <character>WENDY</character> <parenthetical>(giving her quarters)</parenthetical> <dialogue>Ugh, not one of those stupid paranormal books.</dialogue> <character>TASHA</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>It's a band. You're such a ditz.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, WENDY'S HOUSE - LATER - DAY</stage_direction> <scene_description>The counters are cluttered with takeout cartons and dirty dishes. As her daughter chatters, Wendy washes out two mugs while the water kettle heats up.</scene_description> <character>TASHA</character> <dialogue>They don't use any chemical sprays or fertilizers. I love being up in the tractor, I love the air and the smells, I love dirt. Growing up in the city I always thought dirt was, like, grime. But their dirt is alive, you know, it's rich, it's nourishing --I just want to eat it.</dialogue> <character>WENDY</character> <dialogue>Nostalgie de boue, is what the French say.</dialogue> <character>TASHA</character> <parenthetical>(rolls her eyes)</parenthetical> <dialogue>Whatever. I want to skip the fall semester so I can stay for harvest.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>Did you ask your father?</dialogue> <scene_description>The question hangs there. The kettle WHISTLES. Wendy makes no move, as if she doesn't hear it. Finally Tasha turns off the fire. The WHISTLE DIES. Tasha pours water in the mugs.</scene_description> <character>TASHA</character> <dialogue>He said to ask you.</dialogue> <character>WENDY</character> <dialogue>Stands to reason, seeing I'm the one paying your tuition. Well, do as you like. Vermont suits you. You look dangerously healthy.</dialogue> <character>TASHA</character> <dialogue>Mom, come stay with me. They'll put you up on the farm. It's a great place to write.</dialogue> <character>WENDY</character> <dialogue>The train's clear over on the other side of the state, and I can't very well drive up without a license.</dialogue> <character>TASHA</character> <dialogue>So get one!</dialogue> <character>WENDY</character> <dialogue>Tasha, please let's not get into that, not again, not now.</dialogue> <character>TASHA</character> <dialogue>But don't you want to get away? There's so many memories in this house --</dialogue> <scene_description>Tasha's voice catches. Her eyes fill up with tears.</scene_description> <character>WENDY</character> <dialogue>Baby...</dialogue> <scene_description>Wendy puts her arms around her daughter, stroking her back.</scene_description> <character>WENDY</character> <dialogue>Why are you crying?</dialogue> <character>TASHA</character> <dialogue>When I think of you and Dad not together, it's so sad. And you're here all alone --</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>But I'm fine.</dialogue> <scene_description>Tasha sniffs back tears. Wendy absently hands her a crumpled napkin with traces of duck sauce from the table.</scene_description> <character>TASHA</character> <parenthetical>(pushes it away)</parenthetical> <dialogue>Eew.</dialogue> <character>WENDY</character> <dialogue>Please don't be so upset.</dialogue> <character>TASHA</character> <dialogue>I thought you'd be upset.</dialogue> <scene_description>Wendy sets a tray as she breezily dismisses Tasha's concern.</scene_description> <character>WENDY</character> <dialogue>We've weathered this before. Every seven years, the itch comes over him. He gets restless, does something juvenile. So, at twenty- one years, we're on our third itch. Or it's male menopause. Instead of buying a a motorcycle, Daddy decided to give adultery a spin.</dialogue> <scene_description>As she heads into the living room with the tray:</scene_description> <character>WENDY</character> <dialogue>Tell you what, when he comes home, we'll drive up to visit you.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, WENDY'S HOUSE - CONTINUOUS - DAY</stage_direction> <scene_description>The living room is as dark as the study, the couch covered with newspapers, the coffee table with unopened mail and dirty plates. Arranging the tray on the table, Wendy sits, but Tasha remains standing.</scene_description> <character>TASHA</character> <dialogue>Mom...Dad's not coming home.</dialogue> <character>WENDY</character> <dialogue>Look around. He didn't take his books. What does that tell you?</dialogue> <character>TASHA</character> <dialogue>He said he filed for a separation already.</dialogue> <scene_description>CONTINUED: Wendy covers her shock by pouring tea.</scene_description> <character>WENDY</character> <dialogue>And he uses you to deliver that message? Nice of him to manipulate you.</dialogue> <scene_description>She sips her tea but it burns her tongue. She BANGS her mug down and erupts.</scene_description> <character>WENDY</character> <dialogue>I hope she knows she'll have to pay for his keep. Because he is a loser. In twenty years he couldn't get tenure. How anyone besides me could consider him romantic material is stupefying.</dialogue> <character>TASHA</character> <dialogue>So you are upset.</dialogue> <character>WENDY</character> <dialogue>No I'm not. I'm disgusted.</dialogue> <scene_description>Beat.</scene_description> <character>WENDY</character> <dialogue>You're staying for dinner?</dialogue> <character>TASHA</character> <dialogue>Actually, I said I'd eat with Dad.</dialogue> <character>WENDY</character> <parenthetical>(fury rising again)</parenthetical> <dialogue>So this is just a visit. You're popping by to see if Mom's a basket case? And then run that message back to him? Thanks. You can go now.</dialogue> <scene_description>Wendy gets off the couch, striding to the door.</scene_description> <character>TASHA</character> <dialogue>Mom -- ?</dialogue> <character>WENDY</character> <dialogue>I mean it. I have work to do.</dialogue> <character>TASHA</character> <dialogue>I just got here --</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>WENDY</character> <parenthetical>(exits)</parenthetical> <dialogue>Leave me alone.</dialogue> <scene_description>Tasha is left staring in disbelief. O.S. Wendy's study DOOR SLAMS.</scene_description> </scene> <scene> <stage_direction>INT. STUDY - WENDY'S HOUSE - SECONDS LATER - DAY</stage_direction> <scene_description>Wendy heaves back in her armchair, snapping open a book. Then she hears the FRONT DOOR CLOSE O.S. Tasha has left. Wendy's pride deflates: She lets the book slide to the floor, and covers her face in her hands.</scene_description> </scene> <scene> <stage_direction>21A INT. 21A</stage_direction> </scene> <scene> <stage_direction>INT. WENDY'S BEDROOM - ANOTHER DAY</stage_direction> <scene_description>Still in her bathrobe, Wendy is face down on the bedcovers, passed out. There are open WINE BOTTLES AND A SMUDGED GLASS on the night table. The DOORBELL rings O.S.: DING-DONG.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - MINUTES LATER - DAY</stage_direction> <scene_description>Hair matted, bathrobe askew, Wendy opens the door. She peers blearily at the solemn bearded man in a scarlet turban on her doorstep. He hands her a padded envelope.</scene_description> <character>DARWAN</character> <dialogue>You left this in my cab.</dialogue> <character>WENDY</character> <dialogue>Oh. Okay. Just a minute.</dialogue> <scene_description>She puts the envelope on the pile of books on the table, and brings the change bowl to the door, scooping a handful of change to give to him. She stops, seeing his look of dismay.</scene_description> <character>WENDY</character> <dialogue>What am I doing? That's pathetic.</dialogue> <parenthetical>(replaces bowl)</parenthetical> <dialogue>Let me get you some real money.</dialogue> <character>DARWAN</character> <dialogue>I don't want anything. I like to help.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <parenthetical>(laughs mirthlessly)</parenthetical> <dialogue>You like to help? That's impossible. You can't be from New York.</dialogue> <character>DARWAN</character> <dialogue>Yes, I am. From Queens.</dialogue> <character>WENDY</character> <dialogue>That's not New York. But you're very nice, and I thank you. Are you sure I can't give you something?</dialogue> <scene_description>He shakes his head, bowing slightly, his palms together. Then he turns, heading back to the car double-parked in front of her house. More awake now, she focusses for the first time on the placard mounted on his car: "WINDSOR DRIVING SCHOOL."</scene_description> </scene> <scene> <stage_direction>EXT. STUDENT CAR - CONTINUOUS - DAY</stage_direction> <scene_description>He buckles his seat belt and STARTS THE CAR. Suddenly, she's there at the window. He rolls it down.</scene_description> <character>WENDY</character> <dialogue>Do you have a card?</dialogue> </scene> <scene> <stage_direction>INT. WENDY'S BEDROOM - NIGHT</stage_direction> <scene_description>Wendy talks on the phone to Tasha. She has DARWAN'S CARD in her hand.</scene_description> <character>WENDY</character> <dialogue>Baby, I'm sorry for what I said. You're right, I need a change of scenery. So guess what? I'm going to get my license, buy a car, and drive up to see you, sweetie. And we'll eat some dirt together, OK?</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - NIGHT</stage_direction> <scene_description>Darwan sits alongside Preet and two of his ROOMMATES on the couch, watching a CRICKET GAME on TV. The third ROOMMATE irons his shirts on the table. They might be a bunch of guys watching the Super Bowl, but instead of baseball caps they wear the Sikh at-home headcover, a simple dew-rag knotted on top; CONTINUED: instead of nachos and beer they nurse glasses of strong sweet tea, snacking from a bowl of dried chickpeas. CONTINUED: (2) And the atmosphere is not so convivial: they are four men without women, and far from home.</scene_description> </scene> <scene> <stage_direction>EXT. TEMPLE (GURDWARA) - LATER - MORNING</stage_direction> <scene_description>Darwan enters the temple.</scene_description> </scene> <scene> <stage_direction>INT. TEMPLE (GURDWARA) - CONTINUOUS - MORNING</stage_direction> <scene_description>He removes his shoes, inserting them in a cubbyhole. OTHER SIKH WORSHIPPERS are doing the same. He follows them into:</scene_description> </scene> <scene> <stage_direction>INT. PRAYER ROOM, GURDWARA - CONTINUOUS - MORNING</stage_direction> <scene_description>This is a long, carpeted room. MEN in turbans and WOMEN with scarves sit on the floor meditating, praying, or listening to the MUSICIANS SINGING verses from the Holy Book (Granth Sahib) which lies open on a low platform next to them. A WORSHIPPER sits before the Book, reading its Punjabi text; ANOTHER flicks a horse-hair switch above him (traditionally, to ward off flies and dust). Darwan approaches the book with palms together (namaste), kneeling and bowing. The Worshipper rises and takes his turn with the switch, while Darwan sits before the Book and reads... We hear the sound of the music playing. We also see kids ages six or seven seated in an a spacious room taking a Tabla class with an Old Tabla Teacher.</scene_description> </scene> <scene> <stage_direction>INT. COMMUNAL ROOM, GURDWARA - MINUTES LATER - MORNING</stage_direction> <scene_description>Darwan shares tea, food and CHAT with other WORSHIPPERS (eating communally is traditional following prayers).</scene_description> </scene> <scene> <stage_direction>I/E STUDENT CAR - LATER - DAY</stage_direction> <scene_description>Darwan is driving along a park in Queens. He glances at a KOREAN COUPLE posing for wedding pictures before a fountain. His CELL RINGS. He pulls over to take the call.</scene_description> <character>DARWAN</character> <parenthetical>(into phone)</parenthetical> <dialogue>Okay...I have no one at three...</dialogue> <scene_description>CONTINUED: He opens his assignment book, starts writing.</scene_description> <character>DARWAN</character> <dialogue>Manhattan?...</dialogue> <scene_description>While the person on the other end talks, he watches the Korean couple change poses, beaming for the camera. He snaps back to the phone call when he hears a name:</scene_description> <character>DARWAN</character> <dialogue>Wendy Shields? Oh, yes.</dialogue> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - DAY</stage_direction> <scene_description>Darwan waits at the front door, his ear to the intercom. A blast of STATIC, then Wendy's voice:</scene_description> <character>WENDY</character> <parenthetical>(INTERCOM filter)</parenthetical> <dialogue>Who is it?</dialogue> <character>DARWAN</character> <dialogue>Darwan Singh. For your driving lesson, please.</dialogue> <character>WENDY</character> <dialogue>Oh my God...</dialogue> <scene_description>INTERCOM BUZZES him in.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - SECONDS LATER - DAY</stage_direction> <scene_description>Darwan gazes around, noting the clutter and the dust. Wendy arrives at the foot of the stairs: pallid, wearing black sweats this time, her reading glasses atop her head and tangled in her hair.</scene_description> <character>WENDY</character> <dialogue>I completely forgot. Anyway I've changed my mind about lessons.</dialogue> <character>DARWAN</character> <dialogue>Why, if I may ask?</dialogue> <character>WENDY</character> <dialogue>Look, I'll pay you for today. I'm really sorry.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>Don't pay me. But I will ask a small favor from you.</dialogue> <character>WENDY</character> <dialogue>Well...of course.</dialogue> <character>DARWAN</character> <dialogue>Come sit in the car. The driver's seat. So you get used to it.</dialogue> <character>WENDY</character> <dialogue>Uh, I'm in the middle of work.</dialogue> <character>DARWAN</character> <dialogue>Let me do my job just a little.</dialogue> </scene> <scene> <stage_direction>INT. STUDENT CAR - A LITTLE LATER - DAY</stage_direction> <scene_description>ANGLE ON KEY IN CAR IGNITION - WENDY's hand turns it CLOCKWISE -- one click.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>First position turns on the electrical system. Now second position...</dialogue> <scene_description>Wendy turns the key further. The motor THRUMS to life. ANGLE ON MIRRORS - REAR, LEFT SIDE, RIGHT SIDE.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Next, you have three mirrors. Rear view, left, and right --</dialogue> <character>WENDY</character> <parenthetical>(interrupts)</parenthetical> <dialogue>I really don't need to learn this. My husband drives.</dialogue> <character>DARWAN</character> <dialogue>I never learned to cook because I thought my mother would always be there to cook for me. She is gone, and I am here, so I make my own food.</dialogue> <character>WENDY</character> <parenthetical>(drily)</parenthetical> <dialogue>Your point?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <parenthetical>(smiles; shrugs)</parenthetical> <dialogue>No point. So: check your three mirrors. Then turn your head to see the blind spot.</dialogue> <scene_description>ON WENDY - her hands are tight with tension on the wheel. Darwan coaches her from the passenger seat.</scene_description> <character>DARWAN</character> <dialogue>Put on your left signal.</dialogue> <scene_description>Wendy gropes for the signal post and turns on the wipers instead.</scene_description> <character>WENDY</character> <dialogue>Damn. Where is it?</dialogue> <scene_description>He indicates the signal. She flicks it down.</scene_description> <character>DARWAN</character> <dialogue>Now turn the wheel all the way to the left.</dialogue> <parenthetical>(she obeys)</parenthetical> <dialogue>Now the gas pedal.</dialogue> <scene_description>The car moves forward a mere foot -- she brakes suddenly.</scene_description> <character>DARWAN</character> <dialogue>What's the matter?</dialogue> <character>WENDY</character> <dialogue>We're moving.</dialogue> <character>DARWAN</character> <dialogue>That's good.</dialogue> <character>WENDY</character> <dialogue>I think I don't like this.</dialogue> <character>DARWAN</character> <parenthetical>(twinkles)</parenthetical> <dialogue>Well, you have to go forward now because I haven't taught you how to back up. Check your mirrors again. Turn your head...</dialogue> <scene_description>As she turns her head, an AMBULANCE SCREAMS past. CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>Jesus!</dialogue> <character>DARWAN</character> <dialogue>Nothing will happen. I am always here with the other brake. Now. Press your foot --</dialogue> <character>WENDY'S FOOT JABS THE ACCELERATOR.</character> <dialogue>THE CAR LEAPS forward.</dialogue> <dialogue>DARWAN'S FOOT PRESSES HIS SAFETY BRAKE, STOPPING the car.</dialogue> <character>DARWAN</character> <dialogue>Press the pedal gradually. Down, and release.</dialogue> <scene_description>THE CAR JERKS further into the lane.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Straighten the wheel.</dialogue> <scene_description>THE TIRES swivel straight.</scene_description> <character>DARWAN</character> <dialogue>Press the pedal. Gradually...</dialogue> <scene_description>WENDY'S FOOT presses gradually down...on the brake.</scene_description> <character>DARWAN</character> <dialogue>The pedal, not the brake.</dialogue> <scene_description>THE CAR creeps forward. OVERHEAD SHOT - Slowly the car joins traffic.</scene_description> <character>WENDY (O.S.)</character> <parenthetical>(whimpers)</parenthetical> <dialogue>Where am I going?</dialogue> <character>DARWAN (O.S.)</character> <dialogue>For now, it's simple: just go straight.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. STREET - RICHMOND HILL - A LITTLE LATER - NIGHT</stage_direction> <scene_description>Darwan walks with Preet, carrying groceries. Preet's CELL PHONE CHIRPS. Stopping, Preet checks his messages. CONTINUED:</scene_description> <character>PREET</character> <dialogue>Mom sent another photo.</dialogue> <scene_description>Darwan looks over Preet's shoulder at the screen.</scene_description> <character>ANGLE ON CELL SCREEN - A CANDID PHOTO OF AN PUNJABI WOMAN,</character> <dialogue>about 40, gazing stiffly at the camera as if for a passport picture.</dialogue> <character>DARWAN</character> <dialogue>She looks sour. She would complain a lot.</dialogue> <character>PREET</character> <dialogue>Every time you find something wrong. How many more years until there's no one left and you're still alone? In your head, I think you're still in prison, Uncle D.</dialogue> <character>DARWAN</character> <parenthetical>(roughly)</parenthetical> <dialogue>Be quiet! Never speak to me like that again!</dialogue> <scene_description>Cowed, Preet shuts up.</scene_description> <character>DARWAN</character> <dialogue>You were just a skinny scared boy when I took you in. I promised your mother to help you and now you give me cheek, and disrespect.</dialogue> <scene_description>They walk for a beat in silence. Cooling off, Darwan manages a smile.</scene_description> <character>DARWAN</character> <dialogue>You were stinky, too. Smeared all over with garlic paste.</dialogue> <character>PREET</character> <parenthetical>(grins)</parenthetical> <dialogue>They told me it would keep the rattlesnakes away in the desert.</dialogue> <character>DARWAN</character> <dialogue>It's a wonder the border guards didn't smell you coming.</dialogue> <character>PREET</character> <dialogue>But it worked!</dialogue> </scene> <scene> <stage_direction>I/E STUDENT CAR - ANOTHER DAY</stage_direction> <scene_description>With Darwan beside her, Wendy guides the car slowly up Broadway, where TRAFFIC is convoluted and aggressive.</scene_description> <character>DARWAN</character> <dialogue>Teach yourself to see everything. Your eyes should go from sidewalk to sidewalk, and one block ahead.</dialogue> <character>A MONTAGE OF IMAGES FROM THE ROAD AHEAD - LANE MARKINGS,</character> <dialogue>TRAFFIC LIGHTS, CONSTRUCTION BARRIERS...</dialogue> <character>DARWAN</character> <dialogue>You see the markings on the road, the lights, you read the signs...</dialogue> <character>RAPID-CUTTING SEQUENCE OF SHOTS OF SIGNS: "QUIET ZONE," "ONE</character> <dialogue>WAY," "NO LEFT TURN 4 PM TO 7 PM," "ALTERNATE ROUTE," "TO</dialogue> <character>EAST SIDE," STREET NAMES, SIGNS WITH SYMBOLS, ARROWS, BLOCKED</character> <dialogue>ARROWS --</dialogue> <character>WENDY (O.S.)</character> <dialogue>There's too many to read.</dialogue> <character>DARWAN (O.S.)</character> <dialogue>It comes with time.</dialogue> <scene_description>POV - PASSING PEOPLE: A WOMAN WITH STROLLER steps off the curb; a DELIVERY MAN opens his van door; a SKATEBOARDER curves across the lane; KIDS around an MISTER SOFTEE TRUCK...</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Be aware of living as well as non- living things.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN (O.S.)</character> <dialogue>When you see a person ahead, try to guess what they'll do next...</dialogue> <scene_description>A BICYCLE MESSENGER APPEARS OUT OF NOWHERE, CUTS IN FRONT of the car. Wendy YELPS, pumping the brake.</scene_description> <character>DARWAN</character> <dialogue>...and smoothly adjust so you can stay out of their way. The driver's biggest problem is Everyone Else. You can't always trust people to behave properly.</dialogue> <character>WENDY</character> <parenthetical>(mutters)</parenthetical> <dialogue>Ain't that the truth.</dialogue> <scene_description>CONTINUED: (2) PAN TOWARD WENDY'S EYES, dutifully sweeping the street ahead: up, down, side to side... WENDY'S POV - PANNING TOWARD HAPPY COUPLES eating at sidewalk cafes, young couple kissing on the curb. A male gay couple holding hands and an old couple arguing. SAFETY BRAKE - DARWAN'S FOOT comes down hard.</scene_description> <character>DARWAN</character> <dialogue>That's a red light.</dialogue> <scene_description>Wendy snaps to attention, looks up: sure enough, she almost went through a RED LIGHT. She jokes to cover up her embarrassment.</scene_description> <character>WENDY</character> <dialogue>Isn't it strange, that red has come to mean "stop" and "danger"? It strikes me that stopping is when you're safe, whereas going is dangerous.</dialogue> <character>DARWAN</character> <dialogue>Don't talk, Wendy. When you talk, you don't see.</dialogue> <scene_description>He points her eyes up. The LIGHT IS GREEN. Cars behind HONK. Wendy drives on, trying to stay focused.</scene_description> <character>DARWAN</character> <dialogue>Get in the left lane. Slow...Signal.</dialogue> <scene_description>WENDY gropes, finds the signal this time.</scene_description> <character>DARWAN</character> <dialogue>Read the signs...See everything...</dialogue> <character>WENDY'S POV - STREET AHEAD, PANNING FROM SIDE TO SIDE</character> <dialogue>DARWAN</dialogue> <scene_description>Stop. Watch the light. WENDY'S POV - ON THE RED TRAFFIC LIGHT, then PANNING DOWN TO SEE: TED (FANTASY) crossing the intersection ahead with his arm around a YOUNG WOMAN.</scene_description> <character>WENDY</character> <dialogue>Ted...!</dialogue> <scene_description>CONTINUED: (3) Ted and the Young Woman pass from sight. Then Wendy turns her head and... TED IS THERE BESIDE HER WINDOW, gazing at her impassively.</scene_description> <character>WENDY</character> <dialogue>Don't you love me anymore?</dialogue> <scene_description>He shakes his head: no.</scene_description> <character>WENDY</character> <dialogue>But why? How did I fail you? What should I have done?</dialogue> <scene_description>When he opens his mouth to speak, the voice is Indian- accented.</scene_description> <character>TED</character> <parenthetical>(DARWAN'S VOICE)</parenthetical> <dialogue>Pay attention!</dialogue> <scene_description>SMASHCUT TO: Ted is gone, Darwan is beside her.</scene_description> <character>DARWAN</character> <dialogue>The light.</dialogue> <scene_description>He's pointing up to the GREEN LIGHT. Rattled, she tromps on the pedal and the CAR LEAPS FORWARD. DARWAN BRAKES on his side. The car avoids hitting a JAYWALKER with his iPod on loud.</scene_description> <character>WENDY</character> <dialogue>Oh my God!</dialogue> <scene_description>She drops her hands to her lap helplessly with a GROAN of frustration; lowers her head.</scene_description> <character>DARWAN</character> <dialogue>Why didn't you see him?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Were you wandering?</dialogue> <character>WENDY</character> <parenthetical>(looks up)</parenthetical> <dialogue>I'm never going to be good at this.</dialogue> <character>DARWAN</character> <dialogue>Every time it will get easier. Now, drive on.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>WENDY</character> <parenthetical>(in a child's voice)</parenthetical> <dialogue>I can't.</dialogue> <character>DARWAN</character> <dialogue>Take the wheel. Press the pedal.</dialogue> <scene_description>She puts her hands on the wheel, then shakes her head no.</scene_description> <character>WENDY'S POV - THE VIEW THROUGH THE WINDSHIELD GOES BLURRY,</character> <dialogue>WATERY...Is it raining? No, it's:</dialogue> <character>WENDY'S EYES FILLING UP WITH TEARS.</character> <dialogue>WENDY</dialogue> <scene_description>Can you drive me home?</scene_description> <character>DARWAN</character> <parenthetical>(firm)</parenthetical> <dialogue>No. You will do it, and I will help.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Darwan and his nephew Preet huddle around his cell phone. Darwan is talking to his sister RASBIR (Preet's mother, mid- 40's) on FaceTime: she is seen in closeup on the phone's screen.</scene_description> <character>RASBIR</character> <dialogue>She's not young but she can still have one or two children.</dialogue> <character>DARWAN</character> <dialogue>Why hasn't she been married?</dialogue> <character>RASBIR</character> <dialogue>She was engaged once but the police shot her fiance, just like they did to our Sameer. Then her father was ill for a long time and needed her at home. Now he's dead and she has nowhere to go.</dialogue> <character>PREET</character> <parenthetical>(to Darwan)</parenthetical> <dialogue>She's perfect!</dialogue> <character>RASBIR</character> <dialogue>She's the best one for you, Darwan. And very nice-looking. Did you like the photo?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>Yes, but can I talk to her and see her like we're doing?</dialogue> <character>RASBIR</character> <dialogue>She won't come to the phone. She thinks you'll see she's too old. She says, "He won't like me."</dialogue> <character>PREET</character> <dialogue>He won't, Mommy!</dialogue> <character>DARWAN</character> <dialogue>I'll think about it. Rasbir, please...take the phone to the window. Show me the street, the sun, the sky, everything.</dialogue> <character>RASBIR</character> <parenthetical>(shakes her head sadly)</parenthetical> <dialogue>B38 Bahpe \[brother\], it's night time B38</dialogue> <scene_description>here. CONTINUED: (2)</scene_description> </scene> <scene> <stage_direction>38B EXT. HIGH LINE FICKR POOL - DAY 38B</stage_direction> <scene_description>Wendy and her sister DEBBIE pick up their SHWARMA lunch from a FOOD TRUCK.</scene_description> <character>DEBBIE</character> <dialogue>Well hallelujah, sis, it's about time you learned to drive.</dialogue> <character>WENDY</character> <dialogue>I'm just doing it for Tasha, not because I need to.</dialogue> <scene_description>As they move to a pair of wooden chaises to sit and eat:</scene_description> <character>WENDY (CONT'D)</character> <dialogue>But you have to drive, Debbie, you're in the suburbs. Here I have the subway, buses, taxis...</dialogue> <parenthetical>(they sit)</parenthetical> <dialogue>I also used to have a husband who drove.</dialogue> <character>DEBBIE</character> <parenthetical>(shakes her head)</parenthetical> <dialogue>Ted. Such a creep - but you know? I can believe it. On my street alone we've had three divorces caused by philandering.</dialogue> <character>WENDY</character> <parenthetical>(starts eating)</parenthetical> <dialogue>Oh well, Greenwich.</dialogue> <character>DEBBIE</character> <parenthetical>(inspecting the shwarma)</parenthetical> <dialogue>What I don't understand is: how can they cheat on their wives and still live with themselves? I mean, it's like pissing in the pool. Maybe nobody saw you do it, but you know the yellow's in the water. And you have to swim around in it, pretending it's clean.</dialogue> <scene_description>Debbie manages to give Wendy the giggles.</scene_description> <character>WENDY</character> <dialogue>And how do they find all these sluts? Is there a vending machine?</dialogue> <scene_description>38B CONTINUED: 38B</scene_description> <character>DEBBIE</character> <dialogue>I call them Play-Doh Bunnies. The guys can mold them into whatever they want. Teach them tricks. Like waking them up every morning with a blowjob.</dialogue> <character>WENDY</character> <parenthetical>(sad again)</parenthetical> <dialogue>Maybe that's all Ted ever really wanted.</dialogue> <character>DEBBIE</character> <parenthetical>(tries a bite of the shwarma)</parenthetical> <dialogue>Honestly, it's nirvana for them.</dialogue> <character>WENDY</character> <parenthetical>(mouth full)</parenthetical> <dialogue>Then why don't we do it?</dialogue> <character>DEBBIE</character> <dialogue>It's too much work. Why do you think they call it a job?</dialogue> <scene_description>The two break up, laughing harder and harder, trying to keep their food from flying out of their mouths.</scene_description> </scene> <scene> <stage_direction>INT. LAW OFFICE - DAY</stage_direction> <scene_description>Wendy meets with her divorce ATTORNEY at a table in an empty conference room.</scene_description> <character>WENDY</character> <dialogue>He wants "support"?!</dialogue> <character>ATTORNEY</character> <dialogue>Or a twenty-five percent share of your income. He claims he supported you while you pursued your career. I know, I know --</dialogue> <scene_description>He raises a hand to forestall her rage; it doesn't work. She POUNDS the table with her fist.</scene_description> <character>WENDY</character> <dialogue>This is a man who was jealous of my career! Who criticized everything I did, to undermine me!</dialogue> <scene_description>CONTINUED:</scene_description> <character>ATTORNEY</character> <dialogue>Wendy, it's normal. Each side asks for the outrageous, and they come together in the middle. Don't take it personally.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>Don't take it - ha! Ha ha ha ha! Just give him everything! If he agrees to be castrated.</dialogue> <scene_description>He waits for her to finish venting. His CELL PHONE VIBRATES on the table. He glances at the ID, then checks his notes.</scene_description> <character>ATTORNEY</character> <dialogue>He'll let you stay in the house if you buy him out.</dialogue> <character>WENDY</character> <dialogue>I can't possibly afford that.</dialogue> <character>ATTORNEY</character> <dialogue>Or split fifty-fifty if you sell.</dialogue> <character>WENDY</character> <dialogue>I have to move out?! I am that house. It's like asking me to move out of me.</dialogue> <character>ATTORNEY</character> <dialogue>Maybe it's too big now?</dialogue> <character>WENDY</character> <dialogue>I can't believe this. It's where we raised Tasha, where we were happy....</dialogue> <scene_description>Her voice trails off. She realizes the word "happy" is now moot. Obsolete.</scene_description> <character>WENDY</character> <dialogue>Okay. It's where we were idiots, and squandered our marriage, and never made love when we should have and never fought when we should have, and we read and read and read and went totally fucking blind - and I want my house! I want to stay where I am!</dialogue> </scene> <scene> <stage_direction>EXT. STREET, RICHMOND HILL - LATER - MAGIC HOUR</stage_direction> <scene_description>Returning to his apartment, Darwan sees an American MAN leaning against a black CAR parked in front. Waiting. Something about him makes Darwan tense up instinctively.</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE DARWAN'S APARTMENT - SECONDS LATER - MAGIC HOUR</stage_direction> <scene_description>Pausing outside his door, Darwan hears MEN'S VOICES within speaking English. TIGHT ON DARWAN - His face is suddenly bathed in sweat, his breathing ragged. XCU - HIS HAND goes slowly to the door knob. Before he can turn it: THE DOOR BANGS OPEN. Two of Darwan's Sikh Roommates emerge, escorted roughly by two official-looking men (IMMIGRATION AGENTS). His roommates look at Darwan with helpless dread as they are rushed past. A third AGENT brings up the rear, stopping short when he sees Darwan.</scene_description> <character>AGENT</character> <parenthetical>(flashes badge to Darwan)</parenthetical> <dialogue>I.N.S. Who're you?</dialogue> <character>DARWAN</character> <dialogue>I am Darwan Singh. American citizen.</dialogue> <character>AGENT</character> <dialogue>Let's see your papers.</dialogue> <scene_description>With unsteady hands, Darwan removes his driver's license from his wallet. The Agent examines it.</scene_description> <character>AGENT</character> <dialogue>How come they let you in, Darwan?</dialogue> <character>DARWAN</character> <dialogue>Political asylum.</dialogue> <character>AGENT</character> <parenthetical>(checks the year)</parenthetical> <dialogue>2000...you got in just under the wire.</dialogue> <scene_description>The Agent brusquely hands back the license and exits. Left alone, Darwan rushes into the living room. His roommates' half-finished tea stands on the table. An INDIAN SOAP OPERA still plays on the TV. The closets stand open, their contents strewn on the floor, the sofa upended, indicating a forcible search of the premises. CONTINUED:</scene_description> <character>DARWAN</character> <parenthetical>(to himself; frantic)</parenthetical> <dialogue>Preet...</dialogue> <scene_description>There's a faint NOISE on the other side of a wall.</scene_description> <character>DARWAN</character> <dialogue>Preet!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - BASEMENT APARTMENT - CONTINUOUS - DAY</stage_direction> <scene_description>As Darwan rushes in, the cabinet door under the sink THROWS OPEN. Preet is inside, extricating himself from the vanity where he hid by contorting himself into an impossibly tight ball. He spills onto the bath mat, one foot still stuck in the plumbing. Darwan helps him up.</scene_description> <character>PREET</character> <parenthetical>(shaken)</parenthetical> <dialogue>I thought they got me this time.</dialogue> <character>DARWAN</character> <dialogue>They took Teji and Raam. Thank God you're safe.</dialogue> <character>PREET</character> <dialogue>Only 'til next time.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - BASEMENT APARTMENT - A LITTLE LATER - DAY</stage_direction> <scene_description>The bedroom's a mess, too, from the agents' search: clothes all over the floor and the bed upended. Preet stuffs his few belongings into a duffel while Darwan pleads with him.</scene_description> <character>DARWAN</character> <dialogue>I'll find us another place -</dialogue> <character>PREET</character> <dialogue>I'm going to live with my girlfriend in Chinatown.</dialogue> <character>DARWAN</character> <parenthetical>(taken aback)</parenthetical> <dialogue>You have a girlfriend?</dialogue> <character>PREET</character> <dialogue>They won't look for me if I'm with her. She's Jewish.</dialogue> <parenthetical>(off Darwan's shock)</parenthetical> <dialogue>Uncle D, you knew I would go sometime.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>This is a very poor decision. My sister will blame me.</dialogue> <character>PREET</character> <dialogue>I tell her, Mom, this is America. I can do what I want. As long as they don't ask for my papers.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - BASEMENT APARTMENT - LATER - MAGIC HOUR</stage_direction> <scene_description>Darwan is left alone in the dishevelled apartment. He makes no move to clean up. As night falls, he remains leaning against the wall, thinking.</scene_description> </scene> <scene> <stage_direction>INT. PRAYER ROOM, GURDWARA - MORNING</stage_direction> <scene_description>Darwan sits in prayer. His attention is drawn to: AN OLDER SIKH MAN praying with his WIFE alongside him. Their lips move together.</scene_description> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - DAY</stage_direction> <scene_description>Darwan waits in the student car in his customary spot, parked at the hydrant in front of Wendy's house. A lovesick INDIAN BALLAD plays on his radio. He hardly hears it, still deep in thought. Wendy bursts from the house, her hair chaotic, glowering with anger over her divorce.</scene_description> </scene> <scene> <stage_direction>I/E. MOVING STUDENT CAR - DAY</stage_direction> <scene_description>The student car creeps through Harlem to Washington Heights. Wendy's attention is everywhere but the road.</scene_description> <character>DARWAN</character> <dialogue>Point your eyes at the middle of the lane. The same as a gun. Your peripheral vision sees all the rest.</dialogue> <scene_description>ANGLE - PASSING A PAIR OF STREET TOUGHS. They spot Darwan with his turban.</scene_description> <character>TOUGH KID</character> <parenthetical>(yells)</parenthetical> <dialogue>Osama! Thought we killed you!</dialogue> <scene_description>CONTINUED: The Kid HIT the hood of the car as it stops at the crosswalk.</scene_description> <character>WENDY</character> <parenthetical>(YELLS out window)</parenthetical> <dialogue>Shut up, asshole!</dialogue> <parenthetical>(to Darwan)</parenthetical> <dialogue>Does that happen to you a lot?</dialogue> <character>DARWAN</character> <dialogue>Every day. People try to push your buttons. You don't engage with them. Especially when you drive.</dialogue> <scene_description>She comes to a stop at the intersection.</scene_description> <character>DARWAN</character> <dialogue>You are on top of the crosswalk. Next time stop where you can see the lines.</dialogue> <scene_description>ON WENDY - grits her teeth. The constant stream of criticism, even delivered in Darwan's neutral tone, is getting to her. Traffic moves again. Suddenly a SPORTS CAR ZOOMS past, angles abruptly in front of her, inches from the bumper, cutting her off. Wendy POUNDS THE HORN.</scene_description> <character>WENDY</character> <dialogue>God damn it!</dialogue> <character>DARWAN</character> <dialogue>Don't lean on the horn. It's not a boat. Just a short tap.</dialogue> <character>WENDY</character> <dialogue>Why do men have to do that? Wag their balls in your face.</dialogue> <character>DARWAN</character> <parenthetical>(controls his shock)</parenthetical> <dialogue>I think it is time to discuss road rage. You must learn to be calm and relaxed, not only to drive but in your life as well.</dialogue> <character>WENDY</character> <dialogue>And how do you manage that?</dialogue> <character>DARWAN</character> <dialogue>Prayer helps me. I pray every day.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>I unfriended God a long time ago... Guess you've got lots of friends up there. All those gods of yours.</dialogue> <character>DARWAN</character> <dialogue>I am not Hindu. I am a Sikh. We have only one God, like yours.</dialogue> <character>WENDY</character> <dialogue>Then I'm mad at your God, too.</dialogue> <scene_description>He says nothing. She turns her head to glance at him. He's impassive, as if he didn't hear her, focusing only on the road.</scene_description> <character>WENDY</character> <dialogue>I'm sorry.</dialogue> <character>DARWAN</character> <dialogue>Eyes forward.</dialogue> </scene> <scene> <stage_direction>I/E. MOVING STUDENT CAR - LATER - LATE AFTERNOON</stage_direction> <scene_description>The car passes through the narrow tree-lined streets of CASTLE VILLAGE. TUDOR HOUSES. A RABBI crosses the street; ELDERLIES walk their DOGS, KIDS in Catholic uniforms return from school.</scene_description> <character>DARWAN</character> <dialogue>Be careful to see every person before you. They may not have the right of way but you are the one driving a deadly weapon...</dialogue> <scene_description>He looks over. Wendy has a glazed look he has come to know well. She doesn't notice she's rolling right through a STOP SIGN.</scene_description> <character>DARWAN'S HAND WRENCHES THE WHEEL FROM HER.</character> <dialogue>THE CAR pulls over to the curb.</dialogue> <character>DARWAN</character> <dialogue>Where were you just now? You don't seem to notice anything. Observation, Wendy, observation. This is your weakness.</dialogue> <character>WENDY</character> <parenthetical>(snaps)</parenthetical> <dialogue>Are you channeling my husband?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>Tell me why you want to drive.</dialogue> <character>WENDY</character> <dialogue>To go somewhere else.</dialogue> <character>DARWAN</character> <dialogue>And how do you want to get there?</dialogue> <character>WENDY</character> <parenthetical>(off-guard)</parenthetical> <dialogue>"How"?</dialogue> <character>DARWAN</character> <dialogue>You want to arrive in one piece? Or two pieces? Or three?</dialogue> <character>WENDY</character> <parenthetical>(looks away; haughtily)</parenthetical> <dialogue>Don't patronize me.</dialogue> <character>DARWAN</character> <dialogue>Look at me.</dialogue> <scene_description>The urgency in his voice makes her turn back to him. She is surprised to see the depth of compassion in his eyes, although she has spent the lesson baiting him.</scene_description> <character>DARWAN</character> <dialogue>It doesn't matter what is going on in your life out there, you must shut it out. When you are here, when you are at the wheel of a car, this is all there is. Your life: right now. So take care of it, please.</dialogue> <scene_description>FADE OUT.:</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - DAY</stage_direction> <scene_description>Wendy opens the door for a CLEANING CREW.</scene_description> </scene> <scene> <stage_direction>I/E. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Darwan unlocks the door to basement apartment. LATER - Working shirtless, runs a dry vacuum over the floor...cuts and lays carpet.... He hangs a mirror...a shower curtain... CONTINUED: Preet helps him haul a king-size mattress through the door....</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - DAY</stage_direction> <scene_description>The cleaners attack the house. Wendy tosses clutter into garbage bags...</scene_description> </scene> <scene> <stage_direction>I/E. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Darwan opens the door, and his FRIENDS lug in boxes of electronic equipment.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - DAY</stage_direction> <scene_description>Wendy lets the cleaners out. She turns: everything is neat and spotless.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S BEDROOM - LATER - DAY</stage_direction> <scene_description>Standing before the mirror, Wendy checks her dress. It looks new.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - LATER - DAY</stage_direction> <scene_description>It's done. A big FLAT-SCREEN TV is perched on a cabinet along with a DVD PLAYER, SPEAKERS and SUB-WOOFER. Everyone's very excited. Darwan plays with four remotes, trying to turn the TV on. At last, the image ignites on the screen. DING-DONG O.S. The doorbell.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - MINUTES LATER - DAY</stage_direction> <scene_description>Wendy opens the door. It's Ted. Apparently she's been expecting him.</scene_description> <character>TED</character> <dialogue>Hi.</dialogue> <scene_description>He's braced for a fight, but instead she smiles cheerily.</scene_description> <character>WENDY</character> <dialogue>Come on in.</dialogue> <scene_description>CONTINUED: He steps in, registering surprise at her makeover.</scene_description> <character>TED</character> <dialogue>You look fine.</dialogue> <character>WENDY</character> <dialogue>Therefore I am.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, WENDY'S HOUSE - LATER - DAY</stage_direction> <scene_description>Ted's reaching down his books from the bookcase, filling up cartons. Wendy is curled up on the couch, watching.</scene_description> <character>WENDY</character> <dialogue>Do you think books miss their owners? They pine, they waste away?</dialogue> <character>TED</character> <dialogue>Or they get a new haircut and hit the singles scene.</dialogue> <character>WENDY</character> <dialogue>So many choices, when you're single.</dialogue> <scene_description>He's silent, won't touch that, his back to her as he reaches more books down.</scene_description> <character>WENDY</character> <dialogue>Should I look for a two or three- bedroom apartment? High-rise or low- rise?</dialogue> <character>TED</character> <dialogue>We're looking for a place in Nyack.</dialogue> <scene_description>She shifts uncomfortably, her heart sinking.</scene_description> <character>WENDY</character> <dialogue>That's a long commute.</dialogue> <character>TED</character> <dialogue>I enjoy the drive. I love a big bridge over a big river. Human genius vaulting over the primeval ooze.</dialogue> <character>WENDY</character> <dialogue>Really.</dialogue> <parenthetical>(re: books)</parenthetical> <dialogue>You're leaving me "The Joy of Sex"?</dialogue> <scene_description>CONTINUED:</scene_description> <character>TED</character> <dialogue>It's yours. I gave it to you for Valentine's.</dialogue> <character>WENDY</character> <dialogue>I don't remember reading it.</dialogue> <character>TED</character> <dialogue>You put it in a drawer.</dialogue> <character>WENDY</character> <dialogue>Well, toss it here.</dialogue> <parenthetical>(he does)</parenthetical> <dialogue>Let's see if there's anything we didn't cover.</dialogue> <parenthetical>(checks table of contents)</parenthetical> <dialogue>Missionary, check. Standing, check. Rear entry, check. Wait. Did we do "The Viennese Oyster"?</dialogue> <scene_description>Without responding, he hefts a carton and exits.</scene_description> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - A LITTLE LATER - LATE AFTERNOON</stage_direction> <scene_description>Ted finishes loading his double-parked car with cartons.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, WENDY'S HOUSE - LATER - LATE AFTERNOON</stage_direction> <scene_description>When Ted re-enters, Wendy has put a box full of photographs on the coffee table.</scene_description> <character>TED</character> <dialogue>Guess that's it.</dialogue> <character>WENDY</character> <dialogue>Here're some photos I found, you might want.</dialogue> <character>TED</character> <dialogue>I'm double-parked.</dialogue> <scene_description>Wendy's smiling at a photo she's picked from the pile.</scene_description> <character>WENDY</character> <dialogue>This one's from Moose River.</dialogue> <scene_description>Lured over, he sits beside her on the couch as she hands him the photo. He grins at the image.</scene_description> <character>TED</character> <dialogue>Natasha was what, six?</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>She was eight, the cabin was six. Degrees below zero.</dialogue> <character>TED</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>First and last camping trip.</dialogue> <parenthetical>(re: next photo)</parenthetical> <dialogue>Halloween?</dialogue> <character>WENDY</character> <parenthetical>(swats him playfully)</parenthetical> <dialogue>No! Shoulder pads were in then.</dialogue> <scene_description>Ted looks at a few more pictures. Wendy watches him carefully. Sighing, he puts them down, suddenly deflated.</scene_description> <character>TED</character> <dialogue>This is hard.</dialogue> <character>WENDY</character> <dialogue>Yes.</dialogue> <scene_description>Beat.</scene_description> <character>WENDY</character> <dialogue>I'm finding I can do hard things. I'm learning to drive, you know.</dialogue> <character>TED</character> <dialogue>That's a scary thought, Miss McGoo.</dialogue> <character>WENDY</character> <dialogue>I can drive, I can keep a clean house, I can doll myself up, I can bake a cherry pie...</dialogue> <scene_description>She slides to her knees in front of him.</scene_description> <character>WENDY</character> <dialogue>I can give you what you need.</dialogue> <scene_description>He's frozen, unsure this is really happening, as she reaches to undo his belt buckle.</scene_description> <character>WENDY</character> <dialogue>I can make you love me again.</dialogue> <character>TED</character> <dialogue>Wendy -- this just isn't you.</dialogue> <scene_description>She smiles seductively, parting his fly. CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>Why not me?</dialogue> <character>TED</character> <parenthetical>(laughs nervously)</parenthetical> <dialogue>Since when did you become lapdancer?</dialogue> <scene_description>She reaches inside his pants and bends her head...He pulls her hands away from his open fly.</scene_description> <character>TED</character> <dialogue>Sweetheart, don't...</dialogue> <character>WENDY</character> <dialogue>God! To hear you call me that again is wonderful.</dialogue> <scene_description>She goes for his mouth, bringing her lips to his -- O.S. BEEP-BEEP-BEEP: a truck backing up on the street outside; then the ROAR OF HEAVY MACHINERY. Ted bounds off the couch.</scene_description> <character>TED</character> <dialogue>Holy shit!</dialogue> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - SECONDS LATER - LATE AFTERNOON</stage_direction> <scene_description>The OPERATOR of a city TOW TRUCK is just putting the big hook in Ted's front bumper. Ted runs into the street, YELLING in protest. WENDY IN THE DOORWAY watches, demoralized...then shuts the door.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>No. No. She is not this kind of woman.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - QUEENS - DAY</stage_direction> <scene_description>PREET and his Uncle are sitting in the apartment looking through a lingerie catalog at women dressed in scanty panties, saucy push-up bras, peekaboo satin nighties...</scene_description> <character>PREET (O.S.)</character> <dialogue>How do you know?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>She will be modest, I think. This would shock her.</dialogue> <character>PREET</character> <dialogue>Trust me! All women, they want these things.</dialogue> <character>DARWAN</character> <dialogue>No.</dialogue> <character>PREET</character> <parenthetical>(follows, teasing)</parenthetical> <dialogue>And what about you, Uncle D? Don't you want it?</dialogue> <character>DARWAN</character> <dialogue>I don't want her to get the idea that this is how I think of her. It's disrespectful.</dialogue> <character>PREET</character> <parenthetical>(exasperated GROAN)</parenthetical> <dialogue>It's bad enough you don't understand women. But you don't even understand yourself.</dialogue> <character>DARWAN</character> <dialogue>I'll wait for her birthday.</dialogue> </scene> <scene> <stage_direction>EXT. WENDY'S STREET - DAY</stage_direction> <scene_description>ANGLE ON TIRES of student car ROLLING BACKWARD slowly.... They swivel sharply, still backing up...then with a JOLT, THEY MOUNT THE CURB.</scene_description> <character>WENDY</character> <dialogue>Oh shit, oh shit...!</dialogue> </scene> <scene> <stage_direction>I/E. STUDENT CAR - CONTINUOUS - DAY</stage_direction> <scene_description>Wendy leans her head against the wheel in frustration. CONTINUED:</scene_description> <character>WENDY</character> <dialogue>I'm so lost.</dialogue> <scene_description>Darwan taps her on the back gently. She turns to him.</scene_description> <character>DARWAN</character> <dialogue>Wendy, how do you know if you've put in enough salt and pepper when you are making a beef stew?</dialogue> <character>WENDY</character> <dialogue>You taste it?</dialogue> <character>DARWAN</character> <dialogue>Right. So what do you do if you've lost track of the way the car is pointing when you parallel-park?</dialogue> <character>WENDY</character> <dialogue>You taste it?</dialogue> <character>DARWAN</character> <dialogue>You just let the car move back a tiny bit and see which way it goes -- you taste the direction.</dialogue> <character>WENDY</character> <dialogue>And then you correct the seasoning?</dialogue> <character>DARWAN</character> <dialogue>Right. You adjust a little bit, and a little bit -- and now I've made myself hungry. I will go home and make myself a curry.</dialogue> <scene_description>She smiles wanly, preoccupied.</scene_description> <character>DARWAN</character> <dialogue>You look very nice today.</dialogue> <scene_description>She looks at him as if seeing a man for the first time.</scene_description> <character>WENDY</character> <dialogue>Thank you.</dialogue> <character>LATER</character> <dialogue>He writes her receipt on the hood of the car while she writes a check. As they make the exchange, he looks as if he wants to say something but has lost his courage. Then he blurts:</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DARWAN</character> <dialogue>Wendy...what does a woman like for a gift?</dialogue> <character>WENDY</character> <dialogue>I don't know, candy, flowers... Speaking for myself, a book of poetry.</dialogue> <character>DARWAN</character> <parenthetical>(brightens)</parenthetical> <dialogue>Ah!...</dialogue> <character>WENDY</character> <dialogue>My husband gave me that on our first date and every anniversary. He'd mark a certain love poem and ask me to read it while he lay his head in my lap.</dialogue> <parenthetical>(wistfully)</parenthetical> <dialogue>It was the perfect gift.</dialogue> <character>DARWAN</character> <dialogue>Yes, a fine idea.</dialogue> <character>WENDY</character> <parenthetical>(rips check out of book)</parenthetical> <dialogue>What about you? What present do you like?</dialogue> <character>DARWAN</character> <parenthetical>(LAUGHS; accepts it)</parenthetical> <dialogue>A check, of course.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - NIGHT</stage_direction> <scene_description>Darwan carefully wraps a small book in gift paper.</scene_description> <character>LATER</character> <dialogue>He puts the final touches on his new home, hanging a picture of the Sikhs' Golden Temple; another of the First Guru, father of Sikhism.</dialogue> <dialogue>PAN TOWARD THE LAST PICTURE he's hanging: of his parents, HIS FATHER posed stiffly, proud in his white turban; HIS MOTHER languidly leaning her head on her hand and smiling warmly.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - WENDY'S HOUSE - NIGHT</stage_direction> <scene_description>ANGLE ON MOROCCAN TABLE LAMP with ornate stained glass shade. CONTINUED:</scene_description> <character>WENDY (O.S.)</character> <parenthetical>(into phone)</parenthetical> <dialogue>How can you claim the Moroccan lamp as a pre-marital asset?!</dialogue> <scene_description>WIDEN ANGLE TO INCLUDE - WENDY pacing with the cordless phone, and brandishing a page from a legal document.</scene_description> <character>WENDY</character> <parenthetical>(into phone)</parenthetical> <dialogue>We bought it together, Ted!</dialogue> <parenthetical>(tears page in half)</parenthetical> <dialogue>Hear that? I'm tearing this in half. Now you can shove it up both your ass and your lawyer's!</dialogue> </scene> <scene> <stage_direction>I/E STUDENT CAR - DAY</stage_direction> <scene_description>It's a sweltering day: muggy, yellowish sky. Even with the windows rolled down, Darwan and Wendy are drenched in sweat. She drives east along Central Park South, passing SKATEBOARDERS with their shirts off; JOGGERS pouring Evian over their heads; mobs of CHILDREN around the ICE CREAM SELLER. HORSES with drooping heads hauling carriages of TOURISTS. A PEDI-CAB DRIVER pedals stoically in the heat alongside her.</scene_description> <character>WENDY</character> <dialogue>Why don't you have air-conditioning in this heap?</dialogue> <character>DARWAN</character> <dialogue>The school buys the cheapest cars. I will take you someplace cooler.</dialogue> <scene_description>He smiles mysteriously.</scene_description> </scene> <scene> <stage_direction>EXT. 59TH STREET - MINUTES LATER - DAY</stage_direction> <scene_description>Wendy waits in heavy traffic at a stoplight. Looking ahead, she realizes that the street ascends straight into...</scene_description> <character>WENDY</character> <dialogue>Oh my God! It's a bridge!</dialogue> <character>DARWAN</character> <dialogue>Yes. Today you are going over a bridge.</dialogue> <scene_description>CONTINUED: The LIGHT CHANGES. But Wendy is frozen.</scene_description> <character>WENDY</character> <dialogue>I can't!</dialogue> <character>DARWAN</character> <dialogue>Just keep going.</dialogue> <scene_description>CONTINUED: (2) The car behind her BLASTS its horn angrily.</scene_description> <character>WENDY</character> <dialogue>I'm afraid of heights!</dialogue> <character>DARWAN</character> <dialogue>We'll take it slowly. Now go straight.</dialogue> <character>WENDY</character> <dialogue>Please don't make me do it.</dialogue> <scene_description>The HONKING GROWS as more cars join in.</scene_description> <character>DARWAN</character> <dialogue>Wendy, you must move.</dialogue> <scene_description>The car creeps forward. The LIGHT CHANGES before she has reached the opposite side of the intersection. Now the CROSS TRAFFIC APPROACHES and she's "blocking the box." More HONKING. Wendy and Darwan shout above the noise:</scene_description> <character>WENDY</character> <dialogue>Why are you forcing me to do this?!</dialogue> <character>DARWAN</character> <dialogue>Because I know what you can do better than you!</dialogue> <scene_description>His calm obstinacy infuriates her, but there's no choice: she must drive ahead, and that means mounting the bridge. Her fingers tighten on the wheel. GREEN LIGHT. She drives forward, slow as a tortoise.</scene_description> </scene> <scene> <stage_direction>EXT. QUEENSBOROUGH BRIDGE - SECONDS LATER - DAY</stage_direction> <scene_description>The student car creeps over the bridge, the East River stretched out below.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Don't look down. Focus on the center of the lane, and it's just another road. Except it's in the sky. Think of yourself as a bird. You are floating on the wind. Feel how happy it is, how easy --</dialogue> <character>WENDY (O.S.)</character> <dialogue>Darwan, this is terrifying!!</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Fear is a good thing. If you are afraid, then you will pay more attention. No more tuning out, Wendy.</dialogue> </scene> <scene> <stage_direction>I/E STUDENT CAR - LATER - DAY</stage_direction> <scene_description>They've arrived in Queens. Wendy is a wreck.</scene_description> <character>DARWAN</character> <dialogue>Congratulations. You can let go the death grip now.</dialogue> <character>WENDY</character> <dialogue>Oh my God, I never want to do that again!</dialogue> <character>DARWAN</character> <dialogue>But you have to drive back.</dialogue> <character>WENDY</character> <dialogue>No, you will drive us back.</dialogue> <character>DARWAN</character> <dialogue>No way. I'm happy here in Queens.</dialogue> </scene> <scene> <stage_direction>EXT. QUEENS - SEQUENCE OF SHOTS - DAY</stage_direction> <scene_description>MONTAGE OF QUEENS NEIGHBORHOODS, as Wendy drives through; Darwan and Wendy converse O.S.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Queens is part of New York, too.</dialogue> <scene_description>PASSING an Asian district, where throngs of SHOPPERS stroll under signs in Chinese, Thai, Singaporean, Malaysian; past karaoke bars, Chinese herb shops...</scene_description> <character>DARWAN (O.S.)</character> <dialogue>We don't have skyscrapers and Times Square and Trump palaces. We only have...more people.</dialogue> <scene_description>PASSING the "African Poetry Theater," PEOPLE on the street wear dashikis and doo-rags...</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Many different people. Families.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY (O.S.)</character> <dialogue>You have your family here, too?</dialogue> <character>DARWAN (O.S.)</character> <dialogue>Just my nephew, my sister's son. She lives in Punjab.</dialogue> <scene_description>PASSING under the arcade of the elevated subway line, we see LATINOS -- Filipino, Ecuadorian, Peruvian -- on the street, open produce markets with Spanish signs...</scene_description> <character>WENDY (O.S.)</character> <dialogue>Your parents?</dialogue> <scene_description>PASSING A PARK where a group of East INDIANS have gathered at a small stream, scattering a deceased person's ashes.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>They're dead.</dialogue> <scene_description>OUT THE WINDOW - TAIWANESE KIDS flying MODEL PLANES in the park. PAN UP TO SEE A JUMBO JET ROAR low above the treetops, headed for JFK Airport...</scene_description> </scene> <scene> <stage_direction>I/E STUDENT CAR - LATER - DAY</stage_direction> <scene_description>Wendy swerves the car onto a small street of huddled cottages: a working-class neighborhood.</scene_description> <character>DARWAN</character> <parenthetical>(frowns)</parenthetical> <dialogue>I didn't tell you to turn.</dialogue> <character>WENDY</character> <parenthetical>(grins)</parenthetical> <dialogue>I'm showing you my Queens. This is where I grew up.</dialogue> <character>DARWAN</character> <dialogue>You're from Queens?!</dialogue> <scene_description>After a double-take, he bursts out LAUGHING.</scene_description> <character>DARWAN</character> <dialogue>You played a good joke on me.</dialogue> <scene_description>WENDY'S POV - PASSING an old heap at the curb. In the driver's seat is a MAN in a Mets' cap, smoking. CONTINUED:</scene_description> <character>WENDY</character> <dialogue>Dad used to sit in his car, just like that, listening to the ball game on the radio, whenever my mother kicked him out of the house. Which was pretty often. He took off one day and we never saw him again. My sister and I were left alone to raise our mother.</dialogue> <scene_description>Wendy picks up some speed as she continues talking.</scene_description> <character>WENDY</character> <dialogue>...I had scoliosis so I had to spend a year in a cast in bed. That's when I got into books. They were my ride.</dialogue> <scene_description>Darwan takes his eyes off the road to watch her in profile.</scene_description> <character>WENDY</character> <dialogue>"Smarty Wendypants" he called me. He would've been proud to see me go to Barnard.</dialogue> <scene_description>SEAGULLS are in the air. The car is headed for the beaches of Far Rockaway. MANHATTAN is seen across the water, with its clutter of skyscrapers, through heat haze...</scene_description> <character>WENDY</character> <dialogue>I can't believe you got me here. I'm allergic to Queens.</dialogue> <character>DARWAN</character> <dialogue>There will be a reward.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT/EXT STUDENT CAR- BOARDWALK, FAR ROCKAWAY - LATER - DAY</stage_direction> <scene_description>Wendy parks in the lot near the boardwalk, and the long strip of beach where the whole MELTING POT of Queens comes to lie in the sand and play in the waves. Wendy relinquishes the wheel with a GROAN.</scene_description> <character>DARWAN</character> <parenthetical>(jumping out of the car)</parenthetical> <dialogue>Wait here.</dialogue> <scene_description>CONTINUED: ON WENDY - watching him stride onto the boardwalk. She turns the RADIO on, tuning it until she gets a BASEBALL GAME. She smiles to herself, then looks up. CONTINUED: (2) WENDY'S POV THROUGH THE WINDSHIELD (FANTASY) - A man in a Mets' cap stands in front of the bumper, smiling back at her. It's WENDY'S FATHER, as she imagines him.</scene_description> <character>WENDY</character> <dialogue>Hi, Dad. Well, here I am. Sitting in your seat, and the Mets are playing Arizona.</dialogue> <character>FATHER'S VOICE</character> <dialogue>Good for you, Wendypants . About time you took the wheel.</dialogue> <scene_description>WE PAN TO THE PASSENGER SEAT, where her father has reappeared, sitting beside her.</scene_description> <character>WENDY'S FATHER</character> <parenthetical>(pats the dashboard)</parenthetical> <dialogue>A car's the greatest thing in the history of human invention. Forget your house, you could move in here. Sleep in the back. Heat up a TV dinner in the engine. Here's your shower.</dialogue> <scene_description>He switches on the WIPER FLUID, spraying the front window. She GIGGLES.</scene_description> <character>WENDY'S FATHER</character> <dialogue>Pee in the gas tank. And when the spirit moves, you just drive away.</dialogue> <scene_description>ON WENDY - not laughing anymore.</scene_description> <character>WENDY</character> <dialogue>Like you drove away, Dad? And never came back.</dialogue> <scene_description>A KNOCK ON THE DRIVER'S WINDOW makes her turn her head. Darwan is there, holding two ice cream bars.</scene_description> <character>DARWAN</character> <dialogue>Here is your reward.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - LATER - DAY</stage_direction> <scene_description>TRACK WITH WENDY AND DARWAN eating ICE CREAM BARS as they stroll away from the SUNBATHERS.</scene_description> <character>WENDY</character> <dialogue>You have a masters, really?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>I was a university professor, like my father.</dialogue> <character>WENDY</character> <dialogue>Then why do you teach driving?</dialogue> <character>DARWAN</character> <dialogue>For a better job I would have to take off my turban, shave my beard. People think I look dangerous. But this is how I know who I am. And here it is too easy to forget.</dialogue> <character>WENDY</character> <dialogue>Don't you go back for visits?</dialogue> <character>DARWAN</character> <dialogue>I can never go home to India. It's part of political asylum. I could not see my father before he died last year.</dialogue> <character>WENDY</character> <dialogue>I didn't get a chance to say goodbye to my dad either.</dialogue> <character>DARWAN</character> <dialogue>I missed my mother's funeral, too, but that was when I was in prison there.</dialogue> <character>WENDY</character> <parenthetical>(taken aback)</parenthetical> <dialogue>Why?</dialogue> <character>DARWAN</character> <dialogue>For nothing. For being a Sikh. The police had already killed my brother. They said he was a terrorist, and they had to shoot him because he ambushed them, but it was a lie. Then they punished the rest of the family. All of us were tortured, my father, my uncle, even my mother. They let my sister alone because she was too young. Back then there was no justice for Sikhs.</dialogue> <character>WENDY</character> <dialogue>How long were you in prison?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DARWAN</character> <dialogue>A long time.</dialogue> <scene_description>CONTINUED: (3) His tone is carefully placid, but a shadow passes over his face. He stares at the waves. Wendy can tell the subject is closed. He returns to the present, as if switching something off.</scene_description> <character>DARWAN</character> <dialogue>But here is the ocean. Punjab is nowhere near water.</dialogue> <scene_description>The SKY HAS GONE DARK. RUMBLING O.S. A summer THUNDERSTORM is gathering. Darwan glances at his watch, suddenly alarmed.</scene_description> <character>DARWAN</character> <dialogue>It's very late!</dialogue> <character>WENDY</character> <dialogue>I have time.</dialogue> <scene_description>He turns to rush back to the car.</scene_description> <character>DARWAN</character> <dialogue>We have to get you back to Manhattan.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>Oh my God...</dialogue> </scene> <scene> <stage_direction>I/E. INTERSECTION - QUEENS - LATER - MAGIC HOUR</stage_direction> <scene_description>Heavy traffic. The student car stops at a light at a big intersection. THUNDER GROWLS; LIGHTNING FLASHES. The SKY GOES DARKER. PEDESTRIANS cross in front of her car. Among them is a MAN IN A METS' CAP. He pulls his windbreaker hood over his head, obscuring his face.</scene_description> <character>WENDY</character> <parenthetical>(softly)</parenthetical> <dialogue>Dad...?</dialogue> <character>DARWAN</character> <dialogue>Turn on your lights.</dialogue> <character>WENDY</character> <parenthetical>(looks around)</parenthetical> <dialogue>Where? Where?</dialogue> <scene_description>He snatches her hand and puts it on the light dial. He is being unusually impatient and brusque with her.</scene_description> <character>DARWAN</character> <dialogue>Dial to the next position.</dialogue> <scene_description>She returns her eyes quickly to the intersection. WENDY'S POV - The Man in the Met's cap is gone. WENDY turns her head. The Man APPEARS beside her open window. His windbreaker hood is pulled down; his face is in shadow.</scene_description> <character>WENDY</character> <dialogue>Dad!</dialogue> <scene_description>He doesn't move.</scene_description> <character>WENDY</character> <dialogue>Just tell me one thing, please, Mom said it was an accident, but - did you do it on purpose? Did you want to die? To get away from us? From me?</dialogue> <scene_description>She's CRYING now. DARWAN'S VOICE CUTS THROUGH, incongruously.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>You have the light! Go now!</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <parenthetical>(to Man)</parenthetical> <dialogue>Did you ever love me?</dialogue> <scene_description>The Man pulls back his hood suddenly. LIGHTNING FLASHES, revealing HIS FACE IS CRUSHED, A BLOODIED MASS from impact with a windshield. WENDY SCREAMS! Simultaneously, a CRACK OF THUNDER! And -</scene_description> </scene> <scene> <stage_direction>I/E STUDENT CAR - CONTINUOUS - DAY</stage_direction> <character>HER FOOT HITS THE BRAKE!</character> <dialogue>HER BRAKE LIGHTS FLASH -- too late. The CAR BEHIND BARRELS into the rear of the student car:</dialogue> <dialogue>CRASH! Wendy and Darwan are thrown forward against their seat belts.</dialogue> <dialogue>THE REAR BUMPER of the student car crumples.</dialogue> <character>ANOTHER CAR REAR-ENDS THE CAR BEHIND HER: SMASH!</character> <dialogue>The force of the second collision forces the first car even further into Wendy's rear. THE TRUNK CAVES, THE LID POPS OPEN. Even the "WINDSOR DRIVING SCHOOL" placard on the roof is knocked to one side.</dialogue> <scene_description>The skies open. SHEETS OF RAIN DELUGE the scene. CONTINUED:</scene_description> </scene> <scene> <stage_direction>I/E STUDENT CAR - CONTINUOUS - MAGIC HOUR</stage_direction> <scene_description>Darwan is beside himself, yelling at her:</scene_description> <character>DARWAN</character> <dialogue>Why did you stop?</dialogue> <scene_description>Wendy cowers in the driver's seat.</scene_description> <character>WENDY</character> <dialogue>I don't know --</dialogue> <character>DARWAN</character> <dialogue>Oh my dear God -- pull over!</dialogue> <character>WENDY</character> <parenthetical>(throws her hands up helplessly)</parenthetical> <dialogue>I can't!</dialogue> <character>HIGH ANGLE - OUTSIDE CAR</character> <dialogue>Darwan runs around to take the driver's seat while Wendy slides over. Traffic is backed up behind the crash and HONKING belligerently.</dialogue> <scene_description>CONTINUED: Darwan drives the wounded car over to the curb. The other vehicles follow suit. A DRIVER AND PASSENGER(BOTH DRIVER and PASSENGER) get out to inspect their crunched hood, and bumper. Darwan jumps out of the student car without a word to Wendy. He approaches the other driver. The Driver is furious.</scene_description> <character>DRIVER</character> <dialogue>I just got through paying for this car!</dialogue> <scene_description>DRIVER is enraged, spotting Darwan's beard and turban.</scene_description> <character>DRIVER</character> <dialogue>Fucking Arab asshole!</dialogue> <character>DARWAN</character> <dialogue>Please, it was my student --</dialogue> <character>DRIVER</character> <dialogue>Go back to your fucking cave!</dialogue> <character>PASSENGER</character> <dialogue>Stop!</dialogue> <scene_description>Driver punches his Darwan's turban off; KICKS the side of the student car, leaving a dent. PASSENGER restrains DRIVER; Darwan, humiliated, scrambles to retrieve his turban from the ground where it has unraveled. His long hair (which has never been cut, according to Sikh tradition) swings free, a skinny rope uncoiling to the small of his back. He looks suddenly, shockingly, naked without the turban.</scene_description> <character>PASSENGER</character> <dialogue>Stop! Can we just do the insurance cards and get the fuck outa here!</dialogue> <scene_description>INSIDE STUDENT CAR - Wendy sits stunned. The PASSENGER DOOR WRENCHES open. DARWAN reaches in, his long hair hanging; he tosses the muddied turban in, YANKS open the glove compartment, extracts his INSURANCE CARD AND REGISTRATION with trembling hands, and SLAMS the door shut again. A POLICE CAR arrives on the scene, its ROOF LIGHTS are twirling. A COP gets out and approaches the huddle of MEN. CONTINUED: (2) DARWAN'S POV - THE COP'S BADGE moving closer... ON DARWAN - his eyes instinctively fill with fear; he becomes short of breath.</scene_description> <character>MINUTES LATER</character> <dialogue>His report pad out, the cop interviews the Drivers.</dialogue> <character>COP</character> <dialogue>What happened first?</dialogue> <character>DRIVER</character> <parenthetical>(indicates Darwan)</parenthetical> <dialogue>He stopped for no reason.</dialogue> <character>DARWAN</character> <dialogue>It was a student driver, sir...</dialogue> <scene_description>The Cop notes Darwan's turban and his unease.</scene_description> <character>COP</character> <dialogue>Where you from?</dialogue> <character>DARWAN</character> <dialogue>Richmond Hill.</dialogue> <character>COP</character> <dialogue>Yeah, but where're you from?</dialogue> <character>DARWAN</character> <dialogue>India.</dialogue> <character>COP</character> <dialogue>You got papers?</dialogue> <character>DARWAN</character> <parenthetical>(produces ID)</parenthetical> <dialogue>I am an American citizen.</dialogue> <scene_description>Cop scrutinizes Darwan's ID and license.</scene_description> <character>COP</character> <dialogue>Stay here.</dialogue> <parenthetical>(to Driver and Passenger)</parenthetical> <dialogue>Get in your car and have your license and registrations ready.</dialogue> <scene_description>The Cop takes Darwan's papers back to the police car. BACK IN THE CAR - Wendy senses Darwan is in trouble. CONTINUED: (3) WENDY JUMPS OUT, intercepts the Cop.</scene_description> <character>WENDY</character> <dialogue>Officer, it was my fault. I was driving.</dialogue> <character>COP</character> <dialogue>Remain in the car, ma'am.</dialogue> <character>WENDY</character> <parenthetical>(belligerent)</parenthetical> <dialogue>I have two words for you: Racial. Profiling.</dialogue> <parenthetical>(to Darwan)</parenthetical> <dialogue>Are they harassing you?</dialogue> <character>DARWAN</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Wendy, stay in the car.</dialogue> <character>COP</character> <dialogue>This is a no-fault accident, ma'am. I'm just filling out a report.</dialogue> <character>LATER - NIGHTFALL</character> <dialogue>ANGLE ON DIGITAL CAR CLOCK - as the minutes shift.</dialogue> <dialogue>WENDY, in the passenger seat, keeps glancing back.</dialogue> <dialogue>WENDY'S POV - Darwan paces, talks on his cell phone, gesticulating.</dialogue> <dialogue>LATER - DRIVER and his Passenger leave in their car.</dialogue> <dialogue>Darwan waits, seated on the curb, his head bowed.</dialogue> <dialogue>The Cop leans into his police car, conferring with his PARTNER inside. Darwan looks on anxiously.</dialogue> <dialogue>WENDY'S EYES fall to the rear seat. There's a hand-lettered cardboard SIGN reading "JASLEEN KAUR", a bouquet of FLOWERS wrapped in cellophane, and a gift-wrapped BOOK. She has a sinking feeling he bought them for her.</dialogue> <dialogue>The Cop returns, handing back Darwan's papers and the accident report.</dialogue> <dialogue>Everything happens very fast: the sky opens; TORRENTIAL RAIN POURS down in sheets;</dialogue> <scene_description>CONTINUED: (4) Darwan gets in the student car, stuffs the papers in the glove compartment. But not before getting soaking wet from the rain.</scene_description> <character>WENDY</character> <dialogue>Is everything okay?</dialogue> <scene_description>Not responding, he catches sight of the clock, and becomes even more agitated.</scene_description> <character>DARWAN</character> <dialogue>Put on your seat belt.</dialogue> <character>WENDY</character> <parenthetical>(repeats)</parenthetical> <dialogue>Is everything okay?</dialogue> <character>DARWAN</character> <dialogue>What is "okay"?! I have a car bashed up to hell and my boss angry at me!</dialogue> </scene> <scene> <stage_direction>EXT./INT. STUDENT CAR - CONTINUOUS - NIGHT</stage_direction> <scene_description>The car is still parked as DARWAN collects himself from the recent activities. The rain continues.</scene_description> <character>WENDY</character> <dialogue>I'll pay to have it fixed.</dialogue> <character>DARWAN</character> <dialogue>You pay nothing. The school has insurance. But the five-hundred dollar deductible, who pays that? I do! Do you know how much I work for five hundred dollars?</dialogue> <character>WENDY</character> <dialogue>I can give you that.</dialogue> <character>DARWAN</character> <dialogue>I cannot take your money. That is not how I am. What were you doing? All you have to do is drive straight through an intersection, everything is clear -- and you stop!</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>My mind went somewhere, just for a second.</dialogue> <character>DARWAN</character> <dialogue>Bad things happen in just one second! You can lose everything! And you don't get another try!</dialogue> <character>WENDY</character> <parenthetical>(defensive)</parenthetical> <dialogue>I was thinking. I'm an intellectual.</dialogue> <character>DARWAN</character> <dialogue>You can think about anything you want when you write, but when you drive you think only about driving!</dialogue> <parenthetical>(brusquely)</parenthetical> <dialogue>I don't have time to take you home now. I have to pick up somebody at the airport, and I am very late.</dialogue> <scene_description>He quickly pulls the car away from the curb and races through the AMBER LIGHT, joining the traffic</scene_description> </scene> <scene> <stage_direction>INT. JFK "PARKING LOT" - A LITTLE LATER - NIGHT</stage_direction> <scene_description>Parked the parking lot, Darwan yanks down the rear view mirror to fix his turban, stuffing his hair haphazardly inside and frantically winding the cloth around his head. Wendy looks on mutely as he grabs the sign, flowers, and gift from the back seat of the student car. He jumps out, leaving Wendy inside the car.</scene_description> <character>DARWAN</character> <parenthetical>(curt)</parenthetical> <dialogue>Stay here!</dialogue> </scene> <scene> <stage_direction>EXT. JFK "AIR INDIA TERMINAL" - MOMENTS LATER</stage_direction> <scene_description>An Air India flight has arrived; the last of the TRAVELLERS are leaving: women in vivid saris and men in Nehru suits. Darwan holds his sign aloft, searching the travellers' faces in vain. CONTINUED: His turban is askew, and the end of the soggy cloth has come loose, hanging over his eyes so he has to swat it away. The pavement empties. Then DARWAN spots a small, plump 30- something INDIAN WOMAN about 50 feet away, sitting alone on her LUGGAGE; on her lap is a clear plastic garment bag with a long ornate red gown inside. He holds up his sign hopefully, but she makes no sign of recognition. As he approaches her, she glances up, bleary from the flight.</scene_description> <character>DARWAN</character> <dialogue>Jasleen?</dialogue> <character>JASLEEN</character> <dialogue>Darwan?</dialogue> <scene_description>She seems a bit stunned. He realizes he could not look worse, dishevelled and drenched, his shirt sticking to his skin, his turban askew and unravelling.</scene_description> <character>DARWAN</character> <dialogue>Hello. Did you not see my sign?</dialogue> <parenthetical>(she looks confused)</parenthetical> <dialogue>Never mind. Here is for you.</dialogue> <scene_description>He hands her the flowers and the wrapped gift.</scene_description> <character>DARWAN</character> <dialogue>Please, open it.</dialogue> <scene_description>She unwraps the paper. She stares blankly at the book inside.</scene_description> <character>DARWAN</character> <dialogue>These are beautiful poems for you to read. William Wordsworth!</dialogue> <character>JASLEEN</character> <parenthetical>(ill at ease)</parenthetical> <dialogue>Thank you, mister.</dialogue> <character>DARWAN</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>No mister! We will speak only English now, for practise. You will learn fast.</dialogue> <scene_description>She gives him a box of Indian candy from her tote. CONTINUED: (2)</scene_description> <character>DARWAN</character> <dialogue>Thank you. I have not tasted these in twelve years!</dialogue> <scene_description>He waits for her to say more, but she's like a deer in the headlights.</scene_description> <character>DARWAN</character> <dialogue>Now I will show you New York!</dialogue> <scene_description>He offers to take her garment bag, but she won't release it. He picks up her three suitcases, staggering to the car. She follows, arms full of flowers, garment bag, and poetry book.</scene_description> </scene> <scene> <stage_direction>INT. JFK PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>As they approach his car, he's acutely aware of what she sees: the dented door, the smashed rear, the placard askew; and an attractive middle-aged Caucasian woman waiting beside the vehicle.</scene_description> <character>DARWAN</character> <parenthetical>(flustered)</parenthetical> <dialogue>It's a little accident we had. That's my student, Wendy. Wendy, this is Jasleen.</dialogue> <character>WENDY</character> <dialogue>Hi.</dialogue> <scene_description>Jasleen looks at her suspiciously.</scene_description> <character>JASLEEN</character> <dialogue>Hello, miss.</dialogue> <character>WENDY</character> <parenthetical>(tactfully)</parenthetical> <dialogue>I'll get in the back.</dialogue> <scene_description>Wendy is hunkered in the rear. Darwan piles Jasleen's luggage to the ceiling next to her.</scene_description> <character>DARWAN</character> <parenthetical>(to Wendy; petulant)</parenthetical> <dialogue>I cannot put these in the trunk because it is filled with rain.</dialogue> <scene_description>His movements are nervous; he is now so upset he seems unhinged. He goes to take the garment bag from Jasleen, who first clings to it. CONTINUED:</scene_description> <character>JASLEEN</character> <dialogue>I want - careful!</dialogue> <character>DARWAN</character> <dialogue>No problem, it will be safe.</dialogue> <scene_description>Darwan hands the bag to Wendy in the rear seat as Jasleen climbs into the passenger seat.</scene_description> <character>DARWAN</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>Hang this on the hook.</dialogue> <scene_description>As Wendy hangs the bag on the hook over her door, Jasleen turns her head to watch, frowning.</scene_description> <character>JASLEEN</character> <dialogue>My dress...</dialogue> <character>DARWAN</character> <parenthetical>(climbs into driver seat)</parenthetical> <dialogue>It's her wedding dress.</dialogue> <character>WENDY</character> <parenthetical>(to Jasleen)</parenthetical> <dialogue>Oh, you're getting married?</dialogue> <scene_description>Jasleen doesn't answer.</scene_description> <character>DARWAN</character> <dialogue>Speak slowly so she understands.</dialogue> <character>WENDY</character> <parenthetical>(to Jasleen)</parenthetical> <dialogue>You get married?</dialogue> <character>DARWAN</character> <dialogue>Yes. Tomorrow. We are very happy.</dialogue> <scene_description>Wendy is stupefied.</scene_description> <character>WENDY</character> <dialogue>You two?</dialogue> <scene_description>As he pulls the car away from the curb:</scene_description> <character>DARWAN</character> <parenthetical>(to Wendy; hotly)</parenthetical> <dialogue>Yes! Can you imagine how embarrassing this is?</dialogue> <parenthetical>(voice reaches a SHOUT)</parenthetical> <scene_description>CONTINUED: (2)</scene_description> <character>DARWAN</character> <dialogue>I look like a drowned dog, I have to pick her up in a pile of junk -- this is not how our first meeting was to be!!</dialogue> <scene_description>He is speaking so fast, Jasleen can't understand; she can only cringe against her door, witnessing his anger with no idea of the cause. The car heads out of the parking lot.</scene_description> <character>DARWAN</character> <parenthetical>(to Jasleen)</parenthetical> <dialogue>We must take Wendy home first.</dialogue> <parenthetical>(gestures out window)</parenthetical> <dialogue>Look, here is America!</dialogue> <scene_description>Jasleen sees nothing outside but bleak concrete and sterile streetlights through a scrim of humid exhaust.</scene_description> <character>WENDY</character> <dialogue>Excuse me, you've never met her?</dialogue> <character>DARWAN</character> <dialogue>She's from a village near where I grew up. My sister picked her out for me.</dialogue> <character>WENDY</character> <parenthetical>(sitting back)</parenthetical> <dialogue>If my sister picked me a husband, he'd be some dickless Republican banker.</dialogue> <character>DARWAN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Yes, you are better off!</dialogue> <parenthetical>(mutters)</parenthetical> <dialogue>That's why you're alone and crazy.</dialogue> <character>WENDY</character> <dialogue>Listen, just drop me at the subway.</dialogue> <scene_description>He SWERVES around ANOTHER CAR, thrusting the women against their doors, while he shakes his finger back at Wendy:</scene_description> <character>DARWAN</character> <dialogue>No! You are my guest! You don't understand, this is how we are, we do everything for our guest before we think of ourselves! This is the Sikh way!</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>DARWAN</character> <parenthetical>(to Jasleen)</parenthetical> <dialogue>So, am I the way you pictured me?</dialogue> <scene_description>WIDE EXTERIOR ANGLE - The maimed student car drives out of frame, its trunk lid bouncing up and down. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TEMPLE (GURDWARA) - NEXT DAY</stage_direction> <scene_description>DARWAN and JASLEEN stand before the GIANI, or priest, and the HOLY BOOK. Members of the WEDDING PARTY, all Darwan's friends, are dressed in a riot of colors: flame, fuschia, saffron, emerald; the men in turbans and long shirts of rainbow hues. Jasleen, heavily made up, with henna'd hands, wears her scarlet wedding dress and gold bangles; Darwan wears a scarlet turban and ceremonial sword. Darwan holds one end of a saffron sash, Jasleen the other, as he leads her four times around the Holy Book. The Priest and MUSICIANS SING the sacred couplets which accompany each tour:</scene_description> <character>PRIEST</character> <parenthetical>(first round)</parenthetical> <dialogue>"Thus the Lord imprints the duties of married life..."</dialogue> <scene_description>Preet grins, winks at him as he passes by.</scene_description> <character>PRIEST</character> <parenthetical>(second round)</parenthetical> <dialogue>"Thus the Lord leads you to your Divine Guide..."</dialogue> <scene_description>Jasleen follows three steps behind Darwan, staring at her feet so as not to trip.</scene_description> <character>PRIEST</character> <parenthetical>(third round)</parenthetical> <dialogue>"Thus God's love fills your mind..."</dialogue> <scene_description>CONTINUED: She timidly lifts her eyes to the back of her groom, his square shoulders, his confident stride.</scene_description> <character>PRIEST</character> <parenthetical>(fourth round)</parenthetical> <dialogue>"Thus you find the fruit of your heart's desire in God's name."</dialogue> </scene> <scene> <stage_direction>INT. TEMPLE (GURDWARA)- COMMUNAL SPACE - NIGHT</stage_direction> <scene_description>The wedding GUESTS dance exuberantly, under colored LIGHTS, to the loud "BANGHARA" MUSIC from a BOOMBOX. DARWAN is dancing, too. JASLEEN looks on shyly from the sidelines. Her eyelids droop: she's very tired and she doesn't know anyone.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - LATER - NIGHT</stage_direction> <scene_description>Jasleen waits in the bed. Darwan, his back to her, unwraps his turban....</scene_description> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>It's a always a trade-off...</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - DAY</stage_direction> <scene_description>The WOMAN'S VOICE CONTINUES: it's a BROKER showing Wendy around an empty sun-filled apartment.</scene_description> <character>BROKER</character> <dialogue>You want a lot of light, you have to sacrifice on space. Or you buy a bigger place, and sacrifice your light...</dialogue> <scene_description>Wendy wanders about without enthusiasm, not really listening.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Jasleen unpacks her cosmetics on Darwan's bureau. She hangs her scarves next to his ties. She arranges a FRAMED PHOTO OF HER PARENTS next to his. CONTINUED: Jasleen gazes up at the waning light in the street-level window, where she can see the FEET OF PASSERSBY going to and fro.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - WENDY'S HOUSE - DAY</stage_direction> <scene_description>Wendy's taking books from the shelves to pack in open cartons. A tragic OPERA plays faintly on a PBS station. Wendy's mood is correspondingly stormy. WE FOLLOW HER FEET as she approaches a box, then LINGER ON A BOOK lying open on the floor. It's the YELLOW PAGES, open to "DRIVING INSTRUCTION." A few ads are half-heartedly circled. When her feet return to frame, she abruptly KICKS the book aside. She carries the GLASS-SHADED MOROCCAN LAMP to a box filled with bubble wrap. She raises the lamp carefully, turns, and with all her force SMASHES it on the floor. She throws herself onto the couch, curling into a ball, her hands covering her head. Then she hears a FAINT NOISE O.S.: something brushing against the front door. Retreating FOOTSTEPS on the stoop outside.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL - WENDY'S HOUSE - NIGHT</stage_direction> <scene_description>LOW ANGLE - A folded note rests on the floor, slid through the mail slot on the door. WENDY'S HAND PICKS UP THE NOTE. WENDY unfolds the letter and reads. Takes a deep, grateful breath.</scene_description> </scene> <scene> <stage_direction>EXT. WENDY'S HOUSE - DAY</stage_direction> <scene_description>Darwan waits in his usual place, parked at the fire hydrant. He's in a different student car. He checks his watch. Wendy comes out of her house at last. He jumps out and meets her halfway, escorting her down the stoop, grinning.</scene_description> <character>DARWAN</character> <dialogue>You make me wait. Punishing me?</dialogue> <character>WENDY</character> <parenthetical>(coy)</parenthetical> <dialogue>Maybe.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>Well, I'm happy we will finish what we started. I will not let you fail your license, Wendy.</dialogue> <scene_description>Approaching the car:</scene_description> <character>WENDY</character> <dialogue>How was the wedding?</dialogue> <scene_description>She can't help the hint of jealousy in her voice. He doesn't notice.</scene_description> <character>DARWAN</character> <dialogue>It's a very, very beautiful ceremony. It says when a man and a woman marry, they become one spirit. We think and feel the same, there's no difference between us.</dialogue> <character>WENDY</character> <dialogue>You don't mention love.</dialogue> <character>DARWAN</character> <dialogue>Of course. Love is the one road to God. God doesn't want anyone to be alone.</dialogue> <scene_description>She raises a sardonic eyebrow. He opens the driver's door for her to get in.</scene_description> </scene> <scene> <stage_direction>INT. STUDENT CAR #2 - CONTINUOUS - DAY</stage_direction> <scene_description>She goes to turn on the ignition key.</scene_description> <character>DARWAN</character> <dialogue>Seat belt first.</dialogue> <scene_description>As she pulls the seat belt across her chest:</scene_description> <character>WENDY</character> <dialogue>So what's it like to wake up married to a complete stranger?</dialogue> <character>DARWAN</character> <dialogue>I think you don't approve of arranged marriage. Check your mirrors.</dialogue> <parenthetical>(as she does so)</parenthetical> <dialogue>I'll try to explain. We hold our families very close. They know you better than anyone else.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>They're more objective about who's the right person for you.</dialogue> <scene_description>She TURNS ON THE ENGINE, puts on her signal light.</scene_description> <character>DARWAN</character> <dialogue>If you're left to your own devices, there's more chance you'll pick the wrong one. You choose for your ego.</dialogue> <character>WENDY</character> <dialogue>I don't know what I believed about marriage.</dialogue> <parenthetical>(as she pulls out)</parenthetical> <dialogue>Except that it would always be there.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Jasleen irons Darwan's shirts; glances now and then at the curious images on TV, where a hefty WOMAN tearfully smacks and punches a beefy GUY beside her on a Maury Povich-type show. The subtitle, which she can't read, is: "HER BOYFRIEND MAKES HER WATCH HIM HAVE SEX WITH HIS WIFE."</scene_description> <character>LATER</character> <dialogue>Lying on the couch, she watches "SESAME STREET," featuring the letter "P." A short animated sequence teaches the word "Peligro" (danger). Jasleen mouths the word:</dialogue> <character>JASLEEN</character> <dialogue>Peligro.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - LATER - MAGIC HOUR</stage_direction> <scene_description>She cooks dinner, enjoying INDIAN RAP MUSIC on the stereo. ANGLE ON BASEMENT WINDOW - DARWAN'S TAXI pulls up. DARWAN enters, between shifts. Without asking her, he turns the MUSIC OFF. He looks over her shoulder at the pot on the stove.</scene_description> <character>DARWAN</character> <dialogue>More tomatoes make a nicer color.</dialogue> <character>JASLEEN</character> <dialogue>I not have.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DARWAN</character> <parenthetical>(gently)</parenthetical> <dialogue>Jasleen, I give you money. You can go out and buy tomatoes.</dialogue> <character>JASLEEN</character> <dialogue>I not know where.</dialogue> <character>DARWAN</character> <dialogue>Just walk down the street, there are so many stores.</dialogue> <scene_description>She lapses into silence. They are awkward with each other still: he's aloof and formal, she is reticent.</scene_description> <character>A LITTLE LATER</character> <dialogue>She serves dinner. He tastes her cooking. She waits for his approval.</dialogue> <character>DARWAN</character> <dialogue>A little too much ghee.</dialogue> <scene_description>She sighs.</scene_description> <character>JASLEEN</character> <dialogue>I try no much.</dialogue> <character>DARWAN</character> <dialogue>If you don't have conversations with people outside, how will you pick up English?</dialogue> <scene_description>TV.:</scene_description> <character>DARWAN</character> <dialogue>Then tell me what you learned today.</dialogue> <character>JASLEEN</character> <parenthetical>(smiles with pride)</parenthetical> <dialogue>Peligro.</dialogue> <character>DARWAN</character> <parenthetical>(LAUGHS)</parenthetical> <dialogue>That's Spanish, not English.</dialogue> <character>LATER</character> <dialogue>At the basement window, Jasleen watches Darwan's feet approach his taxi at the curb. He gets in and drives off.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>LATER - NIGHT</character> <dialogue>Curled on the bed, Jasleen surfs the TV channels. PAN TOWARD SCREEN:</dialogue> <character>IMAGES OF AMERICAN WOMEN: A NEWS ANCHORWOMAN...A FEMALE</character> <dialogue>ATTORNEY ARGUES A CASE...JUDGE JUDY BANGS THE</dialogue> <character>GAVEL...AMERICA'S NEXT TOP MODEL...HOUSEWIVES OF WHATEVER</character> <dialogue>having a cat fight...HILLARY CLINTON...</dialogue> <character>LATER - MORNING</character> <dialogue>Darwan returns from his taxi shift. Jasleen wakes when he crawls into bed next to her; he falls immediately asleep.</dialogue> <dialogue>She pulls the divider curtain closed on him and retreats to the TV. "MY LITTLE PONY" is on.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>Wendy's sister DEBBIE (about 5 years younger) and her HUSBAND are having cocktails with a male FRIEND at a table for four. Wendy arrives, breathless. Kissing her sister and brother-in- law briskly:</scene_description> <character>WENDY</character> <dialogue>Sorry I'm late.</dialogue> <scene_description>The Male Friend stands to pull out Wendy's chair for her.</scene_description> <character>DEBBIE</character> <parenthetical>(to Man)</parenthetical> <dialogue>My sister is never on time.</dialogue> <character>DEBBIE'S HUSBAND</character> <dialogue>Wendy, this is Peter Hines. A squash buddy of mine. He annihilates me once a week.</dialogue> <scene_description>PETER (50-60) has a raffish smile; handsome; impeccable presentation: all buffed and bespoke.</scene_description> <character>WENDY</character> <dialogue>Hello.</dialogue> <scene_description>She glares at her sister. She was not expecting the extra male. CONTINUED: Peter is studying the wine list avidly while the WINE STEWARD stands by. CONTINUED: (2)</scene_description> <character>PETER</character> <dialogue>How does a '91 Meursault sound to everyone?</dialogue> <character>DEBBIE</character> <dialogue>Great!</dialogue> <scene_description>Wendy hisses to her sister:</scene_description> <character>WENDY</character> <dialogue>Debbie, I told you not to do this.</dialogue> <character>DEBBIE</character> <dialogue>So he's a banker. He's also an opera buff and a gourmet.</dialogue> <character>WENDY</character> <dialogue>What is his political affiliation?</dialogue> <character>DEBBIE</character> <dialogue>I have no idea! He was hard to wrangle for this dinner, a lot of women are after him. Honey, you've got to get back in the saddle.</dialogue> <character>WENDY</character> <dialogue>And roll in the hay? I love these dude ranch metaphors coming from a Connecticut matron.</dialogue> <character>DEBBIE</character> <dialogue>Matron?! You could do with a hormone upgrade yourself.</dialogue> <scene_description>The sisters GIGGLE. ANGLE ON PETER'S PLATE - TWO HOURS LATER - the remains of a fish and baby vegetables. PAN UP TO PETER in conference with the CHEF, whom he has summoned from the kitchen to find out the ingredients of the fish dish.</scene_description> <character>PETER</character> <dialogue>White wine...lemon grass... cardamom?</dialogue> <character>CHEF</character> <dialogue>Ah, monsieur knows his stuff.</dialogue> <character>PETER</character> <dialogue>And, let me take a wild guess, fennel seed?</dialogue> <scene_description>CONTINUED: (3) Peter winks at Wendy, but she has a goblet of wine up to her face.</scene_description> <character>CHEF</character> <dialogue>Very close. Anise.</dialogue> <character>PETER</character> <dialogue>You're a genius.</dialogue> <scene_description>He tries to slip the Chef a $100 bill.</scene_description> <character>CHEF</character> <parenthetical>(embarrassed; retreats to kitchen)</parenthetical> <dialogue>No, no. Please, enjoy.</dialogue> <character>DEBBIE</character> <dialogue>Peter, I don't know how you taste all that. Wendy, isn't he amazing?</dialogue> <character>WENDY</character> <dialogue>Uh-huh.</dialogue> <character>LATER</character> <dialogue>They're on dessert: profiteroles and sorbet. Wendy sticks with the wine. Peter leans closer to her, his tone intimate.</dialogue> <character>PETER</character> <dialogue>You have no idea how much I envy you. I'd love nothing more than to live a life of the mind.</dialogue> <character>WENDY</character> <dialogue>I'd like something to take my mind off my mind.</dialogue> <character>PETER</character> <dialogue>That's why I do yoga meditation. Tantric yoga, actually.</dialogue> <character>WENDY</character> <dialogue>I do Ambien.</dialogue> <character>PETER</character> <parenthetical>(LAUGHS suavely)</parenthetical> <dialogue>I knew you'd be witty. I love your reviews. By the end I always feel like I've read the book.</dialogue> <character>WENDY</character> <dialogue>That accounts for the drop in sales.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>PETER</character> <dialogue>Oh, I download ebooks all the time.</dialogue> <character>WENDY</character> <dialogue>I like to hold a book in my hands.</dialogue> <character>PETER</character> <dialogue>Me too. When it's the right book.</dialogue> <scene_description>He guides a spoonful of sorbet to her lips.</scene_description> <character>PETER</character> <dialogue>Try the blood orange.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S BEDROOM - LATER - NIGHT</stage_direction> <scene_description>ON WENDY'S FACE - tense and miserable, as Peter thrusts into her slowly, methodically, punctuating each stroke with "Mmm"'s and "Ooo"'s and weird chortles, as if he's enjoying a good fondue.</scene_description> <character>LATER</character> <dialogue>Another position, same rhythm, same sounds. Now she's getting sore.</dialogue> <character>LATER</character> <dialogue>Another position. She glances at the bedside clock: two a.m. Now she's alarmed.</dialogue> <character>WENDY</character> <dialogue>Aren't you ever going to come?</dialogue> <scene_description>He stops, smiling affably.</scene_description> <character>PETER</character> <dialogue>No. I practise Tantric sex.</dialogue> <character>WENDY</character> <dialogue>Can we stop, then?</dialogue> <character>PETER</character> <dialogue>Sure.</dialogue> <scene_description>He pulls out, lying beside her. She feels like she's been flattened by a truck. CONTINUED:</scene_description> <character>WENDY</character> <dialogue>Jesus.</dialogue> <character>PETER</character> <dialogue>I was trying to make you come again.</dialogue> <character>WENDY</character> <dialogue>I'm too tired. But thank you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So, when were you planning on coming?</dialogue> <character>PETER</character> <dialogue>Maybe next time. Or next time after that. What are you doing Thursday evening?</dialogue> <character>WENDY</character> <dialogue>I have a driving lesson.</dialogue> <character>PETER</character> <dialogue>How about Sunday? I could come on Sunday.</dialogue> <character>WENDY</character> <dialogue>Well...</dialogue> <character>PETER</character> <dialogue>What's the matter?</dialogue> <scene_description>Peter raises up on his elbow, reads her face.</scene_description> <character>PETER</character> <dialogue>Oh. You have someone.</dialogue> <character>WENDY</character> <dialogue>Yes. I do.</dialogue> </scene> <scene> <stage_direction>I/E STUDENT CAR #2 - RIVERSIDE DRIVE - MAGIC HOUR</stage_direction> <scene_description>Wendy's car slides cautiously into faster-moving TRAFFIC on Upper Riverside Drive where it becomes four-lane.</scene_description> <character>DARWAN</character> <dialogue>You seem more comfortable now at higher speeds.</dialogue> <scene_description>She doesn't respond. She's withdrawn, depressed, her usual spikiness gone. CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>It's time to put on your lights.</dialogue> <scene_description>CONTINUED: (2) She finds the light dial. HEADLIGHTS GO ON.: SHAFTS OF LIGHT FROM ONCOMING CARS' HEADLIGHTS SLIDE OVER THEIR FACES.:</scene_description> <character>DARWAN</character> <dialogue>If the bright lights bother you, change the mirror.</dialogue> <scene_description>He flicks a switch on the rear-view mirror, darkening its reflection. She says nothing.</scene_description> <character>DARWAN</character> <dialogue>You're very quiet tonight.</dialogue> <character>WENDY</character> <dialogue>Just focussing.</dialogue> <character>DARWAN</character> <dialogue>That's good. Make a right.</dialogue> <scene_description>But he misses her combative energy. He steals a look at her sad profile, wonders what he could say to make her re-appear. ON WENDY - lost in thought.</scene_description> <character>TED (O.S.)</character> <dialogue>The streetlamps look so shy in the twilight.</dialogue> <scene_description>WENDY'S POV (FANTASY) - PAN TO THE PASSENGER SEAT where Ted sits instead of Darwan.</scene_description> <character>TED</character> <dialogue>Like they've arrived too early at a party. And they stand outside, looking up at the shadows on the shade, deciding whether to go in.</dialogue> <character>WENDY</character> <dialogue>It gets dark too fast for me these days. Does it make you sad, too?</dialogue> <character>TED</character> <parenthetical>(nods; softly)</parenthetical> <dialogue>Mm. We feel the end of life. The goodbye.</dialogue> <scene_description>ON WENDY - She turns to him in anguish. CONTINUED: (3)</scene_description> <character>WENDY</character> <dialogue>God, Ted. Will I ever be free of you?</dialogue> <scene_description>HER POV - Ted points ahead.</scene_description> <character>TED</character> <parenthetical>(DARWAN'S VOICE)</parenthetical> <dialogue>Pass him.</dialogue> <scene_description>WENDY - her attention goes back to the four-lane road.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>Put on your signal. Give it the gas.</dialogue> <scene_description>WENDY'S POV THROUGH WINDSHIELD - gaining on the car in front, pulling to the left. As she passes, she sees TED IN THE CAR, giving her a little wave. And then she's ahead of him, and he's gone.</scene_description> <character>DARWAN</character> <dialogue>Very good. You only need a little courage, and a little gas.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - NIGHT</stage_direction> <scene_description>Darwan is READING A POEM out loud, from the book he gave Jasleen. They are on the bed together.</scene_description> <character>DARWAN</character> <dialogue>"A perfect Woman, nobly plann'd/ To warn, to comfort, and command;/ And yet a Spirit still, and bright/ With something of angelic light."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Did you like that?</dialogue> <character>JASLEEN</character> <parenthetical>(lying)</parenthetical> <dialogue>Yes.</dialogue> <character>DARWAN</character> <dialogue>Now you read this one to me.</dialogue> <scene_description>He chooses a page, hands her the book, and lays his head in her lap with a contented sigh of expectation. He waits. ANGLE ON PAGE - A TEAR falls on the page of text. Darwan hears her SNIFFLE. He sits up. He sees her tear-filled eyes staring uncomprehendingly at the open book. CONTINUED:</scene_description> <character>DARWAN</character> <dialogue>Don't tell me you can't read English.</dialogue> <character>JASLEEN</character> <dialogue>I am fourteen Baba \[father\] take me from school.</dialogue> <character>DARWAN</character> <dialogue>My God...</dialogue> <scene_description>He doesn't disguise his dismay. She flings the book against the wall.</scene_description> <character>JASLEEN</character> <dialogue>No thing I do is good for you!</dialogue> <character>DARWAN</character> <dialogue>Calm down --</dialogue> <character>JASLEEN</character> <parenthetical>(screams)</parenthetical> <dialogue>What you want?! What I do?!</dialogue> <scene_description>He loses his temper in turn.</scene_description> <character>DARWAN</character> <dialogue>You don't go out, you don't try to learn anything about America! You should be curious! You have a mind!</dialogue> <character>JASLEEN</character> <dialogue>Like Wendy!</dialogue> <scene_description>She jumps off the bed, heading into the bathroom.</scene_description> <character>DARWAN</character> <dialogue>Wendy? Why are we talking about Wendy?</dialogue> <scene_description>He gets up to follow her. The bathroom door SLAMS. Darwan talks through the door.</scene_description> <character>DARWAN</character> <dialogue>Jasleen, please...tell me why you're so unhappy.</dialogue> <character>JASLEEN (O.S.)</character> <dialogue>You don't never here! What you do all the time?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DARWAN</character> <dialogue>I am working. I want a good life for our family.</dialogue> <scene_description>INSIDE BATHROOM - CONTINUOUS - Jasleen is huddled against the door.</scene_description> <character>JASLEEN</character> <dialogue>You don't want with me. I am stupid. I cook too much ghee.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVING TEST SITE, BROOKLYN - DAY</stage_direction> <scene_description>Darwan and Wendy are standing on the sidewalk in front of the pool with kids in swimming in the background. There are a couple of CARS ahead of Wendy, everyone waiting for a driving test.</scene_description> <character>DARWAN (O.S.)</character> <dialogue>If you accumulate more than thirty- five points, you fail. Now, what things in the test are worth fifteen points?</dialogue> <character>WENDY (O.S.)</character> <dialogue>Parallel parking, broken U-turn...</dialogue> <character>DARWAN (O.S.)</character> <dialogue>What else?</dialogue> <character>WENDY</character> <parenthetical>(a bundle of nerves)</parenthetical> <dialogue>Going too fast.</dialogue> <character>DARWAN</character> <dialogue>Or too slow. What else?</dialogue> <character>WENDY</character> <dialogue>Not observing right of way.</dialogue> <character>DARWAN</character> <dialogue>If you fail any one of the fifteen- pointers, you automatically fail your test.</dialogue> <character>WENDY</character> <dialogue>Are you sure I'm ready?</dialogue> <character>DARWAN</character> <dialogue>Wendy, don't forget what I know: you are a very determined woman.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>My daughter calls me mujer de metal. Iron Woman.</dialogue> <character>DARWAN</character> <dialogue>Iron Woman. Does this mean you will do my shirts?</dialogue> <scene_description>They LAUGH.</scene_description> <character>DARWAN</character> <dialogue>Now tell me. What kind of car will you buy?</dialogue> <character>WENDY</character> <dialogue>Something cheap. My divorce is costing a fortune.</dialogue> <character>VOICE</character> <dialogue>Ready for you.</dialogue> <scene_description>Wendy is startled to realize the Examiner is behind her.</scene_description> <character>WENDY</character> <dialogue>Oh my God...Darwan!</dialogue> <character>DARWAN</character> <dialogue>If you get nervous, just listen. You'll hear my voice telling you what to do.</dialogue> <character>EXAMINER</character> <dialogue>Pull away from the curb, please.</dialogue> <scene_description>He pats her shoulder and withdraws: she's on her own. From Darwan's POV we see the student car pull away. OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. THE DRIVING TEST - SEQUENCE OF SHOTS</stage_direction> <character>EXAMINER</character> <parenthetical>(curtly)</parenthetical> <dialogue>Start the car.</dialogue> <scene_description>Wendy's pulls out of the parking space and drives.</scene_description> </scene> <scene> <stage_direction>EXT. DRIVING TEST SITE - MINUTES LATER - DAY</stage_direction> <scene_description>DARWAN sees Wendy's car return and stop. The Examiner gets out, advances to the next car. TRACKING WITH DARWAN toward the car. Wendy has her head bowed on the wheel, her fists pressing the sides her face. He quickens his step. WENDY looks at DARWAN with helpless despair.</scene_description> <character>WENDY</character> <dialogue>I need a drink.</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BAR - LATER - LATE AFTERNOON</stage_direction> <scene_description>At a table in a dingy Irish bar, Wendy drains a glass of wine. Darwan sits opposite, correct and dignified, a mug of coffee between his hands, ignoring the BARFLIES contemptuously staring at his turban and beard. Darwan, reading the sheet.</scene_description> <character>DARWAN</character> <dialogue>Sixty points?</dialogue> <scene_description>She lifts her head to face him.</scene_description> <character>WENDY</character> <dialogue>I didn't taste it, Darwan. No beef stew. I went blank.</dialogue> <scene_description>He's disappointed, yet oddly relieved: now she will need him again.</scene_description> <character>WENDY</character> <dialogue>Why did I ever think I could drive?</dialogue> <character>DARWAN</character> <dialogue>Wendy, your next test will go better.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>I don't belong on the road. I'm only trained to do one trick: ignore everything and everybody around me.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>WENDY</character> <dialogue>You know, there's a reason some people are alone: because they deserve to be. I ignored my husband. I ignored my daughter. No wonder he cheated on me. I mean, I openly cheated on them. Because my first and foremost love was for words. Words! I wrapped myself in them. And then I look at you.</dialogue> <scene_description>He glances up. There's a thousand things in this world to divide two people, but you and Jasleen manage to be one spirit. Whew! (calls to WAITRESS) Miss! She gestures her glass for a refill, well on her way to a good drunk. Then she leans in closer.</scene_description> <character>WENDY</character> <dialogue>Just tell me: if she ever disappointed you, if she ever fell short in some way...would you ever cheat on her?</dialogue> <character>DARWAN</character> <dialogue>No. I would never.</dialogue> <character>WENDY</character> <dialogue>Well, Darwan, you're a good man. You give me faith.</dialogue> <scene_description>He drops his eyes to his coffee. In the silence, the waitress sets down Wendy's wine and departs. He doesn't look up.</scene_description> <character>WENDY</character> <dialogue>I don't even want this.</dialogue> <scene_description>She pushes her glass away abruptly.</scene_description> <character>DARWAN</character> <parenthetical>(softly)</parenthetical> <dialogue>I don't know how to talk to her.</dialogue> <scene_description>CONTINUED: (3) Her turn to be silent. Almost afraid to breathe, she waits for more.</scene_description> <character>DARWAN</character> <dialogue>She's not educated. We don't like the same things at all. She's scared of America. She's scared of me. She hides. You know words, Wendy. What do I say?</dialogue> <scene_description>She thinks. When she speaks at last, it's from the bruised heart.</scene_description> <character>WENDY</character> <dialogue>That you'll never stop trying. That you'll fight for her. Every day, you'll try to cross the divide. Tell her she's worth it.</dialogue> <character>DARWAN</character> <dialogue>Is this what you wanted to hear from him?</dialogue> <scene_description>She SIGHS, averting her eyes to hold tears at bay.</scene_description> <character>WENDY</character> <dialogue>Not words. You know what I miss? The way he touched my face. Just...holding my face between his two hands. As if I was treasure.</dialogue> <scene_description>They sit, as still as two people in prayer, allowing her sorrow to fill up the silence.</scene_description> </scene> <scene> <stage_direction>I/E STUDENT CAR #2 - LATER - NIGHT</stage_direction> <scene_description>Darwan pulls the car up in front of Wendy's house.</scene_description> <character>WENDY</character> <parenthetical>(rummages in purse)</parenthetical> <dialogue>Shit. Can you come inside? I left my checkbook at home.</dialogue> <character>DARWAN</character> <dialogue>You can pay me next time.</dialogue> <character>WENDY</character> <parenthetical>(gets out)</parenthetical> <dialogue>No next time. I'm done with driving.</dialogue> </scene> <scene> <stage_direction>INT. FRONT HALL - MINUTES LATER - NIGHT</stage_direction> <scene_description>Wendy writes out a check while Darwan tries to persuade her.</scene_description> <character>DARWAN</character> <dialogue>You shouldn't give up. You only need a little more practise.</dialogue> <character>WENDY</character> <dialogue>I don't have it in me, Darwan. I'm sorry.</dialogue> <scene_description>She hands him the check.</scene_description> <character>DARWAN</character> <dialogue>You make me say goodbye.</dialogue> <character>WENDY</character> <parenthetical>(suddenly uncertain)</parenthetical> <dialogue>I guess...yeah.</dialogue> <scene_description>He bows reluctantly, namaste, his palms together.</scene_description> <character>WENDY</character> <dialogue>Thank you. You did your best.</dialogue> <character>DARWAN</character> <dialogue>Not enough.</dialogue> <scene_description>A beat. He slowly brings his hands toward her. And gently touches the sides of her face. As if she is treasure. She releases a pained breath. She turns her face into his touch, leaning one cheek on his palm. He pulls his hands away. His face shows the struggle within.</scene_description> <character>DARWAN</character> <dialogue>Goodbye, Wendy.</dialogue> <scene_description>Wendy watches as he leaves. FADE OUT.:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM, BASEMENT APARTMENT - DAY</stage_direction> <scene_description>Jasleen reaches opens the cabinet under the sink, takes out a box of sanitary napkins she brought from India with Punjabi writing all over it. The box is empty. Her brow tightens with dismay.</scene_description> </scene> <scene> <stage_direction>INT. DUANE READE PHARMACY - LATER - DAY</stage_direction> <scene_description>Jasleen wanders the long aisles of the drugstore, trying to compare the pictures on her box to those on the shelves. A MALE EMPLOYEE makes no attempt to help, looking at her Sikh clothes and veil with contempt. She rounds the corner, approaches a FEMALE EMPLOYEE and shows her the box.</scene_description> <character>JASLEEN</character> <dialogue>Where is...?</dialogue> <character>EMPLOYEE</character> <dialogue>I can't read that.</dialogue> <scene_description>A hand snatches the box away. It's another Sikh woman (MATA, 40ish).</scene_description> <character>MATA</character> <dialogue>You see the picture! You know what she wants!</dialogue> <character>EMPLOYEE</character> <dialogue>No ma'am.</dialogue> <character>MATA</character> <dialogue>You work here and you don't know where is the sanitary napkin!</dialogue> <scene_description>Mata's raised voice gets the attention of the MANAGER, who looks over.</scene_description> <character>EMPLOYEE</character> <dialogue>Aisle five.</dialogue> <scene_description>Mata grabs Jasleen's hand, pulling her toward the right aisle.</scene_description> <character>MATA</character> <dialogue>They're so rude here. You have to demand your respect in America! Where are you from?</dialogue> <character>JASLEEN</character> <dialogue>Dadiala.</dialogue> <character>MATA</character> <dialogue>My uncle lives there! Why don't I see you at gurdwara, darling?</dialogue> </scene> <scene> <stage_direction>EXT. BASEMENT APARTMENT - LATER - MAGIC HOUR</stage_direction> <scene_description>Darwan pulls up in his taxi. He goes to his front door, then hesitates, surprised to hear WOMEN CHATTERING within.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - CONTINUOUS - MAGIC HOUR</stage_direction> <scene_description>Darwan enters to find five SIKH WOMEN occupying the couches, all YAKKING with Jasleen. He recognizes one.</scene_description> <character>DARWAN</character> <dialogue>Mata! Hello.</dialogue> <character>MATA</character> <parenthetical>(re: Jasleen)</parenthetical> <dialogue>Darwan Singh! Why do you shut up this pearl in the house?</dialogue> <character>DARWAN</character> <parenthetical>(on the spot; smiles)</parenthetical> <dialogue>I assure you she's free to go anywhere.</dialogue> <character>MATA</character> <parenthetical>(to Jasleen)</parenthetical> <dialogue>What a husband! Leaving you alone all the time. Don't worry, darling, we make our own fun here, we don't need him.</dialogue> <scene_description>Jasleen casts an anxious look at Darwan, gets up to go to the kitchen.</scene_description> <character>JASLEEN</character> <dialogue>I make dinner.</dialogue> <character>DARWAN</character> <dialogue>Never mind. Enjoy your new friends.</dialogue> <parenthetical>(goes to door)</parenthetical> <dialogue>I'll pick up something to eat.</dialogue> <character>SIKH WOMAN</character> <parenthetical>(calls after him)</parenthetical> <dialogue>That's right, leave her to us. You won't recognize her when we're done with her!</dialogue> <scene_description>The women HOOT with laughter. Jasleen grins.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S NEW APARTMENT - DAY</stage_direction> <scene_description>PANNING OVER PACKING CARTONS - their flaps open, revealing hundreds of BOOKS waiting to be put on shelves. ANOTHER ANGLE - TASHA helps Wendy unpack in her new, bare apartment. The dark, hermetic burrow of her old townhouse has been replaced by open space and tall windows.</scene_description> <character>TASHA</character> <dialogue>Whew! There's so much...stuff.</dialogue> <character>WENDY</character> <dialogue>Believe me, I threw out tons.</dialogue> <scene_description>Wendy puts her arm around her daughter.</scene_description> <character>WENDY</character> <dialogue>Bless you for helping. But hadn't you better get on the road? It's a long drive.</dialogue> <character>TASHA</character> <dialogue>Mom...I think I won't go back.</dialogue> <parenthetical>(off Wendy's surprise)</parenthetical> <dialogue>I love farming but...mainly I wanted to be close to this guy, and then he suddenly decided to go back to Dartmouth, and so now I'm alone and all the other kids are gone...</dialogue> <character>WENDY</character> <dialogue>So - what? You want to go back to school, too? Isn't it too late for the semester?</dialogue> <character>TASHA</character> <dialogue>Yeah...Maybe I won't go back at all.</dialogue> <scene_description>Tasha's voice catches; tears in her eyes; swallows a sob.</scene_description> <character>TASHA</character> <dialogue>I'm just so embarrassed...</dialogue> <character>WENDY</character> <parenthetical>(embraces her)</parenthetical> <dialogue>Baby...</dialogue> <character>TASHA</character> <dialogue>Can I stay here with you?</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <parenthetical>(gently)</parenthetical> <dialogue>Tasha. No. And not because I wouldn't love it. But if you move in here it will be in a spirit of failure. And that is deadly. Finish this thing out. Go back to Vermont and harvest your ass off. Make it a triumph.</dialogue> <scene_description>Tasha nods, sniffing back tears.</scene_description> <character>TASHA</character> <dialogue>Back to the earth.</dialogue> <character>WENDY</character> <dialogue>Yeah, I think so.</dialogue> <character>TASHA</character> <dialogue>Okay.</dialogue> <scene_description>She hugs her mother again, not wanting to let go.</scene_description> <character>WENDY</character> <dialogue>I'll visit you. I promise.</dialogue> <character>TASHA</character> <dialogue>But it's so far.</dialogue> <character>WENDY</character> <dialogue>I will find a way.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>A116 INT. OFFICE (NEW YORK TIMES) - DAY A116</stage_direction> <scene_description>WENDY is at her desk on the phone speaking to DARWAN.</scene_description> <character>WENDY</character> <dialogue>It's me...</dialogue> <scene_description>CUT TO: A117 A117</scene_description> </scene> <scene> <stage_direction>I/E MOVING STUDENT CAR - DAY</stage_direction> <scene_description>Wendy drives through Brooklyn with Darwan by her side. Their conversation in the following sequence is punctuated by long, easy silences: they are as comfortable together as an old married couple.</scene_description> <character>WENDY</character> <dialogue>How is Jasleen?</dialogue> <character>DARWAN</character> <dialogue>She's very busy. She goes to school now, taking classes...</dialogue> <scene_description>They drive around Fort Tryon Park where the leaves are changing in the amber September sun...</scene_description> <character>WENDY (O.S.)</character> <dialogue>Who do you think will win the World Series?</dialogue> <character>DARWAN (O.S.)</character> <dialogue>Well, Indians don't know baseball. Cricket's our game.</dialogue> <scene_description>Passing through Grand Army Plaza, with its bronze Civil War statue of General Sherman...</scene_description> <character>DARWAN</character> <dialogue>How do you like your new apartment?</dialogue> <character>WENDY</character> <dialogue>It's an adjustment. I'm tasting it.</dialogue> <scene_description>They exchange smiles. LATER - Passing through Carroll Gardens, with its affluent homes guarded by elaborate wrought-iron gates... ...Williamsburg waterfront, with its decaying artist- inhabited buildings and water taxis...</scene_description> <character>WENDY</character> <dialogue>You're so quiet.</dialogue> <character>DARWAN</character> <dialogue>You're not doing anything wrong.</dialogue> </scene> <scene> <stage_direction>I/E. DRIVING TEST SITE - BROOKLYN - ANOTHER DAY</stage_direction> <scene_description>Darwan paces alone, shivering a little in the fall air. He keeps stopping to peer anxiously down the street. CONTINUED: He buys coffee from a STREET VENDOR. Suddenly he sees the student car returning with Wendy at the wheel. The TEST EXAMINER (#2) is in the passenger seat beside her. Abandoning the coffee and his money with the Vendor, Darwan breaks into a run... WIDE ANGLE - Examiner #2 emerges from the passenger side, striding away with her clipboard. As Darwan reaches the car, Wendy jumps from the car and flings her arms around him with a little SHRIEK of victory.</scene_description> </scene> <scene> <stage_direction>I/E MOVING STUDENT CAR #2 - LATER - DAY</stage_direction> <scene_description>Darwan drives through Brooklyn, taking Wendy back to Manhattan. She's on her cell phone to Tasha.</scene_description> <character>WENDY</character> <parenthetical>(into phone)</parenthetical> <dialogue>Sweetie, I got it!...Yes!...I wasn't as nervous this time...Soon, I hope. When are the leaves turning up there? I've always wanted to see that!...</dialogue> <scene_description>As her CONVERSATION FADES we PAN TO DARWAN'S FACE: conflicted, as their relationship draws to a close. Suddenly Wendy pokes his arm, breaking his trance.</scene_description> <character>WENDY</character> <dialogue>Park here!</dialogue> <scene_description>She's pointing gaily to a CAR DEALERSHIP.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT, CAR DEALERSHIP - LATER - DAY</stage_direction> <scene_description>A SALESMAN stands with Darwan and Wendy looking at a RED COMPACT car.</scene_description> <character>WENDY</character> <dialogue>It's a good price.</dialogue> <character>SALESMAN</character> <dialogue>You can drive it off the lot today, if the color's okay with you.</dialogue> <character>WENDY</character> <dialogue>I never thought of red, but...?</dialogue> <scene_description>CONTINUED: She turns to Darwan.</scene_description> <character>DARWAN</character> <dialogue>Red is happy. It's what the bride wears to the wedding in India.</dialogue> <character>WENDY</character> <dialogue>But what does it say about me? I'm a hot little number? Hussy on board?</dialogue> <character>DARWAN</character> <dialogue>It says...</dialogue> <scene_description>He leans in and whispers:</scene_description> <character>DARWAN</character> <dialogue>"Don't fuck with me."</dialogue> <scene_description>They both break up GIGGLING, their heads together. The Salesman eyes them, thinking they are certainly the oddest couple he's seen in a while.</scene_description> </scene> <scene> <stage_direction>INT. SALESMAN'S CUBICLE - LATER - DAY</stage_direction> <scene_description>The Salesman prepares the paperwork at his desk. Darwan and Wendy sit opposite.</scene_description> <character>SALESMAN</character> <dialogue>So, who is purchasing the vehicle, you or your wife?</dialogue> <character>DARWAN</character> <parenthetical>(taken aback)</parenthetical> <dialogue>She's -- she's not my wife.</dialogue> <character>SALESMAN</character> <dialogue>But whose name will the car be under, sir?</dialogue> <character>DARWAN</character> <dialogue>Really, we are not together.</dialogue> <character>WENDY</character> <parenthetical>(teasing)</parenthetical> <dialogue>Honey, it's okay.</dialogue> <parenthetical>(to Salesman)</parenthetical> <dialogue>I'm buying it.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT, CAR DEALERSHIP - LATER - LATE AFTERNOON</stage_direction> <scene_description>The salesman leads them back to the little red car and ceremoniously hands Wendy her new car keys. Darwan CLAPS in applause. Wendy beams. It's like a birthday. The Salesman returns inside. Wendy opens her car door.</scene_description> <character>WENDY</character> <dialogue>Wait. How do I get home?</dialogue> <character>DARWAN</character> <dialogue>You can follow me to the bridge.</dialogue> <scene_description>She still doesn't get in. They're both reluctant, now that this moment is here.</scene_description> <character>WENDY</character> <dialogue>Darwan...Thank you.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>I'll be hearing your voice in my head for a long time.</dialogue> <character>DARWAN</character> <dialogue>That would please me.</dialogue> <character>WENDY</character> <dialogue>Well...Here goes!</dialogue> <scene_description>She turns to climb inside her new car. His formality crumbles; he holds her back; words rush from him heedlessly; he knows he's begging but can't stop himself:</scene_description> <character>DARWAN</character> <dialogue>Wendy -- could we go somewhere? We can celebrate, have dinner -- please --</dialogue> <scene_description>She's already shaking her head.</scene_description> <character>DARWAN</character> <dialogue>Or have coffee some time, just to chat --</dialogue> <character>WENDY</character> <dialogue>I can't.</dialogue> <scene_description>It costs her to refuse him, and her eyes show her regret.</scene_description> <character>DARWAN</character> <dialogue>I want to see you again.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WENDY</character> <dialogue>I know.</dialogue> <scene_description>She quickly wraps her arms around his neck, hugging him close. His heart opens wide and he presses himself to her. Then she pulls away.</scene_description> <character>WENDY</character> <dialogue>The trouble is...</dialogue> <character>DARWAN</character> <dialogue>What? Why?</dialogue> <scene_description>She leans in and gives him a soft kiss on the cheek. Then:</scene_description> <character>WENDY</character> <dialogue>...You're a good man.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>You're my faith.</dialogue> <scene_description>He looks on forlornly as she gets into her new car, puts the key in the ignition.</scene_description> <character>DARWAN</character> <dialogue>Wendy.</dialogue> <scene_description>She looks up.</scene_description> <character>DARWAN</character> <parenthetical>(his voice rough with emotion)</parenthetical> <dialogue>Seat belt first.</dialogue> </scene> <scene> <stage_direction>EXT. SEQUENCE OF SHOTS, BROOKLYN - LATER - LATE AFTERNOON</stage_direction> <scene_description>The little red car follows the student car toward the Brooklyn Bridge. The Student Car turns to go to Queens as the little red car goes over the bridge. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PRAYER ROOM, GURDWARA - LATER - MAGIC HOUR</stage_direction> <scene_description>Darwan enters. There's a crowd, mostly men arrived after work. Darwan sees an open spot next to a woman. He makes a move toward it, then stops short. CONTINUED: He realizes it's Jasleen. Her eyes are downcast in prayer, her lips moving. He is struck by the simple, heartfelt devotion in her face. An image out of the old country. He retreats so she won't see him.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT APARTMENT - LATER - NIGHTFALL</stage_direction> <scene_description>Jasleen enters, her arms of with school books and grocery bags. She stops short, seeing Darwan seated on the bed. He's very still, just looking at her.</scene_description> <character>JASLEEN</character> <parenthetical>(much improved English)</parenthetical> <dialogue>Darwan, I didn't expect you.</dialogue> <scene_description>Something in his manner makes her put down her bags and sit quickly beside him.</scene_description> <character>DARWAN</character> <dialogue>Jasleen...Maybe I will not work at night anymore. Would you like that?</dialogue> <character>JASLEEN</character> <dialogue>Oh, yes!</dialogue> <scene_description>A beat. He drops his eyes, feeling his awkwardness, his stubborn formality. He must gather his courage to "cross the divide," as Wendy would say.</scene_description> <character>JASLEEN</character> <dialogue>Darwan?</dialogue> <scene_description>He looks up.</scene_description> <character>JASLEEN</character> <dialogue>If you have more time now... can you teach me to drive?</dialogue> <scene_description>He lights up. Gazing at her with a warmth and a need she hasn't see before, he stretches his hand to her face.</scene_description> <character>DARWAN</character> <dialogue>Yes.</dialogue> <scene_description>His fingers touch her cheek tenderly, as if she was treasure. Her dark eyes shine, and she leans her face gratefully into his palm... END MUSIC SEQUENCE BEGINS:</scene_description> </scene> <scene> <stage_direction>EXT. WENDY'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>ANGLE ON CAR TRUNK OPENING. The DOORMAN places her LUGGAGE inside.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S NEW CAR - DAY</stage_direction> <scene_description>HER NEW KEY ENTERS THE IGNITION, turning...</scene_description> </scene> <scene> <stage_direction>INT. MOVING CAR - LATER - DAY</stage_direction> <scene_description>Wendy drives slowly, with growing confidence, through the New York streets. HER EYES flicker up, down, side to side, using the mirrors, reading the signs, seeing the whole picture. FANTASY: Magically, more travellers materialize all around as if accompanying and escorting her into the traffic flow: a TAXI, a VAN, a TEENAGER ON A SCOOTER, a PEDI-CAB, a MOTORCYCLIST, a PUSHCART VENDOR, a BICYCLE MESSENGER, a mighty river of travellers; all carried, like her, into the uncharted horizon... And as far as she can see ahead, all the TRAFFIC LIGHTS ARE GREEN.</scene_description> <character>DARWAN (V.O.)</character> <dialogue>Go on, Wendy. You have the light.</dialogue> <scene_description>WENDY takes a DEEP BREATH. HER FOOT PRESSES THE ACCELERATOR DEEPER.:</scene_description> </scene> <scene> <stage_direction>EXT. ROUTE, VERMONT - DAY</stage_direction> <scene_description>WENDY'S CAR skims up a two-lane road, entering the arches of dazzling AUTUMN FOLIAGE: LEAVES turning scarlet, saffron, orange, and crimson, against the turquoise sky, like the colors of a Punjabi wedding. FADE OUT.:</scene_description> </scene> </script>

Wendy (Patricia Clarkson) is a known book critic, who has just broken up with her husband, Ted (Jake Weber), during an argument in a bar. Her husband leaves the scene and calls a taxi that is driven by Darwan (Ben Kingsley), who is also an Indian Sikh. When Wendy suddenly jumps in the car, Darwan experiences their anger and heated exchange. The husband has enough of the accusations and sends Wendy home alone in the taxi, so Darwan also witnesses her sadness and regret. Wendy has never needed to drive in New York, but now she needs to learn, in order to visit her daughter Tasha (Grace Gummer) who is living and working on a commune farm in Vermont. Through a series of events, Wendy becomes Darwan's driving student, developing a close friendship in the process, as he is an intellectual and was a teacher back in India.[7] Wendy fails her license driving test on her first attempt and decides to stop trying. Tasha tells her that she has decided not to return to the farm and wants to live with her mother instead, even though it is a requirement for her college education. She also admits that she is in love with a student who was at the farm with her, and that he was going back to the college campus. Wendy tells her daughter that she must finish her farming experience and that she will figure out a way to visit her daughter. Darwan goes through an arranged marriage to Jasleen (Sarita Choudhury), but the marriage is not going well, as they don’t seem to have any common interests. Darwan confides in Wendy that his marriage is having problems and Wendy asks him if he would ever cheat on Jasleen if she disappointed him. He replies with a definitive no and she tells him: “you are a good man.” Wendy passes her next license driving test and Darwan helps her buy a new car. As they are saying their goodbyes, Darwan asks Wendy if they can meet in the future, but Wendy declines, telling him: "the trouble is, you’re a good man." Later that night, Jasleen comes home from shopping to find Darwan sitting on their bed. She sits next to him having no idea what to expect, when he asks: "Jasleen, maybe I will not work at night anymore. Would you like that?" She smiles with a sense of relief and he puts his hand on her face and his head on her shoulder, the pair both looking happy for the first time since their wedding day. The last scene shows Wendy driving out of New York in her new car, traveling alone to visit her daughter.

Gunpowder Milkshake_2021

tt8368408

<script> <scene> <scene_description>GUNPOWDER MILKSHAKE Written by Aharon Keshales Navot Papsuahdo Ehud Lavski January 2018</scene_description> </scene> <scene> <stage_direction>INT. A DINER - NIGHT</stage_direction> <scene_description>A shiny metal diner, straight from the fifties. WAITRESSES in white hover around the last few PATRONS. ROSE the waitress (20's) places a frothy chocolate milkshake on a tray. She brings it to a booth, where a little girl sits all by herself - Meet EVA. She's only eleven years old, but her eyes are so much older and wiser. She stares out the window, at the drops of rain smashing against the glass. Rose puts the milkshake in front of Eva.</scene_description> <character>ROSE</character> <dialogue>I put in an extra scoop for my favorite client.</dialogue> <character>EVA</character> <dialogue>Thanks, Rose.</dialogue> <scene_description>Eva's glance never leaves the window.</scene_description> <character>ROSE</character> <dialogue>I'm sure she won't be long.</dialogue> <character>EVA</character> <dialogue>You clearly don't know my mother very well.</dialogue> <scene_description>Rose puts her hand on Eva's shoulder and looks at her with sadness. She walks away. Eva stares at the thick Milkshake. At the two straws sticking out of it. A BELL rings as the front door opens.</scene_description> <character>ROSE (O.S.)</character> <dialogue>Hey stranger, can I lighten your load?</dialogue> <character>FEMALE VOICE (O.S.)</character> <dialogue>Not carrying today, Rose.</dialogue> <character>ROSE (O.S.)</character> <dialogue>First time for everything, I guess. She's over there.</dialogue> <character>FEMALE VOICE (O.S.)</character> <dialogue>Thanks for keeping an eye on her.</dialogue> <scene_description>The woman who entered sits down in the booth, across from Eva. Eva stares out the window defiantly.</scene_description> <character>FEMALE VOICE</character> <dialogue>We're doing this again?</dialogue> <character>EVA</character> <dialogue>You said you'd be here in thirty minutes.</dialogue> <character>FEMALE VOICE</character> <dialogue>So I'm a few minutes late-</dialogue> <character>EVA</character> <dialogue>Three hours!</dialogue> <scene_description>Eva turns, enraged, towards her mother - SCARLET (30's).</scene_description> <character>SCARLET</character> <dialogue>Really? Time flies when you're having fun.</dialogue> <scene_description>Scarlet looks like she's been through hell. She tries to hide it behind a playful smile. But Eva sees everything: Her mother's tired eyes. Her pale face. The blood stains peeking from beneath her coat.</scene_description> <character>EVA</character> <dialogue>You're bleeding.</dialogue> <character>SCARLET</character> <dialogue>Just another day at the office, sweetie. Did you bring it?</dialogue> <scene_description>Eva pulls a large hardcover book from her backpack and hands it to her mother. Scarlet looks at the cover: Louisa May Alcott's LITTLE WOMEN. Scarlet smiles.</scene_description> <character>SCARLET</character> <dialogue>Anna May can sure pick'em.</dialogue> <scene_description>Scarlet opens the book. There's a large hole in the pages. A 9mm handgun sits inside it.</scene_description> <character>EVA</character> <dialogue>It's loaded.</dialogue> <character>SCARLET</character> <dialogue>Good girl. Now listen, I'm going to go away for awhile.</dialogue> <character>EVA</character> <dialogue>Go where? I'm coming with you.</dialogue> <character>SCARLET</character> <dialogue>You can't. Not this time. Nathan will pick you up soon. He'll take care of you while I'm gone.</dialogue> <character>EVA</character> <dialogue>I don't want to go with Nathan. I want to stay with Anna May and the others.</dialogue> <character>SCARLET</character> <dialogue>It's not safe for you there anymore. You need to listen to me! I'm doing this for your own good-</dialogue> <character>EVA</character> <dialogue>Bullshit!</dialogue> <character>SCARLET</character> <dialogue>Language, Eva!</dialogue> <character>EVA</character> <dialogue>What's going on? What did you do?</dialogue> <character>SCARLET</character> <dialogue>It's complicated-</dialogue> <character>EVA</character> <dialogue>Tell me! I'm not a kid anymore.</dialogue> <scene_description>Scarlet stares at Eva with sadness, trying to remember every inch of her child's face.</scene_description> <character>SCARLET</character> <dialogue>No, you're not.</dialogue> <scene_description>Scarlet looks at the milkshake.</scene_description> <character>SCARLET</character> <dialogue>You haven't touched the milkshake.</dialogue> <character>EVA</character> <dialogue>I didn't want to drink it without you.</dialogue> <scene_description>Scarlet looks at Eva, touched. She grabs a straw. Eva takes the other one. They lean down and drink from the glass, eye to eye, heads almost touching. Their ritual. Scarlet lets go of the glass. She leaves a blood smear on it. Eva notices. She softens up.</scene_description> <character>EVA</character> <dialogue>Mom-</dialogue> <scene_description>Scarlet jumps out of her seat.</scene_description> <character>SCARLET</character> <dialogue>Stay! I need to make a quick phone call.</dialogue> <scene_description>Scarlet hurries towards a phone booth sitting in the back of the diner. Eva turns back to the rain outside. The bell rings. Rose greets the new clients.</scene_description> <character>ROSE (O.S.)</character> <dialogue>Evening, gentlemen. Can I lighten your load?</dialogue> <scene_description>A tough male voice answers with a Russian accent:</scene_description> <character>MALE VOICE (O.S.)</character> <dialogue>Get lost!</dialogue> <scene_description>Eva peeks out of her booth. She sees- Four huge RUSSIAN THUGS stand in the entrance, towering over Rose. They push her aside and begin scouring the diner. Eva gets back in the booth. She rearranges her hair in pig tails. She pulls a pink, sparkly jacket out of her backpack and puts it on. Finally, she takes out a doll and puts it on the table. She drinks her milkshake, looking completely harmless. The lead thug passes by Eva's booth. He looks at the little girl. Nothing to worry about. He continues on his way. Eva breathes a sigh of relief. The thug stops. He comes back to the table. He stares at- The milkshake. There's a bloody handprint on the glass. The thug sits down across the booth from Eva. Eva grabs the book and holds it tight.</scene_description> <character>THE LEAD THUG</character> <dialogue>Hello, little girl.</dialogue> <character>EVA</character> <dialogue>Mommy says I'm not allowed to talk to strangers.</dialogue> <character>THE LEAD THUG</character> <dialogue>This mommy. Looks a lot like you? Only bigger and more stabby? Got my father's blood all over her?</dialogue> <scene_description>Eva's lip quivers, on the verge of tears. She's a good actress.</scene_description> <character>EVA</character> <dialogue>I don't like you. You're mean!</dialogue> <scene_description>The thug pulls out a knife. He holds it in front of Eva's eyes.</scene_description> <character>THE LEAD THUG</character> <dialogue>Enough games. Where is she?</dialogue> <scene_description>Eva stops, her face blank. She stares at the thug. The thug runs his knife along Eva's forehead, drawing blood. Eva just stares at him, not even blinking.</scene_description> <character>THE LEAD THUG</character> <dialogue>Tell me where she is!</dialogue> <character>EVA</character> <parenthetical>(in Russian)</parenthetical> <dialogue>Go kiss a pig.</dialogue> <scene_description>The thug spits and curses in Russian. He pulls the book from Eva's hands and throws it open - It's empty. The gun's gone. From behind the thug, Scarlet's voice says:</scene_description> <character>SCARLET (O.S.)</character> <dialogue>Close your eyes, baby girl.</dialogue> <scene_description>Scarlet holds the handgun to the thug's head. Eva shuts her eyes. We stay on Eva's closed eyes as the sounds of battle explode all around us: Gunshots. Bullets whistling by. Glass shattering. Plates breaking. Screams of pain. Bodies hitting the ground. And finally - Silence. The front door bell rings. Eva opens her eyes. Through the window she sees- Her mother, running away into the rainy night. A car screeches to a halt in front of Scarlet. Scarlet stops, her hand on the door handle. But she can't find the strength to look at Eva - she gets into the car. Eva jumps out of the booth.</scene_description> <character>EVA</character> <dialogue>Mom, stop!</dialogue> <scene_description>Eva runs past the carnage her mother left behind. The dead bodies of the four thugs, lying on the floor.</scene_description> <character>EVA</character> <dialogue>Stop!</dialogue> <scene_description>Eva's about to burst out of the door when- A man gets in her way. NATHAN (40's), dressed all in black. An expressionless, scarred face and eyes that stare into your soul. He puts his hands on Eva, stopping her. She fights him but he's too strong. Finally, she gives up. Eva stares at the car driving away, taking her mother from her. Tears flood the little girl's eyes. CUT TO BLACK:</scene_description> </scene> <scene> <stage_direction>INT. EVA'S HOUSE - NIGHT</stage_direction> <scene_description>Everything is quiet. Dark. The front door opens with a creak. A silhouette stands in the doorway, illuminated by moonlight - A WOMAN, holding a silenced 9mm. She walks in. Her shoes leave dark footmarks on the impeccably clean floor. They look suspiciously like blood. IN THE KITCHEN She lays her gun and mobile phone on the counter. She opens the fridge door. It floods her with white light: It's EVA, now in her late 20's. Strong. Confident. Even in her current tired, beaten state, there's power to her presence. A small scar on her forehead is a memento of that night at the diner. She takes out milk, ice cream, and chocolate syrup. She empties them into a mixer and punches the button, bringing it to roaring life. Seconds later - She pours the thick, frothy milkshake into a tall glass and sticks a straw in it. WE CLOSE in on her blood-splattered face as she drinks it. Finally, some relief.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S BATHROOM - LATER</stage_direction> <scene_description>Lights flicker to life. Eva stands in front of the mirror, examining a cut on her neck. Her clothes - a tactical black suit under a beige raincoat - are soaked with BLOOD. Some is hers. Most of it isn't. She pulls weapons from under her raincoat and throws them in the tub. They hit with a metallic clunk - A tomahawk - A long hunting knife - A sawed-off shotgun - A baton - Two knuckle dusters - two revolvers - All of them covered in blood.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S BEDROOM - LATER</stage_direction> <scene_description>Eva sits on the edge of the bed, freshly showered and cleaned. She's stitching a huge knife-wound in her arm with the confidence of someone who's done it a hundred times. Her mobile phone starts ringing. Eva knows she can't ignore this particular caller. She takes a long breath before she answers.</scene_description> <character>EVA</character> <dialogue>Hi, Nathan.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>Where are you?</dialogue> <character>EVA</character> <dialogue>At home, sewing.</dialogue> <scene_description>Eva cuts the surgical thread with her teeth.</scene_description> <character>NATHAN</character> <dialogue>Ah, so you didn't just pull a freelance hit without telling us?</dialogue> <character>EVA</character> <dialogue>I wasn't aware I needed your permission.</dialogue> <character>NATHAN</character> <dialogue>Eva, the firm is willing to ignore your little side activities. But you make things very difficult for me when you screw up this badly.</dialogue> <character>EVA</character> <dialogue>How much trouble am I in?</dialogue> <character>NATHAN</character> <dialogue>Just come to the office.</dialogue> <scene_description>Eva thinks about it.</scene_description> <character>EVA</character> <dialogue>I'll meet you at the diner.</dialogue> <character>NATHAN</character> <dialogue>So that's where we are now? The diner?</dialogue> <character>EVA</character> <dialogue>Tonight we are.</dialogue> <character>NATHAN</character> <dialogue>Fine. See you there.</dialogue> <scene_description>He hangs up.</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT</stage_direction> <scene_description>Eva walks in the door. Same fifties diner. Same WAITRESSES serving PATRONS in booths. But something about the patrons seems...OFF. A waitress walks over to Eva, flashing the warmest smile. ROSE, now in her 40's.</scene_description> <character>ROSE</character> <dialogue>Evening, sugar. Can I lighten your load?</dialogue> <scene_description>And with that, Rose holds her apron pocket open.</scene_description> <character>EVA</character> <dialogue>Yes, of course.</dialogue> <scene_description>Eva pulls a handgun from her coat. She places it inside Rose's pocket. Rose looks back. Behind the counter, an OLDER WAITRESS stares at a small B&amp;W TV. She nods.</scene_description> <character>ROSE</character> <dialogue>Sit anywhere, sweetie. I'll bring you your usual.</dialogue> <scene_description>Eva walks over to a booth and sits down. She looks around. Tough-looking men fill all the booths, speaking to each other quietly. The tension is palatable. Rose comes back with a chocolate milkshake and winks at Eva.</scene_description> <character>ROSE</character> <dialogue>An extra scoop for my favorite client.</dialogue> <character>EVA</character> <dialogue>Thanks, Rose.</dialogue> <scene_description>NATHAN, now in his 50's walks into the diner. He looks, if possible, even tougher than before.</scene_description> <character>ROSE</character> <dialogue>Evening, darling. Can I lighten your load?</dialogue> <scene_description>Nathan absentmindedly pulls out a handgun and throws it in Rose's pocket. She looks back at the older waitress who SHAKES her head.</scene_description> <character>NATHAN</character> <dialogue>Is there a problem?</dialogue> <scene_description>The older waitress turns the TV towards him. An X-RAY view of his body fills the screen. It shows a small gun stuck in his sock. Nathan pulls it out. He throws it in Rose's pocket.</scene_description> <character>NATHAN</character> <dialogue>Forgot about this one.</dialogue> <character>ROSE</character> <dialogue>Of course you did.</dialogue> <scene_description>Nathan sits down across the booth from Eva. She tenses up.</scene_description> <character>NATHAN</character> <dialogue>These girls are worse than the Stasi. You hurt?</dialogue> <character>EVA</character> <dialogue>I'll live.</dialogue> <character>NATHAN</character> <dialogue>So? What the hell happened?</dialogue> <character>EVA</character> <dialogue>Bad intel. There were supposed to be four or five Koreans with peashooters.</dialogue> <character>NATHAN</character> <dialogue>And?</dialogue> <character>EVA</character> <dialogue>I stopped counting after twenty.</dialogue> <character>NATHAN</character> <dialogue>That's what happens when you take unsanctioned jobs. Things get messy.</dialogue> <character>EVA</character> <dialogue>So you're mad we're not going steady?</dialogue> <character>NATHAN</character> <dialogue>No, I'm mad because one of my contractors just put thirty-one Koreans in body bags!</dialogue> <character>EVA</character> <dialogue>They won't connect it to you.</dialogue> <character>NATHAN</character> <dialogue>That's not the point! The firm needs to know they have you under control.</dialogue> <character>EVA</character> <dialogue>You mean, you have me under control.</dialogue> <character>NATHAN</character> <dialogue>Eva, I'm on your side. But there are limits to what I can do. If you mess up again, they'll put you down. You and everyone you care about. That's protocol.</dialogue> <scene_description>Eva knows it's true.</scene_description> <character>EVA</character> <dialogue>So now what?</dialogue> <character>NATHAN</character> <dialogue>Now, you make nice with the firm. Lucky for you, your talents are needed tonight.</dialogue> <character>EVA</character> <dialogue>What's the job?</dialogue> <character>NATHAN</character> <dialogue>Someone stole a briefcase from us. We need it back.</dialogue> <character>EVA</character> <dialogue>Who's crazy enough to steal from the firm?</dialogue> <character>NATHAN</character> <dialogue>Someone desperate.</dialogue> <character>EVA</character> <dialogue>What's in the bag?</dialogue> <character>NATHAN</character> <dialogue>None of your business. You just bring it back, OK?</dialogue> <scene_description>A long beat. Eva nods.</scene_description> <character>NATHAN</character> <dialogue>That's my girl. I'll text you the address later. And get some clean boom sticks, for god's sake.</dialogue> </scene> <scene> <stage_direction>EXT. THE LIBRARY - NIGHT</stage_direction> <scene_description>Eva stands across the street from the huge, historic building. Four stone LIONESS STATUES sit at the top of a long flight of steps, guarding the entrance. One statue is broken. Eva sighs. She clearly doesn't want to be here. But she grabs her duffel bag and walks towards the building.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRAY - CONTINUOUS</stage_direction> <scene_description>We catch glimpses of Eva through the packed book shelves as she walks through the huge reading room. Warm, beautiful and empty. Eva approaches THE LIBRARIAN's desk. A conservatively dressed, strict looking woman in her 50's sits behind it. According to her name tag, this is MADELEINE. She looks up to greet Eva.</scene_description> <character>MADELEINE</character> <dialogue>Hello dear, what can I do you for?</dialogue> <character>EVA</character> <dialogue>I need to exchange some books.</dialogue> <scene_description>Eva places her duffel bag on the desk.</scene_description> <character>MADELEINE</character> <dialogue>Well, that's nice. Not a lot of people your age read these days. Do you have a card with us?</dialogue> <character>EVA</character> <dialogue>No. But I'd like to open one.</dialogue> <character>MADELEINE</character> <dialogue>Wonderful. What kind of books are you interested in?</dialogue> <character>EVA</character> <dialogue>Mostly smaller ones. Maybe a few heavies.</dialogue> <scene_description>Madeleine takes off her reading glasses and examines Eva.</scene_description> <character>MADELEINE</character> <dialogue>Have we met before? You look so familiar.</dialogue> <character>EVA</character> <dialogue>I'm embarrassed to say it's been a while since I've visited a library.</dialogue> <character>MADELINE</character> <dialogue>Well that's no way to live, dear. Let's get you into a good book.</dialogue> </scene> <scene> <stage_direction>INT. THE LIBRARY BASEMENT - LATER</stage_direction> <scene_description>Madeleine walks Eva down a spiral staircase. At the bottom is a heavy door with a "RARE BOOKS" sign. There are three locks on it. Madeleine takes out the kind of keychain butlers carry in Victorian movies. She begins opening locks. THE RARE BOOKS ROOM Madeleine walks Eva through the dark room. Rows and rows of shelves filled with large, dusty tomes. Another female librarian appears from around a corner. ANNA MAY(50's). Same demeanor and sense of style. She holds a huge accounting book, taking inventory.</scene_description> <character>MADELEINE</character> <dialogue>Anna may, this lovely young lady wants to open a card with us.</dialogue> <scene_description>Anna May walks to Eva and examines her from head to toe. She turns to Madeleine with a PISSED OFF look.</scene_description> <character>ANNA MAY</character> <dialogue>Well, Madeleine should have known we don't take new readers without a reference.</dialogue> <character>MADELEINE</character> <dialogue>I had a hunch.</dialogue> <character>ANNA MAY</character> <dialogue>Fudge your hunches, if you pardon my french.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Florence dear, will you join us?</dialogue> <scene_description>A third librarian emerges from the shadows behind Eva. Eva turns to see a sawed-off shotgun pointing right at her. This is FLORENCE (50's).</scene_description> <character>ANNA MAY</character> <dialogue>I'm afraid we need a tie breaker. Madeleine thinks this girl needs to do some reading.</dialogue> <character>MADELEINE</character> <dialogue>I have a hunch. Something in her eyes feels familiar.</dialogue> <character>ANNA MAY</character> <dialogue>Hunch Shmunch. I on the other hand, believe we should dispose of her body and have a long talk about our onboarding protocols.</dialogue> <character>EVA</character> <dialogue>You know I can hear you, right?</dialogue> <character>ANNA MAY</character> <dialogue>Hush dear, don't be rude. Florence?</dialogue> <character>FLORENCE</character> <dialogue>Turn around, hon.</dialogue> <scene_description>Eva turns. Florence cocks her shotgun.</scene_description> <character>MADELEINE</character> <dialogue>Please don't shoot her by accident like the other day.</dialogue> <character>FLORENCE</character> <dialogue>I slipped. There's really no point going on about it.</dialogue> <scene_description>Florence weighs the options for a long, tense moment. She examines Eva. Suddenly, her expression changes.</scene_description> <character>FLORENCE</character> <dialogue>What did you say your name was?</dialogue> <character>MADELEINE</character> <dialogue>She didn't.</dialogue> <character>ANNA MAY</character> <dialogue>Well, girl? Cat got your tongue?</dialogue> <scene_description>Eva really doesn't want to say it. Anna May is getting angry.</scene_description> <character>ANNA MAY</character> <dialogue>Speak up!</dialogue> <character>EVA</character> <parenthetical>(sighs)</parenthetical> <dialogue>It's Eva.</dialogue> <scene_description>A reverent silence takes over the room.</scene_description> <character>FLORENCE</character> <dialogue>Scarlet's kid?!</dialogue> <character>EVA</character> <dialogue>Yep.</dialogue> <character>MADELEINE</character> <dialogue>I told you I had a hunch! She has her eyes.</dialogue> <character>FLORENCE</character> <dialogue>We haven't seen you since you were about yea high. How is your mother?</dialogue> <character>EVA</character> <dialogue>Haven't seen her in fifteen years.</dialogue> <character>ANNA MAY</character> <dialogue>Well, at least we have something in common.</dialogue> <character>MADELEINE</character> <dialogue>I can't believe it's little Eva. We hear about you all the time.</dialogue> <character>FLORENCE</character> <dialogue>You've made quite a reputation for yourself.</dialogue> <character>MADELEINE</character> <dialogue>Come here! Give auntie Madeleine a hug.</dialogue> <scene_description>Florence lowers her shotgun as Madeleine hugs Eva. Anna May grinds her teeth in disapproval. Florence takes the duffel bag, puts it on the desk and unzips it. She whistles.</scene_description> <character>FLORENCE</character> <dialogue>A nice collection. And you take good care of it. Let me guess, you're the sentimental type?</dialogue> <scene_description>She pulls out an old school revolver and spins the cylinder. RO-MAN-TIC.</scene_description> <character>EVA</character> <dialogue>Sentimental types don't last long doing this. So no, I don't think I'm the sentimental type.</dialogue> <scene_description>Anna May steps forward. She pulls out two 9mms with silencers. She spins them around her fingers, checking their balance. Billy the kid style. She aims them both at Eva. Eva's heart misses a beat.</scene_description> <character>ANNA MAY</character> <dialogue>So, you're an idealist?</dialogue> <character>EVA</character> <dialogue>Nope. Maybe I don't have a type.</dialogue> <character>ANNA MAY</character> <dialogue>Everyone has a type.</dialogue> <character>FLORENCE AND MADELEINE</character> <dialogue>Everyone.</dialogue> <character>EVA</character> <dialogue>Then maybe I'm the -</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Professional type.</dialogue> <character>ANNA MAY</character> <dialogue>Ah! Old school. No women-no children type?</dialogue> <scene_description>Eva stares right into the barrels of Anna May's guns.</scene_description> <character>EVA</character> <dialogue>Women are fair game.</dialogue> <character>FLORENCE</character> <dialogue>Gender equality. Very progressive.</dialogue> <character>MADELEINE</character> <parenthetical>(delighted)</parenthetical> <dialogue>She's a feminist.</dialogue> <scene_description>Anna May lowers the guns.</scene_description> <character>ANNA MAY</character> <dialogue>Fine. You get to live. We'll make these disappear and get you some new, clean books.</dialogue> <scene_description>Anna May goes to the shelves and starts pulling out books.</scene_description> <character>ANNA MAY</character> <dialogue>You'll need a Jane Austen. A Charlotte Bronte. Maybe a Simone de Beauvoir. Ooh, a Virginia Wolfe.</dialogue> <scene_description>She brings the stack of books to Eva. She opens a large one in front of her. There's a big hole through the pages. Inside it, sitting snugly - A submachine gun. And for the first time, Eva smiles. It doesn't last, because - Her phone beeps. She checks it out. A message from Nathan - LE BONBON LOVE HOTEL - Room 114</scene_description> </scene> <scene> <stage_direction>INT. LE BONBON LOVE HOTEL - NIGHT</stage_direction> <scene_description>Black velvet paintings, red lights and disco music. So sleazy, you can almost smell the bodily fluids. A WILLEM DAFOE doppelganger sits behind the reception desk, leafing through an IKEA catalogue and smoking a cigarette. He looks up as Eva walks in. She wears a slick black outfit. Hair tied back. Black boots heavy enough to crash your larynx. The duffle bag in her hand. Not sexy. Functional. But that doesn't slow down old pervo. He tries to be charming.</scene_description> <character>WILLEM</character> <dialogue>Bonsoir mademoiselle.</dialogue> <character>EVA</character> <dialogue>Bonsoir. Parlez-vous français?</dialogue> <scene_description>He doesn't.</scene_description> <character>EVA</character> <dialogue>C'est une si belle langue même quand elle vient d'un cochon comme toi.</dialogue> <scene_description>Willem looks like a deer in headlight as subtitles appear: "It's such a beautiful language, even when it's spoken by a pig like you".</scene_description> <character>WILLEM</character> <dialogue>Oui oui. Merci...</dialogue> <character>EVA</character> <parenthetical>(sighs)</parenthetical> <dialogue>I need a room. On the first floor.</dialogue> <character>WILLEM</character> <dialogue>Just for you?!</dialogue> <character>EVA</character> <dialogue>Just pour moi.</dialogue> <scene_description>He checks her from head to toe. He spots the duffel bag.</scene_description> <character>WILLEM</character> <dialogue>Tell you what. I'll let you pick any room you want, for free. As long as I get to watch.</dialogue> <scene_description>Willem winks with a huge smile. Eva stares at him blankly.</scene_description> <character>EVA</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>INT. LE BONBON LOVE HOTEL/CORRIDOR - NIGHT</stage_direction> <scene_description>Eva walks fast, inspecting the room doors. Every door is decorated with its own atrocious theme. Willem trails behind. Eva stops in front of ROOM 114. Its door is decorated with hearts. Bingo. She points to the door next to it. The leopard print one.</scene_description> <character>EVA</character> <dialogue>That one.</dialogue> <character>WILLEM</character> <dialogue>Are you sure? One-twenty-six has a Jacuzzi big enough for two.</dialogue> <character>EVA</character> <dialogue>Positive.</dialogue> <character>WILLEM</character> <dialogue>As you wish, my lady.</dialogue> <scene_description>He unlocks the door and holds it for Eva. She walks in. He follows.</scene_description> <character>WILLEM</character> <dialogue>Welcome to the jungle.</dialogue> </scene> <scene> <stage_direction>INT. LOVE HOTEL/THE JUNGLE ROOM - CONTINUOUS</stage_direction> <scene_description>Quietly, without Eva noticing, Willem locks the door behind them. He slips the key into his pocket. Eva walks to the bed and throws her duffel bag on it. The full horror of the decor is exposed: Leopard print bed, fur covered chairs and mini-fridge, plastic palm trees. It's like a jungle threw up in here. Willem throws a switch. Jungle sound FX begin. Bird calls. Monkey howls. Whistling, Willem struts to the fridge and takes out a tiny bottle of champagne. He pops it open. Eva unzips the duffel bag. Willem pours the champagne into a glass. He sneaks a PILL into it. Its fizzle disappears among the champagne's bubbles. He hands the roofied glass to Eva and lies down on the bed.</scene_description> <character>WILLEM</character> <dialogue>Champagne. On the house.</dialogue> <character>EVA</character> <dialogue>Go sit in the chair.</dialogue> <character>WILLEM</character> <dialogue>Yes, ma'am.</dialogue> <scene_description>He sits down in the furry chair, staring at her expectantly. Eva puts the glass on the dresser. She takes out a pair of black gloves and begins to put them on. Willem's eyes pop out of their sockets. OK!</scene_description> <character>EVA</character> <dialogue>Give me a cigarette.</dialogue> <character>WILLEM</character> <dialogue>Sorry, you can't smoke in here.</dialogue> <parenthetical>(points up)</parenthetical> <dialogue>Smoke detector. Safety first.</dialogue> <character>EVA</character> <dialogue>Always.</dialogue> <scene_description>Eva takes out a lightweight KEVLAR vest and puts it on. Willem's not sure what he's seeing, but he rolls with it.</scene_description> <character>WILLEM</character> <dialogue>Nice. Very Kinky.</dialogue> <scene_description>Eva takes out a roll of BLACK DUCT TAPE. She slowly begins pulling the tape loose.</scene_description> <character>WILLEM</character> <dialogue>Rock n' roll.</dialogue> <scene_description>She starts wrapping the tape around him, tying him to the chair. She's not delicate.</scene_description> <character>WILLEM</character> <dialogue>Oww! That's a little too tight, babe.</dialogue> <scene_description>Eva takes the cigarette pack from Willem's pocket. She takes one out and shoves the pack in his mouth. She duct tapes over it.</scene_description> <character>EVA</character> <dialogue>Hold this for me.</dialogue> <scene_description>Eva pulls a SILENCED 9MM out of her bag. It's at this point that Willem begins to really FREAK OUT. She lights the cig and takes a puff. She then places the lit cigarette between Willem's legs. Smoke begins to rise. Willem stares at it in horror. Eva pulls the room key from his pocket. She unlocks the door and walks out. Willem squirms in terror as the flame rises, trying to put it out. But this only makes it worse.</scene_description> </scene> <scene> <stage_direction>INT. THE HEARTS ROOM - NIGHT</stage_direction> <scene_description>Eva unlocks ROOM 114 with Willem's key and sneaks in, gun in hand. The sound of running water is heard from behind the closed shower door. Eva peeks into the room. It's Filled with hearts of different sizes. Hearts wallpaper. Heart pillows. THE BRIEFCASE sits on the heart-shaped bed. A white Hello Kitty phone lies beside it. Eva walks over and picks up the briefcase. She turns to walk to the door. Easy peasy lemon - Kachaaaaaaaaaaa!!!!!! The HELLO KITTY phone comes to life! Playing a disgustingly catchy Japanese pop song. The shower door flies open. A man in his forties runs into the room. Wet, a heart pattern towel covering what needs covering. DAVID. He stops in his place, in shock at the sight of Eva and the gun pointed at him.</scene_description> <character>DAVID</character> <dialogue>Please, I need to answer it.</dialogue> <character>EVA</character> <dialogue>What you need is to stop moving.</dialogue> <scene_description>David takes another step towards the phone.</scene_description> <character>DAVID</character> <dialogue>You don't understand-</dialogue> <character>EVA</character> <dialogue>I'm not the understanding type.</dialogue> <scene_description>The Japanese pop song is driving Eva crazy. She turns her gun towards the phone - David's eyes widen in terror.</scene_description> <character>DAVID</character> <dialogue>No!</dialogue> <scene_description>David charges at Eva to stop her, catching her by surprise. He pushes her onto the heart shaped table behind her, shattering it to pieces. The half-naked man is desperate, clawing at her, trying to grab her gun. Eva holds on to it, not letting go. Suddenly - A muffled BANG is heard. It takes David a second to realize he's shot. He gets to his feet, looking at the hole in his stomach. At the blood pouring out of him.</scene_description> <character>DAVID</character> <dialogue>No...no...no...</dialogue> <scene_description>David collapses on the bed. Eva stumbles to her feet. She looks at him. His blood spreading on the red sheets to the sound of Japanese girls singing. It didn't have to go down like this. With his last ounce of strength, David pushes a button on the phone. Eva is too slow to react. A CREEPY VOICE booms out of the phone's speaker.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Playing hard to get? Not very smart, moron. Not unless you want me to send your little princess back in pieces.</dialogue> <scene_description>Eva is the embodiment of SHOCK.</scene_description> <character>CREEPY VOICE</character> <dialogue>You have exactly sixty minutes to bring the briefcase to the address I text you. A minute late, and she'll be celebrating her eighth birthday with the worms. SIXTY MINUTES!</dialogue> <scene_description>Click. Silence... With a shrill scream of KAWAII! (Cute in Japanese), a text message appears on the phone's screen: THE GUTTERBALL BOWLING ALLEY - 2nd and Pico Eva looks from the phone, to the briefcase, to the dying man - The goddman shitshow she stumbled into. David gasps. He stares up at Eva.</scene_description> <character>DAVID</character> <dialogue>Please...My daughter...</dialogue> <scene_description>Eva looks at him, fighting something inside her. Eventually, she turns and walks out the door.</scene_description> </scene> <scene> <stage_direction>INT. LOVE HOTEL/CORRIDOR - CONTINUOUS</stage_direction> <scene_description>Eva bursts out of the room, briefcase in hand. She hurries down the corridor. But with every step, her feet grow heavier. Soon, it's like she's trudging through water. She comes to a complete stop, the struggle showing on her face.</scene_description> <character>EVA</character> <dialogue>Fuck me!</dialogue> <scene_description>And with that, the FIRE ALARM begins to ring, echoing loudly in the corridor. Eva turns and goes back to the hearts room. She disappears inside it. Doors fly open and half-dressed couples pour into the corridor. Exactly the kind of crowd you'd expect to find in a place like this. They all run to the exit. Eva walks out of the HEARTS ROOM, supporting the half- conscious David, his body covered by a heart pattern blanket. Nobody gives them a second look. In fact, they're the most normal looking couple in the place.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE HOTEL - NIGHT</stage_direction> <scene_description>Eva jams David into the trunk of her car.</scene_description> <character>EVA</character> <dialogue>Don't die.</dialogue> <scene_description>She slams the lid shut. Eva gets in the car and throws the BRIEFCASE and HELLO KITTY phone on the passenger seat. She sets the timer on her watch to 47:00 minutes. She presses a button and the timer starts counting back. Eva turns the key and drives away, tires screeching.</scene_description> </scene> <scene> <stage_direction>INT. THE CLINIC - NIGHT</stage_direction> <scene_description>The shiny metal elevator doors open with a ding. Eva stumbles out of the elevator, supporting the half-dead David. She drags him down the corridor, giving us a good look at the space. Huge photos fill the white walls. Close-ups of smiling mouths, perfect teeth glistening. Yeah, you guessed right - it's a DENTIST'S office. They stagger to the reception area. It's white. Sterile. A NURSE sits behind the desk. She looks up at Eva. She points to a large model of a TOOTH that sits on the counter. Eva sighs. She leans David against the desk, face down. He groans. She opens the tooth model and drops her gun in.</scene_description> <character>NURSE</character> <dialogue>Room 3. I'll get the doctor.</dialogue> </scene> <scene> <stage_direction>INT. THE CLINIC/ROOM 3 - NIGHT</stage_direction> <scene_description>Eva KICKS the door marked 3 open and drops David in the dental chair. There's a cart beside it, filled with medical instruments. They're more suitable for hardcore surgery than dental work. A man dressed in white walks into the room, dragging a large GAS CANISTER behind him. This is THE DOCTOR (40's). Manic and twitchy. RICKY GERVAIS' evil twin.</scene_description> <character>RICKY</character> <dialogue>Jesus Christ, woman. I see you more than my own mother. What happened here?</dialogue> <character>EVA</character> <dialogue>I happened.</dialogue> <character>RICKY</character> <dialogue>You trying to break a record?</dialogue> <character>EVA</character> <dialogue>Just fix him! I need him on his feet in ten minutes.</dialogue> <scene_description>Ricky peeks under the blanket with a disgusted look.</scene_description> <character>RICKY</character> <dialogue>Yikes. He's not going anywhere. Not in ten minuets. Maybe not ever.</dialogue> <character>EVA</character> <dialogue>Can't you do anything?</dialogue> <character>RICKY</character> <dialogue>Maybe you could try not shooting people. That's what we in the biz call 'preventive medicine'.</dialogue> <scene_description>David grabs her with a shaking hand. There's a TATOO on his arm. The smiling face of a seven year old girl. She stares back at Eva. Eva looks at her watch - 27 minutes.</scene_description> <character>DAVID</character> <dialogue>Please. My Emily...</dialogue> <scene_description>Eva's face changes. Grows softer. Ricky places the mask connected to the gas canister on David's face.</scene_description> <character>EVA</character> <dialogue>Is that laughing gas?</dialogue> <character>RICKY</character> <dialogue>Well, duhhh...</dialogue> <character>EVA</character> <dialogue>Just patch him up. I'll be back soon. He better be functional.</dialogue> <scene_description>Eva storms out of the room. Ricky turns to David.</scene_description> <character>RICKY</character> <dialogue>What a WITCH, right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Who am I asking? The guy she shot in the stomach.</dialogue> <scene_description>Ricky removes the mask from David's face. He holds it to his own. He INHALES. Deeply. NURSE!</scene_description> </scene> <scene> <stage_direction>EXT/INT. EVA'S CAR - NIGHT</stage_direction> <scene_description>Eva's car flies out of the parking lot and begins its mad dash through the city. She sneaks a peek at her watch: 19 minutes left. Her phone rings. She picks up.</scene_description> <character>NATHAN (O.S.)</character> <dialogue>Do you have it?</dialogue> <character>EVA</character> <dialogue>Yes.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>Good girl. I'm waiting at the diner.</dialogue> <character>EVA</character> <dialogue>There's a change of plan.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>No. There isn't.</dialogue> <character>EVA</character> <dialogue>They kidnapped the guy's little girl. That's why he took the briefcase. If I don't get to the Gutterball in fifteen minutes, they'll kill her.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>She is not your problem. We are. Bring me the bag. Now!</dialogue> <character>EVA</character> <dialogue>I need half an hour. I'll release the girl and bring you the briefcase back.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>Eva, you're not thinking straight-</dialogue> <character>EVA</character> <dialogue>I'll see you soon.</dialogue> <scene_description>DON'T YOU DARE HANG- She hangs up.</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - CONTINUOUS</stage_direction> <scene_description>Nathan still sits in the same booth. He slams his phone against the table. THREE GOONS in expensive suits sit opposite him, squeezed into the booth. They stare in fear at his tantrum. They're not used to seeing Nathan lose control. Nathan takes a deep breath. He addresses the goons.</scene_description> <character>NATHAN</character> <dialogue>Go to the Gutterball. Try to reason with her. Bring me back the briefcase.</dialogue> <scene_description>The three goons stand up.</scene_description> <character>NATHAN</character> <dialogue>Wait!</dialogue> <scene_description>They sit down.</scene_description> <character>NATHAN</character> <dialogue>When I say reason with her, I mean no guns, no knives. She comes back alive. Understood?</dialogue> <character>GOONS</character> <dialogue>Yes.</dialogue> <scene_description>The goons get up.</scene_description> <character>NATHAN</character> <dialogue>Wait!</dialogue> <scene_description>They sit back down - again.</scene_description> <character>NATHAN</character> <dialogue>And for god sake's be careful. Remember who you're dealing with.</dialogue> <scene_description>The goons look at each other. Is it OK to get up now?</scene_description> <character>NATHAN</character> <dialogue>What the hell are you waiting for? GO!</dialogue> <scene_description>The goons scramble to their feet and hurry to the door.</scene_description> </scene> <scene> <stage_direction>EXT. BOWLING ALLEY PARKING LOT - NIGHT</stage_direction> <scene_description>Eva gets out of her car and stares at the building. A neon sign says THE GUTTERBALL. Letters flicker on and off, making the sign read GUT ALL. It's past opening hours. The place is closed.</scene_description> </scene> <scene> <stage_direction>INT. BOWLING ALLEY - NIGHT</stage_direction> <scene_description>Eva walks into the deserted hall, BRIEFCASE in hand. Neon signs and score screens flood the place with eerie, unnatural light. The HELLO KITTY phone comes to life, playing its Japanese song. Eva answers.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Who the fuck are you?</dialogue> <scene_description>Eva looks around. Whoever this is, THEY CAN SEE HER.</scene_description> <character>EVA</character> <dialogue>Just someone who has your briefcase. I want the girl.</dialogue> <character>CREEPY VOICE (O.S.)</character> <dialogue>Where's daddy?</dialogue> <character>EVA</character> <dialogue>He had...an accident. He sent me. You want your briefcase or not?</dialogue> <scene_description>Click. The creepy voice hangs up. The look in Eva's eyes says it all. Shit. But she stands her ground. They're watching her.</scene_description> </scene> <scene> <stage_direction>INT. A DARK ROOM - CONTINUOUS</stage_direction> <scene_description>A CCTV monitor shows the bowling alley. It zooms on Eva and follows her as she looks around. Eventually, she spots the surveillance camera. She waves. We pull back to reveal a shadowy figure staring at the monitor.</scene_description> </scene> <scene> <stage_direction>INT. BOWLING ALLEY - CONTINUOUS</stage_direction> <scene_description>A long, tense moment before the Japanese song blasts out of the phone. Eva answers. The terrified screams of a YOUNG GIRL explode in her ear, sending shivers down her spine. They're cut abruptly.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>The girl got to this point alive. If you as much as sneeze without my permission, that can be easily rectified.</dialogue> <character>EVA</character> <dialogue>Got it.</dialogue> <character>CREEPY VOICE (O.S.)</character> <dialogue>You have another phone on you?</dialogue> <scene_description>Eva takes it out and shows it to the camera.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Smash it!</dialogue> <scene_description>Eva drops her phone on the floor. She takes a bowling ball from a nearby rack and drops it on the device.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Very cute. Go to the lockers. There's an open one.</dialogue> <scene_description>Eva walks to the only open locker.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Take the clothes out.</dialogue> <scene_description>Eva picks up the clothes they've prepared: Gym shorts and a T-shirt celebrating a regional bowling championship.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>Weapons go in the locker, along with what you're wearing now. Slam it shut and it will lock. You leave it all behind. Then go to The westfield mall across the street. Arrive on foot. Ten minutes. You, the briefcase, new clothes. Got it?</dialogue> <scene_description>Eva looks from the new clothes to the camera.</scene_description> <character>EVA</character> <dialogue>Dinner and a show, uh?</dialogue> <character>CREEPY VOICE (O.S.)</character> <dialogue>Don't flatter yourself. We were expecting the father. Ten minutes.</dialogue> <scene_description>He hangs up. Eva takes her gun and drops it in the locker. Same with her knives. She turns on the timer on her watch. 10:00. As she begins changing clothes we- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOWLING ALLEY PARKING LOT - NIGHT</stage_direction> <scene_description>Nathan's goons have landed. They get out of the car and open the trunk. They pick their weapons. Meet the lads: The one grabbing the BASEBALL BAT will be called YANKEE. CROW will be handling the CROWBAR. And SHOCKER grabs two ELECTRIC CATTLE PRODS. They walk into the building.</scene_description> </scene> <scene> <stage_direction>INT. BOWLING ALLEY - NIGHT</stage_direction> <scene_description>Eva, wearing her new clothes, grabs the briefcase and heads out when-</scene_description> <character>YANKEE (O.S.)</character> <dialogue>Hello, Eva.</dialogue> <scene_description>She turns to see Yankee waving his baseball bat.</scene_description> <character>EVA</character> <dialogue>Bonehead.</dialogue> <scene_description>Shocker (cattle prods) and Crow (crowbar) appear from opposite sides, brandishing their weapons. Eva spots them.</scene_description> <character>EVA</character> <dialogue>Boneheads.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I really don't have time for this.</dialogue> <character>YANKEE</character> <dialogue>Nathan is worried about you. He doesn't want you to do something stupid. Just give us the briefcase and nobody gets hurt.</dialogue> <character>EVA</character> <dialogue>Counter-offer: Go back to Nathan. Tell him you tried but I roughed you up. You can beat each other up for added realism.</dialogue> <character>YANKEE</character> <dialogue>Funny.</dialogue> <character>EVA</character> <dialogue>I'm guessing that's a no.</dialogue> <scene_description>The goons keep closing in on Eva. She stares at their PATHS. At their WEAPONS. Taking in EVERYTHING.</scene_description> <character>EVA</character> <dialogue>What? No guns today?</dialogue> <character>YANKEE</character> <dialogue>Nathan doesn't want you hurt. Not too badly, anyway.</dialogue> <character>EVA</character> <dialogue>That's sweet. I'll try not to kill you.</dialogue> <scene_description>And with that - The three goons attack at once, waving their weapons. Eva only has the briefcase and her limbs. For the first time we get to see Eva in action. She's a sight to behold. Every movement is perfect. Every punch and kick land. The three goons hit her with everything they have. She swats them aside like flies. Eva slides on the hardwood floor and hops between tables. Weapons miss her by inches, smashing everything in their path. Think early JACKIE CHAN and you're in the right zipcode.</scene_description> </scene> <scene> <stage_direction>INT. A DARK ROOM - CONTINUOUS</stage_direction> <scene_description>On the B&amp;W CCTV monitor, creepy voice watches the fight between Eva and the goons.</scene_description> <character>CREEPY VOICE (O.S.)</character> <dialogue>What - the - hell?</dialogue> </scene> <scene> <stage_direction>INT. BOWLING ALLEY - CONTINUOUS</stage_direction> <scene_description>The fight continues: Eva dodges Shocker's cattle prods and slides between his legs. She kicks him in the back and he stumbles onto Crow - sending the business end of a cattle prod to his face. FIVE-HUNDRED WATTS pass through Crow's body. He crashes to the floor, twitching. Yankee seizes the opportunity and hits Eva in the stomach with his BAT. She collapses. He swings again, aiming for her head - Eva holds the briefcase up, blocking the attack at the last second. She sweeps Yankee's legs, sending him flying. Eva jumps to her feet. She's about to knock out Yankee when - Shocker pushes the CATTLE PROD into her side. Her body stiffens from the electric shock - Eva drops the briefcase. Shocker picks it up.</scene_description> <character>YANKEE</character> <dialogue>Run!</dialogue> <scene_description>Shocker starts running toward the exit, case in hand. Eva comes to her senses. She grabs a BOWLING BALL and rolls it in Shocker's direction as hard as she can. The ball chases him, finally hitting his feet. Shocker screams and collapses onto a ball rack, sending balls flying. Eva picks up another ball, when - Crow, lying on the floor, brings the CROWBAR down on her foot. Eva stifles a scream. She gets on one knee and - Brings the BALL down on Crow's hand, crashing it!</scene_description> <character>CROW</character> <dialogue>Fuuuucccck!</dialogue> <scene_description>Behind her, Yankee swings his bat at her HEAD. Eva turns in place, slipping under the bat and- Hits Yankee in his thigh with the BALL. Hard enough to break bone. He screams and crashes to his knees. Across the hall, Shocker crawls for the briefcase. Eva spots him. She rolls her ball right at Shocker's face. He looks up just in time to see it- Smashing into his NOSE, shattering it. Eva stumbles to her feet. She walks to the briefcase, grabs it, steps over Shocker and runs to the back door. The three goons are left behind, rolling on the floor, injured and in pain.</scene_description> </scene> <scene> <stage_direction>EXT. WESTFIELD MALL - NIGHT</stage_direction> <scene_description>Eva runs towards the mall. It stands in darkness, in the middle of an empty parking lot. She glances at her watch - 50 seconds. She picks up the pace. Fast as she can. Out of breath.</scene_description> </scene> <scene> <stage_direction>INT. WESTFIELD MALL - NIGHT</stage_direction> <scene_description>Eva bursts in the front door. Right as the timer turns to 00:00. Her watch beeps. The HELLO KITTY phone comes to life with a shout of KAWAII! Eva looks at the text message. One word:</scene_description> <character>BLOCKBUSTER</character> <dialogue>Eva races through the closed, deserted mall. It's a postcard from a time when people actually bought physical media. Every store is part of a chain that's now closed:</dialogue> <dialogue>Tower Records. Borders. Sam Goody and...Blockbuster Video.</dialogue> <dialogue>Eva pulls at the door of the darkened video store. It's unlocked. She walks in.</dialogue> </scene> <scene> <stage_direction>INT. BLOCKBUSTER VIDEO - CONTINUOUS</stage_direction> <scene_description>The store stands just as it was left years ago. Long rows of dust covered DVDs. The neon lights inside come to life one by one, spreading into the store. Finally revealing: FOUR MEN standing down the row from Eva. Their heads are covered by masks. Classic monster masks. DRACULA, FRANKENSTEIN's monster, THE WOLFMAN and THE MUMMY. WOLFMAN aims his M-16 at Eva. FRANKENSTEIN holds a live grenade over his head. The MUMMY stands between them, holding onto a shopping cart. Inside the cart lies a little girl. Tied up, mouth taped shut. The famous EMILY. DRACULA is behind the counter, talking into a mic. His words echo through the store's sound system.</scene_description> <character>DRACULA</character> <dialogue>Cutting it close.</dialogue> <character>EVA</character> <dialogue>I had a few hiccups.</dialogue> <character>DRACULA</character> <dialogue>We saw what you did to those HICCUPS. Which is why we decided to take extra precautions.</dialogue> <character>EVA</character> <dialogue>I just want the girl.</dialogue> <character>DRACULA</character> <dialogue>Then we'll get along fine. There's a shopping cart behind you. Put the case inside!</dialogue> <scene_description>Eva complies.</scene_description> <character>DRACULA</character> <dialogue>Push the bag cart to us, we'll push the girl cart to you. Got it?</dialogue> <character>EVA</character> <dialogue>Got it.</dialogue> <character>DRACULA</character> <dialogue>Fantastic! On three: One - Two - Three!</dialogue> <scene_description>Eva pushes the cart as hard as she can toward the masked men - the mummy pushes Emily's cart her way. We stare at the carts as they pass one another in SLOW MOTION. Emily's eyes widen in fear as she's hurled towards Eva. Eva catches Emily's cart - The Mummy catches the bag cart. And the moment he does- The lights go out in the store. The sound of receding footsteps in the darkness. A door creaking open at the back of the store. Eva turns to the frightened girl.</scene_description> <character>EVA</character> <dialogue>It's OK. You're safe.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'll be right back.</dialogue> <scene_description>And with that, Eva runs towards the back of the store, leaving Emily alone. Emily's muffled, confused screams can be heard behind Eva. As Eva runs, she looks around for a weapon. Anything. She passes by a mop sitting in a bucket and yanks it out. She breaks the wooden handle. This jagged stick will have to do. Eva reaches the back door and bursts out of it.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - CONTINUOUS</stage_direction> <scene_description>Eva looks around, searching for the kidnappers. From the other side of the parking lot she hears screeching tires and - A collision. Followed by a muffled explosion. She runs towards it, using the building for cover. She turns a corner as - Shooting starts! Eva stares in shock at the scene - THE CAR has crashed into a billboard and burst into flames. Frankenstein - the BRIEFCASE in one hand, M-16 in the other - is running away from the BURNING CAR. Dracula, dragging a bleeding leg, shoots at Frankenstein with a handgun. Frankenstein shoots back. Behind them - The Mummy is in the driver sit. He's shot dead. His head lays on the wheel. Wolfman climbs out of the passenger's window. He's going up in FLAMES. He runs around, screaming. Eva has no idea what to do about any of this. Wolfman surrenders to the fire. He crumbles to the ground. And in the main attraction - Dracula shoots Frankenstein in the leg. Frankenstein hits the ground like a rag doll. He starts crawling away, shooting back at Dracula until - He runs out of bullets. In a final act of desperation, Frankenstein takes out his grenade. He pulls the pin out and swings the grenade in Dracula's direction, when - Dracula shoots Frankenstein in the chest. He dies immediately. The LIVE GRENADE drops into Frankenstein's LAP. His dead hand still holds the briefcase. Shit. Dracula starts running towards Frankenstein. To get the briefcase. But the grenade GOES OFF. Frankenstein explodes to smithereens. And so does the briefcase. Dracula is caught by the explosion. His body flies back and hits the burning car. He lies motionless on the ground. And just like that, it's all over. Eva snaps out of it. She walks over to inspect the carnage. Hoping against hope that the briefcase can be salvaged - Nothing but shrapnel. Eva stands among the bodies and flaming debris. She puts her head in her hand. She's screwed. BANG! A bullet hits her in the shoulder. Eva looks back in shock. The dying, burnt-up Dracula raises his M-16 with a shaking hand to shoot at her again. She closes the distance between them with a single step and stabs Dracula in the heart with the JAGGED MOP HANDLE. Dracula gurgles through his last breath. The classic monsters are all dead.</scene_description> </scene> <scene> <stage_direction>INT. BLOCKBUSTER VIDEO - NIGHT</stage_direction> <scene_description>Eva pulls Emily out of the cart. She removes the duct tape from her mouth and unties her hands and feet. She turns Emily around, inspecting her. Emily's eyes follow Eva, terrified. Uncertain.</scene_description> <character>EVA</character> <dialogue>Anything broken? Are you bleeding?</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <character>EVA</character> <dialogue>Bleeding on the inside?</dialogue> <character>EMILY</character> <parenthetical>(horrified)</parenthetical> <dialogue>How can you know? It's inside.</dialogue> <character>EVA</character> <dialogue>You're probably fine. Let's go. Try to keep up.</dialogue> <scene_description>Eva walks toward the door. After a moment she realizes Emily stayed behind.</scene_description> <character>EVA</character> <dialogue>Listen, kid. You can come with me or you can stay here. As far as I'm concerned, I've done my good deed for the day.</dialogue> <character>EMILY</character> <dialogue>Were are we going?</dialogue> <character>EVA</character> <dialogue>I'm taking you to your father.</dialogue> <scene_description>Eva pushes the door and walks out. After a moment, Emily starts running after her.</scene_description> </scene> <scene> <stage_direction>EXT/INT. PARKING LOT/EVA'S CAR - NIGHT</stage_direction> <scene_description>Eva and Emily get in the front seats. Eva puts on her seat belt. She groans when the belt touches her wounded shoulder. Emily looks at the wound.</scene_description> <character>EMILY</character> <dialogue>You're bleeding.</dialogue> <character>EVA</character> <dialogue>It's just a scratch.</dialogue> <character>EMILY</character> <dialogue>It can get infected. Worms will get in there and lay eggs. And then they will need to cut off your arm.</dialogue> <scene_description>Eva gives Emily a disgusted look.</scene_description> <character>EVA</character> <dialogue>That's what they teach you in school these days?</dialogue> <character>EMILY</character> <dialogue>The discovery channel.</dialogue> <character>EVA</character> <dialogue>Well, thank god we're going straight to the hospital.</dialogue> <character>EMILY</character> <dialogue>Is my daddy there?</dialogue> <character>EVA</character> <dialogue>Ah-ha.</dialogue> <character>EMILY</character> <dialogue>Is that why he didn't come? Is he sick?</dialogue> <scene_description>Eva's not sure how to answer that.</scene_description> <character>EMILY</character> <dialogue>It's OK. You don't have to lie for him. He never comes when he says he will.</dialogue> <scene_description>Emily grabs the seat belt but she struggles with the buckle. There are tears in her eyes. She's been through so much.</scene_description> <character>EVA</character> <dialogue>Here. Let me help you.</dialogue> <scene_description>Eva puts her hand on Emily's and guides the buckle to the right spot. It clicks into place. Emily wipes her eyes.</scene_description> <character>EMILY</character> <dialogue>Thank you.</dialogue> <character>EVA</character> <dialogue>Sure. Let's go meet your dad.</dialogue> <scene_description>Eva starts the car and drives off.</scene_description> </scene> <scene> <stage_direction>INT. THE CLINIC/ROOM 1 - NIGHT</stage_direction> <scene_description>NATHAN'S GOONS are scattered around the small room: Yankee sits in a wheelchair with his broken leg. Crow sits in the dental chair, his broken hand dangling to his side. Shocker sits on the floor, nursing his smashed-in nose and broken foot. They're a mess. But they don't seem to notice since they are too busy passing the LAUGHING GAS MASK between them like teens who found their parents' pot. The three begin to snicker as the DOCTOR walks in. He looks at the goons, laughing their wounded asses off.</scene_description> <character>RICKY</character> <dialogue>I see you assholes found my stash.</dialogue> <character>SHOCKER</character> <parenthetical>(inhales)</parenthetical> <dialogue>This is some good shit, doctor. You should be very proud.</dialogue> <scene_description>Shocker cackles like one of ROGER RABBIT'S HYENAS and passes the mask to Crow, but the doctor grabs it from him.</scene_description> <character>RICKY</character> <dialogue>This is for medicinal use! It is not a toy!</dialogue> <parenthetical>(inhales)</parenthetical> <dialogue>So who fucked you up like this?</dialogue> <character>SHOCKER</character> <dialogue>A girl!</dialogue> <scene_description>The goons burst out laughing. It's painful and it shows.</scene_description> <character>RICKY</character> <dialogue>A GIRL made the three of you look like something out of the walking dead?</dialogue> <character>SHOCKER</character> <parenthetical>(imitates zombies)</parenthetical> <dialogue>Grrrrrrr.....</dialogue> <character>CROW</character> <parenthetical>(giggling)</parenthetical> <dialogue>I never felt pain like this.</dialogue> <character>YANKEE</character> <parenthetical>(howling with laughter)</parenthetical> <dialogue>This girl got us good, doc. I'm not sure I will ever walk again.</dialogue> <character>RICKY</character> <dialogue>Must be an epidemic. Got a guy in the next room with the same symptoms.</dialogue> <scene_description>Yankee gets as serious as he can, under the circumstances.</scene_description> <character>YANKEE</character> <dialogue>Did he tell you what she looked like?</dialogue> <character>RICKY</character> <dialogue>Didn't have to. The WITCH brought him in.</dialogue> <scene_description>The goons look at each other. Can it be?</scene_description> <character>YANKEE</character> <dialogue>Keep talking, Doc.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - CONTINUOUS</stage_direction> <scene_description>Eva drives in silence. Her world has crumbled. She has to make a new plan. She needs to think. Emily leans forward and turns on the radio. A country song BLASTS out of the speakers. Click. Emily changes the station. A seventies rock number. Click. She changes it again. A hip-hop beat.</scene_description> <character>EVA</character> <dialogue>Just pick one!</dialogue> <character>EMILY</character> <dialogue>What?</dialogue> <character>EVA</character> <dialogue>Just pick a station already!</dialogue> <character>EMILY</character> <dialogue>I can't hear you. The music is too loud!</dialogue> <scene_description>And Emily continues changing stations, finally landing on- KATY PERRY'S FIREWORK. The girl power anthem seems to hit the spot because, baby, she is a firework. Emily nods her head to the music. Eva can't take it. She turns off the radio.</scene_description> <character>EMILY</character> <parenthetical>(sulking)</parenthetical> <dialogue>Music helps people who've been through a traumatic experience.</dialogue> <character>EVA</character> <dialogue>Look, in ten minutes I'm going to return you to your daddy and you're gonna be his problem. Until then, you can do anything you want as long as it doesn't involve TALKING, MOVING or PUSHING buttons.</dialogue> <character>EMILY</character> <dialogue>Fine.</dialogue> <character>EVA</character> <dialogue>Fine.</dialogue> <scene_description>They continue driving in silence.</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT</stage_direction> <scene_description>Nathan's sitting in his booth, talking on his phone. Yankee is on the other end. He tries to remain angry but he's too high on laughing gas.</scene_description> <character>NATHAN</character> <dialogue>Are you sure it's her?</dialogue> <character>YANKEE</character> <dialogue>Yeah, she's a frequent flyer over here. Dropped in some schmuck she shot. Said she'll come back to pick him up.</dialogue> <character>NATHAN</character> <dialogue>And the briefcase?</dialogue> <character>YANKEE</character> <dialogue>She had it the last time we saw her.</dialogue> <character>NATHAN</character> <dialogue>Right before she sent you to the ER?</dialogue> <character>YANKEE</character> <dialogue>We wouldn't be here if you weren't so goddamn sentimental.</dialogue> <character>NATHAN</character> <dialogue>I think you forget who you're talking to.</dialogue> <scene_description>Yankee did. He stutters, suddenly terrified.</scene_description> <character>YANKEE</character> <dialogue>I'm...I'm sorry.</dialogue> <character>NATHAN</character> <dialogue>Just get me that briefcase.</dialogue> <character>YANKEE</character> <dialogue>She's still getting the VIP treatment?</dialogue> <scene_description>The other two goons are giggling in the background. Nathan closes his eyes. This is killing him.</scene_description> <character>NATHAN</character> <dialogue>Eva is no longer family. You have no restrictions. Bring me the bag.</dialogue> <character>YANKEE</character> <dialogue>Alright, alright, alright. Now that's what I call a work benefit.</dialogue> <scene_description>Nathan hangs up, heartbroken.</scene_description> </scene> <scene> <stage_direction>INT. THE CLINIC - NIGHT</stage_direction> <scene_description>Ding! The elevator doors open into the reception area, revealing Eva and Emily. Eva is tense, on edge. That makes Emily nervous. Emily puts her hand in Eva's. Eva pulls her hand away.</scene_description> <character>EVA</character> <dialogue>Just stay behind me.</dialogue> <scene_description>Eva walks to the empty reception desk. Emily follows. Eva opens the large TOOTH MODEL that sits on the counter, hoping for some good luck. There's a single 9mm handgun inside. She pulls out the magazine to inspect it. Full. She hides the gun in the back of her pants. Eva leads them toward room 3 when the nurse opens the door and walks out of it. She's carrying a blood soaked sheet. The women's eyes meet. The look on the nurse's face says it all.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 3 - NIGHT</stage_direction> <scene_description>Emily stands in front of her dead father. His body lies in the dental chair, covered by a sheet. An arm dangles out from under it. The nurse stands with Emily, putting a comforting hand on her shoulder. Eva leans against the wall. She has no idea what to say or do in a situation like this. Emily slowly approaches her father's body. She reaches for his arm, her hand shaking. She holds his cold hand. Her eyes are dry. The nurse hugs her and then walks over to Eva.</scene_description> <character>NURSE</character> <dialogue>We did everything we could for him. He didn't suffer.</dialogue> <parenthetical>(eyes Eva's wound)</parenthetical> <dialogue>I'll get you the doctor.</dialogue> </scene> <scene> <stage_direction>INT. ROOM 1 - CONTINUOUS</stage_direction> <scene_description>The nurse enters the room. The doctor and goons are waiting.</scene_description> <character>NURSE</character> <dialogue>She's here. Shot in the shoulder. Flesh wound. And she brought the guy's kid with her.</dialogue> <character>RICKY</character> <dialogue>Right. You can take your break now.</dialogue> <scene_description>The nurse walks out.</scene_description> <character>YANKEE</character> <dialogue>You ready, doc?</dialogue> <scene_description>Ricky holds up a syringe filled with colorful liquid.</scene_description> <character>RICKY</character> <dialogue>Yep. Once I stick her with this, she will start losing control of her arms. After sixty seconds or so, she'll be a sitting duck.</dialogue> <scene_description>The goons snicker. Shocker takes a hit from the laughing gas.</scene_description> <character>RICKY</character> <dialogue>You might want to ease up on the stuff. It's not exactly a performance enhancing drug.</dialogue> <character>SHOCKER</character> <dialogue>And you might want to shut your piehole and do your part.</dialogue> <character>RICKY</character> <dialogue>Or maybe, I can shove this up your-</dialogue> <character>YANKEE</character> <dialogue>Hey, hey, hey! Are you gonna screw us on this, Doc?</dialogue> <character>RICKY</character> <dialogue>Are you gonna make sure the firm gives me all its business?</dialogue> <character>YANKEE</character> <dialogue>Consider it done.</dialogue> <character>RICKY</character> <dialogue>Then let's burn the WITCH.</dialogue> <scene_description>The doctor pushes the plunger, making liquid squirt out of the syringe.</scene_description> <character>RICKY</character> <dialogue>Ready?</dialogue> <scene_description>The wounded goons take one last hit of the laughing gas and get into their ACTION HERO POSES, pathetic as they are in their current state: Yankee sits in a wheelchair with his broken leg, a shotgun on his lap. Crow's bandaged, broken arm dangles to his side. His other arm waves around a Magnum 44. Shocker's nose is shattered, his face black and blue. He leans on crutches. His broken foot raised. He holds two 9mm guns in his hands - What a sight! The doctor just stare at them and shakes his head.</scene_description> <character>RICKY</character> <dialogue>You guys look AWESOME.</dialogue> </scene> <scene> <stage_direction>INT. ROOM 3 - CONTINUOUS</stage_direction> <scene_description>The good doctor enters the room. Emily stands by her father's side. Eva is tearing her sleeve off to create a makeshift bandage for her bullet wound.</scene_description> <character>RICKY</character> <dialogue>What the hell is wrong with you? Let me do it right.</dialogue> <character>EVA</character> <dialogue>It's just a scratch.</dialogue> <character>RICKY</character> <dialogue>Scratches get infected. That's how you lose an arm.</dialogue> <character>EVA</character> <dialogue>Yeah, I heard. Just do it quick.</dialogue> <scene_description>Ricky takes off the dirty piece of cloth.</scene_description> <character>EVA</character> <parenthetical>(points at David)</parenthetical> <dialogue>What happened to him?</dialogue> <character>RICKY</character> <dialogue>Someone shot him. I hear that can be fairly lethal.</dialogue> <scene_description>Ricky takes out THE SYRINGE and is about to inject Eva's shoulder.</scene_description> <character>EVA</character> <dialogue>Don't. I'm good.</dialogue> <character>RICKY</character> <dialogue>Trust me, you need this.</dialogue> <scene_description>The needle almost touches Eva. She blocks Ricky's arm at the last second. I SAID I'M GOOD! Eva's raised voice makes Emily look up at her. Eva sees the girl's sad, lost eyes.</scene_description> <character>EVA</character> <dialogue>I'm sorry, I didn't mean to-</dialogue> <scene_description>Ting! The doctor takes advantage of the opportunity and STICKS the needle into Eva's arm. Before she can react, he sticks it again in her other arm. Eva comes to her senses and HEAD BUTTS the doctor. He stumbles back. Blood pours from his nose. Eva pulls the gun from the back of her pants.</scene_description> <character>EVA</character> <dialogue>You mother-</dialogue> <scene_description>But then - Eva's fingers stop doing what they're told. The gun SLIPS OUT of her hand and falls to the floor with a clang. She looks at it, puzzled. The doctor scurries out of the room. She can hear him shout: SIXTY SECONDS!</scene_description> <character>EVA</character> <parenthetical>(to herself)</parenthetical> <dialogue>Sixty seconds?!</dialogue> <scene_description>Eva shakes her arms, trying to combat the paralysis that takes over them. And then it hits her - It's a TRAP. She looks around. Her gun on the floor. Scalpels on the cart. Surgical tape. What to do? What to do? Her eyes fall on the very shocked Emily.</scene_description> <character>EVA</character> <dialogue>Listen, I need your help. Some bad men are coming to hurt us.</dialogue> <character>EMILY</character> <dialogue>The ones who killed my dad?</dialogue> <character>EVA</character> <dialogue>That's...complicated. I promise I'll explain later. But right now, I NEED YOUR HELP, Okay?</dialogue> <scene_description>Emily thinks it over. She nods.</scene_description> <character>EVA</character> <dialogue>Good. Grab the biggest knife.</dialogue> <scene_description>Emily reaches for it.</scene_description> <character>EMILY</character> <dialogue>Be careful of the sharp end! Now grab the duct tape. Excellent. Tape it to my hand.</dialogue> <scene_description>Emily places the scalpel in Eva's palm and gently tapes Eva's fingers closed around it. Eva keeps staring at the open door. A caged animal.</scene_description> <character>EVA</character> <dialogue>You're doing great, Emily.</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>Forty...Thirty-nine...</dialogue> </scene> <scene> <stage_direction>INT. THE CORRIDOR - CONTINUOUS</stage_direction> <scene_description>The goons advance slowly down the corridor, towards ROOM 3. Crow pushes Yankee's wheelchair with his unbroken hand. Shocker hobbles behind them on crutches. All have their weapons at the ready. The three move between uncontrollable hyena laughter caused by the gas, and the tension of those going into battle.</scene_description> <character>YANKEE</character> <dialogue>Thirty-five...Thirty-four...</dialogue> </scene> <scene> <stage_direction>INT. ROOM 3 - CONTINUOUS</stage_direction> <scene_description>Emily finishes taping the scalpel to Eva's hand.</scene_description> <character>EVA</character> <dialogue>Now tape the gun to my other hand.</dialogue> <scene_description>Emily kneels down and picks up the gun. She's clearly terrified of it.</scene_description> <character>EVA</character> <dialogue>Careful. It's loaded. Fifteen...Fourteen...Thirteen...</dialogue> <scene_description>Emily places the gun in Eva's hand and begins taping it. From outside the room comes a shout. ROUND TWO, BITCH! Eva recognizes the voice.</scene_description> <character>EVA</character> <dialogue>Boneheads?!</dialogue> <scene_description>BETTER GET READY!</scene_description> <character>EVA</character> <parenthetical>(taunting)</parenthetical> <dialogue>Oh, thank god it's just you three. For a second there, I thought it was someone dangerous.</dialogue> </scene> <scene> <stage_direction>INT. THE CORRIDOR - CONTINUOUS</stage_direction> <scene_description>Crow and Shocker howl with laughter. The insult penetrates Yankee's haze. He explodes.</scene_description> <character>YANKEE</character> <dialogue>You're only breathing because Nathan wanted you that way! That's done! I'm going to tear you to pieces and stomp on every one of them just to make sure! I'M GOING TO-</dialogue> <character>EVA (O.S.)</character> <dialogue>That's great! Can you hold that thought? I'll be right out.</dialogue> <scene_description>The goons look at each other in disbelief.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 3 - CONTINUOUS</stage_direction> <scene_description>Emily finishes taping the gun to Eva's hand. One finger is loose.</scene_description> <character>EVA</character> <dialogue>Now just take my finger and tape it to the trigger.</dialogue> <scene_description>Emily inserts Eva's finger into the hole with a shaking hand.</scene_description> <character>EVA</character> <dialogue>Careful. Don't put too much pressure on it.</dialogue> <scene_description>Emily tapes the finger to the trigger, holding it in place. Eva examines Emily's handiwork. A KNIFE HAND and a GUN HAND. The tape will hold. Emily did good. Eva softens.</scene_description> <character>EVA</character> <dialogue>You're being very brave, Emily. I need you to do one last thing for me and then go and hide, OK?</dialogue> <scene_description>OK. Eva sits down in a wheeled office chair. She nods to Emily who nods back.</scene_description> </scene> <scene> <stage_direction>INT. THE CORRIDOR - CONTINUOUS</stage_direction> <scene_description>The goons are right at the door of ROOM 3. Yankee checks with his colleagues.</scene_description> <character>YANKEE</character> <dialogue>Ready? On the count of three.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>One...Two...</dialogue> <scene_description>He doesn't get to three. Eva, crouched on the wheeled chair, rolls out of the room like a CANNONBALL shot out of a cannon. The chair's back is turned towards the goons, acting as a SHIELD. Caught by surprise, they open fire on the chair. The bullets hit its back. None of them pass through. With their first shots out of the way, Eva turns the chair around, facing them. She swings her GUN ARM violently towards Crow, who stands closest to her. The movement makes the tape tighten around her finger: BANG! A bullet is released. Right into Crow's chest. He screams and stumbles back, hitting the wall. He looks down at his wounded chest and giggles. INSIDE ROOM 3 - Emily hides behind the dental chair, plugging her ears with her fingers. Yankee and Shocker's daze only lasts a moment. Eva turns the chair around with her feet. Back to shield mode. The two goons unload their weapons into the back of the chair, BLOWING IT TO PIECES. Eva jumps up from the chair and kicks it towards Shocker. It hits him, almost knocking him off his crutches. She leaps into action, attacking the three wounded, dangerous men - It's an insane dance of violence, Eva swinging her paralysed arms around, slicing with her KNIFE ARM and shooting with her GUN ARM. She jumps, turns, slides and bounces off the walls. It's EVA SCISSORHANDS ON ICE - For one show only. It's the kind of fight scene where you don't know if you're supposed to laugh or wince. The only thing you do know, is that you've never seen anything like this. The men shoot, kick, punch, and scream. Hitting Eva and each other. Finally, Eva jumps out of the way of one of Yankee's shotgun blasts and - It hits the already wounded Crow. Crow flies through the air and collapses to the floor, laughing hysterically. Shocker barely manages to balance himself on his crutches as he shoots with both guns. One of his bullets hits Eva's knife arm, making it fly back into - Yankee's LEG. Yankee screams in pain that turns to laughter. Eva pulls, trying to release the knife, but it's stuck in Yankee's flesh. She's trapped. Yankee fumbles with his shotgun. In seconds, he will shoot her from point blank. That's if Shocker doesn't kill her first. He hobbles towards her from the back, guns drawn. To finish her off. Eva looks From Yankee to Shocker. She twists her body, pulling, struggling. Shocker points his gun at her head when - Eva pulls out the scalpel. She uses her momentum to spin like a BALLERINA. Her KNIFE HAND rises with every spin. And every spin cuts into Shocker's flesh at another point - Slice. Slice. Slice. The last, fatal cut is across his throat. Yankee lifts his shotgun to shoot Eva. She stares into the barrel. With a roundhouse kick, Eva launches Shocker's dying body at Yankee. Yankee shoots. And Shocker absorbs the full impact. Shocker collapses on Yankee's wheelchair, making it tip over. Yankee tumbles to the floor. The shotgun shells roll out of his hand. Eva swings her GUN HAND in Yankee's direction. His eyes open wide. He's a dead man. Click - Eva's out of bullets. Yankee giggles maniacally. He begins crawling toward the shotgun shells. Eva looks around for anything she can use. Her eyes land on- A FIRE EXTINGUISHER. Eva kicks it towards Yankee. The extinguisher begins rolling after him. She walks beside it. Yankee reaches a shotgun shell. He looks back at the approaching Eva. Now it's a race. He fumbles to put it into the gun. Yankee succeeds. With a triumphant laugh, he turns around to shoot Eva. Only to see her- Clasping the extinguisher between her arms. It takes all her strength to do it. Eva drops to her knees, splattering Yankee's head with the extinguisher. Silence. The only noise is Eva's labored breathing. The show is over. Something creaks behind Eva. She turns around, ready to rumble. Only to find - Emily, peeking out of the door, her eyes wide with terror. Eva wants to say something. Anything. To try and explain. She opens her mouth when- A PHONE begins ringing. From inside Yankee's pocket. Eva sighs. This is going to suck. But she has no choice.</scene_description> <character>EVA</character> <dialogue>Emily, I need you.</dialogue> <scene_description>Emily just stares at her.</scene_description> <character>EVA</character> <dialogue>Come on! I need you to grab the phone.</dialogue> <scene_description>Emily finally walks over to Eva. Her face turns white when she sees Yankee's state. She stares in fear at his body. At his vibrating pocket.</scene_description> <character>EVA</character> <dialogue>I know it's bad. But it's important. Don't look at his face. Just FISH it out.</dialogue> <scene_description>Emily leans down and shields her eyes with one hand. Only Yankee's legs are visible. With a shaky hand she manages to fish the phone out.</scene_description> <character>EVA</character> <dialogue>You're a goddamn rock star! Put it on speaker.</dialogue> <scene_description>Emily does and Nathan's voice bursts out of the phone.</scene_description> <character>NATHAN</character> <dialogue>Someone better start talking!</dialogue> <character>EVA</character> <dialogue>That was a dick move, sending the three stooges after me.</dialogue> <character>NATHAN</character> <parenthetical>(sighs)</parenthetical> <dialogue>You left me no choice, Eva.</dialogue> <character>EVA</character> <dialogue>There's always a choice.</dialogue> <character>NATHAN</character> <dialogue>We can still sort this thing out. Just bring me the briefcase.</dialogue> <character>EVA</character> <dialogue>It's gone.</dialogue> <character>NATHAN</character> <dialogue>Define gone.</dialogue> <character>EVA</character> <dialogue>Blown to a thousand pieces.</dialogue> <scene_description>IN THE DINER - Nathan closes his eyes. There's nothing left to do. His voice grows softer, sadder.</scene_description> <character>NATHAN</character> <dialogue>That's -</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Really unfortunate.</dialogue> <character>EVA</character> <dialogue>So now what?</dialogue> <character>NATHAN</character> <dialogue>You know what comes next. For you -</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And your family.</dialogue> <character>EVA</character> <dialogue>It's between you and me. Don't drag her into this. She's out.</dialogue> <character>NATHAN</character> <dialogue>That doesn't matter. It's nothing personal. It's just protocol.</dialogue> <scene_description>AT THE CLINIC - Eva explodes:</scene_description> <character>EVA (O.S.)</character> <dialogue>How's this for protocol: If I get out of this alive, I'm coming for you. All of you!</dialogue> <character>NATHAN</character> <dialogue>I would expect nothing less.</dialogue> <scene_description>Eva hangs up. AT THE DINER - Nathan sits with his head down for a long moment. He dials a new number.</scene_description> </scene> <scene> <stage_direction>INT. A KOREAN FUNERAL HOME - NIGHT</stage_direction> <scene_description>The room is packed with mourners, all of them Korean. Crying, talking, staring in disbelief at- TWO-DOZEN LARGE PHOTOS of young, tough looking Korean men. Eva's victims. They're arranged haphazardly. The room wasn't built to hold this many at once. In the middle is a huge photograph. A smiling YOUNG MAN in his early twenties. MR. PARK (60's) is the only person sitting in a chair. A tough, weathered face. Young men in black suits hover around him, waiting on his every word. His phone rings. A long beat before he answers.</scene_description> <character>NATHAN (O.S.)</character> <dialogue>Mr. Park? This is Nathan.</dialogue> <scene_description>MR. Park recognizes the voice. He grinds his teeth in anger.</scene_description> <character>MR. PARK</character> <dialogue>What do you want?</dialogue> <character>NATHAN (O.S.)</character> <dialogue>I wanted to offer my condolences on the death of your men. Especially your grandson. It's a terrible tragedy.</dialogue> <character>MR. PARK</character> <dialogue>Yes, it is.</dialogue> <character>NATHAN (O.S.)</character> <dialogue>As a sign of our utmost respect, we would like to offer you the woman responsible for your pain. A former employee of ours.</dialogue> <character>MR. PARK</character> <dialogue>So you had nothing to do with this?</dialogue> <character>NATHAN</character> <dialogue>I assure you Mr. Park, this is not how the firm conducts its business. The assassin worked on her own. I'm sending you her last location and closest next of kin. I hope this is satisfactory.</dialogue> <scene_description>Mr. Park stares at the photo of his grandson. Sorrow turns to rage.</scene_description> <character>MR. PARK</character> <dialogue>For now.</dialogue> <scene_description>He hangs up.</scene_description> <character>MR. PARK</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Filthy snake.</dialogue> <scene_description>He spits on the floor with disgust. His phone beeps. Two addresses appear on the screen. Mr. Park raises his hand. A Tough young man in an expansive suit walks over. BONG (20's). Mr. Park shows him the phone's screen. They speak in Korean.</scene_description> <character>BONG</character> <dialogue>We have cars waiting. I'll send them over.</dialogue> <scene_description>GET EVERYONE.</scene_description> <character>BONG</character> <dialogue>Yes, uncle. Anything else?</dialogue> <character>MR. PARK</character> <dialogue>Bring her alive. I want her to beg me for death.</dialogue> <scene_description>Bong bows and walks away. He signals for the young men in suits. They follow him out, pied piper style.</scene_description> </scene> <scene> <stage_direction>EXT. DRIVE IN CINEMA - NIGHT</stage_direction> <scene_description>Three BLACK MERCEDES cars are parked in the middle of the huge drive in. They're the only cars in the place. A film plays on the huge screen. An old black and white Korean melodrama. Young lovers kiss, fifty-feet tall. Inside each car sit four tough looking KOREAN THUGS. Their automatic weapons lie in their laps. In the middle car, THE DRIVER sheds a tear for the on-screen lovers. The three others stare at him.</scene_description> <character>DRIVER</character> <parenthetical>(In Korean)</parenthetical> <dialogue>What? I have something in my eye!</dialogue> <scene_description>The three snicker. The driver's about to scald them when- His phone beeps and AN ADDRESS flashes on its screen. He opens the window and shouts at a small booth:</scene_description> <character>DRIVER</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Come on! We're leaving!</dialogue> <scene_description>INSIDE THE BOOTH - A Korean thug points his gun at the terrified projectionist. The thug turns and runs towards the black car as it begins to drive away. He jumps in the back at the last second. The car speeds away, going east. The other two cars drive in the opposite direction.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 3 - NIGHT</stage_direction> <scene_description>Emily removes the empty magazine from the gun taped to Eva's hand. She's already removed the scalpel from Eva's other hand.</scene_description> <character>EVA</character> <dialogue>Good girl, now stick the new magazine in.</dialogue> <scene_description>Emily Pushes a loaded magazine into the gun. It clicks into place. Eva's GUN HAND is lethal again. Yankee's phone sits on the cart. It's on speaker. A dial tone. A recorded message begins playing:</scene_description> <character>FEMALE VOICE (O.S.)</character> <dialogue>Good lord, how do you operate this infernal answering machine? Is it this butto-</dialogue> <scene_description>A loud beep cuts the message. Eva swings her free arm at the phone, knocking it off the cart.</scene_description> <character>EVA</character> <dialogue>Goddamn it!</dialogue> <parenthetical>(gets up)</parenthetical> <dialogue>We have to go.</dialogue> <character>EMILY</character> <dialogue>What about my daddy?</dialogue> <character>EVA</character> <dialogue>We'll come back for him. I promise.</dialogue> <character>EMILY</character> <dialogue>But where are we going?</dialogue> <character>EVA</character> <dialogue>I'll tell you on the way.</dialogue> <character>EMILY</character> <dialogue>No. Tell me now.</dialogue> <character>EVA</character> <dialogue>Emily, we don't have time for this!</dialogue> <character>EMILY</character> <dialogue>Tell me NOW!</dialogue> <character>EVA</character> <parenthetical>(struggling)</parenthetical> <dialogue>We..I...</dialogue> <character>EMILY</character> <dialogue>Was that your mom on the phone?</dialogue> <character>EVA</character> <parenthetical>(sighs)</parenthetical> <dialogue>Yes. We need to get to her before the BAD MEN will, okay?</dialogue> <scene_description>A long beat as Emily thinks about it.</scene_description> <character>EMILY</character> <dialogue>Okay.</dialogue> <scene_description>She walks over to Eva and takes her free hand.</scene_description> </scene> <scene> <stage_direction>INT. THE CLINIC - CONTINUOUS</stage_direction> <scene_description>The two walk hand in hand through the blood splattered corridor, toward the elevator. Its doors are open. Inside it- The doctor! Nursing his broken nose. He looks up and sees Eva and Emily. Terror overtakes him. He starts frantically pressing buttons. Eva and Emily are almost at the elevator when the doors begin to close. The doctor sighs in relief. When - Emily sticks her tiny hand between the doors. The doctor lets out a high-pitched scream as the doors open. Eva and Emily enter. The doctor cowers in the corner. Eva faces him, seething. She starts swinging her GUN HAND. Emily feels the tension and yanks Eva's hand. Eva turns around.</scene_description> <character>EVA</character> <dialogue>Can you press the button? We're parked on minus two.</dialogue> <scene_description>The doctor reaches for the button with a shaking hand. The elevator starts descending. Eva looks down at Emily. Then back to the doctor. She's fighting the urge to put a bullet in his head. Emily's tiny hand in hers stifles the urge. The elevator doors open with a ding. Eva and Emily walk out. Eva turns to the doctor.</scene_description> <character>EVA</character> <dialogue>Just remember that you were spared thanks to a seven year old girl.</dialogue> <character>EMILY</character> <parenthetical>(whispers)</parenthetical> <dialogue>I'm seven and three quarters.</dialogue> <character>EVA</character> <dialogue>Sorry.</dialogue> <parenthetical>(to the doctor)</parenthetical> <dialogue>Seven and three quarters.</dialogue> <scene_description>The elevator doors close. The doctor collapses to the floor, shocked that he's still alive.</scene_description> </scene> <scene> <stage_direction>INT. PARKING LOT - CONTINUOUS</stage_direction> <scene_description>Eva leads Emily to the car. Emily stops in her place.</scene_description> <character>EMILY</character> <dialogue>Are you a serial killer?</dialogue> <scene_description>Eva turns to her, surprised.</scene_description> <character>EVA</character> <dialogue>What? No! Where did you learn that expression?</dialogue> <character>EMILY</character> <dialogue>History channel.</dialogue> <character>EVA</character> <dialogue>You watch way too much television.</dialogue> <character>EMILY</character> <dialogue>That's what my daddy says. But he was never home. So I watched TV.</dialogue> <scene_description>Eva looks at her, saddened.</scene_description> <character>EVA</character> <dialogue>Well, I'm not a serial killer.</dialogue> <character>EMILY</character> <dialogue>But you kill people?</dialogue> <character>EVA</character> <dialogue>Yes.</dialogue> <character>EMILY</character> <dialogue>That makes you a killer. And you killed more than one. That is serial.</dialogue> <character>EVA</character> <dialogue>It's more complicated than that. Serial killers are mentally unstable. They kill people out of a compulsive urge.</dialogue> <character>EMILY</character> <dialogue>So why do you kill them?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>For money?</dialogue> <scene_description>A long beat. Emily just hit a nerve.</scene_description> <character>EVA</character> <dialogue>It's complicated.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look, I'm going to need your help for a little longer.</dialogue> <character>EMILY</character> <dialogue>Because your hands are still paralyzed?</dialogue> <character>EVA</character> <dialogue>Yes, after that, I'll get you to your mother.</dialogue> <character>EMILY</character> <dialogue>She's dead.</dialogue> <character>EVA</character> <dialogue>To your grandparents then.</dialogue> <character>EMILY</character> <dialogue>They're dead.</dialogue> <character>EVA</character> <dialogue>Uncles? Anything?</dialogue> <scene_description>Emily shakes her head. She's on the verge of tears.</scene_description> <character>EVA</character> <dialogue>We'll figure it out, OK?</dialogue> <scene_description>OK.</scene_description> <character>EVA</character> <dialogue>So here's an unrelated question: Do you know how to drive?</dialogue> </scene> <scene> <stage_direction>INT. PARKING LOT/EVA'S CAR - MOMENTS LATER</stage_direction> <scene_description>Eva's in the driver's seat, her paralysed arms dangling to her sides. Emily sits on her lap, holding the wheel.</scene_description> <character>EVA</character> <dialogue>Let's go over it one more time - Left!</dialogue> <scene_description>Emily turns the wheel to the left.</scene_description> <character>EVA</character> <dialogue>Right!</dialogue> <scene_description>Emily turns the wheel to the right.</scene_description> <character>EMILY</character> <dialogue>I got it already! D is for drive, R is for reverse.</dialogue> <parenthetical>(shifts gears)</parenthetical> <dialogue>And you do the easy part, stepping on the gas and the brakes.</dialogue> <character>EVA</character> <dialogue>Don't be a smartass. Put it in drive.</dialogue> <scene_description>Emily shifts gears. Eva gently steps on the gas. The car begins to roll forward.</scene_description> <character>EVA</character> <dialogue>A little to the left. Good. Now a hard right. Keep her steady.</dialogue> <scene_description>The car drives slowly towards the exit ramp. Emily's eyes shine with excitement.</scene_description> <character>EMILY</character> <dialogue>I'm driving!</dialogue> <character>EVA</character> <parenthetical>(smiling despite herself)</parenthetical> <dialogue>Yes, you are!</dialogue> <scene_description>Eva's smile fades when she hears- The roar of engines. The screech of tires. Coming from the ramp. Coming right at them. Two black Mercedes cars come flying down the ramp. An E-Class and a S-Class. Korean thugs lean out of the windows, assault rifles in hand.</scene_description> <character>EVA</character> <dialogue>Reverse. NOW!</dialogue> <scene_description>Emily puts the car in reverse. Eva pushes the gas pedal as far as it will go. Tires scream as Eva's car speeds backwards. The Koreans open fire.</scene_description> <character>EVA</character> <dialogue>Hard left!</dialogue> <scene_description>Emily turns the wheel violently, getting them out of the line of fire. The thugs' bullets hit nearby cars, shattering their windows.</scene_description> <character>EVA</character> <dialogue>Drive!</dialogue> <scene_description>Emily shifts gears. The car speeds forward. The Koreans follow. As the black cars chase them, Eva keeps spitting out directions. With each one, Emily responds quicker. Soon, they drive like they're one person.</scene_description> <character>EVA</character> <dialogue>Left...</dialogue> <scene_description>Hard right... Reverse... Eva and Emily turn in place, fly forward and take cover behind columns, goading their pursuers into more and more dangerous maneuvers. The thugs sit on the open windows like they're in a wild west stagecoach. They don't stop shooting. What they lack in accuracy, they make up for in volume. The E-Class hits a column and comes to a stop. The driver puts it in reverse. He's about to pull the car back when he looks up to see- Eva's car, coming at the passenger side at full speed. It rams into the E-class' side and begins shoving it towards the wall. The two thugs sitting on the passenger side windows point their guns at Eva's windshield. They're inches from it.</scene_description> <character>EVA</character> <dialogue>Close your eyes.</dialogue> <scene_description>Emily does. The thugs unload their guns at Emily and Eva. Eva's bulletproof windshield holds. She floors the gas pedal. The thug sitting on the driver side window looks at the WALL approaching him. Shit! He tries to get back in the car - Too late. He's smashed to death between the E-Class and the wall. The S-Class appears in Eva's rear-view mirror, speeding towards them, guns at the ready.</scene_description> <character>EVA</character> <dialogue>Reverse. Hard right!</dialogue> <scene_description>Emily, eyes still closed, follows the orders. She lets out a little giggle, oblivious to the carnage.</scene_description> <character>EMILY</character> <dialogue>I like driving!</dialogue> <scene_description>Eva's car screeches as it speeds backwards to the side, leaving the two Korean cars - TO SHOOT AT EACH OTHER. Bullets hit the two thugs hanging from the E-class' windows, tearing them to pieces. The S-Class' thugs look in shock at their handiwork. No time for this. The driver takes a hard turn, continuing to chase Eva. The E-class is totalled. The driver, the ONLY SURVIVOR, pushes a dead thug out of the way and climbs out the window. He holds TWO M-16S in his hands. He's blood soaked, looking crazed. Eva sees the exit ramp in the rear-view mirror. She guides Emily towards it, driving in reverse, making a break for it. The S-class speeds up and is now side-to-side with Eva's car. Eva's in reverse, the S-class going forward. The thugs all unload their guns at Eva and Emily. The bulletproof window begins to crack and crinkle - It's not going to hold for much longer. Eva looks around. She sees the crazed driver of the E-Class running towards them, guns blazing.</scene_description> <character>EVA</character> <dialogue>Right! Now left!</dialogue> <scene_description>Eva maneuvers the car in reverse towards the driver. The S-Class has no choice but to move along with her.</scene_description> <character>EVA</character> <dialogue>Are your eyes still closed?</dialogue> <character>EMILY</character> <dialogue>Yes.</dialogue> <character>EVA</character> <dialogue>Good girl.</dialogue> <scene_description>The on-foot driver stops in his place, seeing the two cars barreling towards him. Eva maneuvers her car so he'll be right in the path of the S-Class. The S-Class' driver notices him at the last second. He pulls to the right as hard as he can, flipping his car. It tumbles sideways, crashing the thugs leaning out the windows to death. Only one thing left to do: Eva runs over the on-foot driver without slowing down. There's a bump as he splatters against the back window.</scene_description> <character>EMILY</character> <dialogue>What was that?</dialogue> <character>EVA</character> <dialogue>Just a speed bump. You can open you eyes now.</dialogue> <scene_description>Emily does.</scene_description> <character>EVA</character> <dialogue>Think you can drive to the exit by yourself?</dialogue> <scene_description>Emily puts the car in drive. She begins rolling towards the exit ramp.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR - MOMENTS LATER</stage_direction> <scene_description>Eva and Emily drive together down the neon lit city streets. Emily on Eva's lap, turning the wheel. Both are deep in thoughts, the night's happenings taking their toll.</scene_description> <character>EMILY</character> <dialogue>Can I turn on the radio?</dialogue> <character>EVA</character> <dialogue>Go nuts.</dialogue> <scene_description>Emily turns on the radio. The first notes of the YEAH YEAH YEAH's GOLD LION begin playing. Emily and Eva drive, listening to the music, colorful neon lights flashing across their faces.</scene_description> </scene> <scene> <stage_direction>EXT. MR. PARK'S VILLA - NIGHT</stage_direction> <scene_description>THE MUSIC PLAYS on as Mr. Park's vast, heavily protected villa stretches before us. A YELLOW SCHOOL BUS is parked outside. Fifty KOREAN THUGS stand in line, getting on the bus one by one. An army. They carry hatchets, butcher knives, machetes. Bong stands beside the driver, inspecting the foot soldiers as they get on the bus. They walk silently down the aisle and sit down. When the bus is full, Bong gives the driver a signal. The bus drives away. The young men sit in silence, weapons in hand. Going to capture the witch that killed their brothers.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Eva and Emily leave the car and walk toward an apartment building. Eva, gun in hand, inspects the dark lobby. She stops.</scene_description> <character>EMILY</character> <dialogue>Don't you want to save your mommy?</dialogue> <character>EVA</character> <dialogue>Something's wrong. There's supposed to be a doorman in there. Let's go through the back.</dialogue> <scene_description>Emily nods in agreement, a hardened soldier.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - MOMENTS LATER</stage_direction> <scene_description>Eva and Emily sneak through the back door, into an unglamorous service corridor. Eva wriggles her gun hand fingers. They're starting to work. She tries to lift her GUN HAND to eye level. Her arm falls back down, lifeless. Not yet. But she's running out of time.</scene_description> <character>EVA</character> <dialogue>We're going to do this together.</dialogue> <character>EMILY</character> <dialogue>Do what?</dialogue> <scene_description>Eva lifts her GUN ARM and places it on Emily's head. She looks through the sight.</scene_description> <character>EVA</character> <dialogue>Good. You're the perfect height. You move your head to look at what needs shooting. I shoot.</dialogue> <character>EMILY</character> <dialogue>So we're going to kill them?</dialogue> <character>EVA</character> <dialogue>God, no. I AM going to kill them. You just point.</dialogue> <character>EMILY</character> <dialogue>But I don't want to.</dialogue> <character>EVA</character> <dialogue>Why not? They're really bad people.</dialogue> <scene_description>Emily tilts her head to the side, making Eva's arm fall down.</scene_description> <character>EVA</character> <dialogue>Jesus Christ...</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>OK. I promise not to kill them. I'll just make sure they can't hurt us.</dialogue> <character>EMILY</character> <dialogue>Just arms and legs!</dialogue> <character>EVA</character> <dialogue>Do you know how hard that is? On a good day!</dialogue> <character>EMILY</character> <dialogue>Promise!</dialogue> <character>EVA</character> <dialogue>Fine! I promise! Can we go now?</dialogue> <scene_description>Emily takes Eva's gun arm and places it on her head, satisfied.</scene_description> <character>EMILY</character> <dialogue>Now we can go.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING LOBBY - MOMENTS LATER</stage_direction> <scene_description>Eva and Emily walk slowly through the corridor, lurking in the shadows. Eva walks behind Emily, her gun hand on Emily's head. They peek out at the dark lobby - It's suspiciously empty. The only light comes from the open elevator. Eva and Emily sneak toward the elevator. Slowly, silently. Eva and Emily look around, tense. Finally, the two step into the elevator. The doors close behind them.</scene_description> </scene> <scene> <stage_direction>INT. THE SEVENTH FLOOR - MOMENTS LATER</stage_direction> <scene_description>Ding! The elevator doors open. Emily peeks out, the gun on her head. The corridor is empty. Eva and Emily walk out. There's a ruckus up ahead. They advance toward the noise. A door flies open beside them. Emily swings her head in its direction. Eva lets out a shot. It hits the door frame. It's a good thing she missed because - An OLD WOMAN stands in the doorway, furious.</scene_description> <character>OLD WOMAN</character> <dialogue>Enough with the noise! It's the middle of the goddamn night-</dialogue> <scene_description>The woman sees the girls, the gun, and finally the bullet hole. She shuts the door, terrified.</scene_description> <character>EVA AND EMILY</character> <dialogue>Sorry!</dialogue> <scene_description>The two continue towards the noise, when - A KOREAN THUG bursts out of the apartment at the end of the corridor. He's battered and bleeding. He runs straight at them. Emily can't point Eva at the thug fast enough. He's upon them. The thug passes them by, ignoring them completely. He runs to the elevator. Emily looks back at him. Eva squeezes the trigger, but Emily moves- Bang! The bullet passes to his left. Eva shoots again. Emily moves at the last second - Bang! This bullet passes to his right.</scene_description> <character>EVA</character> <dialogue>What is your problem?</dialogue> <character>EMILY</character> <dialogue>He's running away. He won't hurt us.</dialogue> <scene_description>The elevator doors close behind him. The noise up ahead stops at once. Complete silence. This makes Eva even tenser. She guides Emily towards the open door the wounded thug came from. As they come closer, they catch glimpses of the devastation inside: A beautiful apartment. But for now, we'll focus on the latest additions to the decor: THREE DEAD KOREAN THUGS. An apartment door opens silently behind Eva and Emily. A HANDGUN pokes out, finally meeting the back of Eva's head. Eva stops in her place. Game over.</scene_description> <character>FEMALE VOICE (O.S.)</character> <dialogue>Didn't I teach you to always guard your back?</dialogue> <character>EVA</character> <parenthetical>(sighs)</parenthetical> <dialogue>Hi, mom.</dialogue> <scene_description>Eva turns to meet her mother. SCARLET is now in her fifties. Older than when we last saw her but just as tough. Her classic frock is covered in blood. None of it hers.</scene_description> <character>SCARLET</character> <dialogue>I'm guessing these clowns have something to do with you?</dialogue> <character>EVA</character> <dialogue>Unfortunately.</dialogue> <character>SCARLET</character> <parenthetical>(at Emily)</parenthetical> <dialogue>And this?</dialogue> <character>EVA</character> <dialogue>Well...It's a long story.</dialogue> <character>SCARLET</character> <dialogue>Did you -</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Am I a grandmother?</dialogue> <character>EVA</character> <dialogue>What?! God, no!</dialogue> <scene_description>Emily offers her hand to Scarlet.</scene_description> <character>EMILY</character> <dialogue>I'm Emily. I'm her apprentice.</dialogue> <scene_description>Eva rolls her eyes.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING LOBBY - NIGHT</stage_direction> <scene_description>The wounded thug that ran past Eva and Emily bursts out of the elevator, hysterical, phone to his ear. His call goes through. They talk in Korean.</scene_description> <character>THUG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Mr. Bong? Boss?</dialogue> <character>BONG (O.S.)</character> <parenthetical>(in Korean)</parenthetical> <dialogue>What now?</dialogue> </scene> <scene> <stage_direction>INT. THE SCHOOL BUS - CONTINUOUS</stage_direction> <scene_description>The huge vehicle barrels down the streets of the city. The fifty armed Korean thugs sit in tense silence. Bong stands in the aisle, talking on his phone.</scene_description> <character>THUG (O.S.)</character> <parenthetical>(in Korean)</parenthetical> <dialogue>I'm sorry...She's a demon...She came out of nowhere...She got everyone....</dialogue> <scene_description>Tense silence. When Bong speaks he makes sure the ENTIRE BUS hears him.</scene_description> <character>BONG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>You owe me a finger to present to Mr. Park.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>If it's not in a box by the time I get there, we'll fill it with other parts.</dialogue> <scene_description>Bong hangs up. In the bus, all of the foot soldiers have horrified looks.</scene_description> <character>BONG</character> <parenthetical>(in Korean, to driver)</parenthetical> <dialogue>Faster!</dialogue> <scene_description>The driver floors the gas pedal.</scene_description> </scene> <scene> <stage_direction>INT. SCARLET'S APARTMENT - NIGHT</stage_direction> <scene_description>The apartment is immaculate. Off white, reclaimed wood, flowers everywhere. And THREE DEAD THUGS piled in the corner. Emily sits on the sofa. She's leafing through a big book of dog breeds and eating a peanut butter and jelly sandwich, no crust. Scarlet and Eva are in the kitchen, watching Emily from a safe distance. Scarlet gives Eva a shot in the arm with a syringe. She starts rubbing Eva's shoulders, helping the blood circulation.</scene_description> <character>SCARLET</character> <dialogue>That's a hell of a story.</dialogue> <character>EVA</character> <dialogue>Hell of a night.</dialogue> <character>SCARLET</character> <dialogue>Try moving your fingers. You should get some feeling back in no time.</dialogue> <character>EVA</character> <dialogue>Already started working.</dialogue> <scene_description>Scarlet awkwardly lets go of her daughter.</scene_description> <character>SCARLET</character> <dialogue>So, what have you been up to in the last...</dialogue> <parenthetical>(looking at her watch)</parenthetical> <dialogue>Fifteen years?</dialogue> <character>EVA</character> <dialogue>The same thing you were doing in the fifteen years before that.</dialogue> <character>SCARLET</character> <dialogue>Raising an ungrateful brat?</dialogue> <character>EVA</character> <dialogue>No, the killing people part.</dialogue> <character>SCARLET</character> <dialogue>I had to provide for us somehow.</dialogue> <character>EVA</character> <dialogue>Is that what you're going with? You killed off half the Russian mob to buy me school supplies?</dialogue> <character>SCARLET</character> <dialogue>That one -</dialogue> <parenthetical>(reminiscing)</parenthetical> <dialogue>Was fun. We had fun, didn't we?</dialogue> <character>EVA</character> <dialogue>Which part? Helping you and your friends sort ammo? Cleaning guns? Or lying in bed every night, thinking today's the day someone finally kills you?</dialogue> <character>SCARLET</character> <dialogue>That's why I left.</dialogue> <character>EVA</character> <dialogue>You left because taking care of me was too hard.</dialogue> <character>SCARLET</character> <dialogue>I left because I didn't want you to end up like me!</dialogue> <character>EVA</character> <dialogue>And how's that working out for you?</dialogue> <scene_description>Scarlet looks at her. One-nil.</scene_description> <character>EVA</character> <dialogue>And by the way - dyeing you hair blonde and moving to the other side of town isn't exactly disappearing.</dialogue> <character>SCARLET</character> <dialogue>I wanted to stay close. But I couldn't be in touch with you. Any of you. That was the deal.</dialogue> <character>EVA</character> <dialogue>What deal?</dialogue> <scene_description>A long moment. Eva understands.</scene_description> <character>EVA</character> <dialogue>The FIRM?</dialogue> <character>SCARLET</character> <dialogue>Someone had to pay for the Russian mob thing. They promised if I disappear, you'll be off the table.</dialogue> <scene_description>Eva didn't know.</scene_description> <character>EVA</character> <dialogue>Guess the deal is off.</dialogue> <character>SCARLET</character> <dialogue>Guess so.</dialogue> <scene_description>Scarlet lets it all sink in.</scene_description> <character>SCARLET</character> <dialogue>Does the kid know? About you and her father?</dialogue> <character>EVA</character> <dialogue>No. But she's smart. She'll figure it out.</dialogue> <character>SCARLET</character> <dialogue>What happens when she does?</dialogue> <scene_description>Eva asks herself the same question.</scene_description> <character>EVA</character> <dialogue>We really need to get out of here.</dialogue> </scene> <scene> <stage_direction>INT. THE SEVENTH FLOOR - MOMENTS LATER</stage_direction> <scene_description>Scarlet and Emily wait for the elevator, hand in hand. Eva's just behind them.</scene_description> <character>SCARLET</character> <dialogue>How was the peanut butter and jelly sandwich, sweetie?</dialogue> <character>EMILY</character> <dialogue>Really good.</dialogue> <character>SCARLET</character> <dialogue>Do you want to know my secret?</dialogue> <character>EMILY</character> <dialogue>Ah-ha.</dialogue> <character>SCARLET</character> <dialogue>I mix in two jams. Grape and strawberry. Don't tell anyone.</dialogue> <character>EMILY</character> <dialogue>I won't.</dialogue> <character>EVA</character> <parenthetical>(to herself)</parenthetical> <dialogue>So now your maternal instinct kicks in?</dialogue> <scene_description>The elevator doors open. They walk in.</scene_description> <character>SCARLET</character> <dialogue>What was that?</dialogue> <character>EVA</character> <dialogue>I asked - what's the plan.</dialogue> <character>SCARLET</character> <dialogue>What plan?</dialogue> <character>EVA</character> <dialogue>Come on, you always have a plan. What is it? A secret escape route? A safe house filled with guns?</dialogue> <character>SCARLET</character> <dialogue>I called us an Uber.</dialogue> <character>EVA</character> <dialogue>Are you kidding me?</dialogue> <character>SCARLET</character> <parenthetical>(to Emily)</parenthetical> <dialogue>Can you press the lobby button, dear?</dialogue> <scene_description>Emily does and the elevator doors close. It starts descending.</scene_description> <character>EVA</character> <dialogue>An Uber?! What the hell are you talking about? I know you! You make plans! And then you make plans to make other plans!</dialogue> <character>SCARLET</character> <dialogue>You're frothing at the mouth, dear. It's unbecoming.</dialogue> <scene_description>Eva's about to respond when the elevator stops. The doors open to the lobby, exposing- The FIFTY KOREAN THUGS, led by Bong. The thug that called Bong earlier stands in front of him, holding a bloody finger in a handkerchief. His little finger is missing. He looks up and sees Scarlet in the elevator. His eyes widen in fear. Eva elbows Scarlet and she presses the basement button. The elevator lets out a ding! EVERY THUG in the lobby turns to look at them. Eva hammers the close doors button.</scene_description> <character>BONG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Get them! Alive!</dialogue> <scene_description>The fifty thugs charge at the elevator at once, a sea of sharp metal objects. Eva presses the button. Again. And again. Finally, the doors begin closing. Excruciatingly slowly. The charging thugs are almost there. Through the crack, Eva can see the whites of their eyes. The doors close. The elevator descends. The thugs bang on the doors.</scene_description> <character>BONG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>The stairs!</dialogue> <scene_description>The fifty thugs barrel down the stairs, towards the basement, giving chase.</scene_description> </scene> <scene> <stage_direction>INT. THE BASEMENT/LAUNDRY ROOM - CONTINUOUS</stage_direction> <scene_description>Eva, Emily and Scarlet burst out of the open elevator. Scarlet leads them through a corridor to the - LAUNDRY ROOM - Scarlet locks the door behind them. Running footsteps are heard from outside. The thugs begin banging on the door. Scarlet rushes to a washing machine with an "OUT OF ORDER" sign on it. She grabs a side.</scene_description> <character>SCARLET</character> <dialogue>Help me with this.</dialogue> <scene_description>Eva grabs the other side of the washing machine. They pull. HATCHETS start breaking through the wooden door behind them. The entire front of the washing machine comes off. Eva peeks inside. The empty machine covers a hole in the wall. A TUNNEL. Scarlet crawls in first. Emily goes after her. Eva takes the rear.</scene_description> <character>EVA</character> <dialogue>No plan, huh?</dialogue> <character>SCARLET</character> <dialogue>Now's not the time!</dialogue> <scene_description>The thugs break through the door. They stare in confusion at the empty washing machine. One of them peeks in. IN THE TUNNEL - Scarlet reaches a metal grate that blocks their path. She kicks it. It holds. Behind them, the thugs have entered the tunnel.</scene_description> <character>EVA</character> <dialogue>Need help?</dialogue> <character>SCARLET</character> <dialogue>No, thank you...</dialogue> <parenthetical>(kick)</parenthetical> <dialogue>I'm quite capable...</dialogue> <parenthetical>(kick)</parenthetical> <dialogue>Of disposing of one...</dialogue> <parenthetical>(kick)</parenthetical> <dialogue>Idiotic grate.</dialogue> <scene_description>And with that, the grate flies off. Scarlet crawls through the hole. Emily and Eva follow her into - The busy kitchen of an ITALIAN RESTAURANT.</scene_description> </scene> <scene> <stage_direction>INT. ITALIAN RESTAURANT - CONTINUOUS</stage_direction> <scene_description>The cooks look at them in shock. Scarlet is already running up the stairs. Eva and Emily follow her up to the EMPLOYEES ONLY area. Waiters stare at them, confused. Scarlet opens a supply closet. She starts throwing out boxes. The HEAD WAITER comes running.</scene_description> <character>HEAD WAITER</character> <dialogue>Excuse me, can I help you?</dialogue> <character>SCARLET</character> <dialogue>We're good, thank you.</dialogue> <scene_description>The boxes were covering a SECRET DOOR in the wall of the supply closet. Scarlet disappears inside it. Eva looks back. The first Korean thugs rush up the stairs. She grabs Emily and runs with her through the secret door. They run down a tunnel. Up ahead, the tunnel ends at a metal door.</scene_description> <character>EVA</character> <dialogue>Where is this thing leading?</dialogue> <character>SCARLET</character> <dialogue>Away from the Yakuza.</dialogue> <character>EMILY</character> <dialogue>The Yakuza are Japanese. These are Koreans.</dialogue> <character>SCARLET</character> <dialogue>You're a very well informed young lady.</dialogue> <character>EVA</character> <dialogue>She watches way too much TV.</dialogue> <character>SCARLET</character> <dialogue>Do you have HBO?</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <character>SCARLET</character> <dialogue>Then you better close your eyes for this part. Hold my hand.</dialogue> <scene_description>Emily closes her eyes and gives Scarlet her hand. Scarlet unlocks the metal door and bursts out of- A locker. In a MEN'S LOCKER ROOM.</scene_description> </scene> <scene> <stage_direction>INT. GYM/MEN'S LOCKER ROOM - CONTINUOUS</stage_direction> <scene_description>Men stand around naked, showering, talking to one another. Seeing the women, they grab their towels and scream in panic. Scarlet, Emily and Eva run out the door. Through a packed gym. Outside. They now stand in front of- The LIBRARY. The four stone lionesses guard the front door.</scene_description> </scene> <scene> <stage_direction>EXT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>Eva looks up at the library's inviting lights. A strong, well protected safe house. A smile creeps up her lips. Her mother came through. But then, Scarlet turns away from the library. She begins walking down the street. Eva turns to her.</scene_description> <character>EVA</character> <dialogue>Are you kidding me?</dialogue> <character>SCARLET</character> <dialogue>Come on! We have to go.</dialogue> <character>EVA</character> <dialogue>Go where? You clearly made this plan so you could get to the library.</dialogue> <character>SCARLET</character> <dialogue>That was a long time ago.</dialogue> <character>EVA</character> <dialogue>Mom!</dialogue> <character>SCARLET</character> <dialogue>I'm not going in there!</dialogue> <character>EVA</character> <dialogue>Mom, listen to me: We need weapons! We need a car!</dialogue> <scene_description>Emily looks from Eva to Scarlet, as if watching a tennis match. Through the glass front doors of the gym, Eva sees the KOREAN THUGS bursting out of the locker room, confused.</scene_description> <character>EVA</character> <dialogue>We need a goddamn safe house!</dialogue> <character>SCARLET</character> <dialogue>I'm not even sure they'll let me in.</dialogue> <character>EVA</character> <dialogue>Only one way to find out.</dialogue> <scene_description>Eva grabs Emily's hand and begins running towards the library. Emily looks back at Scarlet. Scarlet sighs and starts to follow them. Eva and Emily run up the library stairs. Eva pulls the handles of the giant doors - It's locked. Eva pounds on the doors with her fists. No response. She starts looking for another way in. She inspects the barred windows. Meanwhile, Scarlet reaches the top of the stairs.</scene_description> <character>SCARLET</character> <dialogue>There's a pretty good chance they'll shoot me on sight.</dialogue> <character>EVA</character> <dialogue>I'm willing to take that chance.</dialogue> <character>SCARLET</character> <dialogue>I'm serious.</dialogue> <character>EVA</character> <dialogue>Ma, they're your oldest friends. More than that, in some cases.</dialogue> <character>SCARLET</character> <parenthetical>(heartbroken)</parenthetical> <dialogue>I don't think we're friends anymore.</dialogue> <scene_description>Below, the thugs burst out of the gym. They spot the three and start running towards the library. Scarlet grabs Emily by the waist and lifts her up.</scene_description> <character>SCARLET</character> <dialogue>Above the door. Can you feel it?</dialogue> <scene_description>Emily moves her hand over the top of the doorway. She finds a key. She shows it to Scarlet, proud. Scarlet puts her down and unlocks the doors.</scene_description> <character>SCARLET</character> <dialogue>For the record, I still think this is a bad idea.</dialogue> <scene_description>Scarlet holds the door open for Eva and Emily. She walks in after them and locks the heavy doors. Behind her, we see the thugs running up the library stairs.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>Eva, Emily and Scarlet walk through the dark library. Towards the empty librarian's desk. Hollow thuds echo through the space. The thugs trying to break in.</scene_description> <character>EVA</character> <dialogue>Hello? Madeleine?</dialogue> <character>ANNA MAY (O.S.)</character> <dialogue>I hope for your sake that's a pizza delivery at the door.</dialogue> <scene_description>The three librarians walk out of the shadows, armed. Anna May in the front holds the sawed-off shotgun. Madeleine and Florence cover her from behind with assault rifles. Anna May sees Scarlet. She tries to keep it together.</scene_description> <character>ANNA MAY</character> <dialogue>Girls...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I think I see a ghost.</dialogue> <character>SCARLET</character> <dialogue>Hello, Anna May.</dialogue> <character>ANNA MAY</character> <dialogue>No, no, no. You don't get to talk. You're a ghost and ghosts can't talk. You know how I know that?</dialogue> <character>SCARLET</character> <dialogue>Can we do this later?</dialogue> <character>ANNA MAY</character> <dialogue>Because if ghosts could talk, they would say something before disappearing. Or at least leave a note. But they CAN'T. So ipso facto, you're a ghost.</dialogue> <character>SCARLET</character> <dialogue>You know I had no choice.</dialogue> <character>ANNA MAY</character> <dialogue>Oh, fuck you!</dialogue> <character>MADELEINE</character> <dialogue>Language, Anna May. There's a child present.</dialogue> <character>ANNA MAY</character> <dialogue>Fine! Fudge you!</dialogue> <character>SCARLET</character> <dialogue>Fudge you!</dialogue> <character>ANNA MAY</character> <dialogue>Fudge you!</dialogue> <scene_description>Emily starts giggling. Madeleine and Florence join her. This makes Anna May even angrier. She points at Emily.</scene_description> <character>ANNA MAY</character> <dialogue>And why is there a toddler in our place of business?</dialogue> <character>EVA</character> <parenthetical>(sighs)</parenthetical> <dialogue>The short version?</dialogue> <character>ANNA MAY</character> <dialogue>Please!</dialogue> <character>EVA</character> <dialogue>Her father was killed and she has nowhere else to go. I was downsized by the FIRM and they fed me and mom to the KOREAN MOB.</dialogue> <character>ANNA MAY</character> <dialogue>So you decided to bring them all here?!</dialogue> <scene_description>Outside, the Koreans start shooting at the locks.</scene_description> <character>SCARLET</character> <dialogue>I'm sorry. Maybe we can come back at a more convenient time.</dialogue> <character>ANNA MAY</character> <dialogue>Sounds good to me.</dialogue> <scene_description>More gunshots.</scene_description> <character>MADELEINE</character> <dialogue>Let's table this for now.</dialogue> <character>FLORENCE</character> <dialogue>Seconded. Let's go down.</dialogue> <scene_description>Anna May takes a deep breath. She nods. They all turn and begin walking toward the basement stairs. Eva looks back at the door. The thugs are almost inside. She stands her ground.</scene_description> <character>EVA</character> <dialogue>Go. I'll buy you some time. We'll meet at the diner once I finish them off.</dialogue> <character>FLORENCE</character> <dialogue>Sure you don't need help? I can use the target practice.</dialogue> <character>EVA</character> <dialogue>I'm sure. Go!</dialogue> <scene_description>Emily runs to Eva and grabs her hand.</scene_description> <character>EMILY</character> <dialogue>I'm staying with you.</dialogue> <character>EVA</character> <dialogue>No. You're going with them to the basement, where it's safe.</dialogue> <character>EMILY</character> <dialogue>But you need me. I'm your apprentice.</dialogue> <character>EVA</character> <dialogue>Emily, the bad men are coming. I need you to go with my mom.</dialogue> <character>EMILY</character> <dialogue>No! I want to stay with you.</dialogue> <character>EVA</character> <dialogue>You can't!</dialogue> <scene_description>BUT WHY?</scene_description> <character>EVA</character> <dialogue>Because I killed your father, OK?</dialogue> <scene_description>Eva has to make Emily go. It just comes out. Emily drops Eva's hand, shocked.</scene_description> <character>EMILY</character> <dialogue>You're lying! You just want to get rid of me!</dialogue> <character>EVA</character> <parenthetical>(trembling)</parenthetical> <dialogue>Your dad stole a briefcase from some very bad people. They hired me and I...killed...him.</dialogue> <scene_description>This is as hard on Eva as it is on Emily. They stare at each other. Emily tries to hold back the tears. She fails. Scarlet looks at the two, broken hearted.</scene_description> <character>SCARLET</character> <dialogue>Come on, sweetheart. We have to go.</dialogue> <scene_description>Scarlet takes Emily's hand and guides her away. Emily has no more fight in her. The five women walk towards the basement stairs. Eva looks after them. Florence turns.</scene_description> <character>FLORENCE</character> <dialogue>If you need a weapon, try the 'self help' section.</dialogue> <scene_description>They go down the stairs. Scarlet and Eva exchange one last look before Eva disappears into the shadows. THE THUGS break the lock on the front doors. They swarm into the Library. Eva sneaks between the book shelves, looking for the self help section. Romance. Historical fiction. Where the hell is it?</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY BASEMENT - CONTINUOUS</stage_direction> <scene_description>A large hall was converted to a garage. The women load equipment onto a sixties-era Volkswagen Transporter. It's the same van hippies drove to Woodstock in, unless you count the bullet proofing on the car's body, windows and wheels. Oh, and the MINIGUN poking out of a turret on the roof. Scarlet and Anna May avert their gaze when they pass by each other, carrying boxes. The tension is palatable. Even Emily helps, carrying a small ammo box into the car.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>Eva sees the self help section in front of her. But there's an open space between her and the much-needed weapons. The thugs are patrolling the aisles. She has to risk it. She runs towards the shelves, keeping low. Eva reaches the self help section. She pulls out a book, HE'S JUST NOT THAT INTO YOU, and throws it open. Foreign passports tumble to the floor. She grabs another book: WOMEN WHO LOVE TOO MUCH. Hundred dollar bills scatter from within its pages. THE THUGS close in on her. Eva counts them. Ten. She can do ten. Probably. If she could just find a fucking gun! A thug charges at her, gun in hand. He's a few feet away. Eva opens a copy of WHEN LIFE GIVES YOU LEMONS. A knife sits inside it. That will do. She throws the knife at the thug's throat. It buries itself deep in his flesh. He falls to his knees and lets out a shot. THE FLASH of gunfire signals Eva's location to the nine other thugs. And here they come, waving knives and hatchets. Coming all at once. One of them screams:</scene_description> <character>THUG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>No guns! Get her alive or Mr. Park will butcher us all!</dialogue> <scene_description>Eva grabs another book. It pulls her down to the floor, heavy beyond belief. A GOLD BAR falls out. 27 pounds of metal in a small package. A thug lifts his butcher's knife to bring it down on Eva's back. Eva grabs the GOLD BAR and smashes his face with it, breaking bones. She turns and hurls it at another thug's head, destroying his lovely smile for good. A thug grabs her leg from behind, bringing her to the floor. She pulls out a hardback copy of THE SECRET from a shelf and hits him in the face with it. But the thug doesn't let go. Another one takes the opportunity and grabs her other leg. They begin dragging her back. Towards the others. As she's dragged along, Eva tries to pull out books. Finally she manages to hold on to one. She opens it - A shiny new 9MM HANDGUN sits inside. Eva turns to the two thugs. Their triumphant smile fades. She empties the gun into their torsos. They fly back. IN THE BASEMENT - the women freeze at the sound of gunfire coming from above. IN THE LIBRARY - There are five thugs left. They form a circle around Eva, closing in. Eva's out of bullets. She's breathing heavily. On the verge of defeat.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY BASEMENT - CONTINUOUS</stage_direction> <scene_description>The van is fully loaded. The women take their places inside. Florence is in the driver's seat. Madeleine sits in the back, her arms wrapped around Emily, comforting her. Anna May, rifle in hand, is about to climb in the passenger seat. Scarlet walks over to her. Anna May looks away.</scene_description> <character>SCARLET</character> <dialogue>I have to go help her.</dialogue> <character>ANNA MAY</character> <dialogue>And you need my permission?</dialogue> <character>SCARLET</character> <dialogue>I can't bail on her again.</dialogue> <character>ANNA MAY</character> <dialogue>Why? You've gotten pretty good at it.</dialogue> <character>SCARLET</character> <dialogue>I thought I was doing the right thing. For her.</dialogue> <scene_description>Anna May lets out a breath, letting go of fifteen years of anger. She turns to Scarlet.</scene_description> <character>ANNA MAY</character> <dialogue>You were doing the right thing.</dialogue> <character>SCARLET</character> <parenthetical>(surprised)</parenthetical> <dialogue>What?</dialogue> <character>ANNA MAY</character> <dialogue>I mean look at this place. That's no way to raise a kid.</dialogue> <scene_description>Scarlet is overwhelmed. There are so many things she wants to tell Anna May.</scene_description> <character>SCARLET</character> <dialogue>I missed you.</dialogue> <character>ANNA MAY</character> <parenthetical>(in a good way)</parenthetical> <dialogue>Oh, fudge you.</dialogue> <character>SCARLET</character> <dialogue>Fudge you.</dialogue> <scene_description>Anna May takes Scarlet's hand.</scene_description> <character>ANNA MAY</character> <dialogue>Just meet us at the diner. Come back in one piece, OK? Both of you.</dialogue> <scene_description>Scarlet nods and lets go of Anna May's hand. She takes one last look at Emily and turns away.</scene_description> <character>ANNA MAY</character> <dialogue>Wait.</dialogue> <scene_description>Anna May pulls an ornate wooden box from the van. She hands it to Scarlet.</scene_description> <character>ANNA MAY</character> <dialogue>I kept the girls ready for you.</dialogue> <scene_description>Scarlet opens the box. Inside it sit TWO BEAUTIFUL IDENTICAL HANDGUNS. White, etched with floral engravings. A gorgeous song starts playing. DAUGHTER's YOUTH. It's the only thing we hear as - A SLOW MOTION SEQUENCE BEGINS IN THE LIBRARY - the five thugs descend on Eva all at once. She manages to block the knives but that leaves her open to a barrage of punches and kicks. Eva collapses to the ground. IN THE BASEMENT - Scarlet gets ready for war. She puts her hair in a bun and holds it in place with TWO LONG METAL HAIR STICKS. She rolls up her sleeves and pushes the magazines into both guns. She starts running up the stairs. THE LIBRARY - Eva is down on the ground. The thugs kick and punch her. She protects her face and neck with her hand. A thug raises his heavy boot to stamp on Eva's head. When Suddenly - He flies back, bullet wounds in his chest. Through her fingers Eva sees- HER MOTHER, running towards the thugs, guns blazing. A lioness protecting her cub. Eva can't hide her smile as- The four remaining thugs are knocked away from Eva one by one, each of them dead before they hit the ground. Scarlet stands over Eva. She offers her hand and Eva takes it. Scarlet helps Eva to her feet. There's a noise from outside: The screeching of brakes, struggling to stop a heavy vehicle. The school bus.</scene_description> <character>EVA</character> <dialogue>The rest of them are coming.</dialogue> <character>SCARLET</character> <dialogue>Will it kill you to say "thank you"?</dialogue> </scene> <scene> <stage_direction>EXT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>The forty remaining thugs pour out of the bus, weapons in hand. Bong stares at them as they run up the stairs to the library.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>Eva turns to her mother with a concerned look.</scene_description> <character>EVA</character> <dialogue>Mom, you can still go. I'll cover you.</dialogue> <character>SCARLET</character> <dialogue>And miss all the fun?</dialogue> <scene_description>Scarlet pulls books from the shelves and hands them to Eva.</scene_description> <character>SCARLET</character> <dialogue>Women who run with wolves. Awaken the giant within.</dialogue> <scene_description>Eva opens them and takes a 9mm handgun from each.</scene_description> <character>EVA</character> <dialogue>Ammo?</dialogue> <scene_description>Scarlet hands her a book.</scene_description> <character>SCARLET</character> <dialogue>How to win friends and influence people.</dialogue> <scene_description>Eva takes out the extra magazines. The two women stand side by side, mother and daughter, guns pointing at the door.</scene_description> <character>SCARLET</character> <dialogue>You know, there isn't a single person on earth I would rather kill people with.</dialogue> <character>EVA</character> <dialogue>That's the nicest thing you've ever said to me.</dialogue> <scene_description>And with that, the thugs STORM INTO THE LIBRARY. Eva and Scarlet open fire. THE FORTY MEN pour through the open doors, running straight at them, waving their fearsome MEDIEVAL ARSENAL. Eva and Scarlet shoot into the wave of men. Every shot hits. Every bullet causes its target to drop. We see what this duo is really capable of- They're a force of nature. Angels of leaden death. For a moment, it looks like they're going to win- But just for a moment. The enraged thugs stumble over their injured colleagues to get to Eva and Scarlet. There are simply too many of them. A large man tackles Scarlet, throwing her to the ground. Eva shoots him in the forehead. Scarlet tries to get up but it's too late. A dozen men pummel her, holding her down. Eva shoots into the writhing human mass but- Every other thug left standing hits her at once. Eva struggles, kicking and punching, breaking noses, jaws and ribs. But one limb at a time - they pin her down. Eva and Scarlet look at each other from between the bodies of their captors. Hopeless but trying to comfort each other. The furious thugs lay into Eva and Scarlet with their fists, boots and batons. Avenging their fallen and wounded comrades. Celebrating the fact that these two are human after all.</scene_description> <character>BONG (O.S.)</character> <parenthetical>(in Korean)</parenthetical> <scene_description>ENOUGH! The beating comes to an instant stop. Bong walks through the sea of thugs, stopping in front of Eva and Scarlet.</scene_description> <character>BONG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Get them on their feet!</dialogue> <scene_description>The thugs do as they're told. After the beating they endured, Eva and Scarlet have to be held up. They're bruised and bleeding. Bong gets in their faces, inches away.</scene_description> <character>BONG</character> <dialogue>You two are very lucky women. Wanna know why?</dialogue> <character>SCARLET</character> <dialogue>No.</dialogue> <character>EVA</character> <dialogue>Not really.</dialogue> <character>BONG</character> <dialogue>Well, I'm gonna tell you anyway. You-</dialogue> <character>SCARLET</character> <dialogue>Then why did you ask us?</dialogue> <character>BONG</character> <parenthetical>(baffled)</parenthetical> <dialogue>What?!</dialogue> <character>EVA</character> <dialogue>She's right. Why did you ask us if you're not interested in our answer. It's rude.</dialogue> <character>SCARLET</character> <dialogue>Incredibly rude. You should have phrased it as a statement, not a question.</dialogue> <character>EVA</character> <dialogue>Otherwise, you come off as insincere. Like you don't really care about what we have to say.</dialogue> <scene_description>Bong looks from one woman to the other. A smile creeps onto his lips. He punches Scarlet in the face, so hard you can feel it. Her head falls down as she begins to lose consciousness. He grabs Scarlet's hair and pulls her up. Scarlet spits blood.</scene_description> <character>BONG</character> <dialogue>You had a girl with you. Where is she?</dialogue> <character>SCARLET</character> <dialogue>In front of me, based on that punch.</dialogue> <character>BONG</character> <dialogue>Cute.</dialogue> <scene_description>And he turns and punches Eva's face. This clearly hurts Scarlet more than the punch to her own face.</scene_description> <character>BONG</character> <parenthetical>(to Eva)</parenthetical> <dialogue>The girl.</dialogue> <character>EVA</character> <dialogue>I would love to help, but I think that punch killed the last brain cells that knew where she was.</dialogue> <scene_description>Bong grabs Eva's head. He stares at her in rage.</scene_description> <character>BONG</character> <dialogue>You think you're tough, with your little jokes. You killed my uncle's only grandson. After five daughters and sixteen goddamn granddaughters. Hwan was his only heir, and you took that away from Him.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>My uncle is an artist. I once saw him skin a man alive, inch by excruciating inch, for three days. He would not let him die. Not until he suffered more than any man I've ever seen. And that was for stealing money. Can you imagine what he will do to you two?</dialogue> <scene_description>Eva looks at Scarlet, finally broken.</scene_description> <character>SCARLET</character> <dialogue>You think that's painful? Try child birth. Twelve hours this one took until she decided to come out. Makes your uncle's bullcrap look like a day at the spa.</dialogue> <scene_description>Eva smiles with pride. Bong however, is not amused.</scene_description> <character>BONG</character> <parenthetical>(in Korean)</parenthetical> <dialogue>Crazy witch. Put them on the bus.</dialogue> </scene> <scene> <stage_direction>EXT. THE LIBRARY - MOMENTS LATER</stage_direction> <scene_description>The three librarians and Emily sit in the parked van, staring at the thugs putting Eva and Scarlet on the bus.</scene_description> <character>FLORENCE</character> <dialogue>What do we do?</dialogue> <character>ANNA MAY</character> <dialogue>We follow the bus, kill the lot of them and rescue the girls. All in favor?</dialogue> <scene_description>Florence, Anna May and Madeleine raise their hands. They all look at Emily. After a moment, Madeleine takes Emily's hand and raises it up.</scene_description> <character>FLORENCE</character> <dialogue>Motion carried.</dialogue> <scene_description>Florence turns the ignition.</scene_description> </scene> <scene> <stage_direction>INT/EXT. THE SCHOOL BUS/HIGHWAY - NIGHT</stage_direction> <scene_description>The bus drives away from the city, on a dark, empty highway. Eva and Scarlet sit next to each other in the back seat of the bus. Their hands are tied behind their backs. They are surrounded by Korean thugs. They talk quietly.</scene_description> <character>EVA</character> <dialogue>You should have stayed with the girls.</dialogue> <character>SCARLET</character> <dialogue>And you should have stayed away from this line of work.</dialogue> <character>EVA</character> <dialogue>Are you kidding me? You left. Killing people was the only thing I knew how to do.</dialogue> <character>SCARLET</character> <dialogue>OK, maybe in retrospective, it wasn't the best environment to raise a child in.</dialogue> <character>EVA</character> <dialogue>You think?</dialogue> <character>SCARLET</character> <dialogue>But it made you who you are.</dialogue> <character>EVA</character> <dialogue>At least we can agree on that.</dialogue> <character>SCARLET</character> <dialogue>It made you a strong, smart, incredibly impressive young woman.</dialogue> <scene_description>Eva looks surprised.</scene_description> <character>SCARLET</character> <dialogue>I'm really glad I got to see you work, Evey.</dialogue> <character>EVA</character> <parenthetical>(touched)</parenthetical> <dialogue>Thanks, mom.</dialogue> <scene_description>Both smile.</scene_description> <character>SCARLET</character> <dialogue>So, any new developments in torture techniques since I retired? Are we still talking pulling nails and electrical shocks? Or should I expect some fancy-shmancy new age crap?</dialogue> <scene_description>Suddenly, Eva sees something through the window: The librarians' van, driving beside them. Madeleine waves to Eva from the back seat, Emily in her arms.</scene_description> <character>EVA</character> <dialogue>I think we might have to take a rain check on the torture.</dialogue> <scene_description>Scarlet follows Eva's gaze. She sees the van. In the driver seat, Florence holds up three fingers. Scarlet knows the sign. A countdown. Scarlet hugs Eva. Well, as close to it as she can with her hands tied behind her back. Eva is caught by surprise. She lets herself enjoy the emotional gesture from her mom. She closes her eyes.</scene_description> <character>SCARLET</character> <dialogue>Grab my hair stick with your teeth. Careful, it's sharp. Drop it in my hand.</dialogue> <scene_description>Eva realizes that of course, her mother always has a plan. Eva grabs the top of the hair stick with her teeth and begins pulling it out, inch by inch. Florence signals to Scarlet from the van, holding two fingers.</scene_description> <character>SCARLET</character> <dialogue>Hurry up!</dialogue> <character>EVA</character> <parenthetical>(through clenched teeth)</parenthetical> <dialogue>Aaam trying!</dialogue> <character>SCARLET</character> <dialogue>Try faster.</dialogue> <scene_description>Thugs look back at the hugging mother and daughter.</scene_description> <character>SCARLET</character> <parenthetical>(to thugs)</parenthetical> <dialogue>She's emotional. You know how we women get.</dialogue> <scene_description>That seems to appease the thugs who turn back. Eva pulls the hair stick out. She drops it behind Scarlet's back. Scarlet grabs it. It's razor sharp with a serrated edge. She starts cutting the ropes tying her hands. Florence signals to Scarlet from the van - One finger.</scene_description> <character>SCARLET</character> <dialogue>Did you map all their weapons?</dialogue> <character>EVA</character> <dialogue>Yep. I'll grab the hatchet from the big one.</dialogue> <character>SCARLET</character> <dialogue>Good choice. I'll take the knives from the guy with the limp.</dialogue> <scene_description>Scarlet cuts through her ropes. She's free</scene_description> <character>SCARLET</character> <dialogue>Hold still.</dialogue> <scene_description>She begins cutting Eva's ropes. In the van, Florence raises a closed fist. This sign makes Scarlet start cutting faster.</scene_description> <character>SCARLET</character> <dialogue>Ten. Nine. Eight.</dialogue> <scene_description>Scarlet accidently cuts into Eva's arm.</scene_description> <character>EVA</character> <dialogue>Owww!</dialogue> <character>SCARLET</character> <dialogue>I said hold still! Six. Five.</dialogue> <character>EVA</character> <dialogue>Then stop cutting me!</dialogue> <character>SCARLET</character> <dialogue>Big baby. Three. Two. One.</dialogue> <scene_description>Scarlet cuts through Eva's ropes at the last second.</scene_description> <character>SCARLET</character> <dialogue>Floor. Now!</dialogue> <scene_description>Scarlet and Eva drop to the floor. IN THE VAN- Madeleine opens a hatch in the roof and pops out, grabbing the MINIGUN. She opens fire on the school bus - FIVE-THOUSAND BULLETS hit the bus at a rate of eighty rounds each second. THE HAIL of bullets shatters glass and disintegrates metal, passing right above Eva and Scarlet's heads. It hits the sitting thugs before they understand what is happening. Their bodies are riddled with bullets. Some die. Most are wounded. This should even the odds a little. Madeleine's minigun spins on empty, out of bullets. Silence.</scene_description> <character>SCARLET</character> <dialogue>Go!</dialogue> <scene_description>Eva and Scarlet jump to their feet. They pounce on the thugs they've marked and before they can react, grab their weapons. Now, every thug that can still stand, rises to their feet. Twenty men turn toward Eva and Scarlet. Wounded, bleeding and FURIOUS. Eva raises her HATCHET. Scarlet her KNIVES. They face the enraged thugs. Screw Mr Park's orders. These women are not leaving the bus alive. But there is no place to move. This will be the most close quarters fight scene in cinema history. The thugs scream in rage and climb over their seats, trying to get to Eva and Scarlet. It's on! No one has room to swing their arms. Eva and Scarlet slash and stab at short range, clearing a path through the thugs. A tornado of death. A thug pulls a contraband gun out of his jacket. This thing ends now. He points it at Eva. Eva spots the gun at the last second. She grabs a thug and pushes him in front of her. The bullets hit his body. Other bullets ricochet around the bus. One hits the driver in the back of the head, KILLING HIM INSTANTLY. The driver falls on the wheel, his foot on the gas. The bus starts swaying from side to side. The thugs lose their balance. Eva takes the opportunity. She grabs a bus handle and swings around, kicking the thugs. She kicks one in the chest, sending him flying OUT THE WINDOW. A thug behind Scarlet regains his balance, ready to stab her in the back. Scarlet doesn't notice. She's as good as dead- Bang! A bullet hits the thug right between the eyes. He collapses. Scarlet looks from him to- The librarians' van. Anna May hangs out of the window, sniper rifle in hand, smirking. CRASH! A black Mercedes smashes into the librarians' van. The rifle flies out of Anna May's hand. Bong drives the Mercedes. He pulls up, side to side with the van, holding his gun out the window to shoot the driver. But he finds- Florence, one hand on the wheel and the other holding a Mac 10 sub-machine gun. She empties the magazine at him. Bullets ricochet all around him. Bong brakes at the last moment, pulling back from the van. In the bus, there's rumble under foot. Scarlet looks up, suddenly very worried.</scene_description> <character>SCARLET</character> <dialogue>I think that's our stop.</dialogue> <scene_description>Eva turns to see: Up ahead, the road curves sharply. The bus speeds forward, towards a deep ravine filled with trees. Eva and Scarlet look at the back window, its glass gone. They nod to each other and begin running to it. They perform a synchronised gymnastics routine, jumping over thugs, slashing and pushing them out of the way. Outside, Bong rams into the librarians' van from the back. In the van, Madeleine has had enough. She pops out of the roof opening, holding an assault rifle. She shoots it at the Mercedes' grille. The bullets hit the exact same spot. Smoke starts coming out of the Mercedes. Bong stops the car by the side of the road. The van and bus continue on their way. Soon, the bus reaches the curve. It flies off the road and rolls down the steep hill. The thugs forget about Eva and Scarlet. They turn to see the huge trees, coming at them at a hundred miles an hour. Eva and Scarlet JUMP OUT of the bus' back window and roll out of the way. The bus crashes into a tree, collapsing like an accordion. Killing every thug left inside it. Eva and Scarlet get up. They look at the destroyed bus. It looks like the smoking corpse of a giant beast. They're bruised, cut and covered in blood. But they're alive.</scene_description> </scene> <scene> <stage_direction>EXT. THE OPEN ROAD - CONTINUOUS</stage_direction> <scene_description>The sound of screeching brakes above makes Eva and Scarlet tense up, ready for anything- The librarians' van comes to a halt above them. They flash their lights at Eva and Scarlet. Mother and daughter look at each other. It's over. They begin climbing towards the van, when- CRASH! A Mercedes rams the passenger side of the van, smashing it into a utility pole. The women in the van are in shock from the impact. The pole blocks Florence's door. The Mercedes blocks Anna May's. Bong steps out of the Mercedes, gun in hand. He walks to the van. Seeing this, Eva and Scarlet climb faster towards the van, desperate, stumbling. Bong throws open the van's back door. Madeleine lies inside, in shock, hugging Emily, keeping her safe. Bong pries Madeleine's arms open to get to Emily. But Madeleine holds on, fighting him. Emily cries. Madeleine raises her hand, exposing the GUN she's holding. She shoots Bong in the chest. Bong hisses, then raises his gun and - Shoots Madeleine in the FOREHEAD. Madeleine's lifeless body slumps over. Bong grabs Emily and throws her over his shoulder, crying and struggling. He walks to the Mercedes. Emily starts screaming:</scene_description> <character>EMILY</character> <dialogue>No! No!</dialogue> <scene_description>In the van's front seats, Florence and Anna May come to, seeing the horror. They fumble for their guns. Emily's screaming makes Eva climb even faster. Faster than it seems possible. Florence and Anna May try to get out of the van. To do something. But they're trapped inside. Bong throws Emily in the back seat of his car. He unbuttons his shirt and pulls the bullet from his KEVLAR VEST. He gets in the driver seat. Anna May lowers her window. She points a handgun at Bong's head and empties it into the Mercedes' windshield. The BULLETPROOF WINDSHIELD holds. Bong smiles as he turns the car and drives away. Florence turns the ignition, trying to give chase. But the van is dead. Eva reaches the top. She runs after Bong's car. It speeds away. Within seconds, it is gone. Eva falls to her knees, screaming in anguish. Scarlet arrives at the top. She sees her grieving daughter, Bong's car disappearing in the distance, and finally - The van's open door. Madeleine's dead body. Time stands still. The earth stops spinning.</scene_description> </scene> <scene> <stage_direction>EXT. A SUNFLOWER FIELD - DAWN</stage_direction> <scene_description>A gorgeous sunflower field, on the edge of the city. First light peeks from behind the skyscrapers. Scarlet, Anna May and Florence stand at the edge of the field, over Madeleine's freshly dug grave. Eva stands behind them, letting the old friends say their last good-byes. Florence holds a book by Charlotte Bronte in her hands. She starts reciting a poem: Charlotte's beautiful ode to her dead sister.</scene_description> <character>FLORENCE</character> <dialogue>There's little joy in life for me, And little terror in the grave; I've lived the parting hour to see Of one I would have died to save.</dialogue> <character>ANNA MAY</character> <dialogue>The cloud, the stillness that must part The darling of my life from me; And then to thank God from my heart, To thank Him well and fervently;</dialogue> <character>SCARLET</character> <dialogue>Although I knew that we had lost The hope and glory of our life; And now, benighted, tempest-tossed, Must bear alone the weary strife.</dialogue> <scene_description>Florence lays the book gently on the grave.</scene_description> <character>SCARLET</character> <dialogue>You were the best of us. I'm so sorry I missed those last years with you.</dialogue> <scene_description>Anna May puts her hand on Scarlet's shoulder. Emily's HELLO KITTY phone begins playing its merry song in Eva's pocket. The three librarians gather around Eva, knowing what comes next. Eva answers and puts it on speaker.</scene_description> <character>BONG (O.S.)</character> <dialogue>Well, that was an exciting night.</dialogue> <character>EVA</character> <dialogue>Let me talk to Emily!</dialogue> <character>BONG (O.S.)</character> <dialogue>You know, it's a tragedy what happens to poor orphan girls in our line of work. They're in high demand. A very hot commodity. It's really quite sad.</dialogue> <character>EVA</character> <dialogue>What do you want?</dialogue> <character>BONG (O.S.)</character> <dialogue>My uncle still insists on meeting you. He says skinning you alive will let him work through his grief. That's not too much to ask, is it?</dialogue> <character>EVA</character> <dialogue>If I come to you, Emily goes free. And everyone else is off the table.</dialogue> <character>BONG (O.S.)</character> <dialogue>But I was hoping to torture the old witch myself. I even bought some new power tools.</dialogue> <character>EVA</character> <dialogue>I killed your uncle's grandson. I'm the only one who should pay.</dialogue> <scene_description>A long, tense moment.</scene_description> <character>BONG (O.S.)</character> <dialogue>OK. We have a deal.</dialogue> <character>EVA</character> <dialogue>The diner.</dialogue> <character>BONG (O.S.)</character> <dialogue>See you there.</dialogue> <scene_description>Eva hangs up.</scene_description> <character>SCARLET</character> <dialogue>You're not going to just hand yourself over to those animals?</dialogue> <character>EVA</character> <dialogue>They can't bring their guns into the diner. It's Emily's best chance.</dialogue> <character>SCARLET</character> <dialogue>There has to be another way.</dialogue> <character>EVA</character> <dialogue>I'm all ears.</dialogue> <character>SCARLET</character> <dialogue>Well...I don't have a plan right now, but-</dialogue> <character>EVA</character> <dialogue>It's you, mom. You always have a plan!</dialogue> <scene_description>Eva begs her mother with her eyes, a child again.</scene_description> <character>SCARLET</character> <parenthetical>(sighs)</parenthetical> <dialogue>I'm sorry, Evey. Not this time.</dialogue> <character>EVA</character> <dialogue>Then I guess this is goodbye.</dialogue> <scene_description>Eva lingers for a moment, hoping for her mother to perform a miracle. To save her. But there's nothing up Scarlet's sleeve. This really is it. Eva turns away, tears in her eyes. She begins walking towards the city. Scarlet looks after her for a long, sad moment. Anna may goes to her.</scene_description> <character>ANNA MAY</character> <dialogue>We better go.</dialogue> <scene_description>Behind them, Florence tries to bring the van back to life.</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - MORNING</stage_direction> <scene_description>Eva walks into the diner. Her clothes torn and bloody. Her skin black and blue. She's been through hell and it shows. Rose the waitress greets Eva with a solemn look. She looks back at the older waitress. The older woman nods. No weapons.</scene_description> <character>ROSE</character> <dialogue>They're waiting for you, honey.</dialogue> <character>EVA</character> <dialogue>Thanks, Rose.</dialogue> <scene_description>Eva walks down the aisle. Every booth houses Korean thugs in black suits. They stare at her. Looks of pure hatred. She stops by a booth. Emily sits in it, surrounded by Bong and two thugs. Emily can barely stop herself from crying when she sees Eva.</scene_description> <character>EVA</character> <dialogue>Did they hurt you?</dialogue> <scene_description>Emily shakes her head.</scene_description> <character>EVA</character> <dialogue>It's been a long night. But it's going to be over soon, OK?</dialogue> <scene_description>OK. Eva turns to walk away but she stops and turns back to Emily.</scene_description> <character>EVA</character> <dialogue>You're a special kid, Emily. I wish I had more time to get to know you.</dialogue> <scene_description>And with that, Eva walks to the last table. Emily stares at her with tears in her eyes. Eva sits down across the booth from Mr. Park. He looks at her, stone faced. Eva is tired. Regretful.</scene_description> <character>EVA</character> <dialogue>For what it's worth, Mr. Park, I am sorry.</dialogue> <scene_description>Mr. Park looks Eva up and down.</scene_description> <character>MR. PARK</character> <dialogue>My men call you a demon. A witch. I met a real witch once, when I was young. I never felt fear like that. It was alive, crawling up my spine. Taking over me.</dialogue> <parenthetical>(disappointed)</parenthetical> <dialogue>But you're not a witch. Not even close. I fantasized about all the things I will do to break you. But you're already broken.</dialogue> <character>EVA</character> <dialogue>Just let the girl go.</dialogue> <character>MR. PARK</character> <dialogue>Not yet.</dialogue> <character>EVA</character> <dialogue>We had a deal!</dialogue> <character>MR. PARK</character> <dialogue>And I'm a man of my word. I will set the girl free, unharmed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But only after she watches what I do to you. Every last minute of it.</dialogue> <character>EVA</character> <dialogue>Don't do this.</dialogue> <character>MR. PARK</character> <dialogue>My grandson was innocent and you took his life. It's only fair that I take her innocence. By the time you and me are done, she will know the true nature of this world.</dialogue> <scene_description>Eva is terrified, broken.</scene_description> <character>EVA</character> <dialogue>Please. I'll do anything.</dialogue> <character>MR. PARK</character> <dialogue>Don't start begging yet. There will be plenty of time for that.</dialogue> <scene_description>A waitress approaches the booth. Eva can't take her eyes off Mr. Park.</scene_description> <character>WAITRESS (O.S.)</character> <dialogue>And how are y'all doing? Need something?</dialogue> <character>MR. PARK</character> <dialogue>No, we're good.</dialogue> <character>WAITRESS (O.S.)</character> <dialogue>You sure? Can I bring you some more coffee? Maybe a slice of apple pie?</dialogue> <character>MR. PARK</character> <dialogue>If I have to tell you no again, there will be consequences-</dialogue> <scene_description>Mr. Park turns to the waitress and faces- SCARLET, pointing a double-barreled shotgun at his face. She cocks it. Eva finally looks up and sees her mother.</scene_description> <character>SCARLET</character> <dialogue>Hi, sweetie. Guess there was a plan after all.</dialogue> <scene_description>Eva looks around. All the WAITRESSES stand near the booths, pointing shotguns and assault rifles at the men sitting in them. FLORENCE and ANNA MAY stand among the waitresses. They smile at Eva.</scene_description> <character>EVA</character> <dialogue>Guess so.</dialogue> <character>SCARLET</character> <dialogue>Why don't you take Emily out of here. It's no place for a kid.</dialogue> <scene_description>Eva gets up. Mr. Park stares at Scarlet, seething.</scene_description> <character>MR. PARK</character> <dialogue>You can't do this. This is a neutral zone.</dialogue> <character>SCARLET</character> <dialogue>There is no neutral anymore. Everyone must pick a side.</dialogue> <parenthetical>(out loud)</parenthetical> <dialogue>Right, ladies?</dialogue> <scene_description>Behind her, all the waitresses COCK THEIR WEAPONS. Eva walks to Emily's table and leans over Bong, picking her up. Bong can barely stop himself from breaking Eva's neck but there's a gun pointed right at his head. Emily wraps her arms tightly around Eva. Eva hugs her. She whispers in her ear.</scene_description> <character>EVA</character> <dialogue>Close your eyes, baby girl.</dialogue> <scene_description>Emily does. Everything goes into SLOW MOTION as MAZZY STAR's FADE INTO YOU starts playing. Eva walks towards the door, carrying Emily in her arms. Under the tables, the thugs pull out hidden knives. Mr. Park makes the first move, coming at Scarlet with an ornate dagger. From his booth, Bong stares in shock as- Scarlet empties both barrels into Mr. Park's chest. Enraged, Bong shouts a silent command. THE KOREAN THUGS burst out of their seats. They charge at the waitresses, knives drawn. The waitresses open fire. THE MOTION'S SLOWED DOWN enough that you can see flames exploding out of barrels like deadly flowers. Bullets cutting through the air. It's a painting come to life: Bullets hit the thugs, smashing them against the walls. Knives fly. Tableware shatters. Furniture crashes under falling bodies. And amidst all of it- Eva crosses the diner, carrying Emily, heading for the door. At this moment, only the two of them exist.</scene_description> </scene> <scene> <stage_direction>EXT. THE DINER - CONTINUOUS</stage_direction> <scene_description>Eva and Emily walk out the door. The battle in the diner still rages on behind them. Muzzle flashes. Thugs crashing through the windows. They walk away without looking back. The longest night of their lives is finally over. And we- FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. CABIN IN THE WOODS - MORNING</stage_direction> <scene_description>A gorgeous cabin, standing in the middle of a dense forest. A picture postcard. Birds chirping Merrily. Sunlight shining through the trees. Eva opens her eyes in her comfy, sunlit bedroom. She's cleaned-up, her wounds bandaged. Eva stretches, giving herself a moment to enjoy the peace and quiet. She finally turns around to find- Emily, holding a GUN to Eva's head. A long, tense moment.</scene_description> <character>EVA</character> <dialogue>Emily-</dialogue> <scene_description>Bang! Emily shoots.</scene_description> </scene> <scene> <stage_direction>INT. CABIN IN THE WOODS - MORNING</stage_direction> <scene_description>Eva wakes up with a gasp. It was only a dream. She catches her breath.</scene_description> </scene> <scene> <stage_direction>INT. THE CABIN'S LIVING ROOM - MORNING</stage_direction> <scene_description>WE FOLLOW Eva as she walks downstairs. She peeks into the living room and sees: Anna May sits at a table, reading a book. Scarlet walks out of the kitchen. One hand in a splint, the other holding a cup of coffee. She walks over to Anna May and hugs her from behind. They move together to music coming from a nearby radio. Scarlet kisses Anna May's neck.</scene_description> <character>EVA</character> <dialogue>Will you two get a room?</dialogue> <scene_description>The two women laugh.</scene_description> <character>SCARLET</character> <dialogue>Oh, please. You've seen worse.</dialogue> <character>FLORENCE (O.S.)</character> <dialogue>God knows I have.</dialogue> <scene_description>Florence lies down on the couch, reading a newspaper, an eyepatch over one of her eyes.</scene_description> <character>EVA</character> <dialogue>It's too early for any of this, mom. Can I get a coffee?</dialogue> <character>SCARLET</character> <dialogue>Get your own goddamn coffee.</dialogue> <character>EVA</character> <dialogue>Mother of the year. They should give you a trophy.</dialogue> <scene_description>Eva walks to the pot. She pours herself a cup.</scene_description> <character>SCARLET</character> <dialogue>You're cranky today.</dialogue> <character>EVA</character> <dialogue>I had a bad dream. Emily...She shot me in the head with my gun.</dialogue> <character>SCARLET</character> <dialogue>And?</dialogue> <character>EVA</character> <dialogue>What do you mean AND?</dialogue> <character>SCARLET</character> <dialogue>Sweetie, being terrified of your kid is part of the deal. You scared the shit out of me when you were her age.</dialogue> <character>EVA</character> <dialogue>Really?</dialogue> <character>SCARLET</character> <dialogue>Welcome to parenthood.</dialogue> <scene_description>Eva looks around.</scene_description> <character>EVA</character> <dialogue>Vert funny. Where is she? I need to talk to someone normal.</dialogue> <character>SCARLET</character> <dialogue>Out front.</dialogue> <character>EVA</character> <dialogue>Smart girl.</dialogue> <scene_description>Eva heads to the door.</scene_description> <character>SCARLET</character> <parenthetical>(lovingly)</parenthetical> <dialogue>Fudge you, sweetie.</dialogue> <character>ANNA MAY AND FLORENCE</character> <dialogue>Fudge you.</dialogue> <character>EVA</character> <dialogue>Fudge the whole lot of you.</dialogue> </scene> <scene> <stage_direction>EXT. CABIN IN THE WOODS - CONTINUOUS</stage_direction> <scene_description>Eva walks out. Emily sits on the porch steps, holding a PUPPY in her arms. It's asleep. Eva sits beside her.</scene_description> <character>EVA</character> <dialogue>Picked a name yet?</dialogue> <character>EMILY</character> <dialogue>I think I'll call her Madeleine.</dialogue> <character>EVA</character> <parenthetical>(touched)</parenthetical> <dialogue>I like that. How's Madeleine doing today?</dialogue> <character>EMILY</character> <dialogue>She only sleeps and poops. It's cute.</dialogue> <scene_description>She holds the puppy towards Eva.</scene_description> <character>EMILY</character> <dialogue>Wanna hold her?</dialogue> <character>EVA</character> <dialogue>Maybe later-</dialogue> <scene_description>Too late. Emily sticks the sleeping puppy in Eva's arms. Eva looks down at the puppy for a silent moment. She looks at Emily. There's something she needs to say.</scene_description> <character>EVA</character> <dialogue>I'm so sorry I killed your father, Emily. If I could take it back...</dialogue> <character>EMILY</character> <dialogue>I know. But you tried to save him.</dialogue> <character>EVA</character> <dialogue>Still.</dialogue> <character>EMILY</character> <dialogue>And you saved me.</dialogue> <scene_description>Emily's forgiveness touches Eva. There's nothing she can say except-</scene_description> <character>EVA</character> <dialogue>Thank you.</dialogue> <scene_description>Emily's face toughens up. She looks Eva in the eyes.</scene_description> <character>EMILY</character> <dialogue>Besides, I know you just pull the trigger. I know it's someone else who tells you what to do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Who sent you to my father?</dialogue> <scene_description>Eva sighs. She owes Emily that much.</scene_description> <character>EVA</character> <dialogue>There's a group of men, called THE FIRM. They've been running things for a long, long time.</dialogue> </scene> <scene> <stage_direction>INT. A FANCY HOUSE - DAY</stage_direction> <scene_description>Gothic architecture. Dark wood and old leather. Taxidermy.</scene_description> <character>EVA (V.O.)</character> <dialogue>They make all the rules and change them when it fits their needs.</dialogue> <scene_description>The sound of a DOORBELL echoes through the huge house. A man sitting in an armchair turns towards the sound. Nathan.</scene_description> <character>EVA (V.O.)</character> <dialogue>They think they're untouchable. They think they can get away with anything.</dialogue> <scene_description>Nathan walks to the door. Through the semitransparent glass he sees a tiny silhouette.</scene_description> </scene> <scene> <stage_direction>EXT. THE CABIN - MORNING</stage_direction> <scene_description>Emily gives Eva an unflinching, intense look.</scene_description> <character>EMILY</character> <dialogue>But they won't, right?</dialogue> </scene> <scene> <stage_direction>INT. A FANCY HOUSE - DAY</stage_direction> <scene_description>Nathan pulls out a gun and holds it behind his back. He opens the front door.</scene_description> <character>EVA (O.S.)</character> <dialogue>No. They won't. Not anymore.</dialogue> <scene_description>A GIRL SCOUT stands at the door. We see her from the back.</scene_description> <character>NATHAN</character> <dialogue>Well, what do we have here?</dialogue> <character>GIRL SCOUT</character> <dialogue>I'm selling cookies.</dialogue> <character>NATHAN</character> <dialogue>Really? Where are they?</dialogue> <scene_description>Nathan kneels down, now face to face with the girl scout - It's Emily. She holds a copy of LITTLE WOMEN in her hand.</scene_description> <character>NATHAN</character> <dialogue>You're the little girl I heard so much about, aren't you?</dialogue> <scene_description>He pulls the book from Emily's hand.</scene_description> <character>NATHAN</character> <dialogue>They think so little of me that they sent a child to do their dirty work? I'm insulted.</dialogue> <scene_description>Nathan opens the book, looking for the weapon inside - It's just a book. A bookmark falls to the ground. Nathan picks it up. He reads the text on it out loud.</scene_description> <character>NATHAN</character> <dialogue>"Close your eyes, baby girl"?</dialogue> <scene_description>Emily does as she's told. She closes her eyes. Nathan looks up, suddenly terrified.</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARIANS' VAN - CONTINUOUS</stage_direction> <scene_description>The van is parked four-hundred feet away from the house. Eva sits in the front, resting a sniper rifle on the open window. She stares at Nathan's face through the scope.</scene_description> <character>EVA</character> <dialogue>Good girl.</dialogue> <scene_description>Eva's finger squeezes the trigger. As the shot rings out we- SMASH TO BLACK.:</scene_description> <character>THE END</character> </scene> </script>

In a flashback at a diner, twelve-year-old Sam learns that her assassin mother, Scarlet, is skipping town after a job gone wrong. Armed men arrive to kill Scarlet, but she kills them and escapes, leaving an upset Sam behind to be cared for by Nathan. Fifteen years later, the now 27-year-old Sam works as an assassin for Nathan, the human resources head for the same firm Scarlet worked for. Nathan gives Sam a new job, killing a man who stole money from The Firm and returning the money. Sam goes to a weapons armory disguised as a library to exchange her weapons for new ones. There, she meets Anna May, Madeleine, and Florence - three former accomplices of Scarlet. They consider killing her for showing up unannounced, but change their minds when they learn her identity. They provide her with clean weapons for the job. Sam infiltrates a hotel room to retrieve the stolen money and shoots the man responsible in the abdomen when he lunges for his ringing phone. Listening in on the call, she learns that he stole the money to save his kidnapped young daughter and must bring it to a nearby bowling alley to exchange for her. Sam takes him to a firm-affiliated private doctor for treatment and agrees to handle the exchange herself. Nathan learns of her plan and sends three henchmen to stop her and retrieve the money; Sam incapacitates them before continuing with her plan. Masked men give her the girl, Emily, before retreating with the money; Sam pursues them, but the men turn on one another, resulting in their deaths and the destruction of the stolen money. Meanwhile, Nathan learns that one of the henchmen Sam killed in an earlier job was the son of Jim McAlister, the head of a powerful criminal empire. To avoid conflict, Nathan gives up Sam's information and location to be killed. Sam returns to the doctor to reunite Emily with her father, but they learn that he did not survive. Nathan's three henchmen are also at the doctor seeking treatment for their prior fight and they receive orders to kill her. The doctor injects Sam with a serum that renders her arms useless. Sam asks Emily to tape a knife and a gun to her hands and she uses them to fight and kill the three henchmen. More henchmen arrive, but Sam and Emily escape in Sam's car, with Emily steering and Sam working the pedals. Sam receives a text from Nathan, giving her the address to a safe house where she can find supplies to help her escape. She and Emily travel there and run into Scarlet, who reveals she has been watching Sam from afar for 15 years. When henchmen arrive to kill Sam, Scarlet guides them through a hidden escape route. They manage to escape and return to the library, where the librarians angrily demand why Scarlet never tried to contact them when she disappeared. They are interrupted by arriving gunmen. Sam attempts to hold them off, but, after she is overpowered, Scarlet intervenes to save her. The librarians consider fleeing with Emily, but they decide to join the fight. All the gunmen are killed except for Virgil, Jim McAlister's nephew, who kills Madeleine and kidnaps Emily. Virgil calls Sam, who offers to turn herself in at the diner in exchange for Emily's freedom. Sam arrives to meet Jim McAlister who explains that his late son had four older sisters that Jim could not relate to as he does not understand women. Jim intends to torture Sam and make Emily watch, but Scarlet, Anna May, and Florence arrive with guns to free them. Sam takes Emily and leaves the diner before the three women kill Jim and all his henchmen. Sometime later, Sam apologizes to Emily for killing her father and Emily forgives her. Emily goes to Nathan's home disguised as a Girl Scout. Sam threatens his life unless he returns to The Firm and calls off the hit on her. Sam, Emily, Scarlet, Anna May, and Florence then drive down the coast together.

Frank_2014

tt1605717

<script> <scene> <scene_description>Frank by Jon Ronson and Peter Straughan Based on the memoir by Jon Ronson 4th Draft July 9th 2012 BLACK We hear the opening bars of a song, played most proficiently on a keyboard. It is rousing, like an overture. TITLES BEGIN as we... FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - ENGLISH SEASIDE TOWN - AFTERNOON</stage_direction> <scene_description>...on JON (20s) leaving work for the day. He looks sweet, diffident. He walks quite enthusiastically down the street.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>Goodbye work It's time to go home Through my town.</dialogue> <scene_description>He's evidently composing in his head as he goes. Jon turns the corner onto the SEAFRONT.</scene_description> </scene> <scene> <stage_direction>EXT. SEAFRONT - CONTINUOUS</stage_direction> <scene_description>Jon's P.O.V: CHILDREN play on the sand.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>Children building Castles in the sand In my town.</dialogue> <scene_description>Jon passes a POSTER advertising a gig.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>A band's playing tomorrow night In my town. They're called...</dialogue> <scene_description>Jon looks at the band's NAME. It is a JUMBLE OF LETTERS.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Attempting to sing)</parenthetical> <dialogue>...The Soronprfbs</dialogue> <scene_description>A BUS passes. Jon runs after it.</scene_description> </scene> <scene> <stage_direction>INT. BUS - MOMENTS LATER</stage_direction> <scene_description>Jon sits on the top deck, looking out. He spots some DRUNK TRAMPS being ignored by passing BUSINESSMEN. CONTINUED: The song mutates into something new.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>Drunk tramps Ignored by businessmen They walk right by you Don't even notice you But you're the special ones</dialogue> <scene_description>The music abruptly stops.</scene_description> <character>JON</character> <parenthetical>(Murmuring)</parenthetical> <dialogue>No. Too... shit.</dialogue> </scene> <scene> <stage_direction>EXT. JON'S SUBURBAN STREET - LATER</stage_direction> <scene_description>Jon's commute home is almost at an end. He trudges up the hill, passing identical suburban houses. A new song starts. This one sounds rather good.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>I dream of an angel To take me away I dream of an angel To take me away</dialogue> <scene_description>A cautiously excited look crosses Jon's face as he opens his FRONT DOOR. Could this song be the one?</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Jon hurries upstairs.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Singing)</parenthetical> <dialogue>I dream of an angel To take...</dialogue> <character>JON'S MUM</character> <parenthetical>(Calling from the kitchen)</parenthetical> <dialogue>Hi, sweetheart. How was work?</dialogue> <character>JON</character> <parenthetical>(As he hurries upstairs)</parenthetical> <dialogue>Don't talk to me. I've got an idea for a song.</dialogue> <character>JON'S MUM</character> <dialogue>Oh mum. Shut your mouth.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>If you talk to me I might forget the song.</dialogue> <character>JON'S MUM</character> <dialogue>I only asked how work was.</dialogue> <character>JON</character> <dialogue>Just let me concentrate on this song I've got in my head before I forget it.</dialogue> <character>JON'S MUM</character> <dialogue>Well I'm sure if it's good it'll withstand a little small talk with your mother.</dialogue> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>A typical suburban bedroom. Cool music festival posters on the wall. Jon hurries over to his KEYBOARD, sits down and raises his hands to play. His hands freeze, mid-air. He's forgotten the song.</scene_description> <character>JON</character> <parenthetical>(Murmuring)</parenthetical> <dialogue>Shit.</dialogue> <scene_description>He stands, walks over to his computer and pulls up TWITTER.</scene_description> <character>JON (V.O.)</character> <parenthetical>(As he types)</parenthetical> <dialogue>Working on songs.</dialogue> <scene_description>Jon's twitter following is 49. TITLES END</scene_description> </scene> <scene> <stage_direction>I/E. OFFICE BUILDING - THE NEXT MORNING</stage_direction> <scene_description>There's no music now - just traffic noise.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>Jon sits at his workstation. He seems to be in marketing.</scene_description> </scene> <scene> <stage_direction>INT. CAFE - DAY</stage_direction> <scene_description>Jon waits for his order. It's a noisy place - CUSTOMERS ordering, the CLATTER of cutlery. CONTINUED: Beneath the noises we can just discern the sound of the radio playing on a shelf - the drone of a local station interview. Something CATCHES JON'S ATTENTION - something coming from the radio? He leans a little closer, trying to hear whatever the sound is - a kind of keening wail? A series of abrupt, violent exclamations? The sound of something smashing? Someone yelling?</scene_description> <character>CAFE LADY</character> <parenthetical>(Calling)</parenthetical> <dialogue>Cheese and ham panini for Jon? JON?</dialogue> <scene_description>On the radio we just catch a distant shout of...</scene_description> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>...cunt!</dialogue> <scene_description>Jon stares at the radio, wondering if he could have heard that correctly. The Local DJ sounds a little stunned himself.</scene_description> <character>LOCAL DJ (O.S.)</character> <dialogue>That was, that was The...</dialogue> <scene_description>The DJ attempts the same sound Jon made when trying to pronounce the band's name. And also fails.</scene_description> <character>LOCAL DJ (O.S.)</character> <dialogue>And ...I can only apologize.</dialogue> <scene_description>Jon looks quizzically at the radio. Then he takes his panini.</scene_description> </scene> <scene> <stage_direction>EXT. SEAFRONT - LATE AFTERNOON</stage_direction> <scene_description>Jon sits on a bench. At the other end of the bench a WOMAN reads GRAZIA magazine. Jon looks at the cover. It's something about Nicole Scherzinger. Jon pulls out his phone and types into TWITTER.</scene_description> <character>JON (V.O.)</character> <dialogue>Nicole Scherzinger hashtag yawn.</dialogue> <scene_description>His number of twitter followers has gone down to 47. He frowns. He becomes aware of some drama occurring on the beach. A PARAMEDIC CREW rushes towards some kind of commotion in the water. CONTINUED: Jon gets up and - along with other PASSERS-BY - walks over to get a closer look. A MAN is trying to DROWN HIMSELF in the water. Two POLICE OFFICERS attempt to coax him out.</scene_description> <character>BEARDED MAN</character> <parenthetical>(Yelling)</parenthetical> <dialogue>No! I'm no coming out! Leave me alone!</dialogue> <scene_description>Three figures stand watching from a slight distance, their backs to us. Although we don't know them yet they are NANA, CLARA and JEAN BARAQUE. Jon finds himself beside a parked VAN. A concerned- looking Californian surfer-type stands next to it. This is DON TEAGUE. The two glance at each other, nod, Jon with a "what happened?" raise of his eyebrows.</scene_description> <character>DON</character> <dialogue>We were at this radio station and, he and Clara had a row or, I don't know, I guess ...physical fight? Next thing...</dialogue> <scene_description>He indicates the water. Jon's gaze shifts to the VAN. Written on the side of it is the JUMBLE OF LETTERS that comprise the band's name.</scene_description> <character>JON</character> <dialogue>You're The...</dialogue> <scene_description>He gamely tries out the sound.</scene_description> <character>JON</character> <dialogue>You're playing tonight.</dialogue> <character>DON</character> <dialogue>How? Our keyboard player is trying to drown himself.</dialogue> <scene_description>The EMERGENCY SERVICES wade into the sea. Jon scratches his face. A beat.</scene_description> <character>JON</character> <dialogue>I play keyboards.</dialogue> <scene_description>Silence. Jon looks worried he sounded opportunistic.</scene_description> <character>JON</character> <dialogue>I mean I'd never...</dialogue> <scene_description>He indicates the tormented man. CONTINUED: (2)</scene_description> <character>DON</character> <parenthetical>(Somberly)</parenthetical> <dialogue>You're in.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>But I don't know any of your songs.</dialogue> <character>DON</character> <dialogue>Wait there.</dialogue> <scene_description>Don climbs into the mysterious darkness of the van. We hear a murmured conversation. Don reemerges.</scene_description> <character>DON</character> <dialogue>Can you play C, F and G?</dialogue> <character>JON</character> <dialogue>Yes?</dialogue> <character>DON</character> <dialogue>You're in.</dialogue> <scene_description>Jon looks a little stunned.</scene_description> <character>JON</character> <dialogue>So what... what do we do now?</dialogue> <scene_description>Don turns back to the beach again, watches with profound sadness as the paramedics load the man onto a stretcher and begin to carry him off the beach. One more fallen comrade.</scene_description> <character>JON</character> <dialogue>Should we run through the songs... or...?</dialogue> <character>DON</character> <parenthetical>(Still watching)</parenthetical> <dialogue>Come to the stage door at 9pm.</dialogue> <character>JON</character> <dialogue>Great! I'll give you my number in case anything...</dialogue> <scene_description>Jon scribbles it down on a piece of paper. Don walks away to the water's edge. Jon scuttles over and practically prises the paper into Don's hand.</scene_description> <character>JON</character> <dialogue>So. Stage door. 9pm.</dialogue> <scene_description>He throws one last look into the van, wondering who the hell's in there, and then heads off.</scene_description> </scene> <scene> <stage_direction>EXT. SEAFRONT ROAD - MOMENTS LATER</stage_direction> <scene_description>Jon has wound his way up from the beach, just as the paramedics are loading the half-drowned keyboard player into the ambulance. For a moment the two men lock eyes. For an unnerving moment it seems as if THE DROWNED MAN IS TRYING TO TELL JON SOMETHING - as if sensing some link? Then he's gone. Jon stares at the closing doors of the ambulance.</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Is he going to be ok?</dialogue> <character>PARAMEDIC</character> <dialogue>He'll be fine.</dialogue> <character>JON</character> <parenthetical>(Suddenly worried)</parenthetical> <dialogue>He'll still need to spend the night in hospital though, right?</dialogue> <character>PARAMEDIC</character> <dialogue>He swallowed a lot of seawater. He'll have to have his stomach pumped.</dialogue> <character>JON</character> <parenthetical>(Relieved)</parenthetical> <dialogue>Plus I suppose there'll be a whole suicide risk assessment thing.</dialogue> <scene_description>The paramedic looks faintly disgusted at Jon, climbs into the ambulance. Jon watches as it drives away.</scene_description> </scene> <scene> <stage_direction>EXT. STAGE DOOR - 9PM</stage_direction> <scene_description>Jon is politely knocking.</scene_description> <character>JON</character> <dialogue>Hello?</dialogue> <scene_description>Nothing. Jon looks at his watch. 9pm. Jon knocks harder. The door creaks open. He nervously enters.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - DRESSING ROOM - CONTINUOUS</stage_direction> <scene_description>Jon walks down the corridor and finds himself in a grimy dressing room. There's no one there.</scene_description> <character>JON</character> <dialogue>Hello?</dialogue> <scene_description>Jon looks around. CONTINUED: On the table there's a SCRATCHING STICK with a very long, curved arm. There's also some bottles of beer, one with an EXTREMELY long straw sticking out of it. Jon frowns, perplexed. Suddenly we hear a STRANGE BANGING NOISE from inside the hall. It sounds like someone is repeatedly hitting something. Jon pauses, listens, puzzled. He realizes - this must be the band. He walks towards...</scene_description> </scene> <scene> <stage_direction>INT. WINGS - BACKSTAGE - MOMENTS LATER</stage_direction> <scene_description>Jon watches from the shadows. ON STAGE A MIDDLE-AGED WOMAN is repeatedly banging some kind of BIZARRE PERCUSSION INSTRUMENT. This is NANA. A very YOUNG MAN stands playing bass. This is JEAN BARAQUE. A furious looking woman stands provocatively at the front of the stage, eating a pear. She tosses it aside and stalks over to an odd, vast contraption covered in knobs and dials and a MAD JUMBLE of coloured wires - an early-1970s analog synthesizer. This is CLARA. She eats the pear, tosses it aside and raises her hands over the dials. She begins to play. Together they're making an EXTREMELY EXPERIMENTAL collection of sounds. The audience watch this odd trio uncertainly, waiting for something to happen. And out of the darkness of the wings someone Jon hadn't noticed emerges... He's doing a weird jerking, shuffling dance to the music. Strangest of all - he's wearing a large FAKE HEAD, with a SMILING FACE painted onto it. This is FRANK. Jon and the audience gawp at the strange apparition dancing across the stage before disappearing into the shadows of the opposite wings. Then he wheels around and dances back on. Jon becomes aware that Don is standing next to him in the wings. They look at each other for a moment. Then Don gently pushes Jon onto the stage. CONTINUED: Frank, Nana and Baraque ignore him, playing relentlessly on. Clara glares at him but doesn't move. Jon stands there, not sure what to do next. Then he notices a BATTERED OLD KEYBOARD set up near the back. He walks over, stares down at it. CLOSE ON JON'S FACE - a faint frown, thinking stopped. Almost by itself, his hand reaches out and he begins to play - just a little three note figure. And it fits. As the song begins to swell, Jon's other hand joins the first and he begins to play along. Then Frank lifts the mic he's holding and begins to sing - and it's one of the strangest sounds you could imagine. Beautiful and ridiculous at the same time. Jon is lost in the ecstacy of the moment - the realization of a dream. Then it is abruptly over. The audience are staring in silence, unsure what just happened - not that any of the band are paying them any attention anyway. Clara has noticed FLAMES licking out the back of her synthesiser. More irritated than alarmed, she uses an old scorched towel to beat out the flames, burning her hand in the process. Across the stage, Baraque has already begun the bass line to the next song.</scene_description> <character>CLARA</character> <dialogue>What are you doing?</dialogue> <scene_description>Baraque continues playing.</scene_description> <character>CLARA</character> <dialogue>Stop. Will you...</dialogue> <scene_description>Clara throws a can of WD40 at him. It hits his face.</scene_description> <character>BARAQUE</character> <parenthetical>(In French, subtitled)</parenthetical> <dialogue>Now I will have a bruise.</dialogue> <character>CLARA</character> <dialogue>Good. Something to look at on your otherwise nothing face.</dialogue> <scene_description>Baraque indicates the AUDIENCE.</scene_description> <character>BARAQUE</character> <parenthetical>(In French, subtitled)</parenthetical> <scene_description>CONTINUED: (2)</scene_description> <character>BARAQUE</character> <dialogue>Now they see what you're like. So joyless. So angry.</dialogue> <scene_description>Baraque storms off stage. Clara kicks her synthesiser to the floor where it lies, fizzing and sparking faintly, and stalks off through the opposite wings. Nana gives a resigned sigh, picks up her sticks and leaves the stage as well. For a moment it's JUST JON AND FRANK, standing in front of the nonplussed audience. Jon looks uncertainly at the strange singer and Frank turns his great head to look at Jon - as if seeing him for the first time. Then Clara is marching back on-stage. She takes Frank by the hand and leads him away. Leaving Jon alone.</scene_description> </scene> <scene> <stage_direction>EXT. VENUE - STAGE DOOR - EVENING</stage_direction> <scene_description>The band are finishing loading equipment into the van, in a cold, angry silence. There is no sign of Frank. He must already be in the van. No-one pays any attention to Jon, who stands watching as they all climb in and drive off without him.</scene_description> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - NIGHT</stage_direction> <scene_description>Jon lies in bed, tweeting on his phone.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Typing)</parenthetical> <dialogue>Played keyboards with The...</dialogue> <scene_description>Jon has forgotten the name of the band.</scene_description> <character>JON (V.O.)</character> <dialogue>...with a band tonight. Enjoyed working with them a lot.</dialogue> </scene> <scene> <stage_direction>INT. JON'S LIVING ROOM - MORNING</stage_direction> <scene_description>Jon is miserably watching BREAKFAST TV. The keyboard catches his eye. He walks over and starts to play. He tries to remember the weird, wonderful melody from the night before. He gets a few notes right but then loses his way, the whole thing fading already, like a dream... CONTINUED: He stumbles on for a little longer but then gives up.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MORNING</stage_direction> <scene_description>A miserable Jon walks to work. He doesn't compose a song.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - LATER</stage_direction> <scene_description>Jon looks bored. Has gazes out of the window. He doesn't compose a song. His phone rings.</scene_description> <character>JON</character> <dialogue>Hello?</dialogue> <character>DON (V.O.)</character> <dialogue>It's me. So Lucas got out of the hospital and begged Clara to let him back in the band but she told him to lick her ass.</dialogue> <character>JON</character> <dialogue>Uh...</dialogue> <character>DON (V.O.)</character> <dialogue>So we need a keyboard player. And Frank said "Remember that grateful looking boy who jumped up onto the stage last week uninvited."</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>I wasn't uninvited. You invited me.</dialogue> <character>DON (V.O.)</character> <dialogue>Frank said he thought you brought something cherishable that night. He can sound pretty muffled under the head and so the rest of us thought he said you brought something perishable. Like food that decays easily. Fish or fruit. So we all said, "Come on, man, anyone can do THAT." But then he repeated it clearer and we all agreed to let you join. So. Are you in?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Yes.</dialogue> <character>DON (V.O.)</character> <dialogue>Good.</dialogue> <scene_description>CONTINUED: He hangs up. Jon looks shell-shocked. The phone rings again. Jon answers.</scene_description> <character>DON (V.O.)</character> <dialogue>I forgot to tell you where to meet us.</dialogue> <character>JON</character> <parenthetical>(Relieved)</parenthetical> <dialogue>I know.</dialogue> <character>DON (V.O.)</character> <dialogue>Clacket Lane Services on the M25 at 5pm today. Bring a passport.</dialogue> </scene> <scene> <stage_direction>EXT. CAR PARK - CLACKET LANE SERVICES - 5PM</stage_direction> <scene_description>Jon is waiting at Clacket Lane. He stares at a wall of fog and drizzle. Nothing. Will this be another disappointment? But then two headlights appear, glowing faintly in the gloom and out of the fog drives the band's battered TOUR BUS, come to save us. Jon watches with a mixture of excitement and nervousness as the tour bus drives towards him. He pulls out his phone. CLOSE on the phone: Twitter.</scene_description> <character>JON (V.O.)</character> <parenthetical>(As he types)</parenthetical> <dialogue>You would not believe what's happening to me right now.</dialogue> <scene_description>The van pulls up and the door slides open. We can't see inside.</scene_description> <character>JON</character> <parenthetical>(Burbling)</parenthetical> <dialogue>Hi. Hello. I wasn't sure where to wait. Clacket Lane's pretty labyrinthine, isn't it?</dialogue> <scene_description>No answer issues from the van. After a moment Jon climbs in. The doors close and the van sets off once more.</scene_description> </scene> <scene> <stage_direction>INT. TOUR BUS - AFTERNOON</stage_direction> <scene_description>Jon sits in the front beside DON, who compared to the rest of the band looks reassuringly normal. Behind Jon sit Nana, Baraque and Clara in all their compelling, alarming, silent, intense other- worldliness. And in the back, still wearing his FAKE HEAD, is Frank. CONTINUED:</scene_description> <character>BARAQUE</character> <parenthetical>(Suddenly, in French - subtitled)</parenthetical> <dialogue>I need to go to the toilet.</dialogue> <character>CLARA</character> <parenthetical>(Furious)</parenthetical> <scene_description>THEN YOU SHOULD HAVE GONE AT CLACKET LANE! Silence resumes.</scene_description> </scene> <scene> <stage_direction>EXT. MOTORWAY - AFTERNOON</stage_direction> <scene_description>The bus hurtles through the gloom.</scene_description> </scene> <scene> <stage_direction>EXT. FERRY PORT - EVENING</stage_direction> <scene_description>A foggy evening. There's hardly anyone around. The bus is loading onto a Ferry.</scene_description> </scene> <scene> <stage_direction>EXT. FERRY PORT - PASSPORT CONTROL HUT - EVENING</stage_direction> <scene_description>Through the fog we see the band showing their passports to two OFFICERS. They reach Frank. They stare at his head.</scene_description> <character>FRANK</character> <dialogue>I have a certificate.</dialogue> <scene_description>His accent is American. The officers lead him inside the hut.</scene_description> </scene> <scene> <stage_direction>EXT. FERRY - EVENING</stage_direction> <scene_description>The ferry is crossing the North Sea. Don stands on deck at the rails, smoking. Jon stands beside him.</scene_description> <character>JON</character> <dialogue>Can I ask... where are we going Don?</dialogue> <character>DON</character> <dialogue>We're going to Sweden, Jon.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>A pause. CONTINUED:</scene_description> <character>DON</character> <dialogue>What do you think of Frank?</dialogue> <character>JON</character> <dialogue>Um...</dialogue> <scene_description>Jon and Don glance over at Frank. He's sitting on a bench on deck. Clara is, as always, at his side. Frank is smoking a cigarette, using a long cigarette holder that curls under the head's neckline. He finishes his cigarette, pulls it out of the holder, and tosses the butt away. It catches in the North Sea wind and flies back into his head. Frank and Clara frantically pat down his 'face' to stop a fire from breaking out.</scene_description> <character>DON</character> <dialogue>He's fucking amazing isn't he? He lives all the way out there, man.</dialogue> <scene_description>Don indicates the infinite, black sea, stretching out beyond them.</scene_description> <character>DON</character> <dialogue>In the furthest corners. I wanna be him.</dialogue> <character>JON</character> <parenthetical>(Beat. Carefully)</parenthetical> <dialogue>Don? Can I ask... the head...?</dialogue> <character>DON</character> <dialogue>He never takes it off.</dialogue> <scene_description>Jon thinks about this, impressed.</scene_description> <character>JON</character> <dialogue>Never?</dialogue> <character>DON</character> <dialogue>Never.</dialogue> <character>JON</character> <dialogue>He sleeps in it?</dialogue> <character>DON</character> <dialogue>Yes.</dialogue> <character>JON</character> <dialogue>What about eating?</dialogue> <character>DON</character> <dialogue>He sucks liquid food through a straw that he funnels up under the neckline.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>What kind of liquid food?</dialogue> <character>DON</character> <dialogue>Complan.</dialogue> <character>JON</character> <dialogue>He must have a very bushy beard.</dialogue> <character>DON</character> <dialogue>Not necessarily.</dialogue> <character>JON</character> <dialogue>How does he clean his teeth?</dialogue> <scene_description>Don sighs.</scene_description> <character>DON</character> <dialogue>You're just going to have to go with this, Jon.</dialogue> <character>JON</character> <dialogue>I'm sorry. I'm just... it's pretty crazy, isn't it?</dialogue> <scene_description>He laughs nervously.</scene_description> <character>DON</character> <parenthetical>(Smiling)</parenthetical> <dialogue>I understand. But let me tell you something. Frank, for all his 'issues', is without a doubt the most one hundred percent sanest cat I ever met.</dialogue> <character>JON</character> <dialogue>Okay.</dialogue> <character>DON</character> <dialogue>Believe it. (Beat) Me, on the other hand...</dialogue> <scene_description>He laughs. Jon joins in.</scene_description> <character>JON</character> <dialogue>Oh, well... you seem pretty sane to me!</dialogue> <scene_description>Don nods, stares out at the sea, smiling.</scene_description> <character>DON</character> <dialogue>Yeah. (Beat) But no, seriously, I am severely mentally ill. I spent a lot of time in a psychiatric hospital.</dialogue> <scene_description>Jon's smile fades. CONTINUED: (3)</scene_description> <character>JON</character> <dialogue>Right.</dialogue> <character>DON</character> <parenthetical>(Sadly)</parenthetical> <dialogue>I used to have sexual relations with mannequins.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Right.</dialogue> <character>DON</character> <parenthetical>(Informatively)</parenthetical> <dialogue>It's a condition.</dialogue> </scene> <scene> <stage_direction>I/E. VAN - SWEDISH ROAD - FERRY PORT - DAWN</stage_direction> <scene_description>The van drives through a snowy landscape, away from the ferry port, the sun rising on the horizon. Jon is in the back, next to Frank, who appears to be snoozing. Clara and Nana and Baraque are all asleep in the front. Jon nervously glances over at Frank's head. He scrutinizes the hair, the painted cheek... As he looks closer he suddenly notices an EYEBALL staring out at him through the EAR HOLE.</scene_description> <character>JON</character> <parenthetical>(Shrieking)</parenthetical> <dialogue>Jesus Christ!</dialogue> <scene_description>The eye vanishes, retreating back into the darkness of the head. Jon faces front again. The others still sleep. After a moment Jon hears a noise from under Frank's head.</scene_description> <character>FRANK</character> <dialogue>Tsss.</dialogue> <scene_description>Frank is indicating that Jon gets closer. Jon does. Frank indicates closer still.</scene_description> <character>FRANK</character> <dialogue>Tsss.</dialogue> <scene_description>Jon awkwardly gets his ear very close to Frank's 'mouth'.</scene_description> <character>FRANK</character> <parenthetical>(An urgent whisper)</parenthetical> <scene_description>HELP ME. CONTINUED: Jon recoils. Clara stirs in the front, turns to look at them. Frank hurriedly pretends to be asleep. We hear fake snores from inside the head. Jon stares ahead, not knowing what the hell just happened.</scene_description> <character>DON</character> <parenthetical>(driving)</parenthetical> <dialogue>We'll be there in two hours people.</dialogue> <character>JON</character> <dialogue>At the venue?</dialogue> <character>DON</character> <dialogue>What?</dialogue> <character>JON</character> <dialogue>At the... where we're playing tonight?</dialogue> <character>DON</character> <dialogue>We're not playing tonight Jon.</dialogue> <character>JON</character> <dialogue>Oh. (Beat) I've only brought an overnight bag.</dialogue> <scene_description>No-one answers.</scene_description> <character>JON</character> <dialogue>I don't suppose... if we're staying more than one night, maybe if see anywhere that sells clothes and...</dialogue> <character>CLARA</character> <dialogue>Oh. The keyboard player wants to stop.</dialogue> <scene_description>Jon says nothing, but notes the insult.</scene_description> </scene> <scene> <stage_direction>I/E. SWEDISH MOTORWAY SERVICES - EARLY MORNING</stage_direction> <scene_description>Jon looks at the T-shirts. They've all got Swedish tourist slogans: I Love Swedish Girls, I Feel Sweden and one with a bright yellow silhouette of a naked girl hitch- hiker, with SWEDEN emblazoned on the top. Needs must, Jon picks the naked girl hitch-hiker. He walks towards the CHECKOUT. Frank is suddenly beside him.</scene_description> <character>FRANK</character> <dialogue>Take my arm.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>What?</dialogue> <scene_description>Frank links Jon's arm, and starts to lead him towards the door.</scene_description> <character>FRANK</character> <dialogue>Two friends going for a walk. Who could question THAT?</dialogue> <scene_description>They exit the shop.</scene_description> </scene> <scene> <stage_direction>EXT. TOURIST INFORMATION CENTRE - CAR PARK - CONTINUOUS</stage_direction> <character>FRANK</character> <parenthetical>(Hissing, urgently)</parenthetical> <dialogue>I am being held against my will. By the woman.</dialogue> <scene_description>Jon looks perplexed. GET ME OUT OF HERE! Jon hesitates for a second. RUN! WIDE: Jon and Frank run urgently across the car park, towards a FOREST.</scene_description> </scene> <scene> <stage_direction>EXT. SNOWY FOREST WILDERNESS - MORNING</stage_direction> <scene_description>It's snowing. Frank and Jon hack through the undergrowth together. Jon keeps turning to see if they're being followed. They aren't.</scene_description> <character>JON</character> <dialogue>Are you okay?</dialogue> <character>FRANK</character> <parenthetical>(Energized)</parenthetical> <dialogue>I never felt better in my life. Thank you! It's been terrible.</dialogue> <scene_description>Frank breathes in the air, a FREE MAN at last.</scene_description> <character>JON</character> <dialogue>How long has the woman...</dialogue> <character>FRANK</character> <dialogue>Clara.</dialogue> <character>JON</character> <dialogue>How long has Clara held you for?</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRANK</character> <dialogue>I don't even know!</dialogue> <scene_description>Jon leans over and brushes a dusting of snow from the top of Frank's head. Franks seems to flinch slightly.</scene_description> <character>JON</character> <parenthetical>(By way of explanation)</parenthetical> <dialogue>Snow.</dialogue> <character>FRANK</character> <dialogue>Thank you!</dialogue> <parenthetical>(Surveying the forest)</parenthetical> <dialogue>God! Wow! You saved my life. I'll never forget this.</dialogue> <scene_description>Jon and Frank continue to walk for a while.</scene_description> <character>JON</character> <parenthetical>(Kindly)</parenthetical> <dialogue>Is she the one who makes you constantly wear...</dialogue> <scene_description>Frank suddenly stops. His 'face' stares at Jon eerily. Jon indicates the head.</scene_description> <character>JON</character> <dialogue>The... big false head?</dialogue> <scene_description>Frank continues to stare. Jon looks suddenly worried that Frank may not even know that he's wearing a false head.</scene_description> <character>JON</character> <parenthetical>(Panicking a bit)</parenthetical> <dialogue>Okay. Too many questions. What we need to do is work out the practicalities.</dialogue> <scene_description>They resume hacking through the undergrowth.</scene_description> <character>JON</character> <dialogue>Our bags are on the bus. So we don't have any... thing.</dialogue> <character>FRANK</character> <parenthetical>(Picking up on Jon's panic)</parenthetical> <dialogue>What'll happen at nightfall? My face stays warm but the rest of me can get very cold.</dialogue> <scene_description>Frank's head gets wedged between two branches. He struggles and fails to get free.</scene_description> <character>FRANK</character> <dialogue>Oh God. Oh God.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>It's okay. I've got it.</dialogue> <scene_description>Jon prises Frank's head free.</scene_description> <character>FRANK</character> <dialogue>Thank you.</dialogue> <scene_description>Ahead of them is a fairly bare MOTORWAY SERVICES AREA. Jon pats his pockets.</scene_description> <character>JON</character> <dialogue>Money. I haven't got any money. Have you got money?</dialogue> <character>FRANK</character> <dialogue>I'm sorry?</dialogue> <character>JON</character> <parenthetical>(Urgently)</parenthetical> <dialogue>Money! Have you got any money?</dialogue> <scene_description>There is a pause. Frank hands Jon his change.</scene_description> <character>FRANK</character> <parenthetical>(Sounding nervous)</parenthetical> <dialogue>It's all I have.</dialogue> <character>JON</character> <dialogue>It's not much. Have you got a cashpoint card?</dialogue> <scene_description>Frank nervously shakes his head no. They emerge from the woods and enter the...</scene_description> </scene> <scene> <stage_direction>EXT. BARE MOTORWAY SERVICE AREA - CONTINUOUS</stage_direction> <scene_description>It's just a toilet and a coffee/snack stand on a lay- by. There are a few other people there - TRUCKERS, a FAMILY.</scene_description> <character>FRANK</character> <parenthetical>(With nervous over- politeness)</parenthetical> <dialogue>Would you mind if I go to the toilet?</dialogue> <character>JON</character> <parenthetical>(Distracted)</parenthetical> <dialogue>Mmm? No, that's fine.</dialogue> <scene_description>Frank immediately scurries frantically away across the tarmac. CONTINUED:</scene_description> <character>JON</character> <parenthetical>(In a flap, not noticing Frank has gone)</parenthetical> <dialogue>Okay. I'll send out an S.O.S tweet.</dialogue> <scene_description>Jon gets out his phone and types urgently into Twitter:</scene_description> <character>JON (V.O.)</character> <dialogue>The singer from The...</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>...band I've joined is a kidnap victim. I rescued him and we're now on the run.</dialogue> <scene_description>Behind Jon's back, Frank zigzags around, panicked and confused, until he's FAR AWAY ACROSS THE TARMAC. The Family and Truckers eye the scene with uncertainty.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Still typing)</parenthetical> <dialogue>Does anyone know the number for the Swedish police?</dialogue> <scene_description>Frank runs up to a TRUCKER.</scene_description> <character>FRANK</character> <dialogue>That man kidnapped me!</dialogue> <character>TRUCKER</character> <dialogue>What?</dialogue> <character>FRANK</character> <dialogue>He's taken all my money! I've managed to get away from him.</dialogue> <scene_description>Frank scuttles into the forest, where he vanishes. The TRUCKER and his CO-TRUCKER start running towards Jon.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Oblivious, still typing)</parenthetical> <dialogue>If anything happens to us I want it on record that the kidnapper is called Clara.</dialogue> <scene_description>Jon turns around just in time to see the two truckers loom over him.</scene_description> <character>JON</character> <dialogue>Huh?</dialogue> <character>TRUCKER</character> <parenthetical>(In broken English)</parenthetical> <dialogue>The man in the head has said some things about you.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>What?</dialogue> <scene_description>The trucker takes Jon's arm.</scene_description> <character>JON</character> <dialogue>Hey. Let go of me.</dialogue> <scene_description>Jon angrily pulls his arm free. At this, the second trucker throws himself on Jon. The phone flies out of his hand, smashing on the tarmac. LATER The SWEDISH POLICE are releasing Jon back to the band. Don is emerging from the woods leading a dishevelled Frank, his clothes matted with leaves and mud. Clara gives Jon a withering look. Jon looks embarrassed and confused. Don wanders over to Jon.</scene_description> <character>DON</character> <dialogue>Don't worry about it. Everyone kidnaps Frank sooner or later.</dialogue> </scene> <scene> <stage_direction>I/E. TOUR VAN - SWEDISH ROAD - A FEW MINUTES LATER</stage_direction> <scene_description>The van passes through the lovely snowy landscape. Jon glances at his iPhone. He's managed to stick it together with gaffer tape so it's cracked but still working. His Twitter following has shot up to 946.</scene_description> <character>JON</character> <dialogue>Wow.</dialogue> <character>DON</character> <dialogue>Here it is! Vetno! Our new home.</dialogue> <character>FRANK</character> <dialogue>I LIKE it!</dialogue> <scene_description>The band look out of the van windows. Stunned.</scene_description> </scene> <scene> <stage_direction>EXT. "VETNO" - SWEDEN - MOMENTS LATER</stage_direction> <scene_description>A beautiful, enormous, weird wooden house stands in snowy grounds - something from a fairy tale. The band stare at it. Jon looks confused and alarmed. Don unlocks the huge, wooden front door. They enter. CONTINUED:</scene_description> <character>JON</character> <parenthetical>(Clutching his overnight bag)</parenthetical> <dialogue>Excuse me. How long will we be staying here for?</dialogue> <scene_description>Nobody answers.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - MOMENTS LATER</stage_direction> <scene_description>The band walk through the amazing house, taking it all in. Jon walks alongside them, wide-eyed, but ANXIOUS, examining the others as much as his surroundings.</scene_description> <character>JON</character> <parenthetical>(To Don)</parenthetical> <dialogue>Don. Sorry. I told work I'd be back on Monday. So do you think...</dialogue> <scene_description>A small shriek O.S. Frank has got his head wedged in the gap between the staircase and the wall. Don frees him.</scene_description> <character>DON</character> <parenthetical>(To Frank)</parenthetical> <dialogue>Problem area. Under staircase.</dialogue> <character>FRANK</character> <parenthetical>(Cheerfully)</parenthetical> <dialogue>Noted.</dialogue> <scene_description>They climb the stairs and reach the upstairs landing. MONTAGE ...of Don showing each band member their BEDROOMS. They're all SPACIOUS and BEAUTIFUL. Jon's is last, at the end of the corridor.</scene_description> <character>DON</character> <dialogue>And here's your room, Jon.</dialogue> <scene_description>It is TINY - the SMALLEST in the house. But it is still a strange and interesting little wooden room, like something from a fairy tale.</scene_description> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - VETNO - CONTINUOUS</stage_direction> <character>JON</character> <dialogue>Don. How long are we going to be here?</dialogue> <character>DON</character> <dialogue>Just as long as it takes to make the album, Jon.</dialogue> <scene_description>CONTINUED: Don closes the door, leaving Jon alone in the bedroom. He stands there - his bag in his hand.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - JON'S BEDROOM - DAY</stage_direction> <scene_description>Jon looks out of the window. We hear a Theremin playing - beautiful, ghostly.</scene_description> <character>JON (V.O.)</character> <dialogue>Vetno.</dialogue> <scene_description>Jon sits on his bed. He types a BLOG.</scene_description> <character>JON (V.O.)</character> <dialogue>Sweden.</dialogue> <scene_description>Jon thinks. Types carefully...</scene_description> <character>JON (V.O.)</character> <dialogue>Snowing.</dialogue> </scene> <scene> <stage_direction>EXT. VETNO - DAY</stage_direction> <scene_description>Clara is playing a Theremin in the snow, a power cable running back into the house. She looks lost in the music - quite lovely.</scene_description> <character>JON (V.O.)</character> <dialogue>We've been here a week. It's a whole new way of living - quite unlike anything I've ever known.</dialogue> <scene_description>Jon takes a step towards her. STAY AWAY FROM MY FUCKING THEREMIN. Jon takes an anxious step backwards.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - VETNO - NIGHT</stage_direction> <scene_description>Jon looks into a bedroom to see Clara, Nana and Baraque lying in bed together, draped casually over one another, Baraque reading a book.</scene_description> <character>JON (V.O.)</character> <dialogue>All the usual bourgeoise rules have been thrown out of the window.</dialogue> <scene_description>Jon covertly peeks at Clara's cleavage. He regards the Bohemian lifestyle with admiration.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE BATHROOM - NIGHT</stage_direction> <scene_description>Nana queues for the bathroom. Jon exits, a towel draped over him in a manner so 'studied bohemian' he's making no attempt to cover his penis. A horrified Nana puts her hands over her eyes and shrinks away, VERY UPSET.</scene_description> <character>JON (V.O.)</character> <dialogue>Although one still has to be aware of the limits.</dialogue> <scene_description>LATER Don is telling Jon off. Nana still looks upset. At the end of the corridor, regarding the scene, is Frank.</scene_description> <character>JON (V.O.)</character> <dialogue>And at the heart of the beautiful madness is Frank. Frank. How to describe Frank?</dialogue> </scene> <scene> <stage_direction>INT. VETNO - JON'S BEDROOM - EARLIER</stage_direction> <scene_description>Jon is unpacking his overnight bag. He looks up to see Frank standing in the doorway, watching him, his big painted smile, his hands on his hips. Jon smiles at him.</scene_description> <character>JON (V.O.)</character> <dialogue>Sometimes he seems friendly.</dialogue> <scene_description>Frank slips into the shadows.</scene_description> <character>JON (V.O.)</character> <dialogue>But at other times more ...menacing...</dialogue> <scene_description>Frank reappears in the doorway. Something in his body language makes him seem more threatening this time. Maybe it's because he no longer has his hands on his hips. They're hanging limply at his side. Jon looks at him nervously, then instinctively lowers his eyes.</scene_description> <character>JON (V.O.)</character> <dialogue>But then ...friendly again.</dialogue> <scene_description>Jon looks up again to find that Frank has his hands on his hips again.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - LIVING ROOM - EARLIER</stage_direction> <scene_description>Frank is watching a stupid Swedish comedy programme, shaking with laughter. Jon watches from the doorway.</scene_description> <character>JON (V.O.)</character> <dialogue>Also quite ...childish?</dialogue> <scene_description>LATER Frank is still shaking with laughter - although it's now harder to see why, as he's watching a gardening programme.</scene_description> <character>JON (V.O.)</character> <dialogue>Disconcerting. But mostly...</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - VETNO - EVENING</stage_direction> <scene_description>Frank is ADDRESSING the band at dinner.</scene_description> <character>FRANK</character> <dialogue>Clara. Don. Nana. Baraque...</dialogue> <scene_description>Frank looks at Jon.</scene_description> <character>FRANK</character> <parenthetical>(Coughing)</parenthetical> <dialogue>Mhwr.</dialogue> <character>JON</character> <parenthetical>(Politely)</parenthetical> <dialogue>Jon.</dialogue> <scene_description>Frank stretches out his arms.</scene_description> <character>FRANK</character> <parenthetical>(With enthusiasm)</parenthetical> <dialogue>Jon. Here, in Vetno, on our own land, we will make music that has never been made before. We will journey to the furthest corners and grab hold of the music we find there. We are, every one of us, amazing. Here in Vetno we will become even more amazing. And we will capture it, here in Vetno, on our first ever album.</dialogue> <character>JON (V.O.)</character> <dialogue>... mostly inspiring.</dialogue> </scene> <scene> <stage_direction>INT. VETNO - JON'S BEDROOM - NIGHT</stage_direction> <scene_description>Jon is finishing writing his blog. Moonlight pours in through the window.</scene_description> <character>JON (V.O.)</character> <dialogue>So settling into communal living isn't easy. New people, new rules. But it's worth it because of Frank. I'm happy to be part of this. Just... happy.</dialogue> <scene_description>Jon presses send. He closes his laptop. A beat of silence. Then from outside comes a sudden CRY. Silence. Then another muffled shout of distress. Jon looks out the window.</scene_description> </scene> <scene> <stage_direction>EXT. VETNO - MOMENTS LATER</stage_direction> <scene_description>Jon comes out the back door of the house wearing his coat and boots but no trousers. He sees Don, NAKED, running towards the tree-line at the bottom of the grounds and the frozen river beyond. In the distance, near the river, Clara plays her outdoor Theremin.</scene_description> <character>FRANK</character> <parenthetical>(Shrieking - in the doorway)</parenthetical> <dialogue>Don! Get back here!</dialogue> <parenthetical>(To Jon)</parenthetical> <dialogue>Don't let him get to the river!</dialogue> <scene_description>Jon runs after him, chasing Don as he zig-zags across the snow, but he's too slow to catch him. Don shakes him off. Don is almost at the river when Clara stoops from behind her Theremin, picks up a lump of WOOD and hurls it at him. It catches Don on the side of the head and he spins to the ground, rolling over and over in the snow. ON DON ...as he lies crying. Frank approaches.</scene_description> <character>DON</character> <dialogue>Let me do it Frank! I don't want to be me.</dialogue> <scene_description>Nana and Baraque are standing a little way off, looking scared. CONTINUED: Frank gives Don a sad hug, although the size of Frank's 'head' makes hugging quite an awkward experience for the person being hugged, so Don has to crane his neck right back.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - LIVING ROOM - LATER</stage_direction> <scene_description>Frank sits alone on the sofa. Jon watches him from the other side of the room.</scene_description> <character>FRANK</character> <parenthetical>(Sadly)</parenthetical> <dialogue>Did he tell you about the mannequins?</dialogue> <character>JON</character> <dialogue>Yeah.</dialogue> <character>FRANK</character> <dialogue>I met one once. Caroline Cuntley.</dialogue> <scene_description>He offers Jon a handshake, as if he has no memory of ever meeting him before.</scene_description> <character>FRANK</character> <dialogue>I'm Frank.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>I'm Jon.</dialogue> <scene_description>They shake hands.</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Does he still ...with the mannequins?</dialogue> <character>FRANK</character> <dialogue>No, he has relationships with real women now. But ...it's hard you know? He has to try and convince them to lie completely still, so... (He shrugs) Don't tell Don I said anything. He might think it's a shameful secret or something. But I say Tell Everyone Everything! Why cover anything up?</dialogue> <scene_description>Beat. Jon glances at the fake head encasing a real head.</scene_description> <character>JON</character> <dialogue>Can I ask you something?</dialogue> <character>FRANK</character> <dialogue>Sure.</dialogue> <scene_description>CONTINUED: Frank leans forward, his 'head' in his hands.</scene_description> <character>JON</character> <parenthetical>(Indicating the head)</parenthetical> <dialogue>Why do you...?</dialogue> <character>FRANK</character> <dialogue>You think it's weird?</dialogue> <character>JON</character> <dialogue>A bit.</dialogue> <character>FRANK</character> <dialogue>Well normal faces are weird too. The way they're smooth...</dialogue> <scene_description>Frank mimes with his hands the curvature of Jon's cheeks.</scene_description> <character>FRANK</character> <dialogue>...smooth...smooth...and then...</dialogue> <scene_description>Frank mimes with his hands Jon's eyes, nose and mouth - a mime of utter chaos.</scene_description> <character>FRANK</character> <dialogue>...bleurewwweurgh...</dialogue> <scene_description>There's something lovely but slightly unnerving about Frank's way of speaking. The words tumble out of him, like he's a passenger in his own thought process.</scene_description> <character>FRANK</character> <dialogue>All bumpy and holes and I mean what are EYES like? Like a science-fiction movie. And don't get me started on lips. They're like the edges of a very serious wound.</dialogue> <character>JON</character> <parenthetical>(Thoughtfully)</parenthetical> <dialogue>That's true. But your head is still sort of ...intimidating.</dialogue> <character>FRANK</character> <dialogue>Underneath I'm giving you a welcoming smile.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Are you?</dialogue> <character>FRANK</character> <dialogue>Like this!</dialogue> <scene_description>The same static expression. CONTINUED: (2)</scene_description> <character>FRANK</character> <dialogue>Would it help if I said my facial expressions out loud?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Okay. I've been wanting to thank...</dialogue> <character>FRANK</character> <dialogue>Welcoming smile.</dialogue> <character>JON</character> <dialogue>...to thank you. Ever since that night I played with the...sorry, what's the name of the band again?</dialogue> <character>FRANK</character> <dialogue>I have NO IDEA.</dialogue> <character>JON</character> <dialogue>Why do you have an impossible to say, spell or remember band name?</dialogue> <character>FRANK</character> <dialogue>It was Clara's idea.</dialogue> <character>JON</character> <dialogue>Anyway, ever since I played with you that night I haven't been able to think about anything else.</dialogue> <character>FRANK</character> <dialogue>It was the best concert we ever did.</dialogue> <scene_description>Jon doesn't know how to respond to this. Clara enters.</scene_description> <character>CLARA</character> <parenthetical>(To Frank)</parenthetical> <dialogue>He's asleep. I'm going to bed. So if you want help getting to bed you should come now... Unless you want to keep going with your little chat with the keyboard player.</dialogue> <character>JON</character> <parenthetical>(Coughs)</parenthetical> <dialogue>I'm not just a keyboard player. I write songs too.</dialogue> <character>CLARA</character> <dialogue>Oh? How many 'songs' have you written?</dialogue> <character>JON</character> <dialogue>About 40.</dialogue> <scene_description>CONTINUED: (3) A dreadful silence from Clara. 45?</scene_description> <character>FRANK</character> <parenthetical>(Enthusiastically)</parenthetical> <dialogue>You write your own songs?</dialogue> <character>JON</character> <dialogue>I'd love to play some for you sometime.</dialogue> <character>FRANK</character> <dialogue>I'd really like that! Big non- threatening smile indicating that there's no such thing as failure in Vetno!</dialogue> <scene_description>Jon points at his own delighted face.</scene_description> <character>JON</character> <dialogue>Delighted look!</dialogue> <character>FRANK</character> <dialogue>You're FUNNY!</dialogue> <scene_description>Frank points at his own face. DELIGHTED LOOK! Frank and Jon laugh. Clara looks disgusted.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - UPSTAIRS CORRIDOR - NIGHT</stage_direction> <scene_description>Jon passes a bedroom. He peers in. JON'S P.O.V - Clara lies asleep in bed. Frank sits on a chair next to the bed. Jon stands in the doorway. Frank sees him.</scene_description> <character>FRANK</character> <parenthetical>(Whispering)</parenthetical> <dialogue>First rehearsal tomorrow.</dialogue> <character>JON</character> <parenthetical>(Whispering)</parenthetical> <dialogue>I've already got an idea for a new song.</dialogue> </scene> <scene> <stage_direction>INT. VETNO - MORNING</stage_direction> <scene_description>The band has gathered in the rehearsal room. They're IMPROVISING far out, experimental music. Jon is surprised to find himself keeping up with it. CONTINUED:</scene_description> <character>FRANK</character> <parenthetical>(Calling over to Jon)</parenthetical> <dialogue>Hey. How did that song you were working on last night turn out?</dialogue> <character>JON</character> <dialogue>I think kind of interesting.</dialogue> <character>FRANK</character> <dialogue>Why don't you play it for us?</dialogue> <character>JON</character> <dialogue>Sure. It's pretty rudimentary. Feel free to join in if you like. It's called Messy Rainbow.</dialogue> <scene_description>Jon starts to play his composition. Which sounds quite deep and intense and uncannily like Paranoid Android by Radiohead.</scene_description> <character>JON</character> <parenthetical>(Singing)</parenthetical> <dialogue>My mind's a Messy Rainbow And suicide's The only way To make the messy feelings go Away.</dialogue> <scene_description>A fragile looking DON listens, unnoticed, from the doorway.</scene_description> <character>JON</character> <parenthetical>(Singing relentlessly)</parenthetical> <dialogue>Let me do it. Let me drown myself Don't wanna be me.</dialogue> <scene_description>Don looks upset by the song. So do the band. Jon doesn't notice. He's lost in his music, playing relentlessly on.</scene_description> <character>JON</character> <parenthetical>(Singing)</parenthetical> <dialogue>Let me drown...</dialogue> <character>CLARA</character> <parenthetical>(Interrupting)</parenthetical> <scene_description>DON! Everyone turns around, thrilled to see him.</scene_description> <character>FRANK</character> <dialogue>Hey buddy!</dialogue> <scene_description>They surround Don, ignoring Jon.</scene_description> <character>FRANK</character> <dialogue>How you feeling?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DON</character> <dialogue>Better.</dialogue> <scene_description>Jon awkwardly stops playing.</scene_description> </scene> <scene> <stage_direction>EXT. THE COUNTRYSIDE - DAY</stage_direction> <scene_description>A lovely spring day. The band are walking amid the nature.</scene_description> <character>JON (V.O.)</character> <dialogue>Frank has decided to delay rehearsals while everyone has a chance to get back on their feet. In the meantime we're doing what he calls 'Fieldwork'.</dialogue> <scene_description>MONTAGE</scene_description> </scene> <scene> <stage_direction>..of the band amid the nature. They're COLLECTING NATURAL SOUNDS on tape recorders.</stage_direction> <scene_description>IN A FIELD Nana records the sound of a butterfly flapping it's wings. ON THE BEACH Baraque records the waves hitting the rocks. Clara records the wind whipping through a cave. A TERN ominously circles them all. They all stare up at it. It swoops down, squawking, and dive-bombs Jon.</scene_description> <character>JON</character> <parenthetical>(Shrieking)</parenthetical> <dialogue>For fuck's sake! It could have attacked any one of us! Why choose me?</dialogue> <scene_description>The bird files away.</scene_description> <character>CLARA</character> <dialogue>Like the zoo scene in The Omen, really.</dialogue> <scene_description>Frank points his tape recorder at Jon.</scene_description> <character>FRANK</character> <dialogue>What was the sound the seabird made as it swooped down, Jon.</dialogue> <character>JON</character> <dialogue>Kind of...</dialogue> <scene_description>Jon lets out a BLOODCURDLING SQUAWK. CONTINUED: They all laugh. Jon laughs too. EVENING The fieldwork is over and they walk back towards Vetno, thoroughly happy. Even Jon seems finally to have settled in with the others.</scene_description> <character>JON</character> <parenthetical>(To Frank)</parenthetical> <dialogue>That was a lovely April day.</dialogue> <scene_description>Frank hesitates for a moment. Then he continues walking. LATER Frank is at the piano, composing a song called APRIL DAY. It is by far the loveliest and most accessible song we've heard from him. Jon listens, entranced. The other band members do their own thing in other parts of the room. Jon gets out his mobile phone and COVERTLY FILMS Frank singing April Day. Frank finishes the song.</scene_description> <character>JON</character> <parenthetical>(Stunned)</parenthetical> <dialogue>Frank. That was beautiful.</dialogue> <character>FRANK</character> <dialogue>Flattered grin followed by a bashful half-smile.</dialogue> <character>JON</character> <dialogue>I had no idea you could write music so ...lovely. That song could be big.</dialogue> <scene_description>Clara laughs sarcastically from across the room.</scene_description> <character>CLARA</character> <dialogue>Yes! Top of the Pops for us! I'll phone Lady Gaga!</dialogue> <scene_description>Baraque sniggers.</scene_description> <character>CLARA</character> <parenthetical>(Calling)</parenthetical> <dialogue>Maybe we can play Superbowl Sunday! I'll get T-shirts made!</dialogue> <scene_description>More sniggering from Baraque. Frank pulls Jon to one side. CONTINUED: (2)</scene_description> <character>FRANK</character> <parenthetical>(Whispering)</parenthetical> <dialogue>You understand!</dialogue> <character>JON</character> <dialogue>Understand what?</dialogue> <scene_description>Clara glances over suspiciously at their private conversation.</scene_description> <character>FRANK</character> <dialogue>Understand that people could like our music. Clara doesn't want people to like us.</dialogue> <character>JON</character> <dialogue>Why not?</dialogue> <character>FRANK</character> <dialogue>I don't know. It's weird.</dialogue> <character>JON</character> <parenthetical>(Glancing over at Clara)</parenthetical> <dialogue>It's really weird.</dialogue> </scene> <scene> <stage_direction>I/E. VETNO - KITCHEN - GARDEN - LATER THAT NIGHT</stage_direction> <scene_description>Jon is busy making a stew. Clara enters.</scene_description> <character>CLARA</character> <dialogue>What's this?</dialogue> <character>JON</character> <dialogue>Potatoes.</dialogue> <character>CLARA</character> <parenthetical>(Indicating the stew)</parenthetical> <dialogue>And what's THIS?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Stew.</dialogue> <character>CLARA</character> <dialogue>You're making us brain dead with your vegetables you dreary old woman.</dialogue> <character>JON</character> <parenthetical>(Mystified)</parenthetical> <dialogue>It's just a stew, Clara. It's hearty.</dialogue> <character>CLARA</character> <dialogue>Someone needs to punch you in the face.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CLARA</character> <dialogue>Perry Como eats stew while he sits in his ROCKING CHAIR LOOKING AT HIS CHRISTMAS DECORATIONS. Is that the music you want us to make?</dialogue> <scene_description>Jon blinks.</scene_description> <character>JON</character> <dialogue>No.</dialogue> <scene_description>Clara steps in close.</scene_description> <character>CLARA</character> <dialogue>Why are you here?</dialogue> <scene_description>Clara glances in disgust at Jon's SWEDISH TOURIST t- shirt.</scene_description> <character>CLARA</character> <dialogue>You're not going to meet any naked hitch-hikers here. So why don't you stop having secret conversations with Frank and go home.</dialogue> <scene_description>Jon gathers his courage.</scene_description> <character>JON</character> <dialogue>Fuck you.</dialogue> <scene_description>Clara steps in close.</scene_description> <character>JON</character> <dialogue>Frank picked me. Okay? So it's not up to you.</dialogue> <character>CLARA</character> <dialogue>What?</dialogue> <character>JON</character> <dialogue>He... he said I was cherishable. And he picked me to join the band.</dialogue> <character>CLARA</character> <parenthetical>(A smile spreading across her face)</parenthetical> <dialogue>He picked you? There wasn't anyone else. Don couldn't find anyone else. So we were STUCK with you. You're just some fingers being told which keys to press. Ten little bits of bone and skin.</dialogue> <scene_description>Jon tries to laugh derisively but looks worried that it may be true. CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>I... I press my own keys, ok? And, anyway, I'm perfectly capable of finding a way of going to my furthest corners and...composing music...</dialogue> <character>CLARA</character> <dialogue>Your furthest WHAT?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>My furthest corners.</dialogue> <scene_description>Clara smiles coldly.</scene_description> <character>CLARA</character> <dialogue>You know that incredibly insensitive song about Don's suicide attempt you sang us all the other day?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Yes?</dialogue> <character>CLARA</character> <dialogue>It was basically Paranoid Android by Radiohead.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>No it wasn't.</dialogue> <character>CLARA</character> <dialogue>(Sings) "From a great height. From a great height..." You sang (Sings) "Let me do it. Let me drown myself." Exactly the same.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>No it's not.</dialogue> <character>CLARA</character> <dialogue>You want to know where your furthest corners are?</dialogue> <scene_description>Clara walks right up to Jon and waves her hand an inch in front of his face.</scene_description> <character>CLARA</character> <dialogue>Right there! And you know where mine and Frank's furthest corners are?</dialogue> <scene_description>Clara opens the back door and runs out into the snow. She keeps running until she's far, far away. CONTINUED: (3)</scene_description> <character>CLARA</character> <parenthetical>(Yelling)</parenthetical> <dialogue>...here!</dialogue> <scene_description>Jon stands at the back door, staring out at her, furious.</scene_description> <character>JON</character> <dialogue>You're wrong!</dialogue> <character>CLARA</character> <parenthetical>(Yelling)</parenthetical> <dialogue>Lick my ass!</dialogue> <character>JON</character> <parenthetical>(Yelling)</parenthetical> <dialogue>You've only made me more determined than ever to go to my furthest corners and make something of myself in this band and help Frank reach his potential too!</dialogue> <character>CLARA</character> <parenthetical>(Yelling)</parenthetical> <dialogue>Lick my ass!</dialogue> </scene> <scene> <stage_direction>INT. VETNO - LIVING ROOM - DAY</stage_direction> <scene_description>CLOSE on Frank. He's making an announcement.</scene_description> <character>FRANK</character> <dialogue>Lips pursed together as if to say, "enough frivolity". Today we begin work in earnest on the album.</dialogue> <scene_description>WIDE - the band sit watching Frank. MONTAGE begins.</scene_description> <character>JON (V.O.)</character> <dialogue>Frank wants us to start everything from scratch.</dialogue> <scene_description>Frank writes out a strange symbols on a white board for the band to see.</scene_description> <character>JON (V.O.)</character> <dialogue>He's created an entirely new musical notation system...</dialogue> <scene_description>Jon covertly films the scene on his mobile phone.</scene_description> </scene> <scene> <stage_direction>EXT. VETNO - DAY</stage_direction> <scene_description>Clara and Baraque are making a strange contraption involving household implements. CONTINUED:</scene_description> <character>JON (V.O.)</character> <dialogue>...and new musical instruments...</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>The band are watching a presentation. A wire runs from Frank's head to a dial in Don's hand. As we watch Don turns the dial and Frank's head begins to GLOW EERILY - lit by some inner mechanism.</scene_description> <character>JON (V.O.)</character> <dialogue>He's working on some new forms of visual entertainment...</dialogue> <scene_description>Don turns the dial to high - the head glows brightly, then there is flash of light and smoke begins to pour from Frank's eye and ear holes. Don and the others throw wet blankets onto Frank to put the fire out. Jon covertly films it all on his mobile phone.</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE BEDROOM - DAY</stage_direction> <scene_description>The band queue outside the room for their daily Gestalt Therapy Session.</scene_description> <character>JON (V.O.)</character> <dialogue>...and he wants us to deconstruct everything about our lives.</dialogue> <scene_description>We can hear Clara inside yelling at Nana.</scene_description> <character>CLARA (O.S.)</character> <parenthetical>(Yelling)</parenthetical> <dialogue>You fat old whore! You useless bitch! Why are you so fucking ugly? Dragging around like a broken sow pig!</dialogue> <scene_description>The door opens and Nana walks out, smoking and unruffled. Clara waves in her next victim, looking like a dentist. A nervous-looking Jon enters the bedroom. Clara gives a small smile of anticipation as she closes the door.</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE BEDROOM - DAY</stage_direction> <scene_description>Frank is on the floor in the middle of a wrestling bout with Baraque. He's surprisingly strong.</scene_description> <character>JON (V.O.)</character> <dialogue>He's initiated a strict regime of physical exercise.</dialogue> <scene_description>In a few moments Frank has Baraque pinned and is bending his arm. CONTINUED:</scene_description> <character>JON (V.O.)</character> <dialogue>Fortunately we have a "safeword" for when things get too intense.</dialogue> <character>BARAQUE</character> <parenthetical>(The "safeword")</parenthetical> <dialogue>Chinchilla!</dialogue> <scene_description>Frank releases him and the two get up and shake hands.</scene_description> </scene> <scene> <stage_direction>EXT. VETNO - DAY</stage_direction> <scene_description>The band jog around the house.</scene_description> <character>FRANK</character> <dialogue>Someone's thinking in the key of C!</dialogue> <character>CLARA</character> <parenthetical>(Calling, as she runs)</parenthetical> <dialogue>Frank can feel someone thinking in the key of C!</dialogue> <character>BARAQUE</character> <parenthetical>(As he runs)</parenthetical> <dialogue>Il n'est pas moi.</dialogue> <character>JON</character> <parenthetical>(As he runs)</parenthetical> <dialogue>It's me.</dialogue> <scene_description>Clara runs over to Jon and UNEXPECTEDLY PUNCHES HIM IN THE FACE.</scene_description> <character>JON (V.O.)</character> <dialogue>Sometimes tensions run pretty high.</dialogue> <scene_description>The other band members pull her off.</scene_description> </scene> <scene> <stage_direction>INT. VETNO - KITCHEN - EVENING</stage_direction> <scene_description>Frank, Nana and Baraque are gathered around the back door, listening intently as it RATTLES in the wind. From somewhere outside comes an answering CREAK of metal from another door.</scene_description> <character>BARAQUE</character> <parenthetical>(Puzzled)</parenthetical> <dialogue>Je ne peux pas...</dialogue> <scene_description>Frank holds up a hand to silence him.</scene_description> <character>FRANK</character> <dialogue>Can you hear it?</dialogue> <scene_description>CONTINUED: Nana and Baraque listen anxiously, trying to hear what Frank is hearing. LATER Nana and Baraque are playing bass and snare drum by the door, mimicking the odd little rhythm of the rattle and creak. Frank listens, bouncing his head along enthusiastically.</scene_description> <character>FRANK</character> <dialogue>We could make an entire album out of this one sound!</dialogue> <scene_description>Nana and Baraque smile. Jon covertly films on his mobile phone.</scene_description> <character>JON (V.O.)</character> <dialogue>Frank finds inspiration in everything. I'd love to get inside that head. Inside that head.</dialogue> </scene> <scene> <stage_direction>I/E. JON'S BEDROOM - AFTERNOON</stage_direction> <scene_description>Jon sits working on a new song. It sounds LOVELY. Jon looks very happy with it as he plays.</scene_description> <character>JON (V.O.)</character> <dialogue>I'm really developing as a songwriter and hope maybe to even have some of my own songs on the album.</dialogue> <scene_description>Jon continues to play as he glances out of the window. JON's P.O.V - OUT OF THE WINDOW. Frank is lying on a mat in the snow, sunbathing in swimming trunks, still wearing the head, of course. Clara is standing over him.</scene_description> <character>FRANK</character> <parenthetical>(Looking up)</parenthetical> <dialogue>How long?</dialogue> <character>CLARA</character> <parenthetical>(Looking at her watch)</parenthetical> <dialogue>One more hour.</dialogue> <scene_description>Frank resumes sunbathing. CLOSE on Clara.</scene_description> <character>JON (V.O.)</character> <dialogue>Which may not go down so well with some other members of the band.</dialogue> <scene_description>CONTINUED: Don enters Jon's bedroom.</scene_description> <character>JON</character> <parenthetical>(As he plays)</parenthetical> <dialogue>Hey. I'm composing a song.</dialogue> <scene_description>Don listens for a moment.</scene_description> <character>DON</character> <parenthetical>(Commiserating)</parenthetical> <dialogue>Oh, man. I know.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>What?</dialogue> <character>DON</character> <parenthetical>(Sighing in commiseration)</parenthetical> <dialogue>I know how it feels to try and write a song and it just comes out shit.</dialogue> <scene_description>Jon's hands freeze at the keyboard. Don sits down next to him.</scene_description> <character>DON</character> <parenthetical>(Sadly)</parenthetical> <dialogue>Listen to this.</dialogue> <scene_description>Don plays something unexpectedly lovely and quite brilliantly professional.</scene_description> <character>DON</character> <parenthetical>(As he plays)</parenthetical> <dialogue>I composed this. Yeah, I know. It's shit. Sooner or later you get the feeling, "Why can't I be like Frank? Maybe I can be him?" But there can only be one Frank, man.</dialogue> <character>JON</character> <parenthetical>(Stiffly)</parenthetical> <dialogue>Actually, I think both our songs sound pretty good.</dialogue> <character>DON</character> <parenthetical>(Sharing the joke)</parenthetical> <dialogue>Ha! Right!</dialogue> <scene_description>Don lights a joint.</scene_description> <character>DON</character> <dialogue>I'm not supposed to because of my psychosis but fuck it, right?</dialogue> <scene_description>He pulls on the joint. CONTINUED: (2)</scene_description> <character>DON</character> <dialogue>Frank, man. You can't get there. I've tried, but he's too far out. I've known it since the moment I first saw him.</dialogue> <character>JON</character> <dialogue>What was he doing when you first saw him?</dialogue> <character>DON</character> <dialogue>A doctor was trying to wrestle his head off. So he was totally freaking out.</dialogue> <character>JON</character> <dialogue>You first met him at a place with doctors?</dialogue> <scene_description>Jon's eyes widen.</scene_description> <character>JON</character> <dialogue>A mental hospital?</dialogue> <scene_description>Don nods. He offers Jon the joint. Jon refuses.</scene_description> <character>JON</character> <dialogue>How did he end up there?</dialogue> <character>DON</character> <parenthetical>(Shrugging)</parenthetical> <dialogue>He doesn't talk about it.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Have you ever seen him without the head?</dialogue> <scene_description>Done shakes his head.</scene_description> <character>JON</character> <dialogue>Maybe he's facially disfigured!</dialogue> <character>DON</character> <parenthetical>(Pulling on the joint)</parenthetical> <dialogue>Whoa!</dialogue> <character>JON</character> <dialogue>Forced to wear a mask. Like The Elephant Man.</dialogue> <character>DON</character> <dialogue>Oh man! (Beat) He told me once he came from Louisiana. That's all I know.</dialogue> <character>JON</character> <dialogue>Louisiana?</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>DON</character> <dialogue>Quatchita, Louisiana.</dialogue> <scene_description>Jon stares sullenly at the keyboard.</scene_description> <character>JON</character> <dialogue>It's all right for Frank. He's mentally ill.</dialogue> <character>DON</character> <parenthetical>(Beat)</parenthetical> <dialogue>You ever tried Ayahuasca?</dialogue> <character>JON</character> <dialogue>What?</dialogue> <character>DON</character> <dialogue>Ayahuasca. Shamen have been using it for thousands of years. You really want to try and go where Frank is, you should try it. It's a hallucinogenic so deep-acting it awakens your dormant plant DNA.</dialogue> <character>JON</character> <dialogue>I don't think we have dormant plant DNA.</dialogue> <scene_description>Don looks at Jon like he's crazy.</scene_description> <character>DON</character> <dialogue>Well I sure as hell do.</dialogue> <scene_description>LATER Jon lies on the bed, warily looking at his keyboard. He falls asleep. THE NEXT MORNING Jon sits at his LAPTOP. ON THE SCREEN - An empty Google search box. Jon's finger drifts over the keyboard. He presses H...O... ON THE SCREEN The GOOGLE AUTOFILL FUNCTION kicks in. All the search terms beginning with the letter H and O that Jon has ever typed appear in a scroll-down list: Horny Brunette masturbates and flashes her asshole Hot Asian teen takes two cocks Hot young college girls strip down and take dick Jon keeps typing: How to be creative. MOMENTS LATER Jon watches a VIDEO called Unlocking Your Creativity. ON THE SCREEN</scene_description> <character>MANAGEMENT GURU</character> <dialogue>Creative people like you can see solutions where other less creative people don't even realize there's a problem! Take everyday activities like shaving.</dialogue> </scene> <scene> <stage_direction>INT. VETNO - COMMUNAL BATHROOM - LATER</stage_direction> <scene_description>We see various accoutrements necessary for Frank's condition - four normal-sized toothbrushes and one with a custom-built ESPECIALLY LONG ARM, an equally long RAZOR and bottles of SPRAY FACE CREAM with long necks. Jon is rubbing shaving foam onto his face.</scene_description> <character>MANAGEMENT GURU (O.S.)</character> <dialogue>As Edward De Bono once said, how often does someone who is using a traditional wet razor stop to consider whether instead of moving the razor it might be easier to keep the razor still and move the face?</dialogue> <scene_description>Jon begins to shave in this radical, creative new way - keeping the razor still whilst moving his face.</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE BATHROOM - CONTINUOUS</stage_direction> <scene_description>Clara stands waiting for the bathroom. From inside we suddenly hear Jon give an UNUSUAL CRY of pain. Clara listens, INTRIGUED.</scene_description> <character>JON (O.S.)</character> <dialogue>Oh... God!</dialogue> </scene> <scene> <stage_direction>INT. VETNO - LIVING ROOM - DAY</stage_direction> <scene_description>The band stand around as Clara plays a THEREMIN SOLO that's obviously been inspired by the UNUSUAL SHRIEK Jon let out. The band nod, impressed.</scene_description> <character>CLARA</character> <dialogue>I call it The Idiot Shriek.</dialogue> <character>JEAN BARAQUE</character> <parenthetical>(Murmuring)</parenthetical> <dialogue>C'est tres belle.</dialogue> <scene_description>CONTINUED: Jon watches bitterly, his face tufted with tissue to staunch the blood from his deep shaving cuts. Suddenly... BANG! BANG! BANG! The band look ASTONISHED. They glance anxiously at each other. Hopefully it was just their imagination. BANG! BANG! BANG!</scene_description> <character>CLARA</character> <parenthetical>(Quietly)</parenthetical> <dialogue>There's someone at the door.</dialogue> <scene_description>Nobody moves.</scene_description> <character>DON</character> <parenthetical>(Nervously)</parenthetical> <dialogue>I'll go.</dialogue> <scene_description>We stay with the band as they watch Don walk towards the front door. He opens it. There are four LARGE YOUNG MEN standing there. They are muscular and heavily-tattooed. They and Don speak for a moment. The band watch with concern, unable to hear the conversation. Don leaves them standing there and walks back towards the others.</scene_description> <character>DON</character> <parenthetical>(Trying to control his emotions)</parenthetical> <dialogue>Okay, I have some news. We have to leave this house.</dialogue> <scene_description>The band stare at him in puzzled silence.</scene_description> <character>DON</character> <parenthetical>(Freaking out)</parenthetical> <scene_description>PACK YOUR BAGS AND GET OUT! LATER Don has been calmed with a cup of cocoa. The four new men are standing together at the back of the room.</scene_description> <character>FRANK</character> <dialogue>Okay. Start again, Don. Patient Smile.</dialogue> <character>CLARA</character> <dialogue>Will you stop saying your fucking facial expressions out loud? It's incredibly annoying.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>FRANK</character> <parenthetical>(Beat)</parenthetical> <dialogue>Okay.</dialogue> <character>DON</character> <dialogue>We've run out of time. We've spent all our rent money. They gave us 30 days notice to leave. And we didn't leave. So they've rented Vetno to a new band.</dialogue> <scene_description>They look at the four new men, who smile awkwardly.</scene_description> <character>LARGE YOUNG MAN</character> <parenthetical>(In broken English)</parenthetical> <dialogue>We're Bloodbath.</dialogue> <character>CLARA</character> <parenthetical>(To Don)</parenthetical> <dialogue>How long have you known this was going to happen?</dialogue> <character>DON</character> <parenthetical>(Beat)</parenthetical> <dialogue>30 days.</dialogue> <character>CLARA</character> <dialogue>Why didn't you tell us?</dialogue> <character>DON</character> <parenthetical>(Beat)</parenthetical> <dialogue>I didn't want to disappoint you.</dialogue> <character>BARAQUE</character> <parenthetical>(In French - subtitled)</parenthetical> <dialogue>We haven't recorded one note of the album.</dialogue> <scene_description>Everyone looks at Frank.</scene_description> <character>JON</character> <dialogue>I can pay.</dialogue> <scene_description>Everyone looks at Jon.</scene_description> <character>JON</character> <dialogue>When my father died I inherited money. He said it was my nest egg. He said I should only ever spend my nest egg on something really, really important.</dialogue> <parenthetical>(His voice breaking)</parenthetical> <dialogue>I want you to have my nest egg.</dialogue> <scene_description>Frank stands up. He HUGS Jon. As always with Frank's hugs, the size of the head makes it quite awkward. CONTINUED: (3)</scene_description> <character>JON</character> <dialogue>It'll buy us enough time to make the album.</dialogue> <character>LARGE YOUNG MAN</character> <parenthetical>(Broken English)</parenthetical> <dialogue>We've driven all the way from Hudiksvall.</dialogue> <character>JON</character> <dialogue>I'll give you money to leave.</dialogue> <character>LARGE YOUNG MAN</character> <dialogue>How much?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>5000 Krona.</dialogue> <scene_description>The men look satisfied.</scene_description> <character>FRANK</character> <parenthetical>(To Jon)</parenthetical> <dialogue>Thank you so, so much.</dialogue> <scene_description>Jon can't resist shooting Clara a little grin of triumph. FADE OUT.: FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - VETNO - NIGHT</stage_direction> <scene_description>CLOSE on Jon's hands as he writes his blog.</scene_description> <character>JON (V.O.)</character> <dialogue>It's been a while since I've written anything. We've been pretty busy, working on the new music, fourteen hours a day, for...</dialogue> <scene_description>We pan up Jon's body. He's still wearing his naked hitch- hiker t-shirt, now massively faded. We see his face. He has long hair and a full beard.</scene_description> <character>JON (V.O.)</character> <parenthetical>(Calculating)</parenthetical> <dialogue>...a year and eleven months now. Which has depleted my nest egg a lot more than I anticipated.</dialogue> </scene> <scene> <stage_direction>EXT. VETNO - DAY</stage_direction> <scene_description>Looking through the lighted windows to the band practising the same complicated five second sequence... CONTINUED:</scene_description> <character>FRANK</character> <dialogue>Again!</dialogue> <scene_description>Again...</scene_description> <character>FRANK</character> <dialogue>Again!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - VETNO - DAY</stage_direction> <scene_description>The band, wild-eyed and feral, the men long-haired and bearded, ravenously eat their tiny daily ration of SOYA BEANS.</scene_description> <character>JON (V.O.)</character> <dialogue>It hasn't been easy. None of us have left Vetno since we got here. We've had to start rationing the food.</dialogue> </scene> <scene> <stage_direction>I/E. FRONT DOOR - VETNO - DAY</stage_direction> <scene_description>A GROCERY BOY stands at the door. Jon, looking starving and animalistic, opens it. The boy - overpowered by a waft of Fetid Commune Smell - quickly hands Jon the grocery bag. Jon immediately rifles ravenously through it until he finds a jar of HOT CHOCOLATE POWDER. He guiltily scurries to a corner and pours it hungrily into his mouth. Clara, passing-by, spots Jon.</scene_description> <character>CLARA</character> <dialogue>Thief!</dialogue> <scene_description>She runs over and attempts to pull the powder from Jon's grasp, whilst simultaneously prising open his mouth and thrusting in her hand, scraping the powder from inside it.</scene_description> <character>CLARA</character> <dialogue>I want it ALL back!</dialogue> <scene_description>Clara pulls Jon's fingers painfully back.</scene_description> <character>JON</character> <parenthetical>(Yelling)</parenthetical> <dialogue>Those are my KEYBOARD PLAYING FINGERS!</dialogue> <character>JON (V.O.)</character> <dialogue>Clara's hatred of me remains as strong and baffling as ever. I just seem to rub her up the wrong way.</dialogue> <scene_description>CONTINUED: In their struggle the hot chocolate jar explodes, the powder covering them in a cloud. Frank walks in. Clara and Jon stand, caught out, both covered in chocolate. Frank stares at them in silence for a moment.</scene_description> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - VETNO - DAY</stage_direction> <scene_description>Jon composes at his keyboard. The song is just flying out of him.</scene_description> <character>JON (V.O.)</character> <dialogue>A lifetime ago Frank said our job here was to journey to the furthest corners and grab the music we found there. The journey has been a long one. But I think I'm finally there.</dialogue> <scene_description>A STUNNED look crosses his face.</scene_description> <character>JON</character> <parenthetical>(To himself)</parenthetical> <dialogue>Oh God. This is REALLY GOOD.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Jon runs excitedly down the hallway.</scene_description> <character>JON</character> <dialogue>Frank!</dialogue> </scene> <scene> <stage_direction>INT. THE CORRIDOR OUTSIDE FRANK'S ROOM - MOMENTS LATER</stage_direction> <character>JON</character> <parenthetical>(Knocking on the door)</parenthetical> <dialogue>Frank?</dialogue> </scene> <scene> <stage_direction>INT. FRANK'S ROOM - CONTINUOUS</stage_direction> <scene_description>Jon walks into the bedroom. It's empty. The sound of running water comes from the en-suite shower room. Jon stops, staring at something: Frank's HEAD sits on a chair beside the bed. Jon hesitates and then picks up the head. He peers inside, fascinated. He crosses to a mirror and stands, the HEAD raised above his own. Slowly he begins to lower the false head down over his own face - then he freezes. CONTINUED: Something has just occurred to him. If the head if out here and Frank is in the bathroom... He puts the head down and creeps towards the open bathroom door... JON'S P.O.V Someone's in the shower - obscured by the steamed up cubicle door. Jon peers closer, trying to pierce the fog and finally see Frank's true face. Suddenly the cubicle door opens and Frank steps out - naked... ...except he's still WEARING HIS HEAD. He has a clear plastic bag over it, with breathing holes. The one on the bed is the spare. Jon is too surprised to hide and the two men stand staring at each other.</scene_description> <character>JON</character> <dialogue>Hello.</dialogue> <character>FRANK</character> <parenthetical>(Beat)</parenthetical> <dialogue>Hello.</dialogue> <scene_description>Jon remembers why he's there.</scene_description> <character>JON</character> <dialogue>I've written a song.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - VETNO - DAY</stage_direction> <scene_description>Jon is playing his song for Frank and Clara. And it is, indeed, by far the best he's ever sounded. He finishes.</scene_description> <character>FRANK</character> <dialogue>Amazing.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Really?</dialogue> <character>FRANK</character> <dialogue>I think it's ...Hey! Can I just make a couple of...</dialogue> <scene_description>Frank sits down at the piano.</scene_description> <character>FRANK</character> <dialogue>So you played...</dialogue> <scene_description>CONTINUED: Jon gives Clara a triumphant glance as Frank starts working on his song. Clara takes a seat on the stool next to Frank.</scene_description> <character>CLARA</character> <dialogue>And then if you just...</dialogue> <scene_description>Clara moves Frank's fingers to a different note.</scene_description> <character>CLARA</character> <dialogue>Because if you played ...What was that note you played down there, Jon?</dialogue> <scene_description>F.</scene_description> <character>CLARA</character> <dialogue>Yes because if you played an F there it would be shit.</dialogue> <scene_description>Jon looks like he's been punched in the face. Clara and Frank continue to turn Jon's song into something TOTALLY DIFFERENT - something much STRANGER and MORE INTERESTING. Frank is just innocently going about what he does. But Clara is fully aware that she's crushing Jon.</scene_description> <character>FRANK</character> <dialogue>What do you think?</dialogue> <scene_description>Clara looks up and gives Jon a dreadful, slow smile.</scene_description> <character>FRANK</character> <parenthetical>(Beat)</parenthetical> <dialogue>We're ready.</dialogue> <scene_description>LATER The band have set up. Don is finishing arranging mics around them.</scene_description> <character>JON (V.O.)</character> <dialogue>Frank has decided it's finally time to record the album. They're not using any of my composition which I can't help thinking is a bit of a kick in the teeth bearing in mind the fact that I gave them my fucking nest egg.</dialogue> <scene_description>Don walks through to the hall outside and sits at a mixing desk. CONTINUED:</scene_description> <character>DON</character> <parenthetical>(Into desk mic)</parenthetical> <dialogue>Vetno tapes. Take one.</dialogue> <scene_description>He starts to RECORD. A MONTAGE of moments from the recording. It twists and turns with overwhelming, beautiful oddness. We hear the theremin moment inspired by the IDIOT SHRIEK SHAVING INCIDENT. Jon still looks annoyed by it. We hear the complicated five second sequence they spent weeks practicing over and over. LATER The band stand around Don's recording equipment, listening to their work.</scene_description> <character>DON</character> <dialogue>That's it, Frank?</dialogue> <character>FRANK</character> <dialogue>Uhuh. That's it. We're done, Don. We're done.</dialogue> <character>JON (V.O.)</character> <dialogue>It took us three hours to record the album. From start to finish. Two years' work. Three hours.</dialogue> <scene_description>The band stand around, stunned. Frank notices that Don has a strange smile, eyes glistening.</scene_description> <character>FRANK</character> <dialogue>You okay?</dialogue> <character>DON</character> <parenthetical>(Mumbling)</parenthetical> <dialogue>It's just so good.</dialogue> <scene_description>He nods.</scene_description> <character>DON</character> <dialogue>We're done.</dialogue> </scene> <scene> <stage_direction>INT. VETNO - BEDROOM - DAWN</stage_direction> <scene_description>Jon wakes up. He gets up, starts to get dressed. He glances out of the window... stops suddenly, staring at something in the trees. CONTINUED: JON'S P.O.V - OUT OF WINDOW Frank is HANGING from a tree. He's perfectly still. LATER The band are cutting down the body and carefully lowering it to the ground. Baraque carefully removes the plastic head to reveal DON - quite dead. We see the real Frank, wearing his false head, watching from the back of the group. The rest turn to stare at him. Baraque passes him the spare head Don had worn. Frank holds it.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAY</stage_direction> <scene_description>The band have set up by the lake. They're placing Don's body onto a crude wooden raft. Frank lights the raft and pushes it out onto the water. The flames begin to spread, an improvised Viking funeral. The band begin to play Puff the Magic Dragon...</scene_description> <character>FRANK</character> <parenthetical>(Singing)</parenthetical> <dialogue>Puff the Magic Dragon, lived by the sea, and frolicked in the Autumn mist in a land called Honalee...</dialogue> <scene_description>Jon and the others watch the boat drift away into the mist on the lake. Jon hears a PING coming from the iPhone in his hand. One new email.</scene_description> <character>FRANK</character> <parenthetical>(Singing)</parenthetical> <dialogue>Little Jackie Paper loved that rascal puff, and brought him strings and sealing wax and other fancy stuff.</dialogue> <scene_description>Jon is torn between wanting to maintain an appropriate air of mourning and wondering who emailed him. His curiosity wins out. He covertly glances at the iPhone. His eyes widen - amazed at what he's read. CONTINUED: The fire consumes the raft. Frank stops singing.</scene_description> <character>FRANK</character> <dialogue>Goodbye Don. You were the best keyboard player we ever had and the best man I ever knew.</dialogue> <character>JON</character> <dialogue>Don used to be the band's keyboard player?</dialogue> <character>CLARA</character> <dialogue>Yes. First it was Don. Then Lucas. Now it's you.</dialogue> <scene_description>Frank somberly slips the plastic bag with breathing holes over his head and leaps into the lake. He begins to swim towards the boat.</scene_description> <character>BARAQUE</character> <parenthetical>(In French - subtitled)</parenthetical> <dialogue>What are you doing?</dialogue> <character>FRANK</character> <dialogue>I'm getting his ashes.</dialogue> <character>BARAQUE</character> <parenthetical>(In French, subtitled)</parenthetical> <dialogue>Wait until the fire's died down.</dialogue> <scene_description>Clara notices Jon looking at his phone.</scene_description> <character>CLARA</character> <parenthetical>(To Jon)</parenthetical> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - VETNO - LATER THAT NIGHT</stage_direction> <scene_description>A BAND MEETING Frank is shivering with a blanket around him.</scene_description> <character>CLARA</character> <dialogue>You've been secretly putting clips of us on what?</dialogue> <character>JON</character> <dialogue>You Tube. But that's not the news. I got an email.</dialogue> <character>CLARA</character> <dialogue>You Tube?</dialogue> <character>JON</character> <dialogue>Just snippets. But...</dialogue> <scene_description>CONTINUED:</scene_description> <character>CLARA</character> <dialogue>Show me.</dialogue> <scene_description>Jon presses play. CLOSE on the screen: A grainy, tantalizing 20 second video of FRANK singing at Vetno.</scene_description> <character>JON</character> <dialogue>I made the clips really short and tantalizing. So you're like a mysterious masked man.</dialogue> <character>CLARA</character> <dialogue>You spied on us?</dialogue> <character>JON</character> <dialogue>No. Yes. But that's not the point. The point is I got an email this morning. Because of these clips we've been offered a gig. A really important gig.</dialogue> <scene_description>They stare at him.</scene_description> <character>JON</character> <dialogue>South By Southwest! In Texas. It's very prestigious. They've got a New Discoveries strand. They want us to launch the album at New Discoveries.</dialogue> <character>CLARA</character> <parenthetical>(Snorting)</parenthetical> <dialogue>How ridiculous.</dialogue> <scene_description>She heads for the door.</scene_description> <character>CLARA</character> <dialogue>Come on, Frank. Let's get you into the shower.</dialogue> <character>FRANK</character> <parenthetical>(Looking at You Tube)</parenthetical> <dialogue>Why does it say 23,751 at the bottom?</dialogue> <character>JON</character> <dialogue>That's the number of people who've watched the clip.</dialogue> <scene_description>Frank looks at Jon. 23,75...</scene_description> <character>JON</character> <dialogue>Reload.</dialogue> <scene_description>CONTINUED: (2) Jon presses reload.</scene_description> <character>FRANK</character> <dialogue>...23,752 people interested in us?</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>This is like magic.</dialogue> <scene_description>Clara glares at Jon.</scene_description> <character>JON</character> <parenthetical>(To Frank)</parenthetical> <dialogue>I told you we could be big.</dialogue> </scene> <scene> <stage_direction>EXT. HOT TUB - FOREST - VETNO - LATER</stage_direction> <scene_description>Jon, NAKED, soaks himself in the bubbles, looking pleased with himself. Clara appears, standing ominously over the Jacuzzi.</scene_description> <character>CLARA</character> <parenthetical>(Hissing loudly to make herself heard over the bubbles)</parenthetical> <dialogue>What game are you playing filling Frank's head with bullshit ideas about festivals in America?</dialogue> <character>JON</character> <parenthetical>(Loudly)</parenthetical> <dialogue>I can't hear you over the sound of the bubbles.</dialogue> <scene_description>Clara angrily prods the Jacuzzi switch. The bubbles get bubblier.</scene_description> <character>CLARA</character> <dialogue>How the fuck do the fucking bubbles...?</dialogue> <character>JON</character> <parenthetical>(Loudly)</parenthetical> <dialogue>You just pressed the full bubble strength button.</dialogue> <scene_description>Clara furiously punches the buttons.</scene_description> <character>JON</character> <parenthetical>(Loudly)</parenthetical> <dialogue>They're on a timer. You just restarted. They won't switch off for 10 minutes now.</dialogue> <character>CLARA</character> <parenthetical>(Shouting)</parenthetical> <dialogue>Leave Frank alone.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <parenthetical>(Shouting back)</parenthetical> <dialogue>YOU leave Frank alone. That time he thought he'd been kidnapped by you? I'm beginning to suspect it was true!</dialogue> <scene_description>Jon steps out of the Jacuzzi. He's toe to toe with Clara.</scene_description> <character>JON</character> <dialogue>I'm fully aware you want me to end up like Don or Lucas. But that's not going to be my role in this band.</dialogue> <character>CLARA</character> <dialogue>Middle Management!</dialogue> <character>JON</character> <dialogue>Josef Fritzl!</dialogue> <character>CLARA</character> <dialogue>Piers Morgan!</dialogue> <character>JON</character> <dialogue>Cunt!</dialogue> <scene_description>Panting with rage, Clara suddenly notices Jon is naked. Her eyes involuntarily flitter downwards. They look at each other.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - MOMENTS LATER</stage_direction> <scene_description>Jon and Clara are having VIOLENT SEX in the forest. Clara is on top of Jon, grabbing hold of his hair, SMASHING his head onto a rock on the ground. Jon is both desperately aroused and also in a LOT of pain. He pants and grunts and says Ow. For a moment he looks worried that she's actually trying to murder him. LATER The sex is over. Jon and Clara lie naked amid the nature, looking up at the sky.</scene_description> <character>JON</character> <dialogue>This is going to be awkward.</dialogue> <character>CLARA</character> <dialogue>What is?</dialogue> <character>JON</character> <dialogue>Us. You know. Together.</dialogue> <scene_description>Clara has a good laugh. CONTINUED:</scene_description> <character>CLARA</character> <dialogue>We'll never be 'together'.</dialogue> <character>JON</character> <dialogue>Right.</dialogue> <character>CLARA</character> <dialogue>I find you disgusting.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Oh. Okay.</dialogue> <character>CLARA</character> <dialogue>Me with you...!</dialogue> <character>JON</character> <dialogue>I get the point.</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>Clara. What does he look like?</dialogue> <character>CLARA</character> <parenthetical>(Shrugging)</parenthetical> <dialogue>I don't know.</dialogue> <character>JON</character> <dialogue>You've never seen him without the head on?</dialogue> <scene_description>Clara shakes her head.</scene_description> <character>JON</character> <dialogue>Who made it for him?</dialogue> <character>CLARA</character> <dialogue>He doesn't talk about it.</dialogue> <character>JON</character> <dialogue>I thought maybe Don had. In the mental hospital.</dialogue> <scene_description>Jon stares sadly into the sky.</scene_description> <character>JON</character> <dialogue>Was it awful in the mental hospital, Clara?</dialogue> <character>CLARA</character> <dialogue>What?</dialogue> <character>JON</character> <dialogue>Was it awful in there?</dialogue> <character>CLARA</character> <dialogue>How do I know?</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>What are you talking about?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Nothing.</dialogue> <character>CLARA</character> <dialogue>No. What?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>I... assumed you're mentally ill.</dialogue> <character>CLARA</character> <parenthetical>(Stiffly)</parenthetical> <dialogue>Well I'm not.</dialogue> <character>JON</character> <parenthetical>(Surprised)</parenthetical> <dialogue>Huh!</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>So why are you so against us finding an audience? If it's not because you're mentally ill?</dialogue> <character>CLARA</character> <dialogue>When you package the music you kill it.</dialogue> <character>JON</character> <dialogue>But how are people going to hear the album if we don't launch it? The music doesn't exist until people hear it. Who are we doing it for otherwise?</dialogue> <scene_description>Clara looks at Jon as if he's an idiot.</scene_description> <character>CLARA</character> <dialogue>For each other.</dialogue> <character>JON</character> <parenthetical>(Suddenly)</parenthetical> <dialogue>You love Frank! You're in love with him! You're scared that if other people love him you'll lose him!</dialogue> <character>CLARA</character> <dialogue>Fuck off.</dialogue> <character>JON</character> <parenthetical>(Teasingly)</parenthetical> <dialogue>You're in love with him!</dialogue> <scene_description>Clara picks up a nearby rock and mimes violently bludgeoning Jon to death. Jon stops teasing Clara. She puts the rock back down. CONTINUED: (3)</scene_description> <character>CLARA</character> <parenthetical>(Sighing)</parenthetical> <dialogue>If you fuck everything up in America I'll stab you.</dialogue> </scene> <scene> <stage_direction>EXT. VETNO - MORNING</stage_direction> <scene_description>The band, still long-haired and dirty and bearded, emerge with their luggage from the SILENCE and STILLNESS of Vetno. Everyone looks anxiously at the outside world. They walk towards their van, which has gathered significant dust.</scene_description> <character>JON (V.O.)</character> <dialogue>Today we leave Vetno. Hashtag weirdly nervous.</dialogue> </scene> <scene> <stage_direction>I/E. VAN - SWEDISH ROAD - DAY</stage_direction> <scene_description>Clara is driving. CARS zoom loudly past them. They involuntarily SHRINK back into their seats like children raised by wolves.</scene_description> </scene> <scene> <stage_direction>EXT. PETROL STATION - DAY</stage_direction> <scene_description>The band sit in the van, looking deeply self-conscious and alienated. A PETROL PUMP ATTENDANT approaches.</scene_description> <character>JON</character> <dialogue>Don't do anything weird.</dialogue> <scene_description>Clara shoots the attendant a massively over-friendly smile.</scene_description> <character>CLARA</character> <dialogue>Fill her up please!</dialogue> <scene_description>Of course in her desperate effort to seem normal she's coming over as TOTALLY CRAZY. Frank's arm shoots involuntarily upwards, as we... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TEXAS DESERT - DAY</stage_direction> <scene_description>A breathtaking desert landscape, into which drives a rental van.</scene_description> </scene> <scene> <stage_direction>INT. RENTAL VAN - TEXAS DESERT - DAY.</stage_direction> <scene_description>Jon looks out of the window.</scene_description> <character>JON</character> <dialogue>Wow. It's like Paris, Texas. So, okay, I've booked us a warm-up show in Houston. Very low key. Just to ease our way back into the world. And then straight to South By Southwest...</dialogue> <character>FRANK</character> <dialogue>Pull over, Jon.</dialogue> <scene_description>Frank roots around in the back of the van.</scene_description> <character>JON</character> <dialogue>What are you looking for?</dialogue> <character>FRANK</character> <dialogue>Don.</dialogue> </scene> <scene> <stage_direction>EXT. TEXAS DESERT - DAY</stage_direction> <scene_description>The band stand watching as Frank with a bag of Don's ashes.</scene_description> <character>FRANK</character> <dialogue>Don, I remember you saying that the desert here was your favorite place in the whole world. After Sea World, San Diego. And I know you were homesick, Don. I know there were times you wanted to come back here, but you didn't because of me. Well you're home now Don. And we're going to make sure that those sacrifices you made weren't in vain. It's your album we recorded Don - and we're going to share it with the world.</dialogue> <scene_description>He opens the bag and tosses the ashes into the air. There's no wind and they land with a CLUMP on the sand in front of them.</scene_description> </scene> <scene> <stage_direction>I/E. DRESSING ROOM - MUSIC VENUE - TEXAS - EVENING</stage_direction> <scene_description>It's a down-at heel place in a Houston suburban strip. Baraque, beard gone, head shaved, is busy shaving the rest of the band's heads. It makes them look even more like a cult. Nana is painting over Frank's painted hair, so that he too looks shaved. THE WINGS The band watch Frank, waiting for the word from him, like soldiers waiting for their Captain.</scene_description> <character>FRANK</character> <dialogue>In this moment only the five of us know what the whole world is about to know. That we have found the music that will change everything.</dialogue> <scene_description>The band look determined, almost grim. They march out onto the stage to be met by a faint welcoming applause. They glance at each other, understanding the huge significance of the moment. Nana and Baraque begin to play. After a moment Clara and Jon join in. Frank stands in the wings, listening. And very slowly his head begins to GLOW. As the head reaches MAXIMUM ILLUMINATION he BOUNDS OUT onto the stage, jerking and shuffling to the beat. He sings. DISSOLVE TO: A MONTAGE of moments from the live show. It twists and turns with overwhelming, beautiful oddness. Finally the music ends in a gigantic crescendo. We await the inevitable roar from the crowd. But instead... ...the SMALL, BAFFLED AUDIENCE offer a tiny SMATTERING of UNINTERESTED APPLAUSE. The band stare at the crowd. They can't believe it. LATER The band sit behind a STALL, failing to sell any copies of the Vetno album. The AUDIENCE - ORDINARY LOOKING MEN and WOMEN - walk past them without showing any interest.</scene_description> <character>FRANK</character> <dialogue>We got the music wrong.</dialogue> <character>CLARA</character> <dialogue>The music's right. They're wrong. Fuck them. Our American adventure is over. We go back to Europe.</dialogue> <character>JON</character> <dialogue>No! Forget these hick conformist fucks.</dialogue> <scene_description>CONTINUED:</scene_description> <character>PASSER-BY</character> <parenthetical>(Overhearing)</parenthetical> <dialogue>Nice.</dialogue> <character>JON</character> <dialogue>Sorry. (Beat) South By Southwest booked us because they already know and love us!</dialogue> <scene_description>Frank looks at Jon.</scene_description> <character>JON</character> <dialogue>Things will be different at South By Southwest. Trust me, Frank. They love us already there. Frank. They love us already.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - SOUTH BY SOUTHWEST - DAY</stage_direction> <scene_description>The band, just arrived, make their way through the buzzy festival CROWDS. The atmosphere is much more bohemian and hipsterish than at the warm-up show. A HIPSTER BAND plays on a nearby bandstand. HIPSTERS in nerd glasses hand out fliers for their gigs. Jon is delighted to be among these refreshingly cool, young, free-thinking people. He's truly in his Xanadu. Passers-by look impressed by the band.</scene_description> <character>PASSER-BY</character> <dialogue>Awesome costumes you guys!</dialogue> <character>PASSER-BY 2</character> <dialogue>You look amazing. Where are you playing?</dialogue> <character>JON</character> <parenthetical>(To the passer-by)</parenthetical> <dialogue>The Blind Pig.</dialogue> <character>PASSER-BY</character> <dialogue>Awesome venue! Good luck!</dialogue> <scene_description>Jon shoots the others a thrilled and vindicated look.</scene_description> </scene> <scene> <stage_direction>INT. PRODUCTION OFFICE - DAY</stage_direction> <scene_description>Jon is at the accreditation desk, behind which stands two beautiful hipster festival official - SIMONE and ALICE. Simone exudes LACONIC HIPSTER IRONY, Alice is more UPBEAT and SINCERE. The rest of the band hang back. CONTINUED:</scene_description> <character>SIMONE</character> <parenthetical>(Dryly)</parenthetical> <dialogue>My spidey-sense tells me...</dialogue> <scene_description>Jon grins, impressed, at the phrase 'spidey-sense'.</scene_description> <character>SIMONE</character> <dialogue>...that you guys are The...</dialogue> <scene_description>Simone attempts their name.</scene_description> <character>JON</character> <dialogue>That's us!</dialogue> <character>SIMONE</character> <dialogue>And you're Jon.</dialogue> <character>ALICE</character> <dialogue>We follow you on Twitter! Awesome job!</dialogue> <character>JON</character> <parenthetical>(Delighted)</parenthetical> <dialogue>Thanks!</dialogue> <character>ALICE</character> <dialogue>So. Here's the passes and an information pack. Oh, did Simone pronounce your name right?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Jon?</dialogue> <character>ALICE</character> <dialogue>The band's name.</dialogue> <character>JON</character> <dialogue>Oh. I actually don't know.</dialogue> <parenthetical>(Calling, to Clara)</parenthetical> <dialogue>Clara? How do we pronounce the band's name?</dialogue> <scene_description>A little way back, Clara shrugs, unhelpfully.</scene_description> <character>ALICE</character> <dialogue>You guys are hilarious! So a bunch of us are having dinner tonight at a hot dog place in town. Come!</dialogue> <character>JON</character> <dialogue>Awesome!</dialogue> </scene> <scene> <stage_direction>INT. JULY 4TH THEMED HOT DOG RESTAURANT - EVENING</stage_direction> <scene_description>CLOSE on a BEAUTIFUL YOUNG WOMAN singing a pretty, childlike song - perhaps PRINCESS CHELSEA singing THE CIGARETTE DUO. CONTINUED: We pull back. She's performing on a little stage in the corner. HIPSTER DINERS - including Jon - regard the singer with FONDNESS. Clara regards her with HORROR. The place is ironically tacky and July 4th themed - American flags, Uncle Sam paraphernalia, portraits of Joey 'Jaws' Chestnut, the world's greatest hotdog competitive eater. The band, Simone and Alice eat hot dogs at a big table. Frank holds a napkin over his face to cover the shameful sight of his feeding himself tiny bits of sausage under the neckline of the head.</scene_description> <character>ALICE</character> <parenthetical>(To Frank)</parenthetical> <dialogue>You guys have been in the forest so long all this craziness has to be kind of intimidating I guess.</dialogue> <scene_description>Frank continues to completely conceal his 'face' with the napkin.</scene_description> <character>FRANK</character> <parenthetical>(Trying to sound normal)</parenthetical> <dialogue>Oh quite the contrary, I'm delighted to be launching our album here, Delighted look.</dialogue> <scene_description>Clara's eyes dart across the room. Clara's POV: A nightmarish montage of HIPSTER MEN and WOMEN, all looking EERILY SIMILAR - nerd glasses, Zooey Deschanel faces, ironic facial hair, tacky t-shirts that advertise Ocean Spray, etc.</scene_description> <character>FRANK</character> <parenthetical>(To Alice)</parenthetical> <dialogue>I'm excited that for the first time we'll be performing for people who already know and love us, thanks to Jon and his clever secret camera.</dialogue> <scene_description>Frank's voice has taken on a weirdly formal air.</scene_description> <character>JON</character> <parenthetical>(To Alice and Simone)</parenthetical> <dialogue>They didn't know I was filming them at Vetno.</dialogue> <character>SIMONE</character> <parenthetical>(Dryly)</parenthetical> <dialogue>Well, how about you, Mister Secret Squirrel.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>I AM Mister Secret Squirrel!</dialogue> <character>ALICE</character> <dialogue>Well it worked. We noticed you. And you got invited here.</dialogue> <character>FRANK</character> <dialogue>Thrilled grin!</dialogue> <scene_description>Frank's arm slips and he spills a jug of syrup over himself and his food.</scene_description> <character>FRANK</character> <dialogue>Oh dear!</dialogue> <character>ALICE</character> <dialogue>Oh, man, are you okay?</dialogue> <scene_description>Frank clumsily tries to clean the syrup off himself.</scene_description> <character>FRANK</character> <dialogue>I'm fine! I'm so fine you shouldn't even bother mentioning the thing that's currently happening.</dialogue> <scene_description>Frank's attempts at cleaning himself are making him and his head FAR STICKIER.</scene_description> <character>FRANK</character> <dialogue>Really! Carry on talking as if this isn't happening.</dialogue> <character>ALICE</character> <parenthetical>(Slightly weirded- out)</parenthetical> <dialogue>O-kay. So. Who have you played for in the past?</dialogue> <character>FRANK</character> <parenthetical>(Formally)</parenthetical> <dialogue>Until now our audiences have tended to be people who chance upon us and realize after a few minutes that they don't like us.</dialogue> <scene_description>Clara stops GLARING at hipsters in time to sigh ostentatiously at this.</scene_description> <character>FRANK</character> <dialogue>I see it in their faces, Clara. First they're like this. But then they're like this.</dialogue> <scene_description>Frank continues to try and clean himself. CONTINUED: (3)</scene_description> <character>FRANK</character> <parenthetical>(To Alice)</parenthetical> <dialogue>So this is a most exciting and unique opportunity you've given us.</dialogue> <scene_description>Frank gives Alice a sincere look. By now he has bits of syrupy-napkin stuck all over his face. Jon, seeing Frank's predicament, springs into efficient action. He spits on a napkin and begins wiping the detritus from Frank's face.</scene_description> <character>CLARA</character> <dialogue>Mummy's here.</dialogue> <scene_description>Baraque sniggers.</scene_description> <character>CLARA</character> <parenthetical>(Indicating the childlike hipster singer)</parenthetical> <dialogue>Why don't you team up with Princess Marigold over there and start a day care center. She can sing the baby songs and you can wipe the faces and the asses.</dialogue> <character>ALICE</character> <dialogue>Actually, I gotta tell you guys, We know who you are. Simone and me. We found you. But the audience won't have heard of you yet.</dialogue> <character>FRANK</character> <parenthetical>(Astonished)</parenthetical> <dialogue>But more than 23,700 people watched us on You Tube.</dialogue> <character>JON</character> <parenthetical>(Nervously)</parenthetical> <dialogue>They're cool, though, right? I mean...</dialogue> <scene_description>He surveys the room. Jon's POV: the same people Clara found so eerie Jon is finding awesome.</scene_description> <character>SIMONE</character> <parenthetical>(Dryly)</parenthetical> <dialogue>They'll love you.</dialogue> <scene_description>Jon does a slight double-take. Simone's vocal tone is consistently so ironic it's hard to tell if she means anything she says.</scene_description> <character>ALICE</character> <dialogue>Are you crazy? They'll go crazy for you! You do know that a stand out gig at New Discoveries can...</dialogue> <scene_description>CONTINUED: (4) Alice does an impression of a rocket shooting off into the stratosphere. Jon looks alarmed.</scene_description> <character>ALICE</character> <dialogue>But, hey, don't sweat it! Just be yourselves! Maybe do some research about which bands did well at New Discoveries and which bands didn't in previous years and try and work out why and just be yourselves!</dialogue> <scene_description>The singer finishes to APPLAUSE from everyone except Clara, Nana and Baraque.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BAR - LATE AT NIGHT</stage_direction> <scene_description>The place is deserted. Jon sits hunched intensely over his laptop. The rest of the band enter.</scene_description> <character>FRANK</character> <dialogue>What is it Jon? You look scared. Has something bad happened?</dialogue> <character>JON</character> <dialogue>Not scared. I've worked something out. Look.</dialogue> <scene_description>They approach Jon's laptop.</scene_description> <character>JON</character> <parenthetical>(Enthused)</parenthetical> <dialogue>Right. Frank. You're abnormal.</dialogue> <scene_description>Frank nods, equally enthused.</scene_description> <character>JON</character> <dialogue>Let me show you someone else who's abnormal.</dialogue> <scene_description>Jon presses play. ON THE SCREEN - A You Tube clip of BABY DEE singing beautifully but very strangely...</scene_description> <character>BABY DEE</character> <parenthetical>(Singing)</parenthetical> <dialogue>Who can save me from the man Who wields the grinding stone He wields the grinding stone.</dialogue> <character>JON</character> <dialogue>Abnormal. Did a New Discoveries. 16 You Tube hits.</dialogue> <scene_description>The song ends. We hear a smattering of applause from the tiny audience. CONTINUED:</scene_description> <character>JON</character> <dialogue>Whereas...</dialogue> <scene_description>Jon presses play. ON THE SCREEN A more MAINSTREAM band - still difficult and avant-garde, but with a generally more likeable, nerdy, ironic, SELF- AWARE demeanor, and a nice stable drum beat.</scene_description> <character>JON</character> <dialogue>Still abnormal. Stormed New Discoveries. 380,000 You Tube hits. What does this teach us?</dialogue> <character>FRANK</character> <parenthetical>(Beat)</parenthetical> <dialogue>Go on.</dialogue> <character>JON</character> <dialogue>That two years in the forest has calibrated us slightly too far towards the wrong sort of mental. Everything that's successful here happens within a certain boundary that we are currently just outside of.</dialogue> <character>CLARA</character> <dialogue>Nobody's listening to you. Mediocre Child.</dialogue> <character>FRANK</character> <parenthetical>(At Clara)</parenthetical> <dialogue>Shh.</dialogue> <scene_description>Clara looks like she's been slapped.</scene_description> <character>JON</character> <dialogue>We've always demanded that the audience stretch their corners all the way out to meet ours, Frank, but what if we pull our corners in a tiny bit - just a tiny, tiny bit - so everyone's corners can meet in a place that's still a really long way off but a bit less...</dialogue> <scene_description>Jon does a exaggerated impression of Clara's Idiot Shriek Theremin solo.</scene_description> <character>JON</character> <dialogue>...and a bit more... likeable. Do we want a smattering of baffled applause at New Discoveries or do we want to raise the fucking roof?</dialogue> <scene_description>CONTINUED: (2) ON THE SCREEN - the more likeable band finish their song to RAPTUROUS APPLAUSE.</scene_description> <character>JON</character> <dialogue>Frank?</dialogue> <scene_description>Frank holds his hand out to hush Jon. A silence. Frank is silently composing.</scene_description> <character>FRANK</character> <parenthetical>(with great import)</parenthetical> <dialogue>I think I'm writing my most likeable song ever.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Can we hear it?</dialogue> <scene_description>Clara looks like she wants to kill Jon.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - HOTEL - LATE AT NIGHT</stage_direction> <scene_description>Frank sits at the keyboard. The rest of the band gather in readiness to hear Frank's most likeable song ever. Jon films the scene on his iPhone.</scene_description> <character>FRANK</character> <dialogue>I've always dreamed that one day I'd have a band member who shared my vision of creating extremely likeable music. So thank you, Jon. You gave me the little push I needed. Okay. Enough chatter. Here it is. My most likeable song ever.</dialogue> <scene_description>Frank begins to play. Bang! Bang! Bang! It's the same glorious, strange, ridiculous, totally non-mainstream stuff that Frank has always played. The madder end, in fact, of his oeuvre. Frank finishes. A beat.</scene_description> <character>CLARA</character> <dialogue>This is your most likeable song?</dialogue> <character>FRANK</character> <dialogue>Yes.</dialogue> <scene_description>Clara doesn't show a thing on her face.</scene_description> <character>CLARA</character> <dialogue>People will love it.</dialogue> <scene_description>Frank raises his arms in jubilation. CONTINUED:</scene_description> <character>JON</character> <parenthetical>(Clearing his throat)</parenthetical> <dialogue>Actually, Frank, I think we can push the likability even further.</dialogue> <character>FRANK</character> <dialogue>No way! You're shitting me. (Beat) HOW?</dialogue> </scene> <scene> <stage_direction>EXT. FOREST - EDGE OF TOWN - DAY</stage_direction> <scene_description>The band has gathered with their instruments. Jon has got hold of some VIDEO EQUIPMENT. He's standing behind the camera.</scene_description> <character>CLARA</character> <parenthetical>(To Jon)</parenthetical> <dialogue>Let me see if I got this right. You want us to make a video in which we pretend our music doesn't matter so the people here who act like babies won't be scared of us.</dialogue> <character>JON</character> <dialogue>No. Well, sort of. Look. You know the crazy person on the bus that nobody wants to sit next to? That's us. But if we just lighten up... be a tiny bit more likeably self-aware...</dialogue> <character>CLARA</character> <dialogue>I'm not playing a fucking ukulele, I'll tell you that now.</dialogue> <character>FRANK</character> <dialogue>I'm going to point at my head a lot! Like this!</dialogue> <scene_description>Frank dances around a little too over-zealously, pointing at his head.</scene_description> <character>FRANK</character> <parenthetical>(As he dances)</parenthetical> <dialogue>Press record, Jon. I'm ready.</dialogue> <scene_description>Jon presses record on his video camera and hurries over to take his place behind the keyboard. They start playing a MORE HIPSTER version of one of their songs. Everything is a little different. Frank's voice and dance seem more IRONIC. Jon has a new, ironic, keyboard sound. And hipster sunglasses. Baraque and Nana are dutifully going along with it - their bass and percussion are more unvarying than normal. CONTINUED: Only Clara is holding out. She has adopted her most intimidating scowl, and is playing as HARSHLY as she can muster. But her protest is useless. Jon has managed to make them sound likeable rather than alarmingly experimental. The overall effect - seeing the band like this - is both likeable but also strangely sad. The song reaches an instrumental section. Frank addresses the camera.</scene_description> <character>FRANK</character> <parenthetical>(Talking too fast)</parenthetical> <dialogue>Hi, South By Southwest. We're the Sknprfbs or something.</dialogue> <scene_description>CUT TO: CLOSE on a computer screen. The Forest Video has been uploaded to the NEW DISCOVERIES website.</scene_description> <character>FRANK</character> <dialogue>We've been in the forest for two years like secret squirrels but on Friday night we emerge so come and see us then at the Blind Pig you guys and watch us shake the leaves from our clothes and be not like secret squirrels any more but regular squirrels.</dialogue> <scene_description>We pull out to see that we are in...</scene_description> </scene> <scene> <stage_direction>INT. SIMONE AND ALICE'S OFFICE - DAY</stage_direction> <scene_description>Simone and Alice watch the video. Alice regards it with an upbeat and enthusiastic smile, Simone seems more laconic.</scene_description> </scene> <scene> <stage_direction>I/E. CANOPY. SOUTH BY SOUTHWEST - EVENING</stage_direction> <scene_description>A New Discoveries PARTY is in full swing. The CROWD and the decor are cool and ironic and hipsterish.</scene_description> <character>SIMONE</character> <parenthetical>(Dryly, to Jon)</parenthetical> <dialogue>Love the promo video.</dialogue> <scene_description>Jon looks at her quizzically. Is she being ironic or sincere?</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Thanks?</dialogue> <scene_description>CONTINUED:</scene_description> <character>SIMONE</character> <dialogue>I'm being sincere.</dialogue> <character>JON</character> <dialogue>Phew!</dialogue> <scene_description>Across the party, Frank is being chatted up by a HIPSTER GIRL.</scene_description> <character>HIPSTER GIRL</character> <dialogue>Awesome promo video.</dialogue> <character>FRANK</character> <parenthetical>(Talking too fast)</parenthetical> <dialogue>Thank you we're going for a kind of not believing in anything thing awesomely.</dialogue> <scene_description>Clara gets in really close and gives the girl her best DEATH STARE.</scene_description> <character>HIPSTER GIRL</character> <parenthetical>(Dryly, to Clara)</parenthetical> <dialogue>Oh. Hi.</dialogue> <scene_description>A chilling silence from Clara.</scene_description> <character>HIPSTER GIRL</character> <dialogue>I know you. You're the woman from the band who looks like she's from a different band.</dialogue> <scene_description>Jon, joining them, smirks. He's filming the party on his iPhone.</scene_description> <character>CLARA</character> <parenthetical>(To Frank)</parenthetical> <dialogue>Come on, Frank. Let's get away from these children.</dialogue> <character>FRANK</character> <parenthetical>(Talking too fast)</parenthetical> <dialogue>Leave? Good heavens, no. I'm incredibly happy to be here and relaxed.</dialogue> <scene_description>LATER The party continues in full-flow. Clara is confronting Jon in a corner.</scene_description> <character>CLARA</character> <dialogue>Frank's tipping over the edge.</dialogue> <character>JON</character> <dialogue>No he's not. What are you talking about? He says he's incredibly happy to be here and relaxed.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>CLARA</character> <dialogue>He said it in an unhinged tone of voice and you know it.</dialogue> <scene_description>They look over at Frank, who continues to flirt with the girl.</scene_description> <character>JON</character> <dialogue>He looks pretty happy to me. Whereas you seem...</dialogue> <character>CLARA</character> <dialogue>What?</dialogue> <character>JON</character> <parenthetical>(Coldly)</parenthetical> <dialogue>Out of control.</dialogue> <scene_description>Clara falters, suddenly seeming less confident. She just looks at Jon.</scene_description> <character>JON</character> <dialogue>Gosh. You've run out of insults?</dialogue> <scene_description>LATER The party is getting more riotous. Jon wanders anxiously through the crowd.</scene_description> <character>JON</character> <parenthetical>(Calling)</parenthetical> <dialogue>Frank? (Beat) Frank?</dialogue> <scene_description>He finds Nana and Baraque.</scene_description> <character>JON</character> <parenthetical>(To Nana)</parenthetical> <dialogue>Have you seen...</dialogue> <scene_description>He realizes this is pointless. He turns to Baraque.</scene_description> <character>JON</character> <dialogue>Have you seen Frank?</dialogue> <character>BARAQUE</character> <parenthetical>(In French, subtitled)</parenthetical> <dialogue>Clara has taken him away.</dialogue> <character>JON</character> <dialogue>Where? To the hotel?</dialogue> <scene_description>Baraque gives Jon a cold smile and says nothing.</scene_description> <character>JON</character> <parenthetical>(Startled)</parenthetical> <dialogue>Where?</dialogue> </scene> <scene> <stage_direction>EXT. PARTY - MOMENTS LATER</stage_direction> <scene_description>Jon runs through the streets.</scene_description> <character>JON</character> <parenthetical>(Calling)</parenthetical> <dialogue>Frank! Frank!</dialogue> <parenthetical>(To a hipster passer- by)</parenthetical> <dialogue>Have you seen a man wearing a fake head?</dialogue> <character>HIPSTER PASSER-BY</character> <parenthetical>(Laconically)</parenthetical> <dialogue>A crazy-looking lady is pulling a guy with a fake head along just around that corner. Could that be the guy in the fake head you're looking for?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Likely.</dialogue> <scene_description>Jon runs around the corner and sees... ...Clara PULLING Frank away, her hand firmly clasped to his.</scene_description> <character>JON</character> <parenthetical>(Yelling)</parenthetical> <dialogue>Stop.</dialogue> <scene_description>Clara and Frank stop.</scene_description> <character>JON</character> <dialogue>Where do you think you're taking him?</dialogue> <character>CLARA</character> <dialogue>Fuck off, Jon. He's falling apart.</dialogue> <character>JON</character> <parenthetical>(To Frank)</parenthetical> <dialogue>She's the one who's nuts, Frank. Not you. You're fine!</dialogue> <scene_description>Frank breaks free of Clara. He walks towards Jon.</scene_description> <character>JON</character> <dialogue>You know it. You told me yourself that Clara is crazy. She kidnaps you and she's very weird and doesn't want you to have fans.</dialogue> <character>CLARA</character> <dialogue>Remember what things were like at Vetno, Frank. There was no stress. Everything was good there.</dialogue> <scene_description>CONTINUED: At this, Frank suddenly stops, midway between Jon and Clara. He glances from one to the other, not knowing which one to go to.</scene_description> <character>CLARA</character> <dialogue>Everything was quiet and good at Vetno, Frank. Don't you remember? Let's go back there.</dialogue> <character>JON</character> <dialogue>See! She wants to keep you locked up like at Vetno. She's just weird and jealous.</dialogue> <character>CLARA</character> <dialogue>You're out of your depth, Jon. Frank. You're not well. We need to be somewhere quiet. Just us.</dialogue> <character>JON</character> <dialogue>Tomorrow night is everything we've worked for! They're ready to love us, Frank. Frank. They're ready to love us. Don't throw it away.</dialogue> <scene_description>Frank looks at Clara.</scene_description> <character>FRANK</character> <dialogue>Clara.</dialogue> <scene_description>He starts walking towards Jon.</scene_description> <character>JON</character> <dialogue>Oh thank God.</dialogue> <scene_description>Jon watches Frank walk towards him in the moonlight. It's a beautiful sight. Jon gets out his iPhone and begins to film it.</scene_description> <character>CLARA</character> <parenthetical>(Calling)</parenthetical> <dialogue>You win. Well done.</dialogue> <scene_description>Clara starts walking towards Jon too. Jon continues to film the scene.</scene_description> <character>JON</character> <parenthetical>(A little tauntingly)</parenthetical> <dialogue>I'm sorry Clara. I hope you're not too sad. Are you a little sad?</dialogue> <character>CLARA</character> <dialogue>Yes I'm a little bit sad.</dialogue> <scene_description>Clara is almost upon Jon now. Jon suddenly realizes Clara's holding a KNIFE. CONTINUED: (2)</scene_description> <character>JON</character> <parenthetical>(Panicking)</parenthetical> <dialogue>Chinchilla!</dialogue> <scene_description>Clara STABS JON IN THE LEG. PANDEMONIUM Jon falls to the floor and rolls about shrieking.</scene_description> <character>PASSER-BY</character> <dialogue>Jesus Christ.</dialogue> <scene_description>JON'S P.O.V - from the floor. Clara turns to Frank. Is she going to stab him too? But she suddenly realizes what she's done. The knife falls to the floor.</scene_description> <character>CLARA</character> <dialogue>Frank.</dialogue> <scene_description>A PASSER-BY grabs her. ON JON - lying on the floor, beneath the pain, a gleam of remorselessness in his eye. His dream has come true.</scene_description> </scene> <scene> <stage_direction>INT. JON'S HOTEL ROOM - SOUTH BY SOUTHWEST - MORNING</stage_direction> <scene_description>Jon is lying on the bed, his leg bandaged, typing into TWITTER on his laptop.</scene_description> <character>JON (V.O.)</character> <dialogue>Clara Fricke, our very own Syd Barratt, was arrested today and charged with assault after stabbing me in the leg. See link. We will all miss Clara and sincerely hope that our own crazy diamond will also shine on.</dialogue> <scene_description>Jon smiles slightly to himself.</scene_description> <character>JON</character> <dialogue>And... twitvid.</dialogue> <scene_description>Jon lies back on his bed, satisfied.</scene_description> </scene> <scene> <stage_direction>INT. FRANK'S HOTEL BEDROOM - AFTERNOON</stage_direction> <scene_description>Jon hobbles quietly into the room and joins Baraque and Nana staring at a prone Frank lying on his bed.</scene_description> <character>BARAQUE</character> <dialogue>Il Dort.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>He's dead?</dialogue> <character>BARAQUE</character> <dialogue>Asleep.</dialogue> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>He's sick.</dialogue> <scene_description>Jon and Baraque both turn, surprised. It is NANA. And this is the FIRST TIME SHE'S SAID A WORD during the entire movie.</scene_description> <character>JON</character> <parenthetical>(Thrown)</parenthetical> <dialogue>He's... just had a fright. He'll be fine for tonight.</dialogue> <character>NANA</character> <dialogue>Not Frank. You.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Sorry?</dialogue> <character>NANA</character> <dialogue>I've known it since the first time I saw you. On that beach. You'd have DROWNED Lucas to take his place in the band.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>No I wouldn't have.</dialogue> <character>NANA</character> <dialogue>Because you look inside of yourself and you can't find anything there.</dialogue> <character>JON</character> <dialogue>Yes I can.</dialogue> <character>NANA</character> <dialogue>So your only hope is to live off Frank's talent like a tick. Which is why you had to get rid of Clara. You had to make her stab you.</dialogue> <character>JON</character> <dialogue>Clara CHOSE to stab me!</dialogue> <scene_description>Nana sits beside Frank on the bed, takes his hand.</scene_description> <character>NANA</character> <parenthetical>(Gently)</parenthetical> <dialogue>Frank?</dialogue> <scene_description>CONTINUED: (2) No answer.</scene_description> <character>NANA</character> <parenthetical>(Not so gently)</parenthetical> <dialogue>Frank!</dialogue> <character>FRANK</character> <parenthetical>(Beat)</parenthetical> <dialogue>What?</dialogue> <character>NANA</character> <dialogue>We can't play without Clara.</dialogue> <character>JON</character> <dialogue>What? What are you talking about? She's going to prison! We don't know how long for! Meanwhile we have the biggest gig of our lives coming up in three hours.</dialogue> <character>NANA</character> <parenthetical>(Ignoring him)</parenthetical> <dialogue>Frank?</dialogue> <character>JON</character> <parenthetical>(Bulldozing)</parenthetical> <dialogue>Which, by the way, is getting bigger by the minute. The stabbing could not have come at a better time, Frank.</dialogue> <scene_description>He takes out his phone.</scene_description> <character>JON</character> <dialogue>I posted the stabbing clip two hours ago. (Beat) We are currently Twitter's worldwide number one trending topic. I've had everyone at South By Southwest on the phone.</dialogue> <scene_description>He plays the clip on his phone - we hear the tinny scene playing out.</scene_description> <character>NANA</character> <parenthetical>(To Frank)</parenthetical> <dialogue>Baraque and I have packed our bags. We're leaving.</dialogue> <character>JON</character> <dialogue>What? No. You... you can't.</dialogue> <scene_description>From the phone we hear a tinny Jon.</scene_description> <character>JON (O.S.)</character> <parenthetical>(Over phone)</parenthetical> <dialogue>Chinchilla!</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>JON</character> <dialogue>You can't leave! We've had 467,328 views.</dialogue> <scene_description>Jon presses reload.</scene_description> <character>JON</character> <dialogue>Reload. 467,914 views! They're all watching!</dialogue> <parenthetical>(To Nana and Baraque)</parenthetical> <dialogue>Don't leave.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - LATER</stage_direction> <scene_description>Nana and Baraque shoot Jon a triumphant look as they head towards the hotel exit.</scene_description> <character>NANA</character> <parenthetical>(Over her shoulder)</parenthetical> <dialogue>Good luck playing tonight with no band members.</dialogue> <character>JON</character> <parenthetical>(With bravado)</parenthetical> <dialogue>I don't need luck and I'll tell you why! One word! ...Unplugged!</dialogue> <scene_description>Nana and Baraque hesitate for a moment. Has Jon pulled an ace card? A little less sure of themselves, they leave.</scene_description> </scene> <scene> <stage_direction>INT. FRANK'S HOTEL BEDROOM - MINUTES LATER</stage_direction> <scene_description>Frank is sitting up in bed now. Jon is hobbling animatedly around the room.</scene_description> <character>JON</character> <dialogue>Unplugged! Me on acoustic guitar. You on vocals. Delegates really like it when bands go unplugged. It's a special thing. It's kind of pure.</dialogue> <scene_description>Jon sounds like he's trying to convince himself as much as Frank.</scene_description> <character>FRANK</character> <dialogue>"Delegates"! "Unplugged". It's like you speak an amazing foreign language!</dialogue> <scene_description>There's an edge to Frank's voice which could be excitement. Or could be panic.</scene_description> <character>JON</character> <dialogue>I'm fluent in it.</dialogue> <scene_description>CONTINUED: Frank stares at the empty room behind Jon. Jon notices Frank's tapping hand.</scene_description> <character>JON</character> <dialogue>Frank? Are you okay?</dialogue> <character>FRANK</character> <dialogue>Just excited. Just... so... excited!</dialogue> <scene_description>LATER Jon and Frank are in the midst of a REHEARSAL in the bedroom - just Frank's vocals and Jon's guitar.</scene_description> <character>JON (V.O.)</character> <dialogue>Hello Twitter. Well I have to say it's extremely nice to have Frank to myself without the others constantly going "Blah blah blah Jon you're a twat" and stabbing me.</dialogue> <scene_description>They're playing the Vetno music, but the difficult experimental sounds have been replaced by Jon's unexpectedly LIKEABLE INDIE GUITAR SOUND.</scene_description> <character>JON</character> <dialogue>This is actually REALLY GOOD!</dialogue> <scene_description>And he's right. It's LIKEABLE. And also quite ORDINARY.</scene_description> <character>FRANK</character> <dialogue>We're igniting the light and letting it shine!</dialogue> <scene_description>Frank wanders into the bathroom as Jon continues to play.</scene_description> <character>FRANK (O.S.)</character> <dialogue>Just doing my ablutions!</dialogue> <character>JON</character> <dialogue>Be as quick as you can!</dialogue> <scene_description>Jon continues to strum. LATER Jon stands at the bathroom door, still strumming.</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Frank?</dialogue> <scene_description>Frank walks back into the room. He has taken a cosmetic kit to his head. He's given himself VERY ROSY CHEEKS, a GARISHLY HUGE SMILE, bright BLUE EYE SHADOW... CONTINUED: (2)</scene_description> <character>FRANK</character> <dialogue>We can cure CANCER!</dialogue> <scene_description>Jon stares at Frank uncertainly.</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - SOUTH BY SOUTHWEST - DAY</stage_direction> <scene_description>Jon is holding Frank's hand, leading him towards the venue. Frank shakes off Jon's grip and veers off to the edge of the fun, where HIPSTER SECURITY GUARDS are keeping the fun penned in with concealed BARRIERS. Frank tries to climb over a barrier.</scene_description> <character>HIPSTER SECURITY GUARD</character> <parenthetical>(A big fun smile)</parenthetical> <dialogue>Hey man, where are you going?</dialogue> <character>FRANK</character> <dialogue>To let off fireworks at a cancer hospital.</dialogue> <character>HIPSTER SECURITY GUARD</character> <dialogue>You're funny.</dialogue> <scene_description>The Security Guard turns Frank around so he faces the crowd again.</scene_description> <character>HIPSTER SECURITY GUARD</character> <dialogue>Hey, have a great South By.</dialogue> <scene_description>He gently pushes Frank back into the crowd.</scene_description> <character>FRANK</character> <dialogue>Don't touch me!</dialogue> <parenthetical>(Glancing at something O.S.)</parenthetical> <dialogue>Ohmygod! A store that sells medals and feathers!</dialogue> </scene> <scene> <stage_direction>INT. STORE - MOMENTS LATER</stage_direction> <scene_description>It's busy, with HIPSTER SHOPPERS. Frank is frantically pinning medals and feathers to his outfit.</scene_description> <character>JON</character> <parenthetical>(To the owner)</parenthetical> <dialogue>It's okay. We've got money.</dialogue> <character>STORE OWNER</character> <dialogue>You're the guys from the Internet.</dialogue> <character>JON</character> <dialogue>Yep.</dialogue> <scene_description>CONTINUED:</scene_description> <character>STORE OWNER</character> <dialogue>I tried to get tickets to see you play tonight, but it's totally sold out. You're the hot ticket. What happened to the woman who stabbed the guy?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>She's in jail.</dialogue> <character>STORE OWNER</character> <dialogue>Oh really?</dialogue> <character>JON</character> <dialogue>Believe me it's no loss.</dialogue> <character>FRANK</character> <parenthetical>(Shouting across the room)</parenthetical> <dialogue>What does a man have to do to get some sex around here? I have NEVER HAD SEX!</dialogue> <scene_description>Everyone looks at Frank.</scene_description> </scene> <scene> <stage_direction>I/E. MUSIC VENUE - EVENING</stage_direction> <scene_description>A VERY BUZZY atmosphere. A LONG QUEUE to enter - 100 cool people in a really cool venue. These are the movers and shakers. The stage lights come on. The audience hush in excited anticipation. Many in the crowd have their SMARTPHONE VIDEOS ready in anticipation. His guitar around his neck, Jon limps onto the stage, to cheers.</scene_description> <character>HECKLERS</character> <dialogue>Chinchilla!</dialogue> <scene_description>There's laughter. Jon gamely points at his bandage and gives the crowd a thumbs up. Jon begins to play, his COMPETENT INDIE SOUND. After a moment Frank walks onto the stage, to a big cheer. He walks to the microphone. He stands there, looking at the EXPECTANT AUDIENCE, at bloggers filming him on their iPhones. Frank starts to sing. But words don't come out. Instead it's the same weird, high pitched shriek we heard at Vetno. CONTINUED: Jon continues gamely on, although a look of MASSIVE PANIC crosses his face. The audience glance at each other to say, "Is this cool? How are we supposed to react?" Frank starts to shake uncontrollably. He falls backwards, hitting his head on the speaker. He reaches up to his head and feels a CRACK. He follows it with his finger as it gets wider, wide enough to stick his finger in. Jon stares at the stunned audience, then down at Frank. He's urgently trying to say something to Jon. But the words won't come out. He indicates that Jon gets closer. Jon does. He puts his ear right to Frank's 'mouth'.</scene_description> <character>JON</character> <parenthetical>(Urgently)</parenthetical> <dialogue>What, Frank? What is it?</dialogue> <character>FRANK</character> <dialogue>This music is shit.</dialogue> <scene_description>We PULL BACK to see the full catastrophe on stage, Frank lying, a mess, on the floor, Jon on his knees at his side, the audience standing there, stunned, many of them filming the calamity on their iPhones.</scene_description> </scene> <scene> <stage_direction>I/E. HOTEL ROOM - DAY</stage_direction> <scene_description>Jon and Frank are slumped in their room. Jon looks utterly defeated. ON TV:</scene_description> <character>PRESENTER</character> <dialogue>...Cleveland, Ohio band Mister Gnome had all of Austin talking last night with a barnstorming set at South by Southwest...</dialogue> <character>FRANK</character> <dialogue>Aren't we supposed to be playing at South by Southwest?</dialogue> <scene_description>Jon lets out a big sigh. He looks at his iPhone. CLOSE on Jon's iPhone - 13 new emails. We catch a glimpse of a few words: 'You guys are insane!' 'From Sony Music'. 'If you can somehow pull it together...' CONTINUED:</scene_description> <character>JON</character> <parenthetical>(Glimpsing hope)</parenthetical> <dialogue>Frank. I know you weren't happy with the music. So let's work on it together.</dialogue> <scene_description>Frank shakes his head.</scene_description> <character>JON</character> <dialogue>Why not?</dialogue> <character>FRANK</character> <dialogue>You're not Clara.</dialogue> </scene> <scene> <stage_direction>I/E. CAR - AUSTIN - DAY</stage_direction> <scene_description>Jon is driving towards the city limits.</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER PARK - TEXAS DESERT - DAY</stage_direction> <scene_description>The DESERT looms just beyond a cluster of scrappy, working-class trailer homes. Jon pulls up outside one.</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER HOME - MOMENTS LATER</stage_direction> <scene_description>He knocks on the door. A PERUVIAN SHAMAN answers.</scene_description> <character>JON</character> <dialogue>Hello. I saw your advert. In High Times?</dialogue> <scene_description>The Shaman considers this.</scene_description> <character>SHAMAN</character> <dialogue>Do you have $40?</dialogue> <scene_description>Jon hands the Shaman the money. He beckons Jon inside.</scene_description> </scene> <scene> <stage_direction>INT. TRAILER HOME - CONTINUOUS</stage_direction> <scene_description>The Shaman leads Jon through the living room - where his WIFE is watching Daytime TV - and into his kitchenette, where an enormous ORNATE SHAMANIC BLOWPIPE sits on the table. He begins to prepare the AYAHUASCA POWDER. He starts to CHANT: 'O-day-o-day-o-day...'</scene_description> <character>SHAMAN</character> <parenthetical>(Between chants)</parenthetical> <dialogue>Ayahuasca. The doorway to the other realms. I evoke the spirit of the plant.</dialogue> <scene_description>CONTINUED: He continues chanting. The TV is blaring O.S. The Shaman flinches, irritated, and chants louder to try and drown it out.</scene_description> <character>SHAMAN</character> <parenthetical>(Finally, yelling to his wife)</parenthetical> <dialogue>Will you TURN THAT DOWN!</dialogue> <scene_description>She does.</scene_description> <character>SHAMAN</character> <parenthetical>(Between chants)</parenthetical> <dialogue>It was my wife's sister's idea.</dialogue> <parenthetical>(Adopting a woman's voice)</parenthetical> <dialogue>"Move to America. You can be the movie stars' Ayahuasca shaman! You'll live in Beverly Hills!" You know what it turns out movie stars don't want?</dialogue> <character>JON</character> <dialogue>What?</dialogue> <character>SHAMAN</character> <dialogue>Ayahuasca. (Beat) Are you of sound mind?</dialogue> <scene_description>The Shaman continues to chant, heating up strange liquid on the hob, chopping plants.</scene_description> <character>JON</character> <dialogue>I am.</dialogue> <character>SHAMAN</character> <dialogue>You are not depressed?</dialogue> <scene_description>He unexpectedly pours steaming black liquid, filled with pink petals, onto Jon's head.</scene_description> <character>JON</character> <dialogue>I suppose I've been miserable lately but I wouldn't say depressed. (Beat) Why?</dialogue> <scene_description>The Shaman blows weird grey smoke on Jon's head. It snakes around his face.</scene_description> <character>SHAMAN</character> <dialogue>Ayahuasca takes you to the furthest corners of your imagination. You must be strong enough to face what you find there whether it be angel or beast.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JON</character> <dialogue>This is exactly what I've been wanting to do! I really want to go to my furthest corners.</dialogue> <character>SHAMAN</character> <dialogue>Why?</dialogue> <character>JON</character> <parenthetical>(Gravely)</parenthetical> <dialogue>Because I want to unlock the music.</dialogue> <scene_description>The Shaman nods.</scene_description> <character>JON</character> <dialogue>Have I taken the Ayahuasca yet?</dialogue> <character>SHAMAN</character> <dialogue>Not yet.</dialogue> <character>JON</character> <dialogue>Good, because nothing's happened.</dialogue> <character>SHAMAN</character> <dialogue>You will take it. Something will happen.</dialogue> <scene_description>The Shaman lifts the blowpipe. Jon takes one end of it in his mouth. He hesitates, wondering what the hell he's about to do to himself.</scene_description> <character>JON</character> <dialogue>Actually can I just...?</dialogue> <scene_description>The Shaman blows the powder into Jon's mouth. Jon looks at the Shaman. Then he falls backwards into the sofa. Almost instantly he sits back up again and takes a NOTEBOOK from his pocket.</scene_description> <character>JON</character> <dialogue>I'm going to write music now. Goodbye.</dialogue> <scene_description>He walks PURPOSEFULLY out of the trailer and towards the DESERT.</scene_description> </scene> <scene> <stage_direction>EXT. TEXAS DESERT - LATER</stage_direction> <scene_description>Jon wanders through the dunes, wildly unhinged but blank faced. WIDE - He has not strayed at all far from the FREEWAY. A steady stream of CARS roar past him. CONTINUED: Jon reaches a CRUMBLING ROADSIDE CAFE and he gratefully sits down at a table outside. He takes out his notebook and stares at its blank white page, waiting for inspiration. The cafe sign above his head CREAKS slightly in the breeze. Jon stares sternly up at the sign.</scene_description> <character>JON</character> <dialogue>Be quiet. I'm trying to hear what's inside me.</dialogue> <scene_description>And suddenly ALL SOUND CUTS, and Jon finds himself sitting in an IMPOSSIBLE SILENCE. He looks at the CARS and TRUCKS roaring past. But they too are HORRIBLY SILENT. Jon looks trapped and frightened inside this oppressive silence, like an insect trapped in an airless jar. Jon listens to the infinite silence inside himself. He mouths a subtitled sentence.</scene_description> <character>JON</character> <parenthetical>(Subtitled)</parenthetical> <dialogue>I can't hear anything.</dialogue> <parenthetical>(And then, terrified)</parenthetical> <dialogue>I can't hear ANYTHING!</dialogue> <scene_description>He looks down at his body and - like a bubble of nothingness - he POPS. He EVAPORATES. He is GONE.</scene_description> </scene> <scene> <stage_direction>INT. KITCHENETTE - MOTEL ROOM - SOME WEEKS LATER</stage_direction> <scene_description>Frank and Jon are eating at the tiny table. Jon is unshaven. The place is a mess. A steel, pull-down light hangs over the table. As Frank bends forward to his Complan his head clinks against it. It dings. He leans back. Then he leans forward to the straw again. He clinks his head against the light again. Another ding. Jon watches him in mounting irritation. Frank leans forward again. Jon catches the light and pushes it up before there can be another "ding".</scene_description> <character>JON</character> <parenthetical>(Hardly caring any more)</parenthetical> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>The motel owner says if we don't pay in full by the end of the week they're going to throw us out.</dialogue> <scene_description>A FLY buzzes around Frank's head. Frank tries to swat it, but - being in a fake head - his spatial awareness is shot to hell and he accidently swipes a cup, spilling rancid coffee all over Jon.</scene_description> <character>FRANK</character> <dialogue>Oh Jesus I'm sorry.</dialogue> <scene_description>Frank grabs a dirty cloth from the sink and starts to mop at Jon's coffee sodden trousers. As he does his head comes very near to Jon's face and Jon leans back in disgust. Clearly, Frank is beginning to smell under his head.</scene_description> <character>JON</character> <dialogue>Jesus!</dialogue> <scene_description>Jon picks up a VERY LONG STICK with a BABY WIPE attached to the end. He waves it at Frank.</scene_description> <character>JON</character> <parenthetical>(Through gritted teeth)</parenthetical> <dialogue>I made it. Now will you use it?</dialogue> <scene_description>Frank inserts the baby wipe inside his head. Trying to clean himself. Jon watches in silence. Suddenly...</scene_description> <character>JON</character> <parenthetical>(Softly)</parenthetical> <dialogue>Take it off.</dialogue> <scene_description>Frank stops moving.</scene_description> <character>JON</character> <dialogue>The head. Maybe you should take it off.</dialogue> <scene_description>Frank stares at Jon for a long time. Then he shakes his head no.</scene_description> <character>JON</character> <parenthetical>(Trying to be enthusiastic, but sounding tense and nuts)</parenthetical> <dialogue>You know, in Cognitive Behavioral Therapy they say face your fears! They say Take The Head Off! So let's do it! Let's take the fucking head off!</dialogue> <scene_description>Jon walks closer to Frank. CONTINUED: (2)</scene_description> <character>FRANK</character> <parenthetical>(Scared)</parenthetical> <dialogue>Jon? I don't think I...</dialogue> <scene_description>Jon reaches Frank and tries to touch the head.</scene_description> <character>FRANK</character> <dialogue>I've got a certificate.</dialogue> <character>JON</character> <parenthetical>(Beat, quietly)</parenthetical> <dialogue>I know you've got a certificate. (Beat) I KNOW YOU'VE GOT A FUCKING CERTIFICATE!</dialogue> <scene_description>Jon and Frank are struggling now, Jon is trying desperately to PULL Frank's head off. The sudden VIOLENCE inside Jon is shocking.</scene_description> <character>JON</character> <dialogue>Take it off!</dialogue> <scene_description>Weird noises begin to emanate from inside Frank's head. They're the noises of a terrified animal. The shock of the noises makes Jon hesitate for an instant. As he does, Frank slips from his grasp and runs shrieking towards the door. He manages to get it open and runs out... And Jon, as if waking from a nightmare, realizes what he's done...</scene_description> <character>JON</character> <dialogue>No! Frank! I'm sorry! I don't know what I was thinking! Frank!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - TEXAS SUBURBS - CONTINUOUS</stage_direction> <scene_description>...the BRIGHT SUNLIGHT. Shrieking, bewildered, Frank runs confused out of the motel and towards the SIDEWALK. Jon runs a little way after him.</scene_description> <character>JON</character> <dialogue>Frank! I'm sorry! Come back!</dialogue> <scene_description>LONG SHOT Frank runs, disoriented, onto the sidewalk, then over the curb, and out onto the HIGHWAY. He gets smaller and smaller. He keeps going. CONTINUED: And then he is HIT BY A CAR. The car screeches to a halt as Frank flies over the windshield. Jon starts to run towards the scene of the accident. He reaches the car, and then he walks around it, expecting to see Frank lying there. But Frank isn't there. Instead there is just his HEAD, lying SHATTERED on the road. The driver is standing there, shocked.</scene_description> <character>JON</character> <dialogue>Where did he go?</dialogue> <character>DRIVER</character> <dialogue>That way.</dialogue> <character>JON</character> <dialogue>Did he look injured?</dialogue> <character>DRIVER</character> <dialogue>He was limping.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Did you see his face?</dialogue> <scene_description>The driver begins to answer. Jon takes half a step back into the oncoming traffic and is HIT BY A CAR. Cut to BLACK.</scene_description> </scene> <scene> <stage_direction>I/E. HOSPITAL - TEXAS - DAY</stage_direction> <scene_description>Jon lies asleep. He's on a drip. Bandaged up. He wakes up. Looks around. He can't remember why he's there. And then he remembers. He closes his eyes.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>A heavily bandaged Jon sits waiting in the station. A COP walks over with a form on a clipboard.</scene_description> <character>COP</character> <dialogue>You want to report a missing person?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>Yes.</dialogue> <character>COP</character> <dialogue>Ok. What's the person's name?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Frank.</dialogue> <character>COP</character> <dialogue>Frank what?</dialogue> <scene_description>Jon considers this.</scene_description> <character>JON</character> <dialogue>Just... Frank?</dialogue> <scene_description>The Cop examines him balefully.</scene_description> <character>COP</character> <dialogue>Age?</dialogue> <character>JON</character> <dialogue>Uh, somewhere between thirty and... fifty?</dialogue> <character>COP</character> <parenthetical>(Beat)</parenthetical> <dialogue>What's he look like?</dialogue> <scene_description>Jon considers this. He starts to tear up.</scene_description> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>Jon, still bandaged, but on the slow path to recovery, sits at the counter, staring out into the distance. The YOUNG MAN beside him has been watching him for a while. Now he clicks his fingers.</scene_description> <character>YOUNG MAN</character> <dialogue>Been driving me crazy, but I know who you are.</dialogue> <character>JON</character> <parenthetical>(Emptily)</parenthetical> <dialogue>Oh?</dialogue> <character>YOUNG MAN</character> <dialogue>You're the Chinchilla guy, right?</dialogue> <scene_description>Jon nods sadly.</scene_description> <character>YOUNG MAN</character> <dialogue>Awesome. Chinchilla guy, and the guy with the big head and the crazy chick... Clara? Right?</dialogue> <scene_description>CONTINUED: Jon looks at him.</scene_description> <character>JON</character> <dialogue>How do you know her name?</dialogue> <character>YOUNG MAN</character> <dialogue>Are you kidding?. You're like myths. There's footage of you fucking everywhere online.</dialogue> <scene_description>Jon laughs sadly.</scene_description> <character>YOUNG MAN</character> <dialogue>All totally erratic and shit. Nervous breakdowns. "Chinchilla!" People rolling around on the floor. Just wayward! And now it's all, 'What's happened to Frank? He's just vanished.' Fucking hilarious.</dialogue> <scene_description>Jon looks at him with dislike.</scene_description> <character>JON</character> <dialogue>I don't think it's hilarious.</dialogue> <character>YOUNG MAN</character> <dialogue>Really? I thought it was supposed to be hilarious. I mean, like that Clara? Being a total freak.</dialogue> <scene_description>Jon stares down at his coffee.</scene_description> <character>JON</character> <dialogue>Don't call her that.</dialogue> </scene> <scene> <stage_direction>I/E. ROADSIDE BLUES BAR - MIDDLE OF NOWHERE - DAY</stage_direction> <scene_description>A down-at-heel roadside venue. Jon enters to find the place practically deserted - just some TRUCKERS and BIKERS and DRUNK LOCALS. Clara, Nana and Baraque are on stage playing the blues in a perfunctory manner to the small uninterested crowd. Jon stands in the doorway, looking profoundly sad at what he's reduced them to. Clara and Nana and Baraque notice him. Their blues trail off to silence. A few of the DRUNKS applaud uncertainly. LATER Jon and the band sit at a booth table. CONTINUED:</scene_description> <character>CLARA</character> <parenthetical>(Coldly)</parenthetical> <dialogue>We're trying to raise the money to get back to Europe.</dialogue> <scene_description>Jon looks desperately sorry.</scene_description> <character>BARAQUE</character> <parenthetical>(In French, subtitled)</parenthetical> <dialogue>How did you find us?</dialogue> <scene_description>Jon slides a NEWSPAPER across the table. CLOSE on the newspaper. Between gig listings for 'Bayou Boogie' and 'The Chicken on the Bone Party Band' is one for a residency for 'The Oeccscclhjhn Blues Trio'.</scene_description> <character>JON</character> <dialogue>Everything you said, Nana. It was true. I was a snake.</dialogue> <parenthetical>(His voice breaking)</parenthetical> <dialogue>You have to let me try and put it right.</dialogue> <scene_description>Clara turns her face away.</scene_description> <character>JON</character> <parenthetical>(Utterly broken)</parenthetical> <dialogue>If you don't let me try, this is what I'll be until I die.</dialogue> <character>BARAQUE</character> <parenthetical>(In French - subtitled)</parenthetical> <dialogue>The man who killed the music.</dialogue> <character>JON</character> <dialogue>I love all of you. And I'm so sorry.</dialogue> <scene_description>A silence.</scene_description> <character>CLARA</character> <dialogue>Where's Frank?</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>He ran away.</dialogue> <character>CLARA</character> <parenthetical>(Softly)</parenthetical> <dialogue>Then I will help you find him.</dialogue> <scene_description>Jon looks at Clara with huge sadness and gratitude.</scene_description> </scene> <scene> <stage_direction>I/E. CAR - BLEAK COUNTRY ROAD - MINUTES LATER</stage_direction> <scene_description>Jon gives Clara a sad, world-weary smile. Two travellers who have been through a great and terrible adventure together.</scene_description> <character>JON</character> <dialogue>I turned us all into freaks for people to laugh at on the internet.</dialogue> <scene_description>Clara pulls a cigarette out of her packet and pushes in the car's cigarette lighter.</scene_description> <character>JON</character> <dialogue>So I was thinking that the way to find Frank might be...</dialogue> <scene_description>Clara unexpectedly leans over and begins VIOLENTLY STRANGLING JON.</scene_description> <character>JON</character> <parenthetical>(Yelping)</parenthetical> <dialogue>Clara?</dialogue> <scene_description>Clara grabs the back of Jon's head and starts to slam it repeatedly into the steering wheel.</scene_description> <character>JON</character> <dialogue>That really fucking hurts! Clara!</dialogue> <scene_description>Clara grabs the red-hot cigarette lighter and presses it against Jon's skin. It sizzles.</scene_description> <character>JON</character> <dialogue>FUCK! FUCK! Clara!</dialogue> <scene_description>The car swerves off the road, into a field, and crashes into a tree. Their heads slam against the windscreen.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - MOMENTS LATER</stage_direction> <scene_description>Clara and Jon stand by the wreckage of Jon's car.</scene_description> <character>JON</character> <dialogue>What the fuck did you do that for? You could have killed BOTH OF US!</dialogue> <character>CLARA</character> <parenthetical>(Yelling - the old Clara)</parenthetical> <dialogue>I leave you alone with him for FIVE MINUTES!</dialogue> <scene_description>Clara begins to calm down. CONTINUED:</scene_description> <character>JON</character> <dialogue>Are we okay now? You've got your revenge?</dialogue> <character>CLARA</character> <dialogue>We're okay now.</dialogue> <character>JON</character> <dialogue>It's finished?</dialogue> <character>CLARA</character> <dialogue>It's finished now. I've got it out of my system.</dialogue> </scene> <scene> <stage_direction>EXT. BLEAK COUNTRY ROAD - LATER</stage_direction> <scene_description>Jon and Clara are limping through the nothingness, back towards the roadside bar. A TRUCK approaches. Jon sticks his thumb out, giving the truck driver a plaintive smile. Clara gives Jon a MASSIVE SHOVE, trying to push him into the truck's path. The truck narrowly misses Jon, its horn blaring.</scene_description> <character>JON</character> <dialogue>Jesus FUCKING CHRIST, Clara! Will you fucking FUCKING STOP?</dialogue> <parenthetical>(Astonished)</parenthetical> <dialogue>You're actually trying to kill me!</dialogue> <scene_description>Clara gives Jon the finger.</scene_description> <character>CLARA</character> <dialogue>Fuck you and fuck Frank.</dialogue> <scene_description>She quickly walks away - back in the direction of the Roadhouse.</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP - BLEAK MALL - LATER</stage_direction> <scene_description>Jon sits at a table, looking wretched, surfing the net. CLOSE on Jon's web search. Page after page is dedicated to videos and photos of the band: the Chinchilla stabbing, the Vetno rehearsals, Frank's nervous breakdown on stage at South By Southwest. And then more pages - fans speculating on Frank's disappearance and possible whereabouts. There are sightings in Fairbanks, Alaska, Pahrump Nevada; Quatchita, Louisiana... CONTINUED: Jon stops suddenly and STARES at the words - Quatchita, Louisiana.</scene_description> </scene> <scene> <stage_direction>INT. JON'S BEDROOM - VETNO - THE PAST</stage_direction> <scene_description>A FLASHBACK to...</scene_description> <character>DON</character> <dialogue>He told me once he came from Louisiana. That's all I know.</dialogue> <character>JON</character> <dialogue>Louisiana?</dialogue> <character>DON</character> <dialogue>Quatchita, Louisiana.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL LOUISIANA - DAY</stage_direction> <scene_description>A GRIM LANDSCAPE of RURAL POVERTY, strewn with old rusting metal, abandoned vehicles, shacks, hungry-looking dogs. HILLBILLY CHILDREN and OLD PEOPLE stare suspiciously at JON as he pulls up outside a SHACK in his HIRE CAR.</scene_description> <character>GPS VOICE (O.S)</character> <dialogue>You have reached your destination.</dialogue> </scene> <scene> <stage_direction>I/E. HIRE CAR - CONTINUOUS</stage_direction> <character>JON</character> <parenthetical>(To himself)</parenthetical> <dialogue>Christ. It's like Winter's Bone.</dialogue> <scene_description>CLOSE on the details of the POVERTY and SUSPICION. Jon gets out Twitter.</scene_description> <character>JON (V.O.)</character> <parenthetical>(With great solemnity, as he types)</parenthetical> <dialogue>I've found Frank's childhood home. It's so bleak. No wonder he never talked about it. I wouldn't be surprised if he was the victim of some kind of...</dialogue> <scene_description>Jon sighs.</scene_description> <character>JON (V.O.)</character> <dialogue>...farm abuse. And now I get it. This is the pain you need to make the great music. Hashtag but is it worth it?</dialogue> <scene_description>CONTINUED: Jon nervously leaves the car, approaches a HILLBILLY MAN. Other HILLBILLIES stand a little way off, watching.</scene_description> <character>JON</character> <parenthetical>(His voice quivering)</parenthetical> <dialogue>I've come to see Frank.</dialogue> <scene_description>The man stares silently.</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Wears a fake head?</dialogue> <scene_description>The hillbilly spits on the floor.</scene_description> <character>HILLBILLY</character> <dialogue>Ain't no one round here wears a fake head.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Okay.</dialogue> <parenthetical>(Plucking up courage)</parenthetical> <dialogue>Except He grew up here. And he's been sighted here. So I think he actually may be here?</dialogue> <scene_description>The hillbillies share a HARD-TO-DECIPHER LOOK.</scene_description> <character>HILLBILLY</character> <dialogue>He's in the shed.</dialogue> <scene_description>The hillbilly indicates a nearby CREEPY WOODSHED.</scene_description> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Frank's in that shed?</dialogue> <character>HILLBILLY</character> <dialogue>I'll show you.</dialogue> <scene_description>The hillbilly walks towards the shed. His friends follow.</scene_description> <character>HILLBILLY</character> <dialogue>C'mon.</dialogue> <scene_description>Jon nervously begins to follow.</scene_description> <character>JON</character> <dialogue>Actually, you know what, I think I'll leave it.</dialogue> <character>HILLBILLY</character> <dialogue>He's in there. I'll show you.</dialogue> <parenthetical>(Calling towards the shed)</parenthetical> <dialogue>Frank. You got a visitor.</dialogue> <scene_description>CONTINUED: (2) The hillbillies, with a now terrified Jon in tow, ENTER the shed.</scene_description> </scene> <scene> <stage_direction>INT. SHED - CONTINUOUS</stage_direction> <scene_description>Lying on the floor, in the straw, is an OLD SCARECROW with a grotesque FAKE HEAD. The HILLBILLIES laugh.</scene_description> <character>HILLBILLY</character> <dialogue>Is this your friend?</dialogue> <scene_description>Jon politely laughs.</scene_description> <character>HILLBILLY</character> <dialogue>I told you ain't no one round here wears a fake head.</dialogue> <character>JON</character> <dialogue>Right!</dialogue> <character>HILLBILLY</character> <dialogue>What's the address you're looking for?</dialogue> <scene_description>Jon gets out his MAP QUEST print-out. The HILLBILLIES ponder it. The Head Hillbilly spits on the floor again.</scene_description> <character>HILLBILLY</character> <dialogue>You typed the wrong zip code into your GPS.</dialogue> <character>JON</character> <dialogue>Did I?</dialogue> <character>HILLBILLY</character> <parenthetical>(Pointing at the print-out)</parenthetical> <dialogue>Says here 71008. You typed 71007.</dialogue> <character>JON</character> <dialogue>Oh, gosh.</dialogue> <character>HILLYBILLY</character> <dialogue>Place you're looking for's about nine miles that way.</dialogue> <character>JON</character> <parenthetical>(Beat)</parenthetical> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN HOUSE - LATER</stage_direction> <scene_description>The contrast couldn't be starker. This is as MIDDLE CLASS SUBURBAN as it gets. CONTINUED: Jon sits in his hire car at the bottom of a driveway. He looks disappointed.</scene_description> <character>JON</character> <parenthetical>(To himself)</parenthetical> <dialogue>It's like where I bloody grew up.</dialogue> <scene_description>He takes a breath. He climbs out of his car. In the front garden ...a FIGURE, his back to Jon. Jon walks towards the figure. He stops suddenly, afraid. Then he takes a few steps forward. The man turns around. He has the most incredible, expressive face. It is obviously Frank.</scene_description> <character>JON</character> <dialogue>Oh, Frank. I'm so ashamed. I should never have tried to pull your head off.</dialogue> <character>MAN WITH AMAZING FACE</character> <parenthetical>(In a voice sounding nothing like Frank's)</parenthetical> <dialogue>I'm the tree surgeon. I'm just here to look at the tree.</dialogue> <character>FRANK (O.S.)</character> <dialogue>Hi Jon.</dialogue> <scene_description>Jon turns around. Across the garden is Frank. Without his head. Looking nice, gentle, and really quite normal. He's standing with two elderly people - Frank's PARENTS. All three are wearing gardening gloves. Mary holds a running hose. They stare at Jon with puzzled smiles.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Jon sits with Frank, his Mother and Father. They drink coffee but Jon doesn't touch his.</scene_description> <character>MOTHER</character> <dialogue>It used to be a miracle to see him downstairs like this, right Frankie?</dialogue> <character>FRANK</character> <parenthetical>(Smiling)</parenthetical> <dialogue>That's right.</dialogue> <character>FATHER</character> <dialogue>When Frank was a boy we couldn't get him out of his bedroom.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FATHER</character> <dialogue>I mean, he'd get hysterical if we tried to move him.</dialogue> <character>JON</character> <dialogue>What happened to you, Frank? Something must have happened to make you like that.</dialogue> <scene_description>Father looks at Jon like he's an idiot.</scene_description> <character>FATHER</character> <dialogue>Nothing happened to him. He's mentally ill.</dialogue> <scene_description>Jon glances over at the mantelpiece. There's a FAMILY PHOTOGRAPH from Frank's childhood. CLOSE on the photograph: Frank's PARENTS and TEENAGE FRANK, trying to hide his face with his hand.</scene_description> <character>MOTHER</character> <dialogue>When he was about seventeen he stopped talking altogether. They called it Selective Mutism. He selected it to be all the time. We didn't know what to do. So... that was when he went into the hospital. Broke my heart.</dialogue> <character>JON</character> <parenthetical>(Hopefully)</parenthetical> <dialogue>And that's when you started making music? As a kind of expression of the madness?</dialogue> <character>FRANK</character> <dialogue>No. I was always musical. Far back as I can remember. If anything the madness slowed me down.</dialogue> <scene_description>Frank frowns at his memories. Then he points at his face.</scene_description> <character>FRANK</character> <dialogue>Look! Facial expressions! Oh, you were right about encouraging me to take the head off. Now I've got used to it it's fine. I think I'd been using it as a bit of a crutch.</dialogue> <character>FATHER</character> <dialogue>The head was my fault. I made him his first one. He was 14. He just begged me and begged me. He said it was for a costume party.</dialogue> <parenthetical>(Getting upset)</parenthetical> <dialogue>I did it. Even though I knew there wasn't any costume party.</dialogue> <scene_description>CONTINUED: (2) A silence.</scene_description> <character>FATHER</character> <dialogue>Turns out the worst thing to do with an anxiety disorder is pander to it.</dialogue> <character>MOTHER</character> <dialogue>Who knew?</dialogue> <character>FATHER</character> <dialogue>He never took it off again.</dialogue> <character>FRANK</character> <dialogue>Do you want to see my bedroom?</dialogue> </scene> <scene> <stage_direction>INT. FRANK'S BEDROOM - DAY</stage_direction> <scene_description>Jon and Frank stand in a little boy's bedroom.</scene_description> <character>FRANK</character> <dialogue>This is where I wrote my first music.</dialogue> <character>JON</character> <dialogue>Have you written anything since you've been back?</dialogue> <character>FRANK</character> <dialogue>No. I tried, but nothing good came out. It sounded, no offence, Jon, like the kind of stuff you'd write.</dialogue> <scene_description>Jon smiles sadly.</scene_description> <character>FRANK</character> <dialogue>I know what you were getting at downstairs. You were hoping that some ...thing had unlocked the music in me. Something you never had. But some people have got it and some people haven't. That's the truth of it. I mean, I'm terrible at everything else. There's probably something else you're great at!</dialogue> <parenthetical>(Brightly)</parenthetical> <dialogue>Like band management! No. Not band management. Marketing!</dialogue> <scene_description>Jon nods, sadly accepting of his fate. Frank sits on the bed.</scene_description> <character>FRANK</character> <dialogue>But I'm not good at music any more either. It's slipped away. I guess because Clara's gone. So.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JON</character> <dialogue>It's my fault.</dialogue> <character>FRANK</character> <dialogue>No it isn't. You've basically been really helpful.</dialogue> <scene_description>Jon sits on the bed next to Frank.</scene_description> <character>JON</character> <dialogue>Frank. I need to explain to you how I ruined everything.</dialogue> <scene_description>We drift away from them, out of the window, into the garden, where Frank's mother and father are doing some gardening.</scene_description> <character>JON (O.S.)</character> <dialogue>I think it started right back on that beach in England...</dialogue> </scene> <scene> <stage_direction>INT. ROADSIDE BAR - EVENING</stage_direction> <scene_description>It's the same down-at-heel bar we met Clara and Nana and Baraque at. They're still there - playing the blues to LOCAL DRUNKS who don't care. Jon and Frank enter. They stand hesitantly at the back. Jon gives Frank a small push. He hangs back as Frank walks towards the stage. Clara notices this stranger approaching them. There seems something familiar about him. He climbs onto the stage and approaches the microphone. And he starts to SING. And then she realizes. A look passes between Clara and Frank. And, slowly, as Frank sings, we BEGIN TO PULL BACK. Clara plays more intensely. As do Frank and the others. And the music makes sense again. It swells to something beautiful ...difficult but beautiful. As the music builds into joyful life, we PULL FURTHER BACK, over the AUDIENCE, who don't seem realize that something incredible is happening. They look uninterested. But then one or two drunks appear to notice that the music has changed into something else. They GLANCE UP from their drinks. CONTINUED: Jon listens from the back. He watches for a moment. Then he slips out of the door. And we... FADE TO BLACK.:</scene_description> </scene> </script>

While walking along the beach in his hometown, aspiring songwriter Jon Burroughs witnesses a man named Lucas trying to drown himself. As Lucas is taken to the hospital, Jon meets Don, who explains that Lucas was the keyboardist for a band called The Soronprfbs, which Don manages. After mentioning that he plays keyboards, Jon is invited to perform with them that night. The Soronprfbs’ drummer Nana, synthesizer and theremin player Clara, and guitarist Baraque are reluctant to accept Jon, but he is warmly welcomed by lead vocalist Frank, who always wears a papier-mâché mask over his head. Their performance abruptly ends when Clara storms off the stage after being shocked by an electrical fault. Frank invites Jon to be part of a Soronprfbs project. He agrees and accompanies them to a remote cabin in Ireland, believing it would take a few days, only to realize they are set to stay there for a whole year while they work their debut album. One day, Don confesses to Jon that he feels he cannot live up to Frank's prowess. The next day, Don reveals they are being evicted from the cabin, but Jon offers to pay the outstanding rent using his grandfather's inheritance. After completing the album, the band finds what appears to be Frank's corpse hanging from a tree, but discover it is actually Don once they remove the mask. They cremate him, and Clara reveals to Jon that Don was the band's original keyboardist. Jon reveals that he has been secretly uploading the band's recording sessions on social media, earning them a small fan following and an invitation to perform at South by Southwest. Most of the band is offended by Jon's clandestine promotion of them, but Frank, excited by the prospect of a large audience, agrees to go to the festival. Clara confronts Jon as the latter is soaking in the hot tub, expressing contempt for his growing influence over Frank. The ensuing argument culminates in them having angry sex, and Clara threatens to stab him if the trip to America goes awry. Leading up to the performance, the band begins to argue over creative differences. Clara and Frank disappear shortly before the concert and Jon finds them in an alley, where Clara is helping Frank stave off a mental breakdown. Jon tries to get Frank to go back to the festival with him, prompting Clara to stab him in the leg as promised. After she is arrested, Jon uses the scandal to build publicity for the band. The night before the concert, Nana and Baraque quit the band. Jon and Frank go onstage by themselves in spite of Frank's deteriorating mental health. When Jon tries to begin the set with one of his own songs rather than one from the album, Frank has a breakdown and collapses on stage. They move into a cheap motel together, where a frustrated Jon tries to forcibly unmask Frank. Frank tries to escape and is hit by a car, smashing the fake head. He flees before Jon can see his real face. Sometime later, Jon visits a dive bar where Clara, Nana, and Baraque are playing as a trio, and apologizes to them for having taken control of the band. After numerous failed attempts, he finally succeeds in tracking Frank to his hometown of Bluff City, Kansas, where he is living with his parents. Frank is scarred and balding from prolonged use of the mask. Frank’s parents explain that he has suffered from severe mental health issues all his life and began wearing the mask as a teenager after his dad made it for him for an alleged costume party, but that he has always been musically talented. Frank declares he has been unable to make music since the band fell apart. Jon takes Frank to the dive bar where the rest of the band is playing. They quickly realize who he is and join him as he begins to sing. With the original Soronprfbs restored, Jon leaves the bar alone.

The Wolverine_2013

tt1430132

<script> <scene> <character>THE WOLVERINE</character> <dialogue>Written by</dialogue> <scene_description>Christopher McQuarrie BLACK And a woman's voice. Soft, yet strong.</scene_description> <character>WOMAN'S VOICE (V.O.)</character> <dialogue>Before Kofun, before Asuka, there was the age of Jomon... The darkest days in a remote island kingdom. Before it was called Japan...</dialogue> <scene_description>A PRIMAL SCREAM takes us to:</scene_description> </scene> <scene> <stage_direction>EXT. RAIN-SWEPT RICE PADDY - DAY</stage_direction> <scene_description>Not the Japan you imagined. We are in her dark ages, in the midst of a savage tribal war. WARRIORS are draped in primitive animal hides with a thick outer layer of finely woven grass to shed the pounding rain. Faces are marked with war-paint. Weapons are iron and combat in clumsy with the battlefield under two feet of water. Casualties are high.</scene_description> <character>VOICE (V.O.)</character> <dialogue>There was no Emperor then. No shogun, no Samurai. Only rival warrior clans, fighting over food, land and religion... But two particular clans, their names lost to history, fought only for blood.</dialogue> </scene> <scene> <stage_direction>EXT. BAMBOO FOREST - CLEARING - DAY</stage_direction> <scene_description>DIFFERENT CLANS. A different kind of battle. The dress is lighter - weapons sophisticated, fighting techniques refined. War-paint has given way to colored sashes. One side wears RED, the other BLACK. ON ONE SIDE OF THE CLEARING WE FIND: THE RED WARLORD, a polished volcanic stone around his neck, watching the merciless fight with cold, unblinking eyes.</scene_description> <character>VOICE (V.O.)</character> <dialogue>It was a feud so old its reasons could not be remembered - so bitter its wounds could never be healed. The only objective... revenge.</dialogue> <scene_description>ACROSS THE CLEARING: THE BLACK WARLORD, a strand of green pears around his neck, calmly looks on.</scene_description> </scene> <scene> <stage_direction>EXT. RICE PADDY - DAY</stage_direction> <scene_description>The sky clear, the war over. Peasants plant rice.</scene_description> <character>VOICE (V.O.)</character> <dialogue>Most clans would find an uneasy peace. They flourished and grew, planting the seeds of what would one day be Japan. But for some...</dialogue> </scene> <scene> <stage_direction>EXT. OPEN FIELD - NIGHT</stage_direction> <scene_description>The Red and Black clans clash again. Flaming arrows fill the air, providing the only light. The fighting is graceful, precise, perfect...</scene_description> <character>VOICE (V.O.)</character> <dialogue>Killing was all they knew. And they refined it to a high art.... Until it was clear to all that neither side would ever defeat the other.</dialogue> </scene> <scene> <stage_direction>EXT. BAMBOO FOREST - CLEARING - NIGHT</stage_direction> <scene_description>An ominous orange light. Red and Black Warrior surrounding the cleaning holding torches.</scene_description> <character>VOICE (V.O.)</character> <dialogue>Finally, the Warlords of the rival clans met to end the war.</dialogue> <scene_description>The Red and Black Warlords meet in the center of the clearing, speaking in clipped, firm tones deep into the night, making no progress...</scene_description> <character>VOICE (V.O.)</character> <dialogue>Both men were wise, but neither could put aside his insatiable hunger for vengeance. They could see only one path to peace...</dialogue> <scene_description>CLOSE ON: A GLOWING IRON ARROW is pulled from a flame and extended between the Warlords. We cannot understand the Red Warlord, but we can see his tone is firmer now. Final. He extends a hand. The Black Warlord considers, then offers his own hand.</scene_description> <character>VOICE (V.O.)</character> <dialogue>And on this, the Warlords swore an unbreakable oath.</dialogue> <scene_description>The Two Warlords clasp hands around the arrowhead, searing their flesh, unflinching.</scene_description> </scene> <scene> <stage_direction>EXT. BAMBOO FOREST - CLEARING - NIGHT</stage_direction> <scene_description>As their warriors watch, the Warlords strip to the waist, each man taking a sword. They circle one another, looking for a weakness. Then they charge. Their men watch the fight with cold, unblinking eyes.</scene_description> <character>VOICE (V.O.)</character> <dialogue>The winner claimed victory in a war as old as time.</dialogue> <scene_description>The Black Warlord stands into frame, a bloody blade in his hand. The Warriors of the Black Clan silently kneel and bow their heads in salute.</scene_description> <character>VOICE (V.O.)</character> <dialogue>The loser sealed his clan's fate.</dialogue> <scene_description>The Warriors of the Red Clan simply drop their torches, turn, and vanish into the night.</scene_description> </scene> <scene> <stage_direction>EXT. RED CLAN VILLAGE - DAY</stage_direction> <scene_description>A secluded mountain hamlet. Outside a humble bamboo hut, A RED WARRIOR points a blade at his own belly.</scene_description> <character>VOICE (V.O.)</character> <dialogue>The men of the losing clan honored their oath, taking their lives...</dialogue> <scene_description>CLOSE ON: The Red Warrior's face as he drives the dagger home. The slightest flinch. Then he falls.</scene_description> <character>VOICE (V.O.)</character> <dialogue>And the lives of their families.</dialogue> <scene_description>ANGLE ON: the floor of the hut behind him. The motionless bare feet of a woman and two children...</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAY</stage_direction> <scene_description>The Black Clan rides by the sea to a coastal village.</scene_description> <character>VOICE (V.O.)</character> <dialogue>The victors went home, uncertain of a future without war... But they would not be uncertain for long.</dialogue> </scene> <scene> <stage_direction>EXT. COASTAL VILLAGE - SUNSET</stage_direction> <scene_description>Huts adorned with whale bone and oyster shells. The Black Warlord rides into frame, his stoic face ashen. His eyes burning. He dismounts and drops to his knees. One by one, his warriors do the same.</scene_description> <character>VOICE (V.O.)</character> <dialogue>Their rivals had honored their oath. But not before one last act of vengeance...</dialogue> <scene_description>Through the door of every hut in the village, we see the bare, motionless feet of women and children...</scene_description> </scene> <scene> <stage_direction>EXT. COASTAL VILLAGE - NIGHT</stage_direction> <scene_description>A glowing red arrow head. One by one, each warrior of the Clan burns the arrow into the flesh of his palm.</scene_description> <character>VOICE (V.O.)</character> <dialogue>They were no longer men. They no longer had souls. They would never again walk in the light of day - an army of vengeance with no enemy... Killers with no feeling. Now... they were merely a weapon.</dialogue> <scene_description>AS HIS WARRIORS WATCH, the shamed Black Warlord aims the glowing arrow at his heart and drives it home.</scene_description> <character>VOICE (V.O.)</character> <dialogue>A weapon... in search of a master.</dialogue> </scene> <scene> <stage_direction>EXT. BAMBOO FOREST - CLEARING - NIGHT</stage_direction> <scene_description>The ominous orange glow. The Warriors of the Black Clan surround the clearing, torches in hand. TWO PRIMITIVE WARLORDS wearing animal hide step with uncertainty into the clearing, each holding a dagger.</scene_description> <character>VOICE (V.O.)</character> <dialogue>So the two strongest clan lords in the land were chosen. The winner would be Master of the Black Clan.</dialogue> <scene_description>The surviving Warlord stands into frame. The Warriors all around him silently kneel and bow their heads.</scene_description> <character>VOICE (V.O.)</character> <dialogue>It is said he was this true power in Japan. It is said his will determined her fate.</dialogue> <scene_description>The Warlord's uncertain expression changes to one of eerie clam. He considers his new power and smiles.</scene_description> <character>VOICE (V.O.)</character> <dialogue>And all who opposed him.. Would meet a swift and shadowy death.</dialogue> </scene> <scene> <stage_direction>EXT. BAMBOO FOREST - CLEARING - CONTINUOUS</stage_direction> <scene_description>The ominous orange glow. A CHALLENGER steps into the clearing to face the now Aged Master of the Clan.</scene_description> <character>VOICE (V.O.)</character> <dialogue>In time, the Clan became an order, the order became belief. And the contest became ritual... As old as Japan itself.</dialogue> <scene_description>CLOSE ON: The Challenger stands into frame, a bloody sword in his hand. COME AROUND SLOWLY as the Warriors bow. By the time we come around full circle A NEW CHALLENGER stands in the center of the clearing. HOLD ON THIS as the Challenger morphs over and over again, marking the passing of generations, millennia, each man's clothes becoming more familiar, more modern - inching toward the twentieth century.</scene_description> <character>VOICE (V.O.)</character> <dialogue>And the Black Clan, as with any weapon, were as good - or as evil - as the hand wielding it...</dialogue> <scene_description>STOP. THE LAST CHALLENGER we will see - his face hard, his eyes hawkish and hateful. He wears the uniform of A JAPANESE ARMY OFFICER circa 1939...</scene_description> <character>VOICE (V.O.)</character> <dialogue>...silencing their master's enemies, enforcing their master's will, shaping Japan's destiny... With cold, unblinking eyes...</dialogue> <scene_description>Silence. And A BLINDING ORANGE LIGHT. Our eyes adjust, gradually making sense of an atomic blast and the subsequent mushroom cloud a moment before the deafening shock-wave brings: WHITE The haunting sound of cold wind. Lonely. Isolated. AN EAGLE drifts into frame, eyes sharp, head ticking left, right, center, left again - then diving. We follow and emerge from the clouds TO REVEAL: A brilliant green mountain valley one thousand feet below, snow-capped peaks on either side. We are one with the eagle, adrift on the wind, living only for the hunt. We fly lower, faster - skimming snow, rocks, evergreens, A MAN IN WELL-WORN LEATHER. Blink. AND NOW WE'RE WITH THE MAN. But he's only a man for lack of a better word. He barely glances at the eagle flying past his head, the bird wondering how the Man came to be here. Much like the Man himself. The Man squats, knuckles in the soil - primal - his thick black hair framing an unshaven face. He is un- phased by his proximity to a sheer, three hundred foot drop. He studies an animal track between his feet - wider than his two wide hands placed side-by- side - Five toes, long claws. The animal is a giant. He stands slowly, holding up a shred of brightly- colored nylon clotted with blood and hair... The Man hears something we can't, smells something we don't, follows his keen senses toward his quarry. We notice he is strangely equipped for a remote mountain trek. Boots, jeans, a leather jacket. No pack, no heavy weather gear. No weapons that we can see... The sound of hard, steady wind takes us to:</scene_description> </scene> <scene> <stage_direction>INT. CAVE - DAY</stage_direction> <scene_description>Looking out from darkness to the cold gray light of day - wind howls past the mount of the cave like a siren, a warning. The Man's silhouette approaches...</scene_description> </scene> <scene> <stage_direction>EXT. CAVE - DAY</stage_direction> <scene_description>He looks into the blackness - buffeted by the wind, noting claw marks on the cold rocks. His sharp eyes adjust, making out the empty sockets of a cleanly peeled human skull. The wind suddenly stops, changes course. The Man sniffs, turns, too late. WHACK - He is struck across the face. He lands on his back across a sharp boulder, head bleeding. A mass of claws backed by a gaping mouth filled with teeth descends. He rolls, screaming as his dislocated arm twists. The beast slams into the boulder, dislodging it from the gravel bed. Then we see the animal whole. A GRIZZLY - fur matted and rank, muscle caked with blood, breathing strained, other-worldly. An arrow is lodged in the animal's spine. The bear lunges with surprising speed, shoving the rock as it stands upright - eleven feet fall, howling. The rock slides toward the steep drop as: The Man scrambles to his feet, dazed - painfully wrenching his dislocated arm back into its socket, holding his partially detached scalp in place. The ground beneath him gives way and he tumbles down a steep gravel slope, sliding toward a thick fallen redwood bristling with sharp, broken branches. The large boulder tumbles after him... WHAM - The man hits the tree hard, inches from being impaled. The boulder skids down the slope behind him - SHHHHHHHHHHHWHAM - pinning his legs to the tree. He howls in pain, cries in vain to lift the tree. Then a new shower of stones behind him. The bear is coming. The Grizzly slides down the slope in a hail of rocks and debris right for the Man's back. He tries to turn and face the attack, but the rock won't let him. With no other choice, The Man arches himself backward over the rock, wrenching his smashed legs, sucking up buckets of pain. The world upside down now, he extends his arms as if to embrace the bear. And then: SCHICK - Three gleaming, ten-inch blades extend from between the knuckles on both hands. In another universe, this would be inexplicable. In the world of Logan, of Wolverine, this is a day at the office. He braces for the impact of 1000 pounds of screaming meat. Given the circumstances, he screams as well. WHITE A helicopter roars across the sky bearing the slightly dated rainbow striping of the very dated: ROYAL CANADIAN MOUNTED POLICE.</scene_description> </scene> <scene> <stage_direction>EXT. CAVE/HILLSIDE - LATER</stage_direction> <scene_description>FIVE YOUNG MOUNTIES slide down the same gravel hillside to join a SQUARE-JAWED MOUNTIE staring in muted shock at something O.S. As they approach, the Young Mounties can't hide their looks of horror.</scene_description> <character>YOUNG MOUNTIE</character> <dialogue>Is... is that our man-eater?</dialogue> <character>SQUARE JAW</character> <dialogue>Judging by the contents of his stomach...</dialogue> <scene_description>One of the Young Mounties bends out of frame and heaves. Square Jaw sighs, shakes his head. Rookies.</scene_description> <character>YOUNG MOUNTIE</character> <dialogue>Wh... What the hell did that?</dialogue> <character>2ND MOUNTIE</character> <dialogue>Whatever it was... it was mad.</dialogue> <character>3RD MOUNTIE</character> <dialogue>Look at how it cut through that tree-stump.</dialogue> <character>SQUARE JAW</character> <dialogue>Part beaver, you figure.</dialogue> <parenthetical>(off their confused looks)</parenthetical> <dialogue>Idiots. It was a man.</dialogue> <character>YOUNG MOUNTIE</character> <dialogue>One man did all this?</dialogue> <character>2ND MOUNTIE</character> <dialogue>Why'd he cut the tree in half?</dialogue> <character>3RD MOUNTIE</character> <dialogue>Why'd he cut the bear in half?</dialogue> <scene_description>Square Jaw grabs a radio, barks into it.</scene_description> <character>SQUARE JAW</character> <dialogue>2-6-2, Alpine.</dialogue> <character>VOICE (ON RADIO)</character> <dialogue>Alpine, go.</dialogue> <character>SQUARE JAW</character> <dialogue>It's the rogue all-right. All butchered up. Send animal control. And the medical examiner. Think we have our missing campers, too.</dialogue> <character>VOICE (ON RADIO)</character> <dialogue>Alpine, copy...</dialogue> <character>SQUARE JAW</character> <dialogue>Then get me a description of that hunter Chet was telling you about. Ut it on the wire. I'd like a word with him. 2-6-2 out.</dialogue> <scene_description>He walks, his men follow - past the rock, past the tree; hacked in half as if by rabid beavers. Drag marks and hand prints in the dirt tell a story: A man with three blades in each hand pulled himself toward the nearby river. Then signs of these blades vanish. The drag marks stop and foot-prints appear, telling us this man managed to find his feet. The footprints lead into the river. The story ends.</scene_description> <character>YOUNG MOUNTIE</character> <dialogue>What's this about a hunter, Sarge?</dialogue> <character>SQUARE JAW</character> <dialogue>Last night a fella comes up to the North Barracks. On foot. No gear. No gun. Smoking a cigar, if you can imagine. Heard we had a rogue bear on our hands. Told the dispatcher it would take us weeks to find it. Said he could track it in a day. Dispatch asks him how he figures on finding a half-crazed man-eating bear in the high country all by himself. This character with the cigar says: 'Cuz I understand it.'</dialogue> <scene_description>And now the Mounties wonder if something worse than a man-eating bear could be out there.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY</stage_direction> <scene_description>Logan squats hidden by the trees, watching the Mounties across the river. He shivers, soaking wet, his wounds gone. He pulls a three inch long splinter from his hand, dropping it in a pile of several more. The gash it leaves heals before our very eyes. He picks up an arrow with distinctly colored flights taken from the bear's spine. The tip is a broad-head with a cruel hollow point, dripping amber liquid. Logan turns the arrow over again and smells the flights. Then he stands and walks into the woods.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD HOUSE - DUSK</stage_direction> <scene_description>Eighteen wheelers roar through cold rain under an angry gray sky. Logan crosses the highway toward a battered road house offering beer and bait in neon. He wanders through the mud-clotted pick-up trucks parked out front, breathing deep and slow through his nose. He stops at a truck with deer antlers in the grill, a wolf's tail on the antenna. In back he spies a bow and a quiver of arrows, the flights familiar.</scene_description> </scene> <scene> <stage_direction>INT. ROAD HOUSE - NIGHT</stage_direction> <scene_description>French Canadian country music - if you can imagine such a thing - in a smoky room filled with TRUCKERS, LOGGERS and HUNTERS - forty men al told. None small. On the muted TV we see the RCMP around a redwood cut clean in half, a rock and two white sheets. The scroll tells of five missing campers, a rogue bear and how the Mounties shot the animal dead. Logan, dirty, wet, brooding, walks along the bar, breathing deep and slow through his nose. He pauses behind one man in particular. A DEEP SWIGGING MEATY CANUCK in a greasy orange hunting cap. Logan drops the arrow on the bar in front of him. Pause.</scene_description> <character>MEATY CANUCK</character> <dialogue>That's a poison broad-head, mister. They're illegal.</dialogue> <character>LOGAN</character> <dialogue>Ask me where I found it.</dialogue> <character>MEATY CANUCK</character> <dialogue>Don't care.</dialogue> <character>LOGAN</character> <dialogue>In a bear. Up the back country. Seems whatever fat slop shot that animal didn't have the wind or the skill to track it down proper and finish it off.</dialogue> <scene_description>The meaty Canuck glances up at the TV.</scene_description> <character>LOGAN</character> <dialogue>And instead of dropping a lethal dose, this arrow bled poison into that bear for days. Made him crazy. Killed five people.</dialogue> <character>MEATY CANUCK</character> <dialogue>That's unfortunate.</dialogue> <character>LOGAN</character> <dialogue>That's murder. Five counts... for the man who shot that arrow.</dialogue> <character>MEATY CANUCK</character> <parenthetical>(half turning, glaring)</parenthetical> <dialogue>And you think that's my arrow?</dialogue> <character>LOGAN</character> <dialogue>I know it is. And I'm gonna hear you tell it to the Mounties.</dialogue> <scene_description>Logan puts a hand on the Canuck's shoulder. The Canuck throws a punch - his hand full of beer-mug. CRUNCH - Logan staggers back, covering his face. The Canuck spins, ready to fight. He freezes. Confused. Logan's hand covers what must be a pretty bad wound. But when he wipes off the blood, there's only a small cut on his face. He rolls tongue n cheek and a piece of glass pops out. The Canuck watches it fall to the floor. When he looks back at Logan, the cut is gone.</scene_description> <character>LOGAN</character> <dialogue>Let me show you how it works.</dialogue> <scene_description>WHAM - Logan drives his right fist into the Canuck's gut. He doubles over into Logan's left fist, held anvil-steady. The Canuck collapses, jaw broken.</scene_description> <character>LOGAN</character> <dialogue>Now heal.</dialogue> <parenthetical>(as the Canuck tries to crawl)</parenthetical> <dialogue>Yeah, I guess you could read that two ways. What I meant was-</dialogue> <scene_description>WHACK - A pool cue hits Logan across the back of the head. He merely winces and turns. A BIG LOGGER, holding a broken cue like this is a joke on him. Logan sighs, calms himself.</scene_description> <character>LOGAN</character> <dialogue>Now I don't want any trouble. This is between me and him, not -</dialogue> <scene_description>EVERY MAN IN THE BAR stands.</scene_description> <character>LOGAN</character> <dialogue>... All of you.</dialogue> <scene_description>A BIGGER LOGGER steps up, holding up a baseball bat.</scene_description> <character>BIGGER LOGGER</character> <dialogue>Let's see you break thi-</dialogue> <scene_description>SCHLICK-SMACK - Logan's claws flash through the bat. In the same motion, he punches - his claws retracting an instant before he connects with the Logger's jaw. CRUNCH - And we're off. Loggers, Truckers, and Hunters, fueled by liquid courage, rush him in waves. The fight is without grace, without choreography. A close-in 40-to-1 head-busting brawl. Then 30... 20. CLOSE ON: A MASSIVE LOGGER by the back door, wisely watching, waiting. He's fondling an axe. The last man falls. Logan is a bruised and swollen mess - his ability to heal taxed to its limit. He sees the Massive Logger coming, winding up his axe. Logan staggers back, arms too spent for defense. But he won't surrender. He lunges with a howl. The Logger side-steps and sticks his foot out. Logan trips, dents the edge of the bar with his head and hits the floor face down. The Massive Logger places a foot on Logan's back rests the axe on Logan's neck.</scene_description> <character>MASSIVE LOGGER</character> <dialogue>Smaller chunks for th'wood-chipper.</dialogue> <scene_description>He raises the axe and:</scene_description> <character>VOICE (O.S.)</character> <dialogue>DROP IT.</dialogue> <scene_description>ANGLE ON: Square Jaw and his Mounties in the doorway, guns drawn. BLACK No sound. A bright flash. Sparks. We are looking down at a vaguely human form submerged in a tank of water - a liquid casket. Red-hot, molten metal pours from behind us into the water. An explosion of steam, images strobing like snapshots, a fast-moving flip- book of war and anguish, peppered with the presence of a woman, her face hidden by a shadow here, long hair there. Her back is to us, walking down a windswept beach. Then Logan is holding her in his arms, wailing in anguish at the sky, her body limp. Logan opens his eyes. He does not gasp or cry out. He simply... exhales, trembling slightly, subtly betraying his fear of sleep. He looks to his left. 40 battered and beaten Loggers, Truckers and Hunters are pressed against a wall of steel bars, staring at him in mute fascination. PULL BACK TO REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. JAIL CELL - NIGHT</stage_direction> <scene_description>Logan is seated alone in a holding cell wearing leg irons, his wrists chained to his waist. The men from the bar are in the adjacent cell. Perhaps for Logan's safety. Perhaps for their own. The last of Logan's injuries heal slowly but visibly. The Canadians stare in mute fascination.</scene_description> <character>LOGAN</character> <dialogue>Boo.</dialogue> <scene_description>All 40 tough, hardened men flinch and step back. Logan smiles. A beat later and the cellblock door opens. Square Jaw enters, followed by THREE MOUNTIES WITH SHOTGUNS aimed at Logan through the bars.</scene_description> <character>SQUARE JAW</character> <dialogue>You have a visitor.</dialogue> <scene_description>A DIMINUTIVE ASIAN MAN with horn-rimmed glasses walks onto the cell block. He wears a black suit and carries a plain white envelope. He bows. This is:</scene_description> <character>ZEN</character> <dialogue>Mr. Logan, I presume. I am Zen.</dialogue> <character>LOGAN</character> <dialogue>You certainly appear to be. Should I know you?</dialogue> <character>ZEN</character> <dialogue>No. But I have been following you for some time. Your arrest enabled me to catch up to you at last. I have arranged for your release pending a few...formalities.</dialogue> <character>LOGAN</character> <dialogue>That's bully. What do I owe you.</dialogue> <character>ZEN</character> <dialogue>I assure you, Mr. Logan. The gain is entirely yours.</dialogue> <scene_description>Zen steps forward, offering the envelope. The Mounties tense - Square Jaw grabs Zen's arm.</scene_description> <character>SQUARE JAW</character> <dialogue>Just... toss it to him.</dialogue> <scene_description>Zen sighs, flicks the envelope through the bars. It lands between Logan's feet. He bends but, of course, he can't reach it with his hands chained to his belt. SCHICK - A single claw stabs the envelope before retracting and bringing it to Logan. The Mounties are stunned, the men in the other cell mutter in awe.</scene_description> <character>LOGGER</character> <dialogue>You see that? I told you.</dialogue> <character>SQUARE JAW</character> <dialogue>I thought you searched him.</dialogue> <character>MOUNTIE</character> <dialogue>We strip searched him.</dialogue> <scene_description>The envelope contains a sheet of thin parchment. Old paper from an old typewriter. As Logan reads:</scene_description> <character>ZEN</character> <dialogue>I assure you, Sergeant, if Mr. Logan was a threat to you or your men, he would not be sitting here now. And you would not be standing.</dialogue> <character>SQUARE JAW</character> <dialogue>Who- What... the hell is he?</dialogue> <character>ZEN</character> <dialogue>That is precisely what I've come here to help him learn.</dialogue> <character>LOGAN</character> <parenthetical>(re: paper)</parenthetical> <dialogue>Where did you get this?</dialogue> <character>ZEN</character> <dialogue>First we must have an understand-</dialogue> <character>LOGAN</character> <dialogue>WHERE?</dialogue> <scene_description>Logan lunges, claws extending, slashing chains like ribbons, Shotguns rack and aim. He chooses to stop.</scene_description> <character>ZEN</character> <dialogue>I can help you, Mr. Logan. But first... you must help me.</dialogue> </scene> <scene> <stage_direction>EXT. MOUNTIE BARRACKS - PARKING LOT - NIGHT</stage_direction> <scene_description>Logan still reading that paper. We get to see it now: PROJECT: WOLVERINE Followed by dense military jargon. Meanwhile, Zen and a mix of ASIAN and WESTERN SUITS shake hands with SQUARE JAW and some MOUNTIE BRASS. Things seem to have been worked out. They disburse. Zen walks over to Logan. He produces a cigar which Logan accepts. As Zen lights it for him:</scene_description> <character>ZEN</character> <dialogue>Your hunter confessed. The police admit they might never have found him on their own. They are very grateful.</dialogue> <scene_description>Logan looks past Zen to the Mountie Brass, looking this way with suspicion and disdain.</scene_description> <character>ZEN</character> <dialogue>Begrudgingly so, I admit. But they have dropped all charges. With the understanding that you leave Canada and never return.</dialogue> <scene_description>Logan nods, stung, but used to it. Waving the paper:</scene_description> <character>LOGAN</character> <dialogue>Is there more?</dialogue> <character>ZEN</character> <dialogue>All there is to know. Who you are. Where you come from. What was done to you and why. But I can only tell you what little my master permitted me to read. The rest is in Japan.</dialogue> <character>LOGAN</character> <dialogue>Japa- Did you say your master?</dialogue> <character>ZEN</character> <dialogue>He is in Tokyo. A plane is waiting to take us to him now.</dialogue> <character>LOGAN</character> <parenthetical>(laughing/turning to leave)</parenthetical> <dialogue>Listen. It's been great. Thanks for bailing me out. Maybe I'll see'ya'round.</dialogue> <character>ZEN</character> <dialogue>We had an agreement.</dialogue> <character>LOGAN</character> <dialogue>You had an agreement</dialogue> <character>ZEN</character> <dialogue>They will arrest you if you stay in Canada.</dialogue> <scene_description>That stops Logan in his tracks.</scene_description> <character>ZEN</character> <dialogue>And you will have to comply. Or kill to maintain your so-called freedom. You will continue searching in the wrong place for answers to the wrong questions - wasting your gifts on petty acts of justice. A vigilante, living out your days like that bear - a hunted rogue. Like that hunter - an ignorant criminal. And you will never find an end to your pain.</dialogue> <character>LOGAN</character> <parenthetical>(turning back/glaring)</parenthetical> <dialogue>What do you know about pain?</dialogue> <character>ZEN</character> <dialogue>I stand in the presence of History's Warriors. Witness to centuries of combat, ages of suffering - pursued by enemies he cannot name, grieving for a love he cannot remember. You are the living Prometheus. Compared to you...I've never even felt pain.</dialogue> <scene_description>Logan's face tells us Zen is pretty close.</scene_description> <character>ZEN</character> <dialogue>But I know the answers you seek are not here. And while your body heals quickly, your mind never will. Not until you recover your memories and confront them. Only then will you find peace. A peace I can give you.</dialogue> <character>LOGAN</character> <dialogue>And what do I have to do for you?</dialogue> <character>ZEN</character> <dialogue>Let me take you to my master.</dialogue> <character>LOGAN</character> <dialogue>In Japan.</dialogue> <character>ZEN</character> <dialogue>In Japan.</dialogue> <scene_description>Logan sucks on his cigar, considering this with no small amount of suspicion, then he steals a glance at the glaring Mounties across the way. He shrugs.</scene_description> <character>LOGAN</character> <dialogue>Fine. Take me to your leader.</dialogue> <character>ZEN</character> <dialogue>Master.</dialogue> <character>LOGAN</character> <dialogue>Whatever.</dialogue> <scene_description>AN EXPLOSION OF SOUND, a stream of blue flame.</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER THE PACIFIC - DAWN</stage_direction> <scene_description>And a sleek private jet streaks eastward, away from the rising sun over a dark and uncertain sea.</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO - NIGHT</stage_direction> <scene_description>Another explosion - this time one of unearthly color, blinding light. Our eyes adjust to a world of flashing neon and LED on buildings, billboards, even many of the vehicles themselves - this place is one giant, ever changing video screen. The streets are packed with a steady flow of fast-moving foot traffic, seemingly immune to the overload of surrounding imagery. Everything shines. Everything is impossibly clean. And everything wants you. Welcome to Tokyo.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - NIGHT</stage_direction> <scene_description>ANGLE ON: THE REARVIEW MIRROR and a woman's cat-like eyes, glancing at Logan from under a chauffeur's cap concealing close-cropped hair. This is YUKIO - 26. More on her later... Logan and Zen ride in back. As the mind-blowing light of the city rolls slowly past, the TOWERING FACE OF KINDLY OLD MAN becomes ubiquitous. God-like. Whoever he is, he is part of the current media cycle. Keener eyes will note a faint scar on his cheek.</scene_description> <character>ZEN</character> <dialogue>Yashida-Sama. My master.</dialogue> <character>LOGAN</character> <dialogue>He's big in Japan.</dialogue> <scene_description>His smile fades, realizing the joke is lost on Zen.</scene_description> <character>ZEN</character> <dialogue>Yashida's family line is as long as the Emperor's. He has given away more than Japan's richest man has earned. His corporation has revolutionized medical research, agriculture, education. His wisdom has shaped our government..The master is Japan.</dialogue> <character>LOGAN</character> <dialogue>When do I meet him?</dialogue> <character>ZEN</character> <dialogue>You will see him tomorrow. First, you must.</dialogue> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - NIGHT</stage_direction> <scene_description>Zen and TWO BREATHTAKING HOSTESSES escort Logan into a magnificent, penthouse suite overlooking all of Tokyo - room after room appointed in a careful mix of elegant tradition and ultra modern. In a city where space is precious, it is paradise. Yukio stands in the hallway, her back to us, looking sharp and in a black two-piece suit. The 100 inch TV is on, no sound - so hi-def it makes reality look grainy. Old Man Yashida is still on the news. A restrospective montage; photos with world leaders going back to JFK. Also humanitarian efforts - water, medicine, food for the Third World. The scroll is in Japanese, thus impossible to read. Logan ignores this, scanning the surroundings, moving to the mini (actually quite maxi) bar and choosing one of ten different kinds of whiskey.</scene_description> <character>LOGAN</character> <dialogue>This'll do.</dialogue> <character>ZEN</character> <dialogue>I live close by and am at your service day and night.</dialogue> <scene_description>Zen hands him a business card. Logan shoves it in his pocket. Zen stares.</scene_description> <character>LOGAN</character> <dialogue>What?</dialogue> <character>ZEN</character> <dialogue>It is customary to read the card...</dialogue> <character>LOGAN</character> <dialogue>Nice...font.</dialogue> <character>ZEN</character> <dialogue>If there is nothing else you require...</dialogue> <scene_description>Zen subtly gestures to the Hostesses. They bow and smile. They'd like to stay.</scene_description> <character>LOGAN</character> <dialogue>G'night.</dialogue> <scene_description>An impressed Zen and the clearly disappointed Hostesses bow deeply, backing out of the room. CLOSE ON: Yukio in the hallway, stealing a glance at Logan as the door closes. For the first time we see her face and realize YUKIO IS MORE WESTERN THAN ASIAN. Perhaps hardly Asian at all. Logan closes the door, bolts it, chains it. He takes off his jacket, ours himself a shot, stars at the view. Then he notices a low table in the center of the room and he sole object resting on it: A SAMURAI SWORD - very old by the looks. He admires the weapon, picking it up carefully, exposing the razor-sharp blade. He merely touches it and his fingertip bleeds then instantly heals of course. He notices a chain of Japanese characters engraved in the steel. One of them appears to have age-old dried blood in the grooves. His face suddenly changes. FLASH AND THE SOUND OF GUNFIRE TAKES US TO:</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>Logan's repressed memory. Somewhere in the Pacific of WWII, amidst A HANDFUL OF RETREATING CANADIAN SOLDIERS engaged in a running gun-battle, vastly outnumbered by the pursuing JAPANESE. We find: Logan, machine-gun in hand, WOUNDED SOLDIER over his shoulder. While Logan runs and reloads, the Wounded Soldier shoots and vice versa. Until: A grenade blasts Logan off his feet. He leads in a heap, his partner dead. The dense foliage around him shreds in a hail of bullets. The last of his squad now, Logan runs as far and as fast as he can until: CRASH - The ground under his feet vanishes and he plummets, landing with a sickening crunch. CLOSE ON: Logan's face twisted in a silent howl of unimaginable pain. PULL BACK TO REVEAL: He has fallen face down into a man-trap filled with dozens of bamboo spears, impaled like an insect, spikes through his out-stretched limbs, his abdomen, his shoulder. He is completely immobilized - unable to free himself. His claws extend unconsciously and we notice they are raw bone - not metal. Useless. He can hear the enemy in the distance, searching. He struggles to pull himself free, adding to his pain. Then a SHADOW looms over him; A YOUNG JAPANESE SOLDIER - handsome, with dark, piercing eyes - rifle in hand. After inspecting Logan's predicament, the Soldier drops his rifle and draws a sword. He rests the edge of the sharp blade on the back of Logan's neck, nicking the flesh slightly. He raises the blade high. Logan braces for the end... CLOSE ON: The cut on Logan's neck healing: CLOSE ON: The Soldier's eyes widening. The Soldier lowers the blade, cuts Logan's cheek and watches it heal. A drop of blood runs from Logan's cheek onto the engraved steel - unmistakably the same blade he will hold in a Tokyo hotel room 70 years hence. The Soldier raises the sword and strikes. WHACK - he hacks the bamboo pinning Logan's right arm. Then he drops the sword in the pit. Confused but grateful, Logan grabs the blade as: The Soldier walks a few yards from the pit, listening with a mixture of fear and fascination to the sound of Logan painstakingly cutting himself free. The Soldier slowly draws a secondary short sword from his belt... waiting to face this unique enemy. Then: Logan leaps cat-like out of the pit, sword in hand, pulling the last piece of bamboo from his shoulder, the rest of his wounds already healed. The Soldier shouts in Japanese, demonstrating with his short sword how Logan should defend himself. Uncertain, Logan raises his sword and. CLANK/CLANG/SMACK - The Soldier charges, hits Logan's blade, slaps him with the flat side of his sword and is back in place before Logan can blink. We can't understand his words, but the Soldier's attitude says it plain: "No, no. No. Do it like this." CLANK/CLANG/SMACK - He does it again, smiling this time. Now Logan is mad. He raises the sword, ready. CLANK/CLANG/SMACK - Logan blocks the last strike, simultaneously extending his bony claws - tearing the Young Soldier's cheek. The soldier staggers back, stunned, watching as Logan's claws retract, swallowed by the rapidly healing skin around his knuckles. THE SOUND OF GUNFIRE turns their heads. In the distance, JAPANESE SOLDIERS are the ones running now, chased by A WAVE OF BRITISH SOLDIERS. The Soldier knows he's doomed. He drops to his knees bows his head and waits for Logan to finish him. But Logan offers the sword handle-first. The Soldier is surprised yet again by Logan. He takes the sword as he stands. Logan nods to him: "Go. That way." But the Soldier is torn. Ready to fight impossible odds. Logan puts a hand on his shoulder - his eyes desperate for the boy. "Go." The Soldier nods and runs to fight another day.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - DAY</stage_direction> <character>LOGAN</character> <dialogue>The'hellizzah-</dialogue> <scene_description>Logan wakes from a deep sleep on the sofa, rain beating the windows. The sword is back in its stand. The door opens behind him. He inhales.</scene_description> <character>LOGAN</character> <dialogue>Good morning, Zen.</dialogue> <character>ZEN</character> <dialogue>I trust that you slept well.</dialogue> <scene_description>Logan sits up, sees the Old Man on the TV again, looking at him differently now.</scene_description> <character>LOGAN</character> <dialogue>I've met your master before, haven't I?</dialogue> <scene_description>Zen steals a glance at the sword and nods.</scene_description> <character>ZEN</character> <dialogue>Your encounter left a deep impression. He spent a considerable portion of his wealth to discover all he could about you.</dialogue> <character>LOGAN</character> <dialogue>What does he want with me? Why now?</dialogue> <scene_description>The question seems to strike a nerve with Zen.</scene_description> <character>ZEN</character> <dialogue>I will take you to him.</dialogue> <scene_description>Logan stands and a small object drops from the collar of his shirt, bouncing three times on the table before plunking softly on the carpet. EXTREME CLOSE UP ON: An iridescent, gray-green pearl. Zen picks it up with his thumb and forefinger.</scene_description> <character>LOGAN</character> <dialogue>What is that?</dialogue> <character>ZEN</character> <dialogue>It isn't yours?</dialogue> <scene_description>Logan shakes his head. "No." Zen's blood runs cold.</scene_description> <character>ZEN</character> <dialogue>Did you leave your room last night?</dialogue> <character>LOGAN</character> <dialogue>Never left the couch. Can we go now? I'd like to meet the old man.</dialogue> <scene_description>Logan heads for the door, opens it, waits.</scene_description> <character>ZEN</character> <dialogue>Mr. Logan... Unless you have another explanation as to how this came to be in this-</dialogue> <character>LOGAN</character> <dialogue>The last lady who stayed here lost an earring. Let's go.</dialogue> <character>ZEN</character> <dialogue>Or someone placed it on your person while you slept.</dialogue> <character>LOGAN</character> <parenthetical>(scoffing)</parenthetical> <dialogue>My person? Without waking me? Me? Who would do that. Who even could?</dialogue> <scene_description>We suspect Zen might know the answer to that. For whatever reason, he's not sure to answer. Then:</scene_description> <character>ZEN</character> <dialogue>... Mr. Logan.</dialogue> <character>LOGAN</character> <dialogue>Zen... Enough with the oyster droppings. Take me to your leader.</dialogue> <scene_description>Zen sighs, walks through the door.</scene_description> <character>ZEN</character> <dialogue>Master.</dialogue> <character>LOGAN</character> <dialogue>What you said.</dialogue> <scene_description>Logan walks out, shutting the door. We remain focusing on the chain. We distinctly recall Logan putting it on. We don't remember him taking it off.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - DAY</stage_direction> <scene_description>Logan and Zen in back, the mysterious Yukio driving, a dreary rain spattering the windshield.</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO STREET - DAY</stage_direction> <scene_description>Logan and Zen emerge from the limo into a crowd of SOMBER JAPANESE MEN AND WOMEN and black umbrellas. As the only Westerner (wearing denim and leather, no less) Logan's presence is off-putting. But the too- polite attendees steal glances rather than stare. ANGLE ON: THE LIMO across the street. Yukio's comely eyes follow Logan until she is distracted by: An argument at the front door between THE DOORMAN and A YOUNG MAN trying to push his way inside. The crowd tries their best to pretend he is not there. Logan stares. The kid is a dead ringer for the Young Soldier he fought in the jungle. The Doorman shoves the Young Man down in the gutter, humiliated. He gets up and storms off in a rage. This is KENUICHIO. Remember him.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - DAY</stage_direction> <scene_description>People remove coats to reveal MEN IN DARK SUITS, WOMEN IN TRADITIONAL JAPANESE GARB. Logan finds himself in a room filled with rows of seats facing a stage draped in red velvet. He is on a receiving line at some high occasion for a very select group. The crowd parts behind Logan and Zen. People bow deeply to A PORTLY, BESPECTACLED, MIDDLE- AGED MAN and his TEAM OF BODYGUARDS. He is accompanied by his CAUCASIAN SECRETARY - attractive, business suit - long, raven-black hair hiding one side of her face and glasses that subtly stir fantasies of the naughty school-marm variety.</scene_description> <character>ZEN</character> <parenthetical>(whispering)</parenthetical> <dialogue>Bow, I said... Bow.</dialogue> <scene_description>Logan doesn't. The Portly Man gives him the once over as he passes. Logan does it right back, then winks at the Secretary. She blanks him. Zen is mortified.</scene_description> <character>ZEN</character> <dialogue>That man is Noburo Mori. Minister of Justice.</dialogue> <character>LOGAN</character> <dialogue>Good for him.</dialogue> <scene_description>Noburo barges to the front of the line and bows to the only soul here more impressive than himself: A STANTLEY MAN in his 50s - his bald head gleaming, his pale gray suit almost pearlescent. He is:</scene_description> <character>ZEN</character> <dialogue>Lord Shingen. My master's son. We will pay our respects.</dialogue> <scene_description>On that stage, Logan spies a porcelain urn and a portrait of the Old Man with a black sash across it. Logan notes the staunch expression on the men, a woman quietly sobbing, and it hits him.</scene_description> <character>LOGAN</character> <dialogue>Your master is dead?</dialogue> <character>ZEN</character> <dialogue>I never said he wasn't.</dialogue> <character>LOGAN</character> <dialogue>You could'a said he was.</dialogue> <character>ZEN</character> <dialogue>I have followed my master's instructions explicitly. If there was a deception, it was his intention... not mine.</dialogue> <character>LOGAN</character> <dialogue>If he's dad, what the hell am I doing here?</dialogue> <scene_description>Shingen bows to Noburo, stepping aside to REVEAL: A YOUNG WOMAN. The woman. A beauty cut from marble. The sort you can't touch - but have to touch - and will never, ever get close enough to touch. This is MARIKO. The very sight of her hits Logan like lightning. Noburo and Mariko exchange a formal greeting. Mariko bows, missing the slightly leering look Noburo gives her. But Shingen catches him. There is a tense dynamic at play here that will reveal itself in time. (Note: Take a moment. Look over the faces on the previous few pages. You've met everyone who matters.) As Zen and Logan move closer to the head of the line:</scene_description> <character>ZEN</character> <dialogue>I am instructed to tell you one last thing.</dialogue> <scene_description>Logan snaps out of his Mariko-induced trance.</scene_description> <character>LOGAN</character> <dialogue>Last thing?</dialogue> <character>ZEN</character> <dialogue>You are free to leave at any time. But the knowledge you seek will only be yours when you honor the gift you have been given.</dialogue> <character>LOGAN</character> <dialogue>Honor the- What does that even mean-</dialogue> <scene_description>But he is cut off when they come face-to-face with Shingen. Zen leans in, speaks softly in Japanese. As he does, Shingen's eyes shift suddenly to Logan. To the mute of shock of everyone, Shingen bows deeply, showing great respect. This leaves Logan eye-to-eye with Mariko. What follows is one of those subtle yet unmistakable moments between two people instantly, mutually attracted - both unsure of what to do. Shingen straightens, obscuring Mariko and shaking Logan's hand.</scene_description> <character>ZEN</character> <dialogue>Mr. Logan. Lord Shingen.</dialogue> <character>SHINGEN</character> <dialogue>I understand you knew my father.</dialogue> <character>LOGAN</character> <dialogue>In a manner of speaking. I'm... very sorry for your loss.</dialogue> <character>SHINGEN</character> <dialogue>He was a great man. He will be missed.</dialogue> <parenthetical>(pushing away his grief)</parenthetical> <dialogue>Excuse my poor manners. My daughter, Mariko.</dialogue> <scene_description>Shingen steps aside. Mariko bows gracefully - polite but not submissive. As Logan stares at her:</scene_description> <character>SHINGEN</character> <dialogue>You'll forgive me for saying so, but my father never once spoke about you. When you were mentioned so reverently in his will we were obviously intrigued. How did you come to know him?</dialogue> <scene_description>Logan hesitates.</scene_description> <character>SHINGEN</character> <dialogue>It is an awkward question?</dialogue> <character>LOGAN</character> <dialogue>An awkward answer.</dialogue> <character>SHINGEN</character> <parenthetical>(smiling warmly)</parenthetical> <dialogue>My father and his mysteries. Perhaps after the ceremony you will be my guest at my home. There you can share as much or as little as you like. I promise not to pry.</dialogue> <scene_description>Logan glances at Zen. Zen nods: "Say yes."</scene_description> <character>LOGAN</character> <dialogue>I would be honored.</dialogue> <character>SHINGEN</character> <dialogue>The honor is mine. I hope you will excuse me until then.</dialogue> <scene_description>Logan nods, steps aside with one last look to Mariko. As Zen and Logan walk toward the back of the line:</scene_description> <character>LOGAN</character> <dialogue>What can you tell me about Mariko?</dialogue> <character>ZEN</character> <dialogue>She is to be married in three days.</dialogue> <scene_description>Beat. Logan is stunned.</scene_description> <character>LOGAN</character> <dialogue>...Married.</dialogue> <character>ZEN</character> <dialogue>To Noburo.</dialogue> <scene_description>Logan turns to look at the portly, high-and-mighty Minister of Justice.</scene_description> <character>LOGAN</character> <dialogue>That guy? She's marrying that guy?</dialogue> <character>ZEN</character> <dialogue>The marriage was arranged by her father. It will be a merging of two great houses. A powerful dynasty.</dialogue> <character>LOGAN</character> <dialogue>What does she have to say about it?</dialogue> <character>ZEN</character> <dialogue>She has a duty to her family. She will honor her father's wishes.</dialogue> <character>LOGAN</character> <parenthetical>(reassessing Shingen)</parenthetical> <dialogue>And I was just starting to like the guy.</dialogue> <scene_description>Just then, A MAN WITH A PITTED FACE reaches the head of the receiving line. Shingen does not recognize him but remains cordial. Pit-Face bows deeply - a bit mocking. Then he lashes out with a tanto knife. Shingen is surprisingly fast, deflecting the blade, taking a slash to his forearm instead of his throat. A WOMAN IN THE CROWD SCREAMS, igniting chaos as: Logan leaps, reacting on pure instinct as: Shingen drives his good hand into Pit-Face's throat, crushing his windpipe as: SEVEN MORE THUGS rise up from the crowd brandishing knives. They rush Shingen. BYSTANDERS PANIC, getting in their way. Shingen calmly stands his ground, covering Mariko, as the FIRST THUG reaches him. As: Logan vaults over two rows of seats and crushes the First Thug's head under his heals, landing face-to- face with Shingen. The two men have an instant to make eye contact. They share a nod and turn to face the approach of six more knife-wielding thugs. But: SCHINCK - Logan has six blades of his own.</scene_description> <character>MARIKO</character> <dialogue>Kuzuri.</dialogue> <scene_description>Logan glances at a stunned Mariko staring at his claws, fascinated? Terrified? Shingen looks at Logan with more than a few questions of his own. They have to wait. The Thugs attack. Shingen and Logan meet them head-on. Despite the use of only one arm, Shingen holds his own, dodging slashing blades and striking one-handed. Shingen is a master, fighting with dignity and honor. Logan, on the other hand, kicks, slashes, brawls and cheats. Anything to win. Meanwhile: Noburo's bodyguards draw weapons, but the cavalry is not coming. They whisk Noburo and his Secretary to the exit. Logan sees this, more annoyed than angry. CLOSE ON: Noburo's secretary. She practically has to be dragged out, lingering to study Logan and his claws with fascination. Remember this. AN EIGHTH THUG comes up behind Shingen. Zen leaps in the Thug's way despite having no weapon. The Thug sends him back with a single punch and then: MARIKO STEPS IN FRONT OF HIM. The Thug stops, thrown for a beat, unsure of how to handle her. Then he grins, changing his grip in the knife. Ready to kill. Slap - Mariko BELTS HIM ACROSS THE FACE, stunning him. She raises her chin, fearless. The Thug's grin is gone. He swings his blade: THUNK - Logan drives three claws clean through the Thug's forearm, punching him off with his other fist, turning to take on another attacker when: Yukio steps in his path, stopping him:</scene_description> <character>YUKIO</character> <dialogue>I have Shingen. Protect Mariko.</dialogue> <parenthetical>(when Logan hesitates)</parenthetical> <character>GO.</character> <dialogue>Yukio draws a knife and follows Shingen into the fray, breaking knees and kicking asses. Logan grabs Mariko's hand, spies the exit and goes. To his surprise, this door flies open to REVEAL:</dialogue> <dialogue>ANOTHER THUG - aiming a gun and pulling the trigger. Logan leaps in front of Mariko and TOWARD the Gunman, slamming the door just as the gun goes off.</dialogue> <dialogue>BA-CLANKCLANKCLANK - the steel door sports three shiny bullet-induced dents in front of Logan's face.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - OTHER SIDE OF STEEL DOOR - DAY</stage_direction> <scene_description>The Gunman kicks the door, trying to open it. He bashes his shoulder into the door once, twice, backing up and rushing for a third when: Six razor-sharp adamantium claws rupture the door, pointing straight out. The Gunman can't stop.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - DAY</stage_direction> <scene_description>CLOSE ON: Logan, knuckles pressed to the steel door. WHAM - something hits the other side of the door hard. Then silence. His claws retract and he opens the door, grabbing Mariko and stepping over what we assume is the Gunman lying out of frame.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - DAY</stage_direction> <scene_description>The rain is pouring now. Up the alley, Logan sees the limos at the front of the building and SEVERAL POLICE CARS ARRIVING. He leads Mariko that way until: GUNFIRE. GUNMEN emerge from PARKED CARS and engage the police. The street is suddenly a wild-west show. Logan turns, pulling Mariko the other way when: SCHLING-SLICE - Logan recoils, the front of his shirt cut open, a slash down his chest healing in front of Mariko's stunned eyes. Logan pushes her back as: A gleaming steel blade four feet long swings for his head. He ducks and rolls as the blade chops time and again, gashing concrete like it were clay. The blade hits a dumpster and wedges in the thick steel, giving Logan time to take in a chilling sight. A FIGURE IN GLEAMING ARMOR - derived from the ancient Japanese noble warriors, chest emblazoned with a red sun. He rips the blade from the dumpster and turns. His face is hidden by his gilded helmet - black shadows for eyes. His sword hums, raindrops sheeting off the crackling cushion of distorted air around it. Logan extends his claws and prepares to take his first piece out of SILVER SAMURAI. The Samurai is pretty sure it will go the other way. In one fluid motion he swings his charged sword, slicing the steel door and tearing a gash through the brick wall in an arch that ends at Logan's neck. CHING - The Samurai is surprised to see his sword stopped so decisively by six adamantium claws. Logan is just as surprised to see the Samurai's blade doesn't break. Instead it throws off blue arches of energy between Logan's claws, blistering his flesh. Logan screams and shoves the blade back, attacking. But the Samurai is fast, calm, almost prescient. Where Logan slashes, the blade is there to meet him. The few times he hits armor his claws encounter the same barrier of energy, raking across harmlessly. Samurai raises his blade. This is going to hurt. CLOSE ON: LOGAN'S RIGHT FIST. Two of his three claws retract. SCHUNK - Then an unholy scream of agony and rage. CLOSE ON: LOGAN'S RIGHT FIST, a single claw, driven neatly between two plates of armor in the Samurai's side, the energized metal scalding Logan's hand. The Samurai kicks Logan back, momentarily slowed by the wound to his side. Logan lands hard, pushing himself up, noticing his hands are planted on: A MAN-HOLE COVER He considers his options, the vulnerable Mariko... SCHING-SLAM - Logan jams his claws into the man-hole cover and yanks it out, slinging the sixty-pound slab of steel. Samurai sees it coming, hacks it in half. One piece goes wide, but the other one hits him square in the forehead, knocking him flat. Logan moves Mariko to the man-hole where a ladder leads down into darkness. She hesitates. But when Samurai sits up and finds his sword, she scrambles down the ladder. Logan turns as Samurai charges, blade high - ready to cut Logan in half. Logan calmly steps back and drops like a stone.</scene_description> </scene> <scene> <stage_direction>INT. DRAIN-TUNNEL - DAY</stage_direction> <scene_description>Logan lands in a torrent of knee-deep, rushing water. Mariko clings to the other side of the ladder, her heavy gown pulling her under. Logan expertly slashes, sending all but Mariko's essentials downstream. Samurai looms over the man-hole above. His armor gives him too much bulk to come down. He hacks at the man-hole, making it larger. Logan takes Mariko by the arm, salutes Samurai, and lets go of the ladder. Together they are swept away.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - DAY</stage_direction> <scene_description>Samurai continues to carve up the pavement until A LONE COP at the end of the alley points and yells. Samurai sees him and freezes. The Lone Cop looks away long enough to call OTHER OFFICERS over. When he turns back, Samurai is gone.</scene_description> </scene> <scene> <stage_direction>INT. DRAIN-TUNNEL - DAY</stage_direction> <scene_description>Logan catches another ladder with one hand, holding Mariko with the other. They climb, emerging into:</scene_description> </scene> <scene> <stage_direction>INT. BOILER ROOM - DAY</stage_direction> <scene_description>A giant heating system hums. Logan's claws pierce a man-hole cover and shove it aside. He climbs out, pulls Mariko up and then collapses, exhausted. Mariko kneels over him, his wounds miraculously washed away. Their eyes meet. Mariko kisses him - gentle but lingering - a little more than thank you.</scene_description> <character>LOGAN</character> <dialogue>Have we met before?</dialogue> <character>MARIKO</character> <dialogue>I think I would have remembered.</dialogue> <character>LOGAN</character> <dialogue>Don't be too sure.</dialogue> <parenthetical>(standing, sore)</parenthetical> <dialogue>'Should get you someplace safe.</dialogue> <scene_description>He heads for the door and opens it to: Sirens walking, POLICE EVERYWHERE. Chaos. He shuts the door quickly, looking around.</scene_description> <character>MARIKO</character> <dialogue>I'm safe with you.</dialogue> <scene_description>She stares at him, her eyes hypnotic.</scene_description> <character>LOGAN</character> <dialogue>In case you hadn't noticed, lady, I'm barely holding my own.</dialogue> <parenthetical>(she keeps staring)</parenthetical> <dialogue>And whatever kind of trouble you're in... I'm worse.</dialogue> <character>MARIKO</character> <dialogue>You're the trouble I choose.</dialogue> <character>LOGAN</character> <dialogue>Aren't you getting married?</dialogue> <character>MARIKO</character> <dialogue>Eventually.</dialogue> <scene_description>Logan looks toward a staircase on the far side of the room, leading up. He sighs.</scene_description> <character>LOGAN</character> <dialogue>This way, then...</dialogue> <scene_description>And he reads her up the stairs...</scene_description> </scene> <scene> <stage_direction>EXT. AUDITORIUM - DAY</stage_direction> <scene_description>Chaos and confusion as the police cordon off the area. In the rain-soaked crowd we find Zen and Yukio escorting Shingen to an ambulance.</scene_description> <character>SHINGEN</character> <parenthetical>(in Japanese)</parenthetical> <dialogue>\[Where is my daughter?\]</dialogue> <character>ZEN</character> <dialogue>\[We'll find her, Sama. First we need to tend to that arm.\]</dialogue> <scene_description>They reach the ambulance and Shingen steps in back. MEDICS swiftly slice off his jacket and shirt, revealing a surprisingly ripped frame for his age. LOW ANGLE LOOKING UP as Zen goes to shut the door:</scene_description> <character>SHINGEN</character> <dialogue>\[Find Mariko, do you hear me? Nothing else matters.\]</dialogue> <character>ZEN</character> <dialogue>\[I will search high and low, Sama.\]</dialogue> <scene_description>He is unaware that BEHIND HIM AND HIGH UP, Logan and Mariko make their getaway along the rooftop. Shingen slumps back into the ambulance. The medics go to work as Zen and Yukio shut the doors and stand guard. ACROSS THE STREET THEY SEE: Justice Minister Noburo talking to a MOB OF PRESS.</scene_description> <character>NOBURO</character> <dialogue>\[... but my staff reacted swiftly and the would-be assassins were pacified. I credit the fine men of the Tokyo Police for putting down the second wave of the attack.\]</dialogue> <character>REPORTER</character> <dialogue>\[Witnesses say Lord Shingen was the target of the attack and not you. Do you have any idea why someone would want to kill Lord Shingen?\]</dialogue> <character>NOBURO</character> <dialogue>\[This brazen and cowardly act happened just days after I proposed a crackdown on organized crime-\]</dialogue> <character>REPORTER</character> <dialogue>\[Are you saying this is the work of the Yakuza?\]</dialogue> <character>NOBURO</character> <parenthetical>(stepping away)</parenthetical> <dialogue>\[I am saying this brazen and cowardly act happened just days after I proposed a crackdown on organized crime. Draw your own conclusions. No more questions.\]</dialogue> <scene_description>Noburo, his Bodyguards and his knock-out Secretary pile into two waiting limos amid a flurry of shouted questions that will remain unanswered. Just before he gets in the car, Noburo looks ACROSS THE STREET TO: Shingen, emerging from the ambulance, his wounds hidden under a new suit. The Reporters rush to get his statement. As Noburo gets in his limo, Shingen steals a look at Noburo's back, smart enough to know he was being watched, smart enough not to let on.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - BALCONY - DAY</stage_direction> <scene_description>LOOKING DOWN FROM A DIZZYING HEIGHT as Logan drops to the top floor balcony and forces the door with a single claw. He looks up at us and extends his arms. ANGLE ON: Mariko, seated on the edge of the rooftop. The balcony is a short drop - no more than twenty feet. But to miss it is a fall of several hundred. Without hesitating, she drops. Logan catches her. She wraps her arms around his neck, holds him tightly.</scene_description> </scene> <scene> <stage_direction>INT. LOGAN'S PALATIAL HOTEL SUITE - BATHROOM - LATER</stage_direction> <scene_description>The opulence of the suite provided by Zen stands in stark contrast to the wet, bedraggled occupants entering. Logan carries Mariko across the threshold. Mariko is chilled to the bone. Logan rushes into the shower, clothes and all, turning the water on full. He tries to put her down, but she clings to him, staring into his eyes. He moves to speak and she puts a hand on his mouth. She doesn't want to talk. When he tires to talk anyway, she kisses him. Then the gentleman gives way to the animal...</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - BATHROOM - LATER</stage_direction> <scene_description>A trail of wet clothes leads from the shower to-</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - BEDROOM - NIGHT/DAY</stage_direction> <scene_description>-the bed where Mariko sleeps peacefully. Logan stands over her, wounded look on his face, put there by deep suffering in his forgotten past. AN anguish without a name. DISSOLVE AS: The sun rises. Logan has hardly moved. Mariko stirs, looks around, about to ask "did we?"</scene_description> <character>LOGAN</character> <dialogue>You were asleep before you were out of the shower.</dialogue> <scene_description>She is at once relieved and disappointed.</scene_description> <character>MARIKO</character> <dialogue>How long have you been-</dialogue> <character>LOGAN</character> <dialogue>All night.</dialogue> <scene_description>Pause. Logan stares at Mariko.</scene_description> <character>MARIKO</character> <dialogue>The way you look at me.</dialogue> <character>LOGAN</character> <dialogue>What about it?</dialogue> <character>MARIKO</character> <dialogue>I remind you of someone you used to know.</dialogue> <character>LOGAN.</character> <dialogue>No... Someone I used to be...</dialogue> <scene_description>She studies him for a moment.</scene_description> <character>MARIKO</character> <dialogue>Why are you here? In Japan.</dialogue> <character>LOGAN</character> <dialogue>Are you really going to marry him?</dialogue> <scene_description>This catches her off guard. She recovers. Nods.</scene_description> <character>LOGAN</character> <dialogue>Just like that.</dialogue> <character>MARIKO</character> <dialogue>It is my duty. I accept that.</dialogue> <character>LOGAN</character> <dialogue>But is it what you want?</dialogue> <character>MARIKO</character> <dialogue>What I want doesn't matter. I serve something greater.</dialogue> <character>LOGAN</character> <dialogue>The House of Yashida.</dialogue> <character>MARIKO</character> <dialogue>You understand.</dialogue> <character>LOGAN</character> <dialogue>Not really.</dialogue> <character>MARIKO</character> <dialogue>... You should sleep.</dialogue> <character>LOGAN</character> <dialogue>I gave it up.</dialogue> <scene_description>She smiles, doesn't buy it. After a beat:</scene_description> <character>MARIKO</character> <dialogue>Come.</dialogue> <scene_description>She moves over in the bed, making room for him. Logan hesitates, but her eyes insist. He sits on the bed, unsure. Mariko gently pushes him back on the pillow. She touches his cheek, tracing a finger gently across his lips, his eyebrows.</scene_description> <character>MARIKO</character> <dialogue>Close your eyes.</dialogue> <parenthetical>(as he does)</parenthetical> <dialogue>When I was a little girl I had terrible nightmares. My father would say go back to sleep. Face your fears.</dialogue> <character>LOGAN</character> <dialogue>There's a few fears I'd like him to meet.</dialogue> <character>MARIKO</character> <parenthetical>(ignoring this)</parenthetical> <dialogue>My grandfather was different.</dialogue> <character>LOGAN</character> <dialogue>Tell me about your grandfather.</dialogue> <character>MARIKO</character> <dialogue>You knew him.</dialogue> <character>LOGAN</character> <dialogue>We only met briefly.</dialogue> <character>MARIKO</character> <dialogue>Another time. Where was I?</dialogue> <character>LOGAN</character> <dialogue>Your father said 'face your fears.'</dialogue> <character>MARIKO</character> <dialogue>Ah, yes. He did. But my grandfather would tell me stories about Kuzuri. A fierce and terrible creature that would do whatever I commanded. He would protect me from my fears.</dialogue> <character>LOGAN</character> <dialogue>... Kuzuri.</dialogue> <character>MARIKO</character> <dialogue>Mmm-hmmm. Half-man, half-beast - a heart filled with rage... And six... long claws.</dialogue> <scene_description>He opens his eyes. She nods: "You heard right."</scene_description> <character>LOGAN</character> <dialogue>Did the nightmares stop?</dialogue> <character>MARIKO</character> <dialogue>Yes... But even as a little girl, I never believed he was real.</dialogue> <scene_description>She touches his eyes, closing them gently.</scene_description> <character>MARIKO</character> <dialogue>So now... Kuzuri... Do as I say. Close your eyes. And let me watch over you.</dialogue> <scene_description>She kisses him once, twice, a third time. Logan beings to respond, but then:</scene_description> <character>MARIKO</character> <dialogue>Now sleep.</dialogue> <scene_description>He closes his eyes and exhaustion takes over as:</scene_description> <character>MARIKO</character> <dialogue>He needs help, Zen.</dialogue> </scene> <scene> <stage_direction>INT. PALACIAL HOTEL SUITE LIVING ROOM - LATER</stage_direction> <scene_description>Mariko whispers into the phone. Logan sleeps fitfully in the next room, tortured by his nightmares.</scene_description> <character>ZEN (ON PHONE)</character> <dialogue>That does not mean you have to-</dialogue> <character>MARIKO</character> <dialogue>He saved my life. I am in his debt.</dialogue> <scene_description>Long silence. Zen sighs.</scene_description> <character>ZEN (ON PHONE)</character> <dialogue>What do you want me to do?</dialogue> <character>MARKIO</character> <dialogue>You came here looking for me. You did not find me.</dialogue> <parenthetical>(when there is no reply)</parenthetical> <dialogue>Say it. On your word.</dialogue> <character>ZEN (ON PHONE)</character> <dialogue>I came there looking for you. I did not find you. You... have my word.</dialogue> <character>MARKIO</character> <dialogue>I will be home in a few days.</dialogue> <scene_description>She hangs up before Zen can say another word and walks back into the bedroom to be with Logan. CLOSE ON: Logan as he closes his eyes, as the warm pink light of sunrise on his face gives way to the bright light of day, the tangerine of sunset and the pale blue of night. His eyes open with a start. PULL BACK TO REVEAL: Darkness outside and a full-moon over Tokyo. Logan is alone, a rhythmic tapping O.S.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - LIVINGROOM- NIGHT</stage_direction> <scene_description>Candle-light, a warm fire. Logan comes out of the bedroom to find the table set for two, Mariko is in the kitchen putting the finishing touches on dinner.</scene_description> <character>MARIKO</character> <dialogue>Sit.</dialogue> <scene_description>She brings him something more akin to art than dinner.</scene_description> <character>MARIKO</character> <dialogue>Eat.</dialogue> <scene_description>And he does. CLOSE ON: The dinner table as the moonlight fades to pale blue, giving way to sunrise again. The dinner plates are gone replaced by breakfast. The sun rises and sets two more times as Logan and Mariko live a stolen, ordinary life. Standing in front of the massive bay window overlooking Tokyo, Mariko teaches Logan the slower, more graceful forms of Aikido - a discipline for which he has no patience. Balancing on one foot he manges to fall more than once, but in time, he and Mariko move in perfect unison. Combat becomes meditation and - in their case - a dance. She also teaches Logan how to cook, with an emphasis on cutting tools. Every meal is an unconscious lesson in perfecting the use of edged weapons. Logan's claws are offered to help and summarily rejected. Logan is a disaster with chop-sticks, determined to eat with his fingers. Mariko slaps the back of his hands any time he even tries. He uses his claws like skewers to stab his food and Mariko surrenders.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL SUITE - BEDROOM NIGHT</stage_direction> <scene_description>Each night she lays him down, talking softly in his ear, holding his hand or rubbing his shoulders - then watching over him while he sleeps fitfully, touching him reassuringly at the slightest sound of distress. And, each night, he sleeps a little easier.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL SUITE - BEDROOM - LATER</stage_direction> <scene_description>Mariko is picking up his clothes when something drops from his pocket and plunks on the carpet. She picks the object up, her expression darkening.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL SUITE - BEDROOM - DAWN</stage_direction> <scene_description>CLOSE ON: Logan's eyes rolling behind his eyelids in REM sleep. He wakes not with a start, but a mere flinch, happy to find Mariko watching over him.</scene_description> <character>MARIKO</character> <dialogue>Another nightmare?</dialogue> <character>LOGAN</character> <dialogue>No. A dream.</dialogue> <scene_description>He smiles. She doesn't. She holds out her palm, revealing the green pearl. There is fear in her eyes.</scene_description> <character>MARIKO</character> <dialogue>Where did you get this?</dialogue> <character>LOGAN</character> <dialogue>What is it with that thing?</dialogue> <scene_description>Mariko signs and sits on the edge of the bed. Beat:</scene_description> <character>MARIKO</character> <dialogue>Before Kofun, before Asuka, there was the age of Jomon... The darkest days of a remote island kingdom. Before it was called Japan...</dialogue> </scene> <scene> <stage_direction>EXT. YASHIDA STRONGHOLD - DAY</stage_direction> <scene_description>Est. The ancestral home of the Yashida family, high in the hills overlooking the Port City of Agarashima. High-walled, sparsely-lit garden pavilions, elegant, understated buildings, sprawling gardens, a placid pond. An oasis. A fortress. A home in mourning.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - SHINGEN'S OFFICE - DAY</stage_direction> <scene_description>CLOSE ON: Two ancient, magnificently ornate swords. The symbols of a venerated family empire. They are behind Shingen, seated at his desk, his collar open, hands to his temple, a bandage on his forearm. He is surrounded by ADVISORS and STAFF, all in dark suits.</scene_description> <character>ADVISOR</character> <dialogue>We have done what we can to control the press, but... word is quickly spreading that you personally fought off the attackers.</dialogue> <scene_description>Shingen looks up at him as if to say: "So?"</scene_description> <character>ADVISOR</character> <dialogue>You have honored the family name, Sama.</dialogue> <character>SHINGEN</character> <dialogue>Where is my daughter?</dialogue> <scene_description>All of the Advisors shift uncomfortably.</scene_description> <character>ADVISOR</character> <dialogue>The... police have every available man looking for Mariko... and they are interrogating the assassin who survived. But...</dialogue> <character>SHINGEN</character> <dialogue>... But.</dialogue> <character>ADVISOR</character> <dialogue>He is not a kidnapper, Sama. He is an assassin.</dialogue> <character>SHINGEN</character> <dialogue>What about this other man? The gai-jin with the...</dialogue> <scene_description>At a loss for words, he holds up three fingers on each hand. No one speaks up.</scene_description> <character>SHINGEN</character> <dialogue>No one here can tell me anything about him?</dialogue> <character>ADVISOR</character> <dialogue>We have only your... remarkable description, Sama.</dialogue> <character>SHINGEN</character> <dialogue>Bring me my father's will... And find Zen.</dialogue> <character>MARIKO (PRE-LAP)</character> <dialogue>I think you have been marked.</dialogue> </scene> <scene> <stage_direction>INT. PALATIAL SUITE - LIVINGROOM- DAY</stage_direction> <scene_description>Mariko pours tea as Logan studies the green pearl.</scene_description> <character>LOGAN</character> <dialogue>Marked...</dialogue> <character>MARIKO</character> <dialogue>By the Black Clan.</dialogue> <parenthetical>(as Logan scoffs.)</parenthetical> <dialogue>It is said they do not eat or sleep until they've killed their intended victim. But first they send a warning. A single, sea-green pearl.</dialogue> <character>LOGAN</character> <dialogue>Come on. What sort of assassins tell you they're coming?</dialogue> <character>MARIKO</character> <dialogue>Assassins bound by a strict code of honor. They do not kill for a living. Killing is their way of life... it is their faith. And this pearl is a warning. Your only chance for survival.</dialogue> <character>LOGAN</character> <dialogue>Yeah, howzzat?</dialogue> <character>MARIKO</character> <dialogue>According to myth, you must challenge their master and kill him in combat. Not only will you be spared.. You will become the new Master of The Clan.</dialogue> <character>LOGAN</character> <dialogue>Done. Who is he?</dialogue> <character>MARIKO</character> <dialogue>That is the riddle. No one knows.</dialogue> <scene_description>Logan laughs, bounces the pearl on the table.</scene_description> <character>MARIKO</character> <dialogue>It is no laughing matter. You should leave.</dialogue> <character>LOGAN</character> <dialogue>Japan?</dialogue> <character>MARIKO</character> <dialogue>Tonight.</dialogue> <character>LOGAN</character> <dialogue>I'm not ready to do that.</dialogue> <character>MARIKO</character> <dialogue>Logan... why did you come here?</dialogue> <character>LOGAN</character> <dialogue>That's a long story. With a lot of holes.</dialogue> <character>MARIKO</character> <dialogue>Tell me.</dialogue> <scene_description>Logan smiles, shakes his head. Mariko places her hand on his arm, speaking firmly now.</scene_description> <character>MARIKO</character> <dialogue>You're safe here. Tell me.</dialogue> <scene_description>Logan casually opens his mouth to speak but he freezes, at a loss for words. It isn't that he won't speak. He can't. We hold on him for the longest time as he struggles to tell her who he is, what he is. But the harder he tries, the harder it becomes. His eyes burn with tears, his face trembles, overcome with centuries of repressed emotions, lifetimes of forgotten pain. Logan is paralyzed.</scene_description> <character>MARIKO</character> <dialogue>I'm here for you, Logan. I'm here. Talk to me...</dialogue> <scene_description>She wraps her arms around him, holding him tight.</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL SUITE - BEDROOM - DAWN</stage_direction> <scene_description>Logan sleeps soundly. And for the first time when he wakes, he does so slowly, quietly. At peace.</scene_description> <character>LOGAN</character> <dialogue>I didn't dream. Not at all.</dialogue> <scene_description>He looks, expecting to find Mariko. But she isn't there. Confused, he gets up, walks expectantly to:</scene_description> </scene> <scene> <stage_direction>INT. PALATIAL HOTEL SUITE - LIVING ROOM - DAWN</stage_direction> <scene_description>Silent. Empty. No food on the table. No candles, no fire. The television silently shows the funeral aftermath. Noburo's flabby face fills the screen. Curious at first, Logan moves from one room to the next, his anxiety increasing. He cannot find Mariko. Then he finds a note, resting on the table by her grandfather's sword. He unfolds it. It reads. Kuzuri- Go where you will, looking only to the future. I go where I must, taking comfort in the past. -Mariko Logan lets the note fall to the floor, stunned. Crushed. He might stand there all day but then: He freezes, sensing something. He follows his keen ears to the front door, listens for a beat then: With blinding speed, he rips the door open, grabs A MAN form the hallway, pins him to the wall and SCHINK - presses the tips of his claws tot he man's chin. But then the killer look leaves Logan's eyes.</scene_description> <character>ZEN</character> <dialogue>I've turned a blind eye long enough. Where is she?</dialogue> <character>LOGAN</character> <dialogue>I get the feeling she doesn't want to be found.</dialogue> <character>ZEN</character> <dialogue>Mr. Logan, please...</dialogue> <scene_description>Logan lets him go. Zen walks into the suite, looking around for Mariko.</scene_description> <character>LOGAN</character> <dialogue>Where's the information you promised me?</dialogue> <scene_description>Zen is momentarily confused.</scene_description> <character>LOGAN</character> <dialogue>Who am I. Where I come from. What was done to me and why. You said you had answers. Where are they?</dialogue> <character>ZEN</character> <dialogue>I... I told you. What you seek will be yours when you-</dialogue> <character>LOGAN</character> <dialogue>Honor the gift that was given to me, yeah, yeah- She's not here.</dialogue> <scene_description>Zen stops searching, turns back to Logan.</scene_description> <character>LOGAN</character> <dialogue>So your master spared my life. As far as I'm concerned I spared his. Since then I saved his son and his granddaughter. The way I see it, the old man is into me for some honor - not the other way 'round. So give me what I came here for.</dialogue> <character>ZEN</character> <dialogue>There is more to honor than doing what is so obviously right.</dialogue> <character>LOGAN</character> <dialogue>What other kind of honor is there?</dialogue> <character>ZEN</character> <dialogue>When you can answer that, you will have the peace you're looking for.</dialogue> <character>LOGAN</character> <dialogue>Zen, I gotta tell you, you're being kind of a stereotype right now. Just a little bit.</dialogue> <character>ZEN</character> <dialogue>We have no time for this. We have to find Mariko.</dialogue> <character>LOGAN</character> <dialogue>When were you going to tell me about the Black Clan?</dialogue> <scene_description>Zen can't hide his surprise. Beat.</scene_description> <character>ZEN</character> <dialogue>Would you have believed me?</dialogue> <character>LOGAN</character> <dialogue>Doubt it. Are they the ones who tried to kill Shingen?</dialogue> <character>ZEN</character> <parenthetical>(almost laughing)</parenthetical> <dialogue>Those men at the funeral were Yakuza. Tokyo Underworld.</dialogue> <character>LOGAN</character> <dialogue>That's a shame. They were pretty soft... These Clan guys - they don't wear... crazy-ass electrified silver armor, do they?</dialogue> <parenthetical>(off Zen's bewildered look)</parenthetical> <dialogue>A little conspicuous. Maybe not.</dialogue> <character>ZEN</character> <dialogue>What... happened after you left with Mariko.</dialogue> <character>LOGAN</character> <parenthetical>(ignoring this)</parenthetical> <dialogue>Why would the mob want to kill Shingen?</dialogue> <character>ZEN</character> <dialogue>I cannot say.</dialogue> <character>LOGAN</character> <parenthetical>(nodding to TV)</parenthetical> <dialogue>Does it have something to do with this guy? The Minister of Justice.</dialogue> <character>ZEN</character> <dialogue>I am not permitted to discuss it. I'm sorry.</dialogue> <character>LOGAN</character> <dialogue>There was a kid outside - before the funeral. He was trying to get in. Very angry-</dialogue> <character>ZEN</character> <parenthetical>(a little too fast)</parenthetical> <dialogue>He is not Yakuza.</dialogue> <scene_description>Logan's hit a nerve. Now he looks at Zen.</scene_description> <character>LOGAN</character> <dialogue>No... He's a Yashida.</dialogue> <character>ZEN</character> <dialogue>What... Makes you think that?</dialogue> <scene_description>Logan taps the side of his nose.</scene_description> <character>LOGAN</character> <dialogue>It always knows... Who is he. Zen?</dialogue> <character>ZEN</character> <dialogue>It's not important.</dialogue> <character>LOGAN</character> <dialogue>He tried to kill Mariko.</dialogue> <scene_description>Zen cannot believe his ears.</scene_description> <character>ZEN</character> <dialogue>What happened?</dialogue> <character>LOGAN</character> <dialogue>You scratch my back, bub...</dialogue> <character>ZEN</character> <parenthetical>(agitated)</parenthetical> <dialogue>I am not permitted to discuss the family with outsiders. I am bound by an oath to my master.</dialogue> <character>LOGAN</character> <dialogue>Your master is dead.</dialogue> <character>ZEN</character> <dialogue>My loyalty to him is not.</dialogue> <scene_description>Logan can see he's hurt Zen. He might even feel a little sorry. A little.</scene_description> <character>ZEN</character> <dialogue>Please. We must find Mariko. If you care at all about her you'll-</dialogue> <scene_description>Logan turns to the window, looking out over Tokyo. Now it is Zen who has hit a nerve. After a beat:</scene_description> <character>ZEN</character> <dialogue>I see... You have feelings for her.</dialogue> <character>LOGAN</character> <dialogue>I have feelings. I don't remember who they're for... But they fit nice on her.</dialogue> <character>ZEN</character> <dialogue>You must forget her.</dialogue> <character>LOGAN</character> <dialogue>She's about the only thing I can remember.</dialogue> <character>ZEN</character> <dialogue>I mean put her out of your mind.</dialogue> <character>LOGAN</character> <parenthetical>(facing Zen)</parenthetical> <dialogue>My mind? What makes you think I trust my mind, Zen? My mind is broken.</dialogue> <parenthetical>(points to his heart)</parenthetical> <dialogue>I trust this. This is never wrong. This never forgets. It goes where it wants... And when it gets there it stays... Forever.</dialogue> <parenthetical>(turning back to the window.)</parenthetical> <dialogue>I didn't ask for that. Anymore than I asked to be... what I am.</dialogue> <character>ZEN</character> <dialogue>I'm sorry, Logan. Truly. But even if she were not promised to another man, she could never be for you. She is noble blood. Sole heir to the House Yashida. You are.</dialogue> <character>LOGAN</character> <dialogue>Say it... Unworthy...</dialogue> <scene_description>Zen's silence tells him he is right. Logan nods bitterly, used to that sort of thing. He thinks, grabs his jacket, heads for the door.</scene_description> <character>LOGAN</character> <dialogue>I may not be worthy in the eyes of your precious family... But I can save it.</dialogue> <character>ZEN</character> <dialogue>Where are you going?</dialogue> <character>LOGAN</character> <dialogue>Someone wants to kill Mariko. And her father. Now they'll have to deal with me.</dialogue> <scene_description>And the door slams behind him, blending nicely with the sound of twelve hundred pounds of slapping fat.</scene_description> </scene> <scene> <stage_direction>INT. SUMO ARENA - DAY</stage_direction> <scene_description>The rippling back of a SUMO WRESTLER, his diapered back-side roaring toward us, feet scrambling for purchase. The wall of blubber flies over our head and WHAM - Lands like so much uncut Kobe at Logan's feet where he sits calmly puffing a cigar in the front row of a CHEERING, CHAIN SMOKING AUDIENCE. ON THE PLATFORM ABOVE, THE WINNING SUMO raises his arms in victory, flinging sweat. Logan blinks, rubs one eye, disgusted but cool. Then he looks over at: AN EXECUTIVE BOX containing a DOZEN MEN IN SHARK-SKIN SUITS and SUNGLASSES. Kurusawa's Goodfellas. The Mob. YAKUZA Rank is obvious, factoring age, body-language, amount of overall movement. The OLDEST MAN, mid-60s, sits dead center, motionless, with GOONS whispering in each ear. He is obviously the top dog. The Big Man. THE OYABUN Logan studies the box for a while then stands and heads that way. It takes a moment before he sense someone walking in step behind his right shoulder. He stops, turns, comes to face to face with: YUKIO</scene_description> <character>LOGAN</character> <dialogue>'The hell are you doing here?</dialogue> <character>YUKIO</character> <dialogue>I am your bodyguard.</dialogue> <character>LOGAN</character> <dialogue>My what?</dialogue> <character>YUKIO</character> <dialogue>Your bodyguard. Orders of Mr. Zen.</dialogue> <character>LOGAN</character> <dialogue>Go wait in the car.</dialogue> <scene_description>Yukio doesn't move. Logan sighs.</scene_description> <character>LOGAN</character> <dialogue>I don't have time to spar with you. Just follow me and keep your mouth shut, KATO.</dialogue> <character>YUKIO</character> <dialogue>Yukio.</dialogue> <character>LOGAN</character> <dialogue>I what?</dialogue> <character>YUKIO</character> <dialogue>Yukio. It's my name.</dialogue> <scene_description>Logan sighs, approaches the executive box. BODYGUARDS block his path. One tucks a hand in his jacket.</scene_description> <character>LOGAN</character> <dialogue>That hand comes back empty or I break it off, Cagney-hito.</dialogue> <character>BODYGUARD</character> <dialogue>\[Private party. Go round.\]</dialogue> <character>LOGAN</character> <dialogue>I want to talk to the Oyabun.</dialogue> <scene_description>The Bodyguards blanch - the very word should not be spoken. Logan points right at the top man.</scene_description> <character>LOGAN</character> <dialogue>Right there. The Oyabun. That's what they call him, right?</dialogue> <scene_description>The Oyabun does not react, even if every other Goon in the box does. The Bodyguards press close, one of them jabbing a gun in Logan's ribs.</scene_description> <character>LOGAN</character> <dialogue>You're going to have to eat with a fork when I'm done with you-</dialogue> <character>VOICE (O.S.)</character> <dialogue>YOU.</dialogue> <scene_description>Logan turns. A SLICK, LEAN GANGSTER, Japan's answer to Frank Sinatra, stands in the box, pointing at Logan. Over his shoulder, the Oyabun sits stone-like.</scene_description> <character>SINATRA</character> <dialogue>What is it you want?</dialogue> <character>LOGAN</character> <dialogue>I want to talk to your boss.</dialogue> <character>SINATRA</character> <dialogue>Why would he want to talk back?</dialogue> <character>LOGAN</character> <dialogue>'Cuz I'm the white devil killed three of his clowns the other day.</dialogue> <scene_description>Beat. Sinatra jerks his head to the two bodyguards.</scene_description> <character>SINATRA</character> <dialogue>\[Bring him around.\]</dialogue> <scene_description>They shove Logan and Yukio. Logan plays along.</scene_description> </scene> <scene> <stage_direction>INT. SUMO ARENA - BACKSTAGE CORRIDOR - DAY</stage_direction> <scene_description>Logan and Yukio are escorted down a long, narrow corridor lined with FAT, FAT MEN waiting to go on.</scene_description> <character>LOGAN</character> <dialogue>Like a drive-thru car-wash in here.</dialogue> <scene_description>Yukio cracks a smile. A door opens to REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - DAY</stage_direction> <scene_description>"Sinatra" stands, The Oyabun sits, motionless. The air is already thick with their cigarette smoke.</scene_description> <character>SINATRA</character> <dialogue>He clean?</dialogue> <scene_description>The Bodyguards nod. Sinatra nods back. The Bodyguards push Logan in, stop Yukio from following, and shut the door. Logan pulls a cigar.</scene_description> <character>LOGAN</character> <dialogue>Mind if I... you know what... I'll just breathe.</dialogue> <scene_description>He puts the cigar away.</scene_description> <character>SINATRA</character> <dialogue>You wanted to talk. Start talking.</dialogue> <character>LOGAN</character> <dialogue>Leave the Yashida family alone.</dialogue> <scene_description>Beat.</scene_description> <character>SINATRA</character> <dialogue>Is that the speech.</dialogue> <character>LOGAN</character> <dialogue>That's the speech. Anything happens to Shingen or his daughter, I'll skin your boss and turn him into a track-suit.</dialogue> <scene_description>Long pause. The Oyabun laughs. More of a bark, really. Then Sinatra laughs, genuinely amused.</scene_description> <character>SINATRA</character> <dialogue>The stones on this guy. How do you walk those stones? Sonkei.</dialogue> <scene_description>But Logan is not laughing.</scene_description> <character>SINATRA</character> <dialogue>Let me ask you something, Cowboy. Does The Oyabun look stupid to you?</dialogue> <character>LOGAN</character> <dialogue>Really?</dialogue> <character>SINATRA</character> <dialogue>Do you have any idea the heat we have on us right now? Do you have any idea the heat we would have it Shingen was dead? Does The Oyabun look like a man who likes heat? Asks for it? Sends button men to a funeral? In broad daylight? The Minister of Justice sitting there?</dialogue> <character>LOGAN</character> <dialogue>You're saying you didn't try to put a hit on Shingen's family?</dialogue> <character>SINATRA</character> <dialogue>We took a bid, sure. We don't run a tea shop. And the job was for Shingen only. No one else. The money was tempting too. But we turned it down.</dialogue> <character>LOGAN</character> <dialogue>Who was the bidder?</dialogue> <character>SINATRA</character> <dialogue>Hey, whoa. I don't know and I don't want to know. I'm management.</dialogue> <character>LOGAN</character> <dialogue>But you're sure those thugs weren't yours.</dialogue> <character>SINATRA</character> <dialogue>I didn't say that. I said we turned the job down. Couple-six guys from the outfit didn't hear so good. Took it on themselves to carry out an un-sanctioned hit. You can bet when the one you left alive gets out of the hospital he's gonna fall on a knife two-three times in jail. Going after a big fish like Shingen is just bad business. We leave jobs like that to The Black Clan.</dialogue> <scene_description>Beat. That name again.</scene_description> <character>LOGAN</character> <dialogue>What do you know about them?</dialogue> <character>SINATRA</character> <dialogue>I know not to ask... you start looking at The Clan, The Clan looks back... you follow? We're just Yakuza. We know our place...</dialogue> <scene_description>He lets that hang in the air a beat, then:</scene_description> <character>SINATRA</character> <dialogue>But listen. From me, on behalf of the Old Man here; Shingen and his family are protected. Off limits. As for you... The only reason you don't have a bullet in your eye right now is the Oyabun thinks you're funny. And he wanted to thank you personally.</dialogue> <character>LOGAN</character> <dialogue>Thank me?</dialogue> <character>SINATRA</character> <dialogue>If you hadn't killed our guys, they might've killed Shingen. Then we'd really be in the toilet. So hey... Cowboy. Arigato. And I mean Domo.</dialogue> <scene_description>The Oyabun stands, bows ever so slightly.</scene_description> <character>OYABUN</character> <dialogue>Domo arigato.</dialogue> <scene_description>He walks out, leaving Logan to wonder what the hell just happened. Sinatra follows, stopping at the door.</scene_description> <character>SINATRA</character> <dialogue>You need anything while you're in Tokyo, anything at all. You come see me.</dialogue> <parenthetical>(turns to leave, stops)</parenthetical> <dialogue>And uh... Just out of curiosity... Why do you think we'd want to kill Shingen, anyway.</dialogue> <character>LOGAN</character> <dialogue>Because he backs Noburo. And Noburo's cracking down on the Yakuza.</dialogue> <character>SINATRA</character> <dialogue>Crack-down?</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Do you see a crack-down anywhere? The cops arrest some low level guys, shut down a few strip-clubs, Noburo makes a speech. After the elections it's business as usual. You do it different in The States?</dialogue> <character>LOGAN</character> <dialogue>I'm Canadian.</dialogue> <character>SQUARE JAW</character> <dialogue>That's... unbelievable. Anyway it's all politics. Noburo's in our picket. Always has been. And we pay him very well... But, hey... Don't take my word for it. Ask him.</dialogue> <scene_description>Sinatra walks out, past the Bodyguards and Yukio. She smiles. Logan smiles. And slams the door in her face.</scene_description> </scene> <scene> <stage_direction>INT. SUMO ARENA - BACKSTAGE CORRIDOR - DAY</stage_direction> <scene_description>Yukio grabs the knob, hears the door lock. Shit. She steps back and with one kick, shatters the bolt.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - CONTINUOUS</stage_direction> <scene_description>The door slams open. No Logan. Yukio enters, sees a second door at the back of the room opening onto:</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - BEHIND ARENA - DAY</stage_direction> <scene_description>Trash cans one way, a crowded street in the other. Logan is gone.</scene_description> </scene> <scene> <stage_direction>EXT. STATE RESIDENCE - NIGHT</stage_direction> <scene_description>A far cry from the ancient Yashida Stronghold. This mountain-top estate is modern, with imposing iron gates, a moat, garish lights and ARMED SECURITY.</scene_description> </scene> <scene> <stage_direction>INT. STATE RESIDENCE - SECURITY STATION - NIGHT</stage_direction> <scene_description>MORE GUARDS watch security monitors - cameras covering nearly every square inch of the compound.</scene_description> </scene> <scene> <stage_direction>INT. STATE RESIDENCE - OFFICE - NIGHT</stage_direction> <scene_description>Noburo's Secretary, working late, types on a laptop, looking over the rims of those glasses. She doesn't see the shadow slide past the open door behind her...</scene_description> </scene> <scene> <stage_direction>INT. STATE RESIDENCE - NOBURO'S BEDROOM - NIGHT</stage_direction> <scene_description>Noburo is even pompous in his sleep. That is until: SCHANK - Three blades impale his pillow close enough to nick his earlobe. Noburo's eyes spring open, along with his mouth. Logan looms over him in nothing but jeans and a t-shirt, soaking wet, he came by moat. Noburo inhales to scream and: SCHLICK - A second set of claws spring forth, the middle blade gently resting on Noburo's tongue.</scene_description> <character>LOGAN</character> <dialogue>Shhhh. Don't want to wake the babe.</dialogue> <scene_description>Noburo glances to his left where a TRAMPY YOUNG WOMAN is sleeping, snoring slightly, a hand-cuff dangling from one wrist. One the floor we see an assortment of leather props and sundries. Noburo's a freak.</scene_description> <character>LOGAN</character> <dialogue>Tying up a few lose ends before the wedding?</dialogue> <scene_description>Noburo's eyes darken. Startled, but not scared.</scene_description> <character>LOGAN</character> <dialogue>The truth is a funny thing. Nobes. It always comes out. Always... I know about your deal with the Yakuza.</dialogue> <character>LOGAN</character> <dialogue>And when it comes to light, you'll bring disgrace on Mariko's family. Now as the House Yashida's self- appointed enforcer, I can't have that. So... tomorrow morning you'll make a formal announcement calling of the wedding. That, or I come back here and take out your tonsils... Through your forehead.</dialogue> <scene_description>SCHINK - His claws retract, leaving a hairline cut down the center of Noburo's tongue. Noburo laughs.</scene_description> <character>LOGAN</character> <dialogue>You need counselling, bub.</dialogue> <character>NOBURO</character> <dialogue>Me disgrace Mariko's family? I am the only thing standing between her and disgrace. The Old Man was a fool. How much money do you think was left after a lifetime wasted helping the sick and the poor? Where d you think Shingen's money comes from now? It's the first rule of money, gai-jin. Behind every green fortune... is a crime.</dialogue> <scene_description>Logan considers this, knowing it's unusually true.</scene_description> <character>NOBURO</character> <dialogue>And you're wrong about the truth. It doesn't have to come out, Not if you marry the man in charge of looking for it... TAKE HIM.</dialogue> <scene_description>Logan springs without looking half an instant before an arrow punches into the head-board directly over Noburo. A single drop of liquid drips from the shaft and onto Noburo's forehead. He screams as: Logan rolls and comes up on his feet. A second bold catches him between his neck and shoulder. It over-penetrates, exposing the narrow steel tip, Steaming poison drops from a hollow point. CLOSE ON: A mechanical, auto-loading compound crossbow swiftly prepping another shot. A pair of slender, GREEN GLOVED HANDS shoulder the crossbow to REVEAL THE FACE OF: NOBURO'S SECRETARY, no longer in her business-attire, but a skin-tight, backless green number, complete with a black gun-belt and boots. The butt of the cross- bow pushes back that sultry lock of hair to reveal a long, strangely appealing scar on her cheek. We liked her before. Now we'd gladly let her beat us to death. This is VIPER KA-SHUNK KA-SHUNK KA-SHUNK - The crossbow spits out bolts, two per second. Logan dodges, charges, closing the gap and hacking the crossbow in two. But, nimble minx that she is, Logan can't seem to catch Viper. In turn, she draws her pistol and fires, but she can't stand still long enough to place a shot. Logan's claws rake her forearm. She drops the gun but never makes a sound. She pulls a knife, deftly avoiding his claws. Logan catches her wrist, driving his claw deep into the wall, slamming his body into hers. She's pinned. Time stops. Logan and Viper are nose-to-nose now, breathing hard. She has the slightest smile. Logan looks at his forearm, marked with a single superficial cut one that doesn't heal. Logan's P.O.V. of Viper's knife-hand, clutched in his. The blade gleams with a honey-like oil. Suddenly, his vision blurs. He instinctively glances at the crossbow bolt in his shoulder. Viper kisses him. Then heaves hard and kicks him back across the room. Logan staggers, wipes out an end- table, collapses. He grabs the cross-bow bolt. NOISES O.S. The sound of feet running up the stairs. Viper straddles Logan like a bull. She grabs him by the hair, pulls his head back and puts her knife to his pulsing jugular. LOGAN'S P.O.V. A bay window and darkness beyond. Logan roars, thrusting himself up, bucking Viper off his back and into a full-length mirror. At the same time he launches himself through the bay window...</scene_description> </scene> <scene> <stage_direction>EXT. STATE RESIDENCE - NIGHT</stage_direction> <scene_description>Crash - Down he falls, landing flat on his back with a sickening smack, sinking like a bleeding stone.</scene_description> </scene> <scene> <stage_direction>INT. NOBURO'S BEDROOM - NIGHT</stage_direction> <scene_description>The coast clear, Noburo leaps from his bed, a perfect pit burned into the center of his forehead. Viper gets up as SECURITY GUARDS charge in. They all rush to the window and look down at the settling water.</scene_description> <character>NOBURO</character> <dialogue>\[WHAT ARE YOU DOING JUST STANDING</dialogue> <character>HERE? FIND HIM.\]</character> <dialogue>The Guards rush out. Noburo's Trampy Mistress stirs, wakes up. She looks at the wrecked room, the smashed window, Viper in her green get-up. She rubs her eyes.</dialogue> <character>TRAMP</character> <dialogue>\[this is too much even for me.\]</dialogue> <scene_description>Viper picks up the bolt Logan pulled from his shoulder, studying traces of his blood. Fascinated.</scene_description> </scene> <scene> <stage_direction>EXT. STATE RESIDENCE - NIGHT</stage_direction> <scene_description>In the distance, SECURITY GUARDS search the inner bank of the moat with dogs and flashlights. Now floodlights are coming on. An alarm wails. IN THE FOREGROUND: Logan emerges from the moat, trembling, pale and weak. The wounds on his arm and shoulder are welted and purple. One by one, the flashlights turn this way. VOICES SHOUTING. DOGS BARKING. Then GUNSHOTS. This whole thing is going to hell fast. Logan plunges into a nearby line of trees and-</scene_description> </scene> <scene> <stage_direction>EXT. STATE RESIDENCE - CAR-PARK - NIGHT</stage_direction> <scene_description>-emerges at the top of a high garden wall overlooking the long driveway, bullets nipping the foliage behind him. He falls, landing on his head. Lying there he spies a row of vehicles with government insignias. Noburo's.</scene_description> </scene> <scene> <stage_direction>INT. GUARD HOUSE - SECURITY GATE - NIGHT</stage_direction> <scene_description>A heavy steel security gate just outside. TWO GUARDS load rifles. There is too much traffic on the radios to make sense of what's going on.</scene_description> <character>1ST GUARD</character> <dialogue>\[What is it? What are they saying?\]</dialogue> <character>2ND GUARD</character> <dialogue>\[An intruder at the house, I th-\]</dialogue> <scene_description>WHAM - a heavy Bentley sedan blasts through the gate behind them. The Guards are still staring when FOUR GUARD VEHICLES come roaring after it.</scene_description> <character>1ST GUARD</character> <dialogue>\[Was that the Boss' car?\]</dialogue> <scene_description>The sound of screaming rubber takes us to:</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN RAODS ABOVE TOKYO - NIGHT</stage_direction> <scene_description>The Bentley roars past, winding along the narrow cliff-side roads, fishtailing wildly.</scene_description> </scene> <scene> <stage_direction>EXT. BENTLEY - NIGHT</stage_direction> <scene_description>Logan navigates treacherous roads, struggling to stay conscious, vision blurring badly. Through the window behind him we see the cars in pursuit, vanishing and appearing again with every hairpin turn.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINSIDE - NIGHT</stage_direction> <scene_description>The Bentley and the four security vehicles whip past. We linger, turning and looking down the mountain at: DOZENS OF FLASHING LIGHTS. POLICE CARS coming.</scene_description> </scene> <scene> <stage_direction>INT. BENTLEY - NIGHT</stage_direction> <scene_description>LOGAN'S P.O.V. The dashboard is a blur, the road alternates from serpentine to hallucinatory serpent. PA-KACK - His brow furrows, annoyed. He's being shot at. He punches the gas, yanks the wheel:</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINSIDE - NIGHT</stage_direction> <scene_description>And careens off the mountain road, down a steep rocky slope, banging off trees and- Smash - landing hard on the same road, just lower down the mountain. Logan's idea of a shortcut.</scene_description> </scene> <scene> <stage_direction>INT. SECURITY VEHICLE - NIGHT</stage_direction> <scene_description>TWO SECURITY MEN see the Bentley's tail-lights vanish around a curve. The DRIVER guns it, gaining speed. The road ahead narrows, enters a dark tunnel and: TAIL-LIGHTS APPEAR. The Bentley is stopped. The Driver hits the breaks, tires wailing and</scene_description> </scene> <scene> <stage_direction>INT. BENTLEY - NIGHT</stage_direction> <scene_description>Logan leans back in his seat as WHAM-WHAM-WHAM... WHAM - All four pursuing cars pile up into the Bentley's ass-end. A moment later: A FLEET OF POLICE CARS come screaming up the road from the opposing direction. Logan shields his eyes. Twelve police cars smash into the Bentley's grill.</scene_description> </scene> <scene> <stage_direction>EXT. TUNNEL - NIGHT</stage_direction> <scene_description>Dazed and battered COPS and SECURITY PEOPLE stagger out of their smashed vehicles. The Bentley is crushed to about five feet long. And empty.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINSIDE - NIGHT</stage_direction> <scene_description>ABOVE US, steaming engines and shouting men. BELOW US, Logan lets gravity carry him staggering down the mountain toward the distant city lights.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF TOKYO - NIGHT</stage_direction> <scene_description>Logan drags himself toward the hotel, stopping when a massive outdoor TV screen shows a familiar face: HIS OWN The news is covering a home invasion at the residence of the Minister of Justice. Just then, POLICE CARS drive up to the Hotel and a dozen police jump out. Logan slinks into the shadows - a fugitive now.</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO BACK-ALLEY - NIGHT</stage_direction> <scene_description>Agonized, trembling, he huddles between two dumpsters, fading in and out of consciousness. ACROSS THE ALLEY: Bright lights blaze through the floor-to-ceilings windows of a clean white room. Inside, MEN IN WHITE KARATE GI'S all black-belts practice champion-level martial arts. This is not a school about show. These guys play for keeps, honing their skills with open hand knives, swords staffs. Logan stares at tis absently until his eyes go. BLACK No sound. A bright flash. Sparks. A liquid casket. Red-hot molten metal, an explosion of steam. Logan's dreams mix with semi waking reality in feverish delirium images of war and anguish blend with the increasingly intense fighting of the martial artists. THAT WOMAN walks down a long, windswept beach - then her limp body in Logan's arms. Then the Young Soldier in the Jungle, nodding to him, running away to live another day. Then Noburo. Mariko. Shingen...</scene_description> <character>NOBURO (V.O.)</character> <dialogue>Behind every great fortune... is a crime.</dialogue> <scene_description>Logan opens his eyes to the blaring of car horns, the noise of traffic and blinding sunlight. We are:</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO BACK-ALLEY - DAY</stage_direction> <scene_description>His wounds have closed, but they have not fully healed. In fact, they look almost... human. The martial arts school is empty. Maybe it always was. Logan stands, a determined look in his eye. He walks out of the alley, through the dense foot traffic and into the street. A horn blares, breaks shriek, a truck skids to a stop, just missing him. Logan ignores it, keeps walking. A TRUCK DRIVER screaming at him from behind the wheel. We notice a name emblazoned across the truck's container: YASHIDA</scene_description> </scene> <scene> <stage_direction>EXT. SHIPYARD - DAY</stage_direction> <scene_description>MATCH FRAME to an identical container. PULL BACK SLOWLY TO REVEAL another and another... then thousands more. PULL BACK WIDE TO REVEAL: The Port of Agarashima. ANGLE ON: A chain link fence torn asunder by six adamantium claws and Logan, walking with purpose.</scene_description> </scene> <scene> <stage_direction>EXT. SHIPYARD - DAY</stage_direction> <scene_description>He breathes slow and deep through his nose, walking through row after row of shipping containers. In the distance, cranes off-load and upload hundreds more per minute, to and from ships of all nations. He stops, follows his nose to one container in particular. He scowls. SCHINK - He slashes the lock on the container, prying open the rusty doors to REVEAL: DIAPERS. Cases and cases of diapers. He slashes a box at random TO REVEAL: Tightly bound two-kilo plastic bundles. He slashes one and precious white powder scatters in the wind.</scene_description> </scene> <scene> <stage_direction>INT. SHIPPING CONTAINERS - VARIOUS - DAY</stage_direction> <scene_description>Logan rips opens one container after another, smashing and slashing the packaging of everyday goods inside to expose the contraband they hide. Rifles, rocket launchers, grenades, mines. And: Steel drums. All painted drab green, all marked with the unmistakable symbol: Nuclear waste. Logan's disgust boils into rage, his gaze shifting to the name emblazoned on the side of the container: Yashida And the sound of a ringing phone takes us to:</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - SHINGEN'S OFFICE - DAY</stage_direction> <scene_description>Looking down on the distant port from the wall-to- wall window. We can see the flashing lights of police cars and fire trucks. Helicopters hover. PULL BACK TO REVEAL: Shingen, watching, motionless for a long time. Finally, he picks up the phone.</scene_description> <character>SHINGEN</character> <dialogue>Yes... yes, I am looking at it right now... Yes... Thank you.</dialogue> <parenthetical>(he hangs up)</parenthetical> <dialogue>You understand this family has holdings in hundreds of businesses in dozens of countries - one fraction of one tenth of one percent of which is a majority ownership in a company that rents out... shipping containers.</dialogue> <scene_description>PULLS BACK FURTHER TO REVEAL: logan, standing in front of Shingen's desk - a nervous Zen just behind him.</scene_description> <character>LOGAN</character> <dialogue>Well, right now the police are impounding twelve of them thanks to an anonymous tip.</dialogue> <character>SHINGEN</character> <dialogue>We own the containers. Not... what is in them.</dialogue> <character>LOGAN</character> <dialogue>Which is just what Noburo's Justice Department will conclude for you. Right after the wedding tomorrow.</dialogue> <character>ZEN</character> <dialogue>Logan, do you have any idea the seriousness of this allegation?</dialogue> <character>SHINGEN</character> <dialogue>You would do well to keep your mouth shut, Zen. As far as I am concerned, you are responsible for this...man even being-</dialogue> <scene_description>Shingen freezes, looking past Logan and Zen. Zen turns and freezes as well. Logan just inhales.</scene_description> <character>LOGAN</character> <dialogue>Hello, Mariko.</dialogue> <scene_description>She stands in the doorway, a blank look on her face.</scene_description> <character>SHINGEN</character> <dialogue>How long have you been standing th-</dialogue> <character>LOGAN</character> <dialogue>Long enough.</dialogue> <character>MARIKO</character> <dialogue>Is it true what Logan says?</dialogue> <character>SHINGEN</character> <dialogue>Absolutely not. Logan has twisted lies and circumstantial evidence to fit his predetermined conclusion. All In misguided attempt to fulfill some cryptic bargain he had with your grandfather.</dialogue> <scene_description>Shingen opens his desk drawer, pulls out a stack of legal paper and throws it on the desk.</scene_description> <character>SHINGEN</character> <dialogue>It's all there in his will.</dialogue> <parenthetical>(to Zen)</parenthetical> <dialogue>What is this thing my grandfather left him? Give it to this gai-jin so he can leave us in peace.</dialogue> <character>ZEN</character> <dialogue>Lord Shingen, your father's will was explicit-</dialogue> <character>SHINGEN</character> <dialogue>Explicit? 'Honor the gift that was given to you?' Honor, he says.</dialogue> <parenthetical>(to Logan)</parenthetical> <dialogue>As if you knew the meaning of the word.</dialogue> <character>LOGAN</character> <dialogue>We're not here to talk about my honor.</dialogue> <character>SHINGEN</character> <dialogue>YOU HAVE NO HONOR. You have impugned my family's name.</dialogue> <character>SHINGEN</character> <dialogue>You have publicly implicated one of Japan's oldest families in a crime. You. A fugitive.</dialogue> <character>MARIKO</character> <dialogue>What is this?</dialogue> <character>SHINGEN</character> <dialogue>He broke into Noburo's home last night and assaulted him. Then he attacked his secretary.</dialogue> <scene_description>Zen and Mariko both look at Logan in shock.</scene_description> <character>MARIKO</character> <dialogue>Is this true?</dialogue> <character>LOGAN</character> <dialogue>Not the way he tells it.</dialogue> <scene_description>Wrong answer. Zen bows his head. Mariko's hand goes to her lips, stunned.</scene_description> <character>LOGAN</character> <dialogue>Mariko, your father is using you.</dialogue> <character>ZEN</character> <dialogue>For God's sake, Logan, hold your tongue.</dialogue> <character>LOGAN</character> <dialogue>He's corrupted your grandfather's legacy for profit and he's selling you to the Minister of Justice for protection.</dialogue> <character>SHINGEN</character> <dialogue>How dare you?</dialogue> <character>LOGAN</character> <dialogue>Okay, say I'm wrong. D you love him? Do you love Noburo?</dialogue> <scene_description>He speaks to feelings she can never openly admit. She struggles to remind herself:</scene_description> <character>MARIKO</character> <dialogue>I... Have a duty to my family.</dialogue> <character>LOGAN</character> <dialogue>That's not what I asked. I asked if you love him.</dialogue> <scene_description>He asks as much for himself as he does for her. Mariko looks down.</scene_description> <character>SHINGEN</character> <dialogue>I am her father. She is my heir.</dialogue> <character>LOGAN</character> <dialogue>I'm not talking to you, I'm talking to her.</dialogue> <scene_description>Logan never takes his eyes off of Mariko. She struggles to answer him, tears in her eyes.</scene_description> <character>LOGAN</character> <dialogue>Mariko... Just tell me you love him and I'll go. Otherwise you're serving a lie. His lie. You give yourself over to noth-</dialogue> <character>MARIKO</character> <dialogue>FATHER-</dialogue> <character>ZEN</character> <dialogue>LOGAN.</dialogue> <scene_description>WHACK - Logan staggers from a blow to his neck. A blow that would kill any other man. He lands on his hands and knees, a bruise swelling, not fading. Shingen stands over him holding two wooden swords. He lets one drop to the carpet.</scene_description> <character>SHINGEN</character> <dialogue>Defend yourself.</dialogue> <character>LOGAN</character> <dialogue>Afraid to use a real blade?</dialogue> <character>SHINGEN</character> <dialogue>The wood is not for my protection, Logan-san.</dialogue> <scene_description>Shingen strikes Logan rolls, grabs the sword and springs to his feet. Zen pulls Mariko out of the way. Shingen attacks with the speed and ferocity of a man twenty years his junior. Logan is in immediate retreat, doing more blocking with his body than his blade. The duel carries them into:</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - LIVINGROOM - DAY</stage_direction> <scene_description>Where the destruction is wholesale. Furniture, china, windows, art. Nothing is spared as the two men go head-to-head, sword-to-sword. Shingen is an artisan. Logan is a brute. And the brute is losing. But a strange thing is taking place. For all the pain he suffers, Logan's focus on Shingen is unwavering - the way he moves, the way he attacks. LOGAN'S P.O.V. Shingen in slow motion, the looseness of his wrists, his grip on the sword. CLOSE ON: Logan's hands as they adjust, relax, learn. Shingen attacks again. With each strike, Logan becomes stronger, faster, more adept. And then: WHACK - Logan's sword catches Shingen in the ribs, sending him back hopping on one foot. Real pain.</scene_description> <character>LOGAN</character> <dialogue>They made me a quick study, old man. Keep it coming.</dialogue> <scene_description>Shingen focuses, attacks. The speed of swords increases, the bone-jarring impact decrease. Soon, the blades are a blur and neither man seems able to strike the other until: WHACK - Another strike snaps Logan's sword in half. WHACK - Shingen hits him in the ribs. Logan backs up, defenseless. Shingen presses the fight. Logan blocks the wooden blade with his forearms, taking the pain. WHACK - Shingen catches Logan in the jaw. Logan struggles to stay on his feet. He'd love to kill Shingen, only Mariko's presence holds him back.</scene_description> <character>SHINGEN</character> <dialogue>He is not human, Mariko. You saw that for yourself. What you have not seen is the true nature of the beast.</dialogue> <scene_description>WHACK - Mariko cries out. Zen cannot bear to look.</scene_description> <character>SHINGEN</character> <dialogue>He is determined to hide his true self from you.</dialogue> <character>(WHACK)</character> <dialogue>But I-</dialogue> <character>(WHACK)</character> <dialogue>Will bring it-</dialogue> <character>(WHACK)</character> <dialogue>OUT.</dialogue> <scene_description>Shingen swings with everything he has for Logan's neck and: SCHINK-WHACK - Logan's claws hack Shingen's sword in two. He grabs Shingen by the throat, driving him into winding up to drive them home when:</scene_description> <character>MARIKO</character> <dialogue>LOGAN.</dialogue> <scene_description>Time stops, Logan is suspended in a state of pure rage, unable to back down, unable to finish. He sees the look of horror in her eyes - sees what she sees in him now. Shingen sees it too. But he is too cool to smile or gloat. Instead:</scene_description> <character>SHINGEN</character> <dialogue>I give you... the beast.</dialogue> <scene_description>Logan seems to melt back into something more human, claws retracting slowly, his grip on Shingen loosening. And with the melting comes devastation.</scene_description> <character>SHINGEN</character> <dialogue>Out of respect for my father, I will give you the opportunity to leave Japan. Tonight.</dialogue> <scene_description>Logan ignores this, turning to:</scene_description> <character>LOGAN</character> <dialogue>Mariko-</dialogue> <character>MARIKO</character> <dialogue>Leave... Please... Leave this house and never return.</dialogue> <scene_description>Crushed, Logan walks out. When he is gone, Shingen turns angrily to Zen.</scene_description> <character>SHINGEN</character> <dialogue>What is this thing my father left him in his will? And where is it?</dialogue> <character>ZEN</character> <dialogue>Wit hall respect, your father instructed that only Logan-</dialogue> <character>SHINGEN</character> <dialogue>MY FATHER IS DEAD. I AM YOUR MASTER</dialogue> <character>NOW YOU WILL ANSWER TO ME.</character> <dialogue>ZEN</dialogue> <parenthetical>(trembling with anger)</parenthetical> <dialogue>Your father lives...</dialogue> <character>ZEN</character> <dialogue>So long as I honor him. Under pain of death I will not answer.</dialogue> <character>SHINGEN</character> <dialogue>Death and pain... are two very different things, Zen.</dialogue> <scene_description>And the way he says it chills Zen's blood. Then:</scene_description> <character>SHINGEN</character> <dialogue>You are discharged. Leave this house at once.</dialogue> <character>MARIKO</character> <dialogue>Father-</dialogue> <scene_description>Shingen silences her with a look. With tears in his eyes, Zen bows to Shingen, then Mariko and leaves as: A bell tolls long and slow, over and over, deep and resonant. A ring to inspire a sense of mourning.</scene_description> </scene> <scene> <stage_direction>INT./EXT. BUDDIST TEMPLE - DAY</stage_direction> <scene_description>Cherry blossoms fall like snow as Shingen escorts Mariko resplendent in generations-old bridal regalia - up the stairs of an ancient pagoda. At the top of the stairs, Noburo waits in black tails and white gloves,looking like an emperor penguin. CLOSE ON: Mariko, reaching deep down inside of herself for strength, her soul falling with every step closer to her husband-to-be...</scene_description> </scene> <scene> <stage_direction>EXT. BUDDIST TEMPLE GATE - DAY</stage_direction> <scene_description>WEDDING GUESTS wave as Mariko and Noburo depart in black horse-drawn carriage. A fairy-tale nightmare. PULL BACK TO REVEAL: Logan, standing in a grove of softly molting cherry trees, watching the carriage leave, his eyes betraying unbearable anguish. PULL BACK FURTHER TO REVEAL: Yukio, behind the wheel of a limousine in a long line of same. Her cat-like eyes peer over her sunglasses at Logan. CLOSE ON: Mariko in the carriage, sitting stone-like slightly dazed. Noburo gently pats her hand, patronizing, cold. Neither of them notice: KENUICHIO, that angry young man from the funeral, standing unnoticed by the temple wall, glowering at the departing carriage. Death in his eyes. Then: CLOSE ON: A stack of thin paper - at least one thousand pages - a familiar, crisp, typewriter paper, yellowed with age. A pair of hands picks up the stack and turns it over. The top sheet reads: PROJECT: WOLVERINE Followed by dense military jargon. PULL BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. HUMBLE APARTMENT - NIGHT</stage_direction> <scene_description>Small, sparsely furnished. A SMALL SHRINE in the corner features a portrait of OLD MAN YASHIDA. It's just the sort of place you would expect Zen to live. ANGLE ON: A section of floorboard has been carefully pulled up, revealing a deep hole. Zen seals the contents of Project Wolverine in a metal box and places it in the hole before putting the floorboard back in place. It fits perfectly. He stands, brushes dust off his hands and: WHAM - He flinches as the door bursts open. Viper stalks in, followed a beat later by Shingen. Zen Is confused to see them together.</scene_description> <character>SHINGEN</character> <parenthetical>(re: Viper)</parenthetical> <dialogue>My eyes, my ears... and occasionally... my teeth.</dialogue> <parenthetical>(shutting the door)</parenthetical> <dialogue>It is my daughter's wedding day, Zen. You did not send a gift.</dialogue> <scene_description>Zen takes a half-step back. CLOSE ON: The handle of a small knife on the desk behind Zen just a few paces away.</scene_description> <character>SHINGEN</character> <dialogue>This made me wonder if I had not... offended you somehow. I thought to myself, perhaps I have been too harsh with Zen.</dialogue> <scene_description>Zen's right hand drops to his side, just a short reach from the knife handle.</scene_description> <character>SHINGEN</character> <dialogue>Then another part of me thought... I have not been harsh enough.</dialogue> <character>ZEN</character> <dialogue>I know what you've come for, Lord Shingen. I thought I made myself clear; you cannot make me talk.</dialogue> <character>SHINGEN</character> <dialogue>No... I can't... But she can.</dialogue> <scene_description>Viper holds up a steel syringe, the five inch needle dripping thick amber liquid. Zen lunges for the knife, grabbing the handle just ask: THWACK - another knife pins his hand to the desk. Zen screams in pain. ANGLE ON: Shingen, frozen at the end of his throw, pleased with his marksmanship. He turns to Viper.</scene_description> <character>SHINGEN</character> <dialogue>By all means take your time.</dialogue> <scene_description>Viper smiles and moves toward Zen. We cover Zen's scream with the steam whistles and rattling steel of:</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO WATERFRONT - NIGHT</stage_direction> <scene_description>Not far from the rail-yards, the city itself is a distant gleam. We settle on a run-down bar.</scene_description> </scene> <scene> <stage_direction>INT. RUN-DOWN BAR - NIGHT</stage_direction> <scene_description>PATRONS stare in mute awe at the drinking prowess of: Logan, sitting at the bar wit ha single-shot glass and THREE EMPTY WHISKEY BOTTLES, HAMMERED OUT OF HIS MIND, BARELY ABLE TO SEE. As a fourth arrives, Logan takes cash from his pocket to pay, unaware of: EXTREME CLOSE UP ON: THE GRAY-GREEN PEARL dropping from the folded bills and bouncing down the bar. A WOMAN'S SLENDER HAND catches it. Meanwhile: CLOSE ON: Logan's shot-glass as he pours. Just as the whiskey reaches the brim, another shot-glass slides in next to his, pushing it aside and slowly filling. Logan looks up, letting his woozy eyes focus on: A STUNNING PARI OF CAT-LIKE EYES, under a hanging shock of otherwise closely-cropped hair. Yukio has trades her chauffeur's outfit for cargo pants and a tank-top showing off lean, hard arms.</scene_description> <character>YUKIO</character> <dialogue>Drinking to forget?</dialogue> <character>LOGAN</character> <dialogue>I don't remember.</dialogue> <character>YUKIO</character> <dialogue>You want me to leave you alone?</dialogue> <scene_description>Logan sizes her up, inhales deeply.</scene_description> <character>LOGAN</character> <dialogue>Eventually.</dialogue> <scene_description>And off her sly smile...</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - SHINGEN'S OFFICE - NIGHT</stage_direction> <scene_description>CLOSE ON: A FLY, crawling along the edge of Zen's metal box laying open on Shingen's desk. Inside is a single sheet of that thin typewriter paper. A hand reaches for it. The fly zips away. PULL BACK TO REVEAL: Shingen, the pages spread out on the desk - some dense with military jargon, others containing schematics, diagrams, eerie da Vinci-like sketches of dissected arms and legs. And claws. PROJECT: WOLVERINE Shingen sits back, contemplating what he has read, turning a silver letter opener on his fingers. Viper enters and sits, putting her feet on the desk.</scene_description> <character>VIPER</character> <dialogue>Well... what is it?</dialogue> <character>SHINGEN</character> <dialogue>It's his life. A life he can't remember. And several other lies they implanted to try and hide it.</dialogue> <character>VIPER</character> <dialogue>They...</dialogue> <scene_description>Shingen hands her a few pages. As she reads.</scene_description> <character>SHINGEN</character> <dialogue>Even if he could remember... he would never know what was truth and what was fiction. Not without this.</dialogue> <scene_description>He gestures to all of the paper on his desk.</scene_description> <character>VIPER</character> <dialogue>Does it tell you anything useful.</dialogue> <scene_description>Shingen holds up a finely detailed schematic - a densely rendered cut-away of Logan's body, complete with lines pointing to specific vitals.</scene_description> <character>SHINGEN</character> <dialogue>He's as easy to kill as any other man. One just needs to be precise.</dialogue> <scene_description>Shingen flings the letter opener and we hear it strike O.S. Viper turns to find the letter opener stuck in the doorjamb - impaling the fly.</scene_description> <character>VIPER</character> <dialogue>First you have to find him.</dialogue> <character>SHINGEN</character> <dialogue>You forget who I am... I know exactly where he is right now.</dialogue> <character>LOGAN (PRE-LAP)</character> <parenthetical>(singing)</parenthetical> <dialogue>You've got to get up, You've got to get up, You've got to get up in the moooooorning...</dialogue> </scene> <scene> <stage_direction>EXT. RAIL-YARD - NIGHT</stage_direction> <scene_description>Logan is hammered, taking a long pull of whiskey. Yukio is under his arm, propping him up as:</scene_description> <character>LOGAN</character> <dialogue>Some day I'm going to murder the bugler/Some day they're gonna find him dead/I'll amputate his reville/And step upon it heavily/ And spend the rest of my life in-</dialogue> <scene_description>Logan trips and falls, taking Yukio down with him. They land on hard gravel, laughing.</scene_description> <character>YUKIO</character> <dialogue>What is that from.</dialogue> <character>LOGAN</character> <dialogue>A war.</dialogue> <character>YUKIO</character> <dialogue>Which one?</dialogue> <scene_description>He realizes he can't recall.</scene_description> <character>LOGAN</character> <dialogue>You smell nice.</dialogue> <character>YUKIO</character> <dialogue>Car wax.</dialogue> <character>LOGAN</character> <dialogue>Gasoline, too. I like that.</dialogue> <character>YUKIO</character> <dialogue>A little dab behind each ear.</dialogue> <character>LOGAN</character> <dialogue>I'm hungry. Where can a guy find pizza in this town?</dialogue> <scene_description>She looks deep in his eyes, shaking her head.</scene_description> <character>LOGAN</character> <dialogue>Gotta be a decent pizza somewhere. You want some pizza?</dialogue> <character>YUKIO</character> <dialogue>Eventually.</dialogue> <scene_description>She kisses him. We notice the knife handle sticking out the back of Yukio's belt.</scene_description> <character>LOGAN</character> <dialogue>Marikommmm.</dialogue> <character>YUKIO</character> <dialogue>Yeah, okay.</dialogue> <scene_description>CLOSE ON: LOGAN'S EYE, springing open, realizing. He grabs Yukio and tries to roll over. She wraps her legs around him and pins him back, kissing him hard.</scene_description> <character>LOGAN</character> <dialogue>Get... off.</dialogue> <character>YUKIO</character> <dialogue>I'm trying.</dialogue> <scene_description>The harder he fights, the harder she digs in. Finally he grabs her by the throat, pushing her back. She looks down at him with a wild look in her eyes.</scene_description> <character>YUKIO</character> <dialogue>YES.</dialogue> <scene_description>Logan shoves her and they roll over as: AN EXPLOSION OF SOUND. A screaming wall of steel streaking past at two hundred miles per hour. Logan and Yukio have been making out between the rails of a bullet train. Yukio is laughing, Logan is yelling at her. We can't hear any of it until the train is gone:</scene_description> <character>LOGAN</character> <dialogue>-US BOTH KILLED.</dialogue> <character>YUKIO</character> <dialogue>Death is waiting for all of us. Might as well make it interesting.</dialogue> <scene_description>And she means it.</scene_description> <character>LOGAN</character> <dialogue>You're crazy.</dialogue> <character>YUKIO</character> <dialogue>And worth all the trouble.</dialogue> <scene_description>She kisses him again. He shoves her back, stands - wobbly, but sober from adrenaline. He walks away.</scene_description> <character>YUKIO</character> <dialogue>Where are you going?</dialogue> <character>LOGAN</character> <dialogue>Australia.</dialogue> <character>YUKIO</character> <dialogue>Aw. Come on. It was just getting-</dialogue> <scene_description>THUNK - Something clouts her on the side of the head and knocks her out. She falls without making a sound. ANGLE ON: Logan, calling back over his shoulder.</scene_description> <character>LOGAN</character> <dialogue>Look, you're a very nice girl. And by that I mean smokin' hot and completely out of your mind which has one very invigorating upside, b-</dialogue> <scene_description>He turns to finish and freezes. Yukio is gone - vanished - despite wide open space in any direction.</scene_description> <character>LOGAN</character> <dialogue>Yukio?</dialogue> <parenthetical>(tense beat)</parenthetical> <character>YUKI-</character> <dialogue>VVVVVVVP - An arrow pierces Logan's forearm. Where you might scream:</dialogue> <character>LOGAN</character> <dialogue>What the-</dialogue> <scene_description>VVVVVVVP - Another arrow through his other forearm. That hurt. He goes to grab it but his hand is pulled back. Each arrow is attached to a long, thin cord. Annoyed, he tries to extend his claws. But they extend only an inch or two. The arrows have disabled them. Suddenly Logan is stretched in two directions at once, the pain intensifying. VVVP-VVVP-VVVP - more arrows, more cords, more pain. Then A DOZEN FIGURES emerge from the darkness - MEN IN BACK KARATE GI'S, short hair slicked back and glistering skin died black as pitch.</scene_description> <character>LOGAN</character> <dialogue>You must be the Black Clan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That ink you have on? Hides your scent. Very clever.</dialogue> <scene_description>Each man draws a blade - nothing fancy. There are no flashy moves. No bullshit, showboat choreography these men are hunters. And Logan is a snared trophy.</scene_description> <character>LOGAN</character> <dialogue>Tell you what I'm gonna doe. Let me go now, and I'll leave you with some back teeth for chewing.</dialogue> <scene_description>But the keep coming.</scene_description> <character>LOGAN</character> <dialogue>Guys, guys guys. Seriously. I've been drinking. It makes me mean.</dialogue> <scene_description>Still they keep coming. Logan sighs.</scene_description> <character>LOGAN</character> <dialogue>Damn. This was a nice jacket, too.</dialogue> <scene_description>Despite the pain, Logan grabs the arrows by their heads and pulls them through his forearms. SCHINK - Then he cuts the cords before attacking the stunned Men of the Clan. They've seen a lot, but never that. But their amazement is short lived. Without a sound - not a scream, not a yell, not even the sound of feet on loose gravel - twenty-four men with swords attack: Meanwhile:</scene_description> </scene> <scene> <stage_direction>EXT. RAIL-YARD - ELSEWHERE - NIGHT</stage_direction> <scene_description>CLOSE ON: Yukio, a smear of blood on the side of her head, a bruise on her temple. Her eyes flutter open to the sound of clanging steel O.S. PULL BACK TO REVEAL: She is flat on the ground behind a railroad car, her hands bound behind her back. Instinctively they reach for the blade back there, finding only an empty sheath. She lays on her belly and contorts, her entire body curling backward until he heels nearly touch the small of her back. She pulls a three inch blade from her boot and slashes through her restraints. The she kicks off her boots, exposing something shiny in the lining. Meanwhile:</scene_description> </scene> <scene> <stage_direction>EXT. RAIL-YARD - NIGHT</stage_direction> <scene_description>Logan deliberately, literally, meets a blade head-on. CLANG - The sword has cleanly split the skin on Logna's forehead, but not his skull, much to the stunned bewilderment of the swordsman. Logan growls and his claws close in, pincer-fashion, on the swordsman. SCHLUNK - Logan's head heals as he catches the man's sword letting the body fall. He grips the sword in hands bristling with blades, cocking it like a bat.</scene_description> <character>LOGAN</character> <dialogue>Let it be said... I did warn you.</dialogue> <scene_description>He charges. They charge. Meanwhile: THWIP THWIP THWIP - Three of The Clan go down, clutching their necks. Yukio emerges from the darkness, her left fist full of scalpel-like knives. She snatches up a sword as she runs through the gap she's created, landing back-to-back with Logan.</scene_description> <character>LOGAN</character> <dialogue>Thought I'd lost you there.</dialogue> <character>YUKIO</character> <dialogue>And miss out on getting killed by The Black Clan? Never?</dialogue> <character>LOGAN</character> <dialogue>I preferred the bullet-train.</dialogue> <character>YUKIO</character> <dialogue>Are you asking me out?</dialogue> <character>LOGAN</character> <dialogue>Please try to focus.</dialogue> <scene_description>The Black Clan circles, studying, looking for a weakness. They nod to one another as if reading each other's minds. Creepy.</scene_description> <character>LOGAN</character> <dialogue>COME ON.</dialogue> <character>YUKIO</character> <dialogue>Hey man, if you're in a hurry...</dialogue> <scene_description>Yukio screams and attacks.</scene_description> <character>LOGAN</character> <dialogue>Chick's out of her mind.</dialogue> <scene_description>He goes after her - met halfway by two flailing swordsmen. He takes one out but the other drives a sword clean through his belly. Another swordsman attacks from behind, stabbing Logan through the back. Logan screams, grabs the blade of the swordsman in front of him and drives it through his own body, impaling the swordsman behind him. He grabs the swordsman in front of him and impales him on the blade protruding from his belly. We notice the swordsmen die with oddly peaceful expressions. Eerie. As they both fall, the man behind Logan takes his blade with him. The man in front leaves his sword in Logan's belly. He pulls it out and uses it to challenge all comers.</scene_description> <character>LOGAN</character> <dialogue>WHO'S NEXT. WHO IS NEXT. YOU?</dialogue> <scene_description>But no one will fight him. The Men of the Black Clan back away and drop to their knees, bow their heads. Stillness. Logan is woozy, neck bulging in severe pain. He collapses. Yukio kneels beside him - astonished as she watches his wounds slowly heal. Suddenly, A NEW MAN is there - wearing the same black clothes as the others but with no ink on his face. It is a placid, serene face. Young. Strong. But not a killer. More like a MONK. That's what we'll call him. As the Monk studies Logan, the surviving Men of the Black Clan nod, one by one, almost like a vote. The Monk kneels and places an object on Logan's chest. CLOSE ON: A SINGLE, BRILLIANT WHITE PEARL. The Monk stands and walks away as A DOZEN MORE CLAN emerge from the darkness, implying an inexhaustible supply. They gather the bodies of the dead and dying and vanish into the shadows. Not a single sound. Logan grabs the pearl in his bloody fist and tries to stand but can't. Yukio tries to help, but he is dead weight. She grabs him by his tattered leather jacket, dragging him along the gravel. Logan screams in pain. Yukio looks around: empty rail-yard as far as the eye can see - no sign of life, no help. It's a last cause, but she won't quit. She is walking backward, her pace slowing until she hits a wall of steel. She drops Logan, turns and comes face to face with: SILVER SAMURAI Bravely, Yukio grabs for a blade without thinking. Sadly, she isn't fast enough. FWACK BLACK No sound. A bright flash. Sparks. We are looking down at a vaguely human form submerged in a tank of water. But this is not Logan's dream... What emerges this time is shining metal, water sizzling off in sheets. Steam clears TO REVEAL: Armor. The tachyon-charged suit of Silver Samurai. Logan's eyes spring open. He sits up suddenly as: SCHINK - He readies to fight.</scene_description> <character>YUKIO</character> <dialogue>Wait-WAIT.</dialogue> <scene_description>Yukio rushes to him, grabbing his writs and gently urging him back. Logan's eyes focus on:</scene_description> </scene> <scene> <stage_direction>INT. FORGE - DAY</stage_direction> <scene_description>Part smelter, part loft apartment, part shrine to the lost code of Bushido, the Samurai's forge is where one imagines hell's blacksmith might kick back. Emerging from the steam, in a leather apron and no shirt, is Kenuichio, the Angry Young Man from the funeral and wedding. His only weapon: a cup of tea.</scene_description> <character>KENUICHIO</character> <dialogue>Drink.</dialogue> <character>YUKIO</character> <dialogue>This is Kenuichio. He's a friend.</dialogue> <scene_description>Logan spies a nice new bruise on Yukio's chin.</scene_description> <character>LOGAN</character> <dialogue>Your friend's give you that?</dialogue> <character>YUKIO</character> <dialogue>I might have tried to kill him a little. My blood was up.</dialogue> <character>LOGAN</character> <dialogue>We weren't exactly friends at the funeral, either.</dialogue> <character>KENUICHIO</character> <dialogue>My apologies. I thought you were trying to kidnap Mariko. Not save her life.</dialogue> <character>LOGAN</character> <dialogue>I understand. You were just looking out for your sister.</dialogue> <scene_description>Beat. As Logan takes the tea:</scene_description> <character>KENUICHIO</character> <dialogue>Half-sister. But how did you know?</dialogue> <character>LOGAN</character> <dialogue>I knew you were related to Shingen. I didn't know how until just now.</dialogue> <character>YUKIO</character> <dialogue>Lord Shingen... is your father?</dialogue> <character>KENUICHIO</character> <dialogue>Not according to Shingen... I don't mean to say he neglected me. He's given me money, education.</dialogue> <parenthetical>(gestures to the Forge)</parenthetical> <dialogue>Without knowing it, he's made all of this possible.</dialogue> <parenthetical>(face darkens)</parenthetical> <dialogue>But he will not see me. He will not even acknowledge that I exist.</dialogue> <character>YUKIO</character> <dialogue>Where's your mother?</dialogue> <character>KENUICHIO</character> <dialogue>She took her own life. The shame of having a bastard was...</dialogue> <scene_description>That's as far as Kenuichio can go without cracking. Yukio is genuinely touched by this.</scene_description> <character>LOGAN</character> <dialogue>Does Mariko know she has a brother?</dialogue> <character>KENUICHIO</character> <dialogue>No. But I watch over her. That is how you and I met.</dialogue> <character>LOGAN</character> <dialogue>And tonight you just happened to be out fora stroll at the rail-yard in your Sunday-go-to-meetin'</dialogue> <character>KENUICHIO</character> <dialogue>You have been marked by The Black Clan. I first sensed they were watching you at my Grandfather's funeral. I knew if I followed you, I would eventually find them.</dialogue> <character>LOGAN</character> <dialogue>An Assassin groupie. Very kinky.</dialogue> <parenthetical>(re: Yukio)</parenthetical> <dialogue>I'm not judging. She has a thing for getting run over by trains.</dialogue> <character>KENUICHIO</character> <parenthetical>(ignoring this)</parenthetical> <dialogue>I had hoped to find their master and challenge him. I wish to be Master of the Black Clan.</dialogue> <character>LOGAN</character> <dialogue>Not a doctor? The front end of a Cadillac, maybe?</dialogue> <character>KENUICHIO</character> <dialogue>Warlord, Samurai, Shogun. Prime Minister, Parliament, Emperor... These come and go. But The Clan is eternal. Undying. The true keepers of Japan's destiny. They believe that one man and one man alone must rule, bound only by his will. Not politics or popular opinion. And at his command, they gently steer Japan through the ocean of time.</dialogue> <character>YUKIO</character> <dialogue>Removing those who would stand in her way.</dialogue> <character>LOGAN</character> <dialogue>So... they're fascists.</dialogue> <character>KENUICHIO</character> <dialogue>They tend to soil, prune the tree. Without sentiment or sympathy.</dialogue> <scene_description>Logan and Yukio share a look, Kenuichio clearly gets it even if they don't.</scene_description> <character>LOGAN</character> <dialogue>Wow... Okay. Uh... Digest that later, right now bigger fish to fry. Being as I'm marked for death and you seem to be the guy to ask, who is the Master of the Clan?</dialogue> <character>KENUICHIO</character> <dialogue>Was.</dialogue> <character>LOGAN</character> <dialogue>Pardon?</dialogue> <character>KENUICHIO</character> <dialogue>Who was the Master? He is dead, as far as I can tell. But he must not have died in combat. This would mean The Black Clan are Ronin, now. Leaderless. There will be a contest to choose a new master from champions selected by The Clan.</dialogue> <character>LOGAN</character> <dialogue>And how do you know this?</dialogue> <character>KENUICHIO</character> <dialogue>Because you... have been chosen.</dialogue> <scene_description>Kenuichio holds up the white pearl left on Logan's body after his encounter with The Black Clan.</scene_description> <character>KENUICHIO</character> <dialogue>For as long as I can remember, I have dreamed of receiving such an honor. It is the mark of a true warrior. And now it is yours.</dialogue> <scene_description>Logan takes the simple pearl, suddenly imbued with intense symbolic power. After a beat:</scene_description> <character>LOGAN</character> <dialogue>So... what happens next?</dialogue> <character>KENUICHIO</character> <dialogue>You will kill or be killed.</dialogue> <parenthetical>(off Logan's look)</parenthetical> <dialogue>You have no choice in the matter. Your opponent will hunt you to the ends of the Earth to win the prize.</dialogue> <character>LOGAN</character> <dialogue>What if neither of us want to be Master?</dialogue> <character>KENUICHIO</character> <dialogue>You're saying you don't?</dialogue> <character>LOGAN</character> <dialogue>Well... I've got my thing. It's a big change, you know?</dialogue> <character>KENUICHIO</character> <dialogue>You hold immense power in your hand, Logan-san. A nation's destiny. The fate of millions. It is not to be taken lightly.</dialogue> <character>LOGAN</character> <dialogue>Yeah. No. Clearly not. Just out of curiosity, where does this leave us? You and me.</dialogue> <character>KENUICHIO</character> <dialogue>I will wait for the match to be decided. Then I will challenge the new Master. You understand this is in no way personal. I have great affection for you.</dialogue> <character>LOGAN</character> <dialogue>... Affection.</dialogue> <character>KENUICHIO</character> <dialogue>You saved the lives of my family.</dialogue> <scene_description>Yukio can't help but make a sound of sympathy in her throat. Logan shoots her a look: "Are you nuts?"</scene_description> <character>LOGAN</character> <dialogue>So... we're gonna go. Thanks for letting us freshen up and... I'll see you on the field of battle, I guess.</dialogue> <character>KENUICHIO</character> <dialogue>I look forward to it.</dialogue> <character>LOGAN</character> <dialogue>I'm sure you do.</dialogue> <parenthetical>(to Yukio)</parenthetical> <dialogue>Ready? Good. Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A remote section of industrial Tokyo's warehouse district. Desolate at night. Logan and Yukio step out as a massive steel door closes slowly behind them.</scene_description> <character>LOGAN</character> <dialogue>I'll say this... Lord Shingen has one messed-up family.</dialogue> <character>YUKIO</character> <dialogue>This matters to you?</dialogue> <character>LOGAN</character> <dialogue>It matters to Mariko. Her father's disgraced the family. And she's caught in the middle of it with no one to help her.</dialogue> <character>YUKIO</character> <dialogue>You have problems of your own right now. You're wanted by the police, not to mention the Black Clan-</dialogue> <character>LOGAN</character> <dialogue>That can wait. Right now I need to help Mariko. She needs to see that her father is her own worst enemy.</dialogue> <character>YUKIO</character> <dialogue>How can you prove that?</dialogue> <character>LOGAN</character> <dialogue>Somewhere in that third bottle of hooch my mind went back to the funeral - the men who tired to kill Shingen. Someone wanted him dead. Someone had a reason. My gut says that reason is the key to everything. If I could just find out who gave the order...</dialogue> <scene_description>But it's hopeless. Until:</scene_description> <character>YUKIO</character> <dialogue>When I'm lost... I go back to where things began.</dialogue> <scene_description>Logan considers this and nods.</scene_description> <character>LOGAN</character> <dialogue>You're right... You're absolutely right, Yukio.</dialogue> <parenthetical>(starts walking)</parenthetical> <dialogue>Thanks. I'll see you around.</dialogue> <character>YUKIO</character> <parenthetical>(going after him)</parenthetical> <dialogue>Where are you going?</dialogue> <character>LOGAN</character> <dialogue>To see a sick friend.</dialogue> <character>YUKIO</character> <dialogue>I'll go with you.</dialogue> <character>LOGAN</character> <dialogue>Not this again, please.</dialogue> <scene_description>She grabs his arm, stopping him.</scene_description> <character>YUKIO</character> <dialogue>I can help you.</dialogue> <character>LOGAN</character> <dialogue>Some people are gonna get hurt.</dialogue> <character>YUKIO</character> <dialogue>Then I can really help you.</dialogue> <character>LOGAN</character> <dialogue>What's Shingen giving you for following me?</dialogue> <scene_description>Her smile fades. She tries to play dumb until:</scene_description> <character>LOGAN</character> <dialogue>My bodyguard, Yukio? Come on.</dialogue> <scene_description>Awkward pause. Then Yukio caves.</scene_description> <character>YUKIO</character> <dialogue>I'm an orphan. Not even a half- blooded Japanese. Shingen promised to be my master. A servant of the House Yashida. Can you understand what that means?</dialogue> <character>LOGAN</character> <dialogue>It means you're a servant with better clothes.</dialogue> <character>YUKIO</character> <dialogue>He said you're a mindless killer - that you threatened his daughter. I can see now that he was lying. I can tell you're an honorable man.</dialogue> <scene_description>Logan scoffs. She drops to one knee.</scene_description> <character>YUKIO</character> <dialogue>I wish to serve you, Logan-san.</dialogue> <character>LOGAN</character> <dialogue>You wish to serve the next Master of the Black Clan, you mean.</dialogue> <scene_description>Yukio can't hide her wry grin.</scene_description> <character>YUKIO</character> <dialogue>This had also crossed my mind.</dialogue> <character>LOGAN</character> <dialogue>There won't be a death-match, Yukio. I'm not gonna be the Master of the Black Clan.</dialogue> <character>YUKIO</character> <dialogue>But you heard Kenuichio. You have no choice.</dialogue> <character>LOGAN</character> <dialogue>I never have a choice, That doesn't mean I have to play along.</dialogue> <scene_description>He turns and walks away. Again she follows.</scene_description> <character>YUKIO</character> <dialogue>Please. Logan-san. Take me with you.</dialogue> <character>LOGAN</character> <dialogue>Leave me alone.</dialogue> <character>YUKIO</character> <dialogue>I'll show you I am worth-</dialogue> <scene_description>He turns, showing enough rage to stop her cold.</scene_description> <character>LOGAN</character> <dialogue>Don't you get it. I want to be alone. I don't need you, I don't want you and certainly don't trust you. NOW GET LOST.</dialogue> <scene_description>Yukio recoils but stands her ground, her eyes filing with tears. He raises a hand and now she backs away.</scene_description> <character>LOGAN</character> <dialogue>GO.</dialogue> <character>YUKIO</character> <dialogue>I should have let them kill you.</dialogue> <scene_description>Yukio turns and runs. Only then do Logan's eyes betray his true feelings. He turns and heads the other way, disgusted with himself.</scene_description> </scene> <scene> <stage_direction>INT. FORGE - NIGHT</stage_direction> <scene_description>Kenuichio at the window, watching Yukio and Logan part ways.</scene_description> <character>VOICE (O.S.)</character> <dialogue>You should have killed him.</dialogue> <character>KENUICHIO</character> <dialogue>After the new Master is chosen.</dialogue> <scene_description>And from out of the darkness, Viper emerges to stand at his side, taking his hand.</scene_description> <character>VIPER</character> <dialogue>Do you think you can kill him?</dialogue> <character>KENUICHIO</character> <dialogue>With your help? It's certain. But first we deal with Mariko.</dialogue> <character>KENUICHIO</character> <dialogue>When she is dead, I will be Shingen's only child. He will have no choice but to recognize me as his sole heir.</dialogue> <scene_description>He looks around at the Forge with disgust.</scene_description> <character>KENUICHIO</character> <dialogue>Then, finally, I can emerge from the shadows and be called by my true name</dialogue> <character>VIPER</character> <dialogue>Kenuichio Yashida.</dialogue> <character>KENUICHIO</character> <parenthetical>(taking her in his arms)</parenthetical> <dialogue>And when the House Yashida and The Black Clan are gone... No one... No one... will ever ignore me again.</dialogue> <scene_description>They kiss. And as they do we MOVE IN CLOSE ON: A NEEDLE in Viper's hand. It pierces the back of his neck and he shivers. Whatever this concoction is, it works for him. He smiles, looking deep into her eyes.</scene_description> <character>VIPER</character> <dialogue>Never forget who you love. Never forget who you serve.</dialogue> <character>KENUICHIO</character> <dialogue>Never... Never.</dialogue> <scene_description>And they kiss again.</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO METROPOLITAN HOSPITAL - NIGHT</stage_direction> <scene_description>Est.</scene_description> </scene> <scene> <stage_direction>INT. TOKYO METROPOLITAN HOSPITAL - CORRIDOR - NIGHT</stage_direction> <scene_description>MOVE SLOWLY down a corridor toward TWO POLICE OFFICERS standing guard outside a private room. Quiet at this hour, save the sound of heart monitors, the faint chatter of nurses, the odd page on the PA. We linger long enough to get used to it. Then: A faint sound stirs the Cops from their thousand-yard stare. They share a look, wait. They hear it again. Ka-chunk Ka-chunk - Very far away. They open the door they are guarding and look into:</scene_description> </scene> <scene> <stage_direction>INT. TOKYO METROPOLITAN HOSPITAL - PRIVATE ROOM - NIGHT</stage_direction> <scene_description>A MAN lies in the only bed- a mass of tubes, casts and traction wires sucking air through a mask. Thanks to his distinctly ruddy complexion, we recognize: THE PIT-FACED THUG who cut Shingen at the funeral. The Cops share another look, shrug, close the door. Then we hear the sound again: Ka-chunk Ka-chunk Ka-chunk.</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO METROPOLITAN - TEN STORIES UP - NIGHT</stage_direction> <scene_description>THE SOURCE OF THE SOUND is Logan, legs dangling, sweating buckets, arms strained to the breaking point. All six claws are sunken into the brick facade of the hospital. After a brief rest, he tears the left claws out and drives them back in again - slowly scaling down the otherwise smooth wall- KA-CHUNK KA-CHUNK KA-CHUNK - until he finds himself dangling by the window he's looking for. He hangs from one hand and uses the other to slice the latch.</scene_description> </scene> <scene> <stage_direction>INT. TOKYO METROPOLITAN HOSPITAL - PRIVATE ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON: Pit-Face, his chest rising and falling as he struggles to breathe. A hand comes into frame and gently removes the oxygen mask from his face. Pit-Face gasps. His eyes open to find Logan looming.</scene_description> <character>LOGAN</character> <dialogue>Remember me?</dialogue> <scene_description>Pit-Face tires to speak, to call out. His hand reaches for the remote call button, but Logan takes it away without effort.</scene_description> <character>LOGAN</character> <dialogue>Easy. Eeeeeeasy.</dialogue> <scene_description>He puts the mask back in place and Pit-Face breathes, eyes fluttering with relief.</scene_description> <character>LOGAN</character> <dialogue>I was hoping to avoid bettering you but I'm fresh out of options. And I know you're supposed to be resting so I'll be brief. Who hired you to kill Shingen?</dialogue> <scene_description>Pit-Face manages a brave front, shakes his head.</scene_description> <character>LOGAN</character> <dialogue>I know, I know. The cops asked you a hundred times already and you told 'em you don't know nothin.' But - bein' they were cops - I'm willing to be they didn't say the magic word.</dialogue> <scene_description>Logan pulls the mask off again. Pit-Face' eyes widen, his heart monitor starts racing.</scene_description> <character>LOGAN</character> <dialogue>Please... Tell me who hired you to kill Shingen.</dialogue> <scene_description>SCHINK - Logan extends his claws to the tangle of tubes connecting Pit-Face to life, adding tension.</scene_description> <character>LOGAN</character> <dialogue>Pretty please....</dialogue> <scene_description>The heart monitor races faster, taking us to-</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT CORRIDOR - NIGHT</stage_direction> <scene_description>- where Logan emerges from the elevator. He compares the Japanese characters on the familiar business card in his hand to those on the name plates of each door. He finds the one he wants and notices the door is already ajar. He pushes it open and finds:</scene_description> </scene> <scene> <stage_direction>INT. HUMBLE APARTMENT - NIGHT</stage_direction> <scene_description>Zen lying on the floor - swollen purple track marks on his forearm. Logan rushes to him and kneels.</scene_description> <character>LOGAN</character> <dialogue>Zen. Ah, geeze... Zen. Who did this to you&gt;?</dialogue> <scene_description>Zen's eyes are slits, his voice a trembling whisper.</scene_description> <character>ZEN</character> <dialogue>Shingen.</dialogue> <scene_description>Logan notices a hole in the floorboards. Empty. Zen's eyes fill with tears.</scene_description> <character>ZEN</character> <dialogue>He took what... belongs to you. I tried to resist... drug... too strong... I failed you. So ashamed.</dialogue> <character>LOGAN</character> <dialogue>Zen... It was you that hired those men to kill Shingen, wasn't it?</dialogue> <scene_description>Zen tries to resist, then nods.</scene_description> <character>LOGAN</character> <dialogue>Why?</dialogue> <character>ZEN</character> <dialogue>Please...</dialogue> <character>LOGAN</character> <dialogue>Why?</dialogue> <character>ZEN</character> <dialogue>Shingen...ordered...me.</dialogue> <character>LOGAN</character> <dialogue>I don't understand. Shingen wanted the Yakuza to come after him?</dialogue> <scene_description>To his amazement, Zen manages a nod, exhaling. Spent.</scene_description> <character>LOGAN</character> <dialogue>Why?</dialogue> <character>ZEN</character> <dialogue>The Black... Black...</dialogue> <character>LOGAN</character> <dialogue>The Black Clan...</dialogue> <parenthetical>(thinks, realizes)</parenthetical> <dialogue>He needed to prove himself in combat... Is that it? Shingen wants to be chosen. He wants to be the new Master of the Black Clan. He had to fight those men to prove himself worthy.</dialogue> <scene_description>Zen nods. Logan shakes his head bitterly.</scene_description> <character>LOGAN</character> <dialogue>And I helped him...</dialogue> <parenthetical>(things a beat)</parenthetical> <dialogue>What else haven't you told me?</dialogue> <character>ZEN</character> <dialogue>Please... No more... I swore an oath... To my master.</dialogue> <character>LOGAN</character> <dialogue>Well now you're gonna break it. The Old Man brought me here for a reason, Zen. What is it? Tell me?</dialogue> <scene_description>Zen's eyes drift to the Old Man's portrait.</scene_description> <character>ZEN</character> <dialogue>First you must remember... He was a good man... an honorable man...</dialogue> <character>LOGAN</character> <dialogue>Sure... And then what happened?</dialogue> <character>ZEN</character> <dialogue>Years ago... Master of the Black Clan... wanted war... Killed those... in his way... Yashida came home... Japan destroyed... angry... heartbroken... Yashida went looking... for Master of the Clan.</dialogue> <scene_description>PUSH IN ON the portrait as Zen takes Logan back and:</scene_description> <character>SHINGEN (PRE-LAP)</character> <dialogue>What do you mean you lost him?</dialogue> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - SHINGEN'S OFFICE - NIGHT</stage_direction> <scene_description>SLAP - Yukio takes five across the eyes from Shingen, bravely straightening up for another.</scene_description> <character>YUKIO</character> <dialogue>I did as you instructed. I seduced him. I tried to learn his intentions. But we were attacked.</dialogue> <character>SHINGEN</character> <dialogue>Attacked. Attacked by whom?</dialogue> <character>YUKIO</character> <dialogue>The Black Clan.</dialogue> <scene_description>SMACK - Shingen backhands her with such force Yukio drops to her hands and knees, blood trickling from her mouth. Her eyes darken: "That does it." We stay CLOSE ON her face as Shingen paces above her.</scene_description> <character>SHINGEN</character> <dialogue>Idiot. If it were The Black Clan you would not be here.</dialogue> <character>YUKIO</character> <dialogue>They could've killed us, I'm sure.</dialogue> <parenthetical>(pausing for effect)</parenthetical> <dialogue>Instead they gave him a gift.</dialogue> <character>SHINGEN</character> <parenthetical>(stops pacing)</parenthetical> <dialogue>What... kind of gift.?</dialogue> <scene_description>Yukio smiles to herself. She's got his full attention now. With her voice she continues to play fearful.</scene_description> <character>YUKIO</character> <dialogue>A pearl. A single white pearl. Perhaps it has symbolic meaning.</dialogue> <scene_description>CLOSE ON: Shingen unable to hide a mix of emotions.</scene_description> <character>SHINGEN</character> <dialogue>What did Logan think it meant?</dialogue> <scene_description>Yukio hesitates, weighing her loyalties.</scene_description> <character>SHINGEN</character> <dialogue>STAND AND SPEAK.</dialogue> <character>YUKIO</character> <parenthetical>(standing)</parenthetical> <dialogue>He... he thought it was a peace offering. A sign of surrender.</dialogue> <character>SHINGEN</character> <dialogue>Arrogant fool.</dialogue> <character>YUKIO</character> <dialogue>Then he became angry. He accused me of betraying him,. Of leading him into an ambush.</dialogue> <parenthetical>(pointing to her bruised temple)</parenthetical> <dialogue>That's when he struck me. When I woke up, he was gone.</dialogue> <scene_description>Long, tense moment. She studies him as he states into space, wondering if he's buying any of this. Finally.</scene_description> <character>SHINGEN</character> <dialogue>Logan is an animal. As I said.</dialogue> <character>YUKIO</character> <dialogue>Yes. As you said, Lord Shingen.</dialogue> <scene_description>Shingen snaps out of his thoughts, locking eyes on Yukio now. Does he know she's lying? Tense pause.</scene_description> <character>SHINGEN</character> <dialogue>You may call me Master.</dialogue> <scene_description>Yukio is stunned. Deep emotions well up inside her.</scene_description> <character>YUKIO</character> <dialogue>... Master?</dialogue> <scene_description>He puts a hand on her shoulder. She flinches, then looks at his hand, aching for a father. But this one?</scene_description> <character>SHINGEN</character> <dialogue>This information is of great value. You have done well, Yukio. You are now a servant of the House Yashida.</dialogue> <scene_description>Stunned, conflicted, Yukio bows.</scene_description> <character>YUKIO</character> <dialogue>Domo arigato, Sama.</dialogue> <scene_description>Shingen waves her away. She backs out of the room, wiping tears from her eyes. When she is gone, Shingen turns to face the window, his reflection a specter over the whole of the port city below.</scene_description> <character>SHINGEN</character> <dialogue>Him... They chose him. How could he be worthy and not I? How could-</dialogue> <scene_description>SCHINK - Three blades appear across his throat - the top one pressing tightly against his jugular. Shingen does not dare to move. But he shows no fear. HE studies the blades in his reflection as they slowly, silently retract. To our confusion, the top and bottom blades retract left-to-right. The middle blade retracts right to left. Shingen turns to face: THE MONK and TWO MEN OF THE BLACK CLAN, each holding one knife - the blades he thought were Logan's</scene_description> <character>SHINGEN</character> <dialogue>I... have been expecting you.</dialogue> <scene_description>The Monk throws a punch, his fist stopping just a hair from Shingen's nose. Shingen doesn't blink. The two men behind the Monk nod. He nods in return. He turns his fist over and opens it TO REVEAL: A SINGLE, BRILLIANT WHITE PEARL. Shingen inhales ever so slightly - the closest thing to a bridal-gown gasp he'll ever produce. He extends a hand. The Monk drops the pearl in Shingen's palm. Shingen's eyes follow it.</scene_description> <character>SHINGEN</character> <dialogue>I am most deeply humbled by the-</dialogue> <scene_description>But when he looks up, the Monk and his cohorts are gone. Shingen looks down at the pearl greedily.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Master. I-</dialogue> <scene_description>Shingen shuts his fist as Yukio enters, oblivious.</scene_description> <character>SHINGEN</character> <dialogue>What is it, Yukio.</dialogue> <scene_description>Her eyes flick to his hand as he casually places it behind his back. She bows.</scene_description> <character>YUKIO</character> <dialogue>Apologies, Master. I came back to ask if you wish me to find Logan again. Or are you done with him?</dialogue> <character>SHINGEN</character> <dialogue>Oh, by all means find him. I'm not quite done with Logan yet.</dialogue> <scene_description>CLOSE ON: Yukio bows and leaves, her smile fading quickly, glancing back at Shingen studying something hidden in his palm with the wonder of a child. BLACK And the sound of blasting steam. A bright flash. Sparks. A vaguely human form emerging from a tank of water. A red-hot skeleton on a steel grate. Horrific.</scene_description> </scene> <scene> <stage_direction>INT. SMELTER - DAY</stage_direction> <scene_description>Shingen observes STEEL-WORKRERS as they pick up pieces of the glowing skeleton with iron tongs. CLOSE ON: NUMEROUS HANDS assembling the skeleton, connecting joints with wooden pegs and leather. PAN OVER TO: Schematics taken form the box intended for Logan - blueprints for the design of Logan's own adamantium skeleton. PUSH IN ON THIS AS: A SERIES OF DISSOLVES carry us over:</scene_description> </scene> <scene> <stage_direction>INT. NOBURO'S BEDROOM</stage_direction> <scene_description>Mariko in a night-gown at a dressing table, removing make-up, revealing the unhappy woman underneath. She looks in the mirror at: Noburo, his corpulent frame lying on the bed in black socks, boxers and an undershirt, snoring.</scene_description> </scene> <scene> <stage_direction>INT. WORKSHOP - NIGHT</stage_direction> <scene_description>Viper studies the crossbow bolt pulled from Logan's shoulder and the traces of dried blood there. She then consults select pages from PROJECT: WOLVERINE. CLOSE ON THE HEADING TOXINS: KNOWN VULNERABILITIES</scene_description> </scene> <scene> <stage_direction>INT. FORGE - NIGHT</stage_direction> <scene_description>Kenuichio carefully sharpens the edge of his sword with a well-worn stone, resting a piece of paper on the blade and watching its own weight cut the parchment in two. Then he sharpens some more.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - NIGHT</stage_direction> <scene_description>Shingen in a workout room, shirtless, honing his martial arts skills on something O.S. He hits it with hands, swords, spears, knives, the intensity of the workout ever-increasing until we: PULL BACK TO REVEAL: His practice dummy: A blackened steel copy of Logan's skeleton - right down to his six claws -arms raised in defense. Sinewy leather joints it together. Animal-hide bladders - representing internal organs - fill the chest cavity. Shingen learns how to avoid Logan's indestructible skeleton altogether. From across the room, he throws a knife with stunning accuracy - the blade passing between two ribs, impaling the soft heart. With a simple short sword he charges, hacking off one arm at the elbow, the other at the shoulder. Then he strikes the neck precisely, finding the space between two tightly fitted metal vertebrae and: SCHAK - "Logan's" skull rolls across the floor. A winded, sweating Shingen smiles. Ready.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - NIGHT</stage_direction> <scene_description>We end on Yukio, staring up at the forboding Yashida Stronghold - her home if she wants it. But does she? She shakes her head as if to say she regrets what she is about to do. Then she puts her car in drive.</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING PARLOR - NIGHT</stage_direction> <scene_description>Tracking shot through the energized chatter of a smoke-filled late-night underground city of sin for the international high-roller. Lots of tables, all of them packed - a large bar backed by a mirrored aquarium filled wit choral and man-o'-war jellyfish. It's strictly jacket-and-tie. Stunning women decorate the men who can afford/don't deserve them. Big money changes hand, most of it Euro and Yuan. The Oyabun himself plays dominoes with a few minions. AT THE BAR "Sinatra," (or at least Japan's answer there-to) keeps one eye on the scene while fending off numerous carnal opportunities. Then she walks in: She wears a red dress cut dangerously low, a slit up one side riding scandalously high. Men step aside at her approach as if she might set them on fire. One has to admit, Yukio cleans up nice. Sinatra sees her coming and quickly shoos a BRAZILIAN BOMBSHELL off her stool. Yukio eases into the opening and offers a mind- melting smile before whispering in his ear. Sinatra's smile fades to disappointment. He stands, looks Yukio up and down, and motions for her to wait.</scene_description> </scene> <scene> <stage_direction>INT. BACK OFFICE - NIGHT</stage_direction> <scene_description>Sinatra enters to find Logan, shuffling cards, bored. A caged animal. Sinatra jerks his head.</scene_description> <character>SINATRA</character> <dialogue>You know this biscuit?</dialogue> <scene_description>Through the one-way glass making up the aquarium's mirrors back, Logan sees Yukio at the bar. He sighs.</scene_description> <character>LOGAN</character> <dialogue>Ah hell.</dialogue> <character>SINATRA</character> <dialogue>You want I should take care of her?</dialogue> <character>LOGAN</character> <dialogue>You don't mean kill her.</dialogue> <character>SINATRA</character> <dialogue>I mean marry her. She's got legs up to her neck.</dialogue> <character>LOGAN</character> <dialogue>She say what she wants</dialogue> <character>SINATRA</character> <dialogue>Has information for you. Wouldn't say what. Says you'd know what it is about just by looking at her.</dialogue> <scene_description>Through gently drifting tentacles, Yukio sips a cocktail. A ring conspicuously parked on her finger features a large white pearl.</scene_description> <character>SINATRA</character> <dialogue>So are you two... uh-</dialogue> <character>LOGAN</character> <dialogue>No.</dialogue> <character>SINATRA</character> <parenthetical>(smiles/straightens tie)</parenthetical> <dialogue>Got her number?</dialogue> <character>LOGAN</character> <dialogue>I'm not sure I do.</dialogue> </scene> <scene> <stage_direction>INT. BACK OFFICE - MOMENTS LATER</stage_direction> <scene_description>Sinatra shuts the door behind him, leaving Yukio and Logan alone. She sits opposite from him and crosses her legs, letting the slit in her dress say hello.</scene_description> <character>LOGAN</character> <dialogue>How did you find me?</dialogue> <character>YUKIO</character> <dialogue>Who lese could hide you on a tiny island full of short people?</dialogue> <character>LOGAN</character> <dialogue>What do you want?</dialogue> <character>YUKIO</character> <dialogue>The police aren't the only ones looking for you. Shingen's been chosen by The Black Clan. He knows you have been, too.</dialogue> <character>LOGAN</character> <dialogue>How'd he find that out?</dialogue> <character>YUKIO</character> <dialogue>Slip of the tongue.</dialogue> <character>LOGAN</character> <dialogue>If I kill him, you won't have a master.</dialogue> <character>YUKIO</character> <dialogue>Who says I want him dead?</dialogue> <scene_description>Logan shakes his head and smiles. She smiles back.</scene_description> <character>YUKIO</character> <dialogue>What will you do?</dialogue> <character>LOGAN</character> <dialogue>Maybe I'll turn myself in. I can do thirty years standing on my head. Spend it watching Shingen trying to break into jail so he can kill me.</dialogue> <character>YUKIO</character> <dialogue>Hardly practical.</dialogue> <character>LOGAN</character> <dialogue>But funny.</dialogue> <scene_description>She drops the cool act and leans in.</scene_description> <character>YUKIO</character> <dialogue>Everyone has someone they'd like to know was dead. They may not want to do the deed, but they'd like to know the deed was done. Someone who's escaped justice. Someone willing to harm the innocent. Someone who cares more about power than they do about human life.</dialogue> <parenthetical>(off his blank look)</parenthetical> <dialogue>Come on, Logan... Master of The Black Clan. The finger of God. The power to take life with no fear of consequence. Doesn't that tempt you in the least?</dialogue> <scene_description>Still Logan says nothing. She stands, waving a dismissive hand and turning for the door.</scene_description> <character>YUKIO</character> <dialogue>Why do I bother? Shingen is my master now. I win if you lose. I have nothing to gain by convincing you to fight.</dialogue> <scene_description>Then she lunges, kissing him deeply. He might even kiss back. In ends with a bite. A little anger. Then:</scene_description> <character>YUKIO</character> <dialogue>For God's sake, fight.</dialogue> <character>LOGAN</character> <dialogue>Can't do it Yukio.</dialogue> <character>YUKIO</character> <dialogue>Why?</dialogue> <parenthetical>(when he doesn't answer)</parenthetical> <dialogue>Never mind. I know why.</dialogue> <scene_description>She turns and opens the door TO REVEAL: MARIKO in a raincoat, hiding behind big sunglasses. Logan stands, stunned to see her. Yukio holds a hand out. Mariko gives her a large bundle of cash. Then, scoffing, Yukio walks out. Alone now, Logan and Mariko stare at one another for a moment, each unsure what to say. Finally, Mariko takes off the shades TO REVEAL A RAISED BRUISE on her cheek. Make-up hides A SMALL CUT ON HER LIP.</scene_description> <character>LOGAN</character> <dialogue>Noburo?</dialogue> <scene_description>She nods ever so slightly, her lip trembling. CLOSE ON: Logan. A flash of rage, a tide of fury. Then he takes her arm in his arms, closes his eyes, exhales to the bottom of his soul, whispering:</scene_description> <character>LOGAN</character> <dialogue>It's all right. I'm here.</dialogue> <character>MARIKO</character> <dialogue>I'm so sorry.</dialogue> <character>LOGAN</character> <dialogue>You're sorry? What for?</dialogue> <character>MARIKO</character> <dialogue>You only wanted to protect me. And I rejected you.</dialogue> <character>LOGAN</character> <dialogue>I knew you'd come around.</dialogue> <scene_description>This almost makes her smile.</scene_description> <character>MARIKO</character> <dialogue>I went to see Zen at the hospital. You may have saved his life.</dialogue> <character>LOGAN</character> <dialogue>He may have saved mine.</dialogue> <character>MARIKO</character> <dialogue>Yukio told me what she could. Zen said you would tell me the rest.</dialogue> <character>LOGAN</character> <dialogue>You know about The Black Clan. That your father and I have been chosen.</dialogue> <parenthetical>(off her nod)</parenthetical> <dialogue>Did you know your Grandfather was the last Master of the Black Clan?</dialogue> <scene_description>Mariko is shocked.</scene_description> <character>LOGAN</character> <dialogue>He used The Black Clan to make sure Japan would never see another war. But someone discovered his secret and challenged him... That someone was your father.</dialogue> <scene_description>Mariko's hand goes to her lips.</scene_description> <character>LOGAN</character> <dialogue>Your Grandfather was faced with an unthinkable dilemma. To win, he'd have to kill his only son. If he lost, The Black Clan would belong to Shingen; a man willing to kill his own father for power.</dialogue> <character>MARIKO</character> <dialogue>Are you saying... my father... killed my grandfather?</dialogue> <character>LOGAN</character> <dialogue>Your grandfather was smarter than that. No... he took his own life. He deliberately left The Black Clan without a Master.</dialogue> <scene_description>And now tears fill her eyes.</scene_description> <character>LOGAN</character> <dialogue>The last thing he did was mark me for death. A man he'd met only once. But a man he'd been watching for seventy years. A man he knew better than his own son. He knew when The Black Clan faced me Kuzuri - they would choose me as a champion.</dialogue> <character>MARIKO</character> <dialogue>But my grandfather was a good man-</dialogue> <character>LOGAN</character> <dialogue>He was a great man. Cursed with a terrible responsibility. Confronted with a terrible choice. He did the best any man could do. And now he expects me to avenge his death... To restore his family's honor. But to do that, I'd have to kill his only son... I'd have to kill your father.</dialogue> <scene_description>Mariko considers this dilemma until she accepts the inevitable, prove her mettle:</scene_description> <character>MARIKO</character> <dialogue>Then you must honor his wish.</dialogue> <scene_description>Logan is at once impressed and saddened.</scene_description> <character>LOGAN</character> <dialogue>No.</dialogue> <character>MARIKO</character> <dialogue>You mustn't think of my feelings. Think of Japan. My family.</dialogue> <character>LOGAN</character> <dialogue>Mariko, as long as I don't face your father. The Black Clan will have no master. Japan will be free to choose her own destiny - for better or worse.</dialogue> <character>MARIKO</character> <dialogue>MY father will hunt you for as long as he lives.</dialogue> <character>LOGAN</character> <dialogue>Then the joke's on him.</dialogue> <scene_description>But she is not amused.</scene_description> <character>LOGAN</character> <dialogue>Hey, I've been on the move for as long as I can remember. At least now it'll mean something.</dialogue> <character>MARIKO</character> <dialogue>Then take me with you.</dialogue> <scene_description>Logan wasn't expecting that part. His heart swells, but he stuffs it back down.</scene_description> <character>LOGAN</character> <dialogue>You don't know what you're asking.</dialogue> <character>MARIKO</character> <parenthetical>(pointing to her bruised face)</parenthetical> <dialogue>Look at me. I know exactly what I'm asking.</dialogue> <scene_description>She kisses him. Logan gives in, taking her in his arms. She buries her head in his chest.</scene_description> <character>MARIKO</character> <dialogue>I don't even know you. And yet...</dialogue> <character>LOGAN</character> <dialogue>You know I'll always protect you.</dialogue> <character>MARIKO</character> <dialogue>I do... I do...</dialogue> <scene_description>The door opens. Sinatra stops halfway through when he sees what's going on. Just past him we see Yukio. She sees Mariko in Logan's arms and quickly turns away.</scene_description> <character>LOGAN</character> <dialogue>We're adding a passenger.</dialogue> <character>SINATRA</character> <dialogue>We have plenty of room.</dialogue> <scene_description>The low bellow of a ships horn takes us to:</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO WATERFRONT - NIGHT</stage_direction> <scene_description>Where a massive cargo freighter is casting off its moorings and getting ready to make way. Three Mercedes sedans race to the edge of the pier. Logan, Mariko, and TWO YAKUZA GOONS get out of one. Sinatra, Yukio and SIX GOONS get out of the others. Logan hears a thumping noise coming from the back of Yukio's car. She tries to look innocent. Logan pops the trunk TO REVEAL: Noburo, bound and gagged, putting up quite a squawk. Logan glares at Yukio. She shrugs.</scene_description> <character>YUKIO</character> <dialogue>When I went to get Mariko he put up a fuss, so...</dialogue> <character>LOGAN</character> <dialogue>Put him back.</dialogue> <character>YUKIO</character> <dialogue>First thing tomorrow-</dialogue> <character>LOGAN</character> <dialogue>Tonight.</dialogue> <scene_description>Logan slams the lid. He shakes hands with Sinatra. Yukio looks jealously down her nose at Mariko. Mariko, behind Logan, smiles back.</scene_description> <character>SINATRA</character> <dialogue>If you're ever back this way.</dialogue> <character>LOGAN</character> <dialogue>Not ever.</dialogue> <character>SINATRA</character> <dialogue>Then sayanora, Logan-sa-</dialogue> <scene_description>A deafening explosion of glass cuts him off. ANGLE ON: SILVER SAMURAI leaping off the crushed roof of a Mercedes, drawing his sword in mid-air as: SINATRA'S EIGHT GOONS all draw weapons and fire.</scene_description> <character>LOGAN</character> <dialogue>Dont-</dialogue> <scene_description>He grabs Mariko and covers her as a hail of bullets ricochet off of Samurai's charged armor and kill six of the goons before he lands. Once on the ground, a single sweep with his sword takes out the other two.</scene_description> <character>LOGAN</character> <dialogue>TAKE HER.</dialogue> <scene_description>Sinatra grabs Mariko as: SCHINK - Logan attacks. Not to be out-done, Yukio kicks off her heels and, with a single yank, rips off the business end of her evening gown, exposing a harness high up on each thigh filled with scalpels. Sinatra gets Mariko into a car before turning and pulling a pistol, aiming at Samurai's back. WHAM - Samurai mule kicks him without even looking. Sinatra is out in the same instant. Logan and Samurai charge at one another, colliding in mid-air. Logan has learned a lot since their last encounter and he knows not to let his claws linger too long. We notice that his hands, despite his claws being extended, are open and flat - not fists. His movements are more elegant, less brutish. With his time in Japan, Logan the warrior has evolved. Yukio keeps Samurai distracted. She can't do much with strikes, but she's good with those scalpels and manages to get them between the plates of his armor. Not deep enough to kill, but certainly painful.</scene_description> <character>LOGAN</character> <dialogue>TAKE MARIKO AND GET OUT OF HERE.</dialogue> <character>YUKIO</character> <dialogue>I STAY WITH YOU.</dialogue> <character>LOGAN</character> <dialogue>YOU'RE GONNA GET YOURSELF KILLED.</dialogue> <character>YUKIO</character> <dialogue>GLORIOUSLY-</dialogue> <scene_description>WHAM - Samurai cracks her across the face and sends her flying, raising his sword to finish her off. Logan leaps onto Samurai's back - the armor throwing off bolts of energy and burning his flesh. Logan takes the pain, grabbing the brow of the Samurai's helmet from behind,and locking his feet into the small of Samurai's back. Logan pushes with his feet and pulls with his hands, causing Samurai to bend back impossibly. Samurai screams in agony, flailing his sword behind him, trying to stab Logan.</scene_description> <character>LOGAN</character> <dialogue>GO. NOW.</dialogue> <scene_description>Yukio gets to her feet, runs for the Mercedes containing Mariko as: Samurai presses a recess in the Red Sun on his chest. FOOM - A supercharged shock-wave blows Logan off his back. Logan skids across the pavement, convulsing. Samurai drops to his hands and knees, gasping for air. He ears the Mercedes engine starting and turns.</scene_description> </scene> <scene> <stage_direction>INT. MERCEDES - NIGHT</stage_direction> <scene_description>Yukio just gets the car in gear when:</scene_description> <character>MARIKO</character> <dialogue>LOOK OUT.</dialogue> <scene_description>Samurai's blade hacks horizontally through the windshield. Yukio ducks as the sword cuts off the headrest of her car-seat. She sits up again and WHAM - A metal fist comes through the window and knocks her out cold. The car is in gear. It rolls. Samurai rips off the back door and drags Mariko from the car, coming face-to face with his sister for the first time. She looks at his eyes through his visor, unafraid. His eyes soften with admiration. Then he remembers himself and drags her past: Logan, Just now recovering, struggling to find his feet. Samurai swings. Logan blocks and: SCHUNK - Logan howls in pain. CLOSE ON: Samurai's blade between Logan's claws and deep into the center of his hand. Meanwhile:</scene_description> </scene> <scene> <stage_direction>INT. MERCEDES - NIGHT</stage_direction> <scene_description>Yukio come to, dazed. Unaware the car is moving, she opens the door and steps out, landing hard. The Mercedes rolls off the pier and into the water. The trunk opens on impact, REVEALING NOBURO - eyes wide with terror - just before the trunk inhales water and the car sinks like a stone. ANGLE ON: Samurai, as he kicks Logan onto his back.</scene_description> <character>SAMURAI</character> <dialogue>Accept your destiny, gai-jin. Go to the Stronghold. Face Shingen. If not, she dies.</dialogue> <scene_description>WHACK - Samurai kicks Logan under the chin, snapping his head back and knocking him out cold. Mariko is dragged away, looking back at Logan as things go: BLACK</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - SHINGEN'S OFFICE - NIGHT</stage_direction> <scene_description>WHITE GLOVED SERVANTS take down the Yashida Family swords, carrying the precious relics reverently.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - NIGHT</stage_direction> <scene_description>Viper scrapes the small traces of Logan's dried blood from the crossbow bolt into a porcelain bowl, mixing it with a minute amounts of other compounds in a thin glass tube, distilling it over an open flame. The result: A SINGLE DROP OF BLOOD RED LIQUID. The care with which she handles it tells us it is highly lethal. LATER: Viper melts pale green wax over a candle until it is the consistency of water. She adds the single drop of red liquid to the green wax, mixing it in. LATER: she dips A DAGGER, its blade ornately engraved, into the molten wax. As it cools, the wax in the blade's engraving appears pale green - more like patina than lethal poison.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - TEMPLE - NIGHT</stage_direction> <scene_description>Shingen prays on his hands and knees, incense burning, sensing a presence. Opening his eyes. Viper offers the green-bladed dagger.</scene_description> <character>VIPER</character> <dialogue>One cut... And you'll kill him.</dialogue> <scene_description>Shingen shakes his head, no. Viper grins, shrugs.</scene_description> <character>VIPER</character> <dialogue>If all else fails.</dialogue> <scene_description>He reaches for the blade but stops himself, unsure.</scene_description> <character>SHINGEN</character> <dialogue>Victory without honor</dialogue> <character>VIPER</character> <dialogue>But certain victory.</dialogue> <scene_description>Now she's got him. Shingen considers this temptress, his hands hovering over her knife, interrupted by:</scene_description> <character>VOICE (O.S.)</character> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - GREAT HALL - NIGHT</stage_direction> <scene_description>Samurai, still in his armor, helmet under one arm, casts a long shadow across the floor of the grand entrance. He holds Mariko by the wrist.</scene_description> <character>SAMURAI</character> <dialogue>SHIIIIINGENNNNN.</dialogue> <character>SHINGEN (O.S.)</character> <dialogue>What is the meaning of-</dialogue> <scene_description>Shingen emerges on the second floor balcony. When he sees Samurai's face:</scene_description> <character>SHINGEN</character> <dialogue>You.</dialogue> <character>SAMURAI</character> <dialogue>I have come home, father.</dialogue> <character>MARIKO</character> <dialogue>Father?</dialogue> <scene_description>Mariko blinks. She can tell by her father's face that Samurai is not speaking metaphorically. Shingen descends to greet his bastard face-to-face.</scene_description> <character>SHINGEN</character> <dialogue>How dare you show your face here. How dare you lay a hand on m-</dialogue> <scene_description>SHING - Samurai drops his helmet and draws his sword - the tip cracking just under Shingen's chin.</scene_description> <character>SAMURAI</character> <dialogue>-my sister.</dialogue> <character>SHINGEN</character> <dialogue>What do you want?</dialogue> <character>SAMURAI</character> <dialogue>The animal is coming to claim her. You will face him Whoever is left will face me and then I... Will be Master of The Black Clan.</dialogue> <scene_description>Shingen considers, clearly plotting. Then:</scene_description> <character>SHINGEN</character> <dialogue>Very well. I accept. Let her go.</dialogue> <character>SAMURAI</character> <dialogue>You are not the Master yet.</dialogue> <character>SHINGEN</character> <dialogue>Ignorant boy... I am Lord Shingen of the House Yashida, standing in the great hall of my ancestors and I am telling you now... I will win... In fact, I cannot lose.</dialogue> <scene_description>The sound of a weapon cocking O.S. Samurai hauls Mariko in front of him, his blade to her throat as a figure appears at the top of the stairs. Viper aims a crossbow right at him. Samurai's eyes widen, his soul drops.</scene_description> <character>SAMURAI</character> <dialogue>No...</dialogue> <character>SHINGEN</character> <dialogue>You see? I gave you more than you ever knew...</dialogue> <scene_description>Viper smiles, shrugs, "What can I say, kid?" Samurai lets Mariko go, heartbroken. Shingen waves to Viper. She lowers her weapon.</scene_description> <character>SHINGEN</character> <dialogue>The boy has too much potential.</dialogue> <parenthetical>(to Samurai)</parenthetical> <dialogue>It would be a shame to waste it.</dialogue> </scene> <scene> <stage_direction>EXT. YASHIDA STRONGHOLD - FRONT GATE - NIGHT</stage_direction> <scene_description>Logan and Yukio arrive in her car. Guards merely glance at them before letting them pass.</scene_description> </scene> <scene> <stage_direction>EXT. YASHIDA STRONGHOLD - TREELINE - NIGHT</stage_direction> <scene_description>A treeline at the edge of the property. Nothing remarkable. Until A PAIR OF EYES OPENS. The Monk is standing right in front of us. He is watching the car head toward the stronghold.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - GREAT HALL - NIGHT</stage_direction> <scene_description>The house is still. Dark. Eerie. Logan enters, inhaling deeply through his nose.</scene_description> <character>LOGAN</character> <dialogue>This way...</dialogue> </scene> <scene> <stage_direction>EXT. JAPANESE GARDEN - NIGHT</stage_direction> <scene_description>A full moon casts cold blue light over a magnificent garden complete with ponds, bridges, pagodas - like a painted backdrop fora grand staging of the Mikado. Ground lights come on, one by one, illuminating a light mist in the trees, simultaneously making the landscape more visible and creepy. The last light illuminates the open center of the garden and: MARIKO, more worried for Logan than herself. Logan takes half a step. Yukio grabs his arm, stopping him.</scene_description> <character>YUKIO</character> <dialogue>Just... wait.</dialogue> <scene_description>Shingen and Viper step out from the shadows on one side of her. Silver Samurai steps out from the other. ANGLE ON: The Monk, draped in shadow, looking down from atop the high garden wall. Watching. Waiting.</scene_description> <character>SHINGEN</character> <dialogue>Are you ready to face your destiny?</dialogue> <character>LOGAN</character> <dialogue>Sure, why not?</dialogue> <character>SHINGEN</character> <dialogue>Then come forward.</dialogue> <character>LOGAN</character> <dialogue>Mariko leaves with Yukio first.</dialogue> <character>SAMURAI</character> <dialogue>She leaves when I am satisfied.</dialogue> <scene_description>Logan sighs, whispers to Yukio.</scene_description> <character>LOGAN</character> <dialogue>Is everybody here such a blowhard?</dialogue> <scene_description>She shrugs: "pretty much." Logan approaches his opponents as they form a wall in front of Mariko. Shingen wears a robe bearing the Yashida symbol - the family's two swords in the sash around his waist. EXTREME CLOSE-UP AS: He reaches inside his robe, adjusting the POISON DAGGER PREPARED BY VIPER. He took the dishonorable option after all. Logan stops a few yards from Shingen. Yukio just behind him. Logan and Viper make eye contact - the first time since their lethal encounter at Noburo's.</scene_description> <character>LOGAN</character> <dialogue>Don't you get around?</dialogue> <scene_description>She shrugs, smiles. Samurai bristles at the remark.</scene_description> <character>SHINGEN</character> <parenthetical>(to Yukio)</parenthetical> <dialogue>You may go.</dialogue> <character>YUKIO</character> <dialogue>I stay with Logan.</dialogue> <character>SHINGEN</character> <dialogue>Then you'll die with him.</dialogue> <character>YUKIO</character> <dialogue>Better I die serving him than live serving you.</dialogue> <character>LOGAN</character> <dialogue>Now, now, we're all friends here.</dialogue> <character>SAMURAI</character> <dialogue>Kill this dog, Shingen.</dialogue> <character>LOGAN</character> <parenthetical>(re: Samurai)</parenthetical> <dialogue>Look at this vulture, waiting to feast on the leftovers.</dialogue> <parenthetical>(to Shingen)</parenthetical> <dialogue>What say we team this punk? Then you and me can settle up as the main event.</dialogue> <character>SAMURAI</character> <parenthetical>(drawing his sword)</parenthetical> <character>IMPUDENT-</character> <dialogue>SHINGEN</dialogue> <character>ENOUGH.</character> <dialogue>Samurai freezes humiliated Yukio laughs Viper shakes her head embarrassed for Samurai.</dialogue> <character>SHINGEN</character> <parenthetical>(to Logan)</parenthetical> <dialogue>I expected you to bring dishonor to this affair.</dialogue> <parenthetical>(to Samurai)</parenthetical> <dialogue>But you? Where is your dignity?</dialogue> <parenthetical>(back to Logan)</parenthetical> <dialogue>You think you can turn y our opponents against one another and steal a victory. As a man with no interest in the prize at stake, that is your advantage.</dialogue> <scene_description>Logan smiles at Samurai.</scene_description> <character>LOGAN</character> <dialogue>He's smarter than you.</dialogue> <character>SHINGEN</character> <dialogue>Pick up your weapon.</dialogue> <scene_description>That's when Logan sees an object on the ground a few feet in front of Shingen: Old Man Yashida's sword.</scene_description> <character>SHINGEN</character> <dialogue>An appropriate choice, I thought.</dialogue> <character>LOGAN</character> <dialogue>I won't be needing it, thanks.</dialogue> <scene_description>SCHINK</scene_description> <character>SHINGEN</character> <dialogue>I had hoped we could fight man-to- man. Not man-to... mechanism.</dialogue> <scene_description>Logan considers this.</scene_description> <character>YUKIO</character> <parenthetical>(quietly, to herself)</parenthetical> <dialogue>Don't dooo iiiit.</dialogue> <character>LOGAN</character> <dialogue>Y'arright.</dialogue> <scene_description>SCNICK - his claws retract.</scene_description> <character>LOGAN</character> <dialogue>Man-to-man.</dialogue> <character>MARIKO</character> <dialogue>No...</dialogue> <character>SHINGEN</character> <dialogue>I have your word of honor, then.</dialogue> <character>LOGAN</character> <dialogue>For what it's worth.</dialogue> <scene_description>Logan hooks a toe under the scabbard and kicks the sword up into his hands. He draws the blade and inspects the weapon he first saw seventy years ago. Shingen slowly draws the ancient blade of his family, placing the flat side reverently to his head. After a short prayer, he holds the sword in both hands, getting into position with a flourish. Logan just stands there. Sword at his side. Pause.</scene_description> <character>SHINGEN</character> <dialogue>... Begin.</dialogue> <scene_description>Shingen attacks. Mariko gasps. In a flash, Logan brings his sword up one-handed, blocking a strike aimed right for his neck. Shingen steps back, waits... Strikes again. Again Logan blocks him, then lets the sword hang. Shingen adjusts, moving in combinations of blows rather than single, precise strikes. Again, Logan manages to block. The energy of the fight leaves one with the impression of a train leaving the station, gaining in speed and intensity, steel on steel, hitting faster and faster. Logan grips the sword with both hands now, his form matching Shingen's until blades collide five times a second and still... Shingen cannot hit Logan. Shingen stops, steps back, a little winded, the blades ringing in a long, sustained chord. Viper is in awe. Samurai is impatient. Mariko trembles. And Yukio smiles. Shingen screams and attacks with renewed ferocity. Logan's blade responds ass if magnetized, meeting Shingen's no matter what direction it comes from. ANGLE ON: The Monk, expressionless, emotionless, watching from high atop the garden wall. Keener eyes will notice two more Men of the Clan are with him. Shingen stops again, frustrated.</scene_description> <character>YUKIO</character> <dialogue>You can't hit him.</dialogue> <character>LOGAN</character> <dialogue>I told you. I was built to learn. And you're one hell of a Sensei.</dialogue> <character>SAMURAI</character> <parenthetical>(to Logan)</parenthetical> <dialogue>Finish him then.</dialogue> <character>LOGAN</character> <dialogue>No.</dialogue> <character>SAMURAI</character> <dialogue>Kill or be killed. That is the contest.</dialogue> <character>LOGAN</character> <dialogue>Stuff your contest. I won't kill him. And he can't kill me.</dialogue> <parenthetical>(to Shingen)</parenthetical> <dialogue>Take as long as you like, baldy. I got all the time in the world.</dialogue> <scene_description>No more composure, Shingen freaks- charging at Logan with everything he has. Logan moves back, sideways, around, absorbing every move in Shingen's arsenal. The Lord of the House Yashida is reduced to a primal shrieking maniac. Logan is the picture of calm. Then: SNAP Time stops. Shingen holds up his family sword, the blade snapped in two. He throws it, draws his short sword and goes after Logan again. But now it's just sad. Logan has reach on him. Shingen can't win.</scene_description> <character>SHINGEN</character> <parenthetical>(to Samurai)</parenthetical> <dialogue>Together. We take him together.</dialogue> <scene_description>Samurai cannot hide his surprise.</scene_description> <character>SAMURAI</character> <dialogue>That is not the-</dialogue> <character>SHINGEN</character> <dialogue>They can choose another champion.</dialogue> <character>LOGAN</character> <parenthetical>(to Shingen re: Samurai)</parenthetical> <dialogue>Sooner or later you'll have to face him. And having fought you both I gotta say... The kid's got you beat Shingen. What with all that armor.</dialogue> <character>SAMURAI</character> <dialogue>I'LL FIGHT HIM WITH MY BARE HANDS.</dialogue> <character>LOGAN</character> <dialogue>Big man.</dialogue> <character>SHINGEN</character> <dialogue>Kenuichio presents no real threat to me.</dialogue> <character>SAMURAI</character> <dialogue>I don't?</dialogue> <character>LOGAN</character> <dialogue>He doesn't?</dialogue> <character>SHINGEN</character> <dialogue>I'm your father, Kenuichio. Kill me and what will you be? Master of The Black Clan? Perhaps. But what name? What house? You will still be living in the shadow. Without a father to call your son you are, and always will be, nothing.</dialogue> <scene_description>CLOSE ON: Samurai - the eyes behind his mask show he's been hit on a gut level.</scene_description> <character>SAMURAI</character> <dialogue>I am nothing now. What difference does it make?</dialogue> <character>SHINGEN</character> <dialogue>Swear your loyalty to me. Here and now. I will acknowledge you as my son. I will name you my successor.</dialogue> <scene_description>Mariko is stunned. Samurai slowly removes his helmet to better hear words he has waited for all his life.</scene_description> <character>SAMURAI</character> <dialogue>And The Black Clan?</dialogue> <character>SHINGEN</character> <dialogue>You will swear off any claim to The Black Clan until I am dead and gone. Then you will earn the right to be chosen, just as I have done. You will fight for your father's prize just as I do now. With a champion... Chosen by The Clan.</dialogue> <character>LOGAN</character> <dialogue>Use your head, kid. He's sucking you in. Don't do it.</dialogue> <character>SHINGEN</character> <dialogue>The Empire my father left will be nothing compared to the one I leave you. I will extend the shadow of The Black Clan until it covers the Earth. Bow to me... and in time it will all be yours.</dialogue> <scene_description>Samurai considers things very carefully. Logan grimaces. He's in the shit now. After a beat:</scene_description> <character>SAMURAI</character> <dialogue>I accept your terms... Father.</dialogue> <scene_description>Shingen smiles. Logan wince, nods to Shingen.</scene_description> <character>LOGAN</character> <dialogue>Well played.</dialogue> <character>SAMURAI</character> <dialogue>On one condition.</dialogue> <character>LOGAN</character> <dialogue>Uh oh.</dialogue> <character>SAMURAI</character> <dialogue>I must have a guarantee.</dialogue> <character>SHINGEN</character> <dialogue>I give you my word of honor. What better guarantee is there.</dialogue> <character>SAMURAI</character> <dialogue>The word you gave to my mother? Before she killed herself? Your word means nothing to me. I pledge my sword to you here and now, father. But... I must be the sole heir to the House Yashida. The sole living heir.</dialogue> <scene_description>All eyes shift to Mariko now. Terrified, she looks to Logan, then to Shingen. He looks at his daughter with deep pity, a tinge of regret. Then he sizes up Samurai, Logan, his overall chances...</scene_description> <character>SHINGEN</character> <dialogue>Very well..</dialogue> <character>MARIKO</character> <dialogue>Father-</dialogue> <character>SHINGEN</character> <dialogue>Kill her.</dialogue> <scene_description>In a flash, Samurai turns his blade on Mariko. In that same instant: Logan attacks Samurai. In that same instant: Shingen attacks Logan.</scene_description> <character>LOGAN</character> <dialogue>LITTLE HELP HERE.</dialogue> <scene_description>Yukio springs into action. Viper cuts her off, drawing the knife she sued on Logan, that familiar amber oil dripping from the blade. Yukio forgoes weapons of any kind and sticks with hand-to-hand. Five bodies dance around Mariko in a blur of blades, fists and feet. Logan is taking hits now, fighting a two front war - Shingen trying to hit his vitals, Samurai trying to get past him to kill Mariko. The resulting frustration leads to anger, anger turns to rage. His rage boils over and Logan goes completely, totally, utterly Berserk Logan swings his sword at Samurai's chest, the blade exploding like glass. Samurai's armor holds, but the force of the blow momentarily staggers him as: Shingen swings his blade at Logan's neck for the kill. To his horror, Logan spins and catches the speeding blade with his bare hands. It cuts his flesh, but not his adamantium bones. Meanwhile: Samurai closes on Logan from behind, distracted when: Yukio throws a roundhouse kick to the side of Viper's head, dropping her before firing a scalpel at Samurai, slicing his cheek. Enraged, Samurai attacks Yukio. She just barely stays ahead of his sword as: Logan grips Shingen's glade, feeling no pain, enraged. Shingen is scared of him now. He lets his sword go with one hand and reaches into his robe, PULLING OUT THE GREEN DAGGER. THE DEATH BLOW. But as he lashes out with the dagger, Logan tears the sword from Shingen's grasp and clubs him over the head with the handle. Shingen goes down. CLOSE ON: The green dagger tumbles into the grass as: Logan throws Shingen's sword, the adamantium visible through his flayed palms. Samurai sees his moment. Forgetting Yukio, he stabs Logan in the back. Logan screams and turns, striking the sizzling blade with his elbow and ripping it from Samurai's hand. The blade stays wedged in Logan's body, crackling. Viper staggers to her feet and lunges at Yukio. Yukio catches her. They Grapple for Viper's knife as: Logan roars and kicks Samurai square in the chest. Samurai's heavy armor adds to his momentum and he stagers back and falls as: Viper sweeps Yukio's legs and drives her to the ground, jumping on top of her and coming down with the knife in both hands as: Logan turns to Mariko.</scene_description> <character>LOGAN</character> <dialogue>PULL IT OUT. DO IT.</dialogue> <scene_description>He turns his back to her. Mariko can't bring herself to touch the weapon. CLOSE ON: A drop of poison dangles from the tip of Viper's trembling blade, just above Yukio's eye. As: Samurai gets to his feet and heads for Logan.</scene_description> <character>LOGAN</character> <dialogue>DO IT. DO IT NOW.</dialogue> <scene_description>Mariko tears the blade from Logan's back. In one fluid motion he spins, snatches the sword from her hand and comes back around to meet Samurai. WA-CRACK - The charged blade hits the charged armor. Samurai and Logan are both blasted back. The resulting, waist-high shock-wave of energy knocks Mariko flat and blasts Viper off of Yukio. Silence. Samurai - his armor no longer charged - is the first to stir, shaken and dazed, but protected by his own armor from real harm. Logan, meanwhile, struggles to sit up, overwhelmed by his wounds. Samurai hauls him up by his neck. WHACK - Enraged, he punches Logan with his armored fist over and over, squeezing Logan's throat with his other hand. Logan's neck snaps back repeatedly until: SCHUNK - A scream of agony. Samurai drops on his knees, clutching the upper half of his right arm. CLOSE ON: The severed forearm of Samurai's glimmering armor lying in the grass. CLOSE ON: Samurai's sword still clutched in Logan's hand. That is until Logan throws it.</scene_description> <character>LOGAN</character> <dialogue>Maybe now you can teach.</dialogue> <character>MARIKO</character> <dialogue>LOGAN.</dialogue> <scene_description>He turns, but too late. SCHUNK - And Logan gasps. PULL BACK TO REVEAL: Shingen, his broken family sword buried up to the hilt in Logan's belly. He savors it, pulls the blade out and lets Logan drop down on all fours. Logan is badly wounded, unable to get up. Shingen stands over him, triumphant. He rests his sword on the back of Logan's neck, much like his father did seventy years ago, marking his spot.</scene_description> <character>SHINGEN</character> <dialogue>One just needs to be...precise.</dialogue> <scene_description>He raises the sword to strike and... Yukio attacks him. Shingen senses her coming, turns and back-hands her. Yukio is out cold. Shingen raises the sword above his head. Logan is too weak to resist. Then Shingen freezes. His face changing when he sees: SHADOWS moving at the top of the garden wall. Dozens of them, rising one by one. Silent. More shadows emerge from the garden. Suddenly, they are surrounded on all sides, not by some Men of the Black Clan, but all of them. Hundreds. Watching silently. Waiting... ANGLE ON: Mariko coming to, seeing her father over Logan, ready to behead him. She looks around, sees a dagger in the grass. She grabs it. Meanwhile:</scene_description> <character>SHINGEN</character> <dialogue>In the end, Logan-san... you were worthy.</dialogue> <character>MARIKO</character> <dialogue>Father-</dialogue> <scene_description>He turns, catching Mariko's hand before she can stab him. She twists her wrist and shakes the dagger from her grasp. Then he shoves her back. He turns quickly to finish the job, taking the sword in both hands... AND NOTICES A SMALL CUT ON THE BACK OF HIS HAND - superficial really - between his thumb and forefinger. A trace of pale green. He sees the green dagger in the grass. The dagger Mariko was holding. His hand trembles, convulses. The skin blisters and bubbles. The bubbles crawl up his arm, under his robe. He drops his sword, puts a hand to his throat as his blood boils. As his eyes turn bright red. And Shingen collapses. Dead. Mariko rushes to Logan as Yukio comes to. She crawls over to Viper, lying face down on the ground. Yukio rolls her over. Viper has fallen on her own knife. Mariko helps Logan to his feet as his wounds slowly heal. Meanwhile The Black Clan slowly gathers around him. As always, without a sound. At the front of the mass of assassins is the Monk. He kneels before Logan and the others do the same. It is a solemn moment.</scene_description> <character>SAMURAI</character> <parenthetical>(through bitter tears)</parenthetical> <dialogue>You have been chosen. You are Master of the Black Clan.</dialogue> <character>LOGAN</character> <dialogue>But... I didn't kill him.</dialogue> <parenthetical>(to the Monk)</parenthetical> <dialogue>I didn't kill Shingen. Mariko did. No winner, no master.</dialogue> <scene_description>The Monk just bows solemnly, waiting.</scene_description> <character>SAMURAI</character> <dialogue>You have been chosen, Logan. They await your command.</dialogue> <character>LOGAN</character> <dialogue>No. I don't want this. I didn't ask for it.</dialogue> <character>YUKIO</character> <dialogue>Then don't give them a command. What difference does it make.</dialogue> <character>LOGAN</character> <parenthetical>(re: Shingen and Samurai)</parenthetical> <dialogue>Look at them. There'll always be a challenger. I'll be the one who has to kill them. One day, one of them will win. Maybe someone even worse than Shingen. No. I won't do it.</dialogue> <parenthetical>(to Yukio)</parenthetical> <dialogue>Take Mariko. Get her out of here.</dialogue> <scene_description>Mariko holds on to him.</scene_description> <character>MARIKO</character> <dialogue>What about you?</dialogue> <character>LOGAN</character> <dialogue>I'm gonna deal with them.</dialogue> <scene_description>Mariko sees too many killers to count. Logan and the Monk share a look, an understanding between warriors.</scene_description> <character>MARIKO</character> <dialogue>No. Logan, please.</dialogue> <character>LOGAN</character> <dialogue>They're a curse, Mariko. They've been a cruse on your people for two thousand years. It ends tonight.</dialogue> <character>MARIKO</character> <dialogue>Logan-</dialogue> <character>LOGAN</character> <dialogue>Do as I say. Please. Go.</dialogue> <scene_description>Mariko knows there is no convincing Logan. Yukio takes her by the arm and leads her away. MARIKIO'S P.O.V. of Logan standing at the center of an army of Assassins, who live only to kill. Samurai rocks gently on his knees a few feet away, clutching what's left of his arm his instrument. ANGLE ON: Logan and the Monk, staring at one another. The Monk seems to read Logan's mind. The Monk nods.</scene_description> </scene> <scene> <stage_direction>INT. YASHIDA STRONGHOLD - NIGHT</stage_direction> <scene_description>Mariko and Yukio are crossing the grand entrance, headed for the front door when a sound O.S. stops them in their tracks - countless voices screaming at once. A war-cry to chill the blood.</scene_description> <character>MARIKO</character> <dialogue>LOGAN.</dialogue> <scene_description>And then silence. Mariko's eyes fill with tears. Yukio cannot hide her sympathy. They share a look of deep sadness and walk out.</scene_description> </scene> <scene> <stage_direction>EXT. YASHIDA STRONGHOLD - DRIVEWAY - NIGHT</stage_direction> <scene_description>Mariko helps Yukio into the car and shuts the door, walking around to the other side. She gasps: ANGLE ON: Logan, standing in the doorway of the stronghold, not a scratch on him. He walks toward Mariko. She runs to him. They embrace. Then:</scene_description> <character>MARIKO</character> <dialogue>What did you do?</dialogue> <character>LOGAN</character> <dialogue>I'm Master of the Black Clan. I spoke. They obeyed.</dialogue> <character>MARIKO</character> <dialogue>What did you say?</dialogue> <character>LOGAN</character> <dialogue>... Seppuku.</dialogue> </scene> <scene> <stage_direction>EXT. YASHIDA STRONGHOLD - GARDEN - NIGHT</stage_direction> <scene_description>The ground is littered with bodies - Assassins in black lie everywhere, each man with a sword in his chest. Each man dead by his own hand. At the center of it sits Silver Samurai, Kenuichio. He takes in the bodies of the men he'd hoped to lead, the father he'd hoped to honor and the woman he'd been seduced into serving, all dead... And he sobs as though he might never stop. CLOSE ON: A green bladed dagger in the grass... waiting to be found.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF TOKYO - NIGHT</stage_direction> <scene_description>A familiar explosion of unearthly color, blinding light. Our eyes adjust to a world of flashing neon and LED. One giant, ever changing video screen.</scene_description> </scene> <scene> <stage_direction>INT. MERCEDES - NIGHT</stage_direction> <scene_description>Logan in back, Sinatra and Yukio in front. Logan looks out at the city rolling past, a familiar face on every television: His own. Logan is still a wanted man. The low bellow of a ship's horn takes us to:</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO WATERFRONT - NIGHT</stage_direction> <scene_description>Logan, Sinatra and Yukio stand at the bottom of a gangway to a massive cargo ship in a dense fog. Logan is anxious. The ship's horn blasts. Sinatra checks his watch.</scene_description> <character>SINATRA</character> <dialogue>It's time.</dialogue> <character>LOGAN</character> <dialogue>Where is she?</dialogue> <scene_description>The ship's horn blasts again.</scene_description> <character>SINATRA</character> <dialogue>Logan.</dialogue> <scene_description>Just then the headlights of an approaching car slice the dense fog. Logan sighs, walks toward it as a lone figure gets out. Logan is confused when he sees:</scene_description> <character>LOGAN</character> <dialogue>Zen...</dialogue> <scene_description>He's looking a little worse for wear but well enough.</scene_description> <character>ZEN</character> <dialogue>Apologies for the delay. I wanted to be here to say goodbye.</dialogue> <scene_description>Logan is touched. Another figure emerges from the fog: Mariko, as stunning as ever. He extends a hand:</scene_description> <character>LOGAN</character> <dialogue>Ship's leaving, come on.</dialogue> <character>MARIKO</character> <dialogue>I'm not going.</dialogue> <scene_description>Stunned pause. Zen bends his head. Yukio and Sinatra share a look.</scene_description> <character>LOGAN</character> <dialogue>Mariko-</dialogue> <character>MARIKO</character> <dialogue>I am the sole heir of my family. I have a duty. A responsibility. I cannot go... And you cannot stay.</dialogue> <parenthetical>(touching his cheek)</parenthetical> <dialogue>Perhaps one day... when I can make people see the truth...</dialogue> <scene_description>But that's a long way off. She kisses him gently:</scene_description> <character>MARIKO</character> <dialogue>I will never forget you. I will never forget what you have done for my family. For this country.</dialogue> <scene_description>He just stares at her, the pain in his eyes is too much for her. Her eyes fill with tears:</scene_description> <character>MARIKO</character> <dialogue>Dream of me, Kuzuri.</dialogue> <scene_description>And despite himself, despite his pain, Logan wipes the look away and says the only thing he can:</scene_description> <character>LOGAN</character> <dialogue>Goodbye, Mariko.</dialogue> <scene_description>They kiss again. Yukio looks away. Sinatra puts a comforting hand on her shoulder. Mariko turns and walks back to the car, wiping tears from her eyes as the fog swallows her. Logan turns to Zen who holds a familiar object in the hands. THE BOX left to him by Yashida. The box containing the mystery of his identity.</scene_description> <character>ZEN</character> <dialogue>The answers you seek.</dialogue> <scene_description>Logan mumbles something inaudible.</scene_description> <character>ZEN</character> <dialogue>What?</dialogue> <character>LOGAN</character> <dialogue>He said 'honor the gift I was given.' The Old Man saved my life. I repaid him by killing his son.</dialogue> <parenthetical>(re: box)</parenthetical> <dialogue>I haven't earned this Zen.</dialogue> <character>ZEN</character> <dialogue>After all this time, you still don't understand... Inside that box are the answers to all of your questions... Except the answer to the only question that truly matters.</dialogue> <character>LOGAN</character> <dialogue>Which is?</dialogue> <character>ZEN</character> <dialogue>What happens now?</dialogue> <parenthetical>(pointing to the box)</parenthetical> <dialogue>Honor the gift you were given.</dialogue> <scene_description>Logan looks at the box and realizes:</scene_description> <character>LOGAN</character> <dialogue>What was done to me.. What I am.</dialogue> <character>ZEN</character> <dialogue>Is a blessing. Not a curse.</dialogue> <character>LOGAN</character> <dialogue>It doesn't matter how I came to be what I am... It only matters what I do with it.</dialogue> <character>ZEN</character> <parenthetical>(smiles/nods)</parenthetical> <dialogue>The lesson has ended.</dialogue> <scene_description>As if on cue, the ship's horn blows again.</scene_description> <character>SINATRA</character> <dialogue>Logan, you have to go.</dialogue> <character>LOGAN</character> <dialogue>Goodbye, Zen.</dialogue> <character>ZEN</character> <dialogue>I will say... Until we meet again.</dialogue> <scene_description>Zen smiles, bows, and leaves. Logan heads for the gangway. Yukio tries to not run after him. She tries not to get in his way. But she's Yukio. She runs, blocking his path, standing on to the bottom of the step of the gangway as it slowly rises.</scene_description> <character>YUKIO</character> <dialogue>You would leave me without a master?</dialogue> <character>LOGAN</character> <dialogue>It's time to be on your own.</dialogue> <scene_description>Perhaps for the first time in her life, Yukio is speechless, considering the unthinkable. Logan takes her hand, easing her off the gangway and stepping on.</scene_description> <character>LOGAN</character> <dialogue>And who knows... You might even end up the one in charge.</dialogue> <scene_description>He says this wit ha nod to Sinatra, waiting anxiously for Logan to leave. And Yukio to stay.</scene_description> <character>YUKIO</character> <dialogue>Remember me, Logan-sama.</dialogue> <character>LOGAN</character> <dialogue>How could I possibly forget?</dialogue> <scene_description>She smiles. Logan smiles back. Then they lose one another in the fog...</scene_description> </scene> <scene> <stage_direction>EXT. PACIFIC OCEAN - NIGHT</stage_direction> <scene_description>MOVING SWIFTLY over dark water turning white. We are in the wake of a ship, heading to sea. We spy something in the water and slow to take a look. A single sheet of yellowed parchment, floating on the surface, slowly dissolving, the words no longer legible. No longer important. We move on, finding more pages - hundreds of them - the story of a man being untold, forgotten. And then we reach the beginning... A MASSIVE FREIGHTER, the YASHIDA MARV, leads toward a fog-bank over calm seas, horizon unseen. We find a man in battered leather on the stern, smoking a cigar, looking back at the fading lights of Tokyo, shrouded in mist, like a vague memory. The man holds a box in his hands. The box with the answers to the riddle of his past. But his past doesn't matter anymore. Only his future. He takes one last sheet of parchment from the box, reads it carefully, and tosses it into the sea. BLACK</scene_description> </scene> </script>

In August 1945, Logan is held in a Japanese POW camp near Nagasaki. During the city's atomic bombing, Logan saves an officer named Ichirō Yashida by shielding him from the blast. In the present day, Logan lives as a hermit in the Yukon, tormented by hallucinations of Jean Grey, whom he was forced to kill to save the world. He is located by Yukio, a mutant with the ability to foresee people's deaths, on behalf of Ichirō, now the CEO of a technology zaibatsu. Ichirō, who is dying of cancer, wants Logan to accompany Yukio to Japan so that he may repay his life debt. In Tokyo, Logan meets Ichirō's son Shingen and granddaughter Mariko. There, Ichirō offers to transfer Logan's healing abilities into his own body, thus saving Ichirō's life and alleviating Logan of his near-immortality, which Logan views as a curse. Believing he is acting on his friend's best interests however, Logan refuses and prepares to leave the following day. That night, Ichirō's physician Dr. Green introduces something into Logan's body, but Logan dismisses it as a dream. The next morning, Yukio informs Logan that Ichirō has died. At the funeral, Yakuza gangsters attempt to kidnap Mariko, but Logan and Mariko escape together into the urban sprawl of Tokyo. Logan is shot and his wounds do not heal as quickly as they should. After fighting off more Yakuza on a bullet train, Logan and Mariko hide in a local love hotel. Meanwhile, Ichirō's bodyguard Harada meets with Dr. Green who, after demonstrating her mutant powers on him, demands he find Logan and Mariko. Logan and Mariko travel to Ichirō's house in Nagasaki, and the two slowly fall in love. In Tokyo, Yukio has a vision of Logan dying, and goes to warn him. Before Yukio arrives, Mariko is captured by the Yakuza. After interrogating one of the kidnappers, Logan and Yukio confront Mariko's fiancé, corrupt Minister of Justice Noburo Mori. Mori confesses that he conspired with Shingen to have the Yakuza kidnap Mariko because Ichirō left control of the company to Mariko, and not Shingen. Mariko is brought before Shingen at Ichirō's estate when ninjas led by Harada attack and whisk her away. Logan and Yukio arrive later and, using Ichirō's X-ray machine, discover a robotic parasite attached to Logan's heart, suppressing his healing ability. Logan cuts himself open and extracts the device. During the operation, Shingen attacks but Yukio holds him off long enough for Logan to recover and kill him. Logan follows Mariko's trail to the village of Ichirō's birth, where he is captured by Harada's ninjas. Logan is placed in a machine by Dr. Green, who reveals her plans to extract his healing factor and introduces him to the Silver Samurai, an electromechanical suit of Japanese armour with energized katanas made of adamantium. Mariko escapes from Harada, who believes he is acting in Mariko's interests, and manages to free Logan from the machine. Harada sees the error of his ways and is killed by the Silver Samurai while helping Logan escape. Meanwhile, Yukio arrives and kills Dr. Green. As Logan fights the Silver Samurai, the Silver Samurai severs Logan's adamantium claws and begins to extract his healing abilities, revealing himself to be Ichirō, who had faked his death. Ichirō regains his youth, but Mariko intervenes and stabs Ichirō with Logan's severed claws. Logan regenerates his bone claws and kills Ichirō. Logan collapses and has one final hallucination of Jean, in which he decides to finally let her go. Mariko becomes CEO of Yashida Industries and bids farewell to Logan as he prepares to leave Japan. Yukio vows to stay by Logan's side as his bodyguard, and they depart to places unknown. In a mid-credits scene, Logan returns to the United States two years later and is approached at the airport by Charles Xavier and Erik Lehnsherr, who warn him of a weapon humans are creating that would bring the end to the mutant race.

Body Heat_1981

tt0082089

<script> <scene> <stage_direction>EXT. NIGHT SKY</stage_direction> <scene_description>Flames in the night sky . Distant SIRENS . PULLING BACK , we see that the burning building is mostly hidden by dense , black shapes that define the oceanside skyline of Miranda Beach , Florida . We 're watching from across town . The sound of a bathroom SHOWER comes to a dripping stop at about the same time we see the naked back and head of NED RACINE . We continue to PULL BACK INTO - RACINE 'S APARTMENT - NIGHT Racine , dressed in undershorts , is standing on the small porch off his apartment on the upper floor of an old house . Racine lights a cigarette and continues to stare off at the fire . We 've passed him now , into the bedroom of the apartment , and the shape of a young woman , ANGELA , flashes by , drying her body with a towel .</scene_description> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>My God, it's hot. I stepped out of the shower and stared sweating again. It's still burning? Jesus, it's bigger! And I thought you were making me hear those sirens.</dialogue> <parenthetical>( she giggles . )</parenthetical> <dialogue>What is it?</dialogue> <character>RACINE</character> <dialogue>The Seawater Inn. My family used to eat dinner there twenty - five years ago. Now somebody's torched it to clear the lot.</dialogue> <scene_description>Angela reappears briefly , gathering her clothes . She sits on an unseen bed to get dressed .</scene_description> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>That's a shame.</dialogue> <character>RACINE</character> <dialogue>Probably one of my clients.</dialogue> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm leaving.</dialogue> <character>RACINE</character> <parenthetical>( back still turned . )</parenthetical> <dialogue>It's four a.m.</dialogue> <scene_description>On the bed , Angela snaps on her bra .</scene_description> <character>ANGELA</character> <dialogue>I go on duty at Miami Airport at seven. I would n't mind having breakfast. What do you care? You're watching the fire. You're done with me. I'm just getting into my uniform here.</dialogue> <scene_description>She is , in fact , slipping on the blouse of her Avis Rent - a - Car uniform . There 's a smile on her lips as she buttons up , watching Racine .</scene_description> <character>ANGELA</character> <dialogue>You've had your fun. You're spent.</dialogue> <parenthetical>( trying for a straight face . )</parenthetical> <dialogue>I'll just slip into my uniform here and slip away.</dialogue> <character>RACINE</character> <dialogue>My history's burning up out here.</dialogue> <character>ANGELA</character> <dialogue>Hey, I do n't mind. I'm leaving. Why do they make these damn skirts so hard to zip.</dialogue> <scene_description>Now , for the first time , Racine turns to look at her . She is sitting on the edge of the bed , half into her uniform . Racine smiles broadly at the sight and moves into the room . He pushes her back and they both disappear from sight , fabric rustling .</scene_description> <character>RACINE</character> <dialogue>Where's your hat?</dialogue> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey. hey.</dialogue> <parenthetical>( giggling . )</parenthetical> <dialogue>. do n't wrinkle it!</dialogue> <character>RACINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>` You're spent.' Where'd you hear that?</dialogue> <scene_description>We are left looking out over the porch at the night . And we go back there , across the rooftops , to the flames .</scene_description> </scene> <scene> <stage_direction>INT. COURTROOM - DAY</stage_direction> <scene_description>An Assistant County Prosecutor named PETER LOWENSTEIN has been conferring at the bench with JUDGE COSTANZA and now they both wait as Racine comes into view to join them . The Judge is irritated .</scene_description> <character>JUDGE COSTANZA</character> <dialogue>Mr. Racine, I do no longer care whether these alleged toilets were ever actually en route from Indiana or not. I think we're wasting our time here. It's pretty clear your client has attempted to defraud the county in a not very ingenious manner.</dialogue> <parenthetical>( he nods at Lowenstein . )</parenthetical> <dialogue>The Assistant Prosecutor has made what I consider a generous offer. And given that you've failed to generate even the semblance of a defense -</dialogue> <character>RACINE</character> <dialogue>Judge Costanza, perhaps when I've presented all -</dialogue> <character>JUDGE COSTANZA</character> <dialogue>Yeah, yeah. If I were you, I'd recommend to your client that held quickly do as Mr. Lowenstein here has suggested - plead nolo contendre, file Chapter Eleven and agree never to do business with Okeelanta County again.</dialogue> <scene_description>Racine is surprised and pleased .</scene_description> <character>RACINE</character> <dialogue>You would look favorably on that?</dialogue> <character>JUDGE COSTANZA</character> <parenthetical>( nods . )</parenthetical> <dialogue>He can walk. But do n't test my patience for even five more minutes. If he hesitates, I'll nail him.</dialogue> <character>RACINE</character> <dialogue>I'll talk to him.</dialogue> <scene_description>Racine starts to turn .</scene_description> <character>JUDGE COSTANZA</character> <dialogue>Mr. Racine. Next time you come into my courtroom I hope you've got either a better defense or a better class of client.</dialogue> <scene_description>Lowenstein smiles .</scene_description> <character>RACINE</character> <dialogue>Thank you, Your Honor.</dialogue> <scene_description>Racine goes back to his client , a Businessman of enormous confidence and extravagantly untrustworthy appearance .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S COFFEE SHOP - FIRST STREET - DAY</stage_direction> <scene_description>Racine and Lowenstein are seated at the counter . Racine drinks beer while Lowenstein drinks a tall iced tea very rapidly and signals for another . This place is across the street from the courthouse/police station and there are plenty of lawyers and cops around , several of whom acknowledge Lowenstein and Racine with pats or nods . A single unit air conditioner is blowing away above the door , but it ca n't compete with the blasts of hot air that come in with each new patron . All of these people , like the pedestrians outside the window , have stripped down to essentials In the infernal heat . The lawyers all carry their Jackets , but even so their shirtsleeves are sweaty . The town is sizzling .</scene_description> <character>LOWENSTEIN</character> <dialogue>- I think I've underestimated you, Ned. I do n't know why it took me so long. You've started using your incompetence as a weapon.</dialogue> <character>RACINE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>My defense was evolving. You guys got scared. Costanza does n't like me. What'd I do to him?</dialogue> <character>LOWENSTEIN</character> <dialogue>He's an unhappy man, Thinks he should be Circuit Court by now. Here he is in a state with really top - notch corruption and he's stuck with the county toilets.</dialogue> <parenthetical>( he drinks . )</parenthetical> <dialogue>I'm surprised you were n't in on that toilet caper. Could have been that quick score you've always been searching for.</dialogue> <character>RACINE</character> <dialogue>Maybe Costanza was in on it. That's why he was mad.</dialogue> <scene_description>STELLA , the owner of the coffee shop , writes and places separate checks in front of the two men .</scene_description> <character>STELLA</character> <dialogue>What's the word from the hallowed halls of justice? Anything juicy?</dialogue> <character>LOWENSTEIN</character> <dialogue>Maybe Stella was in on it.</dialogue> <parenthetical>( finished his tea . )</parenthetical> <dialogue>Stella, when you gon na get a real air conditioner in here.</dialogue> <character>STELLA</character> <dialogue>You do n't like it there's lots of other places.</dialogue> <character>LOWENSTEIN</character> <dialogue>They do n't have you. Got ta go.</dialogue> <scene_description>He stands fishing for change , but Racine takes his check and places it with his own . Lowenstein nods and moves for the door .</scene_description> <character>LOWENSTEIN</character> <dialogue>You ca n't buy me. No sirree, I do n't come cheap.</dialogue> <scene_description>Just before he reaches the door he does a strange thing - he takes several graceful dance steps in the Astaire manner .</scene_description> <character>A VOICE</character> <dialogue>Lowenstein, you're a fag.</dialogue> <scene_description>Lowenstein spins out the door , where he is blasted by the heavy air . His body droops as he disappears .</scene_description> <character>STELLA</character> <dialogue>Why does he do that?</dialogue> <character>RACINE</character> <dialogue>He's pretty good, that's the weird part.</dialogue> <character>STELLA</character> <dialogue>Did you hear about Dr. Block?</dialogue> <character>RACINE</character> <dialogue>No. Do I want to?</dialogue> <character>STELLA</character> <parenthetical>( leans toward him , confidential . )</parenthetical> <dialogue>Agnes Marshall.</dialogue> <character>RACINE</character> <parenthetical>( the thought disgusts him . )</parenthetical> <dialogue>That must have been Mrs. Block's idea, some kind of punishment.</dialogue> <character>STELLA</character> <dialogue>It was! How'd you know? Christ, you're plugged in better than me. So you must know about Mrs. Block's friend in Ocean Grove.</dialogue> <scene_description>Racine winces , gets up , and puts money on the counter . He lights a cigarette .</scene_description> <character>RACINE</character> <dialogue>Stella, this is beneath even you. Things must be slow.</dialogue> <scene_description>Stella agrees with a shrug as Racine heads for the door .</scene_description> <character>STELLA</character> <dialogue>It's the heat.</dialogue> </scene> <scene> <stage_direction>EXT. FIRST STREET AND MAIN STREET - DAY</stage_direction> <scene_description>Racine makes his way up First to the corner of Main and crosses diagonally to his building on Main . He is well - known here , greeted through glass by many of the shop owners . The heat dominates much of the pantomimed conversation . Racine goes in a doorway and heads up the stairs to his office .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine 's secretary , BEVERLY , is behind the desk in the modest reception room . She 's a pretty girl barely past twenty . She pushes some phone message slips toward Racine and nods toward the sofa . A middle - aged woman client , MRS. SINGER , sits there clutching a walking stick . Her face suddenly is contorted in pain . Racine glances meaningfully at Beverly then turns his full solicitous charm on Mrs. Singer .</scene_description> <character>RACINE</character> <dialogue>Mrs. Singer, I would have gladly come to the house.</dialogue> <scene_description>He helps her up and leads her slowly to his office .</scene_description> <character>MRS. SINGER</character> <dialogue>No. no, the doctor says I should walk and I had some shopping. Not that that quack knows what he's talking about. I tell you, Mr. Racine, I'm not sure his testimony is going to be very useful.</dialogue> <character>RACINE</character> <dialogue>Do n't worry about it. I'll find you a doctor who's more understanding. Is it bad today?</dialogue> <character>MRS. SINGER</character> <dialogue>Oooh, you ca n't imagine. Nothing can make up for the pain they've caused me.</dialogue> <character>RACINE</character> <dialogue>How well I know. We'll sue those reckless bastards dry. Excuse my language.</dialogue> <scene_description>As Mrs. Singer disappears into the office , Racine flashes a grin at Beverly .</scene_description> <character>MRS. SINGER</character> <dialogue>Do n't apologize. That's the kind of attitude you've got to have these days.</dialogue> </scene> <scene> <stage_direction>EXT. THE BEACHFRONT - NIGHT</stage_direction> <scene_description>The hottest January in fifty years has brought the crowds to the beach in search of relief . But they 've been disappointed . Even the breeze off the ocean seems blown from a hair dryer . Still , the nights are a trifle better and the Beachfront , the penny arcades , the ice cream stands and bars are busy , even now in the middle of the week . Racine comes out of a bar and lights a cigarette , idly watching the passing parade . There is a free band concert in progress at the band shell . Racine wanders in that direction .</scene_description> </scene> <scene> <stage_direction>EXT. THE BAND SHELL - NIGHT</stage_direction> <scene_description>The Miranda Beach High School Orchestra is playing to a full , sweating house ; the audience is a sea of orange programs fluttering away as fans . People come and go frequently . The atmosphere is as innocent and informal as the music the band is playing now . Racine leans against the back rail , smoking , his eyes playing over the scene with no expectations . Then , down near the center aisle , a WOMAN rises . As the band plays on , this extraordinary , beautiful woman , in a simple white dress , moves down the aisle . She moves wonderfully . The dress clings to her body in the heat . Racine watches , mesmerized , as she walks directly toward him . She passes within a few inches of him , her eyes lowered . Racine 's body sways a moment as she goes by , as though buffeted by some force . But they do not touch . She goes out onto the Beachfront walkway .</scene_description> </scene> <scene> <stage_direction>EXT. THE BEACHFRONT WALKWAY - NIGHT</stage_direction> <scene_description>The Woman , MATTY , has walked to the rail . She stands there now lighting a cigarette . She presents her face to the ocean , hoping for a breeze . We move in on her , with Racine . Racine lights a new cigarette and smiles at her . She looks at him and , for an instant , her eyes race over his body , then she looks back at the ocean .</scene_description> <character>RACINE</character> <dialogue>You can stand here with me if you want, but you'll have to agree not to talk about the heat.</dialogue> <scene_description>She looks at him , and there is something startling about the directness of her gaze . When she speaks , she is cool without being hostile .</scene_description> <character>MATTY</character> <dialogue>I'm a married woman.</dialogue> <character>RACINE</character> <dialogue>Meaning what?</dialogue> <character>MATTY</character> <dialogue>Meaning I'm not looking for company.</dialogue> <scene_description>She turns back toward the ocean .</scene_description> <character>RACINE</character> <dialogue>Then you should have said - ` I'm a happily married woman.'</dialogue> <character>MATTY</character> <dialogue>That's my business.</dialogue> <character>RACINE</character> <dialogue>What?</dialogue> <character>MATTY</character> <dialogue>How happy I am.</dialogue> <character>RACINE</character> <dialogue>And how, happy is that?</dialogue> <scene_description>She looks at him curiously . She begins walking slowly along the rail . He walks too .</scene_description> <character>MATTY</character> <dialogue>You're not too smart, are you?</dialogue> <scene_description>Racine shakes his head `` no . ''</scene_description> <character>MATTY</character> <dialogue>I like that in a man.</dialogue> <character>RACINE</character> <dialogue>What else you like - Ugly? Lazy? Horny? I got'em all.</dialogue> <character>MATTY</character> <dialogue>You do n't look lazy.</dialogue> <scene_description>Racine smiles .</scene_description> <character>MATTY</character> <dialogue>Tell me, does chat like that work with most women?</dialogue> <character>RACINE</character> <dialogue>Some. If they have n't been around much.</dialogue> <character>MATTY</character> <dialogue>I wondered. Thought maybe I was out of touch.</dialogue> <scene_description>She stops again at the rail as a small breeze blows in from the ocean . She turns her back to it and , with her cigarette dangling from her lips , she uses both hands to lift her hair up off her nape . She closes her eyes as the air hits her . Racine watches very closely .</scene_description> <character>RACINE</character> <dialogue>How ` bout I buy you a drink?</dialogue> <character>MATTY</character> <dialogue>I told you. I've got a husband.</dialogue> <character>RACINE</character> <dialogue>I'll buy him one too.</dialogue> <character>MATTY</character> <dialogue>He's out of town.</dialogue> <character>RACINE</character> <dialogue>My favorite kind. We'll drink to him.</dialogue> <character>MATTY</character> <dialogue>He only comes up on the weekends.</dialogue> <scene_description>Matty lets her hair fall and again begins moving down walkway . She drops her cigarette and steps on it .</scene_description> <character>RACINE</character> <dialogue>I'm liking him better all the time. You better take me up on this quick. In another forty - five minutes I'm going to give up and walk away.</dialogue> <character>MATTY</character> <dialogue>You want to buy me something? I'll take one of these.</dialogue> <scene_description>They have come upon a Vendor selling snow cones .</scene_description> <character>RACINE</character> <dialogue>What kind?</dialogue> <character>MATTY</character> <dialogue>Cherry.</dialogue> <character>RACINE</character> <parenthetical>( to Vendor . )</parenthetical> <dialogue>Make it two.</dialogue> <scene_description>The Vendor scoops and pours as Racine lays some change on the cart .</scene_description> <character>RACINE</character> <parenthetical>( to Matty . )</parenthetical> <dialogue>You're not staying in Miranda Beach.</dialogue> <parenthetical>( she shakes her head `` no '' . )</parenthetical> <dialogue>I would have noticed you.</dialogue> <character>MATTY</character> <dialogue>Is this town that small?</dialogue> <scene_description>Racine hands her a snow cone . They walk over to the rail . Racine watches her eat the snow cone with enormous interest .</scene_description> <character>RACINE</character> <dialogue>Pinehaven. You're staying up in Pinehaven, on the waterway.</dialogue> <parenthetical>( she gives him a look , surprised . )</parenthetical> <dialogue>You have a house.</dialogue> <character>MATTY</character> <dialogue>How'd you know?</dialogue> <character>RACINE</character> <dialogue>You look like Pinehaven.</dialogue> <character>MATTY</character> <dialogue>How does Pinehaven look?</dialogue> <character>RACINE</character> <dialogue>Well tended.</dialogue> <scene_description>She looks out at the ocean .</scene_description> <character>MATTY</character> <dialogue>Yes, I'm well tended, all right. Well tended. What about you?</dialogue> <character>RACINE</character> <dialogue>Me? I need tending. I need someone to take care of me. Rub my tired muscles. Smooth out my sheets.</dialogue> <character>MATTY</character> <dialogue>Get married.</dialogue> <character>RACINE</character> <dialogue>I just need it for tonight.</dialogue> <scene_description>For the first time , Matty laughs . A moment later , she spills the snow cone over the front of her dress . It makes a bright red stain against the white . The thin material clings to the line of her breast .</scene_description> <character>MATTY</character> <dialogue>Good. Nice move, Matty.</dialogue> <character>RACINE</character> <dialogue>Matty. I like it. Right over your heart.</dialogue> <character>MATTY</character> <dialogue>At least it's cool. I'm burning up.</dialogue> <character>RACINE</character> <dialogue>I asked you not to talk about the heat.</dialogue> <character>MATTY</character> <dialogue>Would you get me a paper towel or something? Dip it in some cold water.</dialogue> <scene_description>Racine starts toward the restroom nearby .</scene_description> <character>RACINE</character> <dialogue>Right away. I'll even wipe it off for you.</dialogue> <character>MATTY</character> <dialogue>You do n't want to lick it?</dialogue> <scene_description>This causes a momentary hitch in Racine 's retreat , but then he hurries off .</scene_description> </scene> <scene> <stage_direction>INT. MEN'S ROOM</stage_direction> <scene_description>Racine comes in , snaps some paper towels from the rack and turns on the water . The room is full of smoke . A fifteen - year - old Boy is leaning against the wall . After looking Racine over a second , he brings the smoking joint he 's been holding behind his back into view and takes a toke . He nods at Racine , who nods back and stands up with his wet towels . As he walks out , Racine takes a deep breath .</scene_description> </scene> <scene> <stage_direction>EXT. THE BEACHFRONT - NIGHT</stage_direction> <scene_description>Racine comes out of the structure . And stops . Matty is gone . Racine looks around without much hope . Finally , he puts a wet paper towel to the back of his neck . We begin to HEAR a strange , measured thumping , and then -</scene_description> </scene> <scene> <stage_direction>EXT. THE BOARDWALK (82ND STREET) - DAWN</stage_direction> <scene_description>Racine is running . The THUMPING is the sound of Racine 's battered running shoes hitting the weathered wooden planks of the Boardwalk . Racine wears old gym shorts and a torn tee - shirt with `` F.S.U. '' fading from the front . The raised wooden walk works its crooked way through lush , tropical vegetation , first coming close to the wide , white beach , then jutting back inland , swallowed by greenery , then shooting out again toward the sea . Racine hits this last stretch at top speed and launches himself flying out onto the gleaming sand .</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAWN</stage_direction> <scene_description>Racine is running on the sand now , on a raised , hardened section that bisects the beach . His shoes make a weird whooshing SOUND each time they break the compacted surface and sink an inch below . The sun is just rising from the ocean to his right , yet the day is already broiling . Racine 's shirt is drenched . The WHOOSHING is hypnotic , steady ; his expression indicates that it is just this sound which keeps him going .</scene_description> </scene> <scene> <stage_direction>EXT. THE BAND SHELL/THE BEACH - DAY</stage_direction> <scene_description>Further on , Racine runs by the Band Shell where he 'd seen Matty .</scene_description> </scene> <scene> <stage_direction>EXT. THE PIER - DAY</stage_direction> <scene_description>The THUMPING returns , as Racine runs the long , straight pier directly out to sea , toward the rising sun . A lifeguard boat with an outboard motor is on the left of the pier . Racine watches it as he runs until it disappears beneath him , then reappears on his right and turns out to sea , so that it is running beside him . Racine speeds up , really kicking , racing the boat to the end of the pier . The Lifeguard on board is n't even aware of Racine , but he beats the runner nonetheless , then veers off to continue his business . Racine pulls up , breathing hard . He walks it off a bit , watching the boat , then turns and starts walking back along the pier . He reaches into the waistband of his shorts and takes out a pack of cigarettes .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine is behind the desk . Occupying the two seats in front are a married couple rapidly approaching divorce . They are arguing now , each trying to convince Racine of their view . Racine nods occasionally , looking from one to the other . But he is also looking between them , through the open door out to the reception room , where his secretary Beverly is kneeling before the lowest drawer of a filing cabinet . Her back is turned and her jeans are tight across the bottom . There 's nothing especially provocative about her pose . She 's just there . Working away . Racine walks across his office and closes the door . He goes back to his seat . The couple continues .</scene_description> </scene> <scene> <stage_direction>EXT. THE BAND SHELL - NIGHT</stage_direction> <scene_description>Another concert going on , a trio of musicians . Racine moves down the sidewalk away from the audience . He looks around as he lights a cigarette . She is nowhere in sight . Racine opens the door to his car , a nicked - up red '64 Stingray .</scene_description> </scene> <scene> <stage_direction>EXT. PINEHAVEN - DAY</stage_direction> <scene_description>Racine drives past a neat sign - `` You are entering PINEHAVEN Please drive carefully '' There 's money here . Many of the homes are not visible from the street - only their gates announce their presence . Those that can be seen are sprawling and lavish . The Waterway appears to the left . A large white yacht cruises slowly by .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT - DAY</stage_direction> <scene_description>Racine sits in bed smoking a cigarette . At the mirror , a Nurse in a fresh white uniform steps into her white shoes and begins attaching her cap with bobby pins .</scene_description> </scene> <scene> <stage_direction>INT. COCKTAIL LOUNGE - PINEHAVEN - NIGHT</stage_direction> <scene_description>Dark . Almost classy . The place is half full . Matty is drinking at the end of the bar , her cigarettes next to her glass . The bar chairs near her are empty . Racine comes in , looks around , walks over and sits in the seat next to her . She looks up , surprised .</scene_description> <character>MATTY</character> <dialogue>Look who's here. Is n't this a coincidence?</dialogue> <scene_description>Racine looks at her , almost as though he ca n't place her . But he does n't push that effect hard . He lights a cigarette .</scene_description> <character>RACINE</character> <dialogue>I know you.</dialogue> <character>MATTY</character> <dialogue>You're the one that does n't want to talk about the heat. Too bad. I'd tell you about my chimes.</dialogue> <character>RACINE</character> <dialogue>What about them?</dialogue> <character>MATTY</character> <dialogue>The wind chimes on my porch. They keep ringing and I go out there expecting a cool breeze. That's what they've always meant. But not this summer, This summer it's just hot air.</dialogue> <character>RACINE</character> <dialogue>Do I remind you of hot air?</dialogue> <scene_description>The Bartender has come up .</scene_description> <character>RACINE</character> <dialogue>Bourbon, any kind, on the rocks.</dialogue> <parenthetical>( to Matty . )</parenthetical> <dialogue>Another?</dialogue> <scene_description>She thinks , then nods her agreement . The Bartender moves away .</scene_description> <character>MATTY</character> <dialogue>What are you doing in Pinehaven?</dialogue> <character>RACINE</character> <dialogue>I'm no yokel. Why, I was all the way to Miami once.</dialogue> <character>MATTY</character> <dialogue>There are some men, once they get a whiff of it, they'll trail you like a hound.</dialogue> <scene_description>The Bartender brings their drinks and leaves .</scene_description> <character>RACINE</character> <dialogue>I'm not that eager.</dialogue> <character>MATTY</character> <dialogue>What is your name, anyway?</dialogue> <character>RACINE</character> <parenthetical>( offers his hand . )</parenthetical> <dialogue>Ned Racine.</dialogue> <character>MATTY</character> <dialogue>Matty Walker.</dialogue> <scene_description>She takes his hand and shakes it . Racine reacts strangely to her touch and does n't let go right away . She gently frees it , then refers to his look as she picks up her drink -</scene_description> <character>RACINE</character> <dialogue>Are you all right?</dialogue> <character>MATTY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Yes. My temperature runs a couple degrees high. Around 100 all the time I do n't mind it. It's the engine or something.</dialogue> <character>RACINE</character> <dialogue>Maybe you need a tune - up.</dialogue> <character>MATTY</character> <dialogue>Do n't tell me - you have just the right tool.</dialogue> <character>RACINE</character> <dialogue>I do n't talk that way.</dialogue> <character>MATTY</character> <dialogue>How'd you find me, Ned?</dialogue> <scene_description>Racine gives her a look .</scene_description> <character>RACINE</character> <dialogue>This is the only joint in Pinehaven.</dialogue> <character>MATTY</character> <dialogue>How'd you know I drink?</dialogue> <character>RACINE</character> <dialogue>You seemed like a woman with all the vices.</dialogue> <character>MATTY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>You should n't have come. You're going to be disappointed.</dialogue> <scene_description>Racine looks out over his drink . Several of the Men in the place are looking at them .</scene_description> <character>RACINE</character> <parenthetical>( referring to the men . )</parenthetical> <dialogue>What'd I do?</dialogue> <character>MATTY</character> <parenthetical>( indicating Racine 's chair . )</parenthetical> <dialogue>A lot of them have tried that seat. You're the first one I've let stay.</dialogue> <character>RACINE</character> <parenthetical>( spotting a few more . )</parenthetical> <dialogue>You must come here a lot.</dialogue> <character>MATTY</character> <dialogue>Most men are little boys.</dialogue> <character>RACINE</character> <dialogue>Maybe you should drink at home.</dialogue> <character>MATTY</character> <dialogue>Too quiet.</dialogue> <character>RACINE</character> <dialogue>Maybe you should n't dress like that.</dialogue> <character>MATTY</character> <dialogue>This is a blouse and a skirt. I do n't know what you're talking about.</dialogue> <character>RACINE</character> <dialogue>You should n't wear that body.</dialogue> <scene_description>Natty leans back in her seat and glances down at herself . She 's magnificent .</scene_description> <character>MATTY</character> <dialogue>I do n't like my body much. It's never been right.</dialogue> <scene_description>Racine has been looking at her body too . With her line , he just laughs . Matty watches him , then leans over her drink . Her tone is different .</scene_description> <character>MATTY</character> <dialogue>Sometimes, I do n't know. I get so sick of everything, I'm not sure I care anymore. Do you know what I mean, Ned?</dialogue> <character>RACINE</character> <parenthetical>( he 's not sure . )</parenthetical> <dialogue>I know that sometimes the shit comes down SO heavy I feel like I should wear a hat.</dialogue> <scene_description>Matty laughs , studies him .</scene_description> <character>MATTY</character> <dialogue>Yeah, that's what I mean.</dialogue> <scene_description>Ratty drains her glass and stubs out her cigarette .</scene_description> <character>MATTY</character> <dialogue>I think I'll get out of here now. I'm going home.</dialogue> <character>RACINE</character> <dialogue>I'll take you.</dialogue> <character>MATTY</character> <dialogue>I have a car.</dialogue> <character>RACINE</character> <dialogue>I'll follow you. I want to see the chimes.</dialogue> <character>MATTY</character> <dialogue>You want to see the chimes.</dialogue> <character>RACINE</character> <dialogue>I want to hear them.</dialogue> <scene_description>She looks at him a long time .</scene_description> <character>MATTY</character> <dialogue>That's all. If I let you, that's all.</dialogue> <character>RACINE</character> <parenthetical>( gestures his innocence . )</parenthetical> <dialogue>I'm not looking for trouble.</dialogue> <character>MATTY</character> <parenthetical>( very serious . )</parenthetical> <dialogue>I mean it. I like you. But my life is complicated enough.</dialogue> <scene_description>Racine again accepts .</scene_description> <character>MATTY</character> <dialogue>This is my community bar. I might have to come here with my husband some time. Would you leave before me? Wait in your car? I know it seems silly.</dialogue> <character>RACINE</character> <dialogue>I do n't know who we're going to fool. You've been pretty friendly.</dialogue> <scene_description>She gives him a look and then slaps him hard ! Everyone turns toward them .</scene_description> <character>MATTY</character> <parenthetical>( steadily . )</parenthetical> <dialogue>Now leave me alone.</dialogue> <scene_description>She stands up , takes her purse and her cigarettes , and walks to the other end of the bar , where she sits down . Racine watches her with amazed eyes . He stands up and throws some money on the bar .</scene_description> <character>RACINE</character> <parenthetical>( angry . )</parenthetical> <dialogue>Lady, you must be some kind of crazy!</dialogue> <scene_description>He stalks out of the bar .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S CAR - NIGHT</stage_direction> <scene_description>CLOSE on his face as he drives . His look is intense , expectant . He 's feeling lucky as he watches up ahead . RACINE 'S POV out the windshield . Matty 's shiny Mercedes 450 SEL is gliding down the road ahead of him . She puts on the blinker , slows and turns into a gated drive . The drive is canopied by heavy trees , the vegetation crowding the road with a primeval lushness . The headlights create sinuous welcoming shadows . It is as though Racine were entering some separate , parallel , jungle world . Eventually the house comes into view .</scene_description> <character>RACINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Jesus.</dialogue> <scene_description>Matty 's car swings around in the parking area and stops . Racine pulls the Stingray up next to it , facing the other way . He watches Matty slide her long legs out of the car . She glances at Racine and for an instant there is a hint of self - consciousness under the weight of his gaze . We begin to HEAR the soft tinkling of chimes .</scene_description> </scene> <scene> <stage_direction>EXT. THE WALKER HOUSE - FRONT TERRACE - NIGHT</stage_direction> <scene_description>Racine follows closely behind Matty as they go up the stairs . At the door , Matty turns suddenly and looks at Racine .</scene_description> <character>MATTY</character> <dialogue>Remember your promise.</dialogue> <scene_description>Racine agrees . Matty looks him over a moment , then turns to unlock the door .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL/SECOND FLOOR HALL - NIGHT</stage_direction> <scene_description>Matty comes in and puts her purse on a hall table as Racine moves forward to look around . Despite the night gloom , it 's clear the place is expensively decorated in a manner entirely consistent with the exterior of the house . Fine antiques , carefully chosen fabrics , and a meticulous selection of accessories have given the place the look of an affluent home of Thirties America . And yet the overall effect is almost contemporary , so burnished are the woods , so fresh all the elements . It works .</scene_description> <character>RACINE</character> <dialogue>Just like my place.</dialogue> <scene_description>Matty gives him a searching look , then leads him up the stairs , flipping on only an occasional light in their path . In the second floor hall , Matty moves to the front of the house . Racine glances into the gloom that hides Matty 's bedroom .</scene_description> <character>RACINE</character> <dialogue>No help?</dialogue> <character>MATTY</character> <dialogue>She goes home nights.</dialogue> <character>RACINE</character> <dialogue>You're not nervous alone?</dialogue> <scene_description>Matty pauses at the doors to the porch , unlocking them , and looks at Racine as though she barely understands the question .</scene_description> <character>MATTY</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. SECOND FLOOR PORCH - NIGHT</stage_direction> <scene_description>The TINKLING is distinct out here . Matty and Racine come out onto the porch . There are about thirty wind chimes of various , lovely designs - crystal , metal , wood hanging at intervals from the rim of the wide porch awning , completely encircling Matty and Racine . Halfway down the long lawn is a white gazebo . Beyond it , the waterway is shimmering in the moonlight . At the edge of the water is a small boat house . Racine walks along under the chimes , looking up at them . A smile plays across her face . He looks back at Matty ,</scene_description> <character>RACINE</character> <dialogue>You do have chimes.</dialogue> <scene_description>He looks out at the boat house .</scene_description> <character>RACINE</character> <dialogue>What's that?</dialogue> <character>MATTY</character> <dialogue>A gazebo</dialogue> <character>RACINE</character> <dialogue>No, out there.</dialogue> <character>MATTY</character> <dialogue>Boat house.</dialogue> <character>RACINE</character> <dialogue>What is in there?</dialogue> <character>MATTY</character> <dialogue>Boat.</dialogue> <scene_description>Racine moves back and stands very close to her . He looks at her in the moonlight , but she concentrates on the distant water .</scene_description> <character>MATTY</character> <dialogue>It's a mess. There's a row boat, a lot of lounge chairs. things like that.</dialogue> <scene_description>Racine puts his hand up under her hair , on her nape . She closes her eyes at his touch , then moves away , as though by an act , of will , to the door , half opening it .</scene_description> <character>MATTY</character> <dialogue>I think you should go now.</dialogue> <character>RACINE</character> <dialogue>I just got here.</dialogue> <character>MATTY</character> <dialogue>You've seen them. Please go.</dialogue> <scene_description>Racine steps toward her , but she ducks inside and moves through the intermittent light of the hall and down the steps . Racine follows her .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL</stage_direction> <scene_description>Matty stops at the entry hall , leaning against the wall .</scene_description> <character>RACINE</character> <dialogue>You did n't bring me here to see your wind chimes.</dialogue> <scene_description>He puts an arm on each side of her , caging her against the wall . She looks up at him .</scene_description> <character>MATTY</character> <dialogue>Yes, I did. I said what I meant. Do you ever do that?</dialogue> <character>RACINE</character> <dialogue>No. not very often.</dialogue> <scene_description>He kisses her light on the forehead . Again she reacts , but fights it .</scene_description> <character>RACINE</character> <dialogue>I do n't think you want me to go.</dialogue> <character>MATTY</character> <dialogue>Yes. Please.</dialogue> <scene_description>He kisses her lightly on the nose .</scene_description> <character>RACINE</character> <dialogue>There's nothing to be afraid of.</dialogue> <character>MATTY</character> <dialogue>There is for me.</dialogue> <scene_description>Matty slips under his arms and quickly steps out the front door . She stands just outside watching him . Racine shakes his head , goes out there .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - NIGHT</stage_direction> <scene_description>Racine stops next to Matty . She does n't move away .</scene_description> <character>MATTY</character> <dialogue>Thank you. I'm sorry, I should n't have lot you come.</dialogue> <scene_description>Racine looks at her a long time .</scene_description> <character>RACINE</character> <dialogue>You're not so tough after all, are you?</dialogue> <character>MATTY</character> <dialogue>No. I'm weak.</dialogue> <scene_description>She kisses him on the lips and steps quickly inside the front door . She closes it , looks through the window at him , then moves away .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING AREA - NIGHT</stage_direction> <scene_description>Racine stands looking at the door a few moments . Then he walks to his car . Again he stops . He looks back at the house . The wind picks up a bit and the TINKLING of the wind chimes gets louder . And then louder . Racine goes back up onto the porch fast . He goes to the front door and looks through the window .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - NIGHT</stage_direction> <scene_description>RACINE 'S POV . Matty is standing at the bottom of the stairs in the hall . She is looking directly at the front door . Frozen in the spot . Racine tries the door . It 's locked . He shakes it hard , but it 's solid . He looks to his left . There are windows down the wall there . He moves to them . They go into the living room but their shutters are closed . He looks through a broken slat at Matty , who watches him from the same spot , through the living room door . Racine tries them . They wo n't budge . Racine moves to his right past the front door , to the windows off the dining room . He pushes at them as his eyes lock with Matty , who watches from the hall . The windows wo n't move , Racine spins and picks up the nearest object , a wooden rocking chair . He lifts it , turns and smashes the big window . Glass showers into the dining room . Matty watches . She has n't moved . Racine pushes the broken window out of his way . He comes in , like a violent gust of wind .</scene_description> </scene> <scene> <stage_direction>INT. HALL</stage_direction> <scene_description>Racine crosses the dark living room fast . As he reaches Matty , she lifts her arms to match his embrace . They come together hard and tight . They kiss . And kiss again . Her hands travel over his body , as though she 's wanted them there for a long time . They turn once slowly along the wall , into the dimness of the central hall . Then he rotates her body away from him , holding her close .</scene_description> <character>MATTY</character> <dialogue>Yes, yes.</dialogue> <scene_description>Then she is just nodding . Racine puts his face deep into her hair , closing his eyes as the smell of her washes over him . Matty turns in his arms and kisses him hard . Racine pulls her close to him and they sink to the floor .</scene_description> <character>RACINE</character> <dialogue>That's right. that's right.</dialogue> <scene_description>CLOSE ON Matty 's face , a look that might be anguish . She bites her lip in expectation . Racine moves over her .</scene_description> <character>MATTY</character> <dialogue>Please, please.</dialogue> <scene_description>She pulls him tightly to her , clinging like a drowning woman .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Racine and Matty lie under a sheet on her big bed . Her eyes are closed . There are more wind chimes on the second floor of the verandah , which is off this room , and Racine is listening to their TINKLING . Racine looks over in that direction . RACINE 'S POV . The moonlit , sheer white curtains on the window roil to a light breeze . Racine 's gaze travels over the luxurious bedroom ; here too , it is in the Thirties style . Their clothes are haphazardly thrown across a divan and on the floor nearby . A delicate fern sways in the wind . Finally , he is looking at a lovely writing desk against the far wall . Some tissue - thin stationery flaps in the breeze , kept in place by the weight of a pen . Then , as he looks , the paper stops flapping and the chimes gradually STOP TINKLING . Racine looks toward the window . It is still open , but the air had died . The curtains hang still . Racine 's face . The world has stopped .</scene_description> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( softly . )</parenthetical> <dialogue>I did n't want this to happen. But I did n't try hard enough to stop it. Because I wanted you. I wanted you here, like this. This is bad for me. I know it. Now nothing's going to be the same anymore.</dialogue> <scene_description>FROM ABOVE THEM , we see them framed by the bed .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF WALKER HOUSE - DAY</stage_direction> <scene_description>Near the front gate of the Walker place , a heavyset , middle - aged woman , BETTY , THE WALKER 'S HOUSEKEEPER , has been waiting on a bus stop bench . Now she lifts her tired body to board a public bus . Down the Street , just around a corner , Racine watches her go . He puts the Stingray in gear and drives to the Walkers .</scene_description> </scene> <scene> <stage_direction>EXT. WALKERS' BOAT HOUSE - SUNSET</stage_direction> <scene_description>Lights are going on across the waterway , sending shimmers toward the boat house .</scene_description> </scene> <scene> <stage_direction>INT. WALKERS' BOAT HOUSE - SUNSET</stage_direction> <scene_description>We 're looking out a dusty window at the waterway . We HEAR Racine and Matty disentangle and roll apart o.s. , Racine grunting his exhaustion . After a moment , Racine rises up into frame , looking happy . He looks down to where he was and rests against the wall .</scene_description> <character>RACINE</character> <dialogue>I like this place. It's got a nice feel.</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You were on top.</dialogue> <character>RACINE</character> <dialogue>So it could use a better mattress. See to it, will you?</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes sir.</dialogue> <scene_description>Racine turns and stares out at the ocean . Matty rises up behind and hugs him from the back . She kisses his shoulder blades and presses her cheek against his spine .</scene_description> <character>RACINE</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Hey, gim me a break here. It takes a little while.</dialogue> <character>MATTY</character> <parenthetical>( ignoring him , laughs . )</parenthetical> <dialogue>It's your fault.</dialogue> <character>RACINE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>It takes me a good thirty seconds.</dialogue> <character>MATTY</character> <dialogue>Are you sure? I just want to make sure here.</dialogue> <scene_description>She pulls him down . On the lounge cushions that are spread across the floor , Matty rolls on top of Racine . Racine reacts with exaggerated pain to the roughness of the cushions .</scene_description> <character>RACINE</character> <dialogue>Jesus, I think you're right -.</dialogue> <parenthetical>( he rolls over her . )</parenthetical> <dialogue>- you better be on the bottom.</dialogue> <character>MATTY</character> <dialogue>No, you misunderstood -.</dialogue> <parenthetical>( she rolls over him . )</parenthetical> <dialogue>- this is my new saddle, and I just want to -</dialogue> <character>RACINE</character> <dialogue>Wow! No, I must object -</dialogue> <scene_description>Laughing , they roll again and we 're on Racine 's face as we :</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Racine 's face ; he is still rolling , but he is alone . He has just rolled off the bed . He lies there like a dead man .</scene_description> <character>RACINE</character> <parenthetical>( finally , breathless . )</parenthetical> <dialogue>Enough.</dialogue> </scene> <scene> <stage_direction>INT. MASTER BATHROOM - NIGHT</stage_direction> <scene_description>Racine is at the sink , having just washed his tired face . He opens the medicine cabinet and looks at all the toiletries of Matty 's husband . He selects a cologne , is impressed by its expensive look , and slaps a little on his jaw . He does n't like the smell . He closes the cabinet and moves back into the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Matty , wrapped in a thin white terrycloth robe , is stripping the bed of its sheets . Racine watches from across the room .</scene_description> <character>RACINE</character> <dialogue>What are you doing?</dialogue> <character>MATTY</character> <dialogue>I've got to wash these.</dialogue> <character>RACINE</character> <dialogue>You're afraid of your maid?</dialogue> <character>MATTY</character> <dialogue>That's right. My mother told me `` knowledge is power.''</dialogue> <character>RACINE</character> <dialogue>This is an interesting interpretation. Is that why you've started smoking my brand?</dialogue> <scene_description>Matty straightens with an armload of sheets .</scene_description> <character>MATTY</character> <dialogue>No one must know. Promise me, Ned. No one.</dialogue> <scene_description>He promise with a gesture .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT - DAWN</stage_direction> <scene_description>Racine comes in , beat . He throws his jacket across a chair . Out the windows to the porch , the sun is rising out of the Atlantic . Racine goes there and closes the curtains . In the gloom he walks to his bed and sits on the edge , kicking off his shoes . He picks up his alarm clock and begins setting it .</scene_description> </scene> <scene> <stage_direction>EXT. WALKER HOUSE - LAWN/GAZEBO - NIGHT</stage_direction> <scene_description>Racine has just parked his car and is walking back across the lawn . Matty is standing in the gazebo , her back turned , looking out at the Waterway . She is dressed in white and from here she looks very much as she did when they first met . There are wind chimes hanging from the gazebo .</scene_description> <character>RACINE</character> <dialogue>Hey, lady, wan na make love?</dialogue> <scene_description>The lady in question turns around , surprised . It is not Matty at all . It is MARY ANN . She 's attractive , but a little cheap - looking . She looks him over .</scene_description> <character>MARY ANN</character> <dialogue>I do n't know. Maybe This sure is a friendly town.</dialogue> <scene_description>Racine is nonplussed . He does n't know what to do .</scene_description> <character>RACINE</character> <dialogue>I'm sorry.</dialogue> <character>MARY ANN</character> <parenthetical>( mock hurt feelings . )</parenthetical> <dialogue>You are? You mean the offers no good?</dialogue> <scene_description>Racine comes up on the porch .</scene_description> <character>RACINE</character> <dialogue>I feel like a jerk.</dialogue> <scene_description>Mary Ann gives him a salacious smile .</scene_description> <character>MARY ANN</character> <dialogue>Maybe you were supposed to deliver it next door?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>You must be looking for the lady of the house.</dialogue> <scene_description>Unbeknownst to either of them , Matty has been watching from the lawn . Now she moves up into the gazebo . In her right hand she has an envelope , well - filled and sealed .</scene_description> </scene> <scene> <stage_direction>EXT. INTERSECTION</stage_direction> <scene_description>A block away from the station , the patrol car races toward an intersection . Suddenly , a WOMAN steps into the street , pushing a baby buggy . Pat slams on the brakes , and the car skids sideways toward the intersection , where it rocks onto two wheels and stops just a few yards short of the buggy . Sam sticks his head out the window .</scene_description> <character>SAM</character> <dialogue>Are you crazy, lady? Did n't you hear the siren?</dialogue> <scene_description>The woman dives to the ground as the BABY sits up in the buggy - he is a midget with a cigar in his mouth and a tommy gun in his hands . Pat jerks Sam to the floor just as the midget opens fire . The midget riddles the car with bullets . Headlights explode , windows are smashed , the grill is torn to shreds , and steam mushrooms into the air . All four tires are flattened , a bumper is sheared off , and still the blasting goes on . There 's almost nothing left of the patrol car as a dark sedan wheels into the intersection to pick up the woman and the midget . The sedan speeds away , and Pat and Sam climb out of the rubble , unhurt but very shaken .</scene_description> </scene> <scene> <stage_direction>INT. TRACY'S CAR</stage_direction> <scene_description>Siren off , Tracy cuts the motor and silently glides into Cullen Park , stopping just under a low - hanging weeping willow .</scene_description> </scene> <scene> <stage_direction>EXT. BOATHOUSE</stage_direction> <scene_description>Approaching the boathouse carefully , Tracy takes out his pistol . The front door is ajar . Tracy pushes it , and it creaks open . He enters cautiously .</scene_description> </scene> <scene> <stage_direction>INT. BOATHOUSE</stage_direction> <scene_description>The boathouse is dark , lit only by moonlight and park lights that shine through the windows . Tensely , Tracy listens for sounds , then moves very carefully past stacked up rowboats and canoes . Traced against a window at the far end of the boathouse , Tracy sees the silhouette of a man . Gripping his pistol , he moves silently toward that silhouette , closing in on it while keeping alert for movement .</scene_description> <character>MATTY</character> <dialogue>Ned, this is Mary Ann.</dialogue> <scene_description>Matty hands the envelope to Mary Ann , who puts it in her purse .</scene_description> <character>MARY ANN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>We were just meeting. Ned made me feel very welcome.</dialogue> <character>RACINE</character> <dialogue>I'm an idiot. Nice to meet you. Are you staying in town?</dialogue> <character>MARY ANN</character> <dialogue>No, no, just passing through. Nice area. A little hot for my tastes.</dialogue> <character>RACINE</character> <dialogue>It's unusual. We're famous for our cool breezes.</dialogue> <scene_description>There is a pregnant pause as Mary Ann looks him over , fighting some private amusement .</scene_description> <character>MATTY</character> <parenthetical>( to Mary Ann . )</parenthetical> <dialogue>Do you want to stay for dinner?</dialogue> <character>MARY ANN</character> <parenthetical>( negative . )</parenthetical> <dialogue>Got to go, got to go.</dialogue> <scene_description>She pecks Matty on the cheek , then steps close to Racine to shake his hand .</scene_description> <character>MARY ANN</character> <dialogue>You two have fun now.</dialogue> <scene_description>She 's smiling as she leaves the gazebo and walks across the lawn . Matty takes Racine 's arm as they watch Mary Ann get into her little sports car , which has been pulled up close to the house . She pulls out waving .</scene_description> <character>RACINE</character> <dialogue>I did n't see her car. I'm sorry. I got to be more careful.</dialogue> <scene_description>Matty turns to him and puts her arms around his neck .</scene_description> <character>MATTY</character> <dialogue>Mary Ann's an old friend. She's like a sister to me. She wants me to be happy.</dialogue> </scene> <scene> <stage_direction>EXT. LAWN/LAGOONS - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty 's Mercedes has been pulled out onto lawn next to the lagoons which border the grass . Racine and Matty can be seen , intermittently rising into view in the back seat , grappling , then disappearing again . Matty is giggling .</scene_description> <character>RACINE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( not in a jovial mood . )</parenthetical> <dialogue>You know, this has never been one of my pleasures. Car. I considered the time I spent making it -.</dialogue> <parenthetical>( grunts , sits up . )</parenthetical> <dialogue>- like this. penance for some sin.</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What sin?</dialogue> <character>RACINE</character> <dialogue>I never knew. Maybe worshipping women instead of God. But it never did anything for me.</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Not even a Mercedes?</dialogue> <parenthetical>( Racine shakes his head . )</parenthetical> <dialogue>With genuine calf skin upholstery?</dialogue> <character>RACINE</character> <dialogue>No.</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Not this?</dialogue> <scene_description>Matty rises up , wraps her arms around his neck and kisses him deeply . She pulls him out of sight .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>An ashtray , full to overflowing , on the rug next to Matty 's bed . And , above it , Matty 's hand , clutching the sheets on the side of the bed .</scene_description> </scene> <scene> <stage_direction>INT. MASTER BATHROOM</stage_direction> <scene_description>Racine and Matty lie together in the full bathtub . On the floor beside the tub is the container that catches the ice from a refrigerator 's automatic icemaker .</scene_description> <character>RACINE</character> <dialogue>You're killing me.</dialogue> <character>MATTY</character> <dialogue>Is there any more ice? I'm burning up.</dialogue> <scene_description>Racine gropes for the ice container and dumps the remaining ice cubs Into the tub with them . Matty snatches one out of the water and holds it to her forehead .</scene_description> <character>MATTY</character> <dialogue>He's coming up tomorrow.</dialogue> <scene_description>Racine knows .</scene_description> <character>MATTY</character> <dialogue>I ca n't stand the thought of him. He's small and mean. and weak.</dialogue> <scene_description>Racine watches some water run through his fingers . He cradles her head in an embrace that has nothing to do with sex . She looks sad .</scene_description> </scene> <scene> <stage_direction>EXT. GROUNDS - WALKER'S PLACE -- NIGHT</stage_direction> <scene_description>The Middle of the Night . A light FOG has rolled in . Racine is walking slowly through the shadows of the heavy foliage . He stops beside a rubber tree . RACINE 'S POV . The Walker House . In front sits a huge white Cadillac . All the lights in the house are out . The wind chimes TINKLE softly . Racine lights a cigarette .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine stands at the window staring down at the busy Main Street . He is far away .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Racine has just entered . Matty is calling from somewhere out of sight .</scene_description> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Just do what I say! Go into the living room.</dialogue> <character>RACINE</character> <dialogue>Come on! It's been three days. I want to see you -</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm going to make it up to you tonight. But you must behave. Now go!</dialogue> <character>RACINE</character> <dialogue>I'm going. I'm going.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Racine goes into the living room and sits down on the couch .</scene_description> <character>RACINE</character> <dialogue>I'm here.</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Good.</dialogue> <scene_description>Matty comes in carrying a tray with two drinks on it . And she is dressed in the uniform of an airline stewardess , complete all the way to her little cap . She can not keep a straight face , despite her efforts . Racine begins to laugh .</scene_description> <character>MATTY</character> <parenthetical>( choking back her giggles . )</parenthetical> <dialogue>Good evening, sir. welcome to. to Flight 413. nonstop to.</dialogue> <scene_description>She hands him a drink , but he takes it and the tray and puts them on the floor . He pulls her down across his lap . They are both laughing hard . He kisses her .</scene_description> <character>RACINE</character> <dialogue>What do you take me for?</dialogue> <character>MATTY</character> <dialogue>Do n't you like it?</dialogue> <character>RACINE</character> <dialogue>You think I'm a kid?</dialogue> <character>MATTY</character> <dialogue>You do n't like it? I thought you went for this stuff.</dialogue> <scene_description>He pushes her back across the sofa .</scene_description> <character>MATTY</character> <dialogue>Wait. wait. I want to tell you about the thing. the thing that will drop from the ceiling. in case the cabin suddenly depressurizes - oho.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVING RANGE - NIGHT</stage_direction> <scene_description>A dozen Golfers are practicing , spotted along the row of hitting pads under floodlights . Most are drenched with sweat from their exertion in the muggy air . Their randomly timed swings send streaking white bullets into the darkness . But what is hypnotic , what so captures a hot night in sound , is the irregular CRACKING of clubs meeting balls : CRACK , CRACK - CRACK - CRACK , CRACK - CRACK ! In the darkness of the overlooking parking lot , behind a high fence , sits the Stingray , with Racine in the driver 's seat and Matty close beside him . They sit in silence .</scene_description> <character>MATTY</character> <parenthetical>( finally . )</parenthetical> <dialogue>What are we doing here?</dialogue> <character>RACINE</character> <parenthetical>( hushed . )</parenthetical> <dialogue>Listen!</dialogue> <parenthetical>( CRACK , CRACK . )</parenthetical> <dialogue>I love that sound.</dialogue> <scene_description>Matty listens , but her eyes are on Racine .</scene_description> <character>MATTY</character> <dialogue>I want to be in bed.</dialogue> <character>RACINE</character> <dialogue>Is that all you ever think about?</dialogue> <scene_description>Racine watches the Golfers , listening intently . Then he sees that Matty is crying . He comforts her .</scene_description> <character>RACINE</character> <dialogue>Hey! I'm kidding.</dialogue> <scene_description>Matty looks straight ahead and her tone is somber .</scene_description> <character>MATTY</character> <dialogue>Yes. that's all I ever think about. You and me. Your body near mine, close. I'm not right when you're not with me. I get the shakes. And each time, when I first see you, I shake even more. For a while. And then I get calm. I feel safe. I've never been this way. I ca n't remember how I lived before.</dialogue> <scene_description>He knows it 's true . It 's the same for him . He wipes her cheeks with his hand . CRACK , CRACK - CRACK , CRACK .</scene_description> </scene> <scene> <stage_direction>EXT./INT. WALKER HOUSE (SERIES OF SHOTS) - NIGHT</stage_direction> <scene_description>WATERWAY/BOAT HOUSE - The water laps against the pier . Gently . The quiet sound almost overpowered by the insistent buzz of the night insects . The CAMERA MOVES toward the house . LAGOON/GAZEBO - A giant palmetto bug leaps from a lily pad into the water , creating a tiny ripple . The CAMERA MOVES toward the house . STAIRWELL/HALLWAY - Quiet and dark . The CAMERA MOVES along the shiny white posts of the stairs . Upward .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Racine and Matty are in bed . Matty is sound asleep , her back close to Racine . But he is not asleep . He is propped up , looking down at her . We 've never seen his face like this before . Never this open , never so much in repose . She stirs , and then is still again . He touches her hair lightly . She sleeps .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S COFFEE SHOP - DAY</stage_direction> <scene_description>Same courthouse/cop crowd as before . Racine finishes a sandwich at a table as Lowenstein sits down with two tall glasses of iced coffee , both of which he drinks down .</scene_description> <character>RACINE</character> <dialogue>You look terrible. Do n't you sleep?</dialogue> <character>LOWENSTEIN</character> <dialogue>I had a dream last night that was so boring it woke me up. I was afraid to go back to sleep. Where the hell have you been?</dialogue> <character>RACINE</character> <dialogue>What do you mean, I been around.</dialogue> <character>LOWENSTEIN</character> <dialogue>I've barely seen you for a month. Wait a minute - it's some new quiff, is n't it? What's wrong with me.</dialogue> <scene_description>Racine dismisses this with a gesture .</scene_description> <character>LOWENSTEIN</character> <dialogue>You've never been shy about that stuff.</dialogue> <scene_description>At this moment , DETECTIVE OSCAR GRACE , a big , powerful black man comes in . He 's a plainclothes cop in shirt sleeves , his jacket in his hand . As he passes Racine on his way to the third seat at the table , he squeezes Racine 's shoulders with his huge hands , by way of greeting .</scene_description> <character>RACINE</character> <dialogue>Oscar.</dialogue> <character>GRACE</character> <dialogue>Hey. You were n't at the Y last week. We lost.</dialogue> <character>LOWENSTEIN</character> <parenthetical>( about Racine . )</parenthetical> <dialogue>He's getting discreet. I ca n't believe it.</dialogue> <scene_description>Stella comes over .</scene_description> <character>GRACE</character> <dialogue>Whatcha got in pie today, Stella?</dialogue> <character>STELLA</character> <parenthetical>( glancing behind her . )</parenthetical> <dialogue>Cherry, cherry. and cherry.</dialogue> <character>GRACE</character> <dialogue>What do you recommend?</dialogue> <character>STELLA</character> <dialogue>I like the cherry.</dialogue> <character>GRACE</character> <dialogue>Bring it on. And a gigantic Coke.</dialogue> <character>LOWENSTEIN</character> <dialogue>I'm really disappointed, Racine. I've been living vicariously off you for years. If you shut up on me, I'll have just my wife.</dialogue> <character>RACINE</character> <dialogue>There's nothing to tell. I lead a lonely life.</dialogue> <character>GRACE</character> <dialogue>Right. And it's gon na snow later today -</dialogue> <character>LOWENSTEIN</character> <dialogue>And people are basically decent.</dialogue> <parenthetical>( looking around the restaurant . )</parenthetical> <dialogue>. Must be someone I know. Let's see - someone in uniform.</dialogue> <scene_description>Grace laughs . Racine shakes his head in mock exasperation .</scene_description> <character>LOWENSTEIN</character> <dialogue>no Army personnel around. Waitress. Could it be.</dialogue> <parenthetical>( like Brando in `` Streetcar , '' but soft . )</parenthetical> <dialogue>. Stella!</dialogue> <scene_description>Stella arrives with Grace 's order . Lowenstein looks her over as a possible for Racine , but shakes his head . Stella lingers . Lowenstein spots someone , speaks to Racine in a loud , excited whisper .</scene_description> <character>LOWENSTEIN</character> <dialogue>I know, I know - you finally got to Glenda.</dialogue> <scene_description>Across the restaurant , GLENDA , a Meter Maid , is talking with some other women .</scene_description> <character>LOWENSTEIN</character> <dialogue>How was it? Did she let you into the no parking zone?</dialogue> <character>STELLA</character> <dialogue>I'll have you know Glenda is seriously involved with a narc from Palm Beach.</dialogue> <character>RACINE</character> <parenthetical>( smiling his innocence . )</parenthetical> <dialogue>There you are.</dialogue> <character>LOWENSTEIN</character> <dialogue>A narc from Palm Beach? Is that his hobby?</dialogue> <character>RACINE</character> <dialogue>How's the cop business, Oscar?</dialogue> <character>GRACE</character> <dialogue>Real good. Always starts hoppin' in weather like this. When it gets hot, people try to kill each other.</dialogue> <character>STELLA</character> <dialogue>It's true. I could tell you some people who'll be dead if we do n't get a break soon.</dialogue> <scene_description>She leaves . The three men exchange amused looks .</scene_description> <character>GRACE</character> <dialogue>We've got more of everything bad since the wave started. It's the crisis atmosphere. People dress different, feel different, sweat more. They wake up cranky and they never recover. Look at Lowenstein.</dialogue> <parenthetical>( a flash of smile . )</parenthetical> <dialogue>Things are just a little askew. Pretty soon people think the old rules are n't in effect. They start breaking them. Figure no one'll care, cause it's emergency time. time out.</dialogue> <scene_description>He takes a big bite of pie .</scene_description> <character>LOWENSTEIN</character> <dialogue>Oscar, I just do n't understand how you could be doing advanced theoretical thinking like that and still be stuck working in our little town.</dialogue> <character>GRACE</character> <parenthetical>( good - humored . )</parenthetical> <dialogue>Lowenstein dreams of bigger things.</dialogue> <character>LOWENSTEIN</character> <dialogue>Assistant County Prosecutor is n't the end for me, fellows.</dialogue> <character>RACINE</character> <dialogue>Hell, no. Someday - Deputy County Prosecutor.</dialogue> <character>LOWENSTEIN</character> <dialogue>When the truth comes out about some of the dirt I've been involved in, my future in this state will be unlimited.</dialogue> <scene_description>Glenda the Meter Maid passes their table on her way out . She has eyes only for Racine .</scene_description> <character>GLENDA</character> <dialogue>Hello, Ned.</dialogue> <character>RACINE</character> <dialogue>Hi, Glenda.</dialogue> <scene_description>She goes out . Lowenstein and Grace look at Racine , then at each other . Grace smiles hugely .</scene_description> </scene> <scene> <stage_direction>EXT. LIGHTHOUSE/SAND DUNES - NIGHT</stage_direction> <scene_description>The big beacon turns in the distance , throwing an intermittent bridge of light across the water toward us . The undulating dunes stretch off as far as we can see . Racine 's Stingray is parked on the dirt access road . Below it , Racine and Matty sit close in the warm sand .</scene_description> <character>MATTY</character> <dialogue>Do n't say it, if you do n't mean it. Please, Ned, do n't.</dialogue> <character>RACINE</character> <dialogue>I do. I want you with me.</dialogue> <scene_description>She looks at him a long time . There is real joy in her face . And tears in her eyes . We 're very close to those eyes as she wipes the tears away . Racine puts an arm around her . She looks out at the lighthouse .</scene_description> <character>MATTY</character> <dialogue>I'm going to tell Edmund I want a divorce. I wo n't stay any longer. I would have, if you had n't come along. The life is comfortable. I was willing to go on. But you've reminded me of what it can be. I know now that these last three years I've been living half a life. It's my fault, I do n't deny it. You have to let yourself be bought. I did. I let it happen. I've lived so much of my life with nothing. When you have no money, you have no choices. I do n't care what they say - money is freedom. That's something they do n't teach you in school. But I found out. And when Edmund came along when I saw a chance to stop struggling I took it. I'm not ashamed. He got what he wanted. he has a knack for that. But no more. I'm ready to walk away from the money. I have to be with you.</dialogue> <character>RACINE</character> <parenthetical>( kisses her , smiles . )</parenthetical> <dialogue>It is conceivable I'll make a buck someday.</dialogue> <character>MATTY</character> <parenthetical>( hugs him closer . )</parenthetical> <dialogue>Oh, I know you will, darling. I did n't mean that. I know you will. But it does n't matter. It's you I want. That's all.</dialogue> <character>RACINE</character> <dialogue>Anyway, you'll come out all right.</dialogue> <character>MATTY</character> <dialogue>Of the divorce?</dialogue> <character>RACINE</character> <dialogue>Yeah. He's ripe.</dialogue> <scene_description>Matty is silent for a long beat .</scene_description> <character>MATTY</character> <dialogue>No. I signed a pre - nuptial agreement.</dialogue> <character>RACINE</character> <dialogue>What?</dialogue> <character>MATTY</character> <dialogue>He insisted. He blamed it on his sister Roz - she's always hated me - but I know he wanted it too.</dialogue> <character>RACINE</character> <dialogue>How is it?</dialogue> <character>MATTY</character> <dialogue>Bad. I get some money for a year. Not much. That's it. But I do n't care, Ned. Not if I can be with you.</dialogue> <scene_description>She searches his face , almost frightened .</scene_description> <character>MATTY</character> <dialogue>Does it matter, Ned? Tell me the truth please. I'll understand, I swear to you.</dialogue> <character>RACINE</character> <dialogue>The truth? I wish you were going to be loaded. Does it matter? No. No.</dialogue> <scene_description>They kiss .</scene_description> <character>MATTY</character> <dialogue>God, you've made me happy.</dialogue> <parenthetical>( she pulls away . )</parenthetical> <dialogue>It's time for your present.</dialogue> <scene_description>She jumps up and runs back to the car . Racine walks back there as Matty takes a wrapped package out of the car . She hands it to Racine , who leans against the car to unwrap it .</scene_description> <character>MATTY</character> <dialogue>From now on, when it starts coming down on you, I'll be there to protect you.</dialogue> <scene_description>Racine opens the box and smiles broadly . It is a hat a fedora in the classic style .</scene_description> <character>MATTY</character> <dialogue>Put it on! I'll bet I guessed the size right.</dialogue> <scene_description>Racine puts on the fedora . It fits . He looks simultaneously old - fashioned , a visitor from the Forties , and also very chic , a present - day fashion plate . But most of all , he looks exactly right . Matty squeals in glee at the sight .</scene_description> <character>MATTY</character> <dialogue>I love it.</dialogue> <character>RACINE</character> <dialogue>I want to see.</dialogue> <scene_description>Racine tries to see his reflection in the car 's side view mirror but he has trouble . Matty , very animated in her delight , steps up and kisses him quickly .</scene_description> <character>MATTY</character> <dialogue>Look in my eyes. Can you see yourself?</dialogue> <scene_description>Racine tries for a moment , then gives up with a laugh .</scene_description> <character>MATTY</character> <dialogue>Here!</dialogue> <scene_description>Matty opens the door of the Stingray and sits in the passenger seat with her legs out . She rolls up the window in that door as Racine stands before it . The glass capture the moonlight to make a perfect mirror . As the window goes up , Racine 's reflection appears on the glass , posing in his hat . At the same time , Matty 's face disappears from view .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine lies on the couch . He spins the fedora Matty gave him on his finger , Beverly comes up and leans against the doorjamb . She 's wearing a tee - shirt and tight slacks ; she looks good . She watches him for a moment .</scene_description> <character>BEVERLY</character> <dialogue>Big weekend planned?</dialogue> <character>RACINE</character> <dialogue>Nope, Small weekend. Tiny little weekend.</dialogue> <character>BEVERLY</character> <dialogue>There's jazz tonight at the beach. if you're not doing anything.</dialogue> <character>RACINE</character> <dialogue>Beverly, do yourself a big favor and forget it.</dialogue> <character>BEVERLY</character> <dialogue>Forget what?</dialogue> <character>RACINE</character> <dialogue>Whatever you're thinking.</dialogue> <scene_description>She shrugs . She turns back to her desk , unconvinced .</scene_description> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>Busy weekend crowd . Racine sits drinking alone at the bar . He signals for another .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF WALKER PLACE - NIGHT</stage_direction> <scene_description>Racine drives slowly by , head craning to peer into the darkness . We begin to HEAR the thumping again -</scene_description> </scene> <scene> <stage_direction>EXT. THE PIER - DAY</stage_direction> <scene_description>Racine has been running . Walking now , breathing hard , he takes his cigarettes from his shorts . At the end of the pier he folds his body over the rail so that it looks as though he will topple over the edge . But he does not ; he lights up and looks down there . RACINE 'S POV . The water following against the thick pilings . Then , TILTING UP , UP , AND OVER , past the ocean 's horizon to the perfect blue sky , which fills the screen . Racine is looking straight up , blowing his own clouds .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT - DAY</stage_direction> <scene_description>Racine lies smoking in bed , bathed in sweat , a beer nearby . A fan is pointed at him , but it 's blowing hot air . He looks at the telephone .</scene_description> </scene> <scene> <stage_direction>EXT. PORCH OF RACINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Fog . Thick and heavy . Racine 's cigarette glows in it as he sits in the gray limbo . The phone in the apartment RINGS .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT</stage_direction> <scene_description>Racine comes in from the porch and picks up the phone .</scene_description> <character>RACINE</character> <dialogue>Yeah.</dialogue> <character>MATTY</character> <parenthetical>( filtered . )</parenthetical> <dialogue>Come to me.</dialogue> <character>RACINE</character> <dialogue>Did you tell him?</dialogue> <character>MATTY</character> <parenthetical>( filtered , after a pause . )</parenthetical> <dialogue>No. I could n't.</dialogue> <scene_description>Racine 's face relaxes . He looks relieved .</scene_description> <character>RACINE</character> <dialogue>Okay, I'm coming.</dialogue> </scene> <scene> <stage_direction>EXT. SECOND FLOOR PORCH - WALKER PLACE - NIGHT</stage_direction> <scene_description>Same thick fog . The wind chimes TINKLE softly . Light seeps out from Matty 's bedroom windows , half - revealing Racine and Matty lying together on a lounge . Matty is in her white terrycloth robe , Racine just shorts .</scene_description> <character>RACINE</character> <dialogue>How do you know?</dialogue> <character>MATTY</character> <dialogue>I saw the will once. He showed it to me. He was trying to prove something. how much he loved me or something.</dialogue> <character>RACINE</character> <dialogue>How'd he get so fat?</dialogue> <character>MATTY</character> <dialogue>The stock market, investments, real estate. He does n't tell me anything, but I've picked up a little. I know they own a lot of land along the shore here.</dialogue> <character>RACINE</character> <dialogue>Who's `` they'''</dialogue> <character>MATTY</character> <parenthetical>( she does n't know . )</parenthetical> <dialogue>He's never introduced me to anyone. I'm not sure if they're all legitimate.</dialogue> <character>RACINE</character> <parenthetical>( snorts at the odds of that . )</parenthetical> <dialogue>I wonder what they call themselves. Maybe I've heard of them.</dialogue> <character>MATTY</character> <dialogue>They own that old place in Miranda Beach, The Breakers. I know that.</dialogue> <character>RACINE</character> <parenthetical>( surprised . )</parenthetical> <dialogue>The Breakers? I thought Hermie Fisher owned that land.</dialogue> <character>MATTY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Edmund mentioned it once.</dialogue> <scene_description>Racine lights another cigarette and gazes off into the fog , thinking . Matty presses her cheek against his chest and closes her eyes tight .</scene_description> <character>MATTY</character> <dialogue>Ned, it scares me to talk about these things.</dialogue> <character>RACINE</character> <dialogue>Why?</dialogue> <character>MATTY</character> <dialogue>You know.</dialogue> <character>RACINE</character> <dialogue>No. I do n't.</dialogue> <character>MATTY</character> <dialogue>Let's just not, okay? Let's not think about all he's got.</dialogue> <character>RACINE</character> <parenthetical>( pressing . )</parenthetical> <dialogue>What is it, Matty? Tell me exactly what frightens you.</dialogue> <character>MATTY</character> <dialogue>I'm afraid. because when I think about it, I wish that he'd die. That's really what I want. It's horrible and ugly and It's what I most want.</dialogue> <scene_description>Racine looks off into the night for a few beats , then he lifts her face so he can look into her eyes .</scene_description> <character>RACINE</character> <dialogue>That's where we're at, is n't it, Matty?</dialogue> <character>MATTY</character> <dialogue>What do you mean?</dialogue> <character>RACINE</character> <dialogue>That's what we're both thinking - how good it'd be for us if he were gone. It'd be real sweet for us.</dialogue> <character>MATTY</character> <dialogue>Do n't talk about it, Ned. Please do n't. Talk is dangerous. Sometimes it makes things happen, it makes it real.</dialogue> <character>RACINE</character> <dialogue>Do n't let it scare you. Because he's not gon na die. There's nothing wrong with him, is there? There's no reason to think he's gon na die, is there?</dialogue> <scene_description>Matty shakes her head `` no , '' lays it in his chest again .</scene_description> <character>RACINE</character> <dialogue>That's right. So we might as well forget about it, It's not gon na just happen to make things nice for us. It wo n't just happen.</dialogue> <scene_description>Racine lifts her head and kisses her on the mouth .</scene_description> <character>MATTY</character> <dialogue>I'm afraid, Ned.</dialogue> <character>RACINE</character> <dialogue>Maybe that's a smart way to be now, Matty. Maybe we both should be.</dialogue> <scene_description>Racine takes a last drag on his cigarette and flicks it out into the fog ,</scene_description> <character>RACINE</character> <dialogue>The only thing wrong with your husband right now. is us.</dialogue> </scene> <scene> <stage_direction>INT. BAR - PAY PHONE AT BACK</stage_direction> <scene_description>Again , Racine is getting no answer . He gives up , goes back to his seat at the bar .</scene_description> </scene> <scene> <stage_direction>EXT. TELEPHONE BOOTH - MAIN STREET - DAY</stage_direction> <scene_description>Late afternoon . Racine , sportcoat slung over his shoulder , listens to repeated ringing at the other end of his call . He 's surprised there 's no answer . People drag by , making their way home from work in the heat . Finally , Racine hangs up . Racine comes out of the phone booth . He has nowhere to go . He ambles down the street . A few people say hello . He walks diagonally across the street toward a restaurant called `` Tulio 's . ''</scene_description> </scene> <scene> <stage_direction>INT. TULIO'S RESTAURANT - DUSK</stage_direction> <scene_description>The best restaurant in Miranda Beach . Racine slips on his jacket as he comes in the door . He waves to the Hostess across the dining room , indicating he 'll be alone tonight . She signals a short wait . He steps toward the bar , bringing him suddenly face to face with Matty .</scene_description> <character>RACINE</character> <dialogue>Well, well. Hello to you -</dialogue> <scene_description>The panic which shoots across her face , cuts him off in mid - sentence , a split second before EDMUND WALKER appears behind her . Matty 's face goes calm and she smiles politely .</scene_description> <character>MATTY</character> <parenthetical>( to Racine . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>She turns to her husband . He is not what Racine expected . He may , in fact , be mean , as Matty described him , but he looks neither small nor weak . A handsome man , he is bigger than Racine and in terrific shape . Dressed in an expensive summer suit , he radiates vigor and controlled physical power . He wears sleek , metal - framed glasses .</scene_description> <character>MATTY</character> <dialogue>Darling, I'd like you to meet Mr. Racine. I'm sorry. I do n't know your first name.</dialogue> <character>RACINE</character> <dialogue>Ned.</dialogue> <scene_description>He offers his hand and Walker encloses it firmly in his .</scene_description> <character>WALKER</character> <dialogue>Edmund Walker. Nice to meet you.</dialogue> <character>MATTY</character> <dialogue>Mr. Racine is the lawyer I told you about.</dialogue> <parenthetical>( Walker does n't remember . )</parenthetical> <dialogue>You remember. He had a client who wanted to buy the house. I told him we were n't selling.</dialogue> <character>WALKER</character> <dialogue>Right.</dialogue> <character>RACINE</character> <dialogue>That has n't changed, has it?</dialogue> <character>WALKER</character> <dialogue>No, we're very happy with it.</dialogue> <character>RACINE</character> <parenthetical>( nods . )</parenthetical> <dialogue>I can understand that. It's a terrific place.</dialogue> <scene_description>Walker nods , looking at Racine carefully . He motions toward the dining room .</scene_description> <character>WALKER</character> <dialogue>Are you going in?</dialogue> <character>RACINE</character> <dialogue>I was just going to grab a bite.</dialogue> <character>WALKER</character> <dialogue>Join us.</dialogue> <character>RACINE</character> <dialogue>No. Thanks very much, but I do n't want to interfere with -</dialogue> <scene_description>The Hostess has come toward them .</scene_description> <character>WALKER</character> <dialogue>Do n't be silly. Come on.</dialogue> <parenthetical>( to Hostess . )</parenthetical> <dialogue>We have room for three, do n't we?</dialogue> <scene_description>The Hostess nods and leads the way . Walker gestures Matty ahead , then puts a big hand behind Racine 's elbow and ushers him into the dining room .</scene_description> <character>WALKER</character> <dialogue>I've heard this place is great. But you ca n't get near it on the weekends and I do n't get down during the week much.</dialogue> <character>RACINE</character> <dialogue>Is that right?</dialogue> <scene_description>LATER They have finished their salad at a table toward the back . A Waiter comes and takes away their dishes . Walker has taken off his glasses and is cleaning the lenses with a lovely handkerchief . He does this cleaning with enormous care and inordinate relish . His manner is a mix of gruff charm and hinted menace . There 's something dangerous about the man and it 's perfectly distilled in his smile , which is quick , frequent and vaguely threatening .</scene_description> <character>WALKER</character> <dialogue>I was a lawyer. Still am, I guess. But I do n't practice. Went to Columbia. You?</dialogue> <character>RACINE</character> <dialogue>F. S. U.</dialogue> <character>WALKER</character> <parenthetical>( nods . )</parenthetical> <dialogue>Good school. I got bored with it quick. I guess I did n't have the temperament. I wanted to make the money faster. Is there a living in it here?</dialogue> <character>RACINE</character> <dialogue>I can afford to send my shirts out. And eat here once a month, if I do n't order an appetizer.</dialogue> <scene_description>Walker smiles , re - folds his handkerchief carefully and puts it back in the cheat pocket of his jacket .</scene_description> <character>WALKER</character> <dialogue>I figured an honest lawyer does n't make much and the other kind was too slimy for me. I'd rather be upfront about shafting somebody.</dialogue> <character>MATTY</character> <dialogue>Edmund, really. It's Mr. Racine's profession.</dialogue> <character>RACINE</character> <dialogue>That's all right. I do n't like it much.</dialogue> <character>WALKER</character> <dialogue>What's to like. That's the way of the world. Most people despise their jobs.</dialogue> <scene_description>Walker picks up a wine bottle and pours more into each of their glasses , emptying it .</scene_description> <character>RACINE</character> <dialogue>Do you?</dialogue> <character>WALKER</character> <dialogue>No. I love it. But it's not a job.</dialogue> <character>RACINE</character> <dialogue>What is it, exactly?</dialogue> <scene_description>Walker signals to a distant Waiter for another bottle of wine . He does it with a small flick of his finger .</scene_description> <character>WALKER</character> <dialogue>Various things. This and that. Here and there.</dialogue> <character>RACINE</character> <dialogue>You do n't have to be specific.</dialogue> <character>WALKER</character> <parenthetical>( that smile again . )</parenthetical> <dialogue>Finance, basically. Venture capital, Investments, real estate. We're into a few things.</dialogue> <character>RACINE</character> <dialogue>Yeah? Around here?</dialogue> <character>WALKER</character> <dialogue>Some. We own some things here.</dialogue> <character>MATTY</character> <dialogue>Edmund's company owns The Breakers.</dialogue> <character>RACINE</character> <dialogue>Is that right?</dialogue> <scene_description>For a second , Walker 's eyes flick over Matty like a whip .</scene_description> <character>WALKER</character> <dialogue>It's not that simple. We have an interest in a few places along the shore. For the land. You know. Someday. There's no explaining it to her.</dialogue> <character>MATTY</character> <parenthetical>( to Racine . )</parenthetical> <dialogue>I'm too dumb. Woman, you know.</dialogue> <scene_description>She picks up her purse and stands up with a good - humored smile . The men rise .</scene_description> <character>MATTY</character> <dialogue>I'll be right back.</dialogue> <scene_description>Then maybe we can talk about pantyhose or something interesting . She walks away . Walker watches her go with a satisfied , possessive grin . They sit .</scene_description> <character>WALKER</character> <dialogue>She's something, is n't she?</dialogue> <character>RACINE</character> <parenthetical>( nods . )</parenthetical> <dialogue>A lovely lady.</dialogue> <character>WALKER</character> <dialogue>Yes, she is. I'm crazy about her. If I ever thought she was seeing another guy. I do n't know.</dialogue> <parenthetical>( he takes a sip of wine . )</parenthetical> <dialogue>I'd understand how it could happen. Her being the way she is. I'd understand it. But I think I'd kill the guy with my bare hands.</dialogue> <character>RACINE</character> <dialogue>That's understanding.</dialogue> <scene_description>Walker looks at Racine and laughs . As he begins to speak , he focuses intently on Racine . He seems to be trying to communicate something other than what he 's saying .</scene_description> <character>WALKER</character> <dialogue>You would n't believe the dorkus she was with when I met her. The guy came to us with a business proposition. We're always looking for opportunities. If the conditions are right. We're willing to take an occasional risk, if the downside is n't too steep. But this guy had n't done his homework, he did n't know the bottom line. That's how I knew he was full of shit. You've got to know the bottom line. That's all that really counts.</dialogue> <scene_description>Again Walker takes off his glasses . He holds them up to the light and then rubs them again with his handkerchief .</scene_description> <character>WALKER</character> <dialogue>He did n't have the goods, this guy. He was like a lot of guys you run into - they want to get rich, they want to do it quick, they want to be there with one score.</dialogue> <scene_description>He puts his glasses back on , stares at Racine .</scene_description> <character>WALKER</character> <dialogue>But they're not willing to do what's necessary. Do you know what I mean?</dialogue> <scene_description>Racine looks at him in silence for a moment .</scene_description> <character>RACINE</character> <dialogue>I'm not sure. You mean, lay the groundwork? Earn it?</dialogue> <character>WALKER</character> <dialogue>No. I mean do what's necessary. Whatever's necessary.</dialogue> <scene_description>The two men stare at each other a few beats .</scene_description> <character>RACINE</character> <dialogue>Yeah. I know that kind of guy. I ca n't stand that. It makes me sick.</dialogue> <character>WALKER</character> <dialogue>Me too.</dialogue> <character>RACINE</character> <dialogue>I'm not like that.</dialogue> <scene_description>Walker ROARS with laughter . A huge , powerful burst that shakes the table . And Racine laughs with him .</scene_description> </scene> <scene> <stage_direction>EXT. WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty 's bedroom window , from a distance . The light goes out , Racine is watching from the shadows of the gazebo . He stares up there . The TINKLING of the wind chimes rises and rises . It crests and begins to fade , replaced by the WHOOSHING .</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAWN</stage_direction> <scene_description>Racine runs south along the beach . The WHOOSHING slows . He is looking at something . He takes out his cigarettes as he slows to a walk . When he is directly across from what he 's staring at , he sits in the sand , He lights up . RACINE 'S POV - `` THE BREAKERS , '' an ancient wooden beach hotel , of medium size , sits at the edge of the beach . It is closed down , boarded up , deteriorating horribly in the ocean air .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>Lunchtime . Racine is headed toward his office , briefcase in hand . Beverly appears out of the noon crush ; she 's going the other way in a hurry .</scene_description> <character>BEVERLY</character> <dialogue>There are some messages on your desk. Be back in an hour. Got to run.</dialogue> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine comes into the reception room from the hall . He 's surprised the door is unlocked . He crosses the room and opens the door to his office . Matty is sitting in one of the chairs in front of his desk . She jumps up at the sight of him and moves up to embrace him .</scene_description> <character>RACINE</character> <dialogue>Jesus! Did Beverly see you?</dialogue> <scene_description>Matty kisses him on the mouth , then shakes her head `` no . ''</scene_description> <character>MATTY</character> <dialogue>I waited till I saw her leave. Please do n't be angry with me.</dialogue> <character>RACINE</character> <dialogue>Angry? I'm not angry - How'd you get in?</dialogue> <character>MATTY</character> <dialogue>It did n't lock. Oh. Ned, hold me. Please just hold me, God, I love you.</dialogue> <scene_description>Racine reaches over and locks the door to his office .</scene_description> <character>MATTY</character> <dialogue>He left this morning. I had to see you.</dialogue> <character>RACINE</character> <parenthetical>( kissing her . )</parenthetical> <dialogue>I know.</dialogue> <character>MATTY</character> <dialogue>I could n't call. I'm afraid to call. I was afraid you would n't let me come.</dialogue> <character>RACINE</character> <dialogue>Yes, that's right. You ca n't call. Never call. We have to be very careful now about the phone. The phone company keeps records.</dialogue> <character>MATTY</character> <dialogue>I'm careful. I hated it, Ned. I hated sitting there with the two of you. I thought I was going to scream.</dialogue> <character>RACINE</character> <parenthetical>( distracted , thinking . )</parenthetical> <dialogue>You did good.</dialogue> <parenthetical>( finds his thought . )</parenthetical> <dialogue>You've called my apartment from the house.</dialogue> <character>MATTY</character> <dialogue>No, never.</dialogue> <character>RACINE</character> <dialogue>No? Those two times -</dialogue> <character>MATTY</character> <dialogue>I went to phone booths. I'm afraid of him, Ned. I'm always afraid.</dialogue> <character>RACINE</character> <dialogue>That's good. We have to be careful about the phones now.</dialogue> <character>MATTY</character> <dialogue>Why, Ned, why do you say this now?</dialogue> <character>RACINE</character> <parenthetical>( in his own thoughts . )</parenthetical> <dialogue>We could account for a couple calls. We've had some contact. That would make sense.</dialogue> <scene_description>Matty grasps his face in her hands and looks into his face .</scene_description> <character>MATTY</character> <dialogue>Why, Ned? What's happened?</dialogue> <character>RACINE</character> <dialogue>Because we're going to kill him. We both know that.</dialogue> <scene_description>Matty 's face looks different than we 've seen it . There 's a fire burning behind there and the heat it 's throwing is bringing her equal portions of dread and relief . She stares at him ,</scene_description> <character>RACINE</character> <dialogue>That's what you want, is n't it? We knew it was coming. It's the only way we can get everything we want, is n't it?</dialogue> <scene_description>Matty 's nod is barely perceptible .</scene_description> <character>RACINE</character> <dialogue>The man's gon na die for no reason but we want him dead. He does n't deserve it. Let's not ever say that. We're doing it for us. And you're going to inherit half of everything he owns. That's what the will says, right?</dialogue> <scene_description>Again , the tiny nod . He pulls her head close , so he does n't have to look into her eyes anymore .</scene_description> <character>RACINE</character> <dialogue>That's it then. We're gon na kill him. And I think I know how.</dialogue> <scene_description>Matty reacts to this .</scene_description> <character>MATTY</character> <dialogue>It's real, then?</dialogue> <character>RACINE</character> <dialogue>Yeah, it's real all right, and if we're not careful, it's gon na be the last real thing we do.</dialogue> </scene> <scene> <stage_direction>EXT. FISHING HARBOR - STREET ACROSS FROM DOCKS - NIGHT</stage_direction> <scene_description>Matty sits at the wheel of her Mercedes at the curb . She smokes her cigarette nervously . Racine walks over to the car from the docks and leans down to the window .</scene_description> <character>RACINE</character> <dialogue>I know where he is. It's not far from here. I do n't want you with me.</dialogue> <character>MATTY</character> <dialogue>I thought we settled that. I'll wait in the car, but -.</dialogue> <parenthetical>( she puts a hand on him . )</parenthetical> <dialogue>- I want to take the risks with you. We're both doing this.</dialogue> <scene_description>Racine gives her a look of resignation and moves around the car .</scene_description> </scene> <scene> <stage_direction>INT. TEDDY LAURSEN'S WORKSHOP - NIGHT</stage_direction> <scene_description>TEDDY LAURSEN , rock 'n roll arsonist , is keeping the beat and mouthing the words along with the Bruce Springsteen tape on his workbench . Teddy is in his mid - twenties , dressed in a black T - shirt and jeans . His arson workshop is located in the basement of an old building . All around him are the tools and supplies of his trade : wire , rope , cans , vises , alarm clocks , chemical containers , and a huge assortment of mechanical implements . He keeps all his small accessories in dozens of cigar boxes , unlabeled . He knows where everything Is . Teddy is watching Racine , who is kneeling on the floor before a compact incendiary device . Teddy winces at the way Racine clips two wires together . He reaches over to turn down the tape slightly , then squats down next to Racine to demonstrate the proper method .</scene_description> <character>TEDDY</character> <dialogue>Whatsa matter, you ca n't think with a little music?</dialogue> <parenthetical>( demonstrating . )</parenthetical> <dialogue>Like this, I said.</dialogue> <scene_description>Racine nods then duplicates the clipping . Teddy goes back to his stool , slapping the beat of the music on his thigh . Racine pulls out the alarm lever on the clock attached to the device and stands up . He throws a look to Teddy and Teddy nods that , yes , the device is now set .</scene_description> <character>RACINE</character> <dialogue>That's it?</dialogue> <character>TEDDY</character> <parenthetical>( nods to the music . )</parenthetical> <dialogue>It's fast. It's hot. It's simple. You can use the clock or rig it to something that moves. It starts big and it'll go with just the mag clips. If you want more, splash a little accelerator around.</dialogue> <character>RACINE</character> <dialogue>Just regular gasoline?</dialogue> <character>TEDDY</character> <dialogue>Regular, unleaded, supreme - whatever you like, counselor. I got to tell you, though, this mama has a big drawback.</dialogue> <character>RACINE</character> <dialogue>What?</dialogue> <character>TEDDY</character> <dialogue>It's easy to spot, even after the meltdown. They'll know it's arson.</dialogue> <character>RACINE</character> <dialogue>I do n't care about that.</dialogue> <parenthetical>( looks at Teddy . )</parenthetical> <dialogue>That's all there is to it?</dialogue> <scene_description>Teddy is offended .</scene_description> <character>TEDDY</character> <dialogue>No. No - no - no - no. That ai n't all there is to it. You got ta get in, you got ta get out. You got ta pick the right spot and the right time. And you got ta try not to get famous while you're in the act.</dialogue> <parenthetical>( gestures at the device . )</parenthetical> <dialogue>If that was all there was to it, any idiot could do it.</dialogue> <character>RACINE</character> <dialogue>Sorry.</dialogue> <character>TEDDY</character> <dialogue>Hey, now I want to ask you something, Are you listening, asshole, because I like you?</dialogue> <parenthetical>( Racine nods . )</parenthetical> <dialogue>I got a serious question for you. What the fuck are you doing? This is not shit for you to be messing with. Are you ready to hear something? See if this sounds familiar. Anytime you try a decent crime, there is fifty ways to fuck up. If you think of twenty - five of them you're a genius. And you're no genius. You know who told me that?</dialogue> <scene_description>Racine remembers telling Teddy that .</scene_description> <character>TEDDY</character> <dialogue>Listen, man, maybe you should let me do it for you. Gratis. I'll do it. I would n't even be on the street if it were n't for you.</dialogue> <scene_description>Racine looks him over , shakes his head `` no . ''</scene_description> <character>RACINE</character> <dialogue>Thanks.</dialogue> <character>TEDDY</character> <dialogue>I hope you know what you're doin' you better be pretty damn sure about it. If you ai n't sure, do n't do it. Of course, that's my recommendation anyway - do n't do it.</dialogue> <parenthetical>( he puts a hand on Racine 's shoulder . )</parenthetical> <dialogue>Because I tell you, Counselor, this arson, this is serious crime.</dialogue> <scene_description>Racine looks at him .</scene_description> </scene> <scene> <stage_direction>INT. ENCLOSED SIDE VERANDAH - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Racine sits smoking , watching Matty fill their tall highball glasses with ice at the bar .</scene_description> <character>MATTY</character> <dialogue>I do n't know why he's so crazy about her. Maybe because he never had any of his own. She's a cute little girl, all right, but other than that. I know this, though, her mother has worked plenty hard to keep Heather on Edmund's mind, Always bringing her around, reporting everything she does in school. That Roz is a smart one. And you know that anything Heather inherits goes straight to Roz. Heather wo n't even get a look at it. That's the part I ca n't stand. That's why it seems so wrong to have half of it go to her.</dialogue> <scene_description>She hands him his glass and stands next to him , her hand playing with his hair .</scene_description> <character>RACINE</character> <dialogue>That's the way it is. There's nothing we can do about it.</dialogue> <scene_description>She kneels beside him .</scene_description> <character>MATTY</character> <dialogue>Are you sure, Ned? I've been thinking about it. Maybe there is. The will is with his lawyer in Miami I know that. What if I could get him to bring it home? He did it once, he'd do it again. If I could swing it, could n't we rewrite it? Change it. Then when he dies, I could find the new one. We could just change it a little. Every little change would mean a lot to us, End. You're a lawyer. You know how to write it. It would n't seem so odd. I could say he brought it home and we talked about it and decided to make some changes up here. And I knew you already -</dialogue> <scene_description>Racine is shaking his head .</scene_description> <character>RACINE</character> <dialogue>No. Forget it.</dialogue> <character>MATTY</character> <dialogue>I just do n't see why Heather should take half -</dialogue> <scene_description>Racine puts down his drink and turns to look down at her .</scene_description> <character>RACINE</character> <dialogue>Listen to me, Matty. Nothing strange can happen in his life right now, not one thing out of the ordinary. That's vital, that's the main thing. If anything does, the chances double that we get caught. You and I are walking out there on the edge every second now. One false move and we're gon na fall off. It'll be all over. You've got to remember that all the time.</dialogue> <parenthetical>( he studies her face . )</parenthetical> <dialogue>You'll get half of everything and it'll be plenty. No matter what it is, we're gon na be satisfied. We're not gon na get greedy. If we do, we'll get burned. You got ta believe me, baby, the odds that we'll get burned are good enough without looking for trouble.</dialogue> <scene_description>She studies him with frightened eyes , then nods her agreement and lays her hand in his lap .</scene_description> <character>MATTY</character> <dialogue>You're right, darling. I'm sorry. I know you're right.</dialogue> </scene> <scene> <stage_direction>EXT. "THE BREAKERS" - NIGHT</stage_direction> <scene_description>Middle of the night . No one in sight . Now comes the only movement - a Miranda Beach Police Patrol Car drives slowly up the street next to the old hotel and turns south on Ocean Avenue . When it is gone , all is dead again .</scene_description> </scene> <scene> <stage_direction>EXT. THE BEACH - NIGHT</stage_direction> <scene_description>Racine has watched the patrol car from the darkness of the beach . Now he sits in the sand again , his back against the raised bank of sand on which he runs . He lights a flashlight and makes a notation in a small notepad .</scene_description> </scene> <scene> <stage_direction>INT. "THE BREAKERS" - NIGHT</stage_direction> <scene_description>Racine 's footsteps creak through the blackness . Then his flashlight reveals a corridor in the crumbling basement of the old hotel . Racine is not the first to have violated the premises - scattered about are beer cans , whiskey bottles , beds made of newspapers , the remains of food . Rats CHITTER and scamper in the shadows . A lizard scoots over the pipes . Racine goes through a doorway and is in what used to be a supply area at the bottom of a stairway . Scattered about are empty wooden food crates . The walls are lined with tall wooden shelves ; one of these units is tipped over across the room , Racine shines his light in that direction and sees what caused the shelves to fall . One of the beams which cross the ceiling has rotted loose and dropped one end to the floor . Racine has found what he wanted .</scene_description> </scene> <scene> <stage_direction>EXT. WALKER HOUSE - PARKING AREA - MIGHT</stage_direction> <scene_description>We 're CLOSE ON RACINE 'S WATCH ; it reads 2:30 .</scene_description> <character>RACINE</character> <dialogue>Okay. Got ta go.</dialogue> <scene_description>Racine , at the wheel of the Stingray is looking at his watch . Matty is leaning down to the window dressed only in a robe .</scene_description> <character>MATTY</character> <dialogue>Be careful.</dialogue> <character>RACINE</character> <dialogue>I'm just going for a ride. I wish it was all this dangerous.</dialogue> <scene_description>She kisses him deeply .</scene_description> <character>MATTY</character> <dialogue>I love you.</dialogue> <scene_description>He looks at his watch again and pulls away . Matty stands watching .</scene_description> </scene> <scene> <stage_direction>EXT. FROM PINEHAVEN TO "THE BREAKERS" - SERIES OF SHOTS NIGHT</stage_direction> <scene_description>Racine drives his murder route . The roads are almost totally deserted . Intermittently he passes signs welcoming him to the towns as he travels south . A . The first stretch of his trip , Racine travels on a deserted back road with overhanging trees . A Teenage Hotrodder passes him and he is alone again . As he turns off the road , he checks his watch . B . He drives through a neighborhood of neat houses . No life . C . He turns onto a four line interstate . More traffic here - long haul truckers , late night drinkers . D . He drives across a graceful drawbridge , rimmed by lights , over a canal . E . He drives toward the ocean beside a pretty lake in a park . A patrol car passes the other way . Racine checks his watch . F . At `` The Breakers . '' Racine follows the same path as the police car he 'd watched .</scene_description> </scene> <scene> <stage_direction>INT. COUNTY JAIL - CORRIDOR OUTSIDE VISITING ROOM - DAY</stage_direction> <scene_description>A seedy - looking Thief is brought out of the visiting room by a Uniformed Deputy , followed by Racine , briefcase in hand . Racine shakes the Thief 's hand . The Deputy leads the Thief away down the hall . Racine glances at his departing client , then heads in the other direction . Before he has gone too far a heavy , metal , barred door at the other end swallows up the Thief with a piercing CLANG ! Racine jumps . He puts a hand against the wall .</scene_description> </scene> <scene> <stage_direction>INT. BED - MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Racine and Matty , just their heads on one pillow , inches apart . They look at each other in silence . Finally -</scene_description> <character>RACINE</character> <dialogue>And?</dialogue> <character>MATTY</character> <dialogue>The side door.</dialogue> <character>RACINE</character> <dialogue>And?</dialogue> <character>MATTY</character> <dialogue>Two A.M. I send him down.</dialogue> <character>RACINE</character> <dialogue>We wo n't talk again after I leave here tonight. I'll be in Miami by noon Friday. You wo n't be able to reach me. When I see you again, he'll be dead.</dialogue> <scene_description>Matty nods . She begins to cry . Racine touches her .</scene_description> <character>MATTY</character> <dialogue>I'm so frightened.</dialogue> <scene_description>So is Racine .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S STINGRAY - INTERSTATE 95 - DAY</stage_direction> <scene_description>Racine looks off to his left . Miami rises out of the flat horizon .</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE 95 - DAY</stage_direction> <scene_description>The red Stingray whips off the Interstate toward the skyscrapers of Miami .</scene_description> </scene> <scene> <stage_direction>EXT. BUDGET RENT-A-CAR OFFICE - DAY</stage_direction> <scene_description>Racine , on foot now , comes down the sidewalk and enters the office .</scene_description> </scene> <scene> <stage_direction>INT. WALKER HOUSE - DAY</stage_direction> <scene_description>Matty unlocks the door side of the house . She tests it once from the outside .</scene_description> </scene> <scene> <stage_direction>EXT. EMPTY LOT - MIAMI - DAY</stage_direction> <scene_description>A Real Estate Agent leans against his car reading a newspaper at the front of a huge , empty lot beneath a causeway . There 's a big `` For Sale '' sign up . Racine pulls up in the Stingray . The Real Estate Agent throws his paper in his car and goes over to shake hands with Racine . They turn to look at the lot .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE - SHERATON HOTEL (MIAMI) - DAY</stage_direction> <scene_description>Racine pulls up in the Stingray . He takes an overnight bag from the car and goes inside as a Parking Attendant wheels the Stingray into an underground garage .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - WALKER HOUSE - DAY</stage_direction> <scene_description>Matty sits on the porch drinking a highball . She stubs out another cigarette in the overflowing ashtray and looks at her watch . Her foot swings nervously .</scene_description> </scene> <scene> <stage_direction>EXT. ROUTE ALA - NEXT TO BEACH - DUSK</stage_direction> <scene_description>Edmund Walker 's big white Cadillac zips north .</scene_description> </scene> <scene> <stage_direction>INT. FRONT DESK - SHERATON HOTEL (MIAMI) - NIGHT</stage_direction> <scene_description>Racine jokes with the female clerk at the desk . She likes him ; she 'll remember him .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR WINDOWS - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty watches the lights of Edmund 's Cadillac come up the drive .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty comes to the end of the porch , a big , welcoming smile on her face . Edmund is getting out the driver 's side .</scene_description> <character>WALKER</character> <dialogue>Hello, sweetheart. Have I got a nice present for you.</dialogue> <scene_description>The passenger door of the Cadillac swings open . Pretty nine - year - old HEATHER KRAFT pops out with a grin .</scene_description> <character>HEATHER</character> <dialogue>Hi, Aunt Matty!</dialogue> <scene_description>Matty 's smile fades for an instant , but she manages to put it back .</scene_description> <character>MATTY</character> <dialogue>Heather. What a surprise.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty , Edmund and Heather have a late dinner . Edmund and Heather joke together , Matty joins in .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SHERATON HOTEL (MIAMI) - NIGHT</stage_direction> <scene_description>A `` DO NOT DISTURB '' sign is still swinging on Racine 's hotel room door as he slips into the stairwell at the end of the hall .</scene_description> </scene> <scene> <stage_direction>INT. SIDE DOOR - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty appears , quickly looks and tests the door , then hurries away .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE STREET - MIAMI - NIGHT</stage_direction> <scene_description>Racine unlocks a rented , gray Oldsmobile and gets in .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALLWAY - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Through an open door , Edmund can be seen kissing Heather goodnight in the guest room . He gets up , comes to the door and switches off her light . He starts to close her door , but she speaks to him . He nods and leaves the door half open .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S RENTED OLDSMOBILE (INSERT CU) - NIGHT</stage_direction> <scene_description>Racine 's face , intermittently lit by the road lights , is set , intense . We MOVE IN on it and -</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Matty 's face , her head on a pillow , turned away from her husband , away from the bedroom door . Her look is just as intense as Racine 's . Her eyes are focused on - An alarm clock on the nightstand - 1:15 . There is the SOUND of a car somewhere outside and Matty reacts to it silently . She listens with her whole being . The wind chimes TINKLE .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE DOOR - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Racine 's hand takes hold of the doorknob . He tries it . It wo n't open . Racine 's face . Puzzled . He gives an irritated glance upward . Then he moves along the wall .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>The alarm clock - 1:42 . Matty watches . Matty listens . She tries to confirm that Walker is sleeping without looking there . Matty begins to move her legs slowly toward the side of the bed , to get out . Suddenly , the bed lurches . Matty gasps and whips her head around to look . Edmund is standing next to his side of the bed in his undershorts . He puts on his glasses and looks at her .</scene_description> <character>WALKER</character> <dialogue>Jesus, take it easy. I thought I was tense.</dialogue> <character>MATTY</character> <dialogue>What are you doing?</dialogue> <character>WALKER</character> <dialogue>I ca n't sleep. I'm going down and get something to drink.</dialogue> <scene_description>Matty watches with panicky eyes as Edmund moves toward door . When she speaks , her voice is different , husky .</scene_description> <character>MATTY</character> <dialogue>Edmund.</dialogue> <scene_description>He turns to look at her . She moves once on the bed , languidly .</scene_description> <character>MATTY</character> <dialogue>I ca n't sleep, either.</dialogue> <scene_description>He peers at her in the darkness .</scene_description> <character>MATTY</character> <dialogue>Lock the door, darling.</dialogue> <scene_description>Edmund studies her , then walks over and locks the door .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Edmund 's alarm clock - 2:05 . Edmund rolls into view , his breath ragged . Matty 's hand is on his chest . Edmund looks at her and laughs .</scene_description> <character>WALKER</character> <dialogue>You trying to kill me?</dialogue> <scene_description>Matty , flat on her back , smiles weakly and looks at the ceiling . Again , the mattress moves . She looks at Edmund . He has pulled on his shorts and is walking toward the bathroom .</scene_description> <character>WALKER</character> <dialogue>I'm going downstairs. Do you want anything?</dialogue> <scene_description>He disappears into the bathroom . Matty slips out of bed . She is wearing a silky nightgown . She hurries to the bedroom door .</scene_description> <character>MATTY</character> <parenthetical>( calling softly to him . )</parenthetical> <dialogue>I'll go down with you.</dialogue> <scene_description>She opens the door and steps into the hall .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALL - NIGHT</stage_direction> <scene_description>Matty looks across the hall toward the open door to the guest room ; it is dark . She hurries to the stairs , peering down into the darkness . She starts down the steps .</scene_description> </scene> <scene> <stage_direction>INT. FIRST FLOOR HALL - NIGHT</stage_direction> <scene_description>MATTY 'S POV as she comes down the steps . Each shadow , doorway , and alcove threatens to erupt with life . Matty reaches the bottom of the stairs and peers around . She starts back along the dark hall of the house just as Edmund comes out of the bedroom upstairs ; he is still in his undershorts . He reaches the top of the stairs as Matty moves back along the hall . The alcove under the stairs is in black shadow . Matty is focused on it . Just as she reaches it , the lights in the hall snap on . Racine is standing under the stairs , poised to strike the figure in the hall with a heavy wooden plank about two feet long . Matty gasps at the sight , but it is covered by -</scene_description> <character>WALKER</character> <parenthetical>( at the top of the stairs . )</parenthetical> <dialogue>Christ, woman, did you ever hear of turning on the lights?</dialogue> <scene_description>Racine does n't breathe . Matty is frozen in the spot , directly in front of Racine and five feet below Edmund , who now starts down the steps .</scene_description> <character>MATTY</character> <dialogue>Edmund. wait!</dialogue> <character>WALKER</character> <parenthetical>( stops . )</parenthetical> <dialogue>What is it?</dialogue> <character>MATTY</character> <parenthetical>( whispering up at him . )</parenthetical> <dialogue>Put on a robe or something. What if Heather wakes up and comes down.</dialogue> <scene_description>Edmund frowns , goes back up the stairs .</scene_description> <character>WALKER</character> <parenthetical>( grumbling . )</parenthetical> <dialogue>Damn. She's not going to wake up at 2 o'clock in the morning.</dialogue> <scene_description>Racine and Matty lock eyes . Racine slips back through the alcove door .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING AREA - WALKER HOUSE - DAY</stage_direction> <scene_description>Matty watches Heather give Edmund a big goodbye kiss and run off to talk to Betty , the Walker 's Housekeeper , who is sweeping the front terrace . Edmund gets in the Cadillac . Matty leans down and kisses him goodbye .</scene_description> <character>WALKER</character> <dialogue>You do n't really mind, do you?</dialogue> <parenthetical>( Matty shakes her head . )</parenthetical> <dialogue>Roz will pick her up on Friday. And do n't worry, Roz wo n't stay overnight.</dialogue> <character>MATTY</character> <dialogue>She can do whatever she wants.</dialogue> <character>WALKER</character> <parenthetical>( gives her a skeptical look . )</parenthetical> <dialogue>Listen, I do n't know if I'll be able to come up next weekend. I'll know more later. I'll call you.</dialogue> <scene_description>He gives her a once - over , proprietary look and drives away , honking once to Heather , who waves . HEATHER 'S STAY/RACINE 'S WEEK - SERIES OF SHOTS A. Matty sits on the dock dangling her feet in the water as Heather plays in an inner tube . B. Racine stands at his office window , staring down at the traffic on Main Street . He wipes the sweat from his brow with his finger . C . At night , Matty comes upstairs with a highball in her hand . She pauses and looks across the hall to the half - open door of the guest room . There is just blackness there ; no way to know if Heather is asleep or watching . Matty goes out the hall door to the verandah and sits down with her drink . The wind chimes TINKLE . D . At night , Racine runs sweating along the Boardwalk , footsteps THUMPING . E. Daytime . Matty is in a phone booth in a gas station , speaking urgently . She hangs up . F . In his office , Racine hangs up , disgruntled . His feet up on his desk , he has been toying with the fedora Matty gave him . Now he sails it across the office at the hook of a coatstand . It hits and bounces off onto the floor . Racine gets up , walks over and picks it up . He walks away from the coatstand , then turns and floats the hat through the air to land on the hook . From his new position , he can see out into the reception area . Beverly is working at her desk . Racine watches her small movements . Beverly looks up and sees him . G. Evening . Heather is happily watching television in the enclosed side verandah in the Walker house . Matty is in a big chair . She watches Heather , not the television . She puts a cigarette in her mouth then reaches out to strike a wooden match against the rough surface of the porcelain match holder . As it bursts into flame , it becomes - H . The flame at the end of Racine 's match . He is drinking alone at a bar and now lights another cigarette .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty comes out . She 's wearing a light , simple shift . She walks over to a small table and begins putting some dirty dishes and glasses on a small tray . Suddenly , Racine takes her into his arms from behind . She GASPS in terror ; he turns her to him . He is wearing only cut - off blue jean shorts and his body is wet , glistening . His hair is soaking , slicked straight back . He looks different . She sees who it is and kisses him deeply . They whisper -</scene_description> <character>MATTY</character> <dialogue>My God, you scared me. You should n't be here. Heather's still here. She's upstairs.</dialogue> <character>RACINE</character> <dialogue>- Asleep.</dialogue> <character>MATTY</character> <dialogue>I miss you so badly. But it's too dangerous.</dialogue> <character>RACINE</character> <dialogue>She wo n't wake up now.</dialogue> <character>MATTY</character> <dialogue>You're all wet.</dialogue> <character>RACINE</character> <dialogue>I've been out there waiting for two hours.</dialogue> <character>HEATHER</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( sleepy . )</parenthetical> <dialogue>Aunt Matty?</dialogue> <scene_description>The door from the house squeaks open and Heather puts one foot onto the porch ; she looks only half - awake as she peers into the gloom . Racine has turned at the SOUND and for one moment he is sideways to her , his head turned in her direction . Heather 's eyes suddenly discern the scene . Racine turns away at the same instant that Heather stumbles backwards through the door and out of sight . Heather 's FOOTSTEPS patter swiftly away . Matty and Racine look at each other .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALL - NIGHT</stage_direction> <scene_description>Matty comes up the stairs and looks toward the guest room . The door is closed .</scene_description> </scene> <scene> <stage_direction>INT. TERRACE BREAKFAST AREA - WALKER HOUSE - DAY</stage_direction> <scene_description>Morning . Matty sits with coffee and toast at the table . The Walker 's Housekeeper moves about in the kitchen . Heather comes in and takes her place opposite Matty . She seems perfectly normal . But she does n't look Matty in the eye .</scene_description> <character>HEATHER</character> <dialogue>Good morning, Aunt Matty.</dialogue> <parenthetical>( to the Housekeeper . )</parenthetical> <dialogue>Hi, Betty.</dialogue> <scene_description>Matty watches over her coffee as Heather butters a muffin .</scene_description> <character>HEATHER</character> <dialogue>Is there any more of that strawberry stuff?</dialogue> </scene> <scene> <stage_direction>EXT. PARKING AREA - WALKER HOUSE - DAY</stage_direction> <scene_description>ROZ KRAFT , Edmund Walker 's sister , closes the passenger door of her station wagon behind Heather . Matty stands nearby .</scene_description> <character>ROZ</character> <dialogue>What do you say?</dialogue> <character>HEATHER</character> <dialogue>I did.</dialogue> <character>MATTY</character> <dialogue>She did.</dialogue> <scene_description>Roz gives Heather a look .</scene_description> <character>HEATHER</character> <dialogue>Thank you, Aunt Matty.</dialogue> <scene_description>Roz walks around the car and gets in .</scene_description> <character>ROZ</character> <dialogue>Thanks, Matty. We appreciate it.</dialogue> <character>MATTY</character> <dialogue>Any time, Roz. She's a pleasure.</dialogue> <scene_description>Roz smiles , waves and pulls away . Matty watches them go , worried .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT - NIGHT</stage_direction> <scene_description>The lights are out . There 's enough moonlight pouring in the open windows to see Racine sitting on the bed in his shorts , his back propped against some pillows at the headboard . A fan WHIRS on a table . He lights another cigarette and takes another drink ; a bottle of bourbon sits on his nightstand . From where he sits , he can see the ocean . There is a KNOCK at the door .</scene_description> <character>RACINE</character> <dialogue>Yeah?</dialogue> <character>MATTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It is me.</dialogue> <character>RACINE</character> <dialogue>It's open.</dialogue> <scene_description>Matty comes in . She peers into the darkness until she sees him . She locks the door and turns to face him . She is dressed in a pale silk suit and blouse , very carefully put together . She looks as good as she ever has ; she seems to create her own light .</scene_description> <character>MATTY</character> <dialogue>Why have n't you answered your phone?</dialogue> <character>RACINE</character> <dialogue>You took a chance coming here. Where's Edmund?</dialogue> <character>MATTY</character> <dialogue>He's not coming up this weekend. Why have n't you answered?</dialogue> <character>RACINE</character> <dialogue>I did n't want to talk. I just wanted to think.</dialogue> <character>MATTY</character> <parenthetical>( nods ; then , after a moment . )</parenthetical> <dialogue>Can I get in with you?</dialogue> <scene_description>Racine just stares at her .</scene_description> <character>MATTY</character> <dialogue>I do n't know what Heather will tell Roz. Maybe nothing. Maybe she'll be embarrassed or afraid. Maybe she'll think she imagined the whole thing.</dialogue> <character>RACINE</character> <parenthetical>( chuckles without humor . )</parenthetical> <dialogue>Maybe we all did.</dialogue> <character>MATTY</character> <dialogue>We'll know if she does tell. Roz will report to Edmund quick enough. It's exactly what she's always wanted.</dialogue> <scene_description>Matty disappears for a moment into the shadows .</scene_description> <character>MATTY</character> <dialogue>I've been thinking, too.</dialogue> <character>RACINE</character> <dialogue>And what have you got?</dialogue> <scene_description>Matty emerges from the darkness and sits on the edge of the bed next to Racine . She looks into his eyes .</scene_description> <character>MATTY</character> <dialogue>I think we should give it up. We have n't done anything criminal, yet.</dialogue> <scene_description>Racine has been thinking along the same lines . He stubs out his cigarette .</scene_description> <character>RACINE</character> <dialogue>It's not too late to back out.</dialogue> <character>MATTY</character> <dialogue>That's right. I do n't think we can do it.</dialogue> <character>RACINE</character> <dialogue>What do you mean?</dialogue> <character>MATTY</character> <dialogue>Things have already started to go wrong. I feel like we got to the edge and looked over and, well, it was too much. We'll just have to live with that.</dialogue> <scene_description>She sits down on the bed .</scene_description> <character>MATTY</character> <dialogue>I'll divorce him. And we wo n't have his money. Part of me wants it so bad. I'd be lying if I said I did n't. But it's the worst part of me, the weakest part.</dialogue> <scene_description>She leans back against him .</scene_description> <character>MATTY</character> <dialogue>All that matters is that we're together.</dialogue> <character>RACINE</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>You do n't think I can pull it off.</dialogue> <character>MATTY</character> <dialogue>It's not you, it's us. I'm sure I'll make some mistake.</dialogue> <character>RACINE</character> <dialogue>That's not what you really mean, is it, Matty?</dialogue> <character>MATTY</character> <dialogue>Yes it is.</dialogue> <character>RACINE</character> <parenthetical>( very calm , flat . )</parenthetical> <dialogue>No, it is n't. You think he's too much for me. You think I'll fuck it up, get us caught.</dialogue> <scene_description>Matty turns toward him .</scene_description> <character>MATTY</character> <dialogue>No, darling. Do n't talk that way. It's not true.</dialogue> <scene_description>Racine studies her face .</scene_description> <character>RACINE</character> <dialogue>No? Well that's what I've been thinking.</dialogue> <character>MATTY</character> <dialogue>You're wrong. Do n't think that, ever! I know you could do it.</dialogue> <parenthetical>( moving closer . )</parenthetical> <dialogue>But all I care about is you. The money does n't matter.</dialogue> <character>RACINE</character> <dialogue>It does in this world, the one we're living in.</dialogue> <scene_description>Matty presses her head against his chest .</scene_description> <character>MATTY</character> <dialogue>Why torture ourselves about it?</dialogue> <scene_description>Racine laughs ; he does n't know what 's funny .</scene_description> <character>RACINE</character> <dialogue>When's he coming back?</dialogue> <character>MATTY</character> <dialogue>Friday.</dialogue> <character>RACINE</character> <dialogue>That'll be it, then. Nothing will stop us.</dialogue> <character>MATTY</character> <dialogue>Is that what you really want? Are you sure?</dialogue> <character>RACINE</character> <dialogue>Yeah. I was n't before, but I am now.</dialogue> <scene_description>Racine reaches over her , gets another cigarette and lights it . After he takes a deep drag , she takes it from him and takes a puff too .</scene_description> <character>RACINE</character> <dialogue>This time you're going to know how to reach me. I do n't want any more surprises.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - MIAMI - DAY</stage_direction> <scene_description>Racine locks up a rented Ford on a side street and walks back two cars to where his Stingray is parked . As he bends to unlock the Stingray , he looks around and a passing car catches his attention . RACINE 'S POV , PANNING with the car as it drives by him . There is only one thing extraordinary about this particular car . The driver , hunched and intent on the road ahead , is a Clown , in full costume and makeup . Racine watches as the car disappears . For a moment , Racine looks like a dead man .</scene_description> </scene> <scene> <stage_direction>INT. MASTER BATHROOM - WALKER HOUSE - DAY</stage_direction> <scene_description>Matty is reclining in the soapy water , slowly scrubbing . She HUMS to herself .</scene_description> </scene> <scene> <stage_direction>EXT. HILTON HOTEL - MIAMI - DUSK</stage_direction> <scene_description>A Parking Attendant takes Racine 's Stingray , as Racine goes into the lobby .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - WALKER HOUSE - DUSK</stage_direction> <scene_description>Matty is leaning against one of the posts that flank the porch stairs . Headlights pass across the front of the house and Matty 's body . She smiles a welcoming smile to the unseen Edmund .</scene_description> </scene> <scene> <stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT</stage_direction> <scene_description>A light fog is settling into the dips of the road . Now Racine 's rented Ford appears out of one such depression and moves into a clear stretch .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S RENTED FORD - NIGHT</stage_direction> <scene_description>Racine eyes the fog with concern .</scene_description> </scene> <scene> <stage_direction>EXT. WALKER HOUSE - NIGHT</stage_direction> <scene_description>The FOG is much heavier here . It rolls in past the house in thick waves . The only light burning is on the front porch . The wind Chimes TINKLE softly .</scene_description> </scene> <scene> <stage_direction>EXT. SECOND FLOOR PORCH - NIGHT</stage_direction> <scene_description>The wind chimes TINKLE , nudged by the same breeze that floats the FOG around them .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>The alarm clock - 1:50 . Again , Matty lies on her side , turned away from Edmund , eyes wide , watching the clock . Again , the bed moves suddenly ! Matty rolls over to look . Edmund is sitting up in bed , putting on his glasses .</scene_description> <character>MATTY</character> <dialogue>What's wrong?</dialogue> <scene_description>Edmund motions for her to be silent .</scene_description> <character>WALKER</character> <parenthetical>( whispering . )</parenthetical> <dialogue>I think there's someone downstairs I heard something.</dialogue> <scene_description>He swings out of bed ; he is in his undershorts .</scene_description> <character>MATTY</character> <dialogue>Are you sure?</dialogue> <scene_description>Again he silences her . He walks silently over to his . closet and disappears inside .</scene_description> <character>MATTY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Should I call the police?</dialogue> <character>WALKER</character> <parenthetical>( low , from the closet . )</parenthetical> <dialogue>Will you be quiet? I'm going to nail the bastard.</dialogue> <scene_description>Edmund comes out of the closet checking the safety on a shiny nickel - plated .38 revolver .</scene_description> <character>MATTY</character> <parenthetical>( aghast . )</parenthetical> <dialogue>Edmund, what's that?</dialogue> <character>WALKER</character> <dialogue>Will you be quiet?</dialogue> <character>MATTY</character> <dialogue>I've never seen that.</dialogue> <character>WALKER</character> <parenthetical>( at the bedroom door . )</parenthetical> <dialogue>I've got a surprise for this fucker.</dialogue> <character>MATTY</character> <dialogue>Edmund, be careful!</dialogue> <scene_description>But he is already out the door , silently . For a moment Matty is frozen , then she slides out of bed .</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALL - NIGHT</stage_direction> <scene_description>Edmund has stopped at the top of the stairs . He listens for sounds from below . He starts down the steps in the dark .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - NIGHT</stage_direction> <scene_description>Edmund comes slowly down the steps , his gun pointing here , then there in his perfectly steady grip . The thrill of the hunt is in Edmund 's eyes . The downstairs is thick with ominous shadows . At the bottom of the steps , he stops and listens again . He moves in two quick steps to the entry hall and looks into the living room and dining room . He seems to hear something at the rear of the house . He turns and moves back along the central hall , very slowly . The alcove under the stairs is pitch black . Edmund points his gun at that approaching space and stops . He listens . The TINKLING of the wind chimes rises weirdly , making it hard for him to hear . Edmund 's hand reaches out to the wall . His fingers find the light switch . He flips it . For a second , we are blinded by the glare . In the next Instant , as we see that the space below the stairs is empty , Matty screams from the top of the stairs -</scene_description> <character>MATTY</character> <dialogue>He has a gun!</dialogue> <scene_description>Edmund thinks she is warning him . He spins to look .</scene_description> <character>WALKER</character> <dialogue>Where?</dialogue> <scene_description>Suddenly , Racine bursts from the hall closet , the wooden plank raised above his head . He brings it down fast toward Edmund 's head . Edmund reacts instinctively , raising his arm , the arm that holds the gun , to protect himself . The wooden plank smashes down - half its force taken by Edmund 's forearm , half by his head . The gun BLASTS once . One small window in the front door shatters and the bullet continues into the night . Edmund 's revolver slides across the hall floor into a corner . Edmund is on the floor , blood pouring from his scalp . But he is coming on like a crazed beast . His glasses askew , but still on his head , he has grasped Racine around the legs . With a powerful lunge , he pulls Racine 's legs out . Racine crashes to the hall floor , losing the wooden plank . Matty , frozen at the stair railing , cries out . Edmund is pulling Racine toward him with all his might , crawling up Racine 's body as they both slide on the wood floor . Edmund reaches out one huge hand , and pulls Racine even closer . Racine puts his left hand into Edmund 's face , his thumb flat against the lens of Edmund 's glasses and pushes his head back . The glasses fly away and Racine loses his hold . Edmund comes on . Racine 's right hand gropes - gropes - finds the wooden plank . He swings it up . The wooden plank describes a perfect arc into our view , and then out , finding its mark with a HORRIBLE THUD . Matty , up the stairs , turns away . Racine falls back on the floor .</scene_description> </scene> <scene> <stage_direction>EXT. TRUNK OF WALKER'S CADILLAC - NIGHT</stage_direction> <scene_description>The trunk is open like a giant maw . A sheet of plastic has been spread across the inside . Edmund 's body flops down inside . He has been dressed , his shoes and watch put on . Racine drops the blooded wooden plank beside the body , then throws a blanket over the corpse and slams the trunk . Racine turns to Matty who stands , fully dressed , shaking in the foggy air .</scene_description> <character>RACINE</character> <dialogue>The cars at the end of the drive. Spend the fifteen minutes cleaning up inside, then come. You're gon na have to be careful in this fog.</dialogue> <parenthetical>( he looks at her . )</parenthetical> <dialogue>Are you all right?</dialogue> <scene_description>She nods .</scene_description> <character>RACINE</character> <dialogue>Fifteen minutes.</dialogue> <scene_description>Racine gets in the Cadillac and pulls away .</scene_description> </scene> <scene> <stage_direction>INT. CADILLAC - ON DESERTED BACKROAD - NIGHT</stage_direction> <scene_description>The first stretch of Racine 's route to `` The Breakers '' looks different in the dense FOG . Racine has to take it slowly . He consults his watch . A branch from one of the overhanging trees looms up abruptly in the windshield , like a grasping arm . Racine flinches .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD - NIGHT</stage_direction> <scene_description>Racine drives through the silent neighborhood . The houses are invisible in the FOG , their presence indicated only by an occasional glowing light . Suddenly , a police SIREN pierces the night , followed by the appearance of a flashing red light on the street behind the Cadillac .</scene_description> </scene> <scene> <stage_direction>INT. CADILLAC - NIGHT</stage_direction> <scene_description>Racine 's eyes jump to the rear view mirror and the flashing red light growing in it . Racine pulls over . The police car slows as it reaches the Cadillac , pulls alongside , and then speeds on ahead , SIREN squealing . A light goes on in the house in front of which Racine has stopped . He pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. FOUR-LANE INTERSTATE - NIGHT</stage_direction> <scene_description>The Cadillac pulls up to the interstate from the side street . As on the other night , there is more traffic here . But it is moving slowly in the FOG .</scene_description> </scene> <scene> <stage_direction>INT. CADILLAC - NIGHT</stage_direction> <scene_description>Racine has to cross two lanes of traffic to go south . He peers out through the misted windshield . He starts to pull out and a sports car appears from nowhere , doing fifty , sitting on his HORN . Racine hits the brakes . As soon as it has passed , there is a lull . Racine fishtails across the road just ahead of a truck and moves south .</scene_description> </scene> <scene> <stage_direction>EXT./INT. CADILLAC - INTERSTATE - NIGHT</stage_direction> <scene_description>The traffic on Racine 's side of the interstate has slowed . There 's an accident up ahead . The police car that passed Racine is on the scene , but the lone Cop is not enough . Some Passing Motorists have pulled over to help with the wreck and direct traffic . The FOG is aglow with flashing red and white lights and burning flares . A Man signals for Racine to stop . The cars in the opposite lanes are allowed to pass through . Racine keeps his head down . A STOCKY TRUCKER comes out of the glowing FOG and walks up to the Cadillac . He leans down into the driver 's window .</scene_description> <character>STOCKY TRUCKER</character> <dialogue>Hey, man, do you have any flares?</dialogue> <character>RACINE</character> <dialogue>Uh - no. I do n't think so.</dialogue> <character>STOCKY TRUCKER</character> <parenthetical>( irritated . )</parenthetical> <dialogue>Could you check your trunk? We got kinda of a mess here.</dialogue> <character>RACINE</character> <dialogue>I do n't have them. I told you.</dialogue> <scene_description>The Stocky Trucker gives him a disgusted look and stands up .</scene_description> <character>STOCKY TRUCKER</character> <dialogue>Do n't put yourself out.</dialogue> <scene_description>The Man in the road ahead signals for Racine to pull around into the opposite lanes and move on . TRACKING along beside the Cadillac , Racine moves slowly through the nightmare scene . Figures move by carrying lights and tools . The Injured CRY OUT in pain . Three cars are meshed in crumpled steel . A clutch of Onlookers are outlined against the beams of headlights . Racine might as well be driving into Hell .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGE OVER CANAL - NIGHT</stage_direction> <scene_description>Here is relief . The Cadillac moves all alone across the bridge . The lights penetrate the FOG at orderly intervals , barely illuminating the bridge . A huge FOG HORN fills the air from not far way .</scene_description> </scene> <scene> <stage_direction>EXT. "THE BREAKERS" - DELIVERY DRIVEWAY - NIGHT</stage_direction> <scene_description>The deserted hotel looms ghostly in the FOG . The Cadillac , lights out , rolls silently to a stop in the half - hidden delivery driveway .</scene_description> </scene> <scene> <stage_direction>INT. "THE BREAKERS" - SUPPLY AREA - NIGHT</stage_direction> <scene_description>Racine , carrying only a flashlight , has made his way to the supply area he visited before . His beam probes dark corners , responds to random CREAKING . Satisfied that he is alone , he moves a wooden crate and reaches into the hole in the wall which it hid . He brings out Teddy 's incendiary device and places it on the floor in the middle of the room .</scene_description> </scene> <scene> <stage_direction>EXT. "THE BREAKERS" - DELIVERY DRIVEWAY - NIGHT</stage_direction> <scene_description>Racine grunts under the weight of Edmund 's corpse , flung over his back . He stumbles back toward the hulking hotel . The trunk of the Cadillac is closed .</scene_description> </scene> <scene> <stage_direction>INT. "THE BREAKERS" - CORRIDOR - SUPPLY AREA - NIGHT</stage_direction> <scene_description>Racine sits down hard . He is streaming with sweat under the enormous dead weight . He adjusts the plastic sheet so that Edmund 's bloody skull wo n't contact the wall . Racine gathers his strength and half - lifts , half - drags the body down the corridor , his silhouette that of a twisted , double - headed monster . His flashlight glows from ahead at his destination . IN THE SUPPLY AREA , Racine has dropped Edmund 's body over some tipped shelves . Now he lifts the heavy ceiling beam he spotted earlier . He has to change its angle only two feet in order to let it drop - now - on Edmund 's head . Racine walks over to the incendiary device . He pulls out the lever and straightens up . As he does he looks down a connecting hallway . He sees movement . He snatches up the flashlight and the wooden plank and rushes down that hallway . AT THE END OF THE HALLWAY , Racine slides to a halt , breathing hard . Again he sees the movement . A horrible , sweaty figure confronts him - there is a broken mirror attached to the wall . Racine looks at himself a long moment and the tension seems to drain away . Someone speaks in the shadows ! Racine jumps and spins toward the sound , which is only a little more than a MOAN . His flashlight seeks out the source - a RAGGED BUM is stirring in his sleep on a bed of newspapers . He wears an old baseball cap . Racine looks at him a long time , trying to decide what to do . He looks back in the direction of the supply area . He looks at the Bum settling again into a deep sleep . He looks for one final second at himself in the mirror .</scene_description> </scene> <scene> <stage_direction>EXT. "THE BREAKERS" - BEACH - NIGHT</stage_direction> <scene_description>Racine appears at a run from the fog . He has the Bum with him , grasped firmly at the neck of the collar and the seat of his pants . Racine is forcing the Bum to run along with him . The Bum is mightily confused , not least by the fact that Racine has jammed the baseball cap all the way down over his nose - he can see nothing . Racine lets go , hurtling him across the sand .</scene_description> <character>RACINE</character> <parenthetical>( a low growl . )</parenthetical> <dialogue>Get the hell out of here and do n't come back.</dialogue> <scene_description>The Bum is sprawled in the sand . The baseball cap has come off . He watches Racine 's dark figure recede in the fog .</scene_description> <character>RAGGED BUM</character> <parenthetical>( a whisper . )</parenthetical> <dialogue>Come on back here and fight like a man!</dialogue> </scene> <scene> <stage_direction>INT. RENTED FORD - SIDE STREET - NIGHT</stage_direction> <scene_description>Matty sits fidgeting in the front seat , trying to peer through the soupy FOG . She sucks on an unlit cigarette . Racine appears at the driver 's window . Matty gasps . He is a horrible sight . He gets in the driver 's seat .</scene_description> <character>MATTY</character> <dialogue>Thank god. I thought -</dialogue> <scene_description>Racine grabs her and pulls her down out of sight , bending his body low over her .</scene_description> <character>RACINE</character> <dialogue>Shh!</dialogue> <scene_description>The windows are suddenly illuminated by the beams of headlights . They grow brighter and a police patrol car , red light slowly revolving on the top , passes next to the Ford and moves off quietly in the FOG .</scene_description> <character>RACINE</character> <parenthetical>( whisper . )</parenthetical> <dialogue>They're right on time and I'm running late.</dialogue> <scene_description>He rises slowly and watches the patrol car disappear .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF WALKER HOUSE - NIGHT</stage_direction> <scene_description>The Ford stops at front of the drive .</scene_description> </scene> <scene> <stage_direction>INT. RENTED FORD - NIGHT</stage_direction> <scene_description>Racine and Matty break from a kiss . He moves her away from him .</scene_description> <character>RACINE</character> <dialogue>We wo n't talk for a long time.</dialogue> <scene_description>She nods . They look at each other . She gets out .</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE 95 - SERIES OF SHOTS - NIGHT</stage_direction> <scene_description>The rented Ford speeds through the foggy night .</scene_description> </scene> <scene> <stage_direction>INT. RENTED FORD - NIGHT</stage_direction> <scene_description>Racine 's face . He knows that for the first time in his life , he 's really done it . There 's no turning back . Racine does something that he 's going to be doing for the rest of his life . He looks in the rear view mirror .</scene_description> </scene> <scene> <stage_direction>INT. "THE BREAKERS" - SUPPLY AREA - NIGHT</stage_direction> <scene_description>Everything is as Racine left it . Edmund 's body lies beneath the beam . It is barely discernible in the gloom . The only bright spot in the room is the incendiary device , its shiny surface catching some errant sliver of light . And then it explodes with a harsh SHRIEK . And the light of the magnesium chips is white , blinding . The chips are out in all directions to the waiting puddles of gasoline . The light goes from white to yellow as huge flames engulf the room . The flames ROAR . We watch them for a few moments and then -</scene_description> </scene> <scene> <stage_direction>EXT. SECOND FLOOR PORCH - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Matty stands in the FOG , one arm wrapped around a post of the porch . Above her the wind chimes TINKLE . She struggles to hear something else . Finally she does hear it and her face relaxes and she looks at peace . Listening to soft , distant SIRENS .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>The fedora hangs on the coatstand . Racine works at his desk , reading over a long contract . The sun is cutting through the Venetian blinds behind him in glaring strips and , as he leans back in his chair , he finds it impossible to read his document . He gets up , goes to the window and adjusts the blinds so that his desk goes dark in the shade . As it does , the PHONE RINGS . Beverly answers out in the reception room , her conversation muffled through the slightly cracked door . She hits a hold button and yells , as is her informal custom .</scene_description> <character>BEVERLY</character> <dialogue>Ned. Miles Hardin. Do you want him?</dialogue> <character>RACINE</character> <dialogue>Who is he?</dialogue> <character>BEVERLY</character> <dialogue>She says he's a lawyer from Miami.</dialogue> <scene_description>Racine picks up his phone .</scene_description> <character>RACINE</character> <dialogue>Hello.</dialogue> <character>SECRETARY</character> <parenthetical>( filtered . )</parenthetical> <dialogue>Mr. Ned Racine?</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <character>SECRETARY</character> <dialogue>Miles Hardin calling.</dialogue> <scene_description>The Secretary goes off and Racine is left holding . He waits five long beats and seems about to hang up when a Voice comes on , very dry and cold .</scene_description> <character>HARDIN</character> <parenthetical>( filtered throughout . )</parenthetical> <dialogue>Mr. Racine.</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <character>HARDIN</character> <dialogue>This is Miles Hardin of Morris and Dale in Miami.</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <character>HARDIN</character> <dialogue>As you know, we represented Edmund Walker.</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <scene_description>Hardin seems to expect more of a response . Racine is silent .</scene_description> <character>HARDIN</character> <dialogue>Yes, well, Mrs. Walker has submitted the new will you wrote up there.</dialogue> <scene_description>Racine closes his eyes for a moment . The blood drains out of his face . He puts a hand out toward his desk .</scene_description> <character>RACINE</character> <dialogue>Yes. I see.</dialogue> <character>HARDIN</character> <dialogue>And frankly, Mr. Racine, I think we may have a problem.</dialogue> <character>RACINE</character> <dialogue>Uh - huh. What problem is that?</dialogue> <character>HARDIN</character> <dialogue>Well, I'd rather discuss it in person. In fact I think it might be best if we could all get together down there. That is, if you would n't object.</dialogue> <character>RACINE</character> <dialogue>No no, that would be all right.</dialogue> <character>HARDIN</character> <dialogue>Good. We have a relationship with a firm in West Palm - Shiller, Hastings.</dialogue> <character>RACINE</character> <dialogue>I know of them.</dialogue> <character>HARDIN</character> <dialogue>I've arranged to have the use of their offices. I thought we might try to make it tomorrow, say ten o'clock. Would that be possible for you?</dialogue> <character>RACINE</character> <dialogue>Yes, I think so.</dialogue> <character>HARDIN</character> <dialogue>Good. Mrs. Walker told me she would be back down there by then. And I've asked Mrs. Kraft, Mr. Walker's sister, to join us, also. I'll see you then.</dialogue> <character>RACINE</character> <dialogue>Right.</dialogue> <character>HARDIN</character> <dialogue>Good - bye.</dialogue> <scene_description>Hardin clicks off . Racine hangs up slowly . He stares at the phone a long time . He gets up , his mind racing . He goes to the window and parts two of the blinds with his fingers . The sun makes him squint .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA - DAY</stage_direction> <scene_description>Racine opens the door from his office .</scene_description> <character>RACINE</character> <parenthetical>( to Beverly . )</parenthetical> <dialogue>Will you get me Mrs. Edmund Walker, please.</dialogue> <scene_description>Beverly wrinkles her brow , spins her Rolodex .</scene_description> <character>BEVERLY</character> <dialogue>I do n't have her. Should I?</dialogue> <character>RACINE</character> <dialogue>I thought the temporary put her in. She came in while you were on vacation. Look it up. They were in Pinehaven, I think.</dialogue> <scene_description>He closes the door to his office .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine sits at his desk . The phone BUZZES . He picks it up .</scene_description> <character>BEVERLY</character> <parenthetical>( filtered . )</parenthetical> <dialogue>I get no answer at the Pinehaven number.</dialogue> <character>RACINE</character> <dialogue>Okay. Try again later.</dialogue> </scene> <scene> <stage_direction>INT. SHILLER, HASTINGS LAW OFFICES (WEST PALM BEACH) DAY</stage_direction> <scene_description>A Secretary leads Racine DOWN A HALLWAY of the richly appointed offices and ushers him into a - LARGE CONFERENCE ROOM , opulent , with a big skylight . Seated around the room are Matty , Roz Kraft , and much to Racine 's surprise , his friend Peter Lowenstein , Matty is dressed in chic black , MILES HARDIN comes around the big desk to shake Racine 's hand . Hardin is an impressive guy in a $ 500 suit . He greets Racine with icy eyes and a cordial look .</scene_description> <character>HARDIN</character> <dialogue>Miles Hardin, Mr. Racine.</dialogue> <character>RACINE</character> <dialogue>How are you?</dialogue> <character>HARDIN</character> <dialogue>I do n't think you know Mrs. Kraft.</dialogue> <character>RACINE</character> <parenthetical>( shakes her head . )</parenthetical> <dialogue>No. I do n't. My condolences.</dialogue> <character>ROZ</character> <dialogue>Thank you.</dialogue> <scene_description>Racine comes up to Matty and takes her hand .</scene_description> <character>RACINE</character> <dialogue>Mrs. Walker, I'm very sorry about your husband.</dialogue> <character>MATTY</character> <dialogue>Thank you, Mr. Racine.</dialogue> <character>HARDIN</character> <dialogue>You know Mr. Lowenstein.</dialogue> <scene_description>They shake and Lowenstein gives him a cheerful grin .</scene_description> <character>RACINE</character> <dialogue>Hello, Peter.</dialogue> <character>LOWENSTEIN</character> <dialogue>Hi, Ned.</dialogue> <scene_description>Racine shakes his hand . Hardin motions Racine into a chair and moves back around the desk .</scene_description> <character>HARDIN</character> <dialogue>I asked Mr. Lowenstein to join us because he's handling the inquiry into Edmund's death for the County Prosecutor's office. He and I have discussed this matter and he's made is possible for us to speak very frankly here today. Off the record, so to speak.</dialogue> <parenthetical>( to Racine . )</parenthetical> <dialogue>As I've told Mrs. Walker, I was more than a little surprised by the existence of this new will. Edmund had n't mentioned anything about it to me.</dialogue> <scene_description>Hardin looks at Racine a beat , but Racine has nothing to say .</scene_description> <character>HARDIN</character> <dialogue>Mrs. Walker explained to me that when she and her husband decided to make some minor changes, they just took care of it up here for simplicity's sake. And, indeed, as you know, the new will is almost identical to the old but for the disposition of a few items.</dialogue> <parenthetical>( to the group in general . )</parenthetical> <dialogue>At the risk of oversimplifying, the thrust of the will is to divide the estate in almost equal parts between Heather Kraft and Mrs. Walker. Would you agree with that assessment, Mr. Racine?</dialogue> <scene_description>Racine nods .</scene_description> <character>HARDIN</character> <dialogue>Mmmm. And you witnessed the signing by Edmund Walker along with this Miss -.</dialogue> <parenthetical>( glancing at papers on the desk . )</parenthetical> <dialogue>- Mary Ann Simpson on July twenty - first. Apparently, it will be impossible for us to contact Miss Simpson.</dialogue> <character>MATTY</character> <dialogue>Mary Ann is a lifelong friend of mine. She happened to be visiting on her way to Europe. I'm sure when she returns she'll get in touch with me.</dialogue> <character>RACINE</character> <parenthetical>( eyeing Hardin . )</parenthetical> <dialogue>Although it's certainly not required. The witnesses to the signing of a will are not commonly available when the will is entered into probate. It's not standard by any means.</dialogue> <scene_description>Hardin glances at Lowenstein , who watches impassively .</scene_description> <character>HARDIN</character> <dialogue>Edmund Walker's death was not standard.</dialogue> <character>ROZ</character> <parenthetical>( to Hardin . )</parenthetical> <dialogue>Pardon me. I'm sorry. I'm confused. Is there some question about the authenticity of the will?</dialogue> <scene_description>Racine would like to kiss Roz ; instead he turns with a questioning look to Hardin .</scene_description> <character>RACINE</character> <dialogue>I'm confused, too. Do you have a problem with the witnessing or the signatures? What is it you're getting at?</dialogue> <character>HARDIN</character> <parenthetical>( almost wistful . )</parenthetical> <dialogue>No, there does n't seem to be any problem here. This is Edmund Walker's last will and testament. I'm afraid the problem is elsewhere.</dialogue> <scene_description>He reaches into his coat and brings out a gold cigar case .</scene_description> <character>HARDIN</character> <dialogue>Would anyone mind if I smoked?</dialogue> <scene_description>No one does . In fact , Racine , Matty and Roz all immediately produce their own packs of cigarettes . The effect is comical and everyone in the room laughs at the group reflex . Roz notices that Lowenstein is not lighting up and offers him one of hers .</scene_description> <character>LOWENSTEIN</character> <dialogue>I do n't need my own. I'll just breathe the air.</dialogue> <scene_description>Roz smiles and tilts her head to blow a stream of smoke toward the ceiling . We TILT UP with it as the white smoke intrudes the clear air and - The same space , thick with smoke , and TILT DOWN to the assembled group , all of whom are focused on Hardin , except for Lowenstein , whose glance dances about the rapt faces .</scene_description> <character>HARDIN</character> <dialogue>Everything's in order up to there. The problem comes in the language of the bequest to Heather. It's a technical matter. In writing the will, I'm afraid Mr. Racine violated what's known as `` the rule against perpetuities.</dialogue> <scene_description>Hardin watches Racine , who reacts minutely .</scene_description> <character>HARDIN</character> <dialogue>It's a small thing, but it's the law. It forbids an inheritance to be passed down indefinitely for generations. Many general practitioner lawyers do n't fully understand it. It does n't come up much for them, because wills this complex are usually handled by estate departments in larger firms. Handled by lawyers who specialize in this type of work.</dialogue> <scene_description>Matty turns a confused look to Roz who returns it sympathetically . Hardin notes it .</scene_description> <character>HARDIN</character> <dialogue>I know this is terribly confusing, but if you'll bear with me. I spotted the problem right away, but since Edmund's intent was clear, I thought it in everyone's best interest to try and get the will admitted into probate anyway, even though it was technically incorrect. I knew that a probate judge in Miami would spot the mistake right away. That's all they do all day, they're expert. So I thought I'd bring it up here to Okeelanta County - since Edmund had the residence here - and see if I could get lucky with a judge who did n't know estate law quite so well.</dialogue> <parenthetical>( dryly , he ca n't resist . )</parenthetical> <dialogue>Perhaps find one with the same kind of training as Mr. Racine.</dialogue> <scene_description>Racine watches him , his mind racing ahead too fast to bother being insulted . Lowenstein ca n't help a small , wincing smile . Now Hardin gets to his payoff and there is no amusement in his tone .</scene_description> <character>HARDIN</character> <dialogue>Unfortunately, my plan backfired. I ran into a judge who'd had other dealings with Mr. Racine. A Judge Costanza. In fact, it seems there were problems with an estate in a case four years ago. Very different problems, it's true. But on a will Mr. Racine prepared. It was quite a mess. Accusations of carelessness, a malpractice suit.</dialogue> <parenthetical>( to Racine . )</parenthetical> <dialogue>I think he called it the Gourson case?</dialogue> <scene_description>Racine watches him dully , then concentrates on taking out a cigarette .</scene_description> <character>ROZ</character> <dialogue>Once again, Mr. Hardin, you've lost me.</dialogue> <character>MATTY</character> <dialogue>Yes, what does all this mean?</dialogue> <character>HARDIN</character> <dialogue>It means, I'm afraid, that Edmund's will is invalid. Edmund Walker died interstate, as though there were no will at all.</dialogue> <scene_description>Roz looks at Matty with panicky eyes .</scene_description> <character>MATTY</character> <dialogue>So. what happens now?</dialogue> <scene_description>Hardin looks her over coldly . He does n't believe she does n't know ,</scene_description> <character>HARDIN</character> <dialogue>You do n't know?</dialogue> <character>MATTY</character> <parenthetical>( irritated . )</parenthetical> <dialogue>No, I do n't.</dialogue> <character>HARDIN</character> <dialogue>Perhaps Mr. Racine would like to tell you.</dialogue> <scene_description>Racine is recovering . He gives Hardin a quick , ugly look , then turns toward Matty , and speaks quietly .</scene_description> <character>RACINE</character> <dialogue>In the state of Florida, when a person dies without a will, and there are no children and no surviving parents, then the spouse inherits everything.</dialogue> <scene_description>It seems to take a long moment for Matty to fully digest this . It takes not quite as long for Roz . Her face goes through several transformations : confusion to disbelief to despair , then on in the direction of outrage . Lowenstein 's eyes are flashing around at the faces . He seems genuinely amused .</scene_description> <character>MATTY</character> <dialogue>My god. You mean. it's all mine?</dialogue> <scene_description>Hardin is an unconvinced audience . He nods .</scene_description> <character>HARDIN</character> <dialogue>Though that was clearly not your husband's intention.</dialogue> <character>MATTY</character> <dialogue>My god.</dialogue> <character>HARDIN</character> <dialogue>He intended Heather to benefit -</dialogue> <character>MATTY</character> <parenthetical>( looking between Hardin and Roz . )</parenthetical> <dialogue>Of course, of course, I understand. Of course.</dialogue> <character>HARDIN</character> <dialogue>As you can imagine, Mrs. Walkers given the circumstances of Edmund's death, none of this is going to happen. how should I say it. simply.</dialogue> <scene_description>Matty seems still in shook .</scene_description> <character>MATTY</character> <dialogue>Of course.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT BEHIND SHILLER, HASTINGS (WEST PALM BEACH) - DAY</stage_direction> <scene_description>Matty , Racine , Roz , Lowenstein and Hardin stand talking in a little cluster near the building . They say their good - byes with much handshaking . Matty lays a reassuring hand on Roz 's arm and kisses her on the cheek . As she breaks from the crowd , Racine walks with her . The others stand talking a little longer . Racine takes off his jacket in the blazing Heat . He is very aware of the little group behind them as he walks with Matty to her Mercedes . When they are out of earshot -</scene_description> <character>RACINE</character> <dialogue>You look good in black.</dialogue> <character>MATTY</character> <dialogue>I've missed you so badly. I need you.</dialogue> <character>RACINE</character> <dialogue>At first I could n't figure out when you got ahold of my stationery and stuff. It finally came to me. Edmund's signature must have been a snap. And you knew I was n't gon na challenge mine -</dialogue> <character>MATTY</character> <dialogue>Please stop. I do n't blame you for hating me right now.</dialogue> <character>RACINE</character> <dialogue>You've really done it, Matty. You really have.</dialogue> <scene_description>Behind them the group breaks up , Hardin goes back into the building and Lowenstein walks Roz the short distance to her car . Matty reaches the door of her car and turns to Racine .</scene_description> <character>MATTY</character> <dialogue>Will you come to the house tonight?</dialogue> <scene_description>She takes his hand and shakes it for show .</scene_description> <character>MATTY</character> <dialogue>I want you more right now than I ever have. I know how you must feel about me. But please come tonight.</dialogue> <character>RACINE</character> <dialogue>I hope you have n't done us in.</dialogue> <scene_description>Matty gets into her car . At the far end of the parking lots Lowenstein has been watching them as he makes his way to his car . Now , as he moves between two rows of cars , he executes a few nifty dance steps , just like Fred Astaire .</scene_description> </scene> <scene> <stage_direction>EXT. RACINE'S BUILDING - DAY</stage_direction> <scene_description>Racine , jacket over his shoulder and briefcase in hand , leaves the Stingray at the curb and goes into the big house of which his apartment is the top floor .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - RACINE'S BUILDING - DAY</stage_direction> <scene_description>Racine trudges up the dark steps in the heat . As he approaches the door to his place , he senses that someone is there . He tries the knob and the door swings open slowly , revealing Peter Lowenstein , reading a book at the bookcase and , lounging out on the porch , Detective Oscar Grace . The three look at each other a beat and then Racine comes in ,</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S APARTMENT - DAY</stage_direction> <scene_description>Racine gets rid of his briefcase and jacket as Grace comes in from the porch .</scene_description> <character>RACINE</character> <dialogue>Hi, guys. Just come on in, make yourself at home.</dialogue> <character>GRACE</character> <dialogue>Sorry about that.</dialogue> <character>LOWENSTEIN</character> <dialogue>Not me. The door was unlocked, inviting illegal entry. It's behavior like that makes Oscar's job so hard.</dialogue> <character>RACINE</character> <dialogue>Sorry, Oscar. Would you guys a beer?</dialogue> <character>LOWENSTEIN</character> <dialogue>No thanks, I already had one.</dialogue> <scene_description>Oscar indicates `` no '' as Racine takes one from the refrigerator for himself and begins unbuttoning his shirt .</scene_description> <character>GRACE</character> <dialogue>I've got ta bring my wife up here. She thinks our house is the hottest place in the county.</dialogue> <character>RACINE</character> <dialogue>It ai n't great this time of day.</dialogue> <scene_description>There is a pregnant pause as Racine takes off his shirt and leans against the refrigerator .</scene_description> <character>GRACE</character> <dialogue>Ned, how did you get involved with this Matty Walker?</dialogue> <character>RACINE</character> <parenthetical>( takes a drink . )</parenthetical> <dialogue>What do you mean?</dialogue> <character>GRACE</character> <dialogue>I mean she's poison, man. Tell me what you know about her old man's death.</dialogue> <character>RACINE</character> <dialogue>What read in the paper. He died in the fire. Looks like arson -</dialogue> <character>LOWENSTEIN</character> <dialogue>Was arson.</dialogue> <character>RACINE</character> <dialogue>Okay, was arson. You do n't know if he was setting it and messed up. or if that's just what someone wanted it to look like.</dialogue> <character>GRACE</character> <dialogue>Nah, he did n't set it. Somebody offend him.</dialogue> <character>RACINE</character> <dialogue>His people owned the place or something?</dialogue> <character>GRACE</character> <parenthetical>( nods . )</parenthetical> <dialogue>That's right. A very rough group of fellows, too. They're arguing with the insurance company right now. It's possible they wanted to cut old Edmund out. I'm sure they're not too broken up over his departure.</dialogue> <parenthetical>( grimaces . )</parenthetical> <dialogue>But this just does n't seem like a neat way to handle something like that.</dialogue> <character>LOWENSTEIN</character> <dialogue>It's not their style. They're very smooth. They'd rather destroy you than kill you. And they hate publicity.</dialogue> <scene_description>Racine takes it in , sucks on his beer .</scene_description> <character>GRACE</character> <dialogue>Course guys like that make a lot of enemies. Coulda been a grudge match from the outside, I suppose.</dialogue> <parenthetical>( he looks at Racine . )</parenthetical> <dialogue>But me, I'm kinda interested in the grieving widow.</dialogue> <scene_description>Racine looks a little skeptical . He thinks about it as he moves to a chair .</scene_description> <character>LOWENSTEIN</character> <dialogue>Her sister - in - law's got plenty of ideas along that line, too. She could barely contain herself today, I could tell.</dialogue> <parenthetical>( he cackles . )</parenthetical> <dialogue>But she wants to wait and see how Matty treats her on the estate. She does n't want to blow it.</dialogue> <character>GRACE</character> <dialogue>How'd you get involved?</dialogue> <character>RACINE</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>They asked me to re - do the will. I met with her and Edmund. It was pretty simple. This Mary Ann Simpson witnessed it with me. Walker did n't seem to think it was any big deal.</dialogue> <character>GRACE</character> <dialogue>That's it?</dialogue> <character>RACINE</character> <dialogue>That's it.</dialogue> <character>GRACE</character> <dialogue>What was this Simpson's story?</dialogue> <character>RACINE</character> <dialogue>I do n't know. old friend of theirs, good - looking broad. She was just passing through.</dialogue> <character>GRACE</character> <dialogue>On her way to Europe?</dialogue> <scene_description>Racine shrugs , he does n't know .</scene_description> <character>GRACE</character> <dialogue>The passport people ca n't find any record of that.</dialogue> <scene_description>Lowenstein and Grace look at him a long time .</scene_description> <character>GRACE</character> <dialogue>What do you think? About the wife?</dialogue> <scene_description>Racine considers a moment .</scene_description> <character>RACINE</character> <dialogue>I suppose it's possible. I do n't know much about her, except -.</dialogue> <parenthetical>( he grins . )</parenthetical> <dialogue>- what I've seen. Would n't shock me, either way.</dialogue> <character>LOWENSTEIN</character> <dialogue>I've got a feeling she's very bad news. Take some incredibly intelligent advice and stay away from her.</dialogue> <character>GRACE</character> <dialogue>He's right for once.</dialogue> <scene_description>They both get up to leave . Racine watches from the chair .</scene_description> <character>RACINE</character> <dialogue>Well, I'm sorry, guys. I'm afraid I ca n't do that.</dialogue> <character>GRACE</character> <dialogue>Why not?</dialogue> <character>RACINE</character> <dialogue>First of all, did you get a look at her?</dialogue> <scene_description>They did . Racine grins . He stands up and comes right up to them .</scene_description> <character>RACINE</character> <dialogue>That would n't be quite so meaningful, except that today she started coming on to me. And maybe you have n't heard but the lady is about to come into a great deal of money.</dialogue> <scene_description>They look at him with some concern .</scene_description> <character>RACINE</character> <dialogue>The fact is, she's invited me out to her place tonight. And I'm going. And I'll keep on going as many nights, or days, or weekends, as she'll have me.</dialogue> <character>LOWENSTEIN</character> <dialogue>Ned, that lady may have just killed her husband.</dialogue> <scene_description>Racine smiles cheerfully and puts a reassuring arm around Lowenstein 's shoulder , leading him to the door .</scene_description> <character>RACINE</character> <dialogue>Peter, she's not gon na inherit anything by killing me.</dialogue> <scene_description>Lowenstein is out the door now . He looks at Racine in wonder . He shakes his head and goes down the steps . Racine turns , smiling , to Grace , but Oscar is grim .</scene_description> <character>GRACE</character> <dialogue>Ned, you've messed up before. You'll mess up again. That's your nature. But they've always been small - time. This might not be. She's trouble, Ned. The real thing. Big - time, major league trouble. Watch yourself.</dialogue> <scene_description>Racine reassures his friend with touch and Oscar leaves .</scene_description> </scene> <scene> <stage_direction>INT. WALKER HOUSE - ENTRY HALL - NIGHT</stage_direction> <scene_description>Matty closes the front door behind Racine and wraps her arms around him . She kisses him hard and long on the mouth , then starts on his neck . He begins to push her away but she clings to him , eating him up .</scene_description> <character>MATTY</character> <dialogue>I know. I know. I know you'd probably like to kill me. I know. But please. you can hate me. punish me. hurt me if you want, but do n't talk yet.</dialogue> <scene_description>She takes his hand and drags him to the steps and leads the way up , her eyes on him always .</scene_description> <character>MATTY</character> <dialogue>Please, Ned.</dialogue> <scene_description>He lets her lead him up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>They lie in bed . The wind chimes TINKLE outside .</scene_description> <character>MATTY</character> <dialogue>Mary Ann and I left Wheaton together and went to Chicago. We did n't know what we were doing. I got in bad trouble with drugs. Speed. Really bad. I did things.</dialogue> <parenthetical>( she looks up at him . )</parenthetical> <dialogue>Whatever's the evilest thing you can think of me now, I did worse things then. There's nothing lower than the animal I was then. Worse than you can imagine. I thought I would die. I prayed I would. And then a man helped me. He got me clean. He did n't want much in return, either. He was a lawyer and he put me to work in his office. I learned a lot there. One time I even thought I might go to law school. That's where I picked up the business about making a will invalid. That happened to him once. I swear I would never have used that if I'd known about your case. I was afraid to tell you, Ned. I knew you would n't let me do it. I'm greedy, like you said. I wanted us to have it all.</dialogue> <scene_description>She moves up over him and looks into his face .</scene_description> <character>MATTY</character> <dialogue>I do n't blame you for thinking I'm bad. I am. I know it. I'd understand if you just cut me off now. If you never trusted me again. You'd probably be smart. But you must believe one thing. I love you. I love you and need you. I want to be with you forever.</dialogue> <scene_description>She puts her head on his chest as Racine lights a cigarette .</scene_description> <character>RACINE</character> <dialogue>They already think you're involved.</dialogue> <character>MATTY</character> <dialogue>I do n't care.</dialogue> <character>RACINE</character> <dialogue>Great.</dialogue> <character>MATTY</character> <dialogue>There's nothing we can do about it now. In a little while we'll either have the money or we wo n't. It's out of our hands.</dialogue> <scene_description>Racine thinks about this awhile . He exhales a stream of smoke .</scene_description> <character>MATTY</character> <dialogue>I fired the housekeeper. We can stay together as long as we want. We're all alone here now.</dialogue> <scene_description>SLOW , SLOW DISSOLVE TO :</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DETECTIVE BUREAU - DAY</stage_direction> <scene_description>Lowenstein makes Heather and Roz comfortable in the waiting room , then goes through the gate partition , nods at the Cop Clerk on duty , and goes into Oscar Grace 's office , re - closing the door behind him .</scene_description> </scene> <scene> <stage_direction>INT. GRACE'S OFFICE - DAY</stage_direction> <scene_description>It 's cramped , hot , cluttered . There is one other door out of the office . Grace has his feet up on his desk . He 's nursing a bottle of Coke and looking at Racine , who stands across the office , leaning on a file cabinet and glaring between sentences . Racine gives Lowenstein an ugly look then returns his attention to Grace . Racine is angry , but in control .</scene_description> <character>RACINE</character> <dialogue>That's right. I've been down there a lot lately. Is n't that amazing? Miami. Jesus. I'm handling the purchase of some property down there. I'll be going back in the future. if that's all right, if it's still legal to go to Miami.</dialogue> <scene_description>There is silence . Lowenstein looks between them , speaks to Grace .</scene_description> <character>LOWENSTEIN</character> <dialogue>He is mad.</dialogue> <character>RACINE</character> <dialogue>Nooo. No, I'm not mad. Why should I be mad just because my friend here, who I've know for years, wants to know of my whereabouts on the night of our recent local murder?</dialogue> <character>LOWENSTEIN</character> <dialogue>It's not so recent anymore. Maybe he's feeling some pressure.</dialogue> <scene_description>Grace is pained by all this , but his tone is scolding , defensive .</scene_description> <character>GRACE</character> <dialogue>You brought this on yourself, man! I do n't run this department, you know. There are people watching this thing. They hear you're out there banging the widow every night ; it tends to call attention to you. So do n't give me shit.</dialogue> <scene_description>Lowenstein goes to Oscar 's desk and takes a pull from the bottle of Coke .</scene_description> <character>RACINE</character> <dialogue>That's my business!</dialogue> <character>GRACE</character> <dialogue>This whole damn case is getting crazy.</dialogue> <character>LOWENSTEIN</character> <parenthetical>( to Grace . )</parenthetical> <dialogue>Did you tell him about the glasses?</dialogue> <scene_description>Grace , exasperated , indicates that he did n't .</scene_description> <character>LOWENSTEIN</character> <dialogue>Seems Walker always ware glasses - steel - rimmed glasses. He was a real fanatic about them.</dialogue> <scene_description>Racine is still staring at Grace . He barely seems to pay attention .</scene_description> <character>LOWENSTEIN</character> <dialogue>But there were none on the scene. Coroner says they should've been there. He says that even after the fire the frames should've been seared into his - well, you do n't want to hear the details.</dialogue> <character>RACINE</character> <dialogue>So what?</dialogue> <character>GRACE</character> <dialogue>So it's looking more and more like he was killed somewhere else and brought there in his own car. Your honey, his wife, says he left the house in the middle of the night driving himself to some mysterious meeting. Is that vague enough for you?</dialogue> <character>RACINE</character> <dialogue>Look, what is this? What do you want? Am I supposed to be an undercover agent for you guys, or something?</dialogue> <character>LOWENSTEIN</character> <dialogue>Interesting choice of phrase.</dialogue> <character>RACINE</character> <dialogue>How ` bout tonight I ask her? ` Say, did you kill your husband? My friends were just wondering.'</dialogue> <character>LOWENSTEIN</character> <dialogue>Hey, that's an idea. Ask her where the glasses are, where she did it. Anything else I'm forgetting, Oscar?</dialogue> <character>OSCAR</character> <dialogue>Just one thing.</dialogue> <scene_description>Lowenstein looks at him a long moment . Racine watches them .</scene_description> <character>LOWENSTEIN</character> <dialogue>Oh, yeah! Right, right. You'll love this, Ned, this latest development. Maybe you'll be able to work up a little sympathy for us, see why Oscar here has a tendency to get carried away. Tell him, Oscar. This is rich.</dialogue> <character>OSCAR</character> <dialogue>This is from the sister - in - law, the Kraft woman. She's been driving me batty lately. She's convinced she ai n't gon na be out into the will. It seems that a couple weeks before the murder, Walker's niece stayed up there for a while with your friend Matty. One night she waxes up, goes to see her aunt and catches the lady with some guy.</dialogue> <scene_description>The three men look at each other . Lowenstein breaks into laughter .</scene_description> <character>LOWENSTEIN</character> <dialogue>Do you get it? In the act or some fucking thing!</dialogue> <character>GRACE</character> <dialogue>We have n't got all the details yet. Mrs. Kraft is bringing the little girl up here today to tell us her story.</dialogue> <character>LOWENSTEIN</character> <parenthetical>( to Grace . )</parenthetical> <dialogue>Oh, they're here. I ran into them on the way in. They're waiting outside.</dialogue> <character>GRACE</character> <dialogue>Christ. I'm not sure I'm up to dealing with this scene.</dialogue> <scene_description>There is a long pause . The other two look at Racine .</scene_description> <character>GRACE</character> <parenthetical>( to Racine . )</parenthetical> <dialogue>Listen, you probably do n't want to see the Kraft woman right now. She's a little wild. Why do n't you slip out the back way here?</dialogue> <scene_description>Racine looks first at Lowenstein , then at Grace .</scene_description> <character>RACINE</character> <dialogue>Are we done here?</dialogue> <character>GRACE</character> <parenthetical>( nods , looking at his notes . )</parenthetical> <dialogue>I've got it all here. And, Ned, I'm sorry I had to ask.</dialogue> <scene_description>Racine is neutral . He indicates the front entrance .</scene_description> <character>RACINE</character> <dialogue>I'll go out this way. I've had a lot of experience with disgruntled people.</dialogue> <parenthetical>( to Lowenstein . )</parenthetical> <dialogue>I'll be over to Stella's, if you want to have some lunch.</dialogue> <scene_description>Lowenstein nods . Racine opens the door and goes out of the office .</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DETECTIVE BUREAU - DAY</stage_direction> <scene_description>Racine walks out of Grace 's office . Lowenstein watches him go . Heather is absorbed in a magazine and Roz is distracted with her cigarette . Racine could keep on walking , but instead he walks over to Roz . She jumps when he speaks to her .</scene_description> <character>RACINE</character> <dialogue>Hello, Mrs. Kraft.</dialogue> <scene_description>She seems confused about how to act toward him . Heather looks up casually . Racine shakes Roz 's hand .</scene_description> <character>ROZ</character> <dialogue>Hello, Mr. Racine.</dialogue> <character>RACINE</character> <dialogue>How are you making out?</dialogue> <character>ROZ</character> <dialogue>We're all right, I guess.</dialogue> <scene_description>Racine crouches in front of Heather and smiles at her .</scene_description> <character>RACINE</character> <dialogue>You must be Heather.</dialogue> <scene_description>She nods . He shakes her hand .</scene_description> <character>RACINE</character> <dialogue>I'm Ned Racine, Heather. I've heard a lot about you. It's nice to meet you.</dialogue> <scene_description>Heather nods uncertainly .</scene_description> <character>HEATHER</character> <dialogue>Thank you.</dialogue> <character>RACINE</character> <dialogue>I'm sorry our town is so hot for your visit.</dialogue> <character>HEATHER</character> <dialogue>It sure is.</dialogue> <character>RACINE</character> <parenthetical>( smiles , stands . )</parenthetical> <dialogue>Goodbye.</dialogue> <character>ROZ</character> <dialogue>Goodbye.</dialogue> <scene_description>Racine walks away . Heather watches him go . Roz turns to Heather .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>Racine walks down the sidewalk and enters Stella 's Coffee Shop .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S COFFEE SHOP - DAY</stage_direction> <scene_description>As Racine comes in the front door , Stella is leaning over the counter in a gossipy huddle with a Cop and Glenda , the Meter Maid . When Stella notices Racine , she breaks off suddenly and moves away . The Cop and Glenda see Racine and go back to their food with great deliberateness . Racine takes all this in and settles at the other end of the counter .</scene_description> <character>STELLA</character> <parenthetical>( too boisterous . )</parenthetical> <dialogue>Hi, Racine. How you doing today?</dialogue> <character>RACINE</character> <dialogue>I'm fine, Stella. I'm fine. What's the latest? Any hot news?</dialogue> <character>STELLA</character> <dialogue>Nothing much doing. What'll it be?</dialogue> <character>RACINE</character> <dialogue>What's the special?</dialogue> <character>STELLA</character> <dialogue>Veal outlets.</dialogue> <character>RACINE</character> <dialogue>What day'd you cook'em?</dialogue> <character>STELLA</character> <dialogue>They're fresh this month.</dialogue> <scene_description>Racine signals for her to bring it on . He swivels around and looks out at the Court House . LATER . Same shot . Lowenstein appears on the sidewalk across the street . He crosses over to Stella 's and comes in . He spots Racine and comes over to the counter with a light dance - walk , breaking into actual dance only as he Pirouettes before landing in the stool beside Racine . Racine is almost done with his lunch .</scene_description> <character>LOWENSTEIN</character> <parenthetical>( to Stella . )</parenthetical> <dialogue>The usual, my sweet.</dialogue> <character>STELLA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Two ice teas for Fred Astaire.</dialogue> <scene_description>Lowenstein looks at Racine and smiles .</scene_description> <character>LOWENSTEIN</character> <dialogue>Are you ready to hear something wild?</dialogue> <character>RACINE</character> <dialogue>I do n't know. I may have had my share for the day.</dialogue> <character>LOWENSTEIN</character> <dialogue>No, this is right up your alley.</dialogue> <scene_description>Stella puts the two ice teas in front of Lowenstein . Lowenstein has to give her a look before she backs away . Lowenstein leans in confidentially toward Racine .</scene_description> <character>LOWENSTEIN</character> <dialogue>Little Heather comes out onto the back porch, and this dude is out there with her aunt, see? And he's turned away with his pants or shorts or whatever dropped, so he's mooning the little girl, right. And he and your friend are going at something which Heather could n't quite figure out.</dialogue> <scene_description>Lowenstein begins to shake with laughter ; he almost falls off the stool . Racine is confused . Lowenstein recovers his balance and lowers his voice again . There are tears in his eyes .</scene_description> <character>LOWENSTEIN</character> <dialogue>Poor little Heather! She's never seen one angry before. But it made quite an impression on her. Yessirree! That's all she can remember.</dialogue> <scene_description>Lowenstein starts to choke with laughter . He takes a drink . Racine is smiling now , too .</scene_description> <character>RACINE</character> <dialogue>That's it?</dialogue> <character>LOWENSTEIN</character> <dialogue>One other thing. She says the guy's hair was greasy. He wore it slicked back. `` Like a Cuban,'' she says. I loved that!</dialogue> <parenthetical>( he laughs again . )</parenthetical> <dialogue>Can you imagine poor Heather? She hustled back to bed after getting a gander at that. And listen to why she got up in the first place, this is the capper. She had a nightmare! Christ, can you imagine what kinds of dreams she had the rest of the night?</dialogue> <scene_description>Lowenstein rocks with laughter . And Racine does too .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - WALKER HOUSE - DAY</stage_direction> <scene_description>Matty has been pushed roughly across the entry hall . Her back hits hard against the wall at the front of the central hall . She rubs her wrist where the skin is red and looks with frightened eyes at Racine .</scene_description> <character>RACINE</character> <dialogue>Do n't say that. Do n't say you do n't have them.</dialogue> <character>MATTY</character> <dialogue>I swear to you, I do n't. What's wrong with you?</dialogue> <character>RACINE</character> <dialogue>They had to be here when you cleaned up that night. Think about it, think hard. They've probably got my prints on them.</dialogue> <character>MATTY</character> <dialogue>I must have missed them. I was n't looking for them. I thought they were on Edmund.</dialogue> <character>RACINE</character> <dialogue>So where could they have gone?</dialogue> <character>MATTY</character> <dialogue>I do n't know.</dialogue> <parenthetical>( suddenly , a look . )</parenthetical> <dialogue>Betty!</dialogue> <character>RACINE</character> <dialogue>The housekeeper?</dialogue> <parenthetical>( Matty nods , thinking . )</parenthetical> <dialogue>Where would she have put them? You've been through his things.</dialogue> <character>MATTY</character> <dialogue>She might have taken them.</dialogue> <scene_description>Racine thinks that 's crazy .</scene_description> <character>MATTY</character> <dialogue>Listen to me. That's why I fired her. After Edmund's death she started acting strange. She was always watching me, listening to my calls.</dialogue> <character>RACINE</character> <dialogue>That's crazy. You imagined it. I know, I've been imagining things, too. Plenty.</dialogue> <character>MATTY</character> <dialogue>No, Ned, not with her I was n't. I could tell there was a difference. Maybe she know about us. Maybe she wants something.</dialogue> <character>RACINE</character> <dialogue>Do n't you think we would have heard from her by now?</dialogue> <scene_description>Matty walks over and sits at the bottom of the steps . She looks up at him .</scene_description> <character>MATTY</character> <dialogue>I do n't know what to think. I'm worried. But it's not about the glasses. Or your friends. It's us.</dialogue> <character>RACINE</character> <dialogue>I'm sorry.</dialogue> <character>MATTY</character> <dialogue>Your first reaction is to accuse me. What's happening to you? I do n't know if we can hold on like this.</dialogue> <scene_description>Racine sits next to her . He rubs his eyes .</scene_description> <character>MATTY</character> <dialogue>Hardin called today. He said everything should be cleared up by next week. I'll get the money.</dialogue> <parenthetical>( a caustic smile . )</parenthetical> <dialogue>He apologized for the delay.</dialogue> <character>RACINE</character> <dialogue>They've been stalling. They're draggin it out, hoping they'd come up with some way to implicate you.</dialogue> <scene_description>Matty turns and leans against him , looking into his face , full of love .</scene_description> <character>MATTY</character> <dialogue>But they have n't been able to. Soon it'll be all ours. That's why we've got to hold together, Ned. It wo n't be long, then we'll get away from here. Out from under all this.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>All we have is each other. I'd kill myself if I thought this thing would destroy us. I could n't take it.</dialogue> <scene_description>His arms enclose her .</scene_description> </scene> <scene> <stage_direction>INT. REGISTRATION DESK - HILTON HOTEL - MIAMI - DAY</stage_direction> <scene_description>Oscar Grace has been talking to the Desk Clerk , who now disappears and returns with the Hotel Manager .</scene_description> </scene> <scene> <stage_direction>INT. BOOKKEEPING OFFICE - HILTON - DAY</stage_direction> <scene_description>Oscar and the Hotel Manager watch as a Data Clerk extracts a sheet of freshly - printed billing information from a computer . He points to a section of the read - out .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING STRUCTURE - HILTON HOTEL - DAY</stage_direction> <scene_description>Oscar talks to the Parking Attendant who handled Racine 's Stingray . Oscar looks around the structure .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - HILTON HOTEL - DAY</stage_direction> <scene_description>The door to a hotel room is open in the foreground , but Oscar is down the hall looking at the door to the stairwell .</scene_description> </scene> <scene> <stage_direction>INT. MIAMI POLICE DEPARTMENT - DETECTIVE BUREAU - DAY</stage_direction> <scene_description>Oscar sits across the desk from a Plainclothes Cop , who is talking on the phone . The Plainclothes Cop hears what he wants on the phone and nods to Oscar , tapping a spot on a list that lies before him . Oscar gets up and looks to see where he 's pointing .</scene_description> </scene> <scene> <stage_direction>EXT. HERTZ RENT-A-CAR OFFICE - DAY</stage_direction> <scene_description>Oscar can be seen inside , talking to the Attendant on duty .</scene_description> </scene> <scene> <stage_direction>EXT. REAL ESTATE OFFICE - NIGHT</stage_direction> <scene_description>Oscar , totally beat , sits in his car . The Real Estate Agent we saw with Racine comes up , unctuously ushering Two Businessmen . As he shows them inside , Oscar approaches him , getting out his I.D. . He and the Real Estate Agent shake hands .</scene_description> </scene> <scene> <stage_direction>EXT. THE MOON AND THE OCEAN - NIGHT</stage_direction> <scene_description>It 's the middle of the night . Bright under a full moon . And very quiet . The surf can be heard LAPPING at the beach . And then we hear HUMMING .</scene_description> </scene> <scene> <stage_direction>EXT. THE PIER - NIGHT</stage_direction> <scene_description>No sign of life . Still the HUMMING ; it 's a Broadway show tune .</scene_description> </scene> <scene> <stage_direction>EXT. END OF THE PIER - NIGHT</stage_direction> <scene_description>Lowenstein is there , all alone , silhouetted in the moonlight . He uses the rail like a ballet bar , returning to it each time he finishes a small combination of dance steps . The moves are not extravagant , there is not highkicking . Just a nice , smooth little combination that Lowenstein is repeating , again and again . He HUMS his own accompaniment . Then , softly at first , from the distance , comes the THUMPING of running shoes on old wood . It grows as Lowenstein completes another repetition . When the THUMPING has gotten close , it slows , then stops raggedly . Lowenstein looks that way .</scene_description> <character>RACINE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( out of breath . )</parenthetical> <dialogue>Peter?</dialogue> <character>LOWENSTEIN</character> <dialogue>Hi, Ned.</dialogue> <scene_description>Racine walks up , dripping sweat , already extracting his cigarettes from his shorts .</scene_description> <character>RACINE</character> <dialogue>What are you doing here?</dialogue> <character>LOWENSTEIN</character> <dialogue>I've been looking for you.</dialogue> <character>RACINE</character> <dialogue>Yeah?</dialogue> <character>LOWENSTEIN</character> <dialogue>Yeah. You always run this late?</dialogue> <character>RACINE</character> <dialogue>Nah. I'm going to Miami tomorrow. I'm not gon na have time.</dialogue> <character>LOWENSTEIN</character> <dialogue>What's in Miami?</dialogue> <character>RACINE</character> <dialogue>I'm closing this real estate deal I've been working on.</dialogue> <scene_description>Lowenstein nods and turns to lean over the rail . Racine offers him a cigarette . Lowenstein accepts and Racine lights both of theirs . Lowenstein glances at Racine 's pack as Racine puts it away .</scene_description> <character>LOWENSTEIN</character> <dialogue>You're some kind of health nut.</dialogue> <parenthetical>( Racine smiles . )</parenthetical> <dialogue>Matty Walker smokes that same brand. I noticed that.</dialogue> <character>RACINE</character> <dialogue>Is this gon na be one of those conversations? Maybe I should have my lawyer present.</dialogue> <character>LOWENSTEIN</character> <dialogue>Buddy, your lawyer is present.</dialogue> <scene_description>They look at the ocean .</scene_description> <character>LOWENSTEIN</character> <dialogue>You know, that Edmund Walker was a bad guy. The more I find out about him, the happier I am he's dead. I figure it's a positive thing for the world.</dialogue> <character>RACINE</character> <dialogue>You're not known for being a hardliner.</dialogue> <character>LOWENSTEIN</character> <dialogue>Mmm. I have my own standards. I try to keep them private.</dialogue> <parenthetical>( he looks at his cigarette . )</parenthetical> <dialogue>As far as I'm concerned, I do n't care who killed him. And I do n't care who gets rich because of it.</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>But Oscar, Oscar's not like that. His whole life is based on doing the right thing. He's the only person I know like that. Sometimes it's a real pain in the ass. Even for him.</dialogue> <scene_description>Lowenstein glances at Racine , but only for a moment .</scene_description> <character>LOWENSTEIN</character> <dialogue>Oscar's unhappy right now. He's in pain.</dialogue> <character>RACINE</character> <dialogue>Why is that?</dialogue> <character>LOWENSTEIN</character> <dialogue>Because he likes you. He likes you even better than I do.</dialogue> <parenthetical>( long pause . )</parenthetical> <dialogue>That's why he's been busting his butt trying to locate this Mary Ann Simpson. They finally found her place in Miami yesterday, but the woman herself was gone. looked like she left in a hurry.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Oscar thought any story she could tell might help you. He thinks you need help.</dialogue> <scene_description>Racine turns around , drapes his arms back along the rail and lets his head loll , like a tired runner .</scene_description> <character>LOWENSTEIN</character> <dialogue>Someone's putting you in deep trouble, my friend. From about three thirty to five AM on the night Walker was killed, someone called your hotel room repeatedly. The hotel did n't want to put them through, but whoever was calling convinced them it was an emergency. The phone rang and rang, but you did n't answer.</dialogue> <scene_description>Racine looks at him .</scene_description> <character>LOWENSTEIN</character> <dialogue>Do n't say anything. Save it for some Other time. It gets worse.</dialogue> <parenthetical>( he stamps out his butt . )</parenthetical> <dialogue>Now someone's trying to give us Edmund's glasses. We do n't know who. We do n't know what the glasses will tell us. But our negotiations are continuing.</dialogue> <scene_description>Lowenstein steps away , toward the street . He looks sad .</scene_description> <character>LOWENSTEIN</character> <dialogue>I wish I knew what to tell you, Ned. But I do n't have any good ideas.</dialogue> <scene_description>He turns and walks away .</scene_description> <character>LOWENSTEIN</character> <dialogue>I'll see ya.</dialogue> <scene_description>Racine watches him go . He takes out his pack of cigarettes and extracts one . He stares at the pack in his hand .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT TERRACE - WALKER HOUSE - NIGHT</stage_direction> <scene_description>The house is dark . Racine tries the door a last time . -LRB- He 's still in his sweaty running clothes . -RRB- No good . No one here . Racine peers inside one final time . He is looking through the new glass in the same little window shot out by Edmund 's gun . The wind chimes TINKLE loudly .</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE 95 - DAY</stage_direction> <scene_description>Racine 's Stingray whips south in the morning light .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S CAR - DAY</stage_direction> <scene_description>Racine is shaved and showered and wearing a tie , but he does n't look fresh . His mind is elsewhere . He looks off to his left . Miami sits on the horizon .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - SKYSCRAPER - DAY</stage_direction> <scene_description>The elevator is packed with lawyers . They 're heading out to lunch . They wear expensive suits . Racine is backed into a corner . He watches them , as though from a distance . He looks different from them .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - SKYSCRAPER - DAY</stage_direction> <scene_description>The lawyers pile out of the elevator . A few carry briefcases . Racine finally appears . He too carries a briefcase . He looks across the huge lobby at the entrance to a restaurant/bar .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT/BAR - SKYSCRAPER - DAY</stage_direction> <scene_description>Racine sits at the bar with a drink . Once more , he glances diagonally to the end of the bar , at a guy in a three - piece suit . The guy seems to be looking at Racine whenever he is n't watching the front entrance . Finally the guy can control himself no longer . He picks up his drink and walks around the bar to the space next to Racine . His name is MICHAEL GLENN and he 's bright , successful and irritating . The two men are on the edge of remembering each other .</scene_description> <character>GLENN</character> <dialogue>We know each other, do n't we?</dialogue> <parenthetical>( Racine smiles , uncertain . )</parenthetical> <dialogue>I'm Michael Glenn. With Bashford, Hillerman.</dialogue> <scene_description>The smile fades from Racine 's face .</scene_description> <character>RACINE</character> <dialogue>Ned Racine.</dialogue> <scene_description>It comes back to Glenn in a flash . He wishes he had n't come up .</scene_description> <character>GLENN</character> <dialogue>Christ, I've done it again.</dialogue> <parenthetical>( embarrassed , indicates the entrance . )</parenthetical> <dialogue>I'm just meeting some people.</dialogue> <scene_description>Racine nods . Glenn looks him over , smiles ; he 's ingratiating .</scene_description> <character>GLENN</character> <dialogue>Hey, this is silly. You're not still mad about that Gourson business?</dialogue> <parenthetical>( Racine shrugs , takes a drink . )</parenthetical> <dialogue>We had to do it. Costanza practically insisted we sue you. Listen, nobody at our place likes malpractice against other lawyers.</dialogue> <character>RACINE</character> <dialogue>Forget it.</dialogue> <scene_description>Glenn remembers something . He smiles confidentially .</scene_description> <character>GLENN</character> <dialogue>I tried to make it up to you.</dialogue> <scene_description>Racine looks at him blankly .</scene_description> <character>GLENN</character> <dialogue>Did you ever meet a lady named Matty Walker? You'd remember her. A very hot number.</dialogue> <character>RACINE</character> <dialogue>Matty Walker?</dialogue> <character>GLENN</character> <parenthetical>( glances at the entrance . )</parenthetical> <dialogue>Yeah. I met her at a party. She said she was going up there and she wanted to know about lawyers. I gave her your name.</dialogue> <character>RACINE</character> <dialogue>When was this?</dialogue> <character>GLENN</character> <parenthetical>( trying to remember . )</parenthetical> <dialogue>I do n't know. long time. Maybe September.</dialogue> <scene_description>Racine stares at him . Glenn sees his party at the entrance . He offers his hand .</scene_description> <character>GLENN</character> <dialogue>Oops, got ta go.</dialogue> <character>RACINE</character> <dialogue>Did you tell her about the Gourson case?</dialogue> <character>GLENN</character> <parenthetical>( a slimy grin . )</parenthetical> <dialogue>Hey, I was trying to get you work.</dialogue> <scene_description>He starts to move away . Racine grabs him by his tie and pulls him back hard . The people nearby turn in alarm . Racine speaks very quietly to the startled Glenn .</scene_description> <character>RACINE</character> <dialogue>Did you tell her about Gourson?</dialogue> <character>GLENN</character> <dialogue>Jesus, are you nuts?</dialogue> <scene_description>Racine twists his grip on Glenn 's tie . Glenn starts to choke .</scene_description> <character>GLENN</character> <dialogue>Maybe I told her how we met. Yeah, maybe.</dialogue> <scene_description>Racine lets him go .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF WALKER HOUSE - DUSK</stage_direction> <scene_description>Racine 's Stingray tears up the drive and SQUEALS to a stop in the parking area . Racine looks at the house from the car . It looks deserted as before . He pulls the Stingray onto the lawn and drives all the way around the house , then out the drive through his own dust .</scene_description> </scene> <scene> <stage_direction>EXT. PORCH - RACINE'S APARTMENT - NIGHT</stage_direction> <scene_description>Racine stares out at the ocean . He lights another cigarette and lifts a glass of bourbon to his lips . Suddenly , he laughs , short and harsh . But the smile fades quickly .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA - RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine comes in carrying his briefcase . Beverly looks him over critically ; he does n't look so good .</scene_description> <character>BEVERLY</character> <dialogue>Is there something wrong with your phone?</dialogue> <character>RACINE</character> <dialogue>Just off the hook. What?</dialogue> <character>BEVERLY</character> <dialogue>Teddy Laursen is in County. He's very anxious to talk to you. He sounded bad.</dialogue> <scene_description>Racine nods , turns back to the door .</scene_description> <character>BEVERLY</character> <dialogue>Hey, are you all right?</dialogue> <scene_description>Racine stops for a moment and looks at her . He smiles and goes out .</scene_description> </scene> <scene> <stage_direction>INT. COUNTY JAIL - VISITING ROOM - DAY</stage_direction> <scene_description>Teddy Laursen sits across the table from Racine . Teddy , too , looks a little ragged . Nervous .</scene_description> <character>TEDDY</character> <dialogue>I do n't know. It's a thing in Lauderdale. Something must've gone wrong, but they're not telling me. I'm a little worried.</dialogue> <character>RACINE</character> <dialogue>I'll find out.</dialogue> <character>TEDDY</character> <dialogue>No, no. That's not why I called you. In fact, I got me another lawyer.</dialogue> <scene_description>Racine watches him .</scene_description> <character>TEDDY</character> <dialogue>I think it would be better. You know Schlisgal.</dialogue> <character>RACINE</character> <parenthetical>( nods , confused . )</parenthetical> <dialogue>He's good.</dialogue> <scene_description>Teddy looks around nervously . Racine waits .</scene_description> <character>TEDDY</character> <dialogue>This broad came to me last week. A real looker. She said you told her how to reach me, I figured you musta, she knew all about it.</dialogue> <parenthetical>( Racine nods . )</parenthetical> <dialogue>She said you wanted another one.</dialogue> <scene_description>Teddy searches Racine 's face , trying to see if the story was true . He 's not surprised that it 's not .</scene_description> <character>TEDDY</character> <dialogue>Yeah, I was afraid of that. But I'm a slow thinker.</dialogue> <parenthetical>( lowers his voice even more . )</parenthetical> <dialogue>She had me show her how to rig it to a door, with a little delay. Does any of this mean anything to you?</dialogue> <scene_description>Racine looks at him blankly .</scene_description> <character>TEDDY</character> <dialogue>Then I'm glad I told you. Watch your step.</dialogue> <character>RACINE</character> <dialogue>Thanks, Teddy.</dialogue> <scene_description>Racine pushes his chair back . Teddy seems torn about saying more . He forces himself to -</scene_description> <character>TEDDY</character> <dialogue>Racine. Do n't thank me yet. These guys here, they've been asking me about The Breakers.</dialogue> <parenthetical>( reads Racine 's look . )</parenthetical> <dialogue>I have n't told'em shit. But I do n't like the look on their faces.</dialogue> <scene_description>Racine gets up .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S OFFICE - DAY</stage_direction> <scene_description>Racine listens to the endless ringing on the other end of his call and slowly hangs up . The phone rings in the reception room and Beverly picks it up , then hits the hold button .</scene_description> <character>BEVERLY</character> <parenthetical>( yells . )</parenthetical> <dialogue>Ned. It's Mrs. Walker. Do you want her?</dialogue> <character>RACINE</character> <dialogue>Yeah.</dialogue> <parenthetical>( he picks up . )</parenthetical> <dialogue>Hello.</dialogue> <character>MATTY</character> <parenthetical>( filtered throughout . )</parenthetical> <dialogue>Hello, Ned. Can we talk?</dialogue> <scene_description>Racine swivels in his chair so that he can see Beverly in the reception room . Beverly is just replacing the receiver on the hook and for a moment , she gives Racine a strange , ambivalent look . Racine watches her as she goes back to work and speaks quietly into the phone . Converted to PDF by www.screentalk.org 110 .</scene_description> <character>RACINE</character> <dialogue>Okay. Where are you?</dialogue> <character>MATTY</character> <dialogue>I'm in Miami. I've been running around like crazy and I could reach you before I left.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>Ned, everything's going to be all right.</dialogue> <character>RACINE</character> <dialogue>Tell me.</dialogue> <character>MATTY</character> <dialogue>I've got the money. I've taken it and sent it somewhere safe. It's all ours now.</dialogue> <parenthetical>( Racine says nothing . )</parenthetical> <dialogue>But that's not the best part.</dialogue> <character>RACINE</character> <dialogue>What's the best part?</dialogue> <character>MATTY</character> <dialogue>The glasses. I got them back. That is, they should be ours by now. Betty had them. She wanted money. That's why I had to come down here. She made it all very difficult, but I think it worked out.</dialogue> <character>RACINE</character> <dialogue>Do you have them?</dialogue> <character>MATTY</character> <dialogue>No. She would n't do that. She's putting them in the boathouse. In the top drawer of the dresser in the boathouse. They should be there now, if she's kept up her end.</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <character>MATTY</character> <dialogue>I think you'd better get them right away. I do n't trust her.</dialogue> <character>RACINE</character> <dialogue>In the boathouse.</dialogue> <character>MATTY</character> <dialogue>That's right. The top drawer of the dresser. Oh. Ned, we're going to be all right. I'll leave here as soon as I can. I should be there by seven - thirty. I ca n't wait to see you, darling. We've made it.</dialogue> <scene_description>Racine is silent .</scene_description> <character>MATTY</character> <dialogue>Are you all right?</dialogue> <character>RACINE</character> <dialogue>Yes.</dialogue> <character>MATTY</character> <dialogue>Good - bye, sweetheart.</dialogue> <scene_description>She clicks off . Racine puts down the phone and stares at it .</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM - COUNTY JAIL - DAY</stage_direction> <scene_description>Teddy Laursen watches as Oscar Grace and another Detective come into the room . They look grim .</scene_description> <character>GRACE</character> <dialogue>Teddy, this is Detective Knapp from the Fort Lauderdale Arson Squad. He's brought some very bad news about that fire. Seems there were two people who did n't get out.</dialogue> <scene_description>Teddy reacts . It 's the first time for him .</scene_description> <character>GRACE</character> <dialogue>I know, Teddy. It's not like you. And I'm willing to make that clear to anybody who'll listen. But you're going to have to help me out on this Breakers business.</dialogue> <scene_description>Teddy looks at him . Teddy is hurting .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S CAR - DUSK</stage_direction> <scene_description>Racine drives . The Stingray passes the sign - `` You are entering PINEHAVEN Please drive safely '' The town looks well tended .</scene_description> </scene> <scene> <stage_direction>EXT. BOAT HOUSE - WALKER HOUSE - DAY</stage_direction> <scene_description>Racine comes down the lawn . He walks slowly toward the boathouse . His walk is unsteady . Racine moves around to the front of the boathouse and steps onto its wooden porch . Racine 's focus is on the doorknob of the closed door . But he moves past it to the window . The curtains have been carefully drawn across it ; it is impossible to see beyond them into the boathouse . Except . except for one little slice at the bottom of the window where the curtains are held apart a fraction of an inch by something . Racine crouches down to look through the crack . WHAT RACINE SEES . The curtains are being held apart this little bit by a wire . A wire which is attached to the window and runs tautly back into the gloom of the boathouse . Racine shifts his head an inch and he can see another wire . It originates from that same spot back in the gloom and runs toward the door , although Racine , with this limited view , can not actually see where the wire is attached . But Racine is not really trying - Racine has rocked back on his heels away from the window . He stands up and steps away from the boathouse . You might call it a stagger .</scene_description> </scene> <scene> <stage_direction>INT. GRACE'S OFFICE - POLICE STATION - NIGHT</stage_direction> <scene_description>Lowenstein is in a chair . Grace is turned away , looking out the window at the dark street . They both look dejected . After a long silence -</scene_description> <character>LOWENSTEIN</character> <dialogue>Stupid. That's always been the problem.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Her mind encompasses his.</dialogue> <character>GRACE</character> <dialogue>I better go get him.</dialogue> </scene> <scene> <stage_direction>EXT. REAR OF WALKER HOUSE - NIGHT</stage_direction> <scene_description>The house looms darkly . Racine has packed the Stingray in the black shadows of the big tree behind the house , hiding it . He starts to walk back around the driveway side of the house when something catches his eye at the other end of the house . He walks over there . Close to that far wall , in shadow as deep as the one he has just used is , to Racine 's surprise - Matty 's Mercedes . Racine stares at the car .</scene_description> </scene> <scene> <stage_direction>EXT. RACINE'S BUILDING - NIGHT</stage_direction> <scene_description>Grace comes out of the house and walks to his car , thinking .</scene_description> </scene> <scene> <stage_direction>INT. EDMUND'S CLOSET - MATTY'S BEDROOM - NIGHT</stage_direction> <scene_description>Racine pushes aside some clothes and reaches up to a high shelf . He feels around until he 's got what he wants . He pulls down the wooden case and opens it . Inside is Edmund 's .38 revolver .</scene_description> </scene> <scene> <stage_direction>EXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT</stage_direction> <scene_description>Grace 's car is among a dozen held up by the raised drawbridge . A sailboat is gliding slowly through . Grace is outside his car , leaning against it .</scene_description> </scene> <scene> <stage_direction>EXT. GAZEBO -- WALKER HOUSE - NIGHT</stage_direction> <scene_description>Close on Racine 's watch - ten - o - five . The wind chimes on the gazebo TINKLE . Racine sits smoking in the shadows . He takes another drink from a glass of liquor . All the lights on the lawn , gazebo and boathouse are off . Racine hears something and peers toward the driveway . Headlights move very slowly up the drive toward the house . It is Edmund 's Cadillac , glowing in the moonlight . The Cadillac stops in front of the house and for several moments nothing happens . Then Matty gets out of the car Waterway . She is wearing the same white dress she was wearing when Racine first saw her and she is luminous in the moonlight . Racine watches from the blackness of the gazebo . Silently . Matty walks twenty feet past the gazebo and stops when she can make out the boathouse in the gloom . She stares at it a moment then turns back toward the house . Racine steps to the edge of the gazebo . Matty seems startled for only a split second .</scene_description> <character>MATTY</character> <dialogue>Hello, darling.</dialogue> <character>RACINE</character> <dialogue>Hello, Matty.</dialogue> <character>MATTY</character> <dialogue>Where's your car?</dialogue> <character>RACINE</character> <dialogue>In the back. With yours.</dialogue> <character>MATTY</character> <dialogue>Why have n't you turned on the lights?</dialogue> <character>RACINE</character> <dialogue>I could see.</dialogue> <scene_description>Matty comes up the steps and puts her arms around him . She closes her eyes as she hugs him . They are one figure melded in the gloom .</scene_description> <character>MATTY</character> <dialogue>It's all ours now, Ned. We could leave tonight if we wanted. It's over.</dialogue> <character>RACINE</character> <dialogue>Yes, it is.</dialogue> <character>MATTY</character> <parenthetical>( voice changed . )</parenthetical> <dialogue>What's this -?</dialogue> <scene_description>Suddenly she backs away from him , down the steps , her white dress moving back into the bright moonlight from the shadow of the gazebo . She looks up at Racine .</scene_description> <character>RACINE</character> <dialogue>It's Edmund's gun. You remember it, do n't you?</dialogue> <scene_description>He has it in his hand now . He looks it over casually , but the barrel is toward her .</scene_description> <character>MATTY</character> <dialogue>What is it, Ned? What's happened?</dialogue> <character>RACINE</character> <dialogue>I think you know.</dialogue> <character>MATTY</character> <dialogue>No. I swear to you, I do n't!</dialogue> <character>RACINE</character> <dialogue>It's the glasses, Matty.</dialogue> <character>MATTY</character> <dialogue>Were n't they there? Did n't she bring them?</dialogue> <character>RACINE</character> <dialogue>I did n't see them.</dialogue> <character>MATTY</character> <dialogue>She promised she'd bring them.</dialogue> <character>RACINE</character> <dialogue>Maybe I missed them. The way you missed them that night.</dialogue> <character>MATTY</character> <dialogue>Ned, I do n't know what you think, but you're wrong. I have n't done anything to hurt you. I love you. You've got to believe me.</dialogue> <character>RACINE</character> <dialogue>Keep talking, Matty. Experience shows I can be convinced of anything.</dialogue> </scene> <scene> <stage_direction>EXT. STREET NEAR WALKER PLACE - NIGHT</stage_direction> <scene_description>Grace 's car moves up the street past the gated drives .</scene_description> </scene> <scene> <stage_direction>EXT. BACK LAWN - NIGHT</stage_direction> <scene_description>Racine is at the bottom of the gazebo steps now . Matty has backed away , toward the Waterway .</scene_description> <character>MATTY</character> <dialogue>I did arrange to meet you. But, Ned, it all changed. You changed it. I fell in love with you. I did n't plan that.</dialogue> <scene_description>Racine laughs , short and bitterly .</scene_description> <character>RACINE</character> <dialogue>You never quit, do you? You just keep on coming.</dialogue> <character>MATTY</character> <dialogue>How can I prove it to you? What can I say?</dialogue> <character>RACINE</character> <dialogue>The glasses, Matty. Why do n't you go down there and get them?</dialogue> <scene_description>Matty is silent . She starts to speak , but nothing comes out . Now there is real fear in her eyes .</scene_description> <character>MATTY</character> <dialogue>But you said they were n't there.</dialogue> <character>RACINE</character> <dialogue>I said I did n't see them.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY - WALKER HOUSE - NIGHT</stage_direction> <scene_description>Grace 's car moves down the drive .</scene_description> </scene> <scene> <stage_direction>EXT. BACK LAWN - NIGHT</stage_direction> <scene_description>Racine has moved closer to Matty , away from the house . They are only six feet apart . Tears are now rolling down Matty 's cheeks .</scene_description> <character>MATTY</character> <dialogue>I'll go, Ned. I'll go and look for them.</dialogue> <scene_description>She turns and starts walking toward the ocean . Just as she is about to disappear into the shadows , she turns back to him .</scene_description> <character>MATTY</character> <dialogue>Ned. no matter what you think, I do love you.</dialogue> <scene_description>AT THE CORNER OF THE HOUSE Grace has gotten out of his car . He starts toward the front door , but sees Racine out on the lawn . He heads out in that direction , but stops as Racine steps into a bright spot of moonlit lawn and the gun 's shiny silverplate glints in the light . The gun is pointed at the retreating Matty . Grace pulls his own gun from a shoulder holster and raises it . He is about to call out , when Matty disappears completely in the gloom . Racine lowers the revolver wearily and stares out toward the boathouse . Grace lowers his gun and looks out there too . He moves slowly forward . Close on Racine 's face . It 's changing now . It 's not just that he 's very tired . The hardness is going out of his look . As the seconds tick by , and Matty does not reappear , he begins to lose faith in his view of the world . He begins to be afraid . Afraid for Matty . Even now . A sudden breeze starts the wind chimes TINKLING loudly .</scene_description> <character>RACINE</character> <dialogue>No, Matty! Stop! Do n't go in! Matty.</dialogue> <scene_description>Racine breaks into a run , dropping the revolver on the grass . He has taken two big strides when - There is a sound like the ROAR of a dragon , and the roof of the boathouse lifts and then disappears in a huge BALL OF FLAME . The air is sucked around Racine 's body , whipping at his clothes , as he stumbles on the lawn and falls forward . Grace steadies himself against the side of the gazebo . Racine knows horror . He struggles to his feet and stumbles toward the fire . His body is silhouetted against the leaping , ROARING flames in the night sky .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S CELL BLOCK - FLORIDA STATE PENITENTIARY NIGHT</stage_direction> <scene_description>Absolute quiet . We move above cell after cell , dark with sleeping convicts . We stop at Racine 's cell . It is dark like the rest . Racine is in there alone . We move down close to his sleeping form . He looks thinner . Suddenly he wakes with a start ! His eyes snap open wide ; he is totally and instantly awake . He talks to himself , with true amazement .</scene_description> <character>RACINE</character> <dialogue>She's alive.</dialogue> </scene> <scene> <stage_direction>INT. VISITORS CENTER - FLORIDA STATE PENITENTIARY - DAY</stage_direction> <scene_description>Grace sits on the other side of the glass from Racine . They talk on telephones . Grace 's eyes are sad ; they say he thinks Racine is going crazy .</scene_description> <character>RACINE</character> <dialogue>But what if that was someone else's body in there? What if it was already there when I got there - dead and waiting for me. Maybe her friend. Mary Ann.</dialogue> <character>GRACE</character> <dialogue>Her teeth were left, man. We sent them back to Illinois. The identification was positive. That was her, that was Matty Tyler Walker. That was her and she's dead.</dialogue> <character>RACINE</character> <dialogue>You're not listening to me. What if she's been using this other girl's name? Since she met Walker three years ago, since she first spotted him and decided to take him. one way or another. Maybe Walker - or any of us - never knew her real name.</dialogue> <character>GRACE</character> <dialogue>Why would she want to hide her identity?</dialogue> <character>RACINE</character> <dialogue>I do n't know. Maybe there was something in her past, something so bad she was afraid it would queer it with Walker if he found out - that he'd never marry her.</dialogue> <scene_description>Grace is unreceptive to this . But Racine is charged .</scene_description> <character>RACINE</character> <dialogue>Let's say she's living as the other girl, this girl from her past. Someone whose history she knew and could use any way she wanted. And there's only one person in the world who knows the truth.</dialogue> <parenthetical>( he leans in . )</parenthetical> <dialogue>And then just when Matty's got me on the line, when she's finally going to collect, that one person shows up. That girl. Finds her. And threatens to expose her. So Matty starts paying her off. Maybe she even promises to cut her in on Edmunds' money. Now she's got to share it with two people.</dialogue> <scene_description>Racine peaks , tapping the glass between them as though it were all there for Grace to see .</scene_description> <character>RACINE</character> <dialogue>But when Matty sees a way to get rid of both of them at once. A way to solve all her problems and get clear, with no one looking for her. At the boathouse. You find two bodies, me and this girl. Two killers dead. Case closed.</dialogue> <scene_description>Oscar is n't buying .</scene_description> <character>RACINE</character> <dialogue>You ca n't find the money, can you, Oscar? Does n't that tell you something?</dialogue> <character>GRACE</character> <dialogue>It tells me she moved it and we ca n't find it. And that do n't mean shit. It could be sittin' in any bank in the world waiting for a dead lady to come for it.</dialogue> <scene_description>Racine , calmer now , shakes his head `` no . ''</scene_description> <character>GRACE</character> <dialogue>Do you hear what you're saying? It's crazy. This Matty would've had to been one quick, smart broad.</dialogue> <scene_description>Racine confirms Grace 's fears with a look that can only be called half - crazed . There 's the glimmer of a rueful smile .</scene_description> <character>RACINE</character> <dialogue>Oscar, do n't you understand? That was her special gift she was relentless.</dialogue> <parenthetical>( much quieter . )</parenthetical> <dialogue>Matty was the kind of person who could do what was necessary. Whatever was necessary.</dialogue> <scene_description>These words have no special import to Grace . He looks at Racine without hope .</scene_description> <character>GRACE</character> <dialogue>Racine, you got to face something. You killed Edmund Walker, man. And you're going down for it. Two people are dead. And no matter how you want to figure it, you ai n't bringin' either of'em back to life.</dialogue> <scene_description>Grace gives him a long look , then hangs up the phone . He stands up and walks away . Racine sits and stares .</scene_description> </scene> <scene> <stage_direction>INT. RACINE'S CELL BLOCK - DAY</stage_direction> <scene_description>Racine , bearded now , comes to the front of his cell to get his mail . A Trustee hands through a book - size manila envelope , which has been neatly opened by the prison authorities . Racine looks at the return address and becomes very intense . He sits on his cot and slides out a book . A letter is clipped to the front . Racine scans it quickly and begins looking through the book . It is an old high school yearbook . Racine 's fingers are shaking slightly as they leaf quickly past black and white scenes of youthful innocence among the Wheaton High School Cougars of 1966 . He reaches the individual pictures of the seniors and hi hurries through the O 's and R 's to the T 's . Racine 's eyes are darting over the pages . Suddenly they stop . He has found her entry . We see it too - MARY ANN TYLER Home Economics `` Matty '' TRI - Y 29 39 4 . CHORUS Ambition - `` To Graduate '' The picture is not great . The pretty face is a little cheap - looking . It is not the Matty he knew . It is her friend from the back verandah , Mary Ann . Racine 's eyes dart . He thinks . Then , he flips back a few pages . He finds what he wants - MARY ANN SIMPSON English TRI - Y 2 , 3 , 4 ; CHORUS 2 , 3 , 4 HOMECOMING PRINCESS 3 , 4 ; SWIMMING 2 , 3 Ambition - `` To be rich and live in an exotic land . '' We 're very close on the type of her ambition when we pan up the page to her smiling face . Her smile is so big , she seems almost to be laughing . Racine 's face . That 's the woman he loved . Back to her picture . We 're moving in on it . Closer . Closer . And then through it - To her real face , this Matty , this Mary Ann , alive and fine in the sun of -</scene_description> </scene> <scene> <stage_direction>EXT. A HIGH PATIO - AN EXOTIC LAND - DAY</stage_direction> <scene_description>One shot , very close on that lovely face , moving around it in a tight half - circle that barely lets us glimpse the sun - drenched , foreign town far below and the tropical foliage that surrounds the patio . For one brief moment , she seems to be crying . But no , it is not a tear . It is a little drop of sweat . She wipes it from her cheek as she turns to an unseen male COMPANION , who has spoken to her in Spanish . She wipes her eyes and looks off at him .</scene_description> <character>COMPANION</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hace Calor.</dialogue> <character>MATTY</character> <dialogue>What?</dialogue> <character>COMPANION</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It is hot.</dialogue> <character>MATTY</character> <dialogue>Yes.</dialogue> <scene_description>She turns her face to the sun . FADE OUT . THE END</scene_description> </scene> </script>

During a particularly intense Florida heatwave, inept local lawyer Ned Racine meets and begins an affair with Matty Walker. She is married to wealthy businessman, Edmund Walker, who is only home on the weekends. One night, Ned arrives at the Walker mansion and playfully propositions a woman he mistakes as Matty. The woman, who bears a strong resemblance to Matty, is Mary Ann Simpson, Matty's visiting high school friend. Soon after, Matty tells Ned she wants to divorce Edmund, but their prenuptial agreement would leave her with little money. Eventually, Ned suggests murdering Edmund so Matty can inherit his wealth. He consults a shady former client, Teddy Lewis, an expert on incendiary devices, who supplies Ned with a bomb while strongly encouraging him to abandon whatever he is scheming. Ned, aided by Matty, kills Edmund and moves the body to an abandoned building connected to Edmund's business interests. Ned detonates the bomb to look like Edmund died during a botched arson attempt. Soon after, Edmund's lawyer contacts Ned about a new will that Ned supposedly drafted for Edmund and was witnessed by Mary Ann Simpson. The new will was improperly prepared, making it null and void, resulting in Matty inheriting Edmund's entire fortune while disinheriting his surviving blood relatives. Matty later reveals to Ned that she forged the will, knowing it would be nullified and she would be the sole beneficiary. Ned knows the police will view the sudden change to Edmund's will shortly before his death as suspicious. Two of Ned's friends, assistant deputy prosecutor Peter Lowenstein, and police detective Oscar Grace, suspect Ned may be involved in Edmund's death. Edmund's eyeglasses, which he always wore, are missing, and Mary Ann Simpson has also disappeared. Nervous over the mounting evidence implicating him, and questioning Matty's loyalty, Ned happens upon a lawyer who once sued him over a mishandled legal case. The lawyer says that to make amends, he recommended Ned to Matty Walker, and admits he told her about Ned's limited legal skills. Lowenstein informs Ned that on the night of the murder, hotel phone records show that repeated calls to Ned's room went unanswered, thereby weakening his alibi. Teddy tells Ned about a woman wanting an incendiary device, and that he showed her how to booby trap a door. Matty calls Ned and says Edmund's glasses are in the Walker estate boathouse. Ned arrives later that night and spots a long twisted wire attached to the door. When Matty arrives, Ned asks her to retrieve the glasses. Matty walks toward the boathouse and disappears from view; the boathouse explodes. A body found inside is identified through dental records as Matty Walker (née Tyler). Now in prison, Ned, having realized Matty duped him, tries to convince Oscar Grace that she is still alive. He believes the woman he knew as "Matty" assumed the real Matty Tyler's identity in order to marry and murder Edmund for his money. The "Mary Ann Simpson" that Ned met had discovered the scheme and was blackmailing Matty, only to also be murdered. Had Ned been killed in the boathouse explosion, the police would have found both suspects' bodies. Sitting in his cell, Ned obtains a copy of Matty's high school yearbook: in it are photos of Mary Ann Simpson and Matty Tyler, confirming his suspicion that Mary Ann assumed Matty Walker's identity. Below Mary Ann's photo is the nickname "The Vamp" and "Ambition—To be rich and live in an exotic land". In the final scene, the real Mary Ann (Matty) is seen lounging on a tropical beach, alongside a Brazilian Portuguese-speaking man.

Fast & Furious_2009

tt1013752

<script> <scene> <scene_description>The Fast and the Furious IV by Chris Morgan Based on characters created by Gary Scott Thompson, Erik Bergquist and David Ayer OPEN ON: A STYLIZED FLASHBACK The last minute of the original Fast and the Furious. Dom and Brian racing toward the oncoming train and the MONUMENTAL WRECK that follows. But what's most important is that PIVOTAL FINAL MOMENT, as the cops close in...and Brian sacrifices his career to give Dom his keys. As Brian lets him go, we PUSH IN TIGHT on Dom's eyes and -- FADE TO BLACK.: Then... SFX: A HELICOPTER'S ROTORS, BEATING THE AIR SMASH OPEN ON: THE U.S./MEXICO BORDER Desolate hills and scrub desert. TWO BORDER PATROL AW139 HELIS fly by on their rounds. The hills below are dotted with a "virtual fence" -- a line of 98' tall steel towers topped with NIGHTVISION CAMERAS and INFRARED SENSORS that rotate back and forth on a ninety second timer. SUPER: Five years later...</scene_description> </scene> <scene> <stage_direction>INT. CALIFORNIA BORDER PATROL - OPERATIONS COMPLEX</stage_direction> <scene_description>A BORDER AGENT monitors an array of screens providing images from the towers. All's quiet on the western front, until -- A HEAT BLUR appears on one of the screens, speeding across the desert like a motherfucker. Heading straight for the border.</scene_description> <character>BORDER AGENT</character> <dialogue>What the f--</dialogue> <parenthetical>(grabs mic)</parenthetical> <dialogue>Tac 1100, I've got a heat signature northbound along Lagarto Ravine. Some sort of vehicle.</dialogue> <scene_description>One of the AW139's peels off to investigate.</scene_description> <character>TAC 1100 PILOT (OS)</character> <dialogue>Copy that, control. We're inbound to intercept.</dialogue> <scene_description>And off the grainy NV image of the heat blur -- MATCH CUT TO: THE BORDER - MEXICO SIDE It is a car hauling ass across the desert. A devil-red '09 Daytona, running with no lights and throttle full open. But as we ANGLE AROUND we REVEAL that it's not just one car, but FIVE in formation so close that they give off only one signature. They're alphabet soup of the sickest and fastest tuners on the market -- Evos. GTOs. NSXs. The final car in the line is a primer-gray shadow -- a grim '71 DODGE DEMON. Exactly the type of muscle car Dominic Toretto would drive. The thunder coming off the formation shakes us in our seats.</scene_description> </scene> <scene> <stage_direction>INT. LEAD CAR - DAYTONA</stage_direction> <scene_description>The driver hears the CBP communications over a scanner.</scene_description> <character>TAC 1100 PILOT (OS)</character> <dialogue>ETA, two minutes.</dialogue> <scene_description>In response, the driver hits his NOS and -- FAWHOOM! -- lights up the night in BLUE FLAME. SLAM BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. CBP OPERATIONS COMPLEX - CONTINUOUS</stage_direction> <scene_description>The Border Agent watches as the nightvision monitor registers the flash of flame. Then instantly -- WHOOM! WHOOM! WHOOM! -- four others do the same in perfect synchronization. A squad of ships jumping into hyperspace. They blast away at impossible speed, rocketing off one monitor's field of view and through another and another and another. The Agent has a hard time following them, until -- All five cars suddenly DISAPPEAR. It's as if the night just swallowed them whole.</scene_description> <character>BORDER AGENT</character> <dialogue>What th-- They just disappeared from radar.</dialogue> <scene_description>The Border Agent taps his monitor. Flips through screens. Nothing.</scene_description> <character>BORDER AGENT</character> <dialogue>Tac, I just lost 'em. Do you have visual?</dialogue> </scene> <scene> <stage_direction>INT. CBP HELICOPTER - OVER THE BORDER</stage_direction> <scene_description>The AW139 screams over a hill and arrives on site...too late. There's nothing moving on the desert floor below, no heat signatures, as far as the eye can see.</scene_description> <character>TAC 1100 PILOT</character> <dialogue>Negative, control. There's nothing out here.</dialogue> <scene_description>And while they hover there, perplexed -- OUR POV jets away, skimming across the Mexican desert and over the border to the U.S. side, where the desert floor is completely flat and empty, until... SFX: VROOOM! Suddenly, the six cars REAPPEAR in the wastes, EXPLODING up out of the desert floor and screaming across the sand. In the vanguard, the DEVIL-RED DAYTONA leads the others in formation to a highway, and then to:</scene_description> </scene> <scene> <stage_direction>EXT. SAN YSIDRO - A REMOTE HIGHWAY TURNOFF</stage_direction> <scene_description>The racers pull off the road, to a FREIGHT TRUCK that waits in the dark. The driver of the Daytona is the first to exit his vehicle. FENIX is not a man to take lightly. His six-foot frame is packed with hard and dangerous muscle. His blue eyes burn with a savage, cold intelligence. Fenix walks down the line as the other racers exit. When he reaches the final car, the Demon's door opens, but it's not Dominic Toretto that steps out, as we all assumed...but LETTY (Michelle Rodriguez), the tough and sexy love of Dom's life from the original film. The drivers all pop their trunks, revealing large polymer containers within. Men gather the containers from the trunks and transfer them to the 18-wheeler. When they're done, Letty turns to Fenix, who's sitting on the hood of his Daytona.</scene_description> <character>LETTY</character> <parenthetical>(to Fenix)</parenthetical> <dialogue>We done here?</dialogue> <scene_description>Fenix nods and tosses her a brick of cash. Letty snatches it out of the air, hops in the Demon and burns out of there. Fenix flips open his cellphone.</scene_description> <character>FENIX</character> <dialogue>Shipment's onboard.</dialogue> <scene_description>Fenix listens as the voice on the other end speaks. It clearly has something to do with Letty, as Fenix turns to track Letty's taillights receding in the distance.</scene_description> <character>FENIX</character> <dialogue>I'll take care of it.</dialogue> <scene_description>Fenix slaps his phone shut, slides behind the wheel of his car. Guns his engine.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - CONTINUOUS</stage_direction> <scene_description>Letty's Demon blazes past a highway sign that reads: Los Angeles - 170 mi. And three seconds later, so does the Daytona. Lights off. Hunting her.</scene_description> </scene> <scene> <stage_direction>EXT. MARICOPA COUNTY JAIL - ARIZONA - ESTABLISHING</stage_direction> <scene_description>SFX: The sound of metal clanging against metal. Ca-chungg! Ca-chungg! Regular as a metronome.</scene_description> </scene> <scene> <stage_direction>EXT. REC YARD - JAIL - CONTINUOUS</stage_direction> <scene_description>PAN ACROSS the yard. Past knots of Aryan Brotherhood soldiers. Armenian Mafia. Crips. Bloods. Latin Kings. Following the noise -- Ca-chungg! Ca-chungg! -- to someone pumping iron. We don't see his face, but he's pressing three 45-pound weights on each side of the bar. Two-hundred-and- seventy pounds. Again and again and again. Gotta be Dom... Across the yard, NOTICE a trio of Salvadoran gangbangers -- hitmen for the ultra-violent Mara Salvatrucha, or "Salvadoran Army Ants", street gang -- entering the yard. As we watch, they PAY OFF a guard, who takes the cash and WANDERS away from his post. A hit is about to go down. Finally finishing his set, the weightlifter sits up into FRAME -- and to our surprise it's not Dom, but: BRIAN O'CONNER Bearded. Tattooed. So much darker and grittier, we can't help wonder what the hell happened to turn him so grim... Brian CLOCKS the action as the executioners home in on a lone Mexican prisoner, JUVENAL. THE SALVADORANS come in quick and fast, wicked improvised SHIVS made of MELTED PVC AND RAZOR BLADES appearing in their hands as they draw close. And just as the Maras STRIKE -- WHAM!! A 25-lb. weight plate SMASHES DOWN on the lead assassin's hand. C-R-R-RUNCH! Every bone in it shatters like glass. The lead assassin YOWLS and Juvenal whips around, realizing the danger for the first time. Sees the Salvadoran hitmen turning their knives on his savior -- Brian.</scene_description> <character>LEAD SALVADORAN</character> <dialogue>Mátele!!</dialogue> <scene_description>At his command, the assassins surge forward, but with gut- wrenching speed, Brian STEPS INTO the attack, BLOCKING one knife thrust with his weight plate and SHATTERING the blade, then whipping the plate up to SMASH #3 in the face with an iron uppercut. 3 goes down in a SPRAY OF BLOOD AND TEETH. KLAXONS around the yard go off, but Assassin #2 ignores it, bullrushing forward until -- Oof! -- Brian hurls the 25-lb. plate into his unprotected abdomen. #2 crumples to his knees, then slams to his back as Brian knees him savagely in the face.</scene_description> <character>LEAD SALVADORAN</character> <dialogue>You're dead! You're fucking dead, cabrón!</dialogue> <scene_description>Brian picks up the weight plate.</scene_description> <character>BRIAN</character> <dialogue>Keep talking.</dialogue> <scene_description>Lifts it over his head, and just as he's going to smash it down -- Shotguns ROAR -- BLAM! BLAM! -- and a HAILSTORM of CROWD CONTROL BULLETS blast everyone in the place. CORRECTIONS OFFICERS flood the yard, and as Brian is TACKLED to the ground and beat into submission, we -- DISSOLVE TO: A DETENTION CELL - SEGREGATION BLOCK Dark. The only light is from the crack in the door. Just about as close to hell as you wanna get. Brian is zipcuffed, face down, eating cement. A nervous voice repeats off-screen.</scene_description> <character>VOICE (OS)</character> <dialogue>Jesucristo... Jesucristo... Jesucristo...</dialogue> <scene_description>Finally, Brian can't take any more.</scene_description> <character>BRIAN</character> <dialogue>Shit, I'd known you'd be this annoying, I would've let 'em shank you.</dialogue> <scene_description>PULL BACK TO REVEAL Juvenal, the intended victim from the yard, zipcuffed next to him, scared shitless from the attack.</scene_description> <character>JUVENAL</character> <dialogue>They tried to kill me, homes!</dialogue> <character>BRIAN</character> <dialogue>If I were you, Bro, I'd just relax.</dialogue> <character>JUVENAL</character> <dialogue>Why is that?</dialogue> <character>BRIAN</character> <dialogue>Didn't you see those tats? Mara Salvatrucha. Salvadoran Army Ants. They just keep coming until the job is done.</dialogue> <scene_description>Juvenal is stunned silent.</scene_description> <character>JUVENAL</character> <dialogue>And that's supposed to make me relax?</dialogue> <character>BRIAN</character> <dialogue>Sure.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>You're a dead man. Worrying ain't gonna change that. Enjoy the time you got left.</dialogue> <scene_description>Juvenal looks like he wants to cry.</scene_description> <character>JUVENAL</character> <dialogue>I didn't do shit, man.</dialogue> <character>BRIAN</character> <dialogue>Well ya did something. Someone put a contract on you.</dialogue> <scene_description>Brian turns his face away, trying to shut him out.</scene_description> <character>BRIAN</character> <dialogue>Now shut up, I'm trying to sleep.</dialogue> <character>JUVENAL</character> <parenthetical>(to himself)</parenthetical> <dialogue>Park...</dialogue> <parenthetical>(long silence)</parenthetical> <dialogue>Fucking James Park sold me out!</dialogue> <scene_description>...and that's when we ANGLE AROUND to REVEAL Brian's eyes are wide open and he's listening INTENTLY. In fact, we get the sense he was waiting for this info all along. THE WARDEN'S OFFICE - LATER Hands zipcuffed behind his back, Brian is dragged in by two corrections officers. The Warden is waiting.</scene_description> <character>WARDEN</character> <parenthetical>(dismissing the guards)</parenthetical> <dialogue>You can go.</dialogue> <scene_description>When they're gone, the Warden shakes his head.</scene_description> <character>WARDEN</character> <dialogue>Well, I will say this: you don't got a lot of scare in you. Pretty boy like you being tossed into general pop. I'da shit my pants...</dialogue> <character>VOICE (OS)</character> <dialogue>What are you talking about, Bill? Sonofabitch grew up in detention.</dialogue> <scene_description>Now PULL BACK TO REVEAL that there are other men in the room as well. A team of FBI AGENTS. The voice belongs to Brian's fellow Agent and rival, BEN STASIAK</scene_description> <character>AGENT STASIAK</character> <dialogue>In fact, I bet he's homesick for it already. Isn't that right, O'Conner?</dialogue> <scene_description>Their boss, SPECIAL-AGENT-IN-CHARGE PENNING, has had enough of their squabbling.</scene_description> <character>S.A.I.C. PENNING</character> <parenthetical>(motions to one of his men)</parenthetical> <dialogue>Someone cut Agent O'Conner loose.</dialogue> <scene_description>A female agent, SOPHIE TRINH, cuts the zips from Brian's wrists. Penning turns his back to them, staring out the window at the prison yard below.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>You had a suspect in protective custody thrown into general population. You spread a rumor that got a hit put out on him by the most violent gang in prison. You almost got him and yourself killed, and in the process sent three prisoners to the I.C.U.</dialogue> <scene_description>Penning turns and levels an icy stare at Brian.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>You better tell me we got something good after all that.</dialogue> <character>BRIAN</character> <dialogue>Juvenal was just a low-level lieutenant. He didn't know anything --</dialogue> <scene_description>Stasiak is about to gloat.</scene_description> <character>BRIAN</character> <dialogue>-- but he did give us a name. "James Park". He's a scout for the Braga cartel, recruiting local talent to bring a shipment of high- grade No. 4 heroin across the border.</dialogue> <character>AGENT STASIAK</character> <dialogue>That's it? James Park? I could throw a fortune cookie outside this building and hit fifty James Parks.</dialogue> <character>AGENT TRINH</character> <dialogue>It's Korean, not Chinese. Asshole...</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>So what's the next step?</dialogue> <scene_description>Brian shrugs.</scene_description> <character>BRIAN</character> <dialogue>Find Park, bust the bad guys.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. DOMINICAN REPUBLIC - DAY - AERIAL ESTABLISHING</stage_direction> <scene_description>A TITLE appears: Santo Domingo - The Dominican Republic We glide over the tiny island nation and down the coast, until we FIND two '69 El Caminos cruising down a long, lonely dirt road...</scene_description> </scene> <scene> <stage_direction>INT. LEAD EL CAMINO - CONTINUOUS</stage_direction> <scene_description>Chopped. Tuned. Bad-ass. Two men ride inside. The passenger, TEGO, bobs his signature afro to the sexy beat of a REGGAETON TUNE. The driver looks stoically at the desolation out the window. We recognize him as HAN from Tokyo Drift.</scene_description> <character>HAN</character> <dialogue>He lives all the way out here?</dialogue> <scene_description>Tego nods.</scene_description> <character>TEGO</character> <dialogue>Just him and the snakes.</dialogue> <scene_description>Eventually they pull off the road and park in front of -- A TINY, RUNDOWN SHACK -- on a secluded beach. Han and Tego exit the lead Camino. MARCO (the greenhorn of the group) and FLORA (the sexiest gearhead we've ever seen), exit the other. Together, they walk around the shack, to where a tarp has been tied off between the roof of the house and some trees, acting as a sunshade for the supercharged Buick GRAND NATIONAL that sits beneath it. The '87 GNX is so dark, so diabolical, there can be no doubt why Car &amp; Driver magazine dubbed it "Darth Vader's Car". Some GREASE MONKEY in coveralls is working beneath the car. His hand reaches out for a can of OIL. Tego looks at the oil can sitting on the rack. Slaps a can of Presidente beer from the sixer he carries into the mechanic's hands instead.</scene_description> <character>TEGO</character> <dialogue>Yo, Papo, there you go.</dialogue> <scene_description>There's a beat as hand disappears under the car. Then the crisp snap of the beer being opened. Guzzled. Two seconds later, the crumpled can comes skittering out from under the car. Without a word, the hand reaches out for the oil can again. Tego sighs and hands it to him.</scene_description> <character>TEGO</character> <dialogue>Some people here to see you, carnal.</dialogue> <scene_description>RATCHETING SOUNDS signal the mechanic has gone back to work. Krriittch..krritttch..kriittch... Han steps closer.</scene_description> <character>HAN</character> <dialogue>Got word of a shipment coming in. Last one for the next six months.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You want in? Standard rate, plus ten percent of sales.</dialogue> <scene_description>The ratcheting continues. Krriittch..krritttch...</scene_description> <character>FLORA</character> <dialogue>Forget this guy. We can get someone else --</dialogue> <scene_description>But Han dismisses her with a look, making it clear: there is no one else good enough for this job.</scene_description> <character>HAN</character> <dialogue>All right, don't break my balls. Fifteen percent of sales.</dialogue> <scene_description>Now the ratcheting STOPS. The mechanic ROLLS OUT from under the chassis, revealing: DOMINIC TORETTO five years since we last saw him escaping to Mexico at the end of the original Fast and Furious. The years have honed him into something stronger, harder, more dangerous than the man we remember.</scene_description> <character>DOM</character> <dialogue>Let's go get some gas.</dialogue> </scene> <scene> <stage_direction>EXT. DOM'S BEACH HOUSE</stage_direction> <scene_description>Sand literally JUMPS as the National THUNDERS to life -- BRRRROOOOOOM! -- and in a shower of silica and smoke, rockets away down the road. Fuck Darth Vader. It's Dom's car now.</scene_description> </scene> <scene> <stage_direction>EXT. DOMINICAN COUNTRYSIDE - NIGHT</stage_direction> <scene_description>Three vehicles sit atop a high bluff overlooking the hilly country below: Dom's GNX and two BEEFED-UP, FLAT BLACK EL CAMINOS with HITCH PLATES welded on the back. All eyes are scanning the valley, and for long moments, there's nothing... nothing... Then -- SFX: Like slow thunder, a noise starts to GROW in the wind. The ground starts to RUMBLE. HAN is the first to see their quarry -- a set of headlights in the distance.</scene_description> <character>HAN</character> <dialogue>Train's in the station.</dialogue> <scene_description>The lights get closer until we can see it's an 18-WHEELER speeding along. As it blasts past, we see what it's hauling: a sparkling, mirror-polished CITGO GASOLINE TANK. And just as the oblong ass of the trailer goes by and we expect our team to start their pursuit...NOTICE a SECOND stainless steel GASOLINE TANK hitched to the first. And a THIRD behind that. And a FOURTH. And a FIFTH. Now we see why Tego called it a train. This behemoth shipping truck is a CITGO LAND TRAIN. DOM Stares at the beauty of it. A shining chrome centipede hauling fifty thousand gallons of GASOLINE.</scene_description> <character>HAN</character> <dialogue>Okay, Dom. Your show.</dialogue> <scene_description>Then slams the National in gear and puts the hammer down.</scene_description> <character>DOM</character> <dialogue>Let's go.</dialogue> <scene_description>THE STEALTH-PAINTED CAMINOS do the same, rocketing down the highway in arrowhead formation.</scene_description> <character>DOM (VO)</character> <dialogue>Okay, you know the drill. We hit it on the hill. Han --</dialogue> </scene> <scene> <stage_direction>INT. HAN'S LOWRIDER CAMINO</stage_direction> <scene_description>Han's behind the wheel. Tego readies some tools.</scene_description> <character>DOM (VO)</character> <dialogue>You're first hitch. Tego breaks. Marco --</dialogue> </scene> <scene> <stage_direction>INT. MARCO'S EL CAMINO</stage_direction> <scene_description>Junkyard chic. The greenhorn of the crew, MARCO, drives, while FLORA -- the hottest gearhead we've ever seen -- sits beside him.</scene_description> <character>DOM (VO)</character> <dialogue>If we got time before he reaches the top, you'll grab the second and Flora'll break you off.</dialogue> <scene_description>She looks at Marco lecherously.</scene_description> <character>FLORA</character> <dialogue>Already did that twice today.</dialogue> <scene_description>He grins and grabs her thigh. She slaps his face. It's a game they play.</scene_description> </scene> <scene> <stage_direction>EXT. DOMINICAN COUNTRYSIDE - CONTINUOUS</stage_direction> <scene_description>The racers close the gap on the land train, which jerks into a lower gear as it reaches the hill and starts to CLIMB.</scene_description> </scene> <scene> <stage_direction>INT. LAND TRAIN CAB</stage_direction> <scene_description>The driver (JOSE) munches on chicharones, alternating each bite with a suck from a packet of hot sauce. SFX: A HISSING NOISE TO HIS RIGHT.</scene_description> <character>JOSE (SUBTITLE)</character> <dialogue>Yeah, yeah... I hear you.</dialogue> <scene_description>José pulls a pork rind from the bag, squirt a dollop of sauce on it and hands it to his passenger...a GILA MONSTER curled up in the passenger seat. It's so eager, it almost gets his finger as it snaps up the pork rind and munches away.</scene_description> <character>JOSE</character> <dialogue>Greedy bitch...</dialogue> <scene_description>As Jose drives on obliviously, we PUSH IN on his side mirrors, where we see three BLACK SHAPES ghosting up. DOM'S TEAM Pulls up behind the farthest tank back.</scene_description> <character>DOM</character> <dialogue>Han, you're up.</dialogue> <character>HAN</character> <parenthetical>(turning to Tego)</parenthetical> <dialogue>You ready, T?</dialogue> <character>TEGO</character> <dialogue>Yep, yep.</dialogue> <scene_description>Instantly, Han cranks the wheel and flips an insane 180. Continues screaming down the road in REVERSE...right up to the gas tanker. As it closes in, now we see the CUSTOM HITCH welded onto the back of the El Camino.</scene_description> <character>DOM</character> <parenthetical>(guiding him in)</parenthetical> <dialogue>Left... left... Punch it.</dialogue> <scene_description>Han does and -- KACHUNKK! -- hooks up. Throws the car in neutral and lets the train pull him. Now Tego scrambles out the Camino's rear window with a HAMMER and a SPRAY CAN and clambers up the trailer-tank's LADDER. Once on top, he crosses the tank and drops down to the DRAWBAR holding this tank to the one before it. Working quickly, Tego sprays LIQUID NITROGEN on the drawbar. The metal COOLS. Becomes BRITTLE. And --</scene_description> <character>TEGO</character> <parenthetical>(raising the hammer)</parenthetical> <dialogue>Sorry, baby.</dialogue> <scene_description>Tego SMASHES down, SHATTERING the drawbar into a cascade of frozen metal pieces.</scene_description> </scene> <scene> <stage_direction>INT. LAND TRAIN CAB</stage_direction> <scene_description>Jose doesn't notice a thing as -- THE STOLEN TANK separates from the rest of the train, Tego riding it as it starts to slow. When gravity finally brings them to a halt, HAN slips the squat, supercharged Chevy into gear and pilots the tank and Tego off into the night.</scene_description> <character>DOM</character> <dialogue>Marco.</dialogue> <scene_description>Now that we've seen how it's done, we can tell that Marco is not as skilled as Han. His 180 is a little wild and he has a hard time lining up the hitch. DOM keeps an eye on the clock, watching as the land train nears the crest of the hill.</scene_description> <character>DOM</character> <dialogue>Get in there, brother. We're running out of road.</dialogue> <character>MARCO</character> <dialogue>I got it, I got it --</dialogue> <scene_description>It takes him a few tries, but Marco finally clicks in. Flora is out the back in a heartbeat, spider-climbing over the back of the fourth tank container. But when she reaches the hitch...she keeps climbing. Over the back of the third tank as well.</scene_description> <character>DOM</character> <dialogue>No, Flora.</dialogue> <character>FLORA</character> <dialogue>Two for one. We can take it.</dialogue> <character>DOM</character> <dialogue>Get back in the car.</dialogue> <scene_description>But FLORA pretends not to have heard. And as she climbs down the ladder between the tanks -- JOSE - IN THE LAND TRAIN'S CAB Catches a glimpse of her --</scene_description> <character>JOSE</character> <dialogue>Oh shit --!</dialogue> <scene_description>-- and YANKS the wheel back and forth, trying to shake her off.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Flora nearly slips, catching on and dangling by one hand. But Marco takes the worst of it at the tail of the train, his lowrider being WHIPPED BACK AND FORTH like a rat in a terrier's mouth.</scene_description> <character>DOM</character> <dialogue>Marco, cut loose!</dialogue> <character>MARCO</character> <dialogue>I'm not leaving Flora.</dialogue> <scene_description>The land train ESCALATES its evasive maneuvers, SMASHING Marco's El Camino from one guardrail to the next. ECU - THE CAMINO'S HITCH After a particularly violent collision, the metal hitch SCREAMS and TWISTS out of shape. BACK TO SHOT Dom's Grand National bellows forward.</scene_description> <character>DOM</character> <dialogue>Cut loose!</dialogue> <character>MARCO</character> <dialogue>But --</dialogue> <character>DOM</character> <dialogue>I got Flora! DO IT NOW!</dialogue> <scene_description>But when MARCO tries -- the hitch WON'T RELEASE. It's too bent out of shape.</scene_description> <character>MARCO</character> <dialogue>Shit...</dialogue> <scene_description>WHAM! WHAMM!! Parts start popping off Marco's stealth-rider with each bone-jarring impact.</scene_description> </scene> <scene> <stage_direction>INT. LAND TRAIN CAB - CONTINUOUS</stage_direction> <scene_description>José yells into his CB.</scene_description> <character>JOSE (SUBTITLE)</character> <dialogue>Emergency! Emergency! I got raiders on the 93 upgrade!</dialogue> <character>VOICE OVER CB</character> <dialogue>Get to the top! They can't take you going downhill!</dialogue> <scene_description>Jose STOMPS the gas and -- THE LAND TRAIN -- starts moving like a sonofabitch. Despite the sudden acceleration, FLORA makes her way to the drawbar between the second and third cars and goes to work with the liquid nitrogen. Dom roars up beside her, engine shrieking like a high-octane force of nature.</scene_description> <character>DOM</character> <dialogue>Get in.</dialogue> <character>FLORA</character> <parenthetical>(still working)</parenthetical> <dialogue>I can get it --</dialogue> <character>DOM</character> <dialogue>Flora, get in before I break your ass!</dialogue> <scene_description>But suddenly -- BOOM! BOOM! BOOM! -- Dom's windshield EXPLODES as .45 slugs punch through, fired from the cab by the driver. Dom reacts instantly, cursing and slamming on the brakes. Slotting in behind the cover of the tankers and pulling around on the other side. Cruises up to Flora just as -- THE LAND TRAIN Reaches the top of the hill.</scene_description> <character>DOM</character> <dialogue>Goddamn it.</dialogue> <scene_description>FLORA drains white as she sees the STEEP DOWNGRADE coming...and redoubles her efforts to shatter the bar. But Jose has his foot to the floor and the train speeds over the rise. And starts downhill like a rocket just as -- CRRRRAAASH! Flora shatters the bar in a jangle of metal, severing the land train into two halves. Jose's cab races away down the hill, escaping with the two tanks still attached, while the two tanks Flora cut loose speed down the hill, dragging Marco behind. As they bounce off the guardrails, the tanks JACKKNIFE back and forth, whipping Marco's Camino and tearing open a HUGE GASH in the aluminum skin of the tank. Instantly a DELUGE OF GASOLINE starts to flow over Marco's lowrider and onto the road. MARCO chokes and sputters in the noxious fumes. And as he stands on the brakes, VFX PUSH IN, following the pedal through the floor of the car to -- MARCO'S BRAKE PADS -- where, unable to slow the careening tankers, the pads SMOKE, then disintegrate down to nothing. Become a shrieking shower of sparks as metal grinds against metal, dropping bright red-hot shavings onto the road...</scene_description> </scene> <scene> <stage_direction>..and into the river of gas.</stage_direction> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>FAWHOOOMPH! A hundred yards back, a glowing metal shaving ignites the trail of spilled gas into a WAVE OF BLUE FLAME. And like an infernal tsunami, the flame SURGES FORWARD, chasing the source, closing in on -- MARCO, who sees it coming.</scene_description> <character>MARCO</character> <dialogue>Oh jesus god...</dialogue> </scene> <scene> <stage_direction>INT. GNX</stage_direction> <scene_description>Dom sees the wall of flame coming -- a deadly fuse racing up the road, burning down to the bomb. Dom punches the shattered remains of his windshield out and yells at Flora, who's frozen in fear, staring at the advancing conflagration.</scene_description> <character>DOM</character> <dialogue>JUMP!</dialogue> <scene_description>Dom bumps the GNX right up against the stampeding tanker.</scene_description> <character>DOM</character> <dialogue>GODDAMN IT, JUMP!!</dialogue> <scene_description>And she does. Right onto the hood, where Dom reaches through the gaping windshield and YANKS her through.</scene_description> <character>FLORA</character> <dialogue>Marco!</dialogue> <scene_description>But Dom's already on it. Drops back and tries to line up for another car to car transfer -- but the careening trailers buck the chopped truck too wildly for Marcos to escape. They'd cut him in half if he tried. The flame races closer. Forty yards... Thirty... Twenty... Marco tries to wave them away, accepting his fate. Dom starts to pull away -- NO, YOU CAN'T LEAVE HIM! MAAAAARCO!!</scene_description> <character>DOM</character> <dialogue>Quiet! I ain't going nowhere.</dialogue> <scene_description>Dom drops back into position behind Marco and just to the side of the thick STREAM OF GAS pouring off Marco's hood. They're going so fast, the stream is airborne for a good thirty feet before splashing down onto the road. The flame sears up the road, and just as it makes the leap into the air, Dom CUTS the wheel -- AND SEVERS THE AIRBORNE RIBBON OF GAS WITH HIS CAR SIX INCHES AHEAD OF THE FIRE! The fire dies out behind the GNX. But the victory is short- lived as --</scene_description> </scene> <scene> <stage_direction>INT. MARCO'S EL CAMINO</stage_direction> <scene_description>-- Marco finally succumbs to the gas fumes. DOM Again tries to edge close to the Camino for a transfer, but the plan dies when he sees Marco PASSED OUT behind the wheel.</scene_description> <character>FLORA</character> <dialogue>Dom...?</dialogue> <scene_description>Dom looks from Marco to where Flora is pointing. The bottom of the hill...and the RAVINE they're heading straight for. And for once, Dom doesn't know what to do.</scene_description> <character>FLORA</character> <dialogue>Dom!</dialogue> <scene_description>And as the drop-off looms closer, Dom acts, PUNCHING THE NOS. The rear of the Grand National lifts up as it LAUNCHES heavily, blasting past the gas containers like they're standing still. ANOTHER ANGLE The GNX streaks down the hill. Screams to a stop at the bottom. Then reverses off the asphalt, perpendicular to the road. The gas containers speed out of control toward the bottom. Toward the ravine. Dragging Marco toward certain doom. And Dom just waits.</scene_description> <character>FLORA</character> <dialogue>What are you doing?</dialogue> <scene_description>Dom's only response is to gun the idle engine -- BRRRROOOM! BRRRROOOOOOOM! The containers rumble closer. Closer. And at the last second -- Dom slam shifts gears, stomps the gas and streaks forward in a cloud of tire smoke to -- WHAAAAAAAAM!!! -- T-BONE Marco's car, SHATTERING THE HITCH and FREEING the lowrider just as the gas containers SMASH through the guard rail and go tumbling off into the abyss! Skidding to a stop at the edge of the cliff, Dom gets out and pulls Marco from his truck. Slings him over his shoulder as, behind him, the containers fall, SPARKING off the canyon wall and IGNITING, creating a WATERFALL OF FIRE all the way down the cliff face. As Dom walks back, carrying Marco over his shoulder, the entire gorge ablaze behind him, Flora stares in wonder at Dom. No one has ever looked so fucking cool as Dom does now.</scene_description> </scene> <scene> <stage_direction>EXT. SANTO DOMINGO - INDUSTRIAL DISTRICT - 3 AM</stage_direction> <scene_description>Music. Cash. Skin. And thunder. An UNDERGROUND RACE MEET going full-tilt. Ultra-tuned cars and girls in ultra-short skirts pump life back into the heart of the long dead industrial sector of town, running the quarter-mile for money and respect. As the music thumps, we PAN ACROSS the Carnaval-esque scene to find Tego and some friends draped with women, partying like hell and one-upping each other with drunken freestyle raps, when DOM goes walking past.</scene_description> <character>TEGO</character> <dialogue>Yo, D! Afterparty at my crib. Place is gonna be thick with cositas!</dialogue> <scene_description>The girls slap him in mock offense.</scene_description> <character>DOM</character> <dialogue>We'll see.</dialogue> <scene_description>But it's clear he's only here for the money. Dom keeps on walking, making his way to the freshly acquired GAS TANKER filling up a line of cars. Han's there, supervising that his operation is running smoothly. Has tosses him a clipped wad of money as he nears.</scene_description> <character>HAN</character> <dialogue>Your share. Plus extra for your car.</dialogue> <scene_description>Dom nods.</scene_description> <character>HAN</character> <dialogue>I dropped your name to Silvio. Told him if he ever needed a driver, to come to you. Keep his mouth shut and pay you whatever you ask for.</dialogue> <character>DOM</character> <dialogue>You skippin' out?</dialogue> <character>HAN</character> <dialogue>Got to. Simple economics. Profit's drying up here.</dialogue> <parenthetical>(shrugs)</parenthetical> <character>HAN</character> <dialogue>Besides, time for a change of venue. Getting a little tired of rice and beans.</dialogue> <character>DOM</character> <dialogue>Where?</dialogue> <character>HAN</character> <dialogue>I don't know. Singapore. Hong Kong.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I hear they're doing some crazy shit in Tokyo.</dialogue> <scene_description>Dom nods.</scene_description> <character>HAN</character> <dialogue>You're wasted here, you know. You ever decide you've had enough of this nickel and dime stuff, you look me up. We partner up... there's no ceiling to what we could make.</dialogue> <character>DOM</character> <dialogue>I'll think about it.</dialogue> <scene_description>Dom and he pound fists. Just then, Tego comes running up.</scene_description> <character>TEGO</character> <dialogue>Yo, Dom! Dom!</dialogue> <character>DOM</character> <dialogue>I ain't goin' to your party, T --</dialogue> <scene_description>But that isn't what Tego's talking about. He's holding out a CELLPHONE.</scene_description> <character>TEGO</character> <dialogue>You got a call.</dialogue> <character>DOM</character> <dialogue>No one I need to talk to.</dialogue> <scene_description>Dom tries to walk off, but Tego steps in his way and shoves the phone into his hands.</scene_description> <character>TEGO</character> <dialogue>I think you want to take this one. She says she's your sister...</dialogue> <scene_description>Concern flashes across Dom's face. He puts the phone to his ear.</scene_description> <character>DOM</character> <dialogue>Mia..?</dialogue> <scene_description>On the other end, Mia's voice cracks with emotion.</scene_description> <character>MIA (OS)</character> <dialogue>Dom, something's happened. It's Letty...</dialogue> <scene_description>And though we don't hear the rest of the conversation, we don't have to as, in contrast to the party going on around him, Dom's face falls. And his eyes slowly go dead. SLOW DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. JUAREZ, MEXICO - DAY</stage_direction> <scene_description>Somewhere near the border... A young rancher (CHUCO) leads Dom down a dusty lane, a gaggle of his children laughing and playing around them. Chuco stops. Points to a battered garage down the way.</scene_description> <character>CHUCO</character> <dialogue>Esta alli.</dialogue> <scene_description>Dom nods. Pays the man a stack of cash. Chuco hands him a key.</scene_description> </scene> <scene> <stage_direction>EXT. CHUCO'S GARAGE</stage_direction> <scene_description>Alone, Dom unlocks the door. Lifts up the rollgate, allowing shafts of sunlight in here for the first time in years. Inside, we see a familiar shape -- a car obscured by a COVER. Dom moves to the cover...and RIPS it off, REVEALING Dom's '70 SS CHEVELLE -- red with black stripes -- the same car we saw him driving in Baja at the end of the original Fast and the Furious. Chuco has stored it for him all this time. Jason Bourne may have a locker in every country, but Dom's got a garage. Dom nods at the monster car. And off the sound of Dom's engine ROARING to life, SLAM TO:</scene_description> </scene> <scene> <stage_direction>EXT. EL PASO, TEXAS (INT'L BORDER CROSSING) - DAY</stage_direction> <scene_description>A line of vehicles stretches back a quarter-mile, waiting for entry. The city of Juarez sprawls behind them. DOM sits behind the wheel of the CHEVELLE, five vehicles back in the line, sweating it a little. It's hot. Stagnant. DOM'S POV - the sign "YOU ARE NOW ENTERING THE UNITED STATES" is tantalizingly close. But so are GUARDS with guns. BACK TO SHOT as Dom's turn arrives. He pulls up to the guard kiosk in the Chevelle.</scene_description> <character>BORDER GUARD</character> <dialogue>Passport?</dialogue> <scene_description>Dom hands one over. The Guard checks it out. We NOTICE the name on it is an alias. The Guard SCANS the photo through and waits as the computer SEARCHES through its records. Suddenly the computer BINGS. As the Guard SCRUTINIZES the screen, Dom's foot moves to HOVER over the gas. His fingers drift to the NOS button. And just as Dom is ready to hammer down both and the tension reaches its crescendo -- THE GUARD approaches his car...and hands Dom his passport back. Tips his hat and smiles.</scene_description> <character>BORDER GUARD</character> <dialogue>Welcome to America, Mr. Alvarez.</dialogue> <scene_description>And Dom disappears down the highway. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - LOS ANGELES - SUNSET</stage_direction> <scene_description>A funeral... Mourners crying. A picture atop the casket reveals the deceased to be LETTY. A gathering of racers are there. The community has turned out. At the center of them all, find MIA TORETTO (Jordana Brewster), weathering an internal emotional storm. As the service proceeds, PULL BACK TO REVEAL -- DOM -- who is forced to watch from a distance to avoid being spotted by UNDERCOVER COPS poorly secreted among the mourners. There is a tragic beauty to the scene: Letty's casket is only thirty yards away -- Dom wants to go to her, touch her one last time -- but he can't get any closer.</scene_description> <character>VOICE (O.S.)</character> <dialogue>You shouldn't be here, you know.</dialogue> <scene_description>Dom turns to see Brian, cleaned up from when we last saw him in the prison, standing behind him. There's a tense moment.</scene_description> <character>BRIAN</character> <dialogue>You tripped a lot of alarms down at the border. Facial recognition software matched you about ten minutes after you passed through. They're looking for you.</dialogue> <character>DOM</character> <dialogue>Don't worry about me. I can spot a cop a mile away.</dialogue> <scene_description>Dom points out the undercover cops in the crowd.</scene_description> <character>DOM</character> <dialogue>Cop... Cop... Cop...</dialogue> <scene_description>Then turns and stares Brian in the face.</scene_description> <character>DOM</character> <dialogue>Cop.</dialogue> <scene_description>It's a challenge.</scene_description> <character>DOM</character> <dialogue>You here to take me in, O'Conner?</dialogue> <scene_description>Dom turns his back on him, to show what he thinks of that idea. There's a quiet moment, then --</scene_description> <character>BRIAN</character> <dialogue>She was my friend, too.</dialogue> <character>DOM</character> <dialogue>You weren't anyone's friend.</dialogue> <character>BRIAN</character> <dialogue>I'm not the one who ran out on my crew.</dialogue> <scene_description>Dom's voice gets low and dangerous.</scene_description> <character>DOM</character> <dialogue>Go away, O'Conner.</dialogue> <scene_description>It's a threat. The sun burns in a dramatic deep red behind them. Brian goes nowhere.</scene_description> <character>BRIAN</character> <dialogue>When you left town, Letty tried to hold your shit together. The garage. The crew. She needed money so she started making runs across the border with a team working for Antonio Braga.</dialogue> <scene_description>Dom says nothing.</scene_description> <character>BRIAN</character> <dialogue>The guy's a major player down south. Three years ago nobody knew his name. Last year, he moved more heroin across the border than Escobar did in ten years. Uses tuner cars for mules. All this and no one has ever laid eyes on him. The Feds have been after him, but we can't touch him across the border.</dialogue> <character>DOM</character> <dialogue>We? You a Fed now, O'Conner?</dialogue> <scene_description>Dom scoffs, but Brian meets his eyes.</scene_description> <character>BRIAN</character> <dialogue>I'm gonna get the guys who killed her, Dom.</dialogue> <character>DOM</character> <dialogue>Not if I get 'em first.</dialogue> <scene_description>Dom turns to leave, but Brian steps in his way.</scene_description> <character>BRIAN</character> <dialogue>Don't do this. If you get in my way, I'll take you down.</dialogue> <scene_description>The two eye each other over this declaration of war.</scene_description> <character>DOM</character> <dialogue>I'll die before I go back to prison.</dialogue> <scene_description>Dom bulls past, slamming Brian with his shoulder. DOWN BY THE CASKET Mia gets a strange feeling, almost as if she senses her brother and Brian somewhere nearby. Turns to look in the direction where they just were... But they're already gone. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. TORETTO FAMILY HOME - NIGHT</stage_direction> <scene_description>The infamous tuner haven established in the original. A light is on inside. A cop car is out front, staking out the place... BUT AROUND BACK Dom climbs over a fence and enters through the back door.</scene_description> </scene> <scene> <stage_direction>INT. TORETTO HOME - CONTINUOUS</stage_direction> <scene_description>Mia is inside, boxing up the remnants of Letty's life. A noise makes her turn. Dom's silhouette fills the doorway.</scene_description> <character>MIA</character> <dialogue>Dom..?</dialogue> <scene_description>There's a frozen moment. Then she moves to him, collapsing into her brother's arms and begins to sob.</scene_description> <character>DOM</character> <dialogue>Shhh... It's okay...</dialogue> <scene_description>Dom holds her close, just like their father would have if he was still alive. Mia's relieved that her big brother's there, but terrified at the same time.</scene_description> <character>MIA</character> <dialogue>I told you not to come. They're staking the place out. If they catch you--</dialogue> <character>DOM</character> <dialogue>They won't.</dialogue> <character>MIA</character> <dialogue>I can't lose Letty and you, Dom. My heart can't take it.</dialogue> <character>DOM</character> <dialogue>I promise you won't.</dialogue> <scene_description>As Dom holds her, his eyes drift around the house. At the life that used to be his. Photos of better times adorn the walls. Pictures of the crew. Of family. Of Letty. But when his gaze sweeps through the house and into the garage, he isn't prepared for what he sees. DOM'S SIGNATURE CAR, the car that he wrecked out at the end of FF1 -- the infamous 1970 CHARGER -- sits in the center of the shop floor like a beast resurrected from the dead. Someone's been rebuilding it, but it's not yet complete. For a moment, he just stares at the car that killed his father. The car that almost killed him... MIA feels Dom's body tighten. Knows what he's seeing.</scene_description> <character>MIA</character> <dialogue>Letty wouldn't let them junk it...</dialogue> <scene_description>Mia steps back to allow her brother to go to it.</scene_description> <character>MIA</character> <dialogue>...even though it is a goddamn curse.</dialogue> <scene_description>Dom moves to the Charger. Hands reaching out, he touches it. Feels its mended skin. The hammered metal. Absorbing through his fingers all the pain and loss of life forever trapped in this tragic mass of cursed steel... It's a powerful moment.</scene_description> <character>MIA</character> <dialogue>Took her a year to rebuild it. You could always find her in here. Every night. Working late. Disassembling. Stripping metal.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>A lot of people tried to give her a hand, but she wouldn't let them. Know why?</dialogue> <scene_description>Dom looks up from the car at his sister.</scene_description> <character>MIA</character> <dialogue>She said this was all she had left of you. And working on it made her feel like, no matter where you were, she was with you. She wouldn't share that with anyone.</dialogue> <scene_description>It's too much. Too much for Dom to bear, so he just lets the information wash over him.</scene_description> <character>MIA</character> <dialogue>She wanted it ready for when you came home.</dialogue> <scene_description>Guilt-ridden, Dom looks to his sister. There's a moment between them.</scene_description> <character>DOM</character> <dialogue>I want to see the crash site.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - PENNING'S OFFICE - NIGHT</stage_direction> <scene_description>Penning shovels raw almonds into his mouth as he talks. Protein Bar wrappers litter his desk. On a whiteboard behind him is a hierarchy of Braga's organization -- photos of JUVENAL, FENIX, CAMPOS and other players. The name "Braga" is at the top of the pyramid, without an accompanying photo because the guy's that elusive. Brian and Trinh stand to the side.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>I just got off the phone with Deputy Director Lawson. If we don't make significant inroads into the Braga case in the next 72 hours they're gonna shut us down.</dialogue> <character>AGENT TRINH</character> <dialogue>I know I'm a newbie here, but why the clock now?</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>Because it's been two years and the last three agents we've sent to infiltrate his organization have come back in bodybags!</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>We don't have a picture, we don't have prints. Not even a goddamned D.O.B. Five million dollars of federal funding and the guy's still a ghost.</dialogue> <scene_description>Penning crumples his empty bag of almonds and hurls it across the room in frustration.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>So help me out here, people. We got one more time around to reach the brass ring. What's the latest on James Park? He's our ticket into the Braga Organization.</dialogue> <character>AGENT TRINH</character> <dialogue>We're running the name through city and county databases. Sorting through possibles. We got over five hundred already.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>Sounds like another jerk off.</dialogue> <scene_description>Brian speaks up.</scene_description> <character>BRIAN</character> <dialogue>It's not.</dialogue> <parenthetical>(to Trinh)</parenthetical> <dialogue>Cross-check against traffic. Illegal mods, street racing. This guy will definitely have a record. We'll find him.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>We better.</dialogue> </scene> <scene> <stage_direction>EXT. FEDERAL BUILDING - PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>Brian and Trinh exit the building, walking to their cars.</scene_description> <character>AGENT TRINH</character> <dialogue>He's pissed.</dialogue> <character>BRIAN</character> <dialogue>Believe me, you had to eat all that high fiber, low protein shit his wife makes him eat, you'd be hating life too.</dialogue> <scene_description>Brian reaches his car -- a bad-ass midnight blue NISSAN SKYLINE. This pony's built for speed. Just then, Stasiak rolls up in his government car. Shouts out the window --</scene_description> <character>AGENT STASIAK</character> <dialogue>Just got a tip on your boy Toretto! Gonna bring his ass in.</dialogue> <scene_description>Brian looks skeptically at Stasiak's eggshell green FORD TAURUS. Shakes his head.</scene_description> <character>BRIAN</character> <dialogue>Not in that car you ain't.</dialogue> <scene_description>And as Stasiak burns out of there --</scene_description> </scene> <scene> <stage_direction>EXT. A SHITTY NEIGHBORHOOD OUTSIDE OF L.A. - NIGHT</stage_direction> <scene_description>A POLICE CAR prowls through the asphalt jungle... When it passes, Dom and Mia exit from the Chevelle we didn't notice concealed in the shadows of an alley.</scene_description> <character>MIA</character> <dialogue>It's just ahead there.</dialogue> <character>DOM</character> <dialogue>Give me a minute. Keep an eye out.</dialogue> <scene_description>DOM walks to the crash site. The neighborhood ain't great. Street lights are out. Gang graffiti everywhere. A hell of a place for Letty to die... Steeling himself, Dom takes in the few PRAYER CANDLES and FLOWERS that mark the spot. Then turns his attention to the road. A madhouse collage of SKID MARKS decorate the asphalt like an insane tattoo. With an almost mystical skill, Dom blocks out every other mark on the road and focuses only on the Demon's stuttering SKID PATTERN. Dom starts at an UNUSUAL MARK that moves perpendicular with the road. As he stares at it, MENTALLY RECONSTRUCTING what happened, we see a TINY SNIPPET of-- FLASHBACK - THE ACCIDENT. A car making contact with the Demon's rear quarterpanel and trying to spin it out. Letty STOMPS the gas in response, trying to correct the spin and laying down -- ANOTHER SKID MARK. Dom follows it, tracing the cascade of events, seeing FLASHBACKS of each link in the accident chain as he comes across each piece of evidence. Time SLOWS. Noise FADES. It's just Dom and the street. FROM THE CHEVELLE Mia watches as her brother deciphers the language of the road. Spots a NEON YELLOW RESIDUE on the ground. Dips his fingers in it. Smells it. Identifies it. BACK TO SHOT When Dom reaches the final point of impact, he turns...and now ENVISIONS the entire crash. An IMAGINARY VERSION of the Demon screams down the street toward him -- looking absolutely real -- pursued by an equally realistic DAYTONA that spins her out. The Demon tumbles and WRECKS OUT inches in front of him. As if in a daze, Dom angles around the wrecked apparition... and sees a FIGMENTAL VERSION OF LETTY trapped inside. In pain. It's a poignant moment. And just as Dom and the Imaginary Letty MEET EYES -- SFX: SCREEEEECH! Dom turns to see four GOVERNMENT VEHICLES scream around the corner. But by the time Dom glances back, the spell has been broken. The ghostly version of Letty and the wrecked Demon ARE GONE. IN THE LEAD CAR - STASIAK'S FORD TAURUS Stasiak sees Dom standing in the road.</scene_description> <character>AGENT STASIAK</character> <dialogue>There!</dialogue> <scene_description>DOM glares at the approaching Feds and races to his car.</scene_description> <character>MIA</character> <dialogue>What are we gonna do?</dialogue> <character>DOM</character> <dialogue>Hold on.</dialogue> <scene_description>Dom GUNS the big block engine as the swarm of FEDS scream up, sirens shrieking, trying to BOX THEM IN. As the trap slams shut and, where anyone in their right mind would hit their brakes in fear, Dom does the opposite -- slamming the car in gear and showing them what a muscle car is all about. Tires SCREAM, rubber VAPORIZES, and the Chevelle flies STRAIGHT AT THE FEDS! And just as the cars are about to collide -- The Chevelle WHIPS AROUND and slides SIDEWAYS -- shooting right through an angled GAP between the Government cars with NO ROOM TO SPARE! So close, the Chevelle's bumper GOUGES A HUGE SHRIEKING FURROW down the body of Stasiak's Taurus!</scene_description> <character>AGENT STASIAK</character> <dialogue>Holy sh--!!</dialogue> <scene_description>The Chevelle threads the needle and throttles FULL-OPEN, THUNDERING out of the trap and around the corner, disappearing into the night beyond... FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. RUNDOWN APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Brian walks up a graffiti-covered stairwell, returning home for the night.</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S APARTMENT - MOMENTS LATER</stage_direction> <scene_description>SFX: KEYS IN THE LOCK. Then the door opens and Brian steps in. He'd turn on the lights, except the spill from the street lights through the window is enough. Besides, there's nothing in here to see. No real furniture, other than BOXES OF CASE FILES. No pictures. Brian's apartment is as empty as his life. Brian throws his gun and his badge on the kitchen counter. SAME SHOT - MINUTES LATER A TV with terrible reception is on in the background... Brian's eating his dinner -- a bowl of cold cereal -- flipping through the James Lee files. HOLD ON this sad little scene. Brian eating his cereal, in the dark, alone. If Dom and Mia's previous scene was one of reuniting family, this picture is the utter absence of one... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CHEVELLE - MOMENTS LATER</stage_direction> <scene_description>Driving back to the house. Dom is quiet, his mind still back at the crash site. Mia makes small talk.</scene_description> <character>MIA</character> <dialogue>Neighborhood has changed so much. The Hansons, the Moseleys and the Ellises moved out. Isabel sold her shop...</dialogue> <scene_description>But Dom doesn't respond. He has other things on his mind. And she knows it.</scene_description> <character>MIA</character> <dialogue>You found something back there, didn't you?</dialogue> <character>DOM</character> <dialogue>Maybe.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Virgil still run his chop shop in Silverlake?</dialogue> <character>MIA</character> <dialogue>I don't know. I've been out of that world for a long time. Why?</dialogue> <character>DOM</character> <dialogue>There was residue on the ground. Guy who killed Letty was running Nitromethane. Almost impossible to get out here. Probably only three guys in the State could lay their hands on it, and only one in L.A.</dialogue> <scene_description>Dom gets a steely look in his eye. Mia sees it.</scene_description> <character>MIA</character> <dialogue>Listen, Dominic... If I were Letty, I would ask you-- no, I'd beg you:</dialogue> <parenthetical>(meets his eyes)</parenthetical> <dialogue>Please let this go.</dialogue> <scene_description>Dom considers, but just then they round the corner -- and Dom kills his lights. TWO COP CARS and the gouged Taurus are at the top of the block, clustered around their family home.</scene_description> <character>DOM</character> <dialogue>Let me take you somewhere else --</dialogue> <scene_description>But Mia opens the door.</scene_description> <character>MIA</character> <dialogue>No.</dialogue> <parenthetical>(stepping out)</parenthetical> <dialogue>I didn't do anything wrong. I'm not going to run from my problems.</dialogue> <character>DOM</character> <dialogue>Like your brother?</dialogue> <character>MIA</character> <dialogue>I didn't say that.</dialogue> <character>DOM</character> <dialogue>You didn't have to.</dialogue> <scene_description>Mia leans in and kisses him on the cheek.</scene_description> <character>MIA</character> <dialogue>Be careful, Dom.</dialogue> <scene_description>And she turns and walks off toward the house. As Dom drives off, TRACK WITH Mia. When she reaches her driveway, the scratched Taurus' door opens and Stasiak steps out.</scene_description> <character>AGENT STASIAK</character> <dialogue>Miss Toretto? Let's have a chat.</dialogue> <scene_description>And as Stasiak takes her by the elbow -- DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - MORNING</stage_direction> <scene_description>Brian's just arrived and is heading toward his desk, when suddenly he stops short, SPOTTING something across the hall. Through the Plexiglas window of a holding cell, Brian sees MIA being questioned by Stasiak. She looks tired, like she's been there all night. Brian picks up a phone off a nearby desk. Dials.</scene_description> <character>BRIAN</character> <dialogue>This is Forsythe in Evidence. We need Stasiak to come down and sign some greenies. Yeah, right away.</dialogue> <scene_description>Brian hangs up and watches as a JUNIOR AGENT enters the cell. Stasiak gets the bogus message and exits. The moment he's gone, Brian enters the cell. Mia looks up, shocked.</scene_description> <character>BRIAN</character> <parenthetical>(to Junior Agent)</parenthetical> <dialogue>I'm transferring the witness.</dialogue> <scene_description>And without another word, Brian takes Mia by the arm and escorts her out.</scene_description> </scene> <scene> <stage_direction>EXT. FEDERAL BUILDING - MOMENTS LATER</stage_direction> <scene_description>The second they're outside, Mia shrugs her arm away from Brian. Starts walking off.</scene_description> <character>BRIAN</character> <dialogue>Mia..! Mia, wait up.</dialogue> <character>MIA</character> <dialogue>Screw you, Brian. A little late to ride back in on a white horse.</dialogue> <character>BRIAN</character> <dialogue>Hey, I just got you out of a 72- hour hold. You want to go back in there with that asshole?</dialogue> <character>MIA</character> <dialogue>Or stand out here with this one?</dialogue> <scene_description>Mia stares at him.</scene_description> <character>MIA</character> <dialogue>What do you want, Brian?</dialogue> <character>BRIAN</character> <dialogue>To buy you a cup of coffee.</dialogue> <scene_description>Mia broods. Then --</scene_description> <character>MIA</character> <dialogue>One cup.</dialogue> <scene_description>FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SILVERLAKE CHOP SHOP - LATE NIGHT</stage_direction> <scene_description>Mangy rotties run around some stripped car husks...</scene_description> </scene> <scene> <stage_direction>INT. CHOP SHOP - CONTINUOUS</stage_direction> <scene_description>The owner, a greasy gearhead by the name of VIRGIL, is working under a Z -- when suddenly his dolly is YANKED out from beneath the car.</scene_description> <character>VIRGIL</character> <dialogue>What the f--</dialogue> <scene_description>Dom looms above him like the Grim Reaper.</scene_description> <character>VIRGIL</character> <dialogue>Toretto..?!</dialogue> <character>DOM</character> <dialogue>I'm looking for a car you did an engine mod on. Added a Nitromethane tank to a Chrysler B- body platform running on Toyo R1s.</dialogue> <character>VIRGIL</character> <dialogue>Who the fuck you think you are? This ain't your scene anymore. You're a dinosaur. You don't mean shit to nobody --</dialogue> <scene_description>Virgil tries to get up, but Dom STOMPS down on his chest, pinning him to his dolly, then slides him beneath an ENGINE BLOCK dangling on a winch chain. Hits a button -- and the engine block DROPS like a ton of bricks. Virgil SCREAMS as the block descends to crush his head -- And is still screaming when he realizes it's STOPPED. Opens his eyes to see it dangling an inch above his face. Dom is HOLDING it, the muscles in his arm BULGING AND STRAINING with the incredible effort. Inhuman strength. And despite it all, Dom's voice remains deadly calm as he repeats himself for the one and only time.</scene_description> <character>DOM</character> <dialogue>I'm looking for a car you did an engine mod on. Nitromethane tank. Chrysler platform with Toyo tires.</dialogue> <scene_description>Terrified, Virgil hesitates.</scene_description> <character>DOM</character> <dialogue>Better speak up. Don't know how much longer this dinosaur can hold this.</dialogue> <scene_description>And as the engine starts to slip --</scene_description> <character>VIRGIL</character> <dialogue>Korean kid brings it in! James Park! Red hemi Daytona! Please don't fucking drop that!!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP</stage_direction> <scene_description>Brian and Mia sit in uncomfortable silence. Finally, Mia sets down her half-empty cup.</scene_description> <character>MIA</character> <dialogue>I'm almost done. You don't get a refill.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tell me why you dragged me here, Brian.</dialogue> <scene_description>Brian searches for the right words. Comes up empty. He doesn't do vulnerable well. Defaults back to cop mode.</scene_description> <character>BRIAN</character> <dialogue>They're gonna catch him, Mia. And they're gonna use a wide net to do it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Stay away from Dom.</dialogue> <character>MIA</character> <dialogue>That's it? That's all you have to say after five years?</dialogue> <scene_description>Brian falls silent, fiddling with a bracelet on his wrist. It betrays his nervousness.</scene_description> <character>BRIAN</character> <dialogue>What I did...what I did to you...it was the hardest thing I ever had to do.</dialogue> <scene_description>He means this. And Mia sees it.</scene_description> <character>MIA</character> <dialogue>I'm sorry, Brian... I'm so sorry it was hard for you to come into my home and pretend you loved me. I'm sorry it was hard for you to tear my family apart and destroy everything I ever cared about.</dialogue> <parenthetical>(glaring)</parenthetical> <dialogue>I'm so sorry it's been so hard for you.</dialogue> <scene_description>Mia rises to leave, but turns back at the door.</scene_description> <character>MIA</character> <dialogue>Tell me one thing: when you had Dom...when you could've taken him to jail...why did you let him go?</dialogue> <scene_description>Brian looks like he's about to answer her, but then stops himself.</scene_description> <character>BRIAN</character> <dialogue>I don't know.</dialogue> <character>MIA</character> <dialogue>See, that's the thing. Whatever my brother did, however bad you think it was, he did it for family.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You took all that down and you don't even know why.</dialogue> <scene_description>And Mia walks out the door.</scene_description> <character>BRIAN</character> <dialogue>Shit...</dialogue> <scene_description>Just then his phone rings.</scene_description> <character>AGENT TRINH (OS)</character> <dialogue>It's Trinh.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - CYBER LAB - MINUTES LATER</stage_direction> <scene_description>Agent Trinh sits at the nexus of a bank of federal computers giving Brian the rundown.</scene_description> <character>AGENT TRINH</character> <dialogue>I got the cross-checks on James Park back and have a list of possibles.</dialogue> <character>BRIAN</character> <dialogue>Run 'em down.</dialogue> <character>AGENT TRINH</character> <dialogue>Take a look. We got a 45-year-old male in a '06 Scion with three reckless driving tickets --</dialogue> <character>BRIAN</character> <dialogue>No.</dialogue> <character>AGENT TRINH</character> <dialogue>Another in an '01 Chevy Tahoe with an illegal mod --</dialogue> <character>BRIAN</character> <dialogue>No.</dialogue> <character>AGENT TRINH</character> <dialogue>Two mini coopers: '06 and '07. A Toyota Hybrid --</dialogue> <character>BRIAN</character> <dialogue>Definitely no.</dialogue> <character>AGENT TRINH</character> <dialogue>18-year-old with a new Charger. I've got a '98 Saturn, a '95 Sebring, a '99 Sylvia --</dialogue> <character>BRIAN</character> <dialogue>Stop. That's our guy.</dialogue> <character>AGENT TRINH</character> <dialogue>How can you be sure?</dialogue> <character>BRIAN</character> <dialogue>'Cause it's what I'd drive.</dialogue> </scene> <scene> <stage_direction>EXT. KOREATOWN - NIGHT - ESTABLISHING</stage_direction> <scene_description>A city within a city. Seoul in the heart of the Mid-Wilshire district...</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - SECOND FLOOR</stage_direction> <scene_description>Dom arrives on the second floor of the complex and walks to apartment #217. Tries the door. Locked. So he steps back and -- WHAM! -- smashes the door off its hinges with one ungodly kick from his size twelve.</scene_description> </scene> <scene> <stage_direction>INT. JAMES PARK'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Dom walks in, calm as an executioner. The man inside, JAMES PARK, jumps to his feet. His dog -- the biggest, meanest PITBULL we've ever seen explodes at Dom; sixty pounds of snarling and snapping rage. But as it leaps to tear out his throat-- -- Dom deftly PIVOTS and SNATCHES it by the loose skin on the back of its neck. Carrying it like a puppy, Dom tosses it into the kitchen and locks it in. With the dog growling and clawing at the door behind him, Dom turns on James Park.</scene_description> <character>JAMES PARK</character> <dialogue>You have no idea the world of hurt you just entered. Do you have any idea who I a--</dialogue> <scene_description>But Dom grabs him and HURLS him against the wall. SMASH!</scene_description> <character>DOM</character> <dialogue>Daytona running Nitro. Whose car is it?</dialogue> <character>JAMES PARK</character> <dialogue>What's it to you?</dialogue> <scene_description>Dom doesn't respond. Picks him up and hurls him into another wall. Plaster cracks like a earthquake fault. SMAAAAASH! Dom advances on him again, but James Park holds up a trembling hand.</scene_description> <character>JAMES PARK</character> <dialogue>Whoa, whoa, wait! It ain't my car. I'm just a middleman.</dialogue> <scene_description>But just then, behind them -- SFX: THE UNMISTAKABLE SOUND OF A SHOTGUN BEING RACKED Dom turns to see James Park's neighbor, a 6'2" KOREAN TOUGH standing in the doorway, shotgun aimed.</scene_description> <character>JAMES PARK</character> <dialogue>Like I said, you have no idea the world of hurt you just entered.</dialogue> <scene_description>Dom casually kicks open the kitchen door. Instantly, the pitbull from Hell comes raging out, locking onto the first threatening thing it sees -- the man with the shotgun. Like a sixty-pound torpedo, the dog leaps on the Korean Tough and sinks its jaws into his bicep. The Tough SCREAMS, the shotgun goes off into the ceiling -- KABOOOOM! SFX: CRRRAAAASHH! At the sound of shattering glass Dom spins around to see James Park leaping through the apartment window and onto the fire escape.</scene_description> <character>DOM</character> <dialogue>Motherfu--</dialogue> <scene_description>Dom reaches after him, but James Park LEAPS across to the fire escape of the building across the alley. MATCH TO:</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S CAR ('98 SKYLINE GT-R) - SAME TIME</stage_direction> <scene_description>pulling up to the apartment complex. He has just enough time to note Park's aggressively-styled S15 SYLVIA out front, when: James Park FLIES OVERHEAD, jumping from fire escape to fire escape!</scene_description> <character>BRIAN</character> <dialogue>What the--?</dialogue> <scene_description>Then another figure FLIES through the air -- DOM.</scene_description> <character>BRIAN</character> <dialogue>Aw, shit..!</dialogue> <scene_description>And Brian throws his Skyline into REVERSE and hammers the gas, following the second-floor chase from the street. THE CHASE - INTERCUT DOM/BRIAN/JAMES PARK A Point Break-style gritty chase through Koreatown... JAMES PARK runs through startled Koreans' apartments, then hauls balls along the long balcony. DOM keeps up, an implacable golem, -- BRIAN rounds the corner in reverse, just as James Park jumps down from the second floor behind him. As James Park attempts to run, Brian puts the Nissan into a slide and INTENTIONALLY SMACKS HIM BROADSIDE to knock him down -- but James Park rolls with the blow and keeps running. Then WHAM! Something huge lands on the hood of Brian's car. Huge feet CRUMPLING the Skyline's hood. DOM leaping from the balcony. Then the shocks spring back up as Dom jumps off and hauls after James Park. HEY --! Brian throws his door open and takes off after them, joining the footchase. This is where we get to see the difference in their styles as THEY ONE-UP EACH OTHER to draw closer to James Park. BRIAN ("The Fast") has spent a lot of time on the force in foot pursuits, so he pours on the steam and stays on James Park's heels. He's like a cheetah running down prey. DOM ("The Furious"), on the other hand, is more like a rabid grizzly. He takes every wild shortcut -- smashing through fences instead of climbing over and cutting through an: INTERNET GAMING CAFE where a dozen Korean teens look up from playing Starcraft and Counterstrike to see Dom charging through at full speed.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - JAMES PARK</stage_direction> <scene_description>is running hard. Brian hot on his heels. And just as he risks a glance back -- DOM explodes from the Internet cafe RIGHT NEXT TO HIM! James Park pivots and narrowly avoids them both by dashing into: A KOREAN BBQ RESTAURANT Patrons yell as James Park runs through, leaping across table tops to put distance between himself and his pursuers. Stumbles and -- SIZZZZZ! -- slips onto one of the burners. Clutching his side, James Park stumbles out the back of the restaurant and up the building's stairwell. Dom and Brian split off in different directions: Brian chasing James up the stairs, while Dom races off down the hall. Soon, James reaches -- THE ROOFTOP The place is laden with materials for repairs. As James explodes out of the stairwell, he quickly turns and uses a section of 2X4 to WEDGE the door shut. BRIAN hits the door at full speed and -- WHAM! -- is rebuffed. Slams his shoulder into it again and again, but the 2X4 holds. Satisfied, James turns to run and is just about to get away when -- WHUMPP! -- is CLOTHESLINED by an arm that appears around the corner. He hits the rooftop hard, gasping for breath. Then a shadow appears over him. Dom. Without fanfare, Dom picks him up -- and TOSSES HIM OVER THE SIDE! James Park SCREAMS -- AAAAAAAUUUUGHHHH! -- until he stops short only a couple feet down. Dom has stopped his fall, holding him HIM by the feet above the chasm.</scene_description> <character>JAMES PARK</character> <dialogue>Please! Help me up!</dialogue> <scene_description>Dom locks eyes with him. He's only going to ask once.</scene_description> <character>DOM</character> <parenthetical>(measured)</parenthetical> <dialogue>Who was driving the car and where do I find him?</dialogue> </scene> <scene> <stage_direction>INT. STAIRWELL - SAME TIME</stage_direction> <scene_description>Still stuck, Brian draws his gun and FIRES -- BLAM! BLAM! -- shattering the 2X4 and slamming out onto the rooftop where he sees: Dom holding James Park over the abyss. It looks like he's threatening to drop him. Dom's arm trembles with the effort of holding James Park.</scene_description> <character>JAMES PARK</character> <dialogue>That's all I know, I swear! Please bring me up!</dialogue> <scene_description>But Dom shakes his head.</scene_description> <character>DOM</character> <dialogue>I don't think so.</dialogue> <scene_description>And just as Dom's about to drop him -- The cold metal "o" of a gun barrel presses up against the back of Dom's head.</scene_description> <character>BRIAN</character> <dialogue>Don't do it.</dialogue> <scene_description>When Dom hesitates, Brian cocks his gun.</scene_description> <character>BRIAN</character> <dialogue>Bring him up!</dialogue> <scene_description>Dom takes a deep breath and looks down at James Park.</scene_description> <character>DOM</character> <dialogue>Looks like it's your lucky day.</dialogue> <scene_description>And Dom LIFTS. Gritting his teeth through the strain, he raises James Park back onto the roof. Drops him unceremoniously onto the composite rooftop. James Park just lays there, trembling. All around, sirens start closing in. Brian peeks over the edge to see black and whites closing in from all sides. But when he turns back...Dom is already gone.</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - DAY</stage_direction> <scene_description>Brian is walking a handcuffed James Park into booking when suddenly -- WHAM! Stasiak appears out of nowhere, SLAMMING Brian into the wall in a rage. IF YOU EVER RELEASE A WITNESS OF MINE AGAIN, I WILL PERSONALLY FUCK YOU UP. DO YOU UNDERSTAND ME? I SAID, DO YOU UNDERSTAND M-- But he doesn't get to finish as Brian SLIPS THE HOLD with shocking speed and SMASHES Stasiak's head into the booking desk. Again and again. James Park looks around paralyzed, awkward, unsure what to do. But soon everyone PILES IN on top of Brian. With a mighty effort, they pull him off. Stasiak's head is a bloody mess. Penning appears -- a paragon of authority.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>That's enough.</dialogue> <character>AGENT STASIAK</character> <dialogue>You're through, O'Conner!</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>I said that's enough!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Stasiak, go clean yourself up.</dialogue> <character>AGENT STASIAK</character> <parenthetical>(through a swollen face)</parenthetical> <dialogue>He attacked me --</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>This ain't the boy scouts! Get out of here, you're bleeding on my floor!</dialogue> <scene_description>Brian watches Stasiak go. Penning turns to him.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>O'Conner, do you know the difference between a cop and a criminal?</dialogue> <character>BRIAN</character> <dialogue>What?</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>One bad judgement call. Keep your shit in line, son.</dialogue> <scene_description>Penning turns to leave, but stops before James Park.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Tell him everything you know.</dialogue> <parenthetical>(confidentially)</parenthetical> <dialogue>If he did that to a cop, what do you think he's gonna do to a scumbag like you?</dialogue> <scene_description>James Park looks like he's going to piss his pants. HARD CUT TO: STASIAK'S FACE Busted nose. Bandages. Now WIDEN TO REVEAL we are:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - BRIEFING ROOM - LATER</stage_direction> <scene_description>Filled with young, bright-eyed agents. Among them, O'Conner stands out like a sore thumb. If these kids all went to Ivy League, Brian was the one they sent to detention.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>It's game time. We finally got a break.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Braga's hired six additional drivers in the last week to move a substantial shipment of heroin into town.</dialogue> <scene_description>As Penning continues, he points at a photo on the board.</scene_description> <character>S.A.I.C. PENNING (VO)</character> <dialogue>The person in charge of this recruiting effort is Jorge Campos, the #2 man in Braga's organization. He runs Transpo and Logistics for Braga stateside, and the fact that he's overseeing this run personally means that it's pretty fucking important.</dialogue> <scene_description>Penning turns to a map on the wall of greater LA.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>We have intel that Campos will be at a street race in Cerritos tonight to fill the last slot on his team. Our newest informant, Mr. James Park, has been kind enough to secure us a spot in the race, but the only way onto the team is to win.</dialogue> <scene_description>Penning turns and nods to Brian.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>And that's where Agent O'Conner comes in. Local law enforcement is assisting with a tuner car taken from impound. We'll have a tracking device put on so we can monitor his movements remotely.</dialogue> <character>BRIAN</character> <dialogue>I'll use my own car.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>You'll use what you're assigned.</dialogue> <character>BRIAN</character> <dialogue>My car is faster than every one of those impound buckets.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>You haven't even seen the cars yet. How could you possibly know that?</dialogue> <character>BRIAN</character> <dialogue>They all got caught.</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - SERIES OF SHOTS</stage_direction> <scene_description>Dom does what he can to alter the identity of the city's most- wanted car. -- Switches out license plates -- Yanks the fins off the car. -- Wearing a re-breather, Dom sands the Chevelle's paint down to primer. When he's done, the car looks completely different -- like a sinister alter-ego of itself. Dom climbs in. Guns the engine. And one thing becomes unmistakably clear -- Dom is ready for war. CUT TO: THE PRE-ARRANGED MEETING PLACE The updated, bad-ass version of the race scene from the original film. BRIAN pulls in with a slew of other cars. Two dozen are there already. More materialize from the dark. Brian parks and exits his vehicle. Clocks the scene. NOTES the six racers Campos already hired onto the team standing to the side. We recognize them from Penning's photoboard. One in particular, an annoying Eminem-wannabe named DWIGHT, is bragging to a hot girl. He holds up a distinctive HANDHELD GPS.</scene_description> <character>DWIGHT</character> <dialogue>...see this GPS? It means Dwight's already on the fucking team.</dialogue> <parenthetical>(points at Brian walking by)</parenthetical> <dialogue>See that ricer? That ricer wants what Dwight's got.</dialogue> <scene_description>Soon, a tricked-out G35 pulls up and three people get out: the hulking Fenix, an incredibly sexy Brazilian girl (GISELE), and a young Hispanic racer that looks like any one of the tuner kids we've seen all night -- CAMPOS. The trio walks down the line of prospective racers, checking the cars, the drivers. When they reach Brian, Gisele frisks him, lingering a little around the crotch.</scene_description> <character>GISELE</character> <dialogue>He's clean.</dialogue> <scene_description>Campos nods to Fenix, who steps up and pops the hood of Brian's Skyline. Scans the engine.</scene_description> <character>FENIX</character> <dialogue>Spearco intercooler. HKS turbo and wastegate. Exedy triple carbon clutch. Factory airbox --</dialogue> <character>BRIAN</character> <dialogue>Nah, that's just for the cops, bro. Check underneath.</dialogue> <scene_description>Fenix does -- and sees a sweet RAM AIR KIT concealed there.</scene_description> <character>FENIX</character> <dialogue>Scratch that. Two Walbro pumps and four 1000cc injectors.</dialogue> <scene_description>Fenix nods, impressed despite himself.</scene_description> <character>FENIX</character> <dialogue>It's fast.</dialogue> <character>BRIAN</character> <dialogue>Fast enough.</dialogue> <scene_description>Campos considers.</scene_description> <character>CAMPOS</character> <dialogue>We'll see.</dialogue> </scene> <scene> <stage_direction>EXT. RACE SCENE - MINUTES LATER</stage_direction> <scene_description>Campos addresses the crowd of gathered street racers.</scene_description> <character>CAMPOS</character> <dialogue>So this is how it works: You're looking for work, I know someone who needs drivers. I've got one spot left open. The pay is good, probably more than you make in a year, but you're going to have to earn it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There will be one race. The winner gets the slot on the team.</dialogue> <scene_description>An ASIAN RACER raises a hand.</scene_description> <character>ASIAN RACER</character> <dialogue>Who's closing off the streets?</dialogue> <character>CAMPOS</character> <dialogue>No one.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREETS - MOMENTS LATER</stage_direction> <scene_description>Brian guides his car to the line, where four other hopefuls wait, engines growling. The cars REV, and just as the race is about to start -- ONE MORE CAR cruises up to the line, right next to Brian. Brian looks over and sees -- DOM sitting behind the wheel of his Chevelle like an automotive god of war. ONE OF THE SIX RACERS ALREADY ON CAMPOS'S TEAM, a hotshot African-American named MALIK, can't believe what he's seeing.</scene_description> <character>MALIK</character> <dialogue>Yo, yo, check it, that's Toretto!</dialogue> <scene_description>TASH, an Asian tuner, laughs.</scene_description> <character>TASH</character> <dialogue>Man, you crazy, that ain't him. He died in Mexico or some shit.</dialogue> <scene_description>The youngest of the team, a baby-faced racer named AIDAN, has no idea what they're arguing about.</scene_description> <character>AIDAN</character> <dialogue>Who?</dialogue> <character>MALIK</character> <dialogue>Dominic Toretto. My brother said he saw him run a 7-second, back in the day. Man...</dialogue> <parenthetical>(in awe)</parenthetical> <dialogue>I can't wait to smoke his ass.</dialogue> <scene_description>BRIAN is pissed that Dom is about to fuck up his plans. There's a look between the two of them. It's clear neither are going to back down.</scene_description> <character>DOM</character> <dialogue>You know, last time you and I raced, you ended up owing me a ten- second car.</dialogue> <character>BRIAN</character> <dialogue>That was a long time ago. Things have changed.</dialogue> <character>DOM</character> <dialogue>We'll see.</dialogue> <scene_description>Dom GUNS the Chevelle's engine. Brian REVS his back, aching for this rematch ever since his ignominious defeat to Dom in And when Campos gives the word -- they're off! THE RACE Muscle car vs. import. Through "live" city streets. It's fast and dangerous and requires every ounce of skill the racers have. DOM AND BRIAN drive like hell, blowing everyone else away early on. \[NOTE: THIS RACE WILL BE A SIGNATURE PIECE. AMAZING ACTION IN A FRESH, EXCITING SETTING. EVERY BEAT IN THIS RACE WILL UNDERSCORE THE DIFFERENCE IN OUR TWO LEADS: BRIAN ("THE FAST") IS QUICK AND DECISIVE, WHILE DOM ("THE FURIOUS") WILL DO ANYTHING TO WIN. BUT MORE THAN ANYTHING, WATCHING DOM AND BRIAN RACE AGAIN FOR THE FIRST TIME IN FIVE YEARS WILL GET THE FANBOY IN ALL OF US CHEERING.\] Quickly, the race becomes just about Dom and Brian. Each willing to give anything to beat the other. Just like old times. Dom leads the race...until the very end when Brian, amazingly, begins to PULL AHEAD. Dom tries to regain the lead, but can't. Brian's gonna win. But just as they near the finish line, Dom CLIPS Brian's car and puts him into a MASSIVE TAILSLIDE, doing whatever it takes to win. Dom wins the race. Brian storms up afterward.</scene_description> <character>DOM</character> <dialogue>You've definitely learned some things while I was gone...but you still ain't a finisher.</dialogue> <character>BRIAN</character> <dialogue>What, you can't beat me straight up?</dialogue> <character>DOM</character> <dialogue>I didn't know there was a rule book.</dialogue> <scene_description>Campos tosses Dom a HANDHELD GPS unit.</scene_description> <character>CAMPOS</character> <dialogue>You work for Braga now. When it calls, you come.</dialogue> <scene_description>GISELE, the incredibly hot Brazilian girl, steps up.</scene_description> <character>GISELE</character> <dialogue>Driver's license.</dialogue> <scene_description>Dom hands it over.</scene_description> <character>GISELE</character> <dialogue>Thumb.</dialogue> <scene_description>Dom's confused...until she holds out a small FINGERPRINT READER. Dom sticks out his thumb and gets SCANNED.</scene_description> <character>GISELE</character> <dialogue>Cellphone number.</dialogue> <scene_description>Dom looks at her questioningly.</scene_description> <character>GISELE</character> <dialogue>The first two were for Campos.</dialogue> <parenthetical>(sly smile)</parenthetical> <dialogue>The number's for me.</dialogue> <scene_description>Dom looks to Brian and shrugs, winning the slot and once again leaving Brian's investigation D.O.A. Brian is pissed. As he storms away, Dwight can't resist a final taunt.</scene_description> <character>DWIGHT</character> <dialogue>Muscle beats import every time.</dialogue> <scene_description>And Brian gets a glint of determination in his eye... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DWIGHT'S APARTMENT - MORNING</stage_direction> <scene_description>There's people there. Drinking. Playing videogames. A girl dances on a pole Dwight had installed thinking it was a sophisticated idea. Dwight's hitting on the pole dancer, and everyone's enjoying themselves in a white trash kind of way when -- WHAM!! The front door is KICKED IN and a kevlar-clad POLICE ASSAULT TEAM storms the room. Yanks Dwight off the dancer and pins him to the ground. Cuffs his hands.</scene_description> <character>WHAT THE HELL--?!</character> <dialogue>NOTHIN'!</dialogue> <character>DWIGHT DIDN'T DO</character> <dialogue>The ASSAULT TEAM LEADER, whose face is obscured beneath a protective mask, speaks up.</dialogue> <character>ASSAULT TEAM LEADER</character> <dialogue>You're under arrest for trafficking in meth.</dialogue> <character>DWIGHT</character> <dialogue>Meth!? Dwight's never touched that shit!</dialogue> <scene_description>The Team Leader throws a key of ice on the table.</scene_description> <character>ASSAULT TEAM LEADER</character> <dialogue>Dwight has now.</dialogue> <scene_description>As the Feds take the screaming Dwight away, the Team Leader that set him up pulls off his mask...and we see that it's BRIAN. Another team member comes up.</scene_description> <character>TEAM MEMBER</character> <dialogue>It'll never stick.</dialogue> <character>BRIAN</character> <dialogue>It's not supposed to. I just need him off the streets for a couple days.</dialogue> <scene_description>DISSOLVE TO: DOM Holing-up in a shitty motel; a grungy two-room dwelling with a tiny front room off an even smaller bedroom in back. He's laying on the bed, staring at the CARDBOARD BOX OF LETTY'S STUFF Mia gave him. He hasn't opened it yet. Too painful. But he's considering it when -- The GPS unit comes to life again. Dom checks it out. It won't give a destination, only directions.</scene_description> </scene> <scene> <stage_direction>INT. DOM'S CHEVELLE - DRIVING</stage_direction> <scene_description>Dom hauls, following the instructions on his GPS to -- A LATE NIGHT RALLY IN PROGRESS Now this is what the street scene is all about... Scores of cars have taken over an intersection and turned it into a late night HYPHY PARTY, where drivers perform OUTLAW SIDESHOWS for the crowd. Hip-hop music is the heartbeat of the night. Hot girls and guys line the intersection cheering and applauding as the drivers "GHOST-RIDE" their whips -- dropping their cars into NEUTRAL and DANCING around on the hood while it drives forward. Some are solo acts. Some have six dancers on a single ghosting car. As DOM parks and makes his way through the crowd, one ghost- rider gets too into his crazy krumping dance and doesn't notice his car about to hit a telephone pole until it's too late. With a frightened yell, he leaps clear as the car CRASHES and the entire crowd ERUPTS in laughter and applause. Dom makes his way to where the crowd is spilling out of -- the small Latin club on the corner.</scene_description> </scene> <scene> <stage_direction>INT. LATIN CLUB - CONTINUOUS</stage_direction> <scene_description>Dom wanders through and among the ranks of the new team is surprised to find BRIAN. Though Dom's face remains stony, we can tell he's annoyed.</scene_description> <character>DOM</character> <dialogue>I wish I could say I was surprised.</dialogue> <character>BRIAN</character> <dialogue>Too bad about Dwight. Having the Feds raid your house the same night you make the team.</dialogue> <parenthetical>(shakes his head)</parenthetical> <dialogue>Unlucky.</dialogue> <scene_description>Dom snickers.</scene_description> <character>DOM</character> <dialogue>What's to keep me from telling them you're a cop?</dialogue> <scene_description>Brian considers, then --</scene_description> <character>BRIAN</character> <dialogue>The same thing that's going to keep me from telling them why you're really here.</dialogue> <scene_description>And as that sinks in, hands clamp down on their shoulders and a man steps up right behind them -- CAMPOS.</scene_description> <character>CAMPOS</character> <dialogue>Your background check said you just got out of Maricopa.</dialogue> <character>BRIAN</character> <dialogue>Yeah.</dialogue> <character>CAMPOS</character> <dialogue>I know people in there. You ever see Chale Hernandez inside? Isidro Santos?</dialogue> <character>BRIAN</character> <dialogue>Big place. Lots of names and faces. Don't really remember.</dialogue> <character>CAMPOS</character> <dialogue>Maybe they'll remember you.</dialogue> <scene_description>It's not quite a threat...but then again, not quite not one either. Campos turns to Dom.</scene_description> <character>CAMPOS</character> <dialogue>And you... You're wanted by a lot of people. That's not good for business.</dialogue> <character>DOM</character> <dialogue>You're looking at it the wrong way. I get caught, I do long time.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>More than anyone else here, I ain't gonna let your shipment go down.</dialogue> <scene_description>Campos thinks about this. And nods approvingly.</scene_description> <character>BRIAN</character> <dialogue>So who's this guy Braga?</dialogue> <character>CAMPOS</character> <dialogue>Just one of us. Grew up in the barrio with nothing and carried us all up with him. You see these people in here?</dialogue> <character>CAMPOS</character> <parenthetical>(beat)</parenthetical> <dialogue>Any one of them would die for him.</dialogue> <character>BRIAN</character> <dialogue>Including you.</dialogue> <scene_description>Campos considers. Nods.</scene_description> <character>CAMPOS</character> <dialogue>Especially me.</dialogue> <scene_description>There's a beat, then --</scene_description> <character>CAMPOS</character> <dialogue>Now I have a question for you. How do you two know each other?</dialogue> <scene_description>Taken by surprise, Dom and Brian look at each other. For tense moment, Brian is sure Dom is going to give him up.</scene_description> <character>CAMPOS</character> <dialogue>Think about your answer carefully, because I'll know if you're telling the truth.</dialogue> <scene_description>Dom meets Campos's eyes.</scene_description> <character>DOM</character> <dialogue>He used to date my sister.</dialogue> <scene_description>Campos' face is a mask...but then he breaks. And laughs.</scene_description> <character>CAMPOS</character> <dialogue>Now I see why you hate him.</dialogue> <parenthetical>(turns to Brian)</parenthetical> <dialogue>You're a lucky man.</dialogue> <character>BRIAN</character> <dialogue>How's that?</dialogue> <character>CAMPOS</character> <dialogue>You're still breathing.</dialogue> <scene_description>Campos raises a glass in toast.</scene_description> <character>CAMPOS</character> <dialogue>To the women we've loved...and the women we've lost.</dialogue> <scene_description>The camera moves from Brian to Dom at this last sentiment. PUSHES IN on Dom's face, on the rage only we see.</scene_description> <character>CAMPOS</character> <dialogue>Salud!</dialogue> <scene_description>Brian and he drink. Dom hesitates, then downs his. A moment later, one of Campos's THUGS steps over and whispers in his ear. Campos immediately rises, excusing himself.</scene_description> <character>CAMPOS</character> <dialogue>Enjoy the party, fellas.</dialogue> <scene_description>And Campos heads upstairs, followed by an entourage of bodyguards. Dom and Brian sit there for another uncomfortable beat. Then:</scene_description> <character>DOM</character> <dialogue>I'm gonna go check out the scenery.</dialogue> <character>BRIAN</character> <dialogue>Yeah, me too.</dialogue> <scene_description>Both can't get up quick enough. Brian and Dom split off in different directions to investigate. INTERCUT - BRIAN AND DOM ON THEIR SEPARATE MISSIONS BRIAN slinks up the stairs to spy after Campos, while -- DOM heads outside to wander the scene...when he spots something in the club's garage that stops him in his tracks. The devil-red Daytona. The car that killed Letty.</scene_description> </scene> <scene> <stage_direction>INT. LATIN CLUB - SECOND FLOOR</stage_direction> <scene_description>Brian slips down the hall, following the sounds of voices to the office where Campos is having his meeting. Through a gap in the door, Brian sees snippets of Campos and a DISTINGUISHED OLDER MAN -- Braga? -- talking. Campos pours tequila into a shotglass and passes one to the Older Man. BRIAN'S POV pushes in on that shotglass, Braga's fingertips on the glass. And just as he's about to move closer -- A ROUGH HAND on his shoulder stops him. Brian turns to see one of Campos's THUGS scowling at him.</scene_description> <character>BRIAN</character> <dialogue>Just looking for the bathroom.</dialogue> <scene_description>The Thug gives him a none-too-tender shove in that direction. And Brian moves off, not noticing Campos staring at him from the door, watching him retreat... SLAM BACK TO: DOM - IN THE GARAGE examining the dread Daytona. On the front right bumper he discovers a smudge of FLAT-GRAY PAINT from Letty's car. Angles around to the side, where he spots the SECONDARY FUEL TANK for NITROMETHANE. Opens it to find the same NEON YELLOW LIQUID Dom found at the crash site. Dom's anger is rising when --</scene_description> <character>FEMALE VOICE (OS)</character> <dialogue>Something interest you about this car?</dialogue> <scene_description>Dom turns to see Gisele standing there. There's murder in Dom's eyes. But it's cold. Calculating. Dangerous.</scene_description> <character>DOM</character> <dialogue>Why? Is it yours?</dialogue> <scene_description>She shakes her head. Dom looks again at the car.</scene_description> <character>GISELE</character> <dialogue>Are you one of those boys who prefers cars to women?</dialogue> <character>DOM</character> <dialogue>I appreciate a fine body no matter what the make.</dialogue> <scene_description>Now she smiles.</scene_description> <character>DOM</character> <dialogue>Vortech forced-induced 426 hemi. SpeedPro injection, solenoid switch over. And an entirely separate fuel system for running Nitro.</dialogue> <parenthetical>(whistles)</parenthetical> <dialogue>Nice.</dialogue> <character>GISELE</character> <dialogue>It's Fenix's car. You'll meet him at the rendezvous. He'll be leading you. But now that I know your taste in cars...what do you like in a woman?</dialogue> <scene_description>Dom meets her eyes.</scene_description> <character>DOM</character> <dialogue>A girl who's soft and hard at the same time. Down to earth and ain't afraid to get engine grease under her fingernails. 20% angel/80% devil with eyes that see right through your bullshit to the good you have hidden underneath.</dialogue> <scene_description>His candor takes her aback. She wasn't expecting it.</scene_description> <character>GISELE</character> <dialogue>Hmmm. That doesn't sound anything like me.</dialogue> <character>DOM</character> <parenthetical>(walking off)</parenthetical> <dialogue>It ain't.</dialogue> <scene_description>And if we didn't pick it up before, now's when we realize he was describing Letty... FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - COMPUTER LAB - DAY</stage_direction> <scene_description>Brian steps up to Agent Trinh's desk.</scene_description> <character>BRIAN</character> <dialogue>I've got a gift for you.</dialogue> <scene_description>Brian drops an EVIDENCE BAGGIE on her desk. Inside is the SHOTGLASS Campos handed to Braga.</scene_description> <character>AGENT TRINH</character> <dialogue>A dirty shotglass. What I've always wanted.</dialogue> <character>BRIAN</character> <dialogue>There are two sets of prints on here. Run 'em both. Go deep. Check it through Interpol, Europol, any database you can get your hands on.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S APARTMENT - THE NEXT MORNING</stage_direction> <scene_description>BRIAN GPS lights up, waking him up. The meet is on.</scene_description> </scene> <scene> <stage_direction>INT. DOM'S MOTEL ROOM - SAME TIME</stage_direction> <scene_description>Dom's GPS lights up, too. It doesn't give a final destination, just real time directions.</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S CAR</stage_direction> <scene_description>As he speeds toward the location, Brian's cell rings.</scene_description> <character>BRIAN</character> <dialogue>Yeah?</dialogue> <character>S.A.I.C. PENNING (OS)</character> <dialogue>It's Penning. We're tracking you right now. Signal's strong.</dialogue> <scene_description>And now we BOOM THROUGH THE FLOOR of his car to see a TRACKING DEVICE secured to the underside of the Skyline's chassis. Just then, the GPS guides the racers to a -- SECLUDED WAREHOUSE Brian's getting a weird sense about this, and as they pull inside, we see why. The cars park in a line before a huge TRACTOR-TRAILER, and at Campos's command, a squad of men begin to do a COUNTER SURVEILLANCE SWEEP of each vehicle. Brian blanches when he sees them sweeping cars with RF DETECTORS and SENSOR WANDS -- they're checking for bugs. INTERCUT WITH THE FEDS Stasiak watches a monitor displaying Brian's position.</scene_description> <character>AGENT STASIAK</character> <dialogue>He's stopped.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>Get a bird in the air. Make sure he doesn't get too close.</dialogue> <scene_description>BACK TO SHOT As the surveillance squad finishes scanning another car and moves closer. Brian realizes he has to get rid of the bug or he's a dead man. Tries to open his door, but -- WHAM! -- one of Campos's armed bodyguards KICKS it shut.</scene_description> <character>CAMPOS BODYGUARD #1</character> <dialogue>Stay in your car.</dialogue> <scene_description>THE SEARCHERS move on to Dom's car. Brian's is next. Desperate, Brian grabs a screwdriver from the glovebox and slides his NOS TANK forward. Reaches his hand down into the well behind it and stabs the screwdriver through the composite floor. DOM glances over and sees Brian sweating it. Knows something's up. BRIAN jams his fingers through, searching frantically, as the team finishes with Dom...but the bug is just out of reach. And right as the Searchers arrive at the Skyline -- Brian's fingers GRASP the bug and rip it loose. Heart pounding, he pulls his arm back up, slams the NOS back in place and drops the bug in a can of RED BULL just as sweepers start. INTERCUT WITH THE FEDS The moment the bug hits the Red Bull, the signal DISAPPEARS on-screen.</scene_description> <character>AGENT #2</character> <dialogue>We've lost him.</dialogue> <character>AGENT STASIAK</character> <dialogue>He killed the tracker! I knew we couldn't trust him!</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>We don't know that. Get the bird overhead. I want eyes on O'Conner's last location.</dialogue> <scene_description>SLAM BACK TO SHOT as the Sweepers turn to Campos.</scene_description> <character>SWEEPER</character> <dialogue>All clear.</dialogue> <scene_description>Campos nods and signals to one of his guys, who throws open the cargo doors to the tractor-trailer, REVEALING that the inside of the truck is a CAR CARRIER.</scene_description> <character>CAMPOS</character> <dialogue>Drive in.</dialogue> <scene_description>And on his command, one by one, the cars pull -- INSIDE THE TRAILER Brian and Dom are the last to pull in. When the doors are closed behind them, it's with the finality of the grave. Instantly, the interior goes pitch black. Soon, however, someone turns on their headlights. Brian tries to make a call, but his phone gets NO SIGNAL through the steel walls. The racers speak from surreal angles.</scene_description> <character>TASH</character> <dialogue>This ain't right.</dialogue> <scene_description>Aidan starts showing his nerves.</scene_description> <character>AIDAN</character> <dialogue>Where do you think they're taking us?</dialogue> <character>DOM</character> <dialogue>Don't really matter.</dialogue> <scene_description>Everyone turns and sees Dom chilling behind the wheel of his car, eyes closed.</scene_description> <character>DOM</character> <dialogue>You're along for the ride now.</dialogue> <scene_description>And as the monster 18-wheeler THUNDERS to life around them --</scene_description> </scene> <scene> <stage_direction>INT. FED HELICOPTER</stage_direction> <scene_description>As they race to the site the tracker went dead...but by the time they get there, the place is deserted.</scene_description> <character>FED PILOT</character> <dialogue>They're gone. There's nothing down there.</dialogue> <scene_description>Well, there is, but they're not looking for the 18-wheeler trundling away down the highway. Just another truck on the road... DARKNESS Then the thunder of the truck engine DIES. A moment later, the cargo doors are thrown open and Gisele stands there.</scene_description> <character>GISELE</character> <dialogue>Welcome to Mexico, boys.</dialogue> <scene_description>A look around reveals we are:</scene_description> </scene> <scene> <stage_direction>INT. ABANDONED FACTORY - MEXICO</stage_direction> <scene_description>Dom, Brian and the racers reverse their cars out of the trailer to find themselves in an old TEQUILA FACTORY, south of the border. Gisele addresses them as their payload -- LARGE POLYMER CASES -- are loaded into the racers's cars.</scene_description> <character>GISELE</character> <dialogue>I've updated your GPS to guide you to the ready point. There will be helicopters scanning for heat signature, so take one of these and cover your car when you reach it.</dialogue> <scene_description>She indicates a stack of metallic car covers on the ground.</scene_description> <character>GISELE</character> <dialogue>I'll be tracking you by GPS and guiding you over the radio. Any questions?</dialogue> <character>DOM</character> <dialogue>I thought you said Fenix would be here.</dialogue> <character>GISELE</character> <dialogue>He'll meet you out there.</dialogue> <character>DOM</character> <dialogue>Good.</dialogue> <scene_description>Brian cuts Dom a look -- chill.</scene_description> <character>GISELE</character> <dialogue>Then if there is nothing else --</dialogue> <scene_description>She hits a button on her PDA and all their GPS's ACTIVATE with new directions.</scene_description> <character>GISELE</character> <dialogue>Good luck, gentlemen.</dialogue> <scene_description>As she passes the Chevelle, she pauses a moment at Dom's window, eyes lingering.</scene_description> <character>GISELE</character> <dialogue>Vaya con dios.</dialogue> <scene_description>And the racers take off, blasting through the Mexican countryside like rainbow-colored comets, arriving at -- THE DESERT WAYPOINT - VARIOUS SHOTS The cars stop at their rendezvous, one mile from the border. The second the cars arrive, Dom and the other drivers quickly throw a SPACE BLANKET CAR COVER over their vehicles to trap in engine heat. Then roll UNDER the cars to lay beneath them. Just in time, too, as a CBP Heli screams by right overhead.</scene_description> </scene> <scene> <stage_direction>INT. CBP HELICOPTER - CONTINUOUS</stage_direction> <scene_description>The pilot and his crew stare at their infrared monitors, scanning for heat signatures. But because of the car covers, they only see DARKNESS. BACK TO SHOT The cars wait in the shadows, tension ratcheting until--</scene_description> <character>GISELE (OVER RADIO)</character> <dialogue>Get ready.</dialogue> <scene_description>Instantly Brian and the others rip off their car covers. Crank their engines -- BRRRROOOOOOOOM! Behind them, a car streaks toward them like a shot. When it arrives on-scene, we see it's the devil-red DAYTONA.</scene_description> <character>GISELE (OVER RADIO)</character> <dialogue>Stay close to Fenix. You only have a ninety-second window.</dialogue> <scene_description>Dom's world narrows down to that car. And the DRIVER inside. The sonofabitch who killed Letty. Dom's HAND starts to crush the Chevelle's shifter... The RPM's in his car RISE... BRIAN notices Dom's car begin to shake with power. Notices Dom's eyes LOCKED ON to Fenix. But before anything can happen --</scene_description> <character>GISELE (OVER RADIO)</character> <dialogue>Good window. Go, go, go.</dialogue> <scene_description>-- Fenix peels out. And all the racers put the hammer down! Tires spin. Dirt flies. And eight cars blast off the line with mind-blowing speed! INSERT SHOT - As the window CLOCK on each racer's GPS begins to COUNT DOWN. As the cars scream across the desert, FIND Dom and Brian at the rear of the pack, blazing across No Man's Land like a formation of four-wheeled fighter jets until -- -- suddenly they're all SWALLOWED by the desert! Or rather -- A SERIES OF CONCEALED SUBTERRANEAN SMUGGLER'S TUNNELS Four pitch black and interweaving tunnels in various stages of completion, each just wide enough for one car at a time. Fenix leads them through the tunnel system. The ultra-tuned vehicles rocket after, slaloming through the WILDEST, MOST CLAUSTROPHOBIC OBSTACLE COURSE we've ever seen! Illuminated only by their RUNNING LIGHTS, each driver has to rely on LIGHTNING-FAST REFLEXES to keep them alive as they weave through a forest of SUPPORT STRUTS, SUDDEN OUTCROPS of rock and STARTLING BENDS in the intersecting earthen tunnels that appear right in front of them! But all Dom is thinking about is getting to Fenix. But to get to him, he has to pass the six cars ahead of him. So Dom goes all NASCAR, and at the next fork in the tunnels, when everyone else goes right -- Dom slams left. BRIAN sees it. Has only a split second to react.</scene_description> <character>BRIAN</character> <dialogue>Aw jesus!</dialogue> <scene_description>And swerves left, sticking with Dom. DOM AND BRIAN jag left and right with insane skill, using every ounce of control they have to keep from being obliterated by the shifting rock walls. But then the tunnels connect again, and Dom and Brian come screaming back into formation, two positions ahead. Turn by turn, Dom does the same thing, picking off positions one by one, leapfrogging up the line until he's right behind-- FENIX who sees what Dom's doing. But he doesn't know Dom's backstory. In the culture of racing, he looks like another guy trying to challenge the alpha dog. So Fenix CRANKS IT UP. BACK TO SHOT Dom now does everything he can to catch Fenix, matching him move for move, trying to get closer -- but the guy is good. For the first time ever, we see someone who utterly matches Dom's skill...and even bests it to where Dom is struggling to keep up. They're moving so fast, everything outside their windows is a blur, and just as the tension gets too much for us to take --</scene_description> <character>CAMPOS (OVER WALKIE)</character> <dialogue>Window's closing. Get out of there. Birds are back in ten...nine...eight...</dialogue> <scene_description>-- we TURN UP THE HEAT! Running out of time, Fenix hits his NITRO and -- FAWHOOOM! The cave lights up in BLUE FLAME.</scene_description> <character>CAMPOS (OVER WALKIE)</character> <dialogue>...seven...six...five...</dialogue> <scene_description>In perfect sequence, Dom, Brian and the others do the same. WHOOM! WHOOM! WHOOM! A squad of ships jumping into hyperspace. They blast through the tunnel at impossible speed.</scene_description> <character>CAMPOS (OVER WALKIE)</character> <dialogue>...four...three...two...</dialogue> </scene> <scene> <stage_direction>EXT. U.S./MEXICO BORDER - U.S. SIDE</stage_direction> <scene_description>The desert floor is completely flat and empty... When suddenly -- ZOOOM!ZOOOM!ZOOOM!ZOOOM! -- the cars explode out of the sand like automotive shotgun blasts. They skim across the U.S. threat zone, just ahead of the returning helicopter who reaches the site...and sees nothing.</scene_description> </scene> <scene> <stage_direction>INT. DAYTONA</stage_direction> <scene_description>A new waypoint blinks to life on the GPS and Fenix guides the racers to --</scene_description> </scene> <scene> <stage_direction>EXT. SAN YSIDRO - REMOTE HIGHWAY TURNOFF</stage_direction> <scene_description>The same desolate site Letty made her delivery... A PANEL TRUCK and several SUV's wait there. So do a cadre of well-armed CAMPOS HENCHMEN. Dom arrives, spots Fenix's car near the truck. But no Fenix. As he's glancing around, one of the Henchmen POUNDS on the hood of Dom's car.</scene_description> <character>HENCHMAN #1</character> <dialogue>Get out of the car!</dialogue> <scene_description>Two more Henchman SLAM Brian's Skyline. Dom and Brian eye one another -- it's clear they're not meant to leave this place alive. And as Brian is PHYSICALLY YANKED from his car. I SAID GET OUT! Dom doesn't move, so Henchman #1 aims his rifle at him. DOM knows what's about to go down. Smoothly, he UNHOOKS the line of his NOS TANK and flips the valve wide open. Pushes in the CIGARETTE LIGHTER as he steps out. ANOTHER ANGLE As the shipment is taken from their cars and loaded into the PANEL TRUCK, the racers are herded roughly together like POWs.</scene_description> <character>AIDAN</character> <dialogue>Hey! Don't touch me! You want me to bust your fa--</dialogue> <scene_description>BANG! A gun BARKS and Aidan is blown away. As he collapses dead to the ground, PAN AROUND to see his murderer. FENIX. Then the henchmen run in --</scene_description> <character>CAMPOS HENCHMEN</character> <dialogue>On the ground! Down! Get down!</dialogue> <scene_description>Forced to lay down execution-style. When they're all down, CAMPOS appears from around the truck.</scene_description> <character>CAMPOS</character> <dialogue>Mr. Braga wants to thank you for assistance, but no longer requires your services.</dialogue> <scene_description>All the racers heads are facing down...except one. Dom is staring daggers at Fenix. Fenix notices.</scene_description> <character>FENIX</character> <dialogue>What are you looking at?</dialogue> <character>DOM</character> <dialogue>'71 Dodge Demon. Girl driving it named Letty. Someone wrecked it out in L.A.</dialogue> <character>FENIX</character> <dialogue>Yeah. That was me. Don't remember her face real well.</dialogue> <parenthetical>(bastard)</parenthetical> <dialogue>Last time I saw it, it was burning.</dialogue> <scene_description>But Dom's reaction is the last one Fenix expects.</scene_description> <character>FENIX</character> <dialogue>Why are you smiling?</dialogue> <character>DOM</character> <dialogue>Because I'm really gonna enjoy what happens next.</dialogue> <scene_description>And on cue: THE CIGARETTE LIGHTER in Dom's car POPS UP and IGNITES the NOS GAS and -- KAAA-BOOOOOOOOOMMMM! The Chevelle DETONATES like a ONE-TON HAND GRENADE, sending up an inferno of heat and flame that engulfs the other tuner cars and -- KABOOOOOM-BOOOOM-BOOOOOM-BOOOOM! -- sets off a chain reaction of NOS BOMBS! Automotive shrapnel shreds the air. A glass and metal typhoon RIDDLES through the ranks of the armed henchmen. The hood of a car FLIES ACROSS FRAME, pinwheeling like a buzzsaw and TAKES OUT one of Campos's goons! The AXLE of a demolished Nissan misses decapitating Fenix by an inch. Everything is smoke and flame and auto parts raining down for a quarter-mile. GUNFIRE begins to erupt, though the henchmen don't know what they should be shooting at. CAMPOS runs for cover. Instantly, Brian is on his feet and tearing toward one of the only remaining vehicles -- the panel truck. He BASHES one Henchman aside and rips the driver out of the seat, HURLING him to the ground and knocking him unconscious.</scene_description> <character>BRIAN</character> <dialogue>Dom! Come on!</dialogue> <scene_description>But Dom is a demon walking calmly through the smoke and haze, searching for Fenix. Dom picks up a smouldering camshaft as he walks, STRIKING DOWN two guards that run at him with the metal column. Then he spies Fenix across the graveyard of incinerated cars, fifty yards away. Fenix looks up to see Dom coming...and welcomes the challenge. Takes off his jacket. This is going to be a fight for the ages. But before Dom gets twenty feet-- SFX: WHOP-WHOP-WHOP-WHOP-WHOP! A Border Patrol helicopter crests the rise, investigating the explosion. Unsure what to do, Campos's bodyguards open fire on it and the scene erupts into TOTAL ANARCHY. The Patrol heli RETURNS FIRE, shredding through the ranks of the henchmen, turning the ground between Dom and Fenix into a HELLSCAPE OF GUNFIRE. From the hills, police SIRENS begin to sound. DOM AND FENIX glare hatefully at each other across the oil and smoke, two gunslingers interrupted on the verge of mortal combat. They stare a moment longer, gunfire RAKING around them. Promising to see this fight finished another day. Promising to see the other die hard. Then, as the Border Patrol closes in, Fenix breaks contact and makes his escape in his Daytona. Dom watches him go, until the panel truck pulls up behind him. Brian calls out from the driver's seat.</scene_description> <character>BRIAN</character> <dialogue>Dom, get the fuck in!</dialogue> <scene_description>But Dom keeps staring.</scene_description> <character>BRIAN</character> <dialogue>Dom!</dialogue> <scene_description>Brian leaps out and physically drags Dom into the truck, bullets RAKING the ground around them. Then Brian punches it, and as the truck escapes the burning warzone -- SLOW DISSOLVE TO: AERIAL SHOT - HOURS LATER The highway below is empty... Then CRANE DOWN to reveal the panel truck parked beneath a freeway underpass, waiting for the helicopters to move on and the heat to die down. BRIAN paces outside. Punches in a number on his cell and makes a call. MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - CYBER LAB</stage_direction> <scene_description>Penning watches over Trinh's shoulder as the FINGERPRINT ANALYZER searches through millions of prints worldwide for a Braga match. Four RED DOTS digitally mark certain valleys and ridges on the print -- points of match -- and as we watch, another dot appears, narrowing the field even further. Just then, an ASSISTANT enters.</scene_description> <character>ASSISTANT</character> <dialogue>O'Conner's on the phone.</dialogue> <parenthetical>(hands him a folder)</parenthetical> <dialogue>And, sir, you should see this.</dialogue> </scene> <scene> <stage_direction>INT. PENNING'S OFFICE - SECONDS LATER</stage_direction> <scene_description>Penning enters, opening the folder. There's a stack of PHOTOS inside. He flips through them angrily, then picks up the blinking phone line.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Talk to me, O'Conner. Where the hell have you been?</dialogue> <scene_description>INTERCUT CALL - BRIAN UNDER BRIDGE/PENNING IN OFFICE</scene_description> <character>BRIAN</character> <dialogue>I got the shipment.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>"I" got the shipment, or "we" got the shipment?</dialogue> <character>BRIAN</character> <dialogue>What are you talking about?</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>A border patrol aerial unit photographed you at the site with Toretto.</dialogue> <scene_description>Penning slaps the sheaf of photos onto his desk. Now we see they're SURVEILLANCE PICS of Brian and Dom escaping the site.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Listen, O'Conner. Bring in the shipment and bring in Toretto. Brass'll be so busy putting out press conferences about the seizure, you'll skate under the radar.</dialogue> <character>BRIAN</character> <dialogue>I thought the point was to get Braga. We've got an opportunity here.</dialogue> <scene_description>Penning cuts him off.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>It's not your decision, Brian. The clock's stopped ticking. Bring them in. That's an order. Are we clear?</dialogue> <scene_description>But Brian has fallen silent, NOTICING spatters of BLOOD on the ground, leading to the back of the truck. Brian follows it around to find DOM standing in the open cargo hold of the panel truck. He's opened the polymer cases and now stands mesmerized at the sight of 400 POUNDS OF PURE GRADE A HEROIN.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>I said are we clear?</dialogue> <scene_description>And knowing he's crossing the line, Brian HANGS UP the phone.</scene_description> <character>DOM</character> <dialogue>So this is what sixty million dollars looks like.</dialogue> <scene_description>And even though he's been shot and his arm is soaked with blood, Brian can see the old wheels in Dom's head turning. Brian starts snapping the cases shut.</scene_description> <character>BRIAN</character> <dialogue>You need a doctor --</dialogue> <character>DOM</character> <dialogue>You need a place to hide this truck.</dialogue> <scene_description>Brian nods. He's already thought about this.</scene_description> <character>BRIAN</character> <dialogue>I got an idea.</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. L.A. COUNTY IMPOUND YARD</stage_direction> <scene_description>Car jail for police, sheriff and towing agencies all across the county... The panel truck pulls up and the IMPOUND CLERK steps up to the window. Brian flashes his badge.</scene_description> <character>BRIAN</character> <dialogue>502. Wet reckless. Need a 48 hour hold.</dialogue> <scene_description>The Clerk takes a suspicious glance at Dom...then jots down the pertinent info.</scene_description> <character>IMPOUND CLERK</character> <dialogue>3rd floor. Any spot you can find.</dialogue> <character>BRIAN</character> <dialogue>Thanks.</dialogue> <scene_description>And Brian pulls forward.</scene_description> </scene> <scene> <stage_direction>INT. IMPOUND YARD - 3RD FLOOR - CONTINUOUS</stage_direction> <scene_description>Brian finds a spot and parks. Dom and he get out.</scene_description> <character>DOM</character> <dialogue>You sure about this?</dialogue> <character>BRIAN</character> <dialogue>Last place they'll look, their own impound yard.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You know, I've been thinking. When you blew up your car back there, you blew up mine, too.</dialogue> <character>DOM</character> <dialogue>Yeah.</dialogue> <character>BRIAN</character> <dialogue>So I figure...now you owe me a 10- second car.</dialogue> <character>DOM</character> <parenthetical>(nods)</parenthetical> <dialogue>You're right.</dialogue> <scene_description>Dom looks around at all the impounded cars...and finds a completely sick EVO X. Fast as they come. Hauls back one sledgehammer fist and SMASHES the window. Pops the lock. In two seconds, he's hot-wired it.</scene_description> <character>DOM</character> <dialogue>There you go. We're even.</dialogue> </scene> <scene> <stage_direction>EXT. IMPOUND YARD - MOMENTS LATER</stage_direction> <scene_description>The Clerk is watching television on a small tv when the big metal gate rolls open and Dom and Brian burn out in the Evo. SLOW DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. DOM'S MOTEL - NIGHT</stage_direction> <scene_description>The Evo's parked out back.</scene_description> </scene> <scene> <stage_direction>INT. DOM'S MOTEL ROOM</stage_direction> <scene_description>There's a KNOCK at the door. Brian opens it to reveal MIA, carrying a bag.</scene_description> <character>MIA</character> <dialogue>This your idea of having me keep away from him?</dialogue> <character>BRIAN</character> <dialogue>Thanks for coming. He wouldn't go to a doctor, I didn't know who else to call --</dialogue> <character>MIA</character> <dialogue>Of course you call. He's my brother.</dialogue> <scene_description>Mia moves inside to where Dom sits, clutching his tricep.</scene_description> <character>MIA</character> <dialogue>Let me see.</dialogue> <parenthetical>(moving his hands)</parenthetical> <dialogue>Let me see.</dialogue> <scene_description>He does. It's pretty messed up. She prods around. Dom stays stoic. Finally, Mia sighs and dumps the contents of her bag out on the table. Surgical needle and thread. Antibiotic wash. Bandages.</scene_description> <character>MIA</character> <dialogue>Well, the bullet's not in there. Best I can do is irrigate for infection and suture you up. It's gonna hurt like a mother.</dialogue> <character>DOM</character> <parenthetical>(sidelong)</parenthetical> <dialogue>You're gonna enjoy this, aren't you?</dialogue> <character>MIA</character> <dialogue>A little.</dialogue> <scene_description>And she goes to work. As she begins to suture, she turns to Brian.</scene_description> <character>MIA</character> <dialogue>Can you give me a hand? Hold this.</dialogue> <scene_description>She hands him the bottle of wash -- and their proximity begins subtly affect them both. Dom notices Brian and his sister catching each others' eyes, old feeling beginning to stir. Dom shakes his head.</scene_description> </scene> <scene> <stage_direction>INT. DOM'S MOTEL ROOM - LATER</stage_direction> <scene_description>Dom, Brian and Mia sit around a coffee table. Containers of Chinese food are spread around them. Dom grabs one.</scene_description> <character>MIA</character> <dialogue>Hey --</dialogue> <parenthetical>(stopping him)</parenthetical> <dialogue>You reached first, you say grace.</dialogue> <scene_description>It's the same thing Dom used to say at the dinner table all those years ago. Dom knows it.</scene_description> <character>DOM</character> <dialogue>I haven't prayed in a long time.</dialogue> <scene_description>But she isn't about to let him get away with that.</scene_description> <character>MIA</character> <dialogue>Well now is as good a time as any.</dialogue> <scene_description>Mia stares at him expectantly. Dom knows she's gonna keep on staring until he gives in. There's strength in her. With a sigh, he gives in.</scene_description> <character>DOM</character> <dialogue>Thank you, Lord... for blessing this table...</dialogue> <scene_description>Dom struggles with the words, feeling a fraud. Mia sees him struggling...and takes his hand in her own. And finishes the prayer for him.</scene_description> <character>MIA</character> <dialogue>...with food and friendship and family.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL ROOM - CONTINUOUS</stage_direction> <scene_description>We finish watching the scene from outside, looking in from the night. Though we can't hear them through the window, we see them eating together, laughing, getting along. A picture of warmth and love. A picture of family. TIME CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - BEDROOM - LATER</stage_direction> <scene_description>As Brian and Mia sit in the other room, finishing their dinner, FIND Dom sitting on his bed, the BOX OF LETTY'S STUFF before him. He finally cracks the lid. Inside are photos, jewelry. Old memories. Dom sifts through them, absorbing everything. At the bottom of the box, he finds Letty's CELLPHONE. Presses the power button. It gives a LOW BATTERY WARNING, but when it lights up, Dom scans through the INCOMING CALL menu to see who she was talking to the days before her death...and finds ONE TELEPHONE NUMBER repeated again and again. BACK WITH BRIAN AND MIA Sitting in awkward silence, picking at their food, until --</scene_description> <character>BRIAN</character> <dialogue>Respect.</dialogue> <character>MIA</character> <dialogue>Hmm?</dialogue> <character>BRIAN</character> <dialogue>You asked me why I let Dom go. Maybe because at that moment I respected him more than I did myself.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The one thing I learned from Dom is that none of it matters unless you have a code.</dialogue> <character>MIA</character> <dialogue>So what's your code, Brian?</dialogue> <character>BRIAN</character> <dialogue>I don't know, but I'm working on it.</dialogue> <scene_description>Mia looks at him. Into his eyes. For the first time in a long time, she sees the real Brian in there.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DOM</stage_direction> <scene_description>hits the REDIAL BUTTON on Letty's phone... BACK TO SHOT And just as there is a moment between Brian and Mia, the beginnings of true healing -- SFX: BRIAN'S CELLPHONE BEGINS TO RING. SLAM BACK TO DOM hearing the phone RING in the next room. In that instant, his reality shatters and he understands everything. And as a terrible rage begins to smolder in his eyes -- CUT BACK TO BRIAN His cellphone ringing. He checks the caller id...and sees that it's "LETTY".</scene_description> <character>BRIAN</character> <dialogue>Oh shit...</dialogue> <scene_description>Now he looks up and sees Dom looming like an angel of vengeance. Staring right at him.</scene_description> <character>DOM</character> <dialogue>When were you going to tell me?</dialogue> <character>MIA</character> <dialogue>What are you doing, Dom?</dialogue> <character>DOM</character> <dialogue>When were going to tell me you were running Letty?</dialogue> <character>MIA</character> <dialogue>What..?</dialogue> <character>BRIAN</character> <dialogue>Wait, Dom, you don't understan--</dialogue> <scene_description>WHAM! Dom nails Brian with an overhand right that would decapitate most people, then lowers his shoulder and smashes Brian into the wall. CRRRAAASSSH! A mirrored wall SHATTERS and the room SHAKES with the impact. Mia screams.</scene_description> <character>STOP IT!</character> <dialogue>DOM!</dialogue> <scene_description>And Brian finds himself in THE MOST INTENSE FIGHT OF HIS LIFE -- full-speed, full-force, in a claustrophobic motel room! STOP IT!! MIA tries to separate them, but -- WHAM! -- gets accidentally SLAMMED against the wall. Dazed, she crumples to the ground and can only watch the chaos. Just as well, 'cause right now nothing is going to stop this fight. The bloodlust is on. Dom attacks with every fiber of his being. Hurls Brian to the glass-strewn floor and starts raining down punches that would knock out a bull. And even though the glass is grinding his back into gore, Brian throws his legs up and TRAPS Dom's arm into an ARMBAR. Cranks back and brings him down to the floor, hard. In the sparking light of a broken lamp, Brian struggles to pull Dom's arm back, to hyperextend it and end the fight... ...but Dom is so strong, so possessed by anger, he slowly begins to CURL his arm back! Brian uses his entire body to resist, but Dom is made of steel. With inhuman strength, he lifts Brian off the ground and SMASHES HIM DOWN! Brian loses his hold and, in an instant, Dom slips an arm around his neck and cranks down, CHOKING HIM. Brian struggles, but this isn't a hold you break. There's nothing he can do.</scene_description> <character>DOM</character> <dialogue>You pulled her into this! You got her killed!</dialogue> <scene_description>Brian sputters, but Dom squeezes harder, an anaconda cinching down. He's going to kill Brian!</scene_description> <character>DOM, STOP!</character> <dialogue>PLEASE STOP!</dialogue> <scene_description>But he's not. The dark starts closing around Brian. And just as he's about to black out forever, he manages to gasp out --</scene_description> <character>BRIAN</character> <dialogue>..Letty did it...for you...</dialogue> <scene_description>And like an icicle shoved into his heart, Dom freezes, trying to will the words away. But he can't. They sink in. And the moment is broken. Dom's entire body trembles as if buffeted by a wind of truth -- and then he falls back, releasing Brian a heartbeat ahead of death. Brian falls to the floor, gasping, rubbing his crushed throat. Mia weeps openly. Dom sits there, soul staggered.</scene_description> <character>BRIAN</character> <dialogue>Letty got into Braga's organization on her own. But when she wanted to get out, she came to me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>She knew she had a card to play, said she'd turn informant for me on Braga's operation...if I would get your record clear so you could stop running.</dialogue> <scene_description>The words hit Dom with the force of physical blows.</scene_description> <character>BRIAN</character> <dialogue>She did it so you could come home.</dialogue> <scene_description>Now the entire reality comes crashing in around Dom. Letty gave up her life for him. He is culpable for her death. Guilt and grief overwhelm him. Devastate him. Mia comes and puts her arm around him. Crushed beneath the staggering weight of regret, all Dom can say is:</scene_description> <character>DOM</character> <dialogue>I'm sorry...</dialogue> <character>MIA</character> <parenthetical>(cradling him)</parenthetical> <dialogue>Shhhhh.</dialogue> <character>DOM</character> <dialogue>I'm so sorry.</dialogue> <scene_description>And even though she holds Dom, she reaches a hand out and holds Brian, too. Connecting them. Reunited. A family. PULL BACK as the three sit battered and torn...and perhaps more whole than any of them have been in the last five years. SLOW DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - DAY</stage_direction> <scene_description>It's business as usual...until Brian comes walking through the front door. Almost instantly, everything STOPS. The room goes quiet as everyone turns to watch him walking straight through the lions' den and into -- PENNING'S OFFICE -- where the Special Agent-In-Charge, Stasiak and the rest of the team are discussing what to do about O'Conner situation when their subject matter comes marching in. Stasiak immediately draws his gun.</scene_description> <character>AGENT STASIAK</character> <dialogue>Hold it right there, O'Conner!</dialogue> <scene_description>Brian doesn't even acknowledge him. Holds Penning's gaze.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Put your gun away, Stasiak.</dialogue> <scene_description>Stasiak hesitates.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Put it away!</dialogue> <parenthetical>(to Brian)</parenthetical> <dialogue>You better have one hell of an explanation. Where's the shipment?</dialogue> <character>BRIAN</character> <dialogue>Safe.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>You disobeyed a direct order.</dialogue> <character>BRIAN</character> <dialogue>Look, we could stop this shipment, parade it in front of the news, get a few hundred pounds of heroin off the street...but Braga will just send another next week. And the week after that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Or we can play this smart. Use the shipment to lure Braga out and cut off the head of a multi-billion dollar cartel.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>And how do you suggest we do that?</dialogue> <character>BRIAN</character> <dialogue>Hand to hand exchange with Braga.</dialogue> <character>AGENT STASIAK</character> <dialogue>He'll never show.</dialogue> <character>BRIAN</character> <dialogue>He can't afford not to.</dialogue> <scene_description>Penning considers. Then --</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>So what's the play?</dialogue> <character>AGENT STASIAK</character> <dialogue>You are not agreeing to this?!</dialogue> <scene_description>Penning silences Stasiak with a look that would break rocks.</scene_description> <character>BRIAN</character> <dialogue>You stay high, wide and invisible. Move in on my signal and only my signal. We grab and bag 'em and call it a day.</dialogue> <character>S.A.I.C. PENNING</character> <dialogue>That it?</dialogue> <character>BRIAN</character> <dialogue>No. There's a price.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We get Braga, you let Toretto walk.</dialogue> <scene_description>Gone is the Penning who inspires confidence in his team. Standing in his place is a man who deals in death and mayhem on a daily basis.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>You're swimming in dangerous water, O'Conner. You bleed and I'm not going to be able to save you from the sharks on this one.</dialogue> <scene_description>CUT TO: GISELE - CAMPOS'S HOT BRAZILIAN ASSISTANT Making out with gorgeous model in the bathroom of the Latin Club. And right when we think it can't get any hotter, a third girl ENTERS FRAME, joining in. And just as things are about to get serious -- Gisele's cellphone RINGS. To every guy's disappointment, she answers.</scene_description> <character>GISELE</character> <dialogue>Yes?</dialogue> <character>DOM (OS)</character> <dialogue>It's Dom.</dialogue> <character>GISELE</character> <parenthetical>(luridly)</parenthetical> <dialogue>I was just thinking about you... When I gave you my number, I was hoping you'd call, but not under these circumstances.</dialogue> <character>DOM</character> <dialogue>You mean alive?</dialogue> <character>GISELE</character> <dialogue>Don't take it personally. It's just business.</dialogue> <character>DOM</character> <dialogue>Then I've got business of my own. Get Campos.</dialogue> </scene> <scene> <stage_direction>INT. LATIN CLUB - CONTINUOUS</stage_direction> <scene_description>TRACK WITH Gisele as she exits the bathroom and moves through the club to the office, where Campos is in the middle of a meeting.</scene_description> <character>GISELE</character> <parenthetical>(holds up the phone)</parenthetical> <dialogue>It's them.</dialogue> <scene_description>INTERCUT PHONE CALL - DOM/CAMPOS</scene_description> <character>DOM</character> <dialogue>Was that how Braga inspires loyalty? Murdering his drivers?</dialogue> <character>CAMPOS</character> <dialogue>No. It is how he keeps his organization protected. One can always find more drivers, but secrets must remain secret.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's just good business.</dialogue> <character>DOM</character> <dialogue>So I hear. I want to trade.</dialogue> <character>CAMPOS</character> <dialogue>Yes? And what are the terms I should deliver to Braga?</dialogue> <character>DOM</character> <dialogue>Ten percent delivery fee. Six million. Cash. Delivered by Braga himself.</dialogue> <character>CAMPOS</character> <dialogue>That won't happen.</dialogue> <character>DOM</character> <dialogue>Fine. Your shipment disappears and your street cred with it. I ain't sticking my neck out again unless Braga's got something to lose, too.</dialogue> <parenthetical>(quoting him back)</parenthetical> <dialogue>It's just good business.</dialogue> <scene_description>Campos considers, then:</scene_description> <character>CAMPOS</character> <dialogue>When and where?</dialogue> <character>DOM</character> <dialogue>San Pedro. Cargo yard off wharf 9. Midnight.</dialogue> <scene_description>HARD CUT TO: SERIES OF SHOTS - PREPARING FOR THE MEET -- The cargo container site, overgrown with weeds, empty. -- Then the Feds showing up, setting up a concealed perimeter. -- Stasiak getting in position in the shadows. -- In the Latin Club, Campos's men loading money in bags.</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - CYBER LAB</stage_direction> <scene_description>The fingerprint is a constellation of red dots. Suddenly it makes a final connection and the Analyzer BEEPS. Trinh looks and the text on-screen reads: Identity match confirmed: Prisoner #9906763 Tacumbu Penitentiary, Paraguay. Status: Released. Trinh immediately gets on the phone and calls the prison.</scene_description> <character>AGENT TRINH (SUBTITLED, SPANISH)</character> <dialogue>This is Agent Trinh at the Federal Bureau of Investigation. I need name and photo verification of Prisoner 9906763.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CONTAINER YARD - DAY</stage_direction> <scene_description>Dom and Brian stand in the center of the field next to the panel truck and the Evo X. The POLYMER CASES are stacked behind them, one is open, displaying the BRICKS OF HEROIN. Dom clocks the scene. Sees Fed snipers getting into position atop container stacks. Concealing themselves on warehouse rooftops. Brian notices.</scene_description> <character>BRIAN</character> <dialogue>The deal is we get Braga, you walk out of here.</dialogue> <character>DOM</character> <dialogue>You set out cookies for Santa this year, too?</dialogue> <scene_description>Brian tosses him something.</scene_description> <character>BRIAN</character> <dialogue>If things get messy...</dialogue> <scene_description>Dom snatches it out of the air. Keys to the Evo. Dom smiles.</scene_description> <character>DOM</character> <dialogue>Just like old times.</dialogue> <scene_description>Just then, a small caravan of cars enters the site, Fenix's Daytona among them. Campos's men exit the vehicles, two dozen BODYGUARDS with weapons drawn. POV - STASIAK Watching Campos' team through a rifle scope.</scene_description> <character>AGENT STASIAK</character> <dialogue>The players are on-site.</dialogue> <character>S.A.I.C. PENNING (OS)</character> <dialogue>Everyone stay frosty. We don't move a muscle until O'Conner gives the signal. When he takes the money, we take 'em down, hard and fast.</dialogue> <scene_description>BACK TO SHOT Campos's men exit the vehicles, two dozen BODYGUARDS with guns. A moment later, Campos, Gisele and Fenix exit the Daytona. Instantly, Fenix and Dom lock eyes. It takes every ounce of restraint for Dom to keep from charging over and crushing the bastard's windpipe. Brian puts a restraining hand on Dom's shoulder.</scene_description> <character>BRIAN</character> <dialogue>Easy.</dialogue> <scene_description>Campos approaches Dom and Brian with a handful of bodyguards.</scene_description> <character>CAMPOS</character> <dialogue>You sure you know what you're doing?</dialogue> <scene_description>Campos motions to his men and, instantly, guns come up. But--</scene_description> <character>DOM</character> <dialogue>Let's not get ahead of ourselves.</dialogue> <scene_description>Dom cooly kicks open the polymer cases...revealing that they're all EMPTY.</scene_description> <character>BRIAN</character> <dialogue>Braga brings the money, you get the product. That's the deal.</dialogue> <character>DOM</character> <parenthetical>(re: Fenix)</parenthetical> <dialogue>Why don't you send your monkey over and we can talk about it.</dialogue> <scene_description>Campos smiles, almost sadly.</scene_description> <character>CAMPOS</character> <dialogue>Careful. He might get it in his mind to pay a visit to that sister of yours.</dialogue> <scene_description>As Campos walks away, an Escalade pulls in... FLASH TO:</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING - CYBER LAB - SAME TIME</stage_direction> <scene_description>Agent Trinh is waiting restlessly, when the email she's waiting for finally arrives from the Paraguay prison. She clicks it open and the document reads: Photograph: Prisoner #9906763 - POSITIVE ID: Antonio Braga. Image downloading Trinh snatches up the phone. BACK TO SHOT The Escalade stops before Dom and Brian...and the man that Brian saw in Campos's office steps out. BRAGA carries an oversized briefcase in his hand as he strides indignantly toward Dom and Brian. When he reaches them, he sets down the case. Opens it to reveal forty-four pounds of cold hard CASH.</scene_description> <character>BRAGA</character> <dialogue>Two million. You get the rest when I get my property.</dialogue> <scene_description>Dom gets up close and personal. Reflexively, Braga glances back to his men. Dom catches the tell-tale sign.</scene_description> <character>DOM</character> <dialogue>Now isn't that interesting.</dialogue> <character>BRIAN</character> <dialogue>When his life is on the line, a man who's clawed his way up from the barrio doesn't look back for reassurance.</dialogue> <scene_description>Sweat begins to bead on Braga's forehead.</scene_description> <character>DOM</character> <dialogue>He ain't Braga.</dialogue> <scene_description>SLAM CUT TO: STASIAK - IN CONCEALMENT Watching the trade when an agent holding a SAT PHONE steps up.</scene_description> <character>SAT PHONE AGENT</character> <dialogue>I've got Agent Trinh on the line. She's requesting being patched to O'Conner.</dialogue> <character>AGENT STASIAK</character> <dialogue>I'll take it.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>This is Stasiak. Talk to me.</dialogue> <character>AGENT TRINH (OS)</character> <dialogue>We got a match. Fingerprint's Braga's. 100% confirmation. I'm uploading the image to you now.</dialogue> <scene_description>Stasiak immediately turns to another agent.</scene_description> <character>AGENT STASIAK</character> <dialogue>Order all agents to move in.</dialogue> <character>AGENT #1</character> <dialogue>O'Conner hasn't given the signal yet.</dialogue> <character>AGENT STASIAK</character> <dialogue>Don't need it anymore. We just got confirmation. Do it.</dialogue> <scene_description>And as Stasiak moves off, BOOM DOWN to the phone he's left behind as the IMAGE starts to RES... SLAM BACK TO: BRIAN AND DOM as the Feds MOVE IN and the situation EXPLODES. Instantly, Braga's men OPEN FIRE. The Feds return. And the container yard becomes an all out COMBAT ZONE! As bullets SPARK off the ground and SHRED the air around them, Dom and Brian are forced to DIVE for cover. Brian's mind is like a whirlwind, taking in the scene, trying to piece the mayhem together. Sees the Feds SWARMING IN after the Imposter Braga...while Campos is being rushed away to safety by Fenix. Brian's cop senses scream. And in that moment, Campos turns and FIRES three shots -- right at Braga -- who crumples to the ground in a pool of blood. Across the battlefield, Brian and Campos meet eyes. And in the midst of all the CHAOS and CONFUSION, Campos SMILES at Brian. Calm. Collected. Utterly in control. And then the staggering weight of it hits him.</scene_description> <character>BRIAN</character> <dialogue>Oh my god...</dialogue> <scene_description>Campos is Braga. They've been dealing with him, played by him, close enough to slap cuffs on him, the whole time.</scene_description> <character>BRIAN</character> <dialogue>It's Campos.</dialogue> <scene_description>\[NOTE: FROM THIS POINT ON, CAMPOS WILL BE REFERRED TO IN THE SCRIPT BY HIS TRUE IDENTITY -- BRAGA.\] MATCH TO: STASIAK'S PHONE LAYING FORGOTTEN ON THE ROOFTOP The image of Antonio Braga has come in...and it's a photo of Campos. BACK TO SHOT As Federal Agents swarm in around the downed Imposter Braga, Brian draws his gun and charges into the battlefield.</scene_description> <character>BRIAN</character> <dialogue>No, NO! Campos is Braga! Campos is Braga!!</dialogue> <scene_description>BRAGA sees him coming. But Brian's too late. Braga hops in the Daytona as Fenix burns out in the most startling U-turn we've ever seen.</scene_description> </scene> <scene> <stage_direction>INT. DAYTONA - CONTINUOUS</stage_direction> <scene_description>Fenix looks to Braga as a wall of people stand between them and the exit.</scene_description> <character>BRAGA</character> <dialogue>Run them down.</dialogue> <scene_description>Fenix holds down the gas, barrelling through the heart of the melee. The Daytona SMASHES through the crowd, trying to escape, running down anyone too slow to get out of the way, when suddenly -- GISELE appears in their path. She has just enough time to realize that Fenix is going to mow her down like the others when -- DOM sees her about to be killed and risks his life to charge full- bore and dive -- knocking her out of the way and saving her life as the Daytona shrieks past! BRIAN runs past, firing at the receding Daytona. DOM and Gisele share a look. And then Dom is off, leaping over the hoods of two government vehicles and sliding behind the wheel of the Evo X -- VRRROOOOOOM!!</scene_description> </scene> <scene> <stage_direction>EXT. SAN PEDRO DOCKS - CONTINUOUS</stage_direction> <scene_description>As Fed cars scurry to block the exits, Fenix punches his NITRO METH and -- FAAWHOOOM! -- shrieks out of the dockyards with a millimeter to spare. A second behind, the trap closes ahead of Dom -- who doesn't give a shit and PUNCHES THE GAS! VVVVRRRRR -- WHAMMM! The Evo SLAMS the Fed cars aside and keeps on chugging.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREETS - CONTINUOUS</stage_direction> <scene_description>Dom does what he can to catch the diabolic Daytona, taking every shortcut he can. Gaining.</scene_description> </scene> <scene> <stage_direction>INT. DAYTONA - CONTINUOUS</stage_direction> <scene_description>Fenix sees the Evo coming. Leads the chase onto -- THE TERMINAL ISLAND BRIDGE Dom and Fenix swerve through traffic. It's a master-class on evasive driving. Fenix uses the other commuters against Dom, flicking his wrist and sending them SPINNING back at Dom like WHIRLING STEEL TORNADOES. Dom swerves hard through the minefield of cars wiping out around him. He's never faced a driver against whom he was so evenly matched...and possibly even surpassed by. Dom has the pedal to the metal and is just barely hanging onto the Daytona's draft when Fenix ignites his Nitrometh again and PULLS AWAY like Dom is standing still. Disappears around the bend. Dom squeezes every ounce of fast out of the Evo and rounds the bend after them -- and has to SLAM ON HIS BRAKES. A massive, MULTI-CAR WRECK blocks all lanes of traffic. Dom can't get through...and can only watch as Fenix, the cause of it all, speeds Braga to freedom on the other side... FADE TO: A DARKENED ROOM Brian sits before a Federal investigative committee. They throw down a picture of Braga.</scene_description> <character>FEDERAL INVESTIGATOR #1</character> <dialogue>...you had him under your nose the whole time! Now Braga has escaped. Toretto has escaped. Three officers have been injured. Do you have any idea the trouble you're in, Agent O'Conner?</dialogue> <scene_description>Brian's reply is a stony look.</scene_description> <character>LEAD FEDERAL INVESTIGATOR</character> <dialogue>As of now, you are being taken off active duty until this office can mount a formal inquiry.</dialogue> <character>BRIAN</character> <dialogue>What about Braga?</dialogue> <character>LEAD FEDERAL INVESTIGATOR</character> <dialogue>That's no longer your concern --</dialogue> <scene_description>No one's going to say a word. Penning feels for him and speaks up.</scene_description> <character>S.A.I.C. PENNING</character> <dialogue>Customs tracked him by satellite back to his home base in Tecale, Mexico.</dialogue> <character>BRIAN</character> <dialogue>You know where he is and you're not going to do anything?</dialogue> <character>FEDERAL INVESTIGATOR #1</character> <dialogue>Mexico is beyond our authority.</dialogue> <character>BRIAN</character> <dialogue>So you just going to let him get away with it?</dialogue> <character>LEAD FEDERAL INVESTIGATOR</character> <dialogue>This interview is concluded, Agent O'Conner.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Don't leave town.</dialogue> <scene_description>Brian slams his chair back and storms from the room. CUT TO: DOM, covered in engine grease and sweat, tightening bolts on the Charger. Finishing the job Letty started. After a moment, another hand ENTERS FRAME and begins helping out. It's Brian. Without a word, the two work in perfect tandem on the engine. Dom glances over, impressed.</scene_description> <character>DOM</character> <dialogue>So when did the buster become a gearhead?</dialogue> <scene_description>That's just about as high a compliment as Dom would ever give, and Brian knows it. He grins, but it's a short-lived thing.</scene_description> <character>BRIAN</character> <dialogue>Braga made it back to Mexico.</dialogue> <character>DOM</character> <dialogue>This isn't your problem anymore.</dialogue> <character>BRIAN</character> <dialogue>I'm going with you.</dialogue> <character>DOM</character> <dialogue>It's a one-way ticket.</dialogue> <scene_description>Brian nods.</scene_description> <character>BRIAN</character> <dialogue>I know.</dialogue> <scene_description>Dom turns and considers him, the determined look in his eyes. Then shakes his head and goes back to work on the Charger. So does Brian. And the two work in silence, looking for all the world like two brothers. Connected by fate. Bonded by code.</scene_description> </scene> <scene> <stage_direction>EXT. TORETTO HOUSE - LATER</stage_direction> <scene_description>Mia pulls up and parks. Returning from the market, she's carrying groceries inside when she catches a glimpse of Brian and Dom through a broken garage window working on the Charger together...and instantly she knows what they intend to do. At that moment, Brian looks up and they meet eyes for a moment before Mia turns and storms inside. Brian follows after her into -- THE KITCHEN - CONTINUOUS Mia channels her anger and worry for Dom and Brian into putting the groceries away, methodical as a machine. Brian appears in the doorway. He watches her for a moment, until her emotions get the better of her and she slams a carton of eggs into the fridge too hard, breaking them. Brian moves to her.</scene_description> <character>BRIAN</character> <dialogue>Mia...</dialogue> <character>MIA</character> <dialogue>It's fine. It's nothing --</dialogue> <scene_description>She grabs some paper towels and starts to manically clean it up. Brian takes her hands gently in his own.</scene_description> <character>BRIAN</character> <dialogue>Mia.</dialogue> <character>MIA</character> <dialogue>I won't cry. I won't do it for you. Not again.</dialogue> <scene_description>But her voice is small. Brian takes her chin in his hand and tilts her eyes to look up at him. And KISSES her. There's a moment, then --</scene_description> <character>MIA</character> <dialogue>Damn you.</dialogue> <scene_description>And as tears fall from her eyes, Mia kisses him back. Not a shrinking violet's kiss, but hard, hungry, passionate. five years of lost time compressed into one endless moment. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. TORETTO HOUSE - MORNING</stage_direction> <scene_description>The Evo and the Charger are ready. Engines idling. Mia leans into the driver's window of the Charger.</scene_description> <character>MIA</character> <dialogue>Last time you left, I never got a chance to say goodbye... For five years I thought about what I would've said to you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And now that I'm standing right here...I can't think of a single thing to say.</dialogue> <scene_description>Her eyes shimmer with unshed tears.</scene_description> <character>MIA</character> <dialogue>How do you say goodbye to your only brother?</dialogue> <scene_description>Dom pulls her to him and kisses her on the forehead.</scene_description> <character>DOM</character> <dialogue>You don't.</dialogue> <scene_description>And as Mia stands back, Dom REVS the engine and drives off to meet his fate. Mia turns to the Evo, still waiting there. Brian and she meet eyes in the side mirror...one final look.. And then Brian takes off after Dom.</scene_description> </scene> <scene> <stage_direction>EXT. U.S/MEXICO BORDER - DAY</stage_direction> <scene_description>The Charger and the Evo pull up side by side. Just ahead a sign reads: YOU ARE NOW ENTERING MEXICO. Dom and Brian fall silent, looking at the border...and the wildlands of Mexico beyond. Brian turns to Dom.</scene_description> <character>BRIAN</character> <dialogue>This is where my jurisdiction ends.</dialogue> <scene_description>Dom looks him dead in the eye.</scene_description> <character>DOM</character> <dialogue>This is where mine begins.</dialogue> <scene_description>Dom HAMMERS the throttle, and as the Charger splits the night with its V8 WARCRY -- DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. TECALE, MEXICO (BRAGA'S TOWN) - ESTABLISHING - DAY</stage_direction> <scene_description>A Mexican inner-city with a split personality. Desperate poverty vies with brand new construction. Armed guards wandering within feet of kids playing soccer on a new field. Money is coming into this town. Now WIDEN TO REVEAL -- DOM AND BRIAN atop a hill, watching it all. A car pulls up behind them -- Gisele. Dom walks back to her.</scene_description> <character>DOM</character> <dialogue>Wasn't sure you'd make it.</dialogue> <character>GISELE</character> <dialogue>You saved my life. I'm willing to return the favor.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>Nothing personal. Just business.</dialogue> <scene_description>She holds up an ENVELOPE.</scene_description> <character>GISELE</character> <dialogue>This will help get you to Braga.</dialogue> <scene_description>Dom takes it -- but she doesn't let go.</scene_description> <character>GISELE</character> <dialogue>Doesn't seem fair. You give me life and I give you death in return. Going in there is suicide.</dialogue> <character>DOM</character> <dialogue>I don't have a choice.</dialogue> <scene_description>She releases the envelope. Leans in and kisses him on the cheek.</scene_description> <character>GISELE</character> <dialogue>Vaya con dios.</dialogue> <scene_description>And without looking back, she turns and gets in her car, and drives away... TIME LAPSE - THE SUN setting over the city of Tecale. Night descending, then being banished by the rising sun of the next day...</scene_description> </scene> <scene> <stage_direction>EXT. TECALE - THE NEXT MORNING</stage_direction> <scene_description>Braga walks through the town. People in the streets smile and wish him well. He is the father of this town. When he reaches the church, his bodyguards stay behind while he steps -- INSIDE Makes his way to the altar, where he lights a candle at the foot of the STATUE OF SAINT SULPICE. As he kneels and bows his head to pray--</scene_description> <character>VOICE (OS)</character> <dialogue>You ain't forgiven.</dialogue> <scene_description>Braga's head snaps up to see DOM standing next to him. He opens his mouth to shout out -- but the cold barrel of a gun presses up against his head. Brian.</scene_description> <character>BRIAN</character> <dialogue>Hands behind your back.</dialogue> <scene_description>But Braga isn't cowed. He's smug.</scene_description> <character>BRAGA</character> <dialogue>You can't kill me. Anything happens to me and you won't make it ten steps out of this church.</dialogue> <character>BRIAN</character> <dialogue>Kill you? You think we came all the way down here for that?</dialogue> <character>DOM</character> <dialogue>You're going for a ride.</dialogue> <scene_description>With a chilling horror, Braga realizes that Dom and Brian intend to bring him to justice...by dragging him across the border.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH</stage_direction> <scene_description>The doors are kicked open and Dom and Brian come out. The town reacts like a kicked ant hill. People scurry to get weapons. To tell others. Braga's bodyguards immediately go on the offensive, guns out, ready to go down in a hail of gunfire.</scene_description> <character>BRAGA</character> <dialogue>Easy, easy.</dialogue> <parenthetical>(then in Spanish)</parenthetical> <dialogue>Don't let them out of the city alive. Go get Fenix.</dialogue> <scene_description>As several men run off to gather reinforcements, Dom calls after them in Spanish.</scene_description> <character>DOM (SUBTITLED, SPANISH)</character> <dialogue>Tell him to hurry.</dialogue> <scene_description>Using Braga as a shield, Dom and Brian lead the drug lord to where their cars are concealed in an alley. Shove him in the Evo and CUFF him into the seat. Brian gets in behind the wheel of the Evo. Looks over to Dom, getting into the Charger.</scene_description> <character>BRIAN</character> <dialogue>You ready?</dialogue> <character>DOM</character> <dialogue>Hell no.</dialogue> <parenthetical>(guns the engine)</parenthetical> <dialogue>But let's do it.</dialogue> <scene_description>BRAGA'S HENCHMEN race into the alley...but immediately have to DIVE out of the way as -- ZOOOOM! ZOOOOM! -- the Evo and the Charger BLAST past. SERIES OF SHOTS -- The word gets out, and all over town, an army of Braga's henchmen jump into their cars and set off after Dom and Brian. They drive TUNER CARS, OFF-ROAD CARS, MOTORCYCLES AND TRUCKS... Anything and everything on wheels.</scene_description> </scene> <scene> <stage_direction>INT. COCKFIGHTING PIT - SAME TIME</stage_direction> <scene_description>Fenix is betting on a black rooster that is getting the better of an amber-gold -- when one of Braga's men burst into the arena, shouting in Spanish that their boss has been taken. In an instant, the roosters are forgotten and Fenix is all business.</scene_description> </scene> <scene> <stage_direction>EXT. TECALE - CONTINUOUS</stage_direction> <scene_description>The Evo and the Charger slalom through the rats nest of twisting streets as all around, cars begin to scream at them like automotive KAMIKAZES. Brian and Dom swerve like madmen to avoid the metal storm. It's a demolition derby of death. Brian JAGS past a charging truck and around a corner -- and right into a vendor's cart filled with sheep heads! WHAM!! Sheep heads go flying. It ain't pretty.</scene_description> </scene> <scene> <stage_direction>EXT. TECALE STREETS - CONTINUOUS</stage_direction> <scene_description>The Evo and the Charger escape the barrio maze and pull a screaming turn onto the main thoroughfare. In the distance, they see the INTERNATIONAL BORDER CROSSING. And just when we're starting to think they're home free -- WHAM! The devil-red DAYTONA comes out of nowhere, smashing the Evo up onto two wheels. But before it can go over, Dom slides in and bumps the Evo back onto all fours with a juddering thump. Then retaliates, BASHING the Daytona off onto a side street.</scene_description> </scene> <scene> <stage_direction>INT. DAYTONA - CONTINUOUS</stage_direction> <scene_description>As Fenix's car careens down a parallel alley, he shouts into his radio at his men.</scene_description> <character>FENIX (INTO RADIO)</character> <dialogue>They're heading to the Border. If they get across, I'll kill every last one of you.</dialogue> <scene_description>THE EVO AND THE CHARGER round the next bend -- only to find a TWENTY CARS BLOCKING THE ROAD, cutting off access to the border. Gunmen levelling rifles.</scene_description> <character>BRIAN</character> <dialogue>Oh fuc--</dialogue> <scene_description>And Brian CRANKS hard left, BOUNCING off the road and into the Mexican desert as the henchmen OPEN FIRE. Bullets spang against the cars like .50 caliber hail. They shoot to incapacitate Brian's Evo. They shoot to kill Dom. But before they can accomplish either, the Evo and the Charger crest a rise and duck out of range. AERIAL SHOT Of Brian and Dom speeding across No Man's Land, TWIN ROOSTER TAILS OF DIRT being thrown up behind them. Now PULL BACK TO REVEAL and ARMADA OF CARS pouring out of the city and into the desert after them. FIFTY ROOSTER TAILS closing in on our heroes. More and more. Impossible odds.</scene_description> </scene> <scene> <stage_direction>INT. BRIAN'S EVO</stage_direction> <scene_description>Scrambling at full speed over the scrub wastes. Dom pulls up even with him. Shouts out the window.</scene_description> <character>DOM</character> <dialogue>We got a plan?</dialogue> <character>BRIAN</character> <dialogue>I'm working on it.</dialogue> <scene_description>Braga loves the desperation.</scene_description> <character>BRAGA</character> <dialogue>You're going to die out here.</dialogue> <character>BRIAN</character> <dialogue>Oh really?</dialogue> <scene_description>With sudden ferocity, Brian ELBOWS Braga in the face, knocking him cold! As Braga slumps, Brian grins -- then STARTS as FOUR 4x4 DUNE RUNNERS come leaping out of a ravine right at him! Brian SWERVES to avoid the steel rain. DOM double-pumps his NOS and BLASTS ahead, inserting himself between the Evo and the 4x4s. And the 4x4's COLLIDE against him. It's a duel -- the Charger versus four desert vehicles built for sand. Like a pack hyenas trying to take down a lion, they SMASH against the Charger, trying to wipe it out. But the V8 is the king of this jungle and goes on the offensive, SMASHING one 4x4 back into the ravine and PITTING another so violently that it goes CARTWHEELING into the sand. And just then, Brian RECOGNIZES a landmark from the run they did days ago, and realizes --</scene_description> <character>BRIAN</character> <dialogue>The tunnels!</dialogue> <scene_description>And Brian angles off in the direction he remembers them to be. AHEAD an improvised footbridge spans a small arroyo. Brian cuts hard through the sand and streaks for it. But Brian glances up to see his rearview FILLED with pursuing cars. It looks like a sandstorm coming with the wrath of God. No choice, Brian blasts across the rickety bridge. Amazingly, it holds. Dom is only a few car lengths behind, sandwiched between two dune runners battering him. As they try to crush him one final time, Dom squeezes the juice and ROCKETS FORWARD across the bridge, leaving them to -- CRRAASSHH! -- collide into each other and snarl into a massive wreck, DESTROYING THE FOOTBRIDGE! BRIAN Looks back to sees the bridge gone, and the scene empty of pursuers... But then -- VROOOM!VROOM!VROOM!VROOM! -- a dozens of cars come sailing over the lip of the arroyo like an iron waterfall, boiling out of the ground like a nest of metal ants. Brian and Dom give it everything they've got -- a modern day Butch and Sundance trying to escape from the Mexican army. Two against a hundred, closing in. A real life race of life and death. Then, with a burst of Nitromethane, a single car separates from the pack to harry the Evo. A devil-red Daytona. DOM sees it coming, ready to block for Brian, but -- FENIX fakes left, then slues right, skimming around Dom to catch the Evo. Brian tries to avoid him, but the guy is too damn good. With a flick of his wrist, Fenix PITS the Evo's rear bumper sending Brian SPINNING OUT IN A WAVE OF SAND! BRIAN'S POV The world spins in a 360-DEGREE SILICA VORTEX...but Brian's skills are as sharp as they've ever been and he CORRECTS while in the spin, to come out of it driving forward at top speed. And ahead, he sees: BRAGA'S SUBTERRANEAN TRAFFICKING TUNNELS Brian streaks for them like a guided missile. Fenix draws close, and as he's about to spin the Evo again -- WHAM! The Charger comes out of nowhere to SMASH the Daytona aside. And as Fenix and Dom engage in a motorized World War III, Brian shoots -- INTO THE TUNNELS Driving on memory and split-second reflex, Brian guides the Evo through the earthen maze at top speed, skidding around corners and sparking off the walls. Only a car length behind -- DOM AND FENIX battle it out, zig-zagging through the forest of support struts and slamming each other off the tunnel walls. A handful of other racers keep up through the tunnel run, but when one tries to wipe out the Charger, Dom taps the brakes and drops back, swerving around the 4x4 as it loses control and EXPLODES against one of the supports. Blinded by the blast, the racer just behind SMASHES into the same strut at full speed and -- KKRRRAAAAACKK! -- SEVERS IT IN HALF! All throughout the tunnel, the other struts GROAN and CREAK under the additional weight -- then BURST TO SPLINTERS. Behind them, the tunnel begins COLLAPSING IN A CHAIN REACTION! A dozen of the desert racers are buried beneath the crushing avalanche that races to catch -- DOM, BRIAN AND FENIX Around them, the walls SHAKE, supports BUCKLE as, behind them, Mother Earth races to swallow them whole. Like the Millennium Falcon's escape from the exploding Death Star in Return of the Jedi, the tunnel collapse roars closer, catches them, and just as the whole works come down on top of them -- The three cars BLAST out of the tunnels on the U.S. side in a MASSIVE WRECK OUT! The Evo, Charger and Daytona TUMBLE across the desert sands like Matchbox toys thrown by an angry child. BRIAN is trapped in the mangled Evo, unconscious, injured. The muscle cars fare better. FENIX is the first out of his wreck, nitromethane shooting out of the exhaust in great sputtering flamethrower bursts. DOM is badly messed up...but rises to meet him. And as their cars burn behind them, Dom and Fenix prepare for the gritty, gut-wrenching fight to the death we've been waiting for. No words need be spoken. And the two titans collide in mortal combat. The tide of battle shifts precariously, both men raining down earth-shattering blows that would kill a lesser man, until Fenix digs his fingers into the gunshot wound Mia had sewn up, tearing it open. Dom recoils in pain...and that's the only opening Fenix needs, slipping behind Dom and getting him into a NECK- BREAKING DEATH GRIP. And now that he's got him, Fenix begins forcing Dom's head toward the NITROMETHANE FLAMETHROWER rapid-firing out of the Daytona's inverted exhaust port. Dom tries to resist, neck muscles bulging, face getting closer to the fire. And just as the flames start blistering his skin -- Dom's eyes fall on the wreck of the Charger. All that Letty worked to restore, ruined. And with his last seconds of life, Dom is consumed with rage, letting out a primordal scream and accessing a reserve of strength even he didn't know he had to BREAK Fenix's grip and sending the bastard flying to the ground. The look in Dom's eye as he stalks toward Fenix is terrible to behold. Scared for the first time in his life, Fenix grabs a piece of twisted metal off the ground to defend himself with -- But Dom is in a beserker rage and swipes it away, raining righteous Hammer of God blows down upon Fenix until the sonofabitch's limp and broken body moves no longer. Dom has gotten revenge for Letty. ANOTHER ANGLE In the distance, the hills come alive with red and blue lights as a thousand POLICE AND BORDER PATROL CARS begin to close in. Dom moves to the Evo and checks out its occupants. Braga has a broken arm, but is alive. Brian is entombed by the crumpled metal. Dom looks down to find the sheared metal of the car has SEVERED AN ARTERY that threatens to bleed Brian out. All around, the cops draw nearer. Brian knows if Dom stays what it will mean.</scene_description> <character>BRIAN</character> <dialogue>Get out of here, Dom.</dialogue> <character>DOM</character> <dialogue>You'll die.</dialogue> <character>BRIAN</character> <dialogue>So will you, if you stay.</dialogue> <scene_description>There's a tense moment. This is Dom's chance. He stares off at the open road... ...then shakes his head.</scene_description> <character>DOM</character> <dialogue>I ain't running anymore.</dialogue> <scene_description>And in a nice payback on the same sacrifice Brian made for him in the first film, Dom kneels down and applies pressure to Brian's wound, stemming the blood flow. Stays to save Brian as the cops close the trap around them... SLOW DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES COUNTY COURTHOUSE - ESTABLISHING</stage_direction> <scene_description>The concrete monolith inspires dread.</scene_description> </scene> <scene> <stage_direction>INT. COURTHOUSE</stage_direction> <scene_description>Dom wears the last outfit we ever thought we'd see him in -- an orange jumpsuit and chains. As the JUDGE enters the courtroom, the BAILIFF intones:</scene_description> <character>BAILIFF</character> <dialogue>All rise.</dialogue> <scene_description>Everyone does.</scene_description> <character>JUDGE</character> <dialogue>I've listened to the testimony and taken into special consideration Agent O'Conner's appeal of clemency on behalf of Mr. Toretto, that his actions directly resulted in the apprehension of known drug trafficker Antonio Braga...</dialogue> <scene_description>The argument is compelling, and in our hearts we know the Judge is gonna go for it...</scene_description> <character>JUDGE</character> <dialogue>However, this judiciary finds that one right does not make up for a lifetime worth of wrongs. And as such, I find that I am forced to level the maximum sentence under California law...</dialogue> <scene_description>REACTION SHOTS: MIA burying her head against Brian's shoulder. BRIAN unable to believe what he's hearing. DOM implacable as stone. He knew what was coming. HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY</stage_direction> <scene_description>A lone SHERIFF'S PRISON BUS drives down the highway.</scene_description> </scene> <scene> <stage_direction>INT. SHERIFF'S BUS</stage_direction> <scene_description>Dom is inside, in shackles, on his way to prison. His greatest fear realized...</scene_description> <character>JUDGE (VO)</character> <dialogue>Dominic Toretto, you are hereby sentenced to serve twenty-five years to life in the Lompoc maximum security prison system, without possibility of early parole.</dialogue> <scene_description>And as the gavel slams down, we see the last vestiges of hope die in his eyes. It's a horrible moment. Then -- SFX: THE SOUND OF HIGHLY-TUNED ENGINES. Barely audible, but then growing LOUDER. An approaching automotive storm. Dom looks out the window to see FOUR BLACKED-OUT IMPORT CARS racing up alongside the bus like sharks hunting a whale. As the hyper-tuned racers draw in close, the sheriffs panic and draw their guns. Dom looks at the lead car...and realizes it's Brian. The others are MIA, TEGO and ROMAN. And as MUSIC RISES, Brian and the others pull a crazy synchronized move that forces the bus to lock its brakes and skid sideways in a scream of smoke and rubber. And as Dom smiles, we -- SLAM TO BLACK.:</scene_description> </scene> </script>

Dominic Toretto and his crew, consisting of girlfriend Letty, Tego Leo, Rico Santos, Cara and Han Lue, are hijacking fuel tankers in the Dominican Republic. Dom suspects the police are on their trail, and leaves Letty behind to protect her from being caught. Months later, in Panama City, Dom gets a call from his sister Mia, who tells him Letty has been murdered. Dom heads to Los Angeles to attend her funeral and finds traces of nitromethane at the crash site. He coerces the local mechanic into giving the name of the buyer, David Park, and is informed that the only car that uses nitromethane in the area is a green 1972 Ford Torino Sport. Meanwhile, FBI agent Brian O'Conner is trying to track down a Mexican drug lord, Arturo Braga, whose identity to the public is unknown; his search also leads him to Park. Dom arrives at Park's apartment and hangs him out of the window by his ankles before Brian arrives. Brian saves Park, who in turn becomes the FBI's new informant and gets Brian into a street race. Brian selects a modified 2002 Nissan Skyline GT-R R34 from the impound lot; Dom also shows up, in his 1970 Chevrolet Chevelle SS. Ramon Campos, Braga's second-in-command, and Gisele Yashar, Braga's liaison, reveal that the winner will become the last driver on a team that traffics heroin between the Mexico–United States border. Dom wins by bumping Brian's car while in nitro, making him lose control. Brian uses his power as an FBI agent to arrest another driver, Dwight Mueller, and takes his place on the team. The team meets up with Braga's henchman, Fenix, and Dom notices that Fenix drives the same Torino the mechanic described. They drive across the border using tunnels to avoid detection. Dom confronts Fenix and learns that he kills the drivers after their work is done, and that he killed Letty when she tried to escape him. A stand-off ensues; Dominic detonates his car with nitrous to distract Braga's men, and Brian hijacks a 1999 Hummer H1 with $60 million worth of heroin in it. Brian and Dom drive back to LA and hide the heroin in a police impound lot, where they pick up a modified 2008 Subaru Impreza WRX STI hatchback; they drive to Dom's house and reunite with Mia. Dom attacks Brian when he learns he was the last person in contact with Letty; Brian explains Letty was working undercover, tracking Braga in exchange for clearing Dominic's record. Brian tells his superiors that in exchange for Dominic's pardon, he will lure Braga into a trap, forcing him to show up to exchange money for the heroin. At the drop site, the man who claims to be Braga is revealed as a decoy, and Campos—the real Braga—escapes with Fenix to Mexico. In the ensuing chaos, Fenix nearly runs over Gisele before Dom saves her. The failed trap results in Brian being taken off active duty. With Gisele's help, Brian and Dom travel to Mexico to catch Braga in the Subaru and Dom's rebuilt 1970 Dodge Charger R/T, and apprehend him at a church. As Braga's henchmen try to rescue him, Brian and Dom drive through the tunnels back to the United States. Brian is chased by Fenix ahead of the others until he is T-boned and pushed out of the tunnels. Before Fenix can kill him, Dom drives out of the tunnels and into Fenix, killing him. As police and helicopters approach the crash site on the American side of the border, Brian tells Dom to leave, but Dom says he is tired of running. Despite Brian's request for clemency, the judge sentences Dom to 25 years to life without parole. Brian resigns from the FBI and Dom boards a prison bus that will transport him to Lompoc penitentiary. As the bus drives down the road, Brian, Mia, Leo, and Santos arrive in their cars to intercept it.

The Electrical Life of Louis Wain_2021

tt10687506

<script> <scene> <scene_description>THE ELECTRICAL LIFE OF LOUIS WAIN Story by Simon Stephenson Screenplay Simon Stephenson and Will Sharpe "PROLOGUE"</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD, CATHOLIC CHURCH, MARYLEBONE - DAY (1880)</stage_direction> <scene_description>A WILD, FOREBODING ATMOSPHERE. HEAVY RAIN as we track ominously along muddy ground. LIGHTNING reflects in puddles. A STRANGE CREAKING and the SPLISH-SPLOSH of footsteps. A pair of muddy black shoes trample through the shot, followed by rickety wheels. LOUIS WAIN (19, slight moustache , ill fitting funeral suit) drags a wagon behind him, overflowing with soggy fabrics. We are in a GRAVEYARD, walking among headstones, through a garden of death. The fabrics are delightfully coloured and intricately patterned - a curious counterpoint to the grand gloom of the storm. LOUIS is soaking wet and has a slightly odd gait. He hums quietly to himself as LIGHTNING flashes. A SCREECHY MEOW as a GRAVEDIGGER tosses a disgruntled GINGER CAT out of a freshly dug grave.</scene_description> <character>GRAVEDIGGER</character> <dialogue>Get out of it! Stupid cat...</dialogue> <scene_description>The GINGER CAT hisses as it scurries off into the bushes. The GRAVEDIGGER inspects a ravaged lunch box.</scene_description> <character>GRAVEDIGGER</character> <dialogue>Naughty bastard's just gobbled up half my herrings...</dialogue> <scene_description>LOUIS chuckles to himself. Other FUNERAL GUESTS gather with umbrellas. A FUNERAL CARRIAGE arrives bearing the coffin.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>On the 5th of August in the year 1860...</dialogue> <scene_description>LIGHTNING FLASHES over the horizon.</scene_description> </scene> <scene> <stage_direction>INT. CATHOLIC CHURCH, MARYLEBONE - DAY</stage_direction> <scene_description>LIGHT FLASHES on the pale, yellow face of WILLIAM MATTHEW WAIN. He is lying dead in an open casket full of flowers.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... I was born into a decade of sickness and torment.</dialogue> <scene_description>LOUIS coughs and shuffles through scribbled wet notes - some of it backwards, written the wrong way: "My father is not dead. He has merely transformed into electricity." LOUIS' FIVE ECCENTRIC LOOKING SISTERS (CAROLINE (18), JOSEPHINE (17), MARIE (11), CLAIRE (10) and FELICIE (9) are squashed together on a pew with their mother, MRS WAIN.</scene_description> <character>CAROLINE</character> <dialogue>Speak up, Louis, for goodness' sake...</dialogue> <character>JOSEPHINE</character> <dialogue>Yes speak up. I completely agree.</dialogue> <scene_description>CAROLINE has an almost comically serious manner. JOSEPHINE has a dafter, waftier energy. A PRIEST sits confused in a large, ornate chair. We notice MRS DU FRAYNE, a neighbour we will recognise later.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Foul storms of ferocious agony expanded time and I seemed to live for a thousand years, haunted by mental pictures of extraordinary complexity.</dialogue> <scene_description>The FABRICS from LOUIS' wagon are on display around the church, dripping rain onto the floor. LOUIS looks up finally to the congregation. OPENING TITLES (C.1860 - 1875) CREDITS BEGIN over a series of MEMORIES. We feel transported into the colourful chaos of LOUIS' young brain. YOUNG LOUIS as a boy. We see his cleft lip.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I saw wriggling spectres in my father's handiwork and was a bedevilled by a vast globe with endless surface, climbing over and over it for eternity.</dialogue> <scene_description>YOUNG LOUIS discovers his father in a WORKSHOP. WILLIAM WAIN uses a woodblock to print patterns onto wallpaper. It looks like they are coming to life. TERRIFYING, ABSTRACT VISIONS OF A VAST GLOBE SPINNING ENDLESSLY - AN INFINITE CURVE OF DARKNESS. YOUNG LOUIS is in bed, feverish. His TWO BABY SISTERS watch.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>But most fearful of all... was The Sea Full Of Big Ships...</dialogue> <scene_description>A SUDDEN CRACK OF THUNDER AND WE ARE TRANSPORTED INTO A VISION OF A STORMY SEA. SHIPS FROM HIS BEDROOM NOW LOOK HUGE AND CREAK IN TURBULENT WATER. YOUNG LOUIS runs through the house at night. A LIGHTNING STORM outside. He arrives at his parents' bedroom, crying.</scene_description> <character>YOUNG LOUIS</character> <dialogue>Mummy! Daddy! Help me! I'm drowning! Help me!</dialogue> <scene_description>YOUNG LOUIS rattles the door, but it is locked. He looks down the hallway. In his imagination, WATER FLOODS TOWARDS HIM.</scene_description> <character>YOUNG LOUIS</character> <dialogue>Mummy! Please! Help me! Help! I'm drowning... I'm drowning...</dialogue> <scene_description>INTERCUT:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREETS / ST JOHN STREET, CLERKENWELL</stage_direction> <scene_description>GUESTS make their way through the RAIN in a slow parade.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>My warped appearance and uncommon behaviour saw me banned from school and I was quite excluded from the enviously hum-drum existence of normal children.</dialogue> <scene_description>LOUIS walks near the front with his SISTERS, MRS WAIN, MRS DU FRAYNE. PATTERNS OF COLOUR START TO INVADE THE PICTURE.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>But then... at the age of nine...</dialogue> <scene_description>The WAINS usher GUESTS into their TOWNHOUSE. LOUIS notices the feral GINGER CAT cowering under cover across the street. The scruffy GINGER CAT has one eye. 4A OPENING TITLES 4A YOUNG LOUIS groans with pain. His tongue is bright red, infected. He is covered in a rash. His MOTHER attends to him.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I suffered a violent attack of scarlet fever, which I decided to fight... For the first time in my life, I decided to fight...</dialogue> <scene_description>LOUIS is ROARING through tears, like he is summoning some deep seismic force. He looks up into the camera, his tear- sodden face showing great determination and courage.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I forced my way into conventional education - and there too, I fought the bullies that taunted me.</dialogue> <scene_description>YOUNG LOUIS is pushed by a group of BULLIES who are pulling faces to mock his CLEFT LIP. YOUNG LOUIS pushes them back. He is outnumbered, but he fights back with all his might. QUICK CUTS OF LOUIS' CHILDHOOD NOTEBOOKS.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I studied chemistry, mathematics, music, astronomy and art... and soon discovered that school, in fact, was no match for my vast, peculiar intellect...</dialogue> <scene_description>He works hard, writing notes, doing experiments, sketching inventions, fiddling on the violin. He looks through a KALEIDOSCOPE. He discovers and investigates a MAGIC LANTERN, A VICTORIAN CHROMATROPE which spins with psychedelic colours.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I realised I could defeat the chaos of my mind, by always moving... I became brilliant. I became brave.</dialogue> <scene_description>YOUNG LOUIS climbs trees and snatches eggs from nests. He paddles in streams, catching beetles. He runs freely in the fields. A LIGHTNING STORM cracks into action. He looks up at the electric sky.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I became indestructible.</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR / KITCHEN, WAIN TOWNHOUSE, CLERKENWELL - DAY</stage_direction> <scene_description>A PORTRAIT WIDE of the WAINS and their FUNERAL GUESTS. TWO PET DOGS. LOUIS sits in the centre, sipping a cup of tea.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>But forty-four years after the death of my father, sinister electrical currents and foul ether will infect my body and mind irreparably. I will be certified insane and admitted into a pauper's ward at Springfield Psychiatric Hospital in Tooting... You probably won't have heard of me, but my name is Louis Wain.</dialogue> <scene_description>PATTERNS OF COLOUR OVERWHELM THE IMAGE. A WASH OF DANCING ELECTRIC HUES. It's strange. It's unsettling. It's beautiful. END OF PROLOGUE / TITLES: 1881 - 1887 "EARLY WAIN"</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN FROM ANDOVER - DAY (1881)</stage_direction> <scene_description>A STEAM TRAIN clatters through the countryside. A feeling of ramshackle proactivity.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN FROM ANDOVER - DAY</stage_direction> <scene_description>LOUIS (now 20s) looks dishevelled, covered in mud and dusty hoof prints. He carries a satchel, sketch pad, the remains of a smashed easel, a violin case and boxing gloves.</scene_description> <character>TRAIN ATTENDANT</character> <dialogue>Please keep your animals under control!</dialogue> <scene_description>He bustles his way through a busy train full of VARIOUS FARM ANIMALS, PAMPERED DOGS, even A PEACOCK - all making a ruckus among the GENTLEMEN, LADIES, FARMERS and other ANIMAL OWNERS. A FEW PASSENGERS whisper as he passes. We can hear snatches: "nutcase", "death-wish", "idiot".</scene_description> </scene> <scene> <stage_direction>INT. CARRIAGE, TRAIN FROM ANDOVER - DAY</stage_direction> <scene_description>LOUIS' sketches from the ANDOVER COUNTRY SHOW are in a messy pile. He is crouched on the floor, finishing the details of an angry BULL, which he draws at great speed from memory.</scene_description> <character>MR POMERANIAN (O.C.)</character> <dialogue>Are you an illustrator?</dialogue> <scene_description>A MAN with a rosetted POMERANIAN, is crouched nearby.</scene_description> <character>LOUIS</character> <dialogue>Um... yes and no... I illustrate for money, but I'm also working on several patents at the moment...</dialogue> <scene_description>LOUIS shuffles out his PORTFOLIO: accomplished drawings of BIRDS, OWLS, FISH, BEARS, PENGUINS, DOGS, LANDSCAPES. We also see CONFUSING SKETCHES OF COMPLICATED INVENTIONS.</scene_description> <character>MR POMERANIAN</character> <dialogue>Just come from the Country Show, I take it... did you get into a fight or something?</dialogue> <character>LOUIS</character> <dialogue>Oh... no, I was attacked by a one and a half tonne bull.</dialogue> <character>MR POMERANIAN</character> <dialogue>Ah... That was you was it. Yes, I heard about that... How much would you charge for a drawing of Cleopatra.</dialogue> <character>LOUIS</character> <dialogue>I... I don't really draw people.</dialogue> <character>MR POMERANIAN</character> <dialogue>No. Cleopatra.</dialogue> <scene_description>CLOSE-UP of the daft POMERANIAN.</scene_description> <character>LOUIS</character> <dialogue>Ah. Well that you can have for free...</dialogue> <character>MR POMERANIAN</character> <dialogue>That's awfully kind... my sister normally takes her but she's unwell so it's me today. Thought it might cheer her up. Dan Rider by the way.</dialogue> <scene_description>LOUIS nods in acknowledgement of the name, already sketching CLEOPATRA with surprising speed. MR POMERANIAN (DAN RIDER)curiously spies the VIOLIN CASE and BOXING GLOVES.</scene_description> <character>DAN RIDER</character> <dialogue>... Busy day?</dialogue> </scene> <scene> <stage_direction>INT. JEM MACE'S BOXING GYM, LONDON - DAY</stage_direction> <scene_description>SMACK! WALLOP! LOUIS is suddenly boxing. A SKETCH of the famous boxer BENDIGO - hangs on the wall. LOUIS keeps throwing himself at a much bigger SPARRING OPPONENT. THWACK! LOUIS falls onto his back and starts laughing.</scene_description> <character>JEM MACE</character> <dialogue>Alright, Wain, that's enough. You'll be late for your meetings...</dialogue> <character>LOUIS</character> <dialogue>Let me have one last crack at him!</dialogue> <scene_description>LOUIS dizzily wobbles back to his feet, jiggling about in a febrile dance. OTHER BOXERS, both men and women, enjoy this.</scene_description> <character>LOUIS</character> <dialogue>The Bendigo Shuffle! Come on, you big brute. Give me your best shot!</dialogue> <scene_description>THE BIG BOXER thinks about it for a second. Then - THWACK! HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. INGRAM'S OFFICE, ILLUSTRATED LONDON NEWS - DAY</stage_direction> <scene_description>LOUIS crashes into an ILN WORKER and drops a pile of his sketches in a flurry of paper.</scene_description> <character>LOUIS</character> <dialogue>Sorry! Sorry...</dialogue> <scene_description>He starts picking them up and trying to pass them to SIR WILLIAM INGRAM, Editor of the ILN.</scene_description> <character>INGRAM</character> <dialogue>I've received word about your foolish antics at the country show, Mr Wain. There's been a whole raft of complaints about...</dialogue> <parenthetical>(consults a note)</parenthetical> <dialogue>... "An odd fellow being dangerous, climbing nonchalantly into the Longhorn's pen and standing not three yards from the largest, most ferocious animal on the entire site..."</dialogue> <scene_description>INGRAM inspects LOUIS' bull illustrations as they walk.</scene_description> <character>LOUIS</character> <dialogue>I was trying to get a closer look at him and, well, he didn't have a very good sense of humour, put it that way...</dialogue> <character>INGRAM</character> <dialogue>Not renowned for their sense of humour are they really... bulls... Every time I commission you to illustrate a story for us, you manage to create some kind of ridiculous chaos. I mean, why were you throwing peanuts at him?</dialogue> <character>LOUIS</character> <dialogue>I heard somewhere that they like peanuts and it calms them down, but it didn't work. That's the trouble with these show-cows. Huge egos...</dialogue> <character>INGRAM</character> <dialogue>It's a good job you can draw, Mr Wain, or we would have parted ways some time ago. And don't think I haven't noticed the absolute state of your visage.</dialogue> <scene_description>INGRAM arrives at his desk and inspects LOUIS' bull illustrations. LOUIS is a bit bloody and bruised, a small cut across his nose, hesitantly following into the office.</scene_description> <character>LOUIS</character> <dialogue>Oh this isn't from the bull, Sir William. I've just had a boxing class with Jem Mace.</dialogue> <character>INGRAM</character> <dialogue>Boxing? With the great Jem Mace? So when did you draw this bull?</dialogue> <character>LOUIS</character> <dialogue>On the train... from memory.</dialogue> <character>INGRAM</character> <dialogue>All of them? ... How fast do you work exactly?</dialogue> <character>LOUIS</character> <dialogue>Um... well...</dialogue> <scene_description>LOUIS rummages for a couple of pencils. SIR WILLIAM looks at him curiously. LOUIS is scribbling with TWO PENCILS AT ONCE.</scene_description> <character>INGRAM</character> <dialogue>I'll come clean with you, young Wain. One of my speediest, most prolific staff illustrators has just been poached by a rival publication and I am in desperate need to find a replacement. Do you think you'd be up to it?</dialogue> <character>LOUIS</character> <dialogue>Well... yes... obviously...</dialogue> <parenthetical>(off INGRAM'S look)</parenthetical> <dialogue>I hardly find this work taxing, Sir William. I do it simply to pay the bills and to support the six hungry and precocious women that I live with at home. Until they get married of course. To be honest it's rather inconvenient.</dialogue> <scene_description>LOUIS finishes sketching and turns the paper round to show SIR WILLIAM a sketch of SIR WILLIAM. The expression in the drawing is comically similar to his expression in real life. INGRAM thinks as LOUIS starts gathering his things.</scene_description> <character>INGRAM</character> <dialogue>Mr Wain, I don't think you understand me. On the basis of the speed and the quality of your work - and with the proviso that you modify your imbecilic behaviour - I am offering you the position of full time staff at the Illustrated London News.</dialogue> <character>LOUIS</character> <dialogue>Well that's very kind of you, Sir William, but I'm afraid I can't. I have several important electrical patents to finish and in fact I'm rather late for a meeting with Henry Wood, the celebrated composer...</dialogue> <parenthetical>(off INGRAM'S look)</parenthetical> <dialogue>... I've written an opera.</dialogue> </scene> <scene> <stage_direction>INT. HORSE-DRAWN BUS / EXT. LONDON STREETS - AFTERNOON</stage_direction> <scene_description>A GIANT DOG FOOD ADVERT featuring a PAMPERED-LOOKING DOG. Inside a HORSE-DRAWN BUS, LOUIS leafs through his scores, humming, even singing and conducting excitedly to himself. A MOTHER shields her CHILDREN from LOUIS' peculiar presence.</scene_description> </scene> <scene> <stage_direction>INT. LONDON TEAROOMS, MAYFAIR - AFTERNOON</stage_direction> <scene_description>LOUIS is sat in a plush tea room full of FANCY GUESTS. Brightly coloured cakes are half finished on a cake stand.</scene_description> <character>HENRY WOOD</character> <dialogue>This is not an opera, Louis. By conventional standard, it barely qualifies as music. And... this is not a plot... it's just your... thoughts.</dialogue> <scene_description>LOUIS' "OPERA" is out on the table. WOOD smiles patiently.</scene_description> <character>HENRY WOOD</character> <dialogue>I love your enthusiasm... but you have to master the basics of harmony first...</dialogue> <character>LOUIS</character> <dialogue>I've invented my own harmonies.</dialogue> <character>HENRY WOOD</character> <dialogue>Yes, well... perhaps that's part of the problem... if it's any consolation, I thought the little drawing you did on the cover sheet was rather charming.</dialogue> <scene_description>LOUIS looks down at the colourful display of leaves and berries surrounding A BULLFINCH.</scene_description> </scene> <scene> <stage_direction>EXT. WAIN TOWNHOUSE, ST JOHN STREET, CLERKENWELL - DUSK</stage_direction> <scene_description>A reasonably smart street clouded in evening mist. We can dimly hear a PIANO being played.</scene_description> <character>NEIGHBOUR (O.C.)</character> <dialogue>Tell your sisters to keep it down!</dialogue> <scene_description>LOUIS ignores this as he arrives home at the TOWNHOUSE.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, WAIN TOWNHOUSE, CLERKENWELL - DUSK</stage_direction> <scene_description>LOUIS slams the door behind him. WILLIAM WAIN'S BEAUTIFUL COLOURFUL WALLPAPER brings colour to the lamplit hallway. Immediately we feel the bustle of his SISTERS - COOKING in the kitchen, a PIANO being played, CHILDREN FENCING upstairs. LOUIS starts wiping his shoes clean on a boot brush.</scene_description> <character>CLAIRE (O.C.)</character> <dialogue>Evening, Louis!</dialogue> <character>LOUIS</character> <dialogue>Yes, evening...</dialogue> <character>FELICIE &amp; MARIE (O.C.)</character> <dialogue>Evening!</dialogue> <character>LOUIS</character> <dialogue>Hello, yes, how are you...</dialogue> <character>JOSEPHINE (O.C.)</character> <dialogue>Are you back?</dialogue> <character>LOUIS</character> <dialogue>Yes of course I'm back, Josephine! I'm back! What do you mean?</dialogue> <scene_description>FELICIE (10) hurries down the stairs, holding a FENCING FOIL.</scene_description> <character>FELICIE</character> <dialogue>Louis, did you meet an eligible young lady of means in Hampshire?</dialogue> <character>LOUIS</character> <dialogue>No but I did meet a few goats and geese and a rather cantankerous bull...</dialogue> <character>JOSEPHINE</character> <dialogue>Well that's no use - you can't marry a goat can you!</dialogue> <character>FELICIE</character> <dialogue>What's happened to your poor face? Was it boxing again?</dialogue> <character>CAROLINE (O.C.)</character> <dialogue>Don't tell me he's been boxing again!</dialogue> <scene_description>LOUIS' path is blocked by CLAIRE (11).</scene_description> <character>CLAIRE</character> <dialogue>Did you meet the Duchess of Westminster at the show, Louis?</dialogue> <character>LOUIS</character> <dialogue>I don't know who that is.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>Bubbling pots, pans. CAROLINE (20s) chops vegetables.</scene_description> <character>CAROLINE</character> <dialogue>Louis!</dialogue> <character>LOUIS (O.C.)</character> <dialogue>What!</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>A LIT FIRE. JOSEPHINE (19) is playing the piano badly.</scene_description> <character>JOSEPHINE</character> <dialogue>You know who the Duchess of Westminster is, Louis, she has those eyebrows!</dialogue> <character>CAROLINE</character> <dialogue>Have you been boxing!</dialogue> <scene_description>CAROLINE charges through, holding a kitchen knife.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <character>LOUIS</character> <dialogue>I've told you, Caroline! He barely charges me because I gave him a drawing of Bendigo!</dialogue> <character>CLAIRE</character> <dialogue>Louis, will you practise quadrilles with me after supper?</dialogue> <scene_description>CLAIRE dances to show us what a "quadrille" might be. CAROLINE enters the hallway holding the knife.</scene_description> <character>LOUIS</character> <dialogue>Ah, you've come to murder me at last. Felicie, protect me quick!</dialogue> <character>FELICIE</character> <dialogue>En garde!</dialogue> <scene_description>FELICIE jokingly holds the foil up at CAROLINE, who bats it out the way without any humour whatsoever.</scene_description> <character>CAROLINE</character> <dialogue>Don't. Louis, we must discuss our finances. How was your meeting with Sir William? Is he satisfied?</dialogue> <character>LOUIS</character> <dialogue>Sir William is if anything overly delighted with my work. In fact he offered me the position of staff illustrator. Now can I get to my-</dialogue> <scene_description>LOUIS tries to push on up the stairs but FELICIE hugs him.</scene_description> <character>FELICIE</character> <dialogue>Staff illustrator! But that's fantastic, Louis!</dialogue> <character>LOUIS</character> <dialogue>Yes but-</dialogue> <character>CLAIRE</character> <dialogue>Bravo, brother!</dialogue> <scene_description>CLAIRE reappears. MARIE (12) is now standing on the stairs above him. She also holds a FENCING FOIL, in a strange costume, with cape and mask, munching an APPLE.</scene_description> <character>JOSEPHINE</character> <dialogue>Did I hear you say staff illustrator?</dialogue> <scene_description>JOSEPHINE appears down in the hallway.</scene_description> <character>LOUIS</character> <dialogue>Yes but I didn't accept it.</dialogue> <character>CAROLINE</character> <dialogue>... I beg your very pardon... why!?</dialogue> <character>LOUIS</character> <dialogue>Because I need more time to work on my inventions and to improve my understanding of musical notation so I can return to Henry Wood with the greatest opera of all time.</dialogue> <character>MARIE</character> <dialogue>I'm a phantom swordsman. Apples make me invisible.</dialogue> <character>LOUIS</character> <parenthetical>(heading upstairs)</parenthetical> <dialogue>Yes, okay, Marie. Well done.</dialogue> <character>CAROLINE</character> <dialogue>Louis! Come down here this instant!</dialogue> <character>LOUIS</character> <dialogue>Where's mother? I got her a little present from Andover.</dialogue> <character>FELICIE</character> <dialogue>She's got a sniffle. She's snoozing.</dialogue> <character>LOUIS</character> <dialogue>It's just a silly trinket from the country show. It cost nothing.</dialogue> <character>CAROLINE</character> <dialogue>Nothing costs nothing, Louis. We already have twice as many outgoings as you have wages and we've just hired a governess.</dialogue> <character>LOUIS</character> <dialogue>I told you I need that room for secondary projects and anyway I can teach them! I'm perfectly qualified in all the relevant subjects.</dialogue> <character>CAROLINE</character> <dialogue>No you are not, Louis. And you need to be out working.</dialogue> <character>JOSEPHINE</character> <dialogue>Yes quite right. You need to be out working, Louis.</dialogue> <character>LOUIS</character> <dialogue>Governess! I'm afraid we do not require your services at present!</dialogue> <scene_description>LOUIS ignores them and continues up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. FIRST FLOOR LANDING, WAIN HOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>The SISTERS chase after him. MRS WAIN snoozes in an armchair.</scene_description> <character>LOUIS</character> <dialogue>Please excuse the misunderstanding!</dialogue> <character>CAROLINE</character> <dialogue>Louis! Come back here!</dialogue> <character>JOSEPHINE</character> <dialogue>Yes come back here! Quite right!</dialogue> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>LOUIS struts up to the top floor where there are three rooms - THE SCHOOL ROOM, the GUEST ROOM and LOUIS' BEDROOM. LOUIS tries the SCHOOL ROOM first.</scene_description> <character>LOUIS</character> <dialogue>Governe-ess! Time to pack your ba- ags! ... Where are you?</dialogue> </scene> <scene> <stage_direction>INT. GUEST ROOM, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>LOUIS enters the GUEST ROOM. The room is a mess of teaching materials, books, clothes and quite a lot of exotic FRUIT.</scene_description> <character>LOUIS</character> <dialogue>Governess?</dialogue> <scene_description>No sign of anyone. CAROLINE, JOSEPHINE, CLAIRE, MARIE and FELICIE arrive in the doorway, shocked by the mess.</scene_description> <character>JOSEPHINE</character> <dialogue>Where's she gone?</dialogue> <scene_description>Inside the wardrobe, we are with EMILY RICHARDSON, who has curled herself up into the dark and is peering at the WAINS through a crack of light in the door. THE SISTERS investigate the FRUIT, while LOUIS comes over to the wardrobe. EMILY breathes nervously as LOUIS peers right in at her.</scene_description> <character>EMILY</character> <parenthetical>(quietly to herself)</parenthetical> <dialogue>Oh for fuck's sake...</dialogue> <character>JOSEPHINE</character> <dialogue>Perhaps we should have gone with the scary nun after all...</dialogue> <character>MARIE</character> <dialogue>No, not the scary nun...</dialogue> <character>FELICIE</character> <dialogue>She was so smelly and boring!</dialogue> <character>LOUIS</character> <dialogue>Is that you in there, governess?</dialogue> <scene_description>EMILY isn't sure what to do.</scene_description> <character>CAROLINE</character> <dialogue>Miss Richardson! If you are in the wardrobe we shall be most displeased!</dialogue> <scene_description>FELICIE, CLAIRE and MARIE are finding this quite funny.</scene_description> <character>LOUIS</character> <dialogue>There's no need to be frightened, but I'm going to have to open this door. Okay? One... two... three...</dialogue> <scene_description>LOUIS opens the door. Curled up inside is EMILY RICHARDSON.</scene_description> <character>EMILY</character> <dialogue>Right, yes. No I can see how this is... I mean as first impressions go... how do you do, Mr Wain.</dialogue> <scene_description>EMILY emerges dustily from the wardrobe, clutching a copy of "THE TEMPEST". She wears reading spectacles and variously patterned garments in blue.</scene_description> <character>CAROLINE</character> <dialogue>Miss Richardson. Get out of the wardrobe!</dialogue> <character>EMILY</character> <dialogue>Well I'm not in it anymore but...</dialogue> <character>CAROLINE</character> <dialogue>Get out of it immediately!</dialogue> <scene_description>EMILY is not in the wardrobe anymore, but CAROLINE is so angry that she's saying weird things.</scene_description> <character>EMILY</character> <dialogue>Would you perhaps like to know my name, Mr Wain? So you don't have to keep shouting "governess" all round the house. I believe your mother has been napping. Not very thoughtful is it. Trampling up the stairs like a drunken elephant shouting "governess" at the top of your voice.</dialogue> <scene_description>CAROLINE, JOSEPHINE, CLAIRE, MARIE and FELICIE are surprised by how easily EMILY handles LOUIS.</scene_description> <character>CAROLINE</character> <dialogue>Miss Richardson, why were you in the wardrobe. And what is all this mad fruit everywhere? It's chaos.</dialogue> <character>EMILY</character> <dialogue>It helps me to concentrate sometimes, to be in a confined space. With something like Shakespeare I know it inside out already, so I just block out the world and play it through in my head.</dialogue> <character>LOUIS</character> <dialogue>Well that's all very nice, Miss Richardson, but I was just saying how I am in fact well versed in mathematics and chemistry and so...</dialogue> <character>EMILY</character> <dialogue>Right well if you shan't be needing my services I'll be on my way.</dialogue> <character>JOSEPHINE</character> <dialogue>Miss Richardson, please. He's just being an ass.</dialogue> <character>EMILY</character> <dialogue>No, no... I'm actually quite relieved not to have to get up at four-thirty in the morning to prepare lessons...</dialogue> <character>LOUIS</character> <dialogue>Four-thirty...</dialogue> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING / SCHOOL ROOM - CONT.</stage_direction> <scene_description>EMILY heads for the SCHOOL ROOM. They follow.</scene_description> <character>EMILY</character> <dialogue>And to be honest with you, Mr Wain, I was a bit worried about the Ancient Greek. Homer's use of the metrical ictus does make it rather hard doesn't it? And all those feminine caesuras...</dialogue> <scene_description>LOUIS has no idea. EMILY grabs a stack of books.</scene_description> <character>EMILY</character> <dialogue>No doubt they will be much better off in your accomplished hands.</dialogue> <scene_description>The SISTERS all look at LOUIS, urging him to make her stay.</scene_description> </scene> <scene> <stage_direction>INT. GUEST ROOM, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>EMILY heads back to the GUEST BEDROOM. Again, they follow.</scene_description> <character>LOUIS</character> <dialogue>Um... I... I was just thinking actually that, um...</dialogue> <character>EMILY</character> <dialogue>... Yes?</dialogue> <character>LOUIS</character> <dialogue>I promised myself I would submit my patent for The Steady-Cycle before the end of the month and... if I'm teaching my sisters how to do feminine senoras-</dialogue> <character>EMILY</character> <dialogue>Caesuras.</dialogue> <character>LOUIS</character> <dialogue>- yes exactly, well... I may not have time...</dialogue> <character>EMILY</character> <dialogue>So you would like me to stay?</dialogue> <scene_description>LOUIS has relented.</scene_description> <character>CAROLINE</character> <dialogue>Good. Well that's settled then.</dialogue> <character>CLAIRE</character> <dialogue>Is this a pineapple?</dialogue> <character>EMILY</character> <dialogue>Yes that's a pineapple. Quite rare but I know the man who imports them, you see. My father was a fruiterer. He passed away recently but I thought I would bring you all some interesting, tropical gifts by way of thanks for the employment.</dialogue> <character>LOUIS</character> <dialogue>... Our father passed away recently too.</dialogue> <character>EMILY</character> <dialogue>So I gather...</dialogue> <character>JOSEPHINE</character> <dialogue>Well thank you for the gesture, Miss Richardson, but I'm afraid this is too much fruit.</dialogue> <character>EMILY</character> <dialogue>Oh, I'm sorry.</dialogue> <character>JOSEPHINE</character> <dialogue>Yes no this is ridiculous. It's far too much.</dialogue> <character>MARIE</character> <dialogue>Can we eat them?</dialogue> <scene_description>MARIE and FELICIE are trying to peel bananas.</scene_description> <character>EMILY</character> <dialogue>Of course. That's what they're for.</dialogue> <character>CAROLINE</character> <dialogue>Put the bananas down this instant! We are grateful to Miss Richardson for her gift but we do not eat tropical fruits in the bedroom. Bring them downstairs... dinner is in half an hour. We shall serve yours up here, Miss Richardson...</dialogue> <scene_description>CAROLINE leaves, followed by the SISTERS. EMILY and LOUIS are alone. EMILY looks at LOUIS. He looks up too.</scene_description> <character>LOUIS</character> <dialogue>And what is your name... Miss Richardson...</dialogue> <character>EMILY</character> <dialogue>... It's Emily.</dialogue> <character>LOUIS</character> <dialogue>Emily... very good... why don't you join us?</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM, WAIN TOWNHOUSE, CLERKENWELL - NIGHT</stage_direction> <scene_description>ROMANTIC MUSIC. A NOISY, MESSY, EVENING MEAL - everyone talks over each other, serving themselves and each other sloppily. MRS WAIN is wrapped in a quilt, occasionally dabbing at her nose with a handkerchief. She is a gentle, bohemian spirit.</scene_description> <character>MRS WAIN</character> <dialogue>My poor husband William was thrown out by his family in Staffordshire. They were all Protestant, you see.</dialogue> <character>MARIE</character> <dialogue>Leek.</dialogue> <character>FELICIE</character> <dialogue>Yes, the town is called Leek, Mrs Richardson! Isn't that funny?</dialogue> <character>EMILY</character> <dialogue>Hilarious.</dialogue> <character>CLAIRE</character> <parenthetical>(bad Staffordshire accent)</parenthetical> <dialogue>They talk like this up there...</dialogue> <scene_description>LOUIS can't help watching EMILY.</scene_description> <character>CAROLINE</character> <dialogue>Don't be so stupid, Claire.</dialogue> <character>JOSEPHINE</character> <dialogue>Have you got enough swede, Miss Richardson? It's our speciality.</dialogue> <character>EMILY</character> <parenthetical>(Staffordshire accent)</parenthetical> <dialogue>Yes thank you, Miss Josephine. Nice bit of swede. Lovely!</dialogue> <character>MRS WAIN</character> <dialogue>Ooh, that's good! Isn't she good?</dialogue> <scene_description>EMILY'S plate is a mountain of food. THE SISTERS keep piling different things on there and pouring gravy on it.</scene_description> <character>JOSEPHINE</character> <dialogue>Sage and fennel. Mad, I know.</dialogue> <character>MARIE</character> <dialogue>Do it again, Miss Richardson.</dialogue> <character>EMILY</character> <parenthetical>(Staffordshire accent)</parenthetical> <dialogue>Do what again? This is just how I talk.</dialogue> <scene_description>We notice some of her FRUIT in huge bowls around the side.</scene_description> <character>FELICIE</character> <parenthetical>(copying the accent)</parenthetical> <dialogue>Can I have a carrot and some peas?</dialogue> <character>CAROLINE</character> <dialogue>Mouths closed when you're chewing please.</dialogue> <scene_description>LOUIS is transfixed by EMILY. CAROLINE seems miffed that EMILY is at the table. MRS WAIN finishes blowing her nose.</scene_description> <character>MRS WAIN</character> <dialogue>He wanted to be Catholic, you see... but his father wouldn't let him of course so he just ran away.</dialogue> <character>MARIE</character> <dialogue>He was a Cathoholic.</dialogue> <character>EMILY</character> <dialogue>And how did you meet him?</dialogue> <scene_description>EMILY gives a small glance in LOUIS' direction.</scene_description> <character>MRS WAIN</character> <dialogue>Through the church. I designed tapestries for the church and he came from a silk family so... he was a draper. And my own father - I'm French, you see...</dialogue> <scene_description>MRS WAIN does a joking "lah-dee-dah" pose. EMILY laughs. LOUIS can't take his eyes off her.</scene_description> <character>MRS WAIN</character> <dialogue>... he smuggled himself over to England by disguising himself as a woman...</dialogue> <character>EMILY</character> <dialogue>No...</dialogue> <character>JOSEPHINE</character> <dialogue>True story...</dialogue> <character>MRS WAIN</character> <dialogue>We're a family of mischief-makers, you see, Miss Richardson. We might as well be called the Shenanigans. I dare say you'll have your hands full with these three. And as for you two - high time you found some nice husbands of your own, don't you think?</dialogue> <character>CAROLINE</character> <dialogue>We will, mother... in time.</dialogue> <character>MRS WAIN</character> <dialogue>But when in time, Caroline. You never leave the house.</dialogue> <character>JOSEPHINE</character> <dialogue>I was given quite the look by a hatted man with a huge moustache the other day. On the bus. Absolutely enormous moustache he had and a very prominent brow, very prominent. Like a dome. Quite the look honestly, it was embarrassing.</dialogue> <character>MRS WAIN</character> <dialogue>But did he seem wealthy, Josephine?</dialogue> <character>JOSEPHINE</character> <dialogue>Oh yes, very. I could tell he had money just from the smell of him.</dialogue> <character>CLAIRE</character> <dialogue>You love him!</dialogue> <character>FELICIE</character> <dialogue>Josephine's going to marry a man with a giant moustache!</dialogue> <scene_description>EMILY looks back at LOUIS again. She smiles at him. Only CAROLINE senses this connection.</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - NIGHT</stage_direction> <scene_description>LOUIS lies in his bed. SLOPED CEILINGS. WALLS covered with DIFFERENT WALLPAPER SAMPLES - a hotch-potch display.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - NIGHT</stage_direction> <scene_description>EMILY is in a night gown, thoughtfully arranging a series of ROCKS on her mantelpiece.</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - NIGHT</stage_direction> <scene_description>LOUIS' door is ajar. He hears CAROLINE coming up the stairs. She knocks on EMILY'S ROOM. EMILY answers, in her night gown.</scene_description> <character>EMILY</character> <dialogue>Miss Caroline?</dialogue> <character>CAROLINE</character> <dialogue>... Is everything to your satisfaction, Miss Richardson?</dialogue> <character>EMILY</character> <dialogue>Very much so... why... do you ask?</dialogue> <character>CAROLINE</character> <dialogue>Oh no, just because... I was going to say, if the room is not to your liking, I would be perfectly happy for you to swap... with me...</dialogue> <character>EMILY</character> <dialogue>... That won't be necessary... I'm very comfortable.</dialogue> <character>CAROLINE</character> <dialogue>Of course... Only... I wouldn't want you to feel... Ill at ease... sharing a floor with... A man...</dialogue> <character>EMILY</character> <dialogue>... Why would that make me feel ill at ease?</dialogue> <scene_description>CAROLINE decides not to push it and smiles at her oddly.</scene_description> <character>CAROLINE</character> <dialogue>Very good. Please keep your belongings in order. You are here to set an example to my sisters.</dialogue> <character>EMILY</character> <dialogue>Of course. You're very good with them by the way. Must be exhausting. Having to be the grown up.</dialogue> <character>CAROLINE</character> <dialogue>I am a grown up. So... it's not exhausting...</dialogue> <scene_description>CAROLINE is distracted by the ROCK in EMILY'S hand.</scene_description> <character>CAROLINE</character> <dialogue>... Why are you holding a rock.</dialogue> <character>EMILY</character> <dialogue>Oh. I travel a lot, as a Governess... so I carry a few rocks with me from Shrewsbury, where I grew up. Helps me to feel at home. Funny, I hated it as a little girl but I miss it sometimes... here, why don't you have this one.</dialogue> <scene_description>EMILY hands CAROLINE the ROCK. CAROLINE is baffled by it.</scene_description> <character>CAROLINE</character> <dialogue>... Sleep well, Miss Richardson...</dialogue> <scene_description>CAROLINE nods goodnight and heads downstairs, glancing at LOUIS as she goes. EMILY and LOUIS see each other through their doorways. Slowly, EMILY closes her door. Out on LOUIS. What is this feeling. This is new.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY / PARLOUR, WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>CAROLINE and JOSEPHINE do battle with TWO IDENTICAL GREY BRITISH SHORTHAIR CATS as LOUIS bounds down the stairs. He pops his head round and sees CAROLINE and JOSEPHINE trying to shoo the CATS out with a BROOM and a SHOVEL, or similar.</scene_description> <character>CAROLINE</character> <dialogue>Go on, shoo!</dialogue> <character>JOSEPHINE</character> <dialogue>Yes come on, pussies! Out you go!</dialogue> <character>FELICIE</character> <dialogue>But why can't we keep them? People keep dogs as pets all the time.</dialogue> <character>CLAIRE</character> <dialogue>Because they're cats, Felicie. If we start keeping cats as pets, our neighbours will think us quite the barmiest family on the street.</dialogue> <scene_description>LOUIS heads off out the door.</scene_description> <character>JOSEPHINE (O.C.)</character> <dialogue>We need to pincer them like sheep- bitches...</dialogue> </scene> <scene> <stage_direction>INT. / EXT. WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>EMILY watches LOUIS disappear down the road.</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>EMILY mischievously drifts out of her bedroom and into LOUIS'. She looks at the WALLPAPER, his impressive SKETCHES, his beautiful PAINTINGS, the strange ELECTRICAL PATENTS. She picks out some UNDERWEAR and holds it up, amusing herself. She chucks it back.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET NEAR WAIN TOWNHOUSE, LONDON - MORN.</stage_direction> <scene_description>LOUIS walks through relatively quiet streets with purpose.</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>EMILY looks under his bed and finds some DOLLS from when he was a child. She investigates them, then puts them back. Finally, she looks in the drawers of his desk and finds a battered journal. She looks around to make sure nobody is looking, then opens it up. She flicks through a few pages and lands on a double page spread of scribbled writing and colourful drawings. IMAGES we recognise from the PROLOGUE: LOUIS AS A BOY SCREAMING THROUGH SCARLET FEVER, THE VAST GLOBE SPINNING, A HUGE STORMY SEA FULL OF SHIPS - "THE SEA FULL OF BIG SHIPS".</scene_description> </scene> <scene> <stage_direction>EXT. MARKET ALLEY, LONDON - MORNING</stage_direction> <scene_description>LOUIS walks through busier streets now, past CARRIAGES, past COBBLERS, past DOG-WALKERS and FRUIT SELLERS, in a good mood.</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - MORNING</stage_direction> <scene_description>EMILY starts to get a sense of the turmoil that perhaps lies beneath LOUIS' seemingly playful exterior. Then she notices MRS DU FRAYNE, staring at her from a WINDOW across the way. She smiles oddly before disappearing into her house. EMILY doesn't recognise her and is a bit perplexed. She looks back down at the images in LOUIS' JOURNAL.</scene_description> </scene> <scene> <stage_direction>INT. SWIMMING BATHS, GENTLEMEN'S CLUB - MORNING</stage_direction> <scene_description>SPLOSH! GENTLEMEN swim up and down a Victorian Pool. OTHER BATHERS enjoy cups of tea in hot baths. LOUIS spots SIR WILLIAM INGRAM, wearing a pince-nez, breast- stroking slowly in the pool. He sets down his things and dives in to catch up with him. Like his boxing, LOUIS' swimming is frenetic and jerky.</scene_description> <character>LOUIS</character> <dialogue>... Good morning, Sir William!</dialogue> <character>INGRAM</character> <dialogue>Good morning, Mr Wain! Don't often see you in here at this time.</dialogue> <character>LOUIS</character> <dialogue>Well I've come to see you, sir... Have you got a moment?</dialogue> <character>INGRAM</character> <dialogue>Of course, Louis... just let me finish my morning exercise...</dialogue> <character>LOUIS</character> <dialogue>Yes, of course...</dialogue> <scene_description>INGRAM is swimming incredibly slowly. LOUIS gets bored.</scene_description> <character>LOUIS</character> <dialogue>Might do some lengths myself now I'm here actually. See you shortly!</dialogue> <scene_description>LOUIS swims chaotically down the lane, splashing INGRAM as he goes. This attracts the attention of the OTHER BATHERS.</scene_description> </scene> <scene> <stage_direction>INT. STEAM ROOMS, SWIMMING BATHS, GENTLEMEN'S CLUB - MORNING</stage_direction> <scene_description>A GROTESQUE FRIEZE OF SHINY, PINK MALE BODIES. INGRAM and LOUIS sit with towels on. SIR WILLIAM is shaving.</scene_description> <character>INGRAM</character> <dialogue>Ahh... so you've come to your senses, young man...</dialogue> <scene_description>LOUIS watches INGRAM shaving. It makes him anxious. ECUs of the blade, INGRAM'S mouth, LOUIS' mouth.</scene_description> <character>INGRAM</character> <dialogue>Why the sudden change of heart?</dialogue> <character>LOUIS</character> <dialogue>Oh, um, well... we've hired a Governess, for my youngest sisters.</dialogue> <character>INGRAM</character> <dialogue>... And you don't want her dashing off to some other family because you can't afford to pay her...</dialogue> <character>LOUIS</character> <dialogue>Something... like that, yes...</dialogue> <character>INGRAM</character> <dialogue>Well... you will start on poverty wages of course, as is standard, but it will be regular. And I'm afraid I can't at this moment offer you holidays or expenses due to new company policy... Will that be to your satisfaction, young Mr Wain?</dialogue> <scene_description>LOUIS smiles, no intention of haggling whatsoever. INGRAM seems a little surprised to be getting away with this.</scene_description> </scene> <scene> <stage_direction>INT. PHIL MAY'S STUDIO - DUSK</stage_direction> <scene_description>AN ARTISTS' STUDIO - drinking, smoking, talking. LOUIS is celebrating with his artist friends HERBERT RAILTON, ALFRED PRAGA and RICHARD WOODVILLE JR. They play BAGATELLE.</scene_description> <character>WOODVILLE JR</character> <dialogue>Every penny counting rogue in London tries that trick. You're not supposed to say yes!</dialogue> <character>RAILTON</character> <dialogue>Did you not bargain with him? Have I taught you nothing?</dialogue> <character>LOUIS</character> <dialogue>Herb, I'm happy with it. Okay? Just leave it...</dialogue> <parenthetical>(seeing the time)</parenthetical> <dialogue>I'd better head off actually. Need to start work on my Steady Cycle patent-</dialogue> <character>PRAGA</character> <dialogue>Forget that, you daft donkey. Nobody understands what it is!</dialogue> <character>WOODVILLE JR</character> <dialogue>Don't be such a fucking drip!</dialogue> <character>RAILTON</character> <dialogue>Look. If you're happy, you're happy. He's swindled you so I don't understand it, but let's... you know... let's have some fun. I haven't seen you for three weeks.</dialogue> <character>WOODVILLE JR</character> <dialogue>You've been spending too much time with those weird sisters of yours.</dialogue> <character>PRAGA</character> <dialogue>You are staff illustrator for the top newspaper in London and a handsome young fellow. All you need now is the loving touch of a well bosomed aristocrat.</dialogue> <character>WOODVILLE JR</character> <dialogue>That's the thing about Phil May, the saucy fiend - always hosting a skulk of wealthy young vixens.</dialogue> <scene_description>Out in the yard, PHIL MAY is entertaining FEMALE GUESTS by lighting a BRAZIER.</scene_description> <character>PRAGA</character> <dialogue>You shall be marrying a noblewoman within the year - I guarantee it.</dialogue> <character>RAILTON</character> <dialogue>What do you say, Louis? We can't celebrate your success without you now can we...</dialogue> <scene_description>LOUIS smiles this all off, still thinking about EMILY.</scene_description> <character>LOUIS</character> <dialogue>... Will there be dancing later do you think?</dialogue> <character>RAILTON</character> <dialogue>There will be if you're here. I know that much...</dialogue> <scene_description>LOUIS grins cheekily.</scene_description> </scene> <scene> <stage_direction>INT. PHIL MAY'S STUDIO - NIGHT</stage_direction> <scene_description>The ATMOSPHERE is now WILDLY MERRY AND HEDONISTIC. A FIRE IS LIT. LOUIS is improvising strange tunes on the piano. A SMALL CROWD has surrounded him, including some FEMALE ADMIRERS. RAILTON drunkenly has his arm around one of them.</scene_description> <character>RAILTON</character> <dialogue>You see... He's a musician as well! He's even written a bloody opera... Who wants to marry my friend!</dialogue> <scene_description>PRAGA and WOODVILLE JR are flirting around the room and generally having a good time. We can sort of guess who PHIL MAY is as he ostentatiously plays host. INTERCUT:</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN / INT. PARLOUR / KITCHEN, WAIN TOWNHOUSE - NIGHT</stage_direction> <scene_description>MUSIC CONTINUES. CAROLINE, JOSEPHINE and MRS WAIN are preparing a meal in the kitchen while EMILY teaches CLAIRE, FELICIE and MARIE to fence properly, how to stand.</scene_description> </scene> <scene> <stage_direction>INT. PHIL MAY'S STUDIO - NIGHT</stage_direction> <scene_description>A little later, the MUSIC continues but LOUIS is now drunkenly dancing with RAILTON. He does an improvised jig. It's highly peculiar but very funny and strangely uplifting. A circle forms around him.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN / INT. PARLOUR / KITCHEN, WAIN TOWNHOUSE - NIGHT</stage_direction> <scene_description>EMILY is now teaching CLAIRE, FELICIE, MARIE, JOSEPHINE how to dance "quadrilles". MRS WAIN is at the piano. They play BLIND MAN'S BLUFF. JOSEPHINE comes to join the fun. Eventually, EMILY and the FAMILY try to persuade CAROLINE to get involved. To the delight of MARIE and FELICIE, CAROLINE relents and reluctantly joins in a little bit. She dances with EMILY briefly. It's awkward but CAROLINE is smiling.</scene_description> </scene> <scene> <stage_direction>INT. PHIL MAY'S STUDIO - NIGHT</stage_direction> <character>MUSIC KEEPS BUILDING. MORE AND MORE PEOPLE ARE DANCING.</character> <dialogue>LOUIS dances with a pure, child-like freedom. One by one, the FEMALE ADMIRERS come to join him in the centre.</dialogue> <dialogue>INTERCUT EMILY at home with the WAINS. They are in different places, but they feel connected.</dialogue> </scene> <scene> <stage_direction>EXT. BACK STREETS NEAR MAY'S STUDIO / BORDELLO - NIGHT</stage_direction> <scene_description>A drunken LOUIS walks through the streets. He lights a cigarette. WOMEN OF THE NIGHT lurk outside a BROTHEL. LOUIS ignores their flirtatious looks. CRASH! A SIDE DOOR opens. A loud woman, BERYL wrestles an ANGRY CAT and her KITTENS into a sack.</scene_description> <character>BERYL</character> <dialogue>Stop squirming for Pete's sake - you're going in the river! Furry little witch. Been nibbling at our butter supplies and terrorising the customers. Revolting creature... Mucky paw prints all over our kitchen.</dialogue> <parenthetical>(at the bag briefly)</parenthetical> <scene_description>SHUT IT, YOU!:</scene_description> <character>BERYL</character> <parenthetical>(back to LOUIS)</parenthetical> <dialogue>Now she's gone and had a bunch of squealing kittens, the strumpet...</dialogue> <character>LOUIS</character> <dialogue>Madam... could I perhaps take them off your hands?</dialogue> <character>BERYL</character> <dialogue>Don't be stupid, darling. It's a bag of cats.</dialogue> <character>LOUIS</character> <dialogue>I'll give you a shilling for them.</dialogue> <character>BERYL</character> <dialogue>A shilling? For cats? Shut up.</dialogue> <character>LOUIS</character> <parenthetical>(reaching into his pocket)</parenthetical> <dialogue>Tell you what, I'll give you two shillings... I'm in a good mood.</dialogue> <character>BERYL</character> <dialogue>Two shillings for a bag of vermin? You're out of your tree.</dialogue> </scene> <scene> <stage_direction>EXT. APPROACHING FISH MARKET - NIGHT</stage_direction> <scene_description>LOUIS scurries through back streets with his bag of cats.</scene_description> </scene> <scene> <stage_direction>INT. FISH MARKET - NIGHT</stage_direction> <scene_description>A FEW EARLY DELIVERIES are being made at a QUIET FISH MARKET. LOUIS unties the sack.</scene_description> <character>LOUIS</character> <dialogue>Here you are. Plenty of prawns and other goodies to nibble on here...</dialogue> <scene_description>A BLACK MOTHER CAT hops out, followed by FIVE ADORABLE KITTENS. LOUIS notices the MOTHER CAT is missing a leg.</scene_description> <character>LOUIS</character> <dialogue>Oh dear. What happened there then?</dialogue> <scene_description>The MOTHER CAT MEOWS, as if in response, and then runs away.</scene_description> <character>LOUIS</character> <dialogue>I see... Well good luck anyway...</dialogue> <scene_description>Then he sees A WALL OF POSTERS advertising London shows, as well as other things like toothpaste, gum, DOG FOOD and fish. LOUIS sees a poster for "THE TEMPEST". He remembers EMILY'S book and has an idea. He tears the poster off the wall.</scene_description> </scene> <scene> <stage_direction>INT. FIRST FLOOR LANDING, WAIN TOWNHOUSE - NIGHT</stage_direction> <scene_description>LOUIS creeps up the stairs. He hears a CHILD CRYING. CAROLINE comes out of a bedroom in her nightgown.</scene_description> <character>CAROLINE</character> <dialogue>Shh, Marie is having a nightmare. Where have you been. You're drunk.</dialogue> <character>LOUIS</character> <dialogue>Perhaps a little... I've been celebrating... I accepted the job... with Sir William...</dialogue> <character>CAROLINE</character> <dialogue>... Good. Now go to bed.</dialogue> <character>MARIE (O.C.)</character> <dialogue>... Where have you gone?</dialogue> <character>CAROLINE</character> <dialogue>It's okay. I'm coming. I'm here...</dialogue> <scene_description>CAROLINE heads back into the bedroom. On LOUIS - perhaps he wanted more from CAROLINE. He carries on up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. GIRLS' BEDROOM, WAIN TOWNHOUSE - CONT.</stage_direction> <scene_description>In the dim candlelight, CAROLINE goes to soothe MARIE. CLAIRE is asleep. FELICIE lies calmly awake watching, used to this.</scene_description> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING, WAIN TOWNHOUSE - CONT.</stage_direction> <scene_description>As LOUIS reaches the top floor, he can hear EMILY singing quietly to herself in her bedroom. The door is slightly ajar. Very slowly, LOUIS approaches EMILY'S door. He looks down at the poster of "THE TEMPEST" and eases her door open.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S BEDROOM, WAIN TOWN HOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>AAAH! EMILY jumps out of a chair, spilling paint and brushes. She instinctively crawls clumsily behind her bed.</scene_description> <character>LOUIS</character> <dialogue>Good evening.</dialogue> <character>EMILY</character> <dialogue>Go away...</dialogue> <character>LOUIS</character> <dialogue>What, why...</dialogue> <character>EMILY</character> <dialogue>Because... What do you mean why?</dialogue> <character>LOUIS</character> <dialogue>Oh, sorry... Yes... Sorry...</dialogue> <scene_description>LOUIS turns to face a wall. EMILY has angled a mirror and been trying to paint herself next to a vase of flowers, her dressing gown slung semi-suggestively off her shoulders.</scene_description> <character>IT'S A TERRIBLE PAINTING.</character> <dialogue>EMILY</dialogue> <scene_description>Mr Wain, what are you doing.</scene_description> <character>LOUIS</character> <dialogue>Sorry, I don't- What do you want me to-</dialogue> <character>EMILY</character> <dialogue>Get out!</dialogue> <character>LOUIS</character> <dialogue>Right, sorry, yes... I... I apologise... I'm so sorry...</dialogue> <scene_description>LOUIS slips back out, leaving the room completely. EMILY makes a panicked attempt to tidy up, then makes for the door. Flecks of colourful paint are all over EMILY'S hands, even her face somehow.</scene_description> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING / EMILY'S BEDROOM - CONT</stage_direction> <scene_description>They now talk through the door.</scene_description> <character>EMILY</character> <dialogue>I am under your employ, Mr Wain, but I do not expect to have to tolerate you barging in here after- hours smelling of booze when I am... well it doesn't matter what I was doing, does it...</dialogue> <character>LOUIS</character> <dialogue>I know. I'm so sorry. It's just... I have so many sisters. I forget sometimes that it's... were you painting something?</dialogue> <character>EMILY</character> <dialogue>That's none of your business, Mr Wain.</dialogue> <scene_description>EMILY looks at her slightly embarrassing attempt.</scene_description> <character>EMILY</character> <dialogue>But... yes, if you must know. I have a drawing lesson with the girls tomorrow and you Wains are all such accomplished artists I rather felt that I could do with a bit more preparation, that's all...</dialogue> <character>LOUIS</character> <dialogue>I see... well... I was actually wondering if you would like to go to the theatre, Miss Richardson.</dialogue> <scene_description>LOUIS slips the poster for "THE TEMPEST" under the door. EMILY was not expecting this. She picks it up.</scene_description> <character>LOUIS</character> <dialogue>As an educational trip of course... with Felicie, Claire and Marie...</dialogue> <character>EMILY</character> <dialogue>Oh... of course... Yes...</dialogue> <character>LOUIS</character> <dialogue>I know Shakespeare is an important part of your teaching.</dialogue> <character>EMILY</character> <dialogue>Very important, yes. Perhaps the most... important.</dialogue> <character>LOUIS</character> <dialogue>I'm so sorry again, Miss Richardson. I'm terribly embarrassed. I was just excited to share the idea with you... I don't want you to feel like you have to be cooped up here in the house all the time...</dialogue> <scene_description>A pause. EMILY appreciates this. She opens the door.</scene_description> <character>EMILY</character> <dialogue>... I think that would be a rather splendid idea... Please just knock next time you wish to see me.</dialogue> <character>LOUIS</character> <dialogue>Absolutely. Of course.</dialogue> <scene_description>They look at each other for a bit. Then LOUIS glances at the TERRIBLE PAINTING in the corner. He smirks a little bit. EMILY of course can see the funny side too.</scene_description> <character>EMILY</character> <dialogue>... Is something funny, Mr Wain?</dialogue> <character>LOUIS</character> <dialogue>Not at all... not at all... good night, Emily...</dialogue> <character>EMILY</character> <dialogue>... Good night, Mr Wain.</dialogue> <scene_description>EMILY closes the door on LOUIS, leaving him in the semi-dark. On LOUIS - that feeling again, even stronger now.</scene_description> <character>LOUIS</character> <dialogue>Oh and Miss Richardson...</dialogue> <character>EMILY</character> <dialogue>Yes?</dialogue> <character>LOUIS</character> <dialogue>When it comes to drawing, there is only really one rule you ever need to teach... it's to look...</dialogue> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - MORNING</stage_direction> <scene_description>BIRDSONG. LOUIS fills a bowl with hot water. He lathers his face with soap, then begins to shave using a straight razor.</scene_description> <character>ECUS OF THE BLADE, OF HIS MOUTH.</character> <dialogue>When he is finished, he looks at himself in the mirror. Without his moustache, we see his CLEFT LIP.</dialogue> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING, WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>LOUIS peeks into the SCHOOLROOM. FELICIE, CLAIRE and MARIE have perfectly sketched FRUIT, FLOWERS, ORNAMENTS. Curtains drawn, EMILY now shows them a prism experiment - shining a beam of light through a crystal champagne flute. LIGHT refracts into ALL COLOURS of the spectrum.</scene_description> <character>FELICIE</character> <dialogue>What a clever bugger Mr Newton was.</dialogue> <character>EMILY</character> <dialogue>Uh, excuse me, Felicie. Language.</dialogue> <character>FELICIE</character> <dialogue>Clever... sausage?</dialogue> <character>EMILY</character> <dialogue>Sausage I will accept, though I fear it rather fails to capture the spirit of Newton's genius.</dialogue> <character>MARIE</character> <dialogue>I'm a genius...</dialogue> <character>EMILY</character> <dialogue>Well if you study hard, Marie, perhaps you will be one day...</dialogue> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - MORNING</stage_direction> <scene_description>LOUIS is idly painting an ABSTRACT KALEIDOSCOPIC PATTERN onto a piece of glass. He hears FELICIE, CLAIRE and MARIE thanking EMILY, thundering down the stairs, growling like MONSTERS.</scene_description> <character>EMILY</character> <dialogue>Quietly now girls, please!</dialogue> <scene_description>EMILY returns to her room. LOUIS puts his brush down and heads over to a little mirror, checking his collar, his hair.</scene_description> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING, WAIN TOWNHOUSE, CLERKENWELL - MORN.</stage_direction> <scene_description>LOUIS nervously waits outside EMILY'S bedroom. He knocks.</scene_description> <character>EMILY (O.C.)</character> <dialogue>Come in, Mr Wain.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>LOUIS enters. EMILY is sorting through her teaching papers.</scene_description> <character>LOUIS</character> <dialogue>Good morning. How was your lesson?</dialogue> <character>EMILY</character> <dialogue>Very good, thank you. Turns out your sisters don't really need my help with drawing so... we tried something else instead.</dialogue> <character>LOUIS</character> <dialogue>Oh good. Well, um, I...</dialogue> <scene_description>LOUIS smiles bashfully at EMILY. He sets himself.</scene_description> <character>LOUIS</character> <dialogue>I hereby atone for my drunken imposition... by revealing myself to you naked...</dialogue> <character>EMILY</character> <dialogue>Please don't reveal yourself to me naked, Mr Wain. I might well consider that to be a secondary imposition, arguably even greater than the first...</dialogue> <character>LOUIS</character> <dialogue>But you cannot have failed to notice that I have... quite a profound hare lip.</dialogue> <character>EMILY</character> <dialogue>... Yes... and what of it, Mr Wain?</dialogue> <character>LOUIS</character> <dialogue>... Have I made a mistake.</dialogue> <character>EMILY</character> <dialogue>No, Mr Wain... I think you look very handsome... Once you get to know me better, you'll see that I'm a bit like a big blue goldfish. I forget almost everything immediately.</dialogue> <character>LOUIS</character> <dialogue>So... am I forgiven?</dialogue> <character>EMILY</character> <dialogue>Why do you need me to forgive you, Mr Wain? Just don't do it again...</dialogue> <character>LOUIS</character> <dialogue>Right. Yes... Well, I'm sorry.</dialogue> <character>EMILY</character> <dialogue>About what?</dialogue> <scene_description>LOUIS is not sure what to say or do. EMILY helps him out.</scene_description> <character>EMILY</character> <dialogue>... When do you suppose we might take our trip to the theatre, Mr Wain? For the educational purposes of the children... of course...</dialogue> <character>LOUIS</character> <dialogue>Of course... um... I shall consult my diary...</dialogue> <character>EMILY</character> <dialogue>Excellent... I shall look forward to it... Good day, Mr Wain.</dialogue> <scene_description>LOUIS makes to leave, but just before he's out the door...</scene_description> <character>EMILY</character> <dialogue>And Mr Wain...</dialogue> <scene_description>LOUIS turns.</scene_description> <character>EMILY</character> <dialogue>Thank you. I appreciate the gesture.</dialogue> </scene> <scene> <stage_direction>INT. GIRLS' BEDROOM / LANDING, WAIN TOWNHOUSE - DUSK</stage_direction> <scene_description>MRS WAIN and JOSEPHINE are helping CLAIRE and FELICIE to get ready for the theatre, doing their hair and so on.</scene_description> <character>MRS WAIN</character> <dialogue>Well I think it's a wonderful idea.</dialogue> <character>CAROLINE</character> <dialogue>But mother - we are yet to settle our accounts with the coal merchant and the butcher. He should have consulted me.</dialogue> <character>CLAIRE &amp; FELICIE</character> <dialogue>Boring!</dialogue> <character>CAROLINE</character> <dialogue>And we can hardly have Louis out on the streets looking like that. Why you have committed this wanton act of violent self-harm I don't know.</dialogue> <character>MRS WAIN</character> <dialogue>Oh come now, Caroline. He's had a shave, that's all... Marie! Marie darling, where have you gone!</dialogue> <scene_description>LOUIS is having tea and reading Emily's copy of THE TEMPEST.</scene_description> <character>CAROLINE</character> <dialogue>Well he's hardly going to attract the advances of a lady of fortune looking like that, is he.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S BEDROOM, WAIN TOWN HOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>EMILY is alone in her room, also getting ready, hearing the conversation down below but trying to ignore it. She shuffles a PATTERNED BLUE SHAWL over her shoulders and looks at herself. She feels nervous. Then she starts to hear MARIE, seemingly in some kind of distress. It sounds like it's coming from nearby.</scene_description> </scene> <scene> <stage_direction>57A INT. TOP FLOOR LANDING / SCHOOL ROOM - CONTINUOUS 57A</stage_direction> <scene_description>EMILY can sense that something is up as she leaves her room. She sees drops of blood on the floor and can hear crying. She follows the sound to the SCHOOL ROOM.</scene_description> <character>EMILY</character> <dialogue>Marie...? Marie... are you okay?</dialogue> <character>MARIE (O.C.)</character> <dialogue>... Don't come in!</dialogue> </scene> <scene> <stage_direction>INT. GIRLS' BEDROOM, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <character>JOSEPHINE</character> <dialogue>I think we should all go and make an evening of it.</dialogue> <character>CAROLINE</character> <dialogue>Josephine, we at least must stay! If Miss Richardson deems it educationally fit for her, as their governess, to take our younger sisters then let us discuss that and that alone.</dialogue> <character>JOSEPHINE</character> <dialogue>I'm just saying... I should like to go - not so much for the play as for the handsome young bachelors in the crowd.</dialogue> <scene_description>Some of the SISTERS and MRS WAIN supportively go "ooh".</scene_description> <character>CLAIRE</character> <dialogue>We can practise our flirtations!</dialogue> <character>LOUIS</character> <dialogue>And I should like to go because I should like to go... if you care to join us, Caroline, you would be most welcome.</dialogue> </scene> <scene> <stage_direction>INT. TOP FLOOR LANDING / SCHOOL ROOM - CONTINUOUS</stage_direction> <scene_description>Through the School Room door, we hear EMILY consoling MARIE.</scene_description> <character>EMILY</character> <dialogue>It's okay... it's a good thing. It's perfectly natural... it means you're a woman...</dialogue> <character>MARIE</character> <dialogue>... Does it?</dialogue> </scene> <scene> <stage_direction>INT. GIRLS' BEDROOM / FIRST FLOOR LANDING - CONTINUOUS</stage_direction> <character>LOUIS</character> <dialogue>I think it's fair to say that Miss Richardson has had an extremely positive effect on this family and we should show our gratitude.</dialogue> <scene_description>THUNDERING OF FEET. MARIE appears down the hallway.</scene_description> <character>MARIE</character> <dialogue>... I'm a woman!</dialogue> <scene_description>MARIE, face red from crying, punches the air in triumph, before scuttling off into another bedroom.</scene_description> <character>EMILY</character> <dialogue>Hooray!</dialogue> <scene_description>The OTHER SISTERS and MRS WAIN are taken aback at first but then try to play along. EMILY pauses in the hallway.</scene_description> <character>EMILY</character> <dialogue>Sorry, everyone. Bit of a situation... everything's under control!</dialogue> <scene_description>LOUIS looks on warmly as EMILY follows after MARIE. He looks at CAROLINE. She is not entirely impressed. 61-63 SCENES OMITTED 61-63</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM, THEATRE, LONDON - NIGHT</stage_direction> <scene_description>A BUSTLING ATMOSPHERE. FELICIE, MARIE and CLAIRE have snacks and seem excited. LOUIS' cleft lip is getting a few stares. So is EMILY, who is in a smart version of her Governess attire. She looks around at the grand theatre. LOUIS spots MISS DU FRAYNE and a couple of her FEMALE FRIENDS, filing to their seats in a booth. They see EMILY and quickly look away, whispering to each other. It feels like everyone is staring at them and whispering. They try to block it out and enjoy the moment - sweetly, innocently on edge to be here together.</scene_description> <character>LOUIS</character> <dialogue>... You look... very-</dialogue> <character>EMILY</character> <dialogue>Thank you... so do you.</dialogue> <character>LOUIS</character> <dialogue>Thank you.</dialogue> <character>EMILY</character> <dialogue>Thank you... shall we sit down?</dialogue> <character>LOUIS</character> <dialogue>Yes, let's sit down... is it your first time?</dialogue> <character>EMILY</character> <dialogue>... Yes. Yes, it is... exciting...</dialogue> <scene_description>A GROUP of POSH BOYS are pulling their mouths into shapes and laughing. LOUIS tries to rise above it. A LOW RUMBLE...</scene_description> <character>JUMP CUT TO:</character> <dialogue>... CRACKS INTO BILLOWING WIND, THUNDER, LIGHTNING! THE STAGE</dialogue> <character>IS A STORMY SEA. A SHIP IS BATTERED BY HUGE WAVES.</character> <dialogue>CLAIRE makes eyes at an older bachelor in the seat next to her. He smiles back noncommittally.</dialogue> <dialogue>Next to CLAIRE sit FELICIE and MARIE, followed by EMILY. And next to EMILY, removed from his sisters, sits LOUIS.</dialogue> <dialogue>EMILY is full of wonder but the LOUD, FLASHING STORM seems to be making LOUIS slightly anxious. She notices. On LOUIS.</dialogue> <dialogue>FLASH-CUT MEMORIES OF "THE SEA FULL OF BIG SHIPS" - the nightmare he had as a child about a stormy sea.</dialogue> <character>OTHER FLASH-CUT MEMORIES - THIS BUILDS TO A BREAKING POINT.</character> <dialogue>LOUIS</dialogue> <scene_description>Sorry... won't be a moment... LOUIS suddenly gets up and leaves. He has to wiggle past ANGRY THEATERGOERS. EMILY watches him go.</scene_description> <character>LOUIS</character> <dialogue>Excuse me... sorry... excuse me...</dialogue> <scene_description>EMILY watches him go.</scene_description> </scene> <scene> <stage_direction>INT. TOILET, CROWN THEATRE - NIGHT</stage_direction> <scene_description>LOUIS comes out of a cubicle, seemingly recovered. He is surprised to see EMILY waiting for him.</scene_description> <character>LOUIS</character> <dialogue>Er, this is the gentleman's toilet.</dialogue> <character>EMILY</character> <dialogue>Yes, no sorry, I... I was just worried that you might be... in distress about something...</dialogue> <character>LOUIS</character> <dialogue>Um, no... just... a bit of a funny turn, that's all...</dialogue> <character>EMILY</character> <dialogue>Right, yes... I just thought that it might have, um... might have reminded you of something... something you found frightening as a child, perhaps... like The Sea Full of Big Ships...</dialogue> <scene_description>LOUIS is surprised that she knows about this.</scene_description> <character>EMILY</character> <dialogue>I might have accidentally... looked in your journal...</dialogue> <character>LOUIS</character> <dialogue>Well, that's nosy.</dialogue> <character>EMILY</character> <dialogue>I'm afraid it's one of my many flaws.</dialogue> <character>LOUIS</character> <dialogue>Nosiness.</dialogue> <character>EMILY</character> <dialogue>Yes, I'm very nosy... that's partly why I chose to be a governess...</dialogue> <character>LOUIS</character> <dialogue>And did you find it horrifying? All those dark, disturbing visions...</dialogue> <character>EMILY</character> <dialogue>I found it quite reassuring to be honest... I tend to have nightmares about not getting out of places. Once spent an entire dream stuck in a very complicated barn...</dialogue> <scene_description>LOUIS finds this gently amusing. They are now quite close.</scene_description> <character>LOUIS</character> <dialogue>... Well thank god you didn't get stuck in that wardrobe.</dialogue> <character>EMILY</character> <dialogue>... Thank god... Thank god I had you to let me out...</dialogue> <scene_description>LOUIS and EMILY find themselves looking straight into each others' eyes. EMILY kisses LOUIS. It's impulsive, tentative at first. Then they continue kissing with more confidence. A FLUSH interrupts the moment. A POSH MAN emerges cautiously from a cubicle and starts washing his hands, awkwardly smiling hello, trying not to look at them. SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. FOYER, CROWN THEATRE, LONDON - NIGHT</stage_direction> <scene_description>The AUDIENCE make their way into the foyer after the show. LOUIS and EMILY feel the gaze of EVERYONE - looking, gossiping, whispering. LOUIS spots MRS DU FRAYNE with her SPINSTER FRIENDS, peeling away from the POSH MAN who was in the toilets.</scene_description> <character>MRS DU FRAYNE</character> <dialogue>Well if it isn't my favourite family... the Wains... How are you, Louis? Terrific eulogy at your father's funeral.</dialogue> <character>LOUIS</character> <dialogue>Thank you. You say that... every time I see you.</dialogue> <character>MRS DU FRAYNE</character> <dialogue>And you must be the famous... Emily Richardson...</dialogue> <character>EMILY</character> <dialogue>That I am.</dialogue> <character>MRS DU FRAYNE</character> <dialogue>We were just remarking how we don't often see Governesses at the theatre... Was it your first time? I heard you got a little bit confused, Miss Richardson... about the lavatories?</dialogue> <scene_description>A weirdly tense smile-off, where no one says anything. Across the room, the POSH BOYS have partnered with some POSH GIRLS, one of whom wears spectacles on her nose, mocking EMILY to make the boys laugh.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREETS - NIGHT</stage_direction> <scene_description>A CARRIAGE travels through the quiet of the night.</scene_description> </scene> <scene> <stage_direction>INT. CARRIAGE - NIGHT</stage_direction> <scene_description>CLAIRE, FELICIE and MARIE are asleep in a sisterly tangle. LOUIS looks at EMILY, who sits next to him. She looks back. He looks down at their hands, resting by their legs. LOUIS takes EMILY'S hand. EMILY does not know what to do about this. She is torn. She takes her hand away.</scene_description> </scene> <scene> <stage_direction>INT. FIRST FLOOR LANDING, WAIN TOWNHOUSE - NIGHT</stage_direction> <scene_description>LOUIS is pacing around, agitated. EMILY sweeps down from the top floor. LOUIS tries to stop her. She continues downstairs</scene_description> <character>LOUIS</character> <dialogue>Please, will you just let me speak to them.</dialogue> <character>EMILY</character> <dialogue>No, Louis... I can handle it...</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM, WAIN TOWNHOUSE, CLERKENWELL - NIGHT</stage_direction> <scene_description>CAROLINE, JOSEPHINE and MRS WAIN sit opposite EMILY.</scene_description> <character>CAROLINE</character> <dialogue>You are clearly an intelligent woman, Miss Richardson, and we have been impressed by your teaching. But there are certain aspects of your behaviour, and certain aspects of the behaviour that you encourage in my ridiculous brother, that we simply cannot tolerate... this evening was intended as an educational event for the children and as a small token of our gratitude... yet now, thanks to you, this family is the talk of the town...</dialogue> <character>JOSEPHINE</character> <dialogue>... And not in a good way.</dialogue> <character>CAROLINE</character> <dialogue>... You have three days to get your affairs in order...</dialogue> <character>EMILY</character> <dialogue>... Thank you.</dialogue> </scene> <scene> <stage_direction>INT. VARIOUS, TOP FLOOR, WAIN TOWNHOUSE - NIGHT</stage_direction> <scene_description>LOUIS sits alone in the SCHOOL ROOM. A knock at his door. It's EMILY.</scene_description> <character>EMILY</character> <dialogue>I just wanted to... thank you, Mr Wain... for a very pleasant evening... I had a very nice time.</dialogue> <scene_description>LOUIS nods "you're welcome".</scene_description> <character>EMILY</character> <dialogue>I have taught of countless adventures from the safety of a school room... but it was exciting to be taken on one... for once...</dialogue> <character>LOUIS</character> <dialogue>... I very much like your shawl by the way.</dialogue> <character>EMILY</character> <dialogue>Thank you. It was my mother's.</dialogue> <character>LOUIS</character> <dialogue>It's blue...</dialogue> <character>EMILY</character> <dialogue>Yep... it's blue...</dialogue> <scene_description>A long pause. Neither knows what to do or say.</scene_description> <character>EMILY</character> <dialogue>I am a governess, Mr Wain... It simply... cannot be...</dialogue> <character>LOUIS</character> <dialogue>But would you... want it to be...</dialogue> <character>EMILY</character> <dialogue>... Even that I might... you must understand...</dialogue> <scene_description>LOUIS walks towards her until their faces are very close. EMILY is torn.</scene_description> <character>EMILY</character> <dialogue>... We can't.</dialogue> <scene_description>EMILY looks into his eyes. She puts her hand on his cheek and kisses him on his cleft lip - lightly and with finality.</scene_description> <character>EMILY</character> <dialogue>Goodbye, Louis.</dialogue> <scene_description>EMILY leaves for her bedroom. LOUIS thinks. Perhaps he is giving up. He retreats into his bedroom. FLASH-CUT MEMORIES of LOUIS' CHILDHOOD INTER-MINGLE with FLASH-CUTS of his time with EMILY. LOUIS paces oddly as MEMORIES flash before him. He knows this is a cross-roads. He knows he must act. He sees EMILY closing the door to her bedroom in the hallway. Suddenly, he rushes back through the SCHOOL ROOM, heading for the other entrance to her bedroom.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL ROOM, WAIN TOWNHOUSE, CLERKENWELL - CONT.</stage_direction> <scene_description>LOUIS arrives just as EMILY is closing the door that connects the SCHOOL ROOM to her bedroom. Their eyes meet immediately. She feels it too.</scene_description> <character>LOUIS</character> <dialogue>I don't care... I don't care what people think...</dialogue> <scene_description>Her eyes are wet with the beginnings of tears. So are his.</scene_description> <character>EMILY</character> <dialogue>... This is very inconvenient.</dialogue> <scene_description>They kiss. They look at each other again. EMILY pulls LOUIS into her room and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S BEDROOM, WAIN TOWN HOUSE, CLERKENWELL - NIGHT</stage_direction> <character>A BEAUTIFULLY IMPRESSIONISTIC SEQUENCE THAT PULSES IN AND OUT</character> <dialogue>OF TOTAL DARKNESS. Their hair, their faces, their eyes, their mouths, their bodies, as they make love. They try to be as quiet as they can. THE SOUND OF THEIR BREATHING.</dialogue> <character>LOUIS (V.O.)</character> <dialogue>On the 30th January, in the year 1884, Emily and I became husband and wife.</dialogue> <scene_description>FADE TO BLACK:</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN / PARLOUR, WAIN TOWNHOUSE, CLERKENWELL - DAY</stage_direction> <scene_description>MUSIC CONTINUES. CAROLINE and LOUIS have a fearsome row.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Like my father, I was considered to have brought shame upon my family and was banished from my own home.</dialogue> <scene_description>JOSEPHINE and MRS WAIN restrain CAROLINE as she tries to attack LOUIS. EMILY watches from a doorway, looking after FELICIE, CLAIRE &amp; MARIE.</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>LOUIS and EMILY arrive at a run down little cottage, quite isolated. Happy nonetheless, they enter their new home.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And so we began our life of exile in the lowly village of Hampstead.</dialogue> <scene_description>FURNITURE is unloaded into their garden, which is full of cases and a WAGON of WILLIAM WAIN'S FABRICS AND WALLPAPER.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>LOUIS and EMILY unpack and decorate. They don't have much furniture. It's much smaller than in Clerkenwell. They clean a very dirty kitchen, dirty windows.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>LOUIS and EMILY throw a WILLIAM WAIN quilt over the bed.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>They tear down existing wallpaper and put up WILLIAM WAIN'S. EMILY puts her rocks out. They make it a home.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, ELIZABETH TERRACE, SOUTH HAMPSTEAD - EVENING</stage_direction> <scene_description>LOUIS and EMILY paint A FLOWERY BORDER onto a MIRROR. A SHOT FROM WITHIN THE MIRROR as they finish and survey their work. They have each other. They are okay.</scene_description> </scene> <scene> <stage_direction>INT. STUDY, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>LOUIS signs a cheque to MRS JULIE FELICIE WAIN.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And in spite of a newly fractious relationship with my sisters...</dialogue> </scene> <scene> <stage_direction>EXT. HAMPSTEAD STREETS - DAY</stage_direction> <scene_description>LOUIS finds a post box. He posts the cheque.</scene_description> <character>LOUIS</character> <dialogue>... I continued in my endeavours to support them...</dialogue> </scene> <scene> <stage_direction>EXT. CHATEAU - DAY</stage_direction> <scene_description>A WELL GROOMED BULLDOG SITS ON A PODIUM. LOUIS paints at an easel, sipping from a fancy teacup.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... And took on private commissions as a dog portraitist.</dialogue> <scene_description>LOUIS presents his PORTRAIT to an ARISTOCRATIC COUPLE, their CHILDREN and their STAFF. They all clap delightedly.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>This was to supplement my continued work covering general news...</dialogue> </scene> <scene> <stage_direction>INT. SIR WILLIAM INGRAM'S OFFICE, ILN - DAY</stage_direction> <scene_description>INGRAM inspects LOUIS' SKETCHES with a magnifying glass.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... And various agricultural shows around the country for Sir William.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY SHOW - DAY</stage_direction> <scene_description>RAIN. LOUIS sits under an umbrella in a sorry looking corner of a COUNTRY SHOW, sketching CHICKENS.</scene_description> </scene> <scene> <stage_direction>EXT. BRITISH COUNTRYSIDE - DAY</stage_direction> <character>A STEAM TRAIN TRAVELLING THROUGH THE RAIN.</character> <dialogue>LOUIS (V.O.)</dialogue> <scene_description>But then, just six months after we had become married, Emily's health began to deteriorate...</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>LOUIS watches the RAIN trickle down the window.</scene_description> </scene> <scene> <stage_direction>INT. ELIZABETH TERRACE - DAY</stage_direction> <scene_description>RAIN. LOUIS waits outside while EMILY talks with a DOCTOR.</scene_description> <character>DR QUANTOCK</character> <dialogue>I gather you are an educated woman, Mrs Wain.</dialogue> <character>EMILY</character> <dialogue>Yes, Doctor... I was a Governess.</dialogue> <character>DR QUANTOCK</character> <dialogue>I... I see... well in that case... I trust that you will understand me, when I say... that you have terminal cancer of the breast...</dialogue> <scene_description>EMILY hesitates, but doesn't want to be weak. LOUIS is hearing everything, struggling to keep it together.</scene_description> <character>EMILY</character> <dialogue>... Yes, Doctor.</dialogue> <scene_description>EMILY sighs. DR QUANTOCK is thrown by this reaction.</scene_description> <character>EMILY</character> <dialogue>... Just when I was starting to enjoy it...</dialogue> <scene_description>CONTENT MOVED TO 97A SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH TERRACE, SOUTH HAMPSTEAD - DUSK</stage_direction> <scene_description>RAIN CONTINUES. LOUIS stands by the road under an umbrella and sees the DOCTOR'S CARRIAGE off. EMILY waits for him in the doorway as he returns, unsure of what to say. Just as he reaches the door - MEOW.</scene_description> <character>EMILY</character> <dialogue>What was that? ... Did you hear it?</dialogue> <scene_description>They look around but can't see anything.</scene_description> <character>LOUIS</character> <dialogue>Strange...</dialogue> <scene_description>MEOW. EMILY edges out under the umbrellas with LOUIS.</scene_description> <character>EMILY</character> <dialogue>Where's it coming from...</dialogue> <scene_description>And then they see him. MEOW. Under a bush, in the pouring rain, they see an adorable little BLACK &amp; WHITE KITTEN. He is vulnerable and shivering and looking right at them.</scene_description> <character>LOUIS</character> <dialogue>Hello there, little one...</dialogue> <scene_description>LOUIS and EMILY carefully walk across the garden towards him. In a flash of THUNDER, we see A PORTRAIT SHOT of the KITTEN. A classic LOUIS WAIN image. MEOW.</scene_description> <character>EMILY</character> <dialogue>Oh, Louis... look...</dialogue> <scene_description>EMILY picks the KITTEN up and starts hugging him and nuzzling him - an image that will be seared into LOUIS' memory forever, an image of innocence and love.</scene_description> <character>EMILY</character> <dialogue>You're soaking wet, poor thing... Come into the warm with us... We'll take care of you. Won't we, Louis?</dialogue> <scene_description>EMILY heads back into the house. LOUIS is left in the rain, feeling a strange solace, a sense of the comfort that this cat will bring them.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DUSK</stage_direction> <scene_description>LOUIS watches as EMILY scrubs the tiny little kitten dry.</scene_description> </scene> <scene> <stage_direction>INT. LARDER, ELIZABETH TERRACE, SOUTH HAMPSTEAD - NIGHT</stage_direction> <scene_description>EMILY and LOUIS crouch as the KITTEN laps at a bowl of milk.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, ELISABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>EMILY has fashioned a strange toy for PETER, a cotton mouse on the end of a string, which she drags around the room. PETER plays with it, making LOUIS and EMILY laugh.</scene_description> </scene> <scene> <stage_direction>INT. STAIRS, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>PETER clumsily climbs the stairs. He is congratulated by LOUIS and EMILY as he gets to the top.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>SUNSHINE. LOUIS, EMILY and PETER get ready to go for a walk. They tie a LITTLE RED RIBBON round PETER'S neck.</scene_description> </scene> <scene> <stage_direction>96A EXT. ELIZABETH TERRACE / NEIGHBOURING FIELD - MORNING 96A</stage_direction> <scene_description>SUMMER. LOUIS and EMILY go out of their back gate and walk across the field, carrying PETER with them. The village of Hampstead and smoky London sprawl out in the deep background. PETER is still a kitten. They get looks from DOG WALKERS and PASSERS-BY, but don't care.</scene_description> </scene> <scene> <stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction> <scene_description>AUTUMN. BEAUTIFUL ORANGES, REDS AND BROWNS. PETER plays in the AUTUMN LEAVES, now a fully grown young cat. EMILY needs a bit of support - she is paler and has lost weight.</scene_description> <character>EMILY</character> <dialogue>Come on, Peter! Keep up!</dialogue> <scene_description>They walk past HUGE OAK TREES.</scene_description> <character>LOUIS</character> <dialogue>I think Peter likes the oak trees.</dialogue> <character>EMILY</character> <dialogue>Amazing, aren't they. They live for a thousand years... three hundred years to grow. Three hundred years to live... and three hundred years to die...</dialogue> <character>TRANSITION TO:</character> <dialogue>WINTER. SNOW. LOUIS and EMILY make a CAT SNOWMAN. PETER looks at it. He doesn't seem sure.</dialogue> <dialogue>EMILY takes LOUIS' red scarf and ties it round the CAT SNOWMAN'S neck - like PETER'S ribbon. PETER MEOWS and stands next to it. He likes it!</dialogue> <character>TRANSITION TO:</character> <dialogue>SPRING. SHAFTS OF LIGHT. LOUIS, EMILY and PETER walk into the woods. They arrive at AN EXTRAORDINARY SCENE. BIRDS swoop happily through the canopy.</dialogue> <character>VIVID, ELECTRIC COLOURS BURN SURREALLY BRIGHT. IT'S A MAGICAL</character> <dialogue>IMAGE. IT'S AN IMAGE WE WILL REMEMBER.</dialogue> <dialogue>EMILY picks PETER up. He is wide-eyed too, taking it all in.</dialogue> <character>LOUIS</character> <dialogue>Electricity... I can feel... electricity... can you feel it?</dialogue> <scene_description>EMILY smiles at him. She would call it "love".</scene_description> <character>EMILY</character> <dialogue>This is our place... this is where I'll be, Louis... when you need me.</dialogue> </scene> <scene> <stage_direction>97A EXT. HAMPSTEAD STREETS / INT. CARRIAGE - DAY 97A</stage_direction> <scene_description>LOUIS and EMILY sit in silence, feeling the light on their faces. EMILY takes LOUIS' hand. This time, they keep holding.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, ELIZABETH TERRACE, SOUTH HAMPSTEAD - NIGHT</stage_direction> <scene_description>EMILY is asleep, PETER curled up on the bed.</scene_description> </scene> <scene> <stage_direction>INT. STUDY, ELIZABETH TERRACE, SOUTH HAMPSTEAD - NIGHT</stage_direction> <scene_description>By the warm glow of an oil lamp, LOUIS draws PETER. END OF SEQUENCE:</scene_description> </scene> <scene> <stage_direction>EXT. BOXING TENT, LONDON - DAY (1886)</stage_direction> <scene_description>TWO FIGHTERS do battle - the huge JOURNEYMAN and the sprightly BENDIGO, who has a weird, cheeky charisma, bouncing about and making up insulting rhymes to put off his opponent.</scene_description> <character>LOUIS</character> <dialogue>Go on, Bendigo!</dialogue> <character>RAILTON</character> <dialogue>Curious little fellow, isn't he.</dialogue> <scene_description>BENDIGO is doing a dance - like LOUIS' own eccentric boxing dance - pulling silly faces at the JOURNEYMAN. FLASH PHOTOGRAPHERS huddle to take shots. LOUIS and RAILTON sit ringside. LOUIS is trying to draw BENDIGO.</scene_description> <character>LOUIS</character> <dialogue>But he's electric, Herb. Look how his fancy all adore him - Half his opponent's size but he knows how to harness the electricity of the crowd... look, see! There it is.</dialogue> <character>FLASH! POW! WAPOW! FLASH! FLASH!</character> <dialogue>RAILTON</dialogue> <scene_description>Are you talking about the photographers?</scene_description> <character>LOUIS</character> <dialogue>No, Herb. Look properly. The electricity. Finally, I feel like I'm starting to understand it. In fact I have a hypothesis that electricity is what pushes us through time. And if I can find a way to conduct and divert electricity with more accuracy, I could, in theory, experience the past as if it were no different to the future...</dialogue> <character>RAILTON</character> <dialogue>Louis... Is everything alright at home... With Emily, I mean.</dialogue> <character>LOUIS</character> <dialogue>Of course it is. She's teaching herself Chinese so she can read about their history in their own language. And we have a new friend called Peter.</dialogue> <character>RAILTON</character> <dialogue>Peter?</dialogue> <character>LOUIS</character> <dialogue>Yes, he's a cat. We have a cat now.</dialogue> <character>RAILTON</character> <dialogue>For mousing, you mean?</dialogue> <character>LOUIS</character> <dialogue>No, Herb. As a pet.</dialogue> <character>RAILTON</character> <dialogue>... I'm worried about you, Louis.</dialogue> <character>LOUIS</character> <dialogue>Why.</dialogue> <character>RAILTON</character> <dialogue>Well... that's a bit disgusting, don't you think?</dialogue> <scene_description>BENDIGO is closing in on the JOURNEYMAN, nimbly ducking the sweeping punches coming his way.</scene_description> <character>LOUIS</character> <dialogue>... Do you know the true meaning of the phrase "there's no time like the present", Herb? It's that there isn't. It's too minimal, too fleeting. We turn the past into the future - that's what the present is - through the power of our electricity. And that is an entirely reversible process. Remembering things in the past is no different to imagining things in the future and neither is any different to life itself. I can remember Emily in the future and she will be there. Do you see what I'm saying, Herb?</dialogue> <scene_description>BANG! The JOURNEYMAN falls. REFEREE holds BENDIGO'S arm up. CAMERAS FLASH. BENDIGO starts dancing again, geeing up the crowd. FLASHES SPARK WILDLY AS LOUIS' WATCHES WIDE-EYED. RAILTON is not feeling it in quite the same way.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL DINING ROOM, THE STRAND - DAY</stage_direction> <scene_description>INGRAM is eating a rich meal. LOUIS' SKETCHES of BENDIGO and the fight are on the table. LOUIS looks at a PHOTOGRAPH of BENDIGO'S KNOCKOUT PUNCH.</scene_description> <character>LOUIS</character> <dialogue>But this doesn't capture the spirit of the fight, Sir William.</dialogue> <character>INGRAM</character> <dialogue>Um... Yes, it does. That's why it's in vogue. It's fast, it's cheap and it's one hundred percent accurate.</dialogue> <character>LOUIS</character> <dialogue>But where is the electricity?</dialogue> <scene_description>INGRAM looks confused. He wipes his mouth and looks at LOUIS.</scene_description> <character>INGRAM</character> <dialogue>... I hear your wife is very sick.</dialogue> <scene_description>LOUIS didn't realise INGRAM knew this.</scene_description> <character>INGRAM</character> <dialogue>... Did you know, Louis... that I lost my father and my brother in a shipping accident? ... in Lake Michigan... it's how I came to inherit this newspaper... though I was thirteen at the time... that they died... I know that you are still supporting your mother and your sisters, Louis, and that is admirable. So I'm sorry to say this... but it may be that I cannot use you as much as I would like, for the time being. I need to get our finances in order and that means making difficult, practical decisions... but my advice to you would be to spend the time that you gain... with your wife... because when she is gone, Louis... it will hurt...</dialogue> <scene_description>LOUIS is surprised to see that INGRAM is close to tears.</scene_description> <character>INGRAM</character> <dialogue>These are precious weeks... do you understand?</dialogue> </scene> <scene> <stage_direction>EXT. VICTORIAN BATHS, LONDON - NIGHT</stage_direction> <scene_description>LOUIS swims alone in the echoey baths, channeling his stress.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>PETER is dressed in EYEGLASSES and a BOW TIE. LOUIS does a silly cat voice for PETER. It's shot as if PETER is saying these lines, although his mouth doesn't move.</scene_description> <character>LOUIS (O.C.)</character> <dialogue>Stuffed mouse for lunch, Mrs Wain?</dialogue> <scene_description>EMILY is sitting up in bed, pale and sickly now.</scene_description> <character>EMILY</character> <dialogue>No thank you, Peter. I'm not partial to mouse personally...</dialogue> <character>LOUIS (O.C.)</character> <dialogue>Sparrow pie...?</dialogue> <character>EMILY</character> <dialogue>I don't care for sparrow either, truth be told... bit gristly.</dialogue> <parenthetical>(turning to LOUIS)</parenthetical> <dialogue>Could you stop it now? I don't have an appetite today. I'm a bit tired.</dialogue> <character>LOUIS</character> <dialogue>... What's the matter?</dialogue> <character>EMILY</character> <dialogue>Uh... I have cancer, Louis. I'm in quite a lot of pain.</dialogue> <scene_description>EMILY lies back with a huff. LOUIS thinks. Perhaps it's time.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS / PARLOUR, ELIZABETH TERRACE - DAY</stage_direction> <character>EMILY'S POV AS WE WALK THROUGH THE HOUSE - WE SEE SLIVERS,</character> <dialogue>FINGERS OVER THE LENS.</dialogue> <character>LOUIS (O.C.)</character> <dialogue>Are you ready?</dialogue> <character>EMILY (O.C.)</character> <dialogue>It depends on what you're about to show me...</dialogue> <scene_description>We arrive in the parlour. LOUIS takes his hands away. EMILY'S face lights up. LOUIS has created a gallery of STILL LIFE SKETCHES OF PETER - PETER playing at home, PETER in the leaves, PETER sliding on some ice and so on.</scene_description> <character>EMILY</character> <dialogue>... When did you do all this? ... has Sir William seen these?</dialogue> <character>LOUIS</character> <dialogue>... These are not for Sir William, Emily. These are for you.</dialogue> <character>EMILY</character> <dialogue>... But you must show him, Louis.</dialogue> <character>LOUIS</character> <dialogue>... Why? ... Sir William doesn't care about Peter now does he...</dialogue> <scene_description>EMILY, though sick, looks at LOUIS with beguiling confidence.</scene_description> <character>LOUIS</character> <dialogue>And besides I should be... I should be spending more time with you... when you're still-</dialogue> <character>EMILY</character> <parenthetical>(half playfully now)</parenthetical> <dialogue>Who is this sopping wet dishrag I seem to have married... I'm the one who's ill, Louis. Don't you start wallowing in it too...</dialogue> <scene_description>On LOUIS. He needs to be strong for her. Under her pale exterior, LOUIS can see that EMILY is still full of life.</scene_description> </scene> <scene> <stage_direction>EXT. GOLF COURSE, LONDON - DAY</stage_direction> <scene_description>WELL-TO-DO GOLFERS - tweed, funny hats, socks - do business, smoke, play golf. INGRAM tees up with three PLAYING PARTNERS.</scene_description> <character>LOUIS</character> <dialogue>... Sir William!</dialogue> <scene_description>INGRAM is surprised and confused to see LOUIS pushing EMILY in a wheelchair towards them. They are waving and EMILY seems to be vaguely in disguise as a MAN.</scene_description> <character>GROUNDSMAN</character> <dialogue>Excuse me! ... excuse me! Oi!</dialogue> <scene_description>LOUIS and EMILY run away, laughing as the GROUNDSMAN gives chase. INGRAM watches this play out.</scene_description> </scene> <scene> <stage_direction>INT. CLUB ROOM, GOLF - DAY</stage_direction> <scene_description>INGRAM, amusingly clad in golf clothes, is studying LOUIS' pictures of Peter.</scene_description> <character>INGRAM</character> <dialogue>Sorry she wasn't allowed in, old boy. I did try...</dialogue> <character>LOUIS</character> <dialogue>It wasn't a very... convincing disguise was it...</dialogue> <character>INGRAM</character> <dialogue>... She should be at home resting.</dialogue> <character>LOUIS</character> <dialogue>... She wanted to come.</dialogue> </scene> <scene> <stage_direction>EXT. CLUB ROOM, GOLF COURSE - DAY</stage_direction> <scene_description>EMILY sits peacefully outside, looking at the view and feeling the breeze on her face. A feeling of quiet serenity. A feeling, perhaps even, of destiny. She knows it's nearly time for her to go.</scene_description> </scene> <scene> <stage_direction>INT. CLUB ROOM, GOLF COURSE - DAY</stage_direction> <scene_description>INGRAM takes a sip of tea, loads in some extra sugar and stirs it thoughtfully. LOUIS looks nervous.</scene_description> <character>LOUIS</character> <dialogue>I'm sorry if we've... wasted your time, Sir William...</dialogue> <character>INGRAM</character> <dialogue>... I have two pages earmarked for the Christmas edition, especially reserved for a bit of festive frivolity... something to raise the spirits of our readers... I want you to fill it... with cats...</dialogue> <character>LOUIS</character> <dialogue>With... cats?</dialogue> <character>INGRAM</character> <dialogue>Yes... with cats...</dialogue> <character>LOUIS</character> <dialogue>... Do you not think that, perhaps, a spread of silly dogs might be more appealing for your readership?</dialogue> <character>INGRAM</character> <dialogue>I've seen dogs before... and I think you capture something of the cat, Louis... perhaps because you yourself are a bit of a renegade... An outcast, dare I say it...</dialogue> <scene_description>INGRAM looks at him with huge kindness. LOUIS is touched.</scene_description> <character>INGRAM</character> <dialogue>... How you have managed to conjure images of such delight at such a dark time... I don't know...</dialogue> <scene_description>LOUIS sees EMILY through the window, her back to him.</scene_description> <character>LOUIS</character> <dialogue>It's because... I am indestructible...</dialogue> <scene_description>LOUIS smiles, tears in his eyes. He doesn't feel strong.</scene_description> </scene> <scene> <stage_direction>EXT. MARKET STREET - DAY</stage_direction> <scene_description>LOUIS walks down a snow-dusted market street. EVERYBODY is festive, children running around.</scene_description> <character>A SMALL GROUP AT A NEWS STAND ARE READING "THE ILLUSTRATED</character> <dialogue>LONDON NEWS" AND LAUGHING. LOUIS sees that they are enjoying his double page spread: "A KITTENS' CHRISTMAS PARTY".</dialogue> <dialogue>Further down the street, FIVE STREET URCHIN BOYS &amp; GIRLS huddle round a discarded newspaper. They are filthy and cold, but they giggle at LOUIS' CATS, forgetting their troubles. They feed A STRAY CAT some scraps of bread, even stroke it.</dialogue> <dialogue>This lifts LOUIS' spirits, but not enough. He pays for a copy of the "ILLUSTRATED LONDON NEWS" and walks home.</dialogue> <character>EMILY (V.O.)</character> <dialogue>Throughout history, cats have been worshipped as mystical gods and maligned as the evil allies of witchery and sin...</dialogue> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, ELIZABETH TERRACE, SOUTH HAMPSTEAD - NIGHT</stage_direction> <scene_description>THE NEWSPAPER is open on "A KITTENS' CHRISTMAS PARTY". EMILY and LOUIS sit by the fire, the remains of their Christmas dinner to the side, EMILY visibly in her last days. PETER has an adorable Christmas ribbon on and is jumping into an empty present box, as if it's a serious game.</scene_description> <character>EMILY</character> <dialogue>... But I think you are the first person ever to see that they are, in fact, ridiculous. That they are silly and cuddly and lonely and frightened and brave... like us...</dialogue> <character>EMILY</character> <dialogue>One day, I think it won't seem so peculiar to have a cat in the house, as a little pet.</dialogue> <scene_description>LOUIS seems quiet.</scene_description> <character>EMILY</character> <dialogue>... What's going on in that funny little head of yours?</dialogue> <character>LOUIS</character> <dialogue>... Sometimes, I think of how you will one day be gone and... I have to tell you, Emily, that I find it... intolerably difficult to imagine... I will be so very alone.</dialogue> <character>EMILY</character> <dialogue>... You'll be alright, Louis. You'll have Peter...</dialogue> <character>LOUIS</character> <dialogue>This time with you, Emily, playing with Peter in the evenings, and sitting by the fire... these have been the best days of my entire life... I can't tell you why it is that I have such... difficulty... just being here, on this Earth... but I can say, with absolute certainty, that you have made it much, much better. You make the world... beautiful. And warm. And kind... And I just wanted to thank you for that, before it's too late.</dialogue> <character>EMILY</character> <dialogue>... I haven't made the world beautiful, Louis. The world is beautiful... and you have helped me to see that too...</dialogue> <scene_description>The sadness returns to LOUIS momentarily.</scene_description> <character>EMILY</character> <dialogue>... Just remember... that however hard things get... however much you feel that you are struggling... the world is full of beauty... and it's up to you to capture it, Louis... to look... and to share it with as many people as you can...</dialogue> <scene_description>We sense that LOUIS will never forget these words.</scene_description> <character>EMILY</character> <dialogue>You are a prism, through which that beam of life refracts.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM / VARIOUS, ELIZABETH TERRACE - NIGHT</stage_direction> <scene_description>LOUIS is asleep. EMILY is weak, but she heaves herself out of bed. She grabs her PATTERNED BLUE SHAWL off a chair and puts it around her shoulders, perhaps for warmth. She uses a walking stick to make her way to LOUIS' desk in another room. She pulls open a drawer. Inside, is his journal.</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING (1887)</stage_direction> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>LOUIS is preparing a breakfast of eggs, bacon and tea.</scene_description> </scene> <scene> <stage_direction>INT. STAIRS, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>LOUIS comes up the stairs carrying the special breakfast.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>LOUIS enters the bedroom.</scene_description> <character>LOUIS</character> <dialogue>Here we are... a special New Year's breakfast for you today, Mrs Wain.</dialogue> <scene_description>LOUIS starts setting it up on the side, pouring tea. MEOW.</scene_description> <character>LOUIS</character> <dialogue>Yes and to you, Peter. Don't worry I haven't forgotten your eggs.</dialogue> <scene_description>MEOW. PETER sounds sad. LOUIS stops. He looks down. PETER is staring back at him. LOUIS looks over to EMILY in the bed, only fleetingly. He can't. He continues preparing the breakfast as if nothing has happened. Then he stops suddenly. He takes a few moments, pacing. He can't stand still. He decides to start building a fire. He takes some kindling and logs out of a wood basket. PETER watches him. LOUIS tries to strike a match but it will not light. He tries again and the head breaks off. He does this several times, then stands up again, pacing. He settles. He looks over at EMILY in the bed. She is dead.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, ELIZABETH TERRACE - DUSK (1887)</stage_direction> <scene_description>The FIRE is going gently. INGRAM and RAILTON sit in FUNERAL ATTIRE, drinking tea. With them, sits an older MRS WAIN - she has a walking stick and is in funeral dress. PETER trots in.</scene_description> <character>INGRAM</character> <dialogue>Here he is... Peter the great...</dialogue> <scene_description>PETER meows quietly. INGRAM and RAILTON politely chuckle, not used to having a CAT in the house. MRS WAIN sits quietly.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE, SOUTH HAMPSTEAD - CONT.</stage_direction> <scene_description>In the kitchen, to our surprise, sits CAROLINE, who also looks slightly older now. She sits with LOUIS at the table. They sit in silence for a time. CAROLINE takes a sip of tea.</scene_description> <character>CAROLINE</character> <dialogue>A family has moved into one of the mansions, three streets along from us in Clerkenwell. They have a daughter who is not yet married...</dialogue> <scene_description>LOUIS doesn't speak or react. CAROLINE looks at him.</scene_description> <character>CAROLINE</character> <dialogue>Perhaps now you can help to repair the damage you have done to this family... we will forgive you, Louis. If you come home... we cannot afford the upkeep of one house, let alone two... and this is no place for a gentleman...</dialogue> <scene_description>We hear MRS WAIN sobbing next door. LOUIS turns to see INGRAM offering her a handkerchief. RAILTON is on his feet now. He looks through into the kitchen at LOUIS.</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH TERRACE, SOUTH HAMPSTEAD - EVENING</stage_direction> <character>STORMY CLOUDS FLICKER WITH ELECTRICITY. RAINFALL MAKES THE</character> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE SOUTH HAMPSTEAD - EVENING</stage_direction> <scene_description>The kitchen is a mess. A chaos of half-finished CAT DRAWINGS. LOUIS looks dishevelled , a beard forming. He fishes two boiled eggs out of a pan, shells them and mashes one with a fork for PETER. He serves it on the table. PETER leaves for the other room. LOUIS sits not eating his own egg. PETER comes back into the room and MEOWS, looking up at LOUIS.</scene_description> <character>LOUIS</character> <dialogue>... She's not here, Peter.</dialogue> <scene_description>On a dirty tea towel, LOUIS has a drawn a SCREAMING CAT. Underneath he has scribbled a caption that reads:</scene_description> <character>"TELL ME SUNSHINE, TELL ME RAIN,</character> <dialogue>WHAT'S THE CURE FOR ALL THIS PAIN?"</dialogue> <scene_description>Next to this image is a picture of a FLUFFY CAT KING, sitting on a throne before A GROUP OF COURTIER CATS. MUSIC BEGINS. SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, ELIZABETH TERRACE, SOUTH HAMPSTEAD - NIGHT</stage_direction> <scene_description>STORM CONTINUES OUTSIDE. LOUIS, in his pyjamas, is playing with PETER. He has the cotton mouse on a thread that EMILY made. PETER loses interest. It isn't the same without EMILY. LOUIS tries to pick PETER up, but PETER bites him.</scene_description> <character>LOUIS</character> <dialogue>Argh, you little- !</dialogue> <scene_description>LOUIS finds PETER under a dresser. He gets down on the floor.</scene_description> <character>LOUIS</character> <dialogue>I want you to cuddle me...</dialogue> <scene_description>PETER stares at him, cowering, confused.</scene_description> <character>LOUIS</character> <dialogue>Please... please cuddle me...</dialogue> <scene_description>PETER meows sadly.</scene_description> <character>LOUIS</character> <dialogue>I know, Peter... it's not my fault.</dialogue> <scene_description>LOUIS lies there, feeling the floor on his cheek. PETER comes out and head-butts LOUIS. He MEOWS: "Come on, mate..." PETER looks at LOUIS sprawled pathetically on the ground. 123-125 SCENE OMITTED 123-125</scene_description> </scene> <scene> <stage_direction>INT. CHURCH, CAT LAND - DUSK</stage_direction> <scene_description>We are in a version of the same CHURCH where WILLIAM WAIN'S funeral took place. In the coffin, lies a BEAUTIFUL WHITE CAT wearing EMILY'S BLUE DRESS. The coffin is full of flowers. A CAT KING - a fat ginger cat, holding a sceptre with a crown on his head - sits in the PRIEST'S ornate chair. He speaks in a WEIRD CAT LANGUAGE, like talking but it's hard to make out words - A chattery, human-talkish meow speak. PETER is there, again human sized, dressed as a kind of JESTER with a wagon full of JESTERLY PROPS. He stands before A CONGREGATION of COURTIER CATS. There is a CANVAS on an EASEL which reads: "PAIN".</scene_description> </scene> <scene> <stage_direction>126A INT. PARLOUR / KITCHEN, ELIZABETH TERRACE - NIGHT 126A</stage_direction> <scene_description>LOUIS sits up slowly. He heaves himself onto his feet and slowly makes his way into the kitchen, followed by PETER. LOUIS looks at the STORM outside, strokes PETER and then drifts towards the door. INTERCUT:</scene_description> </scene> <scene> <stage_direction>126B INT. CHURCH, CAT LAND - DUSK 126B</stage_direction> <scene_description>PETER drags a table into the centre of the court, and arranges a tea set which he grabs from his wagon. He pours the tea into the cup. EVERYONE IS CONFUSED.</scene_description> <character>CAT KING</character> <dialogue>... Tea?</dialogue> <scene_description>This word we can make out. After a pause, PETER nods, takes his brush and goes to the canvas. Next to the word "PAIN" he adds the letter "T". It now spells "PAINT". Slowly, the CAT COURTIERS begin to nod and clap. They stand up. They cheer. They throw flowers in celebration. THE CAT KING is delighted. PETER BOWS.</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH TERRACE - NIGHT</stage_direction> <scene_description>LOUIS stands outside, bare foot in the rain, looking up at the electric sky as MUSIC RISES. END OF SECTION: CONTENTS MOVED TO 130B CONTENTS MOVED TO 130A</scene_description> </scene> <scene> <stage_direction>INT. STAIRS, SIR WILLIAM INGRAM'S OFFICE, ILN - DAY (1891)</stage_direction> <scene_description>We spiral down from an ornate painting on the ceiling of THE ILLUSTRATED LONDON NEWS. INGRAM is smoking and drinking sherry, following LOUIS (now 30s) and PETER down the stairs. LOUIS carries a SACK OF MAIL.</scene_description> <character>INGRAM</character> <dialogue>Your cats have won you many fans, Wain! Congratulations!</dialogue> <character>PETER MEOWS.</character> <dialogue>LOUIS</dialogue> <scene_description>He says thank you, but go easy on the sherry.</scene_description> <character>INGRAM</character> <dialogue>That's the famous cheek that's catapulted you to fame, my boy! In fact, there was a telegram from a certain Miss Judith Shenton of the National Cat Club in Deptford. They're having a kind of "cat competition" and would like you to judge it. What do you say?</dialogue> <character>LOUIS</character> <dialogue>Peter?</dialogue> <character>PETER MEOWS.</character> <dialogue>LOUIS</dialogue> <scene_description>We'll do it... Oh and, Sir William... you don't mind if I work with other people, do you? LOUIS leaves and we are left with INGRAM. He doesn't mind but didn't expect the question. A TROLLEY hurtles past, stacked with newspapers. It's a LOUIS WAIN SPECIAL "Summer Edition" - the front cover features SEVERAL CATS in the iconic LOUIS WAIN style.</scene_description> </scene> <scene> <stage_direction>130A EXT. MARKET ALLEY - MORNING 130A</stage_direction> <character>NEWSPAPERS ARE UNLOADED AT A NEWS STAND. CROWDS ARE FORMING -</character> <dialogue>ALL FIGHTING TO GET COPIES OF THE "ILN".</dialogue> <character>PAPER GIRL 1891</character> <dialogue>Louis Wain special in The Illustrated London News!</dialogue> <character>WAIN FAN</character> <dialogue>Look, there he is! It's Louis Wain!</dialogue> <scene_description>LOUIS CYCLES BY WITH PETER IN HIS BASKET. The CROWD chase after him, trampling the NEWS BOY as they go.</scene_description> </scene> <scene> <stage_direction>130B INT. NEWSPAPER PRINT FACTORY - NIGHT 130B</stage_direction> <character>IMPRESSIONISTIC CLOSE-UPS OF LOUIS' WAIN'S ICONIC CAT</character> </scene> <scene> <stage_direction>INT. LONDON BOOK SHOP / DAN RIDER'S BOOK SHOP - DAY</stage_direction> <character>SHELVES ARE STACKED WITH LOUIS' BOOKS. CUSTOMERS FLICK</character> <dialogue>EAGERLY THROUGH THE PAGES. PETER IS HEAVILY FEATURED.</dialogue> <character>CUSTOMERS SIT AND READ OR SHARE FUNNY PICTURES WITH THEIR</character> <dialogue>CHILDREN. THEY PLONK THE BOOKS ON THE CASHIER'S DESK AND GIVE</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY, ELIZABETH TERRACE, SOUTH HAMPSTEAD - MORNING</stage_direction> <scene_description>LOUIS goes to collect a pile of fan mail that has been thrust through his door. He hears a MEOW and opens the door. It's not Peter, but a different cat. This is BRIGIT.</scene_description> </scene> <scene> <stage_direction>INT. CAT SHOW, DEPTFORD CHURCH HALL - DAY</stage_direction> <scene_description>A CAT SHOW is being prepared - TEA, BISCUITS, CAKES, ADORABLE CATS IN THEIR BASKETS AND CAGES.</scene_description> <character>POSTCARD STANDS ARE QUICKLY SLOTTED UP WITH WAIN'S POSTCARDS.</character> <dialogue>CATS OF VARIOUS STYLES, MANY OF THEM NOW LOOK QUITE HUMAN.</dialogue> <dialogue>We recognise certain scenes - cats boxing, cats playing golf, cats swimming, cats in fancy tearooms.</dialogue> <character>SHELVES ARE STACKED WITH MAGAZINES FEATURING LOUIS' WORK ON</character> </scene> <scene> <stage_direction>INT. WOBURN HOUSE - DAY</stage_direction> <scene_description>LOUIS is back doing private commissions for rich clients, this time the DUCHESS OF WOBURN. He sits, as before, with his easel, but this time - pampered on a podium - is a BIG FLUFFY CAT. LOUIS whips off some cloth to REVEAL his PORTRAIT OF THE CAT. The DUCHESS and STAFF clap excitedly. LOUIS bows awkwardly.</scene_description> </scene> <scene> <stage_direction>EXT. CAT SHOW, DEPTFORD CHURCH HALL - DAY</stage_direction> <scene_description>LOUIS cycles. FLASH-CUT MEMORIES OF EMILY. He is fighting for her. He is fighting to make her proud. He arrives at the CAT SHOW. JUDITH SHENTON (wearing the PRESIDENT'S SASH), RAILTON and other CAT LADIES greet him.</scene_description> </scene> <scene> <stage_direction>135A INT. CAT SHOW, DEPTFORD CHURCH HALL - DAY 135A</stage_direction> <scene_description>A CHURCH HALL. A poorly calligraphed banner: "THE DEPTFORD CAT CLUB SHOW". LOUIS is led around by JUDITH. CATS on pedestals, in cages. ADORABLE KITTENS in baskets.</scene_description> <character>JUDITH</character> <dialogue>It's so wonderful to meet a kindred spirit, Mr Wain! I hear even gentry are keeping cats as pets now. And so handsome too. I am quite astonished at your level of knowledge, I really am. Although I must admit I didn't fully understand your theory about cats preferring to face North?</dialogue> <character>LOUIS</character> <dialogue>Ah yes, well cats will always prefer to face and to walk northwards, especially along a wall you will notice. You see their whiskers are like antennae and are attracted by the positive poles of the earth.</dialogue> <scene_description>RAILTON is nervously holding a cat, unsure.</scene_description> </scene> <scene> <stage_direction>INT. DAN RIDER'S BOOKSHOP, ST MARTIN'S COURT - DAY</stage_direction> <scene_description>A man enters. Immediately customers start whispering that it's HG WELLS (30s). We realise that DAN RIDER, the man with the POMERANIAN on the train, is working behind the cash desk.</scene_description> <character>DAN RIDER</character> <dialogue>Hello, Mister Wells... come to check on your sales?</dialogue> <scene_description>HG WELL'S "THE WAR OF THE WORLDS" and "THE TIME MACHINE" - as well as other books - are also on sale.</scene_description> <character>HG WELLS</character> <dialogue>No, Rider... I'm here for some Louis Wain...</dialogue> <scene_description>137-140 SCENES OMITTED 137-140</scene_description> </scene> <scene> <stage_direction>INT. LONDON BOOKSHOP - DAY</stage_direction> <scene_description>MORE BOOKS are delivered, browsed, enjoyed. We realise LOUIS is illustrating other people's stories too. LOUIS SIGNS BOOKS, FACED WITH A QUEUE OF CUSTOMERS. He tries to be polite, but feels the pressure of them crowding round.</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBOURING FIELD, ELIZABETH TERRACE - DAY</stage_direction> <scene_description>LOUIS wears silly golf attire and talks with a journalist.</scene_description> <character>JAS GORDON RICHARDS</character> <dialogue>And Peter talks to you, does he?</dialogue> <character>LOUIS</character> <dialogue>Oh yes, every day. All cats do...</dialogue> <scene_description>LOUIS settles down to take a shot, doing a jiggly dance. He swings... but his club goes flying! He runs off to collect it, leaving GORDON RICHARDS bemused.</scene_description> </scene> <scene> <stage_direction>INT. LONDON / INT. RIDER'S BOOKSHOP / MARKET - DAY</stage_direction> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CAT SHOW, DEPTFORD CHURCH HALL - DAY</stage_direction> <scene_description>RAILTON looks through LOUIS' postcards, which are on sale - A MIXTURE OF EMOTIONS as he watches the CAT LADIES excitedly rifle through them. A WHIFF OF JEALOUSY PERHAPS. LOUIS is inspecting a TABBY CAT, still with JUDITH.</scene_description> <character>LOUIS</character> <dialogue>The Tabby's markings are defined by the electricity of their feline heritage. This particular creature might have a great grandmother or some such that was actually struck by lightning, as the markings are very defined in jagged lines...</dialogue> <scene_description>RAILTON has happened upon a PAINTING of a BEAUTIFUL WHITE CAT, wearing a blue ribbon the colour of EMILY'S DRESS. The colour of her eyes, the beguiling, confident, eternal smile - this is a painting of EMILY as a CAT. He looks over at LOUIS.</scene_description> </scene> <scene> <stage_direction>INT. JEM MACE'S BOXING GYM, LONDON - DAY</stage_direction> <scene_description>LOUIS is back with JEM MACE, sparring against another BURLY OPPONENT. LOUIS is on fire. FLASH-CUT MEMORIES OF EMILY. KAPOW! The BURLY OPPONENT stumbles to the ground.</scene_description> <character>LOUIS</character> <dialogue>Yes! I am the Great Bendigo!</dialogue> <scene_description>LOUIS starts copying BENDIGO'S dancing. JEM MACE claps and laughs, but we sense that LOUIS is a bit edgy, manic.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, ELIZABETH TERRACE, SOUTH HAMPSTEAD - DAY</stage_direction> <scene_description>LOUIS works on a PATENT - "A NEW ATTACHMENT FOR BICYCLES". We can't understand what it is, but "electricity" is featured. PETER and BRIGIT are having dinner. MEOW. ANOTHER TWO CATS at the window - LEO and MINNA. LOUIS lets them in.</scene_description> </scene> <scene> <stage_direction>INT. CAT SHOW, DEPTFORD CHURCH HALL - DAY</stage_direction> <scene_description>LOUIS and JUDITH and walk on through the CAT SHOW.</scene_description> <character>LOUIS</character> <dialogue>Their features are already changing as they become more intelligent and domesticated. Their eyes will become larger and their heads bigger as their brains grow in size. They will turn blue and, eventually, they will stand on their hind legs and communicate with us in our own language.</dialogue> <character>JUDITH</character> <dialogue>Goodness, I had no idea it was so... complicated... did you just say they would turn blue?</dialogue> <character>LOUIS</character> <dialogue>Yes. Of course.</dialogue> <character>JUDITH</character> <dialogue>... Well, thanks to you, Mr Wain, us cat people are out of the shadows and finally celebrating in the open with our feline children. So... I would like to thank you...</dialogue> <scene_description>JUDITH takes off her SASH and, with great feeling, hangs it around LOUIS' neck. She gives him a hug. THE SASH READS "PRESIDENT OF THE NATIONAL CAT CLUB". LOUIS surveys the room. The CROWDS, the NOISE, the CATS - it's getting to LOUIS. SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CAT SHOW, DEPTFORD CHURCH HALL - DAY (1894)</stage_direction> <scene_description>LOUIS pins the WINNER'S ROSETTE on a funny faced PERSIAN CAT and holds her up for a delighted, cheering crowd. Something is unsettling about the way everyone is staring at him. END OF SEQUENCE:</scene_description> </scene> <scene> <stage_direction>INT. / EXT. GARDEN, ELIZABETH TERRACE - DAY (1895)</stage_direction> <scene_description>AN ARRAY OF "DISHONOURED" CHEQUES ON THE TABLE. The house is chaos - dirty crockery, uneaten food, cat faeces . CAROLINE (30s), JOSEPHINE (30s) and CLAIRE (20s) are with LOUIS. FELICIE (20s) sits in the garden. We are struck by how much time has passed. The SISTERS look tired and pale.</scene_description> <character>CAROLINE</character> <dialogue>I assumed you had been spending it all on frivolous luxuries as you clearly have quite forgotten about your poor and destitute family - yet here you are living in squalor and chaos!</dialogue> <character>CLAIRE</character> <dialogue>Don't shout, Caroline.</dialogue> <character>CAROLINE</character> <dialogue>I'm not shouting, Claire. I'm explaining to him with force.</dialogue> <character>JOSEPHINE</character> <dialogue>You could at least have stretched to a maid. I mean look at this floor. It's covered in cat faeces.</dialogue> <scene_description>PETER, BRIGIT, MINNA and LEO drift variously in and out. Occasionally the cats come to FELICIE for attention. PETER looks scruffier, older, fur greying.</scene_description> <character>CAROLINE</character> <dialogue>Where has it all gone!</dialogue> <character>JOSEPHINE</character> <dialogue>We are in huge amounts of debt. It's really starting to affect mother's health, I have to say...</dialogue> <character>CLAIRE</character> <dialogue>Nobody wants to marry us, Louis.</dialogue> <character>LOUIS</character> <dialogue>I didn't copyright the images.</dialogue> <character>CAROLINE</character> <dialogue>Oh my Lord... help us, please...</dialogue> <character>CLAIRE</character> <dialogue>... What does that mean?</dialogue> <character>JOSEPHINE</character> <dialogue>It means people have been re- printing his pictures all over the country and he hasn't seen a penny... which explains why he is living - not like a pauper, but actually, Louis, I would say you are living rather like a pig. The stench is quite unbearable.</dialogue> <character>LOUIS</character> <dialogue>Some of my originals I exchanged in place of money so they have rather become a currency in themselves... Haven't they, Peter?</dialogue> <scene_description>PETER meows as he passes through. LEO is coughing up a fur ball, making horrible noises.</scene_description> <character>LOUIS</character> <dialogue>I gave the barber a handful of my Dancing Cats and now I get free haircuts for the rest of my life. And look at this snazzy pair of Chelseas... bought the same way...</dialogue> <scene_description>LOUIS is wearing decent BOOTS. This is driving CAROLINE mad.</scene_description> <character>CLAIRE</character> <dialogue>But why didn't you copyright them?</dialogue> <character>LOUIS</character> <dialogue>Because I am not interested in making money.</dialogue> <character>CAROLINE</character> <dialogue>What are you interested in then? The attention? The adulation? "Oh, the marvelous Louis Wain who paints one thing... and it's cats!"</dialogue> <parenthetical>(rattling the table)</parenthetical> <dialogue>What are you interested in!</dialogue> <scene_description>This frightens one or two of the CATS. LOUIS heads into the parlour, ushering the CATS away from raging CAROLINE.</scene_description> <character>CLAIRE</character> <parenthetical>(shouting)</parenthetical> <dialogue>Stop shouting, Caroline!</dialogue> <scene_description>MINNA trots in with a DEAD BIRD.</scene_description> <character>JOSEPHINE</character> <dialogue>Agh, for goodness' sake there's a cadaver now. It's eating a hawk!</dialogue> <character>CLAIRE</character> <dialogue>It's not a hawk, Josephine.</dialogue> <character>CAROLINE</character> <dialogue>You are not a child, Louis... you are a man... You are a man... Can you not see how you have tainted us with your actions.</dialogue> <scene_description>CAROLINE is getting upset.</scene_description> <character>CAROLINE</character> <dialogue>Our parents worked hard to build our reputation and to gather a fortune for their children and you have squandered it all on wretched cats and a wilful, tainted, doomed romance. You have destroyed this family with your selfishness and you continue with your childish delusions which conspire to keep us all in penury. The indignity we have suffered at your hands...</dialogue> <character>LOUIS</character> <dialogue>I didn't do it on purpose.</dialogue> <character>CAROLINE</character> <dialogue>You didn't what? You didn't get married on purpose?</dialogue> <scene_description>LOUIS is hovering somewhere odd, whispering into a corner.</scene_description> <character>CAROLINE</character> <dialogue>Speak up, Louis!</dialogue> <character>LOUIS</character> <dialogue>I DIDN'T THINK TO DO IT!</dialogue> <scene_description>Silence. PETER is looking at him. LOUIS feels ashamed for his outburst. CAROLINE is now crying uncontrollably.</scene_description> <character>LOUIS</character> <dialogue>Nobody told me I was supposed to copyright the images.</dialogue> <character>JOSEPHINE</character> <dialogue>... But what about Sir William? He should have advised you...</dialogue> <character>LOUIS</character> <dialogue>I haven't seen Sir William for a while... I have been working for other people...</dialogue> <character>CLAIRE</character> <dialogue>... We have no money, Louis. We can't eat. We can't buy clothes. We're freezing to death...</dialogue> <scene_description>CLAIRE stops. There is more to say but clearly it's delicate. LOUIS looks at CLAIRE, at CAROLINE, at FELICIE.</scene_description> <character>FELICIE</character> <dialogue>... Just tell him.</dialogue> <character>LOUIS</character> <dialogue>... What has happened.</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR / DINING ROOM, WAIN HOUSE - DAY (1895)</stage_direction> <scene_description>The house is in disrepair, wallpaper peeling.</scene_description> <character>MARIE</character> <dialogue>Get back! Get back, I said! He'll catch it!</dialogue> <character>LOUIS</character> <dialogue>Catch what, Marie... what are you talking about?</dialogue> <scene_description>LOUIS keeps his distance, shocked and saddened to see the state of MARIE (20s). Her hair is a wild mess.</scene_description> <character>MARIE</character> <dialogue>I've got leprosy. Can't you see it?</dialogue> <character>FELICIE</character> <dialogue>She scrubs herself red raw, Louis. We can't stop her.</dialogue> <character>MARIE</character> <dialogue>Don't talk about me as if I'm not here!</dialogue> <scene_description>She is covered in red rashes and sores. She scratches and rubs herself compulsively. Her clothes are all torn.</scene_description> <character>LOUIS</character> <dialogue>Why do you keep scrubbing yourself?</dialogue> <character>MARIE</character> <dialogue>Because of the leprosy. I can feel the prickles and they're in my head. They hate me, Louis. They're plotting. They're going to murder me...</dialogue> <scene_description>FELICIE is with LOUIS. The other SISTERS and MRS WAIN sit quietly in the dining room.</scene_description> <character>FELICIE</character> <dialogue>We're not going to murder you, Marie...</dialogue> <character>MARIE</character> <dialogue>Liar. And I seen murders as well - in the alleys by the baker's house. They're going to throw me out because I had relations... I had relations in the graveyard and I bled all over him and we laughed - they're just jealous because he had a big dinger and I touched it, Louis. I saw heaven, that's how I got the leprosy... for punishment. They're all spinsters. They say it's your fault because of Miss Richardson but it's because they're ugly and foul tempered and they lie and plot and scheme...</dialogue> <character>LOUIS</character> <dialogue>I tell you what, Marie. Would you like to come to my house and play with my cats for a few days-</dialogue> <character>MARIE</character> <dialogue>No, not cats they're poisonous! They've got diseases and I've already got leprosy...</dialogue> <parenthetical>(moaning upsettingly)</parenthetical> <dialogue>... I've got leprosy... get it off... get it off me, Louis! Get it off! GET IT OFF!</dialogue> <scene_description>FELICIE runs in to try to calm MARIE down. MARIE resists her. LOUIS watches, out of his depth. MRS WAIN and the OTHER SISTERS file in. MARIE is trying to tear her clothes off.</scene_description> </scene> <scene> <stage_direction>152A EXT. ILLUSTRATED LONDON NEWS - DAY (1895) 152A</stage_direction> </scene> <scene> <stage_direction>INT. SIR WILLIAM INGRAM'S OFFICE, ILN - DAY (1895)</stage_direction> <scene_description>INGRAM is looking unhealthy - gouty cheeks, heavy breathing. He finishes a creamy cake and licks his fingers. He downs some sherry. Then he studies LOUIS.</scene_description> <character>INGRAM</character> <dialogue>... I think you should move back in with your family.</dialogue> <character>LOUIS</character> <dialogue>But they threw me out, Sir William.</dialogue> <character>INGRAM</character> <dialogue>But they are your family...</dialogue> <scene_description>INGRAM lights a cigar.</scene_description> <character>INGRAM</character> <dialogue>I have a series of properties in the village of Westgate-On-Sea - mansions I hire out to families and holiday-makers in the summer. They are very habitable and in good condition. I will do my best to find you more work, Louis, so you can pay off your debts and you are welcome to stay there for as long as you like on a reduced rate... on one condition - that you take your family with you...</dialogue> <character>LOUIS</character> <dialogue>But, Sir William, I... I couldn't possibly. Especially after I have been so callously unloyal-</dialogue> <character>INGRAM</character> <dialogue>I have plenty of other illustrators on my books, Louis. Don't flatter yourself...</dialogue> <character>LOUIS</character> <dialogue>But... why, Sir William...</dialogue> <scene_description>SIR WILLIAM looks sad, unwell, but his energy is warm.</scene_description> <character>INGRAM</character> <dialogue>Because, Mr Wain, in spite of your rather irregular temperament and niggling peculiar foibles - in this occasionally bleak world, you have shown a resilience which I admire...</dialogue> <character>INGRAM</character> <dialogue>and you have, if you must know, brought me rather a lot of good cheer, through your pictures.</dialogue> <character>LOUIS</character> <dialogue>... Of cats.</dialogue> <character>INGRAM</character> <dialogue>... But they're not just cats are they... you're a brave soul, Mr Wain, but you can't do this all on your own... the sea air will do you all the world of good, especially young Marie. Sounds to me like she just needs of a change of scene. Fresh clothes. Proper food. Brisk walks.</dialogue> <scene_description>LOUIS looks over to a framed PICTURE of a FUNNY CAT that looks a lot like SIR WILLIAM, then to INGRAM himself.</scene_description> <character>LOUIS</character> <dialogue>... Thank you, Sir William.</dialogue> </scene> <scene> <stage_direction>INT. / EXT. VARIOUS ELIZABETH TERRACE - DAY</stage_direction> <scene_description>As he packs, LOUIS keeps finding traces of EMILY - clothes, jewellery, the mouse toy she made for PETER. RAILTON is there, helping, trying to lighten the mood. The HOUSE becomes barer, emptier. LOUIS packs away hundreds of PICTURES OF CATS. OTHERS HE THROWS AWAY. SOME HE BURNS ON A LARGE FIRE IN THE GARDEN. He rolls up his FATHER'S FABRICS.</scene_description> <character>RAILTON</character> <dialogue>Do you fancy joining me and the boys later, to say goodbye? Couple of drinks maybe? See if old May's having any people round? Might even find you someone to, you know...</dialogue> <scene_description>LOUIS looks angry and shocked.</scene_description> <character>RAILTON</character> <dialogue>Well... You can't be on your own forever, Louis... she'd want you to happy... don't you think?</dialogue> <character>LOUIS</character> <dialogue>You don't understand me, Herb.</dialogue> <character>RAILTON</character> <dialogue>Come on, mate. There's no need to get-</dialogue> <character>LOUIS</character> <dialogue>You never have...</dialogue> <scene_description>RAILTON realises he has handled this badly. He gets his stuff to leave. He heads for the door.</scene_description> <character>RAILTON</character> <dialogue>... You're right, Louis. I don't understand you. But... I'm still your friend.</dialogue> <character>LOUIS</character> <dialogue>So what.</dialogue> <character>RAILTON</character> <dialogue>So... I'll be here... I guess.</dialogue> <scene_description>He takes a moment, then leaves LOUIS on his own.</scene_description> </scene> <scene> <stage_direction>154A INT. ELIZABETH TERRACE - DUSK 154A</stage_direction> <scene_description>LOUIS walks back into the house and finds a collection of the first pictures of PETER. PETER meows. He remembers it too. A SHOT FROM WITHIN THE MIRROR - the same frame he once shared with EMILY, but LOUIS is now alone.</scene_description> </scene> <scene> <stage_direction>EXT. BENDIGO LODGE, WESTGATE-ON-SEA - DAY (1895)</stage_direction> <scene_description>HIGH WINDS as REMOVAL MEN carry items of furniture into a large, Gothic seafront house. LOUIS hammers up a freshly painted sign that reads "BENDIGO LODGE". He has named the home after his favourite BOXER. PETER, LEO, MINNA and BRIGIT are in covered baskets. They MEOW loudly as REMOVAL MEN carry MRS WAIN into the house on top of her bed. She waves happily at LOUIS who waves back.</scene_description> <character>MRS WAIN</character> <dialogue>Coo-ey!</dialogue> <scene_description>A CARRIAGE arrives. FELICIE, JOSEPHINE, CLAIRE and FELICIE run out with cases, excited. CAROLINE emerges, arms linked with MARIE. CAROLINE looks at the house, then at LOUIS, refusing to smile.</scene_description> </scene> <scene> <stage_direction>EXT. FAR GARDEN / NEAR GARDEN / INT. BENDIGO LODGE - DAY</stage_direction> <scene_description>CAROLINE, JOSEPHINE, CLAIRE, FELICIE and LOUIS play badminton - CROQUET STUFF, BOULES strewn around the lawn. They pick VEGETABLES and start to prepare dinner. They chop vegetables, peel potatoes and prepare a joint of meat. JOSEPHINE, CLAIRE and FELICIE bring warmth and light to proceedings, joking and dancing about - but tension still runs high between CAROLINE and LOUIS.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR, BENDIGO LODGE, WESTGATE-ON-SEA - DAY</stage_direction> <scene_description>SEA VIEWS. MRS WAIN sits with MARIE on a couch, holding her head in her arms and rocking her gently. MRS WAIN'S embroidery and weaving equipment is out.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, BENDIGO LODGE, WESTGATE-ON-SEA - DUSK</stage_direction> <scene_description>LOUIS is not over EMILY. Being in this new space, it feels strange. He leaves the room. CAROLINE watches him go.</scene_description> </scene> <scene> <stage_direction>INT. ELSEWHERE, BENDIGO LODGE, WESTGATE-ON-SEA - DUSK</stage_direction> <scene_description>LOUIS is alone, away from everyone.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, BENDIGO LODGE, WESTGATE-ON-SEA- DAY - DUSK</stage_direction> <scene_description>LOUIS returns smiling. He picks up a cat and buries his feelings, doing a funny jig as he serves food up onto plates.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM, BENDIGO LODGE, WESTGATE-ON-SEA - EVENING</stage_direction> <scene_description>The FAMILY sit and pray before eating their meal, but LOUIS is crouched on all fours by PETER, MINNA, LEO and BRIGIT, as they eat their dinner. CAROLINE watches him. The family eat, passing food around. They wonder if they might find love here - in a new place, where nobody knows who they are. Meanwhile MARIE sits, not eating. She is silent but under the surface, she is in distress. LOUIS feels it. CAROLINE feels it. They look at each other.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS, BENDIGO LODGE, WESTGATE-ON-SEA - NIGHT</stage_direction> <scene_description>LOUIS, JOSEPHINE, CLAIRE and FELICIE have a pillow fight. Even MARIE is doing her best to join in, seemingly having a nice time. A pillow explodes and feathers go everywhere.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>After the initial strangeness of living again with my sisters...</dialogue> </scene> <scene> <stage_direction>EXT. BENDIGO LODGE, WESTGATE-ON-SEA-DAY - DAWN</stage_direction> <scene_description>LOUIS steps out of the front door and looks out to sea. JOSEPHINE, CLAIRE and FELICIE sit on the porch, painting pictures of sailboats - they are all accomplished artists.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... There followed a time of relative peace in Westgate-On- Sea...</dialogue> </scene> <scene> <stage_direction>EXT. BEACH, WESTGATE-ON-SEA - DAWN</stage_direction> <scene_description>JOSEPHINE supports MRS WAIN with her walking stick as they walk along the beach. CLAIRE and FELICIE run ahead, chasing each other playfully. CAROLINE has linked armed with MARIE. LOUIS hangs back with PETER, LEO, MINNA, BRIGIT, some on leads, some in baskets in a WAGON full of picnic apparatus. PETER is too old to keep up. LOUIS picks him up, nuzzling him. CAROLINE turns back and looks at him. Close on MARIE.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH, WESTGATE-ON-SEA - DUSK</stage_direction> <scene_description>THE WAINS eat a picnic on some rocks by the water, CATS in their baskets. LOUIS, meanwhile, is pottering chaotically in the shallows, trying to go fishing in a rowing boat.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH, WESTGATE-ON-SEA - TWILIGHT</stage_direction> <scene_description>MRS WAIN, JOSEPHINE, CLAIRE and FELICIE splash about, swimming in the water. CAROLINE is breast-stroking amongst them, but is then splashed by her sisters and mother. She can't help splashing them back. She can't help laughing.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>But in spite of Sir William's prognosis...</dialogue> <scene_description>LOUIS sits on the shore with MARIE. MARIE rests her head on his shoulder as they watch.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Marie's condition did not improve.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY / VARIOUS, BENDIGO LODGE - DAY</stage_direction> <scene_description>SMASHED VASES, BROKEN PICTURE FRAMES - CHAOS as MARIE, half- naked, is trying to rip her torn undergarments off.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And after several months of failing to help her ourselves...</dialogue> <scene_description>Her clothes are strewn around the house. LOUIS, CAROLINE and FELICIE struggle to restrain her. JOSEPHINE and CLAIRE try to console MRS WAIN, who cannot bear to watch.</scene_description> </scene> <scene> <stage_direction>EXT. BENDIGO LODGE, WESTGATE-ON-SEA - DAY (1897)</stage_direction> <scene_description>MARIE is carried away by TWO PSYCHIATRIC NURSES to a MEDICAL CARRIAGE. DR ELPHICK nods goodbye at LOUIS and the SISTERS.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... A doctor was summoned and she was taken away to the East Kent Lunatic Asylum in Chartham Down.</dialogue> <scene_description>LOUIS peels away to be alone. A little way off MRS WAIN sobs.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And further to my feeble grasp on publishing rights... I was thwarted by newly sinister enemies...</dialogue> <scene_description>169 &amp; 170 SCENES OMITTED 169 &amp; 170</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM, BENDIGO LODGE, WESTGATE-ON-SEA - DAY</stage_direction> <scene_description>LOUIS stands before a table on which he has laid out many EXAMPLES OF HIS OWN WORK. Next to each picture is a slightly less good, less charming LOUIS WAIN KNOCK-OFF.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Counterfeiters and copyists who reproduced my creations in near identical, if inferior, forms...</dialogue> </scene> <scene> <stage_direction>INT. COURT BUILDING - DAY (1897)</stage_direction> <scene_description>LOUIS sits with PETER, accompanied by a silently disapproving LAWYER. A JUDGE exits the court room next to them and is surprised to see a CAT in the building.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I was unable to pay off our debts, let alone settle my bills with Sir William... and was summoned to court on several occasions...</dialogue> </scene> <scene> <stage_direction>INT. TRAIN TO WESTGATE-ON-SEA - DAY (1898)</stage_direction> <scene_description>LOUIS sits cuddling PETER on the train. PETER is PURRING.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And then, in March of the year 1898, my great teacher and best friend...</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR, BENDIGO LODGE, WESTGATE-ON-SEA - DAY (1898)</stage_direction> <scene_description>LOUIS is looking at something from a doorway.</scene_description> <character>LOUIS</character> <dialogue>... My dear old Peter... passed away...</dialogue> <scene_description>PETER is dead, lying on his side on a patterned rug. 175 &amp; 176 SCENE OMITTED / SOME CONTENT MOVED TO SC 165 175 &amp; 176</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, BENDIGO LODGE, WESTGATE-ON-SEA - DAY</stage_direction> <scene_description>LOUIS is in bed, moaning in mental agony. He is sobbing.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And although I did weep for several years without ceasing... I made an important discovery - that the more intensely I suffered, the more beautiful my work became.</dialogue> <scene_description>Through a crack in the door, CAROLINE watches. CLOSE ON LOUIS, lying still in bed, face red from weeping.</scene_description> </scene> <scene> <stage_direction>INT. STUDIO, BENDIGO LODGE, WESTGATE-ON-SEA - EVENING</stage_direction> <scene_description>LOUIS looks exhausted but wired as he works frantically, accompanied by HIS CATS. ECUs of the brush, the colours, details of the paintings. His CAT PICTURES are becoming less naturalistic - SHAGGY BLUE CATS, BLACK &amp; WHITE STRIPED CATS.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I was able to harness the harmful electricity of my pain and to transform it into a brighter, cleaner kind of electricity...</dialogue> <character>FLASH-CUT MEMORIES OF EMILY, BUT THEY ARE FADING. THE COLOURS</character> <dialogue>ARE NOT AS STRONG.</dialogue> <character>FLASH-CUT MEMORIES OF THE MANY CATS STARING AT HIM. THESE</character> <dialogue>COLOURS ARE STARTING TO LOOK VIVID AND ELECTRIC.</dialogue> <character>LOUIS (V.O.)</character> <dialogue>... An electricity that had been made pure by the love I still held for dear old Peter and darling Emily...</dialogue> </scene> <scene> <stage_direction>EXT. CLIFFS, WESTGATE-ON-SEA - DUSK (1906)</stage_direction> <scene_description>LOUIS jogs through a STORM. He stops on a cliff, looking to the heavens. HE LOOKS OUT AT THE VAST OCEAN. END OF SEQUENCE:</scene_description> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, BENDIGO LODGE - DAY (1907)</stage_direction> <scene_description>LOUIS - looking older (about 47 now), messier, tired - packs things into cases. DR ELPHICK tries to retain authority. The SISTERS stand by cautiously.</scene_description> <character>DR ELPHICK</character> <dialogue>Mr Wain... are you aware of the reason I have been summoned...</dialogue> <character>LOUIS</character> <dialogue>I assume it's to inform us of how Marie is doing at the asylum, Dr Elphick. That or to conduct a study on the neural evolution of my cats.</dialogue> <scene_description>LOUIS sweeps out into the hallway.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, BENDIGO LODGE, WESTGATE-ON-SEA - CONT.</stage_direction> <scene_description>We see the frail MRS WAIN watching LOUIS as he stomps around.</scene_description> <character>LOUIS</character> <dialogue>Brigit is already half way to talking. Aren't you, Brigit?</dialogue> <scene_description>BRIGIT replies with a MEOW.</scene_description> <character>DR ELPHICK</character> <dialogue>I'm afraid not, Mr Wain. Although, since you ask, Marie seems to be coping much better of late...</dialogue> <scene_description>DR ELPHICK follows him around, along with the FOUR SISTERS.</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER ROOM, BENDIGO LODGE, WESTGATE-ON-SEA - CONT.</stage_direction> <scene_description>LOUIS starts grabbing other bits and pieces messily.</scene_description> <character>LOUIS</character> <dialogue>I'm glad to hear it. In fact I have been working on a psychiatric patent that I meant to send to you... it's for an electric suit.</dialogue> <character>DR ELPHICK</character> <dialogue>An electric suit...</dialogue> <character>LOUIS</character> <dialogue>Yes. A full body suit made of silk, copper and steel, which is attached to a large mechanical motor...</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY, BENDIGO LODGE, WESTGATE-ON-SEA - CONT.</stage_direction> <character>LOUIS</character> <dialogue>... That transmits positive electricity through the nervous system and into the brain...</dialogue> </scene> <scene> <stage_direction>INT. LOUIS' BEDROOM, BENDIGO LODGE, WESTGATE-ON-SEA - CONT.</stage_direction> <scene_description>LOUIS chucks it all into a case.</scene_description> <character>LOUIS</character> <dialogue>... Thus curing the patient of harmful thoughts and eradicating their lunacy... would you consider taking a look at it?</dialogue> <scene_description>LOUIS snaps one of the cases shut and looks up at DR ELPHICK.</scene_description> <character>DR ELPHICK</character> <dialogue>... No, Mr Wain.</dialogue> <character>LOUIS</character> <dialogue>Shame... I would say there is quite a high chance it could cure Marie entirely of her sickness.</dialogue> <character>DR ELPHICK</character> <dialogue>You might say that, but thankfully you are not a doctor.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM, BENDIGO LODGE, WESTGATE-ON-SEA - DAY</stage_direction> <scene_description>DR ELPHICK is sitting with LOUIS, CAROLINE, JOSEPHINE, CLAIRE, FELICIE and now MRS WAIN too. LOUIS is packed and ready to go, wearing a hat. As usual, there is tea.</scene_description> <character>DR ELPHICK</character> <dialogue>I have been called here, Mr Wain, because your sister Caroline is concerned for your health.</dialogue> <character>LOUIS</character> <dialogue>My health...? Why would she be concerned about my health?</dialogue> <character>FELICIE</character> <dialogue>... It is not just Caroline who is concerned, Louis.</dialogue> <character>JOSEPHINE</character> <dialogue>Yes... quite right...</dialogue> <character>DR ELPHICK</character> <dialogue>... I understand that you are planning a trip, Mr Wain.</dialogue> <character>LOUIS</character> <dialogue>Indeed. I have sent colourful missives to several publications containing examples of my charming prosaics and singular pictorial work - including some new, more electrically influenced samplings. I am happy to say that the great William Hearst of the New York American has offered me a full time post as their cartoonist at a considerable fee.</dialogue> <character>CLAIRE</character> <dialogue>But why do you need to go all the way too New York...? It's too far.</dialogue> <character>LOUIS</character> <dialogue>Because as you are all so keen to remind me we are rather lacking in funds at the minute and - for a variety of reasons that we are all very well acquainted with - my work is currently of little financial value on these shores. What's more, the American people are lightyears behind in their attitude towards cats. I assume you have been reading about Roosevelt and his Gentlemen's Agreement with the people of Japan?</dialogue> <scene_description>A small nod from DR ELPHICK.</scene_description> <character>LOUIS</character> <dialogue>Japanese children will now be taught in the same schools as their American compatriots and their immigrant parents can roam freely in the streets of America... but can their cats?</dialogue> <scene_description>The SISTERS are curling up with embarrassment. DR ELPHICK stays calm, but impatient.</scene_description> <character>LOUIS</character> <dialogue>I have helped this country to make great steps in that regard. Now I must help the cats of America. For better or worse, Doctor Elphick, I am an artist and a prism and a transformative funnel for negative electricity. In these tumultuous times, I want to make the people of America smile... I have never seen an American smile in my life.</dialogue> <character>CAROLINE</character> <dialogue>You have never seen an American.</dialogue> <character>LOUIS</character> <dialogue>Well it's time to change that. The only reason my sister has called you here is because she has been deeply jealous of my talents since I was twelve years old and will do anything to prevent me from reaching my full potential...</dialogue> <scene_description>DR ELPHICK looks at the SISTERS and then at LOUIS.</scene_description> <character>DR ELPHICK</character> <dialogue>Mr Wain... there is no question that you are delusional. But mere delusions of grandeur are not sufficient reason to commit you to hospital. I would quite strongly advise against your trip to New York and suggest that you stay here to rest and to gain a little bit of perspective before you proceed to the next chapter of your life. But ultimately the choice is yours. And if you do choose to ignore absolutely everyone and proceed with your voyage... then I recommend that you sample these two things during your stay in America - hot dogs... and humility.</dialogue> <scene_description>Out on LOUIS, stubborn, refusing to be vulnerable.</scene_description> </scene> <scene> <stage_direction>INT. HACKNEY CARRIAGE / EXT. SEASIDE ROADS - DAY</stage_direction> <scene_description>CAROLINE and LOUIS sit silently next to each other, surrounded by LOUIS' things. MRS WAIN sits opposite.</scene_description> <character>LOUIS</character> <dialogue>Look after the cats for me, Caroline... And my sisters... obviously. And mother, of course...</dialogue> <character>CAROLINE</character> <dialogue>Anything else, your majesty? Would you perhaps like me to iron the feathers in your bed for your return?</dialogue> <scene_description>Nobody says anything for a bit. MRS WAIN looks at him gravely, tears forming in her eyes.</scene_description> <character>MRS WAIN</character> <dialogue>You can run away from your sister, Louis... but you cannot run away from your grief... It trails you... like a violent shadow...</dialogue> <scene_description>LOUIS and CAROLINE look straight forward, no eye contact.</scene_description> </scene> <scene> <stage_direction>INT. CABIN, OCEAN LINER - DAY (1907)</stage_direction> <scene_description>LOUIS is in a cabin - a desk scattered with sketching materials, a single bed and a round window onto the ocean. He paces around. The RUMBLE of the ENGINE. The HISS of the SEA. LOUIS sits, trying to keep it together. On the desk is a PICTURE of a lonely cat on a raft in the middle of an ocean.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT, NEW YORK - AFTERNOON (1907)</stage_direction> <scene_description>MUSIC. A BUSTLING ATMOSPHERE. LOUIS sits with MAX KASE (EDITOR of the NEW YORK AMERICAN) and ALICIA SIMMONDS (his SECRETARY) in a busy New York restaurant. MAX is dressed smartly in loud, clashing colours. They are sharing a SEAFOOD &amp; FISH PLATTER.</scene_description> <character>LOUIS</character> <dialogue>Well every cat-fancier knows that puss likes nothing more than to sit on a brown piece of paper.</dialogue> <character>MAX</character> <parenthetical>(finding it hilarious)</parenthetical> <dialogue>A brown piece of paper! Oh, stop...</dialogue> <character>LOUIS</character> <dialogue>But this is because cats are acutely aware of the dangers of electrical rheumatism. And, of course, should you ever have cause to punish a cat, just rustle the paper to make the sound of thunder.</dialogue> <character>ALICIA</character> <dialogue>... Do cats get rheumatism?</dialogue> <character>LOUIS</character> <dialogue>Of course, Miss Simmonds.</dialogue> <character>MAX</character> <dialogue>Of course, he says. Oh Louis, this is wonderful. You are wonderful.</dialogue> <scene_description>LOUIS is not joking. MAX is practically wiping the tears from his eyes. LOUIS notices ALICIA sucking CRAB out of a CLAW.</scene_description> <character>MAX</character> <dialogue>We've been sharing your kitty pictures with our staff and they have been laughing and smiling - Alicia, tell him I'm not lying.</dialogue> <character>ALICIA</character> <dialogue>One of our typists...</dialogue> <character>MAX</character> <dialogue>Jeanie. Great personality.</dialogue> <scene_description>MAX has a WHOLE SARDINE on his fork and bites its head off. A WAITRESS is crying, being shouted at by A MANAGER.</scene_description> <character>ALICIA</character> <dialogue>Well she took some pictures home to her kids and she said they were running about on their hands and knees, pretending like they were cats and asking to have cats for their birthday...</dialogue> <scene_description>LOUIS is nodding, smiling but a bit distracted. EVERYTHING IS LOUD AND EVERYONE IS TALKING TOO FAST. THE WAITING STAFF SWEEP BY WITH MORE AND MORE SARDINES AND SHRIMP AND PRAWNS.</scene_description> <character>MAX</character> <dialogue>You're kooky. You're funny. You're smart with the weird moustache going on. You got the accent which makes you sound sophisticated. We're going to get you out there. You're a personality. Wouldn't you say Alicia honey? You're Mr Cat. You're Cat Man!</dialogue> <character>ALICIA</character> <dialogue>It has a certain ring to it, I guess... but I like Louis Wain... that has a certain ring to it too... can I ask you a question, Mr Wain? ... why cats?</dialogue> <scene_description>On LOUIS - what a question. OMINOUS ELECTRIC SOUNDS BUILDING.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT, NEW YORK - NIGHT</stage_direction> <scene_description>The apartment is tiny. LOUIS is only half unpacked, scrolling through frequencies on a WIRELESS RADIO. He seems fascinated.</scene_description> <character>ANNOUNCER (RADIO)</character> <dialogue>... And at the bottom of the ninth the bases are loaded with Cobb of the White Sox...</dialogue> <scene_description>LOUIS continues scrolling. He seems more interested in the STATIC than the stations. A piece of CLASSICAL MUSIC comes on, but LOUIS quickly scrolls past. Seeming to now hear something in the STATIC, LOUIS turns the dial back and listens carefully. WE CAN ALMOST HEAR IT TOO. A KIND OF WHISPERING. Then it goes away and there is only static. LOUIS carries on scrolling.</scene_description> <character>NEWSREADER (RADIO)</character> <dialogue>... The Wabash River Earthquake has ravaged the state of Indiana....</dialogue> <scene_description>LOUIS scrolls on to some SWING MUSIC, then on again to more STATIC. He leans in. We can now very faintly, abstractly hear the SOUND OF EMILY WHISPERING AT SPEED.</scene_description> <character>EMILY (RADIO)</character> <dialogue>Just remember that however hard things get however much you feel that you are struggling the world is full of beauty and it's up to you to capture it Louis and to share it with as many people as you can... one day I think it won't seem so peculiar to have a cat in the house as a little pet...</dialogue> <scene_description>We can only dimly make this out - abstract, echoey. STATIC GETS LOUDER OVERWHELMING THE WHISPERING.</scene_description> </scene> <scene> <stage_direction>189A EXT. APARTMENT, NEW YORK - MORNING (1909) 189A</stage_direction> <scene_description>A HOMELESS MAN sits and drinks in an alley, watching a CAT nibble at rubbish.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT, NEW YORK - MORNING (1909)</stage_direction> <scene_description>LOUIS has decorated the apartment with PICTURES OF CATS AND DIAGRAMS ABOUT ELECTRICITY. A PHONE IS RINGING. He is half-asleep. He tries to ignore it, then slowly walks to the telephone - an old half-eaten hot dog rots on a plate.</scene_description> <character>LOUIS</character> <dialogue>... Hello.</dialogue> <character>MAX (V.O.)</character> <dialogue>Louis. Buddy. It's Max. Pack your bags. You're going to Chicago.</dialogue> <character>LOUIS</character> <dialogue>Chicago? Um... no thank you.</dialogue> <scene_description>LOUIS hears a MEOWING outside. A NEW YORKER kicks a STRAY CAT out of the way as he takes his GARBAGE out, shouting abuse.</scene_description> <character>MAX (V.O.)</character> <dialogue>Listen, do me a favour. Come by the office... let's catch up.</dialogue> </scene> <scene> <stage_direction>EXT. STREETS, NEW YORK - DAY (1909)</stage_direction> <scene_description>LOUIS walks through busy streets. STRANGERS streak past him in a rush. THE BUILDINGS ARE TALL. People are loud - arguing, laughing, bartering. THE TRAFFIC IS BUSY. He bumps into someone - "Hey, watch it buddy!" As LOUIS turns, we CRASH into SLOW-MO and suddenly EVERYONE in the street is wearing BLUE, the BLUE of EMILY'S DRESS.</scene_description> </scene> <scene> <stage_direction>191A EXT. NEW YORK AMERICAN, NEW YORK - DAY (1909) 191A</stage_direction> </scene> <scene> <stage_direction>INT. NEWSROOM, NEW YORK AMERICAN, NEW YORK - DAY (1909)</stage_direction> <scene_description>MAX, a bouquet of BLUES, leads LOUIS through a busy newsroom. STAFF TAP AWAY, YAMMERING ON THE TELEPHONE, DISCUSSING RECENT NEWS. It feels strangely large compared to INGRAM'S OFFICES.</scene_description> <character>MAX</character> <dialogue>People are going crazy for your Grimalkin stuff. It's fantastic. But we need to reach more people...</dialogue> <scene_description>ALICIA sits at her desk being flirted at by some YOUNG SUB- EDITOR. She isn't interested. She sees LOUIS sweeping by.</scene_description> <character>ALICIA</character> <dialogue>Good morning, Mr Wain.</dialogue> <character>MAX</character> <dialogue>This Chicago thing is a big deal. You'll get all the Eastern papers, the Western papers, the whole thing... and do me a favour - stop making jokes about how sometimes you don't like Americans. They don't get it.</dialogue> <character>LOUIS</character> <dialogue>Sometimes I don't like Americans. They make me feel anxious.</dialogue> <character>MAX</character> <parenthetical>(laughing a bit)</parenthetical> <dialogue>I know I know. It's good. I like it, but... hey, come in...</dialogue> </scene> <scene> <stage_direction>INT. EDITOR'S OFFICE, NEW YORK AMERICAN, NEW YORK - DAY</stage_direction> <scene_description>MAX empties multicoloured chocolate balls from a dispenser into a bowl and starts munching. Behind him is a framed picture of GRIMALKIN - a slender, comic-strip cat.</scene_description> <character>MAX</character> <dialogue>You're starting to come across like this bitter, angry guy - pictures are fun but behind-the-mask kind of thing...</dialogue> <scene_description>On his desk is A GUN. In the corner of the room, weirdly and without context, A MAN IS SILENTLY READING A NEWSPAPER. LOUIS looks through a folder of STORIES showing unflattering photographs of him looking grumpy - "ANGRY CAT MAN BAD MOUTHS NEW YORK", "CRAZED CAT FANCIER A CRITIC OF MEN".</scene_description> <character>MAX</character> <dialogue>I'm going to be honest with you, Louis... Mr Hearst has asked me to reduce your salary by half.</dialogue> <character>LOUIS</character> <dialogue>But - no, you can't. I have a family to support. Please-</dialogue> <character>MAX</character> <dialogue>Between you and me, he wanted you out. I had to fight for you. This is the deal - it's a rebranding exercise... you know what I said to him? I said he's like a cat, Mr Hearst... he's just misunderstood... don't make me look stupid, man.</dialogue> <scene_description>LOUIS is distracted by the GUN, the WEIRD MAN READING THE NEWSPAPER, the MULTICOLOURED CHOCOLATE BALLS.</scene_description> <character>LOUIS</character> <dialogue>... Thank you.</dialogue> <character>MAX</character> <dialogue>... I can never tell with you English guys.</dialogue> <character>MAX</character> <dialogue>You seem really depressed and ungrateful about it but that's like... that's just your way of being excited right?</dialogue> <scene_description>LOUIS does a weird smile. MAX laughs a bit, still unsure.</scene_description> </scene> <scene> <stage_direction>EXT. AMERICAN WILDERNESS - NIGHT (1909)</stage_direction> <scene_description>A STEAM TRAIN travels through the nowhere plains of AMERICA.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN, AMERICA - NIGHT</stage_direction> <scene_description>LOUIS sits opposite ALICIA who reads documents in spectacles. Not everyone is wearing blue anymore. LOUIS sketches PASSENGERS as CATS. As he looks around, we recognise their characteristics in his drawing. He seems to be getting anxious. We see - IN QUICK FRIGHTENING FLASHES - that the OTHER PASSENGERS have CAT FACES. We even see TAILS. LOUIS takes a breath, putting his pen down.</scene_description> <character>ALICIA</character> <dialogue>You alright, Mr Wain?</dialogue> <scene_description>LOUIS looks up and sees ALICIA smiling at him. He looks away. She returns to her work, amused by his oddness.</scene_description> <character>VERONIKA</character> <dialogue>There is so much more to discover about electricity. These guys are at the forefront of their game, you know, they're geniuses. You buy in. We make the lamp. You'll make thousands. It's a solid investment, you got to trust me.</dialogue> <scene_description>LOUIS leans out curiously. VERONIKA E. VOLTZMANN is a wiry, androgynous woman with a shock of hair, spectacles and a scar down one side of her face - she wears an ill-fitting suit. LOUIS sees a kindred spirit. The PASSENGER isn't interested.</scene_description> <character>VERONIKA</character> <dialogue>Alright, well, er... thank you for your time anyway. Ah, shoot...</dialogue> <scene_description>As she gets up, her briefcase spills open and PAPERS fall out. She bends down and starts scooping it all up.</scene_description> <character>PASSENGER</character> <dialogue>Crazy broad...</dialogue> <character>VERONIKA</character> <dialogue>What was that? Oh, hey... I forgot to give you my business card...</dialogue> <scene_description>VERONIKA starts to fumble in her breast pocket, then pulls out two fingers in a "V" sign.</scene_description> <character>VERONIKA</character> <dialogue>... Fuck you. You like that? ... I invented that...</dialogue> <scene_description>VERONIKA heads off down the aisle. LOUIS follows. ALICIA looks up as he leaves, but decides to let him go.</scene_description> <character>LOUIS</character> <dialogue>Excuse me? ... Madam?</dialogue> <character>VERONIKA</character> <dialogue>What... what do you want?</dialogue> <character>LOUIS</character> <dialogue>... I'm, sorry, but... did I overhear you saying that you are working on the invention of... a new kind of lamp?</dialogue> <character>VERONIKA</character> <dialogue>Uh, yeah. Yeah, sure... it's exciting stuff, I gotta tell ya.</dialogue> <character>LOUIS</character> <dialogue>And it- it involves... electricity?</dialogue> <character>VERONIKA</character> <dialogue>Absolutely - but, listen, I'm a physicist, okay? I know electricity and this is, like, this is revolutionary, you know, it's not just any old regular electric lamp... it's going to be... more efficient. It's going to be... it's going to be safer. Because - ha, by god! - you know how dangerous electricity can be...</dialogue> <scene_description>LOUIS eyes widen. Nobody has ever acknowledged this before.</scene_description> <character>LOUIS</character> <dialogue>Yes I- I do...</dialogue> <scene_description>VERONIKA is a little thrown by his intensity.</scene_description> <character>LOUIS</character> <dialogue>And so... I'm in rather a lot of debt, you see...</dialogue> <character>VERONIKA</character> <dialogue>Okay... okay... well, listen, why don't you take a seat? I'll talk you through it. Give me a second...</dialogue> <scene_description>VERONIKA is rummaging in her breast pocket again.</scene_description> <character>LOUIS</character> <dialogue>Are you going to... tell me to.</dialogue> <character>VERONIKA</character> <dialogue>No I actually do have a business card somewhere... here we go... Veronika... Veronika E. Voltzmann.</dialogue> <scene_description>VERONIKA hands LOUIS a crumpled, bent up BUSINESS CARD.</scene_description> <character>LOUIS</character> <dialogue>What does the "E" stand for?</dialogue> <character>VERONIKA</character> <dialogue>Oh, nothing. It just sounded good.</dialogue> <scene_description>ALICIA peers back at LOUIS, a bit concerned. VERONIKA sits down and opens her messy briefcase.</scene_description> <character>VERONIKA</character> <dialogue>How's this...? You tell me how much you need... to pay off your debts... and I'll tell you how much you need to pay in...</dialogue> </scene> <scene> <stage_direction>INT. BACKSTAGE, COLISEUM ANNEXE, CHICAGO - EVENING</stage_direction> <scene_description>LOUIS is unpacking, getting ready for the lecture, finding easels and other props among the clutter. ALICIA watches.</scene_description> <character>ALICIA</character> <dialogue>Hey, Mr Wain... I was thinking maybe after the show, we could go get some food...</dialogue> <character>LOUIS</character> <dialogue>... Perhaps, yes.</dialogue> <character>ALICIA</character> <dialogue>I wouldn't worry about Max... For what it's worth... I think you're doing a great job...</dialogue> <scene_description>ALICIA goes over to LOUIS.</scene_description> <character>ALICIA</character> <dialogue>Maybe we should get a few drinks after dinner too. What do you say? Let our hair down a little bit...</dialogue> <scene_description>When she is close, LOUIS stops what he is doing. ALICIA takes LOUIS' hands. TENSE SOUNDS BUILD. LOUIS stares at ALICIA. FLASH-CUT MEMORIES OF EMILY, now very faded.</scene_description> <character>ALICIA</character> <dialogue>I want to show you that America can be fun... do you like dancing?</dialogue> <scene_description>LOUIS starts to remember the DINNER WITH MAX AND ALICIA BUT IN HELLISH FLASH-CUTS WHERE EVERYONE IS HUMAN-SIZED CATS. MAX AND ALICIA ARE HUMAN-SIZED CATS GOBBLING FISH AND SHRIMP WITH SHARP CAT TEETH, STARING AT HIM WITH CAT EYES.</scene_description> <character>ALICIA</character> <dialogue>... Louis?</dialogue> <character>LOUIS STARTS TO REMEMBER EMILY AT DINNER IN THE CLERKENWELL</character> <dialogue>TOWNHOUSE. BUT HE SEES ALICIA IN EMILY'S PLACE. ALICIA IS</dialogue> <character>LAUGHING, TALKING WITH HIS SISTERS.</character> <dialogue>LOUIS snaps out of it and looks at ALICIA, breaking away.</dialogue> <character>LOUIS</character> <dialogue>No, Miss Simmonds. I- I... can't... It would be... I can never marry again, Miss Simmonds. I couldn't do that to Emily... I just couldn't... I'm sorry I just... I'm sorry...</dialogue> <character>ALICIA</character> <dialogue>Mr Wain... I can't imagine what it must have been like to lose your wife, but I just thought you seemed a little stressed out. I wanted to cheer you up, that's all... I'm not asking you to marry me, Mr Wain. I'm asking if you want to dance.</dialogue> <scene_description>LOUIS feels bad for misunderstanding but, still, he can't.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Her whispers come in the leafy tickle of the wind, or the wet crackle of electric rain...</dialogue> </scene> <scene> <stage_direction>INT. COLISEUM ANNEXE, CHICAGO - EVENING</stage_direction> <scene_description>LOUIS is on a big stage in a classy auditorium - awkwardly talking into a microphone which CRACKLES AND FEEDS BACK.</scene_description> <character>LOUIS</character> <dialogue>Every night, I turn the dial of the wireless, hoping to catch her clues in the atmospheric electricity that comes from the afterlife - how to continue on this crusade...</dialogue> <scene_description>The CROWD is confused. Many of them have CATS on their knees. They whisper to each other. ALICIA looks concerned.</scene_description> <character>A LARGE BANNER READS: "CHICAGO AMERICAN CAT FANCY WELCOMES</character> <dialogue>LOUIS WAIN!". The stage is a CHAOS of CAT DRAWINGS - some of them starting to show EARLY SIGNS OF HIS ELECTRIC SHOCK CATS AND SHIMMERING CATS - and SKETCHES ABOUT ELECTRICITY.</dialogue> <character>LOUIS</character> <dialogue>For it was Emily who taught me the true nature of cats... the true value of cats. And it is only through my understanding of cats, of how they are misunderstood and mistreated for no reason other than simple, blind prejudice... that I came to understand... human beings... how we are all corrupted by a foul form of electricity - which makes us cruel and selfish. And it is only through the work of those who have the transformative gift that we will come to defeat it... without change, we are a fallen species with no future. An animal whose only instinct is to destroy!</dialogue> <scene_description>LOUIS looks up and with a LOUD CLUNK THE SOUNDS ALL STOP. The ENTIRE CROWD are now HUMAN-SIZED CATS, some with CATS on their laps - ALL STARING BACK WITH WIDE EYES. AN UNSETTLING FEELING OF SHIMMERING ELECTRICITY.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT, NEW YORK - MORNING (1909)</stage_direction> <scene_description>A TELEGRAM slides under his door. LOUIS is slumped on a chaise lounge, red eyed and bleary. He hasn't been sleeping. We see that the TELEGRAM is from "GREAT BRITAIN". He cuts the ENVELOPE open - "Dear Louis, After a valiant battle with the influenza, our mother has sadly passed away..." LATER - LOUIS is on the phone. He has VERONIKA'S crumpled business card in his hand. Someone picks up.</scene_description> <character>LOUIS</character> <dialogue>Hello? ... this is Louis Wain... I was wondering if you have any news about... my investment...</dialogue> <character>VERONIKA (V.O.)</character> <dialogue>Oh, hi Louis... geez, um... I got some bad news...</dialogue> <scene_description>Out on LOUIS, feeling defeated.</scene_description> </scene> <scene> <stage_direction>EXT. ATLANTIC OCEAN - NIGHT (1910)</stage_direction> <scene_description>AN OCEAN LINER is battered by LARGE WAVES as a STORM BREWS.</scene_description> </scene> <scene> <stage_direction>INT. CABIN, OCEAN LINER, ATLANTIC OCEAN - NIGHT</stage_direction> <scene_description>LOUIS is in bed, making distressed noises, unable to rest, unable to make these feelings stop. THUNDER AND LIGHTNING CONTINUES. We remember seeing him like this as a child.</scene_description> <character>PICTURES OF CATS ARE STREWN ALL OVER THE CABIN.</character> <dialogue>LOUIS (O.C.)</dialogue> <scene_description>Me... Ow... Kill me... Kill me... ECUs of LOUIS, trying to fight these feelings away.</scene_description> <character>THE PATTERNS ON THE WALL START TO MORPH AND MELT SLOWLY.</character> <dialogue>LOUIS</dialogue> <scene_description>Me... Ow... Haha... Me... Ow... Emily... Emily, did you hear that? Me... Ow... I know... it's funny...</scene_description> <character>FLASH-CUT MEMORIES OF NEW YORK - OF THE CAT AUDIENCE, OF CAT</character> <dialogue>MAX AND CAT ALICIA, OF THE CAT PASSENGERS ON THE TRAIN. FLASH-</dialogue> <character>CUT MEMORIES OF LOUIS' CHILDHOOD NIGHTMARES AND VISIONS.</character> <dialogue>FLASH-CUT MEMORIES OF EMILY - now practically BLACK &amp; WHITE.</dialogue> <character>SUDDENLY THE LIGHTS GO OUT. DARKNESS. LOUIS SITS UP, AFRAID.</character> <dialogue>LOUIS</dialogue> <scene_description>... Hello! FLASHING LIGHTS and RAIN. DARK WAVES thrashing at the window.</scene_description> <character>LOUIS</character> <dialogue>... HELLO!</dialogue> <scene_description>LOUIS goes to try the door, but it's locked. He starts trying to yank it harder and harder as the STORM GETS LOUDER.</scene_description> <character>FLASH-CUTS OF "THE SEA FULL OF BIG SHIPS".</character> <dialogue>LOUIS IS BANGING ON THE DOOR FRANTICALLY.</dialogue> <character>LOUIS</character> <dialogue>Let me out! Please! It's not safe!</dialogue> <scene_description>He notices WATER seeping under the door in the darkness. Behind him, WATER is beginning to LEAK THROUGH THE WINDOW. LOUIS looks terrified. He doesn't know what to do. He starts trying to close the WINDOW firmer but it's not working. IN THE "SEA FULL OF BIG SHIPS", A GIANT EMILY is fighting her way through the STORMY CLOUDS. Her hair is billowing in the wind and her reading spectacles are covered in RAIN. WE COME WIDE TO SEE THAT THE WAVES ARE IN FACT MADE OF THE MATERIAL OF GIANT EMILY'S DRESS. IT STRETCHES UP INTO THE SKY. SHE IS WALKING AWAY, DRAGGING CHAOS BEHIND HER. WATER IS NOW GATHERING AROUND LOUIS' FEET. THE CAT PICTURES ARE GETTING SOAKED, FLASHING IN AND OUT OF DARKNESS.</scene_description> <character>LOUIS</character> <dialogue>I need to get out! I need to get out! Help me, please!</dialogue> <scene_description>FLASH-CUT MEMORIES OF LOUIS AS A CHILD HAVING THE NIGHTMARE, RUNNING THROUGH THE HOUSE IN THE MIDDLE OF THE NIGHT TO HIS PARENTS. His voice is echoey, distant:</scene_description> <character>YOUNG LOUIS</character> <dialogue>Mummy! Daddy! Help me! I'm drowning! Help me!</dialogue> <scene_description>But real LOUIS is doing the same thing.</scene_description> <character>LOUIS</character> <dialogue>Mummy! Daddy! Please! Help me! I'm drowning! Help me!</dialogue> <scene_description>LOUIS IS BREAKING DOWN IN PANIC, CRYING, SHOUTING. HELP ME! HELP ME! HELP ME!: CRASH! THE WINDOW IN THE CABIN BURSTS AND WATER COMES FLOODING IN DROWNING LOUIS. IMPOSSIBLY THE WATER RIPPLES WITH ELECTRICITY, LIKE IT HAS BEEN CHARGED BY THE STORM. LOUIS WEEPS UNDERWATER. FLASH-CUT MEMORIES OF EVERYTHING. GRADUALLY WE SINK INTO A DARK SPACE. LOUIS FLOATS IN THE FLASHING DARKNESS - WEEPING, SCREAMING, CRYING. CLICK. EVERYTHING STOPS. A CLEANER in BOAT UNIFORM has opened the door. He looks shocked, holding a mop. LOUIS stands in the middle of the room. His face is wet with tears. He is confused, frightened, lost. He has wet himself and the tap is running, water overflowing onto the ground, soaking the CAT PICTURES which cover the patterned carpet. END OF SECTION:</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH, WESTGATE-ON-SEA - DAY (1913)</stage_direction> <scene_description>A frailer, older looking LOUIS (now 53) hobbles out of a church, followed by CAROLINE, JOSEPHINE, CLAIRE and FELICIE.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Three years after the death of my mother, our sister Marie was also taken by the dreaded influenza.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL DINING ROOM, THE STRAND - DAY</stage_direction> <scene_description>INGRAM - puffy, red, old - is having a heart attack.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And the great heart of my friend and mentor, the generous Sir William Ingram, finally gave in to his gout.</dialogue> <scene_description>INGRAM is face down in a rich meal. STAFF run into the room. They and other CUSTOMERS survey this surreal image of death.</scene_description> </scene> <scene> <stage_direction>EXT. BENDIGO LODGE, WESTGATE-ON-SEA - DAY (1914)</stage_direction> <scene_description>LOUIS, CAROLINE, JOSEPHINE, CLAIRE and FELICIE are leaving with FIFTEEN CATS. REMOVAL MEN carry belongings to VEHICLES, including a CHARABANC. LOUIS seems exhausted.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>My imprudent investments in New York meant we had failed to keep up with payments on the Westgate property...</dialogue> </scene> <scene> <stage_direction>INT. CHARABANC / EXT. SEASIDE ROADS, WESTGATE-ON-SEA - DAY</stage_direction> <scene_description>LOUIS and his REMAINING SISTERS sit in a CHARABANC.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... And we were transferred to a pauper's house, back in Brondesbury, London.</dialogue> </scene> <scene> <stage_direction>EXT. YARD, BRONDESBURY ROAD, KILBURN - DAY</stage_direction> <scene_description>The WAINS have arrived and clear RUBBISH from the house and yard, some of their cases and belongings still unpacked outside. CLAIRE hopefully places a FLOWER POT outside. OTHER POOR FAMILIES go about their daily business. Some look curiously. It's smaller even than the house in HAMPSTEAD.</scene_description> </scene> <scene> <stage_direction>INT. LONDON TUBE - DAY</stage_direction> <scene_description>The carriage lights are electric - fizzling in and out of darkness. LOUIS sits with eyes closed, like he is meditating.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I began to use my powers over electricity to navigate consciousness and move through time... and after years of exploring a traumatic past...</dialogue> </scene> <scene> <stage_direction>INT. IMAGINARY FUTURISTIC HOUSE - DAY (2081)</stage_direction> <character>A HOVER TRAY CARRIES MUGS OF TEA INTO A BIZARRE KITCHEN.</character> <dialogue>LOUIS (V.O.)</dialogue> <scene_description>... I started to travel forward into a brighter, more peaceful future... LOUIS is in a ridiculous space-like suit looking at the tray seriously as it goes to serve CAROLINE, JOSEPHINE, CLAIRE and FELICIE - also dressed in absurd futuristic outfits. The HOVER TRAY messes it up completely, spilling tea everywhere. The SISTERS look at LOUIS as if he is mad. LOUIS spots on a shelf, beyond them - A STRANGE FUTURISTIC SCULPTURE OF A CAT.</scene_description> </scene> <scene> <stage_direction>INT. WORKSHOP, LONDON - DAY</stage_direction> <scene_description>In a workshop with SEVERAL CATS, LOUIS designs and creates FUTURISTIC CERAMIC CATS. They are charming but strange - very similar in style to what he saw in his "vision".</scene_description> <character>LOUIS (V.O.)</character> <dialogue>My Lucky Futurist Cats were a success and orders were made across Europe, including in Austria and Czechoslovakia...</dialogue> </scene> <scene> <stage_direction>INT. CERAMICS FACTORY - DAY</stage_direction> <scene_description>LOUIS' CERAMIC CATS move on a CONVEYOR BELT in a factory. SEVERAL FACTORY WORKERS attend to them. Behind them is the MANUFACTURER'S DISTINCTIVE LOGO.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>But at the same time... negative electricity around the globe had risen to a critical level...</dialogue> </scene> <scene> <stage_direction>EXT. LONDON STREETS, KILBURN - DUSK</stage_direction> <scene_description>LONDONERS move through the streets. ALARMS SOUND and we can hear BOMBS falling. A HUGE SHADOW sweeps over the street.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... And military tensions blistered into a state of war...</dialogue> <scene_description>They look up to see the underside of A HUGE WAR ZEPPELIN.</scene_description> </scene> <scene> <stage_direction>INT. BUNKER, LONDON - NIGHT (1914)</stage_direction> <scene_description>LOUIS, CAROLINE, JOSEPHINE, CLAIRE, FELICIE and OTHER POOR FAMILIES cram into a bunker.</scene_description> </scene> <scene> <stage_direction>INT. SHIPYARD, ENGLAND - NIGHT</stage_direction> <scene_description>CRATES MARKED "VERY FRAGILE" are being prepared to be loaded onto A CARGO SHIP. We recognise the LOGO from the factory.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>I had invested many months of hard work and a significant amount of my own money into these brave new specimens...</dialogue> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. / INT. NORTH SEA - DUSK (1914)</stage_direction> <character>IMPRESSIONISTIC SHOTS OF A GERMAN U-BOAT FIRING AN UNDERWATER</character> <dialogue>MISSILE. ABOVE THE SURFACE, A CARGO SHIP EXPLODES.</dialogue> <dialogue>CERAMIC CATS, fragmented into pieces, sink through the water, amongst OTHER DEBRIS and DEAD PASSENGERS.</dialogue> <character>LOUIS (V.O.)</character> <dialogue>... But almost all of them were destroyed by a German U-boat in the North Sea...</dialogue> </scene> <scene> <stage_direction>INT. BRONDESBURY ROAD, KILBURN - DAY</stage_direction> <scene_description>LOUIS picks up a newspaper and finds a story with the headline: "BRITISH CARGO SHIP CAUGHT IN CROSSFIRE".</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Undeterred, I continued to harness the electricity of my pain and to journey into the future.</dialogue> </scene> <scene> <stage_direction>INT. WORKSHOP, LONDON - NIGHT (1914)</stage_direction> <scene_description>LOUIS is drawing hundreds of sketches of a 2D ANIMATION CHARACTER CALLED "PUSSYFOOT" who is PLAYING GOLF.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And after discussions with a revolutionary film director called George Pearson...</dialogue> <scene_description>GEORGE PEARSON, a charismatic man, sits in the workshop - smoking a cigar and enjoying LOUIS' sketches.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... I commenced work on one of the first ever examples of commercial animation...</dialogue> </scene> <scene> <stage_direction>INT. CINEMA - NIGHT (1914)</stage_direction> <scene_description>LOUIS sits in a packed CINEMA of HAPPY CHILDREN and PARENTS.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... Which - due to a rival production, of which I forget the name - hardly anybody saw...</dialogue> </scene> <scene> <stage_direction>EXT. OMNIBUS, LONDON - DAY (1914)</stage_direction> <scene_description>A CAT ferrets a FISH out of a BIN and trots away happily.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>And then, on Wednesday the 7th of October in the year 1914...</dialogue> <character>A BUS IS HEADED STRAIGHT FOR THE CAT, WHO LOOKS TERRIFIED.</character> <dialogue>A LOUD SCREECH!</dialogue> <character>THE BUS SWERVES TO AVOID IT.</character> <dialogue>A MAN tumbles out of the BUS as the CAT drops the fish and scampers away.</dialogue> <character>LOUIS (V.O.)</character> <dialogue>... I fell out of an Omnibus and into a coma.</dialogue> <scene_description>It's LOUIS, blood seeping out of his head onto the road. BYSTANDERS rush in to help.</scene_description> </scene> <scene> <stage_direction>INT. ST BARTHOLOMEW'S HOSPITAL, LONDON - NIGHT</stage_direction> <scene_description>LOUIS is unconscious. CAROLINE sits dutifully by his bed.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>Years of subjecting myself to harmful electricity had rendered my body weak and my mind...</dialogue> <scene_description>A tearful CAROLINE takes LOUIS' hand in hers and weeps. On LOUIS, unconscious as the WEEPING continues off camera.</scene_description> </scene> <scene> <stage_direction>EXT. YARD, BRONDESBURY ROAD, KILBURN - TWILIGHT (1917)</stage_direction> <scene_description>A FRAGILE LOUIS stands in the yard. He is surrounded by CATS.</scene_description> <character>LOUIS (V.O.)</character> <dialogue>... Like a detuned wireless radio, was able only fleetingly to connect with the signals of reality...</dialogue> <scene_description>As the CATS move around, they seem to glow. COLOURS streak ELECTRICALLY behind them. From LOUIS POV, everything seems to be JUDDERING AND SHIMMERING as if shaking with charge.</scene_description> <character>FELICIE (O.C.)</character> <dialogue>Louis...</dialogue> <scene_description>LOUIS turns to see FELICIE in the doorway.</scene_description> <character>FELICIE</character> <dialogue>Caroline would like to see you...</dialogue> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, BRONDESBURY ROAD, KILBURN - NIGHT</stage_direction> <scene_description>CAROLINE is in bed, sick with influenza. CANDLES are lit and the room is dark. She looks very sick. JOSEPHINE, CLAIRE and FELICIE sit, lined up respectfully by her bed, trying not to cry.</scene_description> <character>CAROLINE</character> <dialogue>Come and sit...</dialogue> <scene_description>CAROLINE'S voice is quiet and hoarse. LOUIS takes a chair on the other side of the bed to the SISTERS and stares at CAROLINE. CAROLINE turns to look at LOUIS. We notice on her bedside table is the ROCK that EMILY gave her. She wants him to say something, but he can't.</scene_description> <character>CAROLINE</character> <dialogue>I want you to know... that I am very proud of you...</dialogue> <scene_description>She can barely talk. She smiles at him.</scene_description> <character>CAROLINE</character> <dialogue>Our sisters will take care of you now...</dialogue> <scene_description>LOUIS does not smile back. He looks confused, almost shocked. CAROLINE continues to smile, but she cannot stop crying. She begins to bawl. The SISTERS come to her aid. LOUIS looks on.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, BRONDESBURY ROAD, LONDON - MORNING (1917)</stage_direction> <scene_description>LOUIS drifts down the hallway and peers into CAROLINE'S bedroom, where she lies - pale, dead.</scene_description> </scene> <scene> <stage_direction>INT. CAROLINE'S BEDROOM, BRONDESBURY ROAD - MORNING</stage_direction> <scene_description>LOUIS enters the room and approaches CAROLINE'S bed. He looks at her. We aren't sure what he is about to do. Then, very slowly, he climbs into the bed with her. He cradles her and nuzzles her hair with his head like a cat. He settles into a strange embrace.</scene_description> <character>LOUIS</character> <parenthetical>(whispered)</parenthetical> <dialogue>I love you...</dialogue> <scene_description>WIDER SHOT of them in the bed. They look like children.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS, BRONDESBURY ROAD, KILBURN - DAY (1924)</stage_direction> <scene_description>SUDDEN CHAOS. LOUIS is frenzied, charging about the house trying to move furniture, trying to take pictures off the walls, smashing things and frightening CATS. JOSEPHINE, CLAIRE and FELICIE are in tears as they try to wrestle him into a state of calm. RAILTON is there too. He looks much older and is out of his depth as he tries to help the SISTERS. The SISTERS are doing a better job of restraining him. But LOUIS is too in chaos. He fights them off. He pushes FELICIE away and she falls to the ground. She looks shocked. He has never done anything like this to her before. We FLASH in and out of his POV - the CATS glow in streaks of ELECTRIC COLOUR, THE FURNITURE fizzing MADLY. The SISTERS are shouting at a terrified RAILTON to help them. He puts on a brave face and charges at LOUIS. They begin to FIGHT. They smash lamps, break furniture. THE SISTERS try to help again. LOUIS SNARLS and HISSES like a CAT. He punches RAILTON in the face, drawing blood. RAILTON holds his face, in shock. He is sad to see his friend like this. The SISTERS, finally, wrestle LOUIS to the ground. LOUIS is out of control. He doesn't know where he is. He is fighting for his life. END OF SEQUENCE: PSYCHEDELIC ELECTRIC CAT SEQUENCE</scene_description> <character>BEAUTIFUL INCANDESCENT SHAPES BEGIN TO EMERGE IN PATTERNS - A</character> <dialogue>REFERENCE TO WAIN'S LATER PAINTINGS.</dialogue> <character>LOUIS' FRAIL, WHISPERED VOICE IS FAST, DISTANT, ECHOEY,</character> <dialogue>ABSTRACT. THIS IS AN EXTRACT OF HIS ACTUAL WRITING.</dialogue> <character>THE ORNATE PATTERNS KEEP EVOLVING. WE BEGIN TO SEE CATS'</character> <dialogue>FACES IN THE SHAPES OF LIGHT. A FEELING OF TRANSCENDENCE.</dialogue> <character>LOUIS (V.O.)</character> <dialogue>I am the origin of nothing I came to the world to try to be the whole of the creation - I was told the world went round - I was told the world went to sleep - I awoke to the truth. I was nothing Nothing goes round Saw not went not came not. The Origin was lost to the world's light. I came and unable it had no chance to give. It slept the sleep that nothing could awaken. The Sleep compels the opening of an eye. The eye was not there. It was at rest. It would not open out as it was nothing. The slumber rested. it was gone abroad The abroad was nowhere. The rest was at an end. The miraculous was the result. Something went to find the opening for nothing came to life. Life was then absent. Nothing held sway, the end being the never condition, it went on to nothing. The end ended. This gave the end no chance to finish. It was nothing The light of God was to finish the evil of all the evils of nothing. The evils of nothing dies The evils of nothing can only once more come... the miraculous was the result...</dialogue> <scene_description>END OF SEQUENCE:</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, PAUPERS' WARD, SPRINGFIELD - DAY (1925)</stage_direction> <scene_description>LOUIS WAIN is an old man - thin, grey-white hair, a beard. His hands are covered in paint. His clothes are threadbare. The soles of his shoes are peeling off. He is painting the PSYCHEDELIC CAT PATTERNS we have just seen in the sequence before. PAINTINGS IN THIS STYLE are displayed all around the room. The DOOR is open and we can hear talking in the corridor. The Hospital Director, DR COOKE, is talking with DANIEL JAMES RIDER, whose voice we might recognise.</scene_description> <character>DR COOKE</character> <dialogue>And this is what we call the paupers' ward for, um... for obvious reasons. But I assure you the patients are looked after in a perfectly professional manner... I hope you will report favourably back to the, er... committee that you volunteer for...</dialogue> <character>DAN RIDER</character> <dialogue>I am here to assess the welfare of your patients, Mr Cook. Not just on behalf of my fellow committee members, but on behalf of the government. So I shall report back according to what I find...</dialogue> <character>DR COOKE</character> <dialogue>... Indeed.</dialogue> <character>DAN RIDER</character> <dialogue>So what is the average length of stay here at Springfield? Have you had much success with turning patients out?</dialogue> <scene_description>DR COOKE and DAN RIDER arrive at LOUIS' cell. DR COOKE acts as if LOUIS' not there. But RIDER is immediately struck. He recognises LOUIS from the train at the start of the film.</scene_description> <character>DR COOKE</character> <dialogue>We have had a few successes, but it depends partly on the patient's willingness to co-operate with the treatment...</dialogue> <scene_description>We recognise him too - the man with the POMERANIAN, who was later working in the book shop, now significantly older.</scene_description> <character>DR COOKE</character> <dialogue>... Which - as you can imagine, Mr Rider - does vary hugely from person to person.</dialogue> <character>DAN RIDER</character> <dialogue>Louis Wain...</dialogue> <scene_description>LOUIS looks up from his painting. DR COOKE stops talking.</scene_description> <character>DR COOKE</character> <dialogue>... Yes... this is... Mister Louis Wain... you might remember his rather charming cat pictures from... all those years ago...</dialogue> <character>DAN RIDER</character> <dialogue>How are you, Mr Wain.</dialogue> <scene_description>LOUIS frowns slightly. This man does look familiar.</scene_description> <character>DAN RIDER</character> <dialogue>Dan Rider. We met on the train back from Andover... I had my sister's Pomeranian... Cleopatra.</dialogue> <scene_description>LOUIS face lights up a bit. He remembers it now.</scene_description> <character>LOUIS</character> <dialogue>Cleopatra...</dialogue> <character>DAN RIDER</character> <dialogue>I had no idea you were a patient here, Mr Wain...</dialogue> <character>DR COOKE</character> <dialogue>He is, I'm afraid, quite insane... we do our best to help him...</dialogue> <scene_description>RIDER enters the room and is looking at the paintings.</scene_description> <character>DR COOKE</character> <dialogue>Very sad isn't it, Mr Rider... he seems almost entirely to have lost a handle on his craft...</dialogue> <scene_description>DAN RIDER finds the pictures extraordinary. He finds this whole situation extraordinary. He thinks for a moment.</scene_description> <character>DAN RIDER</character> <dialogue>Dr Cooke... would you give me some time alone with Mr Wain?</dialogue> <character>DR COOKE</character> <dialogue>Visiting hours I'm afraid are...</dialogue> <character>DAN RIDER</character> <dialogue>As part of my assessment.</dialogue> <character>DR COOKE</character> <dialogue>... Yes. Of course.</dialogue> </scene> <scene> <stage_direction>EXT. YARD, PAUPERS' WARD, SPRINGFIELD ASYLUM - DAY (1925)</stage_direction> <scene_description>DAN RIDER and LOUIS sit in the small, grotty yard. You can't see the outside world. RIDER looks at LOUIS warmly, who seems only half here as he sits back philosophically in his chair.</scene_description> <character>DAN RIDER</character> <dialogue>Well that is... quite a story...</dialogue> <scene_description>LOUIS shrugs. DAN RIDER looks at him thoughtfully.</scene_description> <character>DAN RIDER</character> <dialogue>... Do you like it here, Mr Wain?</dialogue> <scene_description>LOUIS shakes his head very slightly.</scene_description> <character>LOUIS</character> <dialogue>... There are no cats. And... I cannot see... outside...</dialogue> <character>DAN RIDER</character> <dialogue>That must be difficult for someone like you, Mr Wain... who has spent his entire life examining the world... suddenly not to see it...</dialogue> <scene_description>They sit in silence. Tears begin to form in LOUIS' eyes.</scene_description> <character>DAN RIDER</character> <dialogue>Do you miss your wife, Mr Wain... Do you miss Emily.</dialogue> <scene_description>LOUIS nods. Quite a long silence. RIDER doesn't want to push.</scene_description> <character>LOUIS</character> <dialogue>... I have failed...</dialogue> <scene_description>DAN RIDER frowns. MUSIC BEGINS VERY GENTLY.</scene_description> <character>LOUIS</character> <dialogue>I have failed her, Mr Rider...</dialogue> <character>DAN RIDER</character> <dialogue>... I don't think you have failed, Mr Wain... from what you have been saying...</dialogue> <scene_description>LOUIS does not agree.</scene_description> <character>DAN RIDER</character> <dialogue>Why do you think Emily wanted you to keep painting pictures, Mr Wain?</dialogue> <character>LOUIS</character> <dialogue>To help people... to show them...</dialogue> <character>DAN RIDER</character> <dialogue>Perhaps... and there's no doubt that you have done that... but I have a rather different theory...</dialogue> <scene_description>LOUIS looks at DAN - what could he possibly mean.</scene_description> <character>DAN RIDER</character> <dialogue>I think she wanted you to keep painting... so you would not be alone...</dialogue> <scene_description>Slowly, this starts to get to him. The MUSIC IS BUILDING.</scene_description> <character>DAN RIDER</character> <dialogue>When you paint, Mr Wain. You connect with other people. And you give them a piece... of yourself... But they are also connecting... with you... and that electricity that you describe... that you felt in the presence of Emily... I would call that love, Mr Wain...</dialogue> <scene_description>LOUIS is looking at DAN through tears.</scene_description> <character>DAN RIDER</character> <dialogue>And that is still here.</dialogue> </scene> <scene> <stage_direction>INT. PRINT FACTORY - DAY (1925)</stage_direction> </scene> <scene> <stage_direction>EXT. MARKET CORNER - MORNING</stage_direction> <scene_description>A PAPER GIRL calls out to passers-by.</scene_description> <character>PAPER GIRL 1925</character> <dialogue>The great cat artist Louis Wain needs your help! Get your newspapers here today!</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY, BRONDESBURY ROAD, LONDON - DAY</stage_direction> <scene_description>DAN RIDER, dressed in black and white, looks in a mirror. He ties a RED BOW TIE. It reminds us of PETER'S RED RIBBON. He is with JOSEPHINE, CLAIRE, FELICIE. They get ready to go, armed with leaflets.</scene_description> <character>ANNOUNCER (RADIO)</character> <dialogue>And now ladies and gentleman we present to you an appeal delivered by Mr H G Wells, the celebrated author of 'The Time Machine'...</dialogue> <scene_description>To our surprise, ALL OF THEIR CATS, now numbering about TWENTY have also lined up and are MEOWING. They are ready to go too.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, SPRINGFIELD ASYLUM - DUSK</stage_direction> <scene_description>LOUIS walks slowly down the corridor back to his room.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>The artist, Louis Wain, made the cat his own. He invented a cat style. A cat society.</dialogue> <scene_description>CONTENT MOVED TO 238A</scene_description> </scene> <scene> <stage_direction>EXT. BRONDESBURY ROAD, KILBURN - DAY</stage_direction> <scene_description>MUSIC RISING as RIDER and the SISTERS pour out of the house with purpose, followed by the CATS. Some NEIGHBOURS follow.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>A whole cat world...</dialogue> <scene_description>SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PAUPERS' WARD, SPRINGFIELD ASYLUM - DUSK</stage_direction> <scene_description>LOUIS chuckles to himself as he hears this.</scene_description> <character>HG WELLS</character> <dialogue>Cats that do not look and live like Louis Wain cats are ashamed of themselves...</dialogue> </scene> <scene> <stage_direction>INT. HALLWAYS / EXT. FRONT DOORS - DAY</stage_direction> <scene_description>WE CUT THROUGH A SEQUENCE OF JOSEPHINE, CLAIRE, FELICIE and DAN RIDER knocking on doors and campaigning to raise funds for LOUIS. They are always accompanied by CATS. Further down the road, HERBERT RAILTON marches towards them. He doffs his cap to say hello. We see a SCRUFFY, GINGER, BEARDED MAN with one eye. He bears a striking resemblance to the ONE EYED GINGER CAT from the prologue.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>But that is not what is important. What is important...</dialogue> <character>AS THEY GO, MORE AND MORE PEOPLE AND MORE AND MORE CATS JOIN</character> <dialogue>THEM ON THEIR QUEST.</dialogue> <dialogue>At one house, TWO IDENTICAL TWIN SISTERS, dressed in grey, answer the door.</dialogue> <dialogue>They remind us of the TWIN GREY BRITISH SHORT HAIRS that JOSEPHINE and CAROLINE once tried to shoo out of the house.</dialogue> <character>HG WELLS (RADIO)</character> <dialogue>... is that Louis Wain devoted his life to making all our lives happier...</dialogue> <character>CATS SEEM TO POUR IN FROM EVERY CORNER TO JOIN THE RALLY.</character> <dialogue>HG WELLS (RADIO)</dialogue> <scene_description>... And cattier.</scene_description> </scene> <scene> <stage_direction>INT. PAUPERS' WARD, SPRINGFIELD ASYLUM - DUSK</stage_direction> <scene_description>LOUIS stands up from his chair as he listens and then, to our surprise, he begins to dance. He is on his own. He is an old man now, not so steady on his feet and slower in his movements - but it contains the same infectious, peculiar kind of euphoria as when he was first falling in love with EMILY and danced at Phil May's Studio. INTERCUT:</scene_description> </scene> <scene> <stage_direction>238A INT. RECORDING BOOTH - DAY 238A</stage_direction> <scene_description>DAN RIDER sits close by as HG WELLS speaks into a microphone.</scene_description> <character>HG WELLS</character> <dialogue>In doing so, he undoubtedly raised up the cat in society.</dialogue> </scene> <scene> <stage_direction>EXT. STREETS, LONDON - DAY</stage_direction> <scene_description>JOSEPHINE, CLAIRE and FELICIE run through the streets, dancing and laughing as they go. Behind them follow RIDER, RAILTON, HUNDREDS OF NEW CAMPAIGNERS and DOZENS OF CATS.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>And he has changed our world, for the better...</dialogue> <scene_description>We see, among them, a RAVEN-HAIRED MOTHER dressed all in black. She is on crutches, missing a leg, and accompanied by FIVE ADORABLE CHILDREN. They remind us of the Cat Family LOUIS once rescued and then released at the Fish Market. CATS sit on their OWNER'S shoulders. They are petted in the streets. They wear ribbons and bow ties.</scene_description> <character>WE INTERCUT LOUIS WAIN'S PICTURES, PROUDLY FRAMED IN VARIOUS</character> <dialogue>HOUSES: CATS DRESSED IN GOLF ATTIRE, MILITARY CATS, SAILOR</dialogue> <character>CATS, CATS DRESSED IN KIMONOS, SIKH CATS, A CLASSROOM OF CATS</character> <dialogue>WITH THEIR TEACHER, MUSICIAN CATS.</dialogue> <character>GRADUALLY, WE NOTICE THAT THE GATHERING CROWD ARE ALL DRESSED</character> <dialogue>EXACTLY LIKE THE CATS IN THESE PICTURES. ALL DIFFERENT KINDS</dialogue> <character>OF PEOPLE, UNITED IN A GLORIOUSLY COLOURFUL PARADE.</character> <dialogue>Perhaps his pictures have somehow come to life in aid of their creator. Or perhaps, sometimes, the world really does look the way that Louis Wain presented it.</dialogue> </scene> <scene> <stage_direction>EXT. NO. 10, DOWNING STREET, LONDON - DAY</stage_direction> <scene_description>JOSEPHINE knocks at the door of No.10. PRIME MINISTER STANLEY BALDWIN leans out of a window and is amazed to be greeted by the crowd of CAMPAIGNERS and CATS.</scene_description> <character>JOSEPHINE</character> <dialogue>Good afternoon, Prime Minister!</dialogue> <character>CLAIRE</character> <dialogue>Would you sign this petition for us?</dialogue> <character>FELICIE</character> <dialogue>It's for our brother.</dialogue> <character>PRIME MINISTER</character> <dialogue>... And who might that be?</dialogue> <character>EVERYONE</character> <dialogue>Louis Wain!</dialogue> <character>ONE CAT MEOWS.</character> <dialogue>HG WELLS (RADIO)</dialogue> <scene_description>But now, as he approaches the end of his own life, Mr Wain and his sisters...</scene_description> </scene> <scene> <stage_direction>INT. PAUPERS' WARD, SPRINGFIELD ASYLUM - DUSK</stage_direction> <scene_description>LOUIS stops dancing, out of breath. Tears roll freely down his face. He is smiling, almost laughing.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>... desperately require the most generous help of cat lovers and right-thinking people everywhere.</dialogue> </scene> <scene> <stage_direction>INT. AMBULANCE, SOUTH DOWNS - DUSK</stage_direction> <scene_description>A view of the British countryside sweeping by from a small vehicle window. LOUIS sits in the back of the ambulance, accompanied by FELICIE and RAILTON.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>We of the Louis Wain fund ask you now... to show him...</dialogue> <scene_description>RAILTON nods at LOUIS and smiles. LOUIS looks slightly less bedraggled and has new shoes. He looks down at them and then up at FELICIE. She smiles at him too.</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH DOWNS - DUSK (1925)</stage_direction> <scene_description>AN AMBULANCE chunters peacefully through the countryside.</scene_description> <character>HG WELLS (RADIO)</character> <dialogue>... that he is loved.</dialogue> </scene> <scene> <stage_direction>EXT. NAPSBURY ASYLUM - DUSK (1925)</stage_direction> <scene_description>THE AMBULANCE approaches the beautiful hospital. END OF SEQUENCE:</scene_description> </scene> <scene> <stage_direction>INT. INFIRMARY, NAPSBURY - DAWN (C.1930)</stage_direction> <scene_description>A SHAFT OF WARM LIGHT shines in through the window. LOUIS sits at a table in a communal area. He is surrounded by his painting materials and we notice EMILY'S ROCKS. He leafs through his journal and is cradling a CAT, who purrs gently. A COUPLE OF OTHER CATS are curled up around the room. LOUIS lands on the pages that EMILY once saw when she sneaked into his room. He stops. Inside the journal, is a small cutting of EMILY'S PATTERNED BLUE SHAWL. LOUIS holds it. Even now, she is full of surprises. He looks up out of the window. LOUIS grabs some paper and paints and heads out slowly. As he leaves, we see the colours outside are VIVID and BRIGHT. SCENE OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. NAPSBURY ASYLUM - DAWN</stage_direction> <scene_description>A feeling of peace as LOUIS walks around the grounds of the comfortable looking hospital, surrounded by greenery. CATS are snoozing in the sun. A FEW OTHER PATIENTS, relax, drift around, sit, sleep.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAWN</stage_direction> <scene_description>His feet are in slippers as he treads on twigs and shrubs. Details of the paints that he is clutching under his arm.</scene_description> <character>THE COLOURS ARE BURNING BRIGHTER AND MORE VIVID AS HE GOES,</character> <dialogue>TRAILING WISPS OF STRANGE INCANDESCENCE. HE CONTINUES TO WALK</dialogue> <character>FOR SOME TIME. EVERYTHING IS IN BLOOM. THE SUN CASTS A LIGHT</character> <dialogue>OVER LOUIS AS HE WALKS.</dialogue> <dialogue>Finally, he stops. He is faced with a quite extraordinary scene. A little brook laps over a fallen tree. BIRDS swoop in and out of vision.</dialogue> <character>ELECTRIC GREENS AND YELLOWS AND PINKS AND BLUES, BURNING</character> <dialogue>SURREAL AND BRIGHT.</dialogue> <dialogue>It vividly recalls the place where he, EMILY and PETER once stood together, all those years ago. It's a magical image. It's an image we will remember.</dialogue> <character>LOUIS</character> <dialogue>... Look.</dialogue> <character>END OF FILM</character> </scene> </script>

In 1881, 18 months after his father's death, Louis Wain, the only male and eldest of the Wain family, becomes the primary breadwinner. He supports five sisters and his mother working part-time as an illustrator for The Illustrated London News under editor Sir William Ingram. Ingram offers him a full-time job, but Wain declines in order to try his hand at composing music and playwriting; which he hopes will support the family but neither venture is successful. Louis hires Emily Richardson to be the new governess for his sisters. The two become instantly attracted to each other, much to the dismay of the eldest sister, Caroline. Louis decides to take the full time position in order to keep Emily as the governess. One night, Louis takes the family, and Emily to the theatre to see The Tempest as an educational trip. She comforts Louis in the men's restroom after he has a recurring nightmare about drowning during the performance, but inadvertently causes a scandal when nosy neighbor Mrs. DuFrane tells people about the incident. Embarrassed, Caroline fires her that night. Before she can leave, Louis professes his love for her and they begin a courtship. In 1884, the couple marry, which causes another scandal for the Wain family due to her being 10 years older than him; and her social status as a governess which is considered lower class. They move into a house in Hampstead, where Louis takes additional work as a freelance artist to continue supporting his mother and sisters. Months later, Emily is diagnosed with breast cancer. While walking in the countryside, they take in a stray kitten they name Peter, to relieve the grief of Emily's cancer. The practice of keeping a cat as a pet was unusual in the Victorian era. Louis begins painting realistic pictures of Peter, but the paintings become more unusual as Emily's condition worsens. He makes the cats more anthropomorphic, with them engaging in human behaviour. A financial crisis in England causes the paper to cut staff. Sir William tells Louis that he will have cut his workload, and advises him to use the extra time to spend with Emily. After showing Emily his work, she encourages him to show them to Sir William who uses the drawings in two pages of the Christmas edition. Although the edition becomes a success, Emily dies months later. Louis begins drawing more cat pictures to cope with losing the love of his life, creating whole cat societies, but it also begins to show Wain's detachment from reality. By 1891, Wain's cat pictures become enormously popular. They are featured on postcards, greeting cards, and other print materials. Wain also sends some of his drawings abroad. The drawings change peoples' perception of cats, making them acceptable as house pets. He hosts cat-themed events and is made chairman of The National Cat Society. Despite the popularity of his work, the family remains in debt. Wain fails to copyright his work, so he cannot profit from any reproductions of the art. To make matters worse, Marie, the youngest, begins to show signs of mental illness. The debt causes the family to be evicted from the Hampstead home. Sir William allows the family to stay at one of his properties at a reduced rate. Marie is admitted to an asylum, and Peter dies, causing Wain's own mental health to deteriorate. In 1907, Wain travels to New York, on a trip sponsored by newspaper magnate William Randolph Hearst. Wain hopes to forge a successful career in America to alleviate his debts. He meets Max Kase, who tells him that people love the pictures. Days after arriving, he receives news that his mother has died of influenza. He has some success in NYC, but returns to England in 1914 at Caroline's request. Upon arriving home, Louis is given the news that Marie, too, has died from influenza. Sir William also dies, succumbing to his gout. The family is evicted, and moves into a smaller flat in London. Louis continues to work as Britain enters World War I. He hits his head trying to jump off a double decker bus, and falls into coma; where he sees a vision of 1999. Coming out of the coma, he is inspired to design futuristic themed cat toys. The toys are manufactured, which looks to change the Wains' fortunes, but their hopes are dashed when a German U-Boat sinks the ship carrying the toys. In 1917, Caroline dies. The losses of Emily, his mother, Marie, Peter, Sir William and Caroline causes Louis to go on a series of violent mental breakdowns. In 1924, his sisters are forced to have him committed to the Springfield Mental Hospital in Tooting. Dan Rider, an official inspecting the mental institution recognizes Louis; in 1881 Louis drew his dog Cleopatra for free while they rode a train. After speaking with Louis, he starts a campaign, along with Wain's three remaining sisters (who never married) to raise money that will place Louis in a better facility that allows cats and provides patients access to outdoors. The campaign gets an enormous response, as thousands of admirers of Wain's art contribute. The author H.G. Wells, also a fan of Louis's work, along with other prominent British figures, assist with the effort. After raising the money needed. Louis is transferred to Bethlem Royal Hospital in Southwark, where he has a cat companion. In 1930, he is admitted to Napsbury Hospital in St. Albans. Guided by Emily's spirit, and with his journal and a cut-out piece of Emily's old scarf, Louis goes out to the painted countryside, where Emily once told him that he would find her.

Blade Runner_1982

tt0083658

<script> <scene> <stage_direction>INT. TYRELL CORPORATION LOCKER ROOM - DAY</stage_direction> <scene_description>THE EYE It 's magnified and deeply revealed . Flecks of green and yellow in a field of milky blue . Icy filaments surround the undulating center . The eye is brown in a tiny screen . On the metallic surface below , the words VOIGHT - KAMPFF are finely etched . There 's a touch - light panel across the top and on the side of the screen , a dial that registers fluctuations of the iris . The instrument is no bigger than a music box and sits on a table between two men . The man talking is big , looks like an over - stuffed kid . `` LEON '' it says on his breast pocket . He 's dressed in a warehouseman 's uniform and his pudgy hands are folded expectantly in his lap . Despite the obvious heat , he looks very cool . The man facing him is lean , hollow cheeked and dressed in gray . Detached and efficient , he looks like a cop or an accountant . His name is HOLDEN and he 's all business , except for the sweat on his face . The room is large and humid . Rows of salvaged junk are stacked neatly against the walls . Two large fans whir above their heads .</scene_description> <character>LEON</character> <dialogue>Okay if I talk?</dialogue> <scene_description>Holden does n't answer . He 's centering Leon 's eye on the machine .</scene_description> <character>LEON</character> <dialogue>I kinda get nervous when I take tests.</dialogue> <character>HOLDEN</character> <dialogue>Do n't move.</dialogue> <character>LEON</character> <dialogue>Sorry.</dialogue> <scene_description>He tries not to move but finally his lips ca n't help a sheepish smile .</scene_description> <character>LEON</character> <dialogue>Already had I.Q. test this year - but I do n't think I never had a.</dialogue> <character>HOLDEN</character> <parenthetical>( cutting in . )</parenthetical> <dialogue>Reaction time is a factor in this, so please pay attention. Answer quickly as you can.</dialogue> <scene_description>Leon compresses his lips and nods his big head eagerly . Holden 's voice is cold , geared to intimidate and evoke response .</scene_description> <character>HOLDEN</character> <dialogue>You're in a desert, walking along in the sand when all of a sudden you look down and see a.</dialogue> <character>LEON</character> <dialogue>What one?</dialogue> <scene_description>It was a timid interruption , hardly audible .</scene_description> <character>HOLDEN</character> <dialogue>What?</dialogue> <character>LEON</character> <dialogue>What desert?</dialogue> <character>HOLDEN</character> <dialogue>Does n't make any difference what desert - it's completely hypothetical.</dialogue> <character>LEON</character> <dialogue>But how come I'd be there?</dialogue> <character>HOLDEN</character> <dialogue>Maybe you're fed up, maybe you want to be by yourself - who knows. So you look down and see a tortoise. It's crawling towards you.</dialogue> <character>LEON</character> <dialogue>A tortoise. What's that?</dialogue> <character>HOLDEN</character> <dialogue>Know what a turtle is?</dialogue> <character>LEON</character> <dialogue>Of course.</dialogue> <character>HOLDEN</character> <dialogue>Same thing.</dialogue> <character>LEON</character> <dialogue>I never seen a turtle.</dialogue> <scene_description>He sees Holden 's patience is wearing thin .</scene_description> <character>LEON</character> <dialogue>But I understand what you mean.</dialogue> <character>HOLDEN</character> <dialogue>You reach down and flip the tortoise over on its back, Leon.</dialogue> <scene_description>Keeping an eye on his subject , Holden notes the dials in the Voight - Kampff . One of the needles quivers slightly .</scene_description> <character>LEON</character> <dialogue>You make these questions, Mr. Holden, or they write'em down for you?</dialogue> <scene_description>Disregarding the question , Holden continues , picking up the pace .</scene_description> <character>HOLDEN</character> <dialogue>The tortoise lays on its back, its belly baking in the hot sun, beating its legs trying to turn itself over. But it ca n't. Not without your help. But you're not helping.</dialogue> <scene_description>Leon 's upper lip is quivering .</scene_description> <character>LEON</character> <dialogue>Whatcha mean, I'm not helping?</dialogue> <character>HOLDEN</character> <dialogue>I mean you're not helping! Why is that, Leon?</dialogue> <scene_description>Leon looks shocked , surprised . But the needles in the computer barely move . Holden goes for the inside of his coat . But big Leon is faster . His LASER BURNS a hole the size of a nickel through Holden 's stomach . Unlike a bullet , a laser causes no impact . It goes through Holden 's spine and comes out his back , clean as a whistle . Like a rag doll he falls back off the bench from the waist up . By the time he hits the floor , big slow Leon is already walking away . But he stops , turns and with a little smile of satisfaction , FIRES at the machine on the table . There 's a flash and a puff of smoke . The Voight - Kampff is hit dead center , crippled but not destroyed ; as Leon walks out of the room , one of its lights begins to blink , faint but steady .</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - NIGHT</stage_direction> <scene_description>The horizon marked by a thin copper line that maybe the end , of the beginning of a day . The train that follows , cuts through the night at 400 miles an hour .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - NIGHT</stage_direction> <scene_description>No clickitty - clack of track - bound noise , it 's a long , insulated Pullman of contoured seats and low - keyed lighting , coloured to soothe , and empty , except for the passenger half way down . His eyes closed , head rested against the glass . Ten years ago , DECKARD might have been an athlete , a track man or a welter - weight . The body looks it , but the face has seen some time - not all of it good .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - REFRESHMENT DISPENSER - NIGHT</stage_direction> <scene_description>Deckard comes down the aisle , slips a coin into the mechanism , receives a beer and returns to his seat .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - NIGHT</stage_direction> <scene_description>Tired of the program , he takes off the headset and drops it next to three empty beer bottles and a sandwich wrapper , adjusts his position and winds up staring at his reflection in the window . Runs a hand over his face , it could use a shave . He leans closer and peers through the glass . Out there in the black a sign flashes past : SAN ANGELES , THREE MINUTES .</scene_description> </scene> <scene> <stage_direction>EXT. PLATFORM - NIGHT</stage_direction> <scene_description>The train slides in , smooth as an eel , and stops with - out a sound . Carrying a bag and umbrella , Deckard disembarks ahead of the other passengers and into the sweltering night .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT</stage_direction> <scene_description>Deckard has got his coat swung over his shoulder , his shirt already damp , as he walks down the long , hollow passage under orbs of yellow light .</scene_description> </scene> <scene> <stage_direction>EXT. TERMINAL - NIGHT</stage_direction> <scene_description>Deckard unlocks his car and gets in . Turns the ig - nition and hits a sensor . The dash console glows and Deckard sits back waiting for the air unit to cool things off .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It was 97 degrees in the city and no hope of improvement. Not bad if you're a lizard. But two hours earlier I was drinking Acquavit with an Eskimo lady in North East Alaska. That's a tough change to make. It was so good, I did n't want to leave, so I left a day early.</dialogue> <scene_description>A little detached , Deckard taps another sensor on the panel , lights up a cigarette and watches as his mes - sages flash across the viewer stating date , time and caller . The last one is repeated five times . Deckard sighs , switches off the viewer and gets on the radio .</scene_description> <character>DECKARD</character> <dialogue>Contact. This is Blade Runner One calling Com - fast 27.</dialogue> <scene_description>The SOUND OF A CHIME precedes the mechanical female voice that answers .</scene_description> <character>VOICE</character> <dialogue>Blade Runner One, stand by please.</dialogue> <scene_description>A pause . Followed by a husky male voice .</scene_description> <character>VOICE</character> <dialogue>Deckard.</dialogue> <character>DECKARD</character> <dialogue>Yah, Gaff.</dialogue> <character>GAFF</character> <parenthetical>( VOICE . )</parenthetical> <dialogue>Where the hell you been?</dialogue> <character>DECKARD</character> <dialogue>You know where I been. I been on vacation.</dialogue> <character>GAFF</character> <dialogue>Next time you go on vacation, do me a favor, let us know where it is.</dialogue> <character>DECKARD</character> <dialogue>What's up?</dialogue> <character>GAFF</character> <dialogue>Holden got hit.</dialogue> <scene_description>There is a pause . That was bad news .</scene_description> <character>DECKARD</character> <dialogue>Bad?</dialogue> <character>GAFF</character> <dialogue>Severed spine. You'd better get in here. Bryant's waiting for you.</dialogue> <character>DECKARD</character> <dialogue>I'll see you in a minute.</dialogue> <scene_description>The ENGINE REVS , the wipers rake two weeks of dust off the windshield and Deckard jams out of the lot .</scene_description> </scene> <scene> <stage_direction>INT. THE HALL OF JUSTICE - NIGHT</stage_direction> <scene_description>An enormous grey vault of a building . A businesslike Deckard strides down a long corridor with his brief - case and police ID pinned to his coat .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I - X - 4 - P - D referred to as a Nexus - 6, The Tyrell Corporation's new pride and joy. Holden was administering the Voight - Kampff test when one nailed him.</dialogue> <scene_description>The door in front of Deckard slides open and he walks through .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Nexus - 6 must be fast because Holden was as quick as they come. The report said there were six of them. Three males and three female. Led by a combat model called Roy Batty.</dialogue> </scene> <scene> <stage_direction>INT. INSPECTOR BRYANT'S OFFICE - NIGHT</stage_direction> <scene_description>The INSPECTOR is in his fifties . The deep creases in his face , the broken capillaries in his nose say brawler , spoiler , drinker , but the diplomas on the wall say something else . Bryant 's kneeled at his safe trying to open it . Deckard it sitting on the edge of the desk reading the print - out .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They escaped from the colonies two weeks ago. Killed twenty - three people and jumped a shuttle. An aerial patrol found the ship in the desert. No crew.</dialogue> <scene_description>Bryant gets the safe open and brings out a bottle of whiskey .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Bryant's got a liver problem. A couple years back he handed me a bottle and said have a drink for another man. I been drinking for him ever since.</dialogue> <scene_description>Deckard sets down the report and takes the shot Bryant just poured for him .</scene_description> <character>DECKARD</character> <dialogue>Six, huh?</dialogue> <character>BRYANT</character> <dialogue>Five. Three nights ago one of them managed to break into the Tyrell Corporation. Killed two guards and got as far as the Genetic Sector before he got fried going through an electro - field.</dialogue> <character>DECKARD</character> <dialogue>What was he after?</dialogue> <character>BRYANT</character> <dialogue>There was n't much left of him, so we ca n't be sure. But bio - chemical data and morphology records of the Nexus - 6 were reported missing. Going on the possibility they might try to infiltrate we send Holden in to run Voight - Kampff tests on the new employees. Guess he found himself one.</dialogue> <scene_description>A grim pause .</scene_description> <character>DECKARD</character> <dialogue>You got a machine on it yet?</dialogue> <character>BRYANT</character> <dialogue>We're using Esper - a 231 - that picked up Holden's alarm. Its guess is that all five are in the city.</dialogue> <character>DECKARD</character> <dialogue>Where do we start?</dialogue> <scene_description>Bryant 's back at the safe locking up his bottle .</scene_description> <character>BRYANT</character> <dialogue>The Tyrell Corporation has a demo model. Check it out on the Voight - Kampff. There's a chance the Nexus - 6 is beyond out ability to detect. If that's the case, everybody's up shit creek.</dialogue> <character>DECKARD</character> <dialogue>What was the cover on the one that got Holden?</dialogue> <character>BRYANT</character> <dialogue>Industrial refuse.</dialogue> <character>DECKARD</character> <dialogue>Garbage man?</dialogue> <scene_description>Bryant nods .</scene_description> <character>DECKARD</character> <dialogue>Did personnel have an address on him?</dialogue> <scene_description>Bryant fishes a piece of paper out of his pocket , copies down a number and hands it over .</scene_description> <character>DECKARD</character> <dialogue>I'll go take a look.</dialogue> <scene_description>Deckard stands and holds up his drink .</scene_description> <character>DECKARD</character> <dialogue>Thanks.</dialogue> <scene_description>Like a sick boy looking out of the window , Bryant watches Deckard down the whiskey . Deckard puts down the glass and turns to leave .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The big incentive to emigrate was still free labor. If the public found out that their door - prizes might kill them, they might not be so hot to go up there. This was one of the worst one's we had and Bryant was worried. He wanted to tell me to be discrete or something. But I did n't give him a chance.</dialogue> </scene> <scene> <stage_direction>EXT. LEON'S HOTEL ENTRANCE - NIGHT</stage_direction> <scene_description>An electrical storm is brewing . Deckard stands out - side the entrance to an old hotel holding an umbrella , as people scuttle into doorways to avoid the sudden downpour .</scene_description> </scene> <scene> <stage_direction>INT. LEON'S HOTEL LOBBY - NIGHT</stage_direction> <scene_description>A heavy metal maze of cubicles and perilous iron balconies , peopled with rejects from the surface world ; Mato Grosso Indians in white man 's clothes and other lower echelon welfare recipients . Drop city is crowded , cramped and darkly alive . Deckard steps out of an elevator and moves through the crowd . A cloud of steam drifts up through a grating as two old men , clad in towels descend a flight of stairs under a neon sign that says bath house . A musty subterranean wind ripples Deckard 's clothes as he turns into an alcove . He stops in front of a door that says , MANAGER and pushes the buzzer . It 's opened by an emphysema victim with an oxygen tank lashed to his hip . Deckard flashes his ID and speaks some words which are inaudible due to the TUBA MUSIC down the hall . The man grabs a key from his wall , hands it over and shuts the door .</scene_description> </scene> <scene> <stage_direction>INT. LEON'S HOTEL CORRIDOR - NIGHT</stage_direction> <scene_description>The companion ways below deck of a big ship are no more bewildering than the ups and downs and ins and outs of this establishment . But Deckard finds the door he 's looking for . He pauses a moment , listens , then knocks . He inserts the key and with a hand on his gun opens it .</scene_description> </scene> <scene> <stage_direction>INT. LEON'S ROOM - NIGHT</stage_direction> <scene_description>An empty room . A cot and not much else . He steps in and stands quiet as a hunter sensing the signs . For a place surrounded by greasy hovels it is surprisingly clean . Spartan in fact . The towel by the spotless basin is perfectly folded . Deckard runs two fingers over a shelf . No dust . He looks in the waste basket . Wadded up candy wrappers . The bed by the window is neatly made . Deckard looks under it , then runs his hands along both sides of the mattress . The closet . There 's one suit in it . He pats it down . Nothing . A show box on the floor . He stoops , takes out what looks like a pen from his pocket and care - fully traces it over the box . Assured of its harm - lessness , he lifts off the lid . It contains a little stack of photos bound with a rubber band . Deckard removes them , goes to the lamp by the balcony window and turns it on . A touching collection of family snapshots . The kind of anonymous stuff sold by the bunch in dusty junk shops . The family dog . Junior on the pony squinting in the sun . Uncle Ben clowning with the kids . The faded polaroid of Christmas morning . Simple pictures of simple folks celebrating the family bond . A curious collection for the likes of Leon and Deckard studies them with interest .</scene_description> </scene> <scene> <stage_direction>EXT. STREET BELOW - NIGHT</stage_direction> <scene_description>Oblivious to the cloudburst , a blue - eyed albino stands in the doorway , peddling candy and artificial flowers looking like he 'd never been touched by the light of day . Leon is standing behind him , staring up at his room , watching Deckard at the window . He 's still wearing his coveralls , but he looks different . His face is more intent , smarter and angry .</scene_description> </scene> <scene> <stage_direction>EXT. STREET BELOW - NIGHT</stage_direction> <scene_description>For one seething moment it looks like Leon might mash something , but suddenly he swings away and disappears into the crowd .</scene_description> </scene> <scene> <stage_direction>INT. LEON'S ROOM - NIGHT</stage_direction> <scene_description>Deckard pockets the pictures and moves away from the window .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Leon 's got a neck like a fire hydrant and legs to match , but he 's a graceful runner . Looks like he could do it for days . And he could . He 's put a lot of alley behind him and he 's not out of breath .</scene_description> </scene> <scene> <stage_direction>EXT. CHINATOWN - NIGHT</stage_direction> <scene_description>Slowing down he cuts into an opening and comes out onto a narrow street . The Asian Quarter .</scene_description> </scene> <scene> <stage_direction>INT. CHOP SUEY HOUSE - NIGHT</stage_direction> <scene_description>A seamy as well as steamy little place . Counter and small tables . Old slant - eyed enders humped over their fuming bowls jabbering and slurping . The only voice coming out clear is from the big three - D TV on the back wall . As the mellow - mouthed TV announcer delivers the message , a Latin - looking beauty in a well - fitted maids uniform does a twirl , flashes a beguiling smile and glides OUT OF FRAME .</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>Choose from a variety of seventy nine different personality types. Each and every one a loyal trouble - free companion given to you upon your arrival absolutely free.</dialogue> <scene_description>The Latin beauty is replaced by an impeccable Ray Bolger type gentleman 's gentleman who clicks his heels , snaps to attention and struts off to make room for the next .</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>To use as personal body servant to tireless field hand - the custom tailored humanoid robot, designed especially for your needs.</dialogue> <scene_description>The Chinese are paying no attention , but the man and the woman seated at the table by the window are . The woman is pretty , a touch of gray in her hair , kind and blue - eyed . MARY looks like an American dream mom , right out of `` Father Knows Best . '' The man also resembles a tradition : the gym instructor , short cropped hair with the body of a drill sergeant , but the eyes are grey and chilling . ROY BATTY is a presence of force with a lazy , but acute sense of what goes on around him . Leon has just come through the door behind them . Try - ing not to be the bull in a china shop , he approaches their table and kneels . Batty does n't bother to look at him , which amplifies the note of sarcasm in his quiet voice .</scene_description> <character>BATTY</character> <dialogue>Did you get your precious ` things'?</dialogue> <character>LEON</character> <dialogue>Somebody was already there.</dialogue> <character>BATTY</character> <dialogue>Police.</dialogue> <character>LEON</character> <dialogue>Just a man.</dialogue> <character>BATTY</character> <dialogue>Police man.</dialogue> <scene_description>Leon looks sullen .</scene_description> <character>BATTY</character> <dialogue>Why do n't you have a seat.</dialogue> <scene_description>There 's one next to him . Leon pulls it over and sits .</scene_description> <character>BATTY</character> <dialogue>Enjoy the view.</dialogue> <scene_description>From the pot on the table , Mary pours tea and they sit so quiet and still in this noisy place that they seem almost invisible . The view they 're `` enjoying '' is through the window . Outside the neon side in the win - dow directly across the street says : HANNIBAL CHEW , MEMBERS .</scene_description> </scene> <scene> <stage_direction>INT. HANNIBAL CHEW'S SHOP - NIGHT</stage_direction> <scene_description>Chew is a spindly old man of precision , his veiled eyes are shrewd and Chinese , but the rest of him looks like a Charles Dickens invention . He 's got a jewelers ' glass stuck in his eye , lurched over a lamp , squinting at something in his hand . After a moment his lips peal back into a sour , belligerent smile .</scene_description> <character>CHEW</character> <dialogue>Well, you're right. This little honey has a couple of defective cones.</dialogue> <scene_description>He snaps off the lamp and swings round to face his client . SEBASTIAN 'S face is almost young , but something has gone too far , too fast . Premature old age has made his bones brittle and his co - ordination slow . The house may be dark but there 's a light on in it . Se - bastian is a closet genius .</scene_description> <character>CHEW</character> <dialogue>You're a regular perfectionist, Sebastian.</dialogue> <scene_description>Sebastian 's apologetic , especially around the acerbic Mr. Chew .</scene_description> <character>SEBASTIAN</character> <dialogue>It's got ta be right for my customer.</dialogue> <character>CHEW</character> <dialogue>Your customer, eh?</dialogue> <scene_description>Chew snickers and beckons . Sebastian follows his down a high narrow hall to a heavy insulated door . There 's a moth - eaten full length fur coat hanging by it . Chew tugs it on and they go through . The big door slams shut behind them .</scene_description> </scene> <scene> <stage_direction>INT. COLD STORAGE ROOM - NIGHT</stage_direction> <scene_description>Except for the work table with its sharp gleaming in - struments , the room is as barren and sterile as a morgue . The glass - doored compartments in the walls look like crypts . Some of them small as post office boxes . From one of the Chew removes a vacuum , packed box . Carefully separating the seal , he reaches into the purple jell and with a pair of tweezers extracts an eye . Through the jeweler 's glass , which he has not bothered to remove , Chew holds the eye up to the light and studies it a moment . His other hand searches through his pockets .</scene_description> <character>CHEW</character> <dialogue>You got a pocket - charger, boy?</dialogue> <scene_description>Quick to accommodate , Sebastian removes a pencil - like device from a row of such things in his breast pocket and steps closer . The back of the eye is touched with the pencil and the pupil moves . Suddenly its staring back at them .</scene_description> <character>CHEW</character> <dialogue>Is that good enough for your customer?</dialogue> <scene_description>Anxious to leave , Sebastian nods . Chew reseals the eye taking his time . He can afford to , he 's wearing his coat .</scene_description> <character>CHEW</character> <dialogue>How much is he paying you?</dialogue> <scene_description>In place of an answer , Sebastian clears his throat , stares at the bag like he did n't hear .</scene_description> <character>CHEW</character> <dialogue>Well, when do you get paid?</dialogue> <character>SEBASTIAN</character> <dialogue>Soon as I finish the job.</dialogue> <character>CHEW</character> <dialogue>When might that be?</dialogue> <character>SEBASTIAN</character> <dialogue>Day after tomorrow.</dialogue> <character>CHEW</character> <dialogue>Oh! Day after tomorrow.</dialogue> <scene_description>Sebastian nods . Chew stares at the poor bastard , con - cerned in spite of himself .</scene_description> <character>CHEW</character> <dialogue>The rich hate to pay, Sebastian. A guy like Tyrell keeps you waiting. Pay the little guy last. You should charge twice as much. It'll make him feel better.</dialogue> <scene_description>Sebastian nods his head like that 's exactly what he 'll do . Chew sees it 's hopeless and hands him the bag .</scene_description> <character>SEBASTIAN</character> <dialogue>Thanks, Mr. Chew.</dialogue> <scene_description>Chew pulls the door open for him and Sebastian goes through quick as a dog .</scene_description> </scene> <scene> <stage_direction>EXT. HANNIBAL CHEW'S STORE - STREET - NIGHT</stage_direction> <scene_description>Sebastian may lack co - ordination but he got what he came for and there 's a hopeful spring to his walk as he heads for his truck .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S AMBULANCE - NIGHT</stage_direction> <scene_description>It 's an old panel job with ambulance siren and lights . The lettering on the side reads `` J.R. SEBASTIAN - ANIMOID EXPRESS . '' Sebastian gets in , starts up the engine and suddenly realizes he 's not alone . It 's a jolt that causes him to yelp . PRIS is sprawled on the seat next to him , and wakes up with a yelp of her own . They stare at one another for a startled instant , and she jumps out and starts walk - ing . But she 's forgotten her little beat - up overnight case . Sebastian puts the truck in gear , drives next to her and opens the door .</scene_description> <character>SEBASTIAN</character> <dialogue>Hey! You forgot your.</dialogue> <scene_description>He holds up the bag . Hesitantly she reaches for it .</scene_description> <character>SEBASTIAN</character> <dialogue>How come you were in my truck?</dialogue> <character>PRIS</character> <dialogue>I was tired and did n't have any place to go.</dialogue> <scene_description>She stares at him , hand on her case , looking lost . Sebastian is n't good at this , but he tries .</scene_description> <character>SEBASTIAN</character> <dialogue>You can get back in if you want.</dialogue> <scene_description>She ca n't make up her mind .</scene_description> <character>SEBASTIAN</character> <dialogue>Do n't worry, I wo n't hurt you.</dialogue> <scene_description>She gets in . Both of them are silent . People are not Sebastian 's medium - usually he 's too shy , but this girl is shyer still , plus they 're about the same age - it gives him courage .</scene_description> <character>SEBASTIAN</character> <dialogue>What's your name?</dialogue> <character>PRIS</character> <dialogue>Pris.</dialogue> <character>SEBASTIAN</character> <dialogue>Mine's J.F. Sebastian.</dialogue> <character>PRIS</character> <dialogue>Hi.</dialogue> <scene_description>So pleased with the way that went , he forgets for a while what comes next .</scene_description> <character>SEBASTIAN</character> <dialogue>Oh! Where do you want to go?</dialogue> <scene_description>She shrugs . That leaves him a lot of responsibility . He throws her side - long glances , but she 's not helping .</scene_description> <character>SEBASTIAN</character> <dialogue>You want to go home?</dialogue> <character>PRIS</character> <dialogue>I do n't have one.</dialogue> <character>SEBASTIAN</character> <dialogue>Oh.</dialogue> <scene_description>What do you do with a teenage beauty who looks like she 's lost out of some `` Welcome to Sunny Arizona '' poster ?</scene_description> <character>SEBASTIAN</character> <dialogue>Where are your folks?</dialogue> <character>PRIS</character> <dialogue>They left.</dialogue> <character>SEBASTIAN</character> <dialogue>What about friends?</dialogue> <character>PRIS</character> <dialogue>I have some, but I have to find out where they are staying.</dialogue> <scene_description>She leans forward and rests her elbows on the dash . Her body would win prizes , from any angle .</scene_description> <character>SEBASTIAN</character> <dialogue>Well, where should I take you?</dialogue> <scene_description>She looks at him , a shadow of enticement in her clear blue eyes .</scene_description> <character>PRIS</character> <dialogue>We scared each other pretty good did n't we?</dialogue> <character>SEBASTIAN</character> <dialogue>We sure did.</dialogue> <scene_description>She giggles and laughs .</scene_description> <character>PRIS</character> <dialogue>I'm hungry, J.F.</dialogue> <character>SEBASTIAN</character> <dialogue>I've got stuff. If you wan na go to my place?</dialogue> <character>PRIS</character> <dialogue>I was hoping you'd say that.</dialogue> <scene_description>Sebastian 's face is normally on the grey side , but it just turned red . He turns on the ignition and they pull away from the curb .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S CAR - FREEWAY - NIGHT</stage_direction> <scene_description>Speeding along the freeway . The terminal in the com - munications console lit . Deckard 's right hand just finished a punch - up . The screen flashes back . REQUEST Deckard punches up . Letters flash across the screen : ESPER Screen flashes back : CLEARANCE Deckard punches up . BLADE RUNNER ONE CODE ML - 33 Pause . Screen flashes : STAND BY . Deckard 's voice has been heard over the preceding .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Machines can be helpful sometimes, but they can also be a pain in the ass. Ask for a trace on a forger and you might wind up at a steel - mill. I do n't mind a bum - steer once in a while - it's their personalities that usually get me. Somebody once said that man makes machines in his own image. If that's true, whoever made Esper should have been shot.</dialogue> <character>ESPER</character> <dialogue>This is Esper and I'm ready. Go ahead please.</dialogue> <scene_description>Esper 's deep melodious voice is anxious to please , and oiled with a touch of self - pity .</scene_description> <character>DECKARD</character> <dialogue>You equipped for random questions?</dialogue> <character>ESPER</character> <dialogue>Why, yes, of course.</dialogue> <character>DECKARD</character> <dialogue>You start.</dialogue> <character>ESPER</character> <dialogue>The five in question are third generation Nexus Sixes, constructed of skin - flesh culture, selected enogenic transfer conversion capable of self - perpetuating thought, para - physical abilities and developed for emigration program. Are you with me?</dialogue> <character>DECKARD</character> <dialogue>How do I stop one?</dialogue> <character>ESPER</character> <dialogue>Unlike a five, they can sustain massive traumas to several parts of the body without debilitating another. Sever a leg and it will perform quicker on the remaining leg than the fastest man can run,</dialogue> <character>DECKARD</character> <dialogue>Okay, but.</dialogue> <character>ESPER</character> <dialogue>I'm coming to that. Vulnerable zone is the base of the skull, the occipital bone. A direct hit is a positive retirement.</dialogue> <scene_description>The communication is interrupted by a BELL which is immediately followed by a stern , MECHANICAL VOICE .</scene_description> <character>VOICE</character> <dialogue>You are in violation of traffic ordinance M - 139 statutory freeway limit restricted by one - hundred and eighty kilometers.</dialogue> <scene_description>In his rear view mirror Deckard sees two black - clad motorcycle cops coming up behind him like the hounds of hell . They draw silently alongside . Deckard presses his I.D. to the window . The cop tosses a salute to Deckard and he and his partner accelerate , vanish in the night . And Deckard 's car does too .</scene_description> </scene> <scene> <stage_direction>EXT. SEBASTIAN'S APARTMENT</stage_direction> <scene_description>A district of silence and ruin . The street is strewn with refuse . The building looks vacant . A ten storey condo gone to shit . The vandals have come and gone long ago . Sebastian 's little white ambulance parked at the curb . MR. DEETCHUM , the old Watchman , sitting in the building entry in a straight backed chair , is reading a comic book .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT - NIGHT</stage_direction> <scene_description>Well stocked with items of survival , all labeled and stacked . And shelved along the walls and hung from the ceiling is a menagerie of animoids . Like so many broken toys awaiting resurrection from Sebastian 's wise hands . Sebastian is seated at a large work - table , bent over a stereo scope . The tool in his right hand is a sensor probe and he 's using it with the delicacy of an en - graver . The object of his concentration is a maze - like chip configuration no bigger than a thumbnail , but magnified under the scope , it looks like an aerial view of a large city . The needle - like sensor probe moves care - fully over the contours of the configuration , testing the bonds . Suddenly a blue flash erupts from one of the junctures .</scene_description> <character>SEBASTIAN</character> <dialogue>Oh!</dialogue> <scene_description>Pris is light on her feet . She 's standing behind him with a half - eaten sandwich in her hand .</scene_description> <character>PRIS</character> <dialogue>Whatcha doin'?</dialogue> <character>SEBASTIAN</character> <dialogue>You scared me.</dialogue> <scene_description>But he 's happy to see her .</scene_description> <character>SEBASTIAN</character> <dialogue>I'm working.</dialogue> <scene_description>She 's changed her dress and made up her face . Looks a little older and sexier .</scene_description> <character>SEBASTIAN</character> <dialogue>You look. better.</dialogue> <character>PRIS</character> <dialogue>Just better.</dialogue> <character>SEBASTIAN</character> <dialogue>Beautiful.</dialogue> <character>PRIS</character> <dialogue>Thanks.</dialogue> <scene_description>He watches her as she prowls around the room , looking at this and that , eating her sandwich .</scene_description> <character>PRIS</character> <dialogue>And you live in this building all by yourself?</dialogue> <character>SEBASTIAN</character> <dialogue>Yeah, I live here pretty much alone right now.</dialogue> <scene_description>Trying to make light of it .</scene_description> <character>SEBASTIAN</character> <dialogue>No housing shortage around here. plenty of room for everybody.</dialogue> <scene_description>She sprawls on the couch studying him .</scene_description> <character>PRIS</character> <dialogue>How old are you?</dialogue> <scene_description>He ca n't meet her eyes .</scene_description> <character>SEBASTIAN</character> <dialogue>Twenty.</dialogue> <character>PRIS</character> <dialogue>What's your problem?</dialogue> <scene_description>It 's not an easy subject . His voice is barely audible .</scene_description> <character>SEBASTIAN</character> <dialogue>Methuselah Syndrome.</dialogue> <character>PRIS</character> <dialogue>What's that?</dialogue> <character>SEBASTIAN</character> <dialogue>My glands. They grow old too fast.</dialogue> <character>PRIS</character> <dialogue>Is that why you're still here?</dialogue> <character>SEBASTIAN</character> <dialogue>Yes. I could n't pass the test.</dialogue> <scene_description>There is a silence . He steals a glance at her .</scene_description> <character>PRIS</character> <dialogue>I like you just the way you are.</dialogue> <scene_description>Under the desk he bats his knees together .</scene_description> <character>SEBASTIAN</character> <dialogue>Ah, you get hold of your friends?</dialogue> <character>PRIS</character> <dialogue>As a matter of fact I did. They've got some work to do tonight, but they're gon na come tomorrow.</dialogue> <character>SEBASTIAN</character> <dialogue>Good.</dialogue> <scene_description>The implications catch up .</scene_description> <character>SEBASTIAN</character> <dialogue>I can sleep on the couch.</dialogue> <scene_description>A little gray mouse on the shelf above his head bobs up .</scene_description> <character>MOUSE</character> <dialogue>Do n't let the bed bugs bite!</dialogue> <scene_description>Taking their cue from the mouse , some of the more talented animoids toot , flap and wheel about .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - NIGHT</stage_direction> <scene_description>It 's dark except for the glow of the terminal . A tired Deckard sits in front of it . Esper sounds like he 's been talking for hours .</scene_description> <character>ESPER</character> <dialogue>Nexus designated Leon : incept date April 10th, 2015 - to be used in military experiments to determine how hyper metabolism functions in deep space. Nexus designated Batty incept data April 10th, 2015, combat model, level of self - sufficiency, optimum.</dialogue> <scene_description>A long pause .</scene_description> <character>ESPER</character> <dialogue>Here's something you might find interesting. They have been built to emulate the human in every way except in its emotional spectrum. However, after a period of time it is only logical that such a ` mechanism' would create its own emotional responses, hate, love, fear, anger, envy.</dialogue> <character>DECKARD</character> <dialogue>I know all that.</dialogue> <character>ESPER</character> <dialogue>What about a summary then.</dialogue> <character>DECKARD</character> <dialogue>I think we're through for the night.</dialogue> <scene_description>Deckard starts to reach for the panel .</scene_description> <character>ESPER</character> <dialogue>Mr. Deckard.</dialogue> <scene_description>Hesitates .</scene_description> <character>DECKARD</character> <dialogue>Yes?</dialogue> <character>ESPER</character> <dialogue>Do you have something against science?</dialogue> <character>DECKARD</character> <dialogue>Not if it works.</dialogue> <character>ESPER</character> <dialogue>And what in your estimation works?</dialogue> <character>DECKARD</character> <dialogue>The umbrella.</dialogue> <scene_description>Deckard picks up the umbrella and with it stabs the terminal off button before Esper can respond and the machine goes dead . He sits there for a moment then flips on the lamp . Leon 's snap - shots are spread out before him .</scene_description> </scene> <scene> <stage_direction>INT. SPINNER - DAY</stage_direction> <scene_description>A police marked spinner makes a sharp bank , drops into a steep curve and slides towards the Tyrell Corporation .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Every government that could was racing to populate their colonial territory. But emigrants needed incentive. Over - population and the greenhouse factor did n't seem to be enough ; but owning a human look - a - like had lots of appeal. It was big industry, the competition was stiff and Tyrell was top of the line.</dialogue> </scene> <scene> <stage_direction>EXT. TYRELL CORPORATION - DAY</stage_direction> <scene_description>The spinner gently touches down . The hatch drops open and Deckard steps out .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>His claim to fame was making a product more human than human and sometimes the ` more' turned out to be a problem. This was n't just an escaped andy who broke his owner's arm - there were twenty - eight people dead and the pressure was on.</dialogue> </scene> <scene> <stage_direction>INT. TYRELL CORPORATION - DAY</stage_direction> <scene_description>Deckard walks up to a desk , hands his I.D. to a guard who checks it against a list on a screen .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But so far they'd always managed to keep it quiet. Not to say that once in a while there was n't bad publicity. Some fanatic bitching about equal rights for andies or an occasional trade union proclaiming it was aun - American for automatons to take jobs away from humans on the colony.</dialogue> <scene_description>The guard hands Deckard back his I.D. , pushed a button and Deckard walks away .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But what's more American than good old supply and demand? The Government needed them, industry made them and the church backed them. The big religious boys said that Androids, no matter how human, were objects ; only God could make people. I'm not religious, but I was inclined to agree. Otherwise I'd be out of a job.</dialogue> <scene_description>The elevator door slides open . The young lady inside would look right standing on a cliff , hair blowing in the wind , looking out to sea in a 19th Century painting .</scene_description> <character>RACHAEL</character> <dialogue>Hello, Mr. Deckard. My name is Rachael.</dialogue> <scene_description>Deckard tips his head to her and steps in .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL CORPORATION ELEVATOR - DAY</stage_direction> <scene_description>No woman can be all things to all men , the Rachael comes closer than most . The only trouble is she 's all busi - ness . Formidable without really trying . Some beauty is better avoided and Deckard looks straight ahead .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL CORPORATION CORRIDOR - DAY 33A</stage_direction> <scene_description>The door slides open and they continue down the corri - dor .</scene_description> <character>RACHAEL</character> <dialogue>It seems your department does n't believe out new unit is to the public benefit.</dialogue> <character>DECKARD</character> <dialogue>A humanoid robot is like any other machine, it can be a benefit or a hazard. If it's a benefit, it's not our problem.</dialogue> <character>RACHAEL</character> <dialogue>But because your department ca n't do an adequate job in detecting the miniscule number at large, it's a problem. Correct, Mr. Deckard?</dialogue> </scene> <scene> <stage_direction>INT. TYRELL CORPORATION - AIR-FILTERED CORRIDOR - DAY 33B</stage_direction> <scene_description>They pass into a canopied , air - filtered corridor . Deckard does n't answer the question because he 's looking at the animals . Small northern animals in neat `` en - vironmental '' cages . He looks at the rabbit , the raccoon and the squirrel , but the owl asleep on its perch stops him . The armed guard at the exit never takes his eyes off them .</scene_description> <character>RACHAEL</character> <dialogue>You like our owl?</dialogue> <scene_description>Deckard nods . Rachael claps her hands . The owl opens its yellow eyes and blinks at them .</scene_description> <character>DECKARD</character> <dialogue>It's artificial?</dialogue> <character>RACHAEL</character> <dialogue>Of course not.</dialogue> <scene_description>Hands thrust in her pockets , she strides off towards the exit without looking back . The exit is another tube . Just big enough for two . No room for excess . He tries to ignore her cool appraising stare .</scene_description> <character>RACHAEL</character> <dialogue>You're in a very unique position, Mr. Deckard. You could affect the future of this entire organization according to how you work your little test.</dialogue> <scene_description>Deckard has nothing to say .</scene_description> <character>RACHAEL</character> <dialogue>Are you apprehensive?</dialogue> <character>DECKARD</character> <dialogue>Why should I be?</dialogue> <character>RACHAEL</character> <dialogue>For the responsibility of your power. Being a police bureaucrat, you've got more than your share.</dialogue> <scene_description>The door slides open . Deckard looks down at her .</scene_description> <character>DECKARD</character> <dialogue>You got it wrong, girl. I work with the bureau not for them.</dialogue> <scene_description>He lets it sink in .</scene_description> <character>DECKARD</character> <dialogue>My job is n't to detect malfunctioning andies, it's to eliminate them. The more the better.</dialogue> <scene_description>He walks out of the elevator first .</scene_description> </scene> <scene> <stage_direction>INT. INNER SANCTUM OF DR. TYRELL - DAY</stage_direction> <scene_description>The office is dimly lit , but highlights of resilience reside in the luster of the antique furnishings , like glimmers of gold in a darkened mine . Dr. Tyrell is a fragile man of power , with that look of `` youth '' obtained from steroids and surgery . Dapper and trim , he leans against the desk looking at an old fashioned pocket watch . The only sound is the insidious PERKING of COFFEE BREWING in the background . Tyrell taps a sensor on his desk . The door in front of Deckard and Rachael slides open . They enter a vestibule and face another door , this one befitting the decor of the office , Tyrell slips the watch into his pocket as they enter .</scene_description> <character>RACHAEL</character> <dialogue>Mr. Deckard. Dr. Eldon Tyrell.</dialogue> <character>TYRELL</character> <dialogue>How do you do, Mr. Deckard. Please sit down. Would you care for a cup of coffee?</dialogue> <character>DECKARD</character> <dialogue>Thanks.</dialogue> <character>TYRELL</character> <dialogue>Black?</dialogue> <character>DECKARD</character> <dialogue>Please.</dialogue> <scene_description>Tyrell pours from an old time sylex into small china cups and hands one to Deckard . The congenial light in his eyes could almost pass for warmth - dragon warmth .</scene_description> <character>TYRELL</character> <dialogue>Somehow, I did n't expect that the man who did the dirty work would be the man to do the technical work. Here you are, Mr. Deckard.</dialogue> <scene_description>He hands Deckard a cup of coffee .</scene_description> <character>TYRELL</character> <dialogue>Is this to be an empathy test?</dialogue> <character>DECKARD</character> <dialogue>Yes.</dialogue> <character>TYRELL</character> <dialogue>Capillary dilation of the so - called blush response? Plus fluctuation of the pupil, plus involuntary dilation of the iris?</dialogue> <scene_description>Deckard nods .</scene_description> <character>TYRELL</character> <dialogue>May I ask a personal question?</dialogue> <character>DECKARD</character> <dialogue>Go ahead.</dialogue> <character>TYRELL</character> <dialogue>Have you ever retired a human by mistake?</dialogue> <character>DECKARD</character> <dialogue>No.</dialogue> <character>TYRELL</character> <dialogue>But in your profession that is a risk.</dialogue> <character>DECKARD</character> <dialogue>Nothing is infallible, but so far the Voight - Kampff scale bas been foolproof.</dialogue> <character>TYRELL</character> <dialogue>Like you said, Mr. Deckard, a machine can be a hazard. The Voight - Kampff scale is a machine, is n't it?</dialogue> <character>DECKARD</character> <dialogue>One that relies on human interpretation. Where's the subject?</dialogue> <character>TYRELL</character> <dialogue>Sitting next to you.</dialogue> <scene_description>Deckard stares at Rachael , then back at Tyrell . Delighted , Tyrell takes a cup of coffee . Accepting the challenge , Deckard opens his briefcase and starts fishing out the apparatus . THE VOIGHT - KAMPFF Rachael 's eye fills the screen , the iris brilliant , shot with light , the pupil contracting .</scene_description> <character>DECKARD'S VOICE</character> <dialogue>Ready.</dialogue> <character>RACHAEL</character> <dialogue>Go ahead.</dialogue> <scene_description>In the soft green glow of the dials , the needles in both gauges are at rest . Dr. Tyrell stands silhouetted behind Deckard , who sits in front of Rachael , a pencil beam trained on her eye . Wire mesh discs are attached to her cheeks .</scene_description> <character>DECKARD</character> <dialogue>You're given a calfskin wallet for your birthday.</dialogue> <scene_description>The needles in both gauges swing violently past green to red , then subside .</scene_description> <character>RACHAEL</character> <dialogue>I would n't accept it. Also, I'd report the person who gave it to me to the police.</dialogue> <character>DECKARD</character> <dialogue>You have a little boy. He shows you his butterfly collection, plus the killing jar.</dialogue> <scene_description>Again the gauges register , but not so far .</scene_description> <character>RACHAEL</character> <dialogue>I'd take him to the doctor.</dialogue> <character>DECKARD</character> <dialogue>You're watching T.V. and suddenly you notice a wasp crawling on your wrist.</dialogue> <character>RACHAEL</character> <dialogue>I'd kill it.</dialogue> <scene_description>Both needles go to red . Deckard makes a note , takes a sip of coffee and continues .</scene_description> <character>DECKARD</character> <dialogue>In a magazine you come across a full - page photo of a nude girl.</dialogue> <character>RACHAEL</character> <dialogue>Is this testing whether I'm an android or a lesbian?</dialogue> <character>DECKARD</character> <dialogue>You show the picture to your husband. He likes it and hangs it on the wall. The girl is lying on a bearskin rug.</dialogue> <character>RACHEL</character> <dialogue>I would n't let him.</dialogue> <character>DECKARD</character> <dialogue>Why not?</dialogue> <character>RACHAEL</character> <dialogue>I should be enough for him.</dialogue> <scene_description>Deckard frowns , then smiles . His smile looks a little like a grimace or the other way around .</scene_description> <character>DECKARD</character> <dialogue>You become pregnant by a man who runs off with your best friend, and you decide to get an abortion.</dialogue> <character>RACHAEL</character> <dialogue>I'd never get an abortion.</dialogue> <character>DECKARD</character> <dialogue>Why not?</dialogue> <character>RACHAEL</character> <dialogue>That would be murder, Mr. Deckard.</dialogue> <character>DECKARD</character> <dialogue>In your opinion.</dialogue> <character>RACHAEL</character> <dialogue>It would be my child.</dialogue> <character>DECKARD</character> <dialogue>Sounds like you speaks from experience.</dialogue> <scene_description>He notes the needles . One goes green and the other remains inert .</scene_description> <character>DECKARD</character> <dialogue>Last question. You're watching an old movie. It shows a banquet in progress, the guests are enjoying raw oysters.</dialogue> <character>RACHAEL</character> <dialogue>Ugh.</dialogue> <scene_description>Both needles swing swiftly .</scene_description> <character>DECKARD</character> <dialogue>The entree consists of boiled dog stuffed with rice.</dialogue> <scene_description>Needles move less .</scene_description> <character>DECKARD</character> <dialogue>The raw oysters are less acceptable to you than a dish of boiled dog.</dialogue> <scene_description>Deckard moves the adhesive discs from her cheeks and switches off his beam .</scene_description> <character>DECKARD</character> <dialogue>Lights please.</dialogue> <scene_description>The lights come on .</scene_description> <character>TYRELL</character> <dialogue>Well?</dialogue> <character>DECKARD</character> <dialogue>If she is, the machine works.</dialogue> <character>TYRELL</character> <dialogue>The machine works. She is.</dialogue> <scene_description>Rachael sits very still . Except her eyes - they go to Tyrell and hang on . He stares back at her as he speaks .</scene_description> <character>TYRELL</character> <dialogue>How many questions did it take?</dialogue> <character>DECKARD</character> <dialogue>Thirteen.</dialogue> <scene_description>Rachael sits rigidly in her chair , as the ground crumbles around her , her big mermaid eyes locked with Tyrell . His voice is quiet and strong , mesmerizing . She 's hang - ing by a thread . Deckard watches with a bas taste in his mouth .</scene_description> <character>DECKARD</character> <dialogue>She did n't know?</dialogue> <character>TYRELL</character> <dialogue>Memory implant. She was programmed. But I think she has transcended her conditioning. I think she was beginning to suspect.</dialogue> <scene_description>Rachael nods fixedly . Careful not to let go her grasp .</scene_description> <character>TYRELL</character> <dialogue>How many questions does it usually take, Mr. Deckard?</dialogue> <character>DECKARD</character> <dialogue>Five, maybe six.</dialogue> <scene_description>Slowly , carefully , Tyrell unlocks his gaze from Rachael and turns towards Deckard , who is starting to put away his equipment .</scene_description> <character>TYRELL</character> <dialogue>You're going to have to be on your toes, my friend.</dialogue> <scene_description>Deckard glances back at him .</scene_description> <character>TYRELL</character> <dialogue>It's a complex problem and we would n't want anything to happen to you.</dialogue> <scene_description>Less of a man might shrink at the end of Deckard 's look , but not Tyrell .</scene_description> <character>TYRELL</character> <dialogue>For the good of all, I recommend you take Rachael with you. Considering her uniqueness, I'm sure she could prove quite helpful.</dialogue> <scene_description>Deckard almost smiles at the nasty power of Tyrell 's style . He turns away and starts packing up the Voight - Kampff .</scene_description> <character>DECKARD</character> <dialogue>No thanks.</dialogue> <scene_description>Deckard is ready to go .</scene_description> <character>TYRELL</character> <dialogue>And how is it one man will be able to cover so much ground?</dialogue> <character>DECKARD</character> <dialogue>Discreetly.</dialogue> <character>TYRELL</character> <dialogue>All pertinent information is being fed into your departmental computer, an Esper 231 - I believe - and a photo over - lay packet is being produced.</dialogue> <scene_description>Deckard opens the door .</scene_description> <character>TYRELL</character> <dialogue>Mr. Deckard, I think it would be wise to reconsider my offer.</dialogue> <scene_description>Rachael sits there very pale and expressionless , her feet flat on the floor , alone is the word . Trying to keep the fury out of it , Deckard 's voice comes out in a whisper .</scene_description> <character>DECKARD</character> <dialogue>I work alone.</dialogue> <scene_description>On the last word , Rachael glances up at him and Deckard turns away . The outer door slides open and he goes through it .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - NIGHT</stage_direction> <scene_description>As seen through the windshield from the passenger side of a vintage Dusenberg . The headlights cut through the dark , illuminating a narrow strip of mountain road . A downgrade . A sign slides by stating : `` Caution Curves Ahead . '' Good advice considering the sheer nightmare of a drop to the right and the wall of solid rock to the left . The steady HUM of the ENGINE and the HISS of the TIRES will remain , but the location suddenly changes to :</scene_description> </scene> <scene> <stage_direction>INT. ROOM - NIGHT</stage_direction> <scene_description>A pleasant place of soft light and domestic charm . The young lady in the short dress is vacuuming the rug . Her back to the viewer . As she bends over to vacuum beneath the couch , exposing her beautiful ass , an admonishment from a resonant and slightly tired MALE VOICE intercedes .</scene_description> <character>VOICE</character> <dialogue>Let's keep our eyes on the road, Deckard.</dialogue> <character>DECKARD'S VOICE</character> <dialogue>Sorry.</dialogue> <scene_description>Abruptly the VIEW FLASHES BACK TO :</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - NIGHT</stage_direction> <scene_description>The moon is up there slicing through the trees , strobing over the hood of the car . The road is getting steeper and the corners sharper . Rags of mist skim by as the Dusenberg picks up speed . It is becoming a riveting ride , but the passenger 's mind moves elsewhere .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY</stage_direction> <scene_description>Swift , soft clouds overhead . In the cold shine of the icy light , the viewer walks down an aisle of maples and beeches , their clean hard limbs deflecting the frosty light , and underfoot the crisp , blue - white snow , melted through in spots , exposing soggy patches of rich brown earth .</scene_description> <character>VOICE</character> <dialogue>Come on, stay with the machine.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL - NIGHT</stage_direction> <scene_description>The Dusenberg is going faster now , headlights eating up the road . Rushing the corners in gut wrenching four - wheel drifts . Not a pleasant sensation if you do n't like roller - coasters . The Dusenberg slides out of a corner and faces a couple hundred yards of straightway leading to the next bend . Good place for a breather , but the driver shifts into high and screws on .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAY</stage_direction> <scene_description>Cold and gray . The current running strong . The nose of a kayak points through the swells , the viewer paddling for the shore . This is cold remote country , wild and untouched . A sky bluer than the Madonna 's cloak . The kayak banks and the viewer steps out , moving over the sandy beach towards a little camp .</scene_description> <character>VOICE</character> <dialogue>We're going to have to start the sequence again if you do n't stay with me, Deckard. Concentrate.</dialogue> <character>DECKARD'S VOICE</character> <dialogue>How do you know I'm not?</dialogue> <character>VOICE</character> <dialogue>You're not responding to the stimulus. I can see right here, I'm not getting a reading.</dialogue> <character>DECKARD'S VOICE</character> <dialogue>I'm tired of this.</dialogue> <character>VOICE</character> <dialogue>Almost through.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL - NIGHT</stage_direction> <scene_description>In the Dusenberg the driver turns to look at the passen - ger , his specter - like face obscured by shadow , but by the glint of teeth , he must have just smiled . And the passenger 's view snaps back to the road . Suddenly another pair of headlights round the approach - ing bend . Large ones , of a bus or a truck . Blinding . The Dusenberg is going too fast to stop . No room to pass . HORNS BLAST . The Dusenberg brakes , goes into a broadside skid . The hands of the passenger reach out and grip the mahogany dash . Brakes locked , TIRES SCREAMING , skidding . The Dusenberg tears through the railing and plunges into space . The last view of the passenger is pure vertigo . Silence .</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR WHEELER'S OFFICE - AFTERNOON</stage_direction> <scene_description>The good doctor is bending over his glass - top desk which resembles a pin - ball machine . Displayed under its surface is a network of crisp electronic symbols and read - outs indicating the results of the test . Deckard detached the patches from his forehead , which it a little damp , but other than that , he looks no worse for wear , stands up to stretch and walks over to the doctor 's desk .</scene_description> <character>DECKARD</character> <dialogue>So how did I do?</dialogue> <scene_description>Dr. Wheeler is a thin boney man , aloof but a promise of compassion in his sunken eyes .</scene_description> <character>WHEELER</character> <dialogue>Nerves of steel.</dialogue> <character>DECKARD</character> <dialogue>No rust?</dialogue> <character>WHEELER</character> <dialogue>I did n't say that. Your motivity rate checked out a little slower than last time.</dialogue> <character>DECKARD</character> <dialogue>Meaning?</dialogue> <character>WHEELER</character> <dialogue>Meaning you do n't run as fast as you used to.</dialogue> <scene_description>Deckard starts to dress .</scene_description> <character>WHEELER</character> <dialogue>During the road test.</dialogue> <character>DECKARD</character> <dialogue>Yeah?</dialogue> <character>WHEELER</character> <dialogue>Your mind kept wandering. That bothered me.</dialogue> <character>DECKARD</character> <dialogue>Huh huh.</dialogue> <character>WHEELER</character> <dialogue>Considering the nature of your work, that could be unhealthy.</dialogue> <character>DECKARD</character> <dialogue>True.</dialogue> <scene_description>Wheeler studies his `` desk '' for a moment and his finger comes down on the section illuminating Deckard 's simple statistics .</scene_description> <character>WHEELER</character> <dialogue>You got a birthday coming up.</dialogue> <scene_description>Deckard bends over slipping on his shoes . Wheeler looks up , concerned .</scene_description> <character>WHEELER</character> <dialogue>But you have n't put in for emigration.</dialogue> <character>DECKARD</character> <dialogue>Nope.</dialogue> <character>WHEELER</character> <dialogue>You're going to be over the limit.</dialogue> <character>DECKARD</character> <dialogue>Listen, I could make you a long list of complaints about this fucken city but I still rather be here than up there.</dialogue> <character>WHEELER</character> <dialogue>What if you change your mind?</dialogue> <character>DECKARD</character> <dialogue>They'll change the limit before I change my mind.</dialogue> <character>WHEELER</character> <dialogue>You sure?</dialogue> <character>DECKARD</character> <dialogue>Never been more sure of anything in my life.</dialogue> <scene_description>Deckard is ready to go . Looking at Wheeler , a little touched with his concern .</scene_description> <character>DECKARD</character> <dialogue>Why did n't you go?</dialogue> <character>WHEELER</character> <dialogue>Too old.</dialogue> <character>DECKARD</character> <dialogue>But if you could?</dialogue> <scene_description>Wheeler considers it a moment , smiles and shakes his head .</scene_description> <character>WHEELER</character> <dialogue>My job is here.</dialogue> <character>DECKARD</character> <dialogue>Me too.</dialogue> <scene_description>They shake hands and Deckard walks .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT - LATE AFTERNOON</stage_direction> <scene_description>The referee is bouncing around the ring , trying to keep up with the two Mexican light - weights pounding the shit out of each other . If not for the fuzz and the silence , the audio on the holoscope is off , you might think you were ringside at the Garden . It 's a good fight but Pris is n't watching . She 's got her feet up on the couch painting her toe nails . The room is so quiet you can almost hear the polish . She starts on her fourth toe when a NOISE form above STOPS HER It sounded like a CREAKING of a FLOOR , but so quiet , sudden and over so fast it 's hard to be sure . She stares at the ceiling a moment , then glances at Sebastian . On the other side of the room , in his own world , Sebastian is peering into his magnifier , soldering gossamer strands with a laser . Pris has crossed the floor and is closing the door quietly behind her . If the animoids nestled around the ledges of the room are capable of noticing , they 'd be the only ones in the room who did .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SEBASTIAN'S APARTMENT - LATE AFTER NOON</stage_direction> <scene_description>Pris moving smoothly past the doors , some of them open and warped offering sights and shadow and decay .</scene_description> </scene> <scene> <stage_direction>INT. FIRE STAIRS - SEBASTIAN'S APARTMENT - LATE AFTER- 46 NOON</stage_direction> <scene_description>The gloom in here is like the light of the empty well . Her feet against the metal steps reverberate in the hollow silence .</scene_description> </scene> <scene> <stage_direction>INT. THE FLOOR ABOVE SEBASTIAN'S APARTMENT - LATE AFTERNOON</stage_direction> <scene_description>She 's running now , down the hall , stops at the apart - ment directly above Sebastian 's and opens the door .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT ABOVE SEBASTIAN'S APARTMENT - LATE AFTERNOON</stage_direction> <scene_description>Mary turns her head as Pris comes in . She 's sitting in a chair . The only piece of furniture in the room . It 's broken and tilts at a funny angle . She nods and Pris nods back . Batty is lying on his back , rolling his head slightly from side to side like he 's soothing a stiff neck .</scene_description> <character>BATTY</character> <dialogue>What's going on down there?</dialogue> <character>PRIS</character> <dialogue>He's not ready yet.</dialogue> <character>BATTY</character> <dialogue>When?</dialogue> <character>PRIS</character> <dialogue>Tomorrow, he says.</dialogue> <scene_description>Batty nods he ca n't wait . Pris glances at Mary and gives a frigid little smile . Pris backs out and closes the door behind her . Batty blows air through his nostrils . Like an animal .</scene_description> </scene> <scene> <stage_direction>EXT. DECKARD'S CAR - FREEWAY - NIGHT</stage_direction> <scene_description>The sky is streaked with remnants of a lingering dusk . Prisms of light flash over the sheen of Deckard 's car as he cuts off the freeway and sweeps down the off - ramp curve .</scene_description> </scene> <scene> <stage_direction>EXT./INT. CAR - STREETS - NIGHT</stage_direction> <scene_description>Moving through the dark city streets . Deckard turns a corner and guns it up a long , steep hill .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DECKARD'S APARTMENT - NIGHT</stage_direction> <scene_description>At the top of the hill the car pulls into a drive and disappears into the subterranean garage of a high - rise .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR DECKARD'S APARTMENT - NIGHT</stage_direction> <scene_description>He 's coming down the hall carrying a foil wrapped plastic plate and stops in front of his door . It 's riddled with locks . He slips a small device out of his pocket , aims it at the door and the locks unlock , the bolts slide open . He walks in and kicks the door shut behind him .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - NIGHT</stage_direction> <scene_description>He slips on the light and crosses the front room . Deckard is a pack rat - hard to tell if he just moved in or is just moving out . As he enters the kitchen , the SOUND of SOMEBODY BEHIND him causes him to whirl around fast , hand snapped out in front of him , gun already in it . Rachael almost got shot . But she 's unruffled , a little pale maybe , but direct as ever . There 's a long , chilly moment , then she almost smiles as her eyes move to the plate on the floor .</scene_description> <character>RACHAEL</character> <dialogue>Was that your dinner?</dialogue> <scene_description>Deckard looks down at the over - turned plate and nods .</scene_description> <character>RACHAEL</character> <dialogue>I'm sorry. I called and found out you were on your way home. These were already delivered to your department but I thought you should have copies as soon as possible.</dialogue> <scene_description>She 's holding out a cassette the size of a cigarette pack . But it 's taking Deckard 's adrenalin time to recede .</scene_description> <character>RACHAEL</character> <dialogue>It's the Nexus information you wanted.</dialogue> <scene_description>He takes the cassette , but a man with so many locks must be wondering how they were gotten through so easily . He does n't even want to ask .</scene_description> <character>DECKARD</character> <dialogue>Thanks.</dialogue> <scene_description>He realizes he 's still got the gun aimed at her and sticks it back in his belt and they 're left staring at each other . The situation makes awkward silence . At least for him . She 's looking at him like she 's got something to say but is n't saying it .</scene_description> <character>DECKARD</character> <dialogue>Is there anything else?</dialogue> <character>RACHAEL</character> <dialogue>I know you think it complicates your work, but I'm here to help.</dialogue> <character>DECKARD</character> <dialogue>I've already got more help than I need.</dialogue> <character>RACHAEL</character> <dialogue>I think you need more help than you've got.</dialogue> <scene_description>He does n't , but she 's not backing off .</scene_description> <character>RACHAEL</character> <dialogue>There's two reasons a man rejects help. Either because he's so good at what he does he does n't think he needs it, or he's so insecure he ca n't admit it.</dialogue> <character>DECKARD</character> <dialogue>Sounds like I'm an ass - hole either way, but the answer is still no.</dialogue> <character>RACHAEL</character> <dialogue>Two of us might be more effective than one.</dialogue> <character>DECKARD</character> <dialogue>I work alone.</dialogue> <scene_description>She smiles .</scene_description> <character>RACHAEL</character> <dialogue>No you do n't.</dialogue> <scene_description>She lets it sink in .</scene_description> <character>RACHAEL</character> <dialogue>You use your equipment, do n't you?</dialogue> <character>DECKARD</character> <dialogue>So?</dialogue> <character>RACHAEL</character> <dialogue>So, I'm a piece of equipment. Use me.</dialogue> <scene_description>It 's a strong look that passes between them - a long one . Maybe if he were on firmer ground he might do something about such an offer but . Deckard 's eyes follow her down as Rachael bends to the floor and starts picking the food off the rug , put - ting it back on the plate .</scene_description> <character>DECKARD</character> <dialogue>That's okay, I'll get it.</dialogue> <scene_description>He bends down to help , but she 's already done it . Their heads a few inches apart . Something in her eyes diminishes the distance even more .</scene_description> <character>RACHAEL</character> <dialogue>Do I make you nervous?</dialogue> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <character>RACHAEL</character> <dialogue>I'm sorry.</dialogue> <scene_description>And she is . And suddenly he is too . She hands him the plate and they stand . She 's looking at the floor , almost shy , then she looks up and he 's watching her . She says it plain and simple .</scene_description> <character>RACHAEL</character> <dialogue>It's strange to suddenly realize that what you thought was your life is actually someone else's fabrication.</dialogue> <scene_description>Deckard nods . He feels it , but does n't know what to do about it .</scene_description> <character>DECKARD</character> <dialogue>I can imagine.</dialogue> <character>RACHAEL</character> <dialogue>Can you? I could n't.</dialogue> <scene_description>These are not some of Deckard 's finer moments . But she does n't seem to notice .</scene_description> <character>RACHAEL</character> <dialogue>A part of me is glad. I think I feel more. I do n't like who I was before.</dialogue> <scene_description>Deckard nods , waits the respectable interval and is glad to have a plate to take into the kitchen . In the scrambled sanctuary of his kitchen Deckard looks around for a place to put the plate , but things have piled up on him in here . He contemplates the refrig - erator .</scene_description> <character>DECKARD</character> <dialogue>So why do you think they were after their records.</dialogue> <scene_description>He 's a lot more comfortable talking shop .</scene_description> <character>RACHAEL</character> <dialogue>They probably want to find out when they were made.</dialogue> <character>DECKARD</character> <dialogue>Right.</dialogue> <scene_description>He dumps his dinner in the garbage and comes back out . She 's writing something on a card .</scene_description> <character>RACHAEL</character> <dialogue>I guess the date of your birth is important if you know you're not made to last.</dialogue> <scene_description>No way he can keep his foot out of it . She looks up and hands him the card .</scene_description> <character>RACHAEL</character> <dialogue>That's my number. If you need me.</dialogue> <scene_description>She goes to the door , opens it but hesitates before going through .</scene_description> <character>RACHAEL</character> <dialogue>You better get better locks - if you want to keep me out.</dialogue> <scene_description>She looks back at him and smiles - the smile says she 's talking about all kinds of locks . Deckard looks like he might ask her to stay , but .</scene_description> <character>RACHAEL</character> <dialogue>Good night.</dialogue> <scene_description>And she 's gone .</scene_description> <character>DECKARD</character> <dialogue>Night.</dialogue> <scene_description>He looks down at the number . It 's the back side of a snapshot . He turns it over . The picture of a man and a woman . The little girl between them looks like a six - year old Rachael .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - NIGHT</stage_direction> <scene_description>He 's sitting in front of his console studying pictures of Nexus Sixes at they appear , blank - faced , hairless and unadorned on his monitor . The over - lay machine is transforming each image with instant attributes ; hair , moustaches , teeth , eye colors , age , youth , hats , glasses , etc. . All in rapid succession , running the gambit from ominous to beautiful .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The possibilities were infinite. They could change their appearances but not their future. Like she said, it was short. Longevity is what they were after. The garbage man even wanted a past. Poor fuck. I'd check it out but I knew she was right. The market worked on turn - over. Built - in obsolescence was the name of the game. That meant her too. It was something I did n't want to think about.</dialogue> <scene_description>On top of the monitor there 's an open can of beans with a spoon stuck in it . Deckard puts out his cigarette and reaches for them as the PHONE RINGS .</scene_description> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <character>BRYANT</character> <dialogue>Bryant here. Regarding the rundown you requested on job applicants, Esper's concluded that the only irregular category that Tyrell's got is the entertainment section. You better get on it.</dialogue> <character>DECKARD</character> <dialogue>I was just about to have my dinner.</dialogue> <character>BRYANT</character> <dialogue>If you hurry you'll get back before it gets cold. I got a spinner on your roof in five minutes. Good luck.</dialogue> <scene_description>Deckard hangs up and looks at the beans . He did n't want them anyway . He gets up and walks to the bedroom . Looks through the pile of clothes on the floor , finds his ankle laser and straps it on .</scene_description> </scene> <scene> <stage_direction>EXT. CITY - BIRD'S EYE VIEW - NIGHT</stage_direction> <scene_description>The spinner skirts through the canyons of the city . Deckard , sitting in the contoured seat , watches the maze of suspension bridges , platforms and catwalks swing by below . The tops of larger buildings shimmer with advertisements and weather announcements .</scene_description> </scene> <scene> <stage_direction>INT. SPINNER - OVER CITY - NIGHT</stage_direction> <scene_description>Deckard is cruising low and slow over the city listen - ing to Esper .</scene_description> <character>EPSER</character> <dialogue>Nexus designated Rachael is a prototype. Created for in - house use by special mandate form the Scientific Development Regulatory Committee. Will live conventional term - no para - physical abilities.</dialogue> <character>DECKARD</character> <dialogue>What is a conventional term?</dialogue> <character>ESPER</character> <dialogue>Four years. Which would make her termination date.</dialogue> <character>DECKARD</character> <dialogue>Never mind. Do they have that knowledge?</dialogue> <character>ESPER</character> <dialogue>Longevity is classified. No.</dialogue> <scene_description>Back to business .</scene_description> <character>DECKARD</character> <dialogue>Okay, gim me a run - down on the three females.</dialogue> <character>ESPER</character> <dialogue>Nexus designated Mary : incept November 1 2017, domestic conditioning non competitive, trained for day care position.</dialogue> <character>DECKARD</character> <dialogue>Next.</dialogue> <character>ESPER</character> <dialogue>Nexus designated Pris : incept data December 13 2017, competitive, programmed to provide pleasure for long term spacers.</dialogue> <character>DECKARD</character> <dialogue>Number three.</dialogue> <character>ESPER</character> <dialogue>Nexus designated Zhora : incept June 13th 2017, athletic conditioning, highly competitive, special abilities in the entertainment field.</dialogue> </scene> <scene> <stage_direction>EXT./INT. SPINNER - LANDING AREA - NIGHT</stage_direction> <scene_description>Deckard taking it down . About to pull it in an already crowded lot , but the sign flashes `` FULL . '' Deckard does n't believe in signs ; is about to set it down any - way when a Chicano in a fluorescent coat runs out and waves him off .</scene_description> <character>DECKARD</character> <dialogue>Fuck.</dialogue> <scene_description>Pissed , Deckard veers away and buzzes low over and around the roof tops , all dark and cramped - not a lot of room around here .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Finally brings it down between two buildings hardly enough clearance , but he jockeys the machine into an alley , touches down and runs it slowly along the surface - parking it by a sign that says `` NO PARKING . ''</scene_description> </scene> <scene> <stage_direction>EXT. STREET - TAFFEY'S BAR - NIGHT</stage_direction> <scene_description>Not many people . Wind blowing . A nest of garish small - time clubs . Deckard emerges from one , goes into the next . The pulsing neon over the entry says `` TAFFEY 'S BAR . ''</scene_description> </scene> <scene> <stage_direction>INT. TAFFEY'S BAR - NIGHT</stage_direction> <scene_description>Crowded in here . BONGO MUSIC . Deckard is at the bar sitting next to a big - bellied man in a black beard who 's looking through a viewer . On the small stage in the background AMAZING RAMA is eating razor blades , a part of her juggling routine . Deckard leaves the bar and walks down a hall towards a door at the rear .</scene_description> </scene> <scene> <stage_direction>INT. TAFFEY'S OFFICE - NIGHT</stage_direction> <scene_description>Taffey 's what 's referred to in the trade as a `` Chicken Hawk '' collector of young girls . It must be so , there 's one in the bed . Thin , pale , about thirteen years old , eyes rolled up under her fluttering eyelids , wires attached to her forehead , lying flat on her back in Taffey 's crowded little room . Taffey 's a little fella with wide hips and narrow shoulders , wears a jet black toupe and has a face like a seal . But at the moment he 's not present . There 's a KNOCK at the DOOR , then the SOUND of a TOILET FLUSHING . Taffey comes out of the bathroom , heart pounding under his polyester bathrobe , and approaches the door like the guilty fucker he is . He looks through the peeper . Deckard is out there holding up his I.D.</scene_description> <character>DECKARD</character> <dialogue>Taffey Lewis?</dialogue> <character>TAFFEY</character> <dialogue>Yes?</dialogue> <character>DECKARD</character> <dialogue>Can I come in?</dialogue> <scene_description>There is a pause lasting the time it takes Taffey not to think of a way to say no . The door opens and Deckard enters . Except for the drool coming out of the corner of her mouth , and the fluttering eye - lids , Venus does n't move a muscle .</scene_description> <character>TAFFEY</character> <dialogue>Excuse my niece there. She's studying for an exam.</dialogue> <scene_description>Deckard takes the Identikit hard copies our of his pocket and pushing some junk out of the way , fans them out on the table .</scene_description> <character>DECKARD</character> <dialogue>I'd like you to take a look at these pictures.</dialogue> <character>TAFFEY</character> <dialogue>Of course.</dialogue> <scene_description>Taffey bends down really close , peering at the pictures from about two inches away .</scene_description> <character>TAFFEY</character> <dialogue>You see I lost my contacts a couple of days ago around here somewhere and my sight is a little. What am I supposed to be looking for?</dialogue> <character>DECKARD</character> <dialogue>Do you recognize any of them?</dialogue> <scene_description>He stops at Zhora .</scene_description> <character>TAFFEY</character> <dialogue>This one looks familiar, but I do n't know. Naw. There's one came in today looks a little like this one but.</dialogue> <character>DECKARD</character> <dialogue>What did she want?</dialogue> <character>TAFFEY</character> <dialogue>Who?</dialogue> <character>DECKARD</character> <dialogue>The girl that does n't look like that girl.</dialogue> <character>TAFFEY</character> <dialogue>Nothing. She wanted to know about suck night.</dialogue> <character>DECKARD</character> <dialogue>What night?</dialogue> <character>TAFFEY</character> <dialogue>I did n't know if I wanted to handle her - I already got a snake act. But my partner goes down there to the Opera House on suck night to book the good ones.</dialogue> <character>DECKARD</character> <dialogue>What's suck night?</dialogue> <character>TAFFEY</character> <dialogue>That's what we call in the trade, audition free - for - alls and most of it sucks. Bit I do n't think that's her.</dialogue> <character>DECKARD</character> <dialogue>You talking about the Opera House on the Main?</dialogue> <scene_description>Taffey nods . Deckard goes to the door and turns .</scene_description> <character>DECKARD</character> <dialogue>Book the good ones for where?</dialogue> <character>TAFFEY</character> <dialogue>Lots of places. The tours, the clubs, the Silicone shows, private parties.</dialogue> <character>DECKARD</character> <dialogue>What shows?</dialogue> <character>TAFFEY</character> <dialogue>Silicone Valley. Lots of these science guys never leave that place. We book two shows a month in there. Those big time techs and bio - guys might be real high zoners up here, but when it comes to the arts, they like it loud and lewd.</dialogue> <scene_description>It 's starting to get a little gooey . Deckard tips his head good night and backs out of the door .</scene_description> </scene> <scene> <stage_direction>INT. THE OLD OPERA HOUSE - NIGHT</stage_direction> <scene_description>Onstage four Mexican acrobats , in matching metallic jumpsuits roll head over heels in their rendition of a human wheel . From the P.A. system the Announcer 's voice blares through the cavernous theatre .</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>Let's hear it for the Hermano Brothers.</dialogue> <scene_description>Scattered APPLAUSE . Hand in hand , the Hermano Brothers bow deeply , spring up and trot offstage .</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>Next we're gon na see a little charmer who keeps her dancing partner in a basket! She comes to us all the way from exotic Casablanca. ` Salome.'</dialogue> <scene_description>The old boys in the pit strike up a tinny version of `` In a Persian Market '' as SALOME dances onstage . She 's a black - haired beauty in a scant belly dancer costume , a couple of pounds overweight but all in the right places . She kneels ceremoniously center stage and sets the basket down before her . Carefully removing the lid , she reaches in and lifts out a four - foot harlequin - patterned python . Grinding her hips to the music , she rises , holding the coiling snake out like an offering . Sounds of approval from the audience . The gold coins covering her breasts jingle and shimmer , as she weaves sensuously around the floor .</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - NIGHT</stage_direction> <scene_description>To scattered APPLAUSE , HOOTS and WHISTLES , Salome flounces offstage , the snake hung around her shoul - ders , looking limp , and makes her way through the narrow corridor to her dressing room . She 's about to enter when :</scene_description> <character>DECKARD</character> <dialogue>Excuse me, Miss Salome.</dialogue> <scene_description>She turns . Deckard 's posture and attitude suggest hum - ble , sleazy persistence . He comes closer with his shit - eating grin .</scene_description> <character>DECKARD</character> <dialogue>I'd like to have a word with you if I could.</dialogue> <scene_description>Salome stands almost six feet high in her high heels - she looks down on him with the haughty suspicion of a chick who knows how to handle cheap hits .</scene_description> <character>SALOME</character> <dialogue>Yeah?</dialogue> <character>DECKARD</character> <dialogue>I'm with the American Federation of Variety Artists.</dialogue> <scene_description>He holds up a hand as if to stop her from protesting .</scene_description> <character>DECKARD</character> <dialogue>Do n't worry, I'm not here to make you join - that's not my department.</dialogue> <scene_description>He glances around like a guy who 's not supposed to be there .</scene_description> <character>DECKARD</character> <dialogue>I'm an investigator for the Confidential Committee on Moral Abuses.</dialogue> <scene_description>She nods , taking it a little more seriously .</scene_description> <character>DECKARD</character> <dialogue>There's been reports of management sexually abusing the artists in this place.</dialogue> <character>SALOME</character> <dialogue>I do n't know nothing about it.</dialogue> <character>DECKARD</character> <dialogue>You have n't felt yourself to be exploited by the management in any way?</dialogue> <scene_description>She 's definitely puzzled .</scene_description> <character>SALOME</character> <dialogue>How do you mean ` exploited'?</dialogue> <character>DECKARD</character> <dialogue>Like to get this position. Did you or were you asked to do anything lewd or unsavory or otherwise repulsive to your person?</dialogue> <character>SALOME</character> <dialogue>Are you for real?</dialogue> <character>DECKARD</character> <dialogue>Oh, yeah. You'd be surprised what goes on around here. I'd like to check the dressing room if I could.</dialogue> <character>SALOME</character> <dialogue>What the fuck for?</dialogue> <character>DECKARD</character> <dialogue>For holes.</dialogue> <scene_description>This guy might be an asshole but he 's funny .</scene_description> <character>SALOME</character> <dialogue>I do n't believe this.</dialogue> <scene_description>She shrugs and they go in .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction> <scene_description>Musty and cramped . A portable shower , a dressing table and not much else . Salome takes the snake from around her shoulders and lays it on the dressing table . Deck - ard watches it undulate into the warmth of the lights .</scene_description> <character>DECKARD</character> <dialogue>It that mother real?</dialogue> <character>SALOME</character> <dialogue>Of course he's not real. You think I'd be working here if I could afford a real snake?</dialogue> <character>DECKARD</character> <dialogue>It's a good job.</dialogue> <character>SALOME</character> <dialogue>You mean the snake.</dialogue> <scene_description>Deckard nods . There 's not much costume to take off but she 's doing it .</scene_description> <character>SALOME</character> <dialogue>The best.</dialogue> <character>DECKARD</character> <dialogue>Does it eat?</dialogue> <character>SALOME</character> <dialogue>Come on.</dialogue> <scene_description>His hand reaches out to touch it . As his fingers make contact there 's an electric `` snap . '' He jerks his hand back from the shock .</scene_description> <character>SALOME</character> <dialogue>Jeezus!</dialogue> <character>DECKARD</character> <dialogue>Sorry.</dialogue> <character>SALOME</character> <dialogue>Hey! Do your job but do n't wreck mine, huh?</dialogue> <scene_description>She slides behind the screen and turns on the shower . Deckard starts creeping around pacing around the room like he 's inspecting the walls .</scene_description> <character>DECKARD</character> <dialogue>They have their ways of doing their dirty work without the victim knowing what's going on.</dialogue> <scene_description>His eyes are moving over everything she 's got .</scene_description> <character>DECKARD</character> <dialogue>You'd be surprised what a guy'll go through to get a glimpse of a beautiful body.</dialogue> <character>SALOME</character> <dialogue>I bet I would.</dialogue> <character>DECKARD</character> <dialogue>Little dirty holes the bastards drill in the wall so they can watch a lady undress.</dialogue> <scene_description>And to his amazement he actually spots one . It 's down low on the wall . Not a good idea to turn his back on work but he ca n't resist .</scene_description> <character>SALOME</character> <dialogue>And what if somebody did try to ` exploit' me? Who do I go to?</dialogue> <scene_description>Through the hole Deckard is looking at a pair of fat legs .</scene_description> <character>DECKARD</character> <dialogue>Me.</dialogue> <character>SALOME</character> <dialogue>And who do I go to about you?</dialogue> <scene_description>He looks back . She 's some out of the shower dripping nude . She 's taken off her black wig . Her hair is short and blonde . Deckard recognizes her immediately from the identikit . He stares at her a moment too long .</scene_description> <character>DECKARD</character> <dialogue>Hmmmmm?</dialogue> <scene_description>Deckard grins and she returns it . She takes a towel off the table and starts to dry her body . The snake noses through the cosmetics , tongue flicking trying to get back to its mistress . Absently , she reaches out to stroke the snake and suddenly laughs .</scene_description> <character>ZHORA</character> <dialogue>You ever get the feeling things are n't the way they seem?</dialogue> <scene_description>Her hand closes around the snake 's head . Deckard sees it coming but ca n't move fast enough . She strikes him so hard it knocks him off his feet . Before he hits the floor , she kicks him in the stomach . The snake whistles through the air again as Deckard rolls out of the way . It slams down so hard it ruptures against the floor . He goes for his laser , but she 's already out the door .</scene_description> </scene> <scene> <stage_direction>INT. PASSAGEWAY - NIGHT</stage_direction> <scene_description>Deckard bounds out of the room and sees her go through a door at the other end of the hall . He sprints after her , arrives at the door and flings it open . Black - ness . The SOUND of her high heels CLATTER down the metal steps .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - OPERA HOUSE - NIGHT</stage_direction> <scene_description>It 's raining heavily . The front of the Opera House is open only to foot traf - fic these days . A bizarre place on a Friday night , hawkers and whores , the rabble , the poor and the cur - ious mill around the randy - built platforms and brightly lit stands . Zhora , in just a raincoat , is not out of place in this flea market atmosphere . Trying not to run , she slices through the mob as quickly as she can . Deckard is not far behind , dodging and side - stepping , trying to move against the tide of people scurrying for shelter . She comes to an intersection and turns out of the mall onto a less crowded street . She glances over her shoulder as she breaks into a run and runs right into a couple of pedestrians . All three go down . Deckard comes out of the crowd in time to spot her get - ting to her feet . She sees him and runs . The two ped - estrians are in his line of fire . He runs past them and drops to one knee , leveling his laser .</scene_description> <character>DECKARD</character> <dialogue>Stop or you're dead!</dialogue> <scene_description>She does n't . The beam flashes through the air , but she 's already around the corner . With his bottom lip between his teeth , it hurts to move so fast , Deckard jack - legs it into the street and jumps in front of the first car coming . It screeches to a stop . Deckard scrambles for the door , but the guy be - hind the wheel has other ideas . He peels out fast . The next car slows down and swerves trying not to hit him . Deckard goes for the door and before the old ma - tron inside can lock it , Deckard 's yanked it open and jumps in . She screams as he pushes her into the pas - senger seat and jams the car into a wrenching about face . The lady squeals like a pig as the momentum plasters her against the door . Deckard slams it around the corner and guns it down the street . It 's long and it 's empty and it 's going by fast . Nothing the old lady cares to see - she 's got her hands over her eyes , whimpering , hoping she 'll faint before she dies . Deckard takes the next left so hard he almost lays it over . As the car bounces off the curb he floors it . Zhora 's a hundred yards ahead , halfway down the street , trying to make it back into the crowded mall . She 's running fast , but the car is faster . As he passes her , Deckard hits the brakes and skids broadside seventy feet . The door flies open and he rolls out FIRING . Zhora 's ducking it with no where to go , except . The showcase window on her left EXPLODES as she crashes through . It 's a corner shop joined to a series of stores , front - ing the mall . Deckard runs to the opening she 's made and pours FIRE through the tunnel of her jagged wake as Zhora breaks through one window after another , getting sliced , getting shot , trying to get away from Deckard 's laser . But she does n't . His last shot burns a hole through the base of her skull . It kills her but does n't stop her . Her speed takes what 's left of her through the last two windows and into the street where she runs into a parked car with such force that she embeds herself in the side of it . Hunched over , breathing hard , Deckard comes slowly for - ward . The crowd starting to gather . There 's something for everybody and they 're coming from all directions . Deckard moves through them , edging to have a look . It 's not a good thing to see . It looks like Salome and the car tries to eat each other . A bloody feast of metal and flesh . Deckard bows his head , sick , exhausted . So much commo - tion he does n't notice THREE COPS closing in from behind .</scene_description> <character>COP</character> <dialogue>Drop it!</dialogue> <scene_description>Deckard has his back to them . They 're fanned out and crouched , ready to fire . Deckard drops his laser . Two of them rush up , spin him around while the third does a frisk . TWO MORE COPS arrive , wary and wild - eyed , pushing the people back - his is not a good place for cops . Deckard 's ankle laser is discovered by the Cop frisking him . With a snarl he pulls it out and hands it back to the SERGEANT covering the action .</scene_description> <character>SERGEANT</character> <dialogue>On your belly!</dialogue> <scene_description>Deckard 's not in the mood for it .</scene_description> <character>DECKARD</character> <dialogue>Listen, Sergeant.</dialogue> <scene_description>He 's reaching for his ID . The Cop with the rubber billy hits him in the head . One thrill after another . Somebody in the crowd YEOWLS . The last thing Deckard hears as he falls . The Cop reaches inside Deckard 's coat for the concealed weapon they missed , but it 's an ID card . He looks at it for a moment , then looks up .</scene_description> <character>COP</character> <dialogue>Hey, Sarge, this guy's a cop.</dialogue> <scene_description>An embarrassing situation .</scene_description> <character>SERGEANT</character> <dialogue>Clear this fuckin' crowd.</dialogue> <scene_description>The Cops start pushing . And for one split second one of the crowd looks a lot like Leon .</scene_description> </scene> <scene> <stage_direction>INT. OLD OPERA HOUSE - MEN'S ROOM - NIGHT</stage_direction> <scene_description>Your standard low class crapper . Bryant is planted firmly on the cracked tile floor next to the urinals rubbing his face , trying not to pop the clutch in his anger . This is a public place , he does n't want to yell .</scene_description> <character>BRYANT</character> <dialogue>Just because it's a Nexus 6 does n't change procedure. A little known fact can become a well - known fact and part of our job, Deckard, is to make sure that does n't happen. Now how can be do that if you blow one away in front of a fuckin' audience.</dialogue> <scene_description>It 's not the sort of question that expects an answer . Deckard 's washing his face in the basin hoping it 'll all go away .</scene_description> <character>BRYANT</character> <dialogue>Well?</dialogue> <scene_description>Deckard looks up dripping , reaches for a paper towel . Bryant slaps one in his hand .</scene_description> <character>DECKARD</character> <dialogue>She was gon na get away.</dialogue> <character>BRYANT</character> <dialogue>Then let her get away. I thought you were a pro - you're supposed to be a fuckin' tracker!</dialogue> <scene_description>Bryant takes a couple of deep breaths .</scene_description> <character>BRYANT</character> <dialogue>I'd say you got a little carried away.</dialogue> <scene_description>Deckard 's voice is barely audible .</scene_description> <character>DECKARD</character> <dialogue>I did n't like her.</dialogue> <character>BRYANT</character> <dialogue>You did n't like her!?</dialogue> <scene_description>He slams the handle on one of the urinals .</scene_description> <character>BRYANT</character> <dialogue>You start liking or disliking andies it's time to hang it up.</dialogue> <scene_description>The PLUMPING ROARS and SUCKS and DIES . There 's nothing to do but nod . Deckard nods . Poor bastard has had a rough night . Bryant pulls a flask out of his coat and hands it to him . Deckard puts it to his mouth and Bryant watches Deckard 's Adam 's apple like he 's count - ing the swallows . Deckard hands it back empty . Bryant caps it , puts it back in his pocket .</scene_description> <character>BRYANT</character> <dialogue>Look, go home. Get some rest. Take an aspirin.</dialogue> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <scene_description>Bryant shuffles out like an old bear .</scene_description> </scene> <scene> <stage_direction>INT. OLD OPERA HOUSE - BAR - NIGHT</stage_direction> <scene_description>Cheap whiskey and bad wine . That 's the kind of place this is . It 's near closing . But still a few at the bar . Alcoholic silhouettes . In the b.g. Deckard comes down the passage from the men 's room and stops at the phone . He gets a number out of his pocket and calls it . As he talks he leans against the wall , his body language intimate and chummy . Not much action at the bar other than somebody snoring and a dipso down at the end having a conversation with himself . Deckard hangs up , walks to the bar and straggles a stool . The BARTENDER 's a big lady with tits like sand bags and a voice that plays no favorites .</scene_description> <character>BARTENDER</character> <dialogue>I ca n't protect your drinks, mister ; while you was in the potty, this hummer snatched it.</dialogue> <scene_description>Deckard glances at his stool - mate . A huge MAN , slumped over the bar like a beached whale .</scene_description> <character>DECKARD</character> <dialogue>No problem. Gim me another.</dialogue> <scene_description>The whale does n't move , but it speaks , with a gravelly Russian accent .</scene_description> <character>RUSSIAN</character> <dialogue>Forgive me. I thought was free drink. I will pay.</dialogue> <character>DECKARD</character> <dialogue>Forget it.</dialogue> <scene_description>But the big man 's digging through his pockets . Deck - ard 's drink arrives and the Russian raises his head . It 's a big melancholy face with a glint of warmth in his red - rimmed eyes and a smile that could melt your heart . But it 's Leon .</scene_description> <character>LEON</character> <dialogue>I think I have no money.</dialogue> <character>DECKARD</character> <dialogue>It's okay. Forget it.</dialogue> <character>LEON</character> <dialogue>But I would like to buy you drink.</dialogue> <character>DECKARD</character> <dialogue>I'll but you one. What'll you have?</dialogue> <character>LEON</character> <dialogue>Vodka!</dialogue> <character>DECKARD</character> <dialogue>Shot of vodka, please.</dialogue> <character>LEON</character> <dialogue>Thank you very much.</dialogue> <character>DECKARD</character> <dialogue>My pleasure.</dialogue> <scene_description>Deckard brings out his smokes . Offers one . Leon takes it and they light up . The drinks come .</scene_description> <character>LEON</character> <dialogue>Prosit.</dialogue> <character>DECKARD</character> <dialogue>Prosit.</dialogue> <scene_description>Down the hatch . Leon slaps his glass on the bar , reach - es into his pocket , brings out a little match box and slaps that down too . It 's done with such pride that Deckard has to look .</scene_description> <character>LEON</character> <dialogue>You want to see my friends?</dialogue> <character>DECKARD</character> <dialogue>Sorry, do n't have the time.</dialogue> <character>LEON</character> <dialogue>No problem.</dialogue> <scene_description>Leon smiles broadly and with ceremonious care opens the box and dumps three live cockroaches on the bar .</scene_description> <character>DECKARD</character> <dialogue>Those cockroaches?</dialogue> <character>LEON</character> <dialogue>Ya.</dialogue> <scene_description>Deckard looks interested . One of them starts to scamp - er away , but Leon walls off the next with his huge hand .</scene_description> <character>DECKARD</character> <dialogue>How long you had these guys?</dialogue> <character>LEON</character> <dialogue>Two months. But this one is not guy. It is girl. His girl.</dialogue> <scene_description>Leon leans closer like he does n't want the cockroaches to hear .</scene_description> <character>LEON</character> <dialogue>Usually Blackie waits until Igor is eating ; then, when his back is turned, he tries to take advantage of Anna.</dialogue> <scene_description>Deckard nods , definitely interested . He signals the bartender for another round . The drinks arrive .</scene_description> <character>LEON</character> <dialogue>Prosit.</dialogue> <character>DECKARD</character> <dialogue>Prosit.</dialogue> <scene_description>Down the hatch . Their eyes meet at the bottom .</scene_description> <character>LEON</character> <dialogue>You never saw a cockroach make love?</dialogue> <scene_description>Deckard shakes his head , but he 'd like to . Leon smiles slyly .</scene_description> <character>LEON</character> <dialogue>We will try.</dialogue> <scene_description>Leon brings a cube of sugar out of his pocket and puts it on the bar . They both lean down and watch intently . The drinks come and are put away , but the cockroaches are not cooperating .</scene_description> <character>LEON</character> <dialogue>It must be that he is not hungry or maybe she is not hot.</dialogue> <scene_description>Leon is catching the roaches and one by one puts them back in their box . He holds up the last and kisses it .</scene_description> <character>LEON</character> <dialogue>You like to kiss her goodbye.</dialogue> <character>DECKARD</character> <dialogue>No thanks.</dialogue> <character>BARTENDER</character> <dialogue>Make sure you take your girlfriends with you when you leave.</dialogue> <scene_description>What neither of them notices is that between Leon 's fingers , his stub of his cigarette is burning his flesh . Deckard lifts his glass , it is empty .</scene_description> <character>LEON</character> <dialogue>I like you.</dialogue> <character>DECKARD</character> <dialogue>I like you too.</dialogue> <character>LEON</character> <dialogue>One more, eh?</dialogue> <character>DECKARD</character> <dialogue>I got ta piss.</dialogue> <scene_description>Deckard gets on his feet , leans forward like a man in a stiff wind and stops .</scene_description> <character>DECKARD</character> <dialogue>I think I'll piss outside.</dialogue> <scene_description>Leon watches his walk a perfect straight line through the bar down the passage and out of the rear exit .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - OLD OPERA HOUSE - NIGHT</stage_direction> <scene_description>Deckard reels out . The door swings shut and he 's sober as hell and moving fast . Around the big trash dumpster alongside the building , he plasters himself against the wall and his gun is out , aimed at the door . He 's in a good spot with a perfect line of fire . Moments go by and he 's glad for the time to steady himself . The SOUND of his BREATHING , the HUM of the city and the quiet . Suddenly from behind , Deckard is swept off his feet and twirled around in Leon 's bear - trap embrace . Leon lets go and Deckard hits the pavement , skidding hard enough to tear clothes and burn skin , but he rolls out of it and comes up with gun in hand ; but Leon is so fast he 's already there and kicks it out of his hand . Leon moves towards him , backing Deckard against the wall .</scene_description> <character>LEON</character> <dialogue>How come you know where Zhora was so quick?</dialogue> <scene_description>His hand is lightning . It shoots out , grabs Deckard 's hair .</scene_description> <character>DECKARD</character> <dialogue>I showed pictures. Somebody recognized her. I went to see.</dialogue> <scene_description>Deckard is pale . The sweat is starting to run .</scene_description> <character>LEON</character> <dialogue>How old am I?</dialogue> <character>DECKARD</character> <dialogue>I do n't know.</dialogue> <scene_description>The grip tightens and twists .</scene_description> <character>LEON</character> <dialogue>My birthday is April 10, 2015. How long do I live?</dialogue> <character>DECKARD</character> <dialogue>Four years.</dialogue> <scene_description>He lets go .</scene_description> <character>LEON</character> <dialogue>More than you.</dialogue> <scene_description>Deckard 's knees come up fast . Leon 's fist comes down faster , like a hammer .</scene_description> <character>LEON</character> <dialogue>Painful to live in fear, is n't it.</dialogue> <scene_description>Deckard is doubled over , hugging his thigh .</scene_description> <character>LEON</character> <dialogue>But that's how it is to be a slave. The future is sealed off, he grovels, he waits.</dialogue> <scene_description>Even hurt , Deckard is fast . He goes for his ankle gun , but Leon 's got it out of his hand before he can even raise it and throws it down the alley . Deckard hurls forward , knocking him off balance , and scrambles to get away . Leon grabs him by the foot , drags him back and jerks him off the ground .</scene_description> <character>LEON</character> <dialogue>Sex, reproduction, security, the simple things. But no way to satisfy them. To be homesick with no place to go. Potential with no way to use it. Lots of little oversights in the Nexus 6.</dialogue> <scene_description>He slams Deckard into the wall .</scene_description> <character>LEON</character> <dialogue>I tell you, nothing is worse than having an itch you can never scratch.</dialogue> <scene_description>Deckard slides down the wall to his knees and huddles , protecting his head with his arms , waiting for the next one . Leon folds his big hands together and raises them over his head , pausing just a second to savor the satisfac - tion of smashing Deckard 's skull . The spasm that runs through Leon 's face is not from satisfaction . It 's the bullet that went through his neck . He hits the ground hard , his big teeth biting the air like a rabid dog . Dead . Rachael is standing in the alley . Deckard lies there looking at her . She comes slowly and quietly forward and drops Deckard 's gun by his side . Deckard gets to his hands and knees and tries to get up , but ca n't quite manage it . He looks up at her , panting , spits blood and almost smiles .</scene_description> <character>DECKARD</character> <dialogue>Like I said, I do n't need your help.</dialogue> <scene_description>After a long moment , she bends down to touch him .</scene_description> <character>RACHAEL</character> <dialogue>You look terrible, you know that?</dialogue> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - BATHROOM - NIGHT</stage_direction> <scene_description>He 's lying in the tub with a drink , eyes half mast , water up to his chin , bruised and beat , but looking just a little wicked in his balmy luxury .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I knew a cop once who was involved in a high - speed chase. They shot out one of his tires and he went over a cliff at hundred and fifty miles an hour. They found him in the morning with a broken skull, six fractured ribs and second - degree burns. On the way to the hospital he made a play for the nurse.</dialogue> <scene_description>He takes a drink and clears his throat .</scene_description> <character>DECKARD</character> <dialogue>Hey! I thought you were supposed to be taking care of me.</dialogue> <character>RACHAEL'S VOICE</character> <dialogue>What do you need?</dialogue> <scene_description>He does n't answer . Lies there sipping his drink . Rachael comes in a little uncertain , a little droll , and stands there looking down at him .</scene_description> <character>DECKARD</character> <dialogue>Do n't just stand there looking at me. It's not polite.</dialogue> <character>RACHAEL</character> <dialogue>What do you want me to do?</dialogue> <character>DECKARD</character> <dialogue>Sit.</dialogue> <scene_description>She sits on the edge of the tub .</scene_description> <character>DECKARD</character> <dialogue>Gim me your arm.</dialogue> <scene_description>She 's wearing a short - sleeved dress . It 's a long , del - icate arm and Deckard holds it , inspecting it like a maestro with a Stradivarius . He looks up at her .</scene_description> <character>DECKARD</character> <dialogue>You ever take a bath with a man before?</dialogue> <character>RACHAEL</character> <dialogue>There's a lot I have n't done with a man before.</dialogue> <scene_description>He 's got her hand in the water and had begun to soap her arm . Starting with her wrist and running the bar to her elbow , up and down , slow and slippery . She watches , not quite sure of the ritual . He pulls her closer , and runs his hand up higher , mould - ing and pressing , working around her flesh , up and under her arm into the privacy of her dress .</scene_description> <character>RACHAEL</character> <dialogue>You're getting me wet.</dialogue> <scene_description>Oh , yes . For a moment Deckard stares at her like some furry - legged satyr in rut , the fingers of his other hand rake through her hair and into the water she comes .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - BEDROOM - MORNING</stage_direction> <scene_description>The bed looks like it was hit by a storm and Deckard looks like something that was washed up in it . He 's spread out flat , face creased and puffed . His eyes squint open , but only for a moment . His hands are more reliable . They search over the bed , but find it bare . He edges his head over the side , looking around for signs , but she 's all gone . He gets up in two stages , sits and then stands . Then sits again , resting his head in his hands .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - BATHROOM - MORNING</stage_direction> <scene_description>Deckard 's got his face in the mirror shaving it . It 's been a long night . Nothing a new tongue and a trans - fusion would n't put right . He moves a couple of inches to the left so his eyes have a view of the tub .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - LIVING ROOM - MORNING</stage_direction> <scene_description>Deckard is on the edge of the couch with the phone on his knees , the card with Rachael 's number in his lap and having no luck .</scene_description> <character>RACHAEL'S VOICE</character> <dialogue>Sorry, I am not in at the moment, but if you'll leave your name and number I'll return your call as soon as I can.</dialogue> <scene_description>That 's not soon enough . Deckard hangs up , puts the phone on the floor and leans back on the couch .</scene_description> <character>DECKARD</character> <dialogue>Fuck you, then.</dialogue> </scene> <scene> <stage_direction>INT. MR. DEETCHUM'S APARTMENT - MORNING</stage_direction> <scene_description>The rooster perched on the chair spreading its scrawny wings , strains from the tips of its toes , crowing at the ceiling . Between crows there 's a TAPPING at the door . You might call this a `` barnyard '' apartment . There 's straw on the floor and several hens roosting against the back wall . The front door opens a few inches and Sebastian pokes his head in .</scene_description> <character>SEBASTIAN</character> <dialogue>Mr. Deetchum? Hello?</dialogue> <scene_description>Nobody seems to be home except his chickens . As Sebas - tian enters , closing the door behind him , a goose charges out of the bedroom hissing and honking .</scene_description> <character>SEBASTIAN</character> <dialogue>Now, now, Waddles.</dialogue> <scene_description>Seeming to recognize Sebastian as no intruder , Waddles veers off from the attack . As Sebastian crosses the room a pig peeks out from behind the couch .</scene_description> <character>SEBASTIAN</character> <dialogue>Hello, Wrigley.</dialogue> <scene_description>He goes to the chickens and collects some eggs , putting them into a bowl he 's brought . He puts down the bowl and reaching into his pocket carefully counts out the payment and puts the money on a plate . He 's about to leave but notices there 's no water in the dispenser .</scene_description> <character>SEBASTIAN</character> <dialogue>Mr. Deetchum is n't taking very good care of you people.</dialogue> <scene_description>Pouring from a jug on the table , he fills the dispenser with water , scatters a little grain on the floor , gets his bowel of eggs and leaves . Wrigley grunts and comes out from behind the couch for a long drink .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SEBASTIAN'S FLOOR - MORNING</stage_direction> <scene_description>Sebastian arrives on his floor , walks down the hall to his apartment , opens the door , walks in .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT - DAY</stage_direction> <scene_description>He turns to close door , comes face to face with Roy Batty . Sebastian drops his bowl of eggs . Batty 's hand flashes out and catches it .</scene_description> <character>BATTY</character> <dialogue>Whoops.</dialogue> <scene_description>Smiling , Batty hands them back to Sebastian , who is too startled to speak . Pris runs up and gives Batty and Mary a big hug , steps back effusing and smiling , everybody 's favorite teen - ager .</scene_description> <character>PRIS</character> <dialogue>This is my Uncle Roy, Sebastian.</dialogue> <character>BATTY</character> <dialogue>Hello, glad to meet you.</dialogue> <scene_description>He pumps Sebastian 's free hand .</scene_description> <character>PRIS</character> <dialogue>And my Aunt Mary.</dialogue> <scene_description>Sebastian turns and there 's Aunt Mary , modest and warm .</scene_description> <character>PRIS</character> <dialogue>And this is my savior, J.F. Sebastian, everybody.</dialogue> <scene_description>Sebastian stands there with his eggs , bashful and ex - cited , the hero of this little family 's warm attention .</scene_description> <character>BATTY</character> <dialogue>Ca n't thank you enough, Mr. Sebastian. If you had n't come along.</dialogue> <character>MARY</character> <dialogue>We were worried to death. It's awfully kind of you.</dialogue> <scene_description>Sebastian is nodding and smiling .</scene_description> <character>BATTY</character> <dialogue>We're not used to the big city. Where we come from it's not so easy to get lost.</dialogue> <character>MARY</character> <dialogue>You certainly have a nice place here.</dialogue> <character>BATTY</character> <dialogue>Well stocked.</dialogue> <scene_description>Batty looks around admiringly . Sebastian mumbles some - thing that sounds like `` Thank you . ''</scene_description> <character>PRIS</character> <dialogue>Sebastian does n't like to go out too much.</dialogue> <character>SEBASTIAN</character> <dialogue>I keep a lot of provisions right here.</dialogue> <character>BATTY</character> <dialogue>I like a man who stays put. An admirable thing to be able to sustain yourself in these times. You live here all by yourself, do you?</dialogue> <character>SEBASTIAN</character> <dialogue>Well, no, not really. There's Mr. Deetchum, he's the watchman, he lives on the first floor.</dialogue> <scene_description>Everybody nods . A long pause .</scene_description> <character>MARY</character> <dialogue>We have n't found it easy, Mr. Sebastian.</dialogue> <scene_description>They glance around the room , waiting for Sebastian to pick up the ball .</scene_description> <character>SEBASTIAN</character> <dialogue>How about breakfast, I was just going to make some.</dialogue> <character>BATTY</character> <dialogue>If it would n't be too much of a bother. a little bite to eat would be.</dialogue> <character>SEBASTIAN</character> <dialogue>Oh, no bother, I'd be glad to.</dialogue> <character>BATTY</character> <dialogue>Well, actually</dialogue> <character>MARY</character> <dialogue>We're famished.</dialogue> <scene_description>Sebastian is truly happy .</scene_description> <character>SEBASTIAN</character> <dialogue>Okay, then. You make yourselves comfortable and I'll bring the food right out.</dialogue> <scene_description>He disappears into the kitchen . Batty looks happy with the way things are going .</scene_description> <character>BATTY</character> <dialogue>Charming.</dialogue> <scene_description>Pris comes up close . Her tone muted but demanding .</scene_description> <character>PRIS</character> <dialogue>Well?</dialogue> <scene_description>Batty finds her attitude amusing , which makes her even more pugnacious .</scene_description> <character>PRIS</character> <dialogue>I want to know what's going on.</dialogue> <scene_description>There 's a punitive edge to Batty 's response .</scene_description> <character>BATTY</character> <dialogue>There's only three of us left.</dialogue> <scene_description>Pris is shocked . Her whisper comes out a hiss .</scene_description> <character>PRIS</character> <dialogue>Then we're stupid and we'll die.</dialogue> <character>BATTY</character> <dialogue>Not if everybody is doing their job here at home. How are things at home?</dialogue> <scene_description>A little spotted pig on the table sits up .</scene_description> <character>PIG</character> <dialogue>Home again, jiggidy jig.</dialogue> <scene_description>They all turn and stare at the pig . Batty is delighted .</scene_description> <character>PRIS</character> <dialogue>I do n't trust him. I do n't think he knows what he's doing.</dialogue> <scene_description>The BELL - TONE from the microwave goes off in the kitchen .</scene_description> <character>BATTY</character> <dialogue>He knows what he's doing.</dialogue> <character>MARY</character> <dialogue>If he wo n't cooperate?</dialogue> <character>BATTY</character> <dialogue>Mr. Sebastian is a host who wants to be appreciated. We'll appreciate him and he'll cooperate.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR AND ROOM - DAY</stage_direction> <scene_description>Holden is laid out in an apparatus that resembles an iron lung . A little above his head , facing him , is a bank of bio - feedback lights registering body functions . Deckard is in a chair sitting next to his friend . Holden has lost weight , his face is grey , he ca n't move his head , but he 's smiling like the cat who ate the canary .</scene_description> <character>DECKARD</character> <dialogue>How are you doing, old man?</dialogue> <scene_description>Holden 's voice is just a whisper - the kind of whisper that comes out of the joker at the back of the class .</scene_description> <character>HOLDEN</character> <dialogue>I'm great. I mean, I know I'm not really great, but I feel just great. How you like my new suit?</dialogue> <character>DECKARD</character> <dialogue>Well, you do n't have to worry about getting it wrinkled.</dialogue> <scene_description>Holden 's eyes close , his smile gets bigger and little spasms of laughter pump out of his mouth .</scene_description> <character>HOLDEN</character> <dialogue>Do n't make me laugh. It makes me pee.</dialogue> <character>DECKARD</character> <dialogue>Sorry.</dialogue> <character>HOLDEN</character> <dialogue>Hey, it's okay. I like to pee. So how are you doing?</dialogue> <character>DECKARD</character> <dialogue>I'm doing okay.</dialogue> <character>HOLDEN</character> <dialogue>From what I hear you're doing great. Bryant tells me you're going like a god damn one - man army. Making a lot of money, huh?</dialogue> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>But that's what I wanted to talk to you about.</dialogue> <character>HOLDEN</character> <dialogue>Money?</dialogue> <character>DECKARD</character> <dialogue>No. I got a problem.</dialogue> <character>HOLDEN</character> <dialogue>Let's hear it.</dialogue> <character>DECKARD</character> <dialogue>I think I'm starting to empathize with these Nexus - sixes.</dialogue> <scene_description>Holden giggles . Starts to laugh again . A blue light on the panel begins to turn very bright . They both notice it .</scene_description> <character>DECKARD</character> <dialogue>What's that?</dialogue> <character>HOLDEN</character> <dialogue>I'm taking a piss.</dialogue> <scene_description>They wait for the light to abate .</scene_description> <character>HOLDEN</character> <dialogue>Let me ask you something, Deck. You been having intimate relations with one of these units?</dialogue> <scene_description>Deckard does n't deny it . Holden smiles like a cherub .</scene_description> <character>HOLDEN</character> <dialogue>That's what I thought. one of the liabilities of the trade - you has sex with your prey, old buddy. That's bound to create problems, unless you're a black widow.</dialogue> <scene_description>Deckard has to wait for him to stop giggling .</scene_description> <character>DECKARD</character> <dialogue>What about - not sex - but love?</dialogue> <scene_description>Holden bites his bottom lip to keep the laugher out of his voice , but he ca n't .</scene_description> <character>HOLDEN</character> <dialogue>Love is just another name for sex. Love is sexy and sex is lovely - I do n't care what you call it, an android ca n't have it.</dialogue> <character>DECKARD</character> <dialogue>These are n't just.</dialogue> <character>HOLDEN</character> <dialogue>I know what they are, Deck - Look, maybe they can pretend to feel, but far as the raw, hot emotions of the old heart - no way.</dialogue> <scene_description>Holden stops talking for a moment to get some air .</scene_description> <character>HOLDEN</character> <dialogue>Believe me, take it from an old pro, no matter how good we get, we're never gon na make an artificial anything that can feel. It's a contradiction. You might as well go fuck your washing machine.</dialogue> <scene_description>Holden laughs , Deckard does n't .</scene_description> <character>HOLDEN</character> <dialogue>Just go out there and keep up the good work.</dialogue> <scene_description>Holden 's whispers have become harder to hear .</scene_description> <character>HOLDEN</character> <dialogue>Got to save it, Deck, I'm getting sleepy. It's been good talking to you.</dialogue> <scene_description>Deckard stands .</scene_description> <character>DECKARD</character> <dialogue>Thanks.</dialogue> <scene_description>But he 's already asleep . Deckard stands there a moment looking at him , then walks out .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT - DAY</stage_direction> <scene_description>He 's sitting on the couch , glum , contemplative . There 's a SOUND . His eyes move to the door . Those locks are opening again . Rachael comes in . Looks surprised to see him . Him too .</scene_description> <character>RACHAEL</character> <dialogue>I told you I'd come back.</dialogue> <character>DECKARD</character> <dialogue>You did?</dialogue> <character>RACHAEL</character> <dialogue>You did n't hear me. You were sleeping.</dialogue> <scene_description>He likes that .</scene_description> <character>RACHAEL</character> <dialogue>Are you glad I'm here?</dialogue> <scene_description>He is . She 's spunky . Has n't seen this place in the daytime . Pleased , he watched her move around the mess . She spots a little framed photograph . Picks it up . It 's a man with a shotgun and a boy holding up a quail .</scene_description> <character>RACHAEL</character> <dialogue>Who is this?</dialogue> <character>DECKARD</character> <dialogue>Me and my dad.</dialogue> <character>RACHAEL</character> <dialogue>Where is he?</dialogue> <character>DECKARD</character> <dialogue>Dead.</dialogue> <character>RACHAEL</character> <dialogue>Oh.</dialogue> <scene_description>She puts it down and comes to him .</scene_description> <character>RACHAEL</character> <dialogue>How come you're not on the job?</dialogue> <character>DECKARD</character> <dialogue>I am. Part of my job is to sit on a couch and try and figure things out.</dialogue> <character>RACHAEL</character> <dialogue>How are you doing?</dialogue> <character>DECKARD</character> <dialogue>Not too good.</dialogue> <scene_description>She sits next to him . Pleased as hell , they both sit there staring straight ahead . He looks at her . She looks at him .</scene_description> <character>RACHAEL</character> <dialogue>What do people do in the afternoon?</dialogue> <character>DECKARD</character> <dialogue>If they are smart, they take naps.</dialogue> </scene> <scene> <stage_direction>INT. DECKARD'S BEDROOM - DAY</stage_direction> <scene_description>They 're under the sheet . Rachael is on her back , look - ing at the ceiling , hair sprawled like sea grass over the pillow . Deckard lies next to her , a man studying a treasure .</scene_description> <character>RACHAEL</character> <dialogue>Do you dream?</dialogue> <character>DECKARD</character> <dialogue>Yeah. Sometimes.</dialogue> <character>RACHAEL</character> <dialogue>I wish I could.</dialogue> <scene_description>His hand moves over her shoulder .</scene_description> <character>DECKARD</character> <dialogue>Wishing is a kind of dreaming.</dialogue> <scene_description>His hand goes under the sheet .</scene_description> <character>RACHAEL</character> <dialogue>I mean asleep.</dialogue> <scene_description>She feels good . He moves closer .</scene_description> <character>RACHAEL</character> <dialogue>Did you cry when your father died?</dialogue> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <character>RACHAEL</character> <dialogue>That's another thing I ca n't do.</dialogue> <scene_description>He kisses her lightly on the cheek .</scene_description> <character>RACHAEL</character> <dialogue>Nobody is freer than when he dreams. I read that.</dialogue> <character>DECKARD</character> <dialogue>It was n't very good last night, was it?</dialogue> <character>RACHAEL</character> <dialogue>I do n't know, I have nothing to compare it to. I guess I thought there was something more to it.</dialogue> <character>DECKARD</character> <dialogue>What?</dialogue> <character>RACHAEL</character> <dialogue>I do n't know. I think I missed something.</dialogue> <character>DECKARD</character> <dialogue>Like?</dialogue> <character>RACHAEL</character> <dialogue>I'm not sure. Is there a secret?</dialogue> <scene_description>Her face is close . She 's looking right at him . Her lips are right there .</scene_description> <character>DECKARD</character> <dialogue>I do n't know. If there is I'd like to find it.</dialogue> <scene_description>Slowly their lips touch and his arms slide under her body .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT - DAY</stage_direction> <scene_description>Batty , Pris and Mary sit at the table staring at their host . Sebastian is staring back , his fork halfway to his mouth , looking from face to face . Although nothing is being said , he 's totally comfortable , as much at home with them as he is with his animoids .</scene_description> <character>BATTY</character> <dialogue>Why are you staring at us?</dialogue> <character>SEBASTIAN</character> <dialogue>You're just all so. so different.</dialogue> <scene_description>Batty nods his head , smiling , sending home the fact and Sebastian is certainly getting it .</scene_description> <character>BATTY</character> <dialogue>What, Sebastian?</dialogue> <character>SEBASTIAN</character> <dialogue>You're androids.</dialogue> <scene_description>A long pause .</scene_description> <character>PRIS</character> <dialogue>What makes you think so?</dialogue> <character>SEBASTIAN</character> <dialogue>You're all so perfect.</dialogue> <scene_description>Sebastian is smiling from ear to ear .</scene_description> <character>SEBASTIAN</character> <dialogue>What generation are you?</dialogue> <character>BATTY</character> <dialogue>Nexus - 6.</dialogue> <scene_description>Sebastian whistles . Mary 's head is shaking slightly . Pris gets up and moves to the couch . Batty could n't be more pleased .</scene_description> <character>BATTY</character> <dialogue>We can trust Sebastian, ladies. He's been working with mechanisms all his life. He's a wizard and a very perceptive man.</dialogue> <scene_description>Sebastian looks like a kid on Christmas Eve .</scene_description> <character>SEBASTIAN</character> <dialogue>Could you.</dialogue> <scene_description>His voice is trembling .</scene_description> <character>SEBASTIAN</character> <dialogue>Show me something?</dialogue> <character>BATTY</character> <dialogue>Like what?</dialogue> <character>SEBASTIAN</character> <dialogue>Like.</dialogue> <scene_description>Like a million things , but he 's too excited to think of one .</scene_description> <character>BATTY</character> <dialogue>We're not computers, Sebastian, we're physical.</dialogue> <scene_description>Pris perks up proudly .</scene_description> <character>PRIS</character> <dialogue>I think, therefore I am.</dialogue> <character>BATTY</character> <dialogue>Very good, Pris. Now show him why.</dialogue> <scene_description>It 's a command Pris is pleased to obey . She sits quiet - ly a moment , hands folded in her lap , prim and proper . Mary does n't like these displays , but Batty is beaming . Those hands in Pris ' lap suddenly move , almost faster than the eye can see and slam down on either side of her , digging into the material with such ferocity that Sebastian jumps . She plunges into the guts of the couch up to her elbows and comes up holding springs and stuff - ing . Except for the clenched teeth , she is smiling like an angel . Sebastian is riveted , his eyes wide and astounded , like he 's just seen the devil . He laughs nervously , glad that the devil is a friend .</scene_description> <character>BATTY</character> <dialogue>We have a lot in common.</dialogue> <character>SEBASTIAN</character> <dialogue>You mean that you ca n't come here and I ca n't go there?</dialogue> <character>BATTY</character> <dialogue>Not only that, but we have smiliar problems. Accelerated decrepitude. But we do n't want to die quite yet.</dialogue> <character>SEBASTIAN</character> <dialogue>Of course not.</dialogue> <character>BATTY</character> <dialogue>You could help us.</dialogue> <character>SEBASTIAN</character> <dialogue>I do n't know much about biomechanics, Roy. I wish I did, but you're out of my league.</dialogue> <character>BATTY</character> <dialogue>If we do n't find help soon, Pris has n't got long to live.</dialogue> <scene_description>Sebastian sneaks a glance . Pris is staring at him with big childlike eyes , Sebastian looks back at Batty , moved but helpless .</scene_description> <character>BATTY</character> <dialogue>What about your friend, the man who owns this building?</dialogue> <character>SEBASTIAN</character> <dialogue>Dr. Tyrell?</dialogue> <scene_description>Batty nods .</scene_description> <character>SEBASTIAN</character> <dialogue>He's not really my friend. I just do a job for him now and then.</dialogue> <character>BATTY</character> <dialogue>Tyrell could help us, Sebastian.</dialogue> <character>SEBASTIAN</character> <dialogue>He could?</dialogue> <character>BATTY</character> <dialogue>His company made us.</dialogue> <character>SEBASTIAN</character> <dialogue>I'd be happy to mention it to him.</dialogue> <character>BATTY</character> <dialogue>Be better if I could talk to him in person. But he's not an easy man to get to.</dialogue> <character>SEBASTIAN</character> <dialogue>No.</dialogue> <character>BATTY</character> <dialogue>When do you deliver your project?</dialogue> <character>SEBASTIAN</character> <dialogue>This afternoon.</dialogue> <scene_description>Batty leans forward and looks right into Sebastian 's eyes .</scene_description> <character>BATTY</character> <dialogue>Will you help us?</dialogue> <scene_description>There 's no way Sebastian could say no , even if he wanted to .</scene_description> <character>SEBASTIAN</character> <dialogue>Yes.</dialogue> <scene_description>Pris sits up smiling . Mary sighs a breath of relief and Batty leans back nodding in gratitude .</scene_description> <character>BATTY</character> <dialogue>I'm sure glad you found us, Sebastian. What do you think, Mary?</dialogue> <character>MARY</character> <dialogue>I do n't think there is another human being in this whole world who would have helped us.</dialogue> <character>BATTY</character> <dialogue>Pris?</dialogue> <scene_description>Pris gets up and comes to Sebastian and kisses him . That has a lot of impact . Sebastian looks around try - ing to keep the tears from coming .</scene_description> <character>BATTY</character> <dialogue>You're our best and only friend.</dialogue> <character>SEBASTIAN</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. DECKARD'S APARTMENT BEDROOM - DAY</stage_direction> <scene_description>Rachael is lying across the bed in one of Deckard 's shirts , her chin over the edge , her eyes moving around the room . Deckard lies next to her . Looking like a man who died a voluptuous death .</scene_description> <character>RACHAEL</character> <dialogue>When was the last time you cleaned this place?</dialogue> <character>DECKARD</character> <dialogue>Hmmm?</dialogue> <character>RACHAEL</character> <dialogue>Have you ever cleaned your apartment?</dialogue> <character>DECKARD</character> <dialogue>Do n't be fooled by appearances.</dialogue> <character>RACHAEL</character> <dialogue>It appears to be dirty - why do n't you get somebody?</dialogue> <scene_description>He rolls over to admire her legs .</scene_description> <character>DECKARD</character> <dialogue>Because they would ruin the arrangement.</dialogue> <scene_description>He kisses the back of her thigh .</scene_description> <character>RACHAEL</character> <dialogue>They could clean around the arrangement.</dialogue> <character>DECKARD</character> <dialogue>I do n't like people snooping around my stuff.</dialogue> <scene_description>He kisses her other thigh , gets up and goes into the bathroom .</scene_description> <character>DECKARD'S VOICE</character> <dialogue>There's a vacuum in the front room closet is you wan na give it a try.</dialogue> <scene_description>Rachael lies there a moment , then gets up and goes into the front room and opens the closet door . The vacuum is not easy to get to , but finally she wrestles it out . As she starts to plug it in -</scene_description> <character>DECKARD</character> <dialogue>Oh no, do n't do that.</dialogue> <scene_description>He 's wrapped in a sheet , watching her from the doorway .</scene_description> <character>RACHAEL</character> <dialogue>But if I do n't plug it in how can I.</dialogue> <character>DECKARD</character> <dialogue>Never mind the plug, just go through the motions.</dialogue> <character>RACHAEL</character> <dialogue>But then how can you.</dialogue> <character>DECKARD</character> <dialogue>I do n't like the noise. Just practice. Practice makes perfect.</dialogue> <scene_description>She stares at him like he 's nuts .</scene_description> <character>DECKARD</character> <dialogue>I'm serious. Go ahead. Show me how you would do it.</dialogue> <scene_description>Reluctantly she makes some half - hearted passes with the thing .</scene_description> <character>DECKARD</character> <dialogue>How about under the couch there. Come on.</dialogue> <scene_description>She bends over to get it . Deckard pulls up a chair and sits down with his chin in his hands . She looks back at him .</scene_description> <character>RACHAEL</character> <dialogue>This feels stupid.</dialogue> <character>DECKARD</character> <dialogue>Good for a smart girl to feel stupid. Part of your education.</dialogue> <scene_description>She drops the vacuum and sits on the floor . Deckard gets up and comes towards her . Her eyes travel halfway down his sheet and she leaves .</scene_description> <character>RACHAEL</character> <dialogue>You're sick, Deckard.</dialogue> <character>DECKARD</character> <dialogue>I never felt better.</dialogue> </scene> <scene> <stage_direction>EXT. TYRELL PRESERVE - DUSK</stage_direction> <scene_description>Mansion and opulent grounds . Sebastian 's humble truck parked among richer relations , including a spinner and a 1928 Dusenberg .</scene_description> </scene> <scene> <stage_direction>EXT. TYRELL MANSION - DUSK</stage_direction> <scene_description>The den . It contains a collection of big game trophies , and among all this sits Sebastian very straight and proper with an `` egg '' the size of a basketball in his lap . Old Hannibal Chew was right , the rich make you wait . Sebastian stands and carefully makes his way between the trophies to a window with a view of the grounds .</scene_description> </scene> <scene> <stage_direction>EXT. TYRELL MANSION POOL - DUSK</stage_direction> <scene_description>Tyrell 's young WIFE sits on the diving board watching her husband in the pool with their youngest TOT . And two older LADS swim around trying to outdo each other for their dad 's attention . From the sidelines an old servant pauses to watch the fun , then continues with a tray of mugs towards the house .</scene_description> </scene> <scene> <stage_direction>EXT. PLATEAU - DUSK</stage_direction> <scene_description>And beyond on a plateau overlooking the grounds , a figure stands watching , waiting like a bird of prey .</scene_description> </scene> <scene> <stage_direction>EXT. TYRELL PRESERVE - DUSK</stage_direction> <scene_description>On a gravel path between shrubs of winter roses , Tyrell turns to observe the last quiet light over his kingdom . The moment is sweetened by the LOW PLAINTIVE BELLOW of one of the animals . He strolls by an old gardener who tips his cap , pro - ceeds up the steps and into his mansion .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL DEN - NIGHT</stage_direction> <scene_description>Next to a tray of cookies and milk , Sebastian sits pa - tiently with the `` egg '' in his lap . As the door opens he gets to his feet expectantly . It 's STYLES , Tyrell 's bodyguard . He could play the Giant in Jack and The Beanstalk .</scene_description> <character>STYLES</character> <dialogue>Okay, I'll take that now.</dialogue> <scene_description>Sebastian would rather put it in the boss 's hands , but Styles takes it and is almost through the door when Sebastian stops him .</scene_description> <character>SEBASTIAN</character> <dialogue>Wait!</dialogue> <scene_description>He almost forgot .</scene_description> <character>SEBASTIAN</character> <dialogue>Ca n't fly without the pilot.</dialogue> <scene_description>Sebastian hands him a little box . Styles stuffs it in his pocket and shuts the door behind him .</scene_description> </scene> <scene> <stage_direction>EXT. TYRELL PRESERVE - NIGHT</stage_direction> <scene_description>Motionless and monumental , six buffalo stand like stat - ues in the grass . Suddenly they swing their shaggy heads to watch something pass . In the dark silence Batty stops to look at the curious beasts and then moves soundlessly towards the mansion .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL DINING ROOM - NIGHT</stage_direction> <scene_description>It 's a medieval - sized hall . The piece de resistance is an 18th Century , English painting of an Arab stallion , gleaming like coal over the CRACKLING fireplace . The entire family is seated at the table which glitters for the festive occasion . Presents gathered around the oldest child . Styles hands the `` egg '' to Tyrell . A hush falls over the table . This is Dad 's big present . Tyrell sets is down before the boy . IAN is a fresh , slim lad who is ten today . He looks up at his father , then , beaming , pries open the `` egg 's '' hinged lid . Tyrell 's hand goes to his pocket and the griffon steps out of the shell .</scene_description> <character>IAN</character> <dialogue>Oh!</dialogue> <scene_description>Basically an avian invention , it has wings and plumage , the head of an eagle , the body of a lion and weighs no more than eight pounds . It cranes its neck and testing its balance , stands on one leg and then hops to the edge of the table and into the air . The littlest tot claps her hands as the griffon beats its wings rapidly and rises towards the ceiling . Turn - ing in a forty - five degree , it suddenly drops into a dive . Delighted , the children shriek and scream as the griffon swoops over their crouching heads and sails the length of the hall - its silhouette flickering briefly over the ancestral portraits of the Tyrell clan . Reaching the end of the room , it banks sharply and flies back towards the table , cups its wings , spreads its tail and comes in for an awkward landing . They 're laughing and clapping as it waddles down the table and knocks over a glass and stops in front of Ian .</scene_description> <character>IAN</character> <dialogue>Papa! Did you make this?</dialogue> <character>TYRELL</character> <dialogue>No. We can make man, but not a griffon.</dialogue> <scene_description>He bends down and kisses his wife .</scene_description> <character>TYRELL</character> <dialogue>Have to give the cottage industry a chance too.</dialogue> <scene_description>Pleased he excuses himself and heads for the den .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL DEN - NIGHT</stage_direction> <scene_description>Tyrell comes in and sits behind his desk . Sebastian hands down the invoices . Tyrell glances over them and writes out a check . He looks up to hand it over when he sees Batty against the wall , by the door . For a fraction of a second he 's shocked , but recovers fast .</scene_description> <character>TYRELL</character> <dialogue>A friend of yours, Sebastian?</dialogue> <character>SEBASTIAN</character> <dialogue>Yes, this is someone who wants to talk to you, Dr. Tyrell.</dialogue> <scene_description>Batty smiles .</scene_description> <character>BATTY</character> <dialogue>The name is Batty. Roy Batty.</dialogue> <character>TYRELL</character> <dialogue>Oh?</dialogue> <scene_description>Very slowly Tyrell 's hand moves towards the back side of the desk .</scene_description> <character>BATTY</character> <dialogue>To act without understanding could lead to the very thing the act seeks to avoid.</dialogue> <scene_description>What 's in Batty 's eyes completes the warning . Tyrell decides to heed it .</scene_description> <character>BATTY</character> <dialogue>A little talk it all I need.</dialogue> <scene_description>Tyrell looks at Sebastian . Considers consequences . Back to Batty .</scene_description> <character>TYRELL</character> <dialogue>Would you like to talk in private then.</dialogue> <scene_description>Batty thinks it over .</scene_description> <character>BATTY</character> <dialogue>Yeah. It might be better if we talk in private, Sebastian. Why do n't you go home.</dialogue> <character>TYRELL</character> <dialogue>Here's your check, my boy. Thank you.</dialogue> <character>SEBASTIAN</character> <dialogue>Thank you, Dr. Tyrell. I'll see you later.</dialogue> <scene_description>He slips out closing the door behind him . Opens it again and sticks his head it .</scene_description> <character>SEBASTIAN</character> <dialogue>Was everything okay?</dialogue> <character>TYRELL</character> <dialogue>Just beautiful.</dialogue> <scene_description>He 's gone . If Tyrell is scared he 's doing a good job of concealing it .</scene_description> <character>TYRELL</character> <dialogue>I'm surprised you did n't come to me sooner.</dialogue> <character>BATTY</character> <dialogue>It's not an easy thing to meet your maker.</dialogue> <character>TYRELL</character> <dialogue>And what can he do for you?</dialogue> <character>BATTY</character> <dialogue>Can the maker repair what he makes?</dialogue> <character>TYRELL</character> <dialogue>Would you like to be modified?</dialogue> <character>BATTY</character> <dialogue>Had in mind something a little more radical.</dialogue> <character>TYRELL</character> <dialogue>What's the problem?</dialogue> <character>BATTY</character> <dialogue>Death.</dialogue> <character>TYRELL</character> <dialogue>I'm afraid that's a little out of my.</dialogue> <scene_description>Batty cuts in with a whisper .</scene_description> <character>BATTY</character> <dialogue>I want more life, fucker.</dialogue> <character>TYRELL</character> <dialogue>Come here.</dialogue> <scene_description>Batty walks forward .</scene_description> <character>TYRELL</character> <dialogue>Sit down.</dialogue> <scene_description>Batty does .</scene_description> <character>TYRELL</character> <dialogue>The facts of life. I'll be blunt. To make an alteration in the evolvement of an organic life system, at least by men, makers or not, it fatal. A coding sequence ca n't be revised once it's established.</dialogue> <character>BATTY</character> <dialogue>Why?</dialogue> <character>TYRELL</character> <dialogue>Because by the second day of incubation any cells that have undergone reversion mutation give rise to revertant colonies - like rats leaving a sinking ship. The ship sinks.</dialogue> <character>BATTY</character> <dialogue>What about E.M.S. recombination?</dialogue> <character>TYRELL</character> <dialogue>We've already tried it - ethyl methane sulfonate is an alkylating agent and a potent mutagen - it creates a virus so lethal the subject was destroyed before we left the table.</dialogue> <scene_description>Batty nods grimly .</scene_description> <character>BATTY</character> <dialogue>Then a repressor protein that blocks the operating cells.</dialogue> <character>TYRELL</character> <dialogue>Would n't obstruct replication, but it does give rise to an error in replication, so that the newly formed DNA strand carries a mutation and you're got a virus again. but all this is academic - you are made as good as we could make you.</dialogue> <character>BATTY</character> <dialogue>But not to last.</dialogue> <character>TYRELL</character> <dialogue>Put it this way. Rolls Royces are made to last - as least they were. But I'm afraid you're a Ferrari. A high strung racing car - built to win, not to last.</dialogue> <scene_description>Batty smiles bitterly .</scene_description> <character>TYRELL</character> <dialogue>Also you're too valuable to experiment with.</dialogue> <character>BATTY</character> <dialogue>I am?</dialogue> <scene_description>Tyrell ca n't help a flash of pride .</scene_description> <character>TYRELL</character> <dialogue>The bast of all possible androids. We're proud of our prodigal son - glad you're returned. You're quite a prize.</dialogue> <scene_description>Shoulders hunched , Batty looks down , an uncharacteristic note of guilt in his voice .</scene_description> <character>BATTY</character> <dialogue>I've done some questionable things.</dialogue> <character>TYRELL</character> <dialogue>Also extraordinary things.</dialogue> <character>BATTY</character> <dialogue>Nothing the God of biomechanics would n't let you in heaven for.</dialogue> <scene_description>They share a laugh . In spite of himself , there 's a look of relief in Tyrell 's face as Batty extends his hand . Tyrell takes it and they shake . The reverence in Bat - ty 's eyes caused Tyrell a fatherly smile . The smile turns into a growl as he feels the bones in his hands crack . Before the scream comes out of his mouth , Batty stifles it . Tyrell claws at the iron fingers , but they 're sinking into his face . Placing his other hand behind Tyrell 's head , Batty squeezes them together and squashes the man 's head like a melon . The mess is not small . Palms up , like a surgeon , Batty walks to the drapes and wipes off the gore and without looking back , strolls out of the room .</scene_description> </scene> <scene> <stage_direction>INT. TYRELL - HALL TO KITCHEN - NIGHT 90A</stage_direction> <scene_description>Styles is coming down the hall . He sees Batty coming towards him . Styles looks at him curiously , this is not one of the guests . As they close , Batty smiles .</scene_description> <character>BATTY</character> <dialogue>Could you tell me where the bathroom is?</dialogue> <scene_description>Styles does n't get a chance to answer . Batty 's hand has torn into his crotch . The man is lifted off the floor , up the wall and held a moment . Whatever is encased in his pelvis is pulverized . Batty lets go . Styles hits the floor . He died of shock . Grinding his teeth , Batty continues towards the SOUNDS OF THE FESTIVITIES .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - NIGHT</stage_direction> <scene_description>The birthday cake has arrived , the candles lit . They 're waiting for Dad . Mrs. Tyrell looks around to find Batty observing from the doorway . A little startled , a little curious , but ever the cor - porate wife , she smiles .</scene_description> <character>MRS. TYRELL</character> <dialogue>May I help you?</dialogue> <scene_description>Batty smiles back and shakes his head in mock regrets .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>In the sink the faucet is on . The water pink with blood . Batty is washing his hands . A portly maid emerges from the pantry . Batty looks up . She stops , embarrassed at being caught . Her eyes no - tice drops of blood on the floor and follow them to the door . When she looks back , Batty is right in front of her .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S BEDROOM - NIGHT</stage_direction> <scene_description>Books scattered on the bed . Rachael sitting cross - legged with one in her lap , looking through exquisite shots of nature . Deckard is next to her , watching her like a lover , like a father .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>She'd never seen the great outdoors. Never even seen books on the subject. She went through everything I had, and we talked. And there were subjects we did n't discuss and they were words we did n't say, I could n't say, like death, like future, like real. But it was hard because she was curious and full of questions. She was more alive than anyone I'd ever known.</dialogue> <scene_description>She looks up stunned by the beauty of a photo , but with no need to comment . It 's in her eyes . She stares at him , a revelation taking shape .</scene_description> <character>RACHAEL</character> <dialogue>You and I are good friends, huh?</dialogue> <scene_description>He considers it and she stares at him , smiling at the wonder of it .</scene_description> <character>RACHAEL</character> <dialogue>It's so easy.</dialogue> <scene_description>Convinced and not convinced , he nods his head . She laughs at his solemnity . She 's irresistible . Deckard 's pretty irresistible himself .</scene_description> <character>RACHAEL</character> <dialogue>Have you ever known anybody a long time?</dialogue> <character>DECKARD</character> <dialogue>You mean a woman?</dialogue> <character>RACHAEL</character> <dialogue>Uh - huh.</dialogue> <character>DECKARD</character> <dialogue>What's a long time?</dialogue> <character>RACHAEL</character> <dialogue>Ten years.</dialogue> <character>DECKARD</character> <dialogue>Nope. Nobody could stand me that long.</dialogue> <scene_description>The CHIME on the PHONE next to the bed GOES OFF . He reaches out and brings it to his ear .</scene_description> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <character>BRYANT</character> <dialogue>This is Bryant. Are you alone?</dialogue> <character>DECKARD</character> <dialogue>Yeah.</dialogue> <character>BRYANT</character> <dialogue>She's not with you?</dialogue> <character>DECKARD</character> <dialogue>Who.</dialogue> <scene_description>A pause .</scene_description> <character>BRYANT</character> <dialogue>Take a number. Canapt 1700, tenth floor, Villa Vita District, Olympia South.</dialogue> <character>DECKARD</character> <dialogue>Got it.</dialogue> <character>BRYANT</character> <dialogue>Okay, here it is. Eldon Tyrell, his family and half his staff were just massacred. The cat is about to get out of the bag. Pressure is definitely on. The Nexus program is terminated. When you finish there, locate Nexus designated Rachael and retire.</dialogue> <scene_description>Deckard says nothing .</scene_description> <character>BRYANT</character> <dialogue>If you do n't, we will. It has to be total, Deckard. That's an order from as high as it comes. Got it?</dialogue> <character>DECKARD</character> <dialogue>Yeah. I got it.</dialogue> <character>BRYANT</character> <dialogue>Go.</dialogue> <scene_description>He hangs up the receiver and gets up . She watches him from the bed . The gun goes into his belt . He loads the ankle job and straps it on . She watches every move .</scene_description> <character>RACHAEL</character> <dialogue>Why do you call it retire, why do n't you call it murder?</dialogue> <character>DECKARD</character> <dialogue>Because it's not.</dialogue> <character>RACHAEL</character> <dialogue>Do n't you think anything that can suffer deserves to be considered?</dialogue> <character>DECKARD</character> <dialogue>Andies only simulate suffering - if they're programmed for it.</dialogue> <character>RACHAEL</character> <dialogue>Do you think I simulated what happened between us?</dialogue> <character>DECKARD</character> <dialogue>No, I do n't.</dialogue> <scene_description>Without looking at her , he puts on his jacket . He 's standing in the middle of the floor with his back to her . He turns and they 're facing one another . Neither of them moves .</scene_description> <character>DECKARD</character> <dialogue>Do n't leave here. Do n't open the door, do n't answer the phone.</dialogue> <character>RACHAEL</character> <dialogue>What difference will it make?</dialogue> <character>DECKARD</character> <dialogue>Just wait here.</dialogue> <scene_description>He goes to the door .</scene_description> <character>RACHAEL</character> <dialogue>You know what I think?</dialogue> <character>DECKARD</character> <dialogue>What?</dialogue> <character>RACHAEL</character> <dialogue>That some of the folks around here are more programmed then me.</dialogue> <scene_description>He has to laugh .</scene_description> <character>RACHAEL</character> <dialogue>You know what else I think?</dialogue> <character>DECAKRD</character> <dialogue>What?</dialogue> <character>RACHAEL</character> <dialogue>This was the best day of my life.</dialogue> <scene_description>He turns and goes through the door .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT - NIGHT</stage_direction> <scene_description>Sebastian is putting his work table in order , but his mind is not with it and his hands are trembling . Batty , Pris and Mary are on the other side of the room talking : their voices low .</scene_description> <character>MARY</character> <dialogue>Let's go while there is still time.</dialogue> <character>BATTY</character> <dialogue>Where?</dialogue> <character>MARY</character> <dialogue>Anywhere.</dialogue> <scene_description>Batty smiles .</scene_description> <character>BATTY</character> <dialogue>What's the point?</dialogue> <character>MARY</character> <dialogue>Not to be trapped.</dialogue> <character>BATTY</character> <dialogue>You underestimate the trap, Mary.</dialogue> <scene_description>Sebastian has almost reached the door .</scene_description> <character>BATTY</character> <dialogue>Where are you going, Sebastian?</dialogue> <character>SEBASTIAN</character> <dialogue>Just thought I'd.</dialogue> <character>BATTY</character> <dialogue>No, you stay here with us. Out last night together.</dialogue> <scene_description>They all watch . Sebastian walks away from the door .</scene_description> <character>BATTY</character> <dialogue>Think of yourself as a light, Mary. Shine before you're turned off.</dialogue> <scene_description>She 's too fragile for that logic , but it appeals to Pris . She and Batty hold a look that burns . Sebastian is by the window .</scene_description> <character>SEBASTIAN</character> <dialogue>Someone is coming here.</dialogue> <scene_description>Batty goes to the window and looks down .</scene_description> <character>BATTY</character> <dialogue>One man.</dialogue> <parenthetical>( he smiles . )</parenthetical> <dialogue>He must be good.</dialogue> <character>MARY</character> <dialogue>Then go get him.</dialogue> <character>BATTY</character> <dialogue>That would n't be very sporting.</dialogue> <scene_description>Sebastian looks ready to bolt . Batty puts an arm around him .</scene_description> <character>PRIS</character> <dialogue>I want to do it.</dialogue> <character>BATTY</character> <dialogue>Okay, but do n't kill him. Save a little for everybody. A masterpiece.</dialogue> <scene_description>A pause .</scene_description> <character>BATTY</character> <dialogue>Turn out the lights, Pris.</dialogue> </scene> <scene> <stage_direction>EXT. SEBASTIAN'S APARTMENT - NIGHT</stage_direction> <scene_description>In the dim , nocturnal light , Deckard crosses into the courtyard fronting the building and stops . He looks around . Nobody there , just silence . He comes closer to the building and stands in the sha - dows off to one side of the entry . His head jerks up to the SOUND OF CRASHING GLASS . Sebastian comes hurtling down and explodes into the pavement thirty feet below . Deckard 's eyes move up the line of descent , the shat - tered window on the next - to - top floor .</scene_description> </scene> <scene> <stage_direction>INT. SEBASTIAN'S APARTMENT LOBBY - NIGHT</stage_direction> <scene_description>Not much to see , But Deckard misses none of it as he crosses the floor and positions himself in the spot of least exposure . He looks around . Elevator and stair - well . Close to the wall , he moves towards the elevator , keep - ing an eye on the stairwell door . Stepping to one side , he hits the button . The elevator door slides open . He reaches in , presses a button and as the doors slide shut , Deckard slips a pen between the doors , jamming the operation . Deckard 's shoes and soundless as he quickly crosses the lobby floor . He pauses a moment in front of the stair - well door , then pushes it open and :</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL, SEBASTIAN'S APARTMENT - NIGHT</stage_direction> <scene_description>Steps into the dark on the other side . Suddenly he spins , dropping to the floor , and FIRES three times in - to the figure hovering to his left . The man is hanging off the floor , his arms locked into the railing , neck broken - with three holes in his chest . but he was already dead . Deckard stares at the corpse . It 's Mr. Deetchum , the old watchman . That RUSTLING SOUND are rats who were feeding on him , scampering for safer places , Deckard gets to his feet . The stairway rectangles ten stories up . As his foot touches the first step , a raw , terrified SCREAM shatters the air . It came from below . It 's the cry of a young girl - it GROWS TO A PIERCING SHRIEK AND ABRUPTLY STOPS . Deckard ejects the half - used cartridge from his laser , inserts a fresh one and quiet as the silence , descends the basement stairs .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>At the bottom he faces a corridor . The FAINT HUM OF MACHINERY comes from the double doors at the far end . The HUM BECOMES A RATTLE by the time he gets there . Each door is fitted with a small window . Deckard steps to the side and peers through .</scene_description> </scene> <scene> <stage_direction>INT. GYM - NIGHT</stage_direction> <scene_description>It 's a gym . The mirror - lined walls are cracked and tarnished , the equipment atrophied from lack of use . The heavier barbells have sunk into the floor . Two weight - reducing machines are flapping and grinding away like idiots . Deckard 's eyes stop on the woman . She dangles a few feet off the floor , hung by the shoulders through rings suspended from the ceiling . Her head is slung forward , her body limp and slightly swaying . Deckard pushes open one of the doors until it touches the wall . Slowly , he advances toward the hanging figure , keeping an eye on the mirror to cover surprises from the door . He 's not breathing hard . His heart is n't pound - ing . Deckard 's in his element . Close enough to look up into her face , he stops . It is n't grisly death that causes the reaction in his eyes . It 's the innocence of her angel face . It 's not something he has time to consider . In the mirror behind him , he sees the door starting to open . Deckard spins . He should n't have . Pris ' legs snap up , crack the laser out of his hand and clamp around his neck . Slowly , the door swings closed , but Deckard does n't notice . His carotid artery is no longer sending blood to the brain . He jerks up his foot and reaches down . As his fingers close around the ankle laser , Pris ' fingers close around his wrist . Deckard 's hand opens like a flower . The laser drops to the floor as his eyes roll back into his head .</scene_description> <character>PRIS</character> <dialogue>Naughty, naughty.</dialogue> <scene_description>She lets go , but before he can fall , she rams a foot into his back . He 's propelled fifteen feet across the room , slams into a machine and falls to the floor . Pris flies off the rings and comes at him . Deckard reaches out to pull himself up , but she 's al - ready there . Not too hard and just in the right place , she kicks him in the stomach . He goes back to the floor , gagging for air . Oh - so - precisely she reaches out with a long index finger and flips the switch on the machine . It 's a flab eliminator with a vibrator belt . Normally an innocuous piece of equipment , but the motor housing on this one is missing . Lots of GRINDING METAL . A bad place for flesh and bone . But that 's where Deckard 's hand is going . An eight - year - old against a full - down man . In two more seconds his hand will be ground round . Deckard tries to pull his hand loose . It wo n't come . He yanks hard , but it 's welded in hers . His face is twisted and strained as he raises a leg , wedges his foot against her chest and pushes with all his might . The hold breaks . They topple back . Deckard hits the floor gulping to catch his breath . Pris is up and coming for him again . She hovers over him . Deckard rolls out of the way as she comes down like a pile driver . Reflexively Deckard raises his arm to protect himself . Pris just smiles , takes hold of his foot and drags him across the floor . She does n't like to leave a piece of work unfinished . They 're going back to the machine . He goes by a weight - stand of dumbbells and grabs hold . It does n't stop him . He 's sliding over the floor like it was ice , weight stand in tow . Pris gets to the machine , yanks his foot up and forces it toward the opening . Deckard sits up , a five - pound dumbbell in his hand , and clobbers her in the back . It knocks her off balance , but she does n't let go of his foot . She hooks out with a fist but misses . He gets her with a roundhouse in the face . She goes to the floor and Deckard 's up , the dumbbell over his head , coming down with it . Fighting for her life now , Pris drives a foot into his chest . It lifts him off the floor . He flies back across the gym and lands in a heap . No more games . Pris is furious and moving fast . She rips a steel bar out of the wall and , holding it over - head , charges him like a samurai . As she comes down for the kill , she freezes . Deckard landed near the laser . He crawls towards it . As in a nightmare , it takes forever . But he gets there . He reaches out and grabs the laser , rolls over and takes careful aim . She charges towards him , screaming her rage . He FIRES as she comes . The shot amputates her left arm at the shoulder , but her hand does n't let go of the bar . It dangles crazily in front of her as she charges forward . He PUTS THE NEXT ONE through her neck . Pris hiccups a rope of blood as she flies through the air and crashes next to Deckard . Dead . He lies next to her , chest heaving . Slowly he rolls over and gets to his hands and knees . Panting , he stag - gers to his feet and stands over her , swaying slightly . The sound that escapes his throat is raspy and dry . It might not sound like a war cry , but it is .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT</stage_direction> <scene_description>Laser in hand , Deckard kicks open the swinging doors and walks into the corridor , a dangerous man .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - NIGHT</stage_direction> <scene_description>Deckard arrives at the main floor landing , checks his loads and continues up the stairs . He 's going to shoot the next thing that moves and find out later if he was right or wrong .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - SECOND FLOOR - NIGHT 101A</stage_direction> <scene_description>On the next landing he throws the door open . His eyes move down the hall , looking for prints in the dust . None . He continues up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. NINTH FLOOR - NIGHT</stage_direction> <scene_description>On the ninth floor he finds what he 's looking for . Footprints coming and going from a door halfway down the hall . He stops to the side of it and listens . Silence . Deckard FIRES three quick shots through the door . If somebody were on the other side of it , they are n't now . He kicks the door open and dives through head first and hits the floor in a roll , POURING FIRE into the far corners of the room but the room is empty . There 's a kitchen bar , a closet and a bedroom door , both closed . Deckard 's breathing is the only sound . No response from either door . Maybe it was a sound , maybe intuition , but suddenly Deckard twists around and FIRES several shots into the closet . The smouldering door slowly creaks open . Mary is huddled in the rear of the closet . Her hand out like somebody about to catch a ball but afraid of it . In her other hand she clutches a button - eyed monkey . Her face is bewildered , frozen in fear , her body riddled with holes . No recognition gap here . Deckard SHOOTS her through the neck to make sure . Mary falls to the floor , like a puppet with her strings cut . Deckard backs away from the pathetic figure in the closet and sits on the sofa , unable to take his eyes off her . Deckard lays the laser down next to him , holds out his hand and looks at it . It 's steady . He drops it in his lap , closes his eyes and leans back . A TAPPING from the ceiling . Deckard looks up . A KNOCK - with the proverbial DOUBLE RAP at the end . A pause . Deckard jumps out of the way as the ceiling gives in . Chucks on concrete and plaster hit the couch where he was sitting . The hole is a couple feet in diameter - beams cracked through , exposing the apartment above . Silence . Deckard wipes the plaster dust from his eyes and mouth , then whispers :</scene_description> <character>DECKARD</character> <dialogue>Hello, Roy.</dialogue> </scene> <scene> <stage_direction>INT. STAIRWELL - NINTH AND TENTH FLOOR - NIGHT</stage_direction> <scene_description>Deckard comes out onto the landing . Taking his time , he climbs the steps to the next floor , the last floor . He SHOOTS the hinges out of the big stairwell door , pushes it with his foot and it comes down with a BANG . The REVERBERATIONS turn into silence . The corridor is empty .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - TENTH FLOOR - NIGHT</stage_direction> <scene_description>Moving fast but cautious , he passes each door until he gest to the apartment above Sebastian 's . Slowly he turns the know and pushed open the door .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - TENTH FLOOR - NIGHT</stage_direction> <scene_description>Except for the hole in the middle of the floor , there 's nothing to see . Back against the wall , he moves to - wards the bedroom , but stops at the NOISE . It sounds like the HOOTING OF AN OWL and it 's coming from the hallway .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - TENTH FLOOR - NIGHT</stage_direction> <scene_description>Deckard looks around the corner of the door down the hall . Batty 's at the other end . Except for jockstrap and gym shoes , he 's nude .</scene_description> <character>BATTY</character> <dialogue>You wan na play?</dialogue> <scene_description>Deckard FIRES . Batty 's fast . He ducks into a doorway . Pops out again .</scene_description> <character>BATTY</character> <dialogue>Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good. Are n't you the man?!</dialogue> <scene_description>The makeup on Batty 's face is somewhere between a Coman - che warrior and a transvestite . The immensity of his insolence awesome - the muscles of his body are swol - len , trembling from the thrill of it .</scene_description> <character>BATTY</character> <dialogue>This is how we do it up there, lad! Come on!</dialogue> <scene_description>In a blue of lightning - like action , Batty whips down the hall , zigzagging off the walls towards Deckard so fast that Deckard gets only three SHOTS off before the blur crashes through the wall on his left with a laugh . Deckard stands there a moment - digesting the impact of it , then edges up to the gaping wall . Batty is be - hind him . He knees Deckard in the back and slaps him in the head . Deckard goes to his knees , then over on his face . Batty kneels next to him .</scene_description> <character>BATTY</character> <dialogue>Not hurt, are you? You better get it up or I'm going to have to kill you. Unless you're alive you ca n't play. And if you do n't play, you do n't get to be alive.</dialogue> <scene_description>Deckard 's eyes are closed , mouth bleeding . He exhales and makes and effort . He slides his hands up even with his chest and starts to push .</scene_description> <character>BATTY</character> <dialogue>That's the spirit.</dialogue> <scene_description>Like a matador , Batty walks away . By the time Deckard 's on his feet , Batty 's disappeared through one of the doors . Deckard wipes the blood from his mouth , bends down and picks up his laser , reloads and looks down the hall , towards the jeering voice .</scene_description> <character>BATTY'S VOICE</character> <dialogue>Come on, Deckard, show me what you got! I'm right here on the other side of the door. But you got ta shoot straight'cause I'm fast!</dialogue> <scene_description>Deckard gets to the door , BLASTS it , kicks it open and FIRES at Batty . But it 's only the reflection of Batty .</scene_description> </scene> <scene> <stage_direction>INT. ROOM - TENTH FLOOR - NIGHT</stage_direction> <scene_description>The full length mirror on the other side of the room SHATTERS . Batty 's next to him , grabs Deckard 's hand and steps in closer .</scene_description> <character>BATTY</character> <dialogue>Straight does n't seem to be good enough.</dialogue> <scene_description>They 're face to face .</scene_description> <character>BATTY</character> <dialogue>You do n't have a chance, do you?</dialogue> <scene_description>In an exaggeration of weary disappointment , Batty drops his head to the side .</scene_description> <character>BATTY</character> <dialogue>Looks like I'm gon na have to scale it down for you. Give you a handicap. I wo n't run through any more walls. Okay? I promise to use the doors. Okay?</dialogue> <scene_description>Deckard stares back at him , but does n't respond . Sud - denly fury storms through Batty . He throws Deckard out the door , knocking him down , grabs him by the collar and rams his head into the wall .</scene_description> <character>BATTY</character> <dialogue>Come on, let's use that brain!</dialogue> </scene> <scene> <stage_direction>INT. TENTH FLOOR CORRIDOR - NIGHT</stage_direction> <scene_description>He drags him down the hall , on his knees and bangs his head into the wall again .</scene_description> <character>BATTY</character> <dialogue>Think! We need a little resilience around here!</dialogue> <scene_description>He yanks him further and bashes his head again .</scene_description> <character>BATTY</character> <dialogue>Where are those balls of yours?! Let's see a little bravery!</dialogue> <scene_description>The storm passes . Deckard hangs in Batty 's hand like a bag of laundry .</scene_description> <character>BATTY</character> <dialogue>That was irrational of me - not to mention unsportsmanlike. Wo n't happen again.</dialogue> <scene_description>He drops him .</scene_description> <character>BATTY</character> <dialogue>I'll be down the hall when you're ready.</dialogue> <scene_description>Betty walks off and disappears through one of the doors . Deckard gets to his knees , leans against the wall a mo - ment , then punches it with his fist . On his feet he 's a little wobbly . Holding his breath so he can hear above his own breathing , he listens . No sound . No sign of Batty . The laser is laying nearby . He does n't bother . Deckard is backing down the hall , quiet as he can . He had a job to do . He would like to have done it , but he 's not insane . He gets to the landing and turns . On the first step down , he stops . Batty 's on the land - ing below , looking up at him .</scene_description> <character>BATTY</character> <dialogue>Where you going?</dialogue> <scene_description>He wait a moment for Deckard 's answer .</scene_description> <character>BATTY</character> <dialogue>No cheating. A promise is a promise. I'll honor the handicapped, but we got ta play on the top floor. You go get your laser gun now. And I'll give you a few seconds before I come.</dialogue> <scene_description>Deckard turns back into the hall . Batty smiles . Deckard 's running down the corridor .</scene_description> <character>BATTY'S VOICE</character> <dialogue>One!</dialogue> <scene_description>Halfway down the hall he finds his laser .</scene_description> <character>BATTY'S VOICE</character> <dialogue>Two!</dialogue> <scene_description>Deckard darts into the nearest door . The apartment above Sebastian 's , with the hole in the floor . Deckard considers it .</scene_description> <character>BATTY'S VOICE</character> <dialogue>No fair jumping through holes. You might get hurt doing that! THREE!</dialogue> <scene_description>Deckard dashes back into the hall , chooses another door and goes in .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR APARTMENT - NIGHT</stage_direction> <scene_description>His eyes skim over everything , looking for an advantage . He throws open a door . The bathroom . The plumbing is dismantled , walls stripped , revealing brick , nails protruding . Too small .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR STAIRWELL - NIGHT</stage_direction> <scene_description>Batty 's coming up the steps .</scene_description> <character>BATTY</character> <dialogue>Five!</dialogue> </scene> <scene> <stage_direction>INT. TENTH FLOOR APARTMENT - NIGHT</stage_direction> <scene_description>Deckard 's looking for a corner - a place that covers the angles . He chooses the far side of the room with a line to the door .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR HALL - NIGHT</stage_direction> <scene_description>Batty 's coming down the center , listening at the doors .</scene_description> <character>BATTY</character> <dialogue>Six!</dialogue> </scene> <scene> <stage_direction>INT. TENTH FLOOR APARTMENT - NIGHT</stage_direction> <scene_description>Deckard 's crouched in the corner and aimed . He looks at his hand . It 's trembling .</scene_description> <character>BATTY'S VOICE</character> <dialogue>Seven!</dialogue> </scene> <scene> <stage_direction>INT. TENTH FLOOR HALL - NIGHT</stage_direction> <scene_description>Batty 's standing in front of a door , listening .</scene_description> <character>BATTY</character> <dialogue>Oh, I wonder where he is. Not in here, I do n't think. Eight!</dialogue> <scene_description>He goes to the next door .</scene_description> <character>BATTY</character> <dialogue>Maybe here. Does n't sound like it. Nine!</dialogue> <scene_description>Batty moves to the next . The door to Deckard .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR APARTMENT - NIGHT</stage_direction> <scene_description>Deckard 's crouched lower , holding his breath - talk about a hair trigger . Silence . Batty 's FEET are heard CREAKING AWAY . Deckard looks around . Runs a hand over the wall behind him . Batty 's FEET COME BACK . A pause .</scene_description> <character>BATTY</character> <dialogue>Ten!</dialogue> <scene_description>The door explodes ! A shape hurtles across the room . Deckard pivots , fol - lowing it with RAPID FIRE . It 's a TV . He spins back . but Batty 's already on him . He gets one SHOT off be - fore Batty 's got his hand . There 's a hole over Batty 's right eye . Blood running down his face , dripping on Deckard . The right side of his face is n't working too good . The corner of his mouth does n't quite shut - his voice comes out slurred , a little hollow .</scene_description> <character>BATTY</character> <dialogue>One point for you.</dialogue> <scene_description>The would does n't minimize his omnipotence , just makes it more malignant . He throws Deckard against the far wall . Deckard FIRES . Hits Batty in the shoulder .</scene_description> <character>BATTY</character> <dialogue>Ho ho! Try it again!</dialogue> <scene_description>He comes at Deckard , jerking back and forth , a cobra in fast motion , faking , weaving , yelping with excitement as Deckard tries to get a shot , FIRING AWAY until his laser 's empty . Bloody and crazed , Batty pushes up against him .</scene_description> <character>BATTY</character> <dialogue>What's wrong? Do n't you like me? I'm what we've made!</dialogue> </scene> <scene> <stage_direction>INT. TENTH FLOOR HALL - NIGHT</stage_direction> <scene_description>He 's backing Deckard out the door . Deckard trips and falls . There 's fear on his face . The strength is gone . Something is starting to crack .</scene_description> <character>BATTY</character> <dialogue>What's wrong? Are n't you a lover of Faster, Bigger and Better?!</dialogue> <scene_description>Deckard 's pedaling backwards over the floor .</scene_description> <character>BATTY</character> <dialogue>It's time to die.</dialogue> <scene_description>Deckard throws the laser at him . It misses . Batty throws his head back and laughs . A one - eyed colossus about to eat the world . Suddenly he stops . His eye moves over the wall .</scene_description> <character>BATTY</character> <dialogue>Ah!</dialogue> <scene_description>He reaches out and pinches something . His lips compress as he yanks it out of the wall . It 's a ten - penny nail . He holds it out to Deckard and drops it . Deckard catches it .</scene_description> <character>BATTY</character> <dialogue>That's for you.</dialogue> <scene_description>One side of Batty 's face smiles savagely .</scene_description> <character>BATTY</character> <dialogue>Stick it in your ear and push. If that does n't work, try the eye.</dialogue> <scene_description>Deckard stares at the nail in his hand , then up at his executioner .</scene_description> <character>BATTY</character> <dialogue>Believe me, it'll be better for you than what I'm about to do.</dialogue> <scene_description>Batty watches him , hoping the stimulus might inspire his victim to more action . It does n't look like it .</scene_description> <character>BATTY</character> <dialogue>Well?</dialogue> <scene_description>Deckard springs to his feet and bolts . But instead of going for the stairwell he turns in the first available door .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR APARTMENT #2 - NIGHT</stage_direction> <scene_description>Provocation accomplished . Batty smiles and walks lei - surely towards the door . Deckard 's terrified scream and the SOUND of GLASS CRASHING stop him . Batty speeds up and moves into the room . The window pane is splattered , curtains sucked out , bellowing in the wind .</scene_description> <character>BATTY</character> <dialogue>Crap.</dialogue> <scene_description>He walks up to the window . Deckard comes away from the wall , inching up behind him , laser in both hands , aimed at the base of Batty 's skull . Batty starts to lean over , but even before his eyes see the pavement , he knows . He spins . Deckard FIRES again . This one goes home . Batty falls like he was poleaxed , hits the floor dead weight . Deckard starts to tremble . His arms go limp as his head tilts back and he closes his eyes . He can breathe again . On the floor , Batty 's hand is crawling toward Deckard 's ankle . With the unsuspected abruptness of a man slipping on a banana peel , Deckard comes down . Face knotted in hor - ror , he EMPTIES THE LASER in Batty 's body - but the hand holds on . With a screech of frustration he drops the laser and like an animal claws at Batty 's dead fingers - but the fingers are welded shut . Deckard starts to crawl , pulling Batty behind him . He struggled through the door and stumbles to his feet .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR HALL - NIGHT</stage_direction> <scene_description>Deckard plunges down the corridor dragging Batty along . He falls , gets to one foot , falls again and crawls the last couple feet to the stairwell .</scene_description> </scene> <scene> <stage_direction>INT. TENTH FLOOR STAIRWELL - NIGHT</stage_direction> <scene_description>Groaning , he tugs and pulls , hauls and heaves Batty 's body to the edge of the landing . He pauses for breath , then lays back , wedging his feet against Batty 's shoul - ders and pushes . Inch by inch the body goes over the edge . Then all at once it drops . But the hand holds and the weight of the body takes Deckard with it . As Deckard slides over the edge , he grabs hold of the railing . Deckard 's hanging three hundred feet over the basement floor , supporting himself and Batty 's corpse - almost four hundred pounds of stress on his fingers . With his free foot he chops away at Batty 's hand , try - ing to break it loose . But it 's not working . Deckard 's fingers are starting to slip . His face is a mask of agony as he wedges his heel over Batty 's thumb . With the help of gravity and everything he 's got in his right leg to push with , he pushes . The thumb breaks loose . Batty falls . The SOUND OF HIS BODY HITTING BELOW sounds good , but Deckard does n't notice . He 's in an awkward position . He must reverse the way he 's facing to pull himself up . He lets go with his right hand and crosses it over the left . Then turns the left around so he 's got an over - hand grip . Like a man doing his last pull - up . the one that ca n't be done , Deckard pulls himself up , throws a foot over the edge and grapples and heaves and wiggled himself onto the cold solid steel of the stairwell landing . And lies there , body jerking spasmodically , slowly clenching and unclenching his cramped hand , but it 's his burning cheek against the cool metal he 's most aware of . Dizzy , hot , lungs on fire , he stands - and putting one foot in front of the other , Deckard descends the stairs .</scene_description> </scene> <scene> <stage_direction>EXT. SEBASTIAN'S BUILDING - DAWN</stage_direction> <scene_description>Slowly the door pushes open and Deckard comes out into the morning . The sun is n't yet risen , but the sky has begun to pale . It 's a brooding gray stew of a dawn not very pretty , but even though he ca n't show it , Deckard is glad to see it . For a moment he tilts his head back and takes some breath , then walks across the courtyard towards the street , so dead on his feet he has n't the energy to fall . Deckard slumps into the shelter of his car . The col - lapses on the front seat .</scene_description> </scene> <scene> <stage_direction>INT. DECKARD'S BEDROOM - DAWN</stage_direction> <scene_description>In a corner of the dimness Deckard sits slumped on a chair , facing the pearly gray light of the window . The only SOUND in the room is the soft steady BREATHING that comes from the bed . Quietly he gets up and walks over to her . Rachael lies sleeping , one delicate arm exposed from under the sheet . Deckard stands there , bettered and grim , staring down at her . Moments go by and finally he sits gently on the edge of the bed . Rachael opens her eyes , and looks up at him , she smiles .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE (MONTAGE) - DAY</stage_direction> <scene_description>Deckard 's car is skimming over the narrow highway . He and Rachael in the front seat . Except for the occasion - al glance , their faces are still and quiet in the cold shine of an icy dream . The clouds overhead are soft and swift .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>She wanted to go to a place I knew. Out of the city. Like one of those pictures she saw. Where there were trees but no buildings.</dialogue> <scene_description>Rachael 's face in the window watching the woods stream by .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We had a good time. She told me a funny story and I taught her a song. A song about monkeys and elephants. And it made us laugh so hard we could n't sing.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS (MONTAGE) - DAY</stage_direction> <scene_description>Deckard and Rachael walking . The land lays white and hushed before them . Down an aisle of maples and beeches . The frosty light slanting through the clean , hard limbs . The crisp , blue - white snow underfoot melted through in spots exposing soggy patches of rich brown earth . Rachael stops and faces him . Her lips are parted , her warm breath turning the cold air to vapor . Looking lithe and fragile by these barren - rooted trees , she stands in the crisp white snow looking at Deckard . Nothing in her retreats , even now her eyes insist on knowing .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY</stage_direction> <scene_description>Deckard walking over the snow . Alone . He walks slowly , mechanically through the cold , unaffected by it . His gaunt face , empty of expression except for the tears running down his pale cheeks . But for the SQUEAK of his wet shoes over the crusted snow , there is no sound . And Deckard recedes into the silence of the freezing white landscape .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT</stage_direction> <scene_description>Deckard 's car , solid , THROBBING , GUNNING along like some metal animal . Headlights piercing the dark of the long , flat road . WHISTLING speed of air and tires spin - ning THRUM . And then silence . And the silence astounded by the CRACK OF A GUN .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Deckard is behind the wheel , face in shadow , eyes star - ing straight ahead .</scene_description> <character>DECKARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I told myself over and over again, if I had n't done it, they would have. I did n't go back to the city, not that city, I did n't want the job. She said the great advantage of being alive was to have a choice. And she chose. And a part of me was almost glad. Not because she was gone but because this way they could never touch her. As for Tyrell - he was murdered, but he was n't dead. For a long time I wanted to kill him. But what was the point? There were too many Tyrells. But only one Rachael. Maybe real and unreal could never be separated. The secret never found. But I got as close with her as I'd ever come to it. She'd stay with me a long time. I guess we made each other real.</dialogue> <scene_description>And the ruby lights of Deckard 's car disappear into the darkness .</scene_description> <character>THE END</character> <dialogue /> </scene> </script>

In 2019 Los Angeles, former policeman Rick Deckard is detained by officer Gaff, and brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered humanoids known as replicants and "retire" (kill) them, is informed that four replicants are on Earth illegally. Deckard starts to leave, but Bryant ambiguously threatens him, and he stays. The two watch a video of a blade runner named Holden administering the Voight-Kampff test, which is designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon, shoots Holden on the second question. Bryant wants Deckard to retire Leon and the other three Nexus-6 replicants: Roy Batty, Zhora, and Pris. Bryant has Deckard meet with the CEO of the company that creates the replicants, Eldon Tyrell, so he can administer the test on a Nexus-6 to see if it works. Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael. After a much longer than standard test, Deckard concludes that Rachael is a replicant who believes she is human. Tyrell explains that she is an experiment who has been given false memories to provide an "emotional cushion". Searching Leon's hotel room, Deckard finds photos and a synthetic snake scale. Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Deckard returns to his apartment where Rachael is waiting. She tries to prove her humanity by showing him a family photo, but after Deckard reveals that her memories are implants from Tyrell's niece, she leaves in tears. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust. A photograph from Leon's apartment and the snake scale lead Deckard to a strip club, where Zhora works. After a confrontation and chase, Deckard kills Zhora. Bryant orders him also to retire Rachael, who has disappeared from the Tyrell Corporation. After Deckard spots Rachael in a crowd, he is attacked by Leon, who knocks the gun out of Deckard's hand and brutally attacks him. As he's about to kill Deckard, Rachael saves him by using Deckard's gun to kill Leon. They return to Deckard's apartment and during a discussion, he promises not to track her down; as she abruptly tries to leave, Deckard restrains her, making her kiss him. She continues to resist, and he blocks her attempts to leave. He persists in his advances, and she ultimately relents. Arriving at Sebastian's apartment, Roy tells Pris that the others are dead. Sympathetic to their plight, Sebastian reveals that because of "Methuselah Syndrome", a genetic premature aging disorder, his life will be cut short, just like them. Sebastian and Roy gain entrance into Tyrell's penthouse, where Roy demands more life from his maker. Tyrell tells him that it is impossible. Roy confesses that he has done "questionable things", but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life. Roy kisses Tyrell, then kills him. Sebastian runs for the elevator, followed by Roy, who rides the elevator down alone. Deckard is later told by Bryant that Sebastian was found dead. At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan nears. He chases Deckard through the building, ending up on the roof. Deckard tries to jump onto another roof, but is left hanging on the edge. Roy makes the jump with ease, and as Deckard's grip loosens, Roy hoists him onto the roof, saving him. Before Roy dies, he delivers a monolog about how his memories "will be lost in time, like tears in rain". Gaff arrives and shouts to Deckard about Rachael: "It's too bad she won't live, but then again, who does?" Deckard returns to his apartment and finds Rachael asleep in his bed. They leave the apartment block together.

The Nun_2018

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<script> <scene> <character>THE NUN</character> <dialogue>Story by</dialogue> <scene_description>James Wan and Gary Dauberman Screenplay by Gary Dauberman A NUN. Sits on the edge of a bed. All alone in a small MONASTIC CELL This is SISTER VICTORIA, 20s. PUSH IN on her face. Wracked with emotion and fear. But a resolve hardens. She stands up. Decisive. On her bed, she lays out her Bible. Her Cross. A Vial of Holy Water. Neatly. Cleanliness is next to Godliness. She reaches over to a side table and picks up a ROSARY. Something about it seems off. Not sure what. Yet. Clutches it in her hand. As she turns and looks down at something by her feet. Kneels and picks up a COIL OF ROPE. Sister Victoria looks over at the WINDOW. Stands and walks over. The rope slinking like a serpent behind her. Pushes open the window. It swings out into the dark of night. She feels the breeze blow. Then she steps up onto the THE LEDGE Sister Victoria ties one end of the rope to the OUTSIDE BUTTRESS above her as BEHIND HER -- The STURDY WOODEN DOOR of the Cell BLOWS OPENS. Uh-oh... Sister Victoria looks back. Not that she wants to. But is compelled to. Stares down the LONG CORRIDOR Right outside her room. It's lined by TORCHES along the wall. That EXTINGUISH. One. By one. Closer. And closer. As a DARKNESS comes for her. And that expression on Sister Victoria's face tells us it's a darkness she knows. A darkness she fears. And as she slips the NOOSE END of the rope around her neck, Sister Victoria prays:</scene_description> <character>SISTER VICTORIA</character> <dialogue>Forgive me Lord for this sin I am about to commit...</dialogue> <scene_description>Sign of the Cross. And then she steps off the ledge. Drops down and disappears. But we stay here. Wait... wait... Snap! Rope taut. The Window slowly swings back. And in the reflection of its glass, the BLACK SILHOUETTE of THE NUN. Standing next to the Last Torch outside the door. Doesn't move. Just stares outside. Or at us? Before That Last Torch goes out too. Plunges us into DARKNESS. Over which we HEAR an Old French Canadian Folk Song. Sung pretty poorly.</scene_description> <character>VOICE (O.S.)</character> <dialogue>À la claire fontaine m'en allant promener...</dialogue> <scene_description>CUT TO: The Terrible Troubador. Wheeling a cart of supplies. He'd tell you to call him 'FRENCHIE' because everyone else does. 20s. With features as rough as his voice and the surrounding ROMANIAN COUNTRYSIDE</scene_description> <character>VOICE/FRENCHIE</character> <dialogue>J'ai trouvé l'eau si belle que je m'y suis baigné...</dialogue> <scene_description>Stops his song when he hears -- CAW. Of a Crow. Somewhere over by that CASTLE we only see glimpses of through the branches of the trees as Frenchie approaches. Breaking through the trees, he sees a MURDER OF CROWS picking over something hanging close to the castle wall. Like it's a giant bird feeder. The hell is that? He edges himself closer. Something drips drip drips from it to the ground. Collecting in puddle. It's blood. Drawing nearer, Frenchie looks up and sees Sister Victoria hanging above him. Crows pecking at her eyes and face.</scene_description> <character>FRENCHIE</character> <dialogue>Oh God...</dialogue> <scene_description>He steps back as -- Snap! Of the rope. Sister Victoria falls to the ground. Crows SCATTER. Fluttering, flapping wings obscuring our view until it's completely -- BLACK. ON SCREEN: The following occurred in 1952. Then it slides across our screen with the black, and a dusty dimmed light filters through a LATTICED OPENING inside a CONFESSIONAL Revealing FATHER MICHAEL BURKE, 40something. Head bowed. As if he's deep in reflection. Doesn't look up as he hears 9 year old TIMOTHY'S thin, prepubescent voice begin:</scene_description> <character>TIMOTHY (O.S.)</character> <dialogue>Forgive me, Father, for I have sinned. It's been one week since my last confession...</dialogue> <scene_description>Burke grunts: Go on...</scene_description> <character>TIMOTHY (O.S.)</character> <dialogue>I still hate my sister. She pulls my hair, tells me she hates me, breaks my toys...</dialogue> <character>FATHER BURKE</character> <dialogue>Crow.</dialogue> <character>TIMOTHY (O.S.)</character> <dialogue>Excuse me, Father?</dialogue> <scene_description>ON FATHER BURKE Jotting CROW with his pen into the nowhere-near-complete PHILADELPHIA INQUIRER CROSSWORD PUZZLE on top of his Bible.</scene_description> <character>FATHER BURKE</character> <dialogue>I don't need to hear your sisters sins, I need to hear yours.</dialogue> <character>TIMOTHY (O.S.)</character> <dialogue>But I feel like I've been pretty good this week, Father. My sister on the other hand --</dialogue> <character>FATHER BURKE</character> <dialogue>Timothy.</dialogue> <scene_description>Burke looks up from his crossword.</scene_description> <character>FATHER BURKE</character> <dialogue>God already knows your sins. Part of confession is His desire to know if you do too...</dialogue> <character>TIMOTHY</character> <dialogue>Yes, Father.</dialogue> <character>FATHER BURKE</character> <dialogue>We'll try again next week. Go in peace and pray for me, a sinner.</dialogue> <scene_description>As we hear Timothy slip out, we hold on Burke. A sinner. His eyes drop down to 'CROW'. Somewhere we hear it SQUAWK -- CUT TO: -- in the Forever Blue Skies above ST. DOROTHY'S CHURCH Father Burke stands in the shadows of its steeple and surrounding trees. He lights a cigarette. I know, I know. But times were different back then. He watches a YOUNG FAMILY exit the Church. Brother and Sister walking behind their parents. Sister pulls Brother's hair. Brother -- must be TIMOTHY -- whips around. He spots Father Burke. Points to his sister: Didja see that? I told you! Burke shrugs Whaddayagonnado? Watches them go. His smile fades as they do. His thoughts interrupted by FATHER RAFAEL OLVERA, 20s. Tugging at his vestments, nervous.</scene_description> <character>OLVERA</character> <dialogue>Father Burke.</dialogue> <scene_description>Burke turns: Yes?</scene_description> <character>OLVERA</character> <dialogue>You have a call. It's Rome.</dialogue> <scene_description>HOLY SHIT: A WORLD WAR II CHAPLAIN KIT. Lined with red velvet. Containing candles. Communion trays. Bread plates. And a silver chalice. All look like they've been through, well... war. It sits on a shelf inside FATHER BURKE'S OFFICE It's as scattered as Father Burke seems to be as he signs last minute papers and packs away some belongings. Olvera watches him. Even more nervous.</scene_description> <character>OLVERA</character> <dialogue>What did they say?</dialogue> <character>FATHER BURKE</character> <dialogue>They said 'Come to Rome.'</dialogue> <character>OLVERA</character> <dialogue>Do you know why?</dialogue> <character>FATHER BURKE</character> <dialogue>No.</dialogue> <character>OLVERA</character> <dialogue>How long will you be gone?</dialogue> <character>FATHER BURKE</character> <dialogue>I don't know.</dialogue> <character>OLVERA</character> <dialogue>Do you think it's because of what happened in Eus?</dialogue> <scene_description>Father Burke shoots him a look: Enough. That's clearly a subject Olvera should know better than to bring up.</scene_description> <character>OLVERA</character> <dialogue>Just one more thing.</dialogue> <scene_description>Jeezus, this guy.</scene_description> <character>OLVERA</character> <dialogue>May I come? I've never been.</dialogue> <scene_description>Father Burke looks at him. As if he's deciding. Then:</scene_description> <character>FATHER BURKE</character> <dialogue>No.</dialogue> <scene_description>And somewhere we hear a PLANE TAKE OFF as we -- CUT TO: -- VATICAN CITY. Maybe you find some public domain footage or maybe it's just a PHOTOGRAPH of St. Peter's Square that hangs on the wall of THIS STUDY Buried somewhere deep inside the Vatican. People like you and me aren't supposed to be in places like this so consider yourself lucky. Serious talk goes down here. Like right now, judging by the expression on the face of -- CARDINAL CONROY. 60s. Although he doesn't smile so easily anyway. If ever. He sits across from Burke with Another Cardinal and Two Bishops.</scene_description> <character>CARDINAL CONROY</character> <dialogue>The last time you were here was -- what? Six or seven years ago?</dialogue> <character>FATHER BURKE</character> <dialogue>After my time as a Chaplain ended in the war, yes.</dialogue> <scene_description>Cardinal remembers. Glances over at the Others. Shifting in their seats. Like the less said about that the better.</scene_description> <character>CARDINAL CONROY</character> <dialogue>Well, we appreciate you coming again on such short notice.</dialogue> <character>FATHER BURKE</character> <dialogue>Cardinal, with all due respect, I told you on the phone I wouldn't --</dialogue> <character>CARDINAL CONROY</character> <dialogue>And I told you on the phone that this one is different. Like it or not Father Burke you are a member of this group --</dialogue> <character>FATHER BURKE</character> <dialogue>Member? It isn't official --</dialogue> <character>CARDINAL CONROY</character> <dialogue>-- and for good reason too. But I must say I'm surprised at your hesitation. I thought you'd jump at the chance to get away from confessionals and crosswords for a time...</dialogue> <scene_description>On Father Burke. How'd you know about the crosswords?</scene_description> <character>CARDINAL CONROY</character> <dialogue>I like to think it's called the Holy See for more reasons than just the Bishop of Rome...</dialogue> <scene_description>Ahem. BISHOP PASQUALE leans forward, in an effort to steer this back to the matter at hand:</scene_description> <character>BISHOP PASQUALE</character> <dialogue>We received a report that a Nun took her own life at a cloistered convent near Brasov, Romania...</dialogue> <character>FATHER BURKE</character> <dialogue>Catholicism is under siege by communism in that part of the world. Towns being invaded. Priests and Nuns killed or imprisoned. A suicide is a terrible sin but it doesn't strike me as a strong enough reason for our reunion given the pressures of the political climate in the region.</dialogue> <character>CARDINAL CONROY</character> <dialogue>But the news of it would not bolster our argument to keep with faith and the Church...</dialogue> <scene_description>Father Burke leans back. Like this is a game of cards and he's trying to get a read on their hands. Pasquale slides a FILE across the table. Like he's throwing more money into the pot.</scene_description> <character>BISHOP PASQUALE</character> <dialogue>These are your travel documents along with contact information on the man who found the nun. You'll no doubt want to speak with him first...</dialogue> <character>CARDINAL CONROY</character> <dialogue>Also in the file is the name of a postulant who can help assist you in your inquiry since of course you actually won't be allowed to enter the convent. She is also familiar with the territory...</dialogue> <scene_description>They sit. They wait. As Father Burke makes no moves toward the file. Because he knows:</scene_description> <character>FATHER BURKE</character> <dialogue>You're not telling me something.</dialogue> <character>CARDINAL CONROY</character> <dialogue>What makes you say that.</dialogue> <character>FATHER BURKE</character> <dialogue>Because we're in the Vatican.</dialogue> <scene_description>That gets the Cardinal to smile.</scene_description> <character>BISHOP PASQUALE</character> <dialogue>Let's put it this way, Father. In this -- albeit rare -- instance, we don't believe we're the ones with the secret...</dialogue> <scene_description>They stare down Father Burke. Like, call our bluff. Go ahead. But ultimately curiosity gets the better of him. Father Burke takes the file. And as he opens it --</scene_description> <character>FATHER BURKE</character> <dialogue>Tell me what you do know.</dialogue> <scene_description>CUT TO: A NUN. Blindfolded. She feels around the HOSPITAL ROOM As several YOUNG PATIENTS giggle, pressing themselves against the walls and beds. Trying not to get tagged by -- -- SISTER IRENE PALMER, early 20s. She is terrible at "Blind Man's Bluff". And judging by her White Habit, she's also a Novitiate. Which basically means a 'Nun-in-Training'. Her fingers brush over Medical Instruments. The Crayola Masterworks of the Young Patients. The Curtains. Searching... searching...</scene_description> <character>SISTER IRENE</character> <dialogue>I don't have to see you to know you're....</dialogue> <scene_description>Senses movement behind her. She turns and her fingers reach out and touch --</scene_description> <character>SISTER IRENE</character> <dialogue>There!</dialogue> <scene_description>Wait. Who is that? Rips off her blindfold. Sees Father Burke. And her hand on his chest. Oh no...</scene_description> <character>FATHER BURKE</character> <dialogue>Does that mean I'm it?</dialogue> <scene_description>Sister Irene snaps her hand back. Bows her head.</scene_description> <character>SISTER IRENE</character> <dialogue>Apologies, Father.</dialogue> <scene_description>Young Patients snicker. Sister Irene turns and gamely glares back at them. Her red face framed by her white habit: How could you not tell me?! Waves of giggles crash into laughter.</scene_description> </scene> <scene> <stage_direction>EXT. ST. VINCENT'S CHILDREN HOSPITAL - DAY</stage_direction> <scene_description>Sister Irene and Father Burke walk the gardens.</scene_description> <character>FATHER BURKE</character> <dialogue>-- shouldn't be more than a few days at most. You were recommended for the journey because of your familiarity with the territory...</dialogue> <character>SISTER IRENE</character> <dialogue>The territory?</dialogue> <character>FATHER BURKE</character> <dialogue>Romania, yes.</dialogue> <character>SISTER IRENE</character> <dialogue>I've never been in that part of the world...</dialogue> <scene_description>Burke stops: Really?</scene_description> <character>SISTER IRENE</character> <dialogue>There must have been some mistake. I apologize if coming here was a waste of your time...</dialogue> <character>FATHER BURKE</character> <dialogue>No. No apology necessary. Cardinal Conroy is a man who doesn't make mistakes. I'm sure he had his reasons for selecting you. I'll still need your help at the convent since access for anyone but nuns is extremely limited. How long will it take for you to get ready for travel?</dialogue> <character>SISTER IRENE</character> <dialogue>Not long at all, Father.</dialogue> <character>FATHER BURKE</character> <dialogue>Good. Collect your things. And Sister -- we'll need to wear civilian clothes while traveling. This is one time we don't need to broadcast our faith...</dialogue> <scene_description>Sister Irene nods. Turns and begins to walk back to the hospital, her head bowed. Father Burke watches her go. As from somewhere, A SCREAM -- CUT TO: It's Frenchie. Waking up from an awful nightmare. Soaked in sweat. Eyes red and bleary, a sign that this night terror isn't his first. He looks around the SMALL SPARSE ROOM Like he's trying to remember where he is. Trying to convince himself it was just a dream. Or maybe it's because he's finally hearing that -- RapRapRap. From somewhere below. Head and heart pounding, he gets off of a small cot and wipes the sleep away from his face as he stumbles over to the STAIRS That RAPPING a little louder now. A little more urgent. He starts down the stairs.</scene_description> <character>FRENCHIE</character> <dialogue>Coming, coming...</dialogue> <scene_description>At the bottom, he reaches a DOOR. Opens it and standing in its threshold is -- -- Father Burke and Sister Irene. Wearing plain, pedestrian clothes in an effort to blend in. His eyes drop down to Father Burke's worn LEATHER SATCHEL. Suspicious...</scene_description> <character>FRENCHIE</character> <dialogue>...what is it?</dialogue> <scene_description>He looks beyond them. Out into an EMPTY STREET of -- Brasov, Romania Like a lot of Romania, there is a fairy-tale quality to its architecture and landscape. Except I don't think our story ends with '...and they all lived happily ever after.' I'm not even sure it ends with '...and they all lived.' Speaking of which --</scene_description> <character>FATHER BURKE</character> <dialogue>Mr. Thierault?</dialogue> <scene_description>Frenchie isn't so sure he wants to confirm this. He looks over at Sister Irene. Suddenly aware of her. To Burke --</scene_description> <character>FRENCHIE</character> <dialogue>Jealous husband or an angry father?</dialogue> <character>FATHER BURKE</character> <dialogue>I'm sorry -- what?</dialogue> <character>FRENCHIE</character> <dialogue>It's usually one of the two when an older man and young, beautiful and not so innocent girl show up on my doorstep at this hour of the morning...</dialogue> <character>SISTER IRENE</character> <dialogue>It's three in the afternoon. And I beg your pardon, Mr. Thierault, but you and I have never met.</dialogue> <scene_description>Frenchie eyes her up an down.</scene_description> <character>FRENCHIE</character> <dialogue>Then perhaps it's time we did.</dialogue> <scene_description>He grabs her hand in both of his. Doesn't let go.</scene_description> <character>FRENCHIE</character> <dialogue>Call me Frenchie. Everyone does...</dialogue> <scene_description>Smiles. Turning on the charm.</scene_description> <character>FATHER BURKE</character> <dialogue>We are here, Mr. Thierault, because of the nun you found at the Abbey.</dialogue> <scene_description>Oh. Shit.</scene_description> <character>FRENCHIE</character> <dialogue>How'd you --</dialogue> <parenthetical>(wait...)</parenthetical> <dialogue>Are you a priest?</dialogue> <character>FATHER BURKE</character> <dialogue>And she's a nun.</dialogue> <scene_description>A nun?! Immediately lets go of her hand.</scene_description> <character>FRENCHIE</character> <dialogue>Forgive me for my impure thoughts, Sister... But I had no idea. I've never seen a nun out of her vestments. Not that I'm opposed to it...</dialogue> <scene_description>Smooth. She blushes.</scene_description> <character>FATHER BURKE</character> <dialogue>Mr. Thierault -- Frenchie -- the Abbey -- is it far from here?</dialogue> <character>FRENCHIE</character> <dialogue>In matter of distance, no. But it takes time to get to. Unfortunately your timing couldn't be worse. Any day now this village will be overrun with the communist army...</dialogue> <character>FATHER BURKE</character> <dialogue>We'll do our best to act quickly. Do you know someone who can take us there?</dialogue> <character>FRENCHIE</character> <dialogue>No. I've discovered that everyone in this town pretends like the Abbey doesn't exist. Even talking about it will get you in trouble.</dialogue> <character>SISTER IRENE</character> <dialogue>If I may ask, why were you there?</dialogue> <character>FRENCHIE</character> <dialogue>I was delivering their quarterly supplies... The Abbey apparently has had an arrangement with the town for decades...</dialogue> <character>FATHER BURKE</character> <dialogue>So then you can take us.</dialogue> <scene_description>Hold on Frenchie. His eyes. Dark and haunted. You just know he'd rather do anything else than go back there.</scene_description> <character>FRENCHIE</character> <dialogue>I wish I could help you but maybe there's somebody better suited.</dialogue> <scene_description>Sister Irene looks at him.</scene_description> <character>SISTER IRENE</character> <dialogue>Please.</dialogue> <scene_description>Fuck. Maybe he can say no to a priest but he definitely can't say no to a pretty face. Even if she is a nun.</scene_description> </scene> <scene> <stage_direction>EXT. BRASOV STREET - LATER</stage_direction> <scene_description>Frenchie leads them to a rusted bucket of a TRUCK. As he circles around, Father Burke puts their SUITCASES into its bed. And then -- The Truck drives off with them. Revealing Frenchie standing by a HORSE-DRAWN WAGON. Both the wagon and horses have seen better days.</scene_description> <character>FRENCHIE</character> <dialogue>You took a plane from Rome. A bus from Bucharest. But now you travel by horse. It's the only way to reach the abbey. It might be 1952 where you're from but out here they're still in the Dark Ages...</dialogue> <parenthetical>(attendez...)</parenthetical> <dialogue>Where are you things?</dialogue> <scene_description>Still confused, Father Burke looks down the street at the Truck slowly rumbling away. G-ddamnit. And right before Sister Irene bursts out laughing -- Frenchie WHISTLES after the Truck. Its brakes brighten. CUT TO: -- THEIR SUITCASES. Recovered, strapped tight to the Tall Board of the HORSE-DRAWN WAGON ClopClopClopping along a bumpy barely-a-road that cuts through spiring mountains peeking between pines. Frenchie in the Box Seat. Father Burke and Sister Irene sit in the back. Burke studies another Crossword Puzzle folded over on his knee. Sister Irene studies him.</scene_description> <character>FATHER BURKE</character> <dialogue>Beginning. Eight letters. With a W.</dialogue> <scene_description>Shows Sister Irene.</scene_description> <character>SISTER IRENE</character> <dialogue>Dawning?</dialogue> <character>FATHER BURKE</character> <dialogue>Dawning.</dialogue> <scene_description>Writes it in.</scene_description> <character>SISTER IRENE</character> <dialogue>Does it work?</dialogue> <character>FATHER BURKE</character> <dialogue>You have a knack for this, Sister.</dialogue> <character>SISTER IRENE</character> <dialogue>Beginner's luck. I never really liked puzzles growing up...</dialogue> <character>FATHER BURKE</character> <dialogue>It's not the puzzles I like as much as I like the answers. I like the certainty of the answers. We don't get much of that luxury in the lives we've been called for...</dialogue> <character>SISTER IRENE</character> <dialogue>But isn't that where faith is supposed to step in?</dialogue> <character>FATHER BURKE</character> <dialogue>Is it?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>How long have you been a novitiate?</dialogue> <character>SISTER IRENE</character> <dialogue>...about three years.</dialogue> <scene_description>Says that like she knows what's coming next.</scene_description> <character>FATHER BURKE</character> <dialogue>Three years. And you still haven't taken your Temporary Vows?</dialogue> <character>FRENCHIE</character> <dialogue>Temporary vows? I was under the impression there wasn't anything temporary about being a Nun...</dialogue> <character>FATHER BURKE</character> <dialogue>There is a formation process to becoming a Bride of Christ.</dialogue> <character>SISTER IRENE</character> <dialogue>Temporary Vows would help prepare me for a life of total consecration...</dialogue> <character>FRENCHIE</character> <dialogue>Would, Sister? Or will?</dialogue> <scene_description>Busted. He looks back at her, curious. Sister Irene a little flustered. She gathers herself.</scene_description> <character>SISTER IRENE</character> <dialogue>What brings a Frenchman to the countryside of Romania?</dialogue> <character>FRENCHIE</character> <dialogue>Actually I'm French Canadian but don't tell anyone. It doesn't sound as romantic...</dialogue> <scene_description>He winks. She rolls her eyes.</scene_description> <character>FRENCHIE</character> <dialogue>And I'm here because I wanted to see the world. But when I arrived in Brasov and met the people I knew this was where I was meant to be -- I wanted to help them in any way I can...</dialogue> <scene_description>An unexpected side of him.</scene_description> <character>SISTER IRENE</character> <dialogue>That's very noble of you.</dialogue> <scene_description>Sister Irene and Frenchie exchange a meaningful look when -- Wagon JOLTS to a sudden stop. Startles 'em.</scene_description> <character>SISTER IRENE</character> <dialogue>What happened?</dialogue> <scene_description>Surrounded by the Pines. Casting dark shadows. Frenchie hops off the Wagon. He grabs his SHOTGUN.</scene_description> <character>FATHER BURKE</character> <dialogue>Is everything okay?</dialogue> <character>FRENCHIE</character> <dialogue>We walk the rest of the way. The horses won't go any further.</dialogue> <scene_description>As Father Burke and Sister Irene step off --</scene_description> <character>FATHER BURKE</character> <dialogue>Perhaps you should get new horses.</dialogue> <character>FRENCHIE</character> <dialogue>It's not the horses, Father. It's what lies ahead. They're scared. The Abbey -- the locals say it is a cursed place. The horses agree.</dialogue> <scene_description>Sister Irene stares into the darkness between the pines. Everything so still. So silent. A sense someone is watching. Burke circles around and begins to unstrap the suitcases. Frenchie grabs his arm: Please...</scene_description> <character>FRENCHIE</character> <dialogue>Why don't you keep your things here and you two stay in town tonight? I'd feel better about it.</dialogue> <scene_description>As Father Burke continues with the suitcases --</scene_description> <character>FATHER BURKE</character> <dialogue>"Fear not, for I am with you; be not dismayed, for I am your God; I will strengthen you, I will help you, I will uphold you with my righteous right hand."</dialogue> <scene_description>Frenchie looks over at Sister Irene. Back to Burke.</scene_description> <character>FRENCHIE</character> <dialogue>J'ai essaye. I tried.</dialogue> <scene_description>They walk.</scene_description> </scene> <scene> <stage_direction>EXT. BARELY-A-ROAD - LATER</stage_direction> <scene_description>Branches block the sun. The darkness seems to dampen the sounds. Maybe that's why everything seems so... dead.</scene_description> <character>SISTER IRENE</character> <dialogue>If I may ask, Father, why is it the Church sends you on such tasks?</dialogue> <character>FATHER BURKE</character> <dialogue>The Church reaches out to me when it needs an investigation into unusual phenomenon associated with Catholicism. Unofficially they call it 'miracle hunting'...</dialogue> <character>SISTER IRENE</character> <dialogue>I thought we were here because of a suicide...</dialogue> <character>FATHER BURKE</character> <dialogue>We are. But I confess that is only part of our investigation. We also have orders from the Vatican to determine if the grounds are still... Holy.</dialogue> <scene_description>And off her look -- Frenchie stops. Points through the trees:</scene_description> <character>FRENCHIE</character> <dialogue>I can give you my opinion on the matter now, Father.</dialogue> <scene_description>They look and see -- A CASTLE. Or it used to be, anyway. A long time ago. But for the last several hundred years it's been home to THE ABBEY OF ST. CARTA Look, there are no vampires in this movie. But if there were, you'd totally understand why just by looking at this place. It's a FORTRESS. Round Towers. Walls of Stone. Built to withstand the attack of Foreign Invaders and Time Itself.</scene_description> <character>SISTER IRENE</character> <dialogue>That doesn't look like any Abbey I've seen, Father...</dialogue> <scene_description>Father Burke throws her a look: No, me neither. CUT TO: A WOOD CROSS. SLOWLY PULL BACK, revealing -- Whoa. It is not alone. Just one of HUNDREDS. Big Crosses. Little Crosses. Iron Crosses. Stone Crosses. Stick. Twig. Woven. I mean, the Hill of Crosses ain't got nothing on this place. It's like a MOAT OF RELIGION that surrounds the Abbey. Father Burke, Sister Petra and Frenchie approach. Their eyes on the Abbey that looms ahead of them. Father Burke notes a TOWER that appears to have suffered some damage.</scene_description> <character>FATHER BURKE</character> <dialogue>A result of the war?</dialogue> <character>FRENCHIE</character> <dialogue>Bombing raids, yes. I've heard stories of how the ground shook for days after them. I have tried to find more information on the castle itself but there is no record of it in the village and the locals only spit when it is mentioned...</dialogue> <character>FATHER BURKE</character> <dialogue>Spit?</dialogue> <character>SISTER IRENE</character> <dialogue>To ward off evil.</dialogue> <character>FRENCHIE</character> <dialogue>It's an old and silly superstition...</dialogue> <scene_description>Drawing closer --</scene_description> <character>FATHER BURKE</character> <dialogue>Did you try to contact someone inside when you found the nun?</dialogue> <character>FRENCHIE</character> <dialogue>I did. But no one responded. But then again in the two years I've been delivering supplies she was the first nun I'd seen.</dialogue> <character>SISTER IRENE</character> <dialogue>It is a convent of cloistered nuns. They live with a spirit of detachment from material things and being set apart from the world in order to maintain their intimate relationship with Jesus Christ... It isn't unusual for them to not make contact with an outsider.</dialogue> <scene_description>Good to know.</scene_description> <character>FATHER BURKE</character> <dialogue>Did you mention your discovery to anyone in town?</dialogue> <character>FRENCHIE</character> <dialogue>The delivery man I replaced. But he told me to shut up about it...</dialogue> <character>SISTER IRENE</character> <dialogue>What does he say about this place?</dialogue> <character>FRENCHIE</character> <dialogue>I've only heard him speak of it once -- when he was pissed -- er, sorry -- inebriated. But it was gibberish...</dialogue> <parenthetical>(remembering...)</parenthetical> <dialogue>Mostly.</dialogue> <scene_description>Drawing closer to the entrance, Burke stops. Looks down. Sees BLOOD on the stone. It's like a Rorschach Test. If you ask me it kinda looks like... ...nah, nevermind.</scene_description> <character>FRENCHIE</character> <dialogue>That's where I found her.</dialogue> <scene_description>They look up. See the Frayed End of the Rope swing in the breeze. But look -- beyond it -- in the ARCHED WINDOW A Figure. Watches them. Before it steps away. Father Burke makes the Sign of the Cross. Kneels down. Touches the blood. Still wet. Fresh.</scene_description> <character>SISTER IRENE</character> <dialogue>How is that possible? It's been weeks....</dialogue> <character>FRENCHIE</character> <dialogue>I told you. This place. What's the opposite of a miracle, Father?</dialogue> <scene_description>Burke looks at him. Question cuts deep for some reason. But he doesn't answer. He moves over to the ENTRANCE DOOR Big. Heavy. Built to stay closed. Burke pulls on a Rusted Iron Ring anyway. Hinges groaaaaaaaan as the Door opens. Burke pauses. Like he's steeling himself. Another Sign of the Cross and then he enters, disappearing into the shadows beyond. Sister Irene soon follows. Frenchie about to enter as well but he stops. Remembers something. Might as well... He spits. And then steps inside a DARK NARROW PASSAGE Used to funnel outside invaders so they can be easily attacked. Speaking of invaders -- We catch up to Father Burke and Sister Irene. Right outside of a Small Door. Burke opens it and they all enter the GREAT PARLOR Probably used to be the Lord's Hall when this was a castle. Lit by CANDLES for any natural light is sparse in here. As it is with the rest of the castle. Fucking great. The furnishings are few. Mainly those shelves of DUSTY BOOKS. A LARGE CONFESSIONAL BOOTH inspired by Rodin's 'Gates of Hell'. And that LONE HIGH BACK CHAIR. It's not a throne. But close enough. Behind it, the only PASSAGEWAY leading further into the convent is blocked off by a PORTCULLIS -- a vertical closing gate consisting of a latticed grille made of metal. Along the Exterior Wall, SEVERAL PLASTER MALE AND FEMALE FACES hang in intervals on rectangular slabs of White Stone. Unnerved by their blank white eyes, Frenchie approaches one. Gets close. Because he thinks he hears someone behind it faintly whisper-sing a familiar tune: À la claire fontaine m'en allant promener, J'ai trouvé l'eau si belle que je m'y suis --</scene_description> <character>SISTER IRENE (O.S.)</character> <dialogue>They must be the Death Masks of the people inside those tombs.</dialogue> <scene_description>Frenchie steps away. Sister Irene and Father Burke behind him. He's rattled. Did he really just hear that singing? And wait --</scene_description> <character>FRENCHIE</character> <dialogue>-- tombs?</dialogue> <character>FATHER BURKE</character> <dialogue>Here. In the walls.</dialogue> <scene_description>But before I get to those... OUT OF FOCUS, IN THE BACKGROUND</scene_description> </scene> <scene> <stage_direction>..who the hell is that now seated in the High Back Chair? I mean I know it's a Nun. She's wearing a PARLOR VEIL. Long and black, it covers her face and falls onto her chest.</stage_direction> <scene_description>That must be THE ABBESS. And she does not move as she presumably watches -- Sister Irene, Father Burke, and Frenchie look over the Tombs. ETCHINGS -- names, dates -- faded. Hard to read. ON SISTER IRENE Senses the Figure behind them. She turns. Suspicions confirmed. She moves toward it.</scene_description> <character>SISTER IRENE</character> <dialogue>Hello?</dialogue> <scene_description>Father Burke and Frenchie turn. Sees the Abbess. Frenchie looks over at the others, like -- Is that normal?</scene_description> <character>SISTER IRENE</character> <dialogue>Please excuse our unannounced arrival...</dialogue> <scene_description>No answer. No movement.</scene_description> <character>SISTER IRENE</character> <dialogue>Hello?</dialogue> <scene_description>Nothing. Unnerved, Sister Irene stops. Looks back at the others: Now what? She turns back to the Abbess. And now sees the Abbess has cocked her head right at her. Staring at her through the veil. God help us.</scene_description> <character>ABBESS</character> <dialogue>What is it you want?</dialogue> <character>FATHER BURKE</character> <dialogue>I am Father Michael Burke. This is Sister Irene Petra. To whom do we have the pleasure of speaking to?</dialogue> <character>ABBESS</character> <dialogue>I am the Reverend Mother. You are a priest? What is a priest without his collar?</dialogue> <character>FATHER BURKE</character> <dialogue>Forgive our appearance. But as you know, Reverend Mother, clothes don't make the Catholic. We are here on behalf of Rome to inquire about the recent death in your convent...</dialogue> <character>ABBESS</character> <dialogue>What recent death?</dialogue> <character>FRENCHIE</character> <dialogue>There was a nun. I found her outside. By the entrance.</dialogue> <character>ABBESS</character> <parenthetical>(in French)</parenthetical> <dialogue>Is that so?</dialogue> <scene_description>Frenchie. Uneasy. Doesn't want to respond. To Frenchie --</scene_description> <character>FATHER BURKE</character> <dialogue>Would you allow us a moment please?</dialogue> <scene_description>Frenchie nods. Throws a look to Sister Irene. Back at Burke and the Abbess. And then leaves. Okay, round two:</scene_description> <character>ABBESS</character> <dialogue>You should leave with him.</dialogue> <scene_description>Jab.</scene_description> <character>FATHER BURKE</character> <dialogue>Are you saying you weren't aware of the recent passing of the Nun?</dialogue> <character>ABBESS</character> <dialogue>What is it you want, Father?</dialogue> <scene_description>Block.</scene_description> <character>FATHER BURKE</character> <dialogue>Rome is concerned about the safety and well-being of your cloister. I'd like to speak with the Sisters so I can offer my assurances to the Church...</dialogue> <character>ABBESS</character> <dialogue>I can offer the assurance you seek.</dialogue> <scene_description>Jab.</scene_description> <character>FATHER BURKE</character> <dialogue>I'm afraid that won't suffice. They'll just send more and perhaps less diplomatic Church Officials.</dialogue> <scene_description>Uppercut.</scene_description> <character>ABBESS</character> <dialogue>Yes, Father.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>However now we are about to take our Vespers followed by the Great Silence which continues until after breakfast... Come back tomorrow and you will find the answers you seek... There is lodging in the Chapel. You may stay there.</dialogue> <scene_description>End of Round.</scene_description> </scene> <scene> <stage_direction>EXT. ABBEY - AFTERNOON - MOMENTS LATER</stage_direction> <scene_description>The Gray Stone of the Abbey Walls. The White Knuckles of Frenchie's grip on his shotgun. Suspect of everything. Like a castle guard, he patrols the entrance. Can't shake the feeling of being watched. Looks up at the Dark Windows. Is someone up there? Watching him? Grooooooooooooooooaaaan. He spins. Shotgun at the ready. Sister Irene and Father Burke exit the Abbey. Startled, Frenchie quickly lowers his aim.</scene_description> <character>FRENCHIE</character> <dialogue>Sorry -- I thought -- or rather I wasn't thinking...</dialogue> <character>SISTER IRENE</character> <dialogue>It's fine, Frenchie.</dialogue> <character>FRENCHIE</character> <dialogue>Who was that in there?</dialogue> <character>FATHER BURKE</character> <dialogue>That was the Abbess. She is the second in command of the Abbey.</dialogue> <character>FRENCHIE</character> <dialogue>Why wouldn't she let us see her?</dialogue> <character>SISTER IRENE</character> <dialogue>She was wearing a parlor veil. They are worn when meeting people outside their cloister to maintain the spirit of detachment...</dialogue> <character>FATHER BURKE</character> <dialogue>We need to wait until morning to speak with the nuns...</dialogue> <character>FRENCHIE</character> <dialogue>So it's settled then. You'll come back with me and stay in town.</dialogue> <scene_description>Burke walks over to the blood again.</scene_description> <character>FATHER BURKE</character> <dialogue>That isn't necessary. There are accommodations for us in the chapel...</dialogue> <scene_description>Frenchie about to protest. But bites his tongue instead.</scene_description> <character>FATHER BURKE</character> <dialogue>When you found the body, Frenchie, what did you do? Leave it?</dialogue> <character>FRENCHIE</character> <dialogue>No. When no one inside the Abbey responded I moved it to protect her body from the elements. I intended on returning to bury her but I couldn't bring myself to come back here. Not... not alone.</dialogue> <character>FATHER BURKE</character> <dialogue>Where did you move it to?</dialogue> </scene> <scene> <stage_direction>EXT. THE CONVENT WALLS - MOMENTS LATER</stage_direction> <scene_description>Frenchie leads Father Burke and Sister Irene around the perimeter. Stops outside Storm Cellar-like DOORS.</scene_description> <character>FRENCHIE</character> <dialogue>This is the ice house where I would leave my deliveries. I never saw anyone but they were always gone when I returned... until now. When I found the Sister I thought moving her in here would help... preserve her...</dialogue> <scene_description>He OPENS one of the doors. Motions: After you... Father Burke and Sister Irene stoop down and enter into the ICE HOUSE The headache gray daylight spills into it. Their breath mists out in front of them as they eye Sister Victoria. Seated upright in the corner. Father Burke about to go over to her but Frenchie reaches out and grabs his arm once again: Not so fast.</scene_description> <character>FRENCHIE</character> <dialogue>I should tell you one more thing, Father...</dialogue> <character>FATHER BURKE</character> <dialogue>What?</dialogue> <scene_description>Pointing to Sister Victoria --</scene_description> <character>FRENCHIE</character> <dialogue>That isn't how I left her.</dialogue> <scene_description>Waitwaitwait... They both look over at Frenchie.</scene_description> <character>FATHER BURKE</character> <dialogue>What do you mean?</dialogue> <character>FRENCHIE</character> <dialogue>She was laying down when I left her here. Not like that. Sitting up.</dialogue> <scene_description>Um... ON FATHER BURKE He creeps over toward the Sister Victoria's Body. Needs to get a closer look. On the shelves, food frozen with rot.</scene_description> <character>FATHER BURKE</character> <dialogue>While unusual, there have been cases of bodies twitching or sitting up not long after death.</dialogue> <character>FRENCHIE</character> <dialogue>But Father, who knows how long she was dead when I found her....</dialogue> <scene_description>Father Burke stops. Turns to Frenchie.</scene_description> <character>FATHER BURKE</character> <dialogue>You're not helping.</dialogue> <character>FRENCHIE</character> <dialogue>Sorry...</dialogue> <scene_description>Father Burke turns back to Sister Victoria. Kneels beside her. Winces as he sees her head wounds. Makes the Sign of the Cross. His eyes drop down to THAT CROSS she's clutching in her dead, frozen hands. But looking closer he sees, wait -- It isn't just a cross.</scene_description> <character>SISTER IRENE</character> <dialogue>What is it, Father?</dialogue> <scene_description>It's actually --</scene_description> <character>FATHER BURKE</character> <dialogue>Looks to be a key of some kind.</dialogue> <scene_description>He tugs at the KEY. But the Rosary it's attached to is locked in Sister Victoria's dead fingers. Pulls harder. Rosary SNAPS. Beads scatter. But the Key is free. He inspects it further. Sees an ENGRAVING in its bronze:</scene_description> <character>R1:18</character> <dialogue>Don't ask me what it means. No idea. Neither does Father Burke. He pockets it as his eyes drift over to the</dialogue> <scene_description>ACCESS DOOR Leading into the castle. Cracked open. An inch. Maybe two. Was someone just watching him through it? A chill. Either from that or the cold. Father Burke turns and faces the others.</scene_description> <character>FATHER BURKE</character> <dialogue>We should give her a proper burial.</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - LATER</stage_direction> <scene_description>Overgrown with Tombstones and Tall Grass. Next to a SMALL CHAPEL that looks as if it's still standing by faith alone. Father Burke and Sister Irene stand at Sister Victoria's Fresh Grave. Frenchie stands nearby with a shovel. Heads bowed because --</scene_description> <character>FATHER BURKE</character> <dialogue>-- by Whose mercy the faithful departed rest, send Your holy angel to watch over this grave, through Christ our Lord. Amen.</dialogue> <character>SISTER IRENE</character> <dialogue>Amen.</dialogue> <scene_description>A BREEZE blows. We hear -- Ting... Ting... Ting... Of TINY BELLS staked next to several graves. Sister Irene kneels by one of the Bells. Sees TWINE tied to it while the other end of thread disappears into the dirt. She tugs on the twine. Ting. Bell rings. Frenchie and Father Burke appear behind her.</scene_description> <character>FRENCHIE</character> <dialogue>It was common practice during the plague when people feared of being buried alive. If you were unfortunate enough for it to happen, you could ring the bell to let those above ground know they've made a mistake...</dialogue> <scene_description>Sister Irene stands. They continue on toward a CHAPEL that looks as if it's still standing by faith alone.</scene_description> </scene> <scene> <stage_direction>INT. CHAPEL - LATE AFTERNOON - MOMENTS LATER</stage_direction> <scene_description>Aging clouds of dust swirl in the day's dying light as Father Burke, Sister Irene and Frenchie enter into the NAVE The Main Part of the Chapel. Sure, it's a House of God. But probably not one he comes to very often. Rows of creaky pews. Cracked Stained Glass Windows. An overturned confessional. And a LARGE WOODEN CROSS above the Altar. Frenchie sets down a SMALL BOX of supplies. But he's still eager to get them both to leave:</scene_description> <character>FRENCHIE</character> <dialogue>Why could you not talk to the sisters now? Why must it wait til morning?</dialogue> <character>SISTER IRENE</character> <dialogue>The sisters take a vow of silence from sunset to sunrise. That must be respected...</dialogue> <character>FATHER BURKE</character> <dialogue>You should begin heading back yourself. I imagine you don't want to be caught on those roads when night falls...</dialogue> <scene_description>Frenchie looks up at the HEADLESS STATUE OF THE VIRGIN MARY.</scene_description> <character>FRENCHIE</character> <dialogue>Better the roads than here, Father.</dialogue> <character>FATHER BURKE</character> <dialogue>We'll be fine, Frenchie. Come back tomorrow. That should give us enough time to get what we need.</dialogue> <character>FRENCHIE</character> <dialogue>Yes, Father.</dialogue> <scene_description>He turns and begins to exit the Church. Throws one last look back at Father Burke and Sister Irene. His grim expression says he isn't so sure they'll be fine. He's right.</scene_description> </scene> <scene> <stage_direction>INT. CHAPEL - GUEST HALLWAY - LATER</stage_direction> <scene_description>Sister Irene opens a CLOSET. Digs out old BLANKETS and BED SHEETS. Sniffs them. Surprised they aren't mildewed. She begins to head down to a Guest Room when she pauses to look at SEVERAL FRAMED PHOTOGRAPHS hanging on the walls. Pictures of the Convent and the Nuns. Years gone by. In the most recent one we see a familiar face -- Sister Charlotte. Whom we met in the second Annabelle. Sister Irene continues on to the GUEST BEDROOM But the light is scarce. She sees an OIL LANTERN on a nearby shelf. A BOX of MATCHES next to it. She strikes the match and we -- CUT TO: -- THE OIL LANTERN. Glows between Father Burke and Sister Irene as they sit at a small table in a CRAMPED BACK KITCHEN Eating BEAN PASTE with smoked meat. A staple of traditional Romanian cuisine. It looks... edible. The Table Wine helps. Father Burke has his Crossword Puzzle open next to his plate.</scene_description> <character>FATHER BURKE</character> <dialogue>Transferals.</dialogue> <character>SISTER IRENE</character> <dialogue>Transferals?</dialogue> <character>FATHER BURKE</character> <dialogue>Transferals.</dialogue> <scene_description>Thinks...</scene_description> <character>SISTER IRENE</character> <dialogue>...passing?</dialogue> <scene_description>Father Burke writes it in. Stops. Erases.</scene_description> <character>FATHER BURKE</character> <dialogue>Not enough letters.</dialogue> <character>SISTER IRENE</character> <dialogue>I told you it was beginner's luck.</dialogue> <character>FATHER BURKE</character> <dialogue>Perhaps.</dialogue> <scene_description>He continues to go over his puzzle. Sister Irene has something to say. You can tell by the way she sneaks looks at Father Burke. Say it now? Or... now? What about... Now:</scene_description> <character>SISTER IRENE</character> <dialogue>Father. You mentioned miracle hunting before. Is that -- is that a role you sought out?</dialogue> <scene_description>Father Burke doesn't look up from his food. Because he doesn't really want to have this conversation right now. Or ever.</scene_description> <character>FATHER BURKE</character> <dialogue>I was a chaplain in the war, stationed in near Eus in the south of France. There was... an incident. A child with visions. My work with the boy drew the attention of the Church and because of that I was recruited to look into the more unusual matters involving the Church...</dialogue> <character>SISTER IRENE</character> <dialogue>So you know Bishop Form?</dialogue> <scene_description>That gets him to look up.</scene_description> <character>FATHER BURKE</character> <dialogue>How do you --</dialogue> <character>SISTER IRENE</character> <dialogue>Because he helped me when I was younger...</dialogue> <scene_description>Father Burke sets his fork down: Really...</scene_description> <character>SISTER IRENE</character> <dialogue>I had a series of visions when I was a girl. My father believed one of two things: I was mentally unstable or worse, I was a liar. But word of my visions reached the church -- Cardinal Conroy specifically -- and he sent Bishop Form to meet with me. Days before I was to be committed, they contacted my Father and convinced him of a third option...</dialogue> <character>FATHER BURKE</character> <dialogue>That they were a miracle.</dialogue> <character>SISTER IRENE</character> <dialogue>That they could be.</dialogue> <character>FATHER BURKE</character> <dialogue>And Bishop Form, he spoke to you about these visions?</dialogue> <character>SISTER IRENE</character> <dialogue>He did.</dialogue> <character>FATHER BURKE</character> <dialogue>And did he consider possession?</dialogue> <character>SISTER IRENE</character> <dialogue>Yes. But after his investigation he determined I was of pure spirit and suggested I dedicate myself to the Lord...</dialogue> <character>FATHER BURKE</character> <dialogue>Have you had any visions since?</dialogue> <character>SISTER IRENE</character> <dialogue>No.</dialogue> <scene_description>Burke nods. His thoughts distant.</scene_description> <character>SISTER IRENE</character> <dialogue>What about the boy? Did his eventually stop as well?</dialogue> <scene_description>Father Burke flinches. A painful memory.</scene_description> <character>FATHER BURKE</character> <dialogue>Yes.</dialogue> <scene_description>He stands. Takes his plate over to the sink. Exits out of the Kitchen. Leaving Sister Irene all alone. With only more questions.</scene_description> </scene> <scene> <stage_direction>INT. CHAPEL - VARIOUS - NIGHT</stage_direction> <scene_description>The Nave. The Kitchen. The Altar. The Side Aisle. The Back Hallway. All are empty. And as silent as the grave. This includes the FIRST BEDROOM In which Father Burke sleeps. We slowly PUSH IN on him. Like we're creeping up, ready to pounce. Somewhere behind us -- PitterPatterPitterPatterPitterPatter.... Of FOOTSTEPS. And a playful GIGGLE. Loud enough that Father Burke sits up. He squints into the gloom of night. Something there? Or maybe he was just drea-- PitterPatterPitter... No. That wasn't any dream. He throws back the covers and gets out of his cot. Moves into the BACK HALLWAY Looks in on Sister Irene in the Second Guest Bedroom. Asleep in her cot. Undisturbed by... More FOOTSTEPS. Father Burke spins and follows them into the NAVE Still empty. Still quiet. Father Burke peers into the shadows that hang like cobwebs. Creak. Behind him. He turns and sees A BOY. Standing still near the Side Entrance. Silhouetted in the darkness. Father Burke. A flicker of recognition on his face. Is that...? He takes a step forward for a better look but -- Boy takes off. Outside the entrance. Father Burke hurries after him.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - NIGHT - CONTINUOUS</stage_direction> <scene_description>A starless, moonless night. Feels like it's near lifeless too. As Father Burke pauses by a crumbling tombstone. Where'd the boy go? Father Burke walks deeper into the cemetery. His eyes dart from grave to grave. Searching. The Boy could be anywhere. Or maybe he's gone entirely. Because he doesn't seem to be anywhere. Damnit. Father Burke begins to turn back but -- The Boy. There he is. Standing still in the darkness. His head hung. And whoa, it looks like he's SPROUTED WINGS from his back. Who is this? Unnerved, Father Burke slowly approaches. Slow and deliberate. Doesn't want to scare the boy away. As he draws closer, he realizes those wings. They're stone. Because the boy is standing in front of an ANGEL STATUE. Boy keeps his head down. His eyes off Burke. Father Burke uses this as an opportunity to get even closer when -- The Boy SNAPS HIS EYES up at Burke. Burke stops. Can't believe it --</scene_description> <character>FATHER BURKE</character> <dialogue>Daniel?</dialogue> <scene_description>The Boy begins to convulse, like he's choking. Something caught in is throat. Something big. He HACKS. Opens his mouth. And slowly VOMITS out a LARGE SNAKE. The Snake hissssssssssses as it writhes out of The Boy's stretched open mouth. Slithers into the grass. Startled, Father Burke backs away and start to hurry across the cemetery. Looks back over his shoulder and -- Falls into a hole in the ground. A SHALLOW GRAVE. Burke lands hard in an Open Coffin. Lid SLAMS shut and INSIDE THE COFFIN Burke SLAMS his fists against the lid. Struggling to get it open. But it won't budge. And what's worse is... Thud. Thud. Thud. Right on the other side of the lid. The sound unmistakable. It's Clumps of Dirt. He's being buried alive. Father Burke SCREAMS and we -- CUT TO: Sister Irene shoots straight up out of bed. Like she just had a terrible dream. Gasping for air. She looks around the SECOND GUEST BEDROOM All seems normal. But still. A feeling creeps over her. A sense that something ain't right. And then -- A SHADOW passes over. Walking by. Startles her. She gets out of bed. As behind her the moonlight casts SHADOWS on the wall. Branches. Bed posts. Sister Irene lights the Oil Lantern. As it brightens, those shadows on the wall fade. Except for one. A very familiar silhouette. But Sister Irene doesn't see it as she carries the oil lantern out into BACK HALLWAY Sees the door to Father Burke's Room is ajar. She approaches, trying to get a glimpse inside. See if he's okay.</scene_description> <character>SISTER IRENE</character> <dialogue>Father?</dialogue> <scene_description>No answer. Hesitant, she creeeaks open the door further to find it's empty. Concerned, Sister Irene turns and is faced with -- THAT SHADOW on the wall behind her. In the Unholy Shape of The Nun. It moves. Walking along the wall and floor. Toward the Nave. Where she hears DISTANT CHANTING. WHISPERING. And PRAYING. Unsettled, Sister Irene follows the shadow into the NAVE And sees Dark Figures. Sitting in the pews. Facing the Altar like they're listening to a sermon. Their backs toward us. They're NUNS.</scene_description> <character>SISTER IRENE</character> <dialogue>Excuse me?</dialogue> <scene_description>Waits. But no reaction. She starts toward one of the Nuns closest to her but stops when she sees -- The Shadow of The Nun. It has returned. And begins to walk along the Chapel walls. Sister Irene watches. Eyes following the shadow. It turns her around as it moves into a MIRROR. IN THE REFLECTION The shadow becomes a BODY. You can't see her face but you don't need to. You know. It's The Demon Nun. Standing in front of the Altar. Under that Huge Wooden Cross. The Demon Nun raises her hand and points at Irene. SCREECHES. And now all the Other Nuns turn and look at Sister Irene as well. Their faces gruesome and pale. Sister Irene snaps back to look at them behind her. But no one is there. And as she processes whether she imagines this -- BOOM! The Huge Wooden Cross CRASHES to the ground. Terrified, Sister Irene turns and runs out of the Nave. Returning into the BACK HALLWAY Calling out for --</scene_description> <character>SISTER IRENE</character> <dialogue>Father!</dialogue> <scene_description>Checks the Kitchen. Priest's Study. The Meeting Room. But Father Burke is nowhere to be found. Her panic increasing, Sister Irene stumbles out of the Chapel.</scene_description> </scene> <scene> <stage_direction>EXT. CHAPEL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Sister Irene stops right outside the exit. Suddenly confronted with the night. Her eyes scan the landscape. She feels too exposed. But then -- Tingtingting... Sister Irene looks over in the direction of the cemetery. TingTingTingTing... She moves over into the CEMETERY Tombstones in shadow seem like abandoned ancient alien artifacts. Sister Irene walks among them. A stranger in an even stranger land as she continues to follow the -- TingTingTinTingTingTingTing... Leads her to an OLD GRAVE. She kneels down. Sets the Lantern beside her. It illuminates the TINY BELL continuing to ring. She stops the bell. Pauses. Like, now what? But then she looks down at the ground. Scared, she puts her ear close to the earth. Listens. And through the dirt she hears -- THE MUFFLED SCREAMS OF FATHER BURKE. Sister Irene. Stunned. How is that possible? This grave looks like it's been filled for decades. Nevermind that for now --</scene_description> <character>SISTER IRENE</character> <dialogue>Father! FATHER!</dialogue> <scene_description>Starts to dig her fingers into the dirt. Scraping it away, desperate. Continue to call out for --</scene_description> <character>SISTER IRENE</character> <dialogue>Father! I can hear you!</dialogue> <scene_description>She looks around for something to help her. Sees the SHOVEL Frenchie used earlier leaning against the grave. Gets up. Grabs it. She begins to dig. And dig. And dig. Thump! Must be the coffin. Not six feet under. But far enough. Lets the shovel drop. Returns to using her hands. As she sweeps away the surface dirt, she reveals HUNDREDS OF TINY CROSSES. Scratched deep into the lid of the COFFIN. Father Burke continues to POUND against the lid. Sister Irene pries it open. Father Burke sits right up, gasping for life. He grasps onto Sister Irene like she's just pulled him from the depths of death. Eventually able to muster --</scene_description> <character>FATHER BURKE</character> <dialogue>Thank you... Sister... thank...</dialogue> <scene_description>Streaked with dirt and sweat, Sister Irene looks past Father Burke and back into the coffin. It's filled with BOOKS.</scene_description> </scene> <scene> <stage_direction>EXT. CHAPEL - EARLY MORNING</stage_direction> <scene_description>As the day's first light breaks, we hear the WHISPERING of --</scene_description> </scene> <scene> <stage_direction>INT. CHAPEL - GUEST BEDROOM - CONTINUOUS</stage_direction> <scene_description>-- Sister Irene. Kneeling at her bedside. Reciting her Lauds. Eyes closed. Her voice trembles, fingers fidget. Still clearly rocked by the events of last night.</scene_description> <character>SISTER IRENE</character> <dialogue>-- is now, and ever shall be, world without end. Amen. Alleluia.</dialogue> <scene_description>Doesn't sound so joyous though. She opens her eyes. They take in the small room, lit soft by the purple dawn. She sighs: Damn. Wasn't a dream. CUT TO: MEDIEVAL ILLUSTRATIONS. Details exquisitely gruesome. Blueprints for strange torture devices. Animals staked. Men skinned. Women burned. And WORDS. Inked in elaborate script. I guess they're in Latin? Romanian? Not sure. But they seem like --</scene_description> <character>FATHER BURKE (O.S.)</character> <dialogue>-- Witchcraft.</dialogue> <scene_description>He looks up from writing in his JOURNAL as Sister Irene enters the SMALL KITCHEN Candles BURN. The morning sun still weak. Several Ancient Texts open on the table. Other stacked on the floor. A treasure trove of medieval madness.</scene_description> <character>FATHER BURKE</character> <dialogue>Incantations, spells, curses, unholy rituals used to conjure demons and devils and open portals to the underworld. Most of these books are hundreds of years old but look at them -- ink still fresh, pages intact, colors bright.</dialogue> <character>SISTER IRENE</character> <dialogue>It's heresy. They should have been destroyed...</dialogue> <character>FATHER BURKE</character> <dialogue>There is a belief in certain circles that destroying any object of magick could release whatever power was believed to be stored inside. I suspect that's why they were buried in the grave of the Marquis instead of being destroyed outright...</dialogue> <character>SISTER IRENE</character> <dialogue>Marquis?</dialogue> <character>FATHER BURKE</character> <dialogue>The original owner of the castle it seems. His seal is in each of these books...</dialogue> <scene_description>Shows her the SEAL painted on a page: It resembles the ourobouros. Only more sinister.</scene_description> <character>SISTER IRENE</character> <dialogue>Why would a marquis have books on witchcraft?</dialogue> <character>FATHER BURKE</character> <dialogue>I pray our talks with the Nuns will answer that for us...</dialogue> <scene_description>Sister Irene. Lost in bad thoughts.</scene_description> <character>FATHER BURKE</character> <dialogue>Everything all right, Sister?</dialogue> <character>SISTER IRENE</character> <dialogue>Yes, Father. It's just the events of last night... What I saw in the Chapel... It weighs on me.</dialogue> <character>FATHER BURKE</character> <dialogue>I saw something too. It's what drew me to the cemetery... A boy. Daniel...</dialogue> <character>SISTER IRENE</character> <dialogue>The boy from France?</dialogue> <scene_description>He nods.</scene_description> <character>FATHER BURKE</character> <dialogue>Unlike your case, after what I believed was careful evaluation, I made the judgment he was possessed and proceeded to act accordingly, within the laws of the Church. It was my first exorcism.</dialogue> <character>SISTER IRENE</character> <dialogue>Was it a success?</dialogue> <character>FATHER BURKE</character> <dialogue>The Church thought so. They believed the evil was cast out...</dialogue> <character>SISTER IRENE</character> <dialogue>But not you?</dialogue> <character>FATHER BURKE</character> <dialogue>Daniel sustained severe injuries during the exorcism. Ones from which he could not recover. He died days later. I often wonder if I was too eager with my determination.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>That is a puzzle.</dialogue> <character>SISTER IRENE</character> <dialogue>Are you certain it was him you saw last night?</dialogue> <scene_description>He looks up at her. Not sure he wants to answer that question. Waitaminute...</scene_description> <character>FATHER BURKE</character> <dialogue>Territory.</dialogue> <character>SISTER IRENE</character> <dialogue>Excuse me?</dialogue> <character>FATHER BURKE</character> <dialogue>Cardinal Conroy recommended you because you were familiar with the territory. He didn't mean Romania. He meant your visions. You're familiar with strange phenomenon...</dialogue> <scene_description>HOLD ON Sister Irene. If she wasn't so pious she'd probably be screaming 'oh fuck oh shit' inside her head right now. Maybe she is anyway.</scene_description> </scene> <scene> <stage_direction>EXT. ABBEY - DAY</stage_direction> <scene_description>Everything about the Convent screams 'Don't Come Any Closer'. But there's Father Burke and Sister Irene anyway. Trudging up the path. They stop when they come to Sister Victoria's BLOOD STAIN because...</scene_description> <character>SISTER IRENE</character> <dialogue>...there's more of it.</dialogue> <scene_description>She's right. The Blood Stains are larger. As if the earth itself is wounded, bubbling over with blood.</scene_description> <character>FATHER BURKE</character> <dialogue>Another puzzle.</dialogue> <character>SISTER IRENE</character> <dialogue>Father. Is this our answer to whether the grounds are still holy?</dialogue> <scene_description>Father Burke looks at the Convent.</scene_description> <character>FATHER BURKE</character> <dialogue>It's common for evil to surround a place such as this.</dialogue> <character>FATHER BURKE</character> <dialogue>It is a fortress, after all. Built to keep unwanted forces out. The question we have to answer, Sister, is has it been breached?</dialogue> <scene_description>Not to give anything away but... Yeah. It has. CUT TO: AN ANGRY BEAR. Carved on the SIGN of THE BLACK BEAR PUB Which is like the unofficial City Hall of Brasov.</scene_description> </scene> <scene> <stage_direction>INT. THE BLACK BEAR PUB - DAY</stage_direction> <scene_description>Littered with daydrinkers. As much a fixture as the lights, the taps, and the bar. At which slumps -- Frenchie. Nursing his beer. A YOUNG WOMAN, 19 and a beauty, hangs on him. Speaking Romanian, she whispers into his ear.</scene_description> <character>FRENCHIE</character> <dialogue>You know I don't speak Romanian.</dialogue> <scene_description>She whispers some more.</scene_description> <character>FRENCHIE</character> <dialogue>I still have no idea what you're talking about, Mademoiselle.</dialogue> <scene_description>More whispers. She smiles as she does. So does Frenchie. Not at what she's saying though. But at her hand on his thigh. Frenchie nods: Yes, yes, now he understands...</scene_description> <character>FRENCHIE</character> <dialogue>I agree. Actions do speak louder than words...</dialogue> <character>VOICE (O.S.)</character> <dialogue>FRENCHIE!</dialogue> <scene_description>Oh shit. Frenchie swats her hand away. He turns. Sees it's GREGORO, 60s. Waving him over. Phew... To the Young Woman --</scene_description> <character>FRENCHIE</character> <dialogue>Don't leave.</dialogue> <scene_description>He walks over.</scene_description> <character>GREGORO</character> <dialogue>That couple I saw you with yesterday. Who were they?</dialogue> <character>FRENCHIE</character> <dialogue>A Priest and a Nun. I took them up to the Abbey...</dialogue> <scene_description>Gregoro's expression hardens.</scene_description> <character>GREGORO</character> <dialogue>The Abbey? Why?</dialogue> <character>FRENCHIE</character> <dialogue>They were sent by the Church.</dialogue> <character>GREGORO</character> <dialogue>Are they still up there? They stayed the night?</dialogue> <character>FRENCHIE</character> <dialogue>Yes. I pick them today.</dialogue> <scene_description>Gregoro motions to the bartender: One more drink...</scene_description> <character>GREGORO</character> <dialogue>You recently discovered a body up there, didn't you?</dialogue> <character>FRENCHIE</character> <dialogue>Yes.</dialogue> <character>GREGORO</character> <dialogue>Well, drink up to steel your nerves, son. I believe you're about to discover two more.</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR - MOMENTS LATER</stage_direction> <scene_description>Candles lit. Feels like it's always night time in here. The Chair sits empty. We hear FOOTSTEPS ECHO before we see Sister Irene and Father Burke enter the chamber. Both quiet. Trying to listen for signs of life. But they hear none. Father Burke walks over to the DOORWAY blocked by the Portcullis. Beyond it, a Passageway draped in shadow. Through the Iron Grate --</scene_description> <character>FATHER BURKE</character> <dialogue>Hello? Abbess? As requested, we're hear to speak with the Nuns...</dialogue> <scene_description>Listens. Still no answer. He looks back at Sister Irene: Any ideas? But then -- ClinkClinkClinkClinkClinkClinkClink! Of the Portcullis. Father Burke steps back. In the walls, they hear the rusted links of an Ancient Chain clinkclinkclink as it raises the Portcullis. Sister Irene walks over and joins Father Burke at the threshold of the PASSAGEWAY Sister Irene looks above them, sees the Spiked Ends of the Portcullis jutting out from their recesses in the ceiling. Like rotting fangs.</scene_description> <character>FATHER BURKE</character> <dialogue>That seems like as much of an invitation as we'll get here.</dialogue> <character>SISTER IRENE</character> <dialogue>I'll go find the Abbess.</dialogue> <scene_description>Father Burke pulls the Rosary Key out of his pocket.</scene_description> <character>FATHER BURKE</character> <dialogue>Take this.</dialogue> <scene_description>She does.</scene_description> <character>FATHER BURKE</character> <dialogue>See what you can find out about it. It was obviously important to the deceased...</dialogue> <scene_description>Sister Irene nods. Runs her fingers along the engraving. R1:18. Wondering what it means...</scene_description> <character>FATHER BURKE</character> <dialogue>I realized last night what it meant. Revelations 1:18: 'I am he that liveth, and was dead; and, behold, I am alive for evermore, Amen; and have the keys of Hell and of death.'</dialogue> <scene_description>Frankly, I'd rather not know that. Sister Irene I think agrees. As she gives another quick glance to the teeth above. Before she crosses steps into the shadows of the Passageway. We follow. Through Narrow Darkness and into the Bright Light of a COURTYARD Once the beating heart to the castle, it now seems dead and lifeless. As if the sun hasn't shone on it for centuries. Sister Irene stands at the center. Not sure which way to go. That way? This way? How about back the way you came. Leave. She peers into the shadows under the Arched Walkways. A sense she's being watched. Just not sure from -- wait -- A BLUR OF MOVEMENT. Out of the corner of her eye. Over there. Sister Irene turns. Sees just in time a Nun disappear through a door and --</scene_description> <character>SISTER IRENE</character> <dialogue>Hello? Wait!</dialogue> <scene_description>She follows the Nun and enters into the DINING HALL No sign of any Nuns. But on the Tables, a few plates with scattered bread crumbs. Water Glasses half empty. Like they were just here. At each setting, a HOLY CARD. Brand new. Color. Each one depicts a different SAINT with an accompanying prayer. She hears a CLATTER coming from the KITCHEN Sister Irene walks in. Expecting to find someone. But she only finds instead MEAT roasting on a spit over a fire. And the faucet dripdripdripping. She shuts it off. And then moves toward the exit and back out into the COURTYARD Creeeeeeeeeaaaak. Clack. She spots one of the Chapel Double Doors closing. Hurries over and pushes it back open and walks into the PRIVATE CHAPEL Don't mistake private for small though. Vaulted Ceilings. Stained Glass. Prayer Candles. And that PIPE ORGAN. But eyes up front. Because kneeling before a life-sized wood carved STATUE OF THE VIRGIN MARY cradling a BABY JESUS is -- A NUN. Back to us. Whispering Prayers. Sister Irene approaches. Slowly cause you just know something fucked up is about to happen. Sister Irene knows it too. Somewhere above the rafters, a bird FLUTTERS and CHIRPS. Trying to draw our attention away from the Nun. But no, can't let it happen. We're not taking our eyes off that Nun.</scene_description> <character>SISTER IRENE</character> <dialogue>Excuse me?</dialogue> <scene_description>No answer. Edges herself ever closer.</scene_description> <character>SISTER IRENE</character> <dialogue>Sister?</dialogue> <scene_description>Sister Irene stands right behind her now. Kneeling Nun still whispering prayers. Sister Irene listens longer than I would. But that's not saying much. Sister Irene slowly begins to circle around to get a glimpse of the Kneeling Nun's Face when -- From behind her, A HAND reaches out. Grabs Sister Irene. Sister Irene spins and sees another Nun standing in shadow before her. This is SISTER MIRANDA, 20s. Sister Irene quickly looks back at the Kneeling Nun. Still saying her prayers.</scene_description> <character>SISTER MIRANDA</character> <dialogue>This convent has had perpetual adoration for centuries. The sisters pray in shifts to maintain the constant vigil.</dialogue> <character>SISTER IRENE</character> <dialogue>I am sorry to have disturbed her.</dialogue> <character>SISTER MIRANDA</character> <dialogue>You didn't. But almost. However Sister Ruth has withstood more than just someone sneaking up behind her...</dialogue> <scene_description>Sister Irene. Embarrassed. Sister Miranda steps a little more into the light. Revealing a face of bruised beauty. Makes you wince. Sister Irene too.</scene_description> <character>SISTER MIRANDA</character> <dialogue>I'm Sister Miranda. We were told you were coming...</dialogue> <character>SISTER IRENE</character> <dialogue>Y-yes. I'm here with Father Burke. There is an official inquiry into the circumstances that led to the recent and unfortunate death in your cloister...</dialogue> <scene_description>Sister Miranda considers this. Then:</scene_description> <character>SISTER MIRANDA</character> <dialogue>Please. Follow me.</dialogue> </scene> <scene> <stage_direction>INT. GREAT PARLOUR - CONTINUOUS</stage_direction> <scene_description>Father Burke flips through one of the Dusty Books. On every page, the same passage. Over and over again. He reads --</scene_description> <character>FATHER BURKE</character> <dialogue>'...And out of the ground the Lord God formed every beast of the field and every bird of the sky, and brought them to the man to see what he would call them; and whatever the man called a living creature, that was its name.'</dialogue> <scene_description>Thump. Father Burke turns. ThumpThump. Coming from the direction of those TOMBS. He closes his journal and puts it back into his Satchel as he walks over toward them. Death Masks stares back at him. Which one was it? Thump. That one. Father Burke walks over to the Tomb. He puts his ear up against its slab. Hears something moving inside. Father Burke looks around the Parlour. He sees an old FIRE POKER leaning up against the Book Shelf. Grabs it and returns to the Tomb. Uses the Poke to pry open the Tomb, revealing -- A SHRIVELED, OLD CORPSE. Surrounded by coils and coils of WRITHING SNAKES. Holy shit... Horrified, Burke reels back. It's as if the very walls of this castle are infested with these serpents. He watches a snake slither across the length of the parlor and disappear into a crack in the stone. Father Burke quickly shuts the Tomb. Turns and looks back at the Parlor: What is this place? And then, a flash of memory. Prompts him into action. From his satchel, Father Burke pulls out one of the Ancient Texts found last night. Flips the pages and sees -- AN ILLUSTRATION. Of this Parlor. But with a symbol on the floor. Father Burke walks to the center of the room. Gets on his knees and inspects the floor. Smells it. Huh. Something there for sure. Dips his finger in it. Tastes that and yeah it's --</scene_description> <character>FATHER BURKE</character> <dialogue>Sulphur.</dialogue> <scene_description>Reaches back into his bag. Pulls out a VIAL filled with POWDER. Pours a little of it onto the floor. Strikes a MATCH. Lights the powder with it and -- FWOOOOSH! It catches fire and burns in the outline and shape of a GIANT PENTAGRAM Across the entire floor of the parlor. The fire flares brightly before it flames out. Leaving a BURNT MARK behind. Holy shit.</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM - LATER</stage_direction> <scene_description>A Fire CRACKS and POPS in the hearth. Sister Miranda and Sister Irene sit in nearby chairs. Feeling its warmth. It'd be cozy. If it wasn't creepy. Sister Miranda finishes stirring a CUP OF TEA and offers it to Sister Irene. She takes it. Sips it. Bitter. Gross. But she manages a polite and grateful smile anyway.</scene_description> <character>SISTER MIRANDA</character> <dialogue>Sister Victoria's death was a terrible tragedy for the convent but we still feel her presence.</dialogue> <character>SISTER MIRANDA</character> <dialogue>She was the most devoted out of any of us...</dialogue> <scene_description>A heavy pause. And a darkness in the doorway behind Sister Irene catches Sister Miranda's eye. She stares as -- Sister Irene turns and looks. No one there.</scene_description> <character>SISTER MIRANDA</character> <dialogue>Excuse me, Sister...</dialogue> <scene_description>Up from her chair. Over to the door. She quickly closes it. The creeeeaking hinges rival the crackling fire. She returns to her seat by the fire.</scene_description> <character>SISTER MIRANDA</character> <dialogue>Sister Vict--</dialogue> <scene_description>Creeeaaaaaaak. Shit. Door OPEN. Both Sister Irene and Sister Miranda look. Standing in the shadows -- who is that? -- The Nun? -- Or just a Nun? Well, whoever it is turns and walks out of view. Sister Miranda. Slight tremble. Slight break in her voice as she turns back to Sister Irene and explains:</scene_description> <character>SISTER MIRANDA</character> <dialogue>Forgive us. We're highly protective of our privacy. Some of the sisters would prefer I not speak to you at all...</dialogue> <character>SISTER IRENE</character> <dialogue>We appreciate your willingness to do so...</dialogue> <scene_description>Sister Miranda forces a smile. Looks back over her shoulder. Distracted. Sister Irene tries to pull her attention back --</scene_description> <character>SISTER IRENE</character> <dialogue>Sister Miranda -- last night -- in the Chapel -- I saw a Nun...</dialogue> <scene_description>It worked. That gets Sister Miranda's attention. Her face pale. Her eyes wide. Brimming with fear.</scene_description> <character>SISTER IRENE</character> <dialogue>She was... She felt... anything but Holy...</dialogue> <scene_description>Once more Sister Miranda looks to make sure they're alone. And then she leans in and whispers to Sister Irene --</scene_description> <character>SISTER MIRANDA</character> <dialogue>Do you see her too? I've seen her stalking the hallways at night. We all have... She looks like us. But she's not one of us. It's something unholy. It takes on the blasphemous form to corrupt us... It made Sister Victoria commit the ultimate sin and --</dialogue> <character>VOICE (O.S.)</character> <dialogue>Sister Miranda --</dialogue> <scene_description>SISTER ABIGAIL, 30s, appears next to them.</scene_description> <character>VOICE/SISTER ABIGAIL</character> <dialogue>It's time to attend to your prayers...</dialogue> <scene_description>Sister Miranda and Sister Irene quickly stand. Both startled by the sudden presence of Sister Abigail. And from their conversation.</scene_description> <character>SISTER MIRANDA</character> <dialogue>Yes, Sister.</dialogue> <scene_description>Sister Abigail looks at Sister Irene. Passing judgment.</scene_description> <character>SISTER ABIGAIL</character> <dialogue>You haven't taken your vows yet?</dialogue> <character>SISTER IRENE</character> <dialogue>No.</dialogue> <character>SISTER ABIGAIL</character> <dialogue>You shouldn't be here. This is not a place for you...</dialogue> <scene_description>Sister Irene. Taken aback. Tries to stammer out an excuse but Sister Abigail doesn't allow for one.</scene_description> <character>SISTER ABIGAIL</character> <dialogue>Sister Victoria was a troubled young woman. Her family had a history of mental illness.</dialogue> <character>SISTER ABIGAIL</character> <dialogue>A suicide is a tragedy but that is all it was -- a woman who had lost her grip on reality.</dialogue> <scene_description>Sister Abigail leaves.</scene_description> <character>SISTER MIRANDA</character> <dialogue>Come, Sister. I will show you out.</dialogue> </scene> <scene> <stage_direction>INT. CONVENT - WALKWAY - MOMENTS LATER</stage_direction> <scene_description>Sister Irene follows Sister Miranda to the Passageway. Before she leaves, Sister Irene remembers the Rosary Key in her pocket. Pulls it out and shows it to Sister Miranda.</scene_description> <character>SISTER IRENE</character> <dialogue>Sister Victoria had this in her possession when she died. Do you happen to know what it's for?</dialogue> <scene_description>A flash of recognition across Sister Miranda's face tells us that yeah, she definitely does. But again she says --</scene_description> <character>SISTER MIRANDA</character> <dialogue>No.</dialogue> <scene_description>Spots something out of the corner of her eye. Not sure what. But whatever it was it causes her to --</scene_description> <character>SISTER MIRANDA</character> <dialogue>Now. Please. Go.</dialogue> <character>SISTER IRENE</character> <dialogue>Father Burke will want to hear this directly from the Abbess.</dialogue> <character>SISTER MIRANDA</character> <dialogue>I'll see what can be done.</dialogue> <scene_description>She looks back over her shoulder. A NUN standing on a balcony. That same one from earlier. Looking down on them with a face shrouded in shadow.</scene_description> <character>SISTER IRENE</character> <dialogue>Who is that?</dialogue> <scene_description>Eyes up to the balcony --</scene_description> <character>SISTER MIRANDA</character> <dialogue>Tell Father to remember Matthew 6:13: "Trust in the Lord with all your heart, and do not lean on your own understanding..."</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR - MOMENTS LATER</stage_direction> <scene_description>Sister Irene steps out of the Passageway. Sees the burnt outline of the Pentagram. Makes the sign of the Cross. Looks around the Parlour. It's empty. No sign of Father Burke. She hurries for the exit.</scene_description> </scene> <scene> <stage_direction>EXT. CONVENT - MOMENTS LATER</stage_direction> <scene_description>Father Burke looks over at Sister Irene as she exits the Convent. Frenchie runs over to her.</scene_description> <character>FRENCHIE</character> <dialogue>Dieu Merci. Are you okay?</dialogue> <character>SISTER IRENE</character> <dialogue>Yes. Fine. Thank you. Father, what is that in the parlour?</dialogue> <character>FRENCHIE</character> <dialogue>What is what?</dialogue> <character>FATHER BURKE</character> <dialogue>Nothing. Just more remnants of the past...</dialogue> <parenthetical>(to Sister Irene)</parenthetical> <dialogue>What did you find?</dialogue> <character>SISTER IRENE</character> <dialogue>Something is off. They're being tormented by something. The nun I spoke with -- Sister Miranda -- she says she's seen things too. Things that I've seen. They all have. But she told me this in confidence -- like she was scared to speak of it. It is my belief that this is why they keep perpetual adoration as well, Father. For centuries, I was told.</dialogue> <character>FATHER BURKE</character> <dialogue>Really?</dialogue> <character>FRENCHIE</character> <dialogue>Adoration? Qu'est-ce que c'est?</dialogue> <character>SISTER IRENE</character> <dialogue>It's constant prayer. Every hour of every day.</dialogue> <character>FRENCHIE</character> <dialogue>How is that possible? They need to sleep, don't they?</dialogue> <character>FATHER BURKE</character> <dialogue>The Sisters don't pray all at the same time. It's done in shifts.</dialogue> <character>SISTER IRENE</character> <dialogue>When I was leaving, Father, Sister Miranda wanted me to remind you of Matthew 3:13: "Trust in the Lord with all your heart, and do not lean on your own understanding..."</dialogue> <character>FATHER BURKE</character> <dialogue>That isn't Matthew. That's Proverbs.</dialogue> <character>SISTER IRENE</character> <dialogue>I know. I think she quoted the wrong verse because she feared someone was listening to us. Someone who wouldn't know Matthew 3:13...</dialogue> <character>FRENCHIE</character> <dialogue>What's Matthew 3:13?</dialogue> <character>SISTER IRENE</character> <dialogue>It's a part of the Lord's Prayer. "Lead us not into temptation, and deliver us from evil. "</dialogue> <scene_description>Oh. Shit.</scene_description> <character>SISTER IRENE</character> <dialogue>It's a cry for help.</dialogue> <scene_description>Father Burke looks up at the Convent. Thinking.</scene_description> <character>FRENCHIE</character> <dialogue>Please. Let us go back into town. If I can't bring you to your senses I know a man there who will.</dialogue> <character>FATHER BURKE</character> <dialogue>Who?</dialogue> </scene> <scene> <stage_direction>EXT. THE BLACK BEAR PUB - NIGHT</stage_direction> <scene_description>Frenchie leads Sister Irene and Father Burke to the entrance. He hesitates. Sheepishly looks over to Sister Irene.</scene_description> <character>SISTER IRENE</character> <dialogue>What is it?</dialogue> <character>FRENCHIE</character> <dialogue>It isn't the classiest of establishments, Sister.</dialogue> <scene_description>Like maybe you should stay outside but --</scene_description> <character>SISTER IRENE</character> <dialogue>Neither was the stable in Bethlehem but that served its purpose.</dialogue> <scene_description>She enters. After a look, Frenchie and Father Burke follow.</scene_description> </scene> <scene> <stage_direction>INT. THE BLACK BEAR PUB - SECONDS LATER</stage_direction> <scene_description>Filled with life and song. A stark contrast to to the Abbey. Frenchie pushes through the crowd. Sister Irene and Father Burke follow. SEVERAL WOMEN -- some younger, some older, but all beautiful -- pull at Frenchie: Sit with me, Frenchie. Over here, Frenchie. Go fuck yourself, Frenchie... Frenchie looks back at Sister Irene. Sees her eyeing them suspiciously...</scene_description> <character>SISTER IRENE</character> <dialogue>So this is what you meant by helping the people of this town?</dialogue> <character>FRENCHIE</character> <dialogue>What can I say, Sister -- I have charitable nature...</dialogue> <scene_description>Once again she rolls her eyes. They continue on. MOMENTS LATER At a table tucked away in the back of the bar. Gregoro pours TWO SHOTS. Pushes one toward Father Burke. Father Burke waves it off: I'm good.</scene_description> <character>GREGORO</character> <dialogue>Priest or no priest, I don't trust any man who won't drink with me.</dialogue> <scene_description>Father Burke looks at the others. Like, when in Rome... ania. He drinks. Gregoro immediately pours another. Looks at him. Go on... Father Burke picks it up. Shoots. Scores. Gregoro nods in satisfaction.</scene_description> <character>GREGORO</character> <dialogue>I want to make something clear at the start, Father. No matter what I say -- these are not rumors. These are not exaggerations. These stories are true. Passed down through my family for generations. It has been our burden to live with this truth. But we carry it proudly, like soldiers -- so we may protect those around us from doing any harm...</dialogue> <character>FATHER BURKE</character> <dialogue>Then in that way you are not unlike a Priest. We also have our stories that some would call rumors or exaggerations. But we know the truth and we protect it, so we can help others... So I assure you, Gregoro, we listen with open minds.</dialogue> <scene_description>Gregoro nods. Well said.</scene_description> <character>GREGORO</character> <dialogue>Mount Sinai. The Garden Tomb. The Chapel of Ascension... These are holy places, yes?</dialogue> <scene_description>Yes.</scene_description> <character>GREGORO</character> <dialogue>There are unholy places as well, Father. As with holy grounds, I do not know the number, but if there are five -- if there are twenty -- if there a hundred -- it makes no matter -- that Abbey is the most Godless of them all...</dialogue> <scene_description>Pour. Drink. And then --</scene_description> <character>GREGORO</character> <dialogue>It was built by the Marquis of Snakes in the Dark Ages. You heard of Vlad the Impaler, yes? A man consumed with stretching out the last painful moments of life. But when death comes, his interest was no more. This was not so for the Marquis. In fact that is when his interest began....</dialogue> <scene_description>FLASHBACK: THE MARQUIS, 50s. If a serpent ever took the form of Man, it'd look a lot like the Marquis. Tall. Thin. Venomous. He leans over a VILLAGER, 20s. Arms, legs and neck strapped down tight to a wooden table with leather bindings. We're somewhere UNDERNEATH THE CASTLE The Marquis holds a CEREMONIAL DAGGER against the belly of the Villager. Villager squirms. As much as he's able.</scene_description> <character>GREGORO (V.O.)</character> <dialogue>He would kill -- murder -- husbands and wives -- fathers and mothers -- sons and daughters -- brothers and sisters -- young -- old -- it did not matter. He did it to study death...</dialogue> <scene_description>Marquis PLUNGES the Dagger into the Belly of the Villager. We PAN UP the Villager as the Marquis continues to SLICE. Until we reach the Marquis. Staring into the eyes of the Villager. Listening to his screams. Soaking 'em in. Off screen, we sense he's stopped slicing. He's taken this person to the brink of death. Just a second or two away. The Villager has stopped screaming. His eyes stare past the Marquis. Like it's seeing something from beyond.</scene_description> <character>MARQUIS</character> <dialogue>Tell me what you see.</dialogue> <character>GREGORO (O.S.)</character> <dialogue>Convinced he could not just conquer it -- but control it. He was a student but soon became a teacher of the occult....</dialogue> </scene> <scene> <stage_direction>INT. CHAMBER - CONTINUOUS</stage_direction> <scene_description>The Marquis dips his pen in a Bottle of BLOOD. He begins to write in exquisite script across a long parchment. Behind him, MORE VILLAGERS. In various states of decomposition. Some long dead. Others close to it.</scene_description> <character>GREGORO (V.O.)</character> <dialogue>He wrote countless texts, filled with spells for conjuring demons and rituals in which to call upon the forces of Hell. Think of our prayers -- our selfish prayers -- heal me, save me, do me this one favor, God. Such little requests in the grand scheme of things, no?</dialogue> </scene> <scene> <stage_direction>INT. CASTLE COURTYARD - LATER</stage_direction> <scene_description>A FIRE BURNS. In front of it, the Marquis in ceremonial robe holds up SERPENTS. They twist and slither onto him. His OCCULT FOLLOWERS begin to CHANT.</scene_description> <character>GREGORO (V.O.)</character> <dialogue>The Marquis had grander ambitions and became a devout follower of Hell and all its demons dwelling within... And unlike some of our prayers, Father, his were answered. Hell used him as a tool to open a portal so that its evil would walk among us...</dialogue> <scene_description>The FIRE brightens and --</scene_description> </scene> <scene> <stage_direction>INT. UNDERCROFT - CONTINUOUS</stage_direction> <scene_description>-- A CLOSED DOOR EXPLODES OPEN with the RED LIGHT OF HELL.</scene_description> </scene> <scene> <stage_direction>INT. THE BLACK BEAR PUB - CONTINUOUS</stage_direction> <scene_description>Back on Gregoro and the Others.</scene_description> <character>SISTER IRENE</character> <dialogue>Did no one try and stop him?</dialogue> <character>GREGORO</character> <dialogue>Many did. Many failed. It was not easy when you go into battle against Hell itself. But the Church ultimately found success -- though it was costly. Known as the secret crusade or the serpent crusade...</dialogue> <scene_description>FLASHBACK:</scene_description> </scene> <scene> <stage_direction>INT. CASTLE - CONTINUOUS</stage_direction> <scene_description>Knights and Holy Men STORM the Castle. Occult Followers scramble. But all meet their ends in bloody fashion.</scene_description> <character>GREGORO (O.S.)</character> <dialogue>...the Church stormed the castle and killed the Marquis and his followers...</dialogue> <scene_description>In the GRAND PARLOR The Marquis. Cornered by Two Priests. The Marquis smiles. Grabs a TORCH. Swings it the Two Priests. They step back. And then -- The Marquis brings the Torch to his sleeve. Sets himself on fire. The flames consume him. He runs toward the Priests. Toward us. Taking us back into Bright White Light of -- CUT TO: DAYLIGHT. Shines down over the Castle. Priests walk the grounds. Sprinkling Holy Water. Swinging Thuribles burning with incense. Lips move in Prayer.</scene_description> <character>GREGORO (V.O.)</character> <dialogue>As a defensive measure, the Church claimed the castle as their own, creating the Abbey to forever bless the grounds as Holy to protect us against any potential fall out. And it did. For many generations. But after the war, something changed there...</dialogue> <scene_description>FLASHBACK: One Bomb. Two Bombs. Three... An AIR RAID. We follow 'em down as they land and EXPLODE the Romanian Countryside. The Castle SHAKES. Damage is done. CUT TO: Somewhere dark, a DOOR FRAME buckles slightly. And the DOOR cracks open. An unholy red light begins to bleed through... END FLASHBACK:</scene_description> </scene> <scene> <stage_direction>INT. THE BLACK BEAR PUB - CONTINUOUS</stage_direction> <scene_description>Gregoro stares at the Others.</scene_description> <character>GREGORO</character> <dialogue>The ground became fallow, the livestock fell sick and died, and this once peaceful and pious village has become this...</dialogue> <scene_description>He gestures around the bar. At all the revelry, the drunkenness, the devil-may-care attitudes...</scene_description> <character>GREGORO</character> <dialogue>But it doesn't stop here in this village. Look at what is happening to the rest of this country. Like a disease it has spread... Religion being driven out. Evil is winning this war...</dialogue> <scene_description>Burke flinches.</scene_description> <character>GREGORO</character> <dialogue>You feel it too, don't you? I fear the Nuns in that convent have failed us. The door has been opened.</dialogue> <character>GREGORO</character> <dialogue>And if it is, how much time do we have left before the world goes to Hell?</dialogue> <scene_description>Drink. And as Gregoro SLAMS the shot glass down again we -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BRASOV STREET - LATER</stage_direction> <scene_description>Father Burke, Sister Irene, and Frenchie exit The Black Bear Pub and walk off down the empty street. Determined --</scene_description> <character>FATHER BURKE</character> <dialogue>We'll need the use of your wagon and horses again, Frenchie.</dialogue> <character>FRENCHIE</character> <dialogue>My wagon? For what -- returning to the Abbey? You can't be serious.</dialogue> <character>FATHER BURKE</character> <dialogue>What else would you have us do?</dialogue> <character>FRENCHIE</character> <dialogue>Return to our lives?</dialogue> <character>FATHER BURKE</character> <dialogue>That Abbey existed for hundreds of years without incident. Until very recently. You heard Gregoro -- something changed. If there is a portal and it's been opened we need to close it...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>We only need your wagon, Frenchie. We don't need you.</dialogue> <scene_description>Frenchie looks over at Sister Irene. He can sense her unease, her hesitation, her fear.</scene_description> <character>FRENCHIE</character> <dialogue>You don't have to go. You can stay here. With me. Let him save the world on his own...</dialogue> <scene_description>Sister Irene stands between them. Debating. She makes a choice. Moves toward Father Burke.</scene_description> <character>FRENCHIE</character> <dialogue>Sister. Are you certain? You really are going to go with him up there?</dialogue> <character>SISTER IRENE</character> <dialogue>Not just with him. We go with God.</dialogue> </scene> <scene> <stage_direction>EXT. ROMANIAN COUNTRYSIDE - DAWN</stage_direction> <scene_description>Father Burke and Sister Irene sit in the Box Seat. Burke holds the reigns as the Horses clopclopclop along. Like it's a funeral procession.</scene_description> <character>SISTER IRENE</character> <dialogue>On our first night here you asked if the visions were what led me to this life... They didn't.</dialogue> <scene_description>Father Burke looks at her: Tell me more.</scene_description> <character>SISTER IRENE</character> <dialogue>My visions weren't like Our Lady of Fatima or Our Lady of Lourdes. I didn't see an apparition of the Blessed Virgin Mary, hear the voices of the angels, or receive words of prophecy. The things I saw, Father... When I saw them -- it didn't feel as if the Lord was calling for me. It felt as if I was being called by something... else. So they didn't lead me into this life. They pushed me. They forced me into it -- hoping my devotion to the Lord would protect me from the Unholy Evil I knew...</dialogue> <character>FATHER BURKE</character> <dialogue>And it has so far, hasn't it?</dialogue> <character>SISTER IRENE</character> <dialogue>Until we came to this place. The evil I sensed as a child. The visions I saw -- they never had a face. But last night... last night I looked directly into its eyes. I was terrified. But it was then I also truly knew for the first time that I was right and my father was wrong -- I wasn't crazy.</dialogue> <character>FATHER BURKE</character> <dialogue>Faith protects. And the truth -- John 8:32 -- the truth will you set you free...</dialogue> <scene_description>ClopClopClop... CUT TO: CRACKED STONE. And then BLOOD laps over it. Like the tide coming in. The Blood of Sister Victoria has grown even worse. That wound in the earth no doubt a fatal one. It stops right at the feet of Father Burke and Sister Irene. Both look up at THE ABBEY OF ST. CARTA And then at each other. Like this is going to be some kind of showdown. They continue their approach. Splish. Splish. Splish. We PULL BACK and reveal the CEMETERY And Sister Victoria's Grave. Dug up. Like something crawled out of it.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR - MOMENTS LATER</stage_direction> <scene_description>Father Burke and Sister Irene enter. Father Burke walks over to the Passageway. He is about to enter but -- wait --</scene_description> <character>SISTER IRENE</character> <dialogue>Father Burke. Please. We know this place was not originally built as a convent. But the Church deemed it Holy ground. We must respect that or our sacrilege may empower whatever evil may reside within.</dialogue> <scene_description>Can't believe she's saying this but --</scene_description> <character>SISTER IRENE</character> <dialogue>Let me go in and find the sisters.</dialogue> <character>FATHER BURKE</character> <dialogue>But Sister Irene --</dialogue> <character>SISTER IRENE</character> <dialogue>I am afraid of this place, Father. But I fear it more if we begin treating it with irreverence.</dialogue> <character>FATHER BURKE</character> <dialogue>You make a good point. But I'm still going in.</dialogue> <scene_description>Yeah he is. Except for what happens next. Which happens in seconds, okay? Father Burke -- -- starts to move toward the door. But they both hear a slight click! above them. They look up right as -- The Portcullis drops. Sister Irene pushes Father Burke out of the way. He falls back as -- CLANK! The Portcullis drops. Inches away from the tips of his shoes. Holy shit. He looks up at Sister Irene. In disbelief. Through the portcullis --</scene_description> <character>SISTER IRENE</character> <dialogue>I'll go find Sister Miranda.</dialogue> <character>FATHER BURKE</character> <dialogue>I'll look for another way in.</dialogue> <scene_description>Sister Irene turns to go but not before --</scene_description> <character>FATHER BURKE</character> <dialogue>Sister. Thank you.</dialogue> <scene_description>She nods. And steps into darkness.</scene_description> </scene> <scene> <stage_direction>INT./EXT. CONVENT - COURTYARD - CONTINUOUS</stage_direction> <scene_description>Sister Irene enters. Struck by a sense of foreboding. Maybe because the Convent seems even more lifeless than before. Ground looks cracked and churned over. Like a scabbed wound. The occasional whistle of wind -- and Sister Irene's breathing -- the only sound.</scene_description> <character>SISTER IRENE</character> <dialogue>Hello?</dialogue> <scene_description>Her voice so small. Her sense of dread so big. Feeling exposed, Sister Irene looks for cover under one of the ARCHED WALKWAYS That runs along the perimeter of the Abbey. She pushes open a nearby door and pokes her head into the PRIVATE CHAPEL Rafters rotting. Prayer candles nearly burned out. And that once-beautiful Pipe Organ. Covered under a thick layer of dust. Evidence it hasn't been used for ages. What has happened here? Sister Irene approaches the ALTAR Sees that WOOD CARVED STATUE OF MARY cradling the Baby Jesus. Or -- as Sister Irene draws nearer -- um -- That's what it used to be. Because it's since been defaced. And now the Virgin Mary looks just like The Nun. Or wait, is it actually The Nun? And look at the Baby Jesus she cradles. He has WINGS. Of a fucking pigeon. Ripped off one of those DOZENS OF DEAD PIGEONS that lay in puddles of their own blood near the Altar. Sister Irene quickly crosses herself and shuts her eyes tight. Like she knows this is an image that will haunt her for the rest of her days. However many left there may -- ORGAN BLASTS. Behind her. One deep, loud flat chord. Like the augmented 4th. Otherwise known as the 'Devil's Interval'. Startled, she turns. Sees no one. But the chord literally wakes the dead. And all of the birds behind her FLUTTER up into darkness above the rafters. Sister Irene SCREAMS. Runs to the side of the Chapel. Looks above her into the darkness hanging overhead. Birds somewhere up there. She can hear their wings flapping. How is that possible? Her eyes once again are drawn to the altar. Over to the Statue of the Not-Virgin Nun and her Winged Baby.</scene_description> <character>SISTER IRENE</character> <dialogue>Sister Miranda? Anyone?</dialogue> <scene_description>Creeeeaaaaaak. She turns. Private Chapel Door begins to close.</scene_description> <character>SISTER IRENE</character> <dialogue>No! Wait!</dialogue> <scene_description>She hurries. And right as the door is about to clack shut -- She pushes it back open wide.</scene_description> <character>SISTER IRENE</character> <dialogue>Please --</dialogue> <scene_description>Steps back out into the COURTYARD CORRIDOR Not a soul. At first, anyway. Because then she sees the EDGE OF A NUN'S HABIT flap at the Far End of the Corridor. As if a NUN is standing just around the corner. Spying on her.</scene_description> <character>SISTER IRENE</character> <dialogue>Hello? Sister Miranda?</dialogue> <scene_description>The Sister slips behind the corner. Disappearing. Uh... Sister Irene follows. Not sure she should -- or wants -- to be doing this. Turns the same corner and sees -- THAT NUN hurrying toward the the far end when Sister Irene blurts out again --</scene_description> <character>SISTER IRENE</character> <dialogue>Please! Wait!</dialogue> <scene_description>But the Nun doesn't. Ducks into another Door. Sister Irene chases her down and into the DINING HALL Not at all like we last saw it. Sister Irene recoils at the stench of the ROTTED MEAT splattered on the tables. Stacked dirty plates. Chairs overturned. And scattered on the floor, she sees those HOLY CARDS Colors faded. Even the Saints themselves seem like they've aged. And who's that there? Sister Irene picks it up. Sees it's the Virgin Mary. Or used to be before it was defaced with BLACK INK. Black circles around the eyes. Black lines across the lips. They all resemble The Demon Nun. Sister Irene picks up a few other Holy Cards scattered about. Not every one -- but enough -- are defaced the same way. Sister Irene lowers the last defaced card to reveal -- THE SHADOW OF THE DEMON NUN. On the back wall.</scene_description> <character>SISTER IRENE</character> <dialogue>No...</dialogue> <scene_description>It begins to move. As it does, it rattles the POTS. Clangs the PANS. Knocks over SHELVES. Plates CRASH to the floor. The Shadow stops behind a DINING TABLE. Moves its arms out like it's grabbing the edge of the table and then -- FLINGS THE TABLE AT SISTER IRENE. It flies across the Dining Hall right toward her. It just misses her as Sister Irene turns and races out of the Hall. Back into the COURTYARD CORRIDOR Where she seeks refuge. To gather herself. Which is when she sees the EDGE OF A NUN'S HABIT flap at the Far End of the Corridor. As if a NUN is standing just around the corner. Spying on her.</scene_description> <character>SISTER IRENE</character> <dialogue>Hello? Sister Miranda?</dialogue> <scene_description>The Sister slips behind the corner. Disappearing. Uh... Sister Irene slowly walks the length of the Corridor. Not sure she should -- or wants -- to be doing this. She turns the corner into ANOTHER CORRIDOR Leading deeper into the Convent. And at the far end, we just see THAT NUN hurrying toward the the far end when Sister Irene blurts out again --</scene_description> <character>SISTER IRENE</character> <dialogue>Please! Wait!</dialogue> <scene_description>That Nun stops. But doesn't turn around. Sister Irene stops too. Not sure what to do. Stay here? Approach? No. Don't approach. Please. Sister Irene risks getting closer. Somewhere, the wind continues to whistle. So close she could reach out and touch the Nun. She doesn't though. Only begins to inch herself ever closer when -- That Nun darts forward again. Right through an ARCHED OPENING Where Another Corridor begins. This one even darker. She picks up a nearby CANDLE. Burning its wick. Begins to walk down, revealing -- CRUCIFIXES and CROSSES. They're everywhere. As if we're about to enter a cave and they're the stalactites and stalagmites. Sister Victoria stares into the blackness of the CORRIDOR OF CRUCIFIXES. Wondering the same thing we are: What in the hell must be down there? Probably nothing good. CUT TO: -- A MAP of the CASTLE. And we get a better sense of its massive labyrinthine layout. Designed for defense in mind, as were most medieval castles. THAT CORRIDOR THERE is probably where we just left Sister Irene. And what's ahead of her is hard to tell. That area of the map is covered in ONE BIG BLOTCH of Red Ink. Or wait... Is that blood? By the way, we're back in the PARLOUR With Father Burke, as he turns the page of a MASSIVE BOOK revealing ANOTHER IMAGE of the Castle Interior. It's the UNDERCROFT. The basement below. It's populated with drawings depicting terrifying Demonic Creatures of Hell. Strange... Concerned for Sister Irene, Father Burke looks back at the Passageway: Where is she? He turns back to the MAP Finds the Parlour. Sees the Passageway. And what's this? A SECRET PASSAGE? Looks like it's hidden by the -- CONFESSIONAL BOOTH. Burke about to investigate further when -- A REFLECTION catches his eye in a nearby Mirrored Vase. It's the Abbess. Standing right behind him. Father Burke turns and sees -- The Abbess seated in her chair. As if she was always there. Watching. And waiting. How'd she -- ? Nevermind.</scene_description> <character>FATHER BURKE</character> <dialogue>Abbess.</dialogue> <scene_description>He glances back over at the Passageway.</scene_description> <character>THE ABBESS</character> <dialogue>She's fine, Father.</dialogue> <scene_description>No. She's not. Father Burke looks back at The Abbess. Something is off. But he can't quite place it. Her voice, maybe.</scene_description> <character>THE ABBESS</character> <dialogue>What is the answer you seek?</dialogue> <character>FATHER BURKE</character> <dialogue>I fear something is very wrong here, Abbess... I don't believe it began with the deceased Nun.</dialogue> <character>THE ABBESS</character> <dialogue>Like many places in this world, the Abbey has a long history. Not all good. But we repent.</dialogue> <character>FATHER BURKE</character> <dialogue>That Nun -- I found her clutching something in her hands. A key.</dialogue> <scene_description>Pulls the Rosary Key out from his side pocket. Dangles it in front of him. Like bait.</scene_description> <character>FATHER BURKE</character> <dialogue>Would you happen to know what it opens? I suspect it was important to her...</dialogue> <character>THE ABBESS</character> <dialogue>No.</dialogue> <scene_description>Father Burke considers her answer. Not sure whether he believes her as a sudden, unnatural draft... ...blows out the candles. Darkness falls. Father Burke squints, adjusts his eyesight. Is the Abbess still there? Can't see. Nervous, he quickly pockets the Key. Pulls out MATCHES.</scene_description> <character>FATHER BURKE</character> <dialogue>Abbess?</dialogue> <scene_description>He strikes one. Lights a candle. The glow brightens revealing -- oh -- She's still seated there. But her head is slumped forward. Like she fell asleep. Or, y'know, died. Father Burke scans the room. As if there's been a change -- no, a charge -- in the air. A vague familiar feeling to him. Eyes fall back on the Abbess.</scene_description> <character>FATHER BURKE</character> <dialogue>Abbess...</dialogue> <scene_description>No answer. Shit. Father Burke lifts the candle. Holds it high, expanding its glow as much as the small flame can muster. He begins to slowly approach The Abbess.</scene_description> <character>FATHER BURKE</character> <dialogue>Abbess?</dialogue> <scene_description>No answer. And now he stands before her. He reaches out and touches her shoulder. She does not stir. And is cold to the touch. Huh. His hand drops to the edge of the Parlor Veil. Is he going to... Oh, he is. He gathers the edge of it in his hand. Deep breath. And he begins to raise the veil. So slow. Painfully so. Here it comes, her face about to be revealed but -- The Abbess' Hand SNATCHES his arm. Don't go any further. Startled, Father Burke steps back. Her fingers still clutch his arm as he does and -- holy shit -- Her arm breaks off and comes with him. Father Burke drops the candle. It still glows. A miracle. He grabs her arm with his other hand. Her grip strong, he struggles to pry off her fingers. They look like the ends of a dead tree branch. Gnarled, withered, spindly. Still stepping back, he frees himself and the arm drops. Shocked, he looks back up at the Abbess. Still seated in the chair. One arm gone. Not that you can tell, really. And then -- The Abbess leaps out of her chair. Lunges at Father Burke. He falls back and The Abbess leaps on top of him. He struggles to fight her off as he hears her SHRIEK --</scene_description> <character>THE ABBESS</character> <dialogue>Valak will have your soul!</dialogue> <scene_description>Gathering every ounce of his strength, Father Burke flings her aside. Into darkness. Fuck. Where'd she go? Father Burke looks over at the Confessional.</scene_description> </scene> <scene> <stage_direction>INT. THE CORRIDOR OF CRUCIFIXES - CONTINUOUS</stage_direction> <scene_description>Sister Irene has not come far since we last left her. But you can't blame her for taking her time. For being cautious. Keeps her eyes ahead of her as she inches forward. Ever so slo-- A CROSS. Clatters to the floor. Right in front of her feet. She kneels. Picks it up. Grips it like a sword. Stands and continues on. Rounding a corner, revealing -- That Nun. Kneeling before a CLOSED DOOR. And the door looks rather ordinary. But given the context, I imagine it's anything but. We hear That Nun WHISPERING prayers.</scene_description> <character>SISTER IRENE</character> <dialogue>What is this place?</dialogue> <scene_description>Creeeaaaaaaak... Closed Door begins to slowly open. From which -- A GUST OF WIND. Catches That Nun's Habit and whips it up and away, as if whoever was wearing it is invisible. Or a ghost. Habit falls. And then is sucked into the STORM OF BLACKNESS beyond That Open Door. Oh God. What's in there? Terrified, Sister Irene stumbles back. Looks away from the That Door. Her expression pained. She drops the cross. And then -- EVERY CRUCIFIX AND CROSS IN THE CORRIDOR FALLS. And one by one they begin to slide into the doorway. Sister Irene looks up. Emerging out of the blackness beyond she sees -- The Nun. Sister continues racing through VARIOUS ROOMS And when she feels as if she's gained some distance between she and The Nun she risks a look BEHIND HER And The Nun is standing right fucking there. Sister Irene SCREAMS. Lost, she twists this way and that way hoping to find herself back to the Passageway but instead we see she's in another LONG CORRIDOR Somewhere deep inside the convent. She looks behind her. All alone. Slows down to recover some energy. CreakCREAKCreakCREAK... Faint. What is that? Sister Irene moves to investigate as the creakCREAKcreaking continues. Down the length of the corridor. As she walks, she looks down and can see DROPS of BLOOD. Like morbid bread crumbs. Dotting the way toward that CreakCREAKCreakCREAK... She stops outside a Monastic Cell. The creaks coming from something on the other side of the door. Sister Irene pushes it open. Revealing -- A NUN. Sitting in a Rocking Chair in the far corner of the Monastic Cell. Her back to us. Rocking away. CreakCREAKCreakCREAK...</scene_description> <character>SISTER IRENE</character> <dialogue>Hello?</dialogue> <scene_description>CreakCREAKCreakCREAK... Frightened, Sister Irene slowly approaches the Rocking Chair. And as she comes around she sees who sits in it -- Sister Miranda. Staring blankly into space. With eyes that bleed. On her lap a CRUCIFIX. And her palms open. Also red with blood. Stigmata.</scene_description> <character>SISTER IRENE</character> <dialogue>Oh dear God! Sister Miranda!</dialogue> <scene_description>Sister Irene tries to shake Sister Miranda out her catatonic state. But to no avail. She remains unresponsive.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Sister Irene --</dialogue> <scene_description>Scared, Sister Irene spins. Sees Sister Ruth and Several Other Nuns huddled together. How long have they been there? Sister Ruth goes over and shuts the door. Locks them inside. Turns to Sister Irene and asks --</scene_description> <character>SISTER RUTH</character> <dialogue>What did Sister Miranda tell you?</dialogue> </scene> <scene> <stage_direction>INT. PARLOUR - CONTINUOUS</stage_direction> <scene_description>Father Burke approaches the Confessional. Its carvings of damned souls seem to stretch out and reach for him. One of us... One of us... One of us... His eyes dart to the shadows that surround him. The Abbess could be cloaked in any one of those. Or maybe she's -- Behind the Confessional Curtain. Because it flutters. Enough to raise your hair and get your palms sweating. Father Burke reaches out for the curtain. Grabs the edge and pulls it back, revealing -- Nothing. He steps INSIDE THE CONFESSIONAL BOOTH Searching for that Secret Passage into the Convent. Slides his hands over a Back Panel. Nothing. But then -- He hears A THIN, PREPUBESCENT VOICE from behind the Lattice.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Forgive you, Father, for you have sinned...</dialogue> <scene_description>Father Burke freezes. No. No no no...</scene_description> <character>FATHER BURKE</character> <dialogue>Daniel?</dialogue> <character>VOICE/DANIEL (O.S.)</character> <dialogue>How long have I been dead, Father?</dialogue> <scene_description>Chills him to the bone.</scene_description> <character>FATHER BURKE</character> <dialogue>Six... seven years.</dialogue> <character>DANIEL (O.S.)</character> <dialogue>Did you cast out the evil, Father?</dialogue> <character>FATHER BURKE</character> <dialogue>I-I don't know...</dialogue> <scene_description>Father Burke leans forward. Peers through the Lattice. Is he really in there? Can't see. He quickly exits back into the PARLOUR Hurries to check the Other Side of the Confessional. No sign of Daniel. But he sees a crack of an opening. The Secret Passage. Father Burke about to enter but -- SOMETHING FLOPS DOWN ONTO HIM. He looks onto his shoulder -- not sure what it is yet -- and sees -- A SNAKE. Hissing at him. Father Burke yanks it off of him. MORE SNAKES RAIN DOWN FROM THE RAFTERS ABOVE. Father Burke reels back. Stumbling onto the floor. He looks up and sees -- THE BOY. With WINGS SPROUTED FROM HIS BACK. Perched on the rafters like a gargoyle. He snarls with demonic eyes. Forked tongue lashing out of his mouth. It is VALAK, as described in the Book of Solomon. When he takes on the frightening form of a winged child. Burke's blood freezes at the sight. The Boy VOMITS OUT snake after snake. Continuing to drop down onto the Burke. Burke scrambles to his feet as -- The Boy jumps down. But he never hits the floor. Its wings flutter like a hummingbird, keeping it hovering inches off the ground. Father Burke races toward the exit. The Boy in pursuit. And just as the Boy is about to grab him, Father Burke reaches the Entrance and SLAMS THE DOOR behind him. BANG! On the other side of door. BANG! BANG! BANG! And then -- Silence. Father Burke on his knees recovering just beyond the ENTRANCE THRESHOLD to the Parlour. It's sealed off by the door. The one way back in now closed off. He calls out --</scene_description> <character>FATHER BURKE</character> <dialogue>Sister Irene!</dialogue> <scene_description>Damnit. He's stuck out here. And then -- On the ground in front of him in a lone shaft of sunlight, his CROSSWORD PUZZLE. He looks down. 14 Across. Transference. Over to the grid --</scene_description> <character>D - L - V - - I - -</character> <dialogue>Got it.</dialogue> <character>FATHER BURKE</character> <dialogue>Deliveries.</dialogue> <scene_description>He immediately gets up. Runs. CUT TO: BLACK. Until the Storm-Like CELLAR DOORS open -- letting in the daylight -- and Father Burke descends into the ICE HOUSE Stops when he reaches the bottom. His eyes go over to the Access Door. And those few open inches. There it is. The way in. As he moves toward it -- A NOISE. Behind him. He turns and sees DIRT-STAINED FINGERS grip the edge of the door. Father Burke steps back as he sees -- Sister Victoria begin to descend the stairs after him. Her bones cracking, her brains bleeding. Father Burke runs over to the ACCESS DOOR Tries to slide it open. Can't. It's stuck. He looks back at Sister Victoria. Getting closer. He pulls on the door harder. C'mon, goddamnit, move... But no. Too stubborn. Once more he looks back at Sister Victoria and -- SHE'S RIGHT THERE. Right on him. Raises her hands to scratch his fucking eyes out when -- SMACK! She's hit with a SHOVEL. Sister Victoria falls away, revealing behind her holding the shovel is -- Frenchie.</scene_description> <character>FRENCHIE</character> <dialogue>I thought you could use some help.</dialogue> </scene> <scene> <stage_direction>INT. MONASTIC CELL - CONTINUOUS</stage_direction> <scene_description>As Sister Irene listens to Sister Ruth, occasionally her eyes drift over to the back of poor Sister Miranda.</scene_description> <character>SISTER RUTH</character> <dialogue>Sister Miranda broke a code by speaking to you. Whether it was lies or not...</dialogue> <character>SISTER IRENE</character> <dialogue>She wanted help. I know she did.</dialogue> <character>SISTER RUTH</character> <dialogue>As did Sister Victoria.</dialogue> <character>SISTER IRENE</character> <dialogue>But she killed herself.</dialogue> <character>SISTER RUTH</character> <dialogue>In the interest of preservation.</dialogue> <character>SISTER IRENE</character> <dialogue>Of what?</dialogue> <character>SISTER RUTH</character> <dialogue>Hope. Our hope. Sister Victoria was trying to save us but failed. Sister Miranda was trying to do the same thing in her own way but she should not have depended on outsiders...</dialogue> <character>SISTER IRENE</character> <dialogue>Why? What's happening? Is what they say true? Is there really a -- a portal -- a doorway to Hell here?</dialogue> <character>SISTER RUTH</character> <dialogue>Yes. And for centuries it was closed and this convent thrived in its purpose as gatekeepers, protecting Man from the demonic forces of Hell. But we could not protect Man from himself -- and the last War dropped the bombs which rattled this Abbey and cracked open the door, letting loose the demon that had been beating against it for centuries.</dialogue> <scene_description>Sister Ruth looks over at an Older Nun.</scene_description> <character>SISTER RUTH</character> <dialogue>Sister Christian? The time has come...</dialogue> <scene_description>SISTER CHRISTIAN, 50s, speaks up. As she talks, it's hard not to notice the scars on her neck. Like she survived a hanging.</scene_description> <character>SISTER CHRISTIAN</character> <dialogue>I came here thirty years ago. Many of us weren't even aware of what was present under the Abbey until after the second war. That's when the strange things began to happen... Some called them sightings, others called them hauntings. But many in the cloister began to flee as the encounters got worse... The Abbess stopped recruiting and those of us that remained made a pact to stay because we discovered that as our numbers dwindled, the power of the demonic forces got stronger... It takes many forms -- a serpent, a small winged child -- but the form the evil takes the most is --</dialogue> <character>SISTER IRENE</character> <dialogue>A nun.</dialogue> <character>SISTER CATHERINE</character> <dialogue>Yes.</dialogue> <character>SISTER RUTH</character> <dialogue>It was the Abbess who discovered the portal had been opened. She went down to lock it but without the proper protection and she came back under the influence of the demonic... She was killed but her tormented soul remains.</dialogue> <character>SISTER IRENE</character> <dialogue>Protection?</dialogue> <character>SISTER RUTH</character> <dialogue>The closer to the portal, the stronger the influence. There is a relic needed to guard one's soul against the underworld. Without it the door cannot be approached nor can it be closed...</dialogue> <character>SISTER IRENE</character> <dialogue>The key. Sister Victoria was holding it...</dialogue> <scene_description>KNOCKKNOCKKNOCK! On the door. Oh God. They look over at Sister Irene.</scene_description> <character>SISTER RUTH</character> <dialogue>See who it is...</dialogue> <scene_description>Her? Okay... She hurries over to the Judas Window. Opens it up. But no one is there. And then -- Father Burke appears in the window. Jeezus...</scene_description> <character>SISTER IRENE</character> <dialogue>Father Burke.</dialogue> <scene_description>She lets him in. He enters. Followed by Frenchie.</scene_description> <character>SISTER IRENE</character> <dialogue>Frenchie?</dialogue> <character>FRENCHIE</character> <dialogue>Seemed like the noble thing to do.</dialogue> <character>SISTER IRENE</character> <dialogue>How did you find me?</dialogue> <character>FATHER BURKE</character> <dialogue>The trail of blood.</dialogue> <character>SISTER IRENE</character> <dialogue>The key. Do you have the key?</dialogue> <character>FATHER BURKE</character> <dialogue>Yes.</dialogue> <scene_description>He pulls out the Rosary Key. Hands it to her. She turns to Sister Ruth and --</scene_description> <character>SISTER IRENE</character> <dialogue>Sister Ruth. Tell him about the key...</dialogue> <scene_description>But Sister Ruth just stares at her.</scene_description> <character>SISTER IRENE</character> <dialogue>Sister Ruth -- please --</dialogue> <character>FATHER BURKE</character> <dialogue>Sister Irene...</dialogue> <scene_description>Sister Irene looks over at Father Burke. Both he and Frenchie are looking at her, like --</scene_description> <character>FATHER BURKE</character> <dialogue>Who are you talking to?</dialogue> <scene_description>Sister Irene looks back at Sister Ruth and the Other Nuns. But they're gone. Desperate, she looks around the room. Nowhere they could have gone. Only Sister Miranda in the Rocking Chair remains. The rocking diminished. Now she just sits.</scene_description> <character>FATHER BURKE</character> <dialogue>Visions.</dialogue> <scene_description>Sister Irene. A dawn of realization appears on her face. Once again she approaches Sister Miranda. And this time she sees -- The Corpse of Sister Miranda. Clearly she's been dead for months. If not longer. Sister Irene GASPS. Father Burke grabs a BEDSHEET. Throws it over Sister Miranda in the chair. He pulls Sister Irene away. As they step back, Sister Irene gathers herself. Sign of the Cross. Begins a prayer but -- Cloaked Sister Miranda springs to life. Lunges at Father Burke. STABS the Crucifix into his side, tries to dig her nails into his face. Father Burke HOWLS. As he SLAMS Sister Miranda back down onto the cot as she twists and contorts under the sheet. Pins her down.</scene_description> <character>FATHER BURKE</character> <dialogue>Help me hold her down!</dialogue> <scene_description>Frenchie helps. Demonic WAILS and MOANS through the sheet. Not giving up. Father Burke looks around for anything that may help. Sees a CUP of WATER near the bedside. Light bulb. Prays over it:</scene_description> <character>FATHER BURKE</character> <dialogue>God's creature, water, I cast out the demon from you in the name of God the Father almighty, in the name of Jesus Christ, His Son, our Lord, and in the power of the Holy Spirit. May you be a purified water, empowered to drive afar all power of the enemy, in fact, to root out and banish the enemy himself, along with his fallen angels. We ask this through the power of our Lord Jesus Christ, who is coming to judge both the living and the dead and the world by fire.</dialogue> <scene_description>He looks to Sister Irene.</scene_description> <character>FATHER BURKE</character> <dialogue>Hand me the holy water.</dialogue> <scene_description>Sister Miranda moves for it. Sister Miranda flails. Knocking Frenchie into Sister Irene who spills the Holy Water. Oh no... Holy Water mixes with the blood of -- Father Burke. He and Frenchie wrestle Sister Miranda back down. Father Burke looks over at the Door.</scene_description> <character>FATHER BURKE</character> <dialogue>Go out to the hallway and get ready to shut the door.</dialogue> <scene_description>They can barely hold Sister Miranda down any longer. Her screams like a rake scraped against her throat. Sister Irene goes over to the Door. Grabs the handle. Father Burke looks over at Frenchie.</scene_description> <character>FATHER BURKE</character> <dialogue>One... two...</dialogue> <scene_description>They release Sister Miranda. They race toward the Door. Sister Miranda close behind. They makes it out just as -- SLAM! Door closes right on her arm. Her cloaked face still screeches through the Judas Window. Father Burke forces her arm back behind the door and then Sister Irene gives it another -- SLAM! Closed. Sister Miranda falls away from the Judas Window. Silence. Is she finished? Sister Irene steps up to peek through the Judas Window to make sure but -- A BLOODY HAND GRABS HER. Again. It's Father Burke.</scene_description> <character>FATHER BURKE</character> <dialogue>No good will come of that.</dialogue> <scene_description>He slides down onto the floor. Hand covering his wound. Sounding defeated...</scene_description> <character>SISTER IRENE</character> <dialogue>They're all dead. It is lost.</dialogue> <character>FATHER BURKE</character> <dialogue>No. Not yet. The demon still needs a conduit -- a human host to escape these grounds. Sister Victoria must have been the last nun. I suspect that's why she jumped from a window. It wasn't suicide. It was a sacrifice so the demon couldn't have her soul. We need to seal the portal and contain the evil.</dialogue> <scene_description>CUT TO: FRESH STITCHES. As Frenchie sews him up, through the pain --</scene_description> <character>FATHER BURKE</character> <dialogue>I believe I know where the portal is...</dialogue> <scene_description>They're in the KITCHEN Trying not to watch too closely --</scene_description> <character>SISTER IRENE</character> <dialogue>Yes. I do too. But we can't go down there unless we're guarded against the evil...</dialogue> <character>FATHER BURKE</character> <dialogue>By what?</dialogue> <character>SISTER IRENE</character> <dialogue>The key.</dialogue> <scene_description>Father Burke pulls out the Key.</scene_description> <character>FATHER BURKE</character> <dialogue>'...the keys of Hell and of death.'</dialogue> <character>SISTER IRENE</character> <dialogue>But Father, before we begin, I'd like to take my vows...</dialogue> <scene_description>Frenchie stops the stitches. Looks at her. As if he might say something. Something clever, something witty...</scene_description> <character>FATHER BURKE</character> <dialogue>Are you certain of this?</dialogue> <character>SISTER IRENE</character> <dialogue>My visions. I now know they are a miracle of God and I am ready to commit my life to Him...</dialogue> <character>FRENCHIE</character> <dialogue>Now that, Sister, is a noble act.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE CHAPEL - MOMENTS LATER</stage_direction> <scene_description>In a corner somewhat untarnished by evil, Sister Irene lays face down on the floor. The act of prostration. And by the way, there is so much more to this ceremony to explore but for now let's just cut to the chase:</scene_description> <character>FATHER BURKE</character> <dialogue>--May the love of God unite you and make you a true family that united in the name of the Lord, it may be an image of Christ's. Amen.</dialogue> <scene_description>Sister Irene rises. And now we realize she's wearing the BLACK HABIT. The symbol of complete devotion to God.</scene_description> </scene> <scene> <stage_direction>INT. CONVENT - VARIOUS CORRIDORS - MOMENTS LATER</stage_direction> <scene_description>Sister Irene, Father Burke and Frenchie hurry with the key. The Nun stares up at her from the courtyard. Oh no...</scene_description> <character>FATHER BURKE</character> <dialogue>Keep in the shadows.</dialogue> <scene_description>The only thing they can do is maneuver as best they can in the opposite direction from which the Nun approaches. Until they reach the CORRIDOR OF CROSSES Father Burke grabs a candle. It battles back the blackness but it's not a war this light is going to win. As they draw closer to the end of corridor, the candle flame grows smaller and smaller and smaller and... Pfffft. Dies. For a moment, they are stuck in an awful darkness that seems to suffocate them all. Until we see -- AN ORANGE GLOW. Begin to brighten. Sister Irene holds up the Rosary Key. It burns with flame but the fire does not scorch her as she grips it.</scene_description> <character>FATHER BURKE</character> <dialogue>God's light. Stay within it. It will protect us...</dialogue> <scene_description>Huddling close together, they move toward the end. But The Nun appears behind them. Casting a long shadow. They turn. And tremble.</scene_description> <character>FATHER BURKE</character> <dialogue>DEMON!</dialogue> <scene_description>Nun looks over at Burke. Begins to walk toward him.</scene_description> <character>FATHER BURKE</character> <dialogue>We cast you out, every unclean spirit, every satanic power, every onslaught of the infernal adversary, every legion, every diabolical group and sect, in the name and by the power of our Lord Jesus Christ.</dialogue> <character>FATHER BURKE</character> <dialogue>We command you, begone and fly far from the Church of God, from the souls made by God in His Image and redeemed by the Precious Blood of the Divine Lamb. No longer dare, cunning serpent, to deceive the human race, to persecute God's Church, to strike God's elect and to sift them as wheat. For the Most High God commands you, He to Whom you once proudly presumed yourself equal; He Who wills all men to --</dialogue> <scene_description>Nun CHARGES at Father Burke.</scene_description> <character>FATHER BURKE</character> <dialogue>GO! STAY IN THE LIGHT! CLOSE THE</dialogue> <character>PORTAL!</character> <dialogue>They do.</dialogue> <dialogue>Descending a spiraling set of STAIRS. The deeper Sister Irene and Frenchie go, the more she hears the distant sounds of Whispering Voices: Are they calling out to them?</dialogue> <dialogue>They continue down the stairs, as if they're descending into Hell itself. Which isn't so far off from the truth.</dialogue> <dialogue>As we saw on the map earlier, it used to be the</dialogue> <scene_description>UNDERCROFT OF THE CASTLE Technical term for what you call the cellar. But it is lined with brick and has vaulted ceilings and is seemingly endless. The GLOW does little to penetrate the darkness. So they can only sees the following in horrifying glimpses -- Discarded bones. Strange runes mapped on the floor. Illegible words scrawled in blood on the walls. And the TORTURE DEVICES. Each one worse than the last. The Brazen Bull. The Judas Seat. The Iron Maiden. A Nun long ago dead on each. We recognize their faces. Sister Ruth. Sister Christian. Sister Catherine. The Others. Frenchie looks at a Nun crucified on an upside down cross. Like Peter the Apostle. The Dead Nun smiles at him. Eeeeesh. He reels back. And for the slightest instant, we see him step out of the protective light. He recoils back for Sister Irene but sense she isn't there. He turns and --</scene_description> <character>FRENCHIE</character> <dialogue>Sister...</dialogue> <scene_description>Merde. He's come face to face with the Winged Boy. It grabs Frenchie by the neck and slams him down onto the ground. The Winged Boy clambers on top of him. And as Frenchie opens his mouth to scream the Boy opens his mouth and -- -- VOMITS A SERPENT into his mouth. The snake writhes and slithers down Frenchie's throat. The Boy stands up. And for a second we lose him in the darkness. But a small shaft of light find him again, revealing he's no longer The Boy but... ...The Demon Nun. She steps further into the shadows. Sister Irene spins.</scene_description> <character>SISTER IRENE</character> <dialogue>Frenchie? Frenchie?!</dialogue> <scene_description>From the shadows -- he groans --</scene_description> <character>FRENCHIE (O.S.)</character> <dialogue>Sister...</dialogue> <scene_description>Over there.</scene_description> <character>SISTER IRENE</character> <dialogue>You need to stay in the light!</dialogue> <scene_description>She runs in the direction of his suffering. The light reveals him huddled on the ground. What's he whispering? Oh God... Is he... Is he singing?</scene_description> <character>FRENCHIE</character> <dialogue>J'ai trouvé l'eau si belle que je m'y suis baigné...</dialogue> <scene_description>Sister Irene holds the light over him, he continues to sing as he starts to look back. Twisting his head on his neck. Bones SNAP. Until he's staring up at her. With EYES OF THE DEMONIC. And UPSIDE DOWN CROSSES pushing through his skin. He lunges at her. Sister Irene stumbles back. Frenchie POUNCES on top of her. Fights for the Keylight. Holding his hand over the flame, the GLOW -- Dims... and dims... And the evil in the darkness encroaches. Getting closer to her. Revealing themselves to be a cloister of -- DEMONIC NUNS. Whispering Satanic prayers. The Keylight -- that Holy Light -- almost gone as Frenchie continues to pin Sister Irene to the ground. Gripping it tight. But then -- Father Burke SLAMS into Frenchie. Frenchie falls to the side in a crumpled heap.</scene_description> <character>FATHER BURKE</character> <dialogue>CLOSE THE DOOR!</dialogue> <scene_description>Thwoooom! Sister Irene is yanked out of frame. She slides across the floor of the undercroft. Still holding onto the keylight as she SCREAMS.</scene_description> <character>FATHER BURKE</character> <dialogue>Sister!</dialogue> <scene_description>She's gone. But we go with her. Staying in the light to protect us until we find -- Sister Irene clutching to the sides of a DOOR in the wall. Barely hanging on. About to get sucked into the PORTAL Beyond it glows a RED, HELLISH FIERY LIGHT. Shafting through putrid smoke. Sister Irene struggles as her Habit twists and tangles, flying off into the darkness behind her. She continues to fight. And right as it looks like she's about to win -- oh no -- The Demon Nun appears out of the Portal. Grabs her.</scene_description> <character>SISTER IRENE</character> <dialogue>NO!</dialogue> <scene_description>Sister Irene looks back at the Nun. She sees its skin peel away, revealing a snarling BLACK, DEMON-SNAKE FACE. With a mouth filled with fangs. Head with horns. Sister Irene SCREAMS. Father Burke sees Irene through the other Demonic Nuns. Determined, he fights his way forward.</scene_description> <character>FATHER BURKE</character> <dialogue>Sister Irene!</dialogue> <scene_description>The Demon Nun looks beyond Sister Irene. Locks eyes with Father Burke. A showdown of epic proportions.</scene_description> <character>FATHER BURKE</character> <dialogue>VALAK! I cast you out! I banish from this place all curses, hexes, spells, witchcraft, black magic, demonic assignments, diabolic infestations, oppressions, possessions; all that is evil and sinful! In the name of Jesus Christ, I command you!</dialogue> <scene_description>Valak SCREECHES. His grip loosens on Sister Irene. She pulls herself out and over to the side. Scrambling she reaches back for the Door. SLAMS it shut. JAMS the Rosary Key into the lock. Turns it and -- Holy Light floods the room. Vanquishes the evil. Debris settles. And from out of a settling cloud of dust, Father Burke emerges. Bruised and beaten. But alive.</scene_description> <character>SISTER IRENE</character> <dialogue>Thank God.</dialogue> <character>FATHER BURKE</character> <dialogue>Are you hurt, Sister?</dialogue> <scene_description>Shakes her head. She looks over at where Frenchie lay.</scene_description> <character>SISTER IRENE</character> <dialogue>Frenchie...</dialogue> <scene_description>But he's gone.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR - LATER</stage_direction> <scene_description>Father Burke and Sister Irene walk toward the exit. Light streams in through the cracks. The darkness lifted at last.</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE CHAPEL - LATER</stage_direction> <scene_description>Father Burke and Sister Irene sit in a pew.</scene_description> <character>FATHER BURKE</character> <dialogue>Are you sure you won't come?</dialogue> <character>SISTER IRENE</character> <dialogue>No. My path has led me here. This is where I will remain to help rebuild the Abbey...</dialogue> <character>FATHER BURKE</character> <dialogue>I will tell Cardinal Conroy to send the help you need.</dialogue> <character>SISTER IRENE</character> <dialogue>What about Frenchie? We never found his body. He must be somewhere. Did the evil escape with him?</dialogue> <character>FATHER BURKE</character> <dialogue>Perhaps. But the greater evil was contained. If there was a demonic force attached to Frenchie it will reveal itself.</dialogue> <character>FATHER BURKE</character> <dialogue>I am certain someone good will be there to send it back..</dialogue> <character>SISTER IRENE</character> <dialogue>How can you say that with such certainty?</dialogue> <character>FATHER BURKE</character> <dialogue>Faith. Because I have faith, Sister...</dialogue> <scene_description>Sister Irene smiles.</scene_description> </scene> <scene> <stage_direction>EXT. ABBEY OF ST. CARTA - LATER</stage_direction> <scene_description>Sister Irene stands in the Doorway as she watches Father Burke disappear beyond the crosses. Looks down to her hands. Holding a BLACK HABIT. Miranda's, maybe. Or Sister Victoria's. But now? It's hers. She puts on the Habit. Wears it well. Gives one last look to the outside world before -- SLAM! She SHUTS the door on it. BLACK. Over which, A WOMAN SCREAMS. Years Later Warren, Massachusetts CUT TO: The SCREAMING WOMAN. Terrified, she kneels by her bed inside her MASTER BEDROOM Face red. Eyes desperate.</scene_description> <character>WOMAN</character> <dialogue>Please, please don't --</dialogue> <scene_description>BLAM! A SHOTGUN BLASTS off her arm. She HOWLS. BLAM! Another shot. Blasts into her skull. Splattering her brains on the bedside wall. She falls. As her dead eye stare up at -- It's Frenchie. The years have not been kind to him. A hulking, sweating mess of a man. Dare I say he looks... Possessed. In case you missed it in our beginning, his real name is Maurice Thierault. And now we recognize him from The Conjuring. As the Man in the Exorcism Footage. Oh. Shit. He STOMPS out of the Master Bedroom. Down the stairs and into the FAMILY ROOM There's a POUNDING on the Front Door. But he ignores it. As he plops down on his favorite recliner. Behind the Front Door, we hear a MUFFLED VOICE. Calling out. Urgent. But Frenchie ignore that too. He lifts up his sweat-soaked WHITE T-SHIRT. We see UPSIDE DOWN CROSSES push out of his body. His eyes begin to BLEED. As Frenchie positions the shotgun under his neck. And without hesitation -- He pulls the trigger. Click. But it doesn't work. BOOM! Front Door KICKS open. Revealing -- ED AND LORRAINE WARREN. With a Priest behind them. Good has finally come to send the evil back. They stare in horror at Frenchie sitting in the Recliner. Speckled in his wife's blood.</scene_description> <character>ED</character> <dialogue>My God, Maurice. What have you done?</dialogue> <scene_description>Lorraine looks over to the MIRROR across the room. And instead of Frenchie's reflection staring back at her... ...it's Valak. Lorraine's eyes go WIDE. Oh no... Valak looks at Lorraine. He SNARLS. AND THE MIRROR SHATTERS TO -- BLACK! The End</scene_description> </scene> </script>

In 1952 Romania, two nuns living at the Saint Cartha's monastery are attacked by an unseen evil force. The surviving nun, Sister Victoria, flees from the attacker, a demon appearing as a nun, and hangs herself. Her body is discovered by Frenchie, a villager who transports supplies to the nuns. The Vatican sends Father Burke with Sister Irene, a nun in her novitiate, to Romania to investigate. The pair meets Frenchie, discover Victoria's body, and take a key from her corpse. Inside the abbey, they meet the Abbess, who informs them that the nuns observe silence during the night so they need to return the next day. That night, Burke is rescued by Irene after being buried alive in the graveyard by the demonic entity. The next day, Irene and Burke return to the abbey, but only Irene can enter as it is cloistered. She meets the other nuns and learns that they are praying constantly, swapping in shifts, to keep the entity at bay. The abbey was built in the Dark Ages as a castle for the Duke of St. Carta, a powerful aristocrat obsessed with the occult. The duke summoned the demon through a rift in the catacombs but was killed by Christian knights, who sealed the rift with a vial filled with the Blood of Christ. However, the bombings during World War II reopened the rift, unleashing the entity. Burke identifies the demon as Valak and discovers the Abbess has been dead all along. Irene is attacked by Valak and joins the nuns in prayer to ward it off. When she reunites with Burke and Frenchie, she discovers that none of the nuns she had seen and talked to were real and she had been praying alone. Sister Victoria had in fact been the last nun in that abbey and had sacrificed herself to stop Valak from possessing her. Theorizing that Valak can only be stopped if they seal the rift again with the blood of Christ from the reliquary the same way the knights did, the trio retrieves the vial with Victoria's key. Irene asks Burke to elevate her status to a professed nun, which he does. In the tunnel, she is possessed by Valak but Frenchie smears the blood of Christ on her face, casting out the demon. Valak starts to drown her in a flooded chamber. Irene, who had kept some of Christ's blood from the vial in her mouth, spits it into the demon's face, banishing it as the rift is sealed. Frenchie resuscitates Irene and reveals his real name is Maurice. Unbeknownst to the others, during the attack, Maurice was possessed by Valak. Twenty years later at a university seminar in Wakefield, Massachusetts, Carolyn Perron watches as Ed and Lorraine Warren present footage of their attempt to exorcise a possessed older Maurice. Maurice grabs Lorraine, showing her a vision of Ed dying, which initiates the Warrens' investigation of the Perron farmhouse haunting.

Scream_2022

tt11245972

<script> <scene> <character>PARKSIDE</character> <dialogue>Written by</dialogue> <scene_description>James Vanderbilt and Guy Busick Property of: Spyglass Media Group© Project X Entertainment© March 2,2020 FADE IN ON: A SUBURBAN HOUSE At night. Crickets chirp. Northern California. Fall. We hear electronic TEXT WOOSHES on the soundtrack...</scene_description> </scene> <scene> <stage_direction>INT. CARPENTER HOME - KITCHEN - NIGHT</stage_direction> <scene_description>Wood floors, stone counters, a built-in pizza oven no one who lives here uses. An eight burner stove on a kitchen island. TARA CARPENTER (18) stands at said island, making ramen in a pot. Texting with her girlfriend AMBER. We see her name at the top of the text chain on Tara's cell. Amber texts: You should come over. Tara smiles. Texts back: Oh really? And do what? Amber's reply: Fun... stuff. :) Tara grins. Stirring the pasta. Types: My Mom said I can't leave. YOU should come over HERE. She pauses. Then adds: And do the aforementioned stuff. A beat. The three circles, moving. Then, the response: Convince me? On the wall, the LANDLINE RINGS. Blocked caller. Tara frowns. Ignores it. It's a landline, after all. Texts: No parents. Free dinner. Many binge watch options. Amber's response comes: Gotta do better. Tara takes the phone, puts it under her shirt, snaps a pic. On the wall, the LANDLINE stops ringing. The response text:</scene_description> <character>SOLD!</character> <dialogue>The LANDLINE RINGS AGAIN. Tara frowns. Before she can get a response from Amber, Tara writes:</dialogue> <scene_description>Fucking landline won't stop ringing. Robocalls. The three dots stop moving. Then move again. The response: I hate how they clone numbers that are close to yours to make you pick up. Tara writes back: This one is a blocked number. A beat. The response: Robocalls don't use blocked numbers anymore. Probs someone calling for your mom. Tara exhales. That means she should answer it. She walks over to the landline ands picks it up.</scene_description> <character>TARA</character> <dialogue>Hello?</dialogue> <scene_description>A kind (but familiar) voice on the other end.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Hello. Is Susan there?</dialogue> <character>TARA</character> <dialogue>Sorry, she's not available. May I take a message?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Is this her daughter?</dialogue> <character>TARA</character> <dialogue>May I take a message?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Sorry, yeah, I'm a friend from her... shit.</dialogue> <character>TARA</character> <dialogue>From her shit?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Um, just tell her I'm from group. I'm Charlie. She has my number.</dialogue> <character>TARA</character> <dialogue>She goes to a group?</dialogue> <scene_description>Silence.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Look, I shouldn't have... just tell her Charlie called.</dialogue> <character>TARA</character> <dialogue>I will do exactly that, Charlie, once you tell me what kind of group we're talking about.</dialogue> <character>VOICE (O.S.)</character> <dialogue>I don't think I can-</dialogue> <character>TARA</character> <dialogue>AA? NA? If so, it's about time-</dialogue> <character>VOICE (O.S.)</character> <dialogue>I'm really sorry I bothered you.</dialogue> <character>TARA</character> <dialogue>Does she talk about me in this group?</dialogue> <scene_description>A long beat. As she talks, she texts Amber: Dude I think this is Mom's new BF...</scene_description> <character>TARA</character> <dialogue>What does she say about me?</dialogue> <scene_description>Amber's response: Seriously???</scene_description> <character>VOICE (O.S.)</character> <dialogue>She loves you very much-</dialogue> <character>TARA</character> <dialogue>What does she love about me?</dialogue> <character>VOICE (O.S.)</character> <dialogue>I don't-</dialogue> <character>TARA</character> <dialogue>You're a little bit in deep shit here, Charlie, because from what I understand, anonymity is kinda the cornerstone of these bad boys, so since you've already screwed that particular pooch, I propose you answer my question so I don't tell Susan you blew her Alcoholics, Narcotics, Gambling, and Kleptomaniacs Anonymous cover, deal?</dialogue> <scene_description>Silence. The Voice takes a deep breath.</scene_description> <character>VOICE (O.S.)</character> <dialogue>She loves that you're creative. You love art and TV and movies-</dialogue> <character>TARA</character> <dialogue>Lots of people love movies-</dialogue> <character>VOICE (O.S.)</character> <dialogue>She says you love scary movies. And that you guys have that in common. She's proud of making a fan out of you.</dialogue> <scene_description>This strikes a chord with Tara.</scene_description> <character>TARA</character> <dialogue>She is?</dialogue> <character>VOICE (O.S.)</character> <dialogue>She told me the other day she was wondering... what's your favorite scary movie?</dialogue> <character>TARA</character> <parenthetical>(instantly)</parenthetical> <dialogue>The Babadook. It's an amazing meditation on motherhood and grief.</dialogue> <scene_description>The ramen on the stove, coming to a boil.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Isn't that a little fancy pants?</dialogue> <character>TARA</character> <dialogue>Well, it's elevated horror.</dialogue> <character>VOICE (O.S.)</character> <dialogue>What's that mean, elevated horror?</dialogue> <character>TARA</character> <dialogue>You know, like... scary, but with complex emotional and thematic underpinnings. Not just schlocky cheeseball nonsense.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Sounds kind of boring to me. Have you ever seen Stab?</dialogue> <scene_description>Tara furrows her brow.</scene_description> <character>TARA</character> <dialogue>Once, I think... at a sleepover when I was like 12.</dialogue> <character>VOICE (O.S.)</character> <dialogue>You live in Woodsboro and you don't know Stab?</dialogue> <character>TARA</character> <dialogue>It's not my thing. I mean talk about schlocky and cheeseball; isn't Tori Spelling the lead in most of them-?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Your mother loves that movie. She talks about it all the time in group. How well do you remember the original?</dialogue> <scene_description>Tara turns off the burner, gets a colander out of a cabinet.</scene_description> <character>TARA</character> <dialogue>I don't know, it was like super '90s. Really over-lit and everyone had weird hair.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Do you remember the beginning?</dialogue> <character>TARA</character> <dialogue>Not really. It starts with a kill scene, right? They always start with a kill scene.</dialogue> <character>VOICE (O.S.)</character> <dialogue>That's right. It's a girl at home, alone. She answers a wrong number and starts talking with the killer, who makes her play a game.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Would you like to play a game, Tara?</dialogue> <character>TARA</character> <dialogue>Fuck you, you're weird.</dialogue> <scene_description>She slams down the phone. Spooked. Texts Amber: It was some psycho. I'm locking the doors. Tara uses the SMARTHOUSE APP on her phone to lock all the doors of the house. They KA-CHUNK into place as the text comes back: WTF??? You okay? Tara starts writing back: I'm fine, I just- CUT OFF as the LANDLINE RINGS AGAIN, making Tara jump. She stares at it. It continues to trill. Fuck that. A text sound from her phone. From Amber: You should answer it. Tara stares at her phone. Realizing something. She texts Amber back slowly: How did you know my landline was ringing? No response. Not even the dots. A bead of sweat runs down Tara's forehead. The landline continues to ring. Tara texts again, now fully freaked out: Amber? Tara stares at the screen. The response comes back: This isn't Amber. Tara stares at it. Numb. A new text comes: But I enjoyed the picture you sent me. Tara looks ill. She hugs herself, exposed. Starts to text back when this comes in:</scene_description> <character>ANSWER THE PHONE BITCH.</character> <dialogue>Tara goes to her phone app, begins dialing 911...</dialogue> <character>ANSWER THE PHONE OR AMBER DIES.</character> <dialogue>Tara stops dialing and snatches up the landline-</dialogue> <character>TARA</character> <dialogue>This isn't fucking funny, Amber-</dialogue> <character>VOICE (O.S.)</character> <dialogue>I told you, this isn't Amber.</dialogue> <scene_description>Incoming text sound. It's a link to a SNAPCHAT. Tara clicks on it. A window opens showing a VIDEO FEED -- We're looking through a BEDROOM WINDOW. A TEENAGE GIRL sits at her desk, doing her homework, her back to us. This is AMBER (18). A person in a GHOSTFACE costume angles the phone so he's in frame. Just outside Amber's window.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Amber's looking particularly fetching tonight. She really shouldn't leave her phone lying around for anyone to pick up.</dialogue> <character>TARA</character> <dialogue>What do you want?</dialogue> <scene_description>She goes back to the phone app, dialing 911 again...</scene_description> <character>VOICE (O.S.)</character> <dialogue>I already told you, I want to play a game. Stab movie trivia. Three rounds. You call the cops, she dies. You get a question wrong, she dies.</dialogue> <scene_description>911 punched in, Tara's finger hovers above the "call" icon...</scene_description> <character>VOICE (O.S.)</character> <dialogue>Her parents aren't home. I can be in that room in 15 seconds.</dialogue> <scene_description>We see Ghostface hold up a knife in front of the camera on the Snapchat. It glints in the moonlight. On Tara. Her face crumples. She closes the phone app.</scene_description> <character>VOICE (O.S.)</character> <dialogue>You want a warm up question?</dialogue> <character>TARA</character> <dialogue>I told you, I don't know those movies! Ask me about something else, ask me about It Follows, or Hereditary, or The Witch-</dialogue> <character>VOICE (O.S.)</character> <dialogue>In the first Stab movie, what Woodsboro native was introduced as the franchise's main character?</dialogue> <scene_description>Tara's eyes go wide, she knows this one.</scene_description> <character>TARA</character> <dialogue>Sidney Prescott! It's Sidney Prescott, right?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Correct. See, you're gonna do great at this. Okay, Question 1-</dialogue> <character>TARA</character> <dialogue>No, that should count! I got that one right!</dialogue> <character>VOICE (O.S.)</character> <dialogue>Anyone would have gotten that one right, Sidney's in every movie but the last one. Question 1: Who wrote the original book that the Stab movies are based on?</dialogue> <character>TARA</character> <dialogue>That's... that's... the chick from TV...</dialogue> <character>VOICE (O.S.)</character> <dialogue>"The chick from TV" is not gonna cut it, Tara.</dialogue> <character>TARA</character> <dialogue>Gale Weathers! It's Gale Weathers, motherfucker!</dialogue> <character>VOICE (O.S.)</character> <dialogue>Correct! Amber might live to see the sunrise! Question 2: Who played the dumb bitch in the beginning of Stab 1 who answers the phone and gets carved up by the killer?</dialogue> <scene_description>Fuck. Tara doesn't know. On her face, struggling with it...</scene_description> <character>TARA</character> <dialogue>Fuck you!</dialogue> <character>VOICE (O.S.)</character> <dialogue>Is that the answer you're going with?</dialogue> <character>TARA</character> <parenthetical>(near tears)</parenthetical> <dialogue>I told you, I don't know these movies! They're stupid '90s retro bullshit, nobody gives a shit about slashers anymore, that's why they stopped making them!</dialogue> <character>VOICE (O.S.)</character> <dialogue>I'm gonna need an answer. Or do you want to watch me open up your girlfriend's stomach?</dialogue> <scene_description>Tara looks down at the Snapchat link to Amber, desperate... And then realizes she's looking at her PHONE. Fuck this, she's gonna cheat. Opens up Safari, googles STAB IMDB. The link comes up...</scene_description> <character>VOICE (O.S.)</character> <dialogue>A non-answer counts as a wrong answer, Tara...</dialogue> <character>TARA</character> <dialogue>No, no, no, I just need a second, I just need to think...</dialogue> <scene_description>The IMDB CAST LIST comes up - a bunch of character names. None of which she knows. Shit! It's probably not Sidney, Gale, Dewey, Randy, Tatum, Billy, who's a big enough name...?</scene_description> <character>VOICE (O.S.)</character> <dialogue>Time's up, Tara-</dialogue> <character>TARA</character> <parenthetical>(best guess)</parenthetical> <dialogue>Heather Graham!</dialogue> <scene_description>She's looking at an entry - Casey Becker - Heather Graham. A long beat. If we don't know the movies, we don't know if she's right or wrong either, but...</scene_description> <character>VOICE (O.S.)</character> <dialogue>Correct! You pulled that one out! Now, for the Final Question: who was the killer in Stab 1?</dialogue> <scene_description>On Tara, as her whole demeanor brightens with victory! Glances at the IMDB to confirm it, but she knows it!</scene_description> <character>TARA</character> <dialogue>I know this one, you fuck! It's Billy Loomis! He was Sidney's boyfriend and he planned the whole thing and he was played by Luke Wilson and I got you, asshole! I got you, and I got this right!</dialogue> <scene_description>She bursts into laughter, giddily.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Oooooh, I'm sorry, Tara, but that's just not correct.</dialogue> <character>TARA</character> <dialogue>What?! No, no, no, it is, it is-</dialogue> <character>VOICE (O.S.)</character> <dialogue>The correct answer is Billy Loomis and Stu Macher. There are two killers in the original Stab. I'm afraid someone's gotta die now.</dialogue> <character>TARA</character> <dialogue>No! No!</dialogue> <scene_description>Tara snatches a knife from the island, and runs for the front door! She's gotta save Amber! Unlocks the doors with the home security app, then presses the EMERGENCY button to trigger an alert to the police! Calling Amber as she runs, hurling open the door...</scene_description> <character>TARA</character> <dialogue>Answer the phone, Amber!</dialogue> <scene_description>...to find GHOSTFACE standing right there waiting for her! Tara SCREAMS as Ghostface BURIES A KNIFE in her stomach! On instinct she swings her hand with her phone and catches him in the jaw! He reels back, pulling the knife out of her gut! Tara stumbles back into the house, looking down at the knife wound. Blood blooming on her shirt. Like a bad dream. Looks up - Ghostface is CHARGING HER! She holds up her own knife but he knocks it away and slams her back into the kitchen island! She grabs a blender and slams it into his head! He goes down, grabbing her belt, pulling her to the ground too! She claws at him, trying to get away... They both see the fallen butcher knife. Both reaching for it. She knees him in the balls. But he scoops it up. She rolls on her back as he STABS IT DOWN right at her face... ...on instinct, she raises her right hand to protect herself and the blade goes right through it! Slicing through her palm, halting it before it reaches her face! Tara, staring in shock at the steel blade protruding from the back of her hand, inches from her face. Blood gouts. Horrifying. She screams and kicks Ghostface off her. She claws her way towards the still open front door. Exit. Safety. Blood pours from her wounds. Sounds in the distance. Sirens? Hope? Ghostface rises behind her. Unsteady on his feet. He lurches away from her. Towards the kitchen island. What...? And then we realize - he's going for the knife block. Tara, almost at the door. She can see blue and red lights down the street now. Police cherries. They are coming. Tara opens her mouth to scream for help... ...and Ghostface stabs her in the back! Driving the knife between her shoulder blades. Tears it out, stabs her again. Pulls the bloody mess that is Tara away from the door. Flips her over. She's crying and howling in pain. We hear the cops pulling up. Ghostface hesitates. Is he gonna deliver the final blow? Or is he gonna run? For a moment we think he's gonna leave her, and then... He STABS THE KNIFE DOWN straight towards camera! Slicing the screen in two and we SMASH TO OUR TITLE: FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. COSTCO - LOADING DOCK - ESTABLISH DAY</stage_direction> <scene_description>SUPER - Modesto, California. Peak hours, full parking lot. SAM CARPENTER (24) sits at the edge of a loading bay, feet dangling. She wears an employee's outfit and name tag. In her hand, a days-of-the-week PILL CONTAINER. She cracks open Tuesday, shakes four pills into her hand, pops them in her mouth. With a swig of Monster, down they go.</scene_description> <character>RICHIE (O.S.)</character> <dialogue>Excuse me, Miss - what did you just take?</dialogue> <scene_description>Sam whips around to find RICHIE KIRSCH (25) grinning at her. He wears the same uniform. Sam rolls her eyes.</scene_description> <character>SAM</character> <dialogue>Your boner pills. Good luck getting it up now.</dialogue> <character>RICHIE</character> <dialogue>You are my boner pills.</dialogue> <character>SAM</character> <dialogue>Uggggh.</dialogue> <scene_description>Richie laughs at her reaction. They look around to make sure they're alone, then KISS.</scene_description> <character>RICHIE</character> <dialogue>You all right?</dialogue> <character>SAM</character> <dialogue>Yep.</dialogue> <character>RICHIE</character> <dialogue>You'd tell me, yeah?</dialogue> <character>SAM</character> <dialogue>Yes. You don't have to check on me all the time. I'm-</dialogue> <scene_description>Her phone BUZZES. Doesn't recognize the number, sends the call to voicemail.</scene_description> <character>SAM</character> <dialogue>-not breakable.</dialogue> <character>RICHIE</character> <dialogue>This, I know.</dialogue> <scene_description>Now there's an incoming text. Sam reads it: Sam, it's Wes Hicks. Don't know if you remember me. I'm a friend of your sister. Please call ASAP, it's about Tara.</scene_description> <character>SAM</character> <dialogue>Shit...</dialogue> <scene_description>Sam immediately clicks the number that just called.</scene_description> <character>RICHIE</character> <dialogue>What's wrong?</dialogue> <scene_description>The phone ringing on speaker and then:</scene_description> <character>WES (O.S.)</character> <parenthetical>(answering)</parenthetical> <dialogue>Sam?</dialogue> <character>SAM</character> <dialogue>What happened?</dialogue> <character>WES (O.S.)</character> <dialogue>Okay. So. Tara... was attacked.</dialogue> <scene_description>Sam involuntarily rises to her feet, panicking.</scene_description> <character>SAM</character> <dialogue>What? Is she-</dialogue> <character>WES (O.S.)</character> <dialogue>She's alive. But in bad shape. She was... stabbed. Seven times.</dialogue> <character>SAM</character> <dialogue>Stabbed? What the fuck?</dialogue> <character>WES (O.S.)</character> <dialogue>She made it through surgery and the doctors said it went well. She's resting. Your mom-</dialogue> <character>SAM</character> <dialogue>I'm on my way.</dialogue> <character>WES (O.S.)</character> <dialogue>Okay. I'll see you soon-</dialogue> <character>SAM</character> <dialogue>Wait. Do they know who did this?</dialogue> <scene_description>A beat.</scene_description> <character>WES (O.S.)</character> <dialogue>It's probably better if you just come here-</dialogue> <character>SAM</character> <dialogue>Wes.</dialogue> <character>WES (O.S.)</character> <parenthetical>(exhales)</parenthetical> <dialogue>It was someone in a fucking Ghostface costume.</dialogue> <scene_description>PUSH IN on Sam. Something in her face tells us that this news is significant. Personal.</scene_description> <character>SAM</character> <dialogue>I'll see you in a few hours.</dialogue> <scene_description>Sam ends the call and turns to Richie.</scene_description> <character>RICHIE</character> <dialogue>I'm coming.</dialogue> <character>SAM</character> <dialogue>Richie-</dialogue> <character>RICHIE</character> <dialogue>Sam. I'm coming with you.</dialogue> <scene_description>Sam nods, tears brimming in her eyes. He gently pulls her close, wraps his arms around her...</scene_description> </scene> <scene> <stage_direction>EXT. WOODSBORO HIGH - SAME TIME</stage_direction> <scene_description>WES HICKS (17, bookish) pockets his phone. REVEAL that he's standing next to a very familiar fountain. STUDENTS mingle as they head to their bikes or cars. School's out. AMBER FREEMAN (18, tough), whom we recognize from Ghostface's voyeuristic Snapchat, sits on the fountain's edge. MINDY MEEKS-MARTINEZ (18, no filter) is next to her, ear buds in, watching something on her phone.</scene_description> <character>AMBER</character> <dialogue>She's coming?</dialogue> <character>WES</character> <dialogue>Yeah.</dialogue> <character>AMBER</character> <dialogue>Watch everything get worse.</dialogue> <character>WES</character> <dialogue>What were we supposed to do? You know her mom isn't gonna tell her.</dialogue> <character>AMBER</character> <dialogue>Yeah, and you know why.</dialogue> <scene_description>CHAD MEEKS-MARTINEZ (18), Mindy's jocky twin brother, and his pink-haired artsy girlfriend, LIV TATE (18) approach, in mid- conversation:.</scene_description> <character>CHAD</character> <dialogue>...I'm just saying, with everything going on, I think it's time we take our relationship to the next, most intimate level.</dialogue> <scene_description>The friends all look to Liv, confused. She exhales.</scene_description> <character>LIV</character> <dialogue>He wants me to accept his Find My Friends request.</dialogue> <character>CHAD</character> <dialogue>It's the safest move with a would- be killer on the loose! I know where you are, you know where I am-</dialogue> <character>LIV</character> <dialogue>You can stalk me like a jealous boyfriend-</dialogue> <character>CHAD</character> <dialogue>You can stalk me like a jealous boyfriend-</dialogue> <character>AMBER</character> <dialogue>Is this because you two aren't having sex yet?</dialogue> <character>WES</character> <dialogue>Don't do it, Liv, there's a psycho out there. Make yourself harder to find. Delete social media, tape over your phone camera, disable GPS-</dialogue> <character>CHAD</character> <dialogue>Thank you, Edward Snowden. By the way, your mom just asked me if I was involved in Tara's attempted murder, so that was fun.</dialogue> <scene_description>Wes looks over to see his mother, SHERIFF JUDY HICKS (from Scream 4) standing by her cruiser with her deputies. She waves at him cheerily, proud Mom. He shrinks back down.</scene_description> <character>WES</character> <dialogue>I'm sure she's asking everybody.</dialogue> <character>AMBER</character> <dialogue>Not just people like you, who look like 'roided out serial killers.</dialogue> <character>CHAD</character> <dialogue>What about you, Amber? That Snapchat could have been pre- recorded, so what's your alibi?</dialogue> <character>AMBER</character> <dialogue>How could it be me? Tara literally saw the killer and me in the same frame, genius.</dialogue> <character>LIV</character> <dialogue>But aren't there always two killers in Stab movies?</dialogue> <scene_description>Mindy looks up from her phone.</scene_description> <character>MINDY</character> <dialogue>Not in 3 or 8. Stay in your lane, Liv.</dialogue> <character>MINDY</character> <parenthetical>(to Wes)</parenthetical> <dialogue>The press still isn't saying Ghostface.</dialogue> <character>WES</character> <dialogue>Mom doesn't want to cause a panic.</dialogue> <character>MINDY</character> <dialogue>It'll get out. It always gets out by the second or third killing.</dialogue> <character>AMBER</character> <dialogue>Jesus, Mindy - there wasn't a first killing. Tara's alive.</dialogue> <character>MINDY</character> <dialogue>Hm. I mean, she could still die-</dialogue> <character>CHAD</character> <dialogue>Fuck, Mindy!</dialogue> <character>MINDY</character> <dialogue>Or the killer could come back for her-</dialogue> <character>LIV</character> <parenthetical>(to Chad)</parenthetical> <dialogue>Can you please tell your sister to stop talking?</dialogue> <character>MINDY</character> <dialogue>I'm just saying, something's different this time.</dialogue> <character>WES</character> <parenthetical>(showing them)</parenthetical> <dialogue>I'm telling you, arm up. Pepper spray? Check. Taser? Check-</dialogue> <character>AMBER</character> <dialogue>Girlfriend repellent? Check.</dialogue> <scene_description>Wes reddens as Liv sits up straight.</scene_description> <character>LIV</character> <dialogue>Holy shit, is that Vince?</dialogue> <scene_description>She's looking at a SKEEZY LOOKING DUDE hanging out in the parking lot. This is VINCE (22). Sleeve tattoos. Dark hair. Leering at Liv. A menacing presence.</scene_description> <character>CHAD</character> <dialogue>That creep you hooked up with last summer?</dialogue> <character>LIV</character> <dialogue>Yeah, he worked with Tara and me. He's been stalking my Instagram the last few weeks, saying creepy shit.</dialogue> <character>AMBER</character> <dialogue>He worked with Tara?</dialogue> <character>CHAD</character> <parenthetical>(rolls up his sleeves)</parenthetical> <dialogue>I think it's time to introduce him to Hobbs and Shaw...</dialogue> <character>LIV</character> <dialogue>Maybe not the best idea to incite violence in front of the Sheriff? Looks like he's leaving anyway.</dialogue> <scene_description>With a lascivious air kiss, Vince gets into his truck.</scene_description> <character>LIV</character> <parenthetical>(squeezes Chad's bicep)</parenthetical> <dialogue>Thanks anyway, boys.</dialogue> <scene_description>Chad winces. Mindy eyes him.</scene_description> <character>MINDY</character> <dialogue>Hm. Tara said she fought back, hard. You've got bruises.</dialogue> <character>CHAD</character> <dialogue>From practice. And can I point out that suspecting your twin brother of attacking our mutual friend is like seventeen kinds of fucked up?</dialogue> <scene_description>Amber looks up from her phone --</scene_description> <character>AMBER</character> <dialogue>Tara's awake, she just texted. I'm going to the hospital. You coming?</dialogue> <character>LIV</character> <dialogue>Can't, but I'll meet you later.</dialogue> <scene_description>Chad kisses Liv goodbye and heads to his car. As she goes, Liv notices Vince, in the parking lot, still eyeing her...</scene_description> </scene> <scene> <stage_direction>I/E. RICHIE'S PRIUS/CALIFORNIA INTERSTATE - DAY</stage_direction> <scene_description>Richie drives his used Prius towards Woodsboro. Sam, next to him, crawling out of her skin.</scene_description> <character>RICHIE</character> <dialogue>So. Woodsboro. Why does that sound so familiar?</dialogue> <character>SAM</character> <dialogue>The Stab movies. You know, Ghostface? Based on actual events?</dialogue> <parenthetical>(off his confused look)</parenthetical> <dialogue>You've never seen Stab? Not even the one came out last year?</dialogue> <character>RICHIE</character> <dialogue>I've never seen Gone with the Wind either, I don't consider it like a huge hole in my cinematic education-</dialogue> <character>SAM</character> <dialogue>Most of the Stab movies are based on things that really happened in my hometown.</dialogue> <scene_description>Richie looks at her, not liking where this is going.</scene_description> <character>RICHIE</character> <dialogue>Define "things."</dialogue> <character>SAM</character> <dialogue>Things like a guy named Billy Loomis and his friend carved up a bunch of high school kids while wearing this Halloween ghost mask.</dialogue> <character>RICHIE</character> <dialogue>You mean like in Halloween?</dialogue> <character>SAM</character> <dialogue>Not like in Halloween.</dialogue> <character>RICHIE</character> <dialogue>It sounds a lot like Halloween-</dialogue> <character>SAM</character> <dialogue>And every decade or so, some other idiot gets the bright idea to put on the mask, kill their friends, and get famous too. Last time was in 2011.</dialogue> <scene_description>Richie stares at her.</scene_description> <character>RICHIE</character> <dialogue>So you grew up in a place that's not only famous for serial killers, but where copycats spring up every few years? And we're driving there voluntarily?</dialogue> <character>SAM</character> <dialogue>I gotta make sure Tara's okay.</dialogue> <character>RICHIE</character> <dialogue>And I gotta make sure we don't get sliced up by some lunatic who saw a Jason Vorhees movie and thought, "You know, this guy's got some solid ideas!"</dialogue> <scene_description>He's trying to make her laugh. It's working.</scene_description> <character>SAM</character> <dialogue>You want a Xanax?</dialogue> <character>RICHIE</character> <dialogue>I would like all the Xanax, yes!</dialogue> <scene_description>Sam chuckles at this. Richie looks at her.</scene_description> <character>RICHIE</character> <dialogue>You know I'm down for whatever with you, right? We gotta go to serial killer central, we go to serial killer central.</dialogue> <character>SAM</character> <dialogue>You're sweet.</dialogue> <character>RICHIE</character> <parenthetical>(serious)</parenthetical> <dialogue>Can I ask you one question though? You have any idea why someone wearing that mask would want to kill your sister?</dialogue> <scene_description>Sam looks out the window at this. Not meeting his eye.</scene_description> <character>SAM</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - HALLWAY - EVENING</stage_direction> <scene_description>Sam and Richie walk down a Woodsboro Hospital hallway on their way to Tara's recovery room. Sam squeezes Richie's hand, takes a breath, and enters...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - TARA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Sam sees Tara and stops in her tracks. She isn't a pretty sight. Around the room are Amber, Mindy, Wes, and Chad. Amber glares at Sam as she goes to Tara's side.</scene_description> <character>SAM</character> <dialogue>Hey... How you feeling?</dialogue> <character>TARA</character> <parenthetical>(weak)</parenthetical> <dialogue>You came.</dialogue> <character>SAM</character> <dialogue>Of course I did. Wes called me.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>This is my boyfriend, Richie.</dialogue> <character>AMBER</character> <dialogue>You brought a date?</dialogue> <character>TARA</character> <dialogue>Don't start...</dialogue> <scene_description>Richie squats next to Tara.</scene_description> <character>RICHIE</character> <dialogue>It's very nice to meet you and I hope I'm not intruding.</dialogue> <scene_description>Tara smiles at him as Chad, Mindy, and Wes embrace Sam.</scene_description> <character>SAM</character> <dialogue>This is Chad and Mindy, the twins, and Wes Hicks. I used to babysit them all.</dialogue> <character>WES</character> <dialogue>Which is always how I like to be introduced.</dialogue> <scene_description>Richie shakes their hands in turn as Sam looks back to Tara.</scene_description> <character>SAM</character> <dialogue>Where's Mom?</dialogue> <character>TARA</character> <dialogue>She was here earlier-</dialogue> <character>AMBER</character> <dialogue>For all of ten minutes. Look, Tara's really tired, and there are like a lot of people in here, so...</dialogue> <character>TARA</character> <dialogue>It's okay. I want her to stay.</dialogue> <scene_description>Sam smiles, grateful.</scene_description> <character>SAM</character> <dialogue>I was thinking... I could sleep here tonight.</dialogue> <character>TARA</character> <dialogue>I'd like that.</dialogue> <scene_description>Amber opens her mouth, but Wes places a hand on her shoulder.</scene_description> <character>WES</character> <dialogue>Maybe we should let them catch up.</dialogue> <scene_description>Amber looks to Tara, who subtly nods. Amber, obviously a little hurt, but plants a kiss on Tara's forehead anyway.</scene_description> <character>AMBER</character> <dialogue>Text me if you need anything. You want this back for tonight?</dialogue> <scene_description>She fingers a SILVER NECKLACE she wears. Sam notices.</scene_description> <character>TARA</character> <dialogue>No, you keep it. For luck.</dialogue> <scene_description>Tara nods and goes. Wes, Mindy and Chad say their goodbyes and file out, along with Richie. Leaving the sisters alone. Not knowing what to say. Tara opens her mouth, but-</scene_description> <character>SAM</character> <dialogue>You gave her Dad's necklace?</dialogue> <character>TARA</character> <dialogue>It was mine to give.</dialogue> <character>SAM</character> <dialogue>It's the only thing he gave you-</dialogue> <character>TARA</character> <dialogue>You know, maybe Amber was right-</dialogue> <character>SAM</character> <dialogue>No. Shit, I'm sorry- I love you. Can we start over?</dialogue> <scene_description>Tara nods. Eyes starting to fill with tears.</scene_description> <character>TARA</character> <dialogue>I was so scared...</dialogue> <scene_description>Sam holds her sobbing sister. A rift begins to heal.</scene_description> </scene> <scene> <stage_direction>EXT. CORNER POCKET - ESTABLISHING - NIGHT</stage_direction> <scene_description>A pool hall where kids not old enough to drink hang out. Chad waits as Liv parks and gets out of her car. They kiss.</scene_description> <character>CHAD</character> <dialogue>So I was thinking about what Amber was saying. We've been together for awhile now, right? And I don't want to be the stereotypical jock who's trying to get into his girlfriend's pants-</dialogue> <character>LIV</character> <dialogue>Great!</dialogue> <scene_description>She kisses him on the cheek and heads inside. Chad blinks. Not the way he saw that going.</scene_description> </scene> <scene> <stage_direction>INT. CORNER POCKET - NIGHT</stage_direction> <scene_description>SMACK! Amber breaks a new game, the balls ricochet. Some find pockets. Mindy holds a cue, frowning at the decent break. Wes nurses a Coke at a nearby table. Chad and Liv arrive. Liv looks into the bar section at a white lady laughing hysterically as she guzzles white wine. Almost falling off her stool. SUSAN (40).</scene_description> <character>LIV</character> <dialogue>Jesus, is that Tara's Mom?</dialogue> <character>WES</character> <dialogue>Keeping it classy.</dialogue> <character>LIV</character> <dialogue>So what's she like? The sister?</dialogue> <character>CHAD</character> <dialogue>Sam's cool.</dialogue> <character>MINDY</character> <dialogue>You're just saying that because she let you wear Pokemon onesies to bed for a year.</dialogue> <scene_description>Amber misses her shot, Mindy lines up hers. As she speaks, Amber tipples whiskey from her flask into everyone's Cokes.</scene_description> <character>AMBER</character> <dialogue>Trust me, Sam's not "cool."</dialogue> <parenthetical>(to Liv)</parenthetical> <character>AMBER</character> <dialogue>Her Dad left her Mom, right? Walks right out when Tara's 8, Sam's 13. Tara just needs someone to lean on, to get through it, but Sam goes nuts. Starts drinking, doing drugs, getting arrested, hooking up with half the dudes in town-</dialogue> <character>CHAD</character> <dialogue>I, for one, support that kind of behavior-</dialogue> <scene_description>Liv smacks him.</scene_description> <character>AMBER</character> <dialogue>Then Sam leaves town on her 18th birthday and ghosts them all. Abandons Tara at 13 to deal with...</dialogue> <parenthetical>(points to Susan)</parenthetical> <dialogue>...that. Trust me, Sam's not the good guy in all this.</dialogue> <scene_description>Wes covers his own soda before Amber can spike it.</scene_description> <character>WES</character> <dialogue>I'd prefer to stay sharp, thanks.</dialogue> <parenthetical>(off Amber's eye roll)</parenthetical> <dialogue>So what, you're going to protect Tara from her own sister now?</dialogue> <character>AMBER</character> <dialogue>She's my girlfriend, so yeah.</dialogue> <character>WES</character> <dialogue>She was my girlfriend too.</dialogue> <character>AMBER</character> <dialogue>For like five minutes. Relax.</dialogue> <character>WES</character> <dialogue>It would have been a lot longer if you hadn't swooped in.</dialogue> <character>AMBER</character> <dialogue>Tara made the first move, bud. The heart wants what it wants.</dialogue> <scene_description>Mindy takes a break from running the table. Studies Wes.</scene_description> <character>MINDY</character> <dialogue>Hm. Motive.</dialogue> <character>WES</character> <dialogue>What?</dialogue> <character>MINDY</character> <dialogue>"If I can't have her, no one can."</dialogue> <character>WES</character> <dialogue>Fuck you, Mindy-</dialogue> <character>MINDY</character> <dialogue>Nothing personal. We're all suspects. Except maybe Liv.</dialogue> <character>LIV</character> <dialogue>Thank you.</dialogue> <character>MINDY</character> <dialogue>You're way too boring to be a psycho.</dialogue> <scene_description>Liv blinks. Points to her pink hair.</scene_description> <character>LIV</character> <dialogue>Um, hello? Wes is the boring one.</dialogue> <character>MINDY</character> <dialogue>No, Wes is the goody-goody. And you know who has pink hair? Boring people who dye their hair pink so they feel less boring.</dialogue> <scene_description>Liv, about to retort when --</scene_description> <character>VINCE (O.S.)</character> <dialogue>Hey, Liv.</dialogue> <scene_description>The group turns to see Vince hovering. Menacing.</scene_description> <character>VINCE</character> <dialogue>Buy you a real drink? Or are you happy at the kids' table?</dialogue> <scene_description>Liv shudders. Chad gets in his face.</scene_description> <character>CHAD</character> <dialogue>Look, Uglier Michael Myers, it was a Summer fling. You need to get the fuck over it. I'd be happy to help you with that.</dialogue> <character>VINCE</character> <dialogue>I'd be happy to open you up.</dialogue> <scene_description>SHICK. Out comes Vince's switchblade. Chad freezes. OVER THE SHOULDER of a SILVER-HAIRED DRUNK at the bar. Gets off his stool with effort due to a pronounced LIMP...</scene_description> <character>DRUNK</character> <dialogue>Put that thing away, Vince. You don't want anyone to get hurt.</dialogue> <scene_description>Vince turns to confront the drunk and we see- Oh shit, it's DEWEY RILEY. Worse for goddamn wear. Barely upright. The last decade etched deeply into his face.</scene_description> <character>DEWEY</character> <dialogue>Why don't you leave these kids alone and come have a drink with me-</dialogue> <character>VINCE</character> <dialogue>Fuck you, Riley.</dialogue> <scene_description>BAM! Vince's fist collides with the side of Dewey's head. Dewey drops. But Vince doesn't stop there. He PUMMELS Dewey as Chad tries unsuccessfully to pull him off</scene_description> <character>BARTENDER (O.S.)</character> <dialogue>Cops are on their way, Vince!</dialogue> <scene_description>Vince looks over to see the Bartender holding a phone. Reluctantly gets off Dewey, eye-fucking Chad the whole time.</scene_description> <character>VINCE</character> <dialogue>See you around, Liv.</dialogue> </scene> <scene> <stage_direction>EXT. CORNER POCKET - CONTINUOUS</stage_direction> <scene_description>Vince stumbles to the side of the building and takes a leak on the wall. Part necessity, mostly spite.</scene_description> <character>VINCE</character> <dialogue>Fuuuuuuck this barrrrrrrrrr!</dialogue> <scene_description>A shape passes behind him. Vince shakes it off, zips up and walks to his pick-up. Gets in, angrily slams the door and revs his engine.</scene_description> </scene> <scene> <stage_direction>I/E. VINCE'S TRUCK/COUNTRY ROAD - LATER</stage_direction> <scene_description>Vince speeds down a country road. A THWAPPING sound. The truck's pulling left. What the fuck?</scene_description> <character>VINCE</character> <dialogue>Motherfucker...</dialogue> <scene_description>He pulls over. WIDE OPEN FIELDS on both sides of the road...</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - CONTINUOUS</stage_direction> <scene_description>Vince finds his right rear tire is FLAT. A KNIFE sticking out of it. Vince, livid</scene_description> <character>VINCE</character> <dialogue>Riley, you piece of shit.</dialogue> <scene_description>Vince goes to the covered truck bed, about to open the tailgate when he pauses. Vince's an idiot, but even idiots know that masked killers jump out of things like truck beds. He girds himself... pops the latch, opens the gate... Nothing. He exhales. Takes out the spare and the jack. TIME CUT TO Vince as he raises the truck with the jack. CRANK. CRANK. CRANK. About to tackle the first lug nut when he hears it: DRIP. DRIP. DRIP...? Vince squats down. It's BRAKE FLUID leaking from a cut line.</scene_description> <character>VINCE</character> <dialogue>FUCK!</dialogue> <scene_description>Vince retrieves his tool box from the bed and SHIMMIES UNDER THE TRUCK. Rummages for tape for an emergency temp fix...</scene_description> <character>VINCE</character> <dialogue>So fucking dead. Try and kill me? I will fuck you the fuck up.</dialogue> <scene_description>And then... FOOTSTEPS crunching gravel on the shoulder of the road. But from where? There haven't been any cars. Nothing but empty space for as far as the eye can see.</scene_description> <character>VINCE</character> <dialogue>Who's there?</dialogue> <scene_description>Black, muddy boots appear in Vince's field of vision.</scene_description> <character>VINCE</character> <dialogue>You can fuck off, I got this!</dialogue> <scene_description>But the booted individual does not fuck off. Rather, the fringes of a Ghostface robe descend into view.</scene_description> <character>VINCE</character> <dialogue>I said-</dialogue> <scene_description>SHUNK. A butcher knife sinks into the flesh of Vince's thigh! He screams and tucks his legs under the truck!</scene_description> <character>VINCE</character> <dialogue>I'll fucking kill you, Riley!</dialogue> <scene_description>Vince scrabbles to the other side, starts to slide out -- SLASH! A deep gash appears on his forearm. He yelps and retreats under the truck again. WHAM! The jack is kicked out and the truck bottom nearly smashes Vince's face in.</scene_description> <character>VINCE</character> <dialogue>FUCK YOU!!</dialogue> <scene_description>Then... the engine starts.</scene_description> <character>VINCE</character> <dialogue>No. No fucking way-</dialogue> <scene_description>Vince rolls out on the driver's side and rises, expecting to find his attacker in the driver's seat... But GHOSTFACE is waiting in the bed of the truck! He BURIES HIS KNIFE in Vince's face and we SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>Sam's eyes shoot open and she JOLTS AWAKE! Dozed off in a chair next to Tara's bed. She looks to her sister, still asleep. Safe. Okay. Looks to the other chair... Richie sits, airpods in, watching his phone. Moving a lot, really into whatever he's watching. Like he's ducking punches from the bad guy. He blinks, sees she's awake.</scene_description> <character>RICHIE</character> <dialogue>You okay?</dialogue> <character>SAM</character> <dialogue>Bad dream. I thought you were going to the hotel.</dialogue> <character>RICHIE</character> <dialogue>Stab's on Netflix, I got sucked in.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>What? I want to be prepared.</dialogue> <scene_description>Sam shakes her head.</scene_description> <character>SAM</character> <dialogue>I gotta find a bathroom.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT</stage_direction> <scene_description>Sam pads down the hall. Very quiet. Passing an empty nurses' station. Finds a bathroom by the elevators...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Sam washes her hands. Splashes cold water on her face. Looks at herself in the mirror... Sees a FIGURE standing behind her and... It's BILLY LOOMIS. Skeet Ulrich himself, standing there, age appropriate, in our movie and What. The Actual. Fuck?</scene_description> <character>BILLY</character> <dialogue>How you doing, Sam? Kind of a fucked up situation, wouldn't you say?</dialogue> <scene_description>He says it casually. And rather than jumping, Sam just dries her hands and face. Like she's ignoring someone annoying.</scene_description> <character>BILLY</character> <dialogue>Gotta be tough for you, everyone talking about me again. And coming back here, opening up old wounds...</dialogue> <scene_description>She pulls a bottle from her pocket and pops a pill.</scene_description> <character>BILLY</character> <dialogue>Anti-psychotics aren't working as well as they used to, are they?</dialogue> <scene_description>Sam exhales and finally looks at Billy in the mirror.</scene_description> <character>SAM</character> <dialogue>Fuck you.</dialogue> <character>BILLY</character> <dialogue>Booze used to keep me away, but then you had to go to pills and now who knows what it's gonna take?</dialogue> <scene_description>Sam doesn't respond, just heads for the bathroom door...</scene_description> <character>BILLY</character> <dialogue>When are you going to tell her?</dialogue> <scene_description>This stops Sam in her tracks.</scene_description> <character>SAM</character> <dialogue>Tell who?</dialogue> <scene_description>Billy smiles at her through the mirror.</scene_description> <character>BILLY</character> <dialogue>Your sister. When are you gonna tell her why all this is happening?</dialogue> <scene_description>Sam's jaw works. But before she can respond, her phone rings. She looks at it, grateful for the distraction. Caller ID is Amber Freeman. Sam answers.</scene_description> <character>SAM</character> <dialogue>Hello?</dialogue> <scene_description>It's not Amber, it's a Voice we know.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Hello, Samantha.</dialogue> <character>SAM</character> <dialogue>Who is this?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Someone who knows your secret. What's your favorite Stab movie, Sam? I'm guessing it's the one with Billy Loomis in it.</dialogue> <character>SAM</character> <dialogue>You're the fuck who hurt my sister-</dialogue> <character>VOICE (O.S.)</character> <dialogue>She's not the only one I'm going to hurt. I had to get you to come back here somehow, didn't I?</dialogue> <character>SAM</character> <dialogue>You want to fuck with me, asshole? I'm right here, come and get me.</dialogue> <character>VOICE (O.S.)</character> <dialogue>With pleasure.</dialogue> <scene_description>And the bathroom door bursts open to reveal GHOSTFACE! Sam screams and ducks the knife slash! The blade impales itself in the stall door! Ghostface tries to pull it out as Sam tries to run past -- WHAM! He punches her straight in the face. She goes down hard. He rips the knife out of the stall door, advancing! Sam, scrambling backwards --</scene_description> <character>SAM</character> <dialogue>Help! Help me!</dialogue> <scene_description>He slashes down at her, but she kicks him in the leg! He buckles as Sam rises. Sees the door beyond Ghostface. In one quick move she LEAPS OVER HIM as he slashes at her! Sticks the landing, barrels out the door into --</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT</stage_direction> <scene_description>She bolts towards the Nurses's station.</scene_description> <character>SAM</character> <dialogue>Help, somebody's trying to kill me!</dialogue> <scene_description>Rounds a corner and- WHAM! Collides with a DEPUTY who was running towards her! Stationed there to watch over Tara.</scene_description> <character>DEPUTY VINSON</character> <dialogue>What's going on-?</dialogue> <character>SAM</character> <dialogue>A man in the bathroom just tried to kill me, call the cops!</dialogue> <character>DEPUTY VINSON</character> <dialogue>I am the cops-</dialogue> <character>SAM</character> <dialogue>Call more cops!</dialogue> <scene_description>The Deputy pulls his gun. Looks around the corner.</scene_description> <character>DEPUTY VINSON</character> <dialogue>That bathroom?</dialogue> <scene_description>Sam nods.</scene_description> <character>DEPUTY VINSON</character> <dialogue>Stay back.</dialogue> <scene_description>He moves towards it. Sam watches him. Snatches a pair of scissors off the Nurse's station just in case. The Deputy reaches the door. Kicks it open... Nothing. The bathroom's empty. Window at the other end open, wind blowing through the place. He lowers his gun...</scene_description> <character>SAM</character> <dialogue>You check the stalls?</dialogue> <scene_description>He raises his gun again. Steps inside. Sam watches from the hall as he checks each stall. Kicking them open one by one. Comes upon the last one... She tenses... We tense... He kicks it open. Empty. Ghostface is gone. Sam exhales.</scene_description> <character>SAM</character> <dialogue>Now will you call the cops?</dialogue> </scene> <scene> <stage_direction>EXT. SHERIFF'S DEPARTMENT - ESTABLISH</stage_direction> <scene_description>The teens' cars parked out front among the police cruisers.</scene_description> </scene> <scene> <stage_direction>INT. SHERIFF'S DEPARTMENT - WAITING AREA - NIGHT</stage_direction> <scene_description>Chad, Wes, Mindy and Amber sit on a bench at the front of the Sheriff's Department. Chad is speaking sotto to Wes.</scene_description> <character>CHAD</character> <dialogue>...I mean, she even slept with Vince, you know? Liv is not known for her conservative values. Is it me? Am I not as hot as I've been led to believe?</dialogue> <character>WES</character> <dialogue>You're a suspect in a murder, and this is what you're worried about?</dialogue> <character>CHAD</character> <parenthetical>(shrugs)</parenthetical> <dialogue>We're not all single virgins, Wes.</dialogue> <scene_description>Wes eyes Amber, who's texting with Tara.</scene_description> <character>WES</character> <dialogue>Well, maybe that'll change soon.</dialogue> <scene_description>It takes a moment for Chad to take his meaning.</scene_description> <character>CHAD</character> <dialogue>You think- Wait, you actually think Tara- That she'd leave that... to come back to you?!</dialogue> <scene_description>Wes shushes him, but Chad's escalating cackles result in the rare Dom Deluise silent laugh. Liv returns.</scene_description> <character>MINDY</character> <dialogue>Does Wes's mom think it's you? Because of the stalking? Did you use my "boring" defense?</dialogue> <scene_description>Liv looks back towards Judy's office.</scene_description> <character>LIV</character> <dialogue>I think she has her eye on someone else, actually...</dialogue> </scene> <scene> <stage_direction>INT. SHERIFF'S DEPARTMENT - SHERRIF HICKS'S OFFICE - SAME</stage_direction> <scene_description>Judy looks at Dewey with pity as he holds an ice pack to his quickly-bruising face.</scene_description> <character>JUDY</character> <dialogue>Dewey. You know why you're here?</dialogue> <character>DEWEY</character> <dialogue>Your deputy told me. Vince Schneider was found murdered right after he used my skull as a piñata. Couldn't have happened to a nicer guy.</dialogue> <scene_description>Judy, shocked.</scene_description> <character>JUDY</character> <dialogue>You used to be a nice guy, Dewey.</dialogue> <character>DEWEY</character> <dialogue>I'm still a nice guy, Judy. I'm just tired.</dialogue> <character>JUDY</character> <dialogue>Where did you go after you left the bar?</dialogue> <character>DEWEY</character> <dialogue>Home.</dialogue> <character>JUDY</character> <dialogue>Did you... drive in this condition?</dialogue> <character>DEWEY</character> <dialogue>What condition? Injured? Or drunk?</dialogue> <character>JUDY</character> <dialogue>Dammit, Dewey, I have to clear you. Just tell me-</dialogue> <character>DEWEY</character> <dialogue>I didn't do it. My neighbor saw me come home.</dialogue> <scene_description>Judy relaxes at the mention of an alibi.</scene_description> <character>JUDY</character> <dialogue>The person who tried to kill Tara Carpenter last night was wearing a Ghostface mask.</dialogue> <character>DEWEY</character> <dialogue>I heard.</dialogue> <character>JUDY</character> <dialogue>We think this murder is connected.</dialogue> <parenthetical>(beat)</parenthetical> <character>JUDY</character> <dialogue>No one has more experience with Ghostface killings than you.</dialogue> <character>DEWEY</character> <dialogue>I can think of a couple people.</dialogue> <scene_description>Judy goes to him. Sincere.</scene_description> <character>JUDY</character> <dialogue>What I'm saying is, I could really use your help... Sheriff.</dialogue> <character>DEWEY</character> <dialogue>Can I go now?</dialogue> <scene_description>Judy eyes him. Sad. Disappointed. A little pissed.</scene_description> <character>JUDY</character> <dialogue>What happened to you?</dialogue> <scene_description>Dewey doesn't answer. Rises to leave his old office when the door flies open and another Deputy enters at a run.</scene_description> <character>DEPUTY FARNEY</character> <dialogue>There's been another Ghostface attack over at the hospital, he tried to kill the Carpenter girl's sister!</dialogue> <scene_description>Judy looks over to Dewey who picks up his coat.</scene_description> <character>DEWEY</character> <dialogue>Good luck.</dialogue> <scene_description>He heads out the door, wanting nothing to do with it.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - TARA'S ROOM - NIGHT</stage_direction> <scene_description>Sam sits next to Tara, who's watching her protectively. Richie and Amber next to them as Sheriff Judy questions Sam.</scene_description> <character>JUDY</character> <dialogue>He called you on your phone?</dialogue> <character>SAM</character> <dialogue>Yes.</dialogue> <parenthetical>(looks over at Amber)</parenthetical> <dialogue>It was Amber's number.</dialogue> <character>AMBER</character> <dialogue>He must've cloned my phone when he stole it and pretended to be me.</dialogue> <character>RICHIE</character> <dialogue>Yeah. Or you did it.</dialogue> <scene_description>Judy turns to Richie.</scene_description> <character>JUDY</character> <dialogue>And where were you when this happened?</dialogue> <character>RICHIE</character> <parenthetical>(lamely)</parenthetical> <dialogue>I was... watching Netflix.</dialogue> <character>AMBER</character> <dialogue>Super solid alibi, bro.</dialogue> <character>RICHIE</character> <dialogue>So where were you?</dialogue> <character>AMBER</character> <dialogue>Me? I was at the police station talking to the Sheriff. But, you know, the Netflix alibi's good too-</dialogue> <character>JUDY</character> <dialogue>Both of you, stop it.</dialogue> <character>SAM</character> <dialogue>You're gonna put more cops on her room, right?</dialogue> <character>JUDY</character> <dialogue>We're stretched really thin, the best we can do is move you to a private floor. Deputy Vinson knows what he's doing. You'll be safe.</dialogue> <character>SAM</character> <dialogue>Like we've been so far?</dialogue> <character>JUDY</character> <parenthetical>(icy smile)</parenthetical> <dialogue>Samantha, let's step outside.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction> <scene_description>Sam follows Judy into the hall. Deputy Vinson sits by the door. Sam, regressing to her teenage "bad girl" persona.</scene_description> <character>SAM</character> <dialogue>Really great to see you again, Deputy Hicks, so many fun memories-</dialogue> <character>JUDY</character> <dialogue>I remember you, too. You are not a good kid. All you ever did was hurt the people around you. You want to keep Tara safe? Maybe when the sun comes up, you hit the road.</dialogue> <scene_description>Judy heads down the hall. Sam watches her go. Deputy Vinson just keeps thumbing his phone, pretending he didn't hear.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - TARA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Sam re-enters the room.</scene_description> <character>SAM</character> <dialogue>Well, she remains a delight.</dialogue> <character>TARA</character> <dialogue>Are you okay?</dialogue> <scene_description>She exhales and then looks to the others, deciding.</scene_description> <character>SAM</character> <dialogue>There's something I need to talk to Tara about, can you guys give us a minute?</dialogue> <character>AMBER</character> <parenthetical>(sighs, to Richie)</parenthetical> <dialogue>Come on, Netflix, let's go.</dialogue> <scene_description>Richie looks to Sam, she nods yes. Go. They do. Sam turns back to Tara when they close the door. Alone.</scene_description> <character>SAM</character> <dialogue>Do you remember when Dad left?</dialogue> <character>TARA</character> <dialogue>Parts, sure, I was eight. What does that have to do with-</dialogue> <character>SAM</character> <dialogue>It has to do with it.</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>You remember how Mom used to keep those boxes up in the attic? Well, I was up there looking for Christmas presents once when I was thirteen and in one of those boxes she had all these old diaries that she kept from high school-</dialogue> <character>TARA</character> <dialogue>Sam, what's-</dialogue> <character>SAM</character> <dialogue>I just need to do this, okay? She had these diaries, and I knew it was wrong, but I read some. Because she got pregnant with me in high school and I thought it would be cool to find out how she and Dad got together. How romantic it must have been, right?</dialogue> <scene_description>Tara stares at her.</scene_description> <character>SAM</character> <dialogue>So I read them. And it wasn't romantic. She was dating Dad, but she slept with this other guy who got her pregnant, and she told Dad it was his and that's why he proposed senior year and-</dialogue> <character>TARA</character> <parenthetical>(panic rising)</parenthetical> <dialogue>What are you talking about?</dialogue> <character>SAM</character> <dialogue>And I'm sitting there in the attic and I'm thirteen and I just found out my Dad isn't my Dad, so I go find Mom in the bedroom, and I'm screaming at her, and shoving the diary in her face, and I didn't even realize that Dad was standing right behind me.</dialogue> <scene_description>Tara stares at her, stricken.</scene_description> <character>SAM</character> <dialogue>He didn't know. He found out right then, from me. He left that night. I'm the reason he left.</dialogue> <character>TARA</character> <dialogue>No, no that's not-</dialogue> <character>SAM</character> <dialogue>Mom never forgave me. And she made me promise never to tell you. You were so young and-</dialogue> <scene_description>Tara, shaking her head-</scene_description> <character>TARA</character> <dialogue>No, no, no-</dialogue> <character>SAM</character> <dialogue>And that's why I got distant and weird and did every drug I could get my hands on-</dialogue> <scene_description>Tara's crying now-</scene_description> <character>TARA</character> <dialogue>Goddammit-</dialogue> <character>SAM</character> <dialogue>Not just because I destroyed our family, but because the diary told me who my Dad really was-</dialogue> <character>TARA</character> <dialogue>Sam, please-</dialogue> <scene_description>Sam, crying too now, confession almost complete-</scene_description> <character>SAM</character> <dialogue>It was Billy Loomis.</dialogue> <scene_description>Horror on Tara's face...</scene_description> <character>SAM</character> <dialogue>And I think that's why you got hurt. Somebody knows. And I'm so fucking sorry that I never told you and I ran away from it and I-</dialogue> <character>TARA</character> <dialogue>Get out.</dialogue> <scene_description>Sam blinks, shocked.</scene_description> <character>SAM</character> <dialogue>Tara-</dialogue> <character>TARA</character> <dialogue>You're gone five years and then I get stabbed and you dump this- this shit on me?! I- I can't-</dialogue> <character>SAM</character> <dialogue>Tara-</dialogue> <character>TARA</character> <dialogue>Get the fuck out!</dialogue> <scene_description>She grabs a water cup from her bedside and hurls it at her sister. Sam, weeping, backs out the door. No other option. Confession done.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT</stage_direction> <scene_description>Sam steps into the hall, trying to collect herself. Bumps into Richie, who was clearly listening at the door.</scene_description> <character>SAM</character> <dialogue>Were you listening at the door?</dialogue> <character>RICHIE</character> <dialogue>I would never-</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>Okay, I was listening at the door. You know you could have told me about this earlier, right?</dialogue> <character>SAM</character> <dialogue>It doesn't freak you out that my real father was a serial killer?</dialogue> <character>RICHIE</character> <dialogue>Of course it does! Very much so!</dialogue> <character>SAM</character> <dialogue>So go home. I get it. But I have to stay and figure this out.</dialogue> <character>RICHIE</character> <dialogue>I'm not leaving you here, Sam.</dialogue> <scene_description>Sam wipes her eyes, looking at him.</scene_description> <character>SAM</character> <dialogue>You know the part in horror movies where you want to yell at the characters to be smart and get the fuck out? This is that part. You should get the fuck out.</dialogue> <scene_description>Richie swallows.</scene_description> <character>RICHIE</character> <dialogue>I know. But I'm staying. I love you.</dialogue> <character>SAM</character> <dialogue>You're a dumbass.</dialogue> <character>RICHIE</character> <dialogue>Such a dumbass.</dialogue> <scene_description>He hugs her. Kisses her. She kisses back. When they break-</scene_description> <character>RICHIE</character> <dialogue>Okay. So your sister won't talk to you and the police won't help. What's our next move?</dialogue> <character>SAM</character> <dialogue>We go talk to an expert.</dialogue> </scene> <scene> <stage_direction>INT. DEWEY'S TRAILER - MORNING</stage_direction> <scene_description>Cramped, messy. Dishes piled high. Some framed photos. DEWEY and GALE's wedding day. Dewey's late sister, TATUM. Alarm goes off. Dewey blinks awake. Head throbbing from a hangover and his injuries. Wearing last night's clothes. Stumbles to the coffee maker. Finds a bottle of bourbon not completely drained. Pours it into a mug before the coffee. He shambles to a ratty sofa and clicks on the TV. The clock reads 7:00 AM. The TV is already tuned to NBC. The TODAY SHOW begins with its hosts, Hoda Kotb and...</scene_description> <character>GALE</character> <dialogue>Preparations are underway this morning for Halloween in our Nation's Capitol...</dialogue> <scene_description>...GALE WEATHERS. Strong, confident. Happy. Dewey smiles. Takes a sip of his spiked coffee. This is his sad morning ritual. Every day. Hair of the dog and a ghost from the past. He turns up the volume.</scene_description> <character>GALE</character> <dialogue>It's so cold, I swear I'm going to Trick or Treat in a snuggie...</dialogue> <scene_description>Hoda and Dewey chuckle. There's a KNOCK at the door...</scene_description> <character>DEWEY</character> <dialogue>Go away!</dialogue> </scene> <scene> <stage_direction>EXT. DEWEY'S TRAILER - MORNING</stage_direction> <scene_description>Sam and Richie, outside Dewey's door.</scene_description> <character>SAM</character> <dialogue>We're sorry to bother you, Mr. Riley, we just want to ask you a few questions-</dialogue> <character>DEWEY (O.S.)</character> <dialogue>I don't give interviews!</dialogue> <character>SAM</character> <dialogue>We're not looking for an interview-</dialogue> <character>DEWEY (O.S.)</character> <dialogue>Go away or I'll call the police!</dialogue> <character>SAM</character> <dialogue>You're a suspect in a homicide, so go ahead, call the police!</dialogue> <scene_description>A long pause as he processes this and then...</scene_description> <character>DEWEY (O.S.)</character> <dialogue>You're being an A-hole!</dialogue> <scene_description>Richie shrugs at her - "you kind of are."</scene_description> <character>DEWEY (O.S.)</character> <dialogue>Give me one good reason why I should talk to you!</dialogue> <character>SAM</character> <dialogue>I'm Billy Loomis's daughter!</dialogue> <scene_description>Silence from inside. Then we hear a DEADBOLT TURN. Dewey opens the door a crack, looks Sam up and down.</scene_description> <character>DEWEY</character> <dialogue>That's a terrible reason for me to talk to you.</dialogue> <character>SAM</character> <dialogue>My sister was stabbed seven times by Ghostface. I know you know what that's like. I just want to keep my family safe.</dialogue> <scene_description>Dewey's eyes flit to his photos. His sister, TATUM.</scene_description> <character>SAM</character> <parenthetical>(pleading)</parenthetical> <dialogue>Five minutes, that's all I'm asking.</dialogue> <scene_description>Dewey looks at her, considering.</scene_description> <character>DEWEY</character> <dialogue>You have two. I'm missing a show I like.</dialogue> </scene> <scene> <stage_direction>INT. DEWEY'S TRAILER - MORNING</stage_direction> <scene_description>Dewey shows them in. Reaches for the remote, but not before Sam and Richie see Gale on the Today Show.</scene_description> <character>RICHIE</character> <dialogue>Gale Weathers. Weren't you two-</dialogue> <scene_description>Dewey clicks off the TV and eyes Richie warily.</scene_description> <character>DEWEY</character> <dialogue>Who's he?</dialogue> <character>SAM</character> <dialogue>My boyfriend.</dialogue> <character>DEWEY</character> <dialogue>How long have you known him?</dialogue> <character>SAM</character> <dialogue>Six months. Why?</dialogue> <scene_description>Dewey rolls his eyes at this.</scene_description> <character>RICHIE</character> <dialogue>What?</dialogue> <character>DEWEY</character> <parenthetical>(to Sam)</parenthetical> <dialogue>Did he know who your dad was when you met? Express any interest in Woodsboro or the Ghostface killings?</dialogue> <character>RICHIE</character> <dialogue>What the hell are you talking about-</dialogue> <character>DEWEY</character> <dialogue>Your killer's obsessed with the Stab movies, right?</dialogue> <parenthetical>(takes a drink)</parenthetical> <dialogue>Well there are certain rules to surviving a Stab movie, believe me, I know. Rule One, never trust the love interest. They seem sweet, they seem great, and then in the third act they try and rip your head off.</dialogue> <character>RICHIE</character> <dialogue>I was with Sam in Modesto when Tara was attacked-</dialogue> <character>DEWEY</character> <dialogue>And let me guess, you were in the next room and completely unaccounted for when she was attacked in the hospital?</dialogue> <scene_description>Richie turns to Sam.</scene_description> <character>RICHIE</character> <dialogue>Do I really have to take this from Bourbon O'Clock here?</dialogue> <character>DEWEY</character> <dialogue>Rule Two, the killer's motive always has something to do with the past. Billy killed everyone because of Sid's Mom. Then Billy's Mom killed everyone 'cause of Billy. The point is, this stuff is always rooted in something from back in the day-</dialogue> <character>SAM</character> <dialogue>I'm related to Billy and Tara's related to me, which makes sense-</dialogue> <character>RICHIE</character> <dialogue>But then why kill that random Vince guy? It doesn't fit the profile-</dialogue> <character>DEWEY</character> <dialogue>That's your job to figure out. And Rule 3, and this is the most important, the first victim always has a friend group that the killer is a part of. Does your sister have a close-knit group of friends?</dialogue> <scene_description>Sam and Richie exchange a look.</scene_description> <character>SAM</character> <dialogue>She does.</dialogue> <character>DEWEY</character> <dialogue>Then that's where you'll find the killer. Maybe it's the nice one, maybe the funny one, maybe the quirky one - any and all of them could be your murderer. You find out why they're doing this, you can figure out who's next.</dialogue> <scene_description>He drains his mug. Goes to pour another. Sam follows him.</scene_description> <character>SAM</character> <dialogue>So help us. Help figure out who's behind this-</dialogue> <character>DEWEY</character> <dialogue>You're kidding, right? I've been stabbed eleven times, almost died twice. I have permanent nerve damage and a fun little limp. You think I want go through it again?</dialogue> <character>SAM</character> <dialogue>It always goes back to the past, right? If I'm in danger, you're in danger. So let's do this together.</dialogue> <scene_description>Dewey stares at her for a moment. As if considering. Then:</scene_description> <character>DEWEY</character> <dialogue>Your time's up.</dialogue> <scene_description>He turns on the TV again. Al Roker's doing the weather. Sam exhales. Heads for the door. Richie follows.</scene_description> </scene> <scene> <stage_direction>EXT. DEWEY'S TRAILER - MORNING</stage_direction> <scene_description>Sam and Richie step outside.</scene_description> <character>RICHIE</character> <dialogue>Yeah, he's way more fun in the movies. What's next?</dialogue> <character>SAM</character> <dialogue>The friends.</dialogue> </scene> <scene> <stage_direction>INT. DEWEY'S TRAILER - SAME TIME</stage_direction> <scene_description>Dewey takes another sip of his drink. Sees his OLD HOLSTER and GUN hang on the wall. He looks at them. He shakes his head, drains the glass. There's something he knows he has to do. Pulls out his phone. Dialing...</scene_description> </scene> <scene> <stage_direction>EXT. SEATTLE, WASHINGTON - MORNING</stage_direction> <scene_description>A beautiful affluent suburban street, looking out on the water. We hear the phone ringing inside...</scene_description> </scene> <scene> <stage_direction>INT. SEATTLE HOME - MORNING</stage_direction> <scene_description>A FATHER helps his eight year-old and six year-old DAUGHTERS pull on their sneakers by the front door, trying to get them out the door for school. Much giggling is occurring. Chaotic domestic bliss. The MOM picks up her cordless phone in the kitchen. And as she answers we realize it's</scene_description> <character>SIDNEY</character> <dialogue>Hello?</dialogue> <scene_description>SIDNEY PRESCOTT. Beautiful as ever. But different somehow. At peace. The victim no more. As unkind as life has been to Dewey, it's been kind to Sid. INTERCUT:</scene_description> <character>DEWEY</character> <dialogue>Hey, Sid. It's me.</dialogue> <character>SIDNEY</character> <dialogue>Dewey? Oh my God! How long has it been? I haven't-</dialogue> <parenthetical>(to one daughter)</parenthetical> <dialogue>Hey, do you have your backpack?</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>Then you need to go get it, you have one minute before you get in the car.</dialogue> <parenthetical>(to Dewey)</parenthetical> <dialogue>Sorry, we're trying and failing to get the kids out the door for school. How are you?</dialogue> <scene_description>Dewey looks around at his surroundings and lies.</scene_description> <character>DEWEY</character> <dialogue>Good. Really good. How's Mark?</dialogue> <scene_description>Sidney smiles as she looks over at her husband, who is helping search for the errant backpack.</scene_description> <character>SIDNEY</character> <dialogue>Eh, I think I might keep him. How are things in the Sheriff business?</dialogue> <character>DEWEY</character> <dialogue>They're- they're okay. But Sid-</dialogue> <character>SIDNEY</character> <dialogue>Have you talked to Gale recently?</dialogue> <scene_description>Dewey swallows.</scene_description> <character>DEWEY</character> <dialogue>Not in a few years. You?</dialogue> <character>SIDNEY</character> <dialogue>Not since her big promotion. She was supposed to be out here last year, but then they had to go cover a hurricane or something.</dialogue> <parenthetical>(exhales)</parenthetical> <character>SIDNEY</character> <dialogue>I know it didn't end well with you guys, but-</dialogue> <character>DEWEY</character> <dialogue>It's happening again, Sid.</dialogue> <scene_description>Sidney goes very still at this.</scene_description> <character>SIDNEY</character> <dialogue>What are you talking about?</dialogue> <character>DEWEY</character> <dialogue>Some idiot in a Ghostface mask. Three attacks so far, one dead. But something about this one feels different-</dialogue> <character>SIDNEY</character> <dialogue>Are you okay?</dialogue> <character>DEWEY</character> <dialogue>You know me, Sid.</dialogue> <character>SIDNEY</character> <dialogue>Yeah, I do. That's why I'm asking.</dialogue> <character>DEWEY</character> <dialogue>I'm fine. I just wanted you to hear it from me and not on the news. I want you to be safe up there. Do you have a gun?</dialogue> <scene_description>On Sidney. Looks like little Suzie Homemaker in her Nancy Myers kitchen. She smiles.</scene_description> <character>SIDNEY</character> <dialogue>Dewey, it's me. Of course I have a fucking gun.</dialogue> <scene_description>Dewey smiles despite himself.</scene_description> <character>SIDNEY</character> <dialogue>Does Gale know?</dialogue> <character>DEWEY</character> <dialogue>She's my next call. But Sid, promise me, no matter what happens or what you see on the news, don't come here.</dialogue> <character>SIDNEY</character> <dialogue>No offense, Dewey, but I wouldn't go back to Woodsboro if you paid me. I'm never setting foot in that town again.</dialogue> <character>DEWEY</character> <dialogue>Good. That's good.</dialogue> <scene_description>Sidney frowns at the tremble in his voice.</scene_description> <character>SIDNEY</character> <dialogue>Whoever this killer's after, I'm glad they have you to protect them. Just make sure you stay safe.</dialogue> <scene_description>Oof. Dewey slumps. Barely manages to respond.</scene_description> <character>DEWEY</character> <dialogue>Will do.</dialogue> <character>SIDNEY</character> <dialogue>It's good to hear your voice, Dewey.</dialogue> <character>DEWEY</character> <dialogue>Yeah, you too.</dialogue> <scene_description>He hangs up before she can say goodbye. Too hard for him. Then he pulls up GALE'S NUMBER. His thumb hovers over the 'call' button. Can't bring himself to do it. Instead, he presses the text button. Writes: Ghostface is back. Don't come here. He sends it. Looks at it. Seems a little dry. Adds: Hope you're doing well. :) Sends that too. Then frowns.</scene_description> <character>DEWEY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Probably shouldn't have sent the smiley face...</dialogue> <scene_description>He types more. I still- He stops. Stares at the blinking cursor. Nope. Deletes it. Reaches for his drink... And catches sight of the Tatum picture, staring back at him. He puts it face down. Doesn't want her to see him like this. But doing that reveals something behind it on the bookcase... His tarnished old SHERIFF'S BADGE. He picks it up. Staring at. It glints. And we CUT TO...</scene_description> </scene> <scene> <stage_direction>EXT. MEEKS-MARTINEZ HOUSE - AFTERNOON</stage_direction> <scene_description>Suburban block. Sam and Richie climb out of their Prius.</scene_description> <character>RICHIE</character> <dialogue>So this is where Mindy and Chad live?</dialogue> <scene_description>Sam opens her mouth to respond, then sees something. Smiles.</scene_description> <character>SAM</character> <dialogue>Holy shit... he came.</dialogue> <scene_description>Riche follows her gaze to see DEWEY step out of his car. Gun on his hip. Limping across the street to them.</scene_description> <character>DEWEY</character> <dialogue>I've decided to temporarily assist in your investigation.</dialogue> <character>SAM</character> <dialogue>Thank you.</dialogue> <scene_description>Dewey walks past them as Richie turns to Sam.</scene_description> <character>RICHIE</character> <dialogue>Oh good, the drunk guy has a gun now.</dialogue> </scene> <scene> <stage_direction>INT. MEEKS-MARTINEZ HOUSE - AFTERNOON</stage_direction> <scene_description>Doorbell rings. Mindy answers the door to reveal Sam, Richie, and a cleaned-up Dewey. Mindy leads them inside.</scene_description> <character>SAM</character> <dialogue>Thanks for letting us come by.</dialogue> <character>MINDY</character> <dialogue>Are you kidding? The chance to talk to two Ghostface survivors and a potential future victim? I'm in.</dialogue> <character>RICHIE</character> <dialogue>Wait, am I a survivor or the victim?</dialogue> <character>MINDY</character> <dialogue>Oh, you're so cute.</dialogue> <scene_description>She leads them down a hall.</scene_description> <character>RICHIE</character> <dialogue>So how do you know so much about the Stab movies?</dialogue> <character>DEWEY</character> <dialogue>Runs in the family.</dialogue> <scene_description>Dewey motions to a picture hanging next to a massive 4K TV and blu-ray collection: RANDY MEEKS, in a school photo. A plaque underneath - "RANDY MEEKS MEMORIAL HOME THEATER."</scene_description> <character>MINDY</character> <dialogue>Randy was our uncle. R.I.P.</dialogue> <scene_description>Mindy opens the doors to the living room, where Chad, Liv, Wes and Amber sit. They don't look pleased to see Sam.</scene_description> <character>MINDY</character> <dialogue>You said to bring everybody.</dialogue> <scene_description>MARTHA MEEKS (from Scream 3), mother of Chad and Mindy and sister of Randy, enters with a tray of snacks.</scene_description> <character>MARTHA</character> <dialogue>Ooh. Suspects. My brother would be so proud.</dialogue> <character>DEWEY</character> <dialogue>Good to see you, Martha.</dialogue> <scene_description>They hug as CARLOS MARTINEZ, Chad and Mindy's dad, pops in. Gregarious, built like a linebacker, loves his kids.</scene_description> <character>CARLOS</character> <dialogue>Hey gang! Chad, you get your cardio in today?</dialogue> <character>CHAD</character> <dialogue>You know it!</dialogue> <character>CARLOS</character> <dialogue>My boy's gonna be the fastest wide receiver on the team this year!</dialogue> <parenthetical>(to Mindy)</parenthetical> <dialogue>How 'bout you, Melinda? Make it through The Dekalog yet?</dialogue> <character>MINDY</character> <dialogue>I'm still on Part 3. It's so depressing!</dialogue> <character>CARLOS</character> <dialogue>Gotta eat your vegetables, kid! It can't all be sugar content slasher movies if you're gonna be a filmmaker one day! You have to have a well-rounded respect for world cinema of all genres!</dialogue> <character>MARTHA</character> <dialogue>Okay kids, you have fun now!</dialogue> <scene_description>And with that, the Meeks-Martinez parents exit. TIMECUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEEKS HOUSE - LIVING ROOM - AFTERNOON</stage_direction> <scene_description>Sam sits on the couch with Richie and Dewey, across from Mindy, Chad, Liv, and Wes, who look stunned at what they've just heard. Chad stares at Dewey.</scene_description> <character>CHAD</character> <dialogue>You really think it's one of us?</dialogue> <character>DEWEY</character> <dialogue>Historically speaking, at least one of the killers was from the friend group 75% of the time.</dialogue> <character>MINDY</character> <dialogue>Makes sense... We all know Tara, we all left the bar right after Vince did, any one of us could have killed him-</dialogue> <character>SAM</character> <parenthetical>(shaking her head)</parenthetical> <dialogue>But the killer said he knew my secret about Billy. I think he attacked Tara to lure me back here.</dialogue> <character>CHAD</character> <dialogue>So?</dialogue> <character>SAM</character> <dialogue>So why then immediately go murder some guy who was stalking Liv?</dialogue> <scene_description>From the other side of the room:</scene_description> <character>WES</character> <dialogue>Maybe because he beat the shit out of Deputy Dewey here. Maybe he's the killer.</dialogue> <parenthetical>(to Dewey)</parenthetical> <dialogue>No offense.</dialogue> <character>DEWEY</character> <dialogue>None taken. But what's my motive?</dialogue> <character>WES</character> <dialogue>You got stabbed a billion times, got dumped by your famous wife and crawled into a bottle. I think it's safe to say you make the suspect list.</dialogue> <character>AMBER</character> <dialogue>Um... Vince is not unconnected...</dialogue> <scene_description>Everyone turns to Amber, who's staring at her phone.</scene_description> <character>AMBER</character> <dialogue>I Googled him. His Mom is Leslie Macher, Stu Macher's sister.</dialogue> <character>LIV</character> <dialogue>Who's Stu Macher?</dialogue> <character>MINDY</character> <dialogue>Billy Loomis' accomplice, Liv, try and keep up.</dialogue> <scene_description>Liv shoots her the finger.</scene_description> <character>SAM</character> <dialogue>So the first three attacks are all on people related to the original killers. It's almost like he's taking revenge against them-</dialogue> <character>MINDY</character> <parenthetical>(an epiphany)</parenthetical> <dialogue>Oh my God... he's making a re-quel.</dialogue> <scene_description>The others stare at her.</scene_description> <character>SAM</character> <dialogue>A what?</dialogue> <character>MINDY</character> <dialogue>Or a Legacy-quel. Fans are torn on the terminology-</dialogue> <character>CHAD</character> <dialogue>Speak. English.</dialogue> <character>MINDY</character> <dialogue>Okay, okay, remember the Stab movie that came out last year?</dialogue> <scene_description>Liv brightens at this.</scene_description> <character>LIV</character> <dialogue>Oh yeah, the one the Knives Out guy directed, right? I really liked it-</dialogue> <character>MINDY</character> <dialogue>Of course you did, you have terrible taste. But the hardcore Stab fans hated it. You go on 4Chan and Dreddit, all they're talking about is how Stab 8 pisses on their childhood, how there's no connection to the original films, how the main character's a Mary Sue-</dialogue> <character>RICHIE</character> <dialogue>What's a Mary Sue-?</dialogue> <character>WES</character> <dialogue>You really don't want to know.</dialogue> <character>MINDY</character> <dialogue>There was even a petition to have the studio pretend Stab 8 never happened and shoot a new movie "for the fans"-</dialogue> <character>SAM</character> <dialogue>But it's just a movie-</dialogue> <character>MINDY</character> <dialogue>Not to some people. To some, the original's their favorite thing in the world - the movie that made them love horror, that opened up a whole new world, that Mom or Dad showed them when they were ten that bonded them together. And God help anyone who slightly fucks with that special memory, who makes a movie they think disrespects it.</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>It sounds like our killer's writing his own version of Stab 8, but doing it as a re-quel.</dialogue> <character>DEWEY</character> <dialogue>Which is?</dialogue> <scene_description>Mindy gets to her feet, happy he asked.</scene_description> <character>MINDY</character> <dialogue>See, you can't just reboot a franchise from scratch anymore, fans won't stand for it. Black Christmas, Child's Play, Flatliners- that shit doesn't work. But you can't just do a straight sequel, either - you gotta build something new, but not too new, or the Internet goes bug fucking nuts. It's gotta be part of an ongoing story, even if the story shouldn't have been ongoing in the first place. New main characters, yes, but supported by and related to legacy characters. Not quite a reboot, not quite a sequel. Like the new Halloween, Saw, Terminator, Jurassic Park, Ghostbusters, fuck, even Star Wars. It always goes back to the original.</dialogue> <scene_description>Sam stares at her, horrified.</scene_description> <character>SAM</character> <dialogue>Are you telling me I'm caught in the middle of fan-fucking-fiction?!</dialogue> <character>MINDY</character> <dialogue>Not just in the middle. You're the star.</dialogue> <character>AMBER</character> <dialogue>So, not to put too fine a point on it, but according to re-quel rules... who's next?</dialogue> <character>MINDY</character> <dialogue>Going by the pattern, whoever it is has to be connected to someone that came before.</dialogue> <scene_description>Everyone slowly turns to look at Dewey.</scene_description> <character>DEWEY</character> <dialogue>I'm starting to regret coming here.</dialogue> <character>WES</character> <dialogue>My mom was a character in Stab 4-</dialogue> <character>MINDY</character> <dialogue>Nobody cares about the inferior shitty sequels, Wes, you're safe.</dialogue> <parenthetical>(to Chad)</parenthetical> <dialogue>With Randy as our Uncle, though, you and I are probably screwed.</dialogue> <character>CHAD</character> <dialogue>Wait, what?</dialogue> <character>RICHIE</character> <dialogue>Or... one or both of you are the killer, and this elaborate monologue is just bullshit to cover your tracks.</dialogue> <character>MINDY</character> <parenthetical>(patronizing)</parenthetical> <dialogue>Please, I think it's pretty clear who the killer is at this point...</dialogue> <character>SAM</character> <dialogue>Who?</dialogue> <character>MINDY</character> <dialogue>You. I mean, obviously.</dialogue> <scene_description>Sam blinks.</scene_description> <character>SAM</character> <dialogue>Excuse me?</dialogue> <character>MINDY</character> <dialogue>You're Billy Loomis's daughter! Who better to inherit the mantle and carry the series forward? You hurt Tara but don't kill her, which gives you a reason to come back to Woodsboro and go on your rampage, getting revenge on the town for the death of your father. It makes perfect sense!</dialogue> <character>CHAD</character> <dialogue>It kinda does, actually...</dialogue> <scene_description>Liv nods too. Even Dewey's giving her the hairy eyeball. Sam stares at them, trying to control her emotions...</scene_description> <character>MINDY</character> <dialogue>Sorry, but I don't make the rules-</dialogue> <character>SAM</character> <dialogue>There are no rules. This isn't a game, or a joke, or a movie. Real people's lives are at stake-</dialogue> <character>MINDY</character> <dialogue>I know. And you're probably the one who's going to kill them.</dialogue> <scene_description>Sam stands. Fists balled. Doesn't know how to respond. So she turns for the door. Leaving. Richie follows her out. Dewey glares at Mindy.</scene_description> <character>DEWEY</character> <dialogue>You know, Randy may have accused us all of being the killer too, but he was a lot nicer about it.</dialogue> </scene> <scene> <stage_direction>EXT. MEEKS-MARTINEZ HOUSE - AFTERNOON</stage_direction> <scene_description>Sam storms out of the house, Richie trailing behind.</scene_description> <character>RICHIE</character> <dialogue>Just for the record, I don't think you're the killer.</dialogue> <character>SAM</character> <dialogue>Thanks?</dialogue> <character>RICHIE</character> <dialogue>I just meant-</dialogue> <character>SAM</character> <dialogue>I'm gonna take a drive. Can you Uber back to the hotel?</dialogue> <character>RICHIE</character> <dialogue>Yeah, I'm sorry, I just-</dialogue> <character>SAM</character> <dialogue>It's fine. I'm fine.</dialogue> <parenthetical>(gets in the car)</parenthetical> <dialogue>Make sure you keep the hotel room door locked.</dialogue> <scene_description>Starts the car. As she pulls out, Richie shouts after her-</scene_description> <character>RICHIE</character> <dialogue>That's not reassuring!</dialogue> </scene> <scene> <stage_direction>EXT. CARPENTER HOUSE - AFTERNOON</stage_direction> <scene_description>Tara's house from the opening scene. Crime scene tape still hangs on the porch. Sam stares at it. So many memories. So much fresh horror. She has her phone to her ear.</scene_description> <character>TARA (O.S.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>You've reached Tara, please leave a message.</dialogue> <scene_description>BEEP! Sam takes a deep breath and leaves her message-</scene_description> <character>SAM</character> <dialogue>Hey. I know you're mad. I know I fucked up. I know I always fuck up. But I'm not gonna leave you this time. I'm gonna figure this out, I swear. And if you never want to talk to me again after, I'll understand.</dialogue> <scene_description>Interrupted by a CAB pulling up to the curb. Sam turns to see her mother SUSAN stumble out of it. Drunk-weaving up the driveway and it's not even 4:00.</scene_description> <character>SAM</character> <dialogue>Mom. Jesus.</dialogue> <scene_description>Susan straightens herself up.</scene_description> <character>SUSAN</character> <dialogue>Don't you judge me. My daughter's in the hospital-</dialogue> <character>SAM</character> <dialogue>I know, I-</dialogue> <scene_description>Susan trips. Sam moves to steady her-</scene_description> <character>SAM</character> <dialogue>Here, let me help you-</dialogue> <scene_description>Susan SMACKS her hand away. Staring at Sam with pure hate.</scene_description> <character>SUSAN</character> <dialogue>You did this to her, didn't you? Because you're like him. Even when you were a kid I could see it in you... and now you've gone and hurt my baby girl...</dialogue> <scene_description>Susan begins to cry. Sam backs away from her, horrified.</scene_description> <character>SUSAN</character> <dialogue>Why did you hurt my baby girl?</dialogue> <scene_description>Sam turns and RUNS. Leaps into the Prius, engine on, gas pedal to the floor, peeling out...</scene_description> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS (MOVING) - DAY</stage_direction> <scene_description>Sam white-knuckles the wheel as she speeds away. Trying to control her breathing. Half-step away from a panic attack.</scene_description> <character>BILLY (O.S.)</character> <dialogue>So what do you think, is she right? You getting into the family business?</dialogue> <scene_description>Sam looks to see BILLY in the rear-view mirror. Fuck.</scene_description> <character>SAM</character> <dialogue>I am really not in the mood for this-</dialogue> <character>BILLY</character> <dialogue>Being my daughter doesn't have to be a bad thing, acute psychosis comes with its advantages-</dialogue> <character>SAM</character> <dialogue>Stop it-</dialogue> <character>BILLY</character> <dialogue>Someone's messing with your sister. You just gonna let that slide? When Sidney's mom fucked my dad, I dissected her like a frog in Biology class-</dialogue> <character>SAM</character> <dialogue>I'm not like you, I'm not a killer-</dialogue> <character>BILLY</character> <dialogue>How else are you going to survive? Accept who you are and let's get out there, find out who's doing this and cut some fucking throats!</dialogue> <scene_description>Sam wrenches the wheel to the left and WHAM! Smashes into a telephone pole. Not going that fast, but the airbag blows - BOOM! The impact throws her back in her seat! The dust clears. Sam coughs, rubs her chest, then looks to the mirror. Billy's nowhere to be seen.</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - KITCHEN - EVENING</stage_direction> <scene_description>The sun, still a half hour from setting. Judy sips a glass of wine as she talks on her phone. Not in uniform anymore, yoga pants and a comfy sweat shirt. At ease.</scene_description> <character>JUDY</character> <dialogue>And extra soy. Thank you. I'll be there in ten minutes.</dialogue> <scene_description>A CHIME precedes a WOMAN'S VOICE from a nearby ADT panel:</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, front door...</dialogue> <character>JUDY</character> <parenthetical>(calling out)</parenthetical> <dialogue>Hey, Tiger.</dialogue> <scene_description>She moves into the living room to find a sweaty and out of breath Wes, fresh from a run.</scene_description> <character>WES</character> <dialogue>Hey, Mom.</dialogue> <character>JUDY</character> <dialogue>Are you being safe?</dialogue> <scene_description>Wes produces a can of pepper spray and a taser.</scene_description> <character>WES</character> <dialogue>To the point that all my friends mock me, yes. What's for dinner?</dialogue> <character>JUDY</character> <dialogue>Sushi. I was just leaving to pick it up.</dialogue> <character>WES</character> <dialogue>You don't want to Postmates it?</dialogue> <character>JUDY</character> <dialogue>It's always smooshy when it gets here, I know how you hate that. Go take a shower, I'll be back soon. And remember: 7-2-5-8.</dialogue> <character>WES</character> <dialogue>7-2-5-8.</dialogue> <scene_description>She kisses him on the cheek. He pretends to be embarrassed, but walks away smiling. Judy heads out the front door...</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, front door...</dialogue> </scene> <scene> <stage_direction>INT. HICKS HOUSE - UPSTAIRS BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Wes strips down and turns on the shower. Puts his cell phone by the sink. Steps inside, closes the sliding door.</scene_description> </scene> <scene> <stage_direction>I/E. JUDY'S CRUISER/RESIDENTIAL NEIGHBORHOOD - SAME TIME</stage_direction> <scene_description>Judy pulls out of the driveway onto her residential street. Nothing feels ominous. Still light out.</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - SAME TIME</stage_direction> <scene_description>Yet as we slowly PUSH IN on the shower door, we begin to feel uneasy. A low HUM on the soundtrack reinforces our dread.</scene_description> </scene> <scene> <stage_direction>I/E. JUDY'S CRUISER/WOODSBORO STREETS - SAME TIME</stage_direction> <scene_description>Judy eyes everyone she sees on the streets and sidewalks. Everyone's a potential suspect. NEWS VANS, CAMERA CREWS and REPORTERS draw onlookers. Woodsboro's back in the spotlight. Her PHONE RINGS. She doesn't recognize the number on the display. Answers anyway via her car's blue-tooth system.</scene_description> <character>JUDY</character> <dialogue>Sheriff Hicks.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Hello, Sheriff Judy.</dialogue> <scene_description>We recognize The Voice. Judy tenses.</scene_description> <character>JUDY</character> <dialogue>Who is this?</dialogue> <character>VOICE (O.S.)</character> <dialogue>I think you know. I'm a fan of scary movies. And knives. What's your favorite scary movie?</dialogue> <character>JUDY</character> <dialogue>I prefer animated films and musicals. Why are you doing this?</dialogue> <scene_description>She picks up her phone and begins texting her DEPUTY: Killer on line, need trace-</scene_description> <character>VOICE (O.S.)</character> <dialogue>I'll tell you all about it. I'm calling to turn myself in.</dialogue> <character>JUDY</character> <dialogue>I think that's a great idea.</dialogue> <character>VOICE (O.S.)</character> <dialogue>We'll sit down at the station and I'll tell you about the two people I've killed.</dialogue> <character>JUDY</character> <parenthetical>(frowns)</parenthetical> <dialogue>You've only killed one person.</dialogue> <character>VOICE (O.S.)</character> <dialogue>But by time I see you, I'll have gutted your baby boy.</dialogue> <scene_description>Judy PULLS A SCREECHING U-TURN in traffic and flips on her cherries and SIRENS! She ends the call and DIALS WES, racing full speed back towards the house...</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - UPSTAIRS BATHROOM - SAME TIME</stage_direction> <scene_description>Wes soaps himself up in the shower, oblivious. By the sink, Wes's cell phone vibrates impotently. Then we hear...</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, front door...</dialogue> <scene_description>...but Wes doesn't.</scene_description> </scene> <scene> <stage_direction>I/E. JUDY'S CRUISER/WOODSBORO STREETS - SAME TIME</stage_direction> <scene_description>We hear Wes's phone ring... and ring... and ring...</scene_description> <character>JUDY</character> <dialogue>Come on! Pick up, Wes!</dialogue> <scene_description>Wes's phone goes to voicemail.</scene_description> <character>JUDY</character> <dialogue>Fuck!</dialogue> <scene_description>She dials 911.</scene_description> <character>OPERATOR (O.S.)</character> <dialogue>911, what is your-</dialogue> <character>JUDY</character> <dialogue>This is Sheriff Hicks, I need units to converge on my house ASAP-</dialogue> <scene_description>CALL WAITING on Judy's line. Desperate, Judy clicks the other call.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Can't get him on the phone, can you? He must be busy.</dialogue> <character>JUDY</character> <dialogue>How do I know you're anywhere near him?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Ever seen the movie Psycho?</dialogue> <scene_description>Judy's foot SMASHES THE ACCELERATOR. Horns blare as she swerves in and out of traffic!</scene_description> <character>JUDY</character> <dialogue>Please... please don't hurt my boy.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Why not?</dialogue> <character>JUDY</character> <parenthetical>(crying)</parenthetical> <dialogue>Because... I love him very much. He's a good kid and he never hurt anyone.</dialogue> <character>VOICE (O.S.)</character> <dialogue>That's not enough.</dialogue> <character>JUDY</character> <dialogue>Please... I'll do anything...</dialogue> <character>VOICE (O.S.)</character> <dialogue>You're not going to make it in time, Sheriff Judy.</dialogue> </scene> <scene> <stage_direction>INT. HICKS HOUSE - UPSTAIRS BATHROOM - SAME TIME</stage_direction> <scene_description>Wes washes the shampoo out of his hair. Is he done? Does he have a chance? Nope. He grabs the conditioner...</scene_description> </scene> <scene> <stage_direction>EXT. HICKS HOUSE - SAME TIME</stage_direction> <scene_description>Judy's cruiser TEARS DOWN THE STREET towards her house! She drives up the curb- BAM! And over her lawn, barely putting the car in park before flying out of the driver's seat --</scene_description> <character>JUDY</character> <dialogue>WES!</dialogue> <scene_description>She sprints up the steps to the front door --</scene_description> <character>JUDY</character> <dialogue>WES, I'M COMING!</dialogue> <scene_description>As GHOSTFACE leaps out of the bushes and stabs Judy in the chest! Then does it again! And again! Judy falls down the stone steps onto her front lawn. Ghostface straddles her, stabbing her in the chest! She pulls off his mask. RECOGNITION in her eyes... before the light goes out of them.</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - UPSTAIRS BATHROOM - SAME TIME</stage_direction> <scene_description>Wes turns off the water. Steps out of the shower. Puts on a towel. Checks his phone. MISSED CALL from "MOM." He presses the screen, calling her back. Ringing. Nothing. He frowns. Weird. Must not have been important.</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, back door...</dialogue> <scene_description>Wes cocks his head. Opens the bathroom door and calls out:</scene_description> <character>WES</character> <dialogue>I'll be down in a sec!</dialogue> <scene_description>He continues to towel off as we hold on him.... Then:</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, master bedroom window....</dialogue> <scene_description>Wes, very confused. He slides on a bathrobe.</scene_description> <character>WES</character> <dialogue>Mom?</dialogue> <scene_description>No response. Wes ventures out of the bathroom...</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - VARIOUS - CONTINUOUS</stage_direction> <scene_description>We follow Wes downstairs, one agonizing step at a time. He passes the front door, NOW CLOSED. Cautiously approaches his mother's bedroom. The door's open. He looks inside. The window is open --</scene_description> <character>WES</character> <dialogue>Mom...?</dialogue> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, kitchen second window...</dialogue> <scene_description>Wes through the living room into the kitchen, grabbing his pepper spray as he goes. The kitchen window's drapes flap in the breeze --</scene_description> <character>WES</character> <dialogue>The fuck...?</dialogue> <scene_description>He's about to pass through the kitchen when --</scene_description> <character>HOME SECURITY SYSTEM (O.S.)</character> <dialogue>Fault, front door...</dialogue> <scene_description>Wes takes a breath. Moves back into the living room. Every muscle in his body tensing. He creeps towards the now slightly ajar front door. Oh God, is the killer leading him to his mother's butchered body? He reaches for the knob -- catches a glimpse of movement in a mirror on the opposite wall -- DUCKS as Ghostface bursts from a closet behind him! Barely misses getting stuck by the blade! Drops the pepper spray as he braces himself against the wall!</scene_description> <character>WES</character> <dialogue>Fuck!</dialogue> <scene_description>Ghostface lunges at Wes, but he rolls away. Not such an easy target. Wes hurls a decorative plate at Ghostface. It shatters on his skull, slowing him down! Wes darts into</scene_description> </scene> <scene> <stage_direction>INT. HICKS HOUSE - JUDY'S DEN - AFTERNOON</stage_direction> <scene_description>Slams the door, braces it with an office chair. Wes kneels, pulls up the chair mat, revealing a FLOOR SAFE.</scene_description> <character>WES</character> <dialogue>7-2-5-8, 7-2-5-8...</dialogue> <scene_description>Enters a combo -- 7-2-5-8 -- it opens. Inside, Judy's BACK- UP WEAPON. Wes grabs it -- CRASH! Ghostface bursts through a floor to ceiling window! Glass flies everywhere. Ghostface pins Wes to the wall and they struggle for the gun. Ghostface slowly forces the barrel under Wes's chin...</scene_description> <character>WES</character> <dialogue>No, no, no, no-</dialogue> <scene_description>BLAM! Wes's head snaps back and slides down the wall. Dead.</scene_description> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS - MAGIC HOUR</stage_direction> <scene_description>Sam wrestles the blown airbag out of her sightline and restarts the car. About to pull onto the road when -- BWOOOOOOOP! Police siren. She looks in the sideview mirror - there's a cruiser coming up fast.</scene_description> <character>SAM</character> <dialogue>Shit.</dialogue> <scene_description>Sam leans over to open the glove box for the registration -- WHOOOOOSH. The cruiser speeds by. Followed by another. And another. And another...? Sam slides the Prius in after the last cruiser and follows the motorcade.</scene_description> </scene> <scene> <stage_direction>EXT. HICKS HOUSE - MAGIC HOUR</stage_direction> <scene_description>Sam parks close to the house. The crime scene is chaos, police tape yet to be put up, so Sam is able to slip through the cracks and get an eyeful of JUDY HICKS'S BODY. As they cover it with a sheet. Sam's hand goes to her mouth. Looks like she's going to be sick.</scene_description> <character>DEPUTY FARNEY</character> <dialogue>Miss? You can't be here.</dialogue> <character>SAM</character> <dialogue>Her son, Wes. Is he...?</dialogue> <scene_description>Sam can read on Farney's face that Wes is dead too.</scene_description> <character>DEPUTY FARNEY</character> <dialogue>Please step back.</dialogue> <scene_description>Sam backs away from the scene. Losing her grip...</scene_description> <character>SAM</character> <dialogue>It wasn't you... It wasn't you...</dialogue> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>Are you okay?</dialogue> <scene_description>Sam turns and - holy shit - it's GALE WEATHERS in the flesh. Concerned smile on her face. Sam blinks at this celebrity.</scene_description> <character>GALE</character> <dialogue>You were kinda talking to yourself.</dialogue> <character>SAM</character> <parenthetical>(dumbfounded)</parenthetical> <dialogue>You're Gale Weathers...</dialogue> <character>GALE</character> <dialogue>I am. Did you know the Sheriff?</dialogue> <character>SAM</character> <dialogue>Sort of.</dialogue> <parenthetical>(looks towards the body)</parenthetical> <dialogue>She didn't like me very much.</dialogue> <character>GALE</character> <dialogue>She didn't like me very much either.</dialogue> <scene_description>Sam shifts, suddenly uncomfortable.</scene_description> <character>SAM</character> <dialogue>Look, I'm not really interested in talking to a reporter.</dialogue> <character>GALE</character> <dialogue>That's okay, I'm not really interested in interviewing you. I have no idea who you are.</dialogue> <character>SAM</character> <dialogue>Oh. Samantha Carpenter. Sam. My sister and I were both attacked.</dialogue> <scene_description>Gale shakes her hand.</scene_description> <character>GALE</character> <dialogue>I'm sorry to hear that. I'm Gale...</dialogue> <scene_description>She trails off as she sees a familiar face in the distance... DEWEY. Getting the bad news from another deputy.</scene_description> <character>GALE</character> <dialogue>...Riley.</dialogue> <parenthetical>(catches herself)</parenthetical> <dialogue>Weathers. Gale Weathers. Excuse me.</dialogue> <scene_description>Gale moves past Sam. Dewey sees her coming. The familiar twang of "Dewey's Theme" plays. The real one, from Scream 2, not the inferior imitation from 3 and 4. The exes come together. Happy to see each other, but sad.</scene_description> <character>DEWEY</character> <dialogue>Gale? What are you-</dialogue> <scene_description>She begins smacking him in the chest repeatedly.</scene_description> <character>GALE</character> <dialogue>A text? You tell me Ghostface is back in a text?!</dialogue> <character>DEWEY</character> <dialogue>Ow! You were on the air!</dialogue> <character>GALE</character> <dialogue>How do you know?</dialogue> <character>DEWEY</character> <dialogue>A hunch.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You look good. Are you writing?</dialogue> <character>GALE</character> <dialogue>No time.</dialogue> <character>DEWEY</character> <dialogue>You were always happiest when you were writing-</dialogue> <character>GALE</character> <parenthetical>(can smell it)</parenthetical> <dialogue>Are you drunk?</dialogue> <character>DEWEY</character> <dialogue>Pretty much all the time. I told you not to come.</dialogue> <character>GALE</character> <dialogue>And when have I ever listened to you?</dialogue> <character>DEWEY</character> <dialogue>You just couldn't resist a good story, could you?</dialogue> <character>GALE</character> <dialogue>Don't be an idiot, Dewey. I came because I was worried about you.</dialogue> <scene_description>Dewey looks past Gale. Sees her CAMERA CREW setting up. Gives her a look. Gale exhales.</scene_description> <character>GALE</character> <dialogue>Okay, yes, my producer does want me to cover this for obvious reasons. But 90% of it was you.</dialogue> <scene_description>Dewey turns and walks away.</scene_description> <character>DEWEY</character> <dialogue>I feel 90% better.</dialogue> <character>GALE</character> <parenthetical>(following)</parenthetical> <dialogue>Don't be like that.</dialogue> <character>DEWEY</character> <dialogue>Didn't seem to care how I was the last couple years, did you?</dialogue> <character>GALE</character> <dialogue>That goes both ways. Don't pretend I'm the one who ended things-</dialogue> <character>DEWEY</character> <dialogue>No one's pretending, Gale. I remember what happened, despite my drinking habits.</dialogue> <character>GALE</character> <dialogue>Why aren't you in uniform?</dialogue> <character>DEWEY</character> <dialogue>I'm retired.</dialogue> <character>GALE</character> <dialogue>Since when?</dialogue> <scene_description>Dewey stops, turns to her. It kills him to say:</scene_description> <character>DEWEY</character> <dialogue>Since I was asked to.</dialogue> <character>GALE</character> <dialogue>Oh, Dewey.</dialogue> <character>DEWEY</character> <dialogue>I don't want your pity. I made my choices. So did you.</dialogue> <character>GALE</character> <dialogue>It was a great opportunity. You said it was my turn. You said you'd try-</dialogue> <character>DEWEY</character> <dialogue>I did-</dialogue> <character>GALE</character> <dialogue>For two months.</dialogue> <character>DEWEY</character> <dialogue>If you want to make me feel worse than I already do, good luck. It's all I do, all day, every day. The mornings are okay because I get to see you. I get to pretend I'm still at our place in New York, cheering you on and supporting you like you did for me here.</dialogue> <character>DEWEY</character> <dialogue>But somewhere between drinks three and four I remember how I couldn't hack it and freaked out and left in the middle of the night like a coward. I could face a masked killer four times, but I couldn't face a city.</dialogue> <scene_description>Gale takes this in.</scene_description> <character>GALE</character> <dialogue>Why didn't you say all of this then? It would have mattered.</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>Because you didn't want me to follow you back here. You didn't want to screw things up for me.</dialogue> <character>DEWEY</character> <dialogue>That's not it. I already told you. I'm a coward.</dialogue> <character>GALE</character> <dialogue>Then what are you doing here? With your gun?</dialogue> <scene_description>Dewey doesn't have an answer for that.</scene_description> <character>GALE</character> <dialogue>You're a lot of things, Dewey. But you're not a coward. You were just meant to be in Woodsboro.</dialogue> <character>DEWEY</character> <dialogue>And you weren't. Promise me you'll leave. As soon as you can. The next flight-</dialogue> <character>GALE</character> <dialogue>You know I'm not promising that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry about Judy.</dialogue> <character>DEWEY</character> <dialogue>Me too.</dialogue> <scene_description>MEANWHILE. Sam is walking on the periphery of the crime scene. Dials her phone. Ringing...</scene_description> </scene> <scene> <stage_direction>INT. WOODSBORO MOTEL - EVENING</stage_direction> <scene_description>Richie, lying on the bed, eating pizza, watching Stab movies. He's up to Stab 6. He answers the phone. INTERCUT:</scene_description> <character>RICHIE</character> <dialogue>Sam, these movies are fucked up.</dialogue> <character>SAM</character> <dialogue>Richie...</dialogue> <character>RICHIE</character> <dialogue>There are no black people in the first one, so they cast two famous black actors in the second one and then kill them before the opening credits-</dialogue> <character>SAM</character> <dialogue>Richie-</dialogue> <character>RICHIE</character> <dialogue>And apparently gay people didn't exist in this universe until Stab 4-</dialogue> <character>SAM</character> <dialogue>Richie! He's killed two more people! Wes and his mother.</dialogue> <scene_description>Richie sits up at this.</scene_description> <character>RICHIE</character> <dialogue>He killed the Sheriff? You can do that?</dialogue> <parenthetical>(shakes it off)</parenthetical> <dialogue>Are you okay?</dialogue> <character>SAM</character> <dialogue>No, I'm not fucking okay, I'm at a murder scene!</dialogue> <scene_description>Sam spies someone standing among the lookie-loos down the sidewalk. MINDY. She frowns.</scene_description> <character>SAM</character> <dialogue>Let me call you back.</dialogue> <scene_description>She hangs up on him and walks towards Mindy...</scene_description> </scene> <scene> <stage_direction>INT. WOODSBORO MOTEL - EVENING</stage_direction> <scene_description>Richie blinks. Looks at his phone.</scene_description> <character>RICHIE</character> <dialogue>Two people are dead and she's calling me back...</dialogue> <scene_description>On the TV, KRISTEN BELL stabs ANNA PAQUIN in the stomach!</scene_description> </scene> <scene> <stage_direction>EXT. HICKS HOUSE - EVENING</stage_direction> <scene_description>Sam approaches Mindy, who seems self-conscious.</scene_description> <character>SAM</character> <parenthetical>(suspicious)</parenthetical> <dialogue>What are you doing here?</dialogue> <character>MINDY</character> <parenthetical>(equally suspicious)</parenthetical> <dialogue>What are you doing here?</dialogue> <character>SAM</character> <dialogue>I saw the sirens and followed them.</dialogue> <character>MINDY</character> <dialogue>So did I.</dialogue> <scene_description>They both eye each other, not quite believing it.</scene_description> <character>SAM</character> <dialogue>I thought you said the killer didn't care about the sequels.</dialogue> <character>MINDY</character> <dialogue>Maybe this is more of a Greatest Hits type of thing, where he's cramming in every previous movie connection he can find, like in Halloween Kills.</dialogue> <scene_description>Sam, looking around at all the cops. All the cops...</scene_description> <character>SAM</character> <dialogue>Or maybe it's a diversion...</dialogue> <character>MINDY</character> <dialogue>A what?</dialogue> <character>SAM</character> <dialogue>You know how in movies, sometimes the killer does something to draw attention away from their real plan, which is happening on the other side of town...?</dialogue> <character>MINDY</character> <parenthetical>(impressed)</parenthetical> <dialogue>You're smarter than you look.</dialogue> <scene_description>Sam catches sight of DEPUTY VINSON who's supposed to be on Tara protection duty. She runs to him.</scene_description> <character>SAM</character> <dialogue>Who's at the hospital?</dialogue> <character>DEPUTY VINSON</character> <dialogue>What?</dialogue> <character>SAM</character> <dialogue>Who's watching my sister?</dialogue> <character>DEPUTY VINSON</character> <parenthetical>(caught)</parenthetical> <dialogue>I heard about the Sheriff- the hospital has security-</dialogue> <scene_description>Fuck that. Sam BOLTS runs from the crime scene towards her car, passing Dewey, who is watching Gale do a stand-up report in front of the house.</scene_description> <character>DEWEY</character> <dialogue>Whoa, whoa, where are you going-</dialogue> <character>SAM</character> <dialogue>My sister's in trouble!</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - TARA'S ROOM - PRIVATE FLOOR - EVENING</stage_direction> <scene_description>Tara, watching TV. I Know What You Did Last Summer on TNT. Badly dubbed curse words. Tara clicks her call button with her good hand. Nothing. Frowns. That's odd... She hits the call button again. Nothing. Not good.</scene_description> <character>TARA</character> <dialogue>Hello? Deputy Vinson? Nobody's responding to the call button!</dialogue> <scene_description>No response. She's on a private floor that's supposed to have police protection.</scene_description> <character>TARA</character> <dialogue>Hello?</dialogue> <scene_description>A BANG from outside the room. Something falls over. A struggle? Then silence. Definitely not good.</scene_description> <character>TARA</character> <dialogue>Fuck this.</dialogue> <scene_description>She eyes the WHEELCHAIR next to her bed. The problem is her injuries, specifically the knife wound in her hand, wrapped in gauze. And the casts on her left arm and right leg and her stitches in her stomach and back. Slowly, painfully, Tara tries to raise herself out of the bed and into the chair. Using her good hand and her elbow. It is painfully slow.</scene_description> <character>TARA</character> <dialogue>Oh Jesus... Okay...</dialogue> <scene_description>She lowers herself into the wheelchair with great pain. Bangs her left leg. Tears in her eyes. Stifles a scream. Stops. Listens for footsteps, anything.... Nothing. Now she's got to move. She grips the wheelchair wheel on her good side. Tries to push herself forward with one hand. The chair just turns towards the bed.</scene_description> <character>TARA</character> <dialogue>Fuck.</dialogue> <scene_description>She knows what she has to do. Lowers her bad hand to the other wheel. Slowly, agonizingly, she articulates her wounded hand to grasp the wheel. Now pushes with both hands. The chair moves forward. It's agony. But it's working. She pushes again. Moves again. Hard with her left arm in a cast. She nears the open door to her room... A PHONE VIBRATES against wood behind her! She jumps, turns back. Her phone, sitting on her bedside table, plugged into the wall to charge. She forgot it there. At this point, going back for it would take forever. Fuck it. We push in on the phone. The call is from Sam...</scene_description> </scene> <scene> <stage_direction>EXT. HICKS HOUSE - EVENING</stage_direction> <scene_description>Sam curses as the call goes to voicemail, leaping into Richie's car, starting it -- Dewey gets into the passenger seat. Sam looks at him.</scene_description> <character>DEWEY</character> <dialogue>What are you waiting for? Drive!</dialogue> <scene_description>Sam does. Dewey takes out his flask. Almost takes a sip, puts it in the glove box instead. His hands are shaking. Sam makes another call...</scene_description> </scene> <scene> <stage_direction>INT. WOODSBORO MOTEL - EVENING</stage_direction> <scene_description>More bloodshed on the TV. Richie's phone rings - Sam. He snatches it up.</scene_description> <character>RICHIE</character> <dialogue>Are you okay?</dialogue> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS (MOVING) - EVENING</stage_direction> <scene_description>Sam drives like a maniac. INTERCUT:</scene_description> <character>SAM</character> <dialogue>You have to get to the hospital, you're closer to it than we are-</dialogue> <character>RICHIE</character> <dialogue>We?</dialogue> <character>SAM</character> <dialogue>I think the killer's going for Tara!</dialogue> <scene_description>Richie takes a deep breath. Steels himself.</scene_description> <character>RICHIE</character> <dialogue>Okay. Okay, I'm going.</dialogue> <scene_description>He hangs up and runs for the door...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - PRIVATE FLOOR - NIGHT</stage_direction> <scene_description>Tara wheels herself out into the hall. Nobody. An ELEVATOR BANK sits at the end of the long corridor past the nurses's station. Feels like miles away. She begins to wheel herself towards it. Blood on her hand gauze. Every exertion, painful. The chair creaks with each push. Her face, bathed in sweat. Blood seeps through her gown too, she's burst her stitches. Passing a DARK DOORWAY. Anything could be in there. We wait for something to jump out... But nothing does. This is the slowest, scariest escape of all time. Tara exhales. Keeps going. Coming up on the empty nurse's station. As she passes it she sees... Something dark on the floor. POOLING BLOOD. Gouting from the slashed throat of a SECURITY GUARD. He's still alive! Tara's eyes go wide, and she jams her hand in her mouth to not scream! His eyes still open, mouth working like a fish... she watches in horror as the last moments of his life leak out of him...</scene_description> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS (MOVING) - NIGHT</stage_direction> <scene_description>As Sam roars through a red light and takes a hard screeching right turn! Dewey, holding on for dear life:</scene_description> <character>DEWEY</character> <dialogue>I'm beginning to see where the airbag came from!</dialogue> <scene_description>Sam doesn't give a fuck, pedal mashed to the floor, she just keeps going...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - PRIVATE FLOOR - NIGHT</stage_direction> <scene_description>Tara wheels herself next to the now dead security guard's body. Tries to reach down towards him. Bending at the waist takes an enormous of effort. She's going for his belt...? No, his holster. Smart. She unbuckles it, checking it... Empty. No gun. Fuck. A CRASH from somewhere else on the floor! Movement. Tara straightens up. She's gotta move, she's gotta hide. Looks back to the dark doorway. Gives her all, wheeling towards it. Hands slippery from the guard's blood...</scene_description> </scene> <scene> <stage_direction>INT. DARK HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>Lights off, room empty. Tara closes the door so it's only open a sliver. Looks around for a weapon of some kind. Metal bedpan by the sink. It'll have to do. She grabs it with her good hand and sits there, still. FOOTSTEPS in the corridor outside. She hears a DOOR CREAK. He's checking each room. Methodically. He's two rooms away. On Tara. Shaking with pain and fear in the dark. Bathed in sweat. She hears the door next to her room creak. One room away now. She raises the bedpan... Footsteps, close. He's outside the door. Pushing it open... With all her strength, Tara swings it at his head- WHANG!</scene_description> <character>RICHIE</character> <dialogue>Ow- Goddammit!</dialogue> <scene_description>Richie stumbles back, holding his head in surprise.</scene_description> <character>TARA</character> <dialogue>Richie?!</dialogue> <character>RICHIE</character> <dialogue>Sam called me at the hotel, told me you were in trouble-</dialogue> <scene_description>As GHOSTFACE appears in the doorway behind Richie.</scene_description> <character>TARA</character> <dialogue>Look out!</dialogue> <scene_description>Richie turns as Ghostface slashes at him- SLICING his forearm open! He falls to the floor screaming! Tara shrieks, grabs a box of used syringes from the wall flinging it Ghostface! It whacks him in the side of the face and he goes reeling! Grabbing the hospital bed for support. Richie tries to scramble to his feet, but Ghostface kicks him in the face, knocking him into the hallway! His head smacks the floor, out cold! Tara tries to wheel towards the door, but is moving pathetically slow. Ghostface looks from one of them to the other. Who to kill first? But before he can decide.... He hears a phone ringing. Richie's. Ghostface leans over and pulls it out of Richie's pocket. Caller ID - Sam. Ghostface holds up his VOICE MODULATOR to the phone. Answers-</scene_description> <character>VOICE</character> <dialogue>Hello, Samantha. Richie can't come to the phone right now due to his impending death.</dialogue> <scene_description>Tara's only made it about ten feet down the hallway now...</scene_description> <character>SAM (O.S.)</character> <dialogue>Please, please don't kill him!</dialogue> <character>VOICE</character> <dialogue>This is what happens to people who stick their noses in business that has nothing to do with them.</dialogue> <parenthetical>(looks to Tara)</parenthetical> <dialogue>Or... should I carve up little sis again instead? Tell you what, you can choose. I'll only kill one. Who do you want to hear die?</dialogue> <scene_description>Tara, weeping. Trying to wheel her way to the elevators. She'll never make it. Ghostface strolling behind her at a leisurely pace, taunting her with the knife...</scene_description> <character>SAM (O.S.)</character> <dialogue>Why are you doing this?</dialogue> <character>VOICE</character> <dialogue>Oh come on, Sam. Didn't Daddy always say it was a lot scarier when there was no motive?</dialogue> <scene_description>Ghostface grabs the wheelchair and violently dumps Tara onto the floor! She screams in pain as she lands, still crying. Ghostface looks from her to Richie, who's coming to...</scene_description> <character>VOICE</character> <dialogue>Now choose. Or I kill them both.</dialogue> <character>SAM (O.S.)</character> <dialogue>I... I can't...</dialogue> <scene_description>We hear Sam breaking down, sobbing. She can't handle this.</scene_description> <character>VOICE</character> <dialogue>Really? You can't save your own sister? All you have to do is say "Kill Richie."</dialogue> <character>SAM (O.S.)</character> <dialogue>Please, no...</dialogue> <scene_description>Richie has managed to get to his knees, but Ghostface KICKS HIM in the head again, flipping him over on his back...</scene_description> <character>VOICE</character> <dialogue>Or you can save the man you love. All you have to do is say "Kill Tara" and I'll put her out of her misery.</dialogue> <character>SAM (O.S.)</character> <dialogue>Please, please, I'm begging you...</dialogue> <scene_description>She's sobbing uncontrollably now.</scene_description> <character>VOICE</character> <dialogue>Choose now. Last chance to save one.</dialogue> <scene_description>Tara, still trying to claw her way to the elevators which are 50 feet away. Sam, through the phone, near whispering...</scene_description> <character>SAM</character> <dialogue>I can't...</dialogue> <scene_description>Ghostface looks from Richie to Tara.</scene_description> <character>VOICE</character> <dialogue>You want to know why I'm doing this, Sam? Maybe it's because you're a selfish bitch who can't even make a decision to save the life of someone you love! Maybe it's because you're too weak for this franchise!</dialogue> <scene_description>Sam, crying uncontrollably:</scene_description> <character>SAM</character> <dialogue>Maybe... maybe you're right...</dialogue> <scene_description>But as Ghostface steps over Tara for the kill, Sam's voice completely changes - no longer crying, now completely calm:</scene_description> <character>SAM</character> <dialogue>...or maybe I'm just stalling for time, fuckhead.</dialogue> <scene_description>DING! The elevator doors slide open, revealing SAM AND DEWEY! Ghostface looks up, a deer caught in headlights! Dewey pulls his gun and OPENS FIRE! Ghostface dives out of the way into a dark hospital room! Dewey fires three shots into the room and they run to Tara, who's on the floor, crying tears of joy! As Sam hoists her sister to her feet, Dewey looks to her.</scene_description> <character>DEWEY</character> <dialogue>I'll get Richie!</dialogue> <scene_description>He runs to Richie as - CRASH! Ghostface leaps out through an observation window! Tackling Dewey! Oh no! Not Dewey!</scene_description> <character>SAM</character> <dialogue>Dewey!</dialogue> <scene_description>They careen headlong into the Nurse's station! Ghostface, raising his knife...</scene_description> <character>DEWEY</character> <dialogue>Not today.</dialogue> <scene_description>...Dewey head-butts Ghostface! Ghostface stumbles back into the desk, shakes it off, raises the knife... But Dewey raises his gun and empties it into Ghostface's chest! Fuck yeah! Ghostface, blown off his feet! Flies back through the air, crashing into a glass cabinet containing hospital awards! Smashing through all of them, finally lying still. This should be immensely satisfying.</scene_description> <character>SAM</character> <dialogue>Let's go!</dialogue> <scene_description>Dewey grabs Richie and pulls him to his feet. Together with Sam, they both stagger-carry Richie and Tara to the elevator. Tara's still crying and Richie's trying to catch his breath. The arm wound is deep. Dewey keeps looking behind them to make sure Ghostface is still down. He is. But still...</scene_description> <character>DEWEY</character> <dialogue>The head...</dialogue> <scene_description>They reach the elevator.</scene_description> <character>RICHIE</character> <dialogue>What?</dialogue> <character>DEWEY</character> <dialogue>We have to shoot him in the head... If we don't, they always come back.</dialogue> <character>SAM</character> <dialogue>Who gives a fuck?!</dialogue> <scene_description>They load Tara and Richie in the elevator. Dewey steps in. She hits the down button... Dewey steps out. Has to make sure. On Sam, surprised, as the doors close between them. Dewey limps back towards the fallen Ghostface. Through the broken glass and spilled blood. He reloads his gun. Like an Old West Sheriff. Glass crunches under his boots. He reaches Ghostface's fallen form. Still not moving. Almost assuredly dead. But still. Dewey raises his gun... Then Dewey's phone rings. He blinks, looks at it, just for a moment. Gale. His ex-wife, calling him. He smiles. And that's when Ghostface stabs him in the stomach. Dewey gasps as Ghostface stands and yanks the knife upwards through his guts. It's gonna be okay, though, it has to be, we've seen Dewey stabbed before... That's when Ghostface takes a second knife in his other hand and stabs Dewey in the back. Pulling upwards on both knives, opening him up on both sides. Dewey's legs buckle. Ghostface lowers him down to his knees. They are face to face. Ghostface raises the voice modulator.</scene_description> <character>VOICE</character> <dialogue>Yes. Today.</dialogue> <scene_description>Dewey tries to speak. All that comes out is blood. Ghostface watching him. Almost studying him in this moment. Dewey's face, white from blood loss...</scene_description> <character>VOICE</character> <dialogue>It's an honor.</dialogue> <scene_description>Dewey stares at him, uncomprehending. Then looks to the floor, past Ghostface's now exposed bulletproof vest. Dewey's phone, still ringing, among all the blood. The picture of Gale still on it. Dewey smiles at it. Ghostface rips the front knife all the way up into his chest. Blood fountains. Then, mercifully, it's over. Ghostface pushes Dewey's body off his knife. THUMP. It lands unceremoniously on the floor. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - PARKING LOT - NIGHT</stage_direction> <scene_description>Everything is SILENT, impressionistic. The parking lot bathed in the blue and red of police lights. Gale gets out of her camera crew's van. Knows something is terribly wrong. Her eyes are drawn across the lot to A BODYBAG Being loaded into the back of a coroner's wagon. She moves towards it, pace quickening with each step. Sam and Richie step into her path... and she knows. She tries to get past them. They hold her back. She shouldn't see this. Gale SCREAMS. Collapses to her knees. There will never be a chance to say all the things she should have said. The door of the wagon slams shut and we SMASH TO BLACK.: After a beat, we FADE IN on a time lapse shot of the hospital. Night turns to dawn turns to midday...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - LOBBY - AFTERNOON</stage_direction> <scene_description>Late afternoon now. A cup of coffee on a side table grows cold, ignored. Ugly gray light creeps in through the blinds. Gale sits alone. The small lobby empty out of respect for the mourner. She stares at nothing. Numb. Sam tentatively enters. Works up the nerve to speak.</scene_description> <character>SAM</character> <dialogue>I'm sorry. I didn't know him well. But he helped me.</dialogue> <scene_description>For a moment, it's unclear whether Gale even heard her. Then:</scene_description> <character>GALE</character> <dialogue>That's what he did. He helped people.</dialogue> <parenthetical>(turns to Sam)</parenthetical> <dialogue>I should have stopped him.</dialogue> <character>SAM</character> <dialogue>If you had, my sister would be dead.</dialogue> <scene_description>Gale looks up at her. Honestly:</scene_description> <character>GALE</character> <dialogue>I don't care.</dialogue> <character>NURSE (O.S.)</character> <dialogue>Samantha?</dialogue> <scene_description>Sam turns to see a nurse in the entryway.</scene_description> <character>NURSE</character> <dialogue>Your sister's awake.</dialogue> <scene_description>Sam rises. Wants to say more, but doesn't know what. She goes with the nurse. We stay with Gale until we hear...</scene_description> <character>SIDNEY (O.S.)</character> <dialogue>Gale?</dialogue> <scene_description>Gale looks up, expecting to see Sam again. But it's SIDNEY PRESCOTT. Standing in the doorway. Gale can't believe it.</scene_description> <character>GALE</character> <dialogue>Sid...?</dialogue> <scene_description>Gale rises as Sidney goes to her. They embrace.</scene_description> <character>GALE</character> <dialogue>You shouldn't be here.</dialogue> <character>SIDNEY</character> <dialogue>You shouldn't be here either.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Gale... I am so sorry.</dialogue> <scene_description>They hold each other more tightly as the tears flow. ON SAM in the hallway. Witnessing the reunion. Understanding what was lost. DING. The elevator's here.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - TARA'S ROOM - MINUTES LATER</stage_direction> <scene_description>Sam sits at her sister's bedside. Tara, still hazy.</scene_description> <character>SAM</character> <dialogue>How you feeling?</dialogue> <character>TARA</character> <dialogue>Every time I get attacked they give me better painkillers. So there's that.</dialogue> <scene_description>The sisters share a smile.</scene_description> <character>SAM</character> <dialogue>I'm sorry.</dialogue> <character>TARA</character> <dialogue>For what? You saved me.</dialogue> <character>SAM</character> <dialogue>For not telling you sooner. For being the reason Dad left.</dialogue> <character>TARA</character> <dialogue>You're not the reason Dad left. You didn't choose where you came from. Or who you came from. I don't blame you for that. I blamed you for leaving me too.</dialogue> <scene_description>Sam finally understands what she needs to apologize for.</scene_description> <character>SAM</character> <dialogue>I'm sorry. That's not going to happen again.</dialogue> <character>TARA</character> <parenthetical>(means it)</parenthetical> <dialogue>I know. You knew I was in trouble last night and you came. When it mattered most.</dialogue> <scene_description>A line of tears spills out of Tara's eye.</scene_description> <character>SAM</character> <dialogue>You're super high right now, aren't you?</dialogue> <character>TARA</character> <dialogue>So high.</dialogue> <character>SAM</character> <dialogue>I love you.</dialogue> <character>TARA</character> <dialogue>I love you too.</dialogue> <scene_description>The sisters hug.</scene_description> <character>TARA</character> <dialogue>So what are we gonna do?</dialogue> <character>SAM</character> <dialogue>What nobody ever does in these situations.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>We're gonna get the fuck out of Woodsboro.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - LOBBY - EVENING</stage_direction> <scene_description>Sidney sits with Gale. They see Sam and Richie wheeling Tara towards the front entrance, crutches across her lap.</scene_description> <character>SIDNEY</character> <dialogue>That's her?</dialogue> <character>GALE</character> <dialogue>Yeah.</dialogue> <scene_description>Sidney rises and meets the trio at the main doors.</scene_description> <character>SIDNEY</character> <dialogue>Samantha?</dialogue> <character>SAM</character> <dialogue>Sam.</dialogue> <character>SIDNEY</character> <dialogue>I'm-</dialogue> <character>SAM</character> <dialogue>I know who you are. Listen-</dialogue> <character>SIDNEY</character> <dialogue>You're Billy's daughter?</dialogue> <scene_description>Sam eyes her. Turns to Richie.</scene_description> <character>SAM</character> <dialogue>Can you go get the car?</dialogue> <character>RICHIE</character> <dialogue>You sure?</dialogue> <character>SAM</character> <dialogue>We'll be out in a minute.</dialogue> <scene_description>Richie nods, heads out.</scene_description> <character>SAM</character> <dialogue>Yeah. I'm his daughter. Sorry if that's weird for you.</dialogue> <scene_description>Sid's studying Sam. Maybe looking for signs of her old boyfriend/nemesis.</scene_description> <character>SIDNEY</character> <dialogue>No, it's... I know you're not looking for my advice, but I've been through this. A lot. If you want to talk-</dialogue> <character>SAM</character> <dialogue>I don't. I appreciate it. And I'm really sorry about Dewey. But I'm getting my sister away from all this.</dialogue> <scene_description>Sam wheels Tara outside. Sidney follows.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - PARKING LOT - CONTINUOUS</stage_direction> <scene_description>Sam wheels Tara up to the curb.</scene_description> <character>SIDNEY</character> <dialogue>I tried that too. But it follows you. If you run from it, it always follows you.</dialogue> <character>SAM</character> <dialogue>All due respect, that's your life, not mine.</dialogue> <character>SIDNEY</character> <dialogue>I wish that were true, but-</dialogue> <scene_description>Sam spins on her, fed up.</scene_description> <character>SAM</character> <dialogue>What do you want from me, lady?</dialogue> <character>SIDNEY</character> <parenthetical>(evenly)</parenthetical> <dialogue>Your help. Because you're right, this time it isn't about me. It's about you. Which means he's going to be coming for you.</dialogue> <character>SAM</character> <dialogue>So?</dialogue> <character>SIDNEY</character> <dialogue>So I want you to help Gale and me kill him.</dialogue> <scene_description>Sam stares at her.</scene_description> <character>SAM</character> <dialogue>You want me to help you and the co- host of the Today Show commit murder?</dialogue> <character>SIDNEY</character> <dialogue>Correct.</dialogue> <character>SAM</character> <dialogue>And I'm what in this scenario, the bait? The helpless victim?</dialogue> <character>SIDNEY</character> <dialogue>It's what they always tried to make me, until I took it and used it against them. You can too. He killed your friend. He killed mine. So let's go end him.</dialogue> <scene_description>Sam sees Gale coming out of the hospital to join them.</scene_description> <character>SAM</character> <dialogue>Look, I'm sorry about what all this did to your life.</dialogue> <parenthetical>(nods to Gale)</parenthetical> <dialogue>And hers. And Dewey's. But no matter what you, or the killer, or anyone thinks, this isn't my story.</dialogue> <scene_description>Before Sidney or Gale can respond, Richie pulls up to the curb in his Prius, cheerily:</scene_description> <character>RICHIE</character> <dialogue>Let's get the fuck out of town!</dialogue> <character>SAM</character> <dialogue>This is my boyfriend, Richie.</dialogue> <character>RICHIE</character> <dialogue>Nice to meet you, now please get in the car so we can never see these people again!</dialogue> <scene_description>Sam opens the door.</scene_description> <character>SIDNEY</character> <dialogue>Sam-</dialogue> <character>SAM</character> <dialogue>No. We're leaving. Whatever you're here to do, we're not gonna be part of it.</dialogue> <scene_description>Sidney exhales as Sam moves to pick up Tara.</scene_description> <character>SIDNEY</character> <dialogue>Here, let me help.</dialogue> <scene_description>Sidney helps Sam get Tara and her crutches into the back seat. Sam opens the passenger door.</scene_description> <character>SIDNEY</character> <dialogue>Good luck.</dialogue> <character>SAM</character> <dialogue>You too.</dialogue> <scene_description>Sidney and Gale watch as Richie's Prius drives away.</scene_description> <character>GALE</character> <dialogue>So how'd that go?</dialogue> <character>SIDNEY</character> <dialogue>Better than I expected, actually. Let's get a cup of coffee?</dialogue> <scene_description>Sidney walks away like a woman with a plan. Gale, a little confused, follows...</scene_description> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS - CONTINUOUS</stage_direction> <scene_description>Sam exhales as they drive away from the hospital.</scene_description> <character>TARA</character> <dialogue>We have to stop at Amber's.</dialogue> <character>SAM</character> <dialogue>You can call her once we're out of town-</dialogue> <character>TARA</character> <dialogue>It's not that. I have things at her house-</dialogue> <character>SAM</character> <dialogue>We'll buy you new things, Tara-</dialogue> <character>TARA</character> <dialogue>Dad's necklace.</dialogue> <scene_description>Sam closes her eyes, lightly slams her head into the headrest. Then:</scene_description> <character>SAM</character> <dialogue>Five minutes, in and out.</dialogue> <character>RICHIE</character> <dialogue>Wait, what?</dialogue> <character>SAM</character> <dialogue>What's the address?</dialogue> <character>RICHIE</character> <dialogue>123 No Fucking Way Lane!</dialogue> <character>SAM</character> <parenthetical>(to Richie)</parenthetical> <dialogue>It's important.</dialogue> <character>RICHIE</character> <dialogue>So is not getting killed! It's really right up there!</dialogue> <scene_description>Sam gives him a look. He slumps. Reluctantly taps on his console's GPS.</scene_description> <character>RICHIE</character> <dialogue>What's the address?</dialogue> <scene_description>PRELAP - LOUD, THUMPING MUSIC...</scene_description> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - NIGHT</stage_direction> <scene_description>A big sprawling two-story Northern California in the wilderness. Cars parked on the lawn. Night has fallen. A high school rager in full-swing...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - VARIOUS - SAME TIME</stage_direction> <scene_description>We track Amber as she wades through a crowd of HIGH SCHOOLERS congesting her home. Weed is smoked. Beer is bonged. But Amber looks stressed. Swings into the KITCHEN Where a makeshift banner hangs that says "FOR WES". Chad is raising a shot glass with a group of JOCKS.</scene_description> <character>CHAD</character> <dialogue>To Wes!</dialogue> <scene_description>"To Wes!" shout the other jocks. Down goes the tequila.</scene_description> <character>AMBER</character> <dialogue>Shots? Really? This is supposed to be a memorial.</dialogue> <character>CHAD</character> <dialogue>This is how I mourn. And distract myself from the looming spectre of Death.</dialogue> <character>AMBER</character> <dialogue>Come on. Nothing's going to happen here.</dialogue> <character>CHAD</character> <dialogue>The Sheriff got murdered outside her own house.</dialogue> <parenthetical>(beat, louder)</parenthetical> <dialogue>The Sheriff got murdered outside her own house.</dialogue> <scene_description>Chad pours and takes another shot. Amber moves into the LIVING ROOM To find Mindy sitting watching the TV. Amber makes a face.</scene_description> <character>AMBER</character> <dialogue>Why are you watching this?</dialogue> <character>MINDY</character> <dialogue>It calms me down.</dialogue> <scene_description>We see Mindy is watching The Texas Chainsaw Massacre. Leatherface shrieks as he chases Sally. Liv approaches.</scene_description> <character>LIV</character> <dialogue>Have you seen Chad?</dialogue> <character>AMBER</character> <dialogue>He's in the kitchen getting right with his God.</dialogue> <character>LIV</character> <dialogue>Again?</dialogue> <scene_description>Liv goes to find him, exasperated.</scene_description> <character>MINDY</character> <dialogue>We're low on beer.</dialogue> <character>AMBER</character> <dialogue>There's more in the basement. I'll get it.</dialogue> <scene_description>Amber moves to the door to the basement. Mindy eyes her.</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - BASEMENT - CONTINUOUS</stage_direction> <scene_description>Amber stands at the top of the basement stairs. DARKNESS BELOW. She flicks the light switch. Nothing. Flips it up and down. Bulb must be out. Amber takes out her cell phone to light her way. Heads down the rickety stairs to the fridge. CREAK. A noise behind her. The door? She spins, shines the light at the door. No one there. Amber makes it to the fridge. A little freaked out. She opens it, grabs a case of beer, closes the fridge door -- Mindy is standing right there. Amber jumps!</scene_description> <character>AMBER</character> <dialogue>Fuck! What the hell, Mindy?</dialogue> <character>MINDY</character> <dialogue>That was a test. And you failed. You never go off on your own when there's a masked killer around!</dialogue> <character>AMBER</character> <dialogue>You're the one who said we were out of beer!</dialogue> <character>MINDY</character> <dialogue>And you should have asked me to come down here with you.</dialogue> <scene_description>Amber cocks her head.</scene_description> <character>AMBER</character> <dialogue>You know what you also shouldn't do when there's a masked killer around? Follow someone into a dark, creepy basement alone.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>I mean...</dialogue> <scene_description>Amber steps to her.</scene_description> <character>AMBER</character> <dialogue>...how do you know I'm not the killer?</dialogue> <scene_description>Mindy narrows her eyes...</scene_description> <character>MINDY</character> <dialogue>Because I am.</dialogue> <scene_description>Oh shit! Amber takes a step back, scared. But Mindy smiles.</scene_description> <character>MINDY</character> <dialogue>I'm not, actually. But let that be a lesson - don't trust anyone.</dialogue> <character>AMBER</character> <dialogue>Then... how can I trust you when you say you're not the killer?</dialogue> <character>MINDY</character> <dialogue>Exactly. You're learning. Let's go back upstairs.</dialogue> <scene_description>Amber starts back, but then...</scene_description> <character>AMBER</character> <dialogue>You first.</dialogue> <scene_description>Mindy nods, proud.</scene_description> <character>MINDY</character> <dialogue>Very good.</dialogue> <scene_description>They head back upstairs...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - HALLWAY OFF THE KITCHEN - NIGHT</stage_direction> <scene_description>Back upstairs, Liv has managed to pull Chad away from his buddies. They are now MAKING OUT by the downstairs bathroom.</scene_description> <character>LIV</character> <dialogue>Sorry- I think- I'm just very emotional-</dialogue> <character>CHAD</character> <parenthetical>(into it)</parenthetical> <dialogue>Me too. Super emotional.</dialogue> <scene_description>Hot and heavy. Teenage hormones in full effect. Softly:</scene_description> <character>LIV</character> <dialogue>I think- I'm ready. Baby, I think we should. Like now. You want to go upstairs?</dialogue> <scene_description>Chad blinks. All he's wanted, but...</scene_description> <character>CHAD</character> <dialogue>Upstairs?</dialogue> <character>LIV</character> <parenthetical>(kissing him)</parenthetical> <dialogue>Right now...</dialogue> <character>CHAD</character> <dialogue>Um... Don't take this the wrong way, but I think I have to pass.</dialogue> <character>LIV</character> <dialogue>What- why?</dialogue> <character>CHAD</character> <parenthetical>(delicately)</parenthetical> <dialogue>Because I'm not entirely sure you're not the killer...?</dialogue> <scene_description>Liv stares at him in disbelief.</scene_description> <character>LIV</character> <dialogue>Don't take this the wrong way?!</dialogue> <character>CHAD</character> <dialogue>I mean, I'm almost positive you're not, baby, but it's a big risk! I think the best move is to stay downstairs with everyone else and-</dialogue> <character>LIV</character> <dialogue>Fuck you!</dialogue> <scene_description>She spins on him and storms out! Chad exhales. Feels like a douche. Then looks across the room to see Mindy watching from the couch. She gives him a thumbs up - Well played.</scene_description> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - NIGHT</stage_direction> <scene_description>We follow Liv as she storms out the front. A few other kids, driving off and leaving. She came here with Chad. She pulls up the UBER app on her phone. UBER X - 40 minutes wait time.</scene_description> <character>LIV</character> <dialogue>Goddammit.</dialogue> <scene_description>UBER Pool - Unavailable. She clicks on UBER Black... 55 Minutes. Liv exhales.</scene_description> <character>LIV</character> <dialogue>I can't have sex and I can't get a ride home. Great.</dialogue> <scene_description>It's gotten quiet outside. A SOUND from around the side of the house. Almost like a hurt animal. Liv frowns.</scene_description> <character>LIV</character> <dialogue>Hello?</dialogue> <scene_description>No response. Liv shakes her head. Orders the Uber X. 40 fucking minutes. That sound again. Like a whining....</scene_description> <character>LIV</character> <dialogue>Hello?</dialogue> <scene_description>It's dark back there. But something sounds hurt. She takes a step towards the dark side of the house... Stops. Reaches into her purse. Pulls out a KNIFE. Six inch blade. Gnarly weapon. "Precious" bedazzled on the handle. Brandishing the knife, she moves around the house, following the sound, stepping into the dark...</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT</stage_direction> <scene_description>Sidney and Gale sit across from each other in a booth. Coffees untouched. Sidney keeps checking her phone. A clock on the wall TICKS.</scene_description> <character>GALE</character> <dialogue>This is all my fault.</dialogue> <scene_description>Sidney looks up at her, surprised.</scene_description> <character>GALE</character> <dialogue>If I hadn't written that book about your mother, none of this would have happened. We would all have had normal lives. Dewey wouldn't have... All the people, Sidney.</dialogue> <character>GALE</character> <dialogue>Everyone we lost...</dialogue> <parenthetical>(softly)</parenthetical> <dialogue>I started all of this.</dialogue> <character>SIDNEY</character> <dialogue>No. Billy Loomis started this. And we're going to finish it. No more books. No more movies. No more reboots or sequels or anything. This ends tonight.</dialogue> <scene_description>Her phone beeps and she checks it.</scene_description> <character>SIDNEY</character> <dialogue>They're moving. We gotta go.</dialogue> <character>GALE</character> <dialogue>Moving?</dialogue> <character>SIDNEY</character> <dialogue>I put a tracker on her car.</dialogue> <scene_description>Gale smiles despite herself.</scene_description> <character>GALE</character> <dialogue>Are you shitting me?</dialogue> <scene_description>Sidney smiles back.</scene_description> <character>SIDNEY</character> <dialogue>I learned from the best.</dialogue> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>The party has thinned out in the living room. Chad stares at his phone. He's texted Liv five times with no response. Don't be mad. Please don't be mad? I'm sorry come back let's do it lol R U still mad? Getting worried pls text back He exhales. He's had enough. He stands...</scene_description> <character>MINDY (O.S.)</character> <dialogue>Don't do it.</dialogue> <scene_description>He sees Mindy nearby on the couch, staring at him.</scene_description> <character>MINDY</character> <dialogue>Don't go after her.</dialogue> <character>CHAD</character> <dialogue>She's not texting me back.</dialogue> <character>MINDY</character> <dialogue>Because she's probably dead.</dialogue> <character>CHAD</character> <dialogue>Fuck, Mindy! That's my girlfriend!</dialogue> <character>MINDY</character> <dialogue>Was your girlfriend.</dialogue> <scene_description>Chad looks at the TV screen. Stab is now playing.</scene_description> <character>CHAD</character> <dialogue>You're really just gonna sit there and watch a movie about how our uncle got stabbed?</dialogue> <character>MINDY</character> <dialogue>Yep, and stay alive. I'm also going to smoke some weed and possibly hook up with Francis.</dialogue> <scene_description>A kid in the corner, FRANCIS (17, clearly a virgin), overhears this and lights up like it's Christmas morning. Chad shakes his head and moves towards the front door...</scene_description> <character>MINDY</character> <dialogue>At least take some kind of weapon!</dialogue> <scene_description>Chad absently grabs a heavy silver candlestick.</scene_description> <character>MINDY</character> <parenthetical>(to Francis)</parenthetical> <dialogue>Better than nothing.</dialogue> <scene_description>She beckons him over with a jerk of her head.</scene_description> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Chad exits the house and descends from the porch. It's getting late. Chad looks around. No Liv. Texts her again: You're scaring me. Pls let me know ur ok. Finally, the three dots appear. Liv writing back... Come find me and make it up to me. Chad frowns. About to text back when a notification pops up. LIV HAS ACCEPTED YOUR FIND MY FRIENDS REQUEST:</scene_description> <character>SHARE LOCATION?</character> <dialogue>Chad smiles. Opens the Find My Friends app and clicks ACCEPT. According to this, Liv is 110 feet away.</dialogue> <character>CHAD</character> <dialogue>All right, let's go sexually make it up to her...</dialogue> <scene_description>He steps towards the road, scanning for Liv. The map on his phone re-orients, he was moving the wrong way. He steps back towards the house. 80 feet away now. Chad moves to the right. Approaching the corner of the house that we saw Liv go around. 60 feet. Chad heads around the SIDE OF THE HOUSE. Darker here. Trips over a garden hose. 30 feet. 20. 10... He comes upon a strange sight - a PILE OF LEAVES with A BOOT peeking out. He looks at the phone. 2 feet away. Chad starts clearing away the leaves. We just know he's going to find Liv's butchered corpse under there...</scene_description> <character>CHAD</character> <dialogue>Um... Liv?</dialogue> <scene_description>Closer to the body beneath... closer... OH FUCK it's Ghostface! He STABS Chad in the stomach! CRACK! Chad clocks him in the head with the candlestick. Ghostface falls back, dazed! In spite of his wound, Chad WAILS on Ghostface, using his midsection as a punching bag! Turns and bolts back towards the house, towards safety, bleeding like a stuck pig...</scene_description> <character>CHAD</character> <dialogue>Hey! Help!</dialogue> <scene_description>Ghostface springs up behind Chad and tackles him to the ground... and in one swift motion SLICES Chad's throat! Chad's hands grip his gushing throat, trying to stop the flow. Crawling on his belly, he's still trying to get to the front of the house. HEADLIGHTS appear as a car approaches. RICHIE'S PRIUS. Chad tries to scream, but can only manage a strangled gurgle.</scene_description> <character>CHAD</character> <dialogue>...help...</dialogue> <scene_description>Ghostface watches until Chad stops moving.</scene_description> </scene> <scene> <stage_direction>INT. RICHIE'S PRIUS - SAME TIME</stage_direction> <scene_description>Richie puts the car in park. No idea that Chad is bleeding out 50 feet away. Sam turns to him.</scene_description> <character>SAM</character> <dialogue>I'll go in with her, we'll be back in five.</dialogue> <character>RICHIE</character> <dialogue>No thank you. I just watched all of the Stab movies, and in 7 out of the 8, people get killed in or around motor vehicles.</dialogue> <parenthetical>(counting them off)</parenthetical> <dialogue>Stab 1, the cameraman in the van. Stab 2, the FBI guy. Stab 3, dude from Seinfeld in a motorhome. Stab 4, the deputies in the police car-</dialogue> <character>TARA</character> <dialogue>Will you stop listing dead people if we let you come in?</dialogue> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Sam and Richie help Tara out of the car and give her the crutches. As they head for the house...</scene_description> <character>SAM</character> <dialogue>Do me a favor, don't tell Amber we're leaving town.</dialogue> <character>TARA</character> <dialogue>You don't trust her?</dialogue> <character>SAM</character> <dialogue>I don't trust anyone at this point. Just get your stuff and talk to as few people as possible.</dialogue> <scene_description>They walk into the house...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - FRONT HALL - NIGHT</stage_direction> <scene_description>...where the remaining PARTYGOERS see who the newcomers are, and roar in delight!</scene_description> <character>THE CROWD</character> <parenthetical>(various)</parenthetical> <dialogue>TARA! Hey! What's up?</dialogue> <scene_description>Sam rolls her eyes as Tara is immediately swarmed by well- wishers, asking if she's okay, how she's feeling, etc. Sam and Richie try to help Tara through the crowds.</scene_description> <character>SAM</character> <dialogue>We don't have time for this...</dialogue> <character>AMBER (O.S.)</character> <dialogue>Can everyone get away from my girlfriend, please? Make a hole!</dialogue> <scene_description>A surprised Amber is coming down the stairs, shooing people away from Tara. She reaches her and they embrace.</scene_description> <character>AMBER</character> <dialogue>What are you doing out of the hospital? Should you even be up and around?</dialogue> <character>TARA</character> <dialogue>I needed to come get my necklace.</dialogue> <character>AMBER</character> <dialogue>Why? Are you going somewhere?</dialogue> <scene_description>Tara looks at her, agonized. She promised she wouldn't say.</scene_description> <character>AMBER</character> <dialogue>No, you know what, don't tell me. I get it. Be safe. It's in my room. I just want to talk to you alone for a sec before you go-</dialogue> <character>SAM</character> <dialogue>Absolutely not.</dialogue> <scene_description>Amber turns to her.</scene_description> <character>AMBER</character> <dialogue>I'm glad you finally decided to take your sisterly duties seriously, but we've been together for over a year-</dialogue> <character>SAM</character> <dialogue>Congratulations, I'll buy you a cake. We gotta go.</dialogue> <character>TARA</character> <dialogue>Sam, please...</dialogue> <scene_description>Sam exhales.</scene_description> <character>SAM</character> <dialogue>Okay, but I'm coming with you. Where's your bedroom?</dialogue> <character>AMBER</character> <dialogue>Back there.</dialogue> <scene_description>She looks around at the party-goers.</scene_description> <character>AMBER</character> <dialogue>Thanks for coming, but the party's over! Time for everyone to go!</dialogue> <scene_description>The party-goers BOOOOOO this profusely. They're not going anywhere. Sam looks to Richie.</scene_description> <character>SAM</character> <dialogue>Could you...?</dialogue> <scene_description>Richie clears his throat.</scene_description> <character>RICHIE</character> <dialogue>Attention teenagers! Sam and Tara have been attacked by the killer twice and now they're here, which makes this house a huge target! So y'all should get the fuck out!</dialogue> <scene_description>General mumbling amongst the teenagers, Richie's made a solid point. They begin to move towards the exits. Sam looks to Richie, who mimes tipping his hat. She follows Tara and Amber towards the back of the house...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mindy, alone now, lying on the couch. Francis has departed. She's drunk. Still watching Stab. Richie pokes his head in.</scene_description> <character>RICHIE</character> <dialogue>Do you know if there's any beer left? There's none in the kitchen.</dialogue> <character>MINDY</character> <dialogue>There's some in the basement.</dialogue> <character>RICHIE</character> <parenthetical>(hopeful)</parenthetical> <dialogue>You wanna come with me?</dialogue> <character>MINDY</character> <dialogue>No, but you were right to ask.</dialogue> <scene_description>Richie weighs his fear with his need for beer. Beer wins. He grabs the other candlestick off the mantle.</scene_description> <character>RICHIE</character> <dialogue>I'll be right bac-</dialogue> <scene_description>As soon as he realizes, he winces. Hefts the weapon and heads towards the basement. Mindy shakes her head.</scene_description> <character>MINDY</character> <dialogue>Well, he's dead...</dialogue> <scene_description>She settles back into the movie when we see A FIGURE move behind her! She spins to see it's -- LIV. Surprisingly very much alive. And pissed.</scene_description> <character>LIV</character> <dialogue>Goddamn Uber cancelled on me... Could this night get any shittier?</dialogue> <scene_description>Mindy sits up, looking at her strangely.</scene_description> <character>MINDY</character> <dialogue>Where's my brother?</dialogue> <character>LIV</character> <dialogue>I don't know, probably off accusing everyone of being the killer.</dialogue> <character>MINDY</character> <dialogue>He went looking for you...</dialogue> <character>LIV</character> <dialogue>I didn't see him, okay? Why are you looking at me like that?</dialogue> <character>MINDY</character> <dialogue>Just revising my suspect list.</dialogue> <scene_description>Liv steps towards her, suddenly menacing.</scene_description> <character>LIV</character> <dialogue>You afraid of me, Mindy? You think I did something to your brother? You think I'm going to cut you up?</dialogue> <character>MINDY</character> <parenthetical>(shrinking from her)</parenthetical> <dialogue>A little now, yeah...</dialogue> <character>LIV</character> <dialogue>You said I was too boring to be the killer.</dialogue> <character>LIV</character> <dialogue>But maybe that's the twist, right? What do you think? You're the expert. And you know what eventually happens to the expert?</dialogue> <scene_description>She draws her finger across the throat. On Mindy, terrified. Liv smiles. Looks to the TV.</scene_description> <character>LIV</character> <dialogue>Enjoy your stupid movie.</dialogue> <scene_description>She turns and heads out. To settle her nerves, Mindy takes a big swig of tequila and turns up the movie's VOLUME...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Amber leads Sam and Tara to her room. Pauses in the doorway.</scene_description> <character>AMBER</character> <dialogue>I just want to talk to her alone for two minutes.</dialogue> <character>SAM</character> <dialogue>Why?</dialogue> <character>AMBER</character> <dialogue>Because I love her and you're clearly taking her away from me.</dialogue> <character>TARA</character> <dialogue>Sam, please...</dialogue> <scene_description>On Sam. Hates this.</scene_description> <character>SAM</character> <dialogue>Fine. Two minutes, I'll be standing right outside this door. If anything happens, scream.</dialogue> <character>AMBER</character> <dialogue>Thanks. We will.</dialogue> <scene_description>Amber closes the door, leaving Sam in the hallway...</scene_description> </scene> <scene> <stage_direction>INT. SIDNEY'S RENTAL CAR (MOVING) - NIGHT</stage_direction> <scene_description>Gale, driving. Sidney, tracking Sam's car on her phone.</scene_description> <character>SIDNEY</character> <dialogue>Take a left up here...</dialogue> <scene_description>Gale takes a left. On country roads now. Sidney frowns.</scene_description> <character>SIDNEY</character> <dialogue>They've stopped.</dialogue> <character>GALE</character> <dialogue>Gas station?</dialogue> <character>SIDNEY</character> <dialogue>No.</dialogue> <character>GALE</character> <dialogue>I thought they were headed out of town.</dialogue> <character>SIDNEY</character> <dialogue>So did I. I- oh shit.</dialogue> <character>GALE</character> <dialogue>What?</dialogue> <scene_description>She shows the phone to Gale, who pales and then STOMPS THE ACCELERATOR. Roaring down the road!</scene_description> <character>GALE</character> <dialogue>How far away are we?</dialogue> <character>SIDNEY</character> <dialogue>Too far.</dialogue> <scene_description>And Sidney's dialing her phone...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Sam, standing there. Quiet. She checks her watch.</scene_description> <character>SAM</character> <dialogue>Come on Tara, we gotta go!</dialogue> <scene_description>No response from inside. In fact, she can't hear any talking at all... Interrupted as her PHONE RINGS. Caller ID - Unknown (Maybe: Sidney Prescott) Sam answers it.</scene_description> <character>SAM</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. SIDNEY'S RENTAL CAR (MOVING) - NIGHT</stage_direction> <scene_description>As Gale tears around a corner, Sidney INTERCUT:</scene_description> <character>SIDNEY</character> <dialogue>You have to get out of that house right now!</dialogue> <character>SAM</character> <dialogue>How do you know where I-</dialogue> <character>SIDNEY</character> <dialogue>You're at Stu Macher's house, where your dad and Stu killed everyone!</dialogue> <scene_description>CAMERA SPINS around Sam as all of this lands. Sidney's voice, still in her head:</scene_description> <character>SIDNEY</character> <dialogue>Someone planned to get you there, you have to get the fuck out!</dialogue> <scene_description>Sam drops her phone in shock. Tries the doorknob to Amber's room - LOCKED.</scene_description> <character>SAM</character> <dialogue>Tara, open the door! Get out of there! Tara!</dialogue> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mindy might hear this if the TV wasn't turned up so far. Stab, still playing. ON TV - The scene where RANDY (a 1997 Seth Green) is drunk on the couch, watching Halloween. In the movie, Jamie Lee Curtis sneaks through the house, menaced by Michael Myers...</scene_description> <character>MOVIE RANDY (ON TV)</character> <dialogue>No, Jamie. Watch out. Watch out, Jamie, you know he's around. You know- there he is. I told you.</dialogue> <scene_description>ON TV - Behind Randy, Ghostface emerges. Moving closer...</scene_description> <character>MOVIE RANDY (ON TV)</character> <dialogue>I told you, he's right around the corner. Jamie. Jamie. Jamie. Look behind you.</dialogue> <scene_description>Mindy, on the couch, chuckles. Loves this fucking scene.</scene_description> <character>MINDY</character> <dialogue>Look behind you, Randy... Turn around, dude. Turn around...</dialogue> <scene_description>Silently behind Mindy, the real GHOSTFACE emerges.</scene_description> <character>MINDY</character> <dialogue>Uncle Randy, come on...</dialogue> <character>MOVIE RANDY (ON TV)</character> <dialogue>Look behind you. Turn around. Behind you. Behind you, Jamie.</dialogue> <scene_description>Ghostface approaches Mindy on the couch...</scene_description> <character>MINDY</character> <dialogue>Behind you, Randy. Turn around, man. You can do it. They're your rules, dude, own that shit. Look behind you.</dialogue> <scene_description>Ghostface is right behind Mindy now. He raises his knife above her head to drive it down into her skull...</scene_description> <character>MINDY</character> <dialogue>Look. Behind. You.</dialogue> <scene_description>That's when she realizes: she's in that scene right now.</scene_description> <character>MINDY</character> <dialogue>Wait-</dialogue> <scene_description>Mindy turns just as Ghostface lunges and BURIES THE KNIFE in her shoulder! Mindy screams as Ghostface rips it out and jumps over the couch towards her!</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Sam, banging on Amber's door when she hears Mindy's blood- curdling scream!</scene_description> <character>MINDY (O.S.)</character> <dialogue>Oh God, help me!</dialogue> <scene_description>Sam abandons the door, running for the Living Room...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mindy, stumbling for the door, bleeding badly, but Ghostface clotheslines her and slams her into a wall! Mindy claws at his mask, but Ghostface stabs her in the stomach! She shrieks! Sam enters from the other door, picks a lamp and HURLS IT at Ghostface's head - SMASH! He whirls, seeing her there! Rather than charge her, he flees through the side door! Sam runs to Mindy, who's slid down the wall, in shock.</scene_description> <character>MINDY</character> <dialogue>That's a lot of blood...</dialogue> <character>SAM</character> <dialogue>I'm calling the police.</dialogue> <character>MINDY</character> <dialogue>...great idea...</dialogue> <scene_description>She slumps over. Unconscious? Dead?</scene_description> <character>SAM</character> <dialogue>No, no, no, stay awake!</dialogue> <scene_description>A SCREAM from behind her! Sam whirls to see Tara and Amber!</scene_description> <character>AMBER</character> <dialogue>What did you do to her?</dialogue> <character>SAM</character> <dialogue>I didn't do anything! Why did you lock the door?!</dialogue> <character>TARA</character> <dialogue>We were saying goodbye- we were making out!</dialogue> <scene_description>Amber runs to Mindy, trying to wake her up.</scene_description> <character>AMBER</character> <dialogue>Oh my God, oh my God, she's dying-</dialogue> <character>RICHIE (O.S.)</character> <dialogue>What the fuck?!</dialogue> <scene_description>Richie appears in the near doorway. He drops his beer bottle, it shatters.</scene_description> <character>AMBER</character> <dialogue>Stay back!</dialogue> <character>SAM</character> <dialogue>Where the fuck were you?</dialogue> <character>RICHIE</character> <dialogue>I went to the basement for beer-</dialogue> <character>AMBER</character> <dialogue>You went to the basement alone?</dialogue> <character>RICHIE</character> <parenthetical>(points to Mindy)</parenthetical> <dialogue>I asked her to come with me, she said no!</dialogue> <scene_description>BAM! The front door SLAMS and they all jump! Turning to see Liv enter at a dead run!</scene_description> <character>LIV</character> <dialogue>You guys, we have to- Oh God!</dialogue> <scene_description>Seeing Mindy, she moves towards her.</scene_description> <character>AMBER</character> <dialogue>Stay the fuck back!</dialogue> <character>LIV</character> <parenthetical>(weeping)</parenthetical> <dialogue>Oh Jesus, oh Jesus Christ...</dialogue> <character>AMBER</character> <dialogue>I was with Tara, but the rest of you were off wandering somewhere- One of you is the fucking killer!</dialogue> <character>LIV</character> <dialogue>Fuck you, Amber!</dialogue> <character>SAM</character> <parenthetical>(noticing)</parenthetical> <dialogue>Why do you have blood on your hands?</dialogue> <scene_description>It's true - Liv has smears of BLOOD ON HER HANDS. Tara and Amber back away from her.</scene_description> <character>LIV</character> <dialogue>I- I found Chad dead... I slipped in it...</dialogue> <character>AMBER</character> <dialogue>You're fucking lying!</dialogue> <character>RICHIE</character> <parenthetical>(backing away)</parenthetical> <dialogue>You're the killer...</dialogue> <character>LIV</character> <dialogue>No! No! We have to call the police!</dialogue> <scene_description>Liv pulls her phone out, but her hands are slippery with blood so she drops it.</scene_description> <character>AMBER</character> <dialogue>Liv-</dialogue> <scene_description>Liv snatches it up, trying to dial.</scene_description> <character>LIV</character> <dialogue>We have to call them, so they can come here and you'll see-</dialogue> <character>AMBER</character> <dialogue>Liv, just stop-</dialogue> <character>LIV</character> <dialogue>Fuck you, Amber, I'm not the fucking killer!</dialogue> <character>AMBER</character> <dialogue>I know.</dialogue> <scene_description>And Amber pulls a GUN from her pocket and SHOOTS LIV THROUGH THE HEAD! Her brains paint the bookcase! Her body crashes to the ground! As this registers to our stunned characters, Amber smiles.</scene_description> <character>AMBER</character> <dialogue>Welcome to Act Three.</dialogue> <scene_description>She swings the gun around towards Sam...</scene_description> <character>RICHIE</character> <dialogue>Run!</dialogue> <scene_description>Richie grabs Sam and pulls her through the door to the kitchen-</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>-as BLAM! BLAM! BLAM! Bullets punch through the wall after them, and Sam grabs a KNIFE from the knife block on the island and Richie pulls her into</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - GARAGE - MOMENTS LATER</stage_direction> <scene_description>The garage. Sam's freaking the fuck out.</scene_description> <character>SAM</character> <dialogue>I have to go back- I have to get Tara-</dialogue> <character>RICHIE</character> <dialogue>Sam, you can't, she has a gun-</dialogue> <character>SAM</character> <dialogue>Richie-</dialogue> <character>RICHIE</character> <dialogue>And there are always two killers!</dialogue> <scene_description>Sam eyes Richie, looking at him in a new light.</scene_description> <character>SAM</character> <dialogue>You're right...</dialogue> <scene_description>Sam raises her knife and backs away from her boyfriend.</scene_description> <character>RICHIE</character> <dialogue>Sam, no! Think, the other killer might be Tara! You've been estranged for years! How well do you really know her?</dialogue> <scene_description>Richie sees that his words are having an effect. He reaches for her - but she pulls back.</scene_description> <character>SAM</character> <dialogue>Better than I know you.</dialogue> <character>RICHIE</character> <dialogue>I'm trying to save your life!</dialogue> <character>SAM</character> <dialogue>So am I.</dialogue> <scene_description>Sam slips back into the house. Richie calls after her:</scene_description> <character>RICHIE</character> <dialogue>Sam!</dialogue> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - VARIOUS - CONTINUOUS</stage_direction> <scene_description>We track Sam as she stealthily moves through the house. Inching back towards the living room bloodbath. Potential danger around every corner. Every creak in the floor threatens to give away her position. Finally, she arrives at the entrance to the living room. She steels herself, steps inside --</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>It's empty. Bloodstains everywhere. Sam moves to where Tara was standing, sees a smeared blood trail leading down another hallway.</scene_description> <character>SAM</character> <dialogue>Oh no...</dialogue> <scene_description>Sam follows the blood trail.</scene_description> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - NIGHT</stage_direction> <scene_description>Sidney and Gale pull up and park behind Richie's Prius. They get out and Gale moves for the house-</scene_description> <character>SIDNEY</character> <dialogue>Wait.</dialogue> <scene_description>She walks to the back of the car and opens the trunk. Pulls out TWO PISTOLS. Checks that they're loaded, hands one to Gale. A SCREAM comes from inside the house.</scene_description> <character>GALE</character> <dialogue>That sounds about right.</dialogue> <scene_description>They look at each other.</scene_description> <character>SIDNEY</character> <dialogue>You ready?</dialogue> <character>GALE</character> <dialogue>For this? Never. But here we go.</dialogue> <scene_description>They turn and face the house. Walk towards it. But before they've made it two steps-- AMBER stumbles out of the house. She's clutching what looks like a bleeding wound in her side.</scene_description> <character>AMBER</character> <dialogue>Help me... he- he stabbed me...</dialogue> <scene_description>Amber crumples to her knees, screaming in pain. Gale starts forward, but Sidney grabs her arm, stopping her.</scene_description> <character>SIDNEY</character> <dialogue>It's a trap.</dialogue> <scene_description>Amber abruptly stops screaming and raises something in her hand. DEWEY'S GUN.</scene_description> <character>AMBER</character> <dialogue>Fuck it.</dialogue> <scene_description>BLAM! Gale takes a bullet to the stomach! She falls. Sidney dives behind Gale's car and returns fire! Amber retreats, shooting wildly. A big sloppy gunfight. Windows shatter. Wood splinters. Amber makes it inside, slams the door -- Sidney keeps her eyes on the door as she crouch-walks to Gale, who's pressing on her bullet wound.</scene_description> <character>GALE</character> <dialogue>Is it any wonder I moved out of this fucking town?</dialogue> <character>SIDNEY</character> <dialogue>Let me see.</dialogue> <parenthetical>(Gale does)</parenthetical> <dialogue>We should get you to the hospital-</dialogue> <character>GALE</character> <dialogue>No. You said we're gonna finish it. So finish it, Sidney.</dialogue> <scene_description>Gale grabs Sidney's hand and squeezes it.</scene_description> <character>GALE</character> <dialogue>Go get her.</dialogue> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Sam follows the blood trail into the master bedroom, to A CLOSET on the far side of the room. Sam creeps to it. Puts one hand on the door, raises her knife with the other... Flings the door open. Tara is on the floor, BOUND AND GAGGED. Eyes wide with fear.</scene_description> <character>SAM</character> <dialogue>Tara...</dialogue> <scene_description>Sam kneels. Tara raises her tied wrists for Sam to cut the rope. Sam prepares to slice through it... Then stops. Uncertainty on her face. Could her sister really be the other killer? Tara looks up at Sam, pleading...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - FRONT ROOM - SAME TIME</stage_direction> <scene_description>Sidney enters the house. Surveys the scene. The room looks different than it did when she was last here fighting for her life against Billy and Stu. She sees the closet where she hid. The door is closed. Without opening it, Sidney puts a bullet through it. Not fucking around today. She moves through the ground floor and fires through every closed door like clockwork. She stalks up the stairs, reloading. Her phone rings. She answers. The Voice that used to haunt her dreams:</scene_description> <character>VOICE (O.S.)</character> <dialogue>Hello, Sidney.</dialogue> <character>SIDNEY</character> <dialogue>Hello. This the girl from outside?</dialogue> <character>VOICE (O.S.)</character> <dialogue>No, I'm not Amber. I'm the other one.</dialogue> <character>SIDNEY</character> <dialogue>Ah, there are two of you. Again. Not very original. I've seen this movie before.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Not this movie, Sidney.</dialogue> <character>SIDNEY</character> <dialogue>Wrong. I've seen them all, and you know what? They're all just pale imitations of the original. You're just another dipshit copycat of Billy Loomis. And guess what? I killed them all.</dialogue> <character>VOICE (O.S.)</character> <dialogue>New decade. New rules.</dialogue> <character>SIDNEY</character> <dialogue>You said that last decade.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Maybe so, but you forgot the first rule of surviving a Stab movie.</dialogue> <character>SIDNEY</character> <dialogue>Yeah? What's that?</dialogue> <character>VOICE (O.S.)</character> <dialogue>Never answer the phone.</dialogue> <scene_description>Sidney shoots another closet door- BLAM! A SCREAM from inside, she hit someone! Sidney flings the door open, gun still raised -- It's Richie! Wounded. The bullet grazed his leg.</scene_description> <character>RICHIE</character> <dialogue>What the fuck!?</dialogue> <character>SIDNEY</character> <dialogue>Hands, show me your hands!</dialogue> <scene_description>Richie does. No phone. No mask. No nothing.</scene_description> <character>SIDNEY</character> <dialogue>What are you doing in there?</dialogue> <character>RICHIE</character> <dialogue>Hiding!</dialogue> <scene_description>AS GHOSTFACE BURSTS OUT of the room behind Sidney and tackles her to the floor! Sid's gun goes flying, lands at the bottom of the stairs.</scene_description> <character>RICHIE</character> <dialogue>HOLY SHIT IT'S GHOSTFACE!</dialogue> <scene_description>Sidney and Ghostface wrestle for dominance. It's a street brawl, but Sid knows plenty of moves. She drops and uses Ghostface's momentum to fling him into the railing -- CRASH! Ghostface smashes through the barrier and GOES OVER THE EDGE! Disappearing from view. Sidney cautiously approaches the hole in the railing -- And is grabbed by Ghostface, who's hanging on the ledge! He topples, dragging Sidney with him -- WHAM! Both of them hit the floor of the front hall! Losing their wind. Sidney gasps and struggles to speak.</scene_description> <character>SIDNEY</character> <dialogue>Richie... Gun... Get the gun...</dialogue> <scene_description>Richie hobbles as fast as he can to the stairs...</scene_description> <character>RICHIE</character> <dialogue>Kinda hard since you shot me in the leg!</dialogue> <scene_description>Richie hobble-sprints down the stairs. Ghostface crawls towards the gun. It's a race. Richie almost there, but... A third person gets there first! SAM! She snatches up the gun as Richie arrives behind her!</scene_description> <character>SIDNEY</character> <dialogue>Shoot him...</dialogue> <character>RICHIE</character> <parenthetical>(to Sam)</parenthetical> <dialogue>Thank God you're okay...</dialogue> <scene_description>Sam aims the gun at Ghostface's head, pulls back the hammer- And that's when Richie STABS her in the side.</scene_description> <character>RICHIE</character> <dialogue>Because I really wanted to be the one to kill you.</dialogue> <scene_description>Sam stares at him in disbelief. Sinks to her knees. Ghostface pulls off the mask revealing Amber. Bravo. Richie leans down next Sam. Takes the gun from her, gently, and hands it to Amber.</scene_description> <character>RICHIE</character> <dialogue>I know. It's a bummer it's me.</dialogue> <parenthetical>(holds up Ghostface verbalizer)</parenthetical> <dialogue>But it's really the best twist for the movie.</dialogue> <scene_description>She stares in horror at the man she loved.</scene_description> <character>SAM</character> <dialogue>No...</dialogue> <character>RICHIE</character> <dialogue>Yeah. Sorry.</dialogue> <character>SAM</character> <dialogue>This isn't... a fucking movie...</dialogue> <scene_description>Richie considers this.</scene_description> <character>RICHIE</character> <dialogue>No. But it will be. And that's the point, right Amber?</dialogue> <character>AMBER</character> <dialogue>Right, hon.</dialogue> <parenthetical>(looking around)</parenthetical> <dialogue>Third Act bloodbath, check. Killers revealed, check... Time for the big finale. Let's get 'em into the kitchen.</dialogue> <scene_description>She forces Sidney to her feet, pushing her with the gun as Richie carries a bleeding Sam into</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - KITCHEN - NIGHT</stage_direction> <character>RICHIE</character> <dialogue>See, no one's made a good Stab movie since the first one, not really, and this latest one? Jesus Christ. Talk about a "fuck you" to the fans.</dialogue> <scene_description>Sidney slumps into a chair while Amber holds a gun on her.</scene_description> <character>RICHIE</character> <dialogue>After all we've given this franchise, they're gonna do three killers? No legacy characters? A fucking Mary Sue who can apparently whip a 200-pound guy's ass with no training? We deserve better-</dialogue> <character>AMBER</character> <parenthetical>(exploding)</parenthetical> <dialogue>It's like Rian Johnson didn't even try!</dialogue> <character>RICHIE</character> <dialogue>Exactly, babe. You wanna go get her?</dialogue> <scene_description>Amber hands Richie the gun and exits. Richie turns to Sidney, suddenly shy.</scene_description> <character>RICHIE</character> <dialogue>I know you probably get this a lot, but I'm a big fan.</dialogue> <character>SIDNEY</character> <dialogue>Go fuck yourself.</dialogue> <character>RICHIE</character> <dialogue>Ouch. Well, you know what they say: "never meet your heroes." You see the last Stab movie?</dialogue> <character>SIDNEY</character> <dialogue>Not really a fan of scary movies...</dialogue> <scene_description>Richie chuckles.</scene_description> <character>RICHIE</character> <dialogue>That's fair. Anyways, it sucked balls. I mean the whole online StabHead community was in an uproar about this piece of shit. Some of those 4Chan losers tried writing petitions, doing a Kickstarter to reshoot the movie...</dialogue> <parenthetical>(getting worked up)</parenthetical> <dialogue>But Amber and I knew petitions weren't gonna get it done. Nobody takes the true fans seriously anymore, not really. They just laugh at us, and why? Because we love something.</dialogue> <character>RICHIE</character> <dialogue>We're just a joke to them! I mean how can fandom be toxic? It's about love! They don't fucking understand! These movies are important to people!</dialogue> <character>SAM</character> <dialogue>Richie-</dialogue> <character>RICHIE</character> <dialogue>Hollywood's totally fucking out of ideas, so we realized we needed to give them some new source material to follow, to bring it back to basics! That's how you make a great Stab movie, Sam! Based! On Actual! Events!</dialogue> <scene_description>Amber re-enters, grinning and dragging a wounded Gale.</scene_description> <character>AMBER</character> <parenthetical>(to Gale)</parenthetical> <dialogue>Too bad no one reads books anymore.</dialogue> <scene_description>She practically throws Gale into a chair, sneering at her.</scene_description> <character>AMBER</character> <dialogue>They'll have to option the listicle about this for the movie. Buzzfeed's "15 Fun Facts About the House They Found Gale Weathers Dead In."</dialogue> <scene_description>Sidney rushes to Gale, protective.</scene_description> <character>SIDNEY</character> <dialogue>Are you okay?</dialogue> <scene_description>Gale's not okay. She's pale, bleeding out. Her eyes can barely focus. Amber grabs Sidney roughly, waving the knife.</scene_description> <character>AMBER</character> <dialogue>Excuse me, Sidney, but we were in the middle explaining our awesome fucking plan. We worked really hard on this!</dialogue> <scene_description>Amber SHOVES Sidney back against the island. Sam, clutching her knife wound by the sink, stares daggers at Richie.</scene_description> <character>SAM</character> <dialogue>You did all this... just to make me the hero of your fucked up movie?</dialogue> <character>RICHIE</character> <dialogue>Oh, sweetie. You're not the hero. You're the villain. The daughter of Billy Loomis who sees fucked up visions of her dead dad?</dialogue> <parenthetical>(points to Sid)</parenthetical> <dialogue>Sidney Prescott killed your father and your grandmother. You did all this just to get her back to Woodsboro.</dialogue> <scene_description>Sam and Sidney look at each other. Amber laughs. Sam signals to Sidney with her eyes - knife block on the island.</scene_description> <character>AMBER</character> <dialogue>See, you know what the biggest problem with the Stab movies is?</dialogue> <scene_description>She holds up the Ghostface mask.</scene_description> <character>AMBER</character> <dialogue>There's no Michael Myers or Jason Voorhees, no bad guy to keep coming back. Every time it's gotta be some new idiot in a Ghostface mask with increasingly ludicrous reasons to commit an anonymous string of grizzly killings. But the illegitimate daughter of the original mastermind? Now that's a fucking villain!</dialogue> <character>RICHIE</character> <dialogue>It was so perfect it almost felt like a real-life retcon!</dialogue> <parenthetical>(to Sidney)</parenthetical> <dialogue>And to think: if you'd only opened your legs for Billy earlier, like he wanted, Sam wouldn't even exist!</dialogue> <scene_description>Richie mimes his head exploding.</scene_description> <character>SAM</character> <dialogue>How did you know...?</dialogue> <scene_description>With Richie and Amber's attention turned back to Sam, Sidney inches closer to the island. The women, working together.</scene_description> <character>AMBER</character> <dialogue>About your father? It's a small town. My uncle went to school with all of them, he knew Billy was banging your mom behind Sid's back.</dialogue> <character>AMBER</character> <dialogue>You do a little math that adds up to nine months... bingo.</dialogue> <parenthetical>(smiles at Richie)</parenthetical> <dialogue>I met Richie on Reddit. StabHead fan sub. I've been obsessed since my parents bought this house. We realized pretty quickly we had similar ideas.</dialogue> <scene_description>Richie smiles at Sam.</scene_description> <character>RICHIE</character> <dialogue>Wasn't that hard for me to find you in Modesto. Wasn't that hard to fuck you, either. But I guess being a sexually available woman is supposed to be empowering these days-</dialogue> <character>SAM</character> <dialogue>Fuck you.</dialogue> <character>RICHIE</character> <parenthetical>(smiles)</parenthetical> <dialogue>Now you're just quoting the original.</dialogue> <scene_description>Sidney's closer to the island. Amber and Richie don't seem to have noticed. Sidney tenses, preparing to make her move.</scene_description> <character>AMBER</character> <dialogue>But it wouldn't work with just you, Sam. See, you gotta bring the legacy characters back to make it matter. Can't have a bona fide Halloween without Jamie Lee. Dewey had to die to make it real, to show this wasn't some bullshit cash-in run of the mill sequel. Our movie has fucking stakes.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>Cause anyone can die in a re-quel.</dialogue> <scene_description>And just as Sidney springs up to grab a knife, Amber turns and STABS SIDNEY IN THE STOMACH!</scene_description> <character>GALE AND SAM</character> <dialogue>No!</dialogue> <scene_description>Sam lunges to help Sidney, but Richie pistol-whips her back with the gun! Sidney falls to her knees. Hands filling with blood as she tries to hold them to the wound. Richie looks down at her, almost like he's breaking bad news to a child.</scene_description> <character>RICHIE</character> <dialogue>I'm so sorry... but we can't let you live either, Sid. Surviving this many times would just be ridiculous. This time, the fans are gonna be the ones who win.</dialogue> <parenthetical>(to Tara)</parenthetical> <dialogue>That about cover it?</dialogue> <character>AMBER</character> <dialogue>Nailed it, baby.</dialogue> <character>RICHIE</character> <dialogue>Go get Tara out of the closet. We have to stage the bodies.</dialogue> <scene_description>Amber goes. Gale, breathing shallow, crawls to Sidney.</scene_description> <character>GALE</character> <dialogue>Stay with me Sid, stay with me...</dialogue> <scene_description>Neither woman looks like she's going to be with us much longer. Richie turns to Sam.</scene_description> <character>RICHIE</character> <dialogue>You should have listened to Dewey. Always look at the love interests.</dialogue> <scene_description>And that's when Sam lunges for the knife block! Getting her hand on the nearest one- THWACK! Richie pistol-whips her again, knocking her back into the wall. Sam groans, clutching her knife wound. Richie thumbs back the hammer, pissed.</scene_description> <character>RICHIE</character> <dialogue>Nice try. But the villain's gotta die at the end, Sam. There are rules. Jesus, I even had you convinced it could be your sister...</dialogue> <scene_description>He smiles at the thought. From down the hall:</scene_description> <character>AMBER (O.S.)</character> <dialogue>She's not here!</dialogue> <scene_description>Richie blinks at this. Shouts back:</scene_description> <character>RICHIE</character> <dialogue>The fuck do you mean she's not there?</dialogue> <scene_description>He stares at Sam, who smiles.</scene_description> <character>SAM</character> <dialogue>I untied her.</dialogue> <parenthetical>(off his surprise)</parenthetical> <dialogue>Guess you're not as persuasive as you thought.</dialogue> <scene_description>The LANDLINE rings. Sam chuckles. Richie's eyes stare at the phone. BLOCKED CALLER. Gotta be Tara. He ignores it.</scene_description> <character>RICHIE</character> <dialogue>Like your gimpy sister's gonna make a difference? She's our fucking pincushion at this point. Amber?</dialogue> <scene_description>Amber returns as they continue to ignore the ringing phone. Richie moves to the opposite side of the kitchen, points Amber back the way she came.</scene_description> <character>RICHIE</character> <dialogue>Fan out. She can't have gotten far-</dialogue> <scene_description>Amber turns to go search, and- WHANG! Tara steps into the door and bludgeons Amber in the face with a fireplace poker!</scene_description> <character>AMBER</character> <dialogue>Fuck!</dialogue> <scene_description>Richie SHOOTS at her and misses. Sam hurls herself into him, knocking him to the floor! Tara wails on Amber with the poker. Amber shields her face with her forearms. Desperate to stop the blows, she kicks Tara in her broken leg. Tara screams -- Amber bodychecks Tara through the floor-to-ceiling bay window, sending her out into the yard!</scene_description> <character>SAM</character> <dialogue>Tara!</dialogue> <scene_description>Sam tries to wrestle the gun away from Richie, but he's too strong. He turns the barrel towards her... presses it to her forehead, just like with Wes -- PULLS THE TRIGGER -- CLICK. Clip's empty. Sam scrambles to her feet and bolts out of the kitchen.</scene_description> <character>RICHIE</character> <parenthetical>(from the floor)</parenthetical> <dialogue>Saaaaaaam! Where you going? Your big scene's coming up!</dialogue> <scene_description>Richie springs up and gives chase, reloading as he goes. Amber goes for Dewey's gun on the center island -- When SIDNEY grabs her from behind and SLAMS her forehead into the island! Amber's flailing hand knocks the gun to the floor! Amber counters by whipping her head backwards into Sid's face. Blood squirts out of Sid's nose as she staggers back -- Amber grabs a KNIFE out of the block, shrieks as she advances, knife raised --</scene_description> <character>AMBER</character> <dialogue>FUCKING KILL YOU!</dialogue> <scene_description>Gale's hand catches Amber's arm.</scene_description> <character>GALE</character> <dialogue>I don't think so.</dialogue> <scene_description>WHAM! Gale winds Amber with a punch to her stomach! Amber doubles over and Sidney knees her in the face! Amber rears back as Sidney grabs a glass bottle from the counter and smashes it across her face! Amber screams, trying to wipe the stinging goopy contents from her eyes--</scene_description> <character>AMBER</character> <dialogue>Fuck, is that hand sanitizer?!</dialogue> <scene_description>She drops the knife, howling, trying to get it out of her eyes! Gale knocks Amber to the floor! She and Sidney stand over Amber.</scene_description> <character>SIDNEY</character> <dialogue>I'm really gonna enjoy this.</dialogue> <character>GALE</character> <dialogue>Not as much as I will.</dialogue> <scene_description>Sidney and Gale proceed to assault Amber with fucking De Niro kicks! No mercy!</scene_description> <character>AMBER</character> <dialogue>STOP STOP STOP! It's not my fault!</dialogue> <character>SIDNEY</character> <dialogue>Let me guess - the movies made you do it.</dialogue> <character>AMBER</character> <dialogue>No! The message boards! I was radicalized!</dialogue> <character>GALE</character> <dialogue>Radicalized. By movie fans.</dialogue> <character>AMBER</character> <dialogue>Yes! They're so... MAD. Please. I'm just a dumb kid. I just wanted to be a part of something-</dialogue> <character>GALE</character> <dialogue>A part of something?! YOU KILLED MY BEST FRIEND!</dialogue> <scene_description>A hint of a smile on Amber's face.</scene_description> <character>AMBER</character> <dialogue>Yeah, and he died like a pussy.</dialogue> <scene_description>Amber jams a fallen fork into Sidney's foot. Sid screams, kneels to pull it out -- Amber SLAMS her head into a cabinet. Sid crumples, dazed. As Gale stabs downward, Amber shoves her thumb into Gale's bullet hole -- the knife sinks into Amber's shoulder -- both women scream --</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - FRONT ROOM - SAME TIME</stage_direction> <scene_description>And we're back with Richie as he limps through the house, searching for Sam. He finds a blood trail leading up the stairs, but...</scene_description> <character>RICHIE</character> <dialogue>That's the thing about slashers, Sam - so many blood trails. Is this one yours? Mindy's? Tara's? Only one way to find out.</dialogue> <scene_description>Richie continues taunting Sam as he ascends the stairs.</scene_description> <character>RICHIE</character> <dialogue>You know what the best part of fucking Billy Loomis's damaged daughter was? Making her feel loved, just so I could take it away from her. Pretty fucked up, huh?</dialogue> <scene_description>Richie blindly shoots through the closed door of the same closet he was hiding in earlier. He passes the closet door -- which FLIES OPEN BEHIND HIM! Sam was inside after all! She leaps onto his back and cuts off his air supply with a choke hold! He drops to one knee -- Punches Sam's face over his shoulder, over and over.</scene_description> <character>RICHIE</character> <dialogue>Stop. Fucking. Up. My. ENDING!</dialogue> <scene_description>Sam falls to the floor and sprints away...</scene_description> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - KITCHEN - SAME TIME</stage_direction> <scene_description>Downstairs, Amber has the upper hand over Gale. She's got her down on the floor, hands wrapped around her throat.</scene_description> <character>AMBER</character> <dialogue>I was the last thing Dewey saw before he died, too. I can't believe I get to do you both.</dialogue> <scene_description>Gale looks to Sidney, who's still on the floor, half- conscious.</scene_description> <character>AMBER</character> <dialogue>No last minute saves this time. Your story's over. Time to pass the torch...</dialogue> <character>GALE</character> <parenthetical>(croaking out)</parenthetical> <dialogue>It's all yours, bitch.</dialogue> <scene_description>Gale YANKS Amber's face towards hers and butts her forehead into Amber's nose. Amber, knocked back against the stove, turns, her hip flipping on the burners.</scene_description> <character>GALE</character> <parenthetical>(calling out)</parenthetical> <dialogue>You want to do the honors?</dialogue> <scene_description>She's talking to Sidney, who has fully come to. Sidney retrieves the gun, throws it to Gale.</scene_description> <character>SIDNEY</character> <dialogue>No. This one's yours.</dialogue> <character>AMBER</character> <dialogue>Wait wait wait wait I'm sorry I'm sorry about Dewey-</dialogue> <character>GALE</character> <dialogue>Fuck you.</dialogue> <scene_description>Gale shoots Amber in the chest three times, blowing her back onto the lit stove -- -- and the hand sanitizer covering her arms and face IGNITES! She screams as the FLAMES ENFULF HER! She thrashes back and forth! Slowly, finally, her legs stop kicking. Sidney and Gale watch as she burns.</scene_description> <character>SIDNEY</character> <dialogue>Enjoy that torch.</dialogue> </scene> <scene> <stage_direction>INT. AMBER'S HOUSE - FRONT ROOM - SAME TIME</stage_direction> <scene_description>Sam careens down the stairs, heading to the front door. As soon as she hits the ground floor... ...Richie LEAPS from the second floor through the hole in the railing and tackles her. They both land hard. Sam's knee and ankle - fucked up. She can't stand. Richie rises, groaning from his new injuries. Sam crawls on her belly towards the door. Richie lazily follows, in no hurry.</scene_description> <character>RICHIE</character> <dialogue>What are you gonna do now? Make a scary call to me? Pop out of a closet in a Ghostface mask? No, because you're not Sidney. You're Billy. And the villain's gotta die at the end. Those are the rules.</dialogue> <scene_description>Sam looks up and sees BILLY reflected in a mirror. He motions with his head to A KNIFE on the floor, obstructed from Richie's view. She spits blood, crawling for it...</scene_description> <character>SAM</character> <dialogue>I'm introducing a new rule...</dialogue> <character>RICHIE</character> <dialogue>Oh yeah? What's that?</dialogue> <scene_description>Sam inches forward. Gets her fingers on the knife...</scene_description> <character>SAM</character> <dialogue>Come here and I'll tell you...</dialogue> <scene_description>Richie kneels, grabs the hair on the back of her head, wrenching her face to his.</scene_description> <character>RICHIE</character> <dialogue>Well?</dialogue> <character>SAM</character> <parenthetical>(whispers)</parenthetical> <dialogue>Never fuck with the daughter of a serial killer.</dialogue> <scene_description>Sam STABS Richie in the face. The blade goes through his cheek into his mouth! She doesn't stop there. Sam continues to stab the fuck out of his chest and stomach. Richie falls backwards, gouting blood, stunned. Sam straddles him. None of this makes sense to him. He looks hurt, cheated.</scene_description> <character>RICHIE</character> <dialogue>But... I can't die... Who's gonna be the villain in the sequel...?</dialogue> <character>SAM</character> <dialogue>That's the sequel's problem.</dialogue> <scene_description>Sam SLICES HIS THROAT. Rises unsteadily on her injured ankle. Drops the knife. Sidney and Gale appear from the kitchen.</scene_description> <character>SIDNEY</character> <dialogue>Be careful, they always come back-</dialogue> <scene_description>Sam grabs Sidney's gun from Richie's waistband and EMPTIES THE ENTIRE CLIP into Richie! The last bullet a HEAD SHOT! A beat. Sidney and Gale exchange a look.</scene_description> <character>GALE</character> <dialogue>Okay then.</dialogue> <character>AMBER (O.S.)</character> <dialogue>AAAAAAAAAAAHHHHHHH!</dialogue> <scene_description>A charred AMBER pops up behind Gale! Knife raised, skin crisped black and red, the devil herself- BLAM! Amber's brains fly out of her face. She drops like a marionette. Behind her: Tara, with Gale's discarded gun from the lawn. She looks down at Amber's corpse.</scene_description> <character>TARA</character> <dialogue>You were a shitty girlfriend.</dialogue> <scene_description>Sam stumbles to her sister. They embrace. Their shared nightmare finally over.</scene_description> </scene> <scene> <stage_direction>EXT. AMBER'S HOUSE - DAWN</stage_direction> <scene_description>The sun crests over the horizon. Police cars and ambulances line the street. Sam and Tara are being treated at the back of an ambulance. MINDY is wheeled past them on a stretcher. Alive, but barely. Seeing Sam and Tara, she tears up. Sam squeezes her hand and looks to the EMT.</scene_description> <character>EMT</character> <dialogue>She's gonna be okay.</dialogue> <scene_description>Sam nods and the EMT wheels Mindy away.</scene_description> <character>TARA</character> <parenthetical>(to her EMT)</parenthetical> <dialogue>Can you take us to a different hospital this time?</dialogue> <scene_description>Sam sees Sidney and being treated at another ambulance, Gale on a gurney inside it. Sam hobbles to them with a single crutch. Sidney takes in her injuries. Cracks a smile.</scene_description> <character>SIDNEY</character> <dialogue>You were right. You should've run.</dialogue> <character>SAM</character> <dialogue>I was literally running away with the killer in his own car. So no. You were right.</dialogue> <parenthetical>(to Gale)</parenthetical> <dialogue>How're you doing?</dialogue> <character>GALE</character> <dialogue>Ask me in a few days. But at least I know what I'm gonna write about.</dialogue> <character>SAM</character> <dialogue>What?</dialogue> <scene_description>Gale smiles.</scene_description> <character>GALE</character> <dialogue>Not this. Those fuckers can die in anonymity.</dialogue> <parenthetical>(looks to Sidney)</parenthetical> <dialogue>But maybe something about a good man who was once the Sheriff here.</dialogue> <scene_description>Sidney smiles at this.</scene_description> <character>SIDNEY</character> <dialogue>I'd like to read that story.</dialogue> <scene_description>Sam looks at both of them.</scene_description> <character>SAM</character> <dialogue>Can I ask you a weird question?</dialogue> <character>SIDNEY</character> <dialogue>Sure.</dialogue> <character>SAM</character> <dialogue>Am I going to be okay?</dialogue> <scene_description>They exchange a look. Sidney considers. Answers honestly.</scene_description> <character>SIDNEY</character> <dialogue>Eventually.</dialogue> <scene_description>Gale nods in agreement. Sam looks past Sidney to see Billy reflected in a cop car mirror. He nods to Sam. A proud father's expression on his face. "You did good, kid." Sam pulls her pills out of her pocket. Takes one. This particular struggle, ongoing. Sam hobbles back to Tara as she's being helped into the ambulance. Sam climbs in after her.</scene_description> <character>SAM</character> <dialogue>Don't worry, I'll hold your hand all the way there.</dialogue> <scene_description>The doors are shut. The ambulance turns on its sirens and pulls away from the property. We CRANE SHOT up as a REPORTER on the lawn begins her live coverage.</scene_description> <character>REPORTER</character> <dialogue>Twenty five years ago, almost to the day, in this very house, a tragic story ended. Tonight, a new chapter came to a close...</dialogue> <scene_description>ROLL CREDITS FADE OUT</scene_description> </scene> </script>

Twenty-five years after Billy Loomis and Stu Macher's killing spree in Woodsboro, high school student Tara Carpenter is home alone when she is attacked by Ghostface and left hospitalized. In Modesto, Tara's estranged older sister Sam Carpenter is informed by Wes Hicks, one of Tara's friends, about the attack. Sam returns to Woodsboro with her boyfriend Richie Kirsch to visit Tara at the hospital, where Sam is reunited with Tara's friend group: Wes, Amber Freeman, twins Chad and Mindy Meeks-Martin, and Liv McKenzie. That night, Liv's ex-boyfriend Vince Schneider, who is Stu's nephew, is killed by Ghostface. After an encounter with Ghostface at the hospital, Sam tells Tara that she has been dealing with hallucinations of Billy, who Sam learned as a teenager was her biological father. Sam's true parentage resulted in their parents' separation and this is why Sam became estranged from Tara. Sam and Richie visit Dewey Riley, who is divorced from Gale Weathers. They ask for his help in stopping the killer, and he contacts Gale and Sidney Prescott, warning them about the return of Ghostface. Dewey joins them at Mindy and Chad's home and is reunited with the twins' mother Martha, Randy Meeks' sister. Mindy deduces that the killer is making a "requel", using Tara and her friends as the new generation and using Sam's connection to Billy as a way to weave the legacy characters. Ghostface then murders Wes and his mother, Sheriff Judy Hicks, at their home. Dewey reunites with Gale, who has arrived in town to cover the story. At the hospital, Tara and Richie are attacked by Ghostface, but are saved by an arriving Dewey and Sam. Sam, Tara and Richie escape, but Dewey is killed when he attempts to finish off Ghostface. Sidney arrives in town after learning of Dewey's death and meets both Gale and Sam at the hospital. Sidney asks Sam to help stop the killer, but Sam declines, choosing to leave town with Richie and Tara. Sidney and Gale follow the trio to Amber's, which is revealed to be Stu's former home where the original Woodsboro massacre took place. While a party is in progress to honor Wes' memory, Chad and Mindy are both attacked by Ghostface. As the friend group convenes, Amber pulls out Dewey's gun and shoots Liv in the head, revealing herself as the killer. Sidney and Gale arrive, and Richie is revealed as Amber's accomplice. He stabs Sam, and he and Amber take Sam, Sidney, and Gale into the kitchen where Sidney had first faced off against Billy and Stu. Richie and Amber reveal they are fans of the Stab film series who met online. Disappointed in the trajectory taken with the most-recent Stab 8, they decided to embark on a new killing spree to bring back the "original cast" and provide new-and-improved "source material" for a future Stab film, then frame Sam as the killer. Sam attacks Richie and Tara attacks Amber but is incapacitated; Richie goes after Sam while Sidney and Gale fight Amber together, ending with Gale breaking free and shooting Amber, who lands on a turned-on stove and is set on fire. Richie pursues Sam, who sees another hallucination of Billy, which brings her attention to Amber's abandoned knife. Embracing her paternal heritage, she uses the knife to stab Richie repeatedly and fatally slit his throat, before shooting him to ensure he is dead. A horribly burnt Amber attempts to attack the group again but is shot to death by Tara. Tara and the Meeks twins are loaded into ambulances to be taken to the hospital, and Sam thanks Sidney and Gale for their help. Gale promises not to write a new book about the new murders and give the killers notoriety, opting to write a tribute to Dewey instead. Sam joins Tara in the ambulance and the night's events are covered in a news report.

Mirrors_2008

tt0790686

<script> <scene> <stage_direction>MIRRORS</stage_direction> <scene_description>`` I give you the secret of all secrets . Mirrors are the gates through which death comes and goes . Tell no one . '' Orphée , Jean Cocteau .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - HARLEM SUBWAY STATION</stage_direction> <scene_description>A subway screeches by at full speed revealing a station platform somewhere in Harlem . A man runs for his life in the deserted space . He 's an African American male in his forties wearing a security guard uniform . He turns into an empty corridor , climbs a set of stairs towards the exit , but - The gates are down and the station is closed . Desperate and out of breath , he is forced to trace his way back , searching for an exit or a place to hide . He sees a door to the public restroom and runs inside .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - SUBWAY PUBLIC RESTROOM</stage_direction> <scene_description>The place is deserted as well . One of the mirrors is smashed while the others are covered by graffiti and dirt - The neon lights are flickering , bringing the place in and out of the dark . The man checks each stall one at a time . His face lights up as he looks inside the last one - A SMALL WINDOW ABOVE THE TOILET IS JUST BIG ENOUGH FOR HIM TO CRAWL THROUGH . He steps onto the toilet seat but the window is shut too tight . After a brief struggle , he swings it open , only to discover - A wall of bricks . Panic returns to his eyes . He slowly opens the stall door , fearful of what could be waiting outside . A FAINT SOUND OF SHATTERING GLASS is heard . He quickly shuts the door , holding his breath . Frozen . Silence . His heart racing , he exits the stall in the direction of the sound . The place is empty . The room is revealed by flashes of flickering neon lights . He moves closer to the sinks and the spiderweb cracked mirror . His image is fragmented and deformed . It resembles a Cubist portrait .</scene_description> <character>MAN</character> <dialogue>I'm sorry. I. I. I was n't trying to get away.</dialogue> <scene_description>He talks to his own reflection in the mirror -</scene_description> <character>MAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, please do n't.</dialogue> <scene_description>He approaches and starts crying like a child . His head resting against the mirror , he pleads for his life . Then , seeing the dirt and grime on the mirror , his behaving shifts to another extreme . He starts cleaning it frantically with his hands . Too frantically - A piece of the spiderweb cracked mirror falls on the ground . Immediately , he bends down to pick it up but - HIS REFLECTION IN THE MIRROR REMAINS STANDING IN SILENCE , WATCHING HIM . Looking up , the man realizes his reflection has become independent . A separate being . Terrified , he slowly stands staring at his stationary double . The pointy and sharp piece of broken mirror in his hand reflects the neon lights just like a knife blade . His eyes turn cold with fear when - HIS DOUBLE IN THE MIRROR STABS ITSELF DEEP IN ITS THROAT ! IN REALITY , THE MAN HAS NOT MOVED AN INCH , YET HIS THROAT RIPS OPEN , RELEASING A RIVER OF BLOOD . Void of any facial expression , the man 's reflection slices his jugular from end to end . In reality , the man chokes on his own blood which splatters on the mirror - TURNING THE IMAGE TO A DARK DEEP RED .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW YORK</stage_direction> <scene_description>OPENING CREDITS ON - All the reflections catch in the glass buildings of Manhattan - The traffic in the streets , the old turn - of - the - century façades , the people walking on the sidewalk , the pigeons flying away , the Brooklyn Bridge and the Manhattan skyline reflecting off the surface of the Hudson River . Seen through the mirrored surfaces , everything in the city seems to move in a distorted way . Ominous . The softness of the sun 's rising light is contrasted with the eerie , haunting music .</scene_description> </scene> <scene> <stage_direction>INT. DAY - APARTMENT QUEENS</stage_direction> <character>"A WEEK BEFORE"</character> <dialogue /> <scene_description>Bip . Bip . Bip . It 's 8 a.m. . The blinking digital numbers of the alarm clock reflect off the wooden floor of the apartment . The sunlight is diffused through the drawn curtains of the living room . Seen in the reflection of the TV - set , a man is sleeping on the couch . He switches off the alarm and rises to go into the bathroom . BATHROOM - CONTINUITY Like a thick fog , the steam from the shower fills the bathroom . The shower turns off . A hand reaches out to wipe away the mist on the mirror above the sink , revealing - The face of BEN CARSON , 41 years old . His eyes reflect the hardships of life . A life , that from the lines on his face , we suspect has n't been easy . On his chest and shoulder , SEVERAL BULLET SCARS . Ben changes his razor blade and starts to shave his 3 day old stubble . BEDROOM - CONTINUITY Ben finishes getting dressed and walks to the half opened bedroom door . Inside , ANGELA is asleep in the bed . She is younger than Ben . ANGELA awakens slowly -</scene_description> <character>ANGELA</character> <dialogue>What time is it?</dialogue> <character>BEN</character> <dialogue>Almost 8:30. Coffee?</dialogue> <character>ANGELA</character> <dialogue>No, you're going to be late.</dialogue> <character>BEN</character> <dialogue>Go back to sleep. I'll call you, OK?</dialogue> <character>ANGELA</character> <dialogue>Yeah, I wo n't be working until later tonight.</dialogue> <scene_description>He comes to kiss her on the forehead . She opens a sleepy eye and smiles .</scene_description> <character>ANGELA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You shaved?</dialogue> <scene_description>She strokes his face gently .</scene_description> <character>ANGELA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I like it. It makes you look younger.</dialogue> <scene_description>Ben slips on his old military parka before leaving .</scene_description> <character>ANGELA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good luck!</dialogue> <character>BEN</character> <dialogue>See you later, Angie.</dialogue> </scene> <scene> <stage_direction>INT. DAY - HALLWAY BUILDING</stage_direction> <scene_description>Ben walks down the hallway . The building is old and clearly not well maintained , cracks and graffiti cover the walls .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MANHATTAN</stage_direction> <scene_description>The downtown streets are clogged with the early morning rush hour traffic .</scene_description> </scene> <scene> <stage_direction>INT. DAY - POLICE STATION- MANHATTAN</stage_direction> <scene_description>On the honorary board of the NYPD we can read the names of all the officers decorated for their courage . In the reflection of the copper plate we find Ben , sitting on the bench across from the office of - Captain LARRY BYRNE -LRB- 55 -RRB- who appears at the end of the corridor -</scene_description> <character>LARRY</character> <dialogue>Sorry, I'm late. Have you been waiting long?</dialogue> <character>BEN</character> <dialogue>I just got here.</dialogue> <scene_description>They shake hands .</scene_description> <character>LARRY</character> <dialogue>You look awful.</dialogue> <character>BEN</character> <dialogue>Thanks Larry.</dialogue> <character>LARRY</character> <dialogue>You know, you should sleep at night. Come in.</dialogue> <scene_description>Ben follows him into the office .</scene_description> </scene> <scene> <stage_direction>INT. DAY - LARRY'S' OFFICE</stage_direction> <scene_description>Larry takes a seat and briefly looks over the messages and files that have been dropped off on his desk -</scene_description> <character>LARRY</character> <dialogue>So did you find an apartment yet?</dialogue> <character>BEN</character> <dialogue>No, not yet.</dialogue> <character>LARRY</character> <dialogue>You need a place to stay?</dialogue> <character>BEN</character> <dialogue>No, I'm staying at my sister's, in Queens.</dialogue> <character>LARRY</character> <dialogue>I did n't know you had a sister. What does she do?</dialogue> <character>BEN</character> <dialogue>She's a bartender.</dialogue> <character>LARRY</character> <dialogue>That's not too good for you! Anyway, you know you are always welcome to stay at our house.</dialogue> <scene_description>Larry looks up at Ben , slightly uneasy -</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I ran into Amy the other day. How are things going between the two of you?</dialogue> <scene_description>Ben remains silent . He obviously does n't want to get into that subject .</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So, why did you want to see me Ben?</dialogue> <character>BEN</character> <dialogue>You know what I want. I'm ready to come back, I'm feeling much better now.</dialogue> <character>LARRY</character> <dialogue>Listen Ben, I ca n't bring you back on the force. Nobody in the squad wants you around right now. I'm sorry but I have to be honest with you. You understand, right?</dialogue> <character>BEN</character> <dialogue>Larry, I'm telling you, I'm ready.</dialogue> <character>LARRY</character> <dialogue>If it was up to me, I would bring you back tomorrow, but I'm not the only one who decides. Listen, I think I've got something else for you. I know a guy at the Mayflower corporation and they need someone to watch over one of their department stores.</dialogue> <character>BEN</character> <dialogue>What?! Come on Larry, a security guard job. I'm not ready to retire yet!</dialogue> <character>LARRY</character> <dialogue>Hey! I'm just trying to help here. I know you're over qualified for that position but it's a good opportunity for you for the time being. until the situation here quiets down. Also the money is not that bad.</dialogue> <scene_description>Ben is having a hard time to contain his anger .</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You need the money, Ben. You're in the middle of a divorce and you've got child support to cover. If you want to see your kids, you've got to get a job, any job.</dialogue> <scene_description>Deep inside , Ben knows Larry 's right .</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you know the Mayflower on West 38th Street?</dialogue> <character>BEN</character> <dialogue>I do. The one that burned down?</dialogue> <character>LARRY</character> <dialogue>Yes, their night watchman has n't shown up for work in several days. They need someone right away. Take it, relax, and we will talk about your situation again in a couple months.</dialogue> <character>BEN</character> <dialogue>Yeah, in a couple months. I gave everything for the NYPD. I almost died out there. Everyone seems to have forgotten that.</dialogue> <character>LARRY</character> <dialogue>I did n't.</dialogue> </scene> <scene> <stage_direction>INT. DAY- CORONER'S OFFICE</stage_direction> <scene_description>We discover a whole different world - In the sterile environment of the NYC Chief Medical Examiner 's Office , forensic scientists with tape recorders in hand , describe the corpses . We are a world away from the Hollywood clichés of neatly laid out , immaculate cadavers . Here , some of the corpses have reached a state of advanced decomposition and others are still frozen in contorted positions , expressing their ultimate agony before dying . From the homeless man fished out of the river , to the woman killed by gun shots , each corpse tells his own story . Amidst the group of doctors 35 - year - old AMY , deeply immersed in an autopsy , is interrupted by her cell phone . Amy checks the display for the incoming call - BEN . She hesitates for a moment and does n't answer the call . Amy goes back to the postmortem analysis on her tape recorder .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW YORK</stage_direction> <scene_description>Dozens of pigeons fly away as the above ground subway passes by .</scene_description> <character>AMY</character> <parenthetical>( O.S . ) ''</parenthetical> <dialogue>. You have reached Amy Carson. I am not available to take your call. Please leave a message and I will get back to you as soon as I can.''</dialogue> <scene_description>Caught in the pouring rain , Ben has taken shelter under the scaffolding at a street corner . He plugs his ear with his finger to block the traffic and city commotion -</scene_description> <character>BEN</character> <parenthetical>( on Amy 's voicemail . )</parenthetical> <dialogue>Amy, it's me. I just wanted to let you know that I got a job today. It's nothing special, just a security guard job. If you still want to go ahead with it, we can sign the divorce papers. I mean, if that's what you really want.</dialogue> <parenthetical>( he hesitates . )</parenthetical> <dialogue>I've been thinking about Michael's birthday tomorrow. It would be nice if we could celebrate it together. You know, for the kids' sake. Call me. Please.</dialogue> <scene_description>Ben hangs up the phone . He lingers under the scaffolding for a moment , watching the falling rain .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW YORK</stage_direction> <scene_description>The glass skyscrapers mirror the black clouds in the sky above as they slowly break up , giving way to the sun .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MAYFLOWER DEPARTMENT STORE</stage_direction> <scene_description>On 38th Street , just off of Broadway , the Mayflower has withstood the passage of time and the huge fire that forced it to shut down - The damage from the fire is still noticeable on the facade of the building - The fire appears to have started on the ground floor and seems to have spread all the way up to the top . Some of the windows are shattered , while others are boarded up . What was once an impressive ornate building , a fine example of 1920 's architecture standing on one of Manhattan 's most dynamic streets , now gives off a feeling of devastation and desolation . What is left of it is a mere ruin , a sort of neglected ghost ship , abandoned in the heart of the city .</scene_description> </scene> <scene> <stage_direction>INT. DAY - MAYFLOWER</stage_direction> <scene_description>The last beams of daylight shine through the broken windowpanes . Inside the department store , everything has remained the same since the fire , as if time stood still . The display cases , the departments , the mannequins , and even the clothes are all burnt or blackened by the fire . A thick coat of soot covers the floor and rainwater drips down all over the place .</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's been five years and they're still in a legal battle with the insurance companies. Even cleaning up that mess is impossible.</dialogue> <scene_description>In his dark brown uniform , the daytime security guard , LORENZO SAPELLI , 60 's , seems pleased to guide Ben through what was once a temple of beauty and vanity .</scene_description> <character>LORENZO</character> <dialogue>You know, the Meredith family acquired this building after St. John's Hospital closed in 1952. It was the very first Mayflower to open on the East Coast.</dialogue> <scene_description>On the cracked walls , THE HUGE 1920 MIRRORS that have survived the flames reflect merely the remnants of the past . The customers are long gone and have been replaced by pigeons flying in and out of the gaps in the roof .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The company wants us to patrol the premises every couple of hours, but I do my rounds every three hours and that's more than enough. Anyway, you'll see, there's not much going on. It's pretty calm around here.</dialogue> <scene_description>Ben follows Lorenzo through the burnt display counters . He listens but his mind has drifted elsewhere . This place makes him uncomfortable . It 's not only the lingering smell of a fire , but also a sense of death that hangs over it . The whistling of the wind through the store 's old ventilation system sounds like faraway voices . Ben and Lorenzo appear at the top of the staircase of the 2nd floor .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here you go. Men's department, or what's left of it anyway.</dialogue> <scene_description>Ben observes the surroundings - Yet another spectacle of devastation .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank God you did n't show up any later. This place gives me the chills at night. No electricity, and all these mirrors. You know, I live in Brooklyn near a Jewish neighborhood, and when someone dies, they cover all the mirrors in their house. Some say that it's just to renounce all vanity during the mourning period, but others say something else. They say it's to keep the soul of the dead from being trapped in the mirrors. Believe it or not, there's always a bit of truth in any superstition. Am I right?</dialogue> <scene_description>Amused and skeptical at the same time , Ben contemplates the mirrors that surround him -</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I guess you just have to keep your eyes away from them.</dialogue> <scene_description>Unlike the rest of the scenery , THE MIRRORS ARE PERFECTLY CLEAN AND GLISTENING .</scene_description> <character>BEN</character> <dialogue>Did you clean them?</dialogue> <character>LORENZO</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>The mirrors, why are they so clean?</dialogue> <scene_description>Lorenzo smiles -</scene_description> <character>LORENZO</character> <dialogue>That's Gary Lewis, the fellow who worked here before you. He was completely obsessed with these damn mirrors. He'd spend the entire night polishing them.</dialogue> <character>BEN</character> <dialogue>Why did he leave?</dialogue> <character>LORENZO</character> <dialogue>No idea. Just did n't show up one night. I take it he's found a better opportunity somewhere else. I'm not one to complain, but I never really liked him much. Could never be bothered to say hello or at least ask `` how are you doing?''. I mean, damn, do we work together as a team or what?! You, on the other hand, seem like a nice guy. How long has it been since you left the NYPD?</dialogue> <character>BEN</character> <dialogue>Almost a year.</dialogue> <character>LORENZO</character> <dialogue>Why did you resign from the force? You were a detective, is that correct?</dialogue> <character>BEN</character> <dialogue>I was wounded during a holdup. It kind of changed my perspective on things.</dialogue> <scene_description>Ben and Lorenzo reach the next floor .</scene_description> <character>LORENZO</character> <dialogue>Third floor. Ladies' department. You got ta be careful here. When the wind blows, sometimes the tiles fly off the roof and they'll just snap your ear off, if you follow what I'm saying.</dialogue> <scene_description>Lorenzo checks the time on his watch .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, I'll let you get acquainted with the rest of the store on your own.</dialogue> <scene_description>They turn around .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Follow me, I'll show you our `` headquarters'' and I'll get you one of these uniforms.</dialogue> </scene> <scene> <stage_direction>EXT. DUSK - MAYFLOWER - SECURITY GUARD TRAILER</stage_direction> <scene_description>It 's almost night . Ben and Lorenzo have finished their visit and exit the department store .</scene_description> <character>LORENZO</character> <dialogue>We were a pretty big team working here before the fire. When you stop to think that of all the department stores in New York, this one was the most beautiful, the most luxurious. It breaks your heart, it really does.</dialogue> <scene_description>Outside the building behind the fence blocking its entry , a construction trailer has been outfitted for the guards .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here you go. This is where you'll be spending most of your time. At least you've got electricity in here. It's nice and warm, and there's even a TV.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - SECURITY GUARD TRAILER</stage_direction> <scene_description>Cartoons flicker on an old television set . All bundled up in a coat , and wearing a woolen hat , a young boy is watching TV . Lorenzo and Ben enter the mobile home -</scene_description> <character>LORENZO</character> <dialogue>Lorenzo Junior, my grandson. Say hello Lorenzo.</dialogue> <character>LORENZO JR.</character> <dialogue>Hello.</dialogue> <character>LORENZO</character> <dialogue>Lorenzo and I are going to the movies tonight.</dialogue> <scene_description>Lorenzo strokes his grandson on the head and proceeds to the back of the mobile home , leaving Ben alone with the child . The boy looks almost hypnotized by the images on TV .</scene_description> <character>BEN</character> <dialogue>How old are you, Lorenzo?</dialogue> <character>LORENZO JR.</character> <dialogue>8.</dialogue> <scene_description>Lorenzo Jr. shifts his attention from the cartoons and stares Ben in the face -</scene_description> <character>LORENZO JR.</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you work in the department store?</dialogue> <character>BEN</character> <dialogue>I do now.</dialogue> <character>LORENZO JR.</character> <dialogue>Grandpa says there are ghosts in the store. Is that true?</dialogue> <scene_description>Ben smiles .</scene_description> <character>BEN</character> <dialogue>I think your grandpa just wants to scare you a little.</dialogue> <scene_description>Lorenzo Senior has changed clothes , and returns with a uniform , which he hands over to Ben -</scene_description> <character>LORENZO</character> <dialogue>Here, this should fit you. Lorenzo, put your coat on. We are already late.</dialogue> <parenthetical>( to Ben , on the sly . )</parenthetical> <dialogue>There's a drop of Jack Daniel's in the cupboard. To keep yourself warm.</dialogue> <scene_description>Lorenzo hands over the keys -</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, Ben, the place is all yours.</dialogue> <scene_description>He 's about to leave when -</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh! I forgot the most important thing. the flashlights! You'll be needing one of these at night. We've got two of them. They run on batteries. Do n't forget to charge them. See you in the morning, Ben.</dialogue> <character>BEN</character> <dialogue>See you tomorrow.</dialogue> <scene_description>Lorenzo and Lorenzo Jr. exit the trailer . Through the window , Ben sees them walk out to the street . Ben inspects the trailer - scattered with knickknacks , the decoration of the place corresponds well with Lorenzo 's personality - warmhearted and humble . The clock on the wall shows 7 p.m . A long night lies ahead . Ben grabs a flashlight and turns it on . The beam of light is dazzling -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER - A FEW HOURS LATER</stage_direction> <scene_description>The flashlight sweeps across the dark entrance hall . Wearing the security guard 's uniform marked with an embroidered `` M '' , Ben makes his first round of the store . The pigeons perched on the roof seem to observe him . Ben proceeds slowly up the stairs . - SECOND FLOOR - In the Men 's department , Ben 's flashlight is a mere luminous spot twirling in the night . The ever - present mirrors magnify the space to infinity . - THIRD FLOOR - Ben walks through the different sections of the Ladies ' department . He examines the remains of the charred garments sagging on the hangers . The silhouettes of the burnt mannequins emerge in the gloom of the night . STRANGE AND DISTURBING SHAPES REFLECT OFF THE MIRRORS .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - MAYFLOWER</stage_direction> <scene_description>Wide exterior shot - By night , the department store 's ornate facade takes on an entirely different appearance - more menacing , almost evil .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER</stage_direction> <scene_description>Ben continues his rounds . We follow his path through reflections in the mirrors - AS IF HE WAS BEING WATCHED . Then - For the first time , we discover another perspective , another POV FROM WITHIN THE MIRRORS . It feels ominous , slightly detached . The sound is muted . Ben crosses back the third floor - The second floor . - ENTRANCE HALL GROUND FLOOR - In the reflection of one of the grand mirrors in the entrance hall , we see Ben come down the stairs . He stops for a moment , facing his reflection in the mirror . He fixes his collar and looks at himself in his new clothes - Not quite an NYPD uniform . Suddenly , his eyes freeze . Intrigued , he comes closer to the mirror and leans forward - A HANDPRINT , BARELY VISIBLE , ON THE ICE COLD SURFACE . He touches it with the tip of his fingers and tries to rub it off , unsuccessfully . He picks up a rag from the ground , spits on the mirror , and rubs the mark fervently . The print remains . This confirms his hunch - THE HANDPRINT IS INSIDE THE MIRROR . By angling the flashlight , another handprint is revealed . Another . And yet another - THE ENTIRE MIRROR IS COVERED WITH HANDPRINTS , JUST AS IF A CROWD OF PEOPLE ON THE OTHER SIDE HAD PRESSED ITSELF AGAINST THE GLASS TO GET OUT . As he looks back up in the mirror he sees - THE ACCESS DOOR TO THE BASEMENT OPENING . Ben turns around . His gaze freezes - THE ACCESS DOOR TO THE BASEMENT IS CLOSED ! YET , IN THE MIRROR , IT CONTINUES TO SLOWLY SCREECH OPEN ! Ben swings his head back and forth , between the shut door in reality and the opened door in the mirror . What is happening ? Is he dreaming or hallucinating ? Ben walks backwards towards the basement door , keeping his eyes fixed on the mirror . As he goes to reach for the handle , he sees his reflection reaching for the handle of an invisible door ! Ben opens it - THE SYNCHRONICITY BETWEEN THE REAL WORLD AND THE ONE REFLECTED IN THE MIRROR HAS BEEN RESTORED . Ben tries to reenact the phenomenon . He opens and closes the door over and over , while observing his reflection , but the mirror is no longer deceitful . The staircase leading to the basement vanishes into the dark . Ben hesitates .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BASEMENT CORRIDOR MAYFLOWER - CONTINUITY</stage_direction> <scene_description>Ben walks down the stairs , step - by - step , lighting his way with a flashlight . The beam of light dims , the battery is almost dead . He gives it a few taps to make the light reappear . Last step - HIS FOOT LANDS IN WATER !</scene_description> <character>BEN</character> <dialogue>Fuck.</dialogue> <scene_description>A few inches of water cover the basement floor . One of the water pipes must have burst due to the cold . The light flickers back for a moment , revealing before him - the narrow subterranean corridors of the department store . Along a wall , Ben finds a fuse box and pushes some of the switches . Further down in the corridor , a couple of fluorescent lights flicker to life - two tiny sources deep inside the darkness . AS BEN DISCOVERS HIS SURROUNDINGS , THE CAMERA PULLS BACK SLOWLY , UP ALONG THE STAIRS , THROUGH THE OPEN DOOR , IT ACCELERATES AND STOPS IN FRONT OF THE MIRROR - IN THE REFLECTION , WE SEE THE BASEMENT DOOR SHUT . FADE TO BLACK</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW JERSEY STREET</stage_direction> <scene_description>It 's been snowing all day and a white coat of powder outlines the trees and houses . On the front lawn of their house , 5 year old MICHAEL and 7 year old DAISY are building a snowman .</scene_description> <character>MICHAEL</character> <dialogue>Why did they say on TV that it was n't supposed to snow today, but tomorrow instead? Why did they lie?</dialogue> <character>DAISY</character> <dialogue>Sometimes they make mistakes, Michael. It happens.</dialogue> <character>MICHAEL</character> <dialogue>Grown - ups do n't make mistakes. Only little children do.</dialogue> <scene_description>Slightly annoyed , the little boy places the eyes on the snowman . Daisy 's face lights up with a big smile when she catches sight of her father 's car approaching -</scene_description> <character>DAISY</character> <dialogue>Daddy!</dialogue> <scene_description>Michael turns around and sees Ben exiting his 1986 Oldsmobile , with a big wrapped package in his arms . The children abandon their snowman and rush towards their father . Ben takes Michael into his arms -</scene_description> <character>MICHAEL</character> <parenthetical>( pointing to the wrapped present . )</parenthetical> <dialogue>What is that?</dialogue> <character>BEN</character> <dialogue>Well I do n't know, I just found this package hidden behind a tree.</dialogue> <character>MICHAEL</character> <dialogue>Is it for me?</dialogue> <character>BEN</character> <dialogue>Maybe.</dialogue> <parenthetical>( to his daughter . )</parenthetical> <dialogue>Daisy, has Michael been a good boy? Does he deserve his birthday present?</dialogue> <scene_description>Michael nods .</scene_description> <character>DAISY</character> <dialogue>No! Yesterday he finished the whole bag of candy when mom had told him he could only have one piece.</dialogue> <character>MICHAEL</character> <dialogue>Not true!</dialogue> <character>DAISY</character> <dialogue>Yes it's true!</dialogue> <character>MICHAEL</character> <dialogue>No, it's not true. She's lying Daddy. I've been a very good boy, I promise.</dialogue> <scene_description>They enter the house .</scene_description> <character>BEN</character> <dialogue>Is mom back?</dialogue> <character>DAISY</character> <dialogue>Not yet. Rosa came to pick us up from school today.</dialogue> </scene> <scene> <stage_direction>INT. DAY - HOUSE - CONTINUITY</stage_direction> <scene_description>In the kitchen , ROSA , the nanny , is rinsing the dishes from the afternoon snack -</scene_description> <character>BEN</character> <dialogue>Hello Rosa!</dialogue> <character>ROSA</character> <dialogue>Hello Señor Carson. How are you?</dialogue> <character>BEN</character> <dialogue>I'm good, very good. What time will Amy be back?</dialogue> <character>ROSA</character> <dialogue>Not before six, Sir.</dialogue> <character>BEN</character> <dialogue>OK, I'll wait for her.</dialogue> <character>ROSA</character> <dialogue>Do you want me to fix you a snack?</dialogue> <character>BEN</character> <dialogue>No, thank you. I'll be fine.</dialogue> <scene_description>Ben takes off his coat and joins the kids in the living room . He hands over the present to his son . Daisy is sitting in the armchair , holding her cat , TIGER , in her arms .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Happy birthday, Michael.</dialogue> <character>MICHAEL</character> <dialogue>What is it?</dialogue> <character>DAISY</character> <dialogue>Duh, open it stupid!</dialogue> <scene_description>Michael tears away the wrapping paper and discovers a remote control car . The little boy is on cloud nine . - LATER IN THE AFTERNOON - Through the front window , we see a Volvo station wagon park in front of the house . Amy gets out of the car , loaded with shopping bags . She enters the house and hands the groceries over to Rosa .</scene_description> <character>AMY</character> <dialogue>Hi Rosa. Where are the kids?</dialogue> <character>ROSA</character> <dialogue>Upstairs.</dialogue> <parenthetical>( in a low voice . )</parenthetical> <dialogue>. With Señor Ben.</dialogue> <scene_description>The expression on Amy 's face shifts . Noticeably irritated , she goes up to the second floor . Michael 's remote control car drives at full speed down the hallway . Ben shows his children how to operate the remote control while the bathtub fills up . He seems as excited as the kids by the new toy . Ben turns around to find Amy watching them .</scene_description> <character>BEN</character> <dialogue>Hey Amy.</dialogue> <character>MICHAEL</character> <dialogue>Look Mommy, look what Daddy got me.</dialogue> <character>AMY</character> <dialogue>It's great, you will have to show me how it works!</dialogue> <character>MICHAEL</character> <dialogue>It's so fast Mommy!</dialogue> <character>AMY</character> <dialogue>Ben, can I talk to you, in private?</dialogue> <scene_description>Ben puts down the remote control -</scene_description> <character>BEN</character> <parenthetical>( to his kids . )</parenthetical> <dialogue>Ok kids, it's time for your bath. No fooling around.</dialogue> <scene_description>Ben follows Amy into the bedroom . She closes the door behind them .</scene_description> </scene> <scene> <stage_direction>INT. EARLY EVENING- BEDROOM HOUSE</stage_direction> <scene_description>Amy is not equally pleased to see him - She 's beside herself with anger -</scene_description> <character>AMY</character> <dialogue>What is this? I already asked you not to drop by without calling, did n't I?</dialogue> <character>BEN</character> <dialogue>I do, but you never take my calls!</dialogue> <character>AMY</character> <dialogue>I do n't need your calls in the middle of the night. I'm better off without them.</dialogue> <character>BEN</character> <dialogue>I have n't had a drink in three months but, then again, how would you know?</dialogue> <character>AMY</character> <dialogue>I do n't want to know, Ben. I do n't want to hear about it. It's not my problem. You're not my problem. You've done more than enough harm already.</dialogue> <character>BEN</character> <dialogue>You do n't think people can change?</dialogue> <character>AMY</character> <dialogue>We are not talking about people, we're talking about you. How many times did you tell me you were gon na change and nothing happened? It only got worse.</dialogue> <scene_description>Ben moves closer to his ex - wife -</scene_description> <character>BEN</character> <dialogue>Just give me another chance.</dialogue> <scene_description>She smiles - How many other chances did she already give him ? Behind the firmness and intransigence she conveys , we sense Amy is torn . She still loves him as well .</scene_description> <character>AMY</character> <dialogue>I need more time, Ben. Listen, I will never stop you from seeing your children but we have to set up some rules.</dialogue> <scene_description>Out of nowhere , Ben hits the wall with his bare fist -</scene_description> <character>BEN</character> <dialogue>WHAT RULES?! IT'S MY SON'S FUCKING BIRTHDAY TODAY! COME ON AMY, WHAT RULE IS GOING TO STOP ME FROM SEEING HIM?</dialogue> </scene> <scene> <stage_direction>INT. EARLY EVENING - HOUSE BATHROOM</stage_direction> <scene_description>In the bathtub , Daisy and Michael can not avoid overhearing their parents arguing . In denial , Michael blocks his ears with his hands and lies back under the water . BACK IN THE BEDROOM - Amy seems distrustful of Ben , scared of how close he is to the edge . We can see the anger in his eyes .</scene_description> <character>AMY</character> <dialogue>Look at yourself. You're still carrying around so much of that anger.</dialogue> <scene_description>He catches a glimpse of his reflection in the mirror - and of the desperate violence in his eyes . Ben steps back .</scene_description> <character>BEN</character> <parenthetical>( trying to calm down . )</parenthetical> <dialogue>I'm sorry, I did n't mean to yell at you. Things could be so different between us.</dialogue> <character>AMY</character> <dialogue>Yes I know, but it's up to you Ben.</dialogue> <character>BEN</character> <dialogue>Yeah. Anyway, I was n't planning on staying. My shift starts in an hour. I'll just kiss them goodbye and then I'm leaving.</dialogue> <scene_description>Ben exits the room . Amy is left alone - Through the window , she watches Ben exit the house and get into his car . When she turns away , she discovers Michael and Daisy standing outside the bathtub dripping wet in their towels . She smiles , and quickly comes to dry them .</scene_description> <character>MICHAEL</character> <dialogue>Mom?</dialogue> <character>AMY</character> <dialogue>Yes, honey.</dialogue> <character>MICHAEL</character> <dialogue>Is Daddy coming back to live with us?</dialogue> <scene_description>She smiles gently .</scene_description> <character>AMY</character> <dialogue>I do n't know sweetheart. I do n't know.</dialogue> </scene> <scene> <stage_direction>INT. DAY - BASEMENT CORRIDOR MAYFLOWER</stage_direction> <scene_description>The beams from the flashlight are reflected in the few inches of water flooding the basement corridor . Since yesterday , the water level has continued to rise . The outline of Ben and Lorenzo 's silhouettes appear in the staircase leading to the ground floor -</scene_description> <character>BEN</character> <dialogue>I have n't managed to find the source of the leak. My guess is it does n't come from the store. It must be a municipal pipe that blew with the cold.</dialogue> <character>LORENZO</character> <dialogue>I'll call the company tomorrow morning and have them come take a look at it.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT- SECURITY GUARD TRAILER</stage_direction> <scene_description>On the gas stove , a kettle is whistling . Ben rummages through the cupboards and the drawers . He finds some instant coffee next to the bottle of Jack Daniels . He briefly hesitates between the coffee and the whisky . He grabs a cup and pours the boiling water into the instant coffee . In the reflection of the clock , we see Ben watching TV . It is past midnight . Ben gets up and grabs his flashlight - It 's time for his rounds .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER CENTRAL HALL</stage_direction> <scene_description>Through the shattered panes of the central dome , we see Ben walking through the store . Since the mysterious occurrences of the night before , his attitude has changed . He avoids , as much as possible , looking into the mirrors . He is on guard , fearing another supernatural manifestation . The shadows , the mannequins , and the shapes in the mirrors are all disturbing and unsettling . Even what remains of the sculptures on the top of the marble columns seems alive in the dark . As he crosses the entrance hall , a glint of light catches his attention . Despite himself , he stops and gazes into the mirror - AT THE FAR END OF THE STORE , ONE OF THE DEPARTMENTS IS IN FULL SWING AND BATHED IN DAYLIGHT ! EVERYTHING IS SPOTLESS , AS IF THE FIRE HAD NEVER TAKEN PLACE . CUSTOMERS COME AND GO AS IF NOTHING HAPPENED . How is this possible ? Ben turns around to see the same spot in the real world - ONLY IT 'S IN RUINS . Ben glances back at the reflection in the mirror - The vision of the past prevails . Unable to ignore it , Ben decides to check it out for himself . Ben wanders off towards the far end of the store , a landscape of dust and desolation . HIS REFLECTION IN THE MIRROR , ON THE OTHER HAND , HEADS IN THE DIRECTION OF THE `` FLASHBACK '' - We follow him in the mirror - Ben has left the night behind and enters the `` daytime '' department . Everything is in perfect order and unspoiled . Ben continues his journey into the past . The customers jostle one another while shopping during a big sale . Children run wild in the aisles . Women fight over articles of clothing . Ben stops dead in his tracks when he notices , around his shoes , a transparent liquid spilling out on the floor - He bends down and dips his fingertips into the liquid - GASOLINE . Gallons of flowing gasoline gradually spreading over the floor of the department store . Ben turns around and sees , under the shelving , A HAND LIGHTING A ZIPPO - The lighter falls to the floor in slow motion . The liquid bursts into flame instantly . THE CHEERFUL VISION OF A DAY IN THE DEPARTMENT STORE QUICKLY TURNS INTO A NIGHTMARE - EVERYTHING IS ENGULFED IN FLAMES . THE CLOTHES , THE MANNEQUINS AND LAST BUT NOT LEAST , THE CROWD ! THE AGONIZING SHRIEKS OF PAIN AND PANIC ARE DEAFENING . Frightened , Ben steps back - The flames spread quickly to the escalators where the crowd has rushed to escape death - HORRIFIC VISIONS OF PEOPLE BURNING ALIVE . INCINERATED FLESH . FACES DISTORTED BY THE PAIN , SKIN MELTING TO THE BONE . In the midst of the flames through the heat waves , Ben spots the face of the firestarter - IS IT HIS OWN ? Ben has no time to react . In a split second , his uniform catches fire . Panicked , he attempts to put out the fire with his hands - IN THE DARK NIGHT SURROUNDED BY THE CHARRED RUINS , BEN QUIVERS DELIRIOUSLY AS HE TRIES TO SMOTHER THE INVISIBLE FLAMES . He comes back to reality - Ben catches his breath , trying to come to his senses . What 's happening to him ? What he just experienced certainly felt real . During his panic , the flashlight rolled under one of the counters . Ben bends down to pick it up . The beam illuminates the ground and throws light on an object a bit further away - A LEATHER WALLET . He stretches out his hand to pick it up . The leather is worn - out but the absence of dust establishes that the wallet has landed there recently . Ben examines the object with the experienced touch of a professional accustomed to handling evidence . Between the collection of cards and scraps of paper , Ben finds a driver 's license belonging to - GARY LEWIS , 55 years old , a sturdily built African American man . WE RECOGNIZE THE MAN RUNNING IN THE SUBWAY , AT THE BEGINNING . The name rings a bell for him -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - SECURITY GUARD TRAILER</stage_direction> <scene_description>Ben returns to the trailer and rummages through the closet - He stops when he finds another uniform . A name is embroidered on the shoulder - AGAIN THE SAME NAME : GARY LEWIS , BEN 'S PREDECESSOR , THE MISSING NIGHT WATCHMAN . The wallet rests on the table and piques Ben 's curiosity . He can not hold back his police instincts . He finally empties out the contents on the table - A Blockbuster card , restaurant receipts , a driver 's license , Phillips ' business card from Mayflower , cash and a sheet of paper folded in four - Ben unfolds the sheet of paper and sees , written in ink - ESSEKER Ben chews over these seven letters . Is it somebody 's name ? A place ? A code ? Initials ? He folds it up again and puts everything back , neatly , in the wallet that he stows away in one of the drawers . FADE TO BLACK</scene_description> </scene> <scene> <stage_direction>EXT. DAY - QUEENS STREET</stage_direction> <scene_description>A busy street under the subway overpass . We see a neighborhood bar on the corner -</scene_description> </scene> <scene> <stage_direction>INT. DAY -QUEENS BAR</stage_direction> <scene_description>At this time of day the place is deserted . A plasma screen shows a baseball game . A drunk guy is half asleep at the corner table . Sitting at the bar , Ben is nervous , tense . He removes the steeped tea bag from his cup . Ben stares at himself in the mirror , behind the bottle display shelves . It is not his mirror image that he is observing . His gaze seems to pierce through his own reflection , to dive beyond , into the very depths of his soul . Angela interrupts , across from him , behind the bar . She works here .</scene_description> <character>ANGELA</character> <parenthetical>( intrigued . )</parenthetical> <dialogue>What are you looking at?</dialogue> <character>BEN</character> <dialogue>Nothing special.</dialogue> <character>ANGELA</character> <parenthetical>( playfully . )</parenthetical> <dialogue>Come on, you've been looking at yourself for more than half an hour. You never used to be so vain.</dialogue> <character>BEN</character> <dialogue>You ca n't avoid them. They're everywhere.</dialogue> <character>ANGELA</character> <dialogue>What are you talking about?</dialogue> <character>BEN</character> <dialogue>The mirrors. In the department store, at every street corner, in the windows of every fucking building in this city. I feel like I'm not the one looking into the mirrors, but rather they're looking at me.</dialogue> <scene_description>Angela smiles , not sure if he is serious -</scene_description> <character>ANGELA</character> <dialogue>You need a drink.</dialogue> <character>BEN</character> <dialogue>No, I'm serious.</dialogue> <character>ANGELA</character> <dialogue>Do n't you think you're being a little bit paranoid?</dialogue> <scene_description>Ben observes the palm of his hand .</scene_description> <character>ANGELA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mirrors are just glass and silver, Ben.</dialogue> <scene_description>Angela smiles at him and continues to polish the drinking glasses .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BASEMENT MAYFLOWER</stage_direction> <scene_description>In the darkness , a rat glides peacefully on the water surface . In the basement , the water level continues to rise . With a flashlight in hand , and his feet submerged in the water , Ben moves deeper into the tunnel . He is searching for the source of the leak . The beam of light sweeps across the walls and the piping . Ben crosses an intersection . In the corner , on the tiled wall , he barely discerns an old inscription ingrained with decades of dust and dirt . He sinks his hand into the water and wipes it off , revealing an arrow pointing to , ST JOHN 'S DEPARTMENT OF PSYCHIATRY . He continues his exploration of the subterranean passageways . Suddenly , he notices a darker area on the wall . He comes closer and discovers a brownish damp - spot , covered with mold . The humidity has pearled into droplets . He has found the source of the leak . His hand brushes the wall , causing it to crumble instantly . Ben digs into the plaster as if it were butter , bringing a cracked water pipe to light . The leakage has damaged the wall in which the tubing was embedded . Ben hears the echoing sound of streaming water , as if there were another room on the other side of the wall . He pushes against the saturated wall , and pierces through it with his arm . He removes his arm . For a moment , he observes the gaping black hole that he has just left behind . Ben peeks through the hole with his flashlight , but he can not make out what is on the other side . He makes the hole bigger , until the passage is large enough for him to crawl through - ON THE OTHER SIDE , HE DISCOVERS A LARGE BRICK ROOM AND IN THE MIDDLE OF IT ANOTHER ROOM - AN OCTAGONAL ONE WHOSE EACH AND EVERY WALL , INCLUDING THE CEILING , IS MADE OF GIGANTIC TWO WAYS MIRRORS . One of the mirrors is opened , ajar - It 's a door . He enters . His image is reflected in all directions and from infinite angles . Ben moves towards the center of the room - ALTHOUGH THE ROOM SEEMED EMPTY BEFORE , SOMEBODY IS NOW STANDING IN THE CORNER . It 's a well - built man . He too is wearing the blue security guard 's uniform . From where he stands , Ben can only see the back of the man 's head . As he moves in closer , he can make out the name embroidered on the man 's shoulder - IT 'S GARY LEWIS , THE FORMER NIGHT WATCHMAN !</scene_description> <character>BEN</character> <dialogue>Gary?</dialogue> <scene_description>The silhouette remains still .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gary?</dialogue> <scene_description>Ben comes a bit closer . His gaze freezes when he realizes that Gary is not standing in front of the mirror with his face pressed against it , but - HE IS BEHIND THE MIRROR , INSIDE ! Ben steps back , terrified . He does n't know how to interpret this new phenomenon . Ben gathers his courage and returns in front of the mirror - Knock , knock , knock . He hits the mirror with his fist , as if it were merely a glass window behind which Gary Lewis was standing , on the other side - No reaction . Ben strikes the mirror harder . Knock , knock , knock . The former night watchman turns around slowly towards Ben , revealing his face little by little .</scene_description> </scene> <scene> <stage_direction>INT. DAY - QUEENS APARTMENT</stage_direction> <scene_description>Knock , knock , knock . In his bed , Ben wakes up with a jolt - THE ENCOUNTER WITH GARY WAS A DREAM . Knock , knock , knock . Somebody is knocking at his door . Ben gets up from the couch -</scene_description> <character>BEN</character> <dialogue>Coming.</dialogue> <scene_description>Ben opens the door to a UPS deliveryman holding out a package -</scene_description> <character>DELIVERYMAN</character> <dialogue>Mr. Carson?</dialogue> <parenthetical>( Ben nods . )</parenthetical> <dialogue>Would you mind signing here, please?</dialogue> <scene_description>Ben signs for it and takes the package .</scene_description> <character>DELIVERYMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You have a nice day, Sir.</dialogue> <scene_description>Ben shuts the door and examines the UPS box . He 's not used to getting many deliveries . He flips it over to see who it is from - THE SENDER IS GARY LEWIS . Ben grabs a kitchen knife to open the parcel . He tears away the cardboard and empties out the contents onto the living room table - A DOZEN NEWSPAPER CLIPPINGS LAND , ALL MIXED UP , ON THE TABLE . More or less recent , all the articles relate to the department store and the fire that burned it down . Gary has meticulously cut them out and sent them to Ben . But why ?</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MAYFLOWER</stage_direction> <scene_description>Ben 's car parks in front of the fence that encloses the entrance to Mayflower . He runs into Lorenzo who exits the trailer , ready to go home from work -</scene_description> <character>LORENZO</character> <dialogue>I've just been through the craziest day here. No kidding! Your ex - colleagues came to pay us a visit.</dialogue> <character>BEN</character> <dialogue>What happened?</dialogue> <character>LORENZO</character> <dialogue>You know Gary, the guy who was working here before you, the cops found him dead in a subway station in Harlem. I never liked him too much, but poor guy, he did n't deserve to go like that.</dialogue> <character>BEN</character> <dialogue>Did they mention the cause of death?</dialogue> <character>LORENZO</character> <dialogue>No. they would n't tell me.</dialogue> <scene_description>Lorenzo hands him over the keys .</scene_description> <character>LORENZO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, Ben? I better get going, Mrs. Sapelli is waiting for me at home. Have a good night at work, Ben. Oh, and by the way, about that leak, they're sending someone over to work at it the beginning of next week.</dialogue> <character>BEN</character> <dialogue>Have a good night, Lorenzo.</dialogue> <scene_description>Ben remains standing on the landing of the trailer for a moment , his gaze fixed at the department store - THE WALLET , THE DREAM , AND NOW , ON TOP OF EVERYTHING , THE NEWS OF GARY 'S DEATH . ALL THESE STRANGE COINCIDENCES AROUND HIS PREDECESSOR HAVE AWOKEN HIS CURIOSITY AND DOUBT . BEN WANTS TO KNOW .</scene_description> </scene> <scene> <stage_direction>INT. DAY-NIGHT - MAYFLOWER ENTRANCE HALL</stage_direction> <scene_description>WIDE SHOT OF MAYFLOWER FIRST FLOOR - IN FAST MOTION - FROM THE FINAL HOUR OF DAY TO THE FALL OF NIGHT . IN THE REFLECTION OF THE MIRRORS , LIGHT GIVES WAY TO THE DARKNESS . The beam from the flashlight appears in the distance - Determined , Ben crosses the entrance hall in the direction of the basement door . He goes down -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BASEMENT MAYFLOWER</stage_direction> <scene_description>Ben appears at the bottom of the stairs with his flashlight , and follows the subterranean passageway . Suddenly he is struck by a frightening feeling of déjà - vu , HE IS IN THE VERY ACT OF RELIVING HIS NIGHTMARE IN DETAIL , STEP BY STEP - In the darkness , the rat glides peacefully on the water surface . He crosses an intersection and , once again - He recognizes the half - visible Psychiatric Department sign on the tiled wall . The beam from his flashlight sweeps across the walls and the piping , bringing to light , in the distance - THE BROWNISH DAMP - SPOT .</scene_description> <character>BEN</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Damn. What is happening to me?</dialogue> <scene_description>The moisture has pearled into droplets . Slowly , his hand comes closer . The wall crumbles at the slightest touch . Pushed by curiosity , Ben begins to dig a hole in the plaster , just as he had done in his nightmare . He hears the echoing sound of streaming water , coming from the other side of the wall . It confirms the existence of a hidden room . Ben begins to dig frenetically in the saturated wall , creating a large enough opening to access the other side - He inspects the interior with his flashlight , revealing - THE BRICK ROOM AND IN THE MIDDLE THE OCTAGONAL ROOM , SURROUNDED BY THE MIRRORING WALLS . He enters . His image is reflected in all directions and multiplied into infinity . His dream was foreboding . Everything is perfectly identical to the nightmare , with the exception of Gary Lewis - The former watchman is not there but . ALL OF A SUDDEN , BEHIND HIM , ONE OF BEN 'S DUPLICATES IN THE INFINITE REFLECTION TURNS AROUND TO OBSERVE HIM WITH AN ICE COLD GLARE . Sensing something wrong , Ben turns around . In the silence he faces his infinite reflections , all of them identical - OR ALMOST . Taking a closer look Ben notices one of the duplicates ' faces bearing an expression slightly different from the others ' . A SUBTLE GRIN . Knowing that it has been noticed by Ben , the `` rebel duplicate '' turns his face towards Ben , eyeing him with an evil gaze - We can hardly recognize Ben 's image . The duplicate takes a step forward from the line of the other reflections and slowly walks towards Ben . Instinctively , Ben closes his eyes in an attempt to make the vision disappear . When he opens up his eyes again - HIS EVIL DOUBLE RUSHES TOWARDS HIM - Ben steps back terrified .</scene_description> </scene> <scene> <stage_direction>INT. DAY- CORONER'S OFFICE</stage_direction> <scene_description>Under the dazzling neon light of the NYPD coroner 's premises , Amy is in full swing submitting her conclusions on a homicide to the police inspectors in charge of the investigation . She is interrupted by somebody who enters the room - There is someone for her at the reception , who insists on seeing her urgently . Amy excuses herself , removes her examination gloves , and exits the autopsy room . We follow her down the corridors as she passes men in police uniforms and doctors in white coats , in the endless comings and goings between the police station and the hospital . The atmosphere here is highly charged , reflecting the excessive activity of this particular department . There is no doubt - we are in New York City . CORONER 'S OFFICE LOBBY - CONTINUOUS Amy comes to the reception desk . Ben , who clearly has n't slept since the night before , is pacing back and forth .</scene_description> <character>AMY</character> <dialogue>Are you OK? What's happening? What are you doing here?</dialogue> <character>BEN</character> <dialogue>Amy, I need you to do me a favor.</dialogue> <character>AMY</character> <dialogue>Listen, I am in the middle of work, I do n't really have time now.</dialogue> <character>BEN</character> <dialogue>I need your help. It wo n't take more than twenty minutes. Please, Amy?</dialogue> <scene_description>From his pocket , Ben takes out Gary 's driver 's license . He shows it to her -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You picked up this guy yesterday morning. I need to take a look at him. It's very important.</dialogue> <character>AMY</character> <dialogue>Why do you want to see him?</dialogue> <character>BEN</character> <dialogue>He used to work at the Mayflower as a night watchman, before I replaced him.</dialogue> <character>AMY</character> <dialogue>Where did you get his driver's license?</dialogue> <character>BEN</character> <dialogue>I found his wallet in the department store. I need to find out how he died.</dialogue> <character>AMY</character> <dialogue>You are no longer a cop, Ben. This is n't your business anymore.</dialogue> <character>BEN</character> <dialogue>He sent me a package before he died, with newspaper articles about the Mayflower. I think he was trying to tell me something. I do n't know him. I've never even met him, Amy. I need to figure this out.</dialogue> </scene> <scene> <stage_direction>INT. DAY - MORGUE</stage_direction> <scene_description>The refrigerated compartment bays , containing the corpses , are aligned along the basement walls . A young doctor escorts Ben and Amy down the corridors of the morgue . As he is walking , the doctor flips through the register , in search of a name .</scene_description> <character>YOUNG DOCTOR</character> <dialogue>Gary Lewis. Gary Lewis. Oh, there he is, 58B. He slashed his throat.</dialogue> <character>AMY</character> <parenthetical>( to Ben . )</parenthetical> <dialogue>There you go. There's your answer. Your man committed suicide.</dialogue> <character>BEN</character> <dialogue>You know a lot of people who cut their own throats?</dialogue> <character>YOUNG DOCTOR</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Well, all I know is that the cops are still investigating this one. That's why we still have the body. People can be very creative when it comes to suicide. I'm sure it's not the craziest thing you've seen.</dialogue> <scene_description>The young doctor stops in front of the number 58B . He opens the door to the refrigerated compartment bay and pulls out the tray carrying the corpse , wrapped in a white sheet -</scene_description> <character>YOUNG DOCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gary Lewis.</dialogue> <scene_description>He lifts the sheet , revealing Gary Lewis ' upper body - Gary 's eyes are rolled upwards and his throat is wide open . His skin has become translucent , almost purple . His contorted corpse is frozen in a deadly expression of profound suffering . His flesh has started to decompose and putrefy . Ben stares at the body , in search of a hint , a clue , any useful information . Amy becomes impatient .</scene_description> <character>AMY</character> <dialogue>I've got to get back to work, Ben. They're waiting for me upstairs.</dialogue> <character>BEN</character> <dialogue>How. What did he slit his throat with?</dialogue> <scene_description>The doctor checks the report .</scene_description> <character>YOUNG DOCTOR</character> <dialogue>With. with a piece of mirror.</dialogue> <scene_description>Ben looks up .</scene_description> <character>YOUNG DOCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He must have smashed it into pieces to have something to slash it with.</dialogue> <scene_description>The doctor , has a smirk on his face -</scene_description> <character>YOUNG DOCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Seven years of bad luck.</dialogue> <scene_description>Suddenly , reflected in the stainless - steel door of the compartment bay , Ben sees - GARY 'S FACE TURN SLOWLY TOWARDS HIM . GARY STARES DIRECTLY AT HIM . WITH A VOICE FROM BEYOND , HE DELIVERS A MESSAGE TO BEN -</scene_description> <character>GARY</character> <dialogue>ESSSEKERRR.</dialogue> <scene_description>Ben jumps out of his skin and backs away , terrified . Neither Amy nor the doctor saw anything , of course . They gaze at him with a puzzled look -</scene_description> <character>AMY</character> <dialogue>Are you OK, Ben? What's going on?</dialogue> <scene_description>Ben looks at the corpse and its reflection again - Gary is frozen in the same contorted position , as if nothing ever happened .</scene_description> <character>BEN</character> <parenthetical>( coming to his senses . )</parenthetical> <dialogue>I need to see his files.</dialogue> <character>AMY</character> <dialogue>What?</dialogue> <scene_description>Ben raises his voice .</scene_description> <character>BEN</character> <dialogue>I NEED TO SEE HIS FILES!</dialogue> <character>AMY</character> <dialogue>Come on, Ben, what is it you're after? I am not supposed to show you any file. You're not even allowed to be here. I could get fired for this.</dialogue> <scene_description>The doctor senses that the conversation is taking on a more personal turn .</scene_description> <character>YOUNG DOCTOR</character> <dialogue>Well, I'll be off. Amy, you know where to find me if you need me.</dialogue> <scene_description>Amy is left alone with Ben .</scene_description> <character>AMY</character> <dialogue>What is happening to you? What is all this supposed to mean? What is going on, Ben?</dialogue> <character>BEN</character> <dialogue>I wo n't leave until I see that file.</dialogue> </scene> <scene> <stage_direction>INT. DAY -AMY'S OFFICE</stage_direction> <scene_description>On the shelves , photographs of Michael and Daisy stand next to the medical records and legal - medicine textbooks . Sitting behind Amy 's desk , Ben is studying Gary Lewis ' file . He flips back and forth through the different documents , photographs , and police reports . Amy observes him , perplexed . We sense that she is concerned about Ben 's strange behavior and over sensitivity .</scene_description> <character>BEN</character> <dialogue>Look at this picture. Come and see, Amy.</dialogue> <scene_description>He shows her a snapshot taken by the police . We see Gary soaked in his own blood , the throat slit open . The picture is real , crude . He lies outstretched , facing a mirror shattered into several pointy pieces , like a spider web . In his hand , Gary still holds the piece of glass that he used to cut himself .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look.</dialogue> <character>AMY</character> <dialogue>What!?</dialogue> <scene_description>Ben points to the reflection in the mirror -</scene_description> <character>BEN</character> <dialogue>Look at the piece of mirror in his hand. In the reflection of the mirror it's covered in blood, and look - in reality, it's clean. Not a drop of blood.</dialogue> <character>AMY</character> <dialogue>So what?</dialogue> <character>BEN</character> <dialogue>Do n't you find it strange that this mirror does n't reflect an exact image of reality?</dialogue> <character>AMY</character> <dialogue>I ca n't see the difference. It must be an effect of the angle from which the photograph was taken. What is it you are you trying to prove?</dialogue> <character>BEN</character> <dialogue>What if the mirrors were showing us something different?</dialogue> <character>AMY</character> <dialogue>What? For Christ's sake, listen to yourself, Ben! What are you talking about?</dialogue> <character>BEN</character> <dialogue>What if the mirrors were reflecting something that goes beyond reality?</dialogue> <character>AMY</character> <parenthetical>( irritated . )</parenthetical> <dialogue>OK. This is way over my head. I do n't have time for your barfly theories.</dialogue> <scene_description>Ben realizes that he will not succeed in convincing her . Not today .</scene_description> <character>BEN</character> <dialogue>Thanks for your help.</dialogue> <scene_description>He 's on his way out , when she holds him back -</scene_description> <character>AMY</character> <dialogue>You should go home and get some rest. This guy probably just killed himself because he could n't live with himself anymore. It happens to thousands of people, you know.</dialogue> </scene> <scene> <stage_direction>INT. DAY - APARTMENT QUEENS - BATHROOM</stage_direction> <scene_description>The steam has fogged up the mirror of the medicine cabinet . Ben grabs a towel and steps out of the shower . He watches his blurry reflection . With his finger , on the surface of the fogged mirror , he writes - ESSEKER He contemplates the dripping letters for a long moment , trying to interpret their meaning . In the end , he wipes off the mirror with his hand , erasing the word . Angela is standing behind him in the door opening -</scene_description> <character>ANGELA</character> <dialogue>I'm off. Amy called me today, she's worried about you. What's happening, Ben?</dialogue> <character>BEN</character> <dialogue>Please, not you.</dialogue> <character>ANGELA</character> <dialogue>I'm your sister, you can talk to me. Is it your new job? That place, the Mayflower, has bad vibes. It's getting under your skin. Just think about what I told you.</dialogue> <character>BEN</character> <dialogue>I made a deal, Angie. I ca n't just walk out on them like that. I need this job, I need the money. I'm not going to sleep on your couch for the rest of my life!</dialogue> <character>ANGELA</character> <dialogue>You wo n't have any trouble finding another one. A daytime job, a regular job.</dialogue> <scene_description>While she 's talking , we see the scene from another point of view - from inside the mirror - As if SOMEONE ELSE WAS LISTENING TO THEM . Angela leaves the bathroom . Ben brushes his teeth . He leans over to rinse his mouth , and when he straightens up - IT IS NOT HIM IN THE REFLECTION OF THE MIRROR , BUT GARY LEWIS WHO SLASHES HIS THROAT FROM END TO END WITH A SHARP PIECE OF MIRROR - Ben steps back and loses his balance , knocking down a shelf . Angela rushes into the bathroom -</scene_description> <character>ANGELA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What happened Ben? Are you all right?</dialogue> <scene_description>He refuses her help .</scene_description> <character>BEN</character> <dialogue>LEAVE ME ALONE.</dialogue> <scene_description>Ben gets to his feet and looks into the mirror . His reflection is back . Everything looks normal but - WHEN HE TURNS TO EXIT THE BATHROOM , HIS REFLECTION STAYS STILL , WATCHING HIM .</scene_description> </scene> <scene> <stage_direction>EXT. DAY- GARY LEWIS' BUILDING</stage_direction> <scene_description>The sun sets behind the Harlem skyline . Ben 's Oldsmobile pulls over in the street - He has decided to pass by Gary Lewis ' old house before his nightshift . He presses the doorbell next to Gary Lewis ' name . An old lady answers -</scene_description> <character>BEN</character> <dialogue>Mrs. Lewis. Sorry to bother you. My name is Ben Carson. I worked with Gary, at Mayflower. Could I come up and talk to you for a few minutes?</dialogue> <scene_description>Silence .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mrs. Lewis?</dialogue> <character>MRS. LEWIS</character> <dialogue>5th floor, apartment 3B.</dialogue> <scene_description>The entrance door of the building opens .</scene_description> </scene> <scene> <stage_direction>INT. DAY- MRS. LEWIS' APARTMENT</stage_direction> <scene_description>MRS. LEWIS is at least 80 years old , and almost blind behind her thick glasses . She lives alone in the small apartment that she used to share with her grandson . We sense that she is distraught by Gary 's death .</scene_description> <character>MRS. LEWIS</character> <dialogue>My Gary had n't slept at home for three weeks. At first I figured he had found himself a girlfriend, so I did n't worry much about it. It's terrible. The policeman told me that he was living in the streets. They found his body in the subway. Why? He had everything he needed here. Every morning I would have his breakfast ready when he'd come home from work.</dialogue> <character>BEN</character> <dialogue>Did he use any drugs?</dialogue> <character>MRS. LEWIS</character> <dialogue>Gary? Huh - huh! Never. He was a good boy.</dialogue> <character>BEN</character> <dialogue>Did you notice anything different, the days prior to his leaving the house, anything unusual in his behavior?</dialogue> <character>MRS. LEWIS</character> <dialogue>Oh yes, but that goes way back to when he started working at Mayflower.</dialogue> <character>BEN</character> <dialogue>What kind of changes?</dialogue> <character>MRS. LEWIS</character> <dialogue>He did n't care much for anything anymore. Before, we'd sit up and watch television together. But once he started that job as a night watchman, he'd spend all his time - off locked up in his room.</dialogue> <character>BEN</character> <dialogue>Sleeping?</dialogue> <character>MRS. LEWIS</character> <dialogue>He hardly slept anymore. He was way too busy!</dialogue> <character>BEN</character> <dialogue>Busy doing what?</dialogue> <character>MRS. LEWIS</character> <dialogue>That, I do n't know. I never knew what he was up to.</dialogue> <scene_description>She reaches for a picture frame on the chest .</scene_description> <character>MRS. LEWIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look, in this picture he was twelve years old.</dialogue> <character>BEN</character> <dialogue>Is that you standing next to him?</dialogue> <character>MRS. LEWIS</character> <dialogue>Yes, back in the days.</dialogue> <character>BEN</character> <dialogue>Mrs. Lewis, I found a note that Gary wrote. A piece of paper, where he'd scribbled down the name, Esseker. Does that mean anything to you?</dialogue> <character>MRS. LEWIS</character> <dialogue>Esseker, is that what you're saying?</dialogue> <scene_description>The old lady dwells on it for a moment -</scene_description> <character>MRS. LEWIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, that do n't mean a thing to me.</dialogue> <scene_description>She sets down the picture frame .</scene_description> <character>BEN</character> <dialogue>May I see his room?</dialogue> <character>MRS. LEWIS</character> <dialogue>Yes, of course. Come, follow me, it's down the hallway, the door at the very end.</dialogue> <scene_description>Ben follows Mrs. Lewis to her grandson 's room - It looks nothing like the room of a fifty - year - old man , but rather like that of an old teenager . From what we can see , Gary grew up in here , and each object recalls a stage in his life . Everything is clean and in its proper place , it is perfectly tidy .</scene_description> <character>BEN</character> <dialogue>Do you mind if I stay in here for a moment?</dialogue> <scene_description>Mrs. Lewis smiles at him . She too , likes to gather her thoughts in Gary 's room . Ben scrutinizes the room in search of a clue , a hint that might help him on the Esseker lead . He opens the drawers and looks through the papers - Nothing is of any help to him . The only place left that he has n't searched is the walk - in closet , whose half - open doors seem to invite him to enter . What Ben discovers inside is beyond anything he could ever have imagined - The closet has been emptied out completely , and MIRRORS COVER EACH AND EVERY WALL , FROM THE FLOOR TO THE CEILING ! - It 's a miniature replica of the hidden room that Ben discovered back in the basement of the department store .</scene_description> <character>MRS. LEWIS</character> <dialogue>He would spend hours looking at himself.</dialogue> <scene_description>Mrs. Lewis steps up behind him -</scene_description> <character>MRS. LEWIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>To look at oneself too much is a sin. A terrible sin. Do you know sir in the Garden of Eden in order to seduce Eve, Satan did not keep the appearance of a snake. Satan reproduced the young woman's traits in such a way that Eve would only see and listen to the image of herself. As in a mirror.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER</stage_direction> <scene_description>Night has fallen . The department store is calm and silent . We move down each floor to the entrance hall . The basement door is open and , in the darkness , we see the gleam of the flashlight . Ben must be down there . ALL OF A SUDDEN , A LOUD SHRIEK TEARS THROUGH THE SILENCE . There is a woman , somewhere in the store . Ben runs up to the entrance hall at full speed . The shrieks resound through the department store again . They seem to come from one of the floors above . Without hesitation , Ben dashes up the stairs - He arrives on the second floor and searches through all the departments . Impossible to tell where the cries originate from . He climbs up to the third floor . The beam of the flashlight sweeps past each nook and dark corner - Somewhere in the store , the woman continues to scream and wail to death .</scene_description> <character>BEN</character> <parenthetical>( shouting . )</parenthetical> <dialogue>WHERE ARE YOU?!</dialogue> <scene_description>No answer . Ben goes up to the fourth floor . The shrieks are heard again , but this time , coming from one of the floors below . Ben dashes for the Ladies ' department -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>STAY CALM. I'M COMING!</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - LADIES' DEPARTMENT DRESSING ROOMS</stage_direction> <scene_description>The screams come closer . Ben passes the counters and enters the dressing rooms - or rather , what is left of them since the fire . The woman must be in here , hiding somewhere .</scene_description> <character>BEN</character> <dialogue>I'm here Ma'am.</dialogue> <scene_description>Short of breath , Ben inspects the dressing rooms with his flashlight . The woman seems to have vanished .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ma'am? I'm right he.</dialogue> <scene_description>ANOTHER SHRIEK IS EMITTED , RIGHT NEXT TO HIM . He turns around - No one there . About to leave the dressing rooms , Ben catches sight of a mirror . In the reflection he sees the row of empty rooms - A BLOODY HAND BURSTS OUT FROM THE LAST ONE , ACCOMPANIED BY ANOTHER PIERCING SCREECH OF PAIN ! Ben runs to it , but finds it empty . IN THE REFLECTION OF THE MIRROR , HOWEVER , THE HAND IS STILL STRETCHED OUT TOWARDS HIM ! Ben stops to think - If he can somehow move the mirror to have it face the last booth , he might be able to see what truly happened inside . Ben unhooks the mirror . It is way too heavy and bulky to carry . He lets it slide down the wall . Inch by inch , Ben hauls the mirror across the floor . He reaches the last dressing room - Through the reflection in the mirror , he examines the interior of the cubicle . In the dark he catches sight of BARE FEET STAMPING AGAINST THE TILED FLOOR . The torn , half - burnt curtains conceal the rest of the body . With his eyes fixed on the mirror , Ben walks backward towards the dressing room . He is scared of what he is about to discover . He gives the curtain a quick yank , revealing - A NAKED YOUNG WOMAN IS GOING INTO SPASMS AND SCREECHING WITH PAIN . DESPITE THE ABSENCE OF REAL FLAMES , HER SKIN AND FLESH ARE ROASTING , AS IF SHE WERE BURNING ALIVE FROM THE INSIDE OUT ! BLACK SCREEN</scene_description> <character>CHILD'S VOICE O.S.</character> <dialogue>Mom! Mom! Mom!</dialogue> </scene> <scene> <stage_direction>INT. NIGHT -NEW JERSEY HOUSE</stage_direction> <scene_description>We are in the darkness of Daisy and Michael 's bedroom . Michael is terrified and cries out for his mother -</scene_description> <character>MICHAEL</character> <dialogue>Mom! Mom!</dialogue> <scene_description>Amy swings the door open and turns on the light .</scene_description> <character>AMY</character> <dialogue>What is it Michael?</dialogue> <scene_description>The little boy throws himself into his mother 's arms . Daisy wakes up .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is it? Did you have a bad dream?</dialogue> <character>MICHAEL</character> <dialogue>There's a lady screaming.</dialogue> <character>AMY</character> <dialogue>Where Michael?</dialogue> <scene_description>Michael points to the mirror wall facing the bunk beds .</scene_description> <character>MICHAEL</character> <dialogue>There. In the mirror.</dialogue> <character>AMY</character> <dialogue>No, Michael. Look, there's nothing there.</dialogue> <character>MICHAEL</character> <dialogue>I saw her mom. I swear I did.</dialogue> <character>AMY</character> <dialogue>It was just a nightmare. It's late, you have to go back to sleep. I'll turn on the night - light, if you want.</dialogue> <scene_description>Amy tucks him into bed and kisses him . Before leaving the room she plugs in the night - light .</scene_description> <character>DAISY</character> <dialogue>Mom, can you leave the door open?</dialogue> <character>AMY</character> <dialogue>Sure sweetheart. OK, you two go to sleep now.</dialogue> <scene_description>Amy leaves the room . In his bed , Michael can not stop himself from staring at the dimly lit mirror .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - AMY'S BEDROOM</stage_direction> <scene_description>Amy goes back to her room . The local news play on the TV . She gets into bed and turns off the light . She reaches for the remote and clicks the TV off , turning over - THE NAKED BURNED WOMAN FROM THE STORE STANDS STILL IN THE REFLECTION OF THE TV SET . The entity watches Amy while she is sleeping . Once again , the POV from behind the mirror . OMINOUS , SLIGHTLY DETACHED AND MUTED .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - MAYFLOWER</stage_direction> <scene_description>Ben secures the padlock of the department store entrance . He walks towards the trailer , while keeping a fixed eye on the facade of the building . The scene he just witnessed in the dressing rooms has shaken him up . He goes inside . Through one of the windows we see him pick up the phone and dial a number -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - APARTMENT QUEENS / INTERCUT INT. NIGHT - LODGE</stage_direction> <scene_description>Angela is in the bathroom when the phone starts ringing . She turns on the tap of the cast - iron bathtub and goes to answer .</scene_description> <character>ANGELA</character> <dialogue>Hello. Ben?</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sorry I'm calling you this late. Were you sleeping?</dialogue> <character>ANGELA</character> <dialogue>No, no, I just got home from work. What's wrong? You sound strange.</dialogue> <scene_description>On the phone , Ben struggles to put his feelings into words -</scene_description> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do n't worry, everything's OK.</dialogue> <character>ANGELA</character> <dialogue>Are you sure?</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Actually, no. I think maybe I'm losing my mind.</dialogue> <character>ANGELA</character> <dialogue>What happened?</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You were right about the Mayflower. I'll quit tomorrow.</dialogue> <character>ANGELA</character> <dialogue>That's the smart thing to do, Ben. You deserve better than that. You should come back here and get some sleep.</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No, I'll wait till the daytime guy gets here to tell him.</dialogue> <character>ANGELA</character> <dialogue>Are you sure?</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yeah, sure. See you later, Angie.</dialogue> <character>ANGELA</character> <dialogue>Be careful. Love you.</dialogue> <character>BEN</character> <dialogue>Love you too, sis.</dialogue> <scene_description>She hangs up the receiver and stays in the dark for a moment , concerned . The sound of the pouring bath brings her back to reality . We follow her into the bathroom . She dips her fingers into the water to check the temperature . The bathtub is almost full . Angela undresses in front of the medicine cabinet mirror . When she turns around to climb into the hot bath , HER REFLECTION REMAINS MOTIONLESS IN THE MIRROR , STARING BLANKLY AT EACH OF HER MOVEMENTS . Unaware , Angela soaks into her hot bath . The water continues to pour from the tap . Angela shuts her eyes - It 's been a long day . IN THE MIRROR , ANGELA 'S REFLECTION FIXES HER WITH A COLD GLARE - Without a word , Angela 's reflection brings its hands to its face and digs its fingers into its mouth . In a sudden jerk , it pulls open its jaw - AS IF SHE WERE ELECTROCUTED , ANGELA 'S BODY CONTORTS VIOLENTLY FORWARD . HER MOUTH IS DEFORMED , AS IF AN INVISIBLE FORCE WERE WRENCHING IT WIDE OPEN . IN THE MIRROR , HER EVIL DOUBLE CONTINUES TO PULL OPEN ITS MOUTH , SUDDENLY RIPPING ITS JAW OFF WITH THE SOUND OF CRACKING BONES AND CARTILAGE - AT THE SAME INSTANT , IN THE BATHTUB , ANGELA HAS NO TIME TO REACT BEFORE SHE UNDERGOES THE SAME AGONIZING TORTURE ! The mirror cracks by itself . The bathtub overflows with red water spilling out on the white tiled bathroom floor . FADE TO BLACK</scene_description> </scene> <scene> <stage_direction>INT. DAY - APARTMENT QUEENS - THE NEXT MORNING</stage_direction> <scene_description>The camera flashes illuminate the crime scene . Angela 's body lies afloat in the bathtub . The apartment is entirely flooded . Two men in police uniforms close off a security zone , to keep the intrusive neighbors away . A detective is interrogating an old Puerto Rican couple - the downstairs neighbors . They were the ones who alerted the police , after having noticed the water leakage . The old woman explains how `` it was raining blood into her living room '' . Amongst the police officers and the legal medical squad , we find Larry . He is in charge of the case . Leaning over the bathtub , Larry examines the visible parts of the corpse . Angela 's face is concealed by her own long black hair , floating in the murky water . Larry slips on an examination glove , pulls up his sleeve and sinks his arm into the blood - red bath . He feels around for the chain of the plug in order to drain the bathtub . The water level begins to recede , gradually revealing Angela 's naked corpse . With the tip of his fingers , Larry lifts away the few strands of hair covering Angela 's face - Taken by surprise , he steps back from the horrifying sight of this JAW - LESS FACE . Larry removes his glove , wipes off his bloodied arm and starts to leave the bathroom when something else catches his attention - He comes closer to the spiderweb cracked medicine cabinet mirror . A TINY DROP OF BLOOD is dripping from one of the cracks . Strange . A DARK SILHOUETTE PASSES BEHIND HIM IN THE REFLECTION . He turns immediately - The bloodied bathroom is still and silent . Angela 's destroyed body lies in the empty bathtub . A police inspector in the next room , calls out to him -</scene_description> <character>POLICE INSPECTOR O.S.</character> <dialogue>Larry? Take a look at this.</dialogue> <character>LARRY</character> <dialogue>What is it?</dialogue> <character>POLICE INSPECTOR O.S.</character> <dialogue>Come take a look for yourself.</dialogue> <scene_description>Larry exits the bathroom . The police inspector in the living room holds a picture frame in his hands . He turns towards Larry -</scene_description> <character>POLICE INSPECTOR</character> <dialogue>Look. Is n't Ben Carson in the picture?</dialogue> </scene> <scene> <stage_direction>INT. DAY - POLICE STATION - INTERROGATION ROOM</stage_direction> <scene_description>Still wearing his uniform , Ben is sitting alone in one of the interrogation rooms of the police station . His haggard face expresses great grief . His sister 's death has left him distraught . He fiddles with an empty plastic cup in his hands . The classic two - way mirror facing him , throws back his reflection . Ben knows that he is being watched . Behind the two - way mirror , Amy observes him . Larry is standing next to her .</scene_description> <character>LARRY</character> <dialogue>The water has obliterated most of the marks. No trace of struggle or broken entry, the entrance door was locked. The person who did this must have had the keys to her apartment, or otherwise it was somebody she knew.</dialogue> <character>AMY</character> <dialogue>He would never have laid a finger on her. When their father died, Ben took care of his sister. Angela meant the world to him.</dialogue> <character>LARRY</character> <dialogue>Listen, so far, his statement is pretty consistent with the facts. We checked it out, he did place a call from work at 12:30, and the woman's downstairs neighbors claim they started noticing the water leakage at around two in the morning. The daytime security guard, Lorenzo Sappeli, confirms he came on after Ben's shift at seven a.m.. The only strange thing, and it may just be a coincidence, is that Ben told Sappeli that he had decided to quit his job, as if he was planning to go away somewhere. Did he mention anything about it to you?</dialogue> <character>AMY</character> <dialogue>No, lately, communication has n't quite been our strong point.</dialogue> <parenthetical>( she smiles . )</parenthetical> <dialogue>I only found out yesterday that he was staying at his sister's. What are you going to do with him?</dialogue> <character>LARRY</character> <dialogue>I figure we'll let him go. At this point we have n't got any real reason to keep him here. And, I think he's had his share for the day.</dialogue> <character>AMY</character> <dialogue>You know what's gon na happen if you let him go. He wo n't stop here. I know him, he wo n't stop until he finds who did this to her.</dialogue> <character>LARRY</character> <dialogue>Listen, where we stand now, we got nothing, not a single clue. I'm sure he can help us.</dialogue> <character>AMY</character> <dialogue>What kind of friend are you? You are using him. He's not a cop anymore.</dialogue> <character>LARRY</character> <dialogue>He's still the best one I know, even if he's one of the suspects.</dialogue> <scene_description>Amy comes closer to the two - way mirror . She looks at her ex - husband on the other side . He seems overcome with grief and confusion . She can see the distress in his eyes .</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Try to keep an eye on him.</dialogue> </scene> <scene> <stage_direction>EXT. DAY - POLICE STATION</stage_direction> <scene_description>Ben has been released . Under the pouring rain , on the front steps of the police station , Amy tries to reason with him -</scene_description> <character>AMY</character> <dialogue>You have to see someone Ben. You can not stay in this situation any longer. You need help, psychological support.</dialogue> <scene_description>Ben is not listening . His mind is elsewhere .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why do n't you. if you want. come spend a few days at home, with the kids?</dialogue> <character>BEN</character> <dialogue>No, I do n't want to put them in any danger.</dialogue> <character>AMY</character> <dialogue>What do you mean?</dialogue> <character>BEN</character> <dialogue>I've got things I need to deal with.</dialogue> <character>AMY</character> <dialogue>Ben, look at me! I do n't want you to get into any trouble. Think about Daisy and Michael. You are not going to solve this case. Please, stay out of it.</dialogue> <character>BEN</character> <dialogue>She asked me to quit and they got to her.</dialogue> <character>AMY</character> <dialogue>What? Who are you talking about?</dialogue> <character>BEN</character> <dialogue>I know who did this Amy.</dialogue> <character>AMY</character> <dialogue>In that case, you have to tell them everything.</dialogue> <character>BEN</character> <dialogue>They would n't believe me and neither would you. Goodbye.</dialogue> <scene_description>Ben walks away , leaving Amy alone on the steps of the police station</scene_description> <character>AMY</character> <dialogue>Ben, wait.</dialogue> <scene_description>Ben does not turn around . The rain is beating down harder and the thunder grumbles in the distance . The first lightning flashes light up the sky . Another flash - QUEENS APARTMENT - Ben ignores the crime scene 's restriction perimeter and enters Angela 's apartment . Without turning on the light , he goes straight for a leather pouch stashed among his cardboard boxes . Inside - A .357 MAGNUM , his former cop weapon . Another flash -</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - MAYFLOWER</stage_direction> <scene_description>The lightning bolts illuminate the facade of the department store . Ben 's car is parked in front of the construction fence .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER</stage_direction> <scene_description>The rainwater pours through the openings in the roof , penetrating the interior of the deserted department store . It dribbles down the cracked walls and over the half - burnt mannequins .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER BASEMENT- MIRROR ROOM</stage_direction> <scene_description>We hear the echo of the roaring thunder outside , but in the gloom of the flooded basement , there is another blaring sound - A DULL METALLIC THUD . It gets louder and louder , closer and closer as we advance towards the opening to the mirror room - Inside , we find Ben , out of his mind , throwing a chair against the mirrors with all his strength , in an attempt to demolish them - He 's exhausted and he 's forced to stop . Not a single shard of glass , not even a scratch , the mirrors seem completely indestructible . Ben is not through with them . He drops the chair to the ground and pulls out the gun from his belt . Without a moment 's hesitation he opens fire - THE MIRRORS SHATTER VIOLENTLY , CRACKING WITH THE POWERFUL IMPACT OF THE BULLETS . In the spiderweb - cracked mirror , his image is deformed . Having found a weak spot , Ben savors his sweet victory when , suddenly , something inconceivable unfolds before his very eyes - THE BULLET IMPACTS DISSOLVE AS IF BY MAGIC AND THE MIRRORS ARE RECONSTITUTED ! Ben 's shock and disbelief give way to rage . He fires , in a fury , emptying the entire clip this time - Again , the bullet holes vanish , leaving Ben alone , face to face with his own reflection . He breaks down nervously -</scene_description> <character>BEN</character> <dialogue>Why did you do it? WHY? WHY DID YOU HAVE TO KILL HER?</dialogue> <scene_description>Silence .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is it you want? What do you want from me? ANSWER ME! WHAT IS IT YOU WANT?!</dialogue> <scene_description>Suddenly , one after the other , letters , start appearing in one of the mirrors , as if an invisible finger were tracing them in the dust - REKESSE Ben turns around , and in the reflection of the opposite mirror he recognizes the inverted word - the same word he found on the note in Gary 's wallet , the word Ben himself had traced in his bathroom mirror - ESSEKER</scene_description> </scene> <scene> <stage_direction>INT. NIGHT -QUEENS APARTMENT</stage_direction> <scene_description>Back in the Queens apartment , Ben still has n't gotten any sleep . On the wall , he is assembling all the newspaper clippings , articles and photographs that Gary sent him . Each and every mirror in Angela 's apartment has been covered with sheets , blankets , old rags - anything he could find to neutralize the reflective surfaces . With the phone cradled between his ear and shoulder he is in the middle of a heated conversation -</scene_description> <character>BEN</character> <dialogue>Look up Esseker. Yes, Echo, Sierra, Sierra, Echo, Kilo, Echo, Romeo. Esseker. No idea, my guess is that it's a name. No, I have n't got a first name. Yes, in New York. Over the past five or six years. I know it's hazy but that's all I've got. I already looked it up in the phone book. I also called someone at the IRS and at the DMV, but nothing there. It's very important Larry. You'll call me back? Ok.</dialogue> <scene_description>Ben hangs up the phone and remains in front of the wall covered with clippings for a moment . Now he can have a clear overview of Gary 's investigative research . All the articles date back approximately to the same period and are all related to the fire that ravaged Mayflower five years ago . But not a hint of Esseker . Ben studies the newspaper clippings , trying to piece the story together - '' Deadly Fire at Mayflower - 29 dead and 78 wounded '' '' Brutal Massacre - Mother and her three daughters slaughtered . '' '' . the children , drowned , in the bathtub . '' '' . the throat slit open . '' '' Mayflower 's security guard taken in for questioning . '' '' The night watchman confesses to setting the fire but firmly denies the accusation of murdering his family . '' '' Terrence Berry confesses but claims the mirrors are guilty - The security guard at Mayflower finally confesses . He started the fire in the department store with the intention of destroying the mirrors , responsible , according to him , for the death of his wife and three daughters . '' Ben observes Terrence Berry 's face in one of the archive photographs . He looks like a perfectly normal guy , rather kind , surely he was a good father . Ben ca n't help but empathize with him . As he looks up , Ben catches a glimpse of his reflection in the window - What if he too lost his mind and went on to slaughter his family ? Or what if the mirrors would do it ? The phone rings -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes, so, what'd you find out? Nothing under that name? Shit, shit, shit, shit. Can you look up Berry, Terrence Berry.</dialogue> <scene_description>Ben holds on the line , for a moment .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Got anything? Great. No, I already know all that. Is he still alive? No. Can you find out where he was committed before his death? Wait, I'm writing it down.</dialogue> <scene_description>Ben sits down on the bed and scribbles down the address on a piece of paper .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Roosevelt Psychiatric Detention Center. Yeah, I know where it is. Thanks.</dialogue> <scene_description>He hangs up the phone . Under the blanket , next to him , he spots the T - shirt that his sister was wearing the other night . The pain is too strong . He can not hold back his tears anymore and starts crying .</scene_description> </scene> <scene> <stage_direction>INT. DAY -NEW JERSEY HOUSE - KITCHEN</stage_direction> <scene_description>The next morning - Heavy - eyed and sleepy , Michael is hypnotized in front of the weather forecast on TV . The hot chocolate set in front of him is getting cold . His sister Daisy pours herself some more orange juice . Amy , shaking a box of cereal , interrupts the little boy in his dream state -</scene_description> <character>AMY</character> <dialogue>Do you want the cereal in your hot chocolate or in a separate bowl?</dialogue> <scene_description>The little boy does not answer .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael?</dialogue> <character>MICHAEL</character> <dialogue>In the chocolate.</dialogue> <character>AMY</character> <dialogue>In the chocolate, please, mom.</dialogue> <character>MICHAEL</character> <parenthetical>( repeating after her . )</parenthetical> <dialogue>. Please, mom.</dialogue> <scene_description>She pours the cereal in his hot chocolate .</scene_description> <character>DAISY</character> <dialogue>Yuck, that's gross, how can you eat that?</dialogue> <character>AMY</character> <dialogue>Come on, come on, let's get going, or you're going to be late for school.</dialogue> <scene_description>Michael begins to eat his breakfast , his gaze still fixed on the weatherman 's forecast on TV . As Amy fills the cat 's bowl with pellets , Tiger rushes over to join the rest of the family .</scene_description> <character>DAISY</character> <dialogue>Mom?</dialogue> <character>AMY</character> <dialogue>What is it sweetheart?</dialogue> <character>DAISY</character> <dialogue>Do you know that Michael has a new friend?</dialogue> <character>MICHAEL</character> <dialogue>No, that's not true!</dialogue> <character>AMY</character> <dialogue>Really, what's his name?</dialogue> <character>MICHAEL</character> <parenthetical>( to his sister . )</parenthetical> <dialogue>You promised not to tell.</dialogue> <character>AMY</character> <dialogue>Does he go to your school?</dialogue> <scene_description>Michael does n't answer . Daisy shakes her head .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( pretending to be indifferent . )</parenthetical> <dialogue>Very well. If you do n't want to tell me about it.</dialogue> <scene_description>The little boy stays quiet .</scene_description> <character>MICHAEL</character> <dialogue>He does n't want me to talk about him.</dialogue> <scene_description>Amy suddenly becomes more concerned and sits down next to Michael -</scene_description> <character>AMY</character> <dialogue>Why does n't he want you to talk about him? Is he a grown up?</dialogue> <character>MICHAEL</character> <dialogue>No.</dialogue> <character>AMY</character> <dialogue>So, he's a little boy your age, then?</dialogue> <scene_description>Michael gives a reluctant nod . Amy is reassured . He finishes his mug of cereal and goes to place it in the sink . Amy gives Daisy a questioning look -</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Michael . )</parenthetical> <dialogue>Does he live in our street? Is it one of our neighbors?</dialogue> <scene_description>Michael remains silent and Daisy answers for him -</scene_description> <character>DAISY</character> <dialogue>He lives in the mirror in our room.</dialogue> <scene_description>Daisy bursts out laughing . Michael glares back at her , furious . Puzzled , Amy reflects briefly on Daisy 's remark -</scene_description> <character>AMY</character> <dialogue>Is it your father who told you that?</dialogue> <scene_description>Michael remains silent .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael, answer me. Did your father talk to you about the mirrors?</dialogue> <character>MICHAEL</character> <dialogue>No Mommy.</dialogue> <scene_description>Amy questions him with her eyes . Michael lowers his .</scene_description> <character>AMY</character> <dialogue>OK. Come on, come on guys, let's get our teeth brushed, and our coats on. The first one in the car is the winner.</dialogue> <scene_description>The two kids dash up the stairs . Amy is left alone to clean up breakfast . She casts a glance at the front hall mirror . Daisy 's comment lingers in her thoughts . Dressed in their coats , Michael and Daisy come running down the stairs and rush out of the house . Amy exits the house . The car drives away . Daisy 's cat leaps onto the kitchen table and directs his gaze to the mirror - FOR NO APPARENT REASON , THE CAT SUDDENLY STIFFENS INTO A POSITION OF DEFENSE . HE BRISTLES HIS COAT AND HISSES AND SPITS TOWARDS HIS REFLECTION IN THE MIRROR .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER</stage_direction> <scene_description>Wide shot - The high security psychiatric hospital stands under a leaden sky -</scene_description> <character>DR. MORRIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You know, Mr. Carson, when one starts to perceive one's own reflection as a completely separate being, one is suddenly confronted with two entirely separate egos, two entirely separate worlds that can surface at any given moment -</dialogue> </scene> <scene> <stage_direction>INT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER</stage_direction> <scene_description>DR. MORRIS , the doctor who had once been in charge of Terrence Berry , escorts Ben down the corridor -</scene_description> <character>DR. MORRIS</character> <dialogue>A feeling of self - hatred, generally triggered by a psychological shock can split the personality in two, hence creating two or more personalities with distinct memories or behavior patterns within the same individual. The patient then has a faulty perception of the existence of two distinct worlds, which are principally the `` real'' word, and the world `` inside the mirror''.</dialogue> <scene_description>The two men pass a number of guards and security check - points as they head down towards the hospital 's film and video archive -</scene_description> <character>BEN</character> <dialogue>Did you consider Terrence innocent?</dialogue> <scene_description>Dr. Morris swipes his magnetic card through the electronic device , unlocking the door to the archives .</scene_description> <character>DR. MORRIS</character> <dialogue>In my opinion, he was convinced that he was telling the truth when he claimed he did n't kill his family. I too am convinced that when it happened, Terrence was not himself, but rather his double, his mirror image, one might say.</dialogue> <scene_description>He enters the archives , followed by Ben -</scene_description> </scene> <scene> <stage_direction>INT. DAY - ARCHIVES- ROOSEVELT PSYCHIATRIC DETENTION CENTER</stage_direction> <scene_description>Dr. Morris ' finger glides across several DV - tapes dated 2001 in search of one particular tape -</scene_description> <character>DR. MORRIS</character> <dialogue>These recordings are from Terrence's trial. You will find that they speak for themselves.</dialogue> <scene_description>He pushes the tape into the deck . A grainy picture appears on the screen - We discover TERRENCE BERRY , sitting behind a desk . His hands are cuffed . Facing him , DR. MORRIS is leading the cross - examination . Terrence is tense and uncomfortable . He keeps his face down , never looking into the camera . DESPITE HAVING SURVIVED THE FIRE , TERRENCE 'S FACE IS NONETHELESS DISFIGURED BY THIRD DEGREE BURNS . HE NO LONGER HAS FACIAL FEATURES , AND HE STRUGGLES WITH HIS SPEECH .</scene_description> <character>DR. MORRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why did you set the department store on fire?</dialogue> <character>TERRENCE</character> <dialogue>In order to. to destroy the mirrors. Only fire can destroy a mirror, is n't that right, Doctor?</dialogue> <character>DR. MORRIS</character> <dialogue>What made you think you absolutely had to destroy those mirrors, Terrence?</dialogue> <scene_description>Terrence remains silent . Dr. Morris repeats his question -</scene_description> <character>DR. MORRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What made you want to destroy those mirrors, Terrence?</dialogue> <character>TERRENCE</character> <dialogue>They killed Helen and my three little girls.</dialogue> <character>DR. MORRIS</character> <dialogue>For what reason? Why would mirrors want to kill your family?</dialogue> <character>TERRENCE</character> <dialogue>Because I did n't.</dialogue> <scene_description>Terrence breaks out in tears .</scene_description> <character>DR. MORRIS</character> <dialogue>Did n't do what?</dialogue> <scene_description>With his eyes fixed on the video monitor , deep inside , Ben already knows the answer that Terrence is about to give .</scene_description> <character>TERRENCE</character> <dialogue>They asked me to find Esseker. Like they did with the others.</dialogue> <character>DR. MORRIS</character> <dialogue>Who are the others you're talking about?</dialogue> <character>TERRENCE</character> <dialogue>I was n't the first one they asked.</dialogue> <character>DR. MORRIS</character> <dialogue>And what happened?</dialogue> <character>TERRENCE</character> <dialogue>I did n't succeed. I did n't succeed in finding Esseker.</dialogue> <scene_description>Ben realizes that he 's in the exact same situation -</scene_description> <character>BEN</character> <dialogue>Amy.</dialogue> <parenthetical>( to Dr. Morris . )</parenthetical> <dialogue>I have to go.</dialogue> <scene_description>He stands to leave . The monitor keeps playing the old footage -</scene_description> <character>DR. MORRIS</character> <dialogue>Tell me about Esseker, Terrence.</dialogue> <scene_description>Terrence does n't speak .</scene_description> <character>DR. MORRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who is Esseker, Terrence?</dialogue> <scene_description>Suddenly , Terrence 's behavior shifts to another extreme . He stands up , and flying into a rage , he becomes brutal and hysterical -</scene_description> <character>TERRENCE</character> <dialogue>I DO N'T KNOW WHO ESSEKER IS! I DO N'T KNOW WHO ESSEKER IS, I DO N'T KNOW!</dialogue> <scene_description>Terrence becomes uncontrollable . He wrecks the folders lying on the desk and throws himself , head first , against a wall mirror that shatters to pieces .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - STREET-NEW JERSEY HOUSE</stage_direction> <scene_description>Ben 's car comes to a screeching halt in front of his old house . Ben rushes inside .</scene_description> </scene> <scene> <stage_direction>INT. DAY -NEW JERSEY HOUSE - CONTINUITY</stage_direction> <scene_description>He is beside himself . After seeing the video footage on Terrence , he has been struck with fear and panic for his family - Before the perplexed gaze of Rosa and his children , Ben agitatedly comes and goes in the hallway of the second floor . He is removing the mirrors from each and every room . He tears away the bathroom mirror , unhooks the one in the far end of the hallway , and removes some from Amy 's room . Rosa fears more and more for the children and takes them under her protective arms . Amy is not back yet . The only mirror left that Ben can not remove , is the one in the children 's room . He rushes down to the basement and comes back with a bucket of old paint . He immediately begins to paint the wall mirror in order to neutralize its reflection .</scene_description> <character>DAISY</character> <dialogue>What are you doing dad?</dialogue> <character>BEN</character> <dialogue>Do n't worry, there's nothing wrong. Everything is OK.</dialogue> <character>DAISY</character> <dialogue>But why are you doing that?</dialogue> <character>BEN</character> <dialogue>I'm doing it to protect you.</dialogue> </scene> <scene> <stage_direction>EXT. DAY NEW JERSEY HOUSE - CONTINUITY</stage_direction> <scene_description>At the same time , Amy 's car pulls up in front of the house . As soon as she sees the front door open , and the mirrors laid out on the landing of the front steps , Amy rushes into the house , panic - stricken .</scene_description> </scene> <scene> <stage_direction>INT. DAY -NEW JERSEY HOUSE - CONTINUITY</stage_direction> <scene_description>She races up the stairs to the second floor , barging into the children 's room where Ben is painting the mirror . She signals Rosa to take the kids out .</scene_description> <character>AMY</character> <dialogue>Do you mind telling me what the hell you're doing?</dialogue> <scene_description>Focused and determined , Ben does not answer her question .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ben!</dialogue> <character>BEN</character> <dialogue>Look Amy, you've got to trust me, I know what I'm doing. It's for your own good.</dialogue> <character>AMY</character> <dialogue>I want you to stop what you're doing and get out of our house right now. You're scaring the kids acting like this.</dialogue> <scene_description>Ben continues to paint the mirror .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you do n't leave immediately, I'm going to call the police, Ben, and I warn you, you will never see your children again. Do you understand what I'm saying?</dialogue> <scene_description>Ben stops -</scene_description> <character>BEN</character> <dialogue>You have to trust me Amy, I'm not completely crazy. These mirrors are dangerous. At first, I thought it was only the ones at the store, but now I know they can get you anywhere. They got Angela. I promise I'll leave the house once I've taken them all down.</dialogue> <character>AMY</character> <dialogue>Do you realize what you're saying, Ben? What is wrong with you? I know that what you're going through is n't easy. Angela was a part of our lives too, but you have no right to do this to us. Ever since your obsession with these damn mirrors the kids are scared to death. Your son has nightmares. He's scared Ben. Your behavior is starting to rub off on him. He's only 5 years old. And I have to protect him.</dialogue> <scene_description>Ben can see that she is very upset about the situation . He sets down the paint bucket on the floor -</scene_description> <character>BEN</character> <dialogue>Come Amy, come with me, I want to show you something.</dialogue> <scene_description>He leads her back down , through the first floor , and out on the front steps of the house -</scene_description> </scene> <scene> <stage_direction>EXT. DAY -NEW JERSEY HOUSE - CONTINUITY</stage_direction> <character>BEN</character> <dialogue>Look, you'll see.</dialogue> <scene_description>Ben pulls his Magnum out of his belt and points the gun at one of the mirrors he has dragged outside . Amy steps back , terrified -</scene_description> <character>AMY</character> <dialogue>What are you doing with that gun. Put it down, BEN. PUT IT DOWN RIGHT NOW!</dialogue> <scene_description>Without a moment 's hesitation , Ben opens fire . The mirror shatters to pieces -</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>ARE YOU CRAZY BEN? HAVE YOU GONE COMPLETELY MAD?</dialogue> <scene_description>Ben smiles , all excited -</scene_description> <character>BEN</character> <dialogue>Wait, look, you'll see.</dialogue> <scene_description>Through the front window , Daisy and Michael witness the scene -</scene_description> <character>AMY</character> <dialogue>SEE WHAT, BEN?! WHAT AM I SUPPOSED TO SEE?!</dialogue> <scene_description>Ben keeps a piercing gaze as the bullet impacts the mirror , waiting for the magic to do its trick and for the cracks to dissolve again - BUT NOTHING HAPPENS . THE CRACKS REMAIN , IN A SPIDER WEB PATTERN . Behind the front door , Ben notices Michael , watching him , in tears . Without any evidence , Ben is in over his head .</scene_description> <character>BEN</character> <dialogue>But. I swear to you I. I saw. Amy.</dialogue> <scene_description>The neighbors , alerted by the blast of the gun , come out of their houses to find out what has happened . Ben stands alone , looking like a mad man . Amy holds back her tears and tries to stay in control -</scene_description> <character>AMY</character> <dialogue>Get out. now! I do n't ever want to see you here again, Ben. And I'll have the lawyers make sure the same goes for the kids. You are insane, Ben, and dangerous. You've got to get help.</dialogue> <scene_description>With gun in hand , Ben walks away , dismayed , as he gradually becomes aware of the situation he has just created . He enters his car and drives off at top speed .</scene_description> </scene> <scene> <stage_direction>EXT/INT. DAY - ROAD - BEN'S CAR</stage_direction> <scene_description>Ben drives nervously . He feels guilty about his conduct in front of the children . A thousand thoughts rush through his head , leaving him in an utter state of confusion . He does n't know what to do nor what to think anymore . Ben reaches for his cell phone and dials Larry 's number -</scene_description> <character>BEN</character> <dialogue>Hello, Larry? It's me. I'm going to need your help again -</dialogue> <character>LARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come on, Ben. For Christ's sake! What are you doing?</dialogue> <character>BEN</character> <dialogue>Mayflower used to be a hospital before it became a department store. St. John's Hospital. Do you have any idea where all the medical records could have ended up after it closed down?</dialogue> <character>LARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>How am I supposed to know that?!</dialogue> <character>BEN</character> <dialogue>Go to the city hall archives. They must have something considering it was a public hospital.</dialogue> <character>LARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I've got others things to do. I ca n't go to City Hall today. I've -</dialogue> <character>BEN</character> <dialogue>Larry, Larry stop it. If I could go myself, I would n't be asking you. Go to the City Hall archives, and ask them to look up Esseker among the former patients. Please.</dialogue> <character>LARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ben, for god's sake, what are you trying to prove?</dialogue> <character>BEN</character> <dialogue>Please, do it for me.</dialogue> <character>LARRY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You know you're a real pain in the ass.</dialogue> <character>BEN</character> <dialogue>Talk to you later.</dialogue> <scene_description>Ben hangs up . He glances back at the rear view mirror and sees ANGELA 'S CORPSE , SITTING ON THE BACK SEAT ! Startled , he loses control of the vehicle . A truck approaches at full speed in the opposite lane . He barely avoids the collision . Two other cars appear . Ben zigzags in and out , just barely avoiding a fatal crash . He stops along the edge of the road . Ben closes his eyes and rests his head against the steering wheel in an attempt to clear his mind . He looks up into the rear - view mirror again - ANGELA 'S REFLECTION IS STILL THERE . Behind her long black hair , she fixes him with a milky gaze . Ben flies into a rage . HE SMASHES THE REAR - VIEW MIRROR WITH HIS BARE FIST , REDUCING IT TO SCRAPS . Ben is alone and lost .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What have I done? I do n't understand. What have I done?</dialogue> <scene_description>Insert on what is written on the side rear - view mirror - `` OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR ''</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT -MANHATTAN STREET - NYPD POLICE STATION</stage_direction> <scene_description>Under the pouring rain , the police patrol cars come and go in front of the police station . A bit further away we recognize Ben 's Oldsmobile , parked on an adjacent street . Ben is waiting inside . A man approaches , knocks on the car window and enters the vehicle . It 's LARRY - The rainwater drips down his raincoat . Under his arm he holds a file of documents , wrapped in a plastic bag .</scene_description> <character>LARRY</character> <dialogue>This ought to make you happy.</dialogue> <parenthetical>( handing him the file . )</parenthetical> <dialogue>Anna Esseker.</dialogue> <scene_description>Ben nervously tears open the plastic wrapping -</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was n't quite sure what you needed, so I got all of her medical records.</dialogue> <character>BEN</character> <dialogue>Perfect, Larry. That's perfect.</dialogue> <scene_description>Ben skims through the pages . He can not believe that he has finally discovered who Esseker is .</scene_description> <character>LARRY</character> <dialogue>Everyone's real edgy up there. You're still a fuckin' murder suspect. People are wondering why I let you out. You have to tell me more. What does the history of the Mayflower have to do with the death of your sister?</dialogue> <character>BEN</character> <dialogue>I do n't know exactly. I ca n't tell you, but some really fucked up things started happening to me when I took the job over there. Nothing makes any sense to me either but I have to follow my instinct.</dialogue> <scene_description>Larry notices the broken rear - view mirror -</scene_description> <character>LARRY</character> <dialogue>What happened? Did you have an accident?</dialogue> <scene_description>Ben is too absorbed in the records . He does n't answer .</scene_description> <character>BEN</character> <dialogue>Anna Esseker. Where did you find her files? Did you go to City Hall?</dialogue> <character>LARRY</character> <dialogue>No, you were wrong about that, they had nothing. All the medical records from St. John's Hospital are still up there with the unclassified cases.</dialogue> <scene_description>Ben squints at him .</scene_description> <character>LARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She was a patient at St. John's in the psych ward run by a Dr. Kane, between March and September 1952. She was only twelve years old when she died.</dialogue> <scene_description>Ben freezes -</scene_description> <character>BEN</character> <dialogue>What?</dialogue> <character>LARRY</character> <dialogue>When the nurses went on their rounds, first thing on the morning of October 6th, they discovered that all the patients had left their rooms during the night and gathered in the main room. All of them were dead, including the girl. Apparently, they had killed one another. A slaughter house. After that they shut down the place. Nobody ever found out what really happened.</dialogue> <character>BEN</character> <dialogue>What about the doctor? Dr. Kane?</dialogue> <character>LARRY</character> <dialogue>He was arrested. They found him dead on the first day of his hearing. He had slit his wrists with a piece of his cell mirror!</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - QUEENS BUILDING- ENTRANCE HALL</stage_direction> <scene_description>Ben heads home with the file containing Anna 's medical records . He walks through the lobby of his building .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - QUEENS APARTMENT</stage_direction> <scene_description>Angela 's apartment is plunged in total darkness - Ben lays Anna Esseker 's file on the coffee table and aims the desk lamp at his `` research corner '' on the wall . He turns the lamp back at the file and sits down to study it . WHY ARE THE MIRRORS ASKING FOR ANNA IF SHE 'S ALREADY DEAD ? WHY ? IT DOES N'T MAKE ANY SENSE . On an index card filled in by Anna 's parents in September 1952 , Ben finds a Pennsylvania home address . Dr. Kane 's first diagnosis is irrevocable - `` Despite her young age , Anna Esseker suffers from severe schizophrenia , leading to withdrawal from reality , delusional and violent behavior . '' He shuffles through the first few pages of various administrative documents . His eye lands on several photographs of Anna taken at the time she was admitted to the hospital - She is just a child , yet , six male nurses were needed to restrain and immobilize her in front of the photographer . Her face is hardly discernible as she struggles like a wild animal . A high - pitched sound of cracking glass is heard from behind . Ben turns around - Another loud crack - It comes from one of the covered mirrors in the apartment . Ben rises slowly to his feet and comes closer . He removes the sheet hanging on the frame - A crack has appeared in the upper corner of the mirror . Ben casts his eyes over the reflection . His glance comes to rest on Anna 's file laying on the desk - He goes to fetch the photograph of the little girl and presents it to the mirror - KRAAAAACK - the crack in the mirror spreads , as if some kind of pressure were applied on the other side of the mirror as a reaction to the photograph .</scene_description> <character>BEN</character> <dialogue>You're still alive, are n't you?</dialogue> <scene_description>All of a sudden , Ben realizes something . He runs back to the file on the table and goes through the documents again , one by one . He stops on a carbon copy of a hospital release form and checks the date .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're wrong Larry, you're wrong.</dialogue> <scene_description>His eyes light up -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>she left the hospital on the 4th.</dialogue> <scene_description>According to the document , Anna left two days before the massacre !</scene_description> </scene> <scene> <stage_direction>INT. - DAY -NEW JERSEY HOUSE</stage_direction> <scene_description>The next morning - Through the half - opened door at the end of the hallway , we see Daisy brushing her teeth before going to school . The little girl is humming as she watches herself in the mirror . Amy comes out of her room -</scene_description> <character>AMY</character> <dialogue>Come on, come on. Let's go. Daisy, Michael?</dialogue> <scene_description>She passes in front of the children 's room and stops - INSIDE , MICHAEL IS TALKING TO SOMEBODY . Amy listens closely , but she can only hear Michael 's voice . On the other side of the door , the little boy bursts out in laughter -</scene_description> </scene> <scene> <stage_direction>INT. DAY - CHILDREN'S ROOM</stage_direction> <scene_description>She opens the door and finds her son squatting in front of the mirror , talking to his own reflection .</scene_description> <character>AMY</character> <dialogue>What are you doing Michael? Come on, we're going to be late.</dialogue> <scene_description>The little boy does as his mother says . He gets up and dashes out of the room . Amy 's glance freezes in horror . Terrified , she almost loses her balance - MICHAEL 'S REFLECTION IS STILL IN THE MIRROR , SITTING IN A SQUATTING POSITION ! HE LOOKS AT AMY WITH A BIG SMILE . Amy attempts to speak but ca n't - The mirror image of her son remains silent . Amy steps closer to the mirror and , in the reflection , behind the boy , she discovers - HER MIRROR IMAGE IS THERE TOO , BEARING THE SAME FORCED GRIN .</scene_description> </scene> <scene> <stage_direction>INT. DAY -QUEENS APARTMENT</stage_direction> <scene_description>The phone rings . Ben wakes up in a jolt and picks it up - AMY IS ON THE OTHER END OF THE LINE , IN TEARS .</scene_description> <character>BEN</character> <dialogue>Amy? What's wrong?</dialogue> <character>AMY O.S.</character> <dialogue>You have to come over. Right away.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <scene_description>Amy can not get the words out . The convulsive sobs overtake her voice .</scene_description> <character>AMY O.S.</character> <dialogue>I'm so scared, Ben.</dialogue> <character>BEN</character> <dialogue>What's happening?</dialogue> <character>AMY O.S.</character> <dialogue>There's something in the house. Something in the mirrors.</dialogue> <character>BEN</character> <dialogue>Where are Daisy and Michael? Are the kids all right?</dialogue> <character>AMY O.S.</character> <dialogue>They're with me. They're right here with me. Come over, please!</dialogue> <character>BEN</character> <dialogue>Get out of the house. I'll be right over.</dialogue> </scene> <scene> <stage_direction>EXT. DAY -QUEENS' STREET</stage_direction> <scene_description>Ben runs to his car and throws the Esseker file on the passenger seat . He drives off at full speed and disappears at the far end of the road .</scene_description> </scene> <scene> <stage_direction>EXT/INT. DAY - MAYFLOWER</stage_direction> <scene_description>On 38th Street , away from the hustle and bustle of Broadway , the Mayflower facade is unsettling and disturbing . AMIDST THE RUINS OF THE DESERTED DEPARTMENT STORE , THE MIRRORS ARE WAITING PATIENTLY FOR THEIR TIME TO COME .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW JERSEY HOUSE</stage_direction> <scene_description>When he arrives , Ben finds his wife waiting in front of the house . The kids are playing in the snow . Ben 's car pulls up in the driveway . Amy throws herself into his arms , crying with relief .</scene_description> <character>BEN</character> <dialogue>I'm right here, Amy. I'm here now. Thank god you're alright.</dialogue> <scene_description>Ben comforts her , holding her tightly with all his strength .</scene_description> <character>AMY</character> <dialogue>We ca n't stay here, we have to leave the house now. We can go to my mother's or to a hotel.</dialogue> <character>BEN</character> <dialogue>Anyplace is gon na have mirrors or windows. Anything you can see your self in is dangerous. We have to make the house safe. The only way is to cover all the reflections. If we keep them in the dark we can avoid them. We need paint, we need tape.</dialogue> </scene> <scene> <stage_direction>INT. DAY -NEW JERSEY HOUSE - A MOMENT LATER</stage_direction> <scene_description>Ben has brought up some more paint from the basement . With Amy 's help he paints over all the mirrors in the house . In the face of this hardship , all the arguments seem far away . We can feel a connection between the two of them . The windowpanes and picture frames have been wrapped securely with newspaper and tape . Every inch of reflective surface in the house , such as the TV - screen and the shiny taps , have been `` neutralized '' with strips of masking tape . IN NO TIME , THERE IS NOT A SINGLE SURFACE CAPABLE OF REFLECTING LIGHT LEFT IN THE HOUSE .</scene_description> </scene> <scene> <stage_direction>EXT. DAY -NEW JERSEY HOUSE</stage_direction> <scene_description>The front door of the house opens . On the landing of the front steps , Ben kisses Daisy goodbye .</scene_description> <character>DAISY</character> <dialogue>When will you be back, Dad?</dialogue> <character>BEN</character> <dialogue>As quickly as I can, sweetheart. I promise.</dialogue> <scene_description>He kisses Michael who hugs him back -</scene_description> <character>MICHAEL</character> <dialogue>I love you, Dad.</dialogue> <scene_description>He strokes Michael gently on the head and goes to his car . Daisy and Michael watch their father leave . Amy walks him to the vehicle -</scene_description> <character>AMY</character> <dialogue>What if you do n't find her? Maybe she does n't live there anymore? Maybe she's really dead.</dialogue> <character>BEN</character> <dialogue>They want her, I'm gon na find her wherever she is. We do n't have any other choice.</dialogue> <scene_description>Ben holds her tightly in his arms and plants a tender kiss on her forehead .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry about everything I've put you through. I did n't want to.</dialogue> <scene_description>Amy interrupts him .</scene_description> <character>AMY</character> <dialogue>I know.</dialogue> <scene_description>Ben gets into the car .</scene_description> <character>BEN</character> <dialogue>Amy, I want you to stay here with the kids until all this is over. All the mirrors are covered, there's no more danger. I'll come back as soon as I can.</dialogue> <scene_description>Tears well up in Amy 's eyes . He takes her hand -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey baby, everything's gon na be fine. I love you.</dialogue> <scene_description>She smiles tenderly . Ben drives off .</scene_description> </scene> <scene> <stage_direction>INT. DAY - BEN'S CAR</stage_direction> <scene_description>Through the back window , we see Amy in front of the house , growing more and more distant . Anna 's medical file lies open on the passenger seat - At the top of the page we can read her old address in Pennsylvania .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - ROAD</stage_direction> <scene_description>- Aerial shot - We fly over a lake - the waters are so placid that the forest and outline of the scenery surrounding it reflect off its surface , creating two perfectly symmetrical landscapes . We glide over the treetops , diving deeper into the forest , to follow the main road that zigzags along the slope of the hill .</scene_description> </scene> <scene> <stage_direction>INT. DAY -BEN'S CAR</stage_direction> <scene_description>A sign on the edge of the road indicates 67 miles to Pennsylvania . Ben focuses on the road , determined to put an end to what hides behind the mirrors and to rescue his family .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - COUNTRY ROAD</stage_direction> <scene_description>Ben 's car slows down as he reaches a dirt road . On one of the mailboxes standing on the edge of the road he spots the name Esseker -</scene_description> </scene> <scene> <stage_direction>EXT. DAY - ESSEKER FARMHOUSE</stage_direction> <scene_description>The wind blows over the land . In the winter season , the muddy fields have little to offer to the few starving crows flying over them . A feeling of desolation and solitude hangs over the deserted landscape . Ben 's car has left the asphalt road behind , driving through the countryside down a winding dirt road . An old farmhouse stands at the very end of the path . If it were n't for the parked pick - up truck and the few piglets running wild , one would think that the farmhouse was abandoned . Ben gets out of the car and goes to knock on the door . His shoes sink into the mud . He walks up the steps of the porch and peeks inside the house through the front window . In the dark he discerns the silhouette of a person who is watching TV . He ca n't help but notice all the mirrors have been covered or turned towards the wall . A big dog barks behind the window . Ben steps back , surprised . The front door opens before Ben has even made his presence known . A young man stares at him in silence .</scene_description> <character>BEN</character> <dialogue>Hello. Is this the Esseker farmhouse?</dialogue> <scene_description>The young man nods . A woman 's voice is heard from inside -</scene_description> <character>WOMAN'S VOICE</character> <dialogue>What is it Jimmy?</dialogue> <character>JIMMY</character> <dialogue>I do n't know Mom.</dialogue> <parenthetical>( to Ben . )</parenthetical> <dialogue>What can I do for you sir?</dialogue> <character>BEN</character> <dialogue>I am looking for Anna, Anna Esseker.</dialogue> <scene_description>The young man looks at Ben questioningly . Apparently he has never heard the name before .</scene_description> <character>JIMMY</character> <parenthetical>( to his mother inside . )</parenthetical> <dialogue>There's a man who's looking for.</dialogue> <parenthetical>( back to Ben . )</parenthetical> <dialogue>You said Anna?</dialogue> <parenthetical>( Ben confirms . )</parenthetical> <dialogue>Anna Esseker, Mom!</dialogue> <scene_description>Jimmy 's mother , in her fifties , an obese woman who has trouble moving around - shows up in the opening of the door -</scene_description> <character>JIMMY'S MOTHER</character> <dialogue>What is it you want with Anna Esseker?</dialogue> <scene_description>She catches him unaware . Ben makes up a false identity -</scene_description> <character>BEN</character> <dialogue>I huh. I am doing some research for a book on the history of St. John's Hospital, in New York.</dialogue> <scene_description>Jimmy 's mother stares at him for a moment with a suspicious look -</scene_description> <character>JIMMY'S MOTHER</character> <dialogue>Jimmy, go tell grandpa that there's a man here who'd like to talk to him about his sister.</dialogue> </scene> <scene> <stage_direction>INT. DAY - FARMHOUSE BASEMENT</stage_direction> <scene_description>We are in the dark basement , under the farmhouse . The door to the first floor opens , letting the light in . Ben appears next to the silhouette of an old man - ROBERT ESSEKER , 80 years old , Anna 's elder brother . Robert walks down the steps , signaling Ben to follow him -</scene_description> <character>ROBERT</character> <dialogue>You know, up to this day, the visions of Anna's fits still haunt me at night.</dialogue> <scene_description>They walk through the basement towards an old wooden door .</scene_description> <character>ROBERT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I helped my father fix up this part of the basement, especially for her -</dialogue> <scene_description>The old man turns the key in the padlock . Slowly , the door swings open , revealing -</scene_description> <character>ROBERT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Her fits were too violent. My mother could n't take her screams anymore.</dialogue> <scene_description>What 's left of a very primitive child 's room , SURROUNDED BY DOUBLE WIRE FENCING AND IRON BARS . Rather than a cell , it more resembles a HUMAN - SIZED CAGE , CAPABLE OF RESISTING THE MOST FEROCIOUS BEAST . As he 's talking , images flash on screen - painful memories from that time come back to him - Anna being carried to the basement , her innocent eyes full of hate . It 's even hard to recognize the face of a little girl . Her howling screams . Her nails digging into her own flesh . Her unnatural strength and the violent thrashing of her arms and legs .</scene_description> <character>ROBERT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We had every priest, doctor, healer, coming from all over the state, one after the other. But no one could help her.</dialogue> <scene_description>Ben comes closer to the iron bars of the cage . He can see Anna 's scratch marks next to the bed , giving his imagination a taste of her plight and suffering .</scene_description> <character>ROBERT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Finally, Dr. Kane from New York answered my parents' cry for help. He rejected the idea of demonic possession, said he did n't believe in it. He was convinced that Anna suffered from a rare form of personality disorder. He wanted Anna under his care, at St. John's. My parents were very poor, but he agreed to cover all the hospital costs. In less than five months, Dr. Kane had cured Anna. It was unbelievable. She was her old self again. A real miracle of science.</dialogue> <character>BEN</character> <dialogue>And after the hospital?</dialogue> <character>ROBERT</character> <dialogue>You do n't know? She died there with all of Kane's other patients.</dialogue> <scene_description>Ben takes the old release form out of his pocket and shows it to Robert .</scene_description> <character>BEN</character> <dialogue>Anna left the hospital two days before the massacre. Kane changed the records to make her disappear.</dialogue> <character>ROBERT</character> <dialogue>You're not a journalist, are you? What do you want?</dialogue> <character>BEN</character> <dialogue>I want to know. After St. John's, where did she go?</dialogue> <scene_description>Robert stares at Ben , unsure of saying what he 's about to reveal to this perfect stranger -</scene_description> <character>ROBERT</character> <dialogue>Anna came back to live with us for a while.</dialogue> <character>BEN</character> <dialogue>For a while?</dialogue> <scene_description>Robert lowers his eyes .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And after? Why did she leave?</dialogue> <character>ROBERT</character> <dialogue>Because. Because strange things started to happen in the house.</dialogue> <character>BEN</character> <dialogue>With Anna?</dialogue> <character>ROBERT</character> <dialogue>No, not with Anna.</dialogue> <scene_description>The old man obviously does n't want to get into the details . The memories are too painful .</scene_description> <character>BEN</character> <dialogue>With the mirrors?</dialogue> <scene_description>Robert stiffens , eyeing Ben with a dark look - How does he know ?</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mr. Esseker, tell me where I can find your sister. It's very important. It's a matter of life and death.</dialogue> <scene_description>Robert hesitates -</scene_description> <character>ROBERT</character> <dialogue>Before he died, Kane sent us a letter asking us to keep Anna away from mirrors and that whatever happens she should be in a place where the mirrors could never find her.</dialogue> <character>BEN</character> <dialogue>Where is she now?</dialogue> <character>ROBERT</character> <dialogue>To protect us, she left the house and joined the monastic orders, where mirrors are forbidden. St. Augustine's monastery, on the road to Midwich.</dialogue> </scene> <scene> <stage_direction>EXT. DAY - ESSEKER FARMHOUSE</stage_direction> <scene_description>Ben 's car does a one - eighty turn in front of the farmhouse , heading back to the main road . Standing on the porch , with an anxious look on his face , Robert watches him disappear in the distance . He sits down on the steps , and wipes his glasses . The crows fly low in the sky - It 's a bad sign .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MIDWICH MONASTERY</stage_direction> <scene_description>The nuns come and go under the arches of the monastic courtyard . A deadly silence prevails over the monastery , where time seems to stand still . All these women have taken vows of poverty , obedience and chastity to serve god . On the other side of the cloister wall , a small winding road zigzags between the pine trees . Ben 's car draws nearer . He parks in front of the entrance to the monastery .</scene_description> </scene> <scene> <stage_direction>INT. DAY - MIDWICH MONASTERY VESTIBULE</stage_direction> <scene_description>Ben pushes open the heavy front door . The place is dark and silent . He goes to the front desk - Behind a wooden screen he can barely make out the two nuns in charge of admissions . They are the only nuns granted exposure to the outside world . For the rest , physical and visual contact is strictly prohibited .</scene_description> <character>SISTER</character> <dialogue>Yes, how can I help you?</dialogue> <character>BEN</character> <dialogue>Hello Sister. I have come to visit a member of your community. Sister Anna? Her real name is Anna Esseker.</dialogue> <character>SISTER</character> <dialogue>Is she expecting you?</dialogue> <character>BEN</character> <dialogue>No, not really.</dialogue> <character>SISTER</character> <dialogue>Are you a relative?</dialogue> <character>BEN</character> <dialogue>Listen, Sister, I must see her.</dialogue> <character>SISTER</character> <dialogue>If you are not listed, I can not help you sir. We have strict regulations concerning visitations, which are exclusively for family members.</dialogue> <character>BEN</character> <dialogue>Please, tell her that I came all the way from New York and that I work with Dr. Kane at St. John's Hospital.</dialogue> <character>SISTER</character> <dialogue>Wait here for a moment.</dialogue> <scene_description>She stands up and escapes through one of the back doors . The other nun behind the screen , observes Ben with curiosity . Time goes by , and Ben grows impatient .</scene_description> </scene> <scene> <stage_direction>INT. DAY - HOUSE NEW JERSEY</stage_direction> <scene_description>Inside the house in Jersey , Amy has isolated herself with the kids in the parent 's bedroom . She 's reading them a bedtime story . Even if all the windows , screens , and TV are covered by newspapers or painting , Amy acts in front of Daisy and Michael as if nothing has happened . In the rest of the house , everything has been meticulously covered , wrapped , painted or reversed . Still , here and there , a barely audible rustle pierces through the silence - In the children 's room , the paint covering the mirror slowly begins to flake off . The newspaper wrapped around the windowpanes begins to rip . THE MIRRORS ARE RESISTING AND ATTEMPTING TO SET THEMSELVES FREE .</scene_description> </scene> <scene> <stage_direction>INT. DAY - MIDWICH MONASTERY VESTIBULE</stage_direction> <scene_description>Ben is losing his calm . Time is running out . The nun reappears behind the wooden screen -</scene_description> <character>SISTER</character> <dialogue>Sister Anna has agreed to talk to you, you may proceed to the parlor next door.</dialogue> <scene_description>Ben crosses the hall and opens the door that the nun gestures him to . He enters the parlor alone . In the spare room , a chair stands by a wooden screen , fencing him off , once again . Behind the screen , a silhouette awaits him .</scene_description> <character>SISTER ANNA</character> <dialogue>St. John's closed down in 1952. Who are you?</dialogue> <scene_description>Ben sits down . Even at a short distance he can not discern the face of Anna Esseker , who is now Sister Anna .</scene_description> <character>BEN</character> <dialogue>My name is Benjamin Carson. I work as a night watchman at 1229 West 38th Street in New York City, what used to be St. John's Hospital.</dialogue> <character>SISTER ANNA</character> <dialogue>What is it you want Mr. Carson?</dialogue> <character>BEN</character> <dialogue>I need your help.</dialogue> <character>SISTER ANNA</character> <dialogue>My help? I do n't quite see how I could possibly be of any help.</dialogue> <character>BEN</character> <dialogue>My wife and children are in danger. What is threatening my family is asking for you.</dialogue> <scene_description>For a split second , Ben makes eye contact with Anna behind the screen . She has understood .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you do n't help me I may lose the only thing that matters to me.</dialogue> <character>SISTER ANNA</character> <dialogue>I can not leave the precincts. It's impossible.</dialogue> <character>BEN</character> <dialogue>Tell me why are the mirrors from the old hospital so determined to find you?</dialogue> <scene_description>Sister Anna remains silent -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I must know, Sister.</dialogue> <character>SISTER ANNA</character> <dialogue>It is not the wish of the mirrors to find me, but of what is imprisoned inside them. The mirrors are merely windows on our world.</dialogue> <character>BEN</character> <dialogue>A window. For what? For whom?</dialogue> <character>ANNA</character> <dialogue>At the time that I was at St. John's, Dr. Kane's therapy for personality disorders consisted of locking the patient up in a mirrored room for several days on end, in order to force him to confront his own image. I spent the darkest days of my life in that room. On the 6th day the nurses found me lifeless, almost dead. Since that day, I have never had another fit. But deep down inside I've always known the truth.</dialogue> <character>BEN</character> <dialogue>What truth?</dialogue> <character>ANNA</character> <dialogue>There is no cure for schizophrenia, it was something else, Mr. Carson. And whatever it was, it entered the mirror.</dialogue> <scene_description>We can feel the emotion in her voice .</scene_description> <character>ANNA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I thought that after fifty years, this would have all gone away. They would have disappeared from the mirrors. I did n't know. I'm sorry but if I agree to go with you and return to that place, I will make it possible for them to cross the threshold back into the real world.</dialogue> <scene_description>Everything is now making sense for Ben -</scene_description> <character>BEN</character> <dialogue>It entered with you and they need you to get out.</dialogue> <character>ANNA</character> <dialogue>The consequences of such an act, Mr. Carson, would be more devastating than letting them suffer where they are now. I'm going to pray for you and your family. That's all I can do right now, Mr. Carson. God bless you.</dialogue> <scene_description>She stands to leave .</scene_description> <character>BEN</character> <dialogue>Wait. Please, listen to me - Terence Berry, Gary Lewis and many others before me. Those are the people who died trying to find you. Because they failed, their families died too. My sister was murdered two days ago. My wife and kids will next if you do n't come with me. Look -</dialogue> <scene_description>From his wallet Ben takes out a wrinkled photograph of Michael , as a baby , in Amy 's arms . Daisy stands next to them in the picture . Ben presses the photograph against the grating for Anna to look at it .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My wife and two children. They're all I've got. They're innocent. Please.</dialogue> <scene_description>Anna stays quiet a moment behind the screen and leaves .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I KNOW YOU ARE SCARED OF GOING BACK THERE. IT'S EASIER TO KEEP HIDING BUT THIS IS NOT THE HOUSE OF GOD ANYMORE. WHILE YOU'RE PRAYING PEOPLE ARE DYING ON YOUR TIME!</dialogue> <scene_description>Anna does n't respond and disappears in the distance . Ben failed . He 's desperate and lost . He has a hard time containing his anger .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MONASTERY</stage_direction> <scene_description>On the horizon , a red sun sets behind the treetops . It 's almost nightfall . The bells from the monastery begin to toll . The cross above the monastery reflects upside down in a puddle of rain water . Frustrated , Ben walks back to his car and dials his home number on his cell phone -</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT -NEW JERSEY HOUSE</stage_direction> <scene_description>In the distance , the lights of Manhattan sparkle in the night . In the house , all the lights are off . All is quiet , too quiet .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - HALLWAY</stage_direction> <scene_description>In the hallway , the shiny doorknob leading to Amy 's bedroom is the only reflecting surface that has been forgotten . In the distorted reflection , we see Michael 's silhouette approaching . The little boy reaches for the knob but - IN REALITY , NO HAND TOUCHES IT - IT 'S MICHAEL 'S REFLECTION INSIDE THE SHINY KNOB THAT IS OPENING THE DOOR ! Inside the bedroom , Amy fell asleep with Daisy in her arms . On the bedside table , THE HOME PHONE STARTS RINGING - She wakes up with a jolt and picks up the cordless receiver -</scene_description> <character>AMY</character> <dialogue>Hello? Ben. Where are you? Did you find her? Did you talk to.</dialogue> <scene_description>She stops speaking as she realizes - Daisy is asleep next to her but MICHAEL IS NO LONGER THERE .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael? MICHAEL!?</dialogue> <parenthetical>( on the phone . )</parenthetical> <dialogue>Ben hold on, Michael is gone.</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What?</dialogue> <character>AMY</character> <parenthetical>( to Ben on the phone . )</parenthetical> <dialogue>I do n't know, I fell asleep with the kids on the bed and.</dialogue> <scene_description>She sees that THE BEDROOM DOOR IS HALF OPENED .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael?</dialogue> <scene_description>The sound of pouring water is heard , coming from the hallway . Michael must be in the bathroom .</scene_description> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Amy, what's going on? Are you alright?</dialogue> <scene_description>Amy runs to the door , waking Daisy up .</scene_description> <character>DAISY</character> <dialogue>What is it Mom?</dialogue> <character>AMY</character> <parenthetical>( to her daughter . )</parenthetical> <dialogue>You stay right here sweetheart, I'm going to look for your brother. Stay right here.</dialogue> <parenthetical>( to Ben on the phone . )</parenthetical> <dialogue>Ben, I have to call you back, I have to find Michael.</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No Amy, stay with me.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - CORRIDOR/BATHROOM - CONTINUITY</stage_direction> <scene_description>Amy comes out of the bedroom and notices that the floor is completely soaked . She turns on the light in the hallway , only to discover - The entire upper floor is covered by an inch of water - all the taps in the bathroom are turned on and have transformed the surface of the floor into A LARGE NATURAL MIRROR .</scene_description> <character>AMY</character> <parenthetical>( to Ben on the phone . )</parenthetical> <dialogue>Fuck! There is water everywhere. Michael? Michael? MICHAEL?!</dialogue> <scene_description>Amy freezes when she realizes that all the picture frames and all the mirrors in the corridor have been scraped , bringing the reflecting surfaces , once again , to the light .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( scared . )</parenthetical> <dialogue>Ben, someone scraped all the mirrors. There is someone in the house.</dialogue> <character>BEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Where is Michael?</dialogue> <character>AMY</character> <parenthetical>( panicked . )</parenthetical> <dialogue>I do n't know where he is. I do n't see him. I.</dialogue> <scene_description>As she turns in the hallway , Amy sees A DARK SHADOW MOVING IN ONE OF THE MIRRORS . Terrified , she steps back and hits the opposite wall . She drops the phone on the flooded floor -</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MONASTERY</stage_direction> <scene_description>At the same moment , Ben , still outside of the monastery , is cut off in his conversation with his wife -</scene_description> <character>BEN</character> <dialogue>Amy? Amy? Answer me?</dialogue> <scene_description>He tried to redial but that does n't work . He knows something weird is happening there . Without hesitation , Ben grabs his gun inside the car and walks back towards the monastery gates . - BACK IN THE HOUSE - Unsure of what she saw , Amy makes a step towards the mirror but only finds her own reflection . She picks up the phone - The water shorted it out .</scene_description> <character>AMY</character> <dialogue>Damn it.</dialogue> <scene_description>Cautiously , Amy walks up to the bathroom .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael?</dialogue> <scene_description>She opens the door - the sink and bathtub are filled with water overflowing onto the tiled floor . Michael is not there .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MONASTERY CELL</stage_direction> <scene_description>A hand enters frame to light some candles . Sister Anna is back in her cell . The way her hand shakes as she carries the match from one candle to the other betrays how upset she is by the confrontation with Ben - It 's been too much time that she 's carrying the guilt . She runs the rosary nervously between her fingers and kneels down in front of her bed to pray when - A loud muted sound followed by a sudden wave of agitation is heard outside the cell . Someone has broken into the monastery . She recognizes Ben 's voice - Like a mad man , he 's looking for her everywhere and threatens the other nuns to show him the way . Anna stands up when Ben bursts into her cell with his gun in his hand . Behind him , the other nuns are terrified . Ben points the gun at Anna -</scene_description> <character>BEN</character> <dialogue>My kids are not going to die tonight. You're coming with me, now.</dialogue> <scene_description>Not intimidated by the weapon , Anna steps towards Ben . FOR THE FIRST TIME , BEN CAN SEE HER FACE - The old lady seems more determined than ever -</scene_description> <character>ANNA</character> <dialogue>If I come with you Mr. Carson, you have to promise to do everything I tell you. My way. No questions.</dialogue> <scene_description>Ben lowers his gun -</scene_description> <character>BEN</character> <dialogue>You have my word.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT- BEDROOM- MEANWHILE</stage_direction> <scene_description>Daisy waits patiently in the bed following her mother 's instructions . Suddenly she hears her mother calling her from the children 's bedroom -</scene_description> <character>AMY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Daisy. Daisy. Come here.</dialogue> <scene_description>Daisy steps into the corridor and stops , for a moment , when she notices the flooding . She enters her bedroom , following the voice that calls out for her -</scene_description> <character>AMY</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>Daisy. Daisy.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - CHILDREN'S BEDROOM - CONTINUITY</stage_direction> <scene_description>Daisy explores the bedroom . The voice is still calling , but her mother is not there . The door shuts behind her . She walks up to the mirror on the wall . The paint has been partially scraped off - THE LITTLE GIRL DISCOVERS HER MOTHER 'S REFLECTION ON THE OTHER SIDE OF THE MIRROR -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BATHROOM - MEANWHILE</stage_direction> <scene_description>BUT IN REALITY , AMY IS STILL IN THE BATHROOM ! She turns off the tap and sinks her hand into the depths of the bathtub to pull the plug , when she sees Michael 's reflection on the surface -</scene_description> <character>AMY</character> <dialogue>Micha.</dialogue> <scene_description>She turns around , but Michael is not behind her . The reflection lied . SUDDENLY HER ARM IS PULLED INTO THE BATHTUB . AN INVISIBLE FORCE PLUNGES HER HEAD INTO THE WATER TO DROWN HER . AMY STRUGGLES FRENETICALLY BUT THE PRESSURE IS TOO STRONG FOR HER TO BREAK FREE . - BACK IN THE CHILDREN 'S BEDROOM - Daisy walks up to her mother 's reflection in the mirror .</scene_description> <character>AMY'S REFLECTION</character> <dialogue>Come sweetheart. Come, come closer. Come.</dialogue> <scene_description>Daisy is mistrustful . She senses that something is not right . In the mirror , her mother 's attitude is different and strange .</scene_description> <character>DAISY</character> <dialogue>What are you doing in there, Mom?</dialogue> <character>AMY'S REFLECTION</character> <dialogue>Come closer, do n't worry. Everything is all right, sweetheart.</dialogue> <scene_description>Daisy obeys when , suddenly , she notices that her mother holds a pair of scissors in her hand . Daisy has no time to react - THE REFLECTION OF THE MOTHER GRABS THE REFLECTION OF THE LITTLE GIRL , HOLDING HER FIRMLY IN HER ARMS - BY SOME INVISIBLE FORCE , IN REALITY , DAISY IS SUSPENDED IN THE AIR IN FRONT OF THE MIRROR . - BACK IN THE BATHROOM - With her head still submerged in the bathtub , Amy is drowning . She tries to fight back . Unsuccessfully . Her head stays under the water . With the tips of her fingers , Amy feels her way to the plug . She pulls it out . Slowly , the water level begins to go down . Too slowly . Amy struggles to pull her head out of the water to breath again . The water continues to recede . Amy has reached exhaustion , her hands clutch onto the edge of the bathtub . She is suffocating . At the last minute , she turns her head to gasp for air . The remaining water swirls down the drain . The bathtub is now empty and the invisible force seems to have vanished . Amy collapses to the ground , spitting and coughing . She comes to her senses , gets back to her feet and dashes out of the bathroom .</scene_description> <character>AMY</character> <dialogue>Michael?! Michael?</dialogue> <scene_description>As she runs past the bedroom , she notices that the door is open -</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Daisy!?</dialogue> <scene_description>Daisy is no longer there .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Daisy!</dialogue> <scene_description>Panicked , Amy crosses the corridor and barges into the children 's room . Inside she discovers -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - CHILDREN'S ROOM</stage_direction> <scene_description>SUSPENDED IN THE AIR , A FEW INCHES OFF THE GROUND , DAISY STRUGGLES TO BREAK FREE . In the mirror , Amy sees her own reflection bringing the sharp blade of the scissors to her daughter 's throat . The blade glides over her skin . In reality , A TRICKLE OF BLOOD APPEARS ON DAISY 'S THROAT . Instinctively , Amy throws herself against Daisy , tearing her away from the grip of her own reflection . They land on the floor and crawl to the corner of the room , safe from the danger of the reflections . Amy tears off a piece of her clothing , which she presses against Daisy 's throat in order to stop the bleeding .</scene_description> <character>AMY</character> <dialogue>Oh my god, do n't move baby, do n't move.</dialogue> <scene_description>Amy is out of control , holding Daisy tightly in her arms . She is terror - stricken by the events in the house .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't move sweetheart.</dialogue> <scene_description>Fortunately , Daisy 's wound is not deep . The blade did not reach the main artery . Amy saved her life at the very last minute . Daisy is half conscious from the loss of blood . She struggles to speak -</scene_description> <character>DAISY</character> <dialogue>Why did you do this, Mom?</dialogue> <character>AMY</character> <parenthetical>( in tears . )</parenthetical> <dialogue>It was n't me Daisy, it was n't me. I would never hurt you, you know that.</dialogue> <character>DAISY</character> <dialogue>Whe. where is Michael?</dialogue> <character>AMY</character> <dialogue>I do n't know where he is. I'm going to take care of you and then we're going to find him. OK But for now, we have to get out of here.</dialogue> <character>DAISY</character> <dialogue>Is Daddy coming back soon?</dialogue> <character>AMY</character> <dialogue>Yes, he'll be here soon as he can.</dialogue> <scene_description>A bit further away , in the scraped section of the mirror , we can see Amy 's reflection , on its knees above Daisy who lies on the floor - IN THIS EVIL VERSION OF THE REALITY , Amy 's double has killed her own daughter . Using the scissors , she 's `` working '' on the dead body . What exactly is she doing to the little girl ? She turns toward us , revealing HER FACE AND HANDS COVERED WITH FRESH BLOOD ! AMY 'S REFLECTION COMES CLOSER TO PEEK THROUGH THE MIRROR , WITH HER HANDS PRESSED AGAINST THE GLASS , AS IF IT WERE JUST A WINDOW . IN SEARCH OF THE REAL AMY AND DAISY , the forces of the mirrors are determined to get them . Away from the field of vision of the mirror , Amy crawls on the floor towards the door -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BEDROOM</stage_direction> <scene_description>Amy comes back to the bedroom , carrying Daisy in her arms . As she passes the bureau , she grabs the first - aid - kit from one of the drawers . She sets her daughter down in the walk - in closet , away from the mirrors . The little girl has trouble moving . Amy examines the cut on Daisy 's throat . Quickly , with a professional touch , she disinfects and bandages the wound .</scene_description> <character>AMY</character> <dialogue>Listen to me carefully Daisy. I want you to stay in here and be quiet.</dialogue> <scene_description>Daisy is terrified and with her remaining strength , she holds on to her mother tightly .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You have to be brave, sweetheart. I want you to stay in here and not get out until I come back, no matter what happens. I'm going to find Michael. Do you hear me?</dialogue> <scene_description>Not quite convinced , Daisy accepts reluctantly .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I am so proud of you.</dialogue> <scene_description>Amy shuts the door of the closet . Through the wooden slats she can see her daughter inside -</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't move.</dialogue> <scene_description>Amy exits the room .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - CORRIDOR/STAIRCASE</stage_direction> <scene_description>Even though she turned off the taps upstairs Amy can still hear the water pouring downstairs . On guard , Amy walks down the stairs , step by step . She is frightened and her heart is pounding .</scene_description> <character>AMY</character> <dialogue>Michael? Michael?</dialogue> <scene_description>At the bottom of the stairs , Amy catches sight of Michael at the other end of the living room . The first floor is completely flooded . ALL THE SPACE IS COVERED BY A THIN LAYER OF WATER THAT 'S MIRRORING EVERYTHING IN HOUSE . The little boy has climbed up onto a stool and is scraping the paint off the mirror with a sharp knife . It was Michael who had scraped all the mirrors in the house in order to set the force of the mirrors free .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael!</dialogue> <scene_description>He does n't answer . He does n't seem to hear her . Amy comes down the last step .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael? What are you doing?</dialogue> <scene_description>The little boy turns around towards his mother with a big smile - IN THE MIRROR , HIS REFLECTION REMAINS FACING THEM .</scene_description> <character>MICHAEL</character> <dialogue>They want to come play with us, Mommy.</dialogue> <scene_description>Amy moves slowly towards her son .</scene_description> <character>AMY</character> <dialogue>Michael, I want you to drop that knife, do you hear me? You know very well you are not allowed to play with that, do n't you?</dialogue> <scene_description>Michael looks at her in confusion and steps down from the stool .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's a good boy, now give me the knife.</dialogue> <scene_description>Instead of obeying , Michael runs off and disappears into another room on the first floor .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>MICHAEL!</dialogue> <scene_description>Amy rushes after him .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - BEDROOM</stage_direction> <scene_description>Amy 's cell phone , laying on the night table , begins to ring . On the display we can see the call is from Ben . Through the wooden slats of the closet door , Daisy catches sight of the phone . She thinks about leaving the closet to answer , but remembers her mother 's strict instructions about staying in the hiding place . The phone continues to ring , but no one answer it .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - FIRST FLOOR</stage_direction> <scene_description>Amy hears the phone ringing upstairs , but she can not answer it now - She must find Michael first .</scene_description> </scene> <scene> <stage_direction>EXT/INT. NIGHT - BEN'S CAR - MANHATTAN</stage_direction> <scene_description>Ben 's car drives down a Manhattan street . Behind the wheel , Ben is on the phone and gets Amy 's voicemail . He dials again -</scene_description> <character>BEN</character> <dialogue>Answer! God damn it. Answer the phone.</dialogue> <scene_description>Once again he gets the voicemail .</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck.</dialogue> <scene_description>Ben is losing his calm .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - MAYFLOWER DEPARTMENT STORE</stage_direction> <scene_description>Ben 's car pulls up in front of the department store . Through the windshield , Anna catches sight of the devastated building . Ben hangs up the phone -</scene_description> <character>BEN</character> <dialogue>Something's wrong over there, my wife is not answering.</dialogue> <scene_description>Ben is torn - He knows that going back to Amy is n't going to help -</scene_description> <character>BEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We have to get inside the Mayflower now.</dialogue> <scene_description>Anna steps out . She can not conceal the sudden shiver that runs through her when she stands in front of the former hospital -</scene_description> <character>ANNA</character> <dialogue>From now on, I'm going to close my eyes. Take me to the basement, to the mirror room. It has to stop where it began.</dialogue> <scene_description>Ben grabs her forcefully -</scene_description> <character>BEN</character> <dialogue>Come on, let's go.</dialogue> <character>ANNA</character> <dialogue>Mr. Carson, no matter what happens in there, I want you to do as I say and make sure I never get out of this place.</dialogue> <scene_description>Ben pulls out his keys and unlocks the front door . Anna closes her eyes and follows him inside .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - ENTRANCE HALL- MAYFLOWER DEPARTMENT STORE</stage_direction> <scene_description>Anna has barely crossed the threshold when the hall mirrors start trembling - They can feel her presence . She tightens her grip around Ben 's hand . She is anxious , and even with her eyes shut , she can sense the threatening vibes sent off by the mirrors . Ben is focused , gazing straight ahead as they cross the ground floor in the direction of the basement door . Yet , from the corner of his eye , he can not help but glimpse the mirrors . What he discovers goes beyond his worst nightmares - A CROWD OF MEN AND WOMEN , FLAYED ALIVE , CRAWLING AND PRESSING THEMSELVES AGAINST THE GLASS PANES , INSIDE THE MIRRORS . THEY OBSERVE BEN AND ANNA WITH BLANK , LIFELESS GAZES . SOME ARE BANGING THEIR FISTS , THEIR HANDS , AND EVEN THEIR HEADS AGAINST THE GLASS , IN AN ATTEMPT TO BREAK FREE FROM THE MIRROR . SUDDENLY BEHIND HIM , ONE OF THESE VISIONS BASHES AGAINST THE MIRROR ! KEEPING ITS WIDE OPENED EYES ON THEM , THE VISION STARTS LICKING THE OTHER SIDE OF THE MIRROR LIKE AN ANIMAL .</scene_description> <character>ANNA</character> <dialogue>They are waiting for me.</dialogue> <scene_description>Ben turns towards Anna and realizes that in the mirror , there 's something else - Anna 's reflection is different - IT 'S NOT THE OLD NUN ANYMORE BUT THE 12 YEARS OLD GIRL , EXACTLY AS ANNA WAS IN THE TIME OF ST. JOHNS HOSPITAL !</scene_description> </scene> <scene> <stage_direction>INT. NIGHT -NEW JERSEY HOUSE</stage_direction> <scene_description>We are back in the house . Amy is still searching for Michael . She goes into the kitchen to turn off the tap . Above the sink , the newspaper on the windows had been ripped as well and the hot steam is now covering the glass . A HAND PRINT APPEARS ON ONE OF THE WINDOW PANES AND SLIDES DOWN AGAINST THE GLASS . The forces are everywhere . Amy steps back and runs out of the kitchen . THE THIN LAYER OF WATER ON THE FLOOR HAS TRANSFORMED THE ENTIRE HOUSE INTO A MIRROR EXTENDING THROUGH EACH ROOM . AN INESCAPABLE MIRROR . The sound of rapid , splashing footsteps catches her attention . Amy turns around and leaves the kitchen -</scene_description> <character>AMY</character> <dialogue>Michael?</dialogue> <scene_description>Michael 's reflection sweeps over the water surface . Amy runs after him but stops short when she catches sight of him . Michael is hiding under the living room couch . She comes closer and bends over - THERE IS NO ONE UNDER THE COUCH ! Yet , in the reflection of the wet floor , Michael is there . He smiles at her , playfully . IN A QUICK MOVEMENT , THE LITTLE BOY 'S REFLECTION BRANDISHES THE KNIFE IN EXCITEMENT AND TEARS IT THROUGH HIS MOTHER 'S FACE - AMY LETS OUT A CRY OF PAIN AS SHE BRINGS HER HAND TO HER CHEEK - THE INVISIBLE BLADE HAS SLASHED HER FACE . The blood gushes between her fingers . Michael 's reflection has disappeared . She turns around just in time to catch sight of the little boy 's reflection escaping . His invisible footsteps splash in the water as he moves further away . She hears Michael run up the stairs to the first floor .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - STEP-IN CLOSET</stage_direction> <scene_description>Protected from the mirrors , in her hiding place in the closet , Daisy inspects the room through the wooden slats . Suddenly , the bedroom door squeaks open . Daisy curls up in the corner of the closet , overtaken with fear - It 's only the cat who enters the room with a meow .</scene_description> <character>DAISY</character> <dialogue>Tiger! Come here kitty, come here.</dialogue> <scene_description>She opens the door a tiny crack to let him in . The little girl takes the pet in her arms , reassuringly .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT -MAYFLOWER BASEMENT</stage_direction> <scene_description>In the dark , the surface of the water lies perfectly still . We are no longer in the New Jersey house , but in the subterranean passageways corridors of the department store . Ben and Anna 's silhouettes appear , walking down the stairs . Ben turns on his flashlight . The lights along the corridor are too weak .</scene_description> <character>BEN</character> <dialogue>Watch your step, a water pipe has burst, the whole basement is flooded.</dialogue> <scene_description>Ben guides Anna , with her eyes still shut , through the tunnels . The beam of the flashlight sweeps across the walls , and the piping . They pass the junction of the two tunnels and arrive at the demolished wall .</scene_description> <character>ANNA</character> <dialogue>You stay outside.</dialogue> <scene_description>Anna steps over the rubble as she feels her way into the mirror room . IN ALL THE MIRRORS IT 'S NOT ANNA THE NUN , BUT ANNA THE LITTLE GIRL THAT WE CAN SEE - When she places her hand against one of the mirrors , cracks appear instantly . The pressure on the other side is growing stronger and stronger . Anna positions herself in the center of the room , from where her reflection is multiplied to infinity from all the possible angles . She kneels down with her eyes closed .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT -NEW JERSEY HOUSE</stage_direction> <scene_description>Compared to the gloom of the basement in the department store , the second floor of the house seems to be bathed in light . Michael is sitting quietly in front of his room . As Narcissus did , he is observing his reflection , mirrored in the surface of the water that covers the wooden floor .</scene_description> <character>AMY</character> <dialogue>Michael?</dialogue> <scene_description>Hypnotized by his mirror image , the little boy does not hear his mother 's call . Amy appears at the top of the stairs and catches sight of him .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael. Michael, look at me. I'm right here.</dialogue> <scene_description>Michael does n't answer . Gently , he caresses his reflection in the surface of the water . Amy comes up to him slowly , determined to pull him away from his reflection . She lays her hand on his shoulder . This time Michael reacts and turns towards her . Before he can utter a single word - THE REFLECTION OF THE HAND BECOMES REAL , GRABBING THE CHILD 'S WRISTS . MICHAEL 'S REFLECTION PULLS HIM THROUGH ITS SURFACE . MICHAEL DISAPPEARS INTO THE FLOOR . Amy throws herself to the ground in an attempt to catch him . Too late , the little boy has been submerged in the thin layer of water covering the floor . MICHAEL HAS BEEN PULLED INTO THE OTHER SIDE OF THE MIRROR ! Amy sees her son struggling under the water , as if he were caught under a coat of ice .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael, Michael. No, no.</dialogue> <scene_description>In desperation , Amy beats her fists against the floor with all her strength , trying to break through to the other side .</scene_description> <character>AMY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>MICHAEL! NOOOOO.</dialogue> <scene_description>Flying into a rage , she beats her fists again and again in an attempt to break the surface and save Michael from drowning . She sees Michael 's body sinking into the depths .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MIRROR ROOM</stage_direction> <scene_description>Back to the subterranean world of the department store . Ben is waiting in the corridor with his gun in hand . In the mirror room , Anna recites a prayer for strength . IN THE REFLECTION , YOUNG ANNA IS DOING THE SAME . The mirrors around her shake more and more violently - Anna remains with her eyes still shut . Ben sees cracks forming on the walls and the surface of the water at his feet trembling .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MAYFLOWER</stage_direction> <scene_description>SOMETHING IS HAPPENING IN THE REST OF THE STORE AS WELL - ON EACH FLOOR , IN EVERY DEPARTMENT , ALL THE MIRRORS BEGIN TO VIBRATE UNCONTROLLABLY , TO TWIST OUT OF SHAPE , TO SWELL , TO SHRIVEL AND FINALLY - BACK IN THE MIRROR ROOM ANNA OPENS HER EYES - ALL THE MIRRORS EXPLODE ! FROM ONE AREA TO THE NEXT IN THE DEPARTMENT STORE , THE EXPLOSIONS ARE SPECTACULAR AND APOCALYPTIC . Anna 's eyes freeze - her pupils constrict - thousands of shards of glass are sent flying into the air , piercing through her body like a dozen sharpened daggers . The blow of the explosion causes the walls to tremble . Instinctively , Ben takes shelter behind the wall .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - NEW JERSEY HOUSE</stage_direction> <scene_description>MICHAEL 'S BODY REEMERGES TO THE SURFACE ! Amy clings to him and pulls him out of the water . The little boy is unconscious . She begins to shake him and to perform mouth - to - mouth resuscitation as she applies rhythmical pressure to his chest . Amy tries not to lose her head , determined to bring her little boy back to life . Her eyes fill with tears , blurring her vision . She must n't lose faith . She must n't give up . Cardiac massage , mouth - to - mouth resuscitation , cardiac massage . MICHAEL REMAINS UNCONSCIOUS .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - MIRROR ROOM / SUBTERRANEAN PASSAGEWAYS</stage_direction> <scene_description>IN THE BASEMENT , THE CALM HAS BEEN RESTORED . Ben is still crouching behind the sheltering wall of the mirror room . In the silence , he waits . He must establish beyond a doubt that it 's all over . He aims his flashlight at the surface of the water - Everything seems to be back to normal . His reflection is deformed by the slight stir of the water , slowly becoming placid . Ben steps over the rubble to enter the mirror room - All the mirrors have been pulverized leaving behind only the metal cage that was holding them in place . The floor is covered with thousands of pieces of mirror floating in the water , shimmering in the shadows . The beam of the flashlight sweeps the room in search of Anna , or her dead body - Nothing . Ben inspects all the dark corners behind the metal structure - The woman has vanished . He aims his flashlight at the ceiling . The beam of light instantly reveals a dark shape hanging above him - It 's her , or at least what is left of her - A POSSESSED , METAMORPHOSED , HUMAN FRAME . SHE IS BARELY RECOGNIZABLE . WITH HER EYES ROLLED UPWARD , HER SLASHED FACE AND HER BODY PIERCED BY THE SHARDS OF GLASS , SHE LOOKS LIKE A DEMON , DEPRIVED OF ANY HUMAN TRAITS . THE REAL ANNA DISAPPEARED FROM THE MOMENT SHE OPENED HER EYES AND RELEASED THE FORCES OF THE MIRROR . Ben has no time to react before `` Anna '' charges at him . He drops his flashlight to the ground , trying to resist her as much as he can . HER WAY OF MOVING IS NO LONGER HUMAN . MORE LIKE A STROBOSCOPIC CONVULSION , HER MOVEMENTS ARE SOMETHING BETWEEN AN ENRAGED BEAST AND THE WORST EPILEPTIC FIT . Ben manages to pin the creature against the wall . `` Anna '' spits blood in his face . He applies all his strength to immobilize her - the shards of glass dig deeper into the elderly woman 's flesh , which only seems to provide her an intense pleasure . `` Anna '' froths at the mouth . Her speech has become a deep , animalistic , incomprehensible gurgle . In an effortless movement , `` Anna '' pushes him away . Her demonic strength is ten times his . Ben is merely a puppet , a rag doll that she sends flying into the air , only to crash violently against the brick walls . Blood squirts onto the surface of the water . Ben smashes into the wall separating the mirror room from the underground passageways . On the other side , he lands on the ground , in the dark . He strives to regain consciousness . Ben takes advantage of the brief respite to pull out his gun but - `` Anna '' appears from the dark and , in a flash , she strikes a backhanded blow that sends the gun off into the air . She lifts Ben up and throws him across the room . He rams into the wall . With the absence of light in the basement , Ben is defenseless . He can not see his assailant . Ben is caught by the leg and dragged backwards . His hand struggles to catch on to anything that could hold him back . Suddenly , under the water , his hand lands on the gun . He grabs it , turns onto his back , and fires point - blank at `` Anna '' . The bullets go flying through her body , but they do n't stop her . Ben is being dragged . He manages to grab hold of one pipe after the other , trying to hold on , but the pipe gives way and breaks off from the wall , LETTING OUT A POWERFUL JET OF GAS . Once again , Ben is sent flying down the tunnel . He struggles to get back on his feet - Apart from the sound of the flowing gas , a disturbing silence surrounds the subterranean passageways . Ben makes out `` Anna 's '' silhouette , hiding behind the leaking gas pipe . With his bloodied face , Ben is no longer the same man anymore - Something in his eyes has shifted . Rage and violence have replaced the terror and dread . He is determined to put an end to the creature , no matter what happens . He slides the weapon in his belt and steps , with his bare hands , towards what once was `` Anna '' . Crouched over in the water , the demon looks up , ready to charge . Ben takes another step forward with the same determination . The creature thrusts itself against him - THE CLASH IS EXTREMELY VIOLENT . Ben uses all his strength to keep his assailant 's jaw at a distance . In a swift movement , Ben turns around AND IMPALES `` ANNA '' ON THE BROKEN GAS PIPE ! IN A GUSH OF BLOOD THE SHARP METAL TIP PIERCES THROUGH HER STOMACH BUT - Despite being momentarily immobilised , the demon seems unaffected by the near total destruction of its outer shell . On the contrary , it struggles more violently to escape from the trap . Ben moves away , keeping an eye on `` Anna '' . He takes his gun and aims it at her . Ben is exhausted . With his arm outstretched , he is ready to shoot , waiting for the right moment . The silhouette suddenly emerges from the dark . Ben stands by - The demon goes through the cloud of gas - Ben fires - THE EXPLOSION IS INSTANTANEOUS . `` ANNA '' IS ENGULFED IN FLAMES . THE FIRE SPREADS THROUGH THE TUNNELS . Ben throws himself to the ground to avoid the flames . SUDDENLY , IN A DOMINO EFFECT , ONE EXPLOSION FOLLOWS THE OTHER . A BLAST OCCURS A BIT FURTHER DOWN THE TUNNEL , AND ANOTHER INSIDE THE WALLS . THE SUBTERRANEAN PASSAGEWAYS ARE ABOUT TO COLLAPSE - Cracks appear everywhere . The brick walls begin to fall apart . A part of the ceiling at the far end of the corridor caves in . Ben gets back on his feet and dashes for the stairs . Totally burnt , flesh charred , `` Anna '' is enraged by her prey 's resistance . The blazing demon runs after Ben . Behind them , one after the other , sections of the walls collapse . Ben runs as fast as he can . `` Anna '' is coming closer to him , when suddenly - JUST BEHIND BEN , A SECTION OF THE GROUND FLOOR CAVES IN , BURYING HER UNDER A MASS OF RUBBLE . Ben narrowly escaped the collapse . He reaches the staircase and catches sight of the exit above when suddenly - THE ENTIRE FOUNDATION OF THE BUILDING COLLAPSES OVER HIM . Ben finds himself crushed along the floor and penetrates the mirroring water surface DISAPPEARING ON THE OTHER SIDE OF THE MIRROR .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT - JERSEY HOUSE</stage_direction> <scene_description>All of her efforts are in vain . Amy is unable to bring back her son . Nonetheless , she continues with the same determination , refusing to accept reality . She finally breaks down , pleading with the sky above . THE OTHER SIDE OF THE MIRROR Lost and floating in this strange and unfamiliar place , Ben turns and sees Michael 's body/soul which is also trapped in this parallel dimension , on the other side of the mirror . In the distance , he can see the surface leading to the hallway of the New Jersey house . Above it , Amy tries to resuscitate Michael . Ben grabs his son and holds him tightly in his arms for a moment , then pushes him towards the surface - THE CHILD OPENS HIS EYES ! -</scene_description> </scene> <scene> <stage_direction>INT. NIGHT -NEW JERSEY HOUSE</stage_direction> <scene_description>MICHAEL COMES AROUND , COUGHING OUT THE WATER FROM HIS LUNGS . Amy bursts into tears , sobbing with joy . She holds him tightly in her arms , with all her strength , with all her love . Holding Michael in her arms , Amy comes back for Daisy in the bedroom . She opens the closet door and finds her little girl inside . The child throws herself into her mother 's arms -</scene_description> <character>DAISY</character> <dialogue>It is over, Mom?</dialogue> <scene_description>Amy throws a glance at her reflection in the mirror . Everything seems back to normal .</scene_description> <character>AMY</character> <dialogue>Yes sweetheart, it's over.</dialogue> <scene_description>Amy holds her two children tightly , savoring this moment of joy and relief . Through the window , we see the first light of dawn appearing on the horizon .</scene_description> </scene> <scene> <stage_direction>INT. DAWN - MAYFLOWER</stage_direction> <scene_description>The sunbeams slice through the windowpanes of the glass dome above the entrance hall of the department store . The pigeons fly in and out . The burnt mannequins are still standing in the middle of the ruins . ON THE WALLS , ALL THAT REMAINS FROM THE MIRRORS IS THEIR 1920 's GOLD FRAMES . The floor has completely subsided . It looks like there was just an earthquake under the building . In the middle of the pile of debris , something in the rubble begins to move - A HAND APPEARS . SOMEBODY SURFACES - It 's Ben . He gasps for air . Wounded and covered in dust , it is a miracle that he has survived . He struggles back to his feet and climbs over the blocks of concrete to regain the ground floor . Limping , he crosses the entrance hall . His discovery of the absence of mirrors on the walls brings a smile to his face - He has finally triumphed over the mirrors that he once believed to be indestructible .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MAYFLOWER</stage_direction> <scene_description>Ben steps out of the department store , walks out of the closed off area , and reaches the street . Police cars , fire trucks , and ambulances with spinning lights have surrounded the fencing . Ben approaches the scene . He needs medical attention . He catches sight of Lorenzo , talking to some policemen . Ben stops dead in his tracks - THE NAME LORENZO , EMBROIDERED ON THE UNIFORM , IS WRITTEN BACKWARDS . Ben glances at the police vehicles and their license plates - How is it possible ? EVERYTHING IS REVERSED . Ben steps back in panic . As he walks away from the scene we discover something else in the back of the ambulance - ANNA 'S CHARRED CADAVER , THAT HAS BEEN DUG OUT OF THE RUBBLE .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - TIME SQUARE</stage_direction> <scene_description>Ben walks up west 38th Street to Broadway and stops at the intersection of the streets , paralyzed with fear - The activity of Time Square seems normal for an early morning , cars driving by and the eternal hustle and bustle of the pedestrians , but ALL THE SIGNS , ALL THE BILLBOARDS ARE REVERSED . AND SO IS THE DIRECTION OF THE TRAFFIC FLOW . Ben turns around towards a glass building where a homeless person is sleeping - His eyes fill with horror - HE CAN SEE THE REFLECTION OF THE HOMELESS MAN BUT NOT HIS OWN . Ben presses his hand against the glass . The reflection of the world surrounding him is the right way around in the mirror but he remains invisible . He removes his hand from the mirror , leaving a clear and well - defined handprint on the reflective surface . Ben slowly comes to realize what is happening to him - IF HIS REFLECTION IS NOT THERE , IT MEANS THAT HE NO LONGER BELONGS TO THE WORLD OF THE LIVING . BEN DID NOT SURVIVE - HIS SOUL IS NOW A CAPTIVE ON THE OTHER SIDE OF THE MIRROR .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - MAYFLOWER</stage_direction> <scene_description>Back in the ambulance , a paramedic comes to close the back door . The vehicle starts and leaves the Mayflower .</scene_description> </scene> <scene> <stage_direction>EXT. DAY - NEW-YORK - CONTINUITY</stage_direction> <scene_description>The ambulance turns on the avenue .</scene_description> </scene> <scene> <stage_direction>INT. DAY - AMBULANCE - MOVING</stage_direction> <scene_description>In the back of the ambulance , as the vehicle drives away , we discover that another corpse is laid out next to Anna 's - IT 'S BEN 'S BODY , COVERED WITH DUST AND DRY BLOOD . Its fingers suddenly twitch . Was it the bumpy road ? The dead fingers twitch again and - IN THE SHADOW , BEN 'S CORPSE SLOWLY BEGINS TO STAND . It turns its head - BEN 'S EYES ARE ROLLED UPWARD , NO LONGER HUMAN . EVIL . BLACK</scene_description> </scene> </script>

A security guard runs through a subway station until he enters a room he cannot escape and starts begging his reflection in a mirror for his life. His reflection uses a shard to slice into its own throat; the wound reflects upon the real security guard's body, killing him. Ben Carson (Kiefer Sutherland), a suspended police detective, begins his first day as a night security guard at the Mayflower, a luxury department store that was gutted by a fire and shuttered five years prior. The building still contains numerous mirrors from the store. On Ben's first night of patrol, he finds a mirror that appears to be covered with handprints, but only on the reflected side of the glass. He sees an open door in the reflection while it is actually closed. Over time, Ben begins to see more intense visions, which he initially shrugs off as hallucinations. He soon finds the wallet of Gary Lewis, the previous night guard (from the beginning of the film) who supposedly killed himself. Inside is a note that says "Esseker". After noticing the absence of blood on the mirror shard in Gary’s crime photos, Ben is convinced that the mirrors make people do things to themselves that they are not actually doing. Meanwhile, Ben's sister, Angie (Amy Smart) is killed by her reflection as it grips its jaw and slowly pulls its mouth apart, causing her to bleed profusely. Ben is distraught when he finds her body. In anger, he attempts to destroy the mirrors at the Mayflower, but they are impervious to damage. He demands to know what the mirrors want, and cracks appear on one of the mirrors, spelling out the word "ESSEKER". Ben enters the flooded basement of the Mayflower and finds a small sign stating "Psychiatric Studies" and "St. Matthew's Hospital" underneath. He moves to the site of the leak and begins pulling at the tiles and brick of the wall and finds a room with a chair surrounded by mirrors beyond it, a Psychomanteum. Realizing that the Mayflower was built on the site of an earlier hospital, Ben asks his police friend Larry (Jason Flemyng) to help him locate the patient-employee manifest for the hospital. Larry finds the name Anna Esseker, a patient of the psychiatric hospital. She was twelve years old at the time and died in a mass suicide. Ben looks through Anna's file and finds an Authorization and Consent form that negated her Death Certificate, stating that she had been discharged from the hospital two days before the suicide and is led to believe that Anna is still alive. Meanwhile, Ben's wife Amy (Paula Patton) discovers her son Mikey's (Cameron Boyce) reflection acting differently from the real Mikey. In a panic, she calls Ben, who immediately returns home. Together they cover every reflective surface in the house with green paint. Ben locates Anna Esseker's childhood home, and discovers that as a child she was violent and uncontrollable, and diagnosed with severe schizophrenia. She was taken in by a doctor from St. Matthew’s Hospital, who believed that she was suffering from a rare personality disorder. His treatment was to confine Anna to a chair surrounded by mirrors, believing this would cure her disorder by forcing her to confront her own reflection. Ben is told by Anna's brother that when she returned, apparently cured, strange things started to happen with the mirrors in their home. As a result, her family sent her to a convent, Saint Augustine's Monastery, where mirrors are forbidden. Ben visits the convent and finds Anna (Mary Beth Peil), who explains that she was actually possessed by a demon, which was drawn from her and became trapped in the mirrors. She explains that it collects the souls of those it kills and if she were to return, it would make it possible for the demon to be brought back into the mortal world. She refuses to go back. Meanwhile, Amy discovers that Mikey is missing at home and a thin reflective layer of water is completely covering the floor. After putting her daughter in a safe closet, she finds Mikey using a chef knife to scrape the paint from the mirrors. Amy tries to stop him but he escapes, obviously possessed. Having threatened her at gunpoint, Ben returns with Anna to the Mayflower and straps her into the chair in the Psychomanteum. Back at Ben's house Mikey is suddenly pulled through the water on the floor by his reflection and begins to drown. At the Psychomanteum the lights begin to flicker and the building begins to shake as the demons in the mirrors are released. They repossess Anna and all the mirrors in the Mayflower explode. Simultaneously, Mikey is released from the demon's grip and Amy is able to pull him to safety. Ben is then attacked by the repossessed Anna. He manages to kill her by igniting a nearby gas line, setting off a huge explosion. The old building collapses, killing the demon, and trapping Ben under the ceiling as he rushes toward the exit. Ben pulls himself out of the rubble and stumbles out of the building. Policemen and firemen are everywhere in the street, and a body is seen being taken in a bag by paramedics, but nobody notices Ben. He looks at the older security guard's name tag and sees it is written backward, realizing everything is in reverse (like in a mirror). He comes upon a mirrored surface in the city and fails to see his own reflection as he reaches out to touch it. He realizes that he is now trapped in the mirror world: In the living world, his hand appears as a handprint on the glass surface.

Black Panther: Wakanda Forever_2022

tt9114286

<script> <scene> <character>SUMMER BREAK</character> <dialogue>Written by</dialogue> <scene_description>Ryan Coogler and Joe Robert Cole Based on, Characters Created by Stan Lee and Jack Kirby May 8, 2021 PROLOGUE:</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WDG - 2025 (ONE YEAR AFTER ENDGAME)</stage_direction> <scene_description>SHURI (20s) storms into her lab moving with frantic urgency. LIGHT PROJECTIONS of several DOUBLE HELIX DNA MODELS are arranged through the lab like pillars. WDG SCIENTISTS work nervously.</scene_description> <character>SHURI</character> <dialogue>His heart rate is dropping fast. Where are we?</dialogue> <character>WDG SCIENTIST</character> <dialogue>I'm finishing a sequence now.</dialogue> <character>SHURI</character> <dialogue>GRIOT give me the controls.</dialogue> <scene_description>Shuri takes control of the holograms as they appear. The Double Helix turns from GREEN to RED. The WDG Scientist deflates. Shuri's eyes dart desperately over the holographic model.</scene_description> <character>SHURI</character> <dialogue>GRIOT, what is the confidence rate?</dialogue> <scene_description>GRIOT, the lab's A.I. responds over speakers.</scene_description> <character>GRIOT (V.O.)</character> <dialogue>25%, Princess.</dialogue> <character>SHURI</character> <dialogue>Recreating the Heart-Shaped Herb is my last chance.</dialogue> <character>GRIOT</character> <dialogue>King T'Challa's heart rate has fallen to 25 bpm.</dialogue> <character>WDG SCIENTIST (V.O.)</character> <dialogue>Princess... you should go be by his side...</dialogue> <character>SHURI</character> <dialogue>EVERYONE OUT!</dialogue> <scene_description>The WDG SCIENTISTS jump at the sudden exclamation. They file out. Shuri adjusts an equation and the Helix Model turns red.</scene_description> <character>SHURI</character> <dialogue>Sho!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What's the confidence rate?</dialogue> <character>GRIOT (V.O.)</character> <dialogue>29.1%.</dialogue> <character>SHURI</character> <dialogue>Print it.</dialogue> <scene_description>Shuri runs over to a 3D printer, where lasers begin to build a mature HEART SHAPED HERB SEED.</scene_description> <character>GRIOT (V.O.)</character> <dialogue>The synthetic herb will have a less than 30% chance of effectiveness.</dialogue> <character>SHURI</character> <dialogue>I DON'T CARE!</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>Come on, come on, come on.</dialogue> <scene_description>Tears well in Shuri's eyes as the herb is printed. She pulls it out and turns for the door, but stops as she sees RAMONDA standing in the doorway... her face tear soaked.</scene_description> <character>SHURI</character> <dialogue>Griot, what is my brother's heart rate?</dialogue> <scene_description>Shuri waits for a response... nothing.</scene_description> <character>RAMONDA</character> <dialogue>The King...</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>Your brother is with the ancestors.</dialogue> <scene_description>Shuri stares back at her mother, heartbroken.</scene_description> </scene> <scene> <stage_direction>EXT. SACRED GROVE - WAKANDA - DAY</stage_direction> <scene_description>At T'Challa's funeral, SOPE THE SHAMAN and pours libations over the soil. Shuri stands next to RAMONDA who is now queen (again, THE TRIBAL ELDERS, M'BAKU, OKOYE and THE DORA look down at the BLACK CASKET.</scene_description> <character>SOPE (SUBTITLE)</character> <dialogue>We give thanks for the gift of King T'Challa, the Black Panther, son of King T'Chaka.</dialogue> <character>SOPE (SUBTITLE)</character> <dialogue>Grandson of King Azzuri, great grandson of Kabba, great great grandson of Yima, great great great grandson of Bazwale, great great great great grandson of Andile, descendent of the most revered King Bashenga, the first Black Panther.</dialogue> <character>A DISTANT DRUM AND SINGING IS HEARD.</character> <dialogue>Okoye nods at the other Dora, and they walk over to the casket and lift it.</dialogue> </scene> <scene> <stage_direction>A2 EXT. NORTH TRIANGLE - GOLDEN CITY - WAKANDA - DAY A2</stage_direction> <scene_description>It's a full SECOND LINE. A funeral procession of Ramonda, Shuri, Sope, the Tribal Elders, M'Baku, Okoye and the Dora lead a SEA OF DRUMMING, DANCING WAKANDAN PEOPLE toward Bashenga Triangle where TRADITIONAL DANCERS PERFORM. Okoye and the Dora lead the way holding T'Challa's casket. Behind them Shuri and Ramonda walk holding T'Challa's traditional shield and helmet, respectively. A SINGER, TALKING DRUMMERS, AND DJEMBE DRUMMERS lead the Tribal Elders behind them. BURUNDI DRUMMERS stand on the ceilings of North Triangle homes. They carry the casket into...</scene_description> </scene> <scene> <stage_direction>B2 EXT. BASHENGA TRIANGLE - NORTH TRIANGLE - WAKANDA - DAY B2</stage_direction> <scene_description>The Dora pass the casket through the entryway and set it down in front of BASHENGA'S HUT. ZAWAVARI, the new Shaman for Wakanda and former Mining Tribe Elder, waits for the procession to land. She ululates and performs a prayer in Xhosa as they approach.</scene_description> <character>ZAWAVARI (SUBTITLE)</character> <dialogue>Here in front of the home of King of Bashenga, may we honor King T'Challa. Who united the five tribes of Wakanda. And may Bast watch over him as he travels to his resting place.</dialogue> <scene_description>Shuri and Ramonda stay in front of the casket and the Dora fan out. IN THE SKY the ROYAL TALON FIGHTER flies past the palace towards Bashenga Triangle. It hovers 300ft above T'Challa's casket. Shuri sees this with everyone dancing around her and something changes in her face, she moves towards the casket and holds it one last time. She looks up as the casket continues to rise. The rest of the Wakandans watch as the casket tilts into a vertical position with the life-size panther seal giving a Wakanda Forever salute. The Wakandans all salute T'Challa, holding their arms to their chests for him, one last time. The casket enters the iris of the Royal Talon Fighter, and the aircraft rockets off towards the Hall Of Kings where he will be laid to rest. The Wakandans release the salute in unison, all except Shuri, who still holds her arms tight to her chest. Head down.</scene_description> <character>ROLL MARVEL LOGO</character> <dialogue>Under the logo we HEAR global reactions to T'Challa's death: "We are profoundly saddened by the shocking news of King T'Challa's death." "This is a day of mourning for all nations." "We lost another giant." "With his words and actions, King T'Challa touched the world. He will never be forgotten." "He was not only a noble man but an inspiring hero so we celebrate his image in all of us."</dialogue> </scene> <scene> <stage_direction>EXT. GENEVA, SWITZERLAND - SKYLINE - DAY - ONE YEAR LATER</stage_direction> <scene_description>We travel over Lake Geneva toward the United Nations as the ROYAL TALON FIGHTER (RTF) soars into frame.</scene_description> <character>CHAIRPERSON OF UN (O.S.)</character> <dialogue>I wish to warmly welcome the distinguished representatives and ministers gathered here today. Your presence is the affirmation of the importance of the United Nations' commitment to maintaining international peace and security…</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>A4 INT. HEARING ROOM - UNITED NATIONS - GENEVA - DAY A4</stage_direction> <scene_description>A packed room of FOREIGN DIGNITARIES. THE CHAIRPERSON OF THE UN speaks from his desk at the front of the room. UN USHERS observe.</scene_description> <character>CHAIRPERSON OF UN</character> <dialogue>It is an honor for me to invite her majesty Queen Ramonda, daughter of Lumumba, sovereign ruler of the Kingdom of Wakanda.</dialogue> <scene_description>The doors open as Queen Ramonda enters flanked by Kingsguard.</scene_description> <character>U.N. USHER</character> <dialogue>She didn't bring her normal security detail...</dialogue> </scene> <scene> <stage_direction>EXT. MALI OUTREACH CENTER - NIGHT</stage_direction> <scene_description>A futuristic building extends cantilevered out over a river. PARATROOPERS descend from the night sky.</scene_description> </scene> <scene> <stage_direction>A6 INT. MALI OUTREACH CENTER - NIGHT A6</stage_direction> <scene_description>Awash with light and bustling with MALI SCIENTISTS and TECHNICIANS working hand in hand with WDG SCIENTIST to efficiently extract WATER from underground aquifers. THE YOUNG TECHNICIAN overseeing the security footage pauses as the screen goes dark.</scene_description> <character>YOUNG TECHNICIAN (SUBTITLE)</character> <dialogue>I just lost visual.</dialogue> <character>THE THREE FRONT DOORS BLOWS OPEN (TWO UPSTAIRS ON ONE BELOW)</character> <dialogue>revealing 8 MERCENARIES who fan out: FIREARMS pointed at all present. Speaking French.</dialogue> <character>MERCENARY # 1 (SUBTITLE)</character> <dialogue>Down on your stomachs right now!</dialogue> <scene_description>The Mali Techs and WDG Scientist comply.</scene_description> </scene> <scene> <stage_direction>INT. HEARING ROOM - UNITED NATIONS - GENEVA - DAY</stage_direction> <scene_description>A tense hearing is underway. Ramonda is seated at a desk fielding questions.</scene_description> <character>UNITED STATES SECRETARY OF STATE</character> <dialogue>Mr. Chairperson, I believe I speak for all of the member states when I say, I am deeply disappointed by Wakanda's failure to stand by the promises made after the blip by the late King T'Challa. Promises to participate in global efforts to tackle international challenges, to share resources, technology and full technical cooperation concerning vibranium.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Promises, Mr. Chairperson, that the Queen of Wakanda is failing to deliver on. The United States shares a deep concern over the lack of Wakanda's transparency and urges meaningful dialogue in consultation with key partners and Wakanda to strengthen efforts to achieve our commitments to international development and security. Thank you, Mr. Chairperson.</dialogue> <scene_description>The Other Dignitaries nod in agreement. Ramonda looks back silently and strongly.</scene_description> <character>CHAIRPERSON OF UN</character> <dialogue>My thanks to the Secretary of State of the United States of America for that statement. I now give the floor to the Minister of Foreign Affairs for France.</dialogue> <character>SECRETARY OF STATE OF FRANCE (SUBTITLE)</character> <parenthetical>(in French)</parenthetical> <dialogue>Thank you, Mr. Chairperson, France has information that states vibranium has limitless potential as a renewable energy source. And yet Queen Ramonda has still declined to open access to the material through international trade, or any of Wakanda's philanthropic ventures. We also have information that vibranium can be used to make weapons of mass destruction. It is a substance that does not trigger any known metal detector. It could be smuggled. It is a direct threat to the global security environment and the nonproliferation regime.</dialogue> <scene_description>Ramonda stares at the Frenchman.</scene_description> </scene> <scene> <stage_direction>INT. SAND FILTER TREATMENT FLOOR - NIGHT</stage_direction> <scene_description>Mercenary #2 points a gun at a MALI WATER TECH.</scene_description> <character>MERCENARY #2 (SUBTITLE)</character> <dialogue>Where are the vibranium tools?</dialogue> <scene_description>The Young Tech points to the large security door/vault.</scene_description> <character>MERCENARY #2 (SUBTITLE)</character> <dialogue>Who has access?</dialogue> <scene_description>The Tech points to a FEMALE MALI TECH wearing a headscarf.</scene_description> <character>MERCENARY #2 (SUBTITLE)</character> <dialogue>Let's go.</dialogue> <scene_description>The Female Mali Tech stands up. Mercenary #2 roughly pushes her towards the vault.</scene_description> </scene> <scene> <stage_direction>INT. UNITED NATIONS - GENEVA, SWITZERLAND - DAY</stage_direction> <scene_description>The Secretary of State of France continues.</scene_description> <character>SECRETARY OF STATE OF FRANCE (SUBTITLE)</character> <parenthetical>(in French)</parenthetical> <dialogue>I would like to put the question to her majesty. "Why is there so much secrecy around this particular resource?" "If her nation's intentions really are to help other nations, why is that help only extended to certain groups of people in those nations?" And "what of our intelligence in France, in Belgium, and in the United States, that vibranium has properties that can be weaponized?"</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mr. Chairperson, Wakanda has deliberately chosen, in a recurrent manner, to defy our collective security architecture. The durability of our international security would be at stake if we were to overlook the potential threat of vibranium today. Thank you, Mr. Chairperson.</dialogue> <character>CHAIRPERSON OF UN</character> <dialogue>My thanks to the Minister of Foreign Affairs for France. I now give the floor to her majesty, Queen Ramonda.</dialogue> <scene_description>Ramonda leans into her mic.</scene_description> <character>RAMONDA</character> <dialogue>Thank you Mr. Chairperson, Wakanda's offerings to the global community do not begin and end with our nation's most valuable resource. It has always been our policy to never trade vibranium under any circumstance. Not because of the dangerous potential of vibranium, but because of the dangerous potential of some of the people in this room.</dialogue> <parenthetical>(beat)</parenthetical> <character>RAMONDA</character> <dialogue>You see we have information in Wakanda as well. You perform civility here. But we know what you whisper in your halls of leadership, in your military facilities.</dialogue> <parenthetical>(sotto voce imitation)</parenthetical> <dialogue>The King is dead. The Black Panther is gone. They have lost their protector. Now is our time to strike.</dialogue> </scene> <scene> <stage_direction>INT. SAND FILTER TREATMENT FLOOR - NIGHT</stage_direction> <scene_description>The Female Mali Tech keys into the vault triggering an elaborate locking mechanism that opens the dark, cavernous vault. She then steps back, removing her scarf, tucking it behind her back. Merc #2 turns to the Female Tech, confused. She looks back at him her expression now icy, her head clean shaven and smooth. This is ANEKA of the Dora Milaje. The unnerved Mercenaries look into the safe as someone steps forward from darkness. It's OKOYE, in full Dora Milaje regalia. As she steps forward we reveal AYO and NOMBLE flanking her.</scene_description> <character>OKOYE</character> <dialogue>PHAMBILLI!!!</dialogue> <scene_description>On cue, both clusters of hostages trigger dome shaped SONIC FORCEFIELDS from their KIMOYO BEADS. THE DORA SPRING INTO ACTION. The Mercenaries unleash a HAIL of automatic gunfire, but it is ineffective against the DORA'S BALLETIC COMBAT MOVEMENT, vibranium weave uniforms, and high tech spears. Okoye and the other Dora DISPATCH THE MERCENARIES. Nomble throws her spear up at the upper level where we reveal ANOTHER DORA disguised as a scientist taking out another Merc on the upper level. Aneka pulls 2 PURPLE ENERGY DAGGERS as SHE AND AYO fight back to back while Okoye hits Mercs with the HIGH POWERED TASER on the back end of her spear, rendering them unconscious. Aneka dispatches Merc #2. Okoye clocks this.</scene_description> <character>OKOYE</character> <dialogue>Aneka, where is your spear?</dialogue> <character>ANEKA</character> <dialogue>The Princess gave me these to try out. I like them better.</dialogue> <scene_description>Okoye takes out another Merc.</scene_description> <character>OKOYE</character> <dialogue>We are Dora Milaje. Not space cadets. Our foremothers used spears for millennia. It will not change under my watch.</dialogue> <scene_description>Ayo blocks a bullet for Aneka and takes out a Merc.</scene_description> <character>AYO</character> <dialogue>I told you not to bring them.</dialogue> <scene_description>Aneka rolls her eyes and takes down another Merc with the daggers.</scene_description> </scene> <scene> <stage_direction>INT. UNITED NATIONS - GENEVA, SWITZERLAND - DAY</stage_direction> <scene_description>Ramonda continues.</scene_description> <character>RAMONDA</character> <dialogue>Last night there was another attack on one of our outreach facilities. Proof of the involvement of a member state present today is being uploaded to your mobile devices as we speak.</dialogue> <scene_description>Ramonda looks around as everyone reacts to this information.</scene_description> <character>RAMONDA</character> <dialogue>And as for the identity of the attackers.</dialogue> <scene_description>Ramonda stands. The doors of the chamber swing open, revealing Okoye, Ayo, Aneka, and several DORA, escorting the now conscious and handcuffed Mercenaries from Mali, delivering them to the desk of the Frenchman. The dignitaries and UN Staff react.</scene_description> <character>OKOYE (SUBTITLE)</character> <parenthetical>(in Xhosa)</parenthetical> <dialogue>Kneel.</dialogue> <parenthetical>(to the French Minister)</parenthetical> <dialogue>Je vous on prie.</dialogue> <character>RAMONDA</character> <dialogue>Let our gracious response to this incursion be an olive branch. Further attempts on our resources will be considered an act of aggression and met with a much steeper response.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We mourn the loss of our King, but don't think for a second, that Wakanda has lost her ability to protect our resources. We are aware of the ongoing efforts by some to find Vibranium outside of Wakanda and wish you the best of luck.</dialogue> <scene_description>The leaders deflate. All except... the United States Secretary of State.</scene_description> </scene> <scene> <stage_direction>EXT. ATLANTIC OCEAN - DAY</stage_direction> <scene_description>A CARGO SHIP travels in the middle of the Atlantic. An enormous underwater mining vehicle sits on deck as a DATA UMBILICAL CORD extends off the back into the water.</scene_description> </scene> <scene> <stage_direction>EXT. DEEP OCEAN - DAY - CONTINUOUS</stage_direction> <scene_description>We see what is connected to the umbilical cord: A LARGE VIBRANIUM DETECTOR on treads, rolls along the ocean floor below the ship as they move together through the water until an INDICATOR LIGHT changes colors.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - DAY</stage_direction> <scene_description>An advanced control system with several DEEP SEA MINING TECHNICIANS monitoring readings. SMITTY (50s, CIA) sits to the side, playing PUBG Mobile on his phone, when a display reading suddenly CHIRPS, grabbing everyone's attention. Excited miners gather, wide-eyed as Smitty turns to the LEAD MINING TECHNICIAN who nods. Getting to his feet, Smitty grabs a walkie-talkie.</scene_description> <character>SMITTY</character> <parenthetical>(radioing)</parenthetical> <dialogue>Stop the ship!</dialogue> </scene> <scene> <stage_direction>EXT. HELICOPTER PAD - CARGO SHIP - NIGHT</stage_direction> <scene_description>The LARGE MINING VEHICLE is missing from the deck but A GROUP OF HEAVILY ARMED MILITARY TYPES have replaced it. Smitty, holding two coffees watches as A CHOPPER LANDS and JACKSON and SALAZAR, two specialized NAVAL DIVERS, disembark followed by DR. GRAHAM (50s, CIA). Smitty casually salutes her. She smiles and takes the coffee.</scene_description> <character>DR. GRAHAM</character> <dialogue>I thought you were retired.</dialogue> <character>SMITTY</character> <dialogue>I thought I was too.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Said that machine had a one in a billion chance of finding vibranium.</dialogue> <character>DR. GRAHAM</character> <dialogue>Less than that.</dialogue> <scene_description>Smitty shrugs, then lets out a whistle to the Military Types who start unloading gear.</scene_description> </scene> <scene> <stage_direction>EXT. DECK - CARGO SHIP - NIGHT - LATER</stage_direction> <scene_description>A CRANE removes a MOON POOL COVER, exposing the ocean below. Military Types guard the umbilical cable system that extends over the edge of the ship. Salazar and Jackson are strapped into ATMOSPHERIC DIVING SUITS and lowered into the ocean.</scene_description> </scene> <scene> <stage_direction>INT. ATLANTIC OCEAN - NIGHT</stage_direction> <scene_description>The moonlight barely penetrates the water as we TRACK ALONG THE CABLES, ascending to greater and greater depths until... We see Salazar and Jackson approaching the ocean floor... STEAM FROM HYDROTHERMAL VENTS spewing into the water from a distance. We reveal the expanse of the black depth around Salazar and Jackson. As they descend further, distant LIGHTS ON AN UNDERWATER MINING VEHICLE reveal their destination.</scene_description> <character>SALAZAR</character> <dialogue>Approaching the floor now.</dialogue> <scene_description>The VEHICLE has dug a large TRENCH, the VB DETECTOR (lights on) sits close by. The JACKSON AND SALAZAR land, sending a thick CLOUD of sediment up into the water.</scene_description> <character>SALAZAR</character> <dialogue>We've touched down.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Dr. Graham sits in front of a bank of monitors showing deep ocean camera footage from the ocean bed as well as body- mounted cameras on Salazar and Jackson. Smitty watches over her shoulder.</scene_description> <character>DR. GRAHAM</character> <dialogue>You shouldn't be too far from the spot.</dialogue> <character>SALAZAR (O.S.)</character> <dialogue>Yeah, we see it.</dialogue> </scene> <scene> <stage_direction>INT. OCEAN FLOOR - NIGHT</stage_direction> <scene_description>Salazar and Jackson step off the submersible, surveying the landscape, then travel along the ocean floor. The divers approach the back of the enormous mining rig. As they come around to the front, THE METAL DIGGING MECHANISM is revealed. It's completely DESTROYED, bent back on itself like scrap metal. Then, as they near the trench, Salazar and Jackson's eyes grow wide. We reveal a large mining trench where the machine met its fate... a SMALL VEIN of a METAL.</scene_description> <character>DR. GRAHAM (O.S.)</character> <dialogue>Salazar, report.</dialogue> <character>SALAZAR</character> <dialogue>Yeah. It's astonishing. The drill seems to have made contact with a metallic substance.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Dr. Graham reacts to this, her poker face giving slight way to excitement. Smitty sees this and beams.</scene_description> <character>SMITTY</character> <dialogue>I'll be. Vibranium in the ocean.</dialogue> <character>DR. GRAHAM</character> <dialogue>Nicely done. Let's get the detector out of there. It's the only one we've got.</dialogue> </scene> <scene> <stage_direction>INT. OCEAN FLOOR - NIGHT</stage_direction> <scene_description>Salazar turns.</scene_description> <character>SALAZAR</character> <dialogue>Copy that.</dialogue> <scene_description>Salazar moves back for the submersible when suddenly THE MINING LIGHTS GO OUT, ONE AFTER ANOTHER.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Dr. Graham watches as the monitor images from the underwater camera feeds go dark at the loss of light.</scene_description> <character>DR. GRAHAM</character> <dialogue>Salazar, Jackson, I've lost visual...</dialogue> <character>SALAZAR (O.S.)</character> <dialogue>All the lights went out down here.</dialogue> </scene> <scene> <stage_direction>INT. OCEAN FLOOR - NIGHT</stage_direction> <scene_description>Salazar and Jackson still have their SUIT MOUNTED LIGHTS, granting them enough visibility to continue.</scene_description> <character>JACKSON</character> <dialogue>But we're still good.</dialogue> <scene_description>Then, something catches Salazar's eye.</scene_description> <character>SALAZAR'S POV</character> <dialogue>In the distance, a BIOLUMENESCANT ANIMAL floats toward them rhythmically.</dialogue> <character>SALAZAR</character> <dialogue>Jackson, do you see this?</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Dr. Graham glances at the display showing the DIVERS' VITALS. Salazar's heart rate is slowly rising.</scene_description> <character>DR. GRAHAM</character> <dialogue>Salazar, what is your visual?</dialogue> </scene> <scene> <stage_direction>EXT. BOAT DECK - NIGHT</stage_direction> <scene_description>One of the Military Men notices something in the water: a BLUE-SKINNED WOMAN (20s) treading water with her eyes trained on the boat.</scene_description> </scene> <scene> <stage_direction>INT. OCEAN FLOOR - NIGHT</stage_direction> <scene_description>Salazar, still focused on the Squid, about 50 feet away now.</scene_description> <character>SALAZAR</character> <parenthetical>(whispering)</parenthetical> <dialogue>Jackson. Tell me you're seeing this.</dialogue> <scene_description>Jackson approaches behind her, looking on, speechless, until WOOSH, he's snatched into the DARKNESS by an unseen FIGURE. Salazar awaits an answer, her eyes still on the creature.</scene_description> <character>SALAZAR</character> <parenthetical>(whispering)</parenthetical> <dialogue>Jackson?</dialogue> <scene_description>Salazar turns to find nothing left of him but an umbilical.</scene_description> <character>DR. GRAHAM (O.S.)</character> <dialogue>Salazar, we just lost Jackson's vitals. Can you see him?</dialogue> <character>SALAZAR</character> <dialogue>H-He's gone.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Dr. Graham and Smitty watch the monitors, dread setting in.</scene_description> <character>DR. GRAHAM</character> <dialogue>What do you mean he's gone?</dialogue> </scene> <scene> <stage_direction>INT. OCEAN FLOOR - NIGHT</stage_direction> <scene_description>Salazar stares at Jackson's severed umbilical with horror while the SQUID comes within arm's reach. She slowly spins and we see the squid EXPANDING.</scene_description> <character>DR. GRAHAM (O.S.)</character> <dialogue>Rita! Do you copy?! What is going on down there?</dialogue> <scene_description>Rita's eyes fix on something terrifying before she lets out the beginning of a SCREAM that is cut off.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Salazar's vitals flatline. Dr. Graham and Smitty stare at the screen in shock... for a long beat... then.</scene_description> <character>DR. GRAHAM</character> <dialogue>We lost them! GODDAMN IT.</dialogue> <scene_description>Dr. Graham turns to Smitty as...</scene_description> <character>MILITARY MAN (O.S.)</character> <parenthetical>(over radio)</parenthetical> <dialogue>Smitty, we got a situation out here.</dialogue> </scene> <scene> <stage_direction>EXT. BOAT DECK - CARGO SHIP - NIGHT</stage_direction> <scene_description>Military Man #1 taps Military Man #2 and motions for him to peer over the deck at the waves below. More Military Men come from the other side of the ship to see and peering over, watch...</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN'S SURFACE - NIGHT</stage_direction> <scene_description>The SWIMMING WOMAN... now joined by NINE OTHER TALOCANIL WOMEN AND MEN, all staring at the ship. Some start to "sing" a guttural sound... like a cross between a human and a whale. Others play OCARINAS. It's haunting, otherworldly, but beautiful.</scene_description> </scene> <scene> <stage_direction>EXT. BOAT DECK - CARGO SHIP - NIGHT</stage_direction> <scene_description>The men become TRANSFIXED by the SOUND, their facial muscles going slack and they begin to walk toward the edge and JUMP OFF!</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM - CARGO SHIP - NIGHT</stage_direction> <scene_description>Smitty turns to Dr. Graham as we hear the "singing" faintly through the walls.</scene_description> <character>DR. GRAHAM</character> <dialogue>You hear that?</dialogue> <scene_description>He nods.</scene_description> <character>SMITTY</character> <parenthetical>(into radio)</parenthetical> <dialogue>West you got a visual on what's making that sound?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>West do you copy, over?</dialogue> <scene_description>Dr. Graham unholsters her PISTOL. Smitty produces his own PISTOL and cocks it. Smitty looks at the surveillance monitors where he sees his SOLDIERS LEAPING INTO THE OCEAN. Disbelief sweeps across Smitty's face. He opens the door and HEARS the singing loudly. Immediately covering his ears, he ducks back inside.</scene_description> <character>SMITTY</character> <dialogue>It's some sort of sonic attack.</dialogue> <character>DR. GRAHAM</character> <dialogue>Shit.</dialogue> <scene_description>Dr. Graham whips out her radio, speaking into it.</scene_description> <character>DR. GRAHAM</character> <dialogue>We're under attack. Keep your headphones on, fire up the chopper and call a strike team immediately. It's the Wakandans... it has to be.</dialogue> </scene> <scene> <stage_direction>A33 INT. HELICOPTER - NIGHT - CONTINUOUS A33</stage_direction> <scene_description>The HELICOPTER PILOT listens over the radio.</scene_description> <character>HELICOPTER PILOT</character> <dialogue>Copy.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>Wakandans?</dialogue> <scene_description>He starts the helicopter. Then unholsters his pistol and cocks it. B33 OMITTED B33</scene_description> </scene> <scene> <stage_direction>C33 INT. CONTROL ROOM - CARGO SHIP - NIGHT - CONTINUOUS C33</stage_direction> <scene_description>Graham digs around in her POUCH as Smitty watches MORE MEN JUMPING OFF on the surveillance feed. Dr. Graham produces a case of earplugs. Dr. Graham looks at Smitty as he stuffs an earplug in. She cocks her pistol. He opens the door and they head out onto...</scene_description> </scene> <scene> <stage_direction>EXT. BOAT DECK - NIGHT - CONTINUOUS</stage_direction> <scene_description>Smitty and Dr. Graham crouch-walk toward a ladder leading to the helicopter deck with the SINGING muffled by their earplugs. They climb up the ladder and land on...</scene_description> </scene> <scene> <stage_direction>A34 EXT. UPPER BOAT DECK - NIGHT - CONTINUOUS A34</stage_direction> <scene_description>Smitty jumps from the ladder first, Dr. Graham lands behind. Then, they spot the Lead Mining Technician walking towards the edge. Smitty slows down while Dr. Graham heads for the stairs.</scene_description> <character>SMITTY</character> <dialogue>Henderson!!!</dialogue> <scene_description>The man doesn't react, preparing to jump.</scene_description> <character>DR. GRAHAM</character> <dialogue>Come on!</dialogue> <scene_description>Smitty ignores her, lifts his pistol and FIRES into the air. The lead technician startles at the sound, snapping out of his trance.</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN'S SURFACE - NIGHT - CONTINUOUS</stage_direction> <scene_description>The Sirens stop singing at the gunshot and vanish underwater. We see fast SWIMMERS pass by them, headed toward the surface.</scene_description> </scene> <scene> <stage_direction>EXT. UPPER BOAT DECK - NIGHT - CONTINUOUS</stage_direction> <scene_description>As the singing stops, the lead mining technician turns, noticing Smitty.</scene_description> <character>LEAD MINING TECHNICIAN</character> <dialogue>Smitty... what's going on?</dialogue> <character>SMITTY</character> <dialogue>Get off the edge!</dialogue> <scene_description>The mining tech realizes where he is and nods, confused. Smitty grins just as SOMETHING YANKS THE LEAD MINING TECHNICIAN OFF the boat.</scene_description> <character>SMITTY</character> <dialogue>Henderson!!</dialogue> <scene_description>Smitty trains his weapon as he is hit by a SPEAR and impaled on the wall. Dying he looks up to see ATTUMA, a massive MALE TALOCANIL (blue skinned humanoid) WARRIOR, pulls himself up onto the boat deck. Dr. Graham looks back in terror as Attuma approaches and Smitty dies. Attuma pulls his spear out and Dr. Graham fires shots at him. Attuma Turns towards her as more TALOCANIL WARRIORS scale the boat and land on the deck. She starts for the stairs leading to the Helicopter Pad, but a SECOND TALOCANIL WARRIOR pulls onto it, cutting her off. She heads for a CATWALK that runs the length of the HELIPAD.</scene_description> </scene> <scene> <stage_direction>A36 EXT. CATWALK - NIGHT A36</stage_direction> <scene_description>Dr. Graham runs for her life, ducking underneath scaffolding before running up stairs and emerging onto...</scene_description> </scene> <scene> <stage_direction>EXT. HELICOPTER PAD - NIGHT</stage_direction> <scene_description>Dr. Graham sprints towards the helicopter as TALOCANIL WARRIORS close in from each side of the helipad. She fires shots at the closest ones, slowing them down. The Helicopter Pilot fires at Talocanil striking one. Dr. Graham gets in, SLAMMING THE DOOR before a Talocanil PUNCHES the WINDOW.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT - CONTINUOUS</stage_direction> <scene_description>Graham UNLOADS HER CLIP into the Talocanil forcing him to let go as another TALOCANIL WARRIOR approaches the chopper from behind. The Helicopter Pilot frantically guides the helicopter up.</scene_description> </scene> <scene> <stage_direction>EXT. BOAT DECK - NIGHT - CONTINUOUS</stage_direction> <scene_description>The helicopter rises causing the second Talocanil to fall off.</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN'S SURFACE - NIGHT</stage_direction> <scene_description>The sirens breach again and start to SING a new melody...</scene_description> </scene> <scene> <stage_direction>EXT. HELICOPTER PAD - NIGHT</stage_direction> <scene_description>The Talocanil watch the helicopter grow smaller. Then... they part ways and kneel. Human Feet with WINGED ANKLES land on the boat and walk down the aisle of Talocanil. We boom up to reveal the muscular back of NAMOR.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT - CONTINUOUS</stage_direction> <scene_description>Dr. Graham pulls out her SAT phone and dials.</scene_description> <character>DR. GRAHAM</character> <dialogue>Where's that strike team? Colonel Smith's dead... They killed everybody. It's all going to be...</dialogue> <scene_description>BLAM! The chopper JERKS like it slammed on the brakes, knocking the phone from Dr. Graham's hand. The Helicopter Pilot looks at the controls and sees the speed is at 0 MPH, then out the window where she isn't MOVING but is still HOVERING.</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT SKY - NIGHT - CONTINUOUS</stage_direction> <scene_description>The helicopter, frozen in midair. Namor holding stabilizer.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT - CONTINUOUS</stage_direction> <scene_description>The Helicopter pilot tries to accelerate... nothing.</scene_description> <character>DR. GRAHAM</character> <dialogue>No. No!</dialogue> <scene_description>Another ALERT SOUNDS as the chopper begins descending!</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT SKY - NIGHT - CONTINUOUS</stage_direction> <scene_description>The helicopter hurdles towards the ocean's surface as...</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN'S SURFACE - NIGHT - CONTINUOUS</stage_direction> <scene_description>The chopper is engulfed by waves and pulled to the deep below. Then, BOOM! The ship EXPLODES and begins to gradually sink.</scene_description> </scene> <scene> <stage_direction>A46 INT. RTF - MORNING A46\*</stage_direction> <scene_description>Ramonda sits in the RTF as a newscaster discusses the events \* at the UN. \*</scene_description> <character>NEWSCASTER \*</character> <dialogue>(O.C.) \*</dialogue> <scene_description>Queen Ramonda of the nation of \* Wakanda gave an electrifying speech \* at the UN yesterday, decrying \* repeated attempts by mercenaries to \* steal vibranium from Wakandan \* outreach centers, including the \* latest attack in Mali. The Queen \* released evidence proving the \* attackers had been hired by the \* French government, causing an \* uproar in the international \* community. Queen Ramonda had thus \* far taken a conciliatory stance \* towards other world powers since \* her ascension to the throne six \* years ago, after King T'Challa \* disappeared during the Blip. \* Although King T'Challa returned 5 \* years later, along with half the \* world's population, Queen Ramonda \* remained in power through King \* T'Challa's death one year ago \* today. Many believe that Princess \* Shuri is next in line for the \* throne. \* As Ramonda considers this, Okoye flies the RTF. \*</scene_description> <character>OKOYE \*</character> <dialogue>My Queen, we are home. \*</dialogue> <scene_description>They approach the holographic barrier that surrounds the \* Golden City. \*</scene_description> <character>OKOYE (CONT'D) \*</character> <dialogue>We are approaching the river \* border. \*</dialogue> <scene_description>The barrier retracts. \*</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - AFTERNOON</stage_direction> <scene_description>Bustling with WDG SCIENTISTS and TECHNOLOGISTS working away as at the center of it all SHURI studies projections of TWO HIGH-TECH HELMETED BATTLE SUITS, making slight adjustments on a Wakandan computer.</scene_description> <character>GRIOT</character> <dialogue>Princess...</dialogue> <character>SHURI</character> <dialogue>Give me one second... I'm in the middle of something.</dialogue> <scene_description>The scientists and technologists cut looks as...</scene_description> <character>GRIOT</character> <dialogue>I know, but you told me to...</dialogue> <character>SHURI</character> <dialogue>Griot, I am actively ignoring you.</dialogue> <character>RAMONDA</character> <dialogue>Shuri.</dialogue> <scene_description>Shuri snaps around to find Ramonda waiting.</scene_description> <character>SHURI</character> <dialogue>Mother.</dialogue> <character>GRIOT</character> <dialogue>I was trying to tell you, the Queen has just let herself in.</dialogue> <character>SHURI</character> <dialogue>Griot, shut down.</dialogue> <character>GRIOT</character> <dialogue>Shutting down.</dialogue> <scene_description>THE SOUND OF GRIOT SHUTTING DOWN echos across the room.</scene_description> <character>RAMONDA</character> <dialogue>That thing unnerves me. I feel like one day artificial intelligence is going to kill us all.</dialogue> <character>SHURI</character> <dialogue>My A.I. isn't like the movies, mother. It does exactly what I tell it to do.</dialogue> <character>RAMONDA</character> <dialogue>Ah. If only children were the same.</dialogue> <scene_description>Ramonda looks around the room.</scene_description> <character>RAMONDA</character> <dialogue>Everyone seems to be working diligently.</dialogue> <character>SHURI</character> <dialogue>There could be any number of unknown threats on the horizon. They are creating solutions.</dialogue> <character>RAMONDA</character> <parenthetical>(per suits)</parenthetical> <dialogue>What are these?</dialogue> <character>SHURI</character> <dialogue>Space suits for the Dora Milaje in case Thanos wasn't just an aberration. But as always Okoye had some notes.</dialogue> <character>RAMONDA</character> <dialogue>What were her notes?</dialogue> <character>SHURI</character> <dialogue>She hated them.</dialogue> <scene_description>Ramonda smiles.</scene_description> <character>RAMONDA</character> <dialogue>What about recreating the Heart- Shaped Herb?</dialogue> <scene_description>Suddenly, all the scientists turn and look.</scene_description> <character>RAMONDA</character> <parenthetical>(reading the room)</parenthetical> <dialogue>Have you made any progress on that?</dialogue> <character>WDG LAB TECH</character> <dialogue>Princess, maybe we should be going...</dialogue> <scene_description>The scientist start to head out.</scene_description> <character>SHURI</character> <dialogue>Maybe you should continue those calculations.</dialogue> <scene_description>They all return to work in silence as Shuri looks at Ramonda, raw. She's touched the third rail.</scene_description> <character>SHURI</character> <dialogue>We don't need the herb. We need new technology.</dialogue> <character>RAMONDA</character> <dialogue>What of the Black Panther? The mantle -</dialogue> <character>SHURI</character> <dialogue>The mantle is a relic, mother. I wasn't trying to save the Black Panther with the herb, I was trying to save my brother... and I failed.</dialogue> <scene_description>Ramonda studies Shuri closely.</scene_description> <character>RAMONDA</character> <dialogue>Do you know what day it is?</dialogue> <character>SHURI</character> <dialogue>Tuesday.</dialogue> <scene_description>Ramonda looks at her.</scene_description> <character>RAMONDA</character> <dialogue>The date, child.</dialogue> <scene_description>Shuri thinks on this. And it hits her.</scene_description> <character>SHURI</character> <dialogue>Brother's passing.</dialogue> <character>RAMONDA</character> <dialogue>It has been a year.</dialogue> <scene_description>This hits Shuri very hard. She turns her back to Ramonda who tries to embrace her, but Shuri steps away. Ramonda thinks for a beat while Shuri gathers herself.</scene_description> <character>SHURI</character> <dialogue>Do you have anything planned?</dialogue> <character>RAMONDA</character> <dialogue>Yes. It involves you taking your mother for a drive.</dialogue> <character>SHURI</character> <dialogue>Right now?</dialogue> <character>RAMONDA</character> <dialogue>Yes. And you can leave your kimoyo beads here. You won't need them where we're going.</dialogue> <scene_description>Shuri reluctantly takes them off and sets them on the table.</scene_description> <character>RAMONDA</character> <dialogue>The other ones too, Shuri.</dialogue> <scene_description>Shuri sighs, then pulls hidden kimoyo beads that look like earrings from her hers.</scene_description> <character>SHURI</character> <dialogue>Ok Mother, where to?</dialogue> <character>RAMONDA</character> <dialogue>You'll see.</dialogue> </scene> <scene> <stage_direction>EXT. WAKANDA - DUSK - SERIES OF SHOTS</stage_direction> <scene_description>Shuri pilots her HOVERCRAFT with Ramonda in tow. We see LITTLE RIVERTOWN and the natural wonders of the GOLDEN CITY OUTSKIRTS as they head toward the Wakandan Bush. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIVERBANK - WAKANDAN BUSH - NIGHT - HOURS LATER</stage_direction> <scene_description>Shuri scoops water from a river while Ramonda tends to a fire. A makeshift shelter sits behind them.</scene_description> <character>RAMONDA</character> <dialogue>In the River Tribe, we have a ritual to honor our connection to those that have passed on.</dialogue> <character>SHURI</character> <dialogue>There is a ritual for everything here. Somebody has died, you have to do the ritual. My neighbor hates me, oh just do ritual. I can't find a boyfriend... don't worry there's a ritual for that.</dialogue> <character>RAMONDA</character> <dialogue>After your father died. I performed this ritual, with T'Challa by my side, and Nakia.</dialogue> <character>SHURI</character> <dialogue>Ugh. Don't mention her name. I know she hated being here, but that is no excuse for missing his funeral.</dialogue> <scene_description>Shuri hands a gourd to Ramonda and looks deep into the flame.</scene_description> <character>RAMONDA</character> <dialogue>If rituals are pointless to you, why does it bother you that she wasn't there that day? What is a funeral if not a ritual?</dialogue> <character>SHURI</character> <dialogue>Because that was my brothers' day. And for some stupid reason rituals mattered to him. I don't have time for this, Mother. I need to get back to my lab.</dialogue> <scene_description>Suddenly, they hear a stirring in the bush. They observe as a MOTHER ELEPHANT emerges from the brush with her TWO BABIES. Dangerous and majestic, she gently ambles over to the riverbank with her young in tow. The Mother Elephant sprays water from the river onto her young, bathing them and herself underneath the moonlit night. Ramonda and Shuri observe this quiet, almost spiritual moment.</scene_description> <character>RAMONDA</character> <dialogue>You need to sit here with me, and with yourself. It's the only way you are going to heal from the wound T'Challa's death caused.</dialogue> <character>SHURI</character> <dialogue>I have healed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I wake up every day, and I work on things for Wakanda's future. Even though my brother is gone.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>I'm not like I was before. I'm moving forward, even though my brother is gone.</dialogue> <character>RAMONDA</character> <dialogue>T'Challa is dead. But that doesn't mean he is gone. When Thanos took you and your brother from me, I had to lead a wounded nation and a broken world. But I still took time in the bush. I wandered until I found water and I sat, then I did this ritual that I am about to show you now. I found your brother in the breeze. Pushing me gently, but firm, like his hand on my shoulder. And I found you in the chirp of the sunbirds. It took some time, but you both were there.</dialogue> <character>SHURI</character> <dialogue>But that wasn't us, mother. In the snap, everything that we were, ceased to exist. Our presence was a construct of your mind. Brought on so you could experience comfort, or joy.</dialogue> <character>RAMONDA</character> <dialogue>And what construct does your mind create when you think of your brother?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do they offer you comfort? Or torment?</dialogue> <scene_description>Shuri thinks on this, moved by her mother's question. Ramonda stands up.</scene_description> <character>RAMONDA</character> <dialogue>Come, child.</dialogue> <scene_description>She leads Shuri back to the fire. She goes to her knapsack and pulls out a pile of white garments. Shuri stares, affronted. Ramonda hands a garment to Shuri.</scene_description> <character>SHURI</character> <dialogue>How did you get these?</dialogue> <character>RAMONDA</character> <dialogue>What does it matter?</dialogue> <character>SHURI</character> <dialogue>These are my clothes. How do they figure into your ritual?</dialogue> <character>RAMONDA</character> <dialogue>Burning the funeral garments marks \* the end of the mourning period.</dialogue> <scene_description>Ramonda casts her clothes into the fire.</scene_description> <character>RAMONDA</character> <dialogue>And the beginning of a new relationship with our loved ones that have passed on.</dialogue> <character>SHURI</character> <dialogue>I was wearing those clothes, the last time I held him, mother.</dialogue> <parenthetical>(turns, resolute)</parenthetical> <dialogue>I cannot burn them.</dialogue> <character>RAMONDA</character> <dialogue>Shuri...</dialogue> <scene_description>Shuri stares off. \*</scene_description> <character>SHURI \*</character> <dialogue>It's not torment I feel. It's rage. \* My brother, who saved me, saved \* Wakanda, saved the world. He showed \* kindness and grace, even to his \* enemies. And for what? For the love \* of his life to run off and never \* come back? For some illness to take \* him before he was old enough to \* grow gray hair? An illness. Not \* even an enemy in combat. \*</dialogue> <character>RAMONDA \*</character> <dialogue>And that would have been better? \*</dialogue> <character>SHURI \*</character> <dialogue>Yes! Because then I could take my \* revenge! I don't want to sit with \* you and think of my brother, \* because I fear it won't be clothes \* I will want to burn, it will be the \* world and everyone in it. \*</dialogue> <scene_description>Ramonda looks at Shuri with compassion. \*</scene_description> <character>RAMONDA \*</character> <dialogue>Shuri, there is something I have to \* tell you about your brother- \*</dialogue> <scene_description>But then, something in the water startles the Mother Elephant who rears back and SHRIEKS LOUDLY. She and her children RUN in the opposite direction as... Shuri and Ramonda perk up. Ramonda stands and walks down toward the river where the WATER STIRS.</scene_description> <character>SHURI</character> <dialogue>Mother! What are you doing?</dialogue> <scene_description>Shuri runs to Ramonda's side just as A MAN'S head breaches the surface of the river and NAMOR rises up, flying over the surface of the water toward Ramonda and Shuri. He carries a CONCH SHELL, his winged ankles on full display.</scene_description> <character>SHURI</character> <dialogue>This better not be a part of the ritual...</dialogue> <character>RAMONDA</character> <dialogue>It's not.</dialogue> <scene_description>Shuri and Ramonda assume battle stances, traditional spears extended.</scene_description> <character>RAMONDA</character> <dialogue>Stop! Right there! Who are you?! And how did you get in here?! Speak trespasser!</dialogue> <scene_description>Namor smiles and holds his hands up. He looks at Shuri almost as if they have met before.</scene_description> <character>NAMOR</character> <dialogue>I mean you both no harm. This place is amazing. The air is pristine. Not a trace of pollution.</dialogue> <parenthetical>(looks back at the water)</parenthetical> <dialogue>And the water...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>My mother told stories of a place like this. A protected land with people that never had to leave, never had to change who they were. What reason did you have, to reveal your secret to the world?</dialogue> <scene_description>Ramonda points her spear venomously now.</scene_description> <character>RAMONDA</character> <dialogue>I am not a woman who enjoys repeating herself. Who are you?</dialogue> <character>NAMOR</character> <dialogue>I have many names.</dialogue> <character>RAMONDA</character> <dialogue>Which one did your mother give you?</dialogue> <scene_description>Namor smiles at her bluntness.</scene_description> <character>NAMOR</character> <dialogue>She named me Ch'ah Toh Almehen, citizens of my realm call me Ku'Kul'Kan, and my enemies call me Namor.</dialogue> <character>SHURI</character> <dialogue>What kind of name is Namor-</dialogue> <character>RAMONDA</character> <dialogue>Hush, child.</dialogue> <parenthetical>(to Namor)</parenthetical> <dialogue>Why are you here?</dialogue> <character>NAMOR</character> <dialogue>We have a problem. The American military detected Vibranium embedded beneath my nation's domain. I was able to stop them from mining it, but I need Wakanda's help to prevent it from happening again.</dialogue> <character>RAMONDA</character> <dialogue>Vibranium exists only here, in Wakanda.</dialogue> <scene_description>Namor offers the queen a questioning glance in response as Shuri looks closely at Namor's adornments.</scene_description> <character>SHURI</character> <dialogue>Mother, he's covered in it.</dialogue> <scene_description>Ramonda observes Namor's VB necklace and earrings.</scene_description> <character>RAMONDA</character> <dialogue>Where are you from?</dialogue> <character>NAMOR</character> <dialogue>The oceans.</dialogue> <scene_description>Shuri jumps in.</scene_description> <character>SHURI</character> <dialogue>And the Americans detected it there? How? Detecting vibranium is practical impossible.</dialogue> <scene_description>Namor turns to Shuri.</scene_description> <character>NAMOR</character> <dialogue>They used a machine that we confiscated. Did you help them build it?</dialogue> <character>SHURI</character> <dialogue>Of course not.</dialogue> <character>NAMOR</character> <dialogue>We have information that the machine was designed by an American scientist. But we could not find any record on their identity. I would prefer to deal with the scientist as opposed to waging war on the entire nation.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I imagine Wakanda has more diverse methods of gathering intelligence, and could find the identity of the scientist, and bring them to me.</dialogue> <character>RAMONDA</character> <dialogue>Why should we help you?</dialogue> <character>NAMOR</character> <dialogue>Your former King exposed the power of vibranium to the world. In response other nations have begun scouring the planet for it. We do not wish to be exposed, but your choices have compromised us. It is only fair that you help resolve our dilemma.</dialogue> <character>RAMONDA</character> <dialogue>You don't sneak into our country and tell me what is fair. Wakanda will look into it if we deem it necessary.</dialogue> <scene_description>Namor smiles at this.</scene_description> <character>NAMOR</character> <dialogue>I have more soldiers than this land has blades of grass. But my only desire is that my people remain hidden from the world. I hope you can understand my urgency, because I would hate to come back under different circumstances.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There is a beautiful island off the coast of Madagascar: Nosy Nato. Do you know it?</dialogue> <character>RAMONDA</character> <dialogue>I do.</dialogue> <scene_description>Namor places the conch on the ground.</scene_description> <character>NAMOR</character> <dialogue>When you have the scientist, blow into this and place it in the ocean on the north beach. I'll be there shortly afterwards.</dialogue> <scene_description>Namor turns to head back into the river as Ramonda and Shuri sit with his threat for a moment. He peers back.</scene_description> <character>NAMOR</character> <dialogue>And please for your sake, don't mention anything about me to anyone outside of Wakanda.</dialogue> <scene_description>Namor eyes Shuri slyly.</scene_description> <character>NAMOR</character> <dialogue>Princess.</dialogue> <scene_description>Namor dives back into the river, DISAPPEARING BENEATH THE WATER. Shaken, Ramonda and Shuri share looks.</scene_description> <character>SHURI</character> <dialogue>Did you see those things on his ankles?</dialogue> <character>RAMONDA</character> <parenthetical>(impatient)</parenthetical> <dialogue>Come on, Shuri.</dialogue> <scene_description>Shuri reluctantly starts back for the shelter with Ramonda only to freeze as sitting by their fire, dripping with water is the... LARGE VB DETECTOR from the cargo ship. Ramonda and Shuri gape at it.</scene_description> <character>RAMONDA</character> <dialogue>We must convene the council.</dialogue> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - DAY - CONTINUOUS</stage_direction> <scene_description>M'BAKU, flanked by FOUR JABARI WARRIORS, marches in with a leisurely swagger, chomping a PURPLE BROCCOLI STALK. Ramonda, Okoye, Ayo, Aneka and the TRIBAL ELDERS (RIVER TRIBE ELDER, MERCHANT TRIBE ELDER, BORDER TRIBE ELDER, and the MINING TRIBE ELDER) are all gathered around in a circle. The DORA MILAJE are flanked out across the room in their traditional spots. THREE NAVAL OFFICERS are here as well, contrite. Everyone gives wary looks as M'Baku enters, prepared for his antics. He doesn't disappoint.</scene_description> <character>M'BAKU</character> <dialogue>So our river border has been breached? I once more offer the support of my Jabari Hell- screamers. If my soldiers were present this... fish man would be bound before us as we speak.</dialogue> <character>OKOYE</character> <dialogue>If you're soldiers were present they'd still be choking on their furry costumes.</dialogue> <character>RAMONDA</character> <dialogue>Show some respect you two.</dialogue> <character>M'BAKU</character> <dialogue>Respect? They allowed an outsider to walk directly up to our Queen. What good is Wakanda if we cannot protect our borders? These men should not show their faces.</dialogue> <parenthetical>(to River Tribe Elder)</parenthetical> <dialogue>Why are they guarding the river anyway? Because they did well in swimming school?</dialogue> <scene_description>M'Baku points to M'BELE, one of his accompanying warriors.</scene_description> <character>M'BAKU</character> <dialogue>Take M'Bele there. He swims with the gracefulness of a cinder block, but he would die before he allowed a fish man to swim up to our Queen.</dialogue> <character>RAMONDA</character> <dialogue>M'Baku, if you are done with your lecture, I would like to discuss the matter at hand.</dialogue> <character>OKOYE</character> <dialogue>There is no aerial surveillance footage of him.</dialogue> <character>NAVAL OFFICER</character> <dialogue>And nothing on radar as well.</dialogue> <scene_description>The elders look at the officer like he is out of his mind.</scene_description> <character>RIVER TRIBE ELDER</character> <dialogue>So he swam underwater for 60 miles.</dialogue> <character>RAMONDA</character> <dialogue>And claims to command a massive army.</dialogue> <character>MERCHANT TRIBE ELDER</character> <dialogue>He wants us to deliver one American scientist? So he can kill them.</dialogue> <character>RAMONDA</character> <dialogue>He didn't explicitly state that, but I believe that is his intention.</dialogue> <character>MINING TRIBE ELDER</character> <dialogue>So do it.</dialogue> <parenthetical>(off the council's reactions)</parenthetical> <dialogue>We have never faced an enemy with access to Vibranium before, and we have no Black Panther to protect us.</dialogue> <character>M'BAKU</character> <dialogue>Because this wise council allowed Killmonger to take the throne and burn up all of your precious Heart- Shaped Herb.</dialogue> <scene_description>Ramonda ponders this.</scene_description> <character>RAMONDA</character> <dialogue>What would you have us do?</dialogue> <character>M'BAKU</character> <dialogue>We find the fish man and kill him.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Who is being foolish now? You would have us make war with a man we know nothing about. At least we have intelligence on the Americans.</dialogue> <scene_description>The room sits with this.</scene_description> <character>M'BAKU</character> <dialogue>If we do what he wants now what's to prevent him from coming back and asking for more?</dialogue> <scene_description>Ramonda considers.</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY - LATER</stage_direction> <scene_description>Shuri has the VB DETECTOR in pieces like a mechanic, STUDYING its parts with deep fascination as Ramonda and Okoye walk in. Okoye observes a hologram of the MIDNIGHT ANGELS prototypes. Shuri clocks this.</scene_description> <character>OKOYE</character> <dialogue>Princess, is it just me, or did these things get uglier?</dialogue> <scene_description>Shuri rolls her eyes.</scene_description> <character>SHURI</character> <dialogue>It's you. I haven't touched them since the last time you saw them.</dialogue> <scene_description>Ramonda studies the vibranium detector.</scene_description> <character>RAMONDA</character> <dialogue>So, does it work?</dialogue> <character>SHURI</character> <dialogue>Yes, I'm still not sure how they did it though. It can detect the altered frequency of vibranium through water, stone, even heavy metals.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Whoever built this is brilliant.</dialogue> <character>RAMONDA</character> <dialogue>Brilliant, like you?</dialogue> <character>SHURI</character> <dialogue>Of course not. But it's strange - the parts are mismatched. Some are custom, others look like they pulled it from a junkyard.</dialogue> <character>RAMONDA</character> <dialogue>Have you ever tried to make one here?</dialogue> <character>SHURI</character> <dialogue>Vibranium is all around us. We have never needed anything like this. Necessity breeds invention.</dialogue> <scene_description>Okoye ponders this.</scene_description> <character>OKOYE</character> <dialogue>I can't believe it exists outside of Wakanda. How is that possible?</dialogue> <character>SHURI</character> <dialogue>Perhaps the meteorite that struck the continent, broke apart as it entered the earth's atmosphere. The planet is mostly covered by water. It's reasonable that some landed there.</dialogue> <character>RAMONDA</character> <dialogue>This changes everything we know.</dialogue> <character>OKOYE</character> <dialogue>The Great Mound. All of the legends and fables. Those stories are seared in my mind.</dialogue> <character>SHURI</character> <dialogue>That sounds very painful.</dialogue> <scene_description>Okoye ignores her.</scene_description> <character>OKOYE</character> <parenthetical>(to Ramonda)</parenthetical> <dialogue>So we must find this scientist after all.</dialogue> <scene_description>Shuri goes back to studying the detector as Ramonda and Okoye start for the door.</scene_description> <character>RAMONDA</character> <dialogue>Do the War Dogs have any leads?</dialogue> <character>OKOYE</character> <dialogue>Nothing.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I have an idea, but I'm going to need the Princess.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>No, but I have an idea. I'm going to need the Princess. I have to deal with that churlish little American. She's good at that.</dialogue> <character>RAMONDA</character> <dialogue>Out of the question. She is in no state to be in the field.</dialogue> <character>OKOYE</character> <dialogue>My Queen, with all due respect. It would do her some good to get out. She has been isolated in this lab since it happened. May be just what May be just what she needs.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Besides, I can handle an American assignment with my eyes closed.</dialogue> <character>RAMONDA</character> <dialogue>It is not the Americans that I am worried about.</dialogue> <parenthetical>(unnerved)</parenthetical> <dialogue>This Namor... he snuck past our defenses.</dialogue> <character>OKOYE</character> <dialogue>It won't happen again.</dialogue> <character>RAMONDA</character> <dialogue>He wasn't alone.</dialogue> <scene_description>Okoye thinks on this.</scene_description> <character>OKOYE</character> <dialogue>He wants the scientist. And he needs us to be able to do it. She'll be with me. In and out.</dialogue> <character>OKOYE</character> <parenthetical>(beat)</parenthetical> <dialogue>I would die before I let something happen to her.</dialogue> <scene_description>Ramonda ponders this, and looks to Shuri.</scene_description> <character>SHURI</character> <dialogue>So when do we leave to see my favorite colonizer?</dialogue> </scene> <scene> <stage_direction>EXT. ROSS' HOUSE - VIRGINIA - EARLY MORNING</stage_direction> <scene_description>EVERETT ROSS exits wearing running gear and begins to jog.</scene_description> </scene> <scene> <stage_direction>A52 EXT. VIRGINIA WOODS - EARLY MORNING A52</stage_direction> <scene_description>Ross runs through a thick wooded area. After some distance, he notices a FLYING BUG and bats at it. The bug comes at him again and Ross steps back. The bug mimics him. Ross looks closely, discovering it's a WINGED KIMOYO BEAD DRONE. Ross eyes around, realizing he's being summoned. The drone flies off and he follows.</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - VIRGINIA WOODS - MOMENTS LATER</stage_direction> <scene_description>Ross follows the Kimoyo Bead Drone into a clearing where Okoye and Shuri are waiting. Shuri catches the bead and places it on her Kimoyo Bracelet.</scene_description> <character>ROSS</character> <dialogue>You didn't think to call?</dialogue> <character>OKOYE</character> <dialogue>Why would I have your number?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're looking for the scientist who built a vibranium detector.</dialogue> <scene_description>Ross eyes her, deadpan.</scene_description> <character>ROSS</character> <dialogue>So that was you guys in the Atlantic?</dialogue> <parenthetical>(off blank looks)</parenthetical> <dialogue>Mining ship? Lots of casualties?</dialogue> <scene_description>Shuri and Okoye share a glance.</scene_description> <character>OKOYE</character> <dialogue>What happened?</dialogue> <character>ROSS</character> <dialogue>Joint operation with us and the SEALS. Whole cargo ship, 40 of their top guys, and two of our best officers...</dialogue> <parenthetical>(snaps fingers)</parenthetical> <dialogue>Gone. Just like that. Throw in the fact that they were tracking vibranium and...</dialogue> <character>OKOYE</character> <dialogue>I can assure you Wakanda had nothing to do with this.</dialogue> <character>ROSS</character> <dialogue>Then who was it?</dialogue> <scene_description>Ross eyes Okoye, unconvinced. Okoye stares back silently.</scene_description> <character>ROSS</character> <dialogue>See the way this is supposed to work is, I give you information, and you reciprocate.</dialogue> <character>SHURI</character> <dialogue>For our own safety, we can't tell you. But it's imperative that we get to this scientist before anything else happens.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I wouldn't be here otherwise.</dialogue> <parenthetical>(off Ross' hesitancy)</parenthetical> <dialogue>You owe me. You owe my brother.</dialogue> <scene_description>Ross relents.</scene_description> <character>ROSS</character> <dialogue>You know there are officers who have been sentenced to death for less than I'm about to give you. And we've got a new director... she's watching me like a hawk.</dialogue> <character>OKOYE \*</character> <dialogue>We will be very, very careful. \*</dialogue> <character>ROSS \*</character> <dialogue>Not just careful, you gotta be \* fast. The US needs another machine \* and this kid is the only one who \* knows how to make one. So, they're \* coming for her. \*</dialogue> <character>SHURI \*</character> <dialogue>Kid? \*</dialogue> <character>OKOYE \*</character> <dialogue>We'll be discreet. \*</dialogue> <character>SHURI \*</character> <dialogue>I bet the scientist is working for \* DARPA. \*</dialogue> <character>ROSS \*</character> <dialogue>It's not DARPA. \*</dialogue> <character>SHURI \*</character> <dialogue>Roxxon then? \*</dialogue> <character>ROSS \*</character> <dialogue>Nope. \*</dialogue> <character>SHURI \*</character> <dialogue>Project P.E.G.A.S.U.S.? \*</dialogue> <character>ROSS \*</character> <dialogue>You're way off. It wasn't a \* government contract. \*</dialogue> <character>SHURI \*</character> <dialogue>(at a loss) \*</dialogue> <scene_description>Where then...? \*</scene_description> </scene> <scene> <stage_direction>AA53 EXT. DOWNTOWN BOSTON, MA - SKYLINE - DAY AA53</stage_direction> <scene_description>Cambridge, MA. Home to Harvard University and MIT.</scene_description> </scene> <scene> <stage_direction>A53 EXT. MIT CAMPUS - DAY A53</stage_direction> <scene_description>RIRI WILLIAMS (Black, 20, a student) approaches a MIT STUDENT texting on his phone and grabs it out of his hand.</scene_description> <character>MIT STUDENT</character> <dialogue>Hey!</dialogue> <character>RIRI</character> <dialogue>You forgot to Venmo me.</dialogue> <scene_description>The Student takes his phone back.</scene_description> <character>MIT STUDENT</character> <dialogue>Slipped my mind. $800 right?</dialogue> <scene_description>The Student starts to enter an amount.</scene_description> <character>RIRI</character> <dialogue>$800 was yesterday's price. $1000 today.</dialogue> <character>MIT STUDENT</character> <dialogue>That's predatory. I built the whole robotic hand... you just corrected the grip algorithm.</dialogue> <character>RIRI</character> <dialogue>What grade did you get?</dialogue> <scene_description>This silences him. The Student enters the amount: $1000</scene_description> <character>MIT STUDENT</character> <dialogue>...thanks.</dialogue> <scene_description>She walks off and we PULL WIDER to reveal Okoye and Shuri leaned up next to SHURI'S LEXUS, watching. Make-up covers Okoye's head tattoo.</scene_description> <character>OKOYE</character> <parenthetical>(into her comm)</parenthetical> <dialogue>My Queen. We found the scientist. She's at the United State's equivalent to Wakandan primary school.</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>A school? Please tell me it is a professor.</dialogue> <character>SHURI</character> <dialogue>It's a student mother. We can't give her to Namor.</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>Bring her to me at once.</dialogue> <scene_description>Ramonda signs off and Okoye turns to Shuri.</scene_description> <character>OKOYE</character> <dialogue>I've got it from here.</dialogue> <character>SHURI</character> <dialogue>I think it would be more discreet if I spoke with her.</dialogue> <character>OKOYE</character> <dialogue>I can be discreet.</dialogue> <parenthetical>(off Shuri's look)</parenthetical> <dialogue>Is it the make-up? It's the wrong shade, isn't it?</dialogue> <character>SHURI</character> <dialogue>No I did it correctly. Fenty 440. I just look more like a student. That's all.</dialogue> <character>OKOYE</character> <dialogue>You get 5 minutes.</dialogue> <scene_description>A53 OMITTED A53</scene_description> </scene> <scene> <stage_direction>B53 INT. HALLWAY - MIT HOUSING - DAY - MOMENTS LATER B53</stage_direction> <scene_description>Shuri walks down the hallway and knocks on a door. It swings open to Riri who's head is in her iPhone.</scene_description> <character>SHURI</character> <dialogue>Riri Williams?</dialogue> <character>RIRI</character> <dialogue>I don't do drop-bys anymore. You gotta go to the website. And don't be saying my whole government like that... Riri's fine.</dialogue> <character>SHURI</character> <dialogue>It's an encrypted file, I figured I could airdrop it.</dialogue> <scene_description>Riri looks up from her phone. Clocks the Princess of Wakanda. Her jaw drops.</scene_description> <character>RIRI</character> <dialogue>You're...</dialogue> </scene> <scene> <stage_direction>C53 INT. RIRI'S STUDIO APARTMENT - DAY - CONTINUOUS C53</stage_direction> <scene_description>Shuri steps into a cluttered college apartment. Riri walks in behind her, closes the door.</scene_description> <character>RIRI</character> <dialogue>What the hell are you doing here? Are you doing a guest lecture or something?</dialogue> <character>SHURI</character> <dialogue>I'm here about the vibranium detector you made for the CIA.</dialogue> <character>RIRI</character> <dialogue>I didn't build that detector for the CIA. I built it for my metallurgy class.</dialogue> <scene_description>Shuri can't help but smile at this.</scene_description> <character>SHURI</character> <dialogue>It was a school project?</dialogue> <character>RIRI</character> <dialogue>Yeah. My professor said it was impossible. Not the first time that someone took a look at me and didn't think I was worth shit. To be young, gifted and black, right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...You probably don't say that in Wakanda. So, I had to do it.</dialogue> <character>SHURI</character> <dialogue>I know that feeling. Brilliance at a young age is not easily digested by the elders.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>How long did it take you?</dialogue> <character>RIRI</character> <dialogue>Couple months, hardest part was getting big enough mylar sheets... wait, did I piss off Wakanda?</dialogue> <character>SHURI</character> <dialogue>Not just us. How old are you?</dialogue> <character>RIRI</character> <dialogue>SHURI</dialogue> <scene_description>It is not safe for you here. I'm afraid you have to gather you things and come with me.</scene_description> <character>RIRI</character> <dialogue>Where to? I got differential equations class in 15 minutes.</dialogue> <parenthetical>(off Shuri's look)</parenthetical> <dialogue>Okay. I gotta go to the bathroom...</dialogue> <scene_description>Riri approaches the bathroom only to have Okoye step out of it in front of her. Startled, Riri runs behind a desk. Okoye rolls her eyes.</scene_description> <character>RIRI</character> <dialogue>Get out of my apartment!</dialogue> <scene_description>Riri tries to get her phone to work. The screen is dead.</scene_description> <character>SHURI</character> <dialogue>Yeah, your phone isn't going to work for a bit.</dialogue> <character>RIRI</character> <dialogue>A remote hack? Are you serious?!</dialogue> <scene_description>Riri rises up, grabbing a PORTABLE SPEAKER from the desk.</scene_description> <character>RIRI</character> <dialogue>I'm warning you. Don't take another step towards me!</dialogue> <scene_description>Okoye grips her COLLAPSED SPEAR.</scene_description> <character>OKOYE</character> <dialogue>Is this how they teach the children to treat their guests at this village school.</dialogue> <scene_description>Riri hurls the speaker at Okoye's head. It sails end over end at Okoye, who extends her spear and cuts clean through it like a game of Fruit Ninja.</scene_description> <character>RIRI</character> <dialogue>(shocked)</dialogue> <character>SHURI</character> <dialogue>(embarrassed)</dialogue> <scene_description>You brought a spear in here? You brought a spear in here? Riri picks up another object. Okoye edges closer.</scene_description> <character>OKOYE</character> <dialogue>Small- small girl. You have two options for how you will come to Wakanda. Conscious, or unconscious.</dialogue> <character>RIRI</character> <dialogue>You need to be conscious of how you look, walking around with all of that ash on your head.</dialogue> <scene_description>Okoye, embarrassed, spins toward Shuri.</scene_description> <character>OKOYE</character> <dialogue>See! I told you!</dialogue> <character>SHURI</character> <parenthetical>(to Okoye)</parenthetical> <dialogue>You look fine.</dialogue> <parenthetical>(to Riri)</parenthetical> <character>SHURI</character> <dialogue>You know what? We'll head out. And you can deal with the merman with winged ankles who wants to kill you by yourself. I'm sure your math class will be real helpful with that.</dialogue> <parenthetical>(to Okoye)</parenthetical> <dialogue>General, let's go.</dialogue> <scene_description>Shuri and Okoye turn to head out. Riri stares, still holding the space heater. WHAT?!: OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIRI'S GARAGE - OFF CAMPUS - NIGHT</stage_direction> <scene_description>SHURI'S LEXUS PARKS. Riri hops out and walks up with Okoye and Shuri. She enters a four digit code on the keypad (0112) and the keybad box springs reaviling the inner workings. She grabs a lightning connector cable and extends it out, plugs it into her iPhone and begins to punch in an absurdly long security code. Okoye looks on, geninely confused by this. Eventually a door opens.</scene_description> </scene> <scene> <stage_direction>INT. RIRI'S GARAGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>A motorcycle is parked next to a CAR with a weather-covering. Riri approaches a TOUGHBOOK on a worktable. Shuri wanders about, intrigued by Riri's lab.</scene_description> <character>RIRI</character> <dialogue>Don't touch anything.</dialogue> <character>OKOYE</character> <dialogue>So the only other design plans for the machine are on that laptop?</dialogue> <character>RIRI</character> <dialogue>Yeah.</dialogue> <character>OKOYE</character> <dialogue>And you just leave it on a desk? In a car garage?</dialogue> <character>RIRI</character> <dialogue>I've got 2560 Bit encryption on this thing.</dialogue> <character>RIRI</character> <parenthetical>(off Okoye's look)</parenthetical> <dialogue>Locked myself out once, took me the whole semester to get back in.</dialogue> <scene_description>Shuri runs her fingers across a complicated blueprint.</scene_description> <character>SHURI</character> <dialogue>What are you building in here?</dialogue> <character>RIRI</character> <dialogue>I said don't touch anything!</dialogue> <character>GRIOT</character> <dialogue>Princess. Law enforcement is approaching your location.</dialogue> <character>SHURI (SUBTITLE)</character> <dialogue>Shit.</dialogue> <character>RIRI</character> <dialogue>Who was that?</dialogue> <character>SHURI</character> <dialogue>My AI.</dialogue> <scene_description>Shuri walks over to the window, Okoye and Riri follow behind her. They look outside to see. SEVERAL ARMED FEDERAL OFFICERS surround the garage. An ARMORED CAR has the driveway blocked, and a HELICOPTER CIRCLES THE SKY. FEDS POKE THE TIRES SHURI'S LEXUS.</scene_description> <character>RIRI</character> <dialogue>I thought you said a merman was after me. That's the Feds.</dialogue> <scene_description>Ripping blueprints from the walls and grabbing them from tables, Riri dumps them into a barrel that she lights on fire.</scene_description> <character>SHURI</character> <dialogue>THEY'RE NOT HERE FOR YOU.</dialogue> <character>OKOYE</character> <dialogue>Ross. He sold us out.</dialogue> <character>RIRI</character> <dialogue>I'll take my chances with the flying merman then. At least he never brought the FBI to my garage.</dialogue> <character>OKOYE</character> <dialogue>Namor sank a cargo ship full of CIA operatives.</dialogue> <character>OKOYE</character> <dialogue>All because of your machine. Those police are the least of your worries.</dialogue> <scene_description>The weight of her situation settles in on Riri.</scene_description> <character>RIRI</character> <dialogue>You must not spend a lot of time here huh?</dialogue> <character>SHURI</character> <dialogue>We need to work together to get out of here.</dialogue> <scene_description>Shuri thinks on that as she cracks the window open and drops a Kimoyo Bead out.</scene_description> </scene> <scene> <stage_direction>EXT. RIRI'S GARAGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>The Kimoyo Bead rolls along on the asphalt until it is under the ARMORED POLICE CAR. It then flattens into a disk and attaches itself to the underside of the vehicle.</scene_description> </scene> <scene> <stage_direction>INT. RIRI'S GARAGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Riri moves to the work table. Places her hand on the JOYSTICK and starts operating something on chain motors. Okoye starts looking around for an exit.</scene_description> <character>SHURI</character> <dialogue>They've got the place surrounded. We should split up.</dialogue> <character>OKOYE</character> <dialogue>Out of the question.</dialogue> <scene_description>Okoye eyes across the lab.</scene_description> <character>OKOYE</character> <dialogue>Does that car work?</dialogue> <scene_description>Riri pauses.</scene_description> <character>RIRI</character> <dialogue>Nope.</dialogue> <scene_description>Shuri can tell she's lying.</scene_description> <character>SHURI</character> <dialogue>Everything in this lab works.</dialogue> <parenthetical>(eyes a motorcycle)</parenthetical> <dialogue>How about this bike?</dialogue> <character>RIRI</character> <dialogue>It's a monster.</dialogue> <character>OKOYE</character> <dialogue>Don't even think about it. Besides...</dialogue> <parenthetical>(chagrined)</parenthetical> <dialogue>There are three of us.</dialogue> <scene_description>Riri points to the ceiling above the worktable.</scene_description> <character>RIRI</character> <dialogue>Two of ya'll. I'm taking this.</dialogue> <scene_description>Okoye gawks at an UNSEEN OBJECT hanging on chains. Shuri smiles.</scene_description> <character>SHURI</character> <dialogue>I knew it! Don't tell me you built this in a couple of months too.</dialogue> <character>RIRI</character> <dialogue>Two years.</dialogue> <character>SHURI</character> <dialogue>Have you flown it yet?</dialogue> <character>OKOYE</character> <dialogue>That thing can fly?</dialogue> <character>RIRI</character> <dialogue>There's a whole YouTube channel dedicated to sightings of me.</dialogue> <scene_description>Then - THE POWER GOES OUT. Shuri slips a WAKANDAN WIRELESS COMM behind Riri's ear.</scene_description> <character>SHURI</character> <dialogue>So we can communicate.</dialogue> <character>OKOYE</character> <dialogue>And don't you try to scurry off.</dialogue> <scene_description>Hustling over, Shuri whips the cover off a RED AND BLACK COLORED 72' BARRACUDA.</scene_description> <character>OKOYE</character> <parenthetical>(unimpressed)</parenthetical> <dialogue>Oh my...</dialogue> <character>RIRI</character> <dialogue>Please be careful. Keys are on the seat.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We just have to get out of Cambridge.</dialogue> <character>RIRI</character> <dialogue>Once we get on the other side of the bridge we can lose them in Boston traffic.</dialogue> <character>SHURI</character> <dialogue>You've done this before...</dialogue> <character>RIRI</character> <dialogue>Once or twice...</dialogue> <scene_description>Riri triggers an automated pulley that begins lowering the chains as Shuri still eyes her motorcycle.</scene_description> <character>SHURI</character> <dialogue>General, they have us surrounded. It will be easier if the three of us split up.</dialogue> <character>OKOYE</character> <dialogue>Listen! We are not in your lab, we are in my lab! The field. You are to take orders from me so that I can get you back to Wakanda in one piece. Now get in the car!</dialogue> <scene_description>Shuri sighs, rounding to the passenger's side of the Barracuda. But before climbing in, she slyly attaches a Kimoyo Bead to the hood. Okoye gets behind the wheel as TEAR GAS CANNISTERS and FLASH BANG GRENADES suddenly crash through the windows... and TWO HEAVILY ARMED LAW OFFICERS slam through the second garage door. Shuri and Okoye duck down in the car as the OFFICERS enter. SWAT OFFICER 1 looks around and notices a SILLHOUETTE.</scene_description> <character>SWAT OFFICER 1</character> <parenthetical>(entering)</parenthetical> <dialogue>Get on the ground!</dialogue> <scene_description>The Officers hear the sound of THRUSTERS. We see the Officer's POV as Riri emerges REVEALING her PROTOTYPE MARK 1 IRONHEART SUIT.</scene_description> <character>SWAT OFFICER 2</character> <dialogue>Freeze...</dialogue> <scene_description>Before he can pull the trigger, Riri shoots them with repulsor blasts, then launches through the ceiling of the garage. And into the sky. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIRI'S GARAGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>The SURROUNDING OFFICERS react to Riri taking to the sky.</scene_description> <character>FBI AGENT</character> <parenthetical>(into walkie)</parenthetical> <dialogue>One of them just went airborne...</dialogue> <character>FBI HELICOPTER PILOT</character> <dialogue>I'm on it.</dialogue> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - RIRI'S GARAGE - NIGHT</stage_direction> <scene_description>Okoye fires the car engine, when Shuri suddenly hops out.</scene_description> <character>SHURI</character> <dialogue>Now Griot!</dialogue> <character>GRIOT</character> <dialogue>Apologies General.</dialogue> <character>OKOYE</character> <dialogue>Shuri no!</dialogue> <scene_description>But... the Barracuda spins around and guns forward. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>I/E. ARMORED CAR - NIGHT - CONTINUOUS</stage_direction> <scene_description>The gear shift goes into reverse, and the GAS PEDAL floors itself. Sending the car crashing into the other police cars parked behind it.</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT - SAME TIME</stage_direction> <scene_description>The Barracuda crashes through the garage door and out into the driveway.</scene_description> </scene> <scene> <stage_direction>EXT. RIRI'S GARAGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>It's mayhem. The ARMORED VEHICLE is like a lead blocker, clearing a path for the BARRACUDA as bullets break the back windshield of the car. OMITTED</scene_description> </scene> <scene> <stage_direction>A67 INT. RIRI'S GARAGE - NIGHT A67</stage_direction> <scene_description>Shuri puts on Riri's helmet and gloves and jumps on Riri's dirt bike. She guns it and...</scene_description> </scene> <scene> <stage_direction>EXT. REAR - RIRI'S GARAGE - NIGHT</stage_direction> <scene_description>Shuri blasts out the back door on RIRI'S MOTORCYCLE. A cop car tries to follow her and another car cuts her off, forcing her to drive through an old warehouse.</scene_description> <character>A HOLOGRAPHIC DISPLAY COMES UP ON HER CONTACT LENSES,</character> <dialogue>identifying a possible escape route. This is GRIOT VISION.</dialogue> <dialogue>Racing up an old pile of wood, SHURI JUMPS A FENCE on a path too narrow for police cars to follow.</dialogue> </scene> <scene> <stage_direction>A68 EXT. CAMBRIDGE SKY - NIGHT A68</stage_direction> <scene_description>Regaining control, Riri settles herself and eyes the chopper.</scene_description> <character>RIRI</character> <dialogue>Let's go!</dialogue> <scene_description>She rockets off.</scene_description> </scene> <scene> <stage_direction>B68 EXT. CAMBRIDGE STREETS - NIGHT B68</stage_direction> <scene_description>Shuri takes a couple of corners very quickly before approaching an old church. She sees the light of the FBI helicopter above her in pursuit of Riri.</scene_description> <character>SHURI</character> <dialogue>We were supposed to split up!</dialogue> </scene> <scene> <stage_direction>C68 EXT. CAMBRIDGE SKY - NIGHT C68</stage_direction> <scene_description>Riri flies towards the street.</scene_description> <character>RIRI</character> <dialogue>My bad. I'll take care of them.</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. CAMBRIDGE STREET - NIGHT</stage_direction> <scene_description>Shuri sees Riri overhead as she approaches the church.</scene_description> <character>RIRI (O.S.)</character> <dialogue>I want you to take care of my bike!</dialogue> <scene_description>A police car cuts Shuri off, forcing her to take a sharp right up the steps of the church itself. Shuri turns the throttle on the bike and pops a wheelie.</scene_description> <character>SHURI</character> <dialogue>This thing is a rocket!</dialogue> </scene> <scene> <stage_direction>EXT. CAMBRIDGE SKY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Riri speeds through the air toward the helicopter.</scene_description> <character>RIRI</character> <dialogue>Are you pinning it? Just don't crash!</dialogue> </scene> <scene> <stage_direction>A72 EXT. CAMBRIDGE STREETS - NIGHT A72</stage_direction> <scene_description>Shuri drives between the columns of the church and manages to squeeze between two police cars as one crashes into the side of another.</scene_description> <character>SHURI (O.S.)</character> <dialogue>You either.</dialogue> </scene> <scene> <stage_direction>B72 I/E. RIRI'S BARRACUDA - NIGHT B72</stage_direction> <scene_description>Okoye looks at the wheel as the Barracuda navigates the streets of Cambridge.</scene_description> <character>OKOYE</character> <dialogue>Griot?</dialogue> <character>GRIOT (V.O.)</character> <dialogue>Yes, General...</dialogue> <character>OKOYE</character> <dialogue>Take me to the princess or I will drive my spear so deep into your CPU that you won't be able to process basic inputs for a millennia.</dialogue> <scene_description>The engine roars like a lion.</scene_description> </scene> <scene> <stage_direction>I/E. FBI HELICOPTER - NIGHT - CONTINUOUS</stage_direction> <scene_description>The pilot sees Riri heading his way.</scene_description> <character>FBI HELICOPTER PILOT</character> <dialogue>What the hell is that?</dialogue> <scene_description>The pilot deftly puts the airship in position to attack and TWO FBI GUNNERS seated on the skids OPEN FIRE at Riri. Riri counters with her own impressive flying. She and the chopper engage in a dogfight. Riri nimbly ELUDES the gunfire, forcing the pilot into a labored turn that causes one of the gunners to FALL OFF and DANGLE underneath the chopper, hanging by his safety line. Still trying to shoot Riri, the gunner misses, taking out the TAIL-ROTOR of the chopper. It goes down in the river.</scene_description> <character>RIRI</character> <parenthetical>(into comm)</parenthetical> <dialogue>Helicopter's down. I hope they can swim...</dialogue> <scene_description>Riri veers off as...</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT</stage_direction> <scene_description>The barracuda follows the ARMORED CAR into a tunnel. Okoye, frustrated, decides to take matters into her own hands.</scene_description> <character>OKOYE</character> <dialogue>Enough of this shit.</dialogue> <scene_description>Okoye uses the back end of her spear to shoot electricity through the roof of the car, DEACTIVATING SHURI'S KIMOYO BEAD. It pops back into its spherical form and rolls off the roof into Okoye's waiting hand outside the driver's side window. She takes control of the car as...</scene_description> <character>OKOYE</character> <dialogue>Shuri, where are you?</dialogue> </scene> <scene> <stage_direction>EXT. RIRI'S MOTORCYCLE - NIGHT</stage_direction> <scene_description>CLOSE UP ON SHURI'S EYES revealing computerized contact lenses. A HOLOGRAPHIC DISPLAY of the three-leveled roadway projects from the contacts. Her CONTACT LENS see ARMORED CAR and BARRACUDA about to exit the tunnel.</scene_description> <character>GRIOT</character> <dialogue>Princess, I would advise you to take another route.</dialogue> <scene_description>Shuri guns it as a police car tries to sideswipe her from the right.</scene_description> <character>SHURI</character> <dialogue>Not this time.</dialogue> <scene_description>More police vehicles spill into view behind Shuri. She motors along a rail and a line of cars that separate the surface street from a two-lane road down below. Shuri jumps off the rail and lands on top of the armored car while it's in motion. Her shoes magnetically attach to the roof. Three police cars attempt to block the road in front of the armored car.</scene_description> <character>SHURI</character> <dialogue>Okay Griot, now!</dialogue> <scene_description>OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT - CONTINUOUS</stage_direction> <scene_description>The ARMORED CAR suddenly spins one-hundred-and-eighty degrees and TAKES OUT THREE POLICE CARS IN FRONT OF IT. Shuri ends up facing Okoye through the window of the Barracuda.</scene_description> <character>SHURI</character> <dialogue>Nice one right?</dialogue> <scene_description>Okoye gives a "so-so" shrug.</scene_description> <character>SHURI</character> <dialogue>Two more behind us.</dialogue> <scene_description>Inside the Barracuda, Okoye sees a police car approaching in her rearview mirror.</scene_description> <character>OKOYE</character> <dialogue>Go! I'll take care of these niyizibanxha (idiots).</dialogue> <scene_description>Shuri guns the bike as it rides off the top of the armored car, onto the hood of the Barracuda and over the roof and down the back. Okoye stabs her spear through the middle of the car and creates a pipe ramp in the back. She guns the Barracuda backwards and flips the police car over, then spins the car and heads after Shuri. Okoye guns the Barracuda off the two-lane road down to the lower roadway and floors it in pursuit of Shuri.</scene_description> <character>GRIOT</character> <dialogue>Princess, there is a surveillance drone locked onto you.</dialogue> <character>SHURI</character> <dialogue>How high?</dialogue> <character>GRIOT</character> <dialogue>60,000 feet.</dialogue> </scene> <scene> <stage_direction>A79 INT. DRONE FLYING FACILITY - NIGHT A79</stage_direction> <scene_description>A DRONE OPERATOR has both Shuri's motorcycle and Okoye's Barracuda locked into his screen.</scene_description> </scene> <scene> <stage_direction>B79 EXT. CAMBRIDGE SKY - NIGHT B79</stage_direction> <scene_description>Riri gracefully spirals through the air.</scene_description> <character>RIRI</character> <dialogue>I got it.</dialogue> <character>SHURI (O.S.)</character> <dialogue>Is your suit capable of reaching that altitude?</dialogue> <character>RIRI</character> <dialogue>Theoretically.</dialogue> <scene_description>Riri launches herself... straight up. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. CAMBRIDGE SKY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Riri corkscrews up and her suit begins to rattle. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIRI'S MOTORCYCLE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Turning a corner, Shuri spots FBI VEHICLE LIGHTS approaching in the distance ahead.</scene_description> <character>SHURI</character> <dialogue>Riri, that drone is too high for you to reach without an oxygen mask.</dialogue> </scene> <scene> <stage_direction>EXT. NIGHT SKY - HIGH ABOVE CAMBRIDGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Pushing the limits of her suit, Riri climbs higher.</scene_description> <character>SHURI (O.S.)</character> <dialogue>But I think it's too high for you to reach without an oxygen mask.</dialogue> <character>RIRI</character> <dialogue>I'm good.</dialogue> <character>SHURI (O.S.)</character> <dialogue>I'm serious. Your window of useful consciousness is closing.</dialogue> <scene_description>Finally, approaching the surveillance aircraft, Riri passes out as she aims and fires a REPULSOR BLAST. We whip pan with the blast towards the oncoming drone, as Riri plummets towards the ocean waters below.</scene_description> </scene> <scene> <stage_direction>AA84 INT. DRONE FLYING FACILITY - NIGHT AA84</stage_direction> <scene_description>The Drone operator observes the oncoming blast.</scene_description> <character>DRONE OPERATOR</character> <dialogue>What the hell is that?</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Incoming!</dialogue> <scene_description>He pulls the control up.</scene_description> </scene> <scene> <stage_direction>AB84 EXT. NIGHT SKY - ABOVE CAMBRIDGE AB84</stage_direction> <scene_description>The DRONE EXPLODES on contact with the REPULSOR BLAST.</scene_description> </scene> <scene> <stage_direction>A84 INT. DRONE FLYING FACILITY - NIGHT A84</stage_direction> <scene_description>The Drone Operator loses image on his screen.</scene_description> <character>DRONE OPERATOR</character> <dialogue>We've been hit! I've lost visuals.</dialogue> </scene> <scene> <stage_direction>B84 EXT. CAMBRIDGE STREETS - NIGHT B84</stage_direction> <scene_description>Shuri and Okoye gun it towards the bridge.</scene_description> <character>GRIOT (O.S.)</character> <dialogue>The drone is no longer tracking you.</dialogue> <scene_description>In GRIOT-VISION, Shuri sees Riri plunging from the sky.</scene_description> </scene> <scene> <stage_direction>C84 EXT. NIGHT SKY - HIGH ABOVE CAMBRIDGE - NIGHT - CONTINUOUS C84</stage_direction> <scene_description>In FREEFALL...Riri hurtles toward the ground but just before impact, snaps to and IGNITES HER THRUSTERS. Leveling off, Riri flies parallel to the river heading toward the HARVARD BRIDGE.</scene_description> <character>RIRI</character> <parenthetical>(woozy)</parenthetical> <dialogue>Told you I was good.</dialogue> <scene_description>OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. CAMBRIDGE STREET - NIGHT</stage_direction> <scene_description>Shuri steers Riri's motorcycle for the bridge where Okoye pulls next to her.</scene_description> <character>OKOYE</character> <dialogue>We need to find an extraction point.</dialogue> <character>SHURI</character> <dialogue>It should be clear across the river.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT - CONTINUOUS</stage_direction> <scene_description>Okoye pulls up next to Shuri and eyes the blockade...</scene_description> <character>OKOYE</character> <dialogue>Cini bethuna!</dialogue> <scene_description>Then, out of nowhere... BOOM!! THE SURVEILANCE AIRCRAFT THAT RIRI SHOT DOWN DROPS FROM THE SKY, WIPING OUT THE BLOCKADE, CLEARING A DEBRIS FILLED PATH FOR THEM.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - HARVARD BRIDGE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Leading the motorcycle and Barracuda, flying over the bridge.</scene_description> <character>RIRI</character> <dialogue>That's what I'm talking about! We did it!</dialogue> <scene_description>Riri air-breaks and turns toward Shuri and Okoye when the unimaginable happens:</scene_description> <character>RIRI'S SUIT IS IMPALED BY A HARPOON, AND SHE IS YANKED TO THE</character> <dialogue>GROUND BY AN UNSEEN FORCE. Her laptop is dislodged on impact.</dialogue> <scene_description>OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT - CONTINUOUS</stage_direction> <scene_description>Before Okoye can respond an UNEXPECTED MASSIVE EXPLOSION OF WATER causes both vehicles to WRECK. The Barracuda HYDROPLANES into Shuri's bike and Shuri goes FLYING to the asphalt as the Barracuda's wheels grab dry pavement, sending the car FLIPPING in a barrel roll. Shuri's kimoyo beads activate, deploying a force shield that takes the brunt of the impact. However, Shuri is still knocked out cold. Okoye's car and Shuri come to a stop at the same time, not far apart and the Barracuda bursts into flames.</scene_description> </scene> <scene> <stage_direction>I/E. RIRI'S BARRACUDA - NIGHT - CONTINUOUS</stage_direction> <scene_description>Okoye, badly roughed up, climbs out. It doesn't look good for either Riri or Shuri. Both are unconscious. WATER COVERS EVERYTHING, confusing Okoye. She touches her Kimoyo Bead to Shuri's neck and Shuri's vitals project. Okoye's eyes soften at this.</scene_description> <character>OKOYE</character> <dialogue>Breathe, sister.</dialogue> <scene_description>Then, Okoye hears the sound of METAL SCRAPING and looks up to find Riri being dragged in her MARK 1 SUIT toward the side of the bridge by the chain. Sprinting over, Okoye extends her SPEAR and CHOPS clear through the chain. The chain is pulled over the edge down into the water. Okoye eyes around vigilantly. Nothing, until... SUDDENLY, AN ORCA BREACHES THE WATER HIGH OVER THE BRIDGE AND NAMORA AND THREE OTHER TALOCANIL WARRIORS LAND ON THE ASPHALT. BEHIND OKOYE, A HUMPBACK WHALE BREACHES AND ATTUMA JUMPS OFF AND LANDS. Okoye positions herself between the Talocanil and her fallen comrades.</scene_description> <character>OKOYE</character> <dialogue>Take another step closer and I'll kill you all.</dialogue> <scene_description>Okoye prepares for battle as a BOSTON POLICE CAR pulls up and TWO OFFICERS hop out.</scene_description> <character>BOSTON POLICE OFFICER</character> <dialogue>Drop your weapons!</dialogue> <scene_description>Namora clocks this. Turns to the Talocanil, speaking Maya.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>Kill the scientist. I'll deal with the witnesses.</dialogue> <scene_description>Namora sprints toward the police. The TALOCANIL WARRIORS attack Okoye as Attuma circles their fight, coaching them up in Maya. Engaging all three, Okoye notices the Talocanil are weakened by the heat of the burning car and uses it to her advantage. Landing vicious blows while avoiding strikes, Okoye observes Attuma watching her, then goes after the Talocanil's rebreathers. Dislodging the rebreathers, the Talocanil gasp for water and Okoye lands kill shots on each. She looks around for Attuma but sees him- standing over Riri about to deliver a fatal blow. Okoye charges at him and at the last second deflects his spear, cuts his face and stands on guard between the warrior and the unconscious young women. Attuma backs up and speaks to the fallen Talocanil warriors.</scene_description> <character>ATTUMA (SUBTITLE)</character> <dialogue>Go to Namora.</dialogue> <scene_description>Okoye looks on, shocked to see her deathblows were only wounds for the warriors as they stand and jump back into the water. ATTUMA nods, then rushes Okoye, unnaturally fast for his size. Okoye fearlessly engages Attuma but he is too big, too skilled, too fast and too strong. After a series of exchanges, Attuma pauses, unimpressed.</scene_description> <character>ATTUMA (SUBTITLE)</character> <dialogue>You're not worth my blade.</dialogue> <scene_description>Sensing his slight, Okoye charges forward and PUNCHES ATTUMA knocking him back. Excited, he grins. Someone on his level to tangle with. But PUSHING the Cambridge police car into the river, Namora turns, speaking in Maya.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>What's taking so long?</dialogue> <scene_description>Irked by the pending face-off, she throws a HYDROBOMB at Attuma who hip checks it into Okoye. Catching sight of it, Okoye fruit ninja's the bomb with her spear unwittingly causes ANOTHER MASSIVE EXPLOSION OF WATER. OVERWHELMED BY THE DELUGE, OKOYE IS SWEPT OVER THE SIDE OF THE BRIDGE INTO THE CHARLES RIVER BELOW. Shuri is jarred awake by the SOUND OF THE EXPLOSION, just in time to see Attuma preparing to execute her. As he approaches, Shuri moves between them.</scene_description> <character>SHURI</character> <dialogue>Wait!</dialogue> <scene_description>Shuri removes her helmet.</scene_description> <character>GRIOT</character> <dialogue>He can't understand you Princess. They're speaking Yucatec Maya.</dialogue> <scene_description>Attuma continues toward them.</scene_description> <character>SHURI</character> <dialogue>Translate...</dialogue> <scene_description>Shuri holds up her KIMOYO BRACELET and Griot translates her words in Maya.</scene_description> <character>SHURI</character> <dialogue>I am Shuri, Princess of Wakanda. I ask that you take me to Namor. Before you harm this woman please allow me to speak with him.</dialogue> <character>GRIOT (YUCATEC)</character> <dialogue>I am Shuri, Princess of Wakanda. I ask that you take me to Namor. Before you harm this woman please allow me to speak with him.</dialogue> <scene_description>Attuma and Namora consider this. (points at Shuri) They are coming with us... alive! Attuma pulls off Shuri's Kimoyo Bracelet and tosses it, then removes his REBREATHER and places it over her face. Shuri breathes in and loses consciousness. Namora motions to the other Talocanil.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>Take that flying machine as well.</dialogue> <scene_description>Namora approaches Riri, rebreather in hand...</scene_description> </scene> <scene> <stage_direction>EXT. CHARLES RIVER - NIGHT - A MOMENT LATER</stage_direction> <scene_description>Okoye regains consciousness seeing ATTUMA and NAMORA fleeing with Shuri and Riri into the distant depths. She screams.</scene_description> </scene> <scene> <stage_direction>EXT. HARVARD BRIDGE - MORNING</stage_direction> <scene_description>FBI AGENTS work the crime scene with CAMBRIDGE POLICE. Everyone involved was killed. Ross takes in the destruction, then stops a passing FEDERAL AGENT.</scene_description> <character>ROSS</character> <dialogue>Any witnesses?</dialogue> <character>FEDERAL AGENT</character> <dialogue>None... But we know it was the Wakandans. We knew they were coming.</dialogue> <scene_description>This throws Ross.</scene_description> <character>ROSS</character> <dialogue>Excuse me?</dialogue> <character>FEDERAL AGENT</character> <dialogue>Our field office got a call from you guys at Langley.</dialogue> <character>ROSS</character> <dialogue>Who made the call?</dialogue> <character>FEDERAL AGENT</character> <dialogue>She did.</dialogue> <scene_description>Ross watches the agent walk away as a tinted BLACK SUV pulls up in front of him. VAL (50's, White, CIA Shadow Director) climbs out of the back. She's in a plain business suit with the eyes of a soldier. Val steps to Ross, taking in the scene with razor sharp focus.</scene_description> <character>ROSS</character> <dialogue>Director de Fontaine...</dialogue> <character>VAL</character> <dialogue>Really?</dialogue> <scene_description>Ross shrugs that off. Val sighs. They stroll a bit.</scene_description> <character>ROSS</character> <dialogue>An agent said this was the Wakandans?</dialogue> <character>VAL</character> <dialogue>We've been on every one of them we can find since they took out our cargo ship. It's why I wanted you here.</dialogue> <scene_description>She looks at Ross who nods. Val checks him out.</scene_description> <character>VAL</character> <dialogue>You look in shape.</dialogue> <character>ROSS</character> <dialogue>I try.</dialogue> <character>VAL</character> <dialogue>You put the home gym in?</dialogue> <character>ROSS</character> <dialogue>Last year, hardly use it though.</dialogue> <character>VAL</character> <parenthetical>(playing interested)</parenthetical> <dialogue>Maybe I'll swing by sometime, jump on your Peleton...</dialogue> <parenthetical>(then off Ross' look)</parenthetical> <dialogue>Come on, Everett. When we were married you could take a joke. You know I hate bike riding...</dialogue> <scene_description>An FBI AGENT interrupts to update Val.</scene_description> <character>FBI SPECIAL AGENT</character> <dialogue>Howdy, I'm the Special Agent in charge.</dialogue> <character>VAL</character> <dialogue>Good for you. Now, do you want to walk me through the evidence?</dialogue> <scene_description>The agent takes a moment to recover as glancing away, Ross spots an INVESTIGATING AGENT tagging a piece of evidence.</scene_description> <character>ROSS</character> <dialogue>Pardon me.</dialogue> <scene_description>Ross casually approaches the agent... ...only to spot something more intriguing on the ground in front of him. He bends down, picking up Shuri's KIMOYO BRACELET when...</scene_description> <character>VAL (O.S.)</character> <dialogue>Hey. You see that?</dialogue> <scene_description>Ross freezes, turning slowly to find Val pointing at a LIGHT POLE. Visibly behind it on the ground is RIRI'S TOUGHBOOK.</scene_description> <character>VAL</character> <dialogue>Looks like an MIT patch on that.</dialogue> <scene_description>FBI Agents move in to tag the TOUGHBOOK as Ross slips the Kimoyo Bracelet in his pocket.</scene_description> <character>VAL</character> <dialogue>Everett?</dialogue> <scene_description>Everett turns towards her, slyly moving his hand from his pocket.</scene_description> <character>VAL</character> <dialogue>That rental have a full tank?</dialogue> <character>ROSS</character> <dialogue>Yeah.</dialogue> <character>VAL</character> <dialogue>Mind giving me a ride back to the office?</dialogue> <character>ROSS</character> <dialogue>It's a 8 hour drive.</dialogue> <character>VAL</character> <dialogue>Yup. We can go over this case. It'll be like old times.</dialogue> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - MORNING</stage_direction> <scene_description>Ramonda, M'Baku, the Tribal Elders, and members of the Kingsguard, Border Tribe and Wakandan Navy have all gathered.</scene_description> <character>OKOYE</character> <dialogue>...they were blue, and had superhuman strength. These were men beyond men and covered in vibranium, including their weapons. And came from the water on the backs of whales. They seemed sensitive to fire, heat.</dialogue> <character>OKOYE</character> <dialogue>I struck three down with blows that should have killed them, but they rose again to return to the river.</dialogue> <character>MERCHANT TRIBE ELDER</character> <dialogue>Are you claiming they cannot be killed?</dialogue> <character>OKOYE</character> <dialogue>Anyone can be killed. My Queen, I seek to leave immediately with our best warriors and weapons to find the Princess-</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>Tell us, whose idea was it to send the Princess away from the safety of Wakanda?</dialogue> <character>OKOYE</character> <dialogue>It was my idea.</dialogue> <character>MINING TRIBE ELDER</character> <dialogue>By Wakandan law failing to protect a member of the royal family warrants termination.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>In letter... not practice.</dialogue> <scene_description>Okoye is taken aback.</scene_description> <character>OKOYE</character> <dialogue>Wait, what is going on here?</dialogue> <character>RAMONDA</character> <dialogue>Step forward, General Okoye.</dialogue> <scene_description>Okoye obliges.</scene_description> <character>RAMONDA</character> <dialogue>Your mission above any other was to keep Princess Shuri safe at all costs and she is now gone.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You will be stripped of your rank as general of Wakanda's armies, and of your status as Dora Milaje.</dialogue> <scene_description>Startled, Okoye stares in disbelief at Ramonda. The other Dora look on confused and hurt. M'Baku sits silent, watching.</scene_description> <character>OKOYE</character> <dialogue>Permission to speak, Queen.</dialogue> <character>RAMONDA</character> <dialogue>You may.</dialogue> <character>OKOYE</character> <dialogue>There is not a Wakandan alive who can best me in combat. Please. I have given everything...with not regrets. I only ask that I may continue to give to my country.</dialogue> <scene_description>Ramonda stares forward, unmoved.</scene_description> <character>OKOYE</character> <dialogue>Your majesty, in the name of Bast, please, I plead for mercy. Allow me to make this right.</dialogue> <character>RAMONDA</character> <dialogue>Want her back? Because of your failures I do not know if my daughter is alive or dead.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Perhaps we are being hasty. General Okoye raised her spear to her own husband, for Wakanda.</dialogue> <scene_description>Fed up, Ramonda abruptly stands.</scene_description> <character>RAMONDA</character> <dialogue>And where is her treacherous husband now? In a place where she can visit him if she wished. Mine is with the ancestors.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I am Queen of the most powerful nation in the world and my entire family is gone.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Have I not given everything, Okoye daughter of Korabo?</dialogue> <parenthetical>(pained)</parenthetical> <character>RAMONDA</character> <dialogue>I stood by you after Killmonger took the throne and you and the elders in this room stood by him while I ran begging to the Jabari for protection. I warned you about taking my daughter on this mission. But you lost her, so today I am done.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You are dismissed.</dialogue> <scene_description>Crushed, Okoye slams her spear into the clay platform, fighting back tears. After she's gone, Ramonda turns to Ayo.</scene_description> <character>RAMONDA</character> <dialogue>Ayo, daughter of Kani. You are now leader of the Dora Milaje, and General of Wakanda's armies.</dialogue> <scene_description>Ayo lifts Okoye's golden spear from the mound.</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WDG - DAY - LATER</stage_direction> <scene_description>Distraught, Ramonda enters and looks around awkwardly. She holds the KIMOYO EARRINGS that she took from Shuri in the Wakandan Bush and eyes them with a heavy heart. Ramonda walks toward the massive VB DETECTOR, marveling at the invention.</scene_description> <character>RAMONDA</character> <dialogue>Are you here, Griot?</dialogue> <character>GRIOT</character> <dialogue>Yes Queen.</dialogue> <character>RAMONDA</character> <dialogue>Were you monitoring the Princess when she was abducted?</dialogue> <character>GRIOT</character> <dialogue>She wasn't abducted.</dialogue> <scene_description>Griot plays a RECORDING of Shuri from the bridge.</scene_description> <character>SHURI (RECORDING)</character> <dialogue>I am Shuri, Princess of Wakanda. I ask that you take me to Namor. Before you harm this woman please allow me to speak with him.</dialogue> <scene_description>Tears well in Ramonda's eyes.</scene_description> <character>RAMONDA</character> <dialogue>What language is that?</dialogue> <character>GRIOT</character> <dialogue>They spoke Maya. I was the Princess' interpreter.</dialogue> <character>RAMONDA</character> <dialogue>Are you able to track her Kimoyo Bead now?</dialogue> <character>GRIOT</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>AA101 EXT. PARKING LOT - BUSH CENTER OF INTELLIGENCE - DAY AA101</stage_direction> <scene_description>Ross' rental car pulls into Val's parking spot.</scene_description> </scene> <scene> <stage_direction>INT. ROSS' RENTAL CAR - DAY</stage_direction> <scene_description>Ross sits behind the wheel Val sits shotgun. Val checks her phone.</scene_description> <character>VAL</character> <dialogue>Ballistics found slugs all over Cambridge. The Wakandans took our boys for quite a tour of the city.</dialogue> <character>ROSS</character> <dialogue>Those guys could have hit innocent bystanders...</dialogue> <character>VAL</character> <parenthetical>(alt)</parenthetical> <dialogue>Good for you, Ross. That's exactly right. You know the Feds get twitchy when things get hairy, never mind the local boys. Still no sign of our student?</dialogue> <character>ROSS</character> <dialogue>Riri Williams has vanished. These Wakandan operatives are good. First they hit the ship, then the kid who invented the detector.</dialogue> <character>VAL</character> <dialogue>I still can't see how they figured out who built it. That information's beyond classified.</dialogue> <scene_description>Suddenly SHURI'S KIMOYO BEADS RING in Ross' pocket.</scene_description> <character>VAL</character> <dialogue>New ringtone?</dialogue> <character>ROSS</character> <parenthetical>(to Val)</parenthetical> <dialogue>Director de Fontaine, I'm going to have to take this.</dialogue> <character>VAL</character> <dialogue>Enough with the titles, Ross. And go head, take it.</dialogue> <scene_description>Thinking fast, Ross adjusts his hand in his pocket and silences the Kimoyo Bead and pulls out his cellphone with the same hand.</scene_description> <character>ROSS</character> <dialogue>Hey sweetheart. Yeah I'm with the new director now... No... she's actually in my car.</dialogue> <scene_description>Val smiles at this, getting the point.</scene_description> <character>VAL</character> <dialogue>See you in a bit.</dialogue> <character>ROSS</character> <dialogue>I'm gonna work from home... take a shower....</dialogue> <scene_description>She gets out the car and nods. Ross watches as she heads towards the office. Ross drives in Virginia. \*</scene_description> <character>RAMONDA (V.O.) \*</character> <dialogue>Everett Ross. \*</dialogue> <character>ROSS \*</character> <dialogue>Queen Ramonda. \*</dialogue> <character>RAMONDA (V.O.) \*</character> <dialogue>What are yo doing with Shuri's \* kimoyo beads. \*</dialogue> <character>RAMONDA (V.O.) \*</character> <dialogue>Everett Ross. What are you doing \* with Shuri's kimoyo beads? \*</dialogue> <scene_description>Ross looks down toward his pocket and pulls out of the \* parking spot. \*</scene_description> <character>ROSS \*</character> <dialogue>Your Highness. I didn't know it was \* hers. I found it at a pretty ugly \* crime scene. I've been trying to \* reach General Okoye but haven't \* been able to get in touch with her \* or the Princess, so I was trying to \* figure out how this thing works. \*</dialogue> <scene_description>A101 OMITTED A101 B101 OMITTED B101</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WDG - DAY</stage_direction> <scene_description>Ramonda eyes Ross via hologram, listening intently.</scene_description> <character>ROSS \*</character> <dialogue>Do you have the student? \*</dialogue> <character>RAMONDA \*</character> <dialogue>Shuri was trying to save her when \* they were both taken. \*</dialogue> <character>ROSS \*</character> <dialogue>What? Taken by who? \*</dialogue> <scene_description>Ramonda's concerned tone lands on Ross. \*</scene_description> <character>ROSS (CONT'D) \*</character> <dialogue>They came to me a day ago looking \* for someone. \*</dialogue> <character>RAMONDA \*</character> <dialogue>The American student. \*</dialogue> <character>ROSS \*</character> <dialogue>Yeah, well, it seems like someone \* else might have got to her first. \* Or got to them. \*</dialogue> <character>RAMONDA \*</character> <dialogue>..Yes. \*</dialogue> <scene_description>Ramonda's concerned tone lands on Ross.</scene_description> <character>ROSS</character> <dialogue>It would be great to know who we're \* dealing with. Your highness. My \* entire Agency assumes it was you and I'm worried they might be onto the fact that I pointed Shuri and Okoye in the right direction.</dialogue> <scene_description>Ramonda remains completely silent. After a moment, Ross resigns and moves on.</scene_description> <character>ROSS</character> <dialogue>The Princess saved my life, Queen Ramonda and honestly, I trust Wakanda more than my own government most of the time. If they're in danger, I'd like to help. But I can't if I don't know what's going on. Can you at least say what you \* want with the student? \*</dialogue> <character>RAMONDA \*</character> <dialogue>I'm afraid there's a new world \* power at play. \*</dialogue> <character>ROSS \*</character> <dialogue>Is it a country that's on our \* radar? Or are you talking about \* someone else? \*</dialogue> <character>RAMONDA \*</character> <dialogue>This is all I can share for the \* time being. \*</dialogue> <scene_description>(beat) \* You can help by alerting me if your \* government decides to act on their \* suspicions. \*</scene_description> <character>ROSS \*</character> <dialogue>Fine. Please keep me posted. \* Obviously you know how much Shuri \* means to me. \*</dialogue> <character>RAMONDA \*</character> <dialogue>I don't want anything, Everett. \* Aside from her safety. Shuri was \* taken trying to save her. \*</dialogue> <scene_description>Ross considers this. \*</scene_description> <character>ROSS \*</character> <dialogue>Taken by who? \*</dialogue> <scene_description>(beat) \* We recovered the student's laptop. If \* we find something useful, I'll let \* you know. \* Ramonda leans forward. \*</scene_description> <character>RAMONDA \*</character> <dialogue>You have the girl's computer? \*</dialogue> <character>ROSS \*</character> <dialogue>Slow down. The thing's got some \* next level encryption going on. \* It'll take, at minimum, a week to \* crack and that's our best guys. \*</dialogue> <scene_description>Ramonda muses. \*</scene_description> <character>RAMONDA \*</character> <dialogue>Can I count on you if I need you, \* Everett? \*</dialogue> <scene_description>Ross thinks on this. \*</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - NOSY NATO - MADAGASCAR - NIGHT</stage_direction> <scene_description>The Royal Talon Fighter parks on the sand and Ramonda exits, her crown removed. She blows in the CONCH SHELL given to her by Namor and throws it into the ocean.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - NOSY NATO - MADAGASCAR - NIGHT - HOURS LATER</stage_direction> <scene_description>Namor emerges from the ocean.</scene_description> <character>NAMOR</character> <dialogue>What can I do for you, Queen?</dialogue> <scene_description>Ramonda stares at the ocean.</scene_description> <character>RAMONDA</character> <dialogue>Why did you send your warriors after mine? We had the scientist.</dialogue> <character>NAMOR</character> <dialogue>I could not be sure you would deliver her to me. And the protection of my people is my only concern.</dialogue> <character>RAMONDA</character> <dialogue>Is my daughter alive?</dialogue> <character>NAMOR</character> <dialogue>The Princess is alive and well.</dialogue> <character>RAMONDA</character> <dialogue>Please return her to me at once.</dialogue> <character>NAMOR</character> <dialogue>She requested to be taken to Talocan. She will remain there for the time being.</dialogue> <character>RAMONDA</character> <dialogue>What can I offer you in exchange?</dialogue> <character>NAMOR</character> <dialogue>Nothing.</dialogue> <scene_description>Namor turns to go. \*</scene_description> <character>RAMONDA \*</character> <dialogue>The Americans are preparing to \* blame Wakanda for your attack on \* their mining ship. Bring my \* daughter and the scientist to me at \* once or I will tell them of your \* existence. \*</dialogue> <character>RAMONDA (CONT'D) \*</character> <dialogue>I beg to differ. Your warriors left \* loose ends. The specifications that \* detail how the vibranium detector \* was built has fallen into CIA \* hands. They have not cracked the \* security on the laptop yet but they \* will soon. \*</dialogue> <scene_description>Namor listens to this... almost unaffected. \*</scene_description> <character>RAMONDA (CONT'D) \*</character> <dialogue>I'll ensure the contents of the \* laptop are destroyed in exchange \* for my daughter's safe return. \*</dialogue> <scene_description>Namor sits down next to Ramonda, gazing in her eyes. \*</scene_description> <character>NAMOR</character> <dialogue>If you tell the Americans about us, if you try to find us or if I discover a single Wakandan ship in the ocean, I will kill the Princess, and then I will come to Wakanda and kill you. Do you understand? You have two days, Queen.</dialogue> <scene_description>Namor heads back into the ocean. Ramonda looks to the \* horizon, prays. \*</scene_description> <character>RAMONDA \*</character> <dialogue>Bast, please allow Nakia to rescue \* my daughter before Namor returns to \* her. \*</dialogue> <scene_description>Ramonda rises, heading toward the Royal Talon Fighter. \* Leaving Namor to look at the ocean. \*</scene_description> </scene> <scene> <stage_direction>INT. ROYAL TALON FIGHTER - NIGHT</stage_direction> <scene_description>Ramonda boards the Royal Talon Fighter and speaks to GRIOT who is piloting the aircraft.</scene_description> <character>GRIOT \*</character> <dialogue>Where to, my queen? \*</dialogue> <character>RAMONDA \*</character> <dialogue>I need to see an old friend. Nakia, \* daughter of Yaa. \*</dialogue> <character>GRIOT \*</character> <dialogue>I apologize my queen. The princess \* forbade me from collecting data on \* Nakia daughter of Yaa. She said she \* is, and I quote, "Dead to me." \*</dialogue> <character>RAMONDA \*</character> <dialogue>I do not need data from you about \* the love of my son's life. I know \* exactly where she is. \*</dialogue> </scene> <scene> <stage_direction>EXT. PORT DU PRINCE - HAITI - DAY</stage_direction> <scene_description>Bustling downtown airport. Ships dock.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - HAITIAN SCHOOL - DAY</stage_direction> <scene_description>In disguise, Ramonda walks up patiently, observing a group of HAITIAN CHILDREN playing soccer in the square of the field. After a moment, a BOY (7) and girl jog up to her Speaking Haitian Creole.</scene_description> <character>BOY (SUBTITLE)</character> <dialogue>You're here for the head mistress?</dialogue> <character>RAMONDA (SUBTITLE)</character> <dialogue>Yes.</dialogue> <scene_description>The boy leads them up a set of stairs.</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR HALLWAY - HAITIAN SCHOOL - DAY - MOMENTS</stage_direction> <character>LATER</character> <dialogue>The children lead Ramonda towards NAKIA who is helping a class of YOUNG STUDENTS who are looking at the innovative ad- hoc sustainable garden.</dialogue> <character>BOY (SUBTITLE)</character> <dialogue>She is there.</dialogue> <scene_description>The children run off while Ramonda approaches. NAKIA looks up from her work, and freezes mid conversation.</scene_description> <character>RAMONDA (SUBTITLE)</character> <dialogue>Hello.</dialogue> <scene_description>Nakia turns back to the children and the teacher.</scene_description> <character>NAKIA (SUBTITLE)</character> <dialogue>Please excuse us for a moment.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN - HAITIAN SCHOOL - DAY - LATER</stage_direction> <scene_description>Nakia tours Ramonda through the garden.</scene_description> <character>RAMONDA</character> <dialogue>I recognize some of the concepts here. But you are using different materials.</dialogue> <character>NAKIA</character> <dialogue>We are using what we can find here in Haiti. I wanted the school to be self sufficient.</dialogue> <scene_description>Nakia nods. Noticing the irony of this.</scene_description> <character>RAMONDA</character> <dialogue>You were missed at T'Challa's funeral.</dialogue> <scene_description>Nakia looks away, hurt.</scene_description> <character>NAKIA</character> <dialogue>It can't have been easy to bury your son. I was afraid of how final the funeral would be.</dialogue> <character>RAMONDA</character> <dialogue>No matter where you go, you are still Wakandan, Nakia daughter of Yaa. And you know, that death is not the end.</dialogue> <scene_description>Nakia nods.</scene_description> <character>NAKIA</character> <dialogue>I have been seeing the reports. The outreach seems to be going well?</dialogue> <character>RAMONDA</character> <dialogue>It is. But that is not why I'm here.</dialogue> <character>RAMONDA</character> <dialogue>Shuri has been taken.</dialogue> <scene_description>Nakia gasps and takes a long beat.</scene_description> <character>RAMONDA</character> <dialogue>You have infiltrated many nations.</dialogue> <character>NAKIA</character> <dialogue>That was a long time ago. I was a different person then... Queen Mother, I...</dialogue> <character>RAMONDA</character> <dialogue>I need someone who can find where she's being held and rescue her without being seen. I lost my son. You were not there to help me through it. I can't lose my daughter as well.</dialogue> <scene_description>Nakia considers this deeply. Steps forward.</scene_description> <character>NAKIA</character> <dialogue>It's been awhile since I have done a mission. I will need a few things.</dialogue> <scene_description>Ramonda nods, pleased.</scene_description> <character>NAKIA</character> <dialogue>Who on Bast's green earth is foolish enough to risk War with Wakanda?</dialogue> <character>RAMONDA</character> <dialogue>Not on earth. Below it, in the oceans...</dialogue> <scene_description>Nakia's jaw drops.</scene_description> <character>RAMONDA</character> <dialogue>They spoke a Mayan dialect, I imagine we could start in their ancestral homelands. You served in that region before and you still have contacts?</dialogue> <character>NAKIA</character> <dialogue>Old ones... But I think I may know where to start.</dialogue> </scene> <scene> <stage_direction>A109 EXT. LANDING PAD - ROYAL PALACE - THE GOLDEN CITY - NIGHT A109</stage_direction> <scene_description>Okoye approaches a Talon Fighter when Ayo steps out from behind it and walks towards Okoye, blocking her path.</scene_description> <character>AYO</character> <dialogue>Okoye... You know I cannot let you board this aircraft.</dialogue> <character>OKOYE</character> <dialogue>I will not rest until I find her... with or without the Queen's blessing.</dialogue> <scene_description>Okoye walks right past Ayo, who bristles and pivots to watch her approach the ship. Ayo lets out a YIP. Okoye looks on as the DORA MILAJE emerge from behind the aircraft, and form a line blocking her path to the aircraft. She looks to her right as SEVERAL KINGSGUARD emerge as well. Okoye stops and turns to face Ayo.</scene_description> <character>AYO</character> <dialogue>We have every war dog and every wakandan satellite searching for her.</dialogue> <character>OKOYE</character> <dialogue>And have they found her yet?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I will not rest knowing she is still out there.</dialogue> <scene_description>Okoye starts towards the Talon Fighter.</scene_description> <character>AYO</character> <dialogue>Okoye!</dialogue> <scene_description>Okoye ignores the command. Ayo bangs her spear one the ground and on cue, the Dora lower their spears towards Okoye. The Kingsguard do as well. Okoye stops and reaches for her sword.</scene_description> <character>AYO</character> <parenthetical>(beat)</parenthetical> <dialogue>You trained us. All of us. Don't make us spill your blood.</dialogue> <scene_description>Okoye grips her sword, doing math on the numbers.</scene_description> <character>OKOYE</character> <parenthetical>(counts the number of warriors)</parenthetical> <dialogue>Just enough.</dialogue> <scene_description>Okoye takes her hand off her weapon and walks back towards the moat. Just as she passes Ayo-</scene_description> <character>OKOYE</character> <dialogue>The gold looks good on you...</dialogue> <scene_description>Ayo dismisses the Dora, but Aneka stays behind. With the landing pad empty, she turns to Ayo, angered.</scene_description> <character>ANEKA</character> <dialogue>Beloved, Namor is out there with our Princess. What harm is it in having Okoye out there searching for her? She is the only one who has faced them in battle.</dialogue> <character>OKOYE</character> <dialogue>It is the Queens orders. She is a civilian now.</dialogue> <character>ANEKA</character> <dialogue>And is her orders as well for the Dora to stand here guarding vehicles?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where is the Queen now?</dialogue> <character>AYO</character> <dialogue>I cannot say.</dialogue> <character>ANEKA</character> <dialogue>Is it because you can't tell me, or because you don't know.</dialogue> <character>AYO</character> <dialogue>It is because it is outside of the scope of your responsibility, soldier.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>It is because it is outside the scope of your duty, soldier.</dialogue> <scene_description>Aneka takes a moment before... She hands Ayo her spear and walks off.</scene_description> </scene> <scene> <stage_direction>B109 EXT. FELIPE CARRILLO PUERTO - YUCATÁN PENINSULA - MORNING B109</stage_direction> <scene_description>On a rural road, a FEMALE MAYAN ELDER approaches a cluster of small homes, sparsely populated. The Mayan Elder pauses spotting Nakia waiting for her, dressed as a student. They speak in Spanish.</scene_description> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>Who are you?</dialogue> <character>NAKIA (SUBTITLE)</character> <dialogue>My name is Maria Aldana. I'm a student from Merida. I've been-</dialogue> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>I'm not interested. Go away.</dialogue> <character>NAKIA (SUBTITLE)</character> <dialogue>Please, if you'd just listen. My professor mentioned a study where you told researchers that you had encountered something...someone unimaginable.</dialogue> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>Nothing good came of speaking with those outsiders. I won't make the same mistake again.</dialogue> <character>NAKIA (SUBTITLE)</character> <dialogue>But if you'd just...</dialogue> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>Leave. Now.</dialogue> <scene_description>She turns and heads into one of the huts. Nakia code-switches to Yucatec Maya.</scene_description> <character>NAKIA (SUBTITLE)</character> <dialogue>I've encountered him too.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I just need to know that I'm not crazy.</dialogue> <parenthetical>(pleading)</parenthetical> <dialogue>Please.</dialogue> <scene_description>The Mayan Elder pauses at the entrance to her home. She nods her head, then goes inside. Nakia follows.</scene_description> </scene> <scene> <stage_direction>C109 INT. ELDER'S HOME - YUCATÁN PENINSULA - A BIT LATER C109</stage_direction> <scene_description>The Mayan Elder slides a cocoa drink on a table in front of Nakia as she recounts her story. They speak in Spanish.</scene_description> <character>NAKIA (SUBTITLE)</character> <dialogue>...The storm had smashed our boat against the rocks. I thought we were all going to die, but a man with winged feet lifted our boat off the shoal to safety. No one else saw him. They thought I was mad. But I felt his power. I need to find him again. To thank him.</dialogue> <scene_description>Nakia seems to be relieved after unburdening herself. The Mayan Elder stares at her with unblinking eyes.</scene_description> <character>MAYAN ELDER</character> <dialogue>You are very gifted. To you lying comes as easy as breathing.</dialogue> <character>NAKIA</character> <dialogue>I'm sorry?</dialogue> <character>MAYAN ELDER</character> <dialogue>I am willing to give you the information you seek. But it will not be without a price. I want the truth about who you are.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Your secret will not leave the walls of this hut.</dialogue> <character>NAKIA</character> <dialogue>I am Nakia, daughter of Yaa. War Dog to the Kingdom of Wakanda. I'm in search of my friend.</dialogue> <scene_description>The Mayan Elder smiles at this.</scene_description> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>When I was young, we would play in the rainforest and sometimes would catch a glimpse of a man with winged feet on the shore of the beach, or a river. Sometimes as a form flitting through the sky.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We thought he was a spirit, not a man. The K'uk'ulkan. Our Feathered Serpent God of this realm and the realm below.</dialogue> <character>NAKIA</character> <dialogue>A god? How is that possible?</dialogue> <scene_description>The Mayan Elder nods, continues.</scene_description> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>On my wedding night, my husband and I left the celebration to swim in the sea. Moonlight glittering off the waves. We were young, foolish. We got swept out by the currents, my dress pulling me down into the depths.</dialogue> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>I lost grip of Josue's hand and started to drown, until I felt myself being lifted out of the water. He brought me back to the shore, Josue unconscious but alive on the sand. Saved, by K'uk'ulkan.</dialogue> <character>NAKIA (SUBTITLE)</character> <dialogue>I would very much like to visit that beach.</dialogue> <scene_description>The Mayan Elder considers this request. With a bit of compassion in her eyes...and suspicion.</scene_description> <character>MAYAN ELDER (SUBTITLE)</character> <dialogue>I can tell you where it is. But be warned, K'uk'ulkan has been here for much longer than you or I. He has saved some, but others who have searched for him with ill in their hearts have never returned. Lost to the depths, forever.</dialogue> </scene> <scene> <stage_direction>INT. VISITOR'S QUARTERS - CAVE SYSTEM - DAY</stage_direction> <scene_description>It's a makeshift room inside of a cave, decorated by Mayan artifacts and KELP FURNISHINGS: a couple hammocks etc. GLOWWORMS line the cave ceiling. Shuri lies in a HAMMOCK unconscious. She jolts awake and peers around, clocking a TALOCANIL WARRIOR in the corner. Shuri reaches for her Kimoyo bead earrings and tries to turn them on, no dice... they are too far underground. She exhales in frustration, then looks around more, seeing RIRI, unconscious in another HAMMOCK. Shuri paces over to her and gently wakes her. Riri jumps up in a panic.</scene_description> <character>RIRI</character> <dialogue>What happened? What's going on?</dialogue> <character>SHURI</character> <dialogue>Riri calm down, we're okay.</dialogue> <scene_description>Riri scans the room, and starts hyperventilating.</scene_description> <character>SHURI</character> <dialogue>Breathe Riri.</dialogue> <character>RIRI</character> <dialogue>Don't tell me to breathe! Where the hell are we?</dialogue> <character>SHURI</character> <dialogue>In a cave.</dialogue> <character>RIRI</character> <dialogue>Oh my god. Oh my god.</dialogue> <scene_description>Riri goes into full panic attack mode. Looking around.</scene_description> <character>SHURI</character> <dialogue>Don't look over there. Look at me.</dialogue> <scene_description>Riri clocks the TALOCANIL WARRIOR.</scene_description> <character>RIRI</character> <dialogue>WHO THE FUCK IS THAT? OH GOD. WHY</dialogue> <character>IS SHE BLUE?!</character> <dialogue>SHURI</dialogue> <scene_description>Riri, close your eyes. Take deep breaths through your nose. Riri obliges.</scene_description> <character>SHURI</character> <dialogue>Deep breaths. Nobody here is going to hurt you. I promise. Breathe deep.</dialogue> <character>RIRI</character> <dialogue>I hate caves.</dialogue> <character>SHURI</character> <dialogue>What do you like?</dialogue> <character>RIRI</character> <dialogue>Cars.</dialogue> <character>SHURI</character> <dialogue>Okay... Think about a great car... Driving on the open road... just guzzling gasoline...</dialogue> <character>RIRI</character> <dialogue>You're terrible at this!</dialogue> <scene_description>But it's working. Riri's breathing begins to slow down.</scene_description> <character>RIRI</character> <dialogue>I knew I shouldn't have come with you. Ya'll wrecked my Barracuda too.</dialogue> <character>SHURI</character> <dialogue>We saved your life as well.</dialogue> <character>RIRI</character> <dialogue>I don't know anything about that. Last thing I remember is taking out a helicopter and a drone to help you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Is there a new Black Panther you can call to come get us?</dialogue> <character>SHURI</character> <dialogue>No.</dialogue> <character>RIRI</character> <dialogue>Why not?</dialogue> <character>SHURI</character> <dialogue>That's not how it works anymore. The Black Panther is gone.</dialogue> <scene_description>Namora enters from a tunnel and walks over to Shuri and Riri with the Female Talocanil Soldier by her side.</scene_description> <character>NAMORA</character> <parenthetical>(Maya with subtitles)</parenthetical> <dialogue>Princess.</dialogue> <scene_description>Shuri looks at Namora, clocking the TRADITIONAL MAYAN DRESS in her hands.</scene_description> <character>NAMORA</character> <parenthetical>(Maya with subtitles)</parenthetical> <dialogue>Here royalty wears traditional clothing. We had this made for you.</dialogue> <scene_description>Shuri and Riri have no idea what Namora is saying. She extends the dress to Shuri.</scene_description> <character>RIRI</character> <dialogue>Do you understand her?</dialogue> <character>SHURI</character> <dialogue>Not completely.</dialogue> <character>NAMORA</character> <parenthetical>(Maya with subtitles)</parenthetical> <dialogue>It is your choice whether to wear it but not doing so would be considered disrespectful.</dialogue> <character>RIRI</character> <dialogue>No way you should put that thing on. It could be for a sacrifice or something. Or like a movie cliche. Woman is given pretty dress. Princess Leia. Belle from Beauty and the Beast. That white chick in Indiana Jones.</dialogue> <scene_description>Shuri takes the dress.</scene_description> <character>SHURI</character> <dialogue>I think it might be their custom.</dialogue> <parenthetical>(holds it up)</parenthetical> <dialogue>You should see what I have to wear to Warrior Falls.</dialogue> <character>RIRI</character> <dialogue>Wait. You're not leaving me in here are you?</dialogue> <character>SHURI</character> <dialogue>I'll be back. You're driving the car. Tires on the asphalt.</dialogue> </scene> <scene> <stage_direction>INT. DRY TUNNEL - CAVE SYSTEM - DAY - MOMENTS LATER</stage_direction> <scene_description>Shuri looks stunning in the dress as Namora leads her toward an opening. They emerge into...</scene_description> </scene> <scene> <stage_direction>INT. NAMOR'S CAVERN - CAVE SYSTEM - DAY - CONTINUOUS</stage_direction> <scene_description>A giant cave with a large pool of water. Stone stairs lead from the shoreline to a HUT. Shuri and Namora step out to a stone path and approach the structure.</scene_description> <character>INT. NAMOR'S MEMOROBILIA HUT - CAVE SYSTEM - DAY - CONTINUOUS</character> <dialogue>Namora brings Shuri into the hut where Namor is waiting, wearing an elaborate headpiece. A POOL in the middle of the floor serves as a water entrance and exit.</dialogue> <dialogue>Shuri notices a blueish tinted PLANT (that looks like the Weber Azul) growing out of the pool. Namora nudges her toward Namor. Shuri smiles, charming him.</dialogue> <character>NAMOR</character> <dialogue>You are safe here, Princess. I will not allow any harm to befall you while you are in my custody.</dialogue> <scene_description>Namora exits through the pool, leaving the two royals to talk. Shuri looks around at the hut, it contains several Post- Classic Period Mayan artifacts and paintings, and many other treasures. Shuri is drawn to beautiful BRACELET WITH JADE ADORNMENTS, fascinated.</scene_description> <character>SHURI</character> <dialogue>I like this one.</dialogue> <scene_description>Namor smiles.</scene_description> <character>NAMOR</character> <dialogue>Funny that you should gravitate towards that. That was my mother's.</dialogue> <scene_description>Namor walks up to Shuri who takes a close look at him.</scene_description> <character>SHURI</character> <dialogue>This is a Mesoamerican artifact. Most likely 15th century...</dialogue> <scene_description>Namor nods.</scene_description> <character>SHURI</character> <dialogue>Your mother was human.</dialogue> <character>NAMOR</character> <dialogue>She was. But then she became something else.</dialogue> <character>SHURI</character> <dialogue>How..?</dialogue> <scene_description>Namor thinks on this and smiles.</scene_description> <character>NAMOR</character> <dialogue>How, is never as important, as why.</dialogue> </scene> <scene> <stage_direction>EXT. TULUM OUTSKIRTS - DAY - 1571 AD (NAMOR FLASHBACK)</stage_direction> <scene_description>A PREGNANT WOMAN stands on the beach search in the sand for something. She finds it, a jade stone. We track with her to a dense jungle near the beach where we find a clan of Yucatec Mayan People gathered in a clearing near a beach.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My father was a Purepecha traveler, but he found love and paradise in piece of the Americas that you would call Tulum today. Then it was Zama.</dialogue> <scene_description>Some are afflicted with smallpox, and it is clear that they are hiding out and waiting.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My mother and her village were driven from their maize farms by Spanish conquistadors who brought smallpox, hateful language, and dogma from another world.</dialogue> <scene_description>The woman places the jade into the mouth of her deceased partner before he is buried.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>Facing starvation, war and disease my people turned to Chaac. Our god of rain and abundance.</dialogue> </scene> <scene> <stage_direction>A114 EXT. CENOTE ENTRANCE - YUCATAN - DAY - 1571 AD A114</stage_direction> <scene_description>The SHAMAN approaches the pool at the snake mouth cave entrance and dives in.</scene_description> </scene> <scene> <stage_direction>B114 EXT. CENOTE ENTRANCE - YUCATAN- DAY - 1571 AD B114</stage_direction> <scene_description>The Shaman emerges from the cenote, holding the blueish tinted Weber Azul plant.</scene_description> </scene> <scene> <stage_direction>C114 EXT. MOUTH OF CENOTE - DAY - 1571 AD C114</stage_direction> <scene_description>The Shaman mixes the plant into a blue potion. In a daytime ceremony, the Shaman distributes the potion to all of the members of the tribe. Namor's Mother argues with the elders about drinking the potion out of fear of what it will do to her baby.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My mother was pregnant with me at the time. She did not want to ingest the plant, for fear of what it may do to me. But the Shaman was convincing.</dialogue> </scene> <scene> <stage_direction>A115 EXT. TULUM OUTSKIRTS - DAY - 1571 AD A115</stage_direction> <scene_description>The elders point to the smallpox lesions on her face and reason with her that she doesn't have a better option. She doesn't relent, until the shaman fashions a BRACELET from a strand of the Weber Azul plant. He places it on her wrist and tells her child will be the first born in the new world. She, along with all the other tribal members, drinks the potion and they all fall unconscious. It looks like a mass suicide.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - TULUM - SUNSET - 1571 AD</stage_direction> <scene_description>Namor's Mother opens her eyes, her smallpox lesions are completely gone, but she is gasping for air through newly formed GILLS on her neck, unable to extract oxygen. Her skin turns iridescent blue. She looks around as other members of her tribe come back to life, but are panicking as they are "drowning" trying to breathe air. The Shaman awakens and runs into the surf. Namor's Mother and the other tribespeople follow suit. Once they are in water, they are able to breathe through their gills, and their skin's natural complexion returns.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>The plant took away their ability to breathe air, but it enabled them to draw oxygen from the sea.</dialogue> <scene_description>BEGIN MONTAGE</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My people settled in the ocean, away from the war and were cured of their diseases.</dialogue> <scene_description>- Namor's Mother gives birth. It is a little boy with no gills (though he can breathe water through his mouth and nose), pointed ears, and winged ankles. This is NAMOR, the first son of the new kingdom.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My mother gave birth to me here, and I became the first born son of Talocan. I was different from other Talocanil. A mutant. I looked different. I was small in size. A runt. But I could breathe the air our ancestors breathed.</dialogue> <scene_description>- Time passes and Namor ages slowly.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>I could swim in the sky and aged slower.</dialogue> <scene_description>- Namor's mother grows old while he still looks pre-pubescent.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>As she grew older, my mother mourned the life on land that she once knew and died with a broken heart.</dialogue> <scene_description>- Young Namor takes his Elderly Mother back to the surface and holds her hand on a beach. She is on her deathbed while they gaze upon the sun as it crests over a mountain.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>My mother made me promise to bury her in the soil of her homeland. But nothing could prepare me for what I would find.</dialogue> </scene> <scene> <stage_direction>A116 INT. BEACH - YUCATAN - DAY - 1631 AD A116</stage_direction> <scene_description>Young Namor exits the water followed by FOUR TALOCANIL SOLDIERS who hold his mother's seaweed wrapped body. The Talocanil Soldiers wear kelp breathing devices. Namor leads them into the foliage.</scene_description> </scene> <scene> <stage_direction>B116 EXT. HACIENDA - YUCUTAN - DAY - 1631 AD B116</stage_direction> <scene_description>Several INDIGENOUS PEOPLE labor in sugar cane fields under the watchful eye of ARMED SPANISH SLAVERS. Some are on horseback. A FRIAR and the HACIENDA OWNER watch from the house as Young Namor emerges from the sugar cane. Young Namor is horrified at the sight of the plantation. The IDIGENOUS PEOPLE notice him and stop working.</scene_description> <character>HACIENDA OWNER (SUBTITLE)</character> <dialogue>Who's child is this?</dialogue> <scene_description>The TALOCANIL SOLDIERS emerge from the sugar cane shocking the INDIGENOUS PEOPLE and the SPANISH SLAVERS, who reach for their flint lock rifles. Namor flies up into the air. A Spanish Slaver fires. Namor and the Talocanil ATTACK! HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>C116 EXT. HACIENDA - YUCATAN - DAY - 1631 AD C116</stage_direction> <scene_description>The Hacienda is ablaze. The Slavers lay dead, the INDIGENOUS PEOPLE RUN FREE. Namor's mother is laid to rest in plot in front of the burning Hacienda. Namor hears the Friar, still alive. He stands over him.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>A Spanish man of faith cursed me as he died by my hand,</dialogue> <scene_description>The Friar, on his deathbed, spits an insult at Namor.</scene_description> <character>FRIAR (SUBTITLE)</character> <dialogue>You are a child with no love!</dialogue> <character>NAMOR (V.O.)</character> <dialogue>And I took my surface name... Namor.</dialogue> <scene_description>Namor kills the Friar, then flies up into the -</scene_description> </scene> <scene> <stage_direction>D116 EXT. SKY - YUCATAN - DAY - 1631 AD D116</stage_direction> <scene_description>Young Namor flies up and looks out. In his POV, we see the land of Yucatan, carved up into several Haciendas. Realization creeps over Young Namor's face.</scene_description> </scene> <scene> <stage_direction>E116 EXT. HACIENDA - YUCATAN - DAY - 1631 AD E116</stage_direction> <scene_description>Namor and his soldiers leave the hacienda and head back towards the ocean.</scene_description> <character>NAMOR (V.O.)</character> <dialogue>I was made King, recognized as Kukulkan, and Talocan grew under my rule.</dialogue> <scene_description>BACK TO:</scene_description> <character>INT. NAMOR'S MEMOROBILIA HUT - CAVE SYSTEM - DAY - PRESENT DAY</character> <dialogue>We see that Namor has toured Shuri around paintings that describe the story he just told. Shuri is moved.</dialogue> <character>SHURI</character> <dialogue>Why are you telling me all of this?</dialogue> <character>NAMOR</character> <dialogue>So that you understand why I must kill the scientist. Colonizers came to our land in search of chocolate and rubber and devastated my people. Now they are coming for our metal. We are more vulnerable than you. We have no sonic shields or cloaking devices. And the seas are being explored to a greater degree everyday.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It is my duty as K'uk'ulkan to protect what we have preserved here at any cost.</dialogue> <scene_description>Shuri nods earnestly.</scene_description> <character>SHURI</character> <dialogue>I understand. But what if we kept her in Wakanda? Let us go and I promise she will remain in my country.</dialogue> <character>NAMOR</character> <dialogue>I cannot risk that, Princess.</dialogue> <character>SHURI</character> <dialogue>Keep me then and let her go.</dialogue> <scene_description>Namor eyes Shuri. Their gaze... interested.</scene_description> <character>NAMOR</character> <dialogue>For a short while, this can be both your homes.</dialogue> <scene_description>Shuri looks around.</scene_description> <character>SHURI</character> <dialogue>...this cave?</dialogue> <character>NAMOR</character> <parenthetical>(smiles)</parenthetical> <dialogue>No. Talocan.</dialogue> <character>SHURI</character> <dialogue>I would love to see it.</dialogue> <character>NAMOR</character> <dialogue>Well, you can't go down there in that. Hypothermia would grip you almost instantaneously. Your blood would become toxic. The pressure of the ocean would break every bone in your body, and even my considerable strength couldn't save you.</dialogue> <scene_description>Shuri looks at Namor, horrified.</scene_description> <character>NAMOR</character> <parenthetical>(smiles)</parenthetical> <dialogue>Or, you could wear a suit.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NAMOR'S CAVERN - CAVE SYSTEM - DAY - MOMENTS LATER</stage_direction> <scene_description>Namor and Shuri stand at the shoreline. Shuri wears Salazar's ATMOSPHERIC DIVING SUIT from the attacked cargo ship.</scene_description> <character>NAMOR</character> <dialogue>Can you hear me princess?</dialogue> <character>SHURI</character> <dialogue>Yes. The earrings work as amplifiers?</dialogue> <scene_description>Namor smiles.</scene_description> <character>SHURI</character> <dialogue>Brilliant.</dialogue> <scene_description>They descend into the water.</scene_description> </scene> <scene> <stage_direction>EXT. DEEP OCEAN - DAY - LATER</stage_direction> <scene_description>Namor and Shuri swim in darkness. Shuri looks around and can see nothing.</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE - TALOCAN - DEEP OCEAN - DAY - CONTINUOUS</stage_direction> <scene_description>Eventually, Shuri can see a large light up ahead and suddenly the large CITY OF TALOCAN and its RESIDENTS come into view. The lanterns in the city are BIOLUMINESCENT. Awed, Shuri watches people going about their daily lives, noticing their skin is BROWN and not blue.</scene_description> <character>NAMOR</character> <dialogue>Now you see... We are you and you are us.</dialogue> <scene_description>She sees a BALLGAME being played and KIDS passing them. Shuri processes this as her gaze falls on an UNDERWATER GARDEN of kelp, seaweed, underwater maize and the blueish Weber Azul- like PLANT the Shaman emerged from the cenote with in Namor's flashback. A cheerful group of TALOCANIL YOUTH work the crops.</scene_description> <character>SHURI</character> <parenthetical>(astonished)</parenthetical> <dialogue>You can grow corn underwater?</dialogue> <character>NAMOR</character> <dialogue>They are teaching each other, playing and working all at once.</dialogue> <character>SHURI</character> <dialogue>Can we go there?</dialogue> <character>NAMOR</character> <dialogue>Maybe another time. It is a sacred place. This way.</dialogue> <scene_description>Namor leads Shuri through the city toward a Mayan Mountain structure. A SASTUN (an underwater light source) GLOWS in the water above it with the same quality of bioluminescent light as the city's lanterns. They stop and Shuri marvels at it as the pedals of the \* pyramid open and the sun rises from it. \*</scene_description> <character>NAMOR (CONT'D) \*</character> <dialogue>It is called the Sastun. We use it \* for our rituals. \*</dialogue> <character>SHURI \*</character> <dialogue>It's beautiful. \*</dialogue> <scene_description>Shuri thinks for a beat, realizes- \*</scene_description> <character>SHURI (CONT'D) \*</character> <dialogue>And it's made of Vibranium. \*</dialogue> <character>NAMOR \*</character> <dialogue>Yes. In the depths of the ocean, I \* brought my people the sun. \*</dialogue> <scene_description>(beat) \* I know you wish to convince me to \* not take the life of the scientist. \* But now you see what I have to \* protect. For this, I would kill a \* thousand scientists, if it meant \* keeping them from finding us. \* They stop and Shuri marvels at it.</scene_description> <character>SHURI</character> <dialogue>These temples and structures. This entire place is remarkable. The engineering and science behind this has to be extraordinarily advanced.</dialogue> <parenthetical>(taking in the Sastun)</parenthetical> <dialogue>And it's all so beautiful...</dialogue> <character>NAMOR \*</character> <dialogue>I wanted to give my mother a gift. \* To repay her and the others who \* settled this place for the gift of \* Talocan. It's called a Sastun. We \* use it for our rituals. \*</dialogue> <character>SHURI \*</character> <dialogue>How does it work? \*</dialogue> <character>NAMOR \*</character> <dialogue>Kelp. \*</dialogue> <scene_description>She eyes Namor, puzzled. \*</scene_description> <character>NAMOR (CONT'D) \*</character> <dialogue>We create our own plant and obsidian \* based optic fibers in the leaves to \* harness the glow of algae. \*</dialogue> <scene_description>Shuri considers this. Impressed. \*</scene_description> <character>SHURI \*</character> <dialogue>Kelp fiber optics. Remarkable. \*</dialogue> <scene_description>Namor gazes back at the sastun longingly. \*</scene_description> <character>NAMOR \*</character> <dialogue>My only wish is that it shined like \* the sun. I remember my mother \* describing Chich'en Itza and \* celebrations like K'uk'ulkan on the \* equinoxes. \*</dialogue> <character>SHURI \*</character> <dialogue>I know that one. \*</dialogue> <character>NAMOR \*</character> <dialogue>I've seen it many times but my \* people cannot. It would be a \* wonderful gift to them to share \* those markings of our past. \*</dialogue> <scene_description>Shuri thinks. \*</scene_description> <character>SHURI \*</character> <dialogue>With the American's help, I can \* make your light shine brighter. \* Enough to create shadows underwater \* like the sun on the surface. \*</dialogue> <scene_description>Namor grins. \*</scene_description> <character>NAMOR \*</character> <dialogue>That is very kind of you to offer, \* Princess. How would you do it? \*</dialogue> <character>SHURI \*</character> <dialogue>With the raw vibranium that you \* already use. Nothing more. \*</dialogue> <character>NAMOR \*</character> <dialogue>And in return? \*</dialogue> <character>SHURI \*</character> <dialogue>Nothing. \*</dialogue> <scene_description>(beat) \* If we're here, we might as well be \* useful. \* Namor ponders on this. \* OMITTED</scene_description> </scene> <scene> <stage_direction>A122 EXT. PARKING LOT - MORNING A122</stage_direction> <scene_description>A MAN in a sharp suit and mustache hustles toward his rental car. Clearly in a hurry, he fumbles with his key fob before the BEEP BEEP indicates that the doors are open. SUDDENLY A HAND WITH A CHLOROFORM RAG covers the man's mouth. After a brief struggle, the hand lowers the man to the ground, revealing EVERETT ROSS.</scene_description> <character>ROSS</character> <dialogue>I'm not saying this is payback for Panama, but...I'm not saying it isn't.</dialogue> <scene_description>Ross exits.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - NSA FACILITY - MORNING</stage_direction> <scene_description>Ross enters in a sharp suit and mustache. Employees scan badges on a SMART-TURNSTILE passing the security desk. A sign on the desk reads:</scene_description> <character>WIRELESS COMMUNICATION DEVICES PROHIBITED INSIDE THE BUILDING</character> <dialogue>ROSS</dialogue> <scene_description>I can't believe I agreed to this. In his ear, we hear...</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>You simply need to get Shuri's kimoyo beads within 2 meters of the laptop for 60 seconds, Everett. We'll handle the rest.</dialogue> <character>ROSS</character> <dialogue>Right.</dialogue> <scene_description>Eyeing the sign, Ross approaches the security desk. The guard lifts his head as Ross hands over his identification.</scene_description> <character>ROSS</character> <parenthetical>(British accent)</parenthetical> <dialogue>Clive Reston, MI:6. I believe your techs have something that belongs to me.</dialogue> <scene_description>Off the guard's look...</scene_description> </scene> <scene> <stage_direction>INT. MACHINE ROOM - NSA FACILITY - MORNING</stage_direction> <scene_description>Ross enters the machine room accompanied by an NSA LIASION. Three NSA COMPUTER TECHNICIANS type on keyboards, observing monitors, each displaying waterfalls of code. A CLANKING SOUND echoes through the room intermittently. Ross clocks the video cameras mounted on the walls - manages to maneuver it their blindspots by constantly shifting his position. He speaks with his BRITISH ACCENT throughout.</scene_description> <character>NSA LIASION</character> <dialogue>It took us some doing, but the team was able to crack the thumb drive overnight, no problem.</dialogue> <scene_description>Camera finds a COMPUTER TECHNICIAN removing a thumb drive from an evidence bin. But where's Riri's laptop?</scene_description> <character>ROSS</character> <dialogue>Thank you, Ms. Davidson.</dialogue> <character>NSA LIASION</character> <dialogue>Please, call me Debbie.</dialogue> <character>ROSS</character> <dialogue>Well Debbie, the information on this thumb drive very well may be the key to finding the "Spymaster". Having Harmon Taylor loose on US soil isn't good for either of our countries.</dialogue> <character>NSA LIASION</character> <dialogue>Is it true that he's never been caught?</dialogue> <character>ROSS</character> <parenthetical>(scanning the room)</parenthetical> <dialogue>Not yet...</dialogue> <scene_description>There it is! A LEAD COMPUTER TECHNICIAN sits at the far side of the room at work table in the middle of the room where we reveal RIRI'S TOUGHBOOK, hooked up to several wires. The technicians eye Ross as he approaches the table, smiling. Ross leans on the table, but has to angle away from a camera, so is VERY CLOSE to the Tech. The CLANKING SOUND continues.</scene_description> <character>ROSS</character> <dialogue>What are you working on, mate?</dialogue> <scene_description>Shuri's kimoyo beads peak out from under Ross' coat cuff.</scene_description> <character>LEAD COMPUTER TECHNICIAN</character> <dialogue>It's classified, sir.</dialogue> <scene_description>Ramonda's voice startles Ross through his comm.</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>Your position is very good, Everett. Our team is interfacing.</dialogue> <character>ROSS</character> <dialogue>The encryption on that thing looks serious. Are you lot going to be able to crack it?</dialogue> <character>NSA LIASION</character> <dialogue>Mr. Reston, we should be going. The team has a lot on their plate...</dialogue> <scene_description>The Lead Computer Technician stares at Ross.</scene_description> <character>LEAD COMPUTER TECHNICIAN</character> <dialogue>Why are you here? And...so close?</dialogue> <scene_description>Ross answers the tech.</scene_description> <character>ROSS</character> <dialogue>Just mildly curious. Wanted to see how it all works on this side of the pond.</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>30 seconds more.</dialogue> <character>LEAD COMPUTER TECHNICIAN</character> <dialogue>Like I said, it's classified.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But straight up, it'll probably be a couple more days. Whoever built this is rig is...sharp.</dialogue> <scene_description>Impatient, the NSA LIASION approaches and grabs Ross' arm.</scene_description> <character>NSA LIASION</character> <dialogue>I'm afraid I must insist, Mr. Reston. This area typically isn't for foreign agents.</dialogue> <scene_description>Ross moves back, hides his disappointment.</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>You moved too soon. No need to be impatient.</dialogue> <character>ROSS</character> <parenthetical>(to Liaison and Ramonda)</parenthetical> <dialogue>...right.</dialogue> <scene_description>Ross strolls towards the exit as the CLANKING continues. He looks towards the ceiling, trying to track it.</scene_description> <character>ROSS</character> <dialogue>How do you lot work in here with that sound? Surely your superiors have to be a way to dampen the sound of your servers in here.</dialogue> <character>LEAD COMPUTER TECHNICIAN</character> <parenthetical>(back to his work)</parenthetical> <dialogue>Not the servers. They still haven't fixed the bathroom upstairs.</dialogue> <scene_description>Ah, that's it! The clanking is coming from right about the Lead Computer Technician.</scene_description> <character>SECOND COMPUTER TECH</character> <dialogue>We've put in three facilities requests this week.</dialogue> <character>ROSS</character> <dialogue>No one moves slower than the paper pushers, right?</dialogue> <scene_description>The technicians nod. The government really does move slowly.</scene_description> <character>ROSS</character> <parenthetical>(holding the thumb drive)</parenthetical> <dialogue>Thanks for this. I'll let MY superiors know just how helpful your team has been.</dialogue> <character>NSA LIASION</character> <dialogue>Thank you, Mr. Reston. Now if you will excuse us, our guest will be leaving now.</dialogue> </scene> <scene> <stage_direction>A123 INT. LOBBY - NSA FACILITY - MORNING A123</stage_direction> <scene_description>The NSA Liaison leads Ross back to the lobby. She looks a little peeved, but honestly she's over it.</scene_description> <character>NSA LIASION</character> <dialogue>Best of luck in catching "Spymaster". Honestly, it sounds more exciting then what we usually do here.</dialogue> <character>ROSS</character> <dialogue>I'll make sure to let you know when we apprehend him. Maybe we'll have dinner to celebrate, Debbie.</dialogue> <character>NSA LIASION</character> <dialogue>I'd like that... Clive.</dialogue> <scene_description>She walks away as Ross' face falls. Ross drops his accent.</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>The laptop remains a problem, Ross.</dialogue> <character>ROSS</character> <dialogue>It's as good as done.</dialogue> <scene_description>Ross walks up to the SECURITY GUARD.</scene_description> <character>ROSS</character> <dialogue>Excuse me. Where's your loo?</dialogue> </scene> <scene> <stage_direction>B123 INT. RESTROOM - NSA FACILITY - MORNING B123</stage_direction> <scene_description>Ross opens the door, pushing aside an out of order sign. The clanking is LOUDEST in here.</scene_description> <character>ROSS</character> <dialogue>The kimoyo bead will transmit through concrete, right?</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>Of course.</dialogue> <character>ROSS</character> <dialogue>Apologies for this.</dialogue> <scene_description>Ross walks to the far stall. He approaches the stall, takes off the kimoyo beads, drops them into the toilet and flushes.</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>Did I just hear a toilet flush?</dialogue> <character>ROSS</character> <dialogue>The steel pipes should amplify the signal from the bead.</dialogue> <scene_description>A pause...</scene_description> <character>RAMONDA (O.S.)</character> <parenthetical>(surprised)</parenthetical> <dialogue>Interfacing for a second time.</dialogue> <character>ROSS</character> <dialogue>Told you.</dialogue> <scene_description>Ross leans against the restroom wall.</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>Smart work planting that thumb drive. You would have made a magnificent War Dog.</dialogue> <character>ROSS</character> <dialogue>Being a spy isn't all it's cracked up to be.</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>It's finished. And the laptop itself.</dialogue> <character>ROSS</character> <dialogue>Now that it's worthless, they'll kick it back to the CIA. I can switch out the rig with a dummy laptop in evidence lockup. Should have it by tomorrow.</dialogue> <character>RAMONDA (O.S.)</character> <dialogue>Thanks you, Everett.</dialogue> <scene_description>Ross flushes the toilet again.</scene_description> <character>ROSS</character> <dialogue>You'll have to send a real War Dog to track down the beads from the sewage facility. I have to go haul a British spy out of my trunk.</dialogue> <scene_description>Ross exits. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. VISITOR'S QUARTERS - TALOCAN - MORNING</stage_direction> <scene_description>Shuri paces while she speaks with a dubious Riri.</scene_description> <character>SHURI</character> <dialogue>When Namor says yes, we have to be ready. Can you do it?</dialogue> <character>RIRI</character> <dialogue>So we can end up out in the middle of the ocean somewhere? Nope.</dialogue> <parenthetical>(off Shuri's look)</parenthetical> <dialogue>Can you even accomplish what you promised him?</dialogue> <character>SHURI</character> <dialogue>What he needs done isn't so difficult. It's what we need that will take time...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If I can get some raw vibranium, I should be able to build an amplifier for my kimoyo beads and make a homing signal.</dialogue> <character>RIRI</character> <dialogue>Will anyone get it from down here?</dialogue> <character>SHURI</character> <dialogue>If they're close enough to us.</dialogue> <scene_description>Riri shakes her head.</scene_description> <character>RIRI</character> <dialogue>I should've listened to Natalie and went to Howard. Hit a couple of real parties. Stomped the yard.</dialogue> <scene_description>Shuri sighs.</scene_description> <character>SHURI</character> <dialogue>Do you want to be down here forever?</dialogue> <scene_description>On cue, Namor and Namora emerge from the pool.</scene_description> <character>NAMOR</character> <dialogue>I have considered your offer, Princess and accept. Namora will supervise your activities.</dialogue> <scene_description>Shuri looks at Riri who shrugs.</scene_description> <character>RIRI</character> <dialogue>Ok, let's go.</dialogue> </scene> <scene> <stage_direction>INT. VISITOR'S QUARTERS - CAVE SYSTEM - DAY - LATER</stage_direction> <scene_description>Namora watches as GLOWING VIBRANIUM ORE is brought to Shuri and Riri who work with an assortment of tools under the purview of FOUR OTHER TALOCANIL WARRIORS as well. Riri assists Shuri as she welds and shapes the raw vibranium into a FIBER OPTIC LIGHT AMPLIFIER.</scene_description> <character>SERIES OF SHOTS:</character> <dialogue>Shuri covertly slips some raw vibranium into her pocket.</dialogue> <dialogue>Riri distracts the TALOCANIL GUARDS as Shuri uses the parts to create a KIMOYO BEAD AMPLIFLYER.</dialogue> <dialogue>Namora approaches, gazing over their shoulders. Shuri deftly hides the bead.</dialogue> <dialogue>Riri hones the vibranium sphere with a Talocanil welding tool.</dialogue> <character>SHURI</character> <dialogue>How old were you when you built your first machine?</dialogue> <character>RIRI</character> <dialogue>Three. My stepdad was a mechanic.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He wanted to build airplanes but it never worked out. I would follow him to his garage. He'd just give me some tools and let me work it out.</dialogue> <character>SHURI</character> <dialogue>It's been a while since I picked up a hammer.</dialogue> <character>RIRI</character> <dialogue>Why?</dialogue> <character>SHURI</character> <dialogue>I have a staff for that.</dialogue> <scene_description>Riri looks at her.</scene_description> </scene> <scene> <stage_direction>A128 EXT. BEACH - TULUM - YUCATAN - DUSK A128</stage_direction> <scene_description>Nakia stands on the beach, a SKIRMISHER VEHICLE hovers next to her. She stares at the ocean when her Kimoyo Bead chirps. She turns and looks back toward the cliff.</scene_description> </scene> <scene> <stage_direction>EXT. CENOTE ENTRANCE - YUCATAN - DUSK</stage_direction> <scene_description>Nakia approaches the snake mouthed entrance to the cliff-side CENOTE that we saw in the flashback. Wearing a GREEN WAKANDAN DIVING SUIT, Nakia sends the SKIRMISHER VEHICLE into the water. Nakia observes a PROJECTION of the CAVE SYSTEM underneath the cenote from her Kimoyo Bead. After spotting a LOCATOR PIN, she radios Queen Ramonda via Kimoyo bead. \*</scene_description> <character>NAKIA \*</character> <dialogue>Queen mother, I think I have found \* where she is being held. Permission \* to proceed? \*</dialogue> </scene> <scene> <stage_direction>B128 INT. ROYAL TALON FIGHTER - SKY B128\*</stage_direction> <scene_description>Ramonda consider's Nakia's words before responding. \*</scene_description> <character>RAMONDA \*</character> <dialogue>Retrieve the princess. By any means \* necessary. I'll attempt to draw \* Namor out. \*</dialogue> <scene_description>A129 OMITTED A129</scene_description> </scene> <scene> <stage_direction>INT. WATER - CENOTE - DUSK</stage_direction> <scene_description>Nakia swims through a sheet of cloudy water and emerges in a vast body of beautiful, clear water. The SKIRMISHER VEHICLE closes around Nakia and a HELMET forms around her head. In her heads up display, she views currents. Motoring toward a massive current, upon entry, Nakia is SPEED BOOSTED AWAY.</scene_description> </scene> <scene> <stage_direction>INT. VISITOR'S QUARTERS - CAVE SYSTEM - NIGHT</stage_direction> <scene_description>Namor observes as Shuri approaches with the FIBER OPTIC LIGHT AMPLIFIER while Riri hides the other two.</scene_description> <character>SHURI</character> <dialogue>We have to attach it to the Sastun.</dialogue> </scene> <scene> <stage_direction>EXT. NAMOR'S TEMPLE - TALOCAN - LATER</stage_direction> <scene_description>Namor and Namora lead Shuri and Riri (both in atmospheric diving suits) and SEVERAL TALOCANIL SOLDIERS toward the temple. Riri gapes, astonished by the city around them. Both Riri and Shuri notice undersea FIBER OPTICS CABLES leading to the sastun.</scene_description> <character>RIRI</character> <dialogue>You see that?</dialogue> <character>SHURI</character> <dialogue>The fiber optic cables?</dialogue> <character>RIRI</character> <dialogue>Bet they're hacking into them. That has to be how they found me.</dialogue> <scene_description>Shuri finds that interesting and cuts her a look.</scene_description> </scene> <scene> <stage_direction>INT. NAMOR'S TEMPLE - TALOCAN - DAY - NIGHT</stage_direction> <scene_description>Namor, Namora and Attuma observe as Shuri connects the fiber optic light amplifier to the fiber optic kelp of the sastun under the watch of Riri and Talocanil scientists. Completing the task, Shuri swims to Namor, blown away by the beauty of the temple. The roof pedals are closed.</scene_description> <character>NAMOR</character> <dialogue>Let us watch the sastun rise.</dialogue> <scene_description>She nods.</scene_description> </scene> <scene> <stage_direction>EXT. TALOCAN - MORNING</stage_direction> <scene_description>Shuri's ENHANCED SASTUN RISES up out of the petal structured roof of the temple, emitting a beautiful bright white light. A SERIES OF SHOTS as Talocanil Civilians tethered to kelp "beds" wake up to witness the ENHANCED SASTUN SHINNING BRIGHTER THAN EVER BEFORE. Namor is wonderstruck as he watches it beam over the temple with Shuri casting SHADOWS. TALOCANIL CIVILIANS emerge from their homes to gaze upon the light in amazement. Shuri looks at Namor who is deeply moved.</scene_description> <character>NAMOR</character> <dialogue>Would you still like to see the garden?</dialogue> <scene_description>Namor smiles, smitten and they swim off as Riri watches.</scene_description> </scene> <scene> <stage_direction>EXT. TALOCANIL GARDENS - TALOCAN - DAY</stage_direction> <scene_description>Namor and Shuri swim through vast rows of kelp, seaweed, Weber Azul plant and underwater maize. Namor runs his hand across the corn as Shuri marvels at the gardens and they continue.</scene_description> </scene> <scene> <stage_direction>A134 INT. NAMOR'S MEMOROBILIA ROOM - CAVE SYSTEM - DAY A134\*</stage_direction> <scene_description>Namor and Shuri sit at the memorabilia hut stairs. \*</scene_description> <character>NAMOR \*</character> <dialogue>You are the first person of the \* surface to come to Talocan. \*</dialogue> <scene_description>(beat) \* Please take this as a token of our \* gratitude. \* Namor ties the bracelet on Shuri's wrist. \*</scene_description> <character>SHURI \*</character> <dialogue>I admire what you have built here, \* and what you have done for your \* people. But as princess of Wakanda, \* I will not stand by as you \* slaughter that young woman. It \* isn't right. My brother made the \* decision that Wakanda would no \* longer hide, would no longer turn \* its back to brutality and tyranny. \* Together, we must find a way of \* moving forward without taking her \* life. \*</dialogue> <character>NAMOR \*</character> <dialogue>It's no longer about the scientist. \* For centuries the surface nations \* have conquered and enslaved each \* other over resources. Since the day \* I buried my mother, I have prepared \* my people for the time they would \* come for us. That machine was the \* sign that the time is now. I need \* to know if Wakanda is an ally or an \* enemy. There is no in between. \*</dialogue> <character>SHURI \*</character> <dialogue>You want to wage war on the entire \* world? That is madness Namor. \*</dialogue> <character>NAMOR \*</character> <dialogue>Is it? There isn't a nation on the \* surface that wouldn't plunder \* Wakanda if given the chance. If we \* form an alliance, we can protect \* each other by striking them first. \* And when the threat of these \* nations has been eliminated... The \* scientist will be returned to \* Wakanda, where she will live out \* the rest of her days. \*</dialogue> <character>SHURI \*</character> <dialogue>And if Wakanda does not accept \* this. \*</dialogue> <character>NAMOR \*</character> <dialogue>Then the scientist dies, and \* Wakanda will be the first of the \* surface nations to fall. \*</dialogue> <character>SHURI \*</character> <dialogue>You're not serious. \*</dialogue> <character>NAMOR \*</character> <dialogue>You are the only nation with \* knowledge of us. And even without \* the Black Panther, Wakanda is the \* only surface nation with the power \* of vibranium. \*</dialogue> <scene_description>(beat) \* I don't want it to come to this. \* But I will not hesitate. \* Shuri thinks on this. \* Namora rises from the water in front of the steps. \*</scene_description> <character>NAMORA \*</character> <dialogue>K'uk'ulkan, you have been summoned. \*</dialogue> <character>NAMOR \*</character> <dialogue>I heard you that night, with your mother at the river. You \* said you wanted to burn the world. Let us burn it together. \*</dialogue> </scene> <scene> <stage_direction>B134 EXT. BEACH - NOSY NATO - MADAGASCAR - DAY B134</stage_direction> <scene_description>Ramonda waits on the beach staring out towards the water, but silently, Namor appears behind her.</scene_description> <character>NAMOR</character> <dialogue>Do you have news for me, Queen?</dialogue> <character>RAMONDA</character> <dialogue>It is done. Return Shuri to me at once.</dialogue> <scene_description>Namor studies her, dubious.</scene_description> <character>NAMOR</character> <dialogue>All plans for the detector have been destroyed?</dialogue> <character>RAMONDA</character> <dialogue>We wiped the laptop before the American authorities could glean any information from it.</dialogue> <character>NAMOR</character> <dialogue>How can I be sure you are telling the truth?</dialogue> <character>RAMONDA</character> <dialogue>I would not risk my daughter's life by lying.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And I ask that you return the student as well. She is innocent.</dialogue> <character>NAMOR</character> <dialogue>That is big a request from someone with no leverage. The scientist is only alive because of your daughter's kindness. She will be executed once the Princess is returned.</dialogue> <character>RAMONDA</character> <dialogue>It is in both our interests that the world not acquire vibranium. We will keep her in Wakanda.</dialogue> <scene_description>Namor doesn't bother to respond.</scene_description> <character>NAMOR</character> <dialogue>I will verify your claim.</dialogue> <character>RAMONDA</character> <dialogue>How long will that take? It's been five days.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>I haven't see her in days.</dialogue> <character>NAMOR</character> <dialogue>It will take as long as it takes. I know where to find you, Queen.</dialogue> <scene_description>Ramonda watches Namor head back into the sea.</scene_description> </scene> <scene> <stage_direction>INT. VISITOR'S QUARTERS - CAVE SYSTEM - DAY</stage_direction> <scene_description>Riri watches Shuri pacing, visibly pensive. TWO TALOCANIL WARRIORS stand guard in the cave.</scene_description> <character>RIRI</character> <dialogue>Are you going to tell me what happened?</dialogue> <character>SHURI</character> <dialogue>I'm thinking.</dialogue> <character>RIRI</character> <dialogue>It looked like you guys were floating off on a date.</dialogue> <scene_description>Shuri cuts her a look.</scene_description> <character>SHURI</character> <dialogue>That was no date. He wants go to war with the surface and asked for my help.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It wouldn't be long before nuclear weapons were being launched into the oceans which would be very bad for everyone.</dialogue> <character>RIRI</character> <dialogue>We need to get the hell out of this cave. I knew that bead idea wouldn't...</dialogue> <scene_description>When suddenly the TWO TALOCANIL WARRIORS are besieged by a \* FLURRY OF VICIOUS STRIKES from an unseen foe. \*</scene_description> <character>RIRI (CONT'D) \*</character> <dialogue>What the hell? \*</dialogue> <scene_description>Made quick work of, the Talocanil lay motionless on the \* ground as... NAKIA DE-CLOAKS wearing high-tech armor and \* holding RING BLADES. \*</scene_description> <character>SHURI \*</character> <dialogue>Nakia? How... \*</dialogue> <character>RIRI \*</character> <dialogue>Is she Wakandan? \*</dialogue> <character>SHURI \*</character> <dialogue>It's complicated. \*</dialogue> <character>NAKIA \*</character> <dialogue>Princess! Let's go. \*</dialogue> <scene_description>Nakia hands Shuri and Riri WAKANDAN REBREATHERS and they \* follow her out down a hallway. \*</scene_description> </scene> <scene> <stage_direction>AA135 INT. VISITORS QUARTERS - CAVE SYSTEM AA135\*</stage_direction> <scene_description>GUARD 2 stands next to Riri, adjacent to Riri's hammock. \* Shuri stands next to GUARD 1. \* Nakia walks in and takes aim at TALOCANIL GUARD 1, then at \* TALOCANIL GUARD 2, who quickly grabs Riri and holds her spear \* to her throat. \*</scene_description> <character>NAKIA \*</character> <dialogue>(Maya with subtitles) \*</dialogue> <scene_description>Drop your weapon! \*</scene_description> <character>GUARD 2 \*</character> <dialogue>(Maya with subtitles) \*</dialogue> <scene_description>Kill the princess. \* GUARD 1 starts to slowly reach for a knife behind her back. \* Nakia sees this and points her gun at GUARD 1. \*</scene_description> <character>NAKIA \*</character> <dialogue>(Mayan with subtitles) \*</dialogue> <scene_description>Don't move. \* (English) \* Shuri come with me. \*</scene_description> <character>SHURI \*</character> <dialogue>Wait. \*</dialogue> <character>RIRI \*</character> <dialogue>Please. \*</dialogue> <scene_description>Nakia turns her gun back to GUARD 2. \*</scene_description> <character>NAKIA \*</character> <dialogue>(Mayan with subtitles) \*</dialogue> <scene_description>Let her go and no one has to die. \*</scene_description> <character>GUARD 2 \*</character> <dialogue>Now! \*</dialogue> <scene_description>Guard 2 makes a move to stab Riri and Nakia shoots Guard 2. \*</scene_description> <character>GUARD 1 \*</character> <dialogue>NOOOOO! \*</dialogue> <scene_description>Guard 1 lunges at Shuri but Nakia shoots her too. \*</scene_description> <character>SHURI \*</character> <dialogue>No! \*</dialogue> <character>NAKIA \*</character> <dialogue>Are you okay princess. \*</dialogue> <character>SHURI \*</character> <dialogue>Yes. \*</dialogue> <scene_description>Shuri looks down at GUARD 1 who is alive but barely clinging \* to life. She has been hit in her stomach. \* Shuri panics. She knows what this means. She turns to Nakia. \*</scene_description> <character>SHURI (CONT'D) \*</character> <dialogue>Give me your beads. \*</dialogue> <scene_description>(beat) \* You don't understand, this will \* mean war. \*</scene_description> <character>NAKIA \*</character> <dialogue>Shuri we have to go. \*</dialogue> <character>RIRI \*</character> <dialogue>Hey I don't know who this lady is, \* but we need to listen to her. \*</dialogue> <character>SHURI \*</character> <dialogue>Give me your beads War Dog I \* command you as your princess. I can \* save her. \*</dialogue> <character>NAKIA \*</character> <dialogue>Shuri I hit her with a sonic round. \* There is no saving her. We have to \* leave now or we'll all be joining \* her. \*</dialogue> <scene_description>Riri looks on in shock. Nakia grabs Shuri and they head \* towards the exit. \* A135 OMITTED A135\*</scene_description> </scene> <scene> <stage_direction>EXT. CAVE SYSTEM - OCEAN WATERS - DAY - MOMENTS LATER</stage_direction> <scene_description>Exiting an underwater cave wearing rebreathers, Shuri, Riri and Nakia swim out into the darkness of the open sea. Shuri and Riri try to find their bearings. Shuri looks at Riri and nods. Riri gives a nod back and a thumbs up. Nakia climbs into her SKIRMISHER and Shuri and Riri hold onto the vehicle as it propels off into the distance.</scene_description> </scene> <scene> <stage_direction>A136 EXT. OPEN OCEAN - DAY A136</stage_direction> <scene_description>Nakia's skirmisher surfaces, along with Shuri and Riri. Nakia clicks her kimoyo bead. The RTF de-cloacks above them and beams them up.</scene_description> </scene> <scene> <stage_direction>B136 I/E. ROYAL TALON FIGHTER - DAY B136</stage_direction> <scene_description>Griot pilots the ship while Ramonda watches Nakia, Riri, and Shuri enter the RTF. Ramonda and Shuri embrace, reunited. Nakia looks to Riri and motions for them to give them space.</scene_description> <character>RAMONDA</character> <dialogue>Did they hurt you?</dialogue> <scene_description>Shuri shakes her head. Ramonda looks to Nakia.</scene_description> <character>RAMONDA</character> <dialogue>Thank you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Return us to Wakanda at once.</dialogue> <scene_description>Ramonda clocks Nakia.</scene_description> <character>RAMONDA</character> <dialogue>Unless.</dialogue> <character>NAKIA</character> <dialogue>No. It would be good to see home again.</dialogue> <scene_description>Ramonda nods.</scene_description> <character>GRIOT</character> <dialogue>Setting a path for Wakanda.</dialogue> <scene_description>Ramonda smiles at the thought of this. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>A140 INT. VISITOR'S QUARTERS - CAVE SYSTEM - NIGHT A140</stage_direction> <scene_description>Namor and Namora enter the room holding corn and drinking chocolate.</scene_description> <character>NAMOR</character> <dialogue>Princess! Scientist! We brought fresh crops from today's yield.</dialogue> <scene_description>Namor rounds the corner to notice Shuri and Riri are missing. He hears the gasps of a Talocanil guard. Namora rushes to the guards' side, but it's too late. Namor runs to the side of a guard who is gasping, mortally wounded. They speak in Maya.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>What happened, my child?</dialogue> <character>TALOCANIL GUARD (SUBTITLE)</character> <dialogue>...the Wakandans. They came for her.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>K k'uk'ulkan... can you save me?</dialogue> <character>NAMOR (SUBTITLE)</character> <dialogue>Relax child.</dialogue> <scene_description>The Talocanil Guard dies in Namor's hands.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>They came while you spoke to the Queen? We should not have trusted her.</dialogue> <scene_description>Namor seethes, his anger building as she continues.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>The Princess has seen our home. What is stopping them from coming for Talocan now?</dialogue> <character>NAMOR (SUBTITLE)</character> <dialogue>We will. I promised my mother that I would never allow a single Talocanil to be killed again.</dialogue> <scene_description>Namor turns to Namora, seeing blood red.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Our people invoke my name when they pray for protection. His death will not go unpunished.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Gather the city.</dialogue> </scene> <scene> <stage_direction>B140 I/E. ROYAL TALON FIGHTER - DAY B140</stage_direction> <scene_description>Shuri talks with Ramonda and Nakia.</scene_description> <character>RAMONDA</character> <dialogue>A city?</dialogue> <character>RIRI</character> <dialogue>It was more like a country.</dialogue> <character>SHURI</character> <dialogue>It could have been a hundred miles from the cave you found us in, could have been several thousand.</dialogue> <character>RAMONDA</character> <dialogue>So we have no chance of finding them. And they know how to find us.</dialogue> <character>SHURI</character> <dialogue>It is only a matter of time before they come back.</dialogue> <character>RIRI</character> <dialogue>They have access to information. Anything that is online is transmitted through fiber optic cables connecting the contents via the bottom of the ocean. They've found a way to hack into that. That's probably how they found me at M.I.T...</dialogue> <character>SHURI</character> <dialogue>Wait. Where is Okoye? Have you heard from her? Did she make it home?</dialogue> <character>RAMONDA</character> <dialogue>Okoye is alive.</dialogue> <character>SHURI</character> <dialogue>There is a but, coming. I can feel it.</dialogue> <character>RAMONDA</character> <dialogue>She is no longer General of Wakanda's armies.</dialogue> <scene_description>Nakia snaps around at this.</scene_description> <character>SHURI</character> <dialogue>You're not serious.</dialogue> <character>RAMONDA</character> <dialogue>She came back to Wakanda without you.</dialogue> <character>SHURI</character> <dialogue>We were ambushed by superhuman merpeople, mother. You have to reinstate her.</dialogue> <character>RAMONDA</character> <dialogue>She argued to send you on that mission. You weren't ready.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What is done is done.</dialogue> <character>GRIOT</character> <dialogue>Approaching the Wakandan Border.</dialogue> <scene_description>Shuri steps away from Ramonda and approaches the cockpit where Riri looks out wearing a blanket and sipping hot tea. Nakia approaches.</scene_description> <character>NAKIA</character> <dialogue>This never gets old.</dialogue> <scene_description>The RTF descends through the holographic impenetrable forest and zips towards the Golden City. Shuri looks down on the city.</scene_description> <character>SHURI</character> <dialogue>I need to get to my lab.</dialogue> </scene> <scene> <stage_direction>EXT. NAMOR'S TEMPLE - TALOCAN - NIGHT - LATER</stage_direction> <scene_description>Treading water beneath the throne are ATTUMA and NAMORA. They stare up at the SATSUN above them, where NAMOR descends from the blinding light, wearing his feathered headdress. He sits on his MEGALODON SKULL THRONE. His eyes dark with a hue of betrayal. On the surrounding walls, EELS SLITHER IN AND OUT OF THE ETCHINGS.</scene_description> <character>NAMOR (SUBTITLE)</character> <parenthetical>(in Maya)</parenthetical> <dialogue>Talocan's security has been violated. I was blinded by hope of partnership. And I have compromised all of us.</dialogue> <character>NAMOR (SUBTITLE)</character> <parenthetical>(beat)</parenthetical> <dialogue>But Talocan will not move.</dialogue> <scene_description>Attuma turns, surprised.</scene_description> <character>ATTUMA (SUBTITLE)</character> <dialogue>We will not leave our city, K k'uk'ulkan?</dialogue> <scene_description>Namor cuts Attuma a look. Attuma turns back around.</scene_description> <character>NAMOR</character> <dialogue>Our ancestors were forced to leave the Guatemalan highlands. They settled on the shores of Zama until we were forced to move into the ocean. Talocan will not move again.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We will show Wakanda what it is like to have to move. When we are done with them, they will never think of approaching Talocan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Namora. Attuma. You, and twelve of our best warriors will accompany me to Wakanda. We will match bloodshed with bloodshed.</dialogue> <scene_description>OMITTED AA142 OMITTED AA142 AB142 OMITTED AB142</scene_description> </scene> <scene> <stage_direction>EXT. NORTH TRIANGLE - GOLDEN CITY - DAY</stage_direction> <scene_description>Okoye in casual clothing observes flowers at an outdoor flower kiosk. She clocks 5 KINGSGUARD PATROLLING. The FLOWER SHOP OWNER stares back.</scene_description> <character>FLOWER SHOP OWNER</character> <dialogue>General... can I help you with anything?</dialogue> <character>OKOYE</character> <dialogue>Don't call me that.</dialogue> <character>FLOWER SHOP OWNER</character> <dialogue>Nonsense. For all that you've done for this country, we should be calling you queen.</dialogue> <scene_description>Okoye shrugs this off, and eyes the patrolling Kingsguard.</scene_description> <character>OKOYE</character> <dialogue>How long have the Kingsguard been on patrol?</dialogue> <character>FLOWER SHOP OWNER</character> <dialogue>Since this afternoon. I think it has something to do with the princess.</dialogue> <character>NAKIA (O.S.)</character> <dialogue>Okoye.</dialogue> <scene_description>Okoye turns to Nakia.</scene_description> <character>OKOYE</character> <dialogue>The Queen went to you. And you brought her home?</dialogue> <character>NAKIA</character> <dialogue>Shuri is here now. And safe.</dialogue> <scene_description>Nakia nods. Okoye and her embrace.</scene_description> <character>OKOYE (SUBTITLE)</character> <dialogue>Thank you.</dialogue> <scene_description>Nakia clocks the Flower Ship Owner uncomfortably trying to avoid staring.</scene_description> <character>NAKIA</character> <dialogue>Maybe we should go somewhere and talk?</dialogue> <character>OKOYE</character> <dialogue>I would like that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where is the Princess now?</dialogue> </scene> <scene> <stage_direction>A142 INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY A142</stage_direction> <scene_description>A WDG LAB TECH checks Shuri's vitals via Kimoyo Bead and reads them on a display.</scene_description> <character>WDG LAB TECH</character> <dialogue>No signs of poison, blood Co2 levels are elevated.</dialogue> <character>SHURI</character> <dialogue>As to be expected.</dialogue> <character>WDG LAB TECH</character> <dialogue>You seem to be in better shape than when you left.</dialogue> <scene_description>Shuri removes the Kimoyo bead and the bracelet Namor gave her.</scene_description> <character>SHURI</character> <dialogue>Go, examine Riri Williams please. She is with my mother.</dialogue> <scene_description>The tech leaves and Shuri begins working on ways to weaponize dehydration. After a moment, a WDG SCIENTIST accompanies Aneka over to her.</scene_description> <character>ANEKA</character> <dialogue>Princess. Thank the ancestors for your safe return.</dialogue> <character>SHURI</character> <parenthetical>(clocking her uniform)</parenthetical> <dialogue>Did mother fire you as well?</dialogue> <character>ANEKA</character> <dialogue>No, I stepped down. It's... complicated. I just wanted to return these.</dialogue> <scene_description>Aneka extends her ENERGY DAGGERS toward Shuri. Shuri clocks this but doesn't take them.</scene_description> <character>SHURI</character> <dialogue>Keep them. You might need them.</dialogue> <scene_description>Aneka clocks NAMOR'S MOTHER'S BRACELET, still on Shuri's wrist.</scene_description> <character>ANEKA</character> <dialogue>Where did you get that?</dialogue> <scene_description>Shuri looks down and realize she never took off Namor's gift. She takes it off, contemplative, and sets it on a work station.</scene_description> <character>SHURI</character> <dialogue>I don't know how long we have before Namor comes looking for me. Or the American scientist.</dialogue> <character>ANEKA</character> <dialogue>Is it true that he has an underwater empire?</dialogue> <character>SHURI</character> <dialogue>Yes. And...it is beautiful. But Aneka, these people are incredibly strong. They have to be, just to survive the pressure of the ocean depths.</dialogue> <scene_description>Shuri observes a map of the Wakandan defense system.</scene_description> <character>SHURI</character> <dialogue>And they know where we are.</dialogue> </scene> <scene> <stage_direction>B142 EXT. WAKANDAN RIVER BARRIER - DAY B142</stage_direction> <scene_description>RIVER TRIBE NAVY SOLDIERS guard a large bridge on a pier overlooking the river. There is a sonic barrier that extends to the sky. A NAVAL SOLDIER next to the control panel notices something. We see in his POV a Talocanil Siren.</scene_description> </scene> <scene> <stage_direction>C142 INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY C142</stage_direction> <scene_description>Riri stands before Ramonda, who is seated at the throne. Ayo watches.</scene_description> <character>RAMONDA</character> <dialogue>What do you think of Wakanda?</dialogue> <character>RIRI</character> <dialogue>I thought an underwater city would take the cake, but the stories don't do this place justice.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's great but I really would like to go home.</dialogue> <character>AYO</character> <dialogue>You'll need to be patient, for your own safety.</dialogue> <character>RAMONDA</character> <dialogue>We'll taken care of the trouble in Boston. You'll been cleared of any involvement. When it is safe for you to return your life will be waiting for you.</dialogue> <character>RIRI</character> <dialogue>Can I at least call my mom?</dialogue> <character>RAMONDA</character> <dialogue>She is safe. At work. In Chicago.</dialogue> <character>AYO</character> <dialogue>We have Wakandans keeping watch on her.</dialogue> <character>RIRI</character> <dialogue>Why? She doesn't know anything.</dialogue> <character>RAMONDA</character> <dialogue>Yes and we would like to keep it that way for now. I know you have been through a lot. Even before the abduction. We will make sure nothing happens to your mother, and you will be safe here.</dialogue> <scene_description>Riri nods, unsure.</scene_description> <character>EXT. ELEVATED WALKWAY - LITTLE RIVER TOWN - GOLDEN CITY - DAY</character> <dialogue>M'BAKU converses with a FISHERMAN on the river below as he and THREE JABARI WARRIORS keep watch over the bustling neighborhood. People are celebrating, looking at news on their Kimoyo Beads.</dialogue> <dialogue>The Fisherman reacts to news on his Kimoyo Bead.</dialogue> <character>M'BAKU</character> <dialogue>What is the cause for celebration?</dialogue> <character>FISHERMAN</character> <dialogue>The princess has been brought home, by the War Dog Nakia.</dialogue> <character>M'BAKU</character> <dialogue>Nakia? Daughter of Yaa?</dialogue> <scene_description>The fisherman nods.</scene_description> <character>M'BAKU</character> <dialogue>Glory to Hanuman. The spy saved Wakanda once again. The Queen will reward her with lifetime banishment, I'm sure.</dialogue> <scene_description>The fisherman and the Jabari laugh at this. Then, M'Baku notices a commotion near the riverbank.</scene_description> </scene> <scene> <stage_direction>EXT. OPEN AIR MARKET - RIVERBANK - LITTLE RIVER TOWN - DAY</stage_direction> <scene_description>It's a festive vibe. There are TABLES where MERCHANTS sell food and other goods to WAKANDAN CIVILIANS. IN THE RIVER several wooden boats begin to sway as the WATER LEVELS rise and begin to lap over the bank, wetting the ankles of surprised patrons.</scene_description> </scene> <scene> <stage_direction>EXT. BASHENGA'S COURTYARD - NORTH TRIANGLE - MOMENTS LATER</stage_direction> <scene_description>Nakia and Okoye sit together.</scene_description> <character>NAKIA</character> <dialogue>I didn't want to take any chances. So I shot them both. We didn't stick around long enough to know if they got back up.</dialogue> <character>OKOYE</character> <dialogue>Good.</dialogue> <parenthetical>(beat)</parenthetical> <character>OKOYE</character> <dialogue>They were the strongest soldiers I have ever faced. I should not have taken her.</dialogue> <scene_description>Nakia looks at Okoye closely.</scene_description> <character>OKOYE</character> <dialogue>After T'Challa died. It felt like we lost her too. I thought she might appreciate serving Wakanda as he did.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I realize I was doing too much. Trying to take care of her. To take care of the Queen. The country.</dialogue> <character>NAKIA</character> <dialogue>And you forgot to take care of yourself.</dialogue> <character>OKOYE</character> <dialogue>I've never been much good at that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You running off without saying anything hurt so much. But I missed you.</dialogue> <character>NAKIA</character> <dialogue>I apologize for not being here to mourn with you. He was King and Black Panther to everyone here. But to me he was something different.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When he was taken from me, I had to start over just so I wouldn't break. I couldn't afford to keep going as if nothing happened.</dialogue> <character>OKOYE</character> <dialogue>I just never thought we could lose T'Challa that way. I was prepared for his death in two ways. On the battlefield and as an old man surrounded by his grandchildren.</dialogue> <character>NAKIA</character> <dialogue>I would have liked that.</dialogue> <scene_description>Then, Okoye hears a disturbance in the distance. The sounds of people reacting to hydrobombs and flooding. She looks.</scene_description> <character>NAKIA</character> <dialogue>What's wrong?</dialogue> <scene_description>Okoye starts back for the street with Nakia in tow.</scene_description> </scene> <scene> <stage_direction>EXT. NORTH TRIANGLE - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Okoye and Nakia emerge from the courtyard to find a foot of flowing water. WAKANDAN CIVILIANS are freaking out, trying to get to higher ground. Okoye sees a CITY ENGINEER sloshing through the water, heading in the direction that it's coming from. They approach him.</scene_description> <character>OKOYE</character> <dialogue>What's going on?</dialogue> <character>CITY ENGINEER</character> <dialogue>We're not sure. It looks like something with the dams.</dialogue> <character>NAKIA</character> <dialogue>From this direction?</dialogue> <scene_description>The engineer shrugs. She looks around for a beat, something isn't right. Okoye turns to Nakia.</scene_description> <character>OKOYE</character> <dialogue>We're under attack.</dialogue> <scene_description>Nakia's eyes narrow.</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>The River Tribe Elder enters with three Naval Officers, approaches Ramonda.</scene_description> <character>RIVER TRIBE ELDER</character> <dialogue>My Queen, we've lost contact with the river shield blockade.</dialogue> <character>RAMONDA</character> <dialogue>Lost contact?</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>Yes and there are reports of flooding throughout the city.</dialogue> <scene_description>Ramonda thinks to herself.</scene_description> <character>RAMONDA</character> <dialogue>The Golden City is under attack. Initiate emergency response protocols. Evacuate the city.</dialogue> <parenthetical>(to Ayo)</parenthetical> <dialogue>Take the Dora to aid in targeted military response.</dialogue> <character>AYO</character> <dialogue>Yes my Queen.</dialogue> <parenthetical>(to the Dora)</parenthetical> <dialogue>Phambili!</dialogue> <scene_description>Ramonda turns to Riri who looks back at her terrified. Ramonda looks down at the city through the windows. She triggers her Kimoyo Beads.</scene_description> <character>RAMONDA</character> <dialogue>Shuri, where are you?</dialogue> </scene> <scene> <stage_direction>A147 INT. SHURI'S LAB - WAKANDAN DESIGN GROUP A147</stage_direction> <scene_description>Shuri and Aneka hustle towards Shuri's LANDING PAD.</scene_description> <character>SHURI</character> <dialogue>I'm in the lab but I'm headed towards the city.</dialogue> <character>RAMONDA (V.O.)</character> <dialogue>Shuri stand down. That is an order.</dialogue> <character>SHURI</character> <dialogue>I'm with Aneka, they'll need air support.</dialogue> <character>RAMONDA (V.O.)</character> <dialogue>Aneka do not let her leave the lab.</dialogue> <character>SHURI</character> <parenthetical>(making crackling noises with her mouth)</parenthetical> <dialogue>What's that? You're breaking up. Love you. Bye.</dialogue> <scene_description>Shuri hangs up the Kimoyo Bead and turns to Aneka.</scene_description> <character>ANEKA</character> <dialogue>You just hung up in the Queen of Wakanda's face.</dialogue> <character>SHURI</character> <dialogue>No, I just hung up in my mom's face... there's a difference. You coming with?</dialogue> <scene_description>Aneka nods as the two board SHURI'S SUNBIRD.</scene_description> </scene> <scene> <stage_direction>B147 EXT. MT. BASHENGA - DAY - CONTINUOUS B147</stage_direction> <scene_description>SHURI'S SUNBIRD RISES out of the opening at the top of the mine and zooms toward the GOLDEN CITY.</scene_description> </scene> <scene> <stage_direction>EXT. NORTH TRIANGLE - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>A muffled BURST is heard as a hydrobomb goes off, BLOWING OUT THE SIDE OF A BUILDING and water geysers out, rushing down the street. Nakia and Okoye run toward the building only to HEAR another hydrobomb ERUPT around a fork in the road. Okoye points.</scene_description> <character>OKOYE</character> <dialogue>Get everyone to high ground!</dialogue> <scene_description>Nakia nods and runs off as water flows from that direction.</scene_description> </scene> <scene> <stage_direction>I/E. WAKANDAN HOUSE - NORTH TRIANGLE - DAY - CONTINUOUS</stage_direction> <scene_description>Filling up fast, a terrified WAKANDAN MAN is pinned under collapsed ceiling DEBRIS.</scene_description> <character>WAKANDAN MAN</character> <dialogue>Help me!</dialogue> <scene_description>Sloshing through, Nakia approaches the house and rushes in the door.</scene_description> <character>WAKANDAN MAN</character> <dialogue>Help!</dialogue> <character>NAKIA</character> <dialogue>Is anyone else inside?</dialogue> <scene_description>The man shakes his head no and she frees him from the debris.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER - LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>A large wave of water builds up and capsizes the riverboats, crashing water against a bridge, and splashing water up onto the riverbank.</scene_description> <character>EXT. ELEVATED WALKWAY - LITTLE RIVER TOWN - GOLDEN CITY - DAY</character> <dialogue>M'Baku sees this and BARKS to his WARRIORS, before taking a running start, and DIVING INTO THE RIVERWATER BELOW.</dialogue> </scene> <scene> <stage_direction>EXT. RIVER WATER - LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>M'Baku drops into the water, grabbing a WAKANDAN CIVILIAN.</scene_description> </scene> <scene> <stage_direction>A152 EXT. LANDING PAD - ROYAL PALACE - GOLDEN CITY - DAY A152</stage_direction> <scene_description>A large bank of SCARAB BEETLES are parked in a row. SEVERAL WAKANDAN EMTS load into them.</scene_description> </scene> <scene> <stage_direction>B152 EXT. MOAT WATER - ROYAL PALACE - GOLDEN CITY - DAY B152</stage_direction> <scene_description>The MESOAMERICAN SIRENS from our opening suddenly surface, treading water, and begin to sing and play OCARINAS.</scene_description> </scene> <scene> <stage_direction>C152 EXT. LANDING PAD - ROYAL PALACE - GOLDEN CITY - DAY C152</stage_direction> <scene_description>Hearing the siren song, the EMTS' faces go slack and they all walk for the edge, jumping into the moat! OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>Watching the EMTs, devastated, Ramonda triggers her Kimoyo Bead.</scene_description> <character>RAMONDA</character> <dialogue>Griot.</dialogue> <character>GRIOT</character> <parenthetical>(over comm)</parenthetical> <dialogue>Yes, Queen.</dialogue> <character>RAMONDA</character> <dialogue>Grant me remote access to the emergency response fleet.</dialogue> <character>GRIOT</character> <dialogue>Right away, Queen.</dialogue> <scene_description>Ramonda steps up on the mullion focuses in as a HOLOGRAPHIC MAP OF THE CITY AND ITS VEHICLES appear in front of her. She begins piloting the SCARAB BEETLES remotely herself. Riri looks on in awe.</scene_description> <character>RIRI</character> <dialogue>Can I help?</dialogue> <scene_description>Ramonda looks back at her.</scene_description> <character>RAMONDA</character> <dialogue>Yes. Come quickly...</dialogue> <scene_description>Ramonda hands Riri Kimoyo Beads and Riri jumps up on the mullion as well.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER WATER - LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>M'Baku helps the Wakandan civilian he saved to the surface, then goes back underwater to aide a JABARI WARRIOR in pushing the capsized boat back upright. The Jabari Warrior pulls himself up onto the boat as M'Baku dips back below to help guide the vessel when something catches his eye...</scene_description> <character>AN ORCA PASSES M'BAKU UNDERWATER WITH SEVERAL TALOCANIL</character> <dialogue>WARRIORS ATTACHED TO IT. WEARING A BANDOLEER FILLED WITH</dialogue> <character>HYDROBOMBS, NAMORA AND ANOTHER TALOCANIL WARRIOR SUDDENLY</character> <dialogue>PEAL OFF.</dialogue> <dialogue>Giving chase, M'Baku pursues the TALOCANIL WARRIOR who is closer, swimming as fast as he can.</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. NORTH TRIANGLE - GOLDEN CITY - DAY</stage_direction> <scene_description>Okoye helps CIVILIANS up onto buildings and houses when she hears TWO MORE HYDROBOMBS EXPLODE in the distance behind her. Okoye turns as a WAKANDAN KID comes running in the road, pointing behind him, speaking in Xhosa.</scene_description> <character>WAKANDAN KID (SUBTITLE)</character> <dialogue>Help!</dialogue> <scene_description>A DELUGE OF WATER from the explosions rushes right for the child and Okoye races it, grabbing him just as the water hits. Swept back down the street, hanging onto the boy, Okoye GRABS the side of her GATE for dear life until the surge subsides.</scene_description> </scene> <scene> <stage_direction>I/E. WAKANDAN HOUSE - NORTH TRIANGLE - DAY</stage_direction> <scene_description>The double explosion causes WATER TO TORRENT IN through the window. The FLOODING outside is above the door now. Watching water pour in, Nakia and the Wakandan man are washed back inside. Nakia helps the man toward the stairs and they head up.</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>Ramonda surveys the flooding, remote piloting scarab beetles. Riri assists her.</scene_description> <character>RAMONDA</character> <dialogue>Ayo, scramble air support to root out our attackers from above.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PAD - ROYAL PALACE - THE GOLDEN CITY - DAY</stage_direction> <scene_description>Ayo, the Dora and Wakandan Kingsguard Pilots scramble to load into Talon Fighters and other vehicles.</scene_description> <character>AYO</character> <dialogue>Yes, my Queen.</dialogue> <scene_description>Spotting an EMT about to jump into the moat, Ayo flings the man back and hurls a SONIC GRENADE into the water where it EXPLODES sending the sirens flying. Ayo climbs into her TALON FIGHTER with NOMBLE and takes off.</scene_description> </scene> <scene> <stage_direction>EXT. OKOYE'S HOME - NORTH TRIANGLE - GOLDEN CITY - DAY</stage_direction> <scene_description>Okoye helps the Wakandan Kid climb up onto her roof with her.</scene_description> </scene> <scene> <stage_direction>EXT. OKOYE'S ROOF - NORTH TRIANGLE - DAY - CONTINUOUS</stage_direction> <scene_description>Nakia waves from a roof diagonal to them. The Wakandan Man is safely with her.</scene_description> <character>NAKIA</character> <dialogue>Ay!</dialogue> <scene_description>Okoye nods. Several other CIVILIANS are on surrounding rooftops being evacuated by SCARAB BEETLES. Okoye surveys the utter devastation around them. The streets are completely FLOODED. Then, daunted, she turns, spotting... ...ATTUMA, in the distance, standing atop the archway entrance of Bashenga's Courtyard. A164 OMITTED A164</scene_description> </scene> <scene> <stage_direction>B164 EXT. OKOYE'S ROOF - NORTH TRIANGLE - DAY - CONTINUOUS B164</stage_direction> <scene_description>A SCARAB BEETLE approaches and we see Nakia, the Wakandan Man, the Wakandan Kid and Okoye LEVITATED up to the craft by their KIMOYO BEADS. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIVER WATER - LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>The Talocanil Warrior springs up onto a CATAMARAN with a HYDROBOMB. Clocking his blue skin, the BOAT'S DRIVER cowers backward as... M'Baku climbs into the boat next and landing a SAVAGE BLOW with his KNOBKIERRIE, knocks the warrior back into the river. The hydrobomb lands in the boat where M'Baku and the Driver stare at it, then...</scene_description> <character>M'BAKU</character> <dialogue>I will save us from this sorcery!</dialogue> <scene_description>M'Baku grabs the HYDROBOMB and throws it overboard...</scene_description> </scene> <scene> <stage_direction>A166 INT. UNDERWATER - LITTLE RIVER TOWN - DAY - CONTINUOUS A166</stage_direction> <scene_description>We track the HYDROBOMB as it sinks... then ERUPTS.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERBANK - LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>A massive EXPLOSION OF WATER rapidly propels M'Baku's boat toward the palace, causing a CATASTROPHIC rise in the water level.</scene_description> </scene> <scene> <stage_direction>EXT. STEP TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>A BUS is swept away in the flood water.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - STEP TOWN - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>TWO DRAGON FIGHTERS lift the bus safely into the air with cables. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>Ramonda remote pilots scarab beetles like a maestro as Riri continues to assist.</scene_description> <character>GRIOT</character> <dialogue>There are civilians in the North Triangle that are in need of evacuation, Queen.</dialogue> <character>RIRI</character> <dialogue>I'm on it.</dialogue> </scene> <scene> <stage_direction>EXT. LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>WAKANDAN CIVILIANS are running about in a panicked commotion. In the midst of the pandemonium stands NAMOR, barefoot and shirtless. Spear in hand. He's at an abandoned CRAFT STAND checking out the merchandise. He takes a souvenir and starts toward the palace, his eyes trained on the PALACE WINDOW. Namora speaks in Maya.</scene_description> <character>NAMORA (SUBTITLE)</character> <dialogue>Their defenses have been lured away from the palace.</dialogue> <scene_description>Namor nods.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY</stage_direction> <scene_description>Talon Fighters begin to rain down sonic fire on Talocanil Warriors that are below.</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RIVER TOWN - GOLDEN CITY - DAY</stage_direction> <scene_description>On the wooden boat, M'Baku spots Namora and Namor on the shore. Expecting Namor to be more physically domineering, M'Baku is underwhelmed.</scene_description> <character>M'BAKU</character> <dialogue>That's him?</dialogue> <scene_description>M'Baku jumps out and charges.</scene_description> <character>NAMORA</character> <dialogue>It is up to you now, K k'uk'ulkan.</dialogue> <scene_description>Namora extends a CLUSTER of hydrobombs to Namor only to have M'Baku's KNOBKIERRIE swing at him baseball bat style! Namor blocks M'Baku's attack with his forearm at the last second, SPLINTERING THE WOOD OF M'BAKU'S WEAPON. M'Baku stares at his stick, dumbfounded. And looks up as Namor lands a hard punch to his chest- breaking his wooden chest-plate, and sending M'Baku flying back a city block. M'Baku lands with the wind knocked out of him. He looks back at Namor, awestricken by his strength. A TALON FIGHTER unloads at Namora, she dives into the water, dropping a HYDROBOMB. Grimacing, Namor jumps into the sky to attack THREE DRAGONFLYERS that trail them.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Namor flies to the DRAGONFLYER, effortlessly cutting its tail off. It goes down as TWO MORE DRAGONFLYERS AND THIER KINGSGUARD PILOTS face off with him.</scene_description> </scene> <scene> <stage_direction>I/E. AYO'S TALON FIGHTER - DAY - CONTINUOUS</stage_direction> <scene_description>Ayo and Nomble see Namor and takes aim.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Namor EVADES the sonic rounds from the TALON FIGHTER.</scene_description> </scene> <scene> <stage_direction>I/E. AYO'S TALON FIGHTER - SKY - GOLDEN CITY - DAY -</stage_direction> <character>CONTINUOUS</character> <dialogue>AYO</dialogue> <scene_description>He's too quick! I can't track him. Grabbing both Talon Fighters, Namor HURLS them down, CRASHING AYO's TALON FIGHTER into Little River Town and the other into a building.</scene_description> </scene> <scene> <stage_direction>EXT. ELEVATED WALKWAY - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Namor lands as SHURI'S SUNBIRD appears behind him.</scene_description> </scene> <scene> <stage_direction>I/E. SHURI'S SUNBIRD - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Shuri and Aneka unload SONIC BLASTS on Namor who runs, diving in the moat. They GUN DOWN another TALOCANIL WARRIOR, before turning her attention back to Namor.</scene_description> </scene> <scene> <stage_direction>I/E. MOAT WATER - ROYAL PALACE - GOLDEN CITY - DAY</stage_direction> <scene_description>Below the surface, Namor swims in CIRCLES as blasting away, Shuri and Aneka struggle to get a bead on him. Then, Namor suddenly darts up, driving his SPEAR through the SUNBIRD'S COCKPIT WINDSHILD into the control panel.</scene_description> </scene> <scene> <stage_direction>I/E. SHURI'S SUNBIRD - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Shuri and Aneka lose control as the system malfunctions and CRASHING into the moat, the cockpit FILLS with water.</scene_description> </scene> <scene> <stage_direction>A184 I/E. OKOYE'S SCARAB BEETLE - SKY - DAY A184</stage_direction> <scene_description>Nakia and Okoye watch as Shuri's Sunbird goes down.</scene_description> <character>OKOYE</character> <dialogue>Oh no...</dialogue> <scene_description>Okoye's kimoyo beads activate.</scene_description> </scene> <scene> <stage_direction>B184 INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY - CONTINUOUS B184</stage_direction> <scene_description>Ramonda stands at the window, in shock. Riri by her side.</scene_description> <character>RIRI</character> <dialogue>Shit, he's quick.</dialogue> <character>RAMONDA</character> <dialogue>Okoye. Shuri's aircraft has been shot down. Can you get to her?</dialogue> </scene> <scene> <stage_direction>C184 I/E. OKOYE'S SCARAB BEETLE - SKY - DAY C184</stage_direction> <scene_description>Okoye springs into action.</scene_description> <character>OKOYE</character> <dialogue>Yes, my Queen.</dialogue> <scene_description>Commandeering the controls, Okoye pilots them toward the moat.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY</stage_direction> <scene_description>Namor flies to the Tribal Council windows, stares at Ramonda and Riri.</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY - CONTINUOUS</stage_direction> <scene_description>Valiantly remote piloting the last SCARAB BEETLES in the North Triangle to dry ground, Ramonda and Riri spot Namor approaching through the glass. He eyes Riri angrily. Ramonda pulls Riri behind her, blocking his sight of her.</scene_description> </scene> <scene> <stage_direction>A187 EXT. LITTLE RIVER TOWN - GOLDEN CITY - DAY A187</stage_direction> <scene_description>M'Baku pulls Ayo and Nomble out of the Talon Fighter wreckage and the Dora eye up at Namor, while M'Baku spots Namora's abandoned HYDROBOMB.</scene_description> </scene> <scene> <stage_direction>I/E. OKOYE'S SCARAB BEETLE - MOAT - DAY</stage_direction> <scene_description>Approaching the moat, then hovering above the water, Shuri and Aneka are LEVITATED up to the craft by their KIMOYO BEADS. They all eye toward the palace at the sight of Namor flying in front of the Tribal Council windows. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - CONTINUOUS</stage_direction> <character>NAMOR COCKS HIS SPEAR AND WITH A POWERFUL SWING BRINGS IT</character> <dialogue>DOWN ONTO THE WINDOWS OF THE TRIBAL COUNCIL.</dialogue> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY - CONTINUOUS</stage_direction> <scene_description>Ramonda eyes Namor confidently - "not strong enough" as she continues to pilot the beetles.</scene_description> <character>GRIOT</character> <dialogue>One minute until the last scarab beetle is to safety.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Namor smiles at Ramonda, then drops below.</scene_description> </scene> <scene> <stage_direction>A192 INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY - CONTINUOUS A192</stage_direction> <scene_description>Ramonda and Riri eye out to see where Namor has gone. Ramonda turns back to Riri.</scene_description> <character>RAMONDA</character> <dialogue>Go child!</dialogue> <scene_description>Riri steps down the stairs and looks back at Ramonda.</scene_description> <character>RIRI</character> <dialogue>Wait what? And leave you here?</dialogue> <character>RAMONDA</character> <dialogue>Run.</dialogue> </scene> <scene> <stage_direction>B192 EXT. LANDING PAD - ROYAL PALACE - THE GOLDEN CITY - DAY B192</stage_direction> <scene_description>Moving toward the edge, Namor calls out in Maya.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Namora, now!</dialogue> <scene_description>Then, dives off into the MOAT below where Namora waits with the CLUSTER of hydrobombs.</scene_description> </scene> <scene> <stage_direction>C192 EXT. SKY - GOLDEN CITY - DAY - CONTINUOUS C192</stage_direction> <scene_description>Namor emerges holding THREE HYDROBOMBS in his right hand, his spear in his left.</scene_description> <character>NAMOR (SUBTITLE)</character> <parenthetical>(impossibly loud, in Maya)</parenthetical> <scene_description>CH'A TOH AJ TEPAL! (IMPERIOUS REX): D192 OMITTED D192</scene_description> </scene> <scene> <stage_direction>E192 EXT. LITTLE RIVER TOWN - GOLDEN CITY - DAY E192</stage_direction> <scene_description>M'Baku, Ayo and Nomble watch Namor.</scene_description> </scene> <scene> <stage_direction>F192 I/E. OKOYE'S SCARAB BEETLE - DAY F192</stage_direction> <scene_description>Shuri, Okoye, Nakia, Aneka and the civilians all eye up.</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>We see on Ramonda's HOLOGRAPHIC MAP that the scarab beetles have all safely arrived just as...</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY - CONTINUOUS</stage_direction> <scene_description>Namor HURLS the hydrobombs at the Tribal Council windows. They DECOMPRESS INTO WATER just before reaching the windows and...</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL - ROYAL PALACE - DAY - CONTINUOUS</stage_direction> <character>WATER CRASHES THE GLASS, FLOODING THE ROOM RAPIDLY, AND</character> <dialogue>BREAKING THROUGH THE GLASS FLOOR, SENDING RAMONDA AND RIRI</dialogue> </scene> <scene> <stage_direction>A195 I/E. OKOYE'S SCARAB BEETLE - NORTH TRIANGLE - DAY A195</stage_direction> <scene_description>Shuri, Okoye, Nakia and Aneka witness the explosion, horrified. Okoye races toward the landing pad. B195 OMITTED B195</scene_description> </scene> <scene> <stage_direction>C195 EXT. LITTLE RIVER TOWN - GOLDEN CITY - DAY C195</stage_direction> <scene_description>Seeing the explosion, M'Baku, Ayo and Nomble sprint toward the palace, staggered.</scene_description> </scene> <scene> <stage_direction>INT. FLOODED LOWER LEVEL - TRIBAL COUNTIL ROOM - DAY</stage_direction> <scene_description>RAMONDA, unconscious SINKS DOWN to the level of the TIMBUKTU STRUCTURE. She jolts back to consciousness and looks up to the platform, then turns and sees Riri, floating lifelessly. She swims to Riri and grabs her, then begins swimming towards the top. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SKY - GOLDEN CITY - DAY</stage_direction> <scene_description>Seeing the Tribal Council room DESTROYED and sections of the Royal Palace COLLAPSING, Namor is confident Riri and Ramonda are dead.</scene_description> <character>NAMOR \*</character> <dialogue>I came with only a few warriors. \* May your next ruler be wiser and \* not betray Talocan again. \*</dialogue> <scene_description>Joining Namora, Attuma and the remaining Talocanil, he dives \* back into the WATER, victorious as... \*</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PAD - GOLDEN CITY - DAY</stage_direction> <scene_description>Okoye lands. Shuri, Nakia, Okoye and Aneka run inside the Tribal Council Room.</scene_description> </scene> <scene> <stage_direction>INT. FLOODED TRIBAL COUNCIL ROOM - ROYAL PALACE - DAY</stage_direction> <scene_description>Okoye and Nakia enter first... finding Riri laying on the \* platform and Ramonda floating in the water, face-down, as \* Namor floats outside the broken glass. \* Okoye races to pull Ramonda out as Nakia turns Riri over onto \* her back to check her vitals. \*</scene_description> <character>NAMOR \*</character> <dialogue>You did this! \*</dialogue> <scene_description>(beat) \* I came with only a few warriors. \* Okoye and Nakia use their kimoyo beads to try and resuscitate \* Riri and the Queen. Shuri and Aneka enter, and Okoye turns. \*</scene_description> <character>OKOYE</character> <parenthetical>(to Aneka)</parenthetical> <dialogue>Keep her back!</dialogue> <character>SHURI \*</character> <dialogue>Mother! \*</dialogue> <scene_description>Aneka grabs Shuri who struggles to get past as Okoye does chest compressions on Ramonda, fearing it's already too late.</scene_description> <character>NAMOR \*</character> <dialogue>Bury your dead, mourn your losses. \* In one week's time, I will return \* with my entire army. \*</dialogue> <character>SHURI \*</character> <dialogue>Let me go! Mama! \*</dialogue> <scene_description>Ayo, Aneka and M'Baku rush in as Ramonda remains \* unresponsive. \*</scene_description> <character>NAMOR \*</character> <dialogue>And you will either join us against \* the surface world, or we will wash \* Wakanda from the face of the \* planet. \*</dialogue> <scene_description>Namor turns and dives into the waterway that surrounds the \* Tribal Council building. As he hits the water - \* Riri jolts awake. Ramonda doesn't. LET ME GO!:</scene_description> <character>OKOYE \*</character> <dialogue>Come on, my Queen. Wake up. \*</dialogue> <scene_description>Nakia moves to check the Queen's vitals as Okoye continues to \* try to revive Ramonda, her eyes welling with tears, but she's \* gone. M'Baku and Ayo enter seeing the scene as well. \* FADE TO:</scene_description> </scene> <scene> <stage_direction>A201 EXT. GOLDEN CITY - WAKANDA - NIGHT A201</stage_direction> <scene_description>Nightfall on the flooded golden city. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIVERBANK - WAKANDAN BUSH - NIGHT</stage_direction> <scene_description>Shuri walks towards the river holding a large weight. Nakia and Okoye emerge from the forest behind her.</scene_description> <character>OKOYE</character> <dialogue>Shuri.</dialogue> <character>SHURI</character> <dialogue>Go away.</dialogue> <character>OKOYE</character> <dialogue>Shuri no.</dialogue> <scene_description>Okoye takes a step towards Shuri, who lifts her arm revealing her GAUNTLET, locked and loaded. She aims it at Okoye's head.</scene_description> <character>SHURI</character> <dialogue>Leave me alone.</dialogue> <character>NAKIA</character> <dialogue>Shuri, don't do this.</dialogue> <character>SHURI</character> <dialogue>Shut up, spy. Leave, like you always do.</dialogue> <character>NAKIA</character> <dialogue>Not without you. Shuri you have so much to live for.</dialogue> <character>SHURI</character> <dialogue>No I don't! Everyone I love is gone. All of them. I have nothing left.</dialogue> <character>OKOYE</character> <dialogue>You have us.</dialogue> <character>SHURI</character> <dialogue>What am I to you? A job you are no good at.</dialogue> <character>OKOYE</character> <dialogue>Shuri I...</dialogue> <character>SHURI</character> <dialogue>You swore to lay down your life to protect my family... but they are gone and you're still here. If you had any honor left, you would not show your face.</dialogue> <scene_description>This lands on Okoye. Okoye turns away and starts to leave, Nakia tries to grab her but Okoye pulls away and heads back off into the forest. Shuri turns her attention to Nakia.</scene_description> <character>SHURI</character> <dialogue>And you... you swore yourself to my brother then ran off when we needed you most.</dialogue> <character>NAKIA</character> <dialogue>You are right. But Shuri you can't do this. What would your mother want of you? She lived her life for you.</dialogue> <character>SHURI</character> <dialogue>It hurts too much. I can't bear it.</dialogue> <character>NAKIA</character> <dialogue>You are strong. You have your father in you. You brother in you. Your mother.</dialogue> <character>SHURI</character> <dialogue>Then why can't I feel them? Why can't I hear them? I want to hold them. Feel their warmth. I want to tell my mother how much she meant to me. I prayed to Bast after T'Challa died, I asked him to take me before my mother. I let the prayer comfort me. I let myself believe the lies.</dialogue> <character>NAKIA</character> <dialogue>Don't say that. Shuri. You have to live. It's what your mother wanted. She told me as much. It's what your brother wanted. We need you. Wakanda needs you. The word needs you.</dialogue> <scene_description>Shuri lowers the gauntlet. Nakia rushes to her and embraces her. A203 OMITTED A203 B203 OMITTED B203 OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SACRED GROVE - WAKANDA - DAY</stage_direction> <scene_description>Nakia, Shuri, Okoye, Ayo, Aneka, M'Baku, Riri and others attend Ramonda's funeral. Standing solemnly, they listen as SOPE THE SHAMAN pours libations. She speaks in Xhosa.</scene_description> <character>SOPE (SUBTITLE)</character> <dialogue>We give thanks for the gift of Queen Ramonda, daughter of Lumumba. Granddaughter of Anathi, great granddaughter of Unathi, great great granddaughter of Zola, great great great granddaughter of Cebisa, great great great great granddaughter of Unathi.</dialogue> <scene_description>A stoic Shuri glances toward M'Baku.</scene_description> </scene> <scene> <stage_direction>EXT. SACRED GROVE - WAKANDA - LATER</stage_direction> <scene_description>Shuri and M'Baku are the only ones left. M'Baku approaches the princess.</scene_description> <character>M'BAKU</character> <dialogue>Jabariland offers you their comfort for your loss.</dialogue> <scene_description>Shuri nods subtly, and waits for M'Baku to leave, he lingers.</scene_description> <character>M'BAKU</character> <dialogue>You must mourn her in accordance to the rituals of your ancestors. Do not bury yourself in your technology. You will find no solace there.</dialogue> <character>SHURI</character> <dialogue>I did not ask you for your advice, Jabari.</dialogue> <character>M'BAKU</character> <dialogue>I am aware.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I promised your brother that I would provide you with council, and protection.</dialogue> <scene_description>Shuri looks at M'Baku considering this revelation.</scene_description> <character>M'BAKU</character> <dialogue>Your tribal elders have approached me with a proposition.</dialogue> <character>M'BAKU</character> <dialogue>They wish to evacuate the city and set up camp in Jabariland. What do you think of this?</dialogue> <character>SHURI</character> <dialogue>What does it matter to you what I think? I am but a child who scoffs at tradition.</dialogue> <character>M'BAKU</character> <dialogue>The world has taken too much from you, for you to still be considered a child. You are the last surviving member of Wakanda's most powerful family. If the Jabari are to remain engaged in Wakandan politics, it is in my people's interest to know which way your mind is leaning.</dialogue> <character>SHURI</character> <dialogue>The elders are desperate. The city is vulnerable. If you provide them with this, they will owe the Jabari a great debt. There is nothing for you to lose but space. And there seems to be plenty of that to be had in the mountains.</dialogue> <character>M'BAKU</character> <dialogue>And what of your heart, Princess? Which way does your heart lean?</dialogue> <character>SHURI</character> <dialogue>I just buried the last person who truly knew me. My heart was buried with her. All I have now is a thirst for vengeance. Now if you will excuse me Lord M'Baku, I would like to continue to think about how I will go about taking it.</dialogue> <scene_description>M'Baku nods and walks away. OMITTED</scene_description> </scene> <scene> <stage_direction>A209 EXT. RIVER WATER - LITTLE RIVER TOWN - GOLDEN CITY - DAYS A209</stage_direction> <character>LATER</character> <dialogue>Four Wakandan Design Group technicians scour the wreckage of Rivertown with protective gear, overseen by the WDG SCIENTIST. They surround an object: the hydrobomb that Namora dropped when they were attacked by Ayo during the flooding of the Golden City.</dialogue> <dialogue>The WDG scientist leans down gingerly to pick it up.</dialogue> <character>WDG TECH</character> <dialogue>Sir, are you sure that's safe? How do you know its not going to go off?</dialogue> <character>WDG SCIENTIST</character> <dialogue>I don't.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We need to get this to the princess.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JABARILAND - DAY - DAYS LATER</stage_direction> <scene_description>WAKANDAN HABITAT STRUCTURES have been set up. SCARAB BEETLES arrive with Golden City refugees. Ayo, M'Bele and Nakia watch with compassion as families settle in with the help of the Jabari and each other. A210 OMITTED A210 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CAPITAL BUILDING - JABARILAND - LATER</stage_direction> <scene_description>M'Bele, Ayo, and Nakia enter to find the Wakandan Tribal Elders and Zawavari meeting to discuss next steps. Jabari Warriors and the Dora Milaje stand guard.</scene_description> <character>ZAWAVARI</character> <dialogue>We must do as Bast instructed, what we have done for centuries. Every day that passes without selecting a ruler is a day wasted.</dialogue> <character>MERCHANT TRIBE ELDER</character> <dialogue>I agree. We have lost our Queen, our city, we cannot lose our rituals too.</dialogue> <character>MINING TRIBE ELDER</character> <dialogue>Warrior falls connects to the river. Until we know how they got in, we cannot guarantee the safety of the ritual.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>We cannot wait to nominate a leader just because the River Tribe cannot keep our waterways safe.</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>Our borders are your responsibility, over land or water.</dialogue> <character>NAKIA</character> <dialogue>This is what he wanted.</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>Who?</dialogue> <character>NAKIA</character> <dialogue>Namor. This is how you destabilize a powerful nation. Remove the leader and let the country descend into infighting and chaos. I have seen it done before</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Why do you care, War Dog? Are you even Wakandan?</dialogue> <character>AYO</character> <dialogue>She is River Tribe, Wakandan to her soul. She has never failed us, which is more than I can say about your soldiers.</dialogue> <scene_description>The Border Tribe Elder looks at Ayo in disgust, then leaves.</scene_description> <character>MINING TRIBE ELDER</character> <dialogue>Wait...</dialogue> <character>M'BAKU</character> <dialogue>Let him go. It is too crowded in here as it is.</dialogue> <character>AYO</character> <dialogue>We must deal with Namor, before he brings his warriors back here, or worse, makes good on his pledge to Shuri to attack the surface.</dialogue> <character>MERHCANT TRIBE ELDER</character> <dialogue>And how are we going to deal with a man with that much power?</dialogue> <character>NAKIA</character> <dialogue>We have recovered one of their weapons. Shuri is in the design group working on new technology to exploit any potential weaknesses.</dialogue> <character>M'BAKU</character> <dialogue>Glory to Hanuman. More technology. Maybe I spoke too soon.</dialogue> <scene_description>The elders think on this.</scene_description> </scene> <scene> <stage_direction>AA212 EXT. GRASSLAND - WAKANDAN BORDER REGION - DAY AA212</stage_direction> <scene_description>OKOYE RIDES ON HORSEBACK towards a figure in the distance. ALSO ON HORSEBACK, THE BORDER TRIBE ELDER waits for her to approach.</scene_description> <character>OKOYE</character> <dialogue>Mhlonistshwa...</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Finest daughter of the border... We need to speak about future of Wakanda. The elders fight for a right to the throne, drawing straws to decide who will get the honor of being assassinated by Namor next.</dialogue> <character>OKOYE</character> <dialogue>And what do you believe should be done?</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Tradition dictates that we perform the ritual at Warrior Falls.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I want you to step forward on behalf of the Border Tribe.</dialogue> <character>OKOYE</character> <dialogue>To become Queen?</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>Yes.</dialogue> <character>OKOYE</character> <dialogue>Mholnistshwa, you must be joking.</dialogue> <scene_description>Okoye puts the pieces together.</scene_description> <character>BORDER TRIBE ELDER</character> <dialogue>It would have been your destiny, had you not joined the Dora. I simply want to place you back on that path. My heart broke when you took that oath.</dialogue> <character>OKOYE</character> <dialogue>That oath has been the honor of my life, uncle. I never knew that it was not what you wanted, but it was all I ever wanted, and that was what mattered to me.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>The events of recent years have brought great shame on the Border Tribe, Okoye. You can restore our honor, by protecting Wakanda as its true leader.</dialogue> <scene_description>Okoye considers this.</scene_description> <character>BORDER TRIBE ELDER</character> <dialogue>You have served that family as if it were your own for years. What has it brought you besides battle scars and heart ache.</dialogue> <character>OKOYE</character> <dialogue>Mhlonistshwa, do not insult them. No family has done more for our nation. No family has given more. It was the honor of my life to serve them.</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>And still, they cast you aside.</dialogue> <scene_description>Okoye thinks on this.</scene_description> <character>BORDER TRIBE ELDER</character> <dialogue>No one has more support among the people than you. Wakanda would be proud to stand behind you.</dialogue> <character>OKOYE</character> <dialogue>And what of Shuri-</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>We cannot allow the whims of a grieving woman sway the fate of our nation. I advise that you lay low as the drumbeat of war builds. When the dust settles, you will be the leader our country deserves.</dialogue> <scene_description>Off of Okoye considering this... A212 OMITTED A212 B212 OMITTED B212 OMITTED OMITTED A214 OMITTED A214 OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>216A EXT. GEORGE BUSH CENTER OF INTELLIGENCE - DAY 216A\*</stage_direction> <scene_description>Ross stands outside of the CIA HQ looking nervous. He hides \* his Kimoyo beads behind his phone and presses them, then \* holds the phone to his ear. \* INTERCUT WITH \*:</scene_description> </scene> <scene> <stage_direction>216B INT. SHURI'S LAB - DAY 216B\*</stage_direction> <scene_description>Shuri stands on the plant level observing plants. \*</scene_description> <character>GRIOT \*</character> <dialogue>Princess, Everett Ross is calling \* you. \*</dialogue> <character>SHURI \*</character> <dialogue>Hello Everett. \*</dialogue> <character>ROSS \*</character> <dialogue>Shuri?! You're okay. I was worried \* sick. I've been trying to reach the \* Queen. My higher ups are getting \* ready to do something drastic, and \* I need some type of direction to \* get them off your scent. Is she \* there? Can you put her on the \* phone. \*</dialogue> <scene_description>Shuri pauses. \*</scene_description> <character>SHURI \*</character> <dialogue>The Queen is dead. \*</dialogue> <scene_description>Ross is stunned. \*</scene_description> <character>ROSS \*</character> <dialogue>I'm sorry, what? \*</dialogue> <character>SHURI \*</character> <dialogue>I need you to keep your country at \* bay Ross. Do whatever it takes. \* Wakanda can not handle another \* conflict right now. \*</dialogue> <scene_description>Ross looks over his shoulder at VAL, poking her head out of \* the entrance to the building. She motions at her watch and \* beckons for Ross to hustle up. \* Shuri hangs up. \* Leaving Ross to look at his phone. He starts off back off \* towards the building. \*</scene_description> </scene> <scene> <stage_direction>216C INT. CIA OFFICE - DAY 216C\*</stage_direction> <scene_description>Ross and Val sit across from the US SECRETARY OF STATE and a \* NAVY OFFICER. The four look through virtual documents on the \* smart table. \*</scene_description> <character>US SECRETARY OF STATE \*</character> <dialogue>Queen Ramonda won't sell any \* vibranium to us, they aren't open \* to trading it, and now they are \* signaling that they don't want us \* searching for it outside of their \* borders either. \*</dialogue> <scene_description>(beat) \* The President would like to go on \* the offensive against Wakanda. \*</scene_description> <character>VAL \*</character> <dialogue>What type of offensive? Imposing \* sanctions? \*</dialogue> <scene_description>The Secretary of State stares at her intensely. \*</scene_description> <character>US SECRETARY OF STATE \*</character> <dialogue>Destabilization. \*</dialogue> <character>VAL \*</character> <dialogue>Hmm. \*</dialogue> <character>US SECRETARY OF STATE \*</character> <dialogue>But he doesn't want to go without \* your recommendation, and he doesn't \* want to go blind. Do you have any \* information on any vulnerabilities \* the Queen may have? Or any intel on \* soft targets other than their \* outreach programs? \*</dialogue> <character>VAL \*</character> <dialogue>Special Officer Ross is our \* resident expert on the Kingdom. He \* had a relationship with the late \* King T'Challa. \*</dialogue> <scene_description>(beat) \* What do you think? \*</scene_description> <character>ROSS \*</character> <dialogue>I think attacking Wakanda would be \* a mistake. \*</dialogue> <character>US SECRETARY OF STATE \*</character> <dialogue>Why? \*</dialogue> <character>ROSS \*</character> <dialogue>Because we don't have any real \* justification for it. It wasn't \* them in the Atlantic. We've \* recovered no evidence. \*</dialogue> <character>US SECRETARY OF STATE \*</character> <dialogue>How do you explain Boston, then. \* They abducted the young woman who \* built the machine. \*</dialogue> <character>ROSS \*</character> <dialogue>With all due respect, Riri Williams \* is a child prodigy who was running \* circles around every professor at \* MIT. The Wakandans were there to \* recruit her for their outreach \* programs, and you guys sent a SWAT \* TEAM, under the cover of night, to \* arrest the crown princess of an \* international superpower, and their \* general. What exactly did you think \* was going to happen? \*</dialogue> <scene_description>(beat) \* My sources are telling me there's \* someone else out there. \*</scene_description> <character>US SECRETARY OF STATE \*</character> <dialogue>Another nation? \*</dialogue> <character>ROSS \*</character> <dialogue>I think so. You have to give me \* more time to investigate this \* properly, or we're gonna end up at \* war with a country whose full power \* we know frighteningly little about. \*</dialogue> <scene_description>The US Secretary of State stares at Ross, then turns to Val. \* Ross and Val cut a look to each other. \*</scene_description> <character>VAL \*</character> <dialogue>I hate to say it, but I'm with Ross \* on this one. \*</dialogue> </scene> <scene> <stage_direction>A217 INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY A217</stage_direction> <scene_description>Shuri examines NAMORA's HYDROBOMB and looks up at the HELIX SCREEN DISPLAY where an image of Okoye is on screen.</scene_description> <character>SHURI</character> <dialogue>Any sign of Okoye?</dialogue> <character>GRIOT (V.O.)</character> <dialogue>Sadly no. I think her Kimoyo beads have been turned off.</dialogue> <scene_description>Riri is escorted in by a WDG Scientist. The scientist leaves them.</scene_description> <character>SHURI</character> <dialogue>How is Jabariland? Are you staying warm out there?</dialogue> <character>RIRI</character> <dialogue>Back home we wear shorts in that kind of weather.</dialogue> <scene_description>Riri clocks the HYDROBOMB.</scene_description> <character>RIRI</character> <dialogue>Is that one of those things?</dialogue> <character>SHURI</character> <dialogue>Yes. I am still trying to understand the science behind it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's genius. Somehow it is able to create a violent chemical reaction that converts the air around it to water. Wakanda needs to settle things with Talocan, and that starts with learning everything we can about them.</dialogue> <scene_description>Riri, uncomfortable takes a beat, then.</scene_description> <character>RIRI</character> <dialogue>I'm so sorry about your mom...</dialogue> <scene_description>Shuri puts her hand up to stop her.</scene_description> <character>RIRI</character> <dialogue>Listen, I know you called for me, but I have something I wanted to ask you.</dialogue> <character>SHURI</character> <dialogue>It's not safe for you to go home yet, Riri.</dialogue> <character>RIRI</character> <dialogue>That's not it. I watched a bunch of your planes try to hit Namor, but none of them were quick enough.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I can build a suit that is. And I want to fly it.</dialogue> <scene_description>Shuri is stunned by this.</scene_description> <character>SHURI</character> <dialogue>My mother died saving your life. I'm not putting you back into the line of fire.</dialogue> <character>RIRI</character> <dialogue>It's my choice. Wakanda protected me, as if I was one of your own. Least I can do is return the favor.</dialogue> <scene_description>Moved, Shuri nods.</scene_description> <character>SHURI</character> <dialogue>I'll let my staff know to get you whatever you need. But I need something in return. I want you to teach me all about combustion engines, petroleum, and everything else you use to pollute the atmosphere.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I think I may be able to weaken Namor through exposure to extreme heat.</dialogue> <scene_description>Riri considers as Shuri picks something up off of a nearby table.</scene_description> <character>RIRI</character> <dialogue>Bet. But even weakened, he's gonna still be a problem. He was flinging those jet things around like frisbees.</dialogue> <scene_description>Shuri turns NAMOR'S MOTHER'S BRACELET over in her hand.</scene_description> <character>SHURI</character> <dialogue>The Black Panther would stand a chance.</dialogue> <scene_description>Riri sees the bracelet - puts two-and-two together.</scene_description> <character>RIRI</character> <dialogue>When do we start?</dialogue> <character>SHURI</character> <dialogue>Immediately.</dialogue> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - NIGHT</stage_direction> <scene_description>Shuri enters and turns on the lights, revealing the 3D Printers and plants we recognize from the prologue. She looks down, and we see she is holding NAMOR'S MOTHER'S BRACELET. She sighs.</scene_description> <character>SHURI</character> <dialogue>Okay Griot...guess we're back in business.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Let's start by running a comparative analysis between the Heart-Shaped-Herb and the fibers from this bracelet. Since both were grown from vibraniun-rich soil, they may share some base-level similarities we can exploit.</dialogue> <character>GRIOT</character> <dialogue>As you wish, Princess.</dialogue> <character>SHURI</character> <dialogue>And upload my brother's DNA.</dialogue> <scene_description>A218 BEGIN MONTAGE A218 Shuri works, analyzing a double helix model. Holograms, dirt, bioluminescent plants. While... \* On a different level, Riri builds her new Ironheart Suit.</scene_description> </scene> <scene> <stage_direction>A218 INT. SHURI'S LAB - NIGHT A218\*</stage_direction> <scene_description>We meet Okoye and Shuri in mid conversation. \*</scene_description> <character>OKOYE \*</character> <dialogue>Shuri... I can't do this. \* I fight in combat sanctioned by the \* throne of Wakanda, with traditional \* weaponry. I do not know how to \* fight like this. Besides I am a \* civilian now. I put down my spear. \*</dialogue> <character>SHURI \*</character> <dialogue>I have built you a better one. \*</dialogue> <character>OKOYE \*</character> <dialogue>Does the color match this repulsive \* design? \*</dialogue> <scene_description>We reveal them standing before the completed MIDNIGHT ANGELS \* suit. \*</scene_description> <character>SHURI \*</character> <dialogue>Yes. \*</dialogue> <scene_description>Okoye contemplates. \*</scene_description> <character>OKOYE \*</character> <dialogue>What is it that this abomination is \* called again? \*</dialogue> <character>SHURI \*</character> <dialogue>The Midnight Angel prototype. \*</dialogue> <scene_description>(beat) \* Pull your head out of your ass \* Okoye. You swore an oath to \* Wakanda. This could help us even \* the odds. If I call you, I need you \* to be ready. \* Okoye thinks for a beat. \*</scene_description> <character>OKOYE \*</character> <dialogue>How many of these have you built? \*</dialogue> <character>SHURI \*</character> <dialogue>Two, why? \*</dialogue> <scene_description>Okoye plots. \* B218 OMITTED B218 C218 OMITTED C218</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY</stage_direction> <scene_description>Shuri stares at a helix: it's complete, and green! She's in shock.</scene_description> <character>SHURI</character> <dialogue>Griot. What is the confidence rate?</dialogue> <character>GRIOT</character> <dialogue>98.7% Princess.</dialogue> <scene_description>The good news almost knocks Shuri back, she walks over to the 3D BIOPRINTER, but hesitates.</scene_description> <character>GRIOT</character> <dialogue>Would you like me to print the file?</dialogue> <scene_description>Shuri stalls more when.</scene_description> <character>NAKIA (O.S.)</character> <dialogue>Shuri...</dialogue> <scene_description>Shuri turns to see Nakia.</scene_description> <character>SHURI</character> <dialogue>Griot! I thought you said my security system was War Dog proof...</dialogue> <character>GRIOT</character> <dialogue>I don't recall saying that it was Nakia daughter of Yaa proof.</dialogue> <scene_description>Nakia smiles.</scene_description> <character>NAKIA</character> <dialogue>I just wanted to check in on you.</dialogue> <character>SHURI</character> <dialogue>I'm fine. Why haven't you gone back to Haiti? You don't have to stay here for me.</dialogue> <character>NAKIA</character> <dialogue>It is not that easy. I am still connected to Wakanda.</dialogue> <scene_description>Shuri thinks on this. Nakia eyes the GREEN DNA HELIX.</scene_description> <character>NAKIA</character> <dialogue>Is this what you have been up to?</dialogue> <character>SHURI</character> <dialogue>Yes.</dialogue> <character>SHURI</character> <dialogue>The last time I tried to recreate the Heart Shaped Herb was the day T'Challa died.</dialogue> <character>NAKIA</character> <dialogue>And you have done it now?</dialogue> <character>SHURI</character> <dialogue>It seems that way. But I'll know for sure soon enough.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If it fails, I don't know how we will have a shot at defeating Namor and his army. If it works, it means I was a year too late to save him.</dialogue> <scene_description>Nakia empathizes with Shuri's ambivalence.</scene_description> <character>NAKIA</character> <dialogue>T'Challa was destined to be with the ancestors. But you have a chance now to restore Wakanda's protector. It would be the greatest gift since Bashenga's discovery.</dialogue> <scene_description>Shuri takes this in and takes a deep breath.</scene_description> <character>SHURI</character> <dialogue>I'm happy I don't have to do this alone.</dialogue> <scene_description>Nakia nods as Shuri reaches for the button. Looks at Nakia, then pushes it.</scene_description> <character>NAKIA</character> <dialogue>How do you know if it works?</dialogue> <character>SHURI</character> <dialogue>If it glows.</dialogue> <scene_description>The printer finishes and the women watch for a beat, when suddenly a subtle purple glow emanates from the completed herb. The women rejoice. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY - LATER</stage_direction> <scene_description>Nakia mixes up a Heart Shaped Herb concoction as Shuri lays on an examination table. Riri looks on.</scene_description> <character>NAKIA</character> <dialogue>Are you sure you don't us to bury you?</dialogue> <character>SHURI</character> <dialogue>No. If I go into cardiac arrest, I want you to have access to my chest.</dialogue> <character>RIRI</character> <dialogue>Cardiac arrest? She's joking right?</dialogue> <scene_description>Nakia looks back at Riri, deadpan, then removes her Kimoyo beads. She places them on her Shuri's chest. Nakia pours the liquid into Shuri's mouth.</scene_description> <character>NAKIA</character> <dialogue>Camagu.</dialogue> <scene_description>Shuri's veins begin to form a purple sub dermal glow. Her eyes dart back and forth.</scene_description> </scene> <scene> <stage_direction>A221 INT. FLOODED LOWER LEVEL - ANCESTRAL PLANE - TIMELESS A221</stage_direction> <scene_description>Shuri awakens UNDERWATER and panicking, flails before gaining her bearings and swimming to the top.</scene_description> </scene> <scene> <stage_direction>INT. TRIBAL COUNCIL ROOM - ANCESTRAL PLANE - TIMELESS</stage_direction> <scene_description>Shuri climbs out of the water, breaths deep and looks around. Across the room, the throne is facing the window. She walks around to see who is seated there.</scene_description> <character>SHURI</character> <dialogue>Mother?</dialogue> <scene_description>Shuri's face twists in horror as it's revealed to be KILLMONGER.</scene_description> <character>SHURI</character> <dialogue>N'Jadaka!</dialogue> <character>KILLMONGER</character> <dialogue>Cousin...</dialogue> <scene_description>Shuri staggers back. Does a double take.</scene_description> <character>SHURI</character> <parenthetical>(to herself)</parenthetical> <dialogue>This can't be right. T'Challa saw Baba.</dialogue> <parenthetical>(to Killmonger)</parenthetical> <dialogue>How did I end up with you?</dialogue> <character>KILLMONGER</character> <dialogue>How, is never as important, as why.</dialogue> <scene_description>Shuri takes this in as Killmonger steps off the throne.</scene_description> <character>KILLMONGER</character> <dialogue>You chose me.</dialogue> <character>SHURI</character> <dialogue>That's impossible! I would never choose you.</dialogue> <character>KILLMONGER</character> <dialogue>Why did you take the herb?</dialogue> <character>SHURI</character> <dialogue>So I can see my family.</dialogue> <scene_description>Killmonger's eyes appear deeply remorseful.</scene_description> <character>KILLMONGER</character> <dialogue>That's bullshit. You don't believe in the ancestral realm, do you?</dialogue> <character>SHURI</character> <dialogue>No.</dialogue> <scene_description>Killmonger nods.</scene_description> <character>KILLMONGER</character> <dialogue>So why did you take it? You aint gotta lie to me.</dialogue> <character>SHURI</character> <dialogue>So I could become strong.</dialogue> <character>KILLMONGER</character> <dialogue>Strong, to do what?</dialogue> <character>SHURI</character> <dialogue>So that I may kill the man who murdered my mother.</dialogue> <scene_description>Killmonger smiles.</scene_description> <character>KILLMONGER</character> <dialogue>We are more alike than you think. I took it to avenge my ancestors, too.</dialogue> <character>SHURI</character> <dialogue>You took it for yourself and burned the rest. You were afraid of that you would be replaced. You're a coward.</dialogue> <scene_description>Killmonger sits with this.</scene_description> <character>KILLMONGER</character> <dialogue>I had the courage to do what nobody else would to change Wakanda. How many people like your scientist did Wakanda protect before I took the throne? Cowards... they were the panthers that came before me, and before your brother.</dialogue> <scene_description>Flames emerge in the structures around the room.</scene_description> <character>SHURI</character> <dialogue>Don't speak of my brother. It's because of you he's dead. You destroyed the herb and left us with no protector. Then Namor struck and killed my mother. Their blood is on your hands.</dialogue> <character>KILLMONGER</character> <dialogue>No. That ain't on me. Don't take that away from her. Your mother sacrificed her life to protect a young girl from the lost tribe. Your father was a coward. He would've let that girl die. Your brother was too noble, he let the man that murdered your father live.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And here you stand. Are you gonna be noble like your brother? Or take care of business, like me.</dialogue> <character>SHURI</character> <dialogue>I am not my brother. I will close Namor's eyes for good.</dialogue> <scene_description>Killmonger smiles. The flames rage around the room.</scene_description> <character>KILLMONGER</character> <dialogue>We'll see...</dialogue> <scene_description>Shuri ponders this.</scene_description> </scene> <scene> <stage_direction>INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY</stage_direction> <scene_description>Snapping upright, Shuri YELLS as if awakening from a night terror. Nakia and Riri stare back at her.</scene_description> <character>NAKIA</character> <dialogue>Are you okay? What did you see?</dialogue> <scene_description>Shuri isn't. She's hurt. Feels like a failure.</scene_description> <character>SHURI</character> <dialogue>...None of them came to me. Not baba, my mother or T'Challa.</dialogue> <character>NAKIA</character> <dialogue>Who came to you?</dialogue> <scene_description>Shuri looks to Nakia, but says nothing.</scene_description> <character>SHURI</character> <dialogue>No one.</dialogue> <scene_description>Shuri starts to violently pace.</scene_description> <character>SHURI</character> <dialogue>The ancestors abandoned me.</dialogue> <character>NAKIA</character> <dialogue>They would never.</dialogue> <character>SHURI</character> <dialogue>Well the herb didn't work then.</dialogue> <character>NAKIA</character> <dialogue>Shuri calm down.</dialogue> <character>SHURI</character> <dialogue>Don't tell me to calm down! I did everything I was supposed to do. The herb, the ritual, and they still did not come!</dialogue> <scene_description>Overcome with rage, Shuri BRUTALLY PUNCHES a MANNEQUIN dressed in a DORA UNIFORM with predatory eyes.</scene_description> <character>THE MANNEQUIN GOES FLYING!</character> <dialogue>RIRI</dialogue> <scene_description>Shit! (looks at Shuri) I guess that part worked. Shuri looks down at her hands.</scene_description> <character>NAKIA</character> <dialogue>I think you should work on building a new suit.</dialogue> </scene> <scene> <stage_direction>A222 INT. SHURI'S LAB A222\*</stage_direction> <scene_description>Shuri, wearing a compression suit, stands before two tables. \* A GOLD NECKLACE sits on one table. Three BLACK PANTHER \* HELMETS sit on the other. \* Her father, T'Chaka's gold trimmed helmet, her brother \* T'Challa's silver trimmed helmet, and her gold and silver \* trimmed helmet. \* She puts on the necklace and activates it, triggering \* VIBRANIUM NANITES to cover her body, forming a NEW BLACK \* PANTHER SUIT, sans Helmet. \* She turns to her helmet, lifts it and stares at it for a \* beat. The helmet then dissolves to vibranium nanites in her \* hand, and forms around her head. \* \*:</scene_description> </scene> <scene> <stage_direction>EXT. CAPITAL BUILDING - JABARILAND - WAKANDA - DAY</stage_direction> <scene_description>Wakandan refugees go on about their lives, when one looks up into the sky at something.</scene_description> </scene> <scene> <stage_direction>A224 INT. CAPITAL BUILDING - JABARILAND - WAKANDA A224</stage_direction> <scene_description>M'Baku and the Tribal Elders and Zawavari are mid-meeting when M'Baku looks up. The elders' eyes follow his to see, THE BLACK PANTHER, perched atop a JABARI TOTEM, silhouetted against the sky.</scene_description> <character>RIVER TRIBE ELDER</character> <dialogue>The Black Panther Lives.</dialogue> <scene_description>The Black Panther leaps down into the floor between the elders, and retracts its mask, revealing Shuri.</scene_description> <character>MINING TRIBE ELDER</character> <dialogue>The Princess.</dialogue> <scene_description>The elders cannot help but cheer.</scene_description> <character>BORDER TRIBE ELDER</character> <dialogue>Wakanda Forever!</dialogue> <character>ALL ELDERS</character> <dialogue>Wakanda Forever!!!</dialogue> <character>M'BAKU</character> <dialogue>Wait!</dialogue> <scene_description>The elders quiet down.</scene_description> <character>M'BAKU</character> <dialogue>Was the herb not destroyed?</dialogue> <character>SHURI</character> <dialogue>I recreated it.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Clearly... I recreated it.</dialogue> <character>M'BAKU</character> <dialogue>Through science?</dialogue> <scene_description>Shuri nods.</scene_description> <character>M'BAKU</character> <dialogue>Okay, everybody out.</dialogue> <character>ZAWAVARI</character> <dialogue>Wait. Let the panther speak.</dialogue> <character>M'BAKU</character> <dialogue>Speak of what? You think your God granted her the same strength she gave Bashanga, from something she grew in her lab?</dialogue> <character>SHURI</character> <dialogue>You're welcome to find out the old fashioned way M'Baku.</dialogue> <scene_description>M'Baku approaches Shuri, towering over her. Shuri does not back down, straining her neck to maintain eye contact with the mountain of a man before her. Suddenly M'Baku's arm cocks back and swings it forward, Shuri does the same and their hands clasp in front of Shuri's face, half handshake, half mid air arm wrestling match. The elders look on as it becomes a full arm wrestling match in mid air. The diminutive Panther and the massive Jabari lord in a stalemate of strength. The Jabari Warriors begin BARKING. The Elders begin CHEERING, doing ululations in their traditional styles.</scene_description> <character>SHURI</character> <dialogue>Still unsure, Jabari?</dialogue> <scene_description>Shuri begins to take the lead. M'Baku struggles, and then smiles, and laughs. He stops.</scene_description> <character>M'BAKU</character> <dialogue>She has done it. THE BLACK PANTHER LIVES!!!!</dialogue> <scene_description>The room rejoices.</scene_description> </scene> <scene> <stage_direction>INT. CAPITAL BUILDING - JABARILAND - DAY</stage_direction> <scene_description>Shuri, M'Baku, Nakia, Ayo, the Tribal Elders, Zawavari and the Dora are gathered to discuss next steps.</scene_description> <character>SHURI</character> <dialogue>Namor believes we are on our knees. Our Queen dead, our capital destroyed, what threat could we pose to a hidden nation under the sea?</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>So what is the plan?</dialogue> <character>SHURI</character> <dialogue>We draw them out.</dialogue> <scene_description>The Elders listen intently. OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CAPITAL BUILDING - JABARILAND - DAY</stage_direction> <scene_description>Nakia steps forward in support of Shuri.</scene_description> <character>NAKIA</character> <dialogue>The American scientist has built another vibranium detector.</dialogue> <character>AYO</character> <dialogue>This machine is our best chance of luring Namor to the surface where we have a few surprises in store for him.</dialogue> <character>SHURI</character> <dialogue>Dehydrating Namor should severely weaken him, giving us our greatest opportunity to kill him.</dialogue> <character>RIVER TRIBE ELDER</character> <dialogue>I like the sound of that.</dialogue> <character>ZAWAVARI</character> <dialogue>Bast be praised!</dialogue> <character>BORDER TRIBE ELDER</character> <dialogue>This is foolish. My warriors will remain to defend Wakanda while you lead our country to ruin trying to kill this madman.</dialogue> <character>SHURI</character> <dialogue>Very well. I don't require your allegiance. Or the allegiance of anyone here, if they don't wish to follow the Black Panther into battle with a man who murdered their Queen... so be it.</dialogue> <scene_description>The room takes that in.</scene_description> <character>M'BAKU</character> <dialogue>Let's say this does work. And assuming we find a way to kill this man, who can fly, and is possibly as strong as a Hulk. Is murdering him the best solution?</dialogue> <scene_description>The room is aghast at this change of heart from the Jabari leader.</scene_description> <character>RIVER TRIBE ELDER</character> <dialogue>You were calling for his head when his only crime was intimidation.</dialogue> <character>MERCHANT TRIBE ELDER</character> <dialogue>What has changed, Lord M'Baku?</dialogue> <character>M'BAKU</character> <dialogue>Everything. How old did you say he was?</dialogue> <character>SHURI</character> <dialogue>He claimed to be over 5 centuries old.</dialogue> <character>MINING TRIBE ELDER</character> <dialogue>"Claimed".</dialogue> <character>M'BAKU</character> <dialogue>The man can fly twenty stories in the air and breathe underwater. What reason does he have to lie? His soldiers did not call him general, or King. They called him K k'uk'ulkan. The feathered serpent god.</dialogue> <scene_description>The Elders look at M'Baku surprised.</scene_description> <character>M'BAKU</character> <dialogue>Do you think that because we live in the mountains that we do not have access to books?</dialogue> <scene_description>M'Baku stands up and walks over to Shuri.</scene_description> <character>M'BAKU</character> <dialogue>If Namor is a GOD to his people, killing him risks eternal war.</dialogue> <character>SHURI</character> <dialogue>Was my mother not worth eternal war?</dialogue> <character>M'BAKU</character> <parenthetical>(angry)</parenthetical> <character>OF COURSE SHE WAS!</character> <dialogue>EVERYONE JUMPS at M'Baku's outburst.</dialogue> <character>M'BAKU</character> <dialogue>Your mother was the finest queen any nation could ask for! I watched that woman lose her husband, her children, and her life for our people. She had honor and strength and patience. She was worth perpetual warfare!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But that is not worth it for my people.</dialogue> <scene_description>Shuri grows emotional. She knows the Jabari lord is right. M'Baku steels himself.</scene_description> <character>SHURI</character> <dialogue>My mother died protecting the innocent. Namor will attack the surface. Maybe not in our lifetimes, but in the lifetimes of the children of Wakanda and the other nations of the world. We have a way to stop him now, and I am willing to die doing just that, so no others will have to feel the pain that I feel now. For those that wish to fight, we leave in the morning.</dialogue> <scene_description>Shuri heads out.</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PAD - GOLDEN CITY - DAY</stage_direction> <scene_description>WAKANDAN NAVAL OFFICERS walk towards the ROYAL SEA LEOPARD along with Nakia, M'Baku and the Jabari, Ayo and the Dora, and the Kingsguard. Shuri approaches with Riri, wearing her Black Panther suit without the helmet. M'Baku approaches Riri, who stands next to the Dora.</scene_description> <character>M'BAKU</character> <dialogue>Are you prepared to bathe in the blood of Wakanda's enemies?</dialogue> <character>RIRI</character> <dialogue>I prefer to use soap.</dialogue> <character>M'BAKU</character> <dialogue>Very well.</dialogue> <scene_description>Nakia motions Shuri to the side, out of earshot.</scene_description> <character>NAKIA</character> <dialogue>Are we doing this for the future of the surface... or are you doing this for vengeance?</dialogue> <scene_description>Shuri does not answer.</scene_description> <character>NAKIA</character> <dialogue>Who did you see when you took the herb?</dialogue> <scene_description>Shuri does not answer.</scene_description> <character>NAKIA</character> <dialogue>If you go down the road of killing for vengeance it will not fill the hole left by the loss of her, it will just open a larger void that will consume you.</dialogue> <character>SHURI</character> <dialogue>I will deal with Namor my way.</dialogue> <character>NAKIA</character> <dialogue>Fair enough.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If we survive this. I won't be coming back here. I want you to know that you have a home with me in Haiti. It would mean the world to me if you could see what we built there.</dialogue> <scene_description>Shuri thinks on this. She nods and the two head towards the ship.</scene_description> </scene> <scene> <stage_direction>A231 EXT. ANEKA'S HOUSE - RIVER PROVINCE - DAY A231</stage_direction> <scene_description>A traditional River Tribe STILT HOUSE, seated above water. Many Wakandans have evacuated this area as Okoye approaches.</scene_description> </scene> <scene> <stage_direction>B231 INT. ANEKA'S HOUSE - RIVER PROVINCE - DAY B231</stage_direction> <scene_description>The door is open. Okoye steps in finding Aneka cleaning up, assessing the flood damage.</scene_description> <character>OKOYE</character> <dialogue>I looked for you at the Jabari outpost.</dialogue> <scene_description>Aneka turns.</scene_description> <character>ANEKA</character> <dialogue>I won't be forced out of my home.</dialogue> <character>OKOYE</character> <dialogue>Why did you leave the Dora?</dialogue> <character>ANEKA</character> <dialogue>Why do you care?</dialogue> <character>OKOYE</character> <dialogue>You have a rebellious spirit, but so much potential. I hope you didn't quit because of me.</dialogue> <character>ANEKA</character> <dialogue>I never thought we'd train our spears on another Dora. It wasn't about you. It could have been any one of us.</dialogue> <scene_description>Aneka looks at Okoye and realizes something.</scene_description> <character>ANEKA</character> <dialogue>You're blaming yourself...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look at what the Talocanil did to us. What could you have done?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You were the best of us. You were the reason I joined. Okoye, you served Wakanda well.</dialogue> <character>OKOYE</character> <dialogue>You speak of me in the past tense, but I still have fight left in me.</dialogue> <scene_description>She studies Aneka for a beat.</scene_description> <character>OKOYE</character> <dialogue>Tell me, Aneka daughter of Kyana, is there still some fight left in you as well?</dialogue> <scene_description>Aneka's eyes say there is.</scene_description> <character>ANEKA</character> <dialogue>What do you have in mind?</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. NAMOR'S TEMPLE - TALOCAN - NIGHT</stage_direction> <scene_description>Attuma and Namora float before Namor, speaking in Maya.</scene_description> <character>ATTUMA (SUBTITLE)</character> <dialogue>K k'uk'ulkan. Another machine to detect vibranium is in use in the ocean.</dialogue> <scene_description>Namor looks back shocked.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Where?</dialogue> <character>NAMORA (SUBTITLE)</character> <dialogue>Off the coast of our ancestral homeland.</dialogue> <character>ATTUMA (SUBTITLE)</character> <dialogue>We worry it may be a trap.</dialogue> <character>NAMOR (SUBTITLE)</character> <dialogue>It does not matter. Gather our warriors. Whomever it is, they will regret setting foot in our domain.</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. DEEP OCEAN - ATLANTIC - DAY</stage_direction> <scene_description>Traveling underwater, Namor, Attuma and Namora arrive at the VIBRANIUM DETECTOR when a sudden CONCUSSIVE SONIC FORCE coming from the direction of the surface begins to effect them.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Get out of the water!</dialogue> <scene_description>Racked with pain, they swim for the surface.</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN SURFACE - ATLANTIC - DAY</stage_direction> <scene_description>Namor, Namora, Attuma and the other Talocanil breach the water as the gargantuan ROYAL SEA LEOPARD DECLOAKS.</scene_description> </scene> <scene> <stage_direction>EXT. DECK - ROYAL SEA LEOPARD - DAY - CONTINOUS</stage_direction> <scene_description>Shuri in her Black Panther suit (mask off), Nakia, M'Baku, Jabari Warriors, Ayo, the DORA and the Wakandan Navy peer over the ocean. We notice M'Baku is wearing REINFORCED NEW ARMOR.</scene_description> <character>SHURI</character> <dialogue>Now Griot!</dialogue> <scene_description>AHHHHHH!:</scene_description> <character>THE ROYAL SEA LEOPARD OPENS FIRE ON THE TALOCANIL IN AN</character> </scene> <scene> <stage_direction>EXT. OCEAN SURFACE - ATLANTIC - DAY</stage_direction> <scene_description>Under fire, Namor turns to Namora, in Maya.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Destroy the weapon making that noise!</dialogue> <scene_description>Namora nods, diving back underwater with FIVE TALOCANIL SOLDIERS in tow. Namor turns to Attuma.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Take the ship!</dialogue> <character>ATTUMA (SUBTITLE)</character> <dialogue>Take the ship! To the deck with me!</dialogue> <scene_description>Namor takes a CONCH SHELL from a TALOCANIL WARRIOR and flies up into the sky.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - ATLANTIC - DAY</stage_direction> <scene_description>Soaring into the sky, Namor blows into the conch and flings it into the distance, then flies straight at the Wakandan aircraft. A downed Talon fighter CRASHES into the deck of the RSL, scattering DEBRIS everywhere as...</scene_description> </scene> <scene> <stage_direction>A240 EXT. OCEAN SURFACE - ROYAL SEA LEOPARD - ATLANTIC - DAY A240</stage_direction> <scene_description>Led by Attuma, Talocanil warriors begin CLIMBING UP the side of the ROYAL SEA LEOPARD while others heave HYDROBOMBS into the air at the Wakandan aircraft.</scene_description> </scene> <scene> <stage_direction>B240 EXT. DECK - ROYAL SEA LEOPARD - DAY B240</stage_direction> <scene_description>Nakia and M'Baku move into position with the Jabari to defend the port side while on the starboard flank... The Dora, hooked up to cabled harnesses prepare to jump.</scene_description> <character>AYO</character> <dialogue>Phambili!</dialogue> <scene_description>They leap off. Shuri engages her mask and follows suit, unharnessed.</scene_description> </scene> <scene> <stage_direction>C240 EXT. SIDE DECK - ROYAL SEA LEOPARD - DAY C240</stage_direction> <scene_description>Shuri, Ayo, the Dora SCALE DOWN battling the Talocanil along the side of the ship. Shuri CYCLONES through Talocanil as she and the Dora strike in ballet of COORDINATED COMBAT MOVES.</scene_description> </scene> <scene> <stage_direction>D240 EXT. DECK - ROYAL SEA LEOPARD - DAY D240</stage_direction> <scene_description>Twirling his knobkerrie, M'Baku notices A LONE TALOCANIL WARRIOR climbing up the side.</scene_description> <character>M'BAKU</character> <dialogue>There will be no climbing here! We will not have it-o!</dialogue> <scene_description>He SMACKS the Talocanil warrior just before his feet touch down on the deck.</scene_description> </scene> <scene> <stage_direction>E240 EXT. SKY - ATLANTIC - DAY E240</stage_direction> <scene_description>Namor downs another Wakandan aircraft that crashes into the ocean next to the RSL. He grabs a dragonflyer and looks into cockpit and sees... no one piloting it?! He throws it back before looking around for the trap. He looks up towards the sky where the RTF zooms by overhead, and leaves behind a small spec zooming towards him. It's RIRI in her new IRONHEART SUIT.</scene_description> </scene> <scene> <stage_direction>EE240 INT. RIRI'S HUD - DAY EE240</stage_direction> <scene_description>Riri, thousand yard stare trained on the Talocanil's leader.</scene_description> <character>RIRI</character> <dialogue>Top of the morning asshole!</dialogue> </scene> <scene> <stage_direction>EF240 EXT. SKY - ATLANTIC - DAY EF240</stage_direction> <scene_description>Several weapons open up on Riri's arms and she FIRES heat seeking rounds towards Namor, who dodges deftly and takes Riri on a trip.</scene_description> </scene> <scene> <stage_direction>F240 EXT. SIDE DECK - ROYAL SEA LEOPARD - DAY F240</stage_direction> <scene_description>Shuri looks on from the fight, watching the RTF and Riri pursue Namor in the distance.</scene_description> </scene> <scene> <stage_direction>G240 EXT. DEEP OCEAN - ATLANTIC - DAY G240</stage_direction> <scene_description>Namora and the five warriors' bodies tremor in excruciating agony as they forces themselves toward the source of the sonic discharge, a CONCUSSIVE SONIC EMMITER attached to the bottom of the Royal Sea Leopard. As Namora's ears begin to bleed, she charges at the emitter with her spear, STRIKING it with all her might. A small FISSURE gives her hope and she HITS at it repeatedly. H240 OMITTED H240 I240 OMITTED I240</scene_description> </scene> <scene> <stage_direction>J240 EXT. SKY - ATLANTIC - DAY J240</stage_direction> <scene_description>Riri IRONHEART SUIT and blasts at Namor with her REPULSOR cannons. Namor evades the shot at the last second and takes Riri on a trip. Riri's Ironheart suit can match Namor's nimbleness, then... MIRRORING NAMOR'S MOVEMENT, RIRI UNLEASHES A MASSIVE ASSAULT OF: REPULSOR BURSTS THAT SEND HIM HURTLING DOWN INTO THE HATCH OF: THE ROYAL TALON FIGHTER.: SHURI JUMPS OFF THE SIDE OF THE SHIP AND LANDS ON THE NOSE OF THE RTF. SHE ENTERS THE COCKPIT THROUGH THE WINDOW.:</scene_description> </scene> <scene> <stage_direction>K240 EXT. SIDE DECK - ROYAL SEA LEOPARD - DAY K240</stage_direction> <scene_description>Attuma watches the aircraft fly away aware that Namor is on it.</scene_description> <character>ATTUMA (SUBTITLE)</character> <dialogue>No!</dialogue> </scene> <scene> <stage_direction>L240 EXT. DECK - ROYAL SEA LEOPARD - DAY L240</stage_direction> <scene_description>Riri lands next to M'Baku and they watch the RTF also.</scene_description> <character>RIRI</character> <dialogue>We got him!</dialogue> <character>M'BAKU</character> <dialogue>Back to Wakanda!</dialogue> <character>NAKIA</character> <parenthetical>(into Kimoyo beads)</parenthetical> <dialogue>Namor has been captured. Retreat!</dialogue> </scene> <scene> <stage_direction>M240 INT. OCEAN - ATLANTIC - DAY M240</stage_direction> <scene_description>The THRUSTERS of the RSL FIRE UP and begin to push the ship forward.</scene_description> </scene> <scene> <stage_direction>N240 EXT. SIDE DECK - ROYAL SEA LEOPARD - DAY N240</stage_direction> <scene_description>The abseiling Dora are brought back up to the deck as Talocanil warriors continue to pursue.</scene_description> </scene> <scene> <stage_direction>O240 INT. DECK - ROYAL SEA LEOPARD - DAY O240</stage_direction> <scene_description>The ship takes off. Riri launches back into the air.</scene_description> </scene> <scene> <stage_direction>I/E. ROYAL TALON FIGHTER - SKY - DAY</stage_direction> <scene_description>The hatch has SEALED Namor into DARKNESS. Momentarily disoriented, he gets to his feet as the lights suddenly COME ON, revealing... Shuri standing behind a SONIC PARTITION as GRIOT pilots the ship. Eyeing the partition, Namor touches it with his spear but it is repelled.</scene_description> <character>NAMOR</character> <dialogue>Princess.</dialogue> <character>SHURI</character> <dialogue>No. I am the spirit of a murdered \* queen, the wrath of a wounded \* nation, I am the Black Panther! And \* I am here for retribution.</dialogue> <scene_description>We notice HEAT-DEHUMIDIFIER PANELS gradually intensifying as Namor continues.</scene_description> <character>NAMOR</character> <dialogue>And this is you, taking your vengeance. The Queen violated our agreement. She sent an assassin to rescue you and murdered a child. Had she mistreated you?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You were safe in my care.</dialogue> <character>SHURI</character> <dialogue>I don't care about the child. Hypocrite. Was the scientist not a child? You were hellbent on killing her.</dialogue> <character>NAMOR</character> <dialogue>The scientist? She chose death the moment she created that machine. It was a matter of time.</dialogue> <scene_description>Namor waivers on his feet.</scene_description> <character>SHURI</character> <dialogue>It is only a matter of time for you. What's the matter? Do you need some water?</dialogue> <scene_description>Namor looks around realizing he is in a massive dehumidifier. Shuri eyes a HOLOGRAPHIC THERMOSTAT not visible to Namor that shows the temperature inside the RTF rising fast and the humidity level declining fast. Suddenly an alert comes through the RTF speakers.</scene_description> <character>GRIOT \*</character> <dialogue>Panther the ship is losing speed \* rapidly. \*</dialogue> <scene_description>A holographic display of RTF pops up on the sonic partition. \*</scene_description> <character>SHURI \*</character> <dialogue>Okoye. \*</dialogue> </scene> <scene> <stage_direction>241A INT. OKOYE'S HUD - DAY 241A\*</stage_direction> <character>OKOYE \*</character> <dialogue>Shuri. \*</dialogue> <character>SHURI (O.S.) \*</character> <dialogue>Phambilii! \*</dialogue> <scene_description>242 OMITTED 242\* OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>A252 EXT. DECK - ROYAL SEA LEOPARD - DAY A252</stage_direction> <scene_description>The Wakandans man the ship and fire projectiles at Talocanil warriors that are still hanging on the side of the ship.</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>Battling the torturous effects of the emitter, Namora and her comrades continue to pursue it. The other soldiers give up, when Namora makes contact with the device and pummels it with her spear until she... opens a fissure. She places a HYDROBOMB in it and it EXPLODES.</scene_description> </scene> <scene> <stage_direction>AB253 EXT. SIDE DECK - ROYAL SEA LEOPARD - DAY AB253</stage_direction> <scene_description>Attuma and the other taloncanil warriors notice the noise of the sonic emitter has ceased. Attuma smiles and jumps off of the side of the ship, along with the rest of the Talocanil.</scene_description> </scene> <scene> <stage_direction>A253 EXT. DECK - ROYAL SEA LEOPARD - DAY A253</stage_direction> <scene_description>M'Baku turns to the Naval Engineer.</scene_description> <character>M'BAKU</character> <dialogue>What is going on?</dialogue> <scene_description>A NAVAL ENGINER listens to something on his comms and then relays it.</scene_description> <character>WAKANDAN NAVAL ENGINEER</character> <dialogue>The Sonic Emitter has been destroyed!</dialogue> <character>NAKIA</character> <dialogue>Are we at maximum speed?</dialogue> <scene_description>The Naval Engineer nods.</scene_description> <character>NAKIA</character> <dialogue>Good.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>A254 EXT. UNDERWATER - ROYAL SEA LEOPARD - ATLANTIC - DAY A254</stage_direction> <scene_description>Attuma, Namora and the Talocanil pursue the ship. A massive whale cry rings out. Namora and Attuma look at each other and smile.</scene_description> <character>ATTUMA (SUBTITLE)</character> <parenthetical>(in Maya)</parenthetical> <dialogue>This ship is ours now!</dialogue> </scene> <scene> <stage_direction>B254 EXT. DECK - ROYAL SEA LEOPARD B254</stage_direction> <scene_description>The Wakandan forces hear the whale cries. They look over at the Talocanil warriors who smile back and begin to disembark the side wall, falling back into the ocean.</scene_description> <character>M'BAKU</character> <dialogue>That can't be good...</dialogue> </scene> <scene> <stage_direction>C254 INT. OCEAN - ATLANTIC - DAY C254</stage_direction> <scene_description>In the distance, TWO BLUE WHALES covered in TALOCANIL WARRIORS and carrying a GINORMOUS CLUSTER of HYDROBOMBS. The whales swim the hydrobombs under the propulsion system of the RSL and they explode. OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>The RSL's rear explodes out of the water and comes crashing back down causing it to list vertically in a violent eruption of rough seas. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. DECK - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>With the vessel listing, and the water below TEEMING with TALOCANIL WARRIORS. Wakandans FALL into the ocean while others HOLD ON for dear life. Ayo and the Dora LINK WEAPONS to secure each other as...</scene_description> </scene> <scene> <stage_direction>AA264 INT. OCEAN - BENEATH LISTED RSL - DAY AA264</stage_direction> <scene_description>Naval Officers and Kingsguard fall into the waters and are promptly picked off by Attuma, Namora and their forces.</scene_description> </scene> <scene> <stage_direction>AB264 EXT. DECK - ROYAL SEA LEOPARD - DAY AB264</stage_direction> <scene_description>M'Baku and Nakia hold on to the ship.</scene_description> <character>M'BAKU</character> <dialogue>We have to get the ship back upright or we will all perish!</dialogue> </scene> <scene> <stage_direction>AC264 INT. ROYAL TALON FIGHTER - DAY AC264</stage_direction> <scene_description>Shuri looks at a visual representation of what is happening to the RSL at sea. She hears PANIC in the Wakandan voices over her comms. Namor smiles, he hears it as well.</scene_description> <character>NAMOR \*</character> <dialogue>Turn this aircraft around. Or I \* will come back to Wakanda and drown \* every man, woman, and child. \*</dialogue> <character>SHURI \*</character> <dialogue>You're not a god. You're not a \* leader. You're a monster. \*</dialogue> <character>NAMOR \*</character> <dialogue>We are both monsters. Waiting for \* the right moment to reveal who we \* are. \*</dialogue> <scene_description>But dripping with sweat now, Namor realizes something's \* wrong. Feeling weakened, he finally notices the PANELS and \* registers Shuri has been heating and dehumidifying the RTF. \* Glaring at her, Namor suddenly DRIVES HIS SPEAR right through \* the main PANEL with immense strength, shorting the system. \*</scene_description> <character>SHURI \*</character> <dialogue>(surprised) \*</dialogue> <scene_description>Griot. What's the damage? \*</scene_description> <character>GRIOT \*</character> <dialogue>His spear is made of raw vibranium \* and it's causing a reaction with \* the turbine. The ship could explode \* at any second. \*</dialogue> <scene_description>The raw vibranium of Namor's spear begins CHARGING UP as he SLASHES AWAY, then SPIKES his spear through trying to reach the RTF'S THRUSTER with inhuman strength. The sonic partition VANISHES, SHURI ENGAGES HER MASK AND CHARGES NAMOR.</scene_description> </scene> <scene> <stage_direction>A264 EXT. SKY - ATLANTIC - DAY A264</stage_direction> <scene_description>Riri sees the WAKANDAN SOLDIERS FALLING BELOW and flies down towards the water. She plunges in and emerges with a DORA in tow. She flies her up to-</scene_description> </scene> <scene> <stage_direction>B264 EXT. DECK - ROYAL SEA LEOPARD - DAY B264</stage_direction> <scene_description>Riri deposits the Dora next to M'Baku who grips part of the deck next to Nakia.</scene_description> <character>RIRI</character> <dialogue>It's too many of them. I need cover.</dialogue> <scene_description>Riri flies back down to save more. Nakia turns to M'Baku.</scene_description> <character>NAKIA</character> <dialogue>I'm going in. We have to save who we can.</dialogue> <scene_description>M'Baku nods. Nakia lets go and slides down to a port on the ship, pulls out her skirmisher, kicks off the deck, and drops down to the water below.</scene_description> </scene> <scene> <stage_direction>C264 INT. OCEAN - BENEATH LISTED RSL - DAY C264</stage_direction> <scene_description>Nakia's skirmisher enters the water and starts firing at Talocanil fighters. While Riri enters and pulls Wakandans out.</scene_description> </scene> <scene> <stage_direction>D264 EXT. DECK - ROYAL SEA LEOPARD - DAY D264</stage_direction> <scene_description>M'Baku saves a Kingsguard from sliding down and stores him next to the Wakandan Naval Engineer. M'Baku turns to him.</scene_description> <character>M'BAKU</character> <dialogue>Is there any way to get the ship back balanced?</dialogue> <character>WAKANDAN NAVAL ENGINEER</character> <dialogue>We would need to restart the pump room. It would take over ten MEGADEBENS of pressure.... Wait. There are two incoming vessels traveling at 70 knots.</dialogue> </scene> <scene> <stage_direction>E264 INT. NAKIA'S HUD - DAY - CONTINUOUS E264</stage_direction> <scene_description>Nakia looks around for the incoming vessel.</scene_description> <character>NAKIA</character> <dialogue>More whales?</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>What now? A kraken?!</dialogue> </scene> <scene> <stage_direction>F264 EXT. DECK - ROYAL SEA LEOPARD - DAY F264</stage_direction> <scene_description>The Naval Engineer checks his kimoyo bead.</scene_description> <character>WAKANDAN NAVAL ENGINEER</character> <dialogue>No... they are Wakandan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Identify yourselves.</dialogue> </scene> <scene> <stage_direction>G264 INT. OKOYE'S HUD - DAY G264</stage_direction> <scene_description>Okoye smiles.</scene_description> <character>OKOYE (V.O.)</character> <dialogue>This is Okoye Daughter of Korabo.</dialogue> </scene> <scene> <stage_direction>H264 INT. ANEKA'S HUD - DAY H264</stage_direction> <scene_description>Aneka looks on.</scene_description> <character>ANEKA (V.O.)</character> <dialogue>And Aneka Daughter of Kyana.</dialogue> </scene> <scene> <stage_direction>I264 INT. OKOYE'S HUD - DAY I264</stage_direction> <scene_description>Okoye smiles.</scene_description> <character>OKOYE (V.O.)</character> <dialogue>The MIDNIGHT ANGELS will rebalance the ship.</dialogue> </scene> <scene> <stage_direction>J264 EXT. OCEAN SURFACE - ATLANTIC - DAY J264</stage_direction> <scene_description>On the distant horizon, Okoye and Aneka, in their Midnight Angel suits, rip through the air towards the listed RSL and dive underwater. OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. ROYAL TALON FIGHTER - SKY - DAY</stage_direction> <scene_description>Shuri and Namor square off. Namor's spear is still harpooned in the rear of the hull. Shuri charges, assailing Namor with a rapid combination of agile attacks and claws. The weakened Namor counters with his own quickness and strength as they circle one another. Then, Namor flings Shuri back and she hits the end of his spear, DRIVING IT deeper into the thruster. The CHARGED SPEAR spikes through and as they continue to fight the THRUSTER SUDDENLY EXPLODES!</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <character>THE RTF VIOLENTLY CRASHES, THE EXPLOSION BREAKING OFF PIECES</character> <dialogue>OF DEBRIS, HURLING EVERYTHING INTO THE SAND.</dialogue> <dialogue>The RTF is completely destroyed and in FLAMES. DEBRIS and SPEARS are scattered everywhere as Namor climbs out of the wreckage to discover he's in a desert.</dialogue> <dialogue>The heat and sun beat down on him as Shuri climbs to her feet in front of him.</dialogue> <dialogue>Shuri attacks, grabbing a BROKEN SPEAR from the sand.</dialogue> <dialogue>Their fighting is furious and chaotic. Namor flies her up and slams her. Agility and quickness versus strength and speed. The two trade STRIKES and COUNTER MOVES back and forth as Namor begins to labor in the heat.</dialogue> <scene_description>OMITTED OMITTED A269 OMITTED A269</scene_description> </scene> <scene> <stage_direction>B269 INT. PUMP ROOM - ROYAL SEA LEOPARD - ATLANTIC - DAY B269</stage_direction> <scene_description>Okoye and Aneka in their Midnight Angels uniforms blast into the circular pump room and begin lifting the pistons, using their enhanced strength.</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Hellbent, tackling Shuri, Namor PROPELS her into a MOUNTAINOUS BOULDER, then dashing forward, pummels her in a BRUTAL FRENZY! Absorbing the MASSIVE POWER of Namor's punches, ARMOR PANELS on Shuri's suit overload and TECH from other parts of her suit and helmet are REASSIGNED automatically to those areas until they reboot. Frustrated, Namor keeps SWINGING HAYMAKERS, wearing himself out. It's the Rumble in the Jungle and Shuri is Ali. Badly battered, holding on by sheer will, Shuri takes Namor's best until her suit's ENERGY maxes out and... KAABOOOOOOMMMM! A massive KINETIC EXPLOSION destroys the boulder, the pile of rubble completely buries Shuri and the explosion sends Namor FLYING BACK into the flaming debris.</scene_description> </scene> <scene> <stage_direction>A270 EXT. OCEAN SURFACE - ATLANTIC - DAY A270</stage_direction> <scene_description>WATER GEYSERS from PORTS along the side of the massive vessel as it TILTS ITSELF UPRIGHT again.</scene_description> </scene> <scene> <stage_direction>AB270 EXT. DECK - ROYAL SEA LEOPARD - ATLANTIC - DAY AB270</stage_direction> <scene_description>Wakandans and Talocanil scramble to balance on the deck. The Talocanil are faster. M'Baku pulls himself up as... ATTUMA and other Talocanil warriors are flicked onto the wall via WHALE TAIL. Riri STRAFES PAST BLASTING Talocanil off the side of the ship but MORE KEEP COMING. Riri takes aim at ATTUMA who craftily deflects the blasts with his TORTISE SHELL SHIELD, then swiftly makes it to the top with OTHER TALOCANIL.</scene_description> </scene> <scene> <stage_direction>B270 EXT. DECK - ROYAL SEA LEOPARD - DAY B270</stage_direction> <scene_description>Okoye and Aneka fly out of the water and land on the deck next to Ayo, M'Baku and the Dora. The group MERCILESSLY ATTACKS the GROWING TORRENT OF TALOCANIL pouring over the sides.</scene_description> <character>AYO</character> <dialogue>Strike at their breathing devices Sisters!</dialogue> <scene_description>From the air, Riri continues blasting away as a FRENETIC BATTLE ensues. Attuma stands out like Okoye as a fierce fighter who enjoys it as sport. OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Weakened by dehydration and fatigue, Namor struggles back to his feet, removing a SPEAR TIP embedded in his shoulder. He's no longer invulnerable. His wings are also damaged. Then, Namor's eyes show fear for the first time as Shuri steps atop the BOULDER'S RUBBLE... galvanized.</scene_description> </scene> <scene> <stage_direction>A277 EXT. OCEAN SURFACE - ROYAL SEA LEOPARD - ATLANTIC - DAY A277</stage_direction> <scene_description>Patrolling the air, Riri gives cover to Wakandans trying to make it back to the RSL. Below, Nakia races toward a drowning Naval Officer in her skirmisher. While under the water, NAMORA approaches Nakia with her spear and is about to land a deathblow, when out of nowhere RIRI PLUNGES INTO THE OCEAN, tackling Nakia, but Namora grabs hold of her as well...</scene_description> </scene> <scene> <stage_direction>B277 EXT. SKY - ATLANTIC - DAY B277</stage_direction> <scene_description>Clutching Nakia, Riri bursts from the water up into the sky, with Namora on her back. Riri drops Nakia on the deck Taken for a ride, Namora clings to Riri's armor as she zips through TWIRLS and LOOPS trying to dump her back into the sea. Then, Namora STABS at Riri's BACK THRUSTERS with her spear and Riri abruptly stops. Namora FLIPS to Riri's front and... RIRI UNLEASHES A UNIBEAM, launching Namora through the AIR A DISTANCE AWAY where she lands in the ocean.</scene_description> </scene> <scene> <stage_direction>EXT. DECK - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>Nakia lands on the deck, draws her RINGBLADES and begins fighting a Talocanil Warrior. Ayo and Aneka fight back to back, ravaging Talocanil.</scene_description> <character>ANEKA</character> <dialogue>Duck!</dialogue> <scene_description>Ayo ducks and Aneka takes down an attacking Talocanil warrior behind her.</scene_description> <character>AYO (SUBTITLE)</character> <dialogue>Thanks my love.</dialogue> <scene_description>They keep fighting until... Ayo notices her Kimoyo Bead has an alert. She presses it, listening. Alarmed, she turns to Aneka.</scene_description> <character>AYO</character> <dialogue>The RTF has gone down.</dialogue> <parenthetical>(Princess)</parenthetical> <dialogue>Griot...</dialogue> <character>GRIOT</character> <dialogue>Yes general?</dialogue> <character>AYO</character> <dialogue>Can you get to her?</dialogue> <character>GRIOT</character> <dialogue>The sunbird passageway is blocked.</dialogue> <character>OKOYE</character> <dialogue>I'm on it.</dialogue> <scene_description>Okoye blasts towards the aircraft opening and Riri helps to lift the dragonflyer debris off, freeing the SUNBIRD to blast its way out and fly off into the distance. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Jumping down, Shuri unleashes a FURY ON NAMOR... BRUTALLY THRASHING and BATTERING him with her hands, claws and feet. Incredulously staggered, Namor swings at air as Shuri FLINGS HIM into the FLAMING RTF WRECKAGE. Drying out, he appears finished.</scene_description> <character>NAMOR (SUBTITLE)</character> <parenthetical>(in Maya)</parenthetical> <dialogue>..I-I need water.</dialogue> <scene_description>Namor goes silent as he spots A TRADITIONAL WAKANDAN SPEAR within arms reach. Pulling it free from the rubble as Shuri approaches, HE HEAVES HIMSELF OUT IN DESPERATION... IMPALING SHURI THROUGH HER ARMORED TORSO. With the last of his strength, Namor drives Shuri back... PINNING HER TO a large piece of DEBRIS. Stunned and unable to move, Shuri is in agony. Namor collapses. It was his last effort. In Maya...</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Water...</dialogue> </scene> <scene> <stage_direction>EXT. DECK - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>The Talocanil numbers seem endless. Digging deep, M'Baku battles alongside Jabari, Naval Officers and Kingsguard. Across the deck Attuma throws a KINGSGUARD over the deck, and takes down another, he prepares a death blow when.</scene_description> <character>OKOYE (SUBTITLE)</character> <parenthetical>(in Maya)</parenthetical> <dialogue>Warrior!</dialogue> <scene_description>Attuma stops and turns to face OKOYE, her helmet retracted. He smiles and lets the Kingsguard up, who clocks Okoye and runs to another fight in the distance. Attuma aims his spear.</scene_description> <character>ATTUMA</character> <parenthetical>(in Maya)</parenthetical> <dialogue>You speak the mother tongue?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You can greet your ancestors with it in the afterlife.</dialogue> <scene_description>The two lifelong warriors RUSH one another. The BATTLE is fierce as they go back and forth with extraordinary skill and aggression. But this time, Okoye is faster, stronger, and more skillful. She hacks away at Attuma's weapon until eventually it is split in two. She cuts him at his legs, bringing him to his knees, and prepares a deathblow. But then, retracts her mask.</scene_description> <character>OKOYE</character> <parenthetical>(in Maya)</parenthetical> <dialogue>You are not worth my blade.</dialogue> <scene_description>She delivers a MECH SUIT ASSITED SUPER KICK right to Attuma's chest! It propels him over the edge of the boat. Okoye looks down at the water below for a bit, then returns to the battle. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Namor lifts himself up, mustering all of his strength, and walks towards the ocean. Leaving Shuri struggling to free herself from her predicament. Beginning to lose consciousness, Shuri hears...</scene_description> <character>RAMONDA (O.S.)</character> <dialogue>Show them who we are.</dialogue> <scene_description>Shuri lifts her head to see RAMONDA'S SPIRIT regally before her. On pure grit and determination, SHURI BREAKS THE SPEAR HANDLE, AND PAINFULLY TUGS HERSELF OFF IT. Rolling to her back, the PANTHER SUIT'S NANNITES reform around her WOUND and Shuri drags to her feet, pursuing Namor. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Shuri labors through the sand on sheer determination with Namor in her sights as fighting exhaustion, NAMOR'S SKIN LOOKS BRITTLE, trudging toward the coast and water. Shuri looks around at the RTF DEBRI, and sees the THRUSTERS, aimed towards Namor and the ocean. She hurriedly activates the IN SUIT KIMOYO BEADS on her wrist and interfaces with the COMPUTERIZED DEBRIS. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ATACAMA DESERT - CHILE - DAY</stage_direction> <scene_description>Namor walks towards a POOL OF WATER getting closer until, Shuri flips in front of him holding a control panel from the RTF, and positioning herself in between Namor and the water. Namor can't believe his eyes. Exhausted, he put his hands up to fight.</scene_description> <character>NAMOR</character> <parenthetical>(sotto voce)</parenthetical> <dialogue>Ch'a toh aj tepal. (Imperious rex)</dialogue> <scene_description>Shuri hits the button on the control panel. Namor hears a charge sound and turns around to see the thrusters booting up bright orange.</scene_description> <character>SHURI</character> <parenthetical>(saluting)</parenthetical> <dialogue>Wakanda Forever.</dialogue> <scene_description>FLAMES SPEW FROM THE THRUSTERS. ENGULFING Namor AND The Black Panther. After a long beat, the flames subside. Shuri, her suit still smoking, lumbers over to Namor, who is singed and barely alive. She picks up a spear from the ground, rolls him onto his back, and puts the spear's edge to Namor's throat. Namor opens his eyes and we see Shuri in his POV, framed by the sun and the mountain like shape of the crumbled boulder. Namor eyes her, resigned... In his POV, he has a deathbed vision, HIS MOTHER. THEN RAMONDA, AND THEN, BACK TO REALITY - SHURI.</scene_description> <character>NAMOR</character> <dialogue>...the mountains here remind me of Mayan temples.</dialogue> <scene_description>Shuri trembles with anger and fatigue so brutalized she can barely stand. She retracts her mask, reading her hand before the wind blows on her face. She stops.</scene_description> <character>SHURI</character> <dialogue>If I kill you, your people will never stop coming for Wakanda. That would mean a death sentence for Talocan as well. Vengeance will not consume my people. And it will not consume yours.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yield and Wakanda will protect the oceans. Yield and Wakanda will protect your secret.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Yield and they will live.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And so will you.</dialogue> <scene_description>Namor's face softens.</scene_description> <character>NAMOR</character> <dialogue>What does Wakanda want in return.</dialogue> <character>SHURI</character> <dialogue>Loyalty.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If war comes, as a result of these events. You and Talocan's armies will fight alongside Wakanda.</dialogue> <character>NAMOR (SUBTITLE)</character> <parenthetical>(in Maya)</parenthetical> <dialogue>I yield.</dialogue> <scene_description>Shuri nods, then reaches for her Kimoyo Bead.</scene_description> <character>SHURI</character> <dialogue>Griot, send the Sunbird to return us to the battlefield.</dialogue> <character>GRIOT</character> <dialogue>Yes, Princes.</dialogue> <scene_description>Shuri's countenance changes as she turns back to Namor.</scene_description> <character>SHURI</character> <dialogue>If you ever step down or lose your throne, I promise you, I will find and kill you for taking my mother from me. I'm sure you can understand.</dialogue> <scene_description>Namor does. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. DECK - ROYAL SEA LEOPARD - DAY</stage_direction> <scene_description>Overwhelmed, Okoye, M'Baku, Nakia, Riri, Aneka, the Dora, Jabari, Naval Officers and Kingsguard BATTLE in their last stand. The RSL is visibly surrounded by an IMMENSE ARMY OF TALOCANIL who are in a relentless siege against the scuttled vessel. M'Baku looks out at the daunting force.</scene_description> <character>M'BAKU</character> <dialogue>May the ancestors help us if the Princess does not hurry.</dialogue> <character>AYO</character> <dialogue>We may be going to join them.</dialogue> <character>ANEKA</character> <dialogue>If so, we're going to take as many of them with us as we can.</dialogue> <character>OKOYE (SUBTITLE)</character> <dialogue>Amen, sister.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Phambili!!!!</dialogue> <scene_description>The Wakandan forces bear down and attack.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - ATLANTIC - DAY - CONTINUOUS</stage_direction> <scene_description>Then on cue, the SUNBIRD approaches the battlefield with Shuri and Namor standing side by side. The Talocanil look up at both leaders. Namor calls in Maya.</scene_description> <character>NAMOR (SUBTITLE)</character> <dialogue>Talocanil. Stand down!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Let us return home. Our fight here is done.</dialogue> <scene_description>Namor nods and the Talocanil begin to disperse. The might of the Wakandan Navy, the Dora, Jabari and Midnight Angels turn to the Black Panther.</scene_description> <character>ALL</character> <dialogue>Wakanda Forever!</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALLWAY - ROSS' VIRGINIA HOME - DAY</stage_direction> <scene_description>Ross walks downstairs having just woken up and HEARS SOMETHING offscreen.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ROSS' VIRGINIA HOUSE - DAY</stage_direction> <scene_description>Ross enters finding Val looking in his fridge, making herself a salad.</scene_description> <character>VAL</character> <dialogue>Your olive oil is about to go bad.</dialogue> <character>ROSS</character> <dialogue>There's more in the cabinet.</dialogue> <character>VAL</character> <dialogue>Yeah that's the one I was talking about, you know these things have a shelf life.</dialogue> <character>ROSS</character> <dialogue>What are you doing here?</dialogue> <scene_description>Finishing up her salad, Val walks past him into...</scene_description> <character>VAL</character> <dialogue>I was hungry...</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - ROSS' VIRGINIA HOME - DAY</stage_direction> <scene_description>Val switches the TV on to an ABC NEWS telecast.</scene_description> <character>ABC NEWS ANCHOR \*</character> <dialogue>The United States has evidence that \* Wakanda was responsible for the \* attack on a mining vessel in the \* Atlantic ocean. They recovered a \* recording from the ship that had \* this statement. \*</dialogue> <character>GRAHAM \*</character> <dialogue>(O.C.) \*</dialogue> <scene_description>"We're under attack. It's the \* Wakandans.' \* Ross is staggered by this.</scene_description> <character>VAL</character> <dialogue>Why are you protecting them?</dialogue> <character>ROSS</character> <dialogue>I'm not.</dialogue> <character>VAL</character> <dialogue>I can help you. But I really need you to come clean. I need to know what you saw when you were with the Wakandans in South Korea. I need to know why they trust you. And I need to know how you contact them.</dialogue> <character>ROSS</character> <dialogue>I have no contact with Wakanda.</dialogue> <scene_description>Val puts her sandwich down.</scene_description> <character>VAL</character> <dialogue>The beads you "found" on the bridge in Cambridge would seem to say otherwise.</dialogue> <character>ROSS</character> <dialogue>What are you talking about?</dialogue> <character>VAL</character> <dialogue>Oh, you thought you found them first? I had them bugged by our guys before you even got there.</dialogue> <scene_description>Ross stares at her, incredulous.</scene_description> <character>ROSS \*</character> <dialogue>The Wakandans didn't sink our ship. \*</dialogue> <character>VAL \*</character> <dialogue>I know. \*</dialogue> <character>ROSS \*</character> <dialogue>What? \*</dialogue> <character>VAL \*</character> <dialogue>I got a call from Dr. Graham during \* the attack. \*</dialogue> <scene_description>Val plays the tape of Graham's final phone call during the \* helicopter attack. \*</scene_description> <character>GRAHAM \*</character> <dialogue>(O.C.) \*</dialogue> <scene_description>"I don't know. It wasn't the \* Wakandans...they were \* blue...everyone is dead-" \*</scene_description> <character>VAL \*</character> <dialogue>I think when we found that \* vibranium, we accidentally set \* Wakanda on a collision course with - \* - something new. And maybe that's \* not a bad thing, for us. \*</dialogue> <scene_description>Ross is taken aback. \*</scene_description> <character>ROSS \*</character> <dialogue>You had that this whole time? \*</dialogue> <scene_description>Val shrugs. \*</scene_description> <character>ROSS (CONT'D) \*</character> <dialogue>You haven't changed. And blue \* people?! \*</dialogue> <character>VAL \*</character> <dialogue>Yeah. I think they're who killed \* Queen Ramonda. \*</dialogue> <scene_description>(beat) \* What else are your friends keeping \* from you? \*</scene_description> <character>ROSS \*</character> <dialogue>Bullshit. You would never... \*</dialogue> <character>VAL \*</character> <dialogue>Yes I would. \*</dialogue> <scene_description>Ross's heart sinks as we hears SIRENS approaching outside. \*</scene_description> <character>VAL (CONT'D) \*</character> <dialogue>I've been listening to all your \* conversations with them since, \* including that rather clever foray \* into the NSA. \*</dialogue> <scene_description>Ross' jaw drops. \*</scene_description> <character>VAL (CONT'D) \*</character> <dialogue>(mocking) \*</dialogue> <scene_description>"Oh we should have dinner sometime, \* Debbie." \*</scene_description> <character>ROSS</character> <dialogue>Ok, you know what? The Wakandans \* are good people! Can you imagine what the United States would be like if we were the only country with anything like vibranium?</dialogue> <character>VAL</character> <dialogue>I actually dream about it.</dialogue> <scene_description>She extends a set of handcuffs to Ross.</scene_description> <character>ROSS</character> <dialogue>Please, Val...</dialogue> <character>VAL</character> <dialogue>It's Director De Fontaine. Put these on.</dialogue> </scene> <scene> <stage_direction>EXT. ROSS' HOUSE - VIRGINIA - DAY - A MOMENT LATER</stage_direction> <scene_description>In cuffs, Ross is put in the back of a SEDAN by FEDERAL AGENTS as Val watches on.</scene_description> </scene> <scene> <stage_direction>302A EXT. ONE LANE RD - DAY 302A\*</stage_direction> <scene_description>A PRISON TRANSPORT VAN motors along a tree- lined road. \*</scene_description> </scene> <scene> <stage_direction>302B INT. PRISON TRANSPORT VAN - DAY 302B\*</stage_direction> <scene_description>A TRANSPORT OFFICER steers, while PETE, another officer, \* rides shotgun. \* Behind them, separated by a slotted steel partition, rides \* Ross, his hands cuffed behind his back and attached to the \* inside wall of the vehicle. He rides in silence when. \* TRANSPORT OFFICER hits the brakes. \*</scene_description> </scene> <scene> <stage_direction>302C EXT. ONE LANE RD - DAY 302C\*</stage_direction> <scene_description>The Transport Van comes to a stop before a LARGE TREE that is \* blocking the road. \* The Transport officer and Pete exchange looks. \*</scene_description> <character>PETER \*</character> <dialogue>Can we turn around? \*</dialogue> <scene_description>The engine cuts off. The Transport officer tries to start it \* up... nothing. \* Pete makes a call into his walkie, pulls his handgun and gets \* out of the car. Transport officer follows suit. \*</scene_description> </scene> <scene> <stage_direction>302D INT. PRISON TRANSPORT VAN - DAY 302D\*</stage_direction> <scene_description>Ross looks on through an obstructed view. Anticipating the \* worst. And it comes. SHOUTING. GUNFIRE. \*</scene_description> <character>WHAM! \*</character> <dialogue>Pete is slammed into the van, denting the frame across from \* Ross. \*</dialogue> <character>BOOM! \*</character> <dialogue>Transport Officer is slammed against the other side and hit \* with a type of STUN WEAPON. \*</dialogue> <character>SILENCE. \*</character> <dialogue>Ross looks around, captive, and helpless, until. \*</dialogue> <character>SCOMP! \*</character> <dialogue>The back doors of the van are RIPPED off and tossed into the \* distance A MIDNIGHT ANGEL. \*</dialogue> <dialogue>Ross nearly shits his pants. \*</dialogue> <dialogue>The MIDNIGHT ANGEL MASK RETRACTS, revealing OKOYE wearing a \* wry expression. \*</dialogue> <dialogue>Ross smiles. \*</dialogue> <character>OKOYE \*</character> <dialogue>(we'll do a series of \* comedic alts TBW) \*</dialogue> <scene_description>Let's go. \*</scene_description> </scene> <scene> <stage_direction>EXT. NAMOR'S MEMOROBILIA ROOM - CAVE SYSTEM - DAY</stage_direction> <scene_description>Namora enters the cave and walks towards the hut. Namor can be heard humming.</scene_description> </scene> <scene> <stage_direction>INT. NAMOR'S MEMOROBILIA ROOM - CAVE SYSTEM - DAY</stage_direction> <scene_description>Namora finds Namor painting on his wall. In the brush strokes we see that he is doing a VISUAL INTERPRETATION of the BATTLE that took place between Wakanda and Talocan.</scene_description> <character>NAMOR</character> <dialogue>What is troubling you my child?</dialogue> <character>NAMORA</character> <dialogue>I looked forward to fighting in battle alongside you my entire life. The thought of you kneeling to the Wakandans... Is Talocan to serve under their rule now?</dialogue> <character>NAMOR</character> <dialogue>The Black Panther had every reason to kill me. I was weak, dehydrated. Her blade was to my neck. Why do you think she didn't go through with it?</dialogue> <scene_description>Namora thinks on this.</scene_description> <character>NAMOR</character> <dialogue>The Black Panther is the most powerful person in the most powerful nation on the surface. And she has empathy for the people of Talocan now. We have their protection. We lost many lives, but with this alliance, Talocan is stronger than ever.</dialogue> <scene_description>Namora contemplates this.</scene_description> </scene> <scene> <stage_direction>A304 INT. ANEKA'S APARTMENT - RIVER PROVINCE - DAY A304</stage_direction> <scene_description>A house party is in full swing. Aneka, dressed in casual clothing opens a door, revealing Ayo in uniform.</scene_description> <character>ANEKA</character> <dialogue>General?</dialogue> <scene_description>Ayo takes in the revelers behind Aneka.</scene_description> <character>AYO</character> <dialogue>I am here on behalf of the Elders. They would like to offer you restoration as a Dora.</dialogue> <character>ANEKA</character> <dialogue>The Elders? That is kind of them, something tells me I had a strong advocate...</dialogue> <parenthetical>(in Xhosa)</parenthetical> <dialogue>I accept.</dialogue> <character>AYO</character> <parenthetical>(in Xhosa)</parenthetical> <dialogue>I know.</dialogue> <scene_description>Aneka gives her a kiss on the cheek, Ayo kisses Aneka on the lips.</scene_description> <character>AYO</character> <dialogue>Are we good?</dialogue> <character>ANEKA</character> <dialogue>We are.</dialogue> </scene> <scene> <stage_direction>AB304 EXT. SACRED GROVE - WAKANDA - DAY AB304</stage_direction> <scene_description>On her knees, Shuri plants the new HSH in the ground. A pallet of other HSH plants sits nearby. Five WDG scientists are scattered throughout the grove planting HSH throughout, as Sope the Shaman look on. Then...</scene_description> <character>WDG LAB TECH</character> <dialogue>Inkosazana, the American scientist is ready.</dialogue> <scene_description>Shuri looks up and stands, dusting off her hands.</scene_description> </scene> <scene> <stage_direction>B304 INT. SHURI'S LAB - WAKANDAN DESIGN GROUP - DAY - LATER B304</stage_direction> <scene_description>Returning from the grove, Shuri enters to find Riri waiting.</scene_description> <character>SHURI</character> <dialogue>All set to head home?</dialogue> <character>RIRI</character> <dialogue>As long as you're sure the police won't be waiting for me at the airport.</dialogue> <character>SHURI</character> <dialogue>Don't worry, we took care of that. But you might wanna slow down on your homework for hire business.</dialogue> <scene_description>Riri stands there awkwardly. She looks at her suit.</scene_description> <character>RIRI</character> <dialogue>They said you wanted to talk to me about something?</dialogue> <character>SHURI</character> <dialogue>Yes. Your suit is a beautiful design, but I can't let you take it with you.</dialogue> <character>RIRI</character> <dialogue>It's all good. I figure the least I could do is help Wakanda clean up my mess.</dialogue> <character>SHURI</character> <dialogue>Thank you. Truly. Wakanda owes you a great deal.</dialogue> <character>RIRI</character> <dialogue>The pleasure was mine.</dialogue> <character>SHURI</character> <dialogue>There's one thing I need to show you though.</dialogue> <scene_description>Shuri motions for Riri to follow her to the other side of the room. Riri obliges. They approach a vehicle sitting under a white weather tarp.</scene_description> <character>RIRI</character> <dialogue>What's this?</dialogue> <character>SHURI</character> <dialogue>That's you.</dialogue> <scene_description>Riri approaches and pulls off the cloth, revealing an EXACT REPLICA OF HER BARACUDA. Riri's eyes light up with astonishment. She walks around the car sliding her finger along the fresh paint.</scene_description> <character>SHURI</character> <dialogue>It took me a while to find all of the parts from the river. But I think it was worth it.</dialogue> <character>RIRI</character> <dialogue>How did you... Thank you. But you didn't have to.</dialogue> <character>SHURI</character> <dialogue>I could tell it meant a lot to you.</dialogue> <character>RIRI</character> <dialogue>It was my dad's car. We used to work on it before... you sure this is her?</dialogue> <scene_description>Riri inspects it excitedly.</scene_description> <character>SHURI</character> <dialogue>Every part. We'll have it shipped to Boston. It will be there when you arrive.</dialogue> <character>RIRI</character> <dialogue>Bring it in, man.</dialogue> <scene_description>Shuri nods. They hug. Riri starts off.</scene_description> <character>SHURI</character> <dialogue>And Riri.</dialogue> <character>RIRI</character> <dialogue>Yo?</dialogue> <character>SHURI</character> <dialogue>I know you stole the code for my AI. You can keep it. But if you need anything in the future, just ask.</dialogue> <scene_description>Riri looks back, caught red handed. Riri smiles nervously and heads out.</scene_description> </scene> <scene> <stage_direction>EXT. WARRIOR FALLS - WAKANDA - DAY</stage_direction> <scene_description>The mood is festive. All the TRIBAL ELDERS are present, dressed in traditional garb. IN THE CHALLENGE POOL - SOPE THE SHAMAN stands by as ZAWAVARI bangs her spear.</scene_description> <character>ZAWAVARI</character> <dialogue>And now, I present to you, The Black Panther...</dialogue> <scene_description>She waves her hand and the crowd leans forward as the ROYAL TALON FIGHTER flies up to the pool's edge. The elders wait with anticipation as... M'Baku steps out, hushing the crowd. Stunned, Sope stares at him from the challenge pool.</scene_description> <character>M'BAKU</character> <dialogue>The Black Panther sends her regards, but she will not be joining us today. I, M'Baku, leader of the Jabari Tribe, wish to challenge for the throne.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Would anyone like to join me in the pool for ritual combat?</dialogue> <scene_description>M'Baku looks around, thousands of eyes on him. There are no takers.</scene_description> </scene> <scene> <stage_direction>EXT. HAITIAN STREET - DAY</stage_direction> <scene_description>Shuri exits a Haitian Taxi and walks down a street. She senses someone following her and stops, talking without turning around.</scene_description> <character>SHURI</character> <dialogue>You know, you don't need to do this anymore.</dialogue> <scene_description>Okoye, dressed in casual clothes steps out into view.</scene_description> <character>OKOYE</character> <dialogue>Whats that?</dialogue> <scene_description>Shuri turns.</scene_description> <character>SHURI</character> <dialogue>Protect me.</dialogue> <character>OKOYE</character> <dialogue>I am not here to protect you. I came here to say goodbye.</dialogue> <scene_description>They take each other in a moment.</scene_description> <character>SHURI</character> <dialogue>You came all the way out here for that?</dialogue> <character>OKOYE</character> <dialogue>I don't know when I'll see you again.</dialogue> <character>SHURI</character> <dialogue>Are you going back to the Dora?</dialogue> <scene_description>Okoye shakes her head, no.</scene_description> <character>SHURI</character> <dialogue>And you are, okay with that?</dialogue> <character>OKOYE</character> <dialogue>I'm actually terrified. But I am learning to make peace with the fear of not knowing what the future brings. Besides it's time to live for myself.</dialogue> <character>SHURI</character> <dialogue>Where are you going to go?</dialogue> <character>OKOYE</character> <dialogue>Wherever my new space suit will take me.</dialogue> <character>SHURI</character> <dialogue>I thought you said it was ugly.</dialogue> <scene_description>Okoye smiles.</scene_description> <character>OKOYE</character> <dialogue>I said it was ugly for a Dora, but I am not a Dora anymore...</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>It's hideous. But it is very useful.</dialogue> <scene_description>Shuri thinks on this.</scene_description> <character>SHURI</character> <dialogue>Thank you, for everything.</dialogue> <scene_description>Okoye turns and gives a subtle, yet strong Wakanda forever salute, and walks off into the distance.</scene_description> </scene> <scene> <stage_direction>AA306 EXT. NAKIA'S HAITIAN VILLA - DAY AA306</stage_direction> <scene_description>Shuri turns and walks towards the side of a house where she enters a fence, just as Nakia emerges from inside. Shuri and Nakia embrace.</scene_description> <character>NAKIA</character> <dialogue>It's good to see you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The fire is down here.</dialogue> <scene_description>Nakia leads Shuri to-</scene_description> </scene> <scene> <stage_direction>A306 EXT. HAITIAN BEACH - DAY A306</stage_direction> <scene_description>Nakia's backyard is on the beach. A makeshift fire burns in the distance.</scene_description> <character>NAKIA</character> <dialogue>Do you need me to stay?</dialogue> <scene_description>Shuri contemplates.</scene_description> <character>SHURI</character> <dialogue>I think I'm good to do it on my own.</dialogue> <scene_description>Nakia smiles and nods.</scene_description> <character>NAKIA</character> <dialogue>I'll be right up there.</dialogue> <scene_description>Shuri sits down on a log in front of the fire, pulls her white grieving garments out of her backpack. She looks down at them for a beat, throws them into the fire, and watches as they burn. She takes a deep breath, looks out at ocean for a beat, and smiles before becoming emotional.</scene_description> <character>NAKIA (O.C.)</character> <dialogue>Shuri, is it okay if I join you now?</dialogue> <scene_description>Shuri wipes her face and doesn't turn.</scene_description> <character>SHURI</character> <dialogue>Yes.</dialogue> <character>NAKIA (O.C.)</character> <dialogue>I'd like you to meet someone.</dialogue> <scene_description>Shuri turns around and what she sees leaves her in shock. Nakia stands with TOUSSAINT, a young boy.</scene_description> <character>NAKIA</character> <dialogue>This is my son, Toussaint.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Toussaint, this is your Aunt Shuri.</dialogue> <scene_description>Toussaint waves hello.</scene_description> <character>TOUSSAINT</character> <dialogue>It's nice to meet you.</dialogue> <scene_description>Shuri looks at Nakia, and then to the boy.</scene_description> <character>NAKIA</character> <dialogue>Is it okay if we join you?</dialogue> <scene_description>Shuri nods.</scene_description> <character>SHURI</character> <dialogue>Hi.</dialogue> <character>NAKIA</character> <dialogue>When I left Wakanda after the blip, I came here, and found out I was with child. I had him and raised him here. When everyone came back, T'Challa came here secretly. We agreed to continue to raise him here, and to introduce him to Wakanda when the time is right. But we didn't want the choice to be made for us. T'Challa prepared us for his death, but forbade me from attending the funeral in Wakanda out of fear of exposing him. We had our own rituals for him here.</dialogue> <character>SHURI</character> <dialogue>Did mother meet him?</dialogue> <scene_description>Nakia looks at Shuri.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - HAITIAN SCHOOL - DAY - FLASHBACK</stage_direction> <scene_description>Ramonda and Nakia watch the BOY we saw at the school. He's dominating on the soccer pitch. He runs over and Nakia introduces him to Ramonda whose eyes are wet with tears. Ramonda tenderly touches his face.</scene_description> </scene> <scene> <stage_direction>B306 EXT. HAITIAN BEACH - SUNSET B306</stage_direction> <scene_description>Shuri reacts to the news of her mother's discovery. She turns to her nephew.</scene_description> <character>SHURI</character> <dialogue>Toussaint is a beautiful name. There is a rich history behind it.</dialogue> <character>TOUSSAINT</character> <dialogue>My mom says you are good at keeping secrets. Is that true?</dialogue> <character>SHURI</character> <dialogue>Yes.</dialogue> <scene_description>Toussaint looks around to make sure he isn't being watched.</scene_description> <character>TOUSSAINT</character> <parenthetical>(sotto)</parenthetical> <dialogue>Toussaint is my Haitian name.</dialogue> <scene_description>Shuri cuts a look at Nakia, who smiles at her.</scene_description> <character>SHURI</character> <dialogue>Ungubani?</dialogue> <character>TOUSSAINT</character> <dialogue>My name is Prince T'Challa, son of King T'Challa.</dialogue> <scene_description>Shuri looks back at young T'Challa, her eyes welling with tearful joy as a gentle breeze passes. Taking it in, Shuri closes her eyes and sees her brother T'CHALLA, smiling at her, she smiles back as we. CUT TO BLACK.:</scene_description> </scene> </script>

T'Challa, king of Wakanda, is suffering from an unspecified terminal illness which his sister Shuri believes can be cured by the "heart-shaped herb". Shuri attempts to synthetically recreate the herb after it was burned by Erik Killmonger, but fails to do so before T'Challa dies. A year later, Wakanda is under pressure from other nations to share their vibranium, with some parties attempting to steal it by force. Queen Ramonda implores Shuri to continue her research on the herb, hoping to create a new Black Panther that will defend Wakanda, but she refuses due to her belief that the Black Panther is a figure of the past. In the Atlantic Ocean, the CIA and U.S. Navy SEALs utilize a vibranium detector to locate a potential vibranium deposit underwater. The expedition is killed by a group of blue-skinned, water-breathing superhumans led by Namor, with the CIA believing Wakanda to be responsible. Namor confronts Ramonda and Shuri, easily bypassing Wakanda's advanced security. Blaming Wakanda for the vibranium race, he gives them an ultimatum: deliver him the scientist responsible for the vibranium detector, or he will attack Wakanda. Shuri and Okoye learn from CIA agent Everett K. Ross that the scientist in question is MIT student Riri Williams and arrive at the university to confront her. The group is pursued by the FBI and then by Namor's warriors, who defeat Okoye before taking Shuri and Williams underwater to meet Namor. Angered by Okoye's failure to protect Shuri, Ramonda strips her of her title as general of the Dora Milaje and seeks out Nakia, who has been living in Haiti since The Blip. Namor shows Shuri his vibranium-rich underwater kingdom of Talokan, which he has protected for centuries from discovery by the world. Bitter at the surface world for enslaving the Maya, Namor proposes an alliance with Wakanda against the rest of the world but threatens to destroy Wakanda if they refuse. Nakia helps Shuri and Williams escape, killing a Talokanil guard in the process, and Namor retaliates with an attack against Wakanda, during which Ramonda drowns while saving Williams. Namor vows to return with his full army, and the citizens of Wakanda relocate to the Jabari mountains for their safety. Meanwhile, Ross is arrested by his ex-wife, CIA director Valentina Allegra de Fontaine, for secretly exchanging classified intelligence with the Wakandans. After Ramonda's funeral, Shuri uses a remnant of the herb that gave Namor's people their superhuman abilities to reconstruct the heart-shaped herb. She ingests it, gaining superhuman abilities and meeting Killmonger in the Ancestral Plane, who urges her to seek revenge. Shuri dons a new Black Panther suit and is accepted by the other Wakandan tribes as the Black Panther. Despite M'Baku's urges for peace, Shuri is determined to exact vengeance on Namor for Ramonda's death and orders an immediate counterattack on Talokan. Preparing for battle, with Ayo assuming the position of general of the Dora Milaje, Shuri bestows the Midnight Angel armor upon Okoye, who in turn recruits Dora Milaje member Aneka to join her. Williams creates an Iron Man-esque powered exoskeleton to aid the Wakandans. Using a seafaring vessel, the Wakandans lure Namor and his warriors to the surface with another vibranium detector as a battle ensues. Shuri traps Namor in a fighter aircraft, intending to dry him out and weaken him. The pair crash on a desert beach and fight. Shuri gains the upper hand, but has a vision of Ramonda and implores Namor to yield, offering him a peaceful alliance. Namor accepts, and the battle ends. Namor's cousin, Namora, is upset at Namor's surrender, but he assures her that the new alliance will allow them to conquer the surface world one day. Williams returns to MIT, leaving her suit behind, while Okoye rescues Ross from captivity. Shuri plants more heart-shaped herbs to ensure the future of the Black Panther mantle. In Shuri's absence, M'Baku steps forward to challenge for the throne. Shuri visits Nakia in Haiti where she burns her funeral robe in accordance with Ramonda's wishes, allowing herself to finally grieve for T'Challa. In a mid-credits scene, Shuri learns that Nakia and T'Challa had a son named Toussaint, whom Nakia has been raising in secret. Toussaint reveals his Wakandan name is T'Challa.

Evil Dead_2013

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<script> <scene> <scene_description>BOOK OF THE DEAD "The Ultimate Experience In Grueling Terror" By Sam Raimi 10/13/79 SCENE CODING Interior - I Exterior - E Day - D Night - N Twilight - T LOCATION CODING CAR - Car B - Bridge CAB - Surrounding area outside cabin W - Woods M.R. - Main Room D.R. - Dining Room K - Kitchen C - Cellar W.S. - Work Shed L.B. - Linda's Bedroom S.B. - Shelly's Bedroom C.B. - Cheryl's Bedroom B.T.R- Bathroom EXAMPLE 12 ID - D.R. TRANSLATION Scene #12, Interior, Day, Dining Room 1 ED - W Something evil is lurking deep withing the wooded moun- tains of Tennessee, and the camera takes its point of view. Rising from a swampy bog, the mud slides from view allowing it to see early morning mist hanging about the forest. Creeping silently past trees, gliding over small shrubs, it moves onward through the woods until a mammoth oak rests directly in its path. The tree is uprooted by this unseen force, and falls with a deafening crash. 2 ED - CAR Near by, a stretch of highway curves along the base of a mountain. The road winds off into oblivion beyond other peaks. From behind view, the rumble of an engine can be heard. It is a large logging truck headed south. Moving away, the truck becomes smaller until finally it disap- pears in the distance. From where the truck emerged, a dilapidated gold 1973 Oldsmobile comes into view. 3 ID - CAR Inside, five people can be seen. They are couples ASHLY and LINDA, SCOTT and SHELLY, and CHERYL, ASHLY's sister. Both SCOTT and SHELLY wear "Michigan State" T-shirts, and are students along with the others at that univer- sity. SCOTT is driving and SHELLY sits next to him up front. ASHLY, LINDA and CHERYL are in back. They listen to an old "Baby Moses And The Thrillers" song on the radio, and SHELLY is slapping the dash board as if it were a drum.</scene_description> <character>SHELLY</character> <dialogue>(Singing with the music)... Together, forever...</dialogue> <character>SCOTT</character> <dialogue>Ash, where are we?</dialogue> <character>ASHLY</character> <dialogue>I'll tell ya in a second. Now we're still on seventy-five just past the county border...</dialogue> <scene_description>4 ED - W Once again, the camera takes the point of view of the dark and brooding force which stops atop a forest ridge to peer downward. Its view focuses upon the 1973 Olds- mobile speeding along the narrow highway below. 5 ID - CAR ASHLY traces a route on the map with his finger.</scene_description> <character>ASHLY</character> <dialogue>...Which would put us...which would put us...</dialogue> <character>SCOTT</character> <dialogue>Jesus Christ, just tell us already will ya?</dialogue> <scene_description>ASHLY zeroes in on the map with his finger.</scene_description> <character>ASHLY</character> <dialogue>...Right...</dialogue> <scene_description>SCOTT is growing impatient.</scene_description> <character>ASHLY</character> <dialogue>...Right...</dialogue> <character>SCOTT</character> <dialogue>Yes?</dialogue> <character>ASHLY</character> <dialogue>Here!</dialogue> <scene_description>Suddenly, the radio stops, and the steering wheel jerks from SCOTT's hand. 6 ED - CAR The car screetches out of control into the opposite lane. A large oncoming tanker truck with its horn screaming races toward the car on a collision coarse. 7 ID - CAR</scene_description> <character>SHELLY</character> <dialogue>Scotty, watch out!</dialogue> <scene_description>8 ED - CAR The truck races closer. 9 ID - CAR Their steering wheel is locked.</scene_description> <character>ASHLY</character> <dialogue>Turn!</dialogue> <scene_description>10 ED - CAR At the last possible instant, SCOTT's wheel again can be controlled, and the car swerves sharply back into its own lane. 11 ED - CAR The truck speeds harmlessly past them. 12 ID - CAR</scene_description> <character>ASHLY</character> <dialogue>Damn it Scott, what the hell was that? You trying to kill us?</dialogue> <character>SCOTT</character> <dialogue>Don't yell at me, it's your lousy steering wheel. The damn thing jerked right out of my hand.</dialogue> <character>ASHLY</character> <dialogue>I can't understand it. I just had this thing in for a tune-up.</dialogue> <character>SHELLY</character> <dialogue>Radio's dead too, ace.</dialogue> <character>ASHLY</character> <dialogue>And I just had 'em tune up the whole thing yesterday.</dialogue> <character>SCOTT</character> <dialogue>Well, then take it back 'cause the damn thing don't work. Only thing that works on the whole car is the lousy horn.</dialogue> <scene_description>SCOTT honks the horn. 13 ED - CAR Several local MEN walking down the highway respond to the horn by waving. 14 ID - CAR SCOTT yells out the window at them.</scene_description> <character>SCOTT</character> <dialogue>Aw, go to hell, I'm not waving at ya!</dialogue> <scene_description>He looks in the rear view mirror. The MEN are still wav- ing in the distance. SCOTT turns back to drive.</scene_description> <character>SCOTT</character> <dialogue>Jesus Christ.</dialogue> <scene_description>SHELLY turns around in the front seat and holds up a pint of Scotch.</scene_description> <character>SHELLY</character> <dialogue>Well, I'd like to make a toast. To Scott who almost killed us.</dialogue> <character>SCOTT</character> <dialogue>Aw, eat shit and die will ya?</dialogue> <scene_description>SHELLY and the others laugh.</scene_description> <character>SHELLY</character> <dialogue>Okay, okay- then to a wild week-end in a wonderful cabin with good friends, (She glances at SCOTT) provided we live that long.</dialogue> <scene_description>SHELLY cooly drinks from the Scotch and passes the bottle back to ASHLY and LINDA. ASHLY pours LINDA a drink in the bottle cap and keeps the bottle. They raise their drinks. ASHLY and LINDA ...With good friends. They toast, drink and react to the strong liquor. ASHLY tries to hide his reaction to the Scotch in front of LINDA, since SHELLY had reacted so calmly. ASHLY passes the bottle to CHERYL who stops him with a polite "No, thank you," then back up front to SCOTT.</scene_description> <character>LINDA</character> <dialogue>Hey Scotty, what's this place like</dialogue> <scene_description>anyway?</scene_description> <character>SCOTT</character> <dialogue>Well, the guy that's renting it says it's an old place, little run down, but it's right up in the mountains- totally secluded. (He takes a drink from the bottle) Best part is, we get it so cheap.</dialogue> <character>LINDA</character> <dialogue>Why are we getting it so cheap?</dialogue> <character>SCOTT</character> <dialogue>I don't know, might be in real bad shape.</dialogue> <character>CHERYL</character> <dialogue>You mean nobody's seen this place yet?</dialogue> <character>SCOTT</character> <dialogue>Not yet.</dialogue> <character>ASHLY</character> <dialogue>Might not be too bad.</dialogue> <character>LINDA</character> <dialogue>No...</dialogue> <character>ASHLY</character> <dialogue>Actually, it might be very nice.</dialogue> <character>LINDA</character> <dialogue>Yeah...</dialogue> <character>SHELLY</character> <dialogue>It's probably a real pit.</dialogue> <character>CHERYL</character> <dialogue>I can't believe that we're renting a place for a week-end that nobody's seen.</dialogue> <character>SCOTT</character> <dialogue>(Mumbling to himself) Jesus Christ, not this again...</dialogue> <character>CHERYL</character> <dialogue>(Turning to ASHLY) You know, mom and dad would never let us go up to a place like this if they knew-</dialogue> <character>ASHLY</character> <dialogue>-Which is exactly why they don't know. I'll tell you who I am gonna call. The guys that fixed up this car.</dialogue> <scene_description>15 ED - CAR The car approaches an exit along the highway. 16 ID - CAR ASHLY glances at the map again.</scene_description> <character>ASHLY</character> <dialogue>Hey, I think this is where we get</dialogue> <dialogue>off.</dialogue> <scene_description>17 ED - CAR The car turns off the main highway and follows several back roads until it approaches a narrow dirt lane that winds upward along a twin set of mountains. 18 ID - CAR SCOTT glances up to the peaks.</scene_description> <character>SCOTT</character> <dialogue>These mountains seem familiar.</dialogue> <character>LINDA</character> <dialogue>What do they remind you of? Some- thing majestic? Adventure?</dialogue> <character>SCOTT</character> <dialogue>Yeah, more like adventure.</dialogue> <character>LINDA</character> <dialogue>Any adventure in particular?</dialogue> <character>SCOTT</character> <dialogue>Shelly's sweater.</dialogue> <scene_description>ASHLY and SCOTT laugh out loud. LINDA laughs quietly, and CHERYL lets out an embarassed giggle to herself.</scene_description> <character>SHELLY</character> <dialogue>(Teasing) Oooh, you're gonna get it</dialogue> <dialogue>Scotty, when you least expect it, you're gonna get it good.</dialogue> <scene_description>19 ED - B Finally, the car arrives at a wooden bridge extending over a great chasm. Carefully, the vehicle crosses. 20 ED - CAB It is late afternoon when they eventually arrive at their destination. The small wooden cabin is surrounded by thick dark woods. SCOTT shuts off the car but it contin- ues to sputter and backfire. 21 ID - CAR ASHLY reacts to his car.</scene_description> <character>ASHLY</character> <dialogue>I...I sent 'em a check for the tune-up. but I'm just not paying for it.</dialogue> <character>LINDA</character> <dialogue>This place is perfect.</dialogue> <character>CHERYL</character> <dialogue>The woods come awfully close to the house don't they?</dialogue> <character>SCOTT</character> <dialogue>So what's wrong with the woods, they can't bite ya.</dialogue> <character>CHERYL</character> <dialogue>It's just a little claustrophobic that's all.</dialogue> <character>LINDA</character> <dialogue>Well, I think it's beautiful.</dialogue> <character>SHELLY</character> <dialogue>Me too, it's gonna be a bomb week- end.</dialogue> <scene_description>22 ED - CAB SCOTT moves to the front door of the cabin where he finds a small ring of keys concealed on the shelf above the door. ASHLY unloads the car to the others.</scene_description> <character>SCOTT</character> <dialogue>It's supposed to be one of these on here.</dialogue> <scene_description>After trying several keys, he is able to unlock the door. 23 ID - M.R. The interior of the cabin is completely dark. SCOTT opens the door and stands silhouetted in the doorway for a moment, then enters to find the light switch. The illumination reveals floors, walls, and ceilings made of cedar. There are two small bedrooms, a kitchen, and the main room which contains a stone fireplace set into the wall. An old grandfather clock stands silently in one corner, partially hidden in the shadows. A door in the rear of the cabin leads to a small work shed containing a work bench and an assortment of tools upon the wall. Located centrally in the main room is a trap door leading to the cellar. This catches SCOTT's eye.</scene_description> <character>SCOTT</character> <dialogue>Hey, this place has a dungeon.</dialogue> <scene_description>CHERYL puts down a case of art supplies, and moves over to SCOTT by the trap door. He unlocks a chain securing the trap door with one of his keys and hands the ring to SHELLY.</scene_description> <character>SCOTT</character> <dialogue>Put these back will you?</dialogue> <scene_description>SHELLY leaves with the keys, and SCOTT tries to open the hatch but cannot.</scene_description> <character>SCOTT</character> <dialogue>They nailed it shut.</dialogue> <character>CHERYL</character> <dialogue>Good, I don't like cellars. Probably just some garbage down there anyways.</dialogue> <character>SCOTT</character> <dialogue>Cheryl, they don't nail garbage in cellars. I mean it's not going to try and get out or anything.</dialogue> <character>CHERYL</character> <dialogue>Well, what's down there?</dialogue> <character>SCOTT</character> <dialogue>Well, could be any number of things. Old baseball cards, mushrooms, dead bodies-</dialogue> <character>LINDA</character> <dialogue>Hey, look at this!</dialogue> <scene_description>LINDA is standing in the corner next to the old grand- father clock. She repositions a balance weight, and it begins to tick.</scene_description> <character>LINDA</character> <dialogue>Ta daaaaaa!</dialogue> <scene_description>The others applaud and whistle. LINDA smiles. 24 ET - CAB The cabin is seen from the outside. Twilight has come. 25 IT - M.R. CHERYL sits alone in the living room near the window. She is drawing sketches of the old clock. As she works, the ticking stops unexpectedly. CHERYL puts down her pencil and looks up to the clock. It stands silently in the cor- ner with its hands frozen in position. There is a rust- ling from the woods. CHERYL looks out the window but can see only the trees. Something is moving outside, yet re- mains hidden within the forest. A gust of wind fills the room. CHERYL glances down at her hand. It turns a pale white and begins to shake and jerk about uncontrollably. She stares on incredulously as her hand, guided by some unseen force picks up the pencil and begins to sketch a figure upon her pad. The wind gales through the open window but dies down slowly as her hand completes the drawing. Whatever was at the edge of the woods has now retreated further into them. Her hand loses the pale cast and is now under control once more. CHERYL picks up her pad of paper. The likeness of a book with some form of ancient writing on its cover has been sketched. She looks to the woods which are now silent. A snapping of wood is heard from the cellar. CHERYL quickly turns to the trap door still nailed shut in the floor. Pos- sibly just a mouse, but she fixes her gaze upon it. Another sound, almost like faint breathing comes from the cellar. 26 IT - K/M.R. ASHLY and LINDA enter from the kitchen. ASHLY is drink- ing a beer and moves over to CHERYL. He stands between her and the trap door.</scene_description> <character>ASHLY</character> <dialogue>What're you drawing Cheryl?</dialogue> <scene_description>He picks up the piece of paper. LINDA looks over his shoulder to glance at it.</scene_description> <character>CHERYL</character> <dialogue>I...I don't know.</dialogue> <character>ASHLY</character> <dialogue>Is it a bible?</dialogue> <character>CHERYL</character> <dialogue>No, no it's no bible. (She glances again at the cellar, knowing some- thing is down there) I don't know what it is.</dialogue> <character>LINDA</character> <dialogue>Well, this one of the clock's not bad.</dialogue> <scene_description>LINDA picks up the sketch and walks over to the clock with it a few steps away. She stands comparing it to the real thing with her back to CHERYL and ASHLY. She is only a few inches from the trap door, and CHERYL wants to call out in warning when ASHLY kneels in front of her to speak secretly.</scene_description> <character>ASHLY</character> <dialogue>(In a whisper) I got it right here.</dialogue> <scene_description>He taps something in his shirt pocket. CHERYL is looking past him paying no attention. She watches only LINDA's feet, waiting for whatever is in the cellar to grab them. LINDA looks at the drawing in comparison.</scene_description> <character>LINDA</character> <dialogue>Cheryl, this is really good. I like how you did the numbers in that wood- ish style.</dialogue> <scene_description>ASHLY produces a small box from his shirt and opens it quickly to show CHERYL. It contains a gold pendant on a necklace. LINDA takes a step closer to the clock. She is now standing almost upon the trap door. Although nailed shut, it opens slightly, pulling the nails with it. CHERYL gasps. ASHLY is pleased with her response.</scene_description> <character>ASHLY</character> <dialogue>(Still in a whisper) I knew you'd like it.</dialogue> <scene_description>Quickly, he places it back in his shirt and touches his lips with a finger to indicate the secrecy of his sup- rise. LINDA returns with the sketch and places it back on CHERYL's small drawing table.</scene_description> <character>LINDA</character> <dialogue>It's really good Cheryl. Very close to the origional.</dialogue> <character>CHERYL</character> <dialogue>(In a relieved whisper) Yes, very close.</dialogue> <character>LINDA</character> <dialogue>I'm gonna check dinner.</dialogue> <scene_description>LINDA returns to the kitchen and ASHLY turns to CHERYL.</scene_description> <character>ASHLY</character> <dialogue>You better get washed up. I'll see ya in there.</dialogue> <scene_description>He winks, then follows LINDA into the kitchen. CHERYL again looks at the cellar. Slowly, from her point of view, the camera moves in toward the trap door, wait- ing...waiting. 27 IT - K A blender screams as it mixes up a drink in the kitchen. SHELLY shuts it off and carries it to the dining room. 28 IT - D.R. She joins the others who are now seated at the dinner table and serves the mixture. SCOTT sits between LINDA and CHERYL. He leans over to CHERYL.</scene_description> <character>SCOTT</character> <dialogue>(In a whisper) Dead bodies in the cellar, dead bodies in the cellar...</dialogue> <character>CHERYL</character> <dialogue>Will you stop it?</dialogue> <character>LINDA</character> <dialogue>Scott, leave her alone will ya?</dialogue> <scene_description>SCOTT turns toward LINDA.</scene_description> <character>SCOTT</character> <dialogue>Will you relax, I'm just kidding around. She can take a joke-</dialogue> <scene_description>He stops talking as he hears the trickling of water. He turns to see CHERYL finish pouring a glass of water in his lap. The others laugh. SCOTT is silent for a moment, then begins chuckling to himself. He turns to CHERYL.</scene_description> <character>SCOTT</character> <dialogue>(Jokingly) I'll get ya.</dialogue> <scene_description>With a napkin, he blots the water from his pants.</scene_description> <character>SCOTT</character> <dialogue>I'll get ya for this Cheryl.</dialogue> <scene_description>ASHLY stands with his drink and raises the glass.</scene_description> <character>ASHLY</character> <dialogue>I'd like to make a toast for all here this evening. As a greek friend of mine once said, "Nis-hat-nis-fert- dis-ruben-tu-tar-im."</dialogue> <character>LINDA</character> <dialogue>Which means?</dialogue> <character>SCOTT</character> <dialogue>Party down!</dialogue> <scene_description>The laughter is stifled by a loud snap and cracking of wood heard from the main room.</scene_description> <character>SCOTT</character> <dialogue>What the hell...</dialogue> <scene_description>All stand from the table and hurry to the main room. 29 IN - M.R. The nails that held down the trap door have been ripped out, and although still in tact, the hatch is wide open. They stand silently in front of it, looking blank as to what could have done this. CHERYL is slighly more nervous than the others. ASHLY is the first to speak.</scene_description> <character>ASHLY</character> <dialogue>(Slowly) What is this?</dialogue> <character>SCOTT</character> <dialogue>Whatever it is, it's still down there.</dialogue> <character>CHERYL</character> <dialogue>I don't like cellars, let's close it up. (She does not want to deal with it) It's probably just some animal.</dialogue> <character>SCOTT</character> <dialogue>An animal?! An an...ha-ha-ha-ha-ha- that's the stupidest thing I ever heard in my life. Jesus Christ.</dialogue> <scene_description>SCOTT locates a flashlight and peers into the hole. He traces the old wooden steps into darkness with his light.</scene_description> <character>LINDA</character> <dialogue>Maybe it is just some animal.</dialogue> <character>SCOTT</character> <dialogue>Yeah, probably right. It's probably just some animal. Uh...Cheryl, why don't you make sure.</dialogue> <scene_description>He hands the flashlight to CHERYL who quickly gives it back.</scene_description> <character>CHERYL</character> <dialogue>Scotty, I'm not going down there!</dialogue> <character>SCOTT</character> <dialogue>Okay, okay you cowards, I'll go.</dialogue> <character>LINDA</character> <dialogue>Scotty don't. You're crazy if you go down there. Why don't you wait until morning.</dialogue> <character>SCOTT</character> <dialogue>Look, I'll be all right.</dialogue> <character>SHELLY</character> <dialogue>What melodrama! What courage! A kiss my brave hero.</dialogue> <scene_description>SCOTT kisses SHELLY and with flashlight in hand, he descends the narrow steps into the cellars blackness.</scene_description> <character>SHELLY</character> <dialogue>I, your virgin queen eagerly await the precious moment when you will ascend.</dialogue> <character>SCOTT</character> <dialogue>Virgin queen?! Ha-ha-ha-ha-ha-</dialogue> <scene_description>He disappears below the floor. SHELLY, CHERYL, LINDA and ASHLY wait above.</scene_description> <character>ASHLY</character> <dialogue>(Calling down) Hey Scott, see any- thing?</dialogue> <scene_description>There is no answer.</scene_description> <character>ASHLY</character> <dialogue>Hey Scott!...Scott!</dialogue> <character>SHELLY</character> <dialogue>He's just kidding around.</dialogue> <scene_description>There is silence.</scene_description> <character>SHELLY</character> <dialogue>Isn't he?</dialogue> <scene_description>No sounds come from the cellar.</scene_description> <character>ASHLY</character> <dialogue>Linda, get me a flashlight.</dialogue> <character>LINDA</character> <dialogue>That's the only one we brought up.</dialogue> <scene_description>ASHLY spots a lantern on the fireplace mantle.</scene_description> <character>ASHLY</character> <dialogue>Then get that lantern.</dialogue> <scene_description>LINDA brings it over. ASHLY opens the kerosene valve, lights the wick, and descends into the basement. 30 IN - C Down below, ASHLY moves quietly past the old stone walls and wooden beams which support the main floor above. In front of him stands an old door which leads to another section of the cellar. Cautiously, he moves toward it. Before he can touch it, the door swings open slowly with a moan. ASHLY moves through the doorway and deeper into the cellar. Condensation from water pipes above turn the cellar into an echo chamber as drips fall into shallow pools on the dirt floor below. As ASHLY scans with his light, he spots a shadow move out the corner of his eye.</scene_description> <character>ASHLY</character> <dialogue>Scott?</dialogue> <scene_description>ASHLY breaks into a cold sweat as he moves away from the area where the shadow passed. He backs sqarely into a pair of arms which grab him.</scene_description> <character>ASHLY</character> <dialogue>Ahhhhhhh!</dialogue> <scene_description>It is only SCOTT behind him.</scene_description> <character>ASHLY</character> <dialogue>What the hell are you doing down here, jerkin' off? How come you didn't answer me?</dialogue> <character>SCOTT</character> <dialogue>When?</dialogue> <character>ASHLY</character> <dialogue>Just now, I mean upstairs.</dialogue> <character>SCOTT</character> <dialogue>I didn't hear you.</dialogue> <character>ASHLY</character> <dialogue>Oh well, did you find anything?</dialogue> <character>SCOTT</character> <dialogue>Uh-uh.</dialogue> <character>ASHLY</character> <dialogue>What's this?</dialogue> <scene_description>SCOTT sweeps his light to another corner and reveals several items atop a small table. Beneath a dusty cloth, he finds a book which appears to be covered in some sort of animal hide, with an ancient form of writing on the cover. Along with this book, SCOTT and ASHLY uncover a reel to reel tape recorder, an ancient dagger, and other parapanalia including a box of rifle shells. 31 EN - CAB It is evening as darkness surrounds the small cabin. 32 IN - M.R. The group sits huddled around the fireplace talking quietly about school. The same bottle of Scotch is passed around. ASHLY is rewinding the tape recorder, and once this is done, he turns it on. The voice of an old man is heard. ASHLY turns to the others who are talking.</scene_description> <character>ASHLY</character> <dialogue>Shhh, listen to this.</dialogue> <character>VOICE</character> <dialogue>My name is Julian Knowby. I am a pro- fessor of ancient Egyptian mythology in Dextin university's ancient history department...</dialogue> <character>ASHLY</character> <dialogue>This is the tape I found downstairs.</dialogue> <character>VOICE</character> <dialogue>(Continuing)...I am recording this entry from a small cabin in the south- ern mountains of Tennessee. Here, I am staying with my wife for a few weeks so that I may continue my research un- disturbed. Since May, a group of assoc- iate professors and myself have been excavating the ruins of Ca'n Dar. I believe I have made an important find in that area, and thus the reason for this log. With it, I can keep an ac- curate record of translations from my latest find; the first of six, the others still lost, volumes of ancient Sumarian burial practices and rites. Basically, it is a book of do's and don'ts dealing with the deceased en- titled "Naturan Demanto" roughly trans- lated "Book Of The Dead." It is bound in human flesh, and inked with blood of the deceased...</dialogue> <character>SCOTT</character> <dialogue>Jeez, I'd hate to find out what they used for pens.</dialogue> <character>VOICE</character> <dialogue>(Continuing)...This particular volume deals with demons and demon resurrect- ion. These are of the Katardi family, meaning those forces believed to inhab- it the jungles and woods of man's do- main. The first few pages that I have translated warn that these demons are dangerous, everpresent, and exist primarily through this book. As legend has it, only the sacred high priests of the Ca'n Dar tribe could posess these books, for they alone could properly control the resurrected de- mons. It is only through the act of reciting the resurrection passage that these demons would be able to posess the living. For many years, it was thought that this legend-</dialogue> <scene_description>CHERYL turns off the machine at this point.</scene_description> <character>SCOTT</character> <dialogue>Hey, what'd you do that for? It was just getting good.</dialogue> <character>CHERYL</character> <dialogue>I just don't want to hear any more that's all.</dialogue> <character>SCOTT</character> <dialogue>(Singing) Cheryl's scared, Cheryl's scared.</dialogue> <character>ASHLY</character> <dialogue>Scott, leave her alone will ya?</dialogue> <character>SCOTT</character> <dialogue>Jesus Christ.</dialogue> <scene_description>He moves to the tape recorder and fast forewards it for a bit then stops.</scene_description> <character>SCOTT</character> <dialogue>She's acting like a baby- it's no big deal.</dialogue> <scene_description>He turns the machine on. The passage continues.</scene_description> <character>VOICE</character> <dialogue>Tantir-ah-mis-trobeen-ha-zar-ta</dialogue> <scene_description>33 EN - CAB As the tape plays, all natural sounds from the forest die out, and the autumn colors in the trees fade to a gloomy grey. 34 IN - M.R.</scene_description> <character>VOICE</character> <dialogue>Tantir-man-ov-mis-hazen-sober.</dialogue> <scene_description>All eyes except CHERYL's turn to the window. 35 EN - CAB Outside, clouds roll in from the east, thunder booms in the distance, and as the wind picks up, it begins to rain. 36 IN - M.R.</scene_description> <character>VOICE</character> <dialogue>Kanda!</dialogue> <scene_description>37 EN - CAB A section of ground deep within the woods begins to crack, and opens. Smoke seeps out from within, as if some evil force was now being unleashed. 38 IN - M.R.</scene_description> <character>CHERYL</character> <dialogue>(In a whisper) Shut it off.</dialogue> <character>VOICE</character> <dialogue>Kanda!</dialogue> <scene_description>39 EN - CAB The winds howl, and blackbirds fly from their nests, screaming. 40 IN - M.R.</scene_description> <character>CHERYL</character> <dialogue>(Louder now) Shut it off.</dialogue> <scene_description>ASHLY, hearing her for the first time, turns from the window to CHERYL. She is overwhealmed with fear.</scene_description> <character>VOICE</character> <dialogue>Kanda!</dialogue> <scene_description>41 EN - CAB A bolt of lightning strikes very near and its thunder crash is deafening. 42 IN - M.R. CHERYL can no longer control herself. She screams and covers her ears.</scene_description> <character>CHERYL</character> <dialogue>Shut it offffff!</dialogue> <scene_description>The window shatters when a branch from a nearby tree tears through it. ASHLY runs to the tape recorder and turns it off. CHERYL is crying now, and runs to her room. ASHLY turns to SCOTT.</scene_description> <character>ASHLY</character> <dialogue>Scott, you knew not to play it, I mean...I mean you knew it was upset- ting her. You just don't know when you're carrying something too far.</dialogue> <character>SCOTT</character> <dialogue>(To SHELLY) C'mon. (Back to ASHLY) Big deal, it's just a joke, shit.</dialogue> <scene_description>SCOTT and SHELLY head for their bedroom. SCOTT mumbles to himself along the way.</scene_description> <character>SCOTT</character> <dialogue>You'd think she's three years old or something.</dialogue> <scene_description>SCOTT slams the door behind him. ASHLY sighs. He moves to the broken window and reaches through it to close the outside shutters.</scene_description> <character>LINDA</character> <dialogue>He's really been bothering you hasn't he?</dialogue> <scene_description>ASHLY walks to a chair near the other window.</scene_description> <character>ASHLY</character> <dialogue>No. It's not Scott. Scotty's okay. It's just that ever since we came up here, things have been a little too tense. (He sits) All these crazy things going on. And look at that window- we're gonna have to pay for that window now.</dialogue> <character>LINDA</character> <dialogue>It'll be better tomorrow. Things'll smooth out, you'll see.</dialogue> <character>ASHLY</character> <dialogue>I hope so.</dialogue> <scene_description>He looks at LINDA lovingly for a long moment.</scene_description> <character>ASHLY</character> <dialogue>What'ya say we stay up for a while and listen to the storm.</dialogue> <character>LINDA</character> <dialogue>Deal. Lemme check on Cheryl. I'll be right back.</dialogue> <scene_description>From across the room, she is seen opening CHERYL's door a crack. LINDA asks if she is all right, and gets a muffled reply. In the foreground, ASHLY removes the small box he showed to CHERYL earlier and places it in his hand. He glances behind to LINDA. She closes CHERYL's door and walks back to find ASHLY sound asleep with the box in his hand. She reaches for the box and ASHLY opens his eyes to watch. LINDA looks at him, but his eyes are closed again in time to still appear fast asleep. LINDA turns her attention back to the box. ASHLY watches again wide-eyed as she removes it from his hand. Quickly, LINDA turns to him but as expected, ASHLY is sleeping like a baby. She begins to turn back toward the box and ASHLY opens his eyes, but LINDA turns back again in time to catch him with his eyes wide open.</scene_description> <character>LINDA</character> <dialogue>Ah ha!</dialogue> <character>ASHLY</character> <dialogue>(Laughing) Stealing from the blind eh? It's for you.</dialogue> <scene_description>LINDA begins to open the box.</scene_description> <character>LINDA</character> <dialogue>It better be good.</dialogue> <scene_description>The gold necklace is revealed inside.</scene_description> <character>LINDA</character> <dialogue>Oh Ash, it's beautiful.</dialogue> <scene_description>LINDA kisses ASHLY. He removes the necklace from the box and holds it around her neck.</scene_description> <character>ASHLY</character> <dialogue>(Fastening it around her neck) I was going to give it to you before we left, but things got so hectic, this is the first chance I've had. Do you</dialogue> <scene_description>like it? LINDA moves to a mirror.</scene_description> <character>LINDA</character> <dialogue>It's beautiful. I really love it. (She turns to ASHLY) I'll never take it off.</dialogue> <scene_description>43 EN - CAB Lightning strikes as something in the woods examines the small cottage. Through the outside window, ASHLY and LINDA can be seen embracing. This force watching them moves around the house to another window. The silhouette of SCOTT and SHELLY undressing can be seen. The force continues around and arrives at CHERYL's window. Inside, she brushes her hair in front of the mirror for a moment, then sets down her brush and moves to the window. She stops to uncrumple the sketch drawn earlier, looks at it, then out to the dark woods. 44 IN - C.B. CHERYL can faintly hear some kind of sound. It is the same sound she had heard earlier from the cellar. A noise almost like that of something breathing. 45 EN - CAB The evil entity rounds the corner of the cabin as CHERYL walks through the rooms to the front door. She can be seen stepping out the door. It closes behind her. Wind shaking the tree branches sends dead leaves fluttering about.</scene_description> <character>CHERYL</character> <dialogue>(Calling to the woods) Is anybody</dialogue> <scene_description>out there? There is no answer. CHERYL steps away from the cottage toward the woods. 46 EN - W The breeze animates her nightgown and it too seems alive. CHERYL stops.</scene_description> <character>CHERYL</character> <dialogue>I know someone's out there...I heard you...I heard you in the cellar.</dialogue> <scene_description>Suddenly, CHERYL becomes chilled. She folds her arms around herself and stands at the woods edge, listening. There is only darkness and sounds of the evening wind blowing through the trees. CHERYL steps into the forest a few feet then stops. A cry deep within the woods can be heard. She freezes. Whispering in the distance grows somewhat louder and a soft wail is heard- like that of something long since dead, dredged up to roam the earth again. CHERYL is about to turn back toward the cabin when a rustling comes from a group of trees about twenty yards behind her. She stops. No sound. Nothing moves. Several yards to her left a twig snaps suddenly. She turns but there is silence again. The winds die down, leaving a deathly stillness throughout the woods. Then, all at once, the entire forest becomes alive in a flurry of chaotic noises and movement. Snake-like vines wrap around her ankles and slither up her legs. Tree branches near by begin to claw and rake at her. The force is now moving through the woods toward her. CHERYL is able to break the vines and run toward the cabin. She emerges from the woods and into the clearing. The force is still following. 47 EN - CAB CHERYL reaches the cabin door but it is locked. She begins pounding upon the door.</scene_description> <character>CHERYL</character> <dialogue>Help, help, let me in. Open the door!</dialogue> <scene_description>The evil entity now emerges from the woods.</scene_description> <character>CHERYL</character> <dialogue>Ashly! Linda! Open up!</dialogue> <scene_description>CHERYL spots the small key ring above the door where SHELLY had returned them earlier. One by one, she fran- tically jams one key after another into the lock, but still cannot find the right one. The force comes closer with each key.</scene_description> <character>CHERYL</character> <dialogue>Please, someone please! Help me, help meeeee!</dialogue> <scene_description>The evil entity is almost upon her, but her actions are so frantic that the ring falls to the ground. She bends down to pick them up, but a hand grabs her arm. It is SCOTT who has opened the door from the inside. She pushes him in the door and slams it tightly. 48 IN - M.R.</scene_description> <character>SCOTT</character> <dialogue>What the hell happ-</dialogue> <character>CHERYL</character> <dialogue>(In hysterics) It...it tried to kill me. I, I heard a noise and...and I ran and the trees...the trees!</dialogue> <character>SCOTT</character> <dialogue>What are you-</dialogue> <scene_description>He is cut off by ASHLY approaching with the others.</scene_description> <character>ASHLY</character> <dialogue>Cheryl what's wrong with you? Did something in the woods do this to you?</dialogue> <character>CHERYL</character> <dialogue>No, no, no...the woods themselves- The trees- they're alive...</dialogue> <scene_description>She hugs ASHLY tightly and cries in hysterical sobs.</scene_description> <character>CHERYL</character> <dialogue>They're alive...</dialogue> <character>LINDA</character> <dialogue>Ash, why don't I take her into the bedroom so she can lie down a little-</dialogue> <character>CHERYL</character> <dialogue>(Cutting her off) -I'm not lying down! I'm not staying here. We're leaving this place, we're leaving this place right now!</dialogue> <character>SCOTT</character> <dialogue>Wait a minute, I'm sure as hell not going anywhere.</dialogue> <character>SHELLY</character> <dialogue>Cheryl-</dialogue> <character>ASHLY</character> <dialogue>Cheryl, there's nothing out there. Trees do not attack people.</dialogue> <character>CHERYL</character> <dialogue>Ashly, will you drive me into town or not?</dialogue> <character>ASHLY</character> <dialogue>(Looking at his watch) Right Now? (He realizes how desperate she is) Sure, sure I'll drive you into town. But if you'll just listen to what you're saying, you-</dialogue> <character>CHERYL</character> <dialogue>I don't care how it sounds. I want to leave this minute. You can bring back my things when you go.</dialogue> <character>ASHLY</character> <dialogue>Okay- if you don't want to stay, I can't make you.</dialogue> <scene_description>LINDA puts a coat around CHERYL as ASHLY helps her to the door. 49 EN - CAB ASHLY and CHERYL move to the car. ASHLY helps CHERYL in then then gets in the drivers side. 50 IN - CAR</scene_description> <character>CHERYL</character> <dialogue>I'll stay some place in town tonight.</dialogue> <scene_description>ASHLY tries to start the car. There is no response. CHERYL becomes somewhat worried. ASHLY tries again. The car will not turn over. A look of dread comes across CHERYL's face. 51 EN - CAB SCOTT and the others join the two outside. 52 IN - CAR</scene_description> <character>CHERYL</character> <dialogue>It's not gonna start.</dialogue> <scene_description>ASHLY again tries the engine.</scene_description> <character>CHERYL</character> <dialogue>I know it's not gonna start. It's not gonna let us leave.</dialogue> <scene_description>ASHLY keys the engine and it turns over this time, start- ing up with a roar. ASHLY, worried by CHERYL's condition glances over to her. Confused and upset, CHERYL turns away from ASHLY and looks out her window. They drive off into the night through the wooded mountains toward town. ASHLY glances at CHERYL who is studying the forest in- tensely for any sign of movement. The concern for his sister is made obvious by the expression on his face. Their car approaches the narrow bridge area and slows down.</scene_description> <character>CHERYL</character> <dialogue>Why are you slowing down?</dialogue> <scene_description>ASHLY brings the car to a halt.</scene_description> <character>CHERYL</character> <dialogue>What is this?</dialogue> <scene_description>ASHLY's gaze is fixed directly ahead, and his mouth opens slowly. He flips on the high beams which stab through the evening mist. 53 EN - B The bridge over the chasm has been torn away. CHERYL is silent as ASHLY walks to the ravine's edge to examine any remains. 54 IN - CAR</scene_description> <character>CHERYL</character> <dialogue>(Mumbling to herself) No, no, no, no, no...it's not going to let us leave, it's not going to let us go...it's not gonna let us gooooo!</dialogue> <scene_description>55 EN - CAB An axe is raised into the air, then brought down smash- ing upon a log, splitting it in two. SCOTT is chopping wood outside the cabin. Behind him, through a window, CHERYL sits with a cup of tea in her hand watching him. SCOTT sets his axe down, gathers the wood and moves away. CHERYL shifts her gaze from SCOTT to the woods beyond. The camera moves in toward CHERYL then past her to SHELLY and LINDA who can be seen playing cards on the floor. ASHLY is seated near the fireplace with the tape recorder in front of him. He plugs an earphone in so only he can hear it. SCOTT enters the cabin and passes in front of ASHLY to drop his wood to one side of the fireplace. He throws a log in, and heads back outside. 56 IN - M.R. From inside, LINDA speaks.</scene_description> <character>LINDA</character> <dialogue>Cheryl, wanna play some cards?</dialogue> <character>CHERYL</character> <dialogue>(Turning with a smile) Uh-uh.</dialogue> <scene_description>CHERYL turns to face the window again.</scene_description> <character>LINDA</character> <dialogue>Hey, tomorrow morning, we'll find some way around that cliff into town okay?</dialogue> <character>CHERYL</character> <dialogue>Okay.</dialogue> <scene_description>Outside the window, SCOTT chops more wood for the nights fire. ASHLY turns on the tape recorder to listen with the ear plug.</scene_description> <character>VOICE</character> <dialogue>March 12th. Suzanne came after me and almost murdered me. My own wife. At first I thought it was a mental or physical disorder because of what had happened to her eyes, but I was only fooling myself. I knew what it was.</dialogue> <scene_description>Outside the window, SCOTT continues to chop and gather wood. SHELLY, still engaged in cards with LINDA, holds up one in particular.</scene_description> <character>SHELLY</character> <dialogue>Okay, guess this card.</dialogue> <character>LINDA</character> <dialogue>How am I going to know what card that is?</dialogue> <character>SHELLY</character> <dialogue>Guess, I'm going to see if you're psychic.</dialogue> <scene_description>The card is a two of clubs.</scene_description> <character>LINDA</character> <dialogue>Okaaaay...is it a queen?</dialogue> <character>SHELLY</character> <dialogue>Right!</dialogue> <character>LINDA</character> <dialogue>Really?</dialogue> <character>SHELLY</character> <dialogue>Yeah.</dialogue> <character>LINDA</character> <dialogue>Hey Ash, I guessed the card right.</dialogue> <character>ASHLY</character> <dialogue>(indifferently) Truly amazing Linda.</dialogue> <scene_description>He is listening intently to the log as it continues.</scene_description> <character>VOICE</character> <dialogue>Three days have passed since that thing has been down there. I was hop- ing to weaken it without food or water. Nothing worked. Finally, in desperation I dragged her out to the shed and dismembered her so that what- ever it was could not get up again.</dialogue> <character>SHELLY</character> <dialogue>Cheryl, did you see that?</dialogue> <scene_description>CHERYL remains with her back to them staring out the window.</scene_description> <character>SHELLY</character> <dialogue>Try this one.</dialogue> <scene_description>She removes a nine of clubs from the deck and holds it up.</scene_description> <character>LINDA</character> <dialogue>Okay, lemme think, uh...</dialogue> <scene_description>She puts her hands to her head in a curved funnel form- ation as if to direct her thoughts to the card.</scene_description> <character>LINDA</character> <dialogue>...Um, it's a seven.</dialogue> <character>SHELLY</character> <dialogue>Oh my God, what suit?</dialogue> <character>LINDA</character> <dialogue>Diamonds, no wait! I mean hearts!</dialogue> <character>SHELLY</character> <dialogue>That's right- seven of hearts!</dialogue> <character>LINDA</character> <dialogue>Hey Ash, did you see that? I guessed two cards in a row.</dialogue> <character>ASHLY</character> <dialogue>(Still not paying attention) How do you do it Linda?</dialogue> <scene_description>He is concentrating on the tape.</scene_description> <character>VOICE</character> <dialogue>This is when I saw the dark figures moving about in the woods. I should have never tampered with the "Book Of The Dead." I now know that what- ever it is I have resurrected through this book, is coming for me.</dialogue> <character>LINDA</character> <dialogue>You know, I always thought I had some sort of extra sense. You know, like e.s.p or something.</dialogue> <character>SHELLY</character> <dialogue>What's this one?</dialogue> <scene_description>She holds up the queen of spades.</scene_description> <character>LINDA</character> <dialogue>Another seven!</dialogue> <character>SHELLY</character> <dialogue>I don't believe it!</dialogue> <character>CHERYL</character> <dialogue>(Still looking outside) Queen of spades.</dialogue> <scene_description>SHELLY looks at her card then back to CHERYL. She holds up another card.</scene_description> <character>CHERYL</character> <dialogue>Four of hearts.</dialogue> <scene_description>The card is a four of hearts. SHELLY bites her lip in fear and reaches for another card. ASHLY and LINDA listen in silence.</scene_description> <character>CHERYL</character> <dialogue>Eight of spades.</dialogue> <scene_description>SHELLY picks up the card. CHERYL is correct again.</scene_description> <character>CHERYL</character> <dialogue>Two of spades- jack of diamonds- jack of clubs-</dialogue> <scene_description>Faster and faster she calls them off. Even before SHELLY can flip them to keep up. Suddenly, CHERYL turns toward the group. Her eyes are bone white. SHELLY's deck of cards slip from her hand and scatter across the floor. CHERYL's body is hoisted up to its feet and jerked about like a white-eyed marionette. She speaks in a voice un- like her own.</scene_description> <character>CHERYL</character> <dialogue>Why have you disturbed our sleep,</dialogue> <dialogue>awakened us from our ancient slum- ber? You will die. Like the others before you. We will take you one by one. All of you ha-ha-ha-ha-ha-</dialogue> <scene_description>She screams in a low gruff voice and collapses to the floor.</scene_description> <character>ASHLY</character> <dialogue>Oh my God, Shelly, get Scott in here!</dialogue> <scene_description>SHELLY does not respond.</scene_description> <character>ASHLY</character> <dialogue>Hurry!</dialogue> <scene_description>She exits through the front door. LINDA moves to CHERYL and lifts her head gently. CHERYL appears unconcious but behind her, she reaches for a pen.</scene_description> <character>LINDA</character> <dialogue>Did you see her eyes? I'm scared. What's wrong with her?</dialogue> <scene_description>ASHLY begins to speak when SCOTT and SHELLY enter.</scene_description> <character>SCOTT</character> <dialogue>What happened to her?</dialogue> <scene_description>CHERYL's hand clutches the pen tightly.</scene_description> <character>LINDA</character> <dialogue>Look at her eyes.</dialogue> <scene_description>SCOTT's hand reaches for CHERYL's eyes to inspect them, but they blink open. The pen in her hand races upward, then slashes down, ripping into LINDA's achilles tendon. LINDA screams fiercely and with a blur, the bloodied pen is raised again. ASHLY grabs CHERYL's arm stopping her, but with a powerful swipe, she swings her remaining arm at LINDA who is sent sprawling across the cabin floor. CHERYL then clutches ASHLY and, almost lifting him, sends his body reeling across the room into a book- case which topples over, trapping him beneath its weight. SHELLY stands screaming as CHERYL now advances toward ASHLY's face with the bloody pen. He struggles to pull himself out but cannot. CHERYL is almost upon him when SCOTT grabs her from behind. Effortlessly, she tosses him off and moves toward ASHLY again. SCOTT climbs to his feet and grabs the axe. CHERYL raises the pen above ASHLY's face, and SCOTT gives her a sharp jab in the jaw with the wooden handle. CHERYL stumbles past LINDA and falls backwards, head first into the cellar. She begins to climb out but SCOTT slams the trap door shut upon her hand. It won't close. CHERYL starts to push the trap door open from below. SCOTT climbs on top and is almost thrown off until he viciuosly rams the butt of his axe down upon her protruding hand. Demented screams and moans are heard from below as CHERYL's hand is finally pulled back and SCOTT manages to secure the chain across the hatch. 57 IN - LB Later that evening, LINDA is seen in her bed, sleeping. ASHLY covers her with a blanket, kisses her, and walks to the door, closing it quietly behind him. 58 IN - M.R. ASHLY joins SCOTT and SHELLY who sit near the fire in the main room. From the cellar, strange moans, sobs and laughter emerge, then horrible rasping sounds from CHERYL's breathing. Through the next sequence of dialogue, her breathing becomes louder then somewhat quiet.</scene_description> <character>SCOTT</character> <dialogue>She'll be okay Ash, she just took a bad bump.</dialogue> <character>ASHLY</character> <dialogue>(Quietly) Yeah.</dialogue> <scene_description>SCOTT and SHELLY listen to the strange noises from below as ASHLY looks out the window to the woods beyond.</scene_description> <character>ASHLY</character> <dialogue>We've still got a few hours before morning.</dialogue> <character>SHELLY</character> <dialogue>I don't know if I can wait that long.</dialogue> <character>SCOTT</character> <dialogue>You have to. We all have to. Then, once it's light out, we'll try to find a way to get around that chasm.</dialogue> <character>SHELLY</character> <dialogue>(Covering her ears) Why does she keep making those horrible noises?</dialogue> <character>ASHLY</character> <dialogue>I don't know.</dialogue> <character>SHELLY</character> <dialogue>And what about her eyes?</dialogue> <scene_description>ASHLY and SCOTT are quiet.</scene_description> <character>SHELLY</character> <dialogue>What about her eyes? (Desperately) For God's sake what happened to</dialogue> <scene_description>her eyes?! CHERYL patiently sits in the cellars darkness with a streak of light across her eyes from the crack in the trap door. Her head is slightly tilted as she watches and listens to what is said above. From her point of view we hear SCOTT speak to SHELLY.</scene_description> <character>SCOTT</character> <dialogue>Everything's gonna be all right.</dialogue> <scene_description>CHERYL's lips part slightly and a thick blackish yellow liquid drools out between her teeth. She grins. 59 EN - CAB Outside, the forest is very dark. The unseen force moves from the wooded area, pushing over small trees and shrubs as it advances. The cottage comes into view and the evil entity glides up to it. The figure of a girl in the cabin window can be seen looking out. The force stops and moves behind a bush. 60 IN - M.R. Inside, SHELLY is studying the woods.</scene_description> <character>SHELLY</character> <dialogue>Scotty, I...I think there's some- thing out there.</dialogue> <scene_description>SCOTT joins her at the window and looks out. 61 EN - CAB From within the woods, this force watches SCOTT peer out, but he can see nothing. Through the window he says some- thing to reassure SHELLY and moves away. 62 IN - M.R. Inside, SCOTT can be heard in mid sentence.</scene_description> <character>SCOTT</character> <dialogue>...Is to get some rest. Ash and I can stay up with Cheryl.</dialogue> <character>SHELLY</character> <dialogue>Okay.</dialogue> <character>SCOTT</character> <dialogue>Everything's gonna be okay. Come morning- you'll see.</dialogue> <scene_description>SHELLY heads to her bedroom. SCOTT walks back to the fireplace and sits. He slices twigs from a branch with the Sumarian dagger and tosses them into the fire. ASHLY glances at the Book Of The Dead, then to the old clock. It stands silent. 63 EN - CAB Again, the evil entity watches from outside. It sees SHELLY leave one room and turn the lights on in another. She begins to undress near the window. The force now moves from behind its cover and rushes at tremendous speed to SHELLY who is looking out her bedroom window. She sees it and sheer terror covers her face as a scream stifles itself in her throat, but it is too late. 64 IN - M.R. A noise is heard from SHELLY's bedroom. SCOTT drops the small stick he was whittling and looks up. He places the dagger on the floor and walks toward SHELLY's room.</scene_description> <character>SCOTT</character> <dialogue>Shelly, are you okay?</dialogue> <scene_description>She does not answer. SCOTT approaches her door and turns to ASHLY.</scene_description> <character>SCOTT</character> <dialogue>Keep an eye on Cheryl for a minute.</dialogue> <scene_description>65 IN - S.B. SCOTT enters the darkness of her room and sees nothing amidst the shadows.</scene_description> <character>SCOTT</character> <dialogue>Shelly?</dialogue> <scene_description>He looks over to her window. It is open, and wind blows upon the curtains. 66 IN - S. BATH SCOTT steps into SHELLY's bathroom and sees that the shower curtain is drawn. Cautiously, he moves up to it.</scene_description> <character>SCOTT</character> <dialogue>Shelly?</dialogue> <scene_description>He pulls the curtain back to reveal an empty tub. SCOTT turns back to the bedroom when SHELLY steps into the doorway, posessed. With a scream, she latches upon SCOTT. Her eyes have gone bone white and she claws at SCOTT's face and clothes with her nails. 67 IN - S.B. Screaming, SCOTT stumbles through her bedroom with SHELLY still upon him biting at his throat. 68 IN - M.R. They stagger into the main room where SCOTT manages to knock SHELLY off himself and into the fireplace. She remains motionless as her head smolders upon the hot coals. SCOTT rushes to her, grabs an arm and pulls her out. SHELLY's face and hair on one side of her head are seared and blackened. She blinks her eyes open, turns her charred head to SCOTT, and speaks in a rasp.</scene_description> <character>SHELLY</character> <dialogue>Thank you. I don't know what I would have done if I had remained on the hot coals burning my pretty flesh. You have pretty skin- give it to us!</dialogue> <scene_description>Cackling, SHELLY clutches SCOTT's neck and begins throttl- ing the life out of him with a vice-like grip. He tries to break the hold but cannot. ASHLY also tries but with a backhand blow, SHELLY knocks him into a cabinet, smash- ing it to bits. A garbled cry for help escapes from SCOTT's frothing mouth. SHELLY reaches down, picks up the Sumarian dagger, and holding SCOTT by his throat with one hand, she raises the dagger with the other. ASHLY, slightly injured, crawls to his feet. SCOTT grabs her raised arm and although choking, swings his camping knife from its side sheath and slices deep into SHELLY's raised wrist, almost severing it. A murky black ooze pumps from the wound. She emits an ear splitting- howl and tightens her grip on SCOTT's throat. He drops the hunting knife. ASHLY watches terrified, unable to move as SHELLY raises her dangling hand (Still clutching the dagger) to her mouth and bites it off. The useless part falls to the floor with the dagger still firmly in its fist. SCOTT, now almost dead, grabs her severed hand clutching the dagger and in a last attempt, swings it around ramming the blade into her spine. SHELLY screetches along with CHERYL in the cellar, the old grandfather clock gongs and lightning strikes all at the same instant. SHELLY reaches around with her remaining arm to clutch at the severed hand and knife protruding from her own back. A thick black ooze pours from the wound as she bends backward screaming. ASHLY stands in horror, clutching the axe, unable to move. Black ooze runs from SHELLY's mouth as her body writhes about spasmatically upon the floor. Gradually, the move- ments cease and she is dead. As SCOTT slowly stands to his feet, SHELLY's arm grabs his leg.</scene_description> <character>SCOTT</character> <dialogue>Ahhhhhhh!</dialogue> <scene_description>Some force reanimates her, even though the body is dead.</scene_description> <character>ASHLY</character> <dialogue>No...no...no...</dialogue> <character>SCOTT</character> <dialogue>Hit her!</dialogue> <scene_description>SHELLY's body is hoisted up, jerking about to its feet, and laughing madly.</scene_description> <character>SCOTT</character> <dialogue>Hit it!</dialogue> <scene_description>SCOTT screams this as he backs toward ASHLY who stands with the axe, paralyzed. Gurgling black ooze, SHELLY advances toward them with one remaining arm. SCOTT grabs the axe from ASHLY, pushes him away and slams it into her. Lightning flashes, thunder booms, and CHERYL screams from the cellar. SCOTT brings his axe down again and again in a frenzy. Then, after the final chop, there is silence. SHELLY's body remains on the floor for quite some time- until ASHLY can cope with the fact that she is dead and something must be done.</scene_description> <character>ASHLY</character> <dialogue>Uh...Scott.</dialogue> <character>SCOTT</character> <dialogue>Yeah.</dialogue> <character>ASHLY</character> <dialogue>What is uh...what are we gonna do?</dialogue> <character>SCOTT</character> <dialogue>Bury her.</dialogue> <character>ASHLY</character> <dialogue>You...can't bury Shelly. She's a friend of ours isn't she?</dialogue> <character>SCOTT</character> <dialogue>Ash, she's dead.</dialogue> <scene_description>ASHLY moves away from SCOTT.</scene_description> <character>SCOTT</character> <dialogue>Shelly's dead. We're gonna bury her now.</dialogue> <scene_description>ASHLY bites his lip and looks about blankly. 69 EN - CAB Finally, the body is dragged outside and buried near the work shed. Harsh floodlights from the house make the task look very stark and barren. 70 IN - M.R. SCOTT and ASHLY return inside. ASHLY heads to LINDA's room to check in on her. 71 IN - L.B. He peers in to see LINDA sleeping peacefully. 72 IN - M.R. ASHLY quietly returns to the main room. SCOTT is load- ing new batteries into a flashlight.</scene_description> <character>SCOTT</character> <dialogue>I saw an old hiking trail when we were driving up here. Now I don't know if it goes all the way around that gorge-</dialogue> <character>ASHLY</character> <dialogue>-Or if it's even still in tact.</dialogue> <character>SCOTT</character> <dialogue>Or if it's even still in tact. But uh, I guess I'll find out. Take good care of Linda.</dialogue> <character>ASHLY</character> <dialogue>I will. Do you have everything?</dialogue> <character>SCOTT</character> <dialogue>(Putting on a small back pack) Yeah- all set.</dialogue> <character>ASHLY</character> <dialogue>Listen...Scotty...I'm sorry about falling apart like that when-</dialogue> <character>SCOTT</character> <dialogue>Don't bother, really.</dialogue> <scene_description>He steps out the door.</scene_description> <character>SCOTT</character> <dialogue>If I find a way out of here, I'll mark it and then come back. Then if I'm not back here in a few hours... if for some reason...well, if I don't come back, grab Linda, leg and all, and just get her the hell out of here.</dialogue> <scene_description>They shake hands.</scene_description> <character>ASHLY</character> <dialogue>You're a good man.</dialogue> <character>SCOTT</character> <dialogue>Good, I'm the best.</dialogue> <scene_description>73 EN - CAB ASHLY smiles a good-bye to SCOTT and watches him move off into the night. He lingers for a moment by SHELLY's grave, then slowly disappears into the woods. 74 IN - M.R. ASHLY closes the door and turns back to the main room. He sees CHERYL's eyes through the crack in the cellar. She has been watching all of this through a space be- tween the trap door and floor. ASHLY walks past her to LINDA's room. 75 IN - L.B. He opens the door and a crack of light falls across her. LINDA wakes up.</scene_description> <character>LINDA</character> <dialogue>Who's there? Ash?</dialogue> <character>ASHLY</character> <dialogue>It's me Linda.</dialogue> <character>LINDA</character> <dialogue>Ash, I had a bad dream about Linda.</dialogue> <character>ASHLY</character> <dialogue>You did baby?</dialogue> <character>LINDA</character> <dialogue>Yeah. She's all right isn't she?</dialogue> <character>ASHLY</character> <dialogue>Yeah. Fine.</dialogue> <character>LINDA</character> <dialogue>Is Shelly okay too Ash?</dialogue> <scene_description>ASHLY can no longer hide his fear and anxiety. He speaks in a whisper so as not to let his voice quiver.</scene_description> <character>ASHLY</character> <dialogue>Yeah, sure. She's sleeping that's all.</dialogue> <character>LINDA</character> <dialogue>Ash, I love you. (She turns over)</dialogue> <character>ASHLY</character> <dialogue>Get some rest.</dialogue> <scene_description>ASHLY closes the door behind him and the fear from a few hours ago engulfs him once more. 76 IN - M.R. ASHLY moves into the main room and stops dead in his tracks when a voice in the cellar speaks.</scene_description> <character>CHERYL</character> <dialogue>You lied to her. You lied to Linda. Shelly's not sleeping. She's dead. Don't you know the difference? You killed her. You and Scott cut her up with the axe. She's dead ha-ha-ha-ha- ha-ha-</dialogue> <scene_description>ASHLY picks up the axe and slams it down upon the trap door. CHERYL is silent from below for a moment, then the hatch opens an inch or so. (The length of the chain securing it) CHEYL's white eyes can be seen again.</scene_description> <character>CHERYL</character> <dialogue>Ha-ha-ha-ha-ha-ha-</dialogue> <scene_description>ASHLY takes the axe and steps outside. 77 EN - CAB He begins to chop wood, taking out his emotions upon the logs with each blow. SHELLY's blood can still be seen on the blade of the axe. 78 IN - M.R. From her dungeon, CHERYL watches ASHLY chop wood in the window. The shadow of his axe rising then striking is seen over her white eyes. 79 EN - CAB Exhausted, ASHLY puts down the axe. He looks off into the woods but there is no sign of SCOTT. He returns to the cabin. 80 IN - M.R. CHERYL begins her taunting again.</scene_description> <character>CHERYL</character> <dialogue>Soon all of you will be like me and then who will lock you in the cellar? Ha-ha-ha-ha-ha-</dialogue> <scene_description>CHERYL begins to violently ram her fists against the trap door. ASHLY walks by her to LINDA's room. 81 IN - L.B. She is still asleep. Quietly, so as not to wake her, ASHLY pulls back her blanket exposing the bandaged leg. He re- moves the wrappings and looks at the wound. As he does this, it infects with a blackened coloration at an in- credible speed. ASHLY looks up to see if LINDA is still sleeping and sees that she has been watching him with white eyes and an evil grimace upon her face. She lets out a low growl. 82 IN - M.R. ASHLY jolts backwards out of her room to escape through the front door. He steps outside and stops to look back in. He can see the main room, but finds it difficult to see in LINDA's room, being lost in the shadows. Something ragged and bloody grabs him. It is SCOTT's mutilated body ripped and torn to shreds. He is still alive. ASHLY looks behind him through the door to LINDA's room. He can barely make out LINDA who sits on the bed watching him with glaring white eyes. ASHLY helps SCOTT to the couch so he can sit. SCOTT is in agony and can barely speak.</scene_description> <character>SCOTT</character> <dialogue>Ash, I think I'm dying. Jesus, I can't feel my legs.</dialogue> <character>ASHLY</character> <dialogue>Uh...uh Scotty you're gonna be okay. You're gonna be just fine- you'll see.</dialogue> <scene_description>He throws another log on the fire.</scene_description> <character>ASHLY</character> <dialogue>You'll see.</dialogue> <scene_description>He looks off into LINDA's bedroom again, but she is gone. She is now sitting in the corner of the main room where ASHLY is, watching him. SCOTT begins to cough with hor- rible rasping sounds.</scene_description> <character>SCOTT</character> <dialogue>It's, it's not gonna let us leave... Cheryl...Cheryl was right...we're all gonna die here...</dialogue> <character>ASHLY</character> <dialogue>We're not gonna die!</dialogue> <character>SCOTT</character> <dialogue>...All gonna die. All of us.</dialogue> <scene_description>ASHLY grabs SCOTT and shakes him violently.</scene_description> <character>ASHLY</character> <dialogue>We're not gonna die! We're not gonna die! We're getting out of here! Now listen to me- is there a way around the chasm.</dialogue> <scene_description>SCOTT passes out.</scene_description> <character>ASHLY</character> <dialogue>Scotty. Scott!</dialogue> <scene_description>ASHLY slaps SCOTT. He stirs awake and mumbles.</scene_description> <character>SCOTT</character> <dialogue>Jesus Ash. I don't want to die. So... so lonely to die like this. You're not gonna leave me are you? Are you Ash?</dialogue> <character>CHERYL</character> <dialogue>(Imitating SCOTT) I don't want to die. So lonely to die like this. You're not gonna leave me are you? Are you Ash? Ha-ha-ha-ha-ha-</dialogue> <character>ASHLY</character> <dialogue>Scott, is there some way around the chasm?</dialogue> <character>SCOTT</character> <dialogue>Ash, I'm scared- I...I can't feel my legs.</dialogue> <character>ASHLY</character> <dialogue>Scott, listen to me please, for God's sake. Is there a way around the chasm?</dialogue> <character>SCOTT</character> <dialogue>There is...one way, the trail...but the trees, they know...don't you see- they're alive!! They're ali-ahhhhhhh!</dialogue> <scene_description>His sentence is cut short as he cries out in sharp pain. Blood dribbles from his nostrils and he doubles over grabbing his stomach. LINDA begins to laugh. ASHLY looks to her, or rather what posesses her with hatred.</scene_description> <character>ASHLY</character> <dialogue>Shut up!</dialogue> <scene_description>She continues to laugh. CHERYL in the cellar joins in the laughter. ASHLY walks to LINDA and slaps her but she continues. He grabs a hunting rifle from a rack on the wall, loads it with shells, flips off the safety and places the barrels against LINDA's head.</scene_description> <character>ASHLY</character> <dialogue>God forgive me Linda.</dialogue> <scene_description>The laughter stops and her eyes return to normal. It is LINDA again. ASHLY puts down the rifle.</scene_description> <character>LINDA</character> <dialogue>Ash, oh Ash, help Me! Please.</dialogue> <scene_description>She hugs him tightly.</scene_description> <character>LINDA</character> <dialogue>Don't let them take me away again, please, please, please.</dialogue> <character>ASHLY</character> <dialogue>(Crying and holding her tightly) I won't, I won't- I promise.</dialogue> <scene_description>CHERYL's voice is heard from the blackness of the cellar.</scene_description> <character>CHERYL</character> <dialogue>Ashly? Ashly, help me. Let me out of here. I'm all right now.</dialogue> <scene_description>ASHLY releases LINDA and moves cautiously to the cellar. LINDA remains behind nervously fumbling with her necklace.</scene_description> <character>CHERYL</character> <dialogue>I'm all right now, Ashly. I'm all right. Come unlock this chain and let me out.</dialogue> <character>ASHLY</character> <dialogue>Cheryl?</dialogue> <scene_description>There is no reply from the cellar. ASHLY looks through the crack but sees only darkness. He reaches for the chain and begins to unlock it, but sensing something wrong, he stops.</scene_description> <character>ASHLY</character> <dialogue>Cheryl?</dialogue> <scene_description>He puts his ear to the floor listening for the slight- est sound. CHERYL's arms rip through the floor boards and grab ASHLY's head. He breaks away and her hand reaches for the chain but cannot quite grasp it. Slowly it withdraws beneath the floor.</scene_description> <character>CHERYL</character> <dialogue>(A little too sweet) Ash, what are you doing? This is your sister Cheryl. Don't you recognize me?</dialogue> <scene_description>Her voice drifts off, and the evil leughter resumes from the celler.</scene_description> <character>ASHLY</character> <parenthetical>(Crying and yelling to the cellar)</parenthetical> <dialogue>You bastards! Why are you doing this? Why?</dialogue> <scene_description>There is silence for a moment. Laughter from behind him begins again. It is LINDA. Her eyes are white once more, and she laughs at ASHLY.</scene_description> <character>ASHLY</character> <dialogue>Oh...Linda.</dialogue> <scene_description>With newly found courage, ASHLY angrily grabs LINDA by the legs and drags her outside. 83 EN - CAB</scene_description> <character>LINDA</character> <dialogue>It's useless, useless, useless. In time we'll come for him, then you ha-ha-ha-ha-ha-</dialogue> <scene_description>ASHLY leaves her in the woods and runs back to the cabin, closing the door behind him. 84 IN - M.R. SCOTT is coughing again.</scene_description> <character>SCOTT</character> <dialogue>Ash, Ash, please...I don't want to die- but...but I can't stand this pain. It hurts Ash. Gimme something. Gimme something to put me out.</dialogue> <character>ASHLY</character> <dialogue>Scott, I can't. I- I know it's bad. But I can't be alone now, I can't. I'd lose my mind.</dialogue> <character>SCOTT</character> <dialogue>Please Ash, please.</dialogue> <character>ASHLY</character> <dialogue>You'll get better- you'll see.</dialogue> <scene_description>LINDA's laughter is faintly heard outside. ASHLY moves to the window and pulls back the curtain. LINDA is no longer in the woods but sitting at the edge of the clear- ing, watching ASHLY with her glowing white eyes.</scene_description> <character>ASHLY</character> <dialogue>Yeah, tomorrow, soon, you'll be better and we'll both get out of here tomorrow.</dialogue> <character>SCOTT</character> <dialogue>There is no tomorrow! You- you've got to kill her and cut- cut her up- your sister too.</dialogue> <character>ASHLY</character> <dialogue>No, that was only with Shelly. You had to with Shelly. You- Linda loves me. You're delirious- I...I'll get you some water.</dialogue> <scene_description>ASHLY places a glass to Scott's lips.</scene_description> <character>ASHLY</character> <dialogue>Now, now the sun will be up in an hour or so and we'll get out of here ...together. You, me, Linda, Shelly- n-no not Shelly, she- we'll all go home together. Wouldn't you like to be going home? You'd like that I'd bet, wouldn't ya?</dialogue> <scene_description>There is no answer from SCOTT. The water runs out of his mouth.</scene_description> <character>ASHLY</character> <dialogue>...Scott.</dialogue> <scene_description>SCOTT is dead. LINDA's laughter is heard again. ASHLY walks to the window and pulls back the curtain. There is nothing there. He turns and she is there! With the Sumarian dagger, LINDA rips into ASHLY's shirt, cutting his arm. He screams and watches in horror as she runs her tongue over the dagger, licking the blood from it. She turns her attention toward ASHLY again but he grabs her and they struggle. LINDA backs ASHLY up against SCOTT, knocking his body to the floor. CHERYL's gnarled arm reaches up through the broken floor boards and grabs at ASHLY's foot. He manages to turn LINDA's arm so the knife is behind her back. Forcefully, ASHLY pushes her over the body of SCOTT and she falls back- ward upon the dagger, impaling herself upon it. The blade tears into her back and rips through her stomach. Lightning flashes, thunder roars, and LINDA screams in a deep growl once, then all is quiet. ASHLY drags LINDA's corpse past the crumpled body of SCOTT, past CHERYL, who watches all of this from below, through the back door and out to the work shed. 85 IN - W.S. He lifts her up onto the work bench and secures her body to it with a number of chains which hang from nails along the wall. He rips down a tarp hanging on the wall to reveal a chain saw. He starts it up and moves toward her. Buzzing madly, the saw is lowered to a position several inches above LINDA's neck. ASHLY looks into LINDA's face. Her eyes have gone back to blue. He turns off the saw.</scene_description> <character>ASHLY</character> <dialogue>(In a whisper) Linda...</dialogue> <scene_description>He drops the saw and breaks down crying over LINDA's body. 86 EN - CAB An evening mist drifts out of the woods and cloaks the shed as ASHLY carries LINDA's body outside for burial. He lays the body upon the ground and picks up a shovel. Harsh floodlights from the corners of the cabin create strange shadows on the ground as ASHLY digs LINDA's grave. She lies on her back during the digging. One of her eyes opens. It is white. ASHLY drops the shovel and looks at her. She appears to be dead. 87 IN - M.R. Inside the cabin, CHERYL begins slamming her fists against the trap door in the cellar again. She wants out. The screws holding the hatch in place begin to loosen. 88 EN - CAB ASHLY places LINDA's corpse in the grave, oblivious to CHERYL's pounding. He begins to cover her with dirt. 89 IN - M.R. CHERYL has ripped out all but one screw which holds the trap door in tact. 90 EN - CAB ASHLY glances to the grave and sees LINDA's necklace on top of the dirt mound. He reaches down to pick it up when LINDA's hand shoots up from beneath the grave and grabs him! She pulls herself up out of the grave scream- ing and clutches ASHLY's leg with a black and bloodied hand. He twists around, trying to free himself, but she will not let go. By now, LINDA is almost completely out of the grave. With her fingernails, she rips into ASHLY's leg, tearing his skin. Screaming, he picks up a large log nearby and swings it roundhouse into her face again and again, breaking the wood into smaller bits. She grabs the log with him clinging to the other end, lifts him up and throws ASHLY log and all, away from her. ASHLY hits the ground with considerable force and for the first time begins to comprehend the power of this thing he is dealing with. Thick black ooze pours from LINDA's nose and mouth as she turns toward ASHLY sprawled on the ground.</scene_description> <character>ASHLY</character> <dialogue>Stay back.</dialogue> <scene_description>His hand gropes for the handle of the spade. LINDA advances toward him, laughing.</scene_description> <character>ASHLY</character> <dialogue>Linda please, if you can still hear me. Keep away.</dialogue> <scene_description>His fingers tighten on the wooden handle. With a scream, she lunges toward him. From the ground, ASHLY swings the spade upward, lopping off her head. The head falls into the mud, but the body falls upon him, grabbing and jerk- ing about spasmatically. Thick black ooze pumps from her neck and ASHLY manages to pull himself out from underneath the body. He backs away in disgust and falls. He picks himself up again and sees LINDA's necklace upon the ground. ASHLY stashes it in his pocket and staggers back to the cabin. 91 IN - M.R. Inside, he looks to the main room beyond SCOTT's body.</scene_description> <character>ASHLY</character> <dialogue>Oh.....</dialogue> <scene_description>It is a moan from deep inside him. The trap door is open and CHERYL is gone. ASHLY walks over and kicks it shut. A slight breeze sweeps through the front door causing SHELLY's bedroom door to creak open. ASHLY picks up the rifle again and cautiously moves to the door. 92 IN - S.B. He enters. The room is dark and the closet door bangs back and forth because of the breeze. ASHLY moves toward it, grabs the handle and slowly opens the door. Only clothes are inside. He turns toward the other end of the room and CHERYL pops up in the window right by him. He swings and fires, shattering the window. CHERYL backs away and spots the open front door.</scene_description> <character>ASHLY</character> <dialogue>The door...</dialogue> <scene_description>He makes a mad dash through SHELLY's room. 93 IN - M.R. In the main room, ASHLY races for the door. 94 EN - CAB Outside, CHERYL is almost upon the door. 95 IN - MR ASHLY arrives in time, but CHERYL has already started reaching in. He slams the door on her fingers and rams his gun butt down upon them. Horrible screams are heard as CHERYL withdraws her hand. ASHLY is able to slam the door and bolt it. He runs to the back entrance lead- ing to the shed and locks it also. On his way back to the main room, he pumps his rifle in preparation. It is his last shell.</scene_description> <character>ASHLY</character> <dialogue>(To himself) More shells. Where did I see that box of shells?</dialogue> <scene_description>96 IN - C From the basement, the trap door lifts open and ASHLY decends. The bottom step, now rotten, breaks under his weight, and ASHLY sprawls to the floor. Slowly, he picks himself up and walks through the dividing stone doorway beneath the water pipes to a small table. On it, he finds the box of shells and quickly loads them into the gun. He ascends the steps and enters the main room once more. 97 IN - M.R. The sound of ticking catches ASHLY's attention. He looks up to see the old grandfather clock slowly winding back- wards. He watches and waits tensely. Turning carefully, ASHLY tries to monitor all the windows. The ticking grows louder. A shadow passes in the window before him and he fires, shattering the glass into a million pieces. Wind whips through the cabin swirling glass and leaves to the floor. ASHLY waits, leaning against the front door for something to happen. He is tense and more determined than ever to survive. He whispers to himself.</scene_description> <character>ASHLY</character> <dialogue>C'mon, c'mon, get it over with, why are you torturing me like this?</dialogue> <scene_description>Placing his hand to his side, ASHLY discovers something in his pocket. He lifts it to his eyes. It is LINDA's necklace.</scene_description> <character>ASHLY</character> <dialogue>...Linda. (He whispers)</dialogue> <scene_description>The ticking stops. He tilts his head for the slightest sound. All is silent. From behind, two arms rip through the door and grab him. ASHLY tears away and falls to the floor. The necklace is tossed away in the confusion. CHERYL's hands pull away and she looks through a hole in the door. From the floor, ASHLY raises his rifle and fires at her head. 98 EN - CAB Clutching at her face and screaming horribly, CHERYL is jolted from the door. 99 IN - M.R. ASHLY places a dresser and chair against the holes in the door. Behind ASHLY, SCOTT's corpse sits up and opens its white eyes. It stands and moves toward ASHLY. He turns with the gun, but SCOTT knocks it out of his hands. Desperately, ASHLY grabs a table lamp and shatters it across SCOTT's head, then jams the exposed socket into his face, shocking him. SCOTT staggers back several steps, then continues after ASHLY. 100 EN - CAB Outside, Cheryl is now pounding against the front door. 101 IN - M.R. ASHLY picks up a small table upon which are the Book Of The Dead, and the professors journal. He throws it at SCOTT. This does not affect him, and he advances closer. The Book Of The Dead lands near the fireplace and edges of the paper darken from the heat. SCOTT picks up ASHLY and begins to throttle him as if he were a rag doll. The front door begins to give under CHERYL's pounding. ASHLY brings his hands to SCOTT's eyes. With a crash, CHERYL breaks through the front door and begins to push the dresser away. Pages from the Book Of The Dead are smolder- ing now. ASHLY jams his fingers into SCOTT's eyes and slips from the grip. SCOTT clutches his eye sockets and his back begins to smolder. ASHLY now sees the book. Its pages burn at the edge. CHERYL topples the dresser and enters the room. Her face is partially torn away from the shot gun blast. ASHLY rushes to throw the book onto the burning logs, but CHERYL, smoldering also, gives him a backhand blow across the head, and he is sent sprawling to the floor. She grabs a fireplace poker with her crushed fingers and turns back to ASHLY who is crawl- ing toward the fireplace. When almost in reach of the book, SCOTT grabs his leg and begins to pull ASHLY back- ward. CHERYL approaches with smoke pouring from her clothes and slams ASHLY across the back with her poker. ASHLY screams. A glitter catches his eye. It is LINDA's necklace. Grabbing it, he tosses the end with a clasp toward the book. It slides off the cover. SCOTT pulls him back once more as ASHLY swings the necklace in a last desperate attempt. CHERYL raises the poker for the final blow. The necklace drapes over the book and as ASHLY is dragged, the clasp hooks the cover and pulls the book with him. With a yank, he seizes the book and tosses it upon the blaze. CHERYL and SCOTT freeze. The Book Of The Dead burns in a bluish green flame. Smoke pours from SCOTT and CHERYL as distant demonical screams are heard from the woods. The fireplace poker slips from CHERYL's hand and sticks into the wood scarcely an inch from ASHLY's head. The bodies of SCOTT and CHERYL then begin to cave inward upon themselves, collapsing to the floor in smoldering heaps. Finally, nothing is left but the burnt clothing and a blackish grey ooze on the floor where their bodies once were. The old clock begins to tick again, normally. ASHLY slowly climbs to his feet to stand above the fuming debris. Open- ing his hand, he looks down at LINDA's necklace. The force retreats from him, out the door, slowly returning to the darkness from which it emerged. Gradually, the natural sounds of the forest swell and trees lose their gloom as Autumn colors return. The first rays of sunlight gleam over the woods beyond the cabin. Daybreak has finally come.</scene_description> </scene> </script>

A girl is tied up in the cellar of a remote cabin, where an old woman is reciting incantations from a strange book in the Welsh language. The girl reveals her demonic possession and her father Harold sets her ablaze and shoots her dead. Some time later, David Allen and his girlfriend Natalie arrive at the cabin with their dog Grandpa, where they meet his estranged younger sister Mia and their friends Eric and Olivia. The group plans to stay in the cabin while Mia overcomes her heroin addiction. Mia begins having withdrawal symptoms. David discovers that the cabin's cellar is littered with rotting animal corpses, a worn double-barrel shotgun, and a book called the Naturom Demonto. Eric reads an incantation from the book, awakening a malevolent force. Mia begins seeing a demonic doppelgänger of herself in the woods. She steals Eric's car to leave but crashes into a pond. The force chases her into the woods, where vines trap her. Mia's doppelgänger possesses her via the vines. David finds Grandpa beaten to death with a hammer and discovers Mia scalding herself. That night, a possessed Mia wounds David with the shotgun and vomits red bile onto Olivia's face before Eric locks her in the basement. A possessed Olivia mutilates her face and stabs Eric with a hypodermic needle before he bludgeons her to death. Mia lures Natalie into the cellar and bites her hand before slicing her own tongue. David helps Natalie escape. Eric explains that per the book, the "Taker of Souls" must claim five souls to unleash the "Abomination". Natalie's arm becomes possessed and she amputates it. Mia must be "purified" by live burial, dismemberment, or burning. The now-possessed Natalie attacks the pair with a nail gun, but David shoots her other arm off; Natalie bleeds to death from her injury. David begins dousing the cabin in gasoline, but decides to bury Mia instead. He digs a grave but Mia attempts to drown him, and Eric is fatally stabbed saving him. David sedates and buries Mia but after hearing her heartbeat stop, digs her back up and attempts to resuscitate her. He finds Mia alive and enters the cabin to retrieve his car keys, but Eric's possessed corpse stabs him. David shoots a gasoline can, killing himself and Eric. With David's death being the fifth claimed soul, blood begins to rain from the sky and the Abomination attacks Mia as her demonic doppelgänger. Mia severs the Abomination's legs with a chainsaw, but it overturns David's Jeep on her left arm, crushing it in the process. After Mia’s hand gets torn off from her freeing herself, she bisects the Abomination's head with a chainsaw before it sinks back into the ground and the rain stops. An exhausted Mia leaves, unaware the Naturom Demonto is still intact. In a post-credits scene, an older Ash Williams (the protagonist of the original three Evil Dead films) is seen in shadowed profile. He says his signature catchphrase, "Groovy."

Sugar_2008

tt0990413

<script> <scene> <stage_direction>EXT. ACADEMY FIELD - DOMINICAN REPUBLIC - DAY</stage_direction> <scene_description>A high angle looking out over a well - manicured baseball field carved out of a tropical jungle . A game is currently in progress . ON THE FIELD Wearing KANSAS CITY KNIGHTS uniforms , mostly Black and dark - skinned Dominicans as well as several lighter - skinned Venezuelans -LRB- 17 - 22 years old -RRB- are set in their positions , poised for the next pitch . CLOSE ON the pitcher , MIGUEL SANTOS -LRB- aka AZÚCAR / SUGAR - 19 , lean , Black and handsome -RRB- . Sweat drips down his face in the oppressive midday heat . He steadies his glove and ball at his chest , peeking over at the RUNNER on first base . Miguel lifts his leg high into the air , rears back his right arm , and FIRES the ball toward the plate . THUD ! A cloud of dust pops off the CATCHER 'S mitt as the ball slams inside .</scene_description> <character>UMPIRE</character> <dialogue>Strike three!</dialogue> <scene_description>The BATTER lowers his head , helpless in the face of Miguel 's overpowering fastball . FROM THE DUGOUT , Miguel 's TEAMMATES CHEER him on . HEAD COACH REYES -LRB- dark - skinned , 30s -RRB- nods approvingly , CLAPS . BEHIND THE HOMEPLATE BACKSTOP , a dozen rookie players also in Kansas City uniforms cheer for their team . Two YOUNG PLAYERS clocking Miguel 's pitches look at each others ' radar guns , which read 92 and 93 MPH . As the next batter steps up to the plate , Miguel 's catcher , JOSE -LRB- 18 -RRB- , taps his index finger on his thigh , calling for an outside fastball . The next pitch is popped up on the infield between first and home . Miguel locates the ball , points to the sky , but Jose and first baseman , PEDRO BERROA , nearly collide , as the ball lands between them and the runners reach base safely . FROM THE OBSERVATION TOWER , the ACADEMY 'S DIRECTOR , LEANDRO ALVAREZ -LRB- light - skinned , late 50s -RRB- and several other COACHES and SCOUTS jot down notes on their clipboards . ON THE FIELD , Miguel glares at Pedro , who averts his eyes , and kicks the dirt . Miguel looks in for the sign from Jose , nods , and delivers a tight fastball that sends the batter stumbling backwards to the dirt . Some players LAUGH and heckle the batter . Others point angry fingers at Miguel , who greets the batter back to the plate with a friendly , but authoritative , grin . He sends in the next pitch and the batter swings right through it , getting nothing but air .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY DINING ROOM - NIGHT</stage_direction> <scene_description>The TEAM -LRB- about 35 young men -RRB- gather around several tables for their standard baked chicken and rice lunch . The mood is friendly and playful as players tease each other across the tables . Miguel , sitting with his friends MARCOS -LRB- 2nd base -RRB- and ALFONSO -LRB- 3rd Base -RRB- , works on a second helping of dessert .</scene_description> <character>MARCOS</character> <dialogue>Check out Sugar. Puts on twenty pounds in two months ; now he's going for twenty more.</dialogue> <character>MIGUEL</character> <parenthetical>( mouth full of food . )</parenthetical> <dialogue>All muscle, baby. Rock solid.</dialogue> <scene_description>For some NEW PLAYERS , distinguishable in the sea of BLUE uniforms by their BLACK `` tryout '' jerseys and ragged sneakers , it is their first healthy meal , and they eat as if it were their last . One of them , SALVADOR -LRB- Black , scrawny , 17 -RRB- holds his plate up to his mouth , shovelling food down his throat .</scene_description> <character>PEDRO</character> <dialogue>Slow down, kid, it ai n't going nowhere.</dialogue> <scene_description>A few of the guys LAUGH .</scene_description> <character>MIGUEL</character> <parenthetical>( to Pedro . )</parenthetical> <dialogue>If you hustled half as much as him, maybe you'd be hungry too.</dialogue> <scene_description>The other guys `` ohhhh '' Miguel 's insult , as Salvador and Miguel exchange subtle grins .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY CLASSROOM - SAME DAY</stage_direction> <scene_description>Kids crowd around in a circle , repeating after the animated English instructor , SEÑOR SANCHEZ , who goes over some English BASEBALL TERMS in the center . As he repeats the terms , he enthusiastically pantomimes the meanings of each .</scene_description> <character>SANCHEZ</character> <dialogue>Fly ball.</dialogue> <character>CLASS</character> <dialogue>Fly ball.</dialogue> <character>SANCHEZ</character> <dialogue>Line drive.</dialogue> <character>CLASS</character> <dialogue>Line drive.</dialogue> <character>SANCHEZ</character> <dialogue>Ground ball.</dialogue> <character>CLASS</character> <dialogue>Ground ball.</dialogue> <character>SANCHEZ</character> <dialogue>Home run!</dialogue> <character>CLASS</character> <dialogue>Hone rone!</dialogue> <scene_description>CLOSE ON Miguel , repeating the strange words .</scene_description> </scene> <scene> <stage_direction>INT. RECREATION ROOM - SAME NIGHT</stage_direction> <scene_description>It 's dark , and most of the team sits around an old TV set watching the climactic final scene of Field of Dreams dubbed in Spanish . Kevin Costner asks his father to play catch in a voice that sounds nothing like Kevin Costner . Miguel passes through the room , and we follow him out of the rec room down a hall , and into . THE WEIGHT ROOM . where he sits down at the bench press , lowers his head in thought . TRACK IN CLOSE as he crosses himself , mouths a prayer , then leans back onto the bench . TRACK OUT as he lifts the bar , and begins a set of presses . FADE OUT .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - DAY</stage_direction> <scene_description>The Kansas City Director of Minor League Operations , RUDY HUBBARD -LRB- white , 40s -RRB- , watches a TRYOUT SESSION , where TWO SKINNY TEENS in worn street clothes pitch to uniformed catchers . Their AGENT talks on a cell phone nearby . Alvarez , the academy director , approaches one of the kids , whispers in his ear . The kid smiles tentatively . Alvarez joins Rudy and they speak in English .</scene_description> <character>RUDY</character> <dialogue>What'd you tell him?</dialogue> <character>ALVAREZ</character> <dialogue>I told him to grip the ball more gently. Like a tit.</dialogue> <scene_description>They both crack up . FROM THE TRYOUT MOUND . The kid looks over to the two men pow - wowing about him . He breathes in , nervous . BATTING CAGE - MINUTES LATER Pedro , sweating hard , takes a few cuts , but only seems to be hitting weak ground balls and foul tips .</scene_description> <character>ALVAREZ</character> <dialogue>Pedro Berroa. Third year. Has n't developed like we hoped.</dialogue> <character>RUDY</character> <dialogue>How much he sign for?</dialogue> <character>ALVAREZ</character> <dialogue>Forty - five.</dialogue> <character>RUDY</character> <dialogue>Jesus. These kids keep getting more expensive. How much did you sign for back in the day?</dialogue> <character>ALVAREZ</character> <dialogue>3000. When I was fifteen.</dialogue> <scene_description>Rudy smiles and moves on . Alvarez follows . Pedro watches the men as they walk away . BULL PEN MOUNDS - MINUTES LATER Alvarez and Rudy approach a PITCHING COACH instructing Salvador . Miguel warms up next to him .</scene_description> <character>ALVAREZ</character> <dialogue>Salvador Torres. Been practicing with the team for almost a week. Still raw, but he's got a lot of potential.</dialogue> <character>RUDY</character> <dialogue>We gon na sign him?</dialogue> <character>ALVAREZ</character> <dialogue>Soon. Soon. We want to play it low - key, see what his agent says.</dialogue> <character>RUDY</character> <dialogue>How much you think?</dialogue> <character>ALVAREZ</character> <dialogue>They've gotten two offers from other clubs. Agent says they were around a hundred.</dialogue> <scene_description>Rudy raises his eyebrows .</scene_description> <character>ALVAREZ</character> <parenthetical>( firm . )</parenthetical> <dialogue>He's good.</dialogue> <scene_description>Rudy looks over to Miguel .</scene_description> <character>RUDY</character> <dialogue>What about him?</dialogue> <character>ALVAREZ</character> <dialogue>Miguel Santos. Great arm. We signed him two years ago for fifteen.</dialogue> <scene_description>Miguel fires in a pitch . Rudy nods , impressed .</scene_description> <character>RUDY</character> <dialogue>Good deal. He throw any junk?</dialogue> <character>ALVAREZ</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>Sugar!</dialogue> <scene_description>Miguel looks over , sees the American with Alvarez .</scene_description> <character>ALVAREZ</character> <dialogue>Show us your curve.</dialogue> <scene_description>Miguel nods , nervous , focuses . He pitches . The ball curves very subtly over the plate for a strike .</scene_description> <character>RUDY</character> <dialogue>Not bad. Mind if I try something?</dialogue> <scene_description>Miguel looks back to the men .</scene_description> <character>RUDY</character> <dialogue>Hey, kid, do you mind? May I?</dialogue> <scene_description>Miguel stares blankly at Rudy , not understanding .</scene_description> <character>ALVAREZ</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>Give him the ball.</dialogue> <scene_description>Miguel hands Rudy the ball , and Rudy demonstrates how to handle a knuckle curve ball , which looks strangely unorthodox , with the index finger tucked against the baseball .</scene_description> <character>RUDY</character> <dialogue>Spike curve. Gives you more rotation, more movement.</dialogue> <parenthetical>( hands Miguel the ball . )</parenthetical> <dialogue>You try.</dialogue> <scene_description>Miguel struggles to emulate Rudy 's grip , so Rudy maneuvers his fingers into the correct position . Alvarez laughs .</scene_description> <character>ALVAREZ</character> <dialogue>Vamos! Let's go! Pitch it!</dialogue> <scene_description>Miguel looks over to his catcher , Jose . Winds up the next pitch , and soars it 5 feet wide of the mark . Rudy and Alvarez laugh . Miguel looks back over his shoulder .</scene_description> <character>RUDY</character> <dialogue>It's okay, son, these things take time. You'll figure it out.</dialogue> <scene_description>Rudy pats Miguel on the back and walks off with Alvarez . Miguel stares at them hard as they go . He turns back to his catcher , determined , squeezes the ball in spike curve formation . Delivers . Misses badly again . JUMP CUTS take us through a half - dozen more bad curve attempts , as other players take notice and gather around , some laughing , until . finally a perfect curve twists dramatically through the air , landing centered in Jose 's mitt . The other players erupt in amazement , while Miguel stares straight ahead . After a beat , he smiles wide .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY CLASSROOM - DAY</stage_direction> <scene_description>Sr. . Sanchez stands in front of a chalkboard , reading off lines of a scripted ENGLISH DIALOGUE for the class to repeat . The class ' version of the words are jumbled and incomprehensible .</scene_description> <character>SANCHEZ</character> <dialogue>I want to talk to you.</dialogue> <character>CLASS</character> <dialogue>I want talk to you.</dialogue> <character>SANCHEZ</character> <dialogue>Your performance in the mound is not as good as last year. What is the problem?</dialogue> <character>CLASS</character> <dialogue>Your performance in the mound is not good as last year. What is problem?</dialogue> <character>SANCHEZ</character> <dialogue>I do n't know. Maybe my mechanic.</dialogue> <character>CLASS</character> <dialogue>I do n't know. Maybe mechanic.</dialogue> <character>SANCHEZ</character> <dialogue>I want to give you a chance. It is up to you.</dialogue> <scene_description>CLOSE ON Miguel focused on the baseball in his hand . He practices his knuckle curve grip , not participating in the lesson .</scene_description> <character>CLASS</character> <dialogue>I want to give you a chance. Is up to you.</dialogue> </scene> <scene> <stage_direction>EXT. BASEBALL ACADEMY - MORNING</stage_direction> <scene_description>Miguel walks down a dirt road with his duffel bag . He exits past the gate , waving goodbye to the SECURITY GUARD . Beyond the manicured lawns and landscaped gardens of the Academy , Miguel passes through the overgrown , undeveloped land where neighborhood CHILDREN play among grazing goats . He continues down the dirt road towards a paved highway in the distance , as bachata music fuels the sound track , and carries over the following .</scene_description> </scene> <scene> <stage_direction>INT. MOVING BUS - DAY</stage_direction> <scene_description>Thick stalks of sugarcane race through the frame . CLOSE ON Miguel staring out the bus window . On his way home , he passes . - half - clothed children flying a homemade kite . - a truck of bananas barrelling by with a boy perched on top . - an old man sitting by the street , looking straight at Miguel . - flaming sugarcane alongside the road . - three children wedged between their parents on a motorbike . - the tall , wheezing smokestack of the Cristobal Colon sugar refinery .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - SAN PEDRO DE MACORIS - DAY</stage_direction> <scene_description>Miguel hops off the bus with his duffel , climbs the pedestrian walkway passing over dozens of rusty railroad cars used for transporting sugarcane to the refinery . We PAN Miguel across the bridge , revealing burning smokestacks in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE STREET - MINUTES LATER</stage_direction> <scene_description>Modest homes line the neighborhood , fashioned from corrugated tin , painted in bold colors , no two houses alike . A skinny pig roams a barren lot . A group of WOMEN with their hair in curlers sit on crates around a dominoes table . They wave their hellos to Miguel , who smiles back . Local KIDS play stickball in a trash - strewn clearing with makeshift mitts fashioned from old milk cartons or cardboard . They see Miguel and rush toward him as he paces up the block , SHOUTING his name . As Miguel approaches home , he makes eye contact with a girl , ERICA -LRB- 15 -RRB- , buying water from a delivery truck . She smiles . With the kids still clamoring around Miguel , he stops , unzips his duffel and hands out some used baseballs . The kids grab the balls , then run off to play . Miguel approaches Erica . She puts down her water bucket , gives Miguel a hug .</scene_description> <character>MIGUEL</character> <dialogue>How are you, sis?</dialogue> <character>ERICA</character> <dialogue>Any news about the States?</dialogue> <character>MIGUEL</character> <dialogue>Is that all you have to say?</dialogue> <scene_description>Miguel helps Erica with the water bucket and walks with her towards their home - a small wooden construction with peeling paint and a rusted aluminum roof . On the lot next to their house , the cinder - block frame of their future home dwarfs the others on the block .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOME - NIGHT</stage_direction> <scene_description>Miguel and Erica enter the house , where their brother LUIS -LRB- 7 -RRB- watches an enormous television , which feels incongruous in the middle of the tiny , dilapidated home . The reception is still crappy , though . Miguel 's grandmother , ABUELA , sits upright on her mattress in the corner of the room .</scene_description> <character>MIGUEL</character> <dialogue>Hello, Abuela. You're looking beautiful.</dialogue> <scene_description>She smiles big at her oldest grandson , opens her arms for a hug . Erica sits at the kitchen table , where her schoolbooks lay open .</scene_description> <character>MIGUEL</character> <dialogue>What's up my people? How's the TV?</dialogue> <character>LUIS</character> <dialogue>Erica wo n't let me watch baseball.</dialogue> <character>ERICA</character> <dialogue>Not during American Idol, anyway.</dialogue> <scene_description>Miguel 's mother , CARMEN -LRB- late 30s -RRB- emerges from behind a hanging bed sheet , which acts as a `` wall '' separating two rooms .</scene_description> <character>CARMEN</character> <dialogue>Buenas, Miguelito! Do you have any good news for your mother?</dialogue> <character>MIGUEL</character> <dialogue>As a matter of fact, yes.</dialogue> <character>CARMEN</character> <dialogue>You're going to the United States?!</dialogue> <character>MIGUEL</character> <dialogue>Not yet, ma. But I learned how to throw a knuckle curve.</dialogue> <character>CARMEN</character> <dialogue>A knuckle curve? What's that?</dialogue> <scene_description>A GROUP of KIDS gather at the window .</scene_description> <character>KIDS</character> <dialogue>Sugar, come out and play!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Gathered under the only functioning street lamp , Miguel rears back and throws in a swooping curve , that causes the BATTER to flinch out of the way , as it breaks perfectly over the plate . Carmen , Luis and the rest of the barrio ONLOOKERS , `` oooohh '' , the impressive curve . Miguel notices a group of GIRLS eyeing him from across the street . His eyes stop on one , SOFIA -LRB- 17 -RRB- . They exchange grins .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOME - NIGHT</stage_direction> <scene_description>Miguel 's family - minus Miguel - watches a soap opera . Carmen and Erica are in dialogue with the TV . The CAMERA PANS away from the family , out the back window , where the new home is being constructed . We ZOOM IN on the structure covered in plastic tarp .</scene_description> </scene> <scene> <stage_direction>INT. CONSTRUCTION LOT</stage_direction> <scene_description>Amidst tools , dry cement , a half - finished wooden dining table , and other assorted construction materials , Miguel has sex with Sofia on a work table .</scene_description> </scene> <scene> <stage_direction>INT. CONSTRUCTION LOT - LATER</stage_direction> <scene_description>Miguel throws on his t - shirt . Sofia looks at the wooden dining table . It 's artfully done , with details etched into the legs .</scene_description> <character>SOFIA</character> <dialogue>When will you finish this?</dialogue> <character>MIGUEL</character> <dialogue>Soon. It's just hard to find the time.</dialogue> <character>SOFIA</character> <dialogue>It's pretty.</dialogue> <character>MIGUEL</character> <dialogue>I'm trying to match the chairs my dad made, but I ca n't get it right.</dialogue> <character>SOFIA</character> <dialogue>Well, I think it's perfect.</dialogue> <character>MIGUEL</character> <dialogue>I'll make you another when I'm done.</dialogue> <scene_description>Sofia smiles , kisses Miguel on the cheek .</scene_description> <character>SOFIA</character> <dialogue>And the rest of the house? How long till it's done?</dialogue> <scene_description>Miguel hesitates .</scene_description> <character>MIGUEL</character> <dialogue>Um, another month, maybe two. You know we just did it where Abuela's room is going to be.</dialogue> <character>SOFIA</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Do n't tell me that!</dialogue> <character>MIGUEL</character> <dialogue>Why not? We can do it in mom's kitchen next. Right over there.</dialogue> <character>SOFIA</character> <parenthetical>( getting serious . )</parenthetical> <dialogue>I hope you make it to the States this year.</dialogue> <character>MIGUEL</character> <dialogue>You hope? C'mon, there's nobody better, baby.</dialogue> <character>SOFIA</character> <parenthetical>( smiling big . )</parenthetical> <dialogue>Okay, how about : I KNOW you'll make it.</dialogue> <character>MIGUEL</character> <dialogue>Now you're talkin'. And when I do, I'll buy a Cadillac, drive it through the ocean, and bring you back with me.</dialogue> <character>SOFIA</character> <dialogue>You ca n't drive a Cadillac on water.</dialogue> <character>MIGUEL</character> <dialogue>Yes! In the States they make cars that drive on water.</dialogue> <character>SOFIA</character> <dialogue>You're crazy.</dialogue> <character>MIGUEL</character> <dialogue>You'll see who's crazy. Just watch.</dialogue> <character>SOFIA</character> <dialogue>I want to see the snow. Does it snow in Kansas City?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know. But I'll take you to New York City. Yankee Stadium. It snows there. You wanta see me play in Yankee Stadium?</dialogue> <character>SOFIA</character> <dialogue>It does n't snow during baseball season, silly.</dialogue> <character>MIGUEL</character> <dialogue>So we'll go for Christmas.</dialogue> <character>SOFIA</character> <dialogue>Promise?</dialogue> <character>MIGUEL</character> <dialogue>Next Christmas, we'll sail into Yankee Stadium in my Cadillac car - boat. Deal?</dialogue> <character>SOFIA</character> <dialogue>You are crazy!</dialogue> <scene_description>They kiss .</scene_description> </scene> <scene> <stage_direction>EXT. MALECÓN - NIGHT</stage_direction> <scene_description>Miguel , Sofia , JAVIER -LRB- Black , 22 -RRB- JAMIE -LRB- Black , 26 -RRB- and ALEXANDRA -LRB- one of Sofia 's friends -RRB- hang out by the malecón -LRB- waterside -RRB- , drinking rum and dancing to merengue that blasts out the open doors of a nearby car . The mood is festive .</scene_description> <character>JAVIER</character> <parenthetical>( mid - story . )</parenthetical> <dialogue>I liked her, but she asked me to cut my hair. I thought about it. She was cute, but. I liked my hair more.</dialogue> <character>SOFIA</character> <dialogue>I liked it too, Javi.</dialogue> <character>MIGUEL</character> <dialogue>Then why'd you cut it last week?</dialogue> <character>JAVIER</character> <dialogue>I thought it was time for a new look.</dialogue> <character>MIGUEL</character> <dialogue>Or a new girl.</dialogue> <scene_description>Sofia punches Miguel in the arm .</scene_description> <character>MIGUEL</character> <dialogue>Watch it, baby, that's a million - dollar arm you're messing with.</dialogue> <character>JAVIER</character> <dialogue>He's right! All hail the golden arm.</dialogue> <scene_description>Javier and the girls drunkenly salute Miguel 's arm , pretend to dust dirt away , but Jaime does n't play along . He looks on , a little jealous .</scene_description> <character>JAIME</character> <dialogue>You call that flabby rubberband an arm?</dialogue> <character>JAVIER</character> <dialogue>Oooh.</dialogue> <character>MIGUEL</character> <dialogue>This flabby rubberband can throw 95. What can yours do?</dialogue> <character>JAIME</character> <dialogue>I threw 98 in double - A Portland.</dialogue> <character>MIGUEL</character> <dialogue>98? Then why you washing windshields now? I saw you try and bumrush Javy at the stoplight last week.</dialogue> <scene_description>Everyone cracks up laughing , including Jaime , as Miguel grabs Sofia , and leads her in a dance . His smile fading , Jaime looks out over the water . Miguel notices this . Hold .</scene_description> </scene> <scene> <stage_direction>EXT. SAN PEDRO TOWN - MORNING</stage_direction> <scene_description>Various Sunday morning images establishing Miguel 's hometown : - A dewey mist covers an empty baseball field , surrounded by acres of tall sugarcane . - Women hang laundry on the line to dry . - A rooster walks alone through a graveyard . - People spill out of church into the road . - MIDDLE - AGED MEN drink beer in the dugout during a softball game .</scene_description> </scene> <scene> <stage_direction>EXT. EMPTY LOT FIELD - DAY</stage_direction> <scene_description>A makeshift diamond is overrun with weeds , ditches , stones , and trash for bases . Donkeys graze in the outfield , unphased by the LITTLE KIDS -LRB- 10 - 14 years old -RRB- playing around them . A YOUNG PITCHER fires in a fastball that BEANS the YOUNG HITTER in the back . IN THE BLEACHERS , TWO MIDDLE - AGED MEN drink beer and occasionally heckle the kids .</scene_description> <character>HECKLER #1</character> <dialogue>You're supposed to aim for the head!</dialogue> <scene_description>Nearby , Miguel sits beside his old coach , FRANK -LRB- early 40s -RRB- , watching the kids play . One of the local SHOE SHINE BOYS cleans Miguel 's shoes with an old toothbrush as Frank cracks open a beer . Frank points out one of the kids on the field .</scene_description> <character>FRANK</character> <dialogue>I like this one. Good bat speed. Only twelve years old, out here four, five hours everyday. His mom tells me he's missing school. I say, yeah, but. have you seen his swing?</dialogue> <scene_description>They laugh .</scene_description> <character>FRANK</character> <dialogue>I'm showing his older brother to the Yankees on Monday.</dialogue> <scene_description>Miguel nods , a hint of disappointment in his eyes .</scene_description> <character>FRANK</character> <parenthetical>( seeing this . )</parenthetical> <dialogue>They do n't know what they missed with you. It's cool though. They'll be knocking on your door, offering millions when you turn into a superstar. You'll see.</dialogue> <scene_description>Miguel nods , appreciating the vote of confidence .</scene_description> <character>MIGUEL</character> <dialogue>Have you been to New York?</dialogue> <character>FRANK</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Nothing like playing for a crowd of New Yorkers. They're even louder than Dominicans.</dialogue> <character>MIGUEL</character> <dialogue>What's the city like?</dialogue> <character>FRANK</character> <dialogue>It's great. But you need to get to Kansas City before you start thinking about New York. Know what I mean?</dialogue> <character>MIGUEL</character> <dialogue>You hear anything about spring training yet?</dialogue> <character>FRANK</character> <dialogue>Yep.</dialogue> <scene_description>Frank sips his beer .</scene_description> <character>MIGUEL</character> <dialogue>And?</dialogue> <scene_description>Frank shrugs , as Miguel 's sister calls out from the street -</scene_description> <character>ERICA</character> <dialogue>Miguel, Luis! Dinner is ready!</dialogue> <character>MIGUEL</character> <dialogue>You'd tell me if you knew.</dialogue> <character>FRANK</character> <dialogue>Maybe.</dialogue> <scene_description>Miguel shakes his head , gets up .</scene_description> <character>MIGUEL</character> <dialogue>Wan na join us for dinner?</dialogue> <character>FRANK</character> <dialogue>Not tonight. But give your mom a kiss for me, okay?</dialogue> <scene_description>Miguel gives a coin to the boy who 's been cleaning his shoes before heading off with his little brother . Frank sips his beer , calls out to the field -</scene_description> <character>FRANK</character> <dialogue>C'mon, Nelson! Fire it in, baby!</dialogue> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - EARLY MORNING</stage_direction> <scene_description>A mist hovers over the empty field .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY ENTRANCE ROAD - SAME TIME</stage_direction> <scene_description>A group of Academy EMPLOYEES shuffle down the dirt road on foot .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY DORMITORY - SAME TIME</stage_direction> <scene_description>Miguel , laying awake in the upper bed , hears his bunk - mate , Alfonso , stirring beneath him . Miguel peers over , sees Alfonso discreetly pop several pills from a plastic baggy . They make brief eye contact before Alfonso heads out of the room .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY KITCHEN - DAY</stage_direction> <scene_description>Several middle - aged women sit on buckets near an open door , peeling yucca . A man fries eggs at the grill , preparing breakfast for the players .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY DINING ROOM - DAY</stage_direction> <scene_description>The players eat breakfast . The mood is strangely quiet .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY CLUBHOUSE - DAY</stage_direction> <scene_description>The signed players sit around in uniform , while the unsigned `` trial '' players wear their black jerseys . Coach Reyes addresses them in mid - speech .</scene_description> <character>REYES</character> <dialogue>A lot of you are thinking about your families right now. Your girlfriends, sisters and brothers, grandparents. You're feeling the pressure. But, I'm going to tell you something very important, gentlemen. forget it. You've got to think about yourselves. Put all your energy into your game, into your development as a player. Forget about everything else in your life. and just play ball. You wan na succeed, you got ta be like a racehorse, focused on your goal. It's up to you.</dialogue> </scene> <scene> <stage_direction>EXT. ACADEMY BUILDING - DAY</stage_direction> <scene_description>Several players work out on bars attached to the side of the building . As Miguel lowers himself after a set of pull - ups , he notices a shiny , black , luxury SUV drive into the academy parking lot . Miguel watches as Alvarez gets out of the driver 's seat , doing business on his cell phone .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - LATER</stage_direction> <scene_description>Miguel exercises his pitching arm by stretching an elastic tube tied against a chain - link fence . As he stretches , he watches a group of players line up for a sprint drill , sizing up his future competition . Salvador , wearing his black jersey , races for his life , beating all the others .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - LATER</stage_direction> <scene_description>The sweat - drenched players line up according to their positions , waiting their turns to participate in a double - play drill , where the pitchers cover first base . Miguel awaits his turn , watching another pitcher , EDDY , run to first to receive a throw from second base , but before Eddy can catch the ball . he twists his ankle tripping over the bag . The coaches rush over to Eddy , who is on the ground wincing in pain . Miguel and the rest of the team watch in nervous anticipation as Eddy struggles to his feet , limps off the field with the aid of another player .</scene_description> <character>REYES</character> <dialogue>Next up, Miguel! Here we go!</dialogue> <scene_description>The ball is hit on the ground to first base , where the fielder quickly throws it over to second . Miguel charges over to first , stutter steps as he nears the base , and receives the throw just in time to beat the hitter and step out of the way . He exhales in relief .</scene_description> </scene> <scene> <stage_direction>INT. CLUBHOUSE SHOWERS - DAY</stage_direction> <scene_description>The players shower after a gruelling day of workouts .</scene_description> </scene> <scene> <stage_direction>INT. CLUBHOUSE - DAY</stage_direction> <scene_description>Miguel lounges with an elaborate ice - wrap around his shoulder and upper arm as other players get dressed into street clothes . Coach Reyes comes in , spots Pedro .</scene_description> <character>REYES</character> <dialogue>Berroa, see Alvarez when you're dressed.</dialogue> <scene_description>Pedro nods . Miguel and Marcos exchange knowing glances .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY DINING ROOM - NIGHT</stage_direction> <scene_description>The team eats dinner . At Miguel 's table , we catch the punchline of a joke .</scene_description> <character>MARCOS</character> <dialogue>So the Dominican's like, ` Fuck, what am I gon na do?' He stays there, points up to the sky and says. ` Look! There's a plane. Right THERE!'</dialogue> <scene_description>Everyone laughs hysterically , as . the young rookie , Salvador , grabs a seat next to Miguel at an adjoining table .</scene_description> <character>SALVADOR</character> <dialogue>Hey, Sugar! They made me an offer.</dialogue> <scene_description>Miguel smiles , but hesitates for a beat as Pedro walks past them and over to an empty table in the corner of the room . Miguel turns back to Salvador , pats him on the head .</scene_description> <character>MIGUEL</character> <dialogue>Good for you. Congratulations. How much they offer you?</dialogue> <character>SALVADOR</character> <parenthetical>( with a big smile . )</parenthetical> <dialogue>115,000.</dialogue> <parenthetical>( sensing the other players surprise . )</parenthetical> <dialogue>But, you know, my manager's taking, like, forty of it. What'd you sign for?</dialogue> <character>MIGUEL</character> <dialogue>Oh, you know, more or less the same. Did you get any other offers?</dialogue> <character>SALVADOR</character> <dialogue>Yankees and Seattle, but not as much.</dialogue> <character>MIGUEL</character> <dialogue>Just do n't get cocky. No one likes a dickhead. Welcome to the team.</dialogue> <scene_description>Salvador smiles .</scene_description> <character>SALVADOR</character> <dialogue>So, why do they call you Sugar?</dialogue> <character>MIGUEL</character> <dialogue>Well it's like this. it started cause I'm sweet with the ladies. But mostly it's cause I got the sweetest knuckle curve in the whole Republic.</dialogue> <character>ALFONSO</character> <parenthetical>( interjecting . )</parenthetical> <dialogue>Bullshit! You just learned that shit on Friday! It's cause he eats so much junk food!</dialogue> <scene_description>Salvador notices two pieces of cake on Miguel 's tray .</scene_description> <character>MIGUEL</character> <parenthetical>( playing it cool . )</parenthetical> <dialogue>He's just jealous.</dialogue> <scene_description>Miguel notices Pedro across the room , staring at his food .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY RECREATION ROOM - NIGHT</stage_direction> <scene_description>A dozen players sit around the television , watching a shlocky American horror film on DVD . IN THE ADJOINING DORMITORY Pedro packs his belongings into a KC Knights ' duffel bag , when Miguel , Marcos , and Alfonso approach his bunk .</scene_description> <character>MIGUEL</character> <dialogue>We got you a going away present.</dialogue> <scene_description>Miguel unzips his windbreaker to reveal a bottle of Brugal rum hidden underneath . The other guys smile mischievously .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY BUILDING - NIGHT</stage_direction> <scene_description>Miguel , Marcos , Alfonso , and Pedro tip - toe across the gravel , whispering at each other to shut up .</scene_description> </scene> <scene> <stage_direction>EXT. OBSERVATION TOWER - LATER</stage_direction> <scene_description>The four players toast their rum in little plastic cups . The bottle is nearly finished .</scene_description> <character>MARCOS</character> <dialogue>You should try Los Campos. I heard the Dodgers could use a new first baseman.</dialogue> <character>PEDRO</character> <dialogue>Fuck that. The coaches are even tougher over there. I'm done, man. No more curfews, nobody tellin' me what to do and how to do it. For real, I'm glad this shit's over. I'm a free man.</dialogue> <scene_description>Awkward silence . The players look at Pedro with pity , unsure how to respond . After a beat , Miguel mocks coach Reyes and the others follow suit , mocking Alvarez and the other coaches .</scene_description> <character>MIGUEL</character> <parenthetical>( snatching Pedro 's cap . )</parenthetical> <dialogue>No caps indoors, son!</dialogue> <character>ALFONSO</character> <dialogue>Cut the meat with your knife ; eat the meat with your fork. NEVER eat the meat with your knife.</dialogue> <character>MARCOS</character> <dialogue>Or you'll chop off your tongue.</dialogue> <character>MIGUEL</character> <dialogue>Ten p.m. lights out!</dialogue> <character>PEDRO</character> <parenthetical>( in broken English . )</parenthetical> <dialogue>`` Tay me outta the ball game, tay me outta the crowd.''</dialogue> <scene_description>The other players laugh , join Pedro in a loud whisper .</scene_description> <character>ALFONSO/MIGUEL/MARCOS/PEDRO</character> <dialogue>. buys me so peanut and crackay - yacks. I doe - care if I never get back. Roo, roo, roo for home teams, we doe - win is a shame.''</dialogue> <scene_description>Pedro breaks off from the song , looks out over the field , on the verge of crying . One by one , the other players take notice and stop singing . Silence . Hold .</scene_description> </scene> <scene> <stage_direction>INT. ACADEMY BATHROOM - DAY</stage_direction> <scene_description>Hungover , Miguel vomits in the toilet . Reyes opens the stall .</scene_description> <character>REYES</character> <dialogue>Santos, what the hell's wrong with you?</dialogue> <character>MIGUEL</character> <dialogue>I think I have the flu, coach. I ca n't pitch today.</dialogue> <scene_description>Reyes glances over to Marcos and Alfonso standing nearby . They lower their heads in embarrassment like two kids busted by dad .</scene_description> <character>REYES</character> <dialogue>You've got five minutes to get out on that mound, Santos.</dialogue> <scene_description>Reyes marches off .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - DAY</stage_direction> <scene_description>Miguel on the mound . Takes a deep breath . He utilizes every ounce of strength to deliver a pitch , and . CRACK ! The visiting Detroit Academy HITTER knocks the ball over the left field wall for a homerun , wherein . BLAH ! Miguel throws up on the mound . All the players gasp in disgust , but Reyes just laughs . Miguel looks over to Alvarez , sitting under an umbrella with a clipboard , then to Reyes , hoping he 'll yank him out of the game , but Reyes just claps .</scene_description> <character>REYES</character> <dialogue>Feel better now? Let's go!</dialogue> <scene_description>Miguel tries to shake off the cobwebs , steps on the rubber , stares down the next hitter . CLOSE on his hand revealing the knuckle curve grip . He tosses in the next pitch , which arcs into Jose 's glove for a .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>Reyes ' smile fades , stunned by the beautiful curve . A SERIES OF JUMPCUTS take us through the next three batters , as Miguel makes quick work of them , mixing up his nasty curve with a blazing fastball . After the third out , Miguel walks back to the dugout . He takes a seat on the bench , smiles smugly .</scene_description> <character>REYES</character> <dialogue>Wipe that smile off your face.</dialogue> <scene_description>And he does .</scene_description> </scene> <scene> <stage_direction>EXT. ACADEMY FIELD - SUNSET</stage_direction> <scene_description>Miguel , Alfonso , and Marcos run laps around the field as punishment for the previous night 's activities . They look as if they could pass out at any moment . FADE TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>Miguel and Marcos sit on a couch in a bare - walled waiting room outside Alvarez 's office . They sit quietly , like two kids waiting for the principal . Coach Reyes pokes his head out of Alvarez 's office , motions them inside .</scene_description> </scene> <scene> <stage_direction>INT. ALVAREZ'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Miguel and Marcos stare straight ahead , nervously . Alvarez stares at them , icy cold . After a beat .</scene_description> <character>ALVAREZ</character> <dialogue>I am very disappointed. Just when I was starting to like you guys, you go and do something stupid. What do you have to say for yourselves?</dialogue> <character>MARCOS</character> <dialogue>But Alfonso was there too -</dialogue> <character>ALVAREZ</character> <dialogue>- No excuses. This is unacceptable behavior. You guys need to learn discipline.</dialogue> <scene_description>Miguel and Marcos lower their heads .</scene_description> <character>REYES</character> <dialogue>You need to remember that you still have a long way to go, a lot of hard work ahead of you before you make it. First, there's getting your shot in the American Minor Leagues : rookie ball, single, double, triple A - all that before you even set foot in a major league ballpark. So, you better pull it together quick.</dialogue> <character>ALVAREZ</character> <dialogue>Because nobody's gon na take this shit from a couple Dominican rookies when you go to the U.S. for Spring Training this season.</dialogue> <scene_description>They glance up , eyes wide . Did he just say .</scene_description> <character>REYES</character> <dialogue>You've been invited to Spring Training.</dialogue> <scene_description>Everyone smiles -LRB- even Alvarez -RRB- .</scene_description> </scene> <scene> <stage_direction>INT. TEXTILE FACTORY - DAY</stage_direction> <scene_description>CAMERA follows behind the FLOOR MANAGER , as he passes rows of WOMEN of all ages , working on sewing machines for an American underwear company . He stops behind one woman , taps her on the shoulder . The woman removes her earphones , turns around . It is Miguel 's mother , Carmen .</scene_description> <character>FLOOR MANAGER</character> <dialogue>Phone call. He said it's important.</dialogue> </scene> <scene> <stage_direction>INT. FACTORY HALLWAY</stage_direction> <scene_description>Carmen picks up the phone .</scene_description> <character>CARMEN</character> <dialogue>Hello?</dialogue> <scene_description>Hold on her reaction shifting from that of concern to elation . She struggles to contain her joy .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOME - NIGHT</stage_direction> <scene_description>Miguel opens a new bottle of rum , pours shots for everyone . The whole family and all of Miguel 's neighbors are jammed inside the tiny house and spilling out into the street . Merengue blasts from the new home stereo system . FRIENDS and FAMILY pat Miguel on the back . He smiles , basking in the glory of success . Erica kisses Miguel on the cheek .</scene_description> <character>ERICA</character> <dialogue>Do n't forget to call everyday. I want to know everything!</dialogue> <character>MIGUEL</character> <dialogue>Everything?</dialogue> <character>ERICA</character> <dialogue>You know what I mean, dummy.</dialogue> <character>MIGUEL</character> <dialogue>Of course I'll be calling to keep you in check, make sure your grades do n't slip.</dialogue> <character>ERICA</character> <dialogue>Look who's talking.</dialogue> <scene_description>Carmen interrupts , drapes her arms around Miguel , kissing him repeatedly . As Erica looks on , we get the sense that she 's used to being on the outside of this kind of attention .</scene_description> <character>CARMEN</character> <dialogue>You are my hero!</dialogue> <scene_description>Carmen pulls Miguel close , takes something from her pocket , puts it in his hand .</scene_description> <character>CARMEN</character> <dialogue>It was your father's. I want you to take it with you.</dialogue> <scene_description>Miguel looks at the cross , kisses his mother on the cheek . As he looks up , he notices Erica slip away .</scene_description> <character>CARMEN</character> <dialogue>You've been given a wonderful gift, Miguelito. And God willing, you will continue to do great things with it. I love you so much.</dialogue> <scene_description>She kisses him on the forehead . A SERIES OF JUMPCUTS present a variety of family and friends introducing themselves to Miguel .</scene_description> <character>UNCLE ANGEL</character> <dialogue>Miguelito! You gon na remember your uncle Angel when you're all big and famous? Do n't forget your family, kid. Never forget where you came from.</dialogue> <character>COUSIN LUPE</character> <dialogue>Lupe! Cousin Lupe! Remember that time we went skinny - dipping at the Malecón?</dialogue> <character>MIGUEL</character> <dialogue>When?</dialogue> <character>COUSING FELIPE</character> <dialogue>You were eight years old! Hated the goats so much. You would cry and cry and cry and cry. What a baby you were. Do you remember?</dialogue> <character>MIGUEL</character> <dialogue>What's your name?</dialogue> <character>AUNT LOLA</character> <dialogue>Lola! Your aunt Lola!</dialogue> <character>UNCLE JEFFE</character> <dialogue>Uncle Jeffe!</dialogue> <character>NEIGHBOR ANA</character> <dialogue>Your neighbor Ana. I grew up around the corner from here.</dialogue> <scene_description>Ana lays a juicy kiss on Miguel . He smiles .</scene_description> <character>FRANK</character> <dialogue>Do n't give me any shit, kid. I taught you everything you know.</dialogue> <scene_description>Miguel gives Frank a big hug .</scene_description> <character>FRANK</character> <dialogue>I'm damn proud of you, kid. Your father would be, too.</dialogue> <character>MIGUEL</character> <dialogue>Thanks. I owe it all to you.</dialogue> <character>FRANK</character> <dialogue>Not all. Just forty percent.</dialogue> <scene_description>Miguel smiles , as Frank leans close .</scene_description> <character>FRANK</character> <dialogue>I spent the best years of my life playing in the States. Life gives you a lot of opportunities, but baseball only gives you one. Enjoy every minute of it.</dialogue> <scene_description>Miguel nods .</scene_description> <character>FRANK</character> <dialogue>How's your new curve?</dialogue> <character>MIGUEL</character> <dialogue>It's pretty sweet.</dialogue> <character>FRANK</character> <dialogue>Good. Here.</dialogue> <scene_description>Frank hands Miguel a pen .</scene_description> <character>MIGUEL</character> <dialogue>What's this for?</dialogue> <character>FRANK</character> <dialogue>Your autograph.</dialogue> <scene_description>Miguel seems puzzled , but searches for something to write on .</scene_description> <character>FRANK</character> <dialogue>I'm kidding, you arrogant prick. It's so you can write your family. and me, too. if you feel like it.</dialogue> <scene_description>Miguel gives Frank another hug .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOME - LATER</stage_direction> <scene_description>Miguel dances salsa with Sofia , and then switches partners , dances with Carmen . As he dances close with his mother , he catches a glimpse of Erica standing with some friends off to the side .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION LOT - LATER THAT NIGHT</stage_direction> <scene_description>Miguel and Erica stand in silhouette , isolated from the party raging outside . Miguel sands one of the legs of the dining table .</scene_description> <character>MIGUEL</character> <dialogue>Where's your boyfriend?</dialogue> <character>ERICA</character> <dialogue>Which one?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know ; the ugly one.</dialogue> <character>ERICA</character> <dialogue>Hector?</dialogue> <character>MIGUEL</character> <dialogue>Okay, where's Hector?</dialogue> <character>ERICA</character> <parenthetical>( shrugs , then . )</parenthetical> <dialogue>Some other party.</dialogue> <character>MIGUEL</character> <dialogue>So what about the good - looking one?</dialogue> <character>ERICA</character> <dialogue>Mmm, Fernando. I think he's out there dancing with Sofia.</dialogue> <scene_description>Miguel 's eyes get big for a second , until Erica smiles . He 's been had . He smiles back . A beat .</scene_description> <character>MIGUEL</character> <dialogue>I'm proud of you, sis. You're going to do great things too. We all know it.</dialogue> <character>ERICA</character> <dialogue>I'm gon na miss you.</dialogue> <scene_description>She kisses Miguel on the cheek .</scene_description> <character>ERICA</character> <dialogue>C'mon, let's dance.</dialogue> <character>MIGUEL</character> <dialogue>Go on, I'll be out in a minute. And tell Fernando to keep his dirty hands off my girl.</dialogue> <scene_description>Through cracks in the tarp , Miguel watches Erica join the dance party in the street . Savoring this rare moment alone , he breathes deep , blows wood dust off the table leg , and continues sanding . Hold . FADE TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE - DAY</stage_direction> <scene_description>Miguel looks out the window over the dry , Arizona desert .</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT BAGGAGE CLAIM - DAY</stage_direction> <scene_description>A duffel bag emerges from the luggage shoot , and slides down to the rotating conveyor belt , where an AMERICAN TOURIST grabs it and exits frame . PAN OVER to Miguel , Marcos and several other DOMINICAN PLAYERS -LRB- including ANTONIO and JULIO -RRB- excitedly waiting for their bags . Miguel perks up upon seeing his , quickly snatches it off the belt . The others smile and APPLAUD .</scene_description> </scene> <scene> <stage_direction>EXT/INT. AIRPORT SHUTTLE BUS - LATE AFTERNOON</stage_direction> <scene_description>The other Dominican players goof off , while Miguel stares out the windows at the rocky suburban Phoenix landscape . He catches wide - eyed glimpses of wacky shaped cacti , strip malls , and , of course , a drive - thru Starbucks . ON THE RADIO , a conservative talk show host warns listeners about the evils of Iran , suggests war as the only solution .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>The players enter the southwest - style lobby , examining potted cacti , and framed R.C. Gorman reprints on the walls .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM</stage_direction> <scene_description>Miguel and Marcos enter the room , drop their bags and explore everything like big kids away from home for the first time . Marcos turns on the TV , which has a clear reception . He smiles . IN THE BATHROOM Miguel examines the hair dryer on the wall , turns it on and off . KNOCK KNOCK KNOCK . Miguel opens the adjoining suite door to find Antonio and Julio . They push past him , each holding a beer .</scene_description> <character>ANTONIO</character> <dialogue>Check this out.</dialogue> <scene_description>Antonio opens their mini bar , tosses Miguel and Marcos beers . They all toast .</scene_description> <character>MIGUEL/MARCOS/ANTONIO/JULIO</character> <dialogue>To America!</dialogue> <scene_description>Marcos randomly hits buttons on the remote control and accidentally selects an adult pay - per - view movie . The opening credits plunge right into a graphic sex - scene . Their heads immediately jerk over to the TV , stunned .</scene_description> <character>MARCOS</character> <dialogue>To America!</dialogue> <scene_description>They all smile and toast again . KNOCK KNOCK KNOCK Marcos opens the door to find JORGE RAMIREZ -LRB- 25 , an experienced minor leaguer who left the KC Knights Dominican camp three years ago -RRB- smiling before him .</scene_description> <character>JORGE</character> <dialogue>What's up fellas!?</dialogue> <character>MARCOS</character> <dialogue>Jorge!</dialogue> <scene_description>They hug . Jorge enters , notices the beers and porn . He shakes his head .</scene_description> </scene> <scene> <stage_direction>EXT. ALL NIGHT DINER - NIGHT</stage_direction> <scene_description>Through the window we see the players sitting in a corner booth . A semi truck BLASTS through the frame .</scene_description> </scene> <scene> <stage_direction>INT. ALL NIGHT DINER</stage_direction> <scene_description>Over beers , the players study their menus in confusion , as Jorge does his best to explain how things work .</scene_description> <character>JORGE</character> <dialogue>Never, never, never, drink from the hotel mini bar. That shit is expensive. You want beer, buy it at the store. You wanta see titties? They got magazines for that. Do n't pay in the hotel.</dialogue> <scene_description>A WAITRESS approaches .</scene_description> <character>WAITRESS</character> <dialogue>You boys ready?</dialogue> <character>JORGE</character> <dialogue>The greatest thing about the States? You can order breakfast 24/7. French toast is the best. It's nothing like Dominican toast.</dialogue> <parenthetical>( in English to waitress . )</parenthetical> <dialogue>French toast please.</dialogue> <scene_description>The players stare at Jorge , a little intimidated .</scene_description> <character>WAITRESS</character> <dialogue>Who's next?</dialogue> <scene_description>After a beat , the players respond in unison .</scene_description> <character>MIGUEL/MARCOS/ANTONIO/JULIO</character> <dialogue>French toast.</dialogue> <scene_description>The waitress nods and leaves , wherein the players crack up laughing at their first English language dining experience .</scene_description> </scene> <scene> <stage_direction>EXT. SPRING TRAINING FIELD - DAY</stage_direction> <scene_description>FROM THE OBSERVATION TOWER , we look down over the multiple - field spring training complex , where the MINOR LEAGUERS work out . The vast facilities are triple the size of what we saw in the Dominican Republic . ON THE FIELD , Miguel , Marcos , and Jorge stretch out on the grass . Jorge , wearing an elastic knee brace , points out a young , AFRICAN - AMERICAN GUY running wind sprints across the field .</scene_description> <character>JORGE</character> <dialogue>Brad Johnson. He just signed for a million dollars out of college.</dialogue> <scene_description>Miguel and Marcos watch Brad with fascination , searching for some sort of physical representation of his wealth .</scene_description> <character>JORGE</character> <dialogue>There's a lot of guys like that. But you ca n't let that intimidate you. Everyone knows Dominicans rule the game.</dialogue> <scene_description>Two Venezuelan players , ORLANDO MATO -LRB- 23 , catcher -RRB- and ED POVEDA -LRB- 22 , center field -RRB- step up .</scene_description> <character>ORLANDO</character> <dialogue>What's this about Dominicans ruling the game?</dialogue> <character>ED</character> <dialogue>No, he must've said Venezuelans.</dialogue> <scene_description>Jorge stands up , exchanges hugs with Orlando and Ed as they continue their debate over which Latin country has the best players .</scene_description> <character>JORGE</character> <dialogue>Sammy, Manny, Pedro.</dialogue> <character>ED</character> <dialogue>Santana, Zambrano, the Guillens!</dialogue> <character>JORGE</character> <dialogue>Are you guys all from the same family?</dialogue> <character>ORLANDO</character> <dialogue>Look who's talking. Are these your brothers?</dialogue> <character>JORGE</character> <dialogue>What, all Dominicans look the same, now?</dialogue> <scene_description>They all smile , stop razzing each other momentarily to meet the new players .</scene_description> <character>JORGE</character> <dialogue>This is Miguel and Marcos. Up from Boca Chica.</dialogue> <parenthetical>( to Miguel and Marcos . )</parenthetical> <dialogue>Orlando and Ed. We all played in Bridgetown together before I moved up to Double A and left these fools behind.</dialogue> <character>ORLANDO</character> <dialogue>But you could n't hang in Wichita.</dialogue> <character>JORGE</character> <dialogue>I injured my knee, asshole. But I'm healthy now. You'll see.</dialogue> <character>ORLANDO</character> <dialogue>Fifty bucks you're back in Iowa next month.</dialogue> <character>JORGE</character> <dialogue>Fifty bucks you're still an asshole next month.</dialogue> <scene_description>They all LAUGH . ON THE FIELD - LATER Pitching coach , STU SUTTON -LRB- white , 40s -RRB- , addresses the minor league pitching staff in mid - speech .</scene_description> <character>STU</character> <dialogue>You've got ta show us your best game here. Remember that, until you reach the top, there's always guys above you, hustling to keep you here. And guys below you pushing to take your job. We have 75 pitchers in this camp competing for less than 50 positions come April 3rd. So you got ta work hard.</dialogue> <scene_description>While all the players respectfully listen to Stu , it is clear that very few of the Latino players can understand him . LATER ON THE PRACTICE MOUNDS Miguel stretches his arm , while observing another group of PITCHERS throwing in the bullpen . He stares at them with intensity , sizing up his new competition . LATER ON THE FIELD Miguel faces off against a HITTER in a simulated game scenario . One , two , three , he strikes him out on three straight pitches . Stu and another COACH exchange impressed looks .</scene_description> <character>STU</character> <dialogue>Bring over Leonard.</dialogue> <scene_description>The other Coach calls over to the adjoining field .</scene_description> <character>COACH</character> <dialogue>Bring over Leonard!</dialogue> <scene_description>ON THE FIELD - MINUTES LATER ON major league all - star ROB LEONARD in the batter 's box , awaiting Miguel 's pitch . Miguel takes a deep breath , psyches himself up . He puts everything he has into a hearty fastball , which . sails right over the plate for a STRIKE , as Leonard calmly watches and readies himself for the next one . Feeling confident with his stuff , Miguel fires in the next pitch , and . WHACK ! Leonard sails it over the right field wall . Stu Sutton smiles at Miguel .</scene_description> <character>STU</character> <dialogue>Welcome to America, kid.</dialogue> </scene> <scene> <stage_direction>INT. ALL NIGHT DINER - NIGHT</stage_direction> <scene_description>CLOSE ON a plate of french toast . Miguel , Marcos , Antonio , and Julio all chow down on french toast again . They eat in silence for a few beats , until .</scene_description> <character>ANTONIO</character> <dialogue>I have to admit. I'm getting a little sick of the french toast.</dialogue> <scene_description>The others nod in agreement , but continue eating .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - PAY PHONE - NIGHT</stage_direction> <scene_description>Miguel talks on the phone to Sofia .</scene_description> <character>MIGUEL</character> <dialogue>I pitched against Rob Leonard today.</dialogue> <scene_description>We INTERCUT with Sofia , at her home in the Dominican Republic .</scene_description> <character>SOFIA</character> <dialogue>No shit! You strike him out?</dialogue> <character>MIGUEL</character> <dialogue>Yeah.</dialogue> <character>SOFIA</character> <dialogue>Liar!</dialogue> <character>MIGUEL</character> <dialogue>You do n't believe me?</dialogue> <character>SOFIA</character> <dialogue>No.</dialogue> <character>MIGUEL</character> <dialogue>Well, I got one strike at least.</dialogue> <scene_description>Sofia laughs .</scene_description> <character>SOFIA</character> <dialogue>So, do you like it there?</dialogue> <character>MIGUEL</character> <dialogue>Mmmm. It's different.</dialogue> <character>SOFIA</character> <dialogue>Different how?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know. Just different. Like the food is really sweet.</dialogue> <character>SOFIA</character> <dialogue>I thought you liked sweet things.</dialogue> <scene_description>Miguel smiles .</scene_description> <character>MIGUEL</character> <dialogue>All the players are really good.</dialogue> <character>SOFIA</character> <dialogue>But not like you.</dialogue> <character>MIGUEL</character> <dialogue>No, not like me. Of course not. But they're pretty good.</dialogue> <scene_description>Another beat . Sofia looks down at her bare feet , scrunches her toes .</scene_description> <character>SOFIA</character> <dialogue>I miss you.</dialogue> <character>MIGUEL</character> <dialogue>I miss you, too.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Marcos tries to sleep , while Miguel channel surfs through the late night infomercials and reality TV dating shows . After a few beats of this .</scene_description> <character>MARCOS</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Turn it off.</dialogue> <scene_description>And he does .</scene_description> </scene> <scene> <stage_direction>EXT. SPRING TRAINING FIELD - SUNRISE</stage_direction> <scene_description>Miguel runs laps along the outfield wall in the empty stadium .</scene_description> </scene> <scene> <stage_direction>EXT. SPRING TRAINING FIELD - GAME DAY</stage_direction> <scene_description>The Kansas City B - squad is facing off against the Los Angeles B - squad , which is rallying in the top of the 9th . IN THE BULLPEN Miguel warms up , glancing over to the action on the field between pitches . He sees . Los Angeles gets another hit , scoring another run , so . Stu Sutton walks out to the mound , signals for Miguel . Miguel throws one more warm - up toss and sprints onto the field . ON THE MOUND Miguel arrives , ready for action . Stu hands him the ball , while the catcher , Orlando , translates .</scene_description> <character>STU</character> <dialogue>Just relax. Know your pitches. And take it easy. Ground ball. Okay?</dialogue> <character>ORLANDO</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>Just relax. Ground ball.</dialogue> <scene_description>Miguel nods . As he tosses a few more warm - up pitches from the mound , Stu goes back to the DUGOUT where Marcos and Julio anxiously await Miguel 's spring training game debut . The BATTER steps in and Miguel steps on the rubber , touches his father 's cross around his neck , tucks it in his jersey . He looks to Orlando , and nods at his request for a fastball . He throws it in .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>Stu exchanges impressed glances with another COACH . Miguel sends in the next one , and . the HITTER checks his swing , but goes too far .</scene_description> <character>UMPIRE</character> <dialogue>Two!</dialogue> <scene_description>IN THE DUGOUT Marcos gets to his feet , clapping for encouragement . Miguel nods to Orlando , delivers again . CRACK ! The ball is smoked toward Brad Johnson at second base . He leaps out , body fully extended , and makes a fantastic catch . But he 's not done yet . The runner at second is too far off the bag , so Brad hops to his feet , and fires a laser beam to second , finishing off one of the sweetest double - plays you 'll ever see . Miguel pumps his fist into the air , and the team runs to . THE DUGOUT Marcos and Julio are the first to greet Miguel with high - fives . Orlando , Ed , and Jorge , coming off the field , follow in suit . Miguel awaits Brad 's return to the dugout and high - fives him too , but they soon return to their segregated places on opposite ends of the bench .</scene_description> </scene> <scene> <stage_direction>INT. CLUBHOUSE - DAY</stage_direction> <scene_description>Most of the players are gone or heading out when Miguel approaches his catcher , Orlando , a few lockers away .</scene_description> <character>MIGUEL</character> <dialogue>Where did you learn English so good?</dialogue> <character>ORLANDO</character> <dialogue>Back home in Caracas.</dialogue> <character>MIGUEL</character> <dialogue>Like in high school, or something?</dialogue> <character>ORLANDO</character> <dialogue>Yeah, but it's still hard though. People talk fast.</dialogue> <scene_description>Miguel agrees , as an ASSISTANT COACH finishes handing out checks to the remaining players . Miguel sits on the bench near his locker , opens his envelope to find . INSERT : a check for $ 502.18 . He SMILES .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - LATE AFTERNOON</stage_direction> <scene_description>The ENGLISH INSTRUCTOR goes over baseball related vocabulary off - screen , while Miguel glances through his `` English for Baseball Players '' notebook . He finds a page with pictures of different foods along with their English names . He looks at all the foods , stops at an image of a fried egg . He circles the word `` egg . '' The instructor finishes up class , and the exhausted Latino players get up to leave . Marcos stands , leans over to Miguel .</scene_description> <character>MARCOS</character> <dialogue>C'mon. Let's grab some dinner.</dialogue> <character>MIGUEL</character> <dialogue>Nah, I'm gon na stay and work out a little. I'll catch up later.</dialogue> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>Miguel does bicep curls alone in the weight room , when . Brad Johnson enters . They exchange hello gestures , and proceed to workout on opposite sides of the room . After finishing his set , Miguel turns to Brad .</scene_description> <character>MIGUEL</character> <parenthetical>( struggling in English . )</parenthetical> <dialogue>Good catch.</dialogue> <character>BRAD</character> <dialogue>Thanks. I got lucky.</dialogue> <scene_description>They continue with their respective routines .</scene_description> </scene> <scene> <stage_direction>INT. WESTERN UNION - NIGHT</stage_direction> <scene_description>CLOSE ON Miguel 's hands counting out seven fifty - dollar bills . He approaches the CLERK behind thick , bullet - proof glass , and slides the money and routing slip through a retractable tray . He smiles BIG at the clerk . Proud .</scene_description> </scene> <scene> <stage_direction>INT. ALL NIGHT DINER - NIGHT</stage_direction> <scene_description>The usual waitress hovers over Miguel , alone at the usual booth .</scene_description> <character>WAITRESS</character> <dialogue>French toast, right?</dialogue> <character>MIGUEL</character> <dialogue>No. Egg. Egg, please.</dialogue> <character>WAITRESS</character> <dialogue>Eggs. No problem. How would you like'm?</dialogue> <scene_description>Miguel stares at her .</scene_description> <character>MIGUEL</character> <dialogue>Yes.</dialogue> <character>WAITRESS</character> <dialogue>Um, okay, uh. Scrambled? Over easy? Sunny side up?</dialogue> <scene_description>A beat . He did n't count on this part . He thinks hard , pressure mounting .</scene_description> <character>MIGUEL</character> <parenthetical>( giving up , embarrassed . )</parenthetical> <dialogue>French toast.</dialogue> <character>WAITRESS</character> <dialogue>No eggs? You sure?</dialogue> <character>MIGUEL</character> <dialogue>French toast.</dialogue> <character>WAITRESS</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>Alright, honey. French toast it is.</dialogue> <scene_description>As she leaves , Miguel shakes his head , dejected . Stares out the window . MINUTES LATER . The waitress returns with french toast and another plate with samples of different eggs .</scene_description> <character>WAITRESS</character> <dialogue>Okay. This is scrambled. Scrambled.</dialogue> <character>MIGUEL</character> <dialogue>Scrambled.</dialogue> <character>WAITRESS</character> <parenthetical>( pointing on plate . )</parenthetical> <dialogue>Over easy.</dialogue> <character>MIGUEL</character> <dialogue>Over easy.</dialogue> <character>WAITRESS</character> <parenthetical>( and finally . )</parenthetical> <dialogue>This one's tricky. Sunny - side - up. Sunny.</dialogue> <character>MIGUEL</character> <dialogue>Sunny.</dialogue> <character>WAITRESS</character> <dialogue>Side.</dialogue> <character>MIGUEL</character> <dialogue>Side.</dialogue> <character>WAITRESS</character> <dialogue>Up.</dialogue> <character>MIGUEL</character> <dialogue>Up.</dialogue> <character>WAITRESS</character> <dialogue>Sunny side up. On the house.</dialogue> <character>MIGUEL</character> <dialogue>Thank you.</dialogue> <character>WAITRESS</character> <parenthetical>( smiling proud . )</parenthetical> <dialogue>You're welcome.</dialogue> <scene_description>Miguel gets to work on his food , feeling good . FADE OUT .</scene_description> </scene> <scene> <stage_direction>EXT. CLUBHOUSE ENTRANCE - DAY</stage_direction> <scene_description>Miguel leans against the wall , eyes closed . He whispers a prayer to himself , then heads inside the .</scene_description> </scene> <scene> <stage_direction>INT. CLUBHOUSE - DAY</stage_direction> <scene_description>where he passes a dejected - looking Antonio , on his way out . Antonio avoids eye contact , and Miguel understands what 's happened . He sees Marcos , Julio , and a few other players lingering near the bulletin board . He approaches , cautiously .</scene_description> <character>MARCOS</character> <dialogue>They're sending Antonio back.</dialogue> <character>MIGUEL</character> <dialogue>Shit. What about you guys?</dialogue> <character>JULIO</character> <dialogue>We're staying here. Rookie ball.</dialogue> <scene_description>Miguel nervously glances over to the list .</scene_description> <character>MARCOS</character> <dialogue>Go take a look.</dialogue> <scene_description>Miguel goes to the board scans the names on a roster , finds his . INSERT : We PAN from his name to '' -LRB- A -RRB- Bridgetown , Iowa ''</scene_description> <character>MIGUEL</character> <dialogue>I'm not with you guys?</dialogue> <character>MARCOS</character> <dialogue>Straight to Single A, bro. With Jorge. Congratulations.</dialogue> <character>MIGUEL</character> <dialogue>Where is Iowa?</dialogue> </scene> <scene> <stage_direction>EXT/INT. MOVING BUS - IOWA HIGHWAY - DAY</stage_direction> <scene_description>Various images of vast Midwest farmlands . corn country . Miguel looks out the window at the passing landscape .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN, IOWA BUS DEPOT - DAY</stage_direction> <scene_description>Bridgetown 's number one baseball fans , EARL HIGGINS -LRB- 70 -RRB- and his wife HELEN HIGGINS -LRB- also 70 -RRB- watch as the bus pulls into the depot . They 're holding a sign that says : `` Miguel Santos # 1 '' About a dozen young players hop off the bus and grab their bags . Some of them jump into waiting taxis , but Miguel sees his name on the Higgins ' sign .</scene_description> <character>MIGUEL</character> <dialogue>Ca n't I stay with you guys?</dialogue> <character>JORGE</character> <dialogue>Do n't worry, Sugar. The Higgins are good people. I stayed with them last time I played here.</dialogue> <scene_description>Jorge walks over towards the Higgins with Miguel .</scene_description> <character>MIGUEL</character> <dialogue>Then why do n't you stay with them again?</dialogue> <character>JORGE</character> <dialogue>They have a no girls policy.</dialogue> <character>HELEN</character> <dialogue>Jorge! Good to see you back in Bridgetown!</dialogue> <scene_description>Jorge hugs Helen , shakes hands with Earl .</scene_description> <character>JORGE</character> <dialogue>Thank you. This is Miguel.</dialogue> <scene_description>Orlando whistles to Jorge from a taxi .</scene_description> <character>JORGE</character> <dialogue>I go now. Take care of my friend.</dialogue> <scene_description>Jorge waves goodbye to the Higgins , pats Miguel on the back , and hops in a cab with Orlando and Ed . Awkward beat , as Miguel , Earl , and Helen stand in silence .</scene_description> </scene> <scene> <stage_direction>EXT/INT. HIGGINS CAR - DAY</stage_direction> <scene_description>Earl and Helen ramble on in English , while Miguel spaces out the back window at the passing corn stalks , which are strikingly similar to the sugar cane stalks back home .</scene_description> <character>HELEN</character> <dialogue>We've had Dominicans, Venezuelan boys, a Colombian, one from Panama, blacks and some Americans. Mostly Spanish boys, though. Johan Santana, Mendy Lopez and Ramon Martinez all stayed with us. Years ago.</dialogue> <character>EARL</character> <dialogue>Last year we had this boy, Junior Sanchez. Nice boy. Decent with the glove, but could n't bunt to save his life.</dialogue> <character>HELEN</character> <dialogue>Two - for - twelve in sacrifice situations.</dialogue> <character>EARL</character> <dialogue>Cost the team at least two victories.</dialogue> <character>HELEN</character> <dialogue>Oh, that's being generous! I'd say four or five.</dialogue> </scene> <scene> <stage_direction>INT. HIGGINS FARMHOUSE - DAY</stage_direction> <scene_description>Miguel , Earl , and Helen enter the old , crickety home .</scene_description> <character>HELEN</character> <dialogue>Put your things down. I'll show you around.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <character>HELEN</character> <dialogue>This is the kitchen. Help yourself to whatever you'd like. You can make a list of special foods you like to eat and put it here.</dialogue> <scene_description>Helen points to a grocery list tucked under a broccoli magnet .</scene_description> <character>HELEN</character> <dialogue>Oh, and over here, this drawer is a little funny.</dialogue> <scene_description>She pulls open the silverware drawer .</scene_description> <character>HELEN</character> <dialogue>You have to be careful or.</dialogue> <scene_description>She pulls it a little too far and it falls off its rail . Miguel nods .</scene_description> </scene> <scene> <stage_direction>INT. WASHER/DRYER ROOM</stage_direction> <character>HELEN</character> <dialogue>This is the washer and the dryer. For your clothes. You put the soap in this one. Sopa.</dialogue> <scene_description>Miguel looks at her , confused . Did she just say `` soup '' ?</scene_description> <character>HELEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The other one's just hot air. Caliente.</dialogue> </scene> <scene> <stage_direction>INT. STAIRCASE</stage_direction> <scene_description>Miguel follows Helen up the stairs .</scene_description> <character>HELEN</character> <dialogue>Your room is up here.</dialogue> <scene_description>IN THE BATHROOM</scene_description> <character>HELEN</character> <parenthetical>( in bad Spanish . )</parenthetical> <dialogue>El banyo.</dialogue> <scene_description>She laughs . Miguel smiles , appreciating the effort .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S NEW BEDROOM</stage_direction> <character>HELEN</character> <dialogue>Your new cuarto. Bedroom. Do with it as you please. Just no girls. Chicas? No chicas.</dialogue> <scene_description>Miguel smiles , understanding .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>Earl and Helen break down the rules for Miguel at the table .</scene_description> <character>EARL</character> <dialogue>No drinking. No cervezas in the casa. No chicas in the bedroom.</dialogue> <character>HELEN</character> <dialogue>I already told him that one.</dialogue> <character>EARL</character> <dialogue>Okay. What about quiet time?</dialogue> <character>HELEN</character> <dialogue>Right. There's no real curfew, but you must be quiet after ten.</dialogue> <character>EARL</character> <dialogue>Diez.</dialogue> <parenthetical>( holding index finger to mouth . )</parenthetical> <dialogue>Shhhh. after diez.</dialogue> <character>MIGUEL</character> <dialogue>Ten. Okay.</dialogue> <character>HELEN</character> <dialogue>Si! That's all we ask. It's our job to keep you healthy and focused on baseball.</dialogue> <character>EARL</character> <dialogue>And we take pride in that.</dialogue> <scene_description>Miguel smiles .</scene_description> </scene> <scene> <stage_direction>EXT. HIGGINS PORCH - DUSK</stage_direction> <scene_description>Helen brings a large glass of lemonade to Miguel gently swaying on the porch swing .</scene_description> <character>MIGUEL</character> <dialogue>Thank you.</dialogue> <scene_description>She nods , looks out over the landscape , and for the first time we see . an EXTREME WIDE SHOT of the Higgins house , which seems to be situated in the middle of nowhere . The low sun casts a dreamy Days of Heaven glow over the image . A tiny Helen Higgins returns inside the house , while Miguel continues to sway on the porch swing , alone . Hold . FADE TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOME (DOMINICAN REPUBLIC) - DUSK</stage_direction> <scene_description>Carmen talks into the phone .</scene_description> <character>CARMEN</character> <dialogue>Everyone is so proud, Miguelito. It's all we can talk about.</dialogue> <scene_description>We INTERCUT between Carmen and Miguel IN HIS NEW IOWA BEDROOM .</scene_description> <character>MIGUEL</character> <dialogue>Did you get the money?</dialogue> <character>CARMEN</character> <dialogue>Of course.</dialogue> <character>MIGUEL</character> <dialogue>Good. And Victor? Can he start construction on the house again? I'll be sending money every two weeks now.</dialogue> <character>CARMEN</character> <dialogue>We just paid him. He's coming next week.</dialogue> <character>MIGUEL</character> <dialogue>What about you? You get something for yourself like I said?</dialogue> <character>CARMEN</character> <dialogue>Me? What do I need?</dialogue> <character>MIGUEL</character> <dialogue>C'mon, mom.</dialogue> <character>CARMEN</character> <dialogue>What?</dialogue> <character>MIGUEL</character> <dialogue>You did n't get anything?</dialogue> <character>CARMEN</character> <dialogue>Well, maybe I got some new shoes, but I'm not telling.</dialogue> <scene_description>Erica strolls by , yells into phone .</scene_description> <character>ERICA</character> <dialogue>Three pairs, Miguel! But who's counting?</dialogue> <scene_description>Miguel laughs on his end .</scene_description> <character>MIGUEL</character> <dialogue>Good for you, mom.</dialogue> <character>HELEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Miguel! Time for dinner!</dialogue> <character>MIGUEL</character> <dialogue>I have to go, mom. The lady is calling me. Smells like dinner.</dialogue> <character>CARMEN</character> <dialogue>Dinner? Do n't forget who your real mother is, Miguelito. Are you going to prefer her cooking to mine now?</dialogue> <character>MIGUEL</character> <dialogue>Impossible. I love you, mom.</dialogue> <character>CARMEN</character> <dialogue>Everyone loves and misses you. Strike one out for me, okay?</dialogue> </scene> <scene> <stage_direction>INT. HIGGINS DINING ROOM- DUSK</stage_direction> <scene_description>The Higgins ' son , MICHAEL -LRB- 40s -RRB- , and his wife , HILARY -LRB- 40s -RRB- , and their daughter , ANNE -LRB- 17 -RRB- , join Earl and Helen for Miguel 's first dinner in Iowa . Helen leads the table in grace .</scene_description> <character>HELEN</character> <dialogue>Dear Lord. Thank you for the meal we are about to eat. And for blessing us with our new guest. And guiding him safely on his journey from the Dominican Republic to Bridgetown.</dialogue> <scene_description>Miguel glances around the table . Everyone 's head is bowed and eyes closed . His eyes stop on Anne , seated across from him . She 's an attractive all - American girl , but would never dream of flaunting her good looks . After taking her in , Miguel closes his eyes .</scene_description> <character>HELEN</character> <dialogue>And finally, Lord. Please look kindly over the Swing this season. May all the players stay healthy and. well, why not? if there's anything you can do to help us win another championship, we'll take that too. Amen.</dialogue> <scene_description>The table laughs , followed by a chorus of Amens . Miguel opens his eyes , greeted with smiles . He smiles too , as everyone passes dishes around the table .</scene_description> <character>MICHAEL</character> <dialogue>So, Miguel. Do - you - eat - meatloaf - back home?</dialogue> <character>HELEN</character> <dialogue>I already told you, Michael, he does n't speak any English.</dialogue> <character>MICHAEL</character> <dialogue>I know but. I'm curious to know what he thinks of the meatloaf.</dialogue> <character>EARL</character> <dialogue>What do you care? You did n't cook it.</dialogue> <character>HILARY</character> <parenthetical>( to Michael . )</parenthetical> <dialogue>I doubt they have meatloaf in the Dominican Republic, dear.</dialogue> <character>ANNE</character> <dialogue>I bet they have something similar. They probably just have another name for it.</dialogue> <scene_description>All eyes are on Miguel as he nervously takes a bite . A suspenseful beat , until . he smiles and nods . Everyone sighs , smiles , and nods back .</scene_description> <character>MICHAEL</character> <dialogue>This is good old - fashioned American home cooking, Miguel. Welcome to America.</dialogue> <character>MIGUEL</character> <dialogue>I like. Thank you.</dialogue> <character>EARL</character> <dialogue>Well, very good, Miguel. De nada to you, mi amigo. De nada to you.</dialogue> <scene_description>Anne smiles at Miguel , a little embarrassed by her grandpa . Miguel smiles back , then gets back to his meatloaf .</scene_description> </scene> <scene> <stage_direction>INT. BRIDGETOWN SWING CLUBHOUSE - DAY</stage_direction> <scene_description>The team 's CLUBHOUSE MANAGER -LRB- 19 , redheaded freckle face -RRB- , hands out schedules to a handful of returning players .</scene_description> <character>CLUBBY</character> <dialogue>If you guys ever need tickets for family or friends, just let me know two days ahead of time. Thursday's opener is already sold out, but I saved one row, so you need to speak up now.</dialogue> <scene_description>Miguel enters the room , looking for his locker . The Clubby takes notice .</scene_description> <character>CLUBBY</character> <dialogue>Santos - you're over there.</dialogue> <scene_description>Clubby points Miguel in the right direction , where he finds his locker and several pressed jerseys waiting for him . Miguel takes his practice jersey , sits down in front of the locker , as .</scene_description> <character>BRAD</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( in bad Spanish . )</parenthetical> <dialogue>Que pasa, hermano?</dialogue> <scene_description>Brad pats Miguel on the back . Miguel is excited to see a familiar face .</scene_description> <character>MIGUEL</character> <parenthetical>( in bad English . )</parenthetical> <dialogue>What up, Flaco?</dialogue> <character>BRAD</character> <dialogue>Dude, I was totally psyched when I saw your name on the squad. Good times.</dialogue> <character>MIGUEL</character> <dialogue>Yeah, okay.</dialogue> <scene_description>Brad finds his locker , and they both suit up .</scene_description> </scene> <scene> <stage_direction>INT/EXT. UNDERGROUND CORRIDOR - MINUTES LATER</stage_direction> <scene_description>We follow Miguel through the tunnel , which leads out to the . BRIDGETOWN SWING BALL PARK FIELD A stunning little park that sits at the Mississippi River 's edge , underneath the Crescent Bridge . A dozen scattered players warm up on the lush green grass . A wide - eyed Miguel steps onto the field for the first time and takes it all in . Hold . FADE TO BLACK .</scene_description> </scene> <scene> <stage_direction>INT. WESTLAND MALL - DAY</stage_direction> <scene_description>Miguel and Jorge stroll through the mall . Miguel notes the steady barrage of discount signs , plastic jewelry kiosks , and product samples .</scene_description> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE - MINUTES LATER</stage_direction> <scene_description>Miguel follows Jorge through the men 's section when a rack of Hanes underwear catches his eye . He turns a package over . INSERT : in a little corner of the package Miguel reads , `` MADE IN THE DOMINICAN REPUBLIC '' . He checks the price tag .</scene_description> <character>JORGE</character> <dialogue>C'mon, bro, let's find you a suit.</dialogue> <character>MIGUEL</character> <dialogue>I ca n't afford a suit.</dialogue> <character>JORGE</character> <dialogue>I did n't say buy a suit. I said find a suit. So when you make it big, you'll already know what looks good.</dialogue> </scene> <scene> <stage_direction>INT. DEPARTMENT STORE SUIT SECTION - NOT MUCH LATER</stage_direction> <scene_description>Miguel emerges from the dressing room in a white suit and electric blue collared shirt .</scene_description> <character>JORGE</character> <dialogue>Hot damn! That's what's up!</dialogue> <character>MIGUEL</character> <dialogue>You like it?</dialogue> <character>JORGE</character> <dialogue>I love it! You look like an all - star, bro.</dialogue> <scene_description>Miguel admires himself in the mirror .</scene_description> <character>JORGE</character> <parenthetical>( in a fake announcer voice , in English . )</parenthetical> <dialogue>`` Starting pitcher for American League. from Kansas City. Miguel. ` Sugar'. Santos.''</dialogue> <scene_description>Jorge fakes massive crowd applause . Miguel laughs .</scene_description> <character>MIGUEL</character> <dialogue>What about you, man? You try one.</dialogue> <scene_description>Jorge shrugs , smiles .</scene_description> <character>JORGE</character> <dialogue>Me? Nah. I'm all washed up.</dialogue> <character>MIGUEL</character> <dialogue>C'mon.</dialogue> <scene_description>Jorge gets distracted by a pack of TEENAGE GIRLS cruising by . They smile at the players , who smile back .</scene_description> <character>MIGUEL</character> <dialogue>Very nice.</dialogue> <character>JORGE</character> <dialogue>Dude. You have no idea. Just wait till we go to Big Muddy's.</dialogue> <character>MIGUEL</character> <dialogue>Big Muddy's?</dialogue> <scene_description>Jorge reaches into his wallet , removes his ID , hands it to Miguel .</scene_description> <character>JORGE</character> <dialogue>You got ta be 21 to drink there. This is my old license. They wo n't know the difference.</dialogue> <scene_description>Miguel looks at Jorge 's ID photo , cracks up .</scene_description> <character>MIGUEL</character> <dialogue>Are you kidding me? Nobody's gon na believe I'm this ugly fool.</dialogue> <character>JORGE</character> <dialogue>Believe me ; they wo n't know the difference.</dialogue> </scene> <scene> <stage_direction>EXT. WESTLAND MALL PARKING LOT - DAY</stage_direction> <scene_description>Miguel and Jorge each carry a shopping bag for Helen . Miguel also carries a plastic bag of his own . All three of them are licking ice cream cones .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S ROOM - DAY</stage_direction> <scene_description>Miguel takes a new calendar out of a plastic shopping bag . It features iconic images of New York City . He peels off the plastic and pins it to the month of April on his wall . CLOSE ON Miguel 's hands tearing open a small package from his family back home : we linger on a crudely drawn sketch of a baseball player with a Kansas City jersey from Luis , along with a photo of Carmen , Erica , and Luis posing in front of the frame of the new house . Miguel smiles , reads the enclosed letter .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON</stage_direction> <scene_description>Opening Night . There 's an air of excitement in the stands and on the field . The small park 's seats are packed with fans .</scene_description> </scene> <scene> <stage_direction>INT. RADIO ANNOUNCERS' BOOTH</stage_direction> <scene_description>JACK JEFFERIES -LRB- White , 50s -RRB- overlooks the field , speaks into the microphone .</scene_description> <character>JACK JEFFERIES</character> <dialogue>Hey there, Swing fans, welcome to another exciting season of Swing baseball. As always we've got some new faces who we'll get to know this year - like Brad Johnson, the highly touted 2nd baseman out of Stanford. He'll make his professional debut tonight. Great night for Swing baseball. And also a great night to grab a bite and a brew at Harlow's after the game - your local pub and proud sponsor.</dialogue> </scene> <scene> <stage_direction>EXT. ON THE FIELD</stage_direction> <scene_description>As a YOUNG LADY begins singing the Star - Spangled Banner , Miguel takes off his hat , looks out to the American Flag . Hold on his solemn expression .</scene_description> </scene> <scene> <stage_direction>EXT. IN THE DUGOUT</stage_direction> <scene_description>We STAY ON Miguel for the game 's highlights , JUMP CUTTING his reactions to the best plays of the game . PLAY 1 : he casually spits sunflower seed shells , then CLAPS the final out of the inning , high - fiving players returning to the dugout . PLAY 2 : chats to Jorge , when they react to the CRACK of the bat , leap to their feet , eagerly anticipate an umpire 's call , and CHEER when the call goes their team 's way . PLAY 3 : grimaces at the sight of a hit - by - pitch . PLAY 4 : leaps to his feet , CLAPS . PLAY 5 : leaps to his feet , does n't clap . Sits back down . PLAY 6 : Miguel and Jorge sway to the seventh inning stretch classic `` Take Me Out to the Ball Game . '' PLAY 7 : sitting with Brad , they both point to something on the field and crack up laughing . Of course , we do n't see what they 're laughing at . PLAY 8 : standing with Jorge and the rest of the players , the mood is tense . The players react to a hit ball , as their heads jerk toward the outfield , waiting , waiting , waiting , and . CELEBRATION ! Whatever happened , the game is over and we follow the players out onto the field to mob Brad , who just scored the winning run .</scene_description> </scene> <scene> <stage_direction>EXT. BIG MUDDY'S FRONT ENTRANCE - NIGHT</stage_direction> <scene_description>The BOUNCER examines Miguel 's photo ID , which is actually Jorge 's . He shoots Miguel a suspicious look , but hands it back and lets him through .</scene_description> </scene> <scene> <stage_direction>INT. BIG MUDDY'S - NIGHT</stage_direction> <scene_description>Some of the Swing players celebrate their first victory with beers at the local bar/dance club . A few of the guys dance with LOCAL GIRLS , but Jorge and Miguel stand against the wall , beers in hand , as they watch the MTV - inspired GRINDING and FREAKING unfolding before them .</scene_description> <character>MIGUEL</character> <dialogue>You think they know how to salsa?</dialogue> <character>JORGE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Go for it, bro. But remember, just cause they dance with you, does n't mean they want anything else.</dialogue> <scene_description>Orlando and Ed approach with a couple brews .</scene_description> <character>ORLANDO</character> <dialogue>Not from you, anyway.</dialogue> <scene_description>Miguel notices Brad stroll by , calls him over .</scene_description> <character>MIGUEL</character> <dialogue>Yo flaco!</dialogue> <character>BRAD</character> <dialogue>What's up fellas? Good game.</dialogue> <scene_description>They all toast beers .</scene_description> <character>BRAD</character> <dialogue>What's with the flaco? I mean.</dialogue> <parenthetical>( flexing his arm . )</parenthetical> <dialogue>You call this flaco?</dialogue> <scene_description>Everyone laughs , as Jorge eyes TWO WOMEN on the dance floor .</scene_description> <character>JORGE</character> <dialogue>You ready?</dialogue> <character>MIGUEL</character> <dialogue>Let's do it.</dialogue> </scene> <scene> <stage_direction>INT. BIG MUDDY'S DANCE FLOOR</stage_direction> <scene_description>Jorge whispers in one of the girls ' ears and the two of them begin dancing with him and Miguel . At first cautious , Miguel and his partner ease closer , until Miguel 's hands are on her hips , leading her in rhythm to the hip - hop jam , while mixing in some Latin moves as well . As Miguel and Jorge carve and twist with their partners , several local bar PATRONS begin to take notice of their fancy footwork . But Miguel might be dancing too well for one DRUNK JACKASS in particular , who . wanders over , gets in Miguel 's face .</scene_description> <character>JACKASS</character> <parenthetical>( barely audible . )</parenthetical> <dialogue>Careful, Paco. This ai n't the jungle.</dialogue> <scene_description>Miguel stares him down . A few clubbers in the immediate vicinity stop dancing , observe . Jorge steps between them , and . apparently , drunken egos speak the same language everywhere because Jorge and the Jackass start jawing back and forth in their native tongues . Both seem to be understanding the other , though the MUSIC is too loud to hear anything specific . Brad and the Venezuelans run over to break it up before anything serious starts . They all hustle out to .</scene_description> </scene> <scene> <stage_direction>EXT. BIG MUDDY'S PARKING LOT - NIGHT</stage_direction> <scene_description>The Latin players spill out into the brisk night air with Brad and the Swing 's designated hitter , JEFF ELKS . They all pile into Brad 's car , as a few locals stand near the club 's entrance , watching them go .</scene_description> </scene> <scene> <stage_direction>EXT. HIGGINS FARMHOUSE - NIGHT</stage_direction> <scene_description>The car pulls up near the house and Miguel stumbles out , as the wild bunch inside HOOT and HOLLER . The car backs down the road and the players ' voices fade out with the hum of the engine . An upstairs light goes on . Miguel looks up to the Higgins ' bedroom where Helen 's silhouetted figure lingers in the window . He tiptoes inside . The sound of a CHURCH CHOIR fades in , and carries over to .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - DAY</stage_direction> <scene_description>With the exception of Miguel , the all - white congregation sings hymns about Jesus and the Lord . He tries to suppress a yawn when he sees Anne Higgins singing in the choir . She notices him as she sings . A smile . Miguel perks up .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH PARKING LOT - DAY</stage_direction> <scene_description>CHURCHGOERS flood out of the church after the service . Anne walks alongside Miguel .</scene_description> <character>ANNE</character> <dialogue>How'd you like the service?</dialogue> <parenthetical>( off his blank stare . )</parenthetical> <dialogue>Our church? Hope it was n't too boring for you. Did you go to church in the Dominican Republic?</dialogue> <scene_description>He shakes his head .</scene_description> <character>MIGUEL</character> <dialogue>I am sorry. I do not understand.</dialogue> <character>ANNE</character> <dialogue>S'okay. You understand more than a lot of folks around here I bet.</dialogue> <scene_description>He nods , still unsure .</scene_description> <character>ANNE</character> <dialogue>So listen, me and some friends are hanging out later. You should stop by my house after the game. It's gon na be super chill. Grandma can take you there, but here.</dialogue> <scene_description>She stops a random CHURCHGOER .</scene_description> <character>ANNE</character> <dialogue>Can I borrow a pen real quick?</dialogue> <scene_description>The churchgoer hands over a pen , and Anne writes her address on Miguel 's forearm .</scene_description> <character>ANNE</character> <dialogue>After the game. My house. Good luck, tonight.</dialogue> <scene_description>Anne runs off . Miguel looks after her , mystified .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE - LATE AFTERNOON</stage_direction> <scene_description>Half - uniformed players hang out , eating sandwiches , passing around a PLAYBOY magazine , signing souvenir baseballs , and talking at full volume . Hip - hop BLASTS from a stereo , competing with an old DUKES OF HAZARD rerun on the TV . HARDY , the Bridgetown Swing mascot , passes through with his enormous monkey head under one arm . Miguel sits at his locker , psyching himself up for his first start . He touches Luis ' drawing , which is taped to the inside of his locker . Closes his eyes , takes a deep breath .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON</stage_direction> <scene_description>ON THE MOUND . Miguel opens his eyes , as the LEAD - OFF HITTER steps into the batter 's box . He takes a moment , crosses himself . Play ball . Miguel nods to his catcher , Orlando , then fires in the first pitch high for a ball . When he gets the ball back , he looks to the stands , where . Earl , Helen , Michael , and Hilary sit uncomfortably close to the field in choice box seats . He takes a nervous breath , fires in the second pitch . Ball two . Same for the third . And forth . The batter jogs to first , and the crowd GRUMBLES .</scene_description> </scene> <scene> <stage_direction>INT. RADIO ANNOUNCERS' BOOTH</stage_direction> <scene_description>Jack Jefferies does his thing on the mic .</scene_description> <character>JACK JEFFERIES</character> <dialogue>Santos, apparently feeling the butterflies on his first professional outing. Hailing all the way from the Dominican Republic, Santos wowed the club with his power during Spring Training. But he's off to a rocky start tonight.</dialogue> <scene_description>ON THE MOUND Jorge comes over from third base as the batter walks to first .</scene_description> <character>JORGE</character> <dialogue>Relax, Sugar. It's the same game we played back home. That's all it is. Just a game, man. So relax. Let's have some fun. Okay?</dialogue> <scene_description>Miguel nods . Jorge points out the next batter . Another Dominican .</scene_description> <character>JORGE</character> <dialogue>See? Just like home.</dialogue> <scene_description>Jorge runs back to his position at third . Miguel tucks his index finger into his knuckle curve grip . Delivers .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <character>JORGE</character> <dialogue>That's it! There it is!</dialogue> <scene_description>And the next pitch . is hit sharply to Jorge at third , who fires it over to second for one , and on to first for a double play . The crowd goes WILD and Miguel finally exhales . One , two , three . he mows down the next BATTER on three consecutive strikes . More APPLAUSE . IN THE DUGOUT Orlando hands him his first strikeout ball . Miguel takes a seat , wipes the sweat from his head , then looks down at Anne 's address scribbled on his forearm . SCOREBOARD - LATER THAT NIGHT We PAN RIGHT across six innings of zeroes . The Swing are leading 4 to nothing in the top of the 7th . ON THE FIELD THWACK ! The HITTER smokes a double off the left - center wall .</scene_description> </scene> <scene> <stage_direction>INT. RADIO ANNOUNCERS' BOOTH</stage_direction> <character>JACK JEFFERIES</character> <dialogue>Nearly unhittable for the first 6 innings, that was only the second hit allowed by Santos tonight.</dialogue> <scene_description>BACK ON THE FIELD . The next BATTER dribbles a spinning groundball at Jorge , but it squirts through his legs into left field , allowing the runner to score an unearned run from second . Stu walks toward the mound , signals for the bullpen . He and Orlando greet Miguel on the mound .</scene_description> <character>STU</character> <dialogue>Good game, kid. Enjoy this.</dialogue> <character>ORLANDO</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>Nice work, Sugar.</dialogue> <character>MIGUEL</character> <parenthetical>( in Spanish , to Orlando . )</parenthetical> <dialogue>But that was n't my fault. I can go longer.</dialogue> <character>ORLANDO</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>Take it easy ; it's your first game.</dialogue> <scene_description>Though he does n't speak Spanish , Stu knows exactly what 's happening . He takes the ball from Miguel with a smile , but Miguel does n't move , still reluctant to leave the mound . As the FANS begin to cheer his stellar debut .</scene_description> <character>STU</character> <dialogue>You hear that? It's for you, kid.</dialogue> <scene_description>Orlando smiles , pats Miguel on the butt , and Miguel finally starts his slow walk off the field . As we follow him off , the FANS rise to their feet and Miguel approaches the dugout to a standing ovation . On his way in , he 's greeted by his teammates with congratulatory high - fives . AT THIRD Jorge stares at the dirt , frustrated by his misplay .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALLPARK - AFTER THE GAME</stage_direction> <scene_description>FIREWORKS EXPLODE in the sky as the kids in the crowd watch excitedly . IN THE DUGOUT Miguel and a few other players hang over the railing , enjoying the awesome display .</scene_description> </scene> <scene> <stage_direction>EXT. ANNE'S HOUSE - NIGHT</stage_direction> <scene_description>Miguel rings the doorbell , waits . He 's holding a baseball . Anne opens the door .</scene_description> <character>ANNE</character> <dialogue>Hey Miguel. C'mon inside.</dialogue> <scene_description>He hands her the ball like it 's a rose .</scene_description> <character>MIGUEL</character> <parenthetical>( in rehearsed English . )</parenthetical> <dialogue>My first. strike - out.</dialogue> <character>ANNE</character> <dialogue>Oh, Miguel. you're so sweet. Congratulations, I heard you pitched awesome.</dialogue> </scene> <scene> <stage_direction>INT. ANNE'S HOUSE - MINUTES LATER</stage_direction> <scene_description>Some kind of casual teenage party is in effect . Pizza boxes are spread around the living room and everyone -LRB- 12 - 15 WHITE KIDS -RRB- are drinking soda from plastic cups . No booze .</scene_description> <character>ANNE</character> <dialogue>Hey everybody, this is Miguel. He's from the Dominican Republic, and now he pitches for the Swing.</dialogue> <scene_description>Everyone manages to say `` Hi Miguel '' at the same time . GAME ROOM - A LITTLE LATER Two guys , RANDY and TRAVIS , play a spirited game of foozeball , while Miguel looks on , fascinated .</scene_description> <character>RANDY</character> <dialogue>What's up, man?</dialogue> <character>TRAVIS</character> <dialogue>Wan na play?</dialogue> <character>MIGUEL</character> <dialogue>No. Thank you.</dialogue> <character>TRAVIS</character> <dialogue>It's like soccer. You play soccer?</dialogue> <character>MIGUEL</character> <dialogue>Soccer? No. Baseball.</dialogue> <character>TRAVIS</character> <dialogue>Well this is called fooze - ball. Fooze - ball.</dialogue> <character>MIGUEL</character> <dialogue>Foos - ball?</dialogue> <character>TRAVIS</character> <dialogue>Yeah, you got it.</dialogue> <scene_description>Miguel looks for Anne , sees her going over some papers with another kid . She sees Miguel , waves , then gets back to her conversation .</scene_description> <character>RANDY</character> <dialogue>I used to be a pitcher. In little league. I was n't very good though.</dialogue> <scene_description>Miguel nods , and another girl , WENDY , chimes in .</scene_description> <character>WENDY</character> <dialogue>I heard that the beaches in the Dominican Republic are really beautiful.</dialogue> <scene_description>Miguel nods again . They stand in silence for an awkward beat , sipping from their red , plastic cups , until .</scene_description> <character>ANNE</character> <dialogue>Hey guys, let's get started. Everyone grab a seat.</dialogue> <scene_description>The teens crowd into the living room , squeezing together on sofas , recliners , and desk chairs . Miguel sits behind the majority of the group , not sure what 's going on . Anne stands before them .</scene_description> <character>ANNE</character> <dialogue>I'm so glad you all came. Last year, we did n't have half as many people in our group. So, I think this just goes to show the great work we've been doing in spreading the word. But this year, I want us to work harder. Now, I know a lot of you are studying for SATs or working on college applications. And all of that is important, but we need to remember that our spiritual accomplishments are more important. What we do in school or for a job. that's just a small part of who we are. We're only here by the grace of God, so let's get out there and share that grace.</dialogue> <scene_description>Miguel watches , still unsure what 's going on . LIVING ROOM - A LITTLE LATER Anne leads the group in song , while Randy plays the piano . Miguel watches ; he 's the only person not singing .</scene_description> <character>THE GROUP</character> <parenthetical>( singing . )</parenthetical> <dialogue>One there is above all others, Oh, how He loves! His is love beyond a brother's, Oh, how He loves! Earthly friends may fail or leave us, One day soothe, the next day grieve us ; But this Friend will ne'er deceive us : Oh, how He loves!</dialogue> <scene_description>Miguel observes , a little disappointed , as this is not quite the date he was hoping for .</scene_description> </scene> <scene> <stage_direction>EXT/INT. MOVING BUS - DAY</stage_direction> <scene_description>Miguel and Brad are side by side in neighboring aisle seats , while Jorge and Jeff catch some Zs against the window . Miguel 's `` English for Baseball Players '' workbook is on his lap , but he and Brad discuss language that wo n't likely be found there .</scene_description> <character>MIGUEL</character> <dialogue>Mamañema. Very bad. Very bad word.</dialogue> <character>BRAD</character> <dialogue>Mama - ñema? What's it mean?</dialogue> <character>MIGUEL</character> <dialogue>Mmm. Like -</dialogue> <scene_description>Miguel mimes fellatio .</scene_description> <character>BRAD</character> <dialogue>Cocksucker?</dialogue> <character>MIGUEL</character> <dialogue>Cock - sucker?</dialogue> <character>BRAD</character> <dialogue>Yeah, we say cocksucker.</dialogue> <character>MIGUEL</character> <dialogue>Okay, cocksucker.</dialogue> <character>BRAD</character> <dialogue>Mamañema.</dialogue> <scene_description>They laugh .</scene_description> <character>BRAD</character> <parenthetical>( in bad Spanish . )</parenthetical> <dialogue>Who is your favorite player?</dialogue> <character>MIGUEL</character> <parenthetical>( in bad English . )</parenthetical> <dialogue>Robinson Cano for the Yankees. I know him brother. And you?</dialogue> <character>BRAD</character> <dialogue>Roberto Clemente.</dialogue> <character>MIGUEL</character> <dialogue>Who is that?</dialogue> <character>BRAD</character> <dialogue>What? You do n't know about Clemente?</dialogue> <character>MIGUEL</character> <dialogue>Is Dominican?</dialogue> <character>BRAD</character> <dialogue>Puerto Rican. I ca n't believe it. This is tragic. Do you know who Babe Ruth is?</dialogue> <character>MIGUEL</character> <dialogue>Baby Ruth? El chocolate?</dialogue> <scene_description>Brad stares at Miguel for a beat , and they both crack up .</scene_description> <character>BRAD</character> <dialogue>Hey, how'd it go with that girl the other night?</dialogue> <character>MIGUEL</character> <dialogue>Girl?</dialogue> <character>BRAD</character> <dialogue>Yeah, did n't you have a date, or something?</dialogue> <character>MIGUEL</character> <dialogue>Oh, she no es my girl.</dialogue> <scene_description>Brad senses Miguel 's disappointment in the matter .</scene_description> <character>BRAD</character> <dialogue>No sweat, bro. We'll find you a little honey on the road.</dialogue> <scene_description>Miguel smiles . Brad picks up his mp3 player , searches the menu for something .</scene_description> <character>BRAD</character> <dialogue>You like The White Stripes?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know.</dialogue> <character>BRAD</character> <dialogue>Check it out.</dialogue> <scene_description>Miguel grabs his portable CD player , hands it to Brad , trading music with him . As Miguel places Brad 's Bose headphones over his ears , The White Stripes ' `` Seven Nation Army '' infuses the soundtrack and leads us through the following . - The Swing players sprint out of the dugout to their positions at BRIDGETOWN BALLPARK , while Miguel struts to the mound with supreme confidence . - AT A VISITING TEAM 'S STADIUM , Miguel throws a series of strikes and batters WHIFF . - Miguel ices down his arm after a game . - Ed sneaks up behind Miguel while he 's talking to Brad and drops a handful of ice down his shirt . - AT A VISITING BALL PARK Brad makes a diving stop . - AT THEIR HOME PARK , Stu works with Miguel in the early afternoon , before the other players have arrived . - Brad slides in safely at second base . - Miguel runs videotape during one of his off days . - Jorge strikes out . - Miguel and Jorge eat eggs at a local diner . - AT THE WESTERN UNION , Miguel hands $ 300 through the glass to the teller . - ON THE BUS , Brad hands Miguel a local paper , featuring a photo of Miguel on the mound .</scene_description> <character>BRAD</character> <dialogue>`` Santos stings Owls with 8 Ks.'' What kind of shoddy journalism is this? There's nothing' about me in here.</dialogue> <scene_description>Miguel smiles , takes the paper , examines it . - IN A MOTEL ROOM , Miguel enthusiastically talks on the phone with his mom back home . - AT A VISITING TEAM BALLPARK , Miguel picks off a runner at first . - Jorge does physical therapy for his knee while Miguel stretches out his pitching arm . - Miguel watches videotape of his pitching with Stu in the coach 's office . - Miguel , Jorge , Orlando and Ed sit in the dugout , respectfully listen as a chaplain gives a sermon in Spanish . At the other end of the dugout , some of the American players listen to a Sunday morning sermon in English . - TRACK IN on Miguel as he fires in another strike . - A KID hands Miguel a baseball card and pen for his autograph . Miguel coolly obliges like he 's been doing this for years . - IN THE RADIO BOOTH , after a game , Jack Jefferies , interviews Miguel with Orlando acting as translator .</scene_description> <character>JACK JEFFERIES</character> <dialogue>At what point in the game did you realize you had your best stuff?</dialogue> <character>ORLANDO</character> <parenthetical>( doing his best . )</parenthetical> <dialogue>When did you know you were going to be a good pitcher in this game?</dialogue> <character>MIGUEL</character> <dialogue>I knew from the time I was very young I would be a good pitcher. Ten, eleven years old. Thanks to God, I have had the opportunity to develop my talents.</dialogue> <character>ORLANDO</character> <parenthetical>( translating in English . )</parenthetical> <dialogue>He knew very early that he was going to pitch good. Eleven years.</dialogue> <scene_description>Jack Jefferies nods , confused . Miguel and Orlando look at each other , unsure . END EARLY SEASON SEQUENCE .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>Miguel checks his appearance in the bathroom mirror , while Jorge talks on the telephone with somebody back home . Jorge appears anguished , as he struggles to speak .</scene_description> <character>JORGE</character> <dialogue>It's not good. Because I have n't been playing good. No. I'm working hard, but, I do n't know. I think they might.</dialogue> <parenthetical>( Jorge glances back toward Miguel . )</parenthetical> <dialogue>Listen, I ca n't talk now.</dialogue> <scene_description>Miguel gets the hint , steps out of his room into the . MOTEL HALLWAY . and we follow Miguel through the lobby , which opens up into an enormous arcade with blinking neon lights , and whistling machines everywhere . His senses on the verge of overload , he continues through the arcade , which then opens up into a . FUN CITY BOWLING ALLEY Miguel notices Brad bowling with some GIRLS and other players . Miguel watches for a beat as they laugh at one of the girl 's gutter balls . He thinks about going over to say hello , but decides against it , heads back toward the arcade .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - LATER</stage_direction> <scene_description>While Jorge sleeps , Miguel carves a small piece of wood with a swiss army knife . Stops when he hears a burst of MALE AND FEMALE VOICES coming from down the hall . He , goes to the door , listens . The drunken giggling VOICES get louder as they approach . Miguel looks through the peephole , sees . Brad and Jeff with TWO LOCAL GIRLS disappear into their room across the hall . Miguel puts his ear to the door again , but ca n't hear anything , so he returns to the desk , begins carving again .</scene_description> </scene> <scene> <stage_direction>EXT/INT. MOVING BUS - DAY</stage_direction> <scene_description>Orlando and Ed play a spirited game of Casino on a Gatorade jug in the aisle while Miguel , Jorge and Brad chat about movies .</scene_description> <character>BRAD</character> <dialogue>Did you ever see `` Y Tu Mama Tambien''?</dialogue> <character>MIGUEL</character> <dialogue>Y tu mama what?</dialogue> <character>BRAD</character> <dialogue>Y Tu Mama Tambien. It's Mexican.</dialogue> <scene_description>Jorge laughs , shakes his head .</scene_description> <character>MIGUEL</character> <dialogue>No, I do n't know this.</dialogue> <character>BRAD</character> <dialogue>What are your favorite movies?</dialogue> <character>JORGE</character> <dialogue>Terminator.</dialogue> <character>MIGUEL</character> <dialogue>I like Matrisse.</dialogue> <character>JORGE</character> <dialogue>Oh, Matrisse. Very strong.</dialogue> <character>BRAD</character> <dialogue>Matrisse? What's that?</dialogue> <character>MIGUEL</character> <dialogue>He does n't know Matrisse?</dialogue> <character>JORGE</character> <dialogue>You do n't know The Matrisse?</dialogue> <character>BRAD</character> <dialogue>The Mattress? I do n't know.</dialogue> <parenthetical>( turns to Jeff , beside him . )</parenthetical> <dialogue>Dude, do you know a movie called The Mattress?</dialogue> <character>JEFF</character> <dialogue>The Mattress?</dialogue> <character>JORGE</character> <dialogue>With Keanu?</dialogue> <character>JEFF</character> <dialogue>Keanu Reeves?</dialogue> <character>BRAD</character> <dialogue>Oh, shit! The MATRIX!</dialogue> <character>MIGUEL</character> <dialogue>Matrisse!</dialogue> <character>BRAD</character> <dialogue>Yeah, yeah, the Matrix is badass. I was like, Mattress? What?</dialogue> </scene> <scene> <stage_direction>INT. MIGUEL'S BEDROOM - DUSK</stage_direction> <scene_description>He finishes up a birthday card to his sister Erica , encloses it in a padded envelope along with the wooden etching he carved earlier - a pendant with a cornstalk design . The NYC calendar on the wall in the background indicates we are now in JUNE . When he 's done , he goes to his duffel , pulls out his English language workbook . Miguel sits on his bed , opens the book .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - DAY</stage_direction> <scene_description>A batter swings and misses for strike three . The catcher throws the ball around the horn . Miguel steps off the mound , grabs the rosin bag for traction , gets the ball back . His next pitch is hit on the ground toward the first base line , where the first baseman makes a nice back - handed play . Miguel sprints over to cover the bag , receives the toss , but . OUCH ! the RUNNER storms into Miguel before he has time to pull his foot off the bag , knocking them both hard to the ground . The runner is called out , but Miguel is slow getting to his feet . Stu and the TRAINER run out to check on him . Jorge rushes over from third , and Orlando also comes to help translate .</scene_description> <character>STU</character> <dialogue>Nice play, kid. How's your foot?</dialogue> <character>JORGE</character> <dialogue>You okay?</dialogue> <scene_description>Miguel nods , but he 's limping back to the mound .</scene_description> <character>STU</character> <dialogue>Take it easy. Do n't force it. How's it feel?</dialogue> <character>ORLANDO</character> <parenthetical>( translating . )</parenthetical> <dialogue>Do n't push it. Does it hurt?</dialogue> <character>MIGUEL</character> <dialogue>I'm okay.</dialogue> <character>STU</character> <dialogue>Let him toss a few warm - ups.</dialogue> <scene_description>The umpire grants Miguel a few `` test '' pitches . Visibly shaken , Miguel sets up for a warm - up pitch , breathes deeply , and delivers . He lands gingerly on his right ankle , makes a face . Stu and the trainer exchange glances . Miguel notices this , as he sets up for another pitch . The trainer shakes his head , no .</scene_description> <character>STU</character> <dialogue>All right, kid. Give it a rest.</dialogue> <scene_description>As Stu reaches for the ball , Miguel pulls it away .</scene_description> <character>MIGUEL</character> <dialogue>I am okay. Please.</dialogue> <scene_description>Stu and the trainer sense Miguel 's anxiety . Stu puts his arm on Miguel 's shoulder for comfort .</scene_description> <character>STU</character> <dialogue>You're okay, I know, but let's just be sure. Give me the ball, son.</dialogue> <scene_description>Miguel sizes them up , reluctantly hands the ball over , and limps off the field with Stu and the other players looking after .</scene_description> </scene> <scene> <stage_direction>INT. ANNE'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>The whole family , with a couple new additions , sit around the table in mid - meal : Earl , Helen , Anne , Michael , Hilary , Jorge , Brad and Miguel . Miguel wears a big blue boot on his injured foot , and a crutch leans against the wall behind him .</scene_description> <character>HELEN</character> <dialogue>You've been pitching so well. it's a real shame.</dialogue> <character>EARL</character> <dialogue>Do n't worry, Miguel, you'll bounce right back.</dialogue> <scene_description>Miguel pokes at his food , avoids eye contact .</scene_description> <character>HILARY</character> <dialogue>Where'd you say you were from, Brad?</dialogue> <character>BRAD</character> <dialogue>Berkeley.</dialogue> <character>MICHAEL</character> <dialogue>Oh, different world out there, huh? You like to surf?</dialogue> <scene_description>Brad smiles .</scene_description> <character>BRAD</character> <dialogue>Uh, no, I've never tried it. But maybe someday.</dialogue> <character>JORGE</character> <dialogue>Your parents visit here?</dialogue> <character>BRAD</character> <dialogue>Yeah, I hope so. Maybe when they get some time off this summer.</dialogue> <character>ANNE</character> <dialogue>How about you, Miguel? What's your family like?</dialogue> <character>MIGUEL</character> <dialogue>My family?</dialogue> <character>ANNE</character> <dialogue>Yeah. Like, who do you live with back home?</dialogue> <character>MIGUEL</character> <dialogue>I live with my mother, sister, brother. and Abuela?</dialogue> <scene_description>Miguel looks to Jorge for help .</scene_description> <character>JORGE</character> <dialogue>Grandmother.</dialogue> <character>MIGUEL</character> <dialogue>And grandmother.</dialogue> <character>MICHAEL</character> <dialogue>How about your father, Miguel?</dialogue> <character>MIGUEL</character> <dialogue>My father, uh.</dialogue> <parenthetical>( searching for the word . )</parenthetical> <dialogue>He die.</dialogue> <scene_description>Anne nudges her dad under the table .</scene_description> <character>HELEN</character> <dialogue>Oh, Miguel, honey. I'm so sorry.</dialogue> <scene_description>Miguel nods , takes a bite of potatoes . There is an awkward beat as everybody chews . Miguel musters all his language skills to break the awkward silence .</scene_description> <character>MIGUEL</character> <parenthetical>( to Michael and Hilary . )</parenthetical> <dialogue>You have other child?</dialogue> <character>HILARY</character> <dialogue>Yes, we have a son. Anne's older brother.</dialogue> <character>ANNE</character> <dialogue>He's in Iraq.</dialogue> <scene_description>Brad pauses from chewing , looks around , and nods . More awkward silence . Hold .</scene_description> </scene> <scene> <stage_direction>EXT. ANNE'S PORCH - NIGHT</stage_direction> <scene_description>Miguel and Anne sit alone on the porch . We can hear CHATTER from inside , where the others are clearing the table .</scene_description> <character>ANNE</character> <dialogue>You like it here in Iowa?</dialogue> <character>MIGUEL</character> <dialogue>Yes. I like. Many new things.</dialogue> <parenthetical>( thinks for a beat . )</parenthetical> <dialogue>Very different.</dialogue> <character>ANNE</character> <dialogue>I bet. You've traveled a long way, huh? God must have something special in mind for you.</dialogue> <scene_description>Anne points out a small scar on Miguel 's scalp .</scene_description> <character>ANNE</character> <dialogue>What happened there?</dialogue> <character>MIGUEL</character> <parenthetical>( struggling . )</parenthetical> <dialogue>Uh. When I boy. Um. I do n't know -</dialogue> <character>ANNE</character> <dialogue>Tell me in Spanish.</dialogue> <character>MIGUEL</character> <parenthetical>( in Spanish , no subtitles . )</parenthetical> <dialogue>Okay. When I was little, I wanted to eat some cherries from a tree. It was n't our tree, and there was a fence to keep us kids away.</dialogue> <scene_description>Anne hangs on his every word as if she understood perfectly .</scene_description> <character>MIGUEL</character> <dialogue>So I climbed up the fence to knock down some cherries with a stick, but I when I took my first swing - whoosh. I fell. There was a lot of blood.</dialogue> <scene_description>Anne reaches out , lightly touches his scar . Her hand lingers for a beat , until . Miguel leans in and kisses her . She kisses him back for a beat , but when he puts his hand around her waist , pulling her closer , she resists . They separate . Anne looks down at her feet , uncomfortable .</scene_description> <character>ANNE</character> <dialogue>Sorry, I just. Sorry.</dialogue> <scene_description>Miguel looks on , confused , as she stands . They lock eyes for an awkward beat .</scene_description> <character>ANNE</character> <dialogue>I should help clean up.</dialogue> <scene_description>On her way back inside .</scene_description> <character>ANNE</character> <dialogue>We have another meeting Thursday. If you can come.</dialogue> <scene_description>Miguel nods . Anne leaves him on the porch alone . He looks out over the corn fields .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE - DAY</stage_direction> <scene_description>Miguel enters the near - empty room limping on his blue boot , finds Jorge wearing street clothes and packing up personal things from his locker . Miguel knows immediately what 's happened . They make eye contact from across the locker room . Nobody moves . After a beat .</scene_description> <character>JORGE</character> <dialogue>I had a good run.</dialogue> <character>MIGUEL</character> <dialogue>What happened?</dialogue> <character>JORGE</character> <dialogue>It's over.</dialogue> <character>MIGUEL</character> <dialogue>Why?</dialogue> <character>JORGE</character> <dialogue>You know the drill. I'm not playing well, so they'll bring up somebody who is.</dialogue> <character>MIGUEL</character> <dialogue>What about your knee? You just need some more time. You're recovering.</dialogue> <character>JORGE</character> <dialogue>Sugar.</dialogue> <scene_description>Miguel relents .</scene_description> <character>MIGUEL</character> <dialogue>When do you leave?</dialogue> <character>JORGE</character> <dialogue>They want me to fly back tonight.</dialogue> <character>MIGUEL</character> <dialogue>Tonight?!</dialogue> <character>JORGE</character> <dialogue>But I'm not going back.</dialogue> <scene_description>A beat as Miguel lets this sink in .</scene_description> <character>JORGE</character> <dialogue>I got ta cousin in New York.</dialogue> <character>MIGUEL</character> <dialogue>You're going to New York?</dialogue> <character>JORGE</character> <dialogue>Where else? There's no work back home. My bonus wo n't last forever.</dialogue> <scene_description>Miguel looks off . Jorge senses his anxiety .</scene_description> <character>JORGE</character> <dialogue>Relax Sugar, I'll see you at Yankee Stadium someday. when the Knights come to town. I'll be in the front row, getting drunk, and cheering the loudest.</dialogue> <scene_description>Miguel smiles .</scene_description> <character>JORGE</character> <dialogue>Not for you though. Yankee fans are crazy. I ca n't take the risk. I'll call you.</dialogue> <scene_description>A beat as Miguel looks at Jorge with concern . Jorge shakes it off .</scene_description> <character>JORGE</character> <dialogue>You worry too much, Sugar. I'll be okay. I mean, it's just a game, right?</dialogue> <scene_description>Miguel nods .</scene_description> </scene> <scene> <stage_direction>INT. SOFIA'S HOUSE (DOMINICAN REPUBLIC) - NIGHT</stage_direction> <scene_description>Sofia on the phone . We INTERCUT between her and Miguel IN HIS BEDROOM , his injured ankle elevated on a pillow .</scene_description> <character>SOFIA</character> <dialogue>How'd you play tonight?</dialogue> <character>MIGUEL</character> <parenthetical>( hesitant . )</parenthetical> <dialogue>Good, good.</dialogue> <character>SOFIA</character> <dialogue>I bet you have lots of groupies waiting for you after your games.</dialogue> <character>MIGUEL</character> <dialogue>I have a few.</dialogue> <character>SOFIA</character> <dialogue>A few?</dialogue> <character>MIGUEL</character> <dialogue>Just kidding. I mean I would, but none of these white girls speak Spanish. Marcos plays in Arizona. Lots of Mexicans ; everyone speaks Spanish. He has like fifteen girlfriends.</dialogue> <character>SOFIA</character> <dialogue>Shut up!</dialogue> <character>MIGUEL</character> <dialogue>He's probably lying though.</dialogue> <character>SOFIA</character> <dialogue>I bet he's lying.</dialogue> <scene_description>A beat , as Miguel shifts gears .</scene_description> <character>MIGUEL</character> <dialogue>Jorge went to New York.</dialogue> <character>SOFIA</character> <dialogue>To the Yankees?</dialogue> <character>MIGUEL</character> <dialogue>No. Our team cut him loose. He's got a cousin there. I do n't know what he's going to do.</dialogue> <character>SOFIA</character> <dialogue>Shit. What about his family?</dialogue> <character>MIGUEL</character> <parenthetical>( his mind somewhere else . )</parenthetical> <dialogue>It's not right. He got injured playing for them. They owe him another chance. He's worked too hard for too long. I mean he's not a horse.</dialogue> <scene_description>Miguel drifts off , and they sit in silence for a beat .</scene_description> <character>SOFIA</character> <dialogue>But you ca n't let it get to you. You've got nothing to worry about. Just keep playing well, and things will be okay.</dialogue> <character>MIGUEL</character> <dialogue>Yeah. I know. Things will be okay.</dialogue> <scene_description>Miguel looks off , not so sure .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE - DAY</stage_direction> <scene_description>Players lounge in uniform , relaxing before tonight 's game . Brad reads on the sofa across from Miguel , who is in his street clothes , his crutch by his side .</scene_description> <character>MIGUEL</character> <dialogue>What is your book?</dialogue> <character>BRAD</character> <dialogue>Welcome to the Terrordome. It's about sports and politics.</dialogue> <character>MIGUEL</character> <dialogue>You study at, um, university?</dialogue> <character>BRAD</character> <dialogue>Yeah, I went to Stanford. Studied history and baseball. Did you go to school back in the DR?</dialogue> <character>MIGUEL</character> <dialogue>Yes. Little. Secondaria?</dialogue> <character>BRAD</character> <dialogue>High school?</dialogue> <character>MIGUEL</character> <dialogue>Yes. A little of. high school. But I sign when I have sixteen years.</dialogue> <character>BRAD</character> <dialogue>You signed at sixteen? Wow. So you did n't finish school?</dialogue> <scene_description>Miguel shakes his head , no . After a beat .</scene_description> <character>MIGUEL</character> <dialogue>If you no play baseball. what you do?</dialogue> <character>BRAD</character> <dialogue>Um. it's hard to say for sure, but I like history, so I'd probably go to grad school. maybe teach someday.</dialogue> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Brad! We're up for B.P. Let's go.</dialogue> <scene_description>Brad gets up , taps Miguel on the shoulder on his way out . Miguel sits alone on the couch in the empty room , when he looks off , sees . IN THE BATHROOM doorway - Jeff Elks discreetly hands ANOTHER PLAYER a prescription pill bottle , exits . Miguel takes note of the transaction , leans back , looks at the ceiling fan .</scene_description> </scene> <scene> <stage_direction>INT. HIGGINS FARMHOUSE - DAY</stage_direction> <scene_description>Miguel watches `` When the Levees Broke '' playing on HBO - Latino . ON THE TV , one image of the hurricane 's devastation gives way to another . An AFRICAN - AMERICAN WOMAN stranded on the roof of her house . A YOUNG BOY who 's lost his mother . Miguel looks on , moved by the tragedy .</scene_description> </scene> <scene> <stage_direction>INT. WASHER/DRYER ROOM - DAY</stage_direction> <scene_description>Miguel takes the initiative and attempts to do his own laundry while on the disabled list . He stuffs his clothes into the washer , scrutinizes the instructions , turns the knobs , and presses the buttons .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Miguel studies his English Language workbook on the couch . He glances at the wall clock .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>As Miguel opens the faulty utensils drawer , the folded paper towel holding it in place pops out . Miguel catches the drawer from slipping too far , takes out a fork .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DUSK</stage_direction> <scene_description>Miguel sits at the kitchen table with the broken drawer and several small tools in front of him . He readjusts the wooden rails on the faulty side of the drawer by sanding them down and re - gluing them into place . KNOCK KNOCK KNOCK . FRONT DOOR . Miguel hobbles over , opens it to find Anne , carrying a casserole dish and a couple empty platters .</scene_description> <character>ANNE</character> <dialogue>These are grandma's from the other night.</dialogue> <scene_description>Miguel lets her pass into the kitchen , put the dishes on the table . They stand awkwardly for a beat , looking at each other .</scene_description> <character>ANNE</character> <dialogue>We missed you at our meeting, Thursday.</dialogue> <character>MIGUEL</character> <dialogue>Sorry. I forget.</dialogue> <character>ANNE</character> <dialogue>It's okay, maybe next time.</dialogue> <character>MIGUEL</character> <dialogue>You want sit?</dialogue> <character>ANNE</character> <dialogue>I got ta go actually, so -</dialogue> <character>MIGUEL</character> <dialogue>Okay, go.</dialogue> <scene_description>Miguel sits , gets back to work on the drawer . Anne looks at him for a second , then exits . Miguel glances out the window , watches Anne climb into a pickup truck idling in the driveway . Anne and Miguel make brief eye contact before the truck speeds away , a trail of dust following it into the distance .</scene_description> </scene> <scene> <stage_direction>EXT. CORN FIELDS - DUSK</stage_direction> <scene_description>Miguel walks down a path in the middle of the Higgins ' corn field . He finds a cob of corn , removes the leaves , and examines the kernels up close . ZOOM IN to ECU of a single kernel . Miguel stares at the raw corn with strange fascination . FADE OUT .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE - DAY</stage_direction> <scene_description>Miguel walks in without crutches , looking healthy . He pounds a few players hello , then freezes upon seeing Brad 's empty locker . Stu approaches Miguel .</scene_description> <character>STU</character> <dialogue>There was an injury to the Wichita right - fielder. They called up Brad this morning. He left you this.</dialogue> <scene_description>Stu hands Miguel an old paperback book . INSERT : a Spanish - language version of Roberto Clemente 's biography . Miguel opens to the first page , where Brad has inscribed a note , `` See you in Kansas City , Mamañema ! '' Miguel smiles , bittersweet , when a familiar VOICE calls out .</scene_description> <character>SALVADOR</character> <dialogue>Yo! Sugar!</dialogue> <scene_description>Miguel turns around to find Salvador Torres -LRB- the once scrawny kid from the Academy -RRB- running at him . They hug .</scene_description> <character>MIGUEL</character> <dialogue>Holy shit! How'd you get here?</dialogue> <character>SALVADOR</character> <dialogue>On a airplane, motherfucker.</dialogue> <scene_description>Miguel playfully flips Salvador 's cap bill down over his face for being a smartass .</scene_description> <character>STU</character> <dialogue>Great, you guys know each other. Sal's our new middle - relief man. Throws a nasty cutter. You could learn a thing or two from him, Santos.</dialogue> <character>MIGUEL</character> <dialogue>Okay.</dialogue> <scene_description>Stu walks back towards the coaches ' office .</scene_description> <character>SALVADOR</character> <dialogue>What he say?</dialogue> <character>MIGUEL</character> <parenthetical>( not sure himself . )</parenthetical> <dialogue>Do n't worry about it. Good to see you.</dialogue> <character>SALVADOR</character> <dialogue>Good to see you, too, Sugar.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>I'm a little nervous.</dialogue> <character>MIGUEL</character> <dialogue>Look, just remember. it's the same game we played back home. Same rules, different place. Just have fun. It's only a game.</dialogue> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - NIGHT</stage_direction> <scene_description>CLOSE ON Miguel swearing at himself , clearly not following his own advice . A RUNNER circles the bases after hitting a homerun .</scene_description> <character>JACK JEFFERIES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Santos allows his second homerun of the game. First night off the DL, and not looking so sharp.</dialogue> <scene_description>The SCOREBOARD indicates the Swing losing 5 - 2 in the 4th . Miguel glances out of the corner of his eye to . THE DUGOUT . Stu is scribbling on his scorecard . MIGUEL quickly sets up for his next pitch , but Stu is on his way out to the mound . Miguel glances back to the bullpen , where Salvador is warming up . Stu signals for Salvador to come in , and we follow Miguel off the field to scattered applause . IN THE RADIO BOOTH Jack Jefferies continues his play - by - play of the game .</scene_description> <character>JACK JEFFERIES</character> <dialogue>Sutton makes the call to pull Santos here in the 4th, bringing in rookie reliever, Salvador Torres for his Bridgetown debut.</dialogue> <scene_description>IN THE DUGOUT . Miguel sits on the bench , throws a towel over his head . ON THE MOUND . Salvador warms up , looking a little freaked . Players and fans marvel over Sal 's unorthodox , side - armed delivery . His form is reminiscent of A 's legend , Dennis Eckersly , but without the grace . MIGUEL peaks through his towel at the action . ON THE FIELD . Salvador takes a deep breath , delivers his first pitch .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>Salvador seems to relax . Winds up his next pitch , and . the ball appears to zig - zag across the plate , freezing the hitter in confusion .</scene_description> <character>UMPIRE</character> <dialogue>Strike two!</dialogue> <scene_description>MIGUEL ca n't watch , hides behind the towel again . SLOW ZOOM IN on Miguel 's head , hidden .</scene_description> <character>UMPIRE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Strike THREE!</dialogue> <scene_description>Miguel removes the towel , sees . SALVADOR smiling big as he comes off the field . Orlando pats him on the back , hands him his first professional strikeout ball . IN THE RADIO BOOTH</scene_description> <character>JACK JEFFERIES</character> <dialogue>A stellar debut for Torres, who records the final out, baffling Josh Lansford with a nasty side - armed cutter.</dialogue> <scene_description>FROM THE DUGOUT , Salvador arrives to a congratulatory standing ovation from the fans and his teammates .</scene_description> <character>STU</character> <dialogue>Welcome to America, kid.</dialogue> <scene_description>Salvador sits next to Miguel on the bench , admiring the ball .</scene_description> <character>MIGUEL</character> <dialogue>Just do me a favor. do n't give it away to the first white girl you meet.</dialogue> <scene_description>Salvador laughs , but Miguel is serious . He gets up and heads for the showers .</scene_description> </scene> <scene> <stage_direction>INT. HIGGINS CAR - NIGHT</stage_direction> <scene_description>Helen and Earl drive Miguel home after the game . ON THE CAR RADIO , we can hear a news report of a suicide bombing in Iraq . Helen turns it down .</scene_description> <character>HELEN</character> <dialogue>You started dropping your arm in the third. I think that was your problem.</dialogue> <character>EARL</character> <dialogue>He lost control of his breaking pitches and they just zeroed in on the fastball, which is n't as fast as it used to be.</dialogue> <character>HELEN</character> <dialogue>Earl.</dialogue> <character>EARL</character> <dialogue>Do n't matter, he ca n't understand anyway.</dialogue> <scene_description>Miguel stares out the window in the backseat .</scene_description> </scene> <scene> <stage_direction>EXT/INT. MOVING BUS - DUSK</stage_direction> <scene_description>CLOSE ON corn stalks passing through frame . Miguel stares out the bus window . Salvador jokes around with Orlando and Ed about whether Dominican or Venezuelan girls are better .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>Miguel tries to sleep , while Salvador watches `` Sponge Bob '' on the Spanish channel .</scene_description> </scene> <scene> <stage_direction>EXT. VISITING BALL PARK - AFTERNOON</stage_direction> <scene_description>Miguel walks out onto the field , notices Stu working with Salvador in the bullpen . Out of nowhere , Stu mimes the chicken walk to Sal , and they both laugh .</scene_description> </scene> <scene> <stage_direction>EXT. VISITING BALL PARK - DUSK</stage_direction> <scene_description>Miguel runs videotape behind homeplate as Salvador strikes a batter out .</scene_description> </scene> <scene> <stage_direction>EXT. VISITING BALL PARK - NIGHT</stage_direction> <scene_description>Miguel throws in a pitch , which is lined directly over his head for a base hit . He swears to himself as he sprints over to back up home plate where the runner scores easily .</scene_description> </scene> <scene> <stage_direction>INT. VISITORS' CLUBHOUSE - NIGHT</stage_direction> <scene_description>Miguel storms into the empty clubhouse , grabs a bat from the wall rack , and smashes a water dispenser unit to the ground , spilling water everywhere . As he observes the mess , his breathing steadies , and . He glances over to the entrance , where the clubhouse manager stares at him , disapproving .</scene_description> </scene> <scene> <stage_direction>INT. VISITING COACHES' OFFICE - DAY</stage_direction> <scene_description>Miguel sits across from Stu , staring off , embarrassed .</scene_description> <character>STU</character> <dialogue>I know it's hard when you do n't perform up to your own expectations for yourself. But you need to learn self - control. Can you understand what I'm saying? You need to learn that your actions have consequences. So we're gon na take the cost of the water unit you broke out of your next check. That's not something your family back home's gon na be too proud of. Is it?</dialogue> <scene_description>Miguel turns his gaze to Stu . Though he does n't fully understand what he 's saying , Stu 's intention is clear .</scene_description> <character>STU</character> <dialogue>So you should think real hard next time. Think about channeling that frustration you're feeling onto the field. Into practice. Channel it into working harder -</dialogue> <character>MIGUEL</character> <dialogue>- I am work hard! Everyday I work hard.</dialogue> <character>STU</character> <dialogue>So work harder, goddamnit! You think you're the only one on this team works hard?</dialogue> <character>MIGUEL</character> <parenthetical>( in Spanish . )</parenthetical> <dialogue>I do n't understand you. You speak too fast. I just do n't understand!</dialogue> <character>STU</character> <dialogue>Look, you may think I do n't know what you're going through, but I do. I've been on the mound ; I've played through pain. I've been in your exact situation before. I've struggled too. I've.</dialogue> <scene_description>As Miguel glances away in frustration , Stu stops himself . They sit in silence . Hold .</scene_description> </scene> <scene> <stage_direction>EXT. PEORIA CHIEFS' PARK - EVENING</stage_direction> <scene_description>Pouring rain . The few remaining FANS head for the exits . The players pack up their gear in their respective dugouts . SLOW ZOOM IN on MIGUEL , staring at the falling rain .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL LAUNDRY ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON about ten pills in Miguel 's palm . Jeff Elks instructs Miguel , alone , in the small room with a flickering fluorescent light .</scene_description> <character>JEFF</character> <dialogue>Listen, your first time, take a half. Okay? No more. You got ta ease into it. Half.</dialogue> <scene_description>Miguel nods .</scene_description> <character>JEFF</character> <dialogue>And anyone finds these, you did n't get them from me, okay?</dialogue> <scene_description>Before Miguel can respond , Salvador enters with his dirty laundry . Miguel hides the pills .</scene_description> <character>SALVADOR</character> <dialogue>What's up?</dialogue> <character>JEFF</character> <dialogue>What's up, Sal?</dialogue> <scene_description>Jeff heads out . Miguel resumes folding his clothes .</scene_description> <character>SALVADOR</character> <dialogue>Did you hear I made player of the week?</dialogue> <character>MIGUEL</character> <dialogue>You told me last night.</dialogue> <scene_description>Salvador examines his detergent options from the dispenser machine .</scene_description> <character>SALVADOR</character> <dialogue>Which one do you use?</dialogue> <scene_description>Miguel eyes the bleach . Ca n't help himself .</scene_description> <character>MIGUEL</character> <dialogue>That one.</dialogue> <character>SALVADOR</character> <dialogue>Thanks.</dialogue> <scene_description>Salvador inserts coins into the machine , pulls the bleach lever .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE BATHROOM STALL - THE NEXT EVENING</stage_direction> <scene_description>Miguel pops two pills . Exits out into the . SWING CLUBHOUSE - CONTINUOUS . where Salvador undresses out of his bleach - stained street clothes . Miguel walks past without acknowledging him .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON</stage_direction> <scene_description>THE CAMERA eerily floats toward and around Miguel on the mound . He stares down the HITTER , totally focused . He touches his cross , whispers a prayer to himself . Winds up , throws , and . THUD ! a cloud of dust pops off the catcher 's mitt , just like the old days . Miguel 's `` stuff '' is back . And he knows it . IN THE STANDS . Earl and Helen settle into their box seats eating caramel corn and cola . RADIO ANNOUNCERS BOOTH . Jack Jefferies at the mic .</scene_description> <character>JACK JEFFERIES</character> <dialogue>Miguel Santos appears to be in top form tonight, striking out two of three in the first. I do n't want to jinx it, but this sure looks like the Santos we knew earlier this season.</dialogue> <scene_description>IN THE DUGOUT . There 's an intensity we have n't seen before in Miguel . We get the sense he 's treating this game like it could be his last . ON THE MOUND - 2ND INNING CLOSE ON MIGUEL . Sweating more than he should at this point in the game , but . who cares ? He continues to dominate opposing hitters , striking out two more in the 2nd . IN THE STANDS . Earl and Helen CHEER for their Miguel . IN THE DUGOUT - LATER THAT NIGHT Still sweating , Miguel is now shifting his jaw back - and - forth . The SOUND FADES LOW , as he stares onto the field , sees . the teams changing sides between innings , everyone moving in subtle SLOW - MOTION -LRB- 36 fps -RRB- . Stu approaches Miguel , puts his hand on his shoulder . We see him mouth the words , `` You okay ? '' , but NO SOUND comes out . Miguel nods , yes . BACK ON THE FIELD - 5TH INNING And back in real time -LRB- 24 fps -RRB- . Miguel fires his first pitch over the head of his catcher and all the way to the backstop . Orlando motions for him to calm down . The next pitch is closer , but still high . And the next pitch BEANS the hitter in the thigh . Miguel swears at himself , tries hard to calm down , but his heart is racing . IN THE RADIO BOOTH</scene_description> <character>JACK JEFFERIES</character> <dialogue>Top of the fifth and Santos is showing some control issues. Not sure what's going on down there, but he seems to be talking to himself.</dialogue> <scene_description>ON THE MOUND , Orlando runs out to Miguel .</scene_description> <character>ORLANDO</character> <dialogue>Do n't worry about it. You're all good. Just relax. Throw strikes. They ca n't touch you. Just throw strikes.</dialogue> <scene_description>Miguel nods . Orlando goes back behind the plate . Miguel glances to the runner at first , then delivers .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>Orlando nods , encouraging . Throws the ball back . Miguel takes another deep breath . He whispers a prayer to himself , grabs the ball in his spike curve grip , and . his next pitch is ROCKED to deep left field . Miguel immediately lowers his head , unable to watch . We HOLD on his anguished reaction , as the hitter circles the bases . STU shakes his head in disappointment . FROM THE BULLPEN , Salvador watches , concerned . FROM THE STANDS , Earl and Helen clap for encouragement . MIGUEL does his best to shake it off , but he keeps muttering to himself , which makes him look crazy . Another deep breath . Another pitch . UH - OH . This one almost finds the batter 's head , as he falls to the dirt to avoid contact . It 's on .</scene_description> <character>UMPIRE</character> <parenthetical>( ejecting Miguel . )</parenthetical> <dialogue>You're outta here!</dialogue> <scene_description>The batter leaps to his feet , walks out toward the mound , pointing his finger at Miguel , PISSED . Miguel opens his arms , inviting a fight . Orlando steps between them .</scene_description> <character>BATTER</character> <dialogue>Fucking Puerto Rican piece of shit!</dialogue> <character>MIGUEL</character> <parenthetical>( in English . )</parenthetical> <dialogue>Fuck you, cocksucker!</dialogue> <scene_description>Both benches clear , as players rush out onto the field to restore order . Miguel and the batter continue jawing at each other , while the other players swirl around them , creating little sub - conflicts of their own . It 's a mess . The sound FADES TO SILENCE and the image blends to SLO - MO again . There 's something poetic about a bunch of men in child - like baseball uniforms , screaming at each other in silence . Miguel looks around , perhaps recognizing this for himself . Hold , until . he calmly walks off the field , leaving the chaos behind .</scene_description> </scene> <scene> <stage_direction>INT. SWING CLUBHOUSE SHOWERS - A LITTLE LATER</stage_direction> <scene_description>Miguel showers alone .</scene_description> </scene> <scene> <stage_direction>INT. HIGGINS KITCHEN - NIGHT</stage_direction> <scene_description>Miguel eats a late dinner at the table . Earl sits at the other end , sipping some tea , while Helen does dishes at the sink . The mood is uncomfortably tense . Nobody says a word , until Miguel musters up the courage .</scene_description> <character>MIGUEL</character> <dialogue>I'm sorry.</dialogue> <scene_description>Helen turns off the faucet , turns around . Earl methodically sets down his mug , stands up , and crosses to Miguel . Puts his arm around his shoulder , wherein . Miguel breaks down , hugs Earl around the waist , his face pressed against his stomach . He 's crying . Hold .</scene_description> </scene> <scene> <stage_direction>INT. BRIDGETOWN SWING BALL PARK - COACHES' OFFICE - EVENING</stage_direction> <scene_description>Stu addresses Miguel before the game . Though his words are encouraging , his tone is detached , cold . Miguel senses this , listens , dejected .</scene_description> <character>STU</character> <dialogue>You played with your emotions, and your emotions got the best of you. Happens to everyone. It's just a nasty part of the game. Nobody likes to admit it, but it is. The true test of our character as athletes. is how we come back. It's up to you.</dialogue> <scene_description>Stu notices Hardy , the Swing mascot , pass by his office door .</scene_description> <character>STU</character> <dialogue>Hardy! Do n't wander off ; I got ta talk to you about that accountant.</dialogue> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALLPARK - NIGHT</stage_direction> <scene_description>Miguel sits out in the bullpen with the other relievers , while Stu continues in V.O.</scene_description> <character>STU</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So, um, anyway, I'm bumping Sal into your slot in the rotation. I'd like to see how you handle a relief spot.</dialogue> <scene_description>ON THE MOUND , Salvador fires in the opening pitch . IN THE RADIO BOOTH , Jack Jefferies does his play by play .</scene_description> <character>JACK JEFFERIES</character> <dialogue>Moving up from relief, Torres makes his third start for the Swing. I tell ya, this lanky kid from the Dominican Republic has surprised us all with his unique delivery and precision. Reminds me of a young Pedro Martinez. Hey there Bees fans, do n't forget, closing night is approaching fast and tickets are selling out. So pick yours up at the box office today.</dialogue> <scene_description>IN THE BULLPEN Similar to an earlier sequence of JUMPCUTS on Miguel reacting to the game from the dugout , we now HOLD on Miguel , solemn and detached , from the bullpen . NOTE : the frame for the following images contains the first 3 - 4 rows of FANS seated behind the bullpen , so we can also use them to gauge what might be happening on the field . PLAY 1 : Miguel , the FOUR RELIEVERS , and the fans clap for a nice play . PLAY 2 : The fans jump to their feet as a ground ball passes through frame , followed by an outfielder in hot pursuit . PLAY 3 : A reliever warms up in the foreground . Miguel stares ahead , deadpan , while the others chat and spit chewing tobacco . PLAY 4 : A new reliever warms up , then runs out onto the field , leaving only two others with Miguel . PLAY 5 : Miguel stares ahead , while the crowd does the `` Chicken Dance '' behind him . PLAY 6 : The fans leap to their feet in applause . The two relievers high - five . Miguel CLAPS , going through the motions . PLAY 7 : Miguel chews and spits sunflower seed shells as the fans sing along to `` Take Me Out to the Ball Game . '' PLAY 8 : Another reliever runs out onto the field , leaving only Miguel and one other guy . PLAY 9 : Miguel is finally warming up , ready to enter the game , but . the fans leap to their feet , CHEERING victoriously . Game over . The only other reliever grabs his jacket , and heads out onto the field . As the players and fans head for the exits , Miguel remains on the bullpen mound for a beat . He nods to himself , oddly at peace with the moment . Miguel steps off the mound and we PAN with him , as he crosses frame , and makes the long walk to the dugout . Hold .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S BEDROOM - LATE AFTERNOON</stage_direction> <scene_description>Miguel grabs a slip of paper from his nightstand . His large duffel bag is packed full in front of him . On the wall , his NYC calendar is turned to AUGUST . He goes to the phone . Dials . After a long beat he hangs up .</scene_description> </scene> <scene> <stage_direction>INT. HIGGINS FARMHOUSE - KITCHEN - EVENING</stage_direction> <scene_description>Helen walks in to find Miguel washing the dishes in the sink .</scene_description> <character>HELEN</character> <dialogue>Oh, honey, you do n't have to do that.</dialogue> <character>MIGUEL</character> <parenthetical>( his English better than ever . )</parenthetical> <dialogue>No problem. I want to help.</dialogue> <character>HELEN</character> <dialogue>Well, thank you, Miguel.</dialogue> <scene_description>Helen grabs a dish towel . They do the dishes together in silence . After a beat .</scene_description> <character>MIGUEL</character> <dialogue>Thank you, Helen.</dialogue> <scene_description>Helen smiles , pats Miguel on the back . HOLD .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGETOWN SWING BALL PARK - EARLY MORNING</stage_direction> <scene_description>Earl drops off Miguel near the team bus , as players and coaches load their gear in , and get on . Miguel cautiously approaches the bus , sees Salvador , hesitates .</scene_description> <character>MIGUEL</character> <dialogue>I forgot something in the clubhouse. I'll be right back.</dialogue> <scene_description>As Miguel turns , Salvador grabs his bag , which is still on his shoulder .</scene_description> <character>SALVADOR</character> <dialogue>Here, I'll load your bag.</dialogue> <scene_description>Miguel grips his bag tighter and the two of them lock eyes . Salvador senses his intensity , releases the bag . Miguel backs away with Salvador looking on .</scene_description> <character>ED</character> <dialogue>Where's he going?</dialogue> <character>SALVADOR</character> <dialogue>Bathroom.</dialogue> <scene_description>AT THE CLUBHOUSE ENTRANCE Miguel turns back to the bus , sees . Salvador eyeing him from the open bus window . Sal raises his hand , very subtly waves goodbye . Miguel continues on his way .</scene_description> </scene> <scene> <stage_direction>EXT. BURLINGTON BUS DEPOT - MINUTES LATER</stage_direction> <scene_description>A local taxi pulls up , and Miguel hops out with his duffel bag .</scene_description> </scene> <scene> <stage_direction>INT. BUS - DAY</stage_direction> <scene_description>Miguel steps on , moves past the other PASSENGERS , finds an empty seat towards the back . He sits down , catches his breath , and whispers a prayer to himself . When he 's done , he looks across the aisle , where an OLD LADY is staring at him . He shoots her a cautious smile .</scene_description> </scene> <scene> <stage_direction>INT. MOVING BUS - DAY/EVENING</stage_direction> <scene_description>Miguel stares , wide - eyed , out the window at the shifting landscapes , daytime into evening . - cornstalks . - bridges and rivers . - city lights . He sleeps against the window , his Clemente book open on his lap .</scene_description> </scene> <scene> <stage_direction>INT. MOVING BUS- LATER</stage_direction> <scene_description>From the New Jersey turnpike , Miguel sees the approaching Manhattan skyline in the early morning light . He sits up straight , looks attentively at the city emerging in the distance .</scene_description> </scene> <scene> <stage_direction>INT. TIMES SQUARE SUBWAY STATION</stage_direction> <scene_description>Morning COMMUTERS push past Miguel , as he looks around , lost in the cacophony of the swirling rush hour environment . He locates a giant subway map on the wall , the various subway lines reaching into the outer boroughs like colorful tentacles . His eyes scan the map , and we follow his finger up the green line 's numbered stations , stopping on 161ST/YANKEE STADIUM . Miguel smiles . AT THE TURNSTILES . Miguel inches forward , observes people passing through after swiping cards . He notices a line behind a Metrocard vending machine nearby . AT THE MACHINE - SECONDS LATER Fortunately , there is a Spanish option , so after a few touches and BEEPS , he 's got his card . AT THE TURNSTILE He swipes the card , tries to pass through , but the turnstile wo n't budge . He studies the message : `` SWIPE AGAIN AT THIS TURNSTILE '' , but ca n't make sense of it . Miguel tries again , this time very slowly , but still ca n't get through . An IMPATIENT COMMUTER behind him SIGHS loudly . Miguel steps out of the way , let 's the commuter pass . After the commuter goes through , Miguel tries again .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY PEDESTRIAN TUNNEL</stage_direction> <scene_description>As Miguel strolls through the underground hallway that connects the various Times Square subway lines , he sees . - a TEAM OF BREAKDANCERS performing for tips . - billboard ads for movies , music , dermatologists , Mets baseball , etc. . - a HOMELESS MAN passed out on the ground . - a WOMAN selling a random collection of objects : VHS tapes , batteries , a used blender .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TRAIN - MOVING</stage_direction> <scene_description>Miguel observes other passengers , when the train emerges above ground . He stands , looks out the window as the train passes Yankee Stadium .</scene_description> </scene> <scene> <stage_direction>EXT. 167TH ST. - THE BRONX - DAY</stage_direction> <scene_description>Miguel descends from the elevated subway station , glances around . The atmosphere is immediately more familiar , as PEOPLE walk by speaking Spanish ; MERENGUE blasts out of an open apartment window ; Dominican flags hang from others . Miguel paces up the block , looking for something . He smiles when he finds . El Restaurante Caribe . A HELP WANTED sign -LRB- in English and Spanish -RRB- hangs in the window .</scene_description> </scene> <scene> <stage_direction>INT. EL RESTAURANTE CARIBE - DAY</stage_direction> <scene_description>Miguel takes a seat at the counter , smiles to the waitress , REYNA -LRB- cute , 20 - something , Dominican -RRB- .</scene_description> <character>REYNA</character> <parenthetical>( in Spanish , of course . )</parenthetical> <dialogue>Talk to me.</dialogue> <character>MIGUEL</character> <dialogue>Is Jorge working today?</dialogue> <character>REYNA</character> <dialogue>Jorge?</dialogue> <character>MIGUEL</character> <dialogue>Jorge Ramirez.</dialogue> <scene_description>A bus boy , RAFAEL , overhears as he passes by .</scene_description> <character>RAFAEL</character> <dialogue>Jorge, the ball player!</dialogue> <character>MIGUEL</character> <dialogue>Yeah!</dialogue> <character>REYNA</character> <dialogue>Oh. The ballpayer. He left about two weeks ago.</dialogue> <character>RAFAEL</character> <dialogue>I think he drives a car now.</dialogue> <character>MIGUEL</character> <dialogue>Do you have a phone number for him? His old one is n't working.</dialogue> <scene_description>Reyna shrugs , looks to Rafael .</scene_description> <character>RAFAEL</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Sorry. But I think he was staying down at concourse village on 156th.</dialogue> <character>REYNA</character> <dialogue>He still comes in to eat sometimes.</dialogue> <scene_description>Miguel nods , looks off , a little anxious .</scene_description> </scene> <scene> <stage_direction>EXT. 156TH STREET - DAY</stage_direction> <scene_description>Miguel glances up at the dozens of high - rise apartment buildings in every direction . He walks away , discouraged .</scene_description> </scene> <scene> <stage_direction>EXT. (ANOTHER) STREET - DAY</stage_direction> <scene_description>Miguel continues to follow the elevated subway tracks , which lead him straight to . YANKEE STADIUM . He looks up at the park 's grand exterior with wonder . Approaches to get a closer look . The Stadium is closed today , so Miguel struggles to catch a glimpse of the field through an iron fence . He grabs hold of the bars , attempts to climb just enough to get a better view , but .</scene_description> <character>SECURITY GUARD</character> <parenthetical>( in English . )</parenthetical> <dialogue>You wanta see the inside, you got ta buy a ticket, pal.</dialogue> <character>MIGUEL</character> <parenthetical>( jumping down . )</parenthetical> <dialogue>Sorry.</dialogue> </scene> <scene> <stage_direction>EXT. SOUND VIEW PARK - LATE AFTERNOON</stage_direction> <scene_description>With his duffel on his lap , Miguel sits on a bench overlooking a a community baseball field , where local KIDS play for fun . He stares off blankly , preoccupied with other things .</scene_description> </scene> <scene> <stage_direction>EXT. PARADISE HOTEL - DUSK</stage_direction> <scene_description>Miguel stands before the old transient hotel .</scene_description> </scene> <scene> <stage_direction>INT. PARADISE HOTEL LOBBY</stage_direction> <scene_description>Miguel sidesteps a nodding JUNKY on his way to the front desk , approaches the toothless Russian clerk , NIKOLAI -LRB- late 50s -RRB- .</scene_description> <character>MIGUEL</character> <dialogue>One room.</dialogue> <character>NIKOLAI</character> <dialogue>For how long?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know.</dialogue> <character>NIKOLAI</character> <dialogue>Two hundred a week. First week in advance.</dialogue> <scene_description>As Miguel tries to piece together what was just said , he notices a rack of condoms beside a set of long distance calling cards on the front desk . The name of the calling card is ALÓ MAMÁ !</scene_description> <character>NIKOLAI</character> <dialogue>Two hundred now.</dialogue> <scene_description>Miguel reaches for the calling card .</scene_description> <character>MIGUEL</character> <dialogue>This also please.</dialogue> </scene> <scene> <stage_direction>INT. PARADISE HOTEL HALLWAY - MINUTES LATER</stage_direction> <scene_description>As Miguel looks for his room , he passes another room 's doorway , where a middle - aged JOHN gives a woman a kiss goodbye . Miguel makes brief eye contact with the woman , RAQUEL . She smiles .</scene_description> </scene> <scene> <stage_direction>INT. PARADISE HOTEL ROOM</stage_direction> <scene_description>Miguel turns on the light to find a small bed in the corner of the room . There 's also a desk with a phone . Miguel puts down his duffel and sits at the desk . He examines the calling card for a beat , then goes to the window , looks out . Hold .</scene_description> </scene> <scene> <stage_direction>EXT. 163RD STREET - NEXT DAY</stage_direction> <scene_description>Miguel strolls by various stores and restaurants . He passes outside a WOODEN CABINET STORE , where 5 - 6 Dominican men , ranging in age from 20 to 50 years old , make furniture in the shop . He stops for a beat , watching the men work .</scene_description> </scene> <scene> <stage_direction>INT. CABINET STORE DISPLAY ROOM</stage_direction> <scene_description>Miguel approaches a man , OSVALDO -LRB- late 50s -RRB- , who works at his desk on the computer .</scene_description> <character>MIGUEL</character> <dialogue>You speak Spanish?</dialogue> <character>OSVALDO</character> <dialogue>Of course.</dialogue> <character>MIGUEL</character> <dialogue>Is this your place?</dialogue> <character>OSVALDO</character> <dialogue>Yeah. Can I help you?</dialogue> <scene_description>Miguel glances around at the various wooden furniture items for sale .</scene_description> <character>MIGUEL</character> <dialogue>I like your work.</dialogue> <character>OSVALDO</character> <dialogue>Thanks. What are you looking for?</dialogue> <character>MIGUEL</character> <dialogue>Oh, no, I mean. I do n't know. I was passing by and thought maybe you might need some help. I know how to make furniture, and -</dialogue> <character>OSVALDO</character> <dialogue>- I do n't have any work right now. Sorry.</dialogue> <character>MIGUEL</character> <dialogue>Right. Okay, thanks for your time.</dialogue> <scene_description>Osvaldo gets back to his computer , but Miguel lingers .</scene_description> <character>MIGUEL</character> <dialogue>Do you know any other places like this where I might find work?</dialogue> <character>OSVALDO</character> <dialogue>Have you checked the classifieds?</dialogue> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - LATE AFTERNOON</stage_direction> <scene_description>Miguel sips soda from a straw as he leafs through the classifieds in a Spanish - language daily . INSERT : Various employment ads , requiring experience , fluency in English , working papers , etc. . Miguel glances up , stares out the window . Rafael , the busboy from the other day , wipes down the table next to Miguel .</scene_description> <character>RAFAEL</character> <dialogue>If you leave a number, I'll give it to him next time he comes through.</dialogue> </scene> <scene> <stage_direction>INT. PARADISE HOTEL BEDROOM - EVENING</stage_direction> <scene_description>Miguel braces himself , dials on the phone , waits . His NYC calendar -LRB- turned to the Statue of Liberty month -RRB- hangs on the wall in the background .</scene_description> <character>MIGUEL</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Erica?</dialogue> <scene_description>We INTERCUT between Miguel and his home in the Dominican Republic .</scene_description> <character>ERICA</character> <dialogue>Miguel! My God, where are you?</dialogue> <scene_description>Carmen snatches the phone from Erica , who stays close , trying to listen in .</scene_description> <character>CARMEN</character> <dialogue>Miguelito, what is going on? Frank called last night. Where are you?</dialogue> <character>MIGUEL</character> <dialogue>New York.</dialogue> <character>CARMEN</character> <dialogue>Oh, my God! What are you doing in New York? I do n't understand. Your team is looking for you.</dialogue> <character>MIGUEL</character> <dialogue>I ca n't play anymore.</dialogue> <character>CARMEN</character> <dialogue>Are you hurt? What does that mean, you ca n't play?</dialogue> <character>MIGUEL</character> <dialogue>No. I'm fine. It just -</dialogue> <character>CARMEN</character> <dialogue>We've been working for this your whole life, Miguelito. Oh, my God! You're so close. I do n't understand.</dialogue> <character>MIGUEL</character> <dialogue>Do n't worry, mom. I have some money. We're going to be okay.</dialogue> <character>CARMEN</character> <dialogue>You have to go back. Listen, Miguel, my sweet sugar, call Frank. They'll take you back.</dialogue> <character>MIGUEL</character> <dialogue>I ca n't go back -</dialogue> <character>CARMEN</character> <dialogue>Did I raise you like this? Did I raise you to give up?</dialogue> <character>MIGUEL</character> <dialogue>I did n't give up. I'm starting something new here.</dialogue> <character>CARMEN</character> <dialogue>What? What are you starting?</dialogue> <character>MIGUEL</character> <dialogue>I have to go mom. The card's almost out of minutes.</dialogue> <character>CARMEN</character> <dialogue>Where are you even staying? Miguel -</dialogue> <character>MIGUEL</character> <dialogue>Do n't worry. I'm staying with a friend. I have a new job. It's all good. I'm sending money tomorrow.</dialogue> <character>CARMEN</character> <dialogue>Miguel -</dialogue> <character>MIGUEL</character> <dialogue>I love you. I'm sorry.</dialogue> <scene_description>Miguel hangs up , stares off .</scene_description> </scene> <scene> <stage_direction>INT. WESTERN UNION - MORNING</stage_direction> <scene_description>CAMERA TRACKS past a long line of IMMIGRANTS in all shapes and sizes , preparing to wire money back home , wherever that is . MINUTES LATER . Miguel looks at the few bills in his wallet , hands two fifties to the TELLER .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Miguel leans over the counter , talks to Reyna , the waitress .</scene_description> <character>MIGUEL</character> <dialogue>Hey, um, I was in here the other day.</dialogue> <character>REYNA</character> <dialogue>Yeah, sure, did you find your guy?</dialogue> <character>MIGUEL</character> <dialogue>No. I'm actually looking for a job today.</dialogue> <scene_description>She smiles , calls over to .</scene_description> <character>REYNA</character> <dialogue>Fernando!</dialogue> <parenthetical>( leans close to Miguel . )</parenthetical> <dialogue>Tell him you like his shirt.</dialogue> <scene_description>Reyna moves away , and Miguel glances over to the approaching MANAGER . He 's wearing an outrageously colorful tropical shirt .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - KITCHEN</stage_direction> <scene_description>CLOSE ON Miguel 's hand scraping uneaten food into the trash . His new co - worker , RAFAEL -LRB- the same bus boy from Miguel 's first visit -RRB- , shows Miguel how to use the dishwasher .</scene_description> <character>RAFAEL</character> <dialogue>And then put it in here with the others.</dialogue> <scene_description>Miguel puts the plate in the large dish washer .</scene_description> <character>RAFAEL</character> <dialogue>When it's full, set to scrub, and there it is.</dialogue> <scene_description>Miguel stares at the machine as it HUMS and WHIRS .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - NIGHT</stage_direction> <scene_description>Miguel and Rafael sit next to each other in the back , eating dinner .</scene_description> <character>MIGUEL</character> <dialogue>Do you know anybody with a room for rent?</dialogue> <scene_description>Rafael shakes his head , no .</scene_description> <character>RAFAEL</character> <dialogue>But I'll ask around, let you know if I hear of anything.</dialogue> <scene_description>Miguel nods , gets back to his food .</scene_description> <character>RAFAEL</character> <dialogue>You and Jorge used to play baseball together?</dialogue> <character>MIGUEL</character> <dialogue>Yeah, you like baseball?</dialogue> <character>RAFAEL</character> <dialogue>It's okay. I'd rather watch soccer though. Have you found him yet?</dialogue> <character>MIGUEL</character> <dialogue>Not yet.</dialogue> <character>RAFAEL</character> <dialogue>He'll be through sooner or later.</dialogue> <character>MIGUEL</character> <dialogue>How long have you worked here?</dialogue> <character>RAFAEL</character> <dialogue>Two years.</dialogue> <character>MIGUEL</character> <dialogue>Do you have family here?</dialogue> <character>RAFAEL</character> <dialogue>No. My wife and kids are still in Mexico.</dialogue> <character>MIGUEL</character> <dialogue>My family's in the Dominican.</dialogue> <scene_description>Rafael nods , and they continue eating .</scene_description> </scene> <scene> <stage_direction>INT. PARADISE HOTEL ROOM - NIGHT</stage_direction> <scene_description>Loud , overexaggerated SEX SOUNDS filter in from another room , while Miguel reads the last page of the Clemente biography . After a beat , he closes the book , listens .</scene_description> </scene> <scene> <stage_direction>INT. WOODEN CABINET SHOP - EARLY EVENING</stage_direction> <scene_description>Two EMPLOYEES say goodbye to Osvaldo as Miguel enters the shop . Miguel approaches Osvaldo , who is sanding a table .</scene_description> <character>MIGUEL</character> <dialogue>Hi, um, do you remember me?</dialogue> <character>OSVALDO</character> <dialogue>Yeah, but, sorry, I still do n't have a job for you.</dialogue> <character>MIGUEL</character> <dialogue>That's okay. I already found one. I'm actually just trying to make a coffee table, and I'd like to buy some wood and supplies.</dialogue> <character>OSVALDO</character> <dialogue>I do n't really sell raw materials.</dialogue> <scene_description>Miguel hesitates .</scene_description> <character>MIGUEL</character> <dialogue>I just moved here, you know, and I do n't have a space to work. Do you think I could do some work for you, help you clean up or whatever you need, in exchange for using your shop? You do n't have to pay me.</dialogue> <scene_description>Osvaldo sizes up Miguel 's unusual request .</scene_description> <character>OSVALDO</character> <dialogue>Somebody paying you for the table?</dialogue> <character>MIGUEL</character> <dialogue>No. It's a gift for my mom. Something I like to do.</dialogue> <character>OSVALDO</character> <dialogue>How old are you?</dialogue> <character>MIGUEL</character> <dialogue>Twenty.</dialogue> <character>OSVALDO</character> <dialogue>Who taught you to make tables?</dialogue> <character>MIGUEL</character> <dialogue>My dad. He was a carpenter in San Pedro.</dialogue> <character>OSVALDO</character> <dialogue>Is that where you're from?</dialogue> <character>MIGUEL</character> <dialogue>Yeah.</dialogue> <character>OSVALDO</character> <dialogue>I grew up in Santiago. What are you doing in New York?</dialogue> <character>MIGUEL</character> <dialogue>I came to work. I used to play baseball.</dialogue> <scene_description>Osvaldo nods , understanding .</scene_description> <character>OSVALDO</character> <dialogue>The whole world plays baseball. My son's sixteen. Wo n't touch a piece of wood that's not a bat. I never cared for the game, myself. Too slow.</dialogue> <scene_description>Miguel laughs .</scene_description> <character>OSVALDO</character> <dialogue>Your mom still in San Pedro?</dialogue> <character>MIGUEL</character> <dialogue>Yeah. With my sister and brother.</dialogue> <character>OSVALDO</character> <dialogue>So, you're telling me that you want to make a table for your mom, then mail it back to her in the Dominican?</dialogue> <scene_description>Miguel nods . Osvaldo smiles , finally warming up .</scene_description> <character>OSVALDO</character> <dialogue>What's your name?</dialogue> <character>MIGUEL</character> <dialogue>Miguel.</dialogue> <scene_description>They shake hands .</scene_description> <character>OSVALDO</character> <dialogue>Osvaldo.</dialogue> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Miguel performs his new work routine : mopping floors , washing dishes , accepting deliveries . He seems to be getting the hang of things .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - LATER</stage_direction> <scene_description>As Miguel eats from a heaping plate of beef and mashed yucca , he watches Reyna chatting up a customer from behind the counter .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Miguel passes a Western Union , looks inside , but keeps going .</scene_description> </scene> <scene> <stage_direction>INT. CABINET STORE - NIGHT</stage_direction> <scene_description>Miguel finishes work on his table for the night , covers it with a blanket , and proceeds to sweep up . Osvaldo works at his desktop computer from across the room . They do n't speak .</scene_description> </scene> <scene> <stage_direction>INT. PARADISE HOTEL ROOM - NIGHT</stage_direction> <scene_description>Miguel sits at the desk , talks into the phone .</scene_description> <character>MIGUEL</character> <dialogue>Hello. Is Sofia at home? Yeah, it's Miguel again. Can you tell her. Just tell her I called.</dialogue> <scene_description>Miguel hangs up .</scene_description> </scene> <scene> <stage_direction>INT. LAUNDROMAT - NIGHT</stage_direction> <scene_description>Miguel leans against the counter , staring at his clothes twirling in the dryer , when . he notices Raquel unloading her clothes a few dryers away . She pushes her laundry cart to the opposite side of his counter , begins folding . Miguel stares at her out of the corner of his eye , taking special notice of her diverse underwear collection ranging from lacy thongs to the standard cotton variety . She catches him peeking .</scene_description> <character>RAQUEL</character> <parenthetical>( with a mysterious Eastern - European accent . )</parenthetical> <dialogue>You just going to watch or you going to help me out?</dialogue> <scene_description>Caught off guard , Miguel smiles awkwardly , turns away . After a few beats , a flying sock lands on his shoulder . He turns back to find several random items of her clothing on the counter in front of him . She smiles , keeps folding . Miguel sorts through the items : socks , underwear , t - shirts . He looks back to her , then begins folding , as the laundromat 's machinery reverberates around them . They exchange brief grins .</scene_description> <character>MIGUEL</character> <dialogue>Where you from?</dialogue> <character>RAQUEL</character> <dialogue>Ukraine.</dialogue> <scene_description>Miguel nods , and they continue folding in silence . Hold .</scene_description> </scene> <scene> <stage_direction>INT. CABINET STORE - NIGHT</stage_direction> <scene_description>Miguel carves wood , while Osvaldo looks on from his desk . They exchange glances , until Miguel breaks the silence .</scene_description> <character>MIGUEL</character> <dialogue>So you never liked baseball? Not even as a kid?</dialogue> <character>OSVALDO</character> <dialogue>It's okay. Sometimes during the playoffs I'll watch a game or two.</dialogue> <character>MIGUEL</character> <dialogue>Who's your favorite player?</dialogue> <character>OSVALDO</character> <dialogue>I do n't know enough to have a favorite.</dialogue> <character>MIGUEL</character> <dialogue>C'mon, everybody has a favorite player : Juan Marichal, Pedro Martinez?</dialogue> <character>OSVALDO</character> <dialogue>Fine. Jose Canseco.</dialogue> <character>MIGUEL</character> <dialogue>Jose Canseco!? That's the best you can do?</dialogue> <character>OSVALDO</character> <dialogue>Okay, what about you?</dialogue> <character>MIGUEL</character> <dialogue>Roberto Clemente.</dialogue> <character>OSVALDO</character> <parenthetical>( pushing his buttons . )</parenthetical> <dialogue>Never heard of him.</dialogue> <character>MIGUEL</character> <dialogue>Shut up.</dialogue> <character>OSVALDO</character> <dialogue>What's so special about Clemente?</dialogue> <character>MIGUEL</character> <dialogue>I read this book where he said something like, `` If you have the opportunity to help someone and do n't, then you're wasting your life.'' And he was a carpenter too.</dialogue> <character>OSVALDO</character> <dialogue>Get out of here.</dialogue> <character>MIGUEL</character> <dialogue>For real. He used to make furniture during the off season.</dialogue> <character>OSVALDO</character> <dialogue>Are you fucking with me? Cause you know I can google this fool right now.</dialogue> <character>MIGUEL</character> <dialogue>Google?</dialogue> <character>OSVALDO</character> <dialogue>The internet. Do n't worry, I'll teach you someday.</dialogue> <scene_description>A beat . Miguel continues his work .</scene_description> <character>OSVALDO</character> <dialogue>When did you get released?</dialogue> <character>MIGUEL</character> <dialogue>They did n't release me. I left a few days before the season ended.</dialogue> <character>OSVALDO</character> <dialogue>You left? When was this?</dialogue> <character>MIGUEL</character> <dialogue>About two weeks ago.</dialogue> <character>OSVALDO</character> <dialogue>Holy shit. Where are you staying?</dialogue> <character>MIGUEL</character> <dialogue>Oh, you know, with a friend. But if you know somebody who needs a roommate.</dialogue> <scene_description>Osvaldo nods and they continue working .</scene_description> <character>OSVALDO</character> <parenthetical>( after a beat . )</parenthetical> <dialogue>Why'd you leave?</dialogue> <scene_description>Miguel hesitates , unsure where to begin . Osvaldo senses his discomfort with the question .</scene_description> <character>OSVALDO</character> <dialogue>Do you have any family here?</dialogue> <character>MIGUEL</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>But I'm okay. I have some money saved, a couple friends. I'll go home to visit soon.</dialogue> <scene_description>Osvaldo does n't quite buy it , but nods anyway .</scene_description> <character>MIGUEL</character> <dialogue>Do you know a place called Ukraine?</dialogue> </scene> <scene> <stage_direction>INT. PARADISE HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Miguel attempts to slip past Nikolai , who is currently checking in another GUEST , but .</scene_description> <character>NIKOLAI</character> <dialogue>Hey! You owe money. Full week!</dialogue> <character>MIGUEL</character> <dialogue>I know. I have tomorrow. No problem.</dialogue> <character>NIKOLAI</character> <dialogue>Yes, problem. You pay tomorrow or you have big problem.</dialogue> <scene_description>Miguel continues up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S BEDROOM - LATER</stage_direction> <scene_description>Unable to sleep , Miguel lies in bed , staring at the ceiling , when he overhears a commotion from across the hall . After a beat , he hears a door open and SLAM SHUT . He goes to the door , listens close . It 's quiet , until . KNOCK KNOCK KNOCK Miguel flinches . Then slowly cracks open the door to find . Raquel standing before him with a small leather duffel bag .</scene_description> <character>RAQUEL</character> <parenthetical>( handing him the bag . )</parenthetical> <dialogue>Love, keep this in your room for me. Just a few hours. Til morning. I'll be back.</dialogue> <scene_description>She forces the bag into his hands , kisses him on the cheek , and retreats into her own room . Miguel closes the door , still holding the bag . He sets it on his bed , stares at it . After a few beats , he grabs it , stuffs it under the bed , out of sight . He sits down at the desk , stares at the bed , when he hears SHOUTING from the hall . Again , he goes to the door , listens . Another MAN POUNDS on Raquel 's door , SCREAMING in Ukrainian , while Nikolai YELLS at the man in English , though Miguel ca n't make out exactly what 's going on . The shouting intensifies until a SCUFFLE breaks out . A woman SCREAMS . Miguel reaches for the door handle , but stops himself . He steps into his BATHROOM , shuts the door , sits on the toilet . The muffled SHOUTING continues . Miguel waits . FADE OUT .</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S ROOM - LATER</stage_direction> <scene_description>Now quiet , Miguel stares at the mysterious bag on his bed , then heads for the door with his packed duffel over his shoulder . He puts his ear to the door , then exits , leaving the other bag behind .</scene_description> </scene> <scene> <stage_direction>INT. PARADISE HOTEL HALLWAY</stage_direction> <scene_description>Miguel tip - toes down the hall . He stops in front of Raquel 's room , leans down , and slides his room key under her door . Continues down the hall .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - PHONE BOOTH - EARLY MORNING</stage_direction> <scene_description>Miguel dials his calling card number into the phone , listens .</scene_description> <character>MIGUEL</character> <dialogue>Frank. It's Miguel.</dialogue> <scene_description>We hold on Miguel , though we can hear Frank 's muffled voice through the receiver .</scene_description> <character>FRANK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Jesus, Miguel, what the hell happened?</dialogue> <character>MIGUEL</character> <dialogue>Sorry for calling late. I'm in New York.</dialogue> <character>FRANK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I heard. You're making me look bad. What are you doing there?</dialogue> <character>MIGUEL</character> <dialogue>I got a job, but I do n't know if I'm going to stay.</dialogue> <character>FRANK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Where you gon na go? The season's over. Your visa's expired.</dialogue> <character>MIGUEL</character> <dialogue>I know, but I thought maybe I could.</dialogue> <scene_description>A beat , as Miguel drifts off .</scene_description> <character>FRANK</character> <dialogue>I can talk to Alvarez. But I do n't know. Nobody's happy about this.</dialogue> <scene_description>Miguel bites his lip . A police SIREN flies by .</scene_description> <character>MIGUEL</character> <dialogue>I know. Sorry.</dialogue> <character>FRANK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Look, Miguel -</dialogue> <scene_description>Miguel hangs up the phone .</scene_description> </scene> <scene> <stage_direction>EXT. ALL NIGHT CAFE - NIGHT</stage_direction> <scene_description>Through the window , we see Miguel seated at a corner table . He stares out at the early morning traffic .</scene_description> </scene> <scene> <stage_direction>EXT. ALL NIGHT CAFE - SAME ANGLE - EARLY MORNING - DAY</stage_direction> <scene_description>Miguel is asleep at the same table . A WAITRESS comes by with a fresh pot of coffee , wakes him up . He declines another cup .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Exhausted , Miguel goes through his usual work routine : bussing tables , washing dishes , stocking the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. CABINET STORE - NIGHT</stage_direction> <scene_description>Miguel approaches Osvaldo with his duffel bag . He looks a mess . Osvaldo glances up from his work .</scene_description> <character>OSVALDO</character> <dialogue>Hey, Miguel.</dialogue> <scene_description>Miguel does n't respond . Osvaldo notices his packed bag and worn expression . Both men stare at each other for a long beat .</scene_description> <character>MIGUEL</character> <dialogue>I do n't know where to go.</dialogue> <scene_description>Osvaldo approaches , takes the duffel from Miguel 's shoulder . FADE OUT .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - OUTSIDE EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Now wearing a Fall coat , Miguel crosses the street on his way to work , when . BEEEEEEP ! he 's startled by a loud car horn coming from a black livery cab parked at the curb .</scene_description> <character>MIGUEL</character> <parenthetical>( giving the finger . )</parenthetical> <dialogue>Fuck you, man!</dialogue> <scene_description>Miguel keeps walking , but stops upon hearing .</scene_description> <character>JORGE</character> <dialogue>Fuck you too, bro!</dialogue> <scene_description>Miguel turns to find Jorge , leaping out of his car , and running at him . They hug .</scene_description> <character>MIGUEL</character> <dialogue>What happened to you?</dialogue> <character>JORGE</character> <dialogue>Me? What happened to you?</dialogue> <character>MIGUEL</character> <dialogue>I been looking for you for weeks.</dialogue> <character>JORGE</character> <dialogue>I know. Rafi said you took my old job. Welcome to New York!</dialogue> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Jorge eats at the counter , while Miguel stands on the opposite side , in his apron .</scene_description> <character>JORGE</character> <dialogue>I called the Higgins to give my new number, but they said you split. I could n't believe it, man, I had no idea.</dialogue> <character>MIGUEL</character> <dialogue>Things got a little ugly after you left.</dialogue> <character>JORGE</character> <dialogue>We all go through slumps you know.</dialogue> <character>MIGUEL</character> <dialogue>It was n't a slump.</dialogue> <character>JORGE</character> <dialogue>What was it then?</dialogue> <character>MIGUEL</character> <dialogue>I do n't know, but I was n't gon na wait around for them to throw me out.</dialogue> <scene_description>Jorge looks at Miguel for a tense beat .</scene_description> <character>MIGUEL</character> <dialogue>I'm just saying.</dialogue> <character>JORGE</character> <dialogue>Whatever, man, you would n't be saying that shit if you made it.</dialogue> <scene_description>Miguel smiles , shrugs .</scene_description> <character>REYNA</character> <parenthetical>( from across the room . )</parenthetical> <dialogue>Sugar! Rafi needs you in the kitchen!</dialogue> <character>JORGE</character> <dialogue>They call you Sugar?</dialogue> <scene_description>On his way to the kitchen .</scene_description> <character>MIGUEL</character> <dialogue>What can I say? The name sticks.</dialogue> <scene_description>As Miguel slips past Reyna on his way to the kitchen , they exchange flirtatious smiles .</scene_description> </scene> <scene> <stage_direction>INT. UPTOWN CLUB - NIGHT</stage_direction> <scene_description>Merengue fuels the packed club tonight , as the mostly Latino crowd gets down on the dance floor . AT THE BAR . Miguel , Reyna , Jorge , and his girlfriend , MONICA , drink beers , enjoying the party .</scene_description> <character>JORGE</character> <dialogue>They got all kinds in this league, bro. Like fat cats in their forties, kids like you and me, Dominicans, Puerto Ricans, even some white boys. I got this fifty year old catcher on my team, used to play for the Dodgers. Ca n't run for shit, but he's out there every week. Belly out to here. My man can still go deep though. You ever hear from that kid, Brad?</dialogue> <scene_description>Reyna leans close to Miguel , says something in his ear , and he smiles , as she leads him out onto . THE DANCEFLOOR . where they carve up some fast and fierce moves . Miguel grins wide , having a great time . At this point the sound FADES LOW and the image blends to SLOW - MOTION , their bodies gliding through the frame , soothing and peaceful . Hold , as Jeff Buckley 's `` Hallelujah '' FADES UP and carries over .</scene_description> </scene> <scene> <stage_direction>EXT. EL CARIBE RESTAURANT - MORNING</stage_direction> <scene_description>A DELIVERY MAN puts boxes on a ramp , which go from his truck down into .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT BASEMENT</stage_direction> <scene_description>Miguel takes the boxes off the ramp .</scene_description> </scene> <scene> <stage_direction>INT. EL CARIBE RESTAURANT - DAY</stage_direction> <scene_description>Miguel and Reyna eat together , smiling .</scene_description> </scene> <scene> <stage_direction>INT. WESTERN UNION - NIGHT</stage_direction> <scene_description>Miguel hands the teller two fifty dollar bills .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Miguel floats down the street among a packed block of Bronx pedestrians . He blends in now , just another face in the crowd .</scene_description> </scene> <scene> <stage_direction>INT. WOODEN CABINET SHOP - NIGHT</stage_direction> <scene_description>Osvaldo helps Miguel work on his coffee table .</scene_description> </scene> <scene> <stage_direction>INT. WOODEN CABINET SHOP - LATER THAT NIGHT</stage_direction> <scene_description>Osvaldo teaches Miguel how to use the internet .</scene_description> </scene> <scene> <stage_direction>INT. OSVALDO'S APARTMENT - DINING ROOM</stage_direction> <scene_description>Miguel , Osvaldo , and his wife , ESTELLA , eat dinner at the table . The music continues under the following scene .</scene_description> <character>OSVALDO</character> <dialogue>I did some research and I got a new favorite player now.</dialogue> <character>MIGUEL</character> <dialogue>Okay, good.</dialogue> <character>OSVALDO</character> <dialogue>Vic Power. You know him?</dialogue> <scene_description>Miguel shakes his head , no .</scene_description> <character>OSVALDO</character> <dialogue>You ought to. Greatest Puerto Rican first baseman ever. But that's not why he's my favorite player. Back when he first arrived, 1951, 52, he was playing in the minors. Little Rock, Arkansas. So the story goes, one day before a game, Vic stops into this diner for lunch. Had n't been here long, so he knew very little English. Did n't even notice the `` whites only'' sign hanging in the window. And Vic was Black. I looked him up on Google. I mean Black like you. So he sits down at the counter and the little waitress comes up to big Vic and says, `` I'm sorry, we do n't serve colored people.''</dialogue> <scene_description>Osvaldo pauses for dramatic effect , as Miguel and Estella eagerly await what comes next .</scene_description> <character>OSVALDO</character> <dialogue>So he leans close to the waitress, tells her in his best English, `` That's okay, I do n't eat colored people.''</dialogue> <scene_description>After a beat , Estella laughs , but Miguel is unsure . Osvaldo does his best to explain the joke in Spanish .</scene_description> </scene> <scene> <stage_direction>INT. OSVALDO'S APARTMENT - SPARE ROOM - NIGHT</stage_direction> <scene_description>We INTERCUT between Miguel and Carmen in the DOMINICAN REPUBLIC . She sits at her table in the same old house . -LRB- We can see through the window that the new one is still unfinished -RRB- .</scene_description> <character>CARMEN</character> <dialogue>I got the photos you sent, but you'll have to send more.</dialogue> <character>MIGUEL</character> <dialogue>Okay, mom, but you know it would be a lot easier if you opened an email account.</dialogue> <character>CARMEN</character> <dialogue>Email? I do n't even know how to use the TV!</dialogue> <scene_description>Miguel smiles .</scene_description> <character>MIGUEL</character> <dialogue>I'm making a new table for you. It's going to be real nice.</dialogue> <character>CARMEN</character> <dialogue>I'm sure I'll love it. Thank you.</dialogue> <character>MIGUEL</character> <dialogue>How's Erica?</dialogue> <character>CARMEN</character> <dialogue>She's good. Got a job at the factory. Just part - time, though, so she can keep up with school.</dialogue> <scene_description>Miguel removes the phone from his ear for a beat .</scene_description> <character>MIGUEL</character> <dialogue>And Luis?</dialogue> <character>CARMEN</character> <dialogue>He's pitching now. You should see him, Miguel, got an arm like his brother.</dialogue> <character>MIGUEL</character> <dialogue>Yeah, but can he throw a knuckle curve?</dialogue> <scene_description>Carmen laughs . After a beat .</scene_description> <character>MIGUEL</character> <dialogue>I miss you, mom. But, I'm working hard. I'll be home soon. Give everyone a hug for me.</dialogue> <character>CARMEN</character> <dialogue>I will, Sugar. I love you.</dialogue> <character>MIGUEL</character> <dialogue>I love you, too.</dialogue> <scene_description>She nods , hangs up , and looks over to . LITTLE LUIS , watching her from across the room .</scene_description> </scene> <scene> <stage_direction>EXT. ROBERTO CLEMENTE FIELD - BRONX - DAY</stage_direction> <scene_description>CLOSE ON a Dominican flag being waved by a TODDLER . A WIDER ANGLE reveals him in the packed bleachers with a diverse CROWD of FANS and FRIENDS : Dominicans , Puerto Ricans , Anglos . The mood is festive . A VENDOR sells mangos on sticks . Merengue MUSIC blasts from a portable stereo in the stands . FANS drink Presidente beer out of bottles . ON THE FIELD Uniformed PLAYERS of all ages , races , shapes , and sizes warm up before the game -LRB- though the majority are Dominican -RRB- . Jorge introduces Miguel -LRB- also in uniform -RRB- to the other players .</scene_description> <character>JORGE</character> <dialogue>Caballo! This is Miguel from San Pedro.</dialogue> <character>CABALLO</character> <dialogue>The new guy. You ready to pitch?</dialogue> <character>MIGUEL</character> <dialogue>I think so.</dialogue> <character>CABALLO</character> <dialogue>It's been a while, no?</dialogue> <character>JORGE</character> <dialogue>Do n't worry ; he's ready.</dialogue> <scene_description>Jorge introduces Miguel to .</scene_description> <character>JORGE</character> <dialogue>Felipe! Meet Miguel. They call him Sugar.</dialogue> <character>FELIPE</character> <dialogue>What's up, Sugar?</dialogue> <character>JORGE</character> <dialogue>Felipe played for the Dodgers Triple - A team. Hit a dinger off Pedro once.</dialogue> <character>FELIPE</character> <dialogue>Twice.</dialogue> <character>JORGE</character> <dialogue>Twice.</dialogue> <scene_description>More intros .</scene_description> <character>DIEGO</character> <dialogue>I played for the Yankees.</dialogue> <character>JOSE</character> <dialogue>Cubs.</dialogue> <character>ADRIAN</character> <dialogue>Padres.</dialogue> <character>GERONIMO</character> <dialogue>Kansas City.</dialogue> <character>MIGUEL</character> <dialogue>Me too! Bridgetown.</dialogue> <character>GERONIMO</character> <dialogue>I was there in 96. I lived on a farm.</dialogue> <character>MIGUEL</character> <dialogue>With the Higgins!</dialogue> <character>GERONIMO</character> <dialogue>Yeah!</dialogue> <scene_description>Miguel smiles big , just as the UMPIRE calls out .</scene_description> <character>UMPIRE</character> <dialogue>Vamos! Let's play ball!</dialogue> <scene_description>ON THE MOUND - MINUTES LATER We TILT UP from his cleats to reveal Miguel looking in for the sign from his catcher . He nods . And delivers . The ball is SMACKED toward third , where Jorge makes an awkward lunge for the ball , manages to stop it with his foot . By the time he gets his hand on it , the RUNNER has made it to first . The fans and some of the players laugh at Jorge 's ugly mistake .</scene_description> <character>OLD MAN HECKLER</character> <parenthetical>( from the stands . )</parenthetical> <dialogue>This ai n't soccer! You can use your hands!</dialogue> <character>MIGUEL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Just like old times.</dialogue> <scene_description>But Jorge shrugs and laughs it off . No pressure here . It 's only a game . Miguel buckles down , delivers a monster fastball .</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>He gets the ball back , looks to the stands , and sees . Monica waving to Jorge at third . Miguel 's new friend , Osvaldo , is also there with Estella . Miguel smiles to them . Miguel fires in the next pitch , even faster , and the batter swings straight through it .</scene_description> <character>UMPIRE</character> <dialogue>Strike two!</dialogue> <scene_description>He gets the ball back , lowers his head and whispers a prayer to himself . Looks back to the runner on second . Comes to the set position , and . floats in a vicious , swooping , knuckle curve , that causes the batter to flinch out of the way , before breaking back over the plate for .</scene_description> <character>UMPIRE</character> <dialogue>Strike three!</dialogue> <scene_description>All the fans and players in attendance go NUTS over the awesome pitch , as we follow Miguel off the field to a mini - standing ovation . He tips his hat to the crowd . Just like old times . IN THE DUGOUT Miguel takes a seat as TEAMMATES pass through the frame and pat him on the back . The SOUND FADES LOW as we start a SLOW ZOOM IN on Miguel . He takes in the moment as we get closer , and his smile gives way to a beat of quiet introspection . Hold . He looks out across the field . CLAPS for encouragement . FADE OUT .</scene_description> </scene> </script>

Miguel "Sugar" Santos (Perez Soto) spends his weekends at home, passing from the landscaped gardens and manicured fields on one side of the guarded academy gate to the underdeveloped, more chaotic world beyond. In his small village outside San Pedro de Macorís, Miguel enjoys a kind of celebrity status. His neighbors gather to welcome him back for the weekend; the children ask him for extra baseballs or an old glove. To his family, who lost their father years before, Miguel is their hope and shining star. With the small bonus he earned when he signed with the academy some time ago, he has started to build his family a new house—one that has a bigger kitchen for his mom and a separate room for his grandmother. After learning a devastating knuckle curve, Sugar is invited to spring training by the fictional Kansas City Knights. He is assigned to their Single A affiliate in Iowa, the Swing. He is housed by the Higgins family, who take in Swing players every year. Jorge (Rufino), a veteran player and the only other Dominican on the team, also tries to help Miguel learn the ropes. However, despite the Higgins' welcoming efforts and Jorge's guidance, the challenge of Miguel's acceptance into the community is exposed in small ways every day, from his struggle to communicate in the English language to an accident of casual bigotry at a local bar. Miguel's domination on the mound masks his underlying sense of isolation, until he injures himself during a routine play at first. While Miguel is on the disabled list, Jorge, his one familiar connection to home in this strange new place, is cut from the team, never fully regaining his ability following an off-season knee surgery. The new vulnerability of Miguel's injury, coupled with the loneliness of losing his closest friend, force Miguel to begin examining the world around him and his place within it. Pressure mounts when Salvador, a young pitching phenomenon who used to play with Miguel, is brought up from the Dominican Republic to join the team. Miguel's play falters, and the increased isolation begins to take its toll on him. As his dream begins to fall apart, Miguel decides to leave baseball to follow another kind of American Dream. His odyssey finally brings him to New York City, where at first he struggles to find community and make a new home for himself, like so many before him. Miguel ends up playing baseball with rejected players from the minor leagues.

All the Money in the World_2017

tt5294550

<script> <scene> <scene_description>ALL THE MONEY IN THE WORLD by David Scarpa June 15, 2015</scene_description> <character>TRISTAR PICTURES</character> <dialogue>10202 West Washington Blvd Culver City, CA 90230 (310) 244-4000</dialogue> <character>© 2015 SONY PICTURES</character> <dialogue>This is a true story.</dialogue> <scene_description>FADE IN: A GREAT MAZE looms below us: a labyrinth of tangled alleyways. We DESCEND toward it and into the dark heart of an ancient city.</scene_description> </scene> <scene> <stage_direction>INT. CAMPO DEI FIORE, ROME -- NIGHT</stage_direction> <scene_description>The streets of Rome are locked in a 3AM traffic jam. MUSIC spills from cafes and discotheques. We DESCEND further... TITLE UP: 1973</scene_description> </scene> <scene> <stage_direction>..into sidewalks overflowing with prostitutes, B-movie stars, mafiosi, down-on-their-luck royalty and paparazzi darting between cars on Vespa scooters. And now, from out of the crowd, something even stranger emerges:</stage_direction> <scene_description>A BOY in his mid-teens, at once streetwise and innocent. A skinny kid in worn jeans with iron-on patches on the knees. The streetwalkers in their platform shoes call out to him:</scene_description> <character>PROSTITUTES</character> <dialogue>Ciao, Paolo!</dialogue> <scene_description>The kid smiles bashfully as they fall in around him.</scene_description> <character>PROSTITUTES</character> <dialogue>Che magro, che vergogna! So skinny. Paolo, bambino, why don't you let us make you breakfast? We'd look after you real nice.</dialogue> <character>PAUL</character> <parenthetical>(smiles, blushing)</parenthetical> <dialogue>I bet you would.</dialogue> <scene_description>A car pulls up to the curb: it's time for the girls to go back to work. Maria-Donna pulls Paul close, serious now:</scene_description> <character>MARIA-DONNA</character> <dialogue>Hurry home, Paolo, eh? The street is no place for a boy like you. Don't make your poor mamma worry.</dialogue> <character>PAUL</character> <dialogue>I can take care of myself. Ciao, Maria-Donna.</dialogue> <scene_description>Paul walks on, leaving the girls to haggle with their johns. He pulls out a folded-over issue of Fantastic Comics and walks away into the darkened, narrow Via dei Bauillari. A PAIR OF HEADLIGHTS flicker to life behind him. Paul walks on, oblivious, immersed in his comic book. The car creeps forward. The headlights like owl's-eyes. A white Fiat 600. It drives up behind him. Hovering. A man climbs out. He wears a red ski mask.</scene_description> <character>SKI MASK</character> <dialogue>Paul?</dialogue> <character>PAUL</character> <dialogue>Yeah -- ?</dialogue> <scene_description>Paul turns and sees them. A moment -- and then he runs. In an instant, they are upon him. The boy flails, kicking and writhing to buck them off. He's got a lot of fight in him for such a skinny kid; it's as if he knew this was coming. They open the trunk and shove Paul inside. He doesn't fit. Someone sits down on the trunk. The latch clicks: it's closed. The men pull off their masks. Their eyes are black and wild with adrenaline. They climb into the car.</scene_description> <character>SKI MASK</character> <dialogue>Avanti! Go!</dialogue> <scene_description>CUT TO: A PHONE RECEIVER clatters into its cradle. We TILT UP to reveal a flustered young SECRETARY in red lipstick and a tight sweater. She rises from her desk, overwhelmed, and she begins to run.</scene_description> </scene> <scene> <stage_direction>EXT. SUTTON PLACE (SURREY, ENGLAND) -- DAY</stage_direction> <scene_description>A sprawling 400-year-old mansioned estate surrounded by gardens and statuary. The secretary runs across the grounds in her high heels. She runs past a row of ancient busts of Roman emperors. She runs past a full-grown male LION pacing in a gilded cage. She runs past a swimming pool ringed by lounging STARLETS. She trips and stumbles as she breaks a heel. She reaches down, pulls her shoes off, and runs in her nylons --</scene_description> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- DAY</stage_direction> <scene_description>-- up the stairs of the mansion, past walls cluttered with a vast art collection. She runs down the hallway --</scene_description> </scene> <scene> <stage_direction>INT. ATELIER -- DAY</stage_direction> <scene_description>-- and opens the door to a huge room, empty but for a Louis XIV desk, a phone and an old-time paper-tape stock ticker. A man in a bespoke suit stands at the window, gazing out upon his estate. The paper tape from the stock ticker snakes across the room and through his fingertips. He whispers price quotes to himself, like a monk saying the rosary.</scene_description> <character>SECRETARY</character> <dialogue>I'm sorry, Mr Getty. I should have knocked but -- it's --</dialogue> <scene_description>J. PAUL GETTY turns and cocks an eyebrow. His gaze is quick and focused; he has the impatience of a man whose mind is always sixty seconds ahead of whomever he's listening to.</scene_description> <character>GETTY</character> <dialogue>To the point, Nancy, the market's open.</dialogue> <character>SECRETARY</character> <dialogue>They've -- He's been kidnapped! Paul, Little Paul, your grandson, in Rome my God he's just a child --</dialogue> <scene_description>The ticker-tape in Getty's hands stops moving.</scene_description> <character>SECRETARY</character> <dialogue>They need to speak with you, it's very urgent. The Italian police, the boy's mother, they're on the phone right now.</dialogue> <scene_description>A tremor of emotion in Getty's eyes. Then it's gone.</scene_description> <character>GETTY</character> <dialogue>I'm not available.</dialogue> <scene_description>The Secretary stares at him.</scene_description> <character>SECRETARY</character> <dialogue>Excuse me, Mr. Getty?</dialogue> <character>GETTY</character> <dialogue>The door, Nancy.</dialogue> <scene_description>She closes the door as the tape in the Getty's fingertips starts to move again. We hear young Paul in VOICE-OVER:</scene_description> <character>PAUL (V.O.)</character> <dialogue>To be a Getty is an extraordinary thing.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- NIGHT</stage_direction> <scene_description>The little Fiat 600 (with Paul in the trunk) drives through a toll gate and onto the great Italian highway.</scene_description> <character>PAUL (V.O.)</character> <dialogue>I know that because my grandpa told me so.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL -- FLASHBACK -- DAY</stage_direction> <scene_description>J Paul Getty and the young Paul walk down a dark tunnel.</scene_description> <character>GETTY</character> <dialogue>You're a Getty, Paul. A Getty is special. A Getty has a destiny. A Getty is nobody's fool.</dialogue> <scene_description>The boy gazes up at his grandfather reverently.</scene_description> <character>PAUL (V.O.)</character> <dialogue>You see, my grandpa wasn't just the richest man in the world. He was the richest man in the history of the world.</dialogue> </scene> <scene> <stage_direction>EXT. SAUDI DESERT -- DAY</stage_direction> <scene_description>SAND DUNES undulate endlessly unto the horizon. We SOAR OVER THEM until we find a singular figure standing amidst the shifting sands: J Paul Getty.</scene_description> <character>PAUL (V.O.)</character> <dialogue>My grandpa was the one who brought the oil out of the Saudi desert. Everybody knew it was there, they just thought it couldn't be done.</dialogue> <scene_description>We CRANE over the dunes to REVEAL a great city of refineries and pumping oil derricks belching flame, a mirage seemingly summoned forth by Getty's will alone.</scene_description> <character>PAUL (V.O.)</character> <dialogue>But Grandpa found a way. He made a deal with the Bedouin tribes. But there was so much oil there was no ship big enough to carry it all.</dialogue> </scene> <scene> <stage_direction>EXT. SHIPYARD -- DAY</stage_direction> <scene_description>Getty supervises construction of a SUPERTANKER, a behemoth the size of a skyscraper lying on its side.</scene_description> <character>PAUL (V.O.)</character> <dialogue>So my grandfather invented one. He called it the supertanker.</dialogue> </scene> <scene> <stage_direction>EXT. AMERICAN LANDSCAPE -- DAY</stage_direction> <scene_description>As we soar over the American intercontinental highway, SERVICE STATIONS materialize out of nowhere, dotting the landscape, all bearing the Getty name.</scene_description> <character>PAUL (V.O.)</character> <dialogue>Then he built a chain of service stations across America with his name on them. Grandpa controlled every drop of oil, from beneath the earth to the customer's gas tank.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>And he was famous.</dialogue> <scene_description>CUT TO: PLAYBOY MAGAZINE In a series of B&amp;W still images accompanying the pages of THE PLAYBOY INTERVIEW -- click click click -- Getty holds forth on his great wealth.</scene_description> <character>PLAYBOY</character> <dialogue>Mr. Getty, rumor has it that you are the first man in history with a fortune in excess of one billion dollars. How much money do you have?</dialogue> <character>GETTY</character> <dialogue>I have no idea. If you can count your money, you're not a billionaire.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- NIGHT</stage_direction> <scene_description>The little Fiat 600 winds along the serpentine Italian highway, its headlights blazing.</scene_description> <character>PAUL (V.O.)</character> <dialogue>I'm telling you this so you can understand the things you're about to see. And maybe you can forgive us.</dialogue> <scene_description>We PULL BACK as the Fiat winds along the autostrada, away from the glowing city, until it vanishes into the dark.</scene_description> <character>PAUL (V.O.)</character> <dialogue>It's like we're from another planet where the force of gravity is so strong it bends the light. It bends people too. We look like you, but we're not like you.</dialogue> <character>PAUL (V.O.)</character> <parenthetical>(a beat)</parenthetical> <dialogue>But we were, once.</dialogue> <scene_description>CUT TO: ABIGAIL HARRIS GETTY lies sleeping in a beauty mask as her three children, PAUL (9), MARK (4), and ARIADNE (2) bounce on the bed, clamoring for breakfast. Her husband lies beside her. Gail GROANS:</scene_description> <character>GAIL</character> <dialogue>Too early. The sun's not even up. Back to bed, you little monsters.</dialogue> <scene_description>Little Paul peels back one eye of Gail's mask and lets the sunlight in. She recoils.</scene_description> <character>GAIL</character> <dialogue>You made your point. But no pancakes.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT KITCHEN -- MORNING</stage_direction> <scene_description>QUICK CUTS: Gail fixes pancakes for the children and a cup of strong black coffee for herself, cleans up empty wineglasses and ashtrays from the party the night before, downs two aspirin, puts a samba LP on the Hi-Fi, washes up, dresses the children, pulls on capris, teases her hair, and does a quick little bossa-nova with the children.</scene_description> <character>GAIL</character> <dialogue>Now, you'll have to amuse yourselves quietly. I have work to do this morning and I am not to be disturbed.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM -- DAY</stage_direction> <scene_description>Gail works with pastels at an easel, copying from a posed photo of a model in a cocktail dress (the music PLAYS OVER from the previous scene, and throughout this whole sequence). It's catalog work, but Gail's got a gift for line and gesture: she has style. Her kids draw on the floor alongside her, copying everything she does. Little Paul especially.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- DAY</stage_direction> <scene_description>Gail is on the phone, a utility bill in her hand.</scene_description> <character>GAIL</character> <dialogue>Look in your file and you'll find that we've been very good customers of Southern California Edison. We're good people.</dialogue> <scene_description>In the sunlight we can see the words PAST DUE written there.</scene_description> <character>GAIL</character> <dialogue>And I have a little boy who's concerned that if the lights aren't on for Christmas Santa might not find his way here.</dialogue> <scene_description>Everything about Gail -- her Seven Sisters accent, her finishing school posture -- reeks of the former debutante.</scene_description> <character>GAIL</character> <dialogue>If we could make the minimum payment we wouldn't need an extension. We do want to pay something, though.</dialogue> <scene_description>We notice who the bill is addressed to: JOHN PAUL GETTY, JR.</scene_description> <character>PHONE REP (O.S.)</character> <dialogue>Tell me, Mrs Getty. What does your husband do?</dialogue> <character>GAIL</character> <dialogue>He's a poet. A good one.</dialogue> <character>PHONE REP (O.S.)</character> <dialogue>Any relation to the oil man Getty?</dialogue> <scene_description>She considers her answer carefully.</scene_description> <character>GAIL</character> <dialogue>Distant.</dialogue> <character>PHONE REP (O.S.)</character> <parenthetical>(laughs)</parenthetical> <dialogue>Must be, right?</dialogue> </scene> <scene> <stage_direction>EXT. BEVERLY HILLS APARTMENT DUPLEX -- DAY</stage_direction> <scene_description>Gail piles all three children into a Ford Fairlane. She holds the electric bill in her hand, along with her drawings.</scene_description> </scene> <scene> <stage_direction>INT. SPIEGEL CATALOG PUBLICATIONS -- ART DEPARTMENT -- DAY</stage_direction> <scene_description>Gail hands over her drawings. The girl at the desk pays $25 apiece, in cash. Gail wouldn't dream of counting the money.</scene_description> </scene> <scene> <stage_direction>INT. SOUTHERN CALIFORNIA EDISON -- DAY</stage_direction> <scene_description>Gail counts the money. She stuffs it in the tray at the payment window. She thumbs through what's left.</scene_description> </scene> <scene> <stage_direction>EXT. RODEO DRIVE, BEVERLY HILLS -- DAY</stage_direction> <scene_description>Gail walks through Beverly Hills with her three children in tow. She passes a store window and stops. It's Givenchy. She gazes longingly at the window display of a woman in an sapphire evening gown... and then we RACK FOCUS to the mother with three kids reflected in the glass.</scene_description> <character>ARIADNE (O.S.)</character> <dialogue>Are we going home now?</dialogue> <character>GAIL</character> <dialogue>One last stop, darling.</dialogue> </scene> <scene> <stage_direction>INT. WILSHIRE CORRIDOR OFFICE BUILDING -- DAY</stage_direction> <scene_description>Gail approaches the building's registry, with her children in tow. She steps closer. She takes off her sunglasses. There, encased beneath glass, are the white letters pressed into black felt: GETTY OIL CORPORATION -- 28TH FLOOR.</scene_description> <character>CONCIERGE (O.S.)</character> <dialogue>Excuse me, miss. May I help you?</dialogue> </scene> <scene> <stage_direction>EXT. WILSHIRE CORRIDOR OFFICE BUILDING -- DAY</stage_direction> <scene_description>Gail and her children stand out on the sidewalk, squinting up at the 20-story glass tower that looms above them.</scene_description> <character>PAUL</character> <dialogue>Must be eighty stories at least. How many stories is it, Mom?</dialogue> <character>GAIL</character> <dialogue>I don't know, darling. An awful lot of stories.</dialogue> <character>PAUL</character> <dialogue>What are we looking for, Mom?</dialogue> <scene_description>Gail puts her sunglasses back on.</scene_description> <character>GAIL</character> <dialogue>Your grandfather.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT -- LIVING ROOM -- NIGHT</stage_direction> <character>JOHN PAUL JR</character> <dialogue>I've never even met the man.</dialogue> <scene_description>JOHN PAUL GETTY II (known in the family as "Big Paul") is young, bearded and handsome, his feet propped up on the want ads on the coffee table before him.</scene_description> <character>JOHN PAUL JR</character> <dialogue>You know he refused to pay my mother a nickel of child support.</dialogue> <scene_description>Big Paul climbs out of his chair and digs around inside the desk drawers. The apartment is warm, bohemian, filled with paintings and books and music on the record player.</scene_description> <character>JOHN PAUL JR</character> <dialogue>When I was a boy, I would send my father letters. "Dear Daddy, how I wish I could meet you. I'll be waiting for you at the baseball diamond," that sort of thing.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>You know what he sent back?</dialogue> <scene_description>He hands Gail a letter. It's in little-boy handwriting, on lined paper -- but marked up with red ink.</scene_description> <character>JOHN PAUL JR</character> <dialogue>He mailed it back with the spelling corrected. Nothing else.</dialogue> <character>GAIL</character> <dialogue>He is your father, that's got to count for something, Paul, the rent is due and Christmas is coming.</dialogue> <character>JOHN PAUL JR</character> <dialogue>What would you have me do, Gail? Accost him on the street?</dialogue> <character>GAIL</character> <dialogue>We write him a letter and ask for a job. Any job. And this time, we'll get the spelling right.</dialogue> <scene_description>Gail goes to his chair, sits on his lap, and kisses him. He looks up at her: she's not an easy woman to say no to.</scene_description> <character>JOHN PAUL JR</character> <dialogue>You were never meant to be poor, Gail. I know that.</dialogue> <character>GAIL</character> <dialogue>We're not poor. We're broke. There's a difference.</dialogue> <character>JOHN PAUL JR</character> <dialogue>I don't want to be an oil man.</dialogue> <character>GAIL</character> <dialogue>I don't want you to either. I love you the way you are. All we need is enough to get by, but we're not getting by.</dialogue> <character>JOHN PAUL JR</character> <dialogue>I'm sorry, Gail.</dialogue> <character>GAIL</character> <dialogue>I'm tired of struggling. I'm ready for a different kind of life.</dialogue> <scene_description>Big Paul gets up, picks up the bottle of Chianti from the coffee table, and goes to the bedroom. We HOLD on Gail.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT -- LIVING ROOM -- NIGHT</stage_direction> <scene_description>Gail sets her husband's Smith-Corona down on the carpet. She inserts a clean page into the carriage.</scene_description> <character>GAIL (V.O.)</character> <dialogue>Dear Dad -- Father -- For years I struggled to understand why you kept your distance. Now I know you were giving me a chance to prove myself, on my own, free from the shadow of your achievements -- no, great --</dialogue> <parenthetical>(backspace, retypes)</parenthetical> <dialogue>-- immense achievements. I understand now what a sacrifice that must have been for you.</dialogue> <scene_description>She kneels before the typewriter, a pretty witch conjuring spirits.</scene_description> <character>GAIL (V.O.)</character> <dialogue>Now that I am a man, I have nothing left to prove, except to you. Let me prove myself to you, Father.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>As always, your loving -- no, your loyal son: John Paul Getty Two.</dialogue> <scene_description>She RIPS the page from the carriage and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT -- LIVING ROOM -- EVENING</stage_direction> <scene_description>MUSIC. Big Paul reaches into the fridge and pops the top on a can of Schlitz. Gail is making dinner on the stove. Big Paul slips his hands beneath her sweater to warm them.</scene_description> <character>GAIL</character> <dialogue>God, your hands are cold! Stop, the kids are -- I'm serious, you --</dialogue> <scene_description>Gail wriggles free and Big Paul dances her around the apartment to the BEACH BOYS' CHRISTMAS ALBUM as the children look on. There's a tree with presents beneath it.</scene_description> <character>JOHN PAUL JR</character> <parenthetical>(singing along)</parenthetical> <dialogue>He's the man with all the toys ...</dialogue> <scene_description>Gail gazes up at him, starry-eyed: for this one moment, all is right with the world. The BUZZER rings.</scene_description> <character>GAIL</character> <dialogue>That'll be Ms. Canzanelli telling us she's calling the police.</dialogue> <parenthetical>(pressing the button)</parenthetical> <dialogue>We're so sorry about the noise --</dialogue> <character>INTERCOM (O.S.)</character> <dialogue>I have a car waiting for Mr. John Paul Getty the Second, if you please.</dialogue> <character>GAIL</character> <dialogue>"The Second?"</dialogue> <scene_description>Little Paul goes to the window.</scene_description> <character>PAUL</character> <dialogue>Down in the street, look --</dialogue> <scene_description>OUTSIDE, a ROLLS-ROYCE PHANTOM is idling in the street.</scene_description> <character>GAIL</character> <dialogue>Oh my God, somebody died.</dialogue> <character>JOHN PAUL JR</character> <parenthetical>(realizing)</parenthetical> <dialogue>No, baby. We've been sent for.</dialogue> </scene> <scene> <stage_direction>INT. ROLLS-ROYCE PHANTOM -- EVENING</stage_direction> <scene_description>As "The Man With All The Toys" continues to play, the little family rides in the back of the Rolls, along with their hastily-packed bags. The kids exchange a look. Up ahead they see it --</scene_description> </scene> <scene> <stage_direction>EXT. AIRSTRIP -- EVENING</stage_direction> <scene_description>A LEARJET 23 private plane idling on the runway. The Rolls drives right up to the clamshell airstair.</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE -- ROME -- NIGHT</stage_direction> <scene_description>Little Paul wakes up in the back of another limousine. The other kids gaze amazedly out the window, their breath fogging the glass. Reflected in the window is the Roman coliseum.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL PALERMO -- NIGHT</stage_direction> <scene_description>A luxurious Roman hotel, with a mustached CONCIERGE waiting to receive them. A BELLMAN takes their bags.</scene_description> <character>CONCIERGE</character> <dialogue>Signore Getty is awaiting you.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL CORRIDOR -- NIGHT</stage_direction> <scene_description>Parked outside the door is a room-service cart piled high with dirty trays. A "NON DISTURBARE" sign hangs from the doorknob. The Concierge KNOCKS gently. We PUSH into</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SUITE -- NIGHT</stage_direction> <scene_description>A CLOTHESLINE is strung across the length of the room, from which are suspended a line of MEN'S UNDERPANTS on clothespins. Empty food containers and clothes are everywhere. And everywhere there is art: paintings and artifacts propped against the walls. Little Paul reaches into the mess and pulls out a small statuette lying on the floor: it's a MINOTAUR carved out of marble.</scene_description> <character>GAIL</character> <parenthetical>(taking it from him)</parenthetical> <dialogue>Don't touch that, sweetheart. Let's just keep our hands to ourselves. It's dirty.</dialogue> <parenthetical>(examining it)</parenthetical> <dialogue>And old. Possibly priceless.</dialogue> <character>GETTY (O.S.)</character> <dialogue>I deplore that word.</dialogue> <scene_description>They turn to see Getty emerge from the bedroom, freshly groomed and powdered.</scene_description> <character>GAIL</character> <dialogue>I'm sorry?</dialogue> <character>GETTY</character> <dialogue>Dirty and old I have no problem with at all. In fact I have some affection for them as they're the words most frequently used to describe me, along with rich.</dialogue> <scene_description>Getty goes to the mirror, inserts a tie bar into his collar.</scene_description> <character>GETTY</character> <dialogue>But priceless -- that's another thing entirely. People say priceless when what they really mean to say that something is invaluable, or irreplaceable. That Minotaur statuette in your hands, for instance, dates from 460BC; there are only a handful like it remaining, and none in such pristine condition. I'm sure those fuckers at the Met or the British Museum would kill to get their greasy paws on it.</dialogue> <character>LITTLE PAUL</character> <dialogue>He just said --</dialogue> <character>GAIL</character> <dialogue>Paul.</dialogue> <character>GETTY</character> <dialogue>Would you care to guess what I paid for it?</dialogue> <character>GAIL</character> <dialogue>I wouldn't know where to begin.</dialogue> <character>GETTY</character> <dialogue>Oh, you're too modest. You've got taste, I can tell. I think you know a good deal about art.</dialogue> <character>GAIL</character> <dialogue>I do. I just don't know what it costs.</dialogue> <character>GETTY</character> <dialogue>Well then, you'll learn. Come on, indulge an old fool. What do you think I paid?</dialogue> <character>GAIL</character> <dialogue>Five hundred thousand dollars.</dialogue> <character>GETTY</character> <dialogue>Eleven dollars and twenty-three cents. I picked it up in the black market in Heraklion. This cripple was asking seventeen dollars for it and it took me an hour to bring him down to his bottom line. At Sotheby's today I'd hazard it'd bring $1.2 million.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>You see, priceless is such an insipid word. Everything has a price. The great struggle in life is coming to grips with what that price is.</dialogue> <scene_description>He crouches down and offers the figurine to Little Paul.</scene_description> <character>GETTY</character> <dialogue>I want you to have it.</dialogue> <character>JOHN PAUL JR</character> <dialogue>We couldn't.</dialogue> <character>GETTY</character> <dialogue>Do you like it, Paul?</dialogue> <character>PAUL</character> <dialogue>That's OK. I don't need it.</dialogue> <character>GETTY</character> <dialogue>I insist.</dialogue> <character>GAIL</character> <dialogue>I insist. We can't. It's far too extravagant for a little boy.</dialogue> <character>GETTY</character> <dialogue>For most little boys, it would be.</dialogue> <scene_description>Getty hands the boy the statue.</scene_description> <character>GETTY</character> <dialogue>But not for a Getty.</dialogue> <scene_description>Little Paul takes the figurine; it's done. They're forced to accept it. Gail and Big Paul smile awkwardly.</scene_description> <character>GAIL</character> <dialogue>Thank you. We'll treasure it.</dialogue> <character>GETTY</character> <dialogue>Thanks are for strangers. You're family. You're my family. Come here, let me look at you.</dialogue> <parenthetical>(brings Big Paul close)</parenthetical> <dialogue>Son. My son. My grandson.</dialogue> <parenthetical>(to Gail)</parenthetical> <dialogue>My daughter.</dialogue> <character>GAIL</character> <dialogue>Daughter-in-law, I'm afraid.</dialogue> <character>GETTY</character> <dialogue>Nonsense. You're not just some district judge's daughter anymore. You're one of our family now.</dialogue> <scene_description>Getty turns to his son:</scene_description> <character>GETTY</character> <dialogue>I had to focus on my mission, you understand. My business. I couldn't be weighed down, mentally, with a family. There was work to be done. You understand that, don't you.</dialogue> <scene_description>Big Paul is silent. Getty darkens, glowering, then walks away, pushing the clothesline aside as he crosses the room.</scene_description> <character>GETTY</character> <dialogue>Pardon the laundry. I wash my undershorts myself, in the bathroom sink.</dialogue> <character>GETTY</character> <dialogue>I see no reason to pay ten dollars to have room service launder them when I can do it myself for a few lira. What kind of rube do they take me for? Which reminds me --</dialogue> <scene_description>He takes out a small notebook and golf pencil and writes an entry: LAUNDRY SOAP -- 22 LIRA.</scene_description> <character>GETTY</character> <dialogue>It's tax-deductible. Almost everything is, if you know how to play it. What in hell are we doing standing around in this dusty old hotel room? We should be celebrating. That's what families do, right?</dialogue> <character>LITTLE PAUL (V.O.)</character> <dialogue>After that, everything changed.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- PIAZZA NAVONA -- DAY</stage_direction> <scene_description>Gail throws open the windows. The family is moving into a light-filled apartment. Gail is unpacking when she finds it --</scene_description> <character>LITTLE PAUL (V.O.)</character> <dialogue>Dad became an executive in Grandpa's company. Mom found us an apartment near the Piazza Navona.</dialogue> <scene_description>-- the Minotaur figurine wrapped in her scarf. It makes her anxious. She finds a shoebox and stashes it in the closet.</scene_description> <character>LITTLE PAUL (V.O.)</character> <dialogue>And Grandpa started my education.</dialogue> </scene> <scene> <stage_direction>EXT. ROMAN TUNNEL -- DAY</stage_direction> <scene_description>We return to the SILHOUETTES of Getty and Paul as they walk hand-in-hand through the darkened, ancient tunnel.</scene_description> <character>GETTY</character> <dialogue>Come on, I want to show you something.</dialogue> <scene_description>We FOLLOW them through the mouth of the tunnel. They look out upon it: the boy is awed.</scene_description> <character>PAUL</character> <dialogue>What is it?</dialogue> <character>GETTY</character> <dialogue>It's home.</dialogue> <scene_description>We step out into the sunlight of</scene_description> </scene> <scene> <stage_direction>EXT. HADRIAN'S VILLA -- DAY</stage_direction> <scene_description>AN ANCIENT ROMAN VILLA in the mountains overlooking Rome, ringed by statues of the Roman gods. Getty leads Paul on a house tour:</scene_description> <character>GETTY</character> <dialogue>This is where I slept with my wife, Sabina. This here is where I ate roast wild boar with my generals. This is where I made love to my concubines. And this is where I took my baths.</dialogue> <character>PAUL</character> <dialogue>You used to live here?</dialogue> <character>GETTY</character> <dialogue>In the second century, when I was the Emperor Hadrian. I knew it the moment I first visited this place. I remembered every stone as clearly as if I'd just come back from a trip to the store for a pack of smokes. I never felt at home anywhere on Earth until I came here.</dialogue> <character>PAUL</character> <dialogue>Maybe they'd let you stay. Overnight, like. Get a tent and a sleeping bag --</dialogue> <character>GETTY</character> <dialogue>Oh, I tried, believe me. I made them an offer, a very generous offer!</dialogue> <character>PAUL</character> <dialogue>Them?</dialogue> <character>GETTY</character> <dialogue>Rome. The Romans. But when they hear the name Getty they all get dollar signs in their eyes. They said it wasn't for sale.</dialogue> <character>PAUL</character> <dialogue>Figures.</dialogue> <character>GETTY</character> <dialogue>Exactly. That old tactic. That's what I'm talking about, Paul.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>To be a Getty is to have everyone you know secretly want a piece of you. You are surrounded, always, by smiling faces, but you have no one.</dialogue> <character>PAUL</character> <dialogue>You have us.</dialogue> <character>GETTY</character> <parenthetical>(deeply moved)</parenthetical> <dialogue>That's true. I have you now. And to think it was almost too late. All I've built would crumble into dust if there's no one to carry it on after I'm gone.</dialogue> <parenthetical>(takes Paul's hand)</parenthetical> <dialogue>The blood of emperors runs through you, as it does through me. You're a Getty, Paul. You have a destiny.</dialogue> </scene> <scene> <stage_direction>EXT. YACHT/BOAT HARBOR, PORTOFINO, ITALY -- DAY</stage_direction> <scene_description>Gail, Big Paul and the children descend the gangplank onto a 47-foot yacht. Beautiful COUPLES and their children are already relaxing on deck with cocktails and music. ISABELLE and JULIAN, the hosts, wave happily as they descend.</scene_description> <character>ISABELLE</character> <dialogue>Jules, it's the Gettys!</dialogue> <parenthetical>(kisses, greetings)</parenthetical> <dialogue>We were worried you'd been abducted.</dialogue> <character>GAIL</character> <dialogue>If I were you I'd make us walk the plank.</dialogue> <character>ISABELLE</character> <dialogue>Not until we've got a few drinks in you first. And this must be John Paul II?</dialogue> <character>PAUL</character> <dialogue>And III.</dialogue> <scene_description>Charmed LAUGHTER. Big Paul looks a bit taken aback.</scene_description> <character>JOHN PAUL JR</character> <dialogue>No Roman numerals, please. We're American. Just Paul is fine, for both of us.</dialogue> </scene> <scene> <stage_direction>EXT. LIGURIAN SEA -- DAY</stage_direction> <scene_description>Bronzed bodies lie in the sun alongside sweating gin-and- tonics as the yacht glides over a stained-glass sea. Little Paul tiptoes over and around them -- -- to the bow of the boat, where Gail stands, wearing a white shift dress, her eyes closed: an Aegean goddess. She sees Little Paul, holds out her hand to him, and brings him close.</scene_description> <character>PAUL</character> <dialogue>I feel like we're flying.</dialogue> <character>GAIL</character> <dialogue>Me too, darling.</dialogue> <parenthetical>(whispers)</parenthetical> <dialogue>The whole world, for you.</dialogue> <scene_description>She hold him as they gaze into the approaching horizon.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM -- DAY</stage_direction> <scene_description>Getty, Little Paul, and Big Paul all sit at the breakfast table, attended by BULLIMORE, a butler in a morning coat. Getty eats a half grapefruit. Big Paul seems hung over. Little Paul eats Cheerios as he reads Getty's mail to him.</scene_description> <character>PAUL</character> <dialogue>"Dear Mr. Getty, I am writing you because we are in desperate straits. My husband suffers from a tumor that has caused his groin area to swell to uncontrollable dimensions. The doctors say without immediate surgery normal movement will soon become impossible. God bless you, you are a Great American, Elvira Broadus, Mound City, Arkansas."</dialogue> <scene_description>Getty dictates as the boy transcribes his response:</scene_description> <character>GETTY</character> <dialogue>Dear Mrs. Broadus, while I am sympathetic to your unique situation, you are one of three thousand people daily who write to me asking for money. If I were to respond to every request for money I receive, I would soon be as destitute as yourself.</dialogue> <scene_description>The boy seems slightly downcast.</scene_description> <character>GETTY</character> <dialogue>Yours, JP Getty. Next.</dialogue> <scene_description>The boy places the form letter into an envelope, addresses it, and sets it on a pile of identical letters. Little Paul picks up a new letter and opens it.</scene_description> <character>PAUL</character> <dialogue>"Dear Mr. Getty --"</dialogue> <character>JOHN PAUL JR</character> <dialogue>Surely you can find someone else to answer your mail.</dialogue> <character>PAUL</character> <dialogue>I like it, Dad.</dialogue> <character>GETTY</character> <dialogue>He likes it, son. The boy wants to be useful. I find that admirable. It's a family business. Everyone has a role to play. Which reminds me: I'm firing Howard Larkin. I'm making you Executive Vice President of Getty Oil, with oversight over European operations and exploration.</dialogue> <character>JOHN PAUL JR</character> <dialogue>All I know about oil is regular or unleaded.</dialogue> <character>GETTY</character> <dialogue>You wanted a job. I'm giving you one. Sink or swim.</dialogue> <scene_description>BLACK OUT.: FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. LE PALAIS DU ZAHIR, MARRAKECH, MOROCCO -- MORNING</stage_direction> <scene_description>CLOSE on Little Paul's sleeping face. He is older now, almost in his teens. His eyes open. He sits up and looks around. We are in a vast room piled with pillows and carpets, and people sleeping upon them. Thick smoke hangs in the air.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- MORNING</stage_direction> <scene_description>Paul pours a bowl of cereal. There are others here, shirtless skinny men with beards and long hair; he doesn't know them.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM -- MORNING</stage_direction> <scene_description>A huge round bed within a tent-like canopy of brocaded silk dominates the room. A man and a woman are sleeping there. Paul lifts the flap of the canopy and climbs into the bed with his cereal. We realize that, beneath the long hair and the beard, the man is Big Paul, his father.</scene_description> <character>PAUL</character> <parenthetical>(whispering)</parenthetical> <dialogue>Dad.</dialogue> <parenthetical>(increasing volume)</parenthetical> <dialogue>Dad. Dad. Dad.</dialogue> <scene_description>Big Paul does not move. Little Paul turns and looks at the woman beside him; she is not his mother, but a remarkable dark-haired beauty, a model. Upon the nightstand there's a glass of wine, a lighter, a glassine bag, a burnt spoon.</scene_description> <character>PAUL</character> <dialogue>Dad. Dad. Dad.</dialogue> <scene_description>Finally, Paul realizes it's pointless and gives up.</scene_description> </scene> <scene> <stage_direction>INT. GETTY OIL COMPANY, LOS ANGELES -- DAY</stage_direction> <scene_description>Gail Getty paces in the front lobby of Getty's headquarters.</scene_description> <character>IACOVONI</character> <dialogue>This poor woman, what she has endured!</dialogue> <scene_description>Gail is impeccably dressed and attended by her Italian attorney, the high-strung, diminutive GIOVANNI IACOVONI.</scene_description> <character>IACOVONI</character> <dialogue>The decadence of the father, a depraved drug addict, living in a palace in Marrakech filled with hippie parasites. How she suffers with worry for her son!</dialogue> <character>GAIL</character> <dialogue>Giovanni, enough. This isn't Italy. We're not going before the Pope for an annulment.</dialogue> <character>IACOVONI</character> <dialogue>I know this, signora. I do this simply to get my blood flowing.</dialogue> <character>GAIL</character> <dialogue>It's all business to them.</dialogue> <scene_description>A TEAM OF SUITS file past en route to the conference room.</scene_description> <character>GAIL</character> <dialogue>I wonder how many people have ever managed to walk out of that conference room in one piece.</dialogue> <character>IACOVONI</character> <dialogue>Signora. Do not underestimate the power of a mother's love.</dialogue> <character>GAIL</character> <dialogue>Right now I'd rather have a billionaire's money.</dialogue> <character>SECRETARY (O.S.)</character> <dialogue>Ms Getty, they're ready for you now.</dialogue> </scene> <scene> <stage_direction>INT. BOARD ROOM -- DAY</stage_direction> <scene_description>A long conference table, lined on either side with ATTORNEYS. At one end sits Gail Getty, with Iacovoni by her side.</scene_description> <character>ATTORNEY</character> <dialogue>Of course, we expect Ms. Getty will be seeking a generous financial settlement, as is typical in high- profile divorce cases.</dialogue> <scene_description>At the other end sits J Paul Getty, silent and aloof. Beside him, his lead attorney, OSWALD HINGE.</scene_description> <character>HINGE</character> <dialogue>As pertains to custody, there is the matter of Ms. Getty's fitness as a mother.</dialogue> <character>IACOVONI</character> <dialogue>The father is a drug addict who cannot tie his own shoes. You would leave the boy alone in Morocco with a rich degenerate?</dialogue> <character>HINGE</character> <dialogue>The court will take a close interest in her psychological profile. We are asking the judge to order a complete evaluation by a panel of psychiatrists.</dialogue> <character>IACOVONI</character> <dialogue>Ms Harris suffers from a common affliction among the intelligent women, which is to fall in love with lo imbrogliare, losers, bums. Aside from this, she is in perfect mental health, you know this as well as I do. You are simply stalling, using the boy as a bargaining chip.</dialogue> <character>HINGE</character> <dialogue>We have all the time in the world.</dialogue> <character>IACOVONI</character> <parenthetical>(rising)</parenthetical> <dialogue>We will see you before the judge.</dialogue> <character>GAIL (O.S.)</character> <dialogue>A deal.</dialogue> <scene_description>All eyes turn toward Gail.</scene_description> <character>HINGE</character> <dialogue>Did you say something?</dialogue> <character>GAIL</character> <dialogue>The offer I'm about to make expires at the end of business today.</dialogue> <character>IACOVONI</character> <dialogue>Gail, please --</dialogue> <character>HINGE</character> <dialogue>What is your offer, Ms. Harris?</dialogue> <character>GAIL</character> <dialogue>Nothing. You pay nothing. No settlement, no alimony, no community property, no child support, nothing.</dialogue> <scene_description>Getty breaks in:</scene_description> <character>GETTY</character> <dialogue>I don't get it.</dialogue> <character>GAIL</character> <dialogue>In exchange, I want my son on a plane back home tonight. And full custody.</dialogue> <character>GETTY</character> <dialogue>What's your game?</dialogue> <character>GAIL</character> <dialogue>I don't want your money.</dialogue> <character>GETTY</character> <dialogue>Everybody wants my money.</dialogue> <character>GAIL</character> <dialogue>You want your money. I want Paul. We can both have what we want.</dialogue> <character>GETTY</character> <dialogue>I sense I'm being taken, I just don't know how.</dialogue> <character>HINGE</character> <dialogue>Mr. Getty, why don't we take this under advisement.</dialogue> <scene_description>Gail removes her jewelry -- her engagement ring, earrings -- and sets them on the table before her.</scene_description> <character>GAIL</character> <dialogue>I've watched you for years. You can't help yourself. Stiffing the bellboy. Re-using your dental floss. Searching other people's seat cushions for loose change --</dialogue> <scene_description>Getty darkens. Gail changes tack, flattering him:</scene_description> <character>GAIL</character> <dialogue>You didn't get where you are without a healthy regard for the value of a dollar. You know a bargain when you see one. You know how to seize the initiative when your opponent is at his weakest. What I'm offering is the greatest bargain you're ever going to get. But free never lasts.</dialogue> <scene_description>She rises, leaving the jewelry on the table. Iacovoni tries to interrupt, but she ignores him.</scene_description> <character>GAIL</character> <dialogue>Six o'clock.</dialogue> <scene_description>HOLD on Getty. Over the sound of a PLANE LANDING we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROME FIUMICINO AIRPORT -- EVENING</stage_direction> <scene_description>Little Paul emerges from the gate into Gail's arms. She holds him tightly, exhausted and relieved. For a moment, he accepts her embrace, but then:</scene_description> <character>PAUL</character> <dialogue>I wanted to stay.</dialogue> <character>GAIL</character> <dialogue>Let's just go home, OK?</dialogue> <character>PAUL</character> <dialogue>I was happy with Dad and Talitha. Why'd you have to ruin it?</dialogue> <scene_description>He pulls away from her. As they walk through the airport, Paul walks on ahead, pulling farther away from her. Gail begins to reach out for him, but stops herself, giving him his freedom, until he is nearly lost in the crowd.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- PAUL'S ROOM -- DAWN</stage_direction> <scene_description>Gail has been up all night. We have come full circle now, and have returned to the night of Paul's disappearance. Gail stands in the door of Paul's room, gazing at his bed, which has not been slept in. Her other two kids are asleep.</scene_description> <character>GAIL (V.O.)</character> <dialogue>Call me if you hear from him. No questions asked. Just tell him to come home.</dialogue> <scene_description>Gail hangs up the phone. She closes Paul's address book. QUICK CUTS: with no other way to fill her time, she tries to work at her drafting table. She can't focus. She cleans the bathroom instead. She washes the sheets in the sink.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- DAWN</stage_direction> <scene_description>Gail lies passed out on the bathroom floor, still wearing her rubber gloves. The apartment is immaculate. The kitchen phone RINGS. She wakes, rises, goes to it.</scene_description> <character>GAIL</character> <dialogue>Yes. Si?</dialogue> <scene_description>The low VOICE on the other end speaks English with an accent.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Signora. We have your son.</dialogue> <character>GAIL</character> <dialogue>Oh, God, thank you. Is he all right?</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>Signora, we are kidnappers and have him captive.</dialogue> <scene_description>A long silence.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Are you still there?</dialogue> <character>GAIL</character> <dialogue>Is this some kind of joke?</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>No.</dialogue> <character>GAIL</character> <dialogue>There must be some mistake.</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>No mistake. He is not harmed. We will send proof in the coming days.</dialogue> <character>GAIL</character> <dialogue>Who are you?</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>I am Cinquanta. Paul is safe, but it will require $17 million to release him. Go to the police if you like, it makes no difference.</dialogue> <character>GAIL</character> <dialogue>I don't have any money.</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>Get it from your father-in-law. He has all the money in the world.</dialogue> <scene_description>DIAL TONE. In the distance, we hear a SIREN approaching.</scene_description> </scene> <scene> <stage_direction>INT./EXT. SUTTON PLACE (SURREY, ENGLAND) -- DAY</stage_direction> <scene_description>The PHONE CLATTERS into the receiver again. The secretary runs across the grounds, past the lion, up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. ATELIER -- DAY</stage_direction> <scene_description>Getty sits at his desk, his phone to his ear.</scene_description> <character>SECRETARY</character> <dialogue>They're here, Mr Getty.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- CORRIDOR -- DAY</stage_direction> <scene_description>Getty walks down a long mirrored corridor. He buttons his jacket, straightens his tie, shoots his cuffs.</scene_description> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- GREAT HALL -- DAY</stage_direction> <scene_description>A throne room, literally. The chamber is lined with enormous tapestries and gilt mirrors. One side of the room is empty, the other packed with a rabble of Fleet Street news reporters. When Getty enters, they start baying like hounds for his attention:</scene_description> <character>TELEGRAPH REPORTER</character> <dialogue>Mr. Getty! Mr Getty! How much is the ransom for your grandson?</dialogue> <character>GETTY</character> <dialogue>I don't know. I'll bet it's a lot.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Gail is in the kitchen with the phone receiver pressed to her ear, her eyes closed. Gail's attorney Giovanni Iacovoni is there, along with several Roman Squadra Mobile OFFICERS.</scene_description> <character>SECRETARY (O.S.)</character> <dialogue>I'm sorry, Ms. Getty. Mr. Getty is unavailable at the moment.</dialogue> <character>GAIL</character> <dialogue>Tell him it's regarding his grandson's kidnapping in Rome. I'll wait.</dialogue> <scene_description>Gail looks out the window: in the street, dozens of REPORTERS and PAPARAZZI are teeming. At the sight of her face in the window they turn their cameras on her, flashes firing.</scene_description> <character>IACOVONI (O.S.)</character> <dialogue>Signora! The television!</dialogue> <scene_description>Gail stretches the phone cord into the living room to see her two other kids watching Getty's press conference on TV.</scene_description> <character>GAIL</character> <parenthetical>(stunned)</parenthetical> <dialogue>Never mind. I've found him.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- GREAT HALL -- DAY</stage_direction> <scene_description>Standing before the reporters, Getty seems vague, distracted.</scene_description> <character>DAILY MAIL REPORTER</character> <dialogue>Daily Mail here, Mr. Getty. We have reports that a note has arrived written in the boy's handwriting, demanding 17 million US dollars.</dialogue> <character>GETTY</character> <parenthetical>(whistles)</parenthetical> <dialogue>$17 million? That's a lot of money for such a young boy.</dialogue> <character>BBC REPORTER</character> <dialogue>What steps will you be taking to secure your grandson's safety?</dialogue> <character>GETTY</character> <dialogue>None.</dialogue> <scene_description>The reporters are momentarily stunned silent.</scene_description> <character>BBC REPORTER</character> <dialogue>I'm afraid we didn't get that, sir.</dialogue> <character>GETTY</character> <dialogue>I have fourteen grandchildren. If I pay the ransom I will have fourteen kidnapped grandchildren.</dialogue> <scene_description>A MURMUR from the reporters as they process this statement.</scene_description> <character>DAILY MAIL REPORTER</character> <dialogue>You're a famously ruthless negotiator, Mr. Getty.</dialogue> <character>GETTY</character> <dialogue>It's just that there's so little in life worth paying full price for.</dialogue> <character>DAILY MAIL REPORTER</character> <dialogue>How much would you pay for your grandson, if not 17 million?</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Gail watches Getty on TV. His eyes are devoid of emotion.</scene_description> <character>GETTY</character> <dialogue>Nothing. Good day, gentlemen.</dialogue> <scene_description>Getty turns and walks away. The press conference is over.</scene_description> <character>TELEGRAPH REPORTER</character> <parenthetical>(calling out)</parenthetical> <dialogue>Mr. Getty! What will you do to save your grandson's life?</dialogue> <scene_description>ON THE TV SCREEN: the door closes and Getty is gone.</scene_description> <character>SECRETARY (O.S.)</character> <dialogue>Ms. Getty? Are you still there?</dialogue> <character>GAIL</character> <dialogue>I'm still here.</dialogue> <character>SECRETARY (O.S.)</character> <dialogue>Would you like me to give Mr. Getty a message?</dialogue> <character>GAIL</character> <dialogue>Tell him I'm coming.</dialogue> </scene> <scene> <stage_direction>INT. ATELIER -- DAY</stage_direction> <scene_description>Getty returns to his office, followed by his secretary. She gives him Gail's message on a slip of paper; he folds it once, then throws it away. Getty stands there for a moment, pensive. The ticker-tape coils up snakelike on the floor at his feet, ignored. What will you do to save your grandson's life? Getty turns: his secretary is still standing there, gazing at him with those tremulous, pleading eyes. Then:</scene_description> <character>GETTY</character> <dialogue>Get me Fletcher Chace.</dialogue> <scene_description>CUT TO: THE SAUDI DESERT undulates beneath us as we SOAR above it, from the POV of a Peregrine falcon. We come over a rise and descend INTO --</scene_description> </scene> <scene> <stage_direction>INT. BEDOUIN TENT -- DAY</stage_direction> <scene_description>-- and onto the arm of a SHEIKH. The sheikh wears a Patek Phillipe and sunglasses, as do the others lounging on pillows. One man stands out from the rest: an American in a wrinkled khaki suit. God knows how he got here, but FLETCHER CHACE grins like a man who holds all the cards or is bluffing for all he's worth.</scene_description> <character>CHACE</character> <dialogue>I feel for your situation, Your Royal Highness. Truly I do.</dialogue> <character>PRINCE AL-RASHID</character> <dialogue>Our agreement with Getty has brought us nothing but problems. The younger generation has become weak and lazy. Our children care about nothing but Lamborghinis and discotheques.</dialogue> <character>CHACE</character> <dialogue>Perhaps then you would do well to accept our competitor's offer.</dialogue> <character>PRINCE AL-RASHID</character> <dialogue>How so, Mr Chace?</dialogue> <character>CHACE</character> <dialogue>Maybe Standard Oil will find ways to siphon all that money away with their accounting tricks, and bring your wayward children closer to God.</dialogue> <scene_description>Fletcher Chace grins. The princes don't.</scene_description> <character>CHACE</character> <dialogue>Kidding aside, your highness. My employer has made you rich.</dialogue> <character>PRINCE AL-RASHID</character> <dialogue>Not as rich as him.</dialogue> <character>CHACE</character> <dialogue>If you renew your land-use agreement with Getty, he'll make you twice as rich. Can Standard Oil say that?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>In America we have a saying: better to deal with the devil you know than the devil you don't.</dialogue> <scene_description>Another prince speaks, in Arabic:</scene_description> <character>PRINCE AL-WALID</character> <parenthetical>(to Al-Rashid)</parenthetical> <dialogue>You know where Getty hired this one from? He belongs to the den of CIA spies that brought down Mossadegh --</dialogue> <character>CHACE</character> <parenthetical>(in Arabic)</parenthetical> <dialogue>Belonged, Your Royal Highness. Past tense, please.</dialogue> <parenthetical>(in English)</parenthetical> <dialogue>I don't have the stomach for politics anymore. People tend to get hurt, and it's usually all the wrong people. Business is better. Nobody dies, they just go broke.</dialogue> <character>PRINCE AL-RASHID</character> <dialogue>For some people going broke is worse.</dialogue> <character>CHACE</character> <dialogue>That's why I work for Getty now. I've noticed people have a way of getting rich just standing next to him. People like you.</dialogue> <character>PRINCE AL-WALID</character> <dialogue>We don't need the Americans anymore. Our cartel, OPEC, will control inventory now. OPEC will set the oil price.</dialogue> <character>CHACE</character> <dialogue>Nothing would make Mr. Getty happier than to see the price of oil higher. In fact, he'd be happy to help.</dialogue> <scene_description>Off on the horizon, a DUST DEVIL approaches, spiraling into the sky like a tornado.</scene_description> <character>PRINCE AL-RASHID</character> <dialogue>Subhan Allah. Look.</dialogue> <scene_description>The sheikhs marvel at it, and then it is upon us: A DUNE BUGGY comes over the berm, fishtailing to a stop in the sand as the camels hiss and spit. A spattered OIL LANDMAN steps out of the dune buggy. He staggers through the sand and walks up to Fletcher Chace.</scene_description> <character>OIL LANDMAN</character> <dialogue>The old man wants you. Now.</dialogue> </scene> <scene> <stage_direction>EXT. SUTTON PLACE (SURREY, ENGLAND) -- FRONT HALL -- DAY</stage_direction> <scene_description>Gail Getty sits in a chair in the mansion's waiting area. She's clad in Chanel from head-to-toe like a suit of armor, along with a look of steely determination.</scene_description> <character>BULLIMORE</character> <dialogue>I'm afraid Mr. Getty is traveling at the moment and is unavailable.</dialogue> <scene_description>Gail eyes the dark-suited security guard in the corridor.</scene_description> <character>GAIL</character> <dialogue>Do you know why I'm here, Bullimore?</dialogue> <character>BULLIMORE</character> <dialogue>Yes ma'am, I do.</dialogue> <character>GAIL</character> <dialogue>You wouldn't have me thrown out, would you, Bullimore?</dialogue> <character>BULLIMORE</character> <dialogue>I would never turn you away from my home, ma'am. Or little Paul. But... this is not my home.</dialogue> <scene_description>An offscreen bell CHIMES. Bullimore excuses himself and lets a man in. It's Fletcher Chace. Bullimore takes his coat and umbrella and shows him to an adjacent waiting area. Chace leafs through a magazine. From his vantage, we can just spy a pair of STOCKING-CLAD LEGS around the corner. Chace rises, drifts into the front parlor, and pretends to examine a Vermeer still-life.</scene_description> <character>GAIL</character> <dialogue>How much would you say that painting's worth?</dialogue> <character>CHACE</character> <dialogue>Hell if I know. Awfully small.</dialogue> <character>GAIL</character> <dialogue>It's a Vermeer. If I took it off the wall, do you think anyone would notice?</dialogue> <character>CHACE</character> <dialogue>A silent alarm would go off. The dogs would get to you before you made it to the fence. With a face as pretty as that... I wouldn't.</dialogue> <character>GAIL</character> <dialogue>You seem very knowledgeable.</dialogue> <character>CHACE</character> <dialogue>About paintings, no. About other things, some.</dialogue> <scene_description>Chace sits down opposite Gail.</scene_description> <character>CHACE</character> <dialogue>He's a tough old goat to get an audience with.</dialogue> <character>BULLIMORE (O.S.)</character> <dialogue>Mr. Chace. If you'll come with me.</dialogue> <character>GAIL</character> <dialogue>Apparently not.</dialogue> <scene_description>Chace smiles sheepishly, rises, and leaves with Bullimore.</scene_description> <character>CHACE</character> <dialogue>I need to stop off at the kitchen first, if that's all right.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN -- SUTTON PLACE -- DAY</stage_direction> <scene_description>Chace uses a butcher's knife to cut a strip of raw meat from a porterhouse steak. He cuts the strip into cubes.</scene_description> </scene> <scene> <stage_direction>EXT. SUTTON PLACE -- REFLECTING POOL -- DAY</stage_direction> <scene_description>A GERMAN SHEPHERD patrols the grounds. Chace crouches; the dog runs to him. Chace feeds him the steak.</scene_description> <character>CHACE</character> <dialogue>That's it, Skip. Attaboy. What's this?</dialogue> <scene_description>He checks the dog's name tag: it reads "ANUBIS."</scene_description> <character>CHACE</character> <parenthetical>(re: the nametag)</parenthetical> <dialogue>Sorry about that, fella. Some things we don't get to choose.</dialogue> <scene_description>Chace takes in the scene by the pool: Getty sits on a chaise lounge beside a young STARLET in a bathing suit. Getty laughs and jokes with her; she seems genuinely charmed.</scene_description> <character>GETTY (O.S.)</character> <dialogue>This world was forged by two kinds of men, Mr Chace.</dialogue> <scene_description>CUT TO: Getty strolls with Chace around the pool.</scene_description> <character>GETTY</character> <dialogue>Men of enterprise, like myself. And men of action, like you. What you and I share is what most men lack: a willingness to embrace enormous risk. I risk my money. You risk your life.</dialogue> <character>CHACE</character> <dialogue>I prefer to risk the other guy's life, actually.</dialogue> <character>GETTY</character> <dialogue>I like to risk the other guy's money, too. My point is we represent a very small minority of mankind. The herd feeds off what we accomplish. These people who took my grandson -- what do you think I should have done?</dialogue> <character>CHACE</character> <dialogue>You did the right thing. They won't hurt the boy, he's a winning lottery ticket. Pay them too quickly and they may be afraid they asked for too little. They might come back for another bite.</dialogue> <character>GETTY</character> <dialogue>If only everyone was as clear-headed as you.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- ENTRY HALL -- DAY</stage_direction> <scene_description>Gail is still cooling her heels in Getty's front hall. She rises and approaches Bullimore.</scene_description> <character>GAIL</character> <dialogue>I need to phone my attorney to find out if there's been any contact from the kidnappers.</dialogue> <character>BULLIMORE</character> <dialogue>Of course, Ma'am. This way.</dialogue> <scene_description>Bullimore leads Gail around the corner of the entry hall. He shows her to a RED PUBLIC TELEPHONE BOOTH of the kind found on the streets of London.</scene_description> <character>BULLIMORE</character> <dialogue>Mr. Getty had it installed specially for his guests' convenience, in case they wanted to make telephone calls.</dialogue> <character>GAIL</character> <dialogue>Rome is long distance.</dialogue> <character>BULLIMORE</character> <dialogue>I am able to provide change.</dialogue> <scene_description>Bullimore produces a small change dispenser. Gail stares at him. She reaches into her purse and gives him a ten-pound note. Bullimore parses out the coins.</scene_description> <character>BULLIMORE</character> <dialogue>I'll leave you in private.</dialogue> </scene> <scene> <stage_direction>EXT. SUTTON PLACE -- REFLECTING POOL -- DAY</stage_direction> <character>GETTY</character> <dialogue>You don't have children, do you, Chace.</dialogue> <scene_description>Chace shakes his head.</scene_description> <character>CHACE</character> <dialogue>I guess it didn't seem right, doing what I do for a living. Maybe I never found the right situation. I liked my freedom.</dialogue> <character>GETTY</character> <dialogue>I know just what you mean. There's something my father always used to say: "The man who has children gives hostages to fortune."</dialogue> <character>CHACE</character> <dialogue>Your father was a wise man.</dialogue> <character>GETTY</character> <dialogue>He told me I'd never be worth a damn. So I made him look like a pauper.</dialogue> <character>CHACE</character> <dialogue>Well. You certainly did that.</dialogue> <scene_description>An awkward silence, then:</scene_description> <character>GETTY</character> <dialogue>I love my grandson, Chace.</dialogue> <character>CHACE</character> <dialogue>I'm sure you do, sir.</dialogue> <character>GETTY</character> <dialogue>I love all my grandchildren, of course. But Paul is special.</dialogue> <character>GETTY</character> <dialogue>I don't know what I would do if anything happened to that boy. I want you to go to Rome and bring him back, as quickly and inexpensively as possible.</dialogue> <character>CHACE</character> <dialogue>I'm going to need some kind of resources to work with if you want him back alive.</dialogue> <character>GETTY</character> <dialogue>Of course. But I don't want you just giving my money away, see. Find the boy, Chace. And find out who took him.</dialogue> <scene_description>Chace walks away, a look of uncertainty on his face.</scene_description> <character>GETTY</character> <dialogue>Chace. There's one more thing.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>The boy's mother.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- ENTRY HALL -- DAY</stage_direction> <scene_description>Gail Getty sits in the phone booth, stuffing 50p coins into the coin slot.</scene_description> <character>GAIL</character> <dialogue>I'm running out of change, Giovanni... Giovanni?</dialogue> <scene_description>The phone goes dead. She's out of change. She hangs up the receiver and slouches into the phone booth, dejected.</scene_description> <character>CHACE (O.S.)</character> <dialogue>Ma'am?</dialogue> <scene_description>Gail looks up. Fletcher Chace is standing there.</scene_description> <character>CHACE</character> <dialogue>My name is Fletcher Chace. I'm going to help you find your son.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- ENTRY HALL -- DAY</stage_direction> <scene_description>Gail walks back into the entry hall, annoyed. Chace follows.</scene_description> <character>GAIL</character> <dialogue>I'm sure you're quite good at what you do, Mr. Chace. My former father- in-law only buys the best.</dialogue> <character>GAIL</character> <dialogue>But I don't need a retired policeman, or a former secret agent, or a plastic toy soldier to solve the mystery of what happened to my son, because there is no mystery. I don't need a man of danger to catch the criminals. I need one thing only, and that is seventeen million dollars.</dialogue> <character>CHACE</character> <dialogue>Paying the ransom doesn't guarantee you get your son back.</dialogue> <character>GAIL</character> <dialogue>Not paying the ransom nearly guarantees I don't.</dialogue> <character>CHACE</character> <dialogue>I'd say your son's chances are better than that.</dialogue> <character>GAIL</character> <dialogue>Why don't you explain the odds to me. Is it a coin toss? Heads he lives, tails he dies? I can see how that's a gamble worth taking when there's real money at stake --</dialogue> <character>CHACE</character> <dialogue>Let me rephrase that.</dialogue> <character>GAIL</character> <dialogue>A billion dollars earns seventeen million dollars a month sitting in a bank vault. He could buy a Matisse every day and never spend it all.</dialogue> <character>CHACE</character> <dialogue>I don't think this is about money for Mr. Getty.</dialogue> <character>GAIL</character> <dialogue>I'm sorry. I didn't realize this was your first day on the job.</dialogue> <character>CHACE</character> <dialogue>Ma'am, I've had to bargain with a lot of rich people. Sheikhs, sultans, emirs. The one thing I've realized is that money is never just money. It always stands for something. Usually it stands for the one thing they've never had. Until you know what that thing is you're just beating your head against the bricks.</dialogue> <character>CHACE</character> <parenthetical>(a beat)</parenthetical> <dialogue>Look, I don't blame you. You came here for seventeen million dollars and instead you got me. But I'm the one who has the old man's ear, and I'm offering to help you.</dialogue> <character>GAIL</character> <dialogue>I'm not leaving until I speak to him face-to-face.</dialogue> <character>BULLIMORE (O.S.)</character> <dialogue>I'm afraid Mr. Getty has already departed the estate.</dialogue> <scene_description>Gail turns. Through the window, we see Getty's limousine driving through the front gates, and away.</scene_description> <character>BULLIMORE</character> <dialogue>He is traveling on business, and it is uncertain when he will return.</dialogue> <scene_description>Gail stares out the window, her back to us, visibly trembling. Bullimore brings Chace's coat and hat.</scene_description> <character>CHACE</character> <dialogue>I'm sure you'll want to be getting back to Rome on the next flight out. I'm headed there myself. I can offer you a ride to the airport.</dialogue> <character>BULLIMORE</character> <dialogue>I'll dial a taxicab straight away.</dialogue> <scene_description>Gail is silent. Finally she turns. Her voice is icy:</scene_description> <character>GAIL</character> <dialogue>You're both much too kind.</dialogue> <scene_description>CUT TO: THE TRUNK OPENS revealing a cloudless blue sky. Two men step into frame. One is stout, bearded, chubby-cheeked. He smokes a cigar with an air of authority. This is CHIPMUNK. The other is rough but handsome, with the style that even the poorest of Italians somehow manage. This is CINQUANTA. They gaze at us as you would at a rug that needs moving.</scene_description> <character>CINQUANTA</character> <dialogue>Uno, due --</dialogue> <scene_description>They reach in and hoist us out of frame.</scene_description> </scene> <scene> <stage_direction>EXT. CALABRIAN LANDSCAPE -- DAY</stage_direction> <scene_description>The two men carry Paul's body across the sun-bleached, rocky landscape out of a Sergio Leone movie. Paul's arms and legs have been tied off; his head is inside a burlap sack. They set the boy down beneath a wizened tree. Cinquanta pulls down his ski mask, then removes the burlap sack from Paul's head. The boy, fearful, avoids looking at them. A severely bow-legged man emerges from the house. This is PICCOLINO, and he is their leader. Piccolino bends down, examines the boy as you would a goat, then smiles. The men embrace in celebration. Laughing, back-slapping. A pretty young woman comes out with a tin plate of beans and pasta. Cinquanta orders her to give it to Paul.</scene_description> <character>CINQUANTA</character> <dialogue>This is for you.</dialogue> <character>PAUL</character> <dialogue>Thirsty.</dialogue> <scene_description>Cinquanta yells orders at his wife again.</scene_description> <character>CINQUANTA</character> <dialogue>A few days. That's all. Your family will give us our money, and you'll go home. Some days, no school, it's fun. A holiday.</dialogue> <scene_description>The boy eats. The food tastes terrible.</scene_description> <character>CHIPMUNK</character> <dialogue>Our food's not good enough for you?</dialogue> <character>PAUL</character> <dialogue>I'm just not used to it.</dialogue> <character>CINQUANTA</character> <dialogue>Leave him alone. He eats only in the best places, right?</dialogue> <character>PAUL</character> <dialogue>Sometimes. Not usually, though.</dialogue> <character>CINQUANTA</character> <dialogue>You'll tell us. I want to know all the things the rich eat. I am Cinquanta, this is Piccolino, and this is Tamia, the Chipmunk. Not our real names, eh?</dialogue> <character>PAUL</character> <dialogue>I figured.</dialogue> <character>CINQUANTA</character> <dialogue>We'll make friends. I'll tell you things about me, and you tell me things about you.</dialogue> <character>PAUL</character> <dialogue>I don't want to know anything about you.</dialogue> <character>CINQUANTA</character> <dialogue>Smart boy. We talk about you then.</dialogue> <character>PAUL</character> <dialogue>What do you want to know about me?</dialogue> <character>CINQUANTA</character> <dialogue>Tell me about your grandfather. Tell me about your mother. Tell me about the money.</dialogue> </scene> <scene> <stage_direction>INT. 727 AIRLINER -- DAY</stage_direction> <scene_description>Fletcher Chace sits in an aisle seat, studying his files on Gail and Little Paul. The STEWARDESS cracks open a tiny airplane bottle of Campari for him and pours it into a glass.</scene_description> <character>CHACE</character> <dialogue>Mille grazie, signorina.</dialogue> <scene_description>We PULL BACK along the aisle -- to where Gail sits at a window seat, eyeing Fletcher Chace warily from behind dark glasses.</scene_description> </scene> <scene> <stage_direction>INT. ROME FIUMICINO AIRPORT -- BOARDING GATE -- EVENING</stage_direction> <scene_description>The gate opens, and a flood of REPORTERS and PAPARAZZI are waiting for us. FLASHBULBS click and whirr like locusts.</scene_description> <character>REPORTERS</character> <dialogue>Signora, Signora! Is your son still alive? Signora!</dialogue> <character>CHACE</character> <dialogue>Out of the way, fellas.</dialogue> <character>REPORTER 1</character> <dialogue>When will you pay the ransom for your son's life?</dialogue> <character>GAIL</character> <dialogue>I don't have the money.</dialogue> <scene_description>The reporters laugh.</scene_description> <character>REPORTER 2</character> <dialogue>You divorced the son of the richest man in the world, Signora!</dialogue> <character>CHACE (O.S.)</character> <dialogue>You don't have to answer questions.</dialogue> <character>GAIL</character> <dialogue>No. I want to say something.</dialogue> <scene_description>Gail's voice is tense with emotion, but she remains poised.</scene_description> <character>GAIL</character> <dialogue>My son Paul must be very frightened right now. I know I'm frightened for him. So to the people who took him: I don't care why you did this, but as a mother I ask you to think of your own children, or of the child you once were, and set my boy free.</dialogue> <scene_description>A brief silence, then:</scene_description> <character>REPORTER 3</character> <parenthetical>(to Chace)</parenthetical> <dialogue>Scusi. Why does the lady not cry?</dialogue> <character>GAIL</character> <dialogue>Excuse me?</dialogue> <character>REPORTER 3</character> <dialogue>Your son is disappeared. A mother should cry for her son.</dialogue> <character>GAIL</character> <dialogue>You want me to cry, is that it?</dialogue> <character>CHACE</character> <dialogue>All right. Let the lady through.</dialogue> <scene_description>The crowd parts before us to reveal the smartly-dressed Investigating Magistrate ANTONIO DEL ROVERE flanked by two uniformed officers of the Italian POLICIA DI STATO. The flashbulbs pop and whirr, recording the moment:</scene_description> <character>DEL ROVERE</character> <dialogue>Ms. Getty. I am Antonio Del Rovere of the Policia di Stato.</dialogue> </scene> <scene> <stage_direction>INT. QUESTURA POLICIA DI STATO (POLICE HEADQUARTERS) -- NIGHT</stage_direction> <scene_description>Del Rovere leads Gail and Chace from a police sedan in the parking garage into the front lobby of a castle that has been transformed into a police Questura.</scene_description> <character>DEL ROVERE</character> <dialogue>Your son is a very lucky boy, Signora.</dialogue> <character>GAIL</character> <dialogue>Nothing about this feels lucky to me.</dialogue> <character>DEL ROVERE</character> <dialogue>Of course, it's a terrible thing. But if he had to be taken, this is the best place it could happen. No police department in the world has solved more kidnappings.</dialogue> <character>CHACE</character> <dialogue>How did you earn that distinction?</dialogue> <scene_description>Rovere leads them up the marble staircase.</scene_description> <character>DEL ROVERE</character> <dialogue>A few years ago we had an outbreak of kidnapping. Wealthy people, ordinary Italians, everyone. This was how the communist Rosso Brigate financed their terrorist activities. Everyone paid the ransom, no matter what we told them to do.</dialogue> <character>GAIL</character> <dialogue>What about the families that refused to pay?</dialogue> <character>DEL ROVERE</character> <dialogue>Even the poorest family will give up everything to have their children back. So I devised a solution. We froze the bank accounts of the all the families so they couldn't pay.</dialogue> <character>CHACE</character> <dialogue>Is that legal?</dialogue> <character>DEL ROVERE</character> <dialogue>If the police do it, it must be legal. It took some time but they realized the money wouldn't come. Now it seems they've decided to take foreigners instead.</dialogue> <character>CHACE</character> <dialogue>Freezing J Paul Getty's money is not going to be an option in this case.</dialogue> <character>DEL ROVERE</character> <dialogue>I'm sorry, I've forgotten which party you said you were working for.</dialogue> <character>CHACE</character> <dialogue>I represent Mr. Getty's interests. I'm his head of security.</dialogue> <character>DEL ROVERE</character> <dialogue>And what are Mr. Getty's interests?</dialogue> <character>GAIL</character> <dialogue>Business, sex, and the collecting of art. In that order.</dialogue> <scene_description>Del Rovere laughs, but Gail's not joking.</scene_description> <character>GAIL</character> <dialogue>I hope you're about to inform us you have some information about my son. Has anyone stepped forward to claim responsibility for his kidnapping?</dialogue> <character>DEL ROVERE</character> <dialogue>Tutti, Signora. Everybody.</dialogue> <scene_description>He opens a door --</scene_description> </scene> <scene> <stage_direction>INT. EVIDENCE ROOM -- DAY</stage_direction> <scene_description>-- to a darkened room filled with glowing LIGHT TABLES where INSPECTORS examine ransom letters, dusting for fingerprints.</scene_description> <character>GAIL</character> <dialogue>These letters are addressed to me. You've been opening my mail -- ?</dialogue> <character>DEL ROVERE</character> <dialogue>It may be your mail, but it's our evidence. All these letters are from people claiming to have kidnapped your son. From all over the world. Germany, California, faster than we can investigate.</dialogue> <character>CHACE</character> <dialogue>$17 million brings out a crowd.</dialogue> <character>GAIL</character> <dialogue>You're telling me you have nothing.</dialogue> <character>DEL ROVERE</character> <dialogue>No, Signora, we have too much. Too many kidnappers, too many reporters. A victim worth too much money.</dialogue> <character>CHACE</character> <dialogue>Want some free advice? Put it in the papers.</dialogue> <character>CHACE</character> <dialogue>When the kidnappers find out every lowlife in Rome is trying to poach their ransom they'll have to come out into the open to claim it.</dialogue> <character>DEL ROVERE</character> <dialogue>It's the communists, the Rosso Brigate. To kidnap the child of the richest capitalist in the world -- this would be a dream for them. They will take you too, Signora, if they can. So I am placing you under police protection.</dialogue> <character>GAIL</character> <dialogue>I don't need anyone's protection. I'm not a real Getty. I never was. I'm an ordinary person.</dialogue> <character>DEL ROVERE</character> <dialogue>You're not a person anymore. You're a symbol. My officers will escort you home. Buona sera.</dialogue> </scene> <scene> <stage_direction>EXT. POLICE CAR/ROME STREETS -- NIGHT</stage_direction> <scene_description>Gail and Chace ride in back as the police car blazes through the streets. Plastered along the walls are blowups of the cover of La Stampa with Paul Getty's photograph on it. A MOTORBIKE pulls up alongside Gail's window. The rider reaches into his bag and we see the glint of black metal --</scene_description> <character>CHACE</character> <dialogue>Jesus, shake them off. Swerve!</dialogue> <scene_description>And a FLASHBULB FIRES. The Paparazzo shoves his camera back into his bag and speeds away. Gail never flinched.</scene_description> <character>CHACE</character> <dialogue>Hey! Didn't you see that?</dialogue> <character>POLICE DRIVER</character> <dialogue>It's a free country.</dialogue> <scene_description>Gail looks over at the flustered Chace.</scene_description> <character>GAIL</character> <dialogue>It's kind of you to make a fuss, Mr. Chace, but you really needn't bother.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>In the kitchen, two SURVEILLANCE OFFICERS of the Policia di Stato are setting up a large reel-to-reel tape recorder on the table and connecting it to the telephone.</scene_description> <character>GAIL</character> <dialogue>Is there anywhere you can put that so that we have a place to eat?</dialogue> <character>SURVEILLANCE OFFICER</character> <dialogue>Your child is kidnapped, Signora. How can you think about eating?</dialogue> <scene_description>This stings.</scene_description> <character>GAIL</character> <dialogue>Do what you have to do.</dialogue> <scene_description>In the living room, Chace is examining her belongings: the apartment is simple but stylish as Gail herself. Gail's daughter Ariadne walks in in her pajamas, rubbing sleep from her eyes. Chace is awkward.</scene_description> <character>CHACE</character> <dialogue>Hi there.</dialogue> <character>GAIL</character> <dialogue>Back to bed, darling.</dialogue> <character>CHACE</character> <dialogue>All these strange men in her house.</dialogue> <scene_description>Gail tucks her daughter back into bed. Meanwhile, Chace enters Little Paul's room. When Gail re-enters, she finds Chace rifling through books on the bookshelf.</scene_description> <character>CHACE</character> <dialogue>Did Paul do any drugs? Marijuana?</dialogue> <character>GAIL</character> <dialogue>He was a teenage boy. He had teenage boy problems. He made teenage boy mistakes.</dialogue> <character>CHACE</character> <dialogue>I'm just trying to find it before those guys in the kitchen do.</dialogue> <character>GAIL</character> <dialogue>They've already searched this room.</dialogue> <character>CHACE</character> <dialogue>He'd gotten in trouble at school, am I right?</dialogue> <character>GAIL</character> <dialogue>A boy needs a father, and his was strung out in Marrakech with Mick Jagger. It was all I could do to get him to come home at night.</dialogue> <scene_description>He opens a copy of "Watership Down" and a tiny bag of hashish falls out. He pockets it. He finds Paul's address book.</scene_description> <character>CHACE</character> <dialogue>Can I take this?</dialogue> <scene_description>Gail eyes him warily.</scene_description> <character>GAIL</character> <dialogue>Do you carry a gun, Mr. Chace?</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>You said you used to be a spy.</dialogue> <character>CHACE</character> <dialogue>That's not how I put it on my tax return, but yeah.</dialogue> <character>GAIL</character> <dialogue>Spies carry guns.</dialogue> <character>CHACE</character> <dialogue>I never bothered. Ruins the line of your suit. Guns are for people who don't have money.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>All that spooky paperback stuff -- chasing around blowing poisoned darts at the KGB in the Arab Quarter -- that's not what I did for a living.</dialogue> <character>GAIL</character> <dialogue>What did you do, then?</dialogue> <character>CHACE</character> <dialogue>I made deals. I bought people. I whispered in Generals' ears.</dialogue> <scene_description>Gail looks at him, then nods.</scene_description> <character>GAIL</character> <dialogue>Take it.</dialogue> <scene_description>Chace pockets the address book, rises, and returns to the living room. The mustached Surveillance Officer from the kitchen -- his name is CORVO -- approaches Gail.</scene_description> <character>CORVO</character> <dialogue>One final question, Signora. About your testimony earlier. Why did you think the kidnapping was a joke?</dialogue> <character>CORVO</character> <parenthetical>(off her look)</parenthetical> <dialogue>You said that when you first received the phone call from Cinquanta you thought it was a joke.</dialogue> <character>GAIL</character> <dialogue>That's what passed through my mind.</dialogue> <character>CORVO</character> <dialogue>It's a strange reaction, is it not? Someone tells the mother her son is kidnapped and she thinks it's funny?</dialogue> <character>GAIL</character> <dialogue>I didn't think it was funny at all. It seemed unbelievable.</dialogue> <character>CORVO</character> <dialogue>You didn't believe the man on the phone?</dialogue> <character>GAIL</character> <dialogue>It's a figure of speech. The whole situation was unbelievable. It still is.</dialogue> <character>CORVO</character> <dialogue>Tragic, yes. But not unbelievable.</dialogue> <character>CHACE</character> <dialogue>It's not tragic yet. Maybe you ought to work on keeping it that way.</dialogue> <character>CORVO</character> <dialogue>A figure of speech, as you say. Please let us know, Signora, if you plan to leave Italy for any reason.</dialogue> <scene_description>Corvo bows slightly and heads for the door with his partner.</scene_description> <character>GAIL</character> <dialogue>Why do you think he said that?</dialogue> <character>CHACE</character> <dialogue>Do you want me to get rid of them?</dialogue> <character>GAIL</character> <dialogue>When the time comes I'll do it myself. Good evening, Mr. Chace.</dialogue> </scene> <scene> <stage_direction>EXT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>Chace exits the building by a side entrance, past the half- dozen paparazzi camped outside. He casts a final glance up at Gail's glowing window, then disappears into the night. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. CALABRIAN CAVE -- DAY</stage_direction> <scene_description>We DESCEND into a cave deep in the Calabrian mountains. An army cot has been set up in here, with wooden boxes for tables and chairs. Years of crude graffiti on the walls. Deep inside the cave Cinquanta finds an unlit oil lamp. He takes out a match and lights it -- -- REVEALING a bunk bed set up in here, and Paul is chained to it. Cinquanta reaches into his bag. He brings out a can of beans and a composition notebook.</scene_description> <character>CINQUANTA</character> <dialogue>Write another letter to your mother. Tell her if she doesn't pay, we'll mail her your finger.</dialogue> <scene_description>Cinquanta sets down a BALLPOINT PEN. The boy takes it. Cinquanta eyes him suspiciously.</scene_description> <character>CINQUANTA</character> <dialogue>Why doesn't your family love you?</dialogue> <character>PAUL</character> <dialogue>I think they love me. I hope so.</dialogue> <character>CINQUANTA</character> <dialogue>What's wrong with you? Are you a bad boy?</dialogue> <character>PAUL</character> <dialogue>No.</dialogue> <character>CINQUANTA</character> <dialogue>Don't lie. What did you do?</dialogue> <character>PAUL</character> <dialogue>I set a fire at my school and they kicked me out.</dialogue> <scene_description>Cinquanta considers this. He shrugs.</scene_description> <character>CINQUANTA</character> <dialogue>Boys play with fire. I did. If my son was kidnapped, bad, good, I would pay any money to get him back.</dialogue> <character>PAUL</character> <dialogue>They're going to pay. They just need to get used to the idea of it.</dialogue> <character>CINQUANTA</character> <dialogue>I would get the money. I would borrow it. Steal. OK, I steal anyway, but I would steal more.</dialogue> <character>PAUL</character> <dialogue>You have a kid?</dialogue> <parenthetical>(realizes)</parenthetical> <dialogue>I shouldn't have asked that.</dialogue> <character>CINQUANTA</character> <dialogue>Once. For a few weeks, that's all. My wife put him to sleep in the crib. In the morning the baby was cold. No life. The doctor gave no reason. No answer. Nothing.</dialogue> <scene_description>Cinquanta suddenly seems angry.</scene_description> <character>CINQUANTA</character> <dialogue>Americans! I don't understand you. For us, family is everything. We are obbligo. I was born into my family, and that decides my whole life. My whole life.</dialogue> <character>PAUL</character> <dialogue>I'm obbligo too. As much as you.</dialogue> <scene_description>Cinquanta looks at Paul. He smiles.</scene_description> <character>CINQUANTA</character> <dialogue>When we get the money, we'll run away from them. To America, eh?</dialogue> <scene_description>Cinquanta gazes out of the cave at a patch of blue sky.</scene_description> <character>CINQUANTA</character> <dialogue>A Corvette. That's a nice car. Just drive away.</dialogue> <scene_description>He snaps out of it. He hits the boy on the back of the head.</scene_description> <character>CINQUANTA</character> <dialogue>Cazzo! What are you doing? Write. Convince her to pay us our money or Mother of God I'll kill you myself.</dialogue> <scene_description>Cinquanta takes the notebook and exits, leaving the pen and matches. Paul slips them into the sleeve of his shirt.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- MORNING</stage_direction> <scene_description>The reel-to-reel tape recorder sits in the center of the table. The kids eat their cereal beside it in their pajamas. Gail throws open the curtains to let the light in -- -- spray-painted in dripping red on the wall outside the window is a FIVE-POINTED STAR. It seems the remnant of some satanic ritual. Painted above it, the words ROSSO BRIGATE. She pulls the curtain shut. Her kids continue eating, oblivious.</scene_description> </scene> <scene> <stage_direction>INT. PORTO ROMANO YACHT CLUB -- MORNING</stage_direction> <scene_description>Isabelle and Julian, Gail's friends, wait for her at the foot of the gangplank as she boards their 47-footer.</scene_description> <character>ISABELLE</character> <dialogue>Gail, I'm so sorry.</dialogue> <scene_description>Isabelle embraces Gail. For a moment Gail allows herself to melt into her friend's arms. CUT TO: Gail's hosts serve a light lunch on deck. Gail can't eat.</scene_description> <character>ISABELLE</character> <dialogue>We're torn up for you. What you must be going through.</dialogue> <character>JULIAN</character> <dialogue>And the papers can't help any.</dialogue> <character>GAIL</character> <dialogue>It doesn't matter what I'm going through. I sleep in a warm bed every night. God only knows where Paul's sleeping. I mean, look at me, I'm on a yacht.</dialogue> <character>JULIAN</character> <dialogue>That's the spirit.</dialogue> <character>GAIL</character> <parenthetical>(summoning her nerve)</parenthetical> <dialogue>I don't know how else to say this. You're my friends, so I thought I could turn to you. I need money. For the ransom.</dialogue> <character>ISABELLE</character> <dialogue>We don't have that kind of money. We're not Gettys.</dialogue> <character>GAIL</character> <dialogue>We could get some friends together. Here aboard your boat. The money would be paid back in full, I can't say when but --</dialogue> <character>ISABELLE</character> <dialogue>I mean, when you think how fortunate that boy has been. The money he'll inherit one day.</dialogue> <character>GAIL</character> <dialogue>All of us are fortunate.</dialogue> <character>ISABELLE</character> <dialogue>Not like that. He's set for life.</dialogue> <character>GAIL</character> <dialogue>He has to live that long first. The money shouldn't matter. He's just a boy, an ordinary boy.</dialogue> <character>ISABELLE</character> <dialogue>Of course it matters, Gail. You'd be asking us, asking our friends, to give a fortune to a boy who's worth more money than they'll ever have.</dialogue> <character>GAIL</character> <dialogue>If I could think of another way I wouldn't be asking.</dialogue> <character>JULIAN</character> <dialogue>And let's be honest, Paul was no angel.</dialogue> <character>GAIL</character> <dialogue>You're saying he deserved this?</dialogue> <character>ISABELLE</character> <dialogue>Of course not, but it wasn't entirely a surprise, either. Privileged kids get into trouble. If it's not drugs --</dialogue> <character>JULIAN</character> <dialogue>Everything comes too easy.</dialogue> <character>GAIL</character> <dialogue>I forgot how you built yourselves up from nothing.</dialogue> <scene_description>A silence. A crewman comes to take away their salad plates.</scene_description> <character>ISABELLE</character> <parenthetical>(a forced smile)</parenthetical> <dialogue>You'll see. In a few weeks we'll all be sailing to Portofino again, like none of this ever happened.</dialogue> </scene> <scene> <stage_direction>EXT. VIA PANSIPERNA, ROME -- EVENING</stage_direction> <scene_description>Fletcher Chace walks with a newspaper folded beneath his arm. He passes a streetlight with an "X" marked in chalk. Parked twenty paces from the streetlight is a white plumber's van. Chace knocks on the rear door twice, and waits.</scene_description> </scene> <scene> <stage_direction>INT. WHITE VAN -- EVENING</stage_direction> <scene_description>A bland-looking young fellow frisks Chace.</scene_description> <character>BLAND FELLOW</character> <dialogue>Siediti perfavore.</dialogue> <scene_description>Chace obeys. The van lurches into motion.</scene_description> </scene> <scene> <stage_direction>INT. SUBURBAN HOUSE -- NIGHT</stage_direction> <scene_description>The bland fellow leads Chace out of the garage into a sparsely- decorated home. Chace is led to a chair in the dining room. A red ROSSO BRIGATE flag is draped over one wall.</scene_description> <character>BLAND FELLOW</character> <dialogue>Perfavore.</dialogue> <scene_description>Chace obeys. A lamp is switched on, shining in his eyes. FRANCESCI, a mustached young man in a corduroy sportcoat, is seated beside the lamp. A gun is on the table beside him. There are others in the room. Chace squints at them.</scene_description> <character>CHACE</character> <dialogue>You don't look like communists.</dialogue> <character>FRANCESCI</character> <dialogue>What do communists look like?</dialogue> <character>CHACE</character> <dialogue>Workers. Wasn't that the original idea?</dialogue> <character>FRANCESCI</character> <dialogue>Sorry to disappoint you.</dialogue> <character>CHACE</character> <dialogue>You look like accountants.</dialogue> <character>FRANCESCI</character> <dialogue>Let's talk about the money.</dialogue> <character>CHACE</character> <dialogue>First you prove to me that you have the boy and he's in good health. Then we negotiate the terms. But first the proof.</dialogue> <character>FRANCESCI</character> <dialogue>First the money. Then the boy.</dialogue> <character>CHACE</character> <dialogue>It doesn't work that way. You know that. You're supposed to be pros.</dialogue> <character>FRANCESCI</character> <dialogue>No conditions.</dialogue> <character>CHACE</character> <dialogue>I don't think you have the kid.</dialogue> <scene_description>An intense young woman, MARGHERITA, speaks:</scene_description> <character>MARGHERITA</character> <dialogue>Why are we negotiating with him? We should try him and put him to death.</dialogue> <character>CHACE</character> <dialogue>For what?</dialogue> <character>MARGHERITA</character> <dialogue>For crimes against the proletariat.</dialogue> <character>CHACE</character> <dialogue>Now I know you don't have the kid. If you kill me, Getty's just going to send someone else like me. Unless he doesn't, in which case where does that leave you? Think, comrade.</dialogue> <character>FRANCESCI</character> <dialogue>We had an agreement.</dialogue> <character>CHACE</character> <dialogue>Who had an agreement?</dialogue> <character>FRANCESCI</character> <dialogue>We did. With Paul.</dialogue> <scene_description>Chace's smile fades.</scene_description> <character>CHACE</character> <dialogue>Excuse me?</dialogue> <character>FRANCESCI</character> <dialogue>Paul used to talk about having himself kidnapped. With his friends, out on the street. A game, no one gets hurt. A way to make a little money from his grandfather, two million dollars perhaps. That's what we do.</dialogue> <scene_description>Chace rubs his eyes, suddenly weary.</scene_description> <character>CHACE</character> <dialogue>Did Paul know who you were?</dialogue> <character>FRANCESCI</character> <dialogue>We made friends with him. We told him we could help. But then he disappeared.</dialogue> <character>MARGHERITA</character> <dialogue>We believe he found someone else.</dialogue> <character>CHACE</character> <dialogue>And now you want -- what? A finder's fee? A consolation prize?</dialogue> <character>MARGHERITA</character> <dialogue>The people are owed.</dialogue> <character>CHACE</character> <dialogue>"The people," or just the people in this room? And here I thought you all were supposed to be above money.</dialogue> <character>FRANCESCI</character> <dialogue>No one is above money. The problem is that it's in the wrong hands. We intend to get what is our due.</dialogue> <character>CHACE</character> <parenthetical>(rising)</parenthetical> <dialogue>I'll save you a place in line.</dialogue> <character>FRANCESCI</character> <dialogue>I'm curious. What would Getty pay for you?</dialogue> <character>CHACE</character> <dialogue>Don't bother. He wouldn't pay a dime for me. Neither would anyone else.</dialogue> <character>FRANCESCI</character> <dialogue>I've never met anyone who couldn't think of someone who would pay for his life.</dialogue> <character>CHACE</character> <dialogue>There's a first time for everything. Now are you going to drive me back, or am I going to walk out the front door?</dialogue> </scene> <scene> <stage_direction>EXT. INDUSTRIAL HIGHWAY -- NIGHT</stage_direction> <scene_description>A stretch of barren highway out by an industrial plant. The white van slows, its door opens, and Chace is shoved out. The van speeds away. Chace picks himself up off the asphalt, dusts himself off, and looks around. He is utterly lost.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- FRONT DOORWAY -- DAY</stage_direction> <scene_description>Chace stands in Gail's doorway. She seems taken aback.</scene_description> <character>GAIL</character> <dialogue>You've got to remember who the Gettys are. Every time someone stays in the bathroom too long people start making jokes about being held for ransom. He might have cracked a joke once or twice among friends --</dialogue> <character>CHACE</character> <dialogue>There's that word again.</dialogue> <character>GAIL</character> <dialogue>What word?</dialogue> <character>CHACE</character> <dialogue>A joke. When it first happened you said you thought it was a joke.</dialogue> <character>GAIL</character> <dialogue>Now you sound like that policeman.</dialogue> <character>CHACE</character> <dialogue>Did Paul ever talk to you about having himself kidnapped?</dialogue> <character>GAIL</character> <dialogue>Whose side are you on, Mr Chace?</dialogue> <character>CHACE</character> <dialogue>I'm on my own side, always. And if there's a joke I like to make sure I'm in on it.</dialogue> <character>DEL ROVERE (V.O.)</character> <dialogue>New developments have come to light.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY/BAR -- EVENING</stage_direction> <scene_description>Del Rovere and Corvo have come to Chace's hotel. A news report about the OPEC summit plays on TV behind the bar.</scene_description> <character>CORVO</character> <dialogue>Gail Getty is two months behind on the rent on her apartment.</dialogue> <character>DEL ROVERE</character> <dialogue>The lady needed money.</dialogue> <character>CHACE</character> <dialogue>So do I.</dialogue> <character>DEL ROVERE</character> <dialogue>So do we all. But Gail Getty gave up a chance to make a fortune in her divorce. Did you know?</dialogue> <character>CORVO</character> <dialogue>We calculated the money Ms Getty could have expected in her settlement. The number was 15 to 18 million dollars. Quite a coincidence.</dialogue> <character>CHACE</character> <dialogue>I'm impressed you had any time at all to look for the kid.</dialogue> <character>CORVO</character> <dialogue>Then there is the matter of Gail's lover.</dialogue> <scene_description>Chace blinks. Corvo takes out a picture of a handsome Sicilian. It's a police booking photo.</scene_description> <character>CORVO</character> <dialogue>Luigi Della Ratta. A casino croupier, very much a ladies' man, with reputed criminal connections.</dialogue> <scene_description>Chace stares at the photo.</scene_description> <character>DEL ROVERE</character> <dialogue>It should have been obvious. A pretty lady like this, expensive tastes, so insistent to get Getty to pay the ransom --</dialogue> <character>CORVO</character> <dialogue>But never does she cry for her child. How can a mother not cry?</dialogue> <scene_description>Chace pushes the photo away.</scene_description> <character>CHACE</character> <dialogue>Nice work, fellas.</dialogue> <character>DEL ROVERE</character> <dialogue>And you? Have you learned anything?</dialogue> <character>CHACE</character> <dialogue>Nothing. Brick wall.</dialogue> <character>DEL ROVERE</character> <dialogue>You look like you've tasted something you don't like. If you don't like your drink, just get another.</dialogue> <character>CHACE</character> <dialogue>This is going to kill the old man. It has to stay out of the papers.</dialogue> <character>DEL ROVERE</character> <dialogue>Nothing leaves this table. It's for the best, eh? There was never any danger. You have only to wait for the boy to return.</dialogue> <scene_description>Del Rovere rises, and Corvo with him. He nods at a DARK- HAIRED BEAUTY at the other end of the bar and leans in.</scene_description> <character>DEL ROVERE</character> <dialogue>A single man alone in Rome on the Getty expense account. I envy you.</dialogue> <scene_description>The two men grin as they leave Chace at the bar. Chace glances up at the TV. On a Bolletino Straordinario, the SHAH OF IRAN is making a speech:</scene_description> <character>SHAH OF IRAN (O.S.)</character> <dialogue>Of course the price of oil must rise. You increased the price of wheat you sell us by 300%, it's only fair that, from now on, you should pay more for oil. Let's say ten times more.</dialogue> <scene_description>CUT TO A WIDE: all that remains of Fletcher Chace is the tip he's left on the bar. He's already gone.</scene_description> </scene> <scene> <stage_direction>EXT. SUTTON PLACE (SURREY, ENGLAND) -- DAY</stage_direction> <scene_description>Rain. The great gates open for Fletcher Chace.</scene_description> </scene> <scene> <stage_direction>EXT. SUTTON PLACE -- REFLECTING POOL/GARDENS -- DAY</stage_direction> <scene_description>J Paul Getty and Chace walk side-by-side.</scene_description> <character>GETTY</character> <dialogue>I wish I could say I'm surprised.</dialogue> <scene_description>Getty approaches a statue by the reflecting pool. He puts his hand upon it, as if for support. He seems badly shaken.</scene_description> <character>CHACE</character> <dialogue>Are you all right, Mr Getty?</dialogue> <character>GETTY</character> <dialogue>When I wrote my book, "How to Be Rich," the publisher called me and said they wanted to change the title. They wanted to call it "How To Get Rich." They thought it would sell more copies.</dialogue> <character>GETTY</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>I told them getting rich is easy. Any fool can get rich, and a remarkable number of fools do.</dialogue> <character>CHACE</character> <dialogue>I've noticed that.</dialogue> <character>GETTY</character> <dialogue>But being rich -- that's hard. See, the ordinary working man has to go to work to feed his family. Maybe he hates his job, hates his boss, but the drive for survival gives him a purpose in life. When a man gets rich, he's faced with the problem of freedom. An abyss opens up before him. I've seen it ruin men, and marriages, and most of all it ruins the children.</dialogue> <character>CHACE</character> <dialogue>He's a kid. Kids do stupid things.</dialogue> <character>GETTY</character> <dialogue>I thought I could trust my own blood.</dialogue> <character>CHACE</character> <dialogue>He's probably lying on a beach somewhere. When he gets bored or runs out of money he'll come home. And he'll have learned his lesson.</dialogue> <character>GETTY</character> <dialogue>I wanted to give him everything, give him all my knowledge, all I've built, and he just wanted to pick my pocket. Like his father, like his uncle, like the parasites that have swarmed around me my entire life.</dialogue> <scene_description>Getty walks on, through his sculpture garden.</scene_description> <character>GETTY</character> <dialogue>That's why I like things, see. They are what they appear to be, and they never change. They never disappoint. There's a purity to beautiful things that I've never been able to find in another human being.</dialogue> <character>CHACE</character> <dialogue>Neither have I.</dialogue> <character>CHACE</character> <parenthetical>(off his look)</parenthetical> <dialogue>You were right not to pay the ransom. You were right to follow your gut.</dialogue> <scene_description>Getty turns away from Chace, suddenly distant.</scene_description> <character>GETTY</character> <dialogue>You performed well. This will be reflected in your year-end bonus.</dialogue> <character>CHACE</character> <dialogue>Thank you, Mr. Getty.</dialogue> <character>GETTY</character> <dialogue>Go back to Rome. Wait there for Paul to return. But your investigation is closed. The search is over.</dialogue> <scene_description>BLACK OUT.: FADE IN: A PATCH OF BLUE SKY framed by the mouth of the cave. We HEAR the kidnappers arguing, their voices echoing off the cave walls. In the darkness Paul listens.</scene_description> </scene> <scene> <stage_direction>EXT. CALABRIAN MOUNTAINS -- DAY</stage_direction> <scene_description>Chipmunk, toting a shotgun, leads Little Paul on a winding trail through the mountains. The weather is turning cold; the boy is wrapped in a blanket. They approach a creek bed.</scene_description> <character>CHIPMUNK</character> <dialogue>Do you have to go? Here's your chance. I'm not taking you out again.</dialogue> <scene_description>Paul shakes his head. Chipmunk scratches at his mask.</scene_description> <character>CHIPMUNK</character> <dialogue>You don't eat, that's why. Our food isn't good enough for you. Wait here.</dialogue> <scene_description>Chipmunk climbs down into the ravine, out of sight of the boy. He peels back his ski mask for a moment, then unzips and begins to urinate. He zips up and climbs back up the ravine. Paul stares at him for a moment, then quickly looks away.</scene_description> <character>CHIPMUNK</character> <dialogue>What are you looking at -- ?</dialogue> <scene_description>Chipmunk reaches for his mask, and realizes he never pulled it back down.</scene_description> <character>CHIPMUNK</character> <dialogue>Pezzo di merda! You saw my face!</dialogue> <character>LITTLE PAUL</character> <dialogue>I didn't see anything!</dialogue> <character>CHIPMUNK</character> <dialogue>Figlia di puttana! Culo!</dialogue> <scene_description>He pulls the ski mask down, then realizes it's pointless. He pulls it off and starts kicking it across the ground.</scene_description> <character>CHIPMUNK</character> <dialogue>You saw my face! Don't lie!</dialogue> <character>PAUL</character> <dialogue>I won't tell anyone what you look like, I swear.</dialogue> <character>CHIPMUNK</character> <dialogue>You little shit. You've ruined everything.</dialogue> <scene_description>Chipmunk raises his shotgun at Paul.</scene_description> <character>CHIPMUNK</character> <dialogue>Run. Run away. Fretta!</dialogue> <character>LITTLE PAUL</character> <dialogue>No. You're gonna shoot me in the back and tell them I tried to escape.</dialogue> <scene_description>Paul shakes his head, closing his eyes and refusing to turn his back. Chipmunk gives up. He kicks the ski mask again.</scene_description> <character>CHIPMUNK</character> <dialogue>Manache! Have it your way. Worse for you. You'll wish you ran!</dialogue> <scene_description>Chipmunk grabs Paul and drags him back down the hill toward the squat stucco house in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. STONE HOUSE -- EVENING</stage_direction> <scene_description>Paul is tethered to a rock by a rope around his neck as goats graze around him. He watches the little house: inside, Piccolo, Cinquanta and Chipmunk are arguing. Paul leans over and pulls at the tether. Desperate, he begins to chew on it. The men's voices grow ever louder. Then they fall silent. The front door of the house opens and three men walk out -- Cinquanta and Chipmunk in the lead, with the bow-legged Piccolino falling behind.</scene_description> <character>CHIPMUNK</character> <dialogue>I told you.</dialogue> <scene_description>Chipmunk is carrying his shotgun. He chambers a shell. Paul begins to whimper desperately.</scene_description> <character>PAUL</character> <dialogue>Please. Don't. The money. You can still get the money.</dialogue> <scene_description>Chipmunk closes the shotgun and raises it at Paul.</scene_description> <character>CHIPMUNK</character> <dialogue>You had to ruin it for everyone.</dialogue> <scene_description>Now Piccolino raises his gun as well. He FIRES and we CUT TO: THE PHONE RINGS and a groggy Fletcher Chace fumbles in the dark. A copy of Getty's book "How To Be Rich" is open on the nightstand.</scene_description> <character>CHACE</character> <dialogue>Who's. Yes. Si?</dialogue> <character>DEL ROVERE (O.S.)</character> <dialogue>Mister Chace. We are requesting you and Ms. Getty to report to the Questura.</dialogue> <character>CHACE</character> <dialogue>For what?</dialogue> <character>DEL ROVERE (O.S.)</character> <dialogue>To identify the body.</dialogue> <character>CHACE</character> <dialogue>The body?</dialogue> <character>DEL ROVERE (O.S.)</character> <dialogue>Paul's body. Paul Getty.</dialogue> <scene_description>Chace is suddenly alert.</scene_description> <character>CHACE</character> <dialogue>Paul's.</dialogue> <parenthetical>(blinks)</parenthetical> <dialogue>OK, yes. Va bene. We're coming.</dialogue> <scene_description>Chace hangs up. He sits up and starts pacing the room. The raven-haired beauty from the bar is in his bed.</scene_description> <character>CHACE</character> <dialogue>You've got to go.</dialogue> <character>SICILIAN BEAUTY</character> <dialogue>Perché, Fletcher?</dialogue> <scene_description>Chace starts putting on his clothes in a hurry. He starts to pick up the phone, then puts it down again.</scene_description> </scene> <scene> <stage_direction>EXT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>Gail opens the door wearing her robe.</scene_description> <character>GAIL</character> <dialogue>Chace -- ?</dialogue> <character>CHACE</character> <dialogue>I'm sorry, Gail.</dialogue> <character>GAIL</character> <parenthetical>(realizing)</parenthetical> <dialogue>Oh God.</dialogue> <scene_description>She covers her face with her hands. Chace looks away.</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR -- NIGHT</stage_direction> <scene_description>The Squadra Mobile car speeds through the night. Chace steals furtive glances at Gail.</scene_description> <character>CHACE</character> <dialogue>Mistakes were made, obviously, somehow. My investigation and the police's led us to the conclusion that there was no physical danger --</dialogue> <character>GAIL</character> <dialogue>I'm sorry, Mr Chace. I'm on my way to identify my son's body. I don't feel like talking.</dialogue> </scene> <scene> <stage_direction>INT. ROME POLICE STATION -- MORGUE -- DAY</stage_direction> <scene_description>The morgue dates to the 19th century; it's dank as a catacomb. The body is laid out on a marble slab, covered by a sheet.</scene_description> <character>DEL ROVERE</character> <dialogue>The corpse has been in sea water for some hours when it washed ashore. The appearance may be a shock.</dialogue> <scene_description>We gaze up at their faces as they gather round the table. The elderly CORONER pulls back the sheet.</scene_description> <character>CHACE</character> <dialogue>God damn!</dialogue> <scene_description>Chace reels. Gail almost faints. She shakes her head "no." REVERSE ANGLE: the bloated, waterlogged body on the table isn't Paul. It's Chipmunk. He has an ugly exit wound in his chest from where he was shot in the back by Piccolino.</scene_description> <character>GAIL</character> <dialogue>It's not him. It's not Paul.</dialogue> <character>CHACE</character> <dialogue>The guy has five o'clock shadow, for Christ's sake. He was headed for a midlife crisis when they shot him.</dialogue> <character>CORVO</character> <dialogue>A sailor by the harbor saw a body being thrown from a white Fiat 600, like the car the kidnappers drove.</dialogue> <character>CHACE</character> <dialogue>This country's infested with Fiat 600s. First you said it was a hoax, then you tell us they murdered him. Why don't you make up your mind?</dialogue> <character>DEL ROVERE</character> <dialogue>No one stopped you doing your own job, Mr Chace. You did that yourself.</dialogue> <scene_description>Chace is momentarily speechless.</scene_description> <character>CORONER (O.S.)</character> <dialogue>Scusi.</dialogue> <scene_description>Everyone turns. The ancient coroner is picking at the body on the slab with a pair of tweezers. He plucks something from Chipmunk's beard, holds it up to the light: RED FIBERS.</scene_description> <character>CORONER</character> <dialogue>Un filato de tessuto rosso.</dialogue> <character>DEL ROVERE</character> <dialogue>The carpet the body was transported in.</dialogue> <scene_description>The coroner shakes his head, mimes scratching at his beard.</scene_description> <character>CORONER</character> <dialogue>Una maschera.</dialogue> <character>CHACE</character> <dialogue>A ski mask.</dialogue> <scene_description>CUT TO: A MUG SHOT of Chipmunk. There's more than one to choose from, going all the way back to his childhood.</scene_description> </scene> <scene> <stage_direction>INT. EVIDENCE ROOM -- DAY</stage_direction> <scene_description>The Police clerks search through boxes of criminal photo files. Photos of Chipmunk are pinned to the wall.</scene_description> <character>CORVO</character> <dialogue>Ettore "Il Tamia" Pazzano, age 33 years. Purse snatching, public indecency, vandalism, desecration of a holy place, corruption of the youth.</dialogue> <scene_description>PHOTOS of Cinquanta and Piccolino are pinned up on the board.</scene_description> <character>CORVO</character> <dialogue>Known associates: Alberto Laganadi, Dino Bova, Dante Agnana, all from Fiumara, Calabria, population 1381.</dialogue> <character>CHACE</character> <dialogue>How fast can we get to Fiumara?</dialogue> <scene_description>CUT TO: A CONVOY OF SQUADRA MOBILE VEHICLES On the unpaved road through the Calabrian mountains: we gaze down at them from a police helicopter circling high overhead.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN ROAD -- CALABRIA -- PRE-DAWN</stage_direction> <scene_description>The police cars stop on the mountain road and the uniformed police climb out. Del Rovere instructs Chace:</scene_description> <character>DEL ROVERE</character> <dialogue>I must ask you to stay here. For your own safety.</dialogue> <scene_description>Chace watches Rovere head off down the road.</scene_description> <character>CHACE</character> <parenthetical>(to Gail)</parenthetical> <dialogue>Stay here.</dialogue> <scene_description>Chace opens the door and climbs out. The officer at the wheel protests, but Chace ignores him. Then Gail climbs out as well, and the cop goes apoplectic.</scene_description> <character>GAIL</character> <dialogue>Arrest me.</dialogue> <scene_description>We can see the stone house from several hundred meters away as the police create a wide perimeter encircling it. Nearby, a SQUADRA OFFICER questions a GOATHERD. Gail listens in:</scene_description> <character>GOATHERD</character> <dialogue>...hanno mantenuto il ragazzo in una grotta nelle montagne...</dialogue> <scene_description>Gail starts walking up the mountain road, in the opposite direction from the police, and Chace follows. They reach the mouth of the cave, which is littered with cigarette butts. Gail enters. Chace casts a glance back: in the pasture far below, the police cordon around the stone house draws tighter.</scene_description> </scene> <scene> <stage_direction>INT. CAVE</stage_direction> <scene_description>We HOLD on GAIL as she moves deeper into the dark, following the last of daylight into its depths. Then she finds it:</scene_description> <character>GAIL</character> <dialogue>Paul.</dialogue> <scene_description>PAUL'S BED, empty. The chain and shackle lie beside it, and Paul's Fantastic Comics lies on the ground. An unfinished letter in his handwriting crumpled beside it.</scene_description> <character>GAIL</character> <dialogue>"If you love me, Mother -- "</dialogue> <scene_description>GUNSHOTS ring out, the echoes multiplying off the cave walls. Gail and Chace hurry to the mouth of the cave.</scene_description> </scene> <scene> <stage_direction>EXT. STONE HOUSE -- MORNING</stage_direction> <scene_description>The house is riddled with gunfire, the windows shattered. Piccolino slumps in the doorway with his shotgun in the dust beside him. Del Rovere kicks the gun aside.</scene_description> <character>PICCOLINO</character> <dialogue>Molti poliziotti... So many police. Tanti...</dialogue> <character>DEL ROVERE</character> <dialogue>Where is the boy?</dialogue> <character>PICCOLINO</character> <dialogue>Lo abbiamo venduto.</dialogue> <scene_description>Piccolino coughs, drowning in his own blood. A sad smile.</scene_description> <character>PICCOLINO</character> <dialogue>We sold him.</dialogue> <character>DEL ROVERE</character> <dialogue>Sold him to whom?</dialogue> <scene_description>CUT TO: SAVERIO MAMMOLITI walks through a factory where women sew counterfeit Fendi handbags. Mammoliti examines the workmanship on one of the handbags, comparing it against the genuine article.</scene_description> <character>MAMMOLITI</character> <dialogue>This lining. It needs to be double- stiched to look like the real Fendi. My buyer can tell the difference.</dialogue> <scene_description>Mammoliti is forty years old, blankly handsome, and dressed in a tailored suit: he could easily be seen in the business- class lounge of any international airport in the world.</scene_description> <character>MAMMOLITI</character> <dialogue>Do it again.</dialogue> <scene_description>Mammoliti hands the bag back to the woman. She nods, careful not to make eye contact: she is frightened of him.</scene_description> <character>FACTORY WOMAN</character> <dialogue>Sicuramente, Signore. Perdonami.</dialogue> </scene> <scene> <stage_direction>INT. MERCEDES 280SE -- DAY</stage_direction> <scene_description>Saverio Mammoliti sits in the backseat, his briefcase open beside him, perusing a balance sheet. His bald-shaven driver/bodyguard, SGRÒ, pulls over behind a tractor-trailer.</scene_description> </scene> <scene> <stage_direction>INT. TRACTOR-TRAILER -- DAY</stage_direction> <scene_description>The cargo door rolls open, revealing pallets of counterfeit goods. Paul Getty is in back, guarded by two of Mammoliti's men. Cinquanta is here as well.</scene_description> <character>MAMMOLITI</character> <parenthetical>(re: Cinquanta)</parenthetical> <dialogue>What's this?</dialogue> <character>SGRÒ</character> <dialogue>He comes with the boy.</dialogue> <scene_description>Mammoliti looks Cinquanta over; a 21st Century gangster looking back at a Stone Age one.</scene_description> <character>MAMMOLITI</character> <dialogue>Get him out of here. I don't want him around.</dialogue> <character>CINQUANTA</character> <dialogue>It was part of our deal. I help with the kid. I look after him.</dialogue> <character>MAMMOLITI</character> <dialogue>Your services are no longer required.</dialogue> <character>CINQUANTA</character> <dialogue>The mother and I. Gail Getty. We have a dialogue. I can help you get the money.</dialogue> <character>MAMMOLITI</character> <dialogue>We know how to get the money. It's not that hard if you have the stomach for it.</dialogue> <character>SGRÒ</character> <dialogue>You heard him.</dialogue> <scene_description>Cinquanta reluctantly rises. Paul watches him go.</scene_description> <character>MAMMOLITI (O.S.)</character> <dialogue>Does he do what you say?</dialogue> <character>CINQUANTA</character> <dialogue>Always. He's a good boy.</dialogue> <character>MAMMOLITI</character> <dialogue>He's not eating. Look at him. We need him to eat meat, lots of meat. Build up his blood. Do you understand my meaning?</dialogue> <character>CINQUANTA</character> <dialogue>Yes. I understand your meaning.</dialogue> <character>MAMMOLITI</character> <dialogue>Va bene. You work for us now.</dialogue> <scene_description>CUT TO: TWO DOZEN SAUDI PRINCES emerge from the 1973 Extraordinary Summit of OPEC.</scene_description> </scene> <scene> <stage_direction>EXT. OPEC SUMMIT, VIENNA, AUSTRIA -- DAY</stage_direction> <scene_description>The princes' white robes billow in the breeze; they wear the triumphant smiles of men who have seized an historic moment.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON COMMODITY EXCHANGE -- DAY</stage_direction> <scene_description>GETTY'S LIMOUSINE pulls up in front of the Exchange. J Paul Getty emerges, resplendent in a Saville Row three-piece and accompanied by two lacquered YOUNGISH WOMEN in tight dresses.</scene_description> </scene> <scene> <stage_direction>INT. LONDON COMMODITY EXCHANGE -- DAY</stage_direction> <scene_description>Getty takes his seat overlooking the exchange, flanked by his two concubines, like an Emperor at the Arena. The traders on the floor await the opening bell with dread and excitement. Getty's FLOOR TRADER hurries up the steps to take his order. Getty pats his stomach, like a man who can't eat any more:</scene_description> <character>GETTY</character> <dialogue>No trades for me, George. My long book's all topped up. Truth is, I woke up this morning about as long as I've been since I was a teenager.</dialogue> <scene_description>The ladies titter and smirk. One leans in, confidential:</scene_description> <character>MISTRESS</character> <dialogue>He just likes to watch.</dialogue> <scene_description>Getty shoots her a reproving "bad girl" look. She puts out her hand and he pinches it playfully.</scene_description> <character>GETTY</character> <dialogue>Watch carefully, girls. In sixty seconds half the men in this room will be bankrupt.</dialogue> <scene_description>The seconds tick down. The floor traders brace themselves. We PUSH IN on Getty as the OPENING BELL RINGS...</scene_description> </scene> <scene> <stage_direction>INT. LONDON HEATHROW AIRPORT -- DAY</stage_direction> <scene_description>The boarding gate door opens and Fletcher Chace emerges wearing a suit, sunglasses and a repentant look. Then he sees something that stops him cold: EMBARGO headlined on every London newspaper's evening edition: "OPEC shuts off global oil supply."</scene_description> <character>CHACE (V.O.)</character> <dialogue>When I got on the plane this morning oil was $4 per barrel.</dialogue> </scene> <scene> <stage_direction>INT. SUTTON PLACE -- DAY</stage_direction> <scene_description>Chace walks the halls alongside Getty.</scene_description> <character>GETTY</character> <dialogue>You should have bought it. No one will ever see that price again.</dialogue> <scene_description>Getty's secretary hurries up to him in her high heels. She hands him a slip of ticker tape.</scene_description> <character>SECRETARY</character> <dialogue>The New York open, Mr. Getty.</dialogue> <character>CHACE</character> <dialogue>I think it's time to reassess our strategy --</dialogue> <character>GETTY</character> <dialogue>Shh.</dialogue> <scene_description>Getty reads the tape and gazes into the distance.</scene_description> <character>CHACE</character> <dialogue>What are you doing, sir?</dialogue> <character>GETTY</character> <dialogue>Multiplication.</dialogue> <scene_description>Then he's done. The number seems to surprise even him.</scene_description> <character>GETTY</character> <dialogue>A good day.</dialogue> <character>CHACE</character> <dialogue>I'm glad to hear that, Mr Getty. It'll make this much easier.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>We need to pay the ransom.</dialogue> <character>GETTY</character> <dialogue>You said it was a hoax.</dialogue> <character>CHACE</character> <dialogue>Your grandson was kidnapped by members of the Calabrian N'dragheta, the oldest of all Italian Mafias. Two of the original kidnappers are dead and one is missing.</dialogue> <character>GETTY</character> <dialogue>That sounds like progress to me.</dialogue> <character>CHACE</character> <dialogue>I'm afraid not. They got nervous waiting for the ransom and sold the boy to an investor.</dialogue> <character>GETTY</character> <dialogue>You told me Paul and his mother cooked this up to soak me.</dialogue> <character>CHACE</character> <dialogue>I was wrong. Paul may have talked about being kidnapped with his friends. He may have put it out there but I don't believe he's behind this.</dialogue> <character>GETTY</character> <dialogue>How do I know you're not wrong now?</dialogue> <character>CHACE</character> <dialogue>Look, these people aren't the old- world malavita anymore. They're businessmen. Their only code is profit and loss. They'll do things to Paul that can't be undone for any amount of money.</dialogue> <character>GETTY</character> <dialogue>Paul got himself into this. The boy's going to have to live with the consequences of his actions.</dialogue> <character>CHACE</character> <dialogue>Don't let him die just for being a child. We have to pay.</dialogue> <character>GETTY</character> <dialogue>I can't.</dialogue> <character>CHACE</character> <dialogue>I'm sorry?</dialogue> <character>GETTY</character> <dialogue>It simply isn't possible right now. My financial position has changed.</dialogue> <character>CHACE</character> <dialogue>I'm not all that bright but I can multiply as well as you. With oil</dialogue> <dialogue>up 7% this morning you made a fortune.</dialogue> <character>GETTY</character> <dialogue>Precisely. I'm highly leveraged to the price of oil right now.</dialogue> <character>CHACE</character> <dialogue>In the middle of an oil embargo I'd say that's a good place to be.</dialogue> <character>GETTY</character> <dialogue>When the oil price is rising, it is. But what if the price of oil were suddenly to fall? What if the embargo is lifted? What then? I would be exposed. Do you know how Jesse Livermore died?</dialogue> <character>CHACE</character> <dialogue>I don't know who he was.</dialogue> <character>GETTY</character> <dialogue>He was the greatest speculator in stocks ever to work on Wall Street. He blew his brains out in a coat check room after he lost every penny he had. That's how fast a man's fortune can turn. Don't you see? I've never been more vulnerable financially than I am right now.</dialogue> <character>CHACE</character> <dialogue>No one has ever been richer than you are at this moment.</dialogue> <character>GETTY</character> <dialogue>I don't have the money to spare.</dialogue> <character>CHACE</character> <dialogue>What would it take? How much would it take for you to feel secure?</dialogue> <character>GETTY</character> <dialogue>More.</dialogue> <scene_description>Chace is struck silent. Getty turns on him:</scene_description> <character>GETTY</character> <dialogue>I didn't need to hire an ex-CIA officer just to pay people off. I can do that myself. I hired you to do things other people can't, or won't. That means rescuing the boy.</dialogue> <character>CHACE</character> <dialogue>I can't do it without money.</dialogue> <character>GETTY</character> <dialogue>There is no money. You'll have to get the boy on your own.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- KITCHEN -- NIGHT</stage_direction> <scene_description>The wall-mounted phone RINGS. Gail answers it.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Signora.</dialogue> <character>GAIL</character> <dialogue>Where is my son?</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>He is still in good health. I am with him, don't worry.</dialogue> <scene_description>In the BG, Chace turns the reel-to-reel tape recorder on.</scene_description> <character>GAIL</character> <dialogue>It's because of you I worry. I want to talk to him.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH, REGGIO, CALABRIA -- DAY</stage_direction> <character>CINQUANTA</character> <dialogue>I'm afraid this I cannot do. I am not in charge anymore.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- KITCHEN -- DAY</stage_direction> <scene_description>Chace appears at Gail's shoulder. Gail hands him the phone.</scene_description> <character>CHACE</character> <dialogue>This is Fletcher Chace. Mr. Getty has authorized me to negotiate on his behalf. We will cover all your expenses up to $200,000. Anything under this figure is not considered extortion under Italian law so you can walk away free and clear.</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>The boy is worth much more. They're not stupid.</dialogue> <character>CHACE</character> <dialogue>The boy is worth nothing to anyone. We're just trying to settle this without causing any more embarrassment to the family.</dialogue> <character>GAIL (O.S.)</character> <dialogue>My God --</dialogue> <character>CHACE</character> <dialogue>He's a juvenile delinquent. His grandfather's disowned him. It's a tough break you took the wrong kid, but you're getting off easy.</dialogue> <character>CINQUANTA</character> <dialogue>You arrogant bastard.</dialogue> <character>CHACE</character> <dialogue>Your uncle Piccolino died in custody last night, by the way. You ought to take this deal before the same happens to you.</dialogue> <scene_description>Chace calmly hangs up the receiver. A hand reaches into frame, picks up the receiver, and HITS him with it.</scene_description> <character>CHACE</character> <parenthetical>(laughs)</parenthetical> <dialogue>Whoa there -- !</dialogue> <scene_description>But the next one connects. Gail hits him again, pushing him back over the stove. Dishes come out of the cupboard and rain down in shatters. Everything collapses to the kitchen floor. Chace grabs at Gail's wrists as they grapple atop broken plates. Somewhere Gail's children are crying. Then she's off him. Chace is lying on his back looking up at the ceiling, bleeding from a split lip. She disappears, taking her crying children with her. Chace is left lying on the kitchen floor. Gail re-enters.</scene_description> <character>CHACE</character> <dialogue>I need some ice or I'll bleed all over your floor.</dialogue> <scene_description>Gail reaches into the freezer, pulls out a tray of ice, and drops it onto the floor. Chace rubs ice cubes on his face.</scene_description> <character>CHACE</character> <dialogue>I lied. I said I was authorized to pay them $200,000. You know how much I'm really authorized to pay? Nothing. If they accept I won't be able to deliver but I had to buy some time. You wanted to know what I used to do? This is what I used to do. What I still do, for Getty.</dialogue> <character>GAIL</character> <dialogue>You "make deals." You "buy people."</dialogue> <character>CHACE</character> <dialogue>That's right. Whether it's a pit of grease in the desert or a human life it's all the same. We have to show we're willing to walk away.</dialogue> <character>GAIL</character> <dialogue>I can't walk away. You can walk away, because you have nothing to lose, because there's no one in your world but yourself.</dialogue> <character>CHACE</character> <dialogue>Fair enough.</dialogue> <scene_description>Chace goes to the door. As he leaves:</scene_description> <character>CHACE</character> <dialogue>Seventeen million dollars and zero dollars. That's how far apart we are. Those numbers have got to move.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>Gail lies in bed in the fetal position. The phone rings. She goes to the kitchen and picks it up.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Seven million dollars.</dialogue> <scene_description>DIAL TONE. Gail is left holding the receiver. The numbers have just moved.</scene_description> </scene> <scene> <stage_direction>INT. ST. PETER'S BASILICA -- DAY</stage_direction> <scene_description>GREAT SHAFTS OF LIGHT penetrate the darkness of the Basilica's vaulted dome. In a pew toward the rear Gail and Chace sit eight feet apart, like a couple waiting to get a divorce.</scene_description> <character>GAIL</character> <dialogue>When a man like you resorts to prayer I start to worry we're running out of options.</dialogue> <character>CHACE</character> <dialogue>We're not here to pray. We're here to speak to the Archbishop Marcinckus.</dialogue> <scene_description>The six-foot-six ARCHBISHOP MARCINCKUS approaches.</scene_description> <character>CHACE</character> <dialogue>Otherwise known as the Pope's Gorilla.</dialogue> <scene_description>CUT TO: Marcinkus and Gail with their heads bowed in prayer.</scene_description> <character>MARCINKUS/GAIL</character> <dialogue>Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae.</dialogue> <scene_description>Chace sits watching a few rows back, like a man waiting in a bus station. As their prayers are finished, he joins them.</scene_description> <character>MARCINKUS</character> <dialogue>Ms Getty, the Holy Pontiff himself is praying today for the safe return of your beautiful boy.</dialogue> <character>GAIL</character> <dialogue>Thank you, Archbishop Marcinkus.</dialogue> <character>GAIL</character> <dialogue>I was hoping you could use your personal influence to help Paul.</dialogue> <character>CHACE</character> <dialogue>Paul has been kidnapped by the N'dragheta, father.</dialogue> <scene_description>Marcinkus nods. He speaks in a blunt Chicago accent:</scene_description> <character>MARCINKUS</character> <dialogue>I may be able to have some influence there.</dialogue> <parenthetical>(off Gail's look)</parenthetical> <dialogue>Don't look so surprised. The Vatican has for hundreds of years had relationships with the ancient fraternal organizations of Italy.</dialogue> <character>GAIL</character> <dialogue>Actually, we were hoping his Holiness would persuade my father-in-law to pay the ransom.</dialogue> <character>MARCINKUS</character> <dialogue>You want me to ask the Pontiff to twist J Paul Getty's arm?</dialogue> <character>CHACE</character> <dialogue>Mr. Getty tends to listen to those he considers his equals.</dialogue> <character>MARCINKUS</character> <dialogue>And he thinks the Pope is his equal.</dialogue> <character>CHACE</character> <dialogue>Nearly.</dialogue> <character>MARCINKUS</character> <dialogue>You gave me the impression that you were here on Mr. Getty's behalf. Who is it you're working for?</dialogue> <scene_description>For a moment, Chace doesn't know how to answer.</scene_description> <character>CHACE</character> <dialogue>I just want to bring the boy home.</dialogue> <scene_description>Marcinkus rises.</scene_description> <character>MARCINKUS</character> <dialogue>I'll have a word with his Holiness.</dialogue> <parenthetical>(re: Chace's face)</parenthetical> <dialogue>You look like you met up with something that didn't agree with you.</dialogue> <scene_description>Gail looks away.</scene_description> <character>CHACE</character> <dialogue>Rome is a tough town, Father.</dialogue> <character>MARCINKUS</character> <dialogue>The toughest.</dialogue> </scene> <scene> <stage_direction>EXT. ST. PETER'S SQUARE -- DAY</stage_direction> <scene_description>Gail and Chace walk in the shade of the colonnades beside the vast plaza. Chace keeps his distance.</scene_description> <character>GAIL</character> <dialogue>I owe you an apology, Mr Chace. I was angry, but that's no excuse.</dialogue> <character>CHACE</character> <dialogue>I've taken worse beatings before for less cause. Never with a princess phone, though.</dialogue> <character>GAIL</character> <dialogue>Please don't make a joke out of it.</dialogue> <character>CHACE</character> <dialogue>OK, how about this, then. You were right when you said I had nothing. I'm not important, I'm not rich.</dialogue> <character>GAIL</character> <dialogue>That's not what I meant.</dialogue> <character>CHACE</character> <dialogue>But if I had the money to give I'd give it to you.</dialogue> <scene_description>Gail looks up at him.</scene_description> <character>CHACE</character> <dialogue>Let me rephrase that.</dialogue> <character>GAIL</character> <dialogue>Don't.</dialogue> <scene_description>Gail walks through the colonnade, and Chace walks with her.</scene_description> </scene> <scene> <stage_direction>EXT. ROME FIUMICINO AIRPORT -- NIGHT</stage_direction> <scene_description>A PRIVATE PLANE taxis on the mist-shrouded runway. The clamshell air-stair descends, a black sedan pulls up, and two bodyguards whisk J Paul Getty inside.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL AGOSTO -- NIGHT</stage_direction> <scene_description>Getty and his coterie enter via the alley door, briskly moving through the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL AGOSTO -- NIGHT</stage_direction> <scene_description>A group of furtive Milanese in black designer clothes hover outside a hotel suite.</scene_description> <character>OTTO</character> <dialogue>Good evening, Mr. Getty.</dialogue> <character>GETTY</character> <dialogue>Nothing good about it. Let's get down to business.</dialogue> <character>OTTO</character> <dialogue>Are you serious about making payment?</dialogue> <character>GETTY</character> <dialogue>I wouldn't be here if I weren't.</dialogue> <character>OTTO</character> <dialogue>Because there can't be any more games. You know our price, and it's not subject to negotiation any longer. Payment must be made in cash, tonight.</dialogue> <character>GETTY</character> <dialogue>I want the proof first.</dialogue> <character>OTTO</character> <dialogue>After you.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM -- NIGHT</stage_direction> <scene_description>As he enters, Getty is overcome with emotion.</scene_description> <character>GETTY</character> <dialogue>There you are.</dialogue> <scene_description>REVERSE ANGLE: there on the bedspread is a small painting: Albrecht Dürer's 15th Century "Madonna and Child in a Window."</scene_description> <character>OTTO</character> <dialogue>Because of the painting's disputed provenance, it can never be publicly displayed. As discussed, our price is $1.15 million.</dialogue> <character>GETTY</character> <dialogue>I'm afraid we weren't able to bring the full sum. Liquidity, you know.</dialogue> <scene_description>Otto motions for his men to begin packing up the painting.</scene_description> <character>OTTO</character> <dialogue>True masterpieces never go on sale, Mr. Getty. If you cannot pay, you will never own one.</dialogue> <scene_description>Getty grimaces. He turns to one of his coterie:</scene_description> <character>GETTY</character> <dialogue>Pay the man.</dialogue> </scene> <scene> <stage_direction>INT. BUTCHER -- REGGIO, CALABRIA -- DAY</stage_direction> <scene_description>A BUTCHER cuts flesh from a lamb's flank with a cleaver, wraps it in wax paper, and hands it to Sgro and Cinquanta.</scene_description> </scene> <scene> <stage_direction>EXT. WHEATFIELD/BARN -- EVENING</stage_direction> <scene_description>A field of dried grain roils in the wind. A tumbledown clapboard shack stands at its center.</scene_description> </scene> <scene> <stage_direction>INT. BARN -- EVENING</stage_direction> <scene_description>Paul sits on a bare mattress, chained to the floor. Cinquanta enters with an oil lantern and a covered plate.</scene_description> <character>CINQUANTA</character> <dialogue>I brought you something to warm you, Paolo. Something special for being a good boy.</dialogue> <scene_description>He sets down the plate. Two steaks, running with blood.</scene_description> <character>PAUL</character> <dialogue>Can I have some crackers?</dialogue> <character>CINQUANTA</character> <dialogue>What do you want that for? I brought you this good tagliata. Come on, we eat it together.</dialogue> <scene_description>Paul takes a bite. It's hard to swallow.</scene_description> <character>PAUL</character> <dialogue>It's too much. I'll be sick.</dialogue> <character>CINQUANTA</character> <dialogue>Look at me, Paul. You must eat it all, no matter how long it takes. Make sure you keep it down.</dialogue> <character>PAUL</character> <dialogue>You bring me steak now? Why?</dialogue> <scene_description>The door opens and a man walks in carrying a doctor's bag. The Doctor indicates for Paul to come to him.</scene_description> <character>CINQUANTA</character> <dialogue>Do as he says.</dialogue> <scene_description>The Doctor examines Paul's ears. He shaves the hair around the ear with a straight razor, then swabs it with alcohol.</scene_description> <character>CINQUANTA</character> <dialogue>Eat now. Keep eating. Ask me no questions, Paolo. You have to trust me. It's important.</dialogue> <scene_description>He offers a bite to the boy, as you would to a child.</scene_description> <character>PAUL</character> <dialogue>I'll eat it. Just leave me alone and I'll eat it all, OK?</dialogue> <scene_description>The Doctor exits, his examination finished. Cinquanta leaves the plate on the floor. Paul takes a bite of the steak.</scene_description> <character>CINQUANTA</character> <dialogue>If I could, I'd take your place.</dialogue> <scene_description>Cinquanta turns and walks outside, leaving Paul alone. Paul spits out the morsel. He takes out the Bic pen and the box of matches hidden inside the waistband of his pants. QUICK CUTS: Paul uses the steak knife to scrape the phosphorous off the match heads. He removes the ink tube from the pen and packs it with the phosphorous. He goes to work on the shackle that chains him to the barn floor, attacking the floorboards with the knife. He hears the VOICES of the men. He looks through a crack in the wall. They're drinking and singing outside the farmhouse. He pulls on the chain again, leaning into it. Finally it gives. He falls, the chain CLATTERING across the floor. THROUGH THE CRACK IN THE WALL: the men fall silent, then resume their carousing. Paul picks up the pen tube and raises it to his lips like a peashooter. He lights a match -- -- and the phosphorous packed inside CATCHES FIRE. It sparks brilliantly, like a Roman candle. He aims it through the crack in the wall, then BLOWS --</scene_description> </scene> <scene> <stage_direction>EXT. BARN -- NIGHT</stage_direction> <scene_description>-- LAUNCHING it into the field of dried, broken grain. For a moment it is a shooting star, and then it lands.</scene_description> </scene> <scene> <stage_direction>INT. BARN -- NIGHT</stage_direction> <scene_description>PAUL'S EYE peers through the crack in the wall --</scene_description> </scene> <scene> <stage_direction>EXT. BARN -- NIGHT</stage_direction> <scene_description>-- as his Roman candle sputters amidst the cracked stalks, then dies. The light in Paul's eye seems to die with it. Then the wind picks up. The embers begin to glow and scatter; the cracked wheat catches fire. CUT TO: THE ENTIRE FIELD IS ABLAZE. Paul climbs out of the wood shed with the broken chain slung over his shoulder. He disappears into the wheat field. The flames threaten to overtake the barn; the men from the house come running, desperate to rescue the boy inside. Paul runs through the wheat field as A WALL OF FLAME consumes it. The wind whips the smoke into a black cloud behind him. We PULL BACK to gaze down upon the young boy as runs, the great field of fire spreading in his wake.</scene_description> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- NIGHT</stage_direction> <scene_description>Paul runs toward the highway with the chain slung over his neck. A pillar of smoke climbs into the sky in the distance. A single CAR drives by. Paul tries to wave it down, but the driver speeds up to avoid him. Up ahead, he sees it: a CARABINERI POLICE CAR driving away.</scene_description> <character>PAUL</character> <dialogue>Hey. Police. Police! Poliziotto!</dialogue> <scene_description>Paul runs into the highway, waving his arms.</scene_description> <character>PAUL</character> <dialogue>Over here! Attenzione!</dialogue> <scene_description>A car horn BLARES: the driver nearly clips him -- -- but the RED TAILLIGHTS on the police car light up. The mustached CONSTABLE stops and climbs out of the car. As soon as the constable gets a glimpse of Paul's condition he hurries over to him. The boy collapses into his arms.</scene_description> </scene> <scene> <stage_direction>INT. CARABINERI STATION -- NIGHT</stage_direction> <scene_description>A fire glows in the hearth. The Constable's WIFE, a stocky Italian Mamma, stretches a blanket over Paul's shoulders. In the BG, the Constable phones in to report the boy's rescue.</scene_description> <character>MAMMA</character> <dialogue>Povera bambino... cosi freddo...</dialogue> <scene_description>She goes to the hearth and spoons out a plate of warm polenta.</scene_description> <character>MAMMA</character> <dialogue>Mangia.</dialogue> <scene_description>Paul takes a spoonful. As he eats, tears roll down his face. The Constable and his wife smile warmly.</scene_description> <character>PAUL</character> <dialogue>Can I make a phone call? I want to call my mother.</dialogue> <scene_description>The old woman brings the telephone to the boy's side and hands him the receiver. With trembling hands, he dials.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>HOLD ON the phone as it RINGS. Gail turns on the tape recorder, then picks up the phone.</scene_description> <character>PAUL (O.S.)</character> <dialogue>Mom?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Mom, are you there?</dialogue> <character>GAIL</character> <dialogue>Paul.</dialogue> <character>PAUL (O.S.)</character> <dialogue>It's alright, Mom. I'm OK. I'm safe now.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION -- NIGHT</stage_direction> <scene_description>As Paul talks with his mother, there's a KNOCK at the door. In the BG, the Constable goes to answer it.</scene_description> <character>PAUL</character> <dialogue>I'm at the police station. I need you to come and get me.</dialogue> <scene_description>In the BG, several men enter and exchange greetings.</scene_description> <character>GAIL (O.S.)</character> <dialogue>What police station? Where are you?</dialogue> <character>PAUL</character> <dialogue>I just want to come home. You don't know how close they came.</dialogue> <character>GAIL (O.S.)</character> <dialogue>I'm coming to take you home. What police station are you at?</dialogue> <character>PAUL</character> <dialogue>Hold on, I'll ask.</dialogue> <character>PAUL</character> <parenthetical>(calling out)</parenthetical> <dialogue>Excuse me, where am I? Dove sono io?</dialogue> <scene_description>Behind him, A HAND REACHES INTO FRAME and presses down on the receiver cradle, gently hanging up the phone.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>The line goes dead.</scene_description> <character>GAIL</character> <dialogue>Paul? Paul -- ?</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION -- NIGHT</stage_direction> <scene_description>We TILT UP from the phone cradle along the length of the man's arm -- -- REVEALING that it is Saverio Mammoliti himself that has hung up the phone. He reaches out to the boy.</scene_description> <character>MAMMOLITI</character> <dialogue>Give it here.</dialogue> <scene_description>Paul hands the receiver to Mammoliti, who hangs up. We PAN across the faces in the room: Mammoliti's men, along with the Constable, his wife, and, to one side, Cinquanta. Mammoliti offers his hand to Paul.</scene_description> <character>MAMMOLITI</character> <dialogue>Come now, Paul. There will be no more foolishness.</dialogue> <scene_description>The boy places a hand over the ear that's been shorn and cleaned, as if trying to protect it.</scene_description> <character>MAMMOLITI</character> <dialogue>Come.</dialogue> <scene_description>Paul takes Mammoliti's hand. They walk out of the station hand-in-hand, into the street, where Mammoliti's car awaits. The rear door opens, they climb inside, and the Mercedes vanishes into the darkness.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>Gail stands frozen with the dead receiver in her hand. CUT TO: The apartment is overrun by Squadra Mobile officers, including Del Rovere and Corvo. The tape squeals as it rewinds, then:</scene_description> <character>PAUL (O.S.)</character> <dialogue>I just want to come home. You don't know how close they came.</dialogue> <character>GAIL (O.S.)</character> <dialogue>I'm coming to take you home. What police station are you at?</dialogue> <character>DEL ROVERE</character> <parenthetical>(listening on headphones)</parenthetical> <dialogue>Ascoltare. Pavimenti. Footsteps. Someone approaches --</dialogue> <character>PAUL (O.S.)</character> <dialogue>Excuse me, where am I? Dove sono io --</dialogue> <scene_description>CLICK. The line goes dead.</scene_description> <character>DEL ROVERE</character> <dialogue>Someone breaks the connection.</dialogue> <character>GAIL</character> <dialogue>He was in a police station. Nothing could happen to him there, right?</dialogue> <character>CHACE</character> <dialogue>It could have been a bad connection. It's Italy. Nothing works right.</dialogue> <character>CORVO</character> <dialogue>No. Everything works differently.</dialogue> <character>GAIL</character> <dialogue>He was safe. He said he was safe. He was in this room, just now, talking to me. He can't just be gone.</dialogue> <character>DEL ROVERE</character> <dialogue>Keep the line open. He'll call back. We will wait as long as it takes.</dialogue> </scene> <scene> <stage_direction>EXT. WHEATFIELD/BARN -- NIGHT</stage_direction> <scene_description>The fire in the fields has burned itself out; ASHES dance in the air like snowflakes. Paul rides in the backseat with Mammoliti. Cinquanta rides up front with Sgro.</scene_description> <character>SGRÒ</character> <parenthetical>(sotto voce)</parenthetical> <dialogue>I'm starting to see why they don't want their kid back. Maybe they'd pay us to keep him, or kill him.</dialogue> <character>CINQUANTA</character> <dialogue>Don't blame the kid. You'd have done the same if you could have thought of it.</dialogue> <scene_description>Mammoliti gazes out the rear window.</scene_description> <character>MAMMOLITI</character> <dialogue>A big fire like this? It draws attention. Inspectors. Bribes to be paid. We budget for contingencies, but nothing like this.</dialogue> <scene_description>The farmhouse comes into view. The wooden shed is scorched but still standing. We pull up in front of it.</scene_description> <character>MAMMOLITI</character> <dialogue>There are carrying costs. It's discipline, fiscal discipline. Either the family pays, or we must cut our losses.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- MORNING</stage_direction> <scene_description>The cops are all gone. Only their overflowing ashtrays and coffee cups remain. Gail and Chace have been up all night. Chace sits at the table, tie askew, helping Ariadne, Gail's youngest, complete a word-search puzzle in a coloring book as her other son watches television.</scene_description> <character>ARIADNE</character> <dialogue>They always hide the words backwards.</dialogue> <character>GAIL</character> <dialogue>You don't have to do that.</dialogue> <character>CHACE</character> <dialogue>I enjoy it. It's about my speed.</dialogue> <character>GAIL</character> <dialogue>He's not going to call. Go home.</dialogue> <character>CHACE</character> <dialogue>I don't have a home. I have a hotel.</dialogue> <character>GAIL</character> <parenthetical>(to Ariadne)</parenthetical> <dialogue>Come here, darling. I'll help you.</dialogue> <scene_description>The girl sits beside Gail. She turns to another puzzle -- a maze -- as Chace reluctantly gathers his jacket to leave. Gail watches, mesmerized with exhaustion, as the point of the pencil slowly winds its way through the maze. Then:</scene_description> <character>GAIL</character> <dialogue>My God. How could I be so stupid.</dialogue> <scene_description>Gail leaps up from her chair and RUNS through the living room, down the hallway and into</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM -- MORNING</stage_direction> <scene_description>Gail throws open the closet, opening shoeboxes and flinging them aside. She reaches deep into the dark and finds it: THE MINOTAUR statuette lies inside, swathed in Gail's scarf. She closes the box and runs back down the hallway, past Chace.</scene_description> <character>GAIL</character> <dialogue>Watch the kids.</dialogue> <character>CHACE</character> <dialogue>What am I supposed to feed them?</dialogue> <scene_description>The door SLAMS behind her on the way out.</scene_description> </scene> <scene> <stage_direction>EXT. SOTHEBY'S ROME -- PALAZZO COLONNA -- DAY</stage_direction> <scene_description>Gail fixes her makeup in a vanity mirror as her cab pulls up outside the auction house. She pays the driver --</scene_description> </scene> <scene> <stage_direction>INT. SOTHEBY'S ROME -- DAY</stage_direction> <scene_description>-- and grips the shoebox in both hands as she waits. An APPRAISER in a bespoke suit greets her.</scene_description> <character>GAIL</character> <dialogue>I'm sorry to just show up like this.</dialogue> <character>APPRAISER</character> <dialogue>No, Ms Getty, it is we that are sorry to keep you waiting. Prego.</dialogue> </scene> <scene> <stage_direction>INT. APPRAISER'S OFFICE -- DAY</stage_direction> <character>GAIL</character> <dialogue>This piece came from my former father- in-law's personal collection. It was a gift to his grandson. By his own estimate it was worth $1.2 million, and that was years ago.</dialogue> <scene_description>The Appraiser opens the box... and the statue is unveiled.</scene_description> <character>GAIL</character> <dialogue>My situation is urgent. Please, if you can give me any idea as to its true value --</dialogue> <scene_description>The Appraiser's expression is one of surprise and confusion.</scene_description> <character>APPRAISER</character> <dialogue>Signora, if we may have a moment alone to consult among ourselves.</dialogue> <scene_description>Gail nods and exits. Through the glass, we see him argue sotto voce with his associate. They call her back inside.</scene_description> <character>APPRAISER</character> <dialogue>Seven or eight, at most.</dialogue> <character>GAIL</character> <parenthetical>(euphoric, relieved)</parenthetical> <dialogue>Seven million -- !</dialogue> <character>APPRAISER</character> <dialogue>No, Signora. Seven dollars. This is un gingillo, a trinket of the type sold to tourists.</dialogue> <scene_description>Gail's eyes narrow.</scene_description> <character>GAIL</character> <dialogue>J Paul Getty is the foremost collector in the world. Do you really imagine that you know more than he does?</dialogue> <character>APPRAISER</character> <dialogue>No, Signora, I do not. But I know what my eyes see.</dialogue> <character>GAIL</character> <parenthetical>(trembling)</parenthetical> <dialogue>We're a joke to you. All of you. Me and my kids. We were never good enough.</dialogue> <parenthetical>(gathering her things)</parenthetical> <dialogue>I'll get another appraisal. Thank you for your time.</dialogue> <character>APPRAISER</character> <dialogue>Signora. You might start at the National Museum.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL MUSEUM OF ROME -- DAY</stage_direction> <scene_description>Gail walks through the Museum gallery clutching her shoebox, showing the Minotaur to anyone who will listen. She finally corners a DOCENT, who points her down the hallway.</scene_description> <character>DOCENT</character> <dialogue>Dritto, poi a sinistra.</dialogue> <scene_description>Gail hurries down the corridor, then turns into</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM GIFT SHOP -- DAY</stage_direction> <scene_description>At first it seems a cruel joke. But then she sees it, beneath the cash register: AN ENTIRE BASKET OF MINOTAURS, dozens of them, and every one is identical to hers. She kneels down before the wicker basket and reaches into it, touching them, hearing the chalky clink of the little idols as the other customers try not to stare. She quickly gathers up her shoebox and walks out.</scene_description> </scene> <scene> <stage_direction>EXT. NATIONAL MUSEUM OF ROME -- PLAZA -- DAY</stage_direction> <scene_description>She walks out into the plaza, exhausted and overcome. As she reaches the center of the Plaza, she becomes dizzy. Her steps falter, she hesitates... and then she collapses.</scene_description> </scene> <scene> <stage_direction>INT. BARN -- NIGHT</stage_direction> <scene_description>A WOODEN STUMP is placed before us. It is dark with dried blood. The doctor's instruments are laid out upon it. Through the barn door we see Cinquanta pleading with Mammoliti through the Mercedes' rear window. The Mercedes drives away. Cinquanta enters. He offers Paul a bottle of cheap brandy.</scene_description> <character>CINQUANTA</character> <dialogue>Drink. Fast as you can swallow.</dialogue> <character>PAUL</character> <dialogue>Tastes awful.</dialogue> <character>PAUL</character> <dialogue>When they get it, they'll pay, right? And then it's over.</dialogue> <character>CINQUANTA</character> <dialogue>That's right. You'll be home soon.</dialogue> <character>PAUL</character> <dialogue>It's only an ear, right?</dialogue> <scene_description>In the shadows, men are moving. A knife-glint in the dark.</scene_description> <character>CINQUANTA</character> <dialogue>Look into my eyes, Paolo, always. No matter what happens. Don't look at anything else but me.</dialogue> <character>PAUL</character> <dialogue>Make it quick. Tell them.</dialogue> <character>CINQUANTA</character> <parenthetical>(to the Doctor)</parenthetical> <dialogue>Un taglio, rapidamente.</dialogue> <character>CINQUANTA</character> <parenthetical>(to Paul)</parenthetical> <dialogue>Soon it's over.</dialogue> <character>PAUL</character> <dialogue>When I get home --</dialogue> <scene_description>A HAND reaches into frame and shoves a rag into Paul's mouth. OTHER HANDS grab Paul by the arms as he struggles. The doctor grabs the boy's ear, pulls it taut --</scene_description> <character>DOCTOR</character> <dialogue>Stabile! Tenerlo stabile!</dialogue> <scene_description>-- and begins to saw at it with a straight razor. Paul's eyes go wide with shock.</scene_description> <character>CINQUANTA</character> <dialogue>At me! Look at me, Paul! My eyes!</dialogue> <scene_description>Paul's eyes are locked with Cinquanta's: they implore and accuse him. There is no blood; the ear is like rubber.</scene_description> <character>CINQUANTA</character> <dialogue>Maria santissima!</dialogue> <scene_description>The doctor struggles with the knife. Then, all at once, the blood comes, spilling down the boy's face.</scene_description> <character>CINQUANTA</character> <dialogue>Paul -- !</dialogue> <scene_description>Finally the ear comes free. They release Paul and he collapses, his blood spilling out across the floor, and we BLACK OUT.: FADE IN ON: A SMALL YELLOW PACKAGE addressed to "La Stampa" newspaper is dumped out of a canvas postal worker's bag onto a conveyor belt.</scene_description> </scene> <scene> <stage_direction>INT. ROME POST OFFICE --DAY</stage_direction> <scene_description>We FOLLOW the little package as it drifts along on the tide of thousands of other letters and packages, passing through chutes and sorters, until it reaches another conveyor -- -- where it abruptly STOPS. The conveyor belt is turned off; the hum of machinery goes silent. The postal workers leave their stations. The lights are switched off... ...and the package sits there on the conveyor belt, waiting.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- KITCHEN -- DAY</stage_direction> <scene_description>Fletcher Chace is in Gail's kitchen, foraging through her refrigerator for sandwich fixings as her kids look on.</scene_description> <character>CHACE</character> <dialogue>Look at this. We've got guanciale, pecorino moliterno, friggitello, scamorzina, Licini coppa, limonata. Back home you'd be stuck with peanut butter and marshmallow fluff.</dialogue> <character>ARIADNE</character> <dialogue>I want marshmallow fluff.</dialogue> <scene_description>Chace starts fixing the sandwiches.</scene_description> <character>CHACE</character> <dialogue>You're breaking my heart. I tell you what, I can get us some shipped from back home. I have connections. But don't tell your mother.</dialogue> <scene_description>Chace brings the sandwiches over to the kitchen table, which is still burdened by the reel-to-reel tape recorder. He lifts it up and places it on the floor so they can eat.</scene_description> <character>CHACE</character> <dialogue>More like it.</dialogue> <scene_description>Chace and the kids eat the meal he has prepared. For a moment Chace seems slightly surprised to find himself here.</scene_description> </scene> <scene> <stage_direction>EXT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Gail collects the day's mail and the newspaper from the mailbox. From O.S. we hear the sound of a camera CLICKING. Gail looks up to see a weedy PAPARAZZO snapping pictures.</scene_description> <character>GAIL</character> <dialogue>Lens cap.</dialogue> <scene_description>The Paparazzo removes his lens cap, embarrassed. He tries to get a reaction from her, calling out questions:</scene_description> <character>PAPARAZZO</character> <dialogue>Is your son dead, Signora? It's four months now. Surely he is dead.</dialogue> <character>GAIL</character> <dialogue>No.</dialogue> <character>PAPARAZZO</character> <dialogue>How do you know?</dialogue> <scene_description>Gail doesn't answer. The Paparazzo grows frustrated.</scene_description> <character>PAPARAZZO</character> <dialogue>We wait out here months. You don't pay the money. You don't cry. You don't care if your own son dies.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>I have to earn a living.</dialogue> <character>GAIL</character> <dialogue>Money's the best excuse there is.</dialogue> <scene_description>He shoves his cigarette in his mouth and climbs back onto his scooter, rewinding his film as he goes, then speeds away. Chace stands in the doorway behind Gail.</scene_description> <character>GAIL</character> <dialogue>I'm pretty sure that was the last of them. They've all given up now.</dialogue> <character>CHACE</character> <dialogue>Not everyone.</dialogue> <scene_description>A cold wind. She gathers her sweater around herself.</scene_description> <character>GAIL</character> <dialogue>I wonder if it's cold where they're keeping him.</dialogue> <character>CHACE</character> <dialogue>He's a tough kid.</dialogue> <character>GAIL</character> <dialogue>You've never even met him.</dialogue> <character>CHACE</character> <dialogue>It's what I'm banking on.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Look, I'm going to ask you a question, and you're going to tell me it's none of my business. But I have to ask. Who is Luigi Della Ratta?</dialogue> <character>GAIL</character> <dialogue>You're resourceful enough to find that out on your own.</dialogue> <character>CHACE</character> <dialogue>To you, I mean.</dialogue> <character>GAIL</character> <dialogue>Lou was company when I needed company. You know?</dialogue> <character>CHACE</character> <dialogue>It's all I've ever known.</dialogue> <scene_description>Out in the street, some neighborhood kids are playing soccer. Cars zoom by at high speed, and the kids just play through.</scene_description> <character>CHACE</character> <dialogue>Hey, kid, attento! Out of the street!</dialogue> <scene_description>The kids ignore him. Gail watches them.</scene_description> <character>GAIL</character> <dialogue>From the day you bring them home from the hospital, the world is full of dangers that were never there before. A penny lying on the floor. A lamp with a frayed electrical cable. A driver crosses the dividing line on the highway for an instant and all the light goes out of the world forever.</dialogue> <character>CHACE</character> <dialogue>Hostages to fortune.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>It's one of those things the old man used to say when he wanted to come off all sage and profound.</dialogue> <character>GAIL</character> <dialogue>I've heard him say it too. I don't think he had any idea what it meant.</dialogue> <scene_description>Gail turns and heads back inside, leaving Chace alone.</scene_description> <character>CHACE</character> <dialogue>Until now I don't think I had any idea myself.</dialogue> </scene> <scene> <stage_direction>INT. ROME POST OFFICE --DAY</stage_direction> <scene_description>THE SMALL YELLOW PACKAGE lies on the conveyor belt in the darkened Rome Post Office. The overhead fluorescents flicker on, workers return to their stations -- -- and the conveyor belt comes to life. The little package is borne up once again on the tide of letters and packages.</scene_description> </scene> <scene> <stage_direction>INT. "IL MESSAGGERO" NEWSPAPER -- NEWSROOM -- DAY</stage_direction> <scene_description>We ride with the package atop a MAIL CART as it travels through the bustling newsroom. It lands on a desk outside a corner office with a placard that reads UFFICIO EDITORE. The Editor's SECRETARY slices open the package. She removes its plastic-wrapped contents. What is this? She looks inside the package again. No letter, no note. She shakes the yellow envelope and something falls out -- A POLAROID PHOTO. She examines the Polaroid in one hand, then looks at the plastic-wrapped object in the other... ...and SCREAMS.</scene_description> </scene> <scene> <stage_direction>EXT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Gail Getty opens the front door to her apartment. Once again, the street is teeming with reporters and paparazzi, all shouting for her attention.</scene_description> </scene> <scene> <stage_direction>INT. "IL MESSAGGERO" NEWSPAPER -- NEWSROOM -- DAY</stage_direction> <scene_description>We FOLLOW Gail and Chace through the newsroom, where the secretary's desk has been taped off by the Squadra Mobile.</scene_description> <character>DEL ROVERE</character> <dialogue>Signora, it would be entirely understandable if you feel you cannot make the identification --</dialogue> <character>GAIL</character> <dialogue>I have to see it. Just show it to me.</dialogue> <scene_description>Del Rovere nods to one of the uniformed police. Using a pair of tweezers, he pulls back the plastic wrapping -- -- to REVEAL a small piece of flesh in the shape of a question mark. Beside it a lock of auburn hair. The Polaroid lies face-down next to it. The policeman flips it over: it's Paul. Where his ear once was there is a fresh wound. Gail inhales sharply and touches her ear.</scene_description> <character>GAIL</character> <dialogue>That's him.</dialogue> <scene_description>Gail gazes at the Polaroid as the Police bundle the evidence. Il Messaggero's mustached EDITOR appears at Gail's side.</scene_description> <character>EDITOR</character> <dialogue>This must be a terrible strain.</dialogue> <character>GAIL</character> <dialogue>He's alive.</dialogue> <character>EDITOR</character> <dialogue>Come, rest in my office, it's quiet.</dialogue> </scene> <scene> <stage_direction>INT. EDITOR'S OFFICE -- "IL MESSAGGERO" NEWSPAPER -- DAY</stage_direction> <scene_description>Gail sits down on the sofa. Chace hangs back in the doorway. The Secretary places a cup of coffee and cake before her.</scene_description> <character>GAIL</character> <dialogue>Thank you, but I'm not hungry.</dialogue> <character>EDITOR</character> <dialogue>You must eat, Ms Getty. It will raise your spirits.</dialogue> <scene_description>Gail looks around. There are several editors in the room.</scene_description> <character>GAIL</character> <dialogue>I just need a moment to myself.</dialogue> <character>EDITOR</character> <dialogue>I'm afraid time is of the essence.</dialogue> <character>GAIL</character> <dialogue>Why? Do you know something?</dialogue> <character>PHOTO EDITOR</character> <dialogue>We would like to publish it, Ms. Getty. The photograph. Of the ear.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>It's news. And we are a newspaper. The ear came to us. It frightened our secretary terribly.</dialogue> <character>SECRETARY</character> <dialogue>It's true.</dialogue> <character>GAIL</character> <dialogue>It's my son's ear. It's his. Ours.</dialogue> <character>EDITOR</character> <dialogue>We want to offer some compensation.</dialogue> <character>GAIL</character> <dialogue>I don't want to sell you pictures of my son's ear.</dialogue> <character>EDITOR</character> <dialogue>Your son is being held for ransom. You claim not to have any money. We may be able to make a negotiation.</dialogue> <character>CHACE</character> <dialogue>How much money are you offering?</dialogue> <character>EDITOR</character> <dialogue>Fifty thousand American dollars.</dialogue> <character>GAIL</character> <dialogue>It's not enough.</dialogue> <character>EDITOR</character> <dialogue>In the eyes of the law, we own the photograph already.</dialogue> <character>CHACE</character> <dialogue>Go to hell.</dialogue> <character>EDITOR</character> <dialogue>Va bene. We will leave you alone now if you like. Enjoy the coffee.</dialogue> <scene_description>The editorial staff files out. Then:</scene_description> <character>GAIL</character> <dialogue>Pay me in newspapers.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>I want my son's ear on the cover of your newspaper.</dialogue> <character>EDITOR</character> <dialogue>We wouldn't have it any other way.</dialogue> <character>GAIL</character> <dialogue>But I don't want money. I want a thousand copies of your newspaper.</dialogue> <character>EDITOR</character> <dialogue>And where would you like these thousand newspapers sent?</dialogue> <scene_description>CUT TO: A PALLET OF TABLOID NEWSPAPERS On every cover, the Polaroid image of the earless Paul Getty. The pallet is RAISED on a forklift --</scene_description> </scene> <scene> <stage_direction>EXT. SUTTON PLACE -- FRONT GATES -- DAY</stage_direction> <scene_description>-- and DROPPED in front of the iron gates. The forklift lumbers off, leaving the newspapers fluttering in the wind.</scene_description> <character>GETTY (O.S.)</character> <dialogue>There at the gate. What's that?</dialogue> <scene_description>The gates GROAN OPEN. Bullimore the butler steps outside. He pulls a copy of the newspaper from the pile and blanches. Getty stands on the front steps of the house. Bullimore dutifully folds the newspaper and brings it to him.</scene_description> <character>GETTY</character> <dialogue>It's Paul. What's happened to his --</dialogue> <scene_description>Then he realizes what he's looking at. Getty stands unsteadily on the steps. He HURLS the newspaper away from him. It comes apart in the wind. It becomes a swarm of paper, a swirling flock. They blow back upon him. Getty swings his arm to bat them away, then covers his face lest they peck out his eyes. Getty turns and walks back up the great steps of his castle as the tabloid pages swirl at his feet. Bullimore remains on the steps to clean up what Getty has left in his wake.</scene_description> </scene> <scene> <stage_direction>INT. BARN -- DAY</stage_direction> <scene_description>Paul Getty lies on his cot, pale and motionless, as Cinquanta cradles his bandaged head.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>Paul is dying. He's lost so much blood.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>The tape recorder rolls as Gail leans against the wall of her kitchen with the phone in her hand.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>They wanted to take the foot and I convinced them to take the ear. But the foot is coming next. I hear them talking. I beg you, get the money.</dialogue> <character>GAIL</character> <dialogue>Tell us where you are. We'll make a deal in exchange for your cooperation.</dialogue> <character>CINQUANTA (O.S.)</character> <parenthetical>(laughs)</parenthetical> <dialogue>The police?</dialogue> <character>GAIL</character> <dialogue>We can get you out of Italy.</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>You don't understand. I can never talk to the police. It's onore. It's forbidden. Even if this was my own child.</dialogue> <character>GAIL (O.S.)</character> <dialogue>There must be something you can do.</dialogue> <character>CINQUANTA</character> <dialogue>What about you, Signora? I've risked my throat for your son. What have you given for him? Don't tell me you don't have the money. What have you done?</dialogue> <character>GAIL</character> <dialogue>I --</dialogue> <scene_description>The line goes dead.</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- TOWN SQUARE -- NIGHT</stage_direction> <scene_description>Cinquanta holds the dead receiver. As he searches the coin slot for change, he sees a man in the square watching him. He hangs up, walks out of the phone booth, and steals away.</scene_description> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- NIGHT</stage_direction> <scene_description>Gail places the receiver back in the cradle. Then it RINGS. She picks it up again.</scene_description> <character>HINGE (O.S.)</character> <dialogue>Ms. Getty? This is Oswald Hinge in Los Angeles. I'm sure you don't remember me.</dialogue> <character>GAIL</character> <dialogue>I haven't forgotten a thing.</dialogue> </scene> <scene> <stage_direction>INT. GETTY OIL COMPANY -- OFFICE -- DAY</stage_direction> <scene_description>Getty's attorney sits overlooking the smog of Los Angeles.</scene_description> <character>HINGE</character> <dialogue>I'm calling on behalf of Mr. Getty. Not your former husband --</dialogue> <character>GAIL (O.S.)</character> <dialogue>The old one with the money.</dialogue> <character>HINGE (O.S.)</character> <dialogue>That's the one.</dialogue> <character>GAIL</character> <dialogue>What can I do for you, Mr. Hinge?</dialogue> <character>HINGE (O.S.)</character> <dialogue>Mr. Getty has decided to pay Paul's ransom.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Gail's eyes widen; she has to take a breath. Suddenly everything's changed.</scene_description> <character>GAIL</character> <dialogue>That's -- Thank you, Mr. Hinge.</dialogue> <character>HINGE (O.S.)</character> <dialogue>Thank him. I am but a messenger.</dialogue> <character>GAIL</character> <dialogue>I would if he'd let me.</dialogue> <character>HINGE</character> <dialogue>You'll get your chance. We'll need you to come to Los Angeles for discussions.</dialogue> <scene_description>Gail's euphoria fades ever so slightly.</scene_description> <character>GAIL</character> <dialogue>What is there to discuss?</dialogue> </scene> <scene> <stage_direction>EXT. LOS ANGELES -- OVERHEAD -- DAY</stage_direction> <scene_description>Gail gazes through the porthole window at the grid of dirty streets that extends unto the horizon.</scene_description> <character>STEWARDESS (O.S.)</character> <dialogue>Ladies and Gentlemen, we are now beginning our final descent.</dialogue> <scene_description>The plane touches down with that abrupt SCREECH --</scene_description> </scene> <scene> <stage_direction>INT. GETTY OIL COMPANY, LOS ANGELES -- DAY</stage_direction> <scene_description>Gail walks down a corridor, flanked by Fletcher Chace and Giovanni Iacovoni, her attorney. We round a corner and enter --</scene_description> </scene> <scene> <stage_direction>INT. BOARD ROOM -- DAY</stage_direction> <scene_description>Getty sits at the head of the table, as he did years before. He seems weaker following his experience on the steps of his mansion. To his left sits Oswald Hinge, and to his right --</scene_description> <character>GAIL</character> <dialogue>Paul?</dialogue> <scene_description>-- sits Gail's ex-husband, John Paul II. He is almost unrecognizable: gaunt, feeble, attended by a professional caregiver, a lost junkie in a borrowed suit.</scene_description> <character>GAIL</character> <dialogue>Is that you, Paul?</dialogue> <scene_description>Her ex-husband utters a listless grunt. At the head of the table, the old man turns his lidded gaze to Fletcher Chace.</scene_description> <character>GETTY</character> <dialogue>Mr. Chace -- ?</dialogue> <scene_description>Chace walks to Getty's end of the table, where he takes his place by his employer. Gail is taken aback, betrayed.</scene_description> <character>GETTY</character> <dialogue>You'll be happy to know there are some new developments that will enable us to finally help our little Paul.</dialogue> <character>GAIL</character> <dialogue>I'm glad to hear that.</dialogue> <character>GETTY</character> <dialogue>My tax attorneys have discovered that while ransom payments are not deductible under the tax code, I can write off the interest if I loan the ransom money to my son.</dialogue> <character>GAIL</character> <dialogue>You've discovered that you can take my son's kidnapping as a tax deduction.</dialogue> <parenthetical>(covering)</parenthetical> <dialogue>I'm glad. I'm happy it works out financially for you.</dialogue> <character>HINGE</character> <dialogue>I think we can all agree that the most important thing is getting Paul home safely. And soon.</dialogue> <character>GAIL</character> <dialogue>Soon, yes, as soon as we can, please.</dialogue> <character>GETTY</character> <dialogue>The loan documents are ready, and the funds are ready to be transferred.</dialogue> <character>GAIL</character> <dialogue>Paul will be so grateful to his grandpa when he gets home. He loves you more than you know.</dialogue> <character>GETTY</character> <dialogue>And I love him.</dialogue> <character>HINGE</character> <dialogue>There's just the matter of the side letter.</dialogue> <scene_description>A lawyer slides a document across the table toward us.</scene_description> <character>HINGE</character> <dialogue>In exchange for Mr. Getty's making the loan, you agree to sign over full custody of all of your children, including Paul, to your ex-husband.</dialogue> <character>GAIL</character> <dialogue>Sign over -- ?</dialogue> <character>HINGE</character> <dialogue>There is no provision for visitation.</dialogue> <character>HINGE</character> <dialogue>All parental rights reside with Mr. Getty.</dialogue> <scene_description>Gail turns to her ex-husband.</scene_description> <character>GAIL</character> <dialogue>Are you part of this?</dialogue> <scene_description>John Paul II doesn't answer: he stares vacantly into space.</scene_description> <character>GAIL</character> <parenthetical>(to Iacovoni)</parenthetical> <dialogue>They can't do this, can they?</dialogue> <character>GETTY</character> <dialogue>My legal team is the best there is. If it wouldn't stand up in court they wouldn't have written it.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Take your time. Sleep on it. Have your attorney read it over.</dialogue> <character>GAIL</character> <dialogue>I don't have time to sleep on it. My child is being held prisoner.</dialogue> <character>GETTY</character> <dialogue>There is that.</dialogue> <character>GAIL</character> <dialogue>I let you have the money back then. I didn't ask for anything but my kids. You just can't bear to leave anything on the table, can you?</dialogue> <scene_description>Getty doesn't answer.</scene_description> <character>CHACE</character> <dialogue>Gail --</dialogue> <character>GAIL</character> <dialogue>Give it to me.</dialogue> <scene_description>An attorney slides the document toward her, along with an ornate gold pen. There's a blank line for her signature. She stares at the pen in her hand as if in a trance:</scene_description> <character>GAIL</character> <dialogue>This is a beautiful pen.</dialogue> <character>GETTY</character> <dialogue>The best.</dialogue> <scene_description>And then, with a single stroke, Gail signs her children away.</scene_description> </scene> <scene> <stage_direction>INT. GETTY OIL COMPANY -- DAY</stage_direction> <scene_description>Gail makes her way back to the elevators, trailed by Chace.</scene_description> <character>CHACE</character> <dialogue>Gail, I swear I had no idea.</dialogue> <character>GAIL</character> <dialogue>Call Inspector Del Rovere. Tell him to set up the cash exchange through Cinquanta.</dialogue> <character>CHACE</character> <dialogue>I never dreamed he'd pull this.</dialogue> <scene_description>Gail steps into the elevator.</scene_description> <character>GAIL</character> <dialogue>It's time for you to do whatever it is he pays you to do. Let's hope you're half as good as everything else he's bought.</dialogue> <scene_description>The doors close and Gail is gone.</scene_description> </scene> <scene> <stage_direction>INT. BEVERLY HILLS HOTEL ROOM -- NIGHT</stage_direction> <scene_description>Gail and Chace sit on the twin beds on either side of the phone, waiting for it to ring.</scene_description> <character>CHACE</character> <dialogue>Look, Gail --</dialogue> <character>GAIL</character> <dialogue>You don't need to explain. You don't work for me, or Paul. You work for Getty. I guess I forgot that.</dialogue> <character>CHACE</character> <dialogue>Yeah. I forgot it too.</dialogue> <character>IACOVONI (O.S.)</character> <dialogue>We have a problem.</dialogue> <scene_description>Giovanni Iacovoni has set up a makeshift office at a table by the window. He rises and approaches them, agitated.</scene_description> <character>IACOVONI</character> <dialogue>The contract you signed. The language of the document. It's hidden.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Getty has agreed to loan his son the ransom up to the amount that is tax deductible.</dialogue> <character>GAIL</character> <dialogue>No.</dialogue> <scene_description>The phone starts RINGING.</scene_description> <character>IACOVONI</character> <dialogue>So I investigate. Under US tax code, only the first million is deductible. That's all they wired to us.</dialogue> <character>GAIL</character> <dialogue>What is the ransom down to?</dialogue> <character>CHACE</character> <dialogue>Four. Down from seventeen.</dialogue> <character>GAIL</character> <dialogue>We don't have four. We have one.</dialogue> <scene_description>A series of clicks as, back in Rome, the Italian Police set up the phone connection:</scene_description> <character>SQUADRA MOBILE (O.S.)</character> <dialogue>Momento per favore.</dialogue> <scene_description>Then Cinquanta comes on the line:</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Meno male. It's almost over.</dialogue> <character>GAIL</character> <dialogue>What is Paul's condition?</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>He's not so good, but we can keep him alive a few days, long enough to make the exchange.</dialogue> <character>GAIL</character> <dialogue>We may not have all of it.</dialogue> <character>CINQUANTA (O.S.)</character> <dialogue>All of what?</dialogue> <character>GAIL</character> <dialogue>We only have a million.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH, REGGIO, CALABRIA -- INTERCUT -- NIGHT</stage_direction> <character>CINQUANTA</character> <dialogue>The number is four.</dialogue> <character>CHACE (O.S.)</character> <dialogue>One is the new number.</dialogue> <character>CINQUANTA</character> <dialogue>One is one quarter of the ransom. For this they'll send one-quarter of your son. Tell me, which quarter do you want?</dialogue> <scene_description>Cinquanta pounds on the phone with his fist in frustration.</scene_description> <character>CINQUANTA</character> <dialogue>You greedy animali. You're the worst criminals of all.</dialogue> <character>CHACE</character> <dialogue>I guess that makes you the victim, right? Tell me, did you hold the kid down so they could cut off his ear?</dialogue> <character>CINQUANTA</character> <dialogue>I did, yes.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Listen to me. I'm out now. I don't have any money to make from this anymore. But I don't want Paul to die. You have to go back and get Getty to pay --</dialogue> <character>GAIL</character> <dialogue>He can only pay for what he hasn't got. It's his sickness. He has to get something for his money and I have nothing left to give.</dialogue> <character>CINQUANTA</character> <dialogue>I'm begging you, Signora.</dialogue> <character>GAIL</character> <dialogue>You're begging me?</dialogue> <character>CINQUANTA</character> <dialogue>I don't want it to end like this. They expect the money in 48 hours. They won't believe you when you say you don't have it. If they don't get every lira they'll kill him.</dialogue> <character>GAIL</character> <dialogue>You have to get me some time here. I'm fighting an empire.</dialogue> <character>CINQUANTA</character> <dialogue>You think you're the only one.</dialogue> <scene_description>Cinquanta hangs up the phone and vanishes into the dark.</scene_description> </scene> <scene> <stage_direction>EXT. PACIFIC COAST HIGHWAY -- MALIBU -- NIGHT</stage_direction> <scene_description>Chace drives along the winding highway. Gail sits in the passenger seat, gazing at the churning sea outside her window.</scene_description> <character>CHACE</character> <dialogue>This is it. He's building some sort of mansion out here on the ocean.</dialogue> <scene_description>Chace pulls into a gated drive. They step out of the car and approach the gates. Gail presses the buzzer by the gate.</scene_description> <character>GAIL</character> <dialogue>I need to speak to him.</dialogue> <scene_description>She buzzes again and gets no reply.</scene_description> <character>CHACE</character> <dialogue>We can't stay here. They'll call the police.</dialogue> <character>GAIL</character> <dialogue>Let them.</dialogue> <character>CHACE</character> <dialogue>We have the million.</dialogue> <character>GAIL</character> <dialogue>For a million they'll kill him. They won't believe me when I say I don't have the rest of the money. Nobody believes me.</dialogue> <character>CHACE</character> <dialogue>There were never any guarantees.</dialogue> <character>GAIL</character> <dialogue>Don't do that. It won't make it any easier when the time comes.</dialogue> <character>CHACE</character> <dialogue>We knew what we were up against.</dialogue> <character>GAIL</character> <dialogue>Then why. Any of this.</dialogue> <character>CHACE</character> <dialogue>For me? A chance to ingratiate myself with the old man, so I could make myself into a cheap imitation of what he is. For you, I don't know.</dialogue> <character>GAIL</character> <dialogue>A reason to live.</dialogue> <character>CHACE</character> <dialogue>The money would have bought a chance, maybe a window of opportunity to grab him. Maybe not even that.</dialogue> <character>GAIL</character> <dialogue>The money, the money. I can't bear to hear about the money anymore.</dialogue> <scene_description>She leans her head against the iron bars, her back to him.</scene_description> <character>GAIL</character> <dialogue>This thing that's made beggars of us, rats in a maze, grubbing out our lives for -- what? Ink in some ledger. We'll kill and die for it, and none of it is real.</dialogue> <scene_description>Chace reaches out his hand to touch her. But then she turns.</scene_description> <character>GAIL</character> <dialogue>Everybody thinks I have the money. Nobody believes me when I say I don't. Why am I arguing with them?</dialogue> <scene_description>Chace doesn't understand.</scene_description> <character>GAIL</character> <dialogue>Everybody thinks I have the money. The newspapers, the kidnappers -- they all think I'm rich. Do you know what they call that?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Credit.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>We announce that I have the ransom money. All four million. We make the exchange. You get your window.</dialogue> <character>CHACE</character> <dialogue>What happens when they find out the money's not all there?</dialogue> <character>GAIL</character> <dialogue>By that time, we either have Paul or we don't.</dialogue> <character>CHACE</character> <dialogue>Now you're thinking like a Getty.</dialogue> <scene_description>POLICE CARS pull up on Pacific Coast Highway behind them.</scene_description> <character>GAIL</character> <dialogue>The cops do come running when you're a billionaire.</dialogue> <character>MALIBU POLICE OFFICER (O.S.)</character> <dialogue>You're trespassing on Getty property.</dialogue> <character>GAIL</character> <dialogue>We were just leaving, officer. We don't need him anymore.</dialogue> </scene> <scene> <stage_direction>INT. BEVERLY HILLS HILTON HOTEL -- CORRIDOR -- DAY</stage_direction> <scene_description>Gail Getty applies lipstick in a compact mirror. She wears a designer dress, makeup, jewelry: she looks like Grace Kelly.</scene_description> <character>GAIL</character> <dialogue>I'm saving the receipts so I can return it all to Dior tomorrow.</dialogue> <character>IACOVONI</character> <dialogue>Più bella. In all my life have never seen a woman so lovely.</dialogue> <scene_description>This isn't the effect she was after.</scene_description> <character>CHACE</character> <dialogue>You look rich. Beautifully rich.</dialogue> <character>GAIL</character> <dialogue>That's more like it.</dialogue> </scene> <scene> <stage_direction>INT. BEVERLY HILLS HOTEL -- POOL TERRACE -- DAY</stage_direction> <scene_description>Gail steps onto the terrace, where two dozen reporters and photographers await. She steps before the microphones.</scene_description> <character>GAIL</character> <dialogue>Following a long and difficult negotiation with my son's kidnappers --</dialogue> </scene> <scene> <stage_direction>INT. GETTY MANSION -- DAY</stage_direction> <scene_description>In his sun-streamed living room, J Paul Getty watches television as Bullimore hovers nearby.</scene_description> <character>GAIL (O.S.)</character> <dialogue>-- I have decided to meet their demands and pay the ransom in full.</dialogue> <scene_description>Getty's eyes widen.</scene_description> <character>GETTY</character> <dialogue>"I" have decided to pay? What is this? In full?</dialogue> <scene_description>Getty turns around in his chair.</scene_description> <character>GETTY</character> <dialogue>Get me Fletcher Chace.</dialogue> </scene> <scene> <stage_direction>EXT. PACIFIC COAST HIGHWAY -- DAY</stage_direction> <scene_description>Traffic. Fletcher Chace swelters in his rented car. He checks the gas gauge -- the needle's bobbing on "E". There's a gas station up ahead. The cars are lined up seven- deep at the pump. Chace pulls into the gas line and waits. A GAS-STATION ATTENDANT walks outside with a placard. Drivers climb out of their cars and start JEERING at the attendant. Curious, Chace climbs out and watches as the attendant places the sign on the pump: NO GAS. Chace smiles ruefully.</scene_description> <character>CHACE</character> <dialogue>Priceless.</dialogue> <scene_description>He climbs back in and pulls back onto the highway.</scene_description> </scene> <scene> <stage_direction>EXT. PACIFIC COAST HIGHWAY -- DAY</stage_direction> <scene_description>The car has stalled out by the roadside. Chace folds his sportcoat over his arm and puts out a thumb to hitch a ride.</scene_description> </scene> <scene> <stage_direction>EXT. GETTY ESTATE -- FRONT GATE -- DAY</stage_direction> <scene_description>A GARDENER's old pickup truck pulls up and Chace climbs out.</scene_description> <character>CHACE</character> <dialogue>Gracias, señor. Muchas!</dialogue> <scene_description>The pickup truck drives away. The great gates open before us. Chace walks up the deeply sloping driveway, his shirt damp with sweat. Finally, he reaches the crest of the hill -- -- and stops.</scene_description> <character>CHACE</character> <dialogue>I'll be damned.</dialogue> </scene> <scene> <stage_direction>EXT. GETTY VILLA, MALIBU -- DAY</stage_direction> <scene_description>Here, on this hill, J Paul Getty supervises the construction of a precise replica of Hadrian's Villa, complete with reflecting pool and Roman statuary.</scene_description> <character>GETTY</character> <dialogue>Chace. You're looking damp. What happened to you?</dialogue> <character>CHACE</character> <dialogue>Car-pooling.</dialogue> <character>GETTY</character> <dialogue>It'll never catch on.</dialogue> <scene_description>Chace stands marveling at the sprawling Villa.</scene_description> <character>GETTY</character> <dialogue>It's an exact replica of my Imperial Villa, down to the last detail, but with flush toilets. The mountain may not have come to Mohammed, but it sure as hell came to me.</dialogue> <scene_description>Getty's Secretary approaches.</scene_description> <character>SECRETARY</character> <dialogue>West Texas Intermediate, sir.</dialogue> <scene_description>Getty glances at the ticker tape.</scene_description> <character>CHACE</character> <dialogue>What does it feel like, reading that slip of paper?</dialogue> <character>GETTY</character> <dialogue>Vertigo. For a moment, money loses all meaning and becomes as plentiful as air. Like... flight. But then it passes.</dialogue> <scene_description>Getty folds the paper and slips it into his pocket.</scene_description> <character>GETTY</character> <dialogue>What's all this I see on TV with Gail? Paying the ransom in full? We both know she doesn't have it.</dialogue> <character>CHACE</character> <dialogue>The lady's made other arrangements.</dialogue> <character>GETTY</character> <dialogue>She doesn't have the money. What's going on? Come on, where'd she get it? Is she fucking somebody?</dialogue> <scene_description>Chace stares at the old man.</scene_description> <character>CHACE</character> <dialogue>I think I'm finally beginning to understand what makes you tick.</dialogue> <character>GETTY</character> <dialogue>You couldn't begin to. Now spill it. What's going on? What's her game?</dialogue> <scene_description>Chace begins to walk away.</scene_description> <character>GETTY</character> <dialogue>Don't forget, Chace. I have a contract. And I'll enforce it.</dialogue> <character>CHACE</character> <dialogue>I don't think so.</dialogue> <character>GETTY</character> <dialogue>Why not?</dialogue> <character>CHACE</character> <dialogue>Because whatever personal security you presently enjoy comes from me. Those Alsatians limping around the pool? My people trained them. Your security system? My people installed it. Your bodyguards? Uh-huh. You're protected from every threat imaginable, unless that threat happens to be me.</dialogue> <character>GETTY</character> <dialogue>I suppose this is your way of submitting your resignation.</dialogue> <character>CHACE</character> <dialogue>"Men of risk." Isn't that what you called us? "I risk my money, you risk your life."</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>You and me -- we never risked a thing in our lives. We never took the chances ordinary people take. That's why we are what we are now.</dialogue> <scene_description>Chace turns to go. Getty grabs his arm.</scene_description> <character>GETTY</character> <dialogue>Those children are my blood, Chace. They were mine. And she took them. I was left with nothing.</dialogue> <scene_description>The old man's eyes brim with tears. Chace stares at him, and beyond him, at the palace filled with treasures.</scene_description> <character>CHACE</character> <dialogue>Now you know.</dialogue> <scene_description>Chace walks away, down the hill, leaving Getty behind. As he walks through the great iron gates, a cool spray from the Pacific shimmers through the trees. Chace walks down to the end of the driveway, puts on his sunglasses, and holds out his thumb to hitch a ride.</scene_description> </scene> <scene> <stage_direction>EXT. ROME STREETS -- OVERHEAD -- DAY</stage_direction> <scene_description>We FLY OVER the same streets of Rome where the movie began.</scene_description> </scene> <scene> <stage_direction>INT. ROME FIUMICINO AIRPORT -- BOARDING GATE -- DAY</stage_direction> <scene_description>Chace emerges from the terminal. Iacovoni is waiting there for him; he falls into step beside Chace as they exit.</scene_description> <character>IACOVONI</character> <dialogue>The money came through. We were on the phone, and my secretary begins to shout the bank wire came through.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>It was the full ransom. $3.3 million at today's exchange rate. $1.6 billion in lira.</dialogue> <scene_description>Chace misses a step, surprised.</scene_description> <character>IACOVONI</character> <dialogue>What did you say to him?</dialogue> <character>CHACE</character> <dialogue>I couldn't even tell you.</dialogue> </scene> <scene> <stage_direction>INT. BANCO COMMERCIALE DI ROMA -- MONTAGE -- DAY</stage_direction> <scene_description>Nearly a dozen female BANK EMPLOYEES count out and bundle huge piles of lira notes at a great counting table.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>The money must be in used lira notes, small denomination only, no marking.</dialogue> <scene_description>A PHOTOCOPIER flashes as each note is photographed. The money is a 201-pound mountain. It is packed into three huge canvas MAIL BAGS and loaded onto a rolling pallet.</scene_description> </scene> <scene> <stage_direction>EXT. ROME STREETS -- MORNING</stage_direction> <scene_description>The streets of Rome are COMPLETELY, EERILY EMPTY. No cars.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>Because of the fuel crisis rationing measures, no cars will be allowed on the roads on Sunday.</dialogue> <scene_description>Chace fills up a 10-liter can of gasoline at a gas station. He counts out a stack of lira notes for the owner.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>This way the autostrada will be empty. They will know if Gail is followed.</dialogue> <character>CHACE</character> <dialogue>I'll make the exchange on my own.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- DAY</stage_direction> <scene_description>Chace is on the phone, with Gail, Del Rovere, Corvo, and a surveillance officer in the BG.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Signora Getty only.</dialogue> <character>CHACE</character> <dialogue>She's not going.</dialogue> <character>GAIL</character> <dialogue>I can do it. I'm doing it.</dialogue> <character>DEL ROVERE</character> <dialogue>Signora, be reasonable.</dialogue> </scene> <scene> <stage_direction>EXT. GAIL'S APARTMENT -- MORNING</stage_direction> <scene_description>With dozens of paparazzi outside her building, Gail ascends the stairwell to the rooftop, crosses to another building, and descends to a car at street level on an adjacent block.</scene_description> <character>CHACE (V.O.)</character> <dialogue>She'll be in a car with millions of dollars. The whole world knows what she looks like. She could be robbed on the highway.</dialogue> <character>CINQUANTA (V.O.)</character> <dialogue>That's your problem.</dialogue> <character>CHACE (V.O.)</character> <dialogue>Then we both go. Non-negotiable.</dialogue> </scene> <scene> <stage_direction>EXT. ROME AUTOSTRADA -- TOLL GATE -- DAY</stage_direction> <scene_description>Gail drives, with Chace in the passenger seat. The trunk of the vehicle is weighed down by the money.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>Driving a Fiat 123 with two suitcases tied to the roof, exit the autostrada toll gate at 9AM and drive south at exactly 80 kilometers an hour.</dialogue> <scene_description>Their car slowly makes its way on the vast, empty autostrada.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>Don't stop for food, gas, toilet, nothing. Remember they are watching.</dialogue> <scene_description>As they drive they glimpse isolated FIGURES standing at the edge of the highway: SENTRIES posted by the N'dragheta.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>A handful of gravel will strike your windshield. This will be their sign.</dialogue> <scene_description>They enter the mountains; a FOG shrouds everything.</scene_description> <character>CINQUANTA (V.O.)</character> <dialogue>Obey these rules or they will take his other ear, his eyes, a hand.</dialogue> <scene_description>A FISTFUL OF GRAVEL peppers their windshield. Chace cranes his neck to see who threw it and glimpses a figure by the roadside darting back into the trees. Gail pulls over. The highway is empty. It's unclear what they should do next. Then Gail sees him: A YOUNG BOY standing by the roadside, shadowed in the mist a hundred yards away. Gail runs toward him...</scene_description> <character>GAIL</character> <dialogue>Paul -- !</dialogue> <scene_description>...but then she slows. The boy is not Paul. It's a 12-year- old mafia wannabe smoking a cigarette, waiting. A messenger.</scene_description> <character>ROADSIDE KID</character> <dialogue>Lasciare i soldi. Leave the money. Drive on to the gas station and wait for our call while we count it.</dialogue> <scene_description>The kid turns and vanishes into the forest. CUT TO: THE BAGS OF MONEY by the side of the road. As Chace drives away we glimpse the shadows of men emerging from the forest -- -- then CUT TO an AERIAL VIEW of the scene as viewed from a POLICE SURVEILLANCE AIRPLANE high above. In an instant, the mail bags are whisked away into the forest.</scene_description> </scene> <scene> <stage_direction>EXT. AGIP GAS STATION -- DAY</stage_direction> <scene_description>Closed. A cardboard sign on the pump reads "NIENTE BENZINA -- NO GAS." Gail pulls up in front of a battered pay phone.</scene_description> </scene> <scene> <stage_direction>INT. COUNTING ROOM -- DAY</stage_direction> <scene_description>The mail bags are unzipped. The bricks of lira are broken down and counted by hand, all under Saverio Mammoliti's eye. We recognize the woman from Mammoliti's factory among them.</scene_description> </scene> <scene> <stage_direction>INT. DELIVERY TRUCK -- DAY</stage_direction> <scene_description>Paul Getty rides in back, along with Cinquanta and Sgro. He is dressed in brand-new clothes. Cinquanta brushes him off.</scene_description> <character>CINQUANTA</character> <dialogue>That's better. You can't go home to your mother looking like a sciattone.</dialogue> <character>SGRÒ</character> <dialogue>I still say we should have cut his tongue out, just to be safe.</dialogue> <scene_description>The truck stops. Cinquanta pulls a ski mask over the boy's head backwards, so as to blindfold him.</scene_description> <character>SGRÒ</character> <dialogue>Walk twenty paces, then stop and wait. We're watching. Take the mask off and we'll kill you.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- DRAIN PIPE -- DAY</stage_direction> <scene_description>The truck's rear doors open next to a concrete drain pipe. As Cinquanta helps Paul out of the truck he whispers:</scene_description> <character>CINQUANTA</character> <dialogue>Bona fortuna, Paolo.</dialogue> <character>PAUL</character> <dialogue>You too.</dialogue> <scene_description>The boy starts walking blindly along the highway. The doors close and the truck drives away, leaving Paul behind.</scene_description> </scene> <scene> <stage_direction>EXT. AGIP GAS STATION -- DAY</stage_direction> <scene_description>The phone RINGS. Gail picks up. Chace starts the car.</scene_description> <character>CINQUANTA (O.S.)</character> <dialogue>Three kilometers down the autostrada is a drain pipe. Paul waits there for you. Get him out of Italy as fast as you can, I beg you.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- DRAIN PIPE -- DAY</stage_direction> <scene_description>The truck is gone. Paul waits a moment, then pulls off the mask. There's no one around. There's a town in the distance. AERIAL VIEW: CARABINERI POLICE CARS have begun to converge on the scene from nearby villages. SEARCH TEAMS with dogs comb the forest. The are encircling the area.</scene_description> </scene> <scene> <stage_direction>INT. COUNTING ROOM -- EVENING</stage_direction> <scene_description>The money is stacked, bundled, zipped into the mailbags, and loaded onto a truck. Saverio Mammoliti hands out envelopes of cash to each of his employees, including Cinquanta.</scene_description> <character>CINQUANTA</character> <dialogue>Grazie, Signore.</dialogue> <scene_description>In the distance, we hear DOGS BARKING. Mammoliti stops:</scene_description> <character>MAMMOLITI</character> <dialogue>Cane. Molti. Polizia. Tradimento.</dialogue> <scene_description>Mammoliti climbs into his waiting Mercedes. To his men:</scene_description> <character>MAMMOLITI</character> <dialogue>Tornare indietro e prendere il ragazzo.</dialogue> <parenthetical>(subtitled)</parenthetical> <dialogue>Go back and get the boy.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA -- DRAIN PIPE -- EVENING</stage_direction> <scene_description>The boy is gone. Gail is still, silent, frightened.</scene_description> <character>CHACE</character> <dialogue>Footprints.</dialogue> <character>GAIL</character> <dialogue>He's not here, Chace.</dialogue> <character>CHACE</character> <dialogue>They made the drop.</dialogue> <scene_description>Chace frantically searches the snow on the hillside.</scene_description> <character>CHACE</character> <dialogue>Paul's a smart kid. What would you do? You wouldn't wait here for them to change their minds.</dialogue> <scene_description>Then he finds it, tossed into the drain pipe: the ski mask.</scene_description> <character>CHACE</character> <dialogue>He ran.</dialogue> <scene_description>Chace looks down the highway, until he sees it on a nearby hilltop: the medieval-looking village of LAGONEGRO. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GETTY MANSION -- MASTER BEDROOM -- NIGHT</stage_direction> <scene_description>J Paul Getty wakes from his slumber with a start.</scene_description> <character>GETTY</character> <dialogue>Who's there?</dialogue> <scene_description>Getty is in a bedroom decorated in the ancient Roman style. A great log fire burns in the fireplace. Getty sits up in bed; the room is unfamiliar to him. There's a strangeness to his surroundings, as if the old man has come unmoored, "2001"-like, in time. One side of Getty's face has gone completely slack: he's obviously suffered a stroke in the night. He steps into his slippers and shuffles along the marble floors in his pajamas --</scene_description> </scene> <scene> <stage_direction>INT. GETTY MANSION -- NIGHT</stage_direction> <scene_description>-- into a granite corridor peopled by stone figures from another age. He has no idea where he is. CUT TO: PAUL GETTY as he runs into the eerie, cobblestoned village of Lagonegro. We can hear the DOGS BARKING in the distance: the police cordon has encircled the village and is drawing closer.</scene_description> </scene> <scene> <stage_direction>INT. BARBER SHOP -- EVENING</stage_direction> <scene_description>Paul wanders into the shop, his head covered in bandages.</scene_description> <character>PAUL</character> <dialogue>Please let me in. Rifugio, prego. They're after me.</dialogue> <scene_description>The Barber slowly pushes Paul backwards, out of his shop.</scene_description> <character>BARBER</character> <dialogue>Non posso coinvolto. I can't get involved.</dialogue> <character>PAUL</character> <dialogue>My name is Paul Getty. I was kidnapped.</dialogue> <character>BARBER</character> <dialogue>I know who you are.</dialogue> <scene_description>The Barber locks the front door and pulls down the blind. THE N'DRAGHETA stalk through the street in their black suits, four abreast. Cinquanta trails along. The villagers avoid eye contact. GAIL GETTY hurries through twilight streets, calling Paul's name.</scene_description> <character>GAIL</character> <dialogue>Scusi. Have you seen a teenage boy, curly hair, American --</dialogue> <scene_description>The VILLAGERS turn away from her and hurry into their homes. PAUL GETTY knocks on front doors, one after another. The people inside draw their curtains shut.</scene_description> <character>PAUL</character> <dialogue>Rifugio, Prego! Let me in, please!</dialogue> <scene_description>FLETCHER CHACE walks on the opposite side of the square from Gail, casting quick glances down hushed, narrow alleyways. He makes eye contact with one of the N'Dragheta. A look passes between them. Chace hurries on. He dares not call out Paul's name. He pats himself down, searching for a gun that isn't there. He kicks a loose cobblestone and picks it up. THE CARABINERI move through the streets, conducting a house-to-house search. PAUL GETTY rounds a corner, glimpses the Carabineri, and backs away fearfully. He ducks down a narrow street.</scene_description> <character>CHACE (O.S.)</character> <dialogue>Paul.</dialogue> <scene_description>Paul turns: Fletcher Chace stands at the end of the street.</scene_description> <character>CHACE</character> <dialogue>I'm here to take you home.</dialogue> <scene_description>At that moment, Paul is grabbed from behind by the N'dragheta. The N'dragheta drags him backwards, round the corner -- -- and there's a THUD of skull on stone. The N'dragheta goes down, and we REVEAL Cinquanta standing behind him, having struck him with a cobblestone. Chace steps forward and brings his own stone down on the N'dragheta. They kick him until he stops moving. They stand together over the body. Chace looks at Cinquanta.</scene_description> <character>CHACE</character> <dialogue>It's you.</dialogue> <character>CINQUANTA</character> <dialogue>What are you looking at? Go.</dialogue> <scene_description>Chace drops his stone, turns, and sees Gail in the alley: she's witnessed everything. She grabs Paul by the arm and hurries him to their car. Chace starts the Fiat -- -- and they drive away, out of the village. Already, the Carabineri are apprehending the N'dragheta. A Carabineri sees Chace's car coming and calls out:</scene_description> <character>CARABINERI</character> <dialogue>Arresto! Attenzione!</dialogue> <scene_description>But he blows right by. The car descends the mountain and vanishes into the mists of the valley and beyond, to Rome.</scene_description> </scene> <scene> <stage_direction>INT. GETTY MANSION -- NIGHT</stage_direction> <scene_description>Getty wanders the halls of his mansion, his gait unsteady. Marble emperors gaze down at him with their lightless eyes. Getty shuffles on, until he finds his prized painting -- Albrecht Dürer's "Madonna and Child in a Window." He reaches and takes it from the wall -- -- and the silent alarm goes off. The doors at either end of the hallway SLAM SHUT, and the power cuts out. DARKNESS. The corridor is illuminated by the flames from the fireplace. The shadows of dead emperors dance along the walls.</scene_description> </scene> <scene> <stage_direction>EXT. FIAT 123 -- AUTOSTRADA -- NIGHT</stage_direction> <scene_description>The Fiat makes its way back to Rome along the serpentine highway, its headlights blazing. Chace drives; Gail and Paul sit in the back seat, silent and apart, still recovering from what they've just endured. We see the LIGHTS of Rome in the distance. But then we realize that the lights are from TV cameras. The Italian press has paid off the people at the toll gates. They've formed a gauntlet of TV and still cameras to force the car to stop so they can get a photograph of Paul. Instead, Chace hits the gas and blows through the toll gate. The paparazzi are forced to scramble and chase them.</scene_description> </scene> <scene> <stage_direction>INT. GETTY MANSION -- NIGHT</stage_direction> <scene_description>Getty sits down before the fire. For the first time we get a good look at the painting: a mother and her child. A golden crown floats suspended above the mother's head.</scene_description> <character>PAUL (V.O.)</character> <dialogue>A Getty is special.</dialogue> <scene_description>A tear rolls down Getty's melted cheek. The painting falls from his hand and CLATTERS to the floor.</scene_description> </scene> <scene> <stage_direction>INT. FIAT 123 -- AUTOSTRADA -- NIGHT</stage_direction> <scene_description>As the Coliseum of Rome comes into view, Paul breaks down. Gail reaches for him and the boy crumbles into her arms.</scene_description> <character>PAUL (V.O.)</character> <dialogue>A Getty has a destiny.</dialogue> <scene_description>The paparazzi on their scooters catch up with the car. Chace looks into the rearview mirror: for the first and only time in the movie, Gail is in tears.</scene_description> <character>PAUL (V.O.)</character> <dialogue>We aren't like you.</dialogue> <scene_description>Chace flips the mirror down, giving Gail and Paul their solitude, then puts the pedal down and leaves the reporters in the dust.</scene_description> <character>PAUL</character> <dialogue>But we were once.</dialogue> </scene> <scene> <stage_direction>EXT. QUESTURA POLICIA DI STATO (POLICE HEADQUARTERS) -- NIGHT</stage_direction> <scene_description>Paul, Gail and Chace ascend the steps of the Questura, surrounded by clamoring reporters.</scene_description> <character>PAUL (V.O.)</character> <dialogue>But I had an idea that maybe we could be again, me and my dad and my grandfather, if only we could get back to our own world where the force of gravity wasn't so strong. We could be together, like we used to.</dialogue> </scene> <scene> <stage_direction>INT. GAIL'S APARTMENT -- PAUL'S ROOM -- NIGHT</stage_direction> <scene_description>A Squadra Mobile officer reaches under Paul's bed and finds a young boy's suitcase. He zips it open --</scene_description> <character>PAUL (V.O.)</character> <dialogue>It was just an idea I had, a joke I told my friends: what if we gave it all away?</dialogue> <scene_description>-- and inside are hundreds of letters, all addressed to J Paul Getty and pleading for money. Paul saved them all, rather than sending them Getty's response.</scene_description> </scene> <scene> <stage_direction>INT. QUESTURA POLICIA -- INTERROGATION ROOM -- NIGHT</stage_direction> <scene_description>Paul makes his official testimony to Del Rovere.</scene_description> <character>PAUL (V.O.)</character> <dialogue>I guess somebody must have overheard me. And once it was out there I couldn't stop it. It wasn't a plan or anything. It was just a wish. A stupid kid's dream. Now I know nothing like that could never happen. I'm not a kid anymore.</dialogue> <scene_description>And with that, the tape recorder STOPS. BLACK OUT: FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. GETTY OIL COMPANY, LOS ANGELES -- DAY</stage_direction> <scene_description>Gail waits in the lobby of Getty Oil.</scene_description> <character>SECRETARY (O.S.)</character> <dialogue>Ma'am? They'll see you now.</dialogue> </scene> <scene> <stage_direction>INT. BOARD ROOM -- DAY</stage_direction> <scene_description>Gail enters the same board room. Oswald Hinge and the other attorneys are there; they all rise, smiling as Gail enters. The only empty chair is that of J Paul Getty himself.</scene_description> <character>HINGE</character> <dialogue>Ms Getty, we offer our sincerest condolences.</dialogue> <character>GAIL</character> <dialogue>For what?</dialogue> <scene_description>She looks at the empty chair.</scene_description> <character>GAIL</character> <dialogue>Oh. You're very thoughtful.</dialogue> <character>HINGE</character> <dialogue>Please, sit. Mr Getty's death has created a bit of a crisis here. You see, Mr. Getty never groomed a successor. Or rather he tried to --</dialogue> <character>GAIL</character> <dialogue>But he destroyed them all.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>I don't think he planned on dying. He thought that was negotiable, too.</dialogue> <character>HINGE</character> <dialogue>Yes, well. As a result, the Getty estate has become a family fortune in search of a family.</dialogue> <character>TAX ATTORNEY</character> <dialogue>You see, the estate was structured as a charitable family trust.</dialogue> <character>GAIL</character> <dialogue>Did he ever give any money to charity?</dialogue> <character>HINGE</character> <dialogue>No. The trust enabled Mr. Getty to build his fortune without paying taxes. The problem is, the trust has rules. It throws off interest. The interest must be spent. It's a staggering amount of money.</dialogue> <character>GAIL</character> <dialogue>What do you want from me?</dialogue> <character>HINGE</character> <dialogue>How do I put this. The King is dead, and the throne is vacant. Someone has to take his place.</dialogue> <character>GAIL</character> <dialogue>That money destroyed my family.</dialogue> <character>HINGE</character> <dialogue>So you don't want it.</dialogue> <scene_description>We HOLD on Gail. Then:</scene_description> <character>GAIL</character> <dialogue>No. Give it to me.</dialogue> <scene_description>The other attorney slides a stack of documents toward her. Atop the stack is the beautiful gold fountain pen that she used to sign her children away. She twists off the cap. The nib is as sharp as a knife. She sets it down and signs on the dotted line.</scene_description> </scene> <scene> <stage_direction>EXT. GETTY VILLA, MALIBU -- DAY</stage_direction> <scene_description>The iron gates open before us, and a CROWD enters the grounds. They wear sneakers, jeans, t-shirts. They snap pictures with Instamatic cameras and carry cans of soda. Fletcher Chace is among them, his suit freshly pressed.</scene_description> </scene> <scene> <stage_direction>INT. GETTY VILLA -- MAIN OFFICE LOBBY -- DAY</stage_direction> <scene_description>Chace sits in a lobby chair, waiting for his appointment. CUT TO: GAIL'S SIGNATURE scrolls across the signature line of a bank check. She sits at Getty's old Louis XIV desk, her bearing modest but somehow regal: she has become Getty, after her own fashion. She tears the check from the register and offers it to Chace.</scene_description> <character>CHACE</character> <dialogue>I can't accept this.</dialogue> <character>GAIL</character> <dialogue>It's not enough. Take it.</dialogue> </scene> <scene> <stage_direction>EXT. GETTY VILLA, MALIBU -- DAY</stage_direction> <scene_description>They walk together, a bit awkwardly, on the main terrace, where they pass a row of marble busts of Roman Emperors. The last bust in line is that of Getty himself. They pass a DOCENT leading a tour group:</scene_description> <character>DOCENT</character> <dialogue>J Paul Getty believed deeply in the power of art to make us aware of our shared humanity, and that this legacy belonged to every man and woman, rich or poor. It was his philanthropic vision that made this museum possible.</dialogue> <scene_description>Gail and Chace exchange a look.</scene_description> <character>CHACE</character> <dialogue>Who wrote that?</dialogue> <character>GAIL</character> <dialogue>I did. But let's keep that to ourselves.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>We hope you'll be staying on, Mr. Chace, but we're a public foundation now, and the position doesn't pay what it did. And I know you had other ambitions. But still.</dialogue> <character>CHACE</character> <dialogue>Guys like me don't get rich. I've realized that. We get sidetracked too easily.</dialogue> <character>GAIL</character> <dialogue>Shame.</dialogue> <character>CHACE</character> <dialogue>Not really.</dialogue> <scene_description>A moment. She struggles to find the right words.</scene_description> <character>GAIL</character> <dialogue>I think of you as our family.</dialogue> <character>CHACE</character> <dialogue>It's kind of you to say so, ma'am.</dialogue> <scene_description>They pass a tiny sculpture on a platform: the Minotaur. Chace doesn't even notice it.</scene_description> <character>CHACE</character> <dialogue>There were a couple things around the grounds I was meaning to see to.</dialogue> <character>GAIL</character> <dialogue>Of course. Don't let me keep you.</dialogue> <scene_description>Chace leaves Gail on the terrace. As she watches Chace go, her son Paul joins her, his hair grown long now.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- DAY</stage_direction> <scene_description>Chace uses a butcher's knife to cut a strip of meat from a steak. He cuts the strip into cubes.</scene_description> </scene> <scene> <stage_direction>EXT. GETTY VILLA -- DAY</stage_direction> <scene_description>Chace opens a cage and one of Getty's Alsatians limps out. Chace feeds the dog the steak, kneading its fur, whispering in its ear. He clips a chain leash to the dog's choke collar.</scene_description> </scene> <scene> <stage_direction>EXT. GETTY VILLA -- ENTRANCE -- DAY</stage_direction> <scene_description>Chace walks the dog to the open front gate. He grips the dog's chain in his clenched fist. They stand there at the gate as the outsiders stream past, the dog BARKING its insistent warning to any and all who would dare come to do this family harm. BLACK OUT.:</scene_description> </scene> </script>

In 1973, 16-year-old John Paul Getty III, grandson of the world's richest private citizen, oil tycoon J. Paul Getty, is kidnapped in Rome, where he lives, by the 'Ndrangheta, a Mafia-like organized crime group based in Calabria. A ransom of $17 million is demanded, but Paul's mother, Gail Harris Getty, is unable to pay it, as she rejected any alimony in exchange for full custody of her children when she divorced Paul's father, John Paul Getty Jr., in 1971 due to his drug addiction. She travels to Getty's estate in England to beseech him to provide the money, but he refuses, stating that doing so would encourage further kidnappings of his family members, and instead asks Fletcher Chace, a Getty Oil negotiator and former CIA operative, to investigate the case and secure Paul's release. The media quickly picks up on the story, and Gail is constantly hounded by paparazzi. Paul is kept hostage in a remote location in southern Italy. Initially, his captors, particularly Cinquanta, do not treat him overly harshly, as he causes them few problems, but as months go by without the ransom being paid, far longer than the captors anticipated, the situation grows increasingly tense. One of the kidnappers accidentally shows his face to Paul, but, before he can kill Paul so he cannot be identified, another kidnapper shoots him dead. His burned and disfigured body is found in the sea, and, at first, investigators think it is Paul. Gail is brought in to identify her son, but immediately sees that the corpse is not him. Once they determine the correct identity of the body, the Carabinieri are able to determine where Paul is being held. A raid is conducted, during the course of which all of the kidnappers who are present are killed, but Paul is not found, as he has been sold to a different 'ndrina, or crime family, who hire Cinquanta to keep looking after Paul and negotiating with Gail. Paul's new captors are much less patient, and more ruthless, than his former ones, and, after he almost escapes, they cut off one of his ears and mail it to a newspaper, claiming they will continue mutilating the boy until the ransom is paid. After repeated negotiations between the captors and Gail and Chace, the ransom is lowered to $4 million. Getty finally agrees to pay, but only if Gail signs over full custody of all of her children to their father, who is in a near-vegetative state due to his drug use. Knowing she is really giving custody to Getty, Gail signs the documents, but Getty only provides $1 million, as it is the maximum amount his lawyers can figure out a way to claim as tax-deductible. Gail announces she has the full ransom, hoping she and Chace can figure out a way to get Paul back alive anyway, and the desperation of this, coupled with a biting resignation speech given by Chace, unintentionally convince Getty to provide the full ransom and give Gail back the custody of her children. Following precise instructions from the captors, Gail and Chace leave the money in a remote location and, once it is counted, receive a call to pick up Paul from a construction site. Based on advice from Cinquanta, Paul has run away, so Gail and Chace begin to search for him. The captors also begin to search for Paul, intending to kill him, after they discover Chace broke his word by leading the police to them. Everyone converges on the nearby town of Lauria after dark, and some of the criminals are arrested, but one of them finds Paul. Cinquanta attacks the man in order to allow Paul to escape, and Paul is reunited with Gail and brought to safety. When Getty dies in 1976, Gail is tasked with managing her children's inherited wealth until they are adults. Getty's estate was set up as a charitable trust, which allowed him to avoid paying taxes, but also meant he could not spend his income. He could invest it, however, and amassed an enormous collection of paintings, sculptures, and other artifacts, most of which now reside in the J. Paul Getty Museum in Los Angeles.

Revolutionary Road_2008

tt0959337

<script> <scene> <stage_direction>EXT. NEW YORK CITY - NIGHT, 1947. FLASHBACK.</stage_direction> <scene_description>City lights . The soaring bridges and glowing windows of New York City . The SOUNDS of a cocktail party .</scene_description> </scene> <scene> <stage_direction>INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947. FLASHBACK.</stage_direction> <scene_description>A party of bohemian types in the village . Artist 's canvases propped up against the walls . A narrow hallway with couples talking intimately . Two rooms crammed with young people smoking and drinking . A man and a woman in their 20 's stand alone in a corner . FRANK WHEELER , intelligent good - looks , and APRIL JOHNSON , a patrician beauty , a woman amongst girls . He 's been making her laugh .</scene_description> <character>FRANK</character> <dialogue>So, what do you do?</dialogue> <character>APRIL</character> <dialogue>I'm studying to be an actress. You?</dialogue> <character>FRANK</character> <dialogue>I'm a longshoreman.</dialogue> <character>APRIL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>No, I mean really.</dialogue> <character>FRANK</character> <dialogue>I mean really too. Starting Monday, though, I'm doing something a little more glamorous. Night cashier at a cafeteria.</dialogue> <character>APRIL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I do n't mean how you make money. I mean what are you interested in?</dialogue> <character>FRANK</character> <dialogue>Honey - if I had the answer to that one, I bet I'd bore us both to death in half an hour.</dialogue> <scene_description>She laughs . He smiles , revelling in her attention .</scene_description> </scene> <scene> <stage_direction>INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947, LATER.</stage_direction> <scene_description>Later , Frank and April dance . They move well , in sync , looking into each other 's eyes . He slides his hand down the silk of April 's dress until it rests in the small of her back . Close on their hands . Their fingers slowly entwine as they lose themselves in each other .</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - NIGHT, PRESENT.</stage_direction> <scene_description>Close on Frank 's face , seven years later , full of doubt and tension as he watches his wife , April , on stage and as we hear the hollow VOICES of a very bad amateur play . Finally , mercifully , the curtain falls . Nothing . Then vigorous , relieved applause . Frank hears a voice from behind , through the applause :</scene_description> <character>WOMAN</character> <dialogue>Thank God that's over.</dialogue> <scene_description>April takes the final bow . She 's fighting not to cry . Frank applauds her loudly . Looks around to see who else is joining him . But there is no noticeable crescendo in the applause . Then Frank hears the voice again :</scene_description> <character>WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And she was very disappointing.</dialogue> <scene_description>He ca n't argue .</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL AUDITORIUM - NIGHT, MOMENTS LATER.</stage_direction> <scene_description>Frank now moves against the crowd of exiting audience members towards the stage . He keeps his head lowered , avoiding eye - contact , until he feels a hand on his sleeve . MR. AND MRS. GIVINGS , an older couple , are standing in his way .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Frank! Very nice Frank!</dialogue> <character>FRANK</character> <dialogue>Thanks, Mrs. Givings.</dialogue> <scene_description>Frank steps around her .</scene_description> <character>MRS. GIVINGS</character> <dialogue>I ca n't tell you how much we enjoyed it. You have a very talented wife.</dialogue> <scene_description>Frank forces a smile as he goes .</scene_description> <character>FRANK</character> <dialogue>I'll pass it along!</dialogue> </scene> <scene> <stage_direction>INT. DRESSING ROOM - NIGHT.</stage_direction> <scene_description>April sits alone at her dressing table crying .</scene_description> </scene> <scene> <stage_direction>INT. BACK STAGE - NIGHT.</stage_direction> <scene_description>The CAST mills backstage . The mood is subdued , but some have decided to make light of the disaster . Frank moves through the crowd . Across the room , he sees - MILLY CAMPBELL , 30 's , determinedly bright , up on her tip - toes . Her husband SHEP , 30 's , heavy - set , is still in costume , shell - shocked and pebbled with sweat .</scene_description> <character>MILLY</character> <dialogue>Frank!</dialogue> <character>FRANK</character> <dialogue>Hi!</dialogue> <character>MILLY</character> <dialogue>She's through there!</dialogue> <parenthetical>( points . )</parenthetical> <dialogue>You ` bout ready for that drink?</dialogue> <character>FRANK</character> <dialogue>Couple of minutes!</dialogue> </scene> <scene> <stage_direction>INT. DRESSING ROOM - NIGHT.</stage_direction> <scene_description>Frank enters . The chair in front of the mirror is empty . A cigarette burns in the ashtray . Frank glances at a standing screen in the corner . April 's costume is draped over the top . He goes towards it , deciding what to say .</scene_description> <character>FRANK</character> <parenthetical>( heartfelt . )</parenthetical> <dialogue>April, sweetheart. You were great. I mean it.</dialogue> <scene_description>The door to the bathroom opens . April enters in street clothes . Frank 's been talking to an empty room .</scene_description> <character>APRIL</character> <dialogue>Hi. You about ready to leave? I've just got to get this makeup off, then we can go.</dialogue> <scene_description>She sits in front of the mirror , too embarrassed to look at him . FRANK can see that her face is blotchy from crying . He puts his hand on her shoulder .</scene_description> <character>FRANK</character> <dialogue>Well. I guess it was n't a triumph or anything, was it?</dialogue> <scene_description>APRIL looks at him in the mirror . She holds his look just a second . And from her expression , he knows he said exactly the wrong thing .</scene_description> <character>APRIL</character> <dialogue>I guess not. I'll be ready in a minute.</dialogue> <character>FRANK</character> <dialogue>Take your time.</dialogue> <scene_description>He removes his hands and lights a cigarette . APRIL begins to take off her makeup .</scene_description> <character>APRIL</character> <dialogue>Will you do me a favor? Milly and Shep wanted us to go out with them afterwards. Will you say we ca n't? Say it's because of the baby sitter or something?</dialogue> <character>FRANK</character> <dialogue>Well, the thing is, I already said that we could. I mean, I just saw them out there and I said we would.</dialogue> <character>APRIL</character> <parenthetical>( tense . )</parenthetical> <dialogue>Oh. Then would you mind going out again and saying you were mistaken? That should be simple enough.</dialogue> <character>FRANK</character> <dialogue>Do n't you think that's a little bit rude, April?</dialogue> <character>APRIL</character> <dialogue>Well I'll tell them myself.</dialogue> <character>FRANK</character> <dialogue>Okay. Okay. Take it easy. I'll tell them.</dialogue> <scene_description>He backs to the door .</scene_description> </scene> <scene> <stage_direction>INT. HIGH-SCHOOL CORRIDOR - NIGHT.</stage_direction> <scene_description>April and Frank walk down a long empty echoing corridor , past school lockers , booster club posters and silent classrooms . They do n't touch . They do n't speak . The tension between them is palpable .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER CAR - NIGHT.</stage_direction> <scene_description>Frank drives . April stares ahead . Their faces are lit by the dashboard . After a while .</scene_description> <character>FRANK</character> <dialogue>I mean it, baby. You were the only person in that play.</dialogue> <character>APRIL</character> <dialogue>Thank you.</dialogue> <scene_description>He looks over at her .</scene_description> <character>FRANK</character> <dialogue>We just never should've let you get mixed up in the damned thing.</dialogue> <character>APRIL</character> <dialogue>All right.</dialogue> <character>FRANK</character> <dialogue>You've studied for Christ's sake.</dialogue> <character>APRIL</character> <dialogue>Could we sort of stop talking about it now?</dialogue> <character>FRANK</character> <dialogue>Sure. I just do n't want you feeling bad about it, that's all. Because it's not worth it. I mean, it's bad enough having to live out here among these damn people - what'd you say?</dialogue> <character>APRIL</character> <dialogue>I said yes. All right, Frank. Could you just stop talking now, before you drive me crazy, please?</dialogue> <scene_description>Frank clenches his jaw and flips on the indicator .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing? Why are we stopping?</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT.</stage_direction> <scene_description>The car comes to a stop at the side of the road .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER CAR - NIGHT.</stage_direction> <scene_description>Frank turns off the ignition . He slides towards her .</scene_description> <character>APRIL</character> <dialogue>No, Frank, please do n't.</dialogue> <scene_description>He puts his arms around her .</scene_description> <character>FRANK</character> <dialogue>Baby, it's okay.</dialogue> <character>APRIL</character> <dialogue>Please do n't touch me.</dialogue> <character>FRANK</character> <dialogue>April.</dialogue> <character>APRIL</character> <dialogue>Why ca n't you. just. LEAVE ME ALONE!</dialogue> <scene_description>Frank slides back behind the wheel . Beat .</scene_description> <character>FRANK</character> <dialogue>It strikes me, that there's a considerable amount of bullshit going on here. And there's one or two things I'd like to clear up. Number one, it's not my fault the play was lousy. Number two, it's sure as hell not my fault you did n't turn out to be an actress, and the sooner you get over that little piece of soap opera the better off we'll both be. Number three, I do n't happen to fit the role of dumb, insensitive suburban husband ; you've been trying to hang that one on me ever since we moved here. Number four -</dialogue> <scene_description>She opens the door and is out of the car , flashing across the headlights . Frank struggles with his door .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY SHOULDER - NIGHT.</stage_direction> <scene_description>April stands in the dark 30 yards from the road looking over an expansive countryside . There 's only a few lights in the distance . This is still farmland . Frank comes up behind her , careful to keep his distance .</scene_description> <character>FRANK</character> <dialogue>What the hell are you doing? Come back to the car.</dialogue> <character>APRIL</character> <dialogue>No. Just let me stand here a second.</dialogue> <scene_description>Frank raises his arms in exasperation . A car approaches . He puts a hand in his pocket and tries to look casual . The car 's headlights light up April 's back , then pass .</scene_description> <character>FRANK</character> <dialogue>April?</dialogue> <scene_description>She does n't move .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look, ca n't we sit in the car and talk about it, instead of running all over Route Twelve?</dialogue> <character>APRIL</character> <dialogue>Have n't I made it clear I do n't particularly want to talk about it?</dialogue> <character>FRANK</character> <dialogue>Okay. Jesus, I'm trying to be nice about this thing.</dialogue> <character>APRIL</character> <dialogue>How kind of you. How terribly, terribly kind of you.</dialogue> <character>FRANK</character> <dialogue>Wait a minute. I do n't deserve this.</dialogue> <character>APRIL</character> <dialogue>You're always so wonderfully definite, are n't you, on the subject of what you do and do n't deserve?</dialogue> <scene_description>She turns and walks past him back towards the car .</scene_description> <character>FRANK</character> <dialogue>Wait a minute!</dialogue> <scene_description>He stumbles after her . Other cars whizz by , but he 's past caring .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait a minute, God damn it!</dialogue> <scene_description>She leans against the car and folds her arms .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You listen to me. This is one time you're not going to get away with twisting everything I say.</dialogue> <character>APRIL</character> <dialogue>Christ, I wish you'd stayed home tonight!</dialogue> <character>FRANK</character> <dialogue>You know what you are when you're like this? You're sick. I really mean that. You're sick!</dialogue> <character>APRIL</character> <dialogue>And you know what you are?</dialogue> <parenthetical>( eyes raking him . )</parenthetical> <dialogue>You're disgusting.</dialogue> <character>FRANK</character> <dialogue>Oh, yeah?</dialogue> <character>APRIL</character> <dialogue>Just because you've got me safely in this little trap, you think you can bully me into feeling whatever you want!</dialogue> <character>FRANK</character> <dialogue>You in a trap! You in a trap! Jesus, do n't make me laugh!</dialogue> <character>APRIL</character> <dialogue>Yes, me.</dialogue> <parenthetical>( clutching at her chest . )</parenthetical> <dialogue>Me! Me! Me! Oh, you poor, pathetic little boy - Look at you! Look at you, and tell me how by any stretch of the imagination you can call yourself a man!</dialogue> <scene_description>He raises his fist , she flinches away , and BONG ! BONG ! BONG ! BONG ! He punches the hood of the car . Then , silence . The look April gives him is probably the worst look he 's ever received : a look of pitying boredom .</scene_description> <character>FRANK</character> <dialogue>Do n't look at me like that, April.</dialogue> <character>APRIL</character> <dialogue>Could we please go home now?</dialogue> <scene_description>She calmly walks around and gets in the car . After a moment , Frank follows .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT.</stage_direction> <scene_description>They sit silently in the car in the darkness . TITLE CARD : REVOLUTIONARY ROAD</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER HOUSE - MORNING.</stage_direction> <scene_description>A small , attractive suburban house in the morning sunshine . Frank walks out to the car , stops and looks back at the house .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - MORNING.</stage_direction> <scene_description>April stands at the window . The SOUND of the car pulling away .</scene_description> </scene> <scene> <stage_direction>EXT. REVOLUTIONARY ROAD TRAIN STATION - MORNING.</stage_direction> <scene_description>Frank stands on a grey platform , amongst a crowd of commuters . The morning commuter train eases into the station .</scene_description> </scene> <scene> <stage_direction>INT. COMMUTER TRAIN - MORNING.</stage_direction> <scene_description>Frank sits against the train window holding a `` New Yorker . '' Around him , the train is crowded with men reading newspapers .</scene_description> </scene> <scene> <stage_direction>INT. GRAND CENTRAL PLATFORM - MORNING.</stage_direction> <scene_description>In one swift movement , all the doors of the commuter train swing open as a hundred feet step down onto the platform .</scene_description> </scene> <scene> <stage_direction>INT. GRAND CENTRAL STATION - MORNING.</stage_direction> <scene_description>An empty stairwell in Grand Central : a tide of grim , determined commuters rise into view . A mass of suits and hats . Frank is amongst them .</scene_description> </scene> <scene> <stage_direction>EXT. MIDTOWN STREET - MORNING.</stage_direction> <scene_description>Knox Headquarters - a squat , formidable structure . Thick HONKING traffic . Crowded sidewalks . Frank walks with the crowd past a display window : bright cardboard images of fashionable women grin and point their pencils at a list of product benefits - `` SPEED , ACCURACY , CONTROL . '' Pride of place at the center of the display is a new Knox 500 Electronic Computer with a sign that reads : `` Performs A Man 's Lifetime of Work in Just 30 Minutes ! ''</scene_description> </scene> <scene> <stage_direction>INT. KNOX BUILDING ELEVATOR - MORNING.</stage_direction> <scene_description>Frank rides crushed against the wall in a crowded elevator . He glances over at - MAUREEN GRUBE , 23 , ripe , a little obvious , but undeniably sexy . She meets his look . And looks away .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.</stage_direction> <scene_description>Frank opens the bottom right drawer of his desk , props up his feet and lights a cigarette .</scene_description> <character>JACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm going to need your help this morning, Old Scout.</dialogue> <scene_description>Seated beside Frank , JACK ORDWAY , 40 's , tall and effete with greying hair , appears to be hard at work , hunched over a file . He is , in fact , propping up his head with his hand while shielding his eyes .</scene_description> <character>JACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>For the next few hours, you're to warn me of Bandy's every approach and you may have to screen me from public view in the likely event I that I throw up. It's that bad.</dialogue> <character>FRANK</character> <dialogue>Good morning, Jack.</dialogue> <character>JACK</character> <dialogue>Nothing good about it, I assure you.</dialogue> </scene> <scene> <stage_direction>EXT. WHEELER HOUSE - DAY.</stage_direction> <scene_description>April drags two overflowing garbage cans to the curb . She stops and looks down the empty road . Not a single human being in sight . Close on April 's face .</scene_description> </scene> <scene> <stage_direction>INT. MRS. GIVINGS' CAR - DAY, 1948. FLASHBACK.</stage_direction> <scene_description>Mrs. Givings sits behind the wheel , driving slowly along a suburban street talking at high speed . Frank sits beside her wearing sunglasses . April sits in the back . We do n't yet see what Mrs. Givings is describing , only as it plays on their faces .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Of course, I knew the moment you came off the train what you were looking for. A small remodeled barn, or a carriage house - And I just hate to be the one to tell you that sort of thing just is n't available anymore. But I do n't want you to despair. There is one place down here I want to show you. Now of course it is n't very desirable at this end.</dialogue> <parenthetical>( gestures . )</parenthetical> <dialogue>As you see, Crawford Road is mostly these little cinder - blocky, pick - up trucky places - plumbers, carpenters, little local people of that sort.</dialogue> <scene_description>Frank turns around to April , lowers his glasses . April stifles a giggle .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But eventually.</dialogue> <parenthetical>( she points , her arm fully extended . )</parenthetical> <dialogue>Eventually it leads up to Revolutionary Road, which is much nicer. Now, the place I want to show you, is a sweet little house and a sweet little setting. Simple, clean lines, good lawns, marvelous for children. It's right around this next curve. Now, you'll see it - there.</dialogue> <scene_description>They all look .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See the little white one? Sweet is n't it? The perky way it sits there on its little slope? Charming, is n't it?</dialogue> <scene_description>April smiles . A smile full of promise .</scene_description> <character>APRIL</character> <dialogue>Oh, yes.</dialogue> </scene> <scene> <stage_direction>INT. BANDY'S OFFICE - DAY. PRESENT.</stage_direction> <scene_description>Frank 's FIST raps against the door of an office . TED BANDY , 46 , tight and precise , looks up from behind a well - organized desk .</scene_description> <character>FRANK</character> <dialogue>You wanted to see me?</dialogue> <scene_description>Bandy holds out an envelope from behind his desk .</scene_description> <character>BANDY</character> <dialogue>Came for you from Toledo this morning.</dialogue> <scene_description>Frank reaches for it , but Bandy moves it out of reach .</scene_description> <character>BANDY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is the third one this month.</dialogue> <character>FRANK</character> <dialogue>Oh, right, sorry. I thought I'd taken care of that.</dialogue> <scene_description>Frank reaches again , but Bandy moves it . A little man enjoying his power .</scene_description> <character>BANDY</character> <dialogue>I'm not prepared to have this conversation again, Frank. You understand?</dialogue> <character>FRANK</character> <dialogue>Absolutely, yes.</dialogue> <character>BANDY</character> <dialogue>These folks in the provinces look up to us, Frank. We need to be efficient. We ca n't have this kind of back and forth, and so forth. It's just not efficient. Am I right?</dialogue> <character>FRANK</character> <dialogue>Absolutely, yes, yes.</dialogue> <scene_description>Bandy finally hands over the envelope .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - DAY.</stage_direction> <scene_description>Frank sits at his desk .</scene_description> <character>JACK</character> <dialogue>What was that about?</dialogue> <character>FRANK</character> <dialogue>Toledo. Branch manager wants a revised brochure for the conference on `` The Knox 500.''</dialogue> <parenthetical>( impersonating Bandy . )</parenthetical> <dialogue>`` It's just not efficient.''</dialogue> <character>JACK</character> <parenthetical>( sharp inhale . )</parenthetical> <dialogue>Sounds like a real goodie.</dialogue> <character>FRANK</character> <dialogue>I do n't even know what the Knox 500 does. Do you?</dialogue> <character>JACK</character> <dialogue>Do n't insult me.</dialogue> <scene_description>Frank drops it in his In Box . Then , looking up , he sees Maureen across the office . Thinks .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, MAUREEN'S DESK - DAY.</stage_direction> <scene_description>Frank stands over Maureen at her desk . The envelope from Toledo lies in front of her .</scene_description> <character>FRANK</character> <dialogue>Now, if you'll look in the inactive file under SP - 1109 you'll find copies of all the stuff we sent to the agency. and that way we can trace the thing back to its original sources.</dialogue> <scene_description>She nods , jotting down a note . For the first time , Frank allows himself to take in her profile , her cleavage , her lips .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I hope you were n't planning on an early lunch.</dialogue> <character>MAUREEN</character> <dialogue>I'm not really hungry.</dialogue> <character>FRANK</character> <dialogue>Good. I'll check on you later.</dialogue> </scene> <scene> <stage_direction>INT. ALGONQUIN HOTEL RESTAURANT - AFTERNOON.</stage_direction> <scene_description>Maureen and Frank sit in a secluded corner . Maureen sips a martini . She 's already a little drunk .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know something? You're lucky you met me.</dialogue> <character>MAUREEN</character> <dialogue>Oh? How's that?</dialogue> <character>FRANK</character> <dialogue>I can show you the ropes. There's an art to survival at Knox. Let me show you what I mean.</dialogue> <scene_description>He waves over the waiter .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Bring me the telephone would you? And two more martinis.</dialogue> <scene_description>Maureen looks daunted at her empty glass .</scene_description> <character>MAUREEN</character> <dialogue>Wow.</dialogue> <scene_description>The waiter brings over the phone . Frank dials . He holds his finger to his lips . He uses an authoritative tone .</scene_description> <character>FRANK</character> <dialogue>Hello Mrs. Jorgensen. Frank Wheeler here. Just wanted to let you know that I've had to send Maureen Grube down to Visual Aides for me. I'll probably need her the rest of the day. Okay? Fine. You too.</dialogue> <scene_description>Frank hangs up and smiles at Maureen .</scene_description> <character>MAUREEN</character> <dialogue>I never even heard of Visual Aides.</dialogue> <character>FRANK</character> <dialogue>That's because it does n't exist.</dialogue> <scene_description>Maureen smiles .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HALLWAY - DAY.</stage_direction> <scene_description>Now we 're moving behind April as she moves through the silent house . She carries a basket of dirty laundry on her hip . She pulls the bedding off the couch . The distant SOUND of children playing .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yoo - hoo!</dialogue> <scene_description>She turns to see Mrs. Givings at the screen door . April manages a friendly smile .</scene_description> <character>APRIL</character> <dialogue>Hi Helen.</dialogue> <character>MRS. GIVINGS</character> <dialogue>I ca n't stay a minute. My, do n't you look comfy! I just wanted to bring this sedum for that messy patch in the front yard.</dialogue> <scene_description>She puts it on the table .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All it wants is just a tiny dollop of water for the first few days, and you'll find it absolutely thrives.</dialogue> <character>APRIL</character> <dialogue>Well, thank you. You want some coffee?</dialogue> <character>MRS. GIVINGS</character> <dialogue>Only if you're having some.</dialogue> <scene_description>Helen sits down . With the end of her finger , she pushes a dirty dish out of her way .</scene_description> <character>APRIL</character> <dialogue>Is there something I can do for you, Helen?</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh. yes, I almost forgot. I do have a small favor I'd like to ask.</dialogue> <parenthetical>( quiver of anxiety . )</parenthetical> <dialogue>It's about my son, John. He's been in the hospital.</dialogue> <character>APRIL</character> <dialogue>I'm sorry to hear that.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Well, actually, just for the present, he's in Pleasant Brook. Psychiatric.</dialogue> <scene_description>April 's face . She knows what it means .</scene_description> <character>APRIL</character> <dialogue>I'm so sorry.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh. Nothing serious. He just got a little run down. Things can just get the better of us sometimes. Do n't you think?</dialogue> <character>APRIL</character> <dialogue>Yes. Of course.</dialogue> <scene_description>Mrs. Givings smiles . Then , pretending to read the titles on a stack of books on the table .</scene_description> <character>MRS. GIVINGS</character> <dialogue>It really is a marvellous facility and the treatments seem to be doing him wonders. Anyway, they said getting out for an afternoon might do him some good.</dialogue> <scene_description>She pauses on Sartre 's ` Nausea ' , looks at it vaguely .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think he finds my friends a little conventional, frankly. I mean, he's travelled. He has a PhD in mathematics. I suppose you could say he's an intellectual. It would do him a world of good to meet a young couple like you.</dialogue> <character>APRIL</character> <dialogue>We'd love to Helen.</dialogue> <character>MRS. GIVINGS</character> <dialogue>So, I thought perhaps if you had some time.</dialogue> <character>APRIL</character> <dialogue>We'd love to.</dialogue> <character>MRS. GIVINGS</character> <parenthetical>( flushed with relief . )</parenthetical> <dialogue>Thank you, dear. Thank you.</dialogue> <scene_description>April smiles generously .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I remember when you first came off the train. You were n't like most of my clients. You were different, somehow.</dialogue> <scene_description>April 's face . She 's listening .</scene_description> <character>MRS. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, you looked simply ravishing and I just knew Frank did something terribly brilliant in town. You just seemed. special. Of course you still are.</dialogue> <scene_description>April takes this in .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HOUSE - AFTERNOON.</stage_direction> <scene_description>April watches from the picture window as Mrs. Givings walks down the drive towards her car . Her face is reflected in the glass . Something is taking shape in her mind .</scene_description> </scene> <scene> <stage_direction>INT. ALGONQUIN RESTAURANT BAR - AFTERNOON, LATER.</stage_direction> <scene_description>The dining room is now almost empty . Waiters and busboys eat in the corner . Frank cuts a solitary figure . He lights his last cigarette and crumples the pack .</scene_description> <character>MAUREEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I guess you got me a little drunk.</dialogue> <scene_description>Maureen slides into the booth . She stares at the table , trying to focus .</scene_description> <character>FRANK</character> <dialogue>You know what today is?</dialogue> <character>MAUREEN</character> <dialogue>Monday?</dialogue> <character>FRANK</character> <dialogue>It's my birthday. I'm thirty years old today.</dialogue> <character>MAUREEN</character> <dialogue>Happy birthday!</dialogue> <scene_description>Maureen raises her glass , then sways drunkenly .</scene_description> <character>MAUREEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What was the name of the department you made up again?</dialogue> <character>FRANK</character> <dialogue>Visual Aides.</dialogue> <character>MAUREEN</character> <dialogue>What - a - joke.</dialogue> <scene_description>He sips his drink .</scene_description> <character>FRANK</character> <dialogue>Want to hear a real joke?</dialogue> <scene_description>She looks up at him .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My old man worked at Knox.</dialogue> <character>MAUREEN</character> <dialogue>Yeah?</dialogue> <character>FRANK</character> <dialogue>He was a salesman in Yonkers. Once a year he used to take me into the city for lunch. It was supposed to be a special, life - advice sort of occasion.</dialogue> <character>MAUREEN</character> <dialogue>Nice.</dialogue> <character>FRANK</character> <dialogue>Not really. I used to sit there and think, ` I hope to Christ I do n't end up like you.'</dialogue> <scene_description>Frank grins as if it 's supposed to be very funny .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And here I am, a thirty year old Knox man. Can you beat that?</dialogue> <character>MAUREEN</character> <dialogue>I think I kind of lost you. Your father worked for Knox? I'm sorry, but everything's kinda going out of focus.</dialogue> <scene_description>Frank takes her arm to steady her . She meets his eye .</scene_description> <character>FRANK</character> <dialogue>How ` bout some air?</dialogue> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - DAY.</stage_direction> <scene_description>Close on a hand opening an old cigar box . April is sitting with the box at the kitchen table . It contains various sentimental knickknacks from her past , including photos of the kids , of her and Frank in New York with friends , and a photograph of Frank in uniform beneath the Eifel tower on liberation day . She studies it .</scene_description> </scene> <scene> <stage_direction>INT. BETHUNE STREET APARTMENT - DAWN, 1947. FLASHBACK</stage_direction> <scene_description>Frank fixes coffee in the tiny kitchen . April is sitting up in bed in the first blue light of day wearing Frank 's T - shirt . She holds a curled collection of black and white photographs in her lap . She stops on the same picture of Frank and the Eifel Tower . Frank comes over with the coffee , and two cigarettes . He lights them both , and gives her one .</scene_description> <character>FRANK</character> <dialogue>You ever been to Paris?</dialogue> <character>APRIL</character> <dialogue>I've never really been anywhere.</dialogue> <character>FRANK</character> <dialogue>Maybe I'll take you with me.</dialogue> <scene_description>He lies down with his cigarette between his teeth .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm going back first chance I get. People are alive there.</dialogue> <scene_description>He stares up at the ceiling . She studies him . Appraising .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All I know now is that I want to feel things. Really feel them. How's that for an ambition?</dialogue> <character>APRIL</character> <dialogue>Frank Wheeler?</dialogue> <character>FRANK</character> <dialogue>Mm?</dialogue> <character>APRIL</character> <dialogue>I think you're the most interesting person I've ever met.</dialogue> <scene_description>He looks at her , overwhelmed by her face in the light .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean it.</dialogue> </scene> <scene> <stage_direction>INT. MAUREEN'S APARTMENT - AFTERNOON</stage_direction> <scene_description>Frank stands at the mantle tying his tie .</scene_description> <character>FRANK</character> <dialogue>Well, I guess this was n't what you had in mind when you went to work this morning?</dialogue> <scene_description>Maureen covers herself with the sheets .</scene_description> <character>MAUREEN</character> <dialogue>No. It certainly was n't.</dialogue> <scene_description>Frank inspects the contents of the mantle : photos of Maureen at the prom ; Maureen with her parents . Maureen tentatively fingers her hair that has now gone to frizz . The sheet slips down . She grabs at it . Then wills herself to calm down and act sophisticated .</scene_description> <character>MAUREEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you have a cigarette, Frank?</dialogue> <scene_description>He turns and smiles at her .</scene_description> <character>FRANK</character> <dialogue>Sure, here.</dialogue> <scene_description>He comes over and gives her one . Lights it with his Zippo . She exhales , slowly gaining confidence . Frank gets up and pulls on his jacket .</scene_description> <character>MAUREEN</character> <dialogue>Can I get you a drink or anything?</dialogue> <character>FRANK</character> <dialogue>No thanks, Maureen. Actually, I guess I'd better be cutting out, it's getting kind of late.</dialogue> <character>MAUREEN</character> <dialogue>Gee, that's right. Have you missed your train?</dialogue> <character>FRANK</character> <dialogue>It's all right, I'll get the next one.</dialogue> <scene_description>He comes over to her . Bends down , kisses her gently on the lips .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Listen : you were swell. Take care now.</dialogue> </scene> <scene> <stage_direction>INT. FRANK'S STATION CAR/WHEELER HOUSE - NIGHT.</stage_direction> <scene_description>Frank 's station car turns into the driveway . He sits there a moment in the darkness .</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER FRONT DOOR - NIGHT.</stage_direction> <scene_description>Frank approaches the door with his key . He takes a moment to gather himself , but before he can , the door opens . April is dressed in a black cocktail dress . She looks wonderful . She smiles . She steps forward and takes his face in her hands . She kisses him .</scene_description> <character>APRIL</character> <dialogue>Frank.</dialogue> <character>FRANK</character> <dialogue>Why are you all dressed up?</dialogue> <scene_description>She hands him a glass of whiskey and closes his fingers around it .</scene_description> <character>APRIL</character> <dialogue>First of all, I missed you all day and I want to say I'm sorry. I'm sorry for the way I've been since that stupid play. I'm sorry for everything and. And I love you. Now wait here till I call you. Okay?</dialogue> <scene_description>She goes , leaving Frank in stunned silence . He takes a large drink . From inside the house , the sound of the children 's voices . Whispering , giggling . Then April 's voice :</scene_description> <character>APRIL</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>Alright Frank! You can come in now!</dialogue> </scene> <scene> <stage_direction>INT. WHEELER LIVING AND DINING ROOMS - NIGHT.</stage_direction> <scene_description>Frank enters the house . Walks through the darkened living room towards the light . Enters the dining room . The room is lit by the candles burning on a birthday cake . JENNIFER , 7 , MICHAEL , 5 , and April sit around the table wearing paper birthday crowns . They sing Happy Birthday .</scene_description> </scene> <scene> <stage_direction>INT. SHOWER - NIGHT.</stage_direction> <scene_description>Frank scrubs his skin , his scalp , his face : trying to wash away Maureen . He turns off the water . He stands there in the silence , regaining control .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - NIGHT.</stage_direction> <scene_description>Frank steps out of the bathroom . April turns from the mirror wearing the silk negligee and comes towards him with two glasses .</scene_description> <character>APRIL</character> <dialogue>Frank. I have had the most wonderful idea. I've been thinking about it all day.</dialogue> <character>FRANK</character> <dialogue>What's all this about?</dialogue> <character>APRIL</character> <dialogue>You know how much money we have saved?</dialogue> <scene_description>She hands Frank a glass of brandy .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Enough to live on for six months without you earning another dime. And with the money we could get from the house and the car, longer than that.</dialogue> <character>FRANK</character> <dialogue>What we get for the house. What are you talking about? Where are we going to live?</dialogue> <character>APRIL</character> <dialogue>Paris.</dialogue> <scene_description>Frank stares .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You always said it was the only place you'd ever been that was worth living. So why do n't we go there?</dialogue> <character>FRANK</character> <dialogue>You're serious?</dialogue> <character>APRIL</character> <dialogue>Yes. What's stopping us?</dialogue> <character>FRANK</character> <dialogue>What's stopping us? Well, I can think of a lot of things. For instance, what kind of a job could I possibly get?</dialogue> <character>APRIL</character> <dialogue>You wo n't be getting any kind of job, because I will.</dialogue> <scene_description>Frank laughs .</scene_description> <character>FRANK</character> <dialogue>Oh, right.</dialogue> <character>APRIL</character> <dialogue>Do n't laugh - listen a minute! Have you any idea what they pay for secretarial positions in the government agencies in Europe? Embassies and those things.</dialogue> <scene_description>Frank laughs again .</scene_description> <character>FRANK</character> <dialogue>No, I do n't.</dialogue> <character>APRIL</character> <dialogue>I'm serious about this Frank. Do you think I'm kidding or something?</dialogue> <character>FRANK</character> <dialogue>No, I know, I know. I just have a couple of questions, is all. For one thing, do you mind telling me what exactly I'm supposed to be doing while you're out earning all this money?</dialogue> <scene_description>She draws back , shocked that he does n't get it .</scene_description> <character>APRIL</character> <dialogue>Do n't you see that's the whole idea? You'll be doing what you should've been allowed to do seven years ago. You'll have time, Frank. You'll have time to find out what it is that you actually want to do, and when you figure it out you'll have the time and the freedom to start doing it.</dialogue> <character>FRANK</character> <dialogue>Sweetheart, it's just not very realistic, is all.</dialogue> <character>APRIL</character> <dialogue>Well, I happen to think this is unrealistic. I think it's unrealistic for a man with a fine mind to go on working like a dog year after year at a job he ca n't stand, coming home to a place he ca n't stand, to a wife who's equally unable to stand the same things.</dialogue> <scene_description>Frank is silent . How could anyone possibly argue with her ?</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You want to know the worst part? Our whole existence here is based on this great premise that we're somehow very special and superior to the whole thing, and you know what I've realized? We're not! We're just like everyone else. Look at us! We've bought into the same ridiculous delusion. This idea that you have to resign from life and settle down the moment you have children. And we've been punishing each other for it.</dialogue> <character>FRANK</character> <dialogue>Listen : we decided to move out here. No one ever forced me to take the job at Knox. I mean who ever said I was supposed to be a big deal, anyway?</dialogue> <character>APRIL</character> <dialogue>When I first met you, there was nothing in the world you could n't do or be.</dialogue> <character>FRANK</character> <dialogue>I was a little wise guy with a big mouth, that's all.</dialogue> <character>APRIL</character> <dialogue>You were not! How can you even say that?</dialogue> <character>FRANK</character> <dialogue>All right. So, I'll have time. And God knows that's appealing. It's very appealing. And I mean, everything you say might make a certain amount of sense, if I had some definite talent maybe. If I were an artist or a writer.</dialogue> <character>APRIL</character> <dialogue>But Frank, listen to me : It's what you are that's being stifled here. It's what you are that's being denied and denied and denied in this kind of life.</dialogue> <character>FRANK</character> <dialogue>And what's that?</dialogue> <character>APRIL</character> <dialogue>Do n't you know?</dialogue> <scene_description>He looks at her . She gazes back at him .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're the most valuable and wonderful thing in the world. You're a man.</dialogue> <scene_description>Frank looks at her . In that moment , he loves her more than ever before . He kisses her .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is our chance, Frank. This is our one chance.</dialogue> <scene_description>Beat .</scene_description> <character>FRANK</character> <dialogue>Okay.</dialogue> <character>APRIL</character> <dialogue>Okay?</dialogue> <character>FRANK</character> <dialogue>Why not? Why the hell not?</dialogue> <scene_description>April throws her arms around him .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, ELEVATOR BAY - MORNING.</stage_direction> <scene_description>DING . The elevator doors slide open . Frank steps onto the fifteenth floor , full of energy .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.</stage_direction> <scene_description>Frank arrives at his desk . Casually tosses his briefcase down . Lights a cigarette . Jack stands nearby making idle chat with office co - workers , ED SMALL , 36 and VINCE LATHROP , 33 - a pair of overgrown children .</scene_description> <character>JACK</character> <dialogue>Ah, Franklin. Good to see your shining face. What's the news?</dialogue> <character>FRANK</character> <dialogue>I'm moving to Paris.</dialogue> <character>JACK</character> <dialogue>Right. And I'm moving to Tangiers.</dialogue> <scene_description>Frank shrugs , smiles , picks up the Toledo file , scans it . He reaches for his Dictaphone and clears his throat .</scene_description> <character>FRANK</character> <dialogue>Intra - company letter to Toledo. Attention B.F. Chalmers, branch manager. With regard to recent and repeated correspondence, this is to advise that the matter has been. very satisfactorily taken in hand, period, paragraph.</dialogue> <scene_description>He takes out a cigarette .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We wholly agree that the existing brochure is unsuitable. To this end we have developed.</dialogue> <scene_description>He lights the cigarette with a SNAP of his Zippo .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Speaking of Production Control.''</dialogue> <scene_description>Smiles . He 's making it up as he goes , and enjoying it . It 's all meaningless now !</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN EXPRESS OFFICE - DAY.</stage_direction> <scene_description>April sits in the American Express office .</scene_description> <character>CLERK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Here you are Mrs. Wheeler :</dialogue> <scene_description>A handsome CLERK smilingly hands her a stack of documents .</scene_description> <character>CLERK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here's the travellers checks you asked for. and your steamer reservations. and these I'll pass on to the embassy for you.</dialogue> <character>APRIL</character> <dialogue>Thank you.</dialogue> <scene_description>She looks at them in her hands : it 's real .</scene_description> <character>CLERK</character> <dialogue>Good luck.</dialogue> <scene_description>April smiles .</scene_description> </scene> <scene> <stage_direction>INT. MIDTOWN RESTAURANT - DAY.</stage_direction> <scene_description>Jack , Frank , Ed and Vince sit crammed in a booth in a tiny , crowded Midtown Luncheonette . Frank looks pleased with himself . The rest sit in stunned silence .</scene_description> <character>JACK</character> <dialogue>And when does this noble experiment commence?</dialogue> <character>FRANK</character> <dialogue>September. October at the outside.</dialogue> <scene_description>Jack and Vince exchange a look . Frank 's enjoying the effect .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I just happen to think people are better off doing some kind of work they actually like.</dialogue> <character>ED</character> <parenthetical>( vague . )</parenthetical> <dialogue>Right, yes.</dialogue> <character>VINCE</character> <parenthetical>( mumbled . )</parenthetical> <dialogue>Absolutely, absolutely.</dialogue> <character>JACK</character> <dialogue>But. I mean, assuming there is a true vocation waiting for you. Would n't you be just as likely to discover it here as there?</dialogue> <scene_description>A waitress puts the check on the table .</scene_description> <character>FRANK</character> <dialogue>No. I do n't think it's possible to discover anything on the fifteenth floor of the Knox building, and I do n't think any of you do either.</dialogue> <scene_description>The men are silent . Frank picks up the check .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This one's on me.</dialogue> </scene> <scene> <stage_direction>EXT GRAND CENTRAL STATION - AFTERNOON</stage_direction> <scene_description>Frank is standing leaning against a coffee bar in Grand Central Station . He is finishing a beer . It is rush hour , and amidst the sea of people , he is the only one not moving . He is watching all the people walking by with an air of detached amusement . As if he were now above them all .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE BETWEEN TRAIN CARS - AFTERNOON.</stage_direction> <scene_description>Frank rides between train cars . The wind whips his hair . He takes a deep pull from a pinched cigarette - then flicks it straight as a bullet into the passing countryside . He feels alive .</scene_description> </scene> <scene> <stage_direction>EXT. REVOLUTIONARY ROAD TRAIN STATION - AFTERNOON.</stage_direction> <scene_description>The commuter train slows into the station . A door swings open . And Frank leaps from the still moving train onto the platform . He slows to a walk .</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER HOUSE - LATE AFTERNOON.</stage_direction> <scene_description>The kids dance back and forth through the sprinkler , shrieking with pleasure . April sits on the steps in front of the house reading some material from the American Express office . She looks up as Frank 's car pulls into the drive . He steps out of the car and comes towards her . She looks up and smiles . He drops his brief case on the ground and walks towards her . She meets him in the middle of the lawn , and they embrace .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - EVENING.</stage_direction> <scene_description>CLOSE UP - two fingers walk the journey from New York to Paris across the page of an atlas . Michael and Jennifer , dressed for bed , sit sandwiched between April and Frank under the bedclothes .</scene_description> <character>APRIL</character> <dialogue>All the way to. here.</dialogue> <scene_description>A pause as the two kids stare at the Atlas .</scene_description> <character>JENNIFER</character> <dialogue>But why?</dialogue> <character>APRIL</character> <dialogue>Well, sweetheart. It's a big world out there and we thought maybe we should go see a little bit of it.</dialogue> <character>MICHAEL</character> <dialogue>How far is it?</dialogue> <character>APRIL</character> <dialogue>A long way. We have to take a boat ride over the sea to get there.</dialogue> <character>JENNIFER</character> <dialogue>I wo n't know anyone there.</dialogue> <character>APRIL</character> <dialogue>I know. And neither will I. But remember when you started school? And now look how many friends you have.</dialogue> <scene_description>Frank senses that they are a little concerned . April and Frank look to one another .</scene_description> <character>FRANK</character> <dialogue>You'll never guess what they eat in Paris. You'll never guess.</dialogue> <character>JENNIFER</character> <dialogue>What?</dialogue> <character>FRANK</character> <dialogue>Snails.</dialogue> <character>JENNIFER/MICHAEL</character> <dialogue>Snails?!</dialogue> <character>APRIL</character> <dialogue>And frog's legs!</dialogue> <scene_description>The children dissolve into disgusted laughter . April and Frank laugh with them .</scene_description> </scene> <scene> <stage_direction>INT. CAMPBELL FRONT HALLWAY - LATE AFTERNOON.</stage_direction> <scene_description>At the bottom of the stairs , Shep hums a big band number as he vigorously shines his shoes .</scene_description> <character>SHEP</character> <dialogue>Buddappa banh! Banh! Banh!</dialogue> <scene_description>He takes a swig of beer and lets out a satisfied belch .</scene_description> </scene> <scene> <stage_direction>INT. MILLY AND SHEP'S BEDROOM - LATE AFTERNOON.</stage_direction> <scene_description>Milly sits at a vanity table doing her face . She wears a floral dress and her hair 's been done . She looks at Shep in the mirror .</scene_description> <character>MILLY</character> <dialogue>You better get changed, they'll be here soon.</dialogue> <character>SHEP</character> <dialogue>That what you're wearing?</dialogue> <character>MILLY</character> <parenthetical>( panic . )</parenthetical> <dialogue>Do n't you like it?</dialogue> <character>SHEP</character> <dialogue>No. No. You look great, doll. Guess I better haul ass.</dialogue> <scene_description>He walks into the bathroom . Milly looks back at her reflection .</scene_description> </scene> <scene> <stage_direction>INT. CAMPBELL KITCHEN - LATE AFTERNOON.</stage_direction> <scene_description>The small explosion of a beer can opening . Shep watches the golden liquid fill his glass .</scene_description> </scene> <scene> <stage_direction>INT. CAMPBELL FAMILY ROOM - LATE AFTERNOON.</stage_direction> <scene_description>Shep walks through the living room with his glass of beer . He 's halfway across the room , before he notices - His four SONS dressed in matching pajamas , propped up on their elbows chewing gum at the television screen .</scene_description> <character>SHEP</character> <dialogue>Hiya gang.</dialogue> <scene_description>They do n't even look up .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPBELL HOUSE - EVENING.</stage_direction> <scene_description>Shep walks across the grass to the edge of his property . He drinks and looks down over Revolutionary Road . He can see the Wheeler house . He takes a drink of beer , his eyes focused on the house .</scene_description> <character>MILLY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Shep?</dialogue> <scene_description>Shep wheels around . April and Frank are standing there with Milly . April wears a new indigo silk dress . Her hair moves in the warm breeze . She 's never looked better .</scene_description> </scene> <scene> <stage_direction>INT. CAMPBELL LIVING ROOM - NIGHT.</stage_direction> <scene_description>Shep mixes drinks with his back to the room . Milly walks in and places two heaping trays of hors d'ouvres on the coffee table .</scene_description> <character>APRIL</character> <dialogue>Oh those look great. I'm starving!</dialogue> <scene_description>April helps herself .</scene_description> <character>MILLY</character> <dialogue>April, I ca n't get over it - you look like the cat who ate the canary! Do you have something to tell us? A little bit of news?</dialogue> <character>SHEP</character> <parenthetical>( disapproving . )</parenthetical> <dialogue>Not to pry or anything.</dialogue> <character>MILLY</character> <parenthetical>( suddenly unsure . )</parenthetical> <dialogue>I'm not prying. Am I prying? I did n't mean to.</dialogue> <character>FRANK</character> <dialogue>Actually, we have got some pretty important news.</dialogue> <scene_description>Shep and Milly look up expectantly . He smiles conspiratorially at April .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You want to tell ` em?</dialogue> <scene_description>April smiles back at him .</scene_description> <character>APRIL</character> <dialogue>We're going to Europe. To Paris. To live.</dialogue> <scene_description>Milly 's face drops . Shep is frozen . Overlapping :</scene_description> <character>MILLY</character> <dialogue>What?</dialogue> <character>SHEP</character> <dialogue>When?</dialogue> <character>MILLY</character> <dialogue>Why?</dialogue> <character>FRANK</character> <dialogue>September.</dialogue> <scene_description>Beat . Then :</scene_description> <character>MILLY</character> <dialogue>But what for?</dialogue> <character>FRANK</character> <dialogue>What for? Because we've always wanted to. Because the kids are still young. Because it's beautiful. Shep, you tell her.</dialogue> <character>SHEP</character> <dialogue>It's a great city.</dialogue> <scene_description>Milly glances nervously at Shep .</scene_description> <character>MILLY</character> <dialogue>When did you make this decision?</dialogue> <character>APRIL</character> <dialogue>Oh. about a week ago. its hard to remember. We just suddenly decided to go, that's all.</dialogue> <character>MILLY</character> <dialogue>About a week ago, and you tell us now!</dialogue> <character>APRIL</character> <dialogue>We had to get used to the idea.</dialogue> <scene_description>Shep forces himself across the room and hands the Wheelers their drinks .</scene_description> <character>SHEP</character> <dialogue>So, what's the deal, Frank? You get a job over there, or what?</dialogue> <character>FRANK</character> <parenthetical>( smiles . )</parenthetical> <dialogue>No. Not exactly.</dialogue> <character>SHEP</character> <dialogue>What do you mean, ` not exactly?'</dialogue> <character>APRIL</character> <dialogue>Frank wo n't be doing any kind of a job, because I will.</dialogue> <character>SHEP</character> <parenthetical>( to Frank . )</parenthetical> <dialogue>And what are you going to do?</dialogue> <character>FRANK</character> <dialogue>I'm going to study. and I'm going to read and. I suppose I'm going to finally figure out what I want to do with my life.</dialogue> <character>SHEP</character> <dialogue>While she supports you?</dialogue> <scene_description>Beat .</scene_description> <character>FRANK</character> <dialogue>Yes. While she supports me. At least in the beginning.</dialogue> <character>APRIL</character> <dialogue>You would n't believe what they pay for secretarial work in government agencies over there. NATO and E.C.A. and those places.</dialogue> <character>FRANK</character> <dialogue>The cost of living is dirt cheap compared to here, so we should be all right.</dialogue> <scene_description>Beat .</scene_description> <character>APRIL</character> <dialogue>The truth is we just need something different. We're not getting any younger and we do n't want life to just pass us by.</dialogue> <character>MILLY</character> <dialogue>Gee, it sounds wonderful, kids. I mean it ; it really sounds wonderful. We'll certainly miss you, though - wo n't we, sweetie? Golly.</dialogue> <character>SHEP</character> <dialogue>Sure.</dialogue> <character>MILLY</character> <dialogue>Paris. Wow.</dialogue> <scene_description>A silence . Shep 's face .</scene_description> </scene> <scene> <stage_direction>INT. MILLY AND SHEP'S BEDROOM - NIGHT.</stage_direction> <scene_description>Milly sits on the edge of the bed in her night gown . She is brushing her hair . Shep stands in the open doorway to the bathroom , doing up his pyjamas . After a beat .</scene_description> <character>SHEP</character> <dialogue>You know what I think?</dialogue> <scene_description>Milly looks up .</scene_description> <character>SHEP</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think this whole plan sounds a little immature.</dialogue> <scene_description>Milly 's face brightens .</scene_description> <character>MILLY</character> <dialogue>Oh God, I'm so relieved. Me too. I was thinking that the whole time.</dialogue> <character>SHEP</character> <dialogue>What kind of man is going to sit around in his bathrobe picking his nose while his wife works all day?</dialogue> <character>MILLY</character> <dialogue>I do n't know, Shep. I just do n't know.</dialogue> <scene_description>Milly is crying .</scene_description> <character>SHEP</character> <dialogue>What is it?</dialogue> <character>MILLY</character> <dialogue>Nothing. I'm just so relieved.</dialogue> <scene_description>He sits down beside her . She falls into his arms .</scene_description> <character>SHEP</character> <dialogue>Come on. Do n't cry. Please. It's all right. It's going to be all right.</dialogue> <scene_description>A kid 's shout from somewhere in the house . Milly sits up .</scene_description> <character>SHEP</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll go.</dialogue> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - LATER THAT NIGHT.</stage_direction> <scene_description>Frank and April burst into the kitchen , laughing .</scene_description> <character>FRANK</character> <dialogue>Jesus, their faces! You'd think we'd told them that we were swimming up the Yangtzee river or something.</dialogue> <scene_description>Laughing , April hands Frank a drink .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know what this is like, April? Talking like this? The whole idea of taking off to Europe this way? It's like the way I felt going up to the line the first time, in the war. I was probably just as scared as everyone else, but inside I never felt better. I felt alive. I felt full of blood. And everything looked more real. The guys in their uniforms. The snow on the fields, the trees. And all of us just. walking. I mean I was scared of course. But I kept thinking : this is it. This is the truth.</dialogue> <character>APRIL</character> <dialogue>I felt that way once too.</dialogue> <scene_description>He looks at her . And there 's something in her eyes .</scene_description> <character>FRANK</character> <dialogue>When?</dialogue> <character>APRIL</character> <dialogue>The first time you made love to me.</dialogue> <scene_description>He walks over to her and kisses her passionately . And they make love that way , face to face , with the lights on , looking into each other 's eyes , fully clothed , until he comes inside her . As he comes , she makes a sound , almost inaudible , but it sounds like .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No</dialogue> <scene_description>He holds her , breathing heavily . She strokes his head .</scene_description> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR - DAY.</stage_direction> <scene_description>Frank walks across the 15th floor , the atmosphere unusually abuzz . He arrives in his cubicle . Jack , Ed and Vance are talking in hushed tones .</scene_description> <character>FRANK</character> <dialogue>What's up?</dialogue> <character>ED</character> <dialogue>Bart Pollock is here.</dialogue> <character>VINCE</character> <dialogue>He's in Bandy's office.</dialogue> <character>FRANK</character> <parenthetical>( unimpressed . )</parenthetical> <dialogue>Yeah?</dialogue> <scene_description>A small signal light illuminates on Frank 's desk .</scene_description> <character>ED</character> <dialogue>Looks like he wants to talk to you.</dialogue> <scene_description>Frank looks around . They 're all looking at him . He looks over in the direction of Bandy 's office .</scene_description> <character>JACK</character> <dialogue>Hey. Keep my name out of it.</dialogue> </scene> <scene> <stage_direction>INT. KNOX 15TH FLOOR, BANDY'S OFFICE - DAY</stage_direction> <scene_description>Bandy looks up from his desk . An uncharacteristic smile .</scene_description> <character>BANDY</character> <parenthetical>( warm . )</parenthetical> <dialogue>Frank. How are you? You know Bart Pollock?</dialogue> <character>FRANK</character> <dialogue>Well, we've never met, but -</dialogue> <scene_description>A massive MAN in tan gaberdine rises up from a chair .</scene_description> <character>BART POLLOCK</character> <dialogue>Glad to know you Frank.</dialogue> <scene_description>He holds a file in his enormous hand .</scene_description> <character>BART POLLOCK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Speaking of production control?</dialogue> <scene_description>Frank looks away , ready for a dressing down .</scene_description> <character>BART POLLOCK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Frank. This is a crackerjack. They're just tickled to death in Toledo.</dialogue> <scene_description>He slaps the file on the desk . Frank ca n't believe it .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - DAY.</stage_direction> <scene_description>Close of a book : `` Brighter French . '' Frank sits on the couch , flipping absently .</scene_description> <character>FRANK</character> <dialogue>You would n't have believed this guy.</dialogue> <scene_description>April enters carrying a plate of sandwiches .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's perfect Presidential material in the worst sense. A million dollar smile and about three pounds of muscle between his ears.</dialogue> <parenthetical>( mimicking Pollock 's booming voice . )</parenthetical> <dialogue>`` Frank, this is a crackerjack.''</dialogue> <scene_description>April looks around to be sure everything 's in place .</scene_description> <character>APRIL</character> <dialogue>Wish I saw his face when you told him you were leaving.</dialogue> <scene_description>Frank looks away .</scene_description> <character>FRANK</character> <dialogue>Horse's ass.</dialogue> <scene_description>TOOT of a car horn . April goes to the window .</scene_description> <character>APRIL</character> <dialogue>I think this is them.</dialogue> </scene> <scene> <stage_direction>INT./EXT. WHEELER HOUSE - DAY.</stage_direction> <scene_description>Through the picture window , we see the Givings ' car is parked in the driveway . Mrs. Givings gets out of the car holding a tinfoil covered baking pan . Mr. Givings opens the backseat . Out steps JOHN , 30 's , an institutional haircut and ill - fitting suit . He looks around the sunny neighborhood .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - DAY.</stage_direction> <scene_description>The kitchen is suddenly crowded with the Givings , Frank and April . Overlapping :</scene_description> <character>MRS. GIVINGS</character> <dialogue>Sorry to be late.</dialogue> <character>APRIL</character> <dialogue>You're not late.</dialogue> <character>MRS. GIVINGS</character> <dialogue>The traffic was terrible.</dialogue> <character>MR. GIVINGS</character> <dialogue>Good to see you.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Was n't it terrible, Howard?</dialogue> <character>MR. GIVINGS</character> <dialogue>Route 12.</dialogue> <scene_description>Hands are shook , the baking dish exchanged .</scene_description> <character>APRIL</character> <dialogue>You did n't have to do that.</dialogue> <character>FRANK</character> <dialogue>The time they finish that stretch of road, they'll have to start all over again.</dialogue> <scene_description>John stands by himself closest to the door .</scene_description> <character>APRIL</character> <dialogue>And you must be John?</dialogue> <scene_description>Silence settles over the room .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Say hello, John.</dialogue> <character>JOHN</character> <dialogue>Nice to meetcha. Heard a lot aboutcha.</dialogue> <scene_description>John smiles , exposing a mouthful of deeply - stained yellow teeth and high , eroded gums .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - DAY.</stage_direction> <scene_description>Mrs. Givings leads the group into the living room .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Where are your darling children?</dialogue> <character>APRIL</character> <dialogue>They're at a birthday party. Sorry they could n't be here.</dialogue> <scene_description>John walks around the room , stiff - legged , examining the book shelves , the paintings .</scene_description> <character>JOHN</character> <dialogue>Do n't worry. If I had a certified lunatic coming around the house, I'd probably get the kids out of the way too.</dialogue> <scene_description>April and Frank exchange a quick glance .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Oh, look at all this food! You did n't have to go to any trouble for us.</dialogue> <character>APRIL</character> <dialogue>It's just some sandwiches.</dialogue> <scene_description>April lifts the plate and offers it to John .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>John, would you like a sandwich?</dialogue> <scene_description>He avoids her look , but he takes four .</scene_description> <character>JOHN</character> <dialogue>Helen's been talking it up about you people for months. The nice young Wheelers on Revolutionary Road, the nice young Revolutionaries on Wheeler road.</dialogue> <scene_description>Polite laughter .</scene_description> <character>FRANK</character> <dialogue>Who'd like some sherry?</dialogue> <character>MRS. GIVINGS</character> <dialogue>Please, do n't bother Frank.</dialogue> <character>JOHN</character> <dialogue>I'd like some sherry. And I'll drink Helen's if she does n't beat me to it.</dialogue> <scene_description>April ca n't suppress a smile .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( suddenly serious . )</parenthetical> <dialogue>But, hey. Listen, though. You got a high - ball glass? Put a couple - three ice cubes in it, pour it up to the brim. That's the way I like it.</dialogue> <character>FRANK</character> <dialogue>I think I can do that.</dialogue> <scene_description>Mr. Givings eats his sandwich , watching his son .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Oh, this is the most wonderful egg salad, April. You must tell me how you fix it.</dialogue> <scene_description>Frank hands John his high - ball glass .</scene_description> <character>JOHN</character> <dialogue>You a lawyer Frank?</dialogue> <character>FRANK</character> <dialogue>No, I'm not.</dialogue> <character>JOHN</character> <dialogue>I could use a lawyer.</dialogue> <character>MR. GIVINGS</character> <dialogue>John, let's not get started again about the lawyer.</dialogue> <character>JOHN</character> <dialogue>Pop, could n't you just sit there and eat your wonderful egg salad, and quit horning in?</dialogue> <scene_description>Mr. Givings gives his son a level , warning look .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See, I've got a good many questions to ask and I'm willing to pay for the answers. Now, I do n't need to be told that a man who goes after his mother with a coffee table is putting himself in a weak position legally ; that's obvious.</dialogue> <scene_description>Frank and April exchange a look .</scene_description> <character>MRS. GIVINGS</character> <dialogue>John, come and have a look out this fabulous picture window.</dialogue> <scene_description>Mrs. Givings gets up and goes to the window .</scene_description> <character>JOHN</character> <dialogue>If he hits her with it and kills her, that's a criminal case.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh, look, the sun's coming out!</dialogue> <character>JOHN</character> <dialogue>If all he does is break the coffee table and give her a certain amount of aggravation and she decides to go to court over it, that's a civil case.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Maybe we'll see a rainbow! John, come have a look.</dialogue> <character>JOHN</character> <dialogue>Ma, how about doing everybody a favor? How about shutting up!</dialogue> <scene_description>April 's face . She 's not smiling now .</scene_description> <character>MR. GIVINGS</character> <dialogue>Steady down, now.</dialogue> <scene_description>With her back to the room , Mrs. Givings closes her eyes .</scene_description> <character>FRANK</character> <dialogue>I can look into it. Maybe recommend someone.</dialogue> <scene_description>John stares at Frank for any sign of condescension .</scene_description> <character>JOHN</character> <dialogue>So, what do you do, Frank?</dialogue> <character>FRANK</character> <dialogue>I work for Knox Business Machines.</dialogue> <character>JOHN</character> <dialogue>You design the machines?</dialogue> <character>FRANK</character> <dialogue>Nope.</dialogue> <character>JOHN</character> <dialogue>Make ` em, sell ` em, repair ` em?</dialogue> <character>MRS. GIVINGS</character> <dialogue>All these questions.</dialogue> <character>FRANK</character> <dialogue>I sort of help sell them, I guess. I work in the office. Actually, it's sort of a stupid job. I mean there's nothing - you know, interesting about it or anything.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh, Frank.</dialogue> <character>JOHN</character> <dialogue>Whaddya do it for then?</dialogue> <character>MR. GIVINGS</character> <dialogue>Maybe Frank does n't want to be questioned like this, son.</dialogue> <character>JOHN</character> <dialogue>Okay, okay, okay - I know it's none of my business. And besides, I know the answer. You want to play house, you got to have a job. You want to play very nice house, very sweet house, then you got to have a job you do n't like. Anyone comes along and asks `` Whaddya do it for?' he's probably on a four - hour pass from the State funny farm. All agreed? Ma?</dialogue> <scene_description>Frank laughs . John smiles his yellow grin .</scene_description> <character>MR. GIVINGS</character> <dialogue>Sorry, Frank.</dialogue> <character>FRANK</character> <dialogue>Do n't be. I agree with everything you said, John. We both do. That's why I'm quitting the job in the fall and we're taking off.</dialogue> <character>APRIL</character> <dialogue>We're moving to Paris.</dialogue> <scene_description>John looks over at his mother .</scene_description> <character>JOHN</character> <dialogue>Did you know about this, Ma? Wow. How do you feel about that, Ma? The nice young Wheelers are taking off!</dialogue> <scene_description>John bursts into a painful braying laugh . It goes on and on . Mrs. Givings brings a hand to her brow - she 's on the verge of tears .</scene_description> <character>MRS. GIVINGS</character> <dialogue>John, please.</dialogue> <character>MR. GIVINGS</character> <dialogue>Steady down, son.</dialogue> <scene_description>April looks at Frank - the whole thing is in danger of going off the rails .</scene_description> <character>FRANK</character> <dialogue>How about some fresh air, John?</dialogue> <scene_description>John stops laughing abruptly . He looks to his parents .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If that's all right with you?</dialogue> <character>MRS. GIVINGS</character> <dialogue>I do n't know if it's a good idea.</dialogue> <character>MR. GIVINGS</character> <dialogue>If John wants to, I do n't see the harm.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - DAY.</stage_direction> <scene_description>Frank , April and John walk through the woods . The ground is freshly rained on and damp . The sun is bright . John buttons up his top button and pulls his sleeves down over his hands .</scene_description> <character>APRIL</character> <dialogue>I hear you're a mathematician.</dialogue> <character>JOHN</character> <dialogue>You hear wrong. It's all gone now.</dialogue> <character>APRIL</character> <dialogue>All gone?</dialogue> <character>JOHN</character> <dialogue>You know what electrical shock treatments are?</dialogue> <character>APRIL</character> <dialogue>Yes. Yes I do.</dialogue> <character>JOHN</character> <dialogue>I've had thirty - seven.</dialogue> <scene_description>He pushes his hat back and turns his head at April .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See?</dialogue> <scene_description>There are scars on his forehead . April can see them .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Supposed to jolt out the ` Emotional Problems.' Just jolted out the mathematics.</dialogue> <character>APRIL</character> <dialogue>How awful.</dialogue> <character>JOHN</character> <parenthetical>( mimicking . )</parenthetical> <dialogue>` How awful.' Why, because mathematics is so ` interesting?'</dialogue> <character>APRIL</character> <dialogue>No. Because the shocks must be awful and. well, because it's awful not to be able to do what it is you want to do. I think mathematics are dull.</dialogue> <scene_description>John stares at April . He smiles .</scene_description> <character>JOHN</character> <dialogue>I like your girl, Frank.</dialogue> <character>FRANK</character> <dialogue>Me too.</dialogue> <character>JOHN</character> <dialogue>So, what do a couple of people like you have to run away from?</dialogue> <character>FRANK</character> <dialogue>We're not running.</dialogue> <scene_description>John comes to a stop .</scene_description> <character>JOHN</character> <dialogue>And what's in Paris?</dialogue> <character>APRIL</character> <dialogue>A different way of life.</dialogue> <character>FRANK</character> <dialogue>So maybe we are running. We're running from the hopeless emptiness of the whole life here.</dialogue> <character>JOHN</character> <dialogue>The hopeless emptiness? Now, you've said it. Plenty of people are on to the emptiness, but it takes real guts to see the hopelessness. Wow.</dialogue> <scene_description>John continues walking . Frank and April watch him go .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - DUSK.</stage_direction> <scene_description>Frank and April at the kitchen table .</scene_description> <character>APRIL</character> <dialogue>You know, he's the first person who seemed to know what we were talking about.</dialogue> <character>FRANK</character> <dialogue>That's true. Maybe we are just as crazy as he is.</dialogue> <character>APRIL</character> <dialogue>If being crazy means living life as if it matters then I do n't care if we are completely insane.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do you?</dialogue> <character>FRANK</character> <dialogue>No.</dialogue> <character>APRIL</character> <dialogue>I love you so much.</dialogue> </scene> <scene> <stage_direction>EXT. WHEELER HOUSE - DAY</stage_direction> <scene_description>The small , attractive house bathed in sunlight .</scene_description> </scene> <scene> <stage_direction>INT. MIDTOWN HOTEL RESTAURANT - AFTERNOON.</stage_direction> <scene_description>Frank follows Bart Pollock as he cuts a swathe through an impressive midtown eatery . A small MAITRE D' scuttles in front of them . Bart nods , points at well - wishers , and makes a politician 's show of knowing the staff .</scene_description> <character>BART POLLOCK</character> <dialogue>Tell you something, Frank. I'm a little sore at Bandy for the way he's kept you under a bushel all these years. This place okay, for you?</dialogue> <scene_description>Frank smirks at the performance .</scene_description> <character>FRANK</character> <dialogue>This is just fine, sir. Fine.</dialogue> </scene> <scene> <stage_direction>INT. MIDTOWN HOTEL RESTAURANT - LATER.</stage_direction> <scene_description>Bart Pollock sits across an expanse of white tablecloth gripping a martini glass in one of his enormous paws .</scene_description> <character>BART POLLOCK</character> <dialogue>One thing interests me, Frank, and one thing only : selling the electronic computer to the American businessman.</dialogue> <character>BART POLLOCK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's why I'm assembling a team. Men like you, not your average salesmen. It'll mean more money, and I got to be honest, maybe more of a time commitment. But you'll be part of something exciting, Wheeler. Computers.</dialogue> <character>FRANK</character> <dialogue>Well, sir, it sounds exciting.</dialogue> <character>BART POLLOCK</character> <dialogue>Bart!</dialogue> <character>FRANK</character> <dialogue>Bart.</dialogue> <scene_description>Frank looks down at his plate . He ca n't help himself .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you happen to remember an Earl Wheeler?</dialogue> <scene_description>Bart looks at him blankly .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Out of Yonkers?</dialogue> <character>BART POLLOCK</character> <dialogue>Ca n't say that I do. Relation of yours?</dialogue> <character>FRANK</character> <dialogue>My father. He worked at Knox almost twenty years.</dialogue> <character>BART POLLOCK</character> <parenthetical>( thinking . )</parenthetical> <dialogue>Earl Wheeler. Earl Wheeler.</dialogue> <character>FRANK</character> <dialogue>No reason you would have heard of him.</dialogue> <character>BART POLLOCK</character> <dialogue>Well, I'm sure he was a good man.</dialogue> <scene_description>Frank smiles . Looks down .</scene_description> <character>FRANK</character> <dialogue>There's something I should have mentioned earlier. I'm leaving the firm. In the fall.</dialogue> <character>BART POLLOCK</character> <dialogue>Another outfit?</dialogue> <character>FRANK</character> <dialogue>No, it's not another outfit -</dialogue> <scene_description>Bart holds up his hands .</scene_description> <character>BART POLLOCK</character> <dialogue>Now look, Frank. Is it a question of money? Because if it is, there's no reason we ca n't get together on a satisfactory -</dialogue> <character>FRANK</character> <dialogue>I appreciate that, but it's not money. It's more of a personal thing.</dialogue> <character>BART POLLOCK</character> <dialogue>A personal thing? I see.</dialogue> <parenthetical>( looks down , clearly disapproving . )</parenthetical> <dialogue>Frank. Let me tell you something my father told me. A man only gets a couple chances in life. If he does n't grab ` em by the balls, it wo n't be long before he finds himself sitting around wondering how he got to be second rate.</dialogue> <scene_description>Frank 's face .</scene_description> <character>FRANK</character> <dialogue>I guess so.</dialogue> <scene_description>Bart lets it hang .</scene_description> <character>BART POLLOCK</character> <dialogue>So, do me a favor. Sleep on it. Discuss it with your wife. Because let's face it : where the hell would any of us be without our wives, anyway?</dialogue> <scene_description>On Frank 's face .</scene_description> <character>BART POLLOCK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And Frank, in all sincerity, if you do decide to join us, I believe it'll be a thing you'll never regret. And I believe something else, too. I believe it'd be a fine memorial to your Dad.</dialogue> <scene_description>Frank finds himself surprised by his welling up of emotion .</scene_description> </scene> <scene> <stage_direction>INT. KNOX BUILDING - EVENING.</stage_direction> <scene_description>It 's late . Frank is sitting in his cubicle over his Dictaphone . Jack is long gone .</scene_description> <character>FRANK</character> <dialogue>Knowing what you've got, comma, knowing what you need, comma, Knowing what you can do without, dash. That's inventory control.</dialogue> <scene_description>He stubs out a cigarette in an overflowing ashtray . Close on his face . Maureen stops by Frank 's cubicle . She pretends to be surprised to see him .</scene_description> <character>MAUREEN</character> <dialogue>Oh, hi Frank. Working late?</dialogue> <character>FRANK</character> <dialogue>I got to dig myself out here.</dialogue> <character>MAUREEN</character> <dialogue>I heard you were getting promoted.</dialogue> <scene_description>Frank shrugs , no big deal .</scene_description> <character>MAUREEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Big shot. I guess your Dad would have been real proud, huh?</dialogue> <character>FRANK</character> <parenthetical>( surprised she remembered . )</parenthetical> <dialogue>Huh. Yeah, I guess so.</dialogue> <character>MAUREEN</character> <parenthetical>( smiles sweetly . )</parenthetical> <dialogue>So. maybe I should buy you a drink or something? You know? Celebrate.</dialogue> <scene_description>Frank 's face . We do n't know which way he 'll go . He smiles .</scene_description> <character>FRANK</character> <dialogue>Yeah. Maybe.</dialogue> <scene_description>She smiles . She ca n't quite believe it .</scene_description> <character>MAUREEN</character> <dialogue>I'll just get my coat.</dialogue> <scene_description>Frank sits there a moment longer , thinking . Then he follows .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER FAMILY ROOM - DAY.</stage_direction> <scene_description>On a television . Elmer Fudd points a gun at Bugs Bunny , and pulls the trigger . Frank frowns into his French phrase book . Mike is watching the TV . April works a sewing machine with a cigarette burning beside her . Jennifer stands beside her holding a stuffed Giraffe and a list , which she reads .</scene_description> <character>JENNIFER</character> <dialogue>I'm going to take my doll carriage and my bear and my three Easter rabbits and my giraffe and all my dolls and my doll house.</dialogue> <character>APRIL</character> <dialogue>I thought maybe we'd give the doll house to Madeline.</dialogue> <character>JENNIFER</character> <dialogue>No! I do n't want to give it to Madeline.</dialogue> <scene_description>April has to stop to re - thread and she 's losing patience .</scene_description> <character>APRIL</character> <dialogue>I already explained to you, the big things are going to be hard to pack.</dialogue> <scene_description>Frank lowers the book . He recognizes her tone .</scene_description> <character>JENNIFER</character> <dialogue>But Madeline can have my bear and my Easter rabbits -</dialogue> <character>APRIL</character> <dialogue>No! Just the big things. Look. Would n't you rather go outside and play with Michael.</dialogue> <character>JENNIFER</character> <dialogue>I do n't feel like it.</dialogue> <character>APRIL</character> <dialogue>You've been inside all day.</dialogue> <character>JENNIFER</character> <dialogue>I do n't feel like it!</dialogue> <character>APRIL</character> <dialogue>Well, I do n't feel like explaining everything fifteen times to somebody who's too bored and silly to listen!</dialogue> <scene_description>Jennifer turns and runs up the stairs , upset . April lets out a defeated sigh . She turns to the kitchen to see to the supper . Steam rises from the vegetables . Frank stands in the entrance silently watching for a moment .</scene_description> <character>FRANK</character> <dialogue>What's the matter?</dialogue> <character>APRIL</character> <dialogue>Nothing.</dialogue> <scene_description>She carries a pot of steaming , overcooked vegetables to the sink , slops them into a colander .</scene_description> <character>FRANK</character> <dialogue>I do n't believe you. Did something happen today or what?</dialogue> <character>APRIL</character> <dialogue>Nothing happened today that I have n't known about for days and days.</dialogue> <character>FRANK</character> <dialogue>What?</dialogue> <character>APRIL</character> <dialogue>Oh God, Frank, please do n't look so dense. Do you mean you have n't guessed or anything?</dialogue> <character>FRANK</character> <dialogue>What are you talking about?</dialogue> <scene_description>She finally stops and looks at him .</scene_description> <character>APRIL</character> <dialogue>I'm pregnant, that's all.</dialogue> <scene_description>Beat as he absorbs it . He 's totally blind - sided .</scene_description> <character>FRANK</character> <dialogue>What? Jesus.</dialogue> <scene_description>She comes over to him .</scene_description> <character>APRIL</character> <dialogue>Oh, Frank, I meant to wait until dinner to tell you, but I just - well, I've been pretty sure all week and today I went to the Doctor and now I ca n't even pretend it's not true.</dialogue> <character>FRANK</character> <parenthetical>( still stunned . )</parenthetical> <dialogue>Jesus. How long?</dialogue> <character>APRIL</character> <dialogue>Ten weeks.</dialogue> <character>FRANK</character> <dialogue>You did n't say anything.</dialogue> <character>APRIL</character> <dialogue>I thought. Oh, I do n't know what I thought.</dialogue> <scene_description>He stares , still unsure how he feels .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry, Frank. I'm so sorry.</dialogue> <character>FRANK</character> <dialogue>I know you are.</dialogue> <scene_description>She looks at him , with slight desperation .</scene_description> <character>APRIL</character> <dialogue>We do n't have to let this stop us. There are things we can do. Remember that girl at school I told you about? As long as you do it before 12 weeks, it's fine.</dialogue> <scene_description>He just looks at her and his silence makes her desperate .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We've got to be together in this, Frank. Otherwise nothing's going to make any sense.</dialogue> <character>FRANK</character> <dialogue>Okay. We'll figure it out.</dialogue> <scene_description>He takes her in his arms .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>12 weeks. So we have time.</dialogue> <scene_description>On Frank 's face . Slowly , he smiles .</scene_description> <character>APRIL</character> <dialogue>I love you Frank.</dialogue> <character>FRANK</character> <dialogue>I love you too.</dialogue> </scene> <scene> <stage_direction>EXT. LONG ISLAND SOUND BEACH - AFTERNOON.</stage_direction> <scene_description>A baking hot day . The sky is electric blue . Radios PLAY , children CRY , dogs BARK . Sunbathers cover almost every inch of sand . We find Shep , Milly , Frank and April with beach chairs , coolers and umbrellas . A child wrapped in a towel sleeps on Milly 's lap . April wears a pair of dark glasses , behind which she is thinking , thinking .</scene_description> <character>SHEP</character> <dialogue>So, Frank, how's work? They gon na survive without you?</dialogue> <character>FRANK</character> <dialogue>Actually. Something kinda funny happened the other day. I did some dumb little piece of work to get myself off the hook with Bandy, and suddenly I'm The Bright Young Man.</dialogue> <character>SHEP</character> <parenthetical>( laughs . )</parenthetical> <dialogue>That's always the way, is n't it?</dialogue> <character>FRANK</character> <dialogue>It's incredible. I knocked this thing off in a couple of minutes and now they want me to join their team of ` specialist' salesmen.</dialogue> <character>SHEP</character> <dialogue>Morons.</dialogue> <character>FRANK</character> <dialogue>It'd be funny, if they were n't talking about so much damn money.</dialogue> <scene_description>April turns and looks at Frank . Long and hard . If he can feel her look , he does n't show it .</scene_description> <character>SHEP</character> <parenthetical>( stealing a glance at April . )</parenthetical> <dialogue>So, you tempted?</dialogue> <character>FRANK</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Well, it's kind of ironic, do n't you think?</dialogue> <scene_description>April suddenly stands up . Frank and Shep watch her walk down to the water 's edge .</scene_description> <character>SHEP</character> <dialogue>She okay?</dialogue> <scene_description>Frank stares after her .</scene_description> </scene> <scene> <stage_direction>EXT. LONG ISLAND SOUND BEACH, WATER'S EDGE - AFTERNOON.</stage_direction> <scene_description>April stands in the water staring out over the sea . The waves break against her ankles . Whether it occurs to her or not , she 's staring in the direction of Europe . Frank comes up beside her .</scene_description> <character>APRIL</character> <dialogue>I thought you turned the job down?</dialogue> <character>FRANK</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Not yet. It's just an option, that's all. With the money they're talking, things could be different for us here. We could get a better place. Travel.</dialogue> <scene_description>April shakes her head and drags on her cigarette .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look, the point is - we could be happy here. At least for a while.</dialogue> <scene_description>She stares out at the sea .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It is possible that Parisians are n't the only ones who know how to lead interesting lives, April.</dialogue> <scene_description>She turns to him .</scene_description> <character>APRIL</character> <dialogue>So you've made up your mind?</dialogue> <character>FRANK</character> <dialogue>No. Like I said, it's an option.</dialogue> <character>APRIL</character> <dialogue>And supposing you're right. You make all this money and we have this interesting life here. Wo n't you still be wasting your life toiling away at a job you find ridiculous? Just like your father.</dialogue> <character>FRANK</character> <parenthetical>( sharp . )</parenthetical> <dialogue>Maybe we let that be my business.</dialogue> <character>APRIL</character> <parenthetical>( incredulous . )</parenthetical> <dialogue>Your business?</dialogue> <character>FRANK</character> <parenthetical>( exhales . )</parenthetical> <dialogue>It's too hot for this. I'm going to get wet.</dialogue> <scene_description>She just looks at him . He walks into the ocean . She stands on the shore , watching him swim away from her .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER FAMILY ROOM - NIGHT.</stage_direction> <scene_description>April paces the family room . Her hair is a defiant mess . She still wears her bathing suit under her clothes . Frank sits on the couch . The windows are open , and most of the lights are off . It 's a very hot night .</scene_description> <character>APRIL</character> <dialogue>You do n't want to go, do you?</dialogue> <character>FRANK</character> <dialogue>Come on, April. Of course I do.</dialogue> <character>APRIL</character> <dialogue>You do n't! Because you've never tried at anything. And if you do n't try at anything you ca n't fail.</dialogue> <character>FRANK</character> <dialogue>What the hell do you mean I do n't try? I support you, do n't I? I pay for this house. I work ten hours a day at a job I ca n't stand.</dialogue> <character>APRIL</character> <dialogue>You do n't have to!</dialogue> <character>FRANK</character> <dialogue>Bullshit! I'm not happy about it. But I have the backbone not to run away from my responsibilities!</dialogue> <character>APRIL</character> <dialogue>It takes backbone to lead the life you want, Frank.</dialogue> <scene_description>He shakes his head and gets up .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where are you going?</dialogue> <character>FRANK</character> <dialogue>Is it alright with you if I go to the bathroom?</dialogue> <scene_description>She disgustedly twists out her cigarette , and immediately lights another .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER BATHROOM - NIGHT.</stage_direction> <scene_description>Frank splashes water on his face like a boxer between rounds . He looks up at his reflection . He reaches for a towel , but there is n't one . He turns to the shelf behind him and pulls down a fresh towel . Something catches his eye . He reaches to the back and retrieves a small brown paper package . He opens it , his face slowly registering what it means .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER FAMILY ROOM - NIGHT.</stage_direction> <scene_description>April wheels around as - Frank storms in , a rubber syringe in his hand .</scene_description> <character>FRANK</character> <dialogue>What the hell are you going to do with this?</dialogue> <character>APRIL</character> <dialogue>And what do you think you're going to do? You're going to stop me?</dialogue> <character>FRANK</character> <dialogue>You're damn right!</dialogue> <character>APRIL</character> <dialogue>Go ahead and try!</dialogue> <scene_description>He comes at her across the room with the syringe in his hand . She moves away .</scene_description> <character>FRANK</character> <dialogue>Listen. Listen to me. You do this - you do this and I swear to God I'll -</dialogue> <character>APRIL</character> <dialogue>You'll what? You'll leave me? Is that a threat, or a promise?</dialogue> <scene_description>He shakes it in her face .</scene_description> <character>FRANK</character> <dialogue>When did you buy this, April? I want to know!</dialogue> <character>APRIL</character> <dialogue>You know you really are being melodramatic about the whole thing. As long as it's done in the first twelve weeks, it's perfectly safe.</dialogue> <character>FRANK</character> <dialogue>That's now April! Do n't I get a say?</dialogue> <character>APRIL</character> <dialogue>Of course you do! It would be for you, Frank, do n't you see? So you can have time. Like we talked about.</dialogue> <character>FRANK</character> <dialogue>How can it be for me if the thought makes my stomach turn over?</dialogue> <character>APRIL</character> <dialogue>Then it's for me. Tell me we can have the baby in Paris, Frank. But do n't make me stay here. Please.</dialogue> <character>FRANK</character> <dialogue>We ca n't have the baby in Paris.</dialogue> <character>APRIL</character> <dialogue>Why not? I do n't need everything we have here. I do n't care where we live! I mean who made these rules, anyway? The only reason we moved out here was because I got pregnant. Then we had another child to prove the first one was n't a mistake. I mean how long does it go on?</dialogue> <scene_description>He turns away .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Frank. Do you actually want another child? Well, do you?</dialogue> <scene_description>He wo n't answer .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on, tell me. Tell me the truth, Frank. Remember that? We used to live by it. You know what's so good about the truth? Everyone knows what it is, however long they've lived without it. No one forgets the truth, Frank, they just get better at lying. So tell me : do you really want another child?</dialogue> <scene_description>Frank turns towards her .</scene_description> <character>FRANK</character> <dialogue>All I know is what I feel. And anyone else in their right mind would feel the same way.</dialogue> <character>APRIL</character> <parenthetical>( quiet . )</parenthetical> <dialogue>But I've had two children. Does n't that count in my favor?</dialogue> <character>FRANK</character> <dialogue>Christ! The fact that you even put it that way! You make it sound like having children is a punishment.</dialogue> <character>APRIL</character> <dialogue>I love my children.</dialogue> <character>FRANK</character> <dialogue>And you're sure about that?</dialogue> <character>APRIL</character> <dialogue>What the hell is that supposed to mean?</dialogue> <character>FRANK</character> <dialogue>April, you just said our daughter was mistake. How do I know you did n't try to get rid of her, or Michael for that matter? How do I know you did n't try to flush our entire fucking family down the toilet?</dialogue> <character>APRIL</character> <dialogue>No that's not true. Of course I did n't.</dialogue> <character>FRANK</character> <dialogue>But how do I know April?</dialogue> <character>APRIL</character> <dialogue>Stop. Please just stop, Frank.</dialogue> <character>FRANK</character> <dialogue>April, a normal woman, a normal sane mother does n't buy herself a piece of rubber tubing to give herself an abortion so she can, go live out some God damn fantasy.</dialogue> <scene_description>April 's face .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( sober . )</parenthetical> <dialogue>All I'm saying is you do n't seem entirely rational about this thing. And maybe we should get someone to help you think about it.</dialogue> <character>APRIL</character> <dialogue>And the new job's going to pay for that too?</dialogue> <character>FRANK</character> <dialogue>April if you need a shrink, it'll be paid for. Obviously.</dialogue> <scene_description>April turns to the book shelves . Her back to him . Frank waits , his heart beating quickly .</scene_description> <character>APRIL</character> <dialogue>Okay. I guess there is n't much more to say, then, is there?</dialogue> <scene_description>Her eyes are bright with tears .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So I guess Paris was a pretty childish idea, huh?</dialogue> <scene_description>Everything hangs on Frank 's answer .</scene_description> <character>FRANK</character> <dialogue>I guess maybe it was.</dialogue> <scene_description>April closes her eyes . Tears run down her cheeks . He walks over to her , but he does n't touch her .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We can be happy here April. I can make you happy here.</dialogue> <scene_description>She cries quietly .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We've had a great few months. It does n't have to end.</dialogue> <scene_description>She turns to face him .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're going to be okay.</dialogue> <character>APRIL</character> <dialogue>I hope so Frank. I really hope so.</dialogue> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - MORNING.</stage_direction> <scene_description>Frank stands at the picture window watching . April approach the children . She squats on the ground so she can be at their height and talks to them . Michael tries to get into her arms . Jennifer turns away and walks sulkily across the grass . Frank looks into his coffee cup . He does n't look like a man who won an argument .</scene_description> </scene> <scene> <stage_direction>INT. KNOX WAITING ROOM - DAY.</stage_direction> <scene_description>Frank sits smoking nervously in an oak - paneled waiting room . The door opens behind him . He gets to his feet .</scene_description> <character>RECEPTIONIST</character> <dialogue>Thank you for waiting. Mr. Pollock can see you now.</dialogue> <scene_description>He follows her through the door . The door closes behind her . We see the scene in dumb - show through the glass door . Bart looks up as Frank enters . An `` I knew it all along '' smile spreads across Pollock 's face . He offers his hand to Frank . Frank smiles thinly . They shake .</scene_description> <character>JACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Foiled by faulty contraception.</dialogue> </scene> <scene> <stage_direction>INT. MIDTOWN RESTAURANT - DAY.</stage_direction> <scene_description>Frank , Ed , Vince and Jack sit in the same booth in the same crowded luncheonette . Frank stares out the window . The others ca n't contain themselves .</scene_description> <character>ED</character> <dialogue>I ca n't say I'm sorry.</dialogue> <character>VINCE</character> <dialogue>Would n't have been the same without you.</dialogue> <character>JACK</character> <dialogue>You'd have been sorely missed in the old cubicle, I can tell you that.</dialogue> <scene_description>He raises his glass , drinks alone .</scene_description> <character>JACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Besides which.</dialogue> <scene_description>Frank looks away from the window .</scene_description> <character>FRANK</character> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>Well, the plan always seemed a touch unrealistic, do n't you think?</dialogue> <scene_description>Frank glares with barely contained fury .</scene_description> <character>JACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I suppose, it's none of my business, really.</dialogue> <character>FRANK</character> <dialogue>No. I suppose it is n't.</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Well, we wo n't be the only ones glad to hear the news. They'll be celebrating in the secretarial pool.</dialogue> <scene_description>Ed and Vince chuckle . Frank 's face .</scene_description> </scene> <scene> <stage_direction>INT. VITO'S LOG CABIN - NIGHT.</stage_direction> <scene_description>Two drumsticks spinning in a spotlight . They click out a rhythm , and crash into a number . Cut back to reveal a small , low - ceilinged joint . On - stage are the Steve Kovack quartet , four perspiring middle - aged men with day jobs . YOUNGISH COUPLES , and the odd middle - aged COUPLE navigate the dance floor . A smattering of lost SINGLES line the bar . The Wheelers and Campbells sit squashed into a booth on the side of the dance floor . Several empty glasses have accumulated . Milly is beating the edge of the table with red drink straws . She 's a few drinks ahead . They have to SHOUT over the MUSIC .</scene_description> <character>MILLY</character> <dialogue>Hey! Remember the first time you brought us here? You said, it takes a special kind of taste to enjoy Vito's Log Cabin!</dialogue> <character>SHEP</character> <dialogue>It's so awful it's kinda nice!</dialogue> <character>MILLY</character> <dialogue>That's right!</dialogue> <scene_description>They laugh at the old joke . Then Milly begins to weep .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( dabs at her eyes . )</parenthetical> <dialogue>Look at me! I'm just so happy. Our little gang's back together again!</dialogue> <scene_description>She knocks her drink back . The number finishes .</scene_description> <character>SHEP</character> <dialogue>At least Europe's not going anywhere.</dialogue> <scene_description>April stares out at the dance floor . Frank looks at her . A new number starts .</scene_description> <character>FRANK</character> <dialogue>Wan na dance?</dialogue> <character>APRIL</character> <dialogue>I do n't really feel like it.</dialogue> <character>MILLY</character> <dialogue>I'll dance!</dialogue> <scene_description>Milly takes him by the hand and pulls him away . Shep and April watch . Then Shep turns his attention to April .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( tipsy . )</parenthetical> <dialogue>Guess April's pretty blue ` bout Paris, huh?</dialogue> <character>FRANK</character> <dialogue>Think she'll be okay?</dialogue> <character>MILLY</character> <dialogue>Oh, sure. Give us girls a couple of days and we can get over anything!</dialogue> <scene_description>Frank turns his attention to Milly . He 's a good dancer . His movements are fast and aggressive , his mind on April . Milly is a little too drunk , and hurries to keep up , perspiring through her dress . He spins her around and around , back and forth into his arms . Milly begins to look slightly dizzy .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Frank.</dialogue> <scene_description>He does n't hear her over the music , or he does n't care .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Frank. I.</dialogue> <character>FRANK</character> <parenthetical>( sudden remorse . )</parenthetical> <dialogue>You okay?</dialogue> <character>MILLY</character> <dialogue>Gee. I'm afraid I'm not very.</dialogue> <scene_description>Her body spasms with the need to be sick . She turns and rushes for the lady 's room .</scene_description> </scene> <scene> <stage_direction>EXT. VITO'S LOG CABIN - NIGHT.</stage_direction> <scene_description>Frank leads the way through the cars . Shep supports Milly who is now falling down drunk . April walks alone a few paces behind . They reach Shep 's car , which is trapped behind several other cars .</scene_description> <character>SHEP</character> <dialogue>Of all the inconsiderate.</dialogue> <scene_description>A beat . Frank looks to April .</scene_description> <character>APRIL</character> <dialogue>Look - why do n't you take Milly home, then go home yourself and that would take care of both sitters. Then Shep can take me home later.</dialogue> <character>SHEP</character> <dialogue>All right with me.</dialogue> <character>FRANK</character> <parenthetical>( to April . )</parenthetical> <dialogue>You'll be alright?</dialogue> <character>APRIL</character> <dialogue>Sure.</dialogue> <scene_description>Frank holds April 's look an instant , then walks away with car keys in hand .</scene_description> </scene> <scene> <stage_direction>INT. VITO'S LOG CABIN - NIGHT.</stage_direction> <scene_description>Steve Kovack performs an exhausting , sweat - drenched drum solo . April and Shep now sit alone in the booth .</scene_description> <character>SHEP</character> <dialogue>I'm sorry you're not going away anymore. I know it was important to you.</dialogue> <scene_description>April distantly nods her thanks .</scene_description> <character>SHEP</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't take this wrong ; I've been there and. they do n't have so much we do n't have here.</dialogue> <character>APRIL</character> <dialogue>It did n't have to be Paris.</dialogue> <scene_description>Shep sips his beer , trying to figure out how to connect with her .</scene_description> <character>SHEP</character> <dialogue>You just wanted out, huh?</dialogue> <character>APRIL</character> <dialogue>I wanted in. I just wanted us to live again.</dialogue> <scene_description>Shep nods , not entirely sure what she means .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>For years I thought we shared a secret. that we would be wonderful in the world. I did n't exactly know how, but just the possibility. kept me hoping.</dialogue> <scene_description>She takes a long slug of her drink .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How pathetic is that? To put all your hopes in a promise that was never made? See, Frank knows. he knows what he wants. He's found his place. He's just fine. Married, two kids. It should be enough. It is for him. He's right ; we were never special or destined or anything at all.</dialogue> <character>SHEP</character> <dialogue>Sure you are. You're The Wheelers. You're a terrific couple, everyone says so.</dialogue> <scene_description>April does n't hear , she 's pursuing her thought .</scene_description> <character>APRIL</character> <dialogue>I saw a different life. I ca n't stop seeing it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Ca n't leave, ca n't stay.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>No damn use to anyone.</dialogue> <scene_description>April turns and stares at him . The band strikes up a new number .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on, let's do it.</dialogue> </scene> <scene> <stage_direction>INT. VITO'S LOG CABIN, DANCE FLOOR - NIGHT.</stage_direction> <scene_description>April and Shep dance . Shep ca n't dance well , but he 's trying . April , on the other hand , is a wonderful dancer . She dances out as far as their joined hands allow and does a little twitching , hip - bobbing curtsies before twisting back , all seemingly effortless . It is joyous , released .</scene_description> </scene> <scene> <stage_direction>INT. SHEP'S CAR - NIGHT.</stage_direction> <scene_description>Shep slips behind the wheel and is immediately kissing her , groping .</scene_description> <character>SHEP</character> <dialogue>Let me take you somewhere.</dialogue> <character>APRIL</character> <dialogue>No. Please. Here. Now. In the back seat.</dialogue> <scene_description>She climbs into the back seat . He pulls off his jacket and climbs in after her . He folds the jacket under her head for a pillow . She remains perfectly still , allowing him to kiss her , to search under her clothing , to kiss her skin and finally , to lift her skirt and pull her clothing aside and make love to her against the vinyl seat cover . As suddenly as it began , it 's over . Shep collapses against her . April stares into the darkness .</scene_description> <character>SHEP</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>April. This is what I've always wanted. I love you.</dialogue> <character>APRIL</character> <dialogue>Do n't say that.</dialogue> <character>SHEP</character> <dialogue>I mean it, I love you.</dialogue> <character>APRIL</character> <dialogue>Please, just be quiet for a minute, then you can take me home.</dialogue> <scene_description>They begin to quietly assemble themselves .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - AFTERNOON</stage_direction> <scene_description>Frank stands at the mirror putting on a clean shirt .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN/DINING ROOM - AFTERNOON.</stage_direction> <scene_description>April stands at the kitchen table chopping vegetables . She wears an unflattering floral dress . Frank stands in the doorway watching .</scene_description> <character>FRANK</character> <dialogue>It's beautiful out.</dialogue> <character>APRIL</character> <dialogue>Yes ; it's lovely.</dialogue> <scene_description>He glances at the calendar .</scene_description> <character>FRANK</character> <dialogue>You know what today is?</dialogue> <scene_description>She does n't look at him .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's twelve weeks.</dialogue> <character>APRIL</character> <dialogue>That's right.</dialogue> <scene_description>He walks over to her . He takes her in his arms . She stiffens .</scene_description> <character>FRANK</character> <dialogue>Look, this has been kind of a crazy summer. We've both been under a strain. I mean I know you're upset.</dialogue> <character>APRIL</character> <dialogue>You know I'm not sleeping with you and you want to know why?</dialogue> <scene_description>She looks him straight in the eye .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, I'm sorry Frank, but I do n't really feel like talking about it.</dialogue> <scene_description>She pulls herself free of his grasp . He watches as she adds the vegetables in the pot on the stove .</scene_description> <character>FRANK</character> <dialogue>Okay. What do you feel like talking about?</dialogue> <character>APRIL</character> <dialogue>Would it be all right if we did n't talk about anything? Ca n't we just take each day as it comes, and do the best we can, and not feel we have to talk about everything all the time?</dialogue> <scene_description>He smiles patiently .</scene_description> <character>FRANK</character> <dialogue>I do n't think I suggested we talk about everything all the time. My point was, we've both been under a strain and we ought to be trying to help each other as much as we can right now.</dialogue> <scene_description>She 's utterly uninterested and it 's making him nervous .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean God knows my own behavior has been pretty weird lately. I mean, as it happens. there is actually something I'd like to tell you about.</dialogue> <scene_description>She continues folding the napkins .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I've been with a girl in the city a few times.</dialogue> <scene_description>Finally , she stops moving . She looks at him .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>A girl I hardly even know. It was nothing to me, but she got a little carried away. She's just a kid. Anyway, it's over now. It's really over. If I were n't sure of that I guess I could never have told you about it.</dialogue> <character>APRIL</character> <dialogue>Why did you?</dialogue> <character>FRANK</character> <parenthetical>( relieved . )</parenthetical> <dialogue>Baby, I do n't know. I think it was a simple case of wanting to be a man again after all that abortion business. Some kind of neurotic, irrational need to prove something.</dialogue> <character>APRIL</character> <dialogue>No. I do n't mean why did you have the girl ; I mean why did you tell me about it?</dialogue> <scene_description>He is suddenly unsure .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean what's the point? Is it supposed to make me jealous, or something? Is it supposed to make me fall in love with you, or back into bed with you, or what? I mean what am I supposed to say?</dialogue> <scene_description>He tries that same patient smile , but it 's not convincing .</scene_description> <character>FRANK</character> <dialogue>Why do n't you say what you feel?</dialogue> <character>APRIL</character> <dialogue>I do n't feel anything.</dialogue> <character>FRANK</character> <dialogue>In other words you do n't care what I do or who I fuck or anything?</dialogue> <character>APRIL</character> <dialogue>No ; I guess that's right ; I do n't.</dialogue> <scene_description>She is frighteningly calm .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck who you like.</dialogue> <scene_description>His panic mounts .</scene_description> <character>FRANK</character> <dialogue>Do n't you see. Do n't you see, I want you to care.</dialogue> <character>APRIL</character> <dialogue>Oh, I know you do. And I suppose I would if I loved you. But you see I do n't think I do anymore. And I only just figured that out. And that's why I'd just as soon not do any talking right now.</dialogue> <scene_description>She goes back into the kitchen . Frank follows her .</scene_description> <character>FRANK</character> <dialogue>Oh, now do n't give me this shit! You know God damn well you love me!</dialogue> <character>APRIL</character> <dialogue>You think so?!</dialogue> <character>FRANK</character> <dialogue>You know GOD DAMN WELL!</dialogue> <character>MRS. GIVINGS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yoo - hoo! Any one home?</dialogue> <scene_description>Frank and April stare at each other , breathless .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER DINING ROOM - LATE AFTERNOON.</stage_direction> <scene_description>Frank and the Givings ' sit with cocktails . It 's painfully awkward . Moving boxes are everywhere .</scene_description> <character>APRIL</character> <dialogue>I'm sorry dinner's late. Can I get anyone a refill?</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh, do n't worry. It's nice just to sit for a bit and socialize. You really did n't need to go through all the trouble of cooking. I can see you have a lot to do with packing and what not.</dialogue> <scene_description>Frank looks at April . She avoids his look .</scene_description> <character>FRANK</character> <dialogue>Actually, there's been a change of plans.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh?</dialogue> <scene_description>John looks up . Frank looks at April .</scene_description> <character>FRANK</character> <dialogue>I thought maybe it was obvious. April's pregnant.</dialogue> <scene_description>April manages a forced smile .</scene_description> <character>MRS. GIVINGS</character> <dialogue>Oh, April! I ca n't tell you how pleased I am. Oh, but I expect you'll be needing a bigger house, now, wo n't you?</dialogue> <character>JOHN</character> <dialogue>Hold it a second, Ma.</dialogue> <scene_description>John gets to his feet .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I do n't get this.</dialogue> <scene_description>He fixes Frank with the stare of a prosecuting attorney .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's so obvious about it? I mean okay, she's pregnant ; so what? Do n't people have babies in Europe?</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh John, really. I do n't think we need to -</dialogue> <scene_description>John holds up a hand .</scene_description> <character>JOHN</character> <dialogue>I'm asking the man a question. If he does n't want to give me the answer, I'm assuming he'll have sense enough to tell me so.</dialogue> <character>FRANK</character> <dialogue>Suppose we just say that people anywhere are n't very well advised to have babies unless they can afford them.</dialogue> <character>JOHN</character> <parenthetical>( nods slowly . )</parenthetical> <dialogue>Okay. Okay ; it's a question of money. Money's always a good reason.</dialogue> <scene_description>John paces the room , with his hands behind his back like a detective at a murder scene .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But it's hardly ever the real reason. What's the real reason? Wife talk you out of it, or what?</dialogue> <scene_description>He turns the force of his smile on April .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Little woman decide she is n't quite ready to quit playing house?</dialogue> <scene_description>She walks across the room and stabs out her cigarette . Then immediately lights another .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Nah, nah, that's not it. I can tell. She looks too tough. Tough and female and adequate as hell.</dialogue> <scene_description>He swings around to face Frank .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, then ; it must've been you.</dialogue> <scene_description>Frank stares back defiantly . Rage bubbling .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What happened?</dialogue> <character>MRS. GIVINGS</character> <dialogue>John, please, you're being very -</dialogue> <scene_description>John holds up his hand .</scene_description> <character>JOHN</character> <dialogue>What happened, Frank? You get cold feet, or what? You decide you're better off here after all? You figure it's more comfy here in the old Hopeless Emptiness after all, or -</dialogue> <scene_description>Frank 's face .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wow, that did it! Look at his face! What's the matter, Wheeler? Am I getting warm?</dialogue> <scene_description>Frank stares at John , his rage increasing . Mr. Givings gets to his feet .</scene_description> <character>MR. GIVINGS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All right, son. I think we'd better be -</dialogue> <character>JOHN</character> <dialogue>Boy!</dialogue> <scene_description>He lets out his braying laugh . April starts to laugh .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Boy! You know something? I would n't be surprised if you knocked her up on purpose just so you could spend the rest of your life hiding behind that maternity dress. That way you never have to find out what he's made of.</dialogue> <character>FRANK</character> <dialogue>Now look, I think that's just about enough out of you. I mean, who the hell do you think you are? You come in here and say whatever crazy God damn thing comes into your head and I think it's about time someone told you to keep your God damn -</dialogue> <character>MRS. GIVINGS</character> <dialogue>He's not well, Frank.</dialogue> <character>FRANK</character> <dialogue>Not well, my ass! I do n't give a damn if he's sick or well or dead or alive, he should keep his fucking opinions in the fucking insane asylum where they belong!</dialogue> <scene_description>April stares at Frank .</scene_description> <character>MR. GIVINGS</character> <dialogue>Let's go, son.</dialogue> <scene_description>Mr. Givings moves John towards the door . Mrs. Givings slowly stands . April is the only one left seated .</scene_description> <character>JOHN</character> <dialogue>Big man you got there, April.</dialogue> <scene_description>He winks at April and puts his hat on .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Big family man, solid citizen. I feel sorry for you. Still, maybe you deserve each other.</dialogue> <scene_description>April 's face .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Matter of fact, the way you look right now, I'm beginning to feel sorry for him, too. I mean, you must give him a pretty bad time, if making babies is the only way he can prove he's got a pair of balls.</dialogue> <character>FRANK</character> <dialogue>You. fucking!</dialogue> <scene_description>Frank lunges at John . Mr. Givings tries to hold Frank back . Mrs. Givings leaps between them . She 's crying .</scene_description> <character>MRS. GIVINGS</character> <dialogue>He's not well, Frank!</dialogue> <scene_description>Silence . Mr. Givings slowly releases Frank . He is breathing heavily .</scene_description> <character>MR. GIVINGS</character> <dialogue>All right, John. Let's get on out to the car now.</dialogue> <scene_description>He guides him from the room .</scene_description> <character>MRS. GIVINGS</character> <dialogue>I'm sorry April, I'm so sorry.</dialogue> <character>JOHN</character> <dialogue>Right. Sorry, sorry, sorry! Okay Ma? Have I said ` Sorry' enough times? I am sorry, too. Damn ; I bet I'm just about the sorriest bastard I know. Course, get right down to it, I do n't have a whole hell of a lot to be glad about, do I?</dialogue> <scene_description>He takes another step towards the door , then stops and turns back , laughing again .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, but I'm glad about one thing, though.</dialogue> <scene_description>He points a yellow - stained finger at April 's stomach .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know what I'm glad about? I'm glad I'm not gon na be that kid.</dialogue> <scene_description>They go out . Frank goes to the liquor cabinet , pours a whiskey and drinks it . April watches him from across the room .</scene_description> <character>FRANK</character> <dialogue>Okay, okay, do n't tell me. Do n't tell me ; let me guess. I made a Disgusting Spectacle of Myself. Right?</dialogue> <character>APRIL</character> <dialogue>Right.</dialogue> <scene_description>He turns to April .</scene_description> <character>FRANK</character> <dialogue>And everything that man said is True. Right? Is n't that what you're going to say?</dialogue> <character>APRIL</character> <dialogue>Apparently I do n't have to. You're saying it for me.</dialogue> <scene_description>He comes towards her .</scene_description> <character>FRANK</character> <dialogue>But you're wrong.</dialogue> <character>APRIL</character> <dialogue>Why am I wrong?</dialogue> <character>FRANK</character> <dialogue>Because the man is insane. He's fucking insane! Do you know what the definition of insanity is?</dialogue> <character>APRIL</character> <dialogue>What is it, Frank?</dialogue> <character>FRANK</character> <dialogue>The inability to relate to another human being. It's the inability to love.</dialogue> <scene_description>She looks at him . Then she begins to laugh .</scene_description> <character>APRIL</character> <dialogue>The in - the in ; the inabil ; the inability to -</dialogue> <scene_description>She reels around the room , her laughter increasingly out of control .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh. - Oh, Frank, you really are a wonderful talker! If black could be made into white by talking, you'd be the man for the job. So now I'm crazy because I do n't love you - right? Is that the point?</dialogue> <character>FRANK</character> <dialogue>No. Wrong. You're not crazy and you do love me ; that's the point.</dialogue> <scene_description>He takes a step towards her . All the laughter goes out of her face . She backs away .</scene_description> <character>APRIL</character> <dialogue>But I do n't. In fact I loathe the sight of you. You're just a boy who made me laugh at a party once and if you come any closer, if you touch me or anything I think I'll scream.</dialogue> <scene_description>He takes her by the arms .</scene_description> <character>FRANK</character> <dialogue>Oh baby listen -</dialogue> <scene_description>She SCREAMS . High and shrill . Her eyes wide open , cold and perfectly calm .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck you, April. And fuck all your hateful, snotty little -</dialogue> <scene_description>She slips past him . He goes after her . She pulls a chair into his path . He SLINGS it against the wall .</scene_description> <character>APRIL</character> <dialogue>What're you going to do now? Are you going to hit me? To show how much you love me?</dialogue> <character>FRANK</character> <dialogue>Oh, no, do n't worry, I ca n't be bothered! You're not worth the trouble it'd take to hit you. You're not worth the powder it'd take to blow you up. You're an empty -</dialogue> <scene_description>He begins to shake with anger .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're an empty, hollow fucking shell of a woman. What the hell are you living in my house for if you hate me so much? Huh? Will you answer me that? Why the hell do you fuck me? What the hell are you carrying my child for?</dialogue> <scene_description>He points at her belly .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why the hell did n't you just get rid of it, when you had the chance? Because listen. Listen : I got news for you. I wish to God you had.</dialogue> <scene_description>He strides out of the room .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - EVENING.</stage_direction> <scene_description>Frank enters the bedroom and slams the door . He paces , slowly calming . He sits on the bed with his head in his hands . His mind racing . Then he 's on his feet again . He rushes for the door .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - EVENING.</stage_direction> <scene_description>Frank enters , running , but the kitchen is empty . Frank runs out of the room into living room .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - EVENING</stage_direction> <scene_description>The living room is empty . He goes straight for the front door .</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER HOUSE - EVENING.</stage_direction> <scene_description>Frank bursts out the front and comes to a stop . She 's across the street - climbing unsteadily into the woods . Frank breaks into a sprint .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - EVENING.</stage_direction> <scene_description>April walks through the woods . Frank runs up behind her , scrambling through the muddy bracken . April wheels around .</scene_description> <character>APRIL</character> <dialogue>Do n't come any closer.</dialogue> <character>FRANK</character> <dialogue>April, listen, I -</dialogue> <character>APRIL</character> <dialogue>Do n't come any closer. Ca n't I even get away from you in the fucking woods?</dialogue> <scene_description>He stops moving .</scene_description> <character>FRANK</character> <dialogue>April, listen, I did n't mean that. Honestly ; I did n't mean what I said.</dialogue> <character>APRIL</character> <dialogue>Are you still talking? Is n't there any way to stop your talking? I NEED to think. Ca n't you see that?</dialogue> <scene_description>She backs up against a tree trunk , looking down at him .</scene_description> <character>FRANK</character> <dialogue>Please come back. What're you doing out here?</dialogue> <character>APRIL</character> <dialogue>Do you want me to scream again, Frank? Because I will, if you say another word! I mean it!</dialogue> <scene_description>Frank has no choice - they 're outside . The neighbors would hear and call the police . He reluctantly backs away , then turns back the way he came , glancing over his shoulder as he goes .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER FAMILY ROOM - NIGHT.</stage_direction> <scene_description>Frank stands at the window watching the section of woods where he left April . Then , he sees her come back across the street . She walks around the side of the house . He turns and runs into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - NIGHT.</stage_direction> <scene_description>Frank goes to the window . He watches April walk up into the yard and stop against a tree . Frank pours a drink and takes the bottle with him to the window . He looks out , drinking . In the darkness , he can make out the glow of April 's cigarette deep in the woods .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - NIGHT, LATER.</stage_direction> <scene_description>Frank falls back on the bed . He 's now very drunk . His eyes close as he slips into unconsciousness .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - MORNING.</stage_direction> <scene_description>Frank wakes alone . He looks around the room . His head is throbbing .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - MORNING.</stage_direction> <scene_description>Frank stands in the doorway dressed for work . He stares . The kitchen has been tidied and is bathed in sunlight . The table has been carefully set for two . April stands at the stove wearing a fresh maternity dress . She seems serene . April turns and looks at him .</scene_description> <character>APRIL</character> <dialogue>Good morning.</dialogue> <character>FRANK</character> <dialogue>Good morning.</dialogue> <scene_description>He stands there frozen .</scene_description> <character>APRIL</character> <dialogue>Would you like scrambled eggs or fried?</dialogue> <character>FRANK</character> <dialogue>Oh. It does n't really matter - Uh. scrambled, I guess, if it's easy.</dialogue> <character>APRIL</character> <dialogue>Fine. I'll have scrambled too.</dialogue> <scene_description>Frank sits at the table .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - MORNING, MOMENTS LATER.</stage_direction> <scene_description>Frank and April sit across the kitchen table , eating . For several moments , only the sound of their cutlery .</scene_description> <character>FRANK</character> <dialogue>It's kinda nice having breakfast without the kids for a change.</dialogue> <scene_description>April reaches out to pour him some orange juice . Her hands shake slightly .</scene_description> <character>APRIL</character> <dialogue>Yes. I thought you'd probably want a good breakfast today. I mean it's kind of an important day for you, is n't it? Is n't this the day you have your conference with Pollock?</dialogue> <character>FRANK</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Yes. That's right, yes.</dialogue> <scene_description>He shrugs .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Big deal.</dialogue> <character>APRIL</character> <dialogue>I imagine it is a pretty big deal ; for them, anyway. What exactly do you think you'll be doing? You never have told me much about it.</dialogue> <character>FRANK</character> <dialogue>Have n't I? Well. I think this whole thing is about Knox getting ready to buy up one of these really big computers, bigger than the ` 500'. Did I tell you about that?</dialogue> <character>APRIL</character> <dialogue>No, I do n't believe you did.</dialogue> <character>FRANK</character> <dialogue>Well, you know - Basically it's just a. a big, fast adding machine. Only.</dialogue> <scene_description>He takes a pencil from his inside pocket and delicately sketches the computer on the napkin .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Instead of mechanical parts, you see, it's got thousands of little individual vacuum tubes.</dialogue> <scene_description>She picks up the drawing and looks at it . It 's surprisingly delicate .</scene_description> <character>APRIL</character> <dialogue>Oh, I see. At least I think I see ; yes. It's really sort of - interesting, is n't it?</dialogue> <character>FRANK</character> <dialogue>Well, I do n't know, it's - yeah, I guess it is sort of interesting, in a way.</dialogue> <character>APRIL</character> <dialogue>You should value what you do Frank. You're obviously good at it.</dialogue> <scene_description>He smiles , flattered and surprised . He slips the pencil into the inside pocket of his suit .</scene_description> <character>FRANK</character> <dialogue>Guess I'd better be getting started.</dialogue> <scene_description>He stands . April stands up too , smoothing her skirt .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Listen, though, April ; this was really nice. I mean it was a swell breakfast. Really ; I do n't know when I've ever had a - a nicer breakfast.</dialogue> <character>APRIL</character> <dialogue>Thank you. I'm glad ; I enjoyed it too.</dialogue> <scene_description>They stand there gazing at one another across the table . Suddenly , inexplicably , his eyes are filled with tears . He turns and walks to the door . He puts his hand on the handle and turns back once more .</scene_description> <character>FRANK</character> <dialogue>Then you do n't - You do n't hate me, or anything?</dialogue> <character>APRIL</character> <dialogue>No ; of course I do n't.</dialogue> <scene_description>She comes over to him .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Have a good day.</dialogue> <scene_description>He leans down and kisses her tenderly . They look at one another a moment longer .</scene_description> <character>FRANK</character> <dialogue>Okay, then. So long.</dialogue> <scene_description>He steps through the door . She catches the door before it shuts and watches him through the screen .</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER DRIVEWAY - MORNING.</stage_direction> <scene_description>April walks out onto the driveway as the car reverses away down the drive .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER CAR - MORNING.</stage_direction> <scene_description>Frank backs the car onto the road . He slides the car into drive and then catches sight of April in the driveway .</scene_description> </scene> <scene> <stage_direction>EXT. WHEELER DRIVEWAY - MORNING.</stage_direction> <scene_description>April sees Frank looking back at her . She waves . Frank waves from the car and drives off . Then April is alone . She shivers from the morning chill . She turns and looks back at the house .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - MORNING.</stage_direction> <scene_description>April enters through the screen door and goes to the table . She looks down at Frank 's diagram and carefully places it aside . She carries the dishes to the sink and begins to wash them . Suddenly , her body convulses as she tries to hold back from crying . And then there is no stopping the tears .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HALLWAY - MORNING.</stage_direction> <scene_description>April is standing by the phone , with her hand on the receiver , rehearsing . She is smoking . She dials .</scene_description> <character>APRIL</character> <dialogue>Hello. Milly? Everything all right? My voice sounds what?</dialogue> <scene_description>April uses both hands to grip the receiver .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, no, I'm afraid I'm not feeling any better. If it's not an inconvenience for you. This evening would be great. What? Oh, well - no, not if they're outdoors playing. Do n't call them in.</dialogue> <scene_description>The cigarette shreds in April 's hand .</scene_description> <character>APRIL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Just give them - you know, give them each a kiss for me, and give them my love, and tell them - you know. All right, Milly. Thanks.</dialogue> <scene_description>She hangs up and begins to cry again . Takes a breath .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HALLWAY - MORNING.</stage_direction> <scene_description>FOOTSTEPS . We move behind April as she walks through the silent house . The distant SOUND of children playing outside . Each room she passes is a pocket of silence .</scene_description> </scene> <scene> <stage_direction>INT. FRANK AND APRIL'S BEDROOM - MORNING.</stage_direction> <scene_description>April makes the bed . She arranges her shoes on the floor of the closet . April reaches onto a shelf behind some clothes . Pulls out the brown paper package .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER KITCHEN - MORNING.</stage_direction> <scene_description>April stands at the stove over a pot of rolling , boiling water . She removes the rubber syringe from its paper packaging and drops it into the pot . She checks her watch .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HALLWAY - DAY.</stage_direction> <scene_description>April carries the pot of boiling , sudsy water down the hall .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER BATHROOM - DAY.</stage_direction> <scene_description>April places the pot into the tub . She lays towels across the floor . And closes the door .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER BATHROOM - DAY, MOMENTS LATER.</stage_direction> <scene_description>The SOUND of running water . The empty mirror . April 's face rises up into the reflection with a gasp .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER HALLWAY - DAY.</stage_direction> <scene_description>We move with April down the hallway , her face is pale .</scene_description> </scene> <scene> <stage_direction>INT. WHEELER LIVING ROOM - DAY, LATER.</stage_direction> <scene_description>Now April stands at the picture window . She is shaking . A DROPLET of blood slides down her knee . She looks down . On the floor , two droplets of blood appear between her bare feet . Now we see the bright maple leaf of blood seeping through her skirt . She is shaking more . She walks slowly out of the room , towards the kitchen .</scene_description> <character>APRIL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I think I need an ambulance. Yes. One one five Revolutionary Road.</dialogue> </scene> <scene> <stage_direction>INT. CAMPBELL KITCHEN - DAY.</stage_direction> <scene_description>Milly folds laundry . She looks up to see - An ambulance turns into the Wheeler 's driveway . Her face clouds with instinctual foreboding .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - AFTERNOON.</stage_direction> <scene_description>Shep steps out into a hospital hallway . Frank paces , helpless in the waiting room , his face a mask of bewildered , childlike confusion . He looks up to see - Shep coming towards him .</scene_description> <character>SHEP</character> <dialogue>Frank? They tell you what happened?</dialogue> <character>FRANK</character> <dialogue>Jesus, Shep. I could n't even understand half the things he told me. He said the fetus was out before they got her here. He said they had to operate to take out the whatdycallit, the placenta and now she's still bleeding. He said she'd lost a lot of blood before the ambulance came, and now they're trying to stop it, and he said a whole lot of things I did n't get, about capillaries, and he said she's unconscious. Jesus.</dialogue> <character>SHEP</character> <dialogue>How about sitting down, Frank.</dialogue> <character>FRANK</character> <dialogue>What the hell do I want to sit down for!</dialogue> <character>SHEP</character> <dialogue>Okay. Take it easy.</dialogue> <character>FRANK</character> <dialogue>My God.</dialogue> <character>SHEP</character> <dialogue>Here, have a cigarette.</dialogue> <scene_description>Shep offers the pack . Frank does n't take one .</scene_description> <character>FRANK</character> <dialogue>She did it to herself, Shep.</dialogue> <scene_description>Shep 's face as he realizes what he 's saying .</scene_description> <character>FRANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She did it to herself.</dialogue> <scene_description>Shep takes a cigarette for himself . He lights it with trembling fingers .</scene_description> <character>SHEP</character> <dialogue>I'll get some coffee.</dialogue> <scene_description>Frank looks over at Shep as if he 'd forgotten him . He nods . Shep stands and walks down the hall .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - COFFEE MACHINE - AFTERNOON.</stage_direction> <scene_description>Shep stands at a coffee machine , gathering himself . He looks up . He begins to feed coins into the machine . His hands are trembling . He drops a coin . It rolls under the machine . He has to get down on his hands and knees to retrieve it .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - AFTERNOON.</stage_direction> <scene_description>Shep walks tentatively , holding a cup in each hand , slopping coffee onto the floor . He rounds the corner and stops . Frank is no longer in his chair at the end of the long echoing hallway . Shep looks around . Then suddenly , the double doors are flung open and a number of nurses hurry out . Behind them , comes Frank , supported by two Doctors . Shep runs to them as they move Frank over to a chair . He 's in shock .</scene_description> <character>FRANK</character> <dialogue>No. No. No.</dialogue> <scene_description>They try to make him sit , but he stays stubbornly on his feet , the chair skidding behind him .</scene_description> <character>DOCTOR</character> <dialogue>Try to sit down, Mr. Wheeler.</dialogue> <character>SHEP</character> <dialogue>Sit down Frank.</dialogue> <scene_description>Frank looks at Shep - his face is a terrifying blank .</scene_description> </scene> <scene> <stage_direction>EXT. REVOLUTIONARY ROAD - MAGIC HOUR.</stage_direction> <scene_description>A toyland of white and pastel houses along the road . The crisp green lawns . The blue televisions flickering behind the glass . We hear the WHISK of running footsteps on the asphalt , the rush of a man 's breath . Frank is running down the middle of the street , tears streaming silently down his face .</scene_description> </scene> <scene> <stage_direction>INT. CAMPBELL LIVING ROOM - EVENING, ONE YEAR LATER.</stage_direction> <scene_description>Four high - ball glasses with glistening cubes of ice . Shep puts the finishing touches on four drinks . MR. and MRS. BRACE , a pleasant looking young couple fresh from the city sit on the couch .</scene_description> <character>MILLY</character> <dialogue>It was the worst experience of my life. Such wonderful people. Were n't they Shep? Poor April.</dialogue> <scene_description>Shep picks up the drinks and carries them across the room . He stands there beside the three of them , but he ca n't bring himself to sit down and join in .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Frank lives in the city now. Where is it he works?</dialogue> <character>SHEP</character> <dialogue>Bart Pollock Associates.</dialogue> <character>MR. BRACE</character> <dialogue>Computers. Interesting firm.</dialogue> <scene_description>Mr. Brace removes his pipe and looks at it .</scene_description> <character>MRS. BRACE</character> <dialogue>Have you seen him since?</dialogue> <character>MILLY</character> <dialogue>No. Too many memories, I think. Shep's seen him. In the city.</dialogue> <scene_description>Shep nods .</scene_description> <character>MILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's just dedicated to those kids. Every spare moment he has, he spends with them.</dialogue> <scene_description>Shep turns and walks out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPBELL HOUSE - EVENING.</stage_direction> <scene_description>Shep walks across the lawn to the edge of the property . He looks out over the suburban houses . At what was once the Wheeler house . Shep 's face , looking out . His eyes are filled with tears . Milly comes up behind him .</scene_description> <character>MILLY</character> <dialogue>You okay?</dialogue> <character>SHEP</character> <dialogue>Mm - hmm.</dialogue> <scene_description>She takes his arm and holds him close .</scene_description> <character>SHEP</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I do n't want to talk about The Wheelers any more.</dialogue> <character>MILLY</character> <dialogue>Okay. We do n't have to. We do n't have to.</dialogue> <scene_description>Shep and Milly look out over Revolutionary Road .</scene_description> </scene> <scene> <stage_direction>EXT. CITY PARK - DAY.</stage_direction> <scene_description>The same silence over a beautiful day in the city . And from the silence , the faint sound of wind through the leafy branches of trees . Two children play in a playground in a small park . It 's Jennifer and Michael . They seem happy , engrossed . Other kids play around them . Watching them from a bench is Frank . He is a little older , a little thinner . Close on Frank 's face . The SOUND of his children playing .</scene_description> </scene> <scene> <stage_direction>INT. GIVINGS' LIVING ROOM - DAY</stage_direction> <scene_description>Mrs. Givings crouches on a cotton work sheet painting varnish onto a chair . Mr. Givings sits reading the paper . A new puppy sleeps curled up on the rug nearby .</scene_description> <character>MRS. GIVINGS</character> <dialogue>I ca n't tell you how pleased I am about the little Revolutionary Road place, Howard. Remember how dreary it looked all winter? All cold and dark and - well, spooky. Creepy - crawly. And now whenever I drive past, it gives me such a lift to see it all perked up and spanking clean again, with lights in the windows. And do you know, I was just thinking, I've loved that little house for years, and the Braces are the first really suitable people I've ever found for it. Really nice, congenial people, I mean.</dialogue> <scene_description>Mr. Givings fiddles with his hearing aid .</scene_description> <character>MR. GIVINGS</character> <dialogue>Well, except for the Wheelers, you mean.</dialogue> <character>MRS. GIVINGS</character> <dialogue>Oh, I was very fond of the Wheelers but they always were a bit - a bit whimsical, for my taste. A bit neurotic. I may not have stressed it, but they were often very trying people to deal with, in many ways. Actually, the main reason the little house has been so hard to sell is that they let it depreciate so dreadfully. Warped window frames, wet cellar, crayon marks on the walls, filthy smudges around all the -</dialogue> <scene_description>Mr. Givings reaches up to his ear and SUDDENLY . SILENCE . but for the faint sound of wind . He gazes out the window as behind him Mrs. Givings continues to talk , but we ca n't hear a thing . He has turned off his hearing aid . FADE TO BLACK</scene_description> </scene> </script>

In 1948, Frank Wheeler (DiCaprio) meets April (Winslet) at a party. He is a longshoreman, hoping to be a cashier; she wants to be an actress. Frank later secures a sales position with Knox Machines, for which his father worked for 20 years, and he and April marry. The Wheelers move to 115 Revolutionary Road in suburban Connecticut when April becomes pregnant. The couple becomes close friends with their realtor Helen Givings (Bates) and her husband Howard Givings (Easton), and neighbor Milly Campbell (Hahn) and her husband Shep (Harbour). To their friends, the Wheelers are the perfect couple, but their relationship is troubled. April fails to make a career out of acting, while Frank hates the tedium of his work. On his 30th birthday, Frank invites a secretary at work to have a drink with him at a bar. She accepts, becomes heavily intoxicated, and they end up having sex. Meanwhile, Helen has asked April if they will meet her son, John (Shannon), who had been in an insane asylum. She thinks the younger couple may be able to help her son with his condition. April accepts. April wants new scenery and a chance to support the family so Frank can find his passion, so she suggests that they move to Paris to start a new life away from the "hopeless emptiness" of their repetitive lifestyle. Frank balks at the idea at first, but becomes convinced. Over the next several weeks, the Wheelers tell their various friends about their plans to live in Paris, but surprisingly, the only person who seems to comprehend their decision is John. As the couple prepares to move, they are forced to reconsider. Frank is offered a promotion, and April becomes pregnant again. When Frank discovers she is contemplating having an abortion, he is furious and starts screaming at April, leading to a serious altercation, in which April says that they had their second child only to prove the first child was not a "mistake". The next day, Frank takes the promotion and tries to accept his uneventful life. At the end of an evening at a jazz bar with the Campbells, Shep and April end up alone together. She confides in him of her depression over the canceled Paris plans and her life in general, and they end up having sex in the car. Shep professes his long-held love for April, but she rejects his interest. The following day, Frank confesses to having had an affair, hoping to reconcile with April. To his surprise, April responds apathetically and tells him it does not matter, as her love for him has gone, which he does not believe. The Givings come over for dinner, and Frank announces to the guests that their plans have changed because April is pregnant. John harshly lambasts Frank for crushing April's hope, as well as his acceptance of his circumstances. Angered, Frank nearly attacks John, and the Givings hurry out. Afterwards, Frank and April have a severe verbal altercation, after which April flees the house. Frank spends the night in a drunken stupor. The next morning he is shocked to find April in the kitchen, calmly making breakfast as if nothing had happened. Frank, unsure of how to react, eats with her. Before leaving for work, he asks April if she hates him. She tells him, of course not. April then calmly goes upstairs to the bathroom, where she--offscreen--performs a vacuum aspiration abortion on herself. Afterwards, she discovers she is bleeding and calls an ambulance. Frank arrives at the hospital, distraught, and is comforted by Shep. April dies in the hospital from blood loss. Frank, feeling deep guilt and now a hollow shell of his former self, moves to the city and starts selling computers. He spends all of his extra time with his children. A new couple, the Braces, buys the house and Milly tells the story of the Wheelers to them. Shep stands up and walks out of the house, crying. Milly follows Shep and asks him what is wrong. He tells her he never wants to talk about the Wheelers ever again. Milly agrees that they don't have to. Helen talks to her husband years later about how the Braces seem to be the best-suited couple for the Wheelers' old house. When her husband mentions the Wheelers, Helen starts to talk about why she did not like them. As she continues talking about all of the things that she did not like about them, her husband turns off his hearing aid.

King Kong_1933

tt0024216

<script> <scene> <scene_description> </scene_description> <character>K O N G</character> <scene_description>Changes 09/01/1932 - 09/06/1932 FADE IN on a composite glass shot over the Hoboken docks - New York Skyline dimly seen in background. Snow. Sounds of tugboat whistles. DISSOLVE TO - Ship's side gangway slopes up out of picture. Weston, a theatrical agent, comes along wharf, peering at ship. He is fifty, heavy, slow, but with a shrewd eye. He turns up his collar and shivers, stops and looks at ship doubtfully. An old watchman comes along wharf from opposite side, swinging a lantern. An old watchman comes along wharf from opposite side, swinging a lantern.</scene_description> <character>WESTON</character> <dialogue>Hey, Is this the moving picture ship?</dialogue> <character>WATCHMAN</character> <dialogue>The Venture? Yep. (Weston starts for gangway)</dialogue> <dialogue>You going on this crazy voyage?</dialogue> <character>WESTON</character> <parenthetical>(pausing)</parenthetical> <dialogue>What's crazy about it?</dialogue> <character>WATCHMAN</character> <dialogue>I dunno know, but I hear everybody talkin' about this crazy feller that's running it.</dialogue> <character>WESTON</character> <dialogue>Carl Denham?</dialogue> <character>WATCHMAN</character> <dialogue>Guess that's the name. They say he ain't scare of nothin' - if he wants a picture of a lion he walks right up and tells it to look pleasant.</dialogue> <character>WESTON</character> <dialogue>He's a tough egg, all right. But why the talk about this voyage being crazy?</dialogue> <character>WATCHMAN</character> <dialogue>Wal, there's talk around the docks about the cargo for one thing. And I never see a ship this size with such a crew.</dialogue> <character>WESTON</character> <dialogue>Not enough men to handle her?</dialogue> <character>WATCHMAN</character> <dialogue>Not enough! The crew's three times too big for the ship. I dunno know where they find enough room to sleep.</dialogue> <character>DRISCOLL</character> <parenthetical>(from above deck)</parenthetical> <dialogue>Hey, there! What do you want?</dialogue> <character>WESTON</character> <dialogue>Denham aboard?</dialogue> <character>DRISCOLL</character> <parenthetical>(comes down gangway into picture)</parenthetical> <dialogue>Yes. Who are you?</dialogue> <character>WESTON</character> <dialogue>I want to see him. I'm Weston, the agent.</dialogue> <character>DRISCOLL</character> <dialogue>Come aboard. Denham's getting wild. Hope you have some good news for him.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>INT. CABIN - NIGHT</stage_direction> <scene_description>Denham and Englehorn talking.</scene_description> <character>ENGLEHORN</character> <dialogue>Well, Mr. Denham, you know the reasons for hurrying as well as I do. The insurance company has found out we're carrying explosives, and the Marshal will be aboard tomorrow or next day.</dialogue> <character>DENHAM</character> <dialogue>I suppose if we make a legal case of it, we'll be tied up for months.</dialogue> <character>ENGLEHORN</character> <dialogue>With ship's articles falsified and ammunition enough aboard to blow up the harbor? (he takes a bomb from case on floor) And what do you think the Marshall will say to these new gas-bombs? According to you one of them is powerful enough to knock out an elephant.</dialogue> <character>DENHAM</character> <parenthetical>(pacing up and down)</parenthetical> <dialogue>We've got to get to where we're going before the monsoon starts.</dialogue> <character>ENGLEHORN</character> <dialogue>You can trust me to get you through a blow, I hope.</dialogue> <character>DENHAM</character> <dialogue>Don't get sore, Skipper. But you know what it means to hit the tropical rainy season when we're making an outdoor picture. Months wasted, money gone, and nothing to show for it.</dialogue> <character>ENGLEHORN</character> <dialogue>But still you always bring back a picture and everyone says, "There is only one Carl Denham."</dialogue> <scene_description>Driscoll and Weston come in.</scene_description> <character>DENHAM</character> <dialogue>Weston! I was just going ashore to ring you up.</dialogue> <character>WESTON</character> <dialogue>If I'd known that, I'd have waited.</dialogue> <character>DENHAM</character> <dialogue>Meet the Skipper. (to Englehorn)</dialogue> <dialogue>This is Weston, the theatrical agent. (they shake hands) And this is Driscoll, the first mate. Well, where's the girl, Weston?</dialogue> <character>WESTON</character> <dialogue>It can't be done, Denham.</dialogue> <character>DENHAM</character> <dialogue>What? It's got to done. (Weston shakes his head in silence)</dialogue> <dialogue>Look here, Weston. The Actor's Equity and the Hays outfit have interfered with every girl I've tried to hire; now every agent in town has shut down on me. All but you. You know I'm square -</dialogue> <character>WESTON</character> <dialogue>Everybody knows you're square, Denham but you've got a reputation for recklessness that can't be glossed over. And then you're so secretive.</dialogue> <character>DRISCOLL</character> <dialogue>I'll say so.</dialogue> <character>ENGLEHORN</character> <dialogue>When even the skipper and the mate don't know where they're going -- (he shrugs)</dialogue> <character>WESTON</character> <dialogue>There you are. I've got a conscience, Denham. I can't send a young, pretty girl, such as you want, on a job like this without telling her what to expect.</dialogue> <character>DENHAM</character> <dialogue>And what is she to expect?</dialogue> <character>WESTON</character> <dialogue>To go off for no one knows how long, to some place you won't even hint at, the only woman on a ship with the toughest mugs I ever looked at. (they all laugh) I mean the crew.</dialogue> <character>DENHAM</character> <dialogue>Good Lord, you'd think I never brought anybody back alive! The Skipper and Driscoll have stuck by me on two trips. They seem healthy.</dialogue> <character>DRISCOLL</character> <dialogue>Sure we're healthy.</dialogue> <character>ENGLEHORN</character> <dialogue>But it's different taking a girl into danger.</dialogue> <character>DENHAM</character> <dialogue>Oh, I suppose there's no danger in New York? Why, there are dozens of girls in this town tonight in more danger than they'd ever see with me.</dialogue> <character>DRISCOLL</character> <parenthetical>(drily)</parenthetical> <dialogue>Sure. But they know that kind of danger.</dialogue> <character>WESTON</character> <dialogue>You never had a woman in your other pictures, why do you want one in this?</dialogue> <character>DENHAM</character> <parenthetical>(exploding)</parenthetical> <dialogue>Holy mackerel D'ye think I want to haul a woman along?</dialogue> <character>WESTON</character> <dialogue>Then why - ?</dialogue> <character>DENHAM</character> <dialogue>Because the public - bless 'em - must have a pretty face to look at.</dialogue> <character>WESTON</character> <dialogue>Everybody likes romance.</dialogue> <character>DENHAM</character> <dialogue>Isn't there any romance or adventure in the world without a flapper in it?</dialogue> <character>ENGLEHORN</character> <dialogue>Well, Mr. Denham, why not make a picture in a monastery? (they all laugh)</dialogue> <character>DENHAM</character> <dialogue>It makes me sore. I go out and sweat blood to make a swell picture, and then the exhibitors and critics all say, "if this picture had a love interest, it would gross twice as much." All right, the public wants a girl, and this time I'll give 'em what they want.</dialogue> <character>WESTON</character> <parenthetical>(rising)</parenthetical> <dialogue>I don't know where you'll get her.</dialogue> <character>DENHAM</character> <dialogue>Weston, I've got to. We've got to sail on the morning tide - we've got to be out of here by daylight -</dialogue> <character>WESTON</character> <dialogue>Why?</dialogue> <character>DENHAM</character> <dialogue>Well - there's a good reason.</dialogue> <character>WESTON</character> <dialogue>Everything I hear makes me like this thing less. I'm glad I didn't get you a girl.</dialogue> <character>DENHAM</character> <dialogue>You are, eh? Well, I'll show you. If you think I'm going to give up just because you can't find a girl with a backbone -- (he is struggling into his overcoat) -- I'm going to make the greatest picture in the world, something that's never been seen or dreamed of. They'll have to invent some new adjectives when I come back. (he is at the door)</dialogue> <character>ENGLEHORN</character> <dialogue>Where are you going?</dialogue> <character>DENHAM</character> <dialogue>I'm going to bring back a girl for my picture -- if I have to marry one!</dialogue> <scene_description>DISSOLVE TO Long Shot - Broadway at night - stock CUT TO Denham walking along, scanning faces as he walks. DISSOLVES of faces of women, Broadway types, bold, indifferent, heavy, ugly - most of them heavily painted. Rapidly passing, as though the camera were Denham looking them over. CUT TO Denham. He shakes his head disgustedly, stops, wheels around and starts in another direction, as though he's given up that part of town, and thought of another possibility. DISSOLVE TO Exterior of a Woman's Mission. A bread-line waiting. Camera moves slowly down the line of faces as thought Denham were looking them over. CUT TO Denham. He shrugs his shoulders in despair, turns away. DISSOLVE TO Exterior of one of those Small Wooden Stands you see in the West Forties, a fruit-tobacco and candy shop just big enough for the proprietor and one customer to get into, a stand of fruit and peanut-roaster on sidewalk. Denham comes along, takes out cigarette case, it's empty, he goes in to buy some. We see through window that he is taking cigarettes and paying the Greek proprietor. Ann Darrow comes slowly into picture; she hesitates, her hand goes stealthily toward a piece of fruit. She is fingering it when the Greek dashes out and seizes her. She tries to pull her arm away. Denham comes out of shop.</scene_description> <character>GREEK</character> <parenthetical>(very excited)</parenthetical> <dialogue>Ah-ha! I catch you, you stealer! I catch the cop - you like that, ha!</dialogue> <character>ANN</character> <parenthetical>(she keeps her head bent, struggling weakly to pull away)</parenthetical> <dialogue>No-no, I didn't. Please let me go. I wanted to, but I didn't.</dialogue> <character>GREEK</character> <dialogue>I had enough dese stealers --</dialogue> <character>DENHAM</character> <dialogue>Oh, dry up. The kid didn't take anything.</dialogue> <character>ANN</character> <dialogue>I didn't, truly I didn't.</dialogue> <character>DENHAM</character> <dialogue>So, shut up, Socrates. Here's a dollar. Forget it.</dialogue> <scene_description>The Greek takes the money and releases Ann who stumbles back against Denham. He catches her round the shoulders and she half-collapses. Her head falls back on his arm. He has his first sight of her face. CLOSE UP Ann, her eyes open as she looks up at Denham, terrified. MEDIUM SHOT - Denham, holding Ann. He looks at her. Suddenly his face lights up, he snaps his fingers triumphantly.</scene_description> <character>DENHAM</character> <parenthetical>(looking up the street)</parenthetical> <dialogue>Hi! Taxi!</dialogue> <scene_description>DISSOLVE TO a one-armed lunch room. Tiled wall, two chairs. Ann has emptied plate and coffee mug on arm of her chair. Denham in other chair watching her. She sighs happily over having satisfied her hunger, and leans back.</scene_description> <character>DENHAM</character> <dialogue>Feeling better?</dialogue> <character>ANN</character> <dialogue>Yes, thank you. You're very kind.</dialogue> <character>DENHAM</character> <dialogue>Don't fool yourself. I'm not bothering with you just out of kindness. (Ann opens her eyes wide, half-puzzled, half afraid) How come you're in this fix?</dialogue> <character>ANN</character> <dialogue>Bad luck I guess. There are lots of girls just like me.</dialogue> <character>DENHAM</character> <dialogue>There aren't such a lot who've got your looks.</dialogue> <character>ANN</character> <parenthetical>(laughing it off)</parenthetical> <dialogue>Oh, I can get by in good clothes. But when a girl gets too shabby --</dialogue> <character>DENHAM</character> <dialogue>No family?</dialogue> <character>ANN</character> <dialogue>I'm supposed to have an uncle somewhere.</dialogue> <character>DENHAM</character> <dialogue>Ever do any acting?</dialogue> <character>ANN</character> <dialogue>I used to do some extra jobs over at Fort Lee sometimes. Once I got a real part. The studio is shut down now.</dialogue> <character>DENHAM</character> <dialogue>What's you name?</dialogue> <character>ANN</character> <dialogue>Ann Darrow.</dialogue> <character>DENHAM</character> <dialogue>Are you one of these city gals who screams at a mouse and faints at a snake?</dialogue> <character>ANN</character> <parenthetical>(laughing)</parenthetical> <dialogue>No, of course not. I'm a country gal - or used to be.</dialogue> <character>DENHAM</character> <dialogue>Listen, sister. I've got a job for you. The costumes I've got on board will fit you. (looks at his watch) The Broadway shops will still be open. I'll get you some clothes for yourself. Come on.</dialogue> <character>ANN</character> <dialogue>But - but what is it?</dialogue> <character>DENHAM</character> <parenthetical>(excited)</parenthetical> <dialogue>It's money, and adventure, and fame. It's the thrill of a lifetime. And a long sea-voyage that starts at six tomorrow morning.</dialogue> <character>ANN</character> <dialogue>No! Wait, I can't - I don't understand - you must tell me - I do want the job so - I was starving - but I can't -</dialogue> <scene_description>Denham has been looking at her, puzzled because she hasn't caught his frantic excitement. He suddenly sees what is troubling her. He calms down and goes back and sits.</scene_description> <character>DENHAM</character> <dialogue>Oh, I see. You got me wrong. Nix, sister, nix. This is strictly business. I'm no chaser.</dialogue> <character>ANN</character> <parenthetical>(meekly)</parenthetical> <dialogue>I only wanted to -</dialogue> <character>DENHAM</character> <dialogue>Sure. Sure you did. I dot excited and forgot you didn't understand it. Listen, I'm Carl Denham. Ever hear of me?</dialogue> <character>ANN</character> <dialogue>Ye-es. Yes. You make moving pictures. In jungles and places.</dialogue> <character>DENHAM</character> <dialogue>That's right. And I've picked you for the lead in my next picture. We sail at six.</dialogue> <character>ANN</character> <dialogue>Where to?</dialogue> <character>DENHAM</character> <dialogue>A long way from here. Think, Ann, a long voyage, easy living, the warm blue sea, moonlight on the water - isn't that better than tramping New York trying to keep out of the gutter.</dialogue> <character>ANN</character> <parenthetical>(almost whispers)</parenthetical> <dialogue>Oh, yes.</dialogue> <character>DENHAM</character> <dialogue>I'm square, Ann. And I'll be square with you. No funny business.</dialogue> <character>ANN</character> <dialogue>What do I have to go?</dialogue> <character>DENHAM</character> <parenthetical>(leaning over her chair and looking straight at her)</parenthetical> <dialogue>Trust me. And keep your chin up.</dialogue> <scene_description>Ann looks at him for a moment, then he holds out his hand. She takes it and they shake. FADE OUT. FADE IN - deck of ship at dawn, getting under way. Crew busy casting off lines, moving stuff on deck. A tug is puffing alongside. Driscoll on fo'c'sle head directing. MEDIUM SHOT - Ann in same dress, but wearing a heavy loose coat Denham has bought her. She climbs to fo'c'sle head, watching this strange new world. Driscoll backs into scene without seeing her. He is shouting at a sailor.</scene_description> <character>DRISCOLL</character> <dialogue>Carry that line aft! Aft, you farmer! Back there!</dialogue> <scene_description>He swings his arm round behind him in a violent full-armed gesture and hits Ann in the face. She staggers back against the rail and nearly falls.</scene_description> <character>DRISCOLL</character> <parenthetical>(turning)</parenthetical> <dialogue>Who the -- What are you going up here?</dialogue> <character>ANN</character> <parenthetical>(meekly, hand to her face)</parenthetical> <dialogue>I just wanted to see!</dialogue> <character>DRISCOLL</character> <parenthetical>(gruffly)</parenthetical> <dialogue>Well, I'm sorry. You're the girl Denham found at the last minute, aren't you?</dialogue> <character>ANN</character> <dialogue>Yes. I'm - I'm awfully excited. It's all so strange, and I've never been on a ship before.</dialogue> <character>DRISCOLL</character> <dialogue>And I've never been on a ship with a woman before.</dialogue> <character>ANN</character> <dialogue>I guess you don't think much of women on ships, do you?</dialogue> <character>DRISCOLL</character> <dialogue>No. They're a cock-eyed nuisance.</dialogue> <character>ANN</character> <dialogue>I'll try not to be.</dialogue> <character>DRISCOLL</character> <dialogue>You got in the way already. Better stay below.</dialogue> <character>ANN</character> <dialogue>What! The whole voyage! (she smiles at him)</dialogue> <character>DRISCOLL</character> <parenthetical>(hesitates, then says in a softened tone -)</parenthetical> <dialogue>Say, I didn't apologize very good for hitting you. That was an awful sock in the jaw.</dialogue> <scene_description>Driscoll stares at her doubtfully, she looks up and meets his gaze. Their eyes hold for a moment, then two short toots from a tug alongside, answered by one blast from the ship.</scene_description> <character>DRISCOLL</character> <dialogue>Well, we're off.</dialogue> <character>ANN</character> <parenthetical>(clasping her hands and peering into the mist)</parenthetical> <dialogue>We're off.</dialogue> <scene_description>DISSOLVE TO - Long shot - Miniature ship at sea - DAY DISSOLVE TO - The deck of the ship at sea. A calm tropical afternoon. Ann and Charley, the Chinese cook, at rail. Charley with enormous tub of potatoes, peeling them. Ann making an intricate knot with a bit of rope's end, fooling with it as she talks.</scene_description> <character>ANN</character> <dialogue>Charley, how many potatoes do you suppose you've peeled since we left New York six weeks ago?</dialogue> <character>CHARLEY</character> <dialogue>Too many.</dialogue> <character>ANN</character> <dialogue>Sailors eat an awful lot, don't they?</dialogue> <character>CHARLEY</character> <dialogue>All time eat. No can fill up. Some day my go back to China, never see no more potato.</dialogue> <scene_description>Ann finishes the knot and tugs at it.</scene_description> <character>ANN</character> <dialogue>There. That's fourteen knots I've learned to tie.</dialogue> <character>CHARLEY</character> <dialogue>Pretty soon now you be same sailor. Only don't eat so much.</dialogue> <character>ANN</character> <parenthetical>(laughs, then looks around with a contented sigh)</parenthetical> <dialogue>I'd like to be a sailor. Isn't the sea wonderful!</dialogue> <character>CHARLEY</character> <parenthetical>(drily)</parenthetical> <dialogue>Oh yes, very pretty.</dialogue> <character>ANN</character> <dialogue>Of course it wasn't so nice up north when it was cold and rough.</dialogue> <character>CHARLEY</character> <dialogue>Ocean very fine when you order weather how you like all same like eggs for breakfast.</dialogue> <scene_description>Driscoll strolls in. Charley gets up and moves away.</scene_description> <character>DRISCOLL</character> <dialogue>Hello, Ann.</dialogue> <character>ANN</character> <dialogue>Hello, Jack.</dialogue> <character>DRISCOLL</character> <dialogue>Where have you been all morning?</dialogue> <character>ANN</character> <dialogue>Trying on costumes for Mr. Denham. He's going to make some tests of me this afternoon, here on deck, when the light's right.</dialogue> <character>DRISCOLL</character> <dialogue>Tests? Why?</dialogue> <character>ANN</character> <dialogue>Oh - to see which side of my face looks best - and all that.</dialogue> <character>DRISCOLL</character> <parenthetical>(very gruff)</parenthetical> <dialogue>Both sides looks all right to me.</dialogue> <character>ANN</character> <parenthetical>(laughs)</parenthetical> <dialogue>Yes, but you're not the movie director.</dialogue> <character>DRISCOLL</character> <dialogue>If I was, you wouldn't be here.</dialogue> <character>ANN</character> <dialogue>Well, that's a nice thing to say.</dialogue> <character>DRISCOLL</character> <dialogue>It's no place for a girl.</dialogue> <character>ANN</character> <parenthetical>(indignantly)</parenthetical> <dialogue>I wish you wouldn't keep harping on that. It's very mean of you. Anybody'd think I'd been a lot of trouble.</dialogue> <scene_description>Driscoll grunts.</scene_description> <character>ANN</character> <parenthetical>(very cross)</parenthetical> <dialogue>I haven't! You can't say I've been one bit of trouble to anyone.</dialogue> <scene_description>Driscoll is silent.</scene_description> <character>ANN</character> <parenthetical>(looks at him, waits, then anxiously)</parenthetical> <dialogue>Have I?</dialogue> <character>DRISCOLL</character> <dialogue>Sure you have.</dialogue> <character>ANN</character> <dialogue>I don't see - Well, how?</dialogue> <character>DRISCOLL</character> <dialogue>Just your being here's a trouble.</dialogue> <character>ANN</character> <parenthetical>(mournfully)</parenthetical> <dialogue>Oh dead. I thought everything was going to nicely.</dialogue> <scene_description>Driscoll looks at her downcast expression, wiggles uncomfortably and at last blurts an attempt at consolation.</scene_description> <character>DRISCOLL</character> <dialogue>Aw, you're swell. Women can't help being a bother. I guess they're made that way.</dialogue> <scene_description>Oddly enough, this doesn't cheer her up very much. But she draws a long breath and smiles.</scene_description> <character>ANN</character> <dialogue>Well, anyhow, I've had the happiest time of my life on this old ship.</dialogue> <scene_description>Driscoll is a little touched by this. He gives her a quick look and says awkwardly -</scene_description> <character>DRISCOLL</character> <dialogue>Why - that's fine.</dialogue> <scene_description>A little pause. Driscoll thinks it over.</scene_description> <character>DRISCOLL</character> <dialogue>D'ye really mean that, Ann?</dialogue> <character>ANN</character> <dialogue>Of course. Everyone's so nice to me - Mr. Denham and the Skipper - Don't you think the Skipper is a sweet old lamb?</dialogue> <character>DRISCOLL</character> <parenthetical>(grinning)</parenthetical> <dialogue>I'd hate to have him hear me say so.</dialogue> <scene_description>Ann laughs and picks up Ignatz, the monkey, who cuddles down in her lap contentedly.</scene_description> <character>ANN</character> <dialogue>Ignatz is nice to me too. He likes me better than he does anyone else on board, don't you Iggy?</dialogue> <scene_description>Denham approaches them.</scene_description> <character>DENHAM</character> <dialogue>Beauty and the Beast.</dialogue> <character>DRISCOLL</character> <dialogue>Well, I never thought I was handsome, but - (they all laugh)</dialogue> <character>DENHAM</character> <dialogue>Go put on a costume, Ann. Light's good for those tests now.</dialogue> <character>ANN</character> <dialogue>I won't be a minute, Mr. Denham.</dialogue> <scene_description>She puts down Ignatz and goes. Denham scratches Ignatz' head, watches him for moment.</scene_description> <character>DENHAM</character> <parenthetical>(half aloud)</parenthetical> <dialogue>Beauty and the Beast.</dialogue> <character>DRISCOLL</character> <dialogue>Mr. Denham, I've going to do some butting-in.</dialogue> <character>DENHAM</character> <dialogue>What's your trouble, Driscoll?</dialogue> <character>DRISCOLL</character> <dialogue>When do we find out where we're going?</dialogue> <character>DENHAM</character> <parenthetical>(smiling)</parenthetical> <dialogue>Pretty soon now.</dialogue> <character>DRISCOLL</character> <dialogue>Are you going to tell us what happens when we get there?</dialogue> <character>DENHAM</character> <dialogue>How can I? I'm no fortune-teller.</dialogue> <character>DRISCOLL</character> <dialogue>But hang it, you must have some idea what you're after.</dialogue> <character>DENHAM</character> <dialogue>Going soft on me, Jack?</dialogue> <character>DRISCOLL</character> <dialogue>You know I'm not for myself. But Ann --</dialogue> <character>DENHAM</character> <dialogue>Oh you've gone soft on her? I've got enough on my hands without a love affair to complicate things. Better cut it out, Jack</dialogue> <character>DRISCOLL</character> <parenthetical>(sullenly)</parenthetical> <dialogue>Love affair! You think I'm going to fall for any dams?</dialogue> <character>DENHAM</character> <parenthetical>(musing)</parenthetical> <dialogue>It never fails. Some big hard boiled egg goes goofy over a pretty face, and bingo! He cracks up and gets sappy.</dialogue> <character>DRISCOLL</character> <parenthetical>(angry)</parenthetical> <dialogue>Who's getting sappy? I haven't run out on you, have I?</dialogue> <character>DENHAM</character> <dialogue>Nope. You're a good tough guy, Jack. But if beauty gets you -- (he stops, then laughs a little) Why, I'm going right into a theme song!</dialogue> <character>DRISCOLL</character> <parenthetical>(sulky)</parenthetical> <dialogue>What are you talking about?</dialogue> <character>DENHAM</character> <dialogue>It's the idea for my picture. The Beast was a tough guy, Jack. He could lick the world. But when he saw Beauty, she got him. He went soft, he forgot his wisdom, and the little fellers licked him. Think it over, Jack.</dialogue> <character>SAILOR</character> <parenthetical>(coming up)</parenthetical> <dialogue>Mr. Denham, the Skipper says will you please come up on the bridge? We've reached the position you marked, he says.</dialogue> <character>DENHAM</character> <dialogue>Come on, Jack. You're in on this. I'm going to spill it.</dialogue> <scene_description>DISSOLVE TO bridge. Englehorn leaning over chart; Denham and Driscoll across table.</scene_description> <character>ENGLEHORN</character> <parenthetical>(pointing with dividers)</parenthetical> <dialogue>Here's your noon position. 2 South, 90 East; you promised me some information when we reached these latitudes.</dialogue> <character>DENHAM</character> <parenthetical>(looking at chart)</parenthetical> <dialogue>'Way west of Sumatra.</dialogue> <character>ENGLEHORN</character> <dialogue>And way out of any waters I know. I know the East Indies like my own hand, but I was never here.</dialogue> <character>DRISCOLL</character> <parenthetical>(eagerly)</parenthetical> <dialogue>Where do we go from here?</dialogue> <character>DENHAM</character> <dialogue>South-West.</dialogue> <character>ENGLEHORN</character> <dialogue>South-West! But there is nothing - nothing for thousands of miles. What about food? So many in the crew makes the food melt away. And water? And coal?</dialogue> <character>DENHAM</character> <dialogue>Take it easy, Skipper. We're not going thousands of miles. (he takes a wallet from his breast pocket and very carefully opens two pieces of paper - spreads over on table before Englehorn) That's the island we're looking for.</dialogue> <character>ENGLEHORN</character> <dialogue>The position -- (he leans down, straightens up)</dialogue> <dialogue>I'll get the big chart.</dialogue> <character>DENHAM</character> <dialogue>You won't find that island on any chart. That one there was made up by the skipper of a Norwegian Barque.</dialogue> <character>DRISCOLL</character> <dialogue>He was kidding.</dialogue> <character>DENHAM</character> <dialogue>No. Listen. A canoe with natives from this island was blown out to sea. When the barque picked them up, there was only one alive. He died before they reached port, but not before the skipper had pieced together a description of the island and got a fairly good idea of where it lies.</dialogue> <character>DRISCOLL</character> <dialogue>Where did you get hold of it?</dialogue> <character>DENHAM</character> <dialogue>Two years ago, in Singapore, going home from my last trip. I've known that skipper for years. He knew I'd be interested.</dialogue> <character>ENGLEHORN</character> <dialogue>Does he believe it himself?</dialogue> <character>DENHAM</character> <dialogue>I don't know. But I do. See, here's what the island looks like.</dialogue> <scene_description>He unfolds second piece of paper. INSERT crude sketch of island, Denham's hand pointing to various features. Float Denham's voice.</scene_description> <character>DENHAM (V.O.)</character> <dialogue>Here's a long sandy peninsula. The only possible landing place is through this reef. The rest of the shore-line is sheer precipice, hundreds of feet high. And across the base of that peninsula, cutting it off from the rest of the island, is a wall.</dialogue> <scene_description>CUT TO Med. Shot - Denham, Driscoll, Englehorn. They stare at Denham.</scene_description> <character>ENGLEHORN</character> <dialogue>A wall?</dialogue> <character>DENHAM</character> <dialogue>Built so long ago that the people who live there now have slipped back, forgotten the high civilization that built it. But it's as strong today as it was centuries ago. The natives keep that wall in repair. They need it.</dialogue> <character>DRISCOLL</character> <dialogue>Why?</dialogue> <character>DENHAM</character> <dialogue>There's something on the other side - something they fear.</dialogue> <character>ENGLEHORN</character> <dialogue>A hostile tribe.</dialogue> <character>DENHAM</character> <parenthetical>(drawing a long breath)</parenthetical> <dialogue>Did you ever hear of -- KONG?</dialogue> <character>ENGLEHORN</character> <parenthetical>(thinking)</parenthetical> <dialogue>Why -- yes. Some Malay superstition. A god or a spirit or something.</dialogue> <character>DENHAM</character> <dialogue>Anyway, neither beast nor man. Monstrous, all-powerful -- still living, still holding that island in the grip of deadly fear.</dialogue> <scene_description>Englehorn and Driscoll look skeptical.</scene_description> <character>DENHAM</character> <dialogue>Every legend has a basis of truth. I tell you there's something on that island that no white man has ever seen.</dialogue> <character>ENGLEHORN</character> <dialogue>And you expect to photograph it?</dialogue> <character>DENHAM</character> <dialogue>If it's there, you bet I'll photograph it.</dialogue> <character>DRISCOLL</character> <parenthetical>(very skeptical)</parenthetical> <dialogue>Suppose it doesn't like having it's picture taken?</dialogue> <character>DENHAM</character> <dialogue>Well, now you know why I brought those cases of gas-bombs.</dialogue> <scene_description>Driscoll and Englehorn stare at Denham, then look at each other. Englehorn shrugs, reaches for the homemade chart. DISSOLVE TO- Exterior forward deck of ship - Day. Denham has camera set up. Ann comes in, in Beauty and Beast costume.</scene_description> <character>DENHAM</character> <dialogue>Oh, you picked out the Beauty and the Beast costume!</dialogue> <character>ANN</character> <dialogue>It's the prettiest.</dialogue> <character>DENHAM</character> <dialogue>All right. Stand over there.</dialogue> <character>ANN</character> <dialogue>I'm sort of nervous. Suppose I don't photograph well?</dialogue> <character>DENHAM</character> <parenthetical>(busy with camera)</parenthetical> <dialogue>Don't let that worry you. If I hadn't been sure of that, I wouldn't have brought you half way round the world.</dialogue> <character>ANN</character> <dialogue>What shall I do?</dialogue> <character>DENHAM</character> <parenthetical>(squints through the viewfinder, throws camera over and locks it)</parenthetical> <dialogue>Now when I start cranking hold it a minute, then turn slowly toward me. Look at me, look surprised, then smile a little, listen and then laugh. All right, camera.</dialogue> <scene_description>She does as he has said. CUT TO fo'c'sle head, several members of crew peering out, watching with great interest. Charley among them.</scene_description> <character>1ST SAILOR</character> <dialogue>Looks kinda silly, don't it?</dialogue> <character>2ND SAILOR</character> <dialogue>She's sure a pretty dame.</dialogue> <character>CHARLEY</character> <dialogue>You think maybe he like take my picture, huh?</dialogue> <character>1ST SAILOR</character> <dialogue>Them camera cost money. Shouldn't think he'd risk it.</dialogue> <scene_description>CUT TO Denham and Ann</scene_description> <character>DENHAM</character> <dialogue>That was fine. I'm going to try a filter on this one. (he fusses around, changing lens, etc.)</dialogue> <character>ANN</character> <dialogue>Do you always take the pictures yourself?</dialogue> <character>DENHAM</character> <dialogue>Ever since a trip I made to Africa. I'd have got a swell picture of a charging rhino, but the cameraman got scared. The damned fool. I was right there with a rifle. Seemed he didn't trust me to get the rhino before it got him. I haven't fooled with cameramen since. Do the trick myself.</dialogue> <scene_description>CUT TO the bridge. Englehorn and Driscoll leaning over, watching Ann and Denham.</scene_description> <character>DRISCOLL</character> <dialogue>Think he's crazy, Skipper?</dialogue> <character>ENGLEHORN</character> <dialogue>Just enthusiastic!</dialogue> <character>DRISCOLL</character> <dialogue>But this yarn about unknown islands and monstrous gods --</dialogue> <character>ENGLEHORN</character> <dialogue>He pays us well to take him where he wants to go. If the island exists, we will find it.</dialogue> <scene_description>CUT TO Denham and Ann.</scene_description> <character>DENHAM</character> <dialogue>Now Ann, stand there. Look down. When I start to crank, look up slowly. You're quite calm, don't expect to see anything. Follow my directions. All right -- camera.</dialogue> <scene_description>He cranks. He gets more excited through this scene, trying to force her to feel the emotions he wants.</scene_description> <character>DENHAM</character> <dialogue>Now -- look up. Slowly. You see nothing yet. Look higher. Still higher. That's it. Now you see it. You're amazed. You can't believe it. Your eyes open wider. It's horrible, but you can't look away. What is it Ann? What can you do? No chances for you, no escape. Helpless, Ann, you're helpless. One chance -- if you can scream. Your throat's paralyzed. Try to scream, Ann. Try. If you didn't see, perhaps you could scream. Throw you arms across your eyes, and scream, Ann, scream for your life!</dialogue> <scene_description>She has followed his directions. CUT TO bridge. Driscoll and Englehorn, watching Denham and Ann. Ann's scream floats.</scene_description> <character>DRISCOLL</character> <parenthetical>(grasping Englehorn's arm)</parenthetical> <dialogue>What's he think she's really going to see?</dialogue> <character>DISSOLVE OUT</character> <dialogue>FADE IN, bridge in fog, outside wheel-house. Denham, Ann, Driscoll, Englehorn, at rail peering ahead. Through this dialogue intercut shots of look-out in bow, man in crows nest, sailor heaving lead, and sailors clustered at bulwarks on main deck, watching for island.</dialogue> <character>DENHAM</character> <dialogue>This infernal fog! Sure of your position, Skipper?</dialogue> <character>ENGLEHORN</character> <parenthetical>(very nervous, but offended at suggestion)</parenthetical> <dialogue>Of course. Last night, before the fog shut down, I got a good sight.</dialogue> <character>DENHAM</character> <dialogue>We must be near the island.</dialogue> <character>DRISCOLL</character> <dialogue>If we don't see it when this fog lifts we never shall. We've quartered these parts.</dialogue> <scene_description>CUT TO sailor with lead. He lets go, line runs through his hand.</scene_description> <character>SAILOR</character> <dialogue>No bottom at 30 fathoms!</dialogue> <scene_description>CUT TO bridge as before.</scene_description> <character>DRISCOLL</character> <parenthetical>(nervous)</parenthetical> <dialogue>Of course that Norwegian skipper was guessing at the position.</dialogue> <character>ANN</character> <dialogue>How will we know it's the right island?</dialogue> <character>DENHAM</character> <parenthetical>(very tense, answering mechanically)</parenthetical> <dialogue>The mountain that looks like a skull.</dialogue> <character>ANN</character> <dialogue>Yes. I'd forgotten. You told me that. Skull Mountain.</dialogue> <character>SAILOR'S VOICE</character> <dialogue>Bottom! 20 fathoms!</dialogue> <character>ENGLEHORN</character> <dialogue>Shallowing fast, Driscoll, dead slow.</dialogue> <scene_description>Driscoll goes to telegraph, sounds of bells to engine-room and reply.</scene_description> <character>DENHAM</character> <dialogue>Curse the fog!</dialogue> <character>SAILOR'S VOICE</character> <dialogue>Sixteen fathoms!</dialogue> <character>DENHAM</character> <dialogue>What does she draw, Skipper?</dialogue> <character>ENGLEHORN</character> <dialogue>Six.</dialogue> <scene_description>No one ever looks at person addressed. All eyes ahead, straining through fog.</scene_description> <character>DRISCOLL</character> <dialogue>Listen! Hear anything?</dialogue> <character>DENHAM</character> <dialogue>No.</dialogue> <character>ANN</character> <dialogue>No.</dialogue> <scene_description>There is a slight pause.</scene_description> <character>MAN IN CROWS NEST</character> <dialogue>Breakers ahead!</dialogue> <scene_description>Englehorn jumps for telegraph.</scene_description> <character>SAILOR'S VOICE</character> <dialogue>Ten fathoms!</dialogue> <scene_description>Jingle of telegraph, noise of reversing engines.</scene_description> <character>DRISCOLL</character> <parenthetical>(bellowing at fo'c'sle)</parenthetical> <dialogue>Let go!</dialogue> <scene_description>Rattle of anchor chain through hawse-pipe, splash of anchor, more jingle of telegraph. After noise dies down, Driscoll speaks:</scene_description> <character>DRISCOLL</character> <dialogue>That's not breakers. That's drums.</dialogue> <scene_description>A long distant mutter of drums rolling. DISSOLVE TO: Boats being lowered, Bos'n giving orders. CUT TO bridge, Englehorn with binocular. Denham, Ann and Driscoll.</scene_description> <character>DENHAM</character> <dialogue>Well, Skipper, see anybody?</dialogue> <character>ENGLEHORN</character> <dialogue>Not a living thing. I think there are more houses in the thick bush.</dialogue> <character>DENHAM</character> <dialogue>Funny they haven't spotted us. I think the whole population would be on the beach.</dialogue> <character>ENGLEHORN</character> <dialogue>Listen.</dialogue> <scene_description>The faint throbbing of drums.</scene_description> <character>DENHAM</character> <dialogue>Maybe they have seen us and are signalling. Well, Skipper, do you believe me now? There's Skull Mountain, the wall - everything just like my funny map. Come on, let's get started.</dialogue> <character>ENGLEHORN</character> <dialogue>Twelve men go with you. The rest stay aboard.</dialogue> <character>DENHAM</character> <dialogue>Who's in charge of the gas bombs?</dialogue> <character>ENGLEHORN</character> <dialogue>Jimmy. That young feller. (points down on deck)</dialogue> <character>DENHAM</character> <dialogue>Good. Leave the 2nd Mate aboard, Skipper. I need you, you may be able to talk to these birds ashore.</dialogue> <character>ANN</character> <dialogue>I'm going ashore with you, aren't</dialogue> <character>I?</character> <character>DENHAM</character> <dialogue>You bet.</dialogue> <character>DRISCOLL</character> <dialogue>She ought not to go till we find out what goes on --</dialogue> <character>DENHAM</character> <parenthetical>(good-naturedly)</parenthetical> <dialogue>Say, who's running this show? I've learned by experience to keep my cast and my cameras right with me. You never can tell when you'll want 'em.</dialogue> <character>DRISCOLL</character> <dialogue>But it's crazy to risk --</dialogue> <character>DENHAM</character> <dialogue>Oh, go on, Jack. Get busy. Deal out the rifles and ammunition. And pick me a couple of huskies to carry my stuff.</dialogue> <scene_description>Driscoll goes reluctantly. Denham shakes his head over him, then Ann.</scene_description> <character>DENHAM</character> <dialogue>Bring the costume box. We might get a swell shot right away if we're lucky.</dialogue> <scene_description>DISSOLVE TO shot of beach, boats approaching. Village and wall glassed. DISSOLVE TO shot from beach, showing loaded boats approaching. Drums louder, of course. CUT TO boats beaching, people getting out, uploading stuff. Denham puts camera on tripod, one sailor shoulders it, another with magazine case, third with costume box, fourth and fifth with trade-goods in boxes. Jimmy with case of bombs.</scene_description> <character>DENHAM</character> <dialogue>You fellers with the camera stay close to me. Where's Jimmy with the bombs?</dialogue> <character>JIMMY</character> <dialogue>Here, sir.</dialogue> <character>DENHAM</character> <dialogue>All right. Stick around. And watch your step. There's enough trichloride in that case to put a herd of hippos to sleep.</dialogue> <character>JIMMY</character> <dialogue>Aye Aye, sir.</dialogue> <character>ANN</character> <dialogue>What queer-looking boats.</dialogue> <character>DRISCOLL</character> <dialogue>Outrigger canoes.</dialogue> <character>ENGLEHORN</character> <dialogue>Driscoll, have two men stay with the boat.</dialogue> <character>DRISCOLL</character> <dialogue>All attended to, sir.</dialogue> <character>DENHAM</character> <parenthetical>(grinning)</parenthetical> <dialogue>Now, all set? Ready, Skipper?</dialogue> <character>ENGLEHORN</character> <parenthetical>(coming up)</parenthetical> <dialogue>Ready.</dialogue> <scene_description>They start up the beach. CUT TO village. Wall visible over roofs. Party enters. Drums much louder.</scene_description> <character>ENGLEHORN</character> <dialogue>Not a soul in sight.</dialogue> <character>DENHAM</character> <dialogue>That wall, Skipper! What d'ye say to that, eh?</dialogue> <character>ENGLEHORN</character> <dialogue>Colossal! It might almost be Egyptian.</dialogue> <character>DENHAM</character> <dialogue>But what's on the other side? That's what I want to know.</dialogue> <character>ANN</character> <parenthetical>(awe-struck)</parenthetical> <dialogue>Who do you suppose could have built it?</dialogue> <character>DRISCOLL</character> <parenthetical>(trying not to be impressed)</parenthetical> <dialogue>Aw, I went up to Angkor once. That's bigger than this - and nobody knows who built it.</dialogue> <character>DENHAM</character> <parenthetical>(with a feeling of something even more important than a picture pending, but trying to strike his usual note)</parenthetical> <dialogue>Oh, boy! What a chance! What a picture!</dialogue> <scene_description>The chant begins, rising in volume. They all stand frozen. Ann clutches Driscoll's arm. Sailors frightened. Chant dies down to a mutter.</scene_description> <character>DENHAM</character> <parenthetical>(shaking himself)</parenthetical> <dialogue>Come on!</dialogue> <scene_description>They all move forward cautiously. TRUCK WITH THEM.</scene_description> <character>DENHAM</character> <dialogue>Hear that! They're saying Kong! Kong!</dialogue> <character>DRISCOLL</character> <dialogue>Hope you'll be able to speak their lingo Skipper.</dialogue> <character>DENHAM</character> <dialogue>Can you catch any words yet?</dialogue> <character>ENGLEHORN</character> <dialogue>I'm not sure. It sounds something like the language the Nias Islanders speak.</dialogue> <character>ANN</character> <dialogue>What do you suppose is happening?</dialogue> <character>DRISCOLL</character> <dialogue>Up to some of their heathen tricks. Now don't go rushing out to see.</dialogue> <character>ANN</character> <parenthetical>(meekly, but bubbling with excitement)</parenthetical> <dialogue>All right. But isn't it exciting!</dialogue> <character>DRISCOLL</character> <dialogue>Sure. I wish we'd left you on the ship.</dialogue> <character>ANN</character> <dialogue>I'm so glad you didn't.</dialogue> <scene_description>They approach masking house.</scene_description> <character>DENHAM</character> <dialogue>Wait. Easy row. Stay here till I see what goes on.</dialogue> <scene_description>They stop in a group behind house. Denham looks round cautiously. CUT TO what he sees. The Ceremony.</scene_description> <character>DENHAM</character> <dialogue>Holy mackerel! What a show! Skipper, get a look at this!</dialogue> <scene_description>Englehorn carefully goes forward and peeps around.</scene_description> <character>DENHAM</character> <dialogue>Did you ever see anything like that before? If I can steal a shot before they see us -</dialogue> <scene_description>He beckons to sailor carrying camera.</scene_description> <character>DENHAM</character> <dialogue>Hey! You with the camera!</dialogue> <scene_description>Sailor starts forward with it.</scene_description> <character>ANN</character> <parenthetical>(to Driscoll)</parenthetical> <dialogue>I want to see.</dialogue> <character>ENGLEHORN</character> <dialogue>Come on and look, but be careful.</dialogue> <scene_description>Ann looks around house. Denham moves beyond and starts setting up. Chant begins to rise. As it reaches forte, Chief sees them and shouts.</scene_description> <character>CHIEF</character> <dialogue>Bado! Dama pati vego!</dialogue> <scene_description>Ceremony stops, natives turn and stare.</scene_description> <character>DENHAM</character> <dialogue>Too late, they see us.</dialogue> <character>JIMMY</character> <dialogue>Let's beat it!</dialogue> <scene_description>He turns to run. Driscoll seizes and holds him.</scene_description> <character>DRISCOLL</character> <dialogue>Hold on there! What are you running for?</dialogue> <character>DENHAM</character> <dialogue>No use trying to hide now. Everybody come out here in plain sight. Put up a bold front.</dialogue> <scene_description>Driscoll, Ann and sailors come forward in a group a few paces behind Denham and Englehorn.</scene_description> <character>CHIEF</character> <dialogue>Bado! Maka mini tau ansaro.(Wait! Two warriors come with me.)</dialogue> <scene_description>In silence, the Chief with two warriors close behind him advances through the crowd of natives. The women in the crowd begin to slip away. The group of whites watch in tense silence the approach of the Chief.</scene_description> <character>2ND SAILOR</character> <dialogue>Say, let's scram outa this.</dialogue> <character>DRISCOLL</character> <dialogue>Stand still, you fool!</dialogue> <scene_description>Group of sailors are fingering their rifles, shifting nervously.</scene_description> <character>DENHAM</character> <parenthetical>(over his shoulder without looking away from Chief)</parenthetical> <dialogue>Steady, boys. Don't get nervous.</dialogue> <scene_description>Ann takes hold of Driscoll's arm. He puts his hand on hers without looking at her.</scene_description> <character>DRISCOLL</character> <dialogue>Never let a native see you're worried, boys. Bluff 'em.</dialogue> <scene_description>The chief stops.</scene_description> <character>CHIEF</character> <dialogue>Watu! Tama di? Tama di? (Stop! Who are you? Who are you?)</dialogue> <character>DENHAM</character> <dialogue>Come on Skipper, make him a friendly speech. (advance)</dialogue> <character>ENGLEHORN</character> <parenthetical>(slowly)</parenthetical> <dialogue>Tabe! Bala kum nono hi. Bala! Bala! (Greeting! We are your friends. Friends! Friends!)</dialogue> <character>CHIEF</character> <parenthetical>(sternly)</parenthetical> <dialogue>Bala reri! Tasko! Tasko! (We don't want friends, Go! Get out!</dialogue> <character>DENHAM</character> <dialogue>He understands you, Skipper! What's he say?</dialogue> <character>ENGLEHORN</character> <dialogue>Telling us to get out.</dialogue> <character>DENHAM</character> <dialogue>Talk him out of it. Ask him what goes on.</dialogue> <character>ENGLEHORN</character> <dialogue>Vana di humya? Malem ani humya vana? (What are you doing? What is that woman doing?) (he points to girl)</dialogue> <character>CHIEF</character> <dialogue>Ani saba Kong! (She is the bride of Kong!)</dialogue> <scene_description>The natives all murmur "Saba Kong!"</scene_description> <character>ENGLEHORN</character> <dialogue>He says the girl there is the bride of Kong.</dialogue> <character>DENHAM</character> <dialogue>Great! Find out what they're going to do.</dialogue> <scene_description>The Witch Doctor rushes forward, very angry. He addresses Chief.</scene_description> <character>WITCH DOCTOR</character> <dialogue>Dama si kasi! Dama si kasi! Punya bas! Punya! (Strangers have seen! It is finished.)</dialogue> <character>CHIEF</character> <parenthetical>(to Englehorn)</parenthetical> <dialogue>Tasko! (Go!)</dialogue> <character>DENHAM</character> <dialogue>What's that?</dialogue> <character>ENGLEHORN</character> <dialogue>He must be the witch-doctor. He says the ceremony is spoiled because we have seen it.</dialogue> <character>DENHAM</character> <dialogue>What's the word for friends?</dialogue> <character>ENGLEHORN</character> <dialogue>Bala.</dialogue> <character>DENHAM</character> <dialogue>Calm the old boy down.</dialogue> <scene_description>He advances with outspread hands, saying, "Bala! Bala!" Englehorn hesitates for a moment, then steps forward too.</scene_description> <character>CHIEF</character> <parenthetical>(bellowing)</parenthetical> <dialogue>Punya!</dialogue> <scene_description>The warriors move menacingly forward.</scene_description> <character>ENGLEHORN</character> <dialogue>I don't like the looks of this, Denham. The women have cleared out. That's a bad sign.</dialogue> <scene_description>The Chief sees Ann.</scene_description> <character>CHIEF</character> <parenthetical>(shouting to the natives)</parenthetical> <dialogue>Sita! Malem! Malem me pakeno! (Look! The woman! The woman of gold!)</dialogue> <scene_description>Natives all look at her and murmur.</scene_description> <character>DENHAM</character> <dialogue>What's that?</dialogue> <character>ENGLEHORN</character> <dialogue>He says look at the golden woman.</dialogue> <character>DENHAM</character> <dialogue>Blondes are scarce around here.</dialogue> <character>CHIEF</character> <dialogue>Malem ma pakapo! Kong wa bisa! Kow bisa para Kong! (The woman of gold! Kong's gift! A gift for Kong.)</dialogue> <character>ENGLEHORN</character> <dialogue>A gift for Kong, he says.</dialogue> <character>DENHAM</character> <dialogue>Good Lord!</dialogue> <character>CHIEF</character> <dialogue>Dama, tebo malem na hi? (Strangers, sell woman to us?)</dialogue> <character>ENGLEHORN</character> <dialogue>Wants to buy her.</dialogue> <character>CHIEF</character> <dialogue>Sani sita malem ati - (pointing to sacrificial victim)</dialogue> <dialogue>- kow dia malem ma pakeno. (I will give six women like this for you woman of gold.)</dialogue> <character>ENGLEHORN</character> <dialogue>He's offering to trade us six of his girls for Ann.</dialogue> <scene_description>Ann gasps, tries to smile.</scene_description> <character>DRISCOLL</character> <dialogue>You got her into this, Denham.</dialogue> <character>ENGLEHORN</character> <dialogue>Tida, tida! Malem ati rota na hi. (No, no! Our woman stays with us.)</dialogue> <dialogue>Chief growls menacingly. Warriors take another step forward. Sailors finger their rifles.</dialogue> <character>DRISCOLL</character> <dialogue>I'm going to take her back to the ship.</dialogue> <character>ENGLEHORN</character> <dialogue>We'd better all get out before they think to cut us off from the beach.</dialogue> <character>DENHAM</character> <dialogue>I guess so. But tell him we'll come back tomorrow to make friends.</dialogue> <character>ENGLEHORN</character> <dialogue>Dulu hi tego. Bala. Dulu. (Tomorrow we come. Friends. Tomorrow.)</dialogue> <scene_description>Chief does not move, glares at them.</scene_description> <character>DENHAM</character> <dialogue>Get going, Ann. Don't act scared. Everything's all right. Smile, Ann. Talk to Jack. Keep your chin up!</dialogue> <scene_description>Ann, very frightened, but smiling gallantly, does as he tell her. She and Driscoll retreat slowly, pretending unconcern. The sailors fall back one by one, Englehorn and Denham last. Denham cocks his hat over one eye and begins to whistle carelessly, one hand on his revolver. As they reach the corner of masking house. DISSOLVE TO deck in moonlight - Ann and Charley on hatch.</scene_description> <character>ANN</character> <dialogue>-- and an enormous wall, Charley, all the way across that piece of land where we went ashore.</dialogue> <character>CHARLEY</character> <dialogue>What fashion that girl do -- that girl with flowers on her?</dialogue> <character>ANN</character> <dialogue>The poor thing, she looked -- as though she was too frightened to feel frightened. You know?</dialogue> <character>CHARLEY</character> <parenthetical>(nodding wisely)</parenthetical> <dialogue>Sacrifice.</dialogue> <character>ANN</character> <dialogue>The Chief said she was the bride of Kong. Charley, what do you suppose Kong is?</dialogue> <character>CHARLEY</character> <dialogue>My guess he very big joss this place. People here plenty scared. You don't worry. No can help.</dialogue> <scene_description>Ignatz gallops past.</scene_description> <character>ANN</character> <dialogue>Oh, there's Ignatz! He's broken loose again.</dialogue> <scene_description>Charley grabs at him and misses. Ignatz goes down the deck.</scene_description> <character>ANN</character> <dialogue>Catch him, Charley. He'll get in the cabins and break things.</dialogue> <character>CHARLEY</character> <dialogue>My catch him. Bad devil, come here.</dialogue> <scene_description>He goes off in pursuit. Ann watches, laughing. CUT TO Sailor on watch in bow. He looks round, yawns, sits down and makes himself comfortable. CUT TO Ann on hatch. Driscoll enters.</scene_description> <character>DRISCOLL</character> <dialogue>Why aren't you in bed?</dialogue> <character>ANN</character> <dialogue>I can't sleep. Those drums make me nervous, I guess.</dialogue> <character>DRISCOLL</character> <dialogue>I think Denham's off his nut, taking you ashore today.</dialogue> <character>ANN</character> <dialogue>I was -- sort of scared there for a while.</dialogue> <character>DRISCOLL</character> <dialogue>Huh! You weren't the only one.</dialogue> <character>ANN</character> <dialogue>I wonder what we do next?</dialogue> <character>DRISCOLL</character> <dialogue>That's what's worrying me. Denham's such a fool for risks. No telling what he'll ask you to do.</dialogue> <character>ANN</character> <dialogue>After what he did for me, I'll do anything he wants.</dialogue> <character>DRISCOLL</character> <dialogue>Don't talk like that. When it comes to getting a picture, he's crazy enough to try anything.</dialogue> <character>ANN</character> <dialogue>I won't go back on him.</dialogue> <character>DRISCOLL</character> <dialogue>When I think what might have happened today -- if anything happened to you.</dialogue> <character>ANN</character> <parenthetical>(laughing)</parenthetical> <dialogue>Why then you wouldn't be bothered with a woman on board.</dialogue> <character>DRISCOLL</character> <parenthetical>(very staccato)</parenthetical> <dialogue>Don't laugh. I'm scared for you. I'm sort of - I'm scared of you, too. Ann, I -- I guess I love you.</dialogue> <scene_description>They look at each other, both startled by this conclusion.</scene_description> <character>ANN</character> <dialogue>Jack! You hate women!</dialogue> <character>DRISCOLL</character> <parenthetical>(still surprised over his discovery)</parenthetical> <dialogue>You aren't -- women. I love you. Ann, I don't suppose -- you don't feel like that about me -- do you?</dialogue> <scene_description>Ann looks at him soberly for a moment, then takes a step nearer. Just as his arms go around her, a hail from the bridge.</scene_description> <character>ENGLEHORN'S VOICE</character> <dialogue>Mr. Driscoll! Are you on deck?</dialogue> <character>DRISCOLL</character> <parenthetical>(lifts his head long enough to reply)</parenthetical> <dialogue>Yes, sir. (then bends over Ann again)</dialogue> <character>ENGLEHORN'S VOICE</character> <dialogue>Please come up here a minute.</dialogue> <character>DRISCOLL</character> <parenthetical>(same business)</parenthetical> <dialogue>Yes, sir.</dialogue> <character>ANN</character> <dialogue>I'll wait here for you.</dialogue> <scene_description>Driscoll kisses her once more and goes reluctantly. Ann leans back against the bulwarks with a happy smile, looking after him. The Witch Doctor rises noiselessly behind her, and without a sound she is seized and lifted over the rail. THE BRIDGE. NIGHT. Englehorn, Denham, Driscoll - talking over chart table.</scene_description> <character>DENHAM</character> <dialogue>Now tomorrow morning, pick out the men to go ashore. Couple of those nervous boys you better leave aboard.</dialogue> <character>ENGLEHORN</character> <dialogue>Mr. Denham wants you to break out the trade goods the first thing tomorrow.</dialogue> <character>DENHAM</character> <dialogue>We'll try a little bribery.</dialogue> <character>DRISCOLL</character> <dialogue>Still hoping to make friends with that bunch ashore?</dialogue> <character>DENHAM</character> <dialogue>Sure. We've got to. I've got to find out what Kong is.</dialogue> <character>ENGLEHORN</character> <parenthetical>(impatiently)</parenthetical> <dialogue>He's their tribal legend, their god, of course.</dialogue> <character>DRISCOLL</character> <dialogue>You planning to make movies of a fairy story?</dialogue> <character>DENHAM</character> <dialogue>How do you know Kong's only a legend or a fairy story? That wall wasn't built for fun.</dialogue> <character>DRISCOLL</character> <dialogue>But you said yourself it was built so long ago the people who live here now don't know anything about it.</dialogue> <character>DENHAM</character> <dialogue>Yes, but they've kept it in damn good repair. Did you see how those gates were fastened? They're meant to keep something out.</dialogue> <scene_description>Englehorn and Driscoll exchange skeptical looks. Noise of drums increase suddenly.</scene_description> <character>ENGLEHORN</character> <parenthetical>(looks at watch)</parenthetical> <dialogue>After ten. And they're still at is ashore.</dialogue> <character>DENHAM</character> <dialogue>If I could only take pictures by firelight! I'd sneak back there now and get a scene.</dialogue> <character>ENGLEHORN</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Be sensible. We're lucky to be all safe aboard tonight.</dialogue> <character>DENHAM</character> <dialogue>Oh sure, sure.</dialogue> <scene_description>He looks to Driscoll, who has crossed over and is peering down onto the deck.</scene_description> <character>DENHAM</character> <dialogue>What is is, Jack?</dialogue> <character>DRISCOLL</character> <dialogue>Oh -- er -- I was looking for Ann. She's gone below, I guess.</dialogue> <character>DENHAM</character> <dialogue>How about turning in, Skipper?</dialogue> <character>ENGLEHORN</character> <dialogue>No, not for me tonight.</dialogue> <character>DENHAM</character> <dialogue>But you've set a watch in the bow.</dialogue> <scene_description>Englehorn shakes his head stubbornly. Driscoll starts to go.</scene_description> <character>DENHAM</character> <dialogue>Oh well, I'll sit up with you then.</dialogue> <character>ENGLEHORN</character> <dialogue>Mr. Driscoll, I wish you'd take a star sight. See how our position checks up with what I got last night before we ran into the fog.</dialogue> <scene_description>Driscoll gets out the instruments.</scene_description> <character>DRISCOLL</character> <parenthetical>(reluctantly)</parenthetical> <dialogue>Yes sir. I guess it's been a long time since the map-makers got a brand new island to put down.</dialogue> <scene_description>DISSOLVE TO Charley, on afterdeck, tying Ignatz and scolding him in Chinese. Ignatz chattering and scolding right back at him. SHOT of bow watch, having a peaceful nap. DISSOLVE TO Bridge, interior - Englehorn and Driscoll bending over chart, making calculations. Denham half asleep in a chair.</scene_description> <character>ENGLEHORN</character> <dialogue>That's about it. (marking chart)</dialogue> <dialogue>We'll make absolutely sure tomorrow noon.</dialogue> <scene_description>Denham yawns, stretches, looks at watch, crosses and looks toward shore.</scene_description> <character>DENHAM</character> <dialogue>About midnight. Hey, look at that.</dialogue> <character>ENGLEHORN</character> <parenthetical>(crosses and looks)</parenthetical> <dialogue>Torches going through the village.</dialogue> <scene_description>Driscoll exits.</scene_description> <character>DENHAM</character> <dialogue>Looks like the night before election.</dialogue> <scene_description>Noise of drums increases suddenly.</scene_description> <character>DENHAM</character> <dialogue>Listen to 'em, will you? Wonder what's up.</dialogue> <scene_description>CUT TO main deck. Driscoll speaking to Charley.</scene_description> <character>CHARLEY</character> <dialogue>My don't know, sir. My not see Missy one, two hour.</dialogue> <character>DRISCOLL</character> <dialogue>Guess, she's in her cabin.</dialogue> <scene_description>He goes off. Charley takes a long round deck, sees something near rail. Goes over, picks it up. A native bracelet of woven straw. He examines it for a moment, suddenly realizes what it means, jumps and shouts.</scene_description> <character>CHARLEY</character> <dialogue>On deck! On deck!</dialogue> <scene_description>He stamps frantically on deck, turns and runs for the bridge. Man on watch in bow runs to rail of fo'c'sle head and shouts.</scene_description> <character>SAILOR IN BOW</character> <dialogue>All hands on deck!</dialogue> <scene_description>CUT TO bridge. Charley runs into Englehorn and Denham.</scene_description> <character>CHARLEY</character> <dialogue>Look sir! My found on deck.</dialogue> <character>ENGLEHORN</character> <dialogue>A native bracelet!</dialogue> <character>CHARLEY</character> <dialogue>Crazy black man that place comes this place!</dialogue> <scene_description>Driscoll arrives on the run.</scene_description> <character>DRISCOLL</character> <dialogue>Who's turning out the crew? What's the matter?</dialogue> <character>ENGLEHORN</character> <dialogue>Charley found this. Some one's been aboard. Search the ship.</dialogue> <scene_description>Charley exits.</scene_description> <character>DRISCOLL</character> <dialogue>Oh my God! Where's Ann?</dialogue> <character>DENHAM</character> <dialogue>In her cabin -</dialogue> <character>DRISCOLL</character> <dialogue>No, she isn't! I just looked.</dialogue> <scene_description>He rushes out. Confused sound of sailors' voices from deck below. Englehorn leans from wheel-house window, shouts down.</scene_description> <character>ENGLEHORN</character> <dialogue>Bos'n!</dialogue> <character>BOS'N'S VOICE</character> <parenthetical>(from below)</parenthetical> <dialogue>Yes sir.</dialogue> <character>ENGLEHORN</character> <dialogue>Man the boats. Serve out the rifles. Search the ship.</dialogue> <character>BOS'N'S VOICE</character> <dialogue>Yes sir.</dialogue> <scene_description>Bos'n's whistle is heard, creak and thump of davits. Englehorn takes his revolver from chart-table drawer, examines it, puts it in his pocket.</scene_description> <character>DENHAM</character> <dialogue>The boats, Skipper? D'ye think -- ?</dialogue> <character>ENGLEHORN</character> <parenthetical>(significantly)</parenthetical> <dialogue>They may have stolen something.</dialogue> <scene_description>They look at each other for a moment, as they start out. DISSOLVE TO wall and Great Gate. The gate is being opened by natives. Procession passes through, taking Ann to the altar. People crowding to top of wall. CUT TO exterior of wall, projection of altar on left. Ann being tied to altar. People crowding to top of wall. CUT TO exterior of wall, projection of altar on left. Ann being tied to altar. People crowding top of wall with torches. Two men begin beating big gong, those on wall yelling and beating drums. CUT TO Great Gate, natives closing and bracing it. Top of wall. Chief invoking Kong:</scene_description> <character>CHIEF</character> <dialogue>Kara Ta ni, Kong. O Taro Vey, Rama Kong. (We call thee, Kong. O Mighty One, Great Kong.) Wa saba ani mako, O Taro Vey, Rama Kong. (The bride is here, O Mighty One, Great Kong.)</dialogue> <scene_description>CUT TO altar and jungle opening set, split shot. Noise suddenly stops. KONG steps from jungle opening, looks at people on wall, beats his chest. Sees Ann, starts toward her. CUT TO exterior of wall, projection of altar on left. Kong walks way from camera till he blocks altar from view. People on wall watch in silence. CUT TO close altar set, Ann and altar against projection background, cutting to double projection when Kong passes foreground. Kong in close up stands behind girl, looking at her. He looks up at wall and beats his chest. He walks round altar, then starts to unfasten her. CUT TO straight shot of people on wall, breaking out in wild demonstration as Kong takes Ann. CUT TO village street, Council House set, ship's party racing through and into court. CUT TO exterior wall set, Kong turns from Altar with Ann in his hand and walks toward camera. Crowd on wall in uproar gong, drums, yelling, waving torches. CUT TO Driscoll and party reaching Gate, he hears Ann scream, looks through window. CUT TO what he sees. Edge of Jungle set, miniature. KONG walks away from camera and into jungle, turning to look back, so Ann is seen in his hand. CUT TO Great Gate. Driscoll wildly gesturing to sailors to open it. Noise continues. Sailors struggle with pole. They get it down and start tugging at gate.</scene_description> <character>DRISCOLL</character> <dialogue>He's got Ann! Who's coming with me?</dialogue> <character>1ST SAILOR</character> <dialogue>I'll go.</dialogue> <character>2ND SAILOR</character> <dialogue>Sure. Me too.</dialogue> <character>3RD SAILOR</character> <dialogue>I'm going, sir.</dialogue> <character>DRISCOLL</character> <dialogue>All right. Here you - and you - (selecting sailors)</dialogue> <character>DENHAM</character> <dialogue>What did you see?</dialogue> <character>DRISCOLL</character> <parenthetical>(brushing him aside)</parenthetical> <dialogue>Skipper, you stay here with half the men and guard this gate. Don't let 'em close it.</dialogue> <character>DENHAM</character> <dialogue>Who's got the bombs?</dialogue> <scene_description>Jimmy comes forward.</scene_description> <character>DRISCOLL</character> <dialogue>Come on, you fellers.</dialogue> <scene_description>Driscoll, Denham and eleven sailors start through gate.</scene_description> <character>DENHAM</character> <parenthetical>(shouts back)</parenthetical> <dialogue>Keep the gate open for us, Skipper.</dialogue> <character>LAP DISSOLVE</character> <scene_description /> </scene> <scene> <stage_direction>EXT. JUNGLE - FULL OR MED. SHOT</stage_direction> <scene_description>PAN to follow the men, headed by Driscoll and Denham as they plunge through the jungle; left to right. (NOTE: This along top of ledge-crevasse set, not showing edge.) </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - FULL SHOT - DAWN</stage_direction> <scene_description>CRANE TO FOLLOW as they come up the ledge. A twittering of birds and insects' noises. Ad lib as they come: "Watch that log" -- "Shove right on through." Men go left to right.</scene_description> <character>DENHAM</character> <parenthetical>(stops, wipes his forehead)</parenthetical> <dialogue>No telling where he's gone in this darkness.</dialogue> <character>DRISCOLL</character> <dialogue>He came by here. Look at those broken branches.</dialogue> <character>DENHAM</character> <dialogue>That's right. He's up ahead somewhere.</dialogue> <character>DRISCOLL</character> <parenthetical>(looks about)</parenthetical> <dialogue>The sun ought to be rising about now.</dialogue> <character>DENHAM</character> <dialogue>Listen to those birds. (bird noises)</dialogue> <dialogue>It's dawn all right.</dialogue> <character>DRISCOLL</character> <dialogue>Look here.</dialogue> <scene_description>He points to one of Kong's great footprints; just visible as a first shaft of dawn light strikes down between the trees. CRANE TO CLOSE. All move forward - TRUCK TO FOLLOW To look at Kong's footprint. Probably no close up necessary. Ad lib murmurs together, "Get that" - "It's tracks" - "Look here, Jo."</scene_description> <character>DENHAM</character> <dialogue>Look at the size of that. He must be as big as a house. He's come this way, all right.</dialogue> <character>DRISCOLL</character> <dialogue>And he's heading that way. Come on.</dialogue> <scene_description>TRUCK to LONGER SHOT as he leads them forward. All hasten on after Kong.</scene_description> <character>DENHAM</character> <parenthetical>(to sailors)</parenthetical> <dialogue>Keep those guns cocked.</dialogue> <character>SAILOR IN BLACK SWEATER</character> <dialogue>He's telling us!</dialogue> <scene_description>As they exit, camera left - DISSOLVE OUT. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>As the men come from the edge of the jungle, last fringe of shrubbery masking foreground, to look out upon an open glade. They pause, as they see broken shrubbery. It is now full dawn. Use "Most Dangerous Game" ledge set, men coming towards camera.</scene_description> <character>DRISCOLL</character> <dialogue>That's right. We're on his trail.</dialogue> <scene_description>He leads them forward out into - </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>The open glade. Kong's footsteps is visible in soft earth again.</scene_description> <character>DRISCOLL</character> <parenthetical>(sees footprints, points, shouts back without stopping)</parenthetical> <dialogue>There!</dialogue> <scene_description>All hurry forward in a dog trot. A couple of sailors, running, pass Driscoll, then stop, run back into the arms of the others.</scene_description> <character>SAILORS</character> <dialogue>Look out! Look out!</dialogue> <scene_description>They point and all stop as they see -- An immense spike-tailed beast coming through the jungle parallel with them, partially masked by trees. Men in foreground here. (Williams Process)</scene_description> <character>DENHAM</character> <dialogue>Great Scott, that's something I didn't know about.</dialogue> <character>DRISCOLL</character> <dialogue>I got an idea there's plenty on this island you weren't figuring on.</dialogue> <scene_description>The beast crashes out into the open.</scene_description> <character>DENHAM</character> <dialogue>Gimme one of those bombs.</dialogue> <character>ONE ANGLE ONLY</character> <dialogue>He snatches a bomb from the sailor who is carrying them.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - DAWN</stage_direction> <scene_description>The beast charges. The men run. Only Driscoll and Denham stand their ground. Driscoll fires several times without effect. This should be a very wide glade to get the full effect of a long charge. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>The first angle at edge of glade, with Denham and Driscoll in the foreground, other men running back.</scene_description> <character>DRISCOLL</character> <parenthetical>(gun empty)</parenthetical> <dialogue>It won't stop him.</dialogue> <scene_description>Denham throws his bomb. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>Second angle again. The bomb strikes the beast, explodes. Out of the smoke, the two-horned beast staggers towards the two men. They throw themselves to either side. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>First angle. Driscoll and Denham throw themselves flat on the ground as -- </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>In the first angle, the beast collapses just short of the men. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - DAWN</stage_direction> <scene_description>Its head is just short of Driscoll. It goes limp. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>The sailors, huddled behind the shrubbery at the edge of the wood (as in the first shot of this sequence) stare at -- </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>The beast, unconscious on the ground. In the foreground, Denham and Driscoll pick themselves up. </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>FIRST ANGLE - the sailors run forward to -- </scene_description> </scene> <scene> <stage_direction>EXT. GLADE - FULL SHOT - DAWN</stage_direction> <scene_description>Join Driscoll and Denham. They start forward towards the beast. It is in the background. (Projection)</scene_description> <character>DENHAM</character> <dialogue>Wait a minute. He's only knocked out.</dialogue> <scene_description>He takes a gun from one of the men and goes forward to the great beast's head. He shoots it through the ear. It's starts convulsing, then grows rigid.</scene_description> <character>DENHAM</character> <parenthetical>(after a look, speaks to Driscoll)</parenthetical> <dialogue>I told you those gas bombs would bring down anything. We'll get that ape alive.</dialogue> <character>DRISCOLL</character> <dialogue>We're not trying to catch the ape - we're trying to save that girl. Come on - we're losing time.</dialogue> <scene_description>He leads them off towards --</scene_description> <character>LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY</character> <dialogue>DISSOLVE IN on the exterior of a bank, leading, in the background down into a hollow filled with fog. The men come in from camera left and look down. (Fog Hollow set from "most Dangerous Game")</dialogue> <character>DENHAM</character> <parenthetical>(following tracks with eyes)</parenthetical> <dialogue>There's his foot again -- (following director)</dialogue> <dialogue>-- he's down in that hollow where the fog is, some place.</dialogue> <character>DRISCOLL</character> <parenthetical>(looks)</parenthetical> <dialogue>There's water down there. Here.</dialogue> <scene_description>They listen. Sounds of splashing.</scene_description> <character>DENHAM</character> <dialogue>That's him, splashing through. Come on.</dialogue> <scene_description>They run down into fog. (CURTAIN EFFECT) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>The men run down the muddy bank through heavy fog towards the water, left to right. (Fog Hollow set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>The water's edge, as the men run down through heavy fog left to right. A couple of fallen trees, floated down with the current, lie half submerged by the bank. Kong's footprints is in the mud, Kong splashing out of stream on other side can be heard as men come up. (Fog Hollow Set)</scene_description> <character>DRISCOLL</character> <parenthetical>(looks at footprint, then across stream)</parenthetical> <dialogue>He must have swum across.</dialogue> <character>DENHAM</character> <dialogue>That's out for us. We can't swim with guns and bombs.</dialogue> <character>DRISCOLL</character> <parenthetical>(looks about, sees log, gets an idea)</parenthetical> <dialogue>How about these -- (indicates logs)</dialogue> <dialogue>-- for a raft?</dialogue> <character>DENHAM</character> <dialogue>Yeah, that's it. A raft.</dialogue> <character>DRISCOLL</character> <dialogue>All right, boys, gets busy.</dialogue> <character>1ST SAILOR</character> <dialogue>Get some vines, Tim.</dialogue> <scene_description>Tim, the sailor to be used in tree, runs for vines. Other sailors run to logs.</scene_description> <character>2ND SAILOR</character> <parenthetical>(at log)</parenthetical> <dialogue>Pull 'em clear now.</dialogue> <character>LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY</character> <dialogue>DISSOLVE IN on the raft, now completed. They have bound the logs together with liana vines. Heavy fog. The arms and bombs are loaded on the raft. So are they men. They last of them are just getting on.</dialogue> <character>DENHAM</character> <dialogue>Don't get the arms wet, boys.</dialogue> <character>SAILOR A</character> <parenthetical>(guarding them)</parenthetical> <dialogue>I'm watching 'em.</dialogue> <character>SAILOR B</character> <parenthetical>(helping another on)</parenthetical> <dialogue>Easy now.</dialogue> <character>DRISCOLL</character> <parenthetical>(shouts, looking around)</parenthetical> <dialogue>All set? All set, everybody?</dialogue> <character>SAILORS</character> <dialogue>All set. Let 'er go.</dialogue> <character>TOGETHER</character> <character>O.K.</character> <character>DRISCOLL</character> <dialogue>Shove off.</dialogue> <scene_description>A couple of sailors; still on shore, push the raft out until they are waist deep, then jump aboard. Others use poles to push it towards the opposite bank. Ad lib, "Push -- put your back in it, etc." </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - GENERAL VIEW - DAY</stage_direction> <scene_description>The raft moves across the stream through heavy fog. (Miniature raft and miniature men.) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL OR MED. SHOT - DAY</stage_direction> <scene_description>This shot moves through fog with men as they pole raft.</scene_description> <character>DENHAM</character> <dialogue>Easy now -- keep her against the current.</dialogue> <character>DRISCOLL</character> <dialogue>Keep your weight in the center, boys -- weight in the center.</dialogue> <character>1ST SAILOR</character> <parenthetical>(stops poling to stare)</parenthetical> <dialogue>Holy mackerel -- look at that.</dialogue> <scene_description>All look. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - LONG SHOT - DAY</stage_direction> <scene_description>A huge scaly head rears up from the water to look down on the raft, drifting, horrible. It is the head of a Dinosaur. In this the raft can also be seen. (Miniature raft, miniature beast.) Heavy fog. The men shriek in wild commotion. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL OR MED. SHOT - DAY</stage_direction> <scene_description>The angle which moves with the raft as the men, yelling wildly, attempt to pole the raft towards the shore. One or two men are pushed off in the panic. Everyone shoves the wrong way. Heavy fog here. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur dives and starts for the raft in a series of undulating, sea-serpent dives. Wild panic and shrieks on the raft. Heavy fog. (Miniature raft, men and beast.) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL OR MED. SHOT - DAY</stage_direction> <scene_description>The angle which moves with the raft. It has come to a standstill now as the men shove in the wrong directions, shouting at each other. Some are trying vainly to reach the arms. The head of the Dinosaur rears up from the water behind the boat, upsetting; as he comes up under it, the raft with its occupants. They fall, screaming, into the stream. Fog. (Miniature projection) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - MED. SHOT - DAY</stage_direction> <scene_description>Three sailors as they land in the water and come up screaming. A FLASH. Fog. Tank. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - SEMI CLOSE UP - DAY</stage_direction> <scene_description>A sailor drowning. Flash. Fog. Tank. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - MED. SHOT - DAY</stage_direction> <scene_description>The sailor with the bombs starts to sink. He loosens the bombs and lets them go to the bottom. Fog. Tank. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur thrashing among the men and the broken raft. Some swim for the shore. (Miniature raft, men and beast as before) Heavy Fog. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>The men run out of the water on the far bank. The beast can be heard behind them. They run up, left to right. Heavy fog. (Fog Hollow set, use bullrushes) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>The men run up another section of bank. Either away from camera or left to right. The beast can be heard behind them. Fog. (Fog Hollow Set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>Another shot of the men running up the bank, away from camera or left to right, with the beast heard behind them. Fog. (Fog Hollow Set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - GENERAL VIEW - DAY</stage_direction> <scene_description>The men run up the bank. One man (Tim) is in the rear. He sees the Dinosaur following through the fog (double print miniature) He runs toward the jungle - (tree not in this shot) Fog. (Fog Hollow Set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>The men run out of the fog at the top of the bank. (Fog Hollow Set where they were seen entering fog, curtain effect) Left to right movement, slightly head-on. </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - LONG SHOT - DAY</stage_direction> <scene_description>The men run left to right, followed by the beast. Tim, the last man, runs towards and into the jungle, with the Dinosaur after him. (Miniature man, miniature beast, projection on) No fog. (Most Dangerous Game set) </scene_description> </scene> <scene> <stage_direction>EXT. BANK - FULL SHOT - DAY</stage_direction> <scene_description>The men climb a bank. (Most Dangerous Game Ledge set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - FULL SHOT - DAY</stage_direction> <scene_description>Tim runs up to the base of a tree, climbs it. (Real man, real tree from Most Dangerous Game set) </scene_description> </scene> <scene> <stage_direction>EXT. STREAM - BANK - FULL SHOT - DAY</stage_direction> <scene_description>The men climb higher on the bank. </scene_description> </scene> <scene> <stage_direction>EXT. ASPHALT PIT - FULL SHOT - DAY</stage_direction> <scene_description>They climb over the top of the bank. Shrubbery masks the foreground. In the background is seen an asphalt morass, backed by jungle. Driscoll in the lead here. Denham the last man. (Most Dangerous Game ledge set for the foreground, matte and miniature for background). They hear the sound of the Dinosaur and the shrieks of the sailor they left behind. All turn.</scene_description> <character>SAILOR A</character> <parenthetical>(stares)</parenthetical> <dialogue>It's Tim he's after.</dialogue> <scene_description>All stare as they see -- </scene_description> </scene> <scene> <stage_direction>EXT. TREE - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur approaches the sailor who has climbed to the tree top. He shrieks in terror. (Miniature man and tree) </scene_description> </scene> <scene> <stage_direction>EXT. ASPHALT PIT - MED. SHOT - DAY</stage_direction> <scene_description>The men stare at this, horrified.</scene_description> <character>DENHAM</character> <dialogue>Hasn't anybody got a gun?</dialogue> <scene_description>Each man looks at the next fellow, hoping he has saved a gun.</scene_description> <character>DRISCOLL</character> <dialogue>They're all at the bottom of the lake.</dialogue> <character>DENHAM</character> <parenthetical>(to sailor who carried bombs)</parenthetical> <dialogue>Then gimme one of those bombs.</dialogue> <character>BOMB CARRIER</character> <dialogue>I had to let them go to keep from drowning.</dialogue> <character>DENHAM</character> <dialogue>You fool.</dialogue> <character>BOMB CARRIER</character> <dialogue>You lost your gun.</dialogue> <scene_description>All stare back at tree as the doomed sailor's shrieks for help grow louder. </scene_description> </scene> <scene> <stage_direction>EXT. TREE - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur comes up to the man in the tree. (Miniature man and tree) </scene_description> </scene> <scene> <stage_direction>EXT. TREE TOP - MED. SHOT - DAY</stage_direction> <scene_description>The man in the tree shrieks. The Dinosaur's head comes into the shot, about to seize him. (Real man, real tree from Most Dangerous Game, miniature projection background) </scene_description> </scene> <scene> <stage_direction>EXT. TREE - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur seizes the man. His cries cease abruptly as the teeth crunch into him. </scene_description> </scene> <scene> <stage_direction>EXT. ASPHALT PIT - FULL OR MED. SHOT - DAY</stage_direction> <scene_description>The men at the top of the bank look sickened. They stare as they see -- </scene_description> </scene> <scene> <stage_direction>EXT. TREE - LONG SHOT - DAY</stage_direction> <scene_description>The Dinosaur carries the sailor away into the jungle. </scene_description> </scene> <scene> <stage_direction>EXT. DITCH - FULL SHOT - DAY</stage_direction> <scene_description>They turn away, lead by Denham, then stop as they see, over the shrubbery, Kong retreating towards them with the girl, from the jungle background into a mire which lies in the middle distance, masked by foreground shrubbery and backed by jungle. (MATTE) This mire is an asphalt pit. In the center is a dry mound to which Kong springs. He is pursued by two huge three horned beasts (tricerotops) who, trying to follow, find themselves mired.</scene_description> <character>DRISCOLL</character> <parenthetical>(to men)</parenthetical> <dialogue>Down! Down!</dialogue> <scene_description>All throw themselves down behind shrubbery.</scene_description> <character>DENHAM</character> <dialogue>If we only had some of those bombs!</dialogue> <parenthetical>(MED. SHOT of men crouching behind shrubbery, as he speaks this last line)</parenthetical> <scene_description>A terrific fight now ensues between Kong and the three-horned beasts. Kong picks up boulders and hurls them down on the beasts as they try to reach him through the asphalt mire. He kills two. The third retreats. During this, the men exit cautiously, camera right, and reappear in the background, camera right. (Matte) The three horned beast sees them. He charges them. They run out, camera right, with the three-horned beast following. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE A - FULL SHOT - DAY</stage_direction> <scene_description>SIDE ANGLE - PAN to follow men as they run, left to right. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE B - FULL SHOT - DAY</stage_direction> <scene_description>The men to run to camera. No beast in this shot. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE C - FULL SHOT - DAY</stage_direction> <scene_description>REVERSE ANGLE as they run away from camera. A low-hanging branch bars their way. They run under it. The sailor with the striped trousers is last. He turns to look back at the beast, whose noise behind them can be heard, and strikes his head against the branch. He falls, picks himself up.</scene_description> <character>SAILOR WITH STRIPED TROUSERS</character> <parenthetical>(as he picks himself up, holding head, dazed)</parenthetical> <dialogue>Boys - boys, where are you?</dialogue> <scene_description>He looks up into camera, first dazed, then, as his head clears, he sees the beast charging. He shrieks and runs off camera right. </scene_description> </scene> <scene> <stage_direction>EXT. CREATION SHOT - FULL SHOT - DAY</stage_direction> <scene_description>The old shot from Creation. The striped-trousers sailor runs through the woods, followed by the three-horned beast. He seeks refuge behind a tree. The beast knocks over the tree. It falls upon the sailor, pinning him down. The beast gores him to death. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - RAVINE - FULL SHOT - DAY</stage_direction> <scene_description>The remaining men run towards a deep ravine, across which a huge tree has fallen. Ravine is background. Kong is crossing this log with the girl, right to left. Men run in left to right. They stop at seeing Kong, then turn back to see -- </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE - LOG - FULL SHOT - DAY</stage_direction> <scene_description>SHOT looking away from ravine, over men's heads. Men in foreground. In the background may be seen entering a huge two horned beast, (Arsinotherium). He is rooting in the ground. He lifts his head, sniffs, smelling the men. He begins to lumber towards them with gathering speed. They run out, left to right. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The men run in from left to right, led by Driscoll. He waves them on. In the foreground is a huge tree. In the background is the big fallen tree across the ravine. He passes this tree to camera right, and reappears from camera right crossing the log. The men follow, shouting. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>Kong comes into a clearing, in the foreground of which is a high dead tree. He hears the shouts of the men behind. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>He puts the girl down in the top of the dead tree, snarls, and turns back to attack the men. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>He goes back to attack the men, leaving the girl in the top of the dead tree. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE POOL - FULL SHOT - DAY</stage_direction> <scene_description>Kong goes back along the pool towards the ravine. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll enters from camera left, waves the men on. In this shot, the log is seen in the background, extending across the ravine. In the foreground is a huge tree. The men follow Driscoll about this tree to camera right and reappear on the log, entering from camera left. They start across it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The log itself is seen, with the men crossing it from camera right and going towards the other side of the ravine, Driscoll in the lead. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>REVERSE ANGLE as the men cross in the foreground, where the end of the log lies on the far side of the ravine. The men come off this end of the log onto the bank, in foreground, faces camera. In the background, Denham can be seen. He is the last man and is about to cross when suddenly he sees something and shouts. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Original angle with the men coming off log on the far side of the ravine. Kong appears from camera right to menace them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong snarls at them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>REVERSE ANGLE as Denham sees this and ducks back into the shrubbery out of sight. The men in the foreground also see Kong and run back across the log. Driscoll climbs over bank in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The log itself as the men run back across it, stumbling and falling, only to be stopped by -- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>-- the two horned beast, who is coming up to the log, which is in the foreground, from camera left background. REVERSE</scene_description> <character>ANGLE.</character> <scene_description /> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The top of the far bank, as the last of the men rush across the log. Driscoll climbs down over the bank, using a vine for support. (Note. This angle may not be necessary now). </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - LONG SHOT - DAY</stage_direction> <scene_description>Driscoll comes down on the vine along the side of the bank and steps into a cave in the side of the bank some ten feet below the top. He looks to see -- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The men running back on the log, towards the camera, with the ape coming up to the log on the far bank, menacing them. This the original angle. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong menaces them. His face leaps up into the camera. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>The sailor in the black sweater, on the log, horrified as he sees this. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>The log itself, no beasts in the shot. The men see the horned beast off screen and retreat only to be stopped by Kong off screen. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - LONG SHOT - DAY</stage_direction> <scene_description>Driscoll in the cave sees this, holding to a vine. He continues to look up, watching -- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The men, in the original angle, as Kong in the background heaves up the far end of the log. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>The men on the log, terrified, as Kong rocks it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong roaring at them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The men on the log with Kong shaking it, from the original angle. Two fall off. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - FULL SHOT - DAY</stage_direction> <scene_description>The men fall to the bottom of the ravine. It is very deep, with mud and slime at the bottom. Caves and fissures in the rock lie at the sides of this mud. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE - MED. SHOT - DAY</stage_direction> <scene_description>The men land in the mud. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>The men on the log, as Kong rocks it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong roars at them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>A sailor stares at Kong and screams in stark terror. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>SIDE ANGLE of the log with the men clinging to it as Kong shakes it. The two horned beast can be seen menacing them from his bank with his horns. Another sailor falls off. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - LONG SHOT - DAY</stage_direction> <scene_description>The sailor falls into the ravine bottom. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - FULL SHOT - DAY</stage_direction> <scene_description>He lands in the mud. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>From the original angle, Kong is seen rocking the log. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The log with men clinging to it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong roars at them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>The men, on the log, horrified. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>From the original angle, Kong rocks the log with men on it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>The men on the log. One tries to hold himself from falling by clutching another's face. </scene_description> </scene> <scene> <stage_direction>EXT. SHRUBBERY - MED. SHOT - DAY</stage_direction> <scene_description>Suggest here a SHOT of Denham watching from his shrubbery, horrified, so as not to lose him. REVERSE ANGLE. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>From side angle, the men are seen clinging to the log, while the ape rocks it and the horned beast menaces them from the other side. More men fall. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - FULL SHOT - DAY</stage_direction> <scene_description>The men fall to the ravine bottom. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - MED. SHOT - DAY</stage_direction> <scene_description>They land in the mud. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong roars at the men and beats chest. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - CLOSE UP - DAY</stage_direction> <scene_description>One of the sailors on the log shrieks in horror. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong's face rushes up into the camera as he reaches for a man. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong, from the original angle, reaches for the men remaining on the log, trying to seize them with his hand. The man he reaches for drops flat, ducking his grasp. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong roars at them. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong, from the original angle, rocks the log. A man falls off. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>The man falls to the ravine bottom. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>He lands in the mud. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>The man on the log, only one remains - clinging as the log is rocked by Kong, off-screen. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>From the original angle, Kong is seen trying to shake the last man off the log. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>The last man hanging to the log desperately. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - LONG SHOT - DAY</stage_direction> <scene_description>The SIDE ANGLE with the last man hanging to the log. Kong lifts the log and drops it into the ravine. No horned beast here. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - DAY</stage_direction> <scene_description>The log and the man fall to the ravine bottom. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - MED. SHOT - DAY</stage_direction> <scene_description>They land in the mud. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong on the bank yammers down at the men who have fallen. Driscoll can be seen in the cave below. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - LONG SHOT - DAY</stage_direction> <scene_description>The men at the bottom of the ravine are attacked by giant insects who come out of caves and fissures to eat them. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - CLOSE UP - DAY</stage_direction> <scene_description>The surprised face of a sailor lying in the mud as he see this. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - CLOSE UP - DAY</stage_direction> <scene_description>Face of another sailor staring up in horror from the mud. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - CLOSE UP - DAY</stage_direction> <scene_description>Face of a third sailor in the mud, horrified as he sees -- </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - MED. SHOT - DAY</stage_direction> <scene_description>An insect with octopus arms takes a man. (Projection) </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Its arms wind around the struggling man. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Two men on their backs staring up at a spider who attacks them. (Projection). </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - CLOSE UP - DAY</stage_direction> <scene_description>The face of a fourth sailor, fallen in mud, staring in horror as he sees -- </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - FULL SHOT - DAY</stage_direction> <scene_description>A giant lizard takes a man. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - FULL SHOT - DAY</stage_direction> <scene_description>Kong on the bank senses Driscoll's presence in the cave below. PAN down to the cave with Driscoll. He looks up, warily watching for Kong above. Continued to PAN DOWN revealing a huge spider climbing up on a vine from the ravine bottom to the cave. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - MEDIUM SHOT - DAY</stage_direction> <scene_description>Driscoll in his cave notices the vine shake. He looks down to see -- </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE - FULL SHOT - DAY</stage_direction> <scene_description>The spider coming up the vine. (Previous angle) </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - MEDIUM SHOT - DAY</stage_direction> <scene_description>Driscoll whips out his knife and starts cutting the vine. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll cuts the line just in time to prevent the spider reaching him. The giant insect falls to the ravine bottom. PAN UP to Kong again. He reaches in the cave trying to get Driscoll. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - MEDIUM SHOT - DAY</stage_direction> <scene_description>Driscoll eludes the hand, stabbing at it. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>Denham watching from his shrubbery on the far side. REVERSE</scene_description> <character>ANGLE.</character> <scene_description /> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong tries to reach Driscoll who backs about the cave, stabbing with his knife. </scene_description> </scene> <scene> <stage_direction>EXT. CAVE - MEDIUM SHOT - DAY</stage_direction> <scene_description>Driscoll succeeds in stabbing Kong's hand. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong pulls back his hand, licks it, snarling angrily. LAP DISSOLVE: </scene_description> </scene> <scene> <stage_direction>EXT. MEDIUM SHOT - DAY</stage_direction> <scene_description>Ann, on the dead tree top, awakens from her faint. She looks about dazed. She looks down to see -- </scene_description> </scene> <scene> <stage_direction>EXT. LONG SHOT - DAY</stage_direction> <scene_description>A snake crawling along beside the tree - VERTICAL SHOT from her angle. </scene_description> </scene> <scene> <stage_direction>EXT. MEDIUM SHOT - DAY</stage_direction> <scene_description>Ann gasps in terror. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong is still trying to reach Driscoll in the cave. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>A giant meat-eater enters the glade. Girl on tree-top in foreground. It sees her, comes toward her. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>A man-eater, in the background, comes toward Ann on the tree top in the foreground. She shrieks. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - LOG - FULL SHOT - DAY</stage_direction> <scene_description>Kong, reaching for Driscoll in the cave, is just about to get him when he hears Ann's screams. He starts back at once towards her. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE POOL - FULL SHOT - DAY</stage_direction> <scene_description>Kong comes back along the side of a pool, which lies in the foreground of the scene, jungle in the background. He hastens from camera left and out camera right to - </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>The clearing with the dead tree. The terrified girl is in the tree, foreground. The meat-eater in the background turns as he hears Kong off screen from camera left. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong enters from camera left. The meat-eater advances to meet him from camera left. The tree with the girl is in the middle distance. This shot is masked by foreground trees. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong and the meat-eater fight. Ann on her tree-top is in the foreground, animals in the background. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong is knocked down by the meat-eaters tail. The meat-eater attacks him as he lies sprawled on his back. Kong manages to get to his feet. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The ape and the meat-eater fight. Ann on the tree-top in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong dodges back and out of the scene to camera left as the meat-eater leaps from camera right. The girl on the dead tree in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The animals fight, moving into this shot from camera left. Ann on her tree top in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong backs into this shot from camera left. The meat-eater follows to attack. They fight. Kong gets a grip on the meat eater's hind foot and throws him. Both wheel around as they fall. The meat-eater falls on camera right, Kong on camera left. Kong leaps on the meat-eater as he lies on his back. Girl on tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong falls. Ann on the tree top in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The meat-eater, still on his back, kicks Kong out to camera left. Ann on tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The meat-eater springs up and menaces Kong, who is out of the shot, off camera left. Girl on tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong, on his feet, beats his chest in defiance. Girl in foreground on tree top. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong leaps in and grabs the meat-eater's front foot. Girl in foreground on tree top. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong shifts his hold on the front leg to a head hold, throws the meat-eater over his head. Girl on tree top in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong throws the meat-eater. The meat-eater gets up. Kong grapples with him again. The meat-eater throws Kong back against the tree with the girl in foreground. This is a new angle, tree center foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Ann on the tree top as Kong backs into it. She screams as the tree, jarred by the tremendous impact, starts to fall. TILT DOWN as tree falls. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The tree falls, with the screaming girl, pinning her under it. Kong falls also. This is the new angle. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The girl on the ground pinned by the tree, which half covers her body. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The beasts fighting, with the girl under the tree in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>The fight continues, with the girl under the tree in the foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW</stage_direction> <scene_description>The beasts fighting. Girl under the tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The girl, under the tree, looks in horror at this spectacle.</scene_description> <character>REVERSE ANGLE.</character> <scene_description /> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The beasts fight. Ann under the tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>REVERSE ANGLE again of the girl watching, horrified. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>The animals fight. Kong grabs the meat-eater's head, bites and twists. The meat-eater falls, then gets up. Kong leaps on his back, grabs his mouth, trying to pry open jaws. Ann under tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong grabs the meat-eater's jaws, pries them open. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The girl, under the tree, staring, horrified. REVERSE ANGLE. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong, on the meat-eater's back, pulls open its jaws. Girl in foreground under tree. Kong pulls back, so that he pulls the meat-eater over. He falls with it, gets up, grabs his jaws again. The meat-eater lies prostrate as he works on it. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong's hands break the jaw. Ann under tree in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong sees he has broken the meat-eater's jaw. He gives it a waggle to make sure, see it is dead, then rises and pounds his chest with a triumphant roar. He starts over towards the girl. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong's face as he looks down at Ann, interested and pleased. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - FULL SHOT - DAY</stage_direction> <scene_description>The girl under the tree. She screams as she sees Kong looking down at her. This shot from Kong's angle. TRUCK DOWN to</scene_description> <character>MEDIUM SHOT.</character> <scene_description /> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong takes hold of the log. Ann screams. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>Kong's hand lifts up the tree, freeing Ann. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong picks up Ann. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - LONG SHOT - DAY</stage_direction> <scene_description>Ann, as she is lifted by Kong's hand. His shoulder is in foreground. REVERSE ANGLE. She looks fearfully up at him. This from his angle. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - SEMI CLOSE UP - DAY</stage_direction> <scene_description>Kong as he looks down at her, interested. </scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MEDIUM SHOT - DAY</stage_direction> <scene_description>The girl held in his hand - shoulder out of shot now. REVERSE</scene_description> <character>ANGLE.</character> <scene_description /> </scene> <scene> <stage_direction>EXT. CLEARING - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong goes off with her to Camera right. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>Denham raises himself cautiously from the shrubbery. He looks to see -- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>-- the Stegasaurus disappearing in the direction from which he first appeared. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>Denham, reassured, moves forward to -- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>--the edge of the ravine by the big log. He looks down horrified at what he sees, then across. He is startled to see- </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>--from his angle, Driscoll rises from the bottom of what had seemed a quite empty cave. Driscoll does not at first see Denham. He too looks down to the bottom of the ravine, then starts to climb up the vines to the top of the ravine above the cave. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>Denham's impulse is to call to him, but caution asserts itself. He checks himself, looks carefully behind him, then back, to see. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>--Driscoll, from his angle, climbing up to the top of the bank. </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <character>DENHAM</character> <parenthetical>(calls, as softly as possible)</parenthetical> <dialogue>Jack - Jack Driscoll.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <scene_description>Driscoll, turns, looks startled as he sees Denham in the background. </scene_description> </scene> <scene> <stage_direction>EXT. RAVINE BOTTOM - FULL SHOT - DAY</stage_direction> <scene_description>--Denham on the far side. Driscoll in the foreground of this</scene_description> <character>SHOT.</character> <character>DENHAM</character> <dialogue>Hey -- Jack.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - REVERSE ANGLE</stage_direction> <scene_description>Shooting into his face.</scene_description> <character>DRISCOLL</character> <parenthetical>(annoyed)</parenthetical> <dialogue>It didn't get you, huh?</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY</stage_direction> <character>DENHAM</character> <dialogue>I got to cover, same as you. (looking around apprehensively)</dialogue> <dialogue>I guess we're safe now.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll in foreground, Denham in background.</scene_description> <character>DRISCOLL</character> <dialogue>Safe like a cow in the stockyards. (glances down ravine)</dialogue> <dialogue>There's only two of us left alive, to save that girl.</dialogue> <character>DENHAM</character> <dialogue>I can't get across now.</dialogue> <character>DRISCOLL</character> <dialogue>I don't want you to. You got to lam back for some more of them bombs.</dialogue> <character>DENHAM</character> <dialogue>You wouldn't follow that beast alone?</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - MED. SHOT - DAY - REVERSE ANGLE</stage_direction> <scene_description>To get fence.</scene_description> <character>DRISCOLL</character> <dialogue>Someone's got to keep on his trail while it's hot. Maybe I'll get a chance to snake her away -- and if I don't I'll figure some way to signal your party where he's taken her.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. LOG - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll in foreground, Denham in background.</scene_description> <character>DENHAM</character> <dialogue>I guess that's the only out.</dialogue> <character>DRISCOLL</character> <dialogue>Sure it is. Get going now -- and don't get croaked till you give the office to Englehorn.</dialogue> <character>DENHAM</character> <parenthetical>(starts into shrubbery - waves back)</parenthetical> <dialogue>O.K., Jack. Good luck.</dialogue> <character>DRISCOLL</character> <dialogue>See you later...maybe (exits camera left)</dialogue> <scene_description /> </scene> <scene> <stage_direction>EXT. JUNGLE POOL - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll plunges into the jungle after Kong. The parrot flutters after him. He crosses by the pool. </scene_description> </scene> <scene> <stage_direction>EXT. TREE - FULL SHOT - DAY</stage_direction> <scene_description>Driscoll comes out to the clearing with the tree. The dead meat-eater lies there. Vultures are feeding on him. Driscoll looks at this. A distant crashing sounds in the woods. He listens and realizes it is Kong crashing through the jungle, carrying the girl. Driscoll starts after him. </scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - FULL SHOT - DAY</stage_direction> <scene_description>Denham makes his way through the jungle, left to right, PAN TO FOLLOW, on his way back to the village.</scene_description> <character>LAP DISSOLVE</character> <scene_description /> </scene> <scene> <stage_direction>EXT. MOUNTAIN - GENERAL VIEW - DAY</stage_direction> <scene_description>Kong crosses foreground of a big shot with mountain and cliff in background. Boy pursues on the run. </scene_description> </scene> <scene> <stage_direction>EXT. POOL - FULL SHOT - DAY</stage_direction> <character>ANIMATION &amp; MIN. TO DO</character> <dialogue>Driscoll runs through the pool and waterfall set after Kong.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. BASE CLIFF - FULL SHOT - DAY</stage_direction> <character>ANIMATION &amp; MIN. TO DO</character> <dialogue>Kong comes from the jungle and starts up the base of a cliff. (Deadfall set of Most Dangerous Game.) Driscoll runs out of</dialogue> <dialogue>the jungle and starts up the cliff after Kong.</dialogue> <character>LAP DISSOLVE</character> <scene_description /> </scene> <scene> <stage_direction>EXT. FISSURE - FULL SHOT - DAY</stage_direction> <scene_description>DISSOLVE IN as Kong climbs to a ledge from which a great fissure in the rock opens into the mountains. He is unaware that the boy is following him. He enters this fissure with the girl. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN - GENERAL VIEW - DAY</stage_direction> <scene_description>A great black pool lies at camera right. Entrance as at back. It has an outlet through the rock through which the water pours out in a waterfall. Steep walls of rock rise to an immense height all around. A trail leads up camera left to a ledge high above. This ledge looks out upon an opening through which daylight pours. It is this daylight which faintly illuminates the subterranean depths below. Kong enters with the girl, passes along the camera left side of the pool towards the trail. The head of the monster rears out the pool. He stares at Kong, who can be seen starting up the path which leads towards the ledge above. The monster lunges for the shore and starts to glide up the trail after Kong. Driscoll enters in the background and at once dunks behind a rock. Kong places the girl on a small ledge beside the trail to his lair. He plunges down over the side of his lair, with a roar, to attack the sea monster. Eve Ann is in the foreground of this shot, on the ledge. Instantly, the water monster winds himself about Kong and draws him toward the pool. Kong fights to keep himself from being drawn into the pool by the monster, whose tail has a purchase in the bottom of the water somewhere. He grips rocks with his feet, locks his great arms about the monster, crushing him, sinking his teeth into the monster's body. The monster in turn winds his coils about the great ape trying to crush him. After a few moments of frantic struggle, accompanied by hideous noises, both lapse into low grunts and hisses as each exerts strength against the other. It is a question of which will be crushed first. Driscoll in the foreground or background of this shot. As the monsters, locked in a death embrace, grow still, hardly moving at all,</scene_description> <character>FADE OUT.</character> <dialogue>FADE IN. THE GREAT GATE - NIGHT - Sailors on guard. Englehorn, 2nd Mate and others in group round Denham who is sitting on the ground, torn, dishevelled, still panting.</dialogue> <character>DENHAM</character> <dialogue>--Skipper, I tell you this Kong is the biggest thing on earth. He shook the men off that log like flies.</dialogue> <character>ENGLEHORN</character> <dialogue>All those men lost! Incredible!</dialogue> <character>DENHAM</character> <dialogue>Driscoll said he'd try to signal us when he found Ann.</dialogue> <character>ENGLEHORN</character> <parenthetical>(groans)</parenthetical> <dialogue>We'll never see either of them again.</dialogue> <character>2ND MATE</character> <dialogue>Don't give up, Skipper. There's still a chance for Driscoll.</dialogue> <character>DENHAM</character> <dialogue>We'll have to wait for daylight. Then we'll bridge the ravine. Where's that other case of bombs?</dialogue> <character>SAILOR</character> <dialogue>Here, sir.</dialogue> <character>ENGLEHORN</character> <dialogue>This--this monster that you saw, will he care for bombs.</dialogue> <character>DENHAM</character> <dialogue>If we can get near enough to use 'em, you bet he'll care. Had any trouble with the natives?</dialogue> <character>ENGLEHORN</character> <dialogue>Yes, just after you left.</dialogue> <character>DENHAM</character> <dialogue>What happened?</dialogue> <character>ENGLEHORN</character> <dialogue>We fired a couple volleys over their heads, and they took to their huts like scared rabbits.</dialogue> <character>DENHAM</character> <dialogue>Gunpowder's something new in their lives, huh?</dialogue> <character>ENGLEHORN</character> <dialogue>They're terrified.</dialogue> <character>2ND MATE</character> <dialogue>They've kept under cover ever since.</dialogue> <character>DENHAM</character> <parenthetical>(to 2nd Mate)</parenthetical> <dialogue>Briggs, get up on the wall and keep your eyes peeled. We'll start at dawn, whether we get a signal for Driscoll or not.</dialogue> <character>LAP DISSOLVE</character> <scene_description /> </scene> <scene> <stage_direction>INT. CAVERN - GENERAL VIEW - NIGHT</stage_direction> <scene_description>DISSOLVE IN on the interior of the cavern. Kong and the water monster are still locked in each other's arms at the edge of the pool. Driscoll is in the foreground behind a rock. Kong manages to exert a last pressure of arms and teeth. The water monster suddenly gives a snakey cry of agony and goes limp. His coils relax. His head falls back. Kong realizes he is dead and extricates himself. He is very tired. He staggers towards the trail, takes the girl from the ledge and ascends to his lair once more. Driscoll comes out from behind his rock to watch this. </scene_description> </scene> <scene> <stage_direction>INT. TRAIL - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong takes the girl up into his lair, shooting towards lair. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>This lair opens out upon the mountain side at a great height. The opening is the eye of the legendary Skull after which the island is named. This shot looking from the opening into the lair as Kong brings the girl up into the lair from the trail. (Miniature and matte.) He goes to: </scene_description> </scene> <scene> <stage_direction>EXT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>--the ledge outside the opening, overlooking the island. SIDE SHOT. He sets her down. Then he towers over her, silhouetted against the rising moon, he gives a triumphant roar. He beats his chest, defying the world outside. Ann shrieks. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN - GENERAL VIEW - NIGHT</stage_direction> <scene_description>Driscoll hears her cry and starts cautiously up the trail to the lair. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Now Kong, in the side angle, squats and takes up the girl in his great hand. She tries to run away. He lets her run to the edge of the trail, then catches her and pulls her back, as a cat might play with a mouse. Repeat this action. The second time, he takes her up in his hand and stares at her. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - SEMI CLOSE UP - NIGHT</stage_direction> <scene_description>Kong stares at the girl with a puzzled, interested expression. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - SEMI CLOSE UP - NIGHT</stage_direction> <scene_description>The girl in his hand looks back at him, terrified. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong, in side angle, begins to pick her clothes off, as a monkey might pick a rag doll to pieces. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - MED. SHOT - NIGHT</stage_direction> <scene_description>Ann shrinks and screams as her clothes are pulled off bit by bit. </scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - FULL SHOT - NIGHT</stage_direction> <scene_description>Driscoll comes up the trail. He can hear the girl's screams. He hurries. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>The girl is almost naked. SIDE ANGLE. Kong is still picking at her when he turns startled. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - SEMI CLOSE UP - NIGHT</stage_direction> <scene_description>Kong looks alert and startled toward the trail. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong puts the girl down and goes to look over the edge of the trail. SIDE ANGLE. The girl at once retreats to the edge of the outer edge of the lair, the lair which overlooks the landscape without. </scene_description> </scene> <scene> <stage_direction>INT. TRAIL - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong looks down upon the trail from the lair above, this from cavern in train set, shooting into Kong's face and the boy's back. Driscoll can be seen below Kong, flattening himself into a crevice in the rocks. Kong looks down, trying to see him, much puzzled over the source of the noise. </scene_description> </scene> <scene> <stage_direction>EXT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>This shot from outside looking in. The girl looks terrified as she sees: </scene_description> </scene> <scene> <stage_direction>INT. LAIR AND MOUNTAIN - GENERAL VIEW - NIGHT</stage_direction> <scene_description>A giant meat-eating bird (petrodactyl) high above her, wheeling. Girl in foreground here. </scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN - LONG SHOT - NIGHT</stage_direction> <scene_description>This shot taken with bird in foreground, ZOOMING down towards girl, seen on lair far below, as the bird dives. CAMERA ZOOMS with bird. </scene_description> </scene> <scene> <stage_direction>EXT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Ann screams as the bird seizes her. SIDE ANGLE. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong, peering down the trail, hears noise and turns to rush back. Boy in foreground. </scene_description> </scene> <scene> <stage_direction>EXT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>He catches the bird out of the air just as it starts to fly away with the girl. A terrific fight between the two. The girl runs back towards the trail. SIDE ANGLE here. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Driscoll comes up over the edge of the lair as the girl runs in. Shot from looking outside looking in. He sees the girl. He rushes to seize her. He tries to rush her back towards the trail. As he does do, Kong finishes wringing the bird's neck and turns to see the intruder. </scene_description> </scene> <scene> <stage_direction>INT. LOG - SEMI CLOSE UP - NIGHT</stage_direction> <scene_description>Kong's face as he sees Driscoll with the girl and roars angrily. </scene_description> </scene> <scene> <stage_direction>INT. LAIR - FULL SHOT - NIGHT</stage_direction> <scene_description>Shot from outside looking in. Kong starts toward them. </scene_description> </scene> <scene> <stage_direction>INT. TRAIL - FULL SHOT - NIGHT</stage_direction> <scene_description>Driscoll takes the only means of escape possible. He is on the inner edge of the lair, overlooking the subterranean pool. Seizing the girl about the waist, he dives off with her, just in time to avoid Kong's grasp. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN POOL - FULL SHOT - NIGHT</stage_direction> <scene_description>They land in the pool and come up. This a shot of surface of pool. </scene_description> </scene> <scene> <stage_direction>INT. TRAIL - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong rushes down the trail after them. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN - GENERAL VIEW - NIGHT</stage_direction> <scene_description>Kong, at the edge of the pool. He tries to reach them as they swim towards the orifice. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN POOL - FULL SHOT - NIGHT</stage_direction> <scene_description>His great hand just misses them in the water. They dive. He reaches for them again. </scene_description> </scene> <scene> <stage_direction>INT. TANK - FULL SHOT - NIGHT</stage_direction> <scene_description>UNDERWATER SHOT as his hand tries to seize them. </scene_description> </scene> <scene> <stage_direction>INT. CAVERN POOL - FULL SHOT - NIGHT (MINIATURE)</stage_direction> <scene_description>The subterranean outlet, through which the water of the pool pours out in a waterfall to the mountain side without. They comes up just in time to be sucked through it. (Miniature figure) </scene_description> </scene> <scene> <stage_direction>EXT. WATERFALL - FULL SHOT - NIGHT (MINIATURE)</stage_direction> <scene_description>They are seen going over the waterfall as it pours out of the mountain. They are swept down the torrents below. (Miniature figures) </scene_description> </scene> <scene> <stage_direction>INT. CAVERN - GENERAL VIEW - NIGHT</stage_direction> <scene_description>Kong roars furiously. He rushes out through the entrance. </scene_description> </scene> <scene> <stage_direction>EXT. RAPIDS - FULL SHOT - NIGHT</stage_direction> <scene_description>The boy and girl are swept down rapids. </scene_description> </scene> <scene> <stage_direction>EXT. FISSURE - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong comes out of the fissure and starts down the edge of the cliff. </scene_description> </scene> <scene> <stage_direction>EXT. TORRENT - FULL SHOT - NIGHT</stage_direction> <scene_description>Driscoll pulls the girl ashore. He helps her out, supporting her. They disappear into the jungle. FADE OUT.</scene_description> <character>FADE IN</character> <scene_description /> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>--on Englehorn's party grouped about the inner side of the great gate. It is closed. The ship's party have lit a bonfire, about which there are grouped with their arms, including Denham and Englehorn. At the top of the wall, sailors are standing watch. </scene_description> </scene> <scene> <stage_direction>EXT. WALL TOP - MED. OR FULL SHOT - NIGHT</stage_direction> <scene_description>One of the sailors at the top of the wall suddenly grabs the arm of another and points as he sees Driscoll and Ann coming out of the woods. They are visible in the background. (Double print silhouettes.) They look to see -- </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>-- Driscoll and Ann, from their angle, as they come from the jungle Driscoll is carrying the girl. (This using set of Kong's original entrance.) </scene_description> </scene> <scene> <stage_direction>EXT. WALL TOP - MED. OR FULL SHOT - NIGHT</stage_direction> <scene_description>The sailor who saw this calls down to those below.</scene_description> <character>LOOKOUT ON WALL</character> <parenthetical>(shouts down)</parenthetical> <dialogue>Driscoll and the lady -- coming up from the woods, sir.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>A commotion at the foot of the wall. All spring to their feet.</scene_description> <character>ENGLEHORN</character> <dialogue>Gott sei dank!</dialogue> <scene_description>Driscoll and Ann - as the rescue party runs up to them.</scene_description> <character>DENHAM</character> <dialogue>Give her to me. (takes the girl from Driscoll)</dialogue> <character>ENGLEHORN</character> <parenthetical>(grasping Driscoll's hand)</parenthetical> <dialogue>Good man, Jack!</dialogue> <scene_description>Driscoll almost collapses.</scene_description> <character>ENGLEHORN</character> <parenthetical>(half supporting him, pulls flask from his pocket)</parenthetical> <dialogue>Here.</dialogue> <scene_description>Driscoll takes it, staggers over to Ann. She is lying on ground, Denham kneeling beside her. Driscoll bends over her, gives her a drink. She chokes over it, pushes it away.</scene_description> <character>ANN</character> <dialogue>I'm all right. Oh Jack.</dialogue> <scene_description>She hides her face against him.</scene_description> <character>ENGLEHORN</character> <dialogue>Now, now. You're safe. We'll be back on the ship in no time.</dialogue> <scene_description>Driscoll is kneeling, holding Ann in his arms. Denham gets up.</scene_description> <character>DENHAM</character> <dialogue>Wait a minute. What about Kong?</dialogue> <character>DRISCOLL</character> <dialogue>What about him?</dialogue> <character>DENHAM</character> <dialogue>We came here to make a moving picture, but we've found something worth all the movies in the world.</dialogue> <character>ENGLEHORN</character> <parenthetical>(can't believe his ears)</parenthetical> <dialogue>What!</dialogue> <character>DENHAM</character> <dialogue>We've got the bombs. If we capture him alive --</dialogue> <character>DRISCOLL</character> <dialogue>You're crazy. Anyway, he's on top of a cliff where an army couldn't get at him.</dialogue> <character>DENHAM</character> <dialogue>If he chooses to stay there.</dialogue> <scene_description>They all stare at him.</scene_description> <character>DENHAM</character> <dialogue>We've got something he wants.</dialogue> <scene_description>He looks at Ann. She shrinks in horror.</scene_description> <character>DRISCOLL</character> <parenthetical>(furiously)</parenthetical> <dialogue>Something he won't get again.</dialogue> <scene_description>The roar of KONG is heard in the jungle.</scene_description> <character>DRISCOLL</character> <dialogue>He's followed us!</dialogue> <scene_description>Ann screams, Driscoll puts arms round her. </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong bursts from the jungle. Sees them and beats his breast. </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - GENERAL VIEW - NIGHT</stage_direction> <scene_description>All run for the gate. </scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE SQUARE - GENERAL VIEW - NIGHT</stage_direction> <scene_description>This SHOT shooting towards village street, as native warriors, alarmed at sound of Kong - which can be heard - come running towards gate with weapons in hand. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>The sailors at the gate hear the natives running up behind them and snatch up weapons, ready to defend themselves. The natives, however, run up, holding their hands, with weapons above their heads, to show no harm is meant, shouting "KONG, KONG," and indicating with gestures that the gate must be closed. Some start to pick up the big pole used to keep the gate shut. Before the sailors have time to ask questions, another frightful roar and drumming is heard beyond the wall. </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>REVERSE ANGLE as Kong, in the foreground, pursues the people in the background. (Using Most Dangerous Game jungle glass). </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>The party who went to meet the boy and girl, with boy and girl, run through the gate, past natives and sailors.</scene_description> <character>DENHAM</character> <parenthetical>(shouts)</parenthetical> <dialogue>Shut the gate - shut the gate.</dialogue> <character>ENGLEHORN</character> <dialogue>All hands on the gate.</dialogue> <character>2ND MATE</character> <parenthetical>(blows whistle)</parenthetical> <dialogue>Driscoll runs straight on out of the shot, with Ann, towards village square. The sailors drop their weapons to push the gate closed. The native warriors, who picked up the big pole, now push it against the gate - some sixty of them on it. A few others stand by with weapons - leaders, evidently - shouting orders and encouragements.</dialogue> <scene_description> </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>REVERSE ANGLE - Kong, in the foreground, pursues the people in the background. (Using Most Dangerous Game jungle glass). </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong reaches the gate and gets his foot jammed in it as it closes. (Miniature) </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>The ship's party tries to force the gate shut. Kong gets his arm through it. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - MED. SHOT - NIGHT</stage_direction> <scene_description>The arm lifts a sailor and crushes him or beats him against the gate. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - MED. SHOT - NIGHT</stage_direction> <scene_description>Sailors at the bottom press against the gate frantically to keep Kong out. Kong's foot can be seen blocking the gate. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - MED. SHOT - NIGHT</stage_direction> <scene_description>The great hand drops the sailor, dead. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - MED. SHOT - NIGHT</stage_direction> <scene_description>He falls among the sailors at the bottom of the gate, as they strain keep Kong out. Kong's foot in the shot. </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong throws himself repeatedly against the gate. It begins to wrench loose. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>The sailors press against the gate. They look up, horrified as they see -- </scene_description> </scene> <scene> <stage_direction>EXT. WALL - SEMI CLOSE UP OR MED. SHOT - NIGHT</stage_direction> <scene_description>--the hinges above tearing loose. </scene_description> </scene> <scene> <stage_direction>EXT. WALL - FULL SHOT - NIGHT</stage_direction> <scene_description>They redouble their efforts to keep the gate shut. </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong makes one last lunge at the gate. It rips loose from its hinges -- </scene_description> </scene> <scene> <stage_direction>EXT. ALTAR - FULL SHOT - NIGHT</stage_direction> <scene_description>-- and falls in. The sixty natives on the long pole are crushed. The sailors run for their lives. They have no time to pick up weapons. The few surviving natives with spears - the one's nor on pole - also run. Kong stands in the gate, snarling, beating his chest. He starts after them. Village street, sailors panicking through, taking refuge in huts. Driscoll and Ann run across, behind huts. Denham runs in.</scene_description> <character>DENHAM</character> <dialogue>The bombs! Who's got the bombs!</dialogue> <scene_description>KONG advances down street, towering over huts. He roars and knocks huts aside. Men in foreground run. KONG tears roof off a hut. Interior Hut from Kong's angle. Men cowering in a corner. They look up at camera and shriek. KONG reaches into hut, picks up a native. Exterior, behind a hut. Driscoll, half-carrying Ann. Stops, looks back, hurries her out. KONG looks at native in his hand, throws him aside. Denham runs past after some sailors, one of them carrying the bombs. KONG knocking down more huts. Driscoll and Ann running, trying to keep behind huts. KONG sees them over roofs. Close-up of KONG snarling as he sees: Long shot, Driscoll and Ann clear of village and running for beach. KONG starts after them. The beach, boats drawn up. Sailors running. Denham overtakes them, grabs man with bombs, pulls him around. Man tries to run. Denham hits him, seizes bombs. Driscoll and Ann running toward camera. KONG pursuing. Denham steps forward, throws bombs over Driscoll's head. Bombs burst in front of KONG. Smoke veils him. KONG staggers forward through smoke, coughing. He knocks Denham aside with his hand. He reaches for Driscoll and Ann, and pitches forward. CLOSE SHOT, Driscoll and Ann. KONG'S reaching hand falls into this shot, and he's limp. Village street. Night. Englehorn and Denham.</scene_description> <character>ENGLEHORN</character> <dialogue>Are you hurt?</dialogue> <character>DENHAM</character> <parenthetical>(gets up, pushes Englehorn aside)</parenthetical> <dialogue>Come on. We've got him.</dialogue> <scene_description>Village street. Night. KONG's great side, heaving as he breathes. All crowd around him.</scene_description> <character>DENHAM</character> <parenthetical>(exultant)</parenthetical> <dialogue>He'll be out for hours. Send off to the ship for anchor-chain, Skipper. And tools.</dialogue> <character>ENGLEHORN</character> <dialogue>What are you going to do?</dialogue> <character>DENHAM</character> <dialogue>Build a raft to float him out to the ship. The whole world'll pay to see this!</dialogue> <character>ENGLEHORN</character> <dialogue>No chains will hold -- that.</dialogue> <character>DENHAM</character> <dialogue>We'll give him more than chains. He's always been king of the world. But we'll teach him fear. (his voice rises triumphantly) We're millionaires. I'll share with all of you. Listen, boys a few months from now it'll be in lights on Broadway -- Kong, the Eight Wonder.</dialogue> <scene_description>DISSOLVE TO electric sign on a theatre, "KONG, the Eight Wonder." Tilt down to crowds outside. CLOSEUPS of crowd.</scene_description> <character>1ST MAN</character> <dialogue>What is it, anyhow?</dialogue> <character>2ND MAN</character> <dialogue>They say it's sort of a gorilla.</dialogue> <character>1ST MAN</character> <dialogue>Gee, ain't we got enough of them in New York?</dialogue> <scene_description>Another close-up.</scene_description> <character>YOUNG MAN</character> <parenthetical>(to his girl)</parenthetical> <dialogue>I hear it's bigger'n an elephant.</dialogue> <character>GIRL</character> <parenthetical>(chewing gum)</parenthetical> <dialogue>Does it do tricks or what?</dialogue> <scene_description>Another close-up.</scene_description> <character>WOMAN</character> <parenthetical>(in evening dress)</parenthetical> <dialogue>Heavens, what a mob.</dialogue> <character>HER HUSBAND</character> <dialogue>Well, you would come. And the tickets cost me twenty bucks.</dialogue> <scene_description>Long Shot of crowd, zoom forward over their heads toward the entrance. Dissolve to wings of theatre, shoot toward stage. Ann and Driscoll in foreground, peering toward stage. Ann evening dress. Driscoll dinner jacket.</scene_description> <character>ANN</character> <dialogue>I don't like to look at him, Jack. It makes me feel the way I did that awful day on the island.</dialogue> <character>DRISCOLL</character> <dialogue>I wouldn't have brought you, but you know how Denham insisted.</dialogue> <character>ANN</character> <dialogue>Of course we had to come when he said it would help the show. Do you suppose we'll really make a lot of money, Jack?</dialogue> <character>DRISCOLL</character> <parenthetical>(fussing with his collar)</parenthetical> <dialogue>Enough to pay him back for these clothes, anyway...I never had an open-face suit before.</dialogue> <scene_description>Denham bustles in. Full evening dress, silk hat, gardenia. He is excited and important.</scene_description> <character>DENHAM</character> <dialogue>Hello, you're just on time. You look great, Ann. Glad I dressed you up for this show. Hello, Jack. Ten thousand dollars in the box office. How's that for one night?</dialogue> <character>DRISCOLL</character> <dialogue>Say! That's money!</dialogue> <character>DENHAM</character> <dialogue>Oh, we're going to do that every night. The newspaper boys are coming in now.</dialogue> <scene_description>Group of reporters and photographers come in to Ann, Driscoll, and Denham.</scene_description> <character>DENHAM</character> <dialogue>Miss Darrow, boys. And Mr. Driscoll.</dialogue> <character>1ST REPORTER</character> <dialogue>It was Mr. Driscoll rescued you from the ape, wasn't it?</dialogue> <character>ANN</character> <dialogue>Yes. He was alone. All the sailors with him had been killed.</dialogue> <character>2ND REPORTER</character> <parenthetical>(looking off-stage)</parenthetical> <dialogue>Alone, eh? Whew! How did you tackle that baby?</dialogue> <character>DRISCOLL</character> <dialogue>Aw, Denham's the one that got him. The rest of us were running like rabbits, but Denham had the nerve to stand still and chuck gas-bombs at him.</dialogue> <scene_description>The Reporters turn to Denham, saying "Oh, you're the hero." "Come on spill it," etc.</scene_description> <character>DENHAM</character> <dialogue>No, lay off me. Miss Darrow is the story. If it hadn't been for her, we'd never have got near KONG. He came back to the village for her.</dialogue> <character>3RD REPORTER</character> <dialogue>Beauty and the Beast, huh?</dialogue> <character>DENHAM</character> <dialogue>That's it. Play up that angle. Beauty and the Beast. KONG could have stayed safe where we'd never have got him, but he couldn't stay away from Beauty. That's your story, boys.</dialogue> <character>2ND REPORTER</character> <dialogue>It's a story all right.</dialogue> <character>1ST PHOTOGRAPHER</character> <dialogue>How about a few pictures?</dialogue> <character>DENHAM</character> <dialogue>Wait. I want you to take flashlights on the stage in front of the audience. We'll ring the curtain up now, and I'll make a speech. Tell 'em about KONG and Miss Darrow and Driscoll. Then when I call you, you all come on and take pictures.</dialogue> <scene_description>The photographers ad lib. "Sure," "We'll do that," etc.</scene_description> <character>DENHAM</character> <dialogue>Come on Ann. I want you and Jack there when the curtain goes up.</dialogue> <character>ANN</character> <parenthetical>(shrinking)</parenthetical> <dialogue>Oh, no.</dialogue> <character>DENHAM</character> <dialogue>It's all right. We've knocked some of the fight out of him since you saw him.</dialogue> <scene_description>He urges Ann off. Driscoll follows. Cut to back of theatre, looking toward stage, curtain down. House packed. Denham comes before the curtain. In almost the tones of the circus spieler, he begins:</scene_description> <character>DENHAM</character> <dialogue>Ladies and gentlemen, I am here tonight to tell you a strange story. So strange a story that no one will believe it. But, ladies and gentlemen, seeing is believing, and we -- I and my partners -- have brought back the living proof of our adventure, an adventure in which twelve of our party met terrible deaths.</dialogue> <scene_description>Cut to wings of theatre. Reporters and photographers looking onto the stage.</scene_description> <character>2ND PHOTOGRAPHER</character> <dialogue>Holy smoke, look at that!</dialogue> <character>1ST PHOTOGRAPHER</character> <dialogue>Hope he's tied up good and plenty.</dialogue> <character>1ST REPORTER</character> <dialogue>Sure he is. Denham's taking no chances.</dialogue> <scene_description>Cut to front of theatre. Denham addressing audience.</scene_description> <character>DENHAM</character> <dialogue>- and now, ladies and gentlemen, before I tell you more, I am going to show you the greatest sight your eyes ever beheld. He was the king and the god of the world he knew, but now he comes to civilization, merely a captive, a show to gratify your curiosity. Ladies and gentlemen, look at KONG, the Eight Wonder of the World.</dialogue> <scene_description>The curtain rises to disclose a raised platform, on which is KONG, loaded with chains and so fastened that he can move nothing but his head. Murmurs and exclamations from the audience, a few rise to their feet to get a better look. CUT TO medium shot on stage. Denham takes Ann's hand.</scene_description> <character>DENHAM</character> <dialogue>I want to introduce Miss Ann Darrow. The pluckiest girl I've ever known.</dialogue> <scene_description>Audience applauds.</scene_description> <character>DENHAM</character> <dialogue>There the Beast, and here the Beauty. She has lived through an experience that no other woman ever dreamed of. And she was rescued from the very grasp of KONG by her future husband. I want you to meet a very brave gentleman, Mr. John Driscoll.</dialogue> <scene_description>Audience applauds. Driscoll bows awkwardly.</scene_description> <character>DENHAM</character> <dialogue>Now, before I tell you the full story of our voyage. I am going to ask the gentlemen of the press to come forward, so that the audience may have the privilege of seeing them take the first photographs of KONG and his captors.</dialogue> <scene_description>He looks off-stage and beckons. The press men come on.</scene_description> <character>DENHAM</character> <dialogue>Miss Darrow first, alone. Stand in front of KONG, Ann.</dialogue> <scene_description>Ann reluctantly does so.</scene_description> <character>1ST PHOTOGRAPHER</character> <dialogue>That's it - That's near enough.</dialogue> <character>2ND PHOTOGRAPHER</character> <dialogue>Ready. Hold it. Smile, please.</dialogue> <scene_description>The flashlights go off. KONG roars. Ann looks round in terror, with a startled cry.</scene_description> <character>DENHAM</character> <dialogue>Don't be alarmed, ladies and gentlemen. Those chains are made of chrome steel. He can't move.</dialogue> <scene_description>Flashlights again. KONG roars and strains at chains. Ann covers her face. Driscoll steps forward to her.</scene_description> <character>DRISCOLL</character> <dialogue>It's all right, Ann.</dialogue> <character>DENHAM</character> <dialogue>Get them together, boys. They're going to be married tomorrow.</dialogue> <character>1ST PHOTOGRAPHER</character> <dialogue>Put your arm around her, Driscoll.</dialogue> <scene_description>Driscoll does so. Flashlights. KONG roars, struggles. Ann hides her face against Driscoll.</scene_description> <character>DENHAM</character> <dialogue>Wait. Hold on. He thinks you're attacking the girl.</dialogue> <character>1ST PHOTOGRAPHER</character> <dialogue>Let him roar. Swell picture. (to flashlight men)</dialogue> <dialogue>Get this.</dialogue> <scene_description>Flashlights again. With a frightful roar, KONG breaks his chains. Everyone stands paralyzed, as KONG beats his chest, roaring. The Driscoll grabs Ann, and rushes for door. The theatre; reporters, attendants running for safety. Audience in panic. KONG roaring. Driscoll and Ann through door. KONG starts across arena. Driscoll and Ann in street.</scene_description> <character>DRISCOLL</character> <dialogue>My hotel! Across the street!</dialogue> <scene_description>They run. KONG pushes down big door. Crowded street seen beyond him. He plunges through. KONG comes up to hotel. Door is too small for him. He peers through big window. Driscoll and Ann in elevator going up. She is clinging to him in panic. KONG outside hotel. A woman, several stories above, looks out window, sees KONG, screams. KONG looks up, sees woman, thinks it is Ann, starts to climb. Woman sees him coming, goes back from window. KONG climbing up building. A room in hotel, five men playing poker.</scene_description> <character>1ST MAN</character> <dialogue>Sweeten it - sweeten it.</dialogue> <scene_description>They all ante, while 2nd Man deals.</scene_description> <character>3RD MAN</character> <dialogue>What's all the doings over there at the theatre?</dialogue> <character>2ND MAN</character> <dialogue>Sounds like a three-alarm fire.</dialogue> <character>4TH MAN</character> <dialogue>Aw, some movie stunt about a monkey.</dialogue> <character>5TH MAN</character> <dialogue>I hear the theatre's sold out.</dialogue> <character>3RD MAN</character> <dialogue>This town sure is full of hicks.</dialogue> <character>1ST MAN</character> <dialogue>Barnum was right.</dialogue> <scene_description>KONG appears at window. They panic. Another room in hotel. Ann and Driscoll rush in, he slams door. Ann clings to him for a moment, then collapses on bed, gasping and sobbing. He kneels beside her.</scene_description> <character>DRISCOLL</character> <dialogue>Hush, Ann. Hush, darling. It's all right. You're safe here.</dialogue> <scene_description>KONG climbing building. Another hotel room. A woman in negligee at telephone.</scene_description> <character>WOMAN</character> <dialogue>Yes, Jimmy, it's Mabel - I been waiting for you to call up.</dialogue> <character>JIMMY</character> <dialogue>Howya, kid. Glad I'm back?</dialogue> <character>WOMAN</character> <dialogue>You bet I'm glad you're back...I got your postal. Talk louder, Jimmy, there's fire-engines going by. I can't hear...</dialogue> <character>JIMMY</character> <dialogue>Gonna step out with me, kid? Ya save the evening like I told ya?</dialogue> <character>MABEL</character> <dialogue>Sure I saved the evening...Nine o'clock'll be swell...And say, wait until you see my new outfit...All right, I'll be there...Say, when did I ever break a date with you, honey...</dialogue> <character>JIMMY</character> <dialogue>Whatsa matter? Hey, kid, what yer yelling -- Mabel! Mabel! Operator, something's happened!</dialogue> <scene_description>KONG at window. He reaches in, picks her up, pulls her out window. Exterior, hotel wall. KONG looks at her, sees she isn't Ann, drops her disgustedly. Driscoll's hotel room. Ann sitting on bed. Driscoll kneeling beside her.</scene_description> <character>DRISCOLL</character> <dialogue>We'll stay here, dear. I won't leave you. They'll get him. It's all right.</dialogue> <character>ANN</character> <parenthetical>(gasping)</parenthetical> <dialogue>It's a like a horrible dream. It's like -- being back there -- on the island.</dialogue> <scene_description>Driscoll puts his arms round her, murmurs soothingly. KONG appears in window. Driscoll starts up. Ann turns and sees, shrieks, cowers on bed. KONG smashes window, his hand comes in, reaching. Driscoll picks up a chair and attacks hand. KONG'S hand knocks him across room, where he lies senseless. KONG'S hand drags the bed to the window, picks up Ann, takes her out window. Driscoll staggers to window, looks up after KONG, turns and rushes out. (Changes - 9/6/32) Hotel corridor. Denham running toward camera, followed by pop eyed bell-boys, clerks and waiter. Door to Driscoll's room opens, and Driscoll staggers out, almost colliding with Denham.</scene_description> <character>DENHAM</character> <dialogue>Jack! He's climbing up, outside there.</dialogue> <character>DRISCOLL</character> <dialogue>He got Ann. He's taking her up.</dialogue> <character>DENHAM</character> <dialogue>The roof! Quick!</dialogue> <scene_description>They rush off. CUT TO roof of hotel. Denham and Driscoll run in. They see KONG, holding Ann, going over another roof. He goes out of sight.</scene_description> <character>DENHAM</character> <dialogue>What'll we do?</dialogue> <character>DRISCOLL</character> <parenthetical>(turning to go)</parenthetical> <dialogue>Fire Department searchlights. They'll keep him in sight.</dialogue> <scene_description>CUT TO - motorcycle cops. Crowd pointing and shouting. Policeman turning in alarm. Hook and ladder. KONG climbing. Cornice breaks. Cornice crashes on man. Firehouse, searchlights coming out. Siren. Mounted police ride out. Crowd in street. Searchlights on roof.</scene_description> <character>1ST FIREMAN</character> <dialogue>Where is he?</dialogue> <character>2ND FIREMAN</character> <dialogue>He went that way.</dialogue> <character>1ST FIREMAN</character> <dialogue>He may have fallen.</dialogue> <scene_description>Searchlight settles on Kong on distant roof.</scene_description> <character>1ST FIREMAN</character> <dialogue>There! There he is.</dialogue> <character>2ND FIREMAN</character> <dialogue>He's still got the girl.</dialogue> <scene_description>Another searchlight picks up Kong.</scene_description> <character>3RD FIREMAN</character> <dialogue>He's turned. He's going back.</dialogue> <scene_description>Police station, cops run out with guns. Wall of windows, full of heads, craning. Cop telephoning from street-box. Roof with searchlight. Kong not seen. Light moves to and fro, looking.</scene_description> <character>2ND FIREMAN</character> <dialogue>Where's he gone?</dialogue> <scene_description>Two policemen enter.</scene_description> <character>1ST COP</character> <dialogue>Can you see him?</dialogue> <character>2ND FIREMAN</character> <dialogue>No. Lost sight of him half and hour ago.</dialogue> <scene_description>Crowd in street. Two men looking up.</scene_description> <character>1ST MAN</character> <dialogue>They say he's disappeared.</dialogue> <character>2ND MAN</character> <dialogue>Well, what could he hide in?</dialogue> <character>1ST MAN</character> <dialogue>Gee, I hope he don't come down in the street.</dialogue> <character>2ND MAN</character> <dialogue>You said it.</dialogue> <scene_description>Police Station. Sergeant at desk with phone. Denham and Driscoll pacing the floor. Phone rings.</scene_description> <character>SERGEANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Yes? Yes...No, not yet...Headquarters is broadcasting the reports. (he hangs up)</dialogue> <character>THE LOUDSPEAKER</character> <dialogue>Kong, the giant ape, is still at large. He has not been seen since midnight. The whole city is aroused. We are hoping for a report at any moment.</dialogue> <scene_description>Driscoll sits down with a groan and puts his head in his hands. Denham rests a hand on his shoulder.</scene_description> <character>DENHAM</character> <dialogue>Snap out of it, Jack. They're bound to find him when morning comes.</dialogue> <character>DRISCOLL</character> <dialogue>I can't do anything. Ann's out there -- somewhere --</dialogue> <character>DENHAM</character> <dialogue>But we're pretty sure he won't hurt her.</dialogue> <character>DRISCOLL</character> <dialogue>He may have dropped her. She may be lying somewhere.</dialogue> <character>THE LOUDSPEAKER</character> <dialogue>Attention, all stations! Kong has been seen again. He is on the roofs of the warehouses at 41st Street. He is going toward the East River. He is still carrying Ann Darrow.</dialogue> <scene_description>Driscoll leaps up, clutching Denham. Phone on desk rings.</scene_description> <character>SERGEANT</character> <parenthetical>(answering it)</parenthetical> <dialogue>Yes?...Yes, the report just come in...I don't know. What can we do without killing the girl, too?</dialogue> <character>DENHAM</character> <dialogue>If he puts Ann down --</dialogue> <character>SERGEANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>It'll be daylight in an hour. Keep him in sight.</dialogue> <character>THE LOUDSPEAKER</character> <dialogue>Kong is going West. He is making for the Empire State Building.</dialogue> <character>DRISCOLL</character> <parenthetical>(to Sergeant)</parenthetical> <dialogue>If he goes up there, what can we do?</dialogue> <character>SERGEANT</character> <dialogue>We won't be able to get near him.</dialogue> <character>THE LOUDSPEAKER</character> <dialogue>Kong is climbing the Empire State. He is still carrying Ann Darrow.</dialogue> <character>DENHAM</character> <dialogue>That's licked us.</dialogue> <character>DRISCOLL</character> <dialogue>There's one thing that hasn't been tried.</dialogue> <character>SERGEANT</character> <dialogue>What?</dialogue> <character>DRISCOLL</character> <dialogue>Airplanes. If he should put Ann down -- if they could fly near enough to pick him off -- without hitting Ann --</dialogue> <character>SERGEANT</character> <dialogue>You're right! Planes -- as soon as it's daylight -- (he turns to phone and starts to call)</dialogue> <scene_description>CUT TO planes taking off. Crowd in street, gazing up. Kong on top of Empire State. He puts Ann down and beats his chest. An airplane squadron, flying in formation. The planes over New York. Pilot looks over side, gives signal to rest of squadron. Entrance to Empire State, crowd around doors, police holding them back. Denham, Driscoll, with two policemen, push their way through crowd. They pause in door.</scene_description> <character>DENHAM</character> <dialogue>Here comes the planes.</dialogue> <character>POLICEMAN</character> <dialogue>They'll get him.</dialogue> <character>DRISCOLL</character> <dialogue>Can they shoot him and not hit Ann? (he starts inside)</dialogue> <character>POLICEMAN</character> <dialogue>Hold on. Don't you get on that roof too.</dialogue> <character>DENHAM</character> <dialogue>Give the pilots a chance, Jack.</dialogue> <scene_description>They all exit into building. Top of Empire State. Dawn. Kong turns and looks up at a plane, roars and beats his chest. In plane, shot over pilot's shoulder, as plane dives at Kong. Top of Empire State. Kong snatches at plane and drops it into street. In the street, plane drops and burns. Top of Empire State. Kong roars and beats his chest. In 2nd plane, observer taps pilot and points. They dive. Top of Empire State. Plane banks around Kong, firing machine gun. Close shot of Kong - he is hit by bullets, staggers. Shot of Ann on ledge. Another plane zooms past, firing at Kong. Close shot of Kong, hit again. He coughs, looks down at his wounds. Looks at Ann, reaches as though to pick her up. Top of Empire State. More planes zoom down. Kong stands erect, drumming on his chest. The planes sweep by, firing. He staggers, turns slowly, and topples off roof. </scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - GENERAL VIEW - NIGHT (STOCK)</stage_direction> <scene_description>Fire engines, searchlight units, police cars, motorcycles and what not, speeding through crowded streets with sirens blowing. This would be particularly effective in some well recognized location such as Times Square. </scene_description> </scene> <scene> <stage_direction>EXT. 3RD ROOFS - FULL SHOT - NIGHT</stage_direction> <scene_description>Kong, carrying the girl, runs across roofs to the edge of a city street. He leaps across the street, or alley, if the distance is too great, and catches a window of a building on the opposite side. He pulls himself up and continues the chase. Crowds can be seen below. </scene_description> </scene> <scene> <stage_direction>EXT. 2ND STREET - FULL SHOT - NIGHT</stage_direction> <scene_description>Confusion in the street below this building as the crowds of police, firemen, etc., rush after Kong.</scene_description> <character>LAP DISSOLVE</character> <scene_description /> </scene> <scene> <stage_direction>EXT. 4TH ROOFS - FULL SHOT - DAWN</stage_direction> <scene_description>DISSOLVE IN on an armed party, including Driscoll and police officer, as they rush across roof tops and stop bewildered as they see no trace of Kong. The first streaks of dawn are tinging the sky. </scene_description> </scene> <scene> <stage_direction>EXT. 4TH ROOFS - MED. SHOT - DAWN</stage_direction> <character>POLICE CAPTAIN</character> <dialogue>It's no use. All night we've been after him -- and never got near enough to take a shot.</dialogue> <character>POLICE LIEUTENANT</character> <dialogue>It'll be daylight soon. That ought to help.</dialogue> <character>POLICE CAPTAIN</character> <dialogue>Help the ape, maybe.</dialogue> <character>DRISCOLL</character> <dialogue>There he goes -- making for the Empire State Building.</dialogue> <scene_description>Points to -- </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN</stage_direction> <scene_description>-- Kong with the girl seen in the distance, going across roofs toward Empire State Building background. Probably no men needed in this shot, as building gives size. </scene_description> </scene> <scene> <stage_direction>EXT. 4TH ROOFS - MED. SHOT - DAWN</stage_direction> <character>POLICE CAPTAIN</character> <dialogue>If he takes the girl up there with him, we're fair beat.</dialogue> <character>POLICE LIEUTENANT</character> <dialogue>That's right. We can't shoot him down while he has the girl.</dialogue> <character>DRISCOLL</character> <dialogue>Wait a minute. There's one thing we haven't tried.</dialogue> <character>POLICE CAPTAIN</character> <dialogue>And what is that?</dialogue> <character>DRISCOLL</character> <dialogue>Air planes. The army planes from Roosevelt Field. They might find a way to pick him off without touching her.</dialogue> <character>POLICE CAPTAIN</character> <dialogue>You're right. (to Lieutenant)</dialogue> <dialogue>Get to a phone, Tim. Call the field, - burn up the wires -</dialogue> <scene_description>As they move away, DISSOLVE OUT. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>DISSOLVE IN on the Empire State Building, as Kong climbs it with the girl. The first streaks of Dawn light the sky. </scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - GENERAL VIEW - DAWN</stage_direction> <scene_description>Military planes as they take off from an airport. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>The dome of the Empire State Building as Kong climbs up. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>The crowd in the street, watching this aghast. There are police cars, motorcycles, fire engines, and two of three searchlight units, keeping their lights fixed on him. Police are keeping the crowd back. VERTICAL SHOT DOWN. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>Kong climbs to stand on the dome, holding the girl. He beats his chest, defying the whole civilized world. </scene_description> </scene> <scene> <stage_direction>EXT. SKY AND CITY - GENERAL VIEW - DAWN</stage_direction> <scene_description>An airplane squadron over New York, flying toward the Empire State Building. If desirable, this can be done without city below, just against sky backing. The planes are pursuit ships. </scene_description> </scene> <scene> <stage_direction>EXT. 1ST AIRPLANE - MED. SHOT - DAWN</stage_direction> <scene_description>The squadron leader looking over the side of the plane. He waves a signal to the other and dives. </scene_description> </scene> <scene> <stage_direction>EXT. SKY AND CITY - FULL SHOT - DAWN</stage_direction> <scene_description>The leader dives toward the Empire State Building, seen far below, Kong is just a dot on the roof. The rest continue to fly in formation. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>Kong hears the planes. He turns to look as the squadron leader banks about the top of the building, making a reconnaissance. Kong puts the girl down and suddenly reaches out, snatches the plane out of the air. He crumples it and hurls it to -- </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>-- the street below. It lands just short of the crowd and bursts into flames. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>Kong again roars angry defiance at the world. </scene_description> </scene> <scene> <stage_direction>EXT. 2ND AIRPLANE - MED. SHOT - DAWN</stage_direction> <scene_description>The observer of a 2nd plane taps the pilot's back, indicates here's their chance. The military pilot of the second airplane fires machine gun as he dives. (NOTE: A LONG SHOT of Kong in dome from angle of plane would it it's possible, help observer get this over. Maybe ZOOM SHOT, plane in background) </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>The airplane whizzes by Kong, firing into him. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN</stage_direction> <scene_description>Kong is seen from the waist up. The bullet strikes him about the chest. He staggers. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN</stage_direction> <scene_description>The girl watching, terrified. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>Another airplane zooms by firing into Kong. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN</stage_direction> <scene_description>Again Kong is hit. He coughs. He looks down at the girl. He looks at his wounds, realizes he is weakening. He moves to -- </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>-- pick her up. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - MED. SHOT</stage_direction> <scene_description>As he stares at her with a puzzled, hurt look. The he puts her -- </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>-- down, straightens up, roars defiance up at the planes. He coughs as he drums his chest, daring them to come on. </scene_description> </scene> <scene> <stage_direction>EXT. CITY AND SKY - FULL SHOT - DAWN</stage_direction> <scene_description>The remainder of the squadron dive together towards the Empire State Building. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>They sweep past Kong with a roar of machine guns. He staggers, turns and slowly topples off the roof. </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN</stage_direction> <scene_description>Kong as he falls to -- </scene_description> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN</stage_direction> <scene_description>-- the street below. He lands beside the burning airplane. </scene_description> </scene> <scene> <stage_direction>EXT. DOME OF THE EMPIRE STATE - DAWN</stage_direction> <scene_description>Ann lying on ledge. Driscoll, Denham, couple of cops rush in, as Kong goes over. Driscoll leaps across, gets Ann, he is incoherent with terror for her. He kisses her wildly, talking all the time.</scene_description> <character>DRISCOLL</character> <dialogue>Ann! Ann! Are you all right? Oh, my darling, sure you're not hurt?</dialogue> <character>ANN</character> <dialogue>Ad lib.</dialogue> <scene_description>Denham and one cop lean over the parapet looking down at the fallen Kong.</scene_description> <character>COP</character> <parenthetical>(drawing a long breath)</parenthetical> <dialogue>Gee, what a sight. Well, the aviators got him.</dialogue> <character>DENHAM</character> <dialogue>Oh no, 'twasn't the aviators (Cops looks question)</dialogue> <dialogue>It was Beauty killed the Beast.</dialogue> <scene_description>Cop stares at him, very puzzled.</scene_description> <character>FADE OUT.</character> </scene> </script>

In New York Harbor, filmmaker Carl Denham, known for wildlife films in remote and exotic locations, charters Captain Englehorn's ship, the Venture, for his new project. However, he is unable to secure an actress for a female role he has been reluctant to disclose. Searching in the streets of New York City, he finds Ann Darrow and promises her the adventure of a lifetime. The crew boards the Venture and sets off, during which the ship's first mate, Jack Driscoll, falls in love with Ann. Denham reveals to the crew that their destination is in fact Skull Island, an uncharted territory. He alludes to a mysterious entity named Kong, rumored to dwell on the island. The crew arrives and anchor offshore. They encounter a native village, separated from the rest of the island by an enormous stone wall with a large wooden gate. They witness a group of natives preparing to sacrifice a young woman termed the "bride of Kong". The intruders are spotted and the native chief stops the ceremony. When he sees the blonde-haired Ann, he offers to trade six of his tribal women for the "golden woman". They refuse him and return to the ship. That night, the natives kidnap Ann from the ship and take her through the gate and onto an altar, where she is offered to King Kong, a giant gorilla-like beast. Kong carries a terrified Ann away as Denham, Jack and some volunteers enter the jungle in hopes of rescuing her. They encounter a living dinosaur, a charging Stegosaurus, which they manage to kill. Soon after, the crew runs into an aggressive Brontosaurus and eventually Kong himself, leaving Jack and Denham as the only survivors. After Kong slays a Tyrannosaurus rex that tried to eat Ann, Jack continues to follow them while Denham returns to the village for more men. Upon arriving in Kong's mountain lair, Ann is menaced by a snake-like Elasmosaurus, which Kong also kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Jack reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, the two drop into the water below. They run through the jungle and back to the village, where Denham, Englehorn, and the surviving crewmen are waiting. Kong, following, breaks open the gate and relentlessly rampages through the village. Onshore, Denham, now determined to bring Kong back alive, renders him unconscious with a gas bomb. Shackled in chains, Kong is taken to New York City and presented to a Broadway theatre audience as "Kong, Eighth Wonder of the World!" Ann and Jack are brought on stage to join him, surrounded by a group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose as the audience flees in horror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. He rampages through the city as Ann screams in his grasp; wrecking a crowded elevated train and eventually climbing the Empire State Building. At its top, he is attacked by four biplanes. Kong destroys one, but finally succumbs to their gunfire. He gazes at Ann one last time before falling to his death. Jack takes an elevator to the top of the building and reunites with Ann. Denham arrives and pushes through a crowd surrounding Kong's corpse in the street. When a policeman remarks that the planes got him, Denham tells him, "No, it wasn't the airplanes. It was Beauty that killed the Beast."

Someone to Watch Over Me_1987

tt0094008

<script> <scene> <stage_direction>INT. MIKE'S HOUSE - QUEENS - EARLY EVENING</stage_direction> <scene_description>Winter . A celebration . Close friends , cop friends , family all here to celebrate patrolman MIKE KEEGAN 'S promotion to detective , NYPD . The party spills through the house - front room , dining room , kitchen , with a small fenced backyard visible beyond that . A community of cops on their off - hours , their wives , kids . A mix of generations , all the way from MIKE 'S kid , TOMMY , and his FRIENDS , playing among the adults , to an elderly woman observing quietly from her chair at the side . The mood 's warm , spirited ; there 's a lot of friendship here . ANGLE : MIKE , in the dining room , posing for a photo with his ten - year - old son , TOMMY , proudly displaying his new gold detective 's SHIELD pinned to his jersey .</scene_description> <character>MIKE</character> <parenthetical>( calling to his wife , for a family portrait . )</parenthetical> <dialogue>Ellie! C'mon! Over here!</dialogue> <scene_description>ANGLE : ELLIE , MIKE 'S wife of fifteen years , a local product , bright and lively , and clearly proud as hell of her man . She frees herself from the crush of friends , hurrying to join him . ANGLE : MIKE , ELLIE giving him a full - mouthed smack on the lips as he hooks her into his arms . The picture 's snapped , to a chorus of hoots and hollers . Behind , a banner and poster blowup of Mike in gun and uniform read : `` FINALLY THEY 'VE RECOGNIZED YOU , DETECTIVE KEEGAN . '' SCOTTY , a patrolman with the 117th and one of MIKE 'S best pals , puts his hand vigorously , in congratulations , on MIKE 'S SHOULDER .</scene_description> <character>SCOTTY</character> <parenthetical>( to Mike . )</parenthetical> <dialogue>No joke? You're being transferred to the 19th as your first assignment? Who the hell loves your ass downtown?</dialogue> <character>ROOKIE</character> <parenthetical>( naively . )</parenthetical> <dialogue>What's the 21st?</dialogue> <scene_description>BROOKLYN , a cop about Mike 's age , joins in .</scene_description> <character>SCOTTY</character> <dialogue>What d'you care? You'll never know.</dialogue> <character>BROOKLYN</character> <dialogue>Manhattan. The Upper East Side, East 59th to 96th.</dialogue> <scene_description>The ROOKIE stares , impressed .</scene_description> <character>SCOTTY</character> <parenthetical>( to the others . )</parenthetical> <dialogue>Remember Curran from the Sixteenth? He posted a coupla months there on a floater outside the French embassy. He met Jackie Kennedy.</dialogue> <character>BROOKLYN</character> <dialogue>Curran, that fuckin' noodlehead. He probably wrote her up for letting her dog dump on Rockefeller's doorstep.</dialogue> <scene_description>ANGLE ON MIKE , trying to swallow a mouthful of potato salad as a plump and pretty middle - aged woman -LRB- HELEN GREENING -RRB- pulls him into a bear hug , planting a kiss on him .</scene_description> <character>HELEN</character> <dialogue>Mmmmmm - glimmmeee - kisss! I'm so proud of you! What the hell took you so long?</dialogue> <character>MIKE</character> <dialogue>Hey, do n't ask me. Ask the man who put in the good word.</dialogue> <scene_description>ANGLE ON T.J. GREENING , Helen 's husband , Mike 's best friend . He 's forty , stocky , looks up , horsing around with some of the kids in the next room .</scene_description> <character>MIKE</character> <dialogue>If T.J. did n't push for me, I never would've made it.</dialogue> <character>BROOKLYN</character> <dialogue>Bet your ass. I give you six weeks before you're back on the beat, Keegan, they got no room for hero cops.</dialogue> <character>MIKE</character> <dialogue>Appreciate, that vote of confidence, Brook.</dialogue> <character>BROOKLYN</character> <dialogue>Hey, am I supportive, or what?</dialogue> <scene_description>ANGLE ON TOMMY : in the hallway , trying to show SCOTTY 'S date - a `` real '' BIMBO , who 's spilling out of her woolly sweater and tight jeans - how to stand on his SKATEBOARD . She shrieks a laugh , toppling off . HELEN , passing by with an empty platter , catches the action .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - SAME</stage_direction> <scene_description>ELLIE , another WIFE at the sink , wives all ; HELEN enters .</scene_description> <character>HELEN</character> <dialogue>He left Elaine for that?</dialogue> <character>WIFE #1</character> <dialogue>And what about little Scotty?</dialogue> <scene_description>ELLIE continues washing the dishes as HELEN and the WIFE dry . MIKE enters to get more beers .</scene_description> <character>HELEN</character> <parenthetical>( still staring . )</parenthetical> <dialogue>I'd like to tie her tits together.</dialogue> <character>ELLIE</character> <dialogue>That would n't be too difficult.</dialogue> <character>MIKE</character> <parenthetical>( overhearing . )</parenthetical> <dialogue>I bet you think she does n't have a brain in her head. I bet you think the only thing he sees in her is one incredible, dynamite body.</dialogue> <scene_description>He GRINS at their blank stares . ELLIE 'S EYES wryly following . as he moves on out with his beers .</scene_description> <character>HELEN</character> <dialogue>I love your husband, Ellie, but he's a real dork.</dialogue> <character>ELLIE</character> <dialogue>Yeah, but he's my dork.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Night has descended , PEOPLE talking and laughing quietly , MELLOW music is playing - CAMERA FINDING MIKE AND ELLIE , dancing close , moving sensually . It 's impressive . HELEN convinces T.J. to DANCE . SCOTTY and BIMBO join in too . T.J. , whipped , extricates himself and Helen ; tousling Mike 's hair in affection .</scene_description> <character>T.J.</character> <dialogue>We're goin'. Get some sleep, Detective Keegan. You got a new job tomorrow.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>MIKE is holding TOMMY asleep on his shoulder . ELLIE appears , completing the family portrait .</scene_description> <character>MIKE</character> <parenthetical>( a whisper . )</parenthetical> <dialogue>Think I should put the skateboard in bed with him?</dialogue> <character>ELLIE</character> <dialogue>Too kinky.</dialogue> <scene_description>MIKE smiles and climbs the stairs .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>ELLIE in the bathroom , the door open , she brushes her hair . MIKE in bed , thoughtful , a happy man .</scene_description> <character>MIKE</character> <dialogue>Ellie, you know I think it's about time we got outa this place, get us a house of our own. We can afford it now.</dialogue> <character>ELLIE</character> <dialogue>Amen to that. The supermarket's full of assholes.</dialogue> <character>MIKE</character> <dialogue>Take my advice, do n't buy any.</dialogue> <scene_description>MIKE waits for a response . None comes .</scene_description> <character>ELLIE</character> <dialogue>Mike?</dialogue> <character>MIKE</character> <parenthetical>( aware of her change in tone . )</parenthetical> <dialogue>What?</dialogue> <character>ELLIE</character> <dialogue>My ass if falling.</dialogue> <character>MIKE</character> <dialogue>Your what?</dialogue> <character>ELLIE</character> <dialogue>My ass is falling. It is.</dialogue> <character>MIKE</character> <parenthetical>( a laugh . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>ELLIE</character> <parenthetical>( appears in the door ; stricken . )</parenthetical> <dialogue>I just saw it in the mirror, it does n't look like my ass anymore.</dialogue> <character>MIKE</character> <dialogue>Get in bed.</dialogue> <character>ELLIE</character> <dialogue>What am I gon na do? I jog, I do the exercises on TV in the morning. gravity.</dialogue> <character>MIKE</character> <dialogue>You got a great ass! I love your ass - now get that falling ass into bed before it hits the floor.</dialogue> <scene_description>She does - the lights snap put . They giggle , she MOVING into his arms .</scene_description> <character>ELLIE</character> <parenthetical>( a declaration . )</parenthetical> <dialogue>Tomorrow, I start looking for our house. You love me?</dialogue> <character>MIKE</character> <parenthetical>( deeply . )</parenthetical> <dialogue>You got no idea.</dialogue> <character>ELLIE</character> <dialogue>Imagine. I'm sleepin' with a DT.</dialogue> <scene_description>Another muted laugh - and they move into an EMBRACE , CAMERA PANNING WITH THEM , and then STILL FARTHER INTO THE DARKNESS . THE DARKNESS HOLDS .</scene_description> </scene> <scene> <stage_direction>EXT. EAST RIVER - (AERIAL) - NIGHT</stage_direction> <scene_description>Becoming a darkness pricked with light , as WE FLOAT over the reflective river , MOVING WEST TOWARD AND OVER THE CITY .</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN - (AERIAL CONTINUED) - NIGHT</stage_direction> <scene_description>The fabled city , the ultimate object of man 's desire and fulfillment , Oz , the city unfolding itself before and beneath us , till DAZZLING SHAFTS OF LIGHT sizzling up - KLEIG LIGHTS - stab our eyes and bring us down into their BLINDING BRIGHTNESS .</scene_description> </scene> <scene> <stage_direction>EXT. CLUB - MIDTOWN - NIGHT</stage_direction> <scene_description>A nondescript piece of rundown city block that 's the hottest thing in town . PERSONNEL regulate the CROWD and ARRIVALS . There is a public line , and from it the young , hip and outrageous can look on while awaiting entrance at the formally dressed , stylishly gowned GUESTS arriving at the private line . A glittering post - Metropolitan Museum of Art opening gala is in progress tonight . The club 's private entrance looks like what it once was , a shuttered porno bookstore , and the joke 's not lost on most of the formal GUESTS , arriving through the X - rated doorway .</scene_description> </scene> <scene> <stage_direction>INT. CLUB - NIGHT</stage_direction> <scene_description>The latest achievement of money , rock and art . It 's a breathtaking multi - leveled theater of light , sound and dance . There is also an entrance - by - invitation - only grand salon . ANGLE The GUESTS arriving here for the Met gala enter almost in enchanted procession , each of them being personally greeted by the primary owner and manager of the club , WIN HOCKINGS , a charming , rakish ex - preppy . WIN stands in the middle of the floor in the throw of a spot , greeting . This is his element and his club , a son of old money , and a crossover creature to the fast life .</scene_description> <character>WIN</character> <dialogue>Hi. nice to see you. thank you. my pleasure.</dialogue> <character>A MET BENEFACTRESS</character> <parenthetical>( effusively . )</parenthetical> <dialogue>Thank you so much for agreeing to host us tonight. It's really extraordinary!</dialogue> <character>WIN</character> <dialogue>Glad I could be of help.</dialogue> <scene_description>CAMERA MOVING IN ON A NEW ANGLE , CLAIRE GREGORY and NEIL STEINHART . The way our CAMERA covers them makes it clear they are major characters in our story . NEIL steps forward to introduce himself , but WIN , looking up , spots CLAIRE first : A special beauty and clearly someone very special to him .</scene_description> <character>WIN</character> <dialogue>Claire!</dialogue> <character>CLAIRE</character> <dialogue>Hello, Win.</dialogue> <scene_description>And he embraces her .</scene_description> <character>CLAIRE</character> <parenthetical>( introducing her companion . )</parenthetical> <dialogue>You know Neil Steinhart?</dialogue> <scene_description>He grins broadly , taking NEIL 'S hand ; then right back to CLAIRE .</scene_description> <character>WIN</character> <dialogue>Of the filthy rich Steinharts? Why is it Claire always connects with the richest men this side of Saudi?</dialogue> <character>NEIL</character> <parenthetical>( to Win ; meaning the club . )</parenthetical> <dialogue>This gives new meaning to the word nightlife.</dialogue> <scene_description>WIN acknowledges the obligatory compliment with a closed smile , impatiently returning to CLAIRE :</scene_description> <character>WIN</character> <dialogue>C'mon, let's get outa this lowbrow rag trade.</dialogue> <parenthetical>( smiles , cutting Neil out . )</parenthetical> <dialogue>You do n't mind, do you?</dialogue> <scene_description>NEIL stares , polite , as WIN whisks her away ; turning , as he is addressed by someone else coming his way .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLUB - NIGHT</stage_direction> <scene_description>as a BLACK PORSCHE PULLS UP , its dark - tinted window rolling down TO REVEAL JOEY VENZA . The MANAGER of the club comes over to him , with a clipboard list of only the invitees .</scene_description> <character>MANAGER</character> <parenthetical>( a dilemma . )</parenthetical> <dialogue>I'm sorry, Mr. Venza.</dialogue> <scene_description>VENZA jams the ACCELERATOR to the FLOOR , the CAR burning rubber like a DRAGSTER as PEOPLE SQUEAL and JUMP OUT of the way ; the CAR fish - tailing away , screeching AROUND the CORNER .</scene_description> </scene> <scene> <stage_direction>INT. CLUB - NIGHT</stage_direction> <scene_description>WIN and CLAIRE . The music , noise , other conversations can still be heard as they walk through the club . He smiles , mid - conversation ; there 's a real affection here .</scene_description> <character>WIN</character> <dialogue>Skiddy and Kit? I have n't seen them since that shitty pasta dinner on the cape.</dialogue> <character>CLAIRE</character> <dialogue>They've got two monsters now. Both boys.</dialogue> <character>WIN</character> <dialogue>And so what's with Steinhart? Is it serious?</dialogue> <character>CLAIRE</character> <dialogue>You did n't like him?</dialogue> <character>WIN</character> <dialogue>Looks a little constipated to me.</dialogue> <character>CLAIRE</character> <parenthetical>( needling him . )</parenthetical> <dialogue>It's called `` solid''. Nice to find someone you can count on, Win.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT - REAR - ENTRANCE - NIGHT</stage_direction> <scene_description>VENZA entering , a rush , NOISE and ACTIVITY from the alley outside ; the throbbing new MUSIC overhead . JOEY VENZA Immaculate as always , in a conservatively - cut European pinstripe , VENZA strides tautly into the shabby corridors .</scene_description> </scene> <scene> <stage_direction>INT. MEZZANINE - MAIN BAR - NIGHT</stage_direction> <scene_description>WIN shows CLAIRE the main dance floor below , sound - filled and crowded , private and paying GUESTS mixing , indistinguishable now . He raises his voice to be heard .</scene_description> <character>WIN</character> <dialogue>The main floor stays public. The side rooms we try to keep available for special functions like tonight.</dialogue> <scene_description>He turns and takes her arm .</scene_description> <character>CLAIRE</character> <dialogue>It's terrific Win.</dialogue> <character>WIN</character> <dialogue>You still writing the occasional magazine article?</dialogue> <character>CLAIRE</character> <dialogue>Occasionally.</dialogue> <character>WIN</character> <dialogue>Then c'mon. Follow me. The art's in the basement, you're going to get a privileged peek.</dialogue> <scene_description>He leads her to the freight elevator .</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Claire!</dialogue> <scene_description>A sociable FOURSOME descends on them . It looks like it 's going to be a long conversation .</scene_description> <character>WIN</character> <parenthetical>( to Claire , quietly . )</parenthetical> <dialogue>Just press the button all the way down when you're ready, okay?</dialogue> <scene_description>He turns as she 's engulfed , heading towards the elevator , runs into NEIL , CLAIRE 'S escort . NEIL does n't see her .</scene_description> <character>NEIL</character> <dialogue>Where's she go?</dialogue> <character>WIN</character> <dialogue>Probably found somebody nicer. Kidding. You're great.</dialogue> <scene_description>He smiles , entering the elevator and disappearing from view . NEIL looking around , with thinly - veiled impatience , at the benefit - types streaming into the room .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT TUNNELS - NIGHT</stage_direction> <scene_description>VENZA navigates the labyrinth that connects to the offices .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>The elevator reaches bottom . WIN exits into an area of tall rows of stacked boxes still awaiting unloading . Beyond , a bright , high - ceilinged linen whiteness gleams . It 's a soon - to - be restaurant - gallery area . THE RESTAURANT GALLERY The walls have already been painted white . Tables have been positioned . Chairs are stacked , waiting . So are mounds of folded laundry and tablecloths , boxes of accessories , glass and dish and kitchenware , etc. . Except for FRED , the elderly stock boy , the bright silence is empty . FRED scores open the sealed cardboard cartons with a curved case cutter . Several tablefuls of unloaded servers , kitchen utensils , etc. , bear witness to the size of his job .</scene_description> <character>WIN</character> <dialogue>You're in overtime, Freddy.</dialogue> <scene_description>FRED nods , putting down his case cutter , using a side exit . WIN , left alone , turns to look up proudly at his powerhouse modern art collection lining the wall .</scene_description> </scene> <scene> <stage_direction>INT. MEZZANINE - NEAR ELEVATOR - NIGHT</stage_direction> <scene_description>CLAIRE extricating herself ; to the foursome .</scene_description> <character>CLAIRE</character> <dialogue>I will. I promise.</dialogue> <scene_description>She smiles graciously and steps into the freight elevator , pushing the down button . The doors close .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT TUNNELS - NIGHT</stage_direction> <scene_description>VENZA approaches an intersection . Ahead , FRED crosses on his way to the offices . The elderly STOCK BOY does n't see VENZA , but VENZA sees him , realizing where else to look here .</scene_description> </scene> <scene> <stage_direction>INT. FREIGHT ELEVATOR - NIGHT</stage_direction> <scene_description>CLAIRE closes her eyes , leaning back against the metal walls , taking advantage of the refuge for the moment . Music and crowd noise still vibrate . The elevator , shuddering , continues its descent .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>WIN turns in the silence , looking out over the bright space edged by darkness , every reason to be pleased . WIN does n't even hear VENZA enter .</scene_description> <character>VENZA</character> <parenthetical>( bear , icily . )</parenthetical> <dialogue>You need money, you come to me.</dialogue> <scene_description>WIN turns .</scene_description> <character>VENZA</character> <parenthetical>( approaching , soundlessly . )</parenthetical> <dialogue>Who the fuck do you think you are, raising cash without coming to me?</dialogue> <character>WIN</character> <parenthetical>( calmer . )</parenthetical> <dialogue>Your ex - partner. I'm buying you out, Joey. Read the contract. There's ample provision.</dialogue> <character>VENZA</character> <dialogue>Fuck the contract!</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR - BASEMENT - NIGHT</stage_direction> <scene_description>The elevator arrives . The doors open . CLAIRE steps out into the shadowed area of stacked rows .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - WIN AND VENZA</stage_direction> <character>VENZA</character> <parenthetical>( stares , wildly . )</parenthetical> <dialogue>Two years ago you were begging me for the money. Nobody would've touched you.</dialogue> <character>WIN</character> <dialogue>You're making an eighty percent return. Which is what you wanted.</dialogue> <scene_description>WIN turn away from VENZA . VENZA grabs his arm violently .</scene_description> <character>VENZA</character> <dialogue>Do n't turn away when I'm talking to you.</dialogue> <character>WIN</character> <parenthetical>( beat with deliberation . )</parenthetical> <dialogue>Grease and water still do n't mix, Joey.</dialogue> <scene_description>VENZA slashes one of the canvases -LRB- A Rosenquist -RRB- with the case cutter . Then another . ANGLE - WIN</scene_description> <character>WIN</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Jesus Christ. are you crazy?</dialogue> <scene_description>ANGLE Venza slashes another .</scene_description> <character>WIN</character> <dialogue>Joey!</dialogue> <scene_description>VENZA turns , slashing WIN . WIN gasps . Blood begins to seep from his wound . ANGLE - CLAIRE hearing , emerges into the light , smiling , thinking WIN 'S saying something she 's supposed to respond to . VENZA slashing WIN again , losing all control .</scene_description> <character>WIN</character> <parenthetical>( staggering back . )</parenthetical> <dialogue>Jesus!</dialogue> <scene_description>CLAIRE ROUNDS THE CORNER Seeing WIN , she stops . ANGLE VENZA continues to attack him , stabbing WIN to the floor . CLAIRE screams , unable to imagine or believe it . VENZA looks up , hearing her . WIN sprawls , a lifeless , bloodied mass at VENZA 'S feet . VENZA stares , returning CLAIRE 'S stare , trying to concentrate , to focus and pull himself back together . He puts down the cutter , taking a step toward her . CLAIRE steps back , turning and moving back toward the elevator , running . VENZA quickens his step , after her . ANGLE ON THE ELEVATOR as she REACHES IT and HURTLES inward , HITTING all the BUTTONS , the doors beginning to RUMBLE CLOSED . But VENZA is there , THRUSTING HIS HAND INSIDE to stop them . The doors CLOSE on his fingers . He cries out , pulling his fingers free . He slams his fist against the doors as they close shut , POUNDS the button again . ANGLE INSIDE - CLAIRE But CLAIRE grabs the POWER SWITCH , pulling it - the elevator goes dead , the overhead lights go out - and somewhere , in the shaft above , an ALARM BELL begins to RING . Relentlessly , VENZA pounds on the other side of the door . CLOSE ON CLAIRE giving way in the darkened cubicle . ANOTHER ANGLE - CLAIRE sagging against the elevator wall , weeping , hearing VENZA 'S FRANTIC BREATHING on the other side subside , and finally move away in the darkness .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>The PHONE RINGING - a hand fumbling on the telephone in the darkness . WE HEAR MIKE 'S VOICE as he turns on the light .</scene_description> <character>MIKE</character> <dialogue>T.J? Is this a joke? Are you kidding me?</dialogue> <parenthetical>( listening , not liking what he hears . )</parenthetical> <dialogue>Give me 20 minutes.</dialogue> <scene_description>MIKE hanging up the phone , turns to ELLIE .</scene_description> <character>ELLIE</character> <parenthetical>( mumbling from under the covers . )</parenthetical> <dialogue>Switch the light off on your way out.</dialogue> </scene> <scene> <stage_direction>INT. UNMARKED CAR - NIGHT</stage_direction> <scene_description>MIKE and T.J. disheveled and tired , drinking out of styrofoam coffee cups , arriving at the club .</scene_description> <character>T.J.</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Hey Mike, out of the bag into the bureau, huh. How do you like it so far?</dialogue> <character>MIKE</character> <parenthetical>( giving a half smile . )</parenthetical> <dialogue>Right behind you, T.J.</dialogue> </scene> <scene> <stage_direction>INT. THE CLUB - NIGHT</stage_direction> <scene_description>A rare tableau ; swirling disco lights reflecting off strategically placed mirrors , illuminating a room filled with POLICEMEN -LRB- in uniforms and polyester suits -RRB- , trying to ride herd on the BEAUTIFUL PEOPLE , in contrasting attire . The man in charge and coping is LIEUTENANT GARBER ; in plainclothes , fiftyish , rough - hewn .</scene_description> <character>GARBER</character> <dialogue>Did you ever hear the chatter. They're worse than fuckin' four - year - olds. Miller, let's clear this path here, all right?</dialogue> <scene_description>T.J. and MIKE arrive .</scene_description> <character>GARBER</character> <parenthetical>( to them , on the move . )</parenthetical> <dialogue>Blood bath downstairs. The owner of this place is dead. And I got a witness, and a suspect. Joey Venza.</dialogue> <scene_description>T.J. reacts to the name .</scene_description> <character>T.J.</character> <dialogue>Where's Venza?</dialogue> <character>GARBER</character> <dialogue>Nice question. I like questions like that.</dialogue> <scene_description>A massive `` GASP '' goes up from the CROWD as a cumbersome BODYBAG is brought up a stairwell from downstairs . GARBER temporarily moves away to oversee .</scene_description> <character>MIKE</character> <parenthetical>( to T.J . )</parenthetical> <dialogue>Who's Joey Venza?</dialogue> <character>T.J.</character> <dialogue>Bad fuckin' news. Even the families dropped him when they found they had a fruitcake on their hands. But he knows where a lot of bodies are buried. It'd cap it for Garber if he could bring him in.</dialogue> <character>GARBER</character> <parenthetical>( returning , re : the crowd . )</parenthetical> <dialogue>Okay, let's find out what we know. Herd'm up and check'm out. Anybody know more than gossip about the deceased or Venza, I wan na talk to them myself. Go.</dialogue> <scene_description>T.J. moves into action with typical `` T.J. style '' diplomacy .</scene_description> <character>T.J.</character> <dialogue>Okay, will all the beautiful people shut the fuck up, before it starts gettin' real ugly here!</dialogue> <scene_description>The uniformed COPS take their cue , moving in for quiet .</scene_description> <character>GARBER</character> <parenthetical>( to Mike , the `` new boy '' . )</parenthetical> <dialogue>Keegan, go baby - sit the witness. Just sit and look impressive. Make her feel protected. And if you can get her boyfriend outa my hair, I'll promote you to fuckin' Joint Chiefs.</dialogue> </scene> <scene> <stage_direction>EXT. WIN HOCKINGS' OFFICE - CLUB - NIGHT</stage_direction> <scene_description>A uniformed COP guarding the door as MIKE approaches , flashing his shield .</scene_description> <character>COP</character> <dialogue>Quit playing with yourself, Keegan. I know who you are.</dialogue> <character>MIKE</character> <parenthetical>( grinning . )</parenthetical> <dialogue>A Detective's supposed to identify himself.</dialogue> </scene> <scene> <stage_direction>INT. WIN HOCKINGS' OFFICE - NIGHT</stage_direction> <scene_description>The room is dim , lit only by a desk lamp , CLAIRE seated on a couch , catatonic , NEIL kneading her hand , trying to comfort her . A KNOCK at the DOOR : NEIL JUMPS UP to open it - MIKE ENTERING before he gets there .</scene_description> <character>NEIL</character> <parenthetical>( upset . )</parenthetical> <dialogue>Are you in charge here?</dialogue> <character>MIKE</character> <dialogue>No, sir.</dialogue> <character>NEIL</character> <dialogue>I asked for the man in charge.</dialogue> <character>MIKE</character> <dialogue>That would be Lieutenant Garber, and he's very busy upstairs.</dialogue> <character>NEIL</character> <dialogue>Do n't tell me he's `` busy''. I asked for an ambulance for this woman and.</dialogue> <character>MIKE</character> <dialogue>Is she injured?</dialogue> <character>CLAIRE</character> <parenthetical>( softly . )</parenthetical> <dialogue>No.</dialogue> <scene_description>MIKE gets his first view of her as she TURNS her head into the light . It is an almost storybook vision of beauty that emerges from the darkness around her ; her vulnerability penetrates to the very core .</scene_description> <character>NEIL</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>You're not going to talk to anyone without a lawyer.</dialogue> <character>MIKE</character> <dialogue>She's not a suspect, sir, she's a witness. Could I ask you to step outside, please.</dialogue> <character>NEIL</character> <dialogue>No, I will not step outside.</dialogue> <character>MIKE</character> <dialogue>Sir, I am just trying to do my job, it's standard procedure to question the witness alone. Help me out here, could you please leave.</dialogue> <character>NEIL</character> <parenthetical>( icily . )</parenthetical> <dialogue>I do n't really see what that has to do with.</dialogue> <character>CLAIRE</character> <parenthetical>( deadened ; to Neil . )</parenthetical> <dialogue>Neil, do what he says.</dialogue> <scene_description>ANGLE ON MIKE AND NEIL : at a standoff .</scene_description> <character>CLAIRE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Please.</dialogue> <scene_description>MIKE OPENS THE DOOR for NEIL . NEIL reluctantly swallows it .</scene_description> <character>NEIL</character> <dialogue>I'll be right outside.</dialogue> <scene_description>NEIL grudgingly leaves . MIKE quietly closes the door . ANGLE CHANGE : CLAIRE and MIKE alone . He sits down . A beat .</scene_description> <character>MIKE</character> <dialogue>Can I get you a cup of coffee or something?</dialogue> <scene_description>Her plaintive eyes turning to meet his .</scene_description> <character>CLAIRE</character> <parenthetical>( lost . )</parenthetical> <dialogue>I've never seen anyone killed before.</dialogue> <character>MIKE</character> <dialogue>It's okay. I've never been a detective before either.</dialogue> <scene_description>She lifts her gaze quizzically , catching his smile . She returns it in spite of herself , disarmed by his frankness , and curiously reassured .</scene_description> <character>MIKE</character> <dialogue>We'll go slow. Okay? We'll get through it together.</dialogue> </scene> <scene> <stage_direction>INT. DOWNTOWN HEADQUARTERS - DAY</stage_direction> <scene_description>PHONES RINGING , TYPEWRITERS TYPING , BODIES moving at cross - current - CAMERA FINDING LIEUTENANT GARBER , hustling through the bullpen , MIKE FOLLOWING , toward his office .</scene_description> <character>GARBER</character> <dialogue>I do n't know how you did it, but whatever it was, keep doing it.</dialogue> <character>MIKE</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>I just sat and listened.</dialogue> <character>GARBER</character> <dialogue>Safe and secure is how we want her. Until she I.D.'s Venza.</dialogue> <scene_description>T.J. has joined them .</scene_description> <character>GARBER</character> <dialogue>Venza's either going to skip or try to get to her and Venza likes it here. I want her ass covered, 24 hour protection, but I do n't want her to know there is any real danger.</dialogue> <character>T.J.</character> <dialogue>I do n't like what I'm hearing.</dialogue> <character>MIKE</character> <parenthetical>( to Garber . )</parenthetical> <dialogue>I do n't understand. If there's any danger, why not just level with her.</dialogue> <scene_description>GARBER turns back to MIKE</scene_description> <character>GARBER</character> <parenthetical>( with mock tolerance . )</parenthetical> <dialogue>T.J. your friend's a little dense. When she realizes there's a killer tryin' to shut her up, she'll be on the next plane for Tahiti. somehow I think my way is better.</dialogue> <scene_description>He MOVES ON , leaving them not very happy .</scene_description> <character>MIKE</character> <dialogue>Chief?</dialogue> <scene_description>GARBER turns back .</scene_description> <character>MIKE</character> <dialogue>Why not Patrol? They'd do just as good a job.</dialogue> <character>GARBER</character> <dialogue>When I want your advise, Keegan, I'll make an appointment.</dialogue> <scene_description>GARBER MOVES ON OUT . MIKE and T.J. left alone .</scene_description> <character>MIKE</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>Shit! A Nursemaid! My first detail, and I'm a fuckin' slug!</dialogue> <parenthetical>( turning to T.J . )</parenthetical> <dialogue>I got a ` choice' at all.</dialogue> <character>T.J.</character> <dialogue>Do it, or look for another profession. That's a choice I guess.</dialogue> <character>MIKE</character> <dialogue>You in this with me?</dialogue> <character>T.J.</character> <dialogue>Yeah! Seniority gets the day shift.</dialogue> </scene> <scene> <stage_direction>EXT. BACK OF MIKE'S HOUSE - DAY</stage_direction> <scene_description>ELLIE IS SEEN unloading groceries from the rear of a small hatchback .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S HOUSE - DAY</stage_direction> <scene_description>MIKE is in the kitchen ; he 's making eggs in agitation , throwing in everything he can find -LRB- tuna fish , chopped pickles , mustard -RRB- , his kid , TOMMY , in evidence in the b.g. , on a SKATEBOARD , whizzing through the kitchen , even RIDING IT down the STAIRS . MIKE MOVES TO A CABINET - and his FEET GO OUT FROM UNDER HIM . He 's slipped on a SKATEBOARD - barely catching himself in time .</scene_description> <character>MIKE</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Tommy! Goddamnit! Get these skateboards off the goddamn kitchen floor!</dialogue> <scene_description>TOMMY whizzes through , expertly picking it up `` on the move , '' MIKE taking a futile swipe at him .</scene_description> <character>TOMMY</character> <dialogue>What're we having?</dialogue> <character>MIKE</character> <dialogue>My special, scrambled eggs surprise.</dialogue> <character>TOMMY</character> <parenthetical>( frowns dubiously . )</parenthetical> <dialogue>Scrambled eggs surprise?</dialogue> <scene_description>TOMMY goes whizzing on out again . ELLIE comes in loaded up with the groceries . Puts them down , giving MIKE a kiss .</scene_description> <character>ELLIE</character> <dialogue>So how'd it go?</dialogue> <character>MIKE</character> <dialogue>Not great. I've got a babysitting job for a material witness on a homicide.</dialogue> <scene_description>It explains his mood . ELLIE starts putting away the groceries .</scene_description> <character>ELLIE</character> <dialogue>For how long?</dialogue> <character>MIKE</character> <dialogue>'Til they pick up the perp.</dialogue> <parenthetical>( he sits . )</parenthetical> <dialogue>Seniority gets day shift. You know what that means.</dialogue> <scene_description>CLOSE ON ELLIE : she sits , realizing , upset , but taking it in stride , now putting plates on the table .</scene_description> <character>ELLIE</character> <dialogue>Well, I'll live with it, I've lived with it all my life. My Dad was a cop, he said, `` whatever you do, honey, never go out with a cop''. So, what did I do? I got a job with the cops. Then I married a cop. I probably gave birth to a cop.</dialogue> <parenthetical>( shouting . )</parenthetical> <dialogue>Tommy! Come over here and eat, it's hot.</dialogue> <scene_description>TOMMY enters .</scene_description> <character>MIKE</character> <dialogue>Maybe you and Tommy should stay with my Mom.</dialogue> <scene_description>ELLIE makes an expression of dislike .</scene_description> <character>MIKE</character> <dialogue>Do n't start. The only reason is that the neighborhood's shi.</dialogue> <parenthetical>( realizing that Tommy is listening . )</parenthetical> <dialogue>. crummy. I just do n't like the idea of leaving you alone here at night.</dialogue> <character>ELLIE</character> <dialogue>I can still use a gun.</dialogue> <character>MIKE</character> <dialogue>Just keep it someplace safe, but handy.</dialogue> <scene_description>TOMMY joins then at the table .</scene_description> <character>TOMMY</character> <parenthetical>( zooming in . )</parenthetical> <dialogue>Keep what handy?</dialogue> <character>ELLIE</character> <dialogue>Nothing.</dialogue> <character>TOMMY</character> <dialogue>The gun? It's in the upstairs closet.</dialogue> <character>MIKE</character> <dialogue>How do you know where the gun is?</dialogue> <character>TOMMY</character> <dialogue>I know where everything is.</dialogue> <character>MIKE</character> <dialogue>Except the goddamn skateboards, which are everywhere! I'd like to kill the guy who invented those things.</dialogue> <character>TOMMY</character> <dialogue>Lay back, Mack.</dialogue> <character>MIKE</character> <dialogue>Lay back, Mack! What's this `` lay back, Mack?''.</dialogue> <parenthetical>( to Ellie . )</parenthetical> <dialogue>Where does he get this?</dialogue> <scene_description>Silence ; they eat . ELLIE 'S eyes finding MIKE 'S .</scene_description> <character>ELLIE</character> <dialogue>Keep the weekends for us, huh? Get a replacement for Saturday nights. That'll give us the weekends together.</dialogue> <scene_description>TOMMY 'S face screws up , tasting the lump of food in his mouth .</scene_description> <character>TOMMY</character> <dialogue>God! Scrambled eggs surprise?! These are pickles! God!</dialogue> <character>MIKE</character> <dialogue>Just `` lay back, Mack''. lay back.</dialogue> </scene> <scene> <stage_direction>EXT. MANHATTAN - FIFTH AVENUE - EARLY EVENING</stage_direction> <scene_description>Mike emerges from the subway alongside the park .</scene_description> </scene> <scene> <stage_direction>EXT. FIFTH AVENUE APARTMENT BUILDINGS - EARLY EVENING</stage_direction> <scene_description>Out front , the DOORMAN opens the door for the building 's children returning from music lessons . Across the street in Central Park , handsome , elderly tenants stroll in the company of their nurse : a nanny pushes a pram , taking advantage of the last light . This is one of New York 's most exclusive co - ops . Distilled civilization and quiet wealth . A world away from Queens or anything else . MIKE arrives on foot .</scene_description> </scene> <scene> <stage_direction>INT./ EXT. LOBBY - EVENING</stage_direction> <scene_description>A notice behind the locked front door informs : `` ALL VISITORS MUST BE ANNOUNCED '' . MIKE displays his shield to the DOORMAN through the glass . The DOORMAN opens , taking the time to inspect his credentials before returning them , then STEPS ASIDE , allowing ENTRY .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - SAME</stage_direction> <scene_description>MIKE rides up in silence , examining the ornate walls .</scene_description> </scene> <scene> <stage_direction>INT. VESTIBULE - CLAIRE'S APARTMENT - SAME</stage_direction> <scene_description>The elevator delivers him . MIKE finds himself in a wall - papered trompe l'oeil foyer . Nothing to get his bearings . The front door clicks open , startling him . MARY , the cleaning lady , an older , capable woman in functional civilian clothes , greets him matter - of - factly , taking him in .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S LIVING ROOM - SAME</stage_direction> <scene_description>Marble - floored and high - ceilinged , absolutely palatial ; MIKE 'S EYES registering amazement as he 's led inward . Floor - to - ceiling windows overlooking Central Park , where the VOICES are REVEALED belonging to GARBER , T.J. , CLAIRE , and CLAIRE 'S boyfriend , NEIL - who 's trying his best to be `` in charge '' .</scene_description> <character>GARBER</character> <parenthetical>( approaching Mike . )</parenthetical> <dialogue>You remember Detective Keegan?</dialogue> <character>NEIL</character> <parenthetical>( expressionless . )</parenthetical> <dialogue>I do.</dialogue> <scene_description>The doorbell RINGS AGAIN : MARY goes to answer it as MIKE mumbles his greetings to all - noticing that CLAIRE , reclining on a couch , seems extremely put out - or is it `` disinterested '' ?</scene_description> <character>NEIL</character> <dialogue>I want to make sure that everyone respects the privacy of Miss Gregory's household. You're limited to the outer vestibule, so you can watch the elevator, the kitchen, so you can get something to eat, and the washroom.</dialogue> <character>T.J.</character> <parenthetical>( under his breath to Mike . )</parenthetical> <dialogue>So you can take a shit.</dialogue> <scene_description>The THIRD DETECTIVE enters , being led by MARY . It 's KOONTZ , a package of razz and sarcasm , somebody you definitely do n't take home to mother .</scene_description> <character>MIKE</character> <parenthetical>( reacting ; to T.J . )</parenthetical> <dialogue>Not Koontz.</dialogue> <character>T.J.</character> <dialogue>Be happy. He's good at this.</dialogue> <character>GARBER</character> <parenthetical>( to Neil . )</parenthetical> <dialogue>We'd like to, just once, get a look at the entire layout, so we can evaluate security.</dialogue> <character>CLAIRE</character> <dialogue>This really is n't necessary. The security in this building is about the best in the city.</dialogue> <character>GARBER</character> <parenthetical>( ever the diplomat . )</parenthetical> <dialogue>I'm sure you're right, Miss Gregory, but I'd consider it a favor if you'd let us look around.</dialogue> <character>CLAIRE</character> <dialogue>Be my guest.</dialogue> <character>GARBER</character> <parenthetical>( to his troops . )</parenthetical> <dialogue>Guys.</dialogue> <scene_description>ANGLE - HALLWAY as GARBER withdraws ; MIKE , T.J. , KOONTZ to start their check .</scene_description> <character>MIKE</character> <parenthetical>( to Garber . )</parenthetical> <dialogue>What about when she goes out?</dialogue> <character>GARBER</character> <dialogue>Discourage it. But stay with her if you ca n't. Call it in first so we can have a car on tail. She's agreed to travel only with her own driver and limousine. okay, let's check it out.</dialogue> <scene_description>They split up . ANGLE - MIKE following orders , continues down the hall . He moves to a door that he ATTEMPTS TO OPEN - discovering it 's not real . It 's a TROMPE L'OEIL . He turns around to find he 's not alone in the long hall . NEIL stands just outside the living room , watching him .</scene_description> <character>MIKE</character> <parenthetical>( re : the `` door '' . )</parenthetical> <dialogue>Pretty good.</dialogue> <scene_description>ANGLE - NEIL turns , returning to CLAIRE in the LIVING ROOM .</scene_description> <character>NEIL</character> <dialogue>Why an I reminded of the Three Stooges?</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S LIBRARY - MOMENTS LATER</stage_direction> <scene_description>KOONTZ checking the windows and terrace .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - SAME</stage_direction> <scene_description>MIKE , MARY the MAID in there with him .</scene_description> <character>MARY</character> <parenthetical>( officiously . )</parenthetical> <dialogue>You a vegetarian? Miss Gregory's a vegetarian, so I'm gon na put food for you people in a separate fridge. You know how to use a microwave?</dialogue> <parenthetical>( before he can answer . )</parenthetical> <dialogue>Just about everything you'd want will heat up by turning this to ninety seconds.</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - SAME</stage_direction> <scene_description>Utterly sumptuous ; T.J. uttering a low `` whistle '' of awe .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S POWDER ROOM</stage_direction> <scene_description>There 's an enormous circular bathtub and a Jacuzzi , endless mirrors , a writing desk , carpeted , a place one could spend one 's life in - MIKE SEEN , in the MIRRORS , wandering through - idly pushing a mirrored door open , to gaze , in awe , at the walk - in closet .</scene_description> <character>MIKE</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Fuckin' A.</dialogue> <scene_description>ANGLE : He see T.J. , or what he thinks is T.J. , reflected among the other reflections at the other end of the room . Sees T.J. sit on edge of bed . MIKE is standing in center of the MIRRORS , slightly disoriented . And T.J. sees him , similarly astounded , MOVING OUT OF SHOT . CLOSE ON MIKE : Moving inward , he gawks at the racks of clothes , gently brushing his hand through the lush fabrics . CLAIRE 'S VOICE - ANGRY , ALMOST TREMBLING , A FIRM EFFORT OF WILL - rustles the silence behind him .</scene_description> <character>CLAIRE</character> <dialogue>Excuse me.</dialogue> <scene_description>ANGLE ON CLAIRE</scene_description> <character>CLAIRE</character> <dialogue>This is my dressing room, and these are my clothes.</dialogue> <parenthetical>( holding herself firm . )</parenthetical> <dialogue>I understand your responsibilities. but I'd appreciate you staying out of here at all times.</dialogue> <scene_description>MIKE : chastened , nods .</scene_description> <character>MIKE</character> <dialogue>Sorry. Just checking.</dialogue> <scene_description>He starts away . MOMENTARILY baffled by the MANY - ANGLED REFLECTIONS OF HIMSELF in the MIRRORS .</scene_description> <character>CLAIRE</character> <dialogue>Straight ahead.</dialogue> <character>MIKE</character> <dialogue>Hard to find doors in this place.</dialogue> <scene_description>MIKE : embarrassed , apologetic .</scene_description> <character>CLAIRE</character> <dialogue>Detective Keegan, I hope you understand how upsetting this is?</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S OUTER VESTIBULE - NIGHT</stage_direction> <scene_description>All silent ; MIKE on `` watch '' . Just him and a wooden desk chair , the grade - school variety . No books , no crossword puzzles ; he came unprepared . He checks his watch and looks to an ornate wall clock . And he 's bored . He picks up an empty coffee cup , looking for a last drop . Settles for sniffing it . Replaces it on the floor beside him . Then he looks to the closed doors of the apartment and makes a decision . Picking up the coffee cup , he quietly pushes the DOORS OPEN , and ENTERS .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>As MIKE pads quietly across the marble floors in the quiet ; pausing to gaze , in awe , at the vast , empty LIVING ROOM . It is gigantic , his eyes roaming the ceilings , as though to estimate their height . Moving inward , his eyes fall on a BOOK RACK , and he crosses to it , perusing the shelves for possible reading material . They 're all ART BOOKS , the big , thick kind . A Renoir , because of a NUDE FIGURE on the cover , catches his eye . But as he pulls it out and begins to leaf through - he HEARS VOICES . CLAIRE 'S and NEIL 'S ; her tone is agitated .</scene_description> <character>NEIL</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( barely audible . )</parenthetical> <dialogue>. just saying you should think twice about it.</dialogue> <character>CLAIRE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't want to talk about it.</dialogue> <scene_description>CLOSE ON MIKE : book under his arm , quietly moving toward the SOURCE : the DEN . It 's door is slightly ajar ; there is a suitcase in front of it , ready for travel .</scene_description> </scene> <scene> <stage_direction>INT. DEN - NIGHT</stage_direction> <character>CLAIRE</character> <dialogue>You know, and I know, that the only thing standing between a life sentence for Venza and his freedom is my testimony at his trial.</dialogue> <character>NEIL</character> <dialogue>Claire.</dialogue> <character>CLAIRE</character> <dialogue>He killed Win. he enjoyed it.</dialogue> <character>NEIL</character> <dialogue>Win made his choices, Claire. We all do -</dialogue> <character>CLAIRE</character> <dialogue>And I'm making mine.</dialogue> <scene_description>She looks at him ; a beat , emotionally . He remains steady .</scene_description> <character>NEIL</character> <parenthetical>( gently . )</parenthetical> <dialogue>You're dealing with a psychopath. He gets out of jail in ten years, or five. or ninety days, and you'll be looking over your shoulder for the rest of your life.</dialogue> <character>CLAIRE</character> <dialogue>What am I supposed to do?! I saw one of my oldest friends get killed! And I saw who did it!</dialogue> <parenthetical>( through tears . )</parenthetical> <dialogue>I ca n't just - `` let it go away''!</dialogue> <character>NEIL</character> <parenthetical>( gently . )</parenthetical> <dialogue>Claire.</dialogue> <scene_description>ANGLE - DEN . NEIL takes her in his arms , holding her tightly , affectionately , protectively . Holding her from behind , NEIL KISSES CLAIRE gently on her neck . She calms in his arms . RETURN : MIKE DODGES back quickly , through the living and dining rooms until he 's in the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Spotting the microwave , MIKE QUICKLY TOSSES in an English muffin - peering at the dials , as he switches it on . But he has n't escaped being a trespasser to what 's going on in the far room . He can still HEAR THEM , though HE WHISTLES , trying not to . The English muffin BURSTS INTO FLAMES , MIKE desperately pulling it out , tossing it into the sink , feverishly fanning the air . ANOTHER ANGLE ON MIKE : becoming aware that HE 'S NOT ALONE . He TURNS SUDDENLY to see MARY , the housekeeper , not ten feet from him , in the laundry room , coat on , fluffing her collar , ready to go home .</scene_description> <character>MIKE</character> <parenthetical>( chagrined . )</parenthetical> <dialogue>I like'em toasty.</dialogue> <scene_description>ANGLE ON MARY : staring at him , amused .</scene_description> <character>MARY</character> <dialogue>Good night, Mr. Keegan.</dialogue> <scene_description>She moves through the kitchen and EXITS .</scene_description> </scene> <scene> <stage_direction>INT. VESTIBULE - LATER - NIGHT</stage_direction> <scene_description>NEIL , with his briefcase , finally leaving . He crosses from the hallway . The TWO EYE EACH OTHER : MIKE attempting a cordial smile .</scene_description> <character>NEIL</character> <dialogue>You're here'til what time?</dialogue> <character>MIKE</character> <dialogue>I'm relieved at 4:00 A.M.</dialogue> <scene_description>NEIL noticing the Renoir .</scene_description> <character>NEIL</character> <dialogue>When you're through with it, put it back, please, exactly where you found it, and do n't use the library again. I have to leave town for a few days. Let's do everything we can to make this less of a trial for her, shall we?</dialogue> <scene_description>MIKE NODS . But when NEIL leaves , he makes a mock `` military salute '' ; a click of the heels .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - LATER</stage_direction> <scene_description>2:45 A.M. -LRB- the clock ON THE WALL -RRB- ; pindrop silence ; MIKE alone . CLOSE ON MIKE : thoughtful , leafing through the Renoir . Like a man making the most of solitary confinement - becoming aware of a NOISE . Though hard to make out in this windowless capsule , it is DISTANT THUNDER . It stirs life in him and his eyes wander reflexively upward , studying the ceiling - then the doors of the apartment , left slightly ajar . ANGLE INSIDE THE APARTMENT : CAMERA FOLLOWING MIKE as he wanders inward , becoming aware of light coming from a drawing room . HE MOVES TOWARD , STOPPING . ANGLE FROM HIS POV : CLAIRE , dimly illuminated by the light of a desk lamp that throws a gentle glow around her - seated , still as statuary , gazing out into the rain . CLOSE ON MIKE : watching her .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - ON THE MOVE - LATER</stage_direction> <scene_description>The uncivilized hour indicated by the TOTALLY EMPTY SUBWAY , MIKE a lone figure , somewhat numbed , his eyes set into distant space - as the SUBWAY reaches its DESTINATION , the blurry platform signs decelerating until we can make out the word `` QUEENS '' .</scene_description> </scene> <scene> <stage_direction>EXT. MIKE'S HOUSE - QUEENS</stage_direction> <scene_description>The neighborhood still asleep in the predawn hour ; MIKE picks up the newspaper . glancing at it , he opens it , sees an article and photograph of CLAIRE on the second page . He heads inwards .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - DAY</stage_direction> <scene_description>Afternoon sunlight SPILLING IN as MIKE AWAKENS to the SOUND of a CAR MOTOR , faltering , then `` chug - chugging '' to another start , gasping , then revving . Someone 's working on MIKE 'S car . He looks at his alarm clock ; it 's 4:00 in the afternoon .</scene_description> </scene> <scene> <stage_direction>EXT. MIKE'S BACKYARD - DAY</stage_direction> <scene_description>ELLIE and TOMMY visible only as fragments as they work on MIKE 'S car . ELLIE IS SEEN as a rear - end in blue jeans , the rest of her inside the hood ; she calls to TOMMY to `` try it again '' . It looks like no one 's behind the wheel ; but the very top of his head CAN BE SEEN as he strains to reach the accelerator . ANGLE ON MIKE : appearing at the door , in a freshly pressed suit , a steaming cup of coffee in hand . He walks across the lawn towards them .</scene_description> <character>MIKE</character> <dialogue>Hey! What the hell're you doin' to my car?</dialogue> <scene_description>ELLIE emerges from underneath the hood , flushed .</scene_description> <character>ELLIE</character> <dialogue>Changing the sparks. They showed it on TV. What d'you think?</dialogue> <character>MIKE</character> <dialogue>I think television's a dangerous thing.</dialogue> <character>ELLIE</character> <dialogue>It's twenty bucks in the bank.</dialogue> <scene_description>Slamming the hood . TOMMY revs the engine ELLIE moving down the steps towards MIKE .</scene_description> <character>ELLIE</character> <dialogue>Enough, Tommy! C'mon. Get out of there!</dialogue> <scene_description>ELLIE moving towards MIKE , she slipping her hand into his underpants : Their eyes meet , lovingly . She laughs .</scene_description> <character>MIKE</character> <dialogue>Hey. The neighbors.</dialogue> <character>ELLIE</character> <dialogue>Let'em eat their hearts out.</dialogue> <scene_description>She retrieves her cold coffee cup from the POTTING TABLE , checks out the picture of CLAIRE in the newspaper , he 's left there . MIKE adjusts his tie . It 's very colorful .</scene_description> <character>ELLIE</character> <dialogue>I read the article. You did n't tell me she was so beautiful.</dialogue> <character>MIKE</character> <parenthetical>( Mister Honest . )</parenthetical> <dialogue>Well, actually, she looks better than that.</dialogue> <scene_description>ELLIE playfully makes a move , JABBING AT HIM , MIKE stops her , ending WITH A HUG .</scene_description> <character>MIKE</character> <dialogue>I've got to go.</dialogue> <scene_description>MIKE kisses her . ELLIE holds MIKE 'S face with her gloved hand .</scene_description> <character>MIKE</character> <dialogue>See you Tommy.</dialogue> <scene_description>ANGLE ON ELLIE : as TOMMY comes up and leans against his mom : both watching MIKE primp , they share on the joke . MIKE turns , his face with grease on it .</scene_description> <character>MIKE</character> <dialogue>Okay?</dialogue> <character>ELLIE</character> <dialogue>Unbelievably handsome. You look fantastic in a suit.</dialogue> <character>TOMMY</character> <dialogue>Nice threads Dad.</dialogue> <character>MIKE</character> <dialogue>Yeah, I think so.</dialogue> <scene_description>MIKE leaves .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S KITCHEN - LATER - NIGHT</stage_direction> <scene_description>The WALL CLOCK reads 6:30 . The remains of a teeny gourmet meal , before him on the kitchen table . MIKE is playing an improvised hockey game , shooting peas through a goal made up of two water glasses , using his knife as a hockey stick . He HEARS the CLICK of HIGH HEELS approaching , crossing the vast marble floors . ANGLE FROM HIS POV : CLAIRE coming toward - clearly dressed for the evening , her stride signaling determination .</scene_description> <character>MIKE</character> <parenthetical>( brilliant . )</parenthetical> <dialogue>Hi.</dialogue> <character>CLAIRE</character> <dialogue>I'm sorry. I'm not sure how this works. I have to go out. is that all right?</dialogue> <character>MIKE</character> <parenthetical>( unprepared . )</parenthetical> <dialogue>Uh.</dialogue> <character>CLAIRE</character> <dialogue>I have to pick something up before Bergdorf's closes, then stop at a reception just a few blocks away.</dialogue> <character>MIKE</character> <parenthetical>( faltering . )</parenthetical> <dialogue>I think, maybe, that is n't such a great idea.</dialogue> <character>CLAIRE</character> <dialogue>Lieutenant Garber said that in all likelihood there was no real danger, is that true?</dialogue> <character>MIKE</character> <dialogue>Right. That's true.</dialogue> <character>CLAIRE</character> <dialogue>Can we go then?</dialogue> <character>MIKE</character> <dialogue>I'm supposed to call in.</dialogue> <character>CLAIRE</character> <dialogue>There's a phone in the car.</dialogue> <scene_description>She MOVES TOWARDS THE ELEVATOR : MIKE , stymied .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - SAME - NIGHT</stage_direction> <scene_description>They descend in silence , MIKE aware of being scrutinized . The ELEVATOR STOPS , MIKE about to get off , realizing they 're stopped at the THIRD FLOOR , another TENANT stepping on . He 's dressed in an expensive JOGGING SUIT , his key dangling from around his neck ; he nods to CLAIRE and pushes `` DOWN '' . The elevator RUMBLES downward .</scene_description> <character>CLAIRE</character> <dialogue>Do you have another tie? Something more conservative?</dialogue> <character>MIKE</character> <parenthetical>( confused , then realizing . )</parenthetical> <dialogue>Oh. Yes. I do n't have it with me. It's at home.</dialogue> </scene> <scene> <stage_direction>EXT. CLAIRE'S BUILDING - SAME - NIGHT</stage_direction> <scene_description>The JOGGER first out the door , taking off with fierce determination , followed by MIKE , who nervously checks the street , then opens the limo door and checks inside , then , finally , MOTIONS CLAIRE OUT . She moves smoothly into the limo ; MIKE checks traffic behind them , then gets in , after .</scene_description> </scene> <scene> <stage_direction>INT. LIMO - SAME - NIGHT</stage_direction> <scene_description>MIKE fumbles , searching the console for the car phone . She finds it easily , picks it up .</scene_description> <character>CLAIRE</character> <dialogue>What's the number?</dialogue> </scene> <scene> <stage_direction>INT. DOWNTOWN HEADQUARTERS - GARBER'S OFFICE</stage_direction> <scene_description>GARBER is on the other end of the line .</scene_description> <character>GARBER</character> <dialogue>Oh, Jesus, what a fucking lunatic. Fucking shopping.</dialogue> <parenthetical>( he thinks . )</parenthetical> <dialogue>I do n't see that we have much choice. Jesus Christ. Tell her she's a fucking lunatic.</dialogue> <scene_description>GARBER slams down the phone .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S LIMO - NIGHT</stage_direction> <scene_description>MIKE sets down the phone .</scene_description> <character>CLAIRE</character> <dialogue>What did he say?</dialogue> <character>MIKE</character> <dialogue>He thinks you're being a little careless. He made the point several times.</dialogue> <scene_description>MIKE sets down the phone . They settle back ; trying to feel `` comfortable '' in one another 's presence . It 's plenty awkward .</scene_description> <character>CLAIRE</character> <dialogue>You live in Manhattan?</dialogue> <character>MIKE</character> <dialogue>Queens. You know Queens?</dialogue> <character>CLAIRE</character> <dialogue>My father founded a music school there. The Milton Gregory School.</dialogue> <scene_description>He politely tries to place it , with no idea .</scene_description> <character>CLAIRE</character> <dialogue>I'm supposed to speak at their tenth anniversary.</dialogue> <character>MIKE</character> <dialogue>Nice. Maybe you'll stop by. have an aperitif.</dialogue> <scene_description>It evokes a slight smile but nothing more .</scene_description> <character>MIKE</character> <dialogue>Maybe not.</dialogue> </scene> <scene> <stage_direction>EXT. 5TH AVENUE SHOP - NIGHT</stage_direction> <scene_description>The limo pulling up , MIKE hopping expertly out before it stops moving . It 's parked in a red zone , with tow - away signs everywhere ; a PATROLMAN notices from the curb .</scene_description> <character>MIKE</character> <parenthetical>( to the driver . )</parenthetical> <dialogue>Do n't move it.</dialogue> <scene_description>He flashes his shield at the PATROLMAN , takes a firm grip on CLAIRE 'S elbow , guiding her in . ANGLE - AT THE ENTRANCE DOORS MIKE stiff - arms the revolving door , stopping outgoing shoppers to clear the way for CLAIRE ; hops over to the fixed door , opening it quickly for her , hustling her effortlessly in , zip . ANGLE : CLAIRE , taken by it , but not displeased .</scene_description> </scene> <scene> <stage_direction>INT. FIFTH AVENUE SHOP - NIGHT</stage_direction> <scene_description>They cross toward the up escalator ; she knows where she 's going .</scene_description> <character>PERFUME LADY</character> <dialogue>Hello, Miss Gregory.</dialogue> <scene_description>CLAIRE steps onto the ESCALATOR ; MIKE on alert , scrutinizing the crowd . He gets on right behind . They ascend . At the top LANDING , A DARK - SUITED MAN VEERS RIGHT INTO HER . CLAIRE flinches . MIKE MOVES PAST HER to the front , quickly handling the guy . The MAN jumps back .</scene_description> <character>DARK-SUITED MAN</character> <dialogue>I'm sorry. I thought this was down.</dialogue> <scene_description>ANGLE ON MIKE ; SHAKEN . CLAIRE giving him a long unsteady look , too .</scene_description> <character>CLAIRE</character> <dialogue>Are you nervous?</dialogue> <character>MIKE</character> <dialogue>No, Ma'am.</dialogue> </scene> <scene> <stage_direction>INT. SHOP - GIFT COUNTER - NIGHT</stage_direction> <scene_description>MIKE keeping close watch as CLAIRE approves her purchase : a silver frame , containing an inscribed photo of CLAIRE and an elegant older woman .</scene_description> <character>CLAIRE</character> <dialogue>Would you wrap it for me, I'll be back in a moment.</dialogue> <scene_description>CLAIRE walks past MIKE .</scene_description> <character>CLAIRE</character> <dialogue>Could you come with me please.</dialogue> <scene_description>MIKE follows her . CLAIRE at the TIE COUNTER , points to the tie rack .</scene_description> <character>CLAIRE</character> <dialogue>Would you pick one out, please?</dialogue> <character>MIKE</character> <dialogue>Beg pardon?</dialogue> <character>CLAIRE</character> <dialogue>Since you're going to be my escort, you'll need a new tie.</dialogue> <scene_description>MIKE begins to connect , glancing down again at the tie he 's wearing . CLAIRE selects a TIE , turning to the SALESPERSON , for his reaction .</scene_description> <character>SALESPERSON</character> <dialogue>Perfect.</dialogue> <scene_description>CLAIRE handing it to the SALESPERSON .</scene_description> <character>CLAIRE</character> <dialogue>Put it on my account, please.</dialogue> <character>MIKE</character> <dialogue>I got money.</dialogue> <scene_description>CLAIRE gives a look to the clerk to go ahead with her order . SALESPERSON goes off .</scene_description> <character>CLAIRE</character> <dialogue>If we had more time we'd work on the suit too.</dialogue> </scene> <scene> <stage_direction>INT. THE LIMO - IN MOTION - SAME - NIGHT</stage_direction> <scene_description>MIKE AND CLAIRE ; CLAIRE favorably assessing him in the new tie .</scene_description> <character>CLAIRE</character> <dialogue>You look quite elegant, actually.</dialogue> <scene_description>He looks down at it in silence ; then , finally :</scene_description> <character>MIKE</character> <dialogue>My wife likes this suit.</dialogue> <scene_description>CLOSE ON CLAIRE : his vulnerability makes her smile .</scene_description> </scene> <scene> <stage_direction>EXT. GUGGENHEIM MUSEUM - NIGHT</stage_direction> <scene_description>Clearly a `` big deal , '' with Kleig lights and heavy LIMOUSINE and TAXI traffic being directed into place by COPS , some of whom we recognize . ANGLE ON A PAIR OF COPS , using flashlights to guide traffic - spotting CLAIRE 'S LIMOUSINE with the BLACK - AND - WHITE PATROL CAR following it , and signaling it into place .</scene_description> <character>TRAFFIC COP</character> <parenthetical>( re : Claire 's limo . )</parenthetical> <dialogue>Bring it in, close.</dialogue> <scene_description>The COP OPENS THE DOOR - stunned to see MIKE STEP OUT , in suit and new tie - looking like he belongs there .</scene_description> <character>COP</character> <dialogue>Jesus Christ.</dialogue> <character>MIKE</character> <dialogue>I'm on duty.</dialogue> <character>COP</character> <dialogue>What kind of work? Gigolo?</dialogue> <scene_description>CLAIRE steps out , utterly elegant , taking MIKE 'S arm - the traffic COPS now joined by those from the BLACK - AND - WHITE , as MIKE and CLAIRE head INWARD . The COPS wolf - whistle MIKE and razz him as they go , some beginning the STRAINS of `` Just a Gigolo '' . MIKE GIVES THEM THE FINGER behind his back .</scene_description> </scene> <scene> <stage_direction>INT. THE RECEPTION - SAME - NIGHT</stage_direction> <scene_description>MIKE and CLAIRE caught in a crush of people jamming the ENTRANCE WAY - their bodies coming into close contact , so close that MIKE is forced into an awkward posture in order to stay close to her ; one arm up in the air , uncomfortable about taking her arm .</scene_description> <character>CLAIRE</character> <dialogue>You can touch me, I wo n't bite.</dialogue> <character>MIKE</character> <dialogue>Not too sure about that.</dialogue> <scene_description>He takes her arm , guiding her through the crowd . The SOUND of a WOMAN 'S -LRB- MARGE GOODWIN -RRB- VOICE attracts their attention .</scene_description> <character>MARGE</character> <parenthetical>( pushing through . )</parenthetical> <dialogue>CLAIRE! Claire! Darling! Are you all right?</dialogue> <scene_description>She 's a SOCIETY MATRON - TYPE , grabbing CLAIRE in an ever - so - concerned HUG .</scene_description> <character>MARGE</character> <dialogue>My God! I could n't believe. my poor darling. and Win Hockings! Antonia'll be so happy you're here, she says a `` Lifetime Achievement Award'' is like being invited to your own funeral while you're still alive.</dialogue> <scene_description>But ANTONIA , an elegant OLDER WOMAN , has already SPOTTED HER .</scene_description> <character>ANTONIA</character> <dialogue>Claire!</dialogue> <scene_description>She pushes through , and fairly falls into CLAIRE 'S arms . ANTONIA almost emotionally overcome , that CLAIRE has managed it .</scene_description> <character>CLAIRE</character> <dialogue>I would n't have missed it, Tony.</dialogue> <character>ANTONIA</character> <dialogue>You look so beautiful.</dialogue> <scene_description>ANTONIA looks up to see MIKE .</scene_description> <character>CLAIRE</character> <dialogue>This is Mike Keegan, the policeman assigned to protect me. Antonia Bolt.</dialogue> <scene_description>She looks up to SEE MIKE : it directs others to do the same .</scene_description> <character>MARGE</character> <parenthetical>( change of tone . )</parenthetical> <dialogue>Hello.</dialogue> <character>CLAIRE</character> <parenthetical>( introducing . )</parenthetical> <dialogue>Marge Woodwin, Antonia Bolt, this is Mike Keegan.</dialogue> <character>MIKE</character> <parenthetical>( ultra respectful . )</parenthetical> <dialogue>Hello.</dialogue> <parenthetical>( a deferential nod to Antonia . )</parenthetical> <dialogue>. Ma'am.</dialogue> <character>ANTONIA</character> <parenthetical>( liking him ; to Claire . )</parenthetical> <dialogue>He's got nice eyes. Very gentle.</dialogue> <parenthetical>( re : Mike 's embarrassed reaction . )</parenthetical> <dialogue>And he blushes. I like that. Take good care of her.</dialogue> </scene> <scene> <stage_direction>INT. THE RECEPTION - LATER - NIGHT</stage_direction> <scene_description>CLAIRE in the thick of things - a BAND PLAYING NOW - occasionally glancing at MIKE - who stands against a wall , ever watchful . CLOSE ON MIKE : TURNING to see a VERY PRETTY YOUNG THING come up to him ; just `` oozing '' seduction .</scene_description> <character>PRETTY YOUNG THING</character> <dialogue>I hear you're a policeman.</dialogue> <scene_description>MIKE nods ; eyes fixed on CLAIRE .</scene_description> <character>MIKE</character> <dialogue>Uh, yeah. I'm a policeman.</dialogue> <character>PRETTY YOUNG THING</character> <dialogue>Ever shot anyone?</dialogue> <character>MIKE</character> <dialogue>Yes.</dialogue> <character>PRETTY YOUNG THING</character> <dialogue>Does it make you. hard?</dialogue> <character>MIKE</character> <dialogue>Hard?</dialogue> <character>PRETTY YOUNG THING</character> <dialogue>Erect. You know, a `` boner?'' I'd heard that it gives you a boner, to shoot a man.</dialogue> <scene_description>MIKE 'S eyes register abject dumbfoundment .</scene_description> <character>MIKE</character> <dialogue>Would you excuse me, please?</dialogue> <scene_description>HE PUSHES TOWARD CLAIRE , catching her eye .</scene_description> <character>MIKE</character> <dialogue>Would you consider leaving here pretty soon?</dialogue> <scene_description>CLAIRE relaxed , clearly having a good time .</scene_description> <character>CLAIRE</character> <dialogue>People think I'm stepping out on Neil. We're causing quite a scandal.</dialogue> <character>MIKE</character> <parenthetical>( confidential . )</parenthetical> <dialogue>Hey! There are crazy people here.</dialogue> <character>CLAIRE</character> <dialogue>Let's get a drink.</dialogue> <character>MIKE</character> <dialogue>Ah. I should n't. on duty.</dialogue> <scene_description>She plows toward the crowded bar , just inside the ballroom entrance , MIKE following .</scene_description> <character>CLAIRE</character> <dialogue>I'll have a spritzer, order something soft for yourself. I must go for a pee.</dialogue> <character>MIKE</character> <dialogue>I'll come with you.</dialogue> <character>CLAIRE</character> <dialogue>I think I can probably do that on my own.</dialogue> <scene_description>CLOSE ON MIKE : Not amused . CLAIRE heads to the ladies ' room across from the bar . MIKE watches her enter . Turns back to the bar , which is very busy and confused .</scene_description> <character>MIKE</character> <parenthetical>( irritated . )</parenthetical> <dialogue>Gim me a spritzer, and a. vodka martini.</dialogue> <scene_description>MIKE seeing the Pretty Young Thing .</scene_description> <character>MIKE</character> <dialogue>Make it a double.</dialogue> </scene> <scene> <stage_direction>INT. LADIES' ROOM - SAME - NIGHT</stage_direction> <scene_description>as a pair of WOMEN finish their `` touch - up '' and head out , making way for CLAIRE to step up to the mirror to assess herself . The room momentarily empties . Putting her purse down she moves to a stall and enters .</scene_description> </scene> <scene> <stage_direction>INT. BAR COUNTER - NIGHT</stage_direction> <scene_description>MIKE , waiting , glancing back at the door as the TWO WOMEN EXIT , then turns to the BARMAN to receive the drinks .</scene_description> </scene> <scene> <stage_direction>INT. LADIES' ROOM - SAME</stage_direction> <scene_description>LOW ANGLE on the door - as a pair of men 's shoes pass through frame . CLOSE ON CLAIRE , inside a stall SHE HEARS FOOTSTEPS QUIETLY ENTER , followed by a CLICK of a DOOR . It 's not the click of a stall door , because the FOOTSTEPS then proceed inward ; WE HEAR A STALL DOOR CLOSE and LOCK . It gives her momentary pause , but she dismisses it , looking for her purse - realizing she left it on the sink - opening her stall door and heading out . She barely hears the `` click '' of the bolt sliding behind her - and looks up , into the MIRROR , SEEING VENZA appear behind her . She SPINS - but does n't have time to CRY OUT . He 's grabbed her by the THROAT .</scene_description> </scene> <scene> <stage_direction>INT. BALLROOM - SAME MOMENT - NIGHT</stage_direction> <scene_description>MIKE and the PRETTY YOUNG THING : she does n't notice him trying to drift away .</scene_description> <character>PRETTY YOUNG THING</character> <dialogue>You know what? I do n't think you're a policeman at all. I think you're just some schmuck who uses that `` policeman'' line as a come - on.</dialogue> </scene> <scene> <stage_direction>INT. LADIES' ROOM - SAME - NIGHT</stage_direction> <scene_description>CLAIRE attempting to breathe - her FACE being brought to within an inch of his .</scene_description> <character>VENZA</character> <dialogue>Christ, you're one beautiful woman. I could kill you right now, but I'm not gon na.'cause you're gon na help me. You're gon na see me in a police line - up and say it was n't me. And if you do n't do that, someone will come after you. They're gon na find you dead, with your face missing - understood. Good. Because otherwise, it'd be this easy.</dialogue> <scene_description>CLOSE ON CLAIRE : her eyes wide with TERROR . He rubs his thumb across her mouth , smearing the lipstick .</scene_description> <character>VENZA</character> <dialogue>Now walk outta here. And if you ever see me again. you never saw me before.</dialogue> <scene_description>To make his point , he SQUEEZES HARDER - CLAIRE 'S eyes bulging , as TEARS run from her eyes .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM - UPPER TIER - SAME - NIGHT</stage_direction> <scene_description>MIKE , finally putting distance between him and the `` PRETTY YOUNG THING . '' ANGLE : MIKE , as he catches sight of a back of a man -LRB- VENZA -RRB- moving out of the ladies ' room . Stunned , MIKE PIVOTS , TURNING , SPRINTING IN THE DIRECTION of the ladies ' room . OUTSIDE THE LADIES ' ROOM : Two women just go in . MIKE pushes his way in , slamming the door behind him . The OTHER WOMEN GASP , seeing MIKE invading their sanctuary . INSIDE THE LADIES ' ROOM : MIKE CLOSE ON MIKE : RELIEVED BUT SHOCKED to see CLAIRE , disheveled , lipstick smeared across her mouth , throat and face , but otherwise uninjured . MIKE turns , calling to the TWO WOMEN coming in .</scene_description> <character>MIKE</character> <dialogue>Take care of her!</dialogue> <scene_description>MIKE TAKES OFF AFTER VENZA -</scene_description> </scene> <scene> <stage_direction>INT. UPPER TIER</stage_direction> <scene_description>OUT OF LADIES ' ROOM , AND UP THE RAMP TO THE NEAREST -LRB- THE UPPER -RRB- LEVEL . ANGLE : He sees VENZA get into the ELEVATOR . These is only one place for it to go - DOWN . MIKE CHANGES DIRECTION and FRANTICALLY RUNS DOWN THE SPIRALING RAMP trying to keep pace with the descent of the elevator . At the GROUND LEVEL HE SEES THE ELEVATOR DOORS OPEN and VENZA EXITS AMIDST THE PARTY . ANGLE ON VENZA : VENZA MAKES HIS WAY TO THE FRONT ENTRANCE AND EXITS THE BUILDING . ANGLE ON MIKE : MIKE HURTLES DOWN THE RAMP AND DESPERATELY FIGHTS HIS WAY THROUGH THE CENTER of the PARTY and OUT the FRONT ENTRANCE .</scene_description> </scene> <scene> <stage_direction>EXT. GUGGENHEIM MUSEUM - NIGHT</stage_direction> <scene_description>MIKE EXITS the BUILDING bewildered ; lost him . RUNS BLINDLY amidst PEDESTRIANS - SPOTS VENZA AHEAD . ANGLE ON VENZA reaching someone MIKE CA N'T SEE . MIKE puts his hand in his jacket for his gun .</scene_description> <character>MIKE</character> <dialogue>Venza!</dialogue> <scene_description>VENZA HEARS and SLOWS , but DOES N'T TURN . ONLOOKERS turn . VENZA is talking to someone , taking his time . ANGLE ON VENZA : untroubled , turning ; raising his arms , and SMILING . ANGLE ON MIKE : confused - seeing that the man VENZA stopped to talk to is a PATROLMAN , he 'd stopped to give himself up . CLOSE ON MIKE : breathless as he moves toward VENZA . MIKE frisks VENZA as he turns , SMILING at MIKE .</scene_description> </scene> <scene> <stage_direction>INT. PRECINCT - DAY</stage_direction> <scene_description>MIKE and T.J. with GARBER , MIKE being CONGRATULATED by COPS who pass . But GARBER does n't look happy .</scene_description> <character>MIKE</character> <parenthetical>( protesting . )</parenthetical> <dialogue>But I got him! He's in jail! Was n't that the point?!</dialogue> <character>GARBER</character> <dialogue>You apprehended him after he gave himself up -</dialogue> <character>MIKE</character> <dialogue>It was n't a bad bust. He gave himself up because he knew I was gon na nab him.</dialogue> <character>GARBER</character> <dialogue>Anyone who turns himself in makes a good case for bail.</dialogue> <character>MIKE</character> <dialogue>Even Joey Venza?!</dialogue> <character>GARBER</character> <dialogue>He's got a good lawyer, and he made a smart move. We've got a scared witness and a suspect who proved `` good will'' by turning himself in.</dialogue> <character>MIKE</character> <parenthetical>( protesting . )</parenthetical> <dialogue>What about when she identifies him?!</dialogue> <character>GARBER</character> <dialogue>If she identifies him.</dialogue> <parenthetical>( turns , unloading on him . )</parenthetical> <dialogue>Where the fuck were you anyway, cowboy! Venza was meat. He walked right past you, and now we're the ones playing catch - up! You better hope she identifies him.</dialogue> <scene_description>GARBER turns on his heel , ENTERING HIS OFFICE ; leaving MIKE looking at T.J. Dismayed .</scene_description> <character>T.J.</character> <dialogue>Was n't your fault.</dialogue> <character>MIKE</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>It was my fault, T.J. Fuck!</dialogue> </scene> <scene> <stage_direction>EXT. TRACT HOME - BROOKLYN HEIGHTS - AFTERNOON</stage_direction> <scene_description>A tree - lined neighborhood . The house has a FOR SALE sign in front ; MIKE is standing in front of a cab , he 's dressed for work - he looks around . The cab pulls out , he heads for the front door .</scene_description> </scene> <scene> <stage_direction>INT. TRACT HOME - AFTERNOON</stage_direction> <scene_description>MIKE enters the house . It 's nothing special . ELLIE is in another room . She joins MIKE .</scene_description> <character>ELLIE</character> <dialogue>The real estate lady left, she could n't wait anymore. What took you?</dialogue> <character>MIKE</character> <parenthetical>( upset . )</parenthetical> <dialogue>Oh, some shit.</dialogue> <character>ELLIE</character> <dialogue>What shit, honey?</dialogue> <character>MIKE</character> <dialogue>You do n't want to hear about it.</dialogue> <scene_description>ELLIE begins to show him the place .</scene_description> <character>ELLIE</character> <dialogue>Look at the fireplace. You do n't get workmanship like that anymore.</dialogue> <scene_description>ANGLE ON MIKE : preoccupied .</scene_description> <character>ELLIE</character> <dialogue>Ninety - seven five. What do you think?</dialogue> <scene_description>He nods , trying hard to `` be there , '' but ELLIE is n't fooled ; she assesses him with concern .</scene_description> <character>ELLIE</character> <dialogue>Honey. You got him.</dialogue> <character>MIKE</character> <dialogue>I do n't know that Ellie. He might get out. Garber's not bein' straight with the witness, she could be in deep shit if she identifies him, and it's my job to convince her she wo n't be.</dialogue> <character>ELLIE</character> <parenthetical>( the voice of sanity . )</parenthetical> <dialogue>She's got to identify him.</dialogue> <character>MIKE</character> <dialogue>Why?</dialogue> <character>ELLIE</character> <parenthetical>( taken aback . )</parenthetical> <dialogue>Because the the only way to stop crime is to identify criminals. I ca n't believe you're talking this way Mister Detective - I think she's got a lot of guts.</dialogue> <character>MIKE</character> <dialogue>I think - she's crazy.</dialogue> <character>ELLIE</character> <dialogue>I'd identify him.</dialogue> <character>MIKE</character> <dialogue>I might stop you.</dialogue> <scene_description>A beat .</scene_description> <character>ELLIE</character> <dialogue>Oh I can see you've had a bad day. We'll see the house another time, okay?</dialogue> <character>MIKE</character> <parenthetical>( trying to recover . )</parenthetical> <dialogue>No! No! I'm sorry. Ninety - seven five right?</dialogue> <character>ELLIE</character> <dialogue>Where'd you get the tie?</dialogue> <scene_description>He 's wearing the tie CLAIRE bought him .</scene_description> <character>MIKE</character> <parenthetical>( distracted . )</parenthetical> <dialogue>Bought it.</dialogue> <character>ELLIE</character> <dialogue>It's not your taste.</dialogue> <character>MIKE</character> <dialogue>What did she say the down payment was?</dialogue> <scene_description>PAUSE . DEAD SILENCE .</scene_description> <character>MIKE</character> <dialogue>She did n't like the other one, so she picked this one.</dialogue> <character>ELLIE</character> <dialogue>She took you shopping for a tie?</dialogue> <character>MIKE</character> <dialogue>I had to follow her to a store.</dialogue> <character>ELLIE</character> <dialogue>What's wrong with your paisley tie?</dialogue> <character>MIKE</character> <dialogue>Ellie, it was a formal party.</dialogue> <character>ELLIE</character> <dialogue>Excuse me! You went to a party with her?</dialogue> <character>MIKE</character> <dialogue>I'm her bodyguard, goddamnit.</dialogue> <character>ELLIE</character> <dialogue>I know you're her bodyguard. Did she buy it or did you?</dialogue> <character>MIKE</character> <dialogue>She bought it.</dialogue> <character>ELLIE</character> <dialogue>Why?</dialogue> <character>MIKE</character> <dialogue>I do n't know why she bought me a tie! - She's a generous person - and she's a nice person - and I could be settin' her up to be killed. you want the fuckin' tie?</dialogue> <scene_description>His VOICE resonates through the empty house , creating a ringing silence . ELLIE begins to giggle .</scene_description> <character>ELLIE</character> <parenthetical>( joking . )</parenthetical> <dialogue>No, I do n't want the ` fuckin''' tie - I'm sorry -.</dialogue> <parenthetical>( conciliatory . )</parenthetical> <dialogue>I'm glad she bought you a tie. You needed one. You look good in that tie.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Next time you two go shopping, maybe you could tell her we need a new Maytag stackable, double - decker washer and dryer set.</dialogue> <scene_description>MIKE smiles , she gives him a kiss , and a flick on the nose .</scene_description> <character>ELLIE</character> <dialogue>You want to see the bedroom.</dialogue> </scene> <scene> <stage_direction>INT. DEN - LATER - NIGHT</stage_direction> <scene_description>The WALL CLOCK reads 9:45 . CLAIRE is working at her desk . She gets up and moves into the hallway where she sees MIKE through the half - opened door . CLAIRE moves to the doorway .</scene_description> <character>CLAIRE</character> <dialogue>Hi. Just checking to see if you're here.</dialogue> <character>MIKE</character> <dialogue>I came on at 8:00.</dialogue> <scene_description>An awkward silence .</scene_description> <character>MIKE</character> <dialogue>You all right?</dialogue> <character>CLAIRE</character> <dialogue>Yeah.</dialogue> <character>MIKE</character> <dialogue>I'm sorry about what happened.</dialogue> <character>CLAIRE</character> <dialogue>Listen, that was my fault.</dialogue> <character>MIKE</character> <parenthetical>( disagreeing . )</parenthetical> <dialogue>I should n't have listened to you, I should've followed you right into the `` can'' the way he did.</dialogue> <character>CLAIRE</character> <dialogue>If I had known I was going to have company, he was right next to me. I think he heard me peeing! I hate that, I am glad he's in jail.</dialogue> <scene_description>She laughs , he smiles , both attempting to make light of it . But it 's hard to make light of ; the attempt quickly fades .</scene_description> <character>CLAIRE</character> <dialogue>Lieutenant Garber says when I identify him, they're going to lock him up and throw away the key.</dialogue> <scene_description>MIKE nods ; buttoning his lip .</scene_description> <character>CLAIRE</character> <dialogue>I guess I'm supposed to do it in the morning. Identify him.</dialogue> <character>MIKE</character> <parenthetical>( uneasy . )</parenthetical> <dialogue>Sooner, the better.</dialogue> <character>CLAIRE</character> <dialogue>He said he'd kill me.</dialogue> <character>MIKE</character> <dialogue>Big talk. Desperate guy.</dialogue> <character>CLAIRE</character> <dialogue>Right. How could he do that if he's in jail and they've thrown away the key?</dialogue> <scene_description>MIKE is TORN .</scene_description> <character>MIKE</character> <dialogue>It's the right thing to do. Identifying him.</dialogue> <scene_description>She starts to walk away .</scene_description> <character>MIKE</character> <dialogue>Claire?</dialogue> <character>CLAIRE</character> <dialogue>Hmm.</dialogue> <character>MIKE</character> <parenthetical>( holds up a book . )</parenthetical> <dialogue>You would n't happen to know what language they speak in India, do you?</dialogue> <character>CLAIRE</character> <dialogue>Urdu and Hindi.</dialogue> <character>MIKE</character> <parenthetical>( amazed . )</parenthetical> <dialogue>Yeah, what a woman.</dialogue> <scene_description>He marks it in his CROSSWORDS : she moves closer , leaning over his shoulder to see .</scene_description> <character>CLAIRE</character> <dialogue>Did n't do very well, did you?</dialogue> <character>MIKE</character> <parenthetical>( a laugh . )</parenthetical> <dialogue>Nope. never finished one yet. I hate these things.</dialogue> <character>CLAIRE</character> <dialogue>You were reading my Renoir.</dialogue> <character>MIKE</character> <dialogue>How did you know?</dialogue> <character>CLAIRE</character> <dialogue>You put it back in the wrong place. Do you like Renoir?</dialogue> <character>MIKE</character> <parenthetical>( thoughtful . )</parenthetical> <dialogue>They're kind of fuzzy.</dialogue> <character>CLAIRE</character> <dialogue>You know why they're like that? He was myopic. going blind.</dialogue> <character>MIKE</character> <dialogue>No kidding.</dialogue> <scene_description>In the SILENCE that follows , their eyes on each other , appraising .</scene_description> <character>CLAIRE</character> <dialogue>So, this could be your last night, huh?</dialogue> <character>MIKE</character> <dialogue>Could be, I guess.</dialogue> <character>CLAIRE</character> <parenthetical>( a thought . )</parenthetical> <dialogue>Want to go out for a drink?</dialogue> <parenthetical>( re : his surprised expression . )</parenthetical> <dialogue>I mean, we're both sitting here, and Joey Venza's in jail.</dialogue> <character>MIKE</character> <parenthetical>( a beat . )</parenthetical> <dialogue>Yeah, I like that! Where you go, I follow.</dialogue> </scene> <scene> <stage_direction>EXT. FIFTH AVENUE - NIGHT</stage_direction> <scene_description>CLAIRE and MIKE walking ; her arm looped in his - the BLACK - AND - WHITE keeping pace alongside them - their conversation animated , clearly enjoying one another 's company .</scene_description> <character>CLAIRE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>You mean to tell me, a mugger would stay away from someone because they walked a certain way?</dialogue> <character>MIKE</character> <dialogue>Absolutely. Look at this.</dialogue> <scene_description>He demonstrates a peculiar walk ; arms and legs moving in ridiculous awkwardness .</scene_description> <character>CLAIRE</character> <dialogue>That's the dumbest walk I ever saw!</dialogue> <character>MIKE</character> <parenthetical>( indignant . )</parenthetical> <dialogue>No, no seriously! There's a study done on this, you walk this way, the muggers are gon na single you out.</dialogue> <character>CLAIRE</character> <dialogue>And die laughing, because you're walking so stupid!</dialogue> <character>MIKE</character> <parenthetical>( mock anger . )</parenthetical> <dialogue>Hey. This is my business. Do I tell you your business.</dialogue> <character>CLAIRE</character> <dialogue>Okay. Let's just see if a mugger gets me.</dialogue> <scene_description>She takes off down the street ; walking stupidly , worse than he did - he 's LAUGHING as he WATCHES HER GO .</scene_description> </scene> <scene> <stage_direction>INT. PATROL CAR - NIGHT</stage_direction> <scene_description>The COPS following exchange dubious glances , getting a glimpse of the strangeness .</scene_description> </scene> <scene> <stage_direction>INT. PIANO BAR - NIGHT</stage_direction> <scene_description>CAMERA FINDING CLAIRE and MIKE , at a small table , in darkness , a piano bar playing in the background . The song being sung is `` SOMEONE TO WATCH OVER ME . ''</scene_description> <character>MIKE</character> <dialogue>It was like. the minute I saw her. I knew. She looked so damn adorable in a cop's uniform. puttin' on a big, tough act.</dialogue> <character>CLAIRE</character> <dialogue>So it was `` love''.</dialogue> <character>MIKE</character> <dialogue>Yeah. It was.</dialogue> <character>CLAIRE</character> <dialogue>And `` is''?</dialogue> <scene_description>He hesitates ; but nods .</scene_description> <character>MIKE</character> <parenthetical>( confirming it . )</parenthetical> <dialogue>Yeah.</dialogue> <character>CLAIRE</character> <dialogue>That's nice. And you live in Queens? With a child, and a dog?</dialogue> <character>MIKE</character> <dialogue>No dog.</dialogue> <character>CLAIRE</character> <dialogue>I saw you with a dog, in my mind.</dialogue> <character>MIKE</character> <dialogue>No dog.</dialogue> <character>CLAIRE</character> <dialogue>But `` nice''.</dialogue> <character>MIKE</character> <dialogue>Very nice.</dialogue> <scene_description>Her envy is plain .</scene_description> <character>MIKE</character> <dialogue>What about Neil?</dialogue> <character>CLAIRE</character> <dialogue>You do n't like him, do you?</dialogue> <character>MIKE</character> <parenthetical>( a pause . )</parenthetical> <dialogue>What's to like?</dialogue> <character>CLAIRE</character> <parenthetical>( amused . )</parenthetical> <dialogue>Tell it like it is.</dialogue> <character>MIKE</character> <dialogue>You asked.</dialogue> <character>CLAIRE</character> <dialogue>He's very caring, in his way. You have n't seen him at his best.</dialogue> <character>MIKE</character> <dialogue>You could do better.</dialogue> <character>CLAIRE</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I'll miss you, Mike.</dialogue> <scene_description>ANGLE ON BOTH : the music playing .</scene_description> <character>CLAIRE</character> <dialogue>It was nice having you `` watch over me''.</dialogue> <character>MIKE</character> <dialogue>Yeah. I liked being around you too. Claire.</dialogue> <scene_description>CLOSE ON MIKE : feeling a moment of awkwardness .</scene_description> <character>MIKE</character> <dialogue>Let's go home.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>The PATROL CAR keeping pace as the two walk home ; the COPS in the BLACK - AND - WHITE exchange a look at what they are seeing . MIKE is holding her arm , she 's huddled up ; she is cold and he removes his topcoat and puts it around her shoulders .</scene_description> </scene> <scene> <stage_direction>EXT. CLAIRE'S BUILDING - NIGHT</stage_direction> <scene_description>The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER . ANGLE ON THE TWO COPS AGAIN : watching them go .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S ELEVATOR - NIGHT</stage_direction> <scene_description>As they ride up in silence - on opposite sides of the elevator - looking at each other . It comes to a stop , and neither moves ; the tension is palpable . She steps out first , he follows . She moves to the doors and stops - her shoulders visibly relaxing as he moves up behind her . But he stops , too . And she turns . ANOTHER ANGLE : Both captive to indecision . It is he who makes it , just by staying immobile for too long . She smiles and takes off her coat , holding it out to him . And in the moment of exchange is the return to reality .</scene_description> <character>CLAIRE</character> <dialogue>Good night, Mike.</dialogue> <character>MIKE</character> <dialogue>Sleep good.</dialogue> <scene_description>She turns to open the door . Entering she - and we - suddenly can see Neil pacing in the hall , b.g. He 's returned . He looks up , worried and very upset . CLOSE ANGLES ON FACES .</scene_description> <character>NEIL</character> <dialogue>It's 3 o'clock in the morning. Where the hell have you been?</dialogue> </scene> <scene> <stage_direction>INT. DOWNTOWN HEADQUARTERS - DAY</stage_direction> <scene_description>MIKE heading down a LONG HALL TOWARD GARBER 'S OFFICE : It 's like running a gauntlet .</scene_description> <character>COP #1</character> <dialogue>Hey, Mike, tough night.</dialogue> <character>KOONTZ</character> <dialogue>I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>. I heard he had her underpants on his head.</dialogue> <scene_description>That one got to him ; stopped dead by it , he turns , giving KOONTZ a challenging look .</scene_description> <character>COP #1</character> <dialogue>Ease up, Mike. Ai n't nobody gon na tell the old lady.</dialogue> <scene_description>CLOSE ON MIKE : cooling down - then girding himself for GARBER .</scene_description> <character>KOONTZ</character> <dialogue>Ai n't the first time the taxpayers paid for a blow - job neither.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - DAY</stage_direction> <scene_description>GARBER and MIKE on the carpet .</scene_description> <character>GARBER</character> <parenthetical>( steamed . )</parenthetical> <dialogue>Do n't tell me it was `` no big deal,'' it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize.</dialogue> <parenthetical>( in motion . )</parenthetical> <dialogue>Let's get this over with.</dialogue> <scene_description>In the room next to the corridor , KOONTZ interrupts the shift already there , entering .</scene_description> <character>KOONTZ</character> <dialogue>Okay, we're gon na have a line - up here.</dialogue> <scene_description>The OTHER COPS grab their things and scatter , not wanting to get involved in another cop 's headache .</scene_description> </scene> <scene> <stage_direction>INT. FARTHER DOWN THE CORRIDOR - SAME - DAY</stage_direction> <scene_description>CLAIRE approaching with NEIL , with T.J. on guard - duty .</scene_description> <character>GARBER</character> <dialogue>Good morning, Miss Gregory.</dialogue> <scene_description>MIKE AND CLAIRE catch each other 's eyes . He sees how nervous she is .</scene_description> <character>CLAIRE</character> <dialogue>It was my fault not Detective Keegan's, I'm sorry for all the fuss.</dialogue> <scene_description>NEIL catches MIKE 'S glance at her ; reassures himself with a glance at CLAIRE , straightens , still steamed from last night . GARBER picks up on it , not liking the tension , especially not now ; his eyes throw daggers at MIKE .</scene_description> <character>GARBER</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>You all ready?</dialogue> <character>NEIL</character> <parenthetical>( playing the protector role . )</parenthetical> <dialogue>Will this take long?</dialogue> <character>GARBER</character> <dialogue>We'll see.</dialogue> <scene_description>GARBER TURNS , getting them started .</scene_description> </scene> <scene> <stage_direction>INT. VIEWING ROOM - SAME - DAY</stage_direction> <scene_description>They crowd in ; another MAN already standing there - VENZA 'S PARK AVENUE LAWYER . A one - way window looks into the brightness of the line - up -LRB- squad -RRB- room that 's emptied now and undergoing preparation by KOONTZ . GARBER to CLAIRE , a professional reassurance .</scene_description> <character>GARBER</character> <dialogue>They ca n't hear you, they ca n't see you.</dialogue> <parenthetical>( introducing pro forma . )</parenthetical> <dialogue>Mr. Venza's attorney, Mr. Neuman ; arresting officer Keegan.</dialogue> <parenthetical>( to Claire . )</parenthetical> <dialogue>Good luck.</dialogue> <scene_description>With that , GARBER leads NEIL out . NEIL manages a final concerned stare at CLAIRE before he goes . The DOOR CLOSES . MIKE , CLAIRE , and an unruffled MR. NEUMAN , THE LAWYER , are left alone in the cramped space .</scene_description> </scene> <scene> <stage_direction>INT. LINE-UP ROOM - SAME - DAY</stage_direction> <scene_description>KOONTZ beckons VENZA and the OTHER FOUR LINE - UP PARTICIPANTS IN .</scene_description> <character>KOONTZ</character> <dialogue>Okay, take a seat. you, put a couple phone books under your rear.</dialogue> <scene_description>VENZA enters confidently , with the others . He 's number three . He takes his place , staring unconcernedly past the bright lights toward the direction of the mirrored window , as if he could see through it , into CLAIRE 'S EYES .</scene_description> </scene> <scene> <stage_direction>INT. VIEWING ROOM - SAME - DAY</stage_direction> <scene_description>CLAIRE , staring expressionless , her eyes etched with fear . MIKE aware of that fear . VENZA 'S LAWYER waiting patiently , casually .</scene_description> </scene> <scene> <stage_direction>INT. LINE-UP ROOM - DAY</stage_direction> <scene_description>VENZA and the OTHERS WAITING , now STANDING ON DISPLAY .</scene_description> <character>KOONTZ</character> <parenthetical>( V.O. ; OVER SPEAKER . )</parenthetical> <dialogue>Will everyone except number three please take one step back?</dialogue> <scene_description>VENZA 'S JAW TIGHTENS , a flicker , before catching himself and controlling the reaction . Realizing . She 's making positive identification .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - EVENING</stage_direction> <scene_description>MIKE , empty - eyed . On his way HOME .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>ELLIE dressed for sleep , in a DISNEYWORLD T - SHIRT , pauses to glance with worried eyes - toward the living room where WE HEAR the SOUND of a TV . ANGLE ON MIKE : on a couch , beer in hand - mindlessly watching .</scene_description> <character>ELLIE</character> <dialogue>Coming to bed?</dialogue> <character>MIKE</character> <dialogue>Few minutes. Want to catch the news.</dialogue> <character>ELLIE</character> <parenthetical>( hesitant . )</parenthetical> <dialogue>Should I wait up? We've got to get up early for the beach tomorrow.</dialogue> <character>MIKE</character> <dialogue>I'll be right up.</dialogue> <scene_description>She accepts it , reluctantly - returning to the BEDROOM . CLOSE ON MIKE : hitting the remote to SCAN the channels ; troubled .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S DEN - EVENING</stage_direction> <scene_description>CLAIRE at ease on the couch , staring , trying to follow the images of the television . NEIL , at the bar , pours them both a drink .</scene_description> <character>NEIL</character> <dialogue>They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys.</dialogue> <scene_description>He steps forward with her drink .</scene_description> <character>NEIL</character> <dialogue>The change would do you a world of good.</dialogue> <scene_description>She straightens , suddenly attentive , in response to something on the TV . It 's a REPORT FROM OUTSIDE THE COURTHOUSE , with the TV NEWSMAN reporting :</scene_description> <character>TV NEWSMAN</character> <dialogue>Denied bail, Joey Venza will remain behind bars at least until the time of the trial -</dialogue> <scene_description>ANGLE ON NEIL , watching .</scene_description> <character>NEIL</character> <dialogue>Hallelujah.</dialogue> <scene_description>He gives her a drink , leaning down to kiss her on the forehead .</scene_description> <character>NEIL</character> <dialogue>At least now we can get on with our own lives.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S KITCHEN - MORNING</stage_direction> <scene_description>Where life has indeed returned to normal , except for the heavy weight of memory . MIKE , at the counter , makes SANDWICHES , packing a cooler for the game . He grabs TOMMY with an arm - hook as TOMMY tries to swipe a sandwich on the pass through .</scene_description> <character>MIKE</character> <dialogue>Hey, not yet! How many times.</dialogue> <scene_description>Roughhousing TOMMY , MIKE gets him squealing . ELLIE enters , stomping her feet clean , coming in from the garden .</scene_description> <character>ELLIE</character> <dialogue>God, it's freezin' out there.</dialogue> <scene_description>She blows on her hands , shows MIKE how cold , putting them against his cheeks .</scene_description> <character>MIKE</character> <parenthetical>( wincing . )</parenthetical> <dialogue>Ah!</dialogue> <scene_description>She does it to TOMMY , too , except he 's too fast for her , yelling and squirming out of the way . The PHONE RINGS . ELLIE does n't answer it . TOMMY picks it up .</scene_description> <character>TOMMY</character> <parenthetical>( a beat . )</parenthetical> <dialogue>Wait a sec.</dialogue> <scene_description>He offers the phone out to ELLIE .</scene_description> <character>ELLIE</character> <dialogue>Hello.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Yes, just a second.</dialogue> <parenthetical>( hands it to Mike . )</parenthetical> <dialogue>It's the Whip.</dialogue> <scene_description>MIKE takes it . ELLIE turns to TOMMY , who yelps and darts away , avoiding her cold touch .</scene_description> <character>MIKE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hey Lieutenant, how are you? What?!</dialogue> <parenthetical>( to Ellie . )</parenthetical> <dialogue>Venza's out.</dialogue> <parenthetical>( back to phone ; pissed . )</parenthetical> <dialogue>Why did n't the I.D. unit or the D.A.'s office know about his sheet?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Ah shit. Yeah, yeah, okay I'm on my way in.</dialogue> <scene_description>He SLAMS DOWN THE PHONE , raging .</scene_description> <character>ELLIE</character> <dialogue>What?</dialogue> <character>MIKE</character> <dialogue>Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law.</dialogue> <scene_description>In a fit of RAGE , he SWIPES at a MILK CARTON , sending it HURTLING AGAINST A WALL . ANGLE on TOMMY : amazed .</scene_description> <character>ELLIE</character> <dialogue>Mike, take it easy.</dialogue> <character>MIKE</character> <dialogue>Take it easy! I set her up. I saw it coming.</dialogue> <character>ELLIE</character> <dialogue>It's not your fault. Mike, please get off the case.</dialogue> <character>MIKE</character> <parenthetical>( distraught . )</parenthetical> <dialogue>It is my fault! I'm responsible for her!</dialogue> <character>ELLIE</character> <dialogue>Did you hear what I said?</dialogue> <character>MIKE</character> <dialogue>Did you hear what I said?!</dialogue> <scene_description>SILENCE .</scene_description> <character>MIKE</character> <parenthetical>( to Ellie , with finality . )</parenthetical> <dialogue>I'm due on at seven.</dialogue> <scene_description>He dumps the rest of the lunch preparations in the sink , exiting . ANGLE on TOMMY and ELLIE looking distraught .</scene_description> <character>TOMMY</character> <parenthetical>( dismally . )</parenthetical> <dialogue>We're not going to the game, are we Mom?</dialogue> <character>ELLIE</character> <parenthetical>( pulling herself together . )</parenthetical> <dialogue>Sure we are, let's go!</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S KITCHEN - EVENING</stage_direction> <scene_description>MUSIC TURNED UP FULL . CLAIRE spills red wine over the counter , uncorking the bottle . She leaves the stain , grabbing the bottle and a wine glass , taking them with her , in emotional extremis .</scene_description> </scene> <scene> <stage_direction>EXT. CLAIRE'S APARTMENT BUILDING - EVENING</stage_direction> <scene_description>ANGLE on MIKE : as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE 'S BUILDING ; MIKE hurries , sidestepping him , HEADING toward the ENTRANCE . ANGLE FROM HIS POV : CLAIRE 'S FRONT ENTRANCE ; extra SECURITY - A SQUAD CAR PARKED IN FRONT now . ANGLE ON MIKE : SPRINTING INWARD .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - SAME - NIGHT</stage_direction> <scene_description>The ELEVATOR DOORS OPEN and MIKE steps out , breathless , confronting KOONTZ . The MUSIC CONTINUES TO BLAST from behind the closed apartment doors . KOONTZ grabbing his stuff , massive understatement .</scene_description> <character>KOONTZ</character> <dialogue>She's a little upset. You're going to have to piss in a bottle.</dialogue> <scene_description>He holds up a beer bottle ; half - filled with urine .</scene_description> <character>KOONTZ</character> <parenthetical>( packs it under his arm . )</parenthetical> <dialogue>Sorry, I do n't have any extras. Have a nice night.</dialogue> <scene_description>HE WILLINGLY LEAVE , and MIKE WAITS but a split second , before going to the doors . They are closed . MUSIC blares from within . No other response .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S LIVING ROOM - SAME - NIGHT</stage_direction> <scene_description>Distraught , CLAIRE tries to bring herself back from the brink , placing the wine bottle rack down after she 's poured .</scene_description> <character>MIKE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Claire?</dialogue> <character>CLAIRE</character> <parenthetical>( frightened . )</parenthetical> <dialogue>What do you want?</dialogue> <character>MIKE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Open the door, will you?</dialogue> <character>CLAIRE</character> <dialogue>I ca n't open it.</dialogue> <character>MIKE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's just me. I want to talk to you. Let me in.</dialogue> <scene_description>The lock turns and it opens , but just a crack , enough to see that she 's hysterical , her eyes reddened from crying .</scene_description> <character>CLAIRE</character> <dialogue>You put me life in danger.</dialogue> <character>MIKE</character> <dialogue>No, you'll be safe. We're gon na pick him up again.</dialogue> <character>CLAIRE</character> <dialogue>And then what? I'll never be safe. I'll have to leave the country! You ca n't protect me, and you ca n't keep him in jail! And you knew that all the goddamn time!</dialogue> <scene_description>Near bursting , she SLAMS THE DOOR , leaving MIKE STUNNED : Inside , the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS . Clenching his fists , MIKE PACES in frustration , then SLAMS his fist against the wall - NOTICING the door has failed to FULLY SHUT . HE PUSHES IT OPEN , ENTERING THE APARTMENT , CAMERA FOLLOWING HIM as he looks for her . The MUSIC , bounding off the high ceilings and marble floors , is thunderous .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S HALL - NIGHT</stage_direction> <character>MIKE</character> <parenthetical>( searching for her . )</parenthetical> <dialogue>Claire?</dialogue> <scene_description>He moves HURRIEDLY DOWN THE HALL to her BEDROOM , entering , without warning , to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES .</scene_description> <character>MIKE</character> <dialogue>What are you doing?</dialogue> <scene_description>The dress on , she SWEEPS past him , heading toward the doors .</scene_description> <character>CLAIRE</character> <dialogue>You told me I'm safe? I'm going for a walk in the park.</dialogue> <character>MIKE</character> <dialogue>Claire, will you calm down?</dialogue> <character>CLAIRE</character> <dialogue>I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park.</dialogue> <character>MIKE</character> <dialogue>Claire!</dialogue> <scene_description>She heads out the bedroom door .</scene_description> </scene> <scene> <stage_direction>INT. HALL - SAME - NIGHT</stage_direction> <scene_description>ANGLE ON CLAIRE : as she heads down the hall moving fast , he 's right behind her .</scene_description> <character>MIKE</character> <dialogue>Stop, will you?!</dialogue> <scene_description>HE GRABS HER , SPINNING HER AROUND .</scene_description> <character>CLAIRE</character> <parenthetical>( struggling . )</parenthetical> <dialogue>Let go!</dialogue> <character>MIKE</character> <dialogue>Stop being nuts!</dialogue> <character>CLAIRE</character> <parenthetical>( hysterical . )</parenthetical> <dialogue>I trusted you! I thought you cared about me?!</dialogue> <character>MIKE</character> <dialogue>I do care about you!</dialogue> <character>CLAIRE</character> <dialogue>More bullshit! More bullshit!</dialogue> <parenthetical>( struggling . )</parenthetical> <dialogue>What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days?</dialogue> <scene_description>Their physicality reaches a CLIMAX with MIKE pinning her against the wall , she , restrained by him , finally GIVING UP , with a SOB , and COLLAPSING INTO HIS ARMS .</scene_description> <character>MIKE</character> <parenthetical>( handling her close . )</parenthetical> <dialogue>Easy. easy. I'm not gon na leave you alone like this.</dialogue> <scene_description>ANGLE ON CLAIRE : gasping as she clings to him .</scene_description> <character>MIKE</character> <dialogue>I'm not gon na let anything happen to you.</dialogue> <scene_description>He holds her ; makes a tentative move toward her - and stops . She CLOSES THE DISTANCE . THEY KISS . They separate , making sure . They KISS AGAIN , certain .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>ELLIE startles awake , premonitorily . ELLIE : She turns in the darkness to look at the clock . Heart beating , she reclines again , lying awake , realizing what it was that woke her . She listens , hearing it again . A shuffling SOUND , something moving , outside . She stirs , sitting up , listening . ANGLE : Only silence answers . ELLIE gets up , dissatisfied by the silence , and moves to the rear bedroom window . AT THE REAR WINDOW , she looks out into the darkness . HER POV - BACK YARD It 's almost impossible to see anything . Nothing moves .</scene_description> </scene> <scene> <stage_direction>INT. HALL/LANDING - NIGHT</stage_direction> <scene_description>ELLIE closes TOMMY 'S door , listens again for the SOUND ; starts quietly down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL - NIGHT</stage_direction> <scene_description>ELLIE reaches the ground floor , moving for the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>ELLIE enters . She GASPS . A SMALL SHADOWED FIGURE TURNS , CONFRONTING HER . It 's TOMMY , having left his room earlier .</scene_description> <character>TOMMY</character> <parenthetical>( hushed . )</parenthetical> <dialogue>There's somebody outside.</dialogue> <scene_description>Recovering from the scare , ELLIE grabs him , relieved , sinking to her KNEES and HOLDING HIM TIGHT .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - NIGHT</stage_direction> <scene_description>MIKE gets up , dressing . CLAIRE watches from the bed . He returns her gaze , reluctant to go , but hesitating to touch her again . CLAIRE clasps his hand , bringing him closer . They kiss , in affirmation .</scene_description> </scene> <scene> <stage_direction>INT. VESTIBULE - NIGHT</stage_direction> <scene_description>MIKE stands by the front door as T.J. arrives to begin his duty .</scene_description> <character>T.J.</character> <dialogue>We're gon na need snow boots.</dialogue> <scene_description>MIKE nods , absently , entering the elevator . The PHONE starts to RING in the apartment .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - EARLY A.M. - NIGHT</stage_direction> <scene_description>MIKE ; miserable . The `` QUEENS '' exit is SEEN APPROACHING through the TRAIN WINDOW ; he attempts to pull himself together , rising , waiting for the train to stop .</scene_description> </scene> <scene> <stage_direction>EXT. MIKE'S STREET - SAME</stage_direction> <scene_description>As MIKE rounds the corner and looks up . His breath catches . His heart starts to pound . AHEAD , lights ablaze . ONE COP CAR is in front of his HOUSE , and a JEEP -LRB- Belonging to SCOTTY -RRB- . MIKE BREAKS INTO A RUN .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S ENTRY - NIGHT - MORNING</stage_direction> <scene_description>He rushes in . The front door is unlocked , lights are on , but otherwise there is nothing different . He hears VOICES .</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S KITCHEN - NIGHT - MORNING</stage_direction> <scene_description>MIKE hurries in . The room is bright . SCOTTY and another cop , BROOKLYN from the 117th , look up from the kitchen table , nursing cups of coffee . BROOKLYN is on duty ; SCOTTY has come over on his own . TOMMY has long since been ushered back to bed . ELLIE making coffee at the stove , turns as MIKE enters . She is okay , returning MIKE 'S stare with embarrassment .</scene_description> <character>SCOTTY</character> <dialogue>Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure.</dialogue> <scene_description>SCOTTY collects his gun from the table , rising .</scene_description> <character>SCOTTY</character> <dialogue>We all look like hell.</dialogue> <character>BROOKLYN</character> <parenthetical>( rising . )</parenthetical> <dialogue>Well, there you are.</dialogue> <parenthetical>( to Ellie , unconcerned . )</parenthetical> <dialogue>I'll come ` round in the car from time to time so you can get some sleep. Just keep the shades pulled.</dialogue> <scene_description>He gives her a peck , yawning .</scene_description> <character>BROOKLYN</character> <dialogue>Thanks for the coffee.</dialogue> <character>ELLIE</character> <parenthetical>( to both . )</parenthetical> <dialogue>Thanks. You're terrific.</dialogue> <scene_description>SCOTTY waves her off with a goodbye , exiting after BROOKLYN . ELLIE turns back to MIKE .</scene_description> <character>ELLIE</character> <parenthetical>( sheepishly . )</parenthetical> <dialogue>I'm sorry. I know I heard noises. the detective's wife.</dialogue> <character>MIKE</character> <parenthetical>( tensely . )</parenthetical> <dialogue>I want you and Tommy to stay with my mother.</dialogue> <scene_description>She shakes her head , amused .</scene_description> <character>ELLIE</character> <dialogue>Do n't be ridiculous. That's all I need, rubbing up against your mother and grandmother every day. I can take care of myself.</dialogue> <parenthetical>( gently , to him . )</parenthetical> <dialogue>C'mon, let's go to bed. we all need some sleep.</dialogue> <scene_description>CLOSE ON MIKE . Feeling like absolute hell .</scene_description> </scene> <scene> <stage_direction>INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON</stage_direction> <scene_description>MIKE is threading his necktie . ELLIE stands behind him , in the kitchen , grinning .</scene_description> <character>ELLIE</character> <dialogue>C'mon, do n't make an issue of it. Do you want the fucking meatloaf or not?</dialogue> <character>MIKE</character> <dialogue>D'you have to say `` fucking'' every other word?</dialogue> <character>ELLIE</character> <dialogue>What was that?</dialogue> <character>MIKE</character> <dialogue>You heard me.</dialogue> <character>ELLIE</character> <dialogue>Jesus, Mike, somebody's been feeding you a line of crap.</dialogue> <character>MIKE</character> <dialogue>What're you talking about -</dialogue> <character>ELLIE</character> <dialogue>I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar!</dialogue> <scene_description>She leaves the room , slamming the door behind her . He looks at himself in the mirror , wondering what 's possessed him .</scene_description> <character>MIKE</character> <dialogue>Fuck. What's happening?</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S KITCHEN - DAY</stage_direction> <scene_description>MIKE sits at the table with a cup of coffee . He watches ELLIE from the window . MIKE 'S POV ELLIE : Tight jeans , workshirt , scarf tied around her head , she looks great . She looks up , rinsing a greasy grill over a bucket of hot water , playfully sprays the window with the hose , seeing him watching her .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - EVENING</stage_direction> <scene_description>MIKE walking along the platform amidst the crowded car , returning to his work and his destination .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S ENTRY HALL - EVENING</stage_direction> <scene_description>A heavy silence . MIKE sitting , on duty again . He keeps to himself . He does n't move from his chair . CLAIRE finally enters . She holds tensely , waiting , aware of his mood .</scene_description> <character>CLAIRE</character> <dialogue>Is everything all right?</dialogue> <scene_description>His stare is unyielding .</scene_description> <character>MIKE</character> <dialogue>Yeah.</dialogue> <character>CLAIRE</character> <dialogue>They called here after you left.</dialogue> <character>MIKE</character> <parenthetical>( sharply . )</parenthetical> <dialogue>She's okay. Everything's okay.</dialogue> <scene_description>He looks up .</scene_description> <character>MIKE</character> <parenthetical>( anguished . )</parenthetical> <dialogue>I do n't know you.</dialogue> <character>CLAIRE</character> <dialogue>This is me, Mike. There's nothing else.</dialogue> <character>MIKE</character> <dialogue>You do n't wash your clothes at the Boulevard Laundromat. you do n't pick up your kids from some crummy public school. what is this? A fuckin' joke?</dialogue> <character>CLAIRE</character> <parenthetical>( beat ; sustaining . )</parenthetical> <dialogue>Okay, then let's make it easy. It was a mistake. Do n't make me feel guilty now that it's over, let's forget about it.</dialogue> <scene_description>She walks away ; MIKE sits .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S STUDY</stage_direction> <scene_description>She turns to her table to resume work . Scribbled pages litter the surface . Her hands betray her . It 's an effort of will . MIKE enters , moving closer . Beginning to cry , she feels his embrace , turning into it .</scene_description> <character>CLAIRE</character> <dialogue>Do n't you think I know what this is doing. I know you have a wife. I know you have a family. I'm not asking for anything. I do n't want anything. Just please hold me I'm scared.</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT</stage_direction> <scene_description>CLAIRE lies asleep . MIKE leans over her as she wakes , meeting his gaze , bringing him closer before he goes . They kiss . He withdraws , tenderly returning her gaze and returning her to sleep .</scene_description> </scene> <scene> <stage_direction>INT. HER HALLWAY - EARLY A.M. - NIGHT</stage_direction> <scene_description>T.J. standing in the hallway .</scene_description> <character>T.J.</character> <dialogue>Mike?</dialogue> <scene_description>ANGLE ON T.J. , as the bedroom DOOR OPENS - REVEALING MIKE . T.J. recoils with surprise .</scene_description> <character>T.J.</character> <dialogue>Oh, man. I do n't believe you.</dialogue> <scene_description>MIKE steps out , closing the door behind him ; distraught .</scene_description> <character>MIKE</character> <parenthetical>( beat . )</parenthetical> <dialogue>All fucked up, T.J.</dialogue> <scene_description>T.J. issues a long , saddened sigh ; just staring at him .</scene_description> </scene> <scene> <stage_direction>INT. MIKE AND ELLIE'S BEDROOM - NIGHT</stage_direction> <scene_description>MIKE sits in a chair by the far wall , staring out toward Manhattan , which glows palely , in the distance . Now PAN OVER THE BED where ELLIE lies asleep . But as WE MOVE CLOSE TO HER FACE , WE SEE she is not asleep ; wide - eyed , aware of MIKE in the chair .</scene_description> </scene> <scene> <stage_direction>INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER</stage_direction> <scene_description>ELLIE stirs as MIKE slips between the sheets . She embraces him , starts to kiss him . He rolls over . A moment of silence .</scene_description> <character>ELLIE</character> <dialogue>You got ta get another tour. We're gettin' too old for this.</dialogue> <character>MIKE</character> <dialogue>I'm sorry.</dialogue> <character>ELLIE</character> <dialogue>I'm not saying it's your fault.</dialogue> <scene_description>More silence .</scene_description> <character>MIKE</character> <dialogue>What did you do tonight?</dialogue> <character>ELLIE</character> <dialogue>I watched TV.</dialogue> <character>MIKE</character> <dialogue>What did you watch?</dialogue> <character>ELLIE</character> <dialogue>I do n't remember Michael, go to sleep. You do n't have to make conversation with me.</dialogue> <scene_description>She snuggles up to him .</scene_description> <character>ELLIE</character> <dialogue>I'll make a reservation tomorrow for early dinner. You can sleep till noon.</dialogue> </scene> <scene> <stage_direction>INT. BROOKLYN RESTAURANT - EVENING</stage_direction> <scene_description>THE LIGHTS of New York beginning to sparkle against a darkening sky ; MIKE and ELLIE at a table that looks out on the East River . It 's an OK restaurant , not the poshest in the world . ELLIE finds herself carrying most of the conversation . They scan menus to order .</scene_description> <character>ELLIE</character> <dialogue>Hey, we qualify for the Senior Citizens Early - Bird Special. Did you see Tommy today? He misses you.</dialogue> <character>MIKE</character> <dialogue>Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon.</dialogue> <character>ELLIE</character> <parenthetical>( carefully . )</parenthetical> <dialogue>I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner. That's why he's on the morning shift.</dialogue> <character>MIKE</character> <dialogue>Well, T.J.'s. seniority. and all.</dialogue> <parenthetical>( evasive . )</parenthetical> <dialogue>I'll talk to Garber about it.</dialogue> <character>ELLIE</character> <parenthetical>( girds herself . )</parenthetical> <dialogue>I already did. I mean, I talked to his wife, and she talked to him.</dialogue> <character>MIKE</character> <parenthetical>( stopped . )</parenthetical> <dialogue>You talked to his wife?</dialogue> <scene_description>CLOSE ON MIKE : incredulous .</scene_description> <character>MIKE</character> <dialogue>My wife talks to his wife about what shift I'm gon na take?</dialogue> <character>ELLIE</character> <dialogue>What's the difference?</dialogue> <scene_description>MIKE is nonplused ; not knowing how to respond .</scene_description> <character>ELLIE</character> <dialogue>Unless there's some particular reason why it feels better to be around her at night.</dialogue> <scene_description>He shakes his head , dismissively .</scene_description> <character>ELLIE</character> <dialogue>Is there, Mike?</dialogue> <scene_description>No response ; MIKE having trouble with it . CLOSE ON ELLIE : sensing deception . Her eyes begin to glisten . CLOSE ON MIKE : seeing her distress . Unable to hide his own . She looks at him - and knowing him as well as she does , is certain . She puts a hand in front of her mouth in an attempt not to cry .</scene_description> <character>ELLIE</character> <dialogue>What, what is it? Is it serious or what? Quit looking at me like that! What's with this ridiculous silence?!</dialogue> <scene_description>Her eyes flush with tears .</scene_description> <character>ELLIE</character> <dialogue>Goddamn. I never thought this would happen to me. you fuckin' sonofabitch.</dialogue> <scene_description>She UPSETS her SETTING , GETTING UP from the TABLE , shaking him off .</scene_description> <character>ELLIE</character> <dialogue>I just want you off the case. Get off it, or do n't come home.</dialogue> <parenthetical>( her voice trembling . )</parenthetical> <dialogue>And I want you to remember. when we're old. that when this awful thing happened. I behaved like a lady.</dialogue> <parenthetical>( embittered . )</parenthetical> <dialogue>The kind of `` lady'' you apparently prefer.</dialogue> <character>WAITER</character> <parenthetical>( approaching . )</parenthetical> <dialogue>We got some specials.</dialogue> <scene_description>She BOLTS from the room ; MIKE following her .</scene_description> <character>MIKE</character> <parenthetical>( to the waiter . )</parenthetical> <dialogue>We'll be right back.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - PARKING LOT - NIGHT</stage_direction> <scene_description>She weaves toward the car . MIKE goes after her .</scene_description> <character>MIKE</character> <dialogue>Let me drive.</dialogue> <character>ELLIE</character> <dialogue>Get away from me. get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me.</dialogue> <character>MIKE</character> <parenthetical>( tortured . )</parenthetical> <dialogue>El? I'm sorry. I do love you.</dialogue> <parenthetical>( with difficulty . )</parenthetical> <dialogue>And you are a lady. I have so much respect.</dialogue> <scene_description>She TURNS and SWINGS AT HIM , catching him SQUARE IN THE NOSE ; he 's stunned and bleeding .</scene_description> <character>ELLIE</character> <parenthetical>( through her tears ; screaming . )</parenthetical> <dialogue>You fucker! Do n't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or do n't come home!</dialogue> <scene_description>She RUNS to her car , BURNING RUBBER as she PEELS out of the PARKING LOT - leaving MIKE , distraught , gazing after her .</scene_description> </scene> <scene> <stage_direction>EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING</stage_direction> <scene_description>TRAFFIC ROARING BY - revealing MIKE , upset , on a pay phone , a finger in one ear , waiting for the phone to answer .</scene_description> <character>MIKE</character> <dialogue>Hey, T.J? Yeah, listen, I need a huge favor from you, man. I know Helen does n't like you to miss dinner, but I need you to switch shifts with me tonight.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Just `` personal''. I do n't know what the hell I'm doin', I need some time to think.</dialogue> <parenthetical>( angered . )</parenthetical> <dialogue>Look, do it or do n't do it, but spare me the fuckin' lecture, all right?</dialogue> <scene_description>He HANGS UP : miserable .</scene_description> </scene> <scene> <stage_direction>EXT. CLAIRE'S BUILDING - EVENING</stage_direction> <scene_description>A SQUAD CAR parked in front , CAMERA PANNING to the DOORS , as the JOGGER -LRB- MR. SPARKS -RRB- EXITS , dressed in his usual outfit , POUNDING DETERMINEDLY across the street . ANOTHER ANGLE : as he LOPES INTO THE PARK . ANOTHER ANGLE : as he REACHES a STOPLIGHT CROSSING that 's `` RED '' ; he waits to cross , jogging in place ; crosses into the park . A sinister lone black LIMO approaches , slowing to a stop behind him , its back door slowly swinging open , engulfing our sight of him .</scene_description> </scene> <scene> <stage_direction>EXT. CLAIRE'S BUILDING - LATER</stage_direction> <scene_description>The `` JOGGER '' returning , obscuring his identity from the parked PATROL CAR , by wiping his face with a towel . Before heading to the door , where a DOORMAN stands guard , he delays as though WAITING FOR SOMETHING . It 's happening : A dainty teenage VIETNAMESE GIRL , distracts the DOORMAN at his post , getting enough of his attention SELLING FLOWERS , and SPOUTING VIETNAMESE , for the `` JOGGER '' to SLIP BY , making it inside .</scene_description> <character>DOORMAN</character> <dialogue>I know sweetheart. we have enough flowers here.</dialogue> <scene_description>ANGLE : VIETNAMESE GIRL , still spouting .</scene_description> <character>DOORMAN</character> <dialogue>No, no, sweetheart. not here. get going. Okay.</dialogue> <scene_description>ANGLE : VIETNAMESE GIRL , backing off , seeing the JOGGER slip by and her mission accomplished .</scene_description> <character>VIETNAMESE GIRL</character> <parenthetical>( sweetly , to Doorman . )</parenthetical> <dialogue>Have a nice day.</dialogue> <scene_description>THE GIRL : slyly cursing the DOORMAN in Vietnamese as she skips off .</scene_description> </scene> <scene> <stage_direction>INT. BUILDING LOBBY - SAME</stage_direction> <scene_description>The `` JOGGER , '' his face still obscured by the towel waits for the elevator , as T.J. , arriving , ENTERS the building . They both enter the elevator in silence . ANGLE on T.J. glancing at the JOGGER quizzically . The JOGGER avoids his stare , CAMERA TILTING UP to the indicator , beginning to rise .</scene_description> </scene> <scene> <stage_direction>INT. SPARKS' VESTIBULE</stage_direction> <scene_description>CLOSE ON `` JOGGER 'S '' key , entering the LOCK . IT TURNS . CLOSE ON HIS FACE . He ENTERS .</scene_description> </scene> <scene> <stage_direction>INT. SPARKS' APARTMENT - SAME</stage_direction> <scene_description>As the killer closes the door . He 's in the kitchen . All is quiet in there . IN CLOSEUPS , WE SEE his JOGGING SHIRT coming off , revealing a shoulder holster ; a specially designed `` belt '' removed and laid on the kitchen table . A `` SILENCER '' within .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S KITCHEN - EVENING</stage_direction> <scene_description>CLAIRE eagerly and earnestly preparing dinner . She makes some fluffs , not really used to this . CLASSICAL MUSIC plays . She looks up expectantly , hearing the FOOTSTEPS . CLOSE ON CLAIRE : surprised to see it 's T.J.</scene_description> <character>T.J.</character> <dialogue>Detective Keegan is. Mike. `` Michael'' asked me to tell you he's under the weather.</dialogue> <scene_description>CLAIRE : She handles it , crestfallen .</scene_description> <character>T.J.</character> <dialogue>He'll probably take the morning shift.</dialogue> <character>CLAIRE</character> <dialogue>He's okay?</dialogue> <scene_description>T.J. spots , over his shoulder , the table , set for two .</scene_description> <character>T.J.</character> <dialogue>Yeah, just. bad gut. Y' know.</dialogue> <character>CLAIRE</character> <dialogue>Oh.</dialogue> <scene_description>Nothing left to say ; she hides her disappointment with a nod .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - FIFTH AVENUE - NIGHT</stage_direction> <scene_description>Active with nightlife ; CAMERA PANNING to a lone figure walking in the night . It 's MIKE ; his collar turned up against the cold , his face grim and pensive . He passes an art gallery and PAUSES to gaze in , his eyes refocusing on his own reflection staring back at him .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S APARTMENT - SAME - NIGHT</stage_direction> <scene_description>CLAIRE immobile , on a window seat in her LIVING ROOM , the CLASSICAL MUSIC still playing softly in the background , her eyes empty as she gazes out into the park .</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - NIGHT</stage_direction> <scene_description>Outside and far below , the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation . VENZA : He stands , impervious to the cold , looking up at the windows of CLAIRE 'S apartment . ANGLE UP TO CLAIRE : SILHOUETTED in the distant window . VENZA : finishes his butt , flicks it , satisfied , getting into HIS CAR curbside and driving away .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - NIGHT</stage_direction> <scene_description>T.J. , DOZING as the ELEVATOR INDICATOR HEADS UPWARD - finally reaching our FLOOR . The DOORS OPEN , STARTLING T.J. . He stares at MIKE with DISMAY . MUSIC IS HEARD from just inside .</scene_description> <character>T.J.</character> <parenthetical>( fatigued . )</parenthetical> <dialogue>Tell me I'm dreamin'.</dialogue> <character>MIKE</character> <dialogue>I just got ta talk to her, T.J.</dialogue> <scene_description>MIKE ENTERS , closing the doors behind him .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S APARTMENT - SAME - NIGHT</stage_direction> <scene_description>Silent , save for CLASSICAL MUSIC - as MIKE quietly enters . He pauses a moment , his eyes filled with unhappiness , then MOVES in the direction of the MUSIC - SPOTTING CLAIRE , immobile since we last saw her , still gazing out the window . CLOSE ON MIKE : as always , AFFECTED BY HER . She becomes aware of his presence and slowly TURNS . For a long moment , neither seems willing to move - or speak . Finally , he does .</scene_description> <character>MIKE</character> <dialogue>T.J. agreed to take my shift. He knows about us.</dialogue> <scene_description>She absorbs it , without response .</scene_description> <character>MIKE</character> <parenthetical>( a beat ; with difficulty . )</parenthetical> <dialogue>So does Ellie.</dialogue> <scene_description>She nods . Thoughtfully . As though willing to deal with it intellectually , but avoiding any encounter with her emotions .</scene_description> <character>CLAIRE</character> <dialogue>You told her?</dialogue> <character>MIKE</character> <dialogue>Not exactly.</dialogue> <character>CLAIRE</character> <dialogue>What do you want to do?</dialogue> <character>MIKE</character> <dialogue>I do n't know.</dialogue> <scene_description>Her eyes turn to his . She moves toward him and sits . CLAIRE pulls him close to her . A soft GERSHWIN TUNE plays . She sees how drawn MIKE is .</scene_description> <character>CLAIRE</character> <dialogue>You're tired.</dialogue> <parenthetical>( smiles , gently . )</parenthetical> <dialogue>Let me watch over you tonight.</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - NIGHT</stage_direction> <scene_description>It 's quiet . MIKE sleeps deeply on the bed . CLAIRE does her work at the bedroom desk nearby ; glances gently over , keeping her watch , glad of the feeling .</scene_description> </scene> <scene> <stage_direction>INT. SPARKS' APARTMENT - SAME - NIGHT</stage_direction> <scene_description>The MERV GRIFFIN SHOW playing on the TV ; it ends , a VOICE OVER indicating to `` stay tuned for the news '' . It is SILENCED by remote control - we HEAR FOOTSTEPS moving away . ANGLE INSIDE THE KITCHEN : CLOSE on the murderous paraphernalia left on the kitchen table , being assembled by the `` JOGGER '' .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - SAME - NIGHT</stage_direction> <scene_description>The apartment pin - quiet and darkened . T.J. in his chair - head arched back ; snoring ; his self - help book abandoned on the floor .</scene_description> </scene> <scene> <stage_direction>INT. SPARKS' VESTIBULE - SAME - NIGHT</stage_direction> <scene_description>SPARKS ' FRONT DOOR quietly `` CLICKING '' SHUT as the KILLER EXITS . CLOSER ANGLE : THE BUTTON of the ELEVATOR being PUSHED by a GLOVED HAND . It activates a `` HUM . ''</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S APARTMENT - SAME - NIGHT</stage_direction> <scene_description>LONG ANGLE down the HALL , on the CLOSED DOOR TO THE BEDROOM SUITE .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - SAME - NIGHT</stage_direction> <scene_description>As the ELEVATOR slides to a stop , its DOOR GLIDING OPEN . THE KILLER , keeping himself flattened back out of sight , glances quickly out , gun and reflexes at the ready . It 's unnecessary . The vestibule 's deserted ; T.J. 'S post is momentarily empty . The KILLER steps silently , EASING out the elevator .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S APARTMENT - SAME - NIGHT</stage_direction> <scene_description>T.J. at the TOILET ; yawning as he pees .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S HALLWAY - SAME - NIGHT</stage_direction> <scene_description>The KILLER pauses , hearing the TOILET FLUSH , retreats the other way .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S APARTMENT - SAME - NIGHT</stage_direction> <scene_description>As T.J. emerges from the bathroom . He stretches , trying to shake his fatigue . Making a decision , he HEADS for the KITCHEN to get a cup of coffee - CAMERA FOLLOWING HIM as he ENTERS , snapping on the light . MOVING directly to the stove , he examines the Mr. Coffee ; the red `` ON '' button glows , but the pot is virtually empty . Picking it up , he MOVES TO THE SINK , turning on the tap , which is a thin , gooseneck spigot . He look up , hearing a slight SHUFFLE , seeing the KILLER 'S FEET sticking out of the shadows of the floor of the LAUNDRY ROOM . T.J. reacts - TOO LATE - there 's a slight chung , and a hole opens up in T.J. 'S gut ; the bullet that went through him , ricocheting and nicking off the end of the thin , curving tap , sending a stream of water gushing straight up . The KILLER moves quickly , catching T.J. 'S body , trying to break its fall as it hits the floor .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - SAME - NIGHT</stage_direction> <scene_description>CLAIRE asleep in MIKE 'S PROTECTIVE EMBRACE : MIKE , awake , his eyes to the bedside table , notices the almost imperceptible disturbance of VIBRATION ripple the surface of the DRINK left there by the clock . MIKE sits up ; as if by instinct , sensing something is wrong . CLAIRE continues to sleep .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S HALLWAY/OUTER BEDROOM - SAME - NIGHT</stage_direction> <scene_description>The KILLER OPENS THE BEDROOM SUITE DOOR , steps into the ANTEROOM . Off to the right is the closed DOOR of the BEDROOM . He steps in the direction , reaching the doorknob - thinks twice about it , though , seeing the door on the other side of the anteroom which would take him the longer , but unexpected route into the bedroom . He backs off , moving silently to the OTHER DOOR , turning it open silently and slipping through into the CLOSET and WALK - THROUGH DRESSING ROOM leading to the bedroom by the far side .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S BEDROOM - NIGHT</stage_direction> <scene_description>MIKE : on the other side of the door , listening . He opens the door quietly , sees the anteroom door ajar , remembering that he had closed it before . He tightens , closing the door and moving back to his gun in its holster draped over the chair with his other clothes .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction> <scene_description>The KILLER enters the reflective maze .</scene_description> </scene> <scene> <stage_direction>INT. MASTER BATH - NIGHT</stage_direction> <scene_description>MIKE moves silently , backtracking through the bedroom and bathroom toward the DOORS leading to the dressing room ahead .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction> <scene_description>The KILLER passes the door he wants , thinking it 's just another mirror ; finds himself in the totally MIRRORED ENVIRONMENT of the MAIN DRESSING AREA . On the other side of the door , MIKE HEARS HIM , tightening his grip on his gun and on the doorknob as he REACHES for it . MIKE grasps it , turning and opening the door silently . But the latch connects to the light , and the LIGHT GOES ON OVERHEAD of MIKE . The KILLER reacts quickly , gun drawn , on the turn . But he faces SEVERAL REFLECTIONS OF MIKE in front of him - and MIKE IS BEHIND HIM . MIKE LEVELS AIM AT HIM .</scene_description> <character>MIKE</character> <dialogue>Put it down!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Think about it!</dialogue> <scene_description>The KILLER takes his chances , WHIRLING . MIKE FIRES FIRST , NAILING HIM right through the HEAD . The KILLER SPINS AGAIN , SLAMMING UP against the MIRRORS and falling DEAD to the floor . IN THE BEDROOM : CLAIRE wakes . MIKE : checking quickly on the dead assassin , flattens himself against the wall and scurries back through the bath the way back into the BEDROOM .</scene_description> <character>MIKE</character> <parenthetical>( entering , to Claire . )</parenthetical> <dialogue>Get on the floor! There may be more!</dialogue> <scene_description>CLAIRE does what he says . MIKE RACES into the CORRIDOR , hugging the wall ; he PAUSES momentarily , then RACES down the HALL . ANGLE ON THE OPENED FRONT DOOR as he REACHES IT , seeing T.J. 'S CHAIR empty .</scene_description> <character>MIKE</character> <parenthetical>( desperate . )</parenthetical> <dialogue>T.J!</dialogue> <scene_description>MIKE RUNS , frantically , into the living room , the bathroom , the den - CAMERA FOLLOWING HIM into the KITCHEN . CLOSE ON HIS FACE : twisting with GRIEF . ANGLE ON T.J. face down in a pool of blood , MIKE RACING TO HIM , rolling him over .</scene_description> <character>MIKE</character> <parenthetical>( sobs . )</parenthetical> <dialogue>T.J!</dialogue> <scene_description>MIKE moves by REFLEX , starting mouth - to - mouth . But there is blood everywhere . MIKE desperate ; pumping T.J. 'S chest .</scene_description> <character>MIKE</character> <dialogue>Live, T.J. Please!</dialogue> <scene_description>CLAIRE appears behind him , to help .</scene_description> <character>MIKE</character> <parenthetical>( to her . )</parenthetical> <dialogue>Get security on the phone! Emergency!</dialogue> <scene_description>She RUNS to the KITCHEN PHONE ; it 's dead , the WIRES CUT . She TURNS , HURRYING to the VESTIBULE and THE ELEVATOR , pulling the alarm , sagging in collapse . The ALARM goes off within the shaft , THROUGHOUT the building . ANGLE ON MIKE : shirtless and shoeless , on his knees in T.J. 'S blood , desperately pumping his chest .</scene_description> <character>MIKE</character> <parenthetical>( his voice cracking . )</parenthetical> <dialogue>Ambulance! Ambulance! He's got a heartbeat!</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - NEAR DAWN</stage_direction> <scene_description>MIKE alone on a bench , his head in his hands : a couple of COPS we recognize from the Precinct stand a distance away , at a coffee machine , talking softly as they glance at him . It is not yet dawn . FOOTSTEPS are HEARD coming TOWARD ; MIKE looks up to see GARBER APPROACHING , his expression appropriate to the occasion . GARBER reaches him ; they exchange a long look , MIKE 'S eyes etched with anguish .</scene_description> <character>MIKE</character> <parenthetical>( softly . )</parenthetical> <dialogue>They're operating on him. He's still alive.</dialogue> <character>GARBER</character> <parenthetical>( grim . )</parenthetical> <dialogue>I heard.</dialogue> <scene_description>A long pause , as he looks at MIKE .</scene_description> <character>GARBER</character> <dialogue>I heard a lot. Anything you want to deny, Mike?</dialogue> <character>MIKE</character> <parenthetical>( almost inaudibly . )</parenthetical> <dialogue>It should've been me.</dialogue> <scene_description>GARBER : aware of his own dilemma .</scene_description> <character>GARBER</character> <dialogue>Then it would've been her, too.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I do n't know. but I got ta protect the Precinct, too. You're on suspension, pending Disciplinary Hearings. Do n't hold your breath. And you're not to go near that woman until she's no longer under Police protection and this case is closed.</dialogue> <scene_description>ANGLE ON MIKE : responding with a silent nod as GARBER stands looking down at him .</scene_description> <character>GARBER</character> <dialogue>Is it `` love,'' Mike? I hope so. I want it to be worth it, for your sake.</dialogue> <scene_description>No response . In the response that follows , they HEAR MOVEMENT at the end of the HALL , looking up to see the silhouetted figures of ELLIE , with HELEN GREENING in tow . They look small , and lost , framed against a floor - to - ceiling window that 's beginning to illuminate with the first light of day . Heavy with sadness , GARBER turns and heads toward the women . Taking a long moment . MIKE decides not to follow . CLOSE ON MIKE CAMERA STAYS AT THIS DISTANCE as the THREESOME comes together . We do not hear their words , but sense the emotion by what WE SEE . After a brief exchange of words , GARBER takes HELEN GREENING under his arm , and they MOVE AWAY - leaving MIKE and ELLIE alone . CLOSER ANGLE : MIKE and ELLIE , gazing at each other across the gulf of their collective misery .</scene_description> <character>ELLIE</character> <dialogue>I'm going to visit my sister for a few days. I'd like you to get your stuff out.</dialogue> <character>MIKE</character> <dialogue>What about Tommy?</dialogue> <character>ELLIE</character> <dialogue>He'll live through it. They all live through it.</dialogue> <parenthetical>( bitter . )</parenthetical> <dialogue>What a world, huh?</dialogue> <scene_description>Nothing left to say ; after a long , last look , she turns to go . But stops .</scene_description> <character>ELLIE</character> <dialogue>Was it Venza? Did you get him?</dialogue> <character>MIKE</character> <dialogue>No.</dialogue> <scene_description>The last thing she 's going to do is cry .</scene_description> <character>ELLIE</character> <parenthetical>( her voice giving out . )</parenthetical> <dialogue>What a shame.</dialogue> <scene_description>She TURNS and LEAVES : MIKE gazing after her .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S "BACHELOR PAD" - DAY</stage_direction> <scene_description>MIKE is being shown in by SCOTTY , luggage in hand , SCOTTY doing his best to be a good `` host , '' under trying circumstances .</scene_description> <character>SCOTTY</character> <dialogue>You see a couple of the parties that go on at this place, you'll realize that marriage is an institution whose time has come and gone.</dialogue> <scene_description>Opening a bedroom door . They 've entered a bedroom that 's sparse , but decorated with A BOY 'S PARAPHERNALIA ; skateboard , `` rock '' posters , etc. . It looks sad and barren .</scene_description> <character>SCOTTY</character> <dialogue>Little Scotty stays on Wednesdays, and every other weekend. And know what? Our relationship's never been better.</dialogue> <scene_description>MIKE stares at the room , his heart too heavy to respond . SCOTTY , with a pat on the back .</scene_description> <character>SCOTTY</character> <dialogue>Make it home, Mike.</dialogue> <scene_description>He leaves - and after a long moment MIKE sits on the edge of the bed , like an automaton . Staring .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S LIVING ROOM - SAME - DAY</stage_direction> <scene_description>CLAIRE and NEIL in the aftermath . CLAIRE remains silent , staring . Whatever is to be said is his .</scene_description> <character>NEIL</character> <parenthetical>( frustrated . )</parenthetical> <dialogue>I'm no saint, Claire, but I do love you. I can understand the pressure of the circumstances. but what about when it's over? Are you going to feel the same way about him? Is he going to move in here and do shift work at the 21st if they'll have him back. Think this through Claire.</dialogue> <parenthetical>( with feeling . )</parenthetical> <dialogue>This is the rest of your life we're talking about.</dialogue> <scene_description>NEIL staring at her .</scene_description> <character>CLAIRE</character> <dialogue>I have thought it through, Neil.</dialogue> <scene_description>He adverts his gaze , turns , controlling himself , and picks up his coat to go .</scene_description> <character>NEIL</character> <dialogue>Call me if anything changes. I love you, Claire.</dialogue> </scene> <scene> <stage_direction>INT. CLAIRE'S VESTIBULE - SAME - DAY</stage_direction> <scene_description>KOONTZ and a uniformed COP on guard duty . KOONTZ scanning The Post , which has a front page article on it with a headline that indicates the whole story has not `` quite '' been told : `` INTRUDER SLAIN IN DARING EAST SIDE BREAK - IN ''</scene_description> <character>KOONTZ</character> <dialogue>Unbelievable, man, the fuckin' jogger. they found him in Atlantic City, totally drugged out and still jogging.</dialogue> <scene_description>The APARTMENT DOOR SWINGS OPEN and NEIL EMERGES . KOONTZ and the COP look up , straightening . KOONTZ folds away the paper . But NEIL hardly even acknowledges or notices them , EXITING .</scene_description> </scene> <scene> <stage_direction>INT. CLAIRE'S STUDY - SAME - DAY</stage_direction> <scene_description>The PHONE RINGING - CAMERA FINDING CLAIRE , looking like a ghost of her past self - REACHING FOR THE PHONE .</scene_description> <character>CLAIRE</character> <dialogue>Hello?</dialogue> <parenthetical>( relieved . )</parenthetical> <dialogue>Mike. Where have you been?</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S KITCHEN - SAME - DAY</stage_direction> <scene_description>MIKE on the telephone .</scene_description> <character>MIKE</character> <dialogue>You do n't want to know.</dialogue> <character>CLAIRE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh, I do want to know. I tried to reach you at the precinct.</dialogue> <character>MIKE</character> <dialogue>I've moved into Scotty's. Good news about T.J., though. Looks like that tough son of a gun is gon na pull through.</dialogue> <character>CLAIRE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh God, that's great!</dialogue> <character>MIKE</character> <parenthetical>( gently . )</parenthetical> <dialogue>Are you okay?</dialogue> <scene_description>CLAIRE - SAME</scene_description> <character>CLAIRE</character> <parenthetical>( trying to brighten . )</parenthetical> <dialogue>Oh, I'm fine. They've replaced you with quite an entourage. It's a regular `` marching band''. You should see me on the street, you'd think I was the First Lady -</dialogue> <scene_description>She attempts a laugh , trying to keep it `` light '' .</scene_description> <character>CLAIRE</character> <dialogue>I'm taking them all out to Queens, as a matter of fact, right in your neighborhood. There's an event at my Father's school. an anniversary. I thought maybe you could come.</dialogue> <character>MIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh that thing in Queens.</dialogue> <character>CLAIRE</character> <parenthetical>( faltering . )</parenthetical> <dialogue>I'm going away after that, the next morning.</dialogue> <scene_description>MIKE - SAME Impacted by it .</scene_description> <character>MIKE</character> <dialogue>Where?</dialogue> <character>CLAIRE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Pretty far. I'm told not to say anything about it on the phone, in case it's tapped. they think it's best, safer, if I go away, at least till Venza's found.</dialogue> <scene_description>CLOSE ONE MIKE : absorbing it .</scene_description> <character>MIKE</character> <dialogue>When can I see you?</dialogue> <scene_description>CLAIRE - SAME</scene_description> <character>CLAIRE</character> <dialogue>I do n't know. Garber's left orders here not to let you in the building.</dialogue> <scene_description>MIKE - SAME CLOSE ON MIKE : beat .</scene_description> <character>MIKE</character> <dialogue>Oh yeah. When is it? This thing in Queens.</dialogue> <scene_description>CLAIRE - SAME</scene_description> <character>CLAIRE</character> <dialogue>Tomorrow night. Can you come?</dialogue> <character>MIKE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( torn . )</parenthetical> <dialogue>I do n't know. It would n't be very smart.</dialogue> <character>CLAIRE</character> <dialogue>Listen, you're right. Do n't do it. I'll just. send you an address, okay?</dialogue> <scene_description>Fighting tears ; not wanting him to know it .</scene_description> <character>MIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Claire.</dialogue> <character>CLAIRE</character> <dialogue>No really, it's okay, I've got ta go. I'm expecting some calls. I'll be fine, really.</dialogue> <character>MIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'll think about Wednesday.</dialogue> <scene_description>MIKE hangs up , torn . CLAIRE - SAME Hangs up .</scene_description> </scene> <scene> <stage_direction>EXT. QUEENS - SAME - DAY</stage_direction> <scene_description>CAMERA PANNING TO REVEAL MIKE , leaning on a CAR , under the `` El '' waiting . HE SPOTS TOMMY , coming around the corner with his SKATEBOARD under his arm , going into a grocery store . MIKE crosses the street as TOMMY comes out of the store .</scene_description> <character>MIKE</character> <dialogue>Tommy!</dialogue> <scene_description>TOMMY SPOTS HIM : hesitant - slowly approaching the car .</scene_description> <character>MIKE</character> <dialogue>How are things going, pal?</dialogue> <character>TOMMY</character> <dialogue>Okay, I guess.</dialogue> <character>MIKE</character> <dialogue>How about dinner tonight?</dialogue> <character>TOMMY</character> <parenthetical>( evasive . )</parenthetical> <dialogue>Mom and I got plans.</dialogue> <character>MIKE</character> <dialogue>What `` plans?'' You and Mom got `` plans?''</dialogue> <character>TOMMY</character> <parenthetical>( after a long pause . )</parenthetical> <dialogue>She's taking singing lessons.</dialogue> <character>MIKE</character> <parenthetical>( incredulous . )</parenthetical> <dialogue>She's what?</dialogue> <character>TOMMY</character> <dialogue>She met some friend of Aunt Millie's who works for a record company. He thinks she's got a great voice.</dialogue> <scene_description>TOMMY is mum : something dawns on MIKE that sobers him up .</scene_description> <character>MIKE</character> <parenthetical>( outraged . )</parenthetical> <dialogue>What! What kind of pathetic line is that?</dialogue> <character>TOMMY</character> <parenthetical>( pointing . )</parenthetical> <dialogue>We're gon na pass the street.</dialogue> <scene_description>MIKE stops . His goat is gotten .</scene_description> <character>TOMMY</character> <dialogue>You coming in?</dialogue> <character>MIKE</character> <dialogue>No, I'm not coming in. And if you'd rather go to a `` singing lesson'' than have dinner with your father.</dialogue> <character>TOMMY</character> <dialogue>We're not going to a singing lesson, she's just gon na start taking singing lessons.</dialogue> <character>MIKE</character> <dialogue>So, what are you doing tonight?</dialogue> <character>TOMMY</character> <dialogue>Shooting.</dialogue> <character>MIKE</character> <dialogue>Shooting?</dialogue> <character>TOMMY</character> <dialogue>Yeah. She says we got ta get used to being alone in this neighborhood.</dialogue> <parenthetical>( a long beat ; observing his father . )</parenthetical> <dialogue>` Bye, Dad.</dialogue> <scene_description>TOMMY starts toward the HOUSE . He 's emotional , but does n't know how to express it .</scene_description> <character>MIKE</character> <dialogue>Tommy!</dialogue> <parenthetical>( a parting shot . )</parenthetical> <dialogue>The guy's a sleaze - bag. She ca n't sing.</dialogue> <character>TOMMY</character> <parenthetical>( turning back , smiling . )</parenthetical> <dialogue>I do n't think she can sing, either.</dialogue> <character>MIKE</character> <dialogue>Take care, pal.</dialogue> <scene_description>HE TURNS AWAY . ANOTHER ANGLE : MIKE 'S CAR LEAVING . TOMMY watches it until it can be seen no longer , then TURNS , going into the house . CAMERA PANS SLOWLY - REVEALING , far down the BLOCK , a CAR . VENZA , and ANOTHER MAN -LRB- SOSA -RRB- , are within : WATCHING .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>MIKE pounds it out running on the darkened street . He pauses to look up at his dark , empty house as a PATROL CAR slows to check him out . He studies them as they pass . CLOSE ON MIKE : he gazes after them , then continues to jog .</scene_description> </scene> <scene> <stage_direction>INT. FIRING RANGE - SAME - NIGHT</stage_direction> <scene_description>GUN BLASTS going off in OUR EARS , CAMERA PANNING A LINE of COPS putting in their PRACTICE HOURS ; ENDING ON ELLIE , her EAR BLOCKERS on , FIRING AWAY . CLOSE ON TOMMY watching from a booth behind her . ANGLE ON HER TARGET . Its balls blasted off . She comes out .</scene_description> <character>TOMMY</character> <dialogue>Are n't you supposed to aim at the head?</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>ELLIE in the driver 's seat , TOMMY in the back seat .</scene_description> <character>TOMMY</character> <parenthetical>( thoughtful . )</parenthetical> <dialogue>Mom, what's going to happen with you and Dad?</dialogue> <character>ELLIE</character> <dialogue>I do n't know Tommy.</dialogue> <scene_description>A LONG BEAT as TOMMY thinks about this . His attention switches to a passing McDONALD 'S .</scene_description> <character>TOMMY</character> <dialogue>Hey, can we go to McDonald's?</dialogue> <character>ELLIE</character> <dialogue>Absolutely.</dialogue> </scene> <scene> <stage_direction>INT. MILTON GREGORY - BANQUET HALL - EVENING</stage_direction> <scene_description>Overhead , chandeliers gleam . A small orchestra comprised of STUDENTS of the school plays a variety of tunes . Mirrors reflect a profusion of flowers , carved gilt and candlelight . Gloved service PERSONNEL wait to be of service at the sides . The room is quite large yet intimate . The tables set perfectly . GUESTS continue to move toward their places engaged in animated chatter . ANOTHER ANGLE : CLAIRE moving through the crowd , PLAINCLOTHESMEN flanking her as anonymously as possible -LRB- KOONTZ among them -RRB- , HER EYES anxious , scanning the crowd . SHE 'S SPOTTED by the PRINCIPAL of the school -LRB- GIDDINGS -RRB- , who APPROACHES , surprised to see her .</scene_description> <character>GIDDINGS</character> <dialogue>Hello, Claire. How extraordinary that you came.</dialogue> <character>CLAIRE</character> <dialogue>It was something my father always liked me to do.</dialogue> <character>GIDDINGS</character> <parenthetical>( apprehensive . )</parenthetical> <dialogue>You're planning to speak?</dialogue> <character>CLAIRE</character> <dialogue>Not if you do n't want me to.</dialogue> <character>GIDDINGS</character> <parenthetical>( a brief hesitation . )</parenthetical> <dialogue>Well, of course, we'd be. honored.</dialogue> <character>CLAIRE</character> <parenthetical>( understands ; gamely . )</parenthetical> <dialogue>Just putting in an appearance then.</dialogue> <scene_description>SHE GLANCES around , her `` ESCORTS '' mistaking it for anxiety , one of them taking her arm and escorting her in .</scene_description> </scene> <scene> <stage_direction>INT. THE BANQUET ROOM - LATER</stage_direction> <scene_description>SPEECHES droning on - CAMERA FINDING CLAIRE at a round dinner table , with OTHERS , who think they 're engaging her in conversation ; but her thoughts are elsewhere , her eyes continually glancing toward the doors - both hoping and fearing .</scene_description> </scene> <scene> <stage_direction>INT. THE BANQUET ROOM - LATER</stage_direction> <scene_description>The SPEECHES have long since ENDED , PEOPLE DANCING , slow dances to the live orchestra - CAMERA PANNING to CLAIRE , sitting in silent isolation at the now sparsely populated table , having lost hope , feeling utterly alone . Her chin is resting in her hand , her eyes fixed sadly on her wine glass . PLAINCLOTHESMEN , situated around her , study her dispassionately . CLOSE ON HER FACE : expressionless . But it slowly gains animation , as she realizes the MUSIC has changed , made a segue to something new . It 's `` SOMEONE TO WATCH OVER ME . '' SHE LOOKS UP - to see MIKE ; his approach from the bandstand indicating that the change of music was his doing . HER FACE breaks into the most enormous , and grateful , GRIN . CLOSE ON MIKE : returning the smile as he COMES TOWARD .</scene_description> <character>KOONTZ</character> <parenthetical>( as he passes . )</parenthetical> <dialogue>Do n't do it, man. I love ya, but you're out of your mind.</dialogue> <scene_description>Uncaring , MIKE MOVES TO CLAIRE . ANGLE ON BOTH : gazing at each other .</scene_description> <character>CLAIRE</character> <parenthetical>( overwhelmed . )</parenthetical> <dialogue>What a memory.</dialogue> <character>MIKE</character> <dialogue>Do you dance?</dialogue> <character>CLAIRE</character> <dialogue>Do you?</dialogue> <character>MIKE</character> <dialogue>Pretty bad.</dialogue> <character>CLAIRE</character> <dialogue>Let's do it.</dialogue> <scene_description>They TAKE to the FLOOR , she MOVING INTO HIS ARMS . She puts her head on his shoulder , then draws back to look at him , studying his face with the hunger of a woman who knows it might be for the last time .</scene_description> <character>MIKE</character> <dialogue>They guys treatin' you all right?</dialogue> <character>CLAIRE</character> <parenthetical>( too emotional to really talk . )</parenthetical> <dialogue>Yeah.</dialogue> <character>MIKE</character> <dialogue>I've been doing a lot of thinking.</dialogue> <character>CLAIRE</character> <parenthetical>( a pause . )</parenthetical> <dialogue>I know.</dialogue> <scene_description>CLOSE ON HIM : studying her saddened eyes .</scene_description> <character>MIKE</character> <dialogue>It would n't work.</dialogue> <character>CLAIRE</character> <dialogue>I know.</dialogue> <scene_description>The conversation is deeply caring ; the tone opposite to the words .</scene_description> <character>MIKE</character> <dialogue>I'd miss my life.</dialogue> <character>CLAIRE</character> <dialogue>Do n't explain.</dialogue> <scene_description>She rests her head on his shoulders again ; they continue to dance .</scene_description> <character>MIKE</character> <dialogue>How long you going away for?</dialogue> <character>CLAIRE</character> <dialogue>Long enough.</dialogue> <character>MIKE</character> <dialogue>`` For''?</dialogue> <character>CLAIRE</character> <dialogue>`` To''. Forget about you.</dialogue> <scene_description>CLOSE ON HER : awash in the nearness of him .</scene_description> <character>CLAIRE</character> <dialogue>I'll have to pack a lot of clothes.</dialogue> <character>MIKE</character> <parenthetical>( choked up . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>He holds her tight - his eyes EMOTIONAL as they roam the room - But HIS EXPRESSION CHANGES as he SPOTS SOMETHING at a far end of the room . Near the rear doors . It 's a PLAINCLOTHESMEN , headed purposefully toward KOONTZ , conferring with him - both men looking to MIKE , a sense of bewilderment in their eyes . ANGLE ON MIKE : Stopping - as KOONTZ heads quickly toward .</scene_description> <character>KOONTZ</character> <dialogue>Brook's patching a call through to you. He thought he'd find you here. It sounds urgent.</dialogue> <scene_description>MIKE : Baffled .</scene_description> <character>KOONTZ</character> <dialogue>He says it's your son.</dialogue> <scene_description>Exchanging a quick LOOK with CLAIRE , MIKE heads for the DOORS ; she pauses , heading after . OUTER LOBBY - SAME as MIKE BARRELS through doors .</scene_description> <character>KOONTZ</character> <parenthetical>( pointing . )</parenthetical> <dialogue>The office down the hall.</dialogue> <scene_description>MIKE BREAKS INTO A RUN .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - SAME</stage_direction> <scene_description>as MIKE RACES IN ; A PLAINCLOTHESMAN hands him the phone .</scene_description> <character>PLAINCLOTHESMAN #2</character> <dialogue>He's crying.</dialogue> <character>MIKE</character> <parenthetical>( grabbing the phone . )</parenthetical> <dialogue>Tommy? What?</dialogue> <parenthetical>( frightened . )</parenthetical> <dialogue>What?! Hello?</dialogue> <parenthetical>( listening ; stunned . )</parenthetical> <dialogue>Who is this?</dialogue> <parenthetical>( trying to be calm . )</parenthetical> <dialogue>Yeah. I'm listening.</dialogue> <parenthetical>( quick . )</parenthetical> <dialogue>No. Nobody but me.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S HOUSE - NIGHT - SAME MOMENT</stage_direction> <scene_description>CLOSE ON the RECEIVER of the PHONE : as JOEY VENZA 'S mouth SPEAKS into it - The images of ELLIE and TOMMY SEEN , dimly lit , in the background , petrified ; GUARDED by a SECOND MAN -LRB- SOSA -RRB- whose figure is shrouded in darkness .</scene_description> <character>VENZA</character> <dialogue>I'm glad you're where I expected you to be, Detective Keegan,'cause you're got two minutes to get home or I take your family out.</dialogue> <scene_description>MIKE - SAME caught in a nightmare .</scene_description> <character>MIKE</character> <parenthetical>( desperate . )</parenthetical> <dialogue>I heard you. I'll do it. Just do n't touch them.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>I.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>Lem me talk to my son.</dialogue> <parenthetical>( suddenly . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>It goes dead . MIKE PARALYZED with FEAR . CLAIRE is ENTERING , PLAINCLOTHESMAN # 1 close to her heels , MIKE 'S breath coming in SHUDDERS as he stares helplessly at her - then turns to the PLAINCLOTHESMAN and KOONTZ .</scene_description> <character>MIKE</character> <parenthetical>( stunned . )</parenthetical> <dialogue>They got my family.</dialogue> <parenthetical>( to Koontz . )</parenthetical> <dialogue>I need you guys.</dialogue> <character>PLAINCLOTHESMAN #1</character> <dialogue>Who.</dialogue> <character>MIKE</character> <dialogue>Venza.</dialogue> <scene_description>OTHER PLAINCLOTHESMEN are COMING .</scene_description> <character>MIKE</character> <dialogue>At my house!</dialogue> <character>KOONTZ</character> <parenthetical>( shouting to others . )</parenthetical> <dialogue>Call a cruiser!</dialogue> <character>CLAIRE</character> <dialogue>Mike.</dialogue> <character>MIKE</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>It's Venza. He wants you. You, for Ellie and Tommy.</dialogue> <character>KOONTZ</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Let's go.</dialogue> <parenthetical>( to others ; urgent . )</parenthetical> <dialogue>We're takin' her home!</dialogue> <parenthetical>( swinging into crisis mode . )</parenthetical> <dialogue>Move it! Get the cars!</dialogue> <character>MIKE</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Koontz! I need you guys!</dialogue> <character>KOONTZ</character> <dialogue>We'll call SWAT. We'll get the locals.</dialogue> <parenthetical>( re : another cops 's radio . )</parenthetical> <dialogue>Throw it!</dialogue> <character>MIKE</character> <parenthetical>( pleading . )</parenthetical> <dialogue>No, I need'm now!</dialogue> <character>CLAIRE</character> <parenthetical>( to Koontz . )</parenthetical> <dialogue>Go with him!</dialogue> <character>KOONTZ</character> <dialogue>My job is to protect you!</dialogue> <parenthetical>( into radio . )</parenthetical> <dialogue>This is Koontz -</dialogue> <character>MIKE</character> <parenthetical>( near hysteria . )</parenthetical> <dialogue>No One - Seventeen, they'll fuck it up! He told me not to tell anybody, to bring Claire and come alone! He wo n't wait, he knows I'm two minutes away! Koontz, please!</dialogue> <character>KOONTZ</character> <dialogue>I ca n't do it, you know that. He's not gon na allow it anyway, Mike. No way is he gon na let anybody walk out of that house alive, who can finger him.</dialogue> <scene_description>MIKE WHIRLS , heedlessly , running for the DOORS , CLAIRE RACING AFTER HIM .</scene_description> <character>PLAINCLOTHESMAN #1</character> <parenthetical>( calling after her . )</parenthetical> <dialogue>Hey!</dialogue> <character>CLAIRE</character> <dialogue>Mike! Do n't go there! Then make them come with you!</dialogue> <character>MIKE</character> <dialogue>They ca n't, they're assigned to you! I'd do the same thing!</dialogue> <scene_description>He RACES OUT THE DOOR : she in PURSUIT .</scene_description> <character>KOONTZ</character> <parenthetical>( re : Claire . )</parenthetical> <dialogue>Go get her.</dialogue> <scene_description>PLAINCLOTHESMAN # 1 hurries out .</scene_description> <character>KOONTZ</character> <parenthetical>( reconsidering . )</parenthetical> <dialogue>Fuck it, man. Our brother needs us. Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. MILTON GREGORY SCHOOL - SAME MOMENT - NIGHT</stage_direction> <scene_description>MIKE BOUNDING to his car , CLAIRE hot on his heels . She JUMPS into the PASSENGER SEAT , pounding the DOOR LOCK SHUT .</scene_description> <character>MIKE</character> <parenthetical>( into his car . )</parenthetical> <dialogue>Go! Get outta here!</dialogue> <scene_description>PLAINCLOTHESMAN # 1 REACHES HER , pulling on the DOOR .</scene_description> <character>PLAINCLOTHESMAN #1</character> <dialogue>Hey!</dialogue> <character>MIKE</character> <dialogue>Get OUT!</dialogue> <character>CLAIRE</character> <dialogue>They're assigned to me, they'll have to go if I come with you!</dialogue> <scene_description>MIKE HESITATES .</scene_description> <character>CLAIRE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>I'm not getting out! GO!</dialogue> <scene_description>MIKE hits the ACCELERATOR - PEELING OUT , leaving PLAINCLOTHESMAN # 1 stranded on the curb .</scene_description> <character>KOONTZ</character> <parenthetical>( calling to him , emerging . )</parenthetical> <dialogue>Adams! C'mon, move it!</dialogue> <scene_description>ANGLE ON COPS : RACING FOR THEIR CARS - SCREECHING OUT .</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF QUEENS - SAME - NIGHT</stage_direction> <scene_description>MIKE 'S CAR tearing down the STREET - PURSUED by TWO MORE SQUAD CARS , one of them not knowing better , GIVING VOICE TO HIS SIREN !</scene_description> </scene> <scene> <stage_direction>INT. MIKE'S CAR - SAME - NIGHT</stage_direction> <scene_description>MIKE 'S terrified eyes glancing into the REARVIEW MIRROR .</scene_description> <character>MIKE</character> <dialogue>Turn off the siren!</dialogue> <scene_description>Luckily , THEY DO . CLOSE ON CLAIRE : wide - eyed . In silence .</scene_description> <character>MIKE</character> <parenthetical>( breathless . )</parenthetical> <dialogue>We get there, you get down, stay out of sight. Do n't get near that house. Understand me? Venza's not to know you're there!</dialogue> <scene_description>She NODS : terrified .</scene_description> </scene> <scene> <stage_direction>EXT. MIKE'S HOUSE - SAME - NIGHT</stage_direction> <scene_description>As MIKE 'S CAR COMES TO A SCREECHING HALT , MIKE RUNNING OUT as CLAIRE DUCKS DOWN . The house is COMPLETELY DARKENED , blending in with the night ; the PURSUIT CARS CONVERGE as MIKE makes it to the DOOR , his HANDS TREMBLING as he FUMBLES with his KEYS . takes a deep breath . and ENTERS .</scene_description> </scene> <scene> <stage_direction>INT. THE HOUSE - SAME - NIGHT</stage_direction> <scene_description>Darkened and pin - drop silent . They only thing that can be heard is the SOUND of CAR DOORS slamming outside , as COPS run into combat positions .</scene_description> <character>MIKE</character> <dialogue>Tommy? Ellie?</dialogue> <scene_description>The SOUND of a MUFFLED WHIMPER comes from the kitchen ; he HEADS TOWARD down a narrow HALLWAY . He falters , ALMOST STEPPING on a SKATEBOARD .</scene_description> <character>MIKE</character> <parenthetical>( calling out . )</parenthetical> <dialogue>I'm not armed! I'm the only one in here! I can help you get away if you listen to what I say!</dialogue> <scene_description>He 's used to the SOUND OF HIS VOICE to mask the slight `` roll '' of the SKATEBOARD under his foot : He 's sliding it into the middle of the doorway .</scene_description> <character>MIKE</character> <dialogue>I'm comin' in the kitchen! If you fuckin' shoot me, they'll come in here, and we're all dead! You hear me, Venza?!</dialogue> <scene_description>No answer - MIKE continues on , girding himself as he steps into the KITCHEN DOORWAY . He tries the light - switch ; it does n't work . And then a VOICE SPEAKS . Its breath , like his , is labored ; the VOICE CRACKLING with tension .</scene_description> <character>VENZA</character> <dialogue>You made a terrible mistake, Keegan. You did n't do what I said.</dialogue> <character>MIKE</character> <parenthetical>( his voice shaking . )</parenthetical> <dialogue>That's right, you're gon na do what I say.</dialogue> <parenthetical>( desperate . )</parenthetical> <dialogue>Joey. I want to help you out of this.</dialogue> <character>VENZA</character> <dialogue>You should' a brought the girl.</dialogue> <character>MIKE</character> <dialogue>I brought the girl. She's outside.</dialogue> <scene_description>He MOVES to the WINDOW ; it 's right BESIDE THE TABLE . VENZA TENSING .</scene_description> <character>VENZA</character> <dialogue>Hold it!</dialogue> <character>MIKE</character> <dialogue>I'll prove it!</dialogue> <scene_description>He LIFTS THE WINDOW , CALLING OUT :</scene_description> <character>MIKE</character> <dialogue>Claire!</dialogue> <character>CLAIRE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Mike?</dialogue> </scene> <scene> <stage_direction>EXT. THE HOUSE - SAME MOMENT - NIGHT</stage_direction> <scene_description>CLAIRE , having shouted from behind a COP CAR : KOONTZ grabbing hold of her to keep her in place .</scene_description> <character>KOONTZ</character> <parenthetical>( a hiss of warning . )</parenthetical> <dialogue>Not another word until I tell you.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - SAME MOMENT - NIGHT</stage_direction> <scene_description>VENZA ; wary .</scene_description> <character>VENZA</character> <dialogue>How do I know that's her?</dialogue> <character>MIKE</character> <dialogue>I'll bring her in. You let them go, and I'll bring her in.</dialogue> <character>VENZA</character> <parenthetical>( wary . )</parenthetical> <dialogue>Why should she come in?</dialogue> <character>MIKE</character> <dialogue>She trusts me. She'll do what I say.</dialogue> <character>VENZA</character> <dialogue>Bullshit! Prove it.</dialogue> <character>MIKE</character> <parenthetical>( calls out the window . )</parenthetical> <dialogue>Koontz! Let her come in! Claire! It's pitch dark in here!</dialogue> <parenthetical>( his words are carefully chosen . )</parenthetical> <dialogue>You're gon na have trouble seeing anything, so just come in, and straight down a long hall. Then stand at the door so we can see you. We want to see your face and we wo n't be able to until you get to the kitchen door!</dialogue> </scene> <scene> <stage_direction>EXT. THE HOUSE - SAME MOMENT</stage_direction> <scene_description>KOONTZ receiving his `` message '' . Quickly assessing CLAIRE , he looks to the COPS around him - then GRITS HIS TEETH with DECISION .</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - SAME - NIGHT</stage_direction> <character>MIKE</character> <dialogue>I want your guarantee they'll be turned loose when she opens the front door.</dialogue> <character>VENZA</character> <dialogue>I get my hostage first. No one's turned loose until I say so.</dialogue> <character>MIKE</character> <dialogue>Let my kid go.</dialogue> <character>VENZA</character> <dialogue>I'm not lettin' no one go.</dialogue> <character>MIKE</character> <dialogue>Get that gun away from his head, or I'll keep her from coming in! Put the gun on me, he ca n't hurt you! He's tied up! Put him under the table!</dialogue> <character>VENZA</character> <dialogue>Do n't you fuckin' give orders to me.</dialogue> <character>MIKE</character> <dialogue>Put him under the table or I'll stop her from coming in.</dialogue> <scene_description>MIKE turns to the window , about to shout .</scene_description> <character>VENZA</character> <parenthetical>( to Tommy , an order . )</parenthetical> <dialogue>Under the table.</dialogue> <character>MIKE</character> <dialogue>I'll take his place, all right? Put the gun to my head.</dialogue> <scene_description>MIKE YANKS TOMMY under the TABLE , taking HIS PLACE in THE CHAIR ; the COCKED GUN presses up against MIKE 'S TEMPLE . ANGLE ON ELLIE : Her widened eyes continuing to INDICATE `` beneath the table '' . CLOSE ON TOMMY , ON HIS KNEES , his hands tied behind his back ; emitting a whimper of terror .</scene_description> <character>ELLIE</character> <dialogue>Be careful, Tommy.</dialogue> <scene_description>HE LOOKS UP : SPOTTING HER GUN , where she 'd hidden it for safe - keeping , TAPED SECURELY , just OVER HIS HEAD . The FRONT DOOR OPENS - with a SLOW CREAK - the FIGURE OF CLAIRE , her dress silhouetted by the moonlight from outside , SEEN standing in the front hallway .</scene_description> <character>MIKE</character> <parenthetical>( frantic . )</parenthetical> <dialogue>Claire! It's dark. Watch your step. Come slowly.</dialogue> <scene_description>ANGLE ON TOMMY : trying desperately to get his hands , tied behind his back , within reach of the GUN taped over his head . It 's impossible . CLOSE ON MIKE : eyes darting to ELLIE - as the FIGURE slowly APPROACHES down the DARKENED HALL , his HAND lowering beneath his knees , within reach of TOMMY , under the TABLE . ANGLE ON TOMMY : in a near HEADSTAND , his small hands managing to TOUCH THE TAPE , his fingernails futilely attempting to DIG BENEATH IT - as the FOOTSTEPS continue to APPROACH down the DARKENED HALL . ANGLE ON THE FIGURE : almost at the kitchen door - about to STEP INTO THE LIGHT .</scene_description> <character>MIKE</character> <dialogue>Watch your step!</dialogue> <character>VENZA</character> <parenthetical>( rising . )</parenthetical> <dialogue>What the fuck you doin'?!</dialogue> <scene_description>TOMMY 'S HANDS are on the GUN .</scene_description> <character>MIKE</character> <dialogue>There's a skateboard in the door!</dialogue> <scene_description>With a sudden SOUND of TAPE `` RIPPING '' from under the TABLE . ALL HELL BREAKS LOOSE . TOMMY ROLLS , THRUSTING THE GUN INTO MIKE 'S HAND as the FIGURE at the DOOR KICKS THE SKATEBOARD , sending it ZOOMING INTO THE ROOM . VENZA LEAPS ASIDE AND FIRES , the FIGURE at the DOOR OPENING FIRE in RETURN . MIKE LEAPS FOR ELLIE , knocking her off her CHAIR , rolling FAST as the ENTIRE KITCHEN ERUPTS IN GUNFIRE . ANGLE ON ELLIE : throwing herself OVER TOMMY , BULLETS `` PINGING '' AROUND MIKE as he ROLLS , RETURNING THE FIRE . The pitch - black kitchen shudders with BANGS and FLASHES like the Fourth of July , mixed with the `` WHINE '' of bullets hitting pots and pans , and the sight of BODIES hurtling through the dark . The `` FIGURE AT THE DOOR '' is firing with both hands , SCORING A HIT ON VENZA 'S ACCOMPLICE , who goes down , wounded , HIS GUN CLATTERING to the FLOOR . He REACHES for it , but ELLIE GETS THERE FIRST , grabbing it with her two hands tied in front of her .</scene_description> <character>ELLIE</character> <parenthetical>( to Tommy . )</parenthetical> <dialogue>Stay down!</dialogue> <scene_description>The ACCOMPLICE is staggering upward as ELLIE gets to her feet , SQUARING OFF in POLICE STANCE - and FIRES , catching him square between the SHOULDER BLADES ; HE SPINS , crashing BACKWARDS through the GLASS DOOR - SWISH - PAN to VENZA , trying to get out THE KITCHEN WINDOW .</scene_description> <character>MIKE</character> <dialogue>Turn around, fuck!</dialogue> <scene_description>He DOES , BLASTED by MIKE , and the `` FIGURE '' in the door , SIMULTANEOUSLY . He falls out the window , but still has life in him , staggering to his feet , and hit by SPOTLIGHTS from the CARS OUTSIDE . In a sudden barrage , he 's hit by CROSSFIRE , SPINNING , LURCHING - finally going down . And then all is quiet . INSIDE THE KITCHEN - all sound and movement has suddenly ceased ; everyone is a state of shock .</scene_description> <character>ELLIE</character> <parenthetical>( desperate . )</parenthetical> <dialogue>Tommy!</dialogue> <character>TOMMY</character> <dialogue>I'm all right.</dialogue> <character>MIKE</character> <dialogue>Ellie.</dialogue> <character>ELLIE</character> <dialogue>I'm all right.</dialogue> <scene_description>The overhead LIGHT is SNAPPED ON by the `` FIGURE '' in the doorway - revealing it to be KOONTZ . In CLAIRE 'S DRESS . Guns in both hands , still smoking .</scene_description> <character>KOONTZ</character> <parenthetical>( emphatic . )</parenthetical> <dialogue>Fuckin' miracle, man.</dialogue> <scene_description>In the BACKGROUND distant SIRENS are HEARD heading toward . The SWAT squad . CAMERA MOVING ACROSS THE FACES OF ELLIE , TOMMY , MIKE . and KOONTZ ; all holding in place . Listening to them come .</scene_description> <character>KOONTZ</character> <parenthetical>( re : the sirens . )</parenthetical> <dialogue>Told you they'd be here in a few minutes.</dialogue> <scene_description>The grim humor of it is registered in SILENCE . MIKE picks up VENZA 'S HUNTING KNIFE from the floor , cutting through the ropes that bind TOMMY 'S and ELLIE 'S HANDS ; she PULLS TOMMY to HER , in a tearful EMBRACE , shielding his face from the ghastly sight of the man , lying dead , on the floor . OTHER PEOPLE are MOVING INWARD , CLAIRE among them , clad in an OVERSIZED POLICE OVERCOAT - looking frail and frightened , SHUDDERING WITH RELIEF when she sees that all are safe . But there is no mistaking the presence of something else in her eyes . CLOSE ON CLAIRE 'S FACE : gazing at MIKE , his family wrapped in his protective embrace . He LOOKS UP , meeting her eyes .</scene_description> <character>CLAIRE</character> <dialogue>Everyone's all right?</dialogue> <character>MIKE</character> <dialogue>Yeah. It's all over.</dialogue> <scene_description>LONG ANGLE on the ROOM : dimly illuminated by the single light , shed from the opened refrigerator door , as people begin to move - awakening to life , and its necessary details , in the aftermath of the crisis .</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE - SAME</stage_direction> <scene_description>The LAWN virtually FILLED with POLICE VEHICLES , their revolving red lights illuminating the grim scene ; a small gathering of onlookers gawking from behind police ropes , AMBULANCES pulling SLOWLY , SILENTLY , away . CAMERA PANS to two figures ALONE , beside a squad car , in the distant shadows . It 's CLAIRE , still clad in the police overcoat , and MIKE . They are together , but separate , maintaining the proper distance to say goodbye . CLOSER ANGLE ON THEM : not knowing quite what to say .</scene_description> <character>MIKE</character> <dialogue>So.</dialogue> <character>CLAIRE</character> <dialogue>So.</dialogue> <scene_description>ANGLE ON BOTH : their eyes locked into each other 's .</scene_description> <character>MIKE</character> <dialogue>You still going away?</dialogue> <character>CLAIRE</character> <dialogue>I do n't know.</dialogue> <character>MIKE</character> <dialogue>You do n't have to, now.</dialogue> <character>CLAIRE</character> <dialogue>I think it's probably still a good idea.</dialogue> <scene_description>CLOSE ON MIKE : getting her message .</scene_description> <character>MIKE</character> <dialogue>Yeah.</dialogue> <scene_description>Both are hurting .</scene_description> <character>CLAIRE</character> <parenthetical>( heartfelt . )</parenthetical> <dialogue>I'll miss you, Mike.</dialogue> <character>MIKE</character> <dialogue>Listen, I'll. see you again.</dialogue> <scene_description>Her eyes are glistening ; she gives him a bracing smile . But he ca n't quiet manage it .</scene_description> <character>CLAIRE</character> <parenthetical>( barely able to speak . )</parenthetical> <dialogue>Say goodbye.</dialogue> <scene_description>He struggles with it ; unable .</scene_description> <character>MIKE</character> <dialogue>I like your coat.</dialogue> <character>CLAIRE</character> <parenthetical>( half - laugh , half - cry . )</parenthetical> <dialogue>You have a weakness for Lady Cops.</dialogue> <character>MIKE</character> <dialogue>I do.</dialogue> <scene_description>Silence now ; their eyes adoring .</scene_description> <character>CLAIRE</character> <dialogue>Say goodbye, Mike.</dialogue> <character>MIKE</character> <parenthetical>( thick voiced . )</parenthetical> <dialogue>You take care.</dialogue> <scene_description>MIKE TURNS - CAMERA MOVING WITH HIM as he WALKS SLOWLY AWAY - finding himself on a collision course with GARBER . They meet , spending a long moment in non - communicative greeting .</scene_description> <character>MIKE</character> <parenthetical>( finally . )</parenthetical> <dialogue>What do you think?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Any chance? There's nothin' else I'm any good at, but this.</dialogue> <character>GARBER</character> <parenthetical>( noncommittal . )</parenthetical> <dialogue>Call me next week. We'll talk about it.</dialogue> <scene_description>MIKE absorbs it , looking up to SEE ELLIE and TOMMY , beside a SQUAD CAR , a distance away . Girding himself , he HEADS TOWARD . ANGLE ON ELLIE AND TOMMY - as he APPROACHES , and stands beside them . Not much to say . Finally he reaches out and tousles TOMMY 'S hair .</scene_description> <character>MIKE</character> <dialogue>Good police work, kiddo.</dialogue> <scene_description>He catches ELLIE 'S eye , both assessing each other .</scene_description> <character>ELLIE</character> <parenthetical>( re : Tommy . )</parenthetical> <dialogue>He does n't want to sleep here.</dialogue> <parenthetical>( a long beat . )</parenthetical> <dialogue>Neither do I. It's not my house anymore.</dialogue> <character>MIKE</character> <dialogue>Me neither.</dialogue> <scene_description>ANGLE ON ALL : finding each other 's eyes .</scene_description> <character>MIKE</character> <dialogue>Let's find some place to start over.</dialogue> <scene_description>MIKE puts an arm AROUND TOMMY - and the CAMERA BEGINS A LONG PULLBACK , as ELLIE moves to his side , and the KEEGAN FAMILY begins to MOVE AWAY . WE SEE CLAIRE , being helped into a SQUAD CAR , turning to look back at them as it PULLS AWAY - CARS REVVING UP and PULLING OUT , in ALL DIRECTIONS . From a distance , we HEAR MIKE 'S VOICE .</scene_description> <character>MIKE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( to Ellie . )</parenthetical> <dialogue>What this crap about singing lessons?</dialogue> <scene_description>FADE OUT . THE END</scene_description> </scene> </script>

Socialite Claire Gregory (Mimi Rogers) attends a party and art show sponsored by one of her oldest friends, Winn Hockings (Mark Moses). Accompanying her is her straitlaced boyfriend, Neil Steinhart (John Rubinstein). In another part of town, there is another party, this one for newly appointed NYPD detective Mike Keegan (Tom Berenger). Winn is accosted by a former partner, Joey Venza (Andreas Katsulas), who is angry because Winn had not come to him to borrow money for his new art studio. After a short argument, he stabs Winn to death. Claire witnesses the killing as she steps out of the elevator; she screams and is spotted by Venza. He pursues her, but she manages to get back into the elevator just in time. The police are called in and the new detective Keegan is there. He is a married man, but immediately falls for Claire. Along with fellow cops, he is assigned to protect Claire until she can make a positive ID of Venza (once he is arrested) and testify in court. Keegan is determined to protect Claire and goes to extremes to do so. Venza makes numerous threats and attempts on her life, nearly succeeding at one point. Keegan and his wife Ellie (Lorraine Bracco) separate over his involvement in the case. He and Claire acknowledge their love but Keegan cannot bring himself to simply abandon his family. At the end, Venza, who draws out Keegan by taking his son hostage, is shot by Ellie and killed. Claire breaks up with her staid boyfriend and intends to go to Europe to get over Keegan, who returns to his wife and son.

Heist_2001

tt0252503

<script> <scene> <scene_description>HEIST DAVID MAMET BY DAVID MAMET ROSENSTONE/WENDER AGENCY 3 E. 48th St. N.Y.C. FADE IN: EXT RAILROAD OVERPASS DAY. A LOW FLYING PLANE, MAKING ITS FINAL APPROACH. ANGLE CU. A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES AND MOUSTACHE, LOOKS UP, AT THE PLANE. CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK. HE CARRIES A FOLDED MAP. HE LOOKS AROUND, AS IF LOST. ANGLE. MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD. HE LOOKS DOWN AT HIS MAP. SOUND OF A TRAIN APPROACHING. ANGLE ON MOORE, OVER HIM AS A TRAIN STREAMS BY BENEATH THE OVERPASS. ANGLE. ON MOORE, AS HE NODS, AND STARTS BACK TOWARD A PARKED STATIONWAGON. ANGLE INS. WE SEE THE FOLDED MAP CONTAINS A YELLOW LEGAL PAD. MOORE GLANCES AT HIS WATCH, AND MAKES A NOTATION IN THE PAD. HE FLIPS BACK PAGES ON THE PAD TO SHOW IT IS FULL OF NOTATIONS. WE SEE A SKETCH OF THE RAILWAY OVERPASS. ANGLE ON MOORE, AS HE STARTS TO GET INTO THE STATIONWAGON. HE LOOKS AROUND ONE LAST TIME, SHRUGS, AS IF TO SAY "SO BE IT," AND GETS INTO THE CAR. ANGLE INT THE CAR. MOORE, SITTING. A POLICE CAR, SIREN AND LIGHTS ON. ROARS PAST OUTSIDE. MOORE NODS, LOOKS AT HIS WATCH. HE STARTS THE CAR. PUTS THE PAD DOWN NEXT TO HIM, IS ABOUT TO DRIVE OFF, WHEN HE GETS ANOTHER THOUGHT, AND OPENS THE PAD AGAIN. MOORE LOOKS AROUND. SIGHS, SHRUGS, AND PUTS THE CAR IN GEAR. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. COMMERCIAL STREET. A METAL CANE ON THE SIDEWALK, A PAIR OF</stage_direction> <scene_description>MAN'S LEGS. THE SUNLIGHT GLINTS OFF THE CANE. PAN UP, PAST THE CANE, TO REVEAL.</scene_description> </scene> <scene> <stage_direction>EXT. LIMOUSINE. DAY.</stage_direction> <scene_description>A BEAUTIFUL COMMERCIAL STREET. FULL OF BOUTIQUES, POSH CARS, AND FOLKS STROLLING DOWN THE STREET. TWO MEN, JOE MOORE, AND BILLY BLANE, A WELL-BUILT MAN OF SIMILAR AGE, BOTH IN FINE BUSINESS SUITS, BOTH WEAR LEATHER GLOVES, STROLL DOWN THE STREET. MOORE WALKS WITH THE AID OF A HEAVY METAL CANE.</scene_description> <character>MOORE</character> <parenthetical>(AS HE LOOKS AROUND)</parenthetical> <dialogue>What makes the world go around?</dialogue> <character>BLANE</character> <dialogue>...you tell me.</dialogue> <character>MOORE</character> <dialogue>Gold.</dialogue> <character>BLANE</character> <dialogue>Some people say Love.</dialogue> <character>MOORE</character> <parenthetical>(NODS)</parenthetical> <dialogue>It is love. It is Love of Gold.</dialogue> <character>BLANE</character> <dialogue>...easy to get the gold, hard to get it home.</dialogue> <character>MOORE</character> <dialogue>...waal, so it takes a little bit of thought...</dialogue> <scene_description>ANGLE CU ON MOORE, AS HE LOOKS ACROSS THE STREET. ANGLE HIS POV. A POSH JEWELRY STORE. A UNIFORMED GUARD EXITS THE STORE, CLOSING THE METAL GRATE BEHIND HIM. ANGLE. ON BLANE AND MOORE. AT THEIR LIMOUSINE. BLANE FEEDS THE PARKING METER. AND HELPS MOORE INTO THE BACKSEAT. OVER THEM, IN THE B.G., WE SEE THE GUARD DISAPPEAR AROUND A CORNER. MOORE LOOKS DOWN AT HIS WATCH AS HE ENTERS THE CAR. ANGLE ON BLANE, AS HE GETS INTO THE DRIVER'S SEAT. BLANE LOOKS OUT OF THE WINDOW. INT FAST-FOOD COFFEESHOP DAY. ANGLE, INSERT. A TRAY WITH FIVE ESPRESSO SHOTGLASSES ON IT. A WOMAN'S HAND FILLING THE LAST OF THE FIVE. ANGLE THE UNIFORMED GUARD, AT THE COUNTER, CHATTING WITH ANOTHER SERVER.</scene_description> <character>CASHIER</character> <parenthetical>(TO GUARD)</parenthetical> <dialogue>...what's yours?</dialogue> <scene_description>THE WOMAN POURING THE DRINKS RUBS HER TEMPLES, AND SIGHS.</scene_description> <character>WOMAN</character> <dialogue>...Five Cappuccino...</dialogue> <character>CASHIER</character> <dialogue>...that ought to keep you up...</dialogue> <scene_description>THE GUARD AND THE CASHIER LAUGH.</scene_description> <character>CASHIER</character> <dialogue>...eleven ninety-two...</dialogue> <scene_description>ANGLE ON THE WOMAN, A SMALL 'VISINE-LIKE' BOTTLE FROM HER POCKET, TIPS HER HEAD BACK, AND MOVES AS IF TO PUT THE DROPS IN HER EYES. ANGLE XCU WE SEE THAT THE CAP IS STILL ON THE BOTTLE. ANGLE. SHE LOWERS THE BOTTLE AND TAKES OFF THE CAP, AND PUTS SEVERAL DROPS INTO EACH OF THE DRINKS BEFORE HER. ANGLE ON THE WOMAN AS SHE PASSES THE TRAY FULL OF DRINKS OVER THE COUNTER TO THE GUARD.</scene_description> <character>WOMAN</character> <dialogue>...you have a nice day.</dialogue> <scene_description>SHE LOOKS UP AT THE WALLCLOCK, AND ADDRESSES HERSELF TO THE CASHIER.</scene_description> <character>WOMAN</character> <dialogue>I've got a break...</dialogue> <scene_description>THE CASHIER NODS. CAMERA TAKES THE WOMAN BACK INTO THE EMPLOYEE'S AREA, WHERE SHE TAKES DOWN A LARGE SHOULDERBAG, AND FISHES A PACK OF CIGARETTES AND A LIGHTER OUT OF IT. SHE BEGINS TO LIGHT A CIGARETTE. THE CASHIER TURNS BACK TO LOOK AT THE WOMAN.</scene_description> <character>CASHIER</character> <dialogue>...Din't they tell you can't smoke in here...</dialogue> <scene_description>THE WOMAN NODS, AS IF TO SAY, 'I FORGOT. I'M SORRY.' SHE TAKES THE BAG, PUTS IT OVER HER SHOULDER, AND STARTS OUT OF THE COFFEESHOP. ANGLE, EXT THE COFFEESHOP. A SMALL PARKING AREA, A DUMPSTER, THE WOMAN COMES OUT, SMOKING THE CIGARETTE. CAMERA HINGES HER AROUND THE CORNER, INTO A SMALL ALLEYWAY. IN THE ALLEYWAY SHE TAKES A THIN GRAY RAINCOAT OUT OF THE BAG, AND PUTS IT ON. IT COVERS HER STORE UNIFORM. SHE TAKES A PIN FROM HER HAIR AND LETS HER HAIR FALL. SHE TAKES A LARGE PAIR OF SUNGLASSES FROM THE GLASS AND PUTS THEM ON. ANGLE, INT THE LIMOUSINE. BLANE, IN THE DRIVER'S SEAT, JOE MOORE IN BACK. ANGLE ON MOORE. HOLDING A SMALL YELLOW SHEET. ANGLE INS: IT IS THE DRAWING OF THE RAILROAD OVERPASS. ANGLE ON BLANE MAKING A CALCULATION ON THE SHEET. BLANE SEES SOMETHING OUT OF THE WINDSHIELD, AND INDICATES IT TO JOE MOORE, WHO NODS AND PUTS AWAY THE YELLOW PAD.</scene_description> <character>BLANE</character> <dialogue>Showtime, Circus Time.</dialogue> <scene_description>ANGLE, THEIR POV. THE GUARD, HOLDING THE TRAY OF COFFEES, ENTERING THE JEWELRYSTORE. ANGLE ON THE GUARD. AS HE IS BUZZED THROUGH A DOUBLE GRATE. CAMERA PANS TO REVEAL THE WOMAN COMING OUT OF THE ALLEYWAY. CAMERA TAKES HER ACROSS THE STREET. WHERE SHE PASSES THE LIMOUSINE, AS SHE DOES SHE OPENS HER HAND, SHOWING HER OPEN HAND TO THE LIMOUSINE. ANGLE INT THE LIMOUSINE.</scene_description> <character>BLANE</character> <dialogue>...I see five.</dialogue> <character>MOORE</character> <dialogue>Five is correct.</dialogue> <scene_description>(HE LOOKS DOWN AT HIS WATCH.) ANGLE EXT THE JEWELRY STORE. WE SEE THE GUARD INSIDE, DRINKING COFFEE WITH THE SALESPEOPLE, A GUARD ENTERS FROM THE REAR OF THE STORE, AND TAKES A COFFEE. WE SEE IN THE REFLECTION, THE WOMAN IN THE SUNGLASSES AND RAINCOAT LOOKING IN THE WINDOW OF THE JEWELRY STORE, SHE ADJUSTS HER HAIR, AND TURNS. ANGLE INT THE LIMOUSINE, WHICH IS PULLING UP TO THE CURB. WE SEE THE WOMAN TURNING AWAY FROM THE JEWELRY STORE, AND NODDING AT THE LIMOUSINE. ON THE WOMAN, AS SHE CONTINUES DOWN THE STREET. SHE TAKES A LARGE PAPERBAG FROM HER SHOULDERBAG, AND DUMPS IT IN A TRASH RECEPTACLE. IN THE LIMOUSINE BLANE STARTS TO OPEN THE DOOR.</scene_description> <character>MOORE</character> <parenthetical>(LOOKING AT HIS WATCH)</parenthetical> <dialogue>No wait.</dialogue> <character>(PAUSE)</character> <dialogue>Alright.</dialogue> <scene_description>ANGLE EXT THE LIMO. BLANE GETS OUT OF THE DRIVER'S SEAT, AND HURRIES AROUND TO OPEN THE REAR DOOR. MOORE IS HELPED OUT OF THE REAR SEAT, AND HANDED A METAL CANE BY BLANE. THEY START ACROSS THE SIDEWALK TOWARD THE DOUBLE GRATE OF THE JEWELRYSHOP. BLANE HOLDING MOORE'S ELBOW. AS THEY REACH THE FRONTDOOR. A HEAVYSET MAN ALSO WEARING LEATHER GLOVES, CARRYING SEVERAL BEAUTIFULLY WRAPPED PINK PACKAGES APPROACHES THE DOOR. THERE IS THE SOUND OF AN EXPLOSION. THE THREE MEN TURN THEIR HEADS. ANGLE. AT THE DOOR TO THE SHOP. ANGLE THEIR POV, DOWN THE STREET, THERE IS A FIRE RAGING AND A VAST COLUMN OF SMOKE POURING FROM THE TRASH RECEPTACLE. ANGLE AT THE DOOR TO THE STORE. THE THREE MEN, MOORE AND THE HEAVYSET MAN, PINCUS, PUT, STOCKINGMASKS OVER THEIR HEADS. MOORE TAKES A SMALL ELECTRONIC LOOKING CONTRAPTION FROM HIS POCKET, AND HOLDS IT UP TO THE GRATING, THE GRATING POPS OPEN. BLANE NODS AT THE TWO OTHER MEN WHO START INTO THE STORE. THEY TAKE OFF THEIR LEATHER GLOVES REVEALING SURGICAL GLOVES UNDERNEATH. ANGLE, ON PINCUS, AS HE RESTRAINS MOORE. BOTH LOOK INSIDE THE STORE. ANGLE, THEIR POV. ON THE COUNTER, ONE CAPPED, UNOPENED COFFEE CONTAINER, AND A YOUNG WOMAN, SALESGIRL, STANDING BESIDE THE COUNTER, TERRIFIED. ANGLE ON THE TWO MEN. BEAT. PINCUS REACHES FOR A GUN. MOORE SHAKES HIS HEAD NO. THEN MOORE TAKES OFF HIS MASK, AND MOTIONS TO PINCUS WHO HESITATES FOR A SECOND, THEN HANDS A SMAL OBJECT TO MOORE. MOORE PROCEEDS INTO THE STORE. CAMERA FOLLOWS HIM IN, TO SHOW A GUARD SLUMPED UNCONSCIOUS ON THE FLOOR.</scene_description> <character>MOORE</character> <dialogue>...what is it, I'm a doctor...</dialogue> <scene_description>(HE KNEELS AT THE HEAD OF THE</scene_description> <character>FALLEN MAN)</character> <dialogue>Come here, hold his head up. Now...</dialogue> <scene_description>THE YOUNG WOMAN COMES OVER, MOORE TAKES OUT THE OBJECT PINKY PASSED HIM, A SMALL CANISTER, AND SPRAYS THE WOMAN IN THE FACE. SHE SLUMPS TO THE FLOOR. MOORE MOTIONS PINKY INTO THE SHOP. ANGLE EXT THE STORE. SEVERAL BYSTANDERS ARE MOVING TOWARD THE FIRE. ONE COMES UP TO BLANE, AS IF TO ENTER THE STORE. BLANE PUTS HIS HAND TO HIS EAR, AS IF LISTENING TO AN EARPIECE, AND POINTS AT THE FIRE, SHAKING HIS HEAD.</scene_description> <character>BLANE</character> <dialogue>Move along, please... This area must be secure while the Secretary's on the street... just move alone...</dialogue> <scene_description>ANGLE INT THE STORE. PINCUS HAS REMOVED THE COVER FROM HIS PACKAGES, REVEALING THEM TO BE A LARGE RECEPTACLE. CAMERA PANS HIM ACROSS A COUNTER, OVER WHICH COUNTER WE SEE SLUMPED THE FORMS OF THE TWO SALESPEOPLE. PINCUS POINTS AT THE DESK. MOORE NODS. IN THE B.G. WE SEE MOORE HIT A BUZZER UNDERNEATH A DESK. A PANEL IN THE WALL SWINGS OPEN, AND WE SEE A LARGE WALK IN SAFE BEHIND, ITS DOOR OPEN. IN THE FOREGROUND THE HEAVYSET MAN IS SHOVELLING THE CONTENTS OF THE DISPLAY CASES INTO HIS CARRYALL. ANGLE ON MOORE IN THE WALK IN SAFE, AS HE CONSULTS A SMALL INDEX CARD TAKEN FROM HIS POCKET. HE WALKS TO THE SLUMPED FORM OF AN EMPLOYEE, AND TAKES A KEY FROM AROUND HER NECK, MOVES TO THE SAFEBOXES IN THE REAR. THE KEYS DO NOT WORK. MOORE NODS AS IF TO SAY, "WELL, THAT WOULD HAVE BEEN TOO EASY..." HE UNSCREWS A SECTION OF HIS METAL CANE, AND REMOVES SMALL SURGICAL TOOLS, HE OPENS NOW ONE AND NOW ANOTHER OF THE SMALL SAFE BOXES AND EMPTIES THEM INTO THE CARRYALL. MOORE WIPES HIS FOREHEAD WITH HIS ARM AS HE WORKS. (VO) ...two minutes... MOORE NODS. PINCUS MOTIONS UP, THEY BOTH LOOK UP AT A TELEVISION CAMERA... ANGLE A BLACK AND WHITE IMAGE--THE TWO MEN--PINCUS IN A STOCKINGMASK, MOORE SEEN PLAINLY, AS IF THROUGH THE SURVEILLANCE CAMERA... ANGLE MOORE NODS, FINISHES SCOOPING THE CONTENTS OF THE BOXES INTO THE CASE. HE LOOKS AT HIS WATCH, AND UP, AGAIN, AT THE TV CAMERA.</scene_description> <character>PINCUS</character> <dialogue>Forty seconds...</dialogue> <scene_description>MOORE NODS, CAMERA TAKES HIM ALONG A WALL OF CABINETS, HE OPENS NOW ONE, AND NOW ANOTHER, DISSATISFIED... ANGLE, HIS POV. AN ELECTRONIC CABINET. SEVERAL TAPEDECKS, BEHIND A METAL, LOCKED GRATING. THE TAPEDECK BEHIND IT, ITS LIGHTS GLOWING.</scene_description> <character>PINCUS</character> <dialogue>...thirty seconds...</dialogue> <scene_description>ANGLE ON MOORE, WHO USES THE TOOLS IN HIS CANE, TO ATTEMPT TO OPEN THE GRATING. THE GRATING DOES SO, BUT HIS TOOL SLIPS, SHATTERING THE TAPEDECK BEYOND. ITS LIGHTS GO OUT.</scene_description> <character>PINCUS</character> <dialogue>Ten seconds...</dialogue> <scene_description>ANGLE, ON MOORE, AS HE TRIES, FURIOUSLY, TO DESTROY THE TAPE MACHINE, TO GET TO THE TAPE. ANGLE INS. XCU. THE TAPE MACHINE. MOORE SMASHING AT IT.</scene_description> <character>PINCUS</character> <dialogue>...that's it, that's gotta be it...</dialogue> <scene_description>MOORE CONTINUES TRYING TO PRY LOOSE THE TAPE. ANGLE PINCUS, PULLING MOORE AWAY. THE HEAVYSET MAN PUTS THE PINK PACKAGES CAMOUFLAGE ON HIS CASE. ANGLE, CU ON MOORE, AS HE LEAVES THE BACK ROOM. ANGLE HIS POV. THE TAPE MACHINE. ANGLE: IN BLACK AND WHITE, AS IF THROUGH THE VIDEO SURVEILLANCE CAMERA--THE MEN LEAVING THE STORE. DISSOLVE TO: EXT THE DECK OF A SLOOP IN THE OCEAN, DAY A MAGNIFICENT 60-FOOT WOODEN SAILBOAT. A BEAUTIFUL DAY, LIGHT CHOP. A FLORID FELLOW IN HIS FIFTIES, SMOKING A CIGAR, AT THE WHEEL. ANGLE A BEAUTIFUL YOUNG WOMAN, THE SAME WOMAN WE SAW IN THE PREVIOUS SEQUENCE, IN SHORTS AND A T-SHIRT, AND SUNGLASSES, NEAR THE MAST OF THE SAILBOAT. BEYOND HER A MARKER BUOY AND BEYOND A SMALL HARBOR AND MARINA. SHE TURNS TOWARD THE CAMERA.</scene_description> <character>WOMAN</character> <parenthetical>(FRAN. CALLING BACK)</parenthetical> <dialogue>Y'got your marker, five, six hundred yards.</dialogue> <character>(PAUSE)</character> <dialogue>Y'might want to start your turn.</dialogue> <scene_description>ANGLE ON THE FLORID MAN, AS HE NODS. AND BENDS TO LOOK UNDER THE SAIL. HE IS BLINDED BY A FLASH OF LIGHT. HE SCREWS UP HIS EYES. ANGLE, HIS POV. THE LIGHT, BOUNCING OFF A GLEAMING RAIL. THE MAN FLINCHES. ANGLE: ON THE BOAT, AS IS COMES UP INTO THE WIND, THE SAIL LUFFS, AND THE BOAT BEGINS TO ROCK. ANGLE: FRAN COMING UNDER THE SAIL BOOM, GOES HURRIEDLY, TO THE WHEEL, AND MOVES TOWARD THE MAN. PUSHING HIM OUT OF THE WAY, AND CORRECTING THE COURSE OF THE BOAT. ANGLE: (SMILING) ...you lookin to make friends...?</scene_description> <character>FRAN</character> <dialogue>No. I've got my friends...</dialogue> <scene_description>THE MAN MOVES TO THE WHEEL AGAIN, AND FRAN HOLDS HIM OFF.</scene_description> <character>FRAN</character> <dialogue>You put this boat on the rocks, you bought it.</dialogue> <character>FLORID MAN</character> <dialogue>I got the sun in my eyes.</dialogue> <scene_description>ANGLE AS FRAN TAKES THE WHEEL. ON THE BOAT, AS IT HEELS AND TURNS, PASSING THE RED MARKER BUOY INBOUND FOR THE HARBOR. INT SHIPYARD DAY. A SMALL MARINA. THROUGH THE OPEN DOORS WE SEE THE MARINA BEYOND. GLEAMING, MOLTEN METAL IS BEING POURED INTO A SMALL MOULD BY A WORKMAN. JOE MOORE, NOW WITHOUT MOUSTACHE AND GLASSES, WITH LIGHT, GREYING HAIR, IN A CHEAP SPORTCOAT, COMES OVER, AND GIVES THE WORKMAN A FEW DIRECTIONS. THE WORKMAN NODS. CAMERA TAKES MOORE PAST SEVERAL BOATS IN THE SHED, IN VARIOUS STAGES OF DISASSEMBLY. OUT OF THE SMALL SHED, AND TO THE PIER OF THE MARINA, WHERE WE SEE FRAN TYING UP THE SLOOP, AND THE FLORID MAN DESCENDING THE GANGPLANK.</scene_description> <character>MOORE</character> <dialogue>What do you think?</dialogue> <character>FLORID MAN</character> <dialogue>Think you're too old for that girl--How'd you ever get a girl like that...?</dialogue> <character>MOORE</character> <dialogue>I won her in a raffle...</dialogue> <character>FLORID MAN</character> <dialogue>No, I'm serious. What's a girl like hh...</dialogue> <scene_description>(SHRUGS) She's got this "father" thing. You like the boat?</scene_description> <character>FLORID MAN</character> <dialogue>Waal... your price is rather high...</dialogue> <character>MOORE</character> <dialogue>I'll tell you what, then why'nt you go build one...</dialogue> <character>FLORID MAN</character> <dialogue>No offense, no offense, I told you I liked the boat.</dialogue> <scene_description>(TO FRAN) What is he, a touchy fella...?</scene_description> <character>FRAN</character> <dialogue>You have to ask him.</dialogue> <scene_description>(TO MOORE) What I'd like to do: I'll take'er out again, me and some people... The Weekend...? FRAN, IN THE B.G. COMES DOWN THE GANGPLANK.</scene_description> <character>MOORE</character> <dialogue>...we'll be here...</dialogue> <scene_description>ANGLE, ON FRAN, AS SHE TURNS HER BACK ON THE FLORID MAN, AND STANDS CLOSE TO MOORE, HER FACE SURPRISED, MOORE IGNORES HER.</scene_description> <character>MOORE</character> <dialogue>...we'll be here.</dialogue> <character>FLORID MAN</character> <dialogue>...I like this boat...</dialogue> <character>FRAN</character> <dialogue>...Mister Fletcher, tell you what, you put down your deposit, we're gonna fit you one out. Your specs.</dialogue> <character>FLORID MAN</character> <dialogue>I don't want you, fit me one out, I want to buy this one here. This is a hell of a boat.</dialogue> <character>FRAN</character> <dialogue>Well, this one's not for sale.</dialogue> <character>FLORID MAN</character> <dialogue>Everything's for sale. I'm gone tell you what: you want, sell the boat to me, this weekend, you want to name your price, we'll...</dialogue> <scene_description>(HE HANDS FRAN A BUSINESS CARD AND</scene_description> <character>SCRIBBLES ON THE BACK OF IT.)</character> <scene_description>(SMILES) Well, Mr. Fletcher, this weekend, we're gone on a little trip, but...</scene_description> <character>FLORID MAN</character> <dialogue>How often do you see a live one...? I'm talking cash. You want a premium, I'm going to pay your premium, and I...</dialogue> <scene_description>FRAN DISASSOCIATES HERSELF FROM THE FLORID MAN (MR FLETCHER)</scene_description> <character>FRAN</character> <dialogue>Excuse me...</dialogue> <scene_description>SHE WALKS TOWARD MOORE</scene_description> <character>MOORE</character> <dialogue>What do you want me to bring you back?</dialogue> <character>FRAN</character> <dialogue>You just come back... Stay in the shadows.</dialogue> <character>MOORE</character> <dialogue>Everybody's lookin' in the shadows.</dialogue> <character>FRAN</character> <dialogue>Then where's the place to be...?</dialogue> <scene_description>(AS HE SQUINTS AT THE SUN, HE</scene_description> <character>PUTS ON HIS SUNGLASSES)</character> <dialogue>Place to be's in the Sun...</dialogue> <character>FRAN</character> <dialogue>Well, then, you stay there, then...</dialogue> <scene_description>BEAT. HE TAKES HER TO HIM AND KISSES HER. (IN THE B.G. JOCULARLY) ...pretty little girl like that, wouldn't stay away too long... MOORE EXCHANGES A LOOK WITH FRAN. SOUND OF A CARHORN. THEY BOTH TURN. ANGLE, THEIR POV. A CAB, EXT, THE MARINA. ANGLE FRAN AND MOORE, HE SHRUGS, STARTS TO TURN. FRAN PUTS A HAND ON HIS ARM.</scene_description> <character>FRAN</character> <dialogue>Stay here. Let Bobby do it...</dialogue> <scene_description>(AS HE KISSES HER AGAIN) You take care, Baby. I'll see you tonight. HE TURNS TOWARD THE CAB. INT BOXING GYM DAY. SOUND OF SPEEDBAGS, AND ROPESKIPPING. TWO YOUNG MEN SPARRING IN THE SMALL, DARK, DIRTY GYM. ANGLE BLANE, IN HOODED SWEATSHIRT AND JEANS, SMOKING A CIGAR, LOOKS DOWN, FROM A WOODEN BALCONY, ON THE GYM BELOW. BEHIND HIM WE SEE MOORE ENTER THE BALCONY, AND WALK SILENTLY, AND STAND TWO FEET BEHIND THE CHAIR. BEAT.</scene_description> <character>BLANE</character> <dialogue>You shouldn't sneak up on a fella like that.</dialogue> <character>MOORE</character> <dialogue>...what's he likely to do...?</dialogue> <character>BLANE</character> <dialogue>He's likely to do all sorts of unpredictable</dialogue> <dialogue>shit.</dialogue> <scene_description>BLANE TURNS, AND THE TWO START DOWN THE RICKETY STAIRS TO THE MAIN FLOOR. ANGLE MOORE TURNS. TO SEE TWO WORKMEN UNBOLTING A SMALL METAL PIPE SCAFFOLDING, ON WHICH HANG SOME OLD HEAVYBAGS.</scene_description> <character>BLANE</character> <dialogue>Yeah, I was going, put in some new equipment.</dialogue> <character>MOORE</character> <dialogue>What'd you, come into some money?</dialogue> <scene_description>BLANE SMILES. ON THE MAIN FLOOR OF THE GYM, A WIZENED OLD MAN SITS AT A SMALL COATROOM. BLANE GESTURES AND THE MAN THROW HIM AN OLD LEATHER JACKET, AND HANDS HIM A LARGE BOXING GYM BAG. MOORE AND BLANE EXIT THE GYM. EXT 47TH STREET DIAMOND DISTRICT. NYC DAY. BLANE AND MOORE WALKING DOWN THE STREET. THEY PASS INTO A BUILDING WHICH WE SEE ADVERTISED AS GOLDENSOHNS DIAMOND MART.</scene_description> <character>BLANE</character> <dialogue>Where you goin to go with the gelt?</dialogue> <character>MOORE</character> <dialogue>You know where I'm going. Me and the girl, gone get on the boat.</dialogue> <character>BLANE</character> <dialogue>You gone go South somewhere... rub yourselves all over, Cocoa butter...</dialogue> <character>MOORE</character> <dialogue>...that's right.</dialogue> <character>BLANE</character> <dialogue>Get one of them cocker spaniel dogs, pull down your bathingsuit...</dialogue> <character>MOORE</character> <dialogue>...that's right...</dialogue> <character>BLANE</character> <dialogue>...stick your white ass out at the world...</dialogue> <character>MOORE</character> <dialogue>I worked for it.</dialogue> <scene_description>(PAUSE) What're you gonna do...?</scene_description> <character>BLANE</character> <dialogue>I'm gonna open a carwash, n'torch it for the insurance... hold on a second...</dialogue> <scene_description>ANGLE THEIR POV. TWO UNIFORMED POLICEMEN, WALKING DOWN THE STREET, OUT OF A DELI. BLANE AND MOORE TURN. BEAT. THE POLICE TURN AWAY FROM BLANE AND MOORE. BLANE AND MOORE PROCEED. ANGLE INT GOLDENSHON'S DIAMOND MART. BLANE AND MOORE ENTER. BLANE HOLDS THE DOOR OPEN FOR AN EXITING MATRON. THEY PROCEED DOWN THE AISLES OF STALLS AND JEWELS. CAMERA TAKES THEM TO A HEAVYSET FELLOW STANDING IN FRONT OF A DOOR. INT OFFICE SUITE DAY. THE GYMCASE IS PLACED DOWN ON A HEAVY DESK. MOORE SITS IN A CHAIR, BLANE STANDS BEHIND HIM IN THE SMALL SPARSELY FURNISHED ROOM, ACROSS FROM BERGMAN, A FELLOW WHO LOOKS LIKE A GANGSTER. BERGMAN OPENS THE CASE. ANGLE INS: THE CASE IS FULL OF OLD BOXING EQUIPMENT--GLOVES, A SPEED BAG, ETC. A HAND COMES INTO THE SHOT, TAKES OUT A KNIFE, AND RIPS OPEN THE SPEEDBAG--WE SEE THE GLINT OF JEWELS INSIDE. THE KNIFE PROCEEDS TO OPEN OLD BOXING GLOVES, ETC. ALL ARE FULL OF JEWELS. ANGLE THE MEN AT THE DESK. SOUND OF A DOOR OPENING. IN THE B.G. A DARK, HANDSOME YOUNG MAN IS SEEN OPENING THE DOOR TO THE OUTSIDE. BERGMAN MOTIONS HIM TO TAKE THE CASE AND LEAVE, THE MAN (BELLA) NODS AND BEGINS TO DO SO. (INTRODUCING HIM) My nephew, Jimmy.</scene_description> <character>MOORE</character> <dialogue>I met him a long time ago.</dialogue> <scene_description>(NODS)</scene_description> <character>BERGMAN</character> <dialogue>Did you...?</dialogue> <character>MOORE</character> <dialogue>Yeah, I think I did.</dialogue> <scene_description>BEAT. BLANE AND MOORE EXCHANGE A LOOK, THE DARK YOUNG MAN IS HANDED THE GYMCASE. HE CLOSES THE DOOR LEAVING BERGMAN, BLANE, AND MOORE ALONE. MOORE NODS, TO INDICATE, "IT'S ALRIGHT," AND BLANE BEGINS, RELUCTANTLY, TO LEAVE.</scene_description> <character>BERGMAN</character> <dialogue>You should of shot the girl.</dialogue> <scene_description>(SHRUGS) You know, you're right... BERGMAN SHRUGS, AS IF TO SAY "WELL, THAT'S WATER UNDER THE BRIDGE."</scene_description> <character>BERGMAN</character> <dialogue>On the other thing, Good News! We got the go ahead, we got a date. I got a firm date on the swiss thing.</dialogue> <character>MOORE</character> <dialogue>I'm burnt. They got my picture.</dialogue> <scene_description>(SHRUGS) They got your picture in drag. Witcher warpaint on. (SHAKES HIS HEAD) --I got to go.</scene_description> <character>BERGMAN</character> <dialogue>You goin down, a Body Shop?</dialogue> <scene_description>(HE RUNS HIS HANDS OVER HIS</scene_description> <character>FACE.)</character> <dialogue>MOORE</dialogue> <scene_description>Yeah, I'm gonna have'em pound the dents out.</scene_description> <character>BERGMAN</character> <dialogue>...old as you are, it's a good deal.</dialogue> <character>MOORE</character> <dialogue>Waal, they're honorable scars.</dialogue> <character>BERGMAN</character> <dialogue>That they are and indeed they are. How you doing, Bobby?</dialogue> <character>BLANE</character> <dialogue>Well, you're looking at it.</dialogue> <character>BERGMAN</character> <dialogue>Anything you guys want, you're here? Y'want to get a present for the Little Lady...</dialogue> <scene_description>THERE IS A KNOCK AT THE DOOR. BELLA, THE YOUNG HANDSOME MAN ENTERS WITH THE GYM BAG AND A PIECE OF PAPER, AND WALKS TOWARD BERGMAN. BERGMAN TAKES THE PAPER, AND SMILES.</scene_description> <character>BERGMAN</character> <dialogue>No, you're the Boss Hog, Joe.</dialogue> <character>MOORE</character> <dialogue>Kind of you to say so.</dialogue> <scene_description>(OF THE SLIP OF PAPER) Nobody... gets the goods like you...</scene_description> <character>MOORE</character> <dialogue>Anybody can get the goods, the tough part's, getting away.</dialogue> <character>BERGMAN</character> <dialogue>Uh huh.</dialogue> <character>MOORE</character> <dialogue>Plan a good enough getaway, you could steal Ebbetts Field.</dialogue> <character>BERGMAN</character> <dialogue>Ebbet's Field's gone...</dialogue> <character>MOORE</character> <dialogue>What'd I tell ya...?</dialogue> <scene_description>(BERGMAN HANDS HIM A SLIP OF</scene_description> <character>PAPER. OF THE SLIP OF PAPER)</character> <dialogue>Higher than the estimate.</dialogue> <scene_description>(HE PASSES THE PAPER TO BLANE)</scene_description> <character>BERGMAN</character> <dialogue>And half of that's yours. You n'your team.</dialogue> <character>MOORE</character> <dialogue>Yeah, why're you telling me that?</dialogue> <character>BERGMAN</character> <dialogue>...I told you we're on for the "other" thing? The Swiss thing?</dialogue> <character>MOORE</character> <dialogue>...why're you telling me that, Bill? That half of it's mine. I know half of it's mine. Because, you'll remember, me and my crew? Went in there and got it.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BERGMAN</character> <dialogue>...the other thing?</dialogue> <character>MOORE</character> <dialogue>...you remember that?</dialogue> <character>BERGMAN</character> <dialogue>It's the shot of the century.</dialogue> <character>MOORE</character> <dialogue>Yeah--well, it's a shame...</dialogue> <character>BERGMAN</character> <dialogue>I'm locked into it. It's such a beautiful deal, Joe... we waited so long.</dialogue> <scene_description>HE PUTS HIS ARM AROUND MOORE, AND WALKS HIM INTO THE OUTER OFFICE, WHERE WE SEE BLANE AND BELLA AND SEVERAL BODYGUARD TYPES.</scene_description> <character>BERGMAN</character> <dialogue>...I put myself, n'my friends in hock, set the deal up...</dialogue> <character>MOORE</character> <dialogue>I need my money. I owe the crew...</dialogue> <character>(PAUSE)</character> <dialogue>I owe my crew, Bill...</dialogue> <scene_description>BERGMAN If it was me... MOORE Yeah, if it was you n'if it was me. I owe my crew.</scene_description> <character>(PAUSE)</character> <dialogue>And I got to go.</dialogue> <character>(PAUSE)</character> <dialogue>I got to get outta town.</dialogue> <scene_description>BERGMAN You should of popped the girl... Look:</scene_description> <character>(HE PICKS UP A SHEAF OF PAPERS</character> <dialogue>FROM HIS DESK.)</dialogue> <scene_description>This Swiss thing? After how long we waited...? MOORE Woulda shoulda coulda. BERGMAN ...I was a publisher man, I'd publish the plans... it's the Mona Lisa. MOORE You're too kind. BLANE Why don't you publish the plans? BERGMAN Yeah, no, I'm saying, that's what I would do, f'I was in the book business. Unfortunately, I'm a thief, so, I have to do that thing. You understand... Joe: MOORE What is it I understand...? BERGMAN You understand my position. MOORE Here's mine? I did the job. Me and my crew. We brought you the swag, we're going to take our cut.</scene_description> <character>BERGMAN</character> <dialogue>Well, look here, it's the Golden Rule. You know the Golden Rule. Whoever's got the Fucken Gold, he gets to make the Rule... Huh?</dialogue> <character>(PAUSE)</character> <dialogue>Huh...? Look: The normal course of events...</dialogue> <scene_description>ANGLE ON MOORE, AS HE EXCHANGES A LOOK WITH BLANE THEY LOOK AT THE GYMBAG. BLANE STARTS TO EDGE TOWARD THE GYMBAG.</scene_description> <character>BERGMAN</character> <dialogue>...let's all remember where we are...</dialogue> <character>BLANE</character> <parenthetical>(AS HE MOVES TOWARD THE BAG)</parenthetical> <dialogue>...that's very literary.</dialogue> <scene_description>BELLA PUSHES HIM BACK.</scene_description> <character>BELLA</character> <dialogue>Look here, Pal... Look here, Pal... You're the help...</dialogue> <character>BLANE</character> <dialogue>I'm what...?</dialogue> <character>BELLA</character> <dialogue>...you're...</dialogue> <character>BLANE</character> <dialogue>I'm the "help," motherfucker? You were sitting behind a desk, we were on the street, it seems to me. Furthermore:</dialogue> <scene_description>ANGLE, HIS POV, INSERT, THE GYMBAG. WE SEE ONE OF THE BODYGUARDS MOVE IN FRONT OF IT. ANGLE MOORE AND BLANE AS BELLA PUSHES BLANE AWAY FROM THE GYMBAG. BLANE PUNCHES HIM, HE FALLS TO THE GROUND. BLANE PULLS A PISTOL. ONE OF THE THUGS NEXT TO BLANE PULLS A PISTOL, AND POINTS IT AT BLANE WHO BATS IT OUT OF THE WAY. THE GUN DISCHARGES. BLANE STEPS UP TO THE THUG AND HITS HIM IN THE HEAD WITH THE GUNBUT. THE THUG FALLS TO THE FLOOR.</scene_description> <character>BLANE</character> <parenthetical>(AS HE MOVES TOWARD THE GYMBAG)</parenthetical> <dialogue>You wanna play "O.K. Corral?" Is this the plan of the Day? You wanna go dress warmly, n'go play Outside? Go for it. Go for it, motherfucker: you know where I am, I'm right here...</dialogue> <character>(PAUSE)</character> <dialogue>BERGMAN</dialogue> <scene_description>Yeah. You're a pitbull.</scene_description> <character>(TO MOORE)</character> <dialogue>Your friend's a pitbull.</dialogue> <character>MOORE</character> <dialogue>What do you want, we're supposed to do, sit back, put our feet up while you fucken rob me?</dialogue> <character>BERGMAN</character> <dialogue>I'm in HOCK to my PEOPLE for the TOYS, all the TOYS YOU told me you need, do the Other thing...</dialogue> <character>MOORE</character> <dialogue>I got to go.</dialogue> <character>BERGMAN</character> <dialogue>While I what? Go WEE WEE all the way home to my ? Go WEE WEE all the way home to my Backers? You told me this:</dialogue> <scene_description>(HE HOLDS OUT HIS HANDS FOR A</scene_description> <character>LIST)</character> <dialogue>the Truck, two Trucks, the stuff the Train, the plans? ... you told me, "Go Out, Spend the Money," I did. Now:</dialogue> <character>MOORE</character> <dialogue>What do you want from me? They got my face on a Cereal box...</dialogue> <character>BERGMAN</character> <dialogue>I want you do do the Swiss job.</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>Gimme our cut, we worked for, my crew, we do the Swiss Job.</dialogue> <character>BERGMAN</character> <dialogue>Well, now, that's bullshit, Joe, you know that, you just tol me you're goin travelling-- I give you the Money now, and you're gone. You gone play me for some kind of sucker? The other job. It's set up.</dialogue> <character>BLANE</character> <dialogue>You trine to play us for, you over-the-hill, short-weight motherfucker...</dialogue> <scene_description>(TO MOORE) ...I don't think your friend likes me...</scene_description> <character>BLANE</character> <dialogue>Like you? I'd like you to spend the rest of your life with me... RIGHT NOW...</dialogue> <scene_description>(HE DRAWS A PISTOL AND POINTS IT</scene_description> <character>AT BERGMAN)</character> <dialogue>RIGHT NOW, MOTHERFUCKER. HERE YOU ARE: YOUR</dialogue> <dialogue>WEIGHT AND FATE. How 'bout that... how 'bout that...?</dialogue> <scene_description>SEVERAL OF THE THUGS DRAW THEIR WEAPONS.</scene_description> <character>BERGMAN</character> <dialogue>...alright... alright... let's just...</dialogue> <character>BLANE</character> <dialogue>How about that, n' we'll let someone else clean up...</dialogue> <scene_description>BLANE MOVES TOWARD THE GYMBAG.</scene_description> <character>BLANE</character> <dialogue>How about them rosy'red apples...?</dialogue> <character>MOORE</character> <dialogue>Bag's empty...</dialogue> <scene_description>(PAUSE) The bag's empty, Billy... (PAUSE) Put the bag down, it's empty... BLANE OPENS THE GYMBAG AND WE SEE THAT IT IS EMPTY--HE LOOKS TO MOORE FOR DIRECTIONS.</scene_description> <character>MOORE</character> <dialogue>Alright.</dialogue> <character>BLANE</character> <dialogue>What?</dialogue> <character>MOORE</character> <dialogue>I said alright.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BERGMAN</character> <dialogue>...you'll do the Swiss Job?</dialogue> <character>MOORE</character> <dialogue>No.</dialogue> <character>BERGMAN</character> <dialogue>Well, then, it's not alright. What are you telling me...?</dialogue> <character>MOORE</character> <dialogue>I'm telling you I'll think about it.</dialogue> <scene_description>(PAUSE) Lemme think about it. THE THUG STARTS TO RISE FROM THE FLOOR. BLANE ADDRESSES HIM.</scene_description> <character>BLANE</character> <dialogue>...don't get up.</dialogue> <character>BERGMAN</character> <dialogue>You think about it, Joe. I got your money sitting for you, right here. You do the job, and I swear to you...</dialogue> <scene_description>BLANE AND MOORE BACK OUT OF THE ROOM. INT BEDROOM NIGHT. MOORE AND FRAN, ON THE BED. WRAPPED IN A SHEET. MOORE IS STANDING AT THE WINDOW, WEARING PAJAMA BOTTOMS. ANGLE HIS POV. HIS SAILBOAT, IN THE MARINA BELOW. ANGLE, ON MOORE, AS HE TURNS BACK TO FRAN.</scene_description> <character>FRAN</character> <dialogue>...alright: what if we...</dialogue> <scene_description>MOORE HOLDS UP HIS HAND FOR HER TO BE QUIET. BEAT.</scene_description> <character>MOORE</character> <dialogue>I'm sorry...</dialogue> <character>FRAN</character> <dialogue>...what do you tell me? What is it you tell me?</dialogue> <character>MOORE</character> <dialogue>What is it I tell you?</dialogue> <character>FRAN</character> <dialogue>"Any situation, stand it on its head."</dialogue> <character>MOORE</character> <dialogue>Izzat right...</dialogue> <character>FRAN</character> <dialogue>So: stand it on its head.</dialogue> <scene_description>(PAUSE) What if we... MOORE INTERRUPTS.</scene_description> <character>MOORE</character> <dialogue>Sell the beat.</dialogue> <scene_description>(PAUSE) Call the guy, sell the boat. ANGLE ON FRAN AS SHE DIALS THE PHONE.</scene_description> <character>MOORE</character> <dialogue>You quote him our figure, sell it to him for cash.</dialogue> <character>FRAN</character> <dialogue>For cash?</dialogue> <character>MOORE</character> <dialogue>That's the sweetener.</dialogue> <character>FRAN</character> <dialogue>I don't get it.</dialogue> <character>MOORE</character> <dialogue>You say "cash," he knows we're hungry. He'll counter ten, twenny percent less, you kick around, and accept it.</dialogue> <character>FRAN</character> <dialogue>Where's he gonna get the cash at night?</dialogue> <character>MOORE</character> <dialogue>Let him get it tomorrow. You bring him the title for the boat.</dialogue> <character>FRAN</character> <dialogue>And you?</dialogue> <scene_description>(ON THE PHONE) Hello, Mr. Fletcher...? Could you, I'm looking for Mr. Robert Fletcher. (PAUSE) Would you tell him Fran, from Moore Marine. (SHE LOOKS AT MOORE)</scene_description> <character>MOORE</character> <dialogue>...I'll meet you in Mexico.</dialogue> <character>FRAN</character> <dialogue>How're you going to Mexico...?</dialogue> <scene_description>(PAUSES, AS IF AT THE OBVIOUS) ...I'm taking the boat. (BEAT) I'm not proud...</scene_description> <character>FRAN</character> <dialogue>F'you're taking the boat, Baby, take the boat tonight...</dialogue> <character>MOORE</character> <dialogue>I ain't going til I make sure we're goin get the money...</dialogue> <scene_description>FRAN GESTURES FOR HIM TO BE QUIET, AS THERE IS SOMEONE ONE THE LINE.</scene_description> <character>FRAN</character> <dialogue>Well, would you tell him...</dialogue> <character>MOORE</character> <dialogue>...I can't go down there with nothing...</dialogue> <character>FRAN</character> <dialogue>What're you gonna do about the Other Guys?</dialogue> <character>MOORE</character> <dialogue>We're gonna play some ringolevio. I'm gonna need your help--Look here:</dialogue> <scene_description>INT NYC DELICATESSEN DAY MIDTOWN BUSY DELI. PINCUS AND BLANE SEATED AT A BOOTH IN THE REAR OF THE DELI, DRINKING COFFEE.</scene_description> <character>PINCUS</character> <dialogue>You know, in many ways, it isn't their arrogance that hurts, it's the money.</dialogue> <character>BLANE</character> <dialogue>Yeah? What were you gonna do with the money?</dialogue> <character>PINCUS</character> <dialogue>I was gonna buy a scooter for my niece. You know, this's the goddamndest thing I ever saw: They got his face on tap, he's got to Steal Away like the Arabs.</dialogue> <character>BLANE</character> <dialogue>...with what?</dialogue> <character>PINCUS</character> <dialogue>Well, what about Times Two. If they stiffed him on Monday, what're they gonna do on Wednesday...</dialogue> <character>BLANE</character> <dialogue>Joe? He's got something in reserve.</dialogue> <scene_description>PINCUS SHRUGS, AS IF TO SAY "MAY IT BE SO."</scene_description> <character>BLANE</character> <dialogue>He's got something in the Hole. He wouldn't change his mind without a diversion.</dialogue> <character>PINCUS</character> <dialogue>...may it be so.</dialogue> <character>BLANE</character> <dialogue>...and a back-up plan...</dialogue> <scene_description>ANGLE, ON BELLA, WHO IS WALKING BACK THROUGH THE DELI, TOWARD THE BOOTH HOLDING PINCUS AND BLANE. BELLA STOPS, SHEILDED BEHIND SOME COATS. ANGLE HIS POV. THE OTHER TWO MEN IN THE BOOTH.</scene_description> <character>PINCUS</character> <dialogue>...b'cause, b'cause I've spent my cut, the last thing...</dialogue> <character>BLANE</character> <dialogue>...you hold tight with the Crew...</dialogue> <character>PINCUS</character> <dialogue>...I hold tight with the Crew, the Crew holds tight with me, is all I'm...</dialogue> <scene_description>BLANE PERCEIVES BELLA, AND PINCUS STOPS TALKING. BLANE LOOKS UP, ALL TURN. ANGLE, THEIR POV. BELLA, AT THE BOOTH.</scene_description> <character>BELLA</character> <dialogue>How're we all today?</dialogue> <character>BLANE</character> <dialogue>F'we got somewhere to go, let's go.</dialogue> <scene_description>ANGLE THE GROUP IN THE BOOTH RISES, BELLA MOTIONS THEM OUT OF THE FRONT OF THE STORE. ANGLE EXT 47TH STREET, DIAMOND DISTRICT, DAY. THE GROUP EMERGES FROM THE DELI.</scene_description> </scene> <scene> <stage_direction>ANGLE INT. A GOLD AND JEWELRY SHOWROOM.</stage_direction> <scene_description>BERGMAN BEHIND THE COUNTER, TALKING TO A MAN AT AN OPEN SAFE, THE MAN IS HANDLING SEVERAL GOLD COINS. ANGLE INS. BERGMAN'S HAND, HOLDING THE COINS. ANGLE BERGMAN, LOOKS UP. ANGLE HIS POV. ACROSS THE STREET, THE GROUP, AND BELLA, MOTIONING MOORE ACROSS THE STREET. ANGLE, EXT, THE GOLD AND JEWELRY SHOWROOM. BERGMAN COMES OUT, COMING ACROSS 47TH STREET. IN THE B.G. WE SEE A BUNCH OF SCANDINAVIAN LOOKING TOURIST, EACH WITH HIS MAP, CAMERA SLUNG AROUND THE NECK, ET CETERA, WALKING DOWN THE STREET. WE SEE BERGMAN, CROSSING THE STREET, LOOKING AROUND. ANGLE PINCUS, BELLA, AND BLANE, BLANE IS SCANNING THE STREET, HE TURNS BACK IN THE DIRECTION OF BERGMAN, AND NODS. ANGLE HIS POV BEHIND BERGMAN, ONE OF THE TOURISTS DETACHES HIMSELF FROM THE GROUP AND WALKS UP BEHIND BERGMAN. CAMERA TRACKS WITH THEM, AS MOORE (THE TOURIST) TAKES BERGMAN'S ARM, AND THEY WALK DOWN 47TH STREET. BEAT</scene_description> <character>MOORE</character> <dialogue>Alright.</dialogue> <character>BERGMAN</character> <dialogue>You'll do the job?</dialogue> <character>MOORE</character> <dialogue>That's right.</dialogue> <character>BERGMAN</character> <dialogue>I'm sorry I put you in a position.</dialogue> <character>MOORE</character> <dialogue>It's very sporting of you to say so.</dialogue> <character>BERGMAN</character> <dialogue>Well...</dialogue> <character>MOORE</character> <dialogue>I'm going to need some walking-around money.</dialogue> <scene_description>(BERGMAN NODS) And I'm going to need my men's share, on the last job.</scene_description> <character>BERGMAN</character> <dialogue>That's not unreasonable.</dialogue> <character>MOORE</character> <dialogue>Give it to me</dialogue> <character>(HE HOLDS OUT HIS HAND.)</character> <dialogue>BERGMAN</dialogue> <scene_description>...now?</scene_description> <character>MOORE</character> <dialogue>...you got it in your pocket.</dialogue> <scene_description>BERGMAN SIGHS, TAKES OUT AN ENVELOPE, AND SHOWS IT TO MOORE.</scene_description> <character>BERGMAN</character> <dialogue>...you're ahead of me every turn. How about that.</dialogue> <character>MOORE</character> <dialogue>...stunning.</dialogue> <character>BERGMAN</character> <dialogue>...the date holds, you got the shipment on the fourteenth.</dialogue> <character>MOORE</character> <dialogue>...how do I insure my cut?</dialogue> <character>BERGMAN</character> <dialogue>I swear to you...</dialogue> <character>MOORE</character> <dialogue>...you lost your amateur standing. Here's what the thing is: I go with the gold.</dialogue> <scene_description>(PAUSE) I go with the gold, or there's no deal. I take my half, you take your half on site, we're done. (PAUSE)</scene_description> <character>BERGMAN</character> <dialogue>...so be it.</dialogue> <character>MOORE</character> <dialogue>Now: what's your little surprise.</dialogue> <scene_description>ANGLE, OVER THEM, ONTO THE GROUP OUTSIDE THE DELI, AS WE SEE THAT THEIR WALK HAS TAKEN MOORE AND BERGMAN AROUND THE BLOCK. (MOTIONING AT BELLA AS THEY JOIN</scene_description> <character>THE OTHER GROUP)</character> <dialogue>...my boy goes on the job with you.</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>...he's got terrible manners.</dialogue> <character>BERGMAN</character> <dialogue>Nobody's perfect.</dialogue> <scene_description>(PAUSE) THE TWO HAVE WALKED UP TO PINCUS AND BLANE. (TO BERGMAN) Gettim over here... (BERGMAN MOTIONS TO BELLA) (PAUSE) ...I'm sorry for what I said.</scene_description> <character>BLANE</character> <dialogue>...what'd he say...?</dialogue> <scene_description>(PAUSE) I'm sorry for what I said. (PAUSE MOORE MOTIONS TO BLANE)</scene_description> <character>BLANE</character> <dialogue>Well, you were prolly just overcome by the heat of the moment. Is that the thing?</dialogue> <character>BELLA</character> <dialogue>...that's right.</dialogue> <character>MOORE</character> <dialogue>Okay, so You called us one, we called you one. The way you get along's you're gonna go along.</dialogue> <scene_description>(TO BERGMAN) Okay, we're done negotiating, gimme the money (BERGMAN HANDS HIM AN ENVELOPE) I'll see you on the fourteenth... MOORE AND BLANE START TO WALK AWAY.</scene_description> <character>BLANE</character> <dialogue>You going to take that lame onna job?</dialogue> <character>MOORE</character> <dialogue>I'll tell you what, you make the decisions, and I'll bitch at you. It's Fun to Play Pretend!</dialogue> <character>BLANE</character> <dialogue>You going to roll over for these guys, I got to walkaway... It's one thing, put your head in the Lion's Mouth. It's another thing, put your head in the Lion's Mouth and shoot yourself. I...</dialogue> <character>MOORE</character> <dialogue>You do whatever the fuck you have to do...</dialogue> <scene_description>MOORE STARTS TO WALKAWAY FROM THE GROUP, FOLLOWED BY BLANE.</scene_description> <character>MOORE</character> <dialogue>You want to show me another way?</dialogue> <scene_description>(OF BELLA, AS HE STOPS MOORE) ...why does he go with the gold?</scene_description> <character>BERGMAN</character> <dialogue>Y'ever split a piece of cake? One kid gets to cut the cake, the other gets to choose. We're gonna get the gold. Your guy gets to go, my guy gets to go.</dialogue> <character>(PAUSE)</character> <dialogue>MOORE</dialogue> <scene_description>Then we go together.</scene_description> <character>BERGMAN</character> <dialogue>You go with the gold. That's the deal.</dialogue> <scene_description>(PAUSE. BLANE AND MOORE START TO</scene_description> <character>WALKAWAY)</character> <dialogue>BLANE</dialogue> <scene_description>You're losing a step, Joey.</scene_description> <character>MOORE</character> <dialogue>Zat so?</dialogue> <character>BLANE</character> <dialogue>Time was, you wuun't of asked him.</dialogue> <character>MOORE</character> <dialogue>Yeah, well, the time was I was the Law West of the Pecos.</dialogue> <character>BLANE</character> <dialogue>And now...?</dialogue> <character>MOORE</character> <dialogue>And now the Time Was, I got to get out of Town.</dialogue> <scene_description>HE TURNS BACK, HANDS THE ENVELOPE TO PINCUS. (SOTTO, TO PINCUS) Okay it's on. (AS HE TAKES THE ENVELOPE) I'll take care of it. PINCUS TURNS BACK TO EXCHANGE A PRIVATE WORD WITH MOORE.</scene_description> <character>MOORE</character> <dialogue>You wanna wash any laundry out inna street...? ...you said you were gone take care of it, take care of it.</dialogue> <scene_description>(PAUSE, WHILE PINCUS HESITATES) ...are you in or out...? PINCUS EXCHANGES A LOOK WITH BLANE. SHRUGS, AND NODS AND WALKS OFF. MOORE, TO BLANE.</scene_description> <character>MOORE</character> <dialogue>Is he going soft on me...?</dialogue> <scene_description>(PAUSE) He'd never go soft on you, Joey...</scene_description> <character>MOORE</character> <dialogue>Well, then. What's the thing? Am I missing something...?</dialogue> <character>BLANE</character> <dialogue>He's just countin' the tricks, and the tricks don't add up. Tricks don't add up. These guys. You get the gold, they never let you walk away wi... why would you want to...</dialogue> <scene_description>(PAUSE.</scene_description> <character>BLANE</character> <dialogue>RECOGNITION LIGHTS UP BLANE'S</dialogue> <character>FACE)</character> <dialogue>We ain't doin the job. Izzat it? You're just going to take the up front money, walk away.</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>I got to Bobby...</dialogue> <character>BLANE</character> <dialogue>I know you do.</dialogue> <character>MOORE</character> <dialogue>Tick tock.</dialogue> <character>BLANE</character> <dialogue>No, I know.</dialogue> <character>MOORE</character> <dialogue>The cops got me on tape. I got to go...</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>But everybody gets his cut from the Jewelry store.</dialogue> <character>BLANE</character> <dialogue>Yeah, thanks, but after which, what're you going to live on?</dialogue> <character>MOORE</character> <dialogue>I'm trine a figure out a way, get somebody, throw me inna briar patch.</dialogue> <scene_description>MOORE TURNS BACK TO BELLA.</scene_description> <character>MOORE</character> <dialogue>Awright, you want to go to work...?</dialogue> <scene_description>BELLA WALKS UP TO THE GROUP. BLANE SEES SOMETHING OVER MOORE'S SHOULDER. ANGLE HIS POV. THE TWO POLICEMEN WE SAW EARLIER, WALKING THEIR BEAT, ONE LOOKS IN MOORE'S DIRECTION, AND DOES A DOUBLE TAKE, AND THEN KEEPS LOOKING AT MOORE. ANGLE ON MOORE AND BLANE, MOORE STARTS TO HALF-TURN, BLANE PUTS HIS ARM ON MOORE'S ELBOW, AND STARTS TO WALK HIM AWAY. (SOTTO) ...just keep walking... BLANE TURNS BACK, AND LOOKS AT PINCUS, WHO STANDS IN THE MIDDLE OF THE BLOCK, HE TUGS ON HIS EAR, AND INCLINES HIS HEAD SLIGHTLY TOWARD THE TWO POLICEMEN, ONE OF WHOM IS WALKING, TENTATIVELY, TOWARD MOORE. ANGLE, ON PINCUS, WHO IS TURNED AWAY. ANGLE ON BLANE, WHO IS STILL TRYING TO SIGNAL PINCUS. HE SHAKES HIS HEAD MINUTELY, AND TURNS BACK TO MOORE. (SOTTO) ...walk on... just walk on... ANGLE ON THE TWO POLICEMEN, WHO ARE WALKING TOWARD BLANE AND MOORE, WE SEE MOORE DETACH HIMSELF FROM BLANE, AND CONTINUE WALKING, TURNING THE CORNER. ANGLE ON BLANE, AS HE WALKS UP TOWARD A PASSERBY. HE TAKES A PIECE OF PAPER OUT OF HIS POCKET, AS IF LOOKING FOR DIRECTIONS.</scene_description> <character>BLANE</character> <dialogue>...excuse me... excuse me...</dialogue> <scene_description>THE PASSERBY IS CROSSING THE STREET, BLANE STEPS OUT INTO THE STREET. WE HEAR THE BLARING OF CAR HORNS, AND THE SQUEAL OF BRAKES. ANGLE ON BLANE, AS A CAR RUNS INTO HIM. BLANE HITS THE HOOD OF THE CAR. ANGLE ON HIS HAND, AS IT COMES DOWN, WITH A THUMP, ON THE HOOD OF THE CAR. HE ROLLS OFF THE HOOD, AND ONTO THE GROUND. ANGLE ON THE TWO POLICEMEN, TURNING TO THE SOUND OF THE ACCIDENT. IN THE B.G. WE SEE MOORE, TURNING THE CORNER. ANGLE ON BLANE, ON THE GROUND, HOLDING HIS LEG.</scene_description> <character>BLANE</character> <dialogue>...oh god... oh god...</dialogue> <scene_description>ANGLE ON THE CROWD OF ONLOOKERS, AS THE POLICEMEN KNEEL TO BLANE. BLANE STARTS TO HIS FEET. IN THE BACK OF THE CROWD WE SEE PINCUS, WHO LOOKS ON FOR A SECOND, AND THEN MELTS AWAY. ANGLE SIDEWALK, PASSERBY. MOORE WALKING IN THE STREET. PINCUS COMES UP BEHIND HIM. (SOTTO) ...he's okay.</scene_description> <character>MOORE</character> <dialogue>Yeah, well, you know, that was his road game.</dialogue> <character>PINCUS</character> <dialogue>He's too old for that.</dialogue> <character>MOORE</character> <parenthetical>(SHRUGS)</parenthetical> <dialogue>It's his job. Let's get to work.</dialogue> <scene_description>INT SMOKEY WORKINGMAN'S BAR NIGHT.</scene_description> <character>FRAN</character> <parenthetical>(IN BLUE JEANS, ON A PAYPHONE)</parenthetical> <dialogue>...an if, an if... well, why didn't you, no, wait a sec... wait a second, f'it's about your wife, F'It's about your wife, why din'tcha... no, wait a... will you WAIT, what I'm saying, if the whole thing is about your wife, you know what, you know what, the hell with it.</dialogue> <scene_description>SHE HANGS UP, SHE GOES TO THE BAR, TWO PACES AWAY, AND SITS NEXT TO A MIDDLEAGED WOMAN.</scene_description> <character>FRAN</character> <parenthetical>(TO BARTENDER)</parenthetical> <dialogue>Could I have another, please...?</dialogue> <character>BARTENDER</character> <dialogue>Hope you're not driving tonight.</dialogue> <character>FRAN</character> <dialogue>Well, I hope I am driving tonight, and I run into some fucked abutment IF THAT'S WHAT THEY'RE CALLED, and</dialogue> <character>(HE GIVES HER A DRINK)</character> <dialogue>Thank you...</dialogue> <character>(SHE DRINKS)</character> <dialogue>MIDDLE AGED WOMAN</dialogue> <scene_description>...take it easy, Baby... stuff'll eat your stomach lining...</scene_description> <character>FRAN</character> <dialogue>Yeah, but I get to drink it first...</dialogue> <character>(SHE SHAKES HER HEAD)</character> <dialogue>Can I ask you something...</dialogue> <scene_description>ANGLE. ON BELLA, SITTING IN THE BACK OF THE BAR, WATCHING FRAN. HE TAKES OUT A POLAROID CAMERA AND TAKES A PICTURE.</scene_description> <character>WAITRESS</character> <dialogue>(TO BELLA, AS SHE PUTS DOWN A</dialogue> <character>DRINK NEXT TO HIS EMPTY GLASS)</character> <dialogue>...see anything you like...?</dialogue> <scene_description>EXT RAILROAD OVERPASS. DAY. A STATIONWAGON, PARKED BY THE SIDE OF THE ROAD.</scene_description> </scene> <scene> <stage_direction>ANGLE INT. BELLA AND BLANE AND PINCUS, IN THE STATIONWAGON.</stage_direction> <scene_description>BLANE HOLDS A NOTEPAD, AND IS TALKING TO BELLA, WHO IS TAKING OUT A MOBILE PHONE.</scene_description> <character>BLANE</character> <character>OF THE WOMAN WE</character> <dialogue>(READING OFF THE</dialogue> <character>SAW IN THE BAR)</character> <dialogue>NOTEPAD)</dialogue> <scene_description>...what's the woman's name...?</scene_description> <character>BELLA</character> <dialogue>Croft. Betty Croft.</dialogue> <character>BLANE</character> <dialogue>...and she's on what shift...?</dialogue> <scene_description>ANGLE, ON PINCUS, AS HE DIALS HIS NUMBER, AND MOTIONS BLANE TO BE SILENT. HE LOOKS AT HIS WATCH.</scene_description> <character>BELLA</character> <parenthetical>(RECITING)</parenthetical> <dialogue>She's on the swingshift. She's got two kids. She's got an ulcer. Betty Croft...</dialogue> <character>(TO PHONE)</character> <dialogue>I got to report a Bomb throat, I got to report, you've got a bomb in...</dialogue> <scene_description>ANGLE UNDERNEATH THE OVERPASS. WE SEE THE HIGHWAY ABOUT, AND THE STATIONWAGON. MOORE, WEARING A HARDHAT, AND CARRYING A CLIPBOARD, IS PACING OFF THE TRACK. HE GLANCES AT HIS WATCH. NODS. KEEPS PACING. HE MAKES A NOTATION IN HIS CLIPBOARD. ANGLE MOORE, CLIMBING THE BANK, UP TO THE ROADGRADE, TOWARD THE STATIONWAGON. ANGLE, INT THE STATIONWAGON. BLANE AND BELLA.</scene_description> <character>BELLA</character> <dialogue>What's the story on your pal?</dialogue> <character>BLANE</character> <dialogue>He was born, he suffered, he died.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BELLA</character> <dialogue>How long's he been with the girl?</dialogue> <character>BLANE</character> <dialogue>What business is it of yours?</dialogue> <character>BELLA</character> <dialogue>How long's he been with her...?</dialogue> <character>PINCUS</character> <dialogue>How long is a chinaman's name.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BELLA</character> <dialogue>Can he do the thing?</dialogue> <character>BLANE</character> <dialogue>He was doing the thing before you were born.</dialogue> <character>BELLA</character> <dialogue>Well, you see, that's what, that's what troubles me.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BLANE</character> <dialogue>Maybe you wanna pray about it.</dialogue> <character>BELLA</character> <dialogue>No, I'm not a religious man.</dialogue> <character>BLANE</character> <dialogue>That's a shame. Who's got the Uniforms...?</dialogue> <character>PINCUS</character> <dialogue>...I got em...</dialogue> <character>BLANE</character> <dialogue>...the rental trucks...?</dialogue> <scene_description>MOORE WALKS UP TO THE CAR, AND HOLDS A CONFERENCE, LEANING IN THE WINDOW. HE STARTS TO SPEAK, AND A PLANE SCREAMS OVER, HE LOOKS UP AND PAUSES.</scene_description> <character>BLANE</character> <dialogue>Whaddaya got?</dialogue> <character>MOORE</character> <dialogue>I got to redo some of these figures.</dialogue> <character>BELLA</character> <dialogue>They worked out on the plan, why all a sudden now, you...</dialogue> <character>MOORE</character> <dialogue>Because, lemme explain it to you: because when it starts to go sour, someby's gonna be pissing their shit, look'n around, shoot someb'y inna head, I'd like to have an alternative idea, is the explanation.</dialogue> <scene_description>(PAUSE) TWO POLICE CRUISERS SCREAM BY, LIGHTS FLASHING. BLANE AND MOORE LOOK AT EACH OTHER AND NOD. MOORE MAKES A NOTE ON HIS CLIPBOARD.</scene_description> <character>MOORE</character> <dialogue>One minute twenty seconds...</dialogue> <character>BELLA</character> <dialogue>...why should it go sour?</dialogue> <scene_description>MOORE SHAKES HIS HEAD IN DISBELIEF.</scene_description> <character>BELLA</character> <dialogue>No, no. No. Teach me something: why should it go sour. Was that such a stupid...?</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>Y'ever cheat on a woman?</dialogue> <scene_description>(PAUSE) Your girl, something... (PAUSE) Stand her up?</scene_description> <character>BELLA</character> <dialogue>...what...?</dialogue> <character>MOORE</character> <dialogue>D'you ever do that?</dialogue> <character>BELLA</character> <dialogue>Yeah.</dialogue> <character>MOORE</character> <dialogue>When you called her up, d'you have an excuse?</dialogue> <character>BELLA</character> <dialogue>Yeah.</dialogue> <character>MOORE</character> <dialogue>What is she didn't ask? What was your alibi, a waste of time?</dialogue> <scene_description>BEAT. MOORE WALKS AWAY.</scene_description> <character>BELLA</character> <dialogue>What was that about?</dialogue> <character>BLANE</character> <dialogue>Well, you see, that's why he's running the crew, n'you're somebody's fucken nephew--</dialogue> <character>(PAUSE)</character> <dialogue>You don't do anything without: a diversion and a back-up plan. Wu'un that your question...?</dialogue> <scene_description>BELLA SHRUGS.</scene_description> <character>BLANE</character> <dialogue>Now: why'd you ask about his wife...?</dialogue> <scene_description>PAUSE. THERE IS THE SCREECH OF A TRAIN WHISTLE. IN THE B.G. WE SEE MOORE MAKE A NOTATION, AND WAVE TOWARD BLANE. IN THE STATIONWAGON BLANE MAKES A NOTE ON A CLIPBOARD, AND WAVES BACK. IN THE B.G. WE SEE MOORE BECKONING, AND BLANE GETS OUT OF THE CAR. ANGLE, EXT, THE OVERPASS. BLANE AND MOORE WALKING TOWARD EACH OTHER. MOORE LOOKS BACK TOWARD BELLA, IN THE CAR. AND LOOKS QUESTIONINGLY AT BLANE.</scene_description> <character>BLANE</character> <dialogue>Yeah, he's holding up. What're you...?</dialogue> <character>MOORE</character> <dialogue>I found a Hotwalker for him.</dialogue> <character>BLANE</character> <dialogue>...Fran...?</dialogue> <character>MOORE</character> <dialogue>Well, it could be...</dialogue> <character>BLANE</character> <dialogue>I don't mean to 'pry'</dialogue> <character>MOORE</character> <dialogue>...then don't pry.</dialogue> <character>(NODS, GESTURES TO THE CLIPBOARD)</character> <dialogue>I have to redo the figures on the train...</dialogue> <scene_description>THEN HE SEES SOMETHING OVER BLANE'S SHOULDER. ANGLE, HIS POV ANOTHER CRUISER, WHICH BRAKES, AND SLOWS DOWN, TO EYE THE STATIONWAGON. ANGLE ON BLANE AND MOORE</scene_description> <character>MOORE</character> <parenthetical>(TO HIMSELF. SOTTO)</parenthetical> <dialogue>Don't move the car... don't move the car...</dialogue> <character>BLANE</character> <dialogue>(WHO IS TURNED AWAY FROM THE</dialogue> <character>CRUISER)</character> <dialogue>...is he moving the car...?</dialogue> <scene_description>ANGLE ON THE STATIONWAGON, WITH BELLA PUTTING IT IN GEAR, AND MOVING IT TOWARD BLANE AND MOORE. WE SEE THE POLICE CRUISER TURN IN, TO CUT THE TWO MEN OFF FROM THE STATIONWAGON. ANGLE ON MOORE AND BLANE. AS BLANE OPENS HIS JACKET TO REVEAL A PISTOL IN HIS WAISTBAND. WE SEE MOORE SHAKE HIS HEAD MINUTELY. ANGLE. THE POLICE CRUISER, ROLLING UP BETWEEN THEM AND THE STATIONWAGON. A YOUNG TROOPER GETS OUT OF THE CAR. TROOPER WALKS TOWARD THEM UNBUTTONING THE SAFETY SNAP ON THE HOLSTER. HE LOOKS WARILY AT BELLA AND BLANE. ANGLE, TIGHT TWO ON MOORE AND BLANE. (TO HIMSELF) Oh, maaan... (SOTTO) Is he getting out of the car...? BLANE TURNS. ANGLE, HIS POV THE DRIVER'S DOOR OF THE STATIONWAGON OPENING. ANGLE BELLA GETTING OUT OF THE DRIVER'S DOOR. HE TAKES A PISTOL FROM THE SEAT BESIDE HIM. ANGLE BLANE AND MOORE. BLANE NODS TO HIM. MOORE SHAKES HIS HEAD IN DISGUST. HE REACHES INTO HIS PANTS POCKET AND EXTRACTS A MINI-AUTO PISTOL THE SIZE OF A HALF-A-DECK OF CARDS. ANGLE: INS: HE CYCLES THE ACTION, JACKING A SHELL INTO THE CHAMBER. HE PUSHES PAST BLANE. MOORE WALKS UP TO THE TROOPER, PUTTING THE HAND WITH THE MINI- PISTOL IN HIS POCKET.</scene_description> <character>MOORE</character> <dialogue>Hey: what the hell...? What the hell...? Scuse me, scuse me, officer, we were sposed to have a detail, doing security for us...</dialogue> <scene_description>BLANE TAKES HIM BY THE ARM.</scene_description> <character>BLANE</character> <dialogue>...Bobby...?</dialogue> <scene_description>(MOORE PULLS AWAY) No, it's no big deal, but we're standing out here...</scene_description> <character>TROOPER</character> <dialogue>...who did you...?</dialogue> <scene_description>(PULLING MOORE AWAY) Forget about...</scene_description> <character>MOORE</character> <dialogue>No, it burns my butt... we're out there, we're out there, side-of-the-road, workin' on the highway, for...</dialogue> <scene_description>(TO THE TROOPER) I know it's not you, I'm sorry, I know it's not you, but...</scene_description> <character>TROOPER</character> <dialogue>...who did you...?</dialogue> <character>BLANE</character> <dialogue>...our boss talked to...</dialogue> <character>MOORE</character> <dialogue>If this was the first time...</dialogue> <character>BLANE</character> <dialogue>Hey, forget about it, we'll sort it out back at the office...</dialogue> <scene_description>BLANE AND MOORE WALK AWAY FROM THE TROOPER. (SOTTO) (TO MOORE) ...He ain't sure yet... (MOORE WALKS BACK TO THE TROOPER.) HE CONTINUES WALKING MOORE BACK TOWARD THE STATIONWAGON. (TO THE TROOPER) I'm sorry, I know it's not you, but...</scene_description> <character>TROOPER</character> <dialogue>Hey, nothing to it. If...</dialogue> <character>MOORE</character> <dialogue>But it's not the first time... we're sposed to have police pro...</dialogue> <character>BLANE</character> <dialogue>We'll call from the office.</dialogue> <scene_description>(TO TROOPER) He didn't mean any offense... He didn't mean any offense. (TO MOORE, AS HE WALKS AWAY) ...the man's only doing his job... MOORE BRUSHES BLANE'S ARM OFF. BLANE WALKS AHEAD OF MOORE, GETS INTO THE DRIVER'S SEAT. BLANE LOOKS IN THE REARVIEW MIRROR. ANGLE HIS POV. MOORE WALKS AWAY, AND THEN, BACK TO THE TROOPER. ANGLE ON PINCUS AND BELLA IN THE CAR WE SEE BELLA LOOKING IN THE REARVIEW MIRROR. HE STARTS TO REACH INSIDE HIS JACKET, AND EXTRACT A PISTOL. PINCUS PUTS HIS HAND ON BELLA'S ARM.</scene_description> <character>PINCUS</character> <dialogue>...keep it together... keep it together...</dialogue> <character>BELLA</character> <dialogue>...can he cool the guy out...</dialogue> <character>PINCUS</character> <dialogue>Just pick up your clipboard, and make like you're writing in it.</dialogue> <character>BELLA</character> <dialogue>Izzit gonna be cool...?</dialogue> <character>PINCUS</character> <dialogue>...my motherfucker is so cool, when he goes to bed, sheep count him...</dialogue> <scene_description>ANGLE EXT THE CAR. ON MOORE AND THE TROOPER AS BLANE GETS INTO THE CAR. AS MOORE, OBVIOUSLY APOLOGIZING, SHAKES HANDS WITH THE TROOPER, AND THEN STARTS TO WALK AWAY. CAMERA TRACKS WITH MOORE, AS HE TAKES OUT A PACK OF CIGARETTES AND A MATCH. ANGLE, INS. ON HIS HANDS, AS THEY SHAKE SO BADLY HE CAN HARDLY LIGHT THE CIGARETTE.</scene_description> </scene> <scene> <stage_direction>ANGLE, INT. THE CAR. AS MOORE GETS INTO THE BACKSEAT.</stage_direction> <character>MOORE</character> <dialogue>I'm trina... I'm trina...</dialogue> <scene_description>(TO BELLA) You fucken lame, you want to leave me dead, th'whole crew, the side of the highway?</scene_description> <character>BELLA</character> <dialogue>I...</dialogue> <character>MOORE</character> <dialogue>You fucken cowboy, I oughta</dialogue> <scene_description>(TO MOORE) Tell me why I don't leave him out inna ditch somewh... (TO PINCUS) Get us the fuck outtahere. PINCUS MOVES BEHIND THE WHEEL, AND THE CAR BEGINS TO DRIVE OFF. (SHRUGS SHOULDERS) Hey, I vote we do...</scene_description> <character>MOORE</character> <dialogue>...put you down like the fucken dog you are... you gonna come, shoot your way to stardom? Don't do any...</dialogue> <character>BELLA</character> <dialogue>...I only</dialogue> <character>MOORE</character> <dialogue>I don't want you to do anything unless and until... we hit the City, ditch the car.</dialogue> <character>BELLA</character> <dialogue>...I'll...</dialogue> <character>MOORE</character> <dialogue>You do it, you do it.</dialogue> <scene_description>(PAUSE) You do it, Pinky... HE WIPES HIS HAND OVER HIS MOUSTACHE. TAKES OFF HIS HARDHAT, AND WIPES THE SWEAT FROM HIS BROW. INT BOAT REPAIR SHOP NIGHT A SPRAY OF SPARKS FROM A WELDING UNIT. ANGLE ON MOORE, AS HE PUTS UP THE SHIELD ON A WELDER'S MASK, WIPES HIS BROW, PUTS THE SHIELD DOWN AGAIN, AND CONTINUES CUTTING WITH AN ACETYLENE TORCH ON A LARGE, INDUSTRIAL AIR-CONDITIONING UNIT. ANGLE IN THE B.G. A RYDER RENTAL TRUCK. ANGLE. ON PINCUS AND BLANE, AS A LONG ASSEMBLY TABLE. BLANE HOLDS A LEGAL PAD, AND IS MAKING NOTATIONS ON IT. HE SPEAKS TO PINCUS, AS CAMERA PANS OVER THE TABLE, HOLDING ON BLANE'S HANDS AS HE CHECKS THE VARIOUS PROPS. WE SEE: A SECURITY GUARD'S UNIFORM. A LEATHER BADGECASE, HOLDING A GOLD BADGE, SEVERAL SMALL METAL CANNISTERS, A TOOLKIT, A UTILITY BELT HOLDING TOOLS. SEVERAL WALKIE TALKIES. PINCUS AND BLANE CONVERSE, V.O.</scene_description> <character>PINCUS</character> <dialogue>The thing of it is, the thing of it is, it's a question of redistribution...</dialogue> <character>BLANE</character> <dialogue>How's that?</dialogue> <character>PINCUS</character> <dialogue>The question: how do we get the money from there to here... it's just a question in logistics.</dialogue> <character>BLANE</character> <dialogue>"What is the robbing of a bank, compared with the founding of a bank?"</dialogue> <character>PINCUS</character> <dialogue>Who said that?</dialogue> <character>BLANE</character> <dialogue>Anybody ever applied for a loan.</dialogue> <scene_description>ANGLE ON THE TWO, AS BLANE HANDS THE CLIPBOARD TO PINCUS.</scene_description> <character>PINCUS</character> <dialogue>...load it up?</dialogue> <scene_description>BLANE NODS. THEY BEGIN HAULING THESE PROPS AND SUPPLIES INTO THE TRUCK, AND LOADING THEM INTO THE "FALSE" (HOLLOW) ENGINE. BLANE LOOKS OUT OF THE BACK OF THE TRUCK. ANGLE, HIS POV. A CAR PULLS UP OUTSIDE THE SHED. BELLA GETS OUT. ANGLE ON BELLA, AS HE WALKS INTO THE SHED. HE TAKES OUT AN ENVELOPE. ANGLE, ON BLANE, WHO OPENS THE ENVELOPE. TO REVEAL CASH INSIDE.</scene_description> <character>BELLA</character> <dialogue>...expenses for the truck, and...</dialogue> <character>BLANE</character> <dialogue>Yeah, I got it. I got it. Okay.</dialogue> <scene_description>BELLA WALKS OFF, AS FRAN ENTERS FROM THE "LIVING" AREA OF THE BOATSHED, HOLDING TWO CUPS OF COFFEE. FRAN STARTS TO OPEN HER MOUTH, SMILING, AS HE STARTS TO PUT DOWN THE CUP OF COFFEE, MOORE GIVES HER AN INFINITESSIMAL SHAKE OF HER HEAD. AND MOTIONS TOWARD BELLA. FRAN NODS IN AGREEMENT, AND, NOT BREAKING HER STRIDE, WALKS TOWARD BELLA. (TO FRAN) Well, then...</scene_description> <character>FRAN</character> <dialogue>...that's right.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BELLA</character> <dialogue>...long time.</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>...that's right.</dialogue> <scene_description>ANGLE ON MOORE, LOOKING AT THEM. ANGLE, HIS POV: BELLA AND FRAN, IN THE B.G., BELLA CHATTING FRAN UP. ANGLE ON BLANE AS HE WALKS OVER TO MOORE, AT THE WELDING STATION. HE HANDS MOORE THE ENVELOPE.</scene_description> <character>BLANE</character> <dialogue>The plan gonna work?</dialogue> <character>MOORE</character> <dialogue>It's gonna work if we make it work. How's Fran doing?</dialogue> <character>BLANE</character> <dialogue>Looks like he maybe wantsa take her to the Prom.</dialogue> <scene_description>MOORE SMILES, AND NODS.</scene_description> <character>MOORE</character> <dialogue>Well, it's always the pretty girl stays home, innit?</dialogue> <character>BLANE</character> <dialogue>Izzat what they said in the White Community...?</dialogue> <character>MOORE</character> <dialogue>That's what I hear.</dialogue> <character>BLANE</character> <dialogue>And I hear, if you get a goose, it keeps the fox off the chickens.</dialogue> <scene_description>(LOOKS AT FRAN AND BELLA) What does that lady see in you, by the way?</scene_description> <character>MOORE</character> <dialogue>I'm very resilient.</dialogue> <character>BLANE</character> <dialogue>Yeah, so's Gumby.</dialogue> <character>MOORE</character> <dialogue>I got a more striking profile.</dialogue> <scene_description>PINCUS WALKS UP. HE AND BLANE WALK ACROSS THE SHOP FLOOR, BLANE LIMPS SLIGHTLY.</scene_description> <character>BLANE</character> <dialogue>They're gonna leave that on the cutting room floor, Buenos Aires.</dialogue> <character>MOORE</character> <dialogue>I never liked the way I looked anyway...</dialogue> <scene_description>(AS HE LOOKS OVER HIS SHOULDER AT</scene_description> <character>FRAN AND BELLA, SOTTO)</character> <dialogue>...seems to be coming along nicely.</dialogue> <scene_description>(SOTTO) My boy there, like to Fertilize the Flowers.</scene_description> <character>PINCUS</character> <dialogue>...how's your leg?</dialogue> <character>BLANE</character> <dialogue>You should see the other guy...</dialogue> <scene_description>(TO MOORE) ...when we do the switch, the Highway... MOORE SHAKES HIS HEAD, INDICATING BELLA.</scene_description> <character>PINCUS</character> <dialogue>...he can't hear...</dialogue> <character>MOORE</character> <dialogue>...he can't hear what you don't say...</dialogue> <character>PINCUS</character> <dialogue>I'm gonna be as quier as an ant pissing on cotton.</dialogue> <scene_description>MOORE FIRES UP THE TORCH, AND BEGINS CUTTING AGAIN. ANGLE, IN THE B.G. FRAN AND BELLA. BLANE WALKS PINCUS AWAY FROM MOORE. (SOTTO) Don't think it, Baby. Don't think it: Don't be as quiet as an ant pissing on cotton, don't be quiet as an ant thinking about pissing on cotton. You be quiet as an ant not even thinking about pissing on cotton. THEIR WALK TAKES THEM TO BELLA AND FRAN. FRAN IS LAUGHING.</scene_description> <character>FRAN</character> <dialogue>...our friend was telling me "What Made Him a Criminal..."</dialogue> <character>BLANE</character> <dialogue>I'll get the beer and pretzels.</dialogue> <character>BELLA</character> <dialogue>...what made you a criminal?</dialogue> <character>BLANE</character> <dialogue>Nobody made me a criminal. I am a Criminal.</dialogue> <scene_description>MOORE WALKS OVER.</scene_description> <character>MOORE</character> <dialogue>How we doing?</dialogue> <scene_description>HE GATHERS THEM AROUND A TABLE.</scene_description> <character>BLANE</character> <dialogue>How you doing?</dialogue> <character>MOORE</character> <dialogue>I'm done.</dialogue> <character>(PAUSE)</character> <dialogue>Well, that's it them.</dialogue> <scene_description>MOORE GETS UP, CAMERA TAKES HIM TO THE RYDER TRUCK. HE OPENS THE BACK, AND WE SEE HIM OPEN WHAT APPEARS TO BE THE SOLID MOTOR, WHICH IS REVEALED TO BE HINGED AND HOLLOW. BLANE FOLLOWS HIM, AND HANDS HIM SEVERAL FIREARMS, WHICH HE SECRETS IN THE HOLLOW SPACE.</scene_description> <character>MOORE</character> <dialogue>You got the detonators?</dialogue> <scene_description>BELLA HOLDS UP SEVERAL PUTTY COLORED PACKAGES OF PLASTIQUE, WHICH HE TAKES OFF OF THE TABLE, BEARING THE PROPS.</scene_description> <character>BELLA</character> <dialogue>...din we check'em?</dialogue> <character>MOORE</character> <dialogue>I know we checked'em. What I'm doing, I'm. I'm asking you a question.</dialogue> <character>BELLA</character> <dialogue>What happened to Check It an Forget it?</dialogue> <character>MOORE</character> <dialogue>Yeah, well, I went to the Other camp, which is Fuss it to Death, and Fuck it into a Cocked Hat, or do you want to run the show...?</dialogue> <scene_description>PAUSE. THEY EXCHANGE A LOOK. BELLA WALKS AWAY SHAKING HIS HEAD.</scene_description> <character>BLANE</character> <dialogue>Then we ready to Go Do it?</dialogue> <character>PINCUS</character> <dialogue>I'm ready to go do it, you know why? I never liked the Swiss in any case. You know why? They make those little clocks, two cocksuckers come out of them, little hammers, hit each other on the head.</dialogue> <character>(PAUSE)</character> <dialogue>What kind of sick mentality is that?</dialogue> <scene_description>ANGLE, ON BLANE AND BELLA, AS BELLA LOOKS OVER AT MOORE. ANGLE. ON BELLA, AS HE WALKS OVER TO FRAN. THEY BOTH LOOK BACK AT MOORE, WHO IS LOADING UP THE TRUCK.</scene_description> <character>BELLA</character> <dialogue>Z'he gonna hold up?</dialogue> <character>FRAN</character> <dialogue>Why would you put a man in a position, he's got no way out?</dialogue> <character>BELLA</character> <dialogue>What is that, your philosophy?</dialogue> <character>FRAN</character> <dialogue>That's right.</dialogue> <character>BELLA</character> <dialogue>...what is it to you?</dialogue> <character>FRAN</character> <dialogue>...he's my Husband.</dialogue> <character>BELLA</character> <dialogue>Whose fault is that, you wanna think about it? Listen:...</dialogue> <character>MOORE</character> <parenthetical>(IN THE B.G.)</parenthetical> <scene_description>ANGLE, ON BELLA, AS HE TURNS.</scene_description> <character>BELLA</character> <dialogue>...you gonna make an Impassioned Speech?</dialogue> <character>MOORE</character> <dialogue>Yeah: Let's go get the money.</dialogue> <scene_description>(TO BELLA AND PINCUS) You clean the place down, n'y'thing'll burn, burn it..., nobody's coming back here, nothing that we need, don't leave it f'somebody else. PINCUS LIGHTS A FIRE IN A 55 GALLON DRUM. ANGLE, ON MOORE, AS HE WALKS TO THE FRONT OF THE SHED, AND LOOKS OUT AT HIS BOAT. FRAN COMES UP BEHIND HIM.</scene_description> <character>FRAN</character> <dialogue>Z'it gonna work?</dialogue> <character>MOORE</character> <dialogue>It's either gonna be a monumental heist, or a real amusing anecdote.</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>...I love you, Joe...</dialogue> <character>MOORE</character> <dialogue>Why?</dialogue> <character>FRAN</character> <dialogue>You know why? Because you're thorough.</dialogue> <character>MOORE</character> <dialogue>I hope to tell you...</dialogue> <scene_description>SHE TURNS TO WALK BACK INTO THE SHED. HE TURNS TO LOOK AT HER. IN THE B.G. WE SEE PINCUS FEEDING PAPERS INTO THE FLAMES. ANGLE. EXT THE BOATSHED, ON THE GROUP, BLANE MOORE, PINCUS AND BELLA, AS THEY WALK TOWARD THEIR CARS. PINCUS IS ON THE PHONE IN THE B.G. (ON A CELLPHONE) MOORE STOPS TO LOOK AT HIS BOAT.</scene_description> <character>BELLA</character> <dialogue>You gonna miss it?</dialogue> <character>MOORE</character> <dialogue>What?</dialogue> <character>BELLA</character> <dialogue>Your boat?</dialogue> <character>MOORE</character> <dialogue>Well, it's a nice boat.</dialogue> <character>BELLA</character> <dialogue>Hey, baby, after this job, you're gone have enough money, make this look like a Boat inna Bathtub.</dialogue> <character>MOORE</character> <dialogue>That's right.</dialogue> <scene_description>PINCUS GOES TOWARD MOORE EXCITEDLY.</scene_description> <character>MOORE</character> <dialogue>...what is it?</dialogue> <character>PINCUS</character> <dialogue>...they found the car.</dialogue> <character>MOORE</character> <dialogue>...what car?</dialogue> <scene_description>PINCUS ...the car we used at the Overpass. The cops found it, I heard it on the police band. MOORE ...they found it, how'd they find it? I tole you to it? I tole you to ditch it in...</scene_description> <character>PINCUS</character> <dialogue>I, I. I stopped off to see my niece, I...</dialogue> <scene_description>MOORE Did you wipe it down...? BLANE You sonofabitch, what do you mean, you stopped off to see your... MOORE Did you wipe it down...? BELLA ...what does this do to the Job...? BLANE Man, you din't wipe it down, they're gonna be on you, they're gonna be on all of us... BELLA ...what about the Job...? MOORE The job stands... PINCUS ...I'm sorry, Joe. MOORE Shut up. The job stands.</scene_description> <character>(HE LOOKS AROUND)</character> <dialogue>This joint is burnt.</dialogue> <scene_description>BLANE</scene_description> <character>(TO BELLA)</character> <dialogue>Come with me...</dialogue> <scene_description>MOORE Meet at the Overpass.</scene_description> <character>BELLA</character> <dialogue>...the job stands...?</dialogue> <character>MOORE</character> <dialogue>The meet at the overpass. The 14th...</dialogue> <character>PINCUS</character> <dialogue>Joe. Joey, I...</dialogue> <character>MOORE</character> <dialogue>Get him out of here.</dialogue> <character>PINCUS</character> <dialogue>...I don't see how they could of found the car...</dialogue> <scene_description>BLANE STARTS MOVING BELLA OVER TO A CAR.</scene_description> <character>BELLA</character> <parenthetical>(AS HE GETS INTO A CAR)</parenthetical> <dialogue>You go on...</dialogue> <scene_description>WE SEE BELLA AND BLANE, IN TWO SEPARATE CARS, BEGIN TO DRIVE OFF. WE SEE MOORE, IN FOREGROUND, BEGIN TO WALK BACK TOWARD THE BOATSHED, AND PINCUS, IMPLORING, HANGING ON HIS ARM. ANGLE, TIGHT ON PINCUS AND MOORE.</scene_description> <character>PINCUS</character> <dialogue>Joe. Joe, I swear to God. I swear to God, I... are they gone...?</dialogue> <character>MOORE</character> <parenthetical>(LOOKS OVER PINCUS SHOULDER)</parenthetical> <dialogue>They're gone.</dialogue> <character>PINCUS</character> <dialogue>Well, then, you get gone, too.</dialogue> <character>MOORE</character> <dialogue>...that's right.</dialogue> <scene_description>BEAT. THEY EMBRACE. MOORE TAKES OUT THE MONEY ENVELOPE.</scene_description> <character>PINCUS</character> <dialogue>You take care, Pally.</dialogue> <scene_description>MOORE You get his cut to Bobby...? PINCUS You gonna be Okay?</scene_description> <character>MOORE</character> <dialogue>I'm okay now.</dialogue> <scene_description>PINCUS</scene_description> <character>(OF THE ENVELOPE)</character> <dialogue>Yeah? What do you do for cash?</dialogue> <scene_description>MOORE ...we're taking down the Boat guy. PINCUS You're taking down the boat guy...</scene_description> <character>MOORE</character> <dialogue>That's right.</dialogue> <scene_description>PINCUS That's your case money... MOORE It's enough, get us away... PINCUS And then Aloha.</scene_description> <character>MOORE</character> <dialogue>That's right.</dialogue> <scene_description>PINCUS S'a shame, you know what, we din't get a chance, actually do the thing. The Swiss job. At's a beautiful plan. MOORE So was World War One. PINCUS ...no, it's a beautiful plan, Joe. You're the maestro.</scene_description> <character>MOORE</character> <dialogue>Yeah, well, it's all in a lifetime...</dialogue> <character>PINCUS</character> <dialogue>Izzat so?</dialogue> <character>MOORE</character> <dialogue>That's what they tell me.</dialogue> <scene_description>(PAUSE)</scene_description> <character>PINCUS</character> <dialogue>See you, Joe.</dialogue> <character>MOORE</character> <dialogue>I'll send you a Papaya.</dialogue> <character>PINCUS</character> <dialogue>They're good for digestion.</dialogue> <character>MOORE</character> <dialogue>Say good-bye to your niece.</dialogue> <scene_description>PINCUS PINCHES MOORE ON THE CHEEK. THEY EMBRACE.</scene_description> <character>PINCUS</character> <dialogue>Joe, you're the motengator.</dialogue> <character>MOORE</character> <dialogue>Cute, huh?</dialogue> <character>PINCUS</character> <dialogue>...cute as a pail full of kittens...</dialogue> <scene_description>PINCUS GETS INTO HIS CAR. MOORE CHECKS HIS WATCH, AND GETS INTO HIS CAR. CAMERA FOLLOWS MOORE ONTO HIS BOAT, WHERE WE SEE HIM BEGIN CASTING OFF LINES. INT THE BOAT'S CABIN WE HEAR A THUMP. ON THE DECK. MOORE LOOKS UP. CAMERA TAKES MOORE UP ONTO THE DECK, WHERE FRAN HAS PLACED A LARGE SUITCASE. MOORE TAKES IT DOWN INTO THE CABIN. FRAN FOLLOWS.</scene_description> <character>MOORE</character> <dialogue>I would of done that.</dialogue> <character>FRAN</character> <dialogue>No, I'm the Frontier Wife.</dialogue> <character>MOORE</character> <dialogue>...that's right...</dialogue> <character>FRAN</character> <dialogue>You ready to go?</dialogue> <character>MOORE</character> <dialogue>Soon as we get the money. Call the guy. Get us the money...</dialogue> <scene_description>FRAN TAKES OUT A CELL PHONE. MOORE SHAKES HIS HEAD.</scene_description> <character>MOORE</character> <dialogue>Landline.</dialogue> <scene_description>HE COMES UP ON THE DECK. ANGLE MOORE AND FRAN, ON THE DECK, WALKING TOWARD THE MARINA.</scene_description> <character>FRAN</character> <dialogue>You'll miss the guys.</dialogue> <character>MOORE</character> <dialogue>Buncha Old Men, talkin' about Old Touches...</dialogue> <character>FRAN</character> <dialogue>...that's right...</dialogue> <character>MOORE</character> <dialogue>Cuttin up Old Touches, th'time So and So overslept. You know what...?</dialogue> <character>FRAN</character> <dialogue>No, but you do.</dialogue> <character>MOORE</character> <dialogue>Then I'll tell you what, is pee ess, if my name's on the thing, then whose fault is it in the First Place, we're having, fight our way Back to Even.</dialogue> <character>FRAN</character> <dialogue>Well. You've been kicking yourself some...</dialogue> <character>MOORE</character> <dialogue>...that's right.</dialogue> <scene_description>CAMERA TAKES THEM UP INTO THE LIVING QUARTERS. MOORE GOES THROUGH THE DRAWER OF A DESK. AS FRAN PICKS UP A PHONE AND DIALS.</scene_description> <character>MOORE</character> <dialogue>In a contest of Cunning, a Stupid Person will get the better of a Smart one Every Time... Who said that...?</dialogue> <character>FRAN</character> <dialogue>You did, Baby...</dialogue> <character>MOORE</character> <dialogue>Well. Help me remember it, huh...?</dialogue> <character>FRAN</character> <dialogue>...that's right...</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>You know, we're goin' down there with nothing...</dialogue> <character>FRAN</character> <dialogue>We'll get the boat money...</dialogue> <character>MOORE</character> <dialogue>...yeah?</dialogue> <character>FRAN</character> <dialogue>That's enough to start over.</dialogue> <character>MOORE</character> <dialogue>Is it enough for you...?</dialogue> <character>FRAN</character> <dialogue>The Lord hates a coward...</dialogue> <scene_description>(SHE REACTS TO THE TELEPHONE) (TO PHONE) Mr. Mr. Fletcher -- Mr. Robert Fletcher... Well, do you... he asked me to call him back at... Thank you... (TO MOORE) How you doing?</scene_description> <character>MOORE</character> <dialogue>I'm about ready to go South.</dialogue> <character>FRAN</character> <dialogue>South we go, Baby.</dialogue> <character>MOORE</character> <dialogue>...that's right.</dialogue> <scene_description>(LOOKING AROUND) You set to walk away from it?</scene_description> <character>MOORE</character> <dialogue>Hey, I got you, what do I care...?</dialogue> <scene_description>(ON PHONE) Hello Mr... (SOTTO) Smile at the man, tell im cash, I'm coming to get the money. Right now... find out where he... (FRAN NODS)</scene_description> <character>FRAN</character> <dialogue>Hello, Mr. Fletcher, I... This is Fran, from... Yes, I'm sorry to... you gave me this number. On your ccc... Yes, I'm... Well, no, yes, I'll be glad to call back Monday, but we aren't going to have a boat... but we, we just had a situation where, if, No, I realize that, Sir, I don't want to keep you from your pl... I'm calling, because you told me that... Well, it could wait till Monday, but we have another buyer interested in the bbb...</dialogue> <scene_description>ANGLE, ON MOORE, NODDING HIS ENCOURAGEMENT TO HIM.</scene_description> <character>FRAN</character> <dialogue>I'm calling to say that if, if you want to make a cash, an immediate cash deal, at the figure which... Well, thank you, sir, that is exactly my attitude.</dialogue> <scene_description>SHE SMILES AND NODS AT MOORE, HE SMILES BACK.</scene_description> <character>FRAN</character> <dialogue>Superior... Well:</dialogue> <scene_description>SHE LOOKS TO MOORE FOR DIRECTION.</scene_description> <character>MOORE</character> <parenthetical>(SOTTO)</parenthetical> <dialogue>Tell him what he needs to hear.</dialogue> <scene_description>SHE OFFERS THE PHONE TO MOORE, WHO SHAKES HIS HEAD "NO."</scene_description> <character>FRAN</character> <parenthetical>(TO PHONE)</parenthetical> <dialogue>Could, you, could you, hold...</dialogue> <scene_description>SHE COVERS THE MOUTHPIECE.</scene_description> <character>MOORE</character> <dialogue>Flirt with the guy.</dialogue> <character>FRAN</character> <dialogue>(COVERING THE MOUTHPIECE, TO</dialogue> <character>MOORE)</character> <dialogue>No problem. Can we meet him at His Bank.</dialogue> <character>MOORE</character> <dialogue>Superior. You get the address. When?</dialogue> <character>FRAN</character> <parenthetical>(TO MOORE)</parenthetical> <dialogue>I caught him going out of town, he... he wants to meet next...</dialogue> <character>MOORE</character> <dialogue>Right now. Right now, tell him we got another buyer, we...</dialogue> <scene_description>ANGLE. SHE LOOKS OVER MOORE'S SHOULDER. ANGLE XCU FRAN LOOKING FRIGHTENED. ANGLE HER POV OVER MOORE, HE SEES SOMETHING OVER HER SHOULDER. MOTIONS HER TO KEEP TALKING. ANGLE MOORE POV. OVER HER SHOULDER, THROUGH A PLATEGLASS WINDOW, INTO THE SHED, INTO THE DARK MACHINESHOP/FOUNDRY AREA OF THE BOATYARD. A DARK FORM, A MAN MOVING. ANGLE ON FRAN, AS SHE BEGINS TO LOWER THE PHONE, AS SHE LOOKS AT MOORE. ANGLE, ON MOORE, AS HE LEAVES THE BEDROOM AREA THROUGH A BACKDOOR. ANGLE FRAN, ON THE PHONE.</scene_description> <character>FRAN</character> <dialogue>...hello... hello...?</dialogue> <scene_description>ANGLE ON MOORE, GOING OUT THE BACK DOOR, GESTURING HER TO MOVE AWAY FROM THE WINDOW. ANGLE, ON FRAN, AS SHE CONTINUES TALKING, MOVING OUT OF THE SHOT. ANGLE ON THE PHONE CORD JACK, IN THE WALL, AS IT PULLS OUT OF THE WALL. ANGLE ON MOORE CLIMBING DOWN AN IMPROVISED STAIRWAY-LADDER, TO THE LEVEL OF THE BOATYARD, IN THE B.G., WE SEE FRAN, STILL TALKING ON THE PHONE, MOVING OUT OF THE WINDOW. ANGLE MOORE, MOVING THROUGH THE MACHINESHOP AREA, PAST SEVERAL MOTORS AND MARINE TRANSMISSIONS, HUNG FROM THE CEILING ON HOISTS. ANGLE THE FORM OF THE MAN, SILHOUETTED IN THE LIGHT FROM THE OPEN SHED DOOR, LEADING TO THE MARINA. ANGLE, ON MOORE COMING UP BEHIND THE MAN, MOORE LOOKS OUT OF THE SHED, CHECKING FOR THE PRESENCE OF OTHERS. HE TURNS BACK, AND COMES UP BEHIND THE MAN IN THE SHADOWS.</scene_description> <character>MOORE</character> <dialogue>...would you move into the light...? No, don't turn around. Just move into the light...</dialogue> <scene_description>ANGLE FROM THE FRONT, THE MAN MOVES FORWARD, AND WE SEE IT IS BELLA, THE YOUNG MAN FROM BERGMAN'S OFFICE. ANGLE FROM THE REAR, WE SEE BELLA WALK FORWARD TO A GLASSED OFFICE AREA. WE SEE HIS REFLECTION, AND, BEHIND IT, MOORE'S REFLECTION. WE SEE MOORE STICK A PISTOL BACK INTO THE WAISTBAND OF HIS PANTS.</scene_description> <character>MOORE</character> <dialogue>What do you want?</dialogue> <character>(PAUSE)</character> <dialogue>What're you, the Social Service Lady?</dialogue> <character>(PAUSE)</character> <scene_description>...I...:</scene_description> <character>MOORE</character> <dialogue>...what did you, come to take the Baby back...?</dialogue> <scene_description>HE MOTIONS HIM FORWARD, INTO THE OFFICE AREA. MOORE FOLLOWS HIM AND TURNS ON THE LIGHTS.</scene_description> <character>MOORE</character> <dialogue>What do you want?</dialogue> <scene_description>BELLA WALKS TO A WORKTABLE. ANGLE: ON MOORE, AS HE EXCHANGES A LOOK WITH FRAN.</scene_description> <character>BELLA</character> <dialogue>I forgot my copy of the plans.</dialogue> <character>(PAUSE)</character> <dialogue>MOORE</dialogue> <scene_description>How about that.</scene_description> <character>(HE LOOKS AT BELLA AND THEN AT</character> <dialogue>FRAN)</dialogue> <character>(PAUSE)</character> <dialogue>BELLA</dialogue> <scene_description>You got to do the job, Joe.</scene_description> <character>(PAUSE)</character> <dialogue>Lookit me like I'm your Good Angel. You can't walk away from it.</dialogue> <scene_description>ANGLE, AS MOORE LOOKS AT FRAN.</scene_description> <character>FRAN</character> <parenthetical>(ON PHONE)</parenthetical> <dialogue>Hello... Hello...?</dialogue> <character>MOORE</character> <dialogue>...try him back...</dialogue> <character>FRAN</character> <dialogue>...hello...?</dialogue> <scene_description>ANGLE, ON FRAN, AS SHE FOLLOWS DOWN THE CORD, TO WHERE IT HAS PULLED OUT OF THE WALL.</scene_description> <character>MOORE</character> <dialogue>...call him back...</dialogue> <scene_description>IN THE B.G. FRAN REDIALS THE PHONE.</scene_description> <character>BELLA</character> <dialogue>You got to do the job...</dialogue> <character>MOORE</character> <dialogue>Hold on, here...</dialogue> <character>(HE WALKS OVER TO FRAN.)</character> <dialogue>FRAN</dialogue> <character>(ON PHONE)</character> <dialogue>Mr. Fletcher. I... I was just talking with him. I... well, can you give me that number...? Well, can you re... can you reconnect mmm...</dialogue> <character>(PAUSE)</character> <dialogue>I... I see.</dialogue> <scene_description>SHE HANGS UP. SHE AND MOORE EXCHANGE A LOOK. SHE SHAKES HER HEAD. MOORE WALKS BACK DOWN TOWARD BELLA.</scene_description> <character>MOORE</character> <dialogue>Din't you just make yourself dispensable?</dialogue> <character>BELLA</character> <dialogue>You got to do the job. Can you shoot me and walk away from it? You know they'll kill you.</dialogue> <character>MOORE</character> <dialogue>You my self-help program...?</dialogue> <scene_description>MOORE TURNS TO LOOK AT FRAN, WHO SHAKES HER HEAD.</scene_description> <character>BELLA</character> <dialogue>You gone shoot me, go on the run, with nothing? With that pretty little thing?</dialogue> <character>MOORE</character> <dialogue>That would be my wife.</dialogue> <character>BELLA</character> <dialogue>Is that so?</dialogue> <character>MOORE</character> <dialogue>That's correct.</dialogue> <character>BELLA</character> <dialogue>What does she see in you, anyway?</dialogue> <scene_description>BELLA TURNS TO LOOK AT FRAN.</scene_description> <character>BELLA</character> <dialogue>...you must be hung like Man of War...</dialogue> <scene_description>MOORE LUNGES FOR HIM AND GRABS HIM BY THE THROAT.</scene_description> <character>MOORE</character> <dialogue>You wanna play the dozens. Here you go: They called, there was a bookkeeping error at the Hospital, you died at birth. Your turn...</dialogue> <character>FRAN</character> <dialogue>Joe, leave him...</dialogue> <character>MOORE</character> <dialogue>Eh? Cat got your tongue? You wanna make peace.</dialogue> <character>FRAN</character> <dialogue>...Joe</dialogue> <character>MOORE</character> <dialogue>Don't you know when a man's whipped, for chrissake?</dialogue> <scene_description>MOORE WALKS BACK TOWARD HIS WIFE. HE MAKES A "TELEPHONE" GESTURE, AND LOOKS A QUESTION AT HER.</scene_description> <character>MOORE</character> <dialogue>...the boat guy?</dialogue> <character>FRAN</character> <dialogue>...slipped off.</dialogue> <character>MOORE</character> <dialogue>Call him back.</dialogue> <character>(PAUSE)</character> <dialogue>Get him back.</dialogue> <character>FRAN</character> <dialogue>...he's gone.</dialogue> <character>(PAUSE)</character> <dialogue>I'm sorry, Joe.</dialogue> <character>MOORE</character> <parenthetical>(TO BELLA)</parenthetical> <dialogue>Get up.</dialogue> <character>BELLA</character> <dialogue>What're you gonna do.</dialogue> <character>MOORE</character> <dialogue>I'm gonna be Don Ameche in a taxi, honey.</dialogue> <character>(PAUSE)</character> <dialogue>Get up.</dialogue> <character>BELLA</character> <dialogue>...and what?</dialogue> <character>MOORE</character> <dialogue>Get out.</dialogue> <character>(PAUSE)</character> <dialogue>Get out.</dialogue> <scene_description>BEAT. BELLA RETREATS. MOORE LOOKS AT FRAN.</scene_description> <character>MOORE</character> <dialogue>You wanna tell me what I'm going to do...?</dialogue> <character>(PAUSE)</character> <scene_description>I...: MOORE WAVES HER OFF, AS IF TO SAY, "I'M THINKING..." INT DARK BOXING GYM NIGHT. A YOUNG FIGHTER HITTING THE HEAVY BAG. IN THE DARK GYM. HE LOOKS AROUND. ANGLE, HIS POV. MOORE, MOVING THROUGH THE DARK GYM.</scene_description> </scene> <scene> <stage_direction>ANGLE INT. SMALL EQUIPMENT ROOM.</stage_direction> <scene_description>ANGLE INS. A DOORKNOB. A SMALL PILE OF QUARTERS RESTING ON THE TOP. THE KNOB TURNS, AND THE QUARTERS FALL OFF, CLATTERING ONTO THE FLOOR. ANGLE INT THE ROOM. BLANE, IN HIS UNDERWEAR, COMING OFF OF A COT. HE THROWS OFF A BLANKET REVEALING A SMALL SHOTGUN, WHICH HE LEVELS AT THE DOOR. ANGLE THE DOOR, SWINGING OPEN, NO ONE BEYOND. WE HEAR MOORE'S VOICE.</scene_description> <character>MOORE</character> <dialogue>It's me, put it away.</dialogue> <scene_description>ANGLE ON MOORE, AS HE WALKS INTO THE ROOM. TO CONFAB WITH BLANE.</scene_description> <character>BLANE</character> <dialogue>...the fuck you doing, sneaking in on a man, middle of the</dialogue> <scene_description>MOORE NODS, HALF-CLOSES THE DOOR. ANGLE EXT THE GYM. SEMI-INDUSTRIAL AREA. FRAN, STANDING BY THE GYM'S DOOR. SEVERAL SMALL CHILDREN PLAYING UNDER A STREETLIGHT. ANGLE ON FRAN, AS SHE COMES INTO THE GYM, AND STANDS, WATCHING THE BOXER, WHO IS GOING BACK TO HITTING THE HEAVY BAG. HE TURNS TO LOOK AT HER.</scene_description> <character>BOXER</character> <dialogue>What you doin here?</dialogue> <character>FRAN</character> <dialogue>Well, you know, I'm with my friends...</dialogue> <character>BOXER</character> <dialogue>I don't see nobody else here...</dialogue> <character>FRAN</character> <dialogue>No, that's right...</dialogue> <scene_description>ANGLE, ON HER, POV. MOORE AND BLANE, THROUGH THE HALF OPENED DOOR, AS BLANE FINISHES DRESSING.</scene_description> <character>BLANE</character> <dialogue>Baby, you shuunt be on the streets, the first place...</dialogue> <character>MOORE</character> <dialogue>...what's the move...?</dialogue> <character>BLANE</character> <dialogue>The move is:</dialogue> <scene_description>(PAUSE) The move is we got to get the gold. BLANE MOVES OUT OF THE ROOM. WE FIND HIM AND MOORE ON THE SECOND FLOOR RICKETY BALCONY OVERLOOKING THE SMALL GYM BELOW. WE SEE FRAN BELOW MOORE AND BLANE COME DOWN THE STAIRS. THEY MEET FRAN. AND BLANE STARTS DRIVING THEM IN THROUGH A SMALL DOOR. ANGLE INT GARAGE. BLANE TURNS ON THE LIGHTS TO REVEAL A SMALL FILTHY GARAGE. AN OLD RUSTED PICKUP TRUCK, ONE WHEEL GONE, UP ON A JACK. STREETLIGHT COMING IN THROUGH DIRTY WINDOWPANES SET IN THE GARAGE DOOR. AS THEY ENTER THERE IS A NOISE OUTSIDE, MOORE FLINCHES.</scene_description> <character>BLANE</character> <dialogue>...kids on the street. Always kids on the street.</dialogue> <scene_description>THEY MOVE TO A BENCH. WHERE BLANE STARTS FILLING A PERCOLATOR FROM A UTILITY SINK. MOORE SITS ON SOME OLD, DISCARDED BOXING EQUIPMENT--A DISASSEMBLED SET OF PIPES, WHICH STILL HOLD AN OLD, ROTTEN, LEATHER "HEAVYBAG."</scene_description> <character>MOORE</character> <dialogue>I can't go for the gold til I can see how to get it home...</dialogue> <character>BLANE</character> <dialogue>Well, then, we just got to think a little harder.</dialogue> <character>FRAN</character> <parenthetical>(AS SHE ENTERS THE ROOM.)</parenthetical> <dialogue>Yes. That's right.</dialogue> <character>BLANE</character> <dialogue>The nephew don't come back, the first place, you're down on the Tropic Isle.</dialogue> <character>(PAUSE)</character> <dialogue>You shoulda left him on the side of the road.</dialogue> <scene_description>MOORE Uh huh... why'd you leave him the plans? BLANE Why'd I leave him what? MOORE Why'd you leave him the plans? BLANE What...? MOORE He forgot his "cheat sheet." S'why he came back. BLANE Yeah, no, he din't forget his cheatsheet, cause I got it right here.</scene_description> <character>(HE RUMMAGES IN THE GYMBAG, AND</character> <dialogue>PRODUCES SEVERAL SMALL FOLDERS)</dialogue> <scene_description>What'm'I, going to go leaving papers in the hands of some lame? Are you kidding me...? He said what? MOORE He said that's why he came back. FRAN He came back for me</scene_description> <character>(PAUSE. THEY TURN TO LOOK AT</character> <dialogue>HER.)</dialogue> <scene_description>He came back to make sure I was okay.</scene_description> <character>(PAUSE)</character> <dialogue>I knew him from before.</dialogue> <scene_description>MOORE Well, hell, for the luvva god, we're going to do something, let's do it. Okay. Okay: Fran:</scene_description> <character>FRAN</character> <dialogue>Yes.</dialogue> <scene_description>MOORE You want to suit up? FRAN ...that's right. BLANE What's the shot? MOORE</scene_description> <character>(TO FRAN)</character> <dialogue>You got to Kiss Rings.</dialogue> <character>FRAN</character> <dialogue>...you point me.</dialogue> <scene_description>INT LOWER MIDDLE CLASS TRACT HOUSE KITCHEN NIGHT. SHOT FROM THE KITCHEN INTO A SMALL HALLWAY. PINCUS, KISSING GOODNIGHT TO A LITTLE GIRL, THE LITTLE GIRL'S MOTHER COMES INTO THE SHOT, AND LEADS HER OFF. THE LITTLE GIRL WEARS A BATHROBE. ANGLE ON PINCUS AS HE COMES INTO THE KITCHEN. ANGLE, HIS POV MOORE, SITTING AT THE KITCHEN TABLE, BLANE NEXT TO HIM, A CUP OF COFFEE AHEAD OF HIM, STARING DOWN AT SOME SHEETS OF PAPER. PINCUS SITS DOWN, AND PICKS UP A LEGAL PAD. PAUSE. MOORE PICKS UP A PHONE, LISTENS FOR "DIALTONE," REPLACES IT. (OF THE PLANS IN FRONT OF HIM) What're we forgetting...?</scene_description> <character>BLANE</character> <dialogue>How did we get away with the Gold?</dialogue> <character>MOORE</character> <dialogue>Oh yeah.</dialogue> <scene_description>(PAUSE)</scene_description> <character>PINCUS</character> <dialogue>Robert the Bruce. Watched this Spider, try, three hours, to spin this web...</dialogue> <character>MOORE</character> <dialogue>Uh huh...</dialogue> <character>PINCUS</character> <dialogue>Til finally...</dialogue> <character>MOORE</character> <dialogue>Yeah?</dialogue> <character>PINCUS</character> <dialogue>He succeeded.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BLANE</character> <dialogue>That's the worst story I've ever heard.</dialogue> <scene_description>ANGLE, ON MOORE, AS HE SITS THINKING, WITH PINCUS AND BLANE IN THE B.G. (SHRUGS) And it gave him the Idea. To conquer Scotland.</scene_description> <character>BLANE</character> <dialogue>I don't get the connection.</dialogue> <scene_description>MOORE LOOKS AT HIS WATCH. THE PHONE RINGS. MOORE PICKS UP THE PHONE. (TO PHONE) Put him on. INT MANSION NIGHT. THE SUMPTUOUS STUDY OF BERGMAN'S HOUSE. BERGMAN, IN ROBE AND PYJAMAS. A BODYGUARD IN A SUIT, BELLA, AND FRAN. THE BODYGUARD PASSES THE PHONE TO BERGMAN. (TO PHONE) Are you fucken with me? Are you fucken with me, or are you done fucken with me? Because I've just "financialized" the problem, and you've just become more trouble than you're worth. (PAUSE) She says you're gonna do the job. You said that before, why now? What is it, all a sudden...? (PAUSE) Everyone needs money. That's why they call it "money..." (PAUSE) Well, let me add this sweetener. You do the job. You do the job, r'else I turn you over, I drop a fucken dime on you, you're so hot, I on'y got to dial five digits. How strict is that? How strict is that, you fucken lame? ...I'm sorry that I have to speak this way, in front of a Woman... were it not for who, I'd waste your fucken ass. You said you're goin' the job? Do the job, you're done with the Charade. Save your bold moves for the brilliant players. (HE HANGS UP) (TO FRAN) I'm sorry for my language.</scene_description> <character>FRAN</character> <dialogue>Well, it's only words.</dialogue> <character>BERGMAN</character> <dialogue>That's absolutely right.</dialogue> <scene_description>BERGMAN MOTIONS BELLA TO HIS SIDE, THEY WALK INTO A KITCHEN AREA WITH FRAN IN THE B.G. BERGMAN</scene_description> <character>(TO BELLA. SOTTO)</character> <dialogue>You're in my position, what do you do?</dialogue> <character>(PAUSE)</character> <dialogue>What did she tell you?</dialogue> <character>BELLA</character> <dialogue>He's scared.</dialogue> <scene_description>BERGMAN I've never known him scared. BELLA She says he's getting old. BERGMAN ...she said that... BELLA He's broke. He's made. The cops're looking for him. He don't want to go out there with nothing.</scene_description> <character>(PAUSE)</character> <dialogue>She says that he'll do the job.</dialogue> <scene_description>BERGMAN ...she does... BELLA ...she...</scene_description> <character>(HE HESITATES)</character> <dialogue>BERGMAN</dialogue> <scene_description>...please... BELLA I think, the thing, she came to plead for him.</scene_description> <character>BERGMAN</character> <dialogue>...she did. She came to plead for him?</dialogue> <character>BELLA</character> <dialogue>I think so.</dialogue> <scene_description>BERGMAN The sonofabitch screwed me once, he's gone screw me again. Why, why, why would she think that I'd believe her? BELLA She came to me...</scene_description> <character>BERGMAN</character> <dialogue>To you.</dialogue> <character>(PAUSE)</character> <dialogue>Ah.</dialogue> <character>BELLA</character> <dialogue>...yes.</dialogue> <character>BERGMAN</character> <dialogue>He put her up, to come to you.</dialogue> <character>BELLA</character> <dialogue>I think she came to me on her own.</dialogue> <character>(PAUSE)</character> <dialogue>BERGMAN</dialogue> <scene_description>Well, no, but as Rational Men, don't we have to "doubt" her?</scene_description> <character>BELLA</character> <dialogue>She thinks the guy's weak, he's scared, she's scared, I think she's sincere.</dialogue> <character>BERGMAN</character> <dialogue>Then, let me put a question to you: you had the job... you had the job... how would you test her sincerity...?</dialogue> <scene_description>ANGLE ON FRAN. AS BERGMAN AND BELLA REEMERGE.</scene_description> <character>BERGMAN</character> <dialogue>Okay, we're All on One Team, all arrayed against a Common Enemy? Thank you for coming, I'm an old Man, I'm going to bed...</dialogue> <character>BELLA</character> <parenthetical>(TO FRAN)</parenthetical> <dialogue>I'm going to see you back.</dialogue> <scene_description>ANGLE EXT THE MANSION, VARIOUS CARS PARKED IN THE CIRCULAR DRIVEWAY. BELLA WALKS FRAN TO HER CAR. HE STARTS TO GET IN.</scene_description> <character>FRAN</character> <dialogue>I'll be alright...</dialogue> <character>BELLA</character> <dialogue>(AS HE WALKS OVER TO HER SIDE OF</dialogue> <character>THE CAR)</character> <dialogue>Hey, you're alright now...</dialogue> <scene_description>HE GRABS HER AND GOES INTO A CLINCH. SHE RESISTS FOR A MOMENT, CAMERA PANS THEM AS BELLA TAKES HER BEYOND THE DRIVEWAY TOWARD A POOLSIDE CABANA. INT PINCUS'S KITCHEN DAWN. LEANED BACK AGAINST THE WALL. BLANE ASLEEP AT HIS CHAIR. PINCUS PLAYING SOLITAIRE. MOORE SITTING. HOLD. MOORE KICKS THE CHAIR, SO THAT BLANE COMES FORWARD, AND AWAKE.</scene_description> <character>MOORE</character> <dialogue>...get me the name of a freight forwarder.</dialogue> <character>BLANE</character> <dialogue>...what?</dialogue> <character>MOORE</character> <dialogue>...a freight forwarder.</dialogue> <scene_description>(HE THROWS HIM A YELLOW PAGES) Okay. Alright. AS BLANE LOOKS THROUGH THE YELLOW PAGES MOORE GRILLS PINCUS.</scene_description> <character>MOORE</character> <dialogue>...what's the Lady's name?</dialogue> <character>PINCUS</character> <dialogue>...Mrs. Croft.</dialogue> <character>MOORE</character> <dialogue>What do we chat her up about?</dialogue> <character>PINCUS</character> <dialogue>She is active in the church choir. She has had her job for sixteen years. Last time I saw her, she had stomach problems... what's the response time on the tow truck...?</dialogue> <character>BLANE</character> <dialogue>Average, forty five minutes.</dialogue> <scene_description>(SHAKES HEAD) Too quick... (PAUSE) On the day. Half hour before the thing, call up, three false breakdown calls. Keep'em buys.</scene_description> <character>PINCUS</character> <dialogue>...that's right...</dialogue> <character>MOORE</character> <dialogue>You got to givvem breakdown calls on actual vehicles, which means you'll have to go to the Rental...</dialogue> <scene_description>ANGLE, ON PINCUS, LOOKING AT HIM AS IF TO SAY "DO YOU THINK YOU'RE PLAYING WITH CHILDREN...?" (AS HE LOOKS THROUGH THE YELLOW</scene_description> <character>PAGES)</character> <dialogue>What, what kind of "freight do you want to..."</dialogue> <scene_description>(AS HE TAKES OUT HIS PAD AND</scene_description> <character>PENCIL AND BEGINS TO DRAW))</character> <dialogue>...look here:</dialogue> <scene_description>INT POOLSIDE CABANA DAY. FRAN AND BELLA, FINISHING DRESSING.</scene_description> <character>BELLA</character> <dialogue>...and how's he getting his share away...?</dialogue> <character>FRAN</character> <dialogue>...what difference, you're going to screw it out of him anyway...</dialogue> <character>BELLA</character> <dialogue>...what are you telling me...?</dialogue> <scene_description>FRAN SHAKES HER HEAD AND STARTS OUT OF THE CABANA. BELLA FOLLOWS HER. INT BOATSHED DAY MOORE IS APPLYING "SKINS," (I.E. REMOVABLE COVERINGS) TO THE SIDE OF A VAN, ADVERTISING IT AS THE VAN OF A SECURITY COMPANY. BLANE ARRIVES, CARRYING SEVERAL UNIFORMS, IN PLASTIC, DRY CLEANERS WRAP.</scene_description> <character>MOORE</character> <dialogue>...take the wrappers off, hang em in the air, get the drycleaning smell out.</dialogue> <scene_description>HE LOOKS UP AS FRAN AND BELLA ENTER.</scene_description> <character>MOORE</character> <dialogue>...where have you been...?</dialogue> <character>BELLA</character> <dialogue>...tucking Betty Croft in...</dialogue> <character>BLANE</character> <dialogue>What's she, out all night partying...?</dialogue> <character>BELLA</character> <dialogue>She's a wild, wild woman...</dialogue> <scene_description>(HE HANDS MOORE A POLAROID, HE</scene_description> <character>TOOK AT THE BAR.)</character> <scene_description>(AS HE TAKES THE PHOTO, AND</scene_description> <character>STUDIES IT.)</character> <dialogue>Alright, then. No Hard Feelings...?</dialogue> <character>BELLA</character> <dialogue>...last thing in the World...</dialogue> <scene_description>ANGLE, C.U. MOORE, LOOKING AT FRAN. FRAN COMES OVER TOWARD MOORE, WHO IS HOLDING A YELLOW PAD.</scene_description> <character>FRAN</character> <dialogue>...I...</dialogue> <character>MOORE</character> <dialogue>...I don't give a fuck. The only thing is: Get the Gold. Get the gold, Baby. Get the Gold. They ain't gonna pay for Yardage...</dialogue> <scene_description>HE LOOKS DOWN. ANGLE, INS. HIS POV THE YELLOW LEGAL PAD, WITH THE SKETCH OF THE RAILROAD OVERPASS. DISSOLVE TO: EXT THE RAILROAD UNDERPASS. NIGHT. ANGLE INS: A MAN'S HANDS, IN WORKGLOVES, HOLD THE SKETCH OF THE UNDERPASS, COVERED IN FIGURES. ANGLE: MOORE, IN WORKCLOTHES, WALKING DOWN FROM UNDERNEATH THE UNDERPASS, TO THE LEVEL OF THE TRACKS. HE TURNS AND LOOKS UP AT THE UNDERSIDE OF THE VAULT. ANGLE ON THE TRACK. MOORE WALKS INTO THE SHOT, PACING OFF STEPS DOWN THE TRACKS. ANGLE. IN THE SCRUB ALONGSIDE THE BANKS, HE WALKS UP AND SITS NEXT TO A BLACK NYLON BACKPACK. HE CHECKS HIS WATCH. EXT RAILROAD OVERPASS NIGHT. A SMALL TRUCK, IT'S SIDES PAINTED TO ADVERTISE A SECURITY COMPANY, GOES OVER THE OVERPASS. ANGLE INT THE TRUCK. BELLA AND, BLANE, DRESSED IN COVERALLS, ADVERTISING A SECURITY COMPANY. ANGLE, INT THE TRUCK. BLANE, LOOKING OUT OF THE WINDOW. BELLA, CHEWING GUM, TAKES OUT THE PACK, AND BEGINS CHEWING ANOTHER PIECE.</scene_description> <character>BLANE</character> <dialogue>...you feeling?</dialogue> <character>BELLA</character> <dialogue>I'm fine...</dialogue> <character>BLANE</character> <dialogue>Sometimes, th'drenaline, hits you, gives you the shakes...</dialogue> <character>BELLA</character> <dialogue>I'm alright.</dialogue> <character>BLANE</character> <dialogue>I'm saying, some people, adrenaline, gives'em the shakes... some people, mistake it for cowardice...</dialogue> <scene_description>(PAUSE)</scene_description> <character>BELLA</character> <dialogue>I'm fine.</dialogue> <scene_description>HE TAKES OUT A SCAPULAR, HOLDS IT, AND SAYS A SMALL PRAYER HE LOOKS OVER AT BLANE.</scene_description> <character>BLANE</character> <dialogue>...nothing wrong with prayer.</dialogue> <scene_description>(PAUSE)</scene_description> <character>BELLA</character> <dialogue>...you think so...?</dialogue> <character>BLANE</character> <dialogue>I was in this firefight? One time? Motherfucker, always carried a bible, next to his heart. And we used to mock him. But that bible stopped a bullet.</dialogue> <character>BELLA</character> <dialogue>No shit.</dialogue> <character>BLANE</character> <dialogue>My hand to god. That bible, stopped a bullet, would have ruined that fucker's heart.</dialogue> <character>(PAUSE)</character> <dialogue>And had he had another bible, in front of his face, that man would be alive today. What time you got?</dialogue> <character>BELLA</character> <dialogue>Five eighteen.</dialogue> <character>BLANE</character> <dialogue>...make the call.</dialogue> <scene_description>BELLA TAKES OUT A CELLPHONE AND DIALS. (ON PHONE) Hello? I've, hello?</scene_description> <character>BELLA</character> <dialogue>I've got one of your trucks...? The, the engine quit on me... Hello? Yeah, the..., I got a delivery I have to... from when? Well, it's twenty after fi... I'm on, where am I? I'm on Industrial and two-oh-seventh, well, your truck's dead...</dialogue> <scene_description>ANGLE, EXT THE TRUCK. THE TRUCK STOPS AT THE OVERPASS. BLANE HOPS OUT. ANGLE. IN THE SCRUB. ALONGSIDE THE BANK. THE BLACK BACKPACK MOORE LEFT EARLIER. BLANE PICKS IT UP. CAMERA PANS HIM BACK TOWARD THE OVERPASS. ANGLE INS. INSIDE THE SPAN OF THE STONE OVERPASS. A SMALL ELECTRONIC LOOKING DEVICE. BLANE'S HAND COMES INTO THE FRAME, HOLDING IT. HE AFFIXES IT TO THE STONE, FLIPS A SWITCH. A REDLIGHT BEGINS TO GLOW ON THE DEVICE. ANGLE EXT THE SECURITY TRUCK AT THE SIDE OF THE ROAD, BY THE OVERPASS. BLANE, RUNNING BACK TOWARD THE TRUCK. ANGLE INT THE SECURITY TRUCK. (ON PHONE) to fix the... BLANE GETS INTO THE TRUCK</scene_description> <character>BLANE</character> <dialogue>...let's go...</dialogue> <scene_description>(ON PHONE) ...would you do that? Thank you...</scene_description> </scene> <scene> <stage_direction>ANGLE EXT.</stage_direction> <scene_description>THE TRUCK. PULLING OUT INTO THE ROAD. INT COMMUTER TRAIN COACH. DAWN. AN OLD TIRED CONDUCTOR WALKING DOWN THE AISLE. PAST A SLEEPING BUSINESSMAN. THE BUSINESSMAN WALKS, TO REVEAL IT IS MOORE. HE STRETCHES, LOOKS OUT THE WINDOW. AND WALKS BACK IN THE CAR, HOLDING HIS BRIEFCASE.</scene_description> </scene> <scene> <stage_direction>ANGLE INT. THE LAVATORY.</stage_direction> <scene_description>MOORE ENTERS, HE TAKES A SMALL BOX FROM HIS BRIEFCASE, TURNS A DIAL, AND AFFIXES IT TO THE CEILING. EXT SUBURBAN STATION DAWN. THE TRAIN SLOWING DOWN. MOORE ALIGHTS FROM THE LAST CAR, A STATIONWATON PULLS UP FROM THE EMPTY PARKING LOT, MOORE WALKS TOWARD IT. INT A BANK OF PHONES DAY PINCUS, IN A BUSINESS SUIT. STANDING BY WHAT APPEARS TO BE A LARGE SAMPLE CASE, WAITING AT A BANK OF PHONES. HE LOOKS AT HIS WATCH. EXT AIRPORT DEPARTURES DRIVEWAY. THE STATIONWAGON PULLS UP. FRAN DRIVING, AND MOORE RIDING. HE GETS OUT, WEARING COVERALLS. MOORE LOOKS DOWN AT THE POLAROID PICTURE WE SAW EARLIER. ANGLE ON A COFFEETRUCK PARKED OUTSIDE AN EMPLOYEE'S ENTRANCE. A FORTYISH WOMAN IN A SECURITY GUARD'S UNIFORM IS DRINKING COFFEE, ONE OF A NUMBER OF AIRPORT EMPLOYEES. (MRS. CROFT) ...of my ulcer--Doctor said it's... it isn't the caffeine, but the acids in the coffee that... ANGLE ON MOORE, WALKING UP TO THE WOMAN. HE CONSULTS A PIECE OF PAPER.</scene_description> <character>MOORE</character> <dialogue>Mrs. Croft?</dialogue> <scene_description>(PAUSE) Betty Croft...?</scene_description> <character>MRS. CROFT</character> <parenthetical>(SOMEWHAT SURPRISED)</parenthetical> <dialogue>Yes?</dialogue> <scene_description>(AS SHE DRAWS HER ASIDE) My name is... could I see some identification, please? My name is Wilson, I'm with the F.A.A. Could I see your badge, please? MRS. CROFT TAKES OUT AN EMPLOYEES BADGE AND SLIPS IT TO HER UNIFORM.</scene_description> <character>MRS. CROFT</character> <dialogue>...just coming to work...</dialogue> <character>MOORE</character> <dialogue>I understand. ...I believe we've met before, on my last...?</dialogue> <scene_description>(HE CHECKS HER NAME AGAINST A</scene_description> <character>LIST ON A CLIPBOARD. HE TAKES</character> <dialogue>OUT A BADGE AND SHOWS IT TO HER.)</dialogue> <scene_description>...You are on Gate twenty-one this morning?</scene_description> <character>MRS. CROFT</character> <dialogue>...that is correct, Sir.</dialogue> <character>MOORE</character> <dialogue>We will be conducting a Security Check. I will be coming through the metal detector in</dialogue> <scene_description>(HE CHECKS HIS WATCH) approximately ten minutes. I will be quote Armed, and carrying a toolkit in which are hidden three potentially lethal or dangerous items. This is a test of the security personnel and of the apparatus under your control. Now. I must caution you that, from that time to this you will be under covert surveillance, and should you attempt to communicate</scene_description> <character>MRS. CROFT</character> <dialogue>I wouldn't...</dialogue> <character>MOORE</character> <parenthetical>(SHRUGS)</parenthetical> <dialogue>...you've been warned. Now: the guard under</dialogue> <dialogue>your supervision will be graded on the following:</dialogue> <scene_description>ANGLE, INT THE AIRPORT CONCOURSE. PINCUS, DRESSED AS A SECURITY GUARD. STANDING BY A BANK OF PHONES. A YOUNG MOTHER WITH A CHILD COMES UP TO ASK DIRECTIONS OF HIS. HE DIRECTS THEM, AND TOUCHES HIS HAT, AND THEY MOVE OFF. ANGLE EXT, AIRPORT DRIVETHROUGH. AT THE STATIONWAGON. MOORE LEANS IN, AND TAKES A LARGE TOOLCASE OUT OF THE BACK. IN THE B.G. WE SEE MRS. CROFT. STILL STANDING BY THE COFFEETRUCK. FRAN LOOKS UP.</scene_description> <character>FRAN</character> <dialogue>Here they come.</dialogue> <scene_description>MOORE LOOKS IN THE REARVIEW MIRROR. ANGLE HIS POV THE SECURITY TRUCK, PULLING INTO THE DRIVETHROUGH AREA. ANGLE FRAN AND MOORE. AS FRAN LOOKS OUT OF THE WINDOW.</scene_description> <character>FRAN</character> <dialogue>Where's the girl...?</dialogue> <scene_description>MOORE LOOKS AROUND.</scene_description> <character>MOORE</character> <dialogue>...yeah... okay... okay... it's okay.</dialogue> <scene_description>ANGLE ON MOORE, AS HE WALKS TO THE SECURITY GATE. ANGLE, HIS POV. THE SECURITY WALKTHROUGH. A METAL DETECTOR, A GUARD SEATED AT A CONSOLE. MOORE LOOKS AROUND. HE LOOKS AT HIS WATCH. HE TURNS BACK OUT TOWARD THE STREET. ANGLE. HIS POV. THE SECURITY TRUCK. PULLING UP. ANGLE ON MOORE. AS HE WALKS TOWARD THE COFFEETRUCK.</scene_description> <character>MOORE</character> <parenthetical>(TO THE COFFEEMAN)</parenthetical> <dialogue>What happened to Betty? Betty Croft...?</dialogue> <character>COFFEEMAN</character> <dialogue>Hey, I don't know... she...</dialogue> <character>MOORE</character> <dialogue>Gimme a cuppacoffee.</dialogue> <scene_description>ANGLE ON MOORE AS HE TAKES THE COFFEE AROUND THE SIDE OF THE COFFEETRUCK. HE PUTS IT UP ON THE HOOD. HE SCANS THE AREA. THE SECURITY TRUCK IS GETTING CLOSER.</scene_description> <character>MOORE</character> <parenthetical>(TO COFFEEMAN)</parenthetical> <dialogue>Gimme one of those...</dialogue> <scene_description>THE COFFEEMAN HANDS MOORE A SMALL OBJECT. MOORE TAKES A WRAPPED PACKAGE OUT OF HIS POCKET. ANGLE INS. WE SEE IT IS A FOIL WRAPPED CONDOM PACKET. MOORE TAKES OUT THE CONDOM. MOORE TURNS AWAY FROM THE COFFEETRUCK. ANGLE INS. MOORE DIGS IN HIS POCKET AND TAKES OUT A VERY SMALL AUTOMATIC PISTOL. HE PUTS THE PISTOL IN THE CONDOM, AND TIES IT SHUT, HE DROPS THE CONDOM INTO THE STEAMING COFFEE. HE STARTS TOWARD THE SECURITY GATE. ANGLE ON MOORE, CARRYING A CASE OF TOOLS, AS HE WALKS TO AN EMPLOYEE'S ENTRANCE, SEVERAL EMPLOYEES IN WORK WEAR, STREAMING IN. MOORE TAKES AN EMPLOYEE'S BADGE, AND AFFIXES IT TO HIS COLLAR. ANGLE INT SECURITY SHED. EMPLOYEES STREAMING THROUGH THE METAL DETECTOR. MOORE PUTS HIS STEAMING COFFEE ON TOP OF THE MACHINE, AND PASSES THROUGH.</scene_description> <character>SECURITY GUARD.</character> <dialogue>...up early or up late.</dialogue> <scene_description>(OF THE COFFEE) Not up at all, till I get that down...</scene_description> <character>SECURITY GUARD.</character> <dialogue>I heard that.</dialogue> <character>MOORE</character> <dialogue>Where's the, uh, where's the girl's usually here, your Supervisor? They lett'n you play all ? They lett'n you play all by yourself?</dialogue> <character>SECURITY GUARD.</character> <dialogue>Na, she's got this stomach thing. Least little...</dialogue> <character>MOORE</character> <dialogue>Uh huh...</dialogue> <character>SECURITY GUARD.</character> <dialogue>...least little thing, sets her off...</dialogue> <scene_description>MOORE STANDS WAITING FOR HIS CASE OF TOOLS TO COME THROUGH THE X- RAY MACHINE. MOORE PICKS IT UP, AND GOES BACK TO TAKE HIS COFFEE, AND START OUT OF THE DOOR, INTO THE AIRPORT. HE LEAVES HIS CASE BEHIND HIM. ANGLE EXT THE AIRPORT DRIVE-THROUGH. WE SEE THE STATIONWAGON PULLING OUT, AS, IN THE B.G., WE SEE THE SECURITY TRUCK PULLING INTO THE ARRIVALS AREA. ANGLE IN THE STATIONWAGON, AS FRAN LOOKS DOWN AT HER WATCH. ANGLE PINCUS, AT THE BANK OF PHONES, HE DOES THE SAME, AS HE TALKS ON THE PHONE. (TO PHONE) I have to inform you we have placed three bombs... Three bombs. Inside your facility. HE HANDS UP THE PHONE AND CAMERA AT A BAGGAGE HANDLING AREA SHOWS HIM GOING INTO A MEN'S ROOM. MOORE RETRIEVES THE PISTOL FROM HIS COFFEECUP. HE STARTS BACK TOWARD THE SECURITY AREA. AS HE WALKS HE TAKES APART THE FLASHLIGHT HANGING IN THE UTILITY BELT AT HIS WAIST, HE REMOVES A SMALL CANNISTER FROM THE BATTERY AREA. ANGLE INT PASSENGER CONCOURSE. PINCUS, COMING OUT THE MEN'S ROOM, WEARING THE UNIFORM OF A GUARD. AS HE COMES OUT OF THE DOOR, WE SEE HE HAS LEFT HIS UTILITY CASE BEHIND. ANGLE INT THE SECURITY SHED. THE GUARD TURNS, AS MOORE REENTERS. ANGLE ON MOORE, TO SHOW HE HOLDS THE PISTOL DOWN ALONG ONE THING, THAT HE HOLDS THE CANNISTER ALONG THE OTHER.</scene_description> <character>MOORE</character> <dialogue>...how tired I am, I left my...</dialogue> <scene_description>(HE GESTURES AT THE TOOLCASE HE THE GUARD TURNS TO MAKE A JOKE. MOORE WALKS UP TO HIM, AND DISPLAYS THE SMALL PISTOL.</scene_description> <character>MOORE</character> <dialogue>Please tell me the code for the main gate.</dialogue> <scene_description>(LOOKING AT THE PISTOL) Who the hell d'you think you're kidding with that lll... MOORE SHOOTS THE PISTOL TOWARD THE GUARD'S FOOT.</scene_description> <character>MOORE</character> <dialogue>Please tell me the code.</dialogue> <scene_description>ANGLE IN THE CONCOURSE. PINCUS, DRESSED AS A GUARD, EXTRACTS A SMALL SHIM FROM A LEATHER HOLDER. HE STARTS TOWARD A SECURITY DOOR. AN AIRLINE EMPLOYEE IN UNIFORM ENTERS BEFORE HIM. AS HE STARTS TOWARD THE DOOR, THERE IS AN EXPLOSION BEHIND HIM, AND SMOKE FILLS THE HALL.</scene_description> <character>PINCUS</character> <dialogue>...hold that door... hold that door...</dialogue> <scene_description>THE AIRLINE EMPLOYEE HOLDS THE DOOR OPEN AND PINCUS ENTERS. INT SECURITY SHED, DAY. MOORE IS GLANCING AT THE VIDEO DISPLAYS. WE SEE ON ONE OF THE DISPLAYS, THE SECURITY TRUCK TURNING TO ENTER THE SECURITY GATE AREA. ANGLE ON MOORE, AS HE DISCONNECTS THE VIDEO, AND WE SEE THE SCREEN GO BLANK. HE TURNS TO SHOW PINCUS, COMING INTO THE SHED BEHIND HIM. WE HEAR ON THE LOUDSPEAKER.</scene_description> <character>LOUDSPEAKER</character> <dialogue>Attention... Attention, we have a code Four, and a Fire. I repeat, a code Four, and a Fire, at...</dialogue> <scene_description>ANGLE ON THE SECURITY TRUCK, AS THE GATES SWING OPEN, AND IT ENTERS THE SECURITY AREA. ANGLE ON PINCUS, AS HE TAKES A SEAT AT THE SECURITY CONSOLE. AND MOORE GETS ONTO THE SLOW MOVING SECURITY TRUCK. WE SEE THE SECURITY GATES CLOSE BEHIND IT. EXT AIRPORT DAY. THE TAIL OF A PLANE WITH A HUGE SWISS CROSS AS PART OF ITS LOGO. CAMERA PANS TO SHOW IT IS A CARGOPLANE, MARKED AEROHELVETICA. ANGLE INT THE COCKPIT, AEROHELVETICA CARGO PLANE. THE PILOT IS CONVERSING WITH SOMEONE ON THE RADIO. HE SPEAKS ENGLISH WITH A FOREIGN ACCENT.</scene_description> <character>PILOT</character> <dialogue>...clearance for...</dialogue> <scene_description>(BEYOND, ON THE TARMAC, WE SEE</scene_description> <character>THE SECURITY TRUCK COMING</character> <dialogue>TOWARD THE PLANE.)</dialogue> <scene_description>...Yes. Aero, 294. Requests permission to take the Active... (PAUSE. HE LISTENS. NODS) Aero 294 for runway two-six. (TO HIS CO-PILOT, IN GERMAN) Let's get out of here... ANGLE, INT THE COMMUTER CAR LAVATORY. THE SMALL DEVICE AFFIXED TO THE CEILING. ANGLE EXT THE OVERPASS. WE SEE A TRAIN APPROACHING IN THE DISTANCE. ANGLE THE SMALL ELECTRONIC DEVICE ON THE UNDERSIDE OF THE STONE ARCH. WE SEE THE LIGHT GO FROM STEADY RED TO BLINKING RED. ANGLE THE OVERPASS. AS THE TRAIN APPROACHES. THE ARCH EXPLODES. ANGLE THE CAB OF THE TRAIN. AS THE ENGINEER SEES THE ARCH CRUMBLING BEFORE HIM. ANGLE THE TRAIN SLOWING DOWN, BRAKES SCREECHING. ANGLE IN THE LAVATORY, AS THE DEVICE EXPLODES. ANGLE EXT THE TRAIN, TO SHOW THE TRAIN SLOWING, AND THE LAST CAR SPOUTING FLAMES. CAMERA CRANES UP TO SHOW THE TRAIN STOPS. JUST BELOW A BANK OF LANDING LIGHTS, AND, BEYOND, IS THE AIRPORT. ANGLE INT THE JET COCKPIT THE JET IS TAXIING, AND, IN THE B.G., WE SEE THE FLAMES FROM THE BURNING COMMUTER TRAIN CAR. (IN GERMAN) ...what the hell is that...? THE PILOT MOTIONS "KEEP QUIET." HE PUTS HIS HAND TO HIS EARPHONES. AND LISTENS.</scene_description> <character>PILOT</character> <dialogue>Affirmative. 294, to return to Area A</dialogue> <character>(TO COPILOT)</character> <dialogue>Back to the barn...</dialogue> <scene_description>HE LOOKS DOWN. ANGLE HIS POV THE SECURITY TRUCK, COMES ALONGSIDE, AND KEEPS STATION WITH THE MOVING PLANE. WE SEE, FROM THE PILOTS POV, MOORE, IN THE TRUCK, MOTIONING, "BACK TO THE GATE." ANGLE ON THE PILOT</scene_description> <character>PILOT</character> <parenthetical>(TO HIMSELF)</parenthetical> <dialogue>...yes. We understand...</dialogue> <scene_description>HE SIGHS. AND MOTIONS TO THE CO-PILOT, WHO PROCEEDS BACK INTO THE CARGO AREA. CAMERA TAKES HIM PAST SEVERAL LARGE CRATES MARKED "MACHINE PARTS" TO HYWEST FOUNDRY, PAST SEVERAL LARGE METAL CONTAINERS. TO THE CARGO DOOR. WE SEE THE PLANE JOLT TO A STOP. THE CO-PILOT ENTERS A CODE IN A PANEL NEAR THE DOOR. AND THE DOOR SLIDES OPEN TO REVEAL THE SECURITY TRUCK BELOW, AND TWO MEN GETTING OUT OF IT. ANGLE ON THE TARMAC. MOORE, IN A SECURITY UNIFORM, HOISTS HIMSELF UP ONTO THE HOOD OF THE CAR, AND INTO THE CARGO DOOR. ANGLE ON BLANE AND BELLA, BELOW, BELLA STARTS TO FOLLOW MOORE. BLANE RESTRAINS HIM.</scene_description> <character>BLANE</character> <dialogue>...stick with the program. Stick with the program...</dialogue> <scene_description>ANGLE. INT THE CARGOPLANE. ON MOORE, AS HE WALKS PAST THE CRATES OF MACHINE TOOLS AND THE UNMARKED METAL CRATES, TOWARD THE COCKPIT. ANGLE. INT THE COCKPIT. AS THE PILOT TURNS AROUND. AS MOORE ENTERS.</scene_description> <character>MOORE</character> <dialogue>...we have a report of...</dialogue> <character>PILOT</character> <dialogue>Yes, we're getting it over the radio...</dialogue> <scene_description>MOORE TAKES A SMALL BATON FROM HIS BELT AND CLOUTS THE PILOT AND THEN THE COPILOT WITH IT. BLANE MOVES UP TO HIM. TAKES A ROLL OF GAFFTAPE FROM HIS BELT, AND BEGINS BINDING THE TWO MEN TO THEIR SEATS, FIRST GAGGING THEM WITH THE TAPE.</scene_description> <character>MOORE</character> <dialogue>...make sure they're breathing...</dialogue> <scene_description>ANGLE. IN THE CARGO AREA. ON BLANE. BEYOND HIM WE SEE MOORE STANDING OVER THE TWO SPRAWLED FORMS OF THE PILOT AND THE CO- PILOT. ANGLE ON MOORE, AS HE REMOVES A KEY FROM THE NECK OF THE CO-PILOT, AND WALKS BACK TO MOORE, THEY OPEN ONE OF THE METAL CASES. ANGLE, INT THE METAL CASE. IT IS FILLED WITH LARGE INGOTS COVERED IN BURLAP. MOORE HANDS OPEN ONE TO REVEAL IT IS GOLD. THE GOLD INGOT IS STAMPED CREDIT NATIONAL DE GENEVE. ANGLE ON MOORE. AS HE DETACHES A SMALL CONVEYOR FROM THE INTERIOR OF THE CARGO AREA, AND LOWERS IT DOWN TO THE BACK OF THE SECURITY TRUCK. ANGLE IN THE SECURITY TRUCK. BELLA, ACCEPTS THE CONVEYOR. THE BELT OF THE CONVEYOR BEGINS TO MOVE, AND THE COVERED IGNOTS TO DESCEND DOWN THE SLIDE. ANGLE. ON BELLA AS HE UNCOVERS ONE OF THE INGOTS, TO REVEAL IT IS GOLD. BLANE DROPS DOWN NEXT TO HIM.</scene_description> <character>BLANE</character> <dialogue>...let's get with it...</dialogue> <scene_description>HE AND BELLA MOVE TO THE HUGE ENGINE HELD IN THE BODY OF THE TRUCK. THEY PIVOT IT OPEN, AND BEGIN TO FILL THE EMPTY INTERIOR WITH THE COVERED BARS. ANGLE INT THE CARGOPLANE. MOORE LOADING THE COVERED INGOTS ONTO THE CONVEYOR. HE LOOKS AT HIS WATCH. INT SECURITY SHED DAY. ON PINCUS, DRESSED AS A SECURITY GUARD. AS HE LUGS THE UNCONSCIOUS GUARD ACROSS THE FLOOR, AND INTO A LAVATORY. HE CLOSES THE DOOR, AND STARTS BACK TOWARD HIS POSITION AT THE SECURITY CONSOLE. AS HE STARTS BACK, TWO STATE TROOPERS PULL UP IN THEIR CRUISER. AT THE MAIN GATE. THEY HONK THE HORN. ANGLE, ON PINCUS, AS HE PROCEEDS OUT TO THEM. WE SEE ONE OF THE POLICEMEN IS HOLDING HIS BADGEHOLDER OUT OF THE WINDOW, TOWARD THE VIDEO CAMERA. PINCUS WALKS UP TO THE CAR.</scene_description> <character>TROOPER</character> <dialogue>Get the gate open...</dialogue> <scene_description>(AS HE MAKES A NOTATION ON A</scene_description> <character>CLIPBOARD)</character> <dialogue>I got to take down your badge nnn...</dialogue> <scene_description>(AS HE GESTURES AT THE</scene_description> <character>VIDEOCAMERA)</character> <dialogue>I'm holdin' it up to the damn...</dialogue> <character>PINCUS</character> <dialogue>...the video's out.</dialogue> <scene_description>HE STARTS BACK TOWARD THE SECURITY SHED. ONE OF THE TROOPERS FOLLOWS. (IN CAR) Get the gate open...? ANGLE INT THE SECURITY SHED. PINCUS COMING BACK IN, FOLLOWED BY THE OTHER TROOPER.</scene_description> <character>TROOPER</character> <dialogue>Can we get the gate open...?</dialogue> <character>PINCUS</character> <dialogue>You're looking at me doing it...</dialogue> <scene_description>PINCUS PUNCHES NUMBERS INTO THE BOARD, AND WE SEE THE GATE SWING OPEN BEYOND THEM. THE TROOPER, IN THE B.G. STARTS TO OPEN THE DOOR TO THE LAVATORY.</scene_description> <character>TROOPER</character> <dialogue>...who's been through here...?</dialogue> <character>PINCUS</character> <dialogue>Well I. I can tell you who's...</dialogue> <scene_description>(AS HE WALKS TOWARD THE LAVATORY) Gimme a list of any...</scene_description> <character>PINCUS</character> <dialogue>I put it on, it's all on the computer, n'the computer went down...</dialogue> <scene_description>THE TROOPER STARTS TO OPEN THE DOOR TO THE LAVATORY (SCREAMING) Don't touch the door. For Godsake. Don't touch the door-- din't you hear, on the rrr... one guy, got his arm blown off, the bombsquad said not to... ANGLE, EXT, THE TARMAC MOORE IN THE CARGOPLANE. LOOKS AROUND. HAULS UP THE CONVEYOR, PUNCHES A BUTTON ON THE CONTROL PANEL, THE HATCH STARTS TO CLOSE. ANGLE EXT THE PLANE. ON THE TARMAC, THE TRUCK. WE SEE, INTERIOR. BELLA AND BLANE, SWINGING CLOSED THE HOLLOW ENGINE, THEY PULL THE REAR DOOR OF THE TRUCK CLOSED. AS MOORE JOINS THEM, IN THE CAB OF THE TRUCK. ANGLE INT THE CAB OF THE TRUCK. BLANE, HOLDS UP A WALKIE TALKIE, WHICH IS SPOUTING SECURITY UPDATES. HE NODS AT MOORE TO SAY "I THINK WE ARE ALRIGHT." ANGLE, THEIR POV THE SECURITY GATE AHEAD OF THEM. THE TROOPER'S CRUISER PARKED INSIDE OF IT. BLOCKING THE EXIT. ANGLE THE THREE MEN IN THE TRUCK. BEAT. (TO BELLA, WHO IS DRIVING) Honk the horn. (PAUSE) ...what'm I telling you...? BELLA HONKS THE HORN, TENTATIVELY. ANGLE, THEIR POV THE TROOPERS, ONE IN THE CAR, ONE INSIDE THE SECURITY AREA, TALKING WITH PINCUS. ANGLE INSIDE THE TRUCK. AS MOORE LEANS OVER AND LEANS ON THE HORN. ANGLE THE TROOPER IN THE CAR SIGHS, AND PULLS HIS CAR UP, SO THAT THE TRUCK CAN PASS. ANGLE EXT THE SECURITY SHED. AS PINCUS MOVES PAST THE TROOPER, TO THE TRUCK, WHICH IS MOVING THROUGH THE SECURITY AREA. (TO THE TROOPER) Would you please, would you please...? (TO THE TRUCK) Excuse me. Excuse me... No one is to leave this... (CALLING OUT OF THE TRUCK) ...would you get out of the way...?</scene_description> <character>PINCUS</character> <dialogue>I'm trying to do my job, I'm</dialogue> <scene_description>(APPEALING TO THE POLICE OFFICERS) I am a, like you, just like you, I am trying to do my Sworn... ANGLE, ON PINCUS, AS HE SEES SOMETHING, IN THE POLICE CRUISER. ANGLE HIS POV. TAPED TO THE VISOR OF THE POLICE CRUISER. INS. OF A SHOT OF MOORE (A PHOTO TAKEN FROM AND WHICH WE RECOGNIZE AS TAKEN IN THE VIDEO AT THE JEWELRY STORE, I.E., MOORE LOOKING UP AT THE VIDEOCAMERA.) ANGLE, ON PINCUS, LOOKING AT THE SHOT. HE WIPES HIS FOREHEAD. AND CONTINUES TALKING TO THE TROOPERS WHILE HE PASSES AN INFINITESIMAL "GET OUT OF HERE..." SIGNAL TOWARD THE SECURITY TRUCK. ANGLE IN THE TRUCK. AS THEY DRIVE THROUGH THE GATES.</scene_description> <character>BLANE</character> <dialogue>Don't look back... don't look back...</dialogue> <character>BELLA</character> <dialogue>How's he... how is he...?</dialogue> <character>BLANE</character> <dialogue>Well, that's just gonna have to be as it is...</dialogue> <scene_description>(HE TAKES OUT A CELLPHONE AND (INTO PHONE) I got a broke down truck, excuse me, I called, could I speak to your supervisor please...? I got one of your trucks, engine failure, I called first at Five, five twenty, this... this is my forth call... Right outside the Airport.</scene_description> <character>BLANE</character> <parenthetical>(PAUSE)</parenthetical> <dialogue>Industrial and 2-0-seventh, I... Yes, thank you. I'm an attorney... could I have your name please...? Could I have your name, please, because I'm going to have to speak to your supervisor...</dialogue> <scene_description>ANGLE ON MOORE, AS HE STEALS A GLANCE BACK AT PINCUS. ANGLE HIS POV ON PINCUS, TALKING WITH THE TWO TROOPERS. INT THE CARGOPLANE DAY THE THREE METALLIC CRATES OPEN, PAN PAST THE "MACHINE PARTS" CRATES, ONTO THE TWO MEN IN THE COCKPIT. THE PILOT STARTS TO STIR, GROGGILY. ANGLE EXT ON THE VAN AS IT COMES ONTO A SMALL ACCESS ROAD. WE SEE THEIR AIRPORT IN THE B.G. ANGLE EXT THE STATIONWAGON, DRIVEN BY FRAN, PULLING INTO THE ARRIVALS AREA. SHE DRIVES SLOWLY BY THE SECURITY GATE. ANGLE HER POV IN THE B.G. WE SEE PINCUS STILL TALKING TO THE TROOPERS. ANGLE ON PINCUS, AS HE STEALS A GLANCE AT HIS WATCH. HE LOOKS UP. ANGLE HIS POV IN THE B.G., FRAN, DRIVING THE STATIONWAGON SLOWLY. ANGLE, INT, THE SECURITY STATION. ONE OF THE TROOPERS GETS A CALL ON THE WALKIE-TALKIE.</scene_description> <character>TROOPER</character> <parenthetical>(INTO THE WALKIE)</parenthetical> <dialogue>Four nine, go.</dialogue> <character>(PAUSE)</character> <dialogue>Where...? Oh shit...</dialogue> <scene_description>HE HURRIES OUT TO THE CAR. HE TURNS BACK, TOWARD PINCUS.</scene_description> <character>TROOPER</character> <parenthetical>(CALLING)</parenthetical> <dialogue>Aerohelvetica. Cargo...?</dialogue> <character>PINCUS</character> <dialogue>Bay Five. Go Left. Bay Five...</dialogue> <scene_description>WE SEE THE TROOPERS IN THE CAR HURRY OFF. PINCUS STARTS STRIPPING OFF HIS SECURITY UNIFORM, AS WE WALKS OUT OF THE SECURITY SHED, TOWARD FRAN IN THE CAR. ANGLE INT THE STATIONWAGON AS PINCUS GETS UP, AND MOTIONS FRAN TO DRIVE QUICKLY. WE HOLD ON THE STATIONWAGON LEAVING THE AIRPORT DRIVETHROUGH.</scene_description> <character>FRAN</character> <dialogue>How...?</dialogue> <scene_description>ANGLE. THE STATIONWAGON DRIVING PAST A ROW OF ORANGE-VESTED ROADWORKERS, WHO ARE LAYING TAR ON THE ROADWAY. THE STATIONWAGON SLOWS. ANGLE INT THE CAR.</scene_description> <character>PINCUS</character> <dialogue>Wait wait wait wait wait.</dialogue> <scene_description>ANGLE EXT THE STATIONWAGON. ON PINCUS AS HE TAKES A TRASH BAG, AND THROWS IT INTO A ROADSIDE TRASH CONTAINER. ANGLE ON THE VAN, AS IT PULLS INTO A PARKING GARAGE. ANGLE - A MOSTLY EMPTY FLOOR OF THE PARKING GARAGE. THE VAN PULLING UP. MOORE AND BLANE GET OUT, AND START TO LOOK DOWN TOWARD THE AIRPORT. MOORE LOOKS AT HIS WATCH. BLANE GOES TO THE SIDE OF THE VAN, HESITATES, AND LOOKS AT MOORE.</scene_description> <character>BLANE</character> <dialogue>...where's your explosion...?</dialogue> <character>MOORE</character> <dialogue>(HE LOOKS AROUND, THEN, TO</dialogue> <character>BLANE)</character> <dialogue>Do it...</dialogue> <scene_description>BLANE NODS TO MOORE, AND THEY BEGIN TO STRIP THE "SKINS" OFF THE SIDE OF THE SECURITY TRUCK, TO REVEAL IT IS A RYDER RENTAL TRUCK. ANGLE INT THE TRUCK MOORE OPENS THE BACK PANEL, HE REMOVES A LARGE GARBAGE BAG. AND ACCEPTS THE REMOVED SKINS AND LICENSEPLATES FROM BLANE. IN THE FRONT WE SEE BELLA, GETTING OUT OF HIS SECURITY UNIFORM. AND, IN THE REAR, BLANE AND MOORE DOING THE SAME. MOORE OPENS THE FAKE ENGINE, AND STUFF THE UNIFORMS, ET CETERA, INSIDE. (LOOKING BACK) Here she comes... ANGLE ON BLANE, AS HE TURNS. ANGLE, HIS POV. THE STATIONWAGON, COMING UP THE RAMP. FRAN AND PINCUS IN IT. ANGLE ON THE MEN IN THE TRUCK. ON MOORE, AS HE LOADS THE MATERIALS INTO THE ENGINE.</scene_description> <character>MOORE</character> <dialogue>Is he with her...?</dialogue> <character>BLANE</character> <dialogue>Yeah he's there.</dialogue> <scene_description>HE PICKS UP ONE OF THE BARS FROM THE FAKE ENGINE AND PULLS OFF THE COVERING, TO REVEAL IT IS GOLDEN. HE SMILES</scene_description> <character>BLANE</character> <dialogue>Yeah, he's there.</dialogue> <scene_description>THE STATIONWAGON PULLS UP BY THE TRUCK. PINCUS GETS OUT AND WALKS TO THE BACK OF THE TRUCK. (TO PINCUS) Where's my diversion...?</scene_description> <character>PINCUS</character> <dialogue>I... I threw it in the garb... Joe: Joe, Listen:</dialogue> <character>MOORE</character> <dialogue>Where's my explosion, I'm up here naked...</dialogue> <character>PINCUS</character> <dialogue>Joe: they got your...</dialogue> <scene_description>HE LOOKS INSIDE THE TRUCK. HE TAKES OUT AND LOOKS AT THE HALF- OPENED BAR OF GOLD.</scene_description> <character>PINCUS</character> <dialogue>Joe... they got your...</dialogue> <scene_description>BLANE SHOWS HIM THE GOLDEN BAR.</scene_description> <character>PINCUS</character> <dialogue>Go sell chocolate, you Heidi Motherfuckers. Go see Cookoo Clocks. WE GOT YOUR GOLD...</dialogue> <scene_description>ANGLE ON BLANE, AS HE TAKES THE ROLL OF TAPE FROM HIS BELT, AND TAPES THE COVERING AGAIN OVER THE BAR. HE REPLACES THE BAR, AND MOORE SHUTS UP THE FAKE ENGINE. (TO MOORE) How'd it go?</scene_description> <character>BLANE</character> <dialogue>It got a little tight in there.</dialogue> <scene_description>(TO MOORE) They got your photo.</scene_description> <character>MOORE</character> <dialogue>Who?</dialogue> <character>PINCUS</character> <dialogue>The Staties. I saw it in the car. I.</dialogue> <character>MOORE</character> <dialogue>Forget it. Let's...</dialogue> <scene_description>BLANE MOVES TO A SEDAN, WHICH THEY ARE PARKED, TAKES OUT KEYS, OPENS IT, AND BEGINS PUTTING ON A SUITCOAT AND A HAT WHICH ARE FOUND ON THE SEAT.</scene_description> <character>BELLA</character> <dialogue>...they got your photo...?</dialogue> <character>MOORE</character> <dialogue>Yeah, well, that's a Hazard of the jjj...</dialogue> <character>BELLA</character> <dialogue>You can't go through the roadblock if...</dialogue> <character>MOORE</character> <dialogue>I told you on the day, they had me, you...</dialogue> <character>BELLA</character> <dialogue>Yeah, but you... I can't have you going</dialogue> <dialogue>through the...</dialogue> <character>MOORE</character> <dialogue>I stay with the gold.</dialogue> <character>FRAN</character> <dialogue>Joe, he's right if...</dialogue> <character>MOORE</character> <dialogue>You're gonna side with the guy, you're gonna side against me? You gonna talk against me, Fran?</dialogue> <character>FRAN</character> <dialogue>I'm saying...</dialogue> <character>BELLA</character> <dialogue>Fuck it... if they got you on film I am not going through that with the gold and you in the truck.</dialogue> <character>MOORE</character> <dialogue>I stay with the gold.</dialogue> <scene_description>(PAUSE) I stay with the gold.</scene_description> <character>BELLA</character> <dialogue>They got you on film, you got to go. You'll never make the road block... Joe...</dialogue> <character>MOORE</character> <dialogue>I got to go with the gold.</dialogue> <character>BELLA</character> <dialogue>You know, your wife said it...</dialogue> <scene_description>ANGLE, ON BLANE, AS HE LOOKS OUT OF THE PARKING GARAGE. ANGLE, HIS POV. ON THE ACCESSROAD, SEVERAL STATE POLICE CARS, SETTING UP A ROADBLOCK.</scene_description> <character>BLANE</character> <dialogue>Joe, we gotta go.</dialogue> <character>MOORE</character> <dialogue>You go. See you at the rendezvous...</dialogue> <scene_description>ANGLE ON BLANE, AND PINCUS, WHO IS TAKING CLOTHES FROM THE SEAT OF THE SEDAN. HE STARTS TO GET IN. REACHES BACK, AND HANDS PIECES OF PAPER TO MOORE.</scene_description> <character>PINCUS</character> <dialogue>...parking tickets, you've been here two days...</dialogue> <scene_description>HE GETS INTO THE SEDAN, AND THE SEDAN PULLS AWAY. MOORE STARTS TO GET INTO THE VAN.</scene_description> <character>BELLA</character> <dialogue>...you're burnt.</dialogue> <character>MOORE</character> <dialogue>Then we'll all go together.</dialogue> <character>BELLA</character> <dialogue>I do not see the percentage...</dialogue> <character>MOORE</character> <dialogue>You don't have to, Baby...</dialogue> <character>FRAN</character> <dialogue>...you can't make the Roadblock, Joe...</dialogue> <character>BELLA</character> <dialogue>You're burnt, for chrissake. You're fucken burnt Old Man... What're you, telling your Beads "I go with the Gold"... Look here: You tell me: what're they gonna be looking harder at? You tell me, you here with us, or you in an empty car.</dialogue> <scene_description>(PAUSE) You tell me. (PAUSE) You tell me? You follow us. Through the roadblock, for chrissake. (PAUSE) Eh? You follow us thr... MOORE TURNS TO BLANE.</scene_description> <character>BLANE</character> <dialogue>You're burnt, Joe. You're burnt. It's the wise thing. What do you lll...?</dialogue> <character>MOORE</character> <dialogue>I follow you to the rendezvous...</dialogue> <character>(TO FRAN)</character> <dialogue>Gimme the keys...</dialogue> <scene_description>SHE PASSES THE KEYS TO BELLA, WHO HANDS THEM TOWARD MOORE.</scene_description> <character>PINCUS</character> <dialogue>...Joe, get in the c...</dialogue> <scene_description>ANGLE, ON MOORE, AS HE ADDRESSES FRAN, AS SHE GETS INTO THE TRUCK.</scene_description> <character>MOORE</character> <dialogue>...stay with the ggg...</dialogue> <character>(HE LOOKS DOWN AT THE KEYS. WE</character> <dialogue>SEE THEY ARE NOT THE SAME KEYS</dialogue> <character>WHICH FRAN HANDS TO BELLA)</character> <parenthetical>(TO BELLA)</parenthetical> <dialogue>You palmed the keys, you palmed the keys, you motherf...</dialogue> <scene_description>HE LOOKS DOWN AT THE KEYS IN HIS HAND. HE GRABS BELLA'S WRIST, AND TURNS IT OVER TO SHOW A SECOND SET OF KEYS IN BELLA'S HAND.</scene_description> <character>MOORE</character> <dialogue>...what's, what's the deal, you're gonna leave me, alone, in the...</dialogue> <scene_description>THERE IS A SOUND OF AN EXPLOSION. MOORE TURNS HIS HEAD, WE SEE BEYOND AND BELOW HIM, THE GARBAGE CAN, BURSTING INTO FLAMES, AND SPOUTING SMOKE. ANGLE, ON BELLA, AS HE TAKES OUT HIS PISTOL AND CLOUTS THE DISTRACTED MOORE. ANGLE XCU. ON FRAN.</scene_description> <character>FRAN</character> <dialogue>...no...</dialogue> <character>BELLA</character> <dialogue>Get in the truck. Get in the truck... Get in the truck...</dialogue> <scene_description>ANGLE HE FORCES HER INTO THE VAN. ANGLE THE VAN COMING DOWN THE RAMP. ANGLE INT THE VAN. BELLA DRIVING, COMING UP ON THE CASHIER'S BOOTH.</scene_description> <character>BELLA</character> <parenthetical>(TO FRAN)</parenthetical> <dialogue>Gimme the ticket.</dialogue> <character>(PAUSE)</character> <dialogue>Gimme the ttt...</dialogue> <character>FRAN</character> <dialogue>...you left'em up there with Joe...</dialogue> <scene_description>ANGLE, AT THE CASHIER'S BOOTH.</scene_description> <character>CASHIER</character> <dialogue>...morning...</dialogue> <character>BELLA</character> <dialogue>I, uh...</dialogue> <character>FRAN</character> <parenthetical>(SOTTO)</parenthetical> <dialogue>...get us out of here...</dialogue> <character>BELLA</character> <dialogue>I seem to've lost my ticket...</dialogue> <character>CASHIER</character> <dialogue>Oh, man. I'm sorry.</dialogue> <character>BELLA</character> <dialogue>...just...</dialogue> <character>CASHIER</character> <dialogue>Look, f'you c'n show me some... something, your airline ticket, something...</dialogue> <character>BELLA</character> <dialogue>...just tell me what the full freight is, for...</dialogue> <character>CASHIER</character> <dialogue>Sure, but, between you 'n me? They give me some leeway, so, f'you c'n show me some "Proof," 'bout, how long...</dialogue> <character>FRAN</character> <dialogue>Just, would you just, however long, the...</dialogue> <character>CASHIER</character> <dialogue>...lost Ticket charge, hundred fifty dollars. I don't think you...</dialogue> <scene_description>FRAN DIGS IN HER POCKET, AND STARTS PAYING HIM.</scene_description> <character>CASHIER</character> <dialogue>I'm telling you, I hate to...</dialogue> <character>FRAN</character> <dialogue>We're in a hurry...</dialogue> <scene_description>THE CASHIER SHRUGS.</scene_description> <character>CASHIER</character> <dialogue>...you must be some kind of rich...</dialogue> <scene_description>HE HANDS THEM A RED RECEIPT, WHICH IS PRINTED "STAYS OVER 72 HOURS. LOST TICKET CHARGE. PAID." ANGLE ON BELLA, AS HE TAKES THE RECEIPT, AND THROWS IT ON HIS DASHBOARD, AND DRIVES OFF. ANGLE, ON MOORE, ON THE PAVEMENT, AS HE STIRS, AND SHAKES HIS HEAD... ANGLE ON THE VAN, COMING OUT OF THE PARKING GARAGE, AND ONTO THE ACCESS ROAD. ANGLE ON THE VAN, GOING ONTO THE SHOULDER OF THE ACCESSROAD. BELLA JUMPS OUT OF THE VAN, AND RAISES THE HOOD. HE TAKES OUT A SCREWDRIVER, AND USES IT TO DISCONNECT SEVERAL WIRES. HE WALKS BACK TO THE VAN.</scene_description> <character>FRAN</character> <dialogue>You didn't have to hit him...</dialogue> <character>BELLA</character> <dialogue>Yea? When'd you get so tough. You didn't used to be so tough...</dialogue> <character>FRAN</character> <dialogue>I...</dialogue> <character>(SHE SEES SOMETHING IN THE</character> <scene_description>ANGLE BELLA'S POV. A WRECKER TRUCK COMING DOWN ALONG THE ROAD. IT VEERS ONTO THE ACCESS ROAD, AND PUTS ON ITS FLASHES. ANGLE BELLA AND FRAN</scene_description> <character>BELLA</character> <dialogue>Yeah, that's about as close as I ever want it to be...</dialogue> <character>FRAN</character> <dialogue>...why did you have to hurt him...?</dialogue> <character>BELLA</character> <dialogue>...hey, din't we make that decision...?</dialogue> <scene_description>ANGLE AS THE MAN FROM THE WRECKER BACKS HIS TRUCK UP TO THE HOOD OF THE RENTAL TRUCK. FRAN COMES OUT TO TALK TO HIM.</scene_description> <character>FRAN</character> <dialogue>Where the, where the hell, excuse me. Good morning. We've been sitting here, since...</dialogue> <scene_description>THE MECHANIC FROM THE WRECKER ADVANCES TOWARD THEM.</scene_description> <character>MECHANIC</character> <dialogue>I'm sorry, we've got a full day... I got four false calls this morning, four false calls. I...</dialogue> <scene_description>HE STARTS TO OPEN THE HOOD.</scene_description> <character>FRAN</character> <dialogue>That's not going to do you a whole raft of good. That's dead as Kelsey's nuts...</dialogue> <scene_description>ANGLE SEVERAL COP CARS ESTABLISHING THE ROADBLOCK. WE SEE TWO OF THE COPS GET INTO A CRUISER, AND PULL UP TOWARD THE WRECKER AND THE VAN. ANGLE ON BELLA AND FRAN IN THE VAN. BELLA TAKES OUT A CIGARETTE.</scene_description> <character>FRAN</character> <dialogue>Don't smoke the cigarette.</dialogue> <character>BELLA</character> <dialogue>...what kind of people try to look calm...?</dialogue> <scene_description>ANGLE INT THE POLICE CRUISER. AS IT COMES UP ON THE TOWTRUCK, WHICH IS HAULING UP THE "BROKEN" RENTAL TRUCK. ONE OF THE OFFICERS GETS OUT OF THE STOPPED CRUISER AND WALKS TOWARD THE TRUCK, THE OTHER STAYS ON THE RADIO, AND THEN FOLLOWS. (AS HE APPROACHES THE GROUP</scene_description> <character>AROUND THE TWO TRUCKS)</character> <dialogue>Morning,</dialogue> <scene_description>ANGLE ON OFFICER TWO AS HE WALKS AROUND TO THE BACK OF THE TRUCK.</scene_description> <character>OFFICER TWO</character> <dialogue>...would you stand away, please...?</dialogue> <scene_description>OFFICER TWO MOVES INTO THE BACK OF THE TRUCK, CAMERA FOLLOWS TO SHOW HIM WALKING UP TO THE OTHER SIDE. ANGLE EXT THE TRUCK. (TO FRAN) How long has this truck been here? (TO THE MECHANIC) Ask him...</scene_description> <character>MECHANIC</character> <dialogue>...the, uh, we got the first call at...</dialogue> <character>FRAN</character> <dialogue>We've been here since...</dialogue> <character>OFFICER ONE</character> <dialogue>One moment, please.</dialogue> <character>MECHANIC</character> <dialogue>We got the breakdown call at five-twenty, this.</dialogue> <character>FRAN</character> <dialogue>This is great, this is great, a four hour breakdown n'i'm gonna get arrested, all in One Swell Day. Whatsa Charge...?</dialogue> <character>OFFICER TWO</character> <dialogue>(AS HE COMES BACK AROUND FROM THE</dialogue> <character>BACK, COMING UP TO FRAN.)</character> <dialogue>...what you hauling...?</dialogue> <character>FRAN</character> <dialogue>Marine 'quipment.</dialogue> <character>OFFICER TWO</character> <dialogue>Marine what...?</dialogue> <character>OFFICER ONE</character> <dialogue>...would you open the rear, please...?</dialogue> <scene_description>ANGLE ON FRAN. AS SHE GETS DOWN, AND WALKS THE COP TO THE BACK.</scene_description> <character>FRAN</character> <dialogue>...it's an auxiliary engine, some rich guy's toy...</dialogue> <scene_description>SHE OPENS THE REAR OF THE VAN. THE POLICEMAN STARTS INVESTIGATING THE ENGINE.</scene_description> <character>OFFICER</character> <dialogue>...some toy.</dialogue> <character>FRAN</character> <dialogue>(TAKES OUT A STICK OF GUM AND PUTS</dialogue> <character>IT IN HER MOUTH.)</character> <dialogue>...maybe he's compensating fr'something...</dialogue> <character>(OFFERS A STICK OF GUM TO THE</character> <dialogue>COP, WHO DECLINES)</dialogue> <scene_description>what's the deal, what're you looking for...? ANGLE ON OFFICER TWO AND BELLA, WHO IS IN THE CAB.</scene_description> <character>OFFICER TWO</character> <dialogue>How long you been out here...?</dialogue> <character>BELLA</character> <dialogue>Broke down, this morning, five, five fifteen...</dialogue> <character>OFFICER TWO</character> <dialogue>What'dja eat...?</dialogue> <character>BELLA</character> <dialogue>Nothing, you know, nothing to eat... nothin' to eat but luckies...</dialogue> <scene_description>HE REACHES FOR CIGARETTES ON THE DASHBOARD. ANGLE INS. WE SEE THE LARGE RED RECEIPT PARKING OVER 72 HOURS, ETC. ANGLE ON BELLA AS HE TAKES THE CIGARETTE AND LIGHTS IT, HE PUTS THE MATCHES BACK ON THE DASH, NEXT TO SOME PAPERWORK.</scene_description> <character>OFFICER ONE</character> <dialogue>...you been sitting out here all morn...?</dialogue> <scene_description>ANGLE ON FRAN, AS SHE WALKS UP, FOLLOWED BY THE OTHER COP.</scene_description> <character>FRAN</character> <dialogue>You guys wanna wave your magic wand n'make it different, that's awright with me...</dialogue> <character>BELLA</character> <dialogue>...look at the paperwork...</dialogue> <scene_description>HE STARTS TO REACH FOR THE CLIPBOARD. ANGLE, FRAN'S POV INS. THE RED LATE TICKET SLIP ON THE DASHBOARD. ANGLE ON THE OFFICER ONE, AS HE REACHES INTO THE CAB FOR THE PAPERWORK.</scene_description> <character>FRAN</character> <dialogue>Yeah. Lookit the paperwork. Tell you what, keep the paperwork.</dialogue> <scene_description>SHE REACHES PAST HIM, PICKS UP THE RED RECEIPT, TAKES OUT HER GUM AND PUTS IT IN THE PAPER, CRUMPLES IT, AND TOSSES IT ONTO THE FLOOR OF THE CAB.</scene_description> <character>FRAN</character> <dialogue>...lest you need to Throw me in Jail, f'sitting in a Truck...</dialogue> <character>OFFICER ONE</character> <dialogue>Back's clean...</dialogue> <character>FRAN</character> <dialogue>Hey, y'gonna leave, just when we're gettin' to know each other...?</dialogue> <character>OFFICER TWO</character> <dialogue>Duty calls...</dialogue> <character>FRAN</character> <dialogue>Ships-in-the-night...</dialogue> <scene_description>(SHE SHRUGS) ANGLE EXT THE WRECKER. THE MECHANIC CLOSES THE HOOD, WE SEE THE TWO COPS WALKING BACK TO THEIR CRUISER. THE WRECKER STARTS TO DRIVE OFF, WE SEE ONE OF THE COPS WAVE TO THE OTHERS AT THE BARRICADE, AND WE SEE THE WRECKER PASS THROUGH. ANGLE INT THE PARKING GARAGE. MOORE, HOLDING A DIRTY HANDKERCHIEF TO HIS BLEEDING HEAD. LOOKS OUT AT THE ACCESSROAD. ANGLE HIS POV. THE WRECKER AND THE TRUCK PASSING THROUGH THE ROADBLOCK. INT PARKING GARAGE. DAY. MOORE, RISING TO HIS FEET. HOLDS A HANDKERCHIEF TO HIS HEAD. HE WALKS TO THE EDGE OF THE PARKING GARAGE PARAPET, AND LOOKS OUT. ANGLE HIS POV. THE TRUCK, DOWN, BELOW, ON THE ACCESS ROAD, PASSING THROUGH THE ROADBLOCK, TOWED BY THE WRECKER. ANGLE AT THE ROADBLOCK, THE COPS WAVING THE WRECKER THROUGH. ANGLE IN THE PARKING GARAGE. MOORE, TURNS AWAY FROM THE EDGE, AND WALKS BACK, UNSTEADILY. CAMERA TAKES HIM TOWARD THE STAIRCASE. ANGLE THE DRIVETHROUGH, GROUND LEVEL, AIRPORT. A SMALL FIRETRUCK IS PARKED BESIDE THE WASTE CAN, WHICH IS SPEWING SMOKE, TWO FIREFIGHTERS ARE PUTTING OUT THE FIRE, POLICE ARE DIRECTING TRAFFIC AROUND IT. SEVERAL ROADCREWMEN, THE ROADCREW WE SAW EARLIER. ARE SITTING ON THE CURB, AND WATCHING. ANGLE ON MOORE, AS HE EMERGES FROM THE CONCRETE STAIRWELL. HE LOOKS AROUND. HE PICKS UP AN ORANGE VEST AND A HARDHAT FROM A PILE AT THE BARRICADE OUTSIDE THE STAIRWELL. HE TIES THE HANDKERCHIEF AROUND HIS HEAD, HE SHUCKS OFF HIS SPORTCOAT, AND SHIRT, AND PUTS THE VEST ON OVER HIS T-SHIRT. HE PUTS ON THE HARDHAT. HE PICKS UP A HOE, AND STARTS SLOWLY WALKING DOWN THE ROAD, AWAY FROM THE FIRE AND POLICE. DISSOLVE TO: INT RENTAL TRUCK GARAGE DAY. FRAN SIPPING COFFEE, INSIDE A SMALL "ADMIN" SHED. IN THE B.G. WE SEE THE VARIOUS TRUCKS BEING SERVICED. BELLA, TALKING WITH A MECHANIC, COMES BACK INTO THE SHED. HE COMES AND SITS NEXT TO HER ON A BENCH, THEY SPEAK IN UNDERTONES. FRAN NODS HER APPRECIATION. A SUPERVISOR COMES IN.</scene_description> <character>SUPERVISOR</character> <dialogue>I'm sorry, I believe It'll take us four or five hours to... you know, f'you want, I'll be glad, transfer your load...</dialogue> <character>BELLA</character> <dialogue>...thank you, but we got that thing palletted in there, pretty good, and... I, uh, I don't want to change it, I'd rather wait.</dialogue> <character>SUPERVISOR</character> <dialogue>No problem, just thought I'd make the offer...</dialogue> <scene_description>HE WITHDRAWS. PAUSE.</scene_description> <character>BELLA</character> <dialogue>I figure, we can't be any safer than in here.</dialogue> <character>FRAN</character> <dialogue>...you think pretty good on your feet.</dialogue> <character>BELLA</character> <dialogue>...I think pretty good off my feet, too.</dialogue> <scene_description>(PAUSE) F'you remember... (PAUSE) You remember that...? HOLD ON FRAN, LOOKING AT HIM. INT DINER DAY. A POV, ACROSS AN INDUSTRIAL STREET, THE RENTATRUCK GARAGE. WE SEE THE OPEN BACK OF THE TRUCK, AND THE ENGINE IN IT. IT IS RAINING. ANGLE FRAN AND BELLA, IN A BOOTH AT THE GARAGE. BELLA LOOKS BACK AT FRAN.</scene_description> <character>BELLA</character> <dialogue>...what is it?</dialogue> <character>FRAN</character> <dialogue>Why'd you have to hit him?</dialogue> <character>BELLA</character> <dialogue>...to make him see my point of view.</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>Is he going to be alright?</dialogue> <character>BELLA</character> <dialogue>Well, you know, he's gonna have a headache.</dialogue> <scene_description>(PAUSE) Or is that what you're asking? (PAUSE) In which case, we're way past that. Don't you think? (PAUSE) Because lemme run this down to you: And you tell me the error in my logic. One: an old man. On the run. Might as well have his face on a Postage Stamp. N'he's looking for his money. Two: You and me. For example: (HE LOOKS ACROSS AT THE TRUCK) And the prize in the Crackerjack. (PAUSE) And a wet afternoon to kill. Talking about it.</scene_description> <character>FRAN</character> <dialogue>I. Uh... let's get out of here...</dialogue> <scene_description>SHE GETS UP. (AS SHE FOLLOWS HER) I'm getting too close to you?</scene_description> <character>FRAN</character> <dialogue>Yeah, you're gettin' too close to me.</dialogue> <character>BELLA</character> <dialogue>Uh huh. What? I took the thrill out of "slumming..."</dialogue> <character>FRAN</character> <dialogue>Let's get to the Rendezvous.</dialogue> <character>BELLA</character> <dialogue>...we're going to the rendezvous.</dialogue> <character>FRAN</character> <dialogue>Let's get there.</dialogue> <character>BELLA</character> <dialogue>We got twelve hours.</dialogue> <character>FRAN</character> <dialogue>Yeah, no, let's go now.</dialogue> <character>BELLA</character> <dialogue>The truck's broken.</dialogue> <character>FRAN</character> <dialogue>Tell'im what's wrong with it.</dialogue> <scene_description>SHE STARTS FOR THE ENTRANCE, BELLA FOLLOWS HER.</scene_description> <character>FRAN</character> <dialogue>Tell im, you had this same problem one time, your truck, and maybe it's the same th...</dialogue> <character>BELLA</character> <dialogue>...why don't we just?</dialogue> <scene_description>(TURNING TO HIM) Because if you sold everybody else out, why wouldn't you sell me out? (PAUSE) You remember the reason for that... (SHE STARTS ACROSS TO THE GARAGE.</scene_description> </scene> <scene> <stage_direction>INT. CHEAP HOTEL ROOM. NIGHT.</stage_direction> <scene_description>MOORE, IN A T-SHIRT, LOOKING IN THE MIRROR. HE HAS A BAD CUT ON HIS FOREHEAD. AND HE HAS FIRST-AID SUPPLIES SPREAD OUT IN FRONT OF HIM ON THE BUREAU, UNDERNEATH THE MIRROR. HE WINCES AS HE APPLIES IODINE, AND A BANDAGE. HE TAKES A PANCAKE MAKEUP OUT OF A SMALL PAPER BAG, AND BEGINS SPREADING IT OVER THE BANDAGE ON HIS FOREHEAD. ANGLE ON THE CHEAP, UNSLEPT-IN BED IS A DUFFLEBAG, IN IT WE SEE THE SECURITY GUARD UNIFORM, AND THE F.A.A. INSPECTORS BADGE. WE SEE A MAN'S HANDS COME INTO THE SHOT AND TAKE A CLEAN SHIRT OUT OF THE DUFFLEBAG. ON THE BED NEXT TO THE DUFFLEBAG ARE A WET AND BLOODY SHIRT AND UNDERSHIRT. ANGLE ON MOORE, AS HE PUTS ON THE CLEAN SHIRT. HE REACHES IN THE BAG AND TAKES OUT HORNRIM GLASSES, AND PUTS THEM ON. HE STUFFS THE BLOODY CLOTHING INTO THE DUFFLEBAG. CAMERA TAKES HIM TO THE BUREAU, WHERE HE PUTS THE BANDAGES ET CETERA, INTO THE DUFFLEBAG. HE LOOKS AROUND THE ROOM. PICKS UP THE DUFFLEBAG, AND A SMALL ATTACHE CASE WHICH RESTS AT THE DOOR. HE OPENS THE DOOR, AND PEERS OUT INTO THE HALL. ANGLE, IN THE HALL, MOORE EXITING THE ROOM, CLOSES THE DOOR BEHIND HIM, LOCKS IT. WE SEE HE IS ATTIRED IN A CHEAP SPORTCOAT, WITH A NEW PEN PROTECTOR FULL OF PENS IN ITS POCKET. CAMERA TAKES HIM DOWN THE HALL TO AN INCINERATOR SHOOT. HE PUTS THE DUFFLEBAG AND THEN THE KEY INTO THE INCINERATOR SHOOT. INT CAB OF THE RENTAL TRUCK. DESERTED COUNTRY ROAD. NIGHT. BELLA DRIVING, FRAN RIDING SHOTGUN. HOLD</scene_description> <character>BELLA</character> <dialogue>S'alot of money we've got back there.</dialogue> <scene_description>(PAUSE) I said...</scene_description> <character>FRAN</character> <dialogue>Yes. Thank you. I know what you said.</dialogue> <character>BELLA</character> <dialogue>What're you, filled with Remorse, something...?</dialogue> <scene_description>(LOOKING OUT OF THE WINDOW) ...this is our exit.</scene_description> <character>BELLA</character> <dialogue>Are you filled with remorse...?</dialogue> <character>FRAN</character> <dialogue>...not yet.</dialogue> <character>BELLA</character> <dialogue>Well, good, cause...</dialogue> <character>FRAN</character> <dialogue>This is the exit for the meet.</dialogue> <scene_description>ANGLE HER POV THE RAINY NIGHT HIGHWAY, DIVIDING, AN OFFRAMP SHOWN A HALF MILE AHEAD. ANGLE INT THE TRUCK</scene_description> <character>FRAN</character> <dialogue>...this is the...</dialogue> <character>BELLA</character> <dialogue>Yes, Indeed it is, but I'm going to tell you something...</dialogue> <scene_description>SHE GRABS FOR THE WHEEL. (AS HE PUSHES HER AWAY) Take your hands off the wheel...</scene_description> </scene> <scene> <stage_direction>ANGLE, EXT. THE TRUCK AS IT SWERVES TOWARD THE SIDEROAD, AND THEN</stage_direction> <scene_description>BACK ONTO THE MAIN ROAD. ANGLE INT THE CAB.</scene_description> <character>BELLA</character> <dialogue>What are you, nuts? Are you nuts? We're going to... I'll tell you what we're gonna do. We're gonna...</dialogue> <character>FRAN</character> <dialogue>...alright.</dialogue> <character>BELLA</character> <dialogue>...we're gonna. That lame, that old lame you were with... he was... what did you think he was? He was a non-starter... what did you think... what way in hell was he going to go home with the gold? Based on what Fairy tale...? YOU knew that... only one who didn't know that was...</dialogue> <scene_description>ANGLE EXT THE TRUCK. THEY PASS BY A ROADSIDE SERVICE AREA, A GAS STATION, A LIT-UP COUNTRY DINER-LOUNGE BESIDE IT. ANGLE INT THE TRUCK BELLA AND FRAN AS FRAN LOOKS OUT OF THE WINDOW.</scene_description> <character>FRAN</character> <dialogue>You missed the exit for the meet.</dialogue> <character>BELLA</character> <dialogue>Well, yeah, no, I told you... we aren't going to the Meet.</dialogue> <scene_description>(PAUSE) You know we aren't going there. (PAUSE) Why would we want to go there...?</scene_description> <character>FRAN</character> <dialogue>What am I, just going to go off with you forever?</dialogue> <character>BELLA</character> <dialogue>You want me to tell you why...?</dialogue> <character>FRAN</character> <dialogue>Take me to the Meet.</dialogue> <character>BELLA</character> <dialogue>There is no meet, for the luvva God. You know that.</dialogue> <scene_description>(PAUSE) You know that. (PAUSE) You know that...</scene_description> <character>FRAN</character> <dialogue>I need a drink.</dialogue> <character>BELLA</character> <dialogue>Yeah. I'll get you a drink, and here's a bracer... We left the meet at the Airport. We left the Meet, your guy went out, got his picture on the Videott... and let's cut out the Shucking and the Jivin': what kind of man, sends you to me, sends his wife to me... to "distract" me... Oh? Surprise! I was All Taken In... How About That... What a fool I am... Would I do that to you?</dialogue> <scene_description>(PAUSE) Would I do that to you...? Except pee ess, who liked it? (PAUSE) So, Old Times Sake, I'm gonna tell you something, why'nt we cut the nonsense, and Say What It Is? (PAUSE)</scene_description> <character>FRAN</character> <dialogue>...I need a drink. Turn around.</dialogue> <character>BELLA</character> <dialogue>...nothing simpler.</dialogue> <character>FRAN</character> <dialogue>I, uh, I need some time, I need a little time, to...</dialogue> <scene_description>BELLA ADJUSTS THE CAR INTO A U-TURN.</scene_description> <character>BELLA</character> <dialogue>We're gonna siddown, and I'll draw you the scheme of it, the New Thing, on a Napkin.</dialogue> <scene_description>HE LOOKS OUT OF THE WINDSHIELD. ANGLE, HIS POV, AROUND A TURN AHEAD, THE COUNTRY DINER-LOUNGE WE PASSED EARLIER, IN FRONT OF IT, A POLICE CRUISER. ANGLE, INT THE TRUCK.</scene_description> <character>BELLA</character> <dialogue>uh oh...</dialogue> <scene_description>HE TWISTS THE WHEEL VIOLENTLY. ANGLE, EXT THE TRUCK. THE TRUCK STARTS TO SKID ON THE RAIN-SLICKED HIGHWAY, IT CROSSES TO THE FAR SIDE OF THE ROAD, AND GOES INTO A DITCH. THE TRUCK TUMBLES IN THE DITCH AND ENDS, ON ITS SIDE. ANGLE IN THE SCRUB WOODS ON THE SIDE OF THE ROAD. THE TRUCK, ON ITS SIDE, THE SIDE PANELS CRUMPLED, THE BACK SPRUNG OPEN. ANGLE INT THE TRUCK BELLA AND FRAN. HE CHECKS HER FOR INJURIES. SHE IS SHOCKY. HE HELPS HER OUT OF THE TRUCK. ANGLE EXT THE WRECKED TRUCK. IN THE RAIN. IN THE FAR B.G. THE LIGHTS OF THE DINER, AND THE POLICE CRUISER. BELLA REACHES BACK INTO THE TRUCK, TURNS OFF THE ENGINE AND THE LIGHTS. HE WALKS AROUND TO THE BACK OF THE TRUCK. ANGLE HIS POV THE BACK DOOR SPRUNG OPEN, THE FAKE ENGINE OPEN, AND THE COVERED BARS LYING ALL OVER THE BACK OF THE TRUCK. ANGLE ON BELLA AND FRAN, AS SHE COMES AROUND THE BACK OF THE TRUCK. BELLA STANDS, INDECISIVE, LOOKING AT THE COVERED BARS. HE STARTS TO REACH IN FOR THEM.</scene_description> <character>FRAN</character> <dialogue>leave it.</dialogue> <scene_description>PAUSE BELLA LOOKS AT HER, AMAZED. HE STARTS TO GATHER THEM UP.</scene_description> <character>FRAN</character> <dialogue>Leave it... walk away from it. For godsake...</dialogue> <scene_description>BELLA STARTS SCOOPING UP THE BARS, AND CARRYING THEM BACK INTO THE WOODS. FRAN MOVES TO STOP HIM.</scene_description> <character>FRAN</character> <dialogue>Walk away from it... what are you going to ...come on. Come on...</dialogue> <scene_description>(SHE GESTURES BACK AT THE COPCAR) Are you crazy...</scene_description> <character>BELLA</character> <dialogue>...we can get a few, we can bury the bars, if we bury the bars in the...</dialogue> <scene_description>(PULLING ON HIM) For godsake, walk away from it. Leave it...</scene_description> <character>BELLA</character> <dialogue>Okay. Look: we fit'em back into the container. We... come on, come on...</dialogue> <scene_description>HE LOOKS BACK OVER HIS SHOULDER AT THE COPCAR. HE WORKS HIS WAY BACK INTO THE TRUCK, AND STARTS REPLACING THE GOLDBARS IN THE CONTAINER. (BEHIND HIM) Come on... (HE REACHES FOR A FLASHLIGHT FROM</scene_description> <character>THE GLOVE COMPARTMENT, TO HELP</character> <dialogue>HIM)</dialogue> <scene_description>The truck's clean, for chrissake, the truck's clean: we put it back together, we calla towtruck -- am I gone to walkaway from all this gold...? HE IS PLAYING HIS BEAM ON THE GOLDBARS. PAUSE. ANGLE, HIS POV. INS. HE PICKS UP ONE OF THE BARS. THE WRAPPING IS TORN. HE SHINES THE LIGHT ON IT, TO REVEAL IT IS A DULL LEADEN COLOR. HE PICKS UP NOW ONE AND NOW ANOTHER OF THE GOLD BARS. AND DRIPS THE COVERING OFF OF THEM. EACH ONE IS LEAD. HE PICKS UP THE ONE BAR WHICH WAS OPENED AND RESEALED WITH TAPE, TO SHOW IT IS GOLD. HE STRIPS OFF THE WRAPPING. HALF THE BAR IS GOLD, THE REST OF IT IS LEAD. HE STARTS RIPPING THE COVERS OFF THE BARS VIOLENTLY. ALL THE REST ARE LEAD. ANGLE ON BELLA, AS HE TURNS TO LOOK AT FRAN. ANGLE, HIS POV. ON FRAN. STANDING BEHIND HIM IN THE RAIN. ANGLE ON FRAN, AS SHE BACKS AWAY FROM BELLA, BACK INTO THE WOODS. ANGLE ON BELLA, AT THE TRUCK, AS HE CONTINUES RIPPING OFF THE COVERINGS. HE TURNS AROUND. ANGLE HIS POV. ON FRAN, AS SHE DISAPPEARS INTO THE WOODS. ANGLE INT THE WOODS. FRAN RUNNING IN THE DARK WOODS. SHE SLIPS, AND FALLS. WE SEE BELLA, RUNNING BEHIND HER. SHE PICKS HERSELF UP, BEGINS TO RUN AGAIN. SHE STOPS, HER JACKET AND PURSE CAUGHT ON A TREE. SHE TRIES TO FREE HERSELF, SHE LOOKS BACK AT THE MAN GAINING ON HER. SHE TAKES OFF HER JACKET AND RUNS ON. HOLD ON HER JACKET AND PURSE STRAP ON THE TREE. EXT ROADSIDE DINER, NIGHT. THE PARKINGLOT, THE POLICE CRUISER PARKED OUT FRONT. FRAN EMERGES FROM THE WOODS, AND RUNS ACROSS THE PARKING LOT AND INTO A BACK DOOR OF THE DINER. INT DINER NIGHT. THE POLICEMAN AND A COUPLE OF CUSTOMERS AT THE COUNTER. FRAN ENTERS THROUGH THE BACK DOOR. SHE PROCEEDS TOWARD A PHONEBOOOTH. SHE STARTS TO DIAL. BEAT. SHE REACHES FOR HER PURSE, IT IS GONE. SHE DIGS IN HER PANTS. FINDS NOTHING. ANGLE AT THE COUNTER. FRAN WALKS UP. ALL TURN TO LOOK AT HER.</scene_description> <character>FRAN</character> <dialogue>Yeah, well, Can I, uh, can I make a credit card call on that phone?</dialogue> <character>COUNTERMAN</character> <dialogue>No, I don't think so.</dialogue> <character>FRAN</character> <parenthetical>(SHE NODS)</parenthetical> <dialogue>Then, anybody got a coin...?</dialogue> <scene_description>ANGLE. SHE LOOKS OVER AT THE POLICEMAN, WHO IS LOOKING AT HER.</scene_description> <character>FRAN</character> <parenthetical>(TO THE COP)</parenthetical> <dialogue>Excuse me, what are you looking at, All Due Respect?</dialogue> <character>COP</character> <parenthetical>(PAUSE)</parenthetical> <dialogue>I was wondering, Maam, if you needed any assistance.</dialogue> <character>FRAN</character> <dialogue>Well, thank you, Sir. It would be nice, to meet a gentleman... to meet a gentleman for once in my life... But I, uh... I, uh...</dialogue> <scene_description>ANGLE XCU ON FRAN, AS SHE LOOKS BACK. ANGLE, HER POV. AT THE BACK OF THE DINER, BELLA, COMING THROUGH THE DOOR, AND STOPPING BEHIND SOME CRATES, IN THE BACK. ANGLE ON FRAN</scene_description> <character>FRAN</character> <dialogue>I, uh... thank you, I just need to uh...</dialogue> <scene_description>THE POLICEMAN SLIPS SOME CHANGE ACROSS TO HER.</scene_description> <character>FRAN</character> <parenthetical>(AS SHE LOOKS BACK AT THE PHONE)</parenthetical> <dialogue>In fact, you know, I'm fine... I had a fight with my husband... and he said... I said... "then let me out of the car..." ... and he did...</dialogue> <scene_description>A WAITRESS COMES OVER AND SITS BY HER.</scene_description> <character>FRAN</character> <dialogue>...that was the stupidest thing... the stupidest thing that...</dialogue> <scene_description>THE WAITRESS GESTURES TO THE POLICEMAN THAT SHE WILL TAKE CARE OF IT. THE COP NODS, AND PUTS DOWN SOME MONEY FOR THE CHECK, AND GETS UP. ANGLE ON THE COP, AS HE PROCEEDS TOWARD THE CRUISER. A TRUCKER PAYS HIS CHECK AND WALKS AFTER HIM. ANGLE, ON BELLA, AS HE WATCHES. CAMERA TAKES HIM AROUND THE OUTSIDE OF THE DINER. ANGLE ON BELLA, AS HE WATCHES THE POLICEMAN DEPART. ANGLE INT THE DINER. AS BELLA REENTERS THROUGH THE BACK DOOR. ANGLE HIS POV. FRAN, DEPARTING THE FRONT OF THE DINER, TALKING WITH A TRUCKER, AS THE TRUCKER HELPS HER UP INTO HIS CAB. ANGLE BELLA. HOLD. HE PICKS UP THE PHONE. DIGS FOR SOME CHANGE, AND PUTS IT IN THE PHONE. HE LOOKS DOWN. ANGLE INS. THE HALF GOLD, HALF LEAD BAR. SOUND OF DIALLING. DISSOLVE TO: EXT RAINY HIGHWAY. NIGHT. A SMALL TRUCK. ANGLE INT THE SMALL TRUCK. BLANE AND MOORE IN THE TRUCK. BLANE DRIVING. MOORE TOUCHES HIS HEAD INJURY.</scene_description> <character>BLANE</character> <dialogue>How you doing?</dialogue> <character>MOORE</character> <dialogue>I ain't feeling too well.</dialogue> <scene_description>BLANE LOOKS AT SOMETHING UP AHEAD. MOORE TURNS. ANGLE HIS POV. A SECURITY CHECKPOINT, A BARRIER, A GUARD COMING FORWARD. ANGLE EXT THE TRUCK. THE SECURITY GUARD COMES OUT. BLANE HAND HIM A SLIP OF PAPER. THE SECURITY GUARD CHECKS IT, MAKES A CALL ON A WALKIE, AND WAVES THEM THROUGH A BARRIER WHICH RISES TO ADMIT THEM. ANGLE ON THE TRUCK. ENTERING WHAT IS NOW SHOWN TO BE THE CARGO AREA OF THE AIRPORT. ANGLE THE TAIL OF THE AEROHELVETICA PLANE, THE LARGE SWISS CROSS. TILT DOWN TO SHOW SEVERAL TRUCKS SURROUNDING IT, A POLICE CRUISER, AND THE TRUCK BEARING MOORE AND BLANE, PULLING UP TO THE PLANE. ANGLE ON THE TARMAC. MOORE GETS OUT, AS BLANE REVERSES THE TRUCK. BLANE WALKS UP TO A SMALL GROUND OF COVERALLED WORKERS, AND TWO COPS. THERE IS A CONVEYOR RUNNING FROM THE PLANE DOWN TO THE GROUND, AND SEVERAL CONTAINERS ON THE GROUND. BLANE PRESENTS A SHEAF OF PAPERWORK TO ONE OF THE COVERALLED MEN.</scene_description> <character>BLANE</character> <dialogue>...Hywest Foundry?</dialogue> <scene_description>HE LOOKS AROUND, AS IF CONFUSED BY THE POLICE ACTIVITY. (EXPLAINING) We had a robbery of the pll... (OF HIS INVOICE. VERY CONCERNED) Could you check my numbers, Please...? (OVERHEARING) Yeah, no, they got what they came for, Pal. It wasn't yours... MOORE LOOKS CONFUSED. HE TURNS TO THE COVERALLED OFFICIAL FOR HELP. THE OFFICIAL CONSULTS THE PAPERWORK, AND BIDS MOORE FOLLOW HIM UP THE CONVEYOR. ANGLE, IN THE AREOHELVETICA PLANE. SEVERAL WORKERS INSIDE. THE OFFICIAL, LEADS MOORE TO THE CONTAINERS MARKED 'HYWEST FOUNDRY.' HE POINTS THEM OUT AND MOTIONS TWO OF THE WORKERS TO START THEM ONTO THE CONTAINER.</scene_description> <character>MOORE</character> <dialogue>...thank God.</dialogue> <character>TROOPER</character> <dialogue>...precious stuff, huh?</dialogue> <character>MOORE</character> <dialogue>It would mean my job...</dialogue> <scene_description>ANGLE THE HYWEST FOUNDRY CONTAINERS COMING DOWN THE CONVEYOR, AS BLANE OPENS THE BACK OF HIS TRUCK FOR THEM. HE LOOKS UP. ANGLE, HIS POV. MOORE, STANDING IN THE OPEN HATCH OF THE SWISS PLANE. ANGLE CU. MOORE. WITH A SLIGHT GRIN. NODS AT BLANE. EXT CITY RESIDENTIAL STREET DAY. AN OLD STYLE STREET OF SMALL BUNGALOWS. A SMALL GIRL BEING WALKED DOWN TO THE CURB BY HER MOTHER, WHO IS HANDING HER A LUNCHBOX. PINCUS WALKS OUT OF THE HOUSE BEHIND THEM, HE SHAKES HANDS AND MAKES HIS GOODBYES WITH A YOUNG FELLOW WHO IS HOLDING A CUP OF COFFEE. ANGLE TIGHT ON PINCUS, THE MOTHER AND THE YOUNG GIRL (WHOM WE SAW EARLIER, IN THE KITCHEN SCENE...) AT THE CURB. AS THE MOTHER ADJUSTS THE COLLAR ON THE CHILD.</scene_description> <character>MOTHER</character> <dialogue>...Uncle Donn to get up so early in the morning, Walk you to the Bus Today.</dialogue> <character>PINCUS</character> <dialogue>Glad to do it, glad to do it, glad to do it.</dialogue> <character>MOTHER</character> <dialogue>(AS PINCUS GIVES HER A PECK ON</dialogue> <character>THE CHEEK)</character> <dialogue>...come over for dinner, Thursday.</dialogue> <character>PINCUS</character> <dialogue>Waal, we're gonna have to see...</dialogue> <scene_description>HE TAKES THE CHILD OUT OF THE FRAME. ANGLE TRACKING BACK BEFORE PINCUS AND THE GIRL, AS THEY WALK.</scene_description> <character>GIRL</character> <dialogue>...come to dinner.</dialogue> <character>PINCUS</character> <dialogue>We're gonna have to see.</dialogue> <character>GIRL</character> <dialogue>You always say that, and it means you won't.</dialogue> <character>PINCUS</character> <dialogue>Well, it's possible, it's possible, you see, that my 'business'...</dialogue> <character>GIRL</character> <dialogue>...uh huh...</dialogue> <character>PINCUS</character> <dialogue>...that I might have to go 'travelling' for a while...</dialogue> <character>GIRL</character> <dialogue>Why can't you do your business here?</dialogue> <character>PINCUS</character> <dialogue>Wish I could, Baby. Fact it. Fact is: I got to get out of here, this morning.</dialogue> <character>GIRL</character> <dialogue>This morning?</dialogue> <character>PINCUS</character> <dialogue>That's when my plane leaves.</dialogue> <character>GIRL</character> <dialogue>...there's the bus...</dialogue> <scene_description>WE SEE THE YELLOW SCHOOLBUS PULLING UP TO A SIGN, AND SEVERAL CHILDREN GETTING INTO IT.</scene_description> <character>PINCUS</character> <dialogue>Well, there you go. Times change. My day, all kids, had to walk all the way to school.</dialogue> <character>GIRL</character> <dialogue>Yes. But the streets were safer.</dialogue> <character>PINCUS</character> <dialogue>Izzat so...?</dialogue> <scene_description>(HE BENDS DOWN AND GIVES HER A</scene_description> <character>KISS)</character> <dialogue>You take care of yourself, kid...</dialogue> <character>GIRL</character> <dialogue>Bye, Uncle Donny...</dialogue> <scene_description>SHE GETS UP INTO THE BUS. HE WAVES HER GOODBYE. ANGLE, CU. ON PINCUS, WAVING GOODBYE. HE TURNS. ANGLE AS HE TURNS HE FINDS A THUG AND BERGMAN STANDING BEHIND HIM. A BLACK SEDAN IS AT THE CURB BEHIND BERGMAN, ANOTHER THUG STANDS BY THE BACK DOOR, AND OPENS IT. BEAT.</scene_description> <character>PINCUS</character> <dialogue>Good day for the race.</dialogue> <character>BERGMAN</character> <dialogue>What race is that?</dialogue> <character>PINCUS</character> <dialogue>The Human Race.</dialogue> <scene_description>(PAUSE. HE LOOKS AFTER THE BUS) Kids growing up, so on... (PAUSE) Hope of the Future.</scene_description> <character>THUG</character> <dialogue>Get in the fucken car.</dialogue> <scene_description>PINCUS SIGHS, HE STARTS TOWARD THE CAR. AND THEN TURNS TO RUN. THE THUG PUTS THE ARM ON HIM.</scene_description> <character>BERGMAN</character> <dialogue>Get in the car.</dialogue> <scene_description>DISSOLVE TO: INT SHIPYARD SHED. DAY. THE HYWEST CORP CONTAINER. OPENED. ON BLANE, WHO IS SWEATING, COMES INTO THE FRAME. CAMERA TAKES HIM INTO THE CONTAINER, WHERE WE SEE WHAT IS THE LAST SEVERAL SCORE WRAPPED INGOTS. BLANE PICKS UP SEVERAL, AND CAMERA HINGES HIM TO A WORKTABLE, ON WHICH WE SEE MANY GOLD INGOTS, BLANE STRIPS THE FELT COVERING OFF THE NEW INGOTS TO REVEAL THEM STAMPED CREDIT NATIONAL DE GENEVE. HE TAKES THE WRAPPINGS AND TOSSES THEM INTO A FIRE, BURNING IN THE BOTTOM OF A KILN. BLANE CLOSES THE DOOR. TILT UP TO SHOW MOORE, WHO IS TAKING A GOLD INGOT, AND PUTTING IT INTO A CAULDRON, IN WHICH IS MOLTEN GOLD. HE WEARS A WELDER'S MASK. HE FLIPS UP HIS MASK. AND WIPES HIS FOREHEAD. HE CHECKS HIS WATCH. (TO BLANE) ...where's pinky...? INT GARAGE DAY. PINCUS, TIED TO A CHAIR, IS BEING INTERROGATED BY BERGMAN AND HIS THUG.</scene_description> <character>BERGMAN</character> <dialogue>Where's the Gold?</dialogue> <character>PINCUS</character> <dialogue>Well, I, uh, I, uh, I, you know, I'm reluctant to tell you.</dialogue> <scene_description>ANGLE ON BERGMAN, BEHIND HIM IS SEATED BELLA.</scene_description> <character>BERGMAN</character> <dialogue>When we put it to you.</dialogue> <scene_description>(PAUSE) You know when we put it to you, you're gone be telling us the gross national product of Bolivia...</scene_description> <character>PINCUS</character> <dialogue>...hey...</dialogue> <character>BERGMAN</character> <dialogue>You're gonna be telling us the area codes, Belgium and Luxembourg...</dialogue> <character>PINCUS</character> <dialogue>Hey, look: Z'all I know...</dialogue> <scene_description>ANGLE INS. BERGMAN PICKS UP THE HALF LEAD, HALF GOLD BAR. ANGLE ON BERGMAN</scene_description> <character>BERGMAN</character> <dialogue>This is all you know. This is all you know... This is all you know. N'we got you, going to St. Croix</dialogue> <scene_description>(HE HOLDS UP A TICKET) Where's your share? How do you pick up your share, and where's the meet? WHERE'S THE MEET...? (BERGMAN PICKS UP THE HALF GOLD</scene_description> <character>BAR TO THREATEN PINCUS)</character> <dialogue>PINCUS</dialogue> <scene_description>What're you, gonna hurt me...?</scene_description> <character>BERGMAN</character> <dialogue>Yeah, no, actually</dialogue> <scene_description>(TO PINCUS) No, I'm not going to hurt you. No.</scene_description> <character>BERGMAN</character> <dialogue>But tell a guy, m fulla admiration. What was the deal? What was the deal?</dialogue> <character>PINCUS</character> <dialogue>The way you're looking at the deal the deal was we get away with the gold. Cute huh?</dialogue> <character>BERGMAN</character> <dialogue>Yeah, no. It's charming. And then what?</dialogue> <character>PINCUS</character> <dialogue>We, uh, we "slip away."</dialogue> <character>BERGMAN</character> <dialogue>You "slip away." Me and my guys go to the Meet, we find a truck full of Pig Iron. Zat the thing?</dialogue> <character>PINCUS</character> <dialogue>Well, you know, Joe figured, you weren't never going to the Meet.</dialogue> <character>BERGMAN</character> <dialogue>He did... And where's the Gold. Where's the Gold all this time?</dialogue> <character>(PAUSE)</character> <dialogue>Y'know? Your guy din't get it in his head, fly off on a Variation, we're out on the Patio right now, and everybody's got a Margarita. Where's the Gold?</dialogue> <character>PINCUS</character> <dialogue>...You know:</dialogue> <character>BERGMAN</character> <dialogue>Yeah, no, where's the Gold, what's the Back-up Plan...?</dialogue> <character>PINCUS</character> <dialogue>You can understand my reluctance to tell you.</dialogue> <character>BERGMAN</character> <parenthetical>(TO HIS THUGS)</parenthetical> <dialogue>Take him and show him something...</dialogue> <scene_description>INT SHED DAY. THE DOOR TO THE KILN, OPEN, THE FIRE DIED DOWN TO ORANGE EMBERS, IN THE B.G. THE OPEN, EMPTY HWYEST CONTAINERS. THE DOOR OPEN, SHOWING THE MARINA. AND MOORE STANDING ON THE DECK OF THE SAILBOAT. HE WIPES THE BRIGHT BRONZE RAIL, THE SUN GLINTS OFF OF IT. HE GETS DOWN ONTO THE DOCK. ANGLE. ON MOORE AS HE WALKS BACK INTO THE SHED. WHERE WE SEE BLANE, WHO IS SHUTTING DOWN THE FIRE IN THE FURNACE UNDER THE CRUCIBLE. BLANE LOOKS AT HIS WATCH.</scene_description> <character>BLANE</character> <dialogue>Fran...?</dialogue> <character>MOORE</character> <dialogue>No, she won't be calling in till she ditches the guy.</dialogue> <character>BLANE</character> <dialogue>How's she gonna ditch him?</dialogue> <character>MOORE</character> <dialogue>She could talk her way outta a sunburn.</dialogue> <scene_description>BLANE LOOKS AT HIS WATCH</scene_description> <character>BLANE</character> <dialogue>...and then where's Pinky...?</dialogue> <character>MOORE</character> <dialogue>Let's finish up...</dialogue> <scene_description>INT SERVICE STATION RESTROOM DAY. PINCUS. HOLDING A CELLPHONE TO HIS FACE, TALKS INTO THE CELLPHONE.</scene_description> <character>PINCUS</character> <parenthetical>(TO PHONE)</parenthetical> <dialogue>Joe.</dialogue> <character>(PAUSE)</character> <dialogue>...Yeah. How you doing?</dialogue> <character>(PAUSE)</character> <dialogue>Just to check in.</dialogue> <character>(PAUSE)</character> <dialogue>Fine. Finest kind.</dialogue> <character>(PAUSE)</character> <dialogue>Yeah, no, I saw the truck go through, too. Innit. See you at the meet.</dialogue> <character>(HE HANDS THE PHONE TO A THUG, WHO</character> <dialogue>WE NOW SEE IS STANDING BESIDE</dialogue> <character>HIM. THE THUGS REDIALS THE PHONE</character> <dialogue>AND HANDS IT TO PINCUS.)</dialogue> <scene_description>Yeah.</scene_description> <character>(PAUSE)</character> <dialogue>Yeah. Checked in.</dialogue> <character>(PAUSE)</character> <dialogue>The meet is at.</dialogue> <scene_description>ANGLE INT BERGMAN'S OFFICE.</scene_description> <character>BERGMAN</character> <parenthetical>(ON THE PHONE)</parenthetical> <dialogue>...and where's the Gold...</dialogue> <character>BERGMAN</character> <dialogue>(PAUSE. BERGMAN, LISTENS,</dialogue> <character>SMILES.)</character> <dialogue>...you're shitting me... Hah. Yeah. yeah. Well, no, thank you...</dialogue> <scene_description>ANGLE EXT THE SERVICE STATION. ANOTHER BODYGUARD TYPE. KNOCKING ON THE DOOR. ANGLE, INT THE RESTROOM.</scene_description> <character>PINCUS</character> <dialogue>...alright...?</dialogue> <character>THUG</character> <dialogue>Yeah, alright.</dialogue> <scene_description>HE OPENS THE DOOR TO THE OUTSIDE. ANGLE EXT THE RESTROOM THE THUG NODS 'ALRIGHT' TO THE BODYGUARD TYPE, WHO MOVES TO REVEAL HE HOLDS PINCUS'S NIECE BY THE ARM. THE BODYGUARD BEGINS TO WALK HER OFF. WE SEE THE DOOR TO THE RESTROOM CLOSE. HOLD. WE HEAR A SHOT. THERE IS A PAUSE. AND THE THUG COMES OUT OF THE RESTROOM DOOR AND LETS THE DOOR SWING CLOSED BEHIND HIM. ANGLE AT THE FOUNDRY DAY. ON MOORE, AS HE WALKS OVER TO BLANE, STILL HOLDING THE PHONE.</scene_description> <character>BLANE</character> <dialogue>Pinky Called.</dialogue> <character>MOORE</character> <dialogue>Yeah.</dialogue> <character>BLANE</character> <dialogue>What's the report?</dialogue> <character>MOORE</character> <dialogue>Says he's fine.</dialogue> <character>BLANE</character> <dialogue>He said so, huh?</dialogue> <character>MOORE</character> <dialogue>That's what he said.</dialogue> <character>BLANE</character> <dialogue>Well...</dialogue> <character>(BEAT. BLANE CLAPS HIM ON THE</character> <scene_description>HOLD. MOORE SHRUGS.</scene_description> <character>MOORE</character> <dialogue>Good of him to keep in touch.</dialogue> <scene_description>MOORE STARTS TO WALK TOWARD THE BOAT. INT CLOTHES BOUTIQUE DAY. FRAN, IN A DRESSINGROOM. GETTING OUT OF HER BEDRAGGLED CLOTHES, SHE LOOKS OUT THROUGH THE DOOR. ANGLE HER POV. A YOUNG WOMAN, WHO HAS JUST EMERGED FROM AN ADJACENT DRESSINGROOM, IN A NEW DRESS WITH A TAG ON IT. SHE TALKS TO A SALESGIRL, WHO TAKES HER OUT OF THE DRESSING AREA. ANGLE ON FRAN, IN HER UNDERWEAR, AS SHE RETREATS BACK INTO THE DRESSING ROOM AND THROWS HERSELF WITH ALL HER WEIGHT AGAINST THE PARTITION, CRASHING INTO THE NEXT DRESSINGROOM. ANGLE HER POV THE OTHER WOMAN'S CLOTHES AND PURSE IN THE DRESSINGROOM. INT ENGINEROOM THE SAILBOAT DAY. MOORE TINKERING. EXT THE DECK OF THE SAILBOAT, DAY. MOORE GOES TO THE COCKPIT AND TRIES THE STARTER. THE ENGINE DOES NOT START. CAMERA TAKES HIM DOWN TO THE ENGINEROOM. ANGLE INT BOUTIQUE, DAY. FRAN, DRESSED IN THE OTHER WOMAN'S CLOTHES, EXITING THE STORE, CAMERA HINGES HER AROUND A CORNER, AND TO A PAYPHONE. ANGLE, INT THE ENGINE ROOM. MOORE, TINKERING WITH THE ENGINE. THE ENGINE SPUTTERING. ANGLE INS, THE CELLPHONE, IN THE POCKET OF HIS JACKET, WHICH IS HUNG ON A HOOK IN THE ENGINEROOM. BLINKING. ANGLE AT THE PAYPHONE. FRAN. REDIALS THE NUMBER. HOLD. THEN SHE LOOKS AT HER WATCH AND HAILS A PASSING CAB. EXT SAILBOAT DAY. MOORE, ON THE DECK OF THE SAILBOAT. AS HE CONNS IT AROUND A MARKER, AND IN TOWARD A PIER. THE SUN GLINTS OFF THE RAILING. EXT HIGHWAY DAY. A TAXICAB. TURNING INTO A PIER AREA. A SMALL MARINA. A SMALL POWERBOAT BEING BACKED INTO THE WATER BY A SUBURBAN. THE CAB ENTERS THE AREA, AND FRAN GETS OUT, AND PAYS THE CABBIE OFF. SHE TURNS TOWARD THE WATER. ANGLE, HER POV. THE SAILBOAT. FAR OUT BEYOND THE END OF A LONG PIER. ANGLE THE PIER. FRAN RUNNING DOWN THE PIER TOWARD THE BOAT. AT A SMALL CABANA, NEAR THE END OF THE PIER. FRAN. SITTING ON A BENCH, LOOKING OUT AT THE SAILBOAT. ANGLE ON THE BOAT. AS MOORE PULLS IT UP TO THE END OF THE PIER. JUMPS DOWN, AND TIES UP THE BOAT.</scene_description> <character>MOORE</character> <dialogue>How're you doing? Blane's Okay. Billy's</dialogue> <scene_description>Okay, Pinky called, he... HE LOOKS AT FRAN. HOLD. BERGMAN AND HIS CREW EMERGE FROM THE SMALL CABANA. MOORE TURNS BACK TOWARD THE BOAT. A THUG YELLS AT HIM AND PULLS A PISTOL. HE STOPS.</scene_description> <character>BERGMAN</character> <dialogue>Yeah, yeah, what there was a change in Plans...? You couldn't get to me to tell me?</dialogue> <character>MOORE</character> <dialogue>Let my wife go.</dialogue> <character>BERGMAN</character> <dialogue>Do you mind if I say something personal?</dialogue> <character>(PAUSE)</character> <dialogue>You wife's a whore. She'n'you, 've fucked this perfect little plan, into...</dialogue> <scene_description>MOORE STEPS TOWARD BERGMAN. A THUG CLUBS MOORE TO THE GROUND.</scene_description> <character>BERGMAN</character> <dialogue>Get up. Get up, get up, you contrary motherfucker. I was going to make you rich. I was going to make you rich. The Swiss Score. And look how you treat me. Cause you got to be Too Smart. You got to be too smart. Don't you?</dialogue> <scene_description>MOORE RISES TO HIS FEET.</scene_description> <character>BERGMAN</character> <dialogue>You just gotta complicate it That Last Bit.</dialogue> <scene_description>(PAUSE) Well. Do you want to wrap it up, or you want to stand around out here, guess my Real Name?</scene_description> <character>MOORE</character> <dialogue>What is your real name?</dialogue> <character>BERGMAN</character> <dialogue>It's Rumplestiltskin.</dialogue> <character>MOORE</character> <dialogue>What was it before you changed it?</dialogue> <scene_description>THE THUG HITS MOORE AGAIN.</scene_description> <character>FRAN</character> <dialogue>Don't hurt him...</dialogue> <character>BERGMAN</character> <dialogue>You had to go out on a limb -- you had to go out on a limb, Didn't you...? Didn't you...</dialogue> <character>MOORE</character> <dialogue>Let the girl go, I'll give up the gold.</dialogue> <character>BERGMAN</character> <dialogue>Yeah, we had, basically, we had in mind a different deal... a different deal. How bout that, I hear, if you're flexible, it Keeps you Young.</dialogue> <character>MOORE</character> <dialogue>I'll give up the Gold, Me and the girl leave on the boat.</dialogue> <character>BERGMAN</character> <dialogue>Well, that's very sentimental. But what if the gold's on the boat.</dialogue> <character>MOORE</character> <dialogue>Search the boat.</dialogue> <scene_description>BERGMAN TAKES OUT A SMALL KNIFE, AND BEGINS TO CLEAN HIS NAILS.</scene_description> <character>BERGMAN</character> <dialogue>Yeah, no, I don't got to search the boat.</dialogue> <scene_description>ANGLE ON BERGMAN, AS HE BECKONS SEVERAL OF THE THUGS ONTO THE BOAT.</scene_description> <character>BERGMAN</character> <dialogue>Yeah, no, your wife just made another deal. The deal she made, we get the gold, we let you live. Whaddaya think?</dialogue> <scene_description>PAUSE. AS MOORE LOOKS AT FRAN.</scene_description> <character>MOORE</character> <dialogue>You let me walk away.</dialogue> <character>BERGMAN</character> <dialogue>That's right.</dialogue> <character>MOORE</character> <dialogue>Me and her.</dialogue> <character>BELLA</character> <dialogue>Well, not quite.</dialogue> <character>MOORE</character> <dialogue>What did you do to her...</dialogue> <scene_description>HE LOOKS AT FRAN.</scene_description> <character>FRAN</character> <dialogue>I gave you up, Baby. I gave up the gold.</dialogue> <character>(PAUSE)</character> <dialogue>BERGMAN</dialogue> <scene_description>Yeah, that's what we did for her, we let you live.</scene_description> <character>FRAN</character> <dialogue>I gave you up. I had to.</dialogue> <character>BERGMAN</character> <parenthetical>(TO THE THUGS)</parenthetical> <dialogue>Let's get this boat out of here.</dialogue> <character>(TO MOORE)</character> <dialogue>We're letting you live cause it makes the broad happy. That's what she traded us for the gold.</dialogue> <character>MOORE</character> <dialogue>Hold on, hold on, let's siddown...</dialogue> <character>BERGMAN</character> <dialogue>Oh, yeah, let's siddown. You fucken dog inna manger, we sit here a little long enough, the Boys in Blue come visit, n'there goes the neighborhood...</dialogue> <character>MOORE</character> <dialogue>One second. Hold on...</dialogue> <character>BERGMAN</character> <dialogue>You're bust, Baby. You got Broke... go cry a little</dialogue> <character>(TO MOORE, SOTTO)</character> <dialogue>You fortunate motherfucker, she don't step up, you're gone stay here, for, like, a little bit</dialogue> <dialogue>of forever...</dialogue> <character>BERGMAN</character> <dialogue>...this way you walk away, you Lucky Dog.</dialogue> <character>MOORE</character> <dialogue>Take the gold. Take the gold off, leave me the boat.</dialogue> <character>BERGMAN</character> <dialogue>Don't make me lose my respect for you. By the way, we already had the gold. Pincus gave it up. That's what she traded for your life.</dialogue> <scene_description>(PAUSE) She's got a very commercial mind... BELLA STARTS TO TAKE FRAN AWAY, BACK DOWN THE PIER. WE SEE A BLACK CAR, DRIVING DOWN THE PIER, TOWARD THE GROUP. BERGMAN BECKONS A HENCHMAN, AND POINTS AT THE BOAT.</scene_description> <character>BERGMAN</character> <dialogue>...take it back to the boatyard</dialogue> <scene_description>(HE MAKES A DIALING MOTION) Get a number, call'im up, we need a private slip, what do you call it, a shed. Tell'im we'll pay in cash. Get the thing squared away, we'll take the gold out... (THE HENCHMAN STARTS TO GO OFF,</scene_description> <character>NODDING)</character> <scene_description>(TO MOORE) You don't want to stay here, pal. They're coming for you... they're coming for you... HE STARTS PUTTING FRAN INTO THE CAR. (TO BERGMAN) Leave him some money. Give him some money... don't let him go out there with nothing... (SHE GETS INTO THE CAR.) ANGLE CU ON FRAN AS BELLA PUTS HER INTO THE CAR.</scene_description> <character>FRAN</character> <dialogue>I'm sorry, baby.</dialogue> <scene_description>ANGLE, ON MOORE, AS HE TURNS, AND WE SEE THE CAR DRIVE OFF.</scene_description> <character>BERGMAN</character> <dialogue>Yeah, we don't want, to send you out there broke... here: go buy yourself something nice... You don't mind if I pay you in Gold...?</dialogue> <scene_description>HE STEPS OVER TO THE BOAT, FLOATING ALONGSIDE THE DOCK. HE TAKES HIS CLASP KNIFE, AND APPLIES IT TO THE SHINING RAIL. ANGLE INS. THE BLADE BENDS ON THE RAIL. ANGLE ON BERGMAN, AS HE GETS ONTO THE BOAT. HE WALKS TO ONE RAIL AND TRIES TO CARVE IT WITH HIS KNIFE. NOTHING HAPPENS. HE WALKS TO ANOTHER RAIL, AND TRIES THE SAME. ANGLE INS. THE KNIFE. THE BLADE BENDING ON THE RAIL. MORE PRESSURE IS EXERTED. THE BLADE SNAPS. ANGLE ON BERGMAN. WHO GESTURES FOR ANOTHER KNIFE. THE HENCHMAN DOES NOT UNDERSTAND.</scene_description> <character>BERGMAN</character> <dialogue>A knife, gimme another knife...</dialogue> <scene_description>THE HENCHMAN HANDS HIM A KNIFE. BERGMAN TRIES NOW ONE AND NOW ANOTHER OF THE RAILINGS. THE KNIFE CANNOT RAISE SHAVINGS ON ANY OF THEM. ANGLE ON BERGMAN, AS HE LOOKS BACK AT THE SHORE.</scene_description> <character>BERGMAN</character> <dialogue>...I don't... I need you to tell me where the gold is.</dialogue> <scene_description>BERGMAN GETS OFF THE BOAT, AND ADVANCES ON MOORE, WHO IS STANDING ON THE PIER.</scene_description> <character>BERGMAN</character> <dialogue>Where's the gold?</dialogue> <character>MOORE</character> <dialogue>Where would you like it to be...?</dialogue> <scene_description>BERGMAN GESTURES TO THE THUGS, WHO TAKE HOLD OF MOORE'S ARMS. MOORE LOOKS AROUND WILDLY AT THE DESERTED PIER. BERGMAN ADVANCES ON MOORE, HOLDING THE KNIFE.</scene_description> <character>BERGMAN</character> <dialogue>What is it, with your pal...?</dialogue> <scene_description>AS BERGMAN NEARS MOORE, MOORE TURNS, BREAKING THE HOLD OF THE TWO MEN. HE HITS ONE IN THE THROAT, KICKS AT THE OTHER, AND STARTS TO RUN. ONE OF THE THUGS PULLS A PISTOL, AND SHOOTS AT MOORE, AND MOORE FALLS TO THE PIER, GRASPING HIS SHOULDER, HE GETS SLOWLY UP, AND FACES BERGMAN, AND THE THUGS, WHO STAND ON THE PIER ALONGSIDE THE SAILBOAT. MOORE LOOKS AROUND.</scene_description> <character>BERGMAN</character> <dialogue>And then where is he now. Your running buddy? No, It's all over, and I need to know: Where Is The Gold. I hate to do anything as dramatic as "counting to Three," but... ONE:</dialogue> <scene_description>(HE HOLDS OUT HIS HAND. A AS HE SPEAKS, MOORE KEEPS TURNING, SO THAT THE SUN IS BEHIND MOORE, AND SHINING INTO THE EYES OF BERGMAN AND HIS ACCOMPLICES, WHO NOW STAND WITH THEIR BACKS TO THE BOAT.</scene_description> <character>BERGMAN</character> <dialogue>Two... why must you, oh, God, why in the world must you, why in the hell, a guy like you, would you put me in a position... Aahh, the Hell with it, life is too short, you know what? Fuck you...</dialogue> <scene_description>HE RAISES HIS ARM TO FIRE. BEHIND HIM WE SEE BLANE EMERGE FROM THE SAILLOCKER ON THE BOAT'S DECK, BLANE HOLDS A SHOTGUN. HE SHOOTS BERGMAN AND THE TWO THUGS, ONE OF THE THUGS TURNS AND FIRES AT BLANE, WHO IS WOUNDED. BLANE FIRES AGAIN AT THE THUG, AND STUMBLES ON TO THE PIER, AND FALLS BACKWARD INTO THE WATER BETWEEN THE BOAT AND THE PIER. ANGLE ON MOORE, WHO MOVES JERKILY, TO THE SIDE OF THE PIER. HE TRIES TO PUSH THE BOAT AWAY, TO GET TO BLANE IN THE WATER. HE UNTIES THE LINE WHICH HOLDS THE BOAT TO THE PIER, AND PUSHES THE BOAT AWAY. HE THROWS THE LINE TO BLANE, WHO USES IT TO LIFT HIMSELF UP ONTO THE PIER. THE TWO MEN SIT FOR A MOMENT, CATCHING THEIR BREATH.</scene_description> <character>MOORE</character> <dialogue>How you doing?</dialogue> <character>BLANE</character> <dialogue>I'm leaking?</dialogue> <scene_description>(PAUSE) You hurt? MOORE NODS. HE STANDS, AND HELPS BLANE TO HIS FEET. MOORE PICKS UP THE SHOTGUN. THEY LOOK AROUND, BEHIND THEM, THE SAILBOAT IS DRIFTING OUT TO SEA. THEY START DOWN THE PIER. STEPPING OVER ONE OF THE BODIES OF THE THUGS. THE SECOND THUG LOOKS UP. (WEAKLY) BLANE KICKS HIS BODY OVER THE SIDE OF THE PIER, INTO THE WATER. MOORE STEPS OVER THE DYING BERGMAN.</scene_description> <character>BERGMAN</character> <dialogue>Cute. Very cute.</dialogue> <scene_description>MOORE WALKS OVER HIS BODY, AND HE AND BLANE CONTINUE DOWN THE PIER.</scene_description> <character>BERGMAN</character> <dialogue>Don't you want to hear my dying words...?</dialogue> <scene_description>MOORE TAKES THE SHOTGUN FROM BLANE, AND STEPS BACK TO BERGMAN.</scene_description> <character>MOORE</character> <dialogue>I just did.</dialogue> <scene_description>HE SHOOTS BERGMAN, HANDS THE SHOTGUN BACK TO BLANE, AND THE TWO HEAD OFF, HELPING EACH OTHER DOWN THE PIER. DISSOLVE TO: INT INDUSTRIAL DINER. DAY. MOORE, HIS ARM IN A SLING, NOW WEARING A BEARD, SITTING IN A BOOTH, DRINKING COFFEE. (VO) I hear... MOORE LOOKS UP, BLANE, WALKING WITH A CANE, SLIDES INTO THE BOOTH OPPOSITE HIM.</scene_description> <character>BLANE</character> <dialogue>I hear if you put milk into it, it lesses the chance of stomach distress.</dialogue> <character>MOORE</character> <dialogue>Hey, you can't worry about every little thing...</dialogue> <scene_description>THEY BOTH SIT, LOOKING OUT THE WINDOW. A WAITRESS COMES BY WITH A COFFEEPOT.</scene_description> <character>WAITRESS</character> <dialogue>Heat it up?</dialogue> <scene_description>(AS HE RISES) No, I think we gotta be moving on. ANGLE EXT THE DINER, AS THE TWO WALK ACROSS AN INDUSTRIAL AREA.</scene_description> <character>BLANE</character> <dialogue>Too bad about Pinky.</dialogue> <character>MOORE</character> <dialogue>Ain't that so.</dialogue> <character>BLANE</character> <dialogue>...always made me laugh.</dialogue> <character>MOORE</character> <dialogue>Well, what more can you say of anyone?</dialogue> <character>BLANE</character> <dialogue>Nothing...</dialogue> <scene_description>BEAT. THEY CONTINUE WALKING ACROSS THE STREET TO REVEAL THEY ARE IN THE INDUSTRIAL AREA OUTSIDE THE BOXING GYM. THERE ARE MANY KIDS PLAYING IN THE STREET.</scene_description> <character>BLANE</character> <dialogue>Robert the Bruce...</dialogue> <character>MOORE</character> <dialogue>Yeah?</dialogue> <character>BLANE</character> <dialogue>Why'd they call him Robert "The" Bruce...</dialogue> <character>MOORE</character> <dialogue>...what?</dialogue> <character>BLANE</character> <dialogue>Why'd they call him Robert "The" Bruce?</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>Because he asked them to.</dialogue> <scene_description>BLANE NODS.</scene_description> <character>BLANE</character> <dialogue>Y'go to that Plastic Surgeon, don't lettem put you all the way under. I knew a guy in Statesville, went to get his face fixed, woke up, sucker'd given him a pair of tits.</dialogue> <character>MOORE</character> <dialogue>Yeah, that's no bargain.</dialogue> <character>BLANE</character> <dialogue>Well, he landed back inside, he never had to want for Cigarettes...</dialogue> <scene_description>BLANE TAKES OUT A SLIP OF PAPER, AND HANDS IT TO MOORE. MOORE LOOKS AT IT.</scene_description> <character>MOORE</character> <dialogue>Send your cut there...?</dialogue> <character>BLANE</character> <dialogue>Wire it there, when you get where you're going.</dialogue> <character>MOORE</character> <dialogue>That I will, Pal.</dialogue> <character>BLANE</character> <dialogue>I hear it's nice down there in the Sun.</dialogue> <character>MOORE</character> <dialogue>Zat where I'm going?</dialogue> <character>BLANE</character> <dialogue>Wherever it is, Brother, don't come back.</dialogue> <scene_description>(BEAT. MOORE NODS.) BLANE EMBRACES MOORE. BEAT. BLANE HANDS HIM THE KEY TO THE GARAGE. AND WALKS OFF. WE SEE BLANE WALK ACROSS THE STREET, A CONVERTIBLE PULLS UP, DRIVEN BY A VERY BEAUTIFUL YOUNG WOMAN. BLANE GETS INTO THE PASSENGER SEAT AND MOTIONS HER TO DRIVE. ANGLE C.U. MOORE LOOKING ON. ANGLE: HIS POV, ON BLANE'S CAR, AS IT DRIVES OFF, BLANE TURNS BACK TO LOOK AT MOORE ONE LAST TIME, THEN SHRUGS AND TURNS FORWARD. ANGLE, ON MOORE, AS HE WALKS ACROSS THE STREET, TURNS A CORNER AND STANDS BEFORE A GARAGE DOOR. MOORE USES THE KEY AND OPENS A SMALL DOOR SET INTO THE OVERHEAD DOORS OF THE GARAGE. HE ENTERS THE DARK GARAGE. ANGLE INT THE GARAGE. A NEWISH TRUCK, WITH A LARGE ENGINE LASHED ONTO ITS BED. THE ENGINE</scene_description> </scene> <scene> <stage_direction>IS PAINTED IN FRESH BLACK PAINT. BEHIND IT, THE OLD BATTERED PICKUP</stage_direction> <scene_description>TRUCK, UP ON A JACK, ITS BED FULL OF THE RUSTED PIPES OF THE DISCARDED BOXING EQUIPMENT, AND THE OLD ROTTEN LEATHER "HEAVYBAG." MOORE TAKES OUT A PACK OF CIGARETTES AND A LIGHTER, HE IS ABOUT TO LIGHT A CIGARETTE, WHEN HE LOOKS OVER AT THE NEW TRUCK. HE PUTS THE CIGARETTES DOWN ON THE OLD TRUCK, BENDS DOWN, AND PICKS</scene_description> </scene> <scene> <stage_direction>UP A CAN OF BLACK PAINT. HE WALKS TO THE NEW TRUCK AND APPLIES</stage_direction> <scene_description>TOUCHUP PAINT TO THE ENGINE LASHED IN THE BACK. HE NODS AT IT, AND THEN, SATISFIED, HE TAKES A TARP AND COVERS THE ENGINE. HE GETS INTO THE NEW PICKUP TRUCK AND STARTS IT. WHILE IT WARMS UP HE GOES TO THE FRONT OF THE GARAGE, WIPING THE BLACK PAINT OFF OF HIS HANDS WITH A RAG. HE RAISES THE SHED DOOR, TO REVEAL FRAN STANDING THERE. HE SMILES AND KISSES HER AND TAKES HER BACK TOWARD THE NEW PICKUP TRUCK. HE OPENS THE PASSENGER DOOR.</scene_description> <character>MOORE</character> <dialogue>Yeah, I knew you'd show.</dialogue> <character>FRAN</character> <dialogue>Good, good plan, baby...</dialogue> <character>MOORE</character> <dialogue>Yeah, I wouldn't clear my throat, without a backup plan...</dialogue> <character>FRAN</character> <dialogue>That's the right way to do it.</dialogue> <character>MOORE</character> <dialogue>End of the day, though, end of the day, what's the important thing...?</dialogue> <character>FRAN</character> <dialogue>That's right.</dialogue> <character>MOORE</character> <dialogue>What's the important thing...?</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>Shame about Pinky...</dialogue> <character>MOORE</character> <dialogue>You heard.</dialogue> <scene_description>(OF TRUCK) Come on, get in.</scene_description> <character>FRAN</character> <dialogue>Y'all loaded up?</dialogue> <scene_description>HE LIFTS THE TARP TO REVEAL THE ENGINE, COATED IN BLACK PAINT, SITTING THERE. HE RECOVERS IT.</scene_description> <character>MOORE</character> <dialogue>C'mon, get in, we'll talk on the road. You heard about Pinky...</dialogue> <character>FRAN</character> <dialogue>Yeah. I heard. I'm sorry about that.</dialogue> <character>MOORE</character> <dialogue>Yeah, well, it just went bad there, that little bit. Dinnit...?</dialogue> <character>FRAN</character> <dialogue>Yes, It did.</dialogue> <scene_description>MOORE TOUCHES THE BRUISE ON HIS HEAD.</scene_description> <character>MOORE</character> <dialogue>...yes, it did... it got kind of convincing.</dialogue> <character>FRAN</character> <dialogue>...and, so, you got hurt.</dialogue> <character>MOORE</character> <dialogue>Well, you can't do it halfway, can you...?</dialogue> <character>FRAN</character> <dialogue>No, anything you do, you got to do full-out. Don't you?</dialogue> <character>MOORE</character> <dialogue>Indeed you do.</dialogue> <character>FRAN</character> <dialogue>And, sometimes...</dialogue> <scene_description>(PAUSE) (TOUCHES HIS FOREHEAD, AND THE</scene_description> <character>BRUISE, WINCES)</character> <dialogue>Then, that's just the Price.</dialogue> <character>FRAN</character> <dialogue>That's right. That's what you taught me. That's part of it.</dialogue> <character>MOORE</character> <dialogue>Well, but didn't you do great. Played it down to the last recorded syllable...</dialogue> <character>FRAN</character> <dialogue>I went to a good school.</dialogue> <character>MOORE</character> <dialogue>Never seen it done n'y better. You hotwalked that dude so good.</dialogue> <character>FRAN</character> <dialogue>...thank you, Joe.</dialogue> <character>MOORE</character> <dialogue>Cooled him out the livelong day. You made it look so real.</dialogue> <scene_description>HE MOVES TO THE FRONT OF THE SHED. AND TURNS OUT THE LIGHTS. HE WALKS BACK TOWARD FRAN, WHO IS STANDING AT THE TRUCK. (TO HIMSELF) ...yes, you did.</scene_description> <character>FRAN</character> <dialogue>Well, you know...</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>...what d'you mean, "that's part of it?"</dialogue> <character>FRAN</character> <dialogue>I don't get you?</dialogue> <character>MOORE</character> <dialogue>I was talking about Pinky.</dialogue> <character>FRAN</character> <dialogue>Uh huh.</dialogue> <character>MOORE</character> <dialogue>I said we paid the price. And you said. We paid part of it.</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>Yes. That's right.</dialogue> <character>MOORE</character> <dialogue>...what's the rest of it...?</dialogue> <scene_description>(PAUSE) What's the rest of it...? ANGLE XCU MOORE. AS HE LOOKS AT FRAN. ANGLE FRAN, AS SHE LOOKS BEYOND MOORE. ANGLE ON MOORE AS HE TURNS. BELLA IS STANDING BEHIND HIM. BELLA HOLDS A PISTOL. HE MOVES TO MOORE, AND HE FRISKS HIM, AND FINDS NOTHING, AND TAKES A STEP AWAY. ANGLE, ON MOORE, AS HE LOOKS FROM BELLA TO FRAN.</scene_description> <character>MOORE</character> <dialogue>Oh.</dialogue> <character>(PAUSE)</character> <dialogue>BELLA</dialogue> <scene_description>Well. They don't always leave with the Ones they came In with.</scene_description> <character>MOORE</character> <parenthetical>(PAUSE)</parenthetical> <dialogue>Oh.</dialogue> <scene_description>BELLA LOOKS AT THE TRUCK. HE LOOKS INQUIRINGLY, AT FRAN. (TO MOORE) It was dead, anyway. (PAUSE) You know it was.</scene_description> <character>MOORE</character> <dialogue>Was it...?</dialogue> <scene_description>(PAUSE) You shouldn't of sent me to him.</scene_description> <character>MOORE</character> <dialogue>Well, you can't think of everything.</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>I'm sorry.</dialogue> <scene_description>(PAUSE)</scene_description> <character>FRAN</character> <dialogue>Well...</dialogue> <character>MOORE</character> <dialogue>I'm sorry...</dialogue> <character>FRAN</character> <dialogue>You knew it was over...</dialogue> <scene_description>(TO BELLA) ...it's in the back. BELLA WALKS TO THE BACK OF THE TARP, RAISES A CORNER, LOOKS IN. HE LOOKS AT HIS HANDS, AND TAKES OUT A HANDKERCHIEF, AND WIPES OFF</scene_description> </scene> <scene> <stage_direction>THE BLACK PAINT. HE LOWERS THE TARP DOWN.</stage_direction> <scene_description>(OF BELLA) Why dun' he shoot me?</scene_description> <character>FRAN</character> <dialogue>Cause it's over. It's all done. That's the deal.</dialogue> <character>MOORE</character> <dialogue>He ain't gonna shoot me?</dialogue> <character>FRAN</character> <dialogue>No.</dialogue> <character>MOORE</character> <dialogue>Then he hadn't aughta point a gun at me.</dialogue> <scene_description>(PAUSE) It's insincere... MOORE SITS DOWN ON AN UNOPENED WOODEN BOX, IN THE DOORWAY OF THE GARAGE.</scene_description> <character>MOORE</character> <dialogue>Oh, God, I'm tired...</dialogue> <scene_description>(TO MOORE) I'm sorry, Baby.</scene_description> <character>MOORE</character> <dialogue>Well, no. You told me, "you knew him before."</dialogue> <character>FRAN</character> <dialogue>That's right. I did.</dialogue> <scene_description>(TO BELLA)</scene_description> <character>FRAN</character> <dialogue>Get in and drive</dialogue> <scene_description>(TO MOORE) I'm sorry.</scene_description> <character>MOORE</character> <dialogue>You said that.</dialogue> <scene_description>(PAUSE) Well. (PAUSE) You must be under quite a lot of stress.</scene_description> <character>FRAN</character> <dialogue>Hmm.</dialogue> <character>MOORE</character> <dialogue>It was a pretty plan, though, wunnit...?</dialogue> <character>FRAN</character> <dialogue>Cute as a Chinese baby...</dialogue> <character>MOORE</character> <dialogue>Thanks for everything.</dialogue> <scene_description>(FRAN GETS UP INTO THE TRUCK)</scene_description> <character>FRAN</character> <dialogue>You'll be alright.</dialogue> <character>MOORE</character> <dialogue>You think so?</dialogue> <character>FRAN</character> <dialogue>You always are.</dialogue> <scene_description>(PAUSE)</scene_description> <character>MOORE</character> <dialogue>Well, I missed this trick, though, didn't I...?</dialogue> <character>FRAN</character> <dialogue>...the best laid plans of mice and men...</dialogue> <character>MOORE</character> <dialogue>...what?</dialogue> <character>FRAN</character> <dialogue>I said Nobody's Perfect.</dialogue> <scene_description>(PAUSE) You take care. (TO BELLA) Alright, let's go. THE TRUCK DRIVES OFF. ANGLE ON MOORE, AS HE SLOWLY SHAKES HIS HEAD. HE SIGHS. HE WALKS BACK INTO THE SHED. HE WALKS TO THE OLD ABANDONED PICKUP, WHERE HE LEFT HIS CIGARETTES AND LIGHTER. HE TAKES OUT A CIGARETTE, AND HOLDS IT TO HIS LIPS. HE HESITATES. HE CRUMBLES IT, AND THROWS IT TO THE FLOOR. LOWERS THE PICKUP TO THE GROUND, USING THE HYDRAULIC JACK. HE SIGHS, AND SLAMS THE TAILGATE ON THE OLD METAL FRAME OF THE BOXING EQUIPMENT. THE TAILGATE DOES NOT CLOSE. HE SLAMS IT AGAIN. AND IT CLOSES. HE WALKS OVER AND GETS IN THE CAB OF THE OLD PICKUP. ANGLE THE OLD METAL FRAME IN THE BED OF THE PICKUP TRUCK. WE SEE THAT THE TAILGATE HAS JAMMED ONTO THE OLD METAL PIPES, AND THE PIPE'S PAINT HAS CHIPPED TO REVEAL THAT THE PIPE IS GOLD, AND WE SEE, ON THE BASE OF THE PIPE, WHERE THE PAINT HAS CHIPPED, FAINTLY, THE LETTERS CREDIT INTERNATIONAL DE GENEVE. ANGLE ON MOORE, IN THE TRUCK, AS IT PULLS OUT OF THE GARAGE. FADE OUT.:</scene_description> </scene> </script>

Joe Moore runs a ring of professional thieves, which includes Bobby Blane, Donnie "Pinky" Pincus and Joe's wife Fran. During a robbery of a New York City jewelry store, Joe's face is captured by a security camera after he takes off his mask in an attempt to distract the store's last remaining employee. As both the picture and a witness can identify him, Joe retires from crime and plans to disappear on his sailboat with his wife. This does not sit well with Joe's fence, Mickey Bergman, who runs a garment business as a front. After accruing a number of expenses in setting up another robbery, Bergman decides to withhold the payment due to Joe and his crew. He insists they go through with the other job, robbing an airplane carrying a large shipment of gold. Bergman further insists that his nephew, Jimmy Silk, be a part of the crew. Joe accepts, but a series of shifting loyalties changes the complexity of their task, including Jimmy's interest in Joe's wife and Bergman and Jimmy's belief that Joe's skills are declining. While setting up the plan for the robbery, they are stopped by a passing police officer. While Joe and Bobby talk the officer into leaving, an agitated Jimmy draws his gun but is stopped by Pinky. Joe forces the team out of finishing the job after he finds out that Pinky did not destroy the getaway car, covered in the team's fingerprints. Bergman does not accept the team's departure and forces them to finish the job. The plane robbery is a series of misdirects. Pinky poses as a guard while Joe, Bobby and Jimmy pose as airport security personnel. They stop the jet, pretending to be responding to an emergency. They fill a van with what they take from the plane, then move the van to a rented garage on the airport grounds, where they re-brand it and call for a tow truck to have it hauled away. Jimmy betrays the others to steal the gold and Fran. He knocks out Joe and tells Fran he knew Joe changed the plan. He and Fran take the van, but Jimmy finds out that the hidden compartments are filled with metal washers. Joe avoids arrest and returns to the plane in disguise. He and Bobby remove a shipment of goods they had booked on board the same Swiss flight, which they insist now must be driven to its destination due to the plane's delay. Inside the shipment is the stolen gold, which Joe and Bobby melt into long rods. Bergman apprehends Pinky, who is walking his niece to the school bus. Pinky discloses the plan in order to save his niece, but he tips off Joe with a code word during a phone call and is killed. Bergman and his crew arrive at Joe's sailboat along with Jimmy and Fran, where they hold Joe at gunpoint. They assume that the boat's golden railings are the gold. Fran leaves with Jimmy, pleading with Bergman to let Joe go. Just as Bergman discovers that the railings are not the gold, a hidden Bobby opens fire. Bergman's men are killed and Joe kills Bergman. Bobby gives Joe the address to send his share. Joe waits to meet Fran with a truck filled with black-painted rods, but Fran, having switched sides, holds up Joe with Jimmy, taking that truck. Joe gets into a second truck to leave. A black bar in the truck scrapes the garage door, revealing gold underneath. Joe lifts a tarp in the truck bed, revealing the gold rods. He covers the rods with a tarpaulin and drives away.

Richard Jewell_2019

tt3513548

<script> <scene> <character>RICHARD JEWELL</character> <dialogue>written by</dialogue> <dialogue>Billy Ray</dialogue> <scene_description>based upon the article AMERICAN NIGHTMARE: THE BALLAD OF RICHARD JEWELL by Marie Brenner and based upon the book THE SUSPECT by Kent Alexander and Kevin Salwen</scene_description> <character>FULL BLUE</character> <scene_description>ON TWO FBI AGENTS TOM SHAW and DAN BENNET, seated on the edge of a coffee table in this RURAL APARTMENT, uncomfortably close TO us -- staring AT us.</scene_description> <character>SHAW</character> <dialogue>Okay, Richard. I'm going to hand you this phone now...</dialogue> <scene_description>Shaw is 45. Grim as hell, he dials a PHONE, hands it TO us. We are:</scene_description> <character>INT. BOBI'S APT. (GEORGIA) - DAY (1996)</character> <dialogue>RICHARD JEWELL, seated opposite them on a sofa, eyes the phone. He's 34, Georgian, shy, stocky, unathletic (and -- if these feds are right -- a killer, a mad bomber).</dialogue> <character>SHAW</character> <dialogue>When you hear a BEEP on the other end, I want you to say into it, 'There is a bomb in Centennial Park. You have thirty minutes.'</dialogue> <character>JEWELL</character> <dialogue>I'm sorry, what?</dialogue> <character>BENNET</character> <dialogue>We need a voice exemplar. Like ya to say it a few times.</dialogue> <character>SHAW</character> <dialogue>'There is a bomb in Centennial Park. You have thirty minutes.' Might be the only way to clear your name, Richard.</dialogue> <character>JEWELL</character> <dialogue>I wanna help you fellas. I'm law enforcement, too, same as you.</dialogue> <character>SHAW</character> <dialogue>Then you should know better than anyone else how evidentiary something like this could be.</dialogue> <parenthetical>(as Jewell tightens)</parenthetical> <dialogue>'There is a bomb in Centennial Park. You have thirty minutes.' Might be the only way to clear your name, Richard.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY It's not a request. The phone BEEPS. Jewell takes it, steels himself. Then, quietly --</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <character>SHAW</character> <dialogue>Good. Again, please. Louder.</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <character>SHAW</character> <dialogue>Again. In fact, let's just do a series.</dialogue> <scene_description>Jewell tightens, perspiring. We PUSH IN ON HIM as:</scene_description> <character>JEWELL</character> <dialogue>There is a bomb in Centennial Park. You have thirty minutes. There is a bomb in Centennial Park. You have thirty minutes. There is a bomb in Centennial Park. You have thirty minutes. There is a bomb in Centennial Park. You have thirty minutes. There is a --</dialogue> <character>SLAM CUT TO BLACK.</character> <dialogue>OVER BLACK</dialogue> <character>SUPERIMPOSE:</character> <dialogue>10 YEARS EARLIER -- 1986 -- ATLANTA, GA.</dialogue> </scene> <scene> <stage_direction>INT. U.S. SMALL BUSINESS ADMIN. - SUPPLY ROOM - DAY</stage_direction> <scene_description>Jewell, 50 clipboard in hand, carefully catalogues AISLES of pens, tape, etc. Supplies are his domain. He wears a uniform top and khakis. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. U.S. SMALL BUSINESS ADMIN. - SUITE/BRYANT'S OFFICE -</stage_direction> <character>DAY</character> <dialogue>Jewell pushes his SUPPLY CART through the suite like an unseen shadow -- offering a shy smile to all he sees. He's just passing by some lawyer's OPEN OFFICE DOOR, when:</dialogue> <dialogue>... he hears half of a PHONE CONVERSATION from within -- that UNSEEN LAWYER shredding someone:</dialogue> <character>UNSEEN LAWYER (O.S.)</character> <dialogue>I don't GIVE a damn! You are violating the most basic and sacred rights of business owner who doesn't have the means to fight you! So I'm going to fight you. And I'm going to bury you until you do right by her!</dialogue> <scene_description>Whoever this guy is, he's fearless. Jewell stays in place.</scene_description> <character>UNSEEN LAWYER (O.S.)</character> <dialogue>Listen, if you wanna threaten me, do it to my face. We're at 233 Peachtree. 19th floor. C'mon by, we validate.</dialogue> <parenthetical>(then; calmly)</parenthetical> <dialogue>Good talking to you, too, Senator.</dialogue> <scene_description>Senator? Whoa. The call ends, Jewell FROZEN outside the door. He starts to push his CART away, just as -- oh, no -- Unseen Lawyer, WATSON BRYANT, leans out of that office:</scene_description> <character>BRYANT</character> <dialogue>Who are you?</dialogue> <scene_description>Bryant is 35, a Southern preppy in a three-piece suit. Jewell tightens, caught.</scene_description> <character>JEWELL</character> <dialogue>I'm Richard, sir. I'm sorry I was listening. I don't want you to think I'm rude. I'm not like that.</dialogue> <character>BRYANT</character> <dialogue>You always start every sentence with 'I'?</dialogue> <scene_description>Jewell reddens a bit, Bryant enjoying the guy's torment. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Sorry. I'm the supply room clerk.</dialogue> <character>BRYANT</character> <dialogue>Good. I need some more ta--</dialogue> <character>JEWELL</character> <dialogue>-- Second drawer of your desk, sir. Tape and a new box of pens.</dialogue> <scene_description>Huh? Bryant crosses to his DESK, opens the second drawer. Tape awaits. And a new box of pens. He eyes Jewell.</scene_description> <character>JEWELL</character> <dialogue>Saw you were running low. Look in the next drawer down.</dialogue> <scene_description>Bryant opens the bottom drawer. Five SNICKERS BARS stare back at him. He studies Jewell, almost spooked.</scene_description> <character>BRYANT</character> <dialogue>How'd you know I liked Snickers?</dialogue> <character>JEWELL</character> <dialogue>Saw wrappers in your trash can.</dialogue> <character>BRYANT</character> <dialogue>Richard, from now on, your name is 'Radar.'</dialogue> <scene_description>That felt like a compliment. Jewell half-smiles...</scene_description> </scene> <scene> <stage_direction>INT. ARCADE - DAY</stage_direction> <scene_description>Jewell fires a GUN -- his stance professional, his focus singular and sober, his eyes cold. BANG! BANG! But: The gun is PLASTIC, and he's firing at a VIDEO SCREEN -- the only adult in this MALL ARCADE filled with KIDS. Down goes a bad guy, then another. BELLS RING! He's just set a "NEW RECORD SCORE!" Kids in here turn. One of them (JASPER, 10) eyes Jewell: TEACH ME! PLEASE!</scene_description> <character>JEWELL</character> <parenthetical>(still firing)</parenthetical> <dialogue>I leave the blue invaders be. Waste of ammo.</dialogue> <character>JASPER</character> <dialogue>Whoa. Thanks...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY That's Jewell: an arcade hero. He glances to his right and FREEZES awkwardly -- just saw someone entering: It's Bryant, entering this same arcade -- a large soda from Chick-fil-A in hand. Bryant pauses, wasn't expecting to see Jewell here. But now he'd look like a shit if he walked away, so... He reluctantly drifts toward Jewell, who fires again.</scene_description> <character>BRYANT</character> <dialogue>Nice shooting, Radar. Come here often?</dialogue> <character>JEWELL</character> <dialogue>It's practice for my career in law enforcement, sir. APD, FBI.</dialogue> <character>BRYANT</character> <dialogue>What the hell would ya wanna do that for?</dialogue> <scene_description>An instant distaste for authority. Jewell notes it.</scene_description> <character>JEWELL</character> <dialogue>Believe in protectin' people, sir.</dialogue> <scene_description>Bryant puts coins in the neighboring machine, starts firing. That fast, they're side-by-side, semi-competing.</scene_description> <character>JEWELL</character> <dialogue>I study the Penal Code every night.</dialogue> <character>BRYANT</character> <dialogue>Is that so?</dialogue> <parenthetical>(keeps firing)</parenthetical> <dialogue>What's the violation number for public intoxication?</dialogue> <character>JEWELL</character> <dialogue>OCGA 16-11-1, sir.</dialogue> <character>BRYANT</character> <parenthetical>(mildly threatened)</parenthetical> <dialogue>Domestic battery?</dialogue> <character>JEWELL</character> <dialogue>OCGA 16-5-23.</dialogue> <scene_description>Jewell is rattling all of this off while kicking Bryant's ass in the video game. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>You're pretty methodical.</dialogue> <character>JEWELL</character> <dialogue>I do like to go from A to B to C to D. This going from A straight to D and arguing over everything, I say no.</dialogue> <scene_description>Bryant's GAME ends. Jewell throws a quick look at Bryant's score, trying to be charitable.</scene_description> <character>JEWELL</character> <dialogue>That's pretty good for a first time.</dialogue> <character>BRYANT</character> <dialogue>First time? Ya know what?</dialogue> <scene_description>Bryant reaches into his pocket, pulls out EIGHT QUARTERS, slams them down. A challenge. Jewell notes them.</scene_description> <character>JEWELL</character> <dialogue>They only gimme a half-hour for lunch, sir.</dialogue> <character>BRYANT</character> <dialogue>You can say you were with me.</dialogue> <scene_description>He pumps another quarter into the machine. Game on. We DROP --</scene_description> <character>OUTSIDE THE ARCADE</character> <dialogue>LOOKING IN on them -- two "grown men" in a video shootout. Loving it...</dialogue> </scene> <scene> <stage_direction>INT. U.S. SMALL BUSINESS ADMIN. - LAW LIBRARY - NIGHT</stage_direction> <scene_description>Jewell, no cart tonight, drifts through the STACKS -- law books, criminal codes. Then he STOPS:</scene_description> <character>JEWELL</character> <dialogue>Mister Bryant?</dialogue> <scene_description>REVEAL Bryant, at a table, reading. He looks up, annoyed.</scene_description> <character>BRYANT</character> <dialogue>Yes?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>I'm not gonna be workin' here anymore. Came t'say bye.</dialogue> <parenthetical>(off Bryant's surprised)</parenthetical> <dialogue>I got a new job in security. Start tomorrow.</dialogue> <character>BRYANT</character> <dialogue>That's great, Radar! It's law enforcement, like you wanted.</dialogue> <character>JEWELL</character> <dialogue>Yeah. My mom's taking me out tonight to buy some neckties and stuff. Gotta dress right.</dialogue> <character>BRYANT</character> <dialogue>I suppose you do.</dialogue> <character>JEWELL</character> <dialogue>Goin' to T.J. Maxx. Anyway, thanks. For everything --</dialogue> <scene_description>He starts toward Bryant, who tightens. Is he going to hug me? Ask me to adopt him? Bryant bracing -- But Jewell simply lays something on the table -- A SNICKERS BAR. Bryant stares at it.</scene_description> <character>JEWELL</character> <dialogue>Saw you were running low...</dialogue> <scene_description>Jewell's shy, odd kindness again. Bryant eyes him.</scene_description> <character>BRYANT</character> <dialogue>Ya got enough money, Richard? For all those neckties you need?</dialogue> <character>JEWELL</character> <dialogue>I guess.</dialogue> <scene_description>Bryant extracts his wallet and pulls out a $100 bill. Jewell's eyes go wide. Bryant hands the $100 to Jewell.</scene_description> <character>JEWELL</character> <dialogue>I don't underst--</dialogue> <character>BRYANT</character> <dialogue>This comes with a quid pro quo. Ya know what that is?</dialogue> <character>JEWELL</character> <dialogue>Yeah, Latin. This for that.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>That's right. Fair exchange. So, here it is: When you get your badge -- and I can see that day is coming -- don't become an asshole.</dialogue> <character>JEWELL</character> <dialogue>Huh? Why would I become an...</dialogue> <character>BRYANT</character> <dialogue>A little power can turn a person into a monster, Richard. Don't let that happen to you. Understand?</dialogue> <scene_description>Jewell has NO idea how to respond. Bryant just stares.</scene_description> <character>JEWELL</character> <dialogue>I'll get this back to you, sir. First paycheck. I promise.</dialogue> <scene_description>Bryant breathes out a disappointed/ironic smile, well aware that nothing he said has sunk in.</scene_description> </scene> <scene> <stage_direction>INT. PIEDMONT COLLEGE - DORMITORY - HALLWAY/ROOM 201 -</stage_direction> <character>AFTERNOON (1996) \*</character> <dialogue>TIGHT SHOTS of a COP: Badge. Maglite. Nightstick. Danner APB police boots. Taser. SIDEARM. Serious shit. He is:</dialogue> <dialogue>Jewell, 10 YEARS LATER, the most serious CAMPUS COP ever, scowling his way down a DORMITORY HALLWAY toward a room.</dialogue> <character>SUPERIMPOSE:</character> <dialogue>1996 -- PIEDMONT UNIVERSITY.</dialogue> <scene_description>He raps on ROOM 201's door with his NIGHTSTICK. We hear the SHATTERING of a BOTTLE within. And drunk LAUGHTER as:</scene_description> <character>STUDENT #1 (O.S.)</character> <dialogue>You dumbass!</dialogue> <character>STUDENT #2 (O.S.)</character> <dialogue>I got flustered! Get the door!</dialogue> <scene_description>They crack up. Jewell raps again; doesn't think drinking on campus is funny. At all. The door opens, but -- STUDENT #1 sees Jewell and SHUTS THE DOOR AGAIN. We hear:</scene_description> <character>STUDENT #1 (O.S.)</character> <dialogue>It's that rent a cop!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>STUDENT #2 (O.S.)</character> <dialogue>Shit!</dialogue> <scene_description>A beat. Jewell waiting. The door opens again... and:</scene_description> <character>STUDENT #1</character> <dialogue>Yes, Officer?</dialogue> <scene_description>Jewell doesn't speak -- just pushes the door open with his NIGHTSTICK, very Clint Eastwood... then enters. Silence. The broken BOTTLE OF SCOTCH lies on the floor. He notes the BEER POSTERS on the walls. Shakes his head, brushes aside a chunk of wet glass with his police boot. And the kids lose it, laughing aloud. Jewell really hates that. He gets in Student #1's face, too close:</scene_description> <character>JEWELL</character> <dialogue>Somethin' you wanted t'say?</dialogue> <character>STUDENT #1</character> <dialogue>Yes, are you familiar with the notion of unlawful search and --</dialogue> <character>JEWELL</character> <dialogue>-- Keep pushing me. Keep testing me. See if you like where it gets you.</dialogue> <scene_description>Jewell leans in. Student #1 steps back, but slips and falls backward to the floor. THUMP. He's unhurt -- but Jewell is instantly panicked: I almost hurt someone. Silence hangs. The kids don't know what to do. Jewell tries to cover with bravado, but it's an act:</scene_description> <character>JEWELL</character> <dialogue>I told you, no drinking on my campus. Remember? Now get up.</dialogue> </scene> <scene> <stage_direction>INT. PIEDMONT COLLEGE - CLEERE'S OFFICE - DAY</stage_direction> <scene_description>Jewell sits opposite DR. W. RAY CLEERE, 60, the PRESIDENT of this college. Cleere studies Jewell's thick FILE.</scene_description> <character>CLEERE</character> <dialogue>I don't know why no one called my attention to your file before. All these complaints about you. Physically assaulting a student. And have you really been pulling people over on the highway?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Yes, I have, sir. Figured if you do drunk tests on the road, the trouble never gets to the campus.</dialogue> <character>CLEERE</character> <dialogue>We don't have any jurisdiction on the highway.</dialogue> <character>JEWELL</character> <dialogue>I believe in law and order, sir. Can't have a country without it.</dialogue> <character>CLEERE</character> <parenthetical>(re: file)</parenthetical> <dialogue>You were dismissed from the Habersham County Sheriff's Office?</dialogue> <character>JEWELL</character> <dialogue>-- You said you didn't want any Mickey-Mousing on your campus.</dialogue> <character>CLEERE</character> <dialogue>When did I say that?</dialogue> <character>JEWELL</character> <dialogue>Founders' Day, last year. Remember, sir? By the punch bowl. I introduced myself and told you I was gonna be the best campus officer you ever saw. You said, 'That's fine. I don't want any Mickey-Mousing on these grounds.'</dialogue> <scene_description>Jewell takes out his OFFICIAL NOTEPAD, opens it:</scene_description> <character>JEWELL</character> <dialogue>'No Mickey-Mousing on these grounds.' See? You said it. Now, what about the kids in that dormitory, drinkin' and everything? You just gonna let that go on?</dialogue> <character>CLEERE</character> <dialogue>Do you want to resign -- or would it be better if I fired you?</dialogue> </scene> <scene> <stage_direction>EXT. RIFLE RANGE (ATLANTA) - DAY</stage_direction> <scene_description>Meet DAVE DUTCHESS blasting away with a DEER RIFLE. Jewell's in the next lane with a Rambo-worthy SIG-400 ASSAULT RIFLE. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>DUTCHESS</character> <dialogue>It was a shit job anyway, hassling college brats. 'Sides, there's gonna be so much security work the next couple months, you're set.</dialogue> <character>JEWELL</character> <dialogue>I worked hard at that job. Those kids were just runnin' wild.</dialogue> <character>DUTCHESS</character> <dialogue>Olympics're comin', brother. You can police the whole world!</dialogue> </scene> <scene> <stage_direction>EXT. UNNAMED ALLEY (ATLANTA) - NIGHT</stage_direction> <scene_description>A DEAD MAN lies in an ALLEY. Stab wounds all over him. KATHY SCRUGGS eyes the body dispassionately. She's 35, beauty-pageant pretty. Blonde hair, blue eyes. Brassy, sexy, and profane. Also a dogged and prolific reporter.</scene_description> <character>KATHY</character> <dialogue>First dead body?</dialogue> <scene_description>Beside her is a YOUNG PHOTOGRAPHER who just might vomit. But Kathy looks gleeful, breathing in the ugliness.</scene_description> <character>KATHY</character> <dialogue>This part is crucial. It's called the Homicide High-Step.</dialogue> <scene_description>She straddles the body carefully, respecting the crime scene.</scene_description> <character>KATHY</character> <dialogue>Don't worry. I've got a gun in my glove compartment.</dialogue> <scene_description>That didn't help. Kathy uses a PEN to peel back the victim's COAT, revealing a disembodied FINGER.</scene_description> <character>KATHY</character> <dialogue>Yep. Pinkie came clean off. That happens in stabbings sometimes.</dialogue> <scene_description>Photographer swallows a gag. Kathy loves that.</scene_description> <character>YOUNG PHOTOGRAPHER</character> <dialogue>Isn't there something pre-Olympic we could be doing right now?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>KATHY</character> <dialogue>Honey, there'll be 15,000 reporters in town to cover the Games. Shouldn't somebody tell this poor shithead's story?</dialogue> <character>YOUNG PHOTOGRAPHER</character> <dialogue>Not much for sentiment, I guess.</dialogue> <character>KATHY</character> <dialogue>His disaster could be your opportunity. Now click away.</dialogue> <scene_description>Just then, a SQUAD CAR pulls up. And two COPS get out... not surprised to see that Kathy has beaten them here.</scene_description> <character>KATHY</character> <dialogue>Fellas! What took y'all so long?</dialogue> </scene> <scene> <stage_direction>INT. AJC BUILDING - 8TH FLOOR - NEWSROOM - DAY</stage_direction> <scene_description>Welcome to the ATLANTA JOURNAL-CONSTITUTION (the "AJC"). Busy. Tense. A mounted DIGITAL CLOCK is counting down: 2 Days, 4 Hours, 6 Minutes, 32 Seconds, 31, 30... until the lighting of the torch. And this paper is ready as -- Kathy storms through the newsroom toward BRANDON HAMM.</scene_description> <character>HAMM</character> <dialogue>Oh, shit. What'd he assign you?</dialogue> <character>KATHY</character> <dialogue>The 'Celebrations at Centennial Park!' Woo-hoo. Something finally happens in this city and I get a Kenny Rogers concert!</dialogue> <character>HAMM</character> <dialogue>Could be worse. Could be Equestrian.</dialogue> <character>KATHY</character> <dialogue>I'm getting my tits done. Soon.</dialogue> <character>HAMM</character> <dialogue>Not sure how that applies here --</dialogue> <character>KATHY</character> <dialogue>By this time next year we're all gonna be scrambling for jobs on TV. Maybe a C-cup?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY She does a mini-shimmy. A few FEMALE REPORTERS two desks away look on disapprovingly. Hamm smiles.</scene_description> <character>HAMM</character> <dialogue>I'd miss you, Kathy. Even if they wouldn't.</dialogue> <character>KATHY</character> <parenthetical>(loud; at the women)</parenthetical> <dialogue>Girls, I'm sorry all my hot-ass murders keep knocking your boring bullshit off the front page!</dialogue> <parenthetical>(at Hamm)</parenthetical> <dialogue>Wanna get a drink?</dialogue> <character>HAMM</character> <dialogue>I'd only slow you down.</dialogue> <scene_description>She walks away. Hamm grins.</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - OFFICE - SAME TIME</stage_direction> <scene_description>Tom Shaw is seething. Glaring. Just got assigned to:</scene_description> <character>SHAW</character> <dialogue>'Centennial Park'? What the fuck!</dialogue> </scene> <scene> <stage_direction>INT. BRYANT'S LAW OFFICE - RECEPTION/OFFICE - MORNING</stage_direction> <scene_description>A cramped RECEPTION DESK manned by NADYA LIGHT: lovely, fierce, Jewish, Russian-born, has a mini TV on her desk. To her right is a COPIER IN A CLOSET. To her left is -- Bryant, in a TINY OFFICE, wearing HIKING SHORTS and a polo shirt, his receding hairline hidden under a BALL CAP. Reading a novel. His view is a BRICK WALL. No more U.S. Small Business Admin. No more 3-piece suits. A SIGN on his credenza reads, "I Fear Government More Than I Fear Terrorism." What happened to him? Something's off here. Nadya leans in -- she's got a great Russian accent:</scene_description> <character>NADYA</character> <dialogue>Watson, we're out of toner.</dialogue> <character>BRYANT</character> <dialogue>Okay.</dialogue> <scene_description>She waits for him to understand. He doesn't. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>NADYA</character> <dialogue>If I go out, you'll have to answer the phones.</dialogue> <character>BRYANT</character> <dialogue>Oh. I'll go, then. Thank you.</dialogue> <character>NADYA</character> <dialogue>There's a sale at the Walmart. Ten percent off if you can name anyone from the U.S. Olympic Team.</dialogue> <character>BRYANT</character> <parenthetical>(reflex-grumpiness)</parenthetical> <dialogue>Jesus.</dialogue> <character>NADYA</character> <dialogue>I know: people smiling for sixteen days. It's going to be awful.</dialogue> <character>BRYANT</character> <dialogue>No, it's going to be WONDERFUL. For Coca-Cola, CNN... and anyone with a parking lot.</dialogue> <scene_description>Out he goes.</scene_description> </scene> <scene> <stage_direction>EXT. BOBI'S APT. BLDG. - PARKING LOT/GROUNDS - DAY</stage_direction> <scene_description>A huge, EMPTY parking lot, ringed by low-rent two-story structures and woods. A half-empty, brush-filled swimming pool sits close by the HIGHWAY.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - LIVING ROOM/KITCHEN - MORNING</stage_direction> <scene_description>We've been here before. A PLAQUE says, "A Home Without a Dog is just a House." A PORTRAIT of Jewell (in a HABERSHAM COUNTY DEPUTY SHERIFF's uniform) hangs on the \* wall. Jewell, in a polo shirt with an AT&amp;T LOGO on the front -- ("SECURITY" across the back) eats a DONUT while watching a TV REPORT on MICHAEL JOHNSON, World's Fastest Human. BARBARA "BOBI" JEWELL, mom, is baking five POUND CAKES, a side business. Her dog BRANDI hovers.</scene_description> <character>BOBI</character> <parenthetical>(from the kitchen)</parenthetical> <dialogue>Can you believe it's really here? An Olympics! In our city!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <parenthetical>(from the sofa)</parenthetical> <dialogue>This is it, Momma. My one moment in time. I prove myself, somebody'll make me a cop again.</dialogue> <character>BOBI</character> <dialogue>That's right, baby.</dialogue> <scene_description>Bobi hobbles (bad foot) to the sink. Jewell drifts in.</scene_description> <character>JEWELL</character> <dialogue>I been thinking. I'm not gonna move out 'til after you've had your surgery. You might need me around. Would that be all right?</dialogue> <character>BOBI</character> <dialogue>You get goin' now. We can tend to all that when the Games are over. But none of that heavy foot of yours driving there. No heavy foot!</dialogue> <character>JEWELL</character> <dialogue>I won't, ma'am. I won't, Mother.</dialogue> <character>BOBI</character> <dialogue>'Cause why?</dialogue> <character>JEWELL</character> <dialogue>'Cause wherever I'm goin' it'll still be there ten minutes later.</dialogue> <character>BOBI</character> <dialogue>That's right. Give Momma a kiss.</dialogue> <scene_description>He obeys. Bobi smiles. Then, a moment of doubt --</scene_description> <character>JEWELL</character> <dialogue>It is law enforcement, ain't it? Even if I'm just guardin' a bunch of stereo equipment.</dialogue> <character>BOBI</character> <dialogue>Heck, yes! You're still a good guy wardin' off bad guys, ain't ya?</dialogue> <character>RICHARD</character> <dialogue>OK mama, I'll see you at the park.</dialogue> <scene_description>Jewell smiles; Bobi's his rock. He starts to head out. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY FLAME</scene_description> <character>NEARLY BLINDING US...</character> <dialogue>REVEAL: NBC'S BROADCAST -- MUHAMMAD ALI lighting the Olympic Torch with an entire stadium cheering.</dialogue> <character>INTERCUT WITH:</character> <dialogue>BEAUTIFUL OVERHEAD SHOTS</dialogue> <dialogue>Pageantry.</dialogue> <dialogue>The Games of Atlanta, 1996, have begun. Then --</dialogue> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK (ATLANTA) - NIGHT (ESTABLISHING)</stage_direction> <scene_description>FIREWORKS light up a night sky over this park. It is the place to celebrate. Every night of these games. 60,000 PEOPLE on 21 acres rimmed by downtown high-rises. A giant neon COCA-COLA SIGN atop the tallest of them. FOUNTAINS spurt water into the air; KIDS run through. Joy. Pride. And KENNY ROGERS in concert! People dance, sing, pose for PICTURES. Shirtless men, girls in tank tops. A hot, sexy night, America hosting the world. A GUY calls out --</scene_description> <character>GUY</character> <dialogue>PARTY OF THE CENTURY, BABY!</dialogue> <scene_description>Bobi laughs as she sings along with "The Gambler" on stage. Clapping. So much fun. The stage is run from a SOUND AND LIGHT TOWER 100 feet away -- 5 stories of steel, covered with white plastic siding. KIDS gather here, on benches, swapping OLYMPIC PINS. But we don't see much SECURITY. Gates are unmanned. The entries are porous. Targets everywhere, unprotected. Tom Shaw is here. So bored. And angry about it. He spots Kathy Scruggs, equally bored. Heads over.</scene_description> <character>SHAW</character> <dialogue>Hello, Kathy.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>KATHY</character> <dialogue>Welcome to the Happiest Place on Earth! Fucking nightmare. Isn't there anything crime-y goin' on anywhere?</dialogue> <character>SHAW</character> <dialogue>Hell if I know. I'm here.</dialogue> <character>KATHY</character> <dialogue>Christ. Wanna dance?</dialogue> <character>SHAW</character> <dialogue>Love to, but I'm on duty.</dialogue> <character>KATHY</character> <dialogue>Fuck duty.</dialogue> <scene_description>She starts to dance up against him. He grins.</scene_description> </scene> <scene> <stage_direction>INT. AT&amp;T SOUND AND LIGHT TOWER - STAIRWELL/3RD FLOOR -</stage_direction> <character>SAME TIME</character> <dialogue>Jewell, in his SECURITY GUARD shirt, lugs VIDEO EQUIPMENT up stairs behind NBC cameraman, into:</dialogue> <character>CAMERAMAN</character> <dialogue>Anywhere's fine. Thanks, man.</dialogue> <character>JEWELL</character> <dialogue>No trouble. You need anything else up here?</dialogue> <scene_description>SEVERAL TECHS are busily working. They wave, no thanks.</scene_description> </scene> <scene> <stage_direction>INT. AT&amp;T SOUND AND LIGHT TOWER - STAIRWELL - MOMENTS</stage_direction> <character>LATER</character> <dialogue>Jewell descends... to find TWO OTHER SECURITY GUARDS (ROB and LONNY) scrawling GRAFFITI on the stairwell steps.</dialogue> <character>JEWELL</character> <dialogue>What're you guys doing?</dialogue> <character>ROB</character> <dialogue>Leavin' our mark.</dialogue> <scene_description>Here's what they wrote: "Welcome to the Coca-Cola Olympics!" And "American by Birth, Southern by the Grace of God." 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>First Olympics the South's ever had and you guys do that? Didn't your folks teach you any better?</dialogue> <parenthetical>(as they shrug)</parenthetical> <dialogue>Life's tough. Tougher when you're stupid.</dialogue> </scene> <scene> <stage_direction>EXT. AT&amp;T PAVILION - SOUND AND LIGHT TOWER - NIGHT</stage_direction> <scene_description>Music blares. Jewell stands guard, vigilant and alert. A PREGNANT WOMAN walks by. Jewell's reaction is instant:</scene_description> <character>JEWELL</character> <dialogue>Do you need some water, ma'am?</dialogue> <character>PREGNANT WOMAN</character> <dialogue>Hmmm?</dialogue> <character>JEWELL</character> <dialogue>Water? It's a warm night.</dialogue> <scene_description>He reaches UNDER a bench where HIS COOLER sits. Inside, WATER and COKES on ice. He grabs one of each.</scene_description> <character>PREGNANT WOMAN</character> <dialogue>You're just giving 'em away?</dialogue> <character>JEWELL</character> <dialogue>I keep 'em here for pregnant women and police officers.</dialogue> <scene_description>She takes the water, a bit suspect of his Boy-Scoutness.</scene_description> <character>PREGNANT WOMAN</character> <dialogue>Thanks.</dialogue> <character>JEWELL</character> <dialogue>Have a good night.</dialogue> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - NEAR THE STAGE - SAME TIME</stage_direction> <scene_description>Music rocking. Kathy dances, tipsy/sexy... Shaw is a few feet away, trying to scan the crowd.</scene_description> <character>KATHY</character> <dialogue>Why so grim, big guy?</dialogue> <character>SHAW</character> <dialogue>'Cause I'm bored.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>KATHY</character> <dialogue>We're all bored.</dialogue> <character>SHAW</character> <dialogue>Yeah, but I was born for better.</dialogue> <scene_description>Kathy laughs, keeps dancing.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - GRASSY KNOLL - SAME TIME</stage_direction> <scene_description>Three ATLANTA PD COPS (MAX GREEN, MIKE SILVER, and WILL JONES) grouse with BILL MILLER of the Georgia Bureau of Investigation (GBI). Jewell approaches, handing them each a COKE. They nod, as:</scene_description> <character>SILVER</character> <dialogue>All these athletes complainin' 'bout gettin' to their venues late on account of the traffic, and I'm thinkin', 'What about the COPS? We can't get anywhere, either.'</dialogue> <character>JONES</character> <dialogue>I was half-ready to run my siren last night just so I could get to the supermarket, so damn crowded.</dialogue> <scene_description>PEOPLE AMBLE PAST -- the cops barely paying attention.</scene_description> <character>MILLER</character> <dialogue>It's just poor planning by the Olympic Committee. There ain't a one of them jake-legs has got a damn clue about traffic patterns.</dialogue> <character>GREEN</character> <parenthetical>(knows already)</parenthetical> <dialogue>Whadda you think, Richard? You think that committee's a buncha jake-legs?</dialogue> <character>JEWELL</character> <dialogue>I don't know. They got a heckuva job to do, coordinating all this. And MARTA, don't forget. I'm glad I don't hafta do it.</dialogue> <parenthetical>(as the cops chuckle)</parenthetical> <dialogue>What? It's tough to get all this logistics right all the time.</dialogue> <character>GREEN</character> <dialogue>Shit, Richard, they ain't listening in on us.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY They laugh. Then something turns Jewell's head: A WHITE MALE, bearing a BACKPACK, walking BY us -- LONG HAIR, tattoos beneath a TANK TOP, and sunglasses. Something about him -- and that backpack...</scene_description> <character>JEWELL</character> <dialogue>Hey, any'a you-all ever seen that guy before?</dialogue> <scene_description>The cops shake their heads, unalarmed. Jewell thinking.</scene_description> <character>JEWELL</character> <dialogue>That backpack look funny to you?</dialogue> <character>GREEN</character> <dialogue>Funny how?</dialogue> <scene_description>Jewell doesn't reply, just drifts toward the WHITE MALE. The COPS laugh. We STAY WITH JEWELL -- passing through:</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - CROWD - CONTINUOUS ACTION</stage_direction> <scene_description>No one's on stage; "MACARENA" plays over loudspeakers, the CONCERT CROWD dancing. But not Jewell. His eyes are riveted on that WHITE MALE, bearing that BACKPACK through the thick crowd. ... right past Kathy. And Shaw. ... Jewell gets closer, White Male reaches the barrier near the stage. Now Jewell KNOWS something's wrong. White Male takes off his backpack, starts to unzip it. Time to move. NOW. Jewell pushes past people in the crowd. White Male pulls a BEER from the backpack. Then another beer, then two more. Oh. Jewell freezes. The White Male turns to his friends and surprises them with beers. Jewell realizes he was wrong, is embarrassed.</scene_description> <character>DISSOLVE TO:</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - JEWELL'S ROOM/LIVING ROOM - AFTERNOON</stage_direction> <scene_description>Jewell sits on his bed, ill today -- nauseous, pale, and sweaty -- wearing his AT&amp;T SECURITY shirt. Bobi watches more Olympic coverage: TOM BROKAW of NBC.</scene_description> <character>BOBI</character> <dialogue>My, he is handsome. You don't want a sandwich or anything, Baby?</dialogue> <character>JEWELL</character> <dialogue>Naw, I don't feel well, Momma. My stomach.</dialogue> <character>BOBI</character> <dialogue>Somethin' you ate?</dialogue> <character>JEWELL</character> <dialogue>Guess so.</dialogue> <character>BOBI</character> <dialogue>Why you eat at those places...</dialogue> <scene_description>He eyes this tiny apartment, angry at himself...</scene_description> <character>BOBI</character> <dialogue>What, baby?</dialogue> <character>JEWELL</character> <dialogue>Nothin'. Just... World owes you better 'n this, Momma.</dialogue> <character>BOBI</character> <dialogue>World owes us both. But this is what we got. Now go do your job.</dialogue> <scene_description>Bobi pulls him close.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T SOUND AND LIGHT TOWER - NIGHT</stage_direction> <scene_description>Another 60,000-PERSON PARTY, like an Olympic Town Square. On stage, JACK MACK AND THE HEART ATTACK are playing. Jewell stands his post at the tower, nearly doubled over from cramps. Officer Green kids him about it:</scene_description> <character>GREEN</character> <dialogue>This could be a good thing.</dialogue> <character>JEWELL</character> <dialogue>Yeah? How?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>GREEN</character> <dialogue>We could bring you out to the diving venue and have you fart the Chinese National Anthem.</dialogue> <parenthetical>(as Jewell's a blank)</parenthetical> <dialogue>Why don't you switch shifts with someone? Go home?</dialogue> <character>JEWELL</character> <dialogue>This is my favorite band. I'm okay.</dialogue> <character>GREEN</character> <dialogue>Jack Mack is your favorite band?</dialogue> <character>JEWELL</character> <dialogue>I'll be fine.</dialogue> <scene_description>The raucous crowd cheers. Feels like the whole world is celebrating. Jewell runs off, hurting -- as we: A FAMILY drifts by: The BRADENS -- MOM, DAD, JERROD (8), MARIAH (6). A cotton-candy dream of a night for them.</scene_description> <character>MARIAH</character> <parenthetical>(gymnastic leap)</parenthetical> <dialogue>Look, Mommy! I'm Kerri Strug!</dialogue> <character>MR. BRADEN (DAD)</character> <dialogue>Hold it! Do that again.</dialogue> <scene_description>He grabs his video camera. Mariah happily performs. Mom and dad beam, just a few feet from Jewell's bench. We SEE THE VIDEO THEY'RE SHOOTING -- dark, grainy. Then:</scene_description> </scene> <scene> <stage_direction>EXT. AT&amp;T PAVILION - MOMENTS LATER</stage_direction> <scene_description>Jewell, in knots, cramping, runs up to Bill Miller of GBI:</scene_description> <character>JEWELL</character> <dialogue>I'll be back.</dialogue> <character>MILLER</character> <dialogue>Go!</dialogue> <scene_description>Miller chuckles. Jewell runs for a RESTROOM -- ... right past Tom Shaw, who is ever-watchful... as: Outside the sound and light tower -- Mariah hams it up for the camera. Her brother Jerrod, too, stag-leaping, as: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JERROD</character> <dialogue>Look, Dad! I'm Mitch Gaylord!</dialogue> <scene_description>Dad, right in front of Jewell's BENCH, tapes it all.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - GROUNDS - SAME TIME</stage_direction> <scene_description>Jewell hurries through the crowd -- passing a GAY COUPLE, two MUSLIMS, a SIKH, a MIXED-RACE COUPLE kissing. Foreign LANGUAGES in the air. A BEER gets spilled on his shirt by DRUNK PARTIERS who don't even notice. Jewell tightens and continues along, invisible among the music, the energy, the joy.</scene_description> </scene> <scene> <stage_direction>EXT. AT&amp;T SOUND AND LIGHT TOWER - MINUTES LATER</stage_direction> <scene_description>Little Jerrod does another stag-leap beside his sister.</scene_description> <character>MR. BRADEN</character> <dialogue>Okay. Enough gymnastics?</dialogue> <scene_description>He heads toward them... We notice something, unattended: A MILITARY BACKPACK laying under Jewell's BENCH. It's BIG, olive green. (The Army calls them ALICE PACKS.) Mariah just noticed it. She drifts toward it, curious... reaches out to touch it as --</scene_description> <character>JEWELL (O.S.)</character> <dialogue>'Scuse me.</dialogue> <scene_description>Jewell, returning to his post. Mrs. Braden looks up --</scene_description> <character>MRS. BRADEN (MOM)</character> <dialogue>Mariah! You leave that alone. It isn't yours to play with!</dialogue> <scene_description>Mariah stiffens. Jewell smiles at her.</scene_description> <character>JEWELL</character> <dialogue>Better listen to your ma.</dialogue> <scene_description>Mariah obeys. Jewell now a foot from the ALICE PACK as: SOUNDS echo from the FENCE BEHIND THE AT&amp;T TOWER: drunken LAUGHTER and BOTTLES BREAKING. Jewell heads around the tower. We FOLLOW... to find: TEN DRUNK TEENS throwing empty beer bottles at the back of the sound and light tower. Laughing. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Hey, y'all gotta stop doin' that.</dialogue> <scene_description>They regard him: a heavyset guy in an AT&amp;T shirt.</scene_description> <character>DRUNK TEEN #1</character> <dialogue>What're you gonna do, cancel my phone service?</dialogue> <scene_description>His buddies laugh. A TV CAMERA CREW passes by. The Drunks holler, trying to get the crew's attention.</scene_description> <character>DRUNK TEENS #2</character> <dialogue>Put us on TV!</dialogue> <scene_description>The crew ignores them. Jewell stays on task:</scene_description> <character>JEWELL</character> <dialogue>The cops aren't gonna ask as nicely. They get you for drunk and disorderly, that's cuffs and a night in the lockup.</dialogue> <character>DRUNK TEEN #2</character> <dialogue>They'd have to CATCH me first. Which ain't gonna happen.</dialogue> <character>JEWELL</character> <dialogue>Oh, yeah?</dialogue> <character>DRUNK TEEN #3</character> <dialogue>I'm Michael Johnson, world's fastest man. Wanna see my medal?</dialogue> <scene_description>MORE HUGE LAUGHS. This is a goner. Jewell turns -- walks back around the tower toward Bill Miller of GBI.</scene_description> <character>JEWELL</character> <dialogue>Hey, I got some drunks back there breaking bottles on the tower. Maybe they'll listen to you.</dialogue> <parenthetical>(as Miller groans)</parenthetical> <dialogue>People respect a badge.</dialogue> <scene_description>Miller goes... which is when Jewell STOPS... and NOTICES -- That ALICE PACK under his bench. It's BIG. Very. He studies it, his face blank -- then calls out to Miller:</scene_description> <character>JEWELL</character> <dialogue>And see if any of 'em left a backpack under my bench.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>MILLER</character> <dialogue>What is it with you and backpacks?</dialogue> <scene_description>Jewell shrugs, regarding the ALICE pack. Miller goes...</scene_description> </scene> <scene> <stage_direction>INT. 9-1-1 CALL CENTER - NIGHT</stage_direction> <scene_description>A slow night -- as a 9-1-1 OPERATOR takes a call:</scene_description> <character>9-1-1 OPERATOR #1</character> <parenthetical>(into headset)</parenthetical> <character>9-1-1.</character> <dialogue>She hears a MALE VOICE through a BAFFLING DEVICE:</dialogue> <character>MALE (V.O.)</character> <parenthetical>(through headset)</parenthetical> <dialogue>Can you understand me?</dialogue> <character>9-1-1 OPERATOR #1</character> <parenthetical>(into headset)</parenthetical> <dialogue>Yes.</dialogue> <character>MALE (V.O.)</character> <parenthetical>(through headset)</parenthetical> <dialogue>You defy the order of the militia.</dialogue> <character>9-1-1 OPERATOR #1</character> <parenthetical>(into headset)</parenthetical> <dialogue>What?</dialogue> <scene_description>CLICK. Operator shrugs, annoyed. Back to work.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T SOUND AND LIGHT TOWER - NIGHT</stage_direction> <scene_description>Jewell stares at that ALICE PACK. The concert is just b.g. noise now. He checks his WATCH as Miller returns:</scene_description> <character>MILLER</character> <dialogue>It ain't theirs.</dialogue> <character>JEWELL</character> <dialogue>No?</dialogue> <scene_description>Miller shakes his head. They look around: THOUSANDS of people out here, dancing. But no one close enough to belong to that backpack.</scene_description> <character>JEWELL</character> <dialogue>Okay. We got a suspicious package. Better call it in.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Miller eyes it, unalarmed. But Jewell seems so sure...</scene_description> <character>MILLER</character> <dialogue>Probably just somebody run off drunk and forgot they left it.</dialogue> <character>JEWELL</character> <dialogue>Yeah. Let's call it in anyway.</dialogue> <character>MILLER</character> <dialogue>Shouldn't we unzip it and see what's in there first?</dialogue> <character>JEWELL</character> <dialogue>I wouldn't. There's a protocol.</dialogue> <scene_description>Miller steps toward it... But the closer he gets to the ALICE pack, the bigger it looks. So he STOPS, irritated.</scene_description> <character>MILLER</character> <dialogue>Son of a bitch had to get left under your bench, didn't it.</dialogue> <scene_description>He grabs his radio. Jewell approaches Green of APD:</scene_description> <character>JEWELL</character> <dialogue>We got a suspicious package -- need to clear these people out.</dialogue> <character>GREEN</character> <dialogue>Hang on, hang on. What package?</dialogue> <scene_description>Jewell nods toward the ALICE pack. Green eyes it.</scene_description> <character>GREEN</character> <dialogue>Probably nothing.</dialogue> <character>JEWELL</character> <dialogue>Yeah, but... Need a perimeter.</dialogue> <character>GREEN</character> <dialogue>Shit, Richard. Could be just filled with BEER?</dialogue> <character>JEWELL</character> <dialogue>It ain't beer. I know it.</dialogue> <scene_description>Jewell eyes that TOWER -- the ALICE pack sitting up against its base -- and he heads inside. Green sighs.</scene_description> </scene> <scene> <stage_direction>INT. SOUND AND LIGHT TOWER - 1ST FLOOR - MOMENTS LATER</stage_direction> <scene_description>Jewell rushes in to the SOUND ROOM where FOUR TECHS barely look up from the board. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>We have a situation downstairs. Need you guys to get out of here.</dialogue> <character>SOUND TECH #1</character> <dialogue>What kinda situation?</dialogue> <character>JEWELL</character> <dialogue>A suspicious package in front of the tower. Law enforcement is aware of it and on the scene.</dialogue> <character>SOUND TECH #2</character> <dialogue>Well, if the cops tell us we have to go, we'll go.</dialogue> <parenthetical>(as Jewell eyes them)</parenthetical> <dialogue>Band's in the middle of a set. We can't just shut down.</dialogue> <character>JEWELL</character> <dialogue>I come back here, there'll be no questions, no hesitation. You're just gettin' the hell out, yeah?</dialogue> <scene_description>Everyone nods. He counts the heads in the room. FOUR.</scene_description> </scene> <scene> <stage_direction>EXT. AT&amp;T SOUND AND LIGHT TOWER - BENCH - SAME TIME</stage_direction> <scene_description>The 10 DRUNK TEENS eye the ALICE pack, NO IDEA that it's the reason the cops need a perimeter.</scene_description> <character>DRUNK TEEN #1</character> <dialogue>I think we should take it.</dialogue> <character>DRUNK TEEN #2</character> <dialogue>Fuckin' A.</dialogue> <character>DRUNK TEEN #1</character> <dialogue>I think we should take it to the House of Blues, and see if there's anything in it we can sell.</dialogue> <character>DRUNK TEEN #3</character> <dialogue>Clutch idea.</dialogue> <scene_description>Drunk #1 reaches down, GRABS THE ALICE PACK --</scene_description> <character>SILVER (O.S.)</character> <dialogue>Hey! You leave that alone and get out of here!</dialogue> <scene_description>Drunk #1 releases the ALICE pack. But in the process he moves it without meaning to so it's no longer sitting up. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. SOUND AND LIGHT TOWER - 3TH FLOOR - SAME TIME 32 \*</stage_direction> <scene_description>Cameraman and a TEEN INTERN here. Jewell enters.</scene_description> <character>JEWELL</character> <dialogue>Need you to clear out. Got a bomb scare in front of the tower.</dialogue> <scene_description>That got the Teen's attention, fast. He stands.</scene_description> <character>CAMERAMAN</character> <dialogue>We get bomb threats all the time in D.C. They're never anything.</dialogue> <character>TEEN INTERN</character> <dialogue>Cool for you. But I'm outta here.</dialogue> <scene_description>The kid leaves. Cameraman grabs his CAMERA, follows.</scene_description> </scene> <scene> <stage_direction>EXT. AJC BUILDING - BUS STOP - SAME TIME</stage_direction> <scene_description>Kathy sits on a wall, awaiting a shuttle bus. Bored. RON MARTZ (former Marine, fellow reporter) comes by.</scene_description> <character>MARTZ</character> <dialogue>Local cop discovered yesterday that he's actually second-cousins with a Polish gymnast. Is that a story?</dialogue> <character>KATHY</character> <dialogue>Doesn't get me hard.</dialogue> <character>MARTZ</character> <dialogue>I know. Me neither.</dialogue> <scene_description>Kathy shakes her head.</scene_description> </scene> <scene> <stage_direction>EXT. AT&amp;T SOUND AND LIGHT TOWER - MOMENTS LATER</stage_direction> <scene_description>Jewell emerges, sees Silver of APD. The CONCERT in b.g.</scene_description> <character>JEWELL</character> <dialogue>Got eleven people still inside.</dialogue> <character>SILVER</character> <dialogue>You know this is a false alarm.</dialogue> <scene_description>Jewell smiles thinly as a BOMB DIAGNOSTIC TEAM arrives. Two guys, ZOELLER and FORSYTHE, in shorts, as: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. 9-1-1 CALL CENTER - SAME TIME - 12:58 AM</stage_direction> <scene_description>Another call comes in:</scene_description> <character>9-1-1 OPERATOR #1</character> <parenthetical>(into headset)</parenthetical> <character>9-1-1.</character> <dialogue>Same MALE VOICE -- this time pinching his nose:</dialogue> <character>MALE VOICE (V.O.)</character> <parenthetical>(through headset)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <scene_description>CLICK. He hangs up. Huh? OPERATOR #2 punches something into her computer, then turns, confused, to OPERATOR #3:</scene_description> <character>9-1-1 OPERATOR #2</character> <dialogue>Do you know the address to Centennial Park? I just got this man talking about there's a bomb set to go off in thirty minutes in Centennial Park. But the computer won't process it.</dialogue> <character>9-1-1 OPERATOR #3</character> <dialogue>What? Lord, child. You spelling it wrong. It's C-E-N-T-E-N...</dialogue> </scene> <scene> <stage_direction>EXT. BAKER STREET - SAME TIME</stage_direction> <scene_description>A MAN wearing a FISHERMAN'S HAT, his BACK TO us, hangs up \* the receiver at a BANK OF 10 PAY PHONES and walks away...</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T SOUND AND LIGHT TOWER - SAME</stage_direction> <character>TIME</character> <dialogue>ALICE HAWTHORNE and her daughter FALLON (14) are beside the sound and light tower -- Fallon posing for a picture.</dialogue> <dialogue>Jewell approaches, calm but firm:</dialogue> <character>JEWELL</character> <dialogue>Folks, need you to move away from the tower, please...</dialogue> <scene_description>Huh? Alice looks around, sees Officers Green, Silver, Jones, and Miller quietly moving people away. Odd.</scene_description> <character>FALLON</character> <dialogue>I'm getting tired, Mom.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>ALICE HAWTHORNE</character> <dialogue>Me, too. Let's take the last of these pictures and go home.</dialogue> <scene_description>Off they go, unfazed. No one out here looks alarmed. Jewell approaches PARTIERS on a knoll behind the tower.</scene_description> <character>JEWELL</character> <dialogue>Need you folks to clear the area, please. Need a perimeter here.</dialogue> <character>GREEN</character> <dialogue>You go, Richard!</dialogue> <scene_description>Jewell keeps at it. We DRIFT TOWARD THE BENCH, where -- Bomb-team-guy Zoeller lies on his back, looking at the ALICE pack with a PENLIGHT. Opens the flap, slowwwwwwly. \* THREE PIPES inside. And wires. A BOMB. Oh, fuck. Zoeller FREEZES, then inches away from the bomb, his arms never moving from that same position -- Gets to his partner, FAST. Jewell notices. They all do.</scene_description> <character>JEWELL</character> <dialogue>They told us in training: 'You ever see a bomb guy go pale, RUN.'</dialogue> <character>GREEN</character> <dialogue>Amen, brother.</dialogue> <scene_description>Zoeller and Forsythe consult in hushed tones... Jewell and the COPS drifting in. Then Zoeller turns:</scene_description> <character>ZOELLER</character> <dialogue>We have three pipe bombs inside that pack, big as I've ever seen. I want a hundred-foot perimeter cleared immediately.</dialogue> <scene_description>Oh. The cops eye one another.</scene_description> <character>MILLER</character> <dialogue>You guys got a bomb blanket or -- ?</dialogue> <character>FORSYTHE</character> <dialogue>The Render-Safe team can be here in 20 minutes.</dialogue> <scene_description>He steps away to radio it in. Everyone standing still. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>MILLER</character> <dialogue>Richard, I'm never givin' you shit about anything ever again.</dialogue> <character>GREEN</character> <dialogue>You said it, bubba.</dialogue> <character>SILVER</character> <dialogue>Let's just go to work.</dialogue> <scene_description>The COPS find a different gear now, fanning out urgently. Jewell has one thought: the people inside that tower.</scene_description> </scene> <scene> <stage_direction>INT. SOUND AND LIGHT TOWER - 1ST FLOOR - MOMENTS LATER</stage_direction> <scene_description>Jewell bursts in. The same TECHS are at the soundboard.</scene_description> <character>JEWELL</character> <dialogue>You guys gotta get outta here. NOW.</dialogue> <parenthetical>(as everyone freezes)</parenthetical> <dialogue>We've got a bomb. NOW.</dialogue> <scene_description>Three guys head out. A FOURTH GUY tries to gather a bunch of VIDEOTAPES. Jewell pulls him away.</scene_description> <character>JEWELL</character> <dialogue>Y'hear? Down the stairs! Go!</dialogue> <scene_description>Fourth guy heads for the stairs. We RETURN TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUND AND LIGHT TOWER - 5TH FLOOR - MOMENTS LATER</stage_direction> <scene_description>Jewell bursts in, finds a GUY WORKING A SPOTLIGHT.</scene_description> <character>JEWELL</character> <dialogue>We're evacuating. Go.</dialogue> <scene_description>Spotlight guy starts to power his equipment down -- but Jewell GRABS HIM, pushes him to the door.</scene_description> <character>JEWELL</character> <dialogue>GO!</dialogue> <scene_description>Pushing him into the STAIRWELL -- SHOT CONTINUING -- where Jewell looks down, counts 11 PEOPLE descending...</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - STATUE - SAME TIME</stage_direction> <scene_description>Alice Hawthorne poses for a shot in front of a BRASS STATUE. Her daughter Fallon frames it up. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>FALLON</character> <dialogue>Smile!</dialogue> <scene_description>Alice smiles. Fallon takes the picture. But:</scene_description> <character>ALICE HAWTHORNE</character> <dialogue>I blinked. Take another one!</dialogue> <scene_description>Fallon lifts the camera again...</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - THE CROWD - SAME TIME</stage_direction> <scene_description>People dancing, partying.</scene_description> </scene> <scene> <stage_direction>EXT. AT&amp;T SOUND AND LIGHT TOWER/PAVILION - MOMENTS LATER</stage_direction> <scene_description>Urgent movement. COPS SHOUTING, people moving back. Tom Shaw is part of the effort now. Jewell emerges from the Sound and Light tower. He spots Green:</scene_description> <character>JEWELL</character> <dialogue>Building's clear.</dialogue> <character>GREEN</character> <dialogue>You should get outta here, Richard.</dialogue> <character>JEWELL</character> <dialogue>Uh-huh. You, too.</dialogue> <scene_description>They both start pushing people back, but folks are slow to respond. It's a party, isn't it? Behind the tower, Jewell comes upon a NECKING COUPLE.</scene_description> <character>JEWELL</character> <dialogue>Need you two to clear outta here.</dialogue> <scene_description>They keep kissing. We RETURN TO:</scene_description> <character>THE BENCH</character> <dialogue>... where the ALICE pack sits...</dialogue> <character>THE STATUE</character> <dialogue>Fallon taking a last picture of her mother...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>THE GROUNDS</character> <dialogue>Shaw, Miller, urging people to move, when --</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - BEDROOM - SAME TIME</stage_direction> <scene_description>Bobi is sound asleep. Suddenly, her eyes SNAP OPEN -- as if startled by an urgent and horrible dream. She gasps --</scene_description> <character>BOBI</character> <dialogue>Richard...</dialogue> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - SOUND AND LIGHT TOWER - RESUMING</stage_direction> <scene_description>JEWELL -- behind the tower, moving in on that couple while checking his WATCH --</scene_description> <character>JEWELL</character> <dialogue>I'm not kidding. Y'all gotta --</dialogue> <scene_description>Just then, BOOOOM! A CONCUSSIVE EXPLOSION. DEATH ITSELF. And the world just STOPS. Jewell and the couple are knocked flat. (But the tower itself has protected them.) We --</scene_description> <character>CUT TO BLACK.</character> <dialogue>DARKNESS</dialogue> <dialogue>For a moment --</dialogue> <dialogue>a feeling of surreality. The SOUND OF SHRAPNEL SIZZLING PAST US like rifle fire, eerie... Then we HEAR --</dialogue> <dialogue>SCREAMS. TERROR. We're blind, until we SLAM UP ON --</dialogue> <dialogue>Jewell's eyes opening foggily. He turns, in SLOW MOTION, and sees a HORROR:</dialogue> <dialogue>COPS FLYING THROUGH THE AIR -- Miller, Green, Silver, Jones, Shaw --</dialogue> <dialogue>And Jewell's BENCH, rocketing upwards. SMOKE pluming.</dialogue> <dialogue>The SIDING torn off the AT&amp;T tower -- and worst of all --</dialogue> <dialogue>ALICE HAWTHORNE -- spinning in a 360, then falling.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Then... an unearthly SILENCE. END SLOW MOTION as we bleed in more sounds of SCREAMS, PANIC, terror, confusion. Good God. Pieces of NAILS start falling to the ground like noisy drops of rain. PING. TING. PING-TING. The kissing couple beside Jewell is catatonic, barely breathing.</scene_description> <character>JEWELL</character> <dialogue>You two okay? You okay?</dialogue> <scene_description>They nod, sort of. He crawls away -- around the tower -- to find sheer, bloody carnage -- a BATTLEFIELD: WOUNDED everywhere. COPS laid out. People senseless. Alice Hawthorne dead. Fallon dazed, her arm bleeding. \* An unspeakable scene, smoke hanging. Over 100 people are down -- dazed, bleeding, flattened. VOICES POP OUT:</scene_description> <character>VARIOUS PEOPLE</character> <dialogue>I need a doctor!/I need help!/ Somebody! Help!</dialogue> <scene_description>NAMES called aloud:</scene_description> <character>VARIOUS PEOPLE</character> <dialogue>Dad? Mom?</dialogue> <scene_description>Jewell turns: BYSTANDERS and MORE COPS are RUSHING TOWARD THE SCENE NOW. People reaching for cell phones. A TURKISH CAMERAMAN races in, ready to start shooting. But the guy COLLAPSES from a heart attack, dead on the spot. More people SCREAM. We WHIP BACK TO: Jewell, his eyes wide. There's Green among the DOWNED COPS. Jewell gets to his feet, his balance shaky. He heads for Green, while stumbling past Shaw, and: Jewell gets to Green who is face-down, his jersey and flesh torn open by shrapnel.</scene_description> <character>JEWELL</character> <dialogue>How bad?</dialogue> <character>GREEN</character> <dialogue>I'm fine, I'm fine. Go!</dialogue> <scene_description>More GROANS around them, more screams, more cries. Over Jewell's shoulder, the tattered SOUND and LIGHT TOWER -- still standing, but its front side has been blown off. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>You hang tough, brother. Help's coming.</dialogue> <scene_description>Green nods. Blood everywhere... We hear our first SIREN now. Jewell moves toward Silver as: Incredibly, amid all this chaos, he sees TECHS racing back into the blown-up tower. He hurries over.</scene_description> <character>JEWELL</character> <dialogue>What the hell're you doing?</dialogue> <character>SOUND TECH #1</character> <dialogue>I left my laptop in there.</dialogue> <character>JEWELL</character> <dialogue>You can get it in the morning.</dialogue> <character>SOUND TECH #1</character> <dialogue>It's got all my WORK on it!</dialogue> <character>SOUND TECH #2</character> <dialogue>I got shit in there, too!</dialogue> <character>JEWELL</character> <dialogue>NO ONE is going back inside this building until we know it's structurally sound. There could be a SECOND device!</dialogue> <scene_description>The Techs turn away. Jewell hurries toward Silver, who's bleeding badly -- passing a dazed Bill Miller as: Miller numbly takes his WALLET out of his back pocket, to find a piece of SHRAPNEL stuck inside. His GBI BADGE just saved his ass. Literally. Shaw awakens. We CRANE UP to take in all this chaos. Panic, blood, terror, people running, ambulances speeding TOWARD us. A nightmare. And Jewell is in the middle of it all. We --</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T PAVILION - NIGHT</stage_direction> <scene_description>ONE HOUR LATER -- The BRASS STATUE where Alice Hawthorne had posed for a picture now has NAILS embedded in it. Another NAIL has been embedded in a KODAK CAMERA lying unclaimed on the ground. A NEWS CREW gets a shot of it. Barricades have been erected. EMTs at work. AMBULANCES everywhere. And a cluster-fuck by the TOWER -- guys from GBI, APD, ATF, USOC, arguing. Shaw's among them, his forehead bleeding. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>APD COP</character> <dialogue>This is homicide. It's ours.</dialogue> <character>GBI GUY</character> <dialogue>This park is state property. That makes it ours!</dialogue> <character>ATF GUY</character> <dialogue>You guys can BOTH get the fuck out of here. This is ATF.</dialogue> <character>SHAW</character> <dialogue>No, YOU get the fuck out of here! This is OUR crime scene!</dialogue> <scene_description>Jewell walks past, dialing his cell.</scene_description> <character>JEWELL</character> <parenthetical>(into cell)</parenthetical> <dialogue>Mom, it's me. They had a bomb go off down here, but I am okay. Turn on the TV. Love you.</dialogue> </scene> <scene> <stage_direction>EXT. STREETS (ATLANTA) - VARIOUS LOCATIONS - NIGHT (LATE)</stage_direction> <scene_description>Atlanta locked down. BARRICADES. MILITARY VEHICLES. RAMPARTS. A red CNN glow behind every window. We FIND: Ron Martz of the AJC, shaken, standing at the gate of Centennial Park as wounded are rushed past. It's an echo of Iraq for him. Suddenly, someone puts a hand on his: Kathy -- smiling warmly. Martz appreciates it. She shuts her eyes, lowers her head.</scene_description> <character>KATHY</character> <dialogue>Dear God... whoever did this...</dialogue> <scene_description>Prayer. Nice. Martz shuts his eyes, too.</scene_description> <character>KATHY</character> <dialogue>Please let us find him, before anyone else does.</dialogue> <scene_description>Martz's eyes snap open. NOT praying this prayer anymore.</scene_description> <character>KATHY</character> <dialogue>And please, whoever he is... let him be fucking interesting. Amen.</dialogue> <scene_description>She releases Martz's hand. He shakes his head. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T PAVILION - 6 AM</stage_direction> <scene_description>Jewell stands outside the tattered tower. The ambulances are gone now. The wounded have all been moved. But the barricades remain, swarmed by LAW ENFORCEMENT. Eerie. He watches as they collect evidence and interview people. At his feet is a shard of what used to be HIS BENCH. He looks around, then pockets it. A souvenir.</scene_description> <character>BARKER (O.S.)</character> <dialogue>Are you Jewell?</dialogue> <scene_description>Jewell whips around, caught. Oh, shit. Here comes TIM BARKER of AT&amp;T, all business.</scene_description> <character>JEWELL</character> <dialogue>Yes, sir. I was just --</dialogue> <character>BARKER</character> <dialogue>I'm Tim Barker, AT&amp;T Media Relations. Did I hear this right? You discovered the bomb?</dialogue> <scene_description>Oh. Jewell relaxes, pleased.</scene_description> <character>JEWELL</character> <dialogue>Yes, sir.</dialogue> <character>BARKER</character> <dialogue>That makes you a hero. Know that?</dialogue> <character>JEWELL</character> <dialogue>I was just doing my job, sir.</dialogue> <character>BARKER</character> <dialogue>That's a nice thing to say, Richard. But we've had a lot of requests from people who'd like to talk to you. Would that be okay?</dialogue> <parenthetical>(as Jewell just stares)</parenthetical> <dialogue>CNN. Katie Couric. Those types. Your superior gave the okay.</dialogue> <character>JEWELL</character> <dialogue>There were a LOT of police personnel here, sir, clearing people out. Wasn't just me.</dialogue> <character>BARKER</character> <dialogue>You're the one who spotted the package. You're the one people want to hear from.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. "MAKEUP" TENT - DAY (LATER)</stage_direction> <scene_description>Jewell sits in a makeup chair. The MAKEUP GIRL finishes him off.</scene_description> <character>MAKEUP GIRL</character> <dialogue>You're all set. They'll come get you in just a minute.</dialogue> <character>JEWELL</character> <dialogue>Thanks.</dialogue> <scene_description>She leaves. He regards himself in the mirror -- about to go on "The Today Show." He gulps hard, looks up at GOD:</scene_description> <character>JEWELL</character> <dialogue>God. I know you got other things on your mind right now, like catchin' the guy who did this and all. But, seein' as this is live TV, and I feel like I'm about to throw up inside my mouth... could you please make sure I don't say anything stupid out there? Amen.</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DAY</stage_direction> <scene_description>Bobi is watching TV, beaming, because Jewell is on the air, LIVE, being interviewed by Katie Couric.</scene_description> <character>KATIE COURIC (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Do you feel like a hero?</dialogue> <character>JEWELL (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>No, ma'am. I'm just a guy who did the job he was trained to do...</dialogue> <character>BOBI</character> <parenthetical>(so proud)</parenthetical> <dialogue>My boy...</dialogue> </scene> <scene> <stage_direction>INT. BRYANT'S PRIVATE OFFICE - MORNING</stage_direction> <scene_description>Bryant's at his desk, HEARING the Jewell interview via the TINY TV on Nadya's desk in the next room -- finds it borderline unbelievable, but kind of thrilling.</scene_description> <character>BRYANT</character> <dialogue>Good for you, Radar...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - "TODAY" SET - MORNING</stage_direction> <scene_description>Jewell leaves the set with Barker, passing TWO APD COPS:</scene_description> <character>GRATEFUL APD COP #1</character> <dialogue>Good job, Richard. Acceptance from real cops.</dialogue> <character>GRATEFUL APD COP #2</character> <dialogue>Way to go, man. Very gratifying.</dialogue> <character>JEWELL</character> <dialogue>Hey, I was workin' with a couple guys who were injured: Green? Silver? Miller? They okay?</dialogue> <character>GRATEFUL APD COP #1</character> <dialogue>Word is, all the cops are expected to make a full recovery.</dialogue> <character>JEWELL</character> <dialogue>Well, that's great. Thanks.</dialogue> <scene_description>Then a GUY IN A GREAT SUIT approaches. Barker smiles.</scene_description> <character>BARKER</character> <dialogue>Richard, there's someone I'd like you to meet. This is Mister Brenner from Bernstein &amp; Crane. You know that company? They publish books.</dialogue> <character>JEWELL</character> <dialogue>Nice to meet you, sir.</dialogue> <character>BRENNER (GREAT SUIT GUY)</character> <dialogue>Hello, Richard. I'd like to talk to you about your story. Ya free?</dialogue> <scene_description>Jewell feels a bit like he's floating now.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - KITCHEN - DAY</stage_direction> <scene_description>Bobi bakes more pound cakes. TV on, LOCAL NEWS, another Jewell interview. TV is also on in the living room -- ABC -- yet another Jewell interview. He enters.</scene_description> <character>BOBI</character> <dialogue>You're everywhere! And the phone never stops. I need a secretary!</dialogue> <character>JEWELL</character> <dialogue>Momma, a guy from New York just asked me if I wanted to write a book!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BOBI</character> <dialogue>Well, lah-dee-da!</dialogue> <character>JEWELL</character> <dialogue>I don't even have to DO anything. Someone else thinks it up and types it and all; I just say yes or no to stuff. For money!</dialogue> <character>BOBI</character> <dialogue>You're a ROCK STAR! Tom Brokaw was even talking about you!</dialogue> <scene_description>Jewell beams, catches a glimpse of himself in a MIRROR -- And there it is, for the first time ever: PRIDE -- a hero looking back at him. Feels GREAT. But...</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - OFFICE - DAY</stage_direction> <scene_description>Movement. Urgency. Agents responding to real crisis. BRUCE HUGHES, the SAC (Spec. Agent In Charge) of this field office, approaches Tom Shaw:</scene_description> <character>BRUCE HUGHES</character> <dialogue>Shaw. You doin' okay?</dialogue> <character>SHAW</character> <dialogue>Not really, sir. Fucking bomb went off on my watch. My fucking park.</dialogue> <character>BRUCE HUGHES</character> <dialogue>We didn't have enough eyeballs there. That's on us. Let's just catch the son of a bitch, yeah?</dialogue> <scene_description>Tom Shaw nods, grateful. That helped.</scene_description> <character>BRUCE HUGHES</character> <dialogue>I need you to get out to Habersham County -- background on a former sheriff's deputy. Might have some connection to the bombing.</dialogue> <character>SHAW</character> <dialogue>Oh? Who is he?</dialogue> <scene_description>Bruce Hughes pauses, knowing this is NOT a small piece of news:</scene_description> <character>BRUCE HUGHES</character> <dialogue>The security guard.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY BANG. That fast, Tom Shaw has his man. And it's Jewell.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - STREET - DUSK 54 \*</stage_direction> <scene_description>Jewell gets out of his PICKUP, ready for work. Instantly, PEOPLE notice him. PARENTS point him out to their KIDS. That feels great. And shockingly new. He passes a U.S. SWIMMER (we recognize the SWEATS on the guy); the Swimmer nods with great respect and:</scene_description> <character>UNNAMED SWIMMER</character> <dialogue>Way to go, man. Made us all real proud.</dialogue> <scene_description>Respect from an ATHLETE. Jewell beams, thrilled. But:</scene_description> </scene> <scene> <stage_direction>INT. PIEDMONT UNIVERSITY - CLEERE'S OFFICE - DAY</stage_direction> <scene_description>Dr. W. Ray Cleere (who fired Jewell in this very office not long ago), studies Jewell's old file. Opposite Cleere... is Tom Shaw.</scene_description> <character>CLEERE</character> <dialogue>I want to be clear -- I haven't accused him of anything.</dialogue> <character>SHAW</character> <dialogue>I understand.</dialogue> <character>CLEERE</character> <dialogue>I just... I see the attention he's getting; it's the KIND of attention he was always seeking here when he was harassing students, pulling people over on the highway. Crazy behavior. And I decided if my fears were correct -- if he WASN'T actually the hero they're makin' him out to be -- and I'd had information pertinent to that fact which I'd failed to bring to light? It could jeopardize lives.</dialogue> <character>SHAW</character> <dialogue>Dr. Cleere, you did the right thing, calling. And we will look into it.</dialogue> <scene_description>Cleere nods. We FIND a PHOTO of Jewell, which BECOMES: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - CONFERENCE ROOM - DAY 56 \*</stage_direction> <scene_description>The PHOTO of Jewell fills a screen. Bruce Hughes sighs:</scene_description> <character>BRUCE HUGHES</character> <dialogue>Why is the Goddamn ACOG re-opening that park? We don't have shit.</dialogue> <scene_description>Ten other SENIOR FBI GUYS (and Tom Shaw) in here. An ERASURE BOARD reads "CENTBOM." Tension, pressure...</scene_description> <character>BRUCE HUGHES</character> <dialogue>Okay. I want to hear more about Jewell. Patrick?</dialogue> <scene_description>All eyes on PATRICK WILLIAMS from the Behavioral Sciences Team --</scene_description> <character>WILLIAMS</character> <dialogue>When I look at Jewell, I think about the bomb scare at the L.A. Olympics in '84: a bag left on a bus by the same cop who then discovered it. And the fires in Idaho this summer -- started by a firefighter who wanted the credit for putting them out. There is a profile that emerges, the false hero.</dialogue> <scene_description>Tom Shaw believes that to his core. The whole room does.</scene_description> <character>WILLIAMS</character> <dialogue>In interviews, Jewell's account of the bombing seems vague, and he looks uncomfortable discussing the victims. I also found his mentioning on TV that he was hoping to get back into law enforcement a bit inappropriate. There's a lot here that's troubling. And everything Agent Shaw has learned about him does sync-up with this profile.</dialogue> <character>BRUCE HUGHES</character> <dialogue>You agree with that, Tom?</dialogue> <character>SHAW</character> <dialogue>I do, sir.</dialogue> <scene_description>Bruce Hughes digests that... Then:</scene_description> <character>BRUCE HUGHES</character> <dialogue>Let's put eyes on him.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. BRYANT'S OFFICE - DAY</stage_direction> <scene_description>Bryant reads the paper, annoyed by the society page.</scene_description> <character>BRYANT</character> <dialogue>Fools' names and fools' faces.</dialogue> <scene_description>Nadya leans in, mildly floored:</scene_description> <character>NADYA</character> <dialogue>Watson?</dialogue> <parenthetical>(as Bryant waits)</parenthetical> <dialogue>Got a call for you.</dialogue> <character>BRYANT</character> <dialogue>Is it Bill Gates randomly wondering if I need a million dollars? 'Cause if so, yes.</dialogue> <character>NADYA</character> <dialogue>It's Richard Jewell.</dialogue> <scene_description>Bryant laughs, thinks she's kidding. She isn't.</scene_description> <character>BRYANT</character> <dialogue>'Richard Jewell' Richard Jewell?</dialogue> <character>NADYA</character> <dialogue>Yes.</dialogue> <character>BRYANT</character> <dialogue>I see. Uh, okay.</dialogue> <scene_description>She disappears to her desk. Then LINE 1 lights up.</scene_description> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME 58 \*</stage_direction> <scene_description>Jewell on the phone.</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Mister Bryant? I'm sorry to bother you, just got your number from Information. I hope you remember me.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Richard, you're a national hero now! You can call me Watson.</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Oh. Thank you, sir. How are you? How's your family?</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>We're all fine. I see you've moved up from video games!</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Didn't mean to, but yeah, guess I did.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Well, good job, that's a prideful thing. What can I do for you?</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Sir, have you ever done a book deal? Do you do that?</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Contracts are contracts. Why?</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>This bomb thing. Got some New York guys asking me to write a book and I don't know anything about that, so I thought maybe you could help me.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>I'd be happy to.</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Are you not at the U.S. Small Business Admin anymore? I tried there first.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>No. I got outta there.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Oh. How come?</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Lifestyle decision. You just make sure not to sign anything until I see it first. Okay? We'll start there.</dialogue> <character>JEWELL</character> <dialogue>'Kay. Thanks, Watson.</dialogue> <scene_description>Bryant ends the call. Kind of a stunned smile. Nadya leans in, pretty excited, as --</scene_description> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>Shaw, a drink before him, signals for a refill, as --</scene_description> <character>KATHY (O.S.)</character> <dialogue>Must be a lotta heat on you guys.</dialogue> <scene_description>Shaw turns. Here's Kathy, in a shorter-than-short skirt and a barely-buttoned blouse. Shaw grins.</scene_description> <character>SHAW</character> <dialogue>No more so than usual.</dialogue> <character>KATHY</character> <dialogue>Right, just your average deadly bombing on U.S. soil during an Olympics. Happens all the time.</dialogue> <character>SHAW</character> <dialogue>Pressure's on you guys, too. CNN's got it wall-to-wall. Might account for your shorter-than- usual skirt and your tits-ablaze blouse.</dialogue> <character>KATHY</character> <dialogue>Admit it, though. I'm smoking hot!</dialogue> <scene_description>The truth? Yes, he thinks she's smoking hot.</scene_description> <character>KATHY</character> <dialogue>Give me something I can print, Tom. I'll treat you right.</dialogue> <character>SHAW</character> <dialogue>Sorry.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>KATHY</character> <dialogue>I know the Bureau's looking at someone.</dialogue> <character>SHAW</character> <dialogue>What makes you think so?</dialogue> <character>KATHY</character> <dialogue>Sources. Friends. Who is it?</dialogue> <character>SHAW</character> <dialogue>If you couldn't fuck it out of them, what makes you think you can fuck it out of me?</dialogue> <scene_description>She smiles, wets her lips. Shaw exhales... then:</scene_description> <character>SHAW</character> <dialogue>Ya know what people don't get, Kathy? How much work goes in to making a case. It's effort, 24-7.</dialogue> <character>KATHY</character> <dialogue>You're right. So educate me.</dialogue> <scene_description>Shaw hesitates. Kathy lets her hand drop onto his lap.</scene_description> <character>SHAW</character> <dialogue>I WON'T HAVE THIS SCREWED UP.</dialogue> <dialogue>There was a slaughter out here. It's a miracle there weren't more fatalities.</dialogue> <character>KATHY</character> <dialogue>I wouldn't run it unless I had independent corroboration from a second source. That would put us in a different zone, as you know.</dialogue> <parenthetical>(her hand drifting)</parenthetical> <dialogue>Tom. You're about to burst.</dialogue> <scene_description>She leans in -- that open blouse. He's hard as an anvil.</scene_description> <character>SHAW</character> <dialogue>First time in my life I ever wished I was gay.</dialogue> <scene_description>Kathy smiles... then Shaw gives it up:</scene_description> <character>SHAW</character> <dialogue>The Bureau's looking at the security guard. Jewell.</dialogue> <scene_description>WHOA. Kathy freezes. Did I hear that wrong? Nope. Trying to calm herself, she takes out her notepad. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>You always look at the guy who found the bomb, just like you always look at the guy who found the body. But Jewell's got a bad past. Fits the hero-bomber profile to a 'T.'</dialogue> <character>KATHY</character> <dialogue>Yes, yes, shit! The fat loser living with his mother! So obvious! Why didn't I see it?!</dialogue> <parenthetical>(her mind racing)</parenthetical> <dialogue>This puts a clock on things. Wanna get us a room? Or should we just go down to my car?</dialogue> </scene> <scene> <stage_direction>INT./EXT. BOBI'S APT. - FRONT DOOR - NIGHT</stage_direction> <scene_description>Bobi opens the door to find -- Bill Miller on the doorstep -- Jewell's GBI buddy. Bobi's thrilled.</scene_description> <character>BOBI</character> <dialogue>It's so good to see you, Bill! It's been a while.</dialogue> <character>MILLER</character> <dialogue>It's nice to see you, Bobi! Where's the hero?</dialogue> <character>BOBI</character> <dialogue>He's right here. Come on in!</dialogue> <scene_description>Bobi, proud as hell, welcomes him in...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DINING ROOM - NIGHT</stage_direction> <scene_description>They're onto second helpings of lasagna now --</scene_description> <character>MILLER</character> <dialogue>What kinda charge ya figure it was?</dialogue> <character>JEWELL</character> <dialogue>Not sure what kinda explosive the guy used -- black powder, match heads, maybe some kinda chlorate, packed with nails.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Funny thing is, when those drunks moved it, they saved a bunch of lives, 'cause it was s'posed to blow OUT, into a crowd, for maximum casualties. They left it on its BACK, so it exploded upwards, most of the ordnance going into the sky. There's nails from it on rooftops all over downtown. You'd typically have a battery and a timing device, could even be a simple clock. I...</dialogue> </scene> <scene> <stage_direction>INT. FBI VAN - NIGHT 62 \*</stage_direction> <scene_description>Miller is in the back of a moving van, a sickened look on his face. He unbuttons his shirt and we see why: He was wearing a WIRE during that dinner. A FBI OPERATIVE removes it gently...</scene_description> </scene> <scene> <stage_direction>INT. AJC - 8TH FLOOR - NEWSROOM - MORNING</stage_direction> <scene_description>Kathy glides through, stopping at Martz's desk.</scene_description> <character>KATHY</character> <dialogue>Sweetie, I need you to do one of those better-word-things you do.</dialogue> <character>MARTZ</character> <dialogue>You mean rewrite you?</dialogue> <character>KATHY</character> <dialogue>Yes. You know I write like a brick. And this one's kinda special.</dialogue> <character>MARTZ</character> <dialogue>What is it?</dialogue> <character>KATHY</character> <dialogue>Oh, nothing. Just the FBI is looking at Richard Jewell as the bomber...</dialogue> <scene_description>Martz's eyes go wide. We -- CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. AJC - 8TH FLOOR - NEWSROOM - MORNING</stage_direction> <scene_description>Managing Editor JOHN WALTER listens as Kathy pitches him. Staffers looking on.</scene_description> <character>KATHY</character> <dialogue>'The security guard who first alerted police to the pipe bomb that exploded in Centennial Olympic Park is the target of the federal investigation into the incident that resulted in two deaths and injured more than 100.'</dialogue> <scene_description>Her reading CONTINUES OVER:</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DAY</stage_direction> <scene_description>Bobi bakes a pound cake. Jewell playing a video game.</scene_description> <character>KATHY (V.O.)</character> <dialogue>'Richard Jewell, 33, a former law enforcement officer, fits the profile of the lone bomber. This profile generally includes a frustrated white man who is a former police officer, member of the military, or police 'wannabe' who seeks to become a hero.'</dialogue> </scene> <scene> <stage_direction>INT. AJC - 8TH FLOOR - NEWSROOM - MOMENTS LATER</stage_direction> <scene_description>Kathy continues pitching the piece to Walter:</scene_description> <character>KATHY</character> <dialogue>'Jewell has become a celebrity in the wake of the bombing, making appearances on the "Today Show" and' --</dialogue> <character>WALTER</character> <dialogue>-- Bureau knows you have this?</dialogue> <character>KATHY</character> <dialogue>My guy says it's everywhere now; the networks have it. CNN has it.</dialogue> <character>MARTZ</character> <dialogue>I got a guy at GBI said the same thing. Bureau's looking at Jewell.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>WALTER</character> <dialogue>Then why isn't anyone reporting it? Does anybody feel we're getting worked here?</dialogue> <character>KATHY</character> <dialogue>Goddamn it, John, these are OUR Olympics! If we're not gonna lead on this story, what the fuck are we DOING here?</dialogue> <scene_description>Walter exhales hard... and decides:</scene_description> <character>WALTER</character> <dialogue>Okay. Tear up the afternoon edition and replate the front page. We're running it.</dialogue> </scene> <scene> <stage_direction>EXT. OUTDOOR PATIO/BAR - DAY</stage_direction> <scene_description>PATRONS watch a big-screen TV as the STORY EXPLODES: BREAKING NEWS on CNN -- The ANCHOR holds up a copy of the AJC and reads the piece verbatim over the air.</scene_description> <character>CNN ANCHOR (V.O.)</character> <parenthetical>(into camera)</parenthetical> <dialogue>'The security guard who first alerted police to the pipe bomb...'</dialogue> <scene_description>Shock on every face. People reaching for cell phones...</scene_description> </scene> <scene> <stage_direction>INT. AJC - 8TH FLOOR - NEWSROOM - DAY</stage_direction> <scene_description>Kathy enters. CNN is blaring from TVs. And: Everyone in here turns... and APPLAUDS her. 100 CO- WORKERS, even the women who resent her short skirts. It's a journalism mountaintop. RESPECT FROM HER PEERS, at last. Kathy beams with humility and gratitude.</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - CONFERENCE ROOM</stage_direction> <scene_description>Tom Shaw is at work as the story breaks. Everyone around him LIVID. And Tom Shaw knows he's a dead man. Bruce Hughes storms in, irate. Everyone turns. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRUCE HUGHES</character> <dialogue>Who the fuck leaked this investigation to the AJC?!</dialogue> <scene_description>Of course, no one confesses. Tom Shaw eyes his shoe- tops.</scene_description> <character>BRUCE HUGHES</character> <dialogue>SHAW!</dialogue> <scene_description>Tom Shaw's eyes go wide. Instant terror. How do they know?</scene_description> <character>SHAW</character> <dialogue>Sir?</dialogue> <character>BRUCE HUGHES</character> <dialogue>Get Jewell in here. Non- confrontational interview. TODAY. Bennet has a tactical approach.</dialogue> <scene_description>Tom Shaw's heart begins to beat again. He looks to Dan Bennet. We RETURN TO:</scene_description> </scene> <scene> <stage_direction>INT./EXT. BOBI'S APT. - AFTERNOON</stage_direction> <scene_description>TV OFF. Jewell sleeps. Bobi bakes more pound cakes... A firm KNOCK at the front door. Jewell awakens, rises, goes to the door... Opens it:</scene_description> <character>JEWELL</character> <dialogue>Hello?</dialogue> <scene_description>Shaw and Bennet stand here. Oddly, we hear HUNDREDS OF VOICES shouting from the PARKING LOT:</scene_description> <character>VOICES (O.S.)</character> <dialogue>Richard! Richard!</dialogue> <scene_description>But Jewell can't see anyone from here.</scene_description> <character>BENNET</character> <dialogue>Richard Jewell?</dialogue> <character>JEWELL</character> <dialogue>Yes?</dialogue> <character>BENNET</character> <dialogue>Special Agents Dan Bennet and Tom Shaw, FBI. Ya got a minute?</dialogue> <character>JEWELL</character> <dialogue>Sure! What can I do for you?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY FBI! Wow! Bobi drifts over, visible behind her son...</scene_description> <character>SHAW</character> <dialogue>Bureau's making a training video on how to handle a suspicious package. We'd like you to be in it. How's that sound to you?</dialogue> <character>JEWELL</character> <dialogue>That sounds great!</dialogue> <character>BOBI</character> <dialogue>See that, Richard? You did it! You showed 'em what kinda cop you can be. And look at this now!</dialogue> <scene_description>The disembodied VOICES in the parking lot call out again. Jewell ignores them. Bennet eyes Shaw...</scene_description> <character>SHAW</character> <dialogue>Only thing is, we're shooting it today. Think you could follow us back to the field office? Time's kinda tight.</dialogue> <character>JEWELL</character> <dialogue>Uh, I got work still. My shift.</dialogue> <character>SHAW</character> <dialogue>This won't take long.</dialogue> <character>JEWELL</character> <dialogue>Sure. I wanna help in any way I can. I'm law enforcement, too.</dialogue> <character>SHAW</character> <dialogue>We know that. You ready to go?</dialogue> <scene_description>Jewell wearing his SECURITY SHIRT, kisses Bobi goodbye.</scene_description> <character>BOBI</character> <dialogue>So proud of you, baby!</dialogue> <scene_description>He emerges, following Shaw and Bennet down the steps, Jewell completely unaware of what's awaiting him. Then --</scene_description> </scene> <scene> <stage_direction>EXT. MONACO APTS. - PARKING LOT - CONTINUOUS ACTION</stage_direction> <scene_description>Jewell FREEZES, shocked: 200 MEDIA MEMBERS descend, a HORDE -- cameras, mics, booms -- coming right at him. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>HORDE</character> <dialogue>Richard, has the FBI charged you?/ Have you hired an attorney?/Is the FBI investigating you?</dialogue> <scene_description>He's surprised but unafraid -- pushes through, smiling:</scene_description> <character>JEWELL</character> <dialogue>I imagine they'll investigate anyone who was at the park that night. That includes you all, too.</dialogue> <scene_description>He laughs it off; no one else does. Shaw and Bennet get to their SEDAN. Jewell gets to his TOYOTA PICKUP.</scene_description> <character>HORDE</character> <dialogue>ARE YOU A SUSPECT?</dialogue> <character>JEWELL</character> <dialogue>Course not.</dialogue> <scene_description>He gets in his truck.</scene_description> </scene> <scene> <stage_direction>INT. JEWELL'S TRUCK - DAY (LATER)</stage_direction> <scene_description>Jewell drives. In his REARVIEW, he sees FOUR VEHICLES, \* trailing him. Odd. He makes a left. So do they...</scene_description> </scene> <scene> <stage_direction>EXT. FBI FIELD OFFICE (ATLANTA) - PARKING LOT - DAY</stage_direction> <scene_description>He enters the FBI FIELD OFFICE LOT and parks. The FOUR CARS BEHIND HIM park, too. He gets out of the truck. Bennet and Shaw emerge from their car to greet him.</scene_description> <character>JEWELL</character> <dialogue>Sorry. I think I have some media following me.</dialogue> <character>SHAW</character> <dialogue>No. Those are our guys.</dialogue> <scene_description>Oh. Jewell nods, processing that...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME</stage_direction> <scene_description>Bobi flips on the TV... and FREEZES: There's Jewell's PHOTO -- her baby boy -- with the words "BOMBING SUSPECT" stamped across his face. She stares, poleaxed... Then reaches for a PHONE... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE - INTERVIEW ROOM - DAY 75 \*</stage_direction> <scene_description>Tight, windowless. Jewell opposite Bennet and Shaw. There's a CAMERAMAN in here, taping the interview.</scene_description> <character>BENNET</character> <dialogue>You came back around the tower, and spotted the package unattended.</dialogue> <character>JEWELL</character> <dialogue>Yes, sir.</dialogue> <character>BENNET</character> <dialogue>Did you see anyone walking away from the bench?</dialogue> <character>JEWELL</character> <dialogue>No, sir.</dialogue> <character>SHAW</character> <dialogue>So, you had no idea who'd put that package there?</dialogue> <character>JEWELL</character> <dialogue>No, sir. But whoever did it oughtta fry.</dialogue> <character>SHAW</character> <dialogue>We think so, too, Richard.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>We wanna do this authentically -- some of that has to do with how to treat a suspect. So, for this part, let's pretend you're someone we've brought in, okay? We've just read you your Miranda rights, and you've agreed to waive them. Here, here's a waiver so it all looks real.</dialogue> <scene_description>Bennet places an ACTUAL RIGHTS WAIVER before Jewell.</scene_description> <character>BENNET</character> <dialogue>So, you sign it, then we go on with the interview.</dialogue> <character>JEWELL</character> <dialogue>Okay.</dialogue> <scene_description>They hand him a pen. He pretends to sign, moving the pen through the AIR and not on the page. They pause. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>Sorry if I wasn't clear enough, Richard. We need you to actually sign the waiver.</dialogue> <scene_description>Huh? Jewell's internal alarms just started to ping.</scene_description> <character>JEWELL</character> <dialogue>But... this is a real document.</dialogue> <character>BENNET</character> <dialogue>Of course. We're going for authenticity here.</dialogue> <scene_description>Hold it. Jewell studies them. Some panic growing now...</scene_description> <character>JEWELL</character> <dialogue>Sorry, sir, but I wouldn't feel right signing something like this.</dialogue> <character>BENNET</character> <dialogue>Richard, we --</dialogue> <scene_description>Shaw whispers something to Bennet, who nods.</scene_description> <character>SHAW</character> <dialogue>We're gonna take a short break. Let's stop the camera.</dialogue> <scene_description>The cameraman stops taping. The feeling is odd, creepy. Bennet and Shaw leave the room. We STAY HERE -- Jewell sits in tense silence, trying not to fidget or look guilty. Impossible.</scene_description> <character>JEWELL</character> <dialogue>I was a deputy sheriff. Habersham County.</dialogue> <scene_description>Cameraman is unimpressed. Jewell sags. Time stops. Then Shaw returns with a grin:</scene_description> <character>SHAW</character> <dialogue>Okay! We're going to pretend none of this ever happened.</dialogue> <parenthetical>(at cameraman)</parenthetical> <dialogue>Let's start a new tape, please.</dialogue> <scene_description>Cameraman pops the TAPE out of his camera, hands it to Shaw, who tosses it in a waste basket as the cameraman puts in a NEW TAPE. He nods to Shaw, "ready," and... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>So, what we're gonna do now is, Agent Bennet is gonna walk in and re-introduce himself to you, show you his credentials, just like we're doing a professional interview. Then he's going to read you your Miranda rights, and --</dialogue> <character>JEWELL</character> <dialogue>Um... Why would ya do that?</dialogue> <character>SHAW</character> <dialogue>To make the video more realistic.</dialogue> <scene_description>Shaw opens the door. Bennet re-enters. A feeling of make-believe in the air. We're "rolling" again... and: Now Jewell KNOWS: They think I did this!</scene_description> <character>JEWELL</character> <dialogue>Uh... I think maybe I should contact my attorney.</dialogue> <character>SHAW</character> <dialogue>Why would you need an attorney? I thought you were a hero. Is there something you want to tell us?</dialogue> <character>JEWELL</character> <dialogue>No. I just, I better call him.</dialogue> </scene> <scene> <stage_direction>EXT. CHILIVIS BLDG. (BUCKHEAD) - DAY</stage_direction> <scene_description>A free-standing two-story building off a nondescript alley. Bryant, oblivious to the world, pulls his TOYOTA FORERUNNER into his PARKING SPACE.</scene_description> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - LOBBY/STAIRWELL - CONTINUOUS ACTION</stage_direction> <scene_description>Bryant climbs stairs. Drab carpet underfoot, drab walls.</scene_description> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - 2ND FLOOR - HALLWAY - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Bryant emerges into a lifeless hallway. A door says "Law Offices of G. Watson Bryant." He enters:</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - BRYANT'S "SUITE" - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Nadya at her desk: livid.</dialogue> <character>NADYA</character> <dialogue>You can't leave your phone off, Watson! I needed to reach you!</dialogue> <character>BRYANT</character> <dialogue>What's wrong?</dialogue> <scene_description>She holds up this afternoon's AJC: "FBI SUSPECTS 'HERO' GUARD MAY HAVE PLANTED BOMB." Whoa. Bryant grabs the paper, scours the front page.</scene_description> <character>NADYA</character> <dialogue>He's called you three times from an interrogation room at the FBI Field Office! Terrified.</dialogue> <character>BRYANT</character> <dialogue>Jesus. Am I the only lawyer that guy knows?</dialogue> <character>NADYA</character> <dialogue>For your sake, I hope so.</dialogue> <scene_description>Bryant turns to page two. More RELATED ARTICLES: "Security Guard Had Reputation as Zealot." "Motive? Could Be Sociopath, Attention Seeker." And "Crimes Committed by Guards Plague Security Industry."</scene_description> <character>BRYANT</character> <dialogue>Paper says the Bureau has him dead to rights.</dialogue> <character>NADYA</character> <dialogue>In Russia when the government says someone's guilty, it's how you know he's innocent. Is it different here?</dialogue> <scene_description>ZERO doubt in her voice. But Bryant is wavering.</scene_description> <character>NADYA</character> <dialogue>I'll tear up the messages. I'm sure we'll get another three or four cases this juicy tomorrow. And you have SO MUCH ELSE to do...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>Would you connect me to the field office, Nadya?</dialogue> <character>NADYA</character> <dialogue>Right away...</dialogue> <scene_description>She dials. He waits. She hands him the phone.</scene_description> <character>NADYA (O.S.)</character> <dialogue>FBI Field Office.</dialogue> <character>BRYANT</character> <parenthetical>(grabs the phone)</parenthetical> <dialogue>This is Watson Bryant, attorney for Richard Jewell. I'd like to speak to my client, please.</dialogue> <character>FBI OPERATOR (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>I'm sorry, sir, we have no one here by that name.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Yes, you do. Put me on the phone with my client, please. Now.</dialogue> <character>FBI OPERATOR (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>Please call back later, sir. Maybe we'll have more information.</dialogue> <scene_description>CLICK. And that fast, Bryant's deep hatred for institutional bullshit has flared to life. Pure rage.</scene_description> <character>BRYANT</character> <dialogue>Goddammit.</dialogue> <scene_description>Nadya dials again. Bryant hears --</scene_description> <character>FBI OPERATOR (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>FBI Field Office.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>This is Watson Bryant again, attorney for Richard Jewell. My next call is going to be to Mike Wallace of 'Sixty Minutes' to ask him why the FBI would deny a citizen his constitutional right to legal counsel. Can I have the spelling of your name, please?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>FBI OPERATOR (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>I'll connect you, sir.</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE - INTERVIEW ROOM 80 \*</stage_direction> <scene_description>Jewell sits. Bennet enters, hands Jewell a PHONE.</scene_description> <character>BENNET</character> <dialogue>Call for you.</dialogue> <scene_description>Jewell eagerly picks it up:</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hello?</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Richard, it's Watson. What're you doing in there?</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>They said they needed me for a training film.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>They don't! You're a suspect. Have you signed anything? Have you confessed to anything?</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Course not. I didn't do this, Watson.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>Just don't say anything, to anyone. Let me talk to the agent in charge.</dialogue> <scene_description>Jewell hands the phone to Shaw.</scene_description> <character>JEWELL</character> <dialogue>He wants to talk to you.</dialogue> <character>SHAW</character> <parenthetical>(into phone)</parenthetical> <dialogue>This is Agent Shaw.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <dialogue>No more questions. Not another WORD.</dialogue> <character>SHAW</character> <parenthetical>(into phone)</parenthetical> <dialogue>He's been cooperating fully.</dialogue> <character>BRYANT</character> <parenthetical>(into phone)</parenthetical> <character>NOT ANOTHER WORD!</character> <dialogue>He SLAMS down the phone. END INTERCUT.</dialogue> </scene> <scene> <stage_direction>EXT./INT. MONACO APTS. - PARKING LOT/BOBI APT. - NIGHT</stage_direction> <scene_description>Jewell's blue Toyota pickup pulls into the lot. The MOB turns, en masse, swarming toward him. Bobi, at the window, watches helplessly through Levolors:</scene_description> <character>BACK TO JEWELL</character> <dialogue>He gets out and is instantly engulfed:</dialogue> <character>CROWD</character> <dialogue>RICHARD, WERE YOU CHARGED?/ARE YOU</dialogue> <character>THE FBI'S LEAD SUSPECT?/RICHARD,</character> <dialogue>WHAT HAVE YOU BEEN TOLD?</dialogue> <character>JEWELL</character> <dialogue>I'm not a suspect. I'm not a suspect.</dialogue> <character>REPORTER</character> <dialogue>Richard, did you set that bomb?</dialogue> <character>JEWELL</character> <dialogue>No, sir. I didn't do this.</dialogue> <scene_description>He gets to the stairs, besieged... and: He enters, whipped. Bobi looks shaken. A PHONE RINGS.</scene_description> <character>JEWELL</character> <dialogue>Momma, they're all after me now.</dialogue> <scene_description>Bobi nods. The PHONE RINGS again. Jewell looks to the TV -- TOM BROKAW and BOB COSTAS, reporting. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BROKAW (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>They probably have enough to arrest him right now, probably enough to prosecute him, but you always want to have enough to convict him as well. There are still holes in this case.</dialogue> <scene_description>The color drains from Bobi's face. Tears falling.</scene_description> <character>BOBI</character> <dialogue>Richard, what is he saying? Why would Tom Brokaw say that about you?</dialogue> <scene_description>No reply. The PHONE rings again. It will NEVER STOP.</scene_description> </scene> <scene> <stage_direction>INT./EXT. SHAW'S BUICK - PARKING LOT - SAME TIME</stage_direction> <scene_description>Shaw is alone in his car, windows rolled up, pounding the dashboard, furious.</scene_description> <character>GODDAMMIT!</character> <dialogue>KATHY!</dialogue> <character>FUCK, FUCK, FUCKING</character> <dialogue>EXT. MONACO APTS. - PARKING LOT/STEPS - NIGHT (LATER)</dialogue> <scene_description>Bryant drives up in his 4Runner, passing NEWS VANS, TRUCKS. The MOB ignores him. He parks, makes his way through the hungry crowd, wearing his HIKING SHORTS.</scene_description> <character>BRYANT</character> <dialogue>'Scuse me...</dialogue> <scene_description>They realize he's on his way to the STEPS leading to Bobi's apartment. He's SOMEBODY! That fast, the CAMERAS are on and the MICS ARE OUT. But Bryant's already at the door. Knocks. The door OPENS. Bryant and Jewell eye one another, 10 years on. Bryant wondering: "Am I looking at a mad bomber???" Jewell thinking: "Hiking shorts? Balding?" It's a let-down... So Bryant tries a tension-breaker:</scene_description> <character>BRYANT</character> <dialogue>Ya got that hundred you owe me?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Jewell frowns, ashamed. Lets him in. MORE QUESTIONS ARE HURLED FROM THE MOB. The closing door silences them...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT.</stage_direction> <scene_description>INSIDE NOW. Jewell and Bobi study Bryant. The PHONE RINGS incessantly. Bryant pulls the cord from the wall.</scene_description> <character>BRYANT</character> <dialogue>For the next little while, the only person you need to talk to is me.</dialogue> <character>JEWELL</character> <dialogue>Momma, this is Watson. Watson, this is my mother, Barbara. Bobi.</dialogue> <character>BRYANT</character> <dialogue>He does not open his mouth again if there is a cop present, or an FBI agent, or someone from GBI, or a CROSSING GUARD. Is that clear?</dialogue> <character>JEWELL</character> <dialogue>Raised to respect authority, sir.</dialogue> <character>BRYANT</character> <dialogue>'Authority' is what's outside that window, looking to eat you alive.</dialogue> <parenthetical>(as Jewell reacts)</parenthetical> <dialogue>Let's get to work.</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - 2 AM</stage_direction> <scene_description>Bobi sleeps. Jewell looks out the window at the MOB.</scene_description> <character>BRYANT</character> <dialogue>You belong to any kind of extremist groups, Richard?</dialogue> <character>JEWELL</character> <dialogue>No.</dialogue> <character>BRYANT</character> <dialogue>Posse Comitatus, Aryan Nation, anything like that?</dialogue> <character>JEWELL</character> <dialogue>I hate all that stuff.</dialogue> <character>BRYANT</character> <dialogue>Any anti-government affiliations, or religious cults or...?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>No, no. That's not me.</dialogue> <character>BRYANT</character> <dialogue>Any of your friends affiliated with any fringe organizations?</dialogue> <character>JEWELL</character> <dialogue>No.</dialogue> <character>BRYANT</character> <dialogue>NRA?</dialogue> <character>JEWELL</character> <dialogue>Is the NRA fringe?</dialogue> <scene_description>No reply. Bryant makes sure Bobi's asleep... Then:</scene_description> <character>BRYANT</character> <dialogue>Richard, this is a capital crime here. Death penalty. I can help you, but only if I know the truth. Did you do this?</dialogue> <scene_description>Jewell looks wounded by the question. Gathers himself.</scene_description> <character>JEWELL</character> <dialogue>No.</dialogue> <scene_description>Bryant stares right through him... Decides:</scene_description> <character>BRYANT</character> <dialogue>Then let's beat the hell outta these bastards.</dialogue> </scene> <scene> <stage_direction>EXT. MONACO APTS. - PARKING LOT - NIGHT (LATER)</stage_direction> <scene_description>Bryant emerges. The horde SWALLOWS HIM:</scene_description> <character>CROWD</character> <dialogue>ARE YOU RICHARD'S ATTORNEY?/</dialogue> <character>WHAT'S YOUR NAME, SIR?/WHAT HAS</character> <dialogue>THE FBI TOLD YOU?/DID HE SET THAT</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME</stage_direction> <scene_description>Jewell plugs the phone back in. An INSTANT RING.</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hello?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>ANONYMOUS CALLER (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>It was a good thing, that bomb. Weren't gonna be long before the Zionist Organizational Government comes in and starts a --</dialogue> <scene_description>Jewell hangs up, unplugs the phone again.</scene_description> </scene> <scene> <stage_direction>INT. BRYANT'S 4RUNNER - PARKED</stage_direction> <scene_description>Watson gets in and exhales: WHAT HAVE I JUST GOTTEN MYSELF INTO? Bryant starts to drive away, then -</scene_description> <character>KATHY (O.S.)</character> <dialogue>Not quite real estate law -- is it, Mr. Bryant?</dialogue> <scene_description>Jesus. Kathy's in his backseat, coiled like a snake.</scene_description> <character>BRYANT</character> <dialogue>Who the hell're you?</dialogue> <character>KATHY</character> <dialogue>I could be the best friend you'll ever have. Kathy Scruggs. AJC.</dialogue> <character>BRYANT</character> <dialogue>Of course. Get out.</dialogue> <character>KATHY</character> <dialogue>Have you secured an actual defense attorney for Richard?</dialogue> <character>BRYANT</character> <dialogue>No comment.</dialogue> <character>KATHY</character> <dialogue>See, 'no comment' doesn't help me. Which means I can't help you.</dialogue> <character>BRYANT</character> <dialogue>That's why you're here? To help me?</dialogue> <character>KATHY</character> <dialogue>Watson, I'm not sure you grasp the tank that's about to roll over you. This is the U.S. Government --</dialogue> <character>BRYANT</character> <dialogue>Want me to call the cops?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>KATHY</character> <dialogue>Cops love me. I tell their stories all day. Let me tell yours.</dialogue> <character>BRYANT</character> <dialogue>Out.</dialogue> <scene_description>Kathy eyes him. We --</scene_description> </scene> <scene> <stage_direction>EXT. "TODAY SHOW" SET - MORNING</stage_direction> <scene_description>A LIVE ON-AIR INTERVIEW: Bryant and BRYANT GUMBEL. (Mixture of REAL FOOTAGE.)</scene_description> <character>GUMBEL</character> <dialogue>What do you think of the manner in which the FBI has treated your client?</dialogue> <character>BRYANT</character> <dialogue>I think whoever the bum was who leaked that Richard Jewell was the focus of this investigation should be prosecuted or dealt with in some serious way. I don't think that this investigation should be, aaahhh, conducted under world spotlight like this.</dialogue> <character>GUMBEL</character> <dialogue>Why are you so convinced of his innocence?</dialogue> <character>BRYANT</character> <dialogue>Because I've known Richard for a while. I've looked him in the eye and I've asked him the question.</dialogue> <character>GUMBEL</character> <dialogue>Were you aware that he had been arrested in the past for impersonating an officer?</dialogue> <scene_description>WHOA. Deer in headlights moment. Bryant recovering.</scene_description> <character>BRYANT</character> <dialogue>I don't know a lot of things about a whole lot of people that I know.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>GUMBEL</character> <dialogue>There are also misdemeanors on his record. And he seems to have a cabin in the woods that the police are eager to examine now.</dialogue> <character>BRYANT</character> <dialogue>I, uh, I have not yet conducted a thorough investigation into Richard and his history. I don't have Richard's police record. You may.</dialogue> <character>GUMBEL</character> <dialogue>Were you aware he'd been asked by the Habersham Sheriff's Department to seek psychological counseling?</dialogue> <character>BRYANT</character> <dialogue>I have not, uh, I have not yet gotten up to speed on some things, that's all.</dialogue> <character>GUMBEL</character> <dialogue>I'll ask you again -- why are you so convinced of his innocence?</dialogue> <character>BRYANT</character> <dialogue>I believe him.</dialogue> <character>GUMBEL</character> <dialogue>Pure and simple.</dialogue> <parenthetical>(to the camera)</parenthetical> <dialogue>Twenty-three past the hour. We'll be right back.</dialogue> <scene_description>Bryant smiles thinly. He KNOWS that was a disaster.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME</stage_direction> <scene_description>Bobi and Jewell just watched that. The PHONE rings.</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Yes?</dialogue> <character>BRYANT (V.O.)</character> <parenthetical>(through phone)</parenthetical> <character>YOU WERE ARRESTED FOR</character> <dialogue>IMPERSONATING A FUCKING OFFICER?!</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Once. It was complicated.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT (V.O.)</character> <parenthetical>(through phone)</parenthetical> <character>WERE YOU PLANNING TO TELL ME?!</character> <dialogue>JEWELL</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>Yeah, course, just, in all the hoopla yesterday I forgot.</dialogue> <character>BRYANT (V.O.)</character> <parenthetical>(through phone)</parenthetical> <dialogue>Goddammit, Richard!</dialogue> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - NIGHT (NBC FOOTAGE)</stage_direction> <scene_description>MICHAEL JOHNSON is in the blocks, about to run a 200 as:</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - SOUND AND LIGHT TOWER - SAME TIME</stage_direction> <scene_description>Bryant stands beside the SOUND AND LIGHT TOWER -- a CRIME SCENE now, ringed by a fence, metal detectors, SECURITY. He eyes the battered tower, Nadya beside him. Then:</scene_description> <character>BRYANT</character> <dialogue>Go.</dialogue> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - RESUMING (NBC FOOTAGE)</stage_direction> <scene_description>BANG. Michael Johnson BURSTS out of the blocks.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - SOUND AND LIGHT TOWER - RESUMING</stage_direction> <scene_description>Bryant starts walking. To where? Nadya eyes her watch.</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - RESUMING (NBC FOOTAGE)</stage_direction> <scene_description>Michael Johnson is flying down the track, at the turn...</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - GROUNDS - MOVING SHOT - RESUMING</stage_direction> <scene_description>Bryant keeps walking, eyeing his watch, all business...</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - RESUMING (NBC FOOTAGE)</stage_direction> <scene_description>Michael Johnson, nearing the FINISH LINE... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - BAKER ST. EXIT - RESUMING</stage_direction> <scene_description>Bryant exits the park, walking briskly, Nadya beside him. Another check of his watch. Where's he going?</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - RESUMING (NBC FOOTAGE)</stage_direction> <scene_description>Michael Johnson BREAKS THE TAPE. The CROWD CHEERS.</scene_description> </scene> <scene> <stage_direction>EXT. BAKER ST. - NIGHT</stage_direction> <scene_description>Bryant and Nadya arrive at the BANK OF NINE PAY PHONES. (The TENTH has been removed by the FBI.)</scene_description> <character>BRYANT</character> <dialogue>Time.</dialogue> <character>NADYA</character> <dialogue>Six minutes.</dialogue> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - TRACK - RESUMING (NBC FOOTAGE)</stage_direction> <scene_description>The 200 TIME is posted. NEW WORLD RECORD. HUGE CHEER...</scene_description> </scene> <scene> <stage_direction>EXT. BAKER ST. - RESUMING</stage_direction> <scene_description>Bryant eyes his watch...</scene_description> <character>BRYANT</character> <dialogue>Okay. We know the second 9-1-1 call was placed at 12:58, from the PAY PHONE that had been right here. We also know Richard was inside the park near the sound and light tower at 12:57 when Bill Miller called the backpack in. He would've had to cover the distance in two minutes.</dialogue> <character>NADYA</character> <dialogue>Then he couldn't've placed the call.</dialogue> <character>BRYANT</character> <dialogue>Coulda ridden a bike, I guess.</dialogue> <character>NADYA</character> <dialogue>There and back? No one noticing?</dialogue> <scene_description>Bryant coming to a grudging conclusion -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>He actually didn't do this. Shit.</dialogue> <scene_description>They look around -- ATLANTANS breeze down the sidewalk, confident that the bomber's been caught. But he hasn't.</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER PARK (NORTH CAROLINA) - MORNING</stage_direction> <scene_description>The MAN in the FISHERMAN'S HAT who placed those pre-bomb \* calls emerges from his trailer and shuts the door. We don't see his face.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - MORNING</stage_direction> <scene_description>Bryant, holding a SEARCH WARRANT, looks out the window.</scene_description> <character>HIS POV</character> <dialogue>40 AGENTS out there, with DOGS. A physical-evidence team, a bomb-squad team, ATF -- each with different colored shirts on. They approach the door.</dialogue> <character>BACK TO BRYANT</character> <dialogue>Offended. Jewell is beside him, petrified.</dialogue> <character>BRYANT</character> <dialogue>You don't talk. I talk. They're just gonna look around. Ya got any guns in the house?</dialogue> <parenthetical>(as Jewell nods)</parenthetical> <dialogue>Go get them, lay them on your bed. We don't want any surprises.</dialogue> <scene_description>Jewell disappears. Bryant looks to Bobi. She's shaking.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APARTMENT - JEWELL'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>WEAPONS lie on the bed. Shotguns, rifles.</scene_description> <character>BRYANT</character> <dialogue>Were you expecting a zombie invasion or something?</dialogue> <character>JEWELL</character> <dialogue>They're for deer. I hunt. And this is all just standard camo gear.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>Richard, I wanna explain something to you. Okay? All you're guilty of right now is looking like the kind of guy who might set off a bomb. But everything you do that promotes that image is going to hang us. So --</dialogue> <scene_description>He stops himself. Just saw sheer TERROR in Bobi's eyes.</scene_description> <character>BRYANT</character> <dialogue>Sorry. Poor choice of words. I just, is there anything else odd or quirky I'm going to discover today?</dialogue> <character>JEWELL</character> <dialogue>Kinda. I haven't paid my taxes in two years.</dialogue> <scene_description>Bryant sighs. Bobi nervously fills the silence:</scene_description> <character>BOBI</character> <dialogue>I hate guns. I don't know why. My daddy loved guns; I just never did. Every time Richard goes hunting I tell him, 'Don't you drag a dead Bambi into this house. I am NOT eating Bambi!' Richard can shoot, though. He scored a 98 out of 100 on his shooting test when he was a deputy with the Habersham County Sheriffs.</dialogue> <scene_description>Just then, a loud KNOCK at the door.</scene_description> <character>BRYANT</character> <dialogue>You don't talk. I talk. Say it.</dialogue> <character>JEWELL</character> <dialogue>I don't talk... But I want those guys to know I'm law enforcement, too. Just like them.</dialogue> <character>BRYANT</character> <dialogue>See, that's TALKING. That's what we don't want.</dialogue> <character>BOBI</character> <dialogue>You picked the right lawyer, Richard.</dialogue> <scene_description>Jewell nods. Bryant goes to the front door, opens it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - FOYER/LIVING ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Bennet, Shaw, and the 40 AGENTS in different-colored shirts crowd onto the landing. They file in, like a row of brightly-colored pennants, with DOGS.</scene_description> <character>BRYANT</character> <dialogue>It's like the United Goddamn Colors of Benetton.</dialogue> <character>JEWELL</character> <dialogue>Take everything, take the carpet. I am law enforcement, just like you. So, take whatever you're going to take because it's all going to prove that I didn't do anything.</dialogue> <scene_description>Bryant shoots him a look: STOP talking. Jewell nods.</scene_description> <character>SHAW</character> <dialogue>You're going to be counsel, Mister Bryant?</dialogue> <character>BRYANT</character> <dialogue>That's right.</dialogue> <scene_description>Bryant hands Shaw a business card, "The Law Offices of G. Watson Bryant." Shaw eyes it, deeply unimpressed. Bennet hands Bryant a bag. Bryant takes it, angrily.</scene_description> <character>BENNET</character> <dialogue>If you wanna stay in here, you have to put these on.</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DAY (LATER)</stage_direction> <scene_description>Jewell, Bobi, and Bryant wear BLUE RUBBER GLOVES and RUBBER SOCKS as they sit on a couch, watching the agents tear through clothes, toiletries, food. Bryant fuming. An AGENT looks through the few BOOKS in here, stopping to peruse a VINCENT BUGLIOSI BOOK about the OJ trial.</scene_description> <character>JEWELL</character> <dialogue>That's a great book. Lotta detail in it about police procedure.</dialogue> <scene_description>Agent just bags it in a Ziploc. Jewell sags. AGENT #2(Diader Rosario) comes by, toting a big CARDBOARD BOX of stuff from Jewell's bedroom, struggling to get to the door. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>You need a hand with that?</dialogue> <scene_description>No reply. Jewell rises to get to the door -- despite a look from Bryant. But Bennet opens it. AGENT #3(Don Johnson) eyes a case of DISNEY MOVIES on VHS.</scene_description> <character>BOBI</character> <dialogue>I use those when I babysit.</dialogue> <scene_description>Great. Each VHS gets bagged in Ziploc. Bobi tightens...</scene_description> <character>SHAW</character> <dialogue>I think it might be better if you all just stepped out and let us do our jobs.</dialogue> <scene_description>Bryant tears off his rubber gloves and socks, stands up.</scene_description> <character>BRYANT</character> <dialogue>C'mon, Richard.</dialogue> <character>SHAW</character> <parenthetical>(yells)</parenthetical> <dialogue>Johnson. Rosario. You find anything?</dialogue> </scene> <scene> <stage_direction>EXT. MONACO APTS. - STEPS/PARKING LOT - HOURS LATER</stage_direction> <scene_description>Jewell and Bryant sit on the STEPS outside the door as: Every box is taken out and loaded onto trucks. Shaw supervising it all. The MOB broadcasting every step.</scene_description> <character>JEWELL</character> <dialogue>Ya never did tell me the name of the firm you'd moved to, Watson.</dialogue> <character>BRYANT</character> <dialogue>I opened my own.</dialogue> <character>JEWELL</character> <dialogue>Oh. How come?</dialogue> <character>BRYANT</character> <dialogue>Firms mean partners, and partners think they can tell you who to be. I don't care much for being dictated to.</dialogue> <scene_description>Then they hear Bobi yelling as TWO AGENTS exit the unit, boxes in hand, down the steps. Bobi's mad as hell. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>What's wrong, Momma?</dialogue> <character>BOBI</character> <dialogue>They've went through my under- things. How much indignity do they want us to take?</dialogue> <scene_description>She's shaking. Bryant stands, livid, goes after them:</scene_description> <character>BRYANT</character> <dialogue>Hold on, fellas!</dialogue> <scene_description>The agents head for the FBI TRUCKS. Bryant bounds down the steps into the PARKING LOT in pursuit, but -- THE MOB CONSUMES HIM, instantly SURROUNDING him in a cocoon of bodies so tight that he can't get through.</scene_description> <character>BRYANT</character> <dialogue>Excuse me. Excuse me. I need to --</dialogue> <scene_description>No room to move at all. And the QUESTIONS come:</scene_description> <character>CROWD</character> <dialogue>WATSON, WHAT ARE THEY LOOKING</dialogue> <character>FOR?/HAS HE BEEN CHARGED?/DID HE</character> <dialogue>DO IT, WATSON?</dialogue> <character>BRYANT</character> <dialogue>No, he didn't. He's innocent. Richard Jewell is a HERO.</dialogue> <character>KATHY</character> <dialogue>If he's innocent, why's the FBI here?</dialogue> <character>BRYANT</character> <dialogue>We WANT them here. We welcome this.</dialogue> <character>KATHY</character> <dialogue>No, you don't.</dialogue> <scene_description>That landed. The MOB keeps pressing, pushing. Bryant can't move an inch, a suffocating compression of people. Just then, Shaw emerges from the unit, sees Jewell sitting alone. That's an opportunity.</scene_description> <character>SHAW</character> <dialogue>Hey, Richard. Mind comin' in here for a minute?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Sure.</dialogue> </scene> <scene> <stage_direction>INT. BOBI'S APT. - LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Shaw sits on the edge of the coffee table, beside Bennet. Jewell on the sofa. Shaw grabs a TELEPHONE, dials -- it's a moment we've seen before:</scene_description> <character>SHAW</character> <dialogue>Okay, Richard. I'm going to hand you this phone now...</dialogue> <scene_description>Shaw hands the PHONE to Jewell.</scene_description> <character>SHAW</character> <dialogue>When you hear a BEEP on the other end, I want you to say into it, 'There is a bomb in Centennial Park. You have thirty minutes.'</dialogue> <character>JEWELL</character> <dialogue>I'm sorry, what?</dialogue> <character>BENNET</character> <dialogue>We need a voice exemplar. Like ya to say it a few times.</dialogue> <character>SHAW</character> <dialogue>'There is a bomb in Centennial Park. You have thirty minutes.' Might be the only way to clear your name, Richard.</dialogue> <scene_description>Jewell does NOT want to do this, but they're the law. The phone BEEPS. Jewell takes it, steels himself, then:</scene_description> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <character>SHAW</character> <dialogue>Good. Again, please. Louder.</dialogue> <character>JEWELL</character> <parenthetical>(into phone)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <character>SHAW</character> <dialogue>Again. In fact, let's just do a series.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Jewell considers that. Perspiring a bit. Then...</scene_description> <character>JEWELL</character> <dialogue>There is a bomb in Centennial Park. You have thirty minutes. There is a bomb in Centennial Park. You have thirty minutes.</dialogue> <parenthetical>(as they want more)</parenthetical> <dialogue>There is a bomb in Centennial Park. You have thirty minutes. There is a bomb in Centennial Park. You have thirty minutes. There is a --</dialogue> <scene_description>But Bryant blows through the front door and ERUPTS:</scene_description> <character>BRYANT</character> <dialogue>Are you fucking kidding me!</dialogue> <character>JEWELL</character> <dialogue>Watson, it's standard procedure.</dialogue> <character>BRYANT</character> <parenthetical>(yanks phone away)</parenthetical> <dialogue>The hell it is!</dialogue> <character>SHAW</character> <dialogue>Mister Bryant, we --</dialogue> <character>BRYANT</character> <dialogue>Maybe you can do this, maybe you can't. But you are NOT doing this today. Let's go, Richard.</dialogue> <character>JEWELL</character> <dialogue>I really don't mind. It'll just clear me.</dialogue> <character>BRYANT</character> <dialogue>LET'S GO.</dialogue> <scene_description>Bryant literally pulls him out.</scene_description> </scene> <scene> <stage_direction>EXT. MONACO APTS. - STAIRS/VARIOUS LOCATIONS - DAY</stage_direction> <scene_description>Hour #7. Jewell on the steps. Bryant stands. Dave Dutchess is now here. The MOB hasn't moved. Meanwhile: -- Agents talk to NEIGHBORS. -- Agents look through the complex's DUMPSTER and LAUNDRY \* ROOM. -- They trash Jewell's once-orderly room. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BACK TO JEWELL</character> <dialogue>Sitting, waiting, a sad figure. Dutchess disgusted.</dialogue> <character>DUTCHESS</character> <dialogue>Dicks.</dialogue> </scene> <scene> <stage_direction>EXT. MONACO APTS. - STAIRS - MIDNIGHT</stage_direction> <scene_description>Jewell, Bryant, Dutchess, and Bobi are still here as -- AGENTS file out, boxes in hand. Here's Shaw:</scene_description> <character>SHAW</character> <dialogue>We're done in there.</dialogue> <scene_description>Jewell stands, turns. Looks into the parking lot: Several VANS and TRUCKS have now been loaded. Bryant heads inside. Bobi, too. Jewell follows, but -- He STOPS. A sudden tightness in his chest. Bryant turns --</scene_description> <character>BOBI</character> <dialogue>Richard?</dialogue> <scene_description>Jewell nods, but it's unconvincing. He heads inside.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - LIVING ROOM/KITCHEN - MOMENTS LATER</stage_direction> <scene_description>The four of them sit, stunned. The place feels violated. Jewell's room is a wreck. Bobi moves to the window. INSTANT SHUTTER CLICKS from outside. We're CAGED. She watches as the FBI VANS drive away. Goes to the kitchen. Everything is in ZIPLOC BAGS. Flour, sugar, all bagged.</scene_description> <character>BOBI</character> <dialogue>They took all my Tupperware. What would they need with my Tupperware?</dialogue> <character>JEWELL</character> <dialogue>The bomber used Tupperware to hold the nails. That's standard.</dialogue> <character>BOBI</character> <dialogue>What's it got to do with YOU? And why would they take all my baby- sitting tapes? My Disney movies?</dialogue> <scene_description>We hear a KNOCK at the front door. Bryant goes to it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Probably wanna see if we'd recorded anything over the tapes -- ya know, political statements or something.</dialogue> <character>BOBI</character> <dialogue>Why're you defending these people?</dialogue> <character>JEWELL</character> <dialogue>I'm not. I'm just explaining.</dialogue> <character>BOBI</character> <dialogue>Well, STOP it!</dialogue> <scene_description>She slaps the table. Jewell doesn't fire back. Then:</scene_description> <character>NADYA (O.S.)</character> <dialogue>Hi.</dialogue> <scene_description>They turn. Here's Nadya, carrying a BAG OF GROCERIES.</scene_description> <character>BRYANT</character> <dialogue>This is Nadya. She works with me.</dialogue> <character>NADYA</character> <dialogue>Thought you might want some dinner.</dialogue> <character>BOBI</character> <dialogue>Bless your heart. Thank you.</dialogue> <character>JEWELL</character> <dialogue>Hi. I'm Richard.</dialogue> <scene_description>Nadya smiles, well aware.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS (NORTH CAROLINA) - NIGHT (LATE)</stage_direction> <scene_description>A HOODED FIGURE vanishes into the Carolina woods...</scene_description> </scene> <scene> <stage_direction>EXT. WOODS BEHIND MONACO APTS./PARKING LOT - NIGHT (LATE)</stage_direction> <scene_description>Jewell waits while Brandi squats to pee. A quiet moment. But 50 PRESS MEMBERS are watching him. Surreal, eerie. The dog finishes. Jewell heads back home as:</scene_description> <character>HORDE</character> <dialogue>Richard, has the FBI charged you?/ What're they saying to you?/Did you blow those people up?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>I did not do this. I didn't do this terrible thing!</dialogue> <scene_description>Then he STOPS. That sudden TIGHTNESS in his chest again. He shakes the symptoms off, keeps walking...</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - EVIDENCE ROOM - DAY</stage_direction> <scene_description>Jewell's belongings, bagged and tagged, fill this room. An EVIDENCE TEAM inspects two HOLLOWED-OUT GRENADES...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DAY</stage_direction> <scene_description>Bryant, an INVENTORY LIST in hand, stares at Jewell:</scene_description> <character>BRYANT</character> <dialogue>Grenades, Richard?</dialogue> <character>JEWELL</character> <dialogue>They're paperweights. I bought 'em at a military surplus store.</dialogue> <character>BRYANT</character> <dialogue>Christ...</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - EVIDENCE ROOM</stage_direction> <scene_description>Agents analyze Jewell's SCRAPBOOK. Taped inside it is that tiny SLIVER FROM THE BLOWN-UP BENCH at the park...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - RESUMING</stage_direction> <scene_description>Bryant keeps his eyes on the list --</scene_description> <character>BRYANT</character> <dialogue>A piece of the bench?</dialogue> <character>JEWELL</character> <dialogue>It was a souvenir.</dialogue> <scene_description>Bobi, fed up, climbs on the sofa to take down that PORTRAIT of Jewell in his Habersham deputy sheriff's uniform.</scene_description> <character>BRYANT</character> <dialogue>Leave it up, Bobi.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BOBI</character> <dialogue>Makes me sad now, thinking they're doin' this to one of their own.</dialogue> <scene_description>She turns up the VOLUME on the TV as we DRIFT INTO a -- MONTAGE OF PRESS COVERAGE JAY LENO (ON VIDEO) -- Calling Jewell "The Una-doofus."</scene_description> <character>JAY LENO (V.O.)</character> <dialogue>... a scary resemblance to the guy who whacked Nancy Kerrigan. What is it about the Olympics that brings out fat, stupid guys?</dialogue> <scene_description>Big LAUGHS from the crowd. -- TIGHT ON a NEW YORK POST, calling Jewell "a fat, failed former sheriff's deputy" and "a village Rambo." -- MORE VIDEO, MORE PRINT. A tidal wave. Jewell is a national joke. We see that land on his face as our MONTAGE BECOMES...</scene_description> </scene> <scene> <stage_direction>INT. AJC BUILDING - NEWSROOM - VARIOUS SHOTS - DAY</stage_direction> <scene_description>FROM ACROSS the newsroom we watch Kathy and Ron Martz type madly, like Woodward and Bernstein... Then: INSERTS: One HEADLINE after another -- burying Jewell, the FBI's case building but without any evidence. Front page after front page, IN our face, slamming loudly, then --</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - LIVING ROOM - NIGHT</stage_direction> <scene_description>Bryant, Jewell, and Bobi sit -- dejected and silent. The place smells STALE. Feels like a PRISON... Bryant looks out the window: The HORDE is out there, as always. So are FIVE FBI SEDANS. Jewell turns a BASEBALL GAME up loud. Things are feeling a little CRAZY in here.</scene_description> </scene> <scene> <stage_direction>INT. DONUT SHOP - DAY</stage_direction> <scene_description>Jewell pays at the counter. TWO GUYS behind him in line stare: That's HIM! Jewell can feel their excitement. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>DONUT BUYER</character> <dialogue>Now, you ain't gonna blow us up, are ya?</dialogue> <scene_description>No reply from Jewell, just a wounded smile. He gets his change, takes away TWO BAGS, and exits.</scene_description> <character>JEWELL</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. DONUT SHOP - PARKING LOT - CONTINUOUS ACTION</stage_direction> <scene_description>Jewell emerges. Bryant waits here, in Jewell's PICKUP. So do FIVE FBI SEDANS. Oddly, Jewell heads for one of them -- the one that Shaw is in. Bryant tightens: What's Jewell doing? Jewell taps on the sedan window. Shaw rolls the window down. What the??? ... as Jewell hands over one of the two bags of donuts.</scene_description> <character>JEWELL</character> <dialogue>Thought you guys might be hungry.</dialogue> <character>SHAW</character> <dialogue>Uh... we can't accept these.</dialogue> <scene_description>Across the street, 100 PHOTOGRAPHERS CAPTURE IT ALL...</scene_description> <character>JEWELL</character> <dialogue>It's not a bribe or anything. I just know stakeouts suck.</dialogue> <character>SHAW</character> <dialogue>Would you take them, please?</dialogue> <scene_description>Disappointed, Jewell collects the bag and walks away.</scene_description> </scene> <scene> <stage_direction>INT. JEWELL'S PICKUP - CONTINUOUS ACTION</stage_direction> <scene_description>Jewell gets in. Bryant livid.</scene_description> <character>BRYANT</character> <dialogue>What the hell was that?</dialogue> <character>JEWELL</character> <dialogue>It's a cop thing.</dialogue> <character>BRYANT</character> <dialogue>A: You don't need any more donuts.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>I'm sick of everyone calling you fat. B: You don't need any more attention.</dialogue> <character>JEWELL</character> <dialogue>You never done a stakeout.</dialogue> <character>BRYANT</character> <dialogue>Richard, you just gave the world a headline: 'Jewell Tries to Buy Off Cops with Donuts!' I can't help you if you're gonna let them make a joke out of you.</dialogue> <character>JEWELL</character> <dialogue>Thought if the cops liked me more, they might not be so hard on us.</dialogue> <scene_description>Bryant freezes. That felt so sad and heartbreaking...</scene_description> <character>BRYANT</character> <dialogue>They're NEVER gonna like you. Let's just get 'em to respect you. Okay?</dialogue> <scene_description>He opens Jewell's GLOVE COMPARTMENT to stuff the bag in -- ... which is when Bryant sees a small TEDDY BEAR inside. Huh? Bryant just stares, then extracts the Teddy bear.</scene_description> <character>BRYANT</character> <dialogue>What's this?</dialogue> <character>JEWELL</character> <dialogue>Oh. I used to work a lot of car wrecks when I was in the sheriff's office. Sometimes there'd be kids involved, and they'd always be scared. So, I kept Teddy bears in my trunk, to calm 'em down. Just became a habit.</dialogue> <scene_description>There it is -- Jewell's pure, innocent kindness again. And Bryant is ashamed, feeling like a major asshole.</scene_description> <character>BRYANT</character> <dialogue>Never know when you're gonna happen upon a car wreck, I guess.</dialogue> <character>JEWELL</character> <dialogue>No, sir.</dialogue> <scene_description>Bryant puts the bear away, shuts the glove compartment. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>Let's keep this between us, so they don't accuse you of being a child molester.</dialogue> <scene_description>Jewell starts up the truck, pulls out -- right past Shaw. Bryant tosses the DONUTS into Shaw's window.</scene_description> <character>BRYANT</character> <dialogue>Live a little.</dialogue> <scene_description>We LEAVE the lot. The FIVE FBI CARS follow. Infuriating.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - LIVING ROOM - DUSK (MINUTES LATER)</stage_direction> <scene_description>Bobi watches TV. Bryant enters without a knock, RESOLVED.</scene_description> <character>BRYANT</character> <dialogue>Get up, Bobi. I'm taking you two to dinner.</dialogue> <character>BOBI</character> <dialogue>Where's Richard?</dialogue> <character>BRYANT</character> <dialogue>In the car. I can't sit in this apartment anymore. Let's go.</dialogue> </scene> <scene> <stage_direction>INT. BRYANT'S 4RUNNER (MOVING) - EVENING</stage_direction> <scene_description>Bryant drives. Bobi rides up front, Jewell in back. Those same FIVE FBI SEDANS trail behind. He pulls into:</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - CONTINUOUS ACTION</stage_direction> <scene_description>The FIVE SEDANS are forced to follow. Bobi looks around.</scene_description> <character>BOBI</character> <dialogue>Watson, where're we goin'?</dialogue> <character>BRYANT</character> <dialogue>You just sit tight, Bobi.</dialogue> <scene_description>She shrugs. Bryant makes a SWOOPING LEFT. Huh? ... and all the FBI SEDANS follow. He makes a SWOOPING RIGHT now. Bobi and Jewell confused -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY But all the sedans follow... And now we get it. He's just fucking with them. Bryant drives a little faster. They have to follow suit.</scene_description> <character>BOBI</character> <dialogue>Oh, my Lord...</dialogue> <scene_description>... we watch as Bryant drives in a big CIRCLE, until he's actually behind the sedans. Bobi starts to laugh, waving at the sedans -- all these agents trying to do surveillance, hopelessly fouled now.</scene_description> <character>BOBI</character> <dialogue>You see that, Richard?!</dialogue> <scene_description>And Jewell laughs, his first bright moment in a while. Bryant beaming, driving the sedans in circles...</scene_description> </scene> <scene> <stage_direction>INT. BLIND WILLIE'S - NIGHT (LATER) 128 \*</stage_direction> <scene_description>A JAPANESE MAN stands on a small stage, mic in hand, singing a KARAOKE version of "Rebel Yell." Pretty awful. But Jewell, Bobi, and Bryant have finally found a place to be unrecognized.</scene_description> <character>JEWELL</character> <dialogue>I like it in here, Watson.</dialogue> <character>BOBI</character> <dialogue>I like how you handle yourself generally, Watson. Ain't afraid of them agents, that's fer sure.</dialogue> <scene_description>A WAITER brings a cocktail for Bryant. Beer for Bobi. Coca-Cola for Jewell. They half-toast to one another...</scene_description> <character>BRYANT</character> <dialogue>We lucked out, karaoke night.</dialogue> <character>BOBI</character> <dialogue>You know, Richard can sing.</dialogue> <character>BRYANT</character> <dialogue>That right?</dialogue> <character>BOBI</character> <dialogue>Sure can.</dialogue> <character>JEWELL</character> <dialogue>Momma...</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BOBI</character> <dialogue>What? He sang all the time when he was young. And he was good.</dialogue> <scene_description>"Rebel Yell" ends. Polite applause. The stage is empty.</scene_description> <character>BOBI</character> <dialogue>Why don't you show him, Richard?</dialogue> <character>JEWELL</character> <dialogue>I don't think I should.</dialogue> <character>BOBI</character> <dialogue>Why not? You're certainly good enough for this establishment.</dialogue> <character>JEWELL</character> <dialogue>I had enough attention lately. Court of public opinion and stuff.</dialogue> <character>BOBI</character> <dialogue>I don't see any cameras, do you? Please? For me?</dialogue> <character>JEWELL</character> <dialogue>Momma...</dialogue> <character>BOBI</character> <dialogue>You won't get up there and sing for your gray-haired momma like you did in school?</dialogue> <scene_description>Jewell tightens, weighing it. Bryant eyeing him... Then:</scene_description> <character>BRYANT</character> <dialogue>Let's hear it, son.</dialogue> <scene_description>That surprised Jewell -- kind of surprised Bryant, too.</scene_description> <character>JEWELL</character> <dialogue>Really?</dialogue> <parenthetical>(as Bryant nods)</parenthetical> <dialogue>Awright, then.</dialogue> <scene_description>He rises, unaware that -- Kathy just drifted in, without fanfare. She lingers by the bar, out of Jewell's eye-line as -- He gets up on stage. This has to go badly, right? He picks a song, grabs the microphone. NO ONE recognizing him. The song starts. Bon Jovi. Jewell air-guitars... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY The first strains of "Wanted Dead Or Alive." Then --</scene_description> <character>JEWELL</character> <dialogue>It's all the same/Only the names have changed --</dialogue> <scene_description>Guess what? He's great. Bryant can't believe it. Thrilled. Kathy's kind of shocked, too. Bobi puffs up a bit: See? Around them, PEOPLE start to notice the guy on stage, pouring his heart out: Richard Jewell, singing Bon Jovi to the dive bar. Their heads sway to the beat. Kathy, despite herself, just started to rethink things... A GUY at the next table (Japanese-American, wears a suit, call him KEN) leans over to Bryant:</scene_description> <character>KEN</character> <dialogue>That guy is really good.</dialogue> <character>BRYANT</character> <dialogue>I know.</dialogue> <character>KEN</character> <dialogue>And he's a dead ringer for Richard Jewell!</dialogue> <scene_description>Bobi nearly gasps, but:</scene_description> <character>BRYANT</character> <dialogue>Yeah. He gets that a lot.</dialogue> <scene_description>Ken CHEERS LOUDER, as:</scene_description> <character>JEWELL</character> <dialogue>'Cause I'm a cowboy/On a steel horse I ride/I'm wanted/Dead or alive...</dialogue> </scene> <scene> <stage_direction>INT./EXT. BRYANT'S CAR/MONACO APTS. - PARKING LOT - NIGHT</stage_direction> <scene_description>Bryant pulls up in front of the building. The HORDE awaits out here, like sharks...</scene_description> <character>JEWELL</character> <dialogue>Thanks, Watson.</dialogue> <character>BRYANT</character> <dialogue>G'night, you two.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY A beat. Jewell doesn't want to get out. Truth is, something shifted tonight. Bobi can see it.</scene_description> <character>BOBI</character> <dialogue>We're lucky to have you, Watson. And I don't just mean that legally.</dialogue> <character>JEWELL</character> <dialogue>Mom --</dialogue> <character>BOBI</character> <dialogue>No. I'm gonna say it. Richard never had a man around to look out for him. His daddy wasn't worth a pitcher of warm spit, that's for sure. Walked right out on us.</dialogue> <character>BRYANT</character> <dialogue>Listen, I'm just trying to get my hundred bucks back.</dialogue> <character>BOBI</character> <dialogue>And then he had a step-daddy who I thought might be a good man and father, but HE up and left us, too. Ain't no man ever stood up for him. It's why Richard wanted to be a cop -- to take care of people, 'cause he knew what being forgotten about felt like. And now here you are, taking on all this for him. It touches me, Watson.</dialogue> <scene_description>Bryant nods... looks at the HORDE out there... and says something that's been on his mind for too long:</scene_description> <character>BRYANT</character> <dialogue>Richard... We have to get you a proper defense attorney.</dialogue> <scene_description>Huh? That hovers. Jewell eyes Bobi...</scene_description> <character>JEWELL</character> <dialogue>I don't wanna do that.</dialogue> <character>BRYANT</character> <dialogue>This is out of my league. You know that. A month ago I was doing real estate closings.</dialogue> <character>JEWELL</character> <dialogue>You're the only one I trust.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>Well, I don't always trust cops, but sometimes I NEED one. And right now you need a defense attorney who specializes in capital crimes. Preferably from a small firm that the Bureau respects. That's not me.</dialogue> <character>JEWELL</character> <dialogue>It's not me, either.</dialogue> <character>BRYANT</character> <dialogue>Listen, Goddammit --</dialogue> <character>JEWELL</character> <dialogue>I'm not walkin' into court with a team of lawyers behind me like O.J. That makes people think you did it!</dialogue> <scene_description>... which is when his voice breaks. He stops short... ... WILL NOT LET HIMSELF CRY. But it's close. And Bryant is stopped cold. This argument just ended.</scene_description> <character>BOBI</character> <dialogue>We should get inside.</dialogue> <character>BRYANT</character> <dialogue>Night, you two.</dialogue> <scene_description>They get out. Bryant watches them go. The MOB descends, instantly suffocating Jewell and Bobi. Jewell grabs her hand, plowing through the bodies -- Bryant looks sickened. He gets out of his car, SHOUTS:</scene_description> <character>BRYANT</character> <dialogue>You're killing him! Every Goddamn one of you -- KILLING A PERSON. Aren't you ashamed of yourselves?</dialogue> <scene_description>No one in the mob replies. But Jewell and Bobi appreciated it. They make it safely into their apartment. Door shuts. The mob dissipates. Bryant gets back in his car, pulling out of the lot, then onto Buford Highway... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - MORNING</stage_direction> <scene_description>Kathy, eyeing her watch, begins to walk -- FAST -- from the site of the explosion.</scene_description> </scene> <scene> <stage_direction>EXT. CORNER (BAKER ST.) - PAY PHONES - MOMENTS LATER</stage_direction> <scene_description>Kathy arrives at the SIX PAY-PHONES and eyes her watch. \* Just realized the same thing Bryant did: The math doesn't work. Jewell couldn't have done it. Oh.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - FRONT DOOR - DAY</stage_direction> <scene_description>The door opens. Here's Bryant, with more bad news:</scene_description> <character>BRYANT</character> <dialogue>They want your hair now. And your palm prints, the damn bastards.</dialogue> <scene_description>Jewell sags. Bobi's not around. We --</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - DAY (LATER)</stage_direction> <scene_description>Jewell sits while HAIR STRANDS are plucked from his head by a uniformed MEDIC in gloves. One at a time. Bryant watches, fuming. Bennet and Shaw supervise. TV on.</scene_description> <character>SHAW</character> <dialogue>25 pulled, 25 combed.</dialogue> <scene_description>Medic nods. Bryant looks like he might kill somebody.</scene_description> <character>BRYANT</character> <dialogue>I want you to know, you might have a warrant for this -- but if you wanted to do this to me you'd have to fight me. You'd have to beat the shit out of me.</dialogue> <character>SHAW</character> <dialogue>Not too lawyerly, Counselor.</dialogue> <scene_description>Today's AJC sits on the table. Its HEADLINE: "Jewell Kept Souvenirs of the Bomb in Mother's Apartment." On \* that TV, over a PICTURE OF JEWELL -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>REPORTER (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>The guy was seen with a homemade BOMB at his home a few days before!</dialogue> <scene_description>Bryant angrily shuts the TV OFF.</scene_description> <character>JEWELL</character> <dialogue>Let's just get this over with before my mom comes home. I wouldn't want her seein' this.</dialogue> <scene_description>Bryant crosses to that framed PORTRAIT of Jewell in his HABERSHAM COUNTY DEPUTY SHERIFF'S UNIFORM. He adjusts \* the frame as if it had been askew, to call their attention to it.</scene_description> <character>BRYANT</character> <dialogue>Tell me, Richard, you still proud to be law enforcement?</dialogue> <character>JEWELL</character> <dialogue>I just wish I'd done my job better that night. I wish I'd gotten everybody far enough away. Maybe if I had, I wouldn't be sitting here right now.</dialogue> <scene_description>Bryant eyes Shaw and Bennet.</scene_description> <character>BRYANT</character> <dialogue>You're right. He's a monster. Have you dummies done the math yet on the call from the pay phone?</dialogue> <character>SHAW</character> <dialogue>Fuck the pay phone. My clients are the people who were in that park. And they deserved not to have their fucking heads blown off.</dialogue> <character>BRYANT</character> <dialogue>I actually feel sorry for you guys. When the real bomber does it again, and the country asks, 'Where was the FBI?' You're gonna say, 'We were busy getting hair samples from Richard Jewell'?</dialogue> <scene_description>Shaw doesn't reply.</scene_description> <character>MEDIC</character> <dialogue>I'm done here.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>Good.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Thanks for the professional courtesy, Richard. Ya know, one cop to another.</dialogue> <character>BRYANT</character> <dialogue>There's the door.</dialogue> <scene_description>They leave. Medic follows. Bryant steaming.</scene_description> <character>BRYANT</character> <dialogue>We need to start being a little less solicitous and a lot more righteous with these bastards.</dialogue> <character>JEWELL</character> <dialogue>It's just hairs. They'll grow back.</dialogue> <character>BRYANT</character> <dialogue>WHY DOESN'T THIS SHIT MAKE YOU AS</dialogue> <dialogue>ANGRY AS IT MAKES ME?! Jesus!</dialogue> <character>JEWELL</character> <dialogue>Just 'cause someone's not yelling doesn't mean they're not angry.</dialogue> <character>BRYANT</character> <dialogue>You're angry?</dialogue> <character>JEWELL</character> <dialogue>Course.</dialogue> <character>BRYANT</character> <dialogue>Then stop being such a doormat! Stop tryin' to be their best friend! I'm tired of it.</dialogue> <character>JEWELL</character> <dialogue>I'm tired of stuff, too!</dialogue> <character>BRYANT</character> <dialogue>Yeah? Like what?</dialogue> <parenthetical>(as Jewell's silent)</parenthetical> <dialogue>Like what?</dialogue> <scene_description>Jewell walks into the kitchen, leaving Bryant alone. We hear a CABINET opening. Bryant calls out:</scene_description> <character>BRYANT</character> <dialogue>You reach for a cookie right now and I'm gonna KILL someone!</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY We hear the cabinet close.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - KITCHEN - CONTINUOUS ACTION</stage_direction> <scene_description>The DOORBELL RINGS. Bryant crosses to it, opens it.</scene_description> <character>BRYANT</character> <dialogue>What.</dialogue> <scene_description>Nadya stands here. On the doorstep. Grim as hell.</scene_description> <character>BRYANT</character> <dialogue>What's wro--</dialogue> <scene_description>She covers his mouth, urgently.</scene_description> <character>NADYA</character> <dialogue>Sssssshhhh.</dialogue> <scene_description>She steps INSIDE. Bryant at a loss. Jewell appearing. Nadya shuts the door and holds up a NOTE: "Our office is bugged -- in the ceiling. Our phones are also bugged. THIS PLACE IS PROBABLY BUGGED TOO." Bryant and Jewell just stare. Jewell whispers:</scene_description> <character>JEWELL</character> <dialogue>How can they keep doin' this, Watson?</dialogue> <character>BRYANT</character> <dialogue>That's easy. They can do it because you don't matter.</dialogue> <scene_description>That felt ugly but true, and it hangs there. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - NIGHT (NBC FOOTAGE)</stage_direction> <scene_description>CLOSING CEREMONIES. America bidding farewell.</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC STADIUM - DAY</stage_direction> <scene_description>This huge space, EMPTY now. Just a meager clean-up crew. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT. OLYMPIC SWIMMING VENUE - DAY</stage_direction> <scene_description>Empty. The games are a memory.</scene_description> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - DAY</stage_direction> <scene_description>Empty. No more sound and light tower. No sign of the crime. But a space is being measured for a SCULPTURE to commemorate the tragedy.</scene_description> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>Shaw sits alone, getting hammered. Then -- Kathy appears, takes the barstool beside him. Shaw's expression instantly hardens into cold contempt. Kathy signals to the bartender for Shaw's drink to be refilled. Shaw doesn't react.</scene_description> <character>SHAW</character> <dialogue>I can't fucking believe you'd have the nerve to sit here.</dialogue> <character>KATHY</character> <dialogue>Jewell couldn't've placed the call.</dialogue> <parenthetical>(as Shaw glares)</parenthetical> <dialogue>The math is wrong. I tried to cover the distance between the site and the pay phones; he couldn't've --</dialogue> <character>SHAW</character> <dialogue>We know that.</dialogue> <character>KATHY</character> <dialogue>You know that?</dialogue> <character>SHAW</character> <dialogue>Just means he had an accomplice.</dialogue> <character>KATHY</character> <dialogue>An accomplice.</dialogue> <character>SHAW</character> <dialogue>Sure. Why not?</dialogue> <character>KATHY</character> <dialogue>The 'Lone Bomber' profile. The wannabe cop. With an accomplice?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>First, profiles are a jumping-off point. And Oklahoma City had two bombers, remember?</dialogue> <character>KATHY</character> <dialogue>So who is it?</dialogue> <character>SHAW</character> <dialogue>Right. I'm gonna tell you. After you burned me like that.</dialogue> <character>KATHY</character> <dialogue>Fine. I'll just write that the case against Jewell is starting to weaken. Bad facts, et cetera.</dialogue> <character>SHAW</character> <dialogue>Where did you get this idea that I work for you? Or that we work together? In fact, I don't know why I'm even talking to you.</dialogue> <character>KATHY</character> <parenthetical>(knowing grin)</parenthetical> <dialogue>I know why.</dialogue> <scene_description>He gets up to go, leaving his Scotch on the bar.</scene_description> <character>KATHY</character> <dialogue>Whoa. Never saw you leave one un- finished before.</dialogue> <character>SHAW</character> <dialogue>It's yours. Choke on it.</dialogue> </scene> <scene> <stage_direction>EXT. CENTENNIAL PARK - AT&amp;T PAVILION - NIGHT</stage_direction> <scene_description>The feeling is foggy -- a MEMORY... or a DREAM -- We're outside the SOUND AND LIGHT TOWER, one minute before that ALICE PACK will explode. COPS move people away. Confusion and urgency. SOUND dipping in and out.</scene_description> <character>REVERSE ANGLE TO JEWELL</character> <dialogue>He's looking at all these COPS and BYSTANDERS, who are about to be injured. There's Alice Hawthorne, who is about to die. And Jewell knows it... So:</dialogue> <dialogue>He crawls under that bench and pulls the ALICE pack into him, wrapping himself around it like a human bomb blanket.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY He knows what's coming -- a hero's death. Shuts his eyes, can hear the bag TICKING... 5, 4, 3, 2, 1... Then: It EXPLODES. An electric white LIGHT. Jewell literally coming apart in an eruption of violence and sound as --</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - JEWELL'S BEDROOM - NIGHT (REALITY)</stage_direction> <scene_description>Jewell's eyes slam open... We --</scene_description> </scene> <scene> <stage_direction>INT. FAST FOOD PLACE - DAY</stage_direction> <scene_description>Dave Dutchess eats a burger, all alone... until: Bennet and Shaw plant themselves opposite him, badges out. Quite an unpleasant surprise. Dutchess tightens.</scene_description> <character>BENNET</character> <dialogue>Mister Dutchess. Ya got a minute?</dialogue> <scene_description>Dutchess sighs. We hear the beginnings of a HELICOPTER SOUND and MATCH THAT SOUND TO:</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - NIGHT (LATE)</stage_direction> <scene_description>On TV: a WWII movie. John Wayne. Muted. Outside, we hear a HELICOPTER hovering. Dutchess is here, opposite Jewell, Bobi, and Bryant. A feeling of shock and gloom hanging. And this is whispered:</scene_description> <character>DUTCHESS</character> <dialogue>... They've decided that since you couldn't have placed the 9-1-1 call, you must've had a partner. They think that partner must be your homosexual boyfriend... which they've decided is probably me.</dialogue> <scene_description>That lands on the faces of everyone...</scene_description> <character>DUTCHESS</character> <dialogue>And they asked me to wear a wire.</dialogue> <character>JEWELL</character> <dialogue>Jesus...</dialogue> <character>BOBI</character> <dialogue>Richard.</dialogue> <character>JEWELL</character> <dialogue>Sorry, ma'am.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>DUTCHESS</character> <dialogue>I told 'em to shove it. I said you were a hero. They said, 'If he's really a hero, then he has nothing to worry about and neither do you.' Also said one of your GBI buddies -- the one you made lasagna for when he came over -- he was wired, too. Got a LOT on you.</dialogue> <scene_description>That hurt Jewell deeply. He's silent. Dutchess goes on:</scene_description> <character>DUTCHESS</character> <parenthetical>(reluctantly)</parenthetical> <dialogue>Um... There's one other thing: They asked me if I'd ever had any experience with pipe bombs... I had to tell 'em the truth.</dialogue> <scene_description>Bryant shuts his eyes without meaning to...</scene_description> <character>DUTCHESS</character> <dialogue>Ya know, little ones. We used to drop 'em down groundhog holes when I was a kid in West Virginia.</dialogue> <character>BOBI</character> <dialogue>David. My Lord...</dialogue> <character>DUTCHESS</character> <dialogue>I told 'em this was years before I even met Richard. I said it a couple times. Still... I'm sorry.</dialogue> <character>JEWELL</character> <dialogue>It's okay.</dialogue> <scene_description>But it's not okay. They all know it. Outside, the sound of that HELICOPTER grows louder, closer... Bobi, depressed as hell, returns to the TV and UN-MUTES it. The sounds of a MOVIE BATTLE fill the room: WWII MORTAR ROUNDS and GUNFIRE erupting. But instantly --</scene_description> <character>JEWELL</character> <dialogue>Mom!</dialogue> <scene_description>Jewell LEAPS for the remote, turns the TV off.</scene_description> <character>JEWELL</character> <dialogue>How's it gonna look if we're in here watching movies about things blowing up?! Don't you know they're LISTENING!?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY It's Bobi's breaking point. She cries, runs to her room, slams the door. Jewell hurries over, gets there, knocks. Tries the handle. It's locked. That HELICOPTER hovers.</scene_description> <character>JEWELL</character> <dialogue>Mom? I'm sorry, c'mon out. We can watch whatever you want.</dialogue> <scene_description>We hear Bobi's sobs through the door. Jewell sinking.</scene_description> <character>JEWELL</character> <dialogue>Mom, please? Don't stay in there. C'mon out. I won't say nothin' again. Please...</dialogue> <scene_description>Bryant and Nadya are left on the sofa, watching. Jewell keeps knocking on Bobi's door --</scene_description> <character>JEWELL</character> <dialogue>Momma, please. Whatever you want --</dialogue> <scene_description>Bobi opens the door, her eyes wet. The room goes SILENT, save for the sound of that Goddamn HELICOPTER overhead...</scene_description> <character>BOBI</character> <dialogue>Richard, I'm scared.</dialogue> <character>JEWELL</character> <dialogue>Me, too, Momma.</dialogue> <character>BOBI</character> <dialogue>I don't know how to protect you from these people...</dialogue> <scene_description>He grabs her and hangs on. Bobi crying. Bryant and Nadya are across the room. Jewell eyes them, while still embracing his mother:</scene_description> <character>JEWELL</character> <dialogue>Three days, Watson. She's had THREE DAYS to be proud of her son in her whole life. Now this. It ain't right.</dialogue> <character>BRYANT</character> <dialogue>Then are you ready to start fighting back?</dialogue> <scene_description>Jewell nods. Yes, he's ready. Not a small moment. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>EXT./INT. CHILIVIS BLDG./BRYANT'S 4RUNNER - MORNING</stage_direction> <scene_description>This normally dead street is PACKED with PRESS today. Bryant drives Jewell into the driveway/alley of this building, his truck pushing the MOB aside as he smiles warmly for the cameras. Instantly, Nadya (in her car) and Dave Dutchess (in his) pull their cars NOSE-TO-NOSE in front of the alley, blockading it behind Bryant's.</scene_description> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - CONFERENCE ROOM - MOMENTS LATER</stage_direction> <scene_description>An odd, musty feel. Medieval TAPESTRIES hang on the wall. The shades are down because the MOB is right outside, in the alley -- so the room is sunless. Jewell sits, scared, as he's wired by RICHARD RACKLEFF (50s, stocky, an FBI lifer, private sector now.)</scene_description> <character>JEWELL</character> <dialogue>Don't see why we can't just let the FBI do this.</dialogue> <character>BRYANT</character> <dialogue>You'd trust them with the results?</dialogue> <scene_description>Bryant opens the shades, waves out the window.</scene_description> <character>JEWELL</character> <dialogue>Who ya wavin' to?</dialogue> <character>BRYANT</character> <dialogue>My new friends.</dialogue> <scene_description>An FBI VAN WITH BUBBLE-WINDOWS sits across the street.</scene_description> <character>JEWELL</character> <dialogue>Oh...</dialogue> <scene_description>Jewell's anxiety RISES. Rackleff looks to Bryant: Get lost. Bryant eyes Jewell... then leaves. We --</scene_description> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - CONFERENCE ROOM - MOMENTS LATER</stage_direction> <scene_description>The polygraph. The pressure cuffs. The needle. And:</scene_description> <character>RACKLEFF</character> <dialogue>Richard, whose idea was it for you to take a polygraph test?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Watson's.</dialogue> <scene_description>Jewell's sweating. Rackleff eyes the readout.</scene_description> <character>RACKLEFF</character> <dialogue>How do you think you'll do on it?</dialogue> <character>JEWELL</character> <dialogue>Fine.</dialogue> <character>RACKLEFF</character> <dialogue>Do you know who put that bomb in Olympic Park?</dialogue> <scene_description>Bang. Their eyes meet. Jewell gulps.</scene_description> </scene> <scene> <stage_direction>INT. BRYANT'S OFFICE - AN HOUR LATER</stage_direction> <scene_description>Nadya rests on the couch. Bryant looks out the WINDOW at that BUBBLE-WINDOW VAN and the MOB loitering outside.</scene_description> <character>BRYANT</character> <dialogue>Can you make some more of those pirozhkis? They were good.</dialogue> <character>NADYA</character> <dialogue>Careful, Watson. In Russia if a woman makes pirozhkis twice for a man, it means they're engaged.</dialogue> <scene_description>He grins. Rackleff enters, looking grim. Bryant springs toward him, motioning for him to be QUIET, pointing to the ceiling and indicating, "BUGS." Rackleff nods, leans in, and WHISPERS:</scene_description> <character>RACKLEFF</character> <dialogue>Your boy is tanking. Hard.</dialogue> <scene_description>Bryant's eyes widen. Nadya's, too. Bryant WHISPERS BACK.</scene_description> <character>BRYANT</character> <dialogue>What does that mean?</dialogue> <character>RACKLEFF</character> <dialogue>His pulse, respiration, and skin conductivity are all off the charts -- all pointing to massive deception. And guilt.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <parenthetical>(oh, fuck)</parenthetical> <dialogue>I. Uh...</dialogue> <character>RACKLEFF</character> <dialogue>Looks to be in the throes of an anxiety attack. Think you could calm him down a little?</dialogue> </scene> <scene> <stage_direction>INT. CHILIVIS BLDG. - CONFERENCE ROOM - MOMENTS LATER</stage_direction> <scene_description>A DONUT sits on a plate. Jewell, still wired-up, eyes it. Bryant beside him.</scene_description> <character>JEWELL</character> <dialogue>That mean I'm doin' bad?</dialogue> <character>BRYANT</character> <dialogue>You're doing fine. He thinks your blood sugar's low. Eat it.</dialogue> <scene_description>Jewell bites into the donut, his eyes shutting.</scene_description> <character>BRYANT</character> <dialogue>Can I tell you something, Richard?</dialogue> <parenthetical>(as Jewell shrugs)</parenthetical> <dialogue>I went to Episcopal school as a kid. When I was in first grade, two nuns accused me of writing something unholy on my desk --</dialogue> <scene_description>Jewell's wondering: Why is he telling me this?</scene_description> <character>BRYANT</character> <dialogue>I hadn't done it, but they were sure I had. So they sent me back to kindergarten for a week -- just to humiliate me; then they asked me if I'd learned my lesson. I said I hadn't because I hadn't written on the desk in the first place. They asked me how I'd like to go sit in kindergarten for TWO weeks. I said, 'You can throw me in there for a year -- I still can't apologize for writing on the desk because I DIDN'T DO IT.'</dialogue> <character>JEWELL</character> <dialogue>You said that to nuns?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>I did. And they backed off.</dialogue> <parenthetical>(re: FBI agents)</parenthetical> <dialogue>Power doesn't make a person right. Just tell your story, okay?</dialogue> <scene_description>Jewell nods, ready.</scene_description> </scene> <scene> <stage_direction>INT. BRYANT'S OFFICE - 4 HOURS LATER - DAY 149 \*</stage_direction> <scene_description>Bryant and Nadya sleep on the couch. Rackleff enters after a 4-HOUR test, exhausted. Nadya bolts up. Bryant waits, afraid to breathe.</scene_description> <character>BRYANT</character> <parenthetical>(re: ceiling bugs)</parenthetical> <dialogue>Maybe we should talk somewhere el--</dialogue> <character>RACKLEFF</character> <dialogue>He passed, highest level. 'No deception indicated.'</dialogue> <scene_description>Bryant wants to SHOUT or jump up and down. WE CAN WIN THIS THING. But he remains calm.</scene_description> <character>BRYANT</character> <dialogue>Thank you.</dialogue> <scene_description>Jewell appears, over Rackleff's shoulder. Equally exhausted. Bryant eyes him. A shared moment...</scene_description> </scene> <scene> <stage_direction>INT. AJC BUILDING - 8TH FLOOR - NEWSROOM - DAY</stage_direction> <scene_description>The place thrums. Kathy at her desk. Martz walks by:</scene_description> <character>MARTZ</character> <dialogue>Anything interesting?</dialogue> <character>KATHY</character> <dialogue>Gangland murder. Fucking yawn.</dialogue> <scene_description>Martz smiles, moves on. Kathy typing away, when --</scene_description> <character>BRYANT (O.S.)</character> <dialogue>Hi, Kathy.</dialogue> <scene_description>She looks up. And her eyes go wide -- because: HERE ARE BRYANT AND JEWELL. In the lions' den. It comes to a halt. SILENCE. Kathy bracing herself -- 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>It was a souvenir from the bombing. Not the bomb. I said that when you asked for a quote.</dialogue> <character>KATHY</character> <dialogue>I know. I'm sorry.</dialogue> <character>BRYANT</character> <dialogue>And who are you to make fun of a guy for staying with his mother? She was going to have SURGERY; he wanted to help her out. What's weird about that? Tell him.</dialogue> <parenthetical>(off no reply)</parenthetical> <dialogue>While you're at it you can tell him how he 'approached this newspaper seeking publicity for his actions.' Which he didn't.</dialogue> <character>KATHY</character> <dialogue>That was added during editorial.</dialogue> <character>BRYANT</character> <dialogue>Or how he fits the lone-bomber profile to a T, a 'wannabe' seeking to become a hero, when all he did was actually SAVE LIVES. Go ahead. We've got all day.</dialogue> <character>KATHY</character> <dialogue>It was a mistake. I'm human.</dialogue> <character>BRYANT</character> <dialogue>So's Richard.</dialogue> <scene_description>With that, Bryant and Jewell head out. Kathy's silent.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - BALLROOM - DAY</stage_direction> <scene_description>Bobi stands at a bank of microphones in a ballroom full of REPORTERS AND CAMERAS, Bryant just a few feet away as:</scene_description> <character>BOBI</character> <dialogue>I am so very drained. I hope and pray to God that this never happens to anybody else. I do not think any of you can even begin to imagine what our lives are like.</dialogue> <scene_description>Shutters clicking, tape rolling. She goes on: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BOBI</character> <dialogue>They have taken all privacy from us. They have taken all peace. They watch and photograph everything we do. And why? Because my son did his job, because he saved people.</dialogue> <scene_description>Bobi looks to her side: Bryant, encouraging her...</scene_description> <character>BOBI</character> <dialogue>I am asking the President for help today. Mister President, my son is a hero. I think the FBI knows that by now; the evidence makes it plain. If they do not intend to charge my son, please tell us. Please tell the world...</dialogue> <scene_description>Bobi has one more sentence to get through. And it is --</scene_description> <character>BOBI</character> <dialogue>Mister President, please clear my son's name...</dialogue> <scene_description>And she loses it, breaking down in sobs, on camera. Bryant steps up, gently guiding her off the podium...</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Bobi is a wreck. Bryant leads her into a large KITCHEN -- Jewell has been waiting here among BUSBOYS and CHEFS. Bobi falls into his arms, sobbing.</scene_description> <character>JEWELL</character> <dialogue>Momma, it's awright...</dialogue> <character>BOBI</character> <dialogue>I don't know what happened. I thought I didn't have any more tears left. Was that okay, Watson?</dialogue> <scene_description>Jewell and Bobi turn, and their jaws drop a bit because: Bryant's eyes are wet, too. It shocks him as much as it shocks them. BUSBOYS watch. He gathers himself, then:</scene_description> <character>BRYANT</character> <dialogue>This all has to end now, Richard. I mean really end. You know that.</dialogue> <parenthetical>(as Jewell nods)</parenthetical> <dialogue>I'm calling the FBI.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BOBI</character> <dialogue>Ya see? That's what I'm talkin' about. He just ain't afraid of nobody.</dialogue> <character>JEWELL</character> <dialogue>You should hear what he says to nuns, Momma.</dialogue> <scene_description>Bryant studies Jewell -- a long beat -- then:</scene_description> <character>BRYANT</character> <dialogue>Let's go show 'em who you are.</dialogue> </scene> <scene> <stage_direction>EXT. FBI FIELD OFFICE (ATLANTA) - MORNING</stage_direction> <scene_description>AMERICAN FLAGS and American power. OCTOBER 6, 1996.</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME - MORNING</stage_direction> <scene_description>Jewell stands at a mirror, putting on a tie. Big day.</scene_description> </scene> <scene> <stage_direction>INT. BRYANT'S OFFICE - SAME TIME - MORNING</stage_direction> <scene_description>Bryant knots a tie, too. Definitely the best-looking suit we've seen him in yet. Very lawyerly. Nadya is at the desk, methodically packing all his FILES into a briefcase for him. Somber, but confident. Their eyes meet -- pure gratitude from Bryant.</scene_description> </scene> <scene> <stage_direction>EXT. FBI FIELD OFFICE (ATLANTA) - DAY</stage_direction> <scene_description>Bryant's 4 Runner pulls up. Jewell and Bryant emerge, in suits.</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - LOBBY - DAY</stage_direction> <scene_description>Jewell signs in, Bryant behind him. A SECURITY GUARD (old, black) waves them through a METAL DETECTOR.</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - HALLWAY - DAY</stage_direction> <scene_description>Jewell and Bryant exit an elevator, led by Agent Bennet down a hallway to chairs outside a CONFERENCE ROOM door.</scene_description> <character>BENNET</character> <dialogue>We'll be right with you.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Agent Bennet enters the conference room, leaving Jewell and Bryant alone in this quiet corridor. Silence.</scene_description> <character>BRYANT</character> <dialogue>They're going to ask to see me first. To set the ground rules.</dialogue> <character>JEWELL</character> <dialogue>I want them to know I'm not gay.</dialogue> <character>BRYANT</character> <dialogue>Believe me, you'll get the chance to tell them.</dialogue> <scene_description>Shaw passes by, staring right through them before vanishing into the conference room. Jewell eyes the floor. Then a SOUND. He turns: It's an OFFICE CLERK... pushing a SUPPLY CART BY us. Pens, Scotch Tape, etc. Jewell watches him go, memories swirling. Bryant, too.</scene_description> <character>BRYANT</character> <dialogue>See if he's got any Snickers bars, will ya?</dialogue> <scene_description>Jewell almost laughs. Almost.</scene_description> <character>BRYANT</character> <dialogue>You know what a 1001 is, Richard?</dialogue> <character>JEWELL</character> <dialogue>Lying to a federal agent.</dialogue> <character>BRYANT</character> <dialogue>It's a felony. You say anything in there that isn't true, they can put you in jail without ever proving you're a bomber. So if you don't know what to say, you say nothing. You ask for a five- minute break, you consult with me. But you do not improvise. Got it?</dialogue> <scene_description>Jewell nods. Bennet leans out of the conference room --</scene_description> <character>BENNET</character> <dialogue>Mister Bryant?</dialogue> <scene_description>Bryant eyes Jewell: We've got this. Then ducks into: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> <scene> <stage_direction>INT. FIELD OFFICE (ATLANTA) - CONFERENCE ROOM - SAME TIME</stage_direction> <scene_description>Windowless and lined with EVIDENCE: An actual BENCH from outside the tower, the actual PAY PHONE from the 9-1-1 call, aerial photos of Centennial Park. And: Shaw, Bennet, and Bruce Hughes -- at a table.</scene_description> <character>BRYANT</character> <dialogue>Who does your decorating? Ted Kaczynski?</dialogue> <scene_description>A small jab, but it made Bryant feel better. RETURN TO:</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - HALLWAY - RESUMING</stage_direction> <scene_description>Jewell sits, eyeing that Guy pushing the SUPPLY CART. SUPPLY CART GUY comes to a door, opens it, disappears inside, leaving his CART in the hallway. Jewell rises, without even knowing why, and drifts toward the cart, down the hall... Just about to reach it when... DOOR OPENS. SUPPLY CART GUY emerging. Their eyes meet.</scene_description> <character>SUPPLY CART GUY</character> <dialogue>Can I help you?</dialogue> <character>JEWELL</character> <dialogue>No, I just...</dialogue> <scene_description>Supply Cart Guy vanishes down the hall with his wares. Jewell returns to his seat, just as -- The CONFERENCE ROOM DOOR OPENS. Bryant emerges.</scene_description> <character>BRYANT</character> <dialogue>Are you ready?</dialogue> <character>JEWELL</character> <dialogue>I think so.</dialogue> <character>BRYANT</character> <dialogue>I mean ready -- to look at these guys not as suspect to agent but as cop to cop. Don't give them any more deference than they're due, Richard. They don't deserve it. And DON'T keep calling them 'sir.'</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>They're still the U.S. Government.</dialogue> <character>BRYANT</character> <dialogue>No. They aren't the U.S. Government. They're just three pricks who WORK for the U.S. Government. Understand the difference? Nobody in that room is a better man than you, Richard. Believe me.</dialogue> <parenthetical>(as that landed)</parenthetical> <dialogue>You'll be fine.</dialogue> <scene_description>A father-son moment. It got through. Jewell rises.</scene_description> </scene> <scene> <stage_direction>INT. FIELD OFFICE (ATLANTA) - CONF. ROOM - CONTINUOUS</stage_direction> <character>ACTION</character> <dialogue>Jewell enters. His accusers await. We --</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - CONF. ROOM - DAY</stage_direction> <character>(LATER)</character> <dialogue>Jewell has been in here for hours, flanked by Bryant.</dialogue> <character>SHAW</character> <dialogue>Richard, have you ever accessed an Internet site called Candyman's Candyland for information about The Anarchist's Cookbook?</dialogue> <character>JEWELL</character> <dialogue>No, I have not.</dialogue> <character>SHAW</character> <dialogue>But you did have police training in handling explosives.</dialogue> <character>BRYANT</character> <dialogue>We've covered this.</dialogue> <character>SHAW</character> <dialogue>Did you ever collect any pieces of pipe from Centennial Park when it was under construction?</dialogue> <character>JEWELL</character> <dialogue>No, I did not.</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>SHAW</character> <dialogue>Did you ever tell anyone in that park, 'Take my picture now, 'cause one day I'm going to be famous'?</dialogue> <character>JEWELL</character> <dialogue>No, sir.</dialogue> <parenthetical>(as Bryant eyes him)</parenthetical> <dialogue>No, I did not.</dialogue> <character>SHAW</character> <dialogue>Sure about that?</dialogue> <character>JEWELL</character> <dialogue>Hundred percent.</dialogue> <character>SHAW</character> <dialogue>Did you ever tell anyone that you were on your way to Atlanta and 'It's gonna be a mess out there'?</dialogue> <character>JEWELL</character> <dialogue>I meant the traffic jams.</dialogue> <character>SHAW</character> <dialogue>Was there a specific reason you asked to be stationed at the sound and light tower?</dialogue> <character>JEWELL</character> <dialogue>I liked listening to the music. The night before, I'd had my mom come out to hear Kenny Rogers. Also, it was a great place to look at girls. I am not a homosexual.</dialogue> <character>SHAW</character> <dialogue>You and David Dutchess are not lovers?</dialogue> <character>BRYANT</character> <dialogue>Asked and answered.</dialogue> <character>SHAW</character> <dialogue>Richard, you said earlier that on the night of the explosion, as you were moving from the tower to the stage and back again, you did not have a fix on the time. Is that right?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>When you have the runs -- excuse me -- you're not thinking about what time it is. You're just trying to get to a bathroom.</dialogue> <character>SHAW</character> <dialogue>So you can't say exactly when you saw those drunks throwing the beer cans at the tower.</dialogue> <character>JEWELL</character> <dialogue>No.</dialogue> <character>SHAW</character> <dialogue>Or when you first saw the backpack?</dialogue> <character>JEWELL</character> <dialogue>That's correct.</dialogue> <character>SHAW</character> <dialogue>Had you ever seen a backpack like that before?</dialogue> <character>JEWELL</character> <dialogue>I suppose so.</dialogue> <character>SHAW</character> <dialogue>Had you ever seen that particular backpack before?</dialogue> <character>BRYANT</character> <dialogue>Asked and answered. Can we move on?</dialogue> <character>SHAW</character> <dialogue>Richard, did you conspire with David Dutchess or anyone else to plant a bomb at Centennial Park?</dialogue> <scene_description>Jewell sags. We PUSH IN ON him, his eyes shut, as --</scene_description> </scene> <scene> <stage_direction>FLASHBACK - EXT. CENTENNIAL PARK - AT&amp;T PAVILION - NIGHT</stage_direction> <scene_description>His MEMORY: the moment of the BLAST. Death in SLOW MOTION. Green down. Other COPS down. Alice Hawthorne dead. Fallon shrieking. Blood, smoke... Then --</scene_description> <character>CUT BACK TO:</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (ATLANTA) - CONF. ROOM - RESUMING</stage_direction> <character>(PRESENT)</character> <dialogue>Jewell opens his eyes. Bryant stepping in for him --</dialogue> <character>JEWELL</character> <dialogue>No.</dialogue> <character>SHAW</character> <dialogue>Then how the fuck did you know to be behind that AT&amp;T Tower at exactly the right moment so it'd protect you from the explosion?</dialogue> <scene_description>Jewell's knocked back. Shaw eyes him, venomous.</scene_description> <character>SHAW</character> <dialogue>Cops flying into the air. I was one of 'em. And you come out without a scratch. How is that? HOW IS THAT?</dialogue> <scene_description>If Jewell is going to buckle, now is the moment... But:</scene_description> <character>JEWELL</character> <dialogue>Can I ask you fellas something: Do you have any kind of actual CASE against me?</dialogue> <scene_description>That surprised EVERYONE -- Bryant, the feds. But -- ... It's time to speak truth to power, at last:</scene_description> <character>JEWELL</character> <dialogue>I mean evidence. Was there anything in my mother's Tupperware? Any bomb-making materials in her apartment?</dialogue> <character>BRYANT</character> <dialogue>Richard, you don't need to volunteer anything here. Let's let them ask the --</dialogue> <character>JEWELL</character> <dialogue>-- I used to think federal law enforcement was just about the highest calling a person could aspire to. But I hafta say, I don't anymore. Not after all this.</dialogue> <scene_description>Bryant just decided to let Jewell go... 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>I did my job that night. Some people are alive right now 'cause of that. But the next time some security guard sees a suspicious package somewhere, ya think he's gonna call it in? I doubt it. He's gonna say to himself, 'I don't wanna be another Richard Jewell. So I'm just gonna run.' And how's that make anybody any safer?</dialogue> <parenthetical>(as no one replies)</parenthetical> <dialogue>You-all can keep followin' me; I guess I can stand it. But every second you spend on me is time you aren't on the guy who actually DID it. And like Watson said, what happens when he does it again?</dialogue> <parenthetical>(as again, no answer)</parenthetical> <dialogue>So, are you gonna charge me with anything? Can you?</dialogue> <scene_description>The truth? No. They can't. They don't have anything.</scene_description> <character>JEWELL</character> <dialogue>Then I'm gonna go now.</dialogue> <scene_description>He rises, heads for the door. Bryant smiles proudly.</scene_description> </scene> <scene> <stage_direction>INT. FBI - ELEVATOR - MOMENTS LATER</stage_direction> <scene_description>Jewell and Bryant climb in. The doors shut. Bryant is near tears with pride. Jewell, too.</scene_description> </scene> <scene> <stage_direction>INT. FBI OFFICE (ATLANTA) - CONF. ROOM - SAME TIME</stage_direction> <scene_description>Shaw sits alone. Done. And he knows it.</scene_description> </scene> <scene> <stage_direction>EXT. MONACO APTS. - BOBI'S FRONT DOOR - DAY (LATER)</stage_direction> <scene_description>Bryant walks Jewell to the door. Knocks. Bobi opens up, studies their faces for a clue... a sign.</scene_description> <character>BOBI</character> <dialogue>How'd you do?</dialogue> <scene_description>Bryant's about to answer but the words sputter a bit -- there's some surprising emotion behind them. Then: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>He did great.</dialogue> <scene_description>Bobi wraps her boy in a hug. Bryant smiles.</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP - MORNING</stage_direction> <scene_description>Jewell and Bryant sit, not eating, both tense. People recognize Jewell, but no one meets his eye. Shaw enters the coffee shop, spots them, heads over.</scene_description> <character>SHAW</character> <dialogue>Gentlemen.</dialogue> <character>BRYANT</character> <dialogue>Agent Shaw.</dialogue> <scene_description>Barely acknowledging Jewell at all, Shaw extracts a letter from a briefcase, handing it to Bryant --</scene_description> <character>BRYANT</character> <dialogue>What's this?</dialogue> <scene_description>Shaw nods, "Read it." Bryant does so. Two paragraphs -- Beginning with: "Your client is no longer a suspect in the investigation of..."</scene_description> <character>BRYANT</character> <dialogue>I'm assuming you'll be announcing this to all the major news outlets -- Tom Brokaw and the like.</dialogue> <character>SHAW</character> <dialogue>Mr. Bryant, I still think your client is guilty as hell.</dialogue> <scene_description>No reply. Shaw goes. Jewell is silent.</scene_description> <character>JEWELL</character> <dialogue>So... It's over? Really over?</dialogue> <character>BRYANT</character> <dialogue>Over. You won, Richard.</dialogue> <scene_description>And it all hits -- hard. The MONTHS of wounds, tension, grief. Jewell tries not to cry, but it's impossible -- his head drops. A BIG SOB spills out. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY Bryant takes his hand. Jewell keeps crying. He grabs at that letter, pulls it close. We LEAVE them here...</scene_description> </scene> <scene> <stage_direction>INT. BOBI'S APT. - SAME TIME</stage_direction> <scene_description>Bobi opens the door to find 20 FBI GUYS standing here, with CARDBOARD BOXES.</scene_description> <character>BOBI</character> <dialogue>Oh.</dialogue> <scene_description>In they come, bearing her returned belongings. BOXES, left in the middle of the room. Bobi opens a box. All her TUPPERWARE inside. Each piece has NUMBERS on it now, in black marker. She sighs. We FIND that PORTRAIT on the wall -- Jewell in the uniform of the HABERSHAM COUNTY POLICE. Then we --</scene_description> </scene> <scene> <stage_direction>INT. LUTHERSVILLE POLICE DEPT. - HQ - DAY (2003)</stage_direction> <scene_description>Jewell is in uniform again -- now as a Luthersville, Ga. POLICE OFFICER. He's at a table, cataloguing evidence. ANOTHER COP passes by:</scene_description> <character>OTHER LUTHERSVILLE COP</character> <dialogue>I'm goin' to the diner, Richard. You want anythin'?</dialogue> <character>JEWELL</character> <dialogue>Naah. Brought my own. Thanks.</dialogue> <scene_description>Other Cop smiles, goes. Jewell is "one of the guys" around here. Respected. That feels pretty great. As he continues to work, we --</scene_description> <character>SUPERIMPOSE:</character> <dialogue>"Richard Jewell served with distinction in the Luthersville, Ga. Police Department."</dialogue> <dialogue>"He brought lawsuits against Piedmont College, NBC, the New York Post, and CNN -- winning settlements from each."</dialogue> <dialogue>Just then, he looks up to find BRYANT standing here.</dialogue> <character>JEWELL</character> <dialogue>Hey, Watson! How you doin'? How's Nadya?</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>BRYANT</character> <dialogue>They found him, Richard.</dialogue> <parenthetical>(as Jewell's a blank)</parenthetical> <dialogue>Eric Rudolph -- just confessed to planting the bomb at Centennial Park.</dialogue> <scene_description>SILENCE. It takes a second for that to land -- every other COP in here looking to Jewell now... But Jewell doesn't react. Just can't.</scene_description> <character>JEWELL</character> <dialogue>When's he being arraigned?</dialogue> <character>BRYANT</character> <dialogue>I don't know.</dialogue> <character>JEWELL</character> <dialogue>Find out, okay?</dialogue> <scene_description>Bryant nods...</scene_description> </scene> <scene> <stage_direction>INT. COURTHOUSE - CORRIDOR - DAY (2005)</stage_direction> <scene_description>Jewell and Bryant emerge from a COURTROOM. THROUGH a door behind them we see a man (ERIC RUDOLPH) in an ORANGE JUMPSUIT being led away. We --</scene_description> <character>SUPERIMPOSE:</character> <dialogue>"The real bomber, Eric Rudolph, was captured and sentenced to four life sentences on domestic terrorism charges -- including the bombing at Centennial Park."</dialogue> <dialogue>The courtroom door closes. Bryant and Jewell head down this corridor toward the exit.</dialogue> <character>SUPERIMPOSE:</character> <dialogue>"Kathy Scruggs died at the age of 42. Medical examiners were unable to confirm if the cause had been intentional or accidental. Agent Tom Shaw died a year and a half later of a heart attack, still convinced of Richard Jewell's guilt."</dialogue> <dialogue>Jewell and Bryant enter the elevator.</dialogue> </scene> <scene> <stage_direction>INT. FEDERAL COURTHOUSE - ELEVATOR - MOMENTS LATER</stage_direction> <scene_description>Jewell and Bryant descend in silence... until: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> <character>JEWELL</character> <dialogue>Oh. Almost forgot. This is for you.</dialogue> <scene_description>Jewell hands Bryant an envelope.</scene_description> <character>BRYANT</character> <dialogue>What is it?</dialogue> <scene_description>Jewell shrugs, "Open it." Bryant opens it: Inside, a 100-dollar bill. Bryant grins...</scene_description> <character>JEWELL</character> <dialogue>All square?</dialogue> <scene_description>Bryant nods, his fondness obvious. But just then -- The elevator stops on 8 and a GUY gets in. Call him JOE NOBODY. The doors close. Down we go, in silence. But -- Joe Nobody grimaces. He KNOWS he recognizes Jewell from somewhere. Just can't figure out where. It's bugging him. Jewell and Bryant have experienced this 500 times now. It's always annoying. But they let it go. We can feel Joe Nobody racking his memory. Where have I seen this guy's face before? But he's drawing blanks. Elevator stops on the 2nd floor. Joe gets out. Finally. Then, just as the doors start to close, his eyes light up. It just came to him. He turns to Jewell, so excited:</scene_description> <character>JOE NOBODY</character> <dialogue>Now I remember! You're the Olympic bomber.</dialogue> <scene_description>That lands on the faces of Jewell and Bryant -- a sense that this will never end, not really, anyway. Jewell knows that in his soul. As the doors close, we hear...</scene_description> <character>WATSON</character> <dialogue>No, he's the hero.</dialogue> <scene_description>As he will forever come to his defense. ...continue the EPILOGUE: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY "In 2007, with his suit against the Atlanta Journal Constitution entering its eleventh year, Richard Jewell died, at the age of 44, of heart failure." "Five months later, the suit was dismissed." FADE OUT.:</scene_description> <character>THE END</character> <dialogue>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</dialogue> <character>THIS SCRIPT WAS PREPARED</character> <dialogue>BY WARNER BROS. PICTURES</dialogue> <character>SCRIPT PROCESSING DEPARTMENT</character> <dialogue>(818) 954-4632</dialogue> <scene_description>8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY</scene_description> </scene> </script>

In 1986, Richard Jewell works as an office supply clerk at the Small Business Administration, where he builds a rapport with attorney Watson Bryant. Eventually, Jewell leaves the firm to pursue a law enforcement career. At one point, Jewell is hired as a sheriff's deputy, but ends up discharged. In early 1996, he works as a security guard at Piedmont College, but is fired after multiple complaints of acting beyond his jurisdiction. Jewell later moves in with his mother Bobi in Atlanta. In the summer of 1996, he works as a security guard at the Olympic Games, monitoring Centennial Park. In the early morning of July 27, 1996, after chasing off drunken revelers during a Jack Mack and the Heart Attack concert, Jewell notices a suspicious package beneath a bench, which an explosives expert confirms contains a bomb. The security team, police officers, FBI agent Tom Shaw, and Jewell's friend Dave Dutchess move concert attendees away from the bomb before it detonates, and Jewell is heralded as a hero. After being contacted by the dean of Piedmont College about his dislike and suspicions of Jewell, Shaw and his team determine that Jewell, as a white, male, "wanna-be" police officer, fits the common profile of perpetrators committing similar crimes; they compare him to others who sought glory and attention by rescuing people from a dangerous situation they created themselves. Shaw is approached by journalist Kathy Scruggs of the Atlanta-Journal Constitution, and he reveals that Jewell is under FBI suspicion. The Constitution publishes Scruggs' story on the front page, disclosing the FBI's interest in Jewell as a possible suspect. Scruggs makes particular note of Jewell being overweight, the fact he lives with his mother, and work history to reassure herself that he fits the FBI's profile. The story quickly becomes international news. Jewell, initially unaware of his changing public perception, is lured to the FBI office. Though initially cooperative, he refuses to sign an acknowledgement he has been read his Miranda rights and instead phones Bryant for legal representation. Bryant, now running his own struggling law firm, agrees and makes Jewell aware he is a prime suspect in the bombing. Shaw and his partner Sam Bennet visit the dean of Piedmont College, who reinforces their suspicion of Jewell. The FBI searches Jewell's home and seizes property including true crime books and a cache of firearms. Jewell admits to Bryant that he has been evading income taxes for years and was once arrested for exceeding his authority. Bryant scolds Jewell for being too collegial with the police officers investigating him, and Jewell admits his ingrained respect for authority makes it difficult for him not to be deferential, even when the authorities are working against him. Jewell and Bryant confront Scruggs, demanding a retraction and apology, but she stands by her reporting. Still not completely convinced of Jewell's innocence, Bryant and his secretary Nadya time the distance between the phone booth which was discovered to have made the initial threat of the bomb, and the bomb site, concluding it is impossible for someone to phone in the bomb threat and discover the bomb at the time it was found. Scruggs and Shaw come to the same conclusion, and the FBI changes their picture of the crime to include an accomplice. As their case weakens, the FBI try to link Dutchess to Jewell as a possible accomplice and lover. Bryant arranges a polygraph examination, which Jewell passes, removing Bryant's doubt about his innocence. Bobi holds a press conference and pleads for the investigation to cease so she and her son may proceed with their lives. Jewell and Bryant meet with Shaw and Bennet at the FBI office, and after some irrelevant questions, Jewell realizes they have no evidence against him. When he asks pointedly if they are ready to charge him, their silence convinces him to leave. Eighty-eight days after being named "a person of interest", Jewell is informed by formal letter that he is no longer under investigation. In April 2003, Jewell, now a police officer in Luthersville, Georgia, is visited by Bryant who tells him that Eric Rudolph has confessed to the Centennial Olympic Park bombing. An epilogue states that on August 29, 2007, Jewell died at the age of 44 of complications from diabetes and heart failure. It also mentions that Bryant and Nadya got married and had two sons, both of whom Bobi babysits to this day.

Anthropoid_2016

tt4190530

<script> <scene> <scene_description>\[NOTE: The Czech language is a completely different language from German. Within this film the Czech language is presented as English (possibly with a Czech accent). German will remain German and will not be subtitled. Most Czechs did not speak German so the Germans either used basic Czech words and phrases or enlisted an interpreter.\] BLACK SCREEN. The sound of silk ripping, tree branches snapping and then a thud. OPEN ON:</scene_description> </scene> <scene> <stage_direction>EXT. PINE FOREST, HILLS - NIGHT</stage_direction> <scene_description>A man with his back to the camera. A harness hangs from his back. A frantic reeling action with his arms as he gathers in a silk parachute. The action JUMP CUTS as he buries the chute into the snow. This is JAN KUBIS, 29. Strong slender frame. JAN stands up into frame, his back still to the CAMERA. SOUND OFF: A muffled scream. JAN turns his head to where the sound came from and listens. He tries to control his fast breaths, the moonlit backlights the vapour against the dark forest. He looks sensitive but determined. A thinking man. The forest silent except for his own breathing. The sound again. JAN takes off in its direction. Various fast paced TRACKING shots until JAN stops in a clearing and sees: JOSEF GABCIK, 30. Volatile and demonstrative in equal measures. Part of JOSEF's parachute has snagged on a pine tree. He is attempting to pull it down and is unsteady on his feet. He is grimacing in pain. JAN arrives and they pull the parachute free and start to bury it.</scene_description> <character>JOSEF</character> <dialogue>Where is the equipment?</dialogue> <scene_description>JOSEF turns and indicates behind them: JAN turns and sees a parachute caught impossibly high up in a pine tree. A metal container gently dangles below the entanglement.</scene_description> <character>JAN</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Kurva!</dialogue> <scene_description>JAN looks back and sees that JOSEF is limping on one foot. ANTHROPOID V20: 1:</scene_description> <character>JAN</character> <dialogue>What happened?</dialogue> <character>JOSEF</character> <dialogue>Caught one of the branches on the way down.</dialogue> <character>JAN</character> <dialogue>Can you move?</dialogue> </scene> <scene> <stage_direction>EXT. FOREST TRACK - NIGHT</stage_direction> <scene_description>JAN's arms are around JOSEF as he helps him along a snowy track over-shadowed by trees. CAMERA follows them from behind. CLOSE UP: Two pairs of feet hurrying through the snow. One pair badly limping and leaving a deep red blood trail through white snow. CUT TO BLACK: TITLE - WHITE ON BLACK: ANTHROPOID:</scene_description> </scene> <scene> <stage_direction>INT. FOREST CAVE - NIGHT</stage_direction> <scene_description>A small fire. JAN eats some rations. JOSEF removes his boot. His sock is sticky with dark blood. He pulls down the sock to reveal a deep cut on his ankle. JAN inspects the wound.</scene_description> <character>JAN</character> <dialogue>You'll need stitches.</dialogue> <scene_description>JAN rips a rag from his pack and helps JOSEF dress the wound. JAN then sees a small piece of wood on the cave floor. He picks it up and inspects it. He takes his knife from his belt, sits with his back to the cave wall and starts to whittle the wood with his knife.</scene_description> </scene> <scene> <stage_direction>INT. FOREST CAVE - EARLY MORNING</stage_direction> <scene_description>The fire has smouldered into grey ash. The two men are asleep. There's a noise. JAN opens his eyes and sees at the mouth of the cave a figure. This is ANTONIN, a middle-aged stocky farmer, brutish in manner, holding a shotgun with a dog at his feet. JAN wakens JOSEF. There's a momentary silence as the three eye each other.</scene_description> <character>ANTHROPOID V20: 2</character> <dialogue>ANTONIN</dialogue> <scene_description>You didn't hide your parachutes very well and you left a blood trail for half a kilometer. Silence. Nobody moves.</scene_description> <character>ANTONIN</character> <dialogue>Follow me. I live not far from here.</dialogue> <scene_description>JOSEF and JAN get to their feet groggily.</scene_description> </scene> <scene> <stage_direction>EXT. OPEN LAND - EARLY MORNING</stage_direction> <scene_description>A snow-covered landscape. In the middle distance is ANTONIN who turns and urges them to keep up. JOSEF and JAN exchange apprehensive glances. A clearing in the woods. JAN scans and sees: A small farmhouse with a barn. Pens for livestock, a truck sits parked next to a stone well. Self sufficient.</scene_description> <character>ANTONIN</character> <dialogue>Ignac!</dialogue> <parenthetical>(beat)</parenthetical> <character>IGNAC!</character> <dialogue>A few moments later IGNAC appears in the doorway of the farmhouse. A tousle-haired youth in his late teens with an acned face. IGNAC has on an leather apron stained with blood. He has a carving belt with a number of knives held in place.</dialogue> <character>ANTONIN</character> <dialogue>Prepare some food.</dialogue> <scene_description>IGNAC turns and runs back inside.</scene_description> <character>ANTONIN</character> <dialogue>Hot soup. Come.</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - KITCHEN - DAY.</stage_direction> <scene_description>Some nasty soup is poured into bowls. IGNAC places the bowls in front of JAN and JOSEF. JAN shares a concerned look with JOSEF. The farmhouse looks run down and in need of repair.</scene_description> <character>ANTONIN</character> <dialogue>Please, eat.</dialogue> <scene_description>JAN and JOSEF slowly lift the spoons to their mouths. The scene awkward.</scene_description> <character>ANTHROPOID V20: 3</character> <dialogue>ANTONIN</dialogue> <scene_description>I take it you are heading for Prague?</scene_description> <character>JOSEF</character> <dialogue>Yes. How far away is it?</dialogue> <character>ANTONIN</character> <dialogue>30 Kilometers. I have a special delivery permit for my truck.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I could take you.</dialogue> <scene_description>JAN looks at JOSEF and then at ANTONIN.</scene_description> <character>JAN</character> <parenthetical>(appreciative)</parenthetical> <dialogue>Thank you.</dialogue> <character>ANTONIN</character> <dialogue>Well that's settled. You rest here tonight and I will take you in the morning.</dialogue> <scene_description>ANTONIN exchanges a look with IGNAC and then stands up from the table.</scene_description> <character>ANTONIN</character> <dialogue>Enjoy your soup.</dialogue> <scene_description>ANTONIN leaves the room, closing the door behind him. JAN and JOSEF are left with IGNAC who looks like he never went to school. JOSEF looks at JAN. Something is wrong. The silence in the room oppressive. A clock gently ticks somewhere. JOSEF suddenly stands up and strides towards the kitchen door and bursts through into the hall to find ANTONIN standing in the hallway on the telephone. JOSEF steps forward, takes a pistol from his pocket and aims it at ANTONIN's head. ANTONIN like a rabbit caught in the headlights, slowly puts the phone down and raises his hands in the air.</scene_description> <character>JOSEF</character> <dialogue>How much do you get for turning in parachutists to the Germans?</dialogue> <scene_description>ANTONIN just stares at him. Guilt written on his face. JOSEF grabs ANTONIN and pulls him back to the kitchen where he finds JAN seated with his hands in the air and IGNAC holding a knife to his throat.</scene_description> <character>IGNAC</character> <dialogue>Drop the gun!</dialogue> <character>ANTHROPOID V20: 4</character> <dialogue>JOSEF keeps the gun aimed at ANTONIN's head. IGNAC reaches inside JAN's jacket and takes his gun.</dialogue> <character>IGNAC</character> <dialogue>I said drop the...</dialogue> <scene_description>SUDDENLY ANTONIN grabs the gun and he and JOSEF wrestle for control. JAN grabs IGNAC's arm and kicks back and the two fly backwards and are stopped by the sink. IGNAC drops the knife and the gun - JAN drops for the gun but IGNAC kicks it and skittles across the dank floor. IGNAC steps back and pulls another knife from his belt. ANTONIN is stronger and manages to pull the gun away from JOSEF. But in doing so, pulls the trigger, shooting himself in the face. Blood sprays across JOSEF's stunned face. Everyone is momentarily frozen in shock. IGNAC looks at ANTONIN who is face down. He suddenly realises he is now outnumbered. He turns and bolts out of a side door in the kitchen. JOSEF scuttles next to ANTONIN and retrieves his pistol from ANTONIN's dead hand. JOSEF spins and throws the pistol through the air towards JAN. JAN catches it and chases after IGNAC. At the edge of the forest JAN stops running and aims the pistol. An expression of concentration. His stance trained like that of a soldier. JAN's POV: a clear shot of IGNAC as he runs deeper into the forest. JAN's concentration turns to hesitation. The hand that holds the gun starts to shake. More than hesitation - a mental block. JAN is hyperventilating. Pain across his face. Sweat pours, JAN wipes his face and re-aims. JAN's POV: IGNAC disappears into the thick cover of the forest. JAN drops to his knees fighting for breath. Full-on panic attack. Fists clenched, muscles cramping. JAN fights it. Tries to calm himself. Slowly gets up, turns and makes his way back to the farmhouse.</scene_description> </scene> <scene> <stage_direction>INT/EXT. FARMHOUSE - DAY.</stage_direction> <scene_description>JOSEF pulls the phone line from the wall. Takes a cloth and regards the dead weight of ANTONIN's body on the kitchen floor. A pool of black blood slowly creeping across the floor. Josef wipes the blood from his face and exits. JAN approaching. More in control.</scene_description> <character>JOSEF</character> <dialogue>You get him?</dialogue> <scene_description>JAN shakes his head no. JOSEF looks at JAN for a beat - JOSEF's thoughts unreadable. He breaks off to survey the area.</scene_description> <character>JOSEF</character> <parenthetical>(nodding towards it)</parenthetical> <dialogue>We'll take their truck.</dialogue> </scene> <scene> <stage_direction>INT. TRUCK - DAY</stage_direction> <scene_description>JAN drives. JOSEF looks out the window at the passing landscape. JAN steals a look at JOSEF. JOSEF notices.</scene_description> <character>JOSEF</character> <dialogue>What?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They had made their choice.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Sometimes you have to pick a side.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You would prefer it was us?</dialogue> <scene_description>JAN looks back to the road. The question hangs in the air. JOSEF tears some cloth from a spare shirt and puts his foot on the dash. He changes the blood soaked rag for the new cloth and ties it tight.</scene_description> <character>JAN</character> <parenthetical>(indicating Josef's foot)</parenthetical> <dialogue>We have to get that looked at as soon as possible.</dialogue> <character>JOSEF</character> <dialogue>We have to make contact with the address in Prague first.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We'll deal with this after.</dialogue> <scene_description>JAN gives him a worried look and then looks back at the road. A squealing sound is heard over the engine. JOSEF turns, lifts the canvas and peers into the back of the truck. Six or seven pigs are in the back of the truck.</scene_description> <character>ANTHROPOID V20: 6</character> <dialogue>JAN</dialogue> <scene_description>What is it?</scene_description> <character>JOSEF</character> <dialogue>A truck full of pigs!</dialogue> <scene_description>JOSEF sits back and for the first time the men share a smile at the situation they find themselves in.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY LANE - DAY</stage_direction> <scene_description>The truck speeds past a sign post that indicates Prague is 28 Kilometers away. OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREETS - DAY</stage_direction> <scene_description>Various shots as the truck makes its way through the streets of Prague.</scene_description> </scene> <scene> <stage_direction>INT. TRUCK - DAY</stage_direction> <scene_description>JOSEF checks his map and then the road ahead.</scene_description> <character>JOSEF</character> <dialogue>Should be the next left.</dialogue> <scene_description>Through the windows we see the heavy presence of the German army. Military trucks and soldiers very much in evidence at every street corner. JAN turns the wheel and makes a left turn.</scene_description> <character>JOSEF</character> <dialogue>Pull over here.</dialogue> <scene_description>The truck comes to a stop as JOSEF looks up at an apartment block.</scene_description> <character>JOSEF</character> <dialogue>This is it.</dialogue> <scene_description>JAN and JOSEF exit the truck.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREET - DAY</stage_direction> <scene_description>They both check the street with nervous glances.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BLOCK STEPS - DAY</stage_direction> <scene_description>JAN and JOSEF climbs the steps until they see a blue door with the number 44 on it. They have a quick look around and then nod to one another. JAN knocks on the door and they wait. Footsteps are heard and then the door opens. A plain looking WOMAN in her late thirties appears and looks at JAN and JOSEF.</scene_description> <character>WOMAN</character> <dialogue>Yes?</dialogue> <character>JAN</character> <dialogue>We are looking for Oldrich Novák.</dialogue> <scene_description>The woman looks at them. Uncertainty in her eyes.</scene_description> <character>WOMAN</character> <dialogue>The Novákovi no longer live here.</dialogue> <scene_description>A silent beat.</scene_description> <character>JAN</character> <dialogue>You have their new address?</dialogue> <scene_description>The WOMAN looks down and sees that JOSEF's foot is bleeding and leaving a small pool of blood around his heal.</scene_description> <character>WOMAN</character> <dialogue>I heard they were taken by the Gestapo a month before we moved into the apartment.</dialogue> <scene_description>From inside the apartment a MAN's voice calls out.</scene_description> <character>MAN (O.S.)</character> <dialogue>Who is it?</dialogue> <character>WOMAN</character> <parenthetical>(turning inside briefly)</parenthetical> <dialogue>Don't worry, father. Just someone looking for directions.</dialogue> <parenthetical>(back to Jan and Josef)</parenthetical> <dialogue>I'm sorry, that is all I know.</dialogue> <character>JAN</character> <parenthetical>(stopping the door from closing)</parenthetical> <dialogue>Please, can you help us?</dialogue> <character>WOMAN</character> <dialogue>My father is not well, you must leave.</dialogue> <scene_description>JAN steps back from the door and JOSEF stares at the WOMAN.</scene_description> <character>ANTHROPOID V20: 8</character> <dialogue>The WOMAN locks eyes with JOSEF. A brief second passes.</dialogue> <character>WOMAN</character> <dialogue>There is a veterinarian in the next row of shops up the street.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I hear he is a good man.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>One that may help.</dialogue> <scene_description>JOSEF nods his thanks and they leave.</scene_description> </scene> <scene> <stage_direction>INT. VETERINARIAN'S SURGERY - DAY</stage_direction> <scene_description>A small French bulldog is being held by an ELDERLY WOMAN while DR EDUARD, mid-50s bookish but kind, is trying to examine the dog. The dog is barking and trying to bite DR EDUARD.</scene_description> <character>ELDERLY WOMAN</character> <dialogue>He normally only barks at Germans!</dialogue> <character>DR EDUARD</character> <dialogue>Germans and anyone giving him a rectal examination.</dialogue> <scene_description>DR EDUARD removes his gloved hand from the dog's rear and takes off the glove.</scene_description> <character>DR EDUARD</character> <dialogue>He should be fine now but don't let him eat the rubbish around the bins again.</dialogue> <scene_description>From next door we hear the bell above the front door sound. DR EDUARD looks up with slight concern - he is not expecting any other clients today. He reassures the ELDERLY LADY with a warm smile.</scene_description> </scene> <scene> <stage_direction>INT. VETERINARIAN'S RECEPTION - DAY</stage_direction> <scene_description>Frosted glass panels sit on top on wood panels and separate the reception from the surgery with a door in the centre.</scene_description> <character>ELDERLY WOMAN</character> <parenthetical>(leading the dog out of the surgery)</parenthetical> <dialogue>Thank you, Dr Eduard. Come along Benés!</dialogue> <scene_description>In the shop the ELDERLY WOMAN stops to see JAN and JOSEF in the waiting area - neither have any pets. The ELDERLY WOMAN looks back at DR EDUARD with a slightly worried expression.</scene_description> <character>DR EDUARD</character> <dialogue>Look after him, Mrs Spinka.</dialogue> <character>ANTHROPOID V20: 9</character> <dialogue>MRS SPINKA leaves and DR EDUARD turns to JAN and JOSEF. A brief pause before we cut to:</dialogue> </scene> <scene> <stage_direction>INT. VETERINARIAN'S SURGERY - DAY</stage_direction> <scene_description>A close up of JOSEF's foot. A spot lamp lights a large cut that is being stitched together by DR EDUARD. Dark sticky blood surrounds the deep cut and five stitches hold most of the wound together. DR EDUARD looks over his glasses at JAN who is peeking out through the curtains. JAN's POV: Three German soldiers are roughly herding a Jewish family along the streets. Prodding them, shouting at them. JAN walks back from the window and looks to JOSEF and then to DR EDUARD.</scene_description> <character>DR EDUARD</character> <dialogue>Normally, for a dog bite, you would go to a hospital not a vet.</dialogue> <character>JAN</character> <dialogue>Did you know Oldrich Novák?</dialogue> <scene_description>DR EDUARD looks up to JAN and notices JAN's right hand is stuffed into coat pocket and is obviously holding a pistol. DR EDUARD looks back and continues to stitch JOSEF's wound.</scene_description> <character>DR EDUARD</character> <dialogue>Yes. He and his family were taken by the Gestapo.</dialogue> <character>JAN</character> <dialogue>You know why?</dialogue> <character>DR EDUARD</character> <dialogue>They were suspected of anti-Nazi activities.</dialogue> <character>JAN</character> <dialogue>And what if we were to say Oldrich Novák was our contact here in Prague?</dialogue> <scene_description>A beat.</scene_description> <character>DR EDUARD</character> <dialogue>Then I would have to wonder if you were ill informed Czech patriots or Gestapo spies trying to infiltrate what remains of the resistance?</dialogue> <scene_description>Silence. DR EDUARD looks at JAN's bag on the floor. Inside we can partly make out what looks like a decoder paper.</scene_description> <character>ANTHROPOID V20: 10</character> <dialogue>DR EDUARD</dialogue> <scene_description>You sound Czech, I detect no German accent. Neither of you seem to have been beaten into coercion. You seem more concerned by the threat outside this room. The decoding paper in your bag doesn't have a German font and given that this wound has more tree bark in it than dog bite, I would have to guess you have been parachuted back into Czechoslovakia with intelligence that is somewhat out of date. JOSEF winces as the last stitch is finished.</scene_description> <character>JAN</character> <dialogue>You're a clever man.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We were also told you were a good man...</dialogue> <scene_description>DR EDUARD stands and wipes his hands.</scene_description> <character>DR EDUARD</character> <parenthetical>(holds out his hand)</parenthetical> <dialogue>You have papers?</dialogue> <scene_description>JAN takes a wallet and removes his papers. JAN hands them over to DR EDUARD. An official looking document with JAN's photograph attached.</scene_description> <character>DR EDUARD</character> <parenthetical>(inspecting the papers)</parenthetical> <dialogue>Where were these made?</dialogue> <character>JAN</character> <dialogue>London, why what's wrong?</dialogue> <character>DR EDUARD</character> <parenthetical>(impressed face)</parenthetical> <dialogue>Nothing. They're good.</dialogue> <scene_description>He hands them back as a volley of shots is heard outside. JAN starts to go to the window. DR EDUARD stops him.</scene_description> <character>DR EDUARD</character> <dialogue>Don't. You could draw attention.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There is nothing we can do. You will get used to it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm not sure how long you have been away or what London has told you about what is going on here.</dialogue> <character>ANTHROPOID V20: 11</character> <dialogue>JOSEF</dialogue> <scene_description>I think our current situation answers that, no?</scene_description> <character>DR EDUARD</character> <dialogue>Quite.</dialogue> <character>JAN</character> <dialogue>We left for the defence of France and were evacuated to England when France fell to the Germans.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's been a while.</dialogue> <character>DR EDUARD</character> <dialogue>Since Reinhard Heydrich was appointed Reich Protektor of the Czech lands, fear and suspicion rule. Rewards are given to people who inform on anti-Nazi activity. Handsome rewards.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Heydrich has all but nearly crushed the resistance and has executed thousands of Czech nationals.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Everyone is scared.</dialogue> <scene_description>DR EDUARD puts the final bandages on JOSEF's foot.</scene_description> <character>JOSEF</character> <dialogue>And you?</dialogue> <character>DR EDUARD</character> <dialogue>I'm just a vet. You didn't give me much choice.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I can put you in contact with the Miller. Maybe he can help you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you can convince him.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You can stay here tonight and I'll contact the Miller in the morning.</dialogue> <character>JOSEF</character> <dialogue>My friend here said you were a clever man. I agree.</dialogue> <parenthetical>(indicates his hand in his pocket)</parenthetical> <dialogue>Don't do anything that would change our opinion.</dialogue> <scene_description>DR EDUARD nods to the men and then indicates JOSEF's leg.</scene_description> <character>DR EDUARD</character> <dialogue>Go easy on the foot and you should be dancing the tango within the week.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE, PANORAMIC SHOT - DAWN</stage_direction> <scene_description>Over the rooftops. All is now quiet. The city starts to stir.</scene_description> </scene> <scene> <stage_direction>INT. VETERINARIAN'S SURGERY - MORNING</stage_direction> <scene_description>JAN and JOSEF are ready and waiting. They look like they haven't slept. JOSEF is checking the street from the window and JAN is whittling his piece of wood when the sound of keys are heard unlocking the front door. JAN opens the surgery door a crack and sees DR EDUARD enter with another man. He is BRETISLAV BAUMAN, a tall slim man in his early fifties, educated but with a brusque manner. He is a local miller but carries himself with the confidence of something more. His hand deep in his coat pocket proves it. DR EDUARD stops when he sees JAN and JOSEF in defensive positions by the surgery door.</scene_description> <character>DR EDUARD</character> <dialogue>This is Bretislav the miller.</dialogue> <scene_description>BRETISLAV looks at JAN and JOSEF. A pause as they size each other up.</scene_description> <character>BRETISLAV</character> <dialogue>Eduard told me you were looking for Oldrich Novák?</dialogue> <scene_description>JOSEF looks at BRETISLAV and nods.</scene_description> <character>BRETISLAV</character> <dialogue>Would you like to take a drive with me?</dialogue> <scene_description>Awkward pause. Nervous looks.</scene_description> </scene> <scene> <stage_direction>INT. TRUCK - MORNING</stage_direction> <scene_description>BRETISLAV drives with JAN and JOSEF on the bench seat next to him. A three-storey concrete building put up in the 1920s looms through the windshield. Cold and functional. The truck approaches and stops outside the entrance.</scene_description> <character>JOSEF</character> <dialogue>Where are all the students?</dialogue> <character>BRETISLAV</character> <dialogue>Closed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Germans don't like colleges. They encourage people to think.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Most of the academics and intellectuals have been shot.</dialogue> <character>ANTHROPOID V20: 13</character> <dialogue>BRETISLAV gets out the truck and starts walking across the courtyard and towards the school building.</dialogue> <character>JAN</character> <dialogue>What do you think?</dialogue> <character>JOSEF</character> <dialogue>I think, stay on your toes.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL BUILDING - DAY</stage_direction> <scene_description>JAN and JOSEF get out the truck and cross a courtyard and join BRETISLAV as they all enter through the main large doors.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUILDING, CORRIDOR - DAY</stage_direction> <scene_description>JAN, JOSEF and BRETISLAV walk down a long corridor, their footsteps echo. JOSEF looks around: empty class rooms. Some with chairs over turned. Paint peeling from the walls. Rust marks. Decay. It doesn't look good. JOSEF limps along and snatches a look at JAN. Both have a hand in their pocket. The corridor is long. Their footsteps echo out. Tensions at breaking point. BRETISLAV looks back over his shoulder at JOSEF. JOSEF meets his gaze. BRETISLAV turns back and reaches a doorway, goes through it. JAN and JOSEF follow.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUILDING, CLASSROOM - DAY</stage_direction> <scene_description>Sitting behind a desk is a man. Standing next to him is another man. JAN and JOSEF enter but don't see the two men either side of the door they came through. "CLICK". Pistols are trained on the back of JAN's and JOSEF's head. BRETISLAV spins, pistol trained on JAN and JOSEF.</scene_description> <character>BRETISLAV</character> <dialogue>Don't move!</dialogue> <scene_description>JAN and JOSEF look around to assess the situation. Two armed men behind. BRETISLAV in front. Two men at the desk in front. BRETISLAV takes the pistols from JAN and JOSEF's pockets. JOSEF looks very angry at himself for walking right into a trap.</scene_description> <character>ANTHROPOID V20: 14</character> <dialogue>BRETISLAV places the pistols on the desk in front of the seated man. He is JAN ZELENKA, a teacher, code-named 'UNCLE HAJSKY', an intellectual looking man in his early fifties. Standing next to him is a tall slim man in his mid-forties with a determined manner. He is LADISLAV VANEK.</dialogue> <dialogue>The men from behind place two chairs in front of the desk and recede to cover at the back of the room.</dialogue> <character>LADISLAV</character> <parenthetical>(hand outstretched)</parenthetical> <dialogue>Please sit.</dialogue> <scene_description>The room is silent.</scene_description> <character>LADISLAV</character> <dialogue>You were looking for Oldrich Novák?</dialogue> <scene_description>JOSEF nods.</scene_description> <character>LADISLAV</character> <dialogue>Why?</dialogue> <scene_description>JOSEF looks at them for what seems a long time. Weighing the situation, the words he must use.</scene_description> <character>JOSEF</character> <dialogue>He was our contact here in Prague.</dialogue> <scene_description>It hangs in the air.</scene_description> <character>LADISLAV</character> <dialogue>Who gave you this contact?</dialogue> <character>JOSEF</character> <dialogue>London.</dialogue> <scene_description>BRETISLAV and LADISLAV exchange looks.</scene_description> <character>LADISLAV</character> <dialogue>And you tell us this because?</dialogue> <character>JAN</character> <dialogue>You are not leaving us much choice and this doesn't look like Gestapo headquarters.</dialogue> <scene_description>LADISLAV turns to look at JAN.</scene_description> <character>LADISLAV</character> <dialogue>You, where are you from?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Your accent, Bohemia?</dialogue> <character>JAN</character> <dialogue>No, from Dolni Vilemovice, Moravia.</dialogue> <character>LADISLAV</character> <dialogue>Then you must know the railway station at Vladislav?</dialogue> <character>ANTHROPOID V20: 15</character> <dialogue>JAN</dialogue> <scene_description>Yes.</scene_description> <character>LADISLAV</character> <dialogue>What's so special about it?</dialogue> <scene_description>JAN thinks for a moment.</scene_description> <character>JAN</character> <dialogue>I presume you are talking about the large bed of coloured roses that when seen from above is in the shape of our national flag?</dialogue> <scene_description>The men regard each other for a pregnant beat.</scene_description> <character>JAN</character> <dialogue>Is it still there?</dialogue> <character>LADISLAV</character> <dialogue>Seems the Germans have still not looked at it from above...</dialogue> <scene_description>LADISLAV smiles. He pulls up a chair. Sits.</scene_description> <character>LADISLAV</character> <dialogue>I am Vanek. Ladislav Vanek.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm the head of the Jindra organization.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Czech resistance.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This is Jan Zelenka, code name Uncle Hajsky.</dialogue> <character>JAN</character> <dialogue>I am Jan Kubis.</dialogue> <character>JOSEF</character> <dialogue>I am Josef Gabcik. From Slovakia.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>You mustn't be surprised by our lack of trust. The Gestapo have been very successful in infiltrating our network.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The contact that London gave you, Oldrich Novák. He was taken away some months ago.</dialogue> <character>JOSEF</character> <dialogue>Well, that could have got us killed, why wasn't London informed?</dialogue> <character>LADISLAV</character> <dialogue>We lost contact with the Czech government-in-exile in London some months ago. We need replacement crystals for the transmitter.</dialogue> <character>ANTHROPOID V20: 16</character> <dialogue>LADISLAV</dialogue> <scene_description>We've been waiting for them to send someone to reestablish contact. (beat) Is that you?</scene_description> <character>JOSEF</character> <dialogue>There were other men on our plane. They were dropped elsewhere, it's possible they have orders to reestablish contact with London but I'm afraid that is not our mission.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>What is your mission?</dialogue> <scene_description>A long beat as JOSEF regards JAN.</scene_description> <character>JOSEF</character> <dialogue>We are here as Operation Anthropoid.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Derived from the Greek, Anthropos, It means, resembling a human being in form.</dialogue> <character>JOSEF</character> <dialogue>We don't know what it means other than the instructions given within the code name.</dialogue> <scene_description>There is a long silence in the room.</scene_description> <character>LADISLAV</character> <dialogue>I take it you want our help for this mission?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Whatever it is?</dialogue> <character>JAN</character> <dialogue>Yes. We will need your help.</dialogue> <scene_description>Another silence.</scene_description> <character>LADISLAV</character> <dialogue>We can help of course. But we need to know what you need help with.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What is Anthropoid?</dialogue> <scene_description>JAN and JOSEF seem to be struggling with the information they possess. LADISLAV tilts his head curiously at their struggle. UNCLE HAJSKY looks at LADISLAV and then back at JAN and JOSEF. It's dawning on them just how big this mission could be.</scene_description> <character>ANTHROPOID V20: 17</character> <dialogue>JOSEF</dialogue> <scene_description>We are here to assassinate SS Obergruppenführer Reinhard Heydrich. UNCLE HAJSKY and LADISLAV are frozen for a second. Blank faces just staring back.</scene_description> <character>JOSEF</character> <dialogue>The Reichsprotektor of Bohemia and -</dialogue> <character>UNCLE HAJSKY</character> <dialogue>(interrupting)</dialogue> <character>LADISLAV</character> <dialogue>(overlapping)</dialogue> <scene_description>Yes, we know who he is... Are you completely mad?</scene_description> <character>JOSEF</character> <dialogue>We have our orders, comrades.</dialogue> <character>LADISLAV</character> <dialogue>But this is madness! Heydrich! For Christ sakes, man!</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(trying to interrupt)</parenthetical> <dialogue>Ladislav...</dialogue> <character>LADISLAV</character> <dialogue>Why stop with Heydrich? Why not have a go at Hitler as well? He's only 300 kilometers down the road in a small village called Berlin.</dialogue> <character>JOSEF</character> <dialogue>So we report to London that you are refusing to cooperate with our mission?</dialogue> <scene_description>LADISLAV loses it and kicks back his chair as he leaps to a confrontational stance in front of JOSEF. JOSEF springs up and stands his ground.</scene_description> <character>LADISLAV</character> <dialogue>How dare you question us!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You know what we have sacrificed for the cause here?</dialogue> <scene_description>The men behind re-train their weapons at JOSEF. Silence as the men regard each other in the stand off.</scene_description> <character>UNCLE HAJSKY</character> <parenthetical>(calmly)</parenthetical> <dialogue>Ladislav, please. Sit down...</dialogue> <scene_description>LADISLAV breaks the stare and returns to his seat as does JOSEF.</scene_description> <character>LADISLAV</character> <dialogue>You kill Heydrich and Hitler will tear Prague apart.</dialogue> <character>ANTHROPOID V20: 18</character> <dialogue>LADISLAV</dialogue> <scene_description>I'm talking about the sort of reprisals we don't want to imagine, can't imagine. (beat) They will find a weak link, exploit it. Until someone gives them a name. Anyone that so much as sold a newspaper to that name will be shot. (beat) I take it you have family in Czechoslovakia? Mother? Father? (beat) You kill Heydrich then you can consider them and everyone that ever knew you dead...</scene_description> <character>JOSEF</character> <dialogue>All Czech patriots should be ready to die for their country. That includes my family.</dialogue> <character>LADISLAV</character> <parenthetical>(overlap)</parenthetical> <dialogue>Well, I'm not! I want to carry on fighting. We don't have that many left that are willing to do that. We are what's left of the Czech resistance. We die, it dies.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I suggest a lesser rank should be assassinated. Perhaps a few of them.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We could look at Karl Frank or any of the puppets in the government here that collaborate with the Nazis.</dialogue> <character>JAN</character> <dialogue>Heydrich is the head of the secret police. Only Hitler and Himmler are above him in the Nazi hierarchy.</dialogue> <character>LADISLAV</character> <dialogue>Exactly my point, you really think you'll ever get close enough to assassinate Heydrich?</dialogue> <scene_description>Silence. Doubt.</scene_description> <character>JOSEF</character> <dialogue>Our orders have come direct from the Czech Government in London.</dialogue> <character>LADISLAV</character> <dialogue>So this is about the Czech government in London trying to impress the allies?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What about when we had an army? Were willing to fight?</dialogue> <character>ANTHROPOID V20: 19</character> <dialogue>LADISLAV</dialogue> <scene_description>Able to fight? (beat) It was the allies that gave us to the Germans in the first place... (beat) Am I the only one that remembers the Munich agreement?</scene_description> <character>UNCLE HAJSKY</character> <dialogue>Munich was a betrayal, but it's also now history. The question the Czech Government in exile seems to be asking is this, are we still able to fight? Is Czechoslovakia still ready and able to resist Nazi Germany?</dialogue> <character>JOSEF</character> <dialogue>The assassination of Reinhard Heydrich couldn't send a clearer message to the world.</dialogue> <character>LADISLAV</character> <dialogue>Yes, but at what cost?</dialogue> <scene_description>There is a heavy silence in the room.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>You have your orders.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sure Ladislav's feelings will not colour his support.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What do you need from us in the meantime?</dialogue> <character>JOSEF</character> <dialogue>Everything you know on Heydrich.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>I presume you want this down to the fine details of movements, planned engagements, and so on?</dialogue> <scene_description>JOSEF and JAN nod.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>It will take us a couple of weeks to figure out who we have on the inside that can get close to that kind of information.</dialogue> <character>JOSEF</character> <dialogue>There is one other thing.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We lost our equipment in the drop.</dialogue> <character>LADISLAV</character> <dialogue>What do you need?</dialogue> <character>ANTHROPOID V20: 20</character> <dialogue>JOSEF</dialogue> <scene_description>Two anti-tank grenades, model 73, 32 pounds of plastic explosives, two magazines of fuses, three timing pencils and one Sten Mark II machine gun with 100 rounds.</scene_description> <character>LADISLAV</character> <dialogue>And where am I supposed to find all that?</dialogue> <character>JOSEF</character> <dialogue>Hanging thirty meters up from a pine tree, we can show you approximately where on a map.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>In the meantime I will take you to one of the safe houses we have in Prague.</dialogue> <scene_description>JAN and JOSEF understand with a grateful nod. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC EXTERIOR STAIRWELL - DAY</stage_direction> <scene_description>UNCLE HAJSKY leads JOSEF and JAN up the steps of nondescript five-storey 1920s building. On the top floor UNCLE HAJSKY knocks on a door. MRS MORAVEC answers it. She is a strong looking woman in her late forties, dark hair with dark intense eyes that hint at her dependable resolve and her resistance to the German invasion of her motherland. Seeing UNCLE HAJSKY she ushers them inside with some urgency.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - DAY</stage_direction> <scene_description>A flat simply furnished in the Czech style. A violin is heard practicing scales somewhere in the flat.</scene_description> <character>MRS MORAVEC</character> <dialogue>Good to see you, Uncle. You look in good health.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>And so do you, Mrs Moravec.</dialogue> <character>MRS MORAVEC</character> <dialogue>And who are these two exactly?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Josef here, and this is Jan.</dialogue> <scene_description>JOSEF and JAN each shake MRS MORAVEC's hand.</scene_description> <character>ANTHROPOID V20: 21</character> <dialogue>MRS MORAVEC</dialogue> <scene_description>You are both most welcome here and please call me Auntie Moravec. (beat) Come on through, please.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - MORNING</stage_direction> <scene_description>A simple and modestly furnished room with large windows. A dining table and chairs, several armchairs, a sofa, a cabinet with books. The kitchen leads off. MRS MORAVEC leads the three into the room.</scene_description> <character>UNCLE HAJSKY</character> <parenthetical>(to Josef and Jan)</parenthetical> <dialogue>This will be your base for the time being. Mrs Moravec will look after you royally, I am sure.</dialogue> <character>MRS MORAVEC</character> <dialogue>My husband works on the railways and knows nothing of what we are doing. I'll tell him that you are lodgers from the country seeking work.</dialogue> <parenthetical>(calls over her shoulder)</parenthetical> <dialogue>Ata! Ata!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Ata is my son. He is studying to be a violinist.</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(to Josef and Jan)</parenthetical> <dialogue>If you ever need to contact me, use Ata.</dialogue> <scene_description>ATA appears. A lean, friendly twenty-one-year-old.</scene_description> <character>MRS MORAVEC</character> <dialogue>Ata. This is Josef, and this is Jan.</dialogue> <character>ATA</character> <dialogue>I am pleased to meet you both.</dialogue> <scene_description>The three shake hands.</scene_description> <character>UNCLE HAJSKY</character> <parenthetical>(to Josef and Jan)</parenthetical> <dialogue>A couple of things...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Try not to go outside.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you must, never walk together.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you are stopped, you'll need an excuse for not being at work.</dialogue> <parenthetical>(beat)</parenthetical> <character>ANTHROPOID V20: 22</character> <dialogue>UNCLE HAJSKY</dialogue> <scene_description>I will speak to our vet, the good Dr Eduard and see if he can get you medical certificates stating you are exempt from work. (beat) We use the code of three knocks followed by one knock. (beat) An open window with the curtain drawn is the danger signal. Stay away at all costs. (beat) Lay low until I can send word through Ata. The men nod. UNCLE HAJSKY bows to MRS MORAVEC and leaves. The men make a courtesy smile to MRS MORAVEC and then go about their business. They are checking every part of the flat: the windows, the locks, and so on. MRS MORAVEC looks on slightly anguished as she watches them systematically check everything.</scene_description> <character>JOSEF</character> <parenthetical>(pointing at the front door)</parenthetical> <dialogue>That's the only way in and out?</dialogue> <scene_description>MRS MORAVEC nods, hands held across her front.</scene_description> <character>JOSEF</character> <dialogue>And the room we sleep in?</dialogue> <scene_description>MRS MORAVEC shows JAN and JOSEF to a little box room off the corridor. A simple room. Two mattress beds on the floor. A table and chair. A dresser and in an alcove, a sink with a mirror above.</scene_description> <character>JAN</character> <dialogue>JOSEF!</dialogue> <scene_description>JOSEF looks at JAN who has seen a skylight in the ceiling.</scene_description> <character>JOSEF</character> <parenthetical>(to Mrs Moravec)</parenthetical> <dialogue>There's a way off the roof?</dialogue> <character>MRS MORAVEC</character> <parenthetical>(thinks)</parenthetical> <dialogue>There is a fire escape to the left. To the right it continues to the building next door.</dialogue> <character>JAN</character> <dialogue>That's good enough.</dialogue> <scene_description>JOSEF takes a chair and brings it to the door and wedges it under the handle.</scene_description> <character>ANTHROPOID V20: 23</character> <dialogue>JAN takes a tray of china from the table and lifts the table placing it under the skylight. He jumps on the table and easily opens the skylight and looks out. He then pokes his head back in and gives a nod.</dialogue> <character>JOSEF</character> <dialogue>OK. The chair stays by the door and the side table must always be clear of any china.</dialogue> <scene_description>MRS MORAVEC nods.</scene_description> <character>MRS MORAVEC</character> <parenthetical>(slightly nervous)</parenthetical> <dialogue>I am sure you both would like a glass of Becherovka.</dialogue> <character>JAN</character> <dialogue>Becherovka? Thank you.</dialogue> <scene_description>The front door is heard opening and JAN and JOSEF instantly pull out their pistols. A female voice from the hallway.</scene_description> <character>FEMALE VOICE</character> <dialogue>Mrs Moravec?</dialogue> <character>MRS MORAVEC</character> <dialogue>It's OK. It's Marie.</dialogue> <scene_description>MRS MORAVEC takes the chair from under the door handle. JAN and JOSEF hide their pistols. MRS MORAVEC opens the door and they exit to meet MARIE Kovárniková in the hallway. MARIE is an attractive girl in her late teens bearing two heavy shopping bags. She freezes in slight shock at the two strangers behind MRS MORAVEC.</scene_description> <character>MRS MORAVEC</character> <dialogue>It's OK, Marie. This is Jan and Josef, my cousins from the country. They will be staying with us while they are looking for work.</dialogue> <character>JOSEF</character> <parenthetical>(formal)</parenthetical> <dialogue>Pleased to meet you, Marie.</dialogue> <scene_description>JOSEF extends his hand. Somewhat shyly MARIE puts down the shopping bag and leans over to shake JOSEF's hand. JAN smiles as he shakes her hand.</scene_description> <character>JAN</character> <dialogue>Hello.</dialogue> <character>ANTHROPOID V20: 24</character> <dialogue>There is a play between their eyes and its obvious that there is an attraction on JAN's part. JOSEF notices.</dialogue> <character>MRS MORAVEC</character> <dialogue>Marie, Josef and Jan are not registered with the police as being residents here, so remember, please keep it strictly to yourself.</dialogue> <character>MARIE</character> <parenthetical>(nods)</parenthetical> <dialogue>I'll put the shopping in the kitchen then.</dialogue> <scene_description>MRS MORAVEC smiles warmly at MARIE as she takes the shopping bags into the kitchen to unpack. JOSEF looks at MARIE leaving and then at MRS MORAVEC. He looks concerned.</scene_description> <character>MRS MORAVEC</character> <dialogue>Don't worry, she is a trustworthy girl. Mrs Kovárniková's daughter. I pay her for helping out.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I have to, I get no help from Ata, always on the violin. And as for Mr Moravec, he thinks he's helping out if he closes a door.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Dinner will be at 6pm.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - NIGHT</stage_direction> <scene_description>JAN and JOSEF help lay plates onto the dinner table. MARIE helps MRS MORAVEC in the kitchen. MRS MORAVEC's husband MR (Alois) MORAVEC is a large overweight man in his late forties with bushy eyebrows and a bluff manner. He sits in a chair off to the side reading his newspaper. ATA can be heard in the background playing the violin. Christmas decorations lightly decorate the apartment. The hot dishes are brought into the dining room. A modest feast is ready.</scene_description> <character>MRS MORAVEC</character> <parenthetical>(calling out into the hall)</parenthetical> <dialogue>Ata! Dinner is ready!</dialogue> <scene_description>MR MORAVEC gets out the chair and makes his way to the head of the table.</scene_description> <character>ANTHROPOID V20: 25</character> <dialogue>MARIE</dialogue> <scene_description>Well, I'll be off now Mrs Moravec</scene_description> <character>MRS MORAVEC</character> <dialogue>Don't be silly, Marie. Please stay and eat with us. We have enough.</dialogue> <scene_description>JAN steals a glance at MARIE who looks away.</scene_description> <character>MRS MORAVEC</character> <dialogue>Marie, I insist!</dialogue> <character>MARIE</character> <dialogue>OK, then. Thank you.</dialogue> <scene_description>MARIE takes a seat opposite JAN. ATA enters the dining room and sits down.</scene_description> <character>MR MORAVEC</character> <parenthetical>(sighing)</parenthetical> <dialogue>And finally the fiddler is silent!</dialogue> <character>MRS MORAVEC</character> <parenthetical>(to Mr Moravec)</parenthetical> <dialogue>He's a violinist, Alois. A violinist!</dialogue> <character>MR MORAVEC</character> <dialogue>Well, whatever it is, and it wouldn't be so bad if he played something everyone knew.</dialogue> <character>MRS MORAVEC</character> <parenthetical>(proudly to Jan and Josef)</parenthetical> <dialogue>Ata is at the Conservatory for gifted musicians.</dialogue> <character>MR MORAVEC</character> <dialogue>Wasn't interested in the railways, was he? Could be earning good money now as a clerk. I saw a future for him as a station master.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Still, I suppose, the lad has to follow his own path.</dialogue> <scene_description>ATA has his face over his plate and is too busy eating to hear this old rant again.</scene_description> <character>MR MORAVEC</character> <parenthetical>(to Jan and Josef)</parenthetical> <dialogue>You two boys looking for work then?</dialogue> <character>JAN</character> <parenthetical>(swallowing his food)</parenthetical> <dialogue>Mmmm. Yes.</dialogue> <character>MR MORAVEC</character> <dialogue>We're always looking for boys in the railway shed, to clean the cinders out of the locomotives!</dialogue> <character>ANTHROPOID V20: 26</character> <dialogue>MRS MORAVEC</dialogue> <scene_description>That is the dirtiest job in Prague! JAN steals a look at MARIE and MARIE looks away shyly.</scene_description> <character>JOSEF</character> <dialogue>Thank you for the offer, Mr Moravec. We'll keep that in mind.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, KITCHEN - NIGHT</stage_direction> <scene_description>MARIE is at the sink cleaning the dishes. JAN brings in the last of the dishes from the table. JAN leans against the fridge and takes a cigarette packet from his pocket and offers one to MARIE. She shakes her head no. JAN lights up and takes a drag.</scene_description> <character>JAN</character> <dialogue>So, what do you do when you aren't helping out here?</dialogue> <scene_description>MARIE shrugs. There is a pause between them. Electricity fills the silence.</scene_description> <character>JAN</character> <dialogue>You don't have a boyfriend?</dialogue> <scene_description>Marie shrugs her shoulders shyly and is noncommittal. No one special. There is tension and MARIE then breaks into a nervous giggle. JAN laughs a little too and the tension is relaxed. JOSEF enters with his plate. He looks at the two of them briefly before studying MARIE intensely.</scene_description> <character>JOSEF</character> <dialogue>You like life in occupied Prague, Marie?</dialogue> <character>MARIE</character> <dialogue>I take it not being registered with the police as residents has something to do with this question?</dialogue> <character>JOSEF</character> <dialogue>It might.</dialogue> <scene_description>A beat.</scene_description> <character>MARIE</character> <dialogue>I hate the Germans.</dialogue> <character>ANTHROPOID V20: 27</character> <dialogue>A beat.</dialogue> <character>JOSEF</character> <dialogue>You have a friend as good looking as you?</dialogue> <scene_description>MARIE, looks to JAN and then back to JOSEF.</scene_description> <character>MARIE</character> <dialogue>Why?</dialogue> <character>JOSEF</character> <dialogue>Seems Prague has changed since we were last here.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Would be less conspicuous if we walked around with girls on our arms.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Young love flourishes under German occupation, that sort of thing.</dialogue> <character>MARIE</character> <dialogue>But you're not that young.</dialogue> <character>JOSEF</character> <parenthetical>(turns to Jan)</parenthetical> <dialogue>Feisty and humourous, I like her.</dialogue> <parenthetical>(back to Marie)</parenthetical> <dialogue>Of course you can say no.</dialogue> <parenthetical>(serious)</parenthetical> <dialogue>Mrs Moravec saying you are trustworthy is one thing. But doing this could get you shot.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You should think about that before -</dialogue> <character>MARIE</character> <parenthetical>(cutting in)</parenthetical> <dialogue>My friend, Lenka.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>She sometimes couriers messages for Uncle Hajsky.</dialogue> <character>JOSEF</character> <dialogue>Good, so she knows how to keep her mouth shut as well?</dialogue> <scene_description>MARIE nods.</scene_description> <character>MARIE</character> <dialogue>We are going to a New Years Eve dance on Wednesday night.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You would like to go?</dialogue> <scene_description>JOSEF looks at JAN. JAN shrugs. JOSEF turns back to MARIE and nods.</scene_description> </scene> <scene> <stage_direction>INT. PRAGUE DANCE HALL - NIGHT</stage_direction> <scene_description>A smoky dance hall, softly illuminated in soft brown hues. Tables and chairs around the edge of the floor. Some six or so couples are dancing to a swing band. JAN and JOSEF stand at the bar. The atmosphere in the dance hall has an edge. It's not relaxed and feels slightly surreal. Almost lost in time. Nervous looks. A banner hung across the hall proclaims "HAPPY NEW YEAR - 1942!" A few off-duty SS officers to one corner. Top buttons undone, red cheeks. But people avoiding them. A few whores flirt with them. Upper class tuxedoes mixing with working class brown jackets. Business men mixing with artists and Black marketeer's mixing with Czech police. A group of friends drinking. One is quite drunk and starts to push a mate around. A few others step in and calm the situation down. Drinks and cigarettes are handed out. Nervous looks in the direction of the SS officers. This is occupied Prague. The Dance hall has an a 1920's prohibition feeling to it and tonight being New Years eve, a temporary neutral ground for all attending, but only just</scene_description> <character>JOSEF</character> <parenthetical>(to the crowd)</parenthetical> <dialogue>Look at them...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Going through the motions like some old ritual that no longer has any joy for them.</dialogue> <character>JAN</character> <dialogue>Maybe there is hope in the pretence...</dialogue> <scene_description>JOSEF lights a cigarette, he is a few beers in. Turns to JAN. JAN signals OFF SCREEN. MARIE and LENKA emerge through the crowd arm in arm. Both beautiful. Both receiving looks from various wannabe suitors. LENKA FAFEKOVA, like MARIE is elegant with striking red hair, she is slightly older but beautiful.</scene_description> <character>JAN</character> <dialogue>Looks like you fell on your feet with Lenka.</dialogue> <character>JOSEF</character> <dialogue>Stupid...</dialogue> <scene_description>JAN looks confused.</scene_description> <character>ANTHROPOID V20: 29</character> <dialogue>The girls approach them.</dialogue> <character>MARIE</character> <dialogue>Hello. Lenka, this is Jan and Josef.</dialogue> <scene_description>JOSEF turns his back on them. MARIE visibly disappointed. JAN smiles nervously at MARIE. Awkward pause.</scene_description> <character>MARIE</character> <dialogue>You know it's not very polite to turn your back on a lady.</dialogue> <scene_description>JOSEF turns and talks but doesn't look at them. He looks past them.</scene_description> <character>JOSEF</character> <dialogue>I'll pay you the compliment of being the two most beautiful girls in the room but this is not a night off for us.</dialogue> <character>JAN</character> <dialogue>Josef, maybe you are over-reacting a little.</dialogue> <scene_description>JOSEF gives JAN a look which silences him.</scene_description> <character>JOSEF</character> <parenthetical>(looking past Lenka and Marie)</parenthetical> <dialogue>Me and Jan appreciate the effort but the point was not to attract attention.</dialogue> <scene_description>JAN looks over the room. A few people avert his gaze. Maybe JOSEF has a point.</scene_description> <character>JOSEF</character> <dialogue>In future we need you to be as plain as possible.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Think you can do that?</dialogue> <scene_description>MARIE nods, feeling small and rebuffed.</scene_description> <character>LENKA</character> <dialogue>You know, for most girls, a little lipstick is the only way to forget what is happening here.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Even if it's only for a few hours.</dialogue> <scene_description>JOSEF looks at the table with SS officers. One of them looking over. Observing while inhaling a cigarette. JOSEF now looks at Lenka for the first time.</scene_description> <character>ANTHROPOID V20: 30</character> <dialogue>JOSEF</dialogue> <scene_description>Your lipstick gets you noticed and that gets us noticed and us being noticed could get us all shot. (beat) And now this little scene needs an ending. LENKA frowns, not understanding. JOSEF leans forward and whispers in her ear.</scene_description> <character>JOSEF</character> <dialogue>Slap my face so we can leave without suspicion.</dialogue> <scene_description>LENKA pauses for a second and understands the scene that needs to be played. She then hauls a slap across JOSEF's right cheek. Her face plays the perfect part of a woman scorned.</scene_description> <character>LENKA</character> <dialogue>I'm not a whore!</dialogue> <scene_description>JOSEF rubs his cheek and sees: the SS officer turns and laughs with the others. The acted story, now clear, has averted any suspicion.</scene_description> <character>JOSEF</character> <parenthetical>(whispered to Lenka)</parenthetical> <dialogue>Save your lipstick and pencilled stockings for when the war is over.</dialogue> <scene_description>JOSEF pushes past and leaves. JAN grabs his coat.</scene_description> <character>JAN</character> <parenthetical>(to the girls)</parenthetical> <dialogue>I think that went well.</dialogue> <scene_description>Awkward beat and JAN follows JOSEF to the exit.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - NIGHT</stage_direction> <scene_description>A machine gun is placed on the table.</scene_description> <character>LADISLAV (O.S.)</character> <dialogue>A British Sten Mark II machine gun.</dialogue> <scene_description>JAN and JOSEF inspect the weapon and clips as LADISLAV places two anti-tank grenades on the table.</scene_description> <character>LADISLAV</character> <dialogue>One hundred rounds.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Model 73 anti-tank grenades with pencil fuses.</dialogue> <parenthetical>(beat)</parenthetical> <character>ANTHROPOID V20: 31</character> <dialogue>LADISLAV</dialogue> <scene_description>That's everything we could retrieve from the drop canister. JOSEF takes the Mark II Sten and sniffs the barrel.</scene_description> <character>JOSEF</character> <dialogue>That smell reminds me of the training fields in Scotland!</dialogue> <scene_description>He throws the gun to JAN who catches it and takes a whiff.</scene_description> <character>JAN</character> <dialogue>Gun oil and turpentine - sometimes I think we drank it by the pint.</dialogue> <character>LADISLAV</character> <dialogue>Uncle says he has made some progress with the information you asked for.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There is a meeting at Café Slavia on Vodikova Street at 2pm, Tuesday.</dialogue> <character>LADISLAV</character> <dialogue>You are still determined to go through with this?</dialogue> <scene_description>JOSEF looks down at the gun and then at LADISLAV. The silence confirming their stance. LADISLAV turns to leave.</scene_description> <character>JOSEF</character> <parenthetical>(to Ladislav and indicating the weapon)</parenthetical> <dialogue>Ladislav, thanks.</dialogue> <scene_description>LADISLAV nods and leaves.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREETS - DAY</stage_direction> <scene_description>A late afternoon mist hangs in the air. The blackened spires of the churches and other buildings peek out from the mists like a dark fairy tale. People go about their business. People sit outside a café. A few nervously look around. No one can be trusted. Suspicion rules the city. JOSEF is walking besides LENKA. Now she looks like a plain blonde in her late twenties. There is an awkward silence between the two. JOSEF looks back over the street behind and sees: MARIE and JAN walking together on the side walk.</scene_description> <character>LENKA</character> <dialogue>I just wanted to apologise about Saturday night.</dialogue> <character>ANTHROPOID V20: 32</character> <dialogue>LENKA</dialogue> <scene_description>You were completely right to do what you did. (beat) Marie didn't fully inform me of the situation. (beat) She is young and still has romantic ideas about the war.</scene_description> <character>JOSEF</character> <dialogue>And you?</dialogue> <character>LENKA</character> <dialogue>War is not romantic.</dialogue> <scene_description>JOSEF regards her for a second. She seems wise beyond her years - another by-product of war. JOSEF then looks across the street. A man on the other side of the street in an overcoat and hat stands looking at them. JOSEF looks over his shoulder. Another man seems to be following them. JOSEF looks back at the first man who is now greeted by a woman and they start to walk off. Is he being unduly suspicious?</scene_description> <character>LENKA</character> <dialogue>We cross here.</dialogue> <scene_description>We are now walking with JAN and MARIE and we see JOSEF and LENKA cross the street a little up ahead.</scene_description> <character>JAN</character> <dialogue>After our last date I thought you might both show wearing potato sacks...</dialogue> <scene_description>MARIE gives a shy smile.</scene_description> <character>MARIE</character> <dialogue>Lenka was very angry that I didn't tell her who you both were.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't know what I'm doing.</dialogue> <character>JAN</character> <dialogue>You are doing fine.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Its not your fault.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's hard to see all the sides.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Josef just has a knack for it.</dialogue> <character>MARIE</character> <dialogue>He must think me silly.</dialogue> <character>ANTHROPOID V20: 33</character> <dialogue>JAN</dialogue> <scene_description>I don't. MARIE smiles. Her eyes lock with JAN's. A sweet moment. Ahead, JOSEF and LENKA have now crossed the street and are on the same side. They both enter a café. A man leans on the corner outside the café. Tooth pick in mouth, foot raised on the wall, relaxed but looking around. JAN notices him. He must be a lookout for the Jindra Organization. JAN and MARIE pass him and into the café.</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ SLAVIA - AFTERNOON</stage_direction> <scene_description>A small neighbourhood café. Just a few locals. They look up at JAN and JOSEF for a second before going back to their business. The PROPRIETOR behind the counter glances up at JOSEF and JAN and indicates to them to go through a door at the back. JOSEF and JAN turn to LENKA and MARIE.</scene_description> <character>JOSEF</character> <dialogue>Take a seat here and order a drink. We won't be long.</dialogue> <scene_description>MARIE and LENKA nod and sit down at a table. JOSEF and JAN walk through a doorway and into the back room.</scene_description> </scene> <scene> <stage_direction>INT. SAFE ROOM, CAFÉ SLAVIA - AFTERNOON</stage_direction> <scene_description>A grey modestly furnished flat at the back of the café. Both JAN and JOSEF look round the room and see two other doors other than the one they entered. We recognize UNCLE HAJSKY and LADISLAV, head of the Jindra group from the first meeting. JAN and JOSEF turn and see three other men: Adolf OPALKA, Josef VALCIK and Karel CURDA. The men know each other and are happily reunited. Smiles, handshakes and slaps on backs.</scene_description> <character>LADISLAV</character> <dialogue>I see you are no strangers to one another?</dialogue> <character>JAN</character> <dialogue>We all trained special operations together.</dialogue> <parenthetical>(beat)</parenthetical> <character>ANTHROPOID V20: 34</character> <dialogue>JAN</dialogue> <scene_description>Valcik here was even on the same drop. VALCIK is a heavy set, handsome man with blonde hair.</scene_description> <character>VALCIK</character> <dialogue>Dropped ten minutes later and thirty miles off course!</dialogue> <character>JOSEF</character> <dialogue>Glad to see you made it in one piece.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Gentlemen, please sit.</dialogue> <scene_description>JAN and JOSEF sit at the table and place their pistols in front of them. UNCLE HAJSKY and LADISLAV are also at the table, VALCIK and OPALKA sit to one side. CURDA in the background.</scene_description> <character>LADISLAV</character> <dialogue>Thanks to Valcik and his group Silver A, we have finally reestablished communications with London.</dialogue> <character>VALCIK</character> <dialogue>I have orders to send and receive any communications between you and London.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You have your own decoder paper, right?</dialogue> <scene_description>JOSEF and JAN nod to VALCIK.</scene_description> <character>LADISLAV</character> <dialogue>Captain Opalka and Warrant Officer Curda have completed Operation Out Distance so both are now available to assist you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Captain Opalka is the senior officer here.</dialogue> <scene_description>OPALKA, early thirties, looks every inch the man you would want as the captain of your team. Sharply chiselled face, a determined manner. A natural leader.</scene_description> <character>OPALKA</character> <dialogue>This is true but your mission objective supersedes my rank.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We had word from London. Anthropoid. Utmost priority. Assist with everything possible.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This is your show, comrades.</dialogue> <character>ANTHROPOID V20: 35</character> <dialogue>CURDA, a nervous man in his late twenties, looks over the meeting as UNCLE HAJSKY unfolds a map of Prague.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>You wanted to know everything we could find out about Heydrich.</dialogue> <parenthetical>(indicating on map)</parenthetical> <dialogue>We know he lives with his wife and children at a country chateau in Panenské Brezany and he has his office in Prague at Hradcany Castle.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Both the chateau and the castle are heavily guarded and so are out of the question.</dialogue> <character>JOSEF</character> <dialogue>What about trips to Berlin?</dialogue> <character>LADISLAV</character> <dialogue>Probably once a month. He usually travels by train, we would know as the railway starts preparing the special carriages several days in advance.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>But the station and train will be heavily guarded.</dialogue> <character>CURDA</character> <dialogue>What about derailing the train outside of Prague?</dialogue> <scene_description>OPALKA looks at JAN and JOSEF. It's not a bad idea.</scene_description> <character>JAN</character> <parenthetical>(looking at Josef)</parenthetical> <dialogue>Blowing up a train?</dialogue> <character>JOSEF</character> <dialogue>It's a possibility.</dialogue> <parenthetical>(to Valcik)</parenthetical> <dialogue>Explosives?</dialogue> <character>VALCIK</character> <dialogue>That's Curda's department. Curda?</dialogue> <character>CURDA</character> <dialogue>I can get the explosives.</dialogue> <character>JAN</character> <dialogue>What do we know about blowing up trains?</dialogue> <character>CURDA</character> <dialogue>I can show you. But basically You would need to blow the tracks and derail--</dialogue> <character>ANTHROPOID V20: 36</character> <dialogue>JOSEF</dialogue> <parenthetical>(interrupting)</parenthetical> <dialogue>We can derail the train, but that is no guarantee Heydrich is killed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I say we check his route between his home and the castle.</dialogue> <character>LADISLAV</character> <dialogue>Uncle has made contact with an old student of his who works as a repairman at the castle. He is willing to help but can only provide us with the information of what time Heydrich arrives and what time he leaves the day after.</dialogue> <character>JAN</character> <dialogue>What good is that?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>You can start to build a pattern of his routine.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Some days he travels with an armed escort but some days he doesn't. Maybe there is a pattern to this.</dialogue> <character>CURDA</character> <dialogue>This is going to take weeks!</dialogue> <character>JAN</character> <dialogue>Then it will take weeks. We will only get one shot at Heydrich. After that security will be so tight that you won't get an olive between him and us without making oil.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>I will rent a flat near the castle so the repairman can drop off the timetable from the day before on his way to work.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Lenka or Marie can be there to collect them for us.</dialogue> <character>JOSEF</character> <dialogue>Good. We'll check out the route he takes between the chateau and the castle.</dialogue> <character>LADISLAV</character> <parenthetical>(sliding them across)</parenthetical> <dialogue>Your medical certificates. Work exempted, in case you are stopped.</dialogue> <character>OPALKA</character> <parenthetical>(to Jan and Josef)</parenthetical> <dialogue>What will you need?</dialogue> <scene_description>ANTHROPOID V20: 37:</scene_description> <character>JOSEF</character> <dialogue>A camera with film, chemicals to process it and make prints. Binoculars, couple of bicycles, a torch and some red paint.</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(frowning at the request)</parenthetical> <dialogue>That's quite a shopping list, I'll see what I can do.</dialogue> <scene_description>A pause.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>Part of Operation Out Distance was to re-supply the resistance with much needed cyanide capsules.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We have lost so many of our people to the Gestapo and without the cyanide capsules many have talked - giving up valuable information into our operating procedures.</dialogue> <scene_description>OPALKA distributes the packets of glass vials of cyanide.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>In closing I just want to say to you all that this operation is involving almost everyone we have.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>In the event you are captured by the Gestapo you will have to face some harsh facts. There will be no escape. You will be tortured until you tell them everything you know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And then you will be executed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You must protect your fellow comrades and shut any links to them down, so carry the cyanide at all times.</dialogue> <scene_description>A heavy beat.</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ SLAVIA - DAY - SAME.</stage_direction> <scene_description>MARIE and LENKA sit at the table drinking their coffee. A GERMAN MOTORBIKE with SIDECAR pulls up outside the Cafe. The lookout from earlier throws down his toothpick and enters the cafe. He strides up to the bar and presses the waiters bell three times.</scene_description> </scene> <scene> <stage_direction>INT. SAFE ROOM, CAFÉ SLAVIA - SAME.</stage_direction> <scene_description>UNCLE and LADISLAV react to the bell and the others follow suit.</scene_description> <character>ANTHROPOID V20: 38</character> <dialogue>JAN and JOSEF grab their pistols and JOSEF cracks the door and the curtain to look into the Cafe. JOSEF's POV: Two GERMAN soldiers stand at the bar behind the lookout. Behind JOSEF, UNCLE opens the window to a side alley and starts to signal to CURDA to make an escape.</dialogue> </scene> <scene> <stage_direction>INT. CAFÉ SLAVIA - DAY - SAME.</stage_direction> <scene_description>The waiter places a coffee in front of the lookout and gives his attention to the lead German.</scene_description> <character>GERMAN SOLDIER #1</character> <dialogue>Cigarettes.</dialogue> <scene_description>The GERMAN SOLDIER #2 is looking at the photos of old Prague on the wall - this interest is leading him closer to the back room. JOSEF sees him moving closer and turns to see CURDA going through the window but CURDA catches a flower pot with his foot and the pot falls from the window sill and smashes in the alley outside. GERMAN SOLDIER #2 hears it and he walks towards the back room. JOSEF steals himself and takes one step away from the door and aims his pistol. The German now on the other side of the door - reaches out for the curtain. LENKA pushes her coffee cup from the table and it smashes on the floor. Both the soldiers turn and look at her as she drops to one knee and starts to pick up the pieces. GERMAN SOLDIER #2 looks back at the door. On the other side of the door - JOSEF, JAN and the other men like statues - guns at the ready. GERMAN SOLDIER #1 opens the pack as he looks down at LENKA's stockings as she suggestively finishes picking up the broken cup and places it on the bar. He lights the cigarette.</scene_description> <character>GERMAN SOLDIER #1</character> <parenthetical>(to German soldier #2 )</parenthetical> <dialogue>Kumpel, lass uns gehen!</dialogue> <scene_description>GERMAN SOLDIER #2 turns and walks back to his mate. GERMAN SOLDIER #1 drops some crowns on the bar and they leave.</scene_description> </scene> <scene> <stage_direction>INT. SAFE ROOM, CAFÉ SLAVIA - SAME.</stage_direction> <scene_description>The men stand down and breathe a sigh of relief.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - MORNING</stage_direction> <scene_description>CLOSE UP of the wood that JAN has been whittling. JAN is now using a filing tool. The wood is taking shape into the form of the human figure. JOSEF and JAN sit on the sofa staring ahead. ATA is playing the violin in another room. MR MORAVEC is lighting up his pipe and chattering away (one gets the impression he would chatter away even if he didn't have an audience).</scene_description> <character>MR MORAVEC</character> <parenthetical>(draws on pipe, billowing smoke)</parenthetical> <dialogue>Out of Blue Boar tobacco!? Couldn't believe it. I told him I'd been smoking it for twenty-odd years. Didn't have any. Says it's because of the war. Didn't believe that for a moment.</dialogue> <parenthetical>(to Jan)</parenthetical> <dialogue>Have you found work yet?</dialogue> <character>JAN</character> <dialogue>Nothing concrete yet. But I think we have a plan.</dialogue> <character>MR MORAVEC</character> <dialogue>We have work down at the yard.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You think perhaps you are too good to do such work?</dialogue> <character>JAN</character> <dialogue>No, Mr Moravec. It's a kind offer.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Maybe if what we have planned doesn't work out?</dialogue> <scene_description>MR MORAVEC gives him a slightly suspicious look as he draws on his pipe. JAN and JOSEF help MRS MORAVEC to the kitchen with the breakfast plates.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, KITCHEN - MORNING</stage_direction> <scene_description>The dishes are being piled in the sink.</scene_description> <character>MRS MORAVEC</character> <parenthetical>(quietly to Josef and Jan)</parenthetical> <dialogue>There are two bicycles downstairs for you. Both black, both ladies. Sorry, it was all I could get, I placed them there earlier.</dialogue> <character>ANTHROPOID V20: 40</character> <dialogue>MRS MORAVEC</dialogue> <parenthetical>(hands Josef two leather cases)</parenthetical> <dialogue>A camera, loaded with film and binoculars. The other bits you asked for will be here tomorrow.</dialogue> </scene> <scene> <stage_direction>EXT. PANENSKE BREZANY - DAY</stage_direction> <scene_description>POV through binoculars: The entrance to Heydrich's chateau at Panenské Brezany. Many armed German soldiers are in evidence.</scene_description> <character>JOSEF (O.S.)</character> <dialogue>As Uncle said, there are too many armed guards here.</dialogue> <scene_description>JAN has turned his bicycle upside down and is pretending to fix a puncture. Josef lays hidden from sight in a ditch with his faced glued to the binoculars.</scene_description> <character>JAN</character> <parenthetical>(sneaking a sly look)</parenthetical> <dialogue>Looks like there is a whole garrison there.</dialogue> <scene_description>HEYDRICH's 3.5 litre Mercedes convertible sharks slowly out of the entrance. It's being driven by his personal chauffeur Oberscharführer KLEIN. The top is off and HEYDRICH sits in the front.</scene_description> <character>JOSEF</character> <dialogue>Looks like our man.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What's the time?</dialogue> <character>JAN</character> <parenthetical>(checks watch)</parenthetical> <dialogue>Five minutes after nine.</dialogue> <scene_description>The Mercedes approaches them and roars past at sixty miles per hour. JAN busy with his tire and JOSEF digging deep to keep out sight.</scene_description> <character>JOSEF</character> <dialogue>Anything else coming?</dialogue> <character>JAN</character> <dialogue>No. Riding solo today.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh, wait.</dialogue> <scene_description>An armed escort now roars past doing its best to keep up with HEYDRICH but with no way of catching up.</scene_description> <character>JAN</character> <dialogue>Armed escort.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Two minutes behind.</dialogue> <character>ANTHROPOID V20: 41</character> <dialogue>The armed escort races past. JOSEF gets up and dusts himself down.</dialogue> <character>JOSEF</character> <parenthetical>(retrieving his bicycle)</parenthetical> <dialogue>If we can stop the Mercedes using a rope or steel cable across the road then two minutes would be all we need.</dialogue> <character>JAN</character> <parenthetical>(placing his bicycle the right way up)</parenthetical> <dialogue>Even if the rope stops the car we need more than two minute to escape from here. We would have to deal with the armed guard here in the open.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It would not be my first choice.</dialogue> <character>JOSEF</character> <dialogue>And if it's our only choice?</dialogue> <scene_description>Jan is silent.</scene_description> <character>JOSEF</character> <dialogue>The point of the mission is to succeed.</dialogue> <character>JAN</character> <dialogue>I'm more worried that we haven't planned what to do if we are successful.</dialogue> <character>JOSEF</character> <dialogue>What happens after is not important.</dialogue> <scene_description>JAN stares at JOSEF.</scene_description> <character>JAN</character> <dialogue>Just because London has given no information that extends beyond the mission objective doesn't mean there shouldn't be one.</dialogue> <scene_description>There is a long silence between them until finally:</scene_description> <character>JOSEF</character> <dialogue>Let's follow the route to Hradcany Castle.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREET - DAY</stage_direction> <scene_description>JOSEF and JAN cycle down a street. Ahead there seems to be a commotion. People in the street.</scene_description> <character>ANTHROPOID V20: 42</character> <dialogue>JAN and JOSEF come to a stop and dismount their bicycles. They push them through the people who stand and look up. Some of the people are emotional, others as still as statues. All are mostly silent. German soldiers are very much in evidence. A German motorbike and side car. Soldiers with German shepherds that bark. JAN and JOSEF make their way through and then see what everyone is looking at. Continuing all the way to the end of the street are people hung from the street lamp posts by their necks. Signs hang from their necks; "Traitor" - "Communist" - "Jew". It's a haunting site. Hell, seeping its way into the city. JAN looks at JOSEF. They continue on in silence.</dialogue> <scene_description>PAN AND CROSS: FADE:</scene_description> </scene> <scene> <stage_direction>INT. CAFE - AFTERNOON</stage_direction> <scene_description>JOSEF smokes a cigarette. Lost in thought. Looks around the cafe. Uncomfortable shuffles, averted looks. A knock on the glass window. JOSEF turns: It's LENKA. JOSEF nods to her and she enters and sits opposite. They silently look at each other. LENKA has made an effort to look plain but her natural beauty is easy to see.</scene_description> <character>LENKA</character> <dialogue>Do I look plain enough?</dialogue> <scene_description>JOSEF stubs out his cigarette in the ashtray and nods.</scene_description> <character>LENKA</character> <dialogue>Are you sure?</dialogue> <parenthetical>(teasing)</parenthetical> <dialogue>I can go rub some mud on my face if you would like?</dialogue> <character>JOSEF</character> <dialogue>We have a tram to catch. Let's go.</dialogue> </scene> <scene> <stage_direction>INT. TRAM - AFTERNOON</stage_direction> <scene_description>LENKA and JOSEF sit side by side.</scene_description> <character>ANTHROPOID V20: 43</character> <dialogue>The other passengers avert eyes. The tram silent. Then comes to a stop. JOSEF signals it's their stop and they get off.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE STREET NEAR CASTLE - AFTERNOON</stage_direction> <scene_description>Busy street with workers starting to make their way home. JOSEF and LENKA walk and suddenly in front of them are four German soldiers waiting around. JOSEF calculates it's too late to cross the street without looking suspicious so they walk past them. The soldiers stare at LENKA and a couple of them wolf whistle and a few lewd comments are heard in German. Once past, JOSEF guides LENKA across the street to the corner of Kirchmayerstrasse into Klein Holeschowitzerstrasse.</scene_description> <character>JOSEF</character> <dialogue>I need to take some pictures. Will you be my model?</dialogue> <scene_description>LENKA smiles. JOSEF takes out the CAMERA from its case. It's an old Rolleicord twin-lens reflex camera: LENKA stands in front of JOSEF. JOSEF frames the camera but it seems to be pointing at the street behind LENKA. She looks over her shoulder at the street and then back to JOSEF. JOSEF takes a picture and then winds the film.</scene_description> <character>JOSEF</character> <dialogue>OK, one from over there.</dialogue> <scene_description>LENKA re-positions herself. JOSEF re-frames. Again the position of the frame seems to be off to one side at the street corner behind her. CLICK. JOSEF winds the film. Re-positions the camera to the other side of LENKA where there is a waiting tram and CLICK. LENKA realises that JOSEF is shooting a reconnaissance of the area and has no interest in taking her photo. Another CLICK and WIND. JOSEF now points the camera at LENKA. Her guard down. An honest moment. The real LENKA exposed for a fraction of a second. She is looking at JOSEF but almost off into the distance. JOSEF intuitively senses something in that moment and takes a picture.</scene_description> <character>ANTHROPOID V20: 44</character> <dialogue>In EXTREME CLOSE UP we see the metal shutter and iris open allowing the light onto the film. The mechanical shutter grunts and then snaps shut.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE CITYSCAPE - DAWN</stage_direction> <scene_description>The black spires rise out of the dawn mist, eerie.</scene_description> </scene> <scene> <stage_direction>EXT. HRADCANY CASTLE - MORNING</stage_direction> <scene_description>HEYDRICH's Mercedes pulls through the gates of the castle. An armed escort right behind. From a window above, the REPAIRMAN watches down as the car enters the gates of the castle.</scene_description> </scene> <scene> <stage_direction>52A EXT. PRAGUE CITYSCAPE -DAWN 52A</stage_direction> <scene_description>A new dawn over the city as it slowly starts to wake.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREET NEAR CASTLE - MORNING</stage_direction> <scene_description>We follow a man from behind as he walks down the street. CLOSE UP of the man's hand as he reaches into his jacket pocket and takes out a small envelope. He stops by a window of an apartment that looks out onto the pavement and he knocks on the glass. The window opens and he hands the envelope to LENKA. He looks at her for a second. He is the REPAIRMAN. The REPAIRMAN's POV through the window: he sees JOSEF and JAN partly hidden by the blowing net curtains. The REPAIRMAN continues onto the castle.</scene_description> </scene> <scene> <stage_direction>INT. UNCLE HAJSKY'S RENTED FLAT - MORNING</stage_direction> <scene_description>LENKA gives the envelope to JOSEF. He opens it. CLOSE UP on the contents: 9.15 - 5.15 With.</scene_description> <character>JAN</character> <dialogue>Well?</dialogue> <character>JOSEF</character> <dialogue>Arrived 9.15. Left at 5.15. With an armed escort.</dialogue> <scene_description>MARIE looks at LENKA.</scene_description> <character>ANTHROPOID V20: 45</character> <dialogue>LENKA</dialogue> <scene_description>Armed escort? JOSEF looks at LENKA and then at JAN. Not sure how much to reveal.</scene_description> <character>LENKA</character> <dialogue>There is only one person in Prague that travels with an armed escort.</dialogue> <scene_description>MARIE looks slightly panicked.</scene_description> <character>LENKA</character> <dialogue>You're going to assassinate Heydrich?</dialogue> <character>MARIE</character> <dialogue>What? Heydrich is the target?</dialogue> <character>JAN</character> <dialogue>For your own safety, it's best you don't ask too many questions.</dialogue> <character>LENKA</character> <dialogue>It's a bit late for that, no?</dialogue> <character>JOSEF</character> <dialogue>You agreed to help the resistance. Who the target is does not concern you.</dialogue> <character>LENKA</character> <dialogue>We are about to help you murder Reinhard Heydrich. Of course it concerns us!</dialogue> <character>JAN</character> <dialogue>OK, everyone just calm down.</dialogue> <scene_description>JAN leads MARIE to a seat at the table. Makes her sit.</scene_description> <character>JAN</character> <dialogue>Maybe it was a mistake not to inform you of the danger ...</dialogue> <character>MARIE</character> <parenthetical>(still reeling)</parenthetical> <dialogue>Murder Heydrich?</dialogue> <character>JOSEF</character> <dialogue>Assassinate.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Murder somehow implies he has a life worth living.</dialogue> <scene_description>On the table in front of LENKA is JOSEF's pistol.</scene_description> <character>LENKA</character> <dialogue>You think I'm some little girl that is just here to follow the important parachutists around?</dialogue> <character>ANTHROPOID V20: 46</character> <dialogue>She takes JOSEF's pistol and strips the clip, the top barrel, removes the chambered bullet and inspects the line, then resembles it. It all takes no more than six seconds. She stands and walks towards JOSEF where she hands him the gun.</dialogue> <character>LENKA</character> <dialogue>We have been resisting in our own way from the beginning.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I personally don't have any reservations killing a Nazi pig.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But don't treat us as though what you are about to do doesn't affect us.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It does and it will.</dialogue> <parenthetical>(hands Josef his pistol)</parenthetical> <dialogue>And you should keep your weapon clean. It's filthy.</dialogue> <scene_description>JOSEF shares a look with JAN. They've been told. OMITTED</scene_description> </scene> <scene> <stage_direction>54B INT. MORAVEC FLAT, BOX ROOM - NIGHT 54B</stage_direction> <scene_description>JOSEF places the camera on the table. Pours some chemicals into a measuring jug and then into a soup pot. Indicates to JAN to hit the light. The room goes dark and JOSEF takes the film from the camera and places it in the pot.</scene_description> <character>JOSEF</character> <dialogue>OK.</dialogue> <scene_description>JAN switches the light back on and JOSEF shakes the pot while looking at his watch. JOSEF places a light bulb into a pot of red paint. The negatives are processed and JOSEF inspects them under the room light. Books are placed on top of one another forming two small towers. A 12x12 cm matte is cut from white card to be used as a printing easel. JOSEF removes the back of the camera and balances the camera between the books with the lens facing down and the open back facing up.</scene_description> <character>ANTHROPOID V20: 47</character> <dialogue>The now red light bulb is screwed into the socket. JAN switches the main light off and JOSEF switches on the red bulb. The room bathed in red light safe for printing. The negatives are laid onto the open camera back and JAN holds a torch above to shine light through the negative. The negative is projected through the lens and appears onto the board below. JOSEF turns the focus knob and a negative image comes into sharp focus on the printing easel - A home made enlarger. The torch is switched off and paper placed into the easel. The torch is switched back on and then off for an exposure. The printing paper is then placed into a frying pan filled with developing chemical and gently rocked. An image of a Prague street slowly starts to appear on the printing paper.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, KITCHEN - EVENING</stage_direction> <scene_description>MRS MORAVEC is doing the dishes with MARIE doing the drying. In the background we hear ATA practicing the violin.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - EVENING</stage_direction> <scene_description>JAN and JOSEF sit looking through the photos that JOSEF took with the Rolleicord. Street of the route Heydrich takes to work everyday. On the edge of each photo is an out of focus LENKA. JOSEF takes a magnifying glass and studies the photos in minute detail. CLOSE UP of photo - The sharp turning from Kirchmayerstrasse into Klein Holeschowitzerstrasse.</scene_description> <character>JOSEF</character> <dialogue>So, in the morning he approaches from that direction and then turns here to his right.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's a pretty sharp turn. He would have to slow down quite a bit.</dialogue> <character>JAN</character> <dialogue>It's the slowest part of the whole route.</dialogue> <character>JOSEF</character> <parenthetical>(nods)</parenthetical> <dialogue>We're not going to find anywhere better.</dialogue> <character>ANTHROPOID V20: 48</character> <dialogue>JAN</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>Perhaps not perfect, but you're right, nowhere better.</dialogue> <scene_description>They regard each other and are in agreement. JOSEF looks down at the photos and sees the final photo he took of LENKA. It stops him and he regards it for a second. JOSEF separates the photo from the rest and places it in his wallet. JAN notices. JOSEF stands.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - EVENING</stage_direction> <scene_description>ATA stands in front of a music sheet stand practicing as JOSEF enters the room. JOSEF watches ATA perform. ATA finishes the piece and looks at JOSEF.</scene_description> <character>JOSEF</character> <dialogue>I need to see Uncle. Can you let him know?</dialogue> <scene_description>ATA nods. MR MORAVEC enters the front door. He sees JOSEF talking closely to ATA and he sees ATA nodding in affirmation. ATA and JOSEF look over at MR MORAVEC. A moments pause and then JOSEF heads back to his room and ATA starts playing the violin. MR MORAVEC looks concerned.</scene_description> </scene> <scene> <stage_direction>INT. UNCLE HAJSKY'S RENTED FLAT - MORNING</stage_direction> <scene_description>JAN sits whittling the wood and looking up inspects MARIE who sits opposite trying to reassemble JAN's pistol.</scene_description> <character>JAN</character> <dialogue>Breach over the lock.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Slide and release.</dialogue> <scene_description>She completes the action.</scene_description> <character>JAN</character> <dialogue>There you go.</dialogue> <scene_description>MARIE smiles at learning the action.</scene_description> <character>MARIE</character> <dialogue>Tell me what London was like.</dialogue> <character>JAN</character> <parenthetical>(reminiscing)</parenthetical> <dialogue>Me and Josef only went once. There was a blackout in place and then a Blitz raid.</dialogue> <character>ANTHROPOID V20: 49</character> <dialogue>JAN</dialogue> <scene_description>The London Underground was used as air raid shelters and we spent the night there listening to the English sing their songs. There are three knocks followed by one knock on the window. JAN stops and MARIE goes to the window and opens it. The REPAIRMAN passes the envelope through. He looks past MARIE and locks eyes with JAN. JAN's POV of the REPAIRMAN is interrupted by the net curtain blowing in the wind. The REPAIRMAN then leaves and continues to work. MARIE hands it to JAN. JAN switches his attention to the envelope. Opens it:</scene_description> <character>JAN</character> <dialogue>9.17 - 4.42 Without.</dialogue> <scene_description>JAN writes it down on the sheet. We see that there is at least eight such entry times on the sheet. JAN runs his hands through his hair and exhales a frustrated breath. MARIE looks at JAN.</scene_description> <character>JAN</character> <dialogue>I don't see any pattern. The start times are consistent but the armed escort seems to be pot luck.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Some days yes, some days they're on their own.</dialogue> <character>MARIE</character> <dialogue>Are you really going to go through with this?</dialogue> <character>JAN</character> <dialogue>We have our orders.</dialogue> <character>MARIE</character> <dialogue>So you kill Heydrich. What then? You think there aren't more like him? They come and the killing continues, even worse than it did before.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When does it stop?</dialogue> <character>JAN</character> <dialogue>I wish I had an answer for you. You think any of this makes sense to me?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Things used to be simple.</dialogue> <character>ANTHROPOID V20: 50</character> <dialogue>JAN</dialogue> <scene_description>I worked at a paper factory. Clock in at eight, clock out at five. Wages on a Friday and a drink with the boys. A date on Saturday, go to the pictures on Sunday. (beat) Now I've been given orders to assassinate a high ranking SS officer that very few of us will have any chance of walking away from. MARIE holds a clenched fist to her chest as if in pain.</scene_description> <character>MARIE</character> <dialogue>Then let's walk away now. Let's just leave.</dialogue> <character>JAN</character> <dialogue>And go where, Marie? You think we can escape from what is happening? Pretend this madness is not real?</dialogue> <character>MARIE</character> <dialogue>Some days, I'm not even sure it is real. Heydrich chokes the people of this city with a blanket of fear. People shot for what? Their race? Their religion? Their cigarettes?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And my father says we are lucky as the Germans need the Czech people and their factories to make armaments.</dialogue> <parenthetical>(starts to cry)</parenthetical> <dialogue>You hear the stories about Poland.</dialogue> <scene_description>JAN takes her hand.</scene_description> <character>JAN</character> <dialogue>Shhh, Marie, it's okay.</dialogue> <scene_description>They are suddenly very close, looking at one another.</scene_description> <character>MARIE</character> <parenthetical>(searches Jan's eyes)</parenthetical> <dialogue>We were taught 'Thou shall not kill' and yet here we are planning to kill someone. Just tell me we are doing the right thing. That two wrongs will somehow make a right?</dialogue> <scene_description>JAN searches her eyes for the longest time.</scene_description> </scene> <scene> <stage_direction>EXT. CITY PARK - DAY</stage_direction> <scene_description>JOSEF and LENKA walk through the mist covered park. The trees seem like black statues.</scene_description> <character>ANTHROPOID V20: 51</character> <dialogue>LENKA looks over JOSEF. New lines of stress have appeared on his face.</dialogue> <character>JOSEF</character> <dialogue>I think it's my turn to apologize to you about the other morning.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You were right to be angry. We should have told you what was at risk.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>To give you the choice to walk away.</dialogue> <character>LENKA</character> <parenthetical>(ironic huff)</parenthetical> <dialogue>Walk away?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Opinions are divided as to what constitutes resistance.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Many have got used to German rule.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Many are just scared.</dialogue> <character>JOSEF</character> <dialogue>But not you.</dialogue> <scene_description>LENKA's turn to give JOSEF a silent glance.</scene_description> <character>JOSEF</character> <dialogue>You know your way around a pistol.</dialogue> <character>LENKA</character> <dialogue>My father was a captain in the army.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wanted sons but got three daughters.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He and many others were arrested in '39 when Germany took control of Czechoslovakia.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When Heydrich first took power here last September, his first order was to execute all the prisoners.</dialogue> <character>JOSEF</character> <dialogue>I'm sorry.</dialogue> <character>LENKA</character> <dialogue>My father was among five thousand of the best military and academic minds shot in the first week by Heydrich.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Afterwards, people started to call Heydrich the butcher of Prague.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So, for me, there is no walking away, Heydrich is worth the risk.</dialogue> <character>ANTHROPOID V20: 52</character> <dialogue>JOSEF give her a look. She, like many people, has lost a lot since the invasion of Czechoslovakia. LENKA nods.</dialogue> <dialogue>There is a man sitting on a bench reading a newspaper. JOSEF and LENKA sit on the bench next to him and we see it's</dialogue> <scene_description>UNCLE HAJSKY. LENKA sits in the middle and JOSEF acts as if he is talking to LENKA but he's actually talking to UNCLE HAJSKY.</scene_description> <character>JOSEF</character> <dialogue>We have checked the route.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We think we know how to do it.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>What will you need?</dialogue> <character>JOSEF</character> <dialogue>We are going to need Opalka, Valcik and Curda.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>OK. I will arrange a meeting at the café the day after tomorrow, 3pm.</dialogue> <character>JOSEF</character> <dialogue>Our original contact address here in Prague was Oldrich Novák. Did you ever find out who had informed the Gestapo about him?</dialogue> <scene_description>UNCLE HAJSKY shakes his head no.</scene_description> <character>JOSEF</character> <dialogue>Who was his direct handler?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Vanek Ladislav.</dialogue> <character>JOSEF</character> <dialogue>And Ladislav? How long has he been part of the Jindra resistance?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>He was one of the first.</dialogue> <character>JOSEF</character> <dialogue>You trust him?</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(thinks)</parenthetical> <dialogue>Yes. Why?</dialogue> <character>JOSEF</character> <dialogue>He is one most opposed to what we have to do.</dialogue> <character>ANTHROPOID V20: 53</character> <dialogue>UNCLE HAJSKY</dialogue> <scene_description>He fears reprisals.</scene_description> <character>JOSEF</character> <dialogue>From the Gestapo if he doesn't inform them or from Jindra if he does?</dialogue> <scene_description>JOSEF stands and LENKA follows.</scene_description> <character>JOSEF</character> <parenthetical>(lighting a cigarette)</parenthetical> <dialogue>When a man doesn't want to rock the boat, you have to ask what is he afraid of?</dialogue> <scene_description>A long pause as UNCLE HAJSKY thinks about it.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>I'll look into it.</dialogue> <scene_description>JOSEF and LENKA continue their stroll through the park.</scene_description> </scene> <scene> <stage_direction>INT. UNCLE HAJSKY'S RENTED FLAT - DAY</stage_direction> <scene_description>JOSEF and LENKA enter the flat. JAN and MARIE are nowhere to be seen. A soft clicking noise and we see a gramophone, the record finish, the needle catching. LENKA picks up the needle and looks at the record that was playing. She smiles and puts the needle back to the beginning of the record. JOSEF opens the door to the bedroom. JAN stands by the bed pulling his trouser braces over his shoulders, his shirt undone. MARIE is in the bed. She pulls the sheets over her naked breasts. The music starts in the background.</scene_description> <character>JOSEF</character> <dialogue>Sorry.</dialogue> <scene_description>He closes the door and looks at LENKA. A brief moment passes before them before they both try and make themselves busy.</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ SLAVIA - AFTERNOON</stage_direction> <scene_description>Steam pours from a large antiquated coffee machine. JAN and JOSEF enter with LENKA and MARIE. The girls take a seat at the table near the window.</scene_description> <character>ANTHROPOID V20: 54</character> <dialogue>JOSEF and JAN nod to the PROPRIETOR behind the counter as they go to the back room.</dialogue> </scene> <scene> <stage_direction>INT. CAFÉ SLAVIA, SAFE ROOM - AFTERNOON</stage_direction> <scene_description>OPALKA, VALCIK are drinking cikorka. UNCLE HAJSKY and LADISLAV at the table. JOSEF and JAN join them. CURDA guards the curtain at the café doorway. JOSEF takes out a map of Prague and spreads it on the table.</scene_description> <character>JOSEF</character> <dialogue>We have checked every inch of his route from his home to the castle.</dialogue> <parenthetical>(points at the map)</parenthetical> <dialogue>Here...</dialogue> <scene_description>OPALKA checks the map.</scene_description> <character>JOSEF</character> <dialogue>Corner of Kirchmayerstrasse into Klein Holeschowitzerstrasse.</dialogue> <scene_description>OPALKA nods.</scene_description> <character>OPALKA</character> <dialogue>His car would have to slow down to take that corner.</dialogue> <character>JOSEF</character> <dialogue>Really slow down.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He takes it at about 10 miles per hour.</dialogue> <character>JAN</character> <dialogue>We've looked everywhere else and we think this is the only place it can be done.</dialogue> <character>OPALKA</character> <parenthetical>(checks the area on the map)</parenthetical> <dialogue>You have good exit routes. The busy street will add to the confusion and cover your escape.</dialogue> <character>JAN</character> <dialogue>We averaged out all his morning arrival times and can expect him at approximately 9.30am.</dialogue> <character>OPALKA</character> <dialogue>Weapons?</dialogue> <character>JOSEF</character> <dialogue>At that range? The Sten gun should hit everything within the car.</dialogue> <character>ANTHROPOID V20: 55</character> <dialogue>JAN</dialogue> <scene_description>We also have two Model 73 anti-tank grenades. (beat) We may need more than the guns to stop the vehicle. The grenades can be rigged to explode on impact.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>And the armed escort?</dialogue> <scene_description>There is a slight pause. JOSEF looks at JAN.</scene_description> <character>JAN</character> <dialogue>We have found no pattern for the armed escort. Some days he has it, some days he doesn't.</dialogue> <character>JOSEF</character> <dialogue>Valcik, we are going to need a look out fifty yards up the road here.</dialogue> <parenthetical>(taps the map)</parenthetical> <dialogue>We will need an early signal to know if the armed escort is with him or not.</dialogue> <scene_description>VALCIK nods.</scene_description> <character>OPALKA</character> <dialogue>And if it is?</dialogue> <character>JOSEF</character> <dialogue>Then we stand down and await the next day.</dialogue> <character>LADISLAV</character> <dialogue>Comrades, you know I have been against this action from the start. I can't give the go-ahead without asking London to reconsider.</dialogue> <scene_description>Glances are exchanged between UNCLE HAJSKY and JOSEF.</scene_description> <character>CURDA</character> <dialogue>I'm with Ladislav. We should get London to rethink our position here in Prague.</dialogue> <character>JOSEF</character> <dialogue>We have our orders.</dialogue> <character>CURDA</character> <dialogue>It's easy for London to give orders - it's our lives on the line...</dialogue> <character>LADISLAV</character> <parenthetical>(overlapping)</parenthetical> <dialogue>Then at least wait for re- confirmation.</dialogue> <character>ANTHROPOID V20: 56</character> <dialogue>JOSEF</dialogue> <scene_description>It's taken four months just to get this far. (beat) London needs action...</scene_description> <character>LADISLAV</character> <dialogue>Then a few more days won't make a difference.</dialogue> <parenthetical>(looking to Valcik)</parenthetical> <dialogue>Valcik? How long before you can get to the transmitter.</dialogue> <character>VALCIK</character> <dialogue>We can get to the transmitter the day after tomorrow. Then a couple of days for London to transmit back the answer.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Then that is settled. Remain at the Moravecs' place. I'll contact you through Ata.</dialogue> <scene_description>Grave looks are exchanged from the divided men.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - NIGHT</stage_direction> <scene_description>Close up of a birthday cake with 19 candles. Everyone congratulates ATA on his birthday. The cake is placed in front of ATA. He blows out the candles - a moments darkness. Clapping and cheers - A brief mood of merriment within so much repression. MARIE turns on the lights of the living room. JAN, JOSEF, MARIE, LENKA, MR and MRS MORAVEC all present as the cake is cut and distributed. Wine glasses show that all are relaxed and in good cheer.</scene_description> <character>ATA</character> <dialogue>Thank you!</dialogue> <scene_description>JOSEF raises a glass to ATA. JAN has his arm around MARIE and he looks slightly drunk as he knocks back his glass of wine. He whispers something in her ear and then 'tings' his wine glass with a tea spoon.</scene_description> <character>JAN</character> <dialogue>Ata, I know tonight is your party but I just wanted to make a little announcement.</dialogue> <character>ANTHROPOID V20: 57</character> <dialogue>JAN clears his throat and smiles at MARIE.</dialogue> <character>JAN</character> <dialogue>I have asked Marie to marry me and she has said yes.</dialogue> <scene_description>More clapping and words of congratulations are spoken. JOSEF smiles but it fades to a dark look that he tries to cover. LENKA notices it, and JOSEF sees that she has seen it - looks away.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - LATER.</stage_direction> <scene_description>JOSEF stands in front of a mirror shaving. Mind deep in thought. In the background JAN enters the room. He is drunk. Swaying. JOSEF watches him in the mirror, the elephant in the room is putting him off his shave. JAN regards him. JOSEF wipes his face with a towel and faces JAN.</scene_description> <character>JOSEF</character> <dialogue>You know why we are here right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What we are about to do?</dialogue> <scene_description>JAN nods, eyes trying to focus on JOSEF as he processes the thought and regrettably nods.</scene_description> <character>JOSEF</character> <dialogue>Then what the fuck are you doing?</dialogue> <scene_description>JAN lost in thought, then a hopeful look at JOSEF.</scene_description> <character>JAN</character> <dialogue>Who is to say it won't happen?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>London calls it off.</dialogue> <character>JOSEF</character> <dialogue>They won't.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're too close and London knows it.</dialogue> <scene_description>Jan starts to emotionally break a little. JOSEF steps forward and grabs the lapel of his jacket.</scene_description> <character>JOSEF</character> <dialogue>You got to lock that away.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't want your emotions affecting your judgement and jeopardizing the operation.</dialogue> <character>ANTHROPOID V20: 58</character> <dialogue>JAN nods. Coming back to focus and putting on a brave face.</dialogue> <character>JAN</character> <dialogue>I have to think that there is a way through this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That when this is all over, there will be a normal life waiting for us. The way things used to be.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Marie makes me feel that there is hope.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I love her.</dialogue> <scene_description>JOSEF doesn't have an answer. He has nothing similar that gives him strength other than the mission itself. Maybe he is even a little envious that JAN has this. He releases his grip on JAN's lapel.</scene_description> </scene> <scene> <stage_direction>INT. UNCLE HAJSKY'S RENTED FLAT - DAY.</stage_direction> <scene_description>JOSEF sits at the table. The Sten gun in 4 pieces laid out before him. He is slotting the weapon back together BLINDFOLDED. He does it quickly placing the finished gun on the table. JAN looks at his watch.</scene_description> <character>JAN</character> <dialogue>15 seconds but you didn't add the gunstock.</dialogue> <scene_description>JOSEF removes the blind fold.</scene_description> <character>JOSEF</character> <dialogue>Lighter and smaller without it</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>OK. I will try doing under my coat.</dialogue> <scene_description>LENKA and MARIE watch on as JOSEF takes the gun apart again. LATER and we see a series of close up shots of the Model 73 anti-tank grenade being taken apart and replaced with new pencil fuses.</scene_description> <character>JAN</character> <dialogue>The Model 73 is just too big.</dialogue> <scene_description>Sweat pours from JAN's face as he concentrates on the explosive. JAN takes the explosive from the Model 73 and fits it into cout down water canteen and tapes it up with tape. He finishes the delicate work and slowly slides them across the table.</scene_description> <character>ANTHROPOID V20: 59</character> <dialogue>JAN</dialogue> <scene_description>Had the idea to transfer the Model 73 into water canteen for better portability. JOSEF seems impressed.</scene_description> <character>JAN</character> <parenthetical>(placing the finished item in front)</parenthetical> <dialogue>Rigged for impact detonation.</dialogue> <character>JOSEF</character> <dialogue>Don't drop them...</dialogue> <scene_description>JAN moves his hand and knocks one of the Model 73 grenades over, it rolls and falls off the edge of the table. JOSEF dives for it and catches it before it hits the ground. JAN looks down at JOSEF on his back with amusement.</scene_description> <character>JAN</character> <dialogue>That's the empty one.</dialogue> <scene_description>They both start to laugh nerviously.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - EVENING</stage_direction> <scene_description>JAN, JOSEF, MRS MORAVEC and MR MORAVEC are sitting around the crowded table. The meal is coming to an end. ATA enters and takes a seat. He sees his father lighting his pipe and slides an envelope across the table towards JOSEF.</scene_description> <character>ATA</character> <parenthetical>(whisper)</parenthetical> <dialogue>From Uncle.</dialogue> <scene_description>JOSEF takes the envelope and nods.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - EVENING</stage_direction> <scene_description>JOSEF opens the envelope and takes a piece of paper from it. The page full of letters like a letter puzzle. He holds it up to the light and JAN takes the DECODER PAPER we saw earlier from under the bed and small book. JOSEF starts to decode the message. Looking at sentences in a book and counting the letters he starts to decode the message.</scene_description> <character>JOSEF</character> <dialogue>A-N-T-H-R-O-P-O-I-D.</dialogue> <parenthetical>(beat)</parenthetical> <character>P-R-O-C-E-E-D. S-T-O-P.</character> <dialogue>ANTHROPOID V20: 60</dialogue> <character>JOSEF</character> <parenthetical>(beat)</parenthetical> <character>U-P-M-O-S-T. I-M-P-O-R-T-A-N-C-E.</character> <dialogue>JAN</dialogue> <scene_description>Is that it? (beat) Nothing about getting us out afterwards?</scene_description> <character>JOSEF</character> <dialogue>We complete the mission and await further instructions from London.</dialogue> <character>JAN</character> <dialogue>London knows this is a probable suicide mission...</dialogue> <scene_description>A long pause between the men as they consider this. It's interrupted by three sudden knocks at the front door. KNOCK! KNOCK! KNOCK! JAN and JOSEF grab their guns. Then: KNOCK!</scene_description> <character>JAN</character> <dialogue>It's Uncle.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EVENING</stage_direction> <scene_description>JOSEF opens the front door. UNCLE HAJSKY and LADISLAV stand there. They let them in. They look slightly panicked.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, DINING ROOM - EVENING</stage_direction> <scene_description>The men stand around the dining table.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>We have a problem.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>One of our spies within the Heydrich house has read a piece of correspondence that has ordered Heydrich back to Berlin.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Within the household there have been conversations about a new posting to Paris.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It means that after he leaves for Berlin he may not be back.</dialogue> <character>JAN</character> <dialogue>When does he leave?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>28th May.</dialogue> <character>ANTHROPOID V20: 61</character> <dialogue>Panicked looks.</dialogue> <character>JAN</character> <dialogue>That's the day after tomorrow!</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Tomorrow morning will be your only chance.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>After that he is gone for good.</dialogue> <scene_description>Looks are exchanged.</scene_description> <character>JOSEF</character> <dialogue>Then we have no choice. We do it tomorrow.</dialogue> <scene_description>LADISLAV takes a long look at UNCLE.</scene_description> <character>JAN</character> <dialogue>What is it?</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Vanek here received a transmission from London.</dialogue> <scene_description>Silence.</scene_description> <character>JAN</character> <dialogue>And?</dialogue> <character>LADISLAV</character> <dialogue>They agreed with my request to stand down the mission.</dialogue> <scene_description>He takes a piece of paper from his pocket and reads:</scene_description> <character>LADISLAV</character> <dialogue>We believe we see the situation clearly, therefore, given the situation, any actions against officials of the German Reich do not come into consideration. Let Jindra group know.</dialogue> <scene_description>JAN looks hopefully at JOSEF.</scene_description> <character>JOSEF</character> <dialogue>Uncle gave us a coded message from London. Our mission has not changed. We are to go ahead as planned.</dialogue> <character>LADISLAV</character> <dialogue>But this clearly states you must stand down.</dialogue> <character>JOSEF</character> <dialogue>That message was not for us and we do not recognize it as a direct order to stand down.</dialogue> <character>ANTHROPOID V20: 62</character> <dialogue>LADISLAV</dialogue> <scene_description>Then at least wait for us to clarify it. It may have superceded your order.</scene_description> <character>JOSEF</character> <dialogue>We do not have the luxury of time. After tomorrow Heydrich is gone.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>I have to agree with Josef. That transmission does not read like a direct order and I believe it was sent to settle nerves within the Jindra group.</dialogue> <scene_description>A long silence, then LADISLAV gathers his things.</scene_description> <character>LADISLAV</character> <dialogue>I know you all doubt me. Suspect me of collaboration.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Vanek...</dialogue> <character>LADISLAV</character> <dialogue>Please stop Uncle...</dialogue> <character>LADISLAV</character> <dialogue>I know you've had me followed.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I understand you don't trust me but you have been planning this mission for the last five months. If I was an informer for the Gestapo, you think you would still be here? Do you?</dialogue> <character>JOSEF</character> <dialogue>Then why are you so against it?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What are you afraid of?</dialogue> <scene_description>LADISLAV gives a huff with a shake of the head.</scene_description> <character>LADISLAV</character> <dialogue>And Jesus asked him, "What is your name?" He replied, "My name is Legion, for we are many.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What kind of retribution is fitting for the man that may be the devil himself.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I fear Czechoslovakia will be wiped from the map.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You ask me if I'm afraid?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yes, I'm afraid.</dialogue> <scene_description>A pregnant pause hangs in the air. LADISLAV turns on his heels and leaves, passing Mr. Moravec as he enters the dinning room.</scene_description> <character>ANTHROPOID V20: 63</character> <dialogue>The raised voices have clearly woken Mr. Moravec from his sleep.</dialogue> <character>MR MORAVEC</character> <dialogue>What is going on here?</dialogue> <character>JAN</character> <dialogue>I'm sorry Mr. Moravec. Please go back to bed.</dialogue> <scene_description>A long tense moment.</scene_description> <character>MR MORAVEC</character> <dialogue>I know what you are planning to do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We are all resisting in our own way. But I must think of my family first.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I would like you both gone from here after tomorrow.</dialogue> <scene_description>The men nod and Mr. Moravec finally leaves.</scene_description> <character>JOSEF</character> <parenthetical>(back to Uncle)</parenthetical> <dialogue>We do it tomorrow morning. As planned.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>And if he has an armed escort?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We can't stand down and wait another day...</dialogue> <scene_description>A few tense looks.</scene_description> <character>JOSEF</character> <dialogue>Get word to Opalka, Curda and Valcik. If there is an escort then they can keep them busy but the first bullet has to be for Heydrich.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tell them to be on the corner at 8am.</dialogue> <scene_description>UNCLE HAJSKY gives a sad but reassuring smile.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>May God be with you.</dialogue> <scene_description>UNCLE HAJSKY and LADISLAV turn and leave.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - NIGHT</stage_direction> <scene_description>JOSEF places the weapons on a small table. JOSEF examines the Sten gun. He removes the stock to make it shorter.</scene_description> <character>ANTHROPOID V20: 64</character> <dialogue>JOSEF clears the chamber of the Sten, clocks it and releases the trigger. The hammer makes a hollow click. He dismantles it into 3 pieces and places it in a black bag, and then places some STRAW over the top to hide it.</dialogue> <character>JAN</character> <dialogue>It's tomorrow!?</dialogue> <scene_description>JAN is pacing again like a caged animal. He is trying to deep breathe but the walls seem to be crashing inwards. Frustration of the uncertainty of what lays ahead. Panic attack fast approaching. Hyperventilating and muscle cramps.</scene_description> <character>JAN</character> <dialogue>It's tomorrow!?</dialogue> <scene_description>JOSEF goes to him but JAN pushes him away.</scene_description> <character>JAN</character> <parenthetical>(breaking down)</parenthetical> <dialogue>I don't want to die tomorrow.</dialogue> <scene_description>JOSEF grabs him and tries to restrain him. JAN resists. A vase is knocked from the side table and smashes on the floor. JOSEF gets behind JAN and controls a slide down the wall until they are both sat on the floor. JOSEF behind JAN. MRS. MORAVEC comes in. JOSEF holds one hand up to her.</scene_description> <character>JOSEF</character> <dialogue>It's okay, it's okay...</dialogue> <scene_description>MRS. MORAVEC looks worried but nods and leaves the room.</scene_description> <character>JOSEF</character> <dialogue>Hey! Hey! Breathe! With me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Big breathe in.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Big breathe out.</dialogue> <scene_description>Grabs a clip and a box of ammo from the table.</scene_description> <character>JOSEF</character> <dialogue>Here! Look, as we were trained.</dialogue> <scene_description>JOSEF loads a bullet into the clip.</scene_description> <character>JOSEF</character> <dialogue>Nice and easy. You do it.</dialogue> <scene_description>JAN starts to load a bullet in to the clip.</scene_description> <character>JOSEF</character> <dialogue>That's it. Easy does it. And again.</dialogue> <scene_description>JAN loads another. The panic attack subsiding.</scene_description> <character>ANTHROPOID V20: 65</character> <dialogue>JOSEF</dialogue> <scene_description>There you go. (beat) It's OK. Breathe, concentrate on the detail. It's an incredibly tender and heart-breaking scene. We have never seen JAN this vulnerable before and we have never seen JOSEF this caring.</scene_description> <character>JAN</character> <dialogue>I've shot at men in the field.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Never killed one up close.</dialogue> <character>JOSEF</character> <dialogue>We have a job to do. People are counting on us.</dialogue> <character>JAN</character> <dialogue>If he does have an armed escort tomorrow...</dialogue> <character>JOSEF</character> <dialogue>We must send a clear message that we are not afraid. That Czechoslovakia is not afraid.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Whatever the outcome for us, Heydrich must die.</dialogue> <scene_description>A pause. JOSEF nods his head. JAN looks into space for a second and then nods his head in agreement.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - NIGHT</stage_direction> <scene_description>Two beds on the floor. Soft moonlight bathes the room. A clock gently ticks. JAN and JOSEF's eyes are wide open and staring up at the ceiling. Each lost in thoughts of the mission.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE PANORAMA - DAWN.</stage_direction> <scene_description>A high-angled panoramic shot of the city of Prague.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, DINING ROOM - MORNING.</stage_direction> <scene_description>JAN and JOSEF enter the dining room with their coats and briefcases. MRS MORAVEC stands and begins to gather the dishes. ATA eats breakfast and MR. MORAVEC gives JAN and JOSEF a dark look.</scene_description> <character>ANTHROPOID V20: 66</character> <dialogue>Awkward silence. MRS MORAVEC takes the plates out to the kitchen. JAN follows her out.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, KITCHEN - EVENING</stage_direction> <scene_description>MRS MORAVEC starts to wash the dishes. She is suddenly aware that JAN is looking at her. They exchange a glance. JAN hands MRS MORAVEC the small figure he has carved in wood. MRS MORAVEC looks at the figure in her palm. CLOSE UP of the figure. It's a wooden figure of a German SS officer. She suddenly understands, swallows hard. MRS MORAVEC then looks across to ATA who is wiping his plate with a crust of bread unaware of what has just taken place, but he must know. MRS MORAVEC places the figurine into the front pocket of her pinafore and brushes some imagined crumbs from her dress. She nods in confirmation. MRS MORAVEC leans on the counter for support. She looks at JAN, both silent.</scene_description> </scene> <scene> <stage_direction>EXT. MORAVEC BUILDING - EARLY MORNING</stage_direction> <scene_description>JAN and JOSEF walk across the street and to an alley where two bicycles are parked. They pull the bicycles into the street and find LENKA waiting there. She looks deeply pre- occupied and doesn't take her eyes off JOSEF. JAN notices.</scene_description> <character>JAN</character> <dialogue>I'll wait for you up the street.</dialogue> <scene_description>JAN walks off and leaves LENKA and JOSEF facing each other.</scene_description> <character>LENKA</character> <dialogue>Uncle said we weren't needed for a while.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's today, isn't it?</dialogue> <scene_description>JOSEF nods. A long pause hangs in the air between the two of them.</scene_description> <character>LENKA</character> <dialogue>Promise me -</dialogue> <character>ANTHROPOID V20: 67</character> <dialogue>She stops halfway through her sentence. She knows that nobody can promise anything in times like this. Their eyes locked. Time almost frozen. JOSEF steps forward and kisses her. His action quick. His body almost swallowing her up. And then he is gone. LENKA finds gravity again with a sound of expelled breath. JOSEF now striding off in to the distance. Doesn't look back.</dialogue> </scene> <scene> <stage_direction>EXT. KIRCHMAYERSTRASSE - MORNING</stage_direction> <scene_description>JOSEF and JAN cycle down the street. Ahead they see VALCIK and OPALKA standing by a tram stop. JOSEF and JAN park their bicycles against a fence. The four men meet and light cigarettes as if they are just normal men ready to start their day's journey to work.</scene_description> <character>JAN</character> <parenthetical>(checking watch)</parenthetical> <dialogue>We have plenty of time. 8.25.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where is Curda?</dialogue> <scene_description>OPALKA and VALCIK shrug. CURDA is missing.</scene_description> <character>JOSEF</character> <parenthetical>(lighting cigarette)</parenthetical> <dialogue>Valcik, you take to the hill up there.</dialogue> <parenthetical>(checking the sky)</parenthetical> <dialogue>We have some sun so take this mirror.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If he approaches without an armed escort then use it to signal this.</dialogue> <character>VALCIK</character> <dialogue>And if he does?</dialogue> <character>JOSEF</character> <dialogue>Then light a cigarette.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When the car slows to take the corner I will step out and open fire with the Sten. My action will signal the attack.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Jan, stand behind the attack point so you can throw the grenades at the armed escort if there is one.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Opalka, when you see the car approach, try a slow walk across the street, see if you can slow him down even further before he takes the corner.</dialogue> <character>ANTHROPOID V20: 68</character> <dialogue>JOSEF</dialogue> <parenthetical>(Opalka nods)</parenthetical> <dialogue>Good luck.</dialogue> <scene_description>The men disperse to their agreed stations. JOSEF and JAN take a seat on a nearby bench. JOSEF takes the parts of the Sten gun from the black bag and re-assembles them under his raincoat which is draped across his legs. VALCIK has taken up his position further along from where he will get the first sight of HEYDRICH. He looks at his watch: 9.05. OPALKA looks up towards VALCIK then across to where JOSEF and JAN are sitting. JOSEF pulls the firing pin back on the Sten. The hollow sound indicates that the weapon is cocked and ready.</scene_description> <character>JAN</character> <dialogue>All good?</dialogue> <character>JOSEF</character> <dialogue>Good.</dialogue> <scene_description>They both stand up. There is a moment between them. Everything has led to this. They give a nod. JOSEF nods and JAN turns towards his position further up Klein Holeschowitzerstrasse. JAN looks across to OPALKA and nods as several trams arrive and disgorge passengers. A WOMAN passes pushing a pram. A MAN hobbles by on crutches. Two YOUNG LOVERS walk by hand in hand. A car honks its horn. A horse pulls a cart loaded with scrap metal. This is Prague, a living city. On the verge of a major event. JOSEF and JAN look up to VALCIK waiting for a signal. JAN looks at his wristwatch: 10.10. JAN looks over to JOSEF who gives a shrug. JAN looks down. His hand starts to shake uncontrollably. He grabs his wrist and tries to stop it. His breathing is heavy.</scene_description> <character>JAN</character> <parenthetical>(to himself)</parenthetical> <dialogue>Breathe, as we were trained...</dialogue> <character>ANTHROPOID V20: 69</character> <dialogue>He looks up. VALCIK at the top of the street suddenly turns and gives the signal, a mirror flashing the reflection of the morning sun across the faces of JAN and JOSEF. HEYDRICH is approaching and without an armed escort!</dialogue> <dialogue>JOSEF steps out to the corner of the street with the Sten gun concealed under his draped coat.</dialogue> <dialogue>JAN opens the brief case and grabs a grenade ready to throw. Two trams come to a halt on the opposite side of the road. HEYDRICH's Mercedes speeds over the hill and down Kirchmayerstrasse.</dialogue> <dialogue>JAN looks at the Mercedes as it starts to slow down. JAN's POV: As OPALKA crosses the street in front of the Mercedes. The Mercedes breaks and sounds its horn at OPALKA. JOSEF sees the Mercedes approaching him and the turning. JAN's POV of the Mercedes approaching JOSEF and the turning. JOSEF steps into the road. The Mercedes is now only several yards away as it approaches him.</dialogue> <dialogue>JOSEF throws off the coat covering the Sten gun, raises it and aims at HEYDRICH who is sitting in the open front passenger seat.</dialogue> <dialogue>HEYDRICH's POV. JOSEF looming ahead, Sten gun in hand. JOSEF has the target in point blank range. A sure thing. Time slows down.</dialogue> <dialogue>JOSEF pulls the trigger.</dialogue> <scene_description>"CLICK". It is a single hollow sound that comes from the Sten gun. IT HAS JAMMED! JOSEF pulls the trigger again... "CLICK". IN SLOW MOTION and IN CLOSE UP JOSEF re-cocks the firing pin - A piece of STRAW is seen caught within the breach. "CLICK".</scene_description> <character>KLEIN</character> <parenthetical>(Heydrich's driver)</parenthetical> <dialogue>Scheisse!</dialogue> <scene_description>HEYDRICH sees this and immediately grabs his pistol.</scene_description> <character>ANTHROPOID V20: 70</character> <dialogue>HEYDRICH</dialogue> <scene_description>Halten das auto! HEYDRICH stands up with his pistol and aims at JOSEF. JAN's POV of HEYDRICH standing aiming his pistol at the frozen JOSEF. JOSEF pulls at the trigger again - "CLICK".</scene_description> <character>JAN</character> <parenthetical>(screams)</parenthetical> <character>RUN!</character> <dialogue>JAN steps forward and throws a grenade at the Mercedes. JOSEF throws down the Sten and stares down the barrel of HEYDRICH's gun. BOOOOM!</dialogue> <dialogue>JAN's grenade explodes at the rear of the vehicle. The blast throws up a shower of fragments from the car some of which hit JAN in the face.</dialogue> <dialogue>From inside a nearby tram, the blast from the bomb shatters all the windows showering the passengers with glass. There are shouts and screams from the dazed and frightened passengers.</dialogue> <dialogue>An angle from within the tram. We see the driver KLEIN firing his pistol at JAN.</dialogue> <dialogue>JAN's escape is blocked by a now crowded road. Blood pours from a cut above his eye. He fires shots into the air to clear a path through. He mounts his bicycle and pedals off furiously.</dialogue> <dialogue>Behind him VALCIK has pulled a pistol and fires two shots at</dialogue> <scene_description>KLEIN. KLEIN ducks and returns four shots. One hits VALCIK in the thigh and he goes down. KLEIN then turns and sees: JAN getting away on the bicycle. KLEIN steps forward and fires two shots. But JAN is covered by the crowd and two of them get caught in the cross fire. A clear path opens up for KLEIN and a good shot at JAN is lost as JAN disappears round the corner of a building. HEYDRICH is now out of the car and is holding his pistol, but he is in great pain. He has been hit somewhere.</scene_description> <character>ANTHROPOID V20: 71</character> <dialogue>HEYDRICH staggers towards JOSEF and fires several shots at him. The shots are returned by JOSEF from behind a telegraph pole. HEYDRICH then collapses as KLEIN appears beside him. JOSEF fires two quick rounds but they miss KLEIN and HEYDRICH. KLEIN runs at JOSEF firing his pistol. JOSEF runs up the hill with KLEIN in pursuit. KLEIN goes to fire at JOSEF but his gun is empty. JOSEF fires a couple of shots back at KLEIN but fails to hit him. VALCIK is back up and attempting to run from the scene with a bad limp. HEYDRICH is slumped against the side of the car. Pale. Laboured breathing. The CAMERA TRACKS OFF him and TRACKS into the passenger seat. A hole has been blown through the seat and its horse hair stuffing is exposed. Blood slowly drips from the horse hair. Drip, drip, drip... Reaching the bottom of the hill JOSEF sees a butcher's shop and hopes he can find refuge there. He runs towards it.</dialogue> </scene> <scene> <stage_direction>INT. BUTCHER'S SHOP - MORNING</stage_direction> <scene_description>A small shop with the BUTCHER cutting meat on a block. JOSEF rushes in and the BUTCHER is immediately alarmed by his presence and attempts to throw him out. JOSEF points his Colt semi-automatic at him and the BUTCHER runs out into the street. JOSEF goes through to the back of the shop and finds that there is no rear entrance. He returns to the front of the shop and looks out. POV through the shop window - JOSEF sees the BUTCHER talking to KLEIN and gesticulating towards his shop. Time is running out for JOSEF. He must act soon. He runs from the shop gun aimed. He has caught KLEIN unawares. KLEIN raises his gun and fires but JOSEF is quicker and shoots at him twice, hitting him in the leg and hip as KLEIN drops to the ground. JOSEF runs out down the street and into an alley.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREET - MORNING</stage_direction> <scene_description>JOSEF emerges from the alley and runs for a moving tram. He catches up and jumps on board.</scene_description> </scene> <scene> <stage_direction>INT. TRAM - MORNING</stage_direction> <scene_description>JOSEF is out of breath. He moves up the tram and takes a seat. He throws a few nervous glances around the tram but nobody seems to be paying him any attention. The tram gains distance from the chaotic scene behind.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREET, TOWN SQUARE - MORNING</stage_direction> <scene_description>The tram comes to a stop and JOSEF steps off. He looks around trying to get his bearings and sets off in a northerly direction.</scene_description> </scene> <scene> <stage_direction>EXT. MORAVEC BUILDING - MORNING.</stage_direction> <scene_description>As JOSEF approaches the building he sees CURDA waiting outside. He seems greatly agitated.</scene_description> <character>JOSEF</character> <dialogue>Where were you Curda?</dialogue> <character>CURDA</character> <dialogue>I didn't think you were really going to do it.</dialogue> <scene_description>JOSEF grabs him by the collar, looks like he is going to smash his face in.</scene_description> <character>CURDA</character> <dialogue>It's all over the radio.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You shot him?!</dialogue> <scene_description>JOSEF clenches his jaw in anger and then releases him.</scene_description> <character>CURDA</character> <dialogue>The radio said that 20,000 SS troops have been drafted in to look for us.</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>I have to get my family out of Prague.</dialogue> <character>JOSEF</character> <dialogue>No one is going anywhere. You try and flee now they will pick you up before you get to the city limits. Go back to your family, batten down the hatches and stay calm. Stay out of sight and keep your mouth shut. Think you can do that?</dialogue> <character>ANTHROPOID V20: 73</character> <dialogue>JOSEF</dialogue> <parenthetical>(off Curda's nod)</parenthetical> <dialogue>Now get out of my sight.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - DAY</stage_direction> <scene_description>JOSEF enters. JAN is already there. He is sitting on a bench as MRS MORAVEC treats his wounds with iodine. JAN is weakened and greatly agitated. Did they or did they not succeed? A heavy silence hangs in the air between them. JOSEF slowly shakes his head in utter disbelief of the events that have just happened. JOSEF loses it and swipes some tins of food off a shelf.</scene_description> <character>JOSEF</character> <dialogue>KURVA!</dialogue> <character>JAN</character> <dialogue>He was definitely wounded.</dialogue> <character>JOSEF</character> <dialogue>KURVA! The Sten gun! That bloody Sten gun!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I had him!</dialogue> <scene_description>JOSEF points an invisible Sten gun into space. His imagination reliving the moment.</scene_description> <character>JOSEF</character> <parenthetical>(softly imagining)</parenthetical> <dialogue>I bloody had him...</dialogue> <parenthetical>(then angry)</parenthetical> <character>HE WAS RIGHT THERE!</character> <dialogue>MRS MORAVEC finishes attending to JAN's face and stands, putting away her things. Silence hangs heavy in the room.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - DAY</stage_direction> <character>KNOCK! KNOCK! KNOCK!</character> <dialogue>JAN and JOSEF sit bolt upright and grab their guns. Then a single KNOCK! JAN opens the door a crack, pistol aimed. JAN's POV: we see UNCLE HAJASKY.</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - DAY.</stage_direction> <scene_description>The three men and MRS MORAVEC sit around talking in hushed tones.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>What went wrong out there?</dialogue> <scene_description>JOSEF stares into space, dejected. SIRENS are heard outside. JAN looks out the window from behind the curtains. JAN'S POV: a street scene with German soldiers marching, several German vehicles, sirens screeching. JAN turns from the window.</scene_description> <character>JAN</character> <dialogue>Looks like the whole of Prague is crawling with Germans.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>It was to be expected.</dialogue> <character>JAN</character> <dialogue>We didn't even kill him!</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Wounded.</dialogue> <character>JAN</character> <dialogue>How bad?</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>It is hard to say. The SS still have the hospital surrounded so, presumably, he's still alive. The Germans have more men and guns up there than they have on the Eastern front.</dialogue> <scene_description>UNCLE HAJSKY goes to the radio and switches it on. German is heard, followed by the Czech translation.</scene_description> <character>RADIO ANNOUNCER (V.O.)</character> <dialogue>Karl Frank has temporarily taken Heydrich's place and has proclaimed a state of emergency and a curfew.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>A reward of ten million crowns will be given to any information that leads to the arrest of the criminals.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Anyone caught aiding the criminals will be shot with his entire family.</dialogue> <scene_description>UNCLE HAJSKY switches it off.</scene_description> <character>ANTHROPOID V20: 75</character> <dialogue>UNCLE HAJSKY</dialogue> <scene_description>All radio stations are transmitting the same message continually. JAN gives MRS. MORAVEC a concerned look.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>Nothing is leaving or entering Prague.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The bicycle you used has been found. It has blood upon it. Also your briefcases. The Germans have put these in the window of the big Bata shop in the city centre to see if anyone recognises them.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They've also taken several thousand hostages and are shooting people in the street.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>All home owners must declare to the police all persons staying with them who have not already been reported.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Failure to do so will be punishable by death.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What this means to you is that you can no longer remain here. There are no safe houses left any more.</dialogue> <scene_description>MRS MORAVEC and UNCLE HAJSKY share a look.</scene_description> <character>JAN</character> <dialogue>Where do we go?</dialogue> <character>MRS MORAVEC</character> <dialogue>I've asked Father Vladimir Petrek, he is the dean of the Orthodox Church.</dialogue> <character>JAN</character> <dialogue>Where is he going to hide us? In heaven?</dialogue> <character>MRS MORAVEC</character> <dialogue>The cathedral of Saints Cyril and Methodius.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>He has agreed to hide all the parachutists until we can return you to London.</dialogue> <scene_description>JOSEF gives JAN a look.</scene_description> <character>MRS MORAVEC</character> <dialogue>I'll pack you some warm clothes and blankets.</dialogue> <character>ANTHROPOID V20: 76</character> <dialogue>JAN and JOSEF nod and the men shake hands.</dialogue> <character>UNCLE HAJSKY</character> <dialogue>Rest here tonight. I will be back to pick you up first thing in the morning.</dialogue> <scene_description>UNCLE HAJSKY leaves.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM - MORNING</stage_direction> <scene_description>JOSEF wakes to the sound of HYSTERICAL CRYING coming from the room next door. He wakes JAN and places a finger to his mouth as a signal. They grab their pistols and flank the door.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - MORNING</stage_direction> <scene_description>JAN and JOSEF enter the main room and see MRS MORAVEC consoling MARIE. MARIE looks up and sees JAN. Goes to him. Slumps into his arms.</scene_description> <character>JAN</character> <dialogue>What is it?</dialogue> <scene_description>MRS MORAVEC looks from JAN to JOSEF. Sadness in her eyes.</scene_description> <character>MRS MORAVEC</character> <dialogue>It's Lenka.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE STREET - DAY (FLASHBACK)</stage_direction> <scene_description>NO SOUND - MARIE exits the tram and sees LENKA down the street. CLOSE UP - LENKA smiles at MARIE and waves. To the side, German soldiers pour out of two trucks and start to round people up. The expressions on MARIE's and LENKA's face instantly change. LENKA is cut off from MARIE. LENKA looks around. She turns on her heels and starts to walk fast to try and get away from the madness. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - MORNING</stage_direction> <character>MRS MORAVEC</character> <dialogue>The Germans were rounding up random hostages off the street.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE STREET - DAY (FLASHBACK)</stage_direction> <scene_description>LENKA's walk suddenly turns into a run. The CAMERA just in front of her and keeping up with her. The sound of her breath. In the background we can hear a German screaming HALT! An intense sound building until: OMITTED</scene_description> </scene> <scene> <stage_direction>87B EXT. PRAGUE STREET - DAY (FLASHBACK) 87B</stage_direction> <scene_description>Loud machine gun fire makes MARIE jump and she covers her mouth with her hand. CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - MORNING</stage_direction> <character>MRS MORAVEC</character> <dialogue>She was shot trying to escape.</dialogue> <scene_description>JOSEF closes his eyes. For a second we see LENKA's hair gently blowing in the wind in slow motion. LENKA's dead hand hanging limp. Blood dripping from the finger tips. Back with JOSEF. Anger on his face. He looks at MARIE. MARIE's face puffy from crying. Her eyes scared. He strides off to their room. JAN follows.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, BOX ROOM</stage_direction> <scene_description>JOSEF collecting his weapons. Loading them. Cocking them. JAN enters the room and sees what he is doing.</scene_description> <character>JAN</character> <dialogue>Josef!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Josef! Stop!</dialogue> <scene_description>JOSEF makes to leave and JAN blocks his path.</scene_description> <character>JOSEF</character> <dialogue>Out of my way.</dialogue> <character>ANTHROPOID V20: 78</character> <dialogue>JOSEF tries to push past but JAN grabs him. The two of them suddenly in a fight. Fists are thrown and blocked. They grapple until a stale mate is found, both men breathing hard.</dialogue> <character>JAN</character> <dialogue>Josef, listen to me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What if they take you alive?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You are risking everyone that has helped us and for what? To shoot a few soldiers?</dialogue> <parenthetical>(Josef struggles against Jan's grip)</parenthetical> <character>STOP! SHE'S GONE!</character> <dialogue>JOSEF</dialogue> <scene_description>It's all my fault. (beat) I tried to kill Heydrich (beat) But I killed her!</scene_description> <character>JAN</character> <dialogue>It's not your fault.</dialogue> <scene_description>JOSEF breaks down and starts to cry. JAN holds him.</scene_description> <character>JAN</character> <parenthetical>(softly)</parenthetical> <dialogue>I'm sorry...</dialogue> <scene_description>JOSEF sobs into JAN's shoulder.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - LATER</stage_direction> <scene_description>A clock ticks. MRS MORAVEC, ATA, MARIE, JAN and JOSEF sit and stand in the room in silence - waiting. Three knocks then one knock at the front door. ATA goes and lets in UNCLE HAJSKY.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>It's time...</dialogue> <scene_description>MARIE hugs JAN. She doesn't want to let go. JOSEF stands in front of MRS MORAVEC. Both their eyes red. His emotions break through for a second as he moves forward and hugs her. A tear runs down her face. Last looks and JAN and JOSEF leave with UNCLE HAJSKY.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREETS - AFTERNOON</stage_direction> <scene_description>A flurry of action as German army trucks unload soldiers. People are stopped on the streets. Distant gun shots are heard.</scene_description> <character>ANTHROPOID V20: 79</character> <dialogue>Several streets. Various angles as JOSEF and JAN follow UNCLE HAJSKY at a discreet distance from one another. They follow him towards their new hiding place. German soldiers are greatly in evidence. Loud speakers echo instructions regarding the curfew now in place.</dialogue> </scene> <scene> <stage_direction>EXT. RESSLOVA STREET - AFTERNOON</stage_direction> <scene_description>UNCLE HAJSKY stops and waits for JOSEF and JAN to catch up with him.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>This is the cathedral of Saints Cyril and Methodius. Go through that entrance. Father Petrek will greet you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Ata will be bringing you food.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Ladislav is working with London on your exit plan.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I know this maybe is not what you want to hear at present but...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I regret nothing. You are two of the bravest men I have ever met.</dialogue> <scene_description>A pause between the men and then UNCLE HAJSKY leaves. JOSEF and JAN watch him leave and then turn towards the cathedral. \[NOTE: Hereafter the Cathedral of Saints Cyril and Methodius is referred to as just the CATHEDRAL.\]</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - AFTERNOON</stage_direction> <scene_description>The magnificent main part of the cathedral with the altar at the end. A balcony high above runs around the nave. JOSEF and JAN enter the cathedral and stand in admiration looking at the fittings and decorations. They both cross themselves. The silence weighs heavily upon them. Footsteps are heard. FATHER (Vladimir) PETREK approaches. He is a tall angular man with deep set eyes, a moustache and goatee beard. He is in his early fifties. He has a gentle but direct manner.</scene_description> <character>FATHER PETREK</character> <dialogue>I am Father Petrek. Welcome.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Please follow me.</dialogue> <scene_description>FATHER PETREK leads them to the side of the entrance where he raises a carpet to reveal a two feet square flagstone with a metal ring in the centre. JAN pulls up the flagstone 'door'. It reveals a ladder.</scene_description> <character>ANTHROPOID V20: 80</character> <dialogue>FATHER PETREK</dialogue> <scene_description>This is our 'hidden' crypt. You will be safe there. He ushers them down.</scene_description> <character>FATHER PETREK</character> <dialogue>I have to go now.</dialogue> <character>JAN</character> <dialogue>Thank you, Father.</dialogue> <character>JOSEF</character> <dialogue>Yes, thank you, Father.</dialogue> <character>FATHER PETREK</character> <dialogue>Until later.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - AFTERNOON</stage_direction> <scene_description>JOSEF and JAN descend the steps into the crypt. The crypt measures some fifty by twelve feet and is around ten feet high. It is made of stone. There are square-shaped niches in the wall where coffins were once placed. At some time in the past the coffins have been removed and the niches became ossuaries. At the bottom VALCIK limps over with OPALKA to greet them.</scene_description> <character>VALCIK</character> <dialogue>You made it!</dialogue> <character>JOSEF</character> <dialogue>What happened to your leg?</dialogue> <character>VALCIK</character> <dialogue>Was caught in the crossfire. Just a scratch.</dialogue> <scene_description>There is a solemn air to their reunion.</scene_description> <character>OPALKA</character> <dialogue>I'm sorry it wasn't the outcome we all hoped for.</dialogue> <character>JOSEF</character> <dialogue>None more than us...</dialogue> <scene_description>Then three other members of the resistance, SVARC, BUBLIK, and HRUBY appear. Introductions and greetings are exchanged.</scene_description> <character>OPALKA</character> <parenthetical>(to Josef and Jan)</parenthetical> <dialogue>This is Svarc, Bublik and Hruby. They are from the airdrops this spring.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Boredom may be the biggest enemy we have here.</dialogue> <character>ANTHROPOID V20: 81</character> <dialogue>OPALKA</dialogue> <scene_description>I'm suggesting three men on guard duty in the nave balcony at all times. (beat) We rotate every six hours. All of the men nod their heads.</scene_description> <character>OPALKA</character> <dialogue>Bublik, Svarc, come with me. We'll take first watch.</dialogue> <scene_description>JOSEF and JAN begin clearing their living spaces in the wall niches. JAN continues clearing out the bones. He stops for a moment and looks up. High on the wall is a rectangular opening on to the street, measuring about five foot by one, the only ventilation for the crypt. We hear the sound of a loud speaker echoing a looped message in both Czech(English) and German.</scene_description> </scene> <scene> <stage_direction>EXT. PRAGUE STREETS - DAY</stage_direction> <scene_description>The Germans put up reward signs and appeals for information all over Prague. Leaflets are given out in the street. The appeals are in shop windows. People are interrogated in the street, beaten, marched off, arrested. The bicycle, coat and brief case that was used in the assassination attempt are displayed in the Bata shop window. There is a sign in the window. It reads: Reward of 10,000,000 Crowns 1. Who can provide information on the Criminals? 2. Who saw them at the scene of the crime? 3. To whom do these objects belong? Whoever is able to provide this information and who fails to do so voluntarily will be shot with his family. Furthermore, from May 28, 1942, all owners of houses, apartments, hotels, etc, in the Protektorate must declare to the police all persons staying with them who have not already been reported. Failure to do so will be punishable by death. ss-Obergruppenfuhrer Chief of Police K. H. Frank.</scene_description> <character>ANTHROPOID V20: 82</character> <dialogue>It's no small amount. The crowd outside the shop window hustle to see the items used in the attack. Amongst them we catch sight of a man looking at the items. People cross the frame and obscure him but the CAMERA is tracking in and he starts to fill the frame. The line of sight is now clear of people and we clearly see who it is. It's CURDA.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL - DAY.</stage_direction> <scene_description>ATA enters the Cathedral carrying a basket and crosses himself at the alter. He then goes to the confession box and enters. The central partition opens and we see JAN.</scene_description> <character>ATA</character> <parenthetical>(indicating the basket)</parenthetical> <dialogue>I brought you food.</dialogue> <character>JAN</character> <dialogue>Thanks Ata. The empty basket is under the bench in there.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Have you seen Marie?</dialogue> <scene_description>ATA shakes his head no.</scene_description> <character>JAN</character> <dialogue>Can you get a message to her? I need to see her.</dialogue> <scene_description>ATA nods. He leaves with the empty basket the same way he entered.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - MORNING</stage_direction> <scene_description>JAN is standing upon a small wooden ladder and peering out of the rectangular opening high up on the wall. JAN's POV: A crowded busy street. Many Germans in evidence.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CARETAKER'S OFFICE - DAY</stage_direction> <scene_description>On guard duty, OPALKA wanders into the caretaker's office. He takes a look around. A filing cabinet. OPALKA opens the top drawer and takes a look. In the second drawer he takes a file. Inside are the plans of the church. He holds them up to the light and starts to study them.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>OPALKA and HRUBY stride up to the end of the crypt. JAN and JOSEF are on lookout.</scene_description> <character>ANTHROPOID V20: 83</character> <dialogue>OPALKA</dialogue> <parenthetical>(pointing)</parenthetical> <dialogue>Beyond this brickwork and masonry there is a large main sewer that empties into the river.</dialogue> <character>JOSEF</character> <dialogue>How do you know?</dialogue> <character>OPALKA</character> <dialogue>I found some plans in the caretaker's office.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If we can chisel through this masonry and get to the sewer we have a means of escape if we need it.</dialogue> <character>JAN</character> <dialogue>Escape to where?</dialogue> <character>OPALKA</character> <dialogue>Until the British send plans for our rescue we are stuck here.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Should we be discovered here then there is no way out. I would like us to have this option.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We would then take our chances on the streets.</dialogue> <scene_description>JAN, JOSEF and the others nod. It's a good plan.</scene_description> <character>OPALKA</character> <dialogue>Two of us will be working here at all times.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - DAY</stage_direction> <scene_description>JOSEF, JAN and OPALKA are on the balcony. They are all behind columns but with a clear view down the entire length of the cathedral. There are footsteps across the church floor. They look and see it's FATHER PETREK. He takes the stairs up to the balcony. They greet an out of breath FATHER PETREK at the top.</scene_description> <character>FATHER PETREK</character> <dialogue>I have news.</dialogue> <scene_description>A long pause as the men await the news.</scene_description> <character>FATHER PETREK</character> <dialogue>Heydrich died yesterday in the hospital.</dialogue> <character>JAN</character> <dialogue>You sure of this?</dialogue> <character>ANTHROPOID V20: 84</character> <dialogue>FATHER PETREK</dialogue> <scene_description>Yes. The Germans have announced this. Preparations are under way for a state funeral. The body is to be sent back to Berlin. Another pause.</scene_description> <character>FATHER PETREK</character> <dialogue>Finding those responsible for this act may be occupying the Reich more than winning the war at the present time.</dialogue> <scene_description>JAN and JOSEF look at one another. A brief moment passes between them. They got Heydrich, eventually.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN BOX CAR - NIGHT.</stage_direction> <scene_description>The coffin of Heydrich is being transported to Berlin. The coffin draped in a black SS flag. Flames from lit torches in each corner. Two SS guards stand on watch. Eerie, like a spell being cast by the forces of the dark arts. \[NOTE: This will be a recreation of the actual footage.\] The sound of the train on the tracks turns into chisels against masonry. SOUND OVERLAP of chisels against masonry . . . HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - MORNING</stage_direction> <scene_description>In the crypt. JAN and JOSEF hammer away at the masonry like men possessed. Then VALCIK and BUBLIK take over. It's like a relay race. Sweat pouring from JAN's face as he looks over to JOSEF with heavy breaths. They share a look and then JAN looks up at the morning light streaming through the street level slit. They swap over again. OPALKA calls down from the small hole in the ceiling,</scene_description> <character>OPALKA</character> <dialogue>Jan! Someone to see you...</dialogue> </scene> <scene> <stage_direction>129B INT. CATHEDRAL - DAY. 129B</stage_direction> <scene_description>JAN climbs out of the crypt to see MARIE. A moment then MARIE rushes forward and embraces JAN. They hold each other for a moment. They pull away and MARIE has tears of joy. They joy fades and she looks terrified.</scene_description> <character>MARIE</character> <dialogue>How long will you stay here?</dialogue> <character>ANTHROPOID V20: 85</character> <dialogue>JAN</dialogue> <scene_description>There is talk of getting us back to London. (beat) When this is all over, I will come back for you.</scene_description> <character>MARIE</character> <dialogue>Back for us both.</dialogue> <scene_description>She places JAN's hand onto her belly. JAN computes, suddenly overjoyed.</scene_description> <character>JAN</character> <dialogue>Really?</dialogue> <scene_description>MARIE nods. A moment of joy that MARIE is still frightened to let surface.</scene_description> <character>MARIE</character> <dialogue>I'm so scared. Everyone is scared.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yesterday the Germans went to a village to the north-west of Prague called Lidice and shot every man over the age of sixteen. The women and children have been taken to camps and the buildings were razed to the ground.</dialogue> <character>JAN</character> <dialogue>But why Lidice? It makes no sense.</dialogue> <character>MARIE</character> <dialogue>There has been talk that the village aided you somehow.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What kind of World is it to bring a child into?</dialogue> <character>JAN</character> <dialogue>It will not always be like this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>One day, it will be different, like how it once was...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This I'm sure of.</dialogue> <scene_description>JAN searches her eyes and scoops her up in his arms once again. Two lone figures in the empty church. The sound of Hammering continues from the crypt.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - DAY</stage_direction> <scene_description>A meeting. The seven men plus FATHER PETREK. JOSEF and JAN are gravely shocked. Tears appear in their eyes.</scene_description> <character>ANTHROPOID V20: 86</character> <dialogue>JAN</dialogue> <parenthetical>(sadness)</parenthetical> <dialogue>We have never even been to Lidice.</dialogue> <character>FATHER PETREK</character> <dialogue>These are dangerous times. Mere gossip wipes a whole village from the face of the earth.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Today Karl Frank issued an amnesty broadcast. A full pardon for any person and their family in exchange for any information known about the assassins. Even if they did not come forward before. But there is a deadline of five days, after that, they plan to execute 30,000 Czechs.</dialogue> <character>JAN</character> <dialogue>This must stop!</dialogue> <character>OPALKA</character> <dialogue>And what do you propose?</dialogue> <scene_description>JAN thinks for a minute and anger flits across his face.</scene_description> <character>JAN</character> <dialogue>Josef and I will go to a park... Place placards around our necks saying we killed Heydrich...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...and commit suicide.</dialogue> <scene_description>There is a physical reaction from the men to this suggestion and OPALKA steps forward.</scene_description> <character>OPALKA</character> <dialogue>This is stupid talk. Stupid talk! As soldiers it is your duty to stay alive and continue fighting. Do you understand that? I will not hear such stupid talk again.</dialogue> <scene_description>JOSEF and JAN are chastened.</scene_description> <character>FATHER PETREK</character> <dialogue>The responsibility does not rest with you. We know who is responsible. They will have to answer...eventually. And they will.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If I didn't believe that I would not be here now.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - DAY.</stage_direction> <scene_description>JOSEF and VALCIK sit up in the balcony on guard duty. JOSEF takes the photo of LENKA from his wallet and looks at it. Deep from within the crypt the faint sounds of stone being chiselled by a hammer.</scene_description> <character>ANTHROPOID V20: 87</character> <dialogue>JOSEF wipes the photo clean with his thumb when the sound of a truck suddenly makes him look out onto the street. A German army truck pulls up and several soldiers jump out.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>In the crypt, OPALKA and BUBLIK hammer away at the masonry, Thousands of hammer and chisel blows scarcely make an impression on the hard masonry. JAN is up a ladder. He peers out of the slit that leads to the street. JAN's POV: German truck and several soldiers walking towards the church. JAN signals to OPALKA and BUBLIK to stop work. JAN looks back to the street. The German soldiers make their way into the church.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - DAY</stage_direction> <scene_description>JOSEF and VALCIK look down and see the German soldiers enter the church.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>The rest of the men, guns at the ready, stare upwards as the sounds of the German boots echo out across the church floor above them.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - DAY</stage_direction> <scene_description>POV: the German soldiers carrying out a cursory search of the church. They shrug and leave the way they came in.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>JAN's POV through the slit as the German soldiers climb back in the truck. A few more soldiers who had been searching across the street return as well. All board the truck that starts up and drives off. The men all look at each other and sigh a big sigh of relief. OMITTED</scene_description> </scene> <scene> <stage_direction>113B INT. GESTAPO HEADQUARTERS - NIGHT 113B</stage_direction> <scene_description>EXTREME CLOSE UP of a mans face. He is HANS MüLLER. A German who speaks Czech. He wears glasses and a piece of paper is reflected in them. NOTE: THE CAMERA NEVER LEAVES HIS FACE.</scene_description> <character>MULLER</character> <dialogue>You say you know the men who assassinated Reichsprotektor Reinhard Heydrich but you did not take part in it.</dialogue> <scene_description>He looks up and OFF SCREEN to give a signal and looks back down the report. As he continues to read we hear footsteps and then someone being punched to the floor, a chair crashes to the floor and we hear the person being kicked.</scene_description> <character>MULLER</character> <dialogue>You say you don't know where they are but you know the family who sheltered them.</dialogue> <scene_description>The sound of the man being lifted back on the chair coughing and spluttering. Same as before, he looks up and OFF SCREEN to give a signal and looks back down the report. As he continues to read we hear footsteps and then someone being punched to the floor, a chair crashes to the floor and we hear the person being kicked.</scene_description> <character>MULLER</character> <dialogue>You say don't know where they are but you know the family who sheltered them.</dialogue> <scene_description>The sound of the man being lifted back on the chair.</scene_description> <character>MULLER</character> <parenthetical>(Looking at the person)</parenthetical> <dialogue>You walked in here on your own accord to give us this statement.</dialogue> <parenthetical>(reading from the report)</parenthetical> <dialogue>You say you are a true patriot and the reason for doing that is because you want to protect your family and for the killing of innocent Czechs to stop.</dialogue> <scene_description>We finally cut to the reverse and we see a man sitting opposite the desk with his head bowed. He slowly starts to raise his head as the CAMERA PUSHES IN.</scene_description> <character>MULLER</character> <dialogue>And you say your name is Karel Curda.</dialogue> <scene_description>CURDA looks up, his face beaten and swollen. He nods.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EARLY MORNING</stage_direction> <scene_description>Early morning. Silence in the apartment aside from the plaintiff sound of ATA's violin.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EARLY MORNING</stage_direction> <scene_description>MS of the front door to the apartment. Silence aside from ATA's violin.</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS ENTRANCE - EARLY MORNING</stage_direction> <scene_description>Six Gestapo officers stand in silence around the entrance to the Moravec apartment building. Four bear machine guns, the other two pistols. An officer with a pistol nods to the four with the machine guns. They are to ascend the stairs now. They carry out the order in silence.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, ATA'S ROOM - EARLY MORNING</stage_direction> <scene_description>ATA practices on his violin in his pyjamas.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY - EARLY MORNING</stage_direction> <scene_description>The Gestapo officers ascend the stairway in silence. A dog appears and starts sniffing around them. They pause. Then the dog scurries off. They continue their ascent.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EARLY MORNING</stage_direction> <scene_description>A closer shot of the front door.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, ATA'S ROOM - EARLY MORNING</stage_direction> <scene_description>ATA pauses and studies the music score on his practice stand.</scene_description> </scene> <scene> <stage_direction>INT. FLAT LANDING - EARLY MORNING</stage_direction> <scene_description>The Gestapo officers are now arrayed around the front door of the Moravec apartment. They wait in silence. A plain clothes senior Gestapo officer, FLEISCHER, 30s, very thin and lugubrious looking tries the door. It is locked. He steps back and nods to an officer with a machine gun. The officer steps forward and takes aim at the hinges.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EARLY MORNING</stage_direction> <scene_description>MS of the front door. ATA has resumed his violin practice. Two loud bursts from the machine gun shatter the silence. The door hinges are destroyed and the door partially splinters. The door is then kicked in. The armed officers rush into the apartment shouting and bellowing. They spray out into different rooms.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING</stage_direction> <scene_description>MRS MORAVEC comes into the lounge from the kitchen and two officers immediately grab her.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, ATA'S ROOM - EARLY MORNING</stage_direction> <scene_description>ATA is going towards the door of his room when it bursts open and two of the officers rush in and grab him violently, his violin falls to the floor and is trampled upon as they drag him out.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING</stage_direction> <scene_description>ATA is pushed next to MRS MORAVEC in the middle of the lounge. MR MORAVEC is also bundled in. MR MORAVEC stops for a second in front of his wife. An accusing stare on his face. MRS MORAVEC meets his gaze but can't hold it for long. With tears in her eyes she looks away. MR MORAVEC is pushed and they are lined up facing the wall with their hands in the air. A man in his late forties is brought in from outside. He removes his hat as a sign of respect. His name is Josef CHALUPSKY and he is a Czech interpreter who speaks German. MRS MORAVEC is grabbed from the wall and turned to face FLEISCHER and CHALUPSKY.</scene_description> <character>FLEISCHER</character> <parenthetical>(loudly, menacingly)</parenthetical> <dialogue>Wo sind die fallschirmspringer?</dialogue> <character>CHULUPSKY</character> <dialogue>Where are the parachutists?</dialogue> <character>MRS MORAVEC</character> <dialogue>I know nothing. You must be confusing us with other Morav...</dialogue> <scene_description>FLEISCHER cuts her off in mid-sentence as he punches MRS MORAVEC square in the face with a sickeningly accurate blow. MRS MORAVEC hits the floor hard. ATA screams but is retrained and gagged with his own belt.</scene_description> <character>FLEISCHER</character> <parenthetical>(to the other officers)</parenthetical> <dialogue>Stehen sie auf.</dialogue> <scene_description>MRS MORAVEC is pulled up by two officers. MRS MORAVEC's nose is broken. Rivulets of dark blood pour down and off her chin.</scene_description> <character>ANTHROPOID V20: 91</character> <dialogue>The moaning sound that comes from her is almost animalistic. This is a woman who knows there is no way out of the situation.</dialogue> <character>FLEISCHER</character> <dialogue>Wo sind die fallschirmspringer?</dialogue> <character>CHULUPSKY</character> <dialogue>Where are the parachutists?</dialogue> <character>MRS MORAVEC</character> <parenthetical>(holding her mouth, blood flowing)</parenthetical> <dialogue>I know . . . nothing.</dialogue> <scene_description>FLEISCHER punches MRS MORAVEC in the face again. She falls to the ground with a gurgling moan. CHULUPSKY is physically upset by what he is witnessing. FLEISCHER points at the officers to get MRS MORAVEC back up on her feet. ATA struggles against the men that hold him. Tears stream. His mouth open but his vocal chords are paralyzed. Two officers help MRS MORAVEC up again. MRS MORAVEC stands facing FLEISCHER but seems to be looking right through him. O.S The trickling sound of water hitting a wood floor. FLEISCHER looks down. MRS MORAVEC is relieving her bladder. A dark patch has spread in the front of her dress and splashes on the wooden floor between her legs. FLEISCHER stares at her in disgust.</scene_description> <character>FLEISCHER</character> <dialogue>Ekelhaft!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Uberall suchen!</dialogue> <scene_description>The officers start to tear the place apart, searching everywhere. FLEISCHER goes next door.</scene_description> <character>MRS MORAVEC</character> <parenthetical>(to Chulupsky)</parenthetical> <dialogue>Please, let me clean myself up before we leave.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I do not want to make a mess in the car.</dialogue> <scene_description>CHULUPSKY nods assent.</scene_description> <character>ANTHROPOID V20: 92</character> <dialogue>CHULUPSKY</dialogue> <scene_description>Go on, Madame.</scene_description> <character>MRS MORAVEC</character> <parenthetical>(to Chulupsky, indicating Ata)</parenthetical> <dialogue>My son is a violinist. Tell them he knows nothing of this...</dialogue> <scene_description>CHULUPSKY frowns. MRS MORAVEC hobbles to the lavatory.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, LAVATORY - EARLY MORNING</stage_direction> <scene_description>A narrow high-ceilinged room with a WC and above it a cistern with a chain. A small window. Two colourful railway company posters advertising pre-war holiday destinations have been put on the walls to brighten the room up. MRS MORAVEC hurriedly enters and throws the lock on the door. She reaches into the front pockets of her pinafore and pulls out a small wooden carving of a German SS officer and a glass capsule of cyanide. In CLOSE UP we see her look up to the heavens, tears in her eyes. She holds her hands together and says a very brief prayer and then crosses her chest.</scene_description> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING</stage_direction> <scene_description>FLEISCHER reenters the room and sees MRS MORAVEC is missing.</scene_description> <character>FLEISCHER</character> <dialogue>Wo ist die Frau?</dialogue> <character>CHULUPSKY</character> <parenthetical>(pointing)</parenthetical> <dialogue>In der toilette.</dialogue> <character>FLEISCHER</character> <dialogue>Scheiße!</dialogue> </scene> <scene> <stage_direction>INT. MORAVEC FLAT, HALLWAY - EARLY MORNING</stage_direction> <scene_description>FLEISCHER kicks the lavatory door in. The door falls back and MRS MORAVEC is standing there looking straight at FLEISCHER with a strange smile on her face. She then collapses. FLEISCHER rushes to her and slaps her face.</scene_description> <character>FLEISCHER</character> <dialogue>Wasser!</dialogue> <scene_description>He checks her breathing but she looks dead. They try to resuscitate her. She is dead.</scene_description> <character>ANTHROPOID V20: 93</character> <dialogue>Just out of reach from her dead limp hand we see a CLOSE UP of the wooden carved SS officer laying on its side.</dialogue> </scene> <scene> <stage_direction>INT. GESTAPO INTERROGATION CELL - MORNING</stage_direction> <scene_description>A windowless cell. A single naked light bulb hangs from the centre of the ceiling. Flaking dark green paint on the walls. ATA sits behind a large metal table. A guard stands either side of him. ATA is exhausted and badly hurt. He has been heavily beaten. FLEISCHER sits to one side. The TORTURER takes a number of photographs from a folder, portraits of suspected resistance fighters, and places them in two rows on the table in front of ATA, and then with a flourish of his hand 'invites' ATA to study them.</scene_description> <character>TORTURER</character> <parenthetical>(German accent throughout)</parenthetical> <dialogue>You recognize any of these men?</dialogue> <scene_description>ATA shakes his head no. The TORTURER starts to beat ATA again. He then stops and grabs a picture of VALCIK, thrusts it in ATA's face.</scene_description> <character>TORTURER</character> <parenthetical>(breathing heavily)</parenthetical> <dialogue>Recognize him?</dialogue> <scene_description>ATA looks at the photo and says nothing.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - MORNING</stage_direction> <scene_description>JOSEF and BUBLIK are on guard duty in the nave's balcony. JOSEF is awake but the boredom has him in his own world day dreaming. He is awoken from this by the sound of whispering voices. The hushed voices are coming from within the church. JOSEF looks through the balustrades of the balcony to the church below. JOSEF's POV: the church seems empty but the voices continue. OPALKA suddenly exits the confession box. He says something inaudible as a parting shot, and then walks towards the crypt. Behind him FATHER PETREK exits the other side of the confession box and walks towards the altar.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - MORNING</stage_direction> <scene_description>JOSEF descends the stairs to see OPALKA in deep conversation with JAN, VALCIK, and HRUBY. OPALKA turns to see JOSEF.</scene_description> <character>JOSEF</character> <dialogue>What did I miss?</dialogue> <character>ANTHROPOID V20: 94</character> <dialogue>OPALKA</dialogue> <scene_description>Bishop Gorazd has told Father Petrek that our presence here is endangering the church and he wants us to leave. (beat) Father Petrek relayed this to Uncle and they have a plan to get us all out.</scene_description> <character>JOSEF</character> <dialogue>When?</dialogue> </scene> <scene> <stage_direction>132B EXT. FUNERAL CHAPEL - DAY. 132B</stage_direction> <scene_description>Rain pours down on a black car as it pulls up outside.</scene_description> </scene> <scene> <stage_direction>INT. BLACK CAR - SAME.</stage_direction> <scene_description>LADISLAV and UNCLE HAJSKY sit in the car. There is some tension between them.</scene_description> <character>LADISLAV</character> <dialogue>I know things have been, strained between us. I was against the assassination and that may have led to some doubt about my position within the resistance organization.</dialogue> <scene_description>UNCLE HAJSKY looks at LADISLAV.</scene_description> <character>LADISLAV</character> <dialogue>As bad as the reprisals have been, I was wrong, it was right to do it.</dialogue> <scene_description>UNCLE HAJSKY regards LADISLAV.</scene_description> <character>LADISLAV</character> <dialogue>Lets just get the parachutists out of Prague.</dialogue> <character>UNCLE HAJSKY</character> <parenthetical>(nods)</parenthetical> <dialogue>Meet me round the back in ten minutes.</dialogue> <scene_description>UNCLE HAJSKY exits the car.</scene_description> </scene> <scene> <stage_direction>132C INT. FUNERAL CHAPEL - DAY 132C</stage_direction> <scene_description>A service is being held. Small and discrete. At the back of the chapel UNCLE HAJSKY enters and slots into the pews. He makes eye contact with the UNDERTAKER to the side of the coffin. He is a tall serious man in his fifties dressed in a black morning suit. A knowing look is passed between them.</scene_description> </scene> <scene> <stage_direction>INT. UNDERTAKER'S GARAGE - DAY</stage_direction> <scene_description>At the back of the chapel there is place where the coffins are loaded onto the cars. Several funeral wreaths lean against the walls. Rain is pouring down. In the background funeral organ music is heard. We see two coffins in the back of a black hearse. Looking down at it is the UNDERTAKER, beside him is LADISLAV and UNCLE HAJSKY. The UNDERTAKER raises the bottom of one of the coffins to reveal a further space underneath</scene_description> <character>UNDERTAKER</character> <dialogue>Two in the coffins. Two under the dummy floors and the other three disguised as pall bearers.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's the seven.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The service can be at the Cathedral of Saints Cyril and Methodius and then the burial at Saint Josef and Mary's church which is outside of Prague.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You then make arrangements to collect them from there.</dialogue> <scene_description>LADISLAV looks at UNCLE HAJSKY. They nod in agreement with the UNDERTAKER.</scene_description> <character>UNCLE HAJSKY</character> <dialogue>How soon can you be ready?</dialogue> </scene> <scene> <stage_direction>INT. GESTAPO HEADQUARTERS - NIGHT</stage_direction> <scene_description>Several shots of long featureless corridors. Silence. Then the distorted sounds of ATA screaming under torture. His screams become distorted and echo down the corridors.</scene_description> </scene> <scene> <stage_direction>INT. GESTAPO INTERROGATION CELL - NIGHT</stage_direction> <scene_description>Now a MS of ATA in his cell dressed in his Sunday best playing a part of Bartok's 'Violin Concerto No. 2'. He is immersed in an angelic light. There is a passage in the concerto ATA cannot get right. He keeps hitting the wrong note, a jarring almost discordant wrong note that becomes louder and more frequent until it turns into a never ending scream. ATA looks across the cell and sees himself strapped to a heavy wooden chair. The screaming coming from his open mouth. His face is bloody from the beatings and one eye is swollen shut, the other bloodshot and streaming.</scene_description> <character>ANTHROPOID V20: 96</character> <dialogue>The TORTURER punches him and two men then force brandy down his throat using a funnel and rubber tube.</dialogue> <character>TORTURER</character> <dialogue>You like to play the violin?</dialogue> <scene_description>The torture smashes ATA's left hand three or four times with hammer. ATA screams until he passes out. A German doctor appears. He holds up a large hypodermic syringe, ATA is injected. A bucket of cold water then is thrown over him. ATA has been broken both physically and mentally. He is not who he was.</scene_description> <character>TORTURER</character> <dialogue>Maybe you would like to see your mother again?</dialogue> <scene_description>The broken ATA looks up through the tears, a glimmer of hope.</scene_description> <character>TORTURER</character> <dialogue>Yes, we managed to save her...</dialogue> <scene_description>He signals and a man who leaves the room and then re-enters with a METAL BUCKET.</scene_description> <character>TORTURER</character> <dialogue>We saved her head.</dialogue> <scene_description>The man lifts MRS MORAVEC's decapitated head out of the bucket.</scene_description> <character>ATA</character> <parenthetical>(the ATA in the wooden chair)</parenthetical> <character>NO! NO! NO!</character> <dialogue>TORTURER</dialogue> <parenthetical>(disembodied, echoic)</parenthetical> <dialogue>Where are the assassins?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where are the assassins?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where are they hiding?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where are they hiding?</dialogue> <character>ATA</character> <parenthetical>(the Ata in his Sunday best)</parenthetical> <dialogue>Don't tell them!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You mustn't tell them!</dialogue> <character>TORTURER</character> <parenthetical>(disembodied, echoic)</parenthetical> <dialogue>Where are the assassins?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where are they hiding?</dialogue> <character>ANTHROPOID V20: 97</character> <dialogue>ATA</dialogue> <parenthetical>(the ATA in the wooden chair)</parenthetical> <character>STOP! PLEASE STOP!</character> <dialogue>ATA</dialogue> <parenthetical>(the Ata in his Sunday best)</parenthetical> <dialogue>You must never say!</dialogue> <character>TORTURER</character> <parenthetical>(disembodied, echoic)</parenthetical> <character>WHERE ARE THEY?</character> <dialogue>He is going to explode out of his body. The violin music gets louder and louder. It's going to burst his eardrums. The violin is now mixed with ATA's screams and the sound builds to a crescendo and then stops as...</dialogue> <character>ATA</character> <parenthetical>(the ATA in the wooden chair SCREAMS)</parenthetical> </scene> <scene> <stage_direction>134B INT. GESTAPO HOLDING CELL - NIGHT. 134B</stage_direction> <scene_description>The door opens on CURDA. He is escorted out of the cell by two guards. On the way out he sees ATA being dragged past and into a cell. ATA's hands tied behind his back. CURDA looks away, guilt, shame. He continues down the corridor, the camera stays close on his face as light and shadow rhythmically cross his face from the lights above.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - MORNING</stage_direction> <scene_description>JAN, OPALKA, and BUBLIK are on the balcony doing guard duty. All is silent. All three look exhausted. JAN is staring at his watch. OPALKA is tapping out a beat on the butt of his rifle. BUBLIK is spinning a coin in the air. Time weighs heavily.</scene_description> </scene> <scene> <stage_direction>INT. UNDERTAKER'S GARAGE - MORNING</stage_direction> <scene_description>LADISLAV dressed like the UNDERTAKER. The last of the preparations are under way. Spare pall- bearer's uniforms are laid out. The empty coffins are closed. The garage doors open and the two hearses drive out onto the street and off towards the cathedral.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - MORNING</stage_direction> <scene_description>JAN, OPALKA, and BUBLIK sit patiently, silently. The street outside, usually noisy is now quiet. Too quiet. JAN exchanges glances with OPALKA and BUBLIK. JAN creeps to the window and looks down. POV: The street is deserted. The Germans have closed off the street at each end with barriers. Suddenly there is a massive build-up of armed troops.</scene_description> <character>JAN</character> <dialogue>The Germans are surrounding the church.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We have to warn the others.</dialogue> <character>OPALKA</character> <parenthetical>(stopping him)</parenthetical> <dialogue>There isn't time. Take up defensive positions. We hold them from here.</dialogue> </scene> <scene> <stage_direction>EXT. PRAGUE STREETS - MORNING</stage_direction> <scene_description>The approaching two hearses are forced to stop. LADISLAV is in the passenger seat of the first hearse dressed as an undertaker. A German soldier approaches the hearse. Behind we see troops taking up positions around the cathedral.</scene_description> <character>GERMAN SOLDIER #1</character> <dialogue>Where are you going?</dialogue> <character>LADISLAV</character> <dialogue>The other side of town.</dialogue> <character>GERMAN SOLDIER #1</character> <parenthetical>(signalling)</parenthetical> <dialogue>Go back. No admittance.</dialogue> <scene_description>The colour drains from LADISLAV's face as he realises the cathedral will become a tomb for his comrades. The hearse starts to reverse and turns away from the cathedral.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - MORNING</stage_direction> <scene_description>The first wave of Germans slowly make their way into the church. On the balcony, OPALKA and BUBLIK have taken up defensive positions.</scene_description> <character>ANTHROPOID V20: 99</character> <dialogue>JAN and the others look down on the church and see PANNWITZ, a German officer in the Gestapo, and six of his men walking through cathedral and cautiously move to the centre. JAN's POV down from the nave as the soldiers enter. They are waiting till as many of the soldiers are gathered before they open fire. JAN looks over at OPALKA who gives a nod and then all three open fire on the Germans below. Several of the Germans are hit and fall. Some fire is returned by the soldiers but they are unsure as to where they should be aiming.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - MORNING</stage_direction> <scene_description>JOSEF, VALCIK, SVARC and HRUBY are awoken by the gunfire and jump down from their beds in the wall. They cover their ears with their hands. The noise is deafening. JOSEF grabs his STEN.</scene_description> <character>JOSEF</character> <dialogue>We have to help them.</dialogue> <scene_description>JOSEF is restrained by the others.</scene_description> <character>JOSEF</character> <parenthetical>(screams up towards the hatch)</parenthetical> <character>JAN!</character> <dialogue>The others cover his mouth.</dialogue> <character>VALCIK</character> <dialogue>We must not give ourselves away.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The Germans only know about the three on the balcony right now. Not us.</dialogue> <scene_description>JOSEF continues to struggle.</scene_description> <character>VALCIK</character> <dialogue>If it was the other way around would you not want to die knowing your comrades had at least a chance of surviving?</dialogue> <scene_description>JOSEF thinks for a second. They release him.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - MORNING</stage_direction> <scene_description>JAN finishes a clip and takes cover. The Germans pull out their wounded.</scene_description> </scene> <scene> <stage_direction>141B EXT. CATHEDRAL - MORNING 141B</stage_direction> <scene_description>From the third floor window across the street we see the German wounded being carried from the cathedral. The German machine guns are training on the cathedral windows.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - MORNING.</stage_direction> <character>JAN</character> <dialogue>Block the stairwell!</dialogue> <character>OPALKA</character> <dialogue>But that is our only way out!</dialogue> <character>JAN</character> <dialogue>It's also the only way up.</dialogue> <scene_description>JAN, OPALKA, start to throw as much furniture down the stairway that leads up to the balcony as possible. BUBLIK joins in until it's jammed with furniture. All quiet now. OPALKA winks at JAN and BUBLIK. Silence. Then a tremendous roar of automatic fire and crashing glass as teams of German machine gunners opposite the church start strafing the building. There is nothing the three can do except take shelter behind the great stone pillars that rise up in the cathedral, and wait for the firing to cease. JAN looks over BUBLIK. Bullets ricochet around BUBLIK as he tries to make himself invisible. BUBLIK starts to panic and hyperventilate.</scene_description> <character>JAN</character> <dialogue>Bublik!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Bublik!</dialogue> <scene_description>BUBLIK is not there. Tears rolls down his face and he is covering his ears with his hands whilst in the foetal position. JAN slides over to BUBLIK and grabs him. The fire dies down silence again but BUBLIK is still trying to dig himself in to the stone floor.</scene_description> <character>JAN</character> <dialogue>Hey! Hey! Breathe! With me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Big breath in.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Big breath out.</dialogue> <scene_description>JAN grabs a clip and a fistful of ammo from his pocket.</scene_description> <character>BUBLIK</character> <dialogue>I don't want to die today.</dialogue> <character>ANTHROPOID V20: 101</character> <dialogue>JAN</dialogue> <parenthetical>(mimicking Josef)</parenthetical> <dialogue>Here! Look, as we were trained.</dialogue> <scene_description>JAN loads a bullet into the clip.</scene_description> <character>JAN</character> <dialogue>Nice and easy. You do it.</dialogue> <scene_description>BUBLIK starts to load a bullet into the clip.</scene_description> <character>JAN</character> <dialogue>That's it. Easy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Concentrate on the detail.</dialogue> <scene_description>BUBLIK loads another. The panic attack subsiding.</scene_description> <character>JAN</character> <dialogue>It's OK, Bublik. You are not alone. We are here with you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And Czechoslovakia is here with us.</dialogue> <scene_description>BUBLIK shakes his head, sniffs back snot and nods. It's a tender and heart-breaking scene. JAN passing on what JOSEF had done for him in his time of need. JAN looks over at OPALKA and nods that everything is OK.</scene_description> </scene> <scene> <stage_direction>EXT. CATHEDRAL - MORNING</stage_direction> <scene_description>A detachment of Waffen SS move into position at the front door. Another A detachment of Waffen SS go through FATHER PETREK's apartment door which is attached at the front of the cathedral.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - MORNING.</stage_direction> <scene_description>JAN looks over to the balcony and sees the church swarming with Germans. JAN, OPALKA and BUBLIK open fire on the Germans below and all hell breaks loose again. A German machine gun team enters. They find a position and load. Opening fire at JAN, the wooden balcony splinters into hundreds of pieces as he drops for cover. He pulls a large splinter from between his knuckles. The furniture in the stairwell starts to move.</scene_description> <character>JAN</character> <dialogue>BUBLIK! COVER THE STAIRWELL!</dialogue> <character>ANTHROPOID V20: 102</character> <dialogue>BUBLIK ups and runs to see the Germans pulling chairs away from the stairwell. He opens fire on them dropping two before fierce gunfire is returned and he is forced back into cover.</dialogue> </scene> <scene> <stage_direction>INT. UNCLE HAJSKY'S APARTMENT, KITCHEN - DAY</stage_direction> <scene_description>UNCLE HAJSKY sits at the table staring into space. A clock ticks in the room. A startling contrast to the previous scene. UNCLE HAJSKY turns to see: POV: of the front door. Silhouettes can be seen on the other side of the glass. UNCLE HAJSKY removes his glasses like a man ready to go to sleep at the end of a long day. He places the glasses onto the table and we hold on them in CLOSE UP as UNCLE HAJSKY can be seen getting up from the table through the lenses.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>UNCLE HAJSKY enters the toilet and closes the door to a crack, peering out, when: The front door bursts open. Shouts as Gestapo officers run in. UNCLE HAJSKY closes the door, locks it, looks up and then take out his cyanide capsule and regards it. Shouting from outside and someone violently tries the handle to the locked door. UNCLE HAJSKY DROPS THE CAPSULE. He drops to his knees just as the Gestapo open fire. The wood splinters as bullets rip through the door. UNCLE HAJSKY is on his knees looking for the capsule BUT HE DOESN'T HAVE HIS GLASSES. He pats the floor with his hands in order to feel for it. IN EXTREME CLOSE UP his hand makes contact with the capsule and he puts it in his mouth and bites down as the Gestapo kick the door in. UNCLE HAJSKY roles over onto his back looking up at a Gestapo officer. His look defiant. The Gestapo officer realises and screams at the others for help. He tries to lift UNCLE HAJSKY but it's too late, he is already dead.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - MORNING</stage_direction> <scene_description>JAN is reloading, he looks over to see OPALKA taking shots at the German below. The Germans bring in a box of fragment grenades under heavy fire from the balcony.</scene_description> <character>ANTHROPOID V20: 103</character> <dialogue>JAN turns to see the furniture cave in down the stairwell.</dialogue> <character>JAN</character> <dialogue>BUBLIK! THE STAIRWELL!</dialogue> <scene_description>BUBLIK looks down to see the Germans pulling furniture from the stairwell but before he can fire is fired upon and has to take cover.</scene_description> <character>BUBLIK</character> <dialogue>WE HAVE LOST THE STAIRWELL!</dialogue> <scene_description>JAN looks at OPALKA and OPALKA up and runs just as two Germans appear at the top of the stairs. JAN fires at them killing them. OPALKA using some bookshelves as cover fires down the stairwell killing another approaching German clambering over the furniture barricade. His gun then clicks empty and he reloads. Suddenly the stairwell is all quiet. Then a grenade is thrown up the stairwell. It bounces off the wall and rolls between OPALKA and JAN. JAN sees the grenade and then looks at OPALKA. OPALKA looks at the grenade and then at JAN. JAN dives for cover and the grenade goes off!</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>The explosion shudders the crypt and dust and cement fall from the ceiling above. The men are all fixated on the noise above them.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, BALCONY - DAY</stage_direction> <scene_description>JAN recovers to see through the debris that OPALKA is slumped against the bookshelves badly wounded. Blood pours from his ears and nose and most of his right side is damaged by the blast. OPALKA takes a cyanide capsule from his jacket collar and puts into his mouth. JAN watches as OPALKA crunches down on the glass. OPALKA then put the pistol to his temple and pulls the trigger. BUBLIK who is on the upper level sees more Germans at the top of the stairwell and opens fire but one gets through.</scene_description> <character>BUBLIK</character> <dialogue>THEY ARE COMING THROUGH!</dialogue> <character>ANTHROPOID V20: 104</character> <dialogue>JAN runs up the stairs to the upper level and turns to see the German behind him. JAN opens fire and kills him. His gun clicks empty.</dialogue> <character>JAN</character> <parenthetical>(taking cover)</parenthetical> <character>I'M OUT!</character> <dialogue>BUBLIK throws over his last clip.</dialogue> <character>BUBLIK</character> <dialogue>MY LAST ONE.</dialogue> <scene_description>JAN slams the clip home, cocks the weapon and fires back down hitting three Germans but one throws up a grenade. JAN runs back through the next arch and takes cover as the grenade explodes behind him.</scene_description> <character>JAN</character> <dialogue>Kurva!</dialogue> <scene_description>A bullet has also scraped his left eyebrow and blood trickles down. He tries to swipe it in order to see. Takes his handgun from his waist belt and sees: BUBLIK firing into the nave from the next arch back. BUBLIK's STEN clicks empty, he drops it and pulls his handgun from waist belt and continues to fire. JAN turns and sees three Germans making their way along the upper level and he fires at them hitting all three. He turns and sees: A grenade bounce off the wall behind BUBLIK, who picks it up and throws it into the nave but another is thrown and lands in the last arch behind him. BUBLIK goes to retrieve it.</scene_description> <character>JAN</character> <dialogue>BUBLIK!</dialogue> <scene_description>Before BUBLIK gets to the arch the grenade goes off and knocks him back. He rolls backwards and falls off the ledge. He just manages to grab on with one hand and dangles 30 feet above the nave. JAN runs to the edge, leans down and grabs his arm, lifting him up. The Germans fire from the nave below. JAN is hit three times in the shoulder and arm. He falls backwards dropping his grip on BUBLIK. Wedged in the corner he is breathing hard. Shock on his face. JAN stares at the now empty edge where BUBLIK was and is no more. JAN turns onto his front and crawls through the last arch. Another grenade lands behind him where he was slumped and it goes off, showering him in debris.</scene_description> <character>ANTHROPOID V20: 105</character> <dialogue>JAN gets to the end wall - nowhere else to go. He loads his pistol with his last full magazine and fires at the oncoming Germans through the arch. Hits three and misses just as many. CLICK. His gun empty, he reaches for his last single bullet and starts to load it into the clip. A German grenade bounces into his lap. His throws it over the edge and into the nave. He cocks the weapon. A German standing in front of him screams:</dialogue> <character>GERMAN SOLDIER #1</character> <dialogue>HALT!</dialogue> <scene_description>JAN puts the gun to his temple and pulls the trigger.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, CRYPT - DAY</stage_direction> <scene_description>JOSEF, VALCIK, SVARC and HRUBY stand waiting anxiously. The single shot that still echoes has signalled the cease-fire. All is now quiet. They look at each other. It's obvious that it's all over upstairs. Just the heavy silence now that betokens death.</scene_description> </scene> <scene> <stage_direction>EXT. CATHEDRAL - MORNING</stage_direction> <scene_description>The bodies of JAN, OPALKA and BUBLIK have been carried out the church in rugs and laid on the pavement. PANNWITZ, KARL FRANK and many onlookers, including CURDA who is pushed to the front to identify the men.</scene_description> <character>CURDA</character> <dialogue>This is Jan Kubis.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's Adolf Opalka.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Him, I don't know, but its not Josef Gabcik or Valcik.</dialogue> </scene> <scene> <stage_direction>150B INT. CATHEDRAL, CRYPT - MORNING 150B</stage_direction> <scene_description>The four faces stare up from the darkness. Suddenly the flagstone is lifted up and light pours into the crypt. Through the opening of the flagstone a German soldier is lowered down on rope.</scene_description> <character>ANTHROPOID V20: 106</character> <dialogue>JOSEF steps forward and opens fire with the Sten and hits the soldier in the knee-caps. The soldier screams and is quickly hauled up by his comrades. The voice of PANNWITZ is then heard through a flagstone opening.</dialogue> <character>PANNWITZ (O.S.)</character> <dialogue>It is in your own interests to give yourselves up peacefully.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You have nothing to fear.</dialogue> <scene_description>The four are surprised and shocked by this announcement.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - MORNING</stage_direction> <character>PANNWITZ</character> <dialogue>This need not end in further bloodshed.</dialogue> <scene_description>PANNWITZ signals to the entrance and CURDA is dragged in by the arm. There is a long silence. The men wait expectantly.</scene_description> <character>PANNWITZ</character> <dialogue>Our patience can only be relied upon for a short time. We urge you to give yourselves up now peacefully.</dialogue> <scene_description>PANNWITZ urges CURDA to talk to them.</scene_description> <character>CURDA</character> <dialogue>Josef? You should surrender now and save yourselves.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do you hear me?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You will be treated humanely as prisoners of war.</dialogue> </scene> <scene> <stage_direction>150C INT. CATHEDRAL, CRYPT - MORNING 150C</stage_direction> <scene_description>JOSEF'S POV: CURDA is with two Gestapo officers.</scene_description> <character>JOSEF</character> <dialogue>That's Curda!</dialogue> <character>VALCIK</character> <dialogue>Curda!?</dialogue> <character>JOSEF</character> <dialogue>Traitor!</dialogue> <scene_description>JOSEF opens fire with his Sten gun in CURDA's direction. The Germans take cover.</scene_description> <character>ANTHROPOID V20: 107</character> <dialogue>JOSEF</dialogue> <scene_description>We are Czechs. We will never surrender! The Germans open fire with the machine guns opposite and chunks of masonry are churned out around opening of the crypt slit. JOSEF and the others are forced deeper into the crypt.</scene_description> </scene> <scene> <stage_direction>EXT. CATHEDRAL - MORNING</stage_direction> <scene_description>A German officer screams to halt the machine gun fire.</scene_description> </scene> <scene> <stage_direction>150D INT. CATHEDRAL, CRYPT 150D</stage_direction> <scene_description>Silence. The men regard each other. JOSEF takes four bullets and distributes them among the men.</scene_description> <character>JOSEF</character> <dialogue>We save the last one for us.</dialogue> <scene_description>They all nod. Then two tear gas grenades are thrown into the crypt through the vent. VALCIK quickly picks these up and throws them back on to the street.</scene_description> </scene> <scene> <stage_direction>EXT. CATHEDRAL - MORNING</stage_direction> <scene_description>Firemen bring hoses and spot lights are placed to shine light into the crypt.</scene_description> </scene> <scene> <stage_direction>150E INT. CATHEDRAL, CRYPT - MORNING. 150E</stage_direction> <scene_description>A large fireman's hose is then thrown through the vent of the crypt and gallons of water are pumped in. JOSEF climbs the ladder and struggles with the hose. He manages to push it out back on to the street. SVARC and HRUBY take up the tools and furiously attack the masonry hoping they can break through to the sewer. CLANG...CLANG...CLANG... JOSEF turns just in time to see a grappling hook catch the ladder by the slit high up on the wall at the end. JOSEF jumps to grab hold of the ladder but is too late and the ladder is yanked out through the slit to the street. There is no way now to stop the gallons of water pouring into the crypt.</scene_description> <character>ANTHROPOID V20: 108</character> <dialogue>The fireman's hose is put through the slit again and water gushes into the crypt again.</dialogue> </scene> <scene> <stage_direction>INT. CATHEDRAL, NAVE - MORNING</stage_direction> <scene_description>The plans for the cathedral have been discovered and are being studied by Germans. Carpets are pulled up and a large concrete slab covering the main stairs into the crypt is found.</scene_description> </scene> <scene> <stage_direction>150F INT. CATHEDRAL, CRYPT - MORNING 150F</stage_direction> <scene_description>Gallons of water pour into the crypt. HRUBY and SVARC continue feverishly hammering at the masonry. Water rises and washes over a burning candle extinguishing its flame.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL - MORNING</stage_direction> <scene_description>The Germans chisel detonators into the concrete slab and reel the trigger wire away to a safe distance.</scene_description> </scene> <scene> <stage_direction>150G INT. CATHEDRAL, CRYPT - MORNING 150G</stage_direction> <scene_description>JOSEF wades towards the SVARC and HRUBY when suddenly there is a very loud explosion at the back of the crypt and the shock wave throws JOSEF into the now deep water. Brief underwater shot and the SOUND FADES AWAY. \[NOTE: THE FOLLOWING SEQUENCE PLAYS OUT TO A HAUNTING PIECE OF PIANO MUSIC. NO PRODUCTION SOUND IS HEARD. THE FOLLOWING SHOTS ARE HAND-HELD AND WILL CONVEY THE DRAMA AND IMMEDIACY OF THE SITUATION.\] JOSEF comes up for air and turns. A cloud of dust envelops the crypt. The Germans have blasted a bricked-up entrance at the back top part of the crypt. Underneath the blast hole are stone steps leading down into the crypt. HRUBY and SVARC continue feverishly hammering at the masonry. HRUBY stops chiselling the masonry and turns to face JOSEF and VALCIK. JOSEF and VALCIK look over at HRUBY. HRUBY's face, soaking wet, void of hope. He shakes his head. There is no escape into to the sewers. It's hopeless. VALCIK throws a spare pistol at HRUBY.</scene_description> <character>ANTHROPOID V20: 109</character> <dialogue>HRUBY catches it, cocks it. SVARC takes his pistol from his belt and clocks it.</dialogue> <dialogue>They all turn to the steps that lead up to the blast hole and take up defensive positions.</dialogue> <dialogue>Two German soldiers run down the stone stairs into the crypt. JOSEF wades forward and fires his pistols twice.</dialogue> <dialogue>A hand-grenade is thrown into the crypt and falls into the waist-level water at the bottom of the steps. It explodes. The water absorbs most of the blast but a massive plume of water is thrown up drenching the men.</dialogue> <dialogue>Two more German soldiers come down the steps. VALCIK opens fire killing them but the Sten gun clicks empty. He throws it into the water and takes his pistol from his belt.</dialogue> <dialogue>Another grenade hits the water. The men take cover. The water explodes upwards. Another German takes the stairs down into the crypt. HRUBY fires till his gun clicks empty.</dialogue> <dialogue>JOSEF shakes his head in resignation and takes the single bullet from his breast pocket. He holds his open palm outstretched toward the other three men.</dialogue> <dialogue>They all take a single round from their pockets. They come together. Four palms each open with a bullet.</dialogue> <dialogue>JOSEF clenches his fist around the bullet. The others do the same. The four fists are an eloquent symbol of strength and resistance.</dialogue> <dialogue>The chambers of the weapons are loaded and clocked. They smile sadly. Then all four place the guns to their temples.</dialogue> <dialogue>Close up of JOSEF. A German has got down the first two steps and fires his machine gun at them.</dialogue> <dialogue>Two are slightly hit but then shoot themselves so there is no chance of being taken alive.</dialogue> <scene_description>BANG. BANG. BANG. In the cross-fire HRUBY, VALCIK and SVARC fall into the water. Close up of JOSEF, the gun at his temple - looking straight ahead.</scene_description> <character>ANTHROPOID V20: 110</character> <dialogue>A split second of silence. FLASH FRAMES of the back of LENKA's head. Hair gently blowing in the wind. CAMERA Slowly tracks in to her.</dialogue> <dialogue>LENKA's dead hand hangs limp. Blood dripping from the fingertips.</dialogue> <dialogue>JOSEF's POV: LENKA standing opposite him. Wet, pale, angelic. Up to her waist in water. A white lace dress hugs her elegant figure and flows in the water around her. She smiles.</dialogue> <dialogue>Close up of JOSEF's eyes. They seem to briefly smile.</dialogue> <scene_description>BANG. The water from the hose continues to pour into the crypt. The German soldiers walk down the steps, guns at the ready. The bodies of JOSEF, VALCIK, HRUBY and SVARC float in the swirling waters. Close up of the PHOTO of LENKA floating on the surface of the water. It swirls around with other floating debris until it sinks below the surface and fades from view in the darkness. TITLE CARD: Josef Gabcik Jan Kubis Adolf Opalka Josef Valcik Jaroslav Svarc Josef Bublik Jan Hrubry The seven parachutists held the church for 6 hours. TITLE CARD: Four months before his assassination, Reinhard Heydrich attended a secret meeting in Wannsee to finalise the Nazi policy of Jewish extermination. Heydrich is considered to be one of leading architects of the Final Solution to the Jewish 'question'. TITLE CARD: The Czechoslovak Government-in-exile considered the assassination of Heydrich as an act of retribution and a clear sign that Czechoslovakia was still resisting Nazi rule. It was also meant to send a clear message to the Nazis that none of them were untouchable and could be made to answer for their actions at anytime.</scene_description> <character>ANTHROPOID V20: 111</character> <dialogue>It was an important message but sent at great cost to the Czech people.</dialogue> <dialogue>In the aftermath of the assassination over 5000 Czech men, women and children were executed by the SS.</dialogue> <dialogue>For helping in the assassination, Marie Kovárniková, reportedly pregnant with Jan's child, was executed at Mauthausen concentration camp on 24 October, 1942.</dialogue> <scene_description>TITLE CARD: The traitor Karel Curda was arrested by the Czech authorities in 1945 and hanged two years later for treason. TITLE CARD: Vanek Ladislav was arrested by the Gestapo on 4th September 1942. He gave up many of the names associated with the Jindra resistance group and survived the war as a prisoner at Gestapo headquarters. After the war he became a collaborator for the Czechoslovak state police (StB) and informed on anticommunist activities. The accounts of his part played in the assassination of Reinhard Heydrich have subsequently been challenged. TITLE CARD: After the assassination and the bloody reprisals committed by the Nazis on Czech citizens, Winston Churchill declared the Munich Agreement null and void and counted Czechoslovakia as an important ally in the fight for freedom.</scene_description> <character>END CREDITS</character> <dialogue>ANTHROPOID V20: 112</dialogue> </scene> </script>

In December 1941, German occupation in Europe has neared its height. Two agents from the Czechoslovak exile government, a Slovak soldier, Jozef Gabčík and a Czech, Jan Kubiš are parachuted into their occupied country. Jozef is injured when he crashes through a tree upon landing, but both men set out to find their contact in the resistance movement. They are discovered shortly afterwards by fake resistance fighters who turn out to be traitors; one is shot by Jozef but the other man escapes. Stealing their truck, the agents head for Prague. When they seek out their contact, they are directed to Dr. Eduard, a veterinary surgeon who stitches Jozef's injuries. Eduard informs them their contact was arrested by the Gestapo and arranges for them to meet other resistance members, led by "Uncle" Jan Zelenka-Hajský and Ladislav Vaněk. Gabčík and Kubiš reveal that they are under orders to carry out "Operation Anthropoid," the assassination of Reinhard Heydrich, the main architect of the Final Solution, and the Reichsprotektor of German–occupied Czechoslovakia. With limited sources of intelligence and equipment, Jozef and Jan must find a way to assassinate Heydrich, an operation which they hope will incite further Czech resistance against the occupation. With the help of two young women, Marie Kovárníková and Lenka Fafková, along with other plotters, the agents plan to ambush Heydrich along the route to his headquarters at Prague Castle. When the agents learn that Heydrich is about to be transferred to Paris, the plan goes into effect straightaway with the duo bolstered by the addition of other agents who have been parachuted into Czechoslovakia, and the remaining resistance fighters in Prague. On 27 May 1942 the assassination attempt is carried out; it nearly fails when Jozef's Sten submachine gun jams, but Heydrich is seriously wounded when Jan throws a makeshift grenade which detonates under Heydrich's limousine before Jan and Jozef flee the scene. In response to the attack, SS security forces round up thousands of Czech citizens and carry out reprisals, during which Lenka is killed trying to escape Nazi arrest. Heydrich dies from his injuries in hospital a few days later. Reprisals continue with the village of Lidice destroyed, its male population over the age of 16 summarily murdered, and the women and children sent to concentration camps. Fearing that his own family may fall victim to the reprisals, Resistance fighter Karel Čurda contacts Karl Hermann Frank, Heydrich's replacement as Reichsprotektor and betrays the others for amnesty and the reward being offered. The Moravec family who had sheltered Jozef and Jan while they planned the attack are arrested by the Gestapo. Marie Moravec commits suicide with a cyanide pill, but her son, Ata Moravec, is tortured by the Gestapo until he reveals Jozef and Jan's hiding place in a concealed basement of the Saints Cyril and Methodius Cathedral in Prague. Hundreds of troops storm the cathedral where all the Resistance agents hiding there, including Jozef and Jan, are killed in a fierce six hour battle, along with many German soldiers. Ultimately, a total of 5,000 Czechs and Slovaks were killed in the aftermath of the "Heydrich Terror". In response to the reprisals, Winston Churchill declares the 1938 Munich Agreement, which had allowed Germany to annex Czechoslovakia, null and void.

So I Married an Axe Murderer_1993

tt0108174

<script> <scene> <stage_direction>MONTAGE OF VARIOUS SHOTS OF SAN FRANCISCO - DUSK</stage_direction> <scene_description>Over this we hear a recording of Jack Kerouac 's poem , San Francisco which is accompanied by a BE - BOP trio . Kerouac 's poetry coincides with the various shots of San Francisco . We come to a sign for Jack Kerouac Street . We PAN OVER to `` THE CITY LIGHTS BOOKSTORE '' and continue along to the ALLEYWAY where there is a large high - contrast black and white sign depicting Jack Kerouac in his famous `` I 'm looking into the distance , having a brilliant thought '' pose . CHARLIE MACKENZIE , in his late twenties , wearing a flannel shirt and torn jeans , walks INTO THE FRAME , right in front of the picture of Jack Kerouac and inadvertently strikes the exact same pose . We PULL BACK to reveal that Charlie has a bag of garbage in his right hand , which he deposits in the alleyway . We FOLLOW Charlie into .</scene_description> </scene> <scene> <stage_direction>INT. CITY LIGHTS BOOKSTORE</stage_direction> <scene_description>We FOLLOW him through the store . By day he is the Assistant Manager , by night he is a poet . A MAN in his fifties , wearing a beret and a goatee is reading , Charles Bukowski 's , Playing The Piano Like a Percussive Instrument , Until Your Fingers Begin To Bleed A Bit . Charlie takes his place behind the cash register and resumes writing in his handsome leather - bound poetry journal .</scene_description> <character>CHARLIE</character> <parenthetical>( sotto . )</parenthetical> <dialogue>O' SCOTLAND YOUR SUCKLED TEET OF SHAME</dialogue> <scene_description>CUSTOMER approaches .</scene_description> <character>CUSTOMER</character> <dialogue>Do you have the book On The Road by Jack Kerouac?</dialogue> <scene_description>Every day there is a steady stream of tourists who come in to get copies of On The Road . Charlie is use to this and without looking up he points to a huge , well marked display of thousands of copies of On The Road . Another TOURIST COUPLE approach .</scene_description> <character>TOURIST</character> <dialogue>Do you have a copy of On The Road by Jack Kerouac?</dialogue> <scene_description>Again not looking up , Charlie just points .</scene_description> <character>TOURIST</character> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. CITY LIGHTS BOOKSTORE - NIGHT</stage_direction> <scene_description>Charlie puts the `` CLOSED '' sign on the door and proceeds to walk home .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS</stage_direction> <scene_description>The sights and the sounds of the city are accentuated by the BEBOP as he sees life , warts and all . As the streets become less populated , he can now hear the sounds of his own FOOTSTEPS and , a COUPLE BICKERING . The streets become even more deserted . The night is closing in on him . A cat darts out from an alleyway and startles him . He quickens his pace . RUMBLINGS make him cross the street to avoid the danger . Headlights of a slow moving car approach from the distance . Charlie , frightened , turns another corner onto : HIS STREET He approaches a 3 - story Victorian home , in which he has an apartment on the second floor , he notices a light on in his window . A CRASHING sound from within . HANDS taking papers out of a desk drawer . CHARLIE carefully opening the front door and then gingerly closing it . He reaches for a baseball bat in a nearby umbrella stand . Sound of BREAKING GLASS from his apartment upstairs . SHATTERED PICTURE FRAME with a photo of Charlie and an angelic blonde . CHARLIE finishing off the last two steps nearing the front door of his apartment , bat raised above his head ready to swing . THE HANDS clasp a jewelry box on the top of the dresser and stuff them into a dufflebag ; the jewelry is followed by CD 's . CHARLIE pushing open his apartment door in a mock SWAT maneuver , then stealthily stalking toward the sound of the intruder in the bedroom . He stubs his toe on a spring loaded doorstop making a loud metal VITTSWINGGGG 's sound . He freezes , terrified . THE BEDROOM where the HANDS , freeze . CHARLIE Like a coiled jungle cat ready to pounce , waits two beats . then springs Samurai style into . THE BEDROOM He freezes . REVERSE ANGLE TO REVEAL that the HANDS belong to the angelic blonde in the broken picture . It 's Charlie 's girlfriend , SHERRI .</scene_description> <character>CHARLIE</character> <dialogue>Sherri! What are you doing?</dialogue> <character>SHERRI</character> <dialogue>I'm leaving you.</dialogue> <character>CHARLIE</character> <dialogue>Oh, thank God. I thought you were robbing our own home, because frankly, that's insane. I mean, what could you possibly gain by robbing your own home? I do n't mean to meddle, but is n't it better to rob other peoples' homes? Start accumulating their wealth as opposed to just reaccumulating your own wealth.</dialogue> <character>SHERRI</character> <dialogue>That's not funny, Charlie. I'm really leaving.</dialogue> <scene_description>She continues to pack . Charlie tries to unpack her things .</scene_description> <character>CHARLIE</character> <dialogue>What?! Just because we had a fight last night?</dialogue> <character>SHERRI</character> <dialogue>We've had a fight every night for two months. Ever since I brought up the subject of marriage, you've found fault with everything I do. Why could n't we have gotten married, Charlie?</dialogue> <character>CHARLIE</character> <parenthetical>( beat . )</parenthetical> <dialogue>I'm too young to get married.</dialogue> <parenthetical>( begins putting her things back . )</parenthetical> <dialogue>I'm only twenty - nine and a half. We love living together.</dialogue> <character>SHERRI</character> <dialogue>It's been two years now. I need something more.</dialogue> <character>CHARLIE</character> <dialogue>See, Sherri, this is frustrating for me, okay. When we first started going out I thought we agreed that we were n't the sort of people who got married.</dialogue> <character>SHERRI</character> <dialogue>That's like saying we're not the sort of people who are going to grow old. We're not going to fall into that `` growing old'' trap. Face it, you've got a problem with commitment, Charlie. Take a look at your other girlfriends. Every time you get close to a commitment there's something wrong with them.</dialogue> <character>CHARLIE</character> <dialogue>Hey, I broke up with them for good reasons.</dialogue> <character>SHERRI</character> <dialogue>What about Sandy?</dialogue> <character>CHARLIE</character> <dialogue>Sandy was an alcoholic.</dialogue> <character>SHERRI</character> <dialogue>No - no - no. You thought she was an alcoholic. She just drank more than you drank. What about Jill?</dialogue> <character>CHARLIE</character> <dialogue>She hated my family.</dialogue> <character>SHERRI</character> <dialogue>You thought she hated your family. Nobody hates your family. Everybody loves your family. What about Julie?</dialogue> <character>CHARLIE</character> <dialogue>She smelled like soup.</dialogue> <character>SHERRI</character> <dialogue>What does that mean?</dialogue> <character>CHARLIE</character> <dialogue>She smelled exactly like Campbell's Beef Vegetable soup. She was dirty, physically dirty.</dialogue> <character>SHERRI</character> <dialogue>Well, Charlie, I wonder what you're gon na say were my problems? Are you gon na tell your friends that I was a junkie, that I was n't supportive enough or that I smelled like relish? Charlie, I loved you. It could have worked out.</dialogue> <parenthetical>( she goes to the door . )</parenthetical> <dialogue>Think about it.</dialogue> <scene_description>She leaves . ANGLE ON - THE BROKEN PICTURE</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - CHARLIE'S CAR - DUSK</stage_direction> <scene_description>Charlie and his best friend , TONY SPILETTI , are out for a night on the town . Tony is second generation Italian - American with very Mediterranean features . They 're listening to Teenage Fan Club . They pass Ghierardeli Square .</scene_description> <character>CHARLIE</character> <dialogue>Tony, Teenage Fan Club, they're Scottish you know?</dialogue> <character>TONY</character> <dialogue>Oh.</dialogue> <character>CHARLIE</character> <dialogue>I had that dream again.</dialogue> <character>TONY</character> <dialogue>Oh, is that the one where you suspect that a fat man in a diaper, on a lazy susan has interfered with your plans for the evening?</dialogue> <character>CHARLIE</character> <dialogue>No, but I have had that one. No, in this one I'm in love.</dialogue> <character>TONY</character> <dialogue>Yeah.</dialogue> <character>CHARLIE</character> <dialogue>And I say to myself, ` I've finally found somebody that I'm truly comfortable with.' You know when you're so comfortable that you'll let them put makeup on you to see what you would look like if you were a girl. Anyways you know what I do in the dream next?</dialogue> <character>TONY</character> <dialogue>You propose?</dialogue> <character>CHARLIE</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>No. I die.</dialogue> <character>TONY</character> <dialogue>But Charlie, you're a normal suburban guy at heart, from a normal suburban family. Did n't you tell me you always wanted to get married and have a family.</dialogue> <character>CHARLIE</character> <dialogue>Yes, but, I'm afraid, okay? There are seven main rites of passage in a man's life. Birth, first day of school, last day of school. Marriage. Kids. Retirement. Death. I'm at marriage. I'm two rites of passage away from death.</dialogue> <character>TONY</character> <dialogue>I'm sorry, I was n't listening.</dialogue> <scene_description>Tony is doing three - sixties , scoping out beauties , when suddenly his roving eyes lock on a police car directly behind them . He slouches down into his seat .</scene_description> <character>TONY</character> <dialogue>Christ. It's the cops.</dialogue> <character>CHARLIE</character> <dialogue>Tony, you are a cop.</dialogue> <character>TONY</character> <dialogue>I know. Is n't it awful? I work with those guys. They're assholes.</dialogue> <scene_description>The police car passes .</scene_description> </scene> <scene> <stage_direction>INT. SPILETTI'S COFFEE HOUSE - NIGHT</stage_direction> <scene_description>Tony and Charlie enter . There is a poet on stage . The club is full of art tarts and college bohemians . They are greeted by the club 's owner , GIUSEPPI , an Italian man in his fifties .</scene_description> <character>TONY</character> <dialogue>Salve zio mio.</dialogue> <character>UNCLE</character> <dialogue>Allora? Che catzo fai, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Hi, Uncle Giuseppi.</dialogue> <character>UNCLE</character> <dialogue>Tony, come' stai bello il tuo pappa e' in galera per la terza volta.</dialogue> <scene_description>Tony 's uncle shows them to a table .</scene_description> <character>UNCLE</character> <dialogue>I'll have the waitress bring you cappuccino.</dialogue> <character>CHARLIE</character> <dialogue>What did your uncle say?</dialogue> <character>TONY</character> <dialogue>He says my Dad's back in jail again.</dialogue> <character>CHARLIE</character> <dialogue>Ah, I'm sorry, man.</dialogue> <character>TONY</character> <dialogue>You know, it's funny I do n't even feel related to my parents anymore. I feel like your mom and dad are more like my parents. I feel more Scottish than Italian.</dialogue> <character>CHARLIE</character> <dialogue>Tony Spiletti, I do n't think you could get more Italian than that. Unless of course your name was Tony Italian Guy.</dialogue> <scene_description>Charlie checks out the girls in the coffee bar .</scene_description> <character>CHARLIE</character> <dialogue>I'm so bummed. Sherri was great, was n't she? I'm an asshole, are n't I?</dialogue> <character>TONY</character> <dialogue>Yes.</dialogue> <character>CHARLIE</character> <dialogue>You've got to help me get through this night.</dialogue> <character>TONY</character> <dialogue>You've just got to get back on the horse.</dialogue> <scene_description>The waitress arrives with two cappuccinos in extremely large cups like they have in France .</scene_description> <character>CHARLIE</character> <dialogue>Waitress, I'm sorry, there seems to be a mistake. I ordered the large cappuccino.</dialogue> <scene_description>Two girls at a nearby table , laugh . Charlie and Tony exchange , `` This could be promising . '' looks .</scene_description> <character>CHARLIE</character> <parenthetical>( to the girls . )</parenthetical> <dialogue>Do you think these cups could be larger? They're practically bowls.</dialogue> <scene_description>The girls laugh again .</scene_description> <character>CHARLIE</character> <dialogue>I feel like I'm having Campbell's Cuppuccino.</dialogue> <character>TONY</character> <dialogue>Join us in a cup of coffee? There's enough room?</dialogue> <character>GIRLS</character> <dialogue>Sure!</dialogue> <scene_description>The girls come over .</scene_description> <character>SUSAN</character> <dialogue>My name's Susan and this is June. We think you're funny.</dialogue> <character>TONY</character> <dialogue>My name's Tony. This is my friend Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Look, Tony, I'm going home. See you later, girls.</dialogue> <scene_description>Tony grabs him and pulls him aside .</scene_description> <character>TONY</character> <dialogue>You really do n't understand, do you? When a girl comes over to your table and says,' I think you're funny.' It means you've pretty much been given the keys to the city. Charlie, this is big.</dialogue> <character>CHARLIE</character> <dialogue>Perhaps you've confused me with someone who gives a shit. Here's what's gon na happen, Tony. We'll end up going out with them tonight, maybe even home with them. Well go out for two months. Soon she'll move in, we'll be happy, She'll want more of a commitment. I'll be terrified and I'll do something to ruin it. Just like I did with Sherri.</dialogue> <scene_description>He leaves . Tony is left with the two girls .</scene_description> <character>JUNE</character> <dialogue>Poor, guy. He seemed so nice.</dialogue> <character>TONY</character> <parenthetical>( talking , choked up . )</parenthetical> <dialogue>I just broke up with somebody as well. She left me high and dry.</dialogue> <scene_description>The girls try to comfort him .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <scene_description>Three quarters of the furnishings and items have disappeared with Sherri . Charlie sits dejectedly on the floor over his Poetry Journal . He is missing Sherri . We see . CHARLIE 'S FACE He looks out and is struck by an idea and begins to write . ANGLE ON THE JOURNAL I AM LONELY . CHARLIE 'S FACE Again he looks out , finds his inspiration and continues to write IN THE JOURNAL</scene_description> <character>IT'S REALLY HARD</character> <dialogue /> <scene_description>CHARLIE 'S FACE A gentle tear rolls down his left cheek . He pauses , then finishes off the stanza . IN THE JOURNAL</scene_description> <character>THIS POEM SUCKS</character> <dialogue /> <scene_description>After the last line he scratches out the entire poem . He closes the book and turns on the TV set to CNN to veg out . The show is `` What 's Cooking ! With Burt Wolf . ''</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <scene_description>Charlie is driving in his car . He drives slowly looking for an address . Finds it , slips in to a parking spot in front .</scene_description> </scene> <scene> <stage_direction>EXT. BUTCHER'S SHOP - MEATS OF THE WORLD</stage_direction> <scene_description>Adorning the front are a `` GRAND OPENING '' sign and miniature flags of the world . Charlie goes inside .</scene_description> </scene> <scene> <stage_direction>INT. BUTCHER'S SHOP</stage_direction> <scene_description>It 's a small , hip shop selling specialty meats from around the world . Charlie looks around . Suddenly , an attractive woman in her late twenties , wearing a blood - stained smock enters . It is HARRIET MICHAELS . She has a cleaver in one hand and something bloody in the other .</scene_description> <character>HARRIET</character> <parenthetical>( angry . )</parenthetical> <dialogue>Goddamn shoplifter.</dialogue> <parenthetical>( conscious of Charlie 's presence ; holding up bloody meat . )</parenthetical> <dialogue>But I got him!</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>You're next.</dialogue> <character>CHARLIE</character> <parenthetical>( backing out the door ; terrified . )</parenthetical> <dialogue>I've come at a bad time.</dialogue> <character>HARRIET</character> <dialogue>No stay!</dialogue> <character>CHARLIE</character> <dialogue>No, no, really. Obviously you've got things you have to do. You've got to dismember the rest of his bloody torso. Dig a makeshift shallow grave. Cover the body with quick lime. Really so much to do, so little time and I'm only in the way here, I'm just gon na go. Good luck.</dialogue> <character>HARRIET</character> <parenthetical>( referring to meat in hand . )</parenthetical> <dialogue>Oh, this! Oh, no, this is what he stole. This is n't a piece of him or anything. This is Icelandic Shank.</dialogue> <character>CHARLIE</character> <dialogue>I bet it goes well with a nice Chianti. Fittfittfitt.</dialogue> <character>HARRIET</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Can I help you?</dialogue> <character>CHARLIE</character> <dialogue>Yes. Do you have haggis?</dialogue> <character>HARRIET</character> <dialogue>Yes, we do. It's over here in our Scottish Cuts section. One?</dialogue> <scene_description>This is a section under glass flying a Scottish flag , with haggis and various cuts of Scottish meat .</scene_description> <character>CHARLIE</character> <dialogue>Yes! I've never been able to find haggis anywhere, except at my parents' house. They're Scottish.</dialogue> <scene_description>Harriet rounds the counter and wraps up the haggis . Behind her is the large `` PRUSSIAN VENISON '' sign .</scene_description> <character>HARRIET</character> <parenthetical>( ringing up his order . )</parenthetical> <dialogue>That'll be fifteen, seventy - nine. Will there be anything else?</dialogue> <character>CHARLIE</character> <dialogue>Yes. I know it's a long shot, but you would n't by any chance happen to have any Prussian Venison?</dialogue> <character>HARRIET</character> <dialogue>Now where in the world would I get Prussian Venison?</dialogue> <scene_description>Charlie 's charmed .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <scene_description>Charlie is driving along listening to Kerouac . We absorb the flavor of San Francisco as he drives down Lombard Street .</scene_description> </scene> <scene> <stage_direction>EXT. CHARLIE'S PARENTS' APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>An old crappie apartment building in San Francisco . Charlie 's car pulls up . We hear `` SATURDAY NIGHT '' by the Bay City Rollers .</scene_description> </scene> <scene> <stage_direction>INT. OUTER HALLWAY OF CHARLIE'S PARENTS' APARTMENT - NIGHT</stage_direction> <scene_description>Charlie approaches a door .</scene_description> <character>CHARLIE</character> <parenthetical>( calling up . )</parenthetical> <dialogue>Mom, Dad, I'm here.</dialogue> <character>STUART</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We're in here, son.</dialogue> <scene_description>The apartment is a shrine to Scotland . Scottish paraphernalia , miniature Scotty dogs , shortbread tins and , on wall , framed pictures depict famous Scotsmen , Sean Connery , Jackie Stewart , Alexander Graham Bell , James Doohan -LRB- Scottie from `` Star Trek '' -RRB- , Sheena Easton , Billy Connolly . CHARLIE 'S POV - AS WE ENTER THE LIVING ROOM We see STUART , MAY , TONY , and little WILLIAM , Charlie 's fourteen year old little brother all singing :</scene_description> <character>ALL</character> <parenthetical>( singing . )</parenthetical> <dialogue>S - A - T - U - R - D - A - Y. NIGHT</dialogue> <character>STUART</character> <parenthetical>( noticing Charlie . )</parenthetical> <dialogue>Come give your old man a kiss or I'll kick your teeth in.</dialogue> <scene_description>The group are eating dinner on TV trays . Charlie walks over and turns off the record .</scene_description> <character>MAY</character> <dialogue>Charlie, put on Charlie Pride, would ya? Oh, I love Charlie Pride.</dialogue> <parenthetical>( begins singing ; in thick Scottish accent . )</parenthetical> <dialogue>HEY, DID YOU HAPPEN TO SEE THE MOST BEAUTIFUL GIRL IN THE WORLD.</dialogue> <character>STUART</character> <dialogue>May, shut it.</dialogue> <scene_description>STUART MACKENZIE is in his late fifties , a butcher , with Coke bottle glasses and thick head of black hair . His red - haired wife , MAY , is in her fifties , attractive with a soft , but tough appearance . Little WILLIAM , has a very large head and a skinny neck . Like Charlie , he was born in America . Charlie gives his Mom a hug , his father a kiss .</scene_description> <character>CHARLIE</character> <dialogue>Hey, William.</dialogue> <character>WILLIAM</character> <parenthetical>( on his stomach on the floor ; watching TV . )</parenthetical> <dialogue>Hey, Charlie.</dialogue> <character>STUART</character> <dialogue>SCORES! MAGIC GOAL!</dialogue> <scene_description>On the television , Stuart 's team , Glasgow Celtic , has scored .</scene_description> <character>TONY</character> <dialogue>Aye - magic.</dialogue> <character>STUART</character> <dialogue>Let's have a look at the re - play. William, move your head. Look at the size of that ooy's heed. I'm not kidding. It's like an orange on a tooth pick.</dialogue> <character>MAY</character> <dialogue>Stuart, you're going to give the boy a complex.</dialogue> <character>STUART</character> <dialogue>I'm not kidding. That's a huge noggin'. It has it's own weather system. It's a virtual planetoid.</dialogue> <parenthetical>( shouting to William . )</parenthetical> <dialogue>Heed! Move!</dialogue> <scene_description>We see the re - play of the goal on TV . Tony sits down and May brings over a plate of stew and three types of potatoes , piled very high .</scene_description> <character>MAY</character> <dialogue>Is that enough potatoes, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Enough to recreate Devil's Tower in `` Close Encounters''.</dialogue> <character>STUART</character> <parenthetical>( sniffs the air . )</parenthetical> <dialogue>Do I smell haggis?</dialogue> <character>CHARLIE</character> <dialogue>Aye, you do.</dialogue> <character>MAY</character> <parenthetical>( taking it . )</parenthetical> <dialogue>I'll put it in the frig.</dialogue> <scene_description>Charlie notices Tony reading some papers . He realizes it 's literature from the Lyndon H. LaRouche Society .</scene_description> <character>CHARLIE</character> <dialogue>Dad, what are you doing to Tony now? Why do you abuse his mind like this?</dialogue> <character>STUART</character> <dialogue>That's the latest report from Lyndon H. LaRouche, outlining how the Queen and the Rothschilds masterminded the Soviet overthrow, so that they could reclaim lands they had annexed during the Holy Roman Empire.</dialogue> <character>TONY</character> <parenthetical>( goading Charlie . )</parenthetical> <dialogue>You know a lot of this makes sense.</dialogue> <character>CHARLIE</character> <dialogue>I think you're suffering from the Stockholm Syndrome, where the hostages start to relate to their captors.</dialogue> <character>STUART</character> <dialogue>Listen, Sonny Jim, it's a known fact there's a society of the five wealthiest people in the world, called the Pentaverate, who run everything and meet three times a year at a secret country mansion in Colorado, known as `` The Meadows.''</dialogue> <character>CHARLIE</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>And that's obviously why we have n't heard about it in the newspapers.</dialogue> <character>STUART</character> <parenthetical>( inappropriately angry &amp; loud . )</parenthetical> <dialogue>That's right. They fuckin' own the papers, smartass. And everything else. Why do you think Scotland's not been able to get independence? Because the Queen the Pentavirate and those English dome heads in West Minster wo n't have it.</dialogue> <character>CHARLIE</character> <dialogue>Who are the other members of this pentaverate?</dialogue> <character>STUART</character> <dialogue>The Queen, the Rothchilds, the Gettys, the Vatican, and Colonel Sanders before he went tits up. Oh, I hated the Colonel with his wee beady eyes. And that smug look on his face.</dialogue> <character>CHARLIE</character> <dialogue>Dad how can you hate `` the Colonel?''</dialogue> <character>STUART</character> <dialogue>Because the Colonel puts an addictive chemical in it that makes you crave it fortnightly.</dialogue> <character>CHARLIE</character> <dialogue>Interesting. coo - coo</dialogue> <character>MAY</character> <dialogue>Would anyone like a juice? Charlie, did I tell you, we bought a Juice Tiger?</dialogue> <character>CHARLIE</character> <dialogue>A Juice Tiger?</dialogue> <character>MAY</character> <dialogue>Aye, it's a juicer. It's part of my National Enquirer, Garth Brooks diet. Would you like potato juice?</dialogue> <character>CHARLIE</character> <dialogue>Thank you, no.</dialogue> <character>MAY</character> <dialogue>Sherri's late.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, uh, Sherri and I broke up.</dialogue> <character>MAY</character> <dialogue>Oh, you did n't. Sherri was the daughter your father was never able to give me.</dialogue> <character>CHARLIE</character> <dialogue>I'm just not ready for marriage. I'm twenty - nine and my poems have n't even been published yet.</dialogue> <character>STUART</character> <dialogue>But it's not just the poetry is it son? You're afraid if you get married you'll lose your muse. Look at me, I was a strapping young butcher, at the height of my creative powers. When it came to de - boning a side of beef, there was nobody that could touch me. Then I married your mother. And people would still stand in awe as I filleted a shoulder of lamb.</dialogue> <character>MAY</character> <dialogue>Maybe it's just as well not to get married, look at the news. Where did I put it?</dialogue> <character>STUART</character> <dialogue>Heed. Move that melon of yours into the bathroom and get the paper for your mother.</dialogue> <scene_description>William gets the National Enquirer and brings it back .</scene_description> <character>CHARLIE</character> <dialogue>That's not news, Dad. That's bullshit. I would n't wipe my ass with that paper.</dialogue> <character>STUART</character> <dialogue>What are you talking about? It's the fifth highest circulating paper in the United States, I'll have you know.</dialogue> <character>MAY</character> <dialogue>Oh, here it is. Mrs. X. The Honeymoon Murderer. She marries men under fake identities, and then murders them. She killed some German martial arts expert, and some plumber named Ralph Elliot. Her whereabouts are unknown.</dialogue> <scene_description>There 's another goal on the TV set .</scene_description> <character>STUART</character> <dialogue>Scores! Two nil. Magic!</dialogue> <character>TONY</character> <dialogue>Ah, beautiful goal. We HOLD on the TV set.</dialogue> <scene_description>Time passes . The TV set TO THE END OF THE GAME The two teams are shaking hands . And the final scores chyron shows Celtic beating Rangers three nothing . We see Charlie and Tony are leaving . Stuart is blind drunk .</scene_description> <character>STUART</character> <parenthetical>( singing Rod Stewart 's song . )</parenthetical> <dialogue>YOU'RE IN MY EYES, YOU'RE IN MY DREAMS. YOU'RE CELTIC, UNITED AND BABY I'VE DECIDED.</dialogue> <character>MAY</character> <dialogue>Ah, you're steaming.</dialogue> <scene_description>She meets Charlie and Tony at the door and kisses him good - bye . She turns to kiss Tony , and holds on the kiss far too long .</scene_description> <character>TONY</character> <parenthetical>( pulling away . )</parenthetical> <dialogue>See you later, Mrs. MacKenzie.</dialogue> <character>MAY</character> <dialogue>Oh, you've turned into a sexy Italian bastard.</dialogue> <character>CHARLIE</character> <dialogue>See you later, mom.</dialogue> <parenthetical>( calling out . )</parenthetical> <dialogue>See you later, Dad.</dialogue> <character>STUART</character> <dialogue>Fine. Go! You've stayed your hour.</dialogue> <scene_description>Charlie and Tony leave and enter . THE HALLWAY where they find William sitting on the stairs waiting for them .</scene_description> <character>WILLIAM</character> <dialogue>Take me with you.</dialogue> </scene> <scene> <stage_direction>EXT. MEATS OF THE WORLD - LATE AFTERNOON</stage_direction> <scene_description>Charlie 's drives by and notices Harriet , who 's unwinding the store awning in Dutch national costume . The banner announces `` DUTCH WEEK . '' `` MEATS OF THE WORLD SALUTES DUTCH MEAT . '' Charlie slows down to look at her . She looks great in her little Dutch costume .</scene_description> </scene> <scene> <stage_direction>INT. CITY LIGHTS BOOKSTORE - DAY</stage_direction> <scene_description>Charlie is again writing at the counter . Another PERSON enters .</scene_description> <character>MAN</character> <dialogue>Excuse me. You would n't happen to have.</dialogue> <scene_description>Charlie again points to the Kerouac section without looking up .</scene_description> <character>MAN</character> <dialogue>Thanks.</dialogue> <scene_description>ON THE PAD Charlie writes . OH MEAT MAID , IF THE CATTLE HAD HAD A CHOICE , THEY WOULD HAVE SLAUGHTERED THEMSELVES WILLINGLY FOR A CHANCE TO BE TOUCHED BY YOUR FINGERS CHARLIE 'S FACE She 's on his mind .</scene_description> </scene> <scene> <stage_direction>EXT. MEATS OF THE WORLD</stage_direction> <scene_description>Charlie 's car pulls up . The sign reads , `` WELSH WEEK '' `` MEATS OF THE WORLD SALUTES WELSH MEATS ''</scene_description> </scene> <scene> <stage_direction>INT. MEATS OF THE WORLD</stage_direction> <scene_description>The store is very busy . There is a line at the meat counter seven people deep . Charlie takes his place at the end of the line . We see a montage of a persons hands chopping a rack of lamb into lamb chops , and carving meat with surgical efficiency .</scene_description> <character>HARRIET</character> <parenthetical>( spotting Charlie in the crowd . )</parenthetical> <dialogue>Oh, hi haggis, right?</dialogue> <character>CHARLIE</character> <dialogue>It was a big hit.</dialogue> <character>HARRIET</character> <parenthetical>( finishing up with a customer . )</parenthetical> <dialogue>I remember you told me you were Scottish, but do you really like haggis.</dialogue> <character>CHARLIE</character> <dialogue>No. I think it's repellent in every way. In fact, I think most Scottish cuisine is based on a dare.</dialogue> <scene_description>Harriet laughs .</scene_description> <character>HARRIET</character> <parenthetical>( to the next customer . )</parenthetical> <dialogue>Can I help you?</dialogue> <parenthetical>( to Charlie . )</parenthetical> <dialogue>Sorry, I'm really busy.</dialogue> <character>CHARLIE</character> <dialogue>Look, um, my dad's a butcher, do you need a hand?</dialogue> <character>HARRIET</character> <dialogue>Well, actually, Yes.</dialogue> <scene_description>Charlie puts on a very stylish butcher smock and crosses behind the counter .</scene_description> <character>HARRIET</character> <dialogue>Can you get me four Belgian porterhouses? Do you know what a porterhouse looks like?</dialogue> <character>CHARLIE</character> <dialogue>I'm meat literate.</dialogue> <scene_description>Time passes we see a montage of Harriet and Charlie serving customers . Ending on a customer 's POV of Charlie .</scene_description> <character>CUSTOMER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes, do you have any fresh blubber?</dialogue> <character>CHARLIE</character> <dialogue>I'll check.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You want blubber, right?</dialogue> <character>CUSTOMER</character> <dialogue>Yeah.</dialogue> <scene_description>We see Charlie 's POV of an Eskimo with a `` lower forty - eighth '' accent .</scene_description> <character>CUSTOMER</character> <dialogue>My parents are coming to town. You know how parents are. They'll drive you nuts.</dialogue> <scene_description>The Eskimo exits , there are no customers left .</scene_description> <character>HARRIET</character> <dialogue>Look, I'm really grateful. Can I offer you some meat as payment? Please, help yourself to some meat.</dialogue> <character>CHARLIE</character> <dialogue>I'm trying to be a vegetarian.</dialogue> <character>HARRIET</character> <dialogue>Trying to be a vegetarian?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, the problem is I really love hot - dogs.</dialogue> <character>HARRIET</character> <dialogue>I think the meat industry invented hot - dogs to stop people from becoming vegetarians. There's got to be something I can do to repay you.</dialogue> <character>CHARLIE</character> <dialogue>You could take me to a nice romantic dinner.</dialogue> </scene> <scene> <stage_direction>EXT. PIER - NIGHT</stage_direction> <scene_description>Charlie and Harriet are eating hot - dogs . As Charlie puts the relish on , he smells the relish .</scene_description> <character>CHARLIE</character> <parenthetical>( sniffing the relish . )</parenthetical> <dialogue>This reminds me of my ex - girlfriend.</dialogue> <character>HARRIET</character> <dialogue>I hate talking about old relationships.</dialogue> <character>CHARLIE</character> <dialogue>Then let's not and say we did.</dialogue> <character>HARRIET</character> <parenthetical>( she laughs . )</parenthetical> <dialogue>That was easy - What a nice guy. You've probably never done a mean thing in your life.</dialogue> <character>CHARLIE</character> <dialogue>You'd be surprised.</dialogue> <character>HARRIET</character> <dialogue>I'd like to hear.</dialogue> <parenthetical>( to his confused look . )</parenthetical> <dialogue>Name me something bad you've done in your life.</dialogue> <character>CHARLIE</character> <dialogue>Are you kidding me?</dialogue> <character>HARRIET</character> <dialogue>No. Did you ever steal anything? You ever hit someone?</dialogue> <character>CHARLIE</character> <dialogue>Well, I've been in fights. Let me think.</dialogue> <character>HARRIET</character> <parenthetical>( as Charlie thinks . )</parenthetical> <dialogue>Not one bad thing, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Tell me something bad you've done. And it better be bad. I mean, evil.</dialogue> <character>HARRIET</character> <dialogue>How evil?</dialogue> <character>CHARLIE</character> <dialogue>Really evil.</dialogue> <parenthetical>( thinks . )</parenthetical> <dialogue>Like how many people have you brutally murdered?</dialogue> <character>HARRIET</character> <dialogue>`` Brutal'' is such a subjective word. I mean, what's brutal to one person might be totally reasonable to another.</dialogue> <scene_description>Next to them is a German couple , speaking German , looking through a coin - operated binocular . He says something which causes her to cry .</scene_description> <character>CHARLIE</character> <dialogue>This just reminded her of that scene in `` Brian's Song''.</dialogue> <character>HARRIET</character> <dialogue>Actually, he just proposed to her. Those are tears of joy.</dialogue> <scene_description>She lifts her soda to toast them .</scene_description> <character>HARRIET</character> <dialogue>Prost.</dialogue> <scene_description>The man and woman smile and nod .</scene_description> <character>MAN</character> <dialogue>Danke, Fraulein.</dialogue> <character>CHARLIE</character> <dialogue>You're very smart. It's a shame I'm going to have to destroy you.</dialogue> <character>HARRIET</character> <dialogue>Do bright women intimidate you?</dialogue> <character>CHARLIE</character> <dialogue>No, not at all.</dialogue> <character>HARRIET</character> <dialogue>Really, what do you look for in women you date?</dialogue> <character>CHARLIE</character> <parenthetical>( thinks . )</parenthetical> <dialogue>Well, I know everyone always say `` sense of humor'', but I'd have to go with breast size.</dialogue> <parenthetical>( she laughs . )</parenthetical> <dialogue>How about you? In a guy.</dialogue> <character>HARRIET</character> <dialogue>Income of course, and then.</dialogue> <parenthetical>( thinks . )</parenthetical> <dialogue>. savings.</dialogue> <scene_description>He smiles at her .</scene_description> <character>CHARLIE</character> <dialogue>Me likey how you thinkey.</dialogue> </scene> <scene> <stage_direction>INT. HARRIET'S APARTMENT - NIGHT</stage_direction> <scene_description>The lights turn on , and then they enter a very bohemian apartment . There is artists paraphernalia strewn around . A small bar separates the living area from the kitchen . She smiles and walks off into the kitchen .</scene_description> <character>HARRIET</character> <dialogue>I'll make us some tea.</dialogue> <scene_description>He checks out her apartment . On the wall there is a huge poster of the BOARDWALK IN ATLANTIC CITY .</scene_description> <character>CHARLIE</character> <dialogue>Hey, you know what this apartment needs? A really large oversized poster of Atlantic City.</dialogue> <character>HARRIET</character> <dialogue>I used to live there. That's where I had my first supermarket job.</dialogue> <scene_description>On his way out , he peeks into the bedroom , where he finds a bed that is facing neither parallel nor perpendicular with the wall . It is just kind of `` there '' .</scene_description> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( coming into room . )</parenthetical> <dialogue>I only have chamomile. I hope that's all right.</dialogue> <scene_description>He looks at her and then at the `` Oddly - placed '' bed .</scene_description> <character>HARRIET</character> <dialogue>It's North - South.</dialogue> <parenthetical>( to his confused look . )</parenthetical> <dialogue>For health reasons. See. I had this friend, he was a martial arts expert. Anyways, he used to sleep North - South. I do n't know. It's a martial arts thing and it just sort of became a habit with me.</dialogue> <character>CHARLIE</character> <parenthetical>( walking into living room . )</parenthetical> <dialogue>You know Scotland has it's own martial arts. It's called FUCKU. It's mostly head butting and kicking people when they're on the ground.</dialogue> <scene_description>Harriet starts laughing . Then so does Charlie . They lean into each other . Pretty close . Too close even , and when it seems like they 're going to kiss , Charlie suddenly gets uncomfortable and looks at his watch .</scene_description> <character>HARRIET</character> <dialogue>Late?</dialogue> <character>CHARLIE</character> <dialogue>No. No. Not for me.</dialogue> <character>HARRIET</character> <dialogue>Who for then?</dialogue> <character>CHARLIE</character> <dialogue>Who for then what?</dialogue> <character>HARRIET</character> <dialogue>Well, you looked at your watch and said it was n't late for you. I wondered who it was late for.</dialogue> <character>CHARLIE</character> <dialogue>Not me. No, Sir. Not here.</dialogue> <parenthetical>( after a pause ; checking watch . )</parenthetical> <dialogue>Maybe it is late.</dialogue> <scene_description>She gets him his coat . He starts to leave .</scene_description> <character>CHARLIE</character> <dialogue>Look, the truth is, yes, I had a great time, and I'd like to kiss you, but if we do kiss, then we'll kiss on the couch and if we kiss on the couch, then we'll kiss in the bedroom, and once you're in the bedroom - Well, the thing is, I always rush it. And this time I feel like maybe I should wait. Maybe we should let it build naturally and grow, instead of just immediately spending the night together.</dialogue> <character>HARRIET</character> <dialogue>I want to spend the night together.</dialogue> <character>CHARLIE</character> <parenthetical>( sold . )</parenthetical> <dialogue>I have no problem with that.</dialogue> <scene_description>THE BEDROOM - MIDDLE OF THE NIGHT They are both fast asleep . She is curled up in his arms . Suddenly , she begins to speak .</scene_description> <character>HARRIET</character> <dialogue>Yes! Yes!</dialogue> <scene_description>Charlie 's eyes open . He smiles .</scene_description> <character>HARRIET</character> <dialogue>Yes Ralph. I will. Ralph.</dialogue> <scene_description>Charlie 's smile fades . He sits up and looks at her . She is lying completely still on the bed , her eyes closed , and still sleep - talking .</scene_description> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Now now Ralph!</dialogue> <character>CHARLIE</character> <parenthetical>( waking her . )</parenthetical> <dialogue>Harriet? Harriet?</dialogue> <parenthetical>( as her eyes open . )</parenthetical> <dialogue>You were having a dream, or? You kept saying the name Ralph.</dialogue> <character>HARRIET</character> <dialogue>Ralph?</dialogue> <character>CHARLIE</character> <dialogue>Ralph. I heard you say it.</dialogue> <character>HARRIET</character> <parenthetical>( sleepily . )</parenthetical> <dialogue>That's odd. Just today I was thinking about, her. She's a friend.</dialogue> <character>CHARLIE</character> <parenthetical>( starting to leave . )</parenthetical> <dialogue>Is she nice -? Ralph.</dialogue> <character>HARRIET</character> <dialogue>Yeah. She's great.</dialogue> </scene> <scene> <stage_direction>INT. HARRIET'S BEDROOM - MORNING</stage_direction> <scene_description>Charlie is sleeping alone in the bed , and the sound of RUNNING WATER is heard off in the distance . His eyes slowly open , he looks around , remembers where he is . He puts on his shorts and walks towards the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MORNING</stage_direction> <scene_description>Through the steam we can just make out Harriet in the shower washing her hair . Charlie walks over .</scene_description> <character>CHARLIE</character> <dialogue>You know. with this drought in California total strangers are urged to shower together.</dialogue> <scene_description>He opens the curtain . It 's not Harriet . The woman , ROSE , calmly looks at him and closes the curtain .</scene_description> <character>ROSE</character> <dialogue>Go away.</dialogue> <character>CHARLIE</character> <dialogue>Oh God. I'm sorry. Jesus. Excuse me.</dialogue> <scene_description>He backs out of the room .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - HARRIET'S APARTMENT</stage_direction> <scene_description>The door opens and a hurriedly dressed Charlie emerges . Before he gets to the door he once again encounters Rose . She 's completely dressed . Even her hair is dry .</scene_description> <character>CHARLIE</character> <dialogue>Hi. I'm really sorry. I must have scared the. I'm Harriet's friend, Charlie, and you must be.</dialogue> <parenthetical>( hopefully . )</parenthetical> <dialogue>Ralph?</dialogue> <character>ROSE</character> <dialogue>I'm Harriet's sister, Rose. And this is Harriet's note.</dialogue> <scene_description>He reaches for it , but she reads it aloud to him .</scene_description> <character>ROSE</character> <parenthetical>( reading . )</parenthetical> <dialogue>` Dear Charlie, I did n't want to wake you, make yourself at home, thanks for making me smile.' Harriet.</dialogue> <character>CHARLIE</character> <dialogue>That's a very nice note.</dialogue> <character>ROSE</character> <dialogue>I'll make you some breakfast.</dialogue> <character>CHARLIE</character> <dialogue>Gee, I'd love to but I'm running late.</dialogue> <character>ROSE</character> <dialogue>What would you say to blueberry pancakes, bacon, fresh squeezed grape juice and Kona coffee?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>Charlie and Rose sit at the table each eating a bowl of dry cereal .</scene_description> <character>ROSE</character> <dialogue>I'm sorry I did n't have any of those other things.</dialogue> <character>CHARLIE</character> <dialogue>Hey, that stuff'll kill you while Fruit Loops are light and probably reasonably high in Fiber. I like Apple Jacks too.</dialogue> <character>ROSE</character> <dialogue>Got'em.</dialogue> <character>CHARLIE</character> <dialogue>So this is your apartment?</dialogue> <scene_description>Rose starts sketching Charlie .</scene_description> <character>ROSE</character> <dialogue>Yes. She's been here the past three months. ever since she came back from Miami. I used to visit her occasionally. She did n't speak of me?</dialogue> <character>CHARLIE</character> <parenthetical>( shakes his head , no . )</parenthetical> <dialogue>She told me about a martial arts guy and there was some discussion about Ralph.</dialogue> <character>ROSE</character> <dialogue>She spoke of them?</dialogue> <character>CHARLIE</character> <dialogue>She spoke of the martial arts guy and screamed about Ralph.</dialogue> <character>ROSE</character> <parenthetical>( affectionately . )</parenthetical> <dialogue>Well, you know Harriet.</dialogue> <character>CHARLIE</character> <dialogue>Actually, I really do n't.</dialogue> <character>ROSE</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>But you did have sex with her?</dialogue> <character>CHARLIE</character> <parenthetical>( taken aback . )</parenthetical> <dialogue>Hello.</dialogue> <character>ROSE</character> <dialogue>Yet you still do n't know her.</dialogue> <parenthetical>( contemplates this . )</parenthetical> <dialogue>See, that's the problem with sex. It's not very revealing.</dialogue> <character>CHARLIE</character> <dialogue>My, look at the time.</dialogue> <scene_description>He stands up .</scene_description> <character>ROSE</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>You should be careful, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>I am. usually. I just. You should know, this is very unusual that I would do this so soon, in this day and age particularly, but. We just really hit it off. We did. And.</dialogue> <character>ROSE</character> <dialogue>I'm gon na go now. I wo n't tell Harriet that anything happened.</dialogue> <character>CHARLIE</character> <dialogue>But. nothing did happen.</dialogue> <character>ROSE</character> <dialogue>Exactly. Or she would be jealous. And when she gets jealous, we both know what she's capable of.</dialogue> <character>CHARLIE</character> <dialogue>No, we do n't. You do, like I said, I just met her.</dialogue> <character>ROSE</character> <dialogue>You'll be okay, Charlie. Just be careful.</dialogue> <scene_description>She leaves . Charlie is baffled .</scene_description> </scene> <scene> <stage_direction>INT. CITY LIGHTS BOOKSTORE - DAY</stage_direction> <scene_description>As Charlie walks by , FRED , a lanky customer in his late teens is buying a book .</scene_description> <character>FRED</character> <dialogue>Hey, Charlie. How you doin'?</dialogue> <character>CHARLIE</character> <dialogue>Good. Good. Look, Fred.</dialogue> <parenthetical>( leaning in . )</parenthetical> <dialogue>You got a lot of girlfriends, right? You know any girls named Ralph?</dialogue> <character>FRED</character> <dialogue>Ralph? Gee, Charlie. Is n't that a guy's name?</dialogue> <character>CHARLIE</character> <dialogue>Well, not necessarily, but. Never mind. Thanks, Fred.</dialogue> <scene_description>Charlie catches the store manager , PENNY , on her way into her office .</scene_description> <character>CHARLIE</character> <dialogue>Hey Penny, I wanted to ask you - you know some girls named Ralph, right? I mean, that's a girl's name also, is n't it?</dialogue> <character>PENNY</character> <parenthetical>( confused . )</parenthetical> <dialogue>I do n't think so, Charlie. Uh.</dialogue> <character>CHARLIE</character> <parenthetical>( walking away . )</parenthetical> <dialogue>Forget it. Thanks.</dialogue> <scene_description>She walks into her office totally confused .</scene_description> </scene> <scene> <stage_direction>EXT. DOCKSIDE - ALCATRAZ TOUR KIOSK - MAINLAND - DAY</stage_direction> <scene_description>Tony and Charlie are waiting in line . AERIAL VIEW OF BOAT as they travel to the island .</scene_description> <character>TONY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You know I've lived in this city all my life and I've never been to Alcatraz.</dialogue> <scene_description>ALCATRAZ We open on the LOUD BANGING of a CELL DOOR . We find our tour group in the holding area . The PARK RANGER is a beefy man in his late fifties and talks with emotionless , military precision .</scene_description> <character>PARK RANGER</character> <dialogue>Hello, everyone I'm a park ranger and I will be leading you on the tour. All the park rangers here at Alcatraz were at one time guards, myself included. My name is John Johnson, but everyone here calls me Vicki. Will you please follow me?</dialogue> <scene_description>They are led out . We see that Alcatraz is a sinister place . Cold and unforgiving . The Park Ranger leads them to the center of a cell block .</scene_description> <character>TONY</character> <dialogue>You're glowing, Charlie. The man's in love.</dialogue> <character>CHARLIE</character> <dialogue>Sssh. Stop it. I'm trying to listen.</dialogue> <character>PARK RANGER</character> <dialogue>This is the main cell block area. Home to such famous criminals as Al Capone, Micky Cohen, Joseph `` Dutch'' Critzer, and Robert Stroud, the famous Bird Man of Alcatraz. Follow me, please.</dialogue> <scene_description>The Park Ranger leads them past the famous visiting rooms , the mess hall , all the way to the solitary confinement area . A CELL</scene_description> <character>PARK RANGER</character> <dialogue>This is the cell for solitary confinement, that over the years has come to be known as Times Square.</dialogue> <scene_description>Tony and Charlie are at the back of the tour group .</scene_description> <character>TONY</character> <dialogue>So did you and Harriet? you know.</dialogue> <character>CHARLIE</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Sssh I do n't want to talk about it.</dialogue> <character>TONY</character> <dialogue>With that look, you do n't have to talk about it. The grin alone could get you five to seven years.</dialogue> <character>CHARLIE</character> <dialogue>Tony, get your mind out of the gutter. All you need to know is that she's a sweet, kind and loving person.</dialogue> <character>PARK RANGER</character> <dialogue>Now this is something none of the other tour guides will tell you. In this particular cell block Machine Gunn Kelly had, what we call in the prison system, a `` bitch.'' And one day, in a jealous rage, Kelly took a makeshift knife, or `` shiv,'' and cut out his `` bitch's'' eyes.</dialogue> <character>CHARLIE</character> <dialogue>Look, what can I tell you. I'm smitten. I'm in deep smit. I dunno. I just do n't wan na talk about it, because then I start analyzing and that's not good for me.</dialogue> <character>TONY</character> <dialogue>Good. I think that's good. Just let it happen.</dialogue> <character>CHARLIE</character> <dialogue>Exactly. That's what's gon na be different this time. Something strange happens, let it go. It's not my business. Like Ralph. She says Ralph in her sleep.</dialogue> <character>TONY</character> <dialogue>Who's Ralph?</dialogue> <character>CHARLIE</character> <dialogue>I do n't know who Ralph is. Moreover, I do n't want to know.</dialogue> <character>TONY</character> <dialogue>Good.</dialogue> <character>PARK RANGER</character> <dialogue>And as if blinding his `` bitch'' was n't enough retribution for Kelly, the next day he and four other inmates took turns pissing into the `` bitch's'' ocular cavity.</dialogue> <scene_description>Tony and Charlie look at each other . They 're a little queasy .</scene_description> <character>CHARLIE</character> <dialogue>Exactly.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Tony, I'm happy. Do n't let me screw this one up.</dialogue> </scene> <scene> <stage_direction>INT. EL TORO - IN THE MISSION - DAY</stage_direction> <scene_description>They are eating Bay burrites .</scene_description> <character>ROSE</character> <dialogue>Did you have a nice date last night?</dialogue> <character>HARRIET</character> <dialogue>Rose, I do n't really -</dialogue> <character>ROSE</character> <dialogue>He disturbed me while I was naked in the shower this morning.</dialogue> <character>HARRIET</character> <dialogue>Yeah, he stayed over?</dialogue> <character>ROSE</character> <dialogue>I did n't mind. Charlie and I laughed about it over breakfast.</dialogue> <character>HARRIET</character> <dialogue>That's good.</dialogue> <character>ROSE</character> <dialogue>He said you had great sex last night.</dialogue> <character>HARRIET</character> <dialogue>He did?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Yeah.</dialogue> <character>ROSE</character> <dialogue>He seems really stuck on you. I hope for you that it lasts.</dialogue> <character>HARRIET</character> <dialogue>Rose he's a sweet, kind and loving person. We like each other, but I do n't want to think any further. It's taken me a long time to get back to dating, and I want to take things real steady this time.</dialogue> <character>ROSE</character> <dialogue>Well, you can trust me not to tell him anything.</dialogue> <character>HARRIET</character> <dialogue>He was quite happy not to talk about the past.</dialogue> <character>ROSE</character> <dialogue>I did a sketch of him.</dialogue> <scene_description>Rose shows the sketch to Harriet .</scene_description> <character>HARRIET</character> <parenthetical>( looking at the picture . )</parenthetical> <dialogue>That's good.</dialogue> <character>ROSE</character> <dialogue>Think I've caught him?</dialogue> <character>HARRIET</character> <dialogue>The eyes are good.</dialogue> <character>ROSE</character> <dialogue>Charlie really liked it.</dialogue> <character>HARRIET</character> <dialogue>It's a good likeness.</dialogue> <character>ROSE</character> <dialogue>Boy, I really hope it works out.</dialogue> <character>HARRIET</character> <dialogue>Rose, I do n't wan na screw this one up.</dialogue> </scene> <scene> <stage_direction>EXT. HARRIET'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>Charlie enters the building , holding a handful of poetry books . He passes a UNIFORMED DELIVERY GUY coming out . The guy nods and Charlie nods back .</scene_description> </scene> <scene> <stage_direction>INT. HARRIET'S APARTMENT BUILDING - CONTINUOUS</stage_direction> <scene_description>Charlie gets three feet down the hallway . Stops in his tracks and heads back to the front door . He opens it and yells to the delivery guy :</scene_description> <character>CHARLIE</character> <dialogue>Hey, uh. Ralph?</dialogue> <character>DELIVERY GUY</character> <parenthetical>( turning around . )</parenthetical> <dialogue>I'm Gilbert.</dialogue> <character>CHARLIE</character> <dialogue>Shit.</dialogue> <scene_description>HARRIET 'S DOOR - MOMENTS LATER She opens the door enough to see that she is wearing only a blouse that goes below her hips . She looks fantastic . He hands her the poetry books .</scene_description> <character>HARRIET</character> <parenthetical>( teasing him . )</parenthetical> <dialogue>Charlie, they're beautiful. I'll put them right in water.</dialogue> <scene_description>He follows her inside and puts the books on the bureau . He goes over and kisses her .</scene_description> <character>CHARLIE</character> <dialogue>You look great.</dialogue> <character>HARRIET</character> <dialogue>I was just getting dressed.</dialogue> <parenthetical>( picking up skirt off couch . )</parenthetical> <dialogue>What do you think of this skirt?</dialogue> <character>CHARLIE</character> <dialogue>Honestly?</dialogue> <parenthetical>( pulls her close . )</parenthetical> <dialogue>I'd leave it off.</dialogue> <character>HARRIET</character> <dialogue>So then you think I could go to a poetry concert like this?</dialogue> <scene_description>She drops the skirt and stands there . She 's fantastic .</scene_description> <character>CHARLIE</character> <dialogue>Let's forget the poetry concert. It's already been nine hours since I last made love to you.</dialogue> <character>HARRIET</character> <parenthetical>( smiling ; walking away . )</parenthetical> <dialogue>Come on we're meeting your best friend. I wan na look good. The second I go to the ladies room he's gon na tell you what he really thinks of me.</dialogue> <scene_description>He follows her to the bedroom door , constantly trying to kiss her .</scene_description> <character>HARRIET</character> <dialogue>Come on, Charlie. We have to be there in fifteen minutes.</dialogue> <character>CHARLIE</character> <parenthetical>( following her into bedroom . )</parenthetical> <dialogue>Fifteen minutes. Perfect.</dialogue> <scene_description>She closes the door on his face .</scene_description> <character>CHARLIE</character> <parenthetical>( through door . )</parenthetical> <dialogue>Maybe later.</dialogue> <character>ROSE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I thought of calling you.</dialogue> <character>CHARLIE</character> <parenthetical>( startled . )</parenthetical> <dialogue>Aaaahhh!</dialogue> <scene_description>Charlie turns on his heel . Rose has appeared out of nowhere .</scene_description> <character>ROSE</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>To warn you, Charlie.</dialogue> <parenthetical>( after a pause . )</parenthetical> <dialogue>There are just some things you should know, about Harriet.</dialogue> <character>CHARLIE</character> <dialogue>About Harriet?</dialogue> <character>ROSE</character> <dialogue>About her past.</dialogue> <character>CHARLIE</character> <dialogue>I do n't wan na know. I mean, look everyone has some skeletons in their past. I only care about the future. Not the past.</dialogue> <character>ROSE</character> <dialogue>Here's the thing. I may have to tell Harriet.</dialogue> <character>CHARLIE</character> <dialogue>Tell her what?</dialogue> <character>ROSE</character> <dialogue>That we're lovers.</dialogue> <character>CHARLIE</character> <dialogue>We're not lovers.</dialogue> <character>ROSE</character> <dialogue>I know, and it's a damn shame.</dialogue> <scene_description>Harriet walks in the room , fully dressed , and fully dazzling .</scene_description> <character>HARRIET</character> <dialogue>I hope I'm not interrupting.</dialogue> <character>CHARLIE</character> <parenthetical>( feeling weird . )</parenthetical> <dialogue>No, not at all. We were just talking about. Rose and I met yesterday, so.</dialogue> <character>HARRIET</character> <dialogue>So I heard.</dialogue> <scene_description>Harriet hugs Rose and then stands right next to her .</scene_description> <character>HARRIET</character> <dialogue>So, do n't you think we look alike?</dialogue> <character>ROSE</character> <dialogue>Oh, we do not. Harriet was always prettier than me. And a heck of a lot more popular. She always had boyfriends. The only thing I ever got was good grades.</dialogue> <character>CHARLIE</character> <parenthetical>( slightly uncomfortable . )</parenthetical> <dialogue>Good grades are good.</dialogue> <character>HARRIET</character> <dialogue>She's just being kind. Show Charlie one of your photographs, Rose. Rose is a great artist.</dialogue> <character>ROSE</character> <dialogue>No, Harriet. I do n't want to. They're not good.</dialogue> <character>HARRIET</character> <dialogue>You're so modest. If I were n't here to brag for you, I just do n't know.</dialogue> <parenthetical>( taking out a posterboard from cabinet . )</parenthetical> <dialogue>Show it to him, Rose. Do it.</dialogue> <scene_description>He turns it over and there is a picture there . A collage of unrelated images put together . And it is beautiful . But it 's very abstract . Violent perhaps . Confused definitely . He likes it .</scene_description> <character>CHARLIE</character> <dialogue>It's beautiful.</dialogue> <character>ROSE</character> <dialogue>Thanks.</dialogue> <character>CHARLIE</character> <dialogue>What is it?</dialogue> <character>ROSE</character> <dialogue>I dunno.</dialogue> <character>CHARLIE</character> <dialogue>What do you call it?</dialogue> <character>ROSE</character> <dialogue>I dunno.</dialogue> <character>CHARLIE</character> <dialogue>A lot artists do n't like to title their work. They feel it biases the viewer.</dialogue> <character>ROSE</character> <dialogue>It is titled. It's called `` I dunno''.</dialogue> <scene_description>Charlie looks at it again , then at Rose , then at Harriet . It 's all a little bizarre , but in a funny way he feels for Rose . A hidden talented overshadowed by her sister 's beauty .</scene_description> <character>HARRIET</character> <dialogue>We should get going, Charlie. Thanks, Rose. See you later.</dialogue> <character>ROSE</character> <dialogue>Bye, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Rose, great to see you. We should all go out together some time. The three of us. That would be great. That would be. interesting.</dialogue> <scene_description>Charlie and Harriet walk out .</scene_description> </scene> <scene> <stage_direction>EXT. POETRY FESTIVAL - NIGHT</stage_direction> <scene_description>Charlie and Harriet wait in line with bohemian types and poetry lovers from the suburbs , and all walks of life . Directly behind them are TWO OLD LADIES . The marquee reads : `` POETRY FESTIVAL - TONIGHT ALLEN GINSBERG . ''</scene_description> <character>CHARLIE</character> <dialogue>I think you're going to love Alan Ginsberg. He's great.</dialogue> <character>HARRIET</character> <dialogue>Oh, I know all about him.</dialogue> <character>TONY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey Charlie!</dialogue> <scene_description>Tony is getting out of a cab accompanied by Susan , the girl from Spiletti 's Coffee House . He approaches Charlie .</scene_description> <character>TONY</character> <dialogue>Sorry we're late.</dialogue> <scene_description>Tony throws his arms wide open and hugs one of the Little Old Ladies on the other side of Charlie .</scene_description> <character>TONY</character> <dialogue>You must be Harriet. I've heard a lot about you.</dialogue> <character>CHARLIE</character> <parenthetical>( to Tony ; re : Harriet . )</parenthetical> <dialogue>This is Harriet.</dialogue> <character>TONY</character> <dialogue>Oh. Sorry. Of course.</dialogue> <parenthetical>( whispering to Harriet . )</parenthetical> <dialogue>I apologize. Charlie described you as much older. And heavier.</dialogue> <character>HARRIET</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Oh, he did?</dialogue> <character>CHARLIE</character> <dialogue>Thank you, Tony. This is my best friend.</dialogue> <character>TONY</character> <dialogue>And this is Susan. Charlie, you remember her from Uncle Giuseppi's.</dialogue> <character>CHARLIE</character> <dialogue>Yes, I do.</dialogue> <character>SUSAN</character> <dialogue>You're funny.</dialogue> <scene_description>Then she GIGGLES . The girls start inside , Tony lags back with Charlie .</scene_description> <character>TONY</character> <parenthetical>( whispers to Charlie . )</parenthetical> <dialogue>I give Susan one night.</dialogue> </scene> <scene> <stage_direction>INT. POETRY FESTIVAL - NIGHT</stage_direction> <scene_description>ALLEN GINSBERG is on stage . He is brilliant . Tony , Charlie , and Harriet are all amused . Susan is bored stiff . Charlie is looking at Tony . Tony glances over at Susan and gives Charlie an `` Oh , well . '' look . Then he looks at Harriet and nods in approval of her .</scene_description> </scene> <scene> <stage_direction>EXT. FISHERMAN'S WHARF - NIGHT</stage_direction> <scene_description>The four of them walk along the wharf . Charlie is at one of those arcade games where you throw bean bags at the puppets and try and knock them down . Charlie knocks two down .</scene_description> <character>ARCADE MAN</character> <dialogue>One more and you get your pick.</dialogue> <character>CHARLIE</character> <parenthetical>( to Harriet . )</parenthetical> <dialogue>You do it.</dialogue> <character>HARRIET</character> <dialogue>No, Charlie. I'm the worst.</dialogue> <character>TONY</character> <dialogue>Come on, you'll be great.</dialogue> <scene_description>The arcade man turns around to watch . Harriet winds up and throws the bean bag directly into his neck .</scene_description> <character>ARCADE MAN</character> <dialogue>Hey!</dialogue> <character>HARRIET</character> <dialogue>Sorry. I told you Charlie.</dialogue> <character>CHARLIE</character> <dialogue>No, no, you're okay, you're just having control problems.</dialogue> <scene_description>They both start laughing . He puts his arm around her . In the b.g. the wounded arcade man is being led away by a co - worker . They continued down the boardwalk stand in front of a House of Horrors . It looks somewhat run down and Harriet looks questioningly at Charlie .</scene_description> <character>CHARLIE</character> <dialogue>I know this is really, really cheesy, but in a way this is one of the places in San Francisco I'm most proud of.</dialogue> <character>HARRIET</character> <dialogue>Yeah, let's go in.</dialogue> <scene_description>Tony nods agreement . Susan looks bored . They go inside the HOUSE OF HORRORS it 's as low rent as Charlie described . The `` KEEPER OF THE THRESHOLD '' so described in a poorly written sign , is an overweight man in his late twenties , wearing jeans and a denim jacket and a little bit of scary makeup . He looks like a roadie for the band , KISS . He stands at a podium , smoking and reading a paper . As Charlie , Tony , Harriet and Susan pass the Threshold Keeper , he takes a casual drag of his cigarette , lets out a little smoke and with zero commitment utters :</scene_description> <character>THRESHOLD KEEPER</character> <dialogue>Boo.</dialogue> </scene> <scene> <stage_direction>INT. WAX MUSEUM - DAY</stage_direction> <scene_description>Harriet and Charlie enter Bill 's Wax Museum . The OWNER of the wax museum greets them .</scene_description> <character>OWNER</character> <dialogue>Hi. I'm Bill, welcome to my wax museum.</dialogue> <scene_description>They walk over to the exhibits . There are exhibits of Abraham Lincoln , Michael Jackson and Dolly Parton . As they look more closely they notice that the faces are exactly the same as Bill 's . They laugh .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Pouring rain . THUNDER . Charlie and Harriet , wrapped in each others arms , walking through the rain .</scene_description> <character>HARRIET</character> <dialogue>I feel so safe with you right now. You're never going to leave me, are you? I feel like I could be here forever.</dialogue> <scene_description>TIGHT SHOT OF RAIN HITTING CHARLIE 'S PANIC - STRICKEN FACE THE REFLECTION OF RAIN ON CHARLIE 'S PANIC - STRICKEN FACE PULL BACK to see Charlie in bed . He lies awake on his side , his back up to Harriet 's . She is sound asleep . Suddenly :</scene_description> <character>HARRIET</character> <parenthetical>( sleeptalking . )</parenthetical> <dialogue>Ralph! No, Ralph!</dialogue> <scene_description>Charlie sighs , then just shrugs and tries to fall asleep . What can he do .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S PARENTS' APARTMENT HALLWAY - NIGHT</stage_direction> <scene_description>Charlie and Harriet wait outside his parents ' door .</scene_description> <character>CHARLIE</character> <dialogue>Well, this is it.</dialogue> <character>HARRIET</character> <dialogue>It'll be fine.</dialogue> <scene_description>They enter the door .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S PARENT'S APARTMENT - NIGHT</stage_direction> <scene_description>We again move along the hallway . We pass the Scottish wall , of fame , Scottie from `` Star Trek '' , Sir Walter Scott , Sir Harry Lauder , Sheena Easton , Al Pacino , Billy Connolly , then the CAMERA BACKTRACKS to Pacino , where it HOLDS MOMENTARILY .</scene_description> <character>CHARLIE</character> <dialogue>Mom, Dad, we're here.</dialogue> <scene_description>May comes up , wearing a fancy country and western outfit .</scene_description> <character>MAY</character> <dialogue>Ah, Charlie is this the wee Harriet. Ah, she's beautiful.</dialogue> <character>HARRIET</character> <dialogue>Thank you.</dialogue> <character>MAY</character> <dialogue>She's so sweet. I hope you keep her.</dialogue> <parenthetical>( calling . )</parenthetical> <dialogue>Stuart, come out here. You tube.</dialogue> <scene_description>When he comes up , Stuart is wearing only a shirt with his boxer shorts .</scene_description> <character>STUART</character> <dialogue>Ah, it's the wee Harriet.</dialogue> <character>MAY</character> <dialogue>Stuart, put your pants on.</dialogue> <character>STUART</character> <dialogue>Hold your horses.</dialogue> <parenthetical>( calling to William . )</parenthetical> <dialogue>Heed! Pants!</dialogue> <scene_description>William comes around the corner with his pants .</scene_description> <character>CHARLIE</character> <dialogue>Dad, what's Al Pacino doing on the Scottish wall of fame?</dialogue> <character>STUART</character> <dialogue>Oh, that's for Tony. So, Charlie tells me you're a butcher. Let's talk meat.</dialogue> <character>CHARLIE</character> <dialogue>Dad, no one wants to talk shop. Especially butcher shop.</dialogue> <character>STUART</character> <dialogue>Come here.</dialogue> <scene_description>Stuart gets him in a half - Nelson .</scene_description> <character>CHARLIE</character> <dialogue>Ah! Dad, dad I have a back zit, man it kills.</dialogue> <scene_description>Charlie struggles to free himself . Stuart turns to greet Harriet . As he reaches out his hand . Totally instinctively , Harriet grabs Stuart 's hand and twists it behind his back . Charlie is startled , as his date has just gotten Stuart into a Half - Nelson .</scene_description> <character>HARRIET</character> <parenthetical>( releasing his hand . )</parenthetical> <dialogue>I'm sorry. I just. You just surprised me. I'm sorry.</dialogue> <character>STUART</character> <dialogue>I like this one Charlie. She's quite a filly.</dialogue> <character>HARRIET</character> <dialogue>I'm really embarrassed.</dialogue> <character>STUART</character> <dialogue>Do n't be embarrassed about having a good strong butcher's grip. Do you link your own sausage?</dialogue> <character>MAY</character> <dialogue>Oh, ignore him. Come have a look at some photos of Charlie when he was a wee ` n.</dialogue> <character>CHARLIE</character> <dialogue>Oh Mom, do n't start with the pictures.</dialogue> <character>MAY</character> <dialogue>Ah, Charlie, lighten up. You've got a pickle up your ass.</dialogue> <character>CHARLIE</character> <parenthetical>( whispering to Harriet . )</parenthetical> <dialogue>I'm gon na use the bathroom. You be okay alone with them?</dialogue> <character>HARRIET</character> <parenthetical>( kissing . )</parenthetical> <dialogue>Fine. Do n't worry about it. Hurry.</dialogue> <scene_description>They smile as he leaves the room .</scene_description> <character>STUART</character> <dialogue>Make sure there's paper, Charlie.</dialogue> <scene_description>Charlie picks up the pace , scared of what he might hear next .</scene_description> <character>MAY</character> <dialogue>Make sure you leave the seat down.</dialogue> <character>CHARLIE</character> <parenthetical>( shutting her up . )</parenthetical> <dialogue>Ma, just show her the pictures.</dialogue> <character>STUART</character> <dialogue>And light a match.</dialogue> <character>MAY</character> <parenthetical>( to Harriet . )</parenthetical> <dialogue>He always leaves the seat up. He's got ta learn.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM AT PARENTS' - NIGHT</stage_direction> <scene_description>He closes the door , and shakes his head . What can he do ? Those are his parents . On the wall opposite the toilet is a well - used dart board with pictures of the Queen Mother and Colonel Sanders . Hooked to the magazine caddie is a small container of darts .</scene_description> </scene> <scene> <stage_direction>INT. THE LIVING ROOM - NIGHT</stage_direction> <scene_description>May excitedly shows Harriet family photo albums .</scene_description> <character>MAY</character> <dialogue>This is Charlie with his Uncle Ecky. He's a policeman in Canada. And our cousins Ruth and Jack. He's just got a restraining order from his wife. She's a lovely girl. This is Billy. He's a member of parliament. He drinks.</dialogue> <character>HARRIET</character> <dialogue>What a nice family you have.</dialogue> <scene_description>CHARLIE IN THE BATHROOM He does n't seem in any hurry to leave either . He listens through the door to Harriet enthusiastically looking through old photos . Charlie glances down at a stack of National Enquirers on the magazine rack . He flips through a few . He sees one of the absurd headlines : `` ALIEN UFO SEX DIET '' Charlie shakes his head .</scene_description> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( through door . )</parenthetical> <dialogue>Charlie was the cutest baby.</dialogue> <character>STUART</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( through door . )</parenthetical> <dialogue>You okay in there, Charlie? You did n't fall in, did you?</dialogue> <character>CHARLIE</character> <parenthetical>( through door . )</parenthetical> <dialogue>Jesus.</dialogue> <scene_description>Charlie then looks down at another article in the Enquirer and reads : `` WHO 'S NEXT FOR MRS. X - THE HONEYMOON KILLER ? '' It is the article about Mrs. X - the axe - murderer who kills her husbands on their honeymoons and then marries again under a different identity . IN THE LIVING ROOM May is quickly flipping through a photo album , pointing out pictures of relatives as she goes :</scene_description> <character>HARRIET</character> <dialogue>I ca n't believe the resemblance between you and Charlie, Mrs. MacKenzie.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE IN THE BATHROOM</stage_direction> <scene_description>With Harriet speaking in the b.g. , Charlie continues reading , now absorbed in the article about the 3 victims :</scene_description> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( through door . )</parenthetical> <dialogue>You have the same smile. It's so incredible.</dialogue> <scene_description>`` VICTIM # 1 - THE GERMAN MARTIAL ARTS EXPERT FROM MIAMI '' `` VICTIM # 2 - THE LOUNGE SINGER FROM ATLANTIC CITY '' `` VICTIM # 3 - THE SAN FRANCISCO PLUMBER - RALPH ELLIOT ''</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S CAR - NIGHT - C.U. - HARRIET'S FACE</stage_direction> <scene_description>Sitting in the front seat of Charlie 's car , smiling , content , a great meal , a great night out with Charlie and a nice evening with his parents . Slowly PAN across the front seat to Charlie . A nervous anxious `` what the hell am I getting myself into '' look on his face .</scene_description> <character>CHARLIE</character> <dialogue>So, that was some move you put on my Dad, there. Did you study Karate, or?</dialogue> <character>HARRIET</character> <dialogue>No. Not officially. I dated a guy for a while who ran a studio.</dialogue> <character>CHARLIE</character> <dialogue>Oh, the martial arts expert. The north - south guy. Here in San Francisco?</dialogue> <character>HARRIET</character> <dialogue>Actually, Miami.</dialogue> <scene_description>He looks straight ahead , trying to act unfazed . But , he 's very phased - his expression is covered in it .</scene_description> <character>CHARLIE</character> <dialogue>Was that before Atlantic City, or after?</dialogue> <character>HARRIET</character> <dialogue>Oh, that was years ago. Atlantic City was recent. I did n't care for Atlantic City. A town full of gamblers and lounge singers.</dialogue> <scene_description>He keeps driving .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>Charlie walks through the precinct towards Tony 's office , holding the National Enquirer in his hand .</scene_description> <character>DESK SERGEANT</character> <dialogue>Hey Charlie!</dialogue> <character>CHARLIE</character> <dialogue>Is Tony back there?</dialogue> <scene_description>The Sergeant nods and Charlie heads back to the office .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <character>CAPTAIN</character> <dialogue>O.K., Tony. Do you have the K673 form completed yet, that street vendor incident on Powell Street?</dialogue> <character>TONY</character> <parenthetical>( really bummed . )</parenthetical> <dialogue>Yes, Captain.</dialogue> <character>CAPTAIN</character> <dialogue>Tony, do you mind my saying that you seem a little down?</dialogue> <character>TONY</character> <dialogue>Captain. It's about my work. About being a policeman.</dialogue> <character>CAPTAIN</character> <dialogue>Tony, if there's anything wrong, I'm here to listen.</dialogue> <character>TONY</character> <dialogue>I know. And that's what's irritating, you're too nice.</dialogue> <character>CAPTAIN</character> <dialogue>Too nice!?</dialogue> <character>TONY</character> <dialogue>Yes, You're my captain for gods sakes. You should be constantly on my case, like the captain on Starsky and Hutch. Once a week you should routinely haul my ass into your office, accuse me of being a maverick and complain to me that you're sick and tired of defending my screwball antics to the commissioner.</dialogue> <character>CAPTAIN</character> <dialogue>Well, as you may know, Tony. I do n't report to a commissioner. I report to a committee, some of whom are appointed, some elected and the remainder co - opted on a bi - annual basis. A quorum -</dialogue> <character>TONY</character> <dialogue>Police work should be all about running around, following up crazy hunches that turn out to be right, going out on a limb.</dialogue> <character>CAPTAIN</character> <dialogue>Well Tony, I've never seen it that way. For me police work is all about following procedure and remaining accountable to the general public.</dialogue> <character>TONY</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>Captain! When I joined the police force, I thought I was going to be Serpico and unfortunately I ended up being Toma. I would have settled for Beretta.</dialogue> <character>CAPTAIN</character> <dialogue>That's interesting Tony. I'm perturbed that you should be so disillusioned.</dialogue> <scene_description>Charlie enters .</scene_description> <character>CHARLIE</character> <dialogue>Hey, Tony, I got ta talk to you.</dialogue> <character>CAPTAIN</character> <dialogue>Oh, hello, Charlie. Look, I'm in the way here. You guys probably have something you want to talk about, and Tony, if you've still got stuff you want to sort out, please, you know where the suggestion box is.</dialogue> <scene_description>The Captain exits .</scene_description> <character>CHARLIE</character> <dialogue>Nice guy. Hey, what's up?</dialogue> <character>TONY</character> <dialogue>I'm having doubts about being a cop again. It's not like how it is on cop shows. All I do is fill out papers and reports.</dialogue> <character>CHARLIE</character> <dialogue>Let me get this straight, your Captain has n't threatened to have you up on charges so fast you wo n't know what hit you?</dialogue> <character>TONY</character> <dialogue>No! He's never once said to me that he was going to `` throw the book at me so hard it'll knock my ass from here till Tuesday.'' Anyways what's up?</dialogue> <scene_description>Charlie pulls out the National Enquirer -LRB- the one on MRS. X , the Honeymoon Killer -RRB- .</scene_description> <character>CHARLIE</character> <dialogue>Have you heard of this case? Mrs. X? She murders her husbands on their honeymoons and then changes her identity and marries again.</dialogue> <character>TONY</character> <dialogue>I never heard of it. So what?</dialogue> <character>CHARLIE</character> <dialogue>Curious, that's all. I read about it, and.</dialogue> <parenthetical>( after a pause . )</parenthetical> <dialogue>I think I'm dating Mrs. X.</dialogue> <character>TONY</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>Two words, Charlie. Get therapy. They have doctors that deal specifically with this illness.</dialogue> <character>CHARLIE</character> <dialogue>Everything's adding up, Tony. One of the victims was a martial arts expert. Last night at dinner, she put a martial arts move on my dad.</dialogue> <character>TONY</character> <dialogue>There about twenty thousand people in San Francisco who are martial arts experts. Should I arrest all of them too?</dialogue> <character>CHARLIE</character> <dialogue>If they also say Ralph in their sleep I think it'd be a good start.</dialogue> <parenthetical>( showing him paper . )</parenthetical> <dialogue>Ralph Elliot. A plumber from San Francisco. Missing since his honeymoon.</dialogue> <character>TONY</character> <dialogue>You're just getting scared. Like the dream, you feel Harriet could be the one, so you start to suspect her of things,'cause deep down you're scared that if she is the one, you'll marry, and marriage to you is death.</dialogue> <character>CHARLIE</character> <dialogue>Hey, do n't analyze my dreams, okay? They're my dreams. Analyze your own dreams.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>It's not a marrying thing, Tony. It's a murdering thing.</dialogue> <parenthetical>( showing him paper . )</parenthetical> <dialogue>Harriet lived in Atlantic City, right? Well so did this guy, right around the same time she left town.</dialogue> <character>TONY</character> <parenthetical>( reading article . )</parenthetical> <dialogue>`` Larry Leonard, a crooner who made a name for himself for being able to sing in six different languages the song `` Only You''.</dialogue> <parenthetical>( putting paper down . )</parenthetical> <dialogue>Does she know the song `` Only You?''</dialogue> <character>CHARLIE</character> <dialogue>I do n't know. It has n't come up yet.</dialogue> <character>TONY</character> <dialogue>Charlie, move past it. You're running your life by the National Enquirer.</dialogue> <character>CHARLIE</character> <parenthetical>( defensively . )</parenthetical> <dialogue>What? It's the fifth highest circulating newspaper in the United States.</dialogue> <parenthetical>( taking paper back . )</parenthetical> <dialogue>Mrs. X. Please. Look it up.</dialogue> <scene_description>COMPUTER ROOM AT POLICE STATION - MINUTES LATER Charlie and Tony are in the back with KATHY , a stocky black woman in uniform , who works in the files department .</scene_description> <character>KATHY</character> <dialogue>There's no record of any deaths. All three of these guys were reported missing around the time of their honeymoon, but so were the wives. No pictures of any of the brides. For all we know they just picked up and moved away.</dialogue> <character>CHARLIE</character> <dialogue>And Ralph Elliot, too?</dialogue> <character>TONY</character> <dialogue>Charlie, you're talking about three guys over a seven year span. That's hardly news. No deaths. Elopement in this state, as of this day, is still not illegal.</dialogue> <character>CHARLIE</character> <parenthetical>( re : the article . )</parenthetical> <dialogue>Yeah well murder is. And this article says that these men were murdered by the same woman.</dialogue> <character>KATHY</character> <dialogue>Mr. MacKenzie, we've found that, most National Enquirer articles are actually based on our own police reports. They take the facts and fabricate a story around them.</dialogue> <character>TONY</character> <dialogue>It's true, Charlie. You got ta realize that. I mean, personally, I would lie to you, but Kathy. has this crazy notion of always telling the truth.</dialogue> <parenthetical>( patting his back . )</parenthetical> <dialogue>You feel better now?</dialogue> <character>CHARLIE</character> <dialogue>It guess so. It's just. if I had a photo of Harriet, I could show it to the relatives or friends of Mrs. X's victims to identify her.</dialogue> <character>TONY</character> <dialogue>Charlie, listen to me! There is no Mrs. X! Drop it! Okay?</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - HARRIET'S APARTMENT - EVENING</stage_direction> <scene_description>Charlie knocks on the door . Rose answers .</scene_description> <character>ROSE</character> <parenthetical>( thrilled . )</parenthetical> <dialogue>You're back. But Harriet's not here yet.</dialogue> <character>CHARLIE</character> <dialogue>Maybe I could wait.</dialogue> <character>ROSE</character> <dialogue>Sure. That would be fine.</dialogue> <scene_description>She then starts to slowly close the door . He props it open with his hand .</scene_description> <character>CHARLIE</character> <dialogue>Inside? I was hoping.</dialogue> <character>ROSE</character> <parenthetical>( letting him in . )</parenthetical> <dialogue>I'm glad you asked. I did n't want to be so forward. I mean, if you're waiting inside, then you feel obligated to entertain me and keep up the conversation just to be polite, and really your head might be totally elsewhere and then there's the chance that you would really want to talk and it's me who'd be busy, but in an attempt not to be rude, I sit there and listen to some story that you do n't really want to tell and I do n't really have time to hear. You know?</dialogue> <character>CHARLIE</character> <dialogue>I could n't agree with you more.</dialogue> <character>ROSE</character> <dialogue>I think about a lot of things.</dialogue> <character>CHARLIE</character> <dialogue>Look, if you have work to do, you go right ahead.</dialogue> <parenthetical>( `` ah , here 's an angle '' . )</parenthetical> <dialogue>I mean, to tell you the truth, I'd love to see your work.</dialogue> <character>ROSE</character> <dialogue>Okay! What would you like me to do?</dialogue> <character>CHARLIE</character> <dialogue>No, I do n't want to see you work. I was talking about your work. Your photographs. That one that I saw was so, wonderful, and.</dialogue> <character>ROSE</character> <dialogue>Harriet's far more talented than I am.</dialogue> <character>CHARLIE</character> <dialogue>Well, I'm sure it's so subjective anyway and.</dialogue> <parenthetical>( out of patience . )</parenthetical> <dialogue>Rose, show me your photos.</dialogue> <scene_description>CLOSE ON PHOTOGRAPHS There are two kinds . Beautiful travel pictures and very erotic black and white portraits of young men and women . All with a slight sadomasochistic quality . At the bottom of every photo is says : `` Seasons Greetings '' .</scene_description> <character>CHARLIE</character> <dialogue>Hey, these are some interesting photos here. Very impressive. Nice shots of Sauselito and. some good bondage shots. A lot of people would n't think to mix the two subjects, but they're really a natural together.</dialogue> <parenthetical>( new thought . )</parenthetical> <dialogue>Hey, you would n't happen to have any pictures of Harriet by chance, would you?</dialogue> <character>ROSE</character> <parenthetical>( re : her cards . )</parenthetical> <dialogue>Well, I do n't think she'd wan na do this sort of.</dialogue> <character>CHARLIE</character> <dialogue>No, no, not that. Just, in general some photos. Any little snapshot would do.</dialogue> <character>ROSE</character> <dialogue>I doubt I'd have any. Harriet hates being photographed.</dialogue> <scene_description>The sound of a key in the door as Harriet enters the apartment .</scene_description> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Rose - did I see Charlie's car out in front?</dialogue> <character>ROSE</character> <dialogue>We're in here, Harriet.</dialogue> <character>HARRIET</character> <parenthetical>( walking in . )</parenthetical> <dialogue>What are you guys doing?</dialogue> <character>CHARLIE</character> <parenthetical>( covering up . )</parenthetical> <dialogue>Oh, nothing. Just looking through some of Rose's work.</dialogue> <character>ROSE</character> <dialogue>Charlie wanted a photo of you.</dialogue> <character>CHARLIE</character> <dialogue>And that. That too.</dialogue> <character>HARRIET</character> <dialogue>Why of me, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Well, sentimental reasons. Something to remind me of you when we're not together.</dialogue> <scene_description>She takes him in her arms and gives him a knee buckling kiss .</scene_description> <character>HARRIET</character> <dialogue>There, can you remember that?</dialogue> <character>CHARLIE</character> <dialogue>Okay, it's just, I was gon na give one to my parents, too, and.</dialogue> <parenthetical>( getting nowhere . )</parenthetical> <dialogue>Another time would be fine. It's hardly a matter of life and death.</dialogue> <scene_description>TV SET - PLAYING THE EVENING NEWS</scene_description> <character>NEWS ANCHORMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>In the news tonight, regarding a Beverly Hills Jeweler, Morris Cohan, who died last week, police are now suspecting that Morris's partner, Lawrence Sachs, may have murdered him with an untraceable poison.</dialogue> <scene_description>Reveal : we are in .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S BEDROOM - NIGHT</stage_direction> <scene_description>Charlie is on a Stair Master , as Harriet walks in wearing a robe . The TV is on in the b.g.</scene_description> <character>CHARLIE</character> <dialogue>Where you been?</dialogue> <character>HARRIET</character> <dialogue>Downstairs. I have a surprise for you.</dialogue> <character>CHARLIE</character> <dialogue>Great. I just wan na do a quick twenty minutes on the Stair Master before bed.</dialogue> <scene_description>Harriet drops her robe , and from over her shoulder we see that Charlie prefers what he sees to working out .</scene_description> <character>CHARLIE</character> <dialogue>I'll do forty tomorrow.</dialogue> <character>HARRIET</character> <parenthetical>( getting into bed . )</parenthetical> <dialogue>I got something much healthier for you than that.</dialogue> <scene_description>She pulls out a milkshake from behind her back .</scene_description> <character>CHARLIE</character> <dialogue>What is it?</dialogue> <character>HARRIET</character> <dialogue>It's a health shake. Eggs, malt, cinnamon, oranges. It's great. I mixed it up downstairs.</dialogue> <scene_description>THE TV SET continues on about poisons and poisoners . Charlie glances at it .</scene_description> <character>NEWS ANCHORMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Poisoning has become the second leading method of murder in recent years, due to.</dialogue> <scene_description>Charlie watches the TV , looking a bit disturbed . Harriet offers him the shake .</scene_description> <character>CHARLIE</character> <dialogue>Oh, look, I'm full. Dinner and. No.</dialogue> <character>HARRIET</character> <dialogue>You'll like it Charlie.</dialogue> <character>CHARLIE</character> <dialogue>No, really, thanks.</dialogue> <character>HARRIET</character> <parenthetical>( putting it up to his lips . )</parenthetical> <dialogue>You wo n't try it. I spent twenty minutes making it.</dialogue> <scene_description>He takes it . Lifts it to his mouth . then puts it on the table .</scene_description> <character>CHARLIE</character> <parenthetical>( sniffing it . )</parenthetical> <dialogue>Ummm. Smells good. Maybe I'll take some to the office tomorrow.</dialogue> <parenthetical>( running into bathroom . )</parenthetical> <dialogue>I'm gon na brush my teeth. Be right back.</dialogue> <scene_description>Charlie goes into the bathroom . CHARLIE 'S BATHROOM Harriet comes into the bathroom and lays the empty glass down on the counter .</scene_description> <character>HARRIET</character> <dialogue>I'm gon na take a quick shower.</dialogue> <scene_description>Charlie notices the empty glass on the counter .</scene_description> <character>CHARLIE</character> <dialogue>Harriet, where did the shake go?</dialogue> <character>HARRIET</character> <dialogue>What do you care? I drank it.</dialogue> <parenthetical>( getting into shower . )</parenthetical> <dialogue>You could have at least tried it. You make me feel bad sometimes, Charlie. I do n't know why.</dialogue> <scene_description>With her in the shower , he sneaks back into the bedroom and checks the trash can . Nothing . Then he runs around the bed to the other trash can . Nothing . He looks thoroughly confused as she enter the bedroom , wearing a towel . She takes the towel off as she slips underneath the covers . He gets into bed next to her . She gives him a kiss .</scene_description> <character>HARRIET</character> <dialogue>Sorry. I'm a little sensitive. You did n't want to drink my milkshake. So what - right?</dialogue> <character>NEWS ANCHORMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Regarding the murder between the two partners, we talked to Toxicologist Dr. Show on the issue.</dialogue> <scene_description>Charlie and Harriet are watching the news show . DOCTOR SHOW is patched in via the Anchorman 's close circuit TV .</scene_description> <character>NEWS ANCHORMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Doctor, is it possible that one could be poisoned with no trace at all?</dialogue> <character>DOCTOR SHOW</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Certainly. There are plants that grow very commonly in our own backyard that could easily be fermented into poison. Take for instance the.</dialogue> <character>CHARLIE</character> <parenthetical>( getting nervous ; blocking out TV . )</parenthetical> <dialogue>Harriet, why do n't we shut the light off.</dialogue> <character>NEWS ANCHORMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Really? And how easy it that to do?</dialogue> <character>DOCTOR</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Scarily enough, quite simple. You merely take the.</dialogue> <character>CHARLIE</character> <parenthetical>( blocking out the TV again . )</parenthetical> <dialogue>Maybe we should turn the light back on. Yeah that's better.</dialogue> <character>HARRIET</character> <dialogue>Charlie, what's the matter?</dialogue> <character>CHARLIE</character> <dialogue>Nothing.</dialogue> <character>HARRIET</character> <dialogue>Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Well, it's just.</dialogue> <parenthetical>( re : the TV . )</parenthetical> <dialogue>The TV. You ca n't even watch the news these days without getting depressed.</dialogue> <character>HARRIET</character> <dialogue>I know, Charlie. And it's not just that. Look at the things people are doing. Partners killing each other. I mean, you hear a story like that, and. who can you really trust these days?</dialogue> <character>CHARLIE</character> <dialogue>What do you mean?</dialogue> <character>HARRIET</character> <dialogue>It's like, have you ever stood with someone at the edge of a cliff, or the edge of a subway platform, and you think, just for a split second, `` What if I pushed him?''</dialogue> <character>CHARLIE</character> <dialogue>Well, I do n't really take the subway ever, so.</dialogue> <scene_description>Charlie turns over on his side , she cuddles up behind him .</scene_description> <character>HARRIET</character> <dialogue>I'm just making a point of how many times we trust people with our lives. I mean, look at us. If you did n't trust me, you would never be able to fall asleep.</dialogue> <character>CHARLIE</character> <dialogue>Why do you say that?</dialogue> <character>HARRIET</character> <dialogue>Look at you, you're sleeping. Look how vulnerable you are. I mean, I could do anything at that point.</dialogue> <character>CHARLIE</character> <parenthetical>( nervous . )</parenthetical> <dialogue>What could you do?</dialogue> <character>HARRIET</character> <parenthetical>( sweet and innocent . )</parenthetical> <dialogue>Anything. You're lying on your side, asleep, I could. stick a needle in your ear.</dialogue> <character>CHARLIE</character> <parenthetical>( grabbing his ear at the thought . )</parenthetical> <dialogue>Aahhh!</dialogue> <character>HARRIET</character> <dialogue>I'm just making a point of what a good relationship we have. Goodnight, sweetheart.</dialogue> <scene_description>He looks very uneasy . She kisses him and shuts off the light . The moon gives the room an eerie glow .</scene_description> <character>HARRIET</character> <dialogue>Well, good night.</dialogue> <character>CHARLIE</character> <dialogue>Good night.</dialogue> <scene_description>She does n't close her eyes . He 's scared to close his . Pause .</scene_description> <character>CHARLIE</character> <dialogue>Well. good night.</dialogue> <character>HARRIET</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Good night.</dialogue> <scene_description>They both look over at each other . She closes her eyes . He takes a deep breath and then closes his eyes . And covers his ear with his hand .</scene_description> </scene> <scene> <stage_direction>INT. BART PLATFORM - DAY</stage_direction> <scene_description>Charlie is on the crowded platform . Next to him is an old lady with a lot of shopping bags . Three kids on skateboards whiz by and accidentally knock bags out of her hands . Cat toys and cans of cat food go everywhere . Charlie bends down and starts to help her gather her stuff .</scene_description> <character>LADY</character> <dialogue>Thank you very much, young man. I've got ta get all this stuff back to my children.</dialogue> <character>CHARLIE</character> <dialogue>Your children?</dialogue> <character>LADY</character> <dialogue>When I say my children I mean my cats. You see my children moved out years ago, so all I've got is my cats. I have over one hundred of them.</dialogue> <character>CHARLIE</character> <dialogue>That's a lot of cats.</dialogue> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Charlie.</dialogue> <scene_description>Charlie looks up and sees Harriet waving to him from the subway stairs . He waves back and motions . `` I 'll be there in a second '' , and continues to help the old lady . She watches from the stairs .</scene_description> <character>LADY</character> <dialogue>You see this red toy? That's for the Captain, he's finicky. and this blue one? That's for Marco Polo.</dialogue> <scene_description>Two train headlights are seen off in the distance .</scene_description> <character>CHARLIE</character> <dialogue>Do you have a name for all of your cats?</dialogue> <character>LADY</character> <dialogue>Oh, yes.</dialogue> <scene_description>Charlie glances over at Harriet , who slowly makes her way down the platform towards him .</scene_description> <character>LADY</character> <dialogue>Let me see! There's Winston Churchill, Reda Sovine, Thomas Edison, Andrew Carnegie.</dialogue> <scene_description>The train is getting closer and closer , and so is Harriet .</scene_description> <character>CHARLIE</character> <dialogue>He was Scottish.</dialogue> <scene_description>Harriet moves forward a step , Charlie moves back a step .</scene_description> <character>LADY</character> <dialogue>Was n't he Irish?</dialogue> <scene_description>As Harriet seems to get closer Charlie continues to back up , picking up cat toys . Charlie realizes he has no where else to turn . so he side steps down the platform , never stopping his conversation with the lady .</scene_description> <character>CHARLIE</character> <dialogue>Actually he was Scottish. Trust me, I know these things.</dialogue> <scene_description>Harriet is moving in on him . Charlie steadily makes his way down the platform , feigning accidentally kicking cat food down the platform . The old lady is unsure what is going on , she tries to keep up with him .</scene_description> <character>LADY</character> <dialogue>Now that you say it, he was Scotch.</dialogue> <scene_description>Charlie runs out of platform . Harriet is very close to him . The train is closer , so is Harriet . Charlie lets out a scream .</scene_description> <character>CHARLIE</character> <dialogue>Noooooo!</dialogue> <scene_description>Charlie is standing at the edge of the platform , Harriet is a good six or seven feet away as the train passes by . Charlie is safe . People are all staring at Charlie curiously , including Harriet and the old lady . Charlie is embarrassed .</scene_description> <character>CHARLIE</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>Nooooooo, Scotch is a drink. Scots are a people. Sorry, that just always bugged me.</dialogue> <scene_description>No one knows what is going on .</scene_description> <character>LADY</character> <dialogue>I'm sorry, I did n't know it meant so much to you.</dialogue> <character>CHARLIE</character> <dialogue>Hi, Harriet.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO CHRONICLE BUILDING - DAY</stage_direction> </scene> <scene> <stage_direction>INT. CHRONICLE ANNOUNCEMENTS DESK.</stage_direction> <scene_description>WE SEE A LONG DESK WITH DIFFERENT SIGNS THAT READ ; BIRTHS , DEATHS , AND MARRIAGES . We find Charlie at the marriage counter .</scene_description> <character>ASSISTANT</character> <dialogue>Yes, Sir, can I help you?</dialogue> <character>CHARLIE</character> <dialogue>I'd like to put in an announcement of my parents forty - fifth wedding anniversary.</dialogue> <character>ASSISTANT</character> <dialogue>Sure, it's $ 4.50 per word, and you've got a choice of standard or bold.</dialogue> <character>CHARLIE</character> <dialogue>Bold, and here, I've written it out.</dialogue> <scene_description>Charlie looks over to the deaths counter . He overhears two obituary assistants having a conversation .</scene_description> <character>OBITUARY ASSISTANT #1</character> <dialogue>Hi, Frank, busy week?</dialogue> <character>OBITUARY ASSISTANT #2</character> <dialogue>I've only got two. It's dead around here.</dialogue> <scene_description>Both assistants laugh . Charlie is mildly bemused .</scene_description> <character>OBITUARY ASSISTANT #2</character> <dialogue>Well, I've got this one guy, a tourist. He had a heart attack on a cable car.</dialogue> <character>OBITUARY ASSISTANT #1</character> <dialogue>Looks like he left his heart in San Francisco.</dialogue> <character>MARRIAGE ASSISTANT</character> <dialogue>Hey, that's a real person you're talking about.</dialogue> <character>OBITUARY ASSISTANT #1</character> <dialogue>You're right, I'm sorry.</dialogue> <character>OBITUARY ASSISTANT #2</character> <dialogue>Well, there's this other guy Elliot, Ralph. Plumber, disappeared four months ago. Body found in a sewer.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue /> <character>OBITUARY ASSISTANT #1</character> <parenthetical>( despite himself . )</parenthetical> <dialogue>I guess he took his work too seriously, and his life went down the drain.</dialogue> <character>CHARLIE</character> <dialogue>Did they mention anything about his wife?</dialogue> <character>OBITUARY ASSISTANT #1</character> <parenthetical>( crest fallen . )</parenthetical> <dialogue>You're right, I feel bad. Point taken. I'm mean, these are real people we're talking about.</dialogue> <character>CHARLIE</character> <dialogue>No, I'm serious. Did he mention the wife?</dialogue> <character>OBITUARY ASSISTANT #1</character> <dialogue>You made your point. I was wrong to make a joke about a person's life.</dialogue> <character>CHARLIE</character> <dialogue>I really want to know about his wife.</dialogue> <character>OBITUARY ASSISTANT #1</character> <parenthetical>( crying and shouting . )</parenthetical> <dialogue>O.K., you win. I'm a bad, bad person.</dialogue> <character>OBITUARY ASSISTANT #2</character> <dialogue>Frank take it easy.</dialogue> <character>OBITUARY ASSISTANT #1</character> <dialogue>No, he's right!</dialogue> <parenthetical>( pounding his head with his fists . )</parenthetical> <dialogue>I'm for shit, I'm one insensitive asshole.</dialogue> <character>CHARLIE</character> <dialogue>Is there any mention of the wife? At all?</dialogue> <character>OBITUARY ASSISTANT #1</character> <dialogue>NO! THERE'S NO MENTION OF THE WIFE! YOU HAPPY!?</dialogue> <scene_description>Charlie exits .</scene_description> </scene> <scene> <stage_direction>EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY</stage_direction> <scene_description>Charlie stands outside the announcement office , terrified .</scene_description> </scene> <scene> <stage_direction>INT. MEATS OF THE WORLD</stage_direction> <scene_description>Harriet is talking to a CUSTOMER .</scene_description> <character>HARRIET</character> <dialogue>Hi.</dialogue> <character>CHARLIE</character> <dialogue>I'm sorry.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I think you're a terrific woman.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I just do n't think we should see each other anymore.</dialogue> <scene_description>She moves around to Charlie . She lifts his chin so that he is looking directly into her eyes .</scene_description> <character>HARRIET</character> <dialogue>Why not? And tell me the truth.</dialogue> <character>CHARLIE</character> <dialogue>The truth. Okay. The truth is.</dialogue> <scene_description>She is so close to him , and so very beautiful , it 's distracting .</scene_description> <character>CHARLIE</character> <dialogue>The truth is. I'm afraid that you are.</dialogue> <parenthetical>( he ca n't . )</parenthetical> <dialogue>You're going to laugh.</dialogue> <character>HARRIET</character> <dialogue>I do n't think so.</dialogue> <character>CHARLIE</character> <dialogue>Okay. the truth is that I'm afraid you're going to ki. leave me.</dialogue> <character>HARRIET</character> <dialogue>I'm going to `` cleave you?'' What does that mean?</dialogue> <character>CHARLIE</character> <dialogue>Leave me. Not `` cleave me.'' Reject me. And so I decided to take matters into my own hands and get it over with by.</dialogue> <character>HARRIET</character> <dialogue>Rejecting me.</dialogue> <character>CHARLIE</character> <parenthetical>( he feels awful . )</parenthetical> <dialogue>Purely preventive. It's not anything you've done.</dialogue> <character>HARRIET</character> <dialogue>I know that. So why are you leaving me?</dialogue> <character>CHARLIE</character> <parenthetical>( heartbroken . )</parenthetical> <dialogue>Harriet, maybe I'm not meant to be in a relationship.</dialogue> <scene_description>A single tear runs down her cheek . She brushes it away quickly .</scene_description> <character>CHARLIE</character> <dialogue>I never wanted to hurt you.</dialogue> <character>HARRIET</character> <dialogue>You have n't. At least you left early on.</dialogue> <parenthetical>( she 's crying . )</parenthetical> <dialogue>So, that's it, then. I've got a lot of work to do.</dialogue> <parenthetical>( to Customer . )</parenthetical> <dialogue>Now, where were we?</dialogue> <scene_description>Charlie goes .</scene_description> </scene> <scene> <stage_direction>INT. SPILETTI'S COFFEE HOUSE - NIGHT</stage_direction> <scene_description>Charlie lies on the bar head down . Tony rushes in , looks around and sees Charlie .</scene_description> <character>CHARLIE</character> <parenthetical>( without lifting head . )</parenthetical> <dialogue>Two hours and four minutes. Tony, I need you, and two hours and four minutes later you show up.</dialogue> <character>TONY</character> <dialogue>Sorry. I know it was irresponsible to stay at the drug bust until it was over, but. What happened?</dialogue> <character>CHARLIE</character> <parenthetical>( slowly sitting up . )</parenthetical> <dialogue>I'm gon na tell you, but when I do, just say nothing. Do n't judge me. Just be my friend. Okay?</dialogue> <character>TONY</character> <dialogue>Fine. Okay.</dialogue> <character>CHARLIE</character> <dialogue>I broke up with Harriet.</dialogue> <character>TONY</character> <dialogue>You're an asshole.</dialogue> <character>CHARLIE</character> <dialogue>What's your point?</dialogue> <character>TONY</character> <dialogue>I'm sorry, I just. why?</dialogue> <character>CHARLIE</character> <dialogue>Tony, she's a killer. The. everything.</dialogue> <character>TONY</character> <dialogue>But nothing's proven. The only thing you're actually sure she did so far is she's treated you like a King.</dialogue> <character>CHARLIE</character> <dialogue>I dunno, Tony, I just.</dialogue> <character>TONY</character> <dialogue>Besides, everyone has something going on with them. I mean, you ca n't find everything in one person. I mean, she's bright, she's funny, she's independent. So maybe, and it's really just a maybe, she kills her husbands. Marriage is give and take, Man. You take the good with the bad.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S BEDROOM - MIDDLE OF THE NIGHT</stage_direction> <scene_description>Charlie lies in bed . He 's writing in his journal . He stares out into space . Inspired , he writes . ANGLE ON THE JOURNAL DO N'T BE DISILLUSIONED BY THE SCOTTISH SON AS HE FLIES , IN BAT - LIKE UNISON CHARLIE pauses a moment to reflect , then writes . ANGLE ON THE JOURNAL UNTRUST - ING UNKNOW - ING UNLOV - ING CHARLIE Thinks of something else and writes . ANGLE ON THE JOURNAL THIS POEM SUCKS His hand reaches across and scratches it out .</scene_description> </scene> <scene> <stage_direction>EXT. HAIGHT-ASHBURY STREET - DAY</stage_direction> <scene_description>Charlie is exiting a vintage record store . Suddenly he finds himself face to face with Sherri . She 's accompanied by a handsome young man .</scene_description> <character>SHERRI</character> <dialogue>Hey, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Hi. How're you doing.</dialogue> <parenthetical>( he glances at her friend . )</parenthetical> <dialogue>Good, huh?</dialogue> <character>SHERRI</character> <dialogue>I'm okay. This is Michael. Michael, this is Charlie MacKenzie.</dialogue> <character>YOUNG GUY</character> <dialogue>I know. Why do n't you two talk. I'm going over there to buy some magazines.</dialogue> <scene_description>He walks over to a magazine stand .</scene_description> <character>CHARLIE</character> <dialogue>That good looking and he can read!</dialogue> <character>SHERRI</character> <dialogue>I'm teaching him. I heard you have a new girlfriend.</dialogue> <character>CHARLIE</character> <dialogue>We broke up. There were problems.</dialogue> <character>SHERRI</character> <dialogue>Problems?</dialogue> <character>CHARLIE</character> <dialogue>Difficulties.</dialogue> <character>SHERRI</character> <dialogue>Let me guess.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>She's a murderer.</dialogue> <scene_description>For a moment , Charlie is too stunned to respond . Then .</scene_description> <character>CHARLIE</character> <dialogue>Why did you just say that?</dialogue> <character>SHERRI</character> <parenthetical>( laughs . )</parenthetical> <dialogue>What else is left?</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S BEDROOM - EARLY EVENING</stage_direction> <scene_description>He 's on the Stair Master , stepping very lethargically . The TELEPHONE RINGS : He goes to answer .</scene_description> <character>CHARLIE</character> <dialogue>Hello.</dialogue> <character>TONY</character> <parenthetical>( through phone . )</parenthetical> <dialogue>Not that it matters anymore, but I thought you should know - someone just turned themselves in for the murder of Ralph Elliot.</dialogue> <character>CHARLIE</character> <dialogue>Really? Did she confess to the other murders?</dialogue> <character>TONY</character> <dialogue>Just the plumber so far, but she'll come along.</dialogue> <parenthetical>( after a pause . )</parenthetical> <dialogue>A little old lady from Pacific Heights. Said he overcharged her on a leaking sink.</dialogue> <character>CHARLIE</character> <dialogue>Really. Leaky sink, huh?</dialogue> <character>TONY</character> <dialogue>Anyway, crime to stop. Got ta go. I'll catch you later.</dialogue> <scene_description>Tony hangs up . Charlie stops pedaling on the bike . Now he really feels like shit . Harriet 's not a killer . Sherri 's not a cheater . He races out of the bedroom . Moments later he appears , puts on a pair of pants over his exercise shorts , then races out the door again .</scene_description> </scene> <scene> <stage_direction>EXT./INT. CHARLIE'S CAR - EARLY EVENING</stage_direction> <scene_description>Charlie races along towards Harriet 's house .</scene_description> </scene> <scene> <stage_direction>EXT. HARRIET'S APARTMENT DOOR - DAY</stage_direction> <scene_description>He races up to the door and starts to bang and knock and ring .</scene_description> <character>CHARLIE</character> <parenthetical>( through door . )</parenthetical> <dialogue>Harriet, it's me, Charlie.</dialogue> <character>HARRIET</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Go away, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>I've got ta talk to you, cause I miss you, and I made a mistake. and if you give me another chance I'll change. I will. I promise. I'll get help, or therapy, or. Yeah, that'll be great. Therapy. Even twice a week. I'll check with my insurance to see if I'm covered, but forget that. Harriet.</dialogue> <scene_description>The chain opens on the door .</scene_description> <character>HARRIET</character> <dialogue>You really hurt me.</dialogue> <character>CHARLIE</character> <dialogue>I'll make it up to you, can we at least talk.</dialogue> <character>HARRIET</character> <dialogue>Sure, talk.</dialogue> <scene_description>Rose steps up behind Charlie .</scene_description> <character>ROSE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hi, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>AAAhhhhhh.</dialogue> <character>ROSE</character> <parenthetical>( as she now proceeds to be let in by Harriet . )</parenthetical> <dialogue>Trust your first instincts, Charlie. You never do. It's your big mistake. That and the haircut.</dialogue> <scene_description>Once again , baffled by Rose , Charlie touches his hair , shakes it off and looks Harriet right in the eye .</scene_description> <character>CHARLIE</character> <dialogue>I do n't want to lose you.</dialogue> <character>HARRIET</character> <dialogue>You did n't lose me. You rejected me.</dialogue> <character>CHARLIE</character> <dialogue>I'm unrejecting you.</dialogue> <character>HARRIET</character> <dialogue>How do I know you wo n't reject me again?</dialogue> <character>CHARLIE</character> <dialogue>I love you.</dialogue> <character>HARRIET</character> <parenthetical>( after a long pause . )</parenthetical> <dialogue>I love you. But you blew it, Charlie, you blew it.</dialogue> <scene_description>She goes into the house . Charlie stands there dejected . He knows he 's blown it .</scene_description> </scene> <scene> <stage_direction>INT. HARRIET'S APARTMENT - NIGHT</stage_direction> <scene_description>Harriet is doing a load of laundry consisting of bloodied work clothes . Suddenly she can hear the sound of MUSIC , very loudly . Annoyed , she goes out her front door to tell her neighbors off . Just as she 's about to knock on the door , she realizes it 's not the source of the music . At that moment her neighbor , who is a STEWARDESS , comes out in nightclothes .</scene_description> <character>STEWARDESS</character> <dialogue>I do n't mean to be a pain, but I'm a stewardess, and I have an early flight out in the morning. Can you please keep your music down?</dialogue> <character>HARRIET</character> <dialogue>I thought it was coming from here.</dialogue> <character>STEWARDESS</character> <dialogue>But someone keeps shouting your name over and over.</dialogue> <scene_description>Puzzled , Harriet rushes back to her own balcony .</scene_description> </scene> <scene> <stage_direction>EXT. HARRIET'S APARTMENT - BALCONY - NIGHT</stage_direction> <scene_description>Harriet rushes out and smiles as she sees the source of the noise . Charlie serenades Harriet in the street below , accompanied by a TRUMPETER with a MUTE , a DOUBLE BASS PLAYER AND A GUY ON A SNARE .</scene_description> <character>CHARLIE</character> <dialogue>HARRIET, HARRIET HARD - HEARTED HARBINGER OF HAGGIS BEAUTIFUL, BEMUSED BELLICOSE BUTCHER UNTRUST - ING UNKNOW - ING UNLOV - ING HE WANTS YOU BACK HE SCREAMS INTO THE NIGHT AIR LIKE A FIREMAN GOING TO A WINDOW THAT HAS NO FIRE EXCEPT THE PASSION OF HIS HEART I AM LONELY, IT'S REALLY HARD THIS POEM SUCKS</dialogue> <scene_description>A crowd has gathered in the street and spectators group on their balconies . They break out into APPLAUSE . Charlie proudly takes the applause and bows to Harriet . She throws him a flower . He 's won her back .</scene_description> </scene> <scene> <stage_direction>INT. BATHTUB - HARRIET'S APARTMENT - NIGHT</stage_direction> <scene_description>Romantic with candles surrounding the tub . Harriet and Charlie are bathing together . Wherever one of them moves , the water extinguishes a candle and Charlie lights it . This is keeping him pretty busy .</scene_description> <character>HARRIET</character> <dialogue>I've been there for almost a year. I only planned on stay with her for a few weeks, but she gets upset every time I say I'm moving.</dialogue> <character>CHARLIE</character> <dialogue>You were close as kids?</dialogue> <character>HARRIET</character> <dialogue>I pretty much raised her. You know the scene. Depressed mother. withdrawn father.</dialogue> <parenthetical>( she remembers . )</parenthetical> <dialogue>My dad was a photographer too.</dialogue> <character>CHARLIE</character> <dialogue>Really?</dialogue> <character>HARRIET</character> <dialogue>He hated it. Trudging off to those weddings every Saturday night. Other people's celebrations he called it. He said sometimes they did n't even offer him a glass of soda. He had a small studio, and every year at Christmas he'd take a picture of me and Rose and put it in the window on a little card that said `` Seasons Greetings.'' Awful pictures. It's like. I could see his pain in my face. Anyway, me and my sister worked with our `` childhood issues'' in different ways. She became a photographer and I became phobic about having my picture taken. It's quite a family.</dialogue> <character>CHARLIE</character> <dialogue>Where are they now? Your parents?</dialogue> <character>HARRIET</character> <dialogue>Dead. Car accident.</dialogue> <scene_description>There is a RING at the door .</scene_description> <character>ROSE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Harriet, its for you.</dialogue> </scene> <scene> <stage_direction>INT. HARRIET'S LIVING ROOM</stage_direction> <scene_description>Charlie comes out of the bathroom in a robe .</scene_description> <character>HARRIET</character> <dialogue>Charlie, I want you to meet a friend of mine. Say hi to Ralph.</dialogue> <character>CHARLIE</character> <parenthetical>( shocked . )</parenthetical> <dialogue>Ralph?</dialogue> <scene_description>A plain looking lady in her thirties , RALPH , is sitting by the window .</scene_description> <character>CHARLIE</character> <parenthetical>( delighted . )</parenthetical> <dialogue>Oh, like Ralph, the lady carpenter in Green Acres!</dialogue> <character>HARRIET</character> <dialogue>This is Charlie.</dialogue> <character>CHARLIE</character> <dialogue>I love you!</dialogue> <character>RALPH</character> <dialogue>It's nice to meet you.</dialogue> <character>CHARLIE</character> <parenthetical>( ecstatic . )</parenthetical> <dialogue>Nice? It's more than nice. It's great to meet you. It's fantastic to meet you. I just, I ca n't tell you how glad I am. Ralph. Really. I am.</dialogue> <character>RALPH</character> <dialogue>Well, thank you, I've heard a lot of nice things about you too, and.</dialogue> <scene_description>He rushes over to hug her .</scene_description> <character>CHARLIE</character> <dialogue>Oh, Ralphie, I love you.</dialogue> <scene_description>Swept up in his enthusiasm his towel falls off . Harriet is shocked , but amused .</scene_description> <character>HARRIET</character> <dialogue>I'll leave you guys alone. Have a great time.</dialogue> <scene_description>Charlie realizes he is naked . His arms are still wrapped around Ralph .</scene_description> <character>CHARLIE</character> <dialogue>I'm naked, are n't I?</dialogue> <character>HARRIET</character> <dialogue>Why, yes, you are.</dialogue> <character>CHARLIE</character> <dialogue>I should really get dressed now.</dialogue> <scene_description>He hurriedly puts his towel back on , bolts to the bedroom door . Just before he enters , he pauses and turns to Ralph .</scene_description> <character>CHARLIE</character> <parenthetical>( to Ralph . )</parenthetical> <dialogue>Call me.</dialogue> <scene_description>He leaves .</scene_description> <character>RALPH</character> <parenthetical>( to Harriet ; a little confused . )</parenthetical> <dialogue>Friendly guy.</dialogue> <scene_description>A KITCHEN DOOR OPENS . and Charlie 's mother , MAY , shoulders her way through the door , carrying a HAPPY ANNIVERSARY CAKE with a big 45 written on it .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S PARENTS' APARTMENT - NIGHT</stage_direction> <scene_description>May and Stuart 's 45 year anniversary party . UNCLE ANGUS is at the piano playing `` Happy Anniversary '' as Charlie 's parents , all their friends and Harriet all sit around the piano</scene_description> <character>THE GROUP</character> <dialogue>Happy Anniversary to you.</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>The song ends . May and Stuart blow out the candles .</scene_description> <character>MAY</character> <dialogue>Okay, everyone come and get a piece of cake and some milk.</dialogue> <character>CHARLIE</character> <dialogue>Hey Dad, I got an anniversary present for you.</dialogue> <scene_description>Stuart looks up , and Charlie gets him in a headlock and pins him to the ground .</scene_description> <character>STUART</character> <dialogue>I'm proud of you, son. I'm proud of you.</dialogue> <parenthetical>( Stuart addresses the group . )</parenthetical> <dialogue>I just wan na propose a toast. To my wife. Forty five years ago today May and I got married. Some of you were there, some of you were n't born yet, some of you are now dead, but. We both said, `` I do'' and we have n't agreed on a single thing since. But, I'm glad I married you May cause. It could have been worse and besides. I still love you.</dialogue> <scene_description>They kiss and everyone APPLAUDS . Uncle Angus breaks into , `` Stand By Your Man . '' May and Stuart start to dance . Charlie looks at another young couple who are touched by this sincere display of love . He looks over at Harriet . Stuart and May feed each other cake . Charlie approaches Harriet .</scene_description> <character>CHARLIE</character> <dialogue>Harriet, I wan na talk to you.</dialogue> <character>HARRIET</character> <dialogue>Boy, you really made some impression with Ralph. She ca n't get over you.</dialogue> <character>CHARLIE</character> <parenthetical>( stalling ; nervous . )</parenthetical> <dialogue>I'm just so happy for you to have friends like Ralph. What a great friend to have.</dialogue> <character>HARRIET</character> <dialogue>Is everything all right, Charlie? You're perspiring.</dialogue> <character>CHARLIE</character> <dialogue>Harriet. marry me.</dialogue> <character>HARRIET</character> <dialogue>What?</dialogue> <character>CHARLIE</character> <dialogue>I want to have a wedding. With you.</dialogue> <character>HARRIET</character> <dialogue>No.</dialogue> <character>CHARLIE</character> <dialogue>Please.</dialogue> <character>HARRIET</character> <dialogue>I do n't know, Charlie. It's so good like it is. Why do n't we just live together first?</dialogue> <character>CHARLIE</character> <dialogue>Because, I love you and I want you to marry me and be with me for 45 years. I want you to have my children, and I want to have your children. I know that sounds like a lot of children, and they might not all get along, but. I'm finally ready to trust you and to make a commitment. Marry me, Harriet, please. Be my wife.</dialogue> <scene_description>Harriet flinches slightly at the word `` Wife '' , but Charlie is too wrapped up in the moment to notice . Stuart addresses the group .</scene_description> <character>STUART</character> <dialogue>I'd like to thank Charlie for throwing us this party. I hope some day you have the same great 45 years that we've had.</dialogue> <scene_description>People clap and smile . Harriet looks at Charlie . He has tears in his eyes .</scene_description> <character>HARRIET</character> <dialogue>Yes.</dialogue> <scene_description>At first it does n't register . Then .</scene_description> <character>CHARLIE</character> <dialogue>You will?</dialogue> <scene_description>She smiles .</scene_description> <character>HARRIET</character> <dialogue>Let's get married, Charlie.</dialogue> <scene_description>They kiss .</scene_description> <character>MAY</character> <parenthetical>( from across room . )</parenthetical> <dialogue>Harriet, come here a minute. I want you and Uncle Angus to play a song together.</dialogue> <scene_description>Harriet and Charlie kiss one last time and she goes to the piano . Charlie stays in the corner , and Tony comes over .</scene_description> <character>TONY</character> <dialogue>Hey, sorry I'm so late. What's happening?</dialogue> <character>CHARLIE</character> <dialogue>Nothing. Nothing at all. Just two little things.</dialogue> <parenthetical>( as Tony looks in . )</parenthetical> <dialogue>That woman over there in the corner. She's Harriet's friend, and her name is Ralph.</dialogue> <character>TONY</character> <dialogue>No shit.</dialogue> <character>CHARLIE</character> <dialogue>And secondly. That woman over there.</dialogue> <parenthetical>( Re : Harriet . )</parenthetical> <dialogue>That's Harriet, and we're getting married.</dialogue> <character>TONY</character> <parenthetical>( excited . )</parenthetical> <dialogue>Fantastic. What did I tell you. She's a great girl. And the last thing in the world she'd be is a murderer.</dialogue> <scene_description>And then Harriet begins singing at the piano .</scene_description> <character>HARRIET</character> <parenthetical>( singing . )</parenthetical> <dialogue>ONLY YOU. CAN MAKE THIS WORLD SEEM RIGHT. ONLY YOU. CAN MAKE THIS DARKNESS LIGHT.''</dialogue> <scene_description>Tony and Charlie look at each other . `` Only you ? '' Then Charlie looks at his bride with confidence . He walks over and joins her . She sings to him . It 's a moment .</scene_description> </scene> <scene> <stage_direction>INT. JEWELRY STORE - DAY</stage_direction> <scene_description>Charlie and Harriet pick out a diamond ring .</scene_description> </scene> <scene> <stage_direction>INT. TRAVEL AGENCY</stage_direction> <scene_description>Charlie and Harriet point to brochures of the different cities they could go to on their honeymoon . They decide on a picture of the `` DRY CREEK LODGE '' in Oregon .</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE</stage_direction> <scene_description>They are getting their blood tests back . Harriet looks at hers , casually . Charlie is nervous . Reluctantly he opens the file and looks at it . He is pleased with the results and does a victory dance .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTISH PRESBYTERIAN CHURCH - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. SCOTTISH PRESBYTERIAN CHURCH</stage_direction> <scene_description>Charlie and Harriet are being married . Harriet is in a beautiful wedding gown . Charlie is wearing a kilt . Tony is the best man . He also wears a kilt . Stuart , also kilted , May , the whole family along with a hundred well - wishers are in attendance . The SCOTTISH MINISTER presides . Rose is in a kilt .</scene_description> <character>SCOTTISH MINISTER</character> <dialogue>Now, Mr. MacKenzie, if you will take this woman to be your wife, through thick and thin, for better or for worse, please say : `` I do''.</dialogue> <character>CHARLIE</character> <dialogue>I do.</dialogue> <character>SCOTTISH MINISTER</character> <dialogue>Now Harriet, if you will take this man, through good times and bad, for ever and ever, as your husband, please say `` I Do''.</dialogue> <scene_description>Harriet starts to speak ; but right before the words come out , she stares into Charlie 's eyes and STOPS . Charlie looks nervous . So does the Scottish Minister . So does Tony . So does everyone .</scene_description> <character>HARRIET</character> <parenthetical>( after a long pause ; finally : . )</parenthetical> <dialogue>I do.</dialogue> <character>SCOTTISH MINISTER</character> <dialogue>Now Charlie. Kiss the beautiful bride!</dialogue> <scene_description>Charlie and Harriet kiss . We can see -LRB- though Charlie ca n't -RRB- Harriet has a strange unsure expression on her face . Tony notices it though and ca n't figure it out .</scene_description> <character>STUART</character> <dialogue>Let's get pissed.</dialogue> <scene_description>The wedding march kicks in being played by a drunken Scotsman on BAGPIPES .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION HALL</stage_direction> <scene_description>A Scottish accordionist and a Drummer play SCOTLAND THE BRAVE . Some OLDER SCOTTISH AUNTIES are CLAPPING and HOOTING LOUDLY along with the tune . Some young girl COUSINS in traditional Scottish costume , dance the sword dance along to SCOTLAND THE BRAVE . We pass the buffet which we see is catered by `` Meats Of The World . '' Then we pass a very drunken Stuart in a heated discussion with four other people .</scene_description> <character>STUART</character> <dialogue>You know Golden Gate park was designed by a Scotsman, MacClaren, which is who MacClaren park was named after.</dialogue> <scene_description>The others agree heartily . May and Tony are dancing . May is dancing uncomfortably close . She keeps sliding her hand down to his ass , which he then has to move back to his shoulder . Then we come to William , who 's reluctantly at the children 's table . All his little cousins are queuing up for a chance to feel his head . We find Charlie in a corner . One of the hooting Scottish aunties is trying to get him to have another Scotch .</scene_description> <character>AUNTIE MOLLY</character> <parenthetical>( proffering the Scotch . )</parenthetical> <dialogue>Charlie, get this down your neck.</dialogue> <character>CHARLIE</character> <dialogue>Auntie Molly if I have another one I'll end up underneath the table with my kilt over my head.</dialogue> <scene_description>Tony joins them .</scene_description> <character>TONY</character> <dialogue>Where's Harriet?</dialogue> <character>CHARLIE</character> <dialogue>I do n't know. Oh, there she is.</dialogue> <scene_description>She 's in the corner by herself looking weird and ominous . She has enough food in front or her for three people . She eats ravenously and incessantly . Charlie goes over to her .</scene_description> <character>CHARLIE</character> <dialogue>A little hungry, were you?</dialogue> <scene_description>At that moment , a FLASH goes off . Harriet looks up angrily .</scene_description> <character>HARRIET</character> <dialogue>What are you!</dialogue> <scene_description>Then she realizes it 's Rose . She calms down and smiles . Charlie looks at her , a little peculiarly , but Harriet regains her composure .</scene_description> <character>HARRIET</character> <dialogue>Sorry. The flash just.</dialogue> <scene_description>The band kicks into a new dance . A YOUNG BOY comes up to the bagpipe man with a shot of whiskey and whispers into his ear . The bagpipe man stops the song , downs the whiskey and then breaks into Rod Stewart 's `` IF YOU THINK I 'M SEXY . '' From across the room we hear Stuart singing .</scene_description> <character>STUART</character> <parenthetical>( full volume ; singing . )</parenthetical> <dialogue>IF YOU THINK I'M SEXY. AND YOU WANT MY BODY. COME ON BABY LET ME KNOW.</dialogue> <scene_description>Stuart gives the Bagpiper the thumbs up . The young people in the room start to jam , and then one by one the other guests start getting into the swing of things . The bagpipe man continues playing . It is clear that he is far too drunk to play . He slowly keels over , drunk . And as he falls over face first , he lands on his Bagpipes . The bagpipes let out an ATONAL DEFLATING SOUND like the last dying throes of a tortured animal . The BAGPIPE WAIL extends into the next scene .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH ABOVE COAST - DAY</stage_direction> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Wait'til you see this place, Harriet.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S CAR - DAY</stage_direction> <scene_description>They drive along the beautiful coast . Harriet is still eating . They 're listening to TEENAGE FAN CLUB .</scene_description> <character>CHARLIE</character> <dialogue>This is Teenage Fan Club. They're from Scotland.</dialogue> <character>HARRIET</character> <dialogue>They're great.</dialogue> <character>CHARLIE</character> <dialogue>We'll have the whole lodge to ourselves practically.</dialogue> <character>HARRIET</character> <dialogue>I ca n't wait, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>I wish you could be me, so you could know how great it feels to be with you.</dialogue> <character>HARRIET</character> <dialogue>It sounds wonderful</dialogue> <character>CHARLIE</character> <dialogue>Do you think that would be a good line for a poem?</dialogue> <character>HARRIET</character> <dialogue>Honestly? It sounds a little Hallmark.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, it's a little Seals and Croft. I have a habit of sabotaging relationships, and there were a million times during me and you that I could have blown this, and I just thank God that I did n't.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>Tony is at his desk . The captain kicks open the door , knocking Tony 's feet off the desk . The captain is now dressed in suspenders , a loosened tie , and a shirt with pit stains .</scene_description> <character>CAPTAIN</character> <dialogue>O.K., Spiletti, I got word from upstairs that you been pokin' your nose into that Ralph Elliot case.</dialogue> <character>TONY</character> <dialogue>Yes, Captain.</dialogue> <character>CAPTAIN</character> <dialogue>Do n't `` yes, Captain'' me, Spiletti. You're outta line. This is strictly homicide.</dialogue> <character>TONY</character> <dialogue>Captain, I got this friend.</dialogue> <character>CAPTAIN</character> <dialogue>Friend? Yeah, we all got friends, Spiletti. I'm warning you, Stay away from this one. Back off, Italian boy. You're getting too close to this one.</dialogue> <character>TONY</character> <dialogue>Captain, I know what I'm doing. Trust me. What's the news.</dialogue> <character>CAPTAIN</character> <dialogue>I ca n't believe I'm doing this, but that girl who confused to Ralph Elliot's murder also confessed to other murders.</dialogue> <character>TONY</character> <dialogue>I knew she would! I knew it!</dialogue> <character>CAPTAIN</character> <dialogue>Yeah, apparently she also confessed to killing Abe Lincoln, Julius Caesar, and Warren G. Harding. She's a nut, Spiletti!</dialogue> <character>TONY</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Oh, my god! I got ta go!</dialogue> <character>CAPTAIN</character> <dialogue>Yeah, screw this one up Spiletti and you'll be writing parking tickets for the rest of your days.</dialogue> <character>TONY</character> <dialogue>I wo n't let you down, Captain.</dialogue> <scene_description>Tony exits for a beat , then pokes his head in the doorway .</scene_description> <character>TONY</character> <dialogue>That's much better Captain.</dialogue> <character>CAPTAIN</character> <parenthetical>( nice again . )</parenthetical> <dialogue>You think so? Well, thank you very much.</dialogue> </scene> <scene> <stage_direction>EXT. POLICE STATION - DAY</stage_direction> <scene_description>Tony hurries to his car .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION ALONG THE COAST - DAY</stage_direction> <scene_description>They stop at a gas station with a small mini - mart . As Charlie is filling the tank he notices Harriet slipping the key out of the ignition before she walks to the mini - mart for more food .</scene_description> <character>HARRIET</character> <dialogue>You want anything?</dialogue> <character>CHARLIE</character> <dialogue>Lamb chops, creamed spinach, stuffed tomatoes and a Hershey Bar.</dialogue> <scene_description>Harriet arrives at the little Ma and Pa type mini - mart and smiles to Charlie .</scene_description> <character>CHARLIE</character> <dialogue>If they do n't have all that, I'll just take the Hershey bar.</dialogue> </scene> <scene> <stage_direction>EXT. CHARLIE'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>Tony stands at the door , buzzing the buzzer to no response .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S CAR - EARLY EVENING</stage_direction> <scene_description>They are still driving along the coast . Charlie is eating his Hershey Bar . Harriet 's eyes are becoming a bit glazed now , her movements a little static . She keeps looking behind them and out the window .</scene_description> <character>CHARLIE</character> <dialogue>What do you keep looking behind us for?</dialogue> <parenthetical>( joking . )</parenthetical> <dialogue>Is someone following you, or?</dialogue> <character>HARRIET</character> <dialogue>They were. I think they're gone.</dialogue> <character>CHARLIE</character> <parenthetical>( curious ; pausing . )</parenthetical> <dialogue>What do you mean, they were?</dialogue> <character>HARRIET</character> <dialogue>The gas station guy. I thought he was chasing us for a while, but I guess he stopped.</dialogue> <character>CHARLIE</character> <dialogue>The gas station guy? Why would the gas station guy chase us.</dialogue> <character>HARRIET</character> <dialogue>I do n't know, Charlie. I guess for not paying.</dialogue> <character>CHARLIE</character> <dialogue>What do you mean not paying? You did n't pay him for the gas.</dialogue> <character>HARRIET</character> <dialogue>I forgot to pay. I did n't want to be away from you for any longer.</dialogue> <character>CHARLIE</character> <dialogue>So, you just left.</dialogue> <character>HARRIET</character> <dialogue>Yes. And you're an accomplice.</dialogue> <scene_description>He stops mid - bite on his Hershey Bar . He 's confused .</scene_description> <character>CHARLIE</character> <dialogue>I'm not sure I understand.</dialogue> <character>HARRIET</character> <dialogue>Look, Charlie, do n't you get it? We're a team.</dialogue> <character>CHARLIE</character> <parenthetical>( going with it . )</parenthetical> <dialogue>I can play that game. I'll get the next gas station. Like Bonnie &amp; Clyde.</dialogue> <scene_description>He and Bonnie continue on the winding road and pass a sign that reads : `` DRY CREEK LODGE - 40 MILES ''</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - HARRIET'S APARTMENT - DAY</stage_direction> <scene_description>Tony knocks . No answer . He picks the lock and enters .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Rose is tied up and lying in a pool of blood . Tony stops for a beat , draws his gun and slowly walks over to her . Just as he gets there , a SHUTTER CLICKS .</scene_description> <character>ROSE</character> <dialogue>Oh, hi!</dialogue> <character>TONY</character> <parenthetical>( practically hysterical . )</parenthetical> <dialogue>What is it with the women in your family?</dialogue> <character>ROSE</character> <dialogue>I was just doing a murder series in honor of the wedding.</dialogue> <character>TONY</character> <dialogue>Hey, this is real blood.</dialogue> <character>ROSE</character> <dialogue>Yes, Harriet, give it to me. She's a butcher.</dialogue> <parenthetical>( Tony reacts . )</parenthetical> <dialogue>. She owns a butcher shop.</dialogue> <character>TONY</character> <dialogue>I need a picture of Harriet.</dialogue> <character>ROSE</character> <dialogue>Sorry. No can do.</dialogue> <character>TONY</character> <dialogue>You took a picture at the party. I saw it.</dialogue> <character>ROSE</character> <dialogue>It did n't come out.</dialogue> <character>TONY</character> <dialogue>Look, Rose. I need a photo.</dialogue> <character>ROSE</character> <dialogue>The picture did n't come out.</dialogue> <parenthetical>( he waits . )</parenthetical> <dialogue>It was unflattering. In made her look ten pounds heavier.</dialogue> <parenthetical>( he waits . )</parenthetical> <dialogue>She's my sister.</dialogue> <character>TONY</character> <dialogue>She's been implicated in a crime. I need the photo to eliminate her as a suspect.</dialogue> <character>ROSE</character> <dialogue>And if she's not innocent. If she's, you know, `` quirky?''</dialogue> <character>TONY</character> <dialogue>If she's `` quirky'' we'll save Charlie's life.</dialogue> <scene_description>Rose pulls out a photograph - Charlie and Harriet . Looking young and in love .</scene_description> </scene> <scene> <stage_direction>EXT. DRY CREEK LODGE - LATE IN THE DAY</stage_direction> <scene_description>A beautiful old Colonial Mansion , nestled in the mountains and forests of the North - West . Romantic and from another day . Charlie and Harriet pull up in front of it . The Valets open the door for them .</scene_description> <character>HARRIET</character> <dialogue>It's like a castle, Charlie. It's so beautiful.</dialogue> <character>VALET</character> <dialogue>Welcome to the Dry Creek. You just beat the rainstorm. Two hours later and the roads'd probably be closed.</dialogue> <character>CHARLIE</character> <dialogue>Great. If you could help us with the luggage, we have these two in the back seat and.</dialogue> <scene_description>As they deal with the luggage , Harriet starts to walk away from the hotel , away from the car , rain falling on her head . She walks straight at the CAMERA , so only we can see her expression . Her expression is one of simply `` losing it '' .</scene_description> <character>CHARLIE</character> <dialogue>Harriet? What are you doing honey?</dialogue> <scene_description>Harriet turns around and smiles at Charlie . He smiles back .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY OF DRY CREEK LODGE - EVENING</stage_direction> <scene_description>Charlie and Harriet stand at the desk . Harriet is not quite paying attention . Her attention span has slipped to none . She 's fidgety . She looks around suspiciously at everything and everyone .</scene_description> <character>DESK CLERK</character> <dialogue>Welcome, Sir. We have you with us for four nights, Mr. MacKenzie. Dinner reservations are at eight - thirty.</dialogue> <character>CHARLIE</character> <dialogue>Great. Sounds terrific.</dialogue> <character>DESK CLERK</character> <dialogue>Also, you might wan na prepare some candles by the bed. We're expecting the rainstorm to get even worse. We might even lose the power tonight.</dialogue> <character>CHARLIE</character> <dialogue>Did you hear that, Harriet? A storm. I ca n't think of anything more romantic than the two of us trapped in our room in the middle of a rain storm.</dialogue> <parenthetical>( noticing her . )</parenthetical> <dialogue>You okay, Harriet?</dialogue> <character>HARRIET</character> <dialogue>Just a little head - ache.</dialogue> <parenthetical>( to clerk . )</parenthetical> <dialogue>Excuse me, is there a drug store in the hotel? I want to get some aspirin.</dialogue> <character>DESK CLERK</character> <dialogue>Right beyond those trees, Ma'm. Anything you need.</dialogue> <character>HARRIET</character> <dialogue>Thanks. Do n't go anywhere. I'll be right back.</dialogue> <scene_description>Harriet walks off to the lobby store , backwards , looking at Charlie . Charlie watches her walk off . The Desk Clerk sits staring at Charlie .</scene_description> <character>DESK CLERK</character> <dialogue>You think she's really got a head - ache?</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>DESK CLERK</character> <dialogue>Ah, nothing. Here's your key. You're in the Oak Room.</dialogue> <scene_description>Charlie looks back at the drug store , where Harriet is shopping . She waves to him . Charlie looks back at the Desk Clerk and grabs the key . FAX OF THE PHOTO OF CHARLIE &amp; HARRIET coming out of a fax machine .</scene_description> </scene> <scene> <stage_direction>INT. WALTER'S PLUMBING - EARLY EVENING</stage_direction> <scene_description>WALTER , the owner of the Plumbing store , dressed in overalls takes the Fax out and then picks up the phone .</scene_description> <character>WALTER</character> <dialogue>That's Ralph Elliot's wife, alright. She had shorter hair in those days.</dialogue> </scene> <scene> <stage_direction>INT. MARTIAL ARTS STUDIO - NIGHT</stage_direction> <scene_description>MASTER CHO , the new owner of the studio , dressed in a gee , looks at the same fax .</scene_description> <character>MASTER CHO</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Mrs. Richter gain much weight since then, but it's definitely her.</dialogue> </scene> <scene> <stage_direction>INT. THE LIZARD'S LOUNGE - ATLANTIC CITY</stage_direction> <scene_description>RANDY ROMANO , the owner , talks into the phone , holding up the faxed photo of Charlie and Harriet .</scene_description> <character>RANDY</character> <dialogue>That's his little lollipop, alright. Boy he loved her. I'll tell you, she was a lot of fun. Smart. A doll face to boot.</dialogue> </scene> <scene> <stage_direction>INT. TONY'S CUBICLE - NIGHT</stage_direction> <scene_description>Tony is on the phone . Kathy , seen before at the police station , stands with him .</scene_description> <character>TONY</character> <dialogue>Circuits are out from the storm.</dialogue> <scene_description>Tony gets to the police station door and opens it . Kathy follows him .</scene_description> <character>TONY</character> <parenthetical>( to Kathy . )</parenthetical> <dialogue>Keep trying the hotel. Tell the chief I just chartered a plane up to Oregon.</dialogue> <scene_description>The Police Captain enters .</scene_description> <character>CAPTAIN</character> <parenthetical>( points to his hair . )</parenthetical> <dialogue>See that Spiletti - A gray hair! Every day, Spiletti, I find another one. And that's all due to you. Get out there, and catch me some bad guys!</dialogue> <character>TONY</character> <dialogue>Not now, Captain.</dialogue> <character>CAPTAIN</character> <parenthetical>( nice again . )</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Tony dashes out of the police station and into his car .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>A beautiful suite , with a fireplace burning a big stack of wood , with another stack next to it , with an AXE in it . Music is playing softly on the stereo . And Charlie and Harriet have just finished making love underneath the covers , illuminated just by the light of the fireplace .</scene_description> <character>CHARLIE</character> <dialogue>This is the best honeymoon I could ever imagine, Harriet. If we had to pack and go home right now, I'd still think it was the greatest honeymoon ever.</dialogue> <scene_description>Harriet does n't respond . Her head is turned from his .</scene_description> <character>CHARLIE</character> <dialogue>Do n't you agree, Harriet? Harriet?</dialogue> <scene_description>He pulls the sheets away from her face to see that she is crying .</scene_description> <character>CHARLIE</character> <parenthetical>( wiping her tears . )</parenthetical> <dialogue>What? What are you crying? What is it?</dialogue> <character>HARRIET</character> <dialogue>It's nothing. It's just. I was just thinking. We're married now. And I always wanted to try and have kids, and.</dialogue> <character>CHARLIE</character> <dialogue>So do I. Look, there's nothing more I'd like to do than have, kids, or.</dialogue> <character>HARRIET</character> <dialogue>It's just, I get scared that certain things will happen, or.</dialogue> <character>CHARLIE</character> <dialogue>What are you talking about? You're gon na be a great Mom. I know you will.</dialogue> <character>HARRIET</character> <dialogue>It's not that, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>What then?</dialogue> <character>HARRIET</character> <dialogue>You're gon na laugh.</dialogue> <character>CHARLIE</character> <dialogue>Tell me. Of course I'm not gon na laugh. Kids is a big thing. It's hard. I'm sure I have the same fears.</dialogue> <character>HARRIET</character> <dialogue>If we have kids, Charlie, things happen. Kids are healthy and fine, and some are n't, and I do n't know if I could live with myself if I gave birth to a child with webbed feet.</dialogue> <scene_description>Charlie stops to think about this . Webbed feet ?</scene_description> <character>CHARLIE</character> <dialogue>Webbed feet?</dialogue> <character>HARRIET</character> <dialogue>You're laughing.</dialogue> <character>CHARLIE</character> <dialogue>No, I'm not laughing.</dialogue> <character>HARRIET</character> <dialogue>You think that's silly?</dialogue> <character>CHARLIE</character> <dialogue>No, no. That's a natural fear. I've thought about that fear.</dialogue> <character>HARRIET</character> <dialogue>It really worries me, Charlie.</dialogue> <character>CHARLIE</character> <parenthetical>( quite confused . )</parenthetical> <dialogue>Well, look, they have, doctors - I assume - that deal, only with, webbed feet. And, God Forbid, and I'm talking strictly hypothetically, should that happen, we'll find one.</dialogue> <character>HARRIET</character> <parenthetical>( kissing him ; happy now . )</parenthetical> <dialogue>You're the greatest Charlie.</dialogue> <character>CHARLIE</character> <parenthetical>( confused , to say the least . )</parenthetical> <dialogue>Thanks. We should get ready for dinner.</dialogue> </scene> <scene> <stage_direction>EXT./INT. CHARTERED CESSNA - NIGHT</stage_direction> <scene_description>A small plane flies through the clouds . It 's just Tony and DENNIS the pilot . Dennis never really realizes this is more than a sightseeing tour , and constantly points out scenic points along the way .</scene_description> <character>DENNIS</character> <dialogue>Out your left side, you can see the Sierra Nevada, which is the largest mountain range west of the Rockies.</dialogue> <character>TONY</character> <dialogue>Great. Rockies. I do n't care. Oregon. Move.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S HOTEL ROOM AT DRY CREEK LODGE - NIGHT</stage_direction> <scene_description>Charlie is dressed very sharply in sport coat and tie . He yells into the bathroom where we can see part of Harriet from behind .</scene_description> <character>CHARLIE</character> <dialogue>You almost ready? The first seating is in five minutes.</dialogue> <character>HARRIET</character> <parenthetical>( from other room . )</parenthetical> <dialogue>I just wan na look good for you, Charlie. That's all.</dialogue> <character>CHARLIE</character> <dialogue>I'm sure you look great. I'm sure you look.</dialogue> <scene_description>Harriet turns the corner , wearing a nice dress . Her hair looks okay . She 's wearing perfume . The only problem is , she has two lines of mascara running down her cheeks . She 's been crying . Charlie looks curious .</scene_description> <character>HARRIET</character> <dialogue>Do I look okay, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Yes. Well.</dialogue> <scene_description>Charlie points to his own eye .</scene_description> <character>HARRIET</character> <dialogue>What's wrong?</dialogue> <character>CHARLIE</character> <dialogue>Nothing. You kind of look like Tammy Faye Baker right now.</dialogue> <scene_description>She looks in the mirror .</scene_description> <character>HARRIET</character> <dialogue>Oh, yeah.</dialogue> <scene_description>She goes back into the bathroom .</scene_description> </scene> <scene> <stage_direction>EXT. CESSNA - NIGHT</stage_direction> <scene_description>The plane descends towards the runway . The rain comes down hard .</scene_description> <character>DENNIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>As we prepare to land, we can see off to our left Lake Shanony, which is.</dialogue> <character>TONY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Just land. Do n't worry about Lake Shanony. I do n't give a shit about Lake Shanony.</dialogue> <scene_description>The plane touches down .</scene_description> </scene> <scene> <stage_direction>EXT. DRY CREEK LODGE - NIGHT</stage_direction> <scene_description>Rain pours fantastically on the gothic castle . Wind blows hard .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>A toast to our new friends, Charlie and Harriet.</dialogue> </scene> <scene> <stage_direction>INT. BEAUTIFUL FRENCH RESTAURANT IN HOTEL - NIGHT</stage_direction> <scene_description>A beautiful dining room with a small dance floor . Charlie sits at an intimate table for two with Harriet . A small band plays in the b.g. , as the BAND LEADER is making the toast . The five or six other couples in the restaurant also hold up their glass .</scene_description> <character>BAND LEADER</character> <dialogue>we're honored to be here for this very special day in.</dialogue> <scene_description>The CONCIERGE at this point interrupts to bring Charlie a TELEPHONE . Everyone stops and watches and waits .</scene_description> <character>CONCIERGE</character> <dialogue>I'm sorry to interrupt, Sir. There's a phone call for you from town.</dialogue> <parenthetical>( Charlie takes phone . )</parenthetical> <dialogue>They say it's quite urgent.</dialogue> <scene_description>The toast , as well as the entire room , stops - almost like an E.F. Hutton commercial , waiting for Charlie 's phone call to finish .</scene_description> <character>CHARLIE</character> <parenthetical>( curious . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT IN OREGON - EARLY EVENING</stage_direction> <scene_description>Tony speaks into the phone frantically .</scene_description> <character>TONY</character> <dialogue>Charlie, you okay?</dialogue> <scene_description>INTERCUT PHONE CALL</scene_description> <character>CHARLIE</character> <dialogue>Great. Could n't be better.</dialogue> <character>TONY</character> <dialogue>Charlie, listen to me! It's her! Harriet is Mrs. X! She killed Ralph and the two other men!</dialogue> <scene_description>Charlie looks up across the table at Harriet who is completely caught up in the event of seeing how long she can keep her hand in the candle before it hurts . She puts it in , smiles then takes it out . She shakes her hand , and repeats the process .</scene_description> <character>CHARLIE</character> <parenthetical>( talking softly . )</parenthetical> <dialogue>Look, that's great - it just so happens though, that I met.</dialogue> <parenthetical>( louder than he had hoped . )</parenthetical> <dialogue>Ralph, and much to my delight, not only is she alive, but she's female. I thought I told you.</dialogue> <scene_description>Harriet looks at Charlie , very suspiciously . He looks back at her , and tries to smile , pretending that he is having a pleasant , and completely irrelevant conversation .</scene_description> <character>TONY</character> <dialogue>Rose had a picture. It checked out. It's her, Charlie. She is the murderer.</dialogue> <character>HARRIET</character> <dialogue>Charlie, your food is getting cold.</dialogue> <scene_description>Charlie waves `` One Minute '' to Harriet , as she watches .</scene_description> <character>CHARLIE</character> <dialogue>So, what do I do?</dialogue> <character>TONY</character> <dialogue>I called the police. All the roads are closed, but they're on their way. In the mean time just.</dialogue> <scene_description>The line goes DEAD .</scene_description> <character>CHARLIE</character> <dialogue>Hello?</dialogue> <parenthetical>( pressing receiver . )</parenthetical> <dialogue>Hello?</dialogue> <character>HARRIET</character> <dialogue>What's a matter, Charlie?</dialogue> <character>CHARLIE</character> <parenthetical>( to concierge . )</parenthetical> <dialogue>The phone just went dead. I was on the phone and it went dead.</dialogue> <character>CONCIERGE</character> <dialogue>That's quite common, sir. I'm sure the lines'll be out in the whole city'til tomorrow. Enjoy your meal, Sir.</dialogue> <scene_description>The Concierge takes the phone away . Charlie turns slowly to Harriet , genuinely scared .</scene_description> <character>HARRIET</character> <dialogue>What happened, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Nothing. Nothing happened. Just the lines are down. Phone lines.</dialogue> <scene_description>Suddenly , the band leader continues with his toast .</scene_description> <character>BAND LEADER</character> <parenthetical>( over microphone . )</parenthetical> <dialogue>. so to these two young people, we wish them a long and happy life together and would like to play their song. The Platters - `` Only You''.</dialogue> <scene_description>The band starts to play `` Only You '' . People APPLAUD . Harriet and Charlie just stare at each other . He knows . The older couple at the next table , MR. &amp; MRS. LEVENSTEIN , lean over to their table .</scene_description> <character>MR. LEVENSTEIN</character> <dialogue>How about the traditional Bride &amp; Groom dance?</dialogue> <scene_description>Another couple walks by and pulls them literally out of the their seats and onto the dance floor .</scene_description> <character>OTHER COUPLE</character> <dialogue>Come on. It's a tradition.</dialogue> <scene_description>Charlie finds himself in the middle of the dance floor dancing slowly with Harriet . He 's scared out of his mind . The music plays in the background . Harriet smiles strangely at him . He tries to smile back , checking all the Exits , planning an escape . Then suddenly , call it luckily , MR. LEVENSTEIN , interrupts :</scene_description> <character>MR. LEVENSTEIN</character> <dialogue>Excuse me. Could I cut in on your dance?</dialogue> <character>CHARLIE</character> <dialogue>Of course. Sure.</dialogue> <scene_description>Charlie gives her hand away to Mr. Levenstein . He takes Mrs. Levenstein 's hand and starts to dance towards the EXIT , when suddenly the ELECTRICITY GOES OUT . The MUSIC is out . The LIGHTS ARE OUT . In the dimmest of lights provided from the cloud covered moon outside , Charlie runs across the dance floor , fighting for an exit to the outside . He arrives in someone 's arms on his way .</scene_description> <character>CHARLIE</character> <dialogue>I need your help! You have to help me! I've married a!</dialogue> <scene_description>The LIGHTS GO BACK ON and Charlie is in HARRIET 'S ARMS again . Her face is near menacing now . She smiles a very disturbed grin . He does n't know what to say .</scene_description> <character>HARRIET</character> <parenthetical>( much too pleasant . )</parenthetical> <dialogue>Hello, Charlie.</dialogue> <scene_description>Charlie and her are squared off . Neither speak . Suddenly both of them are lifted into the air . They look down and see the waiters and busboys picking them up onto chairs , throwing them up in the air again and again . The MUSIC plays along loudly . Harriet watches Charlie very closely , as Charlie looks scared . Then , the people start to carry them out of the room and down the hallway .</scene_description> <character>WAITER</character> <dialogue>Let's take'em to their room.</dialogue> <character>CONCIERGE</character> <dialogue>Yeah, I'm sure they've had enough of these crowds for one night.</dialogue> <character>CHARLIE</character> <dialogue>My dinner. I did n't finish my dinner yet.</dialogue> <character>HARRIET</character> <dialogue>Smile, Charlie. Act like you're having a good time.</dialogue> </scene> <scene> <stage_direction>INT. OREGON AIRPORT - SAME/NIGHT</stage_direction> <scene_description>Tony is talking to an attractive young girl behind the airport Rent - A - Car booth .</scene_description> <character>RENT-A-CAR GIRL</character> <dialogue>I'm sorry, Sir. The roads are all closed. We ca n't rent any cars this evening.</dialogue> <character>TONY</character> <dialogue>You have to rent me something. I've got ta get up there. My friend's in danger.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE &amp; HARRIET'S ROOM - NIGHT</stage_direction> <scene_description>The other hotel guests threw them inside . The room is all made up , the sheets are pulled down , the firewood is cut , the AXE is in the wood .</scene_description> <character>CONCIERGE</character> <dialogue>Have a good night, you two.</dialogue> <character>CHARLIE</character> <dialogue>Come on in. Stay for a nightcap.</dialogue> <character>BELLBOY</character> <dialogue>No, you two wan na be alone. See you.</dialogue> <character>CHARLIE</character> <parenthetical>( demanding . )</parenthetical> <dialogue>Stay for a nightcap!</dialogue> <character>BELLBOY</character> <dialogue>Sir, I really do n't think I should</dialogue> <character>CHARLIE</character> <parenthetical>( shouting . )</parenthetical> <dialogue>STAY FOR A NIGHTCAP!</dialogue> <scene_description>The bellboy is frightened and runs away .</scene_description> <character>CHARLIE</character> <parenthetical>( shouting down the hall after him . )</parenthetical> <dialogue>STAY FOR A NIGHTCAP!</dialogue> <scene_description>Harriet pulls Charlie back into the room , frightened that he 's leaving .</scene_description> <character>HARRIET</character> <dialogue>Do n't go, Charlie.</dialogue> </scene> <scene> <stage_direction>EXT. AIRPORT - NIGHT</stage_direction> <scene_description>Tony runs out of the airport terminal where he sees a man in his forties who 's just entered his four wheel drive jeep .</scene_description> <character>TONY</character> <parenthetical>( flashing his badge . )</parenthetical> <dialogue>Excuse me, Sir, I'm with the San Francisco Police Department. I'm on official business and I'm afraid I have to commandeer your vehicle.</dialogue> <character>MAN</character> <parenthetical>( unfazed . )</parenthetical> <dialogue>No.</dialogue> <character>TONY</character> <dialogue>What do you mean no?!</dialogue> <character>MAN</character> <dialogue>I happen to know for a fact that you do n't have the power to commandeer my vehicle.</dialogue> <character>TONY</character> <dialogue>This is true.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Please can I commandeer your vehicle?</dialogue> <character>MAN</character> <dialogue>Well, where are you going?</dialogue> <character>TONY</character> <dialogue>To The Dry Creek Lodge.</dialogue> <character>MAN</character> <dialogue>I'll give you a lift.</dialogue> <character>TONY</character> <dialogue>Well, I do n't want a lift, I really want to commandeer the vehicle. Please just let me commandeer the vehicle.</dialogue> <character>MAN</character> <dialogue>Why do n't you just let me drive you there? Really, I do n't mind, it's on my way.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue /> <character>TONY</character> <dialogue>You're not going to bend on the commandeering thing are you?</dialogue> <character>MAN</character> <dialogue>No.</dialogue> <character>TONY</character> <dialogue>Well, if we get stopped will you at least let me say that I commandeered the vehicle, but I let you drive?</dialogue> <character>MAN</character> <dialogue>I'm uncomfortable with that.</dialogue> <character>TONY</character> <dialogue>Please?</dialogue> <character>MAN</character> <dialogue>All right.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES AND HARRIET'S ROOM</stage_direction> <scene_description>Charlie &amp; Harriet are all alone . The voices trail off down the hallway until they disappear . Charlie and Harriet stare at each other . Harriet blocks the door . Charlie looks around the room . The Axe . The Corkscrew . The letter opener . The fountain pen . At this point , everything in the room looks like a potential weapon . Harriet takes the axe .</scene_description> <character>HARRIET</character> <dialogue>I heard you on the phone before, Charlie. There's something I've got to tell you.</dialogue> <character>CHARLIE</character> <parenthetical>( frightened . )</parenthetical> <dialogue>Harriet, I.</dialogue> <character>HARRIET</character> <dialogue>I've been married before.</dialogue> <character>CHARLIE</character> <dialogue>I already know.</dialogue> <character>HARRIET</character> <dialogue>About my husbands?</dialogue> <character>CHARLIE</character> <dialogue>Yes. And I was meaning to have a word with you. We could get an annulment.</dialogue> <character>HARRIET</character> <parenthetical>( screams . )</parenthetical> <dialogue>AAAhhhhhhh!</dialogue> <scene_description>Suddenly the power goes off again . They 're both in the dark . A scuffle . Charlie has restrained Harriet , throws her in a walk - in closet and locks it . From behind the door , we hear Harriet WAILING . Which continues . Charlie picks up the axe , looks at it , relieved at his lucky escape . He rushes to the door to escape . He opens it and standing there is Rose .</scene_description> <character>CHARLIE</character> <dialogue>Aaaaah, Rose, I never thought I'd be so glad to see you.</dialogue> <scene_description>Rose smiles . Charlie puts down the axe . The lights flicker back on .</scene_description> <character>CHARLIE</character> <parenthetical>( going to the phone . )</parenthetical> <dialogue>Maybe the phones are working again by now.</dialogue> <scene_description>He listens for a dial tone . Beside the phone he sees a note . He starts to read is :</scene_description> <character>CHARLIE</character> <dialogue>` Dear, Harriet. I just ca n't handle the commitment. I'm leaving you.' Signed, ` Charlie.'</dialogue> <scene_description>And behind him Rose approaches with the axe raised .</scene_description> <character>CHARLIE</character> <dialogue>What the hell is this? I did n't write this?</dialogue> <scene_description>And at that moment he turns to find the AXE BEING FLUNG THROUGH THE AIR AT his head . He ducks just in time .</scene_description> <character>CHARLIE</character> <dialogue>What the fuck?!</dialogue> <scene_description>She takes another swing and she hits the lamp off the desk and the room is in complete DARKNESS .</scene_description> <character>ROSE</character> <dialogue>Charlie. Why did you marry Harriet? I warned you not to marry her, did n't I? I warned all of them. But none of them listened to me. They all went ahead and married her. She's the pretty one. Where's Harriet? What have you done with my sister, Harriet?</dialogue> <character>CHARLIE</character> <dialogue>Nothing, Rose.</dialogue> <character>ROSE</character> <dialogue>If you've done something to my sister, Harriet, I swear to God I'll kill you.</dialogue> <scene_description>We stay in Charlie 's hip pocket as he tries to get away from what he ca n't see . He stays very silent .</scene_description> <character>HARRIET</character> <parenthetical>( from the closet . )</parenthetical> <dialogue>Where are you, Charlie? What's going on?</dialogue> <scene_description>Then Rose strikes a match . She lights a candle and comes toward him . He looks around . The window is open . And Charlie is gone .</scene_description> </scene> <scene> <stage_direction>INT. COMMANDEERED CAR - NIGHT</stage_direction> <scene_description>Tony and the commandeered man drive through the swampy , winding road on the way up to the hotel . Tony is drumming on the dash .</scene_description> <character>MAN</character> <dialogue>Could you stop doing that please?</dialogue> </scene> <scene> <stage_direction>EXT. CASTLE-LIKE ROUND TOWER/LEDGE OF TOWER - NIGHT</stage_direction> <scene_description>Charlie tightropes along the ledge of the building . The storm continues . Rose comes out on the ledge and starts to chase him . He rounds the bend . Charlie looks into one room and sees MR. &amp; MRS. LEVENSTEIN there . There 's loud OPERA MUSIC playing in the room</scene_description> <character>CHARLIE</character> <dialogue>Call the police!</dialogue> </scene> <scene> <stage_direction>INT. THE LEVENSTEIN'S ROOM - NIGHT SAME</stage_direction> <scene_description>The Levensteins prepare for bed . Charlie races by their window . Then Rose races by .</scene_description> <character>CHARLIE</character> <dialogue>Call the police!</dialogue> <scene_description>Mr. Levenstein closes the curtains . He ca n't hear .</scene_description> </scene> <scene> <stage_direction>EXT. LEDGE - NIGHT</stage_direction> <scene_description>Charlie races along the slippery ledge , almost falling at several points . Rose then appears on the roof holding the Axe , still .</scene_description> <character>ROSE</character> <parenthetical>( mostly to herself ; slurring most words . )</parenthetical> <dialogue>Charlie, did you like your note? I thought it was pretty accurate. I did all the husbands' notes. I can forge anyone's handwriting, I can write in anyone's style. See, I'm an artist. Harriet is n't an artist. Sure she could get a husband, but she could never have done this. And you know what I'm most proud of?</dialogue> <character>CHARLIE</character> <dialogue>What's that, Rose?</dialogue> <character>ROSE</character> <dialogue>Harriet never knew. She thought they all just left her. I protected her. She's my sister.</dialogue> <scene_description>Charlie turns and runs . Rose chases him .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Tony breaks into the room with his gun drawn .</scene_description> <character>TONY</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Charlie!</dialogue> <character>HARRIET</character> <parenthetical>( from closet . )</parenthetical> <dialogue>Tony, is that you? It's me, Harriet. I'm in here.</dialogue> <scene_description>Carefully , Tony opens the closet door .</scene_description> <character>HARRIET</character> <dialogue>Tony, Rose is trying to kill Charlie. They're out on the ledge.</dialogue> <character>TONY</character> <parenthetical>( not believing . )</parenthetical> <dialogue>Get on the floor and put your hands behind your back.</dialogue> <scene_description>Harriet willingly goes on the floor .</scene_description> <character>HARRIET</character> <dialogue>Sure, anything. You've got to save Charlie.</dialogue> <scene_description>Tony slaps cuffs on her and takes her to the window .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Tony is standing with his back to the window , between it and Harriet . She looks out of the window and screams .</scene_description> <character>HARRIET</character> <dialogue>Look! It's Charlie!</dialogue> <scene_description>From Harriet 's POV we see Charlie on the ledge edging along . He stops in horror when he sees Harriet , glances back to the pursuing Rose , and rushes off . Tony looks behind him out the window . Nobody is there .</scene_description> <character>TONY</character> <dialogue>Nice try.</dialogue> <character>HARRIET</character> <dialogue>I swear to you. It was Charlie. Look! Now there's Rose!</dialogue> <scene_description>Rose looks into the room , with the axe in her hand .</scene_description> <character>TONY</character> <dialogue>No you do n't.</dialogue> <character>HARRIET</character> <dialogue>I beg you. Look! It is Rose.</dialogue> <character>TONY</character> <dialogue>Oh no, not again.</dialogue> <parenthetical>( he glances at the window . )</parenthetical> <dialogue>Aaaaah! Rose.</dialogue> </scene> <scene> <stage_direction>INT. LEVENSTEIN'S WINDOW</stage_direction> <scene_description>There is opera music playing . Charlie rushes by , past the window . There is a beat and he comes back , staring inside in amazement . REVERSE ANGLE Mr. Levenstein is in a Viking outfit . Mrs. Levenstein is in full Norse Regalia .</scene_description> </scene> <scene> <stage_direction>INT. LEVENSTEIN'S WINDOW</stage_direction> <scene_description>Charlie gulps and rushes on , hastily pursued by Rose .</scene_description> </scene> <scene> <stage_direction>INT. THE ROOF</stage_direction> <scene_description>Rose pulls the Axe back and swings , and the momentum of the swing pulls her feet out from under her , and on the slippery icy roof she falls and starts to slide . Just as she 's about to go off the fifty foot high roof , Charlie climbs down the roof . He stands over her . She 's about to slip . Her hands are losing strength . Her fingers are slipping . The rain is falling harder and harder . Charlie walks over to the cage where she 's hanging on for life . He leans down to help her up , but just as he grabs on to her hand , the drainpipe she 's holding onto slips . She is now dangling from the roof , the rain falling harder and harder . Charlie now is nowhere near her . He then gets down on his knees on the roof and starts to climb down the side of the drainpipe to get her . Rose looks up helplessly at him . Not really asking for his help . Not denying it . She 's accepted her fate . Policemen , ambulances and spectators have gathered below in bunches as Charlie climbs down the drainpipe , he himself hanging on for dear life . He just reaches out far enough to grab her hand , and just as he does , her drainpipe tears and falls into the crowd below . Charlie , then with all his strength - his `` where has this strength been my whole life '' strength - pulls her up to the roof next to him . Several policemen make their way onto the roof and come over to where Charlie is detaining Rose . The police take her , handcuff her and cart her away . From the corner of the roof appears Tony .</scene_description> <character>TONY</character> <dialogue>I hate to bother you on your honeymoon, Charlie, but.</dialogue> <scene_description>Charlie looks beyond Tony and sees Harriet standing in the doorway . He goes over and puts his arm around Harriet .</scene_description> <character>CHARLIE</character> <dialogue>Thank God. I'm sorry I doubted you, but I thought you were the killer, but you were acting pretty strange?</dialogue> <character>HARRIET</character> <dialogue>I thought you were going to leave me, like the others. Thank God they were just murdered. I thought they were always leaving me.</dialogue> <scene_description>Below , Rose is put into a police car and taken off . The SIRENS disappear . So do the crowds .</scene_description> </scene> <scene> <stage_direction>INT. SPILETTI'S COFFEE HOUSE</stage_direction> <scene_description>Charlie is on stage looking very beatnik . He 's reading his poetry , but we ca n't hear it . He nods to someone off stage . Harriet is in the audience , also looking very beatnik with their three year old son , STUART , a miniature beatnik version of Charlie .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>My dad was right. You do n't lose your muse once you're married. Nothing changed, except I gained a great son, Stuart.</dialogue> <scene_description>SOUND UP on Charlie 's poetry .</scene_description> <character>CHARLIE</character> <dialogue>MARRIED MAN MOST MERRY AND IN CONCLUSION</dialogue> <character>CROWD AND CHARLIE</character> <dialogue>THIS POEM SUCKS.</dialogue> <scene_description>The crowd goes crazy .</scene_description> <character>CHARLIE</character> <dialogue>Thank you very much.</dialogue> <scene_description>HOUSE MUSIC kicks on . It 's Saturday Night by the Bay City Rollers .</scene_description> <character>BAY CITY ROLLERS</character> <dialogue>S - A - T - U - R - D - A - Y NIGHT</dialogue> <scene_description>Charlie comes off stage and joins his wife and child at their table . He is very happy . THE END</scene_description> </scene> </script>

Charlie MacKenzie is a popular, local beat poet living in San Francisco who makes his frequent break-ups the subject of his poems. His best friend Tony, a recently promoted police detective, chastises Charlie for breaking up over minutiae -- since Charlie's reasons for breaking up are often self-serving and paranoid. Charlie defends his actions stating that he had broken up with girlfriends in the past for smelling like flavors of soup and for being a "klepto" who 'stole' his cat, which he believes are legitimate reasons to rule out a serious girlfriend. Tony points out that Charlie simply is afraid of commitment and tries to identify (or invent) any reason to break up with someone. Charlie encounters a butcher named Harriet, and the two quickly find common bonds between them. They start to date, and Charlie learns she used to live in Atlantic City, had been involved with a trainer in Russian martial arts, and screams for someone named Ralph in her sleep. After staying at her place one night, Charlie meets Harriet's eccentric sister, Rose, who warns Charlie to be careful. As they continue to see each other, Charlie and Harriet fall in love. He arranges a dinner with her to meet his Scottish-born parents, Stuart and May, who both believe in conspiracy theories and get their news from the Weekly World News tabloid. While there, Charlie spots one paper that describes a story about a "Mrs. X", a bride who kills her husbands on their honeymoons using an axe and who seems to have all of Harriet's mannerisms. Charlie becomes paranoid and asks Tony to investigate Harriet and the Mrs. X story. Tony reveals that the husbands of Mrs. X were all reported missing alongside their wives, assuring that Harriet is unlikely to be Mrs. X. Charlie remains on edge, and after a few more troubled dates, decides to break up with her. Tony later reports that a killer in the Mrs. X story has confessed. Relieved, Charlie apologizes to Harriet by reciting one of his beat poems to her from his rooftop. They make up, and Harriet explains away some of the confusion Charlie had from her history, such as Ralph being the name of a woman she knows. Some time later, Charlie proposes to Harriet, which she reluctantly accepts after some hesitation. Following the wedding ceremony, they embark on a honeymoon to a secluded mountain hotel. After they depart, Tony learns that the confessed killer is actually a compulsive liar. He sends a photo of Harriet to the known associates of the missing husbands, and all report back that she was their friends' wife. With phone lines to the hotel down due to a storm, Tony charters a plane. Once he lands, he is able to call Charlie locally and warn him that Harriet really is Mrs. X, but the hotel phone line is knocked out and power is lost. Charlie is panicked and tries to stay away from Harriet without letting her know what he knows, but the hotel staff force him into the honeymoon suite for their first night together. Charlie finds himself alone and discovers a "Dear Jane" letter, purportedly written by him, explaining his absence to Harriet. Suddenly, Rose appears wielding an axe. Rose tells Charlie he was not supposed to find the letter, and reveals herself as the Mrs. X killer - she feels that Harriet's husbands are taking her sister from her, and so killed them on their honeymoon night, leading Harriet to believe that each husband simply left her. Charlie is then trapped in a game of cat-and-mouse, staying away from Rose while waiting for the police to arrive. Tony leads the police into the hotel but arrests Harriet, still believing her to be the murderer. Having chased Charlie to the hotel roof, Rose swings the axe at Charlie and is thrown off the building, with only Charlie holding her up from falling to her death. Tony comes to catch her fall, where she is arrested and taken away. Charlie and Harriet resume their lives afterward as a happy couple.

Following_1998

tt0154506

<script> <scene> <character>THE FOLLOWING</character> <dialogue>Written by</dialogue> <scene_description>Christopher Nolan T H E F O L L O W I N G</scene_description> </scene> <scene> <stage_direction>EXT. CROWDED LONDON STREET - DAY</stage_direction> <scene_description>An endless stream of pedestrians crossing the frame. Cut to a shot looking through pedestrians and reflections of pedestrians of a Young Man sitting in the window of a coffee shop, looking out at the people walking past.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>The following is my explanation... well, my... my account of... well, what happened.</dialogue> <scene_description>The Young Man is tall and slim, mid- to late twenties, with dark, long, greasy hair and unshaven. We cut to the Young Man outside, on the street. He is peering ahead as he walks, as if trying to spot a lost friend.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>I'd, ah, been on my own for quite a while by then and I'd become...lonely...</dialogue> <scene_description>A wide shot shows the Young Man amidst a bustling Oxford Street crowd.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>...and bored. Nothing to do all day, you see. That's when I began shadowing.</dialogue> <character>OLDER MALE VOICE (V.O.)</character> <dialogue>Shadowing?</dialogue> <character>MALE VOICE (V.O.)</character> <dialogue>Yeah, shadowing, following. I started to follow people.</dialogue> <scene_description>The young man cuts purposefully through the crowd, in slo-mo.</scene_description> <character>OLDER MALE VOICE (V.O.)</character> <dialogue>Who?</dialogue> <character>MALE VOICE (V.O.)</character> <dialogue>Anyone, a stranger, I mean that was the whole point; following someone completely at random. Anyone who wouldn't know who you were.</dialogue> <scene_description>The Young Man is staring at someone fixedly as he moves in slo-mo. His POV shows us a man's back dodging between other people, always threatening to lose us, still in slo-mo.</scene_description> <character>OLDER MALE VOICE (V.O.)</character> <dialogue>And then?</dialogue> <character>MALE VOICE (V.O.)</character> <dialogue>And then nothing.</dialogue> <scene_description>We SNAP INTO REAL TIME. The man's back disappears into the crowd and we cease to follow him. The noises of the city come up loud. The Young Man has come to a virtual standstill. He watches the world washing around him.</scene_description> <character>OLDER MALE VOICE (V.O.)</character> <dialogue>Nothing?</dialogue> <character>MALE VOICE (V.O.)</character> <dialogue>Nothing. I'd follow somebody for a while then pick someone else and follow them or go home or whatever.</dialogue> <scene_description>The Young Man's eyes dart about, watching the people around him. He starts to wander down the road, pulled gently by the flow of pedestrians.</scene_description> <character>OLDER MALE VOICE (V.O.)</character> <dialogue>Why did you do it?</dialogue> <character>MALE VOICE (V.O.)</character> <dialogue>How can I explain? Your eyes pass over the crowd...</dialogue> <scene_description>We pan across endless anonymous faces.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>...and if you let them settle on a person, then that person becomes an individual...</dialogue> <scene_description>We fix on a face, a woman hurrying along.</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>...just...like...THAT...</dialogue> <scene_description>SHOCK CUT on the sound of SNAPPING FINGERS at 'THAT' to:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE - DAY</stage_direction> <scene_description>Close on fingers in front of the Young Man's face. He looks different: hair short, clean shaven, bruised face, a plaster over one eye. Seated opposite is an OLDER MAN.</scene_description> <character>YOUNG MAN</character> <dialogue>It just became...irresistible.</dialogue> <scene_description>The Older Man considers this before replying.</scene_description> <character>OLDER MAN</character> <parenthetical>(suspicious)</parenthetical> <dialogue>So you followed women?</dialogue> <character>YOUNG MAN</character> <dialogue>It wasn't some sex thing. I followed anyone. Just for the sake of it, just to see where they went, what they were doing.</dialogue> <character>OLDER MAN</character> <dialogue>You were playing secret agent.</dialogue> <character>YOUNG MAN</character> <parenthetical>(knows its true, but doesn't like it)</parenthetical> <dialogue>No... I'm a writer- I want to be a writer. I wanted to gather material for characters, you know, to write about them. All I did was follow people- to begin with.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BUSY STREET IN THE WEST END - DAY</stage_direction> <scene_description>The Young Man (long hair, unshaven) exits a café and stumbles along the road. His eye is caught by a man passing by in the opposite direction. The man is in his mid-twenties, tall, dark haired wearing a dark suit. He is carrying an overnight bag.</scene_description> <character>YOUNG MAN (V.O.)</character> <dialogue>I spotted the dangers soon enough. I could tell I was hooked and I made up rules.</dialogue> <scene_description>The Young Man turns about and starts to follow, speeding up so as not to lose the fast-moving Dark Suit. Dark Suit weaves in an out of other pedestrians, his bag slung over his shoulder, heavy.</scene_description> <character>YOUNG MAN (V.O.)</character> <dialogue>...I wouldn't let myself follow anyone for too long. I wouldn't follow women after dark, stuff like that, simple things just to keep in all under control.</dialogue> <scene_description>The Young Man follows, coming up behind Dark Suit as he waits at a crossing. The lights change and they head across the road, the Young Man hanging back slightly. Dark Suit enters Charing Cross station, the Young Man in pursuit. Dark Suit crosses the station to the left-luggage office where he hands his bag to the attendant behind the counter and takes his ticket. He heads back out of the station. The Young Man follows. Dark Suit enters a small doorway between two shops. The Young Man hangs around nearby, before walking up to the doorway and examining the doorbells. The bells are for flats up above the shops; most of the names are not marked. He crosses the road and looks up at the windows, but can't see much through any of them. The Young Man shrugs and starts to walk away, but he hears a door open behind him and he glances back to see Dark Suit coming out of a doorway carrying another overnight bag.</scene_description> <character>YOUNG MAN (V.O.)</character> <dialogue>The most important rule was that even if I found where a person worked or lived, I would never follow the same person twice.</dialogue> <scene_description>Dark Suit looks about as he comes out on to the pavement and the Young Man is forced to turn back and continue to walk in the direction in which he was already headed. When he reaches the corner, he glances back down the street, but the street is empty. The Young Man looks around thoughtfully before hurrying off around the corner. The Young Man rushes through the crowded streets, not quite running but faster then we've seen him move before. The YOUNG MAN rushes into Charing Cross station and stands across from the left-luggage office, waiting breathlessly. Commuters stream across the station, obscuring his view of the office. Through a gap in the flow of people the Young Man catches a glimpse of Dark Suit. The Young Man moves closer, wading through commuters to get a better look. He sees Dark Suit hand over his ticket and pick up his first overnight bag. Dark Suit slings one bag over each shoulder before heading off through the station towards the back entrance on to Hungerford Bridge. The Young Man follows. They cross the footbridge, trains rumbling past on the right-hand side, the sky darkening. They pass through the South Bank Centre and head south, entering residential streets as it gets dark. Dark Suit arrives at a small block of flats and lets himself in. The Young Man sees a light come on in a third-floor window. He makes a not of the address, turns and walks away.</scene_description> <character>YOUNG MAN</character> <dialogue>It was the most important rule, so it was the one I broke last.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. ROW OF TERRACED TOWNHOUSES - DUSK</stage_direction> <scene_description>The Young Man looks up at a second-floor window. His appearance is dramatically different from the preceding scene: his hair is in a short, ragged near crew-cut, and he now wears an old-fashioned dark suit and tie. The Young Man walks past the row of houses then doubles back on the opposite side, stopping at a bus stop from which he can see the houses, He reaches into the inside pocket of his jacket and takes out a strip of passport photos. He stares at them, and we see that they are of a young blonde woman, perhaps the same woman who drew the curtains. One of the front doors opens and the young blonde woman exits. The Young Man glaces at the photos in his hand - it is the same young woman. The Blonde comes out on to the street. She is wearing a long overcoat, a purse under her arm. The Young Man lets her get slightly ahead before tailing her from the opposite side of the street. The Blonde strides purposefully ahead, not looking around. As they enter a more crowded West End street, the Young Man allows himself to cross onto the same side and move ever closer. The Blonde glides through the other pedestrians gracefully and easily behind her the Young Man bobs and weaves to keep her in sight.</scene_description> </scene> <scene> <stage_direction>EXT. SMALL ENTRANCE TO A BASEMENT BAR/CLUB - DUSK</stage_direction> <scene_description>The Young Man approaches and stops outside. The passport photos are still in his hand. He glances at them as he replaces them in his inside pocket. He looks at the stairs down into the club, looks around, rubbing his face. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN SOHO - DAY</stage_direction> <scene_description>The Young Man walks down the street, following a middle-aged bald man. The Young Man has short hair and is wearing a suit and tie. He is wearing sunglasses and his lip looks swollen. Baldy stops and turns into a doorway. The Young Man comes up and examines the names by the bells. They are all companies/offices. He looks around, crosses the road and slips into a cafe.</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ - DAY</stage_direction> <scene_description>The café is empty apart from a woman on her own reading a book at one of the tables. The Young Man buys a coffee at the counter and heads over to the table nearest the window. He sips at his coffee and glances out of the window to the building opposite. He takes his dark glasses off and examines his reflection in the blade of the knife that was sitting on the table. His left eye is horribly bruised and swollen - it looks half- closed. There is a plaster above it, across the eyebrow. His lip is swollen and marked where it has been recently split. The Young Man looks up and sees that the lone woman is staring at him. He puts his sunglasses back on and we: FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE A BLOCK OF FLATS IN THE WEST END - DAY</stage_direction> <scene_description>The Young Man stares up at the building, perplexed. Dark Suit comes out of the building, a sports bag slung over his shoulder. As he walks down the street the Young Man follows, the throng of people washing around them. Dark Suit dives into a café. The Young Man comes abreast of it and looks through the window. The café is crowded; Dark Suit has taken a table near the back, facing away from the door. The Young Man looks about, takes a deep breath and pushes open the door to the café.</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ - DAY</stage_direction> <scene_description>Five or six tables, mostly occupied. Two men behind the counter making the food, one waitress squeezing between the tables. The Young Man enters. Keeping an eye on Dark Suit's back, the Young Man slides behind a table.</scene_description> <character>WAITRESS</character> <dialogue>Yeah?</dialogue> <character>YOUNG MAN</character> <dialogue>Coffee, black.</dialogue> <character>WAITRESS</character> <dialogue>You're going to take up one of my tables over lunch with just a coffee?</dialogue> <character>YOUNG MAN</character> <dialogue>And chips.</dialogue> <scene_description>He looks up at the waitress; she's still there.</scene_description> <character>YOUNG MAN</character> <dialogue>And an omlette... please.</dialogue> <scene_description>The Waitress turns and leaves. The Young Man looks over to Dark Suit. The sports bag rests besides Dark Suit's feet. Dark Suit eats, we can't see what. The waitress brings the Young Man's food. He plays with it as he considers Dark Suit. The Young Man gulps at his coffee. Time passes, the other tables change. Dark Suit gets up, picks up his bag and turns around, moving towards the Young Man. The Young Man studies his half-eaten omelette intently.</scene_description> <character>DARK SUIT (O.S.)</character> <dialogue>Mind if I join you?</dialogue> <scene_description>The Young Man looks up; Dark Suit is at his elbow, smiling. Dark Suit sits down without waiting for a reply.</scene_description> <character>DARK SUIT</character> <parenthetical>(matter-of-fact)</parenthetical> <dialogue>Who and why?</dialogue> <scene_description>The Young Man looks confused. The Waitress is at their table.</scene_description> <character>DARK SUIT</character> <parenthetical>(to Waitress)</parenthetical> <dialogue>Another black coffee for me and...</dialogue> <parenthetical>(to the Young Man)</parenthetical> <dialogue>... What are you having?</dialogue> <scene_description>The Young Man shakes his head and starts to murmur negatives. Dark Suit reaches over, picks up the Young Man's empty mug and sniffs it.</scene_description> <character>DARK SUIT</character> <parenthetical>(to Waitress)</parenthetical> <dialogue>And another coffee...</dialogue> <parenthetical>(he looks into the mug)</parenthetical> <dialogue>... also black.</dialogue> <scene_description>The Waitress leaves. Dark Suit stares at the Young Man who is having trouble returning his gaze.</scene_description> <character>DARK SUIT</character> <dialogue>You're obviously not a policeman, so who are you and why are you following me?</dialogue> <scene_description>The Young Man half-smiles as if he has not understood the question, then glances from side to side in an attempt to look uncomprehending.</scene_description> <character>YOUNG MAN</character> <dialogue>I'm sorry?</dialogue> <character>DARK SUIT</character> <dialogue>You've been following me all morning... why?</dialogue> <character>YOUNG MAN</character> <dialogue>Following? I'm sorry but I've absolutely no idea what you're talking about-</dialogue> <character>DARK SUIT</character> <parenthetical>(aggressive)</parenthetical> <dialogue>Don't piss me off. Who the fuck are you?</dialogue> <scene_description>The Young Man can't think of anything to say. An uncomfortable silence broken by the Waitress bringing two coffees.</scene_description> <character>DARK SUIT</character> <parenthetical>(to Waitress, eyes still on Young Man)</parenthetical> <dialogue>Thanks.</dialogue> <parenthetical>(to Young Man)</parenthetical> <dialogue>Sugar?</dialogue> <scene_description>The Young Man shakes his head. Dark Suit breaks eye contact to spoon two sugars into his coffee. He stirs it noisily, looking up expectantly, waiting for the Young Man to speak. The Young Man' mouth opens and closes silently several times before he speaks.</scene_description> <character>YOUNG MAN</character> <dialogue>Look I'm not... I haven't been following you, I just I just saw you with your bag and I thought you looked... interesting.</dialogue> <character>DARK SUIT</character> <dialogue>What are you, a faggot?</dialogue> <character>YOUNG MAN</character> <dialogue>No! No, I, I, I, I'm a... Look I saw you on the street and, and you reminded me of someone I went to school with- to tell the truth I thought you were him, so I followed you and came in here- I came in here 'cos I was hungry- but I wanted to see if it was him...</dialogue> <scene_description>Dark Suit stares at him.</scene_description> <character>YOUNG MAN</character> <parenthetical>(fading)</parenthetical> <dialogue>... but it wasn't.</dialogue> <character>DARK SUIT</character> <dialogue>Why didn't you just ask me when you saw me?</dialogue> <character>YOUNG MAN</character> <dialogue>I would've been embarrassed.</dialogue> <character>DARK SUIT</character> <parenthetical>(smiling)</parenthetical> <dialogue>Not as embarrassed as you are now.</dialogue> <character>YOUNG MAN</character> <parenthetical>(laughing nervously)</parenthetical> <dialogue>No, I suppose not.</dialogue> <scene_description>Dark Suit sips at his coffee. The Young Man follows suit.</scene_description> <character>DARK SUIT</character> <dialogue>What's your name?</dialogue> <character>YOUNG MAN</character> <dialogue>Bill.</dialogue> <scene_description>Dark Suit smiles.</scene_description> <character>DARK SUIT</character> <dialogue>Well, 'Bill'... what do you do?</dialogue> <character>YOUNG MAN</character> <dialogue>Actually, I'm kind of-</dialogue> <character>DARK SUIT</character> <dialogue>'Between jobs right now.'</dialogue> <character>YOUNG MAN</character> <dialogue>That's right.</dialogue> <character>DARK SUIT</character> <dialogue>What would you do?</dialogue> <character>YOUNG MAN</character> <dialogue>I don't know.</dialogue> <character>DARK SUIT</character> <parenthetical>(smiling)</parenthetical> <dialogue>Don't be coy, 'Bill'. There must be some burning ambition eating away at you. You look like some kind of starving artist?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>No?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>Painter?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>Photos?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>Films?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>Writer?</dialogue> <character>YOUNG MAN</character> <parenthetical>(slight pause)</parenthetical> <dialogue>No.</dialogue> <character>DARK SUIT</character> <dialogue>Writer.</dialogue> <scene_description>NO.</scene_description> <character>DARK SUIT</character> <dialogue>But you write?</dialogue> <character>YOUNG MAN</character> <dialogue>Not really.</dialogue> <character>DARK SUIT</character> <dialogue>But sometimes?</dialogue> <character>YOUNG MAN</character> <dialogue>Sometimes, who doesn't?</dialogue> <character>DARK SUIT</character> <dialogue>Me.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>So you're a writer.</dialogue> <character>YOUNG MAN</character> <dialogue>I didn't say that. What makes you think that I'm a writer anyway?</dialogue> <character>DARK SUIT</character> <dialogue>Educated, unemployed twentysomething, fancies himself a writer... a real leap into the unknown.</dialogue> <character>YOUNG MAN</character> <dialogue>Well, I'm not a writer.</dialogue> <character>DARK SUIT</character> <dialogue>But you're interested in people.</dialogue> <character>YOUNG MAN</character> <dialogue>Yeah.</dialogue> <character>DARK SUIT</character> <dialogue>This person?</dialogue> <character>YOUNG MAN</character> <dialogue>I suppose -</dialogue> <character>DARK SUIT</character> <dialogue>You haven't even asked my name.</dialogue> <character>YOUNG MAN</character> <dialogue>What's your -</dialogue> <character>DARK SUIT</character> <dialogue>Or what's in my bag.</dialogue> <character>YOUNG MAN</character> <dialogue>Bag?</dialogue> <character>DARK SUIT</character> <parenthetical>(gestures at his feet)</parenthetical> <dialogue>My bag. The one you've been staring at.</dialogue> <scene_description>There is a pause during which Dark Suit stares challengingly at the Young Man, who looks thoughtfully, undecided.</scene_description> <character>YOUNG MAN</character> <parenthetical>(sighing)</parenthetical> <dialogue>What's your name and what's in your bag?</dialogue> <scene_description>Dark Suit smiles, and reaches down for his bag.</scene_description> <character>DARK SUIT</character> <parenthetical>(dumps bag on table)</parenthetical> <dialogue>My name's Cobb. Take a look for yourself.</dialogue> <scene_description>The Young Man pauses, then, eyes on Cobb, he reaches forward and pulls the bag across the table. He unzips it and peers inside. The Young Man looks puzzled. Cobb grins. Inside the bag are CDs. Rummaging beneath them the Young Man uncovers some jewelry and a camera. He looks up at Cobb, puzzled.</scene_description> <character>COBB</character> <parenthetical>(smilING)</parenthetical> <dialogue>What were you expecting, drugs?</dialogue> <character>YOUNG MAN</character> <dialogue>They're yours?</dialogue> <character>COBB</character> <parenthetical>(laughing)</parenthetical> <dialogue>They are now.</dialogue> <character>YOUNG MAN</character> <dialogue>Why would you take their old CDs?</dialogue> <character>COBB</character> <dialogue>Easy to grab a load, easy to sell, totally untraceable. A good staple. The other stuff's more tricky, far more unpredictable.</dialogue> <character>YOUNG MAN</character> <dialogue>You don't look like a burglar.</dialogue> <character>COBB</character> <dialogue>Sounds like a compliment.</dialogue> <scene_description>The Young Man shrugs and smiles, zipping up the bag.</scene_description> <character>COBB</character> <parenthetical>(grinning broadly)</parenthetical> <dialogue>Interested now?</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO A BASEMENT BAR/CLUB - DUSK</stage_direction> <scene_description>The Blonde approaches, pauses, looking behind herself as if suspicious of being followed. She goes down the stairs into the club. The Young Man (short hair, clean shaven) approaches the entrance, pauses, uncertain. He looks about, then dives in.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT BAR/CLUB - DUSK</stage_direction> <scene_description>Three-sided bar, booths and tables, music. The Young Man enters. The place is not full. The Blonde is seated at the bar. She watches the Young Man comes in, then looks away, uninterested. The Young Man approaches the bar, leaning on it several places along from The Blonde, glancing at her out of the corner of his eye. She is oblivious to his presence, as is the bartender, who is on the phone behind the bar. The Young Man sneaks looks at The Blonde whilst tapping the bar, waiting for the bartender to hang up the phone. The Blonde has an elegant profile, as seen from along the bar, but she looks unhappy. The bartender hangs up the phone, shuffles over and looks enquiringly at the Young Man.</scene_description> <character>YOUNG MAN</character> <dialogue>Beer.</dialogue> <scene_description>The bartender grabs a bottle from the fridge, opens it and sets it down in front of the Young Man. The bartender holds up a glass and raises his eyebrows at the Young Man, who shakes his head and raises the bottle to his lips, taking a sip. The Young Man puts the bottle back on the bar and turns to look at The Blonde. He gets off his barstool and moves down towards her, sliding his beer along the bar as he goes. He stops at her side.</scene_description> <character>YOUNG MAN</character> <dialogue>Buy you a drink?</dialogue> <character>THE BLONDE</character> <parenthetical>(staring ahead)</parenthetical> <dialogue>Yeah, but you can't sleep with me.</dialogue> <scene_description>The Young Man smiles quizzically.</scene_description> <character>YOUNG MAN</character> <dialogue>Why not?</dialogue> <scene_description>The Blonde turns to look at him, a movement of the head, nothing else, her expression hard to read.</scene_description> <character>THE BLONDE</character> <dialogue>I'm with him.</dialogue> <scene_description>She jerks her head behind them. The Young Man turns, seeing three men seated at a table across the room, papers on the table, apparently talking business. Suits, ties, two of them young, one middle-aged and bald.</scene_description> <character>YOUNG MAN</character> <parenthetical>(turning back)</parenthetical> <dialogue>Not that bald one?</dialogue> <character>THE BLONDE</character> <dialogue>He'll let you buy me a drink, but sex is out of the question.</dialogue> <character>YOUNG MAN</character> <dialogue>I see.</dialogue> <character>THE BLONDE</character> <dialogue>Still want to buy me that drink?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <scene_description>Right answer, The Blonde laughs. The Young Man sips from his beer.</scene_description> <character>YOUNG MAN</character> <dialogue>So what's a beautiful young woman like you doing -</dialogue> <character>THE BLONDE</character> <dialogue>In a place like this?</dialogue> <character>YOUNG MAN</character> <dialogue>- with a bald old cunt like that.</dialogue> <character>THE BLONDE</character> <dialogue>Long story. Keep your voice down, he owns this place.</dialogue> <character>YOUNG MAN</character> <dialogue>Just trying to get your attention. You're interested now aren't you?</dialogue> <character>THE BLONDE</character> <parenthetical>(turning away)</parenthetical> <dialogue>No.</dialogue> <scene_description>The Young Man is disarmed. He looks at the label of his beer for something to say.</scene_description> <character>YOUNG MAN</character> <dialogue>I'm Timothy Kerr - Tim to my friends.</dialogue> <character>THE BLONDE</character> <parenthetical>(without looking at him)</parenthetical> <dialogue>So?</dialogue> <scene_description>The Young Manopens his mouth, pissed off, but changes his mind before he speaks.</scene_description> <character>YOUNG MAN</character> <parenthetical>(softly)</parenthetical> <dialogue>You've obviously had a bad day, one of those days which makes you feel that everybody's out for their pound of flesh.</dialogue> <scene_description>The Blonde turns to look at him, her expression softer, but not much.</scene_description> <character>THE BLONDE</character> <parenthetical>(slow, considered delivery)</parenthetical> <dialogue>That is the kind of day I've been having lately.</dialogue> <scene_description>She glances out of the corner of her towards Baldy. He is watching them.</scene_description> <character>THE BLONDE</character> <parenthetical>(looking back to Young Man)</parenthetical> <dialogue>Say something to me.</dialogue> <character>YOUNG MAN</character> <dialogue>Such as?</dialogue> <scene_description>The Blonde slaps the Young Man hard across the face. He looks shocked.</scene_description> <character>THE BLONDE</character> <parenthetical>(turning to her drink)</parenthetical> <dialogue>I'll be outside in ten minutes.</dialogue> </scene> <scene> <stage_direction>EXT. ENTRANCE TO BASEMENT BAR/CLUB - NIGHT</stage_direction> <scene_description>The Young Man is loitering outside. The Blonde comes up out of the club and walks towards the Young Man without appearing even to notice him. He falls into step beside her. They don't speak for several paces.</scene_description> <character>THE BLONDE</character> <dialogue>Live close?</dialogue> <character>YOUNG MAN</character> <dialogue>Yeah. You live, I mean, you do you live around here?</dialogue> <character>THE BLONDE</character> <dialogue>I do. But I don't want to go back there.</dialogue> <character>YOUNG MAN</character> <dialogue>Because of the bald guy.</dialogue> <character>THE BLONDE</character> <dialogue>No.</dialogue> <character>YOUNG MAN</character> <dialogue>You want to go to my place?</dialogue> <character>THE BLONDE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Don't get your hopes up. I can't be seen with you in any of the bars around here. Got anything to drink at home?</dialogue> <character>YOUNG MAN</character> <dialogue>We can stop on the way.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. CAFÉ - DAY</stage_direction> <scene_description>The Young Man sits alone at a table by the window, watching the building opposite. He has short hair and wears sunglasses to hide the worst of his facial bruises, but his swollen lip is still noticeable. In front of him on the table are a cup of coffee, a notebook and a pen. He sips at the coffee.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - DAY</stage_direction> <scene_description>Young Man's POV from the café. Baldy exits the building and hails a taxi.</scene_description> </scene> <scene> <stage_direction>INT. CAFE - DAY</stage_direction> <scene_description>The Young Man opens the notebook and writes in it, and we: FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE THE DOOR TO A FLAT, THE LANDING OF A NARROW</stage_direction> <scene_description>STAIRWAY - DAY Cobb comes up the stairs and stops outside the door. The Young Man (he has long hair and is unshaven) follows, standing behind Cobb, looking over Cobb's shoulder as he examines the door. Cobb knocks gingerly on the door. After a pause, he reaches into his jacket pocket and pulls out a pair of rubber surgical gloves. He inflates the gloves one after the other before putting them on, interlacing his fingers and bumping the gloves snugly into place. He turns to the Young Man.</scene_description> <character>COBB</character> <parenthetical>(whispering)</parenthetical> <dialogue>Gloves?</dialogue> <scene_description>The YOUNG MAN nods and holds up his hands for inspection- he is wearing thick, leather and wool gloves. Cobb rolls his eyes. Shaking his head, he turns back to the door, then pushes the Young Man back and lifts up the doormat. There's nothing under there, and he lets it back down. The Young Man leans forward to whisper into Cobb's ear.</scene_description> <character>YOUNG MAN</character> <parenthetical>(whispering)</parenthetical> <dialogue>People don't really do that, do they?</dialogue> <character>COBB</character> <parenthetical>(whispering, reaching into his pocket)</parenthetical> <dialogue>You'd be surprised.</dialogue> <scene_description>He takes a piece of plastic out and starts working it into the crack between the door and the frame. The Young Man notices a potted plant on the windmill. He reaches over and shifts it slightly, finding a key underneath it. He taps Cobb on the shoulder and when he turns around the Young Man holds it up in front of his face. COBB smiles as he grabs it, and turns back to the door to unlock it.</scene_description> <character>COBB</character> <parenthetical>(whispering)</parenthetical> <dialogue>Beginner's luck.</dialogue> <scene_description>Cobb opens the door and heads inside, the Young Man following.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>No lights - cold grey daylight filtered through net curtains. Cobb is first, creeping forward through the flat with the Young Man at his shoulder. Cobb looks left and right into doorways as they advance, pushing them open gently to see inside to let more light into the hallway. At the end of the hall Cobb turns to face the Young Man.</scene_description> <character>COBB</character> <parenthetical>(speaking normally now)</parenthetical> <dialogue>See, nobody home. Right, first things first. We need a bag.</dialogue> <character>YOUNG MAN</character> <parenthetical>(whispering)</parenthetical> <dialogue>A bag?</dialogue> <character>COBB</character> <dialogue>To carry the stuff out of here. Why are you whispering?</dialogue> <scene_description>Cobb passes through a door off to the left.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>A futon, two wardrobes, piles of books and neatly folded clothes by the wall. Cobb crosses the room to the first wardrobe and opens it, rummaging around the bottom.</scene_description> <character>COBB</character> <parenthetical>(head in wardrobe)</parenthetical> <dialogue>Bingo.</dialogue> <scene_description>COBB backs out of the wardrobe clutching a soft overnight bag.</scene_description> <character>YOUNG MAN</character> <parenthetical>(not whispering, but still quiet)</parenthetical> <dialogue>Don't you have your own?</dialogue> <character>COBB</character> <dialogue>Yeah, sure, it's a big bag with 'swag' written across the side. OK... what do you fancy?</dialogue> <scene_description>The Young Man looks around and shrugs.</scene_description> <character>COBB</character> <dialogue>Not much is here of any value.</dialogue> <character>YOUNG MAN</character> <dialogue>You don't seem too concerned.</dialogue> <character>COBB</character> <dialogue>I don't do it for the money.</dialogue> <character>YOUNG MAN</character> <dialogue>So why-</dialogue> <character>COBB</character> <dialogue>For the adrenalin, and because, like you, I'm interested in people.</dialogue> <scene_description>The Young Man raises his eyebrows.</scene_description> <character>COBB</character> <dialogue>You can tell a lot about people from their stuff. How old would you say these people were?</dialogue> <scene_description>The Young Man shrugs.</scene_description> <character>COBB</character> <dialogue>Well, just from the futon you can make a pretty good guess. Young people have futons. I'd be surprised if they were anywhere near forty with a futon. But they've got one laundry bag so they're used to each other which makes me thing that they're over twenty-five.</dialogue> <character>YOUNG MAN</character> <dialogue>But if they're only twenty they could have been living together for years.</dialogue> <character>COBB</character> <dialogue>Look at the books. They're educated- went to college, graduated when they were twenty-one or twenty-two, wouldn't have moved in with each other until at least the last year of college. Get a better idea from their music.</dialogue> <scene_description>He starts to examine the shelves, running surgeon's fingers across the shelves, touching things without picking them up. He comes across a wooden box.</scene_description> <character>COBB</character> <dialogue>Here's the box.</dialogue> <character>YOUNG MAN</character> <dialogue>What box?</dialogue> <character>COBB</character> <dialogue>Everybody's got a box. With men it's usually a shoebox.</dialogue> <character>YOUNG MAN</character> <dialogue>With valuable inside?</dialogue> <character>COBB</character> <dialogue>No. More interesting, more personal. Letters, odd snapshots, a plastic toy out of a Christmas cracker, a pebble from some beach.</dialogue> <scene_description>He opens the box. The Young Man looks over his shoulder.</scene_description> <character>COBB</character> <parenthetical>(picking through the contents)</parenthetical> <dialogue>See? Photos, odd bits of paper, worthless plastic jewelry. An unconscious collection. A display.</dialogue> <character>YOUNG MAN</character> <dialogue>Display?</dialogue> <character>COBB</character> <dialogue>Yes, a display. Each object showing something about the person, together adding up to an illustration of their personality. We've all got something of the artist inside of us, even if it is unconscious. It's extremely personal. We're privileged to see it. People rarely show anyone their box.</dialogue> <scene_description>Cobb stares lovingly at the contents of the box for a few seconds before suddenly throwing it across the room, spilling the contents everywhere with surprising violence.</scene_description> <character>YOUNG MAN</character> <parenthetical>(taken aback)</parenthetical> <dialogue>It's like a diary. They hide it, but secretly they want someone to look at it and that's what I do. Concealment, display; flip sides of the same coin. This way they know that someone's seen it. That's what it's all about, interrupting someone's life, making them think about all the things they usually take for granted. That's what you're doing when you steal their things. When they collect the insurance money they go out and buy all these things that have just been sitting on their shelves, stuff they'd forgotten they'd bought, and they have to think all over again about why they wanted this stuff, what it's for. You take it away and show them what they had.</dialogue> <scene_description>He moves to the laundry bag, and reaches into his pocket. He pulls out a pair of lace panties, holding them up for the Young Man to see.</scene_description> <character>COBB</character> <dialogue>Saucy, eh? I took them from the last place, two young women sharing a flat.</dialogue> <scene_description>The Young Man looks totally baffled as Cobb reaches into the laundry bag and pulls out a pair of trousers. He stuffs the panties into the front left pocket and sticks the trousers back into the bag. COBB heads towards the door, passing the baffled Young Man.</scene_description> <character>COBB</character> <parenthetical>(winking)</parenthetical> <dialogue>Give 'em something to chat about.</dialogue> <scene_description>Cobb leaves the bedroom. The Young Man follows.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAT</stage_direction> <scene_description>Cobb walks down the corridor carrying the bag, the Young Man behind him.</scene_description> <character>YOUNG MAN</character> <dialogue>Why did you do that?</dialogue> <character>COBB</character> <parenthetical>(over his shoulder)</parenthetical> <dialogue>She'll find them in his trousers and want to know what he's been up to.</dialogue> <character>YOUNG MAN</character> <dialogue>Why would you want to fuck up their relationship?</dialogue> <scene_description>Cobb spins about to face the YOUNG MAN so abruptly that they almost collide. There is a manic look in his eyes.</scene_description> <character>COBB</character> <parenthetical>(deadly serious)</parenthetical> <dialogue>Don't you listen? You take it away and show them what they had.</dialogue> <scene_description>The Young Man is speechless. Cobb turns and from in front of him we can see a mischievous grin break across his face which is hidden from the Young Man. Cobb dives through a doorway. The Young Man shakes his head and heads after him.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Cobb is taking two glasses down from the cupboard. There is a bottle of red wine on the counter. The Young Man enters.</scene_description> <character>COBB</character> <dialogue>Fancy a drink?</dialogue> <scene_description>The Young Man looks at the bottle then at Cobb.</scene_description> <character>YOUNG MAN</character> <dialogue>You've got to be joking.</dialogue> <character>COBB</character> <parenthetical>(rummaging in a drawer)</parenthetical> <dialogue>Don't be fooled by the supermarket label - its quite good, I've had it before.</dialogue> <scene_description>He takes a corkscrew out of the drawer and starts to open the bottle, his hands smooth and graceful - surgical, almost - in their white latex sheaths.</scene_description> <character>COBB</character> <parenthetical>(levering the cork out)</parenthetical> <dialogue>You'd have trouble doing this with your gloves on.</dialogue> <scene_description>He places the corkscrew on the counter and pours two glasses of wine, handing one to the Young Man who sips at it. Cobb picks up the corkscrew and starts to remove the cork from it.</scene_description> <character>YOUNG MAN</character> <dialogue>So are we going to take anything?</dialogue> <character>COBB</character> <parenthetical>(placing the corkscrew back into the drawer)</parenthetical> <dialogue>Anything your heart desires. But look, that's not the point, that's just work. This is what it's all about- being here. Entering someone's life, finding out who they are... just feel it- standing in someone's kitchen, drinking their wine, someone you'll never even meet.</dialogue> <scene_description>He jams the cork into the neck of the bottle and sticks it up on the shelf. Just as he does so there is the unmistakable sound of the front door being opened. Cobb spins around to face the kitchen door. The Young Man throws his glass down onto the counter. We hear a muffled voice through the door.</scene_description> <character>WOMAN (O.S.)</character> <dialogue>Drink? I've got some wine.</dialogue> <character>MAN (O.S.)</character> <dialogue>Why not?</dialogue> <scene_description>Cobb stands frozen, tense, staring at the door. The Young Man looks terrified, glancing from the back of Cobb's head to the door and back.</scene_description> <character>YOUNG MAN</character> <parenthetical>(tense whisper)</parenthetical> <dialogue>What the fuck do-</dialogue> <character>COBB</character> <parenthetical>(hissing)</parenthetical> <character>SHHHHH!</character> <dialogue>The door swings open and Cobb's face transforms into an expression of innocent surprise. A young Woman stands frozen in the doorway. Cobb steps forward, palms open.</dialogue> <character>COBB</character> <parenthetical>(friendly, relaxed)</parenthetical> <dialogue>You startled us! From the agency or viewing, like us?</dialogue> <scene_description>As he speaks he has moved right up to the Woman, coming close enough that she feels compelled to step back into the hall. The Young Man follows, still looking nervous, but the Woman's attention is on Cobb.</scene_description> <character>WOMAN</character> <parenthetical>(tense, confused)</parenthetical> <dialogue>What are you doing in my flat?</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>The Woman comes into the hall followed by the Young Man. Cobb turns his attention to the older man who stands frozen in the hall, looking as nervous as the Young Man.</scene_description> <character>COBB</character> <parenthetical>(to the woman)</parenthetical> <dialogue>Viewing it. The agent said you'd be out this afternoon.</dialogue> <character>WOMAN</character> <parenthetical>(bewildered)</parenthetical> <dialogue>But we're not moving.</dialogue> <character>COBB</character> <parenthetical>(to older man, ignoring Woman)</parenthetical> <dialogue>You must be the man of the house. You have a lovely home.</dialogue> <scene_description>The older man looks nervously to the Woman. The Young Man and Cobb are both now at the door.</scene_description> <character>COBB</character> <dialogue>We'll leave you in peace, then.</dialogue> <character>WOMAN</character> <dialogue>But we're not moving!</dialogue> <character>COBB</character> <parenthetical>(opening door, looks bewildered)</parenthetical> <dialogue>Not even at the end of the month?</dialogue> <character>WOMAN</character> <dialogue>NO!</dialogue> <scene_description>The woman notices their gloves. Cobb notices her noticing.</scene_description> <character>COBB</character> <parenthetical>(motioning the young man out the door)</parenthetical> <dialogue>I should check with the agent, then, Luv. Sorry to have bothered you.</dialogue> <scene_description>Cobb leaves, closing the door in the couple's bewildered faces.</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - DAY</stage_direction> <scene_description>The Young Man comes out of a doorway onto the flat roof, hurrying, followed by Cobb. Cobb closes the door behind him.</scene_description> <character>COBB</character> <dialogue>Shouldn't have come back up here. We'll have to wait ages before we go down. Maybe there's another way off here.</dialogue> <scene_description>Cobb starts to look around the edges of the roof.</scene_description> <character>YOUNG MAN</character> <dialogue>Jesus shit. You think they believed you?</dialogue> <character>COBB</character> <parenthetical>(laughing)</parenthetical> <dialogue>Of course they didn't fucking believe me!</dialogue> <character>YOUNG MAN</character> <dialogue>So what did-</dialogue> <character>COBB</character> <dialogue>I just confused them. We caught them on the hop.</dialogue> <character>YOUNG MAN</character> <dialogue>How do you mean?</dialogue> <character>COBB</character> <dialogue>That bloke wasn't the boyfriend. Why do you think he didn't say anything? They were up to no good and was probably glad that we weren't her boyfriend.</dialogue> <character>YOUNG MAN</character> <dialogue>You reckon?</dialogue> <character>COBB</character> <dialogue>Definitely. Why else would she be home from work in the middle of the afternoon? You just can't plan for that kind of shit, we were unlucky. Don't be put off. It's not going to happen next time.</dialogue> <character>YOUNG MAN</character> <dialogue>I'm not so sure.</dialogue> <character>COBB</character> <parenthetical>(offended)</parenthetical> <dialogue>Oh yeah? Well next time you can do the prep work.</dialogue> <character>YOUNG MAN</character> <dialogue>I didn't mean that-</dialogue> <character>COBB</character> <dialogue>I'm serious. You pick a mark, check it out to your own satisfaction days, months, years, whatever- and that's what we'll hit next.</dialogue> <character>YOUNG MAN</character> <parenthetical>(thoughtfully)</parenthetical> <dialogue>Yeah. Yeah, all right.</dialogue> <character>COBB</character> <dialogue>Tell you what.</dialogue> <character>YOUNG MAN</character> <dialogue>What?</dialogue> <character>COBB</character> <dialogue>I feel bad about pulling the panty routine on that bloke- she'll give him a load of shit, and it's her that's screwing around.</dialogue> <scene_description>The Young Man laughs, releasing tension. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Small, eclectic mix of stuff. Rubber plant, portable TV, desk, portable stereo. The Blonde circles the room slowly, looking at various items, her overcoat still on. The Young Man enters (he has short hair and is clean-shaven), carrying two glasses. The Blonde hasn't heard him come in. He watches her from the doorway as she reaches out to touch a ceramic candlestick sitting on a shoulder-high shelf. As she touches the candlestick it falls into two pieces. As she grabs at them she notices the Young Man watching her.</scene_description> <character>THE BLONDE</character> <parenthetical>(flustered)</parenthetical> <dialogue>I'm sorry, I just touched it, it -</dialogue> <character>YOUNG MAN</character> <dialogue>Just came apart in you hands.</dialogue> <character>THE BLONDE</character> <dialogue>No, really, it did.</dialogue> <scene_description>The Young Man smiles as he moves into the room.</scene_description> <character>YOUNG MAN</character> <dialogue>I know, it was already broken. Somebody dropped it, I was going to glue it...</dialogue> <scene_description>He grabs two pieces, putting the glasses down on the shelf in their place.</scene_description> <character>YOUNG MAN</character> <dialogue>... But sod it, I'll never get around to it.</dialogue> <scene_description>He drops the pieces into a waste-paper basket.</scene_description> <character>YOUNG MAN</character> <parenthetical>(gesturing at chair)</parenthetical> <dialogue>Take a seat.</dialogue> <scene_description>The Blonde perches on the edge of a chair, her coat still on. The Young Man takes a bottle out of a plastic bag, opens it and pours two measures. He hands The Blonde a drink. She sips at it. She looks cold.</scene_description> <character>YOUNG MAN</character> <dialogue>So what about the bald guy?</dialogue> <character>THE BLONDE</character> <dialogue>What about him?</dialogue> <character>YOUNG MAN</character> <dialogue>You're going out with him.</dialogue> <character>THE BLONDE</character> <dialogue>Not exactly.</dialogue> <character>YOUNG MAN</character> <dialogue>But you and him are -</dialogue> <character>THE BLONDE</character> <parenthetical>(matter-of-factly)</parenthetical> <dialogue>I used to have a thing going with him, but it's been over for a long time.</dialogue> <character>YOUNG MAN</character> <dialogue>So why did you tell me you were with him?</dialogue> <character>THE BLONDE</character> <dialogue>To get rid of you.</dialogue> <character>YOUNG MAN</character> <parenthetical>(grins)</parenthetical> <dialogue>So when you decided to have a drink with me, why did we have to come here?</dialogue> <character>THE BLONDE</character> <dialogue>He still gets jealous, he's a dangerous person. And I don't want to go to my place right now.</dialogue> <character>YOUNG MAN</character> <parenthetical>(probing)</parenthetical> <dialogue>Why not?</dialogue> <character>THE BLONDE</character> <dialogue>I was burgled yesterday.</dialogue> <character>YOUNG MAN</character> <dialogue>Really? What did it feel like, to find your place broken into?</dialogue> <character>THE BLONDE</character> <dialogue>That's an odd question. Most people ask 'What did they take?'</dialogue> <character>YOUNG MAN</character> <dialogue>I'm curious about the way people feel about things.</dialogue> <scene_description>He moves to the desk, reaching at a black case which sits amidst the papers and assorted crap.</scene_description> <character>YOUNG MAN</character> <dialogue>I'm a writer.</dialogue> <parenthetical>(opening the case to reveal an ancient manual typewriter)</parenthetical> <dialogue>See?</dialogue> <character>THE BLONDE</character> <parenthetical>(deadpan)</parenthetical> <dialogue>Gosh.</dialogue> <character>YOUNG MAN</character> <dialogue>So?</dialogue> <character>THE BLONDE</character> <dialogue>So?</dialogue> <character>YOUNG MAN</character> <dialogue>How did it feel?</dialogue> <character>THE BLONDE</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Great. How do you think it felt? I don't really want to talk about it, thank you.</dialogue> <scene_description>The Young Man shrugs.</scene_description> <character>YOUNG MAN</character> <dialogue>Sorry.</dialogue> <scene_description>He straddles the chair which is in front of the desk. He leans in towards The Blonde.</scene_description> <character>YOUNG MAN</character> <dialogue>So the bald guy's dangerous?</dialogue> <character>THE BLONDE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Christ, you're a nosy bastard.</dialogue> <character>YOUNG MAN</character> <dialogue>Dangerous like how?</dialogue> <character>THE BLONDE</character> <dialogue>Dangerous like criminal type, involved with bad things type dangerous.</dialogue> <character>YOUNG MAN</character> <dialogue>What sort of bad things?</dialogue> <character>THE BLONDE</character> <dialogue>The usual: girls, drugs, magazines.</dialogue> <character>YOUNG MAN</character> <dialogue>Magazines?</dialogue> <character>THE BLONDE</character> <dialogue>And films... pornography. And he owns a couple of clubs.</dialogue> <character>YOUNG MAN</character> <dialogue>Wealthy?</dialogue> <character>THE BLONDE</character> <dialogue>Yes. And refined. It took me a long time to realize the sort of things which he was capable of.</dialogue> <character>YOUNG MAN</character> <dialogue>What sort of things?</dialogue> <character>THE BLONDE</character> <dialogue>Perhaps another time. I think I'd better be going.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>The Young Man stands at the window, watching people pass by on the street below. He has short hair and his face is badly bruised. He picks up the telephone and dials a number. After a few rings, the phone is answered by a man we might recognize as Cobb.</scene_description> <character>COBB (O.S.)</character> <dialogue>Yeah?</dialogue> <character>YOUNG MAN</character> <dialogue>It's me... Bill.</dialogue> <character>COBB (O.S.)</character> <dialogue>What the fuck do you want?</dialogue> <character>YOUNG MAN</character> <dialogue>Advice.</dialogue> <scene_description>A pause.</scene_description> <character>COBB (O.S.)</character> <dialogue>On what?</dialogue> <character>YOUNG MAN</character> <dialogue>The job.</dialogue> <character>COBB (O.S.)</character> <dialogue>What fucking job?</dialogue> <character>YOUNG MAN</character> <dialogue>The one I asked you about.</dialogue> <character>COBB (O.S.)</character> <dialogue>Not interested.</dialogue> <character>YOUNG MAN</character> <parenthetical>(snorting)</parenthetical> <dialogue>I gathered that. I'm doing it on my own. I wondered about protection.</dialogue> <character>COBB (O.S.)</character> <dialogue>Protection?</dialogue> <character>YOUNG MAN</character> <dialogue>Self-defence, weapon of some sort. Surprisingly enough, I thought you might be able to advise.</dialogue> <scene_description>Cobb laughs at the other end of the phone.</scene_description> <character>COBB (O.S.)</character> <dialogue>Steel whip, nun-chucks - they're all right. Tools are good: sharpened screwdriver, hammer, chisel -</dialogue> <character>YOUNG MAN</character> <dialogue>Hammer?</dialogue> <character>COBB (O.S.)</character> <dialogue>Yeah, medium size, good rubber grip - very nasty. Get a claw hammer you can pry doors with it. Slip it into the back of your waistband, you're set.</dialogue> <scene_description>The Young Man's eyes have glazed over - he doesn't seem to be listening.</scene_description> <character>COBB (O.S.)</character> <dialogue>You still there?</dialogue> <scene_description>The Young Man hangs up without a word and we: FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE DOOR TO A FLAT - DAY</stage_direction> <scene_description>Cobb and the Young Man (he has long hair and is unshaven) are putting on their gloves. Cobb looks at the Young Man's leather gloves.</scene_description> <character>COBB</character> <dialogue>Why don't you get some of these, for Christ's sake?</dialogue> <character>YOUNG MAN</character> <dialogue>Where do you get them?</dialogue> <character>COBB</character> <dialogue>Stole a box from the Middlesex Hospital, but you can buy them.</dialogue> <scene_description>He bends down and checks under the doormat. He straightens, up holding a key.</scene_description> <character>COBB</character> <dialogue>Bing-fucking-go.</dialogue> <scene_description>He unlocks the door and they step cautiously inside.</scene_description> </scene> <scene> <stage_direction>INT. DIMLY LIT HALLWAY OF THE FLAT - DAY</stage_direction> <scene_description>Cobb proceeds slowly down the hall, pushing open each interior door and checking the various rooms. He stops at the last door.</scene_description> <character>COBB</character> <dialogue>You find a bag, I'll check out the stuff.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>A small room with an eclectic mix of stuff, rubber plant, portable TV, desk, portable stereo. Cobb enters and circles around the room, running his gloved hands across the mantelpiece, rubber-plant leaves, etc. The Young Man enters, carrying a sports bag.</scene_description> <character>YOUNG MAN</character> <dialogue>Here we go.</dialogue> <character>COBB</character> <parenthetical>(almost to himself)</parenthetical> <dialogue>That was quick. We may not need it...</dialogue> <parenthetical>(he looks at the Young Man)</parenthetical> <dialogue>... there's fuck-all here.</dialogue> <scene_description>Tight on the Young Man's face; he's really interested.</scene_description> <character>YOUNG MAN</character> <dialogue>Oh?</dialogue> <character>COBB</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Oh.</dialogue> <scene_description>The Young Man looks around. Cobb prowls around the room dangerously.</scene_description> <character>YOUNG MAN</character> <dialogue>What about the stereo?</dialogue> <scene_description>Cobb has stopped at some shelves. Near his shoulder is a ceramic candlestick, no candle in it.</scene_description> <character>COBB</character> <dialogue>How much would you pay for a second- hand, ten-year-old portable stereo? You want to carry it, you can have it. This is fucking useless.</dialogue> <scene_description>He tips the candlestick off the shelf and on to the floor. It breaks in two when it hits the floor.</scene_description> <character>YOUNG MAN</character> <parenthetical>(surprised)</parenthetical> <dialogue>Hey, what are we - vandals or burglars?</dialogue> <character>COBB</character> <dialogue>You're a burglar? So burgle.</dialogue> <character>YOUNG MAN</character> <dialogue>Well... what about the CDs?</dialogue> <scene_description>Cobb crosses to the small CD rack.</scene_description> <character>COBB</character> <parenthetical>(interested now)</parenthetical> <dialogue>Not much of a collection.</dialogue> <character>YOUNG MAN</character> <parenthetical>(drawing him out)</parenthetical> <dialogue>Oh?</dialogue> <character>COBB</character> <parenthetical>(flipping through CDs)</parenthetical> <dialogue>Very little here. And what there is seems quite personal.</dialogue> <character>YOUNG MAN</character> <dialogue>How's that?</dialogue> <character>COBB</character> <dialogue>There's none of the music that people play when their friends come round, you know, not to be listened to or even noticed but to fill in gaps in conversation.</dialogue> <character>YOUNG MAN</character> <dialogue>Like what?</dialogue> <character>COBB</character> <parenthetical>(glances around room)</parenthetical> <dialogue>For someone this age...</dialogue> <character>COBB</character> <dialogue>I dunno, maybe Simply Red or Fleetwood Mac, that sort of shit.</dialogue> <character>YOUNG MAN</character> <dialogue>He's got good taste.</dialogue> <scene_description>Cobb moves over to the desk.</scene_description> <character>COBB</character> <dialogue>Each to his own. But he's a sad fucker with no social life.</dialogue> <scene_description>The Young Man raises his eyebrows. At the desk Cobb flips open a black case to reveal an ancient typewriter.</scene_description> <character>COBB</character> <dialogue>Nice machine.</dialogue> <character>YOUNG MAN</character> <dialogue>You think he's a writer?</dialogue> <character>COBB</character> <parenthetical>(scoffing)</parenthetical> <dialogue>If he wanted to write he'd have a word processor. He doesn't want to write, he wants to be a writer - and that's two...</dialogue> <parenthetical>(notices something)</parenthetical> <dialogue>... two completely different things.</dialogue> <parenthetical>(turns to Young Man)</parenthetical> <dialogue>You check this out, right?</dialogue> <character>YOUNG MAN</character> <dialogue>Right.</dialogue> <character>COBB</character> <parenthetical>(suspicious)</parenthetical> <dialogue>You watched him come and go, saw his routine?</dialogue> <character>YOUNG MAN</character> <parenthetical>(defensive)</parenthetical> <dialogue>I told you, I checked it out. Why?</dialogue> <scene_description>Cobb turns to the desk and stares at it, hard.</scene_description> <character>COBB</character> <dialogue>This guy's unemployed.</dialogue> <character>YOUNG MAN</character> <dialogue>No he isn't.</dialogue> <character>COBB</character> <parenthetical>(emphatic)</parenthetical> <dialogue>He's unemployed. Look at this desk, people with jobs don't want this shit in their living rooms!</dialogue> <parenthetical>(rummaging through papers, files)</parenthetical> <dialogue>This guy is unemployed or a student... either way he could be back any fucking second!</dialogue> <character>YOUNG MAN</character> <parenthetical>(concerned)</parenthetical> <dialogue>Hw won't. I watched him come and go, he's got a job.</dialogue> <character>COBB</character> <parenthetical>(rummaging)</parenthetical> <dialogue>Yeah? What's he do, then?</dialogue> <character>YOUNG MAN</character> <parenthetical>(insistent)</parenthetical> <dialogue>I checked it out.</dialogue> <scene_description>Cobb stops rummaging, turns around and glares at the Young Man.</scene_description> <character>COBB</character> <parenthetical>(malevolent)</parenthetical> <dialogue>What the fuck is this, then?</dialogue> <scene_description>He holds up a booklet.</scene_description> <character>COBB</character> <parenthetical>(controlled anger)</parenthetical> <dialogue>You should recognize this, Dole- boy...</dialogue> <parenthetical>(steps forward)</parenthetical> <dialogue>... his fucking UB40.</dialogue> <scene_description>He grabs the Young Man and throws him against the wall. He holds the Young Man's face with his left hand and slaps the booklet across with the other, hard.</scene_description> <character>COBB</character> <dialogue>Checked it out! You fucking arsehole, are you trying to get us thrown in jail? We're leaving now.</dialogue> <scene_description>He releases the Young Man, staring at him fro a few seconds before walking out of the living room. The Young Man rubs his face before following.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>The Young man hurtles after Cobb, who is almost at the front door.</scene_description> <character>YOUNG MAN</character> <dialogue>Aren't we going to take anything?</dialogue> <character>COBB</character> <dialogue>We're going now. I don't steal from no-hope dole scroungers. No offence.</dialogue> <character>YOUNG MAN</character> <parenthetical>(to himself)</parenthetical> <dialogue>None taken.</dialogue> <scene_description>Cobb opens the front door and turns to face the approaching Young Man.</scene_description> <character>COBB</character> <dialogue>There's another place. One that I've checked out...</dialogue> <scene_description>They leave, closing the door behind them. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. ROW OF TERRACED TOWNHOUSES - DAY</stage_direction> <scene_description>The Young Man (with short hair and clean-shaven) loiters at the bus stop, watching The Blonde's second floor windows. The curtains are pulled back to reveal The Blonde. She stands at the window. The front door opens and Baldy steps out. The Young Man watches Baldy as he walks down the steps on to the street and turns right, away from the Young Man. The Young Man waits for a few seconds before walking up to the front door and ringing The Blonde's buzzer. The front door clicks unlocked and the Young Man heads inside.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE THE BLONDE'S FLAT - DAY</stage_direction> <scene_description>The Young Man comes up to the door and knocks; the door pushes open slightly with the force of the knock.</scene_description> <character>THE BLONDE (O.S.)</character> <parenthetical>(from within)</parenthetical> <dialogue>It's open!</dialogue> <scene_description>The Young Man enters.</scene_description> </scene> <scene> <stage_direction>INT. HALL OF A LARGE APARTMENT - DAY</stage_direction> <scene_description>Noise of a shower running, steam coming out of an open doorway. The Young Man comes down the hall, cautiously. The Blonde comes out of a doorway in a bathrobe, glances at him.</scene_description> <character>THE BLONDE</character> <dialogue>You're early.</dialogue> <scene_description>She disappears into the bathroom before the Young Man has a chance to reply.</scene_description> <character>THE BLONDE (O.S.)</character> <dialogue>Make yourself at home, I'll be a minute.</dialogue> <scene_description>The Young Man comes down the corridor. As he comes past the bathroom he sees that she has only half-closed the door - he peers in, but sees only a towel rail and steam. He goes through the next doorway along.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Expensively and tastefully decorated, almost cluttered - some pictures on the walls, lots of plants. The Young Man comes into the room, glances around. He moves over to a small table by the wall and looks down at it. There is nothing on it. He runs his fingers over the polished wood surface, then turns around, looking about the room for something that he can't find. He crosses the room and sits down in a large armchair near the windows. The Blonde enters, still in her robe, rubbing her wet hair with a towel.</scene_description> <character>YOUNG MAN</character> <dialogue>Nice place.</dialogue> <character>THE BLONDE</character> <parenthetical>(sitting down on the couch)</parenthetical> <dialogue>Thanks. I can't stand the idea that some stranger was in here, rummaging around. Creepy.</dialogue> <character>YOUNG MAN</character> <dialogue>What'd they take?</dialogue> <character>THE BLONDE</character> <dialogue>CD player, CDs, stuff like that. They took one of my bags to carry it in - the police told me that that's pretty standard.</dialogue> <character>YOUNG MAN</character> <dialogue>Must be bad - losing that stuff.</dialogue> <character>THE BLONDE</character> <parenthetical>(shrugging)</parenthetical> <dialogue>Insurance'll cover it. The personal stuff was worse.</dialogue> <character>YOUNG MAN</character> <dialogue>Personal stuff?</dialogue> <character>THE BLONDE</character> <dialogue>They took some of my things. They rifled through my underwear.</dialogue> <character>YOUNG MAN</character> <dialogue>Probably thought you kept your valuables hidden there.</dialogue> <character>THE BLONDE</character> <parenthetical>(shaking her head with evident distaste)</parenthetical> <dialogue>They took some of it.</dialogue> <character>YOUNG MAN</character> <dialogue>Shit. Why would they do that?</dialogue> <character>THE BLONDE</character> <parenthetical>(mocking)</parenthetical> <dialogue>Come on, don't play the innocent, you're a man - you know the sort of kinky voyeuristic shit men get up to.</dialogue> <character>YOUNG MAN</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>No. No, no, no... I'm not into that kind of...</dialogue> <character>THE BLONDE</character> <dialogue>So you have no interest in women's underwear whatsover?</dialogue> <character>YOUNG MAN</character> <dialogue>No. I'm interested in what's inside it, that's all.</dialogue> <character>THE BLONDE</character> <dialogue>So if I offered you a pair of my panties, you wouldn't be remotely interested?</dialogue> <character>YOUNG MAN</character> <dialogue>'Fraid not, though I'm sure they're lovely. Now you've embarrassed me enough, thanks.</dialogue> <character>THE BLONDE</character> <parenthetical>(shrugging)</parenthetical> <dialogue>Well, they took some. I'll tell you what else, they took one of my earrings - not the pair, just one of the earrings. Bloody annoying.</dialogue> <character>YOUNG MAN</character> <dialogue>Maybe you've just misplaced it.</dialogue> <character>THE BLONDE</character> <dialogue>No. I know where it was - they took it... just to fuck me around. Bloody annoying, they probably thing they're really clever. I wear the one they left on its own.</dialogue> <character>YOUNG MAN</character> <dialogue>Why?</dialogue> <character>THE BLONDE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Makes me feel good and miserable. I don't know, gives me something to talk about, anyway.</dialogue> <scene_description>She sighs and looks over to the window.</scene_description> <character>THE BLONDE</character> <parenthetical>(rising)</parenthetical> <dialogue>Give me a minute, I'll get dressed.</dialogue> <scene_description>She leaves. As soon as she is out of the room the Young Man jumps out of his chair and lifts up the seat cushion, looking underneath. He thrusts his hands down the back and sides of the chair, feeling for something. He comes up empty-handed, puzzlement on his face, and replaces the cushion. He goes into the hall and crosses to another doorway.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>The Young Man pauses at the door. It is open a crack and through the crack he can see into the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>The Young Man's POV through the crack shows us The Blonde almost dressed, buttoning her blouse in front of the mirror. The Young Man watches for a second or two, then pushes the door open quietly. The Blonde turns her head to look at him, apparently unsurprised. The Young Man moves towards her. She allows him to reach out and pull her towards him. He kisses her on the lips and we: FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING IN SOHO - DAY</stage_direction> <scene_description>The Young Man loiters outside. He has short hair and wears dark glasses. Baldy exits with another man. They hail a cab and leave. The Young Man wanders down an alley running down the side of the building. He takes a piece of paper out of his pocket on which a rough floor plan has been drawn. He counts windows down the side of the building, stopping at a particular window to study it. He looks around, puts the paper back into his pocket and walks back out on to the main street.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Small, dark, cluttered. The Young Man enters, carrying a paper bag. He removes his sunglasses, revealing his bruised face. He tosses the paper bag on to the bed, then reaches into the breast pocket of his suit jacket and pulls out a pair of rubber surgical gloves. He inflates one before stretching it on to his fingers, then does the same with the second, interlacing his fingers to jam the gloves on snugly. He flexes his hands, then turns to the bed and reaches into the paper bag, removing a brand new hammer with a rubber grip and a claw head. He tests the weight of the hammer, first in one hand then in the other. He awkwardly sticks the hammer into the back of his waistband and moves to the dusty mirror, examining himself. He removes the hammer from his waistband and looks at himself holding it in the mirror, and we: FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. INSIDE THE HALL OF A LARGE APARTMENT - DAY</stage_direction> <scene_description>Little is visible in the gloom. All is quiet. Suddenly a splintering crash breaks the silence and the front door breaks inward, revealing Cobb and the Young Man (long hair, unshaven), gloves on, glancing about nervously. Cautiously, they creep into the flat. Cobb shuts the door behind them. The Young Man moves to the nearest doorway and opens the door, spilling a cold, diffuse light into the hall. He opens the next door along and looks in and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Young Man's POV: expensively and tastefully decorated, almost cluttered - lots of pictures on the walls, lots of plants. The Young Man steps back into the hall.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>The Young Man looks over at Cobb.</scene_description> <character>YOUNG MAN</character> <parenthetical>(whispering loudly)</parenthetical> <dialogue>Not bad at all.</dialogue> <scene_description>Cobb turns to look at him.</scene_description> <character>COBB</character> <parenthetical>(speaking normally)</parenthetical> <dialogue>I'll check the bedrooms for a bag, you check out the stuff.</dialogue> <scene_description>The Young Man nods and passes into the living room.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>The Young Man enters and crosses to the centre of the large room. He turns around, scanning the room, taking in furniture, stereo, plants, TV and VCR, pictures. Noticing something, he moves closer to a group of pictures on the wall. He leans in to study them and his POV reveals a collection of framed photographs of the same young woman. In some of them she is obviously posed; the black-and-white ones in particular look like professionally shot modelling photos. The Young woman is an attractive blonde. He stares at the pictures for a few seconds, then turns back to the room. He crosses to the small table with some framed photographs on it and leans over to examine the pictures. They are all of The Blonde. The Young Man picks up one of the framed photos and looks at it more closely.</scene_description> <character>COBB (O.S.)</character> <dialogue>Hey! Take a look in here!</dialogue> <scene_description>The Young Man places the picture back on the table, keeping his eyes on it until he has moved several steps towards the door.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>The Young Man exits the living room and walks down the corridor looking into the room for Cobb. He enters a room near the front door.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Double bed, light, feminine, patterned fabrics and many cushions, a chest of drawers beneath a framed photograph. Cobb is standing in front of the chest of drawers, the top drawer open. He is holding up a garter belt for the Young Man.</scene_description> <character>COBB</character> <parenthetical>(mischievous, conspiratorial)</parenthetical> <dialogue>Saucy lady, n'est-ce que pas?</dialogue> <scene_description>The Young Man approaches, looking at the photograph above the chest of drawers - it is The Blonde looking serious. Cobb turns to the chest of drawers and rummages around.</scene_description> <character>COBB</character> <dialogue>I haven't found a bag, yet.</dialogue> <scene_description>The Young Man comes up beside Cobb and looks into the drawer - it is full of silk panties. Cobb rummages through them. He looks move interested in the panties than anything he might find in them.</scene_description> <character>YOUNG MAN</character> <dialogue>This is her flat?</dialogue> <character>COBB</character> <dialogue>Yeah, and she's a fox.</dialogue> <character>YOUNG MAN</character> <dialogue>But she's got pictures of herself everywhere.</dialogue> <character>COBB</character> <dialogue>Yeah, and she looks good. Check this lot out.</dialogue> <scene_description>He nods his head at the underwear. The Young Man hesitates and Cobb jerks his head again. The Young Man reaches into the drawer and feels through some of the silk undergarments. Cobb grabs a handful, puts them to his nose and inhales deeply, looking at the Young Man, who shakes his head and smiles pityingly. They stand there, two piggies at the trough. The Young Man grabs some of the panties and lifts them up. He glances up and freezes, seeing the picture of The Blonde looking down at the them.</scene_description> <character>COBB</character> <dialogue>You should take some.</dialogue> <character>YOUNG MAN</character> <dialogue>What?! No way.</dialogue> <character>COBB</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Suit yourself. I'm going to, she's a babe.</dialogue> <scene_description>He stuffs a handful of silk into his pocket and moves from the chest of drawers. The Young Man glances at Cobb, then swiftly pockets some panties when Cobb has turned his back. The Young Man stares up at the picture of The Blonde as he backs away.</scene_description> <character>COBB (O.S.)</character> <dialogue>Bingo.</dialogue> <scene_description>The Young Man turns to see Cobb displaying a large leather holdall. Cobb turns and points at a pair of pearl earrings on the dresser. He picks just one of them up and heads into the hall.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>The Young Man is stuffing CDs into the leather holdall. Cobb is slumped in a large armchair, watching. The Young Man straightens up.</scene_description> <character>COBB</character> <dialogue>You should take that CD player. It's small enough.</dialogue> <scene_description>The Young Man grabs the player, pulls wires out of the back and sticks it into the holdall. He moves over to a small desk. On the desk lies a set of passport photographs. He stares at four near-identical images of The Blonde.</scene_description> <character>YOUNG MAN</character> <parenthetical>(without turning around)</parenthetical> <dialogue>Why does she have so many pictures of herself?</dialogue> <scene_description>Cobb looks around the room.</scene_description> <character>COBB</character> <dialogue>I think she's a model. Certainly vain.</dialogue> <scene_description>The Young Man slips the passport photos off the desk and into his pocket. Cobb notices but doesn't say anything - just smiles to himself. The Young Man turns around. He avoids making eye contact with Cobb.</scene_description> <character>YOUNG MAN</character> <dialogue>That about it?</dialogue> <scene_description>Cobb looks lazily over the room.</scene_description> <character>COBB</character> <dialogue>I think that covers the useful stuff.</dialogue> <scene_description>He hauls himself out of his comfortable chair with a groan.</scene_description> <character>COBB</character> <dialogue>Let's go.</dialogue> <scene_description>He holds up the single pearl earring.</scene_description> <character>COBB</character> <parenthetical>(mischievous)</parenthetical> <dialogue>I'll just misplace this for her.</dialogue> <scene_description>He pulls the seat cushion off the armchair, places the earring on the chair, dead centre, and replaces the cushion.</scene_description> </scene> <scene> <stage_direction>EXT. ROW OF TERRACED TOWNHOUSES - DAY</stage_direction> <scene_description>Cobb and the Young Man exit one of the front doors, the Young Man carrying a full leather holdall. They turn down the road and walks briskly away.</scene_description> </scene> <scene> <stage_direction>INT. CHARING CROSS STATION LEFT-LUGGAGE OFFICE - DAY</stage_direction> <scene_description>The Young Man hands over the leather holdall, takes a ticket and offers it to Cobb.</scene_description> <character>COBB</character> <parenthetical>(refusing the ticket)</parenthetical> <dialogue>It was your job. You hang on to the stuff.</dialogue> <scene_description>They walk out of the station.</scene_description> </scene> <scene> <stage_direction>EXT. CHARING CROSS STATION - DAY</stage_direction> <scene_description>Cobb and the Young Man talk as they stroll away from the building.</scene_description> <character>COBB</character> <dialogue>Pick it up tomorrow and hang on to it till I let you know we're ready to fence it.</dialogue> <character>YOUNG MAN</character> <dialogue>Right.</dialogue> <scene_description>Cobb looks thoughtfully at the Young Man.</scene_description> <character>COBB</character> <parenthetical>(seductive, drawing him in further)</parenthetical> <dialogue>Unless, of course, you want to sell it yourself and just give me my half of what you get for it.</dialogue> <character>YOUNG MAN</character> <dialogue>Wouldn't know how to go about it.</dialogue> <character>COBB</character> <dialogue>Look, about being hard on you back at that first place: I won't let anyone put me at risk, it's dangerous enough already.</dialogue> <scene_description>They stop, unsure how to proceed.</scene_description> <character>COBB</character> <dialogue>An early supper, I think.</dialogue> <character>YOUNG MAN</character> <dialogue>Look, I really can't afford -</dialogue> <character>COBB</character> <parenthetical>(smiling)</parenthetical> <dialogue>It's covered.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>Formal, expensive, white linen, mirrors. The Young Man and The Blonde are seated at a table in one corner; cosy, intimate. They are having coffee.</scene_description> <character>THE BLONDE</character> <dialogue>How was your food?</dialogue> <character>YOUNG MAN</character> <parenthetical>(looking down)</parenthetical> <dialogue>Fine.</dialogue> <character>THE BLONDE</character> <dialogue>So what is it?</dialogue> <character>YOUNG MAN</character> <dialogue>You chose this restaurant because you knew we wouldn't run into him here.</dialogue> <character>THE BLONDE</character> <dialogue>So?</dialogue> <character>YOUNG MAN</character> <dialogue>You said it was over between the two of you.</dialogue> <character>THE BLONDE</character> <dialogue>It is.</dialogue> <character>YOUNG MAN</character> <dialogue>Then why -</dialogue> <character>THE BLONDE</character> <dialogue>I also said that he's dangerous.</dialogue> <scene_description>The Young Man looks at her imploringly.</scene_description> <character>THE BLONDE</character> <parenthetical>(pitying but impatient)</parenthetical> <dialogue>Fine. An example. One night he came back to the flat - my flat - with a couple of the thugs who work for him. That meant trouble; right away I could tell something was going to happen. Then, a little later this other man arrives...</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S FLAT, FRONT HALL - DAY</stage_direction> <scene_description>A heavy-set man opens the door to a smaller man and motions him towards the living room.</scene_description> <character>THE BLONDE (V.O.)</character> <dialogue>... you don't need to know who he was or anything about him except that he had cheated them out of some of their money...</dialogue> </scene> <scene> <stage_direction>INT. THE BLONDE'S FLAT, LIVING ROOM - DAY</stage_direction> <scene_description>The Blonde sits in the armchair, smoking, nervous. Baldy and a heavy-set man welcome the smaller man into the room.</scene_description> <character>THE BLONDE (V.O.)</character> <dialogue>... just money, that's all.</dialogue> <scene_description>The two heavy-set men grab the smaller man and force him to the ground spreading his arms out before him, pinning his wrists to the floor, one of them kneeling on his back. Baldy brings the hammer down on to a finger with tremendous force. The Blonde gets up to leave. Baldy looks up at her, pointing at her with the hammer.</scene_description> <character>BALDY</character> <dialogue>Stay. Watch.</dialogue> <scene_description>The Blonde stops at the door and turns around. Baldy starts smashing all of the smaller man's fingers in turn. The Blonde closes her eyes and presses her face against the door frame as if she's trying to burrow her way out. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>The Young Man listens intently.</scene_description> <character>THE BLONDE</character> <dialogue>He smashed all of his fingers... then he split his head open...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S LIVING ROOM - DAY</stage_direction> <scene_description>Baldy grunts as he brings the hammer down sharply. Baldy stands up and drops the hammer. There is blood. The Blonde is crying.</scene_description> <character>BALDY</character> <dialogue>Give me a fucking tea-towel or something.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>The Young Man is speechless. The Blonde sips at her coffee before continuing.</scene_description> <character>THE BLONDE</character> <dialogue>Dangerous enough for you?</dialogue> <character>YOUNG MAN</character> <dialogue>Is it true?</dialogue> <character>THE BLONDE</character> <dialogue>Yes.</dialogue> <character>YOUNG MAN</character> <dialogue>Christ. You don't see him any more?</dialogue> <character>THE BLONDE</character> <parenthetical>(deadpan)</parenthetical> <dialogue>After he messed up my rug like that?</dialogue> <character>YOUNG MAN</character> <dialogue>That's not funny.</dialogue> <character>THE BLONDE</character> <dialogue>I know.</dialogue> <scene_description>They both sip their coffees. The Young Man looks thoughtfully at her.</scene_description> <character>YOUNG MAN</character> <dialogue>So how did you meet him?</dialogue> <character>THE BLONDE</character> <dialogue>Let's not talk about him -</dialogue> <character>YOUNG MAN</character> <parenthetical>(bitter)</parenthetical> <dialogue>Did you work for him?</dialogue> <character>THE BLONDE</character> <parenthetical>(furious)</parenthetical> <dialogue>That's none of your fucking business! You're sick. And a hypocrite. You loved hearing that story, you want to hear some more for your jollies... you're as bad as the freak who stole my pants...</dialogue> <parenthetical>(rising from the table)</parenthetical> <dialogue>...well, you can fuck off, you filthy little shit.</dialogue> <scene_description>She throws her napkin down, upsetting her water glass, and strides away from the table. The Young Man grabs the glass, mopping at the spilt water with the napkin. He looks around to see if the other diners have noticed (they have). He catches the waiter's eye and scribbles in the air for the bill. He takes out a credit card. He looks down at it, turning it over in his hands before laying it down on the table. The name on the card is Timothy Kerr. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - NIGHT</stage_direction> <scene_description>The Young Man (short hair, sunglasses) glances around before diving into the side alleyway. He moves along the building, counting the windows as he goes. Finding the right one, he pulls his hammer out and levers it open using the claw. Looking about, he lifts the window and hauls himself through.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - NIGHT</stage_direction> <scene_description>Big desk, filing cabinets, couple of chairs. The Young Man slithers through the window and on to the floor behind the desk. He gets on to his haunches and removes his sunglasses, putting them into his breast pocket. He looks around the office. It is well lit from the streetlights outside the windows. The Young Man moves to the bookshelves and starts to remove books, stacking them on the floor quickly but quietly. Halfway through the second shelf he uncovers a safe set into the wall. Excited, hands trembling, he removes a piece of paper from his pocket. It has a series of numbers written on it. He spins the dial according to the numbers. He tries the door - it won't open. He tries the combination again, pulls the door and this time it swings open to reveal a large stack of money. The Young Man is shocked by the amount. Next to the money is an A4 envelope.</scene_description> <character>YOUNG MAN</character> <dialogue>Bingo.</dialogue> <scene_description>He pulls the money and the envelope out of the safe, leaving it in a pile on the floor. He stands up and looks around.</scene_description> <character>YOUNG MAN</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Bag.</dialogue> <scene_description>He opens the desk drawers, looking in each one. He opens the closet, searching around, finding nothing. Increasingly frantic now, the Young Man paces around the room, peering into every corner, looking behind every piece of furniture. At length, he stops, exasperated.</scene_description> <character>YOUNG MAN</character> <parenthetical>(loud whisper)</parenthetical> <character>FUCK!</character> <dialogue>He looks at the bundles of banknotes. He looks at the cluttered desk. There is a roll of masking tape on the desk. The Young Man steps over, grabs the tape and pulls off a long strip, breaking it with his teeth and we:</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. FRENCH RESTAURANT - DUSK</stage_direction> <scene_description>Understated. Expensive; polished wooden floors, starched linen, well-dressed clientele. The Young Man and Cobb are seated at a table near the back of the place. Cobb eat his good with small, graceful movements. In his dark suit and tie he fits right in, unlike the Young Man, who is shabbily dressed, unshaven, has long greasy hair and looks ill at ease. Cobb finishes chewing a large bit of his steak, sips from his glass of water, then dabs his lips gently with his napkin.</scene_description> <character>COBB</character> <dialogue>You're developing a taste for it.</dialogue> <scene_description>The Young Man looks up from his food.</scene_description> <character>COBB</character> <dialogue>The violating, the voyeurism - it's definitely you.</dialogue> <character>YOUNG MAN</character> <dialogue>I think not.</dialogue> <character>COBB</character> <dialogue>I think so. And I think before long you'll develop a taste for the things you can do with the proceeds.</dialogue> <character>YOUNG MAN</character> <dialogue>Such as?</dialogue> <character>COBB</character> <parenthetical>(gesturing around them)</parenthetical> <dialogue>This.</dialogue> <character>YOUNG MAN</character> <dialogue>You make all of your money that way.</dialogue> <character>COBB</character> <parenthetical>(smiling)</parenthetical> <dialogue>Not all of it. You're going to pay for this.</dialogue> <character>YOUNG MAN</character> <dialogue>But I told you, I can't afford -</dialogue> <scene_description>He is silenced by Cobb throwing a credit card on the table.</scene_description> <character>COBB</character> <dialogue>It won't really be you, it'll be...</dialogue> <parenthetical>(he tilts his head to at the card)</parenthetical> <dialogue>Timothy Kerr. But I thought I'd give you the pleasure of pretending to pay.</dialogue> <character>YOUNG MAN</character> <dialogue>But how -</dialogue> <scene_description>Cobb tosses a pen on to the table next to the card.</scene_description> <character>COBB</character> <dialogue>Sign it.</dialogue> <character>YOUNG MAN</character> <parenthetical>(picking up the card)</parenthetical> <dialogue>Sign it?</dialogue> <scene_description>He looks at the card. He turns it over; there is no signature on the white strip. He looks up at Cobb.</scene_description> <character>COBB</character> <dialogue>Sign it in your own handwriting and you can use it for anything. I wouldn't use it for more than a day or two, just to be safe.</dialogue> <character>YOUNG MAN</character> <parenthetical>(a whisper)</parenthetical> <dialogue>Christ.</dialogue> <scene_description>The two men smile at each other. The Young Man reaches for the pen. He signs the back and pockets the card, shaking hsi head and laughing.</scene_description> <character>YOUNG MAN</character> <dialogue>Don't you worry about being caught?</dialogue> <character>COBB</character> <dialogue>Why else would I do it? Besides, I'm not going to get caught.</dialogue> <character>YOUNG MAN</character> <dialogue>You've thought it all through.</dialogue> <character>COBB</character> <parenthetical>(raises wine glass)</parenthetical> <dialogue>I've thought it all through.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>This is just the tip of the iceberg, I do things you wouldn't believe.</dialogue> <character>YOUNG MAN</character> <dialogue>Such as?</dialogue> <character>COBB</character> <dialogue>An example. Sometimes when I'm watching a place I'll see that the owners are about to go on holiday. I'll wait till they've gone, then move in for a week or so.</dialogue> <character>YOUNG MAN</character> <dialogue>You've got to be joking.</dialogue> <character>COBB</character> <dialogue>Happens a lot more often than you'd think.</dialogue> <character>YOUNG MAN</character> <dialogue>But how do you know how long they'll be gone for?</dialogue> <character>COBB</character> <dialogue>Almost always marked on the kitchen calendar.</dialogue> <character>YOUNG MAN</character> <parenthetical>(a whisper)</parenthetical> <dialogue>Christ.</dialogue> <scene_description>He takes a sip from his win, then shovels a forkful of food into his mouth. He chews for a second then freezes, his eyes locked on something at the far end of the restaurant, behind Cobb.</scene_description> <character>YOUNG MAN</character> <parenthetical>(through steak)</parenthetical> <dialogue>Jesus fucking Christ!</dialogue> <scene_description>Cobb narrows his eyes.</scene_description> <character>COBB</character> <dialogue>What's wrong?</dialogue> <character>YOUNG MAN</character> <parenthetical>(swallows hard)</parenthetical> <dialogue>The woman, the woman from that first place, the one who came home, the, the, the one who saw me - us... she just walked in.</dialogue> <scene_description>The Young Man's POV shows us the young woman from the first robbery and a man, whom we have not seen before, waiting to be seated.</scene_description> <character>COBB</character> <parenthetical>(calm, not turning round)</parenthetical> <dialogue>Are you sure?</dialogue> <character>YOUNG MAN</character> <dialogue>Yes, I'm fucking sure!</dialogue> <character>COBB</character> <parenthetical>(impatient)</parenthetical> <dialogue>Is she with the same bloke?</dialogue> <character>YOUNG MAN</character> <dialogue>No.</dialogue> <character>COBB</character> <dialogue>We're all right then.</dialogue> <character>YOUNG MAN</character> <dialogue>All right?! What if she sees us?!</dialogue> <character>COBB</character> <dialogue>If she sees us, she won't do anything. She's with her partner now and she won't want to have to explain how she found us at their flat when she was supposed to be at work.</dialogue> <character>YOUNG MAN</character> <dialogue>That's one hell of a chance to take!</dialogue> <character>COBB</character> <parenthetical>(fed up)</parenthetical> <dialogue>Look, just calm down. What would she do anyway? All we stole was half a bottle of an indifferent red wine. Just relax, keep your head.</dialogue> <scene_description>The Young Man looks at his plate, trying to stay calm.</scene_description> <character>YOUNG MAN</character> <dialogue>You mind if we skip dessert?</dialogue> <character>COBB</character> <parenthetical>(with disgust)</parenthetical> <dialogue>Yes, I fucking mind.</dialogue> </scene> <scene> <stage_direction>INT. FRENCH RESTAURANT - NIGHT</stage_direction> <scene_description>Later. Cobb is scraping up the last of his chocolate mousse. An almost untouched dessert sits in front of the Young Man, who repeatedly glances up past Cobb's head. The Young Man's POV shows us the young woman seated with her companion at the other end of the restaurant. The young woman pushes her chair back from the table, stands up, places her napkin on her chair and heads towards Cobb and the Young Man's table. The Young Man looks terrified.</scene_description> <character>YOUNG MAN</character> <dialogue>She's coming this way.</dialogue> <scene_description>Cobb looks up from his chocolate mousse. He nods at a door off to his left.</scene_description> <character>COBB</character> <dialogue>She's going to the loo, relax.</dialogue> <scene_description>The Young Man can't take his eye off the young woman as she approaches. She comes near their table. As she turns to the left she notices the Young Man and looks at him for an instant with something which might be recognition. She carries on, passing through the doors to the lavatories.</scene_description> <character>YOUNG MAN</character> <parenthetical>(losing it)</parenthetical> <dialogue>She fucking looked at me!</dialogue> <character>COBB</character> <dialogue>Yeah?</dialogue> <character>YOUNG MAN</character> <dialogue>Yeah! She fucking knows - we have to leave!</dialogue> <scene_description>Cobb places his spoon back into his dish and looks up at the Young Man with an almost bored expression.</scene_description> <character>COBB</character> <parenthetical>(gesturing to the waiter)</parenthetical> <dialogue>We'll leave - not that we have anything to worry about other than you making a twat of yourself.</dialogue> </scene> <scene> <stage_direction>EXT. FRENCH RESTAURANT - NIGHT</stage_direction> <scene_description>Cobb and the Young Man exit. Cobb suddenly turns on the Young Man as if he might hit him.</scene_description> <character>COBB</character> <parenthetical>(pointing at the Young Man's face)</parenthetical> <dialogue>You know, I really hate it when I don't get to finish a good meal with a coffee.</dialogue> <scene_description>The Young Man looks flabbergasted.</scene_description> <character>YOUNG MAN</character> <dialogue>But -</dialogue> <character>COBB</character> <parenthetical>(bitter)</parenthetical> <dialogue>Just don't fucking say it!</dialogue> <scene_description>He waves at a taxi.</scene_description> </scene> <scene> <stage_direction>INT. BACK OF TAXI - NIGHT</stage_direction> <scene_description>Cobb looks out of the window like a sullen child. The Young Man looks at him, thinking.</scene_description> <character>YOUNG MAN</character> <dialogue>Look, she recognized me, OK? She's had a second look at me. It makes me nervous.</dialogue> <scene_description>Cobb turns to the Young Man.</scene_description> <character>COBB</character> <parenthetical>(calm)</parenthetical> <dialogue>If you're worried about being recognized, why don't you do something about your appearance? Haircut, smart clothes, your own mother won't recognize you.</dialogue> <scene_description>The Young Man looks down at himself, chastened.</scene_description> <character>COBB</character> <parenthetical>(grinning to himself)</parenthetical> <dialogue>Just because you break into people's homes, doesn't mean you have to look like a criminal.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. ROW OF TERRACED TOWNHOUSES - NIGHT</stage_direction> <scene_description>The Young Man (short hair, clean-shaven) buzzes The Blonde.</scene_description> <character>THE BLONDE</character> <parenthetical>(voice on tannoy)</parenthetical> <dialogue>Fuck off.</dialogue> <character>YOUNG MAN</character> <dialogue>How do you know it's me? Could be your mother you just told to fuck off.</dialogue> <character>THE BLONDE</character> <parenthetical>(voice on tannoy)</parenthetical> <dialogue>I mean it.</dialogue> <character>YOUNG MAN</character> <dialogue>Please, just let me in... I've come to apologize.</dialogue> <scene_description>The lock clicks open and he steps inside.</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S FLAT, HALLWAY - NIGHT</stage_direction> <scene_description>The Young Man walks slowly down the corridor. Passing the bedroom he sees The Blonde Sitting on the bed. He stands in the doorway.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>Double bed, light, feminine, patterned fabrics and many cushions, a chest of drawers. The Blonde sits on the bed, legs crossed, smoking a cigarette. The Young Man considers his opening line.</scene_description> <character>THE BLONDE</character> <dialogue>So apologize.</dialogue> <character>YOUNG MAN</character> <dialogue>I haven't been entirely honest with you.</dialogue> <scene_description>The Blonde raises her eyebrows.</scene_description> <character>YOUNG MAN</character> <dialogue>I'm writing about burglaries.</dialogue> <character>THE BLONDE</character> <parenthetical>(confused)</parenthetical> <dialogue>What?</dialogue> <character>YOUNG MAN</character> <dialogue>I'm researching burglaries. I'm, I'm doing a piece about a guy I know who burgles people. That's why I've been asking you questions about your burglary.</dialogue> <character>THE BLONDE</character> <dialogue>Why didn't you just tell me.</dialogue> <character>YOUNG MAN</character> <dialogue>I didn't want to upset you. See, I've been breaking into houses with him - that is, he's been breaking in and I've been watching him. I mean, I haven't taken anything or... whatever, I just go along and watch, for my research.</dialogue> <character>THE BLONDE</character> <dialogue>Is that it?</dialogue> <character>YOUNG MAN</character> <dialogue>Yes.</dialogue> <character>THE BLONDE</character> <dialogue>What does that have to do with anything?</dialogue> <character>YOUNG MAN</character> <dialogue>Now I've been honest with you, I'd like you to return the favor.</dialogue> <character>THE BLONDE</character> <dialogue>I have been honest with you.</dialogue> <character>YOUNG MAN</character> <dialogue>You're still seeing the bald guy.</dialogue> <character>THE BLONDE</character> <parenthetical>(flustered)</parenthetical> <dialogue>How do -</dialogue> <character>YOUNG MAN</character> <dialogue>I was early the other day. I saw him leave. You said it was over.</dialogue> <character>THE BLONDE</character> <parenthetical>(resigned)</parenthetical> <dialogue>It is.</dialogue> <character>YOUNG MAN</character> <parenthetical>(quizzical)</parenthetical> <dialogue>Then why?</dialogue> <character>THE BLONDE</character> <dialogue>He's blackmailing me.</dialogue> <character>YOUNG MAN</character> <dialogue>You said he's rich - why would...</dialogue> <character>THE BLONDE</character> <parenthetical>(bitter)</parenthetical> <dialogue>Who said anything about money?</dialogue> <scene_description>The Young Man sighs. He slides down the wall to sit in the doorway, his back against the frame. After a moment's thought he looks up at The Blonde.</scene_description> <character>YOUNG MAN</character> <dialogue>What's he blackmailing you with?</dialogue> <character>THE BLONDE</character> <dialogue>Photos.</dialogue> <character>YOUNG MAN</character> <dialogue>Of what?</dialogue> <character>THE BLONDE</character> <dialogue>Of me. And don't ask me anything else about them. You'd only want the details to fuel your seedy little fantasies. Let's just say that my mother wouldn't frame them for her sideboard.</dialogue> <character>YOUNG MAN</character> <dialogue>You've got me all wrong, you know.</dialogue> <character>THE BLONDE</character> <dialogue>Have I?</dialogue> <scene_description>The Young Man nods. He thinks for a moment.</scene_description> <character>YOUNG MAN</character> <dialogue>So where does he keep them?</dialogue> <character>THE BLONDE</character> <dialogue>In his office. Why?</dialogue> <character>YOUNG MAN</character> <dialogue>Maybe I can get them back.</dialogue> <character>THE BLONDE</character> <dialogue>How?</dialogue> <character>YOUNG MAN</character> <dialogue>Break in and take them. I can get my friend to do it with me - there must be valuable stuff in his office, right?</dialogue> <character>THE BLONDE</character> <dialogue>He sometimes has money in his safe.</dialogue> <character>YOUNG MAN</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>No, we can't get into a safe -</dialogue> <character>THE BLONDE</character> <dialogue>That's where the pictures are.</dialogue> <character>YOUNG MAN</character> <dialogue>What?</dialogue> <character>THE BLONDE</character> <dialogue>In a manilla envelope in his safe, negatives and eight-by-ten prints.</dialogue> <character>YOUNG MAN</character> <dialogue>Then we can't -</dialogue> <character>THE BLONDE</character> <dialogue>I know the combination.</dialogue> <character>YOUNG MAN</character> <dialogue>How?</dialogue> <character>THE BLONDE</character> <dialogue>I've seen him open it a million times. I've always figured that I might get a chance to lift the photos.</dialogue> <character>YOUNG MAN</character> <dialogue>Right, that's what we'll do then.</dialogue> <scene_description>He gets up and moves on to the bed.</scene_description> <character>THE BLONDE</character> <dialogue>Nobody in their right mind would steal from him.</dialogue> <character>YOUNG MAN</character> <parenthetical>(putting his arms around her)</parenthetical> <dialogue>If we don't get caught it won't make any difference who it was we stole from - and we won't get caught.</dialogue> <scene_description>He kisses The Blonde. She pulls away to speak.</scene_description> <character>THE BLONDE</character> <dialogue>Just promise me one thing. If you get the pictures you'll bring them to me without looking at them, without even opening the envelope.</dialogue> <character>YOUNG MAN</character> <dialogue>Of course.</dialogue> <character>THE BLONDE</character> <dialogue>I've got your word?</dialogue> <character>YOUNG MAN</character> <dialogue>You have my word.</dialogue> <scene_description>They kiss again. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - NIGHT</stage_direction> <scene_description>The Young Man (short hair, bruised face) has taken his jacket off and is frantically taping bundles of money to his arms and around his waist. He works in a frenzy, ripping masking tape with his teeth, grabbing bundles and slapping them against his stomach. He covers his arms and abdomen, but there's still a lot more money, so he undoes his trousers, pulls them off and frantically starts to tape bundles to his bare legs. His jacket, the manilla envelope and his hammer are sitting on the desk. He grabs a bundle and tapes it to his ankle. He straightens up, looks at the remaining money.</scene_description> <character>YOUNG MAN</character> <parenthetical>(whisper)</parenthetical> <dialogue>Fuck it.</dialogue> <scene_description>He takes the tape and passes it around his midriff, securing the bundles which he has already taped to his waist. As he is doing so the overhead light snaps on and the Young Man freezes. One of Baldy's business companions is standing in the office doorway, a look of amazement on his face. Neither man moves. The Young Man eyes the hammer on the desk, within easy reach. He grabs it as he launches himself at Baldy's man, trailing bank notes in the air behind him as he flies across the room, hammer raised. The Young Man brings the hammer down across the other man's head in a nasty sideswipe. The man goes down and doesn't get up. The Young Man moves back to the desk, shocked. He clumsily puts his trousers on over the money, then looks over at the man on the floor as he grabs for his suit jacket. The man is not moving; there is blood on his head and on the floor. The Young Man gets his jacket on, tears his eyes away from the prone man to realize that he has blood on his hands and now on his previously white shirt. He shudders as he jams the bloody hammer into his waistband, grabs the manilla envelope and heads for the window. A last glance at the prone man before climbing out of the window.</scene_description> </scene> <scene> <stage_direction>EXT. SIDE STREET - NIGHT</stage_direction> <scene_description>The Young Man practically falls out of the window and on to the ground. He struggles to his feet, weaving like a drunk, and heads away from the office window towards the main street. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>Small, cold, dingy. The Young Man stands in front of the mirror, examining his longish hair and attempt at a beard. He picks up some nail scissors and starts to cut his hair.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Small, dark, cluttered. The Young Man is knotting a tie in front of a dusty, cracked mirror. He is wearing a dark suit, old-fashioned and well- worn. His hair is dramatically shorter; a ragged near-crew cut. He plays with his hair, looking at his reflection. He rubs his newly shaven chin. Close on the mirror we see that the strip of passport photos of The Blonde are wedged into the bottom right-hand corner of the frame. The Young Man's eye is caught by the photos and he picks them up, looking closely at them, a thoughtful expression on his face. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Lighter. Neater, apart from the paper-covered desk. The Young Man is on the phone, waiting for it to be picked up at the other end. We hear the click as it is answered.</scene_description> <character>MALE VOICE (O.S.)</character> <dialogue>Yeah?</dialogue> <character>YOUNG MAN</character> <dialogue>Cobb? Bill.</dialogue> <character>MALE VOICE (O.S.)</character> <dialogue>Hello, 'Bill'.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. INDISTINCT SURROUNDINGS; A WINDOW COVERED BY A NET</stage_direction> <scene_description>CURTAIN - DAY Cobb is standing by the windows on the phone. He wears a white shirt, unbuttoned.</scene_description> <character>COBB</character> <dialogue>What can I do for you?</dialogue> <character>YOUNG MAN (O.S.)</character> <dialogue>Nothing too important.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <character>YOUNG MAN</character> <dialogue>It's about the stuff.</dialogue> <character>COBB (O.S.)</character> <dialogue>What about it?</dialogue> <scene_description>The Young Man's other hand comes into frame; he is holding the passport photos as well as some bunched-up silk.</scene_description> <character>YOUNG MAN</character> <parenthetical>(staring at the photos)</parenthetical> <dialogue>I've met a guy - I won't go into details. I'll take care of it myself as you suggested, and you'll get half. I can't promise to get as much as you would but I'd like to give it a go. How does that sound?</dialogue> <character>COBB (O.S.)</character> <dialogue>Sounds fine. Anything else?</dialogue> <character>YOUNG MAN</character> <dialogue>I took your advice.</dialogue> <character>COBB (O.S.)</character> <dialogue>What advice?</dialogue> <character>YOUNG MAN</character> <dialogue>My appearance. I cut my hair, and I'm all dressed up.</dialogue> <character>COBB (O.S.)</character> <dialogue>'With no place to go.'</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BY THE WINDOW - DAY</stage_direction> <character>COBB</character> <dialogue>You know I wasn't being entirely serious about that.</dialogue> <character>YOUNG MAN (O.S.)</character> <dialogue>It makes me feel better.</dialogue> <character>COBB</character> <dialogue>Safer, huh?</dialogue> <character>YOUNG MAN (O.S.)</character> <dialogue>Safer. I'll give you a call when I've got the money.</dialogue> <character>COBB</character> <dialogue>Right.</dialogue> <scene_description>He hangs up. We go wider and see that he is leaning on the windowsill in what appears to be a bedroom. His shirt is completely untucked and unbuttoned.</scene_description> <character>FEMALE VOICE (O.S.)</character> <dialogue>What was all that about?</dialogue> <character>COBB</character> <dialogue>You.</dialogue> <scene_description>Cobb's POV shows us The Blonde, lying in bed, under the sheets, but apparently naked.</scene_description> <character>COBB</character> <dialogue>Your stuff, anyway.</dialogue> <scene_description>He clambers up on to the bed to lean against the wall beside The Blonde.</scene_description> <character>COBB</character> <dialogue>He's going to deal with it himself.</dialogue> <scene_description>The Blonde lays her arm across Cobb's stomach and looks up at him.</scene_description> <character>THE BLONDE</character> <dialogue>Meaning?</dialogue> <character>COBB</character> <dialogue>Meaning he took the bait and he's hooked. He's going to hang on to your stuff, pretend to sell it, give me some money. If you're lucky he might even give you most of it back. It's perfect, the photos worked. I've even got him to cut his hair and change his clothes.</dialogue> <character>THE BLONDE</character> <dialogue>So are you going to tell me where you hid my earring, now?</dialogue> <character>COBB</character> <parenthetical>(grinning)</parenthetical> <dialogue>No. And I wouldn't hold your breath for the return of your underwear, either. He'll be far too embarrassed to admit to stealing your panties.</dialogue> <character>THE BLONDE</character> <dialogue>Shit. And did you have to pretend to break down my door?</dialogue> <character>THE BLONDE</character> <dialogue>Couldn't you have pretended to find the spare key?</dialogue> <character>COBB</character> <parenthetical>(laughing)</parenthetical> <dialogue>Couldn't. That would have been three spare keys in a row - even 'Bill' isn't going to buy that. When went to his place it was embarrassing - right under the mat, just like I told him... pathetic. It was a new mat as well, and I swear, I seriously think he went out and bought the mat just so he could put his key under it.</dialogue> <scene_description>The Blonde laughs. Cobb laughs. FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MAN'S BEDROOM - DAY</stage_direction> <scene_description>The Young Man is knotting his tie in front of the mirror. The Blonde is lying on the bed behind him.</scene_description> <character>THE BLONDE</character> <dialogue>What if he won't help?</dialogue> <character>YOUNG MAN</character> <dialogue>Then I'll do it on my own.</dialogue> <character>THE BLONDE</character> <dialogue>How long will you be?</dialogue> <character>YOUNG MAN</character> <dialogue>Couple of hours.</dialogue> </scene> <scene> <stage_direction>EXT. CHARING CROSS STATION LEFT-LUGGAGE OFFICE - DAY</stage_direction> <scene_description>The Young Man hands over his ticket and collects the leather holdall.</scene_description> </scene> <scene> <stage_direction>EXT. HUNGERFORD BRIDGE - DAY</stage_direction> <scene_description>The Young Man crosses south, carrying the leather holdall.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY IN A BLOCK OF FLATS - DAY</stage_direction> <scene_description>The Young Man knocks on a door. The door is opened by Cobb.</scene_description> <character>COBB</character> <dialogue>You're late.</dialogue> <parenthetical>(noticing the holdall)</parenthetical> <dialogue>You said you'd fenced it.</dialogue> <scene_description>He steps back to let the Young Man in.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Comfortable, tastefully furnished. Cobb is sitting on the couch. The Young Man stands at the window.</scene_description> <character>COBB</character> <dialogue>It'll take me a few days to sell all of it.</dialogue> <character>YOUNG MAN</character> <dialogue>Whatever.</dialogue> <character>COBB</character> <dialogue>Something else on your mind?</dialogue> <scene_description>The Young Man turns to face Cobb.</scene_description> <character>YOUNG MAN</character> <dialogue>I want to break into a place.</dialogue> <character>COBB</character> <dialogue>I've been scouting a couple -</dialogue> <character>YOUNG MAN</character> <dialogue>A particular place. For some photos.</dialogue> <character>COBB</character> <dialogue>Photos?</dialogue> <character>YOUNG MAN</character> <dialogue>Photos. For a friend.</dialogue> <character>COBB</character> <dialogue>What's the place?</dialogue> <character>YOUNG MAN</character> <dialogue>Office. In a safe, but we'll have the combination.</dialogue> <character>COBB</character> <dialogue>If it's for a friend, where's the money in it?</dialogue> <character>YOUNG MAN</character> <dialogue>There's money in the safe... probably.</dialogue> <character>COBB</character> <dialogue>Probably? Whose office?</dialogue> <character>YOUNG MAN</character> <dialogue>Club-owner, pornographer type.</dialogue> <character>COBB</character> <dialogue>Heavy?</dialogue> <character>YOUNG MAN</character> <dialogue>From the sound of it.</dialogue> <scene_description>Cobb exhales. He stares hard at the Young Man.</scene_description> <character>COBB</character> <dialogue>What the fuck's going on?</dialogue> <character>YOUNG MAN</character> <dialogue>I'm seeing someone. They need my help.</dialogue> <scene_description>Cobb stands up and walks over to the Young Man.</scene_description> <character>COBB</character> <dialogue>Who are you seeing?</dialogue> <scene_description>The Young Man looks away.</scene_description> <character>COBB</character> <parenthetical>(loud)</parenthetical> <dialogue>Who?! Who are you seeing?!</dialogue> <scene_description>The Young Man looks into Cobb's eyes.</scene_description> <character>YOUNG MAN</character> <dialogue>The owner of the bag.</dialogue> <character>COBB</character> <parenthetical>(confused)</parenthetical> <dialogue>What?</dialogue> <character>YOUNG MAN</character> <dialogue>The woman who owns the flat we hit - the one with the pictures of herself.</dialogue> <character>COBB</character> <parenthetical>(barely concealing rage)</parenthetical> <dialogue>Tell me you're fucking joking.</dialogue> <character>YOUNG MAN</character> <parenthetical>(excited)</parenthetical> <dialogue>Her pictures - I was curious, I followed her, got to know her. She'... she's... she's... we're in love.</dialogue> <character>COBB</character> <dialogue>You've slept with her?</dialogue> <character>YOUNG MAN</character> <parenthetical>(unaware of Cobb's growing rage)</parenthetical> <dialogue>Yeah. She's fantastic, amazing. That's why I haven't sold her stuff, I mean, I thought that I might give it back to her but that would mean -</dialogue> <character>COBB</character> <dialogue>That would mean telling her that it was you who fucking robbed her! How shrew - How, how, how, prudent of you not to tell her that!</dialogue> <scene_description>The Young Man is quiet, realizing he has misjudged the situation.</scene_description> <character>COBB</character> <dialogue>Nice hair, by the way. And a nice suit, shame about the bloodstains, though.</dialogue> <character>YOUNG MAN</character> <parenthetical>(looks down at himself)</parenthetical> <dialogue>Bloodstains?</dialogue> <scene_description>Cobb punches him in the face then belts him in the stomach. The Young Man doubles over, groaning.</scene_description> <character>COBB</character> <dialogue>I fucking warned you.</dialogue> <scene_description>He smiles as he brings his elbows down hard into the Young Man's back. The Young Man grunts and staggers to the side, just keeping on his feet. Cobb pushes him back across the room and charges at him.</scene_description> <character>COBB</character> <dialogue>I won't let anyone put me at risk.</dialogue> <scene_description>As he speaks, Cobb grabs the Young Man's face with one hand and punches him hard in the face several times. The Young Man slips to the floor, dragging Cobb down with him. The two men scrabble around on the floor, the Young Man putting up a right until Cobb finally swivels round and boots him in the ribs, then the face. The Young Man groans and bleeds as Cobb staggers to his feet, out of breath. Cobb dusts himself down and does his hair in the mirror.</scene_description> <character>COBB</character> <parenthetical>(at his reflection)</parenthetical> <dialogue>Idiot. How could you be so stupid?</dialogue> <parenthetical>(turns to look at the Young Man)</parenthetical> <dialogue>You're on your own, Billy-boy. Here...</dialogue> <parenthetical>(reaches into his pocket and pulls out a pair of rubber gloves; he tosses them at the Young Man)</parenthetical> <dialogue>... take these. Present from you. To get you started on your new solo career.</dialogue> <scene_description>He reaches down and pulls the Young Man to his feet. The Young Man's face is a bloody mess. Cobb picks up the rubber gloves and stuffs them into the Young Man's breast pocket. He drags the Young Man to the door.</scene_description> <character>COBB</character> <dialogue>Now, fuck off.</dialogue> <scene_description>He throws the Young Man out of the door and slams it behind him. He laughs hysterically as he walks back into the living room and we: DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. COBB'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Cobb is lying on the floor, tossing a golfball into the air and catching it just before it hits his face. The Blonde is sitting on the couch.</scene_description> <character>THE BLONDE</character> <dialogue>Did you have to beat him?</dialogue> <character>COBB</character> <dialogue>Did you have to sleep with him?</dialogue> <character>THE BLONDE</character> <dialogue>You told me to.</dialogue> <character>COBB</character> <dialogue>I said you should if you had to, that's not the same as telling you to.</dialogue> <parenthetical>(catches the ball and looks over)</parenthetical> <dialogue>Did you enjoy it?</dialogue> <character>THE BLONDE</character> <dialogue>Did you enjoy beating him up?</dialogue> <character>COBB</character> <dialogue>Of course.</dialogue> <scene_description>The Blonde shakes her head pityingly.</scene_description> <character>COBB</character> <dialogue>He brought it on himself. He didn't have to tell me he was seeing you, but once he did I had to react the way I would really.</dialogue> <scene_description>He sits up.</scene_description> <character>COBB</character> <dialogue>I'm in deep shit, this has to work.</dialogue> <character>THE BLONDE</character> <dialogue>But why are you so sure they think you were involved?</dialogue> <character>COBB</character> <dialogue>They've already had me in for questioning, for Christ's sake. They know my m.o. And it's just a matter of time before they find the bloke who saw me leave and pull me in.</dialogue> <character>THE BLONDE</character> <dialogue>You think he got a good look at you?</dialogue> <character>COBB</character> <dialogue>No, which is why this will work; all we need is someone else with the same way of working and roughly the same appearance caught in the act.</dialogue> <character>THE BLONDE</character> <dialogue>Why can't you just tell them what really happened - that you just found her like that?</dialogue> <character>COBB</character> <dialogue>If you'd seen her, you wouldn't even ask. It was horrible, blood everywhere. Her face had been... beaten... almost not human. I'd been in the flat a while, I may have left traces, forensic stuff, I don't know. But she was fresh, she hadn't been dead long, the witness might put me there close enough to the time of death -</dialogue> <character>THE BLONDE</character> <dialogue>But if he didn't get the a good look -</dialogue> <character>COBB</character> <dialogue>That's not the point! A crime that brutal, an old lady beaten like that... if they think it's me, they'll find a way to make it stick. There has to be someone else - I've told them there's someone else!</dialogue> <character>THE BLONDE</character> <dialogue>What if he has an alibi?</dialogue> <character>COBB</character> <dialogue>He's a loner, that's why he's so perfect. And he looks so different now that strangers aren't going to remember having seen him. He's our man.</dialogue> <scene_description>The Blonde and Cobb look at each other. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. NARROW PASSAGEWAY CONNECTING TWO STREETS LIT BY A</stage_direction> <scene_description>STREETLIGHT - NIGHT It is raining. The Young Man (short shair, shades) stumbles along. His dark suit bulges oddly. He brings his hand up to adjust his shades and we see a fifty-pound note sticking out of his cuff. He disappears around the corner and we: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The Young Man has taken his suit off and is removing the money from his body. He is wet, his tie is loose, there is blood on his shirt, he is on the phone.</scene_description> <character>YOUNG MAN</character> <parenthetical>(strained, on edge)</parenthetical> <dialogue>I got it.</dialogue> <character>THE BLONDE (O.S.)</character> <dialogue>You're bringing them to me?</dialogue> <character>YOUNG MAN</character> <parenthetical>(bending to remove money from his leg)</parenthetical> <dialogue>I had to stop off to dump the money.</dialogue> <character>THE BLONDE (O.S.)</character> <dialogue>Money?</dialogue> <character>YOUNG MAN</character> <parenthetical>(giggling)</parenthetical> <dialogue>Lot of fucking money!</dialogue> <scene_description>He yelps as he yanks tape from his hairy legs.</scene_description> <character>THE BLONDE (O.S.)</character> <dialogue>What?</dialogue> <character>YOUNG MAN</character> <dialogue>Nothing. I'll be over soon.</dialogue> <character>THE BLONDE (O.S.)</character> <dialogue>So it was OK?</dialogue> <character>YOUNG MAN</character> <parenthetical>(a pause, close to tears)</parenthetical> <dialogue>OK, yeah. I'll be over soon.</dialogue> <scene_description>He hangs up the phone. He's removed most of the money, but odd bundles hang from his legs and shirt. He looks at the hammer lying on the floor, blood on it. Next to the hammer lies the manilla envelope. The Young Man picks up the envelope, pauses for a moment, then rips it open and yanks out the contents: eight-by-ten glossies. The photos are straight modelling portrait shots of The Blonde - absolutely nothing interesting or remarkable about them whatsoever. He flips through them again and again looking for some meaning, some super-subtle obscenity he might be missing, a manic desperate look developing on his face. He flings them across the room, and we: CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE BLONDE'S FLAT</stage_direction> <scene_description>The Young Man looks up at the window. He's not happy.</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S FRONT HALL - NIGHT</stage_direction> <scene_description>The Blonde moves to answer the door. The door opens to reveal a wet, bedraggled Young Man, bruises on his face. The Young Man slaps The Blonde hard and walks in past her. She expresses neither pain nor surprise.</scene_description> <character>THE BLONDE</character> <dialogue>You promised me you wouldn't look in the envelope.</dialogue> <character>YOUNG MAN</character> <dialogue>Wasn't sealed, they fell out.</dialogue> <scene_description>The Blonde stairs at him with a half-smile.</scene_description> <character>THE BLONDE</character> <dialogue>Right... They fell out.</dialogue> <scene_description>The Young Man looks back at her coldly.</scene_description> <character>YOUNG MAN</character> <dialogue>Are you going to explain?</dialogue> <scene_description>The Blonde says nothing.</scene_description> <character>YOUNG MAN</character> <parenthetical>(rising anger)</parenthetical> <dialogue>What?! Was it all bullshit just to get the money?</dialogue> <character>THE BLONDE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>He's never had any in there before.</dialogue> <scene_description>The Young Man grabs her by the shoulders and shakes her.</scene_description> <character>YOUNG MAN</character> <dialogue>What, then?!!</dialogue> <scene_description>The Blonde puts her hands up defensively to tell him to remove his hands. He does so.</scene_description> <character>THE BLONDE</character> <parenthetical>(matter-of-factly)</parenthetical> <dialogue>For a friend. The police think he did something which he didn't and he needs a decoy - another likely suspect, someone caught robbing a place the same way he does, using his methods.</dialogue> <character>YOUNG MAN</character> <dialogue>His methods?</dialogue> <parenthetical>(truth dawning)</parenthetical> <dialogue>Who's the friend?</dialogue> <character>THE BLONDE</character> <parenthetical>(mischievous, waiting for a reaction)</parenthetical> <dialogue>Cobb.</dialogue> <scene_description>The Young Man closes his eyes. The Blonde turns away.</scene_description> <character>THE BLONDE</character> <parenthetical>(straight)</parenthetical> <dialogue>He broke into a flat a couple of weeks ago. Found an old lady who'd been beaten to death. He ran off, somebody saw him and a few days later the police picked him up for questioning. They think he killed her -</dialogue> <character>YOUNG MAN</character> <parenthetical>(opens eyes)</parenthetical> <dialogue>He probably did.</dialogue> <character>THE BLONDE</character> <dialogue>He's a thief, Not a murderer. He told them they had the wrong man, had him confused with another burglar he knew about, one who has the same m.o....you.</dialogue> <character>YOUNG MAN</character> <dialogue>Why me?</dialogue> <character>THE BLONDE</character> <parenthetical>(like it's his own fault)</parenthetical> <dialogue>You set yourself up for it. Cobb noticed you following him days before he approached you - at first the thought you were the police but then he followed you -</dialogue> <character>YOUNG MAN</character> <dialogue>He followed me?</dialogue> <character>THE BLONDE</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>He followed you and realized that you were just some... weirdo... waiting to be drawn into it, used.</dialogue> <character>YOUNG MAN</character> <parenthetical>(asking for it)</parenthetical> <dialogue>So you and Cobb...</dialogue> <scene_description>The Blonde shrugs and smiles. The Young Man slaps the wall hard by the side of The Blonde's head. She doesn't flinch. He turns around, raising his hands in total frustration.</scene_description> <character>YOUNG MAN</character> <dialogue>How could you do this to me? To anyone?</dialogue> <character>THE BLONDE</character> <dialogue>It's not that bad. You've got the money. You didn't kill the old woman. You're just there to plant doubt in the minds of the police - they'll never charge you. The idea was that someone would catch you breaking in tonight, the police would pull you in, then ask you about the old lady - which you wouldn't know anything about.</dialogue> <character>YOUNG MAN</character> <parenthetical>(incredulous)</parenthetical> <dialogue>Yeah, but they'd still charge me with breaking and entering!</dialogue> <character>THE BLONDE</character> <parenthetical>(amused)</parenthetical> <dialogue>But you did do that. And anyway, for whatever reason, nobody did catch you red-handed.</dialogue> <character>YOUNG MAN</character> <parenthetical>(wielding the bloody hammer)</parenthetical> <dialogue>He came in, he went down. I didn't hang around to see if he got up. It's his blood on my hammer.</dialogue> <parenthetical>(smashes hammer into wall)</parenthetical> <dialogue>How could you do this to me?</dialogue> <character>THE BLONDE</character> <parenthetical>(unimpressed)</parenthetical> <dialogue>It's not personal. When I agreed to it, I didn't even known you.</dialogue> <scene_description>The Young Man drops the hammer. The Blonde opens her eyes. The Young Man takes a deep breath, regains his composure.</scene_description> <character>YOUNG MAN</character> <dialogue>I'm going to the police in the morning.</dialogue> <character>THE BLONDE</character> <dialogue>You can't.</dialogue> <character>YOUNG MAN</character> <dialogue>I'm going and I'll tell them everything.</dialogue> <character>THE BLONDE</character> <dialogue>You can't - they'll never believe you.</dialogue> <character>YOUNG MAN</character> <dialogue>I'll tell them everything and they'll believe me because it's the truth.</dialogue> <character>THE BLONDE</character> <dialogue>They'll never believe you unless someone backs you up.</dialogue> <character>YOUNG MAN</character> <dialogue>You could.</dialogue> <character>THE BLONDE</character> <dialogue>I won't.</dialogue> <character>YOUNG MAN</character> <parenthetical>(confident)</parenthetical> <dialogue>They'll make you. Your lies won't hold up against the truth.</dialogue> <scene_description>The Blonde turns away, shaking her head.</scene_description> <character>THE BLONDE</character> <dialogue>You know, I really wouldn't do -</dialogue> <scene_description>She is cut off by the sound of the door slamming. She turns to see that the Young Man is gone. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE - DAY</stage_direction> <scene_description>Close on the Young Man (short hair, bruises)</scene_description> <character>YOUNG MAN</character> <dialogue>That's it.</dialogue> <scene_description>Wider shows us a room lit by early morning sun, the Young Man seated at a table, an Older Man opposite. Between them on the table is a tape recorder. They both look tired. The Older Man doesn't speak.</scene_description> <character>YOUNG MAN</character> <dialogue>I mean.. If you've got questions..</dialogue> <scene_description>The Older Man leans forward.</scene_description> <character>OLDER MAN</character> <dialogue>One or two.</dialogue> <scene_description>A pause. The Young Man raises his eyebrows in expectation. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN THE WEST END - DAY</stage_direction> <scene_description>Cobb strolls down the street. He is carrying the leather holdall. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE AND TAPE RECORDER - DAY</stage_direction> <character>OLDER MAN</character> <dialogue>You see... We don't actually have any unsolved murders of old ladies right now.</dialogue> <character>YOUNG MAN</character> <parenthetical>(baffled)</parenthetical> <dialogue>But there has -</dialogue> <character>OLDER MAN</character> <parenthetical>(more assertive)</parenthetical> <dialogue>There is no such ongoing investigation.</dialogue> <scene_description>The Young Man looks confused and scared.</scene_description> <character>OLDER MAN</character> <dialogue>And we don't know this...</dialogue> <parenthetical>(looks at his notes)</parenthetical> <dialogue>... 'Cobb' of yours.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S FRONT HALL - DAY</stage_direction> <scene_description>The Blonde opens the front door to Cobb and we: DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S LIVING ROOM - DAY</stage_direction> <scene_description>The Blonde and Cobb are having a drink.</scene_description> <character>COBB</character> <dialogue>I warned you he'd look in the envelope.</dialogue> <character>THE BLONDE</character> <dialogue>He gave me his word. I believed him.</dialogue> <character>COBB</character> <dialogue>Nothing personal, he couldn't help himself - he's a born peeper. Anyway, down to business.</dialogue> <character>THE BLONDE</character> <dialogue>Business?</dialogue> <scene_description>Cobb takes a handkerchief out of his pocket and starts to wipe the outside of his glass and we: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE - DAY</stage_direction> <scene_description>We move in on the Young Man, puzzled, thinking hard.</scene_description> <character>OLDER MAN (O.S.)</character> <dialogue>Perhaps there's something else you'd like to tell me about.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S LIVING ROOM - DAY</stage_direction> <scene_description>The Blonde watches, puzzled as Cobb stretches his rubber gloves and puts them on, interlacing his fingers for a snug fit.</scene_description> <character>COBB</character> <dialogue>Where's the hammer?</dialogue> <character>THE BLONDE</character> <dialogue>Oh, down there in the bag.</dialogue> <scene_description>She points to a shopping bag on the table across from Cobb. Cobb rises, crosses the room and picks up the bag with his back to The Blonde. She can't see him take it out of the bag and look at the dried blood on its head.</scene_description> <character>THE BLONDE</character> <dialogue>What are you going to do with it?</dialogue> <character>COBB</character> <parenthetical>(his back to her)</parenthetical> <dialogue>The old man was pretty specific about the way I should do things.</dialogue> <character>THE BLONDE</character> <parenthetical>(puzzled)</parenthetical> <dialogue>What's he have to say about it?</dialogue> <character>COBB</character> <parenthetical>(turning around, hammer in hand)</parenthetical> <dialogue>Well, he is giving me all the money out of his safe.</dialogue> <character>THE BLONDE</character> <parenthetical>(not liking this)</parenthetical> <dialogue>Money? What for?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE - DAY</stage_direction> <scene_description>Close on the Young Man as he thinks. The Older Man puts on a pair of rubber surgical gloves.</scene_description> <character>OLDER MAN (O.S.)</character> <dialogue>Anything at all. Your side of things?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BLONDE'S LIVING ROOM - DAY</stage_direction> <scene_description>Cobb moves towards The Blonde with the hammer.</scene_description> <character>COBB</character> <parenthetical>(smiling)</parenthetical> <dialogue>He says your demands have become unreasonable... too greedy in your blackmail.</dialogue> <character>THE BLONDE</character> <parenthetical>(scared now)</parenthetical> <dialogue>But, no - I, I, I don't -</dialogue> <character>COBB</character> <parenthetical>(smiling, soothing)</parenthetical> <dialogue>Something about an incident you witnessed in this very room? He was specific about where and how I should take care of things. Some sense of poetic justice, I suppose.</dialogue> <character>THE BLONDE</character> <dialogue>But I -</dialogue> <character>COBB</character> <dialogue>Something about a bloodstained carpet you've got stashed away to back up your story, should it ever be told.</dialogue> <scene_description>The Blonde is crying.</scene_description> <character>THE BLONDE</character> <dialogue>How could you do this to me?</dialogue> <character>COBB</character> <parenthetical>(softly)</parenthetical> <dialogue>Money.</dialogue> <scene_description>He lunges for The Blonde, grabbing her wrist and pulling her to the floor. He forces her hand flat against the floor and raises the hammer high above his had and we: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOM WITH TABLE - DAY</stage_direction> <scene_description>Close on the Young Man as he realizes something.</scene_description> <character>YOUNG MAN</character> <dialogue>Did you talk to her?</dialogue> <character>OLDER MAN</character> <parenthetical>(nods gravely)</parenthetical> <dialogue>We found her early this morning.</dialogue> <character>YOUNG MAN</character> <dialogue>Found her?</dialogue> <character>OLDER MAN</character> <dialogue>Her body.</dialogue> <scene_description>The Young Man covers his face with his hands.</scene_description> <character>OLDER MAN</character> <dialogue>We also found a hammer with two types of blood on it, one type which I assume will match the block you put in the hospital. All of her fingers were smashed - you must have tortured her for the combination.</dialogue> <character>YOUNG MAN</character> <dialogue>NO! I haven't done anything to her! Go and pick up Cobb, he did it, he must have done it -</dialogue> <scene_description>The Older man silences the Young Man by putting a shoebox on the table between them.</scene_description> <character>OLDER MAN</character> <parenthetical>(rifling through the contents of the box)</parenthetical> <character>OLDER MAN</character> <dialogue>We found some interesting items at your flat. In addition to the various items which the deceased reported stolen last week, we found several pairs of ladies' underwear - are they hers?</dialogue> <scene_description>The Young Man says nothing.</scene_description> <character>OLDER MAN</character> <dialogue>I assume so, since they were found stashed with some passport-style photographs of the deceased.</dialogue> <scene_description>The Young Man closes his eyes.</scene_description> <character>OLDER MAN</character> <parenthetical>(pulls a small, clear plastic bag from the box)</parenthetical> <dialogue>We also found this pearl earring.</dialogue> <scene_description>The Young Man opens his eyes. He looks at the evidence bag which the Older Man is holding out for him to see. Inside it is The Blonde's pearl earring.</scene_description> <character>OLDER MAN</character> <dialogue>It matches the one worn by the deceased at the time of her death. Little trophy?</dialogue> <character>YOUNG MAN</character> <parenthetical>(desperation)</parenthetical> <dialogue>NO! Cobb planted it! He took it when we broke in - pick him up, I gave you his address, he's the one who killed her - he has to be.</dialogue> <character>OLDER MAN</character> <dialogue>We went to the address you gave us. There's no 'Cobb' there. The flat belongs to a...</dialogue> <parenthetical>(checks notes)</parenthetical> <dialogue>... Timothy Kerr. He just got back from holiday and he says that he was robbed while he was away. Not too much was taken... but his new credit card hasn't arrived -</dialogue> <character>YOUNG MAN</character> <dialogue>That was Cobb, see?! We used it to buy a meal one time!</dialogue> <scene_description>The Older Man reaches into the box and pulls out another clear evidence bag. Inside it is as credit card.</scene_description> <character>OLDER MAN</character> <dialogue>We found this at your flat.</dialogue> <character>YOUNG MAN</character> <parenthetical>(running out of steam)</parenthetical> <dialogue>It was... Cobb who stole it...</dialogue> <scene_description>The Older Man flips the card over to display the signature on the back.</scene_description> <character>OLDER MAN</character> <dialogue>Is this your handwriting?</dialogue> <scene_description>The Young Man looks at the card in despair.</scene_description> <character>YOUNG MAN</character> <parenthetical>(quiet)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BUSY WEST END STREET CROWDED WITH PEDESTRIANS - DAY</stage_direction> <scene_description>Cobb comes out of a café and walks away from us down the street. He stops and looks back towards us over his shoulder as if to check that no one is following him. Satisfied, he turns back, moves off and is swallowed by the mass of pedestrians, crossing the frame in slo-mo and we: FADE TO BLACK.:</scene_description> </scene> </script>

A struggling, unemployed young writer (credited as "The Young Man") takes to following strangers around the streets of London, ostensibly to find inspiration for his first novel. Initially, he sets strict rules for himself regarding whom he should follow and for how long, but he soon discards them as he focuses on a well-groomed, handsome man in a dark suit. The man in the suit, having noticed he is being followed, quickly confronts the Young Man and introduces himself as "Cobb". Cobb reveals he is a serial burglar and invites the Young Man (who tells Cobb his name is "Bill") to accompany him on burglaries. The material gains from these crimes seem to be of secondary importance to Cobb. He takes pleasure in rifling through the personal items in his targets' flats and drinking their wine. He explains his true passion is using the shock of robbery, and violation of property, to make his victims re-examine their lives. He sums up his attitude thus: "You take it away, and show them what they had." The Young Man is thrilled by Cobb's lifestyle. He attempts break-ins of his own, as Cobb encourages and guides him. At Cobb's suggestion, he alters his appearance, cutting his hair short and wearing a dark suit. He assumes the name "Daniel Lloyd", based on the credit card Cobb gives to him, and begins to pursue a relationship with a blonde woman whose flat he and Cobb burgled. The Blonde turns out to be the girlfriend of a small-time gangster (known only as the "Bald Guy"), whom she broke up with after he murdered a man in her flat. Soon, the Blonde confides that the Bald Guy is blackmailing her with incriminating photographs. The Young Man breaks into the Bald Guy's safe, but is caught in the act by an unidentified man. He then bludgeons the man with a claw hammer and flees with the Bald Guy's money and photos. Upon returning to his flat, he finds the photos are innocuous modeling shots. Confronting the Blonde, the Young Man learns that she and Cobb have been working together, to manipulate him into mimicking Cobb's burglary methods. She tells him that Cobb had recently discovered a murdered woman's body during one of his burglaries, and is attempting to deflect suspicion from himself by making it appear as though multiple burglars share his MO. The Young Man leaves to turn himself in to the police. The Blonde reports her success to Cobb, who then reveals he actually works for the Bald Guy. The story about the murdered woman was part of a plot to deceive both the Blonde and the Young Man: The Blonde has been blackmailing the Bald Guy with evidence from the murder he committed in her flat, and wants her murdered in a way that it cannot be connected to him. Cobb bludgeons the Blonde to death with the same claw hammer the Young Man used, during the burglary of the Bald Guy's safe, and leaves it at the scene. The police, checking out the Young Man's story, find the Blonde murdered and the claw hammer with his fingerprints on it. The Young Man is thus implicated for the murder of the blonde woman. Cobb, meanwhile, vanishes into a crowd.

Don't Worry Darling_2022

tt10731256

<script> <scene> <character>DON'T WORRY, DARLING</character> <dialogue>Written by</dialogue> <scene_description>The Van Dyke Brothers Revisions by Katie Silberman 2-13-20</scene_description> </scene> <scene> <stage_direction>EXT. CALIFORNIA DESERT - DAY</stage_direction> <scene_description>We SOAR over the seemingly endless California desert.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Are you ready to live the life you deserve?</dialogue> <scene_description>Suddenly...houses, green lawns, swimming pools. An idyllic 50's development, isolated within the barren landscape like a colony on Mars. A man's BOOMING VOICE narrates...</scene_description> <character>FRANK (V.O.)</character> <dialogue>As an employee of the Oasis Project, you're invited to live in Oasis, our private community nestled in the middle of the California desert.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>1950's Americana. PALM TREES line the streets. A MAN drives a SKY BLUE TWO-SEATER THUNDERBIRD, his happy WIFE in the passenger seat next to him. She leans over to light his CIGAR as they cruise through town.</scene_description> <character>FRANK (V.O.)</character> <dialogue>We know how hard you work and we want to provide you with the life you deserve outside of the office.</dialogue> </scene> <scene> <stage_direction>EXT. GOLF COURSE - DAY</stage_direction> <scene_description>A MAN whacks a golf ball on a bright green golf course dotted with palm trees. FRIENDS cheer him on between swigs of beer.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Spend your evenings and weekends relaxing with friends...</dialogue> </scene> <scene> <stage_direction>EXT. TENNIS COURT - DAY</stage_direction> <scene_description>Four shirtless, very tan MEN play doubles in the sunshine.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Taking advantage of our many recreational sports...</dialogue> </scene> <scene> <stage_direction>EXT. HIKING TRAILS - DAY</stage_direction> <scene_description>A couple HIKES a dusty trail. Despite the elevation she's in a dress, heels, and full hair and makeup.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Or enjoying the breathtaking scenery of this sunbaked paradise.</dialogue> </scene> <scene> <stage_direction>EXT. THE CLUB - POOL - DAY</stage_direction> <scene_description>A row of beautiful WOMEN in stylish bathing suits and swim caps sunbathe next to the glittering COUNTRY CLUB POOL.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Although you might find the best scenery at the club pool...</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>Three WIVES link arms as they window-shop.</scene_description> <character>FRANK (V.O.)</character> <dialogue>While you're hard at work, there's plenty for your wife to do in town.</dialogue> <scene_description>One of them stops, pointing at a DRESS in the window.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Maybe too much...</dialogue> <scene_description>Her friend drags her away.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - DUSK</stage_direction> <scene_description>Two kids play on a SWING SET in the shadow of the mountains.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Oasis is safe and secure. Everyone is welcome here. It's a perfect place to raise the family who depends on you...</dialogue> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Dozens of couples in TUXEDOES and GOWNS dance to a LIVE BAND. Everyone looks beautiful, happy, impossibly glamorous.</scene_description> <character>FRANK (V.O.)</character> <dialogue>And to enjoy the wonders of a true brotherhood of intrepid pioneers.</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD POOL - DAY</stage_direction> <scene_description>A group of FRIENDS barbecue and lounge by the pool, drinking and laughing, living the life. FRANK, the narrator, walks towards us, grinning.</scene_description> <character>FRANK</character> <dialogue>It may be remote, but we have a feeling that once you arrive, you'll never want to--</dialogue> <scene_description>SMASH CUT TO: TIGHT ON A WOMAN'S FACE Looking straight at us, and trying so hard not to laugh it looks almost painful. This is ALICE CHAMBERS - 32, bold, equally warm and sharp. \[We're no longer in the controlled, almost stereotypically 1950's tone of the promotional video -- this room is loud and raucous and full of music and energy.\] WIDER reveals BUNNY (bawdy, whip-smart) and PEG (pregnant, a little thirsty) beside Alice. They're balancing TRAYS of GLASSES on their heads and all performing the same dance. They're drunk and can't stop laughing and we realize...</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - PETER AND PEG'S HOUSE - NIGHT</stage_direction> <scene_description>It's the end of a dinner party, and this is a boozy parlor game. These women are dancing for the HUSBANDS -- Alice's JACK, Bunny's DEAN, and Peg's PETER -- who watch appreciatively from the couch, equally drunk. Peg's not very good at the game, frowning as she tries to keep up. Her husband PETER encourages her as he watches the rest of the room with a competitive, nervous energy--</scene_description> <character>PETER</character> <dialogue>That-- keep it straight, honey--</dialogue> <scene_description>Bunny's amazing at it, sipping from her own cocktail as she dances. Her husband DEAN, a boisterous jock, teases her:</scene_description> <character>DEAN</character> <dialogue>You're wearing too much clothing, Bunny. It's weighing you down. If you take your shirt off...</dialogue> <scene_description>Alice and JACK barely break eye contact as he watches her, mesmerized, totally in love. Jack is the dream partner: sexy, charming, fun, supportive, and obsessed with his wife. The tray slips off Peg's head and glass SHATTERS. Alice jumps, which just makes her laugh harder, and her tray falls.</scene_description> <character>ALICE</character> <dialogue>No! Let me go again! Let me--</dialogue> <scene_description>She grabs the drink from Jack's hand, downs the rest of it, and puts it on her head just as the song ends. The women end their dance with a flourish, trying to hold in laughter. Jack jumps to his feet, wraps his arms around Alice--</scene_description> <character>JACK</character> <dialogue>You're such a cheater! You're an egregious cheater--</dialogue> <character>ALICE</character> <dialogue>It was quick-thinking, I'm a problem solver--</dialogue> <character>JACK</character> <dialogue>And it was with my drink, you made me an accomplice--</dialogue> <scene_description>She laughs as he pulls her on to his lap. She slings her legs over his, very comfortable there, like it's home base.</scene_description> <character>PEG</character> <dialogue>My balance was off, because of the baby...</dialogue> <character>BUNNY</character> <parenthetical>(innocently)</parenthetical> <dialogue>What baby?</dialogue> <scene_description>Peter hands Peg a DUSTPAN and she kneels to clean up the broken glass without question. Bunny pours Dean a drink.</scene_description> <character>BUNNY</character> <dialogue>Chop chop, gentlemen. Let's see some tricks.</dialogue> <character>JACK</character> <dialogue>There's no way we could follow that.</dialogue> <character>DEAN</character> <dialogue>Speak for yourself.</dialogue> <scene_description>Dean grabs three glasses and starts JUGGLING. He immediately drops all of them and they SMASH on the ground.</scene_description> <character>DEAN</character> <dialogue>Peg, there's some here, too.</dialogue> <scene_description>Alice stands. Jack grabs at her, pulling her back down--</scene_description> <character>JACK</character> <dialogue>No, you can't leave...</dialogue> <character>ALICE</character> <parenthetical>(amused)</parenthetical> <dialogue>I'll be right back!</dialogue> <character>JACK</character> <dialogue>Don't do it...</dialogue> <scene_description>She kisses him and goes. He grins as he watches her walk away. Peter walks up to Jack, offering him a drink.</scene_description> <character>PETER</character> <dialogue>How do you do that?</dialogue> <scene_description>He tries to say it teasingly, but there's a jealous undercurrent.</scene_description> <character>JACK</character> <dialogue>Do what?</dialogue> <scene_description>They both watch Alice walk into the bathroom.</scene_description> <character>PETER</character> <dialogue>That.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - PETER AND PEG'S HOUSE - NIGHT</stage_direction> <scene_description>Alice washes her hands, swaying a little-- that moment of not realizing how drunk you are until you're alone in a bathroom. She dries her hands, then pours herself a glass of TAP WATER and chugs it. As she puts the glass away she notices a FRAMED PHOTO: Peter and Peg posing in front of Niagara Falls. Alice picks it up. They're cute.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - PETER AND PEG'S HOUSE - NIGHT</stage_direction> <scene_description>Alice walks in as Bunny's dancing on a footstool, a drink in each hand. Peg's still on her knees, cleaning up the glass. Dean starts handing out CIGARS. Peter takes one, asking--</scene_description> <character>PETER</character> <dialogue>With the promotion, do they automatically move you to a bigger place?</dialogue> <character>BUNNY</character> <dialogue>The house will be ready by the end of the month.</dialogue> <character>PEG</character> <dialogue>Oh, Dean, will you smoke outside?</dialogue> <character>DEAN</character> <parenthetical>(lighting his cigar)</parenthetical> <dialogue>Peter, your wife is drunk. She's babbling nonsense.</dialogue> <character>PEG</character> <dialogue>Peter doesn't like the sm--</dialogue> <character>PETER</character> <dialogue>Honey.</dialogue> <scene_description>Peg quiets. Dean winks at her and balances an ASH TRAY on her back. Peg jokingly starts crawling around on the ground like an animal. Everyone laughs, until--</scene_description> <character>PEG'S SON (O.S.)</character> <dialogue>Mommy?</dialogue> <scene_description>They all turn -- a sleepy BOY in pajamas stands on the stairs, rubbing his eyes.</scene_description> <character>PEG</character> <dialogue>Go to bed, Billy.</dialogue> <character>PEG'S SON (O.S.)</character> <dialogue>You're being too loud.</dialogue> <character>DEAN</character> <dialogue>BOO! Go back upstairs, you wet blanket! We're praying!</dialogue> <scene_description>The adults burst out laughing.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>A BIRD'S EYE VIEW of Jack's CAR snaking through the streets of the edge of the development. His headlights are the only lights on the road.</scene_description> </scene> <scene> <stage_direction>INT./EXT. JACK'S CAR - NIGHT</stage_direction> <scene_description>Jack drives, Alice draped over him, kissing him. They're drunk and happy.</scene_description> <character>ALICE</character> <dialogue>I have a real question: is Peg ever not pregnant?</dialogue> <character>JACK</character> <dialogue>There have to be a few hours, at least, when she's actively giving birth.</dialogue> <character>ALICE</character> <dialogue>I feel like they have 17 children.</dialogue> <character>JACK</character> <dialogue>And Peter's always trying to impregnate you.</dialogue> <character>ALICE</character> <dialogue>No he's not...</dialogue> <character>JACK</character> <dialogue>I wouldn't leave you alone with him without a very sharp weapon.</dialogue> <character>ALICE</character> <dialogue>You don't think I could handle Peter?</dialogue> <character>JACK</character> <dialogue>I know you could handle Peter. I didn't say the weapon was for you.</dialogue> <scene_description>Alice laughs just as Jack SWERVES the car off the road, squealing into the desert. Alice laughs, startled but not surprised, this is clearly something he's done before--</scene_description> <character>ALICE</character> <dialogue>Jack!</dialogue> <scene_description>He grins at her as makes wild turns, going faster and faster. He floors it, neither noticing as his headlights catch-- A figure standing in the middle of the desert. They're speeding towards it, getting closer and closer. Jack notices it the last second-- Alice SCREAMS as he swerves, just missing it, t, the car fishtailing to a stop. Jack grips the steering wheel, adrenaline through the roof--</scene_description> <character>JACK</character> <dialogue>Jesus CHRIST!</dialogue> <scene_description>Alice turns to look behind her. The figure is a WOMAN in a disheveled nightgown. She's still standing there, in the red glow of Jack's brake lights. She never even flinched. Alice squints, realizing--</scene_description> <character>ALICE</character> <dialogue>Is that Margaret?</dialogue> <scene_description>The woman, MARGARET, locks eyes with Alice. Alice holds her gaze, startled at the intensity but unable to look away.</scene_description> <character>JACK</character> <dialogue>Of course it is--</dialogue> <character>ALICE</character> <dialogue>What is she doing out here?</dialogue> <character>JACK</character> <dialogue>She's a lunatic. Oh my God.</dialogue> <scene_description>Alice starts to open her door--</scene_description> <character>ALICE</character> <dialogue>She's alone out there--</dialogue> <character>JACK</character> <dialogue>I'll call Ted when we get home.</dialogue> <scene_description>Jack floors it, speeding away. Alice looks over her shoulder: Margaret's still standing there, getting smaller as the pull away, until finally it's just-- A BLACK VOID Just blackness. Then, from overhead: A row of beautiful DANCERS \[in BLACK AND WHITE\] stream into view. It's a parade of identical women in matching outfits, practically anonymous in their uniformity. The dancers burst into a KALEIDOSCOPE of Busby-Berkeley-style choreography, creating geometric shapes with their bodies, twirling and bending and jumping like they're one organism. The women dance towards each other, closer and closer, until they each hold up a FAN which creates a single image: Alice's terrified, screaming face. We FALL through one of her EYES like a black hole--</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>WHAM. Alice hits the floor of her bedroom with a sickening CRACK-- she's flung herself out of the bed in her sleep. She sits up, still in shock from the nightmare and the hard fall. She moves stiffly, wincing, and glances at Jack-- but he's still asleep. She quietly gets up to start her day.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice prepares a perfect breakfast. It's a flawlessly coordinated routine, and she takes real pleasure in it: EGGS cracked, BACON frying, a TOMATO sliced, sliced, sliced, unnervingly close to her fingers, COFFEE poured into a cup-- Jack, in a sharp suit, hair still wet from the shower, picks the cup up to take a sip as Alice puts hot bacon on his plate. He watches her adoringly.</scene_description> <character>JACK</character> <dialogue>You remember there's the thing at Frank's house tomorrow for--</dialogue> <character>ALICE</character> <dialogue>The new couple. Yes. I'm making tuna noodle salad.</dialogue> <parenthetical>(off Jack's look)</parenthetical> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>It's just, he doesn't like tuna.</dialogue> <character>ALICE</character> <dialogue>Frank?</dialogue> <character>JACK</character> <dialogue>I know it seems small but I think these things add up when he's making decisions...</dialogue> <character>ALICE</character> <dialogue>I'll make deviled eggs.</dialogue> <scene_description>Suddenly a small TREMOR starts shaking the house. Alice reaches behind her to hold the cabinet steady as Jack holds their coffee cups. When it stops, Alice gives Jack a look:</scene_description> <character>ALICE</character> <dialogue>That's the third one this week.</dialogue> <scene_description>Jack is just beaming at her.</scene_description> <character>ALICE</character> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>Nothing. You're just...the best. I'm so lucky.</dialogue> <scene_description>Alice kisses him, then straightens his tie, hands him his LUNCH, and gives him a playful smack on the ass as he leaves. He turns back to grab her, but she laughs and shoves him off--</scene_description> <character>ALICE</character> <dialogue>You're gonna be late! These things add up!</dialogue> <scene_description>He kisses her once more and hurries out the door. Alice watches him go, then takes a deep breath and turns back to the house, ready to tackle her day.</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Jack's car pulls out of the driveway as all the men on the block head in the same direction toward Oasis.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>-- Alice WASHES her hands like a surgeon, both hands in the air, cleaning hard between each finger. -- She SCRUBS every surface of the kitchen with an efficiency that would impress the most intense germaphobe. The original Peter Pan cartoon movie plays on the TV, keeping her company. -- She DUSTS a row of romantic PHOTOS of her and Jack: the two of them on their wedding day, laughing on the beach on their honeymoon, posing in black tie at a town dance. -- She SNAPS laundry straight, then folds it nicely, setting it next to a CALENDAR where four days a month are "X-ed" out. -- She IRONS. She SWEEPS. She VACUUMS.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Done with her work, Alice just...waits. She sits in silence, totally still. We PUSH IN slowly as a SHARP SOUND gets increasingly louder, until finally, Alice looks up: Out her window, she can see her backyard, separated from their neighbor's front yard by a WHITE PICKET FENCE. On the other side of the fence, Margaret tends to her ROSE BUSH. The ground is covered in the heads of severed white roses.</scene_description> </scene> <scene> <stage_direction>INT. BUS/EXT. STREET - DAY</stage_direction> <scene_description>Alice and other HOUSEWIVES ride the NEIGHBORHOOD TROLLEY BUS. They're all SINGING a call-and-response song, clapping along to the rhythm. With the men at work, during the day, Oasis is all women. The population's surprisingly diverse. The jolly DRIVER pulls over at a stop and a few more WOMEN board. They immediately start singing as well.</scene_description> </scene> <scene> <stage_direction>INT. TOWN MARKET - DAY</stage_direction> <scene_description>From overhead, Alice and other HOUSEWIVES stream into view, gliding their shopping carts through the aisles like ants through an ant farm. -- A SAMPLE GIRL is handing out free APPETIZERS.</scene_description> <character>SAMPLE GIRL</character> <dialogue>Pineapple fingers and ham?</dialogue> <scene_description>Alice takes one, nodding her thanks without stopping. -- She charms the BUTCHER as he cuts her a slab of meat:</scene_description> <character>MARKET BUTCHER</character> <dialogue>When will I finally get to see what you do with these beautiful cuts I give you?</dialogue> <character>ALICE</character> <dialogue>You never come over! You're always teasing me!</dialogue> <scene_description>-- The CHECKOUT LADY bags Alice's food, hands it to her:</scene_description> <character>MARKET CHECKOUT LADY</character> <dialogue>Eight dollars has been added to Jack's account.</dialogue> <character>ALICE</character> <dialogue>Thank you so much.</dialogue> <scene_description>In the next lane, an EMBARRASSED HOUSEWIFE is trying to quietly plead with the CHECKOUT MAN, who shakes his head.</scene_description> <character>MARKET CHECKOUT MAN</character> <dialogue>I'm sorry, ma'am, but your husband has capped the credit at $5.</dialogue> <scene_description>The Housewife glances behind her, embarrassed, as she takes a few items off the counter. Alice leans over to the Checkout Lady as she leaves--</scene_description> <character>ALICE</character> <dialogue>Will you put the rest of hers on Jack's account, too?</dialogue> <scene_description>The Checkout Lady nods discreetly as Alice exits.</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice, arms full of groceries, stands at the hedge between her front yard and Bunny's. Bunny hangs LAUNDRY on a clothesline as her rambunctious KIDS (son HANK, 7, son FRED, 5, and daughter JANE, 3) play with the HOSE behind her.</scene_description> <character>BUNNY</character> <dialogue>Don't point the hose at the laundry!</dialogue> <parenthetical>(back to Alice)</parenthetical> <dialogue>Was she drunk?</dialogue> <character>ALICE</character> <dialogue>I have no idea. She didn't even move. We almost killed her.</dialogue> <character>BUNNY</character> <dialogue>You're sure it was Margaret?</dialogue> <character>ALICE</character> <dialogue>Who else would be standing in the middle of the desert in her pajamas?</dialogue> <character>BUNNY</character> <parenthetical>(to her kids)</parenthetical> <dialogue>Unwrap it from her neck, Hank!</dialogue> <scene_description>Alice gestures to an Oasis-branded MOVING TRUCK parked at the end of their street.</scene_description> <character>ALICE</character> <dialogue>Have you heard anything about them?</dialogue> <character>BUNNY</character> <dialogue>They're young, apparently. Bill and something.</dialogue> <character>ALICE</character> <dialogue>I guess she'll be my new best friend, since you're leaving.</dialogue> <character>BUNNY</character> <dialogue>Don't worry. Dean said Jack's gonna get promoted and you'll be right behind us. What are you making for the party tomorrow?</dialogue> <character>ALICE</character> <dialogue>Deviled eggs.</dialogue> <character>BUNNY</character> <dialogue>Oh, Jack's gonna be CEO--</dialogue> <scene_description>She senses chaos behind her and turns to her kids on a dime:</scene_description> <character>BUNNY</character> <dialogue>That's it. I'm calling him.</dialogue> <scene_description>Hank immediately drops the hose.</scene_description> <character>BUNNY'S SON HANK</character> <dialogue>DON'T!</dialogue> <character>BUNNY</character> <dialogue>I have to. This is why Santa gave me his phone number.</dialogue> <character>BUNNY'S SON FRED</character> <dialogue>(frantic)</dialogue> <character>BUNNY</character> <dialogue>He said I had to let him know</dialogue> <scene_description>WE'RE NOT DOING IT ANYMORE! if you're being bad--</scene_description> <character>BUNNY</character> <dialogue>I wish it were up to me. I wish I had a choice--</dialogue> <scene_description>She picks up the hose and starts SPRAYING the kids. They shriek, delighted, sprinting around, as Bunny chases them. They hide behind Alice, who jokingly protects them--</scene_description> <character>BUNNY</character> <dialogue>You think I won't spray her?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice, still a little wet from the hose, cooks the same way she cleans: like she's preparing for battle. She CHUGS a glass of water-- WASHES her hands-- WIPES clean the surfaces-- then SLAPS a thick cut of meat on a cutting board. Alice WHISTLES a tune as she lays out her materials: twine, a needle, scissors, a MASSIVE KNIFE. She starts to hack at the meat. Slicing, slicing, slicing, until she stops with a guttural moan. She's cut through the meat of her thumb, nearly severing it. It's dangling off of her hand like a loose tooth. Alice's stunned. She stares at her hand for a beat-- then reaches up and slowly pushes her thumb back where it belongs. Something about that snaps her into TRIAGE MODE. She moves quickly and purposefully, almost like a sense memory-- She washes the wound, WINCING as the water hits the cut, then lays her hand on the counter like it's another piece of meat. With one hand, she lights the stove-- fishes a pair of SCISSORS out of a drawer-- then picks up the needle and twine with the scissors and holds them both over the open flame. Once they're sterilized, she uses the scissors to pierce the skin of the wound, then the other side, pulling tight. She twists the string, then pulls it through the cut again. She's suturing her own wound. Pierce, wince, swoop, bite, tie. Over and over. She flips her hand over, then sutures the other side. Finished. Alice stares at her trembling hand, more startled by what she just did than by the cut itself. How did she do that? Then she registers the mess in front of her. She gathers the bloody evidence, wiping up the counter--</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - ALICE AND JACK'S HOUSE - DUSK</stage_direction> <scene_description>Alice glances around furtively as she throws the bloody evidence in the garbage. She turns to sneak back inside-- And sees Fred, Bunny's son, watching her from the yard next door. Alice freezes.</scene_description> <character>ALICE</character> <dialogue>Hi, honey. What are you doing?</dialogue> <scene_description>Fred holds up a stick to answer. Then:</scene_description> <character>FRED</character> <dialogue>What are you doing?</dialogue> <character>ALICE</character> <dialogue>My chores. I need my allowance so I can split it with you.</dialogue> <scene_description>Fred grins. Alice waves him back inside.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DUSK</stage_direction> <scene_description>Her hand wrapped in a bandage, Alice continues to cook dinner as if nothing happened.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice finishes lighting the CANDLES on a beautifully-set dining room table when HEADLIGHTS flood through the windows. BY THE FRONT DOOR Jack walks in to find Alice waiting in the foyer, holding a COCKTAIL in a HIGHBALL GLASS for him. He grins at the image.</scene_description> <character>ALICE</character> <dialogue>Hi.</dialogue> <character>JACK</character> <dialogue>Hi.</dialogue> <scene_description>They say it like they really missed each other, even though it's just been a few hours. Alice hands him the drink and takes his briefcase, then helps him pull his jacket off. There's a heightened, sexy energy to this evening routine.</scene_description> <character>ALICE</character> <dialogue>How was your day?</dialogue> <character>JACK</character> <dialogue>Boring. Much better now.</dialogue> <scene_description>He notices her bandage and grabs it, immediately concerned.</scene_description> <character>JACK</character> <dialogue>What happened to your hand?</dialogue> <scene_description>Alice waves it off, trying to seem casual.</scene_description> <character>ALICE</character> <dialogue>Nothing. I cut myself cooking.</dialogue> <scene_description>Jack searches her face, but she looks fine. He kisses the bandage. She starts backing up, pulling him with her.</scene_description> <character>ALICE</character> <dialogue>I made a roast.</dialogue> <character>JACK</character> <dialogue>It smells amazing.</dialogue> <scene_description>He's backed her up against the dining table. This also seems like part of the evening routine.</scene_description> <character>ALICE</character> <dialogue>And some green beans.</dialogue> <character>JACK</character> <dialogue>What else?</dialogue> <scene_description>He reaches up under her dress.</scene_description> <character>ALICE</character> <dialogue>Mashed potatoes...</dialogue> <scene_description>Jack finally kisses her. She wraps her legs around him and Jack turns her around and bends her over the table as they start to have passionate, spirited sex. Her head is inches from the lit candles and the rattling steak knives-- it feels slightly dangerous, but she doesn't notice or care. It's animalistic and hot and we CUT TO:</scene_description> <character>FRANK</character> <dialogue>Jack, you came!</dialogue> </scene> <scene> <stage_direction>EXT. FRANK'S HOUSE - DAY</stage_direction> <scene_description>FRANK, Oasis's CEO and de-facto Mayor, and his wife, SHELLEY, stand in the doorway of their INSANELY GORGEOUS MANSION. It's all clean lines and glass, practically twinkling in the sun. The sounds of a PARTY float from the backyard. Alice (carrying a tray of APPETIZERS, and wearing white GLOVES) and Jack wave as they approach the house. Frank is the definition of quiet power: brilliant, confident, disarming. Shelley, Oasis's "first lady," is warm and gracious, the ideal host. Jack shakes Frank's hand, still starstruck by his boss, as Alice and Shelley hug--</scene_description> <character>JACK</character> <dialogue>It's an honor to visit your house, sir.</dialogue> <character>SHELLEY</character> <dialogue>Alice, welcome! You look wonderful.</dialogue> <character>ALICE</character> <dialogue>Are you kidding me? dress--</dialogue> <character>SHELLEY</character> <dialogue>Frank, look at her, she's glowing.</dialogue> <parenthetical>(teasing, re: her belly)</parenthetical> <character>SHELLEY</character> <dialogue>Is this glow due to any particular reason?</dialogue> <character>ALICE</character> <dialogue>Just general happiness, I think.</dialogue> <scene_description>Shelley notices the edge of the bandage peeking out from Alice's glove. Shelley reaches for it--</scene_description> <character>SHELLEY</character> <dialogue>What happened, honey?</dialogue> <character>ALICE</character> <parenthetical>(pulling her glove down)</parenthetical> <dialogue>Oh, just a kitchen wound.</dialogue> <character>SHELLEY</character> <dialogue>Our battle scars.</dialogue> <character>ALICE</character> <dialogue>We're so excited to meet the new couple.</dialogue> <character>FRANK</character> <dialogue>They're lovely. Bill and Violet. Painfully young.</dialogue> <character>ALICE</character> <dialogue>You're hiring so often, it feels like there's a new couple here every week.</dialogue> <character>JACK</character> <parenthetical>(quickly)</parenthetical> <dialogue>Which, we love.</dialogue> <character>FRANK</character> <dialogue>We're lucky to be growing. And as our best employees keep moving up, we'll have more entry-level positions to fill.</dialogue> <scene_description>He claps Jack on the shoulder. Jack beams.</scene_description> </scene> <scene> <stage_direction>EXT. FRANK'S BACKYARD - DAY</stage_direction> <scene_description>Jack and Alice walk out, awed-- the back is even more gorgeous than the front. COUPLES roam around the manicured lawn and beautiful pool, past a SCALE MODEL of the town of Oasis on display. Everyone's having fun, pouring drinks. Alice squeezes Jack's hand. He kisses her cheek. Frank and Shelley's KENNEDY-ESQUE KIDS walk around with platters of appetizers, serving in adorable outfits. Jack sees Dean at the bar and kisses Alice before he walks over to him. Alice spots Bunny, holding a cocktail and talking to a CHATTY HOUSEWIFE. Bunny catches Alice's eye and gives her a "thank God" look.</scene_description> <character>BUNNY</character> <parenthetical>(to Chatty Housewife)</parenthetical> <dialogue>You know what, will you excuse me? I just saw Alice, and it looks like she needs help. With...her leg.</dialogue> <scene_description>Bunny hurries over to Alice.</scene_description> <character>BUNNY</character> <dialogue>Thank Christ.</dialogue> <character>ALICE</character> <dialogue>You having fun over there?</dialogue> <character>BUNNY</character> <dialogue>How long would you think she could talk about her son's art projects? Multiply it by your entire life.</dialogue> <scene_description>She gestures to Frank and Shelley's kids.</scene_description> <character>BUNNY</character> <dialogue>Do they wear matching outfits every day? I find them terrifying.</dialogue> <parenthetical>(takes a sip, then)</parenthetical> <dialogue>But that little one makes maybe the best Manhattan I've ever had.</dialogue> <scene_description>JUMP CUT TO: Alice, Jack, Bunny and Dean talk to the new couple, BILL and VIOLET. Bill's sweet and anxious, like he's always worried he's about to screw something up. Violet's young and eager. The women chat off to one side:</scene_description> <character>VIOLET</character> <dialogue>And then we honeymooned in Sea Island.</dialogue> <character>ALICE</character> <dialogue>We honeymooned in Sea Island! So did Carol. Did you eat at Dominick's?</dialogue> <scene_description>As Bill talks with Jack and Dean, like an eager freshmen hanging out with the cool seniors:</scene_description> <character>BILL</character> <dialogue>We're just-- so excited to be here. Really excited. Can't believe it, honestly.</dialogue> <character>DEAN</character> <dialogue>All right, you got the job. Calm down.</dialogue> <scene_description>Back with Violet, Alice lowers her voice, kindly:</scene_description> <character>ALICE</character> <dialogue>How are you actually doing?</dialogue> <parenthetical>(off Violet's surprise)</parenthetical> <dialogue>This is a lot. You've met a hundred new people and are probably drowning in casseroles.</dialogue> <character>VIOLET</character> <dialogue>It's wonderful. We're just unpacking and adjusting...</dialogue> <parenthetical>(admitting)</parenthetical> <dialogue>It is kind of a lot.</dialogue> <scene_description>Alice touches Jack, speaking loudly enough for the men:</scene_description> <character>ALICE</character> <dialogue>Why don't you come shopping in town with us tomorrow? And Bill can golf with the boys. It's our little Sunday tradition.</dialogue> <character>BUNNY</character> <dialogue>They exercise their bodies and we go exercise their wallets.</dialogue> <character>DEAN</character> <dialogue>Bunny's practically an Olympic athlete at this point.</dialogue> <scene_description>Violet looks to Bill for permission. Bill glances at Jack.</scene_description> <character>BILL</character> <dialogue>Is that-- okay? Can I do that?</dialogue> <character>JACK</character> <parenthetical>(amused)</parenthetical> <dialogue>Yeah, Bill. If you want to.</dialogue> <scene_description>Bill can't hide how thrilled he is.</scene_description> <character>BILL</character> <dialogue>Okay, yeah, great. Count me in. Sunday golf. With the boys.</dialogue> <scene_description>He squeezes Violet's hand and beams at her. Alice and Jack catch eyes, sharing a smile. He takes her hand, when-- GLASS TINKS. Everyone turns-- Shelley's standing with Frank, tapping a glass to get everyone's attention.</scene_description> <character>SHELLEY</character> <dialogue>Thank you for coming out to help us give a warm welcome to Bill and Violet. If you're here, it's because we believe you're the best and the future of Oasis.</dialogue> <scene_description>Some claps. Bill flushes. Shelley looks at Frank adoringly.</scene_description> <character>SHELLEY</character> <dialogue>Bill, Violet, you don't yet know how lucky you are to learn from my husband, and be a part of this community that he created, but soon you will.</dialogue> <character>MARGARET (O.S.)</character> <parenthetical>(loudly)</parenthetical> <dialogue>We're not alone!</dialogue> <scene_description>Everyone turns, startled. Margaret's standing in the middle of the crowd. TED, her mortified husband, tries to quiet her without making a scene, but Margaret doesn't move.</scene_description> <character>MARGARET</character> <dialogue>You all know it. Something's out there. And we're hiding here.</dialogue> <scene_description>Violet looks to Bunny and Alice, concerned:</scene_description> <character>VIOLET</character> <dialogue>Who is that?</dialogue> <character>BUNNY</character> <dialogue>Margaret.</dialogue> <parenthetical>(sotto, to Alice)</parenthetical> <dialogue>She's gonna get Ted fired.</dialogue> <character>MARGARET</character> <dialogue>They're out there...</dialogue> <scene_description>Ted starts dragging her away, as-- Frank clears his throat. Everyone immediately turns back to him, quiet. They watch him with reverence.</scene_description> <character>FRANK</character> <dialogue>Part of what makes us a family is that we support each other even in the most difficult times.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>This is a special place. Shelley sometimes teases me and says I've created our own little world out here, but the truth is, it's one we've created. And it's one I'm so proud of. Not just because of the extraordinary and brave work you gentleman do at Oasis... but because this is a community that accepts everyone.</dialogue> <scene_description>The crowd nods, roused.</scene_description> <character>FRANK</character> <dialogue>This is what the world should look like and should feel like. Out there, arbitrary regulations and rules stop us from being as innovative as we know we can be. And if we have to create our own universe out here until everybody else catches up, so be it.</dialogue> <scene_description>Alice glances around, realizing that Jack is gone.</scene_description> <character>FRANK</character> <dialogue>We're having a pretty good time.</dialogue> <scene_description>Everyone CHEERS and WHOOPS, raising their glasses.</scene_description> </scene> <scene> <stage_direction>INT. FRANK'S HOUSE - DAY</stage_direction> <scene_description>Alice tiptoes down the pristine, stylish hallway, her footsteps echoing in the empty house. She whispers:</scene_description> <character>ALICE</character> <dialogue>Jack?</dialogue> <scene_description>She walks around the corner--</scene_description> <character>MARGARET</character> <dialogue>Are you lost?</dialogue> <scene_description>Margaret is standing right there. Alice jumps a mile.</scene_description> <character>ALICE</character> <dialogue>Oh my God.</dialogue> <character>MARGARET</character> <dialogue>I can't find my way out either.</dialogue> <scene_description>Alice studies her face, concerned.</scene_description> <character>ALICE</character> <dialogue>Are you okay, Margaret?</dialogue> <scene_description>Margaret looks at Alice like that question is insane.</scene_description> <character>MARGARET</character> <dialogue>No. None of us are.</dialogue> <character>ALICE</character> <dialogue>If you ever want to talk, or need anything, you know I'm right next door. Last night--</dialogue> <character>MARGARET</character> <dialogue>I don't sleep well. I have bad dreams. Like you.</dialogue> <scene_description>Alice blinks, startled.</scene_description> <character>ALICE</character> <dialogue>I don't have bad dreams.</dialogue> <character>MARGARET</character> <dialogue>Yes you do. You see them too. And now it's too late for both of us. We don't belong here.</dialogue> <character>ALICE</character> <parenthetical>(disturbed)</parenthetical> <dialogue>I need to find my husband...</dialogue> <scene_description>Alice quickly walks away, leaving Margaret alone in the hallway. She rounds the corner and passes by an open door, stopping when she sees--</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - FRANK'S HOUSE - DAY</stage_direction> <scene_description>Jack is standing in Frank's beautiful, light-filled BEDROOM.</scene_description> <character>ALICE</character> <dialogue>What are you doing?</dialogue> <scene_description>Jack looks up, delighted to see her.</scene_description> <character>JACK</character> <dialogue>Look at this.</dialogue> <scene_description>She walks over Jack, who's standing at a beautiful DRESSER. It's covered in private details: cuff links, scattered jewelry, framed photos of Frank and Shelley. Alice picks one up: Frank and Shelley, posing in front of Niagara Falls.</scene_description> <character>JACK</character> <dialogue>This is where he sleeps. This is crazy.</dialogue> <scene_description>Jack's genuinely awed by the intimate space. He touches a NECKTIE left on the dresser, admiring it, studying it.</scene_description> <character>JACK</character> <dialogue>I wonder why he chose this tie.</dialogue> <scene_description>Alice watches him lovingly. His adoration is cute, if a little obsessive. She leans into him.</scene_description> <character>ALICE</character> <dialogue>I like your ties.</dialogue> <scene_description>Jack kisses her-- then reaches under her dress. Alice looks at him, surprised but game.</scene_description> <character>ALICE</character> <dialogue>Everyone's outside...</dialogue> <scene_description>Jack doesn't care. Just being in this room is a turn-on. He presses her up against the wall, unbuckling his pants as she wraps her legs around him. They start to have sex as silently as they can. Alice moans and Jack covers her mouth to keep them quiet. She grabs at him, then sees-- Frank is standing in the doorway. Watching them. Staring at Alice. They lock eyes for a beat too long. It's like she's in a trance. Jack clocks it and follows her eyes-- he sees Frank, jumps, and pulls up his pants, scrambling away from Alice, caught.</scene_description> <character>FRANK</character> <dialogue>You two all right?</dialogue> <character>JACK</character> <dialogue>Yeah. Yes sir.</dialogue> <scene_description>Another beat. Frank just keeps staring at them. Then he grabs a pair of SUNGLASSES from the dresser, gives Jack a tiny, almost proud smirk.</scene_description> <character>FRANK</character> <dialogue>I should've knocked.</dialogue> <scene_description>Frank walks out. Jack is a buzzed combination of embarrassed and thrilled. He kisses Alice quickly before hurrying out after Frank. Alice stands there, totally thrown, alone in Frank's bedroom. She smooths down her dress, putting herself together, and looks down at the dresser to a FRAMED PICTURE: the whole community posing in black tie, like a class photo. Alice finds herself in the crowd, beaming in black and white. We PUSH IN on her face until suddenly-- It cracks apart like pieces of glass. We're back in the... BLACK VOID And back in BLACK AND WHITE. The Busby Berkeley DANCERS had been holding the pieces of her face together. They toss them aside and begin a choreography: one dancer grabs another from behind, holding her face. It's beautiful, but then it morphs from choreography to what seems like real violence. The first dancer covers the other's mouth, smothering her-- she can't breathe-- she kicks and flails, scared, and tries to SCREAM as we CUT TO--</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice's eyes pop open-- her back is arched halfway off the bed, her body contorted, one hand smothering herself. She can't breath. She struggles to pry her own hand off, finally getting free with a painful GASP. She catches her breath, stunned, while Jack sleeps next to her.</scene_description> </scene> <scene> <stage_direction>INT. BOUTIQUE - DAY</stage_direction> <scene_description>Alice, Bunny and Violet walk through a CLOTHING BOUTIQUE, checking out different dresses. Violet looks around, amazed--</scene_description> <character>VIOLET</character> <dialogue>We can just charge at all these stores?</dialogue> <character>ALICE</character> <dialogue>It goes right to their Oasis accounts.</dialogue> <scene_description>Alice starts WHISTLING the same tune she was whistling before.</scene_description> <character>BUNNY</character> <dialogue>They can put a limit, though, so don't let yourself go.</dialogue> <parenthetical>(to Alice)</parenthetical> <dialogue>What is that song?</dialogue> <character>ALICE</character> <dialogue>I was hoping you would know. It's been in my head for days, I can't figure out what it's from.</dialogue> <character>BUNNY</character> <dialogue>I hate that.</dialogue> <scene_description>Just then a TREMOR runs through the store -- everything shakes gently, the clothing racks rattling. Violet's eyes go wide, but Alice and Bunny barely register it. It's over as quickly as it started.</scene_description> <character>BUNNY</character> <dialogue>The joys of desert living. Soon you'll barely notice them.</dialogue> <character>ALICE</character> <dialogue>We never have to drive. The bus runs from morning til six and takes you everywhere you need to go.</dialogue> <character>VIOLET</character> <dialogue>Do you ever bring the boys their lunch?</dialogue> <character>ALICE</character> <dialogue>To Oasis?</dialogue> <scene_description>Bunny almost laughs.</scene_description> <character>BUNNY</character> <dialogue>No. Of course not.</dialogue> <scene_description>Violet gives them an impish look.</scene_description> <character>VIOLET</character> <dialogue>You guys have really never been? I mean, I know we're not supposed to, but just to sneak a peek?</dialogue> <character>ALICE</character> <dialogue>No.</dialogue> <character>BUNNY</character> <dialogue>Never.</dialogue> <character>ALICE</character> <dialogue>Only employees are allowed near the headquarters.</dialogue> <character>BUNNY</character> <dialogue>It's way too dangerous.</dialogue> <character>ALICE</character> <dialogue>And why would we? We have everything here.</dialogue> <character>VIOLET</character> <dialogue>What do you think they're doing? Bill says it's technology to create a better world--</dialogue> <character>BUNNY</character> <parenthetical>(a little too sharp)</parenthetical> <dialogue>We don't really talk about it, honey.</dialogue> <scene_description>Violet shrinks, self-conscious. Bunny softens.</scene_description> <character>BUNNY</character> <dialogue>Honestly, even if they tried to explain it I couldn't understand.</dialogue> <character>ALICE</character> <dialogue>They're doing important work but our work back here is just as vital. We have to take care of them and support them so they can go change the world.</dialogue> <character>VIOLET</character> <dialogue>Absolutely. And I'm ready to do that for Bill. I just...</dialogue> <parenthetical>(admitting)</parenthetical> <dialogue>I'm worried I'll get a little stir crazy.</dialogue> <scene_description>Alice and Bunny exchange a look. Violet clocks it.</scene_description> <character>VIOLET</character> <dialogue>What?</dialogue> <character>ALICE</character> <dialogue>Margaret went out to Oasis once.</dialogue> <character>BUNNY</character> <parenthetical>("don't do this")</parenthetical> <dialogue>Alice--</dialogue> <character>VIOLET</character> <dialogue>That weird woman from the party?</dialogue> <character>BUNNY</character> <parenthetical>(giving in to the story)</parenthetical> <dialogue>She used to be normal.</dialogue> <character>ALICE</character> <dialogue>She went out there with her son--</dialogue> <character>BUNNY</character> <dialogue>She walked.</dialogue> <character>ALICE</character> <dialogue>Trying to get to the Oasis headquarters, they think. But she never made it. They found her alone two days later, wandering and dehydrated, totally out of it.</dialogue> <character>VIOLET</character> <dialogue>Alone, like--</dialogue> <character>BUNNY</character> <dialogue>They never found her son.</dialogue> <scene_description>Violet's stunned.</scene_description> <character>VIOLET</character> <dialogue>What did...</dialogue> <character>ALICE</character> <dialogue>So we can't just go wandering around.</dialogue> <character>BUNNY</character> <dialogue>But you won't go stir crazy.</dialogue> <scene_description>She says the next part for Alice's benefit as much as Violet's:</scene_description> <character>BUNNY</character> <dialogue>We just have to play by the rules and then we get to enjoy all of this. Being a good sport is how you get what you want. So let's move on to more pressing business and find you a dress for the Anniversary Party.</dialogue> <character>VIOLET</character> <dialogue>What's that?</dialogue> <character>BUNNY</character> <dialogue>It's the best night of the year. It's like our own private July 4th.</dialogue> <character>ALICE</character> <dialogue>Frank throws a blowout to celebrate the anniversary of Oasis's incorporation.</dialogue> <scene_description>Bunny holds up a dress.</scene_description> <character>BUNNY</character> <dialogue>The question is, how soon do you want to have a baby? Because if you wear this dress, Bill will impregnate you immediately.</dialogue> <character>VIOLET</character> <parenthetical>(laughing)</parenthetical> <dialogue>Bill wants one yesterday. I gotta do my job while he does his.</dialogue> <scene_description>CUT TO: CLOSE ON a lawn-mower blade shredding grass. WIDEN OUT to see a LANDSCAPER mowing the lawn of a bright green golf course at the edge of the barren, cracked desert.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY CLUB POOL - DAY</stage_direction> <scene_description>Alice, Bunny and Violet eat lunch by the pool of a CLASSIC COUNTRY CLUB: women tanning in stylish bathing suits and swim caps, KIDS sticky with popsicles, MEN in golf clothes or tennis whites wandering around the edges. WAITERS bring the women more drinks. One offers Violet COCONUT OIL, which she happily accepts. Bunny's daughter Jane is curled up on Alice's lap, explaining how her toy works. Alice listens warmly.</scene_description> <character>BUNNY</character> <dialogue>Jane! Go find your brothers. Let Alice eat.</dialogue> <scene_description>Violet watches as Jane kisses Alice and climbs awkwardly out of her lap, scurrying after the boys.</scene_description> <character>VIOLET</character> <dialogue>How many kids do you have?</dialogue> <character>ALICE</character> <dialogue>I don't have children.</dialogue> <scene_description>Violet reacts as if Alice just admitted to occasional murder.</scene_description> <character>VIOLET</character> <dialogue>Oh.</dialogue> <character>BUNNY</character> <dialogue>Don't get me started.</dialogue> <character>VIOLET</character> <dialogue>I'm so sorry.</dialogue> <character>ALICE</character> <dialogue>Don't apologize. It's just not what Jack and I want.</dialogue> <character>VIOLET</character> <parenthetical>(even more surprised)</parenthetical> <dialogue>It's on purpose? How?</dialogue> <parenthetical>(a little embarrassed)</parenthetical> <dialogue>I mean, he's so handsome, and he adores you, how do you stop yourself--</dialogue> <character>BUNNY</character> <dialogue>They don't. I'm next door, I hear everything. She and Jack just want each other for themselves. It's nauseating.</dialogue> <character>ALICE</character> <dialogue>Bunny's kids like me more than they like her, anyway.</dialogue> <character>BUNNY</character> <dialogue>That's true, and infuriating.</dialogue> <scene_description>Alice laughs as she watches Jane and Bunny's sons playing by the side of the pool. Behind them, a row of LADIES swim laps in matching SWIM CAPS with smiling faces on them.</scene_description> <character>VIOLET</character> <dialogue>I think three is the perfect number. Bill wants four.</dialogue> <character>BUNNY</character> <dialogue>Once they outnumber you, it's all the same. Having a second kid is like you're drowning and someone throws you a baby.</dialogue> <scene_description>As their heads dip in and out of the water, the faces on the swim caps MORPH into PAINED or SCREAMING faces. Alice blinks, startled-- but as the ladies come up for air one last time, the caps are back to normal.</scene_description> <character>BUNNY</character> <dialogue>Alice, how many babies should Violet have?</dialogue> <scene_description>Alice shakes off that moment, turning back to the women:</scene_description> <character>ALICE</character> <dialogue>At least five.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - THE NEXT DAY</stage_direction> <scene_description>TIGHT SHOTS of Alice's breakfast routine: EGG cracked, BACON fried, COFFEE poured, JACK kissed. She hands him his LUNCH.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Jack gone, Alice tackles her day. She WASHES her hands like a surgeon again, careful to work around her BANDAGE. -- She SCRUBS-- DUSTS-- VACUUMS-- SNAPS-- FOLDS--</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice wraps SARAN WRAP around leftovers, organizing the fridge. She pulls a big piece, then stares at it for a beat. Almost hypnotically, she wraps it around her face, smothering herself. She struggles to breathe against the clear plastic, mouth open, gasping-- she leaves it on a beat too long, then quickly frees herself. She stands there, rattled.</scene_description> </scene> <scene> <stage_direction>INT. BUS/EXT. STREET - DAY</stage_direction> <scene_description>Alice rides the bus. It pulls to a stop, but she doesn't get off. The Driver waits a beat, but she doesn't move. He pulls back on to the road.</scene_description> <character>BUS DRIVER</character> <dialogue>No shopping today?</dialogue> <character>ALICE</character> <dialogue>I'm just here for a joyride. Get some fresh air, get out of the house for a bit.</dialogue> <scene_description>The Driver winks at her.</scene_description> </scene> <scene> <stage_direction>INT. BUS/EXT. STREET - DAY</stage_direction> <scene_description>A HOUSEWIFE steps off at the last stop, at the very the edge of town. Alice is the only passenger left as the bus turns to make its way back into the heart of downtown. She stares out into empty desert beyond their little village. A single road leads out to the OASIS HEADQUARTERS, barely visible in the distance. Then she spots-- There's a plane in the sky above the Oasis Headquarters that's starting to falter. It dips, struggling to keep its nose up, dropping dangerously. It looks like it's out of control. She calls out without taking her eyes off of it--</scene_description> <character>ALICE</character> <dialogue>Sir? Do you see...</dialogue> <scene_description>It dips again, then suddenly plunges toward the ground, disappearing behind the Oasis building just as it would CRASH into the earth. Alice CRIES OUT--</scene_description> <character>ALICE</character> <dialogue>OH MY GOD!</dialogue> <character>BUS DRIVER</character> <dialogue>You alright, miss?</dialogue> <scene_description>Alice jumps to her feet and hurries up to the driver--</scene_description> <character>ALICE</character> <dialogue>Did you see that? That plane?!</dialogue> <scene_description>She points to where she saw it, but the sky is empty.</scene_description> <character>BUS DRIVER</character> <dialogue>I'm afraid I don't know what you--</dialogue> <character>ALICE</character> <dialogue>It crashed! A plane just crashed!</dialogue> <character>BUS DRIVER</character> <parenthetical>(squinting as he looks)</parenthetical> <dialogue>Are you sure?</dialogue> <character>ALICE</character> <dialogue>We have to see if anyone-- drive that way, I can show you where--</dialogue> <character>BUS DRIVER</character> <dialogue>I don't go that way.</dialogue> <character>ALICE</character> <dialogue>What?</dialogue> <character>BUS DRIVER</character> <dialogue>That's not my route. I have to return to town, make sure you girls get everything you need.</dialogue> <character>ALICE</character> <dialogue>That-- people could be hurt--</dialogue> <character>BUS DRIVER</character> <dialogue>I don't go that way.</dialogue> <character>ALICE</character> <dialogue>A plane crashed--</dialogue> <character>BUS DRIVER</character> <dialogue>That's not my route.</dialogue> <scene_description>Alice can't believe him. She grabs her bag and throws him an angry look as she dashes off the bus--</scene_description> <character>ALICE</character> <dialogue>I'll go myself.</dialogue> <scene_description>She starts racing toward where she saw the crash. The Driver stares at her for a long beat, then slowly turns the bus back to town.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAY</stage_direction> <scene_description>Alice hurries toward the looming Oasis Headquarters, sweating in the sun. She passes a SIGN -- WARNING! Hazardous Materials Ahead. Security Personnel Only -- but keeps going. A lot more WARNING SIGNS wait ahead.</scene_description> </scene> <scene> <stage_direction>EXT. OASIS PROJECT HEADQUARTERS - DAY</stage_direction> <scene_description>Alice finally approaches the OASIS HEADQUARTERS. Most of the facility is underground -- an industrial, concrete above-ground structure is the only entrance. Alice searches for any sign of the plane -- but she doesn't see anything. No debris, no smoke. No one is here at all. There's a DOORWAY to the building, but no other windows, no identifiable signs. Alice calls out:</scene_description> <character>ALICE</character> <dialogue>Hello?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Anyone?! There's been an accident!</dialogue> <scene_description>She stares at the door. She knows they're not supposed to go inside. But she takes a breath, then a step, and pushes the door open, and suddenly-- We SMASH CUT TO Alice's PUPIL DILATING-- then it's-- FULL SENSORY OVERLOAD Strobing lights-- a horrible indefinable noise-- it's frantic and chaotic and overwhelming. In ALICE'S POV-- colors and shapes start to come into focus-- IMAGES are being projected on the walls and on her body. She tries to move her arms but they're being held down-- CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Lights from the TV (the original Alice in Wonderland cartoon) flash on Alice's face as she snaps awake, SCREAMING, on the couch. Jack runs in from the kitchen, holding a pan--</scene_description> <character>JACK</character> <dialogue>What?! What! Are you okay?!</dialogue> <scene_description>Alice scrambles to her feet, pulling at her arms as if there are still ropes there. Jack drops the pan and holds her, a little freaked out--</scene_description> <character>JACK</character> <dialogue>You're okay. Alice, honey. HONEY.</dialogue> <character>ALICE</character> <dialogue>What happened?!</dialogue> <character>JACK</character> <dialogue>Just calm down. You had a bad dream.</dialogue> <scene_description>He gently pushes her back down to the couch.</scene_description> <character>ALICE</character> <dialogue>No. No no no--</dialogue> <character>JACK</character> <dialogue>Yes, you're okay.</dialogue> <character>ALICE</character> <dialogue>That-- when did you get here?</dialogue> <character>JACK</character> <dialogue>A few hours ago. You were asleep on the couch. I figured you weren't feeling well.</dialogue> <character>ALICE</character> <dialogue>How did I get home?</dialogue> <character>JACK</character> <dialogue>The bus.</dialogue> <character>ALICE</character> <dialogue>He came out and got me?</dialogue> <character>JACK</character> <parenthetical>(confused)</parenthetical> <dialogue>It took you home from town. The driver stopped by an hour ago to check on you. He said you were acting strange when he dropped you off.</dialogue> <character>ALICE</character> <dialogue>No, I got off the bus. There was a plane crash, I went to help...</dialogue> <character>JACK</character> <dialogue>A plane crash?</dialogue> <character>ALICE</character> <dialogue>I saw it--</dialogue> <character>JACK</character> <dialogue>Baby, I would've heard if a plane had crashed.</dialogue> <parenthetical>(he touches her forehead)</parenthetical> <dialogue>What did you eat today?</dialogue> <scene_description>Alice's head is spinning.</scene_description> <character>ALICE</character> <dialogue>The driver brought me here?</dialogue> <character>JACK</character> <dialogue>Yes. And you've been out like a light since then.</dialogue> <scene_description>Alice finally registers the pan he had been holding.</scene_description> <character>ALICE</character> <dialogue>Were you cooking?</dialogue> <character>JACK</character> <dialogue>Well, yeah. There was no dinner. I had to fend for myself.</dialogue> <parenthetical>(then, admitting)</parenthetical> <dialogue>It's a disaster. I think you might have to buy new pans.</dialogue> <scene_description>Alice laughs despite herself and stands.</scene_description> <character>ALICE</character> <dialogue>Let me make you something. You must be starving.</dialogue> <scene_description>Jack sits back, watching happily as Alice hurries into the kitchen. He calls after her:</scene_description> <character>JACK</character> <dialogue>I'd love a steak.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - ALICE AND JACK'S HOUSE - THE NEXT DAY</stage_direction> <scene_description>Alice showers, mind wandering. She starts washing her hair, unraveling the bandage on her hand so it doesn't get wet, stopping in her tracks when she sees-- Her cut has turned black. The skin is rotting away, revealing new skin underneath. Alice studies it, horrified-- Suddenly the shower curtain's YANKED back. Alice jumps. Jack pokes his head in, dressed for work--</scene_description> <character>JACK</character> <dialogue>I'm heading out. Love you.</dialogue> <scene_description>Alice tries to hide her hand behind her. We can't tell if Jack clocks it. She kisses him goodbye.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice finishes re-wrapping her bandage when she hears--</scene_description> <character>BUNNY (O.S.)</character> <dialogue>Is she awake?</dialogue> <scene_description>Alice goes to the window-- Bunny and Violet are chatting in Bunny's yard. Bunny waves, calling out:</scene_description> <character>BUNNY</character> <dialogue>Look who decided to join the land of the living. I heard you hit the sauce last night!</dialogue> <scene_description>Alice flinches, but covers, calling through the glass:</scene_description> <character>ALICE</character> <dialogue>It's what I get for trying to keep up with y--</dialogue> <scene_description>She stops mid-word. There's another plane in the sky behind Bunny and Violet. It's faltering and dipping like the last one, plunging then desperately trying to right itself.</scene_description> <character>ALICE</character> <dialogue>No...</dialogue> <scene_description>It starts to drop out of the sky. Alice bangs on the glass, trying to get Violet and Bunny to notice, but they're chatting obliviously.</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Bunny and Violet are back to chatting casually. The plane falls behind them. Alice bursts out of her house just as-- The plane violently plummets to the ground out in the desert, by Oasis. Alice gasps, horrified. Bunny and Violet jump, startled, then turn behind them to where Alice is looking, but they don't see anything. Bunny turns back, worried--</scene_description> <character>BUNNY</character> <dialogue>What?!</dialogue> <character>ALICE</character> <dialogue>You didn't see...</dialogue> <scene_description>Alice hesitates. Bunny and Violet search her face, concerned. For some reason, she feels exposed.</scene_description> <character>ALICE</character> <dialogue>I'm sorry. I had a really weird night. I think it was a migraine, or something. And I thought I saw... Sorry.</dialogue> <character>BUNNY</character> <parenthetical>(deadly serious)</parenthetical> <dialogue>Don't lie to us.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You're having an affair with the bus driver.</dialogue> <scene_description>Violet laughs. Alice forces a laugh.</scene_description> <character>ALICE</character> <dialogue>I tried to deny it for so long...</dialogue> <character>VIOLET</character> <parenthetical>(trying too hard to get in on the joke)</parenthetical> <dialogue>Your secret is safe with us.</dialogue> <scene_description>Violet sees something behind Alice and her face falls.</scene_description> <character>VIOLET</character> <dialogue>Does she live right behind you?</dialogue> <scene_description>Alice and Bunny follow her gaze-- to Margaret, who's standing in her yard just behind Alice's.</scene_description> <character>BUNNY</character> <dialogue>Yes, lucky us.</dialogue> <scene_description>Margaret is staring at Alice. Then she turns to look exactly where the plane just crashed. Alice's stomach drops. She forces herself to look away from Margaret, putting on a cheery face:</scene_description> <character>ALICE</character> <dialogue>Anyone headed to town?</dialogue> </scene> <scene> <stage_direction>INT. TOWN MARKET - DAY</stage_direction> <scene_description>Alice unloads her basket at the register, zoning out. She picks up a BRIGHT RED APPLE, studying its shine.</scene_description> <character>MARKET CHECKOUT LADY</character> <dialogue>Anything I can help you with?</dialogue> <scene_description>Alice looks up at her.</scene_description> <character>ALICE</character> <dialogue>Where does this come from?</dialogue> <character>MARKET CHECKOUT LADY</character> <dialogue>The produce aisle.</dialogue> <character>ALICE</character> <dialogue>No, where does it actually come from?</dialogue> <scene_description>The Market Checkout Lady looks at her blankly.</scene_description> <character>ALICE</character> <dialogue>They ship all of this food in from somewhere. Where does it come from? Why can't we grow it here?</dialogue> <character>MARKET CHECKOUT LADY</character> <dialogue>Well, we only want the best at Oasis. Our produce comes fresh from all corners of the world--</dialogue> <character>ALICE</character> <dialogue>There are no living things here, at all. No food, no animals... why can't we grow anything here?</dialogue> <scene_description>She gestures behind her and hits a GLASS BOTTLE, which falls, SMASHING on the ground. Everyone turns to stare at her. Alice reddens. Everyone keeps staring at her. Suddenly the market starts RUMBLING with another TREMOR. There's a quiet ROAR of glass and tin and packaging as all the goods in the market shake. Then the lights begin FLICKERING. Suddenly all the EMPLOYEES and CHILDREN in the store turn and look at Alice. They open their mouths HIDEOUSLY WIDE-- but instead of a scream, a terrible, screeching electronic sound comes out. The rumbling stops even more suddenly than it started. Everyone looks normal again. The other Housewives adjust themselves, then head back to their shopping.</scene_description> <character>VOICE OVER LOUDSPEAKER (O.S.)</character> <dialogue>Hold on to your hats, ladies. That was a little bigger than we're used to. But at these prices, our Betty Crocker cake mix is gonna be flying off the shelves no matter what...</dialogue> <scene_description>Alice leaves her basket at the register and runs outside.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice pours herself a glass of water, trying not to freak out. She's about to drink-- then stops, putting the glass back on the counter, staring at it. Then she looks outside.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice walks to the fence dividing her yard from Margaret's.</scene_description> <character>ALICE</character> <dialogue>Margaret?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Are you home?</dialogue> <scene_description>She hears a strange sound. Then hears it again-- it's coming from above. Alice looks up. Margaret is standing on her own roof.</scene_description> <character>ALICE</character> <parenthetical>(alarmed)</parenthetical> <dialogue>Margaret? What are you doing?</dialogue> <scene_description>Margaret looks down at her. Smiles. Spreads her arms. And falls forward off the roof.</scene_description> <character>ALICE</character> <dialogue>NO NO NO--</dialogue> <scene_description>Alice flinches and turns away just as Margaret's body lands on the spikes of the WHITE PICKET FENCE with a horrifying SQUELCH. She looks back to see the bright red blood splatters across the fence and the roses. Alice SCREAMS. She moves toward Margaret-- When suddenly her feet are off the ground-- a MAIL MAN has appeared and picked her up, pulling her away from the body. Alice flails as more SERVICE MEN -- a MILK MAN, a GARBAGE MAN, a DELIVERY MAN -- suddenly appear around Margaret, tending to her, and the Mail Man drags Alice away.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice and Jack are mid-argument. Alice is pacing, heated.</scene_description> <character>JACK</character> <dialogue>You need to settle down--</dialogue> <character>ALICE</character> <dialogue>There is no way she's fine!</dialogue> <character>JACK</character> <dialogue>I don't know what to tell you! Ted's with her at the hospital right now, he said she just needs a few stitches.</dialogue> <character>ALICE</character> <dialogue>Ted is lying to you. She jumped. She did it on purpose--</dialogue> <character>JACK</character> <dialogue>She slipped cleaning the window. It was an accident.</dialogue> <character>ALICE</character> <dialogue>Jack, I saw her. I saw her hit that fence.</dialogue> <character>JACK</character> <dialogue>You probably saw what you were worried would happen--</dialogue> <character>ALICE</character> <dialogue>(shaking her head)</dialogue> <character>JACK</character> <dialogue>She fell and you imagined the</dialogue> <scene_description>No. No-- worst case scenario--</scene_description> <character>ALICE</character> <dialogue>I heard it! I heard her body break!</dialogue> <character>JACK</character> <dialogue>Please don't get dramatic.</dialogue> <character>ALICE</character> <dialogue>She wanted me to see.</dialogue> <character>JACK</character> <dialogue>Alice, stop.</dialogue> <character>ALICE</character> <dialogue>Why would they lie about what happened? What are they hiding? There's something off here, there's something wrong--</dialogue> <character>JACK</character> <dialogue>Don't do this.</dialogue> <character>ALICE</character> <dialogue>What are you doing at Oasis?</dialogue> <character>JACK</character> <dialogue>You know what I do. I'm a technical engineer.</dialogue> <character>ALICE</character> <dialogue>But you don't know what they're doing. What the effects of their work might be on the people who live here, or the land--</dialogue> <character>JACK</character> <dialogue>STOP IT.</dialogue> <scene_description>His tone startles her. He's genuinely mad.</scene_description> <character>JACK</character> <dialogue>Do you know how hard I've worked to get here? I'm finally at the precipice of something and you are risking everything! What do you need? Attention? What more can I give you? You're acting delusional!</dialogue> <scene_description>He reaches for her bandage. Alice pulls her hand away--</scene_description> <character>ALICE</character> <dialogue>No--</dialogue> <scene_description>Jack pins her and RIPS it off to see-- the wound is gone. Completely. There's no black, there's not even a scar.</scene_description> <character>JACK</character> <dialogue>You are fine. You're fine.</dialogue> <scene_description>Alice stares at it, astonished.</scene_description> <character>JACK</character> <dialogue>You have to get a hold of yourself. Do not do this to me.</dialogue> <scene_description>He has to stop himself from going farther and marches off, pissed. Alice stands there, reeling.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice stands in the kitchen in her nightgown, staring out the window toward Margaret's house. She walks past Jack sleeping on the couch. She stops, looks at him for a beat, and keeps going.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>Alice's barefoot feet walk the empty, moonlit streets of Oasis.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH DIVE - COUNTRY CLUB - NIGHT</stage_direction> <scene_description>Alice climbs the ladder to the top of the HIGH DIVE. She reaches the top and walks carefully out to the edge of the diving board. She closes her eyes and spreads her arms the way Margaret did just before she jumped. Suddenly-- the POOL LIGHTS COME ON. It startles Alice, who suddenly realizes the pool below her is empty. It's been drained of water, it's just a concrete pit. She loses her balance, falling off the board-- she tumbles through the air, toward the concrete-- SMACK.</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - NIGHT</stage_direction> <scene_description>Alice hits the surface of the water with a violent SLAP. She twists underwater, screaming.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY CLUB POOL - DAY</stage_direction> <scene_description>Alice surfaces, taking in a breath. She's just been swimming laps in the club pool. She climbs out and walks over to Bunny, Violet, Peg and Shelley and a few other HOUSEWIVES are having a boozy lunch, lounging in chairs by the pool.</scene_description> <character>PEG</character> <dialogue>...PJ still fits into the pants I bought him last Christmas.</dialogue> <character>SHELLEY</character> <dialogue>I don't ever want them to grow up. This is the cutest age.</dialogue> <scene_description>Alice takes a towel, drying herself off.</scene_description> <character>SHELLEY</character> <dialogue>You'll see, Alice. Once you have kids, you won't even be able to remember your life before them.</dialogue> <scene_description>Bunny watches Alice cautiously as Shelley stretches luxuriously in the sun.</scene_description> <character>SHELLEY</character> <dialogue>How lucky are we, ladies? Our men lug off to work all day and we get to lounge by the pool. We can't ever let them figure out how much we've got it made.</dialogue> <scene_description>The other women laugh. Alice doesn't.</scene_description> <character>SHELLEY</character> <dialogue>Seriously, though. Out there, we couldn't live like this. Hopefully soon the whole world will look like Oasis.</dialogue> <character>ALICE</character> <dialogue>Have you ever left, Shelley?</dialogue> <scene_description>Everyone turns to Alice, surprised.</scene_description> <character>SHELLEY</character> <dialogue>What do you mean?</dialogue> <character>ALICE</character> <dialogue>Since you've been here. Have you left? Gone on vacation?</dialogue> <character>SHELLEY</character> <parenthetical>(laughs, gesturing around)</parenthetical> <dialogue>Why would I need a vacation?</dialogue> <character>PEG</character> <dialogue>Oh my God.</dialogue> <scene_description>She points to the other side of the club. The other women jump up, squealing excitedly. At first Alice can't see what they're looking at, but the crowd parts and she realizes-- It's Margaret. And she looks completely fine. Better than fine-- sublime. She's glowing, happy, basking in everyone's attention, totally different from how we've seen her before. Alice's heart pounds. She grabs a towel and walks over to the crowd. Margaret's bouncy and bright as she recounts her saga to an eager audience:</scene_description> <character>MARGARET</character> <dialogue>It was mortifying. I tore my dress, the mail man found me--</dialogue> <character>VIOLET</character> <dialogue>You look amazing!</dialogue> <character>MARGARET</character> <dialogue>Thank you...</dialogue> <scene_description>Margaret stares at Violet, not remembering her.</scene_description> <character>SHELLEY</character> <dialogue>That's Violet, honey.</dialogue> <character>MARGARET</character> <dialogue>Violet. Of course.</dialogue> <parenthetical>(then, apologetic)</parenthetical> <dialogue>I'm having trouble remembering, but I know I need to apologize for the way I've been behaving since...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Ted told me some of the things I've done, and--</dialogue> <character>SHELLEY</character> <dialogue>Please. We're just happy to have you back.</dialogue> <character>MARGARET</character> <dialogue>Dr. Collins is a miracle worker. Ten stitches and an icepack--</dialogue> <character>ALICE</character> <dialogue>Margaret.</dialogue> <scene_description>She says it a little too sharply, a little too loudly. The other women jump, surprised.</scene_description> <character>ALICE</character> <dialogue>Can I talk to you for a second?</dialogue> <scene_description>AWAY FROM THE OTHERS Alice pulls Margaret a few feet away from the other women, trying to stay calm as she whispers:</scene_description> <character>ALICE</character> <dialogue>What the hell happened?</dialogue> <character>MARGARET</character> <dialogue>I was trying to clean the outside of our windows, like an idiot--</dialogue> <character>ALICE</character> <dialogue>Why are you acting like this?</dialogue> <character>MARGARET</character> <dialogue>Like what?</dialogue> <character>ALICE</character> <dialogue>Margaret.</dialogue> <parenthetical>(searching her face)</parenthetical> <dialogue>You jumped.</dialogue> <scene_description>Margaret laughs.</scene_description> <character>MARGARET</character> <dialogue>I wish I'd jumped! I would've landed better.</dialogue> <character>ALICE</character> <dialogue>You looked at me. And you hit the fence, there was blood everywhere, it wasn't just ten stitches--</dialogue> <scene_description>Margaret looks back at the other women and gives them a weird, almost "help me" look. That snaps something in Alice. She grabs Margaret's arm, hard.</scene_description> <character>ALICE</character> <dialogue>I know you're lying.</dialogue> <character>MARGARET</character> <dialogue>I'm going to get some lunch--</dialogue> <scene_description>Margaret tries to get her hand away but Alice won't let go. Shelley walks over, warm but discreet.</scene_description> <character>SHELLEY</character> <dialogue>Alice, are you all right?</dialogue> <character>ALICE</character> <dialogue>Tell me the truth!</dialogue> <scene_description>A COUNTRY CLUB STAFF MEMBER approaches.</scene_description> <character>COUNTRY CLUB STAFF MEMBER</character> <dialogue>Ma'am, please take this elsewhere, or we'll be forced to call your husband.</dialogue> <character>SHELLEY</character> <dialogue>Honey, why don't you get out of the sun for a bit. I think it's getting to your head.</dialogue> <scene_description>Alice realizes that everyone is watching her. Bunny gives her a "what are you doing?" look. Alice drops Margaret's hand and clears her throat, walking away.</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH - COUNTRY CLUB - DAY</stage_direction> <scene_description>Alice takes a slip of paper out of her bag. It's a phone number: "emergencies only." Alice dials and waits as it rings, her face oddly determined. Finally someone answers:</scene_description> <character>ALICE</character> <dialogue>Jack?</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE - DAY</stage_direction> <scene_description>CLOSE on the DIAL of a BLOOD PRESSURE CUFF tightening around Alice's arm. A nervous Jack and Alice sit with DR. COLLINS (50s, cheerful, patronizing).</scene_description> <character>JACK</character> <dialogue>Is there a bug going around?</dialogue> <character>DR. COLLINS</character> <dialogue>Not that I know of. I think this is just run-of-the-mill exhaustion.</dialogue> <parenthetical>(removing the cuff)</parenthetical> <dialogue>Have you had any new stresses or pressures lately?</dialogue> <character>ALICE</character> <dialogue>No.</dialogue> <character>JACK</character> <dialogue>She saw Ted's wife Margaret fall. Maybe it's shock.</dialogue> <character>DR. COLLINS</character> <dialogue>That was quite a tumble. She was so embarrassed.</dialogue> <character>ALICE</character> <dialogue>What exactly happened to her?</dialogue> <character>DR. COLLINS</character> <dialogue>Pardon?</dialogue> <character>ALICE</character> <dialogue>I know she got ten stitches. Where were they? Where did she hurt herself?</dialogue> <scene_description>Dr. Collins laughs good-naturedly.</scene_description> <character>DR. COLLINS</character> <dialogue>You wouldn't want me sharing details of your treatment with other patients, would you?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm gonna prescribe the same pills we gave you before.</dialogue> <character>ALICE</character> <dialogue>I don't think I need those. They made me groggy. I couldn't think.</dialogue> <character>DR. COLLINS</character> <dialogue>They're precautionary. To keep you calm.</dialogue> <character>JACK</character> <dialogue>How long would she have to take them? Just a few days?</dialogue> <character>ALICE</character> <dialogue>Could it be something in the water?</dialogue> <character>DR. COLLINS</character> <parenthetical>(a beat)</parenthetical> <dialogue>The water?</dialogue> <character>ALICE</character> <dialogue>Or the air? Or whatever causes those earthquakes?</dialogue> <scene_description>Dr. Collins just watches her for a beat. Then:</scene_description> <character>DR. COLLINS</character> <dialogue>Hmm.</dialogue> <character>ALICE</character> <dialogue>What?</dialogue> <character>DR. COLLINS</character> <dialogue>Margaret asked me that same question.</dialogue> <scene_description>His voice technically sounds the same, but something in the room has shifted.</scene_description> <character>DR. COLLINS</character> <dialogue>She was also having trouble sleeping. Are you having any trouble sleeping? Any bad dreams?</dialogue> <scene_description>He clicks his pen to take notes. Alice steals a glance at Jack. They're both suddenly on high alert. A record of Alice behaving like Margaret isn't something either of them want.</scene_description> <character>ALICE</character> <dialogue>No. Nothing like that.</dialogue> <parenthetical>(then, carefully)</parenthetical> <dialogue>You're probably right. I'm most likely just exhausted.</dialogue> <scene_description>Dr. Collins pats her knee.</scene_description> <character>DR. COLLINS</character> <dialogue>We're gonna get you squared away.</dialogue> <parenthetical>(standing)</parenthetical> <dialogue>You two lovebirds wait here and I'll grab your medication. Nurse Collins will drive you home.</dialogue> <scene_description>NURSE COLLINS, Dr. Collins's Head Nurse and wife, appears behind Dr. Collins, smiling happily.</scene_description> </scene> <scene> <stage_direction>INT. NURSE COLLINS'S CAR/EXT. STREET - DAY</stage_direction> <scene_description>Alice sits in the backseat, head against the window, as Nurse Collins gets in the front seat. She sits up when she sees-- Jack, arguing with Dr. Collins in the parking lot. She unrolls her window, just able to faintly hear:</scene_description> <character>DR. COLLINS</character> <dialogue>You're being reckless.</dialogue> <character>JACK</character> <dialogue>It's not necessary!</dialogue> <scene_description>Nurse Collins turns the ENGINE on, drowning out the conversation. Alice tries to open the door, but it's locked.</scene_description> <character>ALICE</character> <dialogue>I need to hop out for a second.</dialogue> <character>NURSE COLLINS</character> <parenthetical>(pleasantly)</parenthetical> <dialogue>Dr. Collins said I was to take you straight home.</dialogue> <character>ALICE</character> <dialogue>It's important, I need to ask my husband something.</dialogue> <scene_description>Alice yanks at the door. Nurse Collins just smiles.</scene_description> <character>NURSE COLLINS</character> <dialogue>Rest and relaxation, that's what you need.</dialogue> <character>ALICE</character> <dialogue>Please. Please let me out--</dialogue> <character>NURSE COLLINS</character> <dialogue>Doctor's orders!</dialogue> <scene_description>She drives away. Alice turns around to watch Jack and Dr. Collins continue arguing as they get smaller in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice walks up to her front door. Nurse Collins waits in her car, watching. She doesn't pull away until Alice is inside.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice stands in her backyard, staring at Margaret's roof. She walks over toward the fence where Margaret fell. There's no blood, no marking, no evidence at all. Maybe she did imagine it. She reaches out and touches the fence-- and when she brings her fingers back, they're covered in wet, white paint. The fence has been repainted. Alice stumbles back. She wasn't crazy. She turns to look toward Oasis. Then she walks over to Bunny's yard, trying to seem casual, eyes darting around to make sure she's not being watched. One of Bunny's kids BIKES has been discarded in the yard. Alice picks it up and is about to swing her leg over it when--</scene_description> <character>BUNNY'S SON FRED (O.S.)</character> <parenthetical>(singing)</parenthetical> <dialogue>Merrily merrily merrily merrily...</dialogue> <scene_description>Bunny's son Fred is swinging on their swing set, his back to Alice, singing the same line over and over:</scene_description> <character>BUNNY'S SON FRED</character> <parenthetical>(singing)</parenthetical> <dialogue>Merrily merrily merrily merrily...</dialogue> <scene_description>Alice looks around, but it seems like no one else is home. Fred's alone. Alice approaches him, uneasy.</scene_description> <character>ALICE</character> <dialogue>Honey? Where's your mom?</dialogue> <character>BUNNY'S SON FRED</character> <parenthetical>(singing)</parenthetical> <dialogue>Merrily merrily merrily merrily...</dialogue> <character>ALICE</character> <dialogue>Fred--</dialogue> <scene_description>She touches his shoulder to stop him swinging. He turns to her-- and his mouth opens in a horrifying scream, emitting the same terrible electronic screech she heard in the market. Alice staggers back. He reaches for her hand sweetly, but Alice backs away, scared, and jumps on the bike, furiously pedaling away.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAY</stage_direction> <scene_description>Alice bikes down the empty road toward Oasis Headquarters, the town disappearing behind her.</scene_description> </scene> <scene> <stage_direction>EXT. OASIS HEADQUARTERS - DAY</stage_direction> <scene_description>Alice pedals on dead-tired legs, finally here. She drops the bike, it's wheels still spinning on the ground. She walks up to the doorway. She looks around, takes a deep breath, steels herself, and pushes the door open and we SMASH CUT TO-- HER PUPIL DILATING -- AND IT'S SENSORY OVERLOAD AGAIN We're in ALICE'S POV-- the lights are too bright, moving and flashing-- everything's too loud-- Then lights and colors start to come into focus. She slowly takes in her surroundings. IMAGES are being projected on to Alice and the PLASTIC CURTAINS surrounding what feels like a little corner of the room. She's lying on a bed, in a white nightgown. She's paler, gaunt, not in 50's style. Two IV's run from her arm to a simple machine with an elegant screen. She slowly sits up, blinking in the chaos of the images, trying to make them out. Some of them are 1950's advertisements: A man blowing cigarette smoke into an eager woman's face: Blow in her face and she'll follow you anywhere. A husband hugging his embarrassed wife: Don't Worry Darling, You Didn't Burn the Beer! A wife bent over her husband's knee, his arm raised to spank her: If he finds out you didn't buy Sanborn! The ceiling is covered in moving black-and-white patterns-- which she realizes are Busby Berkeley dancers. These are the same dancers from her dreams. Alice's head spins. She struggles to move, like a fawn discovering its limbs. She's restrained by the IV's in her arm and another cord-- running up to a small white implant attached to her skull, just under her ear. Alice pulls at the cords, alarmed. Then she notices an elegant IPAD-LIKE DEVICE resting on top of the machine she's connected to. She picks it up-- it's monitoring information of some kind. It looks medical. In the corner is a photo of...herself? A small one, like an Avatar. She looks different in a way she can't describe. She touches it-- and the screen CHANGES. Two photos show up, a MAN and WOMAN, captioned "NEW USERS: BOB AND KATHY." Alice stares at the device like it's witchcraft. She touches it again-- and a VIDEO starts playing. It's the tourism video from the opening, just where we left it: a group of FRIENDS drinking and laughing by the pool, just as Frank walks onscreen. Alice jumps back at the sight of him.</scene_description> <character>FRANK</character> <dialogue>It may be remote, but we have a feeling that once you arrive, you'll never want to leave.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Your acceptance into this brotherhood is no small feat. You've passed multiple background and psychological tests, and have proven your dedication and loyalty to our cause and way of life.</dialogue> <scene_description>Alice looks around the room, panicking. Where the fuck is she? She studies the machine -- it's too hard to read, DOTS and charts everywhere--</scene_description> <character>FRANK</character> <dialogue>But this acceptance is not tenured. There are rules, and punishments if you or your loved one breaks those rules. You can move up in our organization by recruiting others to join our community--</dialogue> <scene_description>She tries to stand, but her legs are so weak that when she puts pressure on her right foot, her ankle TWISTS. She falls, hitting her head on the machine behind her on the way down and PASSING OUT COLD as we CUT TO-- UNDERWATER The rippling surface of a body of water. REVEAL Alice is underwater, eyes wide, terrified. She opens her mouth to breath, realizes she can't, and sits up--</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>In her bathtub, gasping for a breath. She pants, choking on air, fighting tears as she feels her body, tries to understand where she is and what just happened-- A happy Jack enters, in a TUXEDO, buttoning his cuffs--</scene_description> <character>JACK</character> <dialogue>I might ask Shelley to dance at some point, if it feels like the--</dialogue> <scene_description>He stops, surprised, when he sees her in the tub.</scene_description> <character>JACK</character> <dialogue>How long do you need to get ready? We're gonna be late.</dialogue> <scene_description>Alice catches her breath, leaning back, covering her face. She manages to nod. Jack takes her in, still awed by her.</scene_description> <character>JACK</character> <dialogue>You look incredible.</dialogue> <parenthetical>(then, mischievous)</parenthetical> <dialogue>I've been thinking we should try something kind of crazy.</dialogue> <scene_description>He squeezes her thigh, rubs his hand down it. Alice can't even think about sex right n--</scene_description> <character>JACK</character> <dialogue>Let's have a baby.</dialogue> <scene_description>He couldn't have stunned her more if he'd smacked her.</scene_description> <character>ALICE</character> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>I mean, not right this second, obviously, we don't have time. But...I love you, and I want more of you, and now I think I want a little you. I don't know. It'd be an adventure.</dialogue> <scene_description>He stands and starts to leave, then stops, remembering:</scene_description> <character>JACK</character> <dialogue>Oh, here.</dialogue> <scene_description>He hands her -- a pill. Alice stares at him for a beat, then takes it and puts it in her mouth. As soon as he's gone, she spits out the pill and pulls the bath's plug, letting it dissolve as the water drains. She submerges herself back underwater as we CUT TO-- A SINGER'S FACE On stage, in a spotlight, performing into a microphone. We are...</scene_description> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>This is the biggest event of the year-- a boisterous, rowdy black tie affair. The whole town is here, drinking and dancing and letting loose. A classic 50's BIG BAND, led by the singer, plays in the iconic CLAMSHELL stage in front of a small dance floor, the rest of the room filled with beautifully-set tables. Alice and Jack walk in. Alice is overwhelmed by the room-- everything is too loud, too much. She clutches Jack's arm, trying not to panic, anxious and paranoid. AT THEIR TABLE Alice and Jack arrive to cheers from Bunny and Dean, Peg and Peter, and Violet and Bill. This is the fun table, already deep into their drinks. Peter and Peg dance in place as Bunny has Violet twirl to show off her dress:</scene_description> <character>BUNNY</character> <dialogue>How good does that look on her?! Bill better watch out. It fits better than it did in the store!</dialogue> <scene_description>Violet blushes, pleased, as Peg looks between them:</scene_description> <character>PEG</character> <dialogue>You guys went shopping together? All of you? As a group?</dialogue> <parenthetical>(too brightly)</parenthetical> <dialogue>That's fun.</dialogue> <scene_description>Dean is making Bill chug from a bottle of champagne. He chokes on the bubbles but keeps going, spilling on his shirt. Jack cheers him on as he hands Alice a glass of champagne. She takes it just to hold something, as--</scene_description> <character>SHELLEY (O.S.)</character> <dialogue>Here are the troublemakers.</dialogue> <scene_description>Shelley walks up, making the rounds.</scene_description> <character>SHELLEY</character> <dialogue>I don't know how we're allowed to put you all at one table.</dialogue> <character>JACK</character> <dialogue>It's probably better for insurance purposes.</dialogue> <scene_description>Shelley touches Alice's arm softly.</scene_description> <character>SHELLEY</character> <dialogue>Alice, how are you feeling?</dialogue> <scene_description>Shelley says it pleasantly, but it feels loaded.</scene_description> <character>ALICE</character> <dialogue>I'm great.</dialogue> <character>SHELLEY</character> <dialogue>If I hear glass breaking, I'm coming right here.</dialogue> <scene_description>Everybody laughs too hard as Shelley moves on to the next table. Alice watches her go-- then sees Margaret, giggling and flirting with Ted, charming everyone at their table. Ted's beaming, relaxed, back in everyone's good graces. She watches Margaret kiss Ted on the cheek and walk over to the BAR. Alice turns to Jack, shouting over the music:</scene_description> <character>ALICE</character> <dialogue>I'll be right back.</dialogue> <scene_description>BY THE BAR Margaret takes two drinks from the bartender just as Alice walks up behind her. Margaret turns and sees her, trapped.</scene_description> <character>MARGARET</character> <dialogue>Oh, hi. I'm just going to bring these back to Ted--</dialogue> <character>ALICE</character> <dialogue>You can tell me whatever's going on.</dialogue> <scene_description>Alice is trying to look her in the eye, but Margaret won't hold her gaze.</scene_description> <character>ALICE</character> <parenthetical>(quietly)</parenthetical> <dialogue>I do have bad dreams. I know they're hiding something. I know something's out there. What are they making you cover up?</dialogue> <scene_description>Margaret's looking at Alice the way they all used to look at Margaret: like her crazy might be contagious.</scene_description> <character>MARGARET</character> <dialogue>I need to go find my husband.</dialogue> <scene_description>Margaret walks away. Alice turns back to see Jack has been watching the whole thing. He looks disconcerted. Suddenly the BAND PLAYS A HEROIC CUE... because Frank has walked on stage, taking the mic to say a few words. Alice walks back to her table, sitting close to Jack.</scene_description> <character>FRANK</character> <dialogue>Just wanted to say thank you to everyone for coming out. This is my favorite night of the year. I love being all together under one roof, I love seeing who can no longer fit in their tuxedos, but mostly I love looking back on how far we've come.</dialogue> <scene_description>Alice looks around the room. Everyone is watching Frank with total devotion. They're all enraptured.</scene_description> <character>FRANK</character> <dialogue>It's amazing to see how much we've grown. And I'm happy to say that we're still growing, even tonight. We've set the bar terribly high for their first night in town, but I'd like to take this opportunity to introduce our newest hire and his beautiful wife, Bob and Kathy King.</dialogue> <scene_description>An elated man, BOB, and his sheepish wife, KATHY, walk out, holding hands, waving to everyone. The room applauds warmly. Alice's stomach drops. These are the people from the "NEW USER" photo she saw. Alice grabs Jack's arm, hard.</scene_description> <character>ALICE</character> <dialogue>Jack, I need to go home.</dialogue> <character>JACK</character> <dialogue>What? We just got here.</dialogue> <character>FRANK</character> <parenthetical>(to Bob and Kathy)</parenthetical> <dialogue>Welcome to Oasis. We do this every Saturday.</dialogue> <scene_description>The crowd LAUGHS -- and suddenly they all have no teeth. It looks horrifying. Alice is spinning out. She squeezes her eyes shut-- when they open, everyone looks normal again. She grabs Jack again--</scene_description> <character>ALICE</character> <dialogue>We need to get out of here.</dialogue> <character>JACK</character> <dialogue>We'll get you a drink...</dialogue> <scene_description>Frank's watching them. He grins.</scene_description> <character>FRANK</character> <dialogue>Now, if I could have Jack come up here for a minute.</dialogue> <scene_description>Jack blinks, startled. Their whole table is amazed. Alice grabs his hand, distressed, whispering to him--</scene_description> <character>ALICE</character> <dialogue>Please. Please let's just go.</dialogue> <scene_description>Jack looks from Alice to Frank, beckoning him on stage. He looks at her like "what am I supposed to do?" Then pulls his hand away, jumping to his feet and hurrying to the stage.</scene_description> <character>ALICE</character> <parenthetical>(desperate)</parenthetical> <dialogue>Jack...</dialogue> <scene_description>Alice watches helplessly as Jack hops on stage next to Frank. He's blushing, jittery with nerves.</scene_description> <character>FRANK</character> <dialogue>Bob's going to have big shoes to fill. He'll be taking over for Jack, as I'm pleased to announce that Jack is being promoted to Senior Technology Manager.</dialogue> <scene_description>Their table erupts in CHEERS. Jack shakes Frank's hand, giddy. Alice starts hyperventilating. She can't catch her breath. She runs out of the room. Bunny watches, concerned.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Alice pushes open the bathroom door, still gasping. A beat later Bunny follows her in--</scene_description> <character>BUNNY</character> <dialogue>What has gotten into you? Jack--</dialogue> <scene_description>Alice grabs her, wild and desperate.</scene_description> <character>ALICE</character> <dialogue>Something bad is happening. Something is deeply, deeply wrong with this town. And with Frank. Oasis is doing something wrong or it's covering up something wrong--</dialogue> <scene_description>Bunny's momentarily stunned by Alice's intensity.</scene_description> <character>BUNNY</character> <dialogue>Okay, slow down--</dialogue> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Back in the main room, Frank still has Jack on stage.</scene_description> <character>FRANK</character> <dialogue>Now, I heard there's a special way Jack likes to celebrate good news.</dialogue> <scene_description>The band starts playing a SONG. Jack laughs, embarrassed--</scene_description> <character>JACK</character> <dialogue>No. No way...</dialogue> <character>FRANK</character> <dialogue>I've heard you're the best...</dialogue> <scene_description>Jack shakes his head, secretly loving this. Then he starts to tap dance to the music. His table ERUPTS, delighted. Jack begins to perform a full choreography. He keeps an eye on Frank, desperate to please him. Frank watches happily.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Alice is exploding with everything she's been holding in, frantically trying to explain--</scene_description> <character>ALICE</character> <dialogue>I went to Oasis--</dialogue> <character>BUNNY</character> <dialogue>What do you mean you went there?</dialogue> <character>ALICE</character> <dialogue>And when I walked inside I woke up somewhere else.</dialogue> <character>BUNNY</character> <dialogue>You walked inside? What are you talking about?!</dialogue> <character>ALICE</character> <dialogue>It wasn't even inside, I woke up in another room. And I was connected to a machine, like it was an experiment, and there was a video with Frank, Frank was there, and there was a photo of that couple out there and it said "new users"--</dialogue> <scene_description>Bunny takes her hand, trying to calm her down.</scene_description> <character>BUNNY</character> <dialogue>That was probably a dream. Jack must've mentioned the new couple, or you saw a photo of them and didn't remember--</dialogue> <character>ALICE</character> <dialogue>Margaret should not be okay and she's acting like she's fine and they're all covering it up.</dialogue> <scene_description>Bunny's starting to get scared for her friend.</scene_description> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Jack keeps dancing, really throwing himself into it, sweating and struggling a bit. Frank watches from the side.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <character>ALICE</character> <dialogue>I think Frank brought us all here.</dialogue> <character>BUNNY</character> <dialogue>Of course he did, he hired--</dialogue> <character>ALICE</character> <dialogue>No! It's something else. I think he brought us here for another reason. We can't trust him.</dialogue> <character>BUNNY</character> <dialogue>Honey...</dialogue> <character>ALICE</character> <dialogue>I know it sounds insane. I know how it sounds. But you have to believe me. Bunny. You have to.</dialogue> <scene_description>Alice is getting louder. Bunny tries to quiet her--</scene_description> <character>BUNNY</character> <dialogue>Alice, Frank and Shelley are just outside--</dialogue> <character>ALICE</character> <dialogue>Come with me right now and I'll show you. I'll prove it.</dialogue> <character>BUNNY</character> <dialogue>Come with you-- to the headquarters?!</dialogue> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Jack's sweating, he's dancing so hard. The whole place is impressed-- but Jack is just watching Frank to see if he's happy. Frank grins.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <character>ALICE</character> <dialogue>I can show you what happened--</dialogue> <character>BUNNY</character> <dialogue>You can't do that.</dialogue> <character>ALICE</character> <dialogue>We could take Jack's car, no one would notice--</dialogue> <character>BUNNY</character> <dialogue>Absolutely not, there's no way in--</dialogue> <character>ALICE</character> <dialogue>You have to come with me so I can show you. You have to believe me.</dialogue> <character>BUNNY</character> <dialogue>It's way too dangerous--</dialogue> <scene_description>A WOMAN walks in and Bunny immediately quiets. The Woman walks past and Alice grips her hands, desperate.</scene_description> <character>ALICE</character> <dialogue>Bunny, please. Please. I'm begging you. I can prove it. I'll show you--</dialogue> <character>BUNNY</character> <parenthetical>(trying to quiet her)</parenthetical> <dialogue>Alice--</dialogue> <character>ALICE</character> <parenthetical>(loud)</parenthetical> <dialogue>You have to let me show you.</dialogue> <character>BUNNY</character> <dialogue>We can go home--</dialogue> <character>ALICE</character> <dialogue>I'm going either way. Right now.</dialogue> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Jack ends his dance with a FLOURISH, panting. The whole place CHEERS. Frank throws an arm around him proudly. This is the best night of Jack's night. At their table, Bunny appears behind Dean, kissing his neck. He reaches around to grab her ass as she slips a hand inside his jacket, pulling out his CAR KEYS.</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S CAR/EXT. ROAD - NIGHT</stage_direction> <scene_description>A very nervous Bunny drives Alice down the empty, scary road. Their headlights are the only source of light for miles.</scene_description> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Frank still has his arm around Jack onstage.</scene_description> <character>FRANK</character> <dialogue>This is why tonight is my favorite night of the year. You're all extraordinary. This is a brotherhood of brilliance. Never forget that.</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S CAR/EXT. ROAD - NIGHT</stage_direction> <scene_description>Alice keeps checking behind them to see if they're being followed. Bunny's gripping the wheel, terrified.</scene_description> <character>ALICE</character> <dialogue>Turn your headlights off.</dialogue> <scene_description>Bunny groans as she looks for the headlight switch -- but she turns them off and they're enveloped in darkness.</scene_description> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>The crowd is riveted by Frank. Jack doesn't take his eyes off of him.</scene_description> <character>FRANK</character> <dialogue>We're here because we know we don't need to heed what the rest of the world convinces itself is important or right. You all worked so hard to get here, and I picked each of you. I chose you. And not just because of your talent and drive, but because of the dedication you demonstrate to our cause.</dialogue> <scene_description>The men CHEER, ignited. Even Violet looks emotional. Dean looks around, searching for Bunny.</scene_description> </scene> <scene> <stage_direction>EXT. OASIS HEADQUARTERS - NIGHT</stage_direction> <scene_description>They pull up to the lobby, moonlight illuminating: the door now has a HUGE LOCK on it. Alice steps out of the car, incredulous. Bunny steps out after her.</scene_description> <character>BUNNY</character> <dialogue>Was that not there before?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>That's a sign, Alice. We should go before Dean realizes--</dialogue> <scene_description>Alice walks to the back of the car. She opens the trunk and takes out a CROWBAR.</scene_description> <character>BUNNY</character> <parenthetical>(alarmed)</parenthetical> <dialogue>Alice...</dialogue> <scene_description>Alice walks up to the door and HITS THE LOCK as hard as she can. Bunny jumps.</scene_description> </scene> <scene> <stage_direction>INT. "DOLL HOUSE" NIGHTCLUB - NIGHT</stage_direction> <scene_description>Frank's electric onstage.</scene_description> <character>FRANK</character> <dialogue>We're changing the world. You're changing the world. And we cannot take our foot off the gas.</dialogue> </scene> <scene> <stage_direction>EXT. OASIS HEADQUARTERS - NIGHT</stage_direction> <scene_description>Alice hits it again, and again, over and over, wailing on it, taking out all her anxiety and stress-- CLANK. It breaks. Alice drops the crow bar, out of breath, and turns back to a truly stunned Bunny.</scene_description> <character>ALICE</character> <dialogue>It's going to be intense. It takes a minute to adjust. Just stay calm and push through the beginning.</dialogue> <scene_description>Bunny nods, nervous. Alice grabs her hand, clutching it tightly, and pushes the door open, entering--</scene_description> </scene> <scene> <stage_direction>INT. OASIS HEADQUARTERS - NIGHT</stage_direction> <scene_description>...the Oasis lobby. There's no blinding light or crazy noises or sensory deprivation: they're just inside the dark, clinical LOBBY of a government building. Bunny walks in after her, footsteps echoing as she takes in the empty FRONT DESK and frozen ESCALATORS leading below. Alice can't believe it. She walks outside to try again--</scene_description> <character>ALICE</character> <dialogue>Come back out. Maybe we didn't--</dialogue> <character>BUNNY</character> <dialogue>Alice.</dialogue> <character>ALICE</character> <parenthetical>(realizing)</parenthetical> <dialogue>Frank did this.</dialogue> <character>BUNNY</character> <dialogue>STOP.</dialogue> <scene_description>Alice stops. Bunny grabs her hand and looks her in the eye, empathetic but firm--</scene_description> <character>BUNNY</character> <dialogue>You need to get a hold of yourself.</dialogue> <character>ALICE</character> <dialogue>This isn't--</dialogue> <character>BUNNY</character> <dialogue>Listen to me. I love you, and I believe that you've seen things.</dialogue> <character>BUNNY</character> <dialogue>But I think you should start taking the pills again and see--</dialogue> <character>ALICE</character> <dialogue>It's not like last time--</dialogue> <character>BUNNY</character> <dialogue>We should not be here. You shouldn't have dragged me into this. I'm leaving and you're coming with me. Get in the car.</dialogue> <scene_description>Bunny walks back out to the car, picking up the discarded crowbar on her way. Alice stands in the middle of the empty lobby, reeling.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice, in a nightgown, flips through a PHOTO ALBUM at the kitchen table. Photos of their WEDDING, she and Jack posing on vacation, in love... she turns a page, then turns it back. It's a photo of her and Jack at Niagara Falls. It looks exactly like the photo of Frank and Shelley and the photo of Peter and Peg at Niagara Falls.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - THE NEXT DAY</stage_direction> <scene_description>Alice is back in the routine-- EGGS cracked, BACON frying, a TOMATO sliced, COFFEE poured-- Alice presents the cup of coffee to Jack, who's still high off of last night.</scene_description> <character>ALICE</character> <dialogue>I'm sorry I went home early last night.</dialogue> <character>JACK</character> <dialogue>I'm sorry for you that you missed my dance.</dialogue> <character>ALICE</character> <dialogue>I'm sorry, in general. I know it was an opportunity to impress Frank and I...I just haven't been myself lately. But I know how to make it up to you. I invited Dean and Bunny and Bill and Violet and the new couple to dinner tonight. And Frank and Shelley are coming, too.</dialogue> <scene_description>Jack almost spits out his coffee.</scene_description> <character>JACK</character> <dialogue>Frank is coming here?</dialogue> <character>ALICE</character> <dialogue>I told him we wanted to welcome Bob and Kathy to the neighborhood. We can blow it out, cook a delicious meal, show them what great hosts we are, what a great couple we are.</dialogue> <scene_description>Alice walks around the table to sit on his lap.</scene_description> <character>ALICE</character> <dialogue>Let me do this for you.</dialogue> <scene_description>She kisses him, then swings her leg around to straddle him. Jack breaks the kiss to check his watch--</scene_description> <character>JACK</character> <dialogue>What time is it? I don't--</dialogue> <scene_description>Alice kisses him again. She's turning this from a goodbye kiss into sex.</scene_description> <character>ALICE</character> <dialogue>We're a team, right?</dialogue> <character>JACK</character> <dialogue>Always.</dialogue> <scene_description>She pins his hands to the chair.</scene_description> <character>ALICE</character> <dialogue>I love you.</dialogue> <scene_description>He's surprised, but not not into it, as she takes control.</scene_description> <character>JACK</character> <dialogue>I love you.</dialogue> <character>ALICE</character> <dialogue>You and me.</dialogue> <character>JACK</character> <dialogue>Yes. You and me.</dialogue> <scene_description>She kisses him.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice puts on her makeup like it's war paint. She stares at herself in the mirror for a beat.</scene_description> </scene> <scene> <stage_direction>INT. FOYER/DINING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice looks incredible, done up to the nines, holding a tray of CIGARETTES. A BEAUTIFUL dinner spread's on the table, MARTINIS lined up ready to be handed out. Jack opens the door to Dean and Bunny, taking their coats. Bill and Violet walk in behind them, awed.</scene_description> <character>ALICE</character> <dialogue>Welcome, boys.</dialogue> <character>DEAN</character> <dialogue>Look at you.</dialogue> <scene_description>Dean takes a cigarette and leans over to Jack--</scene_description> <character>DEAN</character> <dialogue>How the hell did you get him to come to your house?</dialogue> <scene_description>Bunny keeps a cautious eye on Alice as they hug, whispering:</scene_description> <character>BUNNY</character> <dialogue>What's going on?</dialogue> <character>ALICE</character> <dialogue>A dinner party. Who wants a drink?</dialogue> <character>VIOLET</character> <dialogue>Alice, I adore what you've done with this place!</dialogue> <scene_description>Bob and Kathy follow them, timid but excited:</scene_description> <character>BOB</character> <dialogue>Thanks so much for having us. We're thrilled to be included.</dialogue> <character>BILL</character> <dialogue>All right, calm down, Bob, you already got the job.</dialogue> <scene_description>Bill winks at Dean, who rolls his eyes-- as Frank and Shelley walk in. They immediately own the room.</scene_description> <character>FRANK</character> <dialogue>Jack, this is lovely.</dialogue> <character>JACK</character> <parenthetical>(chest puffed out)</parenthetical> <dialogue>Thank you. Thank you for coming.</dialogue> <character>SHELLEY</character> <dialogue>And it smells amazing!</dialogue> <character>JACK</character> <dialogue>It usually does. I'm a lucky guy.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Let me take your coats. What can we get you to drink?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice prepares appetizers in the kitchen, chopping, planning, until--</scene_description> <character>FRANK (O.S.)</character> <dialogue>I learned something very exciting.</dialogue> <scene_description>Frank is standing in her kitchen. He pops an appetizer in his mouth and leans against the counter casually. Alice puts on a calm, chipper face.</scene_description> <character>ALICE</character> <parenthetical>(brightly)</parenthetical> <dialogue>What do you mean?</dialogue> <character>FRANK</character> <dialogue>Rumor is that you and Jack are trying.</dialogue> <scene_description>It takes all of Alice's effort to keep her face bright.</scene_description> <character>ALICE</character> <dialogue>Well, we'll see.</dialogue> <character>FRANK</character> <dialogue>I also heard you and Bunny took a little trip last night.</dialogue> <scene_description>Alice stops dead. Frank just grins at her.</scene_description> <character>FRANK</character> <dialogue>Don't worry. You're not in trouble.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm sorry it was just the boring lobby. But I couldn't let you exit three times.</dialogue> <scene_description>He grins and pops another appetizer in his mouth as Alice's insides go cold. He studies her face, intrigued.</scene_description> <character>FRANK</character> <dialogue>No one else has ever tried. Or even asked the questions. I've been waiting for someone like you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And yet you're still in here, preparing dinner, like a good girl.</dialogue> <scene_description>He shrugs. Before Alice can respond, Shelley walks in.</scene_description> <character>SHELLEY</character> <dialogue>There you are! You have to see the rest of the house. It's so cute.</dialogue> <character>FRANK</character> <dialogue>Take me on a tour.</dialogue> <character>SHELLEY</character> <dialogue>What a perfect starter home. And plenty of space to grow...</dialogue> <scene_description>She winks at Alice as they walk out. Alice stands there.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Everyone's still laughing and talking as they take their seats to eat. Jack pulls the chair at the head of the table out for Frank to sit, then hurries over to the other head of the table. He pulls a chair out for himself-- But Alice slides into it, sitting at the head. Jack's startled. Everyone else exchanges glances, alarmed. Alice just stares at Frank as Jack awkwardly takes the seat beside her. Dean tries to start up the conversation again.</scene_description> <character>DEAN</character> <dialogue>Anyway, then I bet Jack that he couldn't. A gentleman's bet--</dialogue> <character>JACK</character> <dialogue>He always exaggerates this part. You can't believe a word he says--</dialogue> <scene_description>Alice keeps watching Frank. Getting more determined.</scene_description> <character>BUNNY</character> <dialogue>He only really inflates stories about his golf scores.</dialogue> <character>JACK</character> <dialogue>That is blasphemous--</dialogue> <character>VIOLET</character> <dialogue>Bill does that too!</dialogue> <character>ALICE</character> <dialogue>Kathy, where are you from?</dialogue> <scene_description>It cuts through all the other conversation. Kathy's a little startled to be put in the spotlight.</scene_description> <character>KATHY</character> <dialogue>Pardon?</dialogue> <scene_description>Alice looks at her warmly.</scene_description> <character>ALICE</character> <dialogue>Where are you from?</dialogue> <character>BOB</character> <dialogue>Philadelphia.</dialogue> <character>VIOLET</character> <parenthetical>(delighted)</parenthetical> <dialogue>I'm from Philadelphia!</dialogue> <scene_description>Alice doesn't look away from Kathy.</scene_description> <character>ALICE</character> <dialogue>Everyone here is from Philadelphia, or Baltimore, or Boston. Every once and awhile, Chicago. Where did you vacation last?</dialogue> <scene_description>Kathy looks at Bob.</scene_description> <character>KATHY</character> <dialogue>Vacation?</dialogue> <character>JACK</character> <dialogue>Is everybody good on drinks?</dialogue> <character>ALICE</character> <dialogue>I could probably guess.</dialogue> <scene_description>She points to framed PHOTOS on the wall.</scene_description> <character>ALICE</character> <dialogue>One of those places. Right?</dialogue> <scene_description>The husbands exchange looks. Jack her a look, like "what the hell are you doing?"</scene_description> <character>JACK</character> <dialogue>Honey, maybe you want to lay down--</dialogue> <scene_description>A smiling Frank holds up a hand, quieting him.</scene_description> <character>FRANK</character> <dialogue>I'm curious where she's going with this.</dialogue> <scene_description>Alice is trying to talk directly to the women, even as they avoid her eyes.</scene_description> <character>ALICE</character> <dialogue>We all share the same four or five memories. It's like there are different tracks. We honeymooned in Sea Island, or the Poconos, or Niagara Falls.</dialogue> <character>BILL</character> <parenthetical>(trying to help)</parenthetical> <dialogue>I think those are popular honeymoon destinations...</dialogue> <character>ALICE</character> <dialogue>Violet, where did you meet Bill?</dialogue> <scene_description>Violet's nervous, she doesn't want to answer, but she does:</scene_description> <character>VOILET</character> <dialogue>On a train--</dialogue> <character>VIOLET</character> <dialogue>To Boston.</dialogue> <character>ALICE</character> <dialogue>To Boston.</dialogue> <character>ALICE</character> <dialogue>You dropped your ticket and he picked it up and gave it to you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>That's how Peg met Peter. And how Debbie McIntyre met her husband. There are only so many different stories we're told. We're told what we remember. We're given those memories.</dialogue> <character>FRANK</character> <dialogue>Is memory problems a symptom you've experienced before, Alice?</dialogue> <scene_description>He's almost...energized. Ready for a challenge. Alice ignores him, trying to make eye contact with the women--</scene_description> <character>ALICE</character> <dialogue>Try and remember something from before you came to Oasis. Something that's just yours.</dialogue> <character>FRANK</character> <dialogue>A symptom of your other issues?</dialogue> <scene_description>Jack stares at his plate, his leg bouncing rapidly, trying not to panic.</scene_description> <character>FRANK</character> <dialogue>Dr. Collins prescribed you something for your mental health, didn't he?</dialogue> <character>ALICE</character> <dialogue>To distract me. Because I was realizing the truth.</dialogue> <character>JACK</character> <parenthetical>(pleading, quietly)</parenthetical> <dialogue>Alice...</dialogue> <character>FRANK</character> <dialogue>Because you've been having trouble conceiving?</dialogue> <scene_description>Suddenly-- A BABY'S CRY. Coming from the bedroom. No one else reacts-- no one else can hear it. Only Frank looks toward it. He grins and it stops. Alice turns to the men:</scene_description> <character>ALICE</character> <dialogue>He's lying to you. He's using you. You don't even know what he's doing there. I've seen it, I went to Oasis--</dialogue> <scene_description>The men all look at Frank, disturbed and alarmed. Jack looks like he's going to be sick.</scene_description> <character>JACK</character> <dialogue>What?</dialogue> <character>ALICE</character> <dialogue>And I saw that this isn't real.</dialogue> <character>FRANK</character> <dialogue>What does that even mean?</dialogue> <scene_description>She points to Bob and Kathy.</scene_description> <character>ALICE</character> <dialogue>I saw them before they got here. It's all planned. It's fake. Nothing in this place--</dialogue> <character>FRANK</character> <dialogue>This is all fake? The food we're eating? Am I fake?</dialogue> <character>ALICE</character> <dialogue>I saw what he created, where he keeps us--</dialogue> <character>FRANK</character> <dialogue>I just want to follow your logic. Everything we're seeing doesn't exist. The townspeople, the houses, the children! The children aren't real.</dialogue> <scene_description>Everyone stops. Bunny finally looks up.</scene_description> <character>FRANK</character> <dialogue>Are Bunny's children real?</dialogue> <character>ALICE</character> <dialogue>He's trying to turn us against each other--</dialogue> <character>FRANK</character> <dialogue>They're not, right? If this is all some fake, alternate universe? Otherwise it doesn't make sense.</dialogue> <character>ALICE</character> <dialogue>Try and remember anything outside of this. Anything besides what Frank has told you--</dialogue> <character>FRANK</character> <dialogue>I've invented all of this, so Bunny's children aren't real.</dialogue> <character>ALICE</character> <dialogue>Yes, because none of it--</dialogue> <character>BUNNY</character> <dialogue>ENOUGH.</dialogue> <scene_description>Bunny looks up at Alice, hard. Then:</scene_description> <character>BUNNY</character> <dialogue>Dean, I'm ready to go.</dialogue> <scene_description>For once, Dean is speechless. He stands and hurries to follow Bunny out the door.</scene_description> <character>FRANK</character> <dialogue>Have a good night, Bunny.</dialogue> <character>ALICE</character> <dialogue>Bunny-- please-- this is what he's trying to do--</dialogue> <character>FRANK</character> <dialogue>I don't know why she's so upset with me...</dialogue> <scene_description>CRASH. Alice angrily shoves her plate and glassware off the table, shattering on the ground. The others jump, startled. A beat.</scene_description> <character>FRANK</character> <dialogue>Jack, I think you may have over- served your wife.</dialogue> <scene_description>Jack stands so quickly he almost knocks his chair over.</scene_description> <character>JACK</character> <dialogue>Yes, I think-- Thanks for coming--</dialogue> <scene_description>The others jump to their feet, desperate to escape. They avoid eye contact as they hurry to the door. Frank just sits, watching Alice, almost pleased. She's shaking. Finally Frank stands and calmly walks out behind the others.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Alice hasn't moved from the table. She hears Jack saying goodbye to the last guests, murmuring apologies. Then the sound of the door closing. Jack stomps back in-- for maybe the first time, he's truly angry at her.</scene_description> <character>JACK</character> <dialogue>What the fuck was that?</dialogue> <character>ALICE</character> <dialogue>I wanted to tell you--</dialogue> <character>JACK</character> <dialogue>Are you trying to get me fired?! Do you want me to lose my job? I can't-- I don't even--</dialogue> <character>ALICE</character> <dialogue>Jack, I need you--</dialogue> <character>JACK</character> <dialogue>You went to Oasis?! Do you have any idea how dangerous that is?</dialogue> <scene_description>Alice grabs him, the truth spilling out.</scene_description> <character>ALICE</character> <dialogue>I saw a plane crash. I saw a plane crash in the desert and I went to help and there was no one there, I was looking for help, and that's when you found me on the couch.</dialogue> <character>JACK</character> <parenthetical>(realizing)</parenthetical> <dialogue>That was a week ago! How could you hide that from me?!</dialogue> <character>ALICE</character> <dialogue>And since then it's like this reality is falling apart. And last week I went again and I saw it, I saw whatever Frank is doing, he's trapping us here. This town is rotten, the children and the employees, their faces disappear, it's like I can see through them--</dialogue> <scene_description>Jack falls into a chair, rubbing his head.</scene_description> <character>JACK</character> <dialogue>Honey. Honey...</dialogue> <character>ALICE</character> <dialogue>Jack, what do they do? What does Oasis do?</dialogue> <character>JACK</character> <dialogue>I don't know. I don't know what they do. No one does. We all have a specific role, but we don't....</dialogue> <scene_description>She takes his head in her hands, distraught.</scene_description> <character>ALICE</character> <dialogue>Please, baby. I need you. I need you to believe me.</dialogue> <scene_description>Jack studies her face. He's almost crying.</scene_description> <character>JACK</character> <dialogue>Okay.</dialogue> <character>ALICE</character> <dialogue>...okay?</dialogue> <character>JACK</character> <dialogue>I believe you. I love you. So I believe you.</dialogue> <scene_description>Alice releases a breath that's almost a sob, she's so relieved. She throws her arms around him.</scene_description> <character>JACK</character> <dialogue>You should have told me...</dialogue> <character>ALICE</character> <dialogue>I'm sorry. I'm sorry--</dialogue> <scene_description>He pulls back, distressed.</scene_description> <character>JACK</character> <dialogue>Am I trapped?</dialogue> <character>ALICE</character> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>I work at Oasis, I live here. But I go into that building every day. I do whatever Frank wants me to do. Am I helping him?</dialogue> <scene_description>Alice takes his hand, sad but determined.</scene_description> <character>ALICE</character> <dialogue>Yes. I think you all are, without even realizing--</dialogue> <character>JACK</character> <dialogue>Then what do we do?</dialogue> <character>ALICE</character> <dialogue>We have to go. We have to get out of here.</dialogue> <scene_description>Jack looks sick, but he nods.</scene_description> <character>JACK</character> <dialogue>Okay. Let's go.</dialogue> <character>ALICE</character> <dialogue>Okay?</dialogue> <character>JACK</character> <dialogue>We should go tonight.</dialogue> <character>ALICE</character> <dialogue>Let's go right now.</dialogue> <scene_description>She jumps to her feet, fueled by Jack and finally having a plan. Jack grabs her and kisses her hard.</scene_description> </scene> <scene> <stage_direction>INT. JACK'S CAR - NIGHT</stage_direction> <scene_description>Alice SLAMS the passenger door, checking to make sure no one's seen them-- Jack jumps in the driver's seat and turns on the car on, their headlights illuminating the house-- But then he just sits there. Alice looks at him.</scene_description> <character>ALICE</character> <dialogue>Jack.</dialogue> <scene_description>He's not moving.</scene_description> <character>JACK</character> <dialogue>I'm sorry.</dialogue> <character>ALICE</character> <dialogue>What?</dialogue> <scene_description>He starts crying.</scene_description> <character>JACK</character> <dialogue>I love you so much. I tried so hard to keep this from happening.</dialogue> <character>ALICE</character> <parenthetical>(getting scared)</parenthetical> <dialogue>Jack...</dialogue> <character>JACK</character> <dialogue>Please try to remember me, and what we had.</dialogue> <scene_description>The light from the headlights flickers. Alice turns-- All of the other husbands are standing in front of their car. Alice SCREAMS as the men move methodically, surrounding the car. Alice unbuckles and tries to escape through the backseat but they open the door and grab her, dragging her out as she tries to fight back. Jack just cries in the driver's seat. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. 1950'S HOSPITAL - NIGHT</stage_direction> <scene_description>Alice is strapped to a GURNEY, struggling weakly, clearly drugged. MALE DOCTORS surround her, preparing to perform ELECTRIC SHOCK THERAPY. The charge BUILDS and she's SHOCKED-- And we see a FLASH of something-- Alice using an ELECTRIC KEYCARD to BEEP herself past security. She's SHOCKED-- And we see another flash-- Alice staring at herself in a metal reflection, looking totally different-- She's SHOCKED-- and she looks up to see-- A FEMALE DOCTOR in a mask, staring down at her. The doctor sighs and pulls the mask down-- it's Alice. A very 21st- century Alice, in scrubs, looking defeated.</scene_description> <character>ALICE</character> <dialogue>Fuck.</dialogue> <scene_description>Alice tosses her mask on the ground and marches out of the OPERATING ROOM. She BEEPS her keycard to walk through a secure door and we follow her into the-- HOSPITAL HALLWAY It's a windowless, chaotic, grimy hospital. NURSES and other doctors step aside or quiet as she passes, clearly intimidated by her. An INTERN attempts to catch up with her--</scene_description> <character>HOSPITAL INTERN</character> <dialogue>Dr. Williams, we've got two more GSW's on their way in.</dialogue> <character>ALICE</character> <dialogue>I've already done five today. Find Feldstein.</dialogue> <character>HOSPITAL INTERN</character> <dialogue>He asked us to ask you--</dialogue> <scene_description>Alice steps on to an open ELEVATOR.</scene_description> <character>ALICE</character> <dialogue>I've been on for 36 hours. I'm done. Find Feldstein.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR - DAY</stage_direction> <scene_description>As soon as the doors close, Alice's shoulders collapse. She undoes her ponytail, rubs her temples, stressed and overwhelmed. She doesn't even notice that someone else is in the elevator -- a schlubby PHARMACEUTICAL REP standing behind a cart of products in the corner. We don't fully see him, but we can sense he's watching her. Finally:</scene_description> <character>PHARMACEUTICAL REP</character> <dialogue>Crazy day?</dialogue> <scene_description>Alice gives him a polite smile -- the smile you give someone you see every day, but don't have any desire to know.</scene_description> <character>ALICE</character> <dialogue>Always.</dialogue> <scene_description>He hangs on her every word. She doesn't notice.</scene_description> <character>PHARMACEUTICAL REP</character> <dialogue>You work too hard.</dialogue> <scene_description>Alice has turned back to her phone.</scene_description> <character>PHARMACEUTICAL REP</character> <dialogue>You need somebody to take care of you.</dialogue> <scene_description>She doesn't respond. She's reading something. Maybe she didn't hear him, maybe she's pretending she didn't. DING. The elevator reaches her floor. He knows it's where she gets off, that their time is up.</scene_description> <character>PHARMACEUTICAL REP</character> <dialogue>I'll see you tomorrow.</dialogue> <scene_description>Alice waves, still distracted by her phone.</scene_description> <character>ALICE</character> <dialogue>Yep.</dialogue> <scene_description>She steps off the elevator and we finally see him -- 21st century Jack -- watching her, unblinking, until the doors close.</scene_description> </scene> <scene> <stage_direction>INT. 1950'S HOSPITAL - NIGHT</stage_direction> <scene_description>One final SHOCK-- and Alice goes limp on the gurney. The doctors calmly roll her gurney out of the room, past the old-fashioned machines. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - DAY</stage_direction> <scene_description>We're following a MAN, close on his back, as he climbs the dark, drab stairs. He's in a WINTER COAT and WHISTLING the same tune we've heard Alice whistle. We stay right on his shoulder as he throws open a DOOR and continues down an-- APARTMENT HALLWAY He pulls out a key and opens the door to 10B, walking into-- AN APARTMENT We're still behind him as he tosses his key into a dish by the door and moves his way through the barren, modest home. He reaches a bedroom door with an intense, high-tech ELECTRIC KEYPAD. It's out of place in the rest of the plain apartment. He types in a CODE and the door CLICKS open to a-- BEDROOM We finally swing around to see this man from the front... it's 21st-century Jack. He's still whistling as he passes an empty chair with an IPAD resting on it to Alice's and keeps walking toward an area curtained-off in THICK PLASTIC CURTAINS. Familiar images and SOUNDS blare behind them. He pulls back the curtains-- An unconscious Alice lays on the bed we've seen her wake from. Jack turns off the VIDEOS so she's laying in silence. Jack picks up the iPad with Alice's avatar and clicks something. A message pops up: REBOOT 100% DOWNLOADED. READY FOR FULL RESET. Across the room, Alice's eyes open. She's awake. She struggles to move, but she can't. Her eyes dart around the room, desperate. She watches Jack work the iPad as he WHISTLES that same tune. He turns back-- she closes her eyes, pretending to be unconscious again. Jack stands over her, studying her. He looks almost crestfallen. Then he grabs both of her legs. He slowly starts moving them in circles, as if she was pedaling a bike -- he's stretching her muscles.</scene_description> <character>JACK</character> <dialogue>I'm so sorry, baby. You'll remember the essentials. And we'll get back to where we were in no time. We'll get to fall in love all over again.</dialogue> <scene_description>Finally he drops her legs and walks over to the iPad. He clicks "BEGIN REBOOT" and turns back-- she quickly closes her eyes again. Jack touches her leg lovingly.</scene_description> <character>JACK</character> <dialogue>Here we go. See you at home.</dialogue> <scene_description>The machine BEEPS and Alice's entire body SEIZES. She's being reset. Jack walks back over to his CHAIR. He connects his own IMPLANT DEVICE to the machine, lays down, closes his eyes, and--</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>The sun BEAMS as Jack opens the passenger side door of his convertible, helping Alice out of the car. Bunny watches from next door as she trims her roses, gasping delightedly when she sees it's Alice. Jack calls over to Bunny--</scene_description> <character>JACK</character> <dialogue>Look who's feeling better!</dialogue> <scene_description>Alice swats him lovingly.</scene_description> <character>ALICE</character> <dialogue>Don't shout it to the whole neighborhood.</dialogue> <character>JACK</character> <dialogue>Oh, I put it in the paper. And there's a radio announcement later--</dialogue> <scene_description>She goes to swat him again but he catches her hand flirtatiously. She's bright, happy-- not fake, necessarily, but like herself in the beginning.</scene_description> <character>BUNNY</character> <dialogue>HALLELUJAH!</dialogue> <scene_description>Jack and Alice walk over to Bunny. She leans over the hedge to hug Alice, grabbing her tight--</scene_description> <character>BUNNY</character> <dialogue>I missed you so much I started writing my gossip in a journal.</dialogue> <scene_description>Alice laughs. Bunny takes her in:</scene_description> <character>BUNNY</character> <dialogue>How are you?</dialogue> <character>ALICE</character> <dialogue>I'm good.</dialogue> <parenthetical>(then, almost prepared)</parenthetical> <dialogue>I'm having a hard time remembering things, but I know that I must have behaved--</dialogue> <character>BUNNY</character> <dialogue>Stop. I'm just glad you're back.</dialogue> <scene_description>She squeezes Alice's hand. Alice squeezes back gratefully.</scene_description> <character>JACK</character> <dialogue>I told the guys I'd meet them on the course. Why don't you two catch up while I play 18?</dialogue> <character>BUNNY</character> <dialogue>Yes, please. Play 36. Play 72! Alice can help me garden.</dialogue> <scene_description>Alice makes a face. Bunny clarifies:</scene_description> <character>BUNNY</character> <dialogue>Sit and drink and look at my plants.</dialogue> <character>ALICE</character> <dialogue>Oh, yes please.</dialogue> </scene> <scene> <stage_direction>EXT. BUNNY AND DEAN'S BACKYARD - DAY</stage_direction> <scene_description>Alice and Bunny sit in Bunny's backyard, drinking and laughing as Bunny fills her in on the town gossip,.</scene_description> <character>BUNNY</character> <dialogue>Peg's face got so red I thought it might actually pop off.</dialogue> <character>ALICE</character> <dialogue>Peg is...</dialogue> <character>BUNNY</character> <dialogue>Peter's wife. Always pregnant. Inexplicably annoying.</dialogue> <character>ALICE</character> <dialogue>Yes, of course.</dialogue> <character>BUNNY</character> <dialogue>It'll come back to you.</dialogue> <scene_description>Bunny's trying for cheer, but there's something sad behind it. They're interrupted by childish SQUEALS-- Bunny's kids Hank and Fred sprint into the backyard, wobbling beneath the weight of their bags.</scene_description> <character>BUNNY'S SON HANK</character> <parenthetical>(delighted)</parenthetical> <character>MISS ALICE!</character> <dialogue>They jump into Alice's lap. Alice looks at Bunny, happily surprised by the reaction. Bunny laughs, suddenly so flooded with relief to have her friend back she almost cries.</dialogue> <scene_description>CUT TO: ECU of a NEEDLE landing in the groove of a record.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice is back in her element, tackling her housework like a machine. She SCRUBS-- DUSTS-- SNAPS laundry straight-- She starts absent-mindedly WHISTLING the song she had in her head-- the one Jack whistles in the real world. She stops dead in her tracks. We PUSH IN on her as she goes completely still.</scene_description> </scene> <scene> <stage_direction>INT. FOYER - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Jack walks in, sweaty and happy, golf bag over his shoulder. Alice is waiting for him, holding a COCKTAIL in a HIGHBALL GLASS, a perfect pout on her lips. An incredible LUNCH sits on the table behind her.</scene_description> <character>ALICE</character> <dialogue>I figured you'd have worked up an appetite.</dialogue> <scene_description>Jack drops his bag, thrilled to be home.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Jack rubs Alice's feet in his lap as they eat.</scene_description> <character>JACK</character> <dialogue>Violet asked if we wanted to play tennis next week.</dialogue> <parenthetical>(then, re: the food)</parenthetical> <dialogue>This is amazing. Are there more potatoes?</dialogue> <character>ALICE</character> <dialogue>Yes, I'll get you some--</dialogue> <scene_description>She starts to stand, but Jack stops her.</scene_description> <character>JACK</character> <dialogue>Don't get up, I can get it. You made this whole spread. Let me take care of my wife.</dialogue> <scene_description>Jack grins. But he doesn't move. He looks down, concerned.</scene_description> <character>ALICE</character> <dialogue>What's wrong?</dialogue> <character>JACK</character> <dialogue>I don't--</dialogue> <scene_description>He goes to move again, but nothing happens.</scene_description> <character>JACK</character> <dialogue>My legs.</dialogue> <character>ALICE</character> <dialogue>Baby?</dialogue> <character>JACK</character> <dialogue>I can't move my legs.</dialogue> <character>ALICE</character> <dialogue>Just your legs?</dialogue> <scene_description>His eyes go wide and he looks up, scared.</scene_description> <character>JACK</character> <dialogue>Or my arms.</dialogue> <character>ALICE</character> <dialogue>Good. It should be limbs first. Then general motor functions.</dialogue> <character>JACK</character> <dialogue>...what?</dialogue> <scene_description>She places her old bottle of pills, now EMPTY, on the table.</scene_description> <character>ALICE</character> <dialogue>Don't worry, darling. It's just the sedative you've been trying to force down my throat. 500 milligrams should knock you out without stopping your heart.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hopefully. My math could be wrong.</dialogue> <character>JACK</character> <dialogue>How do you know that?</dialogue> <character>ALICE</character> <dialogue>Because I'm a fucking doctor.</dialogue> <scene_description>Jack blinks. Then PASSES OUT. CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>SLAP. Jack's startled awake by Alice's hand smacking him across the face. He tries to get his bearings-- his arms and legs are tied to the chair. Alice is eating the cake she prepared for desert straight from the pan.</scene_description> <character>ALICE</character> <dialogue>What's wrong, sweetie? Did you have a nightmare?</dialogue> <character>JACK</character> <dialogue>Alice. What are you doing...</dialogue> <scene_description>Alice picks up the pill bottle, admiring it.</scene_description> <character>ALICE</character> <dialogue>I have to admit, I wasn't sure this would work. But the mistake you idiots made was in making everything here real. Food gets you full. Alcohol gets you drunk. Pills knock you out.</dialogue> <character>JACK</character> <dialogue>Honey, you're scaring me.</dialogue> <character>ALICE</character> <dialogue>I know who you are. I know what you did to me. Whatever you tried to do, whatever you did to Margaret, it didn't work.</dialogue> <character>JACK</character> <dialogue>You're having an episode--</dialogue> <character>ALICE</character> <dialogue>I was supposed to forget, but it made me remember. It wasn't just Frank, it was you. You hooked me up to that machine--</dialogue> <character>JACK</character> <dialogue>This is okay. We'll go back to Dr. Collins--</dialogue> <character>ALICE</character> <dialogue>How do I get out?</dialogue> <character>JACK</character> <dialogue>Get out of where?</dialogue> <character>ALICE</character> <dialogue>This fucking place. How do I make the exit come back?</dialogue> <character>JACK</character> <dialogue>Listen to yourself, baby. We need to take you to the doctor.</dialogue> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>A COUPLE walks by, on a neighborhood stroll. Through the house's PICTURE WINDOW, they see Alice and Jack sitting having lunch. Jack's back is to them, seemingly fine. Alice spots them and waves cheerfully.</scene_description> <character>HOUSEWIFE ON A WALK</character> <dialogue>I'm so happy they're doing better.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - ALICE AND JACK'S HOUSE - DAY</stage_direction> <scene_description>Alice's fake cheer drops as she turns back to Jack.</scene_description> <character>ALICE</character> <dialogue>Tell me where the exit is.</dialogue> <character>JACK</character> <dialogue>You're my wife. I can help you--</dialogue> <scene_description>Alice laughs.</scene_description> <character>ALICE</character> <dialogue>Help me?! You're sick. You're a monster--</dialogue> <character>JACK</character> <dialogue>I love you--</dialogue> <character>ALICE</character> <dialogue>I saw you in that disgusting room. I saw what you really look like.</dialogue> <character>JACK</character> <dialogue>Stop--</dialogue> <character>ALICE</character> <dialogue>You're pathetic.</dialogue> <character>JACK</character> <dialogue>Stop it--</dialogue> <character>ALICE</character> <dialogue>You kidnapped me. I have a life out there. I help people. I'm not your fucking property. You keep me locked in a cage--</dialogue> <scene_description>Something snaps in Jack, his face distorted with rage--</scene_description> <character>JACK</character> <dialogue>I SAVED YOU.</dialogue> <scene_description>He can't control himself, he's so offended--</scene_description> <character>JACK</character> <dialogue>I brought you here to give you a good life. All I wanted to do was make you happy. You were miserable and tired and lonely and I saved you from that loneliness. I'm the only one who loves you enough to take care of you. I spent everything I have on you.</dialogue> <character>ALICE</character> <dialogue>How long have I been here?</dialogue> <scene_description>Jack's rage deflates. He looks like he wants to cry.</scene_description> <character>JACK</character> <dialogue>What does it matter? You worked so hard, for what? You were never happy before, but you are here. You're happy with me.</dialogue> <character>ALICE</character> <dialogue>You're psychotic.</dialogue> <character>JACK</character> <dialogue>That's not you talking. That's society. That's your friends and your peers and these bullshit modern mind games you're taught. You like it here!</dialogue> <character>ALICE</character> <dialogue>It's not real.</dialogue> <character>JACK</character> <dialogue>What's more real than this?</dialogue> <character>ALICE</character> <dialogue>Anything! Everything here is fake! Nothing's alive.</dialogue> <scene_description>She grabs a knife. Jack is suddenly scared.</scene_description> <character>JACK</character> <dialogue>Whoa--</dialogue> <scene_description>She holds it against her neck--</scene_description> <character>ALICE</character> <dialogue>Margaret just came back like nothing happened. I could kill myself and just wake up--</dialogue> <character>JACK</character> <parenthetical>(frantic)</parenthetical> <dialogue>NO! No no no. Everyone only gets one reset. You and Margaret-- you've been reset already. If you die in the simulation, you won't wake up. Please don't hurt yourself.</dialogue> <scene_description>She holds the knife out to him.</scene_description> <character>ALICE</character> <dialogue>Fine. I'll kill you.</dialogue> <character>JACK</character> <dialogue>You can't. If a man dies in the simulation, he'll die in the real world. I'd starve, there's no one to take care of him. I would really die. Please baby.</dialogue> <scene_description>Alice hesitates. Despite everything, he has a pull on her.</scene_description> <character>JACK</character> <dialogue>We love each other. This isn't fake. What we feel isn't fake. I would rather be here with you than anywhere else.</dialogue> <scene_description>She watches him for a beat.</scene_description> <character>ALICE</character> <dialogue>Are they all like me?</dialogue> <character>JACK</character> <dialogue>What?</dialogue> <character>ALICE</character> <dialogue>The other wives. Are they all trapped here? Is Bunny?</dialogue> <character>JACK</character> <dialogue>Don't worry about them. Just think about us. About you--</dialogue> <character>ALICE</character> <dialogue>Is Bunny hooked up to a machine somewhere in some room?</dialogue> <character>JACK</character> <dialogue>I don't know where Bunny is. I don't even know who Dean is. It's not our business. A man is responsible for his own wife and nothing else.</dialogue> <character>ALICE</character> <dialogue>But she's hooked up to a machine--</dialogue> <character>JACK</character> <dialogue>The women here have all been saved! The world out there is fucked. It's full of hatred and violence and bigotry and cruelty. Frank created a better world. I have to leave every day just to make enough money to keep us here and I hate every minute of it. You get to stay here. We can stay here. Together. You like this. And that's okay. It's okay to be happy here. With me. Just think about our life. Think about what you really want.</dialogue> <scene_description>Alice drains the rest of her drink. She looks torn. Like she's maybe acquiescing.</scene_description> <character>JACK</character> <dialogue>I love you.</dialogue> <character>ALICE</character> <dialogue>I don't care.</dialogue> <scene_description>And Alice levels him with the HIGHBALL GLASS she's holding, shattering it against his temple. Blood splatters as his chair topples over.</scene_description> </scene> <scene> <stage_direction>EXT. ALICE AND JACK'S HOUSE - NIGHT</stage_direction> <scene_description>Through the picture window, we see Alice standing over Jack's discarded chair, although from the outside we can't see what she's staring at. Then she walks out of frame and comes back holding one of Jack's GOLF CLUBS. She swings it up and WHACKS Jack over and over, blood splattering all over her dress. She walks out of frame again, then comes back with a BROOM. She starts to clean up the mess.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Alice, still covered in blood, marches down her street, holding Jack's golf club. She passes a car and swings the club, SMASHING the back window. She winds up and SHATTERS a mailbox, then a front gate, everything's she's passing.</scene_description> <character>ALICE</character> <dialogue>We have to go right now!</dialogue> <scene_description>The commotion brings a HOUSEWIFE to her window. A SECOND HOUSEWIFE walks out of her front door, her ANXIOUS HUSBAND trying to keep her inside, but she ignores him. It's like they're being drawn toward Alice.</scene_description> <character>ALICE</character> <dialogue>We're all prisoners here!</dialogue> <scene_description>Bunny comes to the window of her house, watching. She's scared for her friend, but she can't move.</scene_description> <character>ALICE</character> <dialogue>We don't have to live like this!</dialogue> <scene_description>Alice slows there's a row of cars waiting to stop her, like a barricade. Dr. Collins steps out of one of the cars.</scene_description> <character>VIOLET (O.S.)</character> <dialogue>Alice.</dialogue> <scene_description>Violet is standing in her own doorway, alarmed. She looks toward the line of cars, then beckons Alice toward her, opening her door. Alice hurries toward her.</scene_description> </scene> <scene> <stage_direction>INT. VIOLET AND BILL'S HOUSE - DAY</stage_direction> <scene_description>Violet hurries Alice inside, slamming the door behind her. Alice exhales, relieved, as Violet takes in her appearance.</scene_description> <character>VIOLET</character> <dialogue>Whose blood is that?</dialogue> <character>ALICE</character> <dialogue>Where's Bill?</dialogue> <character>VIOLET</character> <dialogue>I don't know--</dialogue> <character>ALICE</character> <dialogue>We have to get the others. If we--</dialogue> <scene_description>She stops when she realizes Violet is staring at the floor. She looks terrified.</scene_description> <character>VIOLET</character> <dialogue>I'm sorry. I just want you to get better.</dialogue> <scene_description>Alice turns, confused-- Frank is sitting in Violet's living room. He grins. Before Alice can scream-- CUT TO BLACK.:</scene_description> <character>DR. COLLINS (O.S.)</character> <dialogue>Alice?</dialogue> <scene_description>It's SENSORY OVERLOAD again. In ALICE'S POV, lights and sounds slowly come into focus. She raises her arms-- they're tied down again. But this time she's in...</scene_description> </scene> <scene> <stage_direction>INT. PATIENT ROOM - HOSPITAL - DAY</stage_direction> <scene_description>She's strapped to a chair. A blurry Dr. Collins enters the room, sitting down next to her.</scene_description> <character>DR. COLLINS</character> <dialogue>It's okay. You're okay.</dialogue> <scene_description>Alice SCREAMS, pulling against her straps. NURSE COLLINS walks in to hold her down. Dr. Collins stays very calm.</scene_description> <character>DR. COLLINS</character> <dialogue>Alice? Do you know where you are? You've suffered a psychotic break.</dialogue> <character>ALICE</character> <dialogue>No no no no no--</dialogue> <character>DR. COLLINS</character> <dialogue>You're in the hospital. Do you remember what happened?</dialogue> <character>DR. COLLINS</character> <dialogue>Your hallucinations became violent.</dialogue> <character>ALICE</character> <dialogue>I know you're a part of this-- Frank uses you--</dialogue> <character>DR. COLLINS</character> <dialogue>It's important to establish reality when coming out of something like this. I'm incredibly sorry to tell you this. But during the... episode...you killed your husband.</dialogue> <character>ALICE</character> <dialogue>He kidnapped me. He trapped me here, this isn't real--</dialogue> <character>DR. COLLINS</character> <dialogue>Bunny told us about the delusions you've been having. The alternate reality. I wish I'd known. I failed you in your initial diagnosis.</dialogue> <scene_description>He's kind, and sad, and convincing. Nurse Collins won't look at her. Doubt starts creeping in.</scene_description> <character>ALICE</character> <dialogue>I know this isn't real.</dialogue> <character>DR. COLLINS</character> <dialogue>I should have recognized earlier signs. The stress and isolation you were feeling... I've seen psychotic breaks like this in housewives living in big cities, simply from the stress of home life. Adding the seclusion of Oasis...</dialogue> <character>ALICE</character> <dialogue>Jack admitted it to me. He told me everything.</dialogue> <character>DR. COLLINS</character> <parenthetical>(kindly)</parenthetical> <dialogue>You've hallucinated quite a bit recently, haven't you? Margaret's fall, plane crashes, distorted faces...</dialogue> <scene_description>He shows her a photo. It's Jack's bloody, broken face, the shattered highball glass next to him. He's dead.</scene_description> <character>ALICE</character> <dialogue>No... that's not...</dialogue> <character>DR. COLLINS</character> <dialogue>I'm truly sorry, Alice. I've given a statement to the police confirming your damaged mental state and recommending you stay here instead of any prison time.</dialogue> <scene_description>Alice takes the photo in her hand and sinks into her chair as she realizes what she's done. Then there's a KNOCK at the door. It's Frank. Alice freezes. But he just walks in and kneels, kindly, next to her chair.</scene_description> <character>FRANK</character> <dialogue>It's going to be okay, Alice. We're taking care of you now. You'll be safe with us.</dialogue> <scene_description>He touches her knee paternally.</scene_description> <character>FRANK</character> <dialogue>Shelley and I are sending all our thoughts and prayers.</dialogue> </scene> <scene> <stage_direction>INT. ROOM - HOSPITAL - DAY</stage_direction> <scene_description>Alice sits in her room. Time has passed. She's a muted version of herself, drained of color and life. There's a stir in the hallway. At first, Alice doesn't bother to turn around. But then she recognizes the voice...</scene_description> <character>BUNNY (O.S.)</character> <dialogue>I do have permission.</dialogue> <scene_description>It's Bunny. She's a little more refined, fancier, imposing...she looks more like Shelley. She's arguing with a NURSE at reception.</scene_description> <character>HOSPITAL NURSE</character> <dialogue>I'd need to ask Dr. Collins...</dialogue> <character>BUNNY</character> <dialogue>I wouldn't have come all the way down here it if wasn't already approved.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I could call Shelley right now and she can ask Frank directly. Is that what you'd like?</dialogue> <character>HOSPITAL NURSE</character> <parenthetical>(a little scared)</parenthetical> <dialogue>No. No.</dialogue> <character>BUNNY</character> <dialogue>Then I'll see my friend now.</dialogue> </scene> <scene> <stage_direction>INT. ROOM - HOSPITAL - DAY</stage_direction> <scene_description>Bunny sits with Alice, trying to stay upbeat despite their surroundings. She absent-mindedly arranges Alice's things to look a little nicer.</scene_description> <character>BUNNY</character> <dialogue>This room isn't bad.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm sorry I haven't been.</dialogue> <character>ALICE</character> <dialogue>I understand.</dialogue> <character>BUNNY</character> <dialogue>You should have told me it was such a party.</dialogue> <scene_description>Alice manages a small smile. Bunny takes her hand.</scene_description> <character>BUNNY</character> <dialogue>Shall we go get some lunch?</dialogue> <character>ALICE</character> <dialogue>I can't.</dialogue> <character>BUNNY</character> <dialogue>You can, actually. I got you a day pass. Let's go into down. We'll get some fresh air, catch up on gossip...it'll be good for you.</dialogue> <scene_description>She tucks a strand of Alice's hair behind her ear.</scene_description> <character>BUNNY</character> <dialogue>Do they not have hair brushes here? Are they banned?</dialogue> <scene_description>Alice laughs despite herself.</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S CAR/EXT. ROAD - DAY</stage_direction> <scene_description>Bunny drives. Alice stares out the window.</scene_description> <character>BUNNY</character> <dialogue>We're basically Frank's neighbors, which is sometimes more stressful than fun. But Dean takes the bus in to work so I can have the car during the day now, which is nice. A little more freedom. I can pick up all my boyfriends.</dialogue> <scene_description>Alice leans her face against the window, closing her eyes.</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S CAR/EXT. ROAD - DAY</stage_direction> <scene_description>Alice wakes as the car pulls to a stop. She looks around, confused-- they're in the middle of the desert, parked just before what looks like the edge of a cliff.</scene_description> <character>BUNNY</character> <dialogue>We're here.</dialogue> <character>ALICE</character> <dialogue>Where?</dialogue> <scene_description>Bunny's still staring straight ahead.</scene_description> <character>BUNNY</character> <dialogue>I just wanted to take you on a nice walk. Get some air. But I couldn't stop you. I tried to get help but it was too late. You jumped.</dialogue> <character>ALICE</character> <dialogue>What are you talking about?</dialogue> <character>BUNNY</character> <dialogue>This is the end.</dialogue> <character>ALICE</character> <dialogue>The end of what?</dialogue> <scene_description>Bunny finally turns to look at her.</scene_description> <character>BUNNY</character> <dialogue>I'm sorry, Alice. You were right. I know that now.</dialogue> <scene_description>Alice is gobsmacked.</scene_description> <character>BUNNY</character> <dialogue>I wanted to ignore it, I wanted you to ignore it, I made you think you were crazy because I didn't want you to leave...</dialogue> <character>ALICE</character> <dialogue>Bunny...</dialogue> <character>BUNNY</character> <dialogue>You did something. After you left. And I couldn't ignore it anymore. This is the edge of what Frank built. It's an exit.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>They don't bother protecting it because they don't believe anyone will be brave enough to jump.</dialogue> <scene_description>Alice looks out, astounded. Bunny did it. She found a way out. She turns to Bunny, electrified--</scene_description> <character>ALICE</character> <dialogue>Come with me. We'll go together.</dialogue> <scene_description>Bunny clutches the wheel, trying to keep it together.</scene_description> <character>BUNNY</character> <dialogue>I can't.</dialogue> <character>ALICE</character> <dialogue>You have to. I know it's scary but it's worth it. We can be free--</dialogue> <character>BUNNY</character> <dialogue>This is my life. My kids.</dialogue> <character>ALICE</character> <dialogue>Bunny, this isn't real. This isn't all your life can be--</dialogue> <character>BUNNY</character> <dialogue>I'll tell them I tried to stop you.</dialogue> <scene_description>She says it simply, with no room for negotiation. Alice knows what Bunny's doing for her. She looks at the edge, then turns back to her friend.</scene_description> <character>ALICE</character> <dialogue>I love you.</dialogue> <scene_description>They hug. Bunny can't look while Alice gets out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. CLIFF - DAY</stage_direction> <scene_description>As soon as Alice is out of the car, Bunny slowly pulls away. Alice waits a beat, until Bunny is out of sight. Then she turns to the cliff. She stares down. It's a terrifying drop. She takes a breath, smiles, raises her arms, and then LEAPS off of it. As Alice falls through the air-- CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. CALIFORNIA DESERT - DAY</stage_direction> <scene_description>Again, we SOAR over the seemingly endless California desert.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Are you ready to live the life you've imagined?</dialogue> <scene_description>Suddenly...the Oasis development. It's nearly tripled in size. Massive construction spills new roads and houses out into the desert. This place is growing, fast.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Welcome to Oasis. The fastest growing community in the world. As an employee and dedicated member of the Oasis Project, you're invited to live here, in our paradise...</dialogue> </scene> </script>

Alice and Jack Chambers are married, living in Victory, California, an idealistic 1950s desert company town. Every day, the men leave for work at Victory Headquarters in the surrounding desert, which their wives are prohibited from entering and discouraged from asking about. The women live as housewives and enjoy luxuries and leisure while the men are out. Alice spends her days with other wives, including her best friend, Bunny. Another resident, Margaret, has become estranged from the community ever since she had a mental breakdown after her unauthorized desert visit resulted in her son's apparent death. Margaret claims Victory took him as punishment for breaking the rules. At a party hosted by Victory's founder, Frank, Alice sees Margaret's husband attempt to medicate her after an outburst. Alice and Jack then have sex in Frank's bedroom, but she notices Frank observing them in silence. While riding the trolley, Alice sees a plane crash in the desert and rushes to help. She stumbles onto Headquarters and touches one of its mirror-like windows, experiencing surreal hallucinations about another life before waking up at home that night. Alice continues to have increasingly strange experiences, then receives a phone call from Margaret, who claims to have seen the same things. After brushing her off, she sees Margaret slit her own throat and fall from her roof. Before she can reach Margaret's body, Alice is dragged away by men in red jumpsuits who work for Frank. Jack dismisses Alice's claims and says Margaret is simply recovering from a household accident. When Alice asks him what is really happening at the Victory Project, he becomes angry and refuses to answer. The town physician, Dr. Collins, prescribes Alice medication, which she and Jack decline, and she steals Margaret's heavily redacted medical file from his briefcase before burning it. Becoming increasingly paranoid during a company celebration where Frank promotes Jack, Alice breaks down in the bathroom. Comforted by Bunny, she attempts to explain her suspicions. Bunny reacts angrily when Alice tells her she went to Headquarters, accusing her of jeopardizing their livelihood in Victory and comparing her to Margaret. Alice and Jack invite their neighbors to dinner, including Frank and his wife Shelley. Frank privately confirms her suspicions and dares her to challenge him. Spurred on, Alice attempts to expose him over dinner, but Frank makes her appear delusional to the others, causing Jack grief. Afterward, Alice tells Jack that she despises their life in the Victory Project and begs him to leave. He feigns agreement, then lets Frank's men take her away in the driveway. Dr. Collins gives Alice electroshock therapy, during which she sees herself in the 21st century, struggling to get by as surgical resident Alice Warren and living with the unemployed Jack. After her treatment, Alice resumes her life in Victory, but comes to realize the visions are actually memories. Confronted by Alice, Jack confesses the truth: Victory is a simulated world created by Frank, where he and the other men lead their version of perfect lives; the women they have forced into the simulation are unaware that their lives in Victory and their children are artificial. When the men leave for work each day, they are actually logging out of the simulation for real jobs to pay for their captive wives to stay there. Jack argues that Alice was miserable in the real world while in Victory they can both finally be happy, but she is livid she's being held there non-consensually and without her autonomy. Jack begs Alice to stay, forcefully grabbing her, prompting her to smash a rocks glass over his head, killing him in both the simulation and reality. Frank immediately hears of Jack's death. Bunny finds Alice and admits she has always known about the simulation, but chose to stay to be with her children, who died in real life. She tells Alice that Frank's minions will kill her if she doesn't get to Headquarters—the exit portal from the simulation. Alice silently confronts the neighborhood, and as small explosions begin, the husbands panic. Fleeing in Jack's car, Alice is chased by Dr. Collins and Frank's men. She maneuvers them into fatally crashing into each other. Meanwhile, Shelley fatally stabs Frank to take control of Victory. Arriving at Headquarters, Alice has a final vision of Jack, then puts her hands on Headquarters just before Frank's men can reach her. Seeing disturbing images mixed with visions of herself in the real world, the screen cuts to black as Alice is heard gasping for air.

The Lord of the Rings: The Return of the King_2003

tt0167260

<script> <scene> <character>THE LORD OF THE RINGS</character> <dialogue>The Return of the King</dialogue> <scene_description>Screenplay by Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Based on the novels by J.R.R. Tolkien © 2003 New Line Cinema BLACK SCREEN SUPER: New Line Cinema Presents SUPER: A Wingnut Films Production SUPER: THE LORD OF THE RINGS BLACK SCREEN:</scene_description> </scene> <scene> <stage_direction>EXT. RIVER ANDUIN - DAY</stage_direction> <scene_description>ANGLE ON: SMÉAGOL and his cousin, DÉAGOL, sit in a SMALL CORACLE, their FISHING LINES draped over the side ... SUNSHINE glinting off the surface of the water. An idyllic image. SUDDENLY ... DÉAGOL'S FISHING ROD BENDS under the weight of a LARGE FISH.</scene_description> <character>DÉAGOL</character> <parenthetical>(excited)</parenthetical> <dialogue>Sméagol, I've got one!</dialogue> <parenthetical>(he laughs)</parenthetical> <dialogue>I've got a fish, Sméagol!</dialogue> <character>SMÉAGOL</character> <parenthetical>(excitedly)</parenthetical> <dialogue>Go on, pull it in.</dialogue> <scene_description>DÉAGOL pulls on his ROD, but is HAULED OVERBOARD and disappears underwater with a SPLASH! ANGLE ON: SMÉAGOL leaning over the BOAT ... CONCERNED.</scene_description> <character>SMÉAGOL</character> <parenthetical>(worried)</parenthetical> <dialogue>Déagol!</dialogue> </scene> <scene> <stage_direction>EXT. UNDERWATER, RIVER ANDUIN - DAY</stage_direction> <scene_description>ANGLE ON: DÉAGOL is towed to the RIVER BED by a LARGE FISH ... he suddenly lets go of the line ... eyes fixed on a SHINING GOLD RING, lying in the SILT.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER ANDUIN, GLADDEN FIELDS - DAY</stage_direction> <scene_description>CLOSE ON: DÉAGOL climbs out of the WATER onto the RIVER BANK. CLOSE ON: the RING revealed in DÉAGOL'S PALM... ANGLE ON: SMÉAGOL peers over his shoulder ... the GOLD reflects in SMÉAGOL'S EYES! ON SOUNDTRACK: The HUM of the RING growing LOUDER...</scene_description> <character>SMÉAGOL</character> <dialogue>Give us that, Déagol, my love!</dialogue> <scene_description>DÉAGOL turns to look at him, a smirk on his face.</scene_description> <character>DÉAGOL</character> <dialogue>Why?</dialogue> <scene_description>CLOSE ON: SMÉAGOL moves towards DÉAGOL...</scene_description> <character>SMÉAGOL</character> <dialogue>Because...it's my birthday and I wants it.</dialogue> <scene_description>ANGLE ON: SMÉAGOL jumps on DÉAGOL ... STRANGLING HIM! SMÉAGOL rips the GLITTERING RING from DÉAGOL'S LIMP HAND.</scene_description> <character>SMÉAGOL</character> <dialogue>My precious!</dialogue> <scene_description>CLOSE ON: SMÉAGOL slips the RING onto his FINGER and DISAPPEARS. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. MISTY MOUNTAINS CAVES - DAY</stage_direction> <scene_description>IMAGES: SMÉAGOL descending into madness. His body TWISTS and DISTORTS ... he becomes a CREEPY, SHRIVELED wretch ... finally crawling into a DARK CAVE beneath the MISTY MOUNTAINS.</scene_description> <character>SMÉAGOL (V.O.)</character> <dialogue>They cursed us. Murderer. Murderer they called us. They cursed us and drove us away.</dialogue> <scene_description>CONTINUED:</scene_description> <character>SMÉAGOL (V.O.)</character> <dialogue>And we wept, Precious. We wept, to be so alone. And we forgot the taste of bread, the sound of trees, the softness of the wind ... We even forgot our own name.</dialogue> <parenthetical>(in a choking cough)</parenthetical> <dialogue>Gollum! Gollum!</dialogue> <scene_description>ANGLE ON: GOLLUM in the CAVE staring at the RING in his hand.</scene_description> <character>GOLLUM</character> <dialogue>It's mine! My own. It came to me.</dialogue> <character>SMÉAGOL</character> <parenthetical>(ecstatic)</parenthetical> <dialogue>My Precious.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CULVERT, VALE OF MORGUL - DAWN</stage_direction> <scene_description>ANGLE ON: A GRIM LANDSCAPE, covered in THORN BUSHES and the scars of RECENT FIRES. The DARK MORGUL VALLEY disappears up towards the MOUNTAINS. SETTLE ON: FRODO and SAM in a FILTHY CULVERT. SAM twitches in a RESTLESS SLEEP. But FRODO is awake ... His hand trails down to the CHAIN around his NECK... A SUDDEN HISS! FRODO quickly hides the RING as GOLLUM peers at them with GLEAMING EYES.</scene_description> <character>GOLLUM</character> <dialogue>Wake up! Wake up! Wake up, sleepies! We must go, yes, we must go at once!</dialogue> <scene_description>SAM STIRS, looks at FRODO...</scene_description> <character>SAM</character> <dialogue>Haven't you had any sleep, Mr. Frodo?</dialogue> <scene_description>FRODO shakes his HEAD.</scene_description> <character>SAM</character> <dialogue>I've gone and had too much!</dialogue> <scene_description>CONTINUED: SAM looks at the dead, BROWN TWILIGHT, below the LOWERING CLOUD.</scene_description> <character>SAM</character> <dialogue>It must be getting late.</dialogue> <character>FRODO</character> <dialogue>No ... no it isn't. It isn't midday yet. The days are growing darker.</dialogue> <scene_description>The GROUND suddenly QUIVERS, as a ROLLING, RUMBLING NOISE ECHOES down the VALLEY.</scene_description> <character>GOLLUM</character> <dialogue>Come on, must go, no time...</dialogue> <character>SAM</character> <dialogue>Not before Mr. Frodo's had something to eat.</dialogue> <character>GOLLUM</character> <dialogue>... no time to lose, silly.</dialogue> <scene_description>SAM shoots GOLLUM a HOSTILE LOOK and turns back to rummage in his KNAPSACK. He holds up a piece of dried LEMBAS BREAD to FRODO.</scene_description> <character>SAM</character> <dialogue>Here.</dialogue> <character>FRODO</character> <dialogue>What about you?</dialogue> <character>SAM</character> <parenthetical>(lying badly)</parenthetical> <dialogue>I'm not hungry - leastways, not for Lembas bread.</dialogue> <character>FRODO</character> <dialogue>Sam.</dialogue> <character>SAM</character> <parenthetical>(confessing)</parenthetical> <dialogue>Alright. We don't have that much left.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SAM</character> <dialogue>We have to be careful or we're going to run out. You go ahead and eat that, Mister Frodo. I've rationed it. There should be enough.</dialogue> <scene_description>FRODO looks at SAM questioningly.</scene_description> <character>FRODO</character> <dialogue>For what?</dialogue> <character>SAM</character> <dialogue>The journey home.</dialogue> <scene_description>FRODO says nothing.</scene_description> </scene> <scene> <stage_direction>EXT. CULVERT, VALE OF MORGUL - DAY</stage_direction> <scene_description>WIDE: FRODO and SAM follow GOLLUM as he leads them on the winding, torturous path ... clambering through BRACKEN and over JAGGED ROCKS.</scene_description> <character>GOLLUM</character> <dialogue>Come, Hobbitses. Very close now. Very close to Mordor! No safe places here. Hurry! Shhh.</dialogue> </scene> <scene> <stage_direction>EXT. THE FOREST OF ISENGARD - DAY</stage_direction> <scene_description>GANDALF leads ARAGORN, LEGOLAS, THÉODEN, and GIMLI through dark woodland... The MOVING FOREST of FANGORN ... opens before them ... creating an AVENUE of TREES, which allows them access along the old ISENGARD ROAD. A THICK, HUMID MIST fills the forest. SUPER: THE RETURN OF THE KING ANGLE ON: The FOREST SEPARATES ahead, REVEALING: the RUINS of ISENGARD.</scene_description> </scene> <scene> <stage_direction>EXT. ISENGARD GATE - DAY</stage_direction> <scene_description>WIDE ON: All about, the GREAT STONE WALL is cracked and splintered into countless jagged shards. CONTINUED: Far off, half veiled in the swirling STEAM, the TOWER of ORTHANC stands ... Unbroken by the storm. Pale waters lap about its feet. ANGLE ON: TWO SMALL HOBBITS are sitting on the SMASHED WALL ... MERRY AND PIPPIN! SPREAD before them is a feast of BREADS, MEATS, and WINE. They PUFF on long pipes as they lie back in the SUN.</scene_description> <character>PIPPIN</character> <dialogue>I feel like I'm back at the Green Dragon after a hard day's work.</dialogue> <character>MERRY</character> <dialogue>Only, you've never done a hard day's work.</dialogue> <scene_description>MERRY cuts PIPPIN off before he can respond in kind.</scene_description> <character>MERRY</character> <dialogue>Welcome, my Lords, to Isengard.</dialogue> <scene_description>ANGLE ON: GANDALF, ARAGORN, LEGOLAS and GIMLI stare at the SIGHT before them...</scene_description> <character>GIMLI</character> <dialogue>You young rascals! A merry hunt you've led us on, and now we find you, feasting and smoking.</dialogue> <character>PIPPIN</character> <parenthetical>(mouth full)</parenthetical> <dialogue>We are sitting on a field of victory, enjoying a few well-earned comforts. The salted pork is particularly good.</dialogue> <character>GIMLI</character> <parenthetical>(suddenly interested)</parenthetical> <dialogue>Salted pork?</dialogue> <character>GANDALF</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Hobbits.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MERRY</character> <dialogue>We're under orders, from Treebeard, who's taken over management of Isengard.</dialogue> <scene_description>WIDE: GANDALF leads the company through the flotsam and jetsam which floats upon the muddied waters surrounding the TOWER ... TREEBEARD, the GIANT ENT, strides towards them, ALARMING all but GANDALF.</scene_description> <character>TREEBEARD</character> <dialogue>Burarum ... Young Master Gandalf. I'm glad you've come. Wood and water, stock and stone, I can master, but there's a Wizard to be managed here ... locked in his tower.</dialogue> <character>GANDALF</character> <dialogue>And there Saruman must remain, under your guard, Treebeard.</dialogue> <character>GIMLI</character> <dialogue>Let's just have his head and be done with it.</dialogue> <scene_description>GANDALF stares up the long length of the DARK TOWER...</scene_description> <character>GANDALF</character> <parenthetical>(quietly)</parenthetical> <dialogue>No. He has no power any more.</dialogue> <scene_description>THE OLD ENT nods his head wisely...</scene_description> <character>TREEBEARD</character> <dialogue>The filth of Saruman is washing Away ... Trees will come back to live Here, young trees ... wild trees.</dialogue> <scene_description>CLOSE ON: PIPPIN, his eye caught by something lying in the WATER ANGLE ON: The MUDDY waters GLOWING with a golden light... ARAGORN turns as, quick as a FLASH, PIPPIN has jumped off his horse and picked up - the PALANTÍR! CONTINUED: (3)</scene_description> <character>TREEBEARD</character> <dialogue>Well bless my bark!</dialogue> <character>GANDALF</character> <parenthetical>(urgent)</parenthetical> <dialogue>Peregrin Took! I'll take that, my lad.</dialogue> <scene_description>PIPPIN doesn't move, his eyes staring in wonder at the smooth black stone...</scene_description> <character>GANDALF</character> <dialogue>Quickly, now!</dialogue> <scene_description>RELUCTANTLY, PIPPIN hands the PALANTÍR to GANDALF ... who immediately smothers it in his cloak. ANGLE ON: GANDALF looks back at PIPPIN ... troubled.</scene_description> </scene> <scene> <stage_direction>EXT. EDORAS - DAY</stage_direction> <scene_description>WIDE: BACK SHOT - a GROUP OF RIDERS gallop towards the ROHAN CITY of EDORAS... PUSH IN: ÉOWYN standing alone outside the GOLDEN HALL. waiting... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EDORAS, GOLDEN HALL - EVENING</stage_direction> <scene_description>WIDE: A ROARING FIRE: a LAMB ROASTING on a SPIT; LONG TABLES laden with FOOD; BARRELS of WINE; a banquet is laid - ready for the returning soldiers.</scene_description> <character>THÉODEN</character> <dialogue>Tonight we remember those who gave their blood to defend this country. Hail the victorious dead!</dialogue> <scene_description>ANGLE ON: Amidst the sheering crowd, ÉOWYN moves towards ARAGORN ... As she proffers the CHALICE, their eyes meet.</scene_description> <character>ÉOWYN</character> <dialogue>Westu Aragorn hál.</dialogue> <scene_description>CONTINUED: ÉOWYN watches as ARAGORN moves away ... a voice speaks in her ear.</scene_description> <character>THÉODEN</character> <dialogue>I am happy for you.</dialogue> <scene_description>ÉOWYN looks at her UNCLE, as THÉODEN follows her gaze.</scene_description> <character>THÉODEN</character> <dialogue>He is an honorable man.</dialogue> <character>ÉOWYN</character> <parenthetical>(smiling)</parenthetical> <dialogue>You are both honorable Men.</dialogue> <character>THÉODEN</character> <dialogue>It was not Théoden of Rohan who led our people to victory.</dialogue> <scene_description>ÉOWYN looks at him questioningly, disturbed by his tone.</scene_description> <character>THÉODEN</character> <dialogue>Don't listen to me. You are young, and tonight is for you.</dialogue> <scene_description>ANGLE ON: ÉOWYN watches concerned as her UNCLE moves away. ANGLE ON: MERRY &amp; PIPPIN are in full voice, on top of one of the TABLES ... both hold very large mugs of ALE in their hands.</scene_description> <character>MERRY &amp; PIPPIN</character> <parenthetical>(singing)</parenthetical> <dialogue>Oh, you can search - up and down As many lands as can be found But you'll never find a beer so brown As the one we drink in our home town You can keep your fancy ales You can drink them by the flagon But the only brew, for the brave and true, Comes from the Green Dragon!</dialogue> <scene_description>ANGLE ON: GANDALF laughing and clapping the HOBBITS. ARAGORN steps up beside him, SMILING at the floorshow. CONTINUED: (2)</scene_description> <character>ARAGORN</character> <dialogue>No news of Frodo?</dialogue> <character>GANDALF</character> <dialogue>No word ... nothing.</dialogue> <character>ARAGORN</character> <dialogue>We still have time.</dialogue> <scene_description>GANDALF turns quickly to ARAGORN.</scene_description> <character>ARAGORN</character> <dialogue>Every day Frodo moves closer to Mordor.</dialogue> <scene_description>GANDALF watches his friend's face ... seeking reassurance.</scene_description> <character>GANDALF</character> <dialogue>Do we know that?</dialogue> <character>ARAGORN</character> <parenthetical>(gently)</parenthetical> <dialogue>What does your heart tell you?</dialogue> <character>GANDALF</character> <parenthetical>(with a small smile)</parenthetical> <dialogue>That Frodo is alive.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>Yes - yes, he is alive.</dialogue> </scene> <scene> <stage_direction>EXT. MORGUL VALLEY - NIGHT</stage_direction> <scene_description>ANGLE ON: FRODO and SAM lie asleep amidst scrubby bushes near a stagnant pool. SMÉAGOL lies nearby, muttering in his sleep.</scene_description> <character>SMÉAGOL</character> <dialogue>Too risky. Too risky. The thieves! They stole it from us. Kill them ... kill them ... kill them both!</dialogue> <scene_description>SMÉAGOL wakes suddenly, shaking, his face drenched in SWEAT, eyes wide in horror.</scene_description> <character>SMÉAGOL</character> <dialogue>No!</dialogue> <scene_description>CONTINUED:</scene_description> <character>GOLLUM</character> <parenthetical>(hissed whisper)</parenthetical> <dialogue>Shhh! Quiet!</dialogue> <scene_description>SMÉAGOL'S features suddenly transform into the MALEVOLENT face of GOLLUM!</scene_description> <character>GOLLUM</character> <dialogue>Mustn't waken them, mustn't ruin it now!</dialogue> <scene_description>SMÉAGOL casts a quick glance over his SHOULDER to the SLEEPING figures of FRODO and SAM as he clambers off to his ROCK ... silently sidling towards the EDGE of the STAGNANT POOL.</scene_description> <character>SMÉAGOL</character> <dialogue>They knows, they knows, they suspects us!</dialogue> <scene_description>SMÉAGOL stares into the MURKY depths of the WATER. The SURFACE RIPPLES as the face of GOLLUM appears as SMÉAGOL'S REFLECTION.</scene_description> <character>GOLLUM</character> <dialogue>What's it saying, my Precious, my love? Is Sméagol losing his nerve??</dialogue> <character>SMÉAGOL</character> <dialogue>No! Not! Never!! Sméagol hates nasty Hobbitses! Sméagol wants to see them - dead!</dialogue> <character>GOLLUM</character> <dialogue>And we will ... Sméagol did it once...</dialogue> <parenthetical>(sly)</parenthetical> <dialogue>... He can do it again.</dialogue> <scene_description>FLASH INSERT: SMÉAGOL choking DÉAGOL ... Fingers locked tight around his THROAT.</scene_description> <character>GOLLUM</character> <dialogue>It's ours - ours!</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SMÉAGOL</character> <dialogue>We must get the Precious. We must get it back.</dialogue> <character>GOLLUM</character> <dialogue>Patience, patience, my love. First, we must lead them to her.</dialogue> <character>SMÉAGOL</character> <dialogue>We lead them to the windy stairs.</dialogue> <character>GOLLUM</character> <parenthetical>(prompting)</parenthetical> <dialogue>Yes, the stairs ... and then?</dialogue> <character>SMÉAGOL</character> <dialogue>Up, up, up, up the stairs we go ... until we come to...</dialogue> <parenthetical>(naughty excitement)</parenthetical> <dialogue>... the Tunnel!</dialogue> <character>GOLLUM</character> <parenthetical>(quiet)</parenthetical> <dialogue>And when they go in, there's no coming out. She's always hungry, she always needs to feed. She must eat. All she gets is filthy Orcses.</dialogue> <character>SMÉAGOL</character> <dialogue>And they doesn't taste very nice, does they, Precious?</dialogue> <character>GOLLUM</character> <dialogue>No ...not very nice at all, my love. She hungers for sweeter meats...</dialogue> <scene_description>CLOSE ON: SAM ... his EYES flicker OPEN...</scene_description> <character>GOLLUM</character> <dialogue>"Hobbit meat." And when She throws away the bones and the empty clothes, then we will find it...</dialogue> <character>SMÉAGOL</character> <dialogue>And take it for me!</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>GOLLUM</character> <parenthetical>(correcting)</parenthetical> <dialogue>For us...</dialogue> <character>SMÉAGOL</character> <dialogue>Yes, we, we meant for us...</dialogue> <parenthetical>(choking cough)</parenthetical> <dialogue>Gollum! Gollum!</dialogue> <character>GOLLUM</character> <parenthetical>(sly)</parenthetical> <dialogue>The Precious will be ours, once the Hobbitses are dead!</dialogue> <scene_description>SUDDEN ANGLE ON: SAM'S image mirrored in the water as he SMACKS GOLLUM on the HEAD with his POT!</scene_description> <character>SAM</character> <parenthetical>(yelling)</parenthetical> <dialogue>You treacherous little toad!</dialogue> <scene_description>SAM drops the POT and FLINGS himself ON TOP of GOLLUM! GOLLUM SCREAMS ... his ARMS and LEGS FLAILING WILDLY!</scene_description> <character>GOLLUM</character> <parenthetical>(crying)</parenthetical> <dialogue>No! Not! Help! Master!</dialogue> <scene_description>ANGLE ON: FRODO staggers over to SAM and PULLS HIM OFF GOLLUM.</scene_description> <character>FRODO</character> <dialogue>No, Sam! Leave him alone!</dialogue> <scene_description>CLOSE ON: GOLLUM, huddled on the ground, WHIMPERING and SOBBING.</scene_description> <character>SAM</character> <parenthetical>(fuming)</parenthetical> <dialogue>I heard it from his own mouth ... he means to murder us!</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>SMÉAGOL</character> <dialogue>Never! Sméagol wouldn't hurt a fly! He's a horrid, fat Hobbit who hates Sméagol and who makes up nasty lies!</dialogue> <scene_description>SAM makes for SMÉAGOL again ... with a look of MURDEROUS RAGE.</scene_description> <character>SAM</character> <dialogue>You miserable little maggot! I'll stove your head in!</dialogue> <scene_description>FRODO grabs SAM'S ARM.</scene_description> <character>FRODO</character> <dialogue>Sam...</dialogue> <character>SAM</character> <dialogue>Call me a liar! You're a liar!</dialogue> <character>FRODO</character> <dialogue>Sam! If you scare him off, we're lost.</dialogue> <scene_description>SAM pulls away from FRODO...</scene_description> <character>SAM</character> <dialogue>I don't care! I can't do it, Mr. Frodo. I won't wait around for him to kill us!</dialogue> <character>FRODO</character> <parenthetical>(fierce whisper)</parenthetical> <dialogue>I'm not sending him away.</dialogue> <scene_description>SAM stares at FRODO ... at a loss.</scene_description> <character>SAM</character> <dialogue>You don't see it, do you? He's a villain!</dialogue> <character>FRODO</character> <dialogue>We can't do this by ourselves, Sam. Not without a guide. I need you on my side.</dialogue> <scene_description>ANGLE ON: SAM, his face softening. CONTINUED: (5)</scene_description> <character>SAM</character> <parenthetical>(taken aback)</parenthetical> <dialogue>I'm on your side, Mr. Frodo.</dialogue> <character>FRODO</character> <dialogue>I know, Sam. I know.</dialogue> <parenthetical>(whisper)</parenthetical> <dialogue>You must trust me.</dialogue> <scene_description>FRODO beckons to GOLLUM.</scene_description> <character>FRODO</character> <dialogue>Come, Sméagol.</dialogue> <scene_description>GOLLUM turns slowly, staring at SAM through hooded, HATE-FILLED EYES ... and SMILES.</scene_description> </scene> <scene> <stage_direction>EXT. EDORAS, GOLDEN HALL - EARLY DAWN</stage_direction> <scene_description>ARAGORN joins LEGOLAS on the STEPS to the golden HALL, oblivious to the CHILL WIND ... they look out across the SLEEPING CITY to the LOOMING MOUNTAIN RANGE BEYOND ... DARK CLOUDS mark the sky.</scene_description> <character>LEGOLAS</character> <dialogue>The stars are veiled. Something stirs in the East ... a sleepless malice.</dialogue> <scene_description>LEGOLAS looks at ARAGORN ... realization in his face.</scene_description> <character>LEGOLAS</character> <dialogue>The eye of the enemy is moving.</dialogue> </scene> <scene> <stage_direction>INT. EDORAS, SLEEPING QUARTERS - EARLY DAWN</stage_direction> <scene_description>CLOSE ON: PIPPIN ... he is AWAKE! He sits up ... ANXIOUS, FIDGETY... Suddenly he hops out of bed and creeps towards the SLEEPING FORM of GANDALF.</scene_description> <character>MERRY</character> <parenthetical>(whispers)</parenthetical> <dialogue>What you doing?</dialogue> <scene_description>CONTINUED: PIPPIN gasps with FRIGHT! MERRY is sitting up, wiping sleep from his eyes. He moves on... ANGLE ON: A sleeping GANDALF lies with eyes wide open! But PIPPIN is undeterred... MERRY sits up, a worried look on his face.</scene_description> <character>MERRY</character> <dialogue>Pippin? Pippin? Pippin! What are you doing?</dialogue> <scene_description>With quick stealth, PIPPIN lifts the WRAPPED PALANTÍR from GANDALF'S grasp...</scene_description> <character>MERRY</character> <dialogue>Pippin, are you mad?</dialogue> <character>PIPPIN</character> <dialogue>I just want to look at it. Just one more time.</dialogue> <character>MERRY</character> <dialogue>Put it back! Put - it - back!</dialogue> <scene_description>PIPPIN unwraps the PALANTÍR and as MERRY looks on HORRIFIED, he gazes intently into it.</scene_description> <character>MERRY</character> <dialogue>Pippin!</dialogue> <scene_description>As PIPPIN lays his hands on the CRYSTAL, a SICKLY PALE light slowly spreads from the GLASS BALL onto PIPPIN'S FACE ... his EYES WIDEN.</scene_description> <character>MERRY</character> <dialogue>Pippin!</dialogue> </scene> <scene> <stage_direction>EXT. EDORAS GOLDEN HALL - EARLY DAWN</stage_direction> <scene_description>On the STEPS on the GOLDEN HALL, LEGOLAS turns to ARAGORN. CONTINUED:</scene_description> <character>LEGOLAS</character> <parenthetical>(urgent)</parenthetical> <dialogue>He is here.</dialogue> </scene> <scene> <stage_direction>INT. EDORAS, SLEEPING QUARTERS - NIGHT</stage_direction> <scene_description>PIPPIN suddenly starts to HYPERVENTILATE ... He STAGGERS BACKWARDS, PALANTÍR held rigidly before him... THE GREAT EYE OF SAURON seems to LEAP from the FIRE ... PIPPIN is bathed in the FIERY RED LIGHT. PIPPIN sinks to his KNEES, his mouth open in a soundless SCREAM ... He FALLS BACKWARDS, powerless to release the FIERY GLOBE.</scene_description> <character>MERRY</character> <dialogue>Help! Someone help him!</dialogue> <scene_description>GANDALF wakes with start! Just as ARAGORN enters, and wrenches the PALANTÍR from PIPPIN'S HANDS ... PIPPIN FALLS to the FLOOR! ... ARAGORN spins away, reeling backwards, the PALANTÍR falling from his HANDS... The PALANTÍR rolls across the FLOOR, causing EVERYONE in the room to COWER BACK. ANGLE ON: GANDALF throws a BLANKET over it, ANGRY DISBELIEF on his face! He rounds on PIPPIN.</scene_description> <character>GANDALF</character> <dialogue>Fool of a Took!</dialogue> <scene_description>GANDALF lifts the HOBBIT'S SLUMPED HEAD.</scene_description> <character>MERRY</character> <dialogue>Pippin!</dialogue> <scene_description>PIPPIN is trembling ... GANDALF calms him...</scene_description> <character>PIPPIN</character> <dialogue>Gandalf! Forgive me.</dialogue> <character>GANDALF</character> <dialogue>Look at me! What did you see?</dialogue> <scene_description>CONTINUED:</scene_description> <character>PIPPIN</character> <parenthetical>(disjointed)</parenthetical> <dialogue>A tree ... There was a white tree ... in a courtyard of stone... It was dead!</dialogue> <scene_description>FLASH INSERT: A lone white tree surrounded by flames.</scene_description> <character>PIPPIN</character> <dialogue>The city was burning...</dialogue> <character>GANDALF</character> <dialogue>Minas Tirith??</dialogue> <parenthetical>(to PIPPIN)</parenthetical> <dialogue>Is that what you saw?</dialogue> <character>PIPPIN</character> <parenthetical>(terrified)</parenthetical> <dialogue>I saw ... I saw him ... I can hear his voice in my head.</dialogue> <character>GANDALF</character> <dialogue>What did you tell him? Speak!</dialogue> <character>PIPPIN</character> <dialogue>He asked me my name, I didn't Answer ... he hurt me...</dialogue> <scene_description>CLOSE ON: GANDALF stares at PIPPIN with a FRIGHTENING INTENSITY...</scene_description> <character>GANDALF</character> <dialogue>What did you tell him about Frodo and the Ring?</dialogue> </scene> <scene> <stage_direction>INT. EDORAS, GOLDEN HALL - DAY</stage_direction> <scene_description>THÉODEN stands in the GOLDEN HALL, gravely listening to GANDALF ... ARAGORN, LEGOLAS, and GIMLI look on...</scene_description> <character>GANDALF</character> <dialogue>There was no lie in Pippin's eyes; a fool, but an honest fool he remains. He told Sauron nothing of Frodo and the Ring.</dialogue> <scene_description>ANGLE ON: GIMLI lets out a sigh of relief. CONTINUED: GANDALF turns to look at THÉODEN.</scene_description> <character>GANDALF</character> <dialogue>We've been strangely fortunate. What Pippin saw in the Palantír was a glimpse of our enemy's plan.</dialogue> <scene_description>GANDALF looks from one to the other of the gathered company.</scene_description> <character>GANDALF</character> <dialogue>Sauron moves to strike the city of Minas Tirith. His defeat at Helm's Deep showed our enemy one thing.</dialogue> <scene_description>The WIZARD turns towards ARAGORN...</scene_description> <character>GANDALF</character> <dialogue>The Heir of Elendil has come forth. Men are not as weak as he supposed. There is courage still - strength enough left to challenge him.</dialogue> <scene_description>THÉODEN listens intently, saying nothing.</scene_description> <character>GANDALF</character> <parenthetical>(warningly)</parenthetical> <dialogue>Sauron fears this. He will not risk the peoples of Middle-earth uniting under one banner. He will raze Minas Tirith to the ground before he sees the return of the King.</dialogue> <scene_description>CLOSE ON: ARAGORN ... he knows GANDALF SPEAKS THE TRUTH. ANGLE ON: GANDALF rounds on THÉODEN.</scene_description> <character>GANDALF</character> <dialogue>If the beacons of Gondor are lit, Rohan must be ready for war!</dialogue> <scene_description>THÉODEN holds GANDALF'S gaze. CONTINUED: (2)</scene_description> <character>THÉODEN</character> <dialogue>Tell me. Why should we ride to the aid of those who did not come to ours?</dialogue> <scene_description>ANGLE ON: ARAGORN turns to look at THÉODEN.</scene_description> <character>THÉODEN</character> <dialogue>What do we owe Gondor?</dialogue> <character>ARAGORN</character> <parenthetical>(low and urgent)</parenthetical> <dialogue>I will go.</dialogue> <character>GANDALF</character> <parenthetical>(hurried)</parenthetical> <dialogue>No!</dialogue> <character>ARAGORN</character> <dialogue>They must be warned!</dialogue> <character>GANDALF</character> <dialogue>They will be.</dialogue> <parenthetical>(low voice, to ARAGORN)</parenthetical> <dialogue>You must come to Minas Tirith by another road.</dialogue> <parenthetical>(cryptic)</parenthetical> <dialogue>Follow the river, look to the black ships.</dialogue> <parenthetical>(louder, to all)</parenthetical> <dialogue>Understand this, things are now in motion that cannot be undone.</dialogue> <scene_description>GANDALF turns on his heel ... and stares at a surprised PIPPIN.</scene_description> <character>GANDALF</character> <dialogue>I ride for Minas Tirith! And I won't be going alone!</dialogue> </scene> <scene> <stage_direction>EXT. EDORAS STREETS - DAWN</stage_direction> <scene_description>ANGLE ON: GANDALF hurries along the STREETS ... PIPPIN and MERRY run alongside trying to KEEP UP... CONTINUED:</scene_description> <character>GANDALF</character> <dialogue>Of all the inquisitive Hobbits, Peregrin Took, you are the worst! Hurry, hurry!</dialogue> <scene_description>PIPPIN catches up to MERRY.</scene_description> <character>PIPPIN</character> <parenthetical>(worried)</parenthetical> <dialogue>Where are we going?</dialogue> <character>MERRY</character> <dialogue>Why did you look - why do you always have to look?</dialogue> <character>PIPPIN</character> <parenthetical>(subdued)</parenthetical> <dialogue>I don't know. I can't help it.</dialogue> <scene_description>MERRY turns away...</scene_description> <character>MERRY</character> <dialogue>You never can.</dialogue> <character>PIPPIN</character> <parenthetical>(lightly)</parenthetical> <dialogue>I'm sorry, all right? I won't do it again.</dialogue> <scene_description>This is too much for MERRY. He turns on PIPPIN.</scene_description> <character>MERRY</character> <dialogue>Don't you understand ... the Enemy thinks you have the Ring ... he's going to be looking for you, Pip. They have to get you out of here!</dialogue> <character>PIPPIN</character> <dialogue>And you. You're coming with me ... Merry?</dialogue> <character>MERRY</character> <dialogue>Come on!</dialogue> <scene_description>PUSH IN: PIPPIN'S face as MERRY strides away. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EDORAS STABLES - DAWN</stage_direction> <scene_description>ANGLE ON: PIPPIN is dumped unceremoniously onto the back of SHADOWFAX as GANDALF hurriedly prepares to leave...</scene_description> <character>PIPPIN</character> <parenthetical>(nervous)</parenthetical> <dialogue>How far is Minas Tirith?</dialogue> <character>GANDALF</character> <dialogue>Three days ride, as the Nazgûl flies, and you better hope we don't have one of those on our tail.</dialogue> <scene_description>MERRY thrusts a SMALL PACKAGE into PIPPIN'S HAND...</scene_description> <character>MERRY</character> <dialogue>Here - something for the road.</dialogue> <scene_description>PIPPIN stares down at the leather-bound bundle of PIPE-WEED.</scene_description> <character>PIPPIN</character> <dialogue>The last of the Longbottom Leaf.</dialogue> <character>MERRY</character> <dialogue>I know you've run out ... You smoke too much, Pip.</dialogue> <character>PIPPIN</character> <dialogue>But we'll see each other soon?</dialogue> <scene_description>A WORRIED MERRY exchanges glances with GANDALF.</scene_description> <character>PIPPIN</character> <dialogue>Won't we?</dialogue> <character>MERRY</character> <dialogue>I don't know... I don't know what's going to happen.</dialogue> <scene_description>GANDALF mounts SHADOWFAX.</scene_description> <character>PIPPIN</character> <parenthetical>(rising panic)</parenthetical> <dialogue>Merry?</dialogue> <scene_description>CONTINUED: GANDALF spurs the GREAT HORSE forward.</scene_description> <character>GANDALF</character> <dialogue>Run Shadowfax. Show us the meaning of haste.</dialogue> <character>PIPPIN</character> <parenthetical>(panicked)</parenthetical> <dialogue>Merry!</dialogue> <scene_description>SHADOWFAX thunders out of the STABLES! CLOSE ON: MERRY'S devastated face. EXT. GATES of EDORAS - DAY ANGLE ON: SHADOWFAX carries GANDALF and PIPPIN out of the GATE and down the WINDING ROAD towards the PLAINS OF ROHAN.</scene_description> </scene> <scene> <stage_direction>EXT. EDORAS GATES LOOK-OUT - DAY</stage_direction> <scene_description>ANGLE ON: MERRY clambers up a WATCHTOWER, ARAGORN in pursuit. ANGLE ON: The SMALL FIGURE as he watches his best friend DISAPPEAR into the DISTANCE... CLOSE ON: ARAGORN ... he knows what it is to lose someone.</scene_description> </scene> <scene> <stage_direction>EXT. RIVENDELL FOREST - DAY</stage_direction> <scene_description>WIDE: ARWEN - escorted by a SMALL ENTOURAGE of ELVES - rides through the gathering darkness of a PINE FOREST.</scene_description> <character>ELROND (V.O.)</character> <dialogue>Take her by the safest road. A ship lies anchored in the Grey Havens. It waits to carry her across the sea ... the last journey of Arwen Undómiel.</dialogue> <scene_description>SLOW MOTION: As ARWEN rides through the FOREST, the FIGURE of a SMALL BOY of about 5 SUDDENLY runs across the path in front of her. ARWEN reigns in ASFALOTH ... something about the BOY intrigues her - but she does not know why... CONTINUED: As ARWEN watches the BOY move away, the TREES begin to thin ... the BOY continues running. One by one, the TREES TRANSFORM into TALL WHITE PILLARS. ARWEN'S POV: The BOY now stands within a VISION of the majestic architecture of the great Gondorian city of MINAS TIRITH. A SILHOUETTED FIGURE appears in the distance and moves towards the CHILD ... the BOY runs to the FIGURE. ARWEN watches as the FIGURE holds out its arms - swinging the LAUGHING CHILD into the AIR... The Figure turns to reveal ... ARAGORN, a little older, dressed in the casual finery of a GONDORIAN NOBLE. CLOSE ON: The CHILD, now in ARAGORN'S ARMS, looks directly at ARWEN ... it is a QUIET LOOK filled with INFINITE SADNESS. ARWEN'S eyes drop to the CHILD'S CHEST ... around the CHILD'S neck hangs the EVENSTAR... CLOSE ON: ARWEN as she realizes she is staring at a future that can never be, the CHILD she and ARAGORN will never have. INSERT: ELROND speaking to his daughter...</scene_description> <character>ELROND (V.O.)</character> <dialogue>Arwen, there is nothing for you here ... only death.</dialogue> <scene_description>ARWEN shuts her eyes ... when she opens them again, the VISION is gone ... she is staring at DARK TREES once more.</scene_description> <character>FIGWIT (O.S.)</character> <dialogue>Lady Arwen?</dialogue> <scene_description>ARWEN turns towards her COMPANION who stares at her, concerned.</scene_description> <character>FIGWIT</character> <dialogue>We cannot delay.</dialogue> <scene_description>SUDDENLY: ARWEN wheels ASFALOTH around ... riding away. CONTINUED: (2)</scene_description> <character>FIGWIT</character> <parenthetical>(calling)</parenthetical> <dialogue>My Lady!</dialogue> </scene> <scene> <stage_direction>EXT. RIVENDELL - DAY</stage_direction> <scene_description>WIDE SHOT: ARWEN'S HORSE gallops over the BRIDGE and through the GATES into RIVENDELL.</scene_description> </scene> <scene> <stage_direction>EXT. ELROND'S BALCONY, RIVENDELL - DAY</stage_direction> <scene_description>ANGLE ON: ELROND seated alone ... ARWEN runs up the STEPS towards him ...</scene_description> <character>ARWEN</character> <dialogue>What did you see?</dialogue> <scene_description>CLOSE ON: ELROND stands - stunned.</scene_description> <character>ELROND</character> <dialogue>Arwen?</dialogue> <scene_description>ANGLE ON: ARWEN breathing hard, walking towards ELROND with fierce light in her eyes.</scene_description> <character>ARWEN</character> <dialogue>You have the gift of foresight - tell me what you have seen.</dialogue> <scene_description>CLOSE ON: ELROND - his face grim.</scene_description> <character>ELROND</character> <dialogue>I looked into your future and I saw death.</dialogue> <character>ARWEN</character> <dialogue>There is also life.</dialogue> <scene_description>Her father turns away...</scene_description> <character>ARWEN</character> <dialogue>You saw there was a child... you saw my son.</dialogue> <scene_description>ELROND stares into space, the fight seems to go out of him. He won't look at her... CONTINUED:</scene_description> <character>ELROND</character> <parenthetical>(quietly)</parenthetical> <dialogue>That future is almost gone.</dialogue> <character>ARWEN</character> <dialogue>But it is not lost...</dialogue> <character>ELROND</character> <dialogue>Nothing is certain.</dialogue> <scene_description>ANGLE ON: ARWEN gently takes her FATHER'S face in her hands and turns him toward her...</scene_description> <character>ARWEN</character> <dialogue>Some things are certain. If I leave him now, I will regret it forever.</dialogue> <parenthetical>(whisper)</parenthetical> <dialogue>Ada, it is time.</dialogue> <scene_description>INSERT IMAGE: A HOODED FIGURE ascends a CURVED STAIRCASE towards a GALLERY ... The FIGURE stops before a STATUE that holds the BROKEN SHARDS of an ancient sword in its arms.</scene_description> <character>ARWEN (V.O.)</character> <dialogue>From the ashes a fire shall be woken, a light from the shadow shall spring, renewed shall be blade that was broken...</dialogue> <scene_description>INSERT IMAGE: The BLADE shattering in several fragments as ISILDUR brandishes NARSIL at SAURON.</scene_description> <character>ARWEN (V.O.)</character> <dialogue>The crownless again shall be King...</dialogue> <scene_description>CLOSE ON: The HOODED FIGURE looks up into the sorrowful face of the STATUE ... The figure is ARWEN...</scene_description> <character>ARWEN (V.O.)</character> <dialogue>Reforge the sword.</dialogue> </scene> <scene> <stage_direction>INT. ARWEN'S CHAMBER, RIVENDELL - NIGHT</stage_direction> <scene_description>ANGLE ON: ELROND stares at his daughter, unwavering... CONTINUED:</scene_description> <character>ARWEN</character> <dialogue>Ada...</dialogue> <scene_description>ANGLE ON: ELROND turns away... ANGLE ON: ARWEN in ANGUISH, sits on her bed, the book falls to the FLOOR... CLOSE ON: ELROND picks up her JOURNAL and takes one of her hands in his...</scene_description> <character>ELROND</character> <dialogue>Your hands are cold.</dialogue> <parenthetical>(distressed)</parenthetical> <dialogue>The life of the Eldar is leaving you.</dialogue> <scene_description>CLOSE ON: ELROND'S despair is plain...</scene_description> <character>ELROND</character> <dialogue>It has begun.</dialogue> <character>ARWEN</character> <dialogue>This was my choice. Ada ... Whether by your will or not, there is no ship now that can bear me hence.</dialogue> <scene_description>ANGLE ON: ELROND, he understands now that to protect his daughter, he must trust her... INSERT IMAGES: A BROKEN SWORD GLOWS with RED HEAT ... It's BLADE in SEVERAL FRAGMENTS. IMAGE: A HEAVY HAMMER pounds the RED-HOT BLADE on an ANVIL ... As ELVEN-SMITHS TEMPER the STEEL. IMAGE: ELROND'S FACE lit by FLICKERING FIRE as SPARKS fly in the RIVENDELL FORGE. CLOSE ON: The SWORD is withdrawn from a POOL OF STEAMING WATER ... LIGHT SHIMMERS as the WATER DROPS slide down the BLADE of NARSIL, the SWORD that was broken has been remade. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. FOOTHILLS OF WHITE MOUNTAINS - NIGHT</stage_direction> <scene_description>CLOSE ON: PIPPIN asleep ... GANDALF'S PROTECTIVE ARM around him... ...as SHADOWFAX THUNDERS through the NIGHT. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. FOOTHILLS OF WHITE MOUNTAINS - DAY</stage_direction> <scene_description>ANGLE ON: SHADOWFAX powers along the COUNTRYSIDE. ANGLE ON: PIPPIN, huddled in front of GANDALF, the WIND sailing through his hair.</scene_description> <character>GANDALF</character> <dialogue>We have just passed into the realm of Gondor.</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH - DAWN</stage_direction> <scene_description>ANGLE ON: SHADOWFAX gallops up onto a LOW RIDGE... ANGLE ON: Before them is the DARK MASS of Mount Mindolluin, its tall WHITE FACE whitening in the RISING SUN. Upon its out-thrust knee is the Guarded City: MINAS TIRITH. With SEVEN WALLS OF WHITE STONE, so strong and old that it seems to have been not built, MINAS TIRITH looks carven by giants out of the bones of the earth.</scene_description> <character>GANDALF</character> <dialogue>Minas Tirith ... City of the Kings.</dialogue> <scene_description>Suddenly, the SUN climbs over the eastern hills, and sends forth a SHAFT OF SUNLIGHT that GLEAMS against the face of the CITY. The TOWER OF ECTHELION stands high within the topmost walls. WHITE BANNERS break and FLUTTER from the BATTLEMENTS in the morning breeze.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAY</stage_direction> <scene_description>GANDALF steering SHADOWFAX up the STEEP STREETS of MINAS TIRITH. CONTINUED: ANGLE ON: The stares of frightened GONDORIANS as GANDALF and PIPPIN gallop through the WINDING STREETS... AERIAL SHOT: SHADOWFAX, carrying GANDALF and PIPPIN up towards the 7th LEVEL. MINAS TIRITH is built in 7 LEVELS - each behind a CIRCULAR DEFENSIVE WALL. Each level rises - the city reaches a height of nearly 1000 FEET on its TOPMOST LEVEL. A towering BASTION of NATURAL ROCK - shaped like a sharp ship's prow - bisects the city from the 2nd LEVEL to the TOP.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH, COURT OF THE KINGS - DAY</stage_direction> <scene_description>SHADOWFAX arrives at a GREAT CITADEL on the SUMMIT of the CITY - 1000 FEET above the PELENNOR FIELDS. GANDALF and PIPPIN dismount, leaving the GUARDS of the CITADEL to tend to SHADOWFAX. GANDALF hurries off... CLOSE ON: PIPPIN as he takes in his surroundings, his eye caught by a DEAD TREE that stands in the middle of the COURT, FOUR SOLEMN CITADEL GUARDS standing sentry around it.</scene_description> <character>PIPPIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>It's the tree.</dialogue> <parenthetical>(hurrying after GANDALF)</parenthetical> <dialogue>Gandalf! Gandalf!</dialogue> <character>GANDALF</character> <dialogue>Yes, the White Tree of Gondor. The tree of the King.</dialogue> <scene_description>GANDALF leads PIPPIN across a FLAT COURT of WHITE STONES, surrounded by GREEN LAWNS ... towards a GREAT HALL beneath the GLEAMING TOWER.</scene_description> <character>GANDALF</character> <dialogue>Lord Denethor, however, is not the king. He is a steward, only. A caretaker of the throne.</dialogue> <scene_description>GANDALF lowers his voice, as they approach the TOWER HALL. CONTINUED:</scene_description> <character>GANDALF</character> <parenthetical>(quietly)</parenthetical> <dialogue>Now, listen carefully. Lord Denethor is Boromir's father. To give him news of his beloved son's death would be most unwise ... And do not mention Frodo ... Or the Ring ... And say nothing of Aragorn, either.</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>In fact, it's better if you don't speak at all, Peregrin Took.</dialogue> <scene_description>CLOSE ON: PIPPIN, suitably chastened, nods.</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH TOWER HALL - DAY</stage_direction> <scene_description>ANGLE ON: A LONG SOLEMN HALL ... with ROWS of BLACK MARBLE PILLARS. Between the pillars stand a company of TALL KINGS carved in cold STONE. GANDALF strides down the HALL, with PIPPIN following obediently behind. At the FAR END, upon a DAIS OF MANY STEPS, sits a LARGE, EMPTY THRONE ... and on the wall is the IMAGE of a FLOWERING WHITE TREE set in GEMS. At the Foot of the DAIS, in a small STONE CHAIR, sits an OLD MAN, gazing at his lap: DENETHOR - the Lord Steward of GONDOR.</scene_description> <character>GANDALF</character> <dialogue>Hail Denethor, son of Ecthelion, Lord and Steward of Gondor.</dialogue> <scene_description>DENETHOR does not look up as GANDALF and PIPPIN approach.</scene_description> <character>GANDALF</character> <dialogue>I come with tidings in this dark hour - and with counsel.</dialogue> <scene_description>DENETHOR slowly raises COLD EYES...</scene_description> <character>DENETHOR</character> <parenthetical>(bitter)</parenthetical> <dialogue>Perhaps you come to explain this?</dialogue> <scene_description>CONTINUED: DENETHOR holds up BOROMIR'S BROKEN HORN...</scene_description> <character>DENETHOR</character> <dialogue>Perhaps you come to tell me why my son is dead.</dialogue> <scene_description>CLOSE ON: PIPPIN remembering... INSERT IMAGE: BOROMIR, as URUK-HAI arrows thud into his body, he falls to his KNEES... PIPPIN starts forward unable to say nothing...</scene_description> <character>PIPPIN</character> <dialogue>Boromir died to save us ... my kinsman and me ... he fell, defending us from many foes.</dialogue> <scene_description>CLOSE ON: DENETHOR, pain flickers in his eyes.</scene_description> <character>GANDALF</character> <parenthetical>(hurried whisper)</parenthetical> <dialogue>Pippin!</dialogue> <scene_description>PIPPIN drops to his knee offering DENETHOR his SWORD...</scene_description> <character>PIPPIN</character> <dialogue>I offer you my service, such as it is, in payment of this debt.</dialogue> <scene_description>DENETHOR looks at PIPPIN blankly, overcome with grief.</scene_description> <character>GANDALF</character> <parenthetical>(to PIPPIN)</parenthetical> <dialogue>Get up!</dialogue> <parenthetical>(addressing DENETHOR)</parenthetical> <dialogue>My Lord, there will be a time to grieve for Boromir, but it is not now. War is coming ... the Enemy is on your doorstep. As Steward, you are charged with the defense of this city. Where are Gondor's armies?</dialogue> <scene_description>DENETHOR'S gaze turns slowly on GANDALF... CONTINUED: (2)</scene_description> <character>GANDALF</character> <dialogue>You still have friends - You are not alone in this fight. Send word to Théoden of Rohan. Light the beacons.</dialogue> <scene_description>DENETHOR smiles at GANDALF, as if amused by something.</scene_description> <character>DENETHOR</character> <parenthetical>(softly)</parenthetical> <dialogue>You think you are wise, Mithrandir, yet for all your subtleties you have not wisdom. Do you think the eyes of the White Tower are blind? I have seen more than you know. With your left hand you would use me as a shield against Mordor, and with your right you would seek to supplant me.</dialogue> <scene_description>CLOSE ON: GANDALF looks shocked. DENETHOR'S eyes NARROW.</scene_description> <character>DENETHOR</character> <parenthetical>(contemptuous)</parenthetical> <dialogue>I know who rides with Théoden of Rohan. Oh, yes. Word has reached my ears of this Aragorn, son of Arathorn, and I tell you now, I will not bow to this Ranger from the North, last of a ragged house long bereft of Lordship.</dialogue> <character>GANDALF</character> <parenthetical>(stung)</parenthetical> <dialogue>Authority is not given you to deny the return of the King - Steward!</dialogue> <character>DENETHOR</character> <parenthetical>(explosive)</parenthetical> <dialogue>The rule of Gondor is mine, and no other's!</dialogue> <scene_description>CLOSE ON: PIPPIN, horrified. GANDALF looks at DENETHOR closely for a moment, then turns on his heel to leave. PIPPIN follows.</scene_description> <character>GANDALF</character> <dialogue>Come.</dialogue> <scene_description>GANDALF and PIPPIN stride from the TOWER HALL ... DENETHOR slumps back into his SEAT.</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH, PIPPIN'S QUARTERS - NIGHT</stage_direction> <scene_description>ANGLE ON: PIPPIN is carefully laying out a SMALL UNIFORM of the ROYAL GUARD on a bed.</scene_description> <character>PIPPIN</character> <dialogue>So I imagine this is just a ceremonial Position ... I mean, they don't actually expect me to do any fighting ... do they?</dialogue> <scene_description>WIDE: GANDALF STANDING QUIETLY on a BALCONY that overlooks the GREAT CITY.</scene_description> <character>GANDALF</character> <dialogue>You're in the service of the Steward Now - You're going to have to do as you're told, Peregrin Took...</dialogue> <parenthetical>(under his breath)</parenthetical> <dialogue>Guard of the Citadel!</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BALCONY - NIGHT</stage_direction> <scene_description>ANGLE ON: PIPPIN as he stares up at the vast NIGHT SKY.</scene_description> <character>PIPPIN</character> <dialogue>It's so quiet.</dialogue> <scene_description>GANDALF watches the young HOBBIT.</scene_description> <character>GANDALF</character> <dialogue>It's the deep breath before the plunge.</dialogue> <character>PIPPIN</character> <dialogue>I don't want to be in a battle ... but waiting on the edge of one I can't escape is even worse.</dialogue> <parenthetical>(tense)</parenthetical> <dialogue>Is there any hope, Gandalf - for Frodo and Sam?</dialogue> <scene_description>GANDALF joins PIPPIN as they look towards the distant, jagged MOUNTAINS of MORDOR... CONTINUED:</scene_description> <character>GANDALF</character> <dialogue>There never was much hope.</dialogue> <scene_description>PIPPIN looks up at him, unnerved. GANDALF gives him a small, self-deprecating smile...</scene_description> <character>GANDALF</character> <dialogue>Just a fool's hope.</dialogue> <scene_description>GANDALF and PIPPIN share a quiet moment as they stare out towards the FIERY SKY over MORDOR.</scene_description> <character>GANDALF (V.O.)</character> <parenthetical>(grim)</parenthetical> <dialogue>Our enemy is almost ready, his full strength gathered. Not only Orcs, but men as well.</dialogue> <scene_description>INSERT IMAGE: GIANT MÛMAKIL carrying ARMIES upon their backs.</scene_description> <character>GANDALF (V.O.)</character> <dialogue>Legions of Haradrim from the South...</dialogue> <scene_description>INSERT IMAGE: CORSAIR SHIPS sail up the RIVER...</scene_description> <character>GANDALF (V.O.)</character> <dialogue>Mercenaries from the coast ... All will answer Mordor's call.</dialogue> <scene_description>ANGLE ON: GANDALF ... he is almost talking to himself now... like a man unable to prevent a sure disaster.</scene_description> <character>GANDALF</character> <dialogue>This will be the end of Gondor as we know it. Here the hammerstroke will fall the hardest.</dialogue> <scene_description>INSERT IMAGE: The BATTLE-SCARRED CITY of OSGILIATH - last bastion between MINAS TIRITH and MORDOR...</scene_description> <character>GANDALF (V.O.)</character> <dialogue>If the river is taken, if the garrison at Osgiliath falls, the last defense of this city will be gone.</dialogue> <scene_description>CONTINUED: (2) CLOSE ON: PIPPIN ... desperately seeking reassurance.</scene_description> <character>PIPPIN</character> <dialogue>But we have the White Wizard, that's got to count for something.</dialogue> <scene_description>GANDALF looks down at PIPPIN, he says nothing...</scene_description> <character>PIPPIN</character> <parenthetical>(nervous)</parenthetical> <dialogue>Gandalf?</dialogue> <scene_description>GANDALF stares into the distance as if seeing something in his mind's eye. INSERT IMAGE: A TOWERING, HOODED FIGURE, DRESSED in BLACK, is being dressed in ARMOUR by attendant ORCS...</scene_description> <character>GANDALF (V.O.)</character> <dialogue>Sauron has yet to release his deadliest servant ... The one who will lead Mordor's armies in war, the one they say no living man can kill.</dialogue> <scene_description>CLOSE ON: GANDALF still staring intently as if facing his enemy in person.</scene_description> <character>GANDALF</character> <dialogue>The Witch-King of Angmar...</dialogue> <parenthetical>(he looks down at a startled PIPPIN)</parenthetical> <dialogue>You've met him before...</dialogue> <scene_description>ANGLE ON: PIPPIN looks up at GANDALF, afraid to ask...</scene_description> <character>GANDALF</character> <dialogue>He stabbed Frodo on Weathertop.</dialogue> <scene_description>INSERT IMAGE: FRODO screaming as the MORGUL BLADE is driven into his SHOULDER... PIPPIN blanches at the MEMORY... CONTINUED: (3)</scene_description> <character>GANDALF</character> <dialogue>He is the Lord of the Nazgûl - the greatest of the nine...</dialogue> </scene> <scene> <stage_direction>EXT. MINAS MORGUL - NIGHT</stage_direction> <character>GANDALF (V.O.)</character> <dialogue>And Minas Morgul is his lair.</dialogue> <scene_description>ANGLE ON: FRODO and SAM clamber into a SMALL GULLY beside a ROUGH-HEWN ROAD ... GOLLUM CAREFULLY peers OVER the lip of the GULLY... ANGLE ON: MINAS MORGUL, a MASSIVE DEAD CITY, set upon a ROCKY KNEE at the HEAD OF THE Morgul Valley. CORRUPT and LOATHSOME, it glows with a SICKLY LUMINOUS LIGHT - like a CORPSE CANDLE. TWO HUGE, BESTIAL STONE STATUES guard the BRIDE that leads to the CITY...</scene_description> <character>GOLLUM</character> <dialogue>The Dead City, very nasty place, full of ... enemies.</dialogue> <scene_description>GOLLUM, FRODO and SAM hurry from their COVER scampering in the SHADOWS towards MINAS MORGUL...</scene_description> <character>GOLLUM</character> <dialogue>Quick! Quick! They will see, they will see.</dialogue> <scene_description>CLOSE ON: FRODO ... he LOOKS UP at the HIDEOUS STATUES. His SENSES START REELING.</scene_description> <character>GOLLUM</character> <dialogue>Come away, come away. Look! We have found it.</dialogue> <scene_description>FRODO and SAM look AGHAST at the sight of a NARROW, NEAR- VERTICAL STAIRCASE, cut into the ROCK-FACE ... Directly in FRONT of the MINAS MORGUL GATES.</scene_description> <character>GOLLUM</character> <dialogue>The way into Mordor!</dialogue> <scene_description>CONTINUED: ANGLE ON: Following the STAIRS ... HIGHER and HIGHER up the sheer western side of the MORGUL VALLEY - to the HIGH PEAKS of the razor-like MOUNTAINS OF MORDOR.</scene_description> <character>GOLLUM</character> <dialogue>The secret stairs ... climb!</dialogue> <scene_description>SUDDENLY! FRODO staggers across the ROAD ... as if some FORCE, other than his own will, is at work! He lurches towards the BRIDGE ... towards MINAS MORGUL!</scene_description> <character>SAM</character> <dialogue>No, Mr. Frodo!</dialogue> <character>GOLLUM</character> <parenthetical>(desperate)</parenthetical> <dialogue>Not that way!</dialogue> <scene_description>SAM runs after FRODO, catching him in his arms as he STUMBLES.</scene_description> <character>GOLLUM</character> <dialogue>What's it doing?</dialogue> <character>SAM</character> <dialogue>No!</dialogue> <scene_description>SAM and GOLLUM pull FRODO from the BRIDGE.</scene_description> <character>FRODO</character> <parenthetical>(disoriented)</parenthetical> <dialogue>They're calling me!</dialogue> <scene_description>FRODO falls to the GROUND. AT THAT MOMENT: the GROUND QUIVERS, and a great RUMBLING NOISE rolls across the ground and ECHOES in the mountains. The cold, dull MORGUL VALLEY is suddenly VIOLENT and FIERCE, as UPRUSHING FLAME springs from MOUNT DOOM. MINAS MORGUL ANSWERS: A FLARE of LIVID LIGHTNING, FORKS of BLUE FLAME, SPRING UP from the TOWER into the SULLEN CLOUD.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BALCONY - NIGHT</stage_direction> <scene_description>ANGLE ON: VIOLENT FIERY FLASHES light the CLOUD above MORDOR ... SHARP THUNDER rolls across 40 MILES to MINAS TIRITH. CLOSE ON: PIPPIN looking on in FRIGHTENED AWE. GANDALF'S comforting HAND rests on his shoulder.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS MORGUL - NIGHT</stage_direction> <scene_description>SAM and GOLLUM lead FRODO to the STAIRS... ABOVE MINAS MORGUL the SKY is BRIGHT with LIGHT as the CITY, erupts...</scene_description> <character>GOLLUM</character> <dialogue>Hide! Hide!</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - NIGHT</stage_direction> <scene_description>ANGLES ON: FACES of SOLDIERS and CIVILIANS of MINAS TIRITH as they watch from the PARAPETS of the CITY.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS MORGUL - NIGHT</stage_direction> <scene_description>FRODO and SAM sink to the ground, holding their hands against their ears, as out of the CITY comes a RENDING SCREECH ... SHIVERING, rising swiftly to a PIERCING PITCH beyond the range of hearing. The terrible CRY ends, falling back through a long sickening WAIL, to SILENCE. ANGLE ON: FRODO slowly RAISES HIS HEAD ... across the NARROW VALLEY, directly opposite the HOBBITS, the LORD OF THE NAZGÛL - the WITCH KING - suddenly RISES UP out of the DEAD CITY on his FELL-BEAST! ...as the WITCH KING settles on the BATTLEMENTS of MINAS MORGUL. His DARK HEAD turns this way and that, sweeping the shadows with unseen eyes - as if SENSING the RING! CONTINUED: ANGLE ON: FRODO breaking out into a COLD SWEAT. He squeezes his eyes shut, clutching at his SHIRT as if it's on FIRE!</scene_description> <character>FRODO</character> <parenthetical>(gasping)</parenthetical> <dialogue>I can feel his blade!</dialogue> <scene_description>THE CAVERNOUS GATE of MINAS MORGUL swings OPEN... ...and a HUGE ARMY MARCHES OUT! RANK upon RANK of ARMOUR CLAD ORCS, moving SWIFTLY and SILENTLY, pass close to FRODO and SAM in an ENDLESS STREAM of RAGGED COLUMNS!</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BALCONY - NIGHT</stage_direction> <scene_description>CLOSE ON: GANDALF...</scene_description> <character>GANDALF</character> <parenthetical>(quiet)</parenthetical> <dialogue>We come to it at last ... the great battle of our time.</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS MORGUL - NIGHT</stage_direction> <scene_description>ANGLE ON: 75,000 ORCS MARCHING TO WAR, just below FRODO and SAM.</scene_description> <character>GANDALF (V.O.)</character> <dialogue>This war is long planned. Sauron has hated The West through many ages ... It is a Hatred that flows from the depths of time, Across the deeps of the Sea.</dialogue> <scene_description>The WITCH KING SWOOPS down the VALLEY to join the HEAD of his ARMY. He vanishes into the GLOOM - a shadow into shadow. CLOSE ON: GOLLUM peers out from his stony hiding place.</scene_description> <character>GOLLUM</character> <parenthetical>(urgent)</parenthetical> <dialogue>Come, Hobbits. We climb - we must climb!</dialogue> <scene_description>CONTINUED: ANGLE ON: FRODO, SAM and GOLLUM climb the STONY STAIRS high above the MARCHING ARMY.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BALCONY - NIGHT</stage_direction> <scene_description>ANGLE ON: GANDALF ... thinking, calculating...</scene_description> <character>GANDALF</character> <parenthetical>(to himself)</parenthetical> <dialogue>The board is set, the pieces are moving.</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH SIXTH LEVEL - NIGHT</stage_direction> <scene_description>ANGLE ON: GANDALF striding BACK STREETS of the CITY ... so DETERMINED and PURPOSEFUL is he, that PIPPIN has to RUN to keep up. GANDALF suddenly stops and looks down at PIPPIN...</scene_description> <character>GANDALF</character> <dialogue>Peregrin Took, my lad, there is a task now to be done. Another opportunity for one of the Shire-folk to prove their great worth!</dialogue> <scene_description>GANDALF kneels down and looks at PIPPIN earnestly, his hand on PIPPIN'S shoulder.</scene_description> <character>GANDALF</character> <dialogue>You must not fail me.</dialogue> <scene_description>GANDALF watches as PIPPIN hurries away.</scene_description> </scene> <scene> <stage_direction>EXT. WEST OSGILIATH, RIVER ANDUIN - NIGHT</stage_direction> <scene_description>WIDE ON: An ANCIENT STONE BRIDGE which spans the RUINS of EAST and WEST OSGILIATH - a once MIGHTY GONDORIAN CITY. WIDE ON: ITHILIEN RANGERS patrolling the BRIDGE and the RIVERBANK. WEST OSGILIATH has fallen into disrepair, but the DESOLATION of EAST OSGILIATH is more pronounced - it is held by the FORCES of MORDOR. CAMERA tracks down beneath the BRIDGE to the DARK WATERS ... catching a STEALTHY MOVEMENT... CONTINUED: ANGLE ON: MANY BOATS, carrying MURDEROUS-LOOKING ORCS, are quietly tracking down the RIVER. On board several HUNCHED FIGURES steer with LONG OARS.</scene_description> <character>GOTHMOG</character> <parenthetical>(to his oarsmen)</parenthetical> <dialogue>Quiet!</dialogue> </scene> <scene> <stage_direction>EXT. WEST OSGILIATH, RIVER ANDUIN - NIGHT</stage_direction> <scene_description>CLOSE ON: FARAMIR, CAPTAIN OF GONDOR, as he issues orders to his SOLDIERS.</scene_description> <character>FARAMIR</character> <parenthetical>(urgent)</parenthetical> <dialogue>To the river - quick!</dialogue> <scene_description>ANGLE ON: ITHILIEN RANGERS take position; they are all WEATHERED, HARDENED, PROFESSIONAL SOLDIERS ... Watchful, ready, waiting...</scene_description> <character>GOTHMOG</character> <dialogue>Faster!</dialogue> <scene_description>ON THE RIVER the BOATS quietly advance.</scene_description> <character>ORC COMMANDER</character> <dialogue>Draw swords!</dialogue> <scene_description>ANGLE ON: FARAMIR and his SOLDIERS lie in wait. As the BOATS arrive, HUNDREDS of ORCS race ashore. FARAMIR steps out, his SWORD drawn. A FIERCE BATTLE ensues, but FARAMIR is unable to stop the advance as HUNDREDS OF ORCS cross the WIDE BRIDGE into WEST OSGILIATH.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNT MINDOLLUIN - DAWN</stage_direction> <scene_description>HIGH ANGLE ON: A DIZZYING VIEW ... Looking down on MINAS TIRITH, 1000 FEET BELOW, as PIPPIN desperately scrambles up the ROCKY MOUNTAINSIDE.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BEACON - DAWN</stage_direction> <scene_description>PIPPIN clambers over a ROCKY LEDGE and ducks behind a STONE WALL ... panting HEAVILY. CONTINUED: ANGLE ON: An ancient STONE LEDGE holds a GREAT PILE of FIREWOOD, secured in stacked bundles ... The MINAS TIRITH BEACON! TWO bored CITADEL GUARDS sit chatting ... passing the long hours.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAWN</stage_direction> <scene_description>ANGLE ON: GANDALF as he waits tensely below...</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BEACON - DAWN</stage_direction> <scene_description>ANGLES ON: PIPPIN as he stealthily manages to POUR OIL on the WOOD and set a FLAME to it! Within SECONDS, the GREAT PYRE is alight! The GUARDS look on in TOTAL SURPRISE as the FLAMES ERUPT into the TWILIGHT SKY.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS</stage_direction> <scene_description>ANGLE ON: GANDALF as the BEACONS burst into FLAMES ... His eyes flash briefly with TRIUMPH before he hurries off...</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DUSK</stage_direction> <scene_description>ANGLE ON: The BEACON glows BRIGHTLY on the slopes on MOUNT MINDOLLUIN, high above MINAS TIRITH... PULL BACK: GANDALF hurries to the BATTLEMENT, looking further west along the WHITE MOUNTAINS.</scene_description> <character>GANDALF</character> <parenthetical>(to himself)</parenthetical> <dialogue>Amon Dîn ... come on...</dialogue> <scene_description>ANGLE ON: a bright FIRE ignites on a DISTANT MOUNTAIN PEAK. CONTINUED: NOISY COMMOTION in the city as PEOPLE realize the BEACONS have been lit!</scene_description> <character>GUARD</character> <dialogue>The beacon! The beacon at Amon Dîn is lit!</dialogue> <scene_description>FLASH INSERT: DENETHOR staring at the BEACON from the CITADEL WINDOW ... a look of BLACK FURY on his face. ANGLE ON: GANDALF, a strange smile plays on his face...</scene_description> <character>GANDALF</character> <parenthetical>(to himself)</parenthetical> <dialogue>Hope is kindled.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. WHITE MOUNTAINS AERIAL - NIGHT</stage_direction> <scene_description>AERIAL SHOT: MOVING over the WHITE MOUNTAINS... as the TRAIL of GREAT FIRES slowly winds from PEAK TO PEAK.</scene_description> </scene> <scene> <stage_direction>EXT. EDORAS COURTYARD - DAWN</stage_direction> <scene_description>ANGLE ON: A ROCKY PEAK high above EDORAS ... a GREAT BEACON FIRE is IGNITED. ON THE SOUNDTRACK: A BELL TOLLS urgently! CLOSE ON: ARAGORN looks tensely out across the MOUNTAINS... PULL BACK ... ARAGORN runs towards the GOLDEN HALL.</scene_description> </scene> <scene> <stage_direction>INT. EDORAS, GOLDEN HALL - DAWN</stage_direction> <scene_description>CLOSE ON: ARAGORN bursts into the GOLDEN HALL.</scene_description> <character>ARAGORN</character> <dialogue>The beacons of Minas Tirith! The beacons are lit! Gondor calls for aid!</dialogue> <scene_description>ANGLE ON: THÉODEN looks up, startled. CONTINUED: CLOSE ON: ÉOWYN, ÉOMER turn to look at their UNCLE ... tension builds. CLOSE ON: THÉODEN, his head lowered ... Slowly, it rises - he looks ARAGORN in the EYE.</scene_description> <character>THÉODEN</character> <dialogue>Then Rohan will answer. Muster the Rohirrim!</dialogue> </scene> <scene> <stage_direction>EXT. EDORAS COURTYARD - DAWN</stage_direction> <scene_description>WIDE ON: EDORAS LOOKOUT ... A SOLDIER RINGING the GREAT BELL in alarm as below, in the COURTYARD, SOLDIERS mount their STEEDS amid great activity. ANGLE ON: THÉODEN striding purposefully outside, flanked by ÉOMER and his SOLDIERS...</scene_description> <character>THÉODEN</character> <dialogue>Assemble the Men at Dunharrow - as many Men as can be found. You have two days ... On the third, we ride for Gondor ... and war.</dialogue> <scene_description>ANGLE ON: THÉODEN strides onto the PARAPETS...</scene_description> <character>THÉODEN</character> <dialogue>Gamling, make haste across the Riddermark ... Summon every able-bodied man to Dunharrow!</dialogue> <scene_description>ANGLE ON: THÉODEN watches as below the SOLDIERS prepare. ANGLE ON: ÉOWYN hurriedly pulling on RIDING GLOVES, preparing to mount her HORSE.</scene_description> <character>ARAGORN</character> <dialogue>You ride with us?</dialogue> <scene_description>ÉOWYN turns and runs SMACK into ARAGORN...</scene_description> <character>ÉOWYN</character> <dialogue>Just to the encampment. It's tradition for the women of the Court to farewell the Men.</dialogue> <scene_description>CONTINUED: ARAGORN smiles ... reaching past her, he lifts a cover to reveal a SWORD, strapped to the side of the saddle of her HORSE. ÉOWYN deftly pulls the cover back down. She looks at ARAGORN.</scene_description> <character>ÉOWYN</character> <parenthetical>(softly)</parenthetical> <dialogue>The Men have found their Captain - they will follow you into battle, even to death.</dialogue> <parenthetical>(quietly)</parenthetical> <dialogue>You have given us hope.</dialogue> <scene_description>PULL BACK: to reveal THÉODEN stares around at the STREETS and PEOPLE of EDORAS ... it is as if he knows he will not see this place again.</scene_description> <character>THÉODEN (V.O.)</character> <dialogue>So ... It is before the walls of Minas Tirith that the doom of our time will be decided.</dialogue> <scene_description>ANGLE ON: ÉOMER astride his horse, calls to the assembled SOLDIERS...</scene_description> <character>ÉOMER</character> <dialogue>Now is the hour! Riders of Rohan - Oaths you have taken. Now, fulfill them all - For Lord and land!</dialogue> </scene> <scene> <stage_direction>EXT. PLAINS OF ROHAN - DAY</stage_direction> <scene_description>ANGLE ON: THÉODEN astride SNOWMANE, as he, ÉOMER, ARAGORN &amp; MERRY and LEGOLAS &amp; GIMLI ride out AMID a GREAT COLUMN of ROHIRRIM, THUNDERING towards DUNHARROW in the MOUNTAINS.</scene_description> </scene> <scene> <stage_direction>EXT. WEST OSGILIATH, RIVER ANDUIN - DAY</stage_direction> <scene_description>ANGLE ON: FARAMIR and his MEN are fighting a losing BATTLE against the MORDOR invasion.</scene_description> <character>MADRIL</character> <dialogue>We cannot hold them! The city is lost!</dialogue> <scene_description>CONTINUED:</scene_description> <character>FARAMIR</character> <dialogue>Tell the Men to break up. We ride for Minas Tirith.</dialogue> <scene_description>ON THE SOUNDTRACK: OMINOUS SOUNDS of WIND RISING ... HUGE WINGS BEATING...</scene_description> <character>SOLDIER</character> <dialogue>Nazgûl!</dialogue> <scene_description>SPINNING ANGLE: FARAMIR looks up at the sky ... ITHILIEN RANGERS are suddenly nervous, frightened ... A HUGE SHADOW passes overhead!</scene_description> <character>FARAMIR</character> <dialogue>Take cover!</dialogue> <scene_description>A SUDDEN TERRIFYING SHRIEK rends the AIR!</scene_description> <character>FARAMIR</character> <dialogue>Pull back! Pull back to Minas Tirith!</dialogue> <scene_description>ANGLE ON: SOLDIERS RETREATING through the RUINS of the CITY as, high in the sky above, the NAZGÛL swoop... ANGLE ON: MADRIL as he is cut down by an ORC... CLOSE ON: MADRIL ... his breathing quick and shallow ... footsteps approach... ANGLE ON: The HIDEOUSLY deformed features of GOTHMOG standing over the prone figure of the INJURED RANGER. Grabbing a spear from a nearby underling, GOTHMOG drives the shaft into MADRIL'S chest... CLOSE ON: GOTHMOG surveys the carnage with satisfaction.</scene_description> <character>GOTHMOG</character> <dialogue>The age of Men is over. The time of the Orc has come.</dialogue> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAY</stage_direction> <scene_description>FARAMIR and a few survivors flee WEST OSGILIATH, desperately riding toward MINAS TIRITH ... in the SKY above DARK SHAPES pursue them... ANGLE ON: SUDDENLY, from on HIGH, the NAZGÛL strike! TILT DOWN ... following the NAZGÛL as it SWOOPS out of LOW- LYING, MURKY CLOUDS tossing MEN in the AIR like LIMP RAG-DOLLS! AT THAT MOMENT: Across the PLAIN, a FIGURE clothed in WHITE rides towards them! From the BATTLEMENTS of MINAS TIRITH, a call ... "The White Rider!"</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAY</stage_direction> <scene_description>WIDE ON: GANDALF as he spurs SHADOWFAX forward! PIPPIN clings tightly to the great horse's MANE. ANGLE ON: FARAMIR, SWORD in hand, remains at the REAR, trying desperately to fend off the DEADLY ASSAULT... AGAIN the FELL-BEASTS DIVE low... GANDALF thunders into view, raising his STAFF... A SHAFT OF WHITE LIGHT suddenly stabs upwards! The NAZGÛL SWERVES AWAY from the LIGHT, as it pierces the LOW CLOUD! For a BRIEF MOMENT, SUNLIGHT streams through the hole onto PELENNOR FIELDS ... The NAZGÛL circle away from the SUN RAYS, swiftly spiraling higher and higher. The NAZGÛL defeated, GANDALF and the RANGERS ride towards the safety of MINAS TIRITH.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH GATES - DAY</stage_direction> <scene_description>ANGLE ON: IORLAS runs towards the GATES, yelling...</scene_description> <character>IORLAS</character> <dialogue>Open the Gates! Pull!</dialogue> <scene_description>CONTINUED: The GREAT GATES OPEN, allowing GANDALF, PIPPIN, FARAMIR and the OSGILIATH SURVIVORS to RIDE IN ... Nearly 100 WOUNDED AND SHOCKED MEN. AS GANDALF pulls SHADOWFAX up...</scene_description> <character>FARAMIR</character> <dialogue>Mithrandir!</dialogue> <scene_description>ANGLE ON: FARAMIR STEERS HIS HORSE through the CROWD towards GANDALF...</scene_description> <character>FARAMIR</character> <dialogue>They broke through our defenses. They have taken the bridge and the West Bank. Battalions of Orcs are crossing the River.</dialogue> <character>IORLAS</character> <dialogue>It is as the Lord Denethor predicted - long has he foreseen this doom!</dialogue> <character>GANDALF</character> <dialogue>Foreseen and done nothing!</dialogue> <scene_description>FARAMIR suddenly STARES at PIPPIN. GANDALF reads the surprise in his eyes.</scene_description> <character>GANDALF</character> <dialogue>Faramir? ... This is not the first Halfling to have crossed your path?</dialogue> <scene_description>FARAMIR shakes his head.</scene_description> <character>FARAMIR</character> <dialogue>No.</dialogue> <character>PIPPIN</character> <parenthetical>(disbelief)</parenthetical> <dialogue>You've seen Frodo and Sam?</dialogue> <scene_description>FARAMIR NODS.</scene_description> <character>GANDALF</character> <dialogue>Where? When?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>FARAMIR</character> <dialogue>In Ithilien, not two days ago. Gandalf - they are taking the road to the Morgul Vale.</dialogue> <character>GANDALF</character> <parenthetical>(shocked realisation)</parenthetical> <dialogue>...And then the Pass of Cirith Ungol.</dialogue> <scene_description>CLOSE ON: GANDALF, deeply troubled.</scene_description> <character>PIPPIN</character> <dialogue>What does that mean? What's wrong?</dialogue> <character>GANDALF</character> <parenthetical>(urgent)</parenthetical> <dialogue>Faramir ... Tell me everything.</dialogue> </scene> <scene> <stage_direction>EXT. CIRITH UNGOL STAIRS - NIGHT</stage_direction> <scene_description>ANGLE ON: FRODO and SAM following GOLLUM up the dizzying STAIRWAY, carved into the SHEER CLIFF. The STEPS are NARROW, UNEVENLY SPACED, and many are BROKEN. They are so STEEP that FRODO and SAM climb as if on a LADDER, their desperate FINGERS clinging to the STEPS ABOVE - trying not to look at the LONG BLACK FALL below them. ANGLE ON: FRODO'S foot slips and for a brief moment he is HANGING PRECARIOUSLY from the ROCK-FACE.</scene_description> <character>GOLLUM</character> <dialogue>Careful, Master - careful! Very far to fall. Very dangerous on the stairs.</dialogue> </scene> <scene> <stage_direction>EXT. CIRITH UNGOL LEDGE - NIGHT</stage_direction> <scene_description>ANGLE ON: GOLLUM peering down from ABOVE ... he has reached a SMALL LEDGE.</scene_description> <character>GOLLUM</character> <dialogue>Come, Master.</dialogue> <scene_description>CONTINUED: CLOSE ON: FRODO tries to CLAMBER UP onto the LEDGE ... as he does, the RING slips out of his SHIRT and DANGLES in FULL VIEW of GOLLUM! CLOSE ON: GOLLUM rears back in shock ... tenses like a CAT, EYES WIDENING.</scene_description> <character>GOLLUM</character> <parenthetical>(dreamlike)</parenthetical> <dialogue>Come to Sméagol.</dialogue> <scene_description>ANGLE ON: FRODO, head bowed, trying to pull himself up. He doesn't notice GOLLUM'S HAND reaching for the RING! CLOSE ON: GOLLUM'S FINGERS ... closing in on the RING... ANGLE ON: SAM, still TEETERING on the PRECIPITOUS STAIRS, draws HIS SWORD!</scene_description> <character>SAM</character> <parenthetical>(alarmed yell)</parenthetical> <dialogue>Mr. Frodo!</dialogue> <scene_description>STARTLED, FRODO looks down at SAM, losing his footing in the process...</scene_description> <character>SAM</character> <dialogue>Get back you! Don't touch him!</dialogue> <scene_description>ANGLE ON: SAM'S horrified face as... GOLLUM'S out-stretched HAND suddenly GRASPS FRODO'S ARM pulling him SAFELY onto the LEDGE. GOLLUM glares down at SAM.</scene_description> <character>GOLLUM</character> <dialogue>Why does he hates poor Sméagol? What has Sméagol ever done to him? Master?</dialogue> <scene_description>CLOSE ON: GOLLUM blinks, masking the MALICE of his EYES with their heavy pale lids. CONTINUED: (2)</scene_description> <character>GOLLUM</character> <dialogue>Master carries heavy burden ... Sméagol Knows ... Heavy, heavy burden. Fat one cannot know. Sméagol look after Master.</dialogue> <scene_description>CLOSE ON: GOLLUM creeps CLOSE to FRODO and WHISPERS in his ear:</scene_description> <character>GOLLUM</character> <parenthetical>(rasping whisper)</parenthetical> <dialogue>He wants it - he needs it! Sméagol sees it in his eyes. Very soon, he will ask you for it - you will see ... the Fat One will take it from you.</dialogue> <scene_description>CLOSE ON: FRODO looking at SAM ... his hand strays to his NECK, closing tight around the RING. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT.&gt; OSGILIATH - DAY</stage_direction> <scene_description>HIGH ABOVE OSGILIATH, the SINISTER PROFILE of the WITCH KING seated on a FELL-BEAST as GOTHMOG stands, awaiting his orders.</scene_description> <character>WITCH KING</character> <parenthetical>(clinical)</parenthetical> <dialogue>Send forth all legions. Do not stop the attack until the city is taken. Slay them all.</dialogue> <character>GOTHMOG</character> <dialogue>What of the Wizard?</dialogue> <scene_description>SLOWLY the WITH KING'S HEAD turns...</scene_description> <character>WITCH KING</character> <dialogue>I will break him.</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DAY</stage_direction> <scene_description>REACTIONS: OF GONDORIAN SOLDIERS upon the MINAS TIRITH BATTLEMENTS ... AWE ... FEAR ... TERROR! CONTINUED: ANXIOUS SOLDIERS crowd around GANDALF.</scene_description> <character>SOLDIER 1</character> <parenthetical>(worried)</parenthetical> <dialogue>What of Théoden's Riders?</dialogue> <character>SOLDIER 2</character> <dialogue>Will Rohan's army come?</dialogue> <character>SOLDIER 1</character> <dialogue>Mithrandir?</dialogue> <character>GANDALF</character> <parenthetical>(grim)</parenthetical> <dialogue>Courage is the best defense that you have now.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH TOWER HALL - DAY</stage_direction> <scene_description>CLOSE ON: PIPPIN ... DRESSED in OVER-SIZED ARMOUR ... kneels before DENETHOR...</scene_description> <character>PIPPIN</character> <parenthetical>(nervous)</parenthetical> <dialogue>Here do I swear fealty and service to Gondor, in peace or war, in living or dying, from this hour henceforth, until my lord release me, or death take me.</dialogue> <character>DENETHOR</character> <dialogue>And I shall not forget it, nor fail to reward that which is given...</dialogue> <scene_description>ANGLE ON: DENETHOR proffers his RING which PIPPIN kisses...</scene_description> <character>DENETHOR</character> <dialogue>...fealty with love...</dialogue> <scene_description>DENETHOR gently raises PIPPIN'S head ... DENETHOR'S eyes meet FARAMIR'S.</scene_description> <character>DENETHOR</character> <dialogue>...valor with honor...</dialogue> <scene_description>CONTINUED: DENETHOR crosses to a table ... Attendants BEGIN SERVING him a MEAL...</scene_description> <character>DENETHOR</character> <dialogue>...disloyalty with vengeance.</dialogue> <scene_description>DENETHOR addresses his meal...</scene_description> <character>DENETHOR</character> <parenthetical>(reasonable)</parenthetical> <dialogue>I do not think we should so lightly abandon the outer defenses; defenses that your brother long held intact.</dialogue> <character>FARAMIR</character> <dialogue>What would you have me do?</dialogue> <character>DENETHOR</character> <dialogue>I will not yield the River and Pelennor unfought - Osgiliath must be retaken.</dialogue> <character>FARAMIR</character> <dialogue>My Lord, Osgiliath is overrun.</dialogue> <character>DENETHOR</character> <dialogue>Much must be risked in war. Is there a captain here who still has the courage to do his Lord's will?</dialogue> <scene_description>CLOSE ON: FARAMIR as he finally realises the truth.</scene_description> <character>FARAMIR</character> <parenthetical>(quietly)</parenthetical> <dialogue>You wish now that our places had been exchanged, that I had died and Boromir had lived?</dialogue> <scene_description>CLOSE ON: For a brief second, DENETHOR seems to hesitate, then... CONTINUED: (2)</scene_description> <character>DENETHOR</character> <parenthetical>(coldly)</parenthetical> <dialogue>Yes, I wish that.</dialogue> <character>FARAMIR</character> <dialogue>Since you are robbed of Boromir, I will do what I can in his stead.</dialogue> <scene_description>ANGLE ON: FARAMIR bows low to DENETHOR, then turns to leave, stops, turns back...</scene_description> <character>FARAMIR</character> <dialogue>If I should return ... think better of me, father.</dialogue> <character>DENETHOR</character> <dialogue>That will depend on the manner of your return.</dialogue> <scene_description>DENETHOR continues with his meal. FARAMIR exits. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CIRITH UNGOL LEDGE - DAWN</stage_direction> <scene_description>AERIAL SHOT: ... HIGH above MINAS MORGUL, on the SMALL LEDGE next to the STAIRS, LIE the FIGURES of FRODO, SAM and GOLLUM. SAM watches a sleeping GOLLUM suspiciously as he desperately tries to stay awake. SLOWLY, INEVITABLY, SAM falls asleep. CLOSE ON: GOLLUM'S EYES SNAP OPEN ... he sits up and quietly crawls towards SAM'S KNAPSACK. SAM breathes deeply now, heavily asleep. GOLLUM grimaces in DISTASTE as he pulls out the LEMBAS BREAD ... Quietly he SPRINKLES CRUMBS over the sleeping SAM. ANGLE ON: GOLLUM as he throws the remaining LEMBAS BREAD over the cliff. CLOSE ON: SAM'S EYES flick open ... GOLLUM spins around, caught off guard... CONTINUED:</scene_description> <character>SAM</character> <dialogue>What are you up to? Sneaking off, are we?</dialogue> <character>SMÉAGOL</character> <parenthetical>(prevaricating)</parenthetical> <dialogue>Sneaking? Sneaking? Fat Hobbit is always so polite. Sméagol shows them secret ways that nobody else could find and they say "Sneak!", "Sneak!" Very nice friends, oh yes, my Precious, very nice.</dialogue> <character>SAM</character> <dialogue>Alright, alright - You just startled me is all.</dialogue> <parenthetical>(peering over the cliff's edge)</parenthetical> <dialogue>What were you doing?</dialogue> <character>SMÉAGOL</character> <parenthetical>(sly)</parenthetical> <dialogue>Sneaking!</dialogue> <scene_description>Too exhausted to argue, SAM turns away.</scene_description> <character>SAM</character> <dialogue>Fine, have it your own way.</dialogue> <scene_description>SAM gently shakes FRODO'S shoulder.</scene_description> <character>SAM</character> <dialogue>Sorry to wake you, Mr. Frodo. We have to be moving on.</dialogue> <scene_description>SAM rummages through his KNAPSACK, looking for a bite to eat. FRODO sits up slowly.</scene_description> <character>FRODO</character> <dialogue>It's dark still.</dialogue> <character>SAM</character> <dialogue>It's always dark here-</dialogue> <scene_description>CLOSE ON: SAM stops rummaging ... SHOCK on his face.</scene_description> <character>SAM</character> <dialogue>It's gone ... the Elven bread!</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>FRODO</character> <parenthetical>(alarmed)</parenthetical> <dialogue>What? That's all we have left!</dialogue> <scene_description>SAM slowly turns to GOLLUM...</scene_description> <character>SAM</character> <parenthetical>(dawning realisation)</parenthetical> <dialogue>He took it! He must have!</dialogue> <character>GOLLUM</character> <parenthetical>(shocked)</parenthetical> <dialogue>Sméagol? No, no, not poor Sméagol. Sméagol hates nasty Elf bread!</dialogue> <character>SAM</character> <dialogue>You're a lying wretch! What did you do with it?</dialogue> <character>FRODO</character> <dialogue>He doesn't eat it ... he can't have taken it.</dialogue> <scene_description>CLOSE ON: GOLLUM slaps his hand against SAM'S JACKET ... sending LEMBAS CRUMBS RAINING DOWN!</scene_description> <character>GOLLUM</character> <dialogue>What's this? Crumbs on his jacketses!</dialogue> <parenthetical>(fake outrage)</parenthetical> <dialogue>He took it! He took it! I seen him, he's always stuffing his face when Master's not looking!</dialogue> <character>SAM</character> <parenthetical>(angry)</parenthetical> <dialogue>That's a filthy Lie!</dialogue> <scene_description>SAM is ENRAGED ... he throws himself at GOLLUM ... punching him!</scene_description> <character>SAM</character> <parenthetical>(yelling)</parenthetical> <dialogue>You stinking two-faced sneak! Call me a thief...</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>FRODO</character> <parenthetical>(yelling)</parenthetical> <dialogue>Sam! Stop it!</dialogue> <scene_description>FRODO pulls SAM off GOLLUM.</scene_description> <character>SAM</character> <parenthetical>(yelling)</parenthetical> <dialogue>I'll kill him! I'll kill him!</dialogue> <character>FRODO</character> <dialogue>No, Sam!</dialogue> <scene_description>FRODO COLLAPSES on the GROUND! CLOSE ON: SAM'S horrified face!</scene_description> <character>SAM</character> <dialogue>Alright, I'm sorry, I didn't mean for it to go so far. I was angry ... Here, let's rest up a bit.</dialogue> <scene_description>SAM attempts to fuss around FRODO...</scene_description> <character>FRODO</character> <parenthetical>(exhausted)</parenthetical> <dialogue>I'm alright.</dialogue> <character>SAM</character> <dialogue>No, no, you're not alright! You're exhausted. It's that Gollum; it's this place; it's that thing around your neck. I could help a bit ... I could carry it for a while - share the load.</dialogue> <scene_description>CLOSE ON: A terrible light comes into FRODO'S eyes as he STARES into the EARNEST eyes of SAM.</scene_description> <character>FRODO</character> <dialogue>Get away!</dialogue> <scene_description>FRODO pushes SAM away, clutching at the RING beneath his shirt. CONTINUED: (4)</scene_description> <character>SAM</character> <parenthetical>(confused)</parenthetical> <dialogue>I don't want to keep it ... I just want to help!</dialogue> <scene_description>FRODO rises to his FEET, as if empowered with a frightening intense ENERGY.</scene_description> <character>GOLLUM</character> <dialogue>See! See! He wants it for himself.</dialogue> <character>SAM</character> <parenthetical>(beside himself)</parenthetical> <dialogue>Shut up, you! Go away. Get out of here.</dialogue> <scene_description>CLOSE ON: FRODO...</scene_description> <character>FRODO</character> <parenthetical>(quietly)</parenthetical> <dialogue>No, Sam ... it's you.</dialogue> <scene_description>SAM stares at FRODO with DISBELIEF.</scene_description> <character>FRODO</character> <dialogue>I'm sorry, Sam...</dialogue> <scene_description>CLOSE ON: TEARS WELL in SAM'S eyes...</scene_description> <character>SAM</character> <parenthetical>(hopelessly)</parenthetical> <dialogue>But ... he's a liar ... he's poisoned you against me.</dialogue> <character>FRODO</character> <dialogue>You can't help me anymore.</dialogue> <character>SAM</character> <dialogue>You don't mean that.</dialogue> <character>FRODO</character> <parenthetical>(eerie calm)</parenthetical> <dialogue>Go home.</dialogue> <scene_description>CLOSE ON: TEARS spill down SAM'S cheeks ... as FRODO turns AWAY! CONTINUED:(5) ANGLE ON: FRODO and GOLLUM leave ... SAM is in complete MISERY.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAY</stage_direction> <scene_description>ANGLE ON: FARAMIR leading a COLUMN of 200 KNIGHTS through the STREETS towards the CITY GATE ... PEOPLE are rushing forward, THROWING FLOWERS over the KNIGHTS. CLOSE ON: GANDALF hurries alongside FARAMIR'S HORSE.</scene_description> <character>GANDALF</character> <dialogue>Faramir! Faramir! Your father's will has turned to madness! Do not throw away your life so rashly!</dialogue> <character>FARAMIR</character> <parenthetical>(deadened)</parenthetical> <dialogue>Where does my allegiance lie if not here?</dialogue> <scene_description>GANDALF reads the PAIN in FARAMIR'S eyes ... he calls after him, trying one more time to stop the YOUNG MAN.</scene_description> <character>GANDALF</character> <dialogue>Your father loves you, Faramir!</dialogue> <parenthetical>(quietly)</parenthetical> <dialogue>And will remember it before the end.</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DAY</stage_direction> <scene_description>HIGH ANGLE: FARAMIR leads the 200 MOUNTED KNIGHTS through the GATES OF MINAS TIRITH and across the PELENNOR FIELDS towards the RUINS of OSGILIATH. ANGLE ON: The people of MINAS TIRITH watch from the BATTLEMENTS. HIGH WIDE: FARAMIR'S KNIGHTS FAN OUT ... to form one straight line of 200 HORSEMEN.</scene_description> </scene> <scene> <stage_direction>EXT. WEST OSGILIATH - DAY</stage_direction> <scene_description>GOTHMOG and his MEN watch as the KNIGHTS approach.</scene_description> </scene> <scene> <stage_direction>INT. TOWER HALL, MINAS TIRITH - DAY</stage_direction> <scene_description>FAST PUSH IN ... to PIPPIN looking on as DENETHOR eats.</scene_description> <character>DENETHOR</character> <dialogue>Can you sing, Master Hobbit?</dialogue> <character>PIPPIN</character> <parenthetical>(uneasy)</parenthetical> <dialogue>Well ... yes, at least, well enough for my own people ... but we have no songs for great halls and evil times ... we seldom sing of anything more terrible than wind or rain.</dialogue> <character>DENETHOR</character> <dialogue>And why should your songs be unfit for my halls, or for hours such as these. Come - sing me a song!</dialogue> <scene_description>PIPPIN'S simple, clear voice echoes through the VAST HALL.</scene_description> <character>PIPPIN (V.O.)</character> <dialogue>Home is behind, the world ahead, And there are many paths to tread. Through shadow to the edge of night Until the stars are all alight. Mist and shadow, cloud and shade: All shall fade, all shall fade.</dialogue> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/OSGILIATH RUINS - DAY</stage_direction> <scene_description>ANGLE ON: SLOW MOTION ... TRACKING WITH THE 200 MOUNTED KNIGHTS. ANGLE ON: SLOW MOTION ... GOTHMOG rises amidst the RUINS of OSGILIATH. ANGLE ON: SLOW MOTION ... FARAMIR'S KNIGHTS - 75 yards away - thundering towards camera. PULL BACK ... to GOTHMOG ... he turns to CAMERA and RAISES HIS BOW. CONTINUED: ANGLE ON: SLOW MOTION ... Behind GOTHMOG - all over the RUINED CITY - 5000 ORC ARCHERS rise to their feet ... BLACK ARROWS already strung on their BOWS! CLOSE ON: SLOW MOTION ... FARAMIR YELLING defiantly. WIDE PROFILE: SLOW MOTION ... FARAMIR'S 200 KNIGHTS ride straight into a BLACK WALL of FLYING ARROWS. AS ONE, the HORSES and HORSEMEN collapse into a CARTWHEELING, TUMBLING HEAP ... within seconds all are MOTIONLESS. CLOSE ON: NORMAL SPEED ... FAST CUTS of SCREAMING ORCS...</scene_description> </scene> <scene> <stage_direction>INT. TOWER HALL, MINAS TIRITH - DAY</stage_direction> <scene_description>THROUGHOUT the above sequence DENETHOR has continued to EAT. ANGLE ON: PIPPIN finishes his bittersweet song ... he looks up at DENETHOR who continues as if he has not sent his son to his death. ANGLE ON: PIPPIN turns away, his SORROW etched on his YOUNG FACE...</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH COURTYARD - DAY</stage_direction> <scene_description>GANDALF sits quietly in a COURTYARD, alone, defeated.</scene_description> </scene> <scene> <stage_direction>EXT. OSGILIATH BRIDGE - DAY</stage_direction> <scene_description>GREAT SIEGE TOWERS and CATAPULTS are ROLLED along the REPAIRED BRIDGE which spans both sides of OSGILIATH ... They head straight towards MINAS TIRITH...</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW ENCAMPMENT - DUSK</stage_direction> <scene_description>ANGLES ON: ARAGORN, THÉODEN, ÉOMER, MERRY, LEGOLAS and GIMLI GALLOP into a VAST CAMP beneath the COVER OF TREES ... TEEMING with MEN, HORSES and TENTS. ANGLE ON: THÉODEN acknowledges GRIMBOLD, a MARSHALL OF ROHAN, as he passes by a GROUP of SOLDIERS. CONTINUED:</scene_description> <character>THÉODEN</character> <dialogue>Grimbold, how many?</dialogue> <character>GRIMBOLD</character> <dialogue>I bring five hundred Men from the Westfold, My Lord.</dialogue> <character>ROHAN MARSHALL (O.S.)</character> <dialogue>We have three hundred more from Fenmarch, Théoden King.</dialogue> <scene_description>THÉODEN smiles grimly as he rides on.</scene_description> <character>THÉODEN</character> <parenthetical>(quietly)</parenthetical> <dialogue>Where are the riders from Snowbourn?</dialogue> <character>GAMLING (O.S.)</character> <dialogue>None have come, My Lord.</dialogue> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - DUSK</stage_direction> <scene_description>ARAGORN joins THÉODEN on a BLUFF overlooking the ENCAMPMENT BELOW... CAMERA CRANES to REVEAL: THOUSANDS of MEN and HORSES! Smoke from many small CAMP-FIRES has filled the VALLEY with a TWILIGHT HAZE.</scene_description> <character>THÉODEN</character> <parenthetical>(quietly)</parenthetical> <dialogue>Six thousand spears ... less than half of what I'd hoped for...</dialogue> <scene_description>ANGLE ON: ARAGORN turns to THÉODEN...</scene_description> <character>ARAGORN</character> <dialogue>Six thousand will not be enough to break the lines of Mordor.</dialogue> <character>THÉODEN</character> <dialogue>More will come.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ARAGORN</character> <dialogue>Every hour lost hastens Gondor's defeat. We have till dawn. Then we must ride.</dialogue> <scene_description>CLOSE ON: THÉODEN realising what ARAGORN is saying - no matter the numbers he must commit to war by the morning. THÉODEN nods. The HORSES whinny loudly in the distance ... THÉODEN looks up at the MOUNTAIN which looms behind them...</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - DUSK</stage_direction> <scene_description>ANGLE ON: HORSES rearing in terror as ROHAN SOLDIERS try to quieten them... ANGLE ON: LEGOLAS and GIMLI move through the CAMP... CLOSE ON: LEGOLAS looking at a group of ROHAN SOLDIERS ... they sit quiet and hunched ... no one speaking... LEGOLAS looking toward ÉOMER, who is unsaddling his HORSE...</scene_description> <character>LEGOLAS</character> <dialogue>The horses are restless ... and the Men are quiet...</dialogue> <character>ÉOMER</character> <dialogue>They grow nervous in the shadow of the mountain...</dialogue> <scene_description>GIMLI'S eyes travel to a ROW of ANCIENT STANDING STONES that mark the ENTRANCE to a ROAD leading away from the ENCAMPMENT and INTO the MOUNTAIN.</scene_description> <character>GIMLI</character> <dialogue>That road there - where does that lead?</dialogue> <character>LEGOLAS</character> <dialogue>It is the road to the Dimholt... The door under the mountain.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ÉOMER</character> <dialogue>None who venture there ever return.</dialogue> <parenthetical>(under his breath)</parenthetical> <dialogue>That mountain is evil...</dialogue> <scene_description>ANGLE ON: ARAGORN stands before the road as though transfixed ... before him a HORSE whinnies and pulls at his ropes nervously... ARAGORN POV: A GHOSTLY FIGURE seems to emerge from the gloom ... ARAGORN starts in fright as...</scene_description> <character>GIMLI (O.S.)</character> <dialogue>Aragorn!</dialogue> <scene_description>ANGLE ON: ARAGORN stares down at the LITTLE DWARF...</scene_description> <character>GIMLI</character> <dialogue>Let's find some food.</dialogue> <scene_description>ARAGORN casts another look back at the ANCIENT STANDING STONES before following GIMLI.</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - DUSK</stage_direction> <scene_description>ANGLE ON: All is quiet in the ENCAMPMENT...</scene_description> </scene> <scene> <stage_direction>INT. ÉOWYN'S TENT, DUNHARROW - NIGHT</stage_direction> <scene_description>ANGLE ON: ÉOWYN kneels before MERRY, adjusting his HELMET STRAP.</scene_description> <character>ÉOWYN</character> <dialogue>There! A true Esquire of Rohan.</dialogue> <scene_description>MERRY exhales - excited and terrified in equal measure. In his EXCITEMENT, he draws his SWORD... ÉOWYN steps back, laughing...</scene_description> <character>MERRY</character> <dialogue>Sorry, it isn't all that dangerous.</dialogue> <parenthetical>(despondent)</parenthetical> <dialogue>It isn't even sharp.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ÉOWYN</character> <dialogue>Well, that's no good, you won't kill many Orcs with a blunt blade. Come on.</dialogue> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>As ÉOWYN and MERRY leave the tent, ÉOMER and GAMLING are sitting nearby, finishing a meal ... ÉOWYN ushers MERRY off.</scene_description> <character>ÉOWYN</character> <dialogue>To the Smithy - go!</dialogue> <scene_description>MERRY hurries off ... ÉOMER watches the YOUNG HOBBIT leave.</scene_description> <character>ÉOMER</character> <dialogue>You should not encourage him.</dialogue> <character>ÉOWYN</character> <dialogue>You should not doubt him.</dialogue> <character>ÉOMER</character> <dialogue>I do not doubt his heart ... Only the reach of his arm.</dialogue> <scene_description>CLOSE ON: GAMLING stifles a laugh ... ÉOWYN turns on both of them...</scene_description> <character>ÉOWYN</character> <dialogue>Why should Merry be left behind? He has as much cause to go to war as you.</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>Why can he not fight for those he loves?</dialogue> <scene_description>ANGLE ON: At the PLATEAU edge, a GUARD looks down the STEEP PRECIPICE as a HORSE and RIDER move along the RIDGE...</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW TRACK - NIGHT</stage_direction> <scene_description>ANGLE ON: ARAGORN tosses in his SLEEP, disturbed by images and voice... CONTINUED:</scene_description> <character>GANDALF</character> <dialogue>To the Black Ships...</dialogue> <scene_description>In ARAGORN'S dream, ARWEN suddenly WAKES...</scene_description> <character>ARWEN (V.O.)</character> <dialogue>I choose a mortal life ... I wish I could have seen him, one last time...</dialogue> <scene_description>As ARWEN lies dying, the EVENSTAR falls from her fingers... At that moment, ARAGORN wakes, his SWORD quickly in his HAND ... A GUARD stands in the DOORWAY...</scene_description> <character>GUARD</character> <dialogue>King Théoden awaits you, My Lord.</dialogue> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>ARAGORN hurries towards THÉODEN'S TENT...</scene_description> </scene> <scene> <stage_direction>INT. THÉODEN'S TENT, DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>ANGLE ON: THÉODEN looks up as ARAGORN enters.</scene_description> <character>THÉODEN</character> <dialogue>I take my leave.</dialogue> <scene_description>ANGLE ON: THÉODEN bows slightly to the HOODED FIGURE and LEAVES, shooting ARAGORN a strange look as he goes... CLOSE ON: The FIGURE stands and pulls back the HOOD ... to reveal ... ELROND.</scene_description> <character>ARAGORN</character> <dialogue>My Lord Elrond.</dialogue> <character>ELROND</character> <dialogue>I come on behalf of one whom I love.</dialogue> <scene_description>ELROND'S face is ETCHED with PAIN...</scene_description> <character>ELROND</character> <dialogue>Arwen is dying.</dialogue> <scene_description>ANGLE ON: ARAGORN receiving this news ... ASHEN-FACED. CONTINUED:</scene_description> <character>ARAGORN</character> <dialogue>She stayed?</dialogue> <character>ELROND</character> <dialogue>She will not long survive the evil that now spreads from Mordor.</dialogue> <scene_description>ELROND'S eyes fall to the EVENSTAR which hangs around ARAGORN'S neck...</scene_description> <character>ELROND</character> <dialogue>The light of the Evenstar is failing. As Sauron's power grows, her strength wanes. Arwen's life is now tied to the fate of the Ring. The Shadow is upon us, Aragorn, the end has come.</dialogue> <character>ARAGORN</character> <dialogue>It will not be our end, but his.</dialogue> <character>ELROND</character> <dialogue>You ride to war, but not to victory. Sauron's armies march on Minas Tirith - this you know - but in secret he sends another force which will attack from the river...</dialogue> <scene_description>CLOSE ON: ARAGORN looks at ELROND in shock.</scene_description> <character>ELROND</character> <dialogue>A fleet of Corsair ships sails from the South.</dialogue> <scene_description>FLASH INSERT: A FLEET of BLACK SAILS moving along a SILVER RIBBON of WATER.</scene_description> <character>ELROND</character> <dialogue>They'll be in the city in two days... You're outnumbered, Aragorn. You need more men.</dialogue> <character>ARAGORN</character> <dialogue>There are none.</dialogue> <scene_description>ELROND hesitates a BEAT... CONTINUED: (2)</scene_description> <character>ELROND</character> <parenthetical>(quietly)</parenthetical> <dialogue>There are those who dwell in the mountain.</dialogue> <scene_description>A SUDDEN WIND rushes through the TENT, lifting HANGINGS, scattering MAPS, knocking over GOBLETS... As ARAGORN looks at ELROND, an IMAGES FLASHES in MIND'S EYE ... The GHOSTLY FIGURE on the DIMHOLT ROAD... ARAGORN looks at ELROND in shock...</scene_description> <character>ARAGORN</character> <dialogue>Murderers, traitors - You would call upon them to fight? They believe in nothing. They answer to no-one.</dialogue> <character>ELROND</character> <dialogue>They will answer to the King of Gondor.</dialogue> <scene_description>ARAGORN'S eyes fall to a PLAIN BLACK SCABBARD, which ELROND draws from beneath his robes. CLOSE ON: ELROND'S long white finger draw the hilt of a SWORD from the scabbard to reveal ... an ELVEN SWORD glinting in the firelight!</scene_description> <character>ELROND</character> <dialogue>Andúril, flame of the West, forged from the Shards of Narsil.</dialogue> <scene_description>ARAGORN takes the sword ... staring at it in wonder.</scene_description> <character>ARAGORN</character> <dialogue>Sauron will not have forgotten the Sword of Elendil...</dialogue> <scene_description>ARAGORN draws the long blade from its sheath...</scene_description> <character>ARAGORN</character> <dialogue>...the blade that was broken shall return to Minas Tirith.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>ELROND</character> <dialogue>The man who can wield the power of this sword can summon to him an army more deadly than any that walks this earth.</dialogue> <scene_description>ELROND stares hard at ARAGORN...</scene_description> <character>ELROND</character> <dialogue>Put aside the Ranger - become who you were born to be - take the Dimholt road.</dialogue> <scene_description>A HEAVE SILENCE hangs in the room.</scene_description> <character>ELROND</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Ónen i-Estel Edain. I give hope to Men.</dialogue> <character>ARAGORN</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Ú-chebin estel anim. I keep none for myself.</dialogue> <scene_description>ANGLE ON: ARAGORN re-sheathes the SWORD.</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>ANGLE ON: As ARAGORN readies BREGO for leaving, ÉOWYN approaches ... her temper barely held in check.</scene_description> <character>ÉOWYN</character> <dialogue>Why are you doing this?</dialogue> <scene_description>ARAGORN looks over his shoulder at her...</scene_description> <character>ÉOWYN</character> <dialogue>The war lies to the east; you cannot leave on the eve of battle. You cannot abandon the Men.</dialogue> <character>ARAGORN</character> <dialogue>Éowyn...</dialogue> <character>ÉOWYN</character> <dialogue>We need you here-</dialogue> <scene_description>CONTINUED: ARAGORN rounds on her...</scene_description> <character>ARAGORN</character> <dialogue>Why have you come?</dialogue> <character>ÉOWYN</character> <parenthetical>(hesitant)</parenthetical> <dialogue>Do you not know?</dialogue> <scene_description>ARAGORN looks at her sadly, not wanting to hurt her.</scene_description> <character>ARAGORN</character> <parenthetical>(gentle)</parenthetical> <dialogue>It is but a shadow and a thought that you love ... I cannot give you what you seek.</dialogue> <scene_description>ÉOWYN steps back as though STRUCK ... she watches stricken as ARAGORN leaves...</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>ANGLE ON: ARAGORN leads his horse through the TENTS towards the DIMHOLT ROAD. A LIGHT FLARES ahead of him... ANGLE ON: A SHORT FIGURE steps out of the SHADOWS ... PIPE in hand.</scene_description> <character>GIMLI</character> <dialogue>Just where do you think you're off to?</dialogue> <scene_description>ARAGORN looks at GIMLI - GRATEFUL for his COURAGE but determined to go ALONE.</scene_description> <character>ARAGORN</character> <dialogue>Not this time ... This time you must stay, my friend.</dialogue> <character>LEGOLAS (O.S.)</character> <dialogue>Have you learnt nothing of the stubbornness of Dwarves?</dialogue> <scene_description>ANGLE ON: ARAGORN looks at LEGOLAS as he appears, leading his HORSE - already SADDLED. CONTINUED: GIMLI steps closer to ARAGORN.</scene_description> <character>GIMLI</character> <dialogue>You might as well accept it - we're going with you, laddie.</dialogue> <scene_description>ARAGORN shakes his head, smiling his acceptance. ANGLE ON: ARAGORN, LEGOLAS and GIMLI as they slowly ride towards the BACK of the PLATEAU ... Past the ANCIENT STANDING STONES that lead to the NARROW PASS.</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - NIGHT</stage_direction> <scene_description>ANGLE ON: THÉODEN and GAMLING watch the RETREATING FIGURES of ARAGORN, LEGOLAS and GIMLI ... ROHAN SOLDIERS emerge from their tent, crestfallen to see ARAGORN leave. ARAGORN, LEGOLAS and GIMLI disappear into the SHADOWS of the MOUNTAINS. The ROHAN SOLDIERS murmur among themselves, "What's happening?", "Where's he going?"</scene_description> <character>GAMLING</character> <dialogue>Lord Aragorn!</dialogue> <character>ROHAN SOLDIER (O.S.)</character> <dialogue>Why does he leave on the eve of battle?</dialogue> <character>GAMLING</character> <dialogue>He leaves because there is no hope.</dialogue> <scene_description>CLOSE ON: THÉODEN as he moves forward.</scene_description> <character>THÉODEN</character> <dialogue>He leaves because he must.</dialogue> <character>GAMLING</character> <dialogue>Too few have come. We cannot defeat the armies of Mordor.</dialogue> <character>THÉODEN</character> <dialogue>No, we cannot...</dialogue> <parenthetical>(surveying his frightened Men)</parenthetical> <dialogue>But we will meet them in battle, nonetheless.</dialogue> </scene> <scene> <stage_direction>EXT. THÉODEN'S TENT, DUNHARROW PLATEAU - DAWN</stage_direction> <scene_description>ANGLE ON: THÉODEN looks at ÉOWYN who stands as if turned to stone ... she is looking up at a LIGHTENING SKY ... The QUIET before the MEN depart for WAR...</scene_description> <character>THÉODEN</character> <parenthetical>(gentle)</parenthetical> <dialogue>I have left instruction: the people are to follow your rule in my stead ... take up my seat in the Golden Hall ... long may you defend Edoras if the battle goes ill.</dialogue> <scene_description>ANGLE ON: ÉOWYN turns to the KING ... her FACE a BLANK ... She speaks without emotion.</scene_description> <character>ÉOWYN</character> <dialogue>What other duty would you have me do, My Lord?</dialogue> <scene_description>THÉODEN moves towards her, taking her hand...</scene_description> <character>THÉODEN</character> <parenthetical>(quiet)</parenthetical> <dialogue>Duty? ...No, I would have you smile again - not grieve for those whose time has come.</dialogue> <scene_description>ÉOWYN slowly lifts her head...</scene_description> <character>THÉODEN</character> <dialogue>You shall live to see these days renewed.</dialogue> <scene_description>CLOSE ON: THÉODEN lifts ÉOWYN'S face to look into her EYES...</scene_description> <character>THÉODEN</character> <parenthetical>(whisper)</parenthetical> <dialogue>No more despair.</dialogue> </scene> <scene> <stage_direction>EXT. DIMHOLT ROAD - DAY</stage_direction> <scene_description>ANGLE ON: ARAGORN, LEGOLAS and GIMLI make their way up a GLOOMY CANYON, shadowed by BLACK FIR TREES. The shadowed ridges of the DWIMORBERG MOUNTAIN rise BEFORE THEM. It is a SPOOKY PLACE. CONTINUED:</scene_description> <character>GIMLI</character> <dialogue>What kind of an army would linger in such a place?</dialogue> <character>LEGOLAS</character> <dialogue>One that is cursed ... Long ago the Men of the Mountain swore an oath to the last King of Gondor - to come to his aid, to fight, but when the time came, when Gondor's need was dire, they fled ... Vanishing into the darkness of the mountain ... And so Isildur cursed them - never to rest until they had fulfilled their pledge.</dialogue> <scene_description>SILENCE surrounds them, there are no birds, no wind. Only the OMINOUSLY MUFFLED THUD of their horses' hooves on the dank FIR- NEEDLES.</scene_description> </scene> <scene> <stage_direction>EXT. DIMHOLT GLEN - DAY</stage_direction> <scene_description>ANGLE ON: Before them, at the ROOT OF THE MOUNTAIN, a SHEER WALL of ROCK towers...</scene_description> <character>GIMLI</character> <parenthetical>(terrified whisper)</parenthetical> <dialogue>The very warmth of my blood seems stolen away.</dialogue> <scene_description>Within the walls, a creepy DARK DOOR gapes like a mouth of night. SIGNS and FIGURES are carved above its WIDE ARCH.</scene_description> <character>LEGOLAS</character> <parenthetical>(translating)</parenthetical> <dialogue>The way is shut. It was made by those who are dead, and the Dead keep it. The way is shut.</dialogue> <scene_description>AT THAT MOMENT: A CHILL WIND seems to rush out of the DOORWAY ... ARAGORN stares into the BLACKNESS, his HAIR BLOWING WILDLY. The HORSES REAR and 'BUCK' in terror, turning and GALLOPING AWAY.</scene_description> <character>ARAGORN</character> <dialogue>Brego!</dialogue> <scene_description>CONTINUED: The three HORSES DISAPPEAR ... ARAGORN turns resolutely towards the DOORWAY...</scene_description> <character>ARAGORN</character> <parenthetical>(steely resolve)</parenthetical> <dialogue>I do not fear death!</dialogue> <scene_description>ANGLE ON: ARAGORN WALKING into the BLACKNESS. LEGOLAS quickly follows ... swallowed by the DARKNESS. CLOSE ON: GIMLI left ALONE ... He hesitates, struggling with his FEAR.</scene_description> <character>GIMLI</character> <dialogue>Well, this is a thing unheard of ... An Elf will go underground when a Dwarf dare not.</dialogue> <parenthetical>(gritting his teeth)</parenthetical> <dialogue>Oh! I'd never hear the end of it!</dialogue> <scene_description>GIMLI plunges into the TUNNEL behind the OTHERS!</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW ENCAMPMENT - DAWN</stage_direction> <scene_description>MUCH ACTIVITY ... HORNS SOUND ... the ENTIRE CAMP is on the MOVE ... fires are DOUSED, TENTS pulled down, HORSES saddled.</scene_description> </scene> <scene> <stage_direction>EXT. DUNHARROW PLATEAU - DAWN</stage_direction> <scene_description>ANGLE ON: THÉODEN strides through the CAMP, ÉOMER at his SIDE.</scene_description> <character>THÉODEN</character> <dialogue>We must ride light and swift. It's a long road ahead ... and man and beast must reach the end with the strength to fight.</dialogue> <scene_description>ANGLE ON: MERRY ... preparing a LITTLE PONY with a SADDLE and SUPPLIES. He is wearing an OVERSIZED HELMET and ROHIRRIM CLOTHING ... he looks at once NERVOUS and EXCITED. KING THÉODEN breaks away from a COLUMN and rides up to MERRY. CONTINUED:</scene_description> <character>THÉODEN</character> <parenthetical>(gently)</parenthetical> <dialogue>Little Hobbits do not belong in war, Master Meriadoc.</dialogue> <character>MERRY</character> <dialogue>All my friends have gone to battle. I would be ashamed to be left behind!</dialogue> <character>THÉODEN</character> <dialogue>It's a three-day gallop to Minas Tirith. None of my Riders can bear you as a burden.</dialogue> <character>MERRY</character> <dialogue>But ... I want to fight!</dialogue> <character>THÉODEN</character> <dialogue>I will say no more.</dialogue> <scene_description>KING THÉODEN wheels his HORSE away... MERRY is bitterly DISAPPOINTED. He stands, head down - a TINY DEJECTED FIGURE - as the MIGHTY ROHIRRIM on their LARGE HORSES ride by ... a jangling sea of HELMETS, SHIELDS and BANNERS. SUDDENLY ... MERRY is plucked off the ground! A SOLDIER has snatched him by the collar ... and plonked him down on their SADDLE! CLOSE ON: MERRY twists around, looking up at the SOLDIER ... Beneath a HELMET and MAIL HOOD is... ...ÉOWYN, disguised as a MAN!</scene_description> <character>ÉOWYN</character> <parenthetical>(grimly)</parenthetical> <dialogue>Ride with me.</dialogue> <character>MERRY</character> <dialogue>My Lady!</dialogue> <scene_description>CLOSE ON: MERRY'S face visible under the CAPE ... looking EXCITED! CONTINUED: (2)</scene_description> <character>ÉOMER</character> <parenthetical>(shouting above the din)</parenthetical> <dialogue>Move out - move out!</dialogue> <character>THÉODEN</character> <dialogue>Ride! Ride now, for Gondor!</dialogue> </scene> <scene> <stage_direction>EXT. DUNHARROW VALLEY - DAWN</stage_direction> <scene_description>HIGH WIDE: The VALLEY FLOOR as THOUSANDS of HORSEMEN ride out after their KING.</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>ANGLE ON: GREAT SIEGE TOWERS and CATAPULTS are ROLLING across the PELENNOR FIELDS ... Thousands of FLAMING TORCHES light the snarling, slathering MORGUL ORCS ... marching in RAGGED RANKS. ANGLES ON: Flowing torrents of ORCS stream past CAVE TROLLS, beating the DRUMS OF WAR ... MINAS TIRITH lies ahead - only TWO MILES AWAY!</scene_description> </scene> <scene> <stage_direction>INT. PATHS OF THE DEAD CAVERN - DAY</stage_direction> <scene_description>ANGLE ON: ARAGORN leads LEGOLAS and GIMLI into a WIDE CAVERN ... he WAVES HIS TORCH through the DARKNESS: ILLUMINATING a HUGE CAVERN... A ghastly CREAKING NOISE, like stone being sundered, cuts through the SILENCE. A GHOSTLY FIGURE steps from the ROCK WALLS! ANGLES ON: ARAGORN, LEGOLAS and GIMLI look on in HORROR, as a MUMMIFIED SPECTRE looms before them: EYELESS SOCKETS ... ROTTEN TEETH ... a pale SICKLY GLOW ... the KING OF THE DEAD! FOG SWIRLS around as the GHOST SNARLS at ARAGORN...</scene_description> <character>KING OF THE DEAD</character> <dialogue>Who enters my domain?</dialogue> <scene_description>ARAGORN moves forward ... unflinching... CONTINUED:</scene_description> <character>ARAGORN</character> <dialogue>One who will have your allegiance.</dialogue> <character>KING OF THE DEAD</character> <parenthetical>(snarl)</parenthetical> <dialogue>The Dead do not suffer the living to pass...</dialogue> <character>ARAGORN</character> <dialogue>You will suffer me!</dialogue> <scene_description>The KING OF THE DEAD'S MALEVOLENT LAUGH echoes through the CAVES... ANGLE ON: The FOG suddenly ROLLS BACK, forming a retreating wall of GREY VAPOR ... slowly, RANK upon RANK of SPECTRAL WARRIORS are revealed! GHOULISH FACES ... RUSTING WEAPONS ... TATTERED BANNERS. WIDE ON: The FOG reveals a DEAD ARMY of MANY THOUSANDS ... assembled around the CAVERN! ANGLE ON: ARAGORN stares GRIMLY at the KING OF THE DEAD. CLOSE ON: THE KING OF THE DEAD as he smiles evilly at ARAGORN ... ARAGORN holds his GAZE...</scene_description> <character>KING OF THE DEAD</character> <parenthetical>(chilling)</parenthetical> <dialogue>The way is shut...</dialogue> <scene_description>THE KING OF THE DEAD moves relentlessly towards ARAGORN...</scene_description> <character>KING OF THE DEAD</character> <dialogue>It was made by those who are Dead and the Dead keep it...</dialogue> <scene_description>WIDE: ARAGORN, LEGOLAS and GIMLI are now surrounded by an ARMY of the DEAD...</scene_description> <character>KING OF THE DEAD</character> <dialogue>The way is shut. Now, you must die.</dialogue> <scene_description>ANGLE ON: LEGOLAS fires an ARROW at the KING OF THE DEAD ... it PASSES STRAIGHT THROUGH! CONTINUED: (2) ARAGORN keeps moving forward, his eyes locked on the SPECTRE.</scene_description> <character>ARAGORN</character> <parenthetical>(desperate)</parenthetical> <dialogue>I summon you to fulfill your oath!</dialogue> <scene_description>ANGLE ON: The KING OF THE DEAD SNARLS and raises his DEADLY SWORD above ARAGORN'S HEAD!</scene_description> <character>KING OF THE DEAD</character> <parenthetical>(raspy yell)</parenthetical> <dialogue>None but the King of Gondor may command me!</dialogue> <scene_description>QUICK BEAT: ARAGORN RAISES ANDÚRIL... With a TERRIFYING SHRIEK, THE KING OF THE DEAD SWEEPS his SWORD towards ARAGORN'S HEAD! SLOW MOTION: ARAGORN raises his SWORD in ANSWER ... a LOW WHISTLE as it SWEEPS through the AIR... CLANG! The BLADE OF ANDÚRIL clashes with the SPECTRAL SWORD ... the SHARP RING of METAL reverberates through the CAVERNS! CLOSE ON: THE KING OF THE DEAD stares at ARAGORN in DISBELIEF.</scene_description> <character>KING OF THE DEAD</character> <parenthetical>(fearful)</parenthetical> <dialogue>It cannot be - that line was broken!</dialogue> <scene_description>ANGLE ON: ARAGORN grabs the SHOCKED GHOST by the NECK... ARAGORN holds the SHARP BLADE against the GHOST'S THROAT!</scene_description> <character>ARAGORN</character> <dialogue>It has been remade!</dialogue> <scene_description>SILENCE. ARAGORN releases the KING OF THE DEAD ... he ADDRESSES the GHOST ARMY. CONTINUED: (3)</scene_description> <character>ARAGORN</character> <dialogue>Fight for us and regain your honor!</dialogue> <scene_description>GHOSTLY FACES stare hollow-eyed at ARAGORN...</scene_description> <character>ARAGORN</character> <parenthetical>(yelling)</parenthetical> <dialogue>What say you?</dialogue> <scene_description>SILENCE.</scene_description> <character>ARAGORN</character> <dialogue>What say you?</dialogue> <character>GIMLI</character> <dialogue>Aghh! You're wasting your time, Aragorn! They had no honour in life, they have none now in death.</dialogue> <character>ARAGORN</character> <parenthetical>(yelling)</parenthetical> <dialogue>I am Isildur's heir. Fight for me and I will hold your oath fulfilled. What say you?</dialogue> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>ANGLES ON: THOUSANDS OF ORCS continue moving relentlessly forward ... Towards the WALLS of MINAS TIRITH.</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH GATES - DAY</stage_direction> <scene_description>CLOSE ON: A GUARD yells down from the PARAPET above the HUGE WOODEN GATE...</scene_description> <character>GATE GUARD</character> <parenthetical>(yelling)</parenthetical> <dialogue>Open the gate! Quick!</dialogue> <scene_description>ANGLE ON: The HUGE GATE swings open, revealing ... FARAMIR'S badly wounded HORSE ... dragging FARAMIR behind! Both the HORSE and FARAMIR are impaled with ORC ARROWS! CONTINUED:</scene_description> <character>IORLAS</character> <parenthetical>(shocked)</parenthetical> <dialogue>Lord Faramir!</dialogue> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>As CATAPULTS are prepared, GOTHMOG rides through ranks of ORCS...</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH, COURT OF THE KINGS - DAY</stage_direction> <scene_description>ANGLE ON: IORLAS and OTHER SOLDIERS arrive at the CITADEL with FARAMIR'S UNCONSCIOUS BODY on a STRETCHER ... PIPPIN follows them. CLOSE ON: DENETHOR EMERGES from the TOWER HALL ... he runs towards his son...</scene_description> <character>DENETHOR</character> <dialogue>Faramir!</dialogue> <scene_description>DENETHOR bends to the STRETCHER bearing his SON.</scene_description> <character>DENETHOR</character> <parenthetical>(whisper)</parenthetical> <dialogue>Say not that he has fallen...</dialogue> <character>IORLAS</character> <dialogue>They were outnumbered, none survived.</dialogue> <scene_description>CLOSE ON: PIPPIN devastated...</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>GOTHMOG turns to his LIEUTENANTS...</scene_description> <character>GOTHMOG</character> <dialogue>Fear! The city is rank with it. Let us ease their pain. Release the prisoners!</dialogue> <character>LIEUTENANT</character> <dialogue>Catapults!</dialogue> <scene_description>At his ORDERS, the GREAT CATAPULTS fire THWAT! THWAT! THWAT!</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAY</stage_direction> <scene_description>The ORC CATAPULTS do not fire rocks... HORROR sweeps through the streets of MINAS TIRITH as the SEVERED HEADS of FARAMIR'S HORSEMEN land amongst the SOLDIERS!</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH COURT OF THE KINGS - DAY</stage_direction> <scene_description>DENETHOR looks down at FARAMIR'S UNCONSCIOUS BODY...</scene_description> <character>DENETHOR</character> <dialogue>My son is dead. My line has ended.</dialogue> <scene_description>PIPPIN has run to FARAMIR and bends towards him...</scene_description> <character>PIPPIN</character> <parenthetical>(touching FARAMIR'S forehead)</parenthetical> <dialogue>He's alive!</dialogue> <character>DENETHOR</character> <dialogue>The House of Stewards has failed!...</dialogue> <character>PIPPIN</character> <parenthetical>(urgently)</parenthetical> <dialogue>He needs medicine, My Lord!</dialogue> <character>DENETHOR</character> <dialogue>My line has ended.</dialogue> <character>PIPPIN</character> <parenthetical>(urgently)</parenthetical> <dialogue>My Lord!</dialogue> <scene_description>ANGLE ON: DENETHOR slowly turning away ... walking as if in a TRANCE... CLOSE ON: DENETHOR has reached the edge of the COURTYARD ... he STARES in SHOCKED DISBELIEF at the VISTA spread out BELOW: HIGH WIDE ANGLE: A FULL VIEW of the ORC ARMY ... from the TOP of MINAS TIRITH. CONTINUED: 75,000 ORCS are spread out across the PELENNOR FIELDS like a sea of black ANTS. CLOSE ON: TROLLS load the CATAPULTS with ROCKS. BATTERING RAMS and SIEGE TOWERS are hauled on CHAINS. Thousands of flickering TORCHES give the army the look of a moving city in the MURKY MORDOR TWILIGHT. CLOSE ON: DENETHOR ... struggling to regain the power of speech!</scene_description> <character>DENETHOR</character> <parenthetical>(rasping whisper)</parenthetical> <dialogue>Rohan has deserted us.</dialogue> <scene_description>ANGLE ON: A HUGE BOULDER smashes into the wall of MINAS TIRITH. WIDE ON: BOULDERS HURTLE from CATAPULTS across the fields towards MINAS TIRITH.</scene_description> <character>DENETHOR</character> <dialogue>Théoden's betrayed me.</dialogue> <scene_description>CLOSE ON: A BOULDER smashes into a BALCONY full of CIVILIANS. CONFUSION and PANIC spread amongst the SOLDIERS.</scene_description> <character>DENETHOR</character> <parenthetical>(panicked scream)</parenthetical> <dialogue>Abandon your posts!</dialogue> <scene_description>CLOSE ON: PIPPIN, SHOCKED.</scene_description> <character>DENETHOR</character> <dialogue>Flee! Flee for your lives!</dialogue> <scene_description>SUDDENLY: THWACK! GANDALF'S STAFF smashes into the back of DENETHOR'S HEAD! GANDALF grimly swings his staff again, CLUBBING DENETHOR to the GROUND! CONTINUED: (2) ANGLE ON: GANDALF spins around and ADDRESSES the SOLDIERS:</scene_description> <character>GANDALF</character> <parenthetical>(yell)</parenthetical> <dialogue>Prepare for battle!</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAY</stage_direction> <scene_description>ANGLE ON: GANDALF GALLOPS down the WINDING LABYRINTHINE STREETS on SHADOWFAX ... against the flow of FLEEING SOLDIERS.</scene_description> <character>GANDALF</character> <parenthetical>(yelling)</parenthetical> <dialogue>Return to your posts!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DAY</stage_direction> <scene_description>ANGLE ON: SHADOWFAX bounds up STAIRS onto the LEVEL ONE BATTLEMENTS ... GANDALF looks at the approaching ORC ARMY, now less than 50 yards from the WALLS of the CITY!</scene_description> <character>GANDALF</character> <parenthetical>(angry yell)</parenthetical> <dialogue>Send these foul beasts into the abyss!</dialogue> <scene_description>QUICK CUTS: MIGHTY WOODEN CATAPULTS positioned within the walls of MINAS TIRITH are fired!</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH - DAY</stage_direction> <scene_description>THWAT! THWAT! THWAT! CATAPULTS send their great ROCKS high into the air, over the BATTLEMENTS! Dizzying AERIAL SHOTS of huge BOULDERS flying up close to CAMERA ... then falling away towards the ORCS! CRUNCH!! BOULDERS flatten ORCS. THWAT!! 100 more ROCKS ... THWAT!! another 100!! The ORC FRONT RANKS are in disarray!</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>As the GREAT BOULDERS land among them, the ORCS start to PANIC! CONTINUED:</scene_description> <character>GOTHMOG</character> <dialogue>Stay where you are!</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DAY</stage_direction> <scene_description>GANDALF walks the BATTLEMENTS as huge BOULDERS rain onto the ORC ARMY below... INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS/MINAS TIRITH - DAY</stage_direction> <scene_description>GOTHMOG glances up at a WHISTLING SOUND - a huge BOULDER hurtles towards him. He side-steps CALMLY out o the way ... spitting on the BOULDER in CONTEMPT. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DAY</stage_direction> <scene_description>SUDDENLY! 9 NAZGÛL DIVE out of the DIM SKY, CLAD in BATTLE ARMOUR! ANGLES ON: SOLDIERS throw themselves down as the NAZGÛL zoom overhead, emitting their PIERCING SHRIEKS! GONDORIAN SOLDIERS run for SHELTER in PANIC, covering their ears... CLOSE ON: PIPPIN COWERING...</scene_description> <character>GANDALF</character> <parenthetical>(rallying)</parenthetical> <dialogue>Stand to your posts! Do not give in to fear. Fight!</dialogue> <scene_description>QUICK CUTS: MIGHTY WOODEN CATAPULTS positioned within the walls of MINAS TIRITH are fired! The NAZGÛL circle LOW over the CITY, like VULTURES seeking doomed men's flesh. SOLDIERS are plucked into the AIR by SHRIEKING NAZGÛL and dropped to their DEATHS hundreds of FEET BELOW. TOWERS and BUILDINGS are DESTROYED. CHAOS as SOLDIERS, WOMEN and CHILDREN DODGE falling MASONRY. CONTINUED: CLOSE ON: GONDORIAN SOLDIERS send a rain of arrows at the approaching TOWERS and TROLLS.</scene_description> <character>GANDALF</character> <dialogue>Not at the towers! Aim for the Trolls! Kill the Trolls! Bring them down!</dialogue> <scene_description>TOO LATE! The TOWERS reach the walls, their DOORS crashing down, releasing ORCS directly onto the LOWER LEVELS. As the ORCS swarm from the TOWER, GANDALF realises PIPPIN has come down from the CITADEL...</scene_description> <character>GANDALF</character> <dialogue>Peregrin Took - go back to the citadel!</dialogue> <character>PIPPIN</character> <parenthetical>(stupor)</parenthetical> <dialogue>They called us out to fight...</dialogue> <scene_description>PIPPIN looks stunned, as a HUGE ORC leaps towards him... GANDALF intercepts the BEAST, striking him with his STAFF...</scene_description> <character>GANDALF</character> <parenthetical>(urgency)</parenthetical> <dialogue>This is no place for a Hobbit!</dialogue> <scene_description>GANDALF wields his STAFF, cutting through the attacking ORC with EASE ... BEHIND him, an ORC prepares to cut down GANDALF ... PIPPIN instinctively slashes his SWORD at him. ANGLE ON: GANDALF turns on PIPPIN, smiling despite himself.</scene_description> <character>GANDALF</character> <dialogue>Guard of the Citadel, indeed! Now, back up the hill - quickly! Quickly!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DUSK</stage_direction> <scene_description>ANGLE ON: Out of the BLACK SWIRLING BATTLE. SMOKE crawls an IRON MONSTER! A MASSIVE WHEELED BATTERING RAM ... 60 FEET HIGH and 150 FEET LONG ... pushed by 20 huge MOUNTAIN TROLLS ... a MASSIVE IRON HEAD, cast in the likeness of a SNARLING WOLF! CONTINUED:</scene_description> </scene> <scene> <stage_direction>..this is GROND ... the BATTERING RAM FROM HELL! The ORC are chanting as the BEAST is wheeled closer and closer to the</stage_direction> <scene_description>GATES...</scene_description> <character>ORCS</character> <dialogue>Grond! Grond! Grond!</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH BATTLEMENTS - DUSK</stage_direction> <scene_description>CLOSE ON: GANDALF ... blanching at the sight of this crawling IRON MONSTER!</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL, TUNNEL MOUTH - DAY</stage_direction> <scene_description>ANGLE ON: GOLLUM leads FRODO up a LONG RAVINE between COLUMNS of TORN and WEATHERED ROCK. AHEAD is a GREAT GREY WALL, a last huge mass of mountain stone ... and in the SHADOWS at the base of the TOWERING ROCK lies a TUNNEL. FRODO reacts to the FOUL STENCH coming out of the BLACK HOLE.</scene_description> <character>FRODO</character> <parenthetical>(exhausted)</parenthetical> <dialogue>What is this place?</dialogue> <character>GOLLUM</character> <dialogue>Master must go inside the tunnel.</dialogue> <character>FRODO</character> <dialogue>Now that I'm here, I don't think I want to.</dialogue> <character>SMÉAGOL</character> <dialogue>It's the only way.</dialogue> <parenthetical>(GOLLUM; slyly)</parenthetical> <dialogue>Go in, or go back.</dialogue> <scene_description>FRODO stares into the darkness... CONTINUED:</scene_description> <character>FRODO</character> <parenthetical>(under his breath)</parenthetical> <dialogue>I can't go back.</dialogue> <scene_description>CLOSE ON: GOLLUM, his sparse oily hair hanging like rank weed over his hooded eyes... Drawing a DEEP BREATH, FRODO follows GOLLUM into the TUNNEL.</scene_description> </scene> <scene> <stage_direction>INT. SHELOB'S TUNNEL - DAY</stage_direction> <scene_description>FRODO nearly GAGS.</scene_description> <character>FRODO</character> <dialogue>What's that smell?</dialogue> <character>GOLLUM</character> <parenthetical>(lying)</parenthetical> <dialogue>Orcses filth! Orcses come in here sometimes.</dialogue> <scene_description>They continue on, deep into the DARK TUNNEL ... FRODO is feeling his way in the dark, following the SOUND of GOLLUM'S scampering.</scene_description> <character>GOLLUM (O.S.)</character> <parenthetical>(disembodied)</parenthetical> <dialogue>Hurry!</dialogue> <scene_description>FRODO follows the sound of GOLLUM'S voice. He is VERY TIRED.</scene_description> <character>GOLLUM (O.S.)</character> <parenthetical>(disembodied)</parenthetical> <dialogue>This way.</dialogue> <scene_description>FRODO cannot see GOLLUM in the MURKY TUNNEL...</scene_description> <character>FRODO</character> <dialogue>Sméagol!</dialogue> <character>GOLLUM (O.S.)</character> <parenthetical>(disembodied)</parenthetical> <dialogue>Over here.</dialogue> <scene_description>CONTINUED: FRODO slips as he tries to follow the voice ... He puts his HAND to the WALL to STEADY HIMSELF but quickly YANKS it away ... strands of a WHITE THREAD stuck to his HAND.</scene_description> <character>FRODO</character> <dialogue>It's sticky ... What is it?</dialogue> <scene_description>GOLLUM is nowhere to be seen ... only his voice echoes back down the LABYRINTH of TUNNELS.</scene_description> <character>GOLLUM (O.S.)</character> <dialogue>You will see ... Oh, yes ... You will see.</dialogue> <scene_description>FRODO FREEZES!</scene_description> <character>FRODO</character> <parenthetical>(nervous)</parenthetical> <dialogue>Sméagol! Sméagol!</dialogue> <scene_description>NO ANSWER, no echo, not even a tremor in the air.</scene_description> <character>FRODO</character> <parenthetical>(panicked)</parenthetical> <dialogue>Sméagol!</dialogue> <scene_description>CLOSE ON: FRODO realises with HORROR that GOLLUM has deserted him!</scene_description> <character>FRODO</character> <parenthetical>(whisper)</parenthetical> <dialogue>Sam.</dialogue> <scene_description>CLOSE ON: FRODO breathing hard ... passing all manner of creatures, trussed up in evil WEB-LIKE material... A BUBBLING HISS can be heard ... There is a CREAKING as some great JOINTED THING moves with slow purpose in the DARK... FRODO begins to run in BLIND PANIC... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CIRITH UNGOL STAIRS - DAY</stage_direction> <scene_description>SAM stumbles blindly down the ANCIENT STAIRS, reckless and uncaring, his face pale and devastated. CLOSE ON SAM'S FOOT slips... ...SUDDENLY, as if the ground has given way beneath him, SAM is slipping and sliding dangerously OUT OF CONTROL. ANGLE ON: SAM thudding into a LARGE ROCK, which save him from tumbling headlong over the PRECIPICE. Something catches SAM'S EYE ... he stares, barely breathing. CLOSE ON: A package of LEMBAS BREAD... ANGLE ON: SAM looking BACK up the LONG STEEP STAIR... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SHELOB'S TUNNEL - DAY</stage_direction> <scene_description>FRODO is running BLINDLY ... He falls, trapped in the sticky substance which CLINGS to him. As he lays on the ground, unable to move, a VOICE comes to him as if from a distant memory...</scene_description> <character>GALADRIEL (V.O.)</character> <dialogue>I give you the light of Eärendil - our most beloved star. May it be a light for you in dark places, when all other lights go out.</dialogue> <scene_description>CLOSE ON: FRODO fumbles in his JACKET, FEAR growing in him ... he pulls out the GLASS PHIAL - his GIFT from GALADRIEL - he holds it aloft.</scene_description> <character>FRODO</character> <parenthetical>(stronger)</parenthetical> <dialogue>Aiya Eärendil Elenion Ancalima!</dialogue> <dialogue>Hail Eärendil brightest of the Stars!</dialogue> <scene_description>The PHIAL flickers ... kindles into a SILVER FLAME - a BRIGHT RADIANT STARLIGHT! CONTINUED: LOW ANGLE ON: The LIGHT instantly REVEALS a HUGE LOATHSOME SPIDER ... towering over FRODO! CLOSE ON: SHELOB the SPIDER HISSES at the LIGHT! TWO great clusters of many-windowed EYES protrude from her bulbous head. Her LEGS are bent, with a 12-FOOT SPAN and HAIRS that stick out like steel spines. Her HUGE, SWOLLEN BODY, a vast bloated bag, sways and sags between her legs. Her age-old BLACK HIDE is knobbly and pitted, blotchy with LIVID MARKS ... but her belly underneath is PALE and LUMINOUS. SHELOB beats the air with her FORELEGS. ANGLE ON: Calling up all his remaining STRENGTH and RESOLUTION, FRODO forces his LEGS to MOVE ... he backs away keeping his EYES on SHELOB. SHELOB crawls SLOWLY towards his ... then, with sudden hideous SPEED, she ATTACKS! She lashes out with her FRONT LEGS ... FRODO is flung back ... the GLASS PHIAL clatters to the TUNNEL FLOOR, casting an eerie LOW LIGHT. SHELOB squats above FRODO, her EYE CLUSTERS fidgeting with hideous delight, gloating over a prey trapped beyond all hope of escape. SUDDENLY! FRODO draws STING! He slashes wildly at the GIANT SPIDER ... hewing off the TIP of a LEG! SHELOB SPASMS ... a WILD BLUR of thrashing LEGS! ANGLE ON: FRODO leaps to his feet and RUNS - not even PAUSING to pick up the PHIAL of LIGHT! TRACKING BACK: with FRODO as he careens blindly down NARROW TUNNELS, gasping in the CHOKING AIR ... looking back over his shoulder for any sign of SHELOB. ANGLE ON: FRODO sees the TUNNEL EXIT ahead...</scene_description> </scene> <scene> <stage_direction>..just as he runs straight into a great COBWEB!</stage_direction> <scene_description>CONTINUED: (2) CLOSE ON: FRODO ... eyes wild with fear ... as he tries to wrench STING free of the STICKY WEB.</scene_description> <character>GOLLUM (O.S.)</character> <parenthetical>(sing-song)</parenthetical> <dialogue>Naughty little fly, Why does it cry?</dialogue> <scene_description>ANGLE ON: GOLLUM on the other side of the WEB...</scene_description> <character>GOLLUM</character> <dialogue>Caught in her web, Soon you'll be... ...Eaten!</dialogue> <scene_description>ANGLE ON: FRODO as he SLASHES WILDLY with STING. The SHINING BLADE of STING as it hacks through the FIBROUS STRANDS. They whip and snap back into FRODO'S FACE as he cuts himself free. ANGLE ON: Back up the TUNNEL - lit by the LIGHT OF GALADRIEL - SHELOB'S HEAVING SHADOW approaches... CLOSE ON: GOLLUM watches in mounting disbelief as STING slashes through the WEB ... DISBELIEF turns to FEAR as SHELOB gets closer and closer, GOLLUM quickly turns and BOLTS... FRODO hacks at the WEB and with a last desperate LUNGE, frees himself ... STING is caught in the WEB ... FRODO leaves the SWORD and THROWS HIMSELF through a narrow CREVICE...</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL - DAY</stage_direction> <scene_description>ANGLE ON: FRODO stumbles out of SHELOB'S LAIR ... Tumbling onto COLD ROCK. ANGLE ON: FRODO covered in COBWEBS, wild-eyed and drenched in SWEAT ... He looks up as GOLLUM lunges at him.</scene_description> <character>GOLLUM</character> <dialogue>Got away did it, Precious? Not this time, not this time!</dialogue> <scene_description>GOLLUM and FRODO fight ... Rolling on the GROUND towards the EDGE of a PRECIPICE... CONTINUED: FRODO pins GOLLUM on the ground, hands around his throat.</scene_description> <character>SMÉAGOL</character> <dialogue>It wasn't us! It wasn't us! Sméagol wouldn't hurt master.</dialogue> <scene_description>ANGLE ON: FRODO'S fingers squeeze tighter around GOLLUM'S THROAT.</scene_description> <character>SMÉAGOL</character> <dialogue>Sméagol promised. You must believe us. It was the Precious! The Precious made us do it!</dialogue> <scene_description>FRODO has a sudden moment of SELF REALISATION and releases GOLLUM, horrified at his VIOLENCE. ANGLE ON: GOLLUM cowering black ... COUGHING and SPUTTERING. ANGLE ON: FRODO looking at SMÉAGOL, in SHOCK, he gets to his FEET.</scene_description> <character>FRODO</character> <parenthetical>(shaky)</parenthetical> <dialogue>I have to destroy it, Sméagol. I have to destroy it for both our sakes.</dialogue> <scene_description>SMÉAGOL stares at FRODO in DISBELIEF ... in a FURY he LUNGES at FRODO who falls backwards, dangerously close to the edge of the PRECIPICE - GOLLUM tumbles over FRODO'S BODY and FALLS to the bottom of the RAVINE...</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL - NIGHT</stage_direction> <scene_description>FRODO, overcome with EXHAUSTION, stumbles down the steep stairs of CIRITH UNGOL ... He is full of REMORSE at his TREATMENT of SAM...</scene_description> <character>FRODO</character> <dialogue>I'm so sorry, Sam.</dialogue> <scene_description>FRODO falls to his knees - CONTINUED:</scene_description> <character>FRODO</character> <dialogue>...so sorry...</dialogue> </scene> <scene> <stage_direction>EXT. FRODO'S DREAM, LOTHLÓRIEN - DAY</stage_direction> <scene_description>CLOSE ON: FRODO lands on SOFT GREEN GRASS. SUN DRENCHED IMAGES: Of trees ... of fields ... of LOTHLÓRIEN... HAZY IMAGE: GALADRIEL walking towards him, BARE-FOOT on the GRASS...</scene_description> <character>GALADRIEL</character> <dialogue>This task was appointed to you, Frodo of the Shire. If you do not find a way ... no one will.</dialogue> <scene_description>GALADRIEL leans down towards FRODO, OFFERING her hand ... for a beat, FRODO stares at her ... torn, not wanting to go on, wanting to lie down ... But he knows what he must do. ANGLE ON: FRODO ... as he is LIFTED to HIS FEET. ANGLE ON: FRODO - once again in the dark, rank tunnels of the PASS of CIRITH UNGOL ... He goes on. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - NIGHT</stage_direction> <scene_description>ANGLES ON: FLAMING MISSILES rain down on the CITY! A DEEP BOOM! GROND thuds against the MINAS TIRITH GATE ... sending a VIBRATION running through the city! ANGLE ON GANDALF, on SHADOWFAX, leads SEVERAL HUNDRED GONDORIAN FOOT SOLDIERS down through the streets.</scene_description> <character>GANDALF</character> <dialogue>To the Gates! Man the Gates!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH, COURT OF THE KINGS - NIGHT</stage_direction> <scene_description>PIPPIN watches as FARAMIR'S UNCONSCIOUS BODY is carried on the STRETCHER by DENETHOR'S SERVANTS lead by DENETHOR ... it has the atmosphere of a FUNERAL.</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH, STEWARD'S TOMB - NIGHT</stage_direction> <scene_description>ANGLE ON: An IRON DOOR creaks OPEN ... FARAMIR'S PROCESSION enters a WIDE VAULTED CHAMBER. The LANTERN LIGHT throws great SHADOWS upon the SHROUDED WALLS of a wide VAULTED CHAMBER, ROW upon ROW of MARBLE TOMBS are visible in the DIM LIGHT. Upon each TOMB lies a SLEEPING FORM, carved in STONE, hands folded. DENETHOR speaks in a HUSHED VOICE...</scene_description> <character>DENETHOR</character> <parenthetical>(whisper)</parenthetical> <dialogue>No tomb for Denethor and Faramir. No long, slow, sleep of death embalmed. We shall burn, like the heathen kings of old.</dialogue> <scene_description>The SERVANTS place FARAMIR'S UNCONSCIOUS BODY on a STONE TABLE in the CENTRE of the CHAMBER. They stand, heads bowed ... as MOURNERS beside a bed of death. DENETHOR turns to his SERVANTS.</scene_description> <character>DENETHOR</character> <dialogue>Bring wood and oil!</dialogue> </scene> <scene> <stage_direction>EXT. MINAS TIRITH GATES - NIGHT</stage_direction> <scene_description>BOOOMM! The GATE SPLINTERS under GROND'S mighty weight ... Behind the GATES the GONDORIAN FOOT SOLDIERS are FEARFUL... GANDALF rallies the line of BOWMEN as they wait in front of the GREAT DOORS ... their COURAGE wavering with each CRASHING BLOW... CONTINUED:</scene_description> <character>GANDALF</character> <parenthetical>(commanding)</parenthetical> <dialogue>Steady! Steady!</dialogue> <scene_description>SUDDENLY the FEARSOME HEAD protrudes into MINAS TIRITH!</scene_description> <character>GANDALF</character> <dialogue>You are soldiers of Gondor! No matter what comes through that gate you will stand your ground!</dialogue> <scene_description>Within MOMENTS the GATE is smashed and GIANT CAVE TROLLS enter into the FIRST CIRCLE of MINAS TIRITH, under the archway that no enemy had ever passed!</scene_description> <character>GANDALF</character> <parenthetical>(yelling)</parenthetical> <dialogue>Fire!</dialogue> <scene_description>ROWS of ARCHERS fire off a VOLLEY of ARROWS but the TROLLS continue to SMASH the FOOT SOLDIERS with their giant CLUBS ... ORCS swarm through the OPENING and the PITCHED, HAND-TO-HAND BATTLE spills into the FLAMES and BLACKENED, SMOULDERING BUILDINGS ... through the streets of MINAS TIRITH. ANGLE ON: With a ROAR, GANDALF leads a COUNTER ATTACK on SHADOWFAX, followed by SEVERAL HUNDRED GONDORIAN FOOT SOLDIERS! THOUSANDS OF ORCS swarm in through the CITY GATES ... the FIRST LEVEL is breached! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL - DAY</stage_direction> <scene_description>ANGLE ON: FRODO STAGGERS through the PASS OF CIRITH UNGOL ... the weight of the RING, dragging at his neck. HE MOVES FORWARD, fueled by a GRIM RESOLVE... ANGEL ON: FRODO starts climbing a STONE STAIRCASE that climbs through a NARROW PASS ... TALL PEAKS rise on either side, like pillars holding up a sagging sky. CONTINUED: AHEAD is the SUMMIT of CIRITH UNGOL ... and an ORC WATCH TOWER! A FAINT LIGHT glows from within the STONE TOWER ... the PATH over the SUMMIT is in FULL VIEW of the ORCS. FRODO stays CLOSE to the ROCK WALL, masked by SHADOWS. LOW ANGLE: Behind FRODO, SHELOB APPEARS! With hideous STEALTH, she follows FRODO... ANGLE ON: FRODO slowly climbing the STONE STAIRS ... his GAZE and CONCENTRATION on the ORC TOWER. Behind him, SHELOB lurches into a HORRIBLE SCUTTLE down the SHEER ROCK FACE. CLOSE ON: FRODO suddenly sense the LURKING MALICE ... he SPINS AROUND: Before he can react, SHELOB VICIOUSLY STABS FRODO in the NECK with her monstrous abdominal STINGER! FRODO instantly goes LIMP ... SHELOB'S LEGS catch him as he falls ... she quickly starts WEAVING COBWEBS around him. With great dexterity, she tumbles the LITTLE HOBBIT over and over in her LEGS, binding him in WEB from HEAD to TOE! SUDDENLY!... The RAZOR SHARP EDGE of a SWORD comes into shot. REVEAL ON: SAMWISE GAMGEE stands before the GIANT SPIDER - STING clutched in one hand, the SHINING PHIAL in the other!</scene_description> <character>SAM</character> <dialogue>Let him go, you filth!</dialogue> <scene_description>SHELOB HISSES at SAM ... DROPPING FRODO ... he ROLLS down the STAIRS in his WEB COCOON.</scene_description> <character>SAM</character> <dialogue>You will not touch him again!</dialogue> <scene_description>SAM moves forward, a fell light in his normally friendly eyes.</scene_description> <character>SAM</character> <dialogue>Come on and finish it!</dialogue> <scene_description>SAM SWINGS the small sword ... SLASHING upward! CONTINUED: (2) ANGLE ON: SHELOB HISSES and REARS above SAM, her STINGER dribbling with VENOM! SAM ducks inside the arch of her LEGS and STABS STING into one of her EYE CLUSTERS! CLOSE ON: SHELOB SCREAMS, her MANDIBLES thrashing wildly, GREEN OOZE trickling from her WOUNDED EYE. With HIND LEGS, SHELOB picks SAM off the ground and TOSSES him BACKWARDS! SAM lands heavily ... and SHELOB POUNCES! ANGLE ON: SHELOB heaves the great bag of her BELLY high above SAM'S HEAD. As she splays her legs to drive her huge bulk down on him, SAM lifts the ELVEN BLADE above his head, holding it with TWO HANDS. STING slides into SHELOB'S SOFT UNDERBELLY! A SHUDDER runs through her! HEAVING up again, she wrenches herself away from the PAIN ... her LIMBS writhing beneath her. ANGLE ON: JERKING and QUIVERING, SHELOB crawls to her HOLE, leaving a trail of GREEN-YELLOW SLIME. She SQUEEZES down the HOLE and DISAPPEARS ... the SOUND of her BUBBLING MISERY fades. ANGLE ON: SAM RACES TO FRODO...</scene_description> <character>SAM</character> <parenthetical>(worried)</parenthetical> <character>SAM</character> <dialogue>Mr. Frodo!</dialogue> <scene_description>CLOSE ON: SAM RIPS COBWEBS away from FRODO'S HEAD ... his FACE is DEATHLY PALE.</scene_description> <character>SAM</character> <parenthetical>(panicking)</parenthetical> <dialogue>Oh no! Frodo!</dialogue> <scene_description>CLOSE ON: FRODO'S PALE, LIFELESS FACE.</scene_description> <character>SAM</character> <dialogue>Mr. Frodo! Wake up!</dialogue> <scene_description>FRODO'S head LOLLS LIFELESSLY in SAM'S ARMS. CONTINUED: (3)</scene_description> <character>SAM</character> <parenthetical>(desperate whisper)</parenthetical> <dialogue>Wake up ... don't leave me here alone. Don't go where I can't follow. Wake up!</dialogue> <scene_description>CLOSE ON: FRODO STARING, UNMOVING.</scene_description> <character>SAM</character> <parenthetical>(numbly)</parenthetical> <dialogue>Not asleep ... Dead.</dialogue> <scene_description>SAM lays his FACE on FRODO'S CHEST ... WEEPING SOFTLY. CLOSE ON: STING'S BLADE GLOWS BLUE! SOUNDTRACK: TRAMPING FEET approach ... CLINKING METAL ... HARSH SHOUTS! CLOSE ON: SAM looks up ... looks back down at FRODO. CLOSE ON: SAM looks up at the ORC TOWER and then at STING which is glowing BLUE! ORCS approach - SAM must make a decision. ANGLE ON: A SMALL PARTY of ORCS and URUK-HAI heading down the STAIRS from the WATCH TOWER! ... SHAGRAT leads the URUK-HAI, and GORBAG leads the ORCS. GORBAG spies FRODO'S BODY...</scene_description> <character>GORBAG</character> <dialogue>What's this? Looks like Old Shelob's been having a bit of fun!</dialogue> <character>SHAGRAT</character> <dialogue>Killed another one, has she?</dialogue> <scene_description>ANGLE ON: GORBAG peers curiously at FRODO as he leans down and pokes at FRODO'S LIFELESS BODY.</scene_description> <character>GORBAG</character> <dialogue>No ... this fellow ain't dead.</dialogue> <scene_description>CLOSE ON: SAM, hidden in a rock crevice, as SHOCK sweeps across his FACE! CONTINUED: (4)</scene_description> <character>SAM</character> <parenthetical>(to himself)</parenthetical> <dialogue>Not dead!</dialogue> <character>SHAGRAT</character> <parenthetical>(excited)</parenthetical> <dialogue>She jabs him with her stinger and they go as limp as a boned fish. Then she has her way with them. That's how she likes to feed - fresh blood.</dialogue> <parenthetical>(yelling)</parenthetical> <dialogue>Get him to the Tower!</dialogue> <character>SAM</character> <dialogue>Samwise, you fool!</dialogue> <scene_description>ANGLE ON: The ORCS GRUNT as they lift FRODO ... and CARRY him back towards the WATCH TOWER.</scene_description> <character>ORC 2</character> <dialogue>This fellow will be awake in a few hours.</dialogue> <character>GORBAG</character> <dialogue>Then he'll wish he'd never been born.</dialogue> <scene_description>ORC LAUGHTER ... FRODO is carried up the steep STAIRS... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH/STEWARD'S TOMB - NIGHT</stage_direction> <scene_description>FROM the SHADOWS PIPPIN watches, aghast, as FARAMIR is lain on a FUNERAL PYRE... CLOSE ON: DENETHOR kisses FARAMIR'S sweating, FEVERED brow.</scene_description> <character>DENETHOR</character> <dialogue>The house of his spirit crumbles! He is burning ... already burning.</dialogue> <scene_description>ANGLE ON: BUNDLES of DRIED FIREWOOD are being stacked around FARAMIR'S BODY. ANGEL ON: PIPPIN rushes forward, desperately PULLING the FIREWOOD AWAY! CONTINUED:</scene_description> <character>PIPPIN</character> <parenthetical>(yelling)</parenthetical> <dialogue>He's not dead! He's not dead!</dialogue> <scene_description>DENETHOR grabs PIPPIN by the collar! He roughly carries him towards the door.</scene_description> <character>PIPPIN</character> <dialogue>No! No! No! He's not dead. No!</dialogue> <character>DENETHOR</character> <parenthetical>(menacing)</parenthetical> <dialogue>Hear now, Peregrin, son of Paladin ... I release you from my service...</dialogue> <scene_description>DENETHOR throws PIPPIN outside!</scene_description> <character>DENETHOR</character> <dialogue>Go now and die in what way seems best to you.</dialogue> <scene_description>DENETHOR SLAMS the DOOR SHUT!</scene_description> <character>DENETHOR (O.S.)</character> <parenthetical>(ordering)</parenthetical> <dialogue>Pour oil on the wood!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - NIGHT</stage_direction> <scene_description>ANGLE ON: PIPPIN RACES down the STEEP STREETS ... passing SOLDIERS running back from the BURNING CITY. GREAT BALLS of FIRE are hurtling through the air ... The city is in CHAOS.</scene_description> <character>PIPPIN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Gandalf? ... Gandalf?</dialogue> <scene_description>AMIDST the FLEEING SOLDIERS...</scene_description> <character>GANDALF</character> <dialogue>Pull back - to the second level! Hurry! Get the women and children out of here - get them out!</dialogue> <scene_description>CONTINUED: PIPPIN desperately pushes against the TIDE of SOLDIERS retreating from the FIGHTING. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - NIGHT</stage_direction> <scene_description>GOTHMOG turns to his SECOND LIEUTENANT...</scene_description> <character>GOTHMOG</character> <dialogue>Move into the city ... Kill all in your path.</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS</stage_direction> <scene_description>As ORC run through the STREETS, MEN, WOMEN, and CHILDREN flee ... the PITCHED BATTLE continues...</scene_description> <character>GANDALF</character> <dialogue>Fight! Fight for your lives!</dialogue> <scene_description>SUDDENLY! in the midst of the BATTLE, GANDALF turns ... SHRILL and CLEAR come the sounds of DISTANT HORNS! Off the SIDE of MOUNT MILLDOLLUIN, they dimly ECHO - WAR HORNS of the west ... ROHAN HAS COME! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAWN</stage_direction> <scene_description>GOTHMOG turns at the sound of the DISTANT HORNS... WIDE ON: 6000 HORSEMEN, lead by THÉODEN and ÉOMER, step up to the SKYLINE... ANGLE ON: MINAS TIRITH lies less than a MILE AWAY, down a gentle slope. Over 50,000 ORCS are swarming around the base of the city ... thick BLACK SMOKE belches from within it. CLOSE ON: MERRY BLANCHES with FEAR ... ÉOWYN puts a comforting hand on his shoulder. CONTINUED:</scene_description> <character>ÉOWYN</character> <parenthetical>(whisper)</parenthetical> <dialogue>Courage, Merry ... courage for our friends.</dialogue> <scene_description>On the BATTLE FIELD, GOTHMOG walks among his troops...</scene_description> <character>GOTHMOG</character> <dialogue>Form ranks, you maggots! Form ranks! Pikes in front, lances behind.</dialogue> <scene_description>The ORCS PREPARE for BATTLE. ANGLE ON: THÉODEN gallops in front of his ARMY, ISSUING URGENT ORDERS to his CAPTAINS:</scene_description> <character>THÉODEN</character> <parenthetical>(urgent)</parenthetical> <dialogue>Éomer, take your Éored down the left flank ... Gamling! Follow the King's banner down the centre. Grimbold, take your company right, after we pass the wall. Forth, and fear no darkness!</dialogue> <scene_description>CLOSE ON: THÉODEN rides to the front of his ARMY. He rises in his stirrups, TALL and PROUD, yelling in a clear, LOUD VOICE.</scene_description> <character>THÉODEN</character> <dialogue>Arise, arise, Riders of Théoden! Spears shall be shaken, shields shall be splintered ... A sword day, a red day , 'ere the sun rises!</dialogue> <scene_description>ANGLE ON: A RAY of SUNLIGHT escapes through the BLACK CLOUDS bathing the ROHIRRIM in GOLDEN LIGHT. WEAPONS and ARMOUR GLEAMS ... as 6000 HORSEMEN hold their SPEARS aloft! Below, on PELENNOR FIELD, the ORC kneel and raise their LANCES in READINESS... ANGLE ON: ÉOWYN, her arm around MERRY before her... CONTINUED: (2)</scene_description> <character>ÉOWYN</character> <parenthetical>(terrified)</parenthetical> <dialogue>Whatever happens, stay with me. I'll look after you.</dialogue> <scene_description>MERRY looks on in SHOCK... ANGLE ON: As THÉODEN rides past the ranks of SOLDIERS he runs his LANCE along their SPEARS ... The noise echoes through the RANKS as the WEAPONS of other RIDERS CLATTER in response...</scene_description> <character>THÉODEN</character> <parenthetical>(stirring call)</parenthetical> <dialogue>Ride now, ride now, ride, ride for ruin, and the world's ending!</dialogue> <scene_description>THÉODEN faces his ENEMY!</scene_description> <character>THÉODEN</character> <dialogue>Death!</dialogue> <character>ROHIRRIM</character> <parenthetical>(6000 voices)</parenthetical> <dialogue>Death!</dialogue> <scene_description>CLOSE ON: MERRY is swept up in the emotion ... he whips out his LITTLE SWORD!</scene_description> <character>THÉODEN</character> <dialogue>Death!</dialogue> <character>MERRY</character> <dialogue>Death!</dialogue> <character>ÉOWYN</character> <dialogue>Death!</dialogue> <character>THÉODEN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Death! Forth, Eorlingas!</dialogue> <scene_description>ALL the HORNS of the ROHIRRIM burst BLAST upon BLAST! CONTINUED: (3) ANGLE ON: The 6000 ROHIRRIM move off, a great WALL of HORSES and SPEAR POINTS, building up to a GALLOP like a rising tide, as they CHARGE TOWARDS the 50,000 ORCS! ANGLE ON: MERRY, wind blowing in his hair, ÉOWYN'S ARM around his chest ... as he YELLS at the top of his lungs! ANGLE ON: GOTHMOG marshaling his troops.</scene_description> <character>GOTHMOG</character> <dialogue>Fire!</dialogue> <scene_description>The first VOLLEY of ARROWS hit the ROHAN SOLDIERS ... The charge continues...</scene_description> <character>THÉODEN</character> <dialogue>Charge!</dialogue> <scene_description>The second VOLLEY ... GOTHMOG watches in HORRIFIED AWE as the ROHAN ADVANCE CONTINUES ... SUDDEN FEAR runs through the ORC and URUK-HAI assembled on PELENNOR FIELD ... The ROHAN charge like MEN POSSESSED! ANGLE ON: The WALL of ROHIRRIM HORSES and SPEARS is seemingly unstoppable! Entire ORC COMPANIES vanish under their hooves, like sand beneath a foaming breaker, as they RACE towards the MAIN BODY of the ORC ARMY! ANGLES ON: ORC ARCHERS fire into the thundering ROHIRRIM ... ORC SPEARS LOWER ... the SUDDENLY the ROHIRRIM crash into the ORCS and the screen is FILLED with hacking, SLASHING SWORDS and CLASHING SHIELDS...</scene_description> </scene> <scene> <stage_direction>..A JAW DROPPING SIGHT!</stage_direction> </scene> <scene> <stage_direction>EXT. MINAS TIRITH STREETS - DAWN</stage_direction> <scene_description>ANGLE ON: PIPPIN rushes towards GANDALF, dodging FLAMING DEBRIS.</scene_description> <character>PIPPIN</character> <parenthetical>(panicked yell)</parenthetical> <dialogue>Gandalf!</dialogue> <scene_description>GANDALF wheels around on SHADOWFAX... CONTINUED:</scene_description> <character>PIPPIN</character> <parenthetical>(breathless)</parenthetical> <dialogue>Denethor has lost his mind. He's burning Faramir alive!</dialogue> <scene_description>GANDALF pulls PIPPIN onto SHADOWFAX.</scene_description> <character>GANDALF</character> <dialogue>Come! Quickly!</dialogue> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAWN</stage_direction> <scene_description>The ROHAN charge is decimating the ENEMY!</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH, STEWARD'S TOMB - DAWN</stage_direction> <scene_description>LOW ANGLE POV: DENETHOR standing on the table astride FARAMIR, pouring OIL over his OWN HEAD ... It runs through his hair and down his face, quickly soaking his ROBES. CLOSE ON: FARAMIR, his eyes flicker open. As he tries to FOCUS through his delirium, OIL splashes onto his CHEST and FACE.</scene_description> <character>DENETHOR</character> <dialogue>Set a fire in our flesh!</dialogue> <scene_description>BUNDLES of OIL-SOAKED wood are STACKED all around them. SERVANTS are holding FLAMING TORCHES, awaiting their orders ... DENETHOR nods to them: The SERVANTS approach the PYRE, TORCHES held firmly. AT THAT MOMENT: GANDALF and PIPPIN burst into the HALLOWS, astride SHADOWFAX!</scene_description> <character>GANDALF</character> <parenthetical>(yelling)</parenthetical> <dialogue>Stay this madness!</dialogue> <scene_description>The fearful SERVANTS back away from the PYRE... CONTINUED: CLOSE ON: With a ROAR, DENETHOR SNATCHES a FLAMING TORCH ... and HURLS it at the PYRE! WHOOSH! The PYRE IGNITES! ANGLE ON: GANDALF GALLOPS towards the PYRE, knocking DENETHOR off his FEET ... PIPPIN LEAPS from SHADOWFAX onto the BURNING PYRE! With a desperate strength, PIPPIN pushes FARAMIR off the BURNING PYRE ... they tumble down the BUNDLES of WOOD, onto the FLOOR! PIPPIN douses the FLAMES on FARAMIR'S clothing. DENETHOR SCREAMS with RAGE!</scene_description> <character>DENETHOR</character> <dialogue>No! Do not take my son from me!</dialogue> <scene_description>DENETHOR leaps ACROSS THE PYRE, RIPPING and TUGGING at PIPPIN! FIRE quickly spreads up DENETHOR'S OIL-SOAKED BACK as he hauls PIPPIN off FARAMIR! ANGLE ON: SHADOWFAX rears up and STRIKES at DENETHOR who falls back onto the PYRE. CLOSE ON: DENETHOR ... he looks into his SON'S eyes ... for a BRIEF MOMENT, SANITY returns.</scene_description> <character>DENETHOR</character> <parenthetical>(whisper)</parenthetical> <dialogue>Faramir...</dialogue> <scene_description>ANGLE ON: FLAMES begin to ENGULF DENETHOR... CLOSE ON: GANDALF pulls PIPPIN to safety ... they look in HORROR as... SUDDENLY! DENETHOR lurches off the PYRE! Now a SCREAMING unguided BALL OF FLAME, he runs across the CHAMBER, disappearing out of the door! CONTINUED: (2)</scene_description> <character>GANDALF</character> <parenthetical>(grimly)</parenthetical> <dialogue>So passes Denethor, Son of Ecthelion.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH - DAY</stage_direction> <scene_description>DENETHOR runs across the WHITE COURT atop MINAS TIRITH ... and PLUMMETS straight over the 700 FOOT SHEER DROP into the FLAMING CITY below!</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAY</stage_direction> <scene_description>PAN OFF: DENETHOR'S DEATH PLUNGE to the ROHIRRIM gaining the upper hand - VAST NUMBERS of ORCS are SLAIN, or are FLEEING!</scene_description> <character>ÉOMER</character> <dialogue>Drive them into the river!</dialogue> <scene_description>THÉODEN STANDS PROUD in his saddle, YELLING to his ROHIRRIM!</scene_description> <character>THÉODEN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Make safe the city!</dialogue> <scene_description>CLOSE ON: THÉODEN ... his look of JOY turns to HORROR! ANGLE ON: Across the VAST SEA of BATTLE come... ...20 MÛMAKIL! MASSIVE elephant-like CREATURES, each carrying a WAR-TOWER, packed with HARADRIM ARCHERS! ANGLE ON: ROHIRRIM RIDERS PANICKING. CLOSE ON: THÉODEN on his HORSE, CIRCLING AMONGST THEM.</scene_description> <character>THÉODEN</character> <dialogue>Reform the line...Reform the line!</dialogue> <scene_description>ANGLE ON: ROHIRRIM HORSES MOVING BACK INTO LINE.</scene_description> <character>THÉODEN</character> <parenthetical>(to GAMLING)</parenthetical> <dialogue>Sound the charge!</dialogue> <scene_description>CONTINUED:</scene_description> <character>THÉODEN</character> <parenthetical>(sword raised)</parenthetical> <dialogue>...Charge!</dialogue> <scene_description>ANGLE ON: ROHIRRIM RIDERS CHARGE TOWARDS THE LINE OF MÛMAKIL! ANGLES ON: The MÛMAKIL BELLOW as they are goaded into war, driven mercilessly by their brutal HARADRIM MASTERS. They LUMBER into the SEA of MEN, crushing RIDERS and HORSES beneath their MASSIVE FEET! Their SPIKED TUSKS swing wildly, sweeping and impaling RIDERS! HARADRIM ARCHERS are sending a RAIN of ARROWS into the PANICKING ROHIRRIM! ÉOWYN and MERRY are THROWN from their HORSE...</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH - DAWN</stage_direction> <scene_description>HIGH WIDE: The SIXTH LEVEL of the CITY ... Smoke rising around it, fires burning beneath it...</scene_description> </scene> <scene> <stage_direction>EXT. THE SIXTH GATE, MINAS TIRITH - DAWN</stage_direction> <scene_description>WIDE ON: A rabble of ORCS are clustered outside the SIXTH GATE as TROLLS pound on its WOODEN DOORS with HUGE HAMMERS. ANGLE ON: WOOD splinters ... The DOORS are near breaking point. ANGLE ON: GANDALF and PIPPIN sit on stone steps ... Both covered in sweat and grime, bone-weary from fighting, spirits and hearts bruised... PIPPIN looks towards the WOODEN GATES at which a NUMBER of SOLDIERS continue to build a BARRICADE...</scene_description> <character>PIPPIN</character> <parenthetical>(quiet)</parenthetical> <dialogue>I didn't think it would end this way...</dialogue> <scene_description>GANDALF looks at the SMALL HOBBIT a beat.</scene_description> <character>GANDALF</character> <parenthetical>(gently)</parenthetical> <dialogue>End? No, the journey doesn't end here.</dialogue> <scene_description>CONTINUED: PIPPIN looks up at GANDALF, questioningly...</scene_description> <character>GANDALF</character> <dialogue>Death is just another path, one that we all must take.</dialogue> <scene_description>ANGLE ON: GANDALF looks down to see PIPPIN looking up at him with fear in his eyes...</scene_description> <character>GANDALF</character> <parenthetical>(remembering)</parenthetical> <dialogue>The grey rain-curtain of this world rolls back, and all turns to silver glass...</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>and then you see it...</dialogue> <scene_description>ANGLE ON: GANDALF breaks off, lost in reverie...</scene_description> <character>PIPPIN</character> <dialogue>What, Gandalf? See what?</dialogue> <character>GANDALF</character> <dialogue>White shores ... And beyond... a far green country under a swift sunrise.</dialogue> <scene_description>PIPPIN stares up at the OLD WIZARD'S FACE, softened, quiet and full of peace...</scene_description> <character>PIPPIN</character> <parenthetical>(quiet)</parenthetical> <dialogue>Well, that isn't so bad.</dialogue> <character>GANDALF</character> <parenthetical>(gently)</parenthetical> <dialogue>No... No, it isn't.</dialogue> <scene_description>BOOM! ANGLE ON: GANDALF and PIPPIN'S faces turn as the WOODEN DOORS shudder under another BLOW. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAY</stage_direction> <scene_description>ANGLE ON: The battlefield is in CHAOS as MÛMAKIL decimate the VALIANT ROHIRRIM... CLOSE ON: THÉODEN tries to rally his men amid the SEA of CRYING MEN and NEIGHING HORSES!</scene_description> <character>THÉODEN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Rally to me! To me!</dialogue> <scene_description>SUDDENLY the WITCH-KING SWOOPS down on his FELL-BEAST scooping up THÉODEN and his HORSE ... they CARTWHEEL into the AIR and land in a heap ... the HORSE is DEAD ... THÉODEN lies DYING beneath it. ANGLE ON: The WITCH-KING swooping down on his FELL-BEAST! The FELL-BEAST lands on THÉODEN'S DEAD HORSE.</scene_description> <character>WITCH-KING</character> <dialogue>Feast on his flesh!</dialogue> <scene_description>ANGLE ON: The FELL-BEAST opens it's WICKED JAWS...! ANGLE ON: A ROHAN SOLDIER stands before the BEAST ... it is ÉOWYN!</scene_description> <character>ÉOWYN</character> <dialogue>I will kill you if you touch him!</dialogue> <scene_description>CLOSE ON: The WITCH-KING laughs...</scene_description> <character>WITCH-KING</character> <dialogue>Do not come between the Nazgûl and his prey!</dialogue> <scene_description>ANGLE ON: The FELL-BEAST lifts ÉOWYN from her feet... SUDDENLY! With a mighty SWORD BLOW, the FELL-BEAST'S HEAD is SEVERED! The huge CREATURE crumples to the ground, VAST WINGS out-stretched, sending the WITCH-KING sprawling! CONTINUED: ANGLE ON: The WITCH-KING rises out of the wreckage ... tall and threatening... ÉOWYN stands before him, the FELL-BEAST'S BLOOD dripping from her SWORD! With a shrill SHRIEK of HATRED, he knocks ÉOWYN backwards with his MACE! STUNNED, ÉOWYN tries to stand and is hit once again with another CRIPPLING BLOW... ANGLE ON: The WITCH-KING laughs once again as he SMASHES his MACE downward ... ÉOWYN tries to block the BLOW but her SHIELD shatters into MANY PIECES! The WITCH-KING towers over ÉOWYN ... raising his MACE for the KILLING BLOW! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH DOCKS - DAY</stage_direction> <scene_description>ANGLE ON: An ORC COMMANDER hurrying on to the ANDUIN RIVER DOCKS, close to the CITY. LARGE BLACK SHADOWS slide across the DOCKS, as SAILING SHIPS approach O.S. ANGLE ON: A sinister BLACK SAILED SHIP GLIDES into the DOCKS ... 9 OTHER CORSAIR SHIPS follow behind. CLOSE ON: The ORC COMMANDER...</scene_description> <character>HEAD ORC</character> <parenthetical>(angry)</parenthetical> <dialogue>Late as usual! Get off your ships, you sea rats! There's knife work here needs doing.</dialogue> <scene_description>ANGLE ON: ARAGORN leaping from the LEADING SHIP and charging across the DOCKS, ROARING at the top of his LUNGS! He is followed by LEGOLAS and GIMLI... ANGLE ON: Surprised ORC REACTION to the THREE charging towards THOUSANDS of ORCS!</scene_description> <character>GIMLI</character> <dialogue>Plenty for the both of us ... may the best dwarf win!</dialogue> <scene_description>CONTINUED: ANGLE ON: The ARMY OF THE DEAD suddenly LEAP straight out of the SIDES of the SHIPS! They charge ACROSS the SURFACE OF THE WATER with FRIGHTENING SPEED, overtaking ARAGORN! The ORCS SCREAM at the SIGHT of 5000 SPECTRAL WARRIORS! ANGLE ON: The SPECTRAL WARRIORS SWARM into the flank of the ORC ARMY! With a raging blood-lust, the UNDEAD climb over the top of each other to try and reach the enemy, creating a kind of ROLLING MOUNTAIN of GHOULS that sweep all before them away! The ORCS have no defense as their WEAPONS CANNOT MAKE CONTACT with the GHOSTS!</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DAY</stage_direction> <scene_description>ANGLE ON: MERRY on the ground ... He looks around to see THE WITH-KING standing over ÉOWYN, pulling her to her FEET!</scene_description> <character>WITCH-KING</character> <dialogue>No man can kill me ... Die!</dialogue> <scene_description>ANGLE ON: MERRY driving his SWORD into the back of the WITCH- KING'S KNEE! MERRY'S SWORD bursts into FLAME and his ARM is shot with PAIN... ÉOWYN struggles to her feet ... pulling off her HELMET: CLOSE ON: ÉOWYN ... her LONG HAIR tumbling onto her shoulders!</scene_description> <character>ÉOWYN</character> <dialogue>I am no man!</dialogue> <scene_description>With her last strength, ÉOWYN thrusts her SWORD into the WITCH- KING'S FACE! ÉOWYN'S SWORD SHATTER into MANY SHARDS! The WITCH-KING topples back DEAD, a BLACK OOZE leaking from his ROBES and ARMOUR! A shuddering CRY, fading into a SHRILL WAIL passes with the WIND. ARAGORN and LEGOLAS battle the ORC - LEGOLAS JUMPS onto the BACK of a GIANT MÛMAKIL bringing it down ... he lands on his feet in front of GIMLI... CONTINUED:</scene_description> <character>GIMLI</character> <dialogue>That still only counts as one!</dialogue> <scene_description>The MÛMAKIL react with terror as SPECTRAL WARRIORS climb up their SIDES, routing the HARADRIM from their WAR-TOWERS! ORCS flee in their THOUSANDS ... the TERRIFIED MÛMAKIL trampling them in their PANIC to ESCAPE! ANGLE ON: The ARMY OF THE DEAD swarming over the CITY, routing the ORCS! ANGLE ON: ÉOWYN crawls to where THÉODEN lays, mortally wounded... THÉODEN looks up at ÉOWYN ... his breathing shallow ... his vision clouded...</scene_description> <character>THÉODEN</character> <parenthetical>(gasping weakly)</parenthetical> <dialogue>I know your face ... Éowyn...</dialogue> <scene_description>ÉOWYN smiles down at him as she GENTLY STROKES his FACE...</scene_description> <character>THÉODEN</character> <dialogue>My eyes darken...</dialogue> <character>ÉOWYN</character> <dialogue>No... I am going to save you...</dialogue> <character>THÉODEN</character> <parenthetical>(loving)</parenthetical> <dialogue>You already did...</dialogue> <parenthetical>(clutching her hand)</parenthetical> <dialogue>My body is broken ... you have to let me go.</dialogue> <character>ÉOWYN</character> <dialogue>No...</dialogue> <scene_description>THÉODEN touches her tear-stained face...</scene_description> <character>THÉODEN</character> <dialogue>I go to my fathers ... in whose mighty company, I shall not now feel ashamed...</dialogue> <scene_description>CONTINUED: (2) THÉODEN is DYING...</scene_description> <character>THÉODEN</character> <dialogue>Éowyn?</dialogue> <scene_description>THÉODEN DIES ... ÉOWYN breaks down, SOBBING ... ALL AROUND is a VISTA OF DEFEAT. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS, MINAS TIRITH - DAY</stage_direction> <scene_description>WIDE ON: PELENNOR FIELDS ... strangely SILENT ... all ORCS have fled ... BATTLE DEBRIS and BODIES stretch as far as the eye can see... ABOVE MINAS TIRITH ... BLINDING SUN RAYS break through the LOW CLOUDS! ANGLE ON: GANDALF, LEGOLAS, GIMLI and PIPPIN watch as ... ARAGORN walks slowly across the FIELD OF BATTLE towards the HIDEOUS GHOULS...</scene_description> <character>KING OF THE DEAD</character> <dialogue>Release us.</dialogue> <character>GIMLI</character> <parenthetical>(quietly)</parenthetical> <dialogue>Bad idea. Very handy in a tight spot, these lads - despite the fact, they're dead!</dialogue> <character>KING OF THE DEAD</character> <dialogue>You gave us your word.</dialogue> <character>ARAGORN</character> <dialogue>I hold your oath fulfilled... Go. Be at peace.</dialogue> <scene_description>ANGLE ON: The ARMY OF THE DEAD slowly DISSOLVE INTO DUST, and are immediately swept away by the four winds. ARAGORN turns to GANDALF who bows his head in HOMAGE... CONTINUED: PIPPIN, in his GONDORIAN armour, looks around at the devastation ... his eyes full of SADNESS ... they suddenly fix on something. ANGLE ON: PIPPIN running through the RUIN of the BATTLE ... towards a SMALL FIGURE slumped on the ground...</scene_description> <character>PIPPIN</character> <dialogue>Merry?</dialogue> <scene_description>MERRY stares unseeing at PIPPIN ... HORROR and SHOCK erasing all other memories from MERRY'S mind ... tears fall down PIPPIN'S FACE as he looks on his FRIEND.</scene_description> <character>PIPPIN</character> <dialogue>Merry ... it's me, it's Pippin...</dialogue> <character>MERRY</character> <parenthetical>(groggy)</parenthetical> <dialogue>I knew you'd find me.</dialogue> <parenthetical>(disoriented)</parenthetical> <dialogue>Are you going to leave me?</dialogue> <character>PIPPIN</character> <dialogue>No, Merry. I'm going to look after you.</dialogue> <scene_description>ANGLE ON: PIPPIN covers MERRY with a blanket... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TOWER OF CIRITH UNGOL - NIGHT</stage_direction> <scene_description>CAMERA RISES ... towards the dark ORC TOWER of CIRITH UNGOL. A light glows from the TOPMOST WINDOW. CAMERA reaches the TOWER, dissolving through the wall into... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TOWER OF CIRITH UNGOL/TOP ROOM - NIGHT</stage_direction> <scene_description>... a small cold ROOM. FRODO BAGGINS is UNCONSCIOUS on the floor. His eyes suddenly flicker and he WAKES UP. CONTINUED: TILT UP ... to reveal the ORC and URUK-HAI, GORBAG and SHAGRAT, arguing over FRODO'S BELONGINGS and CLOTHES! GORBAG is snatching for the MITHRIL VEST.</scene_description> <character>SHAGRAT</character> <dialogue>Hey! Hands off - that shiny shirt, that's mine.</dialogue> <character>GORBAG</character> <dialogue>It's going to the Great Eye, along with everything else.</dialogue> <scene_description>ANGLE ON: ... FRODO as he realises that he has been STRIPPED down to his UNDERWEAR. He clutches at his throat. ...The RING HAS GONE!</scene_description> <character>SHAGRAT</character> <dialogue>I don't take orders from stinking Morgul rats!</dialogue> <scene_description>GORBAG grabs for the MITHRIL VEST...</scene_description> <character>GORBAG</character> <dialogue>You touch it, and I'll stick this blade in your guts!</dialogue> <scene_description>ANGLE ON: GORBAG draws his SWORD, but SHAGRAT KICKS him BACKWARDS with his foot! GORBAG FALLS THROUGH a TRAP DOOR leading to the floor below! CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TOWER OF CIRITH UNGOL/GUARD ROOM - NIGHT</stage_direction> <scene_description>ANGLE ON: GORBAG lands in the GUARD ROOM with a CRASH, creating SUDDEN ALARM amongst the ORCS and URUK-HAI stationed there. SHAGRAT leans through the TRAP DOOR...</scene_description> <character>SHAGRAT</character> <parenthetical>(yelling)</parenthetical> <dialogue>The scum tried to knife me! Kill him!</dialogue> <scene_description>CONTINUED: SEVERAL URUK-HAI converge on GORBAG - he LASHES OUT, slashing one across the throat with his SWORD! The DEAD URUK-HAI topples backwards over the PARAPET...</scene_description> </scene> <scene> <stage_direction>EXT. TOWER OF CIRITH UNGOL/COURTYARD - NIGHT</stage_direction> <scene_description>...landing on top of URUK-HAI and ORCS in the courtyard below. Within moment, a brutal CIVIL WAR breaks out between the TWO COMPANIES stationed in CIRITH UNGOL!</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL - NIGHT</stage_direction> <scene_description>ANGLE ON: SAM hurries towards the gate, fearful for FRODO.</scene_description> </scene> <scene> <stage_direction>EXT. TOWER OF CIRITH UNGOL/COURTYARD</stage_direction> <scene_description>SAM is confronted with the sight of over 50 SLAUGHTERED ORC and URUK-HAI, strewn over the COURTYARD! ANGLE ON: SAM pounds UP THE STAIRCASE ... he suddenly PAUSES. SEVERAL URUK-HAI are running DOWN TOWARDS HIM! He grips STING and continues CHARGING UP - SCREAMING at the top of his lungs! ANGLE ON: The FOUR URUKS ... they see a HUGE DISTORTED SHADOW on the wall in front of them! They turn around and flee in terror back to the top of the stairs! SAM appears - and before the URUK-HAI can fully regain their wits - he slays THREE ... YELLING:</scene_description> <character>SAM</character> <parenthetical>(yelling ... 1st URUK-HAI)</parenthetical> <dialogue>That's for Frodo!</dialogue> <parenthetical>(yelling ... 2nd URUK-HAI)</parenthetical> <dialogue>And for the Shire!</dialogue> <parenthetical>(yelling ... 3rd URUK-HAI)</parenthetical> <dialogue>And that's for my old Gaffer!</dialogue> <scene_description>SAM runs into the TOWER...</scene_description> </scene> <scene> <stage_direction>INT. TOWER OF CIRITH UNGOL/TOP ROOM - NIGHT</stage_direction> <scene_description>ANGLE ON: FRODO struggling against his bonds, as GORBAG climbs back into the room ... with VENGEANCE in his EVIL EYES.</scene_description> <character>GORBAG</character> <dialogue>Stop your squeaking, you dunghill rat!</dialogue> <scene_description>CLOSE ON: GORBAG grabs FRODO'S hair and pulls his head back, exposing his neck. He pulls out his SWORD, ready to cut FRODO'S throat...</scene_description> <character>GORBAG</character> <dialogue>I'm gonna bleed you like a stuck pig!</dialogue> <scene_description>SUDDENLY! GORBAG GASPS as STING is rammed into his back by SAM!</scene_description> <character>SAM</character> <dialogue>Not if I stick you first!</dialogue> <scene_description>GORBAG falls dead!</scene_description> <character>FRODO</character> <parenthetical>(joyous disbelief)</parenthetical> <dialogue>Sam!!!</dialogue> <scene_description>ANGLE ON: FRODO ... humbled by SAM'S unswerving loyalty.</scene_description> <character>FRODO</character> <dialogue>Oh, Sam ... I'm so sorry ... sorry for everything.</dialogue> <scene_description>SAM quickly cuts FRODO free.</scene_description> <character>SAM</character> <dialogue>Come on.</dialogue> <character>FRODO</character> <parenthetical>(despairing)</parenthetical> <dialogue>It's too late. It's over ... they've taken it. Sam - they took the Ring!</dialogue> <scene_description>CONTINUED:</scene_description> <character>SAM</character> <parenthetical>(quietly)</parenthetical> <dialogue>Begging your pardon, but they haven't.</dialogue> <scene_description>SAM pulls the RING from his pocket...</scene_description> <character>SAM</character> <dialogue>I thought I'd lost you ... so I took it - only for safe-keeping.</dialogue> <scene_description>CLOSE ON: FRODO looks at SAM amazed ... his eyes drop to the RING...</scene_description> <character>FRODO</character> <dialogue>Give it to me.</dialogue> <scene_description>SAM hesitates ... TENSION instantly builds between them.</scene_description> <character>FRODO</character> <dialogue>Give me the Ring, Sam.</dialogue> <scene_description>SAM seems strangely reluctant ... ON THE SOUNDTRACK, the HUM of the RING builds.</scene_description> <character>FRODO</character> <dialogue>Sam! Give me the Ring.</dialogue> <scene_description>CLOSE ON: SAM drops the RING into FRODO'S palm... FRODO sags in RELIEF ... he puts the RING back around his neck...</scene_description> <character>FRODO</character> <dialogue>You must understand ... The Ring is my burden ... It will destroy you, Sam.</dialogue> <scene_description>FRODO looks at SAM, pain in his eyes... SAM looks down at FRODO ... his plain HOBBIT face full of compassion. SAM'S resolve hardens, a new strength takes hold. CONTINUED: (2)</scene_description> <character>SAM</character> <dialogue>Come on, Mr. Frodo, we'd best find you some clothes. You can't go walking through Mordor in naught but your skin.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PASS OF CIRITH UNGOL - NIGHT</stage_direction> <scene_description>FRODO and SAM are now dressed in FOUL-LOOKING ORC gear... ANGLE ON: FRODO and SAM turn east and walk over the SUMMIT of CIRITH UNGOL ... into MORDOR CLOSE ON: FRODO and SAM ... they STOP DEAD ... STARING AHEAD: ANGLE ON: MOUNT DOOM ... 50 MILES AWAY - across the barren GORGOROTH PLATEAU - the mountain is erupting streams of ASH and LAVA high into the air, lighting the low cloud blanket of MORDOR with a flickering ORANGE WASH. With immense trepidation, FRODO and SAM head down the steep path into the dark kingdom... ...TWO TINY FIGURES in a bleak, foreboding landscape. Before them lies the PLAIN OF GORGOROTH ... Their eyes are drawn to the OMINOUS SILHOUETTE of MOUNT DOOM...</scene_description> <character>SAM</character> <dialogue>We did it, Mr. Frodo. We made it to Mordor.</dialogue> <scene_description>ANGLE ON: FRODO'S eyes travel down towards the HUNDREDS of FIRES which glow on the PLAINS beneath them ... thousands upon thousands of ORCS are encamped there.</scene_description> <character>FRODO</character> <dialogue>There are so many of them ... So many. We'll never get through unseen.</dialogue> <scene_description>THEIR eyes are drawn to a DARK LOOMING SHAPE ... BARAD-DÛR ... A RED LIGHT seems to sweep across the PLAIN...</scene_description> <character>FRODO</character> <parenthetical>(terror)</parenthetical> <dialogue>It's him - the Eye.</dialogue> <scene_description>CONTINUED: The GREAT EYE OF SAURON! SAM cannot see what FRODO sees. GENTLY, he urges FRODO on.</scene_description> <character>SAM</character> <dialogue>We have to go in there, Mr. Frodo. There's nothing for it. Come on. Let's just make it down the hill for starters.</dialogue> </scene> <scene> <stage_direction>INT. MINAS TIRITH, TOWER HALL - DAY</stage_direction> <scene_description>CLOSE ON: GANDALF stands in the TOWER HALL ... seemingly alone ... he speaks quietly, doubt and fear edge his voice.</scene_description> <character>GANDALF</character> <dialogue>Frodo has passed beyond my sight. The darkness is deepening.</dialogue> <scene_description>He turns and crosses the HALL to reveal the presence of GIMLI, LEGOLAS, ÉOMER and ARAGORN... ARAGORN, his back to GANDALF...</scene_description> <character>ARAGORN</character> <dialogue>If Sauron had the Ring, we would know it.</dialogue> <scene_description>CLOSE ON: GANDALF - still troubled, still worried...</scene_description> <character>GANDALF</character> <dialogue>It's only a matter of time. He has suffered a defeat, yes, but behind the walls of Mordor our enemy is regrouping.</dialogue> <scene_description>GIMLI sits insolently on the SEAT of the STEWARD...</scene_description> <character>GIMLI</character> <dialogue>Let him stay there. Let him rot. Why should we care?</dialogue> <scene_description>GANDALF looks across at the DWARF ... His face ashen.</scene_description> <character>GANDALF</character> <dialogue>Because ten thousand Orcs now stand between Frodo and Mount Doom.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GANDALF</character> <parenthetical>(to himself)</parenthetical> <dialogue>I've sent him to his death.</dialogue> <scene_description>ANGLE ON: ARAGORN turns around suddenly...</scene_description> <character>ARAGORN</character> <dialogue>No.</dialogue> <scene_description>GANDALF looks up sharply at ARAGORN...</scene_description> <character>ARAGORN</character> <dialogue>There's still hope for Frodo. He needs time and safe passage across the Plains of Gorgoroth. We can give him that.</dialogue> <character>GANDALF</character> <dialogue>How?</dialogue> <character>ARAGORN</character> <dialogue>Draw out Sauron's armies - empty his lands. Then we gather our full strength and march on the Black Gate.</dialogue> <scene_description>At this, GIMLI CHOKES on his pipe ... ÉOMER steps forward.</scene_description> <character>ÉOMER</character> <dialogue>We cannot achieve victory through strength of arms.</dialogue> <character>ARAGORN</character> <dialogue>Not for ourselves ... But we can give Frodo his chance if we keep Sauron's eye fixed upon us. Keep him blind to all else that moves.</dialogue> <character>LEGOLAS</character> <dialogue>A diversion...</dialogue> <scene_description>CLOSE ON: GANDALF speaks in a low tone to ARAGORN...</scene_description> <character>GANDALF</character> <parenthetical>(doubtful)</parenthetical> <dialogue>Sauron will suspect a trap. He will not take the bait!</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>GIMLI</character> <dialogue>Certainty of death. Small chance of success. What are we waiting for?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PELENNOR FIELDS - DUSK</stage_direction> <scene_description>CLOSE ON: ARAGORN wearing a BREAST PLATE emblazoned with the WHITE TREE. He rides at the head of a COLUMN of 500 FOOT SOLDIERS from ROHAN and GONDOR ... leading them from the RUINS of OSGILIATH. GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY and PIPPIN ride directly behind him. AHEAD OF THEM: THE MOUNTAINS OF MORDOR.</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS OF GORGOROTH - NIGHT</stage_direction> <scene_description>GREAT ARMIES of ORC and URUK-HAI stream across the PLAINS from MORDOR...</scene_description> </scene> <scene> <stage_direction>EXT. ORC ROAD, MORDOR - NIGHT</stage_direction> <scene_description>WIDE SHOT: The VOLCANIC WASTELAND of the GORGOROTH FOOTHILLS. FRODO and SAM, still disguised in the ORC ARMOUR, slide down scree bank and land on the road below ... their attention is fixed on the PLAIN below ... thousands of ORCS can be seen marching away from MOUNT DOOM...</scene_description> <character>SAM</character> <dialogue>Look, the Orcs! They're moving off. You see, Mr. Frodo - some luck at last.</dialogue> </scene> <scene> <stage_direction>EXT. GORGOROTH PLAIN, MORDOR - DAWN</stage_direction> <scene_description>FRODO and SAM ... moving across a HELLISH dry landscape of twisted volcanic rock and STEAMING FISSURES. CONTINUED: 40 MILES AWAY, MOUNT DOOM rises out of the PLAIN ... its feet founded in ashen ruin, its huge cone rising to a great height, where its reeking head is swathed in cloud.</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>ARAGORN'S FORCE of 500 approaches the great BLACK GATES OF MORDOR. He positions his troops about half a mile from the GATES.</scene_description> </scene> <scene> <stage_direction>EXT. GORGOROTH PLAIN, MORDOR - DAY</stage_direction> <scene_description>ANGLE ON: FRODO slumped against a ROCK ... he tries to DRINK from his WATER BOTTLE ... but finds it EMPTY.</scene_description> <character>SAM</character> <dialogue>Take mine ... there's a few drops left.</dialogue> <scene_description>FRODO gratefully takes a SMALL SIP from SAM'S BOTTLE ... hands it back.</scene_description> <character>FRODO</character> <dialogue>There'll be none left for the return journey.</dialogue> <character>SAM</character> <parenthetical>(softly)</parenthetical> <dialogue>I don't think there will be a return journey, Mister Frodo.</dialogue> <scene_description>A moment of EYE CONTACT between FRODO and SAM as they acknowledge what lies ahead. SAM offers FRODO his hand ... and PULLS HIM UP. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>At the BLACK GATES, ARAGORN musters his MEN... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS OF GORGOROTH - DAY</stage_direction> <scene_description>WIDE ON: FRODO and SAM staggering across the TORTURED LANDSCAPE ... they are no longer WEARING the ORC ARMOUR. CLOSE ON: FRODO is walking half-bowed, often stumbling ... as if his eyes no longer see the way before his feet. His right HAND is pressed against his CHEST ... supporting a HEAVY WEIGHT. His left HAND often rises, as if to ward off some invisible blow. SAM watches him, CONCERN etched across his FACE... CLOSE ON: FRODO as a malevolent VOICE in his head calls to him ... "Baggins - Baggins"... CLOSE ON: SAM looking behind him in time to see... WIDE ON: A RAY of RED LIGHT stabs through the GLOOM and begins to sweep over the BARREN LANDSCAPE...</scene_description> <character>SAM</character> <dialogue>Frodo, get down!</dialogue> <scene_description>SAM throws himself to the ground ... FRODO turns to the light, unable to stop himself... FRODO crumpling to the ground as the RED LIGHT hits him like a SEARCHLIGHT.</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - NIGHT</stage_direction> <scene_description>All is QUIET ... No sign of the ENEMY...</scene_description> <character>PIPPIN</character> <parenthetical>(wary)</parenthetical> <dialogue>Where are they?</dialogue> <scene_description>ANGLE ON: GANDALF ... watchful ... alert. He nods at ARAGORN. WIDE: ARAGORN, GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY and PIPPIN galloping towards the BLACK GATES. They pull up less than 50 yards from the TOWERING GATES... INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS OF GORGOROTH - NIGHT</stage_direction> <scene_description>FRODO is slumped on the GROUND, unable to MOVE... INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - NIGHT</stage_direction> <scene_description>ANGLE ON: ARAGORN moves his HORSE forward.</scene_description> <character>ARAGORN</character> <dialogue>Let the lord of the Black Land come forth; let justice be done upon him.</dialogue> <scene_description>From behind the HUGE GATES, the terrifying CHANTING and the CLANGING of the ARMOUR of THOUSANDS... With the SOUND of TORTURED METAL, the MASSIVE GATES begin to open ... LEGOLAS, MERRY and ÉOMER look on in trepidation.</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS OF GORGOROTH - NIGHT</stage_direction> <scene_description>With the EYE OF SAURON sweeping the PLAINS around them, SAM gets to his feet...</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - NIGHT</stage_direction> <scene_description>The BLACK GATES of MORDOR SWING OPEN! SAURON'S ARMY of 300,000 ORCS MARCH OUT!</scene_description> <character>ARAGORN</character> <dialogue>Pull back! Pull back!</dialogue> <scene_description>ANGLE ON: ARAGORN, GANDALF, LEGOLAS, GIMLI, ÉOMER, MERRY and PIPPIN GALLOP back towards their SMALL ARMY as the ORC MASSES slowly MARCH toward them. Behind them, the EYE OF SAURON is directed toward THEM... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PLAINS OF GORGOROTH - NIGHT</stage_direction> <scene_description>FRODO'S eyes open with a START... CONTINUED:</scene_description> <character>SAM</character> <dialogue>It's gone, Mr. Frodo.</dialogue> <scene_description>ANGLE ON: SAM crawls toward FRODO...</scene_description> <character>SAM</character> <dialogue>The light's passed on, away towards the North ... something's drawn its gaze.</dialogue> <scene_description>FRODO and SAM stagger to their feet and move off. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>ANGLE ON: The MASSIVE ORC ARMY marching towards ARAGORN'S MEN. ANGLES ON: ARAGORN'S MEN ... starting to WAVER as the ORCS ENCIRCLE THEM. SOME MEN are backing away ... losing their nerve. ARAGORN GALLOPS in front of his ARMY...</scene_description> <character>ARAGORN</character> <dialogue>Hold your ground - hold your ground! Sons of Gondor - of Rohan ... my brothers!</dialogue> <scene_description>ANGLE ON: ARAGORN ... he seems to fix each and every one of his MEN with his eyes.</scene_description> <character>ARAGORN</character> <dialogue>I see in your eyes the same fear that would take the heart of me. A day may come when the courage of Men fails; when we forsake our friends and break all bonds of fellowship; but it is not this day - an hour of wolves and shattered shields, when the Age of Men comes crashing down - but it is not this day!! This day we fight! By all that you hold dear on this good earth - I bid you stand!</dialogue> <scene_description>ARAGORN holds ANDÚRIL ALOFT! CONTINUED:</scene_description> <character>ARAGORN</character> <dialogue>Men of the West!</dialogue> </scene> <scene> <stage_direction>EXT. MOUNT DOOM - NIGHT</stage_direction> <scene_description>FRODO and SAM are CLIMBING the face of MOUNT DOOM... The LANDSCAPE is VIOLENT ... RED HEAT hisses out of FISSURES, the ROCK is JAGGED ... RAZOR SHARP ... ASH blankets the LAND. RED LIGHTNING FORKS across the SKY with a DEAFENING CRACK! CLOSE ON: FRODO and SAM'S FEET dragging across the ASH ... Their PARCHED LIPS ... SWEATING, DUSTY FACES. FRODO TRIPS ... falls FACE-FIRST into the DUST ... SAM drops beside him.</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>HIGH WIDE: Of ARAGORN'S ARMY totally SURROUNDED by 300,000 ORCS ... poised for the order to ATTACK!</scene_description> </scene> <scene> <stage_direction>EXT. MOUNT DOOM - NIGHT</stage_direction> <scene_description>FRODO slowly lifts his head and looks up... FRODO'S POV: Looking straight up the STEEP SLOPES of MOUNT DOOM! ... a huge mass of ash and slag and burned stone! FRODO starts to CRAWL on his HANDS and KNEES! He hauls himself a FEW PITIFUL FEET before SLUMPING in the ASH.</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - NIGHT</stage_direction> <scene_description>ANGLE ON: GIMLI as he surveys the ARMY of MORDOR... CONTINUED:</scene_description> <character>GIMLI</character> <dialogue>Never thought I'd die fighting side by side with an elf.</dialogue> <character>LEGOLAS</character> <parenthetical>(quietly)</parenthetical> <dialogue>What about side by side with a friend?</dialogue> <scene_description>GIMLI looks up into the EYES of LEGOLAS, with whom he has shared so much. The GRUFF DWARF smiles quietly...</scene_description> <character>GIMLI</character> <dialogue>Aye - I could do that.</dialogue> <scene_description>LEGOLAS drops his hand on GIMLI'S shoulder ... SLOWLY they turn and FACE the ENEMY TOGETHER. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GORGOROTH PAIN, MORDOR - NIGHT</stage_direction> <scene_description>CLOSE ON: SAM crawls to FRODO who lies SLUMPED against the rock-face ...he turns him over, holding him in his ARMS.</scene_description> <character>SAM</character> <parenthetical>(softly)</parenthetical> <dialogue>Do you remember the Shire, Mr. Frodo? ... It'll be spring soon, and the orchards will be in blossom; and the birds will be nesting in the hazel thicket; and they'll be sowing the summer barley in the lower fields; and eating the first of the strawberries with cream.</dialogue> <parenthetical>(looking down at FRODO)</parenthetical> <dialogue>Do you remember the taste of strawberries?</dialogue> <scene_description>CLOSE ON: FRODO shuts his eyes, his breath coming in GASPS.</scene_description> <character>FRODO</character> <parenthetical>(weak whisper)</parenthetical> <dialogue>No, Sam. I can't recall the taste of food; nor the sound of water; nor the touch of grass ... I'm naked in the dark.</dialogue> <parenthetical>(rising panic)</parenthetical> <dialogue>There's no veil between me and the wheel of fire. I can see him with my waking eyes!</dialogue> <scene_description>CONTINUED: CLOSE ON: SAM looks at FRODO with GRIM DETERMINATION.</scene_description> <character>SAM</character> <dialogue>Then let us be rid of it - once and for all! Come on, Mr. Frodo. I can't carry it for you ... but I can carry you! Come on!</dialogue> <scene_description>With that, SAM lifts FRODO onto his shoulders and starts to CLIMB MOUNT DOOM! his plain hobbit-face grows stern, almost grim, as the will hardens in him. WIDE ON: TWO TINY HOBBITS on the ENDLESS shale SLOPES of the MOUNTAIN... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES ON MORDOR - DAY</stage_direction> <scene_description>ANGLE ON: ARAGORN and COMPANY watch as they are surrounded by a tide of ORCS... ARAGORN raises ANDÚRIL in the BROAD SWEEP as he walks forward ... he turns to FACE the OTHERS... CLOSE ON: QUIET RESOLVE written on ARAGORN'S face as he looks into the EYES of the remaining members of the FELLOWSHIP...</scene_description> <character>ARAGORN</character> <parenthetical>(softly)</parenthetical> <dialogue>For Frodo...</dialogue> <scene_description>ANGLE ON: ARAGORN turning, SWORD-raised, he CHARGES FORWARD! There is a moment of SILENCE ... no-one else moves ... SUDDENLY a SHOUT goes up! ANGLE ON: PIPPIN and MERRY charging forward ... The rest of the MEN following... ANGLE ON: ARAGORN crashing head on into a line of ORCS... ANGLE ON: The blade of ANDÚRIL flashing as ARAGORN HACKS at ORCS! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SLOPES OF MOUNT DOOM - DAY</stage_direction> <scene_description>WIDE: Like a small grey insect, SAM creeps up the slope with FRODO on his back ... foot by foot. The mantling CLOUD swirls, revealing the cruel pinnacles and iron crown of BARAD-DÛR, the Dark Tower, in the distance. CLOSE ON: SAM staggering under FRODO'S weight ... STRONG ash- laden WINDS are buffeting him as he slowly CLIMBS MOUNT DOOM. The PLAIN of GORGOROTH lies 1000 FEET BELOW, wrapped in fume and shadow. A TREMOR ripples through the GROUND ... a RED FLAME explodes into the SKY... ANGLE ON: SAM looks up - fearful the MOUNTAIN could explode at any moment! SAM POV: Through the THICK, FUME-LADEN AIR a set of STAIRS can be made out...</scene_description> <character>SAM</character> <parenthetical>(growing excitement)</parenthetical> <dialogue>Look, Mr. Frodo! We're almost there!</dialogue> <scene_description>SAM can't believe it - relief and joy flood through him...</scene_description> <character>GOLLUM</character> <dialogue>Clever Hobbits to climb so high!</dialogue> <scene_description>SMACK! OUT OF NOWHERE the figure of SMÉAGOL crashes into them sending SAM and FRODO sprawling. ANGLE ON: SMÉAGOL pounces on FRODO ... his fingers wrapping around his throat, snapping FRODO'S neck from side to side! ANGLE ON: FRODO as he struggles to unlock the BONY, WHITE FINGERS around his neck, but SMÉAGOL'S grip is too strong. CLOSE ON: SMÉAGOL'S fingers tightening around FRODO'S neck - squeezing the life out of him... WHACK! A ROCK connects with the SIDE of SMÉAGOL'S head... CONTINUED: ANGLE ON: SAM jumps on a STUNNED SMÉAGOL... ANGLE ON: FRODO comes to...</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>The BATTLE between MEN and ORCS rages on ... From MORDOR, high OVERHEAD, the NAZGÛL fly out into the FRAY...</scene_description> </scene> <scene> <stage_direction>EXT. SLOPES OF MOUNT DOOM - DAY</stage_direction> <scene_description>All the old HATRED between SAM and SMÉAGOL boils over as they FIGHT ... SAM falls back ... SMÉAGOL BITING at his SHOULDER! SAM pushes SMÉAGOL away with his feet ... rolls to his KNEES, as SMÉAGOL charges at him... SAM slashes out with STING! He cuts SMÉAGOL across the stomach! SMÉAGOL staggers back, SCREAMING with PAIN... SAM looks around desperately for FRODO...</scene_description> <character>SAM</character> <parenthetical>(yelling desperately)</parenthetical> <dialogue>Frodo!</dialogue> <scene_description>FRODO has GONE! ANGLE ON: FRODO RUNNING UP THE MOUNTAIN!</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY1</stage_direction> <scene_description>FELLOWSHIP fight BRAVELY ... a hideous screech rends the AIR! ANGLE ON: GANDALF looks up to a NAZGÛL diving straight toward him! CLOSE ON: GANDALF'S eyes flicker as a small MOTH flutters across his line of sight. CONTINUED: ANGLE ON: THE FELL-BEAST - JAWS OPEN, TALONS EXTENDED! Another cry rends the air as... SMACK! The GIANT EAGLE, GWAHIR, SMASHES into the FELL-BEAST, it's claws ripping into the HIDEOUS MONSTER'S NECK! ANGLE ON: PIPPIN in the midst of BATTLE looks up.</scene_description> <character>PIPPIN</character> <parenthetical>(disbelieving)</parenthetical> <dialogue>Eagles...</dialogue> <scene_description>Above the BATTLE attack formation, more EAGLES appear...</scene_description> <character>PIPPIN</character> <dialogue>The Eagles are coming! The Eagles are coming!</dialogue> <scene_description>The EAGLES engage the NAZGÛL! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DOOR OF SAMMATH NAUR, MOUNT DOOM - DAY</stage_direction> <scene_description>ANGLE ON: SAM is GASPING, his lungs EXPLODING as he RACES up the SLOPES of MOUNT DOOM searching for FRODO. ANGLE ON: SAM arriving at the STONE DOORWAY of SAMMATH NAUR ... leading into the MOUNTAIN! SAM staggers into it!</scene_description> </scene> <scene> <stage_direction>INT. THE CRACK OF DOOM TUNNEL - DAY</stage_direction> <scene_description>ANGLE ON: SAM flinches against the FIERCE HEAT blasting down the TUNNEL.</scene_description> <character>SAM</character> <parenthetical>(yelling)</parenthetical> <dialogue>Frodo!</dialogue> <scene_description>SAM lurches forward ... towards ORANGE GLOW deep in the HEART of the MOUNTAIN.</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM - DAY</stage_direction> <scene_description>The HEAT is almost UNBEARABLE ... SAM sees FRODO in the DISTANCE...</scene_description> <character>FRODO</character> <dialogue>I'm here, Sam.</dialogue> <scene_description>ANGLE ON: FRODO is standing on the EDGE of the CRACK OF DOOM ... a deep LAVA FILLED CHASM, in the very heart of ancient SAURON'S FORGES, the greatest in Middle-earth. The RAGING ORANGE GLARE from the CHASM turns FRODO into a BLACK SILHOUETTE ... standing TENSE and STILL. FRODO holds the RING in his HAND ... he RAISES IT, holding it over the BUBBLING LAVA far below.</scene_description> <character>SAM</character> <parenthetical>(yelling)</parenthetical> <dialogue>Destroy it - go on! Throw it in the fire!</dialogue> <scene_description>CLOSE ON: FRODO ... a STRANGE EXPRESSION on his face...</scene_description> <character>SAM</character> <dialogue>What are you waiting for? Just let it go!</dialogue> <scene_description>ON THE SOUNDTRACK: The HUM of the RING grows louder and louder! FRODO PULLS the RING close to his body as he turns to SAM. FRODO looks at SAM. The RING has finally taken him.</scene_description> <character>FRODO</character> <dialogue>The Ring is mine.</dialogue> <scene_description>SAM SCREAMS as... ... FRODO PUTS THE RING ON! He VANISHES!</scene_description> <character>SAM</character> <dialogue>No!</dialogue> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>With a storm of wings, the NAZGÛL wheel around and hurtle towards MOUNT DOOM! In the midst of the BATTLE - GANDALF ... realising FRODO has been seen...</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM - DAY</stage_direction> <scene_description>CLOSE ON: SAM is SCREAMING for FRODO... ANGLE ON: FOOTPRINTS moving across the ASH COVERED CAVERN FLOOR! SUDDENLY! GOLLUM smashes a ROCK down on SAM'S HEAD, knocking him to the GROUND! GOLLUM LEAPS on to the INVISIBLE FRODO! CLOSE ON: FRODO'S FOOTPRINTS ... staggering about under GOLLUM'S WEIGHT! ANGLE ON: GOLLUM clawing FRANTICALLY, riding on the BACK of the INVISIBLE FRODO...</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>ARAGORN turns and is confronted by an ARMOURED TROLL wielding an ENORMOUS MALLET...</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM</stage_direction> <scene_description>GOLLUM suddenly LIFTS HIS HANDS to his face ... and BITES HARD! ANGLE ON: FRODO MATERIALIZES as he DROPS TO HIS KNEES, clutching his BLEEDING HAND ... he SCREAMS. CONTINUED: The FIRES below roar in anger, RED LIGHT blazes, and all the cavern is filled with a great glare and heat.</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATE OF MORDOR - DAY</stage_direction> <scene_description>ANGLE ON: LEGOLAS as ARAGORN falls to the GROUND...</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM - DAY</stage_direction> <scene_description>CLOSE ON: GOLLUM triumphantly HOLDS the RING ALOFT... ECSTATIC! CLOSE ON: GOLLUM dancing GLEEFULLY ... PERILOUSLY close to the EDGE OF THE CHASM!</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>ARAGORN turns to see HUGE TROLL FEET moving CLOSER... LEGOLAS races toward him...</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM</stage_direction> <scene_description>GOLLUM still TRIUMPHANT ... on the edge of the PRECIPICE ... The FIERY LAVA casting an EVIL LIGHT ... He jumps about in DELIGHT...</scene_description> <character>GOLLUM</character> <dialogue>Precious! Precious!</dialogue> <scene_description>ANGLE ON: FRODO rises slowly ... his EYES lock on GOLLUM ... time seems to stand still as each regards the other... CLOSE ON: the RING glinting in GOLLUM'S HAND ... BEAUTIFUL</scene_description> </scene> <scene> <stage_direction>.. POWERFUL ... EVIL...</stage_direction> <scene_description>SUDDENLY! FRODO lunges at GOLLUM... FRODO thuds into GOLLUM, lifting him off his feet... ANGLE ON: FRODO and GOLLUM locked n STRUGGLE plummet over the EDGE OF THE CHASM. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>THUD! The HUGE FOOT of the CAVE TROLL lands on ARAGORN'S chest. He STABS at it, ineffectually... ANGLE ON: GANDALF in despair... INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. CRACK OF DOOM</stage_direction> <scene_description>SAM watches in HORROR as FRODO and GOLLUM ... disappear into the CHASM! He staggers over... SLOW MOTION: GOLLUM falls into the CRACK OF DOOM... INSTANTLY engulfed in the CHURNING LAVA! ANGLE ON: SAM leans into the CRACK OF DOOM... ANGLE ON: FRODO clinging onto the ROCK FACE with his ONE GOOD HAND! The CAVERNS are SHAKING VIOLENTLY. SAM desperately reaches for him ... FRODO is too far down.</scene_description> <character>SAM</character> <dialogue>Give me your hand.</dialogue> <scene_description>CLOSE ON: FRODO looks at SAM, his face impassive.</scene_description> <character>SAM</character> <dialogue>Take my hand!</dialogue> <scene_description>FRODO struggles to reach SAM ... he can't reach WITH HIS BLEEDING hand, and falls back, still clinging valiantly to the ROCK with his good hand... CONTINUED:</scene_description> <character>SAM</character> <dialogue>No!</dialogue> <scene_description>ANGLE ON: FRODO looks at SAM imploringly...</scene_description> <character>SAM</character> <dialogue>Don't you let go! Don't let go.</dialogue> <parenthetical>(desperate)</parenthetical> <dialogue>Reach!!!</dialogue> <scene_description>ANGLE ON: FRODO reaches up once more and this time SAM GRASPS his hand TIGHTLY. CLOSE ON: The RING sits on the river of LAVA for a brief moment, then SINKS away... ANGLE ON: the EYE OF SAURON... WIDE ON: Across the GREAT PLAINS - MOUNT DOOM is clearly IMPLODING... INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>On the BATTLEFIELD, all eyes turn to MOUNT DOOM... ANGLE ON: The CAVE TROLL, with ARAGORN at his mercy, is distracted by the SOUNDS emanating from MORDOR ... he turns in TERROR and RUNS OFF...</scene_description> </scene> <scene> <stage_direction>EXT. BARAD-DÛR - DAY</stage_direction> <scene_description>ANGLE ON: The FELLOWSHIP turns to watch as the MASSIVE DARK TOWER of SAURON shakes itself to pieces! TOWERS FALL and WALLS CRUMBLE: vast spires of SMOKE and spouting STEAM billow up! The FOUNDATIONS explode apart...</scene_description> </scene> <scene> <stage_direction>EXT. BLACK GATES OF MORDOR - DAY</stage_direction> <scene_description>The BLACK GATES collapse in a huge cloud of ASH! CONTINUED: THE ORCS are FLEEING in all DIRECTIONS ... As the very foundations of MORDOR collapse! THE COMPANY watches as MOUNT DOOM explodes ... the reason for their MISERY is clear ... it's plain FRODO and SAM can never survive the cataclysm... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SLOPES OF MOUNT DOOM - DAY</stage_direction> <scene_description>The VOLCANO is ERUPTING, FIRE belches from its riven summit, sending LAVA streaming down its sides... ANGLE ON: FRODO and SAM stagger out of the SAMMATH NAUR DOOR ... all around ASH and MOLTEN ROCKS fall. The SKIES burst into THUNDER, seared with LIGHTENING. The screaming NAZGÛL fall from the sky in FLAMES! The ground is shaking so violently that FRODO and SAM can barely stand. FRODO stumbles ... SAM helps him up ... FRODO smiles.</scene_description> <character>FRODO</character> <dialogue>It's gone ... it's done.</dialogue> <scene_description>SAM looks down at FRODO ... FRODO'S FACE is at PEACE ... his BURDEN destroyed...</scene_description> <character>SAM</character> <dialogue>Yes, Mr. Frodo ... it's over now.</dialogue> <scene_description>FRODO and SAM crawl onto a ROCK as LAVA streams towards them ... in seconds THEIR ROCK is an island in a sea of MOLTEN FIRE. FRODO shuts his eyes...</scene_description> <character>FRODO</character> <parenthetical>(remembering)</parenthetical> <dialogue>I can see the Shire ... The Brandywine River, Bag End, Gandalf's fireworks ... the lights in the Party Tree...</dialogue> <scene_description>CONTINUED:</scene_description> <character>SAM</character> <dialogue>Rosie Cotton dancing ... she had ribbons in her hair...</dialogue> <parenthetical>(sobs)</parenthetical> <dialogue>...if ever I was to marry someone ... it would have been her ... it would have been her.</dialogue> <scene_description>FRODO glances at SAM ... he is WEEPING. CLOSE ON: FRODO wrapping an ARM around SAM'S SHOULDER.</scene_description> <character>FRODO</character> <parenthetical>(calm)</parenthetical> <dialogue>I'm glad to be with you, Samwise Gamgee, here at the end of all things.</dialogue> <scene_description>HIGH WIDE: TWO TINY HOBBITS waiting to die amid a cataclysmic landscape ... LAVA erupts around them ... FIREBALLS rain down from the sky. We SLOWLY FADE TO BLACK... FADE UP: SLOW MOTION: GWAIHIR, the GREAT EAGLE flaps towards CAMERA ... He bears GANDALF on his back, and is followed by TWO MORE EAGLES. WIDE SHOT ... The EAGLES bravely fly amid the RAINING ASH and MOLTEN ROCKS ... and SNATCH FRODO and SAM from the ROCK! CLOSE ON: FRODO'S FACE ... as the FIERY VOLCANO recedes away beneath him ... the wind ruffles his hair ... he PASSES OUT. FADE TO BLACK.</scene_description> </scene> <scene> <stage_direction>INT. MINAS TIRITH, HOUSES OF HEALING - DAY</stage_direction> <scene_description>SLOW MOTION ... FRODO'S eyes flutter open ... looking around slowly his eyes alight on GANDALF...</scene_description> <character>FRODO</character> <dialogue>Gandalf?</dialogue> <scene_description>CONTINUED: GANDALF'S face breaks into a smile ... then laughter...</scene_description> </scene> <scene> <stage_direction>..as MERRY and PIPPIN run in ... jumping on the bed and hugging FRODO...</stage_direction> <scene_description>GIMLI and LEGOLAS enter the room ... their joy is PLAIN... ARAGORN joins them - the FELLOWSHIP is complete...</scene_description> </scene> <scene> <stage_direction>..finally FRODO'S eyes fall upon a FIGURE standing apart from the others ... it is SAM...</stage_direction> <scene_description>CLOSE ON: FRODO'S and SAM'S eyes meet... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINAS TIRITH, COURT OF THE KINGS - DAY</stage_direction> <scene_description>ANGLE ON: SWEEPING over the MINAS TIRITH WALLS, racing towards the TOP of the CITY ... through a BLIZZARD of WHITE FLOWER PETALS! MINAS TIRITH is restored ... it GLEAMS WHITE in the BRIGHT SUN. SOARING UP: to REVEAL the COURT OF THE KINGS, CROWDED with 4000 PEOPLE ... cramming the WIDE PATH leading to the TOWER HALL! CLOSE ON: The CROWN of GONDOR glints in the BRILLIANT SUNSHINE... GANDALF places the CROWN upon ARAGORN'S head.</scene_description> <character>GANDALF</character> <dialogue>Now come the days of the King...</dialogue> <scene_description>ARAGORN smiles up at GANDALF...</scene_description> <character>GANDALF</character> <parenthetical>(softly to ARAGORN)</parenthetical> <dialogue>May they be blessed.</dialogue> <scene_description>ARAGORN slowly RISES, turning to face the CROWD, who CHEER and CLAP for their KING... CONTINUED:</scene_description> <character>ARAGORN</character> <dialogue>This day does not belong to one man but to all. Let us together rebuild this world that we may share in the days of peace.</dialogue> <scene_description>The CHEERS of his PEOPLE are DEAFENING...</scene_description> <character>ARAGORN</character> <parenthetical>(in ELVISH; subtitled)</parenthetical> <dialogue>Et Eärello Endorenna utúlien. Sinome maruvan ar Hildinyar tenn' Ambar-metta.</dialogue> <dialogue>Out of the Great Sea to Middle-earth I am come. In this place will I abide, and my heirs, unto the ending of the world.</dialogue> <scene_description>ARAGORN sings for his people ... The WALKS in SLOW PROCESSION down the WHITE PAVED PATH as the CROWD BOW their heads in respect to their NEW KING... ARAGORN passes ÉOWYN and FARAMIR who bow before him ... ÉOMER steps FORWARD to bow in respect... TRUMPETS SOUND as a PROCESSION of ELVES, dressed in shimmering SILVERS and WHITES, led by LEGOLAS approach the KING ...</scene_description> <character>ARAGORN</character> <parenthetical>(in ELVISH; subtitled)</parenthetical> <dialogue>Hannon le.</dialogue> <dialogue>Thank you.</dialogue> <scene_description>LEGOLAS gestures behind him... CLOSE ON: ARAGORN'S eyes scan amongst the ELVES. ANGLE ON: A BANNER carried aloft bearing the WHITE TREE of GONDOR in FULL FLOWER ... the RANKS of ELVES part revealing: CONTINUED: (2) ARWEN, eyes shining ... MORTAL now, but deeply in love ... carrying the STANDARD of GONDOR ... ARAGORN kisses her. ELROND looks on ... his face breaks into a smile. ARAGORN and ARWEN embrace. ANGLE ON: ARAGORN and ARWEN walking through the CROWD towards four SMALL FIGURES who stand nervously at the end of the AVENUE... ANGLE ON: ARAGORN and ARWEN look on FRODO, SAM, MERRY, and PIPPIN as they stand before them... The FOUR HOBBITS, dressed in their OLD CLOTHES, clean and mended, bow their heads... ARAGORN raises his HAND.</scene_description> <character>ARAGORN</character> <dialogue>My friends ... you bow to no-one.</dialogue> <scene_description>ANGLE ON: ARAGORN drops on ONE KNEE, kneeling before THE HOBBITS, his head bowed ... followed by all assembled there. CLOSE ON: TEARS spring into FRODO'S EYES. He clutches SAM'S shoulder as 4000 PEOPLE pay homage to the courage of two little Hobbits from the Shire. CAMERA RISES INTO THE AIR ... away from the CROWDED CITADEL, until MINAS TIRITH becomes a SPECK in the LANDSCAPE... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MIDDLE EARTH MAP - DAY</stage_direction> <scene_description>DISSOLVING into the PARCHMENT MAP of MIDDLE-EARTH ... Slowly drifting across the MAP towards the WEST...</scene_description> <character>FRODO (V.O.)</character> <dialogue>And thus it was a Fourth Age of Middle- earth began, and the Fellowship of the Ring, though eternally bound by friendship and love, was ended. Thirteen months to the day, since Gandalf sent us on our long journey...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOBBITON - DUSK</stage_direction> <character>FRODO (V.O.)</character> <dialogue>...we found ourselves looking upon a familiar site ... We were home!</dialogue> <scene_description>MATCHING MOVE: Revealing HOBBITON bathed in a WARM SUNSET ... As FRODO, SAM, MERRY and PIPPIN ride into SHOT on PONIES ... past ODO PROUDFOOT who shake his head at the STRANGENESS of their appearance.</scene_description> </scene> <scene> <stage_direction>INT. THE GREEN DRAGON INN - NIGHT</stage_direction> <scene_description>FRODO brings a round of drinks to the TABLE. Nearby a HUGE FUSS is being made of a LARGE PUMPKIN which has been brought in to be shown off. ANGLE ON: The FOUR FRIENDS looks at each other. A WORLD of experience now separates them from their fellow HOBBITS. Seated at a long table, the FOUR FRIENDS raise their glasses ... SAM'S eye is suddenly caught! ANGLE ON: ROSIE COTTON who is serving behind the BAR... SAM steels himself and leaves to go and TALK to ROSIE... FRODO, MERRY and PIPPIN exchange smiles as...</scene_description> </scene> <scene> <stage_direction>EXT. HOBBITON - DAY</stage_direction> <scene_description>On a BEAUTIFUL sunny day, SAM and ROSIE are MARRIED ... With their dearest FRIENDS gathered around them... ROSIE throws a beautiful bouquet of FLOWERS ... it's caught by PIPPIN who smiles in embarrassment...</scene_description> </scene> <scene> <stage_direction>INT. BAG END - DAY</stage_direction> <scene_description>FRODO walks through BAG END to his STUDY... CONTINUED:</scene_description> <character>FRODO (V.O.)</character> <dialogue>How do you pick up the threads of an old life? How do you go on, when in your heart you begin to understand. There is no going back. There are some things that time cannot mend. Some hurts that go too deep. That have taken hold.</dialogue> <scene_description>ANGLE ON: FRODO ... from behind. He is HUNCHED over a DESK... PUSH IN ... to reveal BILBO'S RED BOOK open on FRODO'S DESK. He is WRITING in the LAST CHAPTERS in careful neat HANDWRITING. FRODO turns back the pages, REVEALING: There and Back Again - A Hobbit's Tale, by Bilbo Baggins. He writes below it as SAM GAMGEE calls out from the door:</scene_description> <character>SAM (O.S.)</character> <dialogue>Mr. Frodo?</dialogue> <scene_description>CLOSE ON: FRODO WINCES with a sharp GASP of PAIN ... He puts the PEN down and CLUTCHES at his SHOULDER... SAM has entered the ROOM and stands BEHIND FRODO...</scene_description> <character>SAM</character> <parenthetical>(concerned)</parenthetical> <dialogue>What is it?</dialogue> <scene_description>CLOSE ON: FRODO ... He is DRAWN and PALE.</scene_description> <character>FRODO</character> <dialogue>It's been four years to the day since Weathertop, Sam. It's never really healed.</dialogue> <scene_description>CLOSE ON: SAM ... at a loss for words. His EYES fall to the BOOK.</scene_description> <character>SAM</character> <dialogue>"There and Back Again ... A Hobbit's Tale, by Bilbo Baggins"</dialogue> <scene_description>TILT DOWN: to FRODO'S HANDWRITING: CONTINUED: (2)</scene_description> <character>SAM</character> <dialogue>"... And The Lord of the Rings, by Frodo Baggins".</dialogue> <parenthetical>(delighted)</parenthetical> <dialogue>You've finished it!</dialogue> <character>FRODO</character> <parenthetical>(closing the book)</parenthetical> <dialogue>Not quite ... There's room for a little more.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOBBITON FIELDS - EARLY MORNING</stage_direction> <scene_description>LYRICAL MUSIC OVER... A COLD WINTER'S MORNING ... Out of the FOG rattles a SMALL COVERED WAGON; GANDALF is at the REINS. ANGLE ON: FRODO, SAM, MERRY and PIPPIN are waiting on PONIES for the WAGON ... all are wearing their GREY ELVEN ROBES.</scene_description> <character>FRODO (V.O.)</character> <dialogue>Bilbo once told me, the great stories never end - that each of us must come and go in the telling. His part in this tale was now over. There would be no more journeys for Bilbo. Save one.</dialogue> <scene_description>CLOSE ON: GANDALF arrives in his CART... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. WEST FARTHING - DAY</stage_direction> <scene_description>WIDE ON: The WAGON trundles along at a SEDATE PACE. SAM, MERRY and PIPPIN ride behind, leading FRODO'S EMPTY PONY.</scene_description> <character>BILBO (O.S.)</character> <parenthetical>(frail)</parenthetical> <dialogue>Tell me again, lad. Where are we going?</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRODO (O.S.)</character> <dialogue>To the harbour, Bilbo. The Elves have accorded you a special honor. A place on the last ship to leave Middle-earth.</dialogue> </scene> <scene> <stage_direction>INT. WAGON - DAY</stage_direction> <scene_description>CLOSE ON: FRODO is SITTING in the WAGON ... his ARM around his UNCLE BILBO. BILBO is extremely OLD and FRAIL. He is DOZING ... his head slumped. BILBO'S eyes flutter OPEN ... with effort he raises his head.</scene_description> <character>BILBO</character> <parenthetical>(frail)</parenthetical> <dialogue>Frodo ... Any chance of seeing that old Ring of mine ... the one I gave you?</dialogue> <character>FRODO</character> <parenthetical>(quietly)</parenthetical> <dialogue>Sorry, Uncle ... I'm afraid, I lost it.</dialogue> <character>BILBO</character> <parenthetical>(frail)</parenthetical> <dialogue>Oh ... pity. I should like to have held it one last time.</dialogue> <scene_description>BILBO nods back to sleep ... FRODO rests his head against him. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE GREY HAVENS - DUSK</stage_direction> <scene_description>ANGLE ON: FRODO, walking arm-in-arm with BILBO through a beautiful ELVEN BOAT-HOUSE ... GANDALF follows with MERRY, PIPPIN and SAM. CLOSE ON: As BILBO looks up, he is STUNG by the BEAUTY before him...</scene_description> <character>BILBO</character> <dialogue>Oh! Well, here's a sight I have never seen before.</dialogue> <scene_description>CONTINUED: TRACKING: Passing under a beautiful ELVEN ARCHWAY...</scene_description> </scene> <scene> <stage_direction>..to reveal a WHITE SHIP, ready to depart from a WHITE</stage_direction> <scene_description>STONE DOCK. ANGLE ON: ELROND, CELEBORN and GALADRIEL are waiting for them. The SETTING SUN slowly dropping behind the SEA ... visible between the HEADLANDS of a beautiful INLET. The lighting is beautiful ... SUN streams through the sails, casting an ethereal glow on THE GROUP as they walk onto the DOCK. BILBO bows in acknowledgment to ELROND, CELEBORN and GALADRIEL, who return his GREETING.</scene_description> <character>GALADRIEL</character> <dialogue>The power of the Three Rings is ended. The time has come for the Dominion of Men.</dialogue> <character>ELROND</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>I Aear can vên na mar.</dialogue> <dialogue>The Sea calls us home.</dialogue> <scene_description>ELROND holds out his ARMS to BILBO who suddenly seems MUCH YOUNGER and SPRIGHTLIER ... He sets off down the PATH TOWARD his HOSTS...</scene_description> <character>BILBO</character> <dialogue>I think I'm quite ready for another adventure.</dialogue> <scene_description>BILBO walks down toward the BOAT and BOARDS with ELROND... ANGLE ON: FRODO looks up ... GALADRIEL is watching him. She SMILES, TURNS and BOARDS the BOAT... GANDALF kneels before SAM, MERRY and PIPPIN - who are all looking TEARFUL. CONTINUED: (2)</scene_description> <character>GANDALF</character> <dialogue>Farewell, my brave Hobbits. My work is now finished. Here at last, on the shores of the sea, comes the end of our Fellowship.</dialogue> <scene_description>There is GREAT SADNESS ... MERRY SNIFFLES LOUDLY.</scene_description> <character>GANDALF</character> <dialogue>I will not say: "do not weep", for not all tears are an evil.</dialogue> <scene_description>CLOSE ON: GANDALF turns and walks away ... FRODO is DOWNCAST ... SUDDENLY, GANDALF turns and looks toward him.</scene_description> <character>GANDALF</character> <dialogue>It is time, Frodo.</dialogue> <scene_description>ANGLE ON: GANDALF looks to FRODO then turns and slowly walks towards the GANGPLANK to board the SHIP.</scene_description> <character>SAM</character> <parenthetical>(alarmed)</parenthetical> <dialogue>What does he mean?</dialogue> <scene_description>CLOSE ON: FRODO turns to SAM...</scene_description> <character>FRODO</character> <parenthetical>(gently)</parenthetical> <dialogue>We set out to save the Shire, and it has been saved ... but not for me...</dialogue> <character>SAM</character> <parenthetical>(shaken)</parenthetical> <dialogue>You don't mean that - You can't leave!</dialogue> <scene_description>ANGLE ON: SAM looks down ... FRODO is holding BILBO'S RED JOURNAL out towards him.</scene_description> <character>FRODO</character> <dialogue>The last pages are for you, Sam.</dialogue> <scene_description>SAM is SOBBING ... MERRY and PIPPIN are DISTRAUGHT... FRODO hugs MERRY and PIPPIN, and last of all SAM ... and climbs on board the SHIP. CONTINUED: (3) ANGLE ON: FRODO a look of WONDERMENT crosses his face ... as he STEPS FORWARD and ACCEPTS GANDALF'S HAND ... finally released from his pain, care falls from his face ... he is the young FRODO we first met so long ago. SAM, MERRY and PIPPIN comfort each other as the WHITE SHIP glides away from the DOCK... WIDE ON: The WHITE BOAT sails away towards the HEADLANDS, disappearing into the GOLDEN LIGHT of the SETTING SUN. ANGLE ON: SAM in growing darkness, still follows the departing SHIP with his eyes, MERRY and PIPPIN are already preparing to leave. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NO.3 BAGSHOT ROW - MORNING</stage_direction> <scene_description>ANGLE ON: SAM walks up the path towards his house... A LITTLE GIRL toddles up to greet him.</scene_description> <character>SAM</character> <dialogue>Elanor!</dialogue> <scene_description>He hugs his daughter...</scene_description> <character>FRODO (V.O.)</character> <dialogue>My dear Sam. You cannot always be torn in two. You have to be one and whole for many years. You have so much to enjoy and to be and to do. Because Sam, your part in the journey goes on.</dialogue> <scene_description>ANGLE ON: ROSIE COTTON steps up and kisses SAM on the cheek ... she gives him a TINY BABY BOY to cradle.</scene_description> <character>SAM</character> <dialogue>Hello, little Frodo!</dialogue> <scene_description>ANGLE ON: SAM with his FAMILY ... he draws a deep breath:</scene_description> <character>SAM</character> <dialogue>Well ... I'm back.</dialogue> <scene_description>CONTINUED: SAM looks at his LOVELY FAMILY with GREAT HAPPINESS, tinged with a little SADNESS... SAM and ROSIE wake the CHILDREN'S HANDS and enter BAGSHOT ... the BRIGHT YELLOW DOORWAY closes behind them. THE END</scene_description> </scene> </script>

The hobbit, Sméagol, is fishing with his cousin Déagol, who discovers the One Ring in the river. Sméagol's mind is ensnared by the Ring, and he kills his cousin for it. Increasingly corrupted physically and mentally, he retreats into the Misty Mountains and becomes known as Gollum. Centuries later, during the War of the Ring, Gandalf leads Aragorn, Legolas, Gimli, and King Théoden of Rohan to Isengard, where they reunite with Merry and Pippin. Gandalf retrieves Saruman's palantír, and the group returns to Edoras to celebrate their victory at Helm's Deep. Pippin looks into the palantír, seeing Sauron and a burning tree. Gandalf deduces that the enemy plans to attack Gondor's capital Minas Tirith; he rides there to warn Gondor's corrupt steward Denethor. Pippin, who accompanies him, swears fealty to Denethor, whose now-dead heir Boromir had saved his life; on Gandalf's instruction, Pippin triggers the lighting of the beacons, which call for help from Rohan. Frodo, who carries the Ring, and Sam continue their journey towards Mordor, unaware that Gollum, now their guide, plans to betray them and take the Ring for himself. The trio witness the Witch-king of Angmar, lord of the nine Nazgûl, setting off towards Gondor with his army of Orcs. Gollum conspires to frame Sam for eating food supplies and desiring the Ring; influenced by the growing power of the Ring, Frodo is taken in by the deception, and orders Sam to go home. Gollum then tricks Frodo into venturing into the lair of the giant spider Shelob. Frodo narrowly escapes and confronts Gollum, who falls down a chasm after a scuffle. Shelob discovers, paralyses, and binds Frodo, but is wounded and driven away by a returning Sam, who, mourning Frodo's apparent death, takes the Ring. Sam realises his mistake when a group of Orcs takes Frodo captive but manages to rescue Frodo as the Orcs fight among themselves. Now inside Mordor, the hobbits continue towards Mount Doom, their destination. As King Théoden gathers his army, Elrond tells Aragorn that Arwen is dying, having refused to leave Middle-earth. Elrond gives Aragorn Andúril, reforged from the shards of King Elendil's sword Narsil, and urges him to commit to claiming Gondor's throne, to which he is the heir. Joined by Legolas and Gimli, Aragorn travels the Paths of the Dead, and pledges to release the ghosts there from their curse should they come to Gondor's aid. Meanwhile, Faramir, who was earlier overwhelmed and driven back to Minas Tirith by the Witch-king, is gravely wounded in a suicide charge; believing his son to be dead, Denethor falls into madness. Gandalf marshals the defenders, but the huge Orc army breaks into the city. Denethor attempts to burn himself and Faramir on a pyre, but Pippin alerts Gandalf and they rescue Faramir. Denethor, set ablaze and in agony, jumps to his death. Théoden arrives and leads his army against the Orcs. Despite initial success against Orcs in the ensuing battle, they are decimated by the Oliphaunt-riding Haradrim and the Witch-king mortally wounds Théoden; however, his niece Éowyn slays the Witch-king with Merry's help. Théoden dies in his niece's arms. Aragorn then arrives with his Army of the Dead, who overcome Sauron's forces. Their oath is fulfilled and the Dead are released from their curse. Aragorn decides to march on Mordor to distract Sauron from Frodo, now extremely weak, and Sam; all of Sauron's remaining forces march to meet Aragorn's diversion, allowing the hobbits to reach Mount Doom. Gollum, who survived his earlier fall, attacks them, but Frodo still manages to enter the mountain. There, he succumbs to the Ring's power, putting it on his finger, but Gollum manages to bite off his finger and reclaim it, leading to scuffle between them as they stumble off the ledge. Frodo manages to cling on and is pulled up by Sam as Gollum falls to his death in the lava and taking the ring with him, vanquishing Sauron once and for all. Aragorn's army emerges victorious as its enemies and the lands of Mordor collapse into the earth and Mount Doom erupts, with Frodo and Sam narrowly escaping. Gandalf rescues the hobbits with the help of eagles, and the surviving Fellowship is happily reunited in Minas Tirith. Aragorn is crowned King of Gondor and marries Arwen. The Hobbits return home to the Shire, where Sam marries Rosie Cotton. Four years later, Frodo, still plagued by the pain of his wound inflicted by the Witch-king and suffering from trauma, departs Middle-earth for the Undying Lands with his uncle Bilbo, Gandalf, and the Elves. He leaves Sam the Red Book of Westmarch, which details their adventures. Sam returns to the Shire, where he embraces Rosie and their children.

House of 1000 Corpses_2003

tt0251736

<script> <scene> <stage_direction>INT. OLD HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>We see a LITTLE GIRL dancing around in a grainy super 8 home movie . A LITTLE BOY wearing a monster MASK enters the frame . He struggles to lift a double barrel shotgun . He points it at the girl and pretends to SHOOT .</scene_description> <character>GIRL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( whispering slowly . )</parenthetical> <dialogue>Once I had a cat, he was the sweetest little guy. Then one day he got sick and died. My heart was broken. My whole body hurt.</dialogue> <scene_description>She continues dancing . The little boy imitates her .</scene_description> <character>GIRL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>After that, I saw things differently, everything could be summed up with three simple words. fuck the world.</dialogue> <scene_description>The camera swings over to some ugly , toothless relations watching the show . They laugh .</scene_description> </scene> <scene> <stage_direction>EXT. SPAULDING'S - NIGHT</stage_direction> <scene_description>We open on a dark , lonely stretch of two lane blacktop . Off to the side of the road we see a rundown gas station .</scene_description> <character>RADIO ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hey, welcome back to 93.5 WJRC's Halloween monster weekend. I'm Jimmy Ray and I'll be bringing you the oldies, the goldies and sometimes the moldies. The good, the bad and the uglies straight from the WJRC vaults.</dialogue> <scene_description>A weathered wooden sign proclaims CAPTAIN SPAULDING 'S WORLD OF MONSTERS AND MADMEN , sits atop the building . A smaller sign below reads FRIED CHICKEN AND GASOLINE .</scene_description> <character>RADIO ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hey, kids still trying to decide on the right costume? Well why not head on down to Randall's Penny Save located on Kimball Rd. just off route 1 in Mackin County. Choose from a wide array of ghosts and ghouls, jeepers and creepers.</dialogue> <parenthetical>( scary sound effects . )</parenthetical> <dialogue>. everything you need for your Halloween needs.</dialogue> <scene_description>SHERIFF HUSTON , a tall southern good old boy , leans against his dusty cruiser smoking a cigarette , pumping gas into his tank .</scene_description> </scene> <scene> <stage_direction>INT. CAPT. SPAULDING'S - NIGHT</stage_direction> <scene_description>Inside is a poorman 's Ripley 's Believe It or Not . Bizarre props and treasures of killers and monsters cover the dirty walls . Wax figures of JACK THE RIPPER stand guard before oil paintings by JOHN WAYNE GACY .</scene_description> <character>RADIO ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Alright let's get back to our monster music marathon with this classic called The Teddy Bear's Picnic.</dialogue> <scene_description>Perched on a stool behind the counter sits CAPTAIN SPAULDING , a crusty looking old man in a filthy clown suit and smeared make - up . The word LOVE is tattooed across his right knuckles and HATE is tattooed across the left . He is reading the newspaper , crunching on crackers from a paper bag and halfheartedly listening to a small , nerdy man wearing coke bottle glasses named STUCKY . Stucky thumbs through a stack of autographed 8x10 photographs .</scene_description> <character>STUCKY</character> <parenthetical>( speaking through voicebox in his throat . )</parenthetical> <dialogue>I. I got back a stack today. Some nice shots.</dialogue> <parenthetical>( holds up a picture of June Wilkinson . )</parenthetical> <dialogue>See, a good topless June Wilkinson. unfortunately she personalized it.</dialogue> <parenthetical>( looking at the photo . )</parenthetical> <dialogue>to Stucky, love June.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Hmmmmm.</dialogue> <character>STUCKY</character> <dialogue>Shit, this ai n't worth nothing now that my name gotten all over it. I was a fixin' on trading it to Jackie Cobb.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>The retard over at Molly's fruit stand.</dialogue> <character>STUCKY</character> <dialogue>Yeah, he's all hot on her after he found some of his dad's old nudie books hidden in the basement. He keeps'em taped inside his school workbook.</dialogue> <scene_description>Spaulding brushes cracker crumbs off his paper and continues reading .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Fascinating.</dialogue> <character>STUCKY</character> <dialogue>That kid is one horny retard.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Christ, ai n't they all. All them retards wan na do is fuck and eat.</dialogue> <character>STUCKY</character> <dialogue>Well, yeah. I think that if you knew him. I mean if you'd understand his urges, shit the guy's like forty or something.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Worse than a fucking rabid baboon.</dialogue> <character>STUCKY</character> <dialogue>Yeah, I guess, you know next to wacking his weasel his other favorite thing is twisting sharpened pencils in the corner of his eyes.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>What?</dialogue> <character>STUCKY</character> <dialogue>Yeah, does n't hurt himself, just spins it around next to his eyeball.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>I'm sure that ai n't the only place he's sticking those pencils.</dialogue> <character>STUCKY</character> <dialogue>Naw, he do n't do anything else with'em, but he did get caught once with a Planet of the Apes doll hanging out his asshole.</dialogue> <character>CAPT. SPAULDING</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Goddamn.</dialogue> <character>STUCKY</character> <dialogue>Had to take him to the hospital. Kid had Dr. Zaius stuck half way up his butt, could n't get it out.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>I always loved that mute broad that Chuck Heston was shacking up with.</dialogue> <character>STUCKY</character> <dialogue>Nova, yeah she looked pretty sweet.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Yeah, now there's the perfect woman.</dialogue> <character>STUCKY</character> <dialogue>Can I get some stamps off ya?</dialogue> <parenthetical>( slapping down his money . )</parenthetical> <dialogue>Did you fix the toilet yet?</dialogue> <scene_description>Opens a drawer and tears off five stamps .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Yes, I did. so do n't you go stuffin' any goddamn paper towels down that hole. I just snaked the shit out of that thing.</dialogue> <scene_description>Spaulding SLIDES the KEY attached to a cow skull across the counter . Stucky grabs it . Spaulding hangs on .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Ya hear me? You bust that crapper and I'll beat your ass.</dialogue> <character>STUCKY</character> <dialogue>I hear ya.</dialogue> <scene_description>He lets go of the key .</scene_description> </scene> <scene> <stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction> <scene_description>From a STRANGER 'S POV we watch through the window , Stucky EXIT for the restroom . Sheriff Huston finishes pumping his gas , gets in his cruiser and drives off .</scene_description> <character>KARL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>All clear. Let's go shopping.</dialogue> <character>RICH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Right.</dialogue> <scene_description>From this POV we RACE across the highway towards the front door of the MUSEUM . SLAM ! We BURST through the door .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - SAME</stage_direction> <scene_description>The moment of impact . BOOM . The door SMASHES open . Spaulding 's head JERKS up to see : a masked gunman , KARL , wearing a LEATHER S+M MASK . Behind him stands a second gunman , RICH , wearing a rubber CAVEMAN MASK .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Mary fucking Moses. Get the fuck out of here.</dialogue> <character>KARL</character> <dialogue>Hold it, clowney. Keep your paws where I can see'em.</dialogue> <character>RICH</character> <dialogue>Yeah, do n't move or I'll blast a hole the size of a Kansas City melon through your ugly - ass Bozo face.</dialogue> <scene_description>Spaulding obeys and raises his hands .</scene_description> <character>KARL</character> <dialogue>Go get that other asshole out of the shitter and drag his ass back in here.</dialogue> <character>RICH</character> <dialogue>Right.</dialogue> <scene_description>Rich exits .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Miserable little cunts with guns. I ought to jump right over this counter and bash your fucking balls in.</dialogue> <scene_description>Killer Karl steps up and puts his gun against Spaulding 's face .</scene_description> <character>KARL</character> <dialogue>Alright Tippy, hand over the cash box and I might leave your brains inside your skull.</dialogue> <scene_description>Spaulding smiles wide , his teeth are yellow and rotted . CLOSE UP Spaulding 's foot kicks a red switch , triggering a silent alarm .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>That's what you bitches need. A reality check courtesy of my boot in your ass. That'll be a fucking cash box you can cry to mamma about.</dialogue> </scene> <scene> <stage_direction>INT. SPAULDING'S - BACKROOM - NIGHT</stage_direction> <scene_description>A silent RED LIGHT FLASHES . In the dim glow , we see RAVELLI , a large hunched figure , sitting on the edge of a bed . The figure is heavily bandaged . Ravelli reacts to the flashing light , he RISES and puts a huge mask over his head . He EXITS the room .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM STALL - NIGHT</stage_direction> <scene_description>Stucky sits on the toilet pasting stamps on large yellow envelopes . Killer Rich KICKS OPEN the stall , GRABS Stucky by the neck and PULLS him out .</scene_description> <character>RICH</character> <dialogue>Come on, fatboy!</dialogue> </scene> <scene> <stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction> <scene_description>We move around the outside of the building watching the scene inside unfold . HEAVY BREATHING is heard . Rich DRAGS Stucky into the main room .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - NIGHT</stage_direction> <scene_description>Karl grows increasingly HOSTILE , knocks a candy display over , raises his gun over his head and fires into the ceiling .</scene_description> <character>KARL</character> <parenthetical>( screaming . )</parenthetical> <dialogue>That's it. I'm gon na count to ten and you're gon na hand over the cash or I'm gon na splatter your grease paint mug across the stateline. one.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Fuck your mother.</dialogue> <character>KARL</character> <dialogue>Two.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Fuck your sister.</dialogue> <character>RICH</character> <dialogue>Come on, man. Just shoot him.</dialogue> <character>STUCKY</character> <parenthetical>( recognizing Rich 's voice . )</parenthetical> <dialogue>Hey, I know you. We were in high school together. Wood shop, right? Richard Wick. right?</dialogue> <scene_description>He looks nervously at Stucky .</scene_description> <character>RICH</character> <dialogue>Shut up, shut up, shut up!</dialogue> <character>KARL</character> <dialogue>Quiet down. three.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Fuck your grandmother.</dialogue> <character>STUCKY</character> <dialogue>Yeah, I remember Mr. Alacard the shop teacher use ` ta call you Little Dick Wick. Hey, was n't there a song we made up to go with that?</dialogue> <character>RICH</character> <parenthetical>( temper rising . )</parenthetical> <dialogue>Shut up!</dialogue> <character>STUCKY</character> <parenthetical>( singing . )</parenthetical> <dialogue>Little Dick Wick, play with his prick Do n't his smell, just make you sick.</dialogue> </scene> <scene> <stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction> <scene_description>From Ravelli 's POV we watch through the window , as everybody inside starts SHOUTING at each other . Suddenly , Rich SHOOTS Stucky . Stucky FALLS BACKWARDS against the wall , screaming in pain . We move QUICKLY towards the entrance .</scene_description> </scene> <scene> <stage_direction>INT. CAPT. SPAULDING'S - NIGHT</stage_direction> <scene_description>Suddenly . CRASH ! Ravelli SMASHES through the front door knocking Karl to the ground . In the light we see that Ravelli is wearing an OVERSIZED CLOWN HEAD . In his hand is a sledgehammer . Rich TURNS toward the COMMOTION . The Captain quickly WHIPS OUT a GUN and FIRES . Rich falls dead . Ravelli lunges at Karl , smashing him over the head with the hammer . Ravelli 's clown head comes loose and falls to the floor . We now see that Ravelli is a bald pitbull of a man with badly scarred skin that is painted white and red . Karl hits the floor and begins CONVULSING violently . Spaulding STEPS DOWN from behind the counter , puts his foot on Karl 's throat and points his pistol at Karl 's head .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>And most of all. fuck you!</dialogue> <scene_description>BOOM ! Spaulding SHOOTS Karl in the head . The screen EXPLODES RED , then TURNS BLACK .</scene_description> <character>CAPT. SPAULDING</character> <parenthetical>( V.O . )</parenthetical> <dialogue>God damn it, that motherfucker got blood all over my best clown suit.</dialogue> <scene_description>CREDITS ROLL Strange paintings of demons , monsters and bizarre creatures fade up and move across the screen .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction> <scene_description>We see a BILLBOARD painted on the side of an ABANDONED TRUCK . The sign reads GOD IS DEAD . We turn to face the road as a car drives by .</scene_description> <character>JERRY</character> <dialogue>Alright then, out of all of Charlie's chicks who do you think is the hottest?</dialogue> </scene> <scene> <stage_direction>INT. CAR - FRONT SEAT - NIGHT</stage_direction> <scene_description>Fast food wrappers and road maps clutter the car 's dashboard , a swinging monkey head dangles from the rear - view mirror . Behind the wheel , the driver , BILL HUDLEY , 29 , downs the last sip of coffee before crumpling the paper cup and placing it among the other trash before him .</scene_description> <character>BILL</character> <dialogue>I guess if I had to choose I'd say. mmmmmm. Sandra Good. She seemed like a nice girl, I mean in a psycho kind of way.</dialogue> <scene_description>Beside him rides , JERRY GILMORE , 30 , slumped down in his seat , reading a magazine with a flashlight , feet hanging out the window .</scene_description> <character>JERRY</character> <dialogue>Really? Huh, I thought for sure you'd say Lynette Fromme. She's got that snooty vibe I know you dig.</dialogue> <character>BILL</character> <dialogue>Sqeaky! No way, she ai n't that hot.</dialogue> <character>JERRY</character> <dialogue>She's pretty cute.</dialogue> <character>BILL</character> <dialogue>Yeah but, she reminds me of this chick that I remember from fourth grade. called a. shit, what did we call her?</dialogue> <parenthetical>( thinks for second . )</parenthetical> <dialogue>Oh yeah, Patty Pee - pee Pants. when ever she got called on by Miss Chumski, this chick would piss in her pants and start bawling.</dialogue> <character>JERRY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>There always one kid with no bodily controls. We had this dude, Jeff Baxter, he was a puker. The fucker would just sit there puke all over himself.</dialogue> <character>BILL</character> <dialogue>Better than pissing. anyway so, what's your choice?</dialogue> <character>JERRY</character> <dialogue>If we're talking cute. like regular cute, I'd say Leslie Van Houton, but cute ai n't hot.</dialogue> <character>BILL</character> <dialogue>Yeah, no shit.</dialogue> <character>JERRY</character> <dialogue>As far a hot. goes I got ta go with. Ruth Ann Moorehouse.</dialogue> <character>BILL</character> <dialogue>Oh yeah, I forgot about her. She was pretty hot.</dialogue> <character>JERRY</character> <dialogue>Fuck yeah, she is. I'd join a cult to get some of that. and the best part is she did n't try to kill the President or nothing, so that baggage ai n't hanging around.</dialogue> <character>BILL</character> <dialogue>I thought she tried to murder a witness for the prosecution.</dialogue> <character>JERRY</character> <dialogue>I'll let it slide, she was only seventeen.</dialogue> <character>BILL</character> <dialogue>Dude, talk about baggage, that ai n't no carry - on shit, that's some heavy duty Samsonite shit.</dialogue> <character>JERRY</character> <dialogue>Yeah, I guess. hot chicks are always nuts.</dialogue> <character>BILL</character> <dialogue>Hot has got nothing to do with it.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction> <scene_description>A LONE FIGURE in a cheap skull mask and white robe stands hidden behind a billboard off to the side of the road . Bill 's car drives past .</scene_description> <character>BILL</character> <parenthetical>( yawning . )</parenthetical> <dialogue>Hold on, I've heard this before. but I ca n't remember the end.</dialogue> <character>JERRY</character> <dialogue>So, the guy goes to Hell and the devil says, `` do you smoke?'' The guy say, `` yeah''. the devil say, `` great cause Tuesday is cigar night, sweetest Cuban cigars you ever had.''</dialogue> <character>BILL</character> <dialogue>Shit, we really need to find some gas.</dialogue> <character>JERRY</character> <parenthetical>( not listening . )</parenthetical> <dialogue>Then the devil asks, `` do you drink?'' Guy says, `` yeah''. devil say, `` wonderful, Wednesday is free drinks night, best booze you ever had. all made from the finest stuff.''</dialogue> <character>BILL</character> <dialogue>Yeah.</dialogue> <character>JERRY</character> <dialogue>Then the devil says, `` are you gay?'' Guy says, `` fuck no''. Devil says, `` Well then, I guess you're gon na hate Thursdays.''</dialogue> <character>BILL</character> <dialogue>Oh yeah, I remember now.</dialogue> <character>JERRY</character> <dialogue>Yeah, no shit I just told ya.</dialogue> <parenthetical>( looking at magazine . )</parenthetical> <dialogue>Hey, you think this place called Alien Ed's UFO Welcoming Center is still around? It says, `` Where the Fact is separated from the Fantasy.''</dialogue> <character>BILL</character> <dialogue>I dunno. we'll ask around as we get closer. Man, I really do n't want to run out of gas out here in the middle of Petticoat Junction, man.</dialogue> <character>JERRY</character> <parenthetical>( sitting up . )</parenthetical> <dialogue>Do n't panic yourself, way too much caffeine guy. I see a sign.</dialogue> <parenthetical>( reading the sign . )</parenthetical> <dialogue>Captain Spaulding's Museum of Madmen and Monsters. cool. Also. fried chicken and. gasoline. next exit.</dialogue> <character>BILL</character> <dialogue>Perfect.</dialogue> <character>JERRY</character> <dialogue>I hope this place is cool. We could use something interesting to liven up chapter 12.</dialogue> <scene_description>The car drives past . We turn and hold on the billboard . We see the happy smiling face of a young Captain Spaulding .</scene_description> </scene> <scene> <stage_direction>EXT. CAPTAIN SPAULDING'S - NIGHT</stage_direction> <scene_description>The car pulls up to one of the gas pumps . Bill and Jerry get out . Inside we see Spaulding , now in army pants and a hunting jacket , mopping the floor .</scene_description> <character>BILL</character> <dialogue>I'll pump the gas. Go inside and see if it's worth thinking about.</dialogue> <character>JERRY</character> <parenthetical>( salutes . )</parenthetical> <dialogue>OK, Boss.</dialogue> <scene_description>Jerry walks inside and immediately comes back out .</scene_description> <character>JERRY</character> <dialogue>Holy crap. You got ta see this place. It's awesome.</dialogue> <character>BILL</character> <dialogue>How awesome?</dialogue> <character>JERRY</character> <dialogue>Really fucking awesome.</dialogue> <character>BILL</character> <dialogue>Wake up the chicks and bust out the camera awesome?</dialogue> <character>JERRY</character> <dialogue>Hell yeah.</dialogue> <scene_description>Jerry sticks his head back inside the car .</scene_description> <character>JERRY</character> <dialogue>Wakey, wakey, eggs and bakey.</dialogue> </scene> <scene> <stage_direction>INT. CAR - BACK SEAT - NIGHT</stage_direction> <scene_description>A dark haired girl , DENISE WILLIS , 27 , sleeps curled up under a blanket .</scene_description> <character>JERRY</character> <dialogue>Come on, babe. Me and Bill found a kick ass place.</dialogue> <scene_description>She opens her eyes .</scene_description> <character>DENISE</character> <dialogue>Huh?</dialogue> <character>JERRY</character> <dialogue>Grab Mary and come inside.</dialogue> <scene_description>Denise shakes a lump of jackets and sweaters lying next to her . She removes a sweater from the top of the pile to REVEAL the face of MARY KNOWLES , 29 .</scene_description> <character>DENISE</character> <dialogue>Come on sleeping beauty, time to go to work.</dialogue> <character>MARY</character> <parenthetical>( half asleep . )</parenthetical> <dialogue>Sleeping.</dialogue> <character>DENISE</character> <dialogue>Rise and shine.</dialogue> <character>MARY</character> <parenthetical>( groggy . )</parenthetical> <dialogue>No please, let me sit this one out.</dialogue> <character>DENISE</character> <parenthetical>( removing the blanket . )</parenthetical> <dialogue>Let's go. You're the one who wanted to be a photographer.</dialogue> <character>MARY</character> <dialogue>I resign.</dialogue> <character>DENISE</character> <dialogue>Too late. You're in for life, let's move it out Private Shutterbug.</dialogue> <character>MARY</character> <parenthetical>( opening her eyes . )</parenthetical> <dialogue>Christ, I hope this is n't more crappy folk art. It's so quaint. it's so primal. it's so crap.</dialogue> <character>DENISE</character> <dialogue>Aw, it ai n't crap. it's. cute.</dialogue> <parenthetical>( sarcastic . )</parenthetical> <dialogue>. and really who are we to judge the artistic merit of the tin - can Mona Lisa?</dialogue> <character>MARY</character> <dialogue>Aw, shit.</dialogue> <parenthetical>( exhales deeply . )</parenthetical> <dialogue>I got ta pee anyway.</dialogue> <scene_description>INTERLUDE Grainy super 8 footage shows us an OLD MAN standing in front of a small shack . His name is Lewis Dover . The shack is painted white and covered with SIMPLISTIC RELIGIOUS WRITINGS .</scene_description> <character>LEWIS</character> <dialogue>I ai n't no rich man, but I see the truth. You do not have to go to Hell. You are in Hell. This is Hell. All American Hell.</dialogue> <parenthetical>( holds up a gun . )</parenthetical> <dialogue>. true heaven in my hands. I'm gon na blow Satan back through the door to Hell.</dialogue> <scene_description>Surrounding the shack are strange sculptures of various half - human/half - animal creations .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - NIGHT</stage_direction> <scene_description>Spaulding swabs up the last remains of blood from the floor , he drops the mop into a bucket filled with water and blood . Bill pays no attention , he is distracted by a strange object in a glass case over the counter . In the case is a shriveled up looking half human and half fish figure . It is the size of a small child . A banner above reads : AQUALINA - THE MERMAID .</scene_description> <character>BILL</character> <dialogue>How long have you been running this place?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>How long is a piece of string? Too God damn long, that's how long.</dialogue> <scene_description>Spaulding slides the mop and bucket behind the counter .</scene_description> <character>BILL</character> <dialogue>No, really.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Shit, I do n't remember exactly. I took over for my Pa just after the Duke nabbed the Oscar.</dialogue> <character>BILL</character> <dialogue>The Duke?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Yeah, my Pa was n't right in the head after that.</dialogue> <character>BILL</character> <dialogue>You mean John Wayne?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Hell, boy there some other Duke you know about?</dialogue> <parenthetical>( rolls up his sleeve to reveal a John Wayne tattoo . )</parenthetical> <dialogue>A great American.</dialogue> <character>BILL</character> <dialogue>Yeah, I was never that big of a western fan. I like science fiction.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>I figured that much. Why the fuck you asking so many jackass questions for?</dialogue> <character>BILL</character> <dialogue>You see me and my friends are writing a book on offbeat roadside attractions. You know all the crazy shit you see when you drive cross country.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>I do n't drive cross country.</dialogue> <character>BILL</character> <dialogue>But if you did.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>I do n't.</dialogue> <character>BILL</character> <dialogue>But suppose for a second you did.</dialogue> <character>CAPT. SPAULDING</character> <parenthetical>( fake hick accent . )</parenthetical> <dialogue>Y' all find us country people real funny like do n't ya. well, God damn pack up the mule and sling me some grits, I ` ze a got ta get me some schooling.</dialogue> <character>BILL</character> <dialogue>No, no I think it's really interesting.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Well fuck me Side Sally, who want to read about all that horse shit anyway.</dialogue> <scene_description>Jerry OVERHEARS Bill 's and Spaulding 's conversation and joins in to help .</scene_description> <character>JERRY</character> <dialogue>You'd be surprised. Would it be OK if we took some pictures and included this place in our book?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Hey, knock yourself silly.</dialogue> <character>JERRY</character> <dialogue>You got some really rare stuff here.</dialogue> <parenthetical>( pointing to Aqualina . )</parenthetical> <dialogue>. dig your Feegee mermaid.</dialogue> </scene> <scene> <stage_direction>INT. SPAULDING'S - RESTROOM - NIGHT</stage_direction> <scene_description>The restroom is gray , dingy , a single exposed light bulb hangs from the ceiling . The peeling walls are plastered with newspaper clippings and faded photos . Mary is in the stall , sitting on the toilet , staring straight ahead at a poster of RHONDO HATTON , a B - MOVIE ACTOR that suffered from acromegalia . Denise standing at a tiny sink , splashes water on her face . She looks at herself in the mirror .</scene_description> <character>DENISE</character> <parenthetical>( water running down her face . )</parenthetical> <dialogue>I swear I've aged five years since this trip started.</dialogue> <character>MARY</character> <dialogue>Tell me about it.</dialogue> <character>DENISE</character> <parenthetical>( takes a paper towel and wipes her face . )</parenthetical> <dialogue>God, I hate falling asleep in the afternoon. Now I'll be up all night.</dialogue> <parenthetical>( stretches . )</parenthetical> <dialogue>. ugh, my back is killing me.</dialogue> <character>MARY</character> <dialogue>Yeah, hey how far do you think we are from your Dad's?</dialogue> <scene_description>Mary flushes the toilet and exits the stall .</scene_description> <character>DENISE</character> <dialogue>I do n't know. Couple hours I think. I've got to call him.</dialogue> <scene_description>Mary washes her hands . Denise ties up her hair .</scene_description> <character>MARY</character> <dialogue>It will be nice to have a few days off to regenerate. This trip is fun, but it's starting to get brutal.</dialogue> <character>DENISE</character> <dialogue>Yeah, I hit burn out mode back at that old stripper lady's place. Watching her dance around with those ratty - looking animals was ridiculous.</dialogue> <character>MARY</character> <dialogue>I know, that was some crazy shit. I never in a million years would have believed it if I had n't seen it.</dialogue> <character>DENISE</character> <dialogue>A decent meal every once in a while would n't hurt either, this road food is crap.</dialogue> <character>MARY</character> <dialogue>If I never eat at another Waffle House again, I can die a happy girl.</dialogue> <character>DENISE</character> <dialogue>Scattered, smothered and covered.</dialogue> <character>MARY</character> <dialogue>Exactly. well, I guess a couple more photos wo n't kill me.</dialogue> </scene> <scene> <stage_direction>INT. SPAULDING'S - MAIN ROOM - NIGHT</stage_direction> <scene_description>Jerry knees over a box of magazines labeled TRUE CRIME $ 1.00 , he flips through an issue , tosses it back . Bill leans against the wall next to him , sipping a hot cup of coffee . The girls return from the bathroom . Jerry jumps up with excitement .</scene_description> <character>JERRY</character> <dialogue>Great, you're back. Let's go. We already paid for the tickets.</dialogue> <character>DENISE</character> <dialogue>Tickets for what?</dialogue> <character>JERRY</character> <dialogue>This is n't everything. Get ready for this. there's a Museum of Murder and Mayhem.</dialogue> <character>DENISE</character> <dialogue>I do n't want to see that.</dialogue> <character>MARY</character> <dialogue>How about if we skip it and just hang out here. I can get some great shots of this stuff.</dialogue> <scene_description>Jerry PULLS Denise over and puts his arm around her .</scene_description> <character>JERRY</character> <dialogue>Aw, come on. It will be fun.</dialogue> <character>DENISE</character> <dialogue>Oh yeah, murder museum. sounds fun.</dialogue> <scene_description>Bill grabs Mary by the hand and kisses it .</scene_description> <character>BILL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>We'll need pictures of the inside too.</dialogue> <character>MARY</character> <dialogue>Alright, alright. I know. I wanted to be the photographer.</dialogue> <scene_description>Bill and Mary kiss . Spaulding waits , unamused . He rolls his eyes .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Anytime this year, people. Alright line your asses up in front of the black door. The tour is about to begin.</dialogue> <scene_description>Spaulding disappears through a curtain behind the counter . The kids wait . The black metal door CREAKS open . They enter the darkened room .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - MUSEUM - NIGHT</stage_direction> <scene_description>Darkness . A blue light comes on . Spaulding is standing on a MOTORIZED PLATFORM . He begins the tour , speaking through a small megaphone .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Ladies and gentlemen, you are about to enter a world of darkness. A world where life and death are meaningless and pain is God.</dialogue> <parenthetical>( pointing with a cane . )</parenthetical> <dialogue>To your left you see the infamous Albert Fish.</dialogue> <scene_description>A lifeless wax figure POPS forward with a loud metal CLANG . Mary jumps back with fright .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Sadist, masochist, child killer and most of all importantly cannibal. Born in 1870, Mr. Fish enjoyed burning himself with hot pokers, spankings with nail - studded paddles and embedding needles in his groin. On the right, notice the X - ray.</dialogue> <scene_description>CLOSE UP - X - RAY</scene_description> <character>CAPT. SPAULDING</character> <dialogue>showing clearly 29 sewing needles inserted in to his groin. Mr. Fish was executed in 1936 at the age of 65.</dialogue> <scene_description>Spaulding rolls backwards and continues the tour . CLOSE UP ON : a dummy face of a grizzly looking old man in hunting attire .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>To your right. One of our most popular crazies, the psycho of Plainfield, Ed Gein.</dialogue> <scene_description>Behind the figure of Gein hangs an inverted corpse of a slain woman . Mary recoils in disgust .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Murderer, cannibal and momma's little bitch boy. Mr. Gein found special pleasure in playing with the dead bodies of women, especially their sexual organs. He was quite a handy little dandy, fashioning lamp shades, jewelry and human skin suits from his victims. Mr. Gein was discovered when the decapitated body of Bernice Worden was found gutted like a deer, hanging in his barn.</dialogue> <scene_description>A wax figure of a young man in doctor 's scrubs . He is covered in blood .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>And now I would like to introduce a local hero, S. Quentin Quale, a.k.a.. The Butcher Boy, a.k.a. Nurse Nellie and most famously a.k.a. Dr. Satan.</dialogue> <scene_description>Another wax figure , of a bloody corpse , JUMPS up .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Murderer, torturer and most of all master surgeon. Mr. Quale an intern at Willows State Mental Hospital, nicknamed Weeping Willows for its neverending cries of pain, took great pleasure in control. Through primitive brain surgery. Mr. Quale believed he could create a race of superhumans from the mentally ill, or so the story goes. His terrifying experiments continued until 1952.</dialogue> <scene_description>Jerry stares fascinated .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>At which time he was discovered and turned over to authorities for observation. Unfortunately, Mr. Quale was abducted from his cell by members of the victims' families. Vigilante justice prevailed and Dr. Satan was taken out and hanged. The next day his body was found to be missing. Some say he survived, rescued by his loyal slaves, others say they hung the wrong man. To this day no sign of Dr. Satan has ever been discovered. But who knows? Maybe he lives next door to you.</dialogue> <scene_description>KLUNK : A big metal door opens to the outside world .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Please exit through the door.</dialogue> <scene_description>The kids exit . SLAM ! The door shuts .</scene_description> </scene> <scene> <stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction> <scene_description>Denise leans against the glass walls of the phone booth . Various flyers are taped to the inside : free kittens , phone sex ads and a missing poster for a girl named KAREN MURPHY . A light rain begins to fall . Denise puts some change in the phone and dials a number .</scene_description> </scene> <scene> <stage_direction>EXT. WILLIS HOUSE - NIGHT</stage_direction> <scene_description>The camera moves down a quaint quiet little street . We come to rest at a modest two - story house . The house is decorated for Halloween . Parents and their children roam from house to house , trick or treating . We hear the sound of a phone ringing .</scene_description> </scene> <scene> <stage_direction>INT. WILLIS HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>A grey haired man sits at a small table eating a ham sandwich and drinking a beer . This is DONALD WILLIS , Denise 's father . He stands up and walks to the phone hanging on the wall .</scene_description> <character>MR. WILLIS</character> <dialogue>Hello.</dialogue> <parenthetical>( brightens up . )</parenthetical> <dialogue>. hey Denise. what, what's wrong, did you break down?</dialogue> </scene> <scene> <stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction> <character>DENISE</character> <dialogue>No, nothing like that. yeah, we're gon na be a little late. We stopped for gas at this place called Capt. Spaulding's outside of Ruggsville and it turned into a whole thing, so we're kind of behind schedule.</dialogue> </scene> <scene> <stage_direction>INT. WILLIS HOUSE - NIGHT</stage_direction> <character>MR. WILLIS</character> <dialogue>Oh yeah, yeah I've driven by that place before. I seem to remember a crabby old bastard in a crummy clown suit running the place.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction> <character>DENISE</character> <dialogue>Yeah, well he's still here. I think him and Jerry are fast becoming buddies, you know Jerry. yeah, he's got ta see everything. yeah, I know. thinks there's some unsolved mystery around every corner.</dialogue> </scene> <scene> <stage_direction>INT. WILLIS HOUSE - NIGHT</stage_direction> <character>MR. WILLIS</character> <dialogue>Well, do n't take too long, the kids are already knocking down the door demanding their sugar fix. I know, I know I forgot to mention that Halloween falls on a school night, so they're trick or treating tonight. I got the joint decked out this year, built a graveyard in the front yard like when you were a kid.</dialogue> </scene> <scene> <stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction> <character>DENISE</character> <dialogue>Hopefully I can move things along here and make up the lost time by speeding all the way home. yes, Dad I'm kidding.</dialogue> </scene> <scene> <stage_direction>INT. WILLIS HOUSE - KITCHEN - NIGHT</stage_direction> <character>MR. WILLIS</character> <dialogue>Well, just promise me you'll be careful. alright, alright see ya soon. good - bye.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Bill , Jerry and Mary wait for Denise .</scene_description> <character>JERRY</character> <dialogue>I'm gon na go ask him.</dialogue> <character>MARY</character> <dialogue>Aw, come on Jerry. We've gotten all we're gon na get out of this place and its starting to rain.</dialogue> <character>JERRY</character> <dialogue>Shit, it is only sprinkling and it's worth the trouble. Hold on for two seconds.</dialogue> <scene_description>Jerry goes back inside .</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction> <scene_description>Jerry knocks on the glass as he passes . Denise waves as he walks by .</scene_description> <character>DENISE</character> <dialogue>Yeah so. OK, expect us more around eleven or so. OK yeah, I will. love you, too, bye.</dialogue> <scene_description>She hangs up the phone , opens the doors and heads back to the car .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - NIGHT</stage_direction> <character>JERRY</character> <dialogue>I know it's hard to understand, but I really want to see this tree.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>OK, alright I'll draw you a map, but I still say it is a waste of time.</dialogue> <character>JERRY</character> <dialogue>Great.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Through the window we see Jerry talking to Spaulding . Spaulding draws a map , explaining as he draws .</scene_description> <character>MARY</character> <dialogue>Geez, he never gets tired does he.</dialogue> <character>DENISE</character> <dialogue>Never. I swear to God he never sleeps, he goes to bed after me, wakes up before me. He's always working on 10.</dialogue> <character>MARY</character> <dialogue>Maybe he's a cyborg.</dialogue> <character>BILL</character> <parenthetical>( wearily , sips his coffee . )</parenthetical> <dialogue>I like sleep.</dialogue> <character>DENISE</character> <dialogue>Here he comes.</dialogue> <scene_description>Jerry comes bouncing out towards the car and jumps in . He is holding a map and a box of chicken .</scene_description> <character>JERRY</character> <dialogue>We hit the jackpot! Let's roll, good buddy. We got ourselves a convoy.</dialogue> <character>MARY</character> <dialogue>Huh?</dialogue> <character>DENISE</character> <dialogue>Ugh, what's that smell?</dialogue> <character>JERRY</character> <dialogue>Fried chicken.</dialogue> <parenthetical>( holds up a drumstick . )</parenthetical> <dialogue>Anybody want some?</dialogue> <scene_description>No one responds .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY</stage_direction> <scene_description>An OLD FARMER and his WIFE stare directly into the camera .</scene_description> <character>OLD MAN</character> <dialogue>I do n't know where that skunk ape sleeps. Maybe in the trees and all. all I know is he eats squirrels to survive and he had impure relations with my wife.</dialogue> <character>WIFE</character> <dialogue>That's true. He performed lurid acts upon me and my person while my husband Russell was a fix'n to our hound Clarence.</dialogue> <character>OLD MAN</character> <dialogue>If I see that thing again. I'm a gon na kill that skunk ape.</dialogue> <character>BILL</character> <parenthetical>( off screen . )</parenthetical> <dialogue>What does it look like?</dialogue> <character>WIFE</character> <dialogue>It looked just like that chubby fella from McHale's Navy. Ernie Borgnine.</dialogue> <character>OLD MAN</character> <dialogue>Hold up the picture.</dialogue> <scene_description>The wife holds up a pencil sketch of a Bigfoot like creature and a newspaper photo of Ernest Borgnine .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction> <scene_description>Bill 's car moves past empty farmlands . A HEAVIER RAIN is now falling .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Jerry directs Bill from Spaulding 's hand - drawn map .</scene_description> <character>JERRY</character> <dialogue>Keep straight on this road here.</dialogue> <character>BILL</character> <dialogue>How much further?</dialogue> <character>JERRY</character> <dialogue>I'm not exactly sure. it looks close. Did we pass an abandoned school bus yet?</dialogue> <character>BILL</character> <dialogue>I do n't know.</dialogue> <scene_description>Mary and Denise sit bundled up in blankets .</scene_description> <character>MARY</character> <dialogue>Let's just skip it. It is probably nothing anyway.</dialogue> <character>DENISE</character> <dialogue>Aw Christ, Jerry. We ca n't see anything now, it's too dark. Let's forget it.</dialogue> <character>JERRY</character> <dialogue>Come on, we need something like this. It could be the real deal. It's too far out of the way to come back to.</dialogue> <character>BILL</character> <dialogue>What's that?</dialogue> <scene_description>Through the windshield we see a LONE FIGURE hitch - hiking by the side of the road . It is a girl , BABY , 27 , in a worn cowboy hat and long fur coat . She is soaked to the bone .</scene_description> <character>JERRY</character> <dialogue>It's a hitchhiker.</dialogue> <character>BILL</character> <dialogue>Way out here?</dialogue> <character>MARY</character> <dialogue>Well, do n't even think about playing the good samaritan, there's way too many psychos wandering loose these days.</dialogue> <character>BILL</character> <parenthetical>( looking closer . )</parenthetical> <dialogue>It's a girl.</dialogue> <character>JERRY</character> <dialogue>Hey, maybe she knows where this is?</dialogue> <character>DENISE</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>That seems likely.</dialogue> <character>MARY</character> <dialogue>Should we stop?</dialogue> <character>BILL</character> <dialogue>We ca n't leave her out here in the rain. maybe we can just drop her at the next rest area.</dialogue> <character>MARY</character> <dialogue>She looks like a freak.</dialogue> <character>DENISE</character> <dialogue>Stick her in the front, if you want to pick her up so bad. She's soaked.</dialogue> <character>MARY</character> <dialogue>She looks like she stinks.</dialogue> <character>BILL</character> <parenthetical>( imitating Mary . )</parenthetical> <dialogue>She looks like she stinks.</dialogue> <character>JERRY</character> <parenthetical>( makes cat noises . )</parenthetical> <dialogue>Cat fight, cat fight.</dialogue> <character>DENISE</character> <dialogue>Hardy har, har.</dialogue> <scene_description>The car pulls over and Baby jumps in . The car moves off .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Once inside the car they see that the girl is a bit odd .</scene_description> <character>BABY</character> <dialogue>Whoa, thanks for stopping. I been standing out there in that toad strangling rain for like a hundred million years.</dialogue> <character>JERRY</character> <dialogue>Really, that's a long time.</dialogue> <character>BABY</character> <dialogue>Yeah, most people just whiz on by like I was invisible or something. or else they're creeps who wan na jam their slimy hands down my pants and twiddle my naughty - naughty.</dialogue> <character>JERRY</character> <dialogue>Yikes.</dialogue> <character>BABY</character> <dialogue>Yeah, icky. This one guy stops and I look in and he's got his thing out waving it around like a drunk monkey.</dialogue> <character>DENISE</character> <dialogue>Well, hitchhiking ai n't the safest way for a girl to travel.</dialogue> <character>BABY</character> <dialogue>Yeah, but it's fun.</dialogue> <character>MARY</character> <dialogue>Sounds like a magical trip through the heartland.</dialogue> <character>BILL</character> <dialogue>Where ya headed?</dialogue> <character>BABY</character> <dialogue>Aw, I was going home to my Mamma's house. yeah, I was out doing this thing.</dialogue> <character>BILL</character> <dialogue>Where's that?</dialogue> <character>BABY</character> <dialogue>Couple more miles up this road.</dialogue> <character>JERRY</character> <dialogue>Hey, you might know.</dialogue> <parenthetical>( shows her the map . )</parenthetical> <dialogue>. you know where this tree is at? It's an old hanging tree from.</dialogue> <scene_description>The Baby PERKS UP at the mention of the tree .</scene_description> <character>BABY</character> <dialogue>Yeah, I know where that is, it's right by my house. It's Dr. Satan's tree. I can show ya.</dialogue> <character>JERRY</character> <dialogue>Really, wow, so it's really a real thing.</dialogue> <character>BABY</character> <dialogue>Yeah, it's a tree. I used to play there all the time. But, you ca n't find it without me. Outsider ca n't find no deadwood.</dialogue> <character>JERRY</character> <dialogue>Deadwood, is that what it's called? Cool, will you show us?</dialogue> <character>BABY</character> <dialogue>Maybe, maybe, maybe. hey, you know what word I hate?</dialogue> <character>JERRY</character> <dialogue>What?</dialogue> <character>BABY</character> <dialogue>Cone.</dialogue> <character>JERRY</character> <dialogue>Huh. what cone?</dialogue> <character>BABY</character> <dialogue>Any cone, yeah.</dialogue> <parenthetical>( looking out the window . )</parenthetical> <dialogue>I hate that word. sounds ugly, I do n't like crumple either.</dialogue> <character>JERRY</character> <dialogue>I always hate saying the word cheese, every time you get your picture taken. smile, say cheese.</dialogue> <character>BABY</character> <dialogue>I know I hate Swiss cheese, the holes make me nervous.</dialogue> <character>BILL</character> <dialogue>What about the tree?</dialogue> <character>BABY</character> <dialogue>Oh yeah, the tree.</dialogue> <character>MARY</character> <dialogue>This is crazy. She do n't know nothing.</dialogue> <scene_description>Baby turns her attention toward Mary .</scene_description> <character>BABY</character> <dialogue>Oh, I know. I'll show you where it's at, sweetie. Are n't you just so cute all bundled up like a cinnamon roll of Christmas love.</dialogue> <character>JERRY</character> <dialogue>Cool.</dialogue> <character>BILL</character> <dialogue>Which way?</dialogue> <character>BABY</character> <dialogue>Go straight up about another mile. til we hit Cherrypicker Road and turn right. it ai n't far from there.</dialogue> </scene> <scene> <stage_direction>INT. MENTAL HOSPITAL</stage_direction> <scene_description>The camera FLOATS through the hallways of the Peabody Mental Institution . It is HALLOWEEN . PATIENTS wander the stark halls dressed in hospital gowns and cheap plastic masks . Some are laughing , some are screaming . We move into a private room . Where we see DOCTOR SATAN completely covered except for his eyes , hovering over a BOUND AND GAGGED PATIENT . We move off the doctor to a crayon child 's DRAWING of a JACK - O ' - LANTERN . Tortured screams fill the room .</scene_description> </scene> <scene> <stage_direction>EXT. CHERRYPICKER RD. - WOODS - NIGHT</stage_direction> <scene_description>From a STRANGER 'S POV we see the car STRUGGLING down a dirt road .</scene_description> </scene> <scene> <stage_direction>INT. CAR - SAME</stage_direction> <scene_description>Everyone rides in silence , music plays on the radio . The song ends and a NEWS REPORTER comes on .</scene_description> <character>NEWS REPORTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is WJRC News at the top of the hour. Investigators in Clairemont County are no closer to identifying the body of a young woman found crucified to the doors of St. Mary's Church yesterday morning.</dialogue> <scene_description>Baby lights up a cigarette and takes a drag .</scene_description> <character>MARY</character> <dialogue>Excuse me, could you not smoke in here?</dialogue> <scene_description>Baby puts out the cigarette on the back of her hand .</scene_description> <character>NEWS REPORTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Local police and State Officials have released this report.</dialogue> <character>JERRY</character> <dialogue>What's that?</dialogue> <character>BILL</character> <dialogue>I do n't know. Looks like some kind of animal.</dialogue> <scene_description>Bill stops the car .</scene_description> </scene> <scene> <stage_direction>EXT. CHERRYPICKER RD. - WOODS - NIGHT</stage_direction> <scene_description>Sitting dead center in the middle of the road is a HUMONGOUS DOG . The dog stares straight ahead . Long strands of drool hang from its mouth to the ground .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <character>MARY</character> <dialogue>Why are we stopping?</dialogue> <character>BILL</character> <dialogue>There's a dog in the road.</dialogue> <character>DENISE</character> <dialogue>Honk at him. Scare him.</dialogue> <character>BILL</character> <parenthetical>( honking horn . )</parenthetical> <dialogue>He wo n't move.</dialogue> <character>MARY</character> <dialogue>Go around him.</dialogue> <character>BILL</character> <dialogue>There's not enough room.</dialogue> <character>MARY</character> <dialogue>Then run him over, he'll move.</dialogue> <character>BABY</character> <dialogue>No! He's one of God's creatures, he ca n't help it if he's dumb. I'm just crazy about animals.</dialogue> <character>MARY</character> <parenthetical>( to Denise . )</parenthetical> <dialogue>The animals have got nothing to do with it.</dialogue> </scene> <scene> <stage_direction>EXT. STRANGER'S POV - SAME</stage_direction> <scene_description>A gun barrel is raised and we are looking through the sight at the car . Pop ! Pop ! Pop ! The GUN fires THREE SHOTS at the car 's rear tire . The stranger whistles and the dog moves to the side of the road .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>The SOUND of the heavy rain MASKS the gunshots .</scene_description> <character>BILL</character> <dialogue>Hey, he moved.</dialogue> <character>MARY</character> <dialogue>Let's get going before that thing tries to eat the car or something.</dialogue> <scene_description>As the car moves past , Denise stares at the dog sitting calmly to the side of the road . The dog blankly stares back at her .</scene_description> <character>JERRY</character> <dialogue>That reminds me of a film I saw once of a guy who got out of his car at Lion Country Safari to take a picture of a lion cub and got eaten by the lions.</dialogue> <character>BILL</character> <dialogue>Oh yeah, I heard about that. I always thought it was bullshit.</dialogue> <character>JERRY</character> <dialogue>No. yeah, they ripped him to pieces while his family watched from the car. The wife is screaming, the kids are crying. Some dude in another car filmed the whole thing.</dialogue> <character>BABY</character> <dialogue>I'd like to see that.</dialogue> <character>MARY</character> <dialogue>Nice.</dialogue> <character>JERRY</character> <dialogue>The lions were totally covered in this guy's blood. I think they ate his face off, tore open his rib cage, pulled his legs off. it was a wild scene.</dialogue> <character>BABY</character> <dialogue>Things like that get a lot bloodier than ya think.</dialogue> <scene_description>Without warning the car lunges to one side .</scene_description> <character>JERRY</character> <dialogue>What was that?</dialogue> <character>BILL</character> <dialogue>Fuck. I think we blew a tire.</dialogue> <character>MARY</character> <dialogue>Do n't even say it.</dialogue> <character>DENISE</character> <dialogue>You got to be fucking joking.</dialogue> <character>MARY</character> <dialogue>God damn it, I knew this witch - hunt was fucking bullshit.</dialogue> <character>BILL</character> <dialogue>OK, let's relax. I'll check it, maybe I'm wrong. Do n't everybody freak out just yet.</dialogue> <character>JERRY</character> <dialogue>I'll help ya.</dialogue> <character>BILL</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Gee, ya think it would n't be too much trouble.</dialogue> </scene> <scene> <stage_direction>EXT. CHERRYPICKER ROAD - WOODS - NIGHT</stage_direction> <scene_description>Bill and Jerry stare down at the blown tire sunk in the mud .</scene_description> <character>BILL</character> <dialogue>I hope you fixed the spare like I asked ya.</dialogue> <character>JERRY</character> <dialogue>Yeah, I fixed it. Well, I ai n't. um, I ca n't remember. I think I took it out to fit the bags and forgot to put it back.</dialogue> <character>BILL</character> <dialogue>Jesus Christ, Jerry.</dialogue> <character>JERRY</character> <dialogue>Well, technically I did what ya said.</dialogue> <character>BILL</character> <dialogue>You're a real fucking piece of work.</dialogue> <scene_description>Bill stares at Jerry in disbelief .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Baby is leaning on her chin staring at Mary and Denise . The car radio plays in the background .</scene_description> <character>MARY</character> <dialogue>Can I help you with something?</dialogue> <character>BABY</character> <dialogue>I was just wondering.</dialogue> <character>MARY</character> <dialogue>Wondering what?</dialogue> <character>BABY</character> <dialogue>Are you two gals all funny with each other?</dialogue> <character>MARY</character> <dialogue>What?</dialogue> <character>BABY</character> <dialogue>You know. a couple of queers.</dialogue> <character>MARY</character> <dialogue>Do you believe this fucking girl?</dialogue> <character>BABY</character> <parenthetical>( turning her attention to Mary . )</parenthetical> <dialogue>I was just wondering, cause you got a pissy look about you. like a real pussy licking bitch.</dialogue> <scene_description>Denise tries to QUICKLY defuse the situation .</scene_description> <character>DENISE</character> <dialogue>No. No pussy licking here, but thanks for your concern.</dialogue> <scene_description>Bill and Jerry slide back into the car .</scene_description> <character>BILL</character> <dialogue>Well, I got some bad news and some bad news.</dialogue> <character>MARY</character> <dialogue>What?</dialogue> <character>JERRY</character> <parenthetical>( fake Scottish accent . )</parenthetical> <dialogue>Tire's fucking gone crap on us, man. There's no saving it now.</dialogue> <character>BILL</character> <dialogue>And the spare is safely sitting in Jerry's garage.</dialogue> <character>DENISE</character> <dialogue>For fucking sake Jerry, what the fuck are we gon na do?</dialogue> <scene_description>Baby starts laughing .</scene_description> <character>MARY</character> <dialogue>What the hell are you laughing about?</dialogue> <character>BABY</character> <dialogue>I just pictured the tire sitting in a chair watching TV.</dialogue> <character>MARY</character> <dialogue>Oh, wonderful.</dialogue> <parenthetical>( muttering to herself . )</parenthetical> <dialogue>Fucking psycho.</dialogue> <character>BILL</character> <dialogue>I guess I'll try to back it out on the rim. at least to the main road.</dialogue> <character>BABY</character> <dialogue>If you keep going straight you can get back on the interstate. it's easier.</dialogue> <character>MARY</character> <dialogue>Just back up.</dialogue> <character>JERRY</character> <dialogue>I think we should go straight. I mean we know for a fact there ai n't nothing back that way, right?</dialogue> <character>BABY</character> <dialogue>Oh wait! I love this song!</dialogue> <scene_description>Baby reaches over and TURNS UP the VOLUME . She loudly sings along with the song .</scene_description> <character>BILL</character> <dialogue>Fine. I'll go straight.</dialogue> <character>MARY</character> <dialogue>What!</dialogue> <character>BILL</character> <parenthetical>( over the loud music . )</parenthetical> <dialogue>Fine! I'll go straight!</dialogue> <scene_description>The car moves forward . After about fifty yards the car HITS something hard and gets stuck in a deep mud bog .</scene_description> <character>BILL</character> <dialogue>Fuck! We are fucked!</dialogue> <character>DENISE</character> <dialogue>Turn that fucking radio off!</dialogue> <scene_description>Bill shuts off the radio .</scene_description> <character>DENISE</character> <dialogue>Now what are we gon na do?</dialogue> <character>BABY</character> <dialogue>We can walk to my house from here. My brother's got a tow truck, he can come get your car.</dialogue> <scene_description>A silence falls over the car .</scene_description> <character>MARY</character> <dialogue>I think I'm going fucking crazy.</dialogue> <character>DENISE</character> <dialogue>I ca n't believe.</dialogue> <character>BILL</character> <dialogue>OK, whatever. Let's go get your brother's truck. Faster we get the truck, faster we get out of here.</dialogue> <character>BABY</character> <dialogue>OK.</dialogue> <character>JERRY</character> <dialogue>I'll go. It's my fault.</dialogue> <character>MARY</character> <dialogue>You said it, not me.</dialogue> <character>BILL</character> <dialogue>Forget it. I'll just go.</dialogue> <character>MARY</character> <dialogue>Screw that, no way, I ai n't letting you go by yourself.</dialogue> <character>BILL</character> <dialogue>Do n't worry, I'll be quick. Just stay here, no sense everybody getting drenched.</dialogue> <character>JERRY</character> <dialogue>I agree.</dialogue> <character>BABY</character> <dialogue>Yeah, it wo n't take long and besides you sassy poodle girls will slow us down.</dialogue> <scene_description>Baby jumps up and gets out of the car .</scene_description> <character>BILL</character> <dialogue>Do n't worry, I'll be right back.</dialogue> <character>BABY</character> <dialogue>Come on.</dialogue> <character>JERRY</character> <dialogue>Do n't forget the flashlight, it's pretty dark out there.</dialogue> <character>BILL</character> <dialogue>Thanks.</dialogue> <character>JERRY</character> <dialogue>No problem.</dialogue> <scene_description>Bill kisses Mary good - bye and EXITS . Mary watches Baby and Bill head off into the WOODS . Baby turns and makes a kissy face at Mary .</scene_description> </scene> <scene> <stage_direction>EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY</stage_direction> <scene_description>A hand painted tin sign surrounded by flashing lights which reads MISS BUNNY 'S HOLLYWOOD REVUE hangs over the entrance to a small garage . Movie star portraits of JEAN HARLOW , W.C. FIELDS and CLARK GABLE adorn the walls of the garage . An over the hill ex - glamour girl , MISS BUNNY , 55 , comes into frame . She 's dressed in a sparkling red gown with feathers in her hair .</scene_description> <character>MISS BUNNY</character> <parenthetical>( bad Marilyn Monroe imitation . )</parenthetical> <dialogue>Hi, I'm Miss Bunny and welcome to my Hollywood Revue.</dialogue> <parenthetical>( she giggles . )</parenthetical> <dialogue>. where the stars shine forever.</dialogue> </scene> <scene> <stage_direction>INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY</stage_direction> <scene_description>Tinseltown lives . Tin foil is wrapped around everything , the walls , doors and ceiling . Fake cement handprints of movie greats cover the tiny floor . Badly sculpted statues of MARILYN MONROE , GROUCHO MARX and JOHN WAYNE stand in the corners . Dead center is a small puppet show stage .</scene_description> <character>MISS BUNNY</character> <dialogue>Hi, this is the place where the magic happens.</dialogue> <scene_description>CLOSE UP - SQUIRREL A stuffed squirrel dressed in a gray skirt and jacket , a tilted hat sits atop its head .</scene_description> <character>MISS BUNNY</character> <parenthetical>( holding up squirrel . )</parenthetical> <dialogue>This is Jenny, she is our resident Ingrid Bergman.</dialogue> <scene_description>Miss Bunny picks up a stuffed white cat wearing a brown trenchcoat .</scene_description> <character>MISS BUNNY</character> <dialogue>This is Ronald J. Perrywinckle. our Humphrey Bogart. today we'll be doing a scene from Casablanca.</dialogue> <scene_description>Miss Bunny begins to make the dead animal puppets interact . She provides their voices .</scene_description> <character>HUMPHREY CAT</character> <dialogue>If that plane leaves the ground and you're not with him you'll regret it. maybe not today, maybe not tomorrow but soon and for the rest of your life.</dialogue> <character>INGRID SQUIRREL</character> <dialogue>But what about us?</dialogue> <character>HUMPHREY CAT</character> <dialogue>We'll always have Paris. We did n't have, we lost it. until you came to Casablanca. We got it back last night.</dialogue> <character>INGRID SQUIRREL</character> <dialogue>When I said I would never leave you.</dialogue> <character>HUMPHREY CAT</character> <dialogue>And you never will.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>A single flashlight beam cuts through the darkness of the dense woods . Bill stumbles behind Baby , she is clearly in her element .</scene_description> <character>BILL</character> <dialogue>How much further?</dialogue> <character>BABY</character> <dialogue>Almost there. are you in a hurry or something?</dialogue> <character>BILL</character> <dialogue>Well, yeah, kind of.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Jerry is stretched out across the front seat , reading a book on Freak Shows . Denise and Mary sit in the back , curled up under layers of blankets and clothes .</scene_description> <character>DENISE</character> <dialogue>Fuck, it's freezing.</dialogue> <character>JERRY</character> <dialogue>Hey, listen to this. I think this is related to our Dr. Satan.</dialogue> <character>DENISE</character> <dialogue>Oh, yeah.</dialogue> <character>JERRY</character> <dialogue>Yeah, in this book there's a chapter called Self Made Freaks about how people would mutilate themselves in order to work in a freak show. It mostly talks about tattooed people and wild men of Borneo and shit like that, but there is one mention of a single case where a woman was suspected of having her arms removed on purpose to become an arm - less wonder.</dialogue> <character>DENISE</character> <dialogue>Yeah, so how does that fit with the story of four morons with a flat tire looking for a dead tree?</dialogue> <character>JERRY</character> <dialogue>It says, `` records show that Ellie Thompson was born in 1914 of normal physical stature and lived a life of normal bearings, until such time that she was placed in the care of the Willows State Mental Facility.''</dialogue> <character>DENISE</character> <dialogue>So.</dialogue> <character>JERRY</character> <dialogue>Now she was put in the nuthouse in 1930 at the age of 16.</dialogue> <character>DENISE</character> <dialogue>Why?</dialogue> <character>JERRY</character> <parenthetical>( scanning the book . )</parenthetical> <dialogue>Blah, blah, blah. it does n't say, but she was released sometime in 1937, only to reappear as Ellie Bogdan, the arm - less wonder. Says she, `` criss - crossed the United States constantly in carnivals and freak shows until her death in 1946.''</dialogue> <character>DENISE</character> <dialogue>Yeah?</dialogue> <character>JERRY</character> <dialogue>These dates perfectly correspond with the time frame of our beloved Dr. Satan working at the looney bin. I'll bet he amputated her arms.</dialogue> <character>DENISE</character> <dialogue>So what?</dialogue> <character>JERRY</character> <dialogue>I do n't know, I just thought it was interesting.</dialogue> <character>DENISE</character> <dialogue>You know what Jerry, who really cares at this point?</dialogue> <character>JERRY</character> <dialogue>I do n't.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>. I just thought it was weird.</dialogue> <character>MARY</character> <parenthetical>( bursting in . )</parenthetical> <dialogue>God damn it, I must be fucking crazy to let him go off with that crazy fucking bitch.</dialogue> <character>JERRY</character> <dialogue>Huh?</dialogue> <character>MARY</character> <dialogue>That stupid hillbilly slut.</dialogue> <character>JERRY</character> <dialogue>Oh, do n't blow everything out of proportion.</dialogue> <character>MARY</character> <dialogue>You did n't see the look she threw me. She's up to something.</dialogue> <character>DENISE</character> <dialogue>Yeah, Jerry, she said some pretty fucked shit to us.</dialogue> <character>JERRY</character> <dialogue>When?</dialogue> <character>DENISE</character> <dialogue>When you were outside with Bill.</dialogue> <character>MARY</character> <dialogue>She said we look like pussy lickers or some shit like that.</dialogue> <character>DENISE</character> <dialogue>Yeah, she said we looked queer.</dialogue> <character>JERRY</character> <dialogue>Aw, get over it, she's just some dopey redneck, she ai n't smart enough to be up to nothing. I mean anything. chicks.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction> <scene_description>An old Gothic FARMHOUSE stands atop a hill at the end of a long sloping dirt road . SCARECROWS with pumpkin heads hang CRUCIFIED on crosses lining the drive . Everything is severely overgrown . Bill and Baby enter the gates of the FARM , they walk up the main drive . Baby runs forward and begins jumping around in the huge mud puddles , then runs up onto the front porch of the old house . The front of the house is covered with strange junk art . Hundreds of dolls faces are nailed to the walls .</scene_description> <character>BABY</character> <dialogue>These are all my dolls. I use to like to chop their heads off.</dialogue> <scene_description>Broken bottles and cans are cemented together in weird HUMAN FIGURES , ANIMAL SKINS stretched over bone armatures form a makeshift roof . Glowing down from the upper windows are grinning JACK - O ' - LANTERNS .</scene_description> <character>BABY</character> <dialogue>The door's locked. I'll got ta go around. wait here.</dialogue> <character>BILL</character> <dialogue>OK.</dialogue> <scene_description>Baby RUNS OFF around the side of the house . Bill stands looking off into the distance at the desolate farm grounds . The rain continues to hammer down . From BILL 'S POV we see a silhouette of a LONE FIGURE walking in the distance . The shape of a large dog follows behind him . Bill JUMPS , startled by the sound of the heavy front door opening .</scene_description> <character>BILL</character> <dialogue>Christ, you scared the shit out of me.</dialogue> <character>BABY</character> <dialogue>Aw, you ai n't seen nothing yet.</dialogue> <character>BILL</character> <dialogue>Is your brother ready to go?</dialogue> <character>BABY</character> <dialogue>Oh. yeah, he already left. We'll wait inside, come on.</dialogue> <character>BILL</character> <dialogue>He left!</dialogue> <character>BABY</character> <dialogue>Yeah, come on.</dialogue> <scene_description>Baby GRABS Bill by the arm and pulls him into the house . The heavy iron door slams shut .</scene_description> </scene> <scene> <stage_direction>INT. CAR - SAME</stage_direction> <scene_description>Denise and Mary sit facing one another , playing cards . Mary deals from a deck . Jerry naps in the front seat .</scene_description> <character>MARY</character> <dialogue>How long has it been?</dialogue> <character>DENISE</character> <dialogue>I do n't know. about half an hour.</dialogue> <scene_description>A metal KLANG is faintly heard .</scene_description> <character>MARY</character> <dialogue>What was that?</dialogue> <character>DENISE</character> <dialogue>What? I did n't hear anything.</dialogue> <character>MARY</character> <dialogue>Wait. quiet. Turn off the radio.</dialogue> <scene_description>Mary reaches over the front seat and turns off the radio .</scene_description> <character>DENISE</character> <dialogue>Now. listen.</dialogue> <scene_description>They sit in silence .</scene_description> <character>MARY</character> <dialogue>I do n't hear anything.</dialogue> <character>DENISE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Shhhhhh, quiet.</dialogue> <character>MARY</character> <dialogue>I still do n't.</dialogue> <character>DENISE</character> <dialogue>Turn on the headlights. See if anything is out there.</dialogue> <scene_description>Mary turns on the headlights . Denise lets out a blood - curdling SCREAM . Jerry bolts up .</scene_description> <character>JERRY</character> <dialogue>What. what!</dialogue> <scene_description>Standing dead center in the road is the GIANT SHAPE of a MAN holding a heavy chain with a huge hook on the end .</scene_description> <character>MARY</character> <dialogue>Lock the doors. quick, quick.</dialogue> <scene_description>Everybody scrambles to lock the doors .</scene_description> <character>DENISE</character> <dialogue>Holy fuck, holy fuck, holy fuck.</dialogue> <scene_description>On closer inspection , Jerry notices the chain is attached to the back of a TOW TRUCK .</scene_description> <character>JERRY</character> <dialogue>Hold on, hold on! Everybody calm down! It's the tow truck guy.</dialogue> <character>MARY</character> <dialogue>What!</dialogue> <character>DENISE</character> <dialogue>Jesus Christ.</dialogue> <character>MARY</character> <dialogue>I think I'm gon na have a fucking heart attack.</dialogue> <character>JERRY</character> <parenthetical>( Scottish accent . )</parenthetical> <dialogue>OK lassies, I think it's time you get to gripping reality.</dialogue> <character>MARY</character> <dialogue>Enough with the stupid voices.</dialogue> <scene_description>The brute man attaches the chain to the car and begins raising it with his truck . A SIGN on the side of the truck reads FIREFLY TOWING . CLOSE UP - TV SCREEN We are watching a scene from THE OLD DARK HOUSE . GLORIA STUART , RAYMOND MASSEY and MELVYN DOUGLAS are standing in the rain pounding on a huge wooden door .</scene_description> <character>GLORIA STUART</character> <dialogue>Knock again louder.</dialogue> <character>MELVYN DOUGLAS</character> <dialogue>I should of thought that was loud enough to wake the dead. that's an idea.</dialogue> <character>RAYMOND MASSEY</character> <dialogue>What is?</dialogue> <character>MELVYN DOUGLAS</character> <dialogue>Would n't it be dramatic, supposing the people inside were dead. All stretched out with the lights quietly burning about them.</dialogue> <character>GLORIA STUART</character> <dialogue>I'm sure it would be very amusing.</dialogue> <scene_description>We pull back from the TV to see Bill 's clothes drying by the fireplace . Bill , now wearing overalls and a flannel shirt , is sitting on an old over stuffed sofa .</scene_description> <character>BILL</character> <dialogue>So, you live here alone. I mean with just your brother?</dialogue> <character>BABY</character> <parenthetical>( speaking from the next room . )</parenthetical> <dialogue>No. There's a bunch a us ` round somewhere. I think Mamma's sleepin'. She sleeps a lot, now. do you want marshmallows?</dialogue> <character>BILL</character> <dialogue>Um, yeah sure, I guess.</dialogue> <character>BABY</character> <dialogue>You sure do a lot of guessing.</dialogue> <scene_description>Baby sets down the tray , making sure to bend over close to Bill . She hands him his drink and sits down next to him .</scene_description> <character>BILL</character> <dialogue>Thank you.</dialogue> <character>BABY</character> <dialogue>You're welcome.</dialogue> <scene_description>Baby moves closer to Bill , he begins to get nervous .</scene_description> <character>BILL</character> <dialogue>Hey, um.</dialogue> <parenthetical>( pointing to the mounted animal head over the fireplace . )</parenthetical> <dialogue>. what kind of animal is that?</dialogue> <character>BABY</character> <dialogue>A dead one.</dialogue> <character>BILL</character> <parenthetical>( sipping his drink . )</parenthetical> <dialogue>Mmmmm, this is tasty.</dialogue> <character>BABY</character> <parenthetical>( scoops out some marshmallow with her finger . )</parenthetical> <dialogue>Ai n't the only thing tasty in this house.</dialogue> <parenthetical>( licks it off . )</parenthetical> <dialogue /> <character>BILL</character> <dialogue>I wonder what time it is. Seems kind of late.</dialogue> <character>BABY</character> <dialogue>Do n't worry, sugar. It ai n't past my bedtime. are you flirting with me?</dialogue> <character>BILL</character> <dialogue>What? No, I'm was worried that. I was just wondering what's taking so long.</dialogue> <character>BABY</character> <dialogue>Oh. Maybe R.J. got into a crash and killed everbody?</dialogue> <character>BILL</character> <dialogue>That's not something to joke about.</dialogue> <character>BABY</character> <parenthetical>( rolls her eyes . )</parenthetical> <dialogue>OK, sorry. maybe the Great Pumpkin ate'em up.</dialogue> <scene_description>Finally , the SOUND OF A TRUCK pulling up can be HEARD . Bill jumps up and goes to the window .</scene_description> <character>BILL</character> <dialogue>Hey, great they're back.</dialogue> <character>BABY</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Whoopie fucking doo.</dialogue> <scene_description>TV SCREEN - SAME On the B+W screen we see DR. WOLFENSTEIN , a local horror movie host . He looks like a cross between the WOLFMAN and LON CHANEY in LONDON AFTER MIDNIGHT .</scene_description> <character>DR. WOLFENSTEIN</character> <parenthetical>( sounds like Wolfman Jack . )</parenthetical> <dialogue>Aaaahooooh, the Doctor is in! Do n't move, do n't scream. Stay tuned for more creature craziness from channel 68's Halloween eve movie marathon. I'm your host. your ghost host with the most, baby. Dr. Wolfenstein and will be with you until the end. Aaaaaaahooooooh!</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction> <scene_description>Bill stands on the front porch watching as the truck roughly jerks the car to a stop . Jerry jumps out , opens the back door and helps Denise .</scene_description> <character>JERRY</character> <parenthetical>( looking at Bill . )</parenthetical> <dialogue>Hey, nice outfit Billy Bob.</dialogue> <character>DENISE</character> <dialogue>Thanks for coming to get us. Little brother almost scared us to death.</dialogue> <character>JERRY</character> <parenthetical>( quietly to Bill as he passes . )</parenthetical> <dialogue>Dude, your chick's a little high strung.</dialogue> <scene_description>Mary is the last one out of the car . She says nothing as she walks to join the others on the porch . Her look says it all as she walks by Bill and into the house .</scene_description> <character>BILL</character> <dialogue>Mary, I'm sorry but he left without me. Mary. come on, you do n't think I'd leave you stranded out there.</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - NIGHT</stage_direction> <scene_description>Everyone stands around at the fireplace , trying to dry off .</scene_description> <character>DENISE</character> <dialogue>Look. I got ta call my Dad and tell him we're gon na be late. Can I use your phone?</dialogue> <scene_description>Baby sits silently watching TV .</scene_description> <character>DENISE</character> <dialogue>Excuse me, may I please use your phone?</dialogue> <character>MARY</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Bill, why do n't you ask her. she's your special friend.</dialogue> <scene_description>A VOICE from upstairs answers .</scene_description> <character>MOTHER</character> <dialogue>Ai n't got one.</dialogue> <scene_description>MOTHER comes into view from the darkness above . She is in her fifties , but looks younger . A sleazy white trash queen . She slowly descends the stairs .</scene_description> <character>DENISE</character> <dialogue>Huh? Oh, hi. You really do n't have a phone?</dialogue> <character>MOTHER</character> <dialogue>No, none. I had one once, back in'57 maybe. I do n't know. Really ai n't nobody we wan na be jaw flapping at around here no more.</dialogue> <character>JERRY</character> <dialogue>Hey, maybe the guy with the tow truck could drive us to a phone.</dialogue> <character>MOTHER</character> <dialogue>His name is Rufus, Rufus Jr., but we all call him R.J.</dialogue> <character>JERRY</character> <dialogue>Oh, right.</dialogue> <character>MOTHER</character> <dialogue>What do they call you, sweety?</dialogue> <character>JERRY</character> <dialogue>Um, I'm Jerry. that's Bill. Denise and Mary.</dialogue> <character>BILL</character> <dialogue>Yeah, maybe R.J. could just tow us and our car to the nearest garage.</dialogue> <character>DENISE</character> <dialogue>I mean obviously we will compensate you for your troubles.</dialogue> <character>MOTHER</character> <dialogue>Oh, you ai n't no troubles, no, no, no fuss.</dialogue> <parenthetical>( claps her hands . )</parenthetical> <dialogue>Baby. go see what Rufus Jr. is doing with these nice folks' automobile.</dialogue> <scene_description>Baby slowly rises like a defiant child and walks out of the room .</scene_description> <character>MOTHER</character> <dialogue>In the meanwhile please make yourselves at home.</dialogue> <scene_description>MONTAGE Gruesome crime scene photos flash across the screen .</scene_description> <character>CHILDREN</character> <parenthetical>( singing , off screen . )</parenthetical> <dialogue>98 bodies in your bed, Some are green, some are red. Eat the flesh and pick the bones, Drink the blood when you get home. 99 bodies in the ground, Some are blue, some are brown. Gather ` round the people said, Where do you go when you are dead?</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mother , Jerry , Denise and Mary are all seated on the sofa . Bill sits in an easy chair .</scene_description> <character>MOTHER</character> <dialogue>So, what brings you kids way out here, ai n't you got something better to do for Halloween than wander around out here in the sticks?</dialogue> <character>JERRY</character> <dialogue>Well, I thought I'd maybe take in a hoedown.</dialogue> <character>MOTHER</character> <parenthetical>( flirting . )</parenthetical> <dialogue>Oh, really.</dialogue> <parenthetical>( puts her hand on Jerry 's knee and winks . )</parenthetical> <dialogue>. well, I'm a pretty good dancer if you know what I mean. I bet I got a few moves you ai n't never seen.</dialogue> <character>JERRY</character> <dialogue>I do n't doubt that.</dialogue> <character>DENISE</character> <dialogue>No, he's just joking. We do n't really have any plans other than spending the night at my Dad's house.</dialogue> <parenthetical>( glances at Jerry . )</parenthetical> <dialogue>. which is where we were headed when our car broke down.</dialogue> <character>MOTHER</character> <dialogue>That's nice.</dialogue> <character>DENISE</character> <dialogue>Yeah, I guess I'll just help him hand out candy to the trick or treaters.</dialogue> <character>JERRY</character> <dialogue>And I'm gon na help put the razor blades in the candy apples.</dialogue> <character>MOTHER</character> <dialogue>I'll bet you are. you are a naughty little thing are n't ya.</dialogue> <character>JERRY</character> <dialogue>I was just kidding.</dialogue> <scene_description>Bill and Mary snicker at Jerry 's comments . Denise tries to keep a straight face .</scene_description> <character>MOTHER</character> <dialogue>Oh, I get it. I guess you think you're too good for the simple pleasures of Halloween.</dialogue> <character>MARY</character> <dialogue>No, just a little too old.</dialogue> <character>MOTHER</character> <dialogue>Oh really, well I hope something changes your mind some day.</dialogue> <scene_description>Baby returns from the garage .</scene_description> <character>BABY</character> <dialogue>Tiny's home.</dialogue> <character>MOTHER</character> <dialogue>What about R.J?</dialogue> <character>BABY</character> <dialogue>Oh, he was already gone before I seen him. but Tiny saw him and said he said he was going out to the yard to get a new wheel.</dialogue> <character>BILL</character> <dialogue>The yard, what's that?</dialogue> <character>MOTHER</character> <dialogue>It's an old auto junkyard out in Baldwin.</dialogue> <character>DENISE</character> <dialogue>How long is that gon na take?</dialogue> <character>MOTHER</character> <dialogue>He should be back in a couple hours.</dialogue> <character>MARY</character> <dialogue>A couple hours!</dialogue> <character>DENISE</character> <dialogue>Ca n't Tiny drive us to a phone?</dialogue> <scene_description>Mother and Baby laugh .</scene_description> <character>MOTHER</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Tiny ai n't got no car, he ai n't even got a bicycle.</dialogue> <character>DENISE</character> <dialogue>How's he get around out here?</dialogue> <character>BABY</character> <dialogue>He walks, duh.</dialogue> <character>MARY</character> <dialogue>Fucking great.</dialogue> <character>MOTHER</character> <dialogue>I know you're my guests and welcome but I'd please advise you to keep from cussing while in my house, thank you.</dialogue> <character>MARY</character> <dialogue>Sorry.</dialogue> <character>MOTHER</character> <dialogue>Well, even though I know it seems childish to you all. Tonight is Halloween eve and it special to us so you are all invited to stay for dinner.</dialogue> <scene_description>Under the circumstances they realize they have no choice . They grin and bear it .</scene_description> <character>DENISE</character> <dialogue>Thank you.</dialogue> <character>JERRY</character> <parenthetical>( imitates Elvis . )</parenthetical> <dialogue>Yes, thank you. Thank you very much.</dialogue> <character>MOTHER</character> <parenthetical>( Mother touches Jerry 's shoulder suggestively . )</parenthetical> <dialogue>You're a strange one, are n't ya honey. I think you and me are get on like.</dialogue> <parenthetical>( she thinks for a second . )</parenthetical> <dialogue>. like something real good.</dialogue> <scene_description>Camera moves over to the TV . THE END fades up on screen . Dr. Wolfenstein appears over the credits .</scene_description> <character>DR. WOLFENSTEIN</character> <dialogue>There well, who knew there was love to be found in The Old Dark House. Coming up next, do not move a muscle, an artery or a vein as we venture into another creepy classic. are you ready for THE WOLFMAN, baby?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - DINING ROOM</stage_direction> <scene_description>Bill , Jerry , Mary and Denise are now all seated around a large dining room table . A thick mountain of candles sits burning dead center on the table , giving off a warm glow . Dozens of Halloween decorations dangle from strings over the table , spiders , bats and black cats . There is a hand - made PAPER MACHE MASK sitting on each plate .</scene_description> <character>MARY</character> <parenthetical>( holding up the witch mask . )</parenthetical> <dialogue>I hope to Christ she does n't expect us to wear these things.</dialogue> <character>BILL</character> <dialogue>Whatever it is just do it. The more we play along the faster we'll get the hell out of here.</dialogue> <character>DENISE</character> <dialogue>Really, now is not the time to make waves.</dialogue> <character>JERRY</character> <dialogue>Hey, I'm just waiting for Cousin Itt to show up.</dialogue> <character>DENISE</character> <dialogue>Shhhhhh.</dialogue> <scene_description>Mother walks in holding a covered serving tray .</scene_description> <character>DENISE</character> <dialogue>You sure you do n't need any help in there?</dialogue> <character>MOTHER</character> <dialogue>No dear, I'm fine. Now what kind of host would I be if I put my guests to this kind of work.</dialogue> <scene_description>She sets the tray and goes back in the kitchen . BOOM ! The sound of the front door SLAMMING shut is heard , followed by the POUNDING of heavy footsteps . Mother 's and Baby 's shouting is heard .</scene_description> <character>BABY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ma, Tiny's in.</dialogue> <character>MOTHER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Go tell him to get your Grandpa.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - BABY'S ROOM</stage_direction> <scene_description>Baby is standing in front of her closet staring at her clothes . The walls of her room are covered with B+W photos of movie stars .</scene_description> <character>BABY</character> <parenthetical>( whining . )</parenthetical> <dialogue>Ma, I ca n't, I'm busy getting dressed.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - DINING ROOM</stage_direction> <scene_description>TINY ENTERS and removes his coat . Everyone is speechless . Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED POUNDS . He is wearing a black sweater with a big red skull stitched into it . A red knit ski mask covers his face . Black gloves cover his hands . Tiny sits at the table , looks down at his plate and says nothing . Mother comes to fetch Tiny . She relays a message to him with strange hand gestures . Tiny gets up and leaves the room .</scene_description> <character>MOTHER</character> <dialogue>You'll have to forgive Tiny, he ca n't hear so much.</dialogue> <character>DENISE</character> <dialogue>Oh.</dialogue> <character>MOTHER</character> <dialogue>Yeah, my poor baby. It's his Daddy's fault. I mean Earl was a good man. I mean he never hit me or nothing, but one day he just got up and went pure devil on us all.</dialogue> <character>DENISE</character> <dialogue>What happened? Oh, I'm sorry, it's none of my business.</dialogue> <character>MOTHER</character> <dialogue>He tried to burn the house down, said it was possessed by the spirits. Tiny was sleeping in the basement where the fire started. I do n't think Earl ever meant to harm us. but Tiny was badly burnt, his ears were destroyed and most of his skin.</dialogue> <character>BILL</character> <dialogue>Is that why he wears the mask?</dialogue> <character>MOTHER</character> <dialogue>Yeah, my baby boy gets shy around new people, but he'll warm up to ya. especially the ladies.</dialogue> <character>JERRY</character> <dialogue>Great. I thought I felt a certain attraction between Mary and Tiny soon as he walked in.</dialogue> <character>MOTHER</character> <dialogue>Maybe. He's a real lady killer.</dialogue> <character>JERRY</character> <dialogue>Did n't ya think, Mary?</dialogue> <scene_description>Mary just smiles , then gives Jerry a dirty look .</scene_description> <character>MOTHER</character> <dialogue>Well, we'll see. the night is young and so are you. oh well, couple more minutes.</dialogue> <scene_description>Mother returns to the kitchen .</scene_description> <character>DENISE</character> <parenthetical>( elbows Jerry . )</parenthetical> <dialogue>Do n't be such a fucking smart ass.</dialogue> <character>MARY</character> <dialogue>Yeah, it's really your fault that we're stuck in this shithole in the first place.</dialogue> <character>JERRY</character> <dialogue>Oh, do n't worry she did n't get offended by what I said. You two got to lighten up. right, Bill?</dialogue> <character>BILL</character> <dialogue>Whatever, at this point all I care about is food. I'm starving and I got a fucking killer headache.</dialogue> <character>JERRY</character> <dialogue>Hey, I asked you if you wanted some chicken.</dialogue> <character>BILL</character> <dialogue>Did n't look like chicken to me, more like fried pussy cat.</dialogue> <character>JERRY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Tasted pretty good.</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT</stage_direction> <scene_description>In a cramped , darkened room we see the huge shape of Tiny hovering over a BED containing the hunched , fragile old body of GRAMPA . Grampa struggles to sit , then slowly slides his legs over the edge of the bed . Tiny helps him to stand .</scene_description> <character>GRAMPA</character> <dialogue>God damn it, I can do it. I can do it myself, ya big monkey. I ai n't dead yet. so do n't you and your sister start counting out my money yet.</dialogue> <scene_description>Grampa steadies himself against Tiny . They slowly walk out of the room .</scene_description> <character>GRAMPA</character> <dialogue>God damn, my dogs are barking.</dialogue> <scene_description>As they move into the light of the hallway , it is clear that Grampa is in his late 80 's . Grampa quickly grows tired . Tiny picks him up in his arms and carries him down the stairs to the dining room . As they move past , the camera comes to rest on a STRANGE OBJECT sitting on a shelf . A LARGE GLASS JAR containing a DEFORMED BABY . The pickled punk looks to have a small second head growing from its temple . The label on the jar reads STUFFY 1973 . The sound from the TV fades up in the background . BELA LUGOSI 'S VOICE can be heard .</scene_description> <character>BELA LUGOSI</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Your hands, please. Your left hand shows your past.</dialogue> <scene_description>TV SCREEN Bela is seen as a fortune teller holding a woman 's hands . This is a scene from The Wolfman .</scene_description> <character>BELA LUGOSI</character> <dialogue>and your right hand shows your future.</dialogue> <scene_description>CLOSE UP We see a tight shot of the woman 's palm . A pentagram appears .</scene_description> </scene> <scene> <stage_direction>INT. DENISE'S FATHER'S HOUSE - NIGHT</stage_direction> <scene_description>We PULL BACK from the TV to find Donald Willis sitting in a old easy chair . The room is modest , but comfortable . He reaches over and picks up a small alarm clock , notices the time , concerned look comes over his face . The phone rings . He quickly answers it .</scene_description> <character>MR. WILLIS</character> <dialogue>Hello, Denise?</dialogue> <scene_description>Disappointment . He mutes the TV .</scene_description> <character>MR. WILLIS</character> <dialogue>Oh, yeah. no, Fred. I was hoping you were Denise, she's a little late.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Yeah, yeah I'm sure the rain just slowed'em down. yeah. uh - huh, yeah. no, no you can keep it'til Tuesday. alright, talk to ya tomorrow, bye.</dialogue> <scene_description>Unmutes the sound on the TV .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - NIGHT</stage_direction> <scene_description>The feast is on . Mother , Tiny , Grampa , Jerry , Bill , Mary and Denise are gathered around the table .</scene_description> <character>MOTHER</character> <dialogue>OK, everyone, put on your masks. We ca n't very well eat with our everyday faces exposed.</dialogue> <scene_description>Mother puts on her mask , Tiny and Grampa follow . Jerry , Bill and Denise slowly raise up their masks , Mary hesitates .</scene_description> <character>GRAMPA</character> <parenthetical>( to Mary . )</parenthetical> <dialogue>Christ kid, put it on. She ai n't letting any of us touch the grub'til you're wearing the damn thing.</dialogue> <scene_description>Mary rolls her eyes and complies .</scene_description> <character>JERRY</character> <dialogue>I've been meaning to ask you, Mrs. Ummmm.</dialogue> <character>MOTHER</character> <parenthetical>( hesitates . )</parenthetical> <dialogue>Firefly.</dialogue> <character>JERRY</character> <dialogue>Firefly. mmmmm odd name. Mrs. Firefly, do you know anything about the legend of Dr. Satan?</dialogue> <character>BILL</character> <dialogue>Here we go.</dialogue> <scene_description>Grampa shifts his eyes onto Mother .</scene_description> <character>MOTHER</character> <parenthetical>( nervously . )</parenthetical> <dialogue>Well, I'm not much for local gossip an this and that, but I've heard it mentioned in passing over the years but. I mean folks is queer and they say things, crazy things you know what I mean?</dialogue> <character>GRAMPA</character> <dialogue>It's all talk, yakty yak, like a bunch of hungry chipmunks. Christ, Dr. Satan. That takes the bull's nuts alright.</dialogue> <parenthetical>( starts laughing . )</parenthetical> <dialogue>. hey, I hear some genius up north got a hot line on the Easter Bunny for ya.</dialogue> <scene_description>A voice from the shadows interrupts .</scene_description> <character>OTIS</character> <parenthetical>( slowly . )</parenthetical> <dialogue>I know all about what you want to know about.</dialogue> <scene_description>A PALE FIGURE creeps forward like NOSFERATU from a dark corner of the room . This is OTIS . He stands six foot , but is deathly slim . His skin is translucent , glowing in the dark . Long thin white hair covers his head . His eyes are grey . He is an ALBINO . He is holding a GLASS JAR containing a SMALL FETUS . On closer inspection we see there are two small bodies joined to one head . The label reads WOLF .</scene_description> <character>MOTHER</character> <parenthetical>( happy surprise . )</parenthetical> <dialogue>Otis! I ca n't believe you decided to come down and join us. and you brought little Wolf. This really is a special night. all my babies together.</dialogue> <scene_description>Otis sets the disturbing jar of Wolf on the table . He leans forward onto the jar , resting his chin .</scene_description> <character>OTIS</character> <dialogue>Now, I do n't know where you heard all your little fairy fables about Dr. Satan but.</dialogue> <character>BILL</character> <dialogue>From a Captain Spaulding down at some museum.</dialogue> <character>OTIS</character> <parenthetical>( laughing . )</parenthetical> <dialogue>That old bitch hog do n't know shit. He tells cute little tattle - tales to sell his junk, but he do n't sell no Yankee boys no truth.</dialogue> <character>JERRY</character> <dialogue>But something happened, right? I mean the story is based on a real incident, right?</dialogue> <character>GRAMPA</character> <parenthetical>( mouth full of food . )</parenthetical> <dialogue>What are you, Jimmy Olsen cub reporter for the Daily Asshole?</dialogue> <character>MOTHER</character> <dialogue>Grampa. watch the language.</dialogue> <character>OTIS</character> <dialogue>I ai n't sure that you really need to know. It's better you go home still dreaming about your kitty cats and puppy dogs.</dialogue> <character>JERRY</character> <dialogue>I really want to know.</dialogue> <character>GRAMPA</character> <dialogue>Hey, the kid wants to know. Enlighten him.</dialogue> <character>OTIS</character> <dialogue>Boy, I bet you'd stick your head in the fire if I told ya you'd see Hell. meanwhile you too stupid to realize you got a demon sticking out your ass singing, `` Holy Miss Moly, I got a live one.''</dialogue> <character>DENISE</character> <dialogue>Can we please change the subject?</dialogue> <scene_description>The CLOCK on the wall strikes TEN .</scene_description> <character>GRAMPA</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Dinner's over.</dialogue> <parenthetical>( pushes his plate back and stands up . )</parenthetical> <dialogue>Ladies and Germs. it's showtime.</dialogue> <scene_description>Grampa hobbles out of the room .</scene_description> <character>BILL</character> <dialogue>What's he so excited about?</dialogue> <character>DENISE</character> <dialogue>Yeah, showtime for what?</dialogue> <character>MOTHER</character> <dialogue>For the show. It's Halloween eve and time for our show.</dialogue> <character>JERRY</character> <dialogue>Oh, you mean on TV.</dialogue> <character>MOTHER</character> <dialogue>No, no, no it's so much more special than that. you'll see, you'll be the first to ever see. I think this is something you'll really love.</dialogue> <character>JERRY</character> <dialogue>Great.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - BARN - NIGHT</stage_direction> <scene_description>Billy , Jerry , Mary and Denise stand waiting in front of an old barn . Tiny unlocks the huge doors of the barn and swings them open . Standing inside waiting is Mother . She is all dressed up for the occasion .</scene_description> <character>MOTHER</character> <dialogue>Please, come in. how many in your party.</dialogue> <parenthetical>( she counts the heads . )</parenthetical> <dialogue>. one, two, three and four. right this way.</dialogue> <scene_description>Mother hands each of them a folded piece of paper , which serves as a program book . Hand drawn on each is an orange pumpkin .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - BARN - NIGHT</stage_direction> <scene_description>We follow Mother inside . Thousands of red Christmas lights hang down , strung through the rotting wood rafters . Crates , barrels and an odd assortment of chairs face a large quilted curtain . Filling these seats are LIFELESS DUMMIES .</scene_description> <character>MOTHER</character> <dialogue>Please be seated.</dialogue> <scene_description>Mother motions toward four empty seats in the front row .</scene_description> <character>JERRY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>This is way too fucked up for words.</dialogue> <character>MARY</character> <parenthetical>( loud whisper . )</parenthetical> <dialogue>I know the words. fucking psycho fucking bullshit, that's the words.</dialogue> <character>BILL</character> <dialogue>Just grin and bear it.</dialogue> <character>DENISE</character> <dialogue>That food.</dialogue> <parenthetical>( holding stomach . )</parenthetical> <dialogue>ugh, I feel like I'm gon na puke.</dialogue> <scene_description>Jerry , Bill , Mary and Denise take their seats . Mary flips open the program . Inside , written in crayon , are the words : HALLOWEEN EXTRAVAGANZA - starring the Comedy Legend GRAMPA and the World Famous BABY .</scene_description> <character>MARY</character> <parenthetical>( to Bill . )</parenthetical> <dialogue>Check this out.</dialogue> <character>BILL</character> <dialogue>Well, ya ca n't complain I never take you anyplace.</dialogue> <scene_description>The sound of a warped crackling record fills the room . Lounge music . A small spotlight hits the quilted curtain covering the stage . Mother Firefly stands behind the controls . She is smiling proudly . The curtain clumsily parts TO REVEAL : A stage set pieced together from amusement park wreckage . A giant painted plywood devil looms over the stage , surrounded by dancing skeletons and demon girls . A microphone stands center stage .</scene_description> <character>BILL</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I ca n't believe what I'm seeing.</dialogue> <character>JERRY</character> <dialogue>I know, this is fucking nuts.</dialogue> <character>MARY</character> <dialogue>This is starting to make me real uncomfortable.</dialogue> <character>BILL</character> <dialogue>Just sit back and enjoy the show.</dialogue> <scene_description>The sound of CANNED APPLAUSE fills the room . Bill begins to applaud , Jerry and Denise join in . Mary does not .</scene_description> <character>GRAMPA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Ladies and gentlemen, straight from his smash six week sold out run at Tiki - Ti Club. the Stardust lounge is proud to present Mr. Sexy himself. Grampa Hugo.</dialogue> <scene_description>Grampa walks out to center stage , mic in hand and begins to speak .</scene_description> <character>GRAMPA</character> <dialogue>Hey, let me tell ya a story. so I'm hanging out with my buddy Hal Jackowictz and I'm like, hey Hal let's go get some booze and chase the chickens. fucking Hal says no, no the old battle axe at home will break my balls. I got ta get my ass home.</dialogue> <scene_description>The kids stare in shock at Grampa . Jerry begins to laugh .</scene_description> <character>GRAMPA</character> <dialogue>So, I tell ` im. Hal, here's the secret. Go home tonight, crawl into bed, get under the covers and eat your wife's pussy. I mean jam your face right in the bush.</dialogue> <scene_description>Jerry starts to giggle .</scene_description> <character>DENISE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>What are you laughing at?</dialogue> <character>JERRY</character> <dialogue>I do n't know, I think he's funny.</dialogue> <character>DENISE</character> <dialogue>This is n't funny, it's twisted.</dialogue> <character>GRAMPA</character> <dialogue>So, Hal goes home, jumps in, starts chomping and licking away at her pussy, she's screaming and howling. totally passes out from the experience.</dialogue> <character>MARY</character> <dialogue>Dear God, let this end.</dialogue> <character>GRAMPA</character> <dialogue>Now, Hal. He's feeling pretty good, so he goes into the bathroom for a quick shave.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>. suddenly he lets out a horrible scream. Ahhhhhhhhhhhhhh!</dialogue> <scene_description>The recorded crowd chuckles .</scene_description> <character>GRAMPA</character> <dialogue>Sitting there on the toilet is Hal's wife Gloria. and she says, `` Quiet down, you'll wake Grandma!''</dialogue> <scene_description>The recorded crowd screams with laughter , as does Jerry . Bill , Denise and Mary look at him like he 's crazy .</scene_description> <character>GRAMPA</character> <dialogue>Thank you, you're too kind, too kind. stay in your seats, coming up next we got something special for you men out there.</dialogue> <scene_description>The curtains close and the stage goes dark .</scene_description> <character>DENISE</character> <dialogue>Shit, I'm all for being a sport, but this is ridiculous.</dialogue> <character>BILL</character> <parenthetical>( looking at his watch . )</parenthetical> <dialogue>Man, it's already ten thirty.</dialogue> <character>MARY</character> <dialogue>I'm with Denise, ca n't we just walk to someplace, this is getting fucking stupid.</dialogue> <character>JERRY</character> <dialogue>Negative. Shit, we are so deep in the sticks we could walk for hours and find zero.</dialogue> <character>BILL</character> <dialogue>Yeah, I'd say at this point all we can do is just wait it out. There's nothing else.</dialogue> <character>DENISE</character> <dialogue>I suppose. I mean they're obviously all bonkers, but I guess they're harmless.</dialogue> <character>MARY</character> <dialogue>I fucking hope so.</dialogue> <scene_description>The stage lights come up . The recorded applause and music begin . Baby enters the stage . She is dressed in a home - made showgirl outfit . She begins to dance clumsily to the music . She appears to be somewhat intoxicated . The vocals come on and Baby begins to lipsync to the song .</scene_description> <character>DENISE</character> <dialogue>You got ta be kidding me. This chick is wasted.</dialogue> <character>JERRY</character> <dialogue>Shhhhhh.</dialogue> <character>MARY</character> <dialogue>How much is a person supposed to stand?</dialogue> <character>BILL</character> <parenthetical>( motioning for Mary to keep her voice down . )</parenthetical> <dialogue>Quiet.</dialogue> <character>MARY</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Oh, I'm sorry, bothering you? Was I disturbing your viewing pleasure?</dialogue> <scene_description>Baby makes her way down from stage on to floor level . She gyrates and seductively TEASES one of the dummy audience members . Baby moves over to Jerry . Stroking her hand down his face . Denise tries to look amused . Jerry smiles uncomfortably . Baby strolls past Denise and stops in front of Mary . Baby pauses and pinches Mary 's cheek and winks . Mary is FURIOUS . Baby moves over to Bill . Mary watches like a mother hawk . Baby sings and dances with all of her attention focused on Bill . Baby puts her arms around Bill 's neck and sits on his lap . Mary BOLTS FORWARD and SHOVES Baby off of Bill . Baby crashes onto the floor .</scene_description> <character>MARY</character> <dialogue>Take that, you fucking slut!</dialogue> <parenthetical>( Mary spits at Baby . )</parenthetical> <dialogue>Fucking redneck whore!</dialogue> <character>BABY</character> <dialogue>You should n't a done that.</dialogue> <character>MARY</character> <dialogue>Why? You gon na do something about it?</dialogue> <character>BABY</character> <parenthetical>( standing up . )</parenthetical> <dialogue>Yeah, I'll do something.</dialogue> <scene_description>Baby takes out a straight razor from behind her back .</scene_description> <character>BABY</character> <dialogue>I'll cut your fucking tits off and shove'em down your throat.</dialogue> <character>MOTHER</character> <dialogue>Baby! Stop!</dialogue> <scene_description>Mrs. Firefly runs down from her position behind the spotlight and intercedes .</scene_description> <character>BABY</character> <dialogue>Come on, ma. this bitch's got it coming.</dialogue> <character>MOTHER</character> <dialogue>No, I told you.</dialogue> <scene_description>SCREECH ! The garage door slides open . Rufus has returned .</scene_description> <character>RUFUS JR.</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Car's done.</dialogue> <character>DENISE</character> <dialogue>Thank God.</dialogue> <character>MOTHER</character> <dialogue>I suggest you kids leave now.</dialogue> <character>MARY</character> <dialogue>Do n't worry, I'm gone.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction> <scene_description>Bill , Jerry , Denise and Mary climb back into their car .</scene_description> <character>BILL</character> <dialogue>Do n't look back, just get in the car.</dialogue> <character>DENISE</character> <dialogue>Lock the fucking doors.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Bill begins to pull the car down the long dirt driveway towards the road . The heavy rain makes visibility difficult .</scene_description> <character>BILL</character> <parenthetical>( straining to see through the darkness . )</parenthetical> <dialogue>Almost there.</dialogue> <character>JERRY</character> <dialogue>Jesus, you think she was really gon na cut you?</dialogue> <character>MARY</character> <parenthetical>( leaning her forehead on the window . )</parenthetical> <dialogue>Of course she was gon na cut me, she's a fucking nut.</dialogue> <parenthetical>( closes her eyes and takes a breath . )</parenthetical> <dialogue>I knew she was crazy from the second we picked her up.</dialogue> <scene_description>SLAM ! Suddenly , Baby pounds her fist against Mary 's window . Mary jumps back in terror .</scene_description> <character>BABY</character> <parenthetical>( screaming . )</parenthetical> <dialogue>You're in Hell, bitch! You're gon na die like a dog!</dialogue> <scene_description>Baby disappears into the darkness .</scene_description> <character>MARY</character> <dialogue>Go! Go! Go! Get us out of here!</dialogue> <scene_description>Bill pulls the car up to the front gate . It is chained shut with a huge padlock . LIGHTNING CRASHES , illuminating the crucified scarecrows . FLASH CLOSE - UP CUTS - of grinning jack - o - lantern faces peer down from above .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Bill opens the car door , starts to get out .</scene_description> <character>MARY</character> <parenthetical>( hysterical . )</parenthetical> <dialogue>What are you doing!</dialogue> <character>BILL</character> <dialogue>I got ta open the gate.</dialogue> <character>MARY</character> <dialogue>Drive through it!</dialogue> <character>BILL</character> <dialogue>It wo n't work.</dialogue> <character>JERRY</character> <dialogue>Holy fuck, hurry up.</dialogue> <scene_description>Jerry , Mary and Denise watch through the windshield as Bill struggles to unlatch the thick iron gates . SUDDENLY , one of the SCARECROWS JUMPS down from his cross and SMASHES Bill over the head with a HEAVY CLUB . Bill drops to his knees .</scene_description> <character>MARY</character> <dialogue>Bill! Help him!</dialogue> <scene_description>Jerry throws open his door to get out . He 's SHOVED BACK into the car by another , larger scarecrow outside his door . This scarecrow begins smashing the car 's windows with a METAL PIPE . Bill lays motionless , face down in the mud . His attacker turns his attention on the car . He also begins smashing the car 's windows .</scene_description> </scene> <scene> <stage_direction>EXT. CAR - NIGHT</stage_direction> <scene_description>From a distance we see Jerry pulled from the car and beaten . The girls are helplessly trapped inside the destroyed vehicle . The scarecrows continue to pound on the car . As we fade out , the sound of a BARKING DOG can be heard .</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - MAGIC</stage_direction> <scene_description>From a long shot , we see the farmhouse in the early morning sunrise . All is still . The sound of an engine starting breaks the early morning silence . Rufus 's tow truck is seen pulling away from behind the house . The BEATEN REMAINS of Bill 's car are towed behind it .</scene_description> </scene> <scene> <stage_direction>EXT. WILLIS HOUSE - SUNRISE</stage_direction> <scene_description>Darkness , except for the face of an alarm clock . The time is 7:00 AM . TICK , TICK , TICK . BUZZZZZZ . The alarm goes off . A hand reaches over and turns off the alarm . We hear a deep groan . A light turns on .</scene_description> </scene> <scene> <stage_direction>INT. WILLIS'S LIVING ROOM - MORNING</stage_direction> <scene_description>Don Willis wakes up , having fallen asleep in his easy chair . He sits up and wipes the sleep from his eyes . He runs a hand across his head , smoothing out his thinning grey hair . He picks up a phone next to his bed , dials a number , waits .</scene_description> <character>MR. WILLIS</character> <dialogue>Hi. Lieutenant Broekman please. Donald Willis.</dialogue> <scene_description>He holds .</scene_description> <character>MR. WILLIS</character> <dialogue>Hey, Phil.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Yeah, I'm alright. but I need you to check on something for me.</dialogue> <scene_description>Willis stands , walks to the window , opens the shades , morning sun fills the room . shelf by the window is cluttered with framed photographs . B+W memories of Denise at the beach , RUDY the dog . High school graduations and Donald Willis in uniform with the other members of 56 Precinct . Donald is a FORMER POLICE OFFICER .</scene_description> <character>MR. WILLIS</character> <dialogue>I'm a little worried about Denise. She called me last night from the road, out by Ruggsville at some joint called Spaulding's or something like that, said she'd be here about eleven. but she never showed up.</dialogue> <scene_description>Paces .</scene_description> <character>MR. WILLIS</character> <dialogue>Yeah, if you could run a check on up that way and see about any accidents or road closing or anything, I'd really appreciate it.</dialogue> <parenthetical>( listening . )</parenthetical> <dialogue>. yeah, yeah, I know. I'm sure nothing happened but, you know me I like to worry. thanks. bye.</dialogue> <scene_description>Hangs up the phone .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - OTIS'S ROOM - DAY</stage_direction> <scene_description>Mary opens her eyes , squinting into the light . Sunlight peers through filth on the windows , fractured by the tattered remains of rotted curtains . Peeling yellowed newspaper serves as wallpaper surrounding the window . Mary 's eyes move across the walls to a painting of a BIG EYED KITTEN . She stares at it and smiles . A look of horror begins to appear on her face . She begins to scream uncontrollably .</scene_description> <character>OTIS</character> <parenthetical>( off screen . )</parenthetical> <dialogue>Shut your fucking mouth!</dialogue> <scene_description>She is hysterical .</scene_description> <character>OTIS</character> <dialogue>I said shut your mouth!</dialogue> <scene_description>ZOOM BACK to see Mary wearing a dunce cap , tied to a chair , facing a corner in the farmhouse 's attic . This is Otis 's art studio . Otis , standing before a large canvas , sets down his paint brush and calmly walks over to Mary . He spins her chair around , clamps her mouth shut with his hand and leans his nose against hers .</scene_description> <character>OTIS</character> <parenthetical>( slow and sinister . )</parenthetical> <dialogue>Listen, you Malibu Barbie middle class piece of shit. I'm trying to work, you got me, work. you ever work?</dialogue> <scene_description>Mary 's eyes scream with terror , she nods yes .</scene_description> <character>OTIS</character> <dialogue>Yeah, I'll bet you did. Scooping ice cream to your shitheel friends on summer break. well, I ai n't talking about white socks with Mickey Mouse on one side and Donald Duck on the other. shit, you ai n't reading no funny books, mamma.</dialogue> <scene_description>Otis raises his paint covered hand .</scene_description> <character>OTIS</character> <dialogue>This is blood and guts, Suzy Q. Our bodies come and go, but this blood is forever.</dialogue> <parenthetical>( pulls a small book from his breast pocket . )</parenthetical> <dialogue>. let me read you something, listen and learn. you listening?</dialogue> <scene_description>Otis pulls back his hand , ready to backhand her across the face with the book . She nods again . He lowers the book .</scene_description> <character>OTIS</character> <parenthetical>( gesturing dramatically . )</parenthetical> <dialogue>And the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy `` Man'' And its hero the Conqueror Worm.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>. you get that? Art is eternal, you get me, mamma?</dialogue> <scene_description>Mary stares dumbfounded .</scene_description> <character>OTIS</character> <dialogue>Now, I'm gon na remove my hand. you make a sound and I swear I'll slit you open and make you eat your own fucking intestines. you get me?</dialogue> <scene_description>She nods again . He slowly removes his hand from her mouth . Mary tries to remain calm , but starts to hyperventilate . Tears roll down her face .</scene_description> <character>MARY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Why? Why are you doing this?</dialogue> <character>OTIS</character> <dialogue>Doing what? Messy up your day? Well, fuck lady there are some bigger issues at hand. than your fucking have a nice fucking day bumper sticker shit!</dialogue> <character>MARY</character> <dialogue>Where's Bill?</dialogue> <character>OTIS</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Well, Bill. he's a good guy, he's been great help to me. a real blessing. I could n't have asked for a better specimen. I mean you do n't know what a dry spell I've had, total block.</dialogue> <parenthetical>( slaps his forehead . )</parenthetical> <dialogue>. total block. but Bill he's OK.</dialogue> <scene_description>Mary looks confused , but relieved .</scene_description> <character>MARY</character> <parenthetical>( softly . )</parenthetical> <dialogue>Where is he?</dialogue> <character>OTIS</character> <dialogue>Let's go see.</dialogue> <scene_description>Otis grabs the back of the chair and drags her across the room towards a curtained off area . Whoosh ! He pulls her through the curtains . From behind the curtain we hear Mary SCREAMING and Otis LAUGHING .</scene_description> <character>MARY</character> <parenthetical>( behind curtain . )</parenthetical> <dialogue>Bill? No, no, no! What have you done? Bill!</dialogue> </scene> <scene> <stage_direction>INT. CURTAIN ROOM - OTIS'S ROOM - DAY</stage_direction> <scene_description>Ugliness . Decay . Pain . Carefully arranged on a model 's platform is the severed torso of Bill sewn to a large homemade fish tail . He is lying on his ride side posing . Bill 's face is frozen in a death scream .</scene_description> <character>OTIS</character> <dialogue>Behold. The Fish - Boy!</dialogue> <character>MARY</character> <parenthetical>( repeating to herself . )</parenthetical> <dialogue>This ca n't be real, this ca n't be real, this ca n't be real.</dialogue> <character>OTIS</character> <dialogue>Oh, it's real. as real as I want it to be, mamma.</dialogue> <parenthetical>( grabs his canvas and holds it in her face . )</parenthetical> <dialogue>. look, see the magic in my brush strokes.</dialogue> <scene_description>Painted on the canvas is the gruesome scene of Bill as the Fish - Boy .</scene_description> <character>MARY</character> <parenthetical>( crying . )</parenthetical> <dialogue>Fuck you, you fucking freak!</dialogue> <character>OTIS</character> <dialogue>Oh, come now. we're all creatures of God and freaks in our own way.</dialogue> <parenthetical>( twitches and shakes . )</parenthetical> <dialogue>. but if you'll notice.</dialogue> <parenthetical>( points to a blank spot in the painting . )</parenthetical> <dialogue>right here, needs a little something, heh?</dialogue> <scene_description>Otis slowly puts down the canvas , turns and picks up a huge hunting knife .</scene_description> <character>MARY</character> <dialogue>What are you doing?</dialogue> <parenthetical>( squirming . )</parenthetical> <dialogue>. no, stop. please, please.</dialogue> <character>OTIS</character> <dialogue>You, my dear worm feeder, are about to become immortalized.</dialogue> <scene_description>Otis draws back the knife .</scene_description> <character>MARY</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Noooooooooooo!</dialogue> <scene_description>Otis swings the knife forward , directly into the camera . CLOSE UP - CLOWN FACE Ravelli 's clown head bobs back and forth . Ravelli , wearing his clown head , stands by the road side waving to passing cars .</scene_description> </scene> <scene> <stage_direction>EXT. SPAULDING'S - DAY</stage_direction> <scene_description>A police car drives past Ravelli and comes to a stop . OFFICER GEORGE WYDELL , 42 , a big , slightly paunchy man with a big mustache and mirrored sunglasses , steps from his car . Following close behind , OFFICER STEVE NAISH , 29 , tall athletic .</scene_description> <character>WYDELL</character> <parenthetical>( pauses , looks around , pulls up his belt . )</parenthetical> <dialogue>Well, let's go see if the nut that runs this place can help us.</dialogue> <character>NAISH</character> <dialogue>Right.</dialogue> <scene_description>They walk to the door .</scene_description> </scene> <scene> <stage_direction>INT. SPAULDING'S - DAY</stage_direction> <scene_description>The door swings open . Wydell enters slowly , putting on his best cowboy attitude . Naish follows suit . Wydell , hands on his belt , struts up to the counter . No one is around . A rusted bell sits on the counter , taped to it is a handwritten note , `` ring for service '' . Wydell rings it once , waits , no response . Rings it again , waits , no response .</scene_description> <character>NAISH</character> <parenthetical>( looking around the room . )</parenthetical> <dialogue>Get a load of all this crap. this is one sick place.</dialogue> <scene_description>Wydell begins ringing the bell non - stop . Spaulding shouts from the backroom .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Whoever's a jerking off on that bell better be gone when I get out there.'cause I'm gon na rip your nuts off.</dialogue> <scene_description>Spaulding enters from behind the curtain , angry . He sees the troopers and puts on a phony grin .</scene_description> <character>CAPT. SPAULDING</character> <dialogue>Officers, officers what can I do for you today? I ai n't fried up the birds yet. if that's what you're ring a ding dinging about.</dialogue> <character>WYDELL</character> <parenthetical>( pulls a paper from his pocket . )</parenthetical> <dialogue>What I need are some answers.</dialogue> <parenthetical>( unfolds the paper to reveal a picture of Denise . )</parenthetical> <dialogue /> <character>CAPT. SPAULDING</character> <dialogue>Well, I'll try but I do n't know nothing ` bout nobody. I'm a guy who likes to mind his own business, if ya get what I'm saying.</dialogue> <character>WYDELL</character> <parenthetical>( holds up picture . )</parenthetical> <dialogue>You seen this girl? Say. within the last 24 hours.</dialogue> <scene_description>Spaulding reaches out and grabs the picture .</scene_description> <character>CAPT. SPAULDING</character> <parenthetical>( studies the picture . )</parenthetical> <dialogue>Yeah, yeah I seen her. Good looking kid, but not really my type.</dialogue> <parenthetical>( gesturing with his hands . )</parenthetical> <dialogue>. I like meaty, eh?</dialogue> <character>NAISH</character> <parenthetical>( losing patience . )</parenthetical> <dialogue>Hey ass clown, how ` bout some answers. He ai n't interested in your love life.</dialogue> <character>WYDELL</character> <dialogue>Come on, get with the facts.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Hmmmmmmmmm?</dialogue> <character>WYDELL</character> <dialogue>What'd you see, who was she with, where were they going?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Aw, she was with some nosey, smartass high - rise kids. They were poking around. asking stupid questions.</dialogue> <character>NAISH</character> <dialogue>Questions about what?</dialogue> <character>CAPT. SPAULDING</character> <dialogue>This and that, mostly some tired Dr. Satan bullshit. they got a gander at the display back there and thought they could solve the great Deadwoods mystery.</dialogue> <character>WYDELL</character> <dialogue>And.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>And I gave'em directions out there, up by the old farm row. I figured what's the harm. Stupid kids probably going out to piss up a rope and got themselves turned around backasswards and got lost as shit.</dialogue> <character>WYDELL</character> <dialogue>Is that all. think real hard.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Yeah, they were n't here but a few minutes, did n't really have time to get as up close and personal as I do with most of the assholes that wander through here.</dialogue> <character>WYDELL</character> <dialogue>How's about you give me those same directions.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Yeah, yeah, sure. You do n't have to get all True Grit all over my ass. I'll give'm to ya. you can knock yourself silly for all I care.</dialogue> <character>WYDELL</character> <parenthetical>( hands him a note pad . )</parenthetical> <dialogue>Enough talk, write.</dialogue> </scene> <scene> <stage_direction>INT. TOW TRUCK - DAY</stage_direction> <scene_description>We are cruising down the road . A bobbing head skeleton toy glued to the dashboard wiggles with each bump in the road . Behind the wheel is Rufus Jr. , riding shotgun is Baby , dressed in her Sunday best . The radio is blasting .</scene_description> <character>BABY</character> <parenthetical>( screaming over the music . )</parenthetical> <dialogue>We're gon na have fun tonight, bro.</dialogue> <character>RUFUS JR.</character> <dialogue>Yeah, fun.</dialogue> <scene_description>They speed off .</scene_description> </scene> <scene> <stage_direction>EXT. CHERRYPICKER RD. - WOODS - MIDDAY</stage_direction> <scene_description>The police cruiser maneuvers down the rough dirt road .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - MIDDAY</stage_direction> <scene_description>Wydell and Naish scan the surrounding woods for any sign of Denise and her friends .</scene_description> <character>NAISH</character> <dialogue>Boss, the way I see it is these kids probally stop off somewhere, bought a bunch of booze and are off getting shitfaced.</dialogue> <character>WYDELL</character> <dialogue>I hope you're right, but my guts are telling me different.</dialogue> <character>NAISH</character> <dialogue>Your Spidey senses tingling.</dialogue> <character>WYDELL</character> <dialogue>Yeah.</dialogue> <parenthetical>( realizes what he just said . )</parenthetical> <dialogue>. huh, what the hell are you talking about?</dialogue> <character>NAISH</character> <dialogue>You know, your hyper sensitive Spidey senses. like Spider - man.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>. you know, like in the comics.</dialogue> <character>WYDELL</character> <dialogue>How old do you think I am? I know who the fuck Spider - man is. Get to your point.</dialogue> <character>NAISH</character> <dialogue>You know, his senses start tingling. when he was approaching danger and shit.</dialogue> <character>WYDELL</character> <dialogue>I always favored the Hulk.</dialogue> <character>NAISH</character> <dialogue>Hulk was dumb as shit.</dialogue> <character>WYDELL</character> <dialogue>Aw, fuck.</dialogue> <character>NAISH</character> <dialogue>What.</dialogue> </scene> <scene> <stage_direction>EXT. CHERRYPICKER RD. - WOODS - MIDDAY</stage_direction> <scene_description>Bill 's car is down in a ditch , run off the side of the road .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - MIDDAY</stage_direction> <scene_description>Naish checks the license plate number with his sheet .</scene_description> <character>NAISH</character> <dialogue>Plates match.</dialogue> <character>WYDELL</character> <dialogue>Call the chief. We found'em.</dialogue> </scene> <scene> <stage_direction>EXT. PINK PUSSY CAT LIQUORS - MIDDAY</stage_direction> <scene_description>A small , crummy liquor store stands next to a sleazy motel . A filthy looking hooker leads her customer to a waiting room , a homeless bum stands screaming obscenities in the parking lot .</scene_description> </scene> <scene> <stage_direction>INT. PINK PUSSY CAT LIQUORS - MIDDAY</stage_direction> <scene_description>The store is decorated for Halloween . Off to one side is a curtained room . A sign reads `` XXX 8mm loops '' , sex noises can be heard inside . Baby and Rufus stand at the counter waiting for the CASHIER , a skinny geek with glasses , to total up their purchases . The counter is loaded with bottles . The cashier is packing the bottles into cardboard boxes .</scene_description> <character>CASHIER</character> <dialogue>You all having a Halloween party tonight?</dialogue> <character>BABY</character> <dialogue>Now, what makes you think that?</dialogue> <character>CASHIER</character> <dialogue>You all sure are buying a lot of holy water for two people.</dialogue> <character>BABY</character> <dialogue>Yeah, well we like to get fucked up and do fucked up shit, you know what I mean?</dialogue> <character>CASHIER</character> <dialogue>Yeah, yeah.</dialogue> <parenthetical>( giggling . )</parenthetical> <dialogue>. I like to fuck shit up.</dialogue> <character>BABY</character> <dialogue>I'll bet you do. how much we owe ya.</dialogue> <parenthetical>( looks at his name tag . )</parenthetical> <dialogue>. Goober?</dialogue> <character>CASHIER</character> <parenthetical>( looking down at his tag . )</parenthetical> <dialogue>Actually it's G. Ober. Gerry Ober, but the guys drew in the other O, fucking assholes.</dialogue> <character>BABY</character> <parenthetical>( uninterested . )</parenthetical> <dialogue>Great story Goober, how much?</dialogue> <character>CASHIER</character> <dialogue>Ummmm. two hundred and eighty - five dollars.</dialogue> <scene_description>Baby throws down three hundred dollars .</scene_description> <character>BABY</character> <dialogue>Keep the change and get yourself a new name.</dialogue> <character>CASHIER</character> <dialogue>Holy crap, thanks!</dialogue> <scene_description>Rufus picks up the boxes from the counter . He and Baby start to walk away .</scene_description> <character>BABY</character> <dialogue>Come on, bro. Let's go.</dialogue> <character>CASHIER</character> <parenthetical>( holding out a flyer . )</parenthetical> <dialogue>Hey, wait take this.</dialogue> <scene_description>Baby stops and grabs the flyer .</scene_description> <character>BABY</character> <dialogue>What's this?</dialogue> <character>CASHIER</character> <dialogue>A missing girl. I use ` ta go to school with her, she just up and disappeared some day. real weird.</dialogue> <scene_description>The flyer reads MISSING , KAREN MURPHY , 18 . The picture on the flyer shows the smiling chubby face of a young girl .</scene_description> <character>BABY</character> <dialogue>Now is n't she a happy little cherub. oh well.</dialogue> <parenthetical>( stuffs it in her pocket . )</parenthetical> <dialogue>. nobody just up and disappears.</dialogue> <character>RUFUS JR.</character> <parenthetical>( mutters . )</parenthetical> <dialogue>Aliens.</dialogue> <character>BABY</character> <dialogue>Yeah, maybe it was fucking aliens.</dialogue> </scene> <scene> <stage_direction>EXT. PINK PUSSY CAT LIQUOR - MIDDAY</stage_direction> <scene_description>Baby and Rufus exit . Rufus loads the boxes into the back of the truck . Baby sits on the curb and lights a cigarette .</scene_description> </scene> <scene> <stage_direction>EXT. CHERRYPICKER ROAD - WOODS - MIDDAY</stage_direction> <scene_description>Bill 's car is now sitting in the middle of the road . The back is attached to a police tow truck . An additional police cruiser arrives on the scene . Sheriff Huston steps out from his cruiser .</scene_description> <character>HUSTON</character> <dialogue>What'd we here, Georgie?</dialogue> <character>WYDELL</character> <dialogue>A vehicle registered to a William S. Hudley.</dialogue> <character>HUSTON</character> <dialogue>Holy Jesus, somebody had themselves a field day beating the shit outta this thing.</dialogue> <character>WYDELL</character> <dialogue>Yeah, no mercy here.</dialogue> <character>HUSTON</character> <dialogue>Recover any bodies?</dialogue> <character>WYDELL</character> <dialogue>Not yet.</dialogue> <character>HUSTON</character> <parenthetical>( inspecting the car . )</parenthetical> <dialogue>Shit, I wonder what these kids did to bring this much hell down on'em.</dialogue> <character>WYDELL</character> <dialogue>Just in the wrong place at the wrong time.</dialogue> <character>HUSTON</character> <dialogue>That's the understatement of the year.</dialogue> <character>WYDELL</character> <dialogue>Yep, I suppose it is.</dialogue> </scene> <scene> <stage_direction>INT. BILL'S CAR - WOODS - MIDDAY</stage_direction> <scene_description>Naish is digging around under the front seat .</scene_description> <character>NAISH</character> <dialogue>Hey, I found something.</dialogue> <scene_description>Naish crawls out of the car .</scene_description> </scene> <scene> <stage_direction>EXT. CHERRYPICKER ROAD - WOODS - MIDDAY</stage_direction> <character>HUSTON</character> <dialogue>What'd ya got there?</dialogue> <character>NAISH</character> <dialogue>Keys.</dialogue> <character>HUSTON</character> <dialogue>Well Christ boy, do n't stand there like a prize dog dick with his butthole caught up a tree.</dialogue> <character>NAISH</character> <dialogue>Huh?</dialogue> <character>HUSTON</character> <dialogue>Open up the trunk.</dialogue> <character>NAISH</character> <dialogue>Yes, sir.</dialogue> <character>WYDELL</character> <dialogue>Toss'em over here.</dialogue> <scene_description>Naish tosses them over the car to Wydell . Wydell fishes through the keys , finds the trunk key and opens it .</scene_description> <character>WYDELL</character> <parenthetical>( winces . )</parenthetical> <dialogue>God damn.</dialogue> <character>HUSTON</character> <dialogue>You find something, Georgie?</dialogue> <character>WYDELL</character> <parenthetical>( disgusted . )</parenthetical> <dialogue>Yep, I found something.</dialogue> <scene_description>We move around the car to see the nude body of Karen Murphy laying in the trunk . Her arms and legs are hog tied . She is dead . The word TRICK is carved into her side .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON</stage_direction> <scene_description>Water drips down from the leaking pipes above . Scavenging rats scurry across the concrete floor . In a far corner a single light burns , a child 's Humpty Dumpty lamp , illuminating - Denise is strapped to an old wooden bed . She has been stripped of her own clothes and is now wearing a blue checked little girl 's dress . Her hair is tied in pigtails . She is cold and shivering . BOOM . The basement door opens , heavy footsteps lumber down the creaking stairs . It is Tiny . Tiny is wearing an orange T - shirt that reads , `` This is my Halloween costume '' . For the first time we see the skin on his arms , it is severely deformed from burn scars . He is holding a small tray . On the tray is a box of cereal , milk , a bowl and a spoon . Tiny goes over to Denise , sets down the tray , and proudly displays his T - shirt .</scene_description> <character>DENISE</character> <parenthetical>( hoarse and dry . )</parenthetical> <dialogue>Please. Tiny, please. Let me go. help me.</dialogue> <scene_description>Tiny sits down on a stool next to the bed , he stares down at Denise like a confused dog .</scene_description> <character>DENISE</character> <parenthetical>( crying . )</parenthetical> <dialogue>Please, God please.</dialogue> <scene_description>Tiny begins preparing her food , carefully pouring the cereal and milk into the bowl . He stirs it with the spoon . Tiny gently lifts Denise 's head and feeds her like a baby . Denise swallows the food , trying not to choke . After a few spoonfuls Tiny stands up and walks over to a dark corner of the room . He pulls a string and turns on a swinging ceiling light . In the light we see a rusty cage , inside are three rail - thin female bodies . Tiny throws the remainder of the cereal into the cage . One of the bodies moves to eat the scraps , the others do not . They are dead . Tiny turns off the overhead light .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - LATE AFTERNOON</stage_direction> <scene_description>Wydell and Naish are pulling into a large truck stop parking lot .</scene_description> <character>NAISH</character> <dialogue>You sure this guy's supposed to ride with us? Seems kind of weird.</dialogue> <character>WYDELL</character> <parenthetical>( scanning the parking lot . )</parenthetical> <dialogue>Chief said pick him up and take him with us on our house to house. Guy's an ex - cop, thinks he can help.</dialogue> <character>NAISH</character> <dialogue>Sounds like a bad idea to me, probally just get in the way.</dialogue> <character>WYDELL</character> <dialogue>Yeah, well I guess it's tough to sit on the sidelines and wait when your own kid's missing. besides, ai n't no such thing as an ex - cop.</dialogue> <character>NAISH</character> <dialogue>I guess not.</dialogue> <character>WYDELL</character> <dialogue>That must be him.</dialogue> </scene> <scene> <stage_direction>EXT. GAS STATION - LATE AFTERNOON</stage_direction> <scene_description>A rundown gas station sits off to the side of the road . A filthy mechanic works on one of the many junked cars . Two fat greasy men sit in the hot sun playing cards . A Chevy Nova sits parked next to the station . Willis leans against the side of the car , drinking coffee from a styrofoam cup . A police cruiser pulls up . Wydell and Naish step from the car .</scene_description> <character>WYDELL</character> <dialogue>Mr. Willis?</dialogue> <character>MR. WILLIS</character> <dialogue>Yes, sir.</dialogue> <character>WYDELL</character> <dialogue>I'm Wydell. this is Naish.</dialogue> <scene_description>Wydell extends his hand , they shake hands .</scene_description> <character>NAISH</character> <dialogue>Hey.</dialogue> <character>MR. WILLIS</character> <dialogue>George Willis.</dialogue> <parenthetical>( to Wydell . )</parenthetical> <dialogue>. any leads?</dialogue> <character>WYDELL</character> <dialogue>Well, we were on our way out to run a check on a couple farmhouses out on the edge of town. closest thing we got to a lead at this point.</dialogue> <character>MR. WILLIS</character> <dialogue>That's it?</dialogue> <character>WYDELL</character> <dialogue>Well, all we know is the kids were headed out to a spot the locals call Deadwood to play Nancy Drew with some local legend about this character everybody calls Dr. Satan.</dialogue> <character>MR. WILLIS</character> <dialogue>Dr. Satan?</dialogue> <character>NAISH</character> <dialogue>Yeah it's horseshit, just some boogieman crap that the kids like to scare each other with.</dialogue> <character>WYDELL</character> <dialogue>Anyway, there's not much else out that way. so, I figure maybe there's a chance the kids broke down and found their way over to one of the farms.</dialogue> <character>MR. WILLIS</character> <dialogue>What about the body you found?</dialogue> <character>WYDELL</character> <parenthetical>( slightly surprised . )</parenthetical> <dialogue>Oh, yeah, you know about that? Hmmm, that's a strange one.</dialogue> <character>NAISH</character> <dialogue>Local girl, Karen Murphy, been missing for a couple months, figured for a runaway.</dialogue> <character>MR. WILLIS</character> <dialogue>Fit the profile?</dialogue> <character>NAISH</character> <dialogue>No, not really. Good kid, never been in any trouble.</dialogue> <character>WYDELL</character> <dialogue>Her part in this I ca n't figure. but I will.</dialogue> <character>MR. WILLIS</character> <parenthetical>( wipes his brow . )</parenthetical> <dialogue>Christ, you know it's crazy.</dialogue> <parenthetical>( gets choked up . )</parenthetical> <dialogue>I lived through so many other people's nightmares, you know. Always cool and calm, but. but I never thought I'd be the one needing help, ya know?</dialogue> <character>NAISH</character> <dialogue>Do n't worry, we'll find her.</dialogue> <character>WYDELL</character> <dialogue>Let's hit the road, sooner we get a move on sooner we'll find her.</dialogue> <scene_description>Willis dumps out the remaining coffee , tosses the cup into the trash and opens the back door of the police car . He gets inside . Wydell and Naish climb in . The car drives off .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON</stage_direction> <scene_description>THUMP ! CLOSE UP on a bloody , bandaged face . THUMP ! As we pull back to see Jerry , completely bandaged like a mummy , strapped to a wall . His arms and legs are spread . THUMP ! Knives stick in the wall next to the body .</scene_description> <character>GRAMPA</character> <parenthetical>( off screen . )</parenthetical> <dialogue>God damn bitch, what the fuck are you waiting for. Charles Nelson Reilly do n't know shit.</dialogue> <scene_description>We pull back further to see Otis pacing wildly back and forth in front of his TV , watching MATCH GAME . Grampa sits eating a TV dinner .</scene_description> <character>OTIS</character> <parenthetical>( gesturing at the TV with a knife . )</parenthetical> <dialogue>Watch that bitch, she's thinking about that Klugman bangin' Brett Sommers, pick motherfucking Richard Dawson.</dialogue> <scene_description>Otis throws the large hunting knife at the wall next to Jerry .</scene_description> <character>OTIS</character> <dialogue>He's the fucking slick jack Match Game man, mamma.</dialogue> <character>GRAMPA</character> <dialogue>Where do they find these people?</dialogue> </scene> <scene> <stage_direction>INT. POLICE CRUISER - LATE AFTERNOON</stage_direction> <character>MR. WILLIS</character> <dialogue>Christ, four kids could n't just disappear.</dialogue> <character>NAISH</character> <dialogue>No they could n't, somebody had to see something.</dialogue> <character>MR. WILLIS</character> <dialogue>My Denise is a smart girl, she would n't do anything stupid, and her boyfriend, he always seemed like a good kid.</dialogue> <character>WYDELL</character> <dialogue>I'm sure there's a logical explanation.</dialogue> <character>MR. WILLIS</character> <dialogue>I pray to God there is.</dialogue> <character>NAISH</character> <dialogue>Turn up this road.</dialogue> <character>MR. WILLIS</character> <dialogue>Where we headed?</dialogue> <character>WYDELL</character> <dialogue>I seem to remember another farm set way back off the road where the car was found. I'm not sure if anyone lives there anymore, but it's worth a look.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - LATE AFTERNOON</stage_direction> <scene_description>Wydell 's cruiser turns up the road to the Firefly farmhouse . It moves past the scarecrows and comes to a halt . The doors swing open and Wydell , Naish and Willis get out .</scene_description> <character>WYDELL</character> <dialogue>I'm gon na see if anybody's home. You and Mr. Willis take a look around the grounds for any sign of anything.</dialogue> <character>NAISH</character> <dialogue>Right.</dialogue> <parenthetical>( to Willis . )</parenthetical> <dialogue>. come on.</dialogue> <scene_description>Naish and Willis head off around the back of the house .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - KITCHEN - LATE AFTERNOON</stage_direction> <scene_description>Dirty dishes overflow from the rusty metal sink onto the surrounding counters . A large cat walks across piles of food left to rot on a table . Boxes of trash and old newspapers are stacked to the ceiling . Music from a crackling radio is heard . Mother stands stirring a large pot on the stove . A LOUD knocking interrupts her cooking . She sets down her spoon and walks to the front door . Before opening the door she peeks through the curtains of a small side window . She sees Wydell and runs from the kitchen .</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - LATE AFTERNOON</stage_direction> <scene_description>Wydell walks up the front steps .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - HALLWAY - LATE AFTERNOON</stage_direction> <scene_description>Mother runs toward a door at the end of the hall . She swings open the door .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON</stage_direction> <scene_description>Mother bursts into the room .</scene_description> <character>MOTHER</character> <dialogue>Otis! Otis! Come quick, there's cops outside.</dialogue> <character>OTIS</character> <dialogue>What! God damn, how many?</dialogue> <character>GRAMPA</character> <parenthetical>( watching TV . )</parenthetical> <dialogue>What? How many?</dialogue> <character>OTIS</character> <dialogue>Do n't worry about it.</dialogue> <scene_description>Otis jumps up and goes over to an old dresser and opens a drawer and pulls out an automatic revolver .</scene_description> <character>MOTHER</character> <dialogue>I do n't know. I only saw one.</dialogue> <character>OTIS</character> <dialogue>I'm sure there's more than that. fucking pigs always travel in packs.</dialogue> <parenthetical>( handing the gun to Mother . )</parenthetical> <dialogue>. here, take this.</dialogue> <character>MOTHER</character> <parenthetical>( takes the gun . )</parenthetical> <dialogue>What should I do?</dialogue> <character>OTIS</character> <dialogue>Go down stairs and play nice. I'm a gon na go ` round back and handle things like I always fucking do.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - SAME</stage_direction> <scene_description>Naish and Willis move through the cluttered back yard of garbage .</scene_description> <character>NAISH</character> <dialogue>Shit, do n't these packrat hillbillies throw anything away?</dialogue> <character>MR. WILLIS</character> <dialogue>Shhhh. you hear that?</dialogue> <scene_description>The soft sound of moaning can be heard .</scene_description> <character>NAISH</character> <dialogue>Yeah, I hear it. where's it coming from?</dialogue> <character>MR. WILLIS</character> <dialogue>Over here, inside the smokehouse.</dialogue> <scene_description>Naish and Willis stand in front of a brick smokehouse . The thick door is chained shut .</scene_description> <character>NAISH</character> <parenthetical>( knocking on door . )</parenthetical> <dialogue>Anybody in there?</dialogue> <scene_description>The moaning gets louder .</scene_description> <character>MR. WILLIS</character> <dialogue>We got ta break it open.</dialogue> <character>NAISH</character> <dialogue>I ai n't got a warrant.</dialogue> <scene_description>Willis picks up a broken axe handle and begins prying open the door .</scene_description> <character>MR. WILLIS</character> <dialogue>Tell it to my daughter.</dialogue> <character>NAISH</character> <parenthetical>( grabbing hold to help . )</parenthetical> <dialogue>Shit. fuck procedure.</dialogue> <scene_description>Together they struggle to open the door .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - SAME</stage_direction> <scene_description>Mother slowly opens the front door . The revolver is behind her back , tucked in her apron strings .</scene_description> <character>MOTHER</character> <parenthetical>( trying to be sexy . )</parenthetical> <dialogue>Well hello, officer.</dialogue> <character>WYDELL</character> <parenthetical>( holding up his badge . )</parenthetical> <dialogue>Excuse me, I'm sorry for disturbing you this fine afternoon.</dialogue> <character>MOTHER</character> <dialogue>Aw, you ai n't disturbing me, but it kind of looks like rain, do n't ya think?</dialogue> <character>WYDELL</character> <dialogue>My name is Lt. Wydell, I'd like to ask you a few questions.</dialogue> <character>MOTHER</character> <dialogue>Questions? Well, heck, I'll tell you anything you want to know.</dialogue> <character>WYDELL</character> <dialogue>I appreciate your cooperation. I'm looking for a missing girl.</dialogue> <parenthetical>( holds up picture . )</parenthetical> <dialogue>. this girl here, Denise Willis. have you seen her?</dialogue> <character>MOTHER</character> <dialogue>Well, I. mmmmm. no, I ai n't seen her, sorry.</dialogue> <scene_description>She begins to close the door . Wydell stops her .</scene_description> <character>WYDELL</character> <dialogue>Please, could I please come in and talk to you for a minute? Maybe you could take a better look at the picture. might stir up something.</dialogue> <character>MOTHER</character> <dialogue>I um. no, I do n't think so.</dialogue> <character>WYDELL</character> <dialogue>Please, just a minute.</dialogue> <character>MOTHER</character> <dialogue>Oh, alright. I guess I can trust you. being a man of the law and all.</dialogue> <scene_description>She opens the door .</scene_description> <character>WYDELL</character> <dialogue>Thank you.</dialogue> <character>MOTHER</character> <dialogue>Oh, you are very welcome. Lord knows how I love a man in uniform.</dialogue> <scene_description>She closes the door .</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - SAME</stage_direction> <scene_description>Naish and Willis bust open the door to the smokehouse . Hanging upside down inside is Mary . She hangs from ropes strapped to the ceiling . Large hunks of meat hang around her in the cramped room .</scene_description> <character>NAISH</character> <dialogue>Jesus Christ.</dialogue> <character>MR. WILLIS</character> <dialogue>Call Wydell.</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - SAME</stage_direction> <scene_description>Wydell and Mother sit opposite eachother at the kitchen table . Pictures of Denise and her companions are spread on the table . Wydell takes notes as Mother talks .</scene_description> <character>WYDELL</character> <dialogue>Think. do any of these kids look familiar in any way?</dialogue> <character>MOTHER</character> <dialogue>No, I ca n't say that I ever seen'em before.</dialogue> <parenthetical>( points to the photo of Bill . )</parenthetical> <dialogue>. he looks familiar, is he on TV?</dialogue> <scene_description>Suddenly , Naish 's voice comes over Wydell 's walkie - talkie .</scene_description> <character>NAISH</character> <dialogue>Wydell.</dialogue> <character>WYDELL</character> <dialogue>Excuse me for a second.</dialogue> <scene_description>Pulls walkie - talkie from his belt to respond .</scene_description> <character>WYDELL</character> <dialogue>Over.</dialogue> <character>NAISH</character> <dialogue>We found one.</dialogue> <scene_description>Click . Mother points the gun at Wydell 's head and fires . He falls dead to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - SAME</stage_direction> <scene_description>Naish hears the commotion over his walkie - talkie .</scene_description> <character>NAISH</character> <parenthetical>( into walkie - talkie . )</parenthetical> <dialogue>Wydell! Over! Wydell! Over!</dialogue> <scene_description>No response .</scene_description> <character>NAISH</character> <dialogue>Fuck, go to the car. call for backup. Tell'em officer down.</dialogue> <character>MR. WILLIS</character> <dialogue>Right.</dialogue> <scene_description>Willis runs to the car , he gets about halfway there before he is hit in the back by a bullet . He stumbles and falls to his knees . He kneels silent , stunned . We hold on his face and watch as his life passes before him . A quick MONTAGE , we see the following images flash by : A . A father and daughter together in happier times . B . A child 's birthday party . C . A baby crying . D. Willis and his deceased wife . Otis fires another shot . Willis falls forward into the mud , dead . Naish sees Willis fall . Before he can react a voice calls out from behind him .</scene_description> <character>OTIS</character> <dialogue>Hands up, bitch!</dialogue> <scene_description>Naish raises his hands .</scene_description> <character>OTIS</character> <dialogue>Turn around, real slow. piggy - pie.</dialogue> <scene_description>Naish turns around .</scene_description> <character>OTIS</character> <dialogue>Interlock your fingers behind your head.</dialogue> <parenthetical>( Naish hesitates . )</parenthetical> <dialogue>. do it!</dialogue> <scene_description>Naish obeys .</scene_description> <character>OTIS</character> <dialogue>Kneel.</dialogue> <scene_description>Naish kneels down . From a distance we see Otis standing over Naish , execution style . A white puff of smoke comes from Otis 's gun and a distant popping sound is heard . Naish falls over on his side . The scene fades to blood red .</scene_description> </scene> <scene> <stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction> <scene_description>The house stands silent in the darkness . Lightning crashes , a heavy rain falls . Burning JACK - O ' - LANTERNS beam from every window . Smoke rises from the chimney . It is Halloween night .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE - NIGHT</stage_direction> <scene_description>CLOSE - UP TV Dr. Wolfenstein is on screen smashing pumpkins with a giant hammer .</scene_description> <character>DR. WOLFENSTEIN</character> <dialogue>It is midnight my little boils and ghouls, the witching hour. Time for all monsters, murderers, maniacs and madmen to go to work. so lock your doors and bolt your windows, sit back and prepare for a fright night classic.</dialogue> <parenthetical>( lightning crashes . )</parenthetical> <dialogue>. The House of Frankenstein.</dialogue> <scene_description>The movie begins and we move off the TV to see : Hundreds of CANDLES are lit , illuminating everything with a flickering light . Music blares from a cheap stereo . BLACK and ORANGE PAPER STREAMERS are draped from ceiling to floor . Dead center is a LARGE OBJECT standing seven feet tall , it is completely covered in paper Halloween decorations . A long chain connects the object up into the rafters . This is the Halloween party from Hell . An intoxicated Grampa , dressed as FLASH GORDON , sits in his wheelchair watching the TV , drinking MOONSHINE from an unmarked bottle .</scene_description> <character>GRAMPA</character> <parenthetical>( slurred drunken yelling at the screen . )</parenthetical> <dialogue>Get those motherfucker. those high water bitches and rocketship daisies. kill'em, kill'em.</dialogue> <scene_description>CRASH ! CRASH ! CRASH ! Tiny stands in a corner tunelessly banging on a large oil drum . He is dressed like a low budget BATMAN , in grey long johns and a black bat mask and cape . A drunk Rufus , wearing a bloody police uniform , stands on a table SHOUTING along to the music through a POLICE MEGAPHONE . Mother and Baby , both dressed as SUPERHEROES , dance around the covered object . Both are swigging moonshine from jugs .</scene_description> <character>RUFUS JR.</character> <parenthetical>( shouting through megaphone . )</parenthetical> <dialogue>Show me, show me, show me, show me!</dialogue> <scene_description>Mother and Baby start TEARING AWAY the paper covering from the object in the middle of the room . They RIP at the paper , spinning and dancing around in a wild pagan ritual . As the shreds of colored paper fall to the floor we see : Denise , Jerry and Mary tied back to back hanging from the chain , each are dressed in a different animal costume . Denise is a pig , Jerry is a donkey and Mary is a rabbit . They are gagged . Mother and Baby laugh at their helpless victims , splashing moonshine in their faces .</scene_description> <character>BABY</character> <dialogue>Drink up, it's party time.</dialogue> <character>MOTHER</character> <dialogue>Enjoy your last night.</dialogue> <parenthetical>( looking around . )</parenthetical> <dialogue>. where's Otis?</dialogue> <character>BABY</character> <dialogue>Oh, he's coming, he got something real special this year.</dialogue> <scene_description>Rufus jumps down , begins to spin the bound captives around and around .</scene_description> <character>RUFUS JR.</character> <dialogue>Otis, Otis, Otis, Otis!</dialogue> <character>MOTHER</character> <dialogue>Quiet, quiet, you know he wo n't come down with all this hoop - dee - doo bouncing off the walls. Now, calm down.</dialogue> <character>GRAMPA</character> <dialogue>I shot an elephant in my pajamas this morning. how he got in my pajamas I'll never know.</dialogue> <character>BABY</character> <dialogue>Grampa, shhhhhhhh.</dialogue> <character>GRAMPA</character> <dialogue>Then we tried to remove the tusks, but they were embedded in so firmly that we could n't budge'em.</dialogue> <character>MOTHER</character> <parenthetical>( gesturing at Grampa . )</parenthetical> <dialogue>Let him finish.</dialogue> <character>GRAMPA</character> <dialogue>Of course, in Alabama the Tuscaloosa, but that's entirely irrelephant.</dialogue> <scene_description>The room goes silent . All eyes are focused on the stairs . A robed figure , Otis , appears at the top of the stairs , he begins to descend . Rufus waits at the bottom of the stairs . As Otis reaches the last step Rufus hands him the megaphone . Denise , Mary and Jerry struggle to watch as they in turn rotate past the scene unfolding .</scene_description> <character>OTIS</character> <parenthetical>( through the megaphone . )</parenthetical> <dialogue>I'm the one who brings the Christmas candy. now tell me.</dialogue> <parenthetical>( pauses and raises his arms . )</parenthetical> <dialogue>. Who's your Daddy?</dialogue> <scene_description>Otis walks closer to the rotating captives .</scene_description> <character>OTIS</character> <dialogue>I'm the one who brings the devil's brandy.</dialogue> <parenthetical>( waits . )</parenthetical> <dialogue /> <character>MOTHER</character> <dialogue>Who's your Daddy!</dialogue> <character>OTIS</character> <dialogue>Yes! I'm the one who beats you when you're bad.</dialogue> <character>BABY</character> <dialogue>Who's your Daddy!</dialogue> <character>MOTHER</character> <dialogue>Who's your Daddy!</dialogue> <scene_description>Otis stops the spinning of his prisoners and stands directly before Denise . He drops his robe , underneath he is wearing a SUIT OF SKIN sewn together from pieces of Denise 's father . Denise stares in horror , tears stream down her cheeks , barely able to comprehend the madness around her . Otis moves in close and licks her across the face .</scene_description> <character>OTIS</character> <dialogue>I'm the one who loves you when you're fucking dead!</dialogue> <scene_description>Everyone chants `` Who 's your Daddy ? ''</scene_description> <character>OTIS</character> <parenthetical>( imitating Willis . )</parenthetical> <dialogue>Now, I say my little darlings.</dialogue> <parenthetical>( rotates the chain to Mary . )</parenthetical> <dialogue>maybe prancing around where you do n't belong ai n't such a winner of an idea.</dialogue> <parenthetical>( slaps Mary across the face . )</parenthetical> <dialogue /> <scene_description>Slowly turns the chain to face Jerry .</scene_description> <character>OTIS</character> <dialogue>And you, the great rusher of fools, what were you after.</dialogue> <parenthetical>( slaps Jerry . )</parenthetical> <dialogue>Huh, speak to me.</dialogue> <parenthetical>( slaps him again . )</parenthetical> <dialogue>Oh, that's right, Dr. Satan. everybody got to know about Dr. Satan, Jesus Christ, let the old dog rest for fuck sake, he's already got one foot in the grave and the other's tap dancing around the edge.</dialogue> <parenthetical>( gets nose to nose with Jerry . )</parenthetical> <dialogue>. well, I can see the disappointment on your sad little puppy face. so I'm gon na do you a favor, a big, big favor. You owe me, boy. I'm gon na let you meet the old bastard.</dialogue> <character>GRAMPA</character> <dialogue>That's a horse's ass alright, I told you.</dialogue> <scene_description>Jerry 's eyes widen in fear .</scene_description> <character>OTIS</character> <dialogue>Baby, roll that old love machine over here, so this boy can meet his hero.</dialogue> <scene_description>Baby rolls Grampa over to Jerry .</scene_description> <character>OTIS</character> <parenthetical>( lifts his skin mask . )</parenthetical> <dialogue>You see it's all true, the boogieman is real and you found him.</dialogue> <parenthetical>( Jerry stares in shock . )</parenthetical> <dialogue>. why so sad? Is n't this what you begged for? There he is, the living legend himself, ta da Dr. Satan. Now, do n't get shy on me. ask your hero some questions, do n't blow this last in a lifetime opportunity.</dialogue> <character>GRAMPA</character> <dialogue>Zarkoff, I will conquer the sea, the air, the earth. the universe.</dialogue> <scene_description>Mother moves in close to Jerry .</scene_description> <character>MOTHER</character> <dialogue>Look at the way he lights up. Grampa just loves meeting his fans.</dialogue> <scene_description>Otis grabs Jerry 's cheeks and makes his face move like a ventriloquist dummy , provides Jerry 's voice .</scene_description> <character>OTIS</character> <dialogue>Aw gee whiz, I'm so excited. I really think you're the coolest. you're tops on the playground, cooler than the Fonzie.</dialogue> <scene_description>Baby grabs Mary and does the same ventriloquist routine .</scene_description> <character>BABY</character> <dialogue>Oh, oh pick me, pick me. I have a question.</dialogue> <scene_description>Baby rotates Mary around to where Gramps is seated .</scene_description> <character>BABY</character> <parenthetical>( squeezing Mary 's face , hard . )</parenthetical> <dialogue>I was wondering Mr. Satan sir, do you like to kiss on the first date or is that considered slutty?</dialogue> <character>GRAMPA</character> <dialogue>What the fuck are you saying? Who the hell is talking to me?</dialogue> <scene_description>Tiny , growing restless , begins banging on his metal drum . KLANG - KLANG - KLANG . Rufus joins in , clapping his hands .</scene_description> <character>MOTHER</character> <dialogue>Come on, my babies are getting restless.</dialogue> <character>RUFUS JR.</character> <dialogue>Dump in the pit, dump in the pit, dump in the pit.</dialogue> <scene_description>Mother , Baby , Grampa join in chanting with Rufus .</scene_description> <character>OTIS</character> <dialogue>Alright, alright. Cut'em down, it's time they get what they came here for.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>The rain pounds down . A heavy fog hovers over the dense growth of the field . In the distance , silhouetted by moonlight , a gruesome caravan slowly moves through the night . Otis , lantern in hand , leads the way . Followed by Baby and Mother together under a large black umbrella . Next Rufus holds the leash connected to Jerry , Denise and Mary . Bringing up the rear , Tiny , shotgun focused on the prisoners , and Grampa . Grampa is strapped to Tiny 's back like a child . He waves a flashlight back and forth like a search beam . The group comes to a halt at a huge wooden structure .</scene_description> <character>OTIS</character> <parenthetical>( handing Baby the lantern . )</parenthetical> <dialogue>Hold this. Point it over here.</dialogue> <scene_description>Baby directs the light at Otis . We see that he is trying to unlock a huge padlock attached to an iron door embedded in the base of the wooden structure . Otis unlocks the door and swings it open . He reaches down into the blackness and pulls up an iron hook and wench , attached to the hook is a chain . Otis parts a section of the overgrown grass next to the pit to reveal a rusty metal crank . He begins to turn the crank . Slowly , from out of the pit , rises a coffin hanging from the end of the chain . Otis pulls the coffin over and lays it flat on the ground . He flips open the lid .</scene_description> <character>OTIS</character> <dialogue>Hey happy - boy, step your ass up here.</dialogue> <scene_description>Rufus cuts loose Jerry , but holds him steady by the neck .</scene_description> <character>BABY</character> <dialogue>Take his gag out, it's more fun with the screaming.</dialogue> <character>MOTHER</character> <dialogue>Yeah, I like the screaming too. it's so much more exciting.</dialogue> <scene_description>Rufus cuts loose the gag .</scene_description> <character>JERRY</character> <dialogue>Please do n't kill us, please do n't kill us.</dialogue> <character>BABY</character> <parenthetical>( imitating Jerry . )</parenthetical> <dialogue>Please do n't kill us, please do n't kill us.</dialogue> <character>OTIS</character> <dialogue>Bitch, shut your mouth and get your shit in the box.</dialogue> <character>JERRY</character> <dialogue>Let us go, please. let the girls go.</dialogue> <character>BABY</character> <parenthetical>( imitating Jerry . )</parenthetical> <dialogue>Let us go, please. let the girls go.</dialogue> <scene_description>Otis pulls out a gun and points it at Jerry .</scene_description> <character>OTIS</character> <dialogue>Get in. now!</dialogue> <character>MOTHER</character> <dialogue>Wait, I want to say good - bye.</dialogue> <scene_description>Mother grabs Jerry by the collar and gives him a big kiss .</scene_description> <character>MOTHER</character> <dialogue>Bye sweety, we could of been great together.</dialogue> <character>JERRY</character> <dialogue>Please, let us go, we wo n't tell anybody.</dialogue> <character>MOTHER</character> <dialogue>Aw, honey you know I ca n't do that.</dialogue> <character>BABY</character> <dialogue>We wo n't tell anybody.</dialogue> <scene_description>Otis cocks the pistol . Jerry starts to slowly move towards the coffin .</scene_description> <character>OTIS</character> <dialogue>Christ, ai n't this fucking a hoot. alright mamma, I ai n't got all fucking night.</dialogue> <character>JERRY</character> <dialogue>Please, please this is insane. You ca n't do this.</dialogue> <scene_description>Rufus pushes Jerry into the coffin .</scene_description> <character>OTIS</character> <dialogue>It is and I can. next.</dialogue> <scene_description>Denise starts kicking and fighting with Rufus . Rufus tries to hold her steady , when suddenly Mary breaks free and starts to run .</scene_description> <character>OTIS</character> <parenthetical>( laughs and raises his pistol . )</parenthetical> <dialogue>Where's she think she's a gon na get to? She's gon na run all the way home.</dialogue> <character>BABY</character> <dialogue>No! Let me get her.</dialogue> <parenthetical>( turns to Mother . )</parenthetical> <dialogue>. Ma, Otis is having all the fun. can I get her?</dialogue> <character>MOTHER</character> <dialogue>That's true, Otis. not that we're having a bad time, but.</dialogue> <character>OTIS</character> <parenthetical>( rolls his eyes . )</parenthetical> <dialogue>Well, go get her.</dialogue> <scene_description>Baby jumps with excitement and runs off across the field after Mary . Mary trips and falls over a small gravestone . She gets up and stumbles back into a wooden cross . She tears the gag from her mouth and gasps for air .</scene_description> <character>BABY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>There once was a woman who lived with her daughter in a cabbage garden.</dialogue> <scene_description>Mary turns toward the voice but sees nothing but wooden crosses . She is in a homemade cemetery .</scene_description> <character>BABY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>along came a rabbit and ate up all the cabbages. The woman said.</dialogue> <scene_description>Mary turns 360 degrees , but finds nothing .</scene_description> <character>BABY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>`` Go into the garden and drive out the rabbit''.</dialogue> <scene_description>THUD ! Mary is hit from behind , she falls forward . Baby JUMPS on top of her and sits on her back . Baby is holding a large hunting knife .</scene_description> <character>BABY</character> <dialogue>`` Shoo! Shoo!'' said the maiden.</dialogue> <scene_description>Mary screams in pain , as Baby PLUNGES the knife into her . Baby STABS Mary again and again and again . Mary lets out a long gurgling scream , then goes silent .</scene_description> <character>BABY</character> <dialogue>`` Come maiden,'' said the rabbit.</dialogue> <parenthetical>( leans down . )</parenthetical> <dialogue>. sit on my tail and go with me to my rabbit hutch.</dialogue> <scene_description>Baby , covered in blood , licks the knife clean .</scene_description> </scene> <scene> <stage_direction>EXT. PIT - NIGHT</stage_direction> <scene_description>Otis shoves Denise into the coffin with Jerry and locks the lid shut . Through a CROSS - SHAPED OPENING in the coffin we see them crushed together . Rufus LOWERS the coffin into the pit . Once the coffin is inside Otis slams the door shut . Otis opens a small window in the door and lowers in a lantern and a small tape recorder playing music .</scene_description> </scene> <scene> <stage_direction>INT. PIT - NIGHT</stage_direction> <scene_description>Enter Hell . The dim light of the lantern shines off the slimy wet filth of the rotted wood walls . The stench of death and decay hangs heavy in the thin air . Denise and Jerry , cold and shivering , hang half submerged in thick maggot infested sludge . Bits of animal and human skeletons float in the muck , broken bones lay in piles along the walls .</scene_description> </scene> <scene> <stage_direction>INT. COFFIN - NIGHT</stage_direction> <scene_description>Through the dim light , we see the tightly packed forms of Jerry and Denise .</scene_description> <character>DENISE</character> <parenthetical>( hysterical . )</parenthetical> <dialogue>We've got get out of here, we got get out of here.</dialogue> <character>JERRY</character> <dialogue>Think, think. Try to open the lid, try to kick a hole in the wood.</dialogue> <character>DENISE</character> <parenthetical>( crying . )</parenthetical> <dialogue>I ca n't. I ca n't move my arms. I hurt so much.</dialogue> <character>JERRY</character> <dialogue>I know, but we can make it out of here. We can do it.</dialogue> <scene_description>Boom ! A LOUD THUMP is heard against the side of the coffin .</scene_description> <character>JERRY</character> <dialogue>That was good babe, just keep doing that.</dialogue> <scene_description>BOOM , BOOM , BOOM .</scene_description> <character>DENISE</character> <dialogue>That's not me. I did n't. I'm not doing that.</dialogue> <character>JERRY</character> <dialogue>Someone is out there.</dialogue> <parenthetical>( shouting . )</parenthetical> <dialogue>. help, we're in here!</dialogue> <character>DENISE</character> <dialogue>Help, help us.</dialogue> <scene_description>Suddenly , an arm breaks through the side of the coffin . Another smashes through the top of the lid . The coffin begins to violently shake . Denise screams . Another reaches through , grabbing her feet . SMASH ! The coffin is ripped apart and Jerry is pulled away from the destruction . He lets out a quick scream before disappearing into the darkness .</scene_description> <character>DENISE</character> <dialogue>Jerry! Jerry! Jerry!</dialogue> </scene> <scene> <stage_direction>INT. FARMHOUSE - LIVINGROOM - NIGHT</stage_direction> <scene_description>The spastic light of TV static strobes across the sleeping face of Grampa . Beside him , Mother sleeps peacefully .</scene_description> </scene> <scene> <stage_direction>EXT. BARN - NIGHT</stage_direction> <scene_description>The rain has stopped . Tiny opens the doors to the barn . He goes inside . He exits a few moments later , dragging a huge wooden stake . He sets the stake down carefully and closes the barn doors . He then picks up the stake and drags it away .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - NIGHT</stage_direction> <scene_description>Behind the farmhouse is a camouflage jungle , an intricate system of ropes and netting is strung together to hide the many automobiles beneath . Rufus moves through the jungle . He stops and begins to remove the netting from a car , it is Wydell 's police cruiser . He climbs inside the car , puts on Wydell 's policeman 's hat and starts the engine . He drives off .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>Rufus is driving like a maniac through the open farmland . He turns on the overhead flashing lights .</scene_description> </scene> <scene> <stage_direction>EXT. FIELDS - NIGHT</stage_direction> <scene_description>The police cruiser twists and turns in the barren fields .</scene_description> </scene> <scene> <stage_direction>INT. PIT - NIGHT</stage_direction> <scene_description>Denise stands knee deep in the sludge . Broken bits of the coffin 's remains are scattered around her .</scene_description> <character>DENISE</character> <dialogue>Jerry please answer me.</dialogue> <scene_description>A soft moaning sound is heard coming from the other end of the pit .</scene_description> <character>DENISE</character> <dialogue>Jerry.</dialogue> <parenthetical>( moving slowly forward . )</parenthetical> <dialogue>. is that you?</dialogue> <scene_description>Denise cautiously makes her way to the bend at the end of the tunnel . As she approaches , the moaning sound gets louder . She turns the corner to see : TWO PALE FIGURES in filthy hospital gowns hunched over a shadowy object . Denise gasps . They turn towards Denise , revealing the partially devoured dead body of Jerry . The two bone - white ghouls are dripping with Jerry 's blood , they stare at Denise , then return to their prey . Denise screams in horror and runs , turning down another twist in the underground maze . She turns the corner and runs straight into SEVERAL SLOW MOVING GHOULS . The ghouls are of the same deathly white complexion , hair - less with flaked , cracking skin . Their yellow eyes shine in the darkness . They reach for her , but she breaks free and continues to run into the endless stretch of tunnels before her .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>Primitive wooden crosses form a circle around a burnt piece of land , approximately twenty feet in diameter . Laying flat in the center is the large stake , Mary 's body is draped across it . Tiny is securing her to the stake with rope .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>Through the windshield , we see Baby jumping and dancing in the fields with several large dogs . She is firing a gun as she dances .</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>Baby sees the car and raises her gun . She aims it at the car driver . She waits , as the car gets closer she sees the face of Rufus behind the wheel . She lowers the gun and begins to laugh . The car stops and Baby climbs into the passenger 's seat . The car drives off .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>Tiny lifts the stake with Mary firmly strapped in place . He implants it into the ground . Her body hangs like a doll . Tiny opens a gasoline can and begins splashing gas onto the stake .</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>Otis , face painted like a SKULL and wearing a priest 's robe , walks solemnly through the tall grass .</scene_description> </scene> <scene> <stage_direction>INT. PIT - NIGHT</stage_direction> <scene_description>Denise , waist high in sludge , wanders lost through the endless tunnels of the pit . In the distance she hears high pitched animal sounds . A GHOUL rises up from the sludge behind Denise . It stands silent . It reaches out a BONEY HAND with long curled fingernails and grabs her hair . Denise screams and tries to pull away . The ghoul grabs her with his other hand and pulls her closer , CLAWING at her face . Denise fights her way free , but loses her footing and falls backwards , slipping under the sludge . She quickly resurfaces and starts to run .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>Otis stands in front of the bound Mary , holding a pumpkin . Otis places the pumpkin over Mary 's head . Tiny stands behind him holding a lit torch .</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>The police car drives wildly through the fields .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>Baby motions to Rufus to steer the car towards the fire .</scene_description> </scene> <scene> <stage_direction>INT. PIT - NIGHT</stage_direction> <scene_description>A beaten Denise struggles down a long tunnel . She gets to the end to find that it is a dead - end . Behind her , FIVE GHOULS move silently towards her , blocking her only exit . The ghouls slosh through the muck , moving in closer . Denise frantically looks for an escape , nailed into the wall next to her are planks of wood forming a ladder . The ghouls are only a few yards away . Denise climbs up the ladder . They move in , clawing at her legs and feet , trying to pull her down . Denise digs at the wood and mud ceiling above her , trying to break free . Denise is bleeding severely from the chunks of flesh being torn from her legs . She digs wildly at the ceiling , suddenly a board falls free and mud rains down to reveal : STARS , the sky above shines through the hole . Denise smashes her fists at the rotted wood planks , pulling free another piece . With all her might Denise grabs hold and pulls herself up through the opening .</scene_description> </scene> <scene> <stage_direction>EXT. PIT - NIGHT</stage_direction> <scene_description>Denise fights her way through the earth and pulls her body up into the night air . The cool air rushes to her lungs . She crawls free of the hole , gasping for air . She is safe . Suddenly . SMASH ! A ghoul has broken through the surface . He grabs Denise by the leg and begins to pull her back into the hole . Denise screams and begins kicking violently at the ghoul . She breaks and crawls from the ghoul 's reach .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>Rufus and Baby have pulled the police cruiser up by the stake . Rufus and Baby stand on the hood . Otis finishes his sermon , he raises his arm . Tiny raises the torch . Otis drops his arm , signaling Tiny . Tiny throws the torch onto the stake . The stake ignites into a huge FIREBALL .</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>Denise pulls herself to her feet and begins to run . The flaming object burns in the distance behind her . Denise stumbles toward the road on two badly injured legs .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>Rufus , Tiny and Baby jump up and down in celebration , smashing the police car . Otis stands transfixed by the flames before him .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>Denise makes her way out onto the road . No cars are in sight . In the distance headlights break through the darkness . Denise stands in the middle of the road . The TRUCK comes into view , it is a small cube truck . Denise stands in the headlights , waving her arms for it to stop . The truck comes to a halt . She runs toward the passenger 's side door and climbs in .</scene_description> </scene> <scene> <stage_direction>INT. TRUCK - NIGHT</stage_direction> <scene_description>Behind the wheel of the truck is Captain Spaulding . Denise is shaking from shock .</scene_description> <character>DENISE</character> <dialogue>Go, go! Drive. drive!</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Hold on, girly, what's the problem?</dialogue> <character>DENISE</character> <parenthetical>( becoming hysterical . )</parenthetical> <dialogue>Murdering. blood and Jerry.</dialogue> <parenthetical>( starts to cry uncontrollably . )</parenthetical> <dialogue>. monsters. I. I. I got away.</dialogue> <character>CAPT. SPAULDING</character> <dialogue>Well, I do n't see what the fuck you're getting at, but I got some friends that live just up this road.</dialogue> <scene_description>Starts to turn the truck up the road back towards the farmhouse .</scene_description> <character>DENISE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>No! No, that's it. that house is.</dialogue> <parenthetical>( tries to open the truck door . )</parenthetical> <dialogue>. I got ta get out, I got ta get out!</dialogue> <scene_description>Boom ! The metal door leading to the back of the truck slides open . Ravelli grabs Denise and pulls her back into the back of the truck . SLAM ! The metal door shuts .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>The truck quietly turns onto the dirt road leading up to the farmhouse . The jack - o ' - lanterns still burn in the windows , grinning their evil grin . THE END</scene_description> </scene> </script>

On October 30, 1977, amateur criminals Killer Karl and Richard Wick attempt an armed robbery at a gas station, but are killed by the owner, Captain Spaulding, and his assistant, Ravelli. Later on, Jerry Goldsmith, Bill Hudley, Mary Knowles, and Denise Willis are on the road in hopes of writing a book on offbeat roadside attractions. When the four meet Spaulding, who is also the owner of "The Museum of Monsters & Madmen", they learn of the local legend of Dr. Satan. As they take off in search of the tree from which Dr. Satan was hanged, they pick up a young free-spirited hitchhiker named Baby, who claims to live only a few miles away. Shortly after, the vehicle's tire bursts (in what is later seen to be a trap) and Baby takes Bill to her family's house. Moments later, Baby's half-brother, Rufus, picks up the stranded passengers and takes them to the family home. There they meet Baby's family: her adopted brother Otis Driftwood, her deformed giant half-brother Tiny, Mother Firefly, and Grandpa Hugo. While being treated to dinner, Mother Firefly explains that her ex-husband, Earl, had previously tried to burn Tiny alive, along with the Firefly house, after he suffered a psychotic breakdown. After dinner, the family puts on a Halloween show for their guests and Baby offends Mary by flirting with Bill. After Mary threatens Baby, Rufus tells them their car is repaired. As the couples leave, Otis and Tiny, disguised as scarecrows, attack them in the driveway and take them prisoner. The next day, Otis kills Bill and mutilates his body for art. Mary is tied up in a barn, Denise is tied to a bed while dressed up for Halloween, and Jerry is partially scalped for failing to guess Baby's favorite movie star. When Denise doesn't come home, her father Don calls the police to report her missing. Two deputies, George Wydell and Steve Naish, find the couples' abandoned car in a field with a dead, mutilated cheerleader in the trunk. Don, a former policeman, is called to the scene to help the deputies search. They arrive at the Firefly house and Wydell questions Mother Firefly about the missing teens. Mother Firefly shoots Wydell in the head and kills him; Don and Steve are then killed by Otis when they find more bodies of missing cheerleaders in the barn. Later that night, the three remaining teenagers are dressed as rabbits and taken out to an abandoned well. Mary attempts to run away, but is tracked down and stabbed to death by Baby moments later. Meanwhile, Jerry and Denise are lowered into the well, where a group of Dr. Satan's failed experiments pull Jerry away, leaving Denise to find her way through an underground lair. As she wanders through the tunnels, she encounters Dr. Satan and a number of mental patients; Jerry is on Dr. Satan's operating table being vivisected and dies as Denise screams. Dr. Satan tells his mutated assistant, who turns out to be Mother Firefly's ex-husband Earl, to capture Denise, but Denise outwits him and escapes the chambers by crawling to the surface as he is crushed by falling debris. She makes her way to the main road, where she encounters Captain Spaulding, who gives her a ride in his car. She passes out from exhaustion in the front seat, and Otis suddenly appears in the back seat with a knife. Denise later wakes up to find herself strapped to Dr. Satan's operating table, and she screams in horror.

RocknRolla_2008

tt1032755

<script> <scene> <stage_direction>INT. DERELICT BUILDING - DAY</stage_direction> <scene_description>WE MEET : MUMBLES -LRB- late 30s -RRB- and ONE TWO -LRB- late 30s -RRB- . They are listening to a sales pitch from two REAL ESTATE AGENTS . We SEE all the relevant pictures of their pitch explaining a changing city , LONDON .</scene_description> <character>SLICK ESTATE AGENT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Two years ago this property cost one million pounds.</dialogue> <parenthetical>( we SEE building . )</parenthetical> <dialogue>Today, it costs five million.</dialogue> <scene_description>The camera WHIP PANS over to another part of the building to see the other ESTATE AGENT giving his pitch . The camera will keep this back and forth for the duration of the scene .</scene_description> <character>OTHER SLICK ESTATE AGENT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>How did this happen?</dialogue> <parenthetical>( CUT TO relevant pictures as he speaks . )</parenthetical> <dialogue>Attractive tax opportunities for foreign investment, restrictive building consent and massive hedge fund bonuses,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>London, my good man, is fast becoming the financial and cultural capital of the world.</dialogue> <character>SLICK ESTATE AGENT</character> <dialogue>And of course the Russians have come to town.</dialogue> <character>OTHER SLICK ESTATE AGENT</character> <dialogue>Makes it hard to compete with an ex - Soviet oligarch that has six billion dollars in his back pocket. They do n't haggle the price, they double the price.</dialogue> <character>SLICK ESTATE AGENT</character> <dialogue>Russians come, prices rise, and it does n't stop. It only goes one way.</dialogue> <character>OTHER SLICK ESTATE AGENT</character> <dialogue>Up.</dialogue> <character>SLICK ESTATE AGENT</character> <dialogue>I ca n't teach you how to skin a cat, but I can tell you a lot about the money in bricks and mortar. Like he said, it's going one way. You need to see a lawyer.</dialogue> <scene_description>One Two and Mumbles look at one another .</scene_description> <character>ONE TWO</character> <dialogue>We need to see a Lawyer.</dialogue> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE</stage_direction> <scene_description>CUT TO a modern looking LAWYER 'S office . We SEE the LAWYER advising MUMBLES AND ONE TWO .</scene_description> <character>LAWYER TYPE</character> <dialogue>They say it's only going one way.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>ONE TWO and the LAWYER are here looking at the building , it is a bit dilapidated and bleak .</scene_description> <character>LAWYER TYPE</character> <dialogue>It looks like a great deal.</dialogue> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE</stage_direction> <scene_description>We cut back into the office where the LAWYER lays out the building plans .</scene_description> <character>LAWYER TYPE</character> <dialogue>These are the plans,. it costs ten and it'll be worth twenty with planning. But first you got ta give the councilor a drink.</dialogue> </scene> <scene> <stage_direction>INT. COUNCILOR'S OFFICE</stage_direction> <scene_description>CUT TO the desk of a COUNCILOR -LRB- mid thirties middle management -RRB- who is receiving a brown envelope from the LAWYER .</scene_description> <character>COUNCILOR</character> <parenthetical>( off the envelope . )</parenthetical> <dialogue>Tell them they'll get the planning,.</dialogue> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE</stage_direction> <scene_description>We CUT BACK to our LAWYER now smug . One Two and Mumbles are standing in front of him .</scene_description> <character>LAWYER TYPE</character> <dialogue>You'll get the planning. Take care of the councilor and it will move like shit through a goose.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <character>ONE TWO</character> <dialogue>We need help.</dialogue> <character>MUMBLES</character> <dialogue>Lenny Cole?</dialogue> <character>ONE TWO</character> <dialogue>Dog number one,.</dialogue> <character>MUMBLES</character> <dialogue>But he moves fast and he loves bricks and mortar.</dialogue> </scene> <scene> <stage_direction>INT. LENNY COLE'S OFFICE</stage_direction> <scene_description>MEET LENNY COLE -LRB- 50s , dark , a little tubby -RRB- , Mumbles and One Two are here . Lenny 's office is kitsch , he fancies himself as a man of class .</scene_description> <character>LENNY COLE</character> <dialogue>I do move fast and I love bricks and mortar, properties are always the safe bet, but you better know what you're doing ` cos this ai n't soft money. You trip up,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And it's not me that's gon na get hurt. You got security?</dialogue> <character>MUMBLES</character> <dialogue>We got property.</dialogue> <character>LENNY COLE</character> <dialogue>Do n't let me down boys.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come on then, give us your hand.</dialogue> <scene_description>They shake hands and sign the papers .</scene_description> </scene> <scene> <stage_direction>INT. COUNCILOR'S OFFICE</stage_direction> <scene_description>The Councilor is the phone to the Lawyer . He speaks in hushed tones clandestine like .</scene_description> <character>COUNCILOR</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Ca n't talk now, but there has been a problem. I ca n't get you the planning.</dialogue> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE</stage_direction> <scene_description>The Lawyer is on the phone with Mumbles and One Two .</scene_description> <character>LAWYER TYPE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I'm sorry boys, ca n't get the planning.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>One two is on the phone . He looks over to Mumbles .</scene_description> <character>ONE TWO</character> <dialogue>He ca n't get the planing.</dialogue> <character>MUMBLES</character> <dialogue>He ca n't get the planing?</dialogue> </scene> <scene> <stage_direction>EXT. DERELICT BUILDING</stage_direction> <scene_description>Lenny is looking out to One Two and Mumbles who are standing outside his car looking very white . Lenny screams from the back seat .</scene_description> <character>LENNY COLE</character> <dialogue>What do you mean you ca n't get the fuckin planning?</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>There is seven million of my cash in there, without planning it's worth five,. you owe me. I take the building, you lose your share, but I am still outta pocket two large ones. Find it.</dialogue> <scene_description>The window goes up and the car pulls off . Lenny picks up his phone , he dials huffing and puffing .</scene_description> </scene> <scene> <stage_direction>INT. LENNY'S CAR -- CONTINUOUS</stage_direction> <character>LENNY COLE</character> <dialogue>Is that you Councilor?</dialogue> <parenthetical>( Lenny smiles . )</parenthetical> <dialogue>I hear you got that car you was after,. now, sort the planning out.</dialogue> <character>COUNCILOR</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Sorted Lenny.</dialogue> <scene_description>He puts the phone down and looks over smiling . MEET ARCHY -LRB- Lenny 's right hand man , 50s -RRB- .</scene_description> <character>LENNY COLE</character> <dialogue>What's wrong with you Arch?</dialogue> <character>ARCHY</character> <dialogue>That's a bit strong is n't it Len? They come from the same place as you, you'll clean'em out.</dialogue> <character>LENNY COLE</character> <dialogue>Same place as me? Do I look like an immigrant Archy?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>No one gave me a leg up, did they? They need a bit of fear, ` cos otherwise they're gon na come up against me,. need a little lesson do n't they?</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>One Two and Mumbles are here , it 's quiet until , .</scene_description> <character>ONE TWO</character> <dialogue>We got ta sell.</dialogue> <character>MUMBLES</character> <dialogue>And be left with what?</dialogue> <character>ONE TWO</character> <dialogue>Just got ta start again,.</dialogue> <scene_description>FADE OUT .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OF SPORTS ARENA</stage_direction> <scene_description>Start CREDITS over sports arena entrance . Lenny is being walked down a corridor , the walls are lined with photographs of old soccer stars . On each side of him are two ESCORTS -LRB- ex - military types , heavy looking -RRB- . As they pass each door , we realize where ever he is going , it has to be important . The ESCORTS talk in to their microphones and to the different GUARDS on each door way . Every now and then we see the SPORTS ARENA in the back ground . At last we reach the main door to the head office .</scene_description> </scene> <scene> <stage_direction>INT. HEAD OFFICE</stage_direction> <scene_description>As the door is opened we see a small crowd of MEN in suits gathered around a kind - looking MAN with bright blue eyes . He nods a couple of times . We CUT TO the front of Lenny who is clearly impressed , Mr. Blue eyes pays him no attention . The small crowd of business MEN shake hands and head to the door at which Lenny is waiting patiently .</scene_description> </scene> <scene> <stage_direction>INT. SPORTS ARENA -- DAY</stage_direction> <scene_description>CLOSE UP on the back of URI -LRB- Russian Jew , 40s , slick , and well groomed , he is our Mr. Blue Eyes -RRB- overlooking his sports arena . We stay on the back of Uri 's head while he is talking to Lenny .</scene_description> <character>URI</character> <dialogue>Glad you could join us here Lenny.</dialogue> <character>LENNY COLE</character> <dialogue>It's nice to see you Uri.</dialogue> <character>URI</character> <dialogue>Good.</dialogue> <parenthetical>( there is a pause . )</parenthetical> <dialogue>I can see we are very much alike you and I Lenny. We like to get things done.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What's it going to cost me?</dialogue> <character>LENNY COLE</character> <dialogue>First, let me make clear how much we can help you benefit from this deal. With out me, it will take you five to ten years to get the permission to erect your arena.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Second, with Government policy as it so stands we both know it's unlikely that you'd ever get that consent.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Thirdly, in legal fees, transactions and building consent, you'd be paying 6 to 12 million without any real guarantee of that result.</dialogue> <scene_description>We CUT TO Uri unfazed , he just wants the figure .</scene_description> <character>URI</character> <dialogue>So Lenny,. how much?</dialogue> <character>LENNY COLE</character> <dialogue>Seven million Euros.</dialogue> <scene_description>Still unfazed .</scene_description> <character>URI</character> <dialogue>I expect a guarantee that I have consent within six months and no red tape.</dialogue> <character>LENNY COLE</character> <dialogue>That's right Uri, you can consider that done.</dialogue> <scene_description>Pause while tension stews , then , .</scene_description> <character>URI</character> <dialogue>Drink! Follow me.</dialogue> </scene> <scene> <stage_direction>INT. SPORTS ARENA - PRIVATE BAR</stage_direction> <scene_description>Uri walks to the bar . Lenny follows trying to contain his excitement , he 's out of his league , a `` welcome to the billionaires club '' look has struck him pink . Lenny passes a PICTURE that 's sat on an EASEL .</scene_description> <character>LENNY COLE</character> <dialogue>Oh, that's a nice picture Uri, has n't it got, errrh depth?</dialogue> <scene_description>Uri is at the bar now . He has placed one large tumbler down and is pouring a very very large measure out .</scene_description> <character>URI</character> <dialogue>That picture has brought me nothing but luck Lenny,. it's my lucky picture.</dialogue> <parenthetical>( he has a good idea . )</parenthetical> <dialogue>You like? Take it for a while, maybe it will give you luck.</dialogue> <character>LENNY COLE</character> <dialogue>Oh I could n't Uri,.</dialogue> <scene_description>Still absorbed with the painting .</scene_description> <character>URI</character> <dialogue>Now we're partners, I insist. I will get it sent around to your house and you can give it back to me when our deal is finalized.</dialogue> <scene_description>Lenny looks at the bar . Uri motions , there is a SMALL KEG of WHISKEY on the bar and only one large glass .</scene_description> <character>LENNY COLE</character> <dialogue>I thought you lot drunk Vodka.</dialogue> <character>URI</character> <dialogue>Whiskey is the new Vodka.</dialogue> <character>LENNY COLE</character> <dialogue>You not joining me Uri?</dialogue> <character>URI</character> <dialogue>I do n't drink.</dialogue> <character>LENNY COLE</character> <dialogue>Oh,. cheers then,.</dialogue> <character>URI</character> <dialogue>To success.</dialogue> <scene_description>Lenny awkwardly starts to glug as Uri looks on .</scene_description> </scene> <scene> <stage_direction>INT. LENNY'S CAR - DAY</stage_direction> <scene_description>Lenny enters the back seat of his car , Archy is waiting for him in the back .</scene_description> <character>ARCHY</character> <dialogue>You all right there Len? You look a little pink.</dialogue> <character>LENNY COLE</character> <parenthetical>( Flustered . )</parenthetical> <dialogue>Turbo, get us a perrier and a wet wipe live - o.</dialogue> <scene_description>Lenny 's panting .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tried to poison me the dirty Cossack.</dialogue> <scene_description>TURBO -LRB- Lenny 's driver -RRB- is fumbling around in the front seat trying to get ice into a glass from the cooler that sits beside him .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stop messing about and give us the bottle Turbo.</dialogue> <character>ARCHY</character> <dialogue>So, how's the billionaires club?</dialogue> <scene_description>Lenny grabs the drink , desperately takes a big glug of water and wipes his face .</scene_description> <character>LENNY COLE</character> <dialogue>That Communism did n't seem to slow'em down did it? We've hit the big time here Archy boy!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What's wrong? Where's the old Archy smile?</dialogue> <character>ARCHY</character> <dialogue>You wan na watch out there. Times are changing, they do n't have too much respect for the old school.</dialogue> <character>LENNY COLE</character> <dialogue>Shut up Archy,.</dialogue> <parenthetical>( under his breath . )</parenthetical> <dialogue>No school like the old school,. I still run this town see? That's why he came to me right? Got that?</dialogue> <character>ARCHY</character> <dialogue>Yeah, got that.</dialogue> </scene> <scene> <stage_direction>INT. SPORTS ARENA - PRIVATE BAR</stage_direction> <scene_description>Uri looks at VICTOR -LRB- Uri 's right hand man -RRB- . They 're looking down at Lenny 's disappearing car .</scene_description> <character>VICTOR</character> <dialogue>You think you should have leant him your lucky picture?</dialogue> <character>URI</character> <dialogue>It makes the peasant feel royal,. do n't spoil it, we need him at the moment. I want that consent.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Call the accountant and get her to clear the money.</dialogue> </scene> <scene> <stage_direction>INT. ACCOUNTANT TAX OFFICES</stage_direction> <scene_description>A man and woman sit on one side of a desk , MEET STELLA AND BERTIE . Bertie is 45 and handsome in a dark posh sort of way . Stella is 32 , film star . Sitting opposite them are two TAX MEN -LRB- civil servant types , grey , middle aged , a little tubby and bald -RRB- . There 's a stand off .</scene_description> <character>STELLA</character> <dialogue>Look, can we shut the door?</dialogue> <scene_description>There 's a pause while the TAX MAN looks at his colleague .</scene_description> <character>TAX MAN</character> <dialogue>Shut the door.</dialogue> <scene_description>His colleague gets up and shuts the door .</scene_description> <character>STELLA</character> <dialogue>Let's put our cards on the table. We both know you are n't going to get the full forty out of my clients.</dialogue> <character>TAX MAN</character> <dialogue>This is the tax office and in the end we get what we want.</dialogue> <character>STELLA</character> <dialogue>Save that speech for the tourists Charlie and let's strike a deal - take the twenty now and let it go. Otherwise, they'll move the company off shore tomorrow and you'll spend the next twenty years chasing an imaginary forty million around every republic that grows bananas.</dialogue> <scene_description>Bertie lifts out papers from his brief case .</scene_description> <character>TAX MAN</character> <dialogue>I see why you married her now Bertie.</dialogue> <scene_description>The two TAX MEN look at each other , they 're thinking the same thought .</scene_description> </scene> <scene> <stage_direction>INT. CHAUFFEUR DRIVEN MERCEDES - EVENING</stage_direction> <character>BERTIE</character> <dialogue>I told you we'd make a great team,. You know why you get those deals?</dialogue> <scene_description>She looks relatively bored .</scene_description> <character>BERTIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Because those fat, sad, old men like it when you swear at them. They shake like cocktails and sweat like semtex when you raise that posh little voice. You my love are a rare commodity.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now come on, give your Bertie a smile.</dialogue> <character>STELLA</character> <dialogue>I do n't feel like smiling. I am a thirty two year old accountant married to a homosexual lawyer.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'm a beard without kids Bertie! I'm in a marriage of convenience that can be quite inconvenient at times.</dialogue> <scene_description>The phone rings , Bertie picks it up and answers .</scene_description> <character>BERTIE</character> <dialogue>Yes, she's right here.</dialogue> <parenthetical>( he puts his hand over the receiver . )</parenthetical> <dialogue>It's Omovich.</dialogue> <parenthetical>( mincey . )</parenthetical> <dialogue>Are you sure he is n't gay?</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>Introduction of the SPEELER . A location of all things nefarious , a place to scam , buy and sell things illegal , and play cards . MUMBLES and ONE TWO own the Speeler . MEET Handsome Bob -LRB- mid thirties , part of the gang Errrh Handsome -RRB- . FRED THE HEAD -LRB- late 40s -RRB- he runs it with DOLLY -LRB- early 50s , maternal figure , cleaner and chef -RRB- . These are the main players in a room of never less than TEN rarely no more than TWENTY people .</scene_description> <character>FRED THE HEAD</character> <dialogue>You wo n't do a five, they've got nothing on you Handsome Bob.</dialogue> <character>HANDSOME BOB</character> <dialogue>What are you talking about Fred? They got an informer, a grass, and a rat with a roach - smoking - a canary,. they've got more information than the fuckin Internet.</dialogue> <character>DOLLY</character> <dialogue>Language,.</dialogue> <character>FRED THE HEAD</character> <dialogue>Well, like I said, nothing.</dialogue> <character>MUMBLES</character> <dialogue>Leave him alone Fred, you're stressing him out. Dolly get him a cuppa tea.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come on deal the cards Fred.</dialogue> <scene_description>We see in the background someone coming in . MEET COOKIE -LRB- late 30s , slicked back , black hair -RRB- , his look is a bit of a parody .</scene_description> <character>COOKIE</character> <dialogue>All right chaps?</dialogue> <character>FRED THE HEAD</character> <dialogue>All right Cookie.</dialogue> <character>MUMBLES</character> <dialogue>Want to be dealt in?</dialogue> <character>COOKIE</character> <dialogue>Ca n't stay for long, but throw us in for a quick spin.</dialogue> <scene_description>One Two , who has been on the phone finishes his call . He looks over to Mumbles .</scene_description> <character>ONE TWO</character> <dialogue>Mumbles, can I have a word?</dialogue> </scene> <scene> <stage_direction>INT. SPEELER STORAGE ROOM</stage_direction> <character>MUMBLES</character> <dialogue>What's happening?</dialogue> <character>ONE TWO</character> <dialogue>You know the lady, the posh one who likes abitta the rough life?</dialogue> <character>MUMBLES</character> <dialogue>The accountant, what about her? You have n't heard from her in a while, too dangerous that one.</dialogue> <character>ONE TWO</character> <dialogue>Says she's got some work, you know,. proper work.</dialogue> <parenthetical>( he makes gun impression . )</parenthetical> <dialogue>I would normally turn her down, but considering,.</dialogue> <character>MUMBLES</character> <dialogue>Let's have a meet.</dialogue> </scene> <scene> <stage_direction>INT. ART GALLERY - NEXT DAY</stage_direction> <scene_description>Stella 's here admiring an abstract picture of nothingness . One Two sits next to her .</scene_description> <character>ONE TWO</character> <dialogue>I got one like that at home with a little boy fishing.</dialogue> <character>STELLA</character> <dialogue>Is that what they call humor where you come from?</dialogue> <character>ONE TWO</character> <dialogue>Well, do n't they call that art where you come from?</dialogue> <character>STELLA</character> <dialogue>You're quite the entertainer are n't you Mr. One Two? And you are late, please do n't be late, I have a very busy schedule.</dialogue> </scene> <scene> <stage_direction>INT. ART GALLERY - CORRIDOR</stage_direction> <scene_description>They walk down the corridor .</scene_description> <character>STELLA</character> <dialogue>I have some work and thought you'd be interested, its your kind of work.</dialogue> <character>ONE TWO</character> <dialogue>Go on.</dialogue> <character>STELLA</character> <dialogue>There are two accountants taking out seven million Euros from a bank I know and it wo n't be protected.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Twenty percent for me, as normal. The details are in here.</dialogue> <scene_description>She passes an envelope .</scene_description> <character>ONE TWO</character> <dialogue>Anything else?</dialogue> <character>STELLA</character> <dialogue>Yes,. I do n't want this coming back to me so, if you could give them a black eye,. that might help.</dialogue> <scene_description>She see 's a slight pause and look of concern from One Two .</scene_description> <character>STELLA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>A black eye, nothing more.</dialogue> <scene_description>She passes him an envelope .</scene_description> <character>ONE TWO</character> <dialogue>Ok, very good Mrs. Dexter, a black eye it is then.</dialogue> <scene_description>He looks down at her shoes .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Nice shoes.</dialogue> <character>STELLA</character> <parenthetical>( she smiles . )</parenthetical> <dialogue>Why thank you, you'll be able to afford your own pair in a couple of days. Good bye.</dialogue> <scene_description>He watches her walk off , he likes her , she likes him .</scene_description> </scene> <scene> <stage_direction>INT. BACK OFFICE OF MUSIC VENUE</stage_direction> <scene_description>Two guys are here counting money . MEET ROMAN and MICKEY , two black Americans . -LRB- Mid 30s dressed very classy , with a bit of an urban twist -RRB- They are in the managing game , exploiting the talents of the English . The sound of distant bass thudding through the walls can be heard while Mickey is on the phone trying to do some kind of business . A real ROCKER with long hair and good looks comes walking in distressed .</scene_description> <character>ROCKER</character> <dialogue>I need the dry ice Mickey, I need the dry ice. My show just does n't work without it.</dialogue> <character>MICKEY</character> <parenthetical>( hand over the receiver . )</parenthetical> <dialogue>If you told me yesterday you needed dry ice, I would have gotten you the driest ice the world could offer, but you did n't ask for no dry ice. You asked for two cases of Johnny Walker black label and four ladies of the pole and I got them for you did n't I?</dialogue> <scene_description>There 's a pause from the Rocker .</scene_description> <character>MICKEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Did n't I?</dialogue> <character>ROCKER</character> <dialogue>Yes you did I do confess, but Mickey, you're the manager and I am the rocker. You've got on the managers hat, now pluck something out of it.</dialogue> <character>MICKEY</character> <dialogue>My hat is deep and full of magic. I got rabbits, handkerchiefs, and ladies of the pole drinking Black Label. I got smoke machines, bubble machines, I even got love marines and still the hat goes deeper, but. there ai n't no mother fuckin dry ice.</dialogue> <character>ROCK N ROLLER</character> <dialogue>Ok, ok, come home, you've made your point.</dialogue> <parenthetical>( he turns on his way out . )</parenthetical> <dialogue>But tomorrow, I need dry ice.</dialogue> <scene_description>ROMAN looks up from his paper , having not got involved in the slightest . Roman taps the paper he has been reading .</scene_description> <character>ROMAN</character> <dialogue>Have you read this?</dialogue> <character>MICKEY</character> <dialogue>What?</dialogue> <scene_description>He reads out the headlines .</scene_description> <character>ROMAN</character> <dialogue>Johnny Story singer extraordinaire, fell off a boat, they say. Missing, assumed dead, they say.</dialogue> <character>MICKEY</character> <dialogue>What,. our Johnny?</dialogue> <character>ROMAN</character> <dialogue>How many rock stars by the name of Johnny Story do you think there are in this universe Mickey?</dialogue> <character>MICKEY</character> <dialogue>The only thing he's fallen off is his junkies spoon, he's no deader than the suit you're wearing now. He'll be gearing himself up somewhere happy as clam in a fisherman's net. Rockers like that never die, they just wither and give me pain.</dialogue> </scene> <scene> <stage_direction>EXT. TENNIS CLUB - DAY</stage_direction> <scene_description>On the tennis court we see the COUNCILOR -LRB- our man from the beginning -RRB- , who is playing tennis with TERRY THE INSTRUCTOR . The Councilor is taking it seriously apart from the distraction of JACKIE on the next door court . ARCHY is here watching over the game and reading the paper , we see him read an article and look a little moved . Lenny comes up behind him and starts to read over his shoulder .</scene_description> <character>LENNY COLE</character> <dialogue>Johnny Story singer extraordinare, fell off a boat, missing, assumed dead.</dialogue> <character>ARCHY</character> <dialogue>I do n't know what to say Lenny.</dialogue> <character>LENNY COLE</character> <dialogue>I bet he took a lot of people with him in his hot little crack pipe.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>We will never mention this again, all right Arch?</dialogue> <scene_description>Archy looks a little shocked . Lenny carries on like nothing has happened .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, tell the Councilor to stop fuckin about with sticks and balls and send him inside.</dialogue> <scene_description>Lenny walks into the bar and Archy moves on to the court .</scene_description> <character>ARCHY</character> <dialogue>Very good councilor, you must of had lessons as a boy.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Fancy a cool down and a chat with Lenny?</dialogue> <scene_description>The Councilor slyly looks over to Jackie , she looks back . The Councilor is thinking explicit thoughts .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you know Jackie?</dialogue> <scene_description>Nervous , the Councilor knows these thugs are n't shy .</scene_description> <character>COUNCILOR</character> <dialogue>No, no, no, Archy, do n't say anything.</dialogue> <character>ARCHY</character> <dialogue>Do n't worry, she's a friend,. and a member.</dialogue> <parenthetical>( raises his voice . )</parenthetical> <dialogue>Jackie,. fancy a run ` a ` round with the Councilor?</dialogue> <scene_description>Pause . She looks sullen , stroppy and rude all at the same time .</scene_description> <character>JACKIE</character> <dialogue>Only if he's wicked.</dialogue> <scene_description>She turns away to hit a ball , the Councilor 's heart skips a beat .</scene_description> <character>COUNCILOR</character> <parenthetical>( excited and shy . )</parenthetical> <dialogue>What does she mean by that?</dialogue> <character>ARCHY</character> <dialogue>I think she likes you boy - o.</dialogue> </scene> <scene> <stage_direction>INT. TENNIS CLUB BAR</stage_direction> <scene_description>Lenny is at the bar on his own looking at the papers and picking at the nuts . In walks the Councilor with Archy , the Councilor sits next to Lenny at the bar .</scene_description> <character>LENNY COLE</character> <dialogue>They say that times are changing Councilor, that this country is n't what it used to be, it's the new New York, they say. You being a political man must know all about that.</dialogue> <scene_description>The Councilor looks a bit flustered .</scene_description> <character>COUNCILOR</character> <dialogue>Errh, I think they are probably right, times have changed, but that should n't affect you Lenny.</dialogue> <character>LENNY COLE</character> <dialogue>They say it's all gone `` international'' now, out with the old guard in with the new, but I think they're wrong.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Anyway, where are my manners? Look at you sweaty as a native and pink as a pelican,. and I have n't even offered you a wet one.</dialogue> <character>COUNCILOR</character> <dialogue>A lemonade and orange please.</dialogue> <character>LENNY COLE</character> <dialogue>Oh that's nice,. refreshing, that'll put you back on top boy.</dialogue> <scene_description>Lenny pulls out the plans and a leather pack of cigars .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here you go, plans and papers.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Would you like a cigar?</dialogue> <character>COUNCILOR</character> <dialogue>I do n't mind if I do,. that's a nice lighter.</dialogue> <character>LENNY COLE</character> <dialogue>Eight grand they wanted for it cheeky toads and I paid, you know why?</dialogue> <character>COUNCILOR</character> <dialogue>Tell me Lenny.</dialogue> <character>LENNY COLE</character> <dialogue>` Cos it's all about the details.</dialogue> <scene_description>Looking at the plans .</scene_description> <character>COUNCILOR</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>Is our little deal in there too Lenny?</dialogue> <scene_description>Lenny milks the silence while he lights his cigar , the Councilor feels like a prick waiting , it goes on and on .</scene_description> <character>LENNY COLE</character> <dialogue>Oh I would n't forget that, the most important things first.</dialogue> <scene_description>He puts the Dunhill lighter down on the plans .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll leave you with them.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I got ta run, ca n't stay here chewing the fat all day, a mans got to make a living. Call me in the ` morrow.</dialogue> <scene_description>He walks toward the door as Jackie is walking in , Lenny looks slyly at her as they pass .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look after him Jackie.</dialogue> <scene_description>In the distance .</scene_description> <character>COUNCILOR</character> <dialogue>Oh Lenny, you forgot your lighter.</dialogue> <scene_description>Lenny looks back to the Councilor .</scene_description> <character>LENNY COLE</character> <dialogue>Ca n't be mine, it's got your name on it.</dialogue> <scene_description>CUT TO the bottom of the lighter , `` THE COUNCILOR . '' Lenny carries on walking and smiling .</scene_description> </scene> <scene> <stage_direction>EXT. PARK - MORNING</stage_direction> <scene_description>It 's the next morning , we SEE One Two running . Mumbles and Handsome Bob pull up along side of him in their car . There is a moment of pause while they admire One Two running along side of them .</scene_description> <character>MUMBLES</character> <dialogue>Do n't you get bored of that? I mean, your not really going anywhere. If you wan na run, why do n't you run to the shops or do something useful?</dialogue> <character>ONE TWO</character> <dialogue>You could do with some of this yourself Mumbles, you're letting yourself go.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Anyway, I'm busy, have you come to talk about anything important?</dialogue> <character>MUMBLES</character> <dialogue>It's all about the zone is n't it? You boys and girls like to find funny places in your head where nothing can get you, do n't you? You're scared, you're running away from yourself One Two.</dialogue> <character>ONE TWO</character> <dialogue>No Mumbles, I am trying to run away from you. Bob, you sorted out the car?</dialogue> <character>HANDSOME BOB</character> <dialogue>Yeah, it looks like a heap of shit, but it ca n't half go.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>A bit like you One Two.</dialogue> <scene_description>Mumbles turns to Handsome Bob</scene_description> <character>MUMBLES</character> <dialogue>I reckon he's trying to get fit for the lady. Nothing gets under his skin like a lady he ca n't have, does it?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>A straight going, cocky, educated, arrogant posh bird trips him right up. I reckon we should set Handsome Bob on her. That'll liven you up One Two.</dialogue> <character>ONE TWO</character> <dialogue>Bob would n't know where to begin.</dialogue> <character>HANDSOME BOB</character> <dialogue>I'm good with the posh ones, do n't you worry about that.</dialogue> <character>ONE TWO</character> <dialogue>I've had enough of this, can you two piss off cos I am trying to find my `` zone''</dialogue> <scene_description>One Two sprints off leaving them behind .</scene_description> <character>MUMBLES</character> <dialogue>He ca n't half run for a white fella.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S HOME OFFICE - NIGHT</stage_direction> <scene_description>Lenny is pacing in a ladies dressing gown with long silk socks . He ca n't sleep , he pours a large one , lights a cigar , picks up the phone and dials .</scene_description> <character>LENNY COLE</character> <dialogue>Archy? You awake?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Never mind, you are now. I had a horrible dream that the Councilor did n't come through, I do n't want anything going wrong on this one, that Russian's the key to the big time.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You think he's all right?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You sure?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What did Jackie say?</dialogue> <scene_description>His feet go back up on the desk with confidence .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She did? I knew he'd like the lighter, nice touch eh? She's a good girl that Jackie.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>Give her another drink.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You're right, he would n't have leant me his lucky painting if he did n't mean business. Yeah, I had it taken off it's easel and stuck it above my desk, it's looks magnifi.</dialogue> <scene_description>He suddenly stops . His eyes have spotted something scary , the office chair disappears from under him , he takes the phone , the lamp , and the ash tray with him to the floor .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( from the floor . )</parenthetical> <dialogue>Arch! Arch! I have been robbed.</dialogue> <scene_description>He turns the receiver the right way round .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said I have been robbed.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I do n't know when. The painting,. it's gone.</dialogue> <scene_description>He stands fumbling and screaming , his scotch all over him .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The one Uri gave me!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>All right LOANED for fucks sake!</dialogue> <scene_description>Beat while panic sets in and Archy is saying something on the other end .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is n't good Arch, it's his favorite painting, his lucky painting! Get round here and bring the troops.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S HOME OFFICE -- LATER</stage_direction> <scene_description>Lenny 's still pacing , a small gathering of tired looking HOOLIGANS are lined up in Lenny 's office .</scene_description> <character>BANDY</character> <dialogue>Where was it Len?</dialogue> <scene_description>Lenny is standing in front of the fire place smoking and looking very anxious . There is a bald spot above his head where a picture once stood , a picture light illuminates an clearly empty space . He is horrified by the stupidity of the question .</scene_description> <character>LENNY COLE</character> <dialogue>Let's take a wild stab in the dark shall we Bandy? Archy slap him and then send him to school ` cos I ca n't take any more of this. You sort it out, get that picture back and bring me a body, I am going to back to bed.</dialogue> <scene_description>He stomps off to bed .</scene_description> <character>ARCHY</character> <dialogue>Bandy if you ever ask a stupid question like that again, you see Danny there? He's gon na slap you.</dialogue> <character>BANDY</character> <dialogue>Sorry Arch, it's just,. I was trying to use initiative.</dialogue> <character>ARCHY</character> <dialogue>Danny slap him.</dialogue> <scene_description>DANNY slaps him with the back of his left hand . Archy 's not happy - it was the wrong hand .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>With the right Danny,. properly.</dialogue> <scene_description>DANNY slaps him again , it 's weak .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said properly, with the back of your right hand Danny.</dialogue> <character>DANNY</character> <dialogue>What is this a tennis match Arch?</dialogue> <character>ARCHY</character> <dialogue>Slap him!</dialogue> <scene_description>DANNY slaps him again , BANDY takes it good . Archy huffs and goes over to slap him proper , SLAP ! Bandy 's disappeared into another dimension .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Like that!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now, if you men can master a slap like that, there's no need for your clients to hold back. They'll open up like a fountain full of words after one of those. No need for strong violence, no no, they're straight back to their childhood. Putty in your hands, ask Bandy,.</dialogue> <parenthetical>( motioning . )</parenthetical> <dialogue>Look, thinks he's back at school.</dialogue> <character>DANNY</character> <dialogue>But he never went to school.</dialogue> <character>ARCHY</character> <dialogue>Daniel, do you want a slap as well? Now, if the slap does n't work,. Cut'em. or pay'em, but keep the receipts ` cos this ai n't the Mafia.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now, get to work and find that painting.</dialogue> </scene> <scene> <stage_direction>EXT. BOND WAREHOUSE - BACK LOT - DAY</stage_direction> <scene_description>Mumbles , Handsome Bob , and One Two are standing here dressed as security guards . Handsome Bob is watching over the car that is waiting for the TWO ACCOUNTANTS to come out of the back door of the warehouse . One Two and Mumbles are to the side .</scene_description> <character>MUMBLES</character> <dialogue>You ready?</dialogue> <character>ONE TWO</character> <dialogue>Yup, load up boys and pay attention.</dialogue> <scene_description>One Two see 's the door open and makes a move . Two ACCOUNTANTS come out of the back door , while in route they click their central locking open on the car waiting . One Two is already on them as the ACCOUNTANTS go to open their car door .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello lads.</dialogue> <scene_description>He flashes the gun in his belt . The ACCOUNTANTS are too shocked to even know what is going on .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Put the bags in the car and walk away.</dialogue> <scene_description>The ACCOUNTANTS see the gun , but still look for a way out . Mumbles meets them with another gun .</scene_description> <character>MUMBLES</character> <dialogue>Do n't be silly boys, do as you are told. Put the bags in the car, give him the keys and walk away smiling.</dialogue> <scene_description>The ACCOUNTANTS do as they are told . One Two and Mumbles get into the car , calm as you like . One Two , starts the engine , but he ca n't find reverse . There is a crunching sound from the car , the accountants stop and look round . One Two puts down the window .</scene_description> <character>ONE TWO</character> <parenthetical>( to the accountants . )</parenthetical> <dialogue>Oi, come back here.</dialogue> <scene_description>The ACCOUNTANTS come back .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where's reverse?</dialogue> <character>ACCOUNTANT</character> <dialogue>You have to lift up the nob under the gear stick.</dialogue> <scene_description>One Two struggles , then finds the gear .</scene_description> <character>ONE TWO</character> <dialogue>Right, now fuck off.</dialogue> <character>MUMBLES</character> <parenthetical>( to accountants . )</parenthetical> <dialogue>Slowly and keep smiling.</dialogue> <character>ONE TWO</character> <dialogue>Shit,.</dialogue> <character>MUMBLES</character> <dialogue>What?</dialogue> <character>ONE TWO</character> <dialogue>I have got to hurt him.</dialogue> <parenthetical>( to the Accountants . )</parenthetical> <dialogue>Oi come back here.</dialogue> <character>MUMBLES</character> <dialogue>Why? What did he ever do to you? Come on we've got the money now let's piss off!</dialogue> <scene_description>The Accountant has made his away back to the car .</scene_description> <character>ACCOUNTANT</character> <dialogue>Yes?</dialogue> <scene_description>One Two goes through the motions getting ready to hit the accountant without actually being able to do it .</scene_description> <character>ONE TWO</character> <dialogue>Shit, I ca n't do it.</dialogue> <scene_description>One Two wheels spins out of there .</scene_description> </scene> <scene> <stage_direction>INT. CAR - MOVING</stage_direction> <scene_description>Mumbles and One Two take off driving .</scene_description> <character>MUMBLES</character> <parenthetical>( looking . )</parenthetical> <dialogue>You're an embarrassment to crime you are.</dialogue> <character>ONE TWO</character> <dialogue>She asked me to give him a black eye.</dialogue> <character>MUMBLES</character> <dialogue>She's sick that bird of yours, sick.</dialogue> <scene_description>Quickly changing the subject .</scene_description> <character>ONE TWO</character> <dialogue>Is Handsome Bob behind?</dialogue> <character>MUMBLES</character> <dialogue>He's there.</dialogue> </scene> <scene> <stage_direction>INT. CONSTRUCTION SITE - CONTINUOUS</stage_direction> <scene_description>Uri is walking around looking over one his sites , he 's entertaining a corporate gathering of MEN all in suits and hard hats .</scene_description> <character>URI</character> <dialogue>The developement has been underway for four years and will be completed within another two. The area covers twelve acres and it will become one of Londons premiere residences.</dialogue> <scene_description>We can SEE VICTOR -LRB- Uri 's right hand man -RRB- in the background looking anxious .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thirty two floors and six acres,. excuse me gentlemen,.</dialogue> <scene_description>Uri walks over to VICTOR .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is it?</dialogue> <scene_description>Victor leans in and whispers to Uri . After 15 seconds Uri leans back .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( in Russian . )</parenthetical> <dialogue>Do they know who we are?</dialogue> <character>VICTOR</character> <parenthetical>( in Russian . )</parenthetical> <dialogue>It's not like the old country, it's cowboys and Indians out here.</dialogue> <character>URI</character> <parenthetical>( in Russian . )</parenthetical> <dialogue>We do n't have time to play games,. people and business are waiting. Speak to the accountant and get some more money.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And Victor, this time no problems.</dialogue> </scene> <scene> <stage_direction>INT. ART GALLERY</stage_direction> <scene_description>Stella is here again looking at the abstract pictures on the wall . One Two joins her , he 's got a largish Louis Vuitton with the money and her twenty percent in it .</scene_description> <character>ONE TWO</character> <dialogue>I know a man that'll copy that for you. Might take him a couple of minutes mind.</dialogue> <character>STELLA</character> <dialogue>You do n't need to copy anything any more, welcome to the nouveau riche Mr. One Two.</dialogue> <character>ONE TWO</character> <dialogue>Here's one for you too Mrs Dexter.</dialogue> <character>STELLA</character> <dialogue>Why thank you Mr. One Two. I see you did n't think much of the black eye though.</dialogue> <character>ONE TWO</character> <dialogue>Would have liked to obliged, but from a professional point of view, it just was n't natural,.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Until next time then.</dialogue> <character>STELLA</character> <dialogue>Until next time.</dialogue> <scene_description>She turns and walks away , he looks slyly .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Handsome Bob is driving .</scene_description> <character>HANDSOME BOB</character> <dialogue>She's a looker ai n't she One Two?</dialogue> <scene_description>One Two picks up his phone and starts to dial .</scene_description> <character>ONE TWO</character> <dialogue>She's not for you Bob, that is class.</dialogue> <scene_description>Someone picks up at the other end of the phone .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Archy, I got Lenny's bitta scratch.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S CAR - MOVING</stage_direction> <scene_description>Turbo is driving Archy , who is on the phone .</scene_description> <character>ARCHY</character> <dialogue>What, you got it all?</dialogue> <character>ONE TWO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah and it's burning a hole in the floor, so you better come and get it before it melts my boots.</dialogue> <character>ARCHY</character> <dialogue>I'll come round the speeler.</dialogue> <scene_description>Archy 's phone beeps - he has an incoming call .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Got another call, got ta go.</dialogue> <scene_description>Archy switches calls .</scene_description> </scene> <scene> <stage_direction>INT. LENNY'S OFFICE</stage_direction> <scene_description>Lenny is pacing , he 's on the phone .</scene_description> <character>LENNY COLE</character> <dialogue>Archy, the Russian did n't come through with the money.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S CAR</stage_direction> <character>ARCHY</character> <dialogue>Calm down Len, the Councilor can wait.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Some good news for you, One Two and Co came through with the scratch.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S OFFICE</stage_direction> <character>LENNY COLE</character> <dialogue>What, all of it?</dialogue> <character>ARCHY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah, all of it.</dialogue> <character>LENNY COLE</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Where did they get that from then?</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S CAR</stage_direction> <character>ARCHY</character> <dialogue>Ask no questions hear no lies.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Just got ta do is find your painting now Len.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S OFFICE</stage_direction> <scene_description>Lenny 's phone beeps - he has an incoming call .</scene_description> <character>LENNY COLE</character> <dialogue>Just make sure you find it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I got ta another call.</dialogue> <scene_description>He switches calls .</scene_description> </scene> <scene> <stage_direction>INT. COUNCILOR'S OFFICE</stage_direction> <scene_description>The Councilor is on his mobile , speaking in hushed tones .</scene_description> <character>COUNCILOR</character> <dialogue>I have all my people waiting Lenny. You ca n't let me down!</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S OFFICE</stage_direction> <character>LENNY COLE</character> <dialogue>It's just a delay, that's all Councilor. Just a delay.</dialogue> <scene_description>He puts the phone down .</scene_description> </scene> <scene> <stage_direction>INT. LENNY'S CAR</stage_direction> <scene_description>We CUT back to Archy in the car .</scene_description> <character>ARCHY</character> <dialogue>Stop here Turbo.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - EVENING</stage_direction> <scene_description>Archy gets out of the car and on to the street which is packed with theater goers . He has seen someone he knows , a dodgy looking ticket seller GARY moves between the people .</scene_description> <character>ARCHY</character> <dialogue>Gary.</dialogue> <character>GARY</character> <dialogue>Hello Arch. What brings you down here? Want some tickets?</dialogue> <character>ARCHY</character> <dialogue>I want the Tank.</dialogue> <character>GARY</character> <dialogue>You wo n't see him on the cobbles at this time of night, you know how much he likes the cold. He's at the end of the street tucked up watching a Zulu movie.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - CONT.</stage_direction> <scene_description>Archy knocks on window of massive American 4x4 . The window comes down , savage noises emanate from the interior , a massive black bald head turns , MEET TANK very street , very soft spoken and very articulate . He 's sitting next to a SHAVAWN a street girl .</scene_description> <character>TANK</character> <dialogue>Hello Arch, what you doing here?</dialogue> <character>ARCHY</character> <dialogue>I need a word.</dialogue> <character>TANK</character> <dialogue>Well do n't stand out there on the cobbles it's freezing, step into my world.</dialogue> <parenthetical>( too the girl . )</parenthetical> <dialogue>Shavawn get us a couple of vanilla chai lattes, there's a good girl.</dialogue> <scene_description>She disappears .</scene_description> </scene> <scene> <stage_direction>INT. TANKS CAR</stage_direction> <character>TANK</character> <dialogue>Great movie this Arch. They've had it digitally re - mastered, glorious picture and the sounds exquisite.</dialogue> <scene_description>He presses the remote , the sound goes up so all we can hear is the sound of spears on shields .</scene_description> <character>TANK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh I like this bit, thousands and thousands of'em, but them red coats just do n't move. That's courage that is Arch.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>They did have guns mind.</dialogue> <scene_description>The sound of screaming and death is penetrating .</scene_description> <character>ARCHY</character> <dialogue>Turn it down a tad, I need to have a word.</dialogue> <scene_description>Tank flicks the pause button .</scene_description> <character>TANK</character> <dialogue>Where are my manners? Sorry Arch, what do you want, tickets? I got just the show for you, a Chinese orphan with a learning disability that do n't stop singing and dancing all the way through the first half. Then, up pops a Geisha girl and it all goes magical in the second ; the wife will love it and you ca n't get tickets for love nor,.</dialogue> <character>ARCHY</character> <dialogue>I do n't want tickets, I need you to find me a painting, a classic, been nicked outta of Lenny's house. And since you got more feet on the street than coppers on the beat,.</dialogue> <parenthetical>( starting to make his way out . )</parenthetical> <dialogue>I'd like you to assist. I'll leave you a little livener. There's a large twenty to get some tongues wagging.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER - NIGHT</stage_direction> <scene_description>All the boys are sitting around playing cards . The buzzer goes , buzzzzzzzzzzz , Fred answers the intercom .</scene_description> <character>FRED THE HEAD</character> <dialogue>Yeah,?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come on up, but do n't be wasting my time.</dialogue> <character>ONE TWO</character> <dialogue>Is that Archy?</dialogue> <character>FRED THE HEAD</character> <dialogue>No, couple of oysters who got a little something to be viewed.</dialogue> <scene_description>He presses the button and walks back to the group .</scene_description> <character>FRED THE HEAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How's your Mum taking it Handsome?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>She must be very unhappy, I mean a five stretch?</dialogue> <character>HANDSOME BOB</character> <dialogue>Not again, please Fred.</dialogue> <character>FRED THE HEAD</character> <dialogue>Sorry Bob, I did n't mean to offend.</dialogue> <scene_description>In the background we see the door open and in comes two thieving SCOTSMEN , they are selling fur coats .</scene_description> <character>DOLLY</character> <dialogue>Who wants another cuppa?</dialogue> <character>ONE TWO</character> <parenthetical>( raising his cup . )</parenthetical> <dialogue>Thank you.</dialogue> <character>MUMBLES</character> <dialogue>Glass of milk for me, my love.</dialogue> <scene_description>Our thieves move over to the table . MEET our cocky Scotsmen MALCOLM and his partner in crime PAUL . Malcolm drops his bags and starts to get busy . He 's got a strong Scottish accent that has been influenced by last nights crack for dinner and two large whisky 's for breakfast .</scene_description> <character>MALCOLM</character> <dialogue>Good afternoon gentlemen.</dialogue> <scene_description>He coughs nervously as the boys look on dead pan . He sees Dolly .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Excuse me my love, any chance of a wee dram of water to oil the larynx?</dialogue> <character>FRED THE HEAD</character> <dialogue>Get on with it.</dialogue> <character>MALCOLM</character> <parenthetical>( cough . )</parenthetical> <dialogue>Ok gentlemen here we go. First, my colleague Paul will be modeling the grey wolf.</dialogue> <scene_description>We see Paul who 's obviously completely geared out of his nut , he 's trying to squeeze in to the stolen grey wolf fur coat . It 's far too small and the fur stops half way up his arms , it 's not possible to do the buttons up .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I must apologize for my assistants handicaps. He has unusually long arms and an alarmingly small neck.</dialogue> <parenthetical>( beat , the crowd is unimpressed . )</parenthetical> <dialogue>Now, I do agree it does n't seem like the right time to acquire a coat of such thermal efficiency. However, I have been informed that we are looking at a very white winter. PLUS gentlemen and fine lady,.</dialogue> <parenthetical>( He winks at Dolly who has got him a very large glass of water . )</parenthetical> <dialogue>Christmas is always round the corner.</dialogue> <scene_description>He downs the water without it touching the sides .</scene_description> <character>MUMBLES</character> <dialogue>Where did you find these two junkies?</dialogue> <character>FRED THE HEAD</character> <dialogue>What is this, a fuckin double act?</dialogue> <character>ONE TWO</character> <dialogue>Shut up and tell us the price.</dialogue> <character>MALCOLM</character> <dialogue>All in good time gentlemen, all in good time.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Paul, why do n't you sit down for a while.</dialogue> <scene_description>If Paul does n't sit down , he 's gon na fall down . He stumbles into the card table on his way to a seat , knocking drinks and cards everywhere . Everyone protests .</scene_description> <character>MALCOLM</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <parenthetical>( from under the table . )</parenthetical> <dialogue>Next, we have a very much sought after affair seen in very, very glossy magazines,.</dialogue> <scene_description>He jumps up wearing the most ridiculously oversized fur coat and matching hat you have ever seen .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The famous, but rare black bear from the dark mountains of Siberian Calcutta.</dialogue> <scene_description>He starts to do a slow spin , at which point WE SEE a large white stipe running down the furs back .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get an eye full of that stripe gentlemen.</dialogue> <character>MUMBLES</character> <dialogue>Have a look at that, it's a six foot skunk.</dialogue> <scene_description>Everyone thinks its very fuckin funny . The laughter is interrupted only by the buzzer . Buzzzzzzzzzz , Fred goes to answers the buzzer .</scene_description> <character>MALCOLM</character> <dialogue>And all of this could be yours for a staggeringly low,.</dialogue> <scene_description>Cut to Fred at the buzzer .</scene_description> <character>FRED THE HEAD</character> <dialogue>All right Arch.</dialogue> <scene_description>Back to the table , everyone 's ears prick up at the name . Malcolm pauses before he panics , he can tell something is up .</scene_description> <character>FRED THE HEAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah, come on up.</dialogue> <scene_description>Everyone starts tucking their money into their pockets . Fred makes his way back to the table . He speaks to Malcolm and Paul .</scene_description> <character>FRED THE HEAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You two out, live - o.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>The back door.</dialogue> <scene_description>Malcolm knows this is a sign to go .</scene_description> <character>MALCOLM</character> <dialogue>Come on Paul, we'll be going now.</dialogue> <scene_description>The two Scotsmen race in their fur coats toward the back door . IN WALKS Archy with Danny , the crew continue their card game .</scene_description> <character>FRED THE HEAD</character> <dialogue>All right Arch?</dialogue> <character>ARCHY</character> <dialogue>Fred,.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>The speelers very quiet today, everything all right?</dialogue> <character>FRED THE HEAD</character> <dialogue>Good as gold thanks.</dialogue> <character>ARCHY</character> <dialogue>All right Mumbles? One Two?</dialogue> <character>MUMBLES/ONE TWO</character> <dialogue>Arch!</dialogue> <scene_description>Pause while the boys carry on playing cards .</scene_description> <character>ARCHY</character> <dialogue>So where is it then?</dialogue> <character>ONE TWO</character> <dialogue>What, ca n't you smell it?</dialogue> <scene_description>One Two slowly kicks it out from under the table . Archy leans over to take the bag and One Two sticks a few notes in his pocket .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And buy yourself a new pair of shoes.</dialogue> <scene_description>Archy turns and heads out - he 's smiling and mutters to himself .</scene_description> <character>ARCHY</character> <dialogue>Silly bastards.</dialogue> </scene> <scene> <stage_direction>INT. URI'S BOAT - EVENING</stage_direction> <scene_description>Uri has got some serious stink boat gin palace on the River Thames . He 's entertaining Stella .</scene_description> <character>URI</character> <dialogue>They say there are only two days you enjoy a boat, the day you buy it and the day you sell it.</dialogue> <character>STELLA</character> <dialogue>Well, according to my figures that sounds about right, but what can you do?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Beauty is a cruel mistress.</dialogue> <scene_description>He smiles , she is smart , he fancies her .</scene_description> <character>URI</character> <dialogue>I must remember that line. Can I pour you a glass?</dialogue> <character>STELLA</character> <dialogue>Not for me thank you.</dialogue> <character>URI</character> <dialogue>You know, I like you. I like the way you. are. Always thinking about business, very professional.</dialogue> <character>STELLA</character> <dialogue>That's what you pay me to be, is n't it?</dialogue> <scene_description>He nods .</scene_description> <character>URI</character> <dialogue>Tell me about your husband.</dialogue> <scene_description>Slightly uncomfortable</scene_description> <character>STELLA</character> <dialogue>My husband is a lawyer.</dialogue> <character>URI</character> <dialogue>I hear he is very good at what he does, maybe we can have some work for him.</dialogue> <scene_description>Pause , she 's dead pan and not giving anything away .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tell me, what do you do for fun?</dialogue> <scene_description>Pause .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Have I offended you in some way?</dialogue> <character>STELLA</character> <dialogue>I do n't quite know where this is going and if you do n't mind, I would like to keep our relationship professional.</dialogue> <scene_description>There is a pause while Uri is slightly lost for words . Then he slams the table in excitement and looks up at Victor who is standing in the distance .</scene_description> <character>URI</character> <dialogue>You see Victor, this is what I am talking about.</dialogue> <parenthetical>( in Russian . )</parenthetical> <dialogue>This is what I like about this country. They understand hierarchy - you do your job, I do mine and everyone gets along.</dialogue> <parenthetical>( back into English . )</parenthetical> <dialogue>Now, back to business. We have had security problems and to cut a long story short, I need another seven million Euros lost in the books.</dialogue> <scene_description>Pause .</scene_description> <character>STELLA</character> <parenthetical>( not happy , she 's playing a good little actress . )</parenthetical> <dialogue>Forgive me for being immodest Mr Omovich. I am a very good accountant, but I can only cover so much of your money, it does have to be accounted for after all. It is not easy to lose seven million to the tax man.</dialogue> <character>URI</character> <dialogue>But, if you are so good,.</dialogue> <scene_description>She huffs and puffs .</scene_description> <character>STELLA</character> <dialogue>Let me think about it, there are some options I have tried to leave open.</dialogue> <scene_description>He puts his hand on top of hers , just before she pulls it away he takes his off .</scene_description> <character>URI</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. LENNY'S OFFICE</stage_direction> <scene_description>Tank is standing in front of Archy .</scene_description> <character>TANK</character> <dialogue>You know why they call me Tank do n't you Archy?</dialogue> <character>ARCHY</character> <dialogue>I should imagine it has something to do with you being a dirty great blac,.</dialogue> <character>TANK</character> <dialogue>Think Tank. Nothing gets past the old think Tank Arch, nothing.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You got me thinking, so I fired a few questions into the right direction. Thought I'd better come see you ` cos I got some news ` bout your painting.</dialogue> <scene_description>Archy leans back to hear what Tank is about to tell him .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NEXT DAY</stage_direction> <scene_description>Lenny walks into the warehouse where we see TWO SLOANES -LRB- posh kids , 20s -RRB- strapped to a pair of chairs with weights on the bottom . There are large leather belts wrapped around them .</scene_description> <character>LENNY COLE</character> <dialogue>Right, I am going to tell you how this works. You're going in the drink and I am going to make a cup of tea.</dialogue> <scene_description>Archy grabs a hook attached to an electric winch and attaches it to their leather belts .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Underneath the floor boards is the famous river Thames. I hope for your sakes you can hold your breath for as long as it takes to boil that kettle. After that, I am going to ask you a question, one question. You are going to give me a name and if it's the right name, I send you home warm and dry in a fresh set of clothes. If it's the wrong name, you'll be fed to the cray fish,. see ya.</dialogue> <scene_description>He presses the green button and a hatch in the floor opens . The TWO SLOANES are lowered into the river protesting .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S CAR</stage_direction> <scene_description>Handsome Bob 's got the long face on .</scene_description> <character>ONE TWO</character> <dialogue>Come on Bob, cheer up.</dialogue> <character>HANDSOME BOB</character> <dialogue>What have I got to cheer up about, I am going to be locked up in an eight by ten tomorrow night.</dialogue> <character>ONE TWO</character> <dialogue>But that's tomorrow night, tonight its take off time, we've prepared a little going away party.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I got `` the Harris twins'' the most expensive escort girls to have ever escorted. They've got a night off from the Russians and they've all been greased down just for the Bobski! It's going to take you two and a half years just to recover from this little party.</dialogue> <scene_description>Handsome Bob is n't impressed .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That cheered you up then?</dialogue> <character>HANDSOME BOB</character> <parenthetical>( still not looking happy . )</parenthetical> <dialogue>It's not that I am ungrateful One Two, it's just,.</dialogue> <character>ONE TWO</character> <dialogue>It's just what?</dialogue> <character>HANDSOME BOB</character> <dialogue>Do n't worry,. you would n't understand.</dialogue> <scene_description>Pause for a concerned thought from One Two .</scene_description> <character>ONE TWO</character> <dialogue>I understand anything coming from you Bobby boy.</dialogue> <character>HANDSOME BOB</character> <dialogue>Would you?</dialogue> <character>ONE TWO</character> <dialogue>You're me best mate.</dialogue> <scene_description>There is a pause from Handsome Bob .</scene_description> <character>HANDSOME BOB</character> <dialogue>I do n't want the strippers One Two,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I want you,.</dialogue> <scene_description>Pause . A little look from One Two like `` Oh you 're taken the piss '' , then a realization that he is n't . The brakes are slammed on and the car comes to a screeching halt . One Two is out before you know it , screaming through the windshield .</scene_description> </scene> <scene> <stage_direction>EXT. CAR - NIGHT</stage_direction> <character>ONE TWO</character> <dialogue>You dirty bastard! I know all your girlfriends all of'em!</dialogue> <character>HANDSOME BOB</character> <parenthetical>( horrified . )</parenthetical> <dialogue>See, I told you you would n't understand!</dialogue> <character>ONE TWO</character> <dialogue>Understand what? That you're a homa? You're Handsome Bob for Gods sake, Handsome Bob the lady killer! That is you Bob, do you hear me? God, I have had showers with you, you've seen my cock!</dialogue> <character>HANDSOME BOB</character> <dialogue>I only told you cos I'm going away, but I should have kept my mouth shut.</dialogue> <character>ONE TWO</character> <dialogue>Fuckin right you should have kept your mouth shut, should have drowned the cat instead of letting it out the bag.</dialogue> <scene_description>Bob 's now inconsolable sitting in the car . One Two feels bad , . he catches himself .</scene_description> </scene> <scene> <stage_direction>INT. CAR -- MOMENTS LATER</stage_direction> <scene_description>One Two is back in the car , he 's trying to calm Handsome .</scene_description> <character>ONE TWO</character> <dialogue>All right Bob, I am sorry. I went over the top, it was just a surprise that's all.</dialogue> <parenthetical>( Bob 's still crying . )</parenthetical> <dialogue>Bit of a broad side Bob, do you hear me, I am sorry,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Well what is it you want to do with me?</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>The TWO SLOANES have been brought back up and are covered in shit and cray fish , they are half drowned .</scene_description> <character>LENNY COLE</character> <dialogue>Hose'em down Danny. Get those cray fish off'em. Now, who has that painting?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>One name.</dialogue> <scene_description>Archy rips the tape off their mouths at the same time .</scene_description> <character>DROWNED SLOANE</character> <dialogue>Johnny, Johnny Story. You know the singer in that group Story Time.</dialogue> <scene_description>This means something to Lenny .</scene_description> <character>LENNY COLE</character> <dialogue>That did n't work did it? How can a dead man sell you a painting?</dialogue> <character>DROWNED SLOANE</character> <dialogue>He's not dead, I know he's not dead because he just tried to sell us that picture and changed his mind at the last minute. He's got like an obsession with it.</dialogue> <scene_description>Lenny 's face contorts with anger .</scene_description> <character>LENNY COLE</character> <dialogue>Put'em back Arch, before I shoot'em.</dialogue> <scene_description>The TWO SLOANES scream in horror .</scene_description> <character>DROWNED SLOANE</character> <dialogue>Jesus! I know him, I know who he is,. we went to school with him. We're telling the truth, we're telling the,.</dialogue> <scene_description>The tape is put back over their mouths . They 're struggling to get free .</scene_description> <character>ARCHY</character> <dialogue>Len, could I have a word? Private,. it's worth it.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE CORNER</stage_direction> <scene_description>Archy looks at Lenny , there is a PAUSE for a while . They both feel uncomfortable .</scene_description> <character>ARCHY</character> <dialogue>Your boy's not dead, is he?</dialogue> <character>LENNY COLE</character> <parenthetical>( snapping . )</parenthetical> <dialogue>Do n't you dare call him my boy.</dialogue> <character>ARCHY</character> <dialogue>Sorry, I mean your boy, the Ex's boy,. your step son. He had a set of keys to the house did n't he?</dialogue> <scene_description>Lenny 's red as a beetroot .</scene_description> <character>LENNY COLE</character> <dialogue>He wo n't die that cockroach. That junkie's seen more funerals than a fuckin undertaker,. that boy is poison. The next world war will have his name written all over it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Get me those two flash idiots that used to manage him, what are they called, Greek and Mini?</dialogue> <character>ARCHY</character> <dialogue>Roman and Mickey.</dialogue> <character>LENNY COLE</character> <dialogue>If anyone can find that smoking crack pipe, it's them.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>WE CUT BACK TO TEN YEARS AGO . Cut to a shot of a 12 year old BOY with a cut under his eye singing `` Bank Robber '' by The Clash in to the mirror . He 's wearing just his boxer shorts and enjoying himself , he 's gon na be a rock star . From behind WE SEE his bedroom door open , but the music is to loud for the boy to have heard the entrance . We SEE Lenny , ten years younger entering , we can tell via the body language that he is irritated . He pauses then walks up suddenly slapping the boy very hard across the side of the face . It 's enough to knock him out , the boy goes down - shot like a bullet out of a barrel . The red hand then slaps the stereo off .</scene_description> <character>LENNY COLE</character> <dialogue>Listen to me boy, listen. I never did like you and neither did your real father. You're a reject, a wrong - un, a fuckin fairy in the mirror that I inherited from your mother, but she ai n't with us no more, so now it's just you and me. In one week you go back to school, the best fuckin school in the country I might add, then you'll be gone for another term.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>In the mean time, show me some gratitude and keep the fuckin music down.</dialogue> </scene> <scene> <stage_direction>INT. CRACK HOUSE</stage_direction> <scene_description>We CUT BACK to present and MEET JOHNNY STORY -LRB- think Pete Doherty meets Richard Ashcroft -RRB- or Posh John , posh , good looking , 25 , alarmingly skinny and pale in a grey sort of way . He 's still listening to `` Bank Robber '' dancing round with a couple of toy guns . His mate , who is not so posh , MEET PETE is sporting a balaclava at present . They 've been cracking it up and the paraphernalia is everywhere . Johnny is standing in front of the mirror next to the mirror is the painting and oh he loves it . Pete rolls up his balaclava up and slams the stereo off .</scene_description> <character>JOHNNY STORY</character> <dialogue>Just could n't, it's got me,. that's what art does Pete, it gets you.</dialogue> <character>PETE</character> <dialogue>You'd get a good few notes for that. Go on John, jog it on.</dialogue> <character>JOHNNY STORY</character> <dialogue>You would n't understand.</dialogue> <character>PETE</character> <dialogue>Why not?</dialogue> <character>JOHNNY STORY</character> <dialogue>Because,. You,. Are street scum Pete.</dialogue> <scene_description>He does a quick moon walk , he 's taking the piss .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're in need of an education, that's what you need, but your Dad never gave a shit about you did he? And that is why you are on the gear. Your gear is your surrogate father.</dialogue> <character>PETE</character> <dialogue>Leave off John, what is this shrink time?</dialogue> <character>JOHNNY STORY</character> <dialogue>Come on Pedro, share. I'm your sponsor, Doctor,. your dad if you're feeling a bit of regression coming on.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>But first we should have a drink in our hands.</dialogue> </scene> <scene> <stage_direction>INT. BAR</stage_direction> <scene_description>Rough old bar , there are a couple of OLD WASTERS staggering around in the distance . Johnny and Pete have now got drinks in their hands .</scene_description> <character>PETE</character> <dialogue>My Dad made me watch Bonanza every Sunday after church.</dialogue> <character>JOHNNY STORY</character> <dialogue>That's got to have done some damage, all those guns and cowboys.</dialogue> <character>PETE</character> <dialogue>You think? It was n't all bad, he sometimes made me laugh too.</dialogue> <character>JOHNNY STORY</character> <dialogue>Now we're getting somewhere. Did he interfere with you? You know, touch you inappropriate like?</dialogue> <character>PETE</character> <dialogue>He tickled me if that's what you mean.</dialogue> <character>JOHNNY STORY</character> <dialogue>Now that's it! That's what I was looking for, you see your Dad is a monster Pedro, a tickling monster.</dialogue> <parenthetical>( singing . )</parenthetical> <dialogue>Pedro's dad's a tickling monster!</dialogue> <scene_description>Johnny helps himself to some WASTERS drink at the bar for a quick refreshment . Understandably , the WASTER does n't look happy and his three FRIENDS do n't look happy either .</scene_description> <character>WASTER</character> <dialogue>That's my drink.</dialogue> <scene_description>Johnny gives the WASTER and his FRIENDS the masturbation signal without even bothering to look at them .</scene_description> <character>PETE</character> <dialogue>Fuck you singalong, you're no help and stop calling me Pedro.</dialogue> <scene_description>The WASTER grabs a bottle from the bar ready to take some action . Johnny grabs a pencil from his top pocket , he holds it out like it 's a knife . It 's almost a joke .</scene_description> <character>JOHNNY STORY</character> <dialogue>Come on boy, I'll have you and ya girlfriends! I'll do the lot of yazz.</dialogue> <scene_description>The WASTER is lost . Johnny is not physically scary , he 's only scary because he 's quite clearly mad . He looks like Robert Deniro in Taxi driver , mad as mars , he catches himself in the mirror , he likes what he sees . Ciggy falling out of his mouth , he sort of takes the piss out of himself , smiles `` tough Johnny , '' the WASTER backs off he does n't want junkie madness .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( Leaning over his shoulder , mock serious . )</parenthetical> <dialogue>Was I good or what Pete? It's all in the eyes.</dialogue> <parenthetical>( he raises his ridiculous eye brows . )</parenthetical> <dialogue>Junkies, I'll shit'em!</dialogue> <scene_description>Johnny sits back down next to Pete .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Did your Dad do anything else to you Pete?</dialogue> <character>PETE</character> <dialogue>He hit me bad as well the slag. Hit with a chain.</dialogue> <scene_description>Pete starts to lift up his shirt .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( Johnny stands . )</parenthetical> <dialogue>What are you doing? I'm not going to tickle you Pete, I'm not your Dad.</dialogue> <scene_description>He looks over and see 's Pete has got the most horrific scars on his back . Johnny notice 's them and stops in his tracks . Johnny walks back over to Pete and very tenderly touches his back , it feels horrible and bobbled .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( soft . )</parenthetical> <dialogue>I find that profoundly offensive Pedro. Two's up on a snout to show I care.</dialogue> <scene_description>He pulls out a ciggy . Pete takes it .</scene_description> <character>PETE</character> <dialogue>I used to think it had something to do with Bonanza.</dialogue> <character>JOHNNY STORY</character> <dialogue>Your dad was jealous. Cos you dad is n't sure he's your dad, cos you do n't look like him.</dialogue> <character>PETE</character> <dialogue>Really? What do I look like then?</dialogue> <character>JOHNNY STORY</character> <dialogue>You have all the facial characteristics of North American native, Livapuddlian Indian. See your Dad thought you were a red Indian and Bonanza triggered your fathers unconscious feelings.</dialogue> <character>PETE</character> <dialogue>Really?</dialogue> <scene_description>Pause . Pete looks at Johnny , . Johnny starts to smile .</scene_description> <character>PETE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You slag Story! I'm not telling you fuck all,. piss taker.</dialogue> </scene> <scene> <stage_direction>INT. ROMAN AND MICKEYS OFFICE</stage_direction> <scene_description>Mickey and Roman 's SECRETARY walks in .</scene_description> <character>SECRETARY</character> <dialogue>Mickey,. Roman, there are four gentlemen who,.</dialogue> <scene_description>The office door opens wider , in walks Lenny , Archy and BOYS .</scene_description> <character>ARCHY</character> <dialogue>Who wan na see you two.</dialogue> <character>SECRETARY</character> <dialogue>I'm sorry Mickey.</dialogue> <character>MICKEY</character> <dialogue>Do n't worry about it June, go and have another lunch.</dialogue> <character>LENNY COLE</character> <dialogue>Sorry to intrude.</dialogue> <parenthetical>( seeing some fruit on the table . )</parenthetical> <dialogue>They call this a lichee do n't they?</dialogue> <character>ROMAN</character> <dialogue>I believe so.</dialogue> <character>LENNY COLE</character> <dialogue>Tasty exotic, bit like your suit.</dialogue> <scene_description>Lenny pops it in his mouth , chews a while and spits out the middle . He turns to face ROMAN and MICKEY , he does not look happy .</scene_description> <character>ROMAN</character> <dialogue>How can we help?</dialogue> <character>LENNY COLE</character> <dialogue>Do n't you have an act called Story Time?</dialogue> <character>ROMAN</character> <dialogue>We did.</dialogue> <character>LENNY COLE</character> <dialogue>And is n't there a lead singer called Johnny Story?</dialogue> <character>ROMAN</character> <dialogue>There was.</dialogue> <character>LENNY COLE</character> <dialogue>Well, I would like to see Mr Johnny Story.</dialogue> <character>ROMAN</character> <dialogue>I would like to see him too, but that might be tricky ` cos according to the newspapers the only songs Mr Story is going to be singing is hymns.</dialogue> <character>LENNY COLE</character> <dialogue>And I shed a tear. I shed it for all those bone tops that read the papers and believe that shit.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Have you seen his body? Have you seen him smacked up and cracked up with his tongue on his chin and his cock in his hand, swinging from the rafters, like a real rock'n' rolla?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>No, you did n't did you? And nobody else fuckin did either, did they ` cos he ai n't dead. He's alive - alive - o somewhere selling cockles and mussels,. and a very important painting that does n't belong to him.</dialogue> <character>ROMAN</character> <dialogue>Sorry, but what has this got to do with us?</dialogue> <character>LENNY COLE</character> <dialogue>You have twelve licenses within a jurisdiction which I control. You wan na play on, do what I tell you.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Now, I can tell what you're thinking.</dialogue> <character>ROMAN</character> <dialogue>That there's not much you ca n't do?</dialogue> <character>ARCHY</character> <dialogue>Slow down tinker bell, you'll never sing the same if ya teeth are n't your own.</dialogue> <scene_description>Pause .</scene_description> <character>MICKEY</character> <dialogue>You gon na take care of him?</dialogue> <character>LENNY COLE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>What do you think we are, gangsters? That's not my style and especially not with genetics and all,.</dialogue> <scene_description>There is a look of confusion from Roman and Mickey .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Bloods thicker than poison moon beam, now do us all a favor, before you catch a cold.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>One Two walks into the speeler , he looks like a lost man . He looks over at the guys sitting around talking , they stop and look up .</scene_description> <character>COOKIE</character> <dialogue>Where have you been? You were missed in court today. That's not very compassionate is it, did n't turn up for your amigos funeral.</dialogue> <scene_description>The phone rings in the back ground , Dolly answers it .</scene_description> <character>FRED THE HEAD</character> <dialogue>Everybody else was there but you and I got the feeling you were the only person Handsome wanted to see.</dialogue> <scene_description>One Two turns a little nasty .</scene_description> <character>ONE TWO</character> <dialogue>What are you trying to say Fred?</dialogue> <character>FRED THE HEAD</character> <dialogue>Eh?</dialogue> <character>ONE TWO</character> <dialogue>You wan na have it out now?</dialogue> <scene_description>From behind we see Handsome Bob and Mumbles walk into the Speeler . Handsome Bob sneaks up and put his hands over One Twos eyes .</scene_description> <character>HANDSOME BOB</character> <dialogue>Guess whoooo?</dialogue> <scene_description>One Two spins round in major shock , he see 's Bob and he does n't like it . All the boys look on like One Two 's going to hug him . He does n't .</scene_description> <character>HANDSOME BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The prosecution lost the paper work. I am offski, the case is closed.</dialogue> <character>ONE TWO</character> <parenthetical>( in shock . )</parenthetical> <dialogue>Five years, you were supposed to get five fucking years!</dialogue> <scene_description>Everyone 's in shock . Dolly walks over and interrupts .</scene_description> <character>DOLLY</character> <dialogue>One Two there's a woman on the phone for you, she sounds very educated.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER STORAGE ROOM</stage_direction> <scene_description>One Two takes the call .</scene_description> <character>ONE TWO</character> <dialogue>How did you get this number?</dialogue> <character>STELLA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I can get any number, I work with numbers do n't I?</dialogue> <character>ONE TWO</character> <dialogue>One point for initiative, two to tell me what's on your mind.</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S OFFICE</stage_direction> <scene_description>Stella sits at her desk .</scene_description> <character>STELLA</character> <dialogue>I need a favor. My husbands having a party tonight and they need some `` smarties'' but they have nowhere to go. Look, I know it's a liberty, but I thought you might know people. Plus, I have another bit of work for you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You can bring your friends. There will be interesting people - the rich and famous, the great and good.</dialogue> </scene> <scene> <stage_direction>INT.SPEELER - STORAGE ROOM</stage_direction> <scene_description>One Two looks through the crack in the door and sees Cookie .</scene_description> <character>ONE TWO</character> <dialogue>Let me see what I can do.</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>One Two comes back into the room , he is still in disbelief .</scene_description> <character>ONE TWO</character> <dialogue>So Bob got off, big fucking deal.</dialogue> <parenthetical>( everyone looks a little lost . )</parenthetical> <dialogue>I have a little bit of work for you Cookie we have a party to go to.</dialogue> </scene> <scene> <stage_direction>INT. URI'S BOAT - DAY</stage_direction> <scene_description>Lenny has another large vodka in his hand , while Uri smiles .</scene_description> <character>URI</character> <dialogue>You're looking well Lenny.</dialogue> <character>LENNY COLE</character> <dialogue>Well thank you Uri, that's a real compliment from a man that obviously takes good care of himself.</dialogue> <character>URI</character> <dialogue>I suppose you're wondering why you are here?</dialogue> <character>LENNY COLE</character> <dialogue>I assume you want to check that everything is still `` kosher'' at my end.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I was a little surprised you did n't come through at the appropriate time, but I reckon you have your reasons.</dialogue> <scene_description>Silence .</scene_description> <character>URI</character> <dialogue>I assume everything is still as you say,. Kosher?</dialogue> <scene_description>Pause . Lenny milks the moment and after a few seconds of mock thought , he speaks .</scene_description> <character>LENNY COLE</character> <dialogue>Do n't you worry Uri, that one's on me,. partners and all that, but I would n't like it to go south again, makes things difficult, if you know what I mean?</dialogue> <character>URI</character> <dialogue>I understand Lenny and I would n't like things to go wrong either. Which brings me conveniently to my next point. Ever since the painting, my lucky painting, has n't been hanging on my wall, things have not been,. so lucky. I know this is a rude request because we have not concluded our business, but I feel as though I need it.</dialogue> <scene_description>Long pause while Lenny scrambles for an excuse .</scene_description> </scene> <scene> <stage_direction>INT. LENNY'S CAR</stage_direction> <scene_description>Lenny enters the car looking a little peachy . Archy takes one look and grimaces .</scene_description> <character>ARCHY</character> <dialogue>Fuckin hell Len, he's given you that bar tan again. You wan na leave that vodka alone.</dialogue> <character>LENNY COLE</character> <dialogue>Shut up Arch!</dialogue> <character>ARCHY</character> <dialogue>Everything all right?</dialogue> <character>LENNY COLE</character> <dialogue>No it's fuckin not all right, he want's his painting, his lucky painting.</dialogue> <scene_description>Archy looks a little worried .</scene_description> <character>ARCHY</character> <dialogue>Oh, I see. That's a bit of a problem then is n't it?</dialogue> <character>LENNY COLE</character> <dialogue>You should have seen his eyes I swore they changed color, went fuckin red they did.</dialogue> <character>ARCHY</character> <dialogue>They do n't care who's soil they are on that lot. They can buy half the country without breaking a sweat, you're small time to them. They could click their fingers and we'd be ether.</dialogue> <scene_description>Turning very nasty .</scene_description> <character>LENNY COLE</character> <dialogue>You speak to me like that again and I'll cut your fuckin tongue out. I run this town, got that, me! Anybody who thinks he's rude enough, let'em raise a finger, ` cos I'll take off his whole fuckin arm. Do you understand that Archy?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I said do YOU?</dialogue> <scene_description>Archy thinks his boss is going mad , but he does n't let on .</scene_description> <character>ARCHY</character> <dialogue>Yes, I do Len.</dialogue> </scene> <scene> <stage_direction>INT. ROMAN AND MICKEY'S OFFICE</stage_direction> <scene_description>The boys are still reeling from the news that Johnny is Lenny 's son .</scene_description> <character>MICKEY</character> <dialogue>How about that then, Johnny Story's father? How did that get under the radar? Why does n't anybody know?</dialogue> <character>ROMAN</character> <dialogue>Would you want anyone to know that he was your Dad? Would we have taken him on if we had known?</dialogue> <character>MICKEY</character> <dialogue>We're going to have to give him something, anything, a bed that's been slept in, a bone for his dog, some token of effort.</dialogue> <character>ROMAN</character> <dialogue>We need to see Cookie.</dialogue> </scene> <scene> <stage_direction>INT. PARTY - NIGHT</stage_direction> <scene_description>The door opens Mumbles , One Two , Cookie , and Fred stand there . A man , TOM in black tie opens the door , he looks posh and is in his boxers .</scene_description> <character>TOM</character> <parenthetical>( A bit rude . )</parenthetical> <dialogue>Who are you?</dialogue> <scene_description>He looks the boys up and down .</scene_description> <character>COOKIE</character> <dialogue>My name is Cookie.</dialogue> <character>TOM</character> <dialogue>You must be with Stella?</dialogue> <character>COOKIE</character> <dialogue>No, we're with the Grand Old Duke of York.</dialogue> <character>TOM</character> <dialogue>Well you ca n't come in here, not without shaking my hand.</dialogue> <scene_description>He offers it to One Two who accepts . Tom pulls it back at the last minute and greases his hair back .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So you're supposed to be a hard case eh?</dialogue> <scene_description>Tom disappears inside where we see a mass of extremely drunk TOFFS running around going wild in black tie .</scene_description> <character>COOKIE</character> <parenthetical>( to One Two . )</parenthetical> <dialogue>This is gon na be a scream, Fred get'em in.</dialogue> <scene_description>He is talking about drinks .</scene_description> <character>FRED THE HEAD</character> <dialogue>Why me?</dialogue> <character>MUMBLES</character> <dialogue>` Cos you look like one of them.</dialogue> <character>FRED THE HEAD</character> <dialogue>They're mad this lot.</dialogue> <character>COOKIE</character> <dialogue>And take that chewing gum off your feet before you start dancing.</dialogue> <scene_description>Stella approaches .</scene_description> <character>STELLA</character> <dialogue>Good evening gentlemen.</dialogue> <scene_description>All the boys give it the `` oh you sly one '' to One Two . There 's a gathering of TOFFS starting to cluster , they 're waiting to be fed . A semi naked WAITER appears with a drinks tray .</scene_description> <character>STELLA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Help yourselves to drinks.</dialogue> <character>TOM</character> <parenthetical>( searching for street cred . )</parenthetical> <dialogue>So! Who the man?</dialogue> <character>ONE TWO</character> <dialogue>I think that's your cue Cookie.</dialogue> <scene_description>Cookie takes his cue .</scene_description> <character>COOKIE</character> <dialogue>Come on then kids, get in a nice orderly line and we'll get the party started.</dialogue> <scene_description>The boys all head various ways into the party</scene_description> </scene> <scene> <stage_direction>INT. PARTY</stage_direction> <scene_description>We see One Two walking through the party , when he runs into Handsome .</scene_description> <character>ONE TWO</character> <dialogue>What the fuck are you doing here?</dialogue> <character>HANDSOME BOB</character> <dialogue>Well all the chaps were coming and I did n't have any plans tonight did I? Thought I might celebrate a little, do you mind?</dialogue> <character>ONE TWO</character> <dialogue>Yes I do fuckin mind. Now listen Bob, what happened last night is our little secret all right and it was only cos you were supposed to be doing your time, right? You tell anybody and I swear to God,. I swear to God. Well fuck it Bob, I think you understand.</dialogue> <scene_description>As One Two walks away he runs into Tom again who stands in his way .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let me tell you something hard case, if you start any trouble around her,.</dialogue> <scene_description>One Two gives him the quick ONE TWO punch , Tom is knocked out cold , he catches him standing up and lowers him to the floor . One Two walks off .</scene_description> </scene> <scene> <stage_direction>INT. PARTY - SOFA</stage_direction> <scene_description>We CUT TO Mumbles on the sofa who is watching One Two , he grimaces . Bertie is next to him .</scene_description> <character>MUMBLES</character> <dialogue>And that's why they call him One Two.</dialogue> <character>BERTIE</character> <dialogue>So you're part of the wild bunch? Stella says you're dangerous.</dialogue> <scene_description>Mumbles smiles and flicks his cigar ash into Bertie 's glass . He knows he 's a poof and keeps his eyes on him a second too long just to get Bertie excited .</scene_description> <character>MUMBLES</character> <dialogue>Does she now?</dialogue> <character>BERTIE</character> <dialogue>So is your friend part of the wild bunch?</dialogue> <scene_description>Bertie is talking about Handsome and Mumbles knows it .</scene_description> <character>MUMBLES</character> <dialogue>That young man is the greatest gun slinger in town.</dialogue> <character>BERTIE</character> <parenthetical>( Bertie smiles . )</parenthetical> <dialogue>Then how come I do n't know him?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I know all about your type.</dialogue> <character>MUMBLES</character> <dialogue>How is that then?</dialogue> <character>BERTIE</character> <dialogue>I'm a criminal lawyer,. and I know a secret about your part of town.</dialogue> <character>MUMBLES</character> <dialogue>What secrets that then?</dialogue> <character>BERTIE</character> <dialogue>You have an informer in your neck of the woods.</dialogue> <character>MUMBLES</character> <dialogue>Oh yeah, so what's his name?</dialogue> <character>BERTIE</character> <dialogue>You have to pay for secrets.</dialogue> <character>MUMBLES</character> <dialogue>That's not nice, but while your at it, what's the price?</dialogue> <character>BERTIE</character> <parenthetical>( he looks to Handsome . )</parenthetical> <dialogue>I want to meet the gun slinger.</dialogue> <scene_description>Mumbles looks over to Handsome .</scene_description> </scene> <scene> <stage_direction>INT. PARTY - CORRIDOR</stage_direction> <scene_description>CUT TO One two who has just run into Stella , there is a man holding a tray of drinks next to them .</scene_description> <character>STELLA</character> <dialogue>Drink?</dialogue> <character>ONE TWO</character> <dialogue>Large one,. Dance?</dialogue> <character>STELLA</character> <dialogue>So, you're a dancer?</dialogue> <character>ONE TWO</character> <dialogue>Am I a dancer? Shall we put the record straight?</dialogue> <scene_description>One Two makes room in front of him and starts to dance relativity badly . You get the feeling he probably could dance , but he just ca n't be bothered to make an effort .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You see it's all in the genes.</dialogue> <parenthetical>( he slowly turns . )</parenthetical> <dialogue>My Dad was a dancer and his Dad before that so gradually it's percolated the old DNA. You not joining me?</dialogue> <character>STELLA</character> <dialogue>Sure, I like to dance.</dialogue> <scene_description>She stands up and dances just like him .</scene_description> <character>ONE TWO</character> <dialogue>Hello, I can sense a little competition. So what you got for me?</dialogue> <character>STELLA</character> <dialogue>The same job's back on again.</dialogue> <character>ONE TWO</character> <dialogue>Oh yea?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do n't throw my rhythm.</dialogue> <character>STELLA</character> <dialogue>Same time, same place, same money.</dialogue> <character>ONE TWO</character> <dialogue>What about security?</dialogue> <character>STELLA</character> <dialogue>Same as before, but they're not my accountants. A couple of their's,. other than that, should be just the same.</dialogue> </scene> <scene> <stage_direction>INT. PARTY</stage_direction> <scene_description>We CUT TO Mumbles who has gone up to Handsome .</scene_description> <character>MUMBLES</character> <dialogue>Handsome, I got a job for you. See that man on the couch.</dialogue> <character>HANDSOME BOB</character> <dialogue>The one that's staring at us? How can I miss him.</dialogue> <character>MUMBLES</character> <dialogue>Do me a favor, chat him up.</dialogue> <character>HANDSOME BOB</character> <dialogue>Fuck off what do think I am?</dialogue> <character>MUMBLES</character> <dialogue>He's some big wig lawyer who knows about an informer in our part of town and since you were just looking at a five stretch, I thought you might be interested.</dialogue> <scene_description>Handsome gets the picture and heads over to Bertie . One Two appears and approaches Mumbles .</scene_description> <character>ONE TWO</character> <dialogue>We got another job on, same as before.</dialogue> <character>MUMBLES</character> <dialogue>It's all go around here is n't it? Den of iniquity this place is. You know your old lady, well her big time lawyer husband he's a beard got a crush on the Handsome.</dialogue> <character>ONE TWO</character> <dialogue>What are you talking about?</dialogue> <character>MUMBLES</character> <dialogue>Put it this way, I do n't think they married for love.</dialogue> <character>ONE TWO</character> <dialogue>I got ta get a breath of fresh air.</dialogue> </scene> <scene> <stage_direction>INT. PARTY - SOFA</stage_direction> <scene_description>We CUT TO to Handsome who has come to sit on the same sofa as Bertie .</scene_description> <character>HANDSOME BOB</character> <dialogue>So, I hear you have a secret, but you look like you might have more than one. Why do n't you confess?</dialogue> <character>BERTIE</character> <dialogue>I do n't want to talk about work.</dialogue> <character>HANDSOME BOB</character> <dialogue>If you tell me who the informer is, we will talk about whatever you want to, anyway, you do n't have to tell me anything. If he's an informer you'll have his depositions and poems.</dialogue> <character>BERTIE</character> <dialogue>My, my not just a pretty face. How do you know about those sort of things?</dialogue> <scene_description>Handsome scribbles out his number on a piece of paper , and gives it to Bertie .</scene_description> <character>HANDSOME BOB</character> <dialogue>Let's have a drink during the week, and I'll tell you all about it, all I need is a little bit of paper work.</dialogue> </scene> <scene> <stage_direction>INT. PARTY</stage_direction> <scene_description>One Two is on his way out the door when Cookie stops him .</scene_description> <character>COOKIE</character> <dialogue>Oi One Two, I am going to make a killing out of this lot, they've definitely got more money than brains.</dialogue> <parenthetical>( to One Two . )</parenthetical> <dialogue>I owe you one boyo.</dialogue> </scene> <scene> <stage_direction>INT. CRACK HOUSE</stage_direction> <scene_description>Johnny is watching cartoons trying to skin up a joint using a page of a book , he puts it down in frustration . Pete walks in , grabs the picture from it 's place and starts to walk out . Johnny squints .</scene_description> <character>JOHNNY STORY</character> <dialogue>Pedro? Come back here.</dialogue> <scene_description>Pete stops in his tracks .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where do you think you are going with that painting?</dialogue> <character>PETE</character> <parenthetical>( he 's flapping . )</parenthetical> <dialogue>You never said it was your Dad's or whatever you wan na call him. You got ta give it back John people are looking for it, bad people. The streets are alive with the sound of pain.</dialogue> <character>JOHNNY STORY</character> <dialogue>You may have a point Pete, but I ca n't give it up. You know why?</dialogue> <character>PETE</character> <dialogue>No, why?</dialogue> <character>JOHNNY STORY</character> <dialogue>Meet me in the pub in two minutes.</dialogue> </scene> <scene> <stage_direction>INT. PUB</stage_direction> <scene_description>Johnny walks in and approaches the BARMAN . He does n't like Johnny .</scene_description> <character>BARMAN</character> <dialogue>What do you want?</dialogue> <character>JOHNNY STORY</character> <dialogue>Now, now no need for that tone bar steward. I am merely on mission to acquire a shot of your finest Scotch and a packet of your,.</dialogue> <parenthetical>( pointing to paper 's . )</parenthetical> <dialogue>Cheapest rolling paper.</dialogue> <character>BARMAN</character> <dialogue>Green or red?</dialogue> <character>JOHNNY STORY</character> <dialogue>King size of course - along with a packet of your shiniest coffin nails.</dialogue> <scene_description>The BARMAN reaches for a pack of cigarettes .</scene_description> <character>BARMAN</character> <dialogue>Do n't make a scene in here boy.</dialogue> <scene_description>Johnny puts a large note on the bar .</scene_description> <character>JOHNNY STORY</character> <dialogue>Put the change in the blind box my good man and remember,.</dialogue> <scene_description>He leans into the bar and shuts one eye .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` In the kingdom of the blind, the one eyed man is king''</dialogue> <scene_description>The BARMAN is left with his mouth open . Johnny walks to the piano to drink his Scotch . There are a few beer mats on the piano , Johnny wipes the mats off with a glide of his hand and they fall to the floor . He raises the lid , coughs , composes himself , and extends his hands through his sleeves . He hits the first note and takes his scotch down in one . A few of the old PUNTERS turn around . Johnny starts to play the most beautiful classical music with his eyes shut . Pete walks in , approaches Johnny and sits with him . He likes it when he plays . Johnny does n't even need to see him to know that he 's there .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You see that pack of Virginia killing sticks at the end of the piano?</dialogue> <scene_description>We SEE the pack of cigarette 's on the piano .</scene_description> <character>PETE</character> <dialogue>Yeah.</dialogue> <character>JOHNNY STORY</character> <dialogue>All you need to know about life is retained within those four walls.</dialogue> <scene_description>Pete picks up the pack as Johnny keeps his eyes shut . The following story is a montage of pack shots of the cigarette box , intercut with Johnny 's delicate fingers stroking the keys .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You will notice that one of your personalities is seduced by the illusions of grandeur. A `` gold'' packet of `` king'' size and with a `` regal'' insignia. An attractive implication toward glamour and wealth, a subtle suggestion that cigarettes are indeed your `` royal'' and loyal friends. And that Pete,. is a lie.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Your other personality is trying to draw your attention to the flip side of the discussion. Written in boring, bold, black and white is the statement, that these neat little soldiers of death, are in fact, trying to `` kill you.'' And that Pete,. is the truth.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Beauty is a beguiling call to death and I am addicted to the sweet siren of its pitch. And that,. is why,. you and I love the crack, and that is also why I can not,. give that painting back.</dialogue> <scene_description>He opens his eyes and looks at Pete , his cigarette has gone out .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, please pass me a light.</dialogue> <character>PETE</character> <parenthetical>( in mock awe . )</parenthetical> <dialogue>Oh you are something special Johnny Story.</dialogue> <scene_description>Johnny smiles and puts him in a head lock , they fall to the floor wrestling .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - BELOW THE SPEELER</stage_direction> <scene_description>One Two and Mumbles are here eating and holding their implements of destruction to be used on the next `` job '' we SEE the details .</scene_description> <character>MUMBLES</character> <dialogue>We'll use rock salt in the shot gun cartridges. Slip'em into the revolver, if it starts getting large, we'll bang a couple in to'em and that'll slow'em down. They wo n't know the difference between lead or salt and of course Bob's driving.</dialogue> <character>ONE TWO</character> <dialogue>I do n't want to use Bob.</dialogue> <character>MUMBLES</character> <dialogue>What? He's our driver, the A - teams not complete without the driver.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What's happened between you and Bob?</dialogue> <scene_description>There 's a bit of a pause .</scene_description> <character>ONE TWO</character> <dialogue>I think there might be something about Bob you do n't know Mumbles.</dialogue> <character>MUMBLES</character> <dialogue>What's that then? That he's a poof?</dialogue> <character>ONE TWO</character> <dialogue>What? Eh? How did you know?</dialogue> <character>MUMBLES</character> <dialogue>Everybody knows he's a flamer, you're the only one who does n't. He loves the boys.</dialogue> <character>ONE TWO</character> <parenthetical>( stunned . )</parenthetical> <dialogue>What are you talking about, I am losing orientation here Mumbles.</dialogue> <character>MUMBLES</character> <dialogue>Did he make a pass at you, is this what this is all about?</dialogue> <character>ONE TWO</character> <dialogue>Yes, he fuckin did.</dialogue> <character>MUMBLES</character> <dialogue>Ok so what's the problem? It was supposed to be his last night so you `` took care'' of him, that's what friends do for one another, well done, I wo n't tell the chaps.</dialogue> <character>ONE TWO</character> <dialogue>Hold on a minute, you wo n't tell the chaps what?</dialogue> <character>MUMBLES</character> <dialogue>What did you do? Suck his,.</dialogue> <character>ONE TWO</character> <dialogue>Stop right fuckin there! What is going on here? Does that mean you've sucked his,.</dialogue> <character>MUMBLES</character> <dialogue>Well, you must have touched him.</dialogue> <character>ONE TWO</character> <dialogue>Hold on! I am not fucking gay! He wanted a dance that's all!</dialogue> <character>MUMBLES</character> <dialogue>Did you give him one?</dialogue> </scene> <scene> <stage_direction>INT. CUBAN MENS DANCING CLUB</stage_direction> <scene_description>We CUT TO a shot of One Two dancing a slow dance with Handsome Bob who looks depressed .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - BELOW THE SPEELER</stage_direction> <character>ONE TWO</character> <dialogue>A DANCE, yes, I did.</dialogue> <character>MUMBLES</character> <dialogue>Was it a slow dance?</dialogue> <scene_description>One Two trails off , .</scene_description> <character>ONE TWO</character> <dialogue>What has he done to me?</dialogue> <scene_description>Beat .</scene_description> <character>MUMBLES</character> <dialogue>I think there's something else you should know about our Bob.</dialogue> <character>ONE TWO</character> <dialogue>What, there's more?</dialogue> <character>MUMBLES</character> <dialogue>Who do you think looked after your Mum before she died, whilst you were doing a two stretch?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>` Cos it was n't fuckin me and I am your best pal! No, it was Bob around there six times a week without fail making sure she was looked after. You tore your mums heart out when you went away and Bob did his best to put it back.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I tell you something One Two, if I could be half the human that Bob is and the price was being a poof, I'd think about it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Not for too long, but I'd have to think about it.</dialogue> <character>ONE TWO</character> <dialogue>He looked after my Mum, how come he never told me?</dialogue> <character>MUMBLES</character> <dialogue>` Cos that's Handsome Bob and he's class.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - BACKSTAGE</stage_direction> <scene_description>Roman and Mickey have got a BAND on stage and the place is filling up . Roman is on the phone looking concerned as Mickey looks on , he puts the phone down . We CUT TO our BAND playing on stage , modern young punksters , Arctic Monkey types . Plenty of attitude .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR - NIGHT</stage_direction> <scene_description>There is a long line of people outside Roman and Mickey 's venue . Johnny and Pete hustle their way through the crowd , the BOUNCER pulls them up .</scene_description> <character>BOUNCER</character> <dialogue>Oi you, what do you think you're doing?</dialogue> <character>JOHNNY STORY</character> <dialogue>What do you think we're doing? We're trying to get in.</dialogue> <character>BOUNCER</character> <dialogue>Go home wasters, costs money to get in here.</dialogue> <character>JOHNNY STORY</character> <dialogue>Yes my good man, I am aware of that.</dialogue> <scene_description>Johnny goes for his money , but the BOUNCER pushes him on .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB - BACKSTAGE</stage_direction> <character>MICKEY</character> <dialogue>What's wrong with you?</dialogue> <character>ROMAN</character> <dialogue>Get that Archy on the phone, I think we've got a problem.</dialogue> <scene_description>WE CUT to the BAND smashing away .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR</stage_direction> <scene_description>The BOUNCER is holding Johnny and Pete back .</scene_description> <character>BOUNCER</character> <dialogue>Run along junkies.</dialogue> <character>JOHNNY STORY</character> <dialogue>Oi looky, but no touchy.</dialogue> <scene_description>Johnny pushes the BOUNCERS arm away . The BOUNCER retorts with a slap round the cheek . Pete wo n't stand for that , he goes for the BOUNCER in a pathetic junkie way .</scene_description> <character>PETE</character> <dialogue>Get off him you slag, he's class.</dialogue> <scene_description>The BOUNCER smashes a big bouncer punch right on Pete 's nose . Pete shoots back past Johnny and lays in the road , the line starts clapping .</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB</stage_direction> <scene_description>Roman is on the phone with Archy , we cut to them mid conversation .</scene_description> <character>ROMAN</character> <dialogue>Mr. Archy,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I hear you, but you ca n't just shut us down! I've got an act on.</dialogue> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR</stage_direction> <scene_description>Johnny stands over Pete , he notices Johnny 's face . Pete 's seen this before , he 's changing like a madmen about to explode .</scene_description> <character>PETE</character> <parenthetical>( calm , but worried . )</parenthetical> <dialogue>Leave it John, I'm happy, I'm all right down here mate. Let's call it a night eh?</dialogue> <character>JOHNNY STORY</character> <dialogue>I'll show em' fuckin happy.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - BACK STAGE</stage_direction> <scene_description>We hear the BAND is starting to get louder and faster .</scene_description> <character>ROMAN</character> <dialogue>I understand, we'll find him,.</dialogue> <parenthetical>( still pleading . )</parenthetical> <dialogue>But I have to keep the club open! I have four hundred people in here!</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do n't you dare shut us down!</dialogue> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR</stage_direction> <scene_description>Johnny makes for the BOUNCER with menace , the BOUNCER looks at Johnny coming and smiles .</scene_description> <character>BOUNCER</character> <dialogue>Fancy some more talent boy?</dialogue> <scene_description>Johnny keeps coming , he 's tiny in comparison , the BOUNCER stands and waits - he 's ready . Johnny gives the old two finger poke to the eyes , the BOUNCER screams in pain and swings into the ether</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB</stage_direction> <scene_description>We CUT TO THE BAND who is going mad .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR</stage_direction> <scene_description>Johnny pulls out his signature pencils .</scene_description> <character>JOHNNY STORY</character> <dialogue>I am going to report you, what's your name?</dialogue> <character>BOUNCER</character> <dialogue>Jog on boy, before I grind your bones to make my bread.</dialogue> <scene_description>Without a hesitation Johnny sticks the pencils into the BOUNCERS leg , it 's quite nasty . The BOUNCER stumbles forward like a wounded elephant , it 's David and Goliath . Johnny 's smart , he knows how to do this properly .</scene_description> <character>JOHNNY STORY</character> <dialogue>Oh I'm sorry did that hurt? Here let me help you up.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - BACK STAGE</stage_direction> <scene_description>Mickey walks back to Roman .</scene_description> <character>MICKEY</character> <parenthetical>( to Roman . )</parenthetical> <dialogue>They're trying to shut us down!</dialogue> <scene_description>CUT TO THE BAND going even madder - the crowd is loving it .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT CLUB DOOR</stage_direction> <scene_description>Johnny picks up a trash bin lid and starts giving it to the bouncer . The crowd dances around this wounded beast .</scene_description> <character>JOHNNY STORY</character> <dialogue>What was that about grinding bones?</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB</stage_direction> <character>ROMAN</character> <dialogue>If we want to keep the licence and the lights on, we need to find Johnny Story.</dialogue> <scene_description>Mickey looks at the security camera and sees chaos .</scene_description> <character>MICKEY</character> <dialogue>There is a revolution taking place outside.</dialogue> <scene_description>The BAND is still going when all of a sudden the lights get pulled , we cut to black .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - TACKY MODERN FLASH</stage_direction> <scene_description>Roman and Mickey have come to find Cookie . He is with a GROUP of people having dinner including Fred the Head . We cut into him mid joke .</scene_description> <character>COOKIE</character> <dialogue>Joke to be inserted by Cookie.</dialogue> <scene_description>The table laughs , Roman and Mickey approach .</scene_description> <character>COOKIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello, it's Roman and Mickey, what are you doing here boys?</dialogue> <character>ROMAN</character> <dialogue>Can we have a word Cookie?</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT BOOTH</stage_direction> <character>ROMAN</character> <dialogue>We need to find Johnny Story.</dialogue> <character>COOKIE</character> <dialogue>Well, you should be the first to know this, but is n't he,.</dialogue> <character>ROMAN</character> <dialogue>You know and I know nothing kills Johnny.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come on Cookie, you've helped him fuck up his life for the last five years, now do him a good turn.</dialogue> <scene_description>This story will be illustrated appropriately , including a little smoking devil holding the burning crack .</scene_description> <character>COOKIE</character> <dialogue>Have you ever bought a ticket to the junkies bone yard Roman?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>It's an unpleasant place called `` curl up and die.'' Might sound like a hair salon, but it do n't fuckin look like one I can tell ya. It's a horrible sight and a terrible sound listening to a man sucking his soul through the hole in `` the pipe'' and even worse when he tries to tear it back.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I've been there, I've done that,. then I nailed that demon in a smoke proof coffin and I did it all with Johnny. I love that man, he's what you call class. and if you would use your heads, you would love him too. You know his music sales have gone up a thousand percent in two weeks.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You see, Johnny `` the crack head'' Story knows that a `` Rocka'' is worth more dead than alive, silly world ai n't it?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Mr Story does n't get his gear from me, he has to travel far and wide. Leave me your number and if the dead feels like calling, you'll be the first to know.</dialogue> </scene> <scene> <stage_direction>INT. RANGE ROVER</stage_direction> <scene_description>We SEE inside the Range Rover where there is a DRIVER with our TWO CHECHNYANS . The CHECHNYANS have suitcases handcuffed to their wrists . They speak in their native tongue .</scene_description> <character>CHECHNYAN 1</character> <dialogue>Victor is Uri's right hand man, we served together for four years in Chechnya. We used to have a good time together, he's a real soldier, strong, hard, we made much trouble. I saved his life and he saved mine many times,.</dialogue> <scene_description>CHECHNYAN 1 pulls up his sleeve to reveal a massive tattoo . His arm is filled with slash marks on it .</scene_description> <character>CHECHNYAN 1</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Caught in tank tracks! He pulled me out and this one,.</dialogue> <scene_description>He unbuckles his trousers and shows a massive gouge in his thigh .</scene_description> <character>CHECHNYAN 1</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stem grenade.</dialogue> <character>CHECHNYAN 2</character> <dialogue>I have one of those,.</dialogue> <scene_description>CHECHNYAN 2 pulls up his trouser leg to reveal massive scars on his shin .</scene_description> <character>CHECHNYAN 2</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How many of these have you got?</dialogue> </scene> <scene> <stage_direction>INT. RANGE ROVER</stage_direction> <scene_description>Chechnyan 1 pulls his shirt up to reveal more wounds .</scene_description> <character>CHECHNYAN 1</character> <dialogue>Six thirty calibe,.</dialogue> <scene_description>SMASH ! Their car is smashed into a tailspin , by Handsome Bob 's truck . The Range Rover eventually lands on it 's side , steam , spinning wheels , smoke , and glass is everywhere .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Bob jumps out of his truck and runs down to the second getaway car waiting . We SEE One Two and Mumbles get out of their car and run over to the Range Rover on its side , they are carrying an axe and bolt cutters . Inside , CHECHNYAN 2 slowly opens his dazed eyes , to SEE an axe chopping through the window . TWO CHOPS and the window gives in . One Two leans in and grabs the case , but it 's chained to CHECHNYAN 2 's wrist . One Two pulls the arm out of the window and Mumbles uses massive bolt cutters to cut the case free .</scene_description> <character>MUMBLES</character> <dialogue>There's another case, grab it.</dialogue> <scene_description>One Two leans in and grabs the second case from Chechnyan 1 . As he is about to chop this one loose , he is pulled into the car by CHECHNYAN 2 .</scene_description> <character>ONE TWO</character> <dialogue>The bastard's still kicking. Mace him, mace him!</dialogue> <scene_description>Mumbles quickly moves around to the other window and sprays mace everywhere , including into One Two 's eyes .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yaaaaaaaaaaaaaa, not me you idiot, the Guerrilla!</dialogue> <scene_description>CHECHNYAN 2 in the mean time has regained some of his strength and is still pulling One Two into the car with him . We can SEE Bob in the distance now next to their second getaway car looking concerned .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shoot him, shoot him, the bastards going to eat me!</dialogue> <scene_description>Mumbles pulls out a revolver , sticks it in the window and fires it into CHECHNYAN 2 's leg . This just aggravates the CHECHNYAN .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>In his arms!</dialogue> <scene_description>Bang .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Arhhhhhhhhhhh. That's my fuckin arm!</dialogue> <scene_description>One Two manages to head butt CHECHNYAN 2 and goes back to reclaiming the case from CHECHNYAN 1 . He pulls it out and Mumbles cuts the chain . One Two ca n't see a thing .</scene_description> <character>MUMBLES</character> <dialogue>Let's go, we've got it.</dialogue> <character>ONE TWO</character> <dialogue>Give me a hand, you've blinded me!</dialogue> <scene_description>Major confusion is setting in . They run back to their car , which is still running , Mumbles shoves One Two into the back and jumps in the drivers seat .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go, go, go, go!</dialogue> <scene_description>With his window open , Mumbles wheel spins out of the situation and turns to check on One Two . From out of nowhere a very large CHECHNYAN arm shoots through the window and puts Mumbles in a neck lock . The CHECHNYAN 2 is holding on and not letting go . The car tears across the road and enters a shop window that has a mezzanine . The car comes to a halt on a precarious ledge , it 's dangling with the CHECHNYAN 2 still not letting go .</scene_description> </scene> <scene> <stage_direction>INT. CAR - IN SPORTS SHOP</stage_direction> <character>ONE TWO</character> <dialogue>Give me the gun.</dialogue> <scene_description>One Two can get a clear shot into the CHECHNYAN 2 's side . He shots him once , CHECHNYAN 2 does n't move , twice , three times , four times , he finally lets go and falls down on the floor .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit, what are these two made out of?</dialogue> <scene_description>Mumbles is coughing and slowly coming back to life .</scene_description> <character>MUMBLES</character> <dialogue>Let's get going.</dialogue> <character>ONE TWO</character> <dialogue>I can hardly see, where are we?</dialogue> <character>MUMBLES</character> <dialogue>Grab my hand, we're getting out of here.</dialogue> <character>ONE TWO</character> <dialogue>Who's got the cases?</dialogue> <character>MUMBLES</character> <dialogue>I've got'em.</dialogue> <scene_description>As they get out of the car , WE SEE CHECHNYAN 1 has now made his way down the street . He is punch drunk with mace in his eyes , but extracts a machine gun from under his jacket . The boys freeze they are fucked , nowhere to go , but CHECHNYAN 1 is blinking profusely he ca n't be sure where they are . He lets off a magazine into the manikins next to our boys who all hit the deck . The magazine runs dry , CHECHNYAN 1 dips into his belt to extract a fresh one . Mumbles see 's his opportunity , he grabs a golf club that is standing next to him , runs at CHECHNYAN 1 and takes a massive swipe at his head . CHECHNYAN 1 goes down , but he has already put in a new magazine . Mumbles is still carrying the cases , One Two is attached to his arm .</scene_description> <character>ONE TWO</character> <dialogue>Shoot him Mumbles or we wo n't get out of this!</dialogue> <character>MUMBLES</character> <dialogue>I ca n't fuckin shoot him, you do it.</dialogue> <scene_description>A baseball smashes into Mumbles face , he goes down , and he 's out . CHECHNYAN 2 has appeared carrying a metal baseball bat . One Two picks up the machine gun .</scene_description> <character>ONE TWO</character> <dialogue>Stop or I'll shoot!</dialogue> <scene_description>CHECHNYAN 2 will not stop , he just keeps on coming .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean it, get down,. get down!</dialogue> <scene_description>CHECHNYAN 2 keeps coming , One Two does n't want to do it but he has to . He lets off twenty three bullets into the CHECHNYAN 2 's chest , the CHECHNYAN is knocked back and disappears over the mezzanine . One Two is in shock , he has never killed a man . He stands there numb .</scene_description> <character>MUMBLES</character> <parenthetical>( who has come back to life . )</parenthetical> <dialogue>I got the cases, now let go.</dialogue> <scene_description>Pause . One Two is still in shock .</scene_description> <character>MUMBLES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now One Two, now!</dialogue> <scene_description>They make their way to the entrance . There is a crowd of PEOPLE gathered , a great `` ohhhhhhhh '' goes up .</scene_description> </scene> <scene> <stage_direction>EXT. SPORTS SHOP</stage_direction> <character>ONE TWO</character> <dialogue>Where's Bob?</dialogue> <scene_description>Beep . Beep . A car slowly makes it way through the crowd . It pulls up and the boys pile in , what 's left of them . They pull away from the sports shop .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S GETAWAY CAR</stage_direction> <scene_description>Bob looks in his mirror , he can see a gun being raised , there is someone on the trunk .</scene_description> <character>HANDSOME BOB</character> <dialogue>Down.</dialogue> <scene_description>He slams on the brakes . CHECHNYAN 2 goes flying over the roof , but stops himself hitting the road by perforating the hood with his massive knife . He proceeds to perforate the wind screen with another knife that he extracts and -LRB- because of laminate -RRB- starts to saw through the wind screen . The boys are in horror .</scene_description> <character>HANDSOME BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Abandon ship!</dialogue> </scene> <scene> <stage_direction>EXT. BOB'S GETAWAY CAR</stage_direction> <scene_description>One Two gets caught in a head lock by CHECHNYAN 2 , they struggle . Mumbles hits the CHECHNYAN from behind with a car Jack and CHECHNYAN 2 goes down again . One Two 's eyes have just about come back .</scene_description> <character>ONE TWO</character> <dialogue>Run! Run for your lives.</dialogue> <scene_description>The crew split in DIFFERENT DIRECTIONS . Bob takes the cases and plucks some poor bystander out of their car and takes off . Mumbles disappears another way . CHECHNYAN 2 is up and follows One Two - terminator style , a foot chase begins . One Two , split from the group and being pursued , jumps over a wall .</scene_description> </scene> <scene> <stage_direction>EXT. RAILWAY TRACK</stage_direction> <scene_description>One Two has ended up on a railway track . He turns back , why should CHECHNYAN 2 chase him , he has n't got the money . But no , CHECHNYAN 2 is over the fence , bullet proof vest flapping in the wind , and coming after him . One Two finds his strength this is his world , the world of the runner - he 's off down the tracks . The pair of them are bleeding profusely , they 're bashed to a pulp , but they have still got a running sprit . The run goes on and on . CHECHNYAN 2 has ripped off his jacket , we can see his massive scar covered torso dripping in blood and sweat , he seems unstoppable . One Two gets confident and starts to run backwards egging CHECHNYAN 2 on , CHECHNYAN 2 is a good runner , but not good enough . Deep hate fills his eyes as One Two makes a fool out of him , CHECHNYAN 2 will remember this man . One Two is taking complete liberties , he almost stops and waits until CHECHNYAN 2 has caught up to him and then he tears off , the CHECHNYAN keeps coming . One Two see 's in the distance a tiny moped approaching from a distance , its CHECHNYAN 1 who completely out sizes the machine . However , he 's moving and it 's moving faster than One Two . One Two ducks off the tracks and over a wall , the moped gets nearer . At least when he gets over the wall , the moped wo n't follow right ? One Two 's over . He can hear the moped on the other side , One Two looks over his shoulder he can see the moped being lifted over the wall . `` Oh shit . '' This is where One Two 's `` zone '' comes into play . He drifts in to a place that he can not be disturbed and he runs and runs and runs . Up , down , through and in .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>We see Mumbles has caught up with One Two along side the tracks . He is on a motorbike that he has stolen .</scene_description> <character>MUMBLES</character> <dialogue>Get on!</dialogue> <scene_description>One Two jumps on the back and they speed away leaving our Chechnyan 's behind .</scene_description> </scene> <scene> <stage_direction>INT. PORTA CABIN</stage_direction> <scene_description>We are on another one of Uri 's construction sites , Lenny is here to do the money exchange , again .</scene_description> <character>LENNY COLE</character> <dialogue>I will have that painting with you in a couple of days Uri. It got locked up with some other goods of mine, I wanted to keep it safe, but Archy lost the key to the lock. Did n't you Arch?</dialogue> <scene_description>Archy nods like an idiot .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, I'm not being funny Uri, but I have a payment to make. So if there is any chance that I could get the money.</dialogue> <scene_description>Victor walks up , there is something wrong .</scene_description> <character>VICTOR</character> <parenthetical>( in Russian . )</parenthetical> <dialogue>I need to speak to you Uri.</dialogue> </scene> <scene> <stage_direction>EXT. PORTA CABIN - CONTINUOS</stage_direction> <scene_description>Uri concludes the meeting with Lenny and Archy and they walk to the exit where Turbo is waiting by the door . Something has obviously just happened .</scene_description> <character>LENNY COLE</character> <dialogue>Something wrong with these immigrants Arch, I do n't fuckin trust'em. We're being set up, do n't know how, but something's wrong, I can smell it with my sniffer. I thought he was made of fuckin money, not too happy about flashing it around here though is he?</dialogue> </scene> <scene> <stage_direction>INT. PORTA CABIN</stage_direction> <scene_description>Uri watches Lenny walk off .</scene_description> <character>VICTOR</character> <dialogue>He is the only one that knows.</dialogue> <character>URI</character> <dialogue>He does n't have the balls or the brains.</dialogue> <character>VICTOR</character> <dialogue>He's a crook, a small time back handing crook. Once could be a coincidence, but twice and the painting - your `` lucky painting'' I think he is trying to make a fool out of you.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>One Two walks into the restaurant with Handsome Bob . One Two is bashed to a pulp , but he 's wearing a nice suit and carrying a bag full of money . There is a slight silence as his appearance arrests conversations . Handsome waits near the entrance and One Two sits down across from Stella , there is a pause . The odd PERSON passes and double takes at One Two .</scene_description> <character>STELLA</character> <dialogue>Oh my God, are you all right?</dialogue> <scene_description>A WAITER walks up .</scene_description> <character>ONE TWO</character> <dialogue>That is a rhetorical question I hope.</dialogue> <parenthetical>( to waiter . )</parenthetical> <dialogue>A glass of water thank you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>With a straw.</dialogue> <parenthetical>( To Stella . )</parenthetical> <dialogue>Do n't you want to know what happened?</dialogue> <character>STELLA</character> <dialogue>I know what happened, it's been all over the news, but I did n't realize,.</dialogue> <character>ONE TWO</character> <dialogue>You did n't say anything about guns,. machine guns with war criminals stuck to the trigger.</dialogue> <character>STELLA</character> <dialogue>I am sorry I did n't know, but should n't you have taken precautions?</dialogue> <character>ONE TWO</character> <dialogue>I'll leave your bag under the table all right?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>But this is n't about the money is it? I saw you there on that last job. At first I thought it was curiosity,.</dialogue> <scene_description>CUT BACK TO THE ROBBERY we see Stella in her car that One Two had seen , but we did n't .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But then I realized what was going on. You do n't need the money, you liked the rush. Your old man, ca n't give you the action can he?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Good - bye sweetheart you're too dangerous for me.</dialogue> <scene_description>He gets up and limps out .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>One Two and Handsome get into the car where Mumbles , nursing his own wounds , is already waiting . Handsome sits in the drivers seat when his phone goes .</scene_description> <character>HANDSOME BOB</character> <dialogue>Is that you Bertie?</dialogue> <scene_description>Mumbles and One Two know what this call is about .</scene_description> <character>BERTIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What's happening about that drink?</dialogue> <character>HANDSOME BOB</character> <dialogue>What's happening about that paper work?</dialogue> <character>BERTIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I am busy tonight, but Monday looks good. I'll leave the papers at my reception under your name and text you the address.</dialogue> <character>HANDSOME BOB</character> <dialogue>I'll be round in a jiffy and I'll see you Monday.</dialogue> <scene_description>The phone goes down , One Two narrows his eyes .</scene_description> <character>ONE TWO</character> <dialogue>You are scary good at that.</dialogue> <character>HANDSOME BOB</character> <dialogue>Do you miss it?</dialogue> <character>ONE TWO</character> <dialogue>Shut up Bob or I'll slap you. Go and pick up your paper work from your boy friend and drop me off on the way, I am going back to bed.</dialogue> </scene> <scene> <stage_direction>INT. TOWN HALL</stage_direction> <scene_description>Lenny is walking down the main corridor , he 's a man on a mission . Archy is next to him , not looking so enthusiastic .</scene_description> <character>LENNY COLE</character> <dialogue>Arch I do n't care if he's fuckin busy, if we call, he answers, that's the deal. There he is,.</dialogue> <parenthetical>( shouting . )</parenthetical> <dialogue>Councilor,. Councilor!</dialogue> <scene_description>The Councilor is walking down the corridor he 's with some of his COLLEAGUES . He looks mortified and beckons his friends on .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Something wrong with your telephone?</dialogue> <character>COUNCILOR</character> <dialogue>What are you doing here Lenny? You ca n't come here.</dialogue> <character>LENNY COLE</character> <dialogue>Steady, Councilor steady,. I go wherever I fuckin want. This is my town, not yours no matter what you and your pen pushing immigrant boy scouts might think.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Now, what's going on?</dialogue> <character>COUNCILOR</character> <parenthetical>( hurriedly . )</parenthetical> <dialogue>Step in here.</dialogue> </scene> <scene> <stage_direction>INT. COUNCILORS OFFICE</stage_direction> <scene_description>The Councilor steps into his office .</scene_description> <character>COUNCILOR</character> <dialogue>I ca n't do it, you've left it too long Lenny. You want something that the city has a ruling against, something they said they would n't give permission to build.</dialogue> <character>LENNY COLE</character> <dialogue>Do n't give me that shit. I can look out my window and there's twenty kinds of buildings this city said they'd never build, how did that happen eh? Fuckin termites got together and had a house building party did they? No sunshine, back handers put them up, back handers just like mine.</dialogue> <character>COUNCILOR</character> <dialogue>This is n't fuckin Zaire Lenny, I ca n't do it this time.</dialogue> <scene_description>Lenny grabs the Councilor by the bollocks and pushes him up against the wall .</scene_description> <character>COUNCILOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get off my bollocks Lenny.</dialogue> <scene_description>He squeezes the Councilors bollocks harder , the Councilor screams .</scene_description> <character>LENNY COLE</character> <dialogue>Do n't you swear at me you yellow puddle of immigrants piss or I'll fuckin drown you in it.</dialogue> <parenthetical>( squeeze . )</parenthetical> <dialogue>Feel that do you Councilor? You think I do n't have a paper trail for all the gifts, the cars, holidays, tennis courts and swimming pools? I own these bollocks and they're more fragile than a pair of quails eggs. Now get it done!</dialogue> <parenthetical>( squeeze . )</parenthetical> <dialogue>And next time blue bollocks, remember who the Daddy is!</dialogue> </scene> <scene> <stage_direction>INT. CRACK HOUSE</stage_direction> <scene_description>Johnny 's sitting smoking a fag and watching more cartoons . Pete walks in with Malcolm and Paul , Johnny jumps up angry .</scene_description> <character>JOHNNY STORY</character> <dialogue>Moron,. what do you think your doing?</dialogue> <character>PETE</character> <dialogue>What John?</dialogue> <character>JOHNNY STORY</character> <dialogue>Letting creatures in my yard without my consent.</dialogue> <character>PETE</character> <dialogue>They're good stuff John, Scotch and Scouse.</dialogue> <character>MALCOLM</character> <dialogue>Like the drink and the Beatles. I am Malcolm and this is my friend and colleague Paul, you know like the saint.</dialogue> <scene_description>Paul 's still comatose .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Paul does n't say much, he's too busy thinking.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come on, we know you John, we're big fans, you're what they call a real rocknrolla.</dialogue> <scene_description>Johnny cuts in and storms over to all three of them , pushing them out the door .</scene_description> <character>JOHNNY</character> <dialogue>Out! Good - bye, on your way, bon voyage and fuck off.</dialogue> <scene_description>Pete falls to the floor sulking , Johnny can push no more it 's a lay down , Malcolm and Paul join him .</scene_description> <character>JOHNNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is this a laydown? A fuckin demo?</dialogue> <character>MALCOLM</character> <dialogue>Leave us be Johnny, we're nice people. Peaceful people. This is a demonstration of peace.</dialogue> <character>JOHNNY</character> <dialogue>Where the fuck did you find these two junkies? Conference, now Pete.</dialogue> <scene_description>Johnny drags Pete in toilet .</scene_description> </scene> <scene> <stage_direction>INT. CRACK HOUSE TOILET</stage_direction> <character>JOHNNY STORY</character> <dialogue>Pedro I swear this is the last time I'm having you take the piss, next time you're on your own.</dialogue> <character>PETE</character> <dialogue>Sorry, I thought you might like some company.</dialogue> <character>JOHNNY STORY</character> <dialogue>I am dead Pete, what does that tell you? It tells you, that dead people do n't like company! Now jog'em on.</dialogue> <character>PETE</character> <dialogue>All right, I'll tell'em to leave.</dialogue> <character>JOHNNY STORY</character> <dialogue>Yes you fucking well will, smelly junkies. Meeting adjourned.</dialogue> <scene_description>Johnny and Pete walk out of the toilet , Malcolm and Paul are gone .</scene_description> <character>PETE</character> <dialogue>You've scared'em off sing - a - long, but with a welcome like that it's not all that shocking.</dialogue> <character>JOHNNY STORY</character> <dialogue>Lucky you're not following them.</dialogue> <scene_description>Johnny looks over , the picture has gone , he turns to Pete .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where's the picture Pete?</dialogue> </scene> <scene> <stage_direction>INT. SPEELER</stage_direction> <scene_description>Malcolm and Paul walk in the speeler , it 's packed . Paul is holding the painting .</scene_description> <character>FRED THE HEAD</character> <dialogue>Hi ho it's the werewolf brothers, what you got for us today?</dialogue> <character>MALCOLM</character> <dialogue>Paul, please exhibit to the audience the fine artifact.</dialogue> <scene_description>Paul walks around with the painting - Malcolm sits him down , he 's in a state again .</scene_description> <character>MALCOLM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, now young Paul rest your weary legs.</dialogue> <parenthetical>( beat .</parenthetical> <parenthetical>here comes the pitch . )</parenthetical> <dialogue>Gentlemen,. we are entering the realm of the ancient art form of paint on canvas,.</dialogue> <scene_description>Cookie cuts in .</scene_description> <character>COOKIE</character> <dialogue>I'll have it, how much?</dialogue> <character>MALCOLM</character> <parenthetical>( stunned . )</parenthetical> <dialogue>One moment sir, there's a pitch that comes with this painting,.</dialogue> <scene_description>Cookie gets up from the table and walks over .</scene_description> <character>COOKIE</character> <dialogue>I do n't want the pitch, I said I'll have it.</dialogue> <character>MALCOLM</character> <dialogue>It's a very rare and expensive painting sir.</dialogue> <scene_description>Malcolm 's upset , he wanted to give the pitch . Cookie pulls out a lot of money too much for Malcolm to say no to .</scene_description> <character>COOKIE</character> <dialogue>Here ya go, have a week in snow.</dialogue> <scene_description>Malcolm takes it .</scene_description> <character>MALCOLM</character> <dialogue>Good afternoon gentlemen, it's been a pleasure. I can hardly wait till the next time.</dialogue> </scene> <scene> <stage_direction>EXT. GOLF COURSE</stage_direction> <scene_description>Uri , Lenny and Victor are out on the fairway .</scene_description> <character>LENNY COLE</character> <dialogue>I'll have that painting in a couple of days Uri, trust me on that.</dialogue> <scene_description>Uri 's not sure about that last statement .</scene_description> <character>URI</character> <dialogue>You like it out here Lenny?</dialogue> <character>LENNY COLE</character> <dialogue>Ca n't beat the great outdoors can you Uri? I ca n't understand it, not a soul out here.</dialogue> <character>URI</character> <dialogue>That's because I have had the course cleared for us Lenny, we are not going to be disturbed.</dialogue> <character>LENNY COLE</character> <dialogue>Oh that's good, I love a clear fair way, that's a bitta me that Uri. Nothing worse than being jogged on by blind tourists swinging a stick on a Sunday.</dialogue> <character>URI</character> <dialogue>What are we going to do Lenny? Every time I am about to make my payment something dishonest happens.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You, would n't know anything about that, would you?</dialogue> <scene_description>Clearly shifting gears , could he be saying what he thinks .</scene_description> <character>LENNY COLE</character> <dialogue>Excuse me? Are you trying to say something Uri?</dialogue> <character>URI</character> <dialogue>I am not trying Lenny, I am saying something.</dialogue> <scene_description>Lenny is not having any of this , after all he 's `` top dog . ''</scene_description> <character>LENNY COLE</character> <dialogue>I think you forget who you are speaking to you insolent bastard. You forget where you are you fuckin immigrant. This is my land, my fuckin show, I run this tow,.</dialogue> <scene_description>Victor has extracted a five iron from out of the golf bag and has decided to break both of Lenny 's legs in ten different places . Lenny screams in unimaginable agony , writhing on the green . Uri almost ignores the activity .</scene_description> <character>URI</character> <dialogue>I have to go now Lenny, I am having lunch with the Councilor, your Councilor. This, as you know, is the ninth hole and it is a long crawl back to your car. You should make it by sunrise, just in time to bring me my `` lucky picture.'' I want it back do you hear me?</dialogue> <scene_description>Victor kicks him .</scene_description> <character>LENNY COLE</character> <dialogue>Yes,. yes.</dialogue> <character>URI</character> <dialogue>After that, I do n't want to hear from you again, disappear do you understand me Lenny?</dialogue> <parenthetical>( Victor stands on his broken legs arrrrgh . )</parenthetical> <dialogue>Lenny?</dialogue> <character>LENNY COLE</character> <dialogue>Yes, yes, I understand.</dialogue> <scene_description>Victor dips into his Lenny 's pocket and extracts his phone .</scene_description> <character>URI</character> <dialogue>Times just change.</dialogue> <parenthetical>( Uri gets in the buggy . )</parenthetical> <dialogue>Good bye Lenny.</dialogue> <scene_description>He gets into the buggy with Victor and drives off .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>One Two comes in and closes the door behind him . He looks down on the floor and there is THE PAINTING , we see a large note on it that says . `` Let myself in , thought your lady would like the painting . Love , Cookie '' The door bell rings , he opens it and there stands Stella . She walks in straight past One Two , he turns round with his mouth open , she gently slaps it shut and kisses him .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>We are outside Bertie 's office - Handsome opens the car door and jumps in , he 's holding a brown envelope . Mumbles is waiting there .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>One Two is sitting on the bed that has been torn apart . He 's in his boxer shorts with a ciggy in his mouth . Stella is walking toward the bathroom , the phone rings .</scene_description> <character>ONE TWO</character> <dialogue>Yeah?</dialogue> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>We see Mumbles and Handsome driving they are talking on the speaker phone .</scene_description> <character>MUMBLES</character> <dialogue>We've found out about that informer. Your lady `` the beard,'' her old man came through.</dialogue> <character>ONE TWO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What?</dialogue> <character>HANDSOME BOB</character> <dialogue>It's here in my hands, THE informer, the one responsible for all the sentences we have been seeing - all of'em, including me.</dialogue> <character>ONE TWO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Well, who is it then?</dialogue> <character>MUMBLES</character> <dialogue>Who's Sidney Shaw?</dialogue> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <character>ONE TWO</character> <dialogue>Sidney Shaw is a pseudonym you idiot, they never use the real name. Get around here and let me have a look.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR</stage_direction> <scene_description>A gang of VILLAINS are lining the corridor , Archy walks through them .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL BEDROOM</stage_direction> <scene_description>Lenny is here with a NURSE .</scene_description> <character>NURSE</character> <dialogue>Do n't try and move it'll be too painful before tonight.</dialogue> <character>LENNY COLE</character> <dialogue>Give me the water, Aaaaaahhhhh,.</dialogue> <character>NURSE</character> <dialogue>I told you not to move.</dialogue> <scene_description>Archy walks into the room .</scene_description> <character>LENNY COLE</character> <dialogue>Broke my legs in four places Archy, did you hear that? The bastard's made me limp for the rest of my days.</dialogue> <character>ARCHY</character> <dialogue>What do you want me to do?</dialogue> <scene_description>Lenny is clearly distressed , his confidence has gone .</scene_description> <character>LENNY COLE</character> <dialogue>I need that picture Archy, I need it bad.</dialogue> <character>ARCHY</character> <dialogue>I'll get it, do n't you worry and I think I can do better than that.</dialogue> <scene_description>This catches his attention .</scene_description> <character>LENNY COLE</character> <dialogue>What?</dialogue> <character>ARCHY</character> <dialogue>Someone has been at the Russian's money, a couple of silly gun slingers,. he was n't making up stories.</dialogue> <character>LENNY COLE</character> <dialogue>What?</dialogue> <character>ARCHY</character> <dialogue>You know'em and you do n't like'em either.</dialogue> <character>LENNY COLE</character> <dialogue>I ai n't playing fuckin games here Arch look at me, who?</dialogue> <character>ARCHY</character> <dialogue>Mumbles, Bob and One Two.</dialogue> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>Stella walks out of the bathroom , she looks immaculate .</scene_description> <character>ONE TWO</character> <dialogue>Look at you, good as new.</dialogue> <character>STELLA</character> <dialogue>I have to go now.</dialogue> <character>ONE TWO</character> <dialogue>Fancy sharing some dancing lessons with me later in the week, a bitta the ` ol salsa?</dialogue> <character>STELLA</character> <parenthetical>( she smiles . )</parenthetical> <dialogue>I'll take you up on that.</dialogue> <character>ONE TWO</character> <dialogue>I got something for you. Thought you might like it, seeing as you like paintings and all.</dialogue> <parenthetical>( he motions . )</parenthetical> <dialogue>There, it's on floor.</dialogue> <scene_description>Leant up against the wall is the lucky painting , she stops and looks at it , the camera slowly creeps into her face . We observe One Two looking for a reaction .</scene_description> <character>ONE TWO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Like it?</dialogue> <character>STELLA</character> <dialogue>You have very good taste,. Mr One Two.</dialogue> <scene_description>She picks up the painting and turns smiling .</scene_description> <character>STELLA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good bye.</dialogue> <scene_description>With that she is off and out the door . One Two grabs the 70s retro headphones above his head and slaps them on his ears . He presses the remote control and the music kicks in .</scene_description> </scene> <scene> <stage_direction>EXT. CRACK HOUSE</stage_direction> <scene_description>Mickey and Roman approach the crack house door and flick up the letter box . They see a string hanging , they pull it and down comes a key .</scene_description> </scene> <scene> <stage_direction>INT. CRACK HOUSE</stage_direction> <scene_description>Roman and Mickey walk in to see Johnny slouched and watching TV , more silly cartoons . He 's got his top off and he 's smoking a ciggy . His feet are resting on an old chair and Pete is asleep next to him . Johnny hardly moves .</scene_description> <character>ROMAN</character> <dialogue>So why did you call Johnny?</dialogue> <character>JOHNNY STORY</character> <dialogue>Sorry, Johnny's not home right now, but the pipe is and the pipe says that Johnny heard you were getting in trouble boys.</dialogue> <scene_description>Roman gives a slight roll of the eyes .</scene_description> <character>ROMAN</character> <dialogue>Look, whoever I am talking to please relay the message to Johnny. His Dad, his jack in the box surprise gangster Daddy, paid us a visit. Shut down a few of our venues and he intends to shut down a few more unless Mr Story puts in an appearance.</dialogue> <character>JOHNNY STORY</character> <dialogue>Why are you talking to a pipe Roman? You're madder than I am.</dialogue> <character>MICKEY</character> <dialogue>Come back Johnny, come back home.</dialogue> <character>JOHNNY STORY</character> <dialogue>But home is where your head is and I do n't feel at home in my head.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Come back Johnny!</dialogue> <scene_description>Johnny smiles and pulls out a gun from under his arse . He points it at Roman , waits until he knows they feel it and pulls the trigger . It 's a lighter . He relights his splif , hot hash dropping on his chest , he ignores it .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I bet our Lenny gave you the `` I'm his old man'' speech did n't he?</dialogue> <parenthetical>( impersonating Lenny . )</parenthetical> <dialogue>I've seen jelly fish with closer DNA than that slag. Now Johnny will come quietly, but you might have a couple of problems with the pipe.</dialogue> <parenthetical>( he sighs . )</parenthetical> <dialogue>Come on boys, buy us both a cup of tea. No need for any noise, let Pete sleep on.</dialogue> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>One Two has still got the headphones on , his eyes shut and he 's tapping his knees . All of a sudden the music stops coming out of the headset and is now filling the room , someone else is here .</scene_description> </scene> <scene> <stage_direction>INT. URI'S OFFICE - FLASHBACK</stage_direction> <scene_description>WE CUT BACK to an earlier scene that we were n't a part of until now . Victor is talking to a man , we ca n't see who it is .</scene_description> <character>VICTOR</character> <dialogue>Uri is a man born with nothing, carved his way up the hard way, he's smart, young and only one thing will stop him from reaching his goals,. women. And this woman has become a problem.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>My job is to protect Uri and in this department he needs protecting, I do n't like her or trust her and I want you to follow that snake.</dialogue> <scene_description>We reveal it 's CHECHNYAN 1 our war criminal who is looking battered from the beating the day before .</scene_description> <character>CHECHNYAN 1</character> <dialogue>Leave it with me Victor.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - FLASH BACK</stage_direction> <scene_description>We go back to the scene at the restaurant from a different perspective . The two CHECHNYAN 'S see One Two and Handsome Bob walk out of the restaurant , they two look at one another , their brows steel .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>CUT BACK to present with the music being cut off from One Two 's head phones . He opens his eyes , on his throat lies a very long and sharp knife . The two CHECHNYANS have entered the room and pulled the wire out of the machine . CHECHNYAN 1 is sitting on a chair next to One Two , he 's the one with the blade . He smiles , One Two does n't .</scene_description> </scene> <scene> <stage_direction>EXT. ONE TWO'S HOUSE</stage_direction> <scene_description>Archy approaches the door with Danny behind , he pushes it , it opens . Concerned , he pulls out a shooter , so does Danny , they go in .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>The music is very loud , it 's Russian . Archy and Danny make their way to it 's source , up the stairs , to the bedroom door . The base thumps out . Archy tries the handle , it turns , he pushes the door open slowly . The music becomes clear as we reveal a horrible scene . Archy is shocked , but a little amused . Tied to the bed , back to front with a pillow over his head is One Two . A large blade is resting on his back , a bottle of vodka is open on the side , One Two cries and wriggles uselessly . On the floor facing the other direction is our pretty much naked Chechnyan doing a traditional Chechnyan dance , which involves lots of extended leg action . He is wearing military speedos and fuck all else apart from his military hat . He is `` having much fun . '' His massive frame is still black and blue from the beating One Two previously inflicted . The other Chechnyan -LRB- similarly dressed -RRB- , is digging into his bag of tools , extracting all sorts of horrible looking things . Archy looks on amazed by the show , he has a quick look at Danny who is also bemused . He hits the `` off '' button , the Chechnyans spin , looking distressed . Silence ensues .</scene_description> <character>ARCHY</character> <dialogue>Is this a bad time One Two?</dialogue> <character>ONE TWO</character> <parenthetical>( unable to say anything . )</parenthetical> <dialogue>Emmm, emmmmmmmmmmmm.</dialogue> <character>ARCHY</character> <dialogue>Shall we come back later?</dialogue> <character>ONE TWO</character> <parenthetical>( still unable to say anything . )</parenthetical> <dialogue>Emmmmmmmmmmmmmmmmmmmmm.</dialogue> <scene_description>The Chechnyans make a quick move , their last ever . We hear FOUR shots ring out quickly .</scene_description> </scene> <scene> <stage_direction>EXT. ONE TWO'S HOUSE</stage_direction> <scene_description>Handsome Bob and Mumbles pull up and get out . Handsome Bob puts the paper work in his top pocket and bangs on the front door .</scene_description> </scene> <scene> <stage_direction>INT. ONE TWO'S HOUSE</stage_direction> <scene_description>One Two is being wrapped up in a carpet on the floor . He 's still emmmmmmmmming and wriggling . We hear Handsome Bob and Mumbles at the front .</scene_description> <character>MUMBLES</character> <parenthetical>( V.O . )</parenthetical> <dialogue>One Two, it's us.</dialogue> <scene_description>Archy pays no attention to the door yet , he is on the phone to Lenny .</scene_description> <character>LENNY COLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Bring'em to the warehouse and do n't hurt'em until I've spoken to'em, all right?</dialogue> <character>ARCHY</character> <dialogue>All right Lenny, I got a call waiting here, I'll see ya at the show.</dialogue> <scene_description>Archy presses his phone to take the other call .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. CRACK HOUSE</stage_direction> <scene_description>Roman and Mickey are still here with Johnny . Roman speaks .</scene_description> <character>ROMAN</character> <dialogue>Archy?</dialogue> </scene> <scene> <stage_direction>EXT. ETON POSH SCHOOL - WE FLASHBACK TEN YEARS</stage_direction> <scene_description>Archy leans against a ROLLSROYCE with another HEAVY . Young Johnny walks up , he 's wearing tales and a bow tie , he 's with two of his toffy school FRIENDS .</scene_description> <character>JOHNNY STORY</character> <dialogue>Hello Archy.</dialogue> <character>ARCHY</character> <dialogue>Johnny, you do look the part.</dialogue> <character>JOHNNY STORY</character> <dialogue>Show us your guns Uncle Arch, I told the boys all about it.</dialogue> <character>ARCHY</character> <dialogue>Shut up and get in the car.</dialogue> <scene_description>Archy throws Johnny a packet of rolos and turns to get in the car . As he turns , Johnny lifts up the back of his sports jacket and steals his gun . The two FRIENDS are in shock , needless to say so is Archy . Johnny holds it on his two friends .</scene_description> <character>JOHNNY STORY</character> <dialogue>Give us your money boys.</dialogue> <scene_description>Archy grabs the gun and hits Johnny on the back of the head , not too hard .</scene_description> <character>ARCHY</character> <dialogue>You little swine,. now get in the car.</dialogue> <scene_description>Archy puts the gun away and looks at the two shocked school friends . He gently slaps them on the cheek in an intimidating way and gives them a tener .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Be good boys, you never know who's watching.</dialogue> </scene> <scene> <stage_direction>EXT. WAREHOUSE - BACK TO PRESENT</stage_direction> <scene_description>Bandy , who is pushing Lenny stops at the bottom of the stairs .</scene_description> <character>BANDY</character> <dialogue>You wan na take the stairs or the elevator Mr Cole?</dialogue> <scene_description>Lenny 's in a wheelchair , he looks at Bandy .</scene_description> <character>LENNY COLE</character> <dialogue>Come here Bandy.</dialogue> <scene_description>Bandy comes near , Lenny takes a sniff .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You been drinking again?</dialogue> <character>BANDY</character> <dialogue>No,. Mr Cole.</dialogue> <scene_description>Lenny slaps him .</scene_description> <character>LENNY COLE</character> <dialogue>Think before you drink and before you drive me mad Bandy.</dialogue> <scene_description>Bandy goes back to his position of pushing the boss towards the elevator .</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE</stage_direction> <scene_description>Johnny , Roman and Mickey walk toward the entrance .</scene_description> <character>JOHNNY STORY</character> <dialogue>Do n't worry boys, nothing to be nervous about, some of my Dad's best friends ended up here.</dialogue> <scene_description>Archy arrives with a couple of old carpets , One Two , Mumbles and Handsome Bob are wrapped inside .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello Arch, wrapped up in a carpet just like the old days?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What is it today? The rack? The garotte? Or is it the old cray fish trap?</dialogue> <character>ARCHY</character> <dialogue>Still full of hot air Johnny.</dialogue> <scene_description>They walk inside the warehouse doors , Danny follows with the carpets .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>They all make their way to the elevator .</scene_description> <character>JOHNNY STORY</character> <dialogue>You're looking a bit down, has that old clown been working you long hours?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You always were loyal - no dog like a loyal dog.</dialogue> <character>ARCHY</character> <dialogue>Watch your mouth John.</dialogue> <character>JOHNNY STORY</character> <parenthetical>( feigning fear . )</parenthetical> <dialogue>Do n't hit me Archy, I'm a singer not a fighter.</dialogue> <parenthetical>( back to normal . )</parenthetical> <dialogue>I've just the remedy for you, a story, a Johnny Story and it's all about you.</dialogue> <scene_description>Archy presses a button to call the elevator . They wait .</scene_description> <character>ARCHY</character> <dialogue>I do n't want to hear it.</dialogue> <character>JOHNNY STORY</character> <dialogue>Sorry, that's right get into character.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Look at him boys, scary ai n't he?</dialogue> <scene_description>Roman and Mickey do n't like any of this .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's what four years inside does to a man, eats his soul and when it's all gone it makes a man quite scary. Ever wondered how you got there? Ever wondered what grass informed on you?</dialogue> <scene_description>The elevator arrives and they all pile in , including the rugs with One Two , Mumbles and Handsome Bob .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE ELEVATOR - CONT.</stage_direction> <scene_description>A noise comes from one of the carpets .</scene_description> <character>JOHNNY STORY</character> <dialogue>So who we got in there? Anyone I know? Anyone famous? That's right it's only a job, is n't it? Just being loyal, just following orders.</dialogue> <parenthetical>( Johnny salutes . )</parenthetical> <dialogue>I bet you can operate a nice gas shower,. I can see you with a couple of S's on your collar and a stiff goose in your step.</dialogue> <scene_description>Archy turns and slaps him the famous `` Archy slap '' it 's nasty , Archy 's getting wound up .</scene_description> <character>ARCHY</character> <dialogue>Shut it, otherwise you will get hurt.</dialogue> <scene_description>His face has been slapped into the direction of Roman and Mickey . Johnny keeps his head still , .</scene_description> <character>JOHNNY STORY</character> <dialogue>That, Roman and Mickey, is the famous Archy slap. I have been magically transported straight back to my childhood.</dialogue> <scene_description>He speaks next in a little boys voice , he 's taking the piss .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't turn Archy in, he's your friend, he's loyal, just like the dog.</dialogue> <scene_description>He changes to impersonate Lenny , its deep and over the top .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shut up boy, do n't stick your nose where it do n't belong otherwise I'll chop it off.</dialogue> <parenthetical>( little boy voice . )</parenthetical> <dialogue>But you ca n't do it to Uncle Arch, I love him.</dialogue> <parenthetical>( deep . )</parenthetical> <dialogue>Needs a little lesson though do n't he? Left his station has n't he? A little time inside to remember who the boss is.</dialogue> <scene_description>Archy straightens his tie to remain calm , but ca n't take it any longer . He picks Johnny up and slams him against the wall .</scene_description> <character>ARCHY</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Shut it, you hear me or I'll do ya myself, you poisonous little fucker!</dialogue> <character>JOHNNY STORY</character> <parenthetical>( feigning fear . )</parenthetical> <dialogue>Do n't hurt me Arch, I'm only little.</dialogue> </scene> <scene> <stage_direction>EXT. ELEVATOR - CORRIDOR OF WAREHOUSE</stage_direction> <scene_description>The elevator door opens and we see skinny Johnny stuck up in the air held by Archy . Danny looks on a bit disturbed .</scene_description> <character>DANNY</character> <dialogue>Put him down Arch, he's only little.</dialogue> <scene_description>Archy drops him , his wires crossed . He needs a little time to think . Johnny is off out of the elevator walking away happy as a clam . Back to Archy in the elevator .</scene_description> <character>DANNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You all right? You look a little green.</dialogue> <character>ARCHY</character> <parenthetical>( back to business . )</parenthetical> <dialogue>Fine, roll out the carpets.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>Johnny comes bowling in like a ` rocknrolla ' coming on to stage . He spots Lenny .</scene_description> <character>JOHNNY STORY</character> <dialogue>Sidney! Nice wheels.</dialogue> <scene_description>Archy comes in with Danny and the carpets , Handsome Bob hears this , is Lenny Cole the Sidney Shaw ?</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sorry about the painting, needed the cash for a little bit of the old `` dusty show bizzzzzzzz.''</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So, it's gone now, lost in the world of degenerate and stoned no hopers, never to be seen again by the eye of a clean soul.</dialogue> <scene_description>There is a pause while Lenny considers just shooting him . He changes his tone , he gets serious and slow .</scene_description> <character>LENNY COLE</character> <dialogue>Tell me, what are you boy if you are not poison? Look what you've left behind you. Your Dad could n't even bear the sight ya, no wonder he fucked off and left me to pick up the pieces, but that was n't enough for you was it? No, had to drive your mum into a bottle of pills and house full of nutters. All she got then was a hot bath a ice cold razor, why?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Cos your poison Johnny, that's why.</dialogue> <character>JOHNNY STORY</character> <dialogue>What can I say,.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I'm a junkie, crack head, no gooder, should never have wasted your money on that school.</dialogue> <character>LENNY COLE</character> <dialogue>Archy get him out of here.</dialogue> <character>ARCHY</character> <dialogue>I've had enough of him, I do n't trust myself.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Use someone else.</dialogue> <scene_description>Johnny grabs the back of Lenny 's chair and pushes him around like he 's a two year old , Lenny feels a right twit . One Two , Handsome Bob , and Mumbles observe .</scene_description> <character>JOHNNY STORY</character> <dialogue>It's a gathering, I love a gathering look, Mumbles, One Two, Handsome Bob all the old faces today.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>It's all going so well apart from Archy who's ruining the day. I tried to cheer him up with that story about how you grassed him u,.</dialogue> <scene_description>BANG ! Lenny shoots Johnny in the hip with a gun he has kept hidden . Everybody is shocked , Danny jumps back in horror that was pretty close .</scene_description> <character>ROMAN</character> <dialogue>Whooooa,.</dialogue> <character>ARCHY</character> <dialogue>All right calm down, give me that, I'll take care of him.</dialogue> <scene_description>Danny moves in to take the gun from Lenny . Johnny speaks in pain , but still chipper .</scene_description> <character>JOHNNY STORY</character> <dialogue>That was n't one of your better shots was it now Daddy. If you want to shut me up it should have been a bit higher.</dialogue> <scene_description>Lenny looks up to Danny .</scene_description> <character>LENNY COLE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Danny come here, I want him taken care of, you hear? Now get him out.</dialogue> <scene_description>Danny takes Roman , Mickey and Johnny out towards the elevator .</scene_description> <character>LENNY COLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do n't know how much trouble you have caused me so please understand that I will kill you very slowly if you do not tell me where my money is.</dialogue> <character>HANDSOME BOB</character> <dialogue>The address is in my top pocket. Here, Archy,. you know I would n't mess you around.</dialogue> <scene_description>Lenny is out of reach of them , Archy can tell Handsome Bob is implying something .</scene_description> <character>HANDSOME BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take it Arch.</dialogue> <scene_description>Archy leans forward to take it , Lenny interrupts wheeling himself over .</scene_description> <character>LENNY COLE</character> <dialogue>Let me have a look first.</dialogue> <scene_description>He takes the letters out of Handsome Bob 's top pocket and opens them up . He squints , the print is too small he ca n't read what it says .</scene_description> <character>ARCHY</character> <dialogue>Here you ca n't read it without your glasses, let me have a look.</dialogue> <scene_description>Lenny looks uncomfortable , Archy almost snatches the letters and flicks through the pages . He reads to himself , could it be true ? Could Lenny be the informer sending everyone around him down ?</scene_description> <character>LENNY COLE</character> <dialogue>What does it say? Hurry,.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <scene_description>Mickey and Roman are holding Johnny up , he 's bleeding all over the place . Danny is facing front while another MAN is keeping an eye on them . We SEE , but the other 's do n't , Danny is slowly screwing on a silencer .</scene_description> <character>JOHNNY STORY</character> <dialogue>Do n't worry just yet fellas, nothing's going to happen while we're standing in the elevator because they do n't want to have to drag the three corpses across to the cars that would be hard work. In about two minutes from now, when we're all driving along happily,.</dialogue> <scene_description>WE FLASH FORWARD TO AN IMAGINARY SCENE - JOHNNY 'S V.O. IS ACTED OUT .</scene_description> </scene> <scene> <stage_direction>INT. CAR - FLASH FORWARD</stage_direction> <character>JOHNNY STORY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Danny boy is going to turn around and `` pop me'' two in the head and one in throat just to make sure.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And then, since Danny is obviously going to kill you two as well,.</dialogue> <scene_description>WE SEE the imaginary shots from Danny 's gun go off on Mickey and Roman .</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>We cut back to the scene upstairs .</scene_description> <character>ARCHY</character> <dialogue>You wan na know what this says Len?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Funny thing with the law, it can be quite flexible. Every time an informer finds himself in front of a judge,.</dialogue> </scene> <scene> <stage_direction>INT. COURT ROOM</stage_direction> <scene_description>We see Archy 's story acted out in the full court room , Law and Order style . The judge and lawyer act out Archy 's words .</scene_description> <character>JUDGE</character> <dialogue>A secret letter stands witness as to the cooperation and efficiency of that informer.</dialogue> <character>LAWYER</character> <dialogue>An accurate record of his treachery will be brought in to protect the informer,.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>Back to our present scene .</scene_description> <character>ARCHY</character> <dialogue>If the informer has provided adequate information, that dog of dogs will be magically released,.</dialogue> </scene> <scene> <stage_direction>INT. COURT ROOM</stage_direction> <scene_description>Back to our acted out scene .</scene_description> <character>JUDGE</character> <dialogue>A sort of, `` get out of jail free'' card, but this comes along with the trail of a good alibi.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>Archy turns the pages of the letter . WE SEE different JUDGES giving different sentences to different FACES , some of these faces we know , one of them is Fred the Head , Handsome Bob and one of them is ARCHY .</scene_description> </scene> <scene> <stage_direction>INT. COURT ROOM</stage_direction> <scene_description>Still being acted out , in Law and Order style .</scene_description> <character>LAWYER</character> <dialogue>The only evidence that will ever remain of this deal is that form of a very exclusive and hard to come by legal document called a `` secret debt''.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>Back to our present scene .</scene_description> <character>ARCHY</character> <dialogue>As in deputation,.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>The likes of which I hold for the very first time in my hand.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Of course they use a false name and I have seen that name many times in the last twenty years, always did wonder who Sidney Shaw was,.</dialogue> </scene> <scene> <stage_direction>INT. LENNYS OFFICE - FLASHBACK</stage_direction> <scene_description>FLASHBACK twenty years ago , Archy picking up papers on Lenny 's desk and turns to him .</scene_description> <character>ARCHY</character> <dialogue>Who's this Sidney Shaw Len?</dialogue> <character>LENNY COLE</character> <parenthetical>( bothered . )</parenthetical> <dialogue>Give us that here.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE</stage_direction> <scene_description>Lenny has gone white .</scene_description> <character>LENNY COLE</character> <dialogue>No, I am being set up.</dialogue> <character>ARCHY</character> <dialogue>You're a dirty bastard Sidney, a very dirty bastard.</dialogue> <scene_description>Archy grabs the belt that 's used to tie up drowning victims , he throws it round Lenny 's chair and stuffs a bit of cloth into Lenny 's wide open mouth .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to One Two , Handsome Bob and Mumbles . )</parenthetical> <dialogue>You three, cut yourself free and get out of here,.</dialogue> <scene_description>Archy throws a knife across to Mumbles who just catches it and starts to cut his way out of the ropes . Archy gets back on with the job at hand . He reads through the names Lenny has grassed on over the years .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Michael Finny, ten years. Frazier Nash, fifteen years. Cousin Ronnie, six years,. you dirty bastard.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Michael Dexter, eight years.</dialogue> <scene_description>Archy grabs the winch that lowers victims to their crayfish death and bangs it on to the back of the wheel chair . He presses the start button and the wheelchair is raised with haste .</scene_description> <character>ARCHY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The Jew twins, fourteen years and of course ME, Archy, four years.</dialogue> <scene_description>One Two , Mumbles , and Handsome Bob are free .</scene_description> <character>ONE TWO</character> <dialogue>See ya Arch,.</dialogue> <scene_description>The three of them are out like rats up ropes , they start to run down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <scene_description>We pick up where we left off with this group .</scene_description> <character>JOHNNY</character> <dialogue>Should n't have brought me here fellas, you're just going to end up as witnesses.</dialogue> <scene_description>We continue with his description of what is going to happen .</scene_description> </scene> <scene> <stage_direction>INT. CAR - FLASH FORWARD</stage_direction> <character>JOHNNY</character> <dialogue>After they have `` dealt'' with us, they're gon na put all three of us in the trunk of a stolen car,.</dialogue> </scene> <scene> <stage_direction>INT. TRUNK OF STOLEN CAR - FLASH FORWARD</stage_direction> <scene_description>We see six gallons of petrol in the trunk of the car in our imaginary scene .</scene_description> <character>JOHNNY</character> <dialogue>And pour six gallons of petrol on top, I can let your imagination fill in the rest.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <scene_description>Back to present .</scene_description> <character>JOHNNY</character> <dialogue>But now Danny's rattled, he wo n't be able to wait because you now know what's coming, so he's gon na fire.</dialogue> <scene_description>Danny , who is now in a state because Johnny has predicted everything he 's going to do , suddenly turns with his gun . Mickey catches it , the force of the stop pulls the trigger , and the other MANS head is drilled through . Roman joins the wrestling match and gets the gun and wrist to aim at Danny 's head . The trigger gets squeezed and Danny 's head also gets a drilling . Silence . Johnny , who is smothered in blood , speaks coolly .</scene_description> <character>JOHNNY STORY</character> <dialogue>Mickey, pass me the gun.</dialogue> <scene_description>Mickey is out to lunch , but Johnny sounds commanding .</scene_description> <character>JOHNNY STORY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>MICKEY quickly, pass me that gun in Dannys hand. Do n't worry he ca n't defend himself he does n't have a head, quickly now. Does this answer the question that you two so frequently asked as to why I sought refuge in the depths and perverse beauty of the crack pipe?</dialogue> <scene_description>The elevator door opens .</scene_description> </scene> <scene> <stage_direction>EXT. ELEVATOR</stage_direction> <scene_description>There stands Bandy , his gun drawn .</scene_description> <character>BANDY</character> <dialogue>Get fucking down!</dialogue> <scene_description>He looks on in horror and points the gun at Johnny . Just as he 's about to fire , . there is a great smash of bone on timber . Bandy falls to reveal One Two standing there with a large piece of timber .</scene_description> <character>ONE TWO</character> <dialogue>I think we should get out of here now, do n't you John?</dialogue> <scene_description>At which point in the background WE SEE Lenny being lowered to his demise . He looks at the group in horror as he is quickly lowered to his death by drowning and cray fish . FADE OUT .</scene_description> </scene> <scene> <stage_direction>INT. URI'S CAR</stage_direction> <character>VICTOR</character> <dialogue>I do n't like it Uri, I do n't trust her. I put two of my people on her and they have n't come back.</dialogue> <scene_description>Very insulted .</scene_description> <character>URI</character> <dialogue>You what? I did not tell you to do this. If I had wanted her spied on I would have asked for it, would n't I?</dialogue> <character>VICTOR</character> <dialogue>Yes Uri, you would have, but I still do n't like it.</dialogue> <character>URI</character> <dialogue>I do n't care what you like Victor, I am in charge, now wait here.</dialogue> <scene_description>He gets out and walks to the door .</scene_description> </scene> <scene> <stage_direction>EXT. STELLA'S HOUSE</stage_direction> <scene_description>She answers the door - she is surprised .</scene_description> <character>URI</character> <dialogue>Can I come in?</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S HOUSE</stage_direction> <character>URI</character> <dialogue>Sorry to surprise you, but I have something for you, a token of my appreciation.</dialogue> <scene_description>He hands her a check .</scene_description> <character>STELLA</character> <dialogue>What is this for?</dialogue> <character>URI</character> <dialogue>Please do not be insulted, you have come to mean a lot to me and I value you much more than just your services.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>This is simply a reflection of my appreciation.</dialogue> <parenthetical>( vulnerable he likes her . )</parenthetical> <dialogue>I would like to ask you something personal.</dialogue> <scene_description>His phone rings , he frowns slightly and answers it .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Not now Victor, I am busy.</dialogue> <scene_description>Uri turns . There , casually resting on the floor is his painting , his lucky painting . Uri 's expression changes , his world has been shattered , he 's thinking very ugly thoughts . He turns back to Stella , dead pan .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>A very nice painting. How long have you had it?</dialogue> <scene_description>A little caught off guard .</scene_description> <character>STELLA</character> <dialogue>Years, it's my lucky painting,. it's very special is n't it?</dialogue> <character>URI</character> <dialogue>Beauty is a cruel mistress, is it not?</dialogue> <scene_description>Pause , she smiles . Uri talks back into the phone , the other darker Uri is now in charge .</scene_description> <character>URI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Victor please, come to join us.</dialogue> <scene_description>THE END</scene_description> </scene> </script>

In London, mob boss Lenny Cole (Tom Wilkinson) rules the ever-growing real estate business, using a corrupt Councillor (Jimi Mistry) for bureaucratic fixing, and his right-hand man Archy (Mark Strong) for the dirty side of things. A billionaire Russian businessman, Uri Omovich (Karel Roden), plans a fixed land deal, and London's crooks seem to all want a piece of it — particularly Uri's underhanded accountant Stella (Thandie Newton), and a gang called "The Wild Bunch" led by small-time crook "One-Two" (Gerard Butler), his partner "Mumbles" (Idris Elba), and their driver, "Handsome Bob" (Tom Hardy). Uri agrees to Lenny's price of €7,000,000 to grease the Council's wheels, and as a sign of trust, loans him his "lucky painting." Yet when Uri arranges for Stella to move the funds, she double-crosses him and hires the Wild Bunch to steal the money. Unfortunately for Lenny, however, his junkie stepson Johnny Quid (Toby Kebbell), supposedly dead, steals the painting from Lenny's wall. Lenny and Archy then coerce Johnny's American managers Mickey (Chris "Ludacris" Bridges) and Roman (Jeremy Piven) into tracking down Johnny. In a subplot, Handsome Bob gets close to Stella's gay husband, a lawyer who has information on a longtime unknown informer in their criminal circle whose information has Bob looking at a five-year prison term. Uri tasks Stella once more with covertly siphoning the necessary payoff from his holdings, and grows increasingly enamoured with her. When his moneymen are once again robbed by the Wild Bunch, his assistant Victor convinces him that it's likely Lenny who is behind the robberies, and is also purposely keeping Uri's lucky painting from him. Uri & Victor then invite Lenny to a private golf game on a golf course owned by Uri, where Victor beats him savagely with a golf club, finishing by breaking Lenny's leg as a warning to him. Cookie (Matt King) happens to buy the painting from some crackheads who had just stolen it from Johnny's hideout. Cookie then gives the painting to One-Two who, in turn, offers the painting to Stella (after a sexual encounter) as a token of appreciation. After Stella leaves his flat, One-Two is surprised by Uri's henchmen but is rescued, and then kidnapped, by Archy and his goons who had come looking for Uri's money. Uri wants to marry Stella, whom he has long admired. He goes to Stella's house to propose, but he then spots the painting. Stella lies and says she has had it for years. Uri, enraged by Stella's betrayal, orders Victor to kill her. Archy brings Johnny, Roman, Mickey and the Wild Bunch to Lenny's warehouse where Lenny orders Johnny executed. He threatens to kill the Wild Bunch "very slowly" unless they give up the money they stole. Handsome Bob offers the legal documents concerning the informant in his pocket to Archy. Archy recognises the pseudonym used on the documents, "Sidney Shaw", as belonging to Lenny. Lenny arranged the police to routinely lock up many criminal associates (including Archy) for years at a time to enhance his own standing in the criminal underworld and to ensure his own freedom. Archy orders Lenny's men to free the Wild Bunch and has Lenny drowned and fed to crayfish. In the lift, Johnny explains to Roman and Mickey that they will also be killed to leave no witnesses, and graphically explains the manner of their executions. His description unnerves the man who's to execute the three men, prompting him to act prematurely. Having also already anticipated this move, Johnny warns Mickey and Roman to intervene and kill their would-be executioner. Johnny shoots two more men waiting at the top of the lift and they escape the last of Archy's men (with help from One-Two and the Wild Bunch). Later, Archy picks up Johnny from rehab and gives Johnny Uri's lucky painting as a welcome home present. Archy says that obtaining the painting "cost a very wealthy Russian an arm and a leg" implying he had Uri killed. Johnny proclaims that, with his new-found freedom from addiction and from his stepfather, he will do what he could not before: "become a real RocknRolla".

Snow White and the Huntsman_2012

tt1735898

<script> <scene> <character>SNOW WHITE AND THE HUNTSMAN</character> <dialogue>Screenplay by</dialogue> <scene_description>Evan Daugherty and John Lee Hancock and Hossein Amini Story by Evan Daugherty Inspired by the Brothers Grimm's "Little Snow White"</scene_description> </scene> <scene> <stage_direction>EXT. GARDENS/ CASTLE - DAY.</stage_direction> <scene_description>From high above we see the castle gardens covered in a blanket of snow. We hear the tread of footsteps then see a beautiful WOMAN in a fur-lined cloak heading towards an unseen object.</scene_description> <character>ERIC (V.O.)</character> <dialogue>Once upon a time, in deep winter, a Queen was admiring the falling snow when she saw a rose blooming in defiance of the cold.</dialogue> <scene_description>The rose looks miraculously red. Nearby, a RAVEN looks on. The Queen gazes at the flower, then bends down.</scene_description> <character>ERIC (V.O.)</character> <dialogue>Reaching for it, she pricked her finger and three drops of blood fell.</dialogue> <scene_description>BOOM -- with the impact of an artillery shell, a DROP OF BLOOD lands in the snow. Followed by ANOTHER. And ANOTHER. The Queen startles, then calmly touches her stomach.</scene_description> <character>ERIC (V.O.)</character> <dialogue>And because the red seemed so alive against the white, she thought, if only I had a child as white as snow, lips as red as blood, hair as black as a raven's wings and all with the strength of that rose.</dialogue> <scene_description>A beat, then we hear the piercing cry of a new-born baby --</scene_description> </scene> <scene> <stage_direction>INT. ROYAL BEDROOM - DAY.</stage_direction> <scene_description>We find ourselves in a crowded chamber full of MIDWIVES and PHYSICIANS. Moving through the chaos we glimpse buckets of water, dirty sponges, astrology charts and protection charms until we see a BABY GIRL in the arms of her happy mother.</scene_description> <character>ERIC (V.O.)</character> <dialogue>Soon after, a daughter was born to the Queen and was named 11</dialogue> <scene_description>9now White." With a radiant smile, the Queen offers SNOW WHITE to her proud father, KING MAGNUS. The baby's CRIES grow louder as the King cradles her gently in his arms, turning towards a mirror.</scene_description> <character>ERIC V/O</character> <dialogue>And she was adored throughout the kingdom as much for her defiant spirit as for her beauty.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS NEAR CASTLE - DAY.</stage_direction> <scene_description>A wounded MAGPIE is twitching in a puddle of water. SNOW WHITE, aged 7 now, steps towards it hesitantly, looking concerned.,. CONTINUED:</scene_description> <character>YOUNG SNOW WHITE</character> <dialogue>Pick it up, William.</dialogue> <scene_description>Her companion, William, also 7, braces himself, reaches down, then steps back in alarm as the bird starts flapping wildly. He tries to cover his embarrassment by sounding knowledgeable.</scene_description> <character>YOUNG WILLIAM</character> <dialogue>It's dying. It doesn't want to be touched.</dialogue> <scene_description>Snow White ignores him, approaching the bird herself. She kneels down, hesitates, then reaches out and strokes the magpie, calming its flapping before she picks it up. High up on a tree, ANOTHER MAGPIE looks on.</scene_description> </scene> <scene> <stage_direction>EXT. SEASIDE VILLAGE/ CASTLE BRIDGE - DAY</stage_direction> <scene_description>SNOW WHITE runs, cupping the wounded bird in her hand, William dashing after her. The sun is out and the fields and forests are lit up in all their glory. The children sprint through a BEAUTIFUL SEASIDE VILLAGE -- thatched homes with flower gardens, HAPPY FARMERS and FAIR VILLAGE MAIDENS</scene_description> <character>YOUNG SNOW WHITE</character> <dialogue>Hurry, William! Hurry!</dialogue> <scene_description>They run down the dunes, waves crashing, the sand gleaming in the sunlight, until they see the BEAUTIFUL CASTLE up ahead</scene_description> </scene> <scene> <stage_direction>EXT. CLOISTER GARDENS/ CASTLE - DAY</stage_direction> <scene_description>A single apple tree stands in the middle of the cloisters. It stands out. Snow White and William dash past it into the castle. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. ROYAL BEDROOM - DAY.</stage_direction> <scene_description>Snow White bursts into her parent's chamber. The King and Queen turn from the window. Two PHYSICIANS are in attendance. Snow White is too young and preoccupied to notice but her mother's smile is tinged with sadness and her father looks heartbroken.</scene_description> <character>YOUNG SNOW WHITE</character> <dialogue>We found it in the woods.</dialogue> <scene_description>The Queen takes the wounded magpie from Snow White. The King looks on sadly as she pulls a RIBBON from Snow White's hair and carefully binds the magpie's wing. William watches from the doorway, noticing how frail the Queen looks. The magpie's flapping gradually calms, its pain easing.</scene_description> <character>QUEEN</character> <dialogue>It will heal in time.</dialogue> <scene_description>Snow White's eyes are fixed on the little bird. CONTINUED:</scene_description> <character>SNOW WHITE</character> <dialogue>I'll look after it.</dialogue> <scene_description>The King watches Snow White, hiding his sorrow behind a smile. So does the Queen, holding back her tears.</scene_description> <character>QUEEN</character> <dialogue>You possess a rare beauty, my love. In here.</dialogue> <parenthetical>(She touches Snow White's heart)</parenthetical> <dialogue>Never lose it. Hold it dear. You will need its strength to one day become Queen.</dialogue> </scene> <scene> <stage_direction>EXT. CLOISTER GARDEN/ CASTLE - DAY.</stage_direction> <scene_description>Snow White and William, with a small toy bow strapped to his back, climb the branches of the apple tree in the cloister gardens. William picks a DISTINCTIVE RED AND WHITE APPLE and offers it to Snow White. He makes a point of the offer, holding it out, nodding. Just as she comes to take it he pulls it away and takes a huge bite himself, grinning. Snow White shoves him off the tree and they fall to the ground. And now we PULL BACK to reveal the King and William's father, DUKE HAMMOND, watching from the throne room balcony.</scene_description> <character>KING MAGNUS</character> <dialogue>My daughter will need your son's friendship more than ever, Duke Hammond. As will I yours.</dialogue> <character>DUKE HAMMOND</character> <dialogue>We are here to serve you, your Majesty.</dialogue> <scene_description>As the King watches his daughter, ERIC'S VOICEOVER resumes:</scene_description> <character>ERIC (V.O)</character> <dialogue>The next winter was the harshest in memory and Snow White's mother passed away.</dialogue> <scene_description>8a EXT. GARDENS/ CASTLE - DAY. 8a The garden is covered in snow but there is no red rose now. King Magnus walks with his arm around Snow White, heartbroken. A single tear rolls down Snow White's cheek. Palace onlookers and mourners, fixed on her face, feeling what she feels, move aside.</scene_description> <character>ERIC (V.O)</character> <dialogue>A year went by but the King was inconsolable. Taking advantage of his grief, dark forces gathered on the kingdom's borders.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. FOREST/ BATTLEFIELD - DAY</stage_direction> <scene_description>From above we see horses movie through the forest and enter a clearing. At the head is -- King Magnus, with Duke Hammond by his side, surrounded by a line of the King's Army. They are frozen as they look at-- Across the battlefield - Horsemen in a line. THE RIDERS are silhouetted on a misty plain -- a VAST SHADOW ARMY of faceless warriors. King Magnus and the Duke trade a look -</scene_description> <character>DUKE HAMMOND</character> <dialogue>From what hell comes this army?</dialogue> <character>KING MAGNUS</character> <dialogue>A hell they'll soon revisit!</dialogue> <scene_description>King Magnus SCREAMS A BLOOD CRY, kicks his horse and rides forward with blind courage, no longer caring what happens to him. The two lines of warriors race, pell-mell to the center of the battlefield. When they meet -- Hand to hand combat at its most brutal. King Magnus swings his great sword, and a SHADOW WARRIOR SHATTERS LIKE GLASS. All down the line the same is happening - Shadow Warriors shattering, evaporating. Strange. DUKE HAMMOND shatters an opponent as well and as loud and furious as the battlefield was only moments before, it is now that quiet. The King and the Duke watch in amazement as the rest of the SHADOW ARMY melts away, DISSOLVING INTO THE MORNING MIST until all that is left in the field is</scene_description> <character>ERIC (V.O.)</character> <dialogue>The unholy army was defeated, leaving King Magnus with the spoils of victory.</dialogue> <scene_description>A CAGED PRISON WAGON. Odd. Not even sure how it got there. King Magnus moves toward it, with a little trepidation. When he's close he gets off his horse, walks closer and dares to look inside. CONTINUED: Inside the cage, a WOMAN COWERS, her face hidden behind a veil. King Magnus stares at her through the prison bars, then with a mighty blow of his sword shatters the lock and enters.</scene_description> <character>KING MAGNUS</character> <dialogue>You are now free. You have nothing to fear from me.</dialogue> <scene_description>Duke Hammond watches from outside the cage, a bit wary, as the King kneels beside the terrified woman.</scene_description> <character>KING MAGNUS</character> <dialogue>What is your name, my lady?</dialogue> <scene_description>Slowly, the woman turns. For a moment the King wonders if it's his beloved Queen behind the veil. Gently, he lifts her veil. It's not his wife, but the most beautiful woman he's ever seen.</scene_description> <character>RAVENNA</character> <dialogue>My name is Ravenna, sire.</dialogue> <scene_description>The King is speechless now, gazing upon the face of an angel.</scene_description> <character>ERIC (V.O.)</character> <dialogue>So struck by her beauty was the King, that he forgot, for the first time, his broken heart.</dialogue> <scene_description>His gaze is so intense that Ravenna looks down for a moment. When she lifts her head -- CUT TO: 10a INT. GYPSY WAGON - FLASHBACK - DAY. 10a YOUNG RAVENNA - her face reflected in a small hand mirror. Ravenna as a child, beautiful but poor, looks into the mirror. Her MOTHER, a gypsy woman in tattered clothes, moves the mirror closer.</scene_description> <character>RAVENNA'S MOTHER</character> <dialogue>This - is all that can save you, Ravenna.</dialogue> <scene_description>The young Ravenna looks away, distracted by SHOUTS and COMMOTION outside. 10b EXT. GYPSY CAMP - SAME - DAY. 10b A little boy, FINN, runs as fast as he can through the snow toward the Gypsy Camp. Behind him, THE KING'S RIDERS advance on the camp. BACK INSIDE THE WAGON Ravenna's mother tries to keep her daughter's attention -- 10b CONTINUED: 10b</scene_description> <character>RAVENNA'S MOTHER</character> <dialogue>Ravenna!</dialogue> </scene> <scene> <stage_direction>INT. PREPARATION CHAMBER/ CASTLE - DAY.</stage_direction> <character>CU - RAVENNA'S FACE</character> <dialogue>Present day. Still as a statue and even more beautiful as cheeks are powdered, eyebrows plucked and lips painted by several sets of HANDS. Her eyes stare straight ahead, unblinking, her mind elsewhere. Attendants are preparing Ravenna for her wedding to the King.</dialogue> <character>SNOW WHITE (O.S.)</character> <dialogue>You're so beautiful •.•</dialogue> <scene_description>Ravenna snaps to and looks into the face of Snow White, reverential, standing a few feet away. Ravenna's face softens as she looks at the face of Snow White. Ravenna beckons to her with a look and then holds out her arm - "Come." As Snow White steps forward, the handmaidens withdraw until only one is left, weaving beautiful flowers in Ravenna's hair.</scene_description> <character>RAVENNA</character> <dialogue>That is kind, child. Especially when it is said that yours is the face of true beauty in this kingdom.</dialogue> <scene_description>Snow White doesn't quite know how to answer this.</scene_description> <character>RAVENNA</character> <dialogue>{A warm smile)</dialogue> <scene_description>Would you like to be dressed up like this and married one day? Snow White nods.</scene_description> <character>RAVENNA</character> <dialogue>I hope you'll invite me?</dialogue> <character>YOUNG SNOW WHITE</character> <dialogue>Of course.</dialogue> <scene_description>Snow White smiles, enchanted by her new friend.</scene_description> <character>RAVENNA</character> <dialogue>I know it is difficult, child. When I was your age I, too, lost my mother.</dialogue> <character>SNOW WHITE</character> <dialogue>You did?</dialogue> <character>CONTINUED:</character> <dialogue>RAVENNA</dialogue> <scene_description>Yes. A King tore me from her arms, dressed me in lace and stole my innocence. Snow White's smile dies a bit; confused.</scene_description> <character>RAVENNA</character> <dialogue>I can never take your mother's place, but I feel that you and I are bound.</dialogue> <parenthetical>(touches her heart)</parenthetical> <dialogue>I feel it here.</dialogue> <scene_description>Snow White mimics, touching her own heart, and smiles at Ravenna. It should be a touching moment but something in Snow White's face - the way her smile lights up the room - gives Ravenna pause.</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL - DAY</stage_direction> <scene_description>Ravenna, in a stunning dress, .walks down the center aisle. All the NOBLES in the land are present. Ravenna looks at them, on either side of the aisle. They are all smiling, nodding appreciation. But they aren't really looking at Ravenna. She follows their gaze to -- Snow White, behind, holding the folds of silk from the wedding dress. Snow White looks up, adoringly, at Ravenna. As the bride and groom reach the altar, KING MAGNUS turns and smiles, the happiest man alive.</scene_description> </scene> <scene> <stage_direction>INT. ROYAL BEDROOM - NIGHT</stage_direction> <scene_description>King Magnus lies on the bed, drunk - half with wine and half with lust. His eyes fixed on -- Ravenna, in a sheer silk nightgown standing near the fireplace, holding a goblet. Staring a seductive hole through him. She starts slowly toward him, never taking her eyes off him. He licks his lips - can't wait for her to arrive.</scene_description> <character>KING MAGNUS</character> <parenthetical>(Gazing at her lustfully)</parenthetical> <dialogue>Who are you?</dialogue> <character>RAVENNA</character> <dialogue>The bane of Kings.</dialogue> <scene_description>When she does arrive she slowly crawls onto the bed, rolls him on his back, straddles him and offers the goblet.</scene_description> <character>RAVENNA</character> <dialogue>Sup, my lord.</dialogue> <scene_description>King Magnus drains the goblet, tosses it and gropes her body. CONTINUED:</scene_description> <character>RAVENNA</character> <dialogue>Now you are mine.</dialogue> <scene_description>Her eyes gleam in the firelight. Magnus tries to playfully wrestle her off, but she grabs his hands and holds him down firmly.</scene_description> <character>RAVENNA</character> <dialogue>I will destroy you.</dialogue> <character>KING MAGNUS</character> <parenthetical>(loving it)</parenthetical> <dialogue>Indeed, you will.</dialogue> <scene_description>She rips open his shirt then bends down and kisses him on the lips. He can't believe how good she tastes.</scene_description> <character>RAVENNA</character> <dialogue>As my people were destroyed. As my family was destroyed. As I would have been destroyed.</dialogue> <scene_description>He is slightly confused by this and his face begins to show discomfort.</scene_description> <character>RAVENNA</character> <dialogue>But when a woman stays young forever - no man can resist her - and the world is hers.</dialogue> <scene_description>He suddenly STARTS TO CHOKE, his eyes widening in surprise. As he struggles for breath •••</scene_description> <character>KING MAGNUS</character> <dialogue>What ••• ?</dialogue> <character>RAVENNA</character> <dialogue>First I will take your life, my lord. Then I will take your throne.</dialogue> <scene_description>She reaches beneath the sheets, pulls out an ORNATE DAGGER and BRINGS IT DOWN THROUGH HIM -- 13a EXT. OUTSIDE ROYAL BEDROOM 13a Several Guards line the hallway. The door opens and Ravenna emerges. As she moves past them •••</scene_description> <character>RAVENNA</character> <dialogue>The King has laid down his sword for the night.</dialogue> <scene_description>Their eyes take her, lustfully, in as she strides away and disappears around a corner. CUT TO: 13b INT. GYPSY WAGON - FLASHBACK - DAY. 13b Ravenna's mother takes Ravenna's hand and holds it over a bowl of white liquid.</scene_description> <character>RAVENNA'S MOTHER</character> <dialogue>You must trust me, my love.</dialogue> <scene_description>With a small blade she nicks Ravenna's wrist. Three drops of blood fall into the white liquid - BOOM! BOOM! BOOM! Finn, Ravenna's brother blasts through the door.</scene_description> <character>FINN</character> <dialogue>They're coming! The King's men!</dialogue> <character>RAVENNA</character> <dialogue>Drink!</dialogue> <scene_description>Ravenna chokes it down.</scene_description> <character>RAVENNA'S MOTHER</character> <dialogue>Drink! And with it the ability to steal youth and beauty! For that is your ultimate power and only protection.</dialogue> <scene_description>Finn steps forward.</scene_description> <character>FINN</character> <dialogue>I will protect my sister!</dialogue> <scene_description>Ravenna's mother reaches out and touches her son's forehead, closes her eyes, an incantation of sorts .••</scene_description> <character>FINN</character> <dialogue>So it shall be, Finn.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD/CASTLE - PRESENT - NIGHT</stage_direction> <scene_description>Ravenna exits the castle and crosses the courtyard with a lantern. A portcullis opens and DARK FIGURES emerge from the shadows, entering the castle. Leading them is a tall pale-eyed warrior (FINN). He looks at Ravenna devotedly.</scene_description> <character>RAVENNA</character> <dialogue>Welcome, brother.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDORS/ CASTLE - NIGHT.</stage_direction> <scene_description>We see the shadows of the invaders sweeping through the corridors, putting the King's sleeping soldiers to the sword.</scene_description> </scene> <scene> <stage_direction>INT. SNOW WHITE'S ROOM/ CASTLE - NIGHT</stage_direction> <scene_description>Snow White lies asleep when she hears a bell ringing. At first she thinks she's dreaming, but then she hears cries of alarm. She sits up curiously, then climbs out of bed --</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE SNOW WHITE'S ROOM - NIGHT.</stage_direction> <scene_description>There's panic and chaos outside, COURTIERS and SOLDIERS running for their lives. Snow White stares in confusion, then runs too -</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE ROYAL BEDROOM - NIGHT.</stage_direction> <scene_description>Snow White rushes towards her father's chamber and sees Ravenna at the end of the corridor. Relieved, she hurries towards her stepmother when suddenly she notices her father's lifeless body lying on the bed. FINN and his KNIGHTS appear beside Ravenna. It takes a moment for the betrayal to sink in, tears of shock welling in Snow White's eyes, before she turns and flees --</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD/CASTLE -- NIGHT.</stage_direction> <scene_description>The chaos has spread to the courtyard, DUKE HAMMOND'S KNIGHTS struggling to hold back the invaders. Snow White hurries out, dazed by the sight of battle, then sees William pull free of his father's guards and run towards her William grabs her protectively when strong arms reach down and lift them both onto the back of separate horses. Duke Hammond and his personal guard are attempting to ride out of the castle before the portcullis closes. The Duke rides under the portcullis with William. His bodyguard is about to follow when an ARROW FROM FINN STRIKES HIM IN THE BACK and both he and Snow White are thrown off their horse.</scene_description> <character>YOUNG WILLIAM</character> <dialogue>Father! The Princess!</dialogue> <scene_description>But the portcullis is down, separating Snow White and William. The last thing he sees is Snow White struggling in Finn's arms, being hauled back into the castle.</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER NIGHT</stage_direction> <scene_description>Ravenna walks from statue to painting to urn, toppling and tearing them from the walls. Cleaning house. Ravenna's soldiers deliver a large object, then leaving her alone. A BEAUTIFUL MJRROR rests against the wall. Ravenna stares at it. -:</scene_description> <character>RAVENNA</character> <dialogue>Mirror, mirror, on the wall Who is the fairest of them all?</dialogue> <scene_description>There's a brief silence, then the surface of the mirror ripples. LIQUID spills onto the floor where it reforms into the shape of tHE MIRROR MAN. His body is a veil of reflective bronze but his face:is a distorted version of Ravenna's own. CONTINUED:</scene_description> <character>MIRROR MAN</character> <dialogue>It is you, my Queen! Yet another kingdom falls to your glory! Is there no end to your power and beauty?</dialogue> <scene_description>Ravenna smiles, moves to the center of the room, raises her arms and drunk with power SCREAMS! The scream becomes CUT TO: 20a EXT. GYPSY WAGON - FLASHBACK - DAY. 20a Young Ravenna's SCREAM as she is ripped from her mother's arms. Finn throws himself into the mix but is backhanded to the ground. Ravenna's mother moves forward, ready to attack. The Guard holding Ravenna pulls a dagger and puts it to Ravenna's throat, which stops her mother. Ravenna is dragged away and tossed on the back of a horse --</scene_description> <character>RAVENNA'S MOTHER</character> <dialogue>But be warned Ravenna: By fairest blood it is done and only by fairest blood can it be undone.</dialogue> <scene_description>Ravenna looks back to see her mother and other gypsies put to the sword. Finn struggles free and chases after the King's men as they gallop away. CUT TO: 20b EXT. COURTYARD - NIGHT. 20b All the wedding guests and nobles stand, held there by guards with swords and daggers. Ravenna stands at the top of the stairs.</scene_description> <character>RAVENNA</character> <dialogue>So kind of you all to stay over.</dialogue> <character>GENERAL</character> <dialogue>What shall we do with these?</dialogue> <scene_description>-She eyes the noblemen and guests from left to right. Their eyes beg for mercy. There is none.</scene_description> <character>RAVENNA</character> <dialogue>To the sword.</dialogue> <scene_description>20b CONTINUED: 20b There are GASPS and SCREAMS as the Guards move the guests away. Ravenna notices Finn, off to one side, his dagger at the neck of Snow White, who stares defiantly at Ravenna.</scene_description> <character>RAVENNA</character> <dialogue>Finn!</dialogue> <scene_description>Finn stops his exit with Snow White, and turns. Ravenna stares at the little girl, not sure where she stands with this one. And then, ...</scene_description> <character>RAVENNA</character> <dialogue>Lock her away. One never knows when royal blood may be of value.</dialogue> <scene_description>OVER A TIME-LAPSE IMAGE OF A ROTTING RED AND WHITE APPLE, WE</scene_description> <character>HEAR ERIC'S VOICEOVER AGAIN --</character> <dialogue>ERIC (V.O.)</dialogue> <scene_description>The spell Ravenna's mother placed on her gave her the ability to steal youth and beauty, and indeed all things good, for her own evil purposes. But for every life there must be a death, for every gain, loss, and under the reign of Ravenna nature turned on itself and people turned on each other.</scene_description> </scene> <scene> <stage_direction>21A INT. CASTLE - NORTH TOWER - NIGHT. 21A</stage_direction> <character>ERIC V/0</character> <dialogue>And all this time, she kept Snow White in a cell in the north tower.</dialogue> <scene_description>Ravenna, in the shadows, sits perfectly still. Though it's been years she looks the same. The object of her gaze is -- Snow White, who has changed. She is now a woman, lying in a darkened cell. Asleep. Around the corner, Finn secretly eyes his sister, who doesn't notice him. Ravenna, just outside the cell, doesn't blink, entranced by Snow White. Strange. Snow White opens her eyes and sees Ravenna. This is not the first time this has happened. Their eyes locked. Then .••</scene_description> <character>SNOW WHITE</character> <dialogue>Why? ••••</dialogue> <scene_description>Ravenna doesn't answer, just stands and walks away.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY.</stage_direction> <scene_description>A chill wind whips through the woods. Lying sprawled on the ground we see a man (ERIC) who looks like he's dead. CONTINUED: It's only as we move closer to his rugged face that we see the empty FLAGON OF GROG by his side and realize he's drunk. His eyes flicker, as a WOMAN'S SCREAM cuts through the woods.</scene_description> <character>FLASH TO:</character> <dialogue>THE SPECTRE OF A WOMAN</dialogue> <dialogue>SARA, beautiful, in pain. A patch of blood blossoms on her dress. Her mouth is open, screaming but no sound comes out. BACK TO SCENE - WE HEAR THE SCREAM Eric's eyes flicker and begin to open -- then he hears it again.</dialogue> <character>ROSE (O.S.)</character> <dialogue>Help!!!!</dialogue> <scene_description>He rises to his feet unsteadily, his head pounding from a hangover, then grabs two THROWING HATCHETS and slides them into his harness on his back -- 23-24OMITTED 23-24</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - DAY.</stage_direction> <scene_description>Eric runs past trees and ducks under branches, crashing into a few, still drunk. As he arrives at a clearing he sees a beautiful girl, (ROSE), fighting off a HUGE TATTOOED WARRIOR, (BROCH).</scene_description> <character>ERIC</character> <dialogue>Lay a hand on her and I'll take your head!</dialogue> <scene_description>BROCH turns and sees the huntsman with his hatchet raised.</scene_description> <character>BROCH</character> <dialogue>Ale given you courage again, huntsman?</dialogue> <character>ERIC</character> <dialogue>Won't take much courage to split your skull from here.</dialogue> <character>BROCH</character> <dialogue>Aye, but first you'd have to see straight.</dialogue> <scene_description>Broch advances with a grin, drawing his own axe. Trying to clear his vision and steady his aim, Eric hurls the hatchet -- and MISSES, the blade sticking in the tree above the frightened Greta's head -- Broch is on Eric in an instant, swinging his huge battle axe. Eric narrowly avoids the deadly blows, his natural skill and dexterity slowed down by all the ale he's drunk. CONTINUED: Rose looks on, terrified, as Broch drives Eric towards the trees. He corners him against an oak and swings his axe -- only for Eric to duck at the last moment The blade buries itself deep in the tree, stuck. We realize now from Eric's dark smile that he lured Broch into the trap. He draws his second hatchet, but instead of using the blade, cracks Broch over the head with the handle, knocking him out. Rose looks on in admiration as the huntsman goes through Broch's pockets. CONTINUED: ( 2)</scene_description> <character>ROSE</character> <dialogue>Thank you.</dialogue> <scene_description>Eric turns. Rose sees how handsome he is. Eric stares at her thoughtfully then approaches and gently lifts her chin, examining her pretty features. Rose doesn't seem to mind, looking back with an inviting smile.</scene_description> <character>ROSE</character> <dialogue>I don't know how to repay you?</dialogue> <scene_description>Eric stares at her a moment, then suddenly picks her up and tosses her over his shoulders.</scene_description> <character>ERIC</character> <dialogue>Don't worry, somebody else will.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY.</stage_direction> <scene_description>And now we see a RICKETY PRISON WAGON full of BEAUTIFUL GIRLS, just like Rose, staring out furiously from behind bars. Eric and a SLAVE MERCHANT haggle over Rose who is bound and gagged, looking just as furious as the other women.</scene_description> <character>SLAVE MERCHANT</character> <dialogue>Her nose is on the large size and her chin's a little weak.</dialogue> <character>ERIC</character> <dialogue>Your eyes are dim.</dialogue> <character>SLAVE MERCHANT</character> <dialogue>I'll give you two gold pieces.</dialogue> <character>ERIC</character> <dialogue>After all the business we've done together?</dialogue> <scene_description>Rose curses behind her gag as Eric pulls her away.</scene_description> <character>SLAVE MERCHANT</character> <dialogue>Four gold pieces and that's my final offer!</dialogue> <scene_description>Eric doesn't even bother to turn around.</scene_description> <character>ERIC</character> <dialogue>I'll peddle my wares elsewhere, thank you.</dialogue> <scene_description>The slave merchant sees his prize disappearing and calls out:</scene_description> <character>SLAVE MERCHANT</character> <dialogue>Ten gold pieces!</dialogue> <scene_description>Eric hesitates, but it's not from a guilty conscience, he's just considering the price. Then he smiles, turns. They have a deal.</scene_description> </scene> <scene> <stage_direction>INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY.</stage_direction> <scene_description>We get our first good look at grown Snow White as she shaves wood for a fire. She's done this every day for years. A regimen. Her hands work precisely as she stacks the wood and blows on the kindling. OMITTED 29a OMITTED 29a</scene_description> </scene> <scene> <stage_direction>INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY.</stage_direction> <scene_description>The fire is now burning and Snow White warms her hands on it. She hears APPROACHING FOOTSTEPS. Unusual. She jumps up gets in her bed and pretends to sleep. A GUARD opens a cell opposite Snow White. A few seconds later the door CLANGS SHUT. As soon as the Guard is gone, Snow White rises, walks to her cell door and looks down the hall to the other cell.</scene_description> <character>SNOW WHITE</character> <dialogue>Hello? ... What's your name?</dialogue> <scene_description>Rose, sitting in a dark corner, goes to her cell bars and looks out.</scene_description> <character>ROSE</character> <dialogue>I am Rose.</dialogue> <scene_description>Snow White smiles - a friendly face.</scene_description> </scene> <scene> <stage_direction>INT. QUEEN'S BATHING ROOM - DAY.</stage_direction> <scene_description>Ravenna stands, attended by MAIDS, in a black gown, open in front. Appropriate in private but not when -- Ravenna's GENERALS and Finn stand across from her. The Generals avert their eyes, made uncomfortable by her near nakedness. The General uses a pointer to make his presentation while another holds a map.</scene_description> <character>BLACK KNIGHT GENERAL</character> <dialogue>There are scattered rebel groups on the fringe of the dark forest, but they cause \* little harm.</dialogue> <scene_description>CONTINUED: She dips her fingers into a bowl of DEAD SONGBIRDS, plucks out a tiny heart and eats it as she listens, not happy.</scene_description> <character>RAVENNA</character> <dialogue>And what of the Duke?</dialogue> <character>BLACK KNIGHT GENERAL</character> <dialogue>We have pushed his forces into the mountains but his stronghold at Carmath holds firm.</dialogue> <character>\*</character> <dialogue>RAVENNA</dialogue> <scene_description>Lay siege to it.</scene_description> <character>ANOTHER GENERAL</character> <dialogue>The mountains and fortress provide impenetrable protection, my Queen.</dialogue> <character>RAVENNA</character> <dialogue>Then lure him out! Burn every village that supports him. Poison their wells. If they still resist put their heads on pikes to decorate the roads!</dialogue> <character>BLACK KNIGHT GENERAL</character> <dialogue>My Queen.</dialogue> <parenthetical>(chooses words carefully)</parenthetical> <dialogue>They have taken the fight to us. Rebels harry our supply lines and rob our pay \* wagons. \*</dialogue> <character>ANOTHER GENERAL</character> <dialogue>We have just captured two of the rebel leaders. They will be put to the sword.</dialogue> <character>\*</character> <dialogue>\*</dialogue> <character>\*</character> <dialogue>\*</dialogue> <character>RAVENNA</character> <dialogue>I wish to interrogate them myself.</dialogue> <scene_description>She drops her robe and walks up the steps to her bath. She \* lowers herself into the white liquid. Her face disappears \* beneath the viscous liquid, then she rises, like a porcelain \* statue. \*</scene_description> <character>\*</character> <dialogue>31a INT. BATHING CHAMBER - MOMENTS LATER 31a \*</dialogue> <scene_description>ECU - A small songbird, it's chest open, revealing a small \* heart. Ravenna's claw plucks the tiny heart and we follow it \* to her mouth. \* She is dressed now and stands at a window, Finn at her side. \* OUTSIDE THE WINDOW - A CROWD OF STARVING PEASANTS at the foot \* of the castle, fight over the milk pouring from her bath. \*</scene_description> <character>RAVENNA</character> <parenthetical>(to herself)</parenthetical> <dialogue>I won't go back.</dialogue> <scene_description>She is lost for a moment, then •••</scene_description> <character>RAVENNA</character> <dialogue>Finn, do you remember when we were children, begging for scraps like those wretches?</dialogue> <character>FINN</character> <dialogue>Yes, my Queen.</dialogue> <character>RAVENNA</character> <dialogue>Am I not kinder?</dialogue> </scene> <scene> <stage_direction>INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY.</stage_direction> <scene_description>Rose and Snow White converse •••</scene_description> <character>ROSE</character> <dialogue>All the girls in our village were taken. I was trying to reach safe haven at Duke Hammond's castle when I was caught --</dialogue> <scene_description>Snow White bursts with hope --</scene_description> <character>SNOW WHITE</character> <dialogue>The Duke?! He's alive?! He still fights in my father's name?!</dialogue> <scene_description>Rose stares at the feral girl now, realizing who she is.</scene_description> <character>ROSE</character> <dialogue>You're the king's daughter? Princess? .•. The night the evil one's reign began we were told all in the castle were put to the sword. How were you spared?</dialogue> <character>SNOW WHITE</character> <dialogue>William? What about William?! The Duke's son?! Is he alive?!</dialogue> <scene_description>CONTINUED:</scene_description> <character>ROSE</character> <dialogue>I don't know, princess.</dialogue> <scene_description>Rose shakes her head, still gazing at Snow White, then hears the distant cries of other female prisoners.</scene_description> <character>ROSE</character> <dialogue>What will they do to me?</dialogue> </scene> <scene> <stage_direction>INT. THRONE ROOM - DAY</stage_direction> <scene_description>Ravenna sweeps into the great hall. The Generals and Finn snap to attention. She stops and stares at TWO MEN, the captured insurgents. THOMAS, a grizzled old rebel, looks badly bruised and beaten, while his handsome son, IAIN, is unmarked. They both stare at her defiantly. Ravenna faces the two rebels. A SOLDIER steps forward.</scene_description> <character>SOLDIER</character> <dialogue>My Queen, these two were captured leading an ambush of our supply caravan.</dialogue> <scene_description>Ravenna seems intrigued, steps forward, eyeing them.</scene_description> <character>RAVENNA</character> <dialogue>You left your home, your family, the bosom of my protection, to aid my enemies? Why?</dialogue> <character>THOMAS</character> <dialogue>Because under your rule we have lost everything. We will not stop until this kingdom is free.</dialogue> <character>RAVENNA</character> <dialogue>Lost everything?</dialogue> <parenthetical>(regards Iain)</parenthetical> <dialogue>Your son?</dialogue> <scene_description>She moves to Iain, right up to his face.</scene_description> <character>RAVENNA</character> <dialogue>Very handsome.</dialogue> <parenthetical>(to Thomas)</parenthetical> <dialogue>Obviously a debt owed to your wife.</dialogue> <scene_description>She reaches out and touches Iain's strong jaw. He struggles against the Guards that hold him back.</scene_description> <character>RAVENNA</character> <dialogue>There was a time I would have lost my heart to a face like yours -- and you would have no doubt broken mine.</dialogue> <scene_description>In a flash Iain grabs a Guard's dagger and rams it into Ravenna's chest. She makes a pained face, looks down at the dagger, then up to Iain.</scene_description> <character>RAVENNA</character> <dialogue>You would kill your Queen?</dialogue> <scene_description>She pulls the dagger out - there is no·wound, no blood - and drops it on the ground. Iain and Thomas are shocked. CONTINUED:</scene_description> <character>RAVENNA</character> <parenthetical>(admiring; to Iain)</parenthetical> <dialogue>You have beauty. And courage. But how strong is your heart?</dialogue> <scene_description>She smiles, almost regrettably, then places her hand on his chest. We hear HIS HEART START TO HAMMER -- LOUDER AND LOUDER. He grimaces in pain as she SQUEEZES -- the hammering filling his ears -- until his heart finally bursts and he drops dead. Thomas falls to his knees in horror, trying to revive his son. Finn draws his sword to behead him when Ravenna raises her hand.</scene_description> <character>RAVENNA</character> <dialogue>No. Let him return to the Duke and speak of the generosity of his Queen.</dialogue> <scene_description>With that she sweeps out, followed by Finn. It's only now that we see the lines on her face. Finn takes her by the arm as she falters.</scene_description> <character>FINN</character> <dialogue>Are you alright?</dialogue> <scene_description>Ravenna pulls her arm away furiously. The General and the others stare, alarmed.</scene_description> <character>RAVENNA</character> <parenthetical>(to all)</parenthetical> <character>OUT! ! ! ! !</character> <dialogue>They quickly exit, all save Finn, who watches, concerned, as Ravenna leans against the wall for support. She pulls herself together, looks at Finn.</dialogue> <character>FINN</character> <dialogue>Magic comes at a lofty price.</dialogue> <character>RAVENNA</character> <dialogue>And the expense grows.</dialogue> <character>FINN</character> <dialogue>You look .••</dialogue> <character>RAVENNA</character> <dialogue>Old? •••</dialogue> <character>FINN</character> <dialogue>Tired.</dialogue> <character>RAVENNA</character> <dialogue>My powers ••• fade.</dialogue> <scene_description>This is about as much as Ravenna can confess. Finn watches as she walks up the stairs to the mirror chamber. Then he turns and CLAPS HIS HANDS TWICE. A GUARD appears and Finn nods. 33a INT. MIRROR CHAMBER - ROYAL PALACE 33a Ravenna walks into the room. Eyes the mirror, afraid to look at herself.</scene_description> <character>FINN (O.S.)</character> <dialogue>I have something for what ails you.</dialogue> <scene_description>She turns to see Finn, with Rose. Ravenna almost smiles. Rose holds her gaze defiantly. Ravenna walks over, admires her face, smiles, then takes her by the throat and LIFTS HER OFF HER FEET. Rose opens her mouth to scream but instead of sound, ENERGY pours out. Ravenna opens her mouth, DEVOURING GRETA'S YOUTH AND BEAUTY. Like a flower blooming, her lines vanish. Like a flower wilting, Rose AGES until she's as old as the scullery maids.</scene_description> </scene> <scene> <stage_direction>INT. PRISON TOWER/ SNOW WHITE'S CELL</stage_direction> <scene_description>Snow White hears approaching footsteps and watches as a Guard opens Greta 1 s cell and tosses someone in.</scene_description> <character>SNOW WHITE</character> <dialogue>Rose? ...</dialogue> <scene_description>The Guard clangs the cell door shut and walks away. Snow White peers through the shadows. Can't quite make her out.</scene_description> <character>SNOW WHITE</character> <dialogue>Rose? •••</dialogue> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER - DAY.</stage_direction> <scene_description>RAVENNA stares into her mirror now, rejuvenated.</scene_description> <character>RAVENNA</character> <dialogue>Mirror, mirror, on the wall, Who is the fairest of them all?</dialogue> <scene_description>The bronze ripples. The Mirror Man pours out and reforms.</scene_description> <character>MIRROR MAN</character> <dialogue>My Queen, you have defied nature and robbed it of its fairest fruit. But on this day there is one more\_beautiful than you.</dialogue> <character>RAVENNA</character> <dialogue>More beautiful, but</dialogue> <scene_description>CONTINUED:</scene_description> <character>MIRROR MAN</character> <dialogue>She is the reason your powers wane.</dialogue> <character>RAVENNA</character> <dialogue>She won't live to see tomorrow. Who is it?! Give me her name?!</dialogue> <scene_description>CONTINUED: ( 2)</scene_description> <character>MIRROR MAN</character> <dialogue>Snow White.</dialogue> <scene_description>Ravenna is shocked by this, staggers a bit.</scene_description> <character>RAVENNA</character> <dialogue>Snow White?</dialogue> <parenthetical>(calls out)</parenthetical> <dialogue>Finn!!</dialogue> <parenthetical>(back to mirror)</parenthetical> <dialogue>I should have killed her as a child. She is my undoing?</dialogue> <character>MIRROR MAN</character> <dialogue>She is also your treasure, Queen. It was wise to have kept her close for the innocence and purity that can destroy can also heal. Hold her heart in your hands and you shall never again need to consume youth. You shall never again weaken or age. Immortality without cost!</dialogue> <scene_description>Ravenna laughs, overjoyed. Finn appears out of the shadows. All he sees is his sister laughing, giddily into her mirror, no sign of the mirror man, as if it exists only in her head.</scene_description> <character>FINN</character> <dialogue>Yes, Queen? .•.</dialogue> <scene_description>36-37OMITTED 36-37</scene_description> </scene> <scene> <stage_direction>INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY.</stage_direction> <scene_description>Snow White paces in her cell, frantic. Two magpies appear in the window. She looks at them and watches as they flap their wings. Like they're trying to tell her something. She moves toward them. They jump back and up to the edge of the roof that is beside ·the cell window, hovering there. She is confused but notices A roofing nail, right where the Magpies hover. Snow White reaches a hand out the window and touches the loose nail. Her fingers move it back and forth as it, bit by bit, breaks free. She yanks hard at the nail, almost has it when -- The Magpies flutter again and blast away, as if afraid CONTINUED: Snow White hears FOOTSTEPS down the hall. She steadies herself, yanks once, twice and the nail comes loose. She jumps down, lies in her bed again just as Finn unlocks her door, leaving the key in the lock, and walks into the cell. He stands there until she turns her head slightly to him. She doesn't move, grips the nail in her closed hand as she tries to lure him closer with her eyes.</scene_description> <character>FINN</character> <dialogue>Did I wake you?</dialogue> <scene_description>Snow White shakes her head gently.</scene_description> <character>FINN</character> <dialogue>Are you always awake when I watch you?</dialogue> <character>SNOW WHITE</character> <parenthetical>(hoarsely)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>She looks away.</scene_description> <character>SNOW WHITE</character> <dialogue>You've never come in before.</dialogue> <character>FINN</character> <dialogue>My Queen won't allow it. She wants you all to herself.</dialogue> <character>SNOW WHITE</character> <dialogue>I'm afraid of her.</dialogue> <character>FINN</character> <dialogue>Not of me.</dialogue> <character>SNOW WHITE</character> <dialogue>No.</dialogue> <scene_description>He can't help himself, reaches out and touches her arm.</scene_description> <character>FINN</character> <dialogue>It's alright, princess. You will never again be locked in a cell.</dialogue> <character>SNOW WHITE</character> <dialogue>What does she want from me?</dialogue> <scene_description>His finger move from her hair to her cheek, stroking it gently, and then to her chest. With his free hand he reaches back for his dagger. CONTINUED: (2)</scene_description> <character>FINN</character> <dialogue>Your beating heart.</dialogue> <scene_description>Snow White grips the roofing nail even tighter as she looks at him. As he leans closer, she notices his off hand - the dagger and -- She SLASHES him across the face with the nail. Blood flies. Finn reacts, grabs his face in pain, yells and Snow White kicks him and runs for the door, locking it behind --</scene_description> </scene> <scene> <stage_direction>INT. GRETA'S CELL/ TOWER STEPS - DAY.</stage_direction> <scene_description>Snow White hurtles down the steps to Greta's cell. She is shocked by what she sees. Rose, now an old woman, looks to her. Snow White fumbles with the keys. Rose holds out both her hands. Snow White takes them, looks into her eyes.</scene_description> <character>ROSE</character> <dialogue>Go.</dialogue> <scene_description>Finn stumbles to the cell door, clutching his face.</scene_description> <character>FINN</character> <dialogue>GUARDS!</dialogue> <scene_description>Snow White tosses the keys into an empty cell and races away.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR/ CASTLE - DAY.</stage_direction> <scene_description>Snow White runs down the steps into a corridor and sees ARMED GUARDS appear at the other end. She hurries into another tower, bolting the door shut behind her, and charges down the steps.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD/ CASTLE - DAY.</stage_direction> <scene_description>SNOW WHITE BURSTS OUTSIDE -- into the light. She almost hyperventilates at all the air, the sky. Then she runs through the courtyard toward the portcullis. The magpies fly right into her face then away, telling her to follow. She does and heads straight for the small opening at the base of the castle wall - the entrance to the SEWERS. As the magpies rise, she slides on one hip, plunging into the darkness below. The guards follow but can't squeeze through the opening, running towards the Portcullis instead.</scene_description> </scene> <scene> <stage_direction>INT. SEWER - DAY.</stage_direction> <scene_description>Snow White splashes through the deep stinking sludge.</scene_description> </scene> <scene> <stage_direction>EXT. PORTCULLIS - DAY.</stage_direction> <scene_description>The old rebel, Thomas, with his son's body draped over a mule, looks back curiously as he hears the guards yelling --</scene_description> <character>CHIEF GUARD O/S</character> <dialogue>Open the gates! The Princess has escaped!</dialogue> <scene_description>He stares in surprise as riders gallop out.</scene_description> </scene> <scene> <stage_direction>EXT. SEA - OUTSIDE CASTLE - DAY.</stage_direction> <scene_description>Snow White is swept out of the sewers into the sea. Seaweed wraps itself around her limbs, pulling her deeper.into the - depths, but she kicks and fights her way back to the surface gasping for air.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH -- OUTSIDE CASTLE - DAY.</stage_direction> <scene_description>Snow White swims ashore. She looks up and sees a maze of large rocks stretching out. She sets off in one direction when the two MAGPIES reappear, urging her to follow them in another direction. She scrambles after them and sees a WHITE MARE waiting for her on the beach, lying on its side, allowing her to climb on. The mare raises itself and is away in a flash.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAY.</stage_direction> <scene_description>Galloping hooves skim the surf, RIDERS pursuing Snow White.</scene_description> </scene> <scene> <stage_direction>EXT. DECIMATED VILLAGE - DAY.</stage_direction> <scene_description>Snow White rides towards the village -- only it's unrecognizable now -- most of the cottages have been razed to the ground or boarded up. A group of people including children - skeletal, hungry, desperate - see her approach and move out to greet her. She stops her horse for a moment, gazing past tears at the devastation and the state of villagers all around her. At first their approach seems harmless but as they get closer their faces reveal dangerous desperation and -- She gallops off, looking back to see the Queen's men giving chase.</scene_description> </scene> <scene> <stage_direction>EXT. FIELDS AND WOODLAND BEYOND THE VILLAGE - DAY.</stage_direction> <scene_description>The fields and woods are even more devastated than the village. Farmland has been burnt to cinders and trees chopped down. All around Snow White the world is stubble and ash.</scene_description> </scene> <scene> <stage_direction>EXT. ENDLESS MOOR - AERIAL SHOT - DAY.</stage_direction> <scene_description>Snow White crests a hill, her mare rearing as she sees -- THE DARK FOREST -- A VAST WALL OF PRIMORDIAL TREES. A mist seeps from the forest like an evil miasma. Snow White hesitates then sees the riders closing in and urges her mare on</scene_description> </scene> <scene> <stage_direction>EXT. MISTY BOGS/ ENTRANCE TO THE DARK FOREST - DAY.</stage_direction> <scene_description>Shadows everywhere. The mare charges into the misty bog then suddenly loses her footing. She rears -- throwing Snow White onto the safety of solid ground. Snow White tries to grab her reins but the horse pulls away, not wanting to endanger her life. She tries again but the horse backs farther away from her. Slowly they're separated by the swirling fog -- As Snow White sees the silhouettes of the riders reappear. Reluctantly she turns and runs into the forest -- CONTINUED: The riders are about to follow when their horses rear and kick in terror. One guard is thrown off and sucked down in the bog, frightening off the others. Despite their concern for Snow White, the MAGPIES are also too afraid to enter the forest.</scene_description> </scene> <scene> <stage_direction>EXT. DARK FOREST - DAY.</stage_direction> <scene_description>Snow White hurtles through the trees, a ghostly fog rising up all around her, then trips over a root, landing face first in A patch of LARGE MUSHROOMS that unleash CLOUDS OF POLLEN. She coughs, trying to fan the pollen away, but it's too late. She hurries on, but the hallucinations come thick and fast now The trees look almost human, hooded figures peering at her through the haze. She sees owls without eyes. Black oil oozing out of tree trunks. A hanging vine reaches down and touches her like a hand and now she runs -- More terrors rage at her from the swirling mist. She stumbles again and when she looks up vampire bats scream at her from the trees. Huge skeletal forms crack out of the bark, descending on her until she finally passes out.</scene_description> </scene> <scene> <stage_direction>EXT. AERIAL VIEW OF DARK FOREST -- DAY.(D4N)</stage_direction> <scene_description>From high above, we see the unconscious Snow White as mist whirls in a circle. 52a EXT. CASTLE BEACH - NIGHT.(D4N) 52a Vicious waves crash into rocks. Nature's anger on display.</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER - NIGHT.</stage_direction> <scene_description>From above we see Ravenna striding furiously in a circle of her own. She is livid, a whirling dervish. She's fairly spitting as she barks at Finn, who stands in the middle of the room, his face bleeding.</scene_description> <character>RAVENNA</character> <dialogue>How is it an innocent young girl makes a fool of my brother?! Armed only with a nail?! If she'd had a sword she'd have taken the whole castle!</dialogue> <scene_description>We're in front of her, behind her, on her face, on her feet -- She picks up the pace as well as the volume --</scene_description> <character>RAVENNA</character> <dialogue>You swore to protect me! Do you not understand whatthe girl means to us?! This is my futu're! This is everything. Everything!</dialogue> <scene_description>CONTINUED:</scene_description> <character>RAVENNA</character> <dialogue>There is no one I can trust in this place!! There is no loyalty! None!!!!</dialogue> <scene_description>CONTINUED: ( 2) And then she stops on a dime, turns to him, marches right up to Finn and BELTS HIM! Hard. He staggers a bit then picks himself up, looks at her.</scene_description> <character>FINN</character> <dialogue>She was chased into the dark forest. She's likely already dead.</dialogue> <scene_description>She SCREAMS and slaps him viciously.</scene_description> <character>RAVENNA</character> <dialogue>She's no good to me there, lost. I must have her heart! You have failed me!</dialogue> <scene_description>Finn's had enough, he erupts at her --</scene_description> <character>FINN</character> <dialogue>Have I not given all to you?!</dialogue> <scene_description>She takes this, softens, unexpectedly, and almost smiles.</scene_description> <character>RAVENNA</character> <dialogue>Have I not given you all? All.</dialogue> <scene_description>She raises her finger and touches his face. His wound heals instantly and his face grows calm. He nods.</scene_description> <character>FINN</character> <dialogue>Indeed, my Queen.</dialogue> <character>RAVENNA</character> <dialogue>Don't fail me again, Finn.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I have no powers in the Dark Forest. Bring me someone who knows it well. Someone who can hunt her!</dialogue> <scene_description>CUT TO: 53a OMITTED 53a</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY.</stage_direction> <scene_description>Finn speaks to a group of people assembled by his men.</scene_description> <character>FINN</character> <dialogue>The Queen demands the services of someone</dialogue> <scene_description>·to navigate the Dark Forest. The villagers stay mum, shaking their heads. CONTINUED:</scene_description> <character>OLD LADY</character> <dialogue>No-one goes into the Dark Forest.</dialogue> <character>FINN</character> <dialogue>You will be compensated.</dialogue> <scene_description>Still no takers. An OLD-TIMER stares right at FINN, steps forwards.</scene_description> <character>OLD-TIMER</character> <dialogue>There's one man. A widower.</dialogue> <character>FINN</character> <dialogue>Where might I find him.</dialogue> <character>OLD-TIMER</character> <dialogue>In the Inn. Drinking.</dialogue> <scene_description>THE SOUND OF SMASHING WOOD. They turn to see -- Eric flies through the Inn's wall and lands in a heap on the ground.</scene_description> <character>OLD-TIMER</character> <dialogue>Appears he's finished.</dialogue> </scene> <scene> <stage_direction>EXT. INN - SAME - DAY.</stage_direction> <scene_description>Eric. Drunk. He tries to focus as Broch strides through the same hole and stands over him. CONTINUED:</scene_description> <character>BROCH</character> <dialogue>You owe me money from my pocket and money for the girl!</dialogue> <character>ERIC</character> <dialogue>I have it right here in my pocket. If you'll just help me up.</dialogue> <scene_description>Eric holds his hand out. Broch walks over, suspicious. When he's close, Eric grabs his arm and kicks with both feet in Broch's chest. Broch flies back, then strides to Eric and kicks him in the side. Hurts.</scene_description> <character>BROCH</character> <dialogue>I want my money!</dialogue> <character>ERIC</character> <dialogue>Actually, I seem to have drunk it all. You're welcome to it when it comes out again.</dialogue> <scene_description>Broch hauls him back up to his feet. He takes a swing but somehow the drunken Eric dodges the blow, swinging back at him. Everyone has come out of the Inn to enjoy the fight. Eric lands a body blow to Broch, who doubles over. Eric comes in for the kill, winds up and swings - Missing Broch but hitting a HORSE on the ass. It kicks its legs, sending him flying. He lands in a heap and drops his head back. Hands lift him and -- Drop him in a horse trough. He's underwater for a few seconds before he comes to and lifts out his head, eyes still closed.</scene_description> <character>ERIC</character> <parenthetical>(Mumbling drunkenly)</parenthetical> <dialogue>Perfume?</dialogue> <scene_description>He opens his eyes to see Finn gazing down at him.</scene_description> <character>ERIC</character> <dialogue>Royalty. That explains it.</dialogue> <character>FINN</character> <dialogue>The Queen demands your presence.</dialogue> <character>ERIC</character> <dialogue>Can't you see I'm having a bath?</dialogue> <scene_description>OMITTED MOVED TO 55</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - CASTLE - DAY.</stage_direction> <scene_description>RAVENS perch on the ledges and LURCHERS scamper about. Eric, still drunk, filthy, damp clothes, face bruised, enters the room, eyes the ravens, then looks at Ravenna on her throne. She watches him curiously. He's more interested in the aged scullery maids, including Rose, who are staring at him accusingly. He has no idea who they are or what he's done wrong. Finally he comes before the Queen, sizing her up like a tavern beauty. CONTINUED:</scene_description> <character>RAVENNA</character> <dialogue>My brother tells me you are a widower, a drunkard and one of few who has ventured into the dark forest.</dialogue> <scene_description>Finn looks on, standing nearby.</scene_description> <character>RAVENNA</character> <dialogue>One of my prisoners has escaped there.</dialogue> <character>ERIC</character> <dialogue>Then he's dead -</dialogue> <character>RAVENNA</character> <dialogue>She shoots Finn a pointed look then looks back at Eric.</dialogue> <character>ERIC</character> <dialogue>Then she is certainly dead.</dialogue> <character>RAVENNA</character> <dialogue>Find her. Bring her to me.</dialogue> <scene_description>Eric holds her gaze, uneasy at the request.</scene_description> <character>ERIC</character> <dialogue>I've been to the Dark Forest enough times to know I'm not going back.</dialogue> <character>RAVENNA</character> <dialogue>You will be rewarded handsomely.</dialogue> <character>ERIC</character> <dialogue>Coin's no good to me if I'm lying dead with crows picking at my eyes.</dialogue> <scene_description>Ravenna steps off her throne now, approaching him.</scene_description> <character>RAVENNA</character> <dialogue>There may be more than gold in the offing.</dialogue> <character>ERIC</character> <dialogue>Why is her life of such value?</dialogue> <character>RAVENNA</character> <dialogue>That is none of your concern.</dialogue> <character>ERIC</character> <dialogue>I'll determine what concerns me, thank you.</dialogue> <scene_description>She smiles, moves even closer to him.</scene_description> <character>RAVENNA</character> <dialogue>You will do this for me, Huntsman.</dialogue> <scene_description>CONTINUED: ( 2 )</scene_description> <character>ERIC</character> <dialogue>And if I refuse?</dialogue> <scene_description>Ravenna nods to the Guards, who pull their swords. Dying to cut him to pieces. Eric eyes them, then looks to her and, in complete honesty -- CONTINUED: ( 3)</scene_description> <character>ERIC</character> <dialogue>Do me the favor. I beg of you.</dialogue> <character>RAVENNA</character> <dialogue>So you wish to be reunited with your beloved?</dialogue> <scene_description>Eric reacts instinctively, grabbing her by the throat. The courtiers rise to their feet and the guards draw their swords, but Ravenna holds up her hand.</scene_description> <character>ERIC</character> <dialogue>My wife is none of your concern.</dialogue> <scene_description>Something about her face, the fact that she enjoys his hand on her throat makes Eric queasy. He releases his grip, stares right at Ravenna.</scene_description> <character>RAVENNA</character> <dialogue>My condolences.</dialogue> <scene_description>Ravenna holds his gaze.</scene_description> <character>RAVENNA</character> <dialogue>You miss her?</dialogue> <scene_description>His eyes say, yes, he misses her horribly.</scene_description> <character>RAVENNA</character> <dialogue>What would you give to bring her back?</dialogue> <scene_description>Eric stares at her curiously.</scene_description> <character>RAVENNA</character> <dialogue>You know of my powers. Bring me the girl and I will bring back your wife.</dialogue> <character>ERIC</character> <dialogue>Nothing will bring her back.</dialogue> <scene_description>Ravenna moves even closer, looks him right in the eye. She is incredibly persuasive as she says</scene_description> <character>RAVENNA</character> <dialogue>~can.Believe me, huntsman.</dialogue> <scene_description>Eric's eyes say he wants to believe. Needs to believe.</scene_description> <character>RAVENNA</character> <dialogue>A life for a life.</dialogue> </scene> <scene> <stage_direction>EXT. MOORS/ OUTSIDE DARK FOREST - DAY.</stage_direction> <scene_description>Mist drifts across the moors, the primordial trees looming up ahead. Finn and Eric ride side by side, FOUR GUARDS following. CONTINUED:</scene_description> <character>FINN</character> <dialogue>You fought in the west? Against the armies of the five kings?</dialogue> <scene_description>Eric nods without looking at him, gazing at the forest.</scene_description> <character>FINN</character> <dialogue>You must have seen a great deal of death?</dialogue> <character>ERIC</character> <dialogue>Death is everywhere.</dialogue> <character>FINN</character> <dialogue>Come now, you're being modest. There is a difference between gutting a deer and gutting a man. How many did you kill?</dialogue> <character>ERIC</character> <dialogue>It's not something I counted.</dialogue> <character>FINN</character> <parenthetical>(with a smile)</parenthetical> <dialogue>Nor I. But I recall every face. There is no greater delight than battle.</dialogue> <scene_description>Eric finds this unseemly, but prefers not to engage.</scene_description> <character>FINN</character> <dialogue>Come now, huntsman, what do you feel when you watch a man die? Delight? Invincibility?</dialogue> <character>ERIC</character> <parenthetical>(honestly)</parenthetical> <dialogue>Sorrow.</dialogue> <scene_description>This takes Finn aback, not an answer he was expecting. After a beat .••</scene_description> <character>FINN</character> <dialogue>And what of them? At the tip of your sword. What do they feel? I'd enjoy knowing.</dialogue> <scene_description>Eric looks at him, realizing from Finn's face that it is an honest question.</scene_description> <character>FINN</character> <dialogue>The only·difference between you and I is L-never -.. -·" ~</dialogue> <scene_description>found a wife to save my soul.</scene_description> <character>ERIC</character> <dialogue>You'll need one.</dialogue> <scene_description>He stops his horse and nods. CONTINUED: ( 2) They are all stopped at the entrance to the Dark Forest fifty meters ahead. The Guards gulp back their fears. Finn tries to hide his own. Even the horses sense danger and start to whinny and back up.</scene_description> </scene> <scene> <stage_direction>EXT. DARK FOREST - DAY.</stage_direction> <scene_description>Vines and roots have grown over Snow White's body, as if the forest is trying to devour her. She opens her eyes, sees her wrists and ankles bound and reacts in horror, struggling to free herself of her bonds. WE PULL UP, UP, UP until we can see the full scope of the Dark Forest.</scene_description> </scene> <scene> <stage_direction>EXT. BOGS/ DARK FOREST - DAY.</stage_direction> <scene_description>Eric and Finn have tethered their nervous horses and stand at the entrance to the bog.</scene_description> <character>ERIC</character> <dialogue>Do exactly as I do.</dialogue> <scene_description>Eric carefully places one foot after the next on grassy stepping stones that disappear into the bog as soon as his full weight is on them. The others catch on and follow, stepping on stones of their own. Once they're across the bog and onto dry land Finn takes a step forward but Eric grabs his arm.</scene_description> <character>ERIC</character> <dialogue>Exactly as I do.</dialogue> <scene_description>Eric puts a cloth to his face, gesturing for Finn and his guards to do the same and moves forward through the mushroom field - pops of pollen misting all around them. Eric stops, bends down, spotting faint FOOTPRINTS in the dew. He walks faster now, Finn watching in admiration. 62-63OMITTED 62-63</scene_description> </scene> <scene> <stage_direction>EXT. TREES/ DARK FOREST - DAY.</stage_direction> <scene_description>Snow White finally shakes free of the vines, jumps up and senses she's being followed. She looks up at the trees but all she sees are vague shadows. The wind picks up, ghostly voices howling in the breeze. She's rooted to the spot for a moment, then loses her nerve and runs 64a EXT. DARK FOREST - DAY. 64a Eric, Finn and the Guards move through a dark copse of trees. VOICES AND WHISPERS.call to them from the wind. Eric stops, looks around. 64a CONTINUED: 64a</scene_description> <character>ERIC</character> <dialogue>Pay them no mind.</dialogue> <scene_description>One of the Guards leans over a pool of water to drink when he sees a GHOSTLY REFLECTION gazing back at him. He stares in surprise, leaning closer. Suddenly a BARBED TAIL shoots out of the water -- skewering him -- and drags him into the depths. The others turn as they hear a scream but there's no sign of their companion now, just the bubbling water. Only Finn looks unconcerned. Eric stops senses something, holds up a hand. Then darts ahead, leaving them flat-footed. Finn makes a decision to follow and waves for his Guards to go ahead of him. They reluctantly follow Eric.</scene_description> </scene> <scene> <stage_direction>EXT. DARK FOREST - MOMENTS LATER - DAY.</stage_direction> <scene_description>Eric moves quickly then stops, listens - we see his hunting skills - as he hears the noise of cracking branches in the distance, he blasts away, moving like lightning.</scene_description> </scene> <scene> <stage_direction>EXT. TREES/ DARK FOREST - DAY.</stage_direction> <scene_description>Snow White feels like the whole forest is pursuing her. Running out of breath, she hides in some bushes. As she stares into the mist, she sees a sinister figure appear through the haze. Eric stops and looks around, sensing his prey is close. Snow White stays low, trying to quieten her breathing. Eric studies the forest floor. He sees Snow White's footprints, then looks up at an area of disturbed undergrowth. Snow White peers through the bushes and sees the huntsman's boots approaching. She looks around for something to defend herself with when the sound of the footsteps fades. She can't see anyone now. She looks relieved when SUDDENLY STRONG HANDS GRAB HER BY THE FEET AND DRAG HER OUT OF THE BUSHES. She fights to get away but he pins her with a foot, reaches down and turns her over. His first look at her gives him pause. Her face, her spirit, her youth. She slaps at him - he pulls out his knife with one hand while he pins her with the other. Then grabs, lifts her.</scene_description> <character>SNOW WHITE</character> <dialogue>Let me go!</dialogue> <scene_description>CONTINUED: She bites him. He grimaces and grabs her tighter and starts trudging back.</scene_description> <character>SNOW WHITE</character> <dialogue>She's going to kill me! The Queen!</dialogue> <scene_description>He ignores, keeps moving.</scene_description> <character>ERIC</character> <dialogue>Sure she is.</dialogue> <character>SNOW WHITE</character> <dialogue>Believe me! Her brother tried to cut out my heart.</dialogue> <scene_description>He stops, looks at her.</scene_description> <character>SNOW WHITE</character> <dialogue>I swear it.</dialogue> <scene_description>He somehow believes her. New game. Then ••• CONTINUED: (2)</scene_description> <character>FINN (O.S.)</character> <dialogue>Quick work!</dialogue> <scene_description>Eric looks up to see Finn and his men approaching. Snow White gasps at the sight of Finn.</scene_description> <character>SNOW WHITE</character> <dialogue>Him! He's the one! He came at me with a knife!</dialogue> <scene_description>Eric holds her tight, one arm around her neck.</scene_description> <character>FINN</character> <dialogue>Well done, huntsman. Hand her over.</dialogue> <character>SNOW WHITE</character> <dialogue>You can't trust him!</dialogue> <character>ERIC</character> <dialogue>What do you intend to do with her?</dialogue> <character>FINN</character> <dialogue>Why do you care?</dialogue> <scene_description>Finn nods and the Guards approach. Eric grips her tighter.</scene_description> <character>ERIC</character> <parenthetical>(to Finn)</parenthetical> <dialogue>You want her. Give me what I was promised.</dialogue> <character>FINN</character> <dialogue>Come now huntsman, you did your job well. Keep your word and hand her over.</dialogue> <scene_description>CONTINUED: ( 3)</scene_description> <character>SNOW WHITE</character> <dialogue>He'll betray you -</dialogue> <character>ERIC</character> <dialogue>Shut up! -</dialogue> <character>SNOW WHITE</character> <dialogue>He'll kill us both -</dialogue> <character>ERIC</character> <dialogue>I said, shut up!</dialogue> <scene_description>He puts his knife to her throat to quiet her.</scene_description> <character>ERIC</character> <parenthetical>(to Finn)</parenthetical> <dialogue>I'll keep my word when the Queen keeps hers.</dialogue> <scene_description>Finn shakes his head and laughs.</scene_description> <character>FINN</character> <dialogue>You are a drunk and a fool. My Queen has many powers; she can take life or sustain it. But she can't bring your wife back from the dead.</dialogue> <character>ERIC</character> <dialogue>I WANT HER BACK!</dialogue> <scene_description>His face tells us how much Eric wanted, needed to believe. The Guards keep inching toward Eric. Eric, still with a knife to Snow White's throat, starts slowly backing up. Finn pulls his own sword and approaches. Four against one. As they burst toward him he tosses Snow White to the ground and in the same motion throws his knife into the chest of one of the Guards, who crumbles. Eric reaches behind, grabs both hatchets and faces off with the others. They all rush at once. Eric fights off the guards as he raises a hatchet, throws it Right into Finn's chest. Just like Ravenna, no blood, no wound. Finn pulls it out, laughs and throws it at the huntsman who ducks as it sticks into a tree. Snow White, terrified, races off into the forest. They notice her exit but keep fighting. Eric fights on three sides now - holding his own until Finn manages to plunge a sword in his side. CONTINUED: ( 4) Eric grunts and falls back. Finn races forward to finish him off but Eric lunges and -- Flips Finn onto his back and into a grove of mushrooms. Eric covers his nose with his arm and looks at the other Guards, who look from Finn, who is dazed, to Eric, who is hurt. Finn struggles to his knees, shakes his head, hallucinating a bit.</scene_description> <character>FINN</character> <dialogue>Butcher him! Find her!</dialogue> <scene_description>The Guards, also trying to cover their noses, move forward. Eric has a decision to make. Bad odds. And he's injured. Eric decides in an instant, grabs his knife out of the dead Guard, as well as his hatchet from the tree and runs after Snow White --</scene_description> </scene> <scene> <stage_direction>EXT. DARK FOREST - DAY.</stage_direction> <scene_description>Snow White crashes through the woods. Then a HAND grabs her shoulder-- Eric. He slaps a palm over her mouth before she can scream and slides down a steep slope into undergrowth. 67a EXT. DARK FOREST - FINN - SAME 67a Finn is on his feet but still hallucinating - stumbling about. The Guards are spooked as they look all around.</scene_description> <character>FINN</character> <dialogue>This is not finished!</dialogue> <scene_description>The words echo through the dark forest. 67b EXT. DARK FOREST - ERIC AND SNOW WHITE - SAME 67b Eric removes his hand from Snow White's mouth. At once she PUNCHES HIM WITH ALL SHE'S GOT. He steps back, licks his bloody lip. She takes another swing. This one he manages to grab.</scene_description> <character>SNOW WHITE</character> <dialogue>Get your hands off me.</dialogue> <scene_description>She draws his dagger. He backs off. Eyeball to eyeball: 67b CONTINUED: 67b</scene_description> <character>SNOW WHITE</character> <dialogue>Get away.</dialogue> <character>ERIC</character> <dialogue>Who are you? What the hell's going on?</dialogue> <character>SNOW WHITE</character> <dialogue>Get away from me.</dialogue> <character>ERIC</character> <dialogue>Why does the Queen want you dead?</dialogue> <character>SNOW WHITE</character> <dialogue>She wants us all dead. All of us-</dialogue> <character>ERIC</character> <dialogue>Then what makes you so damn valuable?</dialogue> <character>SNOW WHITE</character> <dialogue>You should know. You're the one hunting me.</dialogue> <scene_description>He backs away. Paces. 67b CONTINUED: (2) 67b</scene_description> <character>ERIC</character> <parenthetical>(To himself)</parenthetical> <dialogue>Never get involved in the Queen's business and what do I do? Get involved in the Queen's business •••</dialogue> <scene_description>Without warning, he walks off. Leaving her alone. She follows him.</scene_description> <character>SNOW WHITE</character> <dialogue>Where are you going?</dialogue> <character>ERIC</character> <dialogue>Away from you, love. You're trouble.</dialogue> <character>SNOW WHITE</character> <dialogue>I need to get to the Duke's Castle. There's an army there. I'll be safe.</dialogue> <character>ERIC</character> <dialogue>The Duke? I've seen sheep with more fight in them.</dialogue> <scene_description>Desperate, she takes a chance.</scene_description> <character>SNOW WHITE</character> <dialogue>Take me, you'll be rewarded. I'm valuable. Isn't that why you're here?</dialogue> <scene_description>She appeals:</scene_description> <character>SNOW WHITE</character> <dialogue>You're dead if you return without me. And I'm dead if you leave me.</dialogue> <scene_description>He turns, exasperated with her.</scene_description> <character>ERIC</character> <parenthetical>(Then -- wearily:)</parenthetical> <dialogue>Just for argument's sake.</dialogue> <parenthetical>(Shakes his head)</parenthetical> <dialogue>How much?</dialogue> <character>SNOW WHITE</character> <dialogue>How much is enough?</dialogue> <scene_description>Eric "re\],uctantly" prices up the job.</scene_description> <character>ERIC</character> <dialogue>Well,-:it's a long way, through the forest, and that •.• that's a dangerous road, I couldn't even consider it for less than thirty gold pieces •••</dialogue> <character>SNOW WHITE</character> <dialogue>A hundred. Deliver me safe to the Duke. I give you my word.</dialogue> <scene_description>67b CONTINUED: (3) 67b Deep quandary. Still suspicious ..</scene_description> <character>ERIC</character> <dialogue>Who are you?</dialogue> <scene_description>She looks at him levelly.</scene_description> <character>SNOW WHITE</character> <dialogue>Maybe that's a question you should have asked the queen.</dialogue> <scene_description>Stand-off.</scene_description> <character>SNOW WHITE</character> <dialogue>Do we have a deal?</dialogue> <character>ERIC</character> <dialogue>I don't trust you Billy Goat.</dialogue> <character>SNOW WHITE</character> <dialogue>I've given you my word.</dialogue> <scene_description>He spits on his hand. She puts out her hand. He shakes it.</scene_description> <character>ERIC</character> <dialogue>I still don't trust you.</dialogue> <character>SNOW WHITE</character> <dialogue>I don't trust you either.</dialogue> <scene_description>She wipes it on her skirt. Behind them, a commotion. They run off. 67b CONTINUED: (4) 67b 67c OMITTED 67c OMITTED 68a EXT. DARK FOREST - DAY. 68a Tree roots gleam with an eerie phosphorescent light. The mist closes in. Snow White looks around the forest, unnerved by the haunting silence and the deep shadows. Reluctantly she focuses on Eric, trying to take her mind off the terrors around her. He sits on a log for a breath.</scene_description> <character>ERIC</character> <dialogue>We'll stay the night here.</dialogue> <character>SNOW WHITE</character> <dialogue>You haven't answered me.</dialogue> <character>ERIC</character> <dialogue>I don't recall a question.</dialogue> <character>SNOW WHITE</character> <dialogue>Where are we going?</dialogue> <scene_description>He takes a stick, draws in the dirt.</scene_description> <character>ERIC</character> <dialogue>Queen. Mountains. Dark Forest. Here. Past. There's a village.</dialogue> <scene_description>She takes the stick, points to a different spot in the dirt.</scene_description> <character>SNOW WHITE</character> <dialogue>I'm going to the Duke's Castle.</dialogue> <scene_description>He grabs the stick back.</scene_description> <character>ERIC</character> <dialogue>You'll go where I take you.</dialogue> <character>SNOW WHITE</character> <dialogue>You'll take me to the Duke's castle or I'll go alone.</dialogue> <scene_description>68a CONTINUED: 68a</scene_description> <character>SNOW WHITE</character> <parenthetical>(beat; looks around)</parenthetical> <dialogue>As soon as you get me out of the forest.</dialogue> <character>ERIC</character> <dialogue>You're rather demanding, and not all that endearing, you know?</dialogue> <scene_description>68a CONTINUED: (2) 68a</scene_description> <character>SNOW WHITE</character> <dialogue>There's a reward that awaits you. There are noblemen there, an army.</dialogue> <character>ERIC</character> <parenthetical>(laughs)</parenthetical> <dialogue>An army? The Duke fights? He hides behind walls. I know sheep that have more fight in them.</dialogue> <parenthetical>(after a beat)</parenthetical> <dialogue>How much?</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>Reward? Just for argument's sake?</dialogue> <character>SNOW WHITE</character> <dialogue>How much do you want?</dialogue> <scene_description>Eric considers this, not sure how or if to negotiate.</scene_description> <character>SNOW WHITE</character> <dialogue>Two hundred gold pieces. Do we have a deal?</dialogue> <scene_description>More, a lot more, than he was expecting.</scene_description> <character>ERIC</character> <dialogue>I'll deliver you to safety m' lady.</dialogue> <character>SNOW WHITE</character> <dialogue>Swear it.</dialogue> <character>ERIC</character> <dialogue>I swear (beat). Constantly. It's one of my better qualities.</dialogue> <scene_description>She's not sure what to make of this, but .•.</scene_description> <character>SNOW WHITE</character> <dialogue>Fine.</dialogue> <scene_description>He moves to a spot to lie down and gathers leaves. Snow White seeks her own spot and comes upon -- the RIB CAGE OF A DEAD DEER, a host of BEAUTIFUL BUTTERFLIES feeding on its bones. She is shocked. Eric notices •••</scene_description> <character>ERIC</character> <dialogue>I've seen far stranger things in here.</dialogue> <scene_description>She sits, looks to Eric. Something's been bothering her.</scene_description> <character>SNOW WHITE</character> <dialogue>.. Do you think ... will they follow us?</dialogue> <character>ERIC</character> <dialogue>They'd be foolish to. Few survive.</dialogue> <scene_description>Good newi3/bad news. She looks around. 68a CONTINUED: (3) 68a</scene_description> <character>SNOW WHITE</character> <dialogue>How far have you travelled into the Dark Forest?</dialogue> <character>ERIC</character> <dialogue>We passed it a few miles back.</dialogue> <scene_description>He opens his flask and takes a healthy pull.</scene_description> </scene> <scene> <stage_direction>EXT. DUKE HAMMOND'S STRONGHOLD - AERIAL SHOT - DAY.</stage_direction> <scene_description>We're moving over high mountains and valleys now, approaching Duke Hammond's castle.</scene_description> </scene> <scene> <stage_direction>INT. WAR ROOM/ DUKE HAMMOND'S CASTLE - DAY.</stage_direction> <scene_description>Grim faced COMMANDERS look on as DUKE HAMMOND comforts a sobbing man in the firelight. We recognise the old rebel, THOMAS, whose son was killed by Ravenna.</scene_description> <character>THOMAS</character> <dialogue>She killed brave Iain with only her palm and pulled a dagger from her chest without blood. She cannot be killed.</dialogue> <scene_description>Duke Hammond has heard enough, turns to leave.</scene_description> <character>THOMAS</character> <dialogue>There is more.</dialogue> <parenthetical>(Duke stops)</parenthetical> <dialogue>The princess has escaped the castle!</dialogue> <character>DUKE HAMMOND</character> <parenthetical>(excited)</parenthetical> <dialogue>Where is my son?</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - DAY.</stage_direction> <scene_description>FLAMING MOSS is thrown into a puddle of oil and a MASSIVE FIRE lights up the night. William, rapid-fires his bow at close quarters into a line of the Queen's supply wagons and the fight is on. A VIOLENT CLASH OF SWORDS IN CLOSE QUARTER FIGHTING. His COMPANIONS are as wild and hot-.headed as he is, roaring with delight as the Queen's men finally flee. 72-73OMITTED 72-73 73a INT. WAR ROOM/ DUKE HAMMOND'S CASTLE - NIGHT. 73a William enters.</scene_description> <character>WILLIAM</character> <dialogue>You asked for me, father?</dialogue> <scene_description>73a CONTINUED: 73a</scene_description> <character>DUKE HAMMOND</character> <dialogue>I have news of the Princess.</dialogue> <scene_description>William stares in surprise --</scene_description> <character>WILLIAM</character> <dialogue>The Princess?! !</dialogue> <character>DUKE HAMMOND</character> <dialogue>Ravenna has kept her all these years.</dialogue> <character>WILLIAM</character> <dialogue>She lives?!</dialogue> <character>DUKE HAMMOND</character> <dialogue>She escaped the castle and into the dark forest -</dialogue> <scene_description>He turns to leave</scene_description> <character>WILLIAM</character> <dialogue>I'm going after her!.</dialogue> <character>DUKE HAMMOND</character> <dialogue>We don't know if she survived</dialogue> <scene_description>Duke Hammond grabs him by the arm.</scene_description> <character>DUKE HAMMOND</character> <dialogue>You ventured beyond the walls tonight, disobeying my orders. We are all that's left, William. I cannot afford to lose any more of my men.</dialogue> <character>WILLIAM</character> <dialogue>Then I will go alone.</dialogue> <character>DUKE HAMMOND</character> <dialogue>And I cannot afford to lose my only heir! You do not know the dark forest!</dialogue> <character>WILLIAM</character> <dialogue>Then I'll find someone who does.</dialogue> <scene_description>William pulls away.</scene_description> <character>WILLIAM</character> <dialogue>I will not abandon her a second time.</dialogue> </scene> <scene> <stage_direction>EXT. PLAINS BEYOND DUKE HAMMOND'S STRONGHOLD - DAWN.</stage_direction> <scene_description>William gallops away from the castle walls under the cover of the breaking dawn. MOVED TO 68a OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. STABLES/ INN/ VILLAGE - DAY</stage_direction> <scene_description>A motley crew of woodsmen stand side to side. Finn is eyeing them, sizing them up, picking a crew.</scene_description> <character>FINN</character> <dialogue>Which of you knows the dark forest?</dialogue> <scene_description>A powerfully built Yakut tracker, ALDAN, and BROCH both nod.</scene_description> <character>FINN</character> <dialogue>You. You. You. You.</dialogue> <scene_description>He's selected Aldan, Broch and points to others. As we move down the line we see William, hat low, trying to look tough. Finn selects a few more.</scene_description> <character>FINN</character> <dialogue>Load and prepare. You ride for bounty. Into the dark forest. The rest of you. Away!</dialogue> <scene_description>As they disperse .• William sets his jaw, and heads off ••</scene_description> <character>CUT TO:</character> <dialogue>The men ride out of the village. Suddenly they stop.</dialogue> <dialogue>Standing up ahead is William, blocking their path. He calls to them.</dialogue> <character>WILLIAM</character> <dialogue>You need a bowman?</dialogue> <scene_description>FINN calls back.</scene_description> <character>FINN</character> <dialogue>I have a bowman. Away.</dialogue> <scene_description>WILLIAM stands unblinking.</scene_description> <character>FINN</character> <dialogue>I said away, damn you!</dialogue> <scene_description>WILLIAM doesn't move. Finn turns to the bowman.</scene_description> <character>FINN</character> <dialogue>Kill him.</dialogue> <scene_description>CONTINUED: The bowman smiles, draws his bow. BEFORE he can loose an arrow:</scene_description> <character>THWACK! THWACK!!</character> <dialogue>Two arrows strike the bowman in the throat, lifting him off his horse, stone dead.</dialogue> <dialogue>FINN turns. WILLIAM lowers his bow.</dialogue> <character>WILLIAM</character> <dialogue>I said do you need a bowman?</dialogue> <scene_description>Finn studies William with dead eyes. MOVED TO 80A OMITTED CONTINUED: 80a EXT. VILLAGE ROAD - DAY. 80a In the pouring rain, a group of fierce BOUNTY HUNTERS ride on horseback, when another rider appears, blocking their way. It's William. 80a CONTINUED: 80a</scene_description> <character>BROCH</character> <dialogue>Clear the road.</dialogue> <scene_description>But William doesn't budge. One of the other mercenaries grins, then rides towards William, drawing his sword. He raises it when William unslings his bow and loosens two arrows at close range, hitting him in each thigh and knocking him off his horse. Broch draws his enormous battle axe, about to charge, when Finn rides forward and stops him.</scene_description> <character>FINN</character> <dialogue>Wait!</dialogue> <scene_description>Finn sizes up William.</scene_description> <character>FINN</character> <dialogue>You're quick with a bow.</dialogue> <character>WILLIAM</character> <dialogue>I want to ride with you.</dialogue> <character>FINN</character> <dialogue>Why?</dialogue> <character>WILLIAM</character> <dialogue>You are paying well and I need the coin.</dialogue> <character>FINN</character> <dialogue>Have you traversed the Dark Forest?</dialogue> <character>WILLIAM</character> <dialogue>No.</dialogue> <character>FINN</character> <dialogue>Then what use are you?</dialogue> <character>WILLIAM</character> <dialogue>As you said, I'm quick with a bow.</dialogue> <scene_description>He nods to the guy on the ground, groaning with arrows in his thighs.</scene_description> <character>WILLIAM</character> <dialogue>And unlike him, I have two good legs.</dialogue> <scene_description>Finn considers for a moment, then smiles, nods to the guy on the ground.</scene_description> <character>FINN</character> <dialogue>Replace him.</dialogue> <scene_description>William looks at Finn gratefully. Finn studies him with a curious smile then rides on.</scene_description> </scene> <scene> <stage_direction>EXT. AERIAL VIEW/ DARK FOREST - DAY.</stage_direction> <scene_description>From high above, we see the dark forest stretching out. OMITTED OMITTED 83a EXT. DARK FOREST - DAY 83a Snow White approaches a stream, kneels, splashes her face and brings a handful of water to her lips.</scene_description> <character>ERIC</character> <dialogue>I wouldn't do that if I were you. Not unless you want your bowels to rip apart.</dialogue> <scene_description>She turns. Eric has been snoozing on a rock, with one eye open. She releases the water, stands and faces off with Eric, who offers his flask of mead. She reluctantly takes a sip, spits most of it out, hands it back. He smells something, walks a few steps, bends down and examines a long brown pellet shaped object on the ground.</scene_description> <character>SNOW WHITE</character> <dialogue>What is it?</dialogue> <character>ERIC</character> <dialogue>A fumee.</dialogue> <scene_description>83a CONTINUED: 83a</scene_description> <character>SNOW WHITE</character> <dialogue>A what?</dialogue> <character>ERIC</character> <dialogue>You want me to call it by another name?</dialogue> <scene_description>He doesn't need to. It's an animal dropping. Snow White winces as he kneads it between his fingers and takes a long sniff. 83a CONTINUED: (2) 83a She catches the look of fear in his eyes as he gazes around the woods.</scene_description> <character>ERIC</character> <dialogue>Stay here.</dialogue> <scene_description>He moves away, though the trees, tracking prey. He hears the wind call his name .••</scene_description> <character>SARA</character> <dialogue>Eric.</dialogue> <scene_description>He stops, looks to -- An outcropping of rocks, surrounded by dense forest. From out behind a tree steps an apparition of SARA. She's beautiful.</scene_description> <character>ERIC</character> <dialogue>Sara? ...</dialogue> <character>BACK TO SNOW WHITE</character> <dialogue>She hears him call out and follows his tracks. BACK TO HUNTSMAN Sara holds out her hand.</dialogue> <character>ERIC</character> <dialogue>Am I dreaming?</dialogue> <character>SARA</character> <dialogue>Touch me and see for yourself.</dialogue> <scene_description>Eric shakes his head, looks around, tries to fight it, but .•. Her face draws him back and he begins to walk toward the rocks.</scene_description> <character>SARA</character> <dialogue>You weren't there to save me, Eric. I called for you but you never came.</dialogue> <scene_description>Snow White appears behind and sees Eric is walking toward a dark area where several sets of lupine eyes await. But Eric only sees Sara and he continues to move toward her. She opens her arms to him and steps backwards, luring him.</scene_description> <character>SARA</character> <dialogue>Where were you, Eric? Come to me now. Protect me now.</dialogue> <scene_description>83a CONTINUED: (3) 83a</scene_description> <character>ERIC</character> <dialogue>Sara, I'm so sorry. Forgive me, please forgive me. Give me peace. Sara •••</dialogue> <scene_description>He takes another step toward her and -- Buckles - THWACK! Snow White hits him behind his knees with a piece of wood. He hits the ground and she drags him away. He fights back and she jumps on top of him, staring right into his face.</scene_description> <character>SNOW WHITE</character> <dialogue>She's not real! Not real! Do you hear me?!</dialogue> <scene_description>He does and calms. She gets off him and he sits up, fatigued by the experience. A low point for him. He reaches for his flask - pours the last single drop into his mouth. All gone. He tosses it aside. A lost soul. Snow White watches him with some compassion. He catches her look, gets up and walks away. 83b EXT. DARK FOREST OPEN AREA - DAY 83b Snow White catches up.</scene_description> <character>SNOW WHITE</character> <dialogue>Who is she? The one you bargained for. The one that spoke to you. Who is Sara?</dialogue> <character>ERIC</character> <dialogue>A name you'll not mention again.</dialogue> <scene_description>He tosses a knife to her. She's surprised but catches it.</scene_description> <character>SNOW WHITE</character> <dialogue>What?</dialogue> <character>ERIC</character> <dialogue>Feel its weight. One hand to the other.</dialogue> <scene_description>She shakes her head but does so.</scene_description> <character>ERIC</character> <dialogue>Now hold it - business end pointed at me.</dialogue> <character>SNOW WHITE</character> <dialogue>Why are you?--</dialogue> <scene_description>He lunges at her and she raises the blade.</scene_description> <character>ERIC</character> <dialogue>Which is your lead foot?</dialogue> <scene_description>83b CONTINUED: 83b</scene_description> <character>SNOW WHITE</character> <dialogue>What do you mean?</dialogue> <scene_description>83b CONTINUED: ( 2) 83b He jumps at her again and she puts her right foot forward, knife in right hand pointed. He starts to slowly move toward her. One step at a time.</scene_description> <character>ERIC</character> <dialogue>Now stay back. You're too small to attack. You have to parry; use your opponents strength against him. Raise your opposing forearm.</dialogue> <scene_description>She does. He comes closer.</scene_description> <character>ERIC</character> <dialogue>With it you block and deflect an opposing thrust. You'll lose meat but you won't die from it. Wait until I'm close.</dialogue> <scene_description>He steps forward.</scene_description> <character>ERIC</character> <dialogue>Not yet. Watch my hands, not my eyes.</dialogue> <scene_description>He moves even closer.</scene_description> <character>ERIC</character> <dialogue>Not yet. Not until you can feel my breath.</dialogue> <scene_description>He moves right up to her.</scene_description> <character>ERIC</character> <dialogue>Now.</dialogue> <scene_description>Their faces are inches apart.</scene_description> <character>ERIC</character> <dialogue>This close. Drive it through me. To the hilt. Now look in my eyes.</dialogue> <parenthetical>(she does)</parenthetical> <dialogue>Don't pull it out 'til you see my soul.</dialogue> <scene_description>Their eyes are still locked.</scene_description> <character>SNOW WHITE</character> <dialogue>Why do I need to learn how to kill?</dialogue> <scene_description>He looks at her.</scene_description> <character>ERIC</character> <dialogue>There's a lot you need to learn lass.</dialogue> <scene_description>Eric backs away.</scene_description> <character>ERIC</character> <dialogue>Keep that.</dialogue> <scene_description>She nods, now focused on him in a way other than as an instructor. He turns and walks away. 83b CONTINUED: ( 3) 83b</scene_description> <character>SNOW WHITE</character> <dialogue>Where are you going?</dialogue> <character>ERIC</character> <dialogue>Fumee.</dialogue> </scene> <scene> <stage_direction>84C EXT. CLOISTER GARDENS/ CASTLE - DAY. 84C</stage_direction> <scene_description>A single blossom flowers on the dying apple tree. Ravenna, looking weaker than before, stares at it quietly, as if she were gazing at Snow White. She reaches out and crushes the blossom in her hand, turning it into ash. Her look is one of conviction.</scene_description> <character>RAVENNA</character> <dialogue>Find her.</dialogue> <scene_description>MOVED TO l0A MOVED TO 13A</scene_description> </scene> <scene> <stage_direction>EXT. DARK FOREST - DAY.</stage_direction> <scene_description>Finn reacts as if he heard Ravenna's words. He did. They have that kind of connection. Spooked, he continues on. The other trackers follow, William looking tense. At the back of the group, one of the mercenaries slows down, sensing something in the forest. William is still watching Finn when they hear a bloodcurdling CRY behind them. The mercenary's horse gallops out of the trees without its rider, a gaping wound in its side. William and the others look shaken but Finn doesn't even turn around, riding on. 87a EXT. DARK FOREST - DAY. 87a Eric pulls Snow White along. Beyond a bridge we see open fens -- the bridge LEADS OUT OF THE DARK FOREST -- and birds circling on the distant horizon. Snow White looks relieved as she follows him down a slope. They hurry through a sea of mist when suddenly Eric stops.</scene_description> <character>SNOW WHITE</character> <dialogue>What is it?</dialogue> <character>ERIC</character> <dialogue>It can't be this easy.</dialogue> <scene_description>He quietly unsh·eathes a hatchet.</scene_description> <character>SNOW WHITE</character> <dialogue>Is this the end of the Dark Forest?</dialogue> <character>ERIC</character> <parenthetical>(not paying attention)</parenthetical> <dialogue>Uh-huh.</dialogue> <scene_description>87a CONTINUED: 87a</scene_description> <character>SNOW WHITE</character> <dialogue>How far to the Duke's castle?</dialogue> <scene_description>He ignores, follows tracks, then stops as he sees the STONE BRIDGE below -- LEADING OUT OF THE DARK FOREST. Snow White stares at it too, relieved. Beyond the bridge there are open fens. They hurry down together and start to cross the bridge. They're half way across WHEN SUDDENLY WE SEE THE STONES START TO MOVE BEHIND THEM --</scene_description> <character>A PAIR OF EYES OPENS IN THE STONE, AND SLOWLY THE BRIDGE</character> <dialogue>STARTS TO RISE</dialogue> <dialogue>Snow White turns to see -- A HUGE CREATURE REARING UP TWENTY FEET TALL. IT'S NOT A BRIDGE AT ALL BUT A --</dialogue> <character>ERIC</character> <dialogue>Troll!</dialogue> <scene_description>Eric and Snow White are SLAMMED off the bridge and land in the shallow creek below -- among the CARCASSES OF SLAIN ANIMALS. The troll roars and comes after them, swinging its giant stone fists. Eric grabs Snow White and runs -- As the troll catches up with them, Eric shoves her out of the way and draws his hatchets.</scene_description> <character>ERIC</character> <dialogue>Run!</dialogue> <scene_description>Snow White turns and flees. Eric runs at the Troll. He ducks as a mighty arm sweeps over him, darts between the troll's legs, and hacks at its leg with his hatchets. The Troll falters a bit then -- A swinging stone fist catches him and hurls him across the creek. Snow White looks back to see Eric lying stunned on the ground, his wound bleeding again, at the troll's mercy. She hesitates, still terrified, then runs back. The Troll towers over the huntsman. It raises its stone hands to crush him when -- Snow White arrives -- SCRE.l:\MING LIKE A BANSHEE! The Troll looks around in surprise. So does Eric. A beat, then the monster turns away from Eric, striding towards Snow White -- She stands her ground, fighting her terror, PULLS HER KNIFE. The TROLL looms over her, but she doesn't retreat. She raises an arm, just as Eric instructed. 87a CONTINUED: (2) 87a Eric stares in surprise, watching the twenty foot monster towering over the tiny girl. 87 a CONTINUED: ( 3) 87a Snow White stares into the troll's eyes, seeing something almost gentle in its monstrous gaze, slowly losing her fear. The troll stares at her too, confused, then slowly pacified, until it finally turns and strides away. Eric stares in disbelief. Snow White is rooted to the spot, also confused but strangely moved by what's happened. Eric rises to his feet painfully and heads over, taking her by the arm.</scene_description> <character>ERIC</character> <dialogue>I told you to run.</dialogue> <character>SNOW WHITE</character> <dialogue>If I had you'd be dead. A "thank you" would suffice.</dialogue> <scene_description>It's clear he sees her in a different light. She stares back at him. Eric holds her gaze, struggling a bit, then •••</scene_description> <character>ERIC</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. MARSHES - DAY.</stage_direction> <scene_description>The sun glints through the thinning trees. Eric wades through the deep sludge, Snow White following in his steps. Eric looks at her a moment, then suddenly turns away as he sees her expression change -- GHOSTLY BACKLIT FIGURES EMERGE on the banks of the marsh now, holding bows and arrows. Eric looks around for an escape route, but everywhere he turns MORE FIGURES APPEAR. He draws his axe when A FIGURE IN A HOODED CLOAK (ANNA) appears, clutching her bow like a goddess.</scene_description> <character>ANNA</character> <dialogue>They say only demons or spirits can survive the dark forest. Which are you?</dialogue> <scene_description>Eric, unsure, pulls his hatchet and steps in front of Snow White protecting her.</scene_description> <character>ERIC</character> <dialogue>Which are you?</dialogue> <character>ANNA</character> <dialogue>Neither. Perhaps you are the Queen's spies?</dialogue> <character>ERIC</character> <dialogue>We're fugitives from the Queen.</dialogue> <scene_description>Snow White steps forward into the light. CONTINUED:</scene_description> <character>SNOW WHITE</character> <dialogue>We mean you no harm.</dialogue> <scene_description>CONTINUED: ( 2) Anna sees Snow White clearly now, raises her hood. Snow White sees a deep scar running down her otherwise beautiful face. And then a smile.</scene_description> </scene> <scene> <stage_direction>EXT. FENLAND VILLAGE - DAY</stage_direction> <scene_description>The fenland village is made up of mud huts, elevated on stilts to protect them from flooding.</scene_description> <character>ERIC</character> <dialogue>Where are the men?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ANNA</character> <dialogue>Gone.</dialogue> <scene_description>Anna paddles a boat as they approach the village. Eric and Snow White speak quietly.</scene_description> <character>ON THE BANK</character> <dialogue>The boat stops and they get out. The women of the village move from their hut to greet them as they walk into the village.</dialogue> <dialogue>More women emerge from their huts to view the newcomers, no men in sight. They all have scarred faces.</dialogue> <dialogue>All the women have assembled alongside the group, watching with awe as they pass. They stare at Snow White and murmur. They can't take their eyes off her. Some even reach out to touch her sleeve or dress.</dialogue> <character>SNOW WHITE</character> <parenthetical>(sotto; to Eric)</parenthetical> <dialogue>Why are they looking at me like that?</dialogue> <character>ERIC</character> <dialogue>I don't know, but keep smiling.</dialogue> <scene_description>A beautiful LITTLE GIRL, LILY, moves away from her friends and offers her hand. Snow White stops, looks down at the girl, trying not to stare at her scar. 90-93a OMITTED 90-93a 93b EXT. BANKS OF THE LAKE/ FENLAND VILLAGE - DAY. 93b Eric sits by the lake, ANNA bandaging his wounds.</scene_description> <character>ANNA</character> <dialogue>You have travelled far Huntsman. With a heavy burden.</dialogue> <scene_description>Snow White is playing with Lily. They are making little dolls from straw.</scene_description> <character>ERIC</character> <dialogue>I've had worse jobs. And anyway, she's not that heavy.</dialogue> <character>ANNA</character> <dialogue>You mean •.. you do not know who she is?</dialogue> <scene_description>His eyes narrow.</scene_description> <character>ERIC</character> <dialogue>What do you mean?</dialogue> <scene_description>He looks over. 93b CONTINUED: 93b</scene_description> <character>ERIC</character> <dialogue>Who is she?</dialogue> <character>ACROSS THE WAY</character> <dialogue>Snow White draws eyes upon the doll.</dialogue> <dialogue>Snow White's eyes fill with tears.</dialogue> <character>LILY</character> <dialogue>My father showed me how to make them. But he's gone away.</dialogue> <scene_description>Lily takes a stick and marks the dolls face with a scar •.</scene_description> <character>LILY</character> <dialogue>Here. She's finished.</dialogue> <scene_description>She hands it to her. 93b CONTINUED: ( 2) 93b</scene_description> <character>SNOW WHITE</character> <dialogue>She's beautiful.</dialogue> <scene_description>Lily smiles and runs off to play. Behind her Eric appears.</scene_description> <character>SNOW WHITE</character> <dialogue>These women ••• This place •• It's very peaceful. But it makes me very sad.</dialogue> <character>ERIC</character> <dialogue>Why didn't you tell me?</dialogue> <scene_description>She stops. She knows.</scene_description> <character>ERIC</character> <dialogue>Because I'd think it too fell a task? You'd be right.</dialogue> <scene_description>She looks at him. Shakes her head.</scene_description> <character>SNOW WHITE</character> <dialogue>That's not why. It's because I've never said the words.</dialogue> <scene_description>She looks at Lily playing.</scene_description> <character>SNOW WHITE</character> <dialogue>I'm not sure I believe it myself. I never felt like a •.</dialogue> <parenthetical>( She stops. )</parenthetical> <dialogue>Alone in a dark cell. For years. Fighting to cling to memories. What he looked like. Smelled like. The kind man with the big arms and the wonderful smiles •• To me .. he wasn't The King. He was my father.</dialogue> <scene_description>Eric doesn't know what to say. In time, he reaches in his pocket.</scene_description> <character>ERIC</character> <dialogue>Here.</dialogue> <character>SNOW WHITE</character> <dialogue>What is it?</dialogue> <character>ERIC</character> <dialogue>I've carried it a long time.</dialogue> <character>SNOW WHITE</character> <dialogue>What is it made of?</dialogue> <character>ERIC</character> <dialogue>Gristle from a stag's heart.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>93b CONTINUED: (3) 93b</dialogue> <character>ERIC</character> <dialogue>The stag's the most timid animal in the forest but there's a bone in it's heart that gives it courage in it's hour of need and makes it the bravest in of all God's creatures. It's a protection charm.</dialogue> <parenthetical>(He shrugs)</parenthetical> <dialogue>Or so they say.</dialogue> <scene_description>They share a look.</scene_description> <character>SNOW WHITE</character> <dialogue>Was it hers?</dialogue> <scene_description>It's the most honest and emotional he's been with her.</scene_description> <character>ERIC</character> <dialogue>Take it.</dialogue> <scene_description>She does.</scene_description> <character>SNOW WHITE</character> <dialogue>Thank you, huntsman.</dialogue> <scene_description>He looks at the sky.</scene_description> <character>ERIC</character> <dialogue>It's getting dark.</dialogue> <scene_description>He walks away. 93b CONTINUED: ( 4) 93b OMITTED</scene_description> </scene> <scene> <stage_direction>INT. HUT - FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Snow White lies in her bed. Nearby sleep Anna and Lily.</scene_description> <character>SNOW WHITE</character> <dialogue>She's so beautiful.</dialogue> <character>ANNA</character> <dialogue>That is not a kind thing to say in these times. Youth one cannot alter ••• beauty, however. We have sacrificed beauty to raise our children in peace. And you, your sacrifice will come, princess.</dialogue> <scene_description>CONTINUED: Snow White looks to Anna, surprised. a95 EXT. OUTSIDE THE HUT - SAME a95 Eric exits and pauses, looks back - through the flap can see Snow White. He walks away. 95a OMITTED 95a OMITTED 96a OMITTED 96a 96b INT. INSIDE THE HUT - SAME. 96b</scene_description> <character>ANNA</character> <dialogue>You must prepare yourself, my dear. For a time soon comes when you must deliver that sacrifice. Will you be ready?</dialogue> <scene_description>Anna suddenly stops. As if something has disturbed her. She gets up and leaves.</scene_description> <character>SNOW WHITE</character> <dialogue>What is it?</dialogue> <character>ANNA</character> <dialogue>Sleep my dear. You must rest.</dialogue> <scene_description>She leaves. 96c EXT. FENLAND VILLAGE. NIGHT. 96c Eric makes his way along the perimeter, finding a path through the trees. Suddenly he stops. Turns. Twenty feet away. It's Anna.</scene_description> <character>ANNA</character> <dialogue>How can you desert her now you know the truth?</dialogue> <character>ERIC</character> <dialogue>Aye I know the truth. And that's exactly why she should be as far from me as possible.</dialogue> <character>ANNA</character> <dialogue>She's the only one that can save us. She needs you.</dialogue> <character>ERIC</character> <dialogue>Trust me. I'm the last thing she needs. I'm bad luck. Everything I've ever cared about was destroyed.</dialogue> <character>ANNA</character> <dialogue>There's good in you Huntsman. I can see it.</dialogue> <character>ERIC</character> <dialogue>People have made that mistake before.</dialogue> <scene_description>He heads off into the night. OMITTED 97a OMITTED 97a 98-103 OMITTED 98-103</scene_description> </scene> <scene> <stage_direction>INT. ANNA'S HUT - FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Snow White awakens. Looks around, no Eric, puts it in her pocket. Then smells smoke, walks outside and looks up to see The sky BLAZES WITH BURNING ARROWS all raining down on the village. 104a EXT. WOODS - SAME - NIGHT. 104a Eric, moving away from the village, spins to see the ARROWS LIGHTING UP THE SKY BEHIND HIM. He races toward the village. 104b-107 OMITTED 104b-107</scene_description> </scene> <scene> <stage_direction>INT. HUT/ FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Snow White re-enters the hut just as A FLAMING ARROW pierces through the thatch and sticks next to Lily's sleeping head. Snow White pushes Lily away from the fire and grabs the arrow. Anna SCREAMS because - A MERCENARY races into the hut. On impulse Snow White backhand STABS HIM in the leg WITH THE FLAMING ARROW and he tumbles, flames burning his clothes. Snow White stares at him for a moment, his face, his pain. Anna shakes her out of the moment and they all race out. OMITTED 109A OMITTED 109A</scene_description> </scene> <scene> <stage_direction>EXT. FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Finn and his hunters scour the inferno on their horses.</scene_description> <character>FINN</character> <dialogue>Run, rats, run. Find her!</dialogue> <scene_description>William looks around the burning village in panic. OMITTED llla OMITTED llla</scene_description> </scene> <scene> <stage_direction>EXT. ANNA'S HUT - FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Snow White runs with Lily and Anna when she sees a FEARSOME MERCENARY leap off his horse and stride towards them.</scene_description> <character>SNOW WHITE</character> <parenthetical>(To Anna)</parenthetical> <dialogue>Run!</dialogue> <scene_description>Snow White faces off with the Mercenary. She does as she's been taught - waits for him to approach. When he's close enough to grab her slashes at him with the knife. The huge mercenary knocks her to the ground and advances on her. -- when an arrow strikes him in the shoulder. He falls, revealing a young warrior holding a bow. It's WILLIAM. Snow White stares at him through the flames, with a mixture of recognition and uncertainty. It's as if for a moment everything stops as she comes FACE TO FACE With something from the past. Almost like a ghost. Or a vision •• He nods to her in recognition. She stands perfectly still. SUDDENLY Anna pulls Snow White away, as they move through the smoke and the fire. William starts to follow, a curtain of smoke swirling around him.</scene_description> </scene> <scene> <stage_direction>EXT. FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Eric arrives to see the village in flames. He rushes to the centre of the village, pulling a mercenary off his horse and running him through with his own sword, then fighting and killing TWO MORE MERCS as he makes his way forward.</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Finn sits astride his horse like a demon king in the firelight. He spots William in the distance, searching for Snow White and rides toward him.</scene_description> </scene> <scene> <stage_direction>EXT. FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>Snow White looks back through the distant flames as she runs, when suddenly powerful arms grab her. She flails with the knife but it's only Eric -- CONTINUED:</scene_description> <character>ERIC</character> <dialogue>Come on!</dialogue> <character>SNOW WHITE</character> <dialogue>We must help them!</dialogue> <scene_description>Anna sees Snow White fighting off Eric and shouts --</scene_description> <character>ANNA</character> <dialogue>You will! Go!</dialogue> <scene_description>Eric holds her firmly, pulling her away against her will. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF FENLAND VILLAGE - NIGHT.</stage_direction> <scene_description>William jumps on his horse again, looking for Snow White through the clouds of billowing smoke. Finn and Aldan ride up.</scene_description> <character>FINN</character> <dialogue>Have you seen her?</dialogue> <character>WILLIAM</character> <dialogue>No, my lord.</dialogue> <scene_description>Finn spits fury and continues to race around, frantic.</scene_description> </scene> <scene> <stage_direction>EXT. MARSHES OUTSIDE FENLAND VILLAGE/ LAKE - NIGHT.</stage_direction> <scene_description>Eric pulls Snow White onwards, the blazing fires from the village lighting up the marsh. He sees a lake up ahead when a figure appears, blocking their way. It's the giant BROCH. Grinning, he unstraps his huge axe, ready to face Eric one more time. Eric doesn't even slow down, letting go of Snow White and unstrapping his own hatchets. It looks as if it's going to be an epic fight, but as Broch swings, Eric ducks and drives both hatchets into the giant's ribs, killing him instantly. They escape into the darkness. 118A OMITTED 118A 118B INT. STAIRWAY - NIGHT. (MOVED FROM 84Al 118B \* Ravenna walks up the spiral staircase. She passes an old \* woman who glances at her. She walks past a few steps, thinks \* she hears a whisper, then turns on a heel. \*</scene_description> <character>RAVENNA</character> <dialogue>What did you say?</dialogue> <scene_description>Then she's right in her face</scene_description> <character>RAVENNA</character> <dialogue>WHAT DID YOU SAY!</dialogue> <scene_description>The "old woman" just stares at her, shakes her head. There's something in the woman's eyes that terrifies Ravenna. She backs up, retreating, then scurries away.</scene_description> </scene> <scene> <stage_direction>118C INT. ANTE ROOM - ROYAL PALACE - NIGHT (MOVED FROM 84B). 118C \*</stage_direction> <scene_description>Ravenna sits alone, naked. Her spine stretches through her taut skin. \*</scene_description> <character>\*</character> <dialogue>In front of her sits the CROWN on a dark cushion, a matted \* tuft of HAIR caught on the gilded edge. She stares at it, \* then slowly raises her hand to a bald patch at the side of \* her hair. \*</dialogue> <character>\*</character> <dialogue>RAVENNA</dialogue> <character>FINN! ! ! ! ! ! ! ! !</character> <dialogue>The word echoes in the palace</dialogue> </scene> <scene> <stage_direction>EXT. FENLAND VILLAGE - NIGHT</stage_direction> <scene_description>Finn, surrounded by smoke and fire, is beyond frustration. He screams to the heavens in despair. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIVER BANK - DAY.</stage_direction> <scene_description>Eric and Snow White are far down river. They make their way to the bank, drenched and exhausted. Snow White's hands shake - distraught over the violence at the village. Eric looks at her guiltily. CONTINUED:</scene_description> <character>SNOW WHITE</character> <dialogue>Why did you come back?</dialogue> <character>ERIC</character> <dialogue>I led them there. I am to blame.</dialogue> <scene_description>Snow White looks at him with empathy. He's in pain, too. CONTINUED: (2)</scene_description> <character>ERIC</character> <dialogue>I will take you to Duke Hammond's.</dialogue> <scene_description>Snow White slowly nods. Eric lies back and looks up at the sun flickering through the trees. It dances on his face and then A HUGE SHADOW blots out the light. Before he can react, fists and boots lay into him. As he protects his face, we catch glimpses of brutal figures in battle masks. Eric kicks a couple of them away, but more of them swarm over him, pinning him down in leg locks and choke holds. Snow White is treated just as roughly, powerful arms and legs pinning her down. She bites one of her captors and he twists her arms behind her back. A noose is slung around Eric's ankles and he's hauled up - hanging upside down. Snow White, also tied up, sits on the ground beside him. A line of DWARVES stand before them and pull up their grotesque BATTLE MASKS. The dwarf leader, Beith glowers.</scene_description> <character>BEITH</character> <dialogue>Well, well, well ..• the miscreant huntsman.</dialogue> <character>ERIC</character> <dialogue>Come on, Beith! Is this how you treat a friend?</dialogue> <scene_description>The dwarf leader, BEITH, glowers.</scene_description> <character>BEITH</character> <dialogue>No, you horn beast, this is how I treat a friend!</dialogue> <scene_description>He smacks Eric with a gnarled stick. MOVED TO 84C OMITTED OMITTED 124a EXT. WOODS - LATER - DAY. 124a Snow White and the huntsman are still trussed up like chickens now. The dwarves are grouped together, arguing and occasionally throwing angry glances toward Eric. As they bicker the dwarves slap and bite at each other - like animals. 124a CONTINUED: 124a</scene_description> <character>SNOW WHITE</character> <parenthetical>(whispers)</parenthetical> <dialogue>What did you do to them?</dialogue> <character>ERIC</character> <dialogue>I tried to collect the bounty on their heads. A few times.</dialogue> <character>SNOW WHITE</character> <dialogue>Is there no one you haven't wronged?</dialogue> <scene_description>Eric nods at her. "You."</scene_description> <character>ERIC</character> <dialogue>But there's always tomorrow.</dialogue> <character>GORT</character> <dialogue>Shut it, you hedge pig.</dialogue> <scene_description>The Dwarf confab breaks up and they approach.</scene_description> <character>BEITH</character> <dialogue>This is my lucky day, the puttock I loathe most in the world lands in my lap.</dialogue> <character>ERIC</character> <dialogue>It is your lucky day, Beith. I've got enough gold to keep you in ale for a year. Cut me down and I'll --</dialogue> <scene_description>NION, Beith's right hand man and a fervent dwarf supremacist, clips Eric around the ear.</scene_description> <character>NION</character> <dialogue>Shut your ugly mug, huntsman. You had any pennies they would have fallen out your pockets by now.</dialogue> <character>ERIC</character> <dialogue>It's hidden. Back there, in the woods. A short distance.</dialogue> <scene_description>They get the reference, don't like it. Nion slaps Eric again.</scene_description> <character>NION</character> <dialogue>Pull the other one, you lying dangler.</dialogue> <character>SNOW WHITE</character> <dialogue>Tell them the truth, huntsman.</dialogue> <scene_description>The youngest of the dwarves, GUS, is beaming at Snow White with his dirty teeth.</scene_description> <character>SNOW WHITE</character> <parenthetical>(Fiercely)</parenthetical> <dialogue>What are you looking at?</dialogue> <scene_description>124a CONTINUED: (2) 124a</scene_description> <character>GUS</character> <dialogue>Nothing, Miss. It's just ••• you been the prettiest thing I ever did seen.</dialogue> <scene_description>He smiles, almost sweetly, disarming her. Snow White looks at her other captors now, noticing a blind dwarf, (MUIR), who sits with his son (QUERT), also gazing at her. 124 a CONTINUED: ( 3) 124a</scene_description> <character>ERIC</character> <dialogue>Just tell me what I've done wrong?</dialogue> <character>BEITH</character> <dialogue>Tell me what you've done right first?</dialogue> <character>ERIC</character> <dialogue>I saved this girl from the Queen. Out of the goodness of my heart.</dialogue> <scene_description>Snow White gives him a look. He calms her with a look of his own.</scene_description> <character>BEITH</character> <dialogue>Doesn't sound like you, huntsman.</dialogue> <character>ERIC</character> <dialogue>People change.</dialogue> <character>NION</character> <dialogue>People, not ruttish swine.</dialogue> <scene_description>Nion gives Eric another smack around the head.</scene_description> <character>MUIR</character> <dialogue>Quert?</dialogue> <scene_description>Quert jumps to and helps his father as he makes his way to Snow White. He touches her face and something happens in him. His demeanor softens and the hint of a smile lands on his lips. Meanwhile ...</scene_description> <character>GORT</character> <dialogue>So what's the verdict?</dialogue> <character>COLL</character> <dialogue>Leave 'em to rot.</dialogue> <character>DUIR</character> <dialogue>Yeah. Or skewer him and leave her to rot!</dialogue> <character>COLL</character> <dialogue>That would work, too, but my way's cleaner.</dialogue> <scene_description>Note: Coll and Duir have this "at each other but we're comrades" relationship. Coll also has an incessant cough.</scene_description> <character>MUIR -</character> <parenthetical>(a beat for emphasis)</parenthetical> <dialogue>She is destined.</dialogue> <scene_description>They all trade looks. Muir is the spiritual leader of the group and they dare not speak against him, even Beith.</scene_description> <character>GORT</character> <dialogue>Destined? •••</dialogue> <scene_description>124a CONTINUED: (4) 124a</scene_description> <character>GUS</character> <parenthetical>(smitten)</parenthetical> <dialogue>She is.</dialogue> <character>BEITH</character> <dialogue>Are you?</dialogue> <character>SNOW WHITE</character> <dialogue>Do you hate the Queen?</dialogue> <character>BEITH</character> <dialogue>Hate's a strong word.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But not strong enough in this case.</dialogue> <character>SNOW WHITE</character> <dialogue>My father was King Magnus.</dialogue> <scene_description>This carries weight with the group. Impressed.</scene_description> <character>MUIR</character> <dialogue>No one listens to me.</dialogue> <character>SNOW WHITE</character> <dialogue>If you accompany us to the Duke's castle you will be paid handsomely.</dialogue> <character>ERIC</character> <dialogue>We don't need their help.</dialogue> <character>BEITH</character> <dialogue>You were already lost seeing that you found us.</dialogue> <character>GORT</character> <dialogue>How handsomely?</dialogue> <character>SNOW WHITE</character> <dialogue>Your weight in gold. Each of you.</dialogue> <scene_description>The dwarves trade glances, literally sizing each other up.</scene_description> <character>ERIC</character> <dialogue>That's more than you offered me?!</dialogue> <character>BEITH</character> <dialogue>Goodness of your heart, eh, Huntsman?</dialogue> <character>DUIR</character> <parenthetical>(whispers to Coll)</parenthetical> <dialogue>I get more than you.</dialogue> <character>COLL</character> <dialogue>True, but because of your size you eat and drink more, which costs more, so ....</dialogue> <scene_description>124a CONTINUED: (5) 124a</scene_description> <character>BEITH</character> <dialogue>Alright, we'll take you, but the huntsman can hang -</dialogue> <character>SNOW WHITE</character> <dialogue>Both of us.</dialogue> <scene_description>Eric looks surprised by her loyalty. So do the dwarves. Suddenly Duir calls out:</scene_description> <character>DUIR</character> <dialogue>Riders!</dialogue> <scene_description>The dwarves look round to see a DOZEN SILHOUETTED HORSEMEN appear on the crest of a DISTANT HILL.</scene_description> <character>ERIC</character> <dialogue>Those are the Queen's men, Beith, better decide quickly.</dialogue> <character>BEITH</character> <dialogue>One dwarf's worth a dozen tallsters, I'll take my time thank you --</dialogue> <scene_description>He suddenly stops as dozens more RIDERS appear on the hill.</scene_description> <character>ERIC</character> <dialogue>You were saying?</dialogue> <character>BEITH</character> <dialogue>Cut him down! MOVE OUT!</dialogue> <scene_description>Nion roughly cuts the line and the Huntsman drops to the ground as Gus gently lifts Snow White. They all hurry down the hill. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ROCKY HILL/ CAVE - DAY.</stage_direction> <scene_description>The dwarves and their captives arrive at a rocky outcrop. Duir and Coll pull back a large root exposing a cave entrance.</scene_description> <character>ERIC</character> <dialogue>Ah, a short cut.</dialogue> <scene_description>All 8 dwarf heads spin at him - pissed off. Enough with the short jokes. Nion raps Eric's knee with the flat of his dagger.</scene_description> <character>ERIC</character> <dialogue>Owww! ! !</dialogue> <scene_description>Gus cuts Snow White loose. CONTINUED: Nian hesitates, then reluctantly frees the huntsman. DUIR and COLL lead the way into a cave. Gus pulls Snow White to safety just as the enemy riders appear.</scene_description> </scene> <scene> <stage_direction>INT. CAVE COMPLEX - DAY.</stage_direction> <scene_description>From their hidden vantage point, Eric, Snow White, and the dwarves watch the riders searching for them. Some gallop on, but a small troop remain behind. Realizing they have no choice but to retreat further, Duir and Coll signal and the dwarves follow them deeper into the cave system.</scene_description> </scene> <scene> <stage_direction>INT. CAVE - DAY.</stage_direction> <scene_description>A shaft of light pours through the cave roof high above, BATS circling. The dwarves move effortlessly down the labyrinth but Snow White and the huntsman have to squeeze through the cracks.</scene_description> </scene> <scene> <stage_direction>EXT. SANCTUARY - DAY.</stage_direction> <scene_description>Snow White and the huntsman emerge from the cave to see a shimmering landscape of glistening moss and sunlight. It's like a mirage. The air is filled with specks of pollen and a strange HUMMING NOISE echoes like music. For Snow White, it's the most beautiful sound she's ever heard. Next to her, Nion, snorts:</scene_description> <character>NION</character> <dialogue>Blasted fairy music. Wish I had some wax to stuff my ears.</dialogue> <character>GORT</character> <dialogue>There's plenty of moss.</dialogue> <scene_description>GORT scoops up a handful of moss and moulds himself some ear plugs, sticking them in his ears. Snow White is still mesmerized by the fairy music and the shimmering haze.</scene_description> <character>SNOW WHITE</character> <dialogue>What is this place?</dialogue> <scene_description>The huntsman looks just as dazzled.</scene_description> <character>GUS</character> <dialogue>They call it Sanctuary, my lady. The Enchanted Forest. It's the home of the fairies.</dialogue> <scene_description>And slowly the hazy curtain gives way to an enchanted forest as different to the dark forest as one could imagine -- Life grows everywhere LUSH GRASS, PROUD TREES COVERED IN BUTTERFLIES, BUBBLING STREAMS, MOSS COVERED TORTOISES, FOXES AND RABBITS SIDE BY SIDE, EXOTIC FLOWERS AND EVERYWHERE THE LIFE- GIVING POLLEN-- Snow White sees tiny figures flying behind the trees -- almost too fast to spot the pollen following them in long trails --</scene_description> <character>GUS</character> <dialogue>Fairies.</dialogue> <character>GORT</character> <dialogue>Pests.</dialogue> <scene_description>Of the other dwarves, only the blind MUIR seems to appreciate the beauty around him, enjoying the vibrations on his face.</scene_description> <character>BEITH</character> <dialogue>Set up camp.</dialogue> </scene> <scene> <stage_direction>EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - SUNSET.</stage_direction> <scene_description>HEARTY, SOULFUL SINGING. Seated among the ruins, the dwarves sing a Celtic ballad as old as time, GUS playing the fiddle. Coll and Duir sit away from the others, gazing out with the thousand yard stare of hardened war veterans.</scene_description> <character>COLL</character> <dialogue>That song takes me back to the battle of Tylweth Gate. A small horde versus an army. Pickaxes against swords and spears.</dialogue> <character>DUIR</character> <dialogue>Them were the days.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What happened to your quailing cough?</dialogue> <scene_description>Coll shakes his head, "dunno". The two of them smile then join in the singing. A drunken GORT takes a swig of ale and staggers over to GUS.</scene_description> <character>GORT</character> <dialogue>Play louder, you whey-face, I can still hear those harpy fairies.</dialogue> <scene_description>He takes another swig and sings at the top of his voice, out of tune, trying to drown out the humming of the unseen fairies. Snow White and the huntsman look on, smiling.</scene_description> <character>ERIC</character> <dialogue>Legend has it dwarves were created to uncover all the riches hidden on earth. Not just gold and precious stones, but the beauty in people's hearts.</dialogue> <character>SNOW WHITE</character> <dialogue>Really?</dialogue> <character>ERIC</character> <dialogue>Ask me, they've lost the art if they ever had it. When the Queen seized their mines she stole their treasure but more than that she stole their pride.</dialogue> <scene_description>And as if to prove it, GORT and NION sing and share from a flask of rum before they tumble to the ground-near Muir as the song ends. Eric notices the tumble and chuckles:·</scene_description> <character>GORT</character> <dialogue>What are you pribbling at, longshanks?!</dialogue> <character>ERIC</character> <dialogue>Nothing half-wit.</dialogue> <character>GORT</character> <dialogue>I'm half of nothing .you canker blossom.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MUIR</character> <dialogue>Son? ••• Sing the one.</dialogue> <scene_description>Perched on his stone, QUERT nods; sings a more CHEERFUL SONG. Eric watches as snow White walks over to Muir. Before she can say anything ••• CONTINUED: ( 2)</scene_description> <character>MUIR</character> <dialogue>That seat's not taken, if that's what you were about to ask.</dialogue> <scene_description>She sits on the log beside him. Gort and Nion eye her.</scene_description> <character>SNOW WHITE</character> <dialogue>Thank you so much, sir.</dialogue> <character>MUIR</character> <dialogue>It's only a log, no need to praise me.</dialogue> <character>SNOW WHITE</character> <dialogue>No. For before. For defending me.</dialogue> <character>MUIR</character> <dialogue>Your father was a good man. The kingdom prospered. Our people prospered.</dialogue> <character>SNOW WHITE</character> <dialogue>There were more of you?</dialogue> <character>MUIR</character> <dialogue>Aye.</dialogue> <scene_description>And that is all Muir will say on the subject. Gort fills in.</scene_description> <character>GORT</character> <dialogue>One day the group you see before you went down into the mine for a month long shift. Gus was only a boy. When we came back to the surface ••. nothing. The land was black, everything, everyone ••• dead, gone. We searched but •••</dialogue> <scene_description>Gort surprises himself by choking up a bit. Muir helps out.</scene_description> <character>MUIR</character> <dialogue>That was the month your father died.</dialogue> <character>SNOW WHITE</character> <dialogue>I'm so sorry.</dialogue> <character>MUIR</character> <dialogue>As am I, princess. As am I.</dialogue> <scene_description>GUS walks over to Snow White.</scene_description> <character>GUS</character> <dialogue>I know I'm a bit spongy to look at, Miss, but would you care to dance. with a little 'un?</dialogue> <character>SNOW WHITE</character> <dialogue>I'd be honored.</dialogue> <scene_description>Snow White gets up and dances with Gus as the song picks up. CONTINUED: (3) Nion and Gort watch her dance with Gus. Nion's not impressed, leans in to Gort •••</scene_description> <character>NION</character> <dialogue>I don't trust her. And I don't believe in her, no matter what Muir says.</dialogue> <scene_description>Gort is still melancholy ••.</scene_description> <character>GORT</character> <dialogue>Just you and me, ..• do you think there are any of us left? Do you think perhaps they were merely banished?</dialogue> <character>NION</character> <dialogue>As long as the Queen's in charge we'll never know.</dialogue> <character>GORT</character> <dialogue>Well, maybe that's the point, isn't it?</dialogue> <parenthetical>(beat; out of the blue)</parenthetical> <dialogue>I feel funny. Queer almost.</dialogue> <character>NION</character> <dialogue>Queer. Since when?</dialogue> <character>GORT</character> <dialogue>How's your gout?</dialogue> <scene_description>Nion rubs his leg.</scene_description> <character>NION</character> <dialogue>Better.</dialogue> <scene_description>Gort's look goes from Nion to Snow White.</scene_description> <character>GORT</character> <dialogue>You don't think it has anything to do with ..•</dialogue> <character>NION</character> <dialogue>How much have you had to drink?!</dialogue> <scene_description>The huntsman drains the last few drops of his rum when BEITH approaches, sitting beside him gruffly.</scene_description> <character>BEITH</character> <dialogue>Fleecing us of all our rum, eh huntsman?</dialogue> <character>ERIC</character> <dialogue>What do you say, we let bygones be bygones?</dialogue> <character>BEITH</character> <dialogue>Not yet, nut-hook. What's in it for you?</dialogue> <parenthetical>(Off Eric's innocent expression)</parenthetical> <dialogue>I'm talking about the girl? Is it really just the gold?</dialogue> <scene_description>CONTINUED: (4) Eric watches Snow White dancing with Gus, then shrugs.</scene_description> <character>ERIC</character> <dialogue>I'm not sure, Beith. If I had any sense I'd have abandoned her long ago.</dialogue> <scene_description>Beith eyes Eric as he watches Snow White dance.</scene_description> <character>BEITH</character> <dialogue>Muir says she's destined. Question is, huntsman, for whom?</dialogue> <scene_description>Gus and Snow White are still dancing.</scene_description> <character>GUS</character> <parenthetical>(As Snow White treads on his toes)</parenthetical> <dialogue>You don't mind me saying, you got two left feet for a princess.</dialogue> <character>SNOW WHITE</character> <dialogue>I don't mind at all, Gus. I haven't danced in a long, long while.</dialogue> <scene_description>She feels eyes on her - turns to see the huntsman watching her with a slight smile. She smiles back and breaks away.</scene_description> <character>SNOW WHITE</character> <dialogue>Do you mind, Gus?</dialogue> <character>GUS</character> <dialogue>Not at all.</dialogue> <scene_description>Snow White walks over to the Huntsman, holds out her hand.</scene_description> <character>SNOW WHITE</character> <dialogue>You've taught me to fight, surely I can teach you to dance.</dialogue> <scene_description>Eric trades a look with Beith, who nudges him on. Eric stands and they proceed to dance, with her teaching.</scene_description> <character>SNOW WHITE</character> <dialogue>Palms up, head straight, look me in the eyes. And •••</dialogue> <scene_description>The huntsman moves better than you'd imagine. His face even softens as they both enjoy the dance. Beith looks on with a smile. 130a OMITTED 130a</scene_description> </scene> <scene> <stage_direction>EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAWN.</stage_direction> <scene_description>Eric and the dwarves are asleep. Flowers have grown around them, as if they've been asleep for months. Cull and Duir sleep sitting up, back to back, at the ready. CONTINUED: Muir, also awake and smiling, sits against the log, his hand rubbing his son's sleeping head. Snow White sits amazed, drinking in the sights and sounds. Animals emerge from the forest -- SQUIRRELS, BEAVERS, FOXES, BIRDS. Slowly they make their way towards the ruins, gazing at Snow White. THE NIGHT SHIMMERS WITH FAIRY LIGHT AS THEY OBSERVE HER. Snow White feels the light on her face and to her surprise, she sees the two MAGPIES who watched over her at the castle. Two BEAUTIFUL FAIRIES WITH THE DEER EYES slip out of the magpies' bodies, beaming at her. As Snow White sits up, they direct her to the woods WHERE A DAZZLING LIGHT SHINES THROUGH A TREE. As she walks animals fall in alongside her. A little way away, Gus snores in his sleep. The golden light crosses his face and he wakes up. As he opens his eyes, he stares in wonder, then quickly wakes the other dwarves. They all stare in amazement now, even the blind MUIR. Eric is the last to wake up, wondering what the fuss is all about. They rise and follow to -- AT THE TREE She stands BENEATH THE GIANT TREE, facing a MAJESTIC WHITE HART. The air around the mystical creature shimmers with a golden light.</scene_description> <character>BEITH</character> <dialogue>No one's ever seen it before.</dialogue> <scene_description>The excited Muir grabs his son Quert by the arm.</scene_description> <character>QUERT</character> <dialogue>The white hart bows before the princess, father.</dialogue> <scene_description>Sure enough, the HART lowers its head before Snow White. Muir's face is lit up in the golden light, his blind eyes shining.</scene_description> <character>MUIR</character> <dialogue>It's blessing her.</dialogue> <character>ERIC</character> <dialogue>What are you talking about?</dialogue> <character>MUIR</character> <dialogue>You have eyes, huntsman, but do not see. You who have been with her the longest.</dialogue> <scene_description>Eric doesn't understand. CONTINUED:</scene_description> <character>MUIR</character> <dialogue>She is life itself. She will heal the land. She is the one.</dialogue> <character>GORT</character> <dialogue>So you're saying she is destined? •••</dialogue> <scene_description>Muir can only shake his head.</scene_description> <character>MUIR</character> <dialogue>No one listens to me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Can't you feel it? Are you ailments not gone? Gold or no gold, where she leads I follow.</dialogue> <character>GUS</character> <dialogue>Aye!</dialogue> <scene_description>The other Dwarves trade looks. Nion, the last, shrugs. As Snow White strokes the hart's neck, the golden light brightens, engulfing her. -- SUDDENLY AN ARROW FLIES THROUGH THE AIR -- AND PIERCES THE WHITE HART'S FLANK. The HART roars in pain and bolts. The fairies and animals scatter in all directions now, their sanctuary violated. Eric looks up to see ALDAN the Yakut emerging through the trees on horseback, notching another arrow to his bow. A FIERCE WIND rips through the sanctuary now, shadows spreading where there was once light. Eric sees FINN appear on horseback, looking like a demon god in the gathering darkness. The huntsman grabs his axe. So do the dwarves, pulling on their battle masks. WILLIAM emerges through the trees to see ALDAN aiming his bow at Snow White. He rides into the Yakut's horse, knocking him off balance just as he fires -- The arrow narrowly misses Snow White, thudding into a tree. Gus grabs her by the hand.</scene_description> <character>GUS</character> <dialogue>Come on!</dialogue> <scene_description>He runs with her into the forest. Aldan turns on William furiously, drawing his curved sword, but before he can swing the dwarves attack both men Eric only has eyes for Finn. They stare at each other in the roaring wind, then Finn gallops into the forest after.Snow White Eric RUNS in the same direction --</scene_description> <character>CONTINUED: ( 2)</character> <dialogue>William fends off the furious dwarf attack then rides off in pursuit of Snow White Aldan sees him but is too busy defending himself against COLL and DUIR to give chase --</dialogue> </scene> <scene> <stage_direction>EXT. ENCHANTED FOREST - DAY.</stage_direction> <scene_description>All around the forest the shadow of death is spreading. Gus runs, dragging Snow White behind him. Galloping through the trees, WILLIAM spots them up ahead, riding faster.</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE ENCHANTED FOREST - DAY.</stage_direction> <scene_description>Bow and arrow at the ready, Eric runs after Finn. All around him the forest is darkening. He follows the sound of galloping hooves when suddenly they stop. He stops too, notching an arrow to his bow, peering into the gloom and listening. There's a tense silence, then SUDDENLY HE HEARS A NOISE. He spins around, ready to fire, when he sees it's only Finn's riderless horse galloping past He realizes too late that it's a trick -- FINN EXPLODES OUT OF THE DARKNESS, catching him a glancing blow with his sword</scene_description> </scene> <scene> <stage_direction>EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAY.</stage_direction> <scene_description>Coll and Duir leap up at Aldan, trying to drag him off his horse, but he's a ferocious fighter, driving them both back</scene_description> </scene> <scene> <stage_direction>EXT. ENCHANTED FOREST - DAY.</stage_direction> <scene_description>William spots Snow White up ahead. She disappears into the trees and he rides faster. She erupts from behind a branch and pulls him off his horse. Gus races over and raises his axe --</scene_description> <character>SNOW WHITE</character> <dialogue>Gus, no!</dialogue> <scene_description>Gus's axe stops inches from William's eyes. Snow White recognizes the young warrior, staring at him in surprise.</scene_description> <character>SNOW WHITE</character> <dialogue>I saw you at the village.</dialogue> <scene_description>William looks up at her, out of breath:</scene_description> <character>WILLIAM</character> <dialogue>It's me. William.</dialogue> <scene_description>Snow White stares in disbelief, tears of surprise welling in her eyes. Gus looks even more confused, lowering his axe. William slowly rises to his feet, gazing back at Snow White, when THEY HEAR A TWIG SNAP Gus hears it too, spinning around CONTINUED: -- To see ALDAN with an arrow notched to his bow --</scene_description> <character>GUS</character> <dialogue>PRINCESS!</dialogue> <scene_description>Gus launches himself -- and takes the arrow meant for Snow White. Before Aldan can load another arrow -- William fires an arrow of his own, striking him in the chest. The Yakut topples over, dead at last but still astride his horse. Snow White falls to her knees in anguish, cradling the dying Gus. He smiles weakly, holding her gaze, then whispers:</scene_description> <character>GUS</character> <dialogue>I shan't leave you, Miss.</dialogue> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE ENCHANTED FOREST - DAY.</stage_direction> <scene_description>Eric charges into Finn with a cry of rage. Finn deflects the blow and hurls him back into the trees. Driven by fury, Eric charges again, but Finn uses his anger against him, ducking under the vicious blow and landing a brutal one of his own Eric crashes into another tree. His eyes are still full of hatred but his body is weak. Finn smiles in contempt from a few yards away.</scene_description> <character>FINN</character> <dialogue>I captured many girls, but your wife was special.</dialogue> <character>ERIC</character> <dialogue>What?!</dialogue> <character>FINN</character> <dialogue>She fought and then she begged. For her life. Please?!!! You should know she called for you. Your Sara.</dialogue> <character>ERIC</character> <dialogue>How do you know her name?!</dialogue> <scene_description>Eric is shocked, desperate.</scene_description> <character>FINN</character> <dialogue>She told me. Just before I slit her throat.</dialogue> <character>, -ERIC</character> <dialogue>Bastard: : ; .-</dialogue> <scene_description>Eric notices a fallen TREE TRUNK behind Finn -- dead branches STICKING UP LIKE SPIKES. Finn steps toward him ...</scene_description> <character>FINN</character> <dialogue>Now you can look for her in the other world and beg for her,forgiveness.</dialogue> <scene_description>CONTINUED: Finn smiles and raises his sword for the death blow -- when ERIC LUNGES. He throws himself at Finn, his momentum carrying them both into THE DEAD TREE'S SPIKED BRANCHES -- The branches pierce Finn's body, their tips digging into Eric's flesh. Finn howls in agony OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ENCHANTED FOREST - DAY.</stage_direction> <scene_description>Finn writhes, fighting to pull himself free of the branches but Eric holds him down, even as the spikes dig into him, forcing Finn's wounds to stay open - unable to heal.</scene_description> <character>FINN</character> <dialogue>Sister -- heal me!!</dialogue> <scene_description>139 OMITTED 139 \* ENCHANTED FOREST - DAY. -- the SHADOWY ENERGY swirls around Finn's wounds -- but as the branches keep the wounds open, they cannot heal --</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - DAY. 141 \*</stage_direction> <scene_description>Ravenna sits at her desk - she is small and alone in the \* vastness of the hall. \* She stares off into space, a quill in her hand - parchments laid \* out before her. \* Then suddenly her body convulses - the bottle of black ink \* spills - dark tendrils of liquid seep across the papers and onto \* the floor. \*</scene_description> <character>RAVENNA</character> <dialogue>Finn .... no! \*</dialogue> <scene_description>She falls to the floor - writhing. \* She fights hard at first - but then begins to weaken - her \* power fades as she ages. \* Then she stops. \*</scene_description> <character>RAVENNA</character> <dialogue>Forgive me, brother.</dialogue> <scene_description>ENCHANTED FOREST - DAY. Finn gasps as he feels Ravenna cut him off. Reacts in horror and heartbreak as his wounds stop trying to heal.</scene_description> <character>FINN</character> <dialogue>Sister •••</dialogue> <scene_description>Finn twitches for a moment, looks to Eric.</scene_description> <character>FINN</character> <dialogue>I feel. •.</dialogue> <scene_description>Then the light goes out of his eyes. He is finally dead. Slowly, Eric pulls himself free of the branches cutting into his flesh.</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - DAY 143 \*</stage_direction> <scene_description>She has broken their connection. We pull away from her. \* Ravenna's head is down, depleted, forlorn. Completely still. \* Ink pools around her bony hands. But when she raises her head \* We see conviction, hatred and determination. CONTINUED:</scene_description> <character>RAVENNA</character> <dialogue>You will pay. You will pay!!! \*</dialogue> </scene> <scene> <stage_direction>EXT. ENCHANTED FOREST - DAY.</stage_direction> <scene_description>Still bleeding from his wounds, Eric hurries back through the forest until he sees Snow White and the seven dwarves gathered around Gus's body, chanting a low prayer. Eric stares in surprise, then notices William.</scene_description> <character>ERIC</character> <dialogue>Who is this?</dialogue> <scene_description>Beith is about to reply when William answers for himself.</scene_description> <character>WILLIAM</character> <dialogue>My name is William. I am Duke Hammond's son.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You look familiar.</dialogue> <scene_description>Eric dodges a bit with --</scene_description> <character>ERIC</character> <dialogue>What is the Duke's son doing riding with the Queen's men?</dialogue> <character>WILLIAM</character> <dialogue>I was looking for the princess.</dialogue> <character>ERIC</character> <dialogue>Why?</dialogue> <character>WILLIAM</character> <dialogue>To protect her.</dialogue> <character>ERIC</character> <dialogue>The princess is well protected as you can see.</dialogue> <character>WILLIAM</character> <dialogue>And who are you?</dialogue> <character>ERIC</character> <dialogue>The man who got her this far your lordship.</dialogue> <character>WILLIAM</character> <dialogue>I'm grateful for your help but I will take her from here.</dialogue> <character>ERIC</character> <dialogue>You'll have to wait for your voice to break before you give me orders -</dialogue> <scene_description>William draws his sword in indignation and Eric draws his axe. CONTINUED:</scene_description> <character>ERIC</character> <dialogue>Anyone can draw steel, boy. It takes a man to use it.</dialogue> <scene_description>William is about to react when Snow White turns •.•</scene_description> <character>SNOW WHITE</character> <dialogue>Leave him, huntsman. He's our friend.</dialogue> <scene_description>He glares but his eyes glisten with tears. Snow White is still bowed over Gus's body, sobbing, mourning. The prayer chant ends. Nian spits with anger and walks away.</scene_description> <character>NION</character> <dialogue>We need to convene.</dialogue> <scene_description>They all follow him a few steps away, where they have privacy.</scene_description> <character>BEITH</character> <dialogue>What is it, Nian?</dialogue> <character>NION</character> <dialogue>This is what happens when dwarves mix with men. We always come out worse. We have big hearts and we'll fight for any cause -- but for what? For some new Queen to call us runts and turn us out of our homes again?</dialogue> <character>GORT</character> <dialogue>I've nothing against the girl, but I'm not willing to risk my life for her either, like poor Gus.</dialogue> <scene_description>Beith considers quietly, the other dwarves listening too.</scene_description> <character>DUIR</character> <parenthetical>(whispers to Coll)</parenthetical> <dialogue>Does this mean we're not fighting the Queen?</dialogue> <character>COLL</character> <parenthetical>(whispers back)</parenthetical> <dialogue>Not sure yet.</dialogue> <character>QUERT</character> <dialogue>What about the gold she promised us?</dialogue> <character>NION</character> <dialogue>What use is gold if you're dangling by your bony neck, you jackdaw?!</dialogue> <character>BEITH</character> <dialogue>Aye, the Queen will flay us alive for helping her!</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MUIR</character> <dialogue>The White Hart blessed the girl.</dialogue> <scene_description>Nion shakes his head and rolls his eyes, but Beith listens.</scene_description> <character>MUIR</character> <dialogue>Even our own legends speak of the redeemer who will heal the land.</dialogue> <character>GORT</character> <dialogue>That little mutton?</dialogue> <character>MUIR</character> <dialogue>All the lions and wolves in the kingdom have tried to defeat the Queen and failed. Why not a mutton?</dialogue> <scene_description>The dwarves stare at him incredulously.</scene_description> <character>NION</character> <dialogue>Gus lost his life because of her!</dialogue> <character>MUIR</character> <dialogue>No. He crave his life for her. As will I if necessary. Look at us. Look at what we've become.</dialogue> <scene_description>They trade looks. They know where he's going with this.</scene_description> <character>MUIR</character> <dialogue>We were once proud, now we pilfer and drink and dream of when we didn't. I am willing to die for a chance at becoming the man I once was.</dialogue> <scene_description>And that is the last word. Quert puts his arm around his father and kisses his forehead. Beith and Gort trade a nod and a smile.</scene_description> </scene> <scene> <stage_direction>EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAY.</stage_direction> <scene_description>QUERT sings a CELTIC MELODY OF LOSS as Gus is laid out on a funeral pyre. All around him, THE BRIGHT COLORS OF THE ENCHANTED FOREST HAVE FADED and there are no animals and fairies to be seen. It's as if Ravenna's shadow has passed here too. The tough, battle hardened dwarves shed tears like children. Snow White looks heartbroken as Beith lights the pyre. As the flames rise, a HAUNTING LAMENT carries us into the next scene OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. HILLS - DAY.</stage_direction> <scene_description>Quert's SONG CONTINUES as the group make their way across the barren hills and into the mountains</scene_description> </scene> <scene> <stage_direction>EXT. HIGHLAND HILLS - DAY.</stage_direction> <scene_description>William walks alongside Snow White, glancing at her tentatively. He waits until the others are out of earshot.</scene_description> <character>WILLIAM</character> <dialogue>I'm sorry I left you.</dialogue> <scene_description>She looks over and sees the remorse in his eyes.</scene_description> <character>SNOW WHITE</character> <dialogue>You didn't.</dialogue> <character>WILLIAM</character> <dialogue>If I'd known you were alive I would have come sooner.</dialogue> <character>SNOW WHITE</character> <dialogue>We were children, William. You're here now.</dialogue> <scene_description>They reach some steep rocks and Eric turns around, offering Snow White his hand. She takes it and he helps her up the slope. William looks on, feeling jealous. Beith follows Duir and Coll up to the summit of the hill, then looks at the surrounding peaks.</scene_description> <character>BEITH</character> <dialogue>We'll rest the night at the top of this hill.</dialogue> <scene_description>148a INT. MIRROR CHAMBER - ROYAL PALACE - DAY. 148a From above - Ravenna stands in the center of the room, surrounded by ravens. She raises her arms and they take flight, circling above her. She lowers her arms and their swirling pattern lowers, until she is completely surrounded by them - a tornado of ravens. She has become them, and they her.</scene_description> </scene> <scene> <stage_direction>EXT. CAMP SITE/ MOUNTAINS - NIGHT.</stage_direction> <scene_description>A FIRE CRACKLES. The dwarves have set up camp. Coll and Duir sit on a rocky outcrop, Coll braiding Duir's hair while Duir sharpens his axe.</scene_description> <character>COLL</character> <dialogue>That's not how you sharpen an axe. You sharpen downward. Not upward ..</dialogue> <scene_description>CONTINUED:</scene_description> <character>DUIR</character> <dialogue>My father taught me how to sharpen an axe.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>COLL</character> <dialogue>Well he taught you wrong.</dialogue> <scene_description>He raises the axe, only half in jest.</scene_description> <character>DUIR</character> <dialogue>You want to test it?</dialogue> <scene_description>William watches Snow White warming herself by the fire, then heads over to Eric, who is also keeping watch.</scene_description> <character>WILLIAM</character> <dialogue>It's not my place to give you orders. I misjudged you.</dialogue> <scene_description>Eric looks up. He shakes William's hand.</scene_description> <character>ERIC</character> <dialogue>And I you.</dialogue> <scene_description>William looks over to where Snow White is.</scene_description> <character>WILLIAM</character> <dialogue>We shared a childhood together, before she was taken away. She hasn't changed. She has that same light inside her. Surely you can see it ••</dialogue> <scene_description>Eric looks at her.</scene_description> <character>ERIC</character> <dialogue>You'd be blind not to.</dialogue> <character>WILLIAM</character> <dialogue>If we can just get her to the castle, the people .• The people will see it. She's our only hope, Huntsman.</dialogue> <character>ERIC</character> <dialogue>We'll get her to the castle. Don't worry about that ••</dialogue> <character>WILLIAM</character> <dialogue>I've thought about her constantly. Every time I closed my eyes. I can hardly believe I've found her.</dialogue> <character>ERIC</character> <dialogue>You should tell her. She'd appreciate it.</dialogue> <character>WILLIAM</character> <dialogue>I'm afraid to.</dialogue> <character>ERIC</character> <dialogue>Not telling someone how you feel and living with the regret is a lot worse.</dialogue> <scene_description>CONTINUED: ( 3) OMITTED 150a EXT. MOUNTAINS - DAWN. 150a Snow White sits on a rock, away from the camp, reflecting quietly. She stares out at the surrounding mountains and valleys when she suddenly senses a presence behind her. She turns in alarm -- but it's only William. William smiles back gently and whispers .••</scene_description> <character>WILLIAM</character> <dialogue>Walk with me.</dialogue> <scene_description>They walk into the silver birches.</scene_description> <character>SNOW WHITE</character> <dialogue>Up here it's as if nothing's changed. The world looks beautiful again.</dialogue> <character>WILLIAM</character> <dialogue>It will be. When you are Queen.</dialogue> <scene_description>Snow White turns, surprised by his words.</scene_description> <character>WILLIAM</character> <dialogue>The people of this kingdom hate Ravenna with their very fiber.</dialogue> <character>SNOW WHITE</character> <dialogue>It's strange, but ••• I feel only sorrow for her.</dialogue> <scene_description>William is taken aback by this but pushes on.</scene_description> <character>WILLIAM</character> <dialogue>Once people find out you're alive they will rise up in your name.</dialogue> <scene_description>Snow White stares back at him uncertainly.</scene_description> <character>SNOW WHITE</character> <dialogue>It takes more than a name. I am not my father, William.</dialogue> <character>WILLIAM</character> <dialogue>You are his daughter. And rightful heir.</dialogue> <scene_description>150a CONTINUED: 150a He steps closer, gazing into her eyes devotedly.</scene_description> <character>WILLIAM</character> <dialogue>If I had a choice, I would take you far from here. And keep you safe by my side. But I have a duty. And so do you.</dialogue> <scene_description>They hold each other's gaze, Snow White still ridden with doubt. 150a CONTINUED: (2) 150a</scene_description> <character>SNOW WHITE</character> <dialogue>How do I inspire? How do I lead men?</dialogue> <character>WILLIAM</character> <dialogue>The same way you led me when we were children. I followed you everywhere. Ran when you called. I would have done anything for you.</dialogue> <scene_description>She looks touched by his words, smiling softly, trying to make light of them.</scene_description> <character>SNOW WHITE</character> <dialogue>That's not how I remember it.</dialogue> <character>WILLIAM</character> <dialogue>No?</dialogue> <character>SNOW WHITE</character> <dialogue>No .•.</dialogue> <scene_description>They gaze into each other's eyes, close enough to kiss.</scene_description> <character>SNOW WHITE</character> <dialogue>I remember we were always arguing. And fighting. And •••</dialogue> <scene_description>She trails off, lost in his gaze. He stops, leans closer and kisses her gently. They stay like that a moment, then William pulls away, holding something in his hand. Snow White smiles as she sees that it's an APPLE. With a mischievous smile, William holds out the apple for Snow White, just like he did when they were children.</scene_description> <character>SNOW WHITE</character> <dialogue>I remember this trick.</dialogue> <character>WILLIAM</character> <parenthetical>(With mock innocence)</parenthetical> <dialogue>What trick?</dialogue> <scene_description>Snow White holds his gaze, then snatches the apple from him before he can take a bite, raising it to her lips with a smile. As she bites 150b OMITTED 150b 150c OMITTED 150c 150d EXT. CAMP SITE/ MOUNTAINS - DAWN. 150d - Eric, startled,. awakens. 150e EXT. MOUNTAINS - DAWN. 150e As Snow White chews, a flicker of a smile crosses William's face. Snow White stares curiously, then suddenly gasps, struggling to breathe -- 150f EXT. CAMP SITE/ MOUNTAINS - DAWN. 150f Eric stands up, looks around, dwarves still asleep. He shakes William, who wakes at the ready. They walk into the trees and follow A SINGLE SET OF TRACKS. 150g EXT. MOUNTAINS - DAWN. 150g Snow White staggers back and collapses in the snow, choking from poison. Her eyes water and her vision blurs. The false William kneels beside her and slowly she sees Ravenna's features burning through, her cold blue eyes gleaming in triumph -- A SCREAM fills the air -- not Snow White but dozens of birds shrieking in the sky above -- 151-157 OMITTED 151-157</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINS DAY.</stage_direction> <scene_description>Eric and William hear the panicked bird cries and run -- 158a EXT. SILVER BIRCH TREES/ MOUNTAINS - DAY. 158a Snow White's limbs are petrified, frost spreading across her cheeks -- but her eyes are open, taking in everything. Ravenna leans over her, smiling.</scene_description> <character>RAVENNA</character> <dialogue>You see, child, love always betrays us.</dialogue> <scene_description>A sigh escapes Snow White's lips, condensing into steam.</scene_description> <character>RAVENNA</character> <dialogue>By fairest blood it was done and only by fairest blood can it be undone. Yo11-were the only one who could break the·spell and end my life, and the only one pure enough to save me.</dialogue> <scene_description>She draws away, unwrapping her sacramental dagger.</scene_description> <character>RAVENNA</character> <dialogue>You don't realize how lucky you are, never to know what it is to grow old.</dialogue> <scene_description>158 a CONTINUED: 158a She raises the knife, about to cut out Snow White's heart - WHEN SUDDENLY HER BODY SHATTERS INTO A FLOCK OF SHRIEKING RAVENS -- And now we see the HUNTSMAN STANDING THERE, AXE IN HAND, THE RAVENS FLAPPING AROUND HIM -- William blasts with a sword at the screeching birds -- Eric goes after her now, swinging his twin hatchets. The ravens scream and pluck at his eyes but he hacks at them fiercely, William joining in, until the shrieking birds finally take to the sky and vanish on the horizon. Eric and William rush to Snow White's side now. The dwarves arrive too, hurrying through the snow. William cradles Snow White in his arms, trying to revive her, but it's no use. Eric stares in dismay as he sees the poison drain the color from her lips. He kneels down and gazes at her. William turns to the dwarves.</scene_description> <character>WILLIAM</character> <dialogue>What are you looking at? Help her!</dialogue> <scene_description>The dwarves stare back at him gravely but don't respond. He's desperate now, irrational</scene_description> <character>WILLIAM</character> <dialogue>You are dwarves, healers, save her!</dialogue> <scene_description>He grabs the blind seer, MUIR, shaking him.</scene_description> <character>WILLIAM</character> <dialogue>Do something!</dialogue> <scene_description>Muir stares back at him with his empty eyes, tears glistening in them. William collapses in prayer, the light in Snow White's eyes almost gone. Eric looks over, sees William's grief is as great as his own, and finally stops fighting. Snow White looks up at William as if she wants to say something, then the light in her eyes goes out. The dwarves are heartbroken. Eric looks dazed. William leans down and kisses Snow White gently on the lips. He pulls away, .hoping against hope. And then Nothing happens. She lies there, lifeless and white as the falling snow. On all the faces - realizing that she is truly gone. 158a CONTINUED: (2) 158a</scene_description> <character>GORT</character> <dialogue>What do we do?</dialogue> <scene_description>158 a CONTINUED: ( 3) 158a</scene_description> <character>BEITH</character> <dialogue>What we promised.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ROYAL CASTLE - DAY</stage_direction> <scene_description>A flock of ravens whips across the sky, swooping into --</scene_description> </scene> <scene> <stage_direction>INT. MIRROR ROOM - DAY.</stage_direction> <scene_description>The ravens burst into the mirror room and "crash" to the ground. Their swirl becomes -- Ravenna, on all fours, looking worse for wear, surrounded by dead ravens. The effort depleted her. She GROWLS as she crawls toward the mirror.</scene_description> <character>RAVENNA</character> <dialogue>What must I do?! Where is she?! Where have they taken her?! Answer me!</dialogue> <scene_description>The mirror just REFLECTS RAVENNA'S weary and aging face.</scene_description> <character>RAVENNA</character> <dialogue>ANSWER ME ! ! ! !</dialogue> <scene_description>Nothing. Ravenna releases it all, looks up and quietly pleads •••</scene_description> <character>RAVENNA</character> <dialogue>••• help me •••</dialogue> <character>MIRROR MAN</character> <parenthetical>(Mocks her)</parenthetical> <dialogue>"Help me?" . .•</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There is nothing more pathetic than grovelling desperation. You sicken me, my Queen.</dialogue> <scene_description>The mirror starts to ripple, distorting Ravenna's face into something even more awful. 161a EXT. PLAINS NEAR CASTLE - DAY. 161a A wide shot as the group carries Snow White toward the castle.</scene_description> </scene> <scene> <stage_direction>EXT. DUKE HAMMOND'S STRONGHOLD - DAY.</stage_direction> <scene_description>Snow White's body is wrapped in a shroud, laid out on a funeral board. William leads it with tears in his eyes. Eric and the dwarves walk alongside the body, all lost in grief. 162a INT. DUKE HAMMOND'S CASTLE - DAY. 162a Crowds move in to see and mourn the processional. Eric is careful to lower his eyes a bit to keep from being recognized. 162b INT. FUNERAL CHAMBER/ DUKE HAMMOND'S CASTLE - DAY. 162b Torchlight flickers. Snow White's body is laid out on a funeral bier, her face angelic in death.</scene_description> </scene> <scene> <stage_direction>INT. GENERAL'S TENT - COURTYARD - NIGHT.</stage_direction> <scene_description>Tent flaps open. William stands before Duke Hammond and his council of LORDS, arguing his case with fierce passion --</scene_description> <character>WILLIAM</character> <dialogue>She died for us! For our cause! We cannot hide behind these walls and watch this land die with her!</dialogue> <character>DUKE HAMMOND</character> <dialogue>Your grief clouds your judgement, my son.</dialogue> <character>WILLIAM</character> <dialogue>My grief makes me see clearly, father.</dialogue> <scene_description>163a INT. FUNERAL CHAMBER/ DUKE HAMMOND'S CASTLE - NIGHT. 163a Eric steps from the shadows up to Snow White's body, flask in hand. Drunk.</scene_description> <character>ERIC</character> <dialogue>Here you are. Where it ends. Dressed Up to pretty.</dialogue> <scene_description>He takes another pull from the flask.</scene_description> <character>ERIC</character> <dialogue>Like you're asleep; about to wake-up and give me more grief. Am I right?</dialogue> <scene_description>The he touches her arm. Feels the fabric of her funeral dress. Looks at her face and breaks a bit - losing the drunken swagger and speaking with her as if she was still alive.</scene_description> <character>ERIC</character> <dialogue>You deserved better.</dialogue> <scene_description>And then he answers her •..</scene_description> <character>ERIC</character> <dialogue>She was my wife, princess. That was your question that went unanswered. Sara was her name. When I came back from the wars I carried with me the stench of death and the anger of the lost. I wasn't worth saving. But she did so anyway. I loved her more than anything or anyone. And then I let her out of my sight and she</dialogue> <scene_description>. was gone and I became myself again. A self I never cared for. Until you. You remind me of her. Her spirit. Her heart. And now you, too, are gone. You both deserved better. And I'm sorry to have failed you as well. 163 a CONTINUED: 163a Snow White lies pale and motionless on the bier. Eric reaches down and gently brushes a strand of hair off her face.</scene_description> <character>ERIC</character> <dialogue>You will be a Queen in heaven now •••</dialogue> <scene_description>He leans down and kisses her lips.</scene_description> <character>ERIC</character> <dialogue>And sit among the angels.</dialogue> <scene_description>He finally turns and leaves the chamber, tossing the flask aside, disgusted with himself. As we listen to his footsteps fade we hold on Snow White's beautiful face. For a long time she stays perfectly still, then -- Her lips part ever so slightlv, and she lets out an almost inaudible whisper of breath. 163 a CONTINUED: ( 2) 163a Snow White's eyes open, gazing up at the ceiling, her thoughts far away. There's a strange calm about her now, a quiet acceptance, as if she knows what she must do. 164-168 OMITTED 164-168 OMITTED 169a OMITTED 169a</scene_description> </scene> <scene> <stage_direction>169B EXT. NEAR THE CASTLE GATES - DAY /MOVED FROM 171) 169B</stage_direction> <scene_description>Eric, carrying all his gear, eyes down, strides toward the gate and a clean getaway.</scene_description> <character>ERIC</character> <dialogue>Open the gate.</dialogue> <character>PERCY (O.S.)</character> <dialogue>Huntsman!</dialogue> <scene_description>Eric stops. He's been recognized. Percy catches up to him. They share a look and Eric sighs.</scene_description> <character>PERCY</character> <dialogue>Yes, I recognized you.</dialogue> <scene_description>Eric sighs.</scene_description> <character>PERRY</character> <dialogue>We have no quarrel with you. Not anymore. You returned the princess to us. And for that •••</dialogue> <scene_description>He hands over a heavy sack of gold. Eric takes it, weighs it in his hand. God does he need it, but ..•</scene_description> <character>ERIC</character> <dialogue>Keep your money.</dialogue> <scene_description>169B CONTINUED: 169B He hands it back and turns for the now open gate. He exits the castle and as the doors begin to close -- SHOUTS OF JOY. Eric spins, wanders back to see what the commotion is all about. OMITTED 170a OMITTED 170a</scene_description> </scene> <scene> <stage_direction>INT. GENERAL'S TENT - NIGHT.</stage_direction> <scene_description>The council session continues. Duke Hammond stares at William gravely.</scene_description> <character>DUKE HAMMOND</character> <dialogue>My duty is to protect the people who come to me for help. I will defend them with my last drop of blood but I will not abandon these walls. I cannot afford to believe in miracles.</dialogue> <scene_description>He suddenly stops as the SHOUTS outside the tent get louder. He goes to the flap, opens it to see -- Snow White , still dressed in her white funeral robes, stands at the top of the stairs that leads down into the courtyard. 171a EXT. COURTYARD - DUKE HAMMOND'S CASTLE 171a Everyone comes out of their tents and stands beneath Snow White. Her heart pounding, she makes her way down the stairs. All are riveted by the sight of her, as if they're looking on an angel or a living miracle. Eric makes his way back into the courtyard and he, too, is stunned as he slides in next to the dwarves in the crowd.</scene_description> <character>BEITH</character> <dialogue>It's a miracle!</dialogue> <scene_description>Duke Hammond, embarrassed and still stunned by the sight of her, walks up the stairs to greet her. Several Generals follow him but stay a few steps below them. Hammond takes her by the hands as they speak.</scene_description> <character>DUKE HAMMOND</character> <dialogue>Your highness •••</dialogue> <parenthetical>(He can't believe his eyes)</parenthetical> <dialogue>We thought you •••</dialogue> <character>SNOW WHITE</character> <dialogue>No, my lord.</dialogue> <scene_description>William, below, stares at her in joy while his father still looks dazed. 171a CONTINUED: 171a</scene_description> <character>DUKE HAMMOND</character> <dialogue>You must rest -</dialogue> <character>SNOW WHITE</character> <dialogue>I have rested long enough.</dialogue> <scene_description>Her voice is gentle but full of quiet conviction.</scene_description> <character>SNOW WHITE</character> <dialogue>I am ready to ride by your side, my lord, when you face the Queen in battle.</dialogue> <scene_description>The Duke looks speechless for a moment.</scene_description> <character>DUKE HAMMOND</character> <dialogue>There will be no battle, your highness. The best thing you can do for your people is stay safe behind these walls.</dialogue> <character>SNOW WHITE</character> <dialogue>That is all I thought to do when I escaped. But I have come to learn there is no peace while others suffer. Have you not learned that?</dialogue> <character>DUKE HAMMOND</character> <dialogue>The Queen cannot be defeated. She cannot be killed. And therefore there can be no victory.</dialogue> <scene_description>Snow White hesitates, her heart pounding, then replies:</scene_description> <character>SNOW WHITE</character> <dialogue>I can vanquish her. Defeat her. I am the only one. She told me so herself.</dialogue> <scene_description>Duke Hammond starts to object, but Snow White's eyes and, now her feet, lead her down the stairs to her people. When she reaches the last step - now at their level - she speaks .•.</scene_description> <character>SNOW WHITE</character> <dialogue>I have been told that I represent you, that it is my place to inspire you. That is wrong. I am not a Queen, not a leader, not a warrior.</dialogue> <scene_description>Absolute silence in the courtyard as people, lords, knights hang on her every word.</scene_description> <character>SNOW WHITE</character> <dialogue>You represent me, who I've become - your hopes,: your courage, your will - inspires</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I have also been told my place is not to fight but to stay here, safely behind these walls. I will not.</dialogue> <scene_description>171 a CONTINUED: ( 2) 171a</scene_description> <character>SNOW WHITE</character> <dialogue>I hold life sacred, even more since I've tasted freedom, but I've lost my fear of death.</dialogue> <scene_description>171a CONTINUED: (3) 171a Heads nod, people murmur approval. She has them in the palm of her hand.</scene_description> <character>SNOW WHITE</character> <dialogue>If Ravenna comes for me, I will ride to meet her. And if she doesn't, I will ride to meet her.</dialogue> <parenthetical>(looks back at Generals)</parenthetical> <dialogue>Alone if I must.</dialogue> <parenthetical>(back to people)</parenthetical> <dialogue>But if you would join me, I will gladly give my life for you. For this land and its people have lost too much.</dialogue> <scene_description>Eric and the dwarves couldn't look prouder. Duke Hammond stares at her for a moment, then BOWS. A beat, then William follows, then all the Lords and Knights. His eyes fixed on Snow White, Eric bows too. Then Beith. Then Muir and his son, Quert. Then Coll and Duir. And finally even Gort and Nion. Snow White stands alone, overwhelmed by the faith of the kneeling warriors, and the responsibility on her shoulders. 171b INT. MIRROR CHAMBER - ROYAL PALACE - NIGHT. 171b Ravenna raises her head to look into the mirror.</scene_description> <character>MIRROR MAN</character> <dialogue>Yes, my Queen! Yes!!!!</dialogue> <scene_description>The Mirror Man laughs because Ravenna's face is younger, her energy has returned and we see why when WE PULL BACK to reveal several CRONES, young only minutes before, now old and lying on the floor. Ravenna smiles, girding herself for the fight to come. OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED 1 77 a OMITTED 177a 177b EXT. CASTLE - NIGHT. 177b The army is amassed and ready to leave the gates. Snow White, in full armor, sits astride a white horse, her coat of chain mail glittering in the torchlight. She looks like an angel, bearing her fathers standard. Eric rides up next to her. She is happy to see him.</scene_description> <character>ERIC</character> <dialogue>Back from the dead and instigating the masses.</dialogue> <character>SNOW WHITE</character> <dialogue>So the Huntsman fights for something other than himself.</dialogue> <character>ERIC</character> <dialogue>Only if you have need of a brutish soldier.</dialogue> <scene_description>She smiles, moved. He turns his horse to full back, but before he leaves ...</scene_description> <character>ERIC</character> <dialogue>You look fetching in mail.</dialogue> <scene_description>A bugle sounds and -- 177c EXT. CASTLE - NIGHT. 177c The Duke's army pours out of the great gate, their torches blazing in the night. From above, it looks like a river of lava coursing through the valley. Duke Hammond roars at the top of his voice, urging his riders on, and now we see their vengeful fire spreading across the plain.</scene_description> </scene> <scene> <stage_direction>EXT. QUEEN'S BALCONY - ROYAL PALACE - NIGHT.</stage_direction> <scene_description>Ravenna and the general on the balcony. All around, soldiers and Guards scurry to look busy lest they draw her wrath (though some can't help but notice her aging appearance. Ravenna sweeps away a map held out to her.</scene_description> <character>RAVENNA</character> <dialogue>I don't need a map to see you've failed me, fool, your face is map enough!</dialogue> <character>BLACK KNIGHT GENERAL \*</character> <dialogue>Yes, my Queen. \*</dialogue> <character>RAVENNA \*</character> <dialogue>Where are they now?</dialogue> <character>BLACK KNIGHT GENERAL</character> <dialogue>A half day's march away. Every hour their numbers grow. Rebels, peasants and deserters rally to them wherever they -</dialogue> <character>RAVENNA</character> <dialogue>Deserters?</dialogue> <character>BLACK KNIGHT GENERAL</character> <dialogue>Yes, my Queen.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BLACK KNIGHT GENERAL</character> <dialogue>They say the King's standard flies again.</dialogue> <scene_description>And now Ravenna understands -- Snow White.</scene_description> <character>RAVENNA</character> <dialogue>Let them come. Let them break their hearts and skulls on these castle walls and bring my prize to me. You must not \* harm her. I need her heart - still warm \* with blood. \*</dialogue> <scene_description>As she strides away. To soldiers</scene_description> <character>RAVENNA</character> <dialogue>Victory comes!</dialogue> <scene_description>178a EXT. PLAINS - WIDE - DAWN. 178a Hammond's army thunders toward the castle. And then they arrive at</scene_description> </scene> <scene> <stage_direction>EXT. SAND DUNES OVERLOOKING RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>Horses crest the hill. And now, all around Snow White, we see her army -- not just Duke Hammond's men -- but REBELS PEASANTS -- WOMEN -- all willing to follow her. Eric and William ride nearby. One of the Duke's commanders arrives to brief him.</scene_description> <character>DUKE'S COMMANDER</character> <dialogue>My lord, we only have a few hours before the tide comes in. Not long enough to breach the castle walls. We'll either be completely exposed or drowned by the ocean.</dialogue> <character>DUKE HAMMOND</character> <dialogue>Is there any other way in? Tunnels? Caves?</dialogue> <character>DUKE'S COMMANDER</character> <dialogue>No, my lord.</dialogue> <scene_description>Gloom descends on the gathering.</scene_description> <character>SNOW WHITE</character> <dialogue>If we are at the portcullis when the sun clears the horizon it will be open.</dialogue> <scene_description>They all look at her. CONTINUED:</scene_description> <character>DUKE HAMMOND</character> <dialogue>But how?</dialogue> </scene> <scene> <stage_direction>EXT. SEA/ SEWAGE TUNNEL/ RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>An unmistakable brown sludge pours out of a sewage tunnel into the sea. It is the same sewers where Snow White escaped. We hear the sound of splashing oars and grumbling:</scene_description> <character>FROM INSIDE THE SEWAGE TUNNEL</character> <dialogue>We look out at the faces of the dwarves, peering inside.</dialogue> <character>NION</character> <dialogue>We're promised gold and volunteer for manure. How low has the dwarf race sunk?</dialogue> <character>BEITH</character> <dialogue>Hi-Ho boys. Off to work.</dialogue> <scene_description>And they begin to crawl inside.</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY - RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>Ravenna stares out. On the distant cliffs she sees the banners of the rebel army. A ray of sunlight pours through the clouds, lighting up the tiny figure of Snow White.</scene_description> <character>RAVENNA</character> <dialogue>Come to me.</dialogue> </scene> <scene> <stage_direction>EXT. CASTLE SEWERS - DAWN.</stage_direction> <scene_description>Coll and Duir wade through the sewage, their axes held up in front of them, not a flicker of emotion on their faces.</scene_description> <character>DUIR</character> <dialogue>Seven dwarves against an army.</dialogue> <character>COLL</character> <dialogue>I like them odds.</dialogue> <scene_description>Behind them, Beith covers his nose from the stench, Gort and Nion look like they're about to be sick, and Muir and his son bring up the rear, the brown slime almost at Quert's mouth.</scene_description> <character>QUERT</character> <dialogue>Times like this I wish I was taller.</dialogue> </scene> <scene> <stage_direction>EXT. SAND DUNES OVERLOOKING RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>Crashing waves break against the rocks, washing over the sand. Duke Hammond stares at the RISING TIDE in concern.</scene_description> <character>DUKE HAMMOND</character> <dialogue>We don't have much time.</dialogue> <scene_description>CONTINUED:</scene_description> <character>SNOW WHITE</character> <dialogue>Then we should ride now. They'll have the portcullis up by the time we arrive.</dialogue> <scene_description>Duke Hammond considers, then raises his sword. Snow White glances at the huntsman. He breaks rank and rides closer to her. There's a tense silence, then the Duke BRINGS DOWN HIS SWORD and his riders charge down the dunes.</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY - RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>Ravenna stares out confidently, her eyes still fixed on Snow White's distant banner.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE COURTYARD - DAWN.</stage_direction> <scene_description>The trap door in the courtyard rises and we see Beith's head pop up, his expert eyes scanning the courtyard until they spot the portcullis. Ravenna's guards hurry past without seeing him, taking their positions on the battlements. Beith slips back down into the sewer.</scene_description> <character>BEITH</character> <dialogue>The gatehouse is fifty yards away to left. Half a dozen guards and fifty armed soldiers. Archers on either side.</dialogue> <character>DUIR</character> <parenthetical>(Pulling out a huge knife)</parenthetical> <dialogue>Give us a couple of minutes.</dialogue> <character>COLL</character> <dialogue>Four tops.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - DAWN.</stage_direction> <scene_description>Snow White rides across the dunes. All around her, riders gallop along the surf, waves crashing around them. Ravenna's castle comes into the view, the portcullis still down.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD/ CASTLE - DAWN.</stage_direction> <scene_description>Coll and Duir move stealthily through the busy courtyard, so small and fleet they're almost invisible.</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY/ RAVENNA'S CASTLE - DAWN.</stage_direction> <scene_description>Ravenna looks on as her archers take their positions and her artillery men load missiles onto their trebuchets.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAWN.</stage_direction> <scene_description>Snow White suddenly sees tiny dots of firelight on the castle walls. Eric realizes what they are and rides faster. The pinpoints of light soar up in the air, growing larger and brighter, until we realize they're FIERY MISSILES. Eric forces Snow White's horse out of the way as a fireball explodes yards from her. CONTINUED: Fire rains down on the Duke's army now, panic spreading in the ranks. Snow White takes her father's banner and holds it aloft, rallying the men and riding on.</scene_description> </scene> <scene> <stage_direction>EXT. GATEHOUSE - DAWN.</stage_direction> <scene_description>Two unsuspecting guards collapse outside the gatehouse. Before the other guards can react, Coll and Duir are on them, moving fast and hard, the assault over in seconds.</scene_description> </scene> <scene> <stage_direction>EXT. SEWER MANHOLE/ COURTYARD - DAWN.</stage_direction> <scene_description>Beith sees Coll and Duir signal from outside the gatehouse.</scene_description> <character>BEITH</character> <dialogue>Come on!</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - DAWN.</stage_direction> <scene_description>Waves crash over the rocks. Fireballs explode in the sand. Snow White sees men falling all around her, tears welling in her eyes, but she never falters. As William rides on, he sees the castle walls through the smoke, the portcullis still down.</scene_description> </scene> <scene> <stage_direction>INT. GATEHOUSE -- DAWN.</stage_direction> <scene_description>The GUARDS in the gatehouse look over as the door splinters and the dwarves come crashing through in their battle masks. Even though they're outnumbered, the seven fight like demons -- until the enemy are subdued.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAWN.</stage_direction> <scene_description>On the castle walls, archers replace the trebuchets. Snow White holds up her shield to protect herself from the sea of arrows. Up ahead, the portcullis is still down, Duke Hammond's forces circling back as they're trapped against the walls.</scene_description> <character>WILLIAM</character> <dialogue>You must turn back!</dialogue> <character>SNOW WHITE</character> <dialogue>I gave my word I would stand with them!</dialogue> </scene> <scene> <stage_direction>INT. GATEHOUSE -- DAWN.</stage_direction> <scene_description>A huge pulley controls the portcullis. Beith, Gort and Nian draw their pickaxes while Coll and Duir tie up the guards.</scene_description> <character>BEITH</character> <dialogue>Now let's see how this works! --</dialogue> <scene_description>With a mighty blow of his axe, Beith shatters the chains holding up the pulley. The counter weights go flying down and the portcullis comes shooting up -- then suddenly stops -- JAMMED.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH -- DAWN.</stage_direction> <scene_description>The Duke's army are still circling the gates, stones and hot oil pouring down on them from above. Arrows slam into Snow White's shield but she still refuses to retreat.</scene_description> </scene> <scene> <stage_direction>INT. GATEHOUSE -- DAWN.</stage_direction> <scene_description>Beith peers down at the jammed counter-weights in frustration when he hears a fierce cry. GORT jumps on the counter-weight, trying to bring it down. Nian follows, yelling at the top of his voice. Duir puffs up his proud chest and leaps on too --</scene_description> </scene> <scene> <stage_direction>EXT. BEACH -- DAWN.</stage_direction> <scene_description>Snow White sees the portcullis shoot up now, the dwarves hanging onto the counterweights for dear life. Smiling in relief, she gallops through the open gates with Eric and William.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE COURTYARD -- DAWN.</stage_direction> <scene_description>The Duke's riders charge into the courtyard. ARCHERS fire at them from every corner of the castle, but they raise their shields and leap off their horses, forming a defensive wedge.</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY/ RAVENNA'S CASTLE - DAY.</stage_direction> <scene_description>From her balcony above the portcullis, Ravenna watches her own men being slaughtered; she enjoys the spectacle (Ravenna does not care one bit about those men). Her eyes are locked on Snow White.</scene_description> <character>RAVENNA</character> <dialogue>Let her come to me ••• ALIVE!</dialogue> <scene_description>Ravenna's soldiers are merely there to hold Snow White's army back. She has planned the whole thing, calculated every move.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE COURTYARD - SAME - DAY.</stage_direction> <character>TORTOISE FORMATION</character> <dialogue>RAVENNA.</dialogue> <character>SNOW WHITE FIGHTS</character> </scene> <scene> <stage_direction>EXT. BALCONY/ RAVENNA'S CASTLE - DAY.</stage_direction> <scene_description>Like a spider waiting in her web, with no concern about her soldiers' situation, Ravenna remains calm and calculated. Ravenna turns around and leaves the balcony to the throne room.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE COURTYARD - SAME - DAY.</stage_direction> <scene_description>SNOW WHITE rushes into the castle. As soon as she passes the door a dozen of Ravenna's men come outside closing the trap. CONTINUED: Now Eric, William and their men have to fight the road block. In the courtyard, Ravenna's men are losing more and more ground. Snow White's army will win. CONTINUED: ( 2) Eric and William fight like demons, twice as fast, twice as strong ..•• They MUST pass. OMITTED OMITTED OMITTED 206a OMITTED 206a 206b OMITTED 206b</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - DAY.</stage_direction> <scene_description>Snow White storms into the throne room. She is breathing heavily, a mix of fear and determination.</scene_description> <character>KNOCK ... KNOCK €�€�€� KNOCK</character> <dialogue>The raven claw ring, taps, resonating through the halls. \* Ravenna stands at the top of the stairs, the mirror room \* behind her. \* Snow White approaches. \*</dialogue> <character>SNOW WHITE</character> <dialogue>It ends today ••• I have come for YOU!</dialogue> <character>RAVENNA \*</character> <parenthetical>(mockingly)</parenthetical> <dialogue>My rose has returned</dialogue> <parenthetical>(looking at Gus' small sword)</parenthetical> <character>\*</character> <dialogue>•.. with a thorn!</dialogue> <scene_description>207a OMITTED 207a 207 a CONTINUED: 207 a OMITTED OMITTED 209a INT. THRONE ROOM - DAY. 209a Eric, William and a dozen men rush in. \* Ravenna smiles, raises her hand. \*</scene_description> <character>RAVENNA</character> <dialogue>I'll show you thorns!</dialogue> <scene_description>In a terrifying tremor, the black ceiling of the throne room \* starts to shatter into millions of shards. \* Snow White turns back to see William, Eric and Hammond's men - \* the shards fall down like razor blades. \* The men try to protect themselves. Some are caught out and \* skewered to the stone floor. Ravenna looks down at them in \* complete satisfaction. \*</scene_description> <character>\*</character> <dialogue>The millions of black shards circle around Eric and his men, \* completely blocking them and keeping them away from Snow White.</dialogue> <character>RAVENNA</character> <dialogue>Come! .•• Avenge your father, who was too weak to raise his sword.</dialogue> <scene_description>The millions of shards assemble themselves into three seven \* foot tall, razor sharp creatures. The DARK FAERIES: Ravenna's \* ultimate soldiers. Snow White looks at Eric and William - unable to help her. \* 209a CONTINUED: 209a Eric, William and the other men are completely surrounded by these creatures; they move so fast. Eric tries to step away from them ••• to no avail. One of the creatures rises in front of William. William tries to slash the creature. His sword goes through and the creature reforms itself right away. The Dark Faerie opens it's mouth and screeches. \* William gets smashed aside, saved only by his shield. The \* Dark Faerie grabs the soldier right behind William and sends him crashing into the wall. \* Snow White walks up the stairs, torn and powerless. \* She looks at Eric one last time. \* Eric looks back as he fights off a Dark Faerie with his two \* shields. He knows he does not have much time left but he is ready to make the final sacrifice.</scene_description> <character>ERIC</character> <parenthetical>( battle cry! )</parenthetical> <dialogue>Kill her!</dialogue> <scene_description>209b INT. MIRROR CHAMBER - DAY. 209b Snow White braces herself and promptly follows Ravenna into the mirror room. Now Snow White is exactly where Ravenna wants her to be. The two women circle each other like heavyweight boxers.</scene_description> <character>SNOW WHITE</character> <dialogue>Ten years you locked me away!</dialogue> <scene_description>Ravenna seems to relish this. \*</scene_description> <character>RAVENNA</character> <dialogue>And every day, every hour led you to this</dialogue> <scene_description>moment. It burned inside you. It drove you forward, and here you are •. Listening only to her heart, Snow White lunges towards \* Ravenna and tries - strikes at her with her sword. -\* Ravenna steps aside and with very little effort - throws her \* to the other side of the room.</scene_description> <character>RAVENNA</character> <dialogue>That's it. Fight. Fight for your land ••• for your loss and for Hope! \*</dialogue> <scene_description>209b CONTINUED: 209b Snow White slams and slides across the floor, she stops under \* the archway at the top of the stairs. She is dazed. \* Ravenna treads on her back, then grabs her hair, pulls her \* head up to see William and his men being massacred. \*</scene_description> <character>RAVENNA \*</character> <dialogue>Watch them die. You gave them hope and \* they believed you. You have lead them to \* their deaths. How foolish your followers. \*</dialogue> <scene_description>209c INT. THRONE ROOM - SAME - DAY 209c \* Eric is trying to stay alive. He rams a Faerie into a pillar. Shredding the stone, the Faerie explodes in shards and reforms immediately behind Eric. Grabbing the first man in sight, the Faerie throws the poor soldier to the other side of the room. On the opposite side another Faerie slides faster than the blink of ·an eye, grabs the man in flight extending it's cutting limbs and claws the soldier to his death. It is like carnage in slow motion. 209d OMITTED 209d 209e MOVED TO 209B 209e \*</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - SAME - DAY.</stage_direction> <scene_description>William is being overrun by a school of shards. The shards shape up into a Faerie taking William up high. In a violent arm blow, the Faerie projects William onto the banquet table six feet lower. The table shatters in splinters, William bouncing like a rag doll. Spinning around on it's way down, the Faerie skewers a soldier and impales another one into a pillar. The Faerie drags him ten feet up, tearing and digging deep into the stone column.</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER - DAY.</stage_direction> <scene_description>Enraged, Snow White jolts her body and frees herself from \* Ravenna's grasp. She swings her sword at Ravenna. She parries every attack \* with her bare hands. Snow White is breathless. One more strike ••• but Ravenna blocks it again, and this time she doesn't let go. CONTINUED:</scene_description> <character>RAVENNA</character> <parenthetical>(face to face with Snow White)</parenthetical> <dialogue>You were never ready for this princess!</dialogue> <scene_description>Snow White struggles to get out of her lock. Ravenna is too strong. Snow White's wrist is twisted. She holds her sword tight but can't use it. Ravenna forces the twist. Her fragile bones \* crack. \* Snow White screams in pain. The sword drops on the ground.</scene_description> <character>SNOW WHITE</character> <parenthetical>(grunting)</parenthetical> <dialogue>I will. . . defeat. • • you. • • I am the \* only •••</dialogue> <character>RAVENNA</character> <dialogue>Oh ••• please!</dialogue> <scene_description>Ravenna back hands Snow White, sending her crashing to the \* wall. SLAM! Cuts on her face. \* Ravenna looms closer, through the fire in the middle of the \* room. She stands IN the fire, unaffected. \* For Snow White it is a vision of pure hell. So much power, so much hate.</scene_description> <character>RAVENNA</character> <dialogue>I have lived many lives. Ravaged entire kingdoms, I have been given powers you can't fathom. You cannot defeat ME? \* ....• you are but a child! \*</dialogue> <parenthetical>(laughing)</parenthetical> <dialogue>Ravenna's skin blisters and heals. Ravenna raises her arms and black shards start to cover the walls behind her ••• entombing them in darkness ••. the trap closes.</dialogue> <scene_description>\*:</scene_description> <character>RAVENNA \*</character> <dialogue>But you are right .•. it is over. \*</dialogue> <scene_description>Ravenna's laughter pierces Snow White like a dagger. \* She feels powerless and lost, spitting blood and exhausted. \* What else can she do? Snow White stands up, stumbles, her right arm limp, blood \* dripping down her face. \* She stares at Ravenna, she won't back down ••• she will never back down.</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - SAME - DAY.</stage_direction> <scene_description>William, stumbling upon the dead bodies of his comrades, sees the shards starting to obstruct the entry of the mirror room. He runs towards it. Eric sees him and goes for it too. Behind William and in front of Eric, a Dark Creature shapes up. William doesn't see it. The Faerie claws William from behind through his armor, stopping him still and sending him backwards against a pillar like a stone ricochet. The Faerie spins it's head 180 degrees and goes from turning its back to Eric ••• to facing the huntsman. Eric stops and tries to pull back. The Faerie powers up gathering shards from another creature, doubling in size and density. Like a fire hose of black shards, the Dark Faerie unloads a stream of razor blades at Eric. Eric digs his heels in ••• slowly grinds and slides on the floor, double shields up. The shields are being shredded. One shield gives way completely torn slicing Eric's arm. Eric has one shield left. He kneels down ••• it is a matter of seconds.</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER - DAY.</stage_direction> <scene_description>Ravenna approaches and grabs Snow White by the throat, squeezing hard. Snow White is chocking.</scene_description> <character>RAVENNA</character> <dialogue>I will never stop ••• I will give this wretched world the Queen it deserves ••• \*</dialogue> <scene_description>Ravenna slams Snow White down onto the stone floor next to \* the mirror altar. Snow White stretches for her sword as Ravenna approaches.</scene_description> <character>\*</character> <dialogue>Ravenna un-sheaths her dagger. \*</dialogue> <character>RAVENNA</character> <parenthetical>(to herself)</parenthetical> <dialogue>A life .•• for a life.</dialogue> <scene_description>CONTINUED: Snow White tries to reach her sword with her left hand, but it is too far. She tries to drag herself a little closer .•. \* still too far. Ravenna straddles Snow White, raises her dagger above her \* head - smiling, relishing the imminent death blow. The black \* tomb has closed in around them. \* Eric watches - despair wrought on his face - as the knife \* falls. \*</scene_description> <character>\*</character> <dialogue>RAVENNA</dialogue> <parenthetical>(in a spell incantation)</parenthetical> <dialogue>By fairest blood it is done!</dialogue> <character>\*</character> <dialogue>Ravenna strikes ••• in the blink of an eye Snow White blocks her strike, reaches for her dagger and plunges it into \* Ravenna's chest, just as the huntsman taught her.</dialogue> <character>\*</character> <dialogue>\*</dialogue> <scene_description>Ravenna gasps, locks eyes with Snow White. \*</scene_description> <character>SNOW WHITE</character> <parenthetical>(whispers to Ravenna)</parenthetical> <dialogue>By fairest blood ••. it is undone!</dialogue> <scene_description>Ravenna looks down. Three drops of blood fall onto Snow \* White's armor.</scene_description> <character>BOOM ..€� BOOM €�€�€� BOOM</character> <dialogue>Ravenna stares in shock and disbelief. \*</dialogue> <character>RAVENNA \*</character> <dialogue>NO! \*</dialogue> <scene_description>She pulls out the dagger, her face starts to age. \* Ravenna is aging at an incredible pace. Her body gives way and she slumps to the floor, below the mirror. \* She looks at the mirror above her, gasping, reaching out, her \* pale eyes looking for a friend, a miracle ••. but nothing. \* The black shards that entombed the room start to shatter and \* fall to the floor. \*</scene_description> </scene> <scene> <stage_direction>INT. THRONE ROOM - SAME - DAY.</stage_direction> <scene_description>William is on the ground, out of strength and has given up the fight. A dark creature is slowly close to reaching William's face with his sharp claws as William tries to hold the creature's arm with his bare hands, severely bleeding. CONTINUED: The Faeries have slowed down dramatically. Eric grabs a sword on the ground and slices the Faerie in front of him ••• the Faerie shatters. William looks at Eric, in desperation begging for help. The two men lock eyes. A silent understanding. CONTINUED: (2) Eric throws his sword and blows the other Dark Faerie in pieces, releasing William. A silent pact has been made at this moment between the two men. The remaining Dark Creature freezes. Eric and William are barely alive.</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER - DAY.</stage_direction> <scene_description>Snow White approaches Ravenna and kneels beside her, Ravenna is weak. She ages dozens of years within seconds, her face \* shows no anger, no hate, just a strange understanding.</scene_description> <character>SNOW WHITE</character> <dialogue>Why this? Why all of this?</dialogue> <character>\*</character> <dialogue>Snow White, overwhelmed by compassion, places her hand on Ravenna's chest. Ravenna puts her own wrinkled hand on Snow White's. Ravenna smiles. She gently taps on Snow White's ... in a \* strange and affectionate motherly way.</dialogue> <character>\*</character> <dialogue>Eric and William, exhausted and battered climb the steps of \* the mirror chamber. It is over.</dialogue> <character>\*</character> <dialogue>Ravenna stares up at Snow White's face in a shining halo of light above her from the ceiling.</dialogue> <character>RAVENNA</character> <parenthetical>(whispering to Snow White)</parenthetical> <dialogue>See child, ... we are bound.</dialogue> <character>SNOW WHITE</character> <parenthetical>(whispers to Ravenna calming)</parenthetical> <dialogue>It will be all right •.•</dialogue> <scene_description>Ravenna whispers incomprehensible words with a peaceful smile on her face. The clouds move in the disc of light above Snow \* White. The light falls over Ravenna's face. \* The light fades out of her eyes and she dies. \*</scene_description> </scene> <scene> <stage_direction>EXT. CLOISTER GARDENS/ CASTLE - DAY.</stage_direction> <scene_description>In the cloister gardens, a blossom flowers on the apple tree and the world is born again -- OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MIRROR CHAMBER/ CASTLE - DAY.</stage_direction> <scene_description>In death, Ravenna's beautiful blue eyes are wide open, fixed on the halo of light that surrounds Snow White's head. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CATHEDRAL - DAY</stage_direction> <character>SNOW WHITE</character> <dialogue>Backlit in a golden hue. A crown is placed on her head. We 're in ...</dialogue> <dialogue>Packed for the coronation. Duke Hammond and Bishops surround her. Snow White smiles and looks out at all assembled - her subjects, her friends, the people she's come to know and love - meeting the eyes of Rose, looking young and beautiful again -- Anna and Lily -- the seven dwarves, who all wipe away tears.</dialogue> <dialogue>She sees William off to the side, smiling, looking on adoringly. But her eyes continue through the crowd, looking for --</dialogue> <dialogue>Eric, in the very back of the cathedral, near the door.</dialogue> <dialogue>Their eyes meet, as if they're the only two in the room. This lasts several moments until --</dialogue> <character>BEITH</character> <dialogue>Hail to the Queen!</dialogue> <scene_description>And then the huntsman smiles and leaves.</scene_description> <character>ERIC V/0</character> <dialogue>The land was healed, and the rightful Queen brought an age of peace and prosperity.</dialogue> </scene> <scene> <stage_direction>EXT. CASTLE - DAY</stage_direction> <scene_description>We drop down from the castle to find the huntsman, on horseback heading toward us.</scene_description> <character>ERIC (V.O.)</character> <dialogue>As for the huntsman •••</dialogue> <scene_description>Eric goes under the village arch, back toward the forest.</scene_description> <character>ERIC (V.O.)</character> <dialogue>He returned to the forest where he belonged.</dialogue> </scene> </script>

While admiring a bright red rose blooming during a white winter, Queen Eleanor of Tabor pricks her finger on its thorns. Three drops of blood fall onto the snow, and she wishes for a daughter with skin as white as snow, lips as red as blood, hair as black as a raven's wings, and a heart as strong as the rose. The queen gives birth to Snow White but falls ill and dies many years later. After her death, Snow White's father, King Magnus, and his army battle an invading army of glass soldiers. King Magnus finds a prisoner called Ravenna, becomes enchanted with her beauty and marries her the next day. Ravenna is in fact a powerful sorceress who used the false glass army to charm her way into the kingdom. On their wedding night, she confesses that there was a king much like Magnus that used her, hurt her, then discarded her. She kills Magnus before taking over the kingdom. Snow White's childhood friend William and his father, Duke Hammond, escape but are unable to rescue her, and she is locked away in a tower for years. Tabor and its people deteriorate under Queen Ravenna’s rule. She periodically drains the youth from the kingdom's young women in order to maintain a spell cast over her as a child by her mother, which allows Ravenna to keep her youthful beauty. When Snow White comes of age, Ravenna learns from her Magic Mirror that Snow White is destined to destroy her unless she consumes the girl's heart, which will make her immortal. Ravenna sends her brother Finn to bring her the princess, but Snow White escapes into the Dark Forest, where Ravenna has no power. The Queen makes a bargain with Eric the Huntsman, a widower and drunkard, to capture Snow White, promising to bring his wife back to life in exchange. However, when Finn reveals that Ravenna does not actually have the power to revive the dead, the Huntsman helps Snow White escape. The Duke and William learn that Snow White is alive, so William leaves the castle to find her, joining Finn's group as a bowman. Snow White saves the Huntsman's life by charming a troll that attacks them. They make their way to a fishing village populated by women who have disfigured themselves to make themselves useless to Ravenna. The Huntsman learns Snow White's true identity, and leaves her in the care of the women. He returns when he sees the village being burned down by Finn's men. Snow White and the Huntsman evade them and meet a band of eight dwarfs. The blind dwarf, Muir, perceives that Snow White is the only person who can end Ravenna's reign. As they travel through a fairy sanctuary, they are attacked by Finn and his men. A battle ensues during which Finn, his men, and one of the dwarfs are killed. William joins the group on their journey to Hammond's castle. Ravenna disguises herself as William and tempts Snow White into eating a poisoned apple before fleeing. William kisses Snow White, though nothing happens. A single tear is shed from her eye. Snow White's body is taken to Hammond's castle. The Huntsman professes his regret for being unable to save her, as her heart and strength remind him of his wife, Sara. He kisses her yet does not notice a second tear fall from her eyes, as two kisses of true love breaks the spell. Snow White awakens and rallies the Duke's army to mount a siege against Ravenna. The dwarfs infiltrate the castle through the sewers and open the gates, allowing the army inside. Snow White and Ravenna fight. Ravenna is about to kill her when Snow White uses a move the Huntsman taught her and stabs Ravenna to death. The kingdom once again enjoys peace as Snow White is crowned the new Queen of Tabor.

Young Frankenstein_1974

tt0072431

<script> <scene> <stage_direction>EXT. FRANKENSTEIN CASTLE</stage_direction> <scene_description>A BOLT OF LIGHTNING ! A CRACK OF THUNDER ! On a distant , rainy hill , the old Frankenstein castle , as we knew and loved it , is illuminated by ANOTHER BOLT OF LIGHTNING . MUSIC : AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. ANOTHER ANGLE as we MOVE SLOWLY CLOSER to the castle . It is completely dark , except for one room - a study in the corner of the castle - which is only lit by candles . Now we are just outside a rain - splattered window of the study . We LOOK IN and SEE :</scene_description> </scene> <scene> <stage_direction>INT. STUDY - NIGHT</stage_direction> <scene_description>An open coffin rests on a table we can not see it 's contents . As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW . A CLOCK BEGINS TO CHIME : `` ONE , '' `` TWO , '' `` THREE , '' `` FOUR . '' We are ALMOST FACING the front of the coffin . `` FIVE , '' `` SIX , '' `` SEVEN , '' `` EIGHT . '' The CAMERA STOPS . Now it MOVES UP AND ABOVE the satin - lined coffin . `` NINE , '' `` TEN , '' `` ELEVEN , '' `` T W E L V E ! '' THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm ; the other half has decayed to skull . Below his head is a skeleton , whose bony fingers cling to a metal box . A HAND reaches in to grasp the metal box . It lifts the box halfway out of the coffin - the skeleton 's fingers rising , involuntarily , with the box . Then , as of by force of will , the skeleton 's fingers grab the box back and place it where it was . Now the `` Hand '' - using its other hand - grabs the box back from the skeleton 's fingers . The skeleton no longer resists . CORNELIUS WALDMAN whose `` Hands '' we have just seen , now carries the box to a small table . He takes a tiny key out from his vest pocket and begins to unlock the metal box . NINE PEOPLE watch him closely . They are seated on chairs in the study , waiting to hear the contents of Beaufort Frankenstein 's will . Their dress is turn - of - the - century Transylvanian . Cornelius Waldman fumbles with the lock , emitting strange grunts as he tries to open it . With each grunt , the face of a `` potential Heir '' is SEEN , squirming with frustration or anger .</scene_description> <character>FIRST VILLAGER</character> <parenthetical>( WALTER . )</parenthetical> <dialogue>Fumbling fool! For two kronen I'd rip that box fight out of his hands.</dialogue> <character>ILSE</character> <parenthetical>( HIS WIFE . )</parenthetical> <dialogue>Shhh!</dialogue> <character>NINETY-YEAR-OLD VILLAGER</character> <parenthetical>( HENRICH . )</parenthetical> <dialogue>Hurry. Idiot, hurry!</dialogue> <character>AGATHA</character> <parenthetical>( HIS WIFE . )</parenthetical> <dialogue>Quiet, Henrich! We've waited seventy years. another three or four seconds wo n't hurt.</dialogue> <character>NINETY-YEAR-OLD VILLAGER</character> <dialogue>Another three of four more seconds? I could be dead by then.</dialogue> <character>AGATHA</character> <dialogue>Shhh!</dialogue> <character>FIFTH VILLAGER</character> <parenthetical>( A MAN . )</parenthetical> <dialogue>What if he's left you out?</dialogue> <character>HELENE</character> <parenthetical>( HIS GIRL FRIEND . )</parenthetical> <dialogue>Just let him try - I'll take care of him.</dialogue> <character>ANASTASIA</character> <parenthetical>( A MIDDLE - AGED WOMAN . )</parenthetical> <dialogue>Oh, Mommy. I hardly remember. Did the Baron really like me when I was a child?</dialogue> <character>MARLENE</character> <parenthetical>( HER MOTHER . )</parenthetical> <dialogue>Like a father!</dialogue> <character>NINTH VILLAGER</character> <parenthetical>( WOLFGANG . )</parenthetical> <parenthetical>( muttering to himself . )</parenthetical> <dialogue>Wenn dieser Bloder kerl sich nicht beeilt verde ich verruckt. Was zum Teufel machte?</dialogue> <character>MARLENE</character> <dialogue>Shhh!</dialogue> <scene_description>Cornelius Waldman finally opens the lock . He takes out an old parchment , puts on his glasses , coughs and sputters a few times , and then begins to read .</scene_description> <character>CORNELIUS WALDMAN</character> <dialogue>` I, Beaufort Frankenstein, in this my eighty third year of life, do hereby make, publish and declare the following statements as and for my last will and testament, and I direct my executor, Cornelius Waldman, to inform and assemble those persons previously divulged to him, that they may hear - in my own voice - the final disposition of my property.'</dialogue> <scene_description>At the words , `` In my own voice , '' the nine `` Potential Heirs '' exchange curious glances .</scene_description> <character>CORNELIUS WALDMAN</character> <parenthetical>( still reading . )</parenthetical> <dialogue>` Such disposition to commerce at the hour of twelve o'clock of my one hundredth birthday. If all the conditions heretofore set forth have been met, now then - hear once more, and for the last time. the authenticity of my own voice!'</dialogue> <scene_description>Cornelius Waldman nos to a Clerk , HERR FALKSTEIN , who is standing nearby . Herr Falkstein places the needle of an old victrola onto an already spinning record . It SCRATCHES and then begins to PLAY .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>How do you do this thing? Where? In here? Just talk right into it? All right. Am I close enough? All right, all right - get the hell out of the way.</dialogue> <parenthetical>( He clears his throat , then speaks in a deep , majestic voice . )</parenthetical> <dialogue>The once proud name of Frankenstein has been dragged, by my only son, Victor, into an abyss of shame. There was a time when the name ` Frankenstein' conjured dreams of virtue, of honor and devotion. Now, no guilt, no malignity, no misery can be found to equal mine. And the catalogue of sins of my once devoted son will not cease to rankle in my wounds until death shall close them forever - so supremely frightful is the effect of any human endeavor to mock the stupendous mechanism of the Creator of the world. Did you get all that? Are you sure you got ` rankle in my wounds'? I'll kill you if you screw this up. All right, all right. Now as to the disposition of my estate.</dialogue> <scene_description>Everyone in the room sits alert .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s. ) .</parenthetical> <dialogue>To my cousins, Henrich and Agatha.</dialogue> <scene_description>THE NINETY - YEAR - OLD VILLAGER AND HIS WIFE</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>. and to my cousin Walter and his wife Ilse.</dialogue> <scene_description>WALTER AND ILSE</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s. ) .</parenthetical> <dialogue>and to my niece Helene.</dialogue> <scene_description>HELENE sitting with her boyfriend .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s. ) .</parenthetical> <dialogue>and my dear nephew Wolfgang.</dialogue> <scene_description>WOLFGANG sitting alone .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>. and lastly, to my cherished old friend, Marlene, and her charming daughter, Anastasia.</dialogue> <scene_description>ANASTASIA AND HER MOTHER</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>. to all of you, in equal shares, I hereby give, devise and bequeath, absolutely and without any restrictions whatsoever, all property of every sort and description, whether real, personal or mixed, to which my estate shall be entitled.</dialogue> <scene_description>HENRICH AND AGATHA are hugging each other . WALTER AND ILSE hugging each other . HELENE AND ANASTASIA hugging each other . WOLFGANG is hugging himself .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Unless!</dialogue> <scene_description>GROUP SHOT They all look up suddenly from their hugging . ANOTHER ANGLE SCRATCH , SCRATCH , SCRATCH . the needle has reached the end of the first side . HERR FALKSTEIN lifts the arm off and turns the record over .</scene_description> <character>HERR FALKSTEIN</character> <parenthetical>( apologetically . )</parenthetical> <dialogue>It's a seventy eight.</dialogue> <scene_description>He places the needle on the record .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>. Unless. my only male heir, my great - grandson, Frederick - whom I have never seen but who is, at the time of this recording, ten years of age and residing in America with my granddaughter, Katherine - has, by his own free will, embraced Medicine as his career and acquitted himself with some measure of esteem. Then, to him I leave. everything!</dialogue> <scene_description>The nine `` Potential Heirs '' are expressionless .</scene_description> <character>VOICE OF BEAUFORT FRANKENSTEIN</character> <parenthetical>( o.s . )</parenthetical> <dialogue>My castle, together with its laboratory, its public and private library, and all notes and journals contained therein, all acreage surrounding my estate, plus all income and principle thereof. in the fond hope that yet another Frankenstein shall lift our family name to an eminence of dignity, and sanity, that it once enjoyed. As for my dear friends and relations, should this latter improbability come to be. I know that I have your complete understanding. For the road to salvation and repentance must be paved up the avenue of my soul, and not up yours, up yours, up yours, up yours, up yours.</dialogue> <scene_description>Herr Falkstein removes the needle from the finished record .</scene_description> <character>CORNELIUS WALDMAN</character> <dialogue>Herr Falkstein! Did you inform Frederick Frankenstein of this assembly and all the particulars of the time and place?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>I did, sir.</dialogue> <scene_description>He takes a cablegram out from his pocket .</scene_description> <character>HERR FALKSTEIN</character> <dialogue>But I received a cable only this morning, saying that he could not come.</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>Was he aware of the importance of this occasion?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Yes, sir, he was. But he said he was obligated to lecture at Johns Hopkins University.</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>What lecture could be more important than the will of Baron Beaufort Frankenstein?</dialogue> <character>HERR FALKSTEIN</character> <parenthetical>( reading the cable . )</parenthetical> <dialogue>` Functional areas of the cerebrum in relation to the skull.'</dialogue> <scene_description>The Ninety - Year - Old Villager passes out .</scene_description> <character>ANASTASIA</character> <parenthetical>( very sweetly . )</parenthetical> <dialogue>Excuse me, Mr. Waldman - excuse me for interrupting. But is Frederick, then. a medical doctor?</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>Yes, my dear, he is.</dialogue> <character>ANASTASIA</character> <dialogue>And has he achieved. any special degree of eminence?</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>He is the fifth leading authority in his field.</dialogue> <character>ANASTASIA</character> <parenthetical>( sinking her head into her hand . )</parenthetical> <dialogue>Oh, shit.</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>Herr Falkstein - you must go at once and present Dr. Frankenstein with all the details of his inheritance. The estate will provide for your journey.</dialogue> <character>HELENE</character> <dialogue>I object, Herr Waldman! This is a travesty. If the beloved great - grandson cared anything at all for the House of Frankenstein, he would have shown it by being here with those of us who still have some respect. I think we should completely disregard the afterthoughts of a very old man.</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>Madam - the foundation of civilization rests upon adherence to the law. And the Law is the Law. Das Gesetz ist das Gesetz!</dialogue> <scene_description>Wolfgang - the man who mutters only in German - CRASHES the back of his head halfway into the wall behind him .</scene_description> <character>CORNELIUS WALDMAN</character> <dialogue>Herr Falkstein! You have your instructions!</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Yes, sir.</dialogue> <character>CORNELIUS WALDMAN</character> <dialogue>I have taken an oath that each letter of this testament shall be executed. and by God, it shall be done!</dialogue> <scene_description>The lid of Beaufort Frankenstein 's coffin SLAMS SHUT by itself . LEGEND ON THE SCREEN It reads : JOHNS HOPKINS HOSPITAL</scene_description> <character>BALTIMORE, MARYLAND</character> <dialogue /> </scene> <scene> <stage_direction>INT. MEDICAL ARENA - DAY</stage_direction> <scene_description>Herr Falkstein quietly enters into the balcony of an arena packed with young MEDICAL STUDENTS . A lecture is in progress .</scene_description> <character>LECTURER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>If we look at the base of a brain which has just been removed from a skull, there's very little of the midbrain that we can actually see.</dialogue> <scene_description>Herr Falkstein proceeds , almost on tiptoe , along the aisle towards a vacant seat . He is carrying a briefcase and a small metal box .</scene_description> <character>LECTURER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Yet, as I demonstrated in my lecture last week, if the under aspects of the temporal lobes are gently pulled apart, the upper portion of the stem of the brain can be seen.</dialogue> <scene_description>Herr Falkstein 's footsteps ECHO ever so lightly against the cold stone floor , as he passes the faces of students intense with concentration .</scene_description> <character>LECTURER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>This so called ` brain stem' consists of the midbrain, a rounded protrusion called the pons, and a stalk tapering downwards called the medulla oblongata which passes out of the skull through the foramen magnum and becomes, of course. the spinal cord.</dialogue> <scene_description>Herr Falkstein finds a vacant place and sits down .</scene_description> <character>LECTURER'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Which brings us directly to the demonstration prepared for today. Are there any questions before we proceed?</dialogue> <character>MEDICAL STUDENT</character> <parenthetical>( rising . )</parenthetical> <dialogue>I have one question, Dr. Frankenstein.</dialogue> <scene_description>ANOTHER ANGLE Our first LOOK at the famous Lecturer .</scene_description> <character>FREDDY</character> <dialogue>That's ` Fronkonsteen.'</dialogue> <character>MEDICAL STUDENT</character> <dialogue>I beg your pardon?</dialogue> <character>FREDDY</character> <dialogue>My name is pronounced Fron kon steen.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Oh! I thought it was Dr. Frankenstein.</dialogue> <character>FREDDY</character> <dialogue>No, it's Dr. Fronkonsteen!</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But are n't you the grandson of the famous Dr. Victor Frankenstein? who performed such fascinating experiments in electricity and galvanism?</dialogue> <character>FREDDY</character> <dialogue>That's true! But my grandfather, Victor was, after all, what we might politely refer to as. a cuckoo!</dialogue> <scene_description>Polite laughter .</scene_description> <character>FREDDY</character> <dialogue>I prefer, by far, to be remembered for my own small contributions to science. Now if we can proceed to your questions.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Well sir. I'm not sure I understand the distinction between ` Reflexive' and ` Voluntary' nerve impulses.</dialogue> <character>FREDDY</character> <dialogue>Very good! Since our lab work today is a demonstration of just that distinction. why do n't we proceed?</dialogue> <scene_description>Behind Freddy is a PATIENT , lying on an operating table . CARLSON , an assistant , stands near the Patient , next to a small table of instruments .</scene_description> <character>FREDDY</character> <dialogue>What are we actually talking about when we use the term, ` Brain'? We are talking about. a cauliflower!</dialogue> <scene_description>Freddy turns to Carlson .</scene_description> <character>FREDDY</character> <dialogue>May I have the cauliflower, please!</dialogue> <scene_description>Carlson hands Freddy a giant cauliflower .</scene_description> <character>FREDDY</character> <dialogue>If we make a small slit, down the center of this cauliflower.</dialogue> <scene_description>Freddy turns to Carlson , who hands him the scalpel . Freddy makes a small slit down the center of the cauliflower .</scene_description> <character>FREDDY</character> <dialogue>and then, ever so gently, gently, gently. pull it apart.</dialogue> <scene_description>Freddy has some difficulty pulling the cauliflower apart . It begins to crumble , but he goes on , professionally .</scene_description> <character>FREDDY</character> <dialogue>we should find, with any luck at all. a stalk of. celery!</dialogue> <scene_description>There is no celery inside the cauliflower . Freddy flushes red .</scene_description> <character>FREDDY</character> <parenthetical>( to Carlson . )</parenthetical> <dialogue>Where did you get this cauliflower?</dialogue> <character>CARLSON</character> <dialogue>From your office, sir.</dialogue> <character>FREDDY</character> <dialogue>Did n't you prepare it with the celery before my lecture?</dialogue> <character>CARLSON</character> <dialogue>Yes, sir. But I must have taken the wrong one when we came up.</dialogue> <character>FREDDY</character> <parenthetical>( in quiet rage . )</parenthetical> <dialogue>Are you trying to make me look like an idiot?</dialogue> <character>CARLSON</character> <dialogue>No, sir. It will never happen again.</dialogue> <character>FREDDY</character> <parenthetical>( handing him the cauliflower . )</parenthetical> <dialogue>Here! This cauliflower is useless to me.</dialogue> <scene_description>Freddy turns back to his audience .</scene_description> <character>FREDDY</character> <dialogue>With any normal cauliflower, we would have found a stalk of celery, or. ` Brain Stem' which brings us to the practical application of our study.</dialogue> <scene_description>Freddy moves behind the Patient on the table .</scene_description> <character>FREDDY</character> <dialogue>Mr. Hilltop here - with whom I have never worked of given any prior instructions to - has graciously offered his services for this afternoon's demonstration. Mr. Hilltop!</dialogue> <character>HILLTOP</character> <dialogue>Yes, sir?</dialogue> <character>FREDDY</character> <dialogue>Have we ever seen each other before this afternoon?</dialogue> <character>HILLTOP</character> <dialogue>No, sir.</dialogue> <character>FREDDY</character> <dialogue>Tell them!</dialogue> <character>HILLTOP</character> <parenthetical>( turning to the Medical Students . )</parenthetical> <dialogue>No, sir - we have n't.</dialogue> <character>FREDDY</character> <parenthetical>( to his audience . )</parenthetical> <dialogue>Do I lie?</dialogue> <parenthetical>( to Mr. Hilltop . )</parenthetical> <dialogue>Would you be so kind enough to hop up on your feet and stand beside this table.</dialogue> <scene_description>Mr. Hill top gets off of the table and stands erect .</scene_description> <character>FREDDY</character> <dialogue>Mr. Hilltop! Would you raise your left knee, please!</dialogue> <scene_description>Mr. Hilltop raises his left knee .</scene_description> <character>FREDDY</character> <dialogue>You have just witnessed a ` Voluntary' nerve impulse. It begins as a stimulus from the cerebral cortex, passes through the brain stem and then to the particular muscle involved. Mr. Hilltop, you may lower your knee.</dialogue> <scene_description>He lowers his knee .</scene_description> <character>FREDDY</character> <dialogue>Reflex movements are those which are made independently of the will, but are carried out along pathways which pass between the periphery and the central nervous system. You filthy, rotten, yellow son of a BITCH!</dialogue> <scene_description>Freddy pokes his knee close to Mr. Hilltop 's balls . Mr. Hilltop reacts accordingly .</scene_description> <character>FREDDY</character> <dialogue>We are not aware of the impulses, neither do we intend them to contract our muscles. Yet - as you can see - they work by themselves.</dialogue> <scene_description>By this time , Mr. Hilltop has lowered his protective thigh . a little nervously .</scene_description> <character>FREDDY</character> <dialogue>Now then! Modern research has shown us that by simply applying local pressure of ` blocking' the nerve impulse. which can be done with any ordinary metal clamp.</dialogue> <scene_description>Freddy reaches out his hand . Carlson hands him a bicycle clamp . Freddy holds Mr. Hilltop 's head and places the clamp behind Mr. Hilltop 's ears .</scene_description> <character>FREDDY</character> <dialogue>Just at the swelling on the posterior nerve root - for, oh say five or six seconds.</dialogue> <scene_description>A short pause . Freddy looks at his watch .</scene_description> <character>FREDDY</character> <dialogue>Why you mother - grabbing BASTARD!</dialogue> <scene_description>Freddy once again jerks his knee close to Mr. Hilltop 's balls . This time Mr. Hilltop does n't move . He is almost ready to pass out .</scene_description> <character>FREDDY</character> <dialogue>All communication is shut off.</dialogue> <scene_description>Similarly , damage to a nerve will mean that not all the impulses can get through and there will be weakness of a muscle . Mr. Hilltop collapses to the floor . Freddy never looks down .</scene_description> <character>FREDDY</character> <dialogue>or group of muscles, with some loss of skin sensation on the area supplied by that nerve. In spite of our mechanical magnificence, if there is not this continuous stream of impulses. we would collapse like. a bunch of broccoli.</dialogue> <scene_description>A smattering of POLITE APPLAUSE . Freddy reaches down and removes the metal clamp from Mr. Hilltop 's head .</scene_description> <character>FREDDY</character> <parenthetical>( to Carlson . )</parenthetical> <dialogue>Give him an extra dollar.</dialogue> <character>CARLSON</character> <dialogue>Yes, sir.</dialogue> <scene_description>Carlson picks up Mr. Hilltop and places him on the operating table .</scene_description> <character>FREDDY</character> <dialogue>In conclusion. it should be noted that more than common injury to the nerve roots is always serious, because. once a nerve fiber is severed. there is no way to regenerate life back into it. Are there any more questions before we leave?</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Dr. Fronkonsteen!</dialogue> <character>FREDDY</character> <dialogue>Yes?</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Is n't it true that Darwin preserved a piece of vermicelli in a glass case until, by some extraordinary means, it actually began to move with voluntary motion?</dialogue> <character>FREDDY</character> <dialogue>A piece of what?</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Vermicelli.</dialogue> <character>FREDDY</character> <dialogue>Are you speaking of the worm, or. the spaghetti.</dialogue> <character>FREDDY</character> <dialogue>Why the worm, Sir.</dialogue> <character>FREDDY</character> <dialogue>Ah! In science you must be very precise - it can spell the difference between life and death.</dialogue> <parenthetical>( to Carlson . )</parenthetical> <dialogue>I do n't want that fellow in class next semester.</dialogue> <character>CARLSON</character> <dialogue>Yes, sir.</dialogue> <character>FREDDY</character> <dialogue>He has a big mouth.</dialogue> <parenthetical>( to Medical Student . )</parenthetical> <dialogue>Yes! It seems to me I did read something about that incident as a student. But you have to remember that a worm - with very few exceptions - is not a human being.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But was n't that the whole basis of your grandfathers work, sir? the re - animation of component parts?</dialogue> <character>FREDDY</character> <dialogue>My father was a sick man.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But are n't you the least bit curious about it, Doctor? Does n't the secret of life hold any intrigue for you?</dialogue> <character>FREDDY</character> <dialogue>You are talking about the gibberish ravings of a lunatic mind.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Yes, but, sir. if it could be accomplished, would n't that eliminate disease from the human frame and render man invulnerable to any but a violent death?</dialogue> <character>FREDDY</character> <dialogue>How old are you, young man?</dialogue> <character>MEDICAL STUDENT</character> <dialogue>Nineteen, sir.</dialogue> <character>FREDDY</character> <dialogue>Nineteen! My dear young man. once the human organism has ceased to function, nature has deemed that creature to be dead.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But look at what's been done with hearts and kidneys!</dialogue> <character>FREDDY</character> <dialogue>Hearts and kidneys are Tinker Toys! I'm talking about the Central Nervous System.</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But, sir.</dialogue> <character>FREDDY</character> <dialogue>I am a scientist! Not a philosopher.</dialogue> <scene_description>He holds up his scalpel .</scene_description> <character>FREDDY</character> <dialogue>You have more chance of re - animating this knife than you have of mending a broken nervous system,</dialogue> <character>MEDICAL STUDENT</character> <dialogue>But your grandfather's work, sir.</dialogue> <character>FREDDY</character> <dialogue>My grandfather's work was Doo - Doo! Dead is Dead! There's only one thing I am interested in. and that is the preservation of LIFE!</dialogue> <scene_description>POLITE APPLAUSE . However , on the word `` Life , '' Freddy has plunged the scalpel into his thigh by mistake . No one but Freddy and the Movie Audience is aware of this .</scene_description> <character>FREDDY</character> <dialogue>Class. is. dismissed!</dialogue> <scene_description>The students begin to leave .</scene_description> <character>FREDDY</character> <dialogue>Carlson!</dialogue> <character>CARLSON</character> <dialogue>Yes, sir?</dialogue> <character>FREDDY</character> <dialogue>Bring me some surgical gauze, a little tape and some disinfectant.</dialogue> <character>CARLSON</character> <dialogue>Yes, sir. Do you want the other cauliflower?</dialogue> <character>FREDDY</character> <dialogue>No!</dialogue> <scene_description>Herr Falkstein approaches with the metal box .</scene_description> <character>HERR FALKSTEIN</character> <dialogue>Dr. Frankenstein?</dialogue> <character>FREDDY</character> <parenthetical>( through his teeth . )</parenthetical> <dialogue>Fron kon steen!</dialogue> <character>HERR FALKSTEIN</character> <dialogue>My name is Gerhart Falkstein.</dialogue> </scene> <scene> <stage_direction>EXT. A CITY STREET - DAY</stage_direction> <scene_description>Herr Falkstein and Freddy are walking along the sidewalk . In the distance , a little OLD VIOLINIST , wearing a Tyrolean hat , plays a cheerful tune on his violin . His open violin case rests on the ground beside him .</scene_description> <character>FREDDY</character> <dialogue>One hundred thousand dollars?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Oh, at least, sir. The land alone is worth a small fortune.</dialogue> <character>FREDDY</character> <dialogue>But I ca n't just drop everything and leave. I have responsibilities and obligations.</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Do you have a hundred thousand of them, sir?</dialogue> <scene_description>Freddy looks at Herr Falkstein . The little Old Violinist has finished his cheerful tune . He now plays the eerie Transylvanian Lullaby that was heard at the opening .</scene_description> <character>FREDDY</character> <dialogue>How long will this whole thing take?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>A week. Ten days at most.</dialogue> <character>FREDDY</character> <dialogue>I'll have to think it over. It's not so easy just to pick up and.</dialogue> <scene_description>Freddy stops - the music seeping into a dark and forgotten corner of his brain .</scene_description> <character>FREDDY</character> <dialogue>Curious melody! Haunting, is n't it?</dialogue> <scene_description>Freddy , followed by Herr Falkstein , walks back a few steps and stands next to the Old Violinist as he plays .</scene_description> <character>FREDDY</character> <dialogue>What's that tune that you're playing</dialogue> <character>OLD VIOLINIST</character> <dialogue>Zis is an old Transylvanian Lullaby.</dialogue> <character>FREDDY</character> <dialogue>How sweet! Such a quaint little tune.</dialogue> <scene_description>Freddy rubs his temples with his fingertips for a moment .</scene_description> <character>FREDDY</character> <dialogue>May I see your violin?</dialogue> <character>OLD VIOLINIST</character> <parenthetical>( handing Freddy the violin . )</parenthetical> <dialogue>It's an honor for me, sir. You play the violin?</dialogue> <character>FREDDY</character> <dialogue>Oh, just a little.</dialogue> <scene_description>Freddy examines the violin .</scene_description> <character>FREDDY</character> <dialogue>Nice! Nice little balance to it.</dialogue> <character>OLD VIOLINIST</character> <dialogue>Ja, ja.</dialogue> <scene_description>Freddy , without any emotion , smashes the violin over his knee and then hands the two halves back to the Old Violinist .</scene_description> <character>FREDDY</character> <dialogue>Thank you very much.</dialogue> <scene_description>The Old Violinist takes the two halves , open - mouthed .</scene_description> <character>FREDDY</character> <parenthetical>( to Herr Falkstein . )</parenthetical> <dialogue>Well. if you're sure that I could accomplish everything in a week. I suppose I could manage it.</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Why did you do that?</dialogue> <character>FREDDY</character> <dialogue>What?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Break that old man's violin.</dialogue> <character>FREDDY</character> <dialogue>I did n't do that.</dialogue> <character>HERR FALKSTEIN</character> <dialogue>The old violinist - you smashed his violin over your knee.</dialogue> <character>FREDDY</character> <dialogue>I did not do that. Why would I do a thing like that? Are you insane?</dialogue> <scene_description>LEGEND ON THE SCREEN It reads : `` IS THIS THE FIRST SIGN OF A SPLIT PERSONALITY ? '' BACK TO THE SCENE Now Freddy and Herr Falkstein are standing on a corner .</scene_description> <character>FREDDY</character> <dialogue>All right then, I suppose I owe the family that much. You'll have everything ready for me when I arrive?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Yes, sir.</dialogue> <character>FREDDY</character> <dialogue>One week at the most!?</dialogue> <character>HERR FALKSTEIN</character> <dialogue>One week - I'll see to it, sir.</dialogue> <character>FREDDY</character> <dialogue>Well, thank you very much for all your trouble.</dialogue> <scene_description>They shake hands .</scene_description> <character>HERR FALKSTEIN</character> <dialogue>Not at all - a great privilege, Doctor.</dialogue> <character>FREDDY</character> <dialogue>Saturday night then! I'll take the train to New York and fly from there.</dialogue> <character>HERR FALKSTEIN</character> <dialogue>Saturday night, yes, sir. Have a pleasant journey!</dialogue> <scene_description>Freddy walks off . Herr Falkstein looks back at the little Old Violinist , who is playing the TRANSYLVANIAN LULLABY on the top half of his violin .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN STATION - NIGHT</stage_direction> <scene_description>Freddy , with a large suitcase and a small briefcase , stands next to a lot of steam . behind which , there appears to be a waiting train . With Freddy is his beautiful , flat - chested fiancee , ELIZABETH .</scene_description> <character>ELIZABETH</character> <dialogue>Darling! you will be careful!?</dialogue> <character>FREDDY</character> <dialogue>Of course.</dialogue> <character>ELIZABETH</character> <dialogue>You have your tickets?</dialogue> <character>FREDDY</character> <dialogue>Yes.</dialogue> <character>ELIZABETH</character> <dialogue>And your passport?</dialogue> <character>FREDDY</character> <dialogue>Yes, do n't worry.</dialogue> <character>ELIZABETH</character> <dialogue>Call me from New York before you leave?</dialogue> <character>FREDDY</character> <dialogue>Yes.</dialogue> <character>ELIZABETH</character> <dialogue>Promise?</dialogue> <character>FREDDY</character> <dialogue>I promise.</dialogue> <character>ELIZABETH</character> <dialogue>Oh, darling - I'll count the hours that you're away.</dialogue> <character>FREDDY</character> <dialogue>Oh, darling - so will I.</dialogue> <character>CONDUCTOR</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Board! All aboard!</dialogue> <character>FREDDY</character> <dialogue>I'd better leave.</dialogue> <scene_description>They look at each other ; then kiss .</scene_description> <character>ELIZABETH</character> <dialogue>Will you miss me?</dialogue> <character>FREDDY</character> <dialogue>Very. very!</dialogue> <character>ELIZABETH</character> <dialogue>Mother's going to help me with the invitations.</dialogue> <character>FREDDY</character> <dialogue>Oh, nice.</dialogue> <character>ELIZABETH</character> <dialogue>I hope you like large weddings.</dialogue> <character>FREDDY</character> <dialogue>Whatever makes you happy.</dialogue> <character>ELIZABETH</character> <dialogue>I've trimmed the list to only our very closest friends. but it still comes to three thousand.</dialogue> <character>FREDDY</character> <dialogue>You're incorrigible!</dialogue> <character>ELIZABETH</character> <dialogue>Does that mean you love me?</dialogue> <character>FREDDY</character> <dialogue>You bet your boots it does.</dialogue> <character>CONDUCTOR</character> <parenthetical>( o.s . )</parenthetical> <dialogue>All aboard!</dialogue> <character>ELIZABETH</character> <dialogue>Hurry now - before I make a fool of myself.</dialogue> <scene_description>They kiss quickly .</scene_description> <character>FREDDY</character> <dialogue>Goodbye, darling.</dialogue> <scene_description>Freddy DISAPPEARS into the steam .</scene_description> <character>ELIZABETH</character> <dialogue>Goodbye, Freddy! Hurry back to me!</dialogue> <character>FREDDY</character> <parenthetical>( o.s. , from the steam . )</parenthetical> <dialogue>I will! Goodbye, darling!</dialogue> <character>ELIZABETH</character> <dialogue>Goodbye, darling.</dialogue> <scene_description>A long pause , as Elizabeth gazes into the mass of steam . She wipes a tear from her eye .</scene_description> <character>ELIZABETH</character> <parenthetical>( whispering to herself . )</parenthetical> <dialogue>Goodbye, darling.</dialogue> <character>FREDDY</character> <parenthetical>( o.s. , from the steam . )</parenthetical> <dialogue>Goodbye, darling!</dialogue> <scene_description>A TRAIN WHISTLE BLOWS . ANGLE ON TRAIN The train starts up .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - NIGHT</stage_direction> <scene_description>Freddy is sitting in a passenger car , reading a book . A FEW PEOPLE sit near him . A CONDUCTOR walks down the aisle .</scene_description> <character>CONDUCTOR</character> <dialogue>New York next! Everyone out for New York!</dialogue> <scene_description>Freddy looks out the window . TRAIN - -LRB- STOCK -RRB- - NIGHT whizzing through the night .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - SUNSET</stage_direction> <scene_description>Freddy is sitting in a passenger car , reading a book . A FEW EUROPEANS sit near him . LEGEND OVER THE SCREEN It reads : `` SOMEWHERE IN EUROPE '' A CONDUCTOR wearing a Tyrolean Conductor 's hat , walks down the aisle .</scene_description> <character>CONDUCTOR</character> <dialogue>Transylvania nachste! Jeder austeigen fur TRANSYLVANIA!</dialogue> <scene_description>Freddy looks out the window . He reaches up and takes his suitcase and briefcase off of the rack above him . Then he raises his window and looks out at : TEN YEAR - OLD GERMAN BOY dressed in lederhosen , a cap , and a shoeshine kit on his back .</scene_description> <character>FREDDY</character> <parenthetical>( calling out to him . )</parenthetical> <dialogue>Pardon me, boy! Is that the Transylvania Station?</dialogue> <character>GERMAN BOY</character> <dialogue>Ja, this is track twenty - nine.</dialogue> <scene_description>He starts OFF .</scene_description> <character>GERMAN BOY</character> <dialogue>Oh, can I give you a shine?</dialogue> <character>FREDDY</character> <dialogue>Thank you, no.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIN STATION - NIGHT</stage_direction> <scene_description>Freddy gets off the ancient train and looks for someone who might be there to meet him . he sets down his suitcase and briefcase . ANOTHER ANGLE From out of the darkness , IGOR , a strange man with a hunched back , walks towards him . Behind Igor is a woman , INGA .</scene_description> <character>IGOR</character> <dialogue>Frederick Frankenstein?</dialogue> <character>FREDDY</character> <dialogue>Fron kon steen!</dialogue> <character>IGOR</character> <dialogue>Are you putting me on?</dialogue> <character>FREDDY</character> <dialogue>No, it's pronounced Fron kon steen.</dialogue> <character>IGOR</character> <dialogue>And do you also say Fro dereck?</dialogue> <character>FREDDY</character> <dialogue>No, Fred ereck.</dialogue> <character>IGOR</character> <dialogue>Why is n't it Frodereck Fronkon steen?</dialogue> <character>FREDDY</character> <dialogue>It's not. It's Fredereck Fronkonsteen.</dialogue> <character>IGOR</character> <dialogue>I see.</dialogue> <character>FREDDY</character> <dialogue>You must be Igor.</dialogue> <scene_description>Igor thinks a moment .</scene_description> <character>IGOR</character> <dialogue>No, it's pronounced Aye gor.</dialogue> <character>FREDDY</character> <dialogue>But they told me it was Ee gor.</dialogue> <character>IGOR</character> <dialogue>Well, they were wrong then, were n't they?</dialogue> <character>FREDDY</character> <dialogue>You were sent by Herr Falkstein, were n't you?</dialogue> <character>IGOR</character> <dialogue>Yes, that's right. My grandfather and your grandfather used to pal around together. You and I should have a lot of laughs.</dialogue> <character>FREDDY</character> <dialogue>I'm sure we will.</dialogue> <character>IGOR</character> <parenthetical>( indicating the large - breasted woman behind him . )</parenthetical> <dialogue>This is Inga. They thought you might need an assistant temporarily.</dialogue> <character>FREDDY</character> <dialogue>How do you do?</dialogue> <character>INGA</character> <dialogue>Extremely well.</dialogue> <character>FREDDY</character> <dialogue>How nice.</dialogue> <character>IGOR</character> <dialogue>Are these your bags?</dialogue> <character>FREDDY</character> <dialogue>Yes, just the two.</dialogue> <scene_description>Igor takes the small briefcase and walks OFF . Freddy takes the large suitcase and follows with Inga .</scene_description> <character>INGA</character> <dialogue>Did you have a pleasant trip?</dialogue> <character>FREDDY</character> <dialogue>Yes, thank you. It was n't bad.</dialogue> <scene_description>They follow Igor past two men - Dracula and Wolfman - who are sitting quietly on a platform bench . One of the men wears a huge black cape and has two enormous eye teeth . The other man 's face and hands are covered with wolf 's hair .</scene_description> <character>IGOR</character> <parenthetical>( singing to himself . )</parenthetical> <dialogue>Sun - rise. Sun - set! Dee - dum. Dee - dum.</dialogue> <scene_description>Freddy , struggling with his suitcase , stares in polite horror at the two men as he and Inga walk past them .</scene_description> <character>FREDDY</character> <dialogue>Good evening.</dialogue> <character>DRACULA</character> <dialogue>Good evening.</dialogue> <character>WOLFMAN</character> <dialogue>Good evening.</dialogue> <scene_description>Freddy and Inga continue on , walking under a dangling sign : `` TRANSYLVANIA STATION ''</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - A FEW MINUTES LATER - NIGHT</stage_direction> <scene_description>A cart , drawn by two horses , travels up a lonely road . Igor is at the reins . In the back , sitting in mountains of hay , are Freddy and Inga .</scene_description> <character>INGA</character> <dialogue>Did you ever have a roll in the hay?</dialogue> <character>FREDDY</character> <parenthetical>( a little nervous . )</parenthetical> <dialogue>I'm not sure I. get your drift.</dialogue> <scene_description>Inga begins to roll herself over and over in the hay .</scene_description> <character>INGA</character> <dialogue>You should try it - it's fun.</dialogue> <scene_description>Somewhat embarrassed , Freddy leans over to speak to Igor .</scene_description> <character>FREDDY</character> <dialogue>Incidentally - I do n't mean to embarrass you in any way, but I'm a rather brilliant surgeon. Perhaps I can help you with that hump.</dialogue> <character>IGOR</character> <dialogue>What hump?</dialogue> <scene_description>Freddy tries to recover .</scene_description> <character>FREDDY</character> <dialogue>Well. perhaps we can talk about it later.</dialogue> <scene_description>He turns back to Inga for relief . Just then : a BOLT OF LIGHTNING ! Inga comes close to Freddy .</scene_description> <character>INGA</character> <dialogue>Sometimes I'm afraid of the lightning.</dialogue> <character>FREDDY</character> <dialogue>Just an atmospheric discharge. Nothing to be afraid of.</dialogue> <scene_description>A HORRIFYING CRY OF A WOLF !</scene_description> <character>FREDDY</character> <parenthetical>( making a joke . )</parenthetical> <dialogue>Werewolf.</dialogue> <character>IGOR</character> <dialogue>There.</dialogue> <character>FREDDY</character> <dialogue>I beg your pardon?</dialogue> <character>IGOR</character> <parenthetical>( pointing to the woods . )</parenthetical> <dialogue>There wolf!</dialogue> <parenthetical>( pointing up the road . )</parenthetical> <dialogue>There castle!</dialogue> <character>FREDDY</character> <dialogue>Why are you talking like that?</dialogue> <character>IGOR</character> <dialogue>I thought you wanted to.</dialogue> <character>FREDDY</character> <dialogue>No.</dialogue> <character>IGOR</character> <dialogue>Suit yourself. I'm easy.</dialogue> <parenthetical>( confidentially , indicating Inga . )</parenthetical> <dialogue>Better watch out for the wockers.</dialogue> <character>FREDDY</character> <dialogue>What wockers?</dialogue> <character>IGOR</character> <dialogue>The wockers with the knockers.</dialogue> <character>FREDDY</character> <dialogue>Wockers with the knockers?</dialogue> <character>IGOR</character> <dialogue>Go ahead, play dumb! You'll lose your sockers and then be fockers.</dialogue> <scene_description>A BOLT OF LIGHTNING .</scene_description> <character>IGOR</character> <parenthetical>( pointing to the top of the hill . )</parenthetical> <dialogue>Well, there it is.</dialogue> <scene_description>THE CASTLE - NIGHT illuminated by the lightning .</scene_description> <character>IGOR</character> <parenthetical>( o.s. , as we see the castle . )</parenthetical> <dialogue>Home!</dialogue> <character>FREDDY</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Home.</dialogue> </scene> <scene> <stage_direction>EXT. THE CASTLE</stage_direction> <scene_description>As they approach the gigantic front door , FRAU BLUCHER opens a smaller door , within the giant door , and stands on the front stairs to greet them . She holds a lit candelabra .</scene_description> <character>FRAU BLUCHER</character> <dialogue>Welcome! I am Frau Blucher.</dialogue> <scene_description>At the sound of her name , the HORSES REAR .</scene_description> <character>IGOR</character> <dialogue>Down! Down! Steady!</dialogue> <scene_description>Freddy takes his suitcase and helps Inga out of the cart . He approaches Frau Blucher .</scene_description> <character>FREDDY</character> <dialogue>How do you do? I am Dr. Fronkonsteen.</dialogue> <scene_description>This is my assistant . Inga - may I present Frau Blucher . The HORSES REAR .</scene_description> <character>IGOR</character> <dialogue>Down! Get down, you beasts!</dialogue> <character>FREDDY</character> <dialogue>I wonder what's got into them?</dialogue> <character>FRAU BLUCHER</character> <dialogue>Your rooms are ready, Herr Doctor. If you will follow me, please.</dialogue> <scene_description>She indicates the small door .</scene_description> <character>FREDDY</character> <parenthetical>( calling to Igor . )</parenthetical> <dialogue>Aye - gor! We'll wait for you inside. Hurry, please!</dialogue> <scene_description>He turns to the door .</scene_description> <character>FREDDY</character> <dialogue>After you Frau Blucher.</dialogue> <scene_description>The HORSES REAR . Freddy , Inga and Frau Blucher have disappeared through the small door . Igor struggles with the rearing horses .</scene_description> <character>IGOR</character> <dialogue>Easy. Easy! What's very sticky and rhymes with shoe?</dialogue> <scene_description>The horses calm down .</scene_description> <character>IGOR</character> <dialogue>That's better.</dialogue> <scene_description>Igor takes Freddy 's briefcase and heads for the door .</scene_description> <character>IGOR</character> <parenthetical>( to the horses . )</parenthetical> <dialogue>I'll be back shortly. Just think of model airplanes.</dialogue> <scene_description>Igor shuns the smaller door and pulls the handle that opens the giant door . He walks into the castle .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION HALL</stage_direction> <scene_description>Frau Blucher is waiting on a large staircase with Freddy and Inga . Igor comes up to them .</scene_description> <character>FRAU BLUCHER</character> <dialogue>Shall we proceed?</dialogue> <scene_description>They all follow in the aura of Frau Blucher 's candlelight . From outside there is a : LOW RUMBLE OF THUNDER . When they reach the top of the stairs , Frau Blucher starts down a corridor . Igor walks up to a light switch and tries it . ANOTHER ANGLE as ALL THE LIGHTS COME ON . Igor turns the lights off again , gesturing to Freddy not to say anything because Frau Blucher might be a little bonkers . Inga , Freddy and Igor turn into the corridor and disappear .</scene_description> </scene> <scene> <stage_direction>INT. FREDDY'S BEDROOM</stage_direction> <scene_description>A fire is going in the fire place . Candles are lit in wall sconces . One wall is devoted to books .</scene_description> <character>FRAU BLUCHER</character> <dialogue>I hope you find this comfortable. This was Baron Victor's room.</dialogue> <character>FREDDY</character> <dialogue>It seems fine.</dialogue> <character>FRAU BLUCHER</character> <dialogue>You'll fine the keys to all the rooms in my cas. all the rooms in your castle on this ring. I'll leave it on the table here.</dialogue> <character>FREDDY</character> <dialogue>Does that include the key to the laboratory?</dialogue> <character>FRAU BLUCHER</character> <dialogue>You mean. the laboratory?</dialogue> <character>FREDDY</character> <dialogue>Yes! the laboratory.</dialogue> <character>FRAU BLUCHER</character> <dialogue>No! Dr. Frankenstein always kept that separate.</dialogue> <character>FREDDY</character> <dialogue>May I have it, please?</dialogue> <scene_description>A pregnant pause .</scene_description> <character>FRAU BLUCHER</character> <dialogue>Of course.</dialogue> <scene_description>She pulls up on a chain around her neck . At the end of the chain is a key that had been resting against her bosom . She takes it off , kisses it quickly , and sets it on the table .</scene_description> <character>FREDDY</character> <parenthetical>( examining the bookcase . )</parenthetical> <dialogue>There seem to be quite a few books.</dialogue> <character>FRAU BLUCHER</character> <dialogue>Yes, this was Victor's. the Baron's medical library.</dialogue> <character>FREDDY</character> <dialogue>I see. And where is my grandfather's private library?</dialogue> <character>FRAU BLUCHER</character> <dialogue>I do n't know what you mean, sir.</dialogue> <character>FREDDY</character> <dialogue>Well, there was a public and a private library - he said so in his will. These books are all very general - any doctor might have them in his study.</dialogue> <character>FRAU BLUCHER</character> <dialogue>This is the only library I know of.</dialogue> <character>FREDDY</character> <dialogue>Surely he kept his notes - his private papers and records in some other place?</dialogue> <character>FRAU BLUCHER</character> <dialogue>I think you must be mistaken, sir.</dialogue> <character>FREDDY</character> <dialogue>Well. we'll see.</dialogue> <character>FRAU BLUCHER</character> <dialogue>Will there be anything else?</dialogue> <character>FREDDY</character> <dialogue>I do n't think so. Is my assistant taken care of?</dialogue> <character>FRAU BLUCHER</character> <dialogue>I put her in the guest room, just down the hall.</dialogue> <character>FREDDY</character> <dialogue>Good.</dialogue> <scene_description>She leaves . Freddy starts back towards the bookcase and pulls book . ANOTHER ANGLE Door opens and Inga enters .</scene_description> <character>INGA</character> <dialogue>Are you busy?</dialogue> <character>FREDDY</character> <dialogue>That's quite all right. What is it, dear?</dialogue> <character>INGA</character> <dialogue>Could I lie down in your bed for a little while? I just ca n't sleep.</dialogue> <character>FREDDY</character> <dialogue>We only arrived a few minutes ago.</dialogue> <character>INGA</character> <dialogue>I know, but usually I can fall asleep right away. It must be the strange room.</dialogue> <character>FREDDY</character> <dialogue>Well.</dialogue> <character>INGA</character> <dialogue>Oh please - just till I get sleepy. Then you can force me right back to my room.</dialogue> <character>FREDDY</character> <dialogue>Well. I suppose it would be all right, for just a little while.</dialogue> <scene_description>Inga gets into Freddy 's bed .</scene_description> <character>FREDDY</character> <dialogue>Would you like a sandwich?</dialogue> <character>INGA</character> <dialogue>No, thanks! I want to get right to sleep.</dialogue> <character>FREDDY</character> <dialogue>Well. I'll just finish unpacking.</dialogue> <scene_description>As Freddy continues to unpack , he hears a STRANGE `` BLOWING '' SOUND coming from outside . He goes to the window and looks up . A TURRET AT THE TOP OF THE CASTLE Igor sits in the window , trying to blow a ram 's horn . He tries and tries , but ca n't get one good sustained not . Finally , he throws the ram 's horns away and picks up a trumpet . He blows some `` SWEET '' BLUES . FREDDY lying in a chaise lounge near the bed , reading . He wears his robe over his clothes . Freddy looks at Inga , who is sound asleep . Now he drains the last of his glass of fruit juice and sets it down on an end table . He turns over to sleep . The CAMERA BEGINS TO PAN SLOWLY to the bedroom window . On its way , we SEE : A FEW DROPS OF FRUIT JUICE dripping down the inside of the glass that Freddy has just put down . ANGLE THROUGH THE BEDROOM WINDOW -LRB- STOCK FOOTAGE -RRB- CLOUDS PASS ACROSS A FULL MOON . LATER THAT NIGHT Deadly silence ! As the CAMERA PANS from the clouds , SLOWLY BACK ACROSS THE ROOM , suddenly - from the deep recesses or the castle - A VIOLIN IS HEARD PLAYING : THE EERIE TRANSYLVANIAN LULLABY . As the CAMERA reaches Freddy , he is tossing restlessly in his sleep .</scene_description> <character>FREDDY</character> <dialogue>Stop it. Stop it, I tell you I do n't want to be perfect. Ca n't you understand that? I do n't want to be perfect!</dialogue> <scene_description>Freddy wakes with a start . He sits up and listens to the MUSIC . Then he stands and crosses to the bed .</scene_description> <character>FREDDY</character> <dialogue>Inga!</dialogue> <character>INGA</character> <parenthetical>( in her sleep . )</parenthetical> <dialogue>Yes, you may. but do n't make any noise.</dialogue> <character>FREDDY</character> <parenthetical>( shaking her . )</parenthetical> <dialogue>Inga, wake up!</dialogue> <character>INGA</character> <parenthetical>( slowly waking . )</parenthetical> <dialogue>What is it? Is something wrong, Doctor?</dialogue> <character>FREDDY</character> <dialogue>Listen! Do n't you hear that strange music?</dialogue> <character>INGA</character> <parenthetical>( listening . )</parenthetical> <dialogue>Yes! What could it be at this hour?</dialogue> <character>FREDDY</character> <dialogue>I do n't know. It just woke me up.</dialogue> <scene_description>Freddy goes to the bookcase ; Inga follows .</scene_description> <character>FREDDY</character> <dialogue>It seem to be coming from behind this bookcase.</dialogue> <scene_description>He puts his ear against the books and then feels for some hidden button or handle .</scene_description> <character>FREDDY</character> <dialogue>Hand me one of those candles!</dialogue> <scene_description>Inga takes a candle from a wall sconce and hands it to Freddy . He looks closely at the books , examining some of the titles . One title reads : INSERT - TITLE `` SEX AND HAIR GROWTH : IT 'S UP TO YOU '' FREDDY out of amazement , pulls the book from the shelf . ANOTHER ANGLE A small door opens in the bookcase .</scene_description> <character>INGA</character> <dialogue>Dr. Fronkonsteen - look!</dialogue> <character>FREDDY</character> <parenthetical>( listening through the open door . )</parenthetical> <dialogue>Whatever it is, it's coming from down there. I'm going down to see.</dialogue> <character>INGA</character> <dialogue>Let me come with you, Doctor, please! I do n't want to stay up here alone.</dialogue> <character>FREDDY</character> <dialogue>All right then, quietly! Close your robe and stay right behind me. Do n't make a sound!</dialogue> <scene_description>They enter the secret passage .</scene_description> </scene> <scene> <stage_direction>INT. SECRET PASSAGE</stage_direction> <scene_description>Freddy , holding the candle above them , follows the MUSIC down a narrow , winding stairway . The source of the MUSIC gets CLOSER and CLOSER , as they follow the yellow candlelight down , down , down . brushing against the cobwebbed walls . As they pass one section of wall , an ancient sign can just barely be made out in the after glow of their light . It reads : CAPACITY : NOT MORE THAN 3 PERSONS FIRE DEPT. . Finally , they reach a landing . A door separates them from whatever lies beyond . Freddy takes hold of the handle . it crumbles in his hand like dust . He gently pushes against the door . It CREAKS slowly open . The VIOLIN MUSIC STOPS !</scene_description> </scene> <scene> <stage_direction>INT. VICTOR FRANKENSTEIN'S LABORATORY</stage_direction> <scene_description>Freddy and Inga walk into the now famous room . A strange light comes from around a corner . As they walk towards the light , they pass a shelf lined with skulls . They look at each ancient head as they pass . Inga shudder with horror . The forth head is Igor . It looks as if his head is on the shelf , but actually he is standing just behind the shelf . He smiles .</scene_description> <character>FREDDY</character> <dialogue>Aye - gor!</dialogue> <character>IGOR</character> <dialogue>Fro - derick!</dialogue> <character>FREDDY</character> <dialogue>What are you doing here?</dialogue> <character>IGOR</character> <dialogue>I got frightened all alone upstairs, so I came down here.</dialogue> <scene_description>He leads them around the corner , where a glass bowl filled with water is being heated by small flame .</scene_description> <character>FREDDY</character> <dialogue>But what you were doing?</dialogue> <character>IGOR</character> <dialogue>Just putting up some tea.</dialogue> <character>FREDDY</character> <dialogue>Did you hear that strange music?</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>Did you hear that strange music?</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>Did you hear that strange music?</dialogue> <character>IGOR</character> <dialogue>No, not sound.</dialogue> <character>INGA</character> <dialogue>There must have been someone else down here then.</dialogue> <character>FREDDY</character> <dialogue>It seems that way.</dialogue> <parenthetical>( to Igor . )</parenthetical> <dialogue>You did n't hear any music at all?</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>You did n't hear. nothing! Are n't there any lights in this place?</dialogue> <character>IGOR</character> <dialogue>Two switches over there, but I was n't going to be the first.</dialogue> <scene_description>Freddy walks over and throws the first switch . OPEN ENDED ELECTRICAL CURRENTS SHOOT OUT ALL OVER .</scene_description> <character>IGOR</character> <dialogue>Well, it's all right for atmosphere.</dialogue> <scene_description>Freddy turns off the first switch and then throws the other one . `` NORMAL '' LIGHTS GO ON Now the lab can be SEEN in all its old splendor , but thick in dust and spiders ' webs .</scene_description> <character>INGA</character> <dialogue>Ooh!</dialogue> <character>FREDDY</character> <dialogue>What a filthy mess.</dialogue> <character>IGOR</character> <dialogue>I do n't know. a little paint, some flowers.</dialogue> <character>FREDDY</character> <dialogue>Did you see anyone else down here?</dialogue> <character>IGOR</character> <dialogue>No, but when I first came in, there was a light coming from behind that steel door.</dialogue> <scene_description>A huge steel door is open a few inches . Freddy goes to the door and listens , then opens it and they all walk in . hesitantly .</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE LIBRARY</stage_direction> <scene_description>By the light of Freddy 's candle , they see a small , creepy room , filled with musty books . There is a table in the center of the floor . On the table there is a large book , an ashtray , and a VIOLIN AND BOW .</scene_description> <character>INGA</character> <parenthetical>( seeing the violin . )</parenthetical> <dialogue>Look, Doctor!</dialogue> <character>FREDDY</character> <dialogue>Well, this explains the music.</dialogue> <character>INGA</character> <dialogue>But who was playing it?</dialogue> <scene_description>There is a smoldering cigar in the ashtray .</scene_description> <character>FREDDY</character> <dialogue>I do n't know, but whoever it was barely finished putting out his cigar. It's still smoldering.</dialogue> <parenthetical>( to Igor . )</parenthetical> <dialogue>Let me smell your breath.</dialogue> <scene_description>Igor exhales in Freddy 's face . Freddy nearly passes out .</scene_description> <character>FREDDY</character> <dialogue>Well, it was n't you.</dialogue> <scene_description>He looks around the room .</scene_description> <character>FREDDY</character> <dialogue>What is this place?</dialogue> <character>IGOR</character> <dialogue>Must be the music room.</dialogue> <character>INGA</character> <dialogue>There's nothing but books and papers.</dialogue> <character>FREDDY</character> <dialogue>I wonder.</dialogue> <scene_description>He looks at the large book lying on the table . He puts his candle over the cover . A LOW RUMBLE OF THUNDER as we SEE : CLOSE SHOT - BOOK `` HOW I DID IT '' BY VICTOR FRANKENSTEIN . Camera pulls back .</scene_description> <character>FREDDY</character> <dialogue>It is! This was my grandfather's private library. Look at this!</dialogue> <character>IGOR</character> <parenthetical>( reading the cover of the book . )</parenthetical> <dialogue>` How I Did It.' Good title!</dialogue> <character>FREDDY</character> <dialogue>Funny it should just be lying out here on the table. I wonder what kind of dribble this is?</dialogue> <scene_description>He opens to the first page .</scene_description> <character>FREDDY</character> <parenthetical>( reading aloud . )</parenthetical> <dialogue>` Whence, I often asked myself, did the principles of life proceed? To examine the causes of life. we must first have recourse to death.' God, what a looney bin!</dialogue> <scene_description>ANOTHER LOW RUMBLE OF THUNDER . Freddy 's candle almost blows out from a draft .</scene_description> <character>INGA</character> <dialogue>Oh, doctor!</dialogue> <character>FREDDY</character> <dialogue>Perhaps we'd better leave.</dialogue> <character>IGOR</character> <dialogue>Taking the book along?</dialogue> <character>FREDDY</character> <dialogue>Yes, I think we could all use a good laugh.</dialogue> </scene> <scene> <stage_direction>INT. LAB</stage_direction> <scene_description>Freddy is convulsed with laughter .</scene_description> <character>FREDDY</character> <dialogue>This guy is too much.</dialogue> <scene_description>Inga and Igor stare passively . The three of them are drinking tea . More water is boiling in a test tube .</scene_description> <character>FREDDY</character> <parenthetical>( reading . ) '</parenthetical> <dialogue>. and as soon as the dazzling light vanished, the oak tree had disappeared. I knew then that electricity and galvanism had changed my life.'</dialogue> <scene_description>He howls .</scene_description> <character>FREDDY</character> <dialogue>This guy is bonkers! Did you ever hear anything like this?</dialogue> <scene_description>ANOTHER LOW RUMBLE OF THUNDER . As Freddy goes on reading , the CAMERA TRAVELS UP , UP , UP . THROUGH the giant laboratory . as if to seek the source of the THUNDER we HEAR , as the CAMERA MOVES UP :</scene_description> <character>FREDDY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>` When I look back now, it seems to me as if this almost miraculous event obliterated any last effort by the spirit of preservation to avert the storm that was even then hanging in the stars.'</dialogue> <scene_description>MORE THUNDER .</scene_description> <character>FREDDY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>He kills me! This guy kills me.</dialogue> <scene_description>The CAMERA FINDS a large opening in the ceiling - an opening through which bodies might be elevated during an electrical storm . THUNDER CLOUDS CAN BE SEEN as the CAMERA PASSES THROUGH the opening into the night air . FREDDY 'S LAUGHTER is still HEARD from below . There is a GIANT CRACKLE OF LIGHTNING - as if in reply . Now the CAMERA TRAVELS DOWN . Time has passes and Freddy 's voice is hoarse , and more intense , and as the CAMERA TRAVELS</scene_description> <character>FREDDY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>` Until, from the midst of this darkness, a sudden light broke in upon me - a light so brilliant and wondrous, and yet so simple!'</dialogue> <scene_description>The CAMERA has reached Freddy . His eyes are burning ; he reads almost feverishly . Inga and Igor are half asleep .</scene_description> <character>FREDDY</character> <parenthetical>( reading . )</parenthetical> <dialogue>` Change the poles from plus to minus and from minus to plus!'</dialogue> <scene_description>Freddy howls insanely .</scene_description> <character>FREDDY</character> <parenthetical>( reading . ) '</parenthetical> <dialogue>I alone succeeded in discovering the cause of generation of life.'</dialogue> <scene_description>He doubles over in laughter .</scene_description> <character>FREDDY</character> <dialogue>` Nay, even more - I, myself became capable of bestowing animation upon lifeless matter.'</dialogue> <scene_description>He laughs , he laughs , he laughs . then SMASHES his tea glass against a wall .</scene_description> <character>FREDDY</character> <dialogue>It could work!</dialogue> <scene_description>A TUMULTUOUS CLAP OF THUNDER . IGOR 'S FACE Illuminated by a CRACK OF LIGHTNING . He has a quizzical smile . INGA 'S FACE Illuminated by a CRACK OF LIGHTNING . Frightened , yet in awe . FRAU BLUCHER 'S FACE - IN A ROOM Illuminated by a CRACK OF LIGHTNING . She is SMOKING A CIGAR . BEAUFORT FRANKENSTEIN 'S COFFIN Illuminated by a CRACK OF LIGHTNING . THE LID SLAMS OPEN AND SHUT , OPEN AND SHUT . FREDDY 'S FACE Illuminated by a CRACK OF LIGHTNING . The dark circles under his eyes suggest that he is IRREVERSIBLY INSANE . LEGEND It reads : `` IRREVERSIBLY COMMITTED TO THE DARK DESTINY OF ALL THOSE WHO BEAR THE NAME OF ` FRANKENSTEIN '</scene_description> <character>'FRONKONSTEEN.'"</character> <dialogue>says.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - MORNING</stage_direction> <scene_description>A work space has been hastily prepared . Freddy , dressed quite properly in riding boots and tweed jacket , is reading from `` the great book '' . Inga , dressed in her Lab gown , is taking notes . Igor is drawing on a large pad .</scene_description> <character>FREDDY</character> <dialogue>` As the minuteness of the parts formed a great hindrance to my speed, I resolved to make the Creature of a gigantic stature.' Of course! That would simplify everything.</dialogue> <character>INGA</character> <parenthetical>( pointing to another paragraph . )</parenthetical> <dialogue>And look at this, Doctor!</dialogue> <character>FREDDY</character> <parenthetical>( reading . )</parenthetical> <dialogue>` Dilation of his sacral parasympathetic impulses would cause an increase in flow of blood and the erection to approximately nineteen inches of his apparatus genitals.'</dialogue> <character>IGOR</character> <dialogue>His what?</dialogue> <character>INGA</character> <dialogue>His schwanzstucker.</dialogue> <character>IGOR</character> <dialogue>Whew! A nineteen - inch drill.</dialogue> <character>FREDDY</character> <dialogue>Now then! What we're aiming for, is a being about eight feet in height, and all features proportionably large.</dialogue> <scene_description>Igor shows his drawing .</scene_description> <character>IGOR</character> <dialogue>Something like this?</dialogue> <scene_description>They all look at the drawing . They , and we , SEE a crude but impressive sketch of THE MONSTER , and as we look at the drawing :</scene_description> <character>FREDDY'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>You've caught something there. Yes! As a matter of fact - I think - that this - might - be - our - man!</dialogue> <scene_description>As our eyes travel from the top of the drawing to the feet : A PAIR OF VERY LARGE , REAL FEET Now the CAMERA MOVES from the feet , BACK UP .</scene_description> </scene> <scene> <stage_direction>EXT. GIBBET - DAY</stage_direction> <scene_description>A gigantic BODY is standing on a scaffold . When we reach the head , it is somehow incongruous : A sweet , boyish face - with a rope around its neck . The `` Body '' is about to be hanged . Next to it stands an EXECUTIONER .</scene_description> <character>EXECUTIONER</character> <dialogue>Have anything to say?</dialogue> <character>THE BODY</character> <parenthetical>( in quiet anger . )</parenthetical> <dialogue>MMmmmgrrrrrrrrr!</dialogue> <character>EXECUTIONER</character> <dialogue>Anything else?</dialogue> <scene_description>The `` Body '' thinks . Then :</scene_description> <character>THE BODY</character> <dialogue>Go shove it up your -</dialogue> <scene_description>The Executioner throws the lever and THE TRAP DOOR FALLS OPEN . The `` Body '' hangs , lifeless .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>LEAVES BLOW ACROSS A COLD CEMETERY . A coffin is carried by FOUR PALLBEARERS to a deep grave . RELATIVES are waiting by the grave site . Through an iron gate surrounding the cemetery , TWO DARK FIGURES peek through the rails and observe the funeral . One of them has a hunched back . SOFT MOANING is HEARD from one of the Relatives . A MINISTER mumbles Latin under his breath . The Pallbearers set the coffin down on ropes placed over the gravesite . A short distance away are a FATHER and a MOTHER , standing next to a weeping DAUGHTER .</scene_description> <character>FATHER</character> <dialogue>He was a good man.</dialogue> <character>MOTHER</character> <dialogue>He was an angel.</dialogue> <character>FATHER</character> <dialogue>He was a saint!</dialogue> <scene_description>A pause .</scene_description> <character>MOTHER</character> <dialogue>She had to marry this rotten pig instead.</dialogue> <character>FATHER</character> <dialogue>Hanging was too good - they should have soaked him in lye.</dialogue> <scene_description>The minister nods and TWO GRAVE DIGGERS lower the coffin . The Daughter throws a bouquet of flowers onto the descending coffin . The Minister throws a handful on dirt on top of the coffin - representing `` Ashes to Ashes . '' INSIDE COFFIN We SEE the FROZEN FACE of `` The Body , '' and HEAR the sprinkled dirt as it HITS the coffin lid . A little dirt seeps in through the lid and lands on the lips of the frozen face . Ever so subtly , the lips make a spitting motion to clear the dirt away .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD</stage_direction> <scene_description>The Grave Diggers are shoveling dirt into the grave . The Relatives and Minister are leaving .</scene_description> <character>FIRST GRAVE DIGGER</character> <dialogue>What a filthy job!</dialogue> <character>SECOND GRAVE DIGGER</character> <dialogue>Could be worse!</dialogue> <scene_description>FREDDY AND IGOR Knee - deep in the grave , shoveling the dirt out .</scene_description> <character>FREDDY</character> <dialogue>What a filthy job!</dialogue> <character>IGOR</character> <dialogue>Could be worse!</dialogue> <character>FREDDY</character> <dialogue>How?</dialogue> <character>IGOR</character> <dialogue>Could be raining!</dialogue> <scene_description>A CRACK OF THUNDER . Freddy stares at Igor .</scene_description> </scene> <scene> <stage_direction>EXT. A STREET</stage_direction> <scene_description>Freddy and Igor carry the coffin down a street in the POURING RAIN .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Freddy and Igor are just setting the heavy coffin down on an operating table . They take the lid off the hinges and set it aside .</scene_description> <character>FREDDY</character> <dialogue>Wait! Let's tip the coffin over, then just lift it off. It'll be much easier.</dialogue> <scene_description>They tip the coffin over , upside down , like a cake pan .</scene_description> <character>FREDDY</character> <dialogue>Now.</dialogue> <scene_description>They lift the coffin up . but the operating table remains empty .</scene_description> <character>FREDDY</character> <dialogue>Set it down!</dialogue> <scene_description>They set it down on the table again . Freddy gives the bottom of the coffin -LRB- which is now on top -RRB- , a big WHACK ! They lift the coffin up again and there is the `` Body . '' It had been struck .</scene_description> <character>FREDDY</character> <parenthetical>( looking at the `` Body '' . )</parenthetical> <dialogue>Magnificent!</dialogue> <scene_description>He checks its nails .</scene_description> <character>FREDDY</character> <dialogue>Very little decay. With this magnificent specimen for a body, all we need now is an equally magnificent brain.</dialogue> <parenthetical>( he looks at Igor . )</parenthetical> <dialogue>You know what to do!</dialogue> <character>IGOR</character> <dialogue>I have a pretty good idea.</dialogue> <scene_description>Igor glances at the movie audience for a moment .</scene_description> <character>FREDDY</character> <dialogue>Do you have the name I wrote down?</dialogue> <character>IGOR</character> <parenthetical>( looking at his sleeve . )</parenthetical> <dialogue>Yes. Dr. H. Delbruck.</dialogue> <character>FREDDY</character> <dialogue>I want that brain.</dialogue> <character>IGOR</character> <dialogue>Was he any good?</dialogue> <character>FREDDY</character> <dialogue>Was he any good? He was the finest natural philosopher, internal medicine diagnostician and chemical therapist of this century.</dialogue> <character>IGOR</character> <dialogue>Hmm!</dialogue> <character>FREDDY</character> <dialogue>And he wrote seventeen cookbooks.</dialogue> <character>IGOR</character> <dialogue>That's not bad.</dialogue> <character>FREDDY</character> <dialogue>Can you imagine that brain in this body?</dialogue> <character>IGOR</character> <dialogue>I'm getting excited just thinking about it. What if he's not there?</dialogue> <character>FREDDY</character> <dialogue>He only died two weeks ago - I'm sure they'll still have him. Hurry now. I'll prepare the body.</dialogue> <character>IGOR</character> <parenthetical>( starting to leave . )</parenthetical> <dialogue>Oh! May I call you ` Master'?</dialogue> <character>FREDDY</character> <dialogue>Why?</dialogue> <character>IGOR</character> <dialogue>It's always been one of my favorite names.</dialogue> <character>FREDDY</character> <dialogue>If you like - just hurry!</dialogue> <character>IGOR</character> <dialogue>Thank you, Master.</dialogue> <scene_description>Freddy rolls up the `` Body 's '' right sleeve . He gazes at the immensity of the hand in amazement and awe .</scene_description> <character>FREDDY</character> <dialogue>Look at this hand! Look at these fingers!</dialogue> <scene_description>A sudden thought twists through his brain . He sets the dead arm up on its elbow , intertwines his own right hand with that of the `` Body 's , '' and gets set for an `` Indian Arm Wrestle . '' Freddy forces the dead arm down - not without some difficulty - and then gives the `` Body '' a triumphant sneer . A HOSPITAL DOOR The upper half of the door is made of glass . On the glass is printed : B R A I N D E P O S I T A R Y AFTER 5:00 P.M. SHOVE BRAIN THROUGH SLOT IN DOOR The SHADOW OF A MAN can be SEEN silhouetted from inside the Depository . The Man has a large hump on his back .</scene_description> </scene> <scene> <stage_direction>INT. DEPOSITORY - NIGHT</stage_direction> <scene_description>LOW THUNDER ! A row of brains in jars , under glass domes , rests on a long , narrow table . Igor tiptoes slowly , examining the labels on each glass dome that he passes . ALBERTUS MAGNUS CORNELIUS AGRIPPA LAWRENCE TALBOT -LRB- Physicist -RRB- -LRB- Natural Philosopher -RRB- -LRB- Hematologist -RRB- Then he comes to : HANS DELBRUCK -LRB- Scientist &amp; Saint -RRB- Igor approaches the glass dome , lifts it off , and takes the jar containing the brain of Hans Delbruck . As he turns to go , he sees himself in a Full - length mirror . He drops the jar in fright . He looks down and sees the gooks mass of brain and glass . He looks at the Movie Audience .</scene_description> <character>IGOR</character> <dialogue>Funny thing is. I tried!</dialogue> <scene_description>He sweeps some of the mess under the table with his foot .</scene_description> <character>IGOR</character> <parenthetical>( muttering to himself . )</parenthetical> <dialogue>Freud would have a heyday with this. Well.</dialogue> <scene_description>He looks quickly at the `` Brain table , '' grabs a jar from under the glass dome nearest to him , and leaves . On the glass dome , whose contents Igor has just taken , is printed : DO NOT USE THIS BRAIN ! `` ABNORMAL '' THE SKY An ominous BOLT OF LIGHTNING ! THE FACE OF THE `` BODY '' He has a few cute stitch marks . Electrodes stick out from both sides of his neck .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Freddy , wearing a long , white surgeon 's gown and surgical mask , stands over the `` Body , '' which is strapped across the chest and thighs . Freddy has a thimble on the finger of one hand - a needle and thread in the other .</scene_description> <character>FREDDY</character> <dialogue>Finished!</dialogue> <scene_description>The `` Body '' is on an operating table , which is in the center of a platform directly below the opening in the ceiling . Inga stands nearby .</scene_description> <character>INGA</character> <dialogue>What a beautiful job!</dialogue> <scene_description>Freddy looks up to the opening in the ceiling .</scene_description> <character>FREDDY</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Ready? ` Looking back now, it seems to me as if this almost miraculous event obliterated any last effort by the spirit of preservation to avert the storm that was even then hanging in the stars.'</dialogue> </scene> <scene> <stage_direction>EXT. ROOF</stage_direction> <scene_description>Igor stands on the roof , flying two kites in order to attract the lightning bolts . He is wearing rubber boots , rubber gloves , and a rubber whaler 's coat and hat .</scene_description> <character>IGOR</character> <parenthetical>( shouting down . )</parenthetical> <dialogue>You're sure you know what you're doing?</dialogue> <character>FREDDY</character> <dialogue>Yes! It's all written down in the notes. Tie off the kites and come down!</dialogue> <character>IGOR</character> <dialogue>Yes, master. Just do n't turn on any radios.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Freddy hands Inga the needle and thread . Then he grabs an electrical plug , connected to a `` battery indicator , '' and plugs it into two small slits in one of the electrodes in the `` Body 's '' throat . as you would plug in a lamp . He reads the indicator .</scene_description> <character>FREDDY</character> <dialogue>Soon, all the electrical secrets of Heaven shall be mine.</dialogue> <character>INGA</character> <dialogue>Oh, Frederick. you're not only a great doctor, you're a great. you're almost a.</dialogue> <character>FREDDY</character> <dialogue>A god?</dialogue> <character>INGA</character> <dialogue>Yes!</dialogue> <character>FREDDY</character> <dialogue>I know.</dialogue> <scene_description>A CRACK OF THUNDER ! Igor comes down a small , spiral staircase from the roof .</scene_description> <character>IGOR</character> <dialogue>You'd better hurry - I think it's going to rain.</dialogue> <character>FREDDY</character> <parenthetical>( to Inga . )</parenthetical> <dialogue>All right. elevate me!</dialogue> <character>INGA</character> <dialogue>Right here?</dialogue> <character>FREDDY</character> <dialogue>Raise the platform, hurry!</dialogue> <character>INGA</character> <dialogue>Oh! Yes, Doctor.</dialogue> <scene_description>She turns a giant wheel on the wall . The platform rises towards the opening in the ceiling , with Freddy and the `` Body '' on it .</scene_description> <character>FREDDY</character> <parenthetical>( as he is going up . )</parenthetical> <dialogue>The ancient masters promised impossibilities and performed nothing. We shall penetrate into the recesses of nature. We shall ascend into the Heavens. We shall command the thunders of Heaven, mimic the earthquake and even mock the invisible world with its own shadows.</dialogue> <character>IGOR</character> <dialogue>Tonight?</dialogue> <character>FREDDY</character> <dialogue>Yes! When I give the word - throw the first switch!</dialogue> <character>IGOR</character> <dialogue>You've got it, master.</dialogue> <scene_description>The platform rises higher and higher . RAIN starts to come down on Freddy .</scene_description> <character>FREDDY</character> <dialogue>Get ready!</dialogue> <scene_description>The platform nears the opening .</scene_description> <character>FREDDY</character> <dialogue>Get set!</dialogue> <scene_description>The platform rises through the opening and then stops . Now Freddy is out in the open air , on the roof .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF</stage_direction> <scene_description>A BOLT OF LIGHTNING and a CRACK OF THUNDER !</scene_description> <character>FREDDY</character> <dialogue>Go!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Igor throws the first switch . SPARKS , CURRENTS , DIALS capture our eyes .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF</stage_direction> <scene_description>Freddy is getting drenched . He tries to check the `` battery indicator '' plugged into the `` Body . ''</scene_description> <character>FREDDY</character> <parenthetical>( shouting down . )</parenthetical> <dialogue>Throw the second switch!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <character>IGOR</character> <parenthetical>( throwing the switch . )</parenthetical> <dialogue>This guy means business.</dialogue> <scene_description>Igor looks up in awe .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF</stage_direction> <scene_description>MORE THUNDER AND LIGHTNING .</scene_description> <character>FREDDY</character> <dialogue>It's not enough. More! More, do you hear me?</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>More, do you hear me?</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>Throw the third switch!</dialogue> <character>IGOR</character> <parenthetical>( throwing the switch . )</parenthetical> <dialogue>Wait till he sees the bill.</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>The Laboratory is an electrical circus .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF</stage_direction> <character>FREDDY</character> <dialogue>All right - turn everything off and bring me down!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Inga turns the giant wheel the other way . Igor throws back the three switches . THE LIGHTS RETURN TO NORMAL . Inga and Igor watch Freddy and the platform descend . When it reaches the floor , Freddy stands soaked to the skin . ALL EYES ARE ON THE `` BODY . ''</scene_description> <character>FREDDY</character> <dialogue>Nothing!</dialogue> <scene_description>They all stare at : THE FROZEN FACE of the `` Body . ''</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - NIGHT</stage_direction> <scene_description>Freddy , Inga and Igor sit at a long dining room table , set with food and wine . Freddy stares into space .</scene_description> <character>FREDDY</character> <dialogue>Reputation. Reputation!</dialogue> <character>INGA</character> <dialogue>I thought it was wonderful.</dialogue> <character>FREDDY</character> <dialogue>I do n't understand - I followed the notes to the letter.</dialogue> <character>IGOR</character> <dialogue>You ca n't win'em all.</dialogue> <character>FREDDY</character> <dialogue>But there must be a reason. This is science, not art.</dialogue> <character>INGA</character> <dialogue>Pass the Wildschweinbraten mit Gewurzgurkensosse, please.</dialogue> <scene_description>Igor looks at Inga , then passes the meat .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>The FROZEN FACE is still frozen . The chest is not breathing . The arm is motionless . The FINGERS . MOVE ! DINING ROOM</scene_description> <character>FREDDY</character> <dialogue>Let's look once more. I ca n't stand just sitting here doing nothing. Maybe we left to soon.</dialogue> <scene_description>Freddy and Igor set up . Inga goes on eating . THE LABORATORY Freddy and Igor walk into the Laboratory and stand next to the `` Body . ''</scene_description> <character>FREDDY</character> <dialogue>Cold! Cold and dead!</dialogue> <character>IGOR</character> <dialogue>You must n't take it so hard. Bucharest was n't built in a day.</dialogue> <scene_description>Freddy leans his head down , in anguish , and rests it on the chest of the `` Body . '' The `` Body 's '' FINGER pushes against Freddy 's behind . Igor does n't see it .</scene_description> <character>FREDDY</character> <parenthetical>( to Igor . )</parenthetical> <dialogue>Do n't try to cheer me up that way.</dialogue> <character>IGOR</character> <dialogue>Well, I do n't like to see you mope.</dialogue> <scene_description>Igor stands next to Freddy .</scene_description> <character>IGOR</character> <dialogue>You'll be getting me sad next.</dialogue> <character>FREDDY</character> <dialogue>I'm sorry. I do n't mean to take out my frustration on you. You've been a great help to me, and I've let you down.</dialogue> <scene_description>The `` Finger '' rubs against Igor 's behind .</scene_description> <character>IGOR</character> <parenthetical>( looking up suddenly . )</parenthetical> <dialogue>I'm not that sort you know. I appreciate you feelings, but try to show them some other way.</dialogue> <character>FREDDY</character> <parenthetical>( lifting his head . )</parenthetical> <dialogue>You're right! Self - pity never got anyone anywhere. Let's go back and finish our dinner.</dialogue> <scene_description>They leave . The `` Finger '' OPENS AND CLOSES ITS HAND . DINING ROOM Inga , Igor and Freddy are eating dessert .</scene_description> <character>IGOR</character> <dialogue>What is this?</dialogue> <character>FREDDY</character> <dialogue>Schwartzwalder Kirschtorte.</dialogue> <scene_description>Seeping in from the laboratory , we HEAR : `` MMMMMMmmmmmm ! ''</scene_description> <character>FREDDY</character> <parenthetical>( to Igor . )</parenthetical> <dialogue>Oh, do you like it? I'm not partial to desserts, but this is excellent.</dialogue> <character>IGOR</character> <dialogue>Who are you talking to?</dialogue> <character>FREDDY</character> <dialogue>To you! You just made a ` yummy' sound, so I thought you liked the dessert.</dialogue> <character>IGOR</character> <dialogue>I did n't make a ` yummy' sound - I just asked what it was.</dialogue> <character>FREDDY</character> <dialogue>But you did - I just heard it.</dialogue> <character>IGOR</character> <dialogue>It was n't me.</dialogue> <scene_description>Freddy looks at Inga .</scene_description> <character>INGA</character> <dialogue>It was n't me.</dialogue> <character>FREDDY</character> <dialogue>Look here - if it was n't you, and it was n't you, and it was n't me.</dialogue> <scene_description>Their eyeballs meet in the center of the room . Then they all tear downstairs to the Laboratory .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>They burst into the room . What we may at last call THE MONSTER is straining , tentatively , against the straps across his chest and thighs . His head is raised .</scene_description> <character>MONSTER</character> <dialogue>MMMMMMMMMMMMMNNNNNNmmmmmmmm?!?</dialogue> <character>FREDDY</character> <dialogue>It's alive!</dialogue> <character>INGA</character> <dialogue>Oh, Doctor!</dialogue> <character>IGOR</character> <dialogue>I think you've done it, master.</dialogue> <character>FREDDY</character> <dialogue>Alive! Look at it. I have defeated death!</dialogue> <character>IGOR</character> <dialogue>Better not get too close, master. This guy could kill you.</dialogue> <character>FREDDY</character> <dialogue>I suppose you're right. Inga! Prepare a sedative, just in case.</dialogue> <scene_description>Inga goes to a medicine case and prepares a hypodermic . The Monster raises its head and makes little circles with its hands , asking to be `` free . ''</scene_description> <character>FREDDY</character> <dialogue>It's trying to talk. It wants us to take off the straps.</dialogue> <character>IGOR</character> <dialogue>Do n't fall for that one.</dialogue> <character>FREDDY</character> <dialogue>But do n't you see. the brain of Hans Delbruck is inside this grotesque hulk - pleading with us. I've got to untie it.</dialogue> <character>IGOR</character> <dialogue>Careful, master - you never can tell with these chaps.</dialogue> <character>FREDDY</character> <dialogue>All right. stand back!</dialogue> <scene_description>Freddy carefully walks up to the Monster and stands over him . The monster is silent , feeling his way .</scene_description> <character>FREDDY</character> <dialogue>Hello there.</dialogue> <character>MONSTER</character> <dialogue>MMMMMmmmmmmm.</dialogue> <character>FREDDY</character> <dialogue>How's everything?</dialogue> <character>MONSTER</character> <parenthetical>( just a suggestion of `` not so good '' . )</parenthetical> <dialogue>MMMmmmmmmmm.</dialogue> <character>FREDDY</character> <dialogue>I'm going to untie you - can you understand that?</dialogue> <character>MONSTER</character> <parenthetical>( a soft , `` crying '' sound . )</parenthetical> <dialogue>MMMmmmm! MMMmmmm!</dialogue> <character>FREDDY</character> <dialogue>Yes, I'm going to set you free.</dialogue> <parenthetical>( to Inga . )</parenthetical> <dialogue>Is the sedative ready?</dialogue> <character>INGA</character> <dialogue>Yes, Doctor.</dialogue> <scene_description>Freddy takes the strap across the Monster 's thighs and unties it . Then he unties the strap across its chest . and steps back . ALL EYES ARE ON THE MONSTER . TINGLY MUSIC . The Monster looks at them all for a moment while he is still lying down . A slightly sly grin comes to his mouth . He rises . slowly , carefully , to a sitting position .</scene_description> <character>MONSTER</character> <parenthetical>( a low , suspicious groan . )</parenthetical> <dialogue>MMMMMMMMMMmmmmmmmmmmmm.</dialogue> <character>FREDDY</character> <dialogue>It's alive. It's - moving! It's - breathing! It's - standing! What is your name?</dialogue> <character>MONSTER</character> <parenthetical>( thinking for a moment . )</parenthetical> <dialogue>. It's.</dialogue> <character>IGOR</character> <dialogue>Original.</dialogue> <character>FREDDY</character> <parenthetical>( holding out his hands . )</parenthetical> <dialogue>Give - me - your - hand!</dialogue> <scene_description>The Monster slowly extends his hands to Freddy . Freddy takes them and leads the Monster into his first steps . PRODUCTION NUMBER - `` ALIVE '' . in which Freddy , the Monster and Igor do a SONG and DANCE that teaches the Monster how to move . Occasionally , Inga and an unseen FIFTY - PIECE ORCHESTRA join in . The Monster tries , in his own special way , to imitate the gentle , `` Soft Shoe '' examples of Freddy and Igor . But where they `` Ping '' and `` Clink '' . he `` PONGS '' and `` CLONGS . '' ANOTHER ANGLE After a big finish , the Monster beams ecstatically . He bows out of instinct : `` Show Business '' is in his blood .</scene_description> <character>FREDDY</character> <dialogue>Whew! I'm glad that's over with.</dialogue> <character>IGOR</character> <dialogue>You can say that again.</dialogue> <character>FREDDY</character> <dialogue>Yes.</dialogue> <character>IGOR</character> <dialogue>You're just supposed to repeat what you said.</dialogue> <character>FREDDY</character> <dialogue>Why?</dialogue> <character>IGOR</character> <dialogue>What's the point of my setup? It's not funny unless you repeat exactly what you said.</dialogue> <character>FREDDY</character> <dialogue>I'm not trying to be funny.</dialogue> <scene_description>Igor looks at the Movie Audience .</scene_description> <character>IGOR</character> <dialogue>Repeat it anyway - it's a wonderful cue.</dialogue> <character>FREDDY</character> <dialogue>I'm glad that's.</dialogue> <character>IGOR</character> <dialogue>No, no! That whole thing!</dialogue> <character>FREDDY</character> <dialogue>Whew! I'm glad that's over with.</dialogue> <character>MONSTER</character> <dialogue>MMMMmmmmmmmmm!</dialogue> <scene_description>They all look at the Monster .</scene_description> <character>IGOR</character> <dialogue>See what I mean?</dialogue> <scene_description>Freddy gives Igor a dirty look .</scene_description> <character>MONSTER</character> <parenthetical>( signifying `` More ! ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>MMMmmm! MMMmmm!</dialogue> <character>INGA</character> <dialogue>I think ` It' wants to do it again Doctor.</dialogue> <character>FREDDY</character> <dialogue>It looks that way.</dialogue> <character>INGA</character> <dialogue>What do you think we should do?</dialogue> <character>MONSTER</character> <dialogue>MMMMMMMMMMMMMMMMMMMMMMMM!</dialogue> <character>FREDDY</character> <dialogue>Oh. let's do it a little more.</dialogue> <scene_description>ANOTHER ANGLE They all SING and DANCE a short encore of `` ALIVE . '' The Monster gets violently carried away in his search for dance perfection . ANOTHER ANGLE Freddy , Igor and Inga drop from exhaustion after another , even bigger ORCHESTRAL finish . The Monster immediately asks for :</scene_description> <character>MONSTER</character> <dialogue>MMMmmm!</dialogue> <scene_description>They all stare at him in horror .</scene_description> <character>MONSTER</character> <parenthetical>( signifying `` More '' . )</parenthetical> <dialogue>MMMMmmmmm! MMMMmmmmm!</dialogue> <scene_description>Freddy walks boldly up to the Monster .</scene_description> <character>FREDDY</character> <dialogue>Stop that! Now just stop that this instant and listen to me!</dialogue> <scene_description>The Monster stares at Freddy in fascination .</scene_description> <character>FREDDY</character> <dialogue>I have given you one of the finest minds of this century. You are a brilliant endocrinologist. You are a superb scientist. And you are making naughty! Now that's enough. Finished! From now on, you will behave like a man, and not a spoiled, snot - nosed, sniveling brat who thinks he can get anything he wants by bullying people with sheer brute force.</dialogue> <scene_description>The Monster gives Freddy a W H A C K you would n't believe unless you were there . Inga SCREAMS .</scene_description> <character>IGOR</character> <dialogue>This fellow's got great timing.</dialogue> <scene_description>The Monster picks Freddy up in his two hands and then holds him high over his head .</scene_description> <character>INGA</character> <dialogue>Oh, Doctor - be careful!</dialogue> <scene_description>The Monster is about to dash Freddy to pieces , when : MUSIC : A VIOLIN is HEARD PLAYING the EERIE TRANSYLVANIAN LULLABY . The monster FREEZES - still holding Freddy over his head .</scene_description> <character>MONSTER</character> <parenthetical>( soft , pathetic cries . )</parenthetical> <dialogue>Mmmmmm! Mmmmmm!</dialogue> <character>INGA</character> <dialogue>Doctor! There's that strange music again. What could it be?</dialogue> <character>IGOR</character> <dialogue>It seem to have stopped the big fellow in his tracks.</dialogue> <character>FREDDY</character> <parenthetical>( from over the Monster 's head . )</parenthetical> <dialogue>Ayegor! Find out where that music is coming from as quietly and as blindingly fast as you can.</dialogue> <character>IGOR</character> <dialogue>Yes, Master!</dialogue> <character>FREDDY</character> <dialogue>Act casual!</dialogue> <scene_description>Igor casually takes out a box of jujubees from his pocket and eats one . He walks over to the Monster , who is still holding Freddy over his head .</scene_description> <character>IGOR</character> <parenthetical>( to the Monster . )</parenthetical> <dialogue>Care for a jujubee?</dialogue> <scene_description>The Monster lowers one hand - holding Freddy up with the other - and takes the box of jujubees . He sniffs them .</scene_description> <character>FREDDY</character> <dialogue>Clever ploy!</dialogue> <scene_description>The Monster drains the box of jujubees in one gulp , then hands the empty box back to Igor .</scene_description> <character>IGOR</character> <parenthetical>( looking at the empty box . )</parenthetical> <dialogue>NO movies together for us - that's for sure.</dialogue> <scene_description>Igor MOVES OFF in search of the MUSIC . The Monster - deeply affected by the LULLABY - slowly sets Freddy down .</scene_description> <character>INGA</character> <dialogue>It's almost as if he were afraid. He loves that music.</dialogue> <scene_description>The Monster begins to hug Freddy and snuggle him . He behaves like a frightened , loving child , as he holds his arms out to Freddy .</scene_description> <character>INGA</character> <dialogue>I think he wants you to carry him, Doctor.</dialogue> <scene_description>Freddy nods agreement .</scene_description> <character>INGA</character> <dialogue>What are you going to do?</dialogue> <character>FREDDY</character> <dialogue>I think I'll. carry him.</dialogue> <scene_description>Freddy prepares to lift the Monster . Suddenly : THE MUSIC STOPS ! The Monster 's eyeballs float menacingly towards Freddy .</scene_description> <character>MONSTER</character> <dialogue>MMMmmmmmmmmmmmmmmmmmmmmmmmmm!</dialogue> <character>INGA</character> <dialogue>Doctor! The music has stopped.</dialogue> <scene_description>The Monster 's hands creep around Freddy 's neck .</scene_description> <character>FREDDY</character> <dialogue>Do you think you can sing it?</dialogue> <character>INGA</character> <dialogue>Me? Sing?</dialogue> <character>FREDDY</character> <dialogue>Yes - quickly, dear!</dialogue> <scene_description>The Monster is really choking Freddy now .</scene_description> <character>INGA</character> <dialogue>I'd be so nervous.</dialogue> <character>FREDDY</character> <dialogue>This is not the finals - just sing!</dialogue> <character>INGA</character> <parenthetical>( singing . )</parenthetical> <dialogue>It's some - thing dar - ing, ` The Con - ti - nen - tal,' A way of danc - ing that's real - ly ul - tra new ; It's ver - y sub - tle, ` The Con - ti - nen - tal.'</dialogue> <scene_description>The Monster is temporarily distracted . Then he gives Inga an angry look . The is not the music that he wants .</scene_description> <character>INGA</character> <parenthetical>( singing . )</parenthetical> <dialogue>Be - cause it does what you want it to do.</dialogue> <character>MONSTER</character> <dialogue>MMMMMMMMMMMMMMMMMMMMMMMMMM!</dialogue> <scene_description>The Monster 's hands tighten around Freddy 's neck .</scene_description> <character>INGA</character> <parenthetical>( singing . )</parenthetical> <dialogue>It has a pas - sion, ` The Con - ti nen - tal.'</dialogue> <character>FREDDY</character> <dialogue>Stop - singing!</dialogue> <scene_description>Igor WALKS IN , holding a violin and bow . He sees the Monster choking Freddy .</scene_description> <character>IGOR</character> <dialogue>How's it going?</dialogue> <character>FREDDY</character> <dialogue>What did you find out?</dialogue> <character>IGOR</character> <dialogue>Someone was playing this in the music room.</dialogue> <character>FREDDY</character> <dialogue>Where is he?</dialogue> <character>IGOR</character> <dialogue>How do you know it was a ` he'?</dialogue> <character>FREDDY</character> <dialogue>All right - where is she?</dialogue> <character>IGOR</character> <dialogue>How do you know it was a ` she'?</dialogue> <character>FREDDY</character> <parenthetical>( gasping his last breath . )</parenthetical> <dialogue>Bring - me - the - violin!</dialogue> <character>IGOR</character> <dialogue>Can you play it?</dialogue> <character>FREDDY</character> <dialogue>Maybe. if you get here on time.</dialogue> <scene_description>Igor goes to Freddy and hands him the violin and bow . Freddy plays the TRANSYLVANIA LULLABY to the best of his ability . The Monster 's hands begin to loosen .</scene_description> <character>INGA</character> <dialogue>It's working! Oh, Doctor - you play beautifully.</dialogue> <character>IGOR</character> <dialogue>Do you know the theme from ` Doctor Zhivago'?</dialogue> <character>FREDDY</character> <dialogue>Get the sedative ready!</dialogue> <character>MONSTER</character> <parenthetical>( soft and loving . )</parenthetical> <dialogue>MMmmm! Mmmmm!</dialogue> <scene_description>The Monster hugs Freddy 's face . Freddy , still playing the violin , pats the operating table for the Monster to `` lie down . '' He does - holding onto Freddy 's face .</scene_description> <character>INGA</character> <dialogue>I think he wants to be tucked in.</dialogue> <character>FREDDY</character> <dialogue>Get a blanket from under that shelf!</dialogue> <scene_description>Inga gets the blanket . The Monster holds Freddy 's head onto his chest , as Freddy continues playing . Inga and Igor spread the blanket over the operating table , then gently tuck the Monster in `` bed . '' The Monster pulls Freddy into bed with him and snuggles against Freddy 's shoulder . Freddy continues playing the violin under the covers .</scene_description> <character>FREDDY</character> <parenthetical>( to Inga . )</parenthetical> <dialogue>All right - give it to him!</dialogue> <character>INGA</character> <dialogue>Are you serious?</dialogue> <character>FREDDY</character> <dialogue>Give him the sedative!</dialogue> <character>INGA</character> <dialogue>Oh! Yes, Doctor.</dialogue> <scene_description>She prepares the hypodermic , then lifts up a small section of the blanket - AWAY FROM OUR VIEW - and pulls down the Monster 's pants a short way .</scene_description> <character>IGOR</character> <dialogue>He's got quite a tush.</dialogue> <scene_description>She puts the needle in .</scene_description> <character>FREDDY</character> <dialogue>Did you do it?</dialogue> <character>INGA</character> <dialogue>I think so.</dialogue> <character>FREDDY</character> <dialogue>Good! It should n't take more than a few seconds.</dialogue> <scene_description>Freddy gradually stops playing .</scene_description> <character>MONSTER</character> <parenthetical>( quietly , angry . )</parenthetical> <dialogue>MMMMmmmmmmmm!</dialogue> <scene_description>Freddy starts playing . The Monster kisses him .</scene_description> <character>INGA</character> <dialogue>I'm getting tired.</dialogue> <character>IGOR</character> <dialogue>Why do n't we all turn in? It's been a long day.</dialogue> <character>FREDDY</character> <dialogue>Wait - I'm sure he's out by now. That shot was strong enough to stop a horse.</dialogue> <scene_description>Freddy gradually stops playing . One of the Monster 's hands sleepily closes around Freddy 's throat .</scene_description> <character>IGOR</character> <dialogue>See you at breakfast, then!</dialogue> <scene_description>Freddy continues playing .</scene_description> <character>INGA</character> <dialogue>Good night, Doctor.</dialogue> <character>FREDDY</character> <parenthetical>( afraid to disturb the Monster . )</parenthetical> <dialogue>Good night!</dialogue> <scene_description>Igor and Inga LEAVE . NEW ANGLE Freddy is left alone with the Monster , still playing the violin .</scene_description> <character>FREDDY</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Thanks. for all your help.</dialogue> <character>IGOR</character> <parenthetical>( o.s. , from behind a wall . )</parenthetical> <dialogue>That's what we're paid for.</dialogue> <scene_description>Freddy looks at the Monster - whose contented face nestles against Freddy 's chin .</scene_description> <character>FREDDY</character> <parenthetical>( as he plays the violin . )</parenthetical> <dialogue>This song. This haunting melody. This ancient, quaintly atonal folk tune. is driving - me - crackers! I ca n't go on - do you understand? Can NOT go on playing this pathogenically rotten song. If you're not asleep yet, then kill me if you have to, but at the count of three. I stop! One! Incidentally, I was thinking of making a big breakfast tomorrow - blueberry waffles and crisp bacon. Two! By the way, I'm sorry I yelled at you before - I must have been over - tired. Anyway, I meant to apologize and just forgot. Two! Maybe tomorrow would be a good day just to relax - go for a swim, maybe do a little water skiing. Well. we'll see after we finish a nice breakfast. Three!</dialogue> <scene_description>Freddy stops playing . The monster is sound asleep . Freddy puts the violin down , throws off the blanket , then ties the straps that bind the Monster to the operating table .</scene_description> <character>FREDDY</character> <parenthetical>( when the Monster is firmly tied . )</parenthetical> <dialogue>Spoiled Sissy!</dialogue> <scene_description>Freddy picks up the violin again and stares at it .</scene_description> <character>FREDDY</character> <dialogue>The song is over!</dialogue> <scene_description>He looks at the sleeping Monster .</scene_description> <character>FREDDY</character> <dialogue>Das lied ist aus!</dialogue> <scene_description>He breaks the violin in half . Immediately , he feels a sense of relief and lightheadedness .</scene_description> <character>FREDDY</character> <dialogue>Oh! Oh my! What a strange feeling that was. My head - I felt such a pressure, splitting my head apart. I feel so relieved and lightheaded. That horrible pressure. like voices. all calling to me, imploring me. swearing at me. Well, it's over now, thank goodness.</dialogue> <parenthetical>( he turns to the Monster . )</parenthetical> <dialogue>Oh. my poor Doctor Delbruck.</dialogue> <parenthetical>( he strokes the Monster 's head . )</parenthetical> <dialogue>Doctor, Doctor. what have I done to you? Was habe ich von Dir gamacht? Your magnificent brain, locked in this. pile of. Forgive me, Doctor. I thought - for science only. I could n't stand the thought to mankind. I was a fool! How dangerous is the acquirement of knowledge, and how much happier is that man who believes his native town to be the world, than he who aspires to become greater than his nature will allow. Can you ever forgive me?</dialogue> <scene_description>He puts his head down in silent prayer . MUSIC : ANOTHER VIOLIN PLAYS : THE EERIE TRANSYLVANIAN LULLABY . Freddy 's body tenses . We can not see his face , but his fingers go to his temples . He slowly raises his head .</scene_description> <character>FREDDY</character> <dialogue>That's a knockout tune! That tune is a winner. You ca n't call it ` wishy - washy'. like some people I know. That song is going places.</dialogue> <parenthetical>( he looks at the Monster . )</parenthetical> <dialogue>And so are we - Blubber Boy. With your body, and the brain of that kraut - we'll be ` Number One' in no time.</dialogue> <scene_description>The MUSIC is PLAYING LOUDER and FASTER .</scene_description> <character>FREDDY</character> <dialogue>Right, voices? I hear you skipping away in there. ` Do better than your father!' You're telling me I will. ` Do better than my grandfather!?' I'll make my famous grandfather look like a part - time nurse.</dialogue> <scene_description>He rises .</scene_description> <character>FREDDY</character> <dialogue>There's no stopping now. Destiny is too potent. I - want - perfection!</dialogue> <scene_description>A BOLT OF LIGHTNING !</scene_description> <character>FREDDY</character> <dialogue>I want a lot of it. and the best there is.</dialogue> <scene_description>He grabs the Monster 's head and hits it . A CRACK OF THUNDER !</scene_description> <character>FREDDY</character> <dialogue>Because from now on.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE LIBRARY</stage_direction> <scene_description>Frau Blucher is insanely playing the violin and watching Freddy through a crack in the door .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <character>FREDDY</character> <dialogue>the only act we follow is the creation of fire. I'm going to explore unknown powers. I'm going to unfold to the world the deepest mysteries of creation. and I'm going to make - my - mommy - proud!</dialogue> <scene_description>MONTAGE - INT . CONVERTED BALLET REHEARSAL ROOM - DAY Mirrors and a warmup bar run along three walls . Throughout the Montage , the Monster is dressed in leotards and lederhosen . 1st Piece - INT . CONVERTED BALLET REHEARSAL ROOM The Monster is at the warmup bar , doing ballet exercises to the MUSIC OF CHOPIN - which is being PLAYED on the PIANO by Igor . Inga - also in leotards - is at the bar in front of the Monster , so that he may follow her example . Freddy sits on a chair in the middle of the floor , pounding out the `` count '' with a long stick .</scene_description> <character>FREDDY</character> <dialogue>And one and two and three and four and lift - lift, three and four and do n't look sad for sympathy ; you know we only stop to pee. And lift - lift, three and four and try and not to break the floor.</dialogue> <scene_description>2nd Piece - INT . CONVERTED BALLET REHEARSAL ROOM Freddy and Inga are wearing different clothes - to denote change of time . Inga only watches this time , as the Monster tries a few `` points '' and `` turns '' across the room on his own . Igor plays Chopin .</scene_description> <character>FREDDY</character> <dialogue>And one and two and point your toes and two and two and stretch you thighs and three and two and lift your knees and watch that nasty temper, please.</dialogue> <scene_description>The Monster is getting angry .</scene_description> <character>FREDDY</character> <dialogue>And one and two and point your toes.</dialogue> <scene_description>Igor stops playing the piano , but continues speaking with the `` count . ''</scene_description> <character>IGOR</character> <dialogue>And Oh - oh, Oh - oh. there he goes.</dialogue> <scene_description>The Monster 's hands are around Freddy 's neck .</scene_description> <character>FREDDY</character> <dialogue>And oopy, not so hasty, please, and stretch your legs and lift your knees.</dialogue> <scene_description>The monster , involuntarily , continues his footwork while he is trying to choke Freddy . Freddy picks up a violin from under his chair and plays the EERIE TRANSYLVANIAN LULLABY - BUT IN THE SAME RHYTHM THEY HAVE BEEN USING , so that not a `` count '' is missed .</scene_description> <character>FREDDY</character> <dialogue>And even though we're nose to nose, Always, always point your toes! Do n't knot your fists like monsters do, but light - ly, gently, pas de deux. A grateful bot who has a chance would never kill if he could dance. So take your fingers off my throat and two - remove them from my chest and three and two, continue please ; I did n't say ` It's time to rest.' Do n't stand flat footed ; point your toes! Do n't hang your hands like some dumb clod ; Always lift them gracefully, like little chil - dren praying to God. That's the way an angel grows but first he learns to POINT his TOES!</dialogue> <scene_description>Igor continues playing Chopin . The Monster goes back to his exercises .</scene_description> <character>FREDDY</character> <dialogue>And one and two and stretch your thighs and two and two and lift your knees.</dialogue> <scene_description>3rd Piece - INT . CONVERTED BALLET REHEARSAL ROOM The angelic face of the Monster sits in perfect concentration , as he prepares to play the harp . He lightly ripples the strings : his face lights up ! He ripples the strings a second time : he is in ecstasy . On the third ripple : ALL THE STRINGS COME OUT in his hands , like a mass of spaghetti . Freddy , Igor , and Inga try not to look at each other . 4th Piece - INT . CONVERTED BALLET REHEARSAL ROOM MUSIC : a phonograph RECORD PLAYS TCHAIKOVSKY . The Monster is dancing `` reasonably '' well with A YOUNG BALLERINA . Freddy , Igor and Inga watch with great expectation . The Monster lifts the Ballerina up , and sets her down . He lifts her up , and sets her down . Now he takes her hand , prepares for the `` big Twirl , '' lifts her up , and twirls her through the air . The Young Ballerina sails out of the open window .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction> <scene_description>An ELDERLY COUPLE are driving their horse and wagon to town . A YOUNG BALLERINA SAILS PAST THEIR EYES . 5th and Final Piece - INT . CONVERTED BALLET REHEARSAL ROOM Freddy and the Monster stand over two enormous xylophones . Each holds his two wooden hammers . Freddy - at his xylophone - passionately laces into Rimsky Korsokov 's `` FLIGHT OF THE BUMBLE BEE . '' The Monster strokes - in perfect time - the LAST NOTE of each phrase . The crowning glory is a slow bridge of SEVEN PERFECT NOTES BY THE MONSTER . When the piece is finished , Freddy , the Monster , Igor and Inga all hug each other in triumph . TRIUMPHAL MUSIC .</scene_description> </scene> <scene> <stage_direction>EXT. THEATRE - NIGHT</stage_direction> <scene_description>A poster reads : BUCHAREST STATE THEATRE TONIGHT ONLY DR. F. FRONKONSTEEN IN `` THE GREATEST DISCOVERY SINCE FIRE '' Presented in Cooperation With T N S -LRB- Transylvanian Neurological Society -RRB- A `` SOLD OUT '' sticker is pasted across the poster .</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - NIGHT</stage_direction> <scene_description>The audience is filled with ELDERLY SCIENTISTS , their WIVES , and THE CURIOUS from the upper crust in society . All are elegantly dressed in cheap movie studio wardrobe . INGA in a formal , and Igor - in `` something '' - wait excitedly . FREDDY stands on a stage , dressed in tails .</scene_description> <character>FREDDY</character> <dialogue>And now, my fellow scientists and neurosurgeon. I must ask you to. suspend belief. For up until now, you have seen the Creature perform the simple mechanics of motor activity. That this Creature was an inanimate blob, which I endowed with the secret of life - yes! in all honesty - that showed some measure of skill on my part. But for what you are about to see next. we must enter - quietly - into the realm of genius. I say this modestly, only because I am, myself, as in awe of the gifts I possess as if I were observing them in some other person. I think of them, only, as a loan. Grateful, of course. that my credit is good. Thus, with the accumulated knowledge of Chemistry, Electricity, Neurosurgery. and art. I now present what was once an inarticulate mass of lifeless tissues. Ladies and gentlemen. Mesdames et Messieurs. Damen und Herren. The Creature!</dialogue> <scene_description>Freddy sits down at a beautiful grand piano . He plays a short trill up the keyboard . ANOTHER ANGLE as A SPOTLIGHT hits the darkness next to him . And there - IN TOP HAT AND TAILS - stands the Monster . He is heavily made up .</scene_description> <character>FREDDY</character> <parenthetical>( playing the piano and singing . )</parenthetical> <dialogue>If you're blue and you do n't know where to go to, why do n't you.</dialogue> <scene_description>The Monster accompanies the music with short , simple `` Soft Shoe '' steps .</scene_description> <character>FREDDY</character> <dialogue>go where fashion sits.</dialogue> <character>MONSTER</character> <dialogue>Poo - tmmm anngh ma Ritz!</dialogue> <character>FREDDY</character> <dialogue>Diff ` rent types who wear a day coat, pants with stripes and cutaway coat, perfect fits.</dialogue> <character>MONSTER</character> <dialogue>Poo - tmmm anngh ma Ritz!</dialogue> <character>FREDDY</character> <dialogue>Dressed up like a million dollar trouper Trying hard to look like Gary Cooper.</dialogue> <character>MONSTER</character> <dialogue>Soo - pah doo - per.</dialogue> <scene_description>The Audience 's faces are absolutely blank . Inga and Igor are thrilled .</scene_description> <character>FREDDY</character> <dialogue>Come let's mix where Rock - e - fellers walk with sticks or ` um - ber - el - las' in their mitts.</dialogue> <character>MONSTER</character> <dialogue>Poo - tmmm anngh ma Ritz!</dialogue> <scene_description>The Monster gets a tomato right in the face . He stops cold .</scene_description> <character>FREDDY</character> <dialogue>Dressed up like a million dollar trouper. Trying hard to look like Gary Coo - per.</dialogue> <scene_description>An EMBARRASSING PAUSE .</scene_description> <character>FREDDY</character> <parenthetical>( to the Monster . )</parenthetical> <dialogue>That's your cue. Go on!</dialogue> <character>MONSTER</character> <dialogue>MMMMMMMMMMMMMMMMMMMMmmmmm.</dialogue> <character>FREDDY</character> <parenthetical>( trying to cover . )</parenthetical> <dialogue>. Su - per du - per. Come let's mix where Rock - e - fellers walk with sticks or ` um - ber - el - las' in their mitts.</dialogue> <scene_description>The Monster knows it 's his cue : he just looks at Freddy .</scene_description> <character>MONSTER</character> <dialogue>MMMMMMMMMMMMMMMMMMmmmmmmmmmmm!</dialogue> <character>FREDDY</character> <dialogue>For God's sake - go on! Are you trying to make me look like a fool. Sing, you amateur! Sing!</dialogue> <scene_description>The Monster gets a raw egg in his face .</scene_description> <character>AUDIENCE</character> <dialogue>Booooo! Get him off! Fake! What else can your toy do?</dialogue> <character>FREDDY</character> <dialogue>Fake? You stupid idiots. you call my creation a fake? What do you know about truth? You're the fakes! All of you! I would n't come to you with a hang - nail.</dialogue> <scene_description>The monster gets another tomato in his face .</scene_description> <character>MONSTER</character> <dialogue>MMMMMMMMMM! MMMMMMMMMMMM!</dialogue> <character>FREDDY</character> <parenthetical>( running to him . )</parenthetical> <dialogue>Wait! Stop! Do n't give them the satisfaction. I know it's tough, but look at how far we've come! Are you going to throw it all away now?</dialogue> <scene_description>The Monster thinks , as the tomato drips down his face . He is touched by Freddy 's reasoning , but still burning with resentment .</scene_description> <character>MONSTER</character> <dialogue>MMMmmmmmm.</dialogue> <character>FREDDY</character> <dialogue>Do n't you think I know that? But what are you judging by? Bucharest? This was always a hick town. They ca n't get a ` Bus and Truck' company to come in here. Are you going to let these idiots get the best of you? Or are you going to stand up like a man and show them that you've got more dignity in your little finger than they've got in all their beer - bloated bodies put together?</dialogue> <scene_description>The Monster considers this plea for a moment . Then gives Freddy a colossal W H A C K and jumps into the Audience . THE AUDIENCE screams and scatters for the exits . PANDEMONIUM .</scene_description> <character>FREDDY</character> <parenthetical>( as he picks himself up off the stage floor . )</parenthetical> <dialogue>I chose the wrong song.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>PEOPLE run in all directions . The monster comes bursting down the street , with his arms flailing .</scene_description> </scene> <scene> <stage_direction>INT. CASTLE DINING ROOM - NIGHT</stage_direction> <scene_description>Freddy sits dejectedly - still dressed in his theatre clothes . Igor and Inga sit near him . Frau Blucher stands nearby .</scene_description> <character>FREDDY</character> <dialogue>I'm a failure.</dialogue> <character>IGOR</character> <dialogue>Come on, Froderick - none of that.</dialogue> <character>INGA</character> <dialogue>Look how far we've come.</dialogue> <character>IGOR</character> <dialogue>You ca n't expect to iron out all the kinks in one night.</dialogue> <character>INGA</character> <dialogue>I think the doctor is a genius! Do n't you, Igor?</dialogue> <character>IGOR</character> <dialogue>Why certainly. Do n't you, Frau Blucher?</dialogue> <character>FRAU BLUCHER</character> <dialogue>He's a failure.</dialogue> <scene_description>Freddy gives her a cold stare .</scene_description> <character>FREDDY</character> <dialogue>What are you waiting around for, pickle puss?</dialogue> <character>FRAU BLUCHER</character> <parenthetical>( handling him a cable . )</parenthetical> <dialogue>This wire came while you were gone. Your fiancee will be arriving any moment.</dialogue> <character>FREDDY</character> <dialogue>Elizabeth!?!</dialogue> <parenthetical>( he reads the cable . )</parenthetical> <dialogue>` Ca n't waits any longer. Arrive in your arms at ten tonight.' Oh, God! Not tonight.</dialogue> <character>INGA</character> <dialogue>Why, doctor. how wonderful for you.</dialogue> <character>FREDDY</character> <dialogue>Wonderful? It's terrible! Terrible, terrible, terrible, terrible, terrible!</dialogue> <scene_description>Freddy storms out of the room .</scene_description> <character>IGOR</character> <dialogue>She sounds fascinating.</dialogue> </scene> <scene> <stage_direction>EXT. COBBLESTONED ALLEY - NIGHT</stage_direction> <scene_description>A SIX - YEAR - OLD GIRL walks innocently along the narrow , menacing alley , lit only by moonlight . Behind her , there slowly appears a growing , TWENTY - FOUR SHADOW . When the shadow is almost upon her , the Girl turns around and faces her pursuer . It is her BABY BROTHER , holing a long balloon in each hand .</scene_description> <character>SIX-YEAR-OLD-GIRL</character> <parenthetical>( grabbing him . )</parenthetical> <dialogue>Mit kommen, mit kommen. Du bist immer eine schlafmutzigem blindschleiche.</dialogue> <scene_description>She gives him a slap on the behind and pulls him along . A GRANDFATHER CLOCK It is ten o'clock . GONG .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION HALL</stage_direction> <scene_description>The front door opens and Elizabeth comes in . Frau Blucher and a COACHMAN can be SEEN in the b.g. Freddy stands in dressing gown and ascot . Inga and Igor wait politely in the rear .</scene_description> <character>ELIZABETH</character> <dialogue>Darling!</dialogue> <character>FREDDY</character> <dialogue>Darling!</dialogue> <scene_description>They embrace .</scene_description> <character>ELIZABETH</character> <dialogue>Surprised?</dialogue> <character>FREDDY</character> <dialogue>Surprised!</dialogue> <character>ELIZABETH</character> <dialogue>Love me?</dialogue> <character>FREDDY</character> <dialogue>Love you! Well, why do n't we turn in?</dialogue> <character>ELIZABETH</character> <dialogue>Darling!?!</dialogue> <character>FREDDY</character> <dialogue>I mean, it's been a long day. I'm sure you must be as tired as I am. Oh! These are my assistants : Inga and Ayegor.</dialogue> <scene_description>Freddy turns to get some luggage from the Coachman .</scene_description> <character>ELIZABETH</character> <parenthetical>( stepping up to Inga . )</parenthetical> <dialogue>How do you do?</dialogue> <character>INGA</character> <dialogue>Very well. So nice to meet you at last.</dialogue> <scene_description>Elizabeth steps up to Igor .</scene_description> <character>IGOR</character> <dialogue>Darling!</dialogue> <character>ELIZABETH</character> <dialogue>Hello?</dialogue> <character>IGOR</character> <dialogue>Surprised?</dialogue> <character>ELIZABETH</character> <dialogue>Well. yes.</dialogue> <character>IGOR</character> <dialogue>Miss me?</dialogue> <character>ELIZABETH</character> <dialogue>I.</dialogue> <scene_description>Freddy approaches them with Elizabeth 's two suitcases : One very large , and one very small .</scene_description> <character>FREDDY</character> <dialogue>Ready, darling?</dialogue> <character>ELIZABETH</character> <dialogue>Yes. I am a bit tired, after all.</dialogue> <character>FREDDY</character> <parenthetical>( to Igor . )</parenthetical> <dialogue>Give me a hand with these, will you, Ayegor?</dialogue> <character>IGOR</character> <dialogue>Certainly, master.</dialogue> <scene_description>Igor takes the small suitcase , and , with Inga , leads Elizabeth and Freddy up the stairs . Freddy struggles with the large suitcase . Frau Blucher follows behind . ON THE STAIRWAY</scene_description> <character>ELIZABETH</character> <dialogue>What a strange fellow.</dialogue> <character>FREDDY</character> <dialogue>Yes, he's a little bit. tilted. Harmless, though.</dialogue> <character>ELIZABETH</character> <dialogue>Why does he call you ` master'?</dialogue> <scene_description>Freddy stares at her .</scene_description> <character>FREDDY</character> <dialogue>Are you suggesting I call him master?</dialogue> <character>ELIZABETH</character> <dialogue>No, of course not. I just meant.</dialogue> <character>FREDDY</character> <dialogue>All right then!</dialogue> </scene> <scene> <stage_direction>INT. ELEGANT RESTAURANT - NIGHT</stage_direction> <scene_description>The Monster walks in cautiously . No one seems to take any particular notice of him . He walks up to the MAITRE D' and taps his back .</scene_description> <character>MAITRE D'</character> <dialogue>Yes, sir, name, please?</dialogue> <character>MONSTER</character> <dialogue>Food!</dialogue> <character>MAITRE D'</character> <dialogue>Do you have a reservation?</dialogue> <character>MONSTER</character> <dialogue>Food!</dialogue> <character>MAITRE D'</character> <dialogue>I'm sorry, sir. We only seat by reservation.</dialogue> <character>MONSTER</character> <dialogue>Drink!</dialogue> <character>MAITRE D'</character> <dialogue>Oh, no sir - ee. If you do n't have a reservation you can skip to ma - loo.</dialogue> <scene_description>The Monster grabs the Maitre D' by the lapels</scene_description> <character>MONSTER</character> <dialogue>Foooooood!</dialogue> <character>MAITRE D'</character> <dialogue>Now just one moment. There's no need for roughhousing. Have you ever tried a tip?</dialogue> <character>MONSTER</character> <dialogue>GRRRHMMNNNJKJMMMNN!</dialogue> <character>MAITRE D'</character> <dialogue>Franz! Help! Lunatic!</dialogue> <scene_description>NEW ANGLE As the monster picks up the maitre D' and throws him into a crowd . The Monster attacks the restaurant . LADIES , GENTLEMEN AND WAITERS scream . PANDEMONIUM .</scene_description> </scene> <scene> <stage_direction>INT. ELIZABETH'S BEDROOM - NIGHT</stage_direction> <scene_description>Elizabeth - in a long , satin robe - stands over Freddy , who sits staring into a fire .</scene_description> <character>FREDDY</character> <dialogue>Poor Delbruck! There must be some way to reach him - to control that body.</dialogue> <character>ELIZABETH</character> <dialogue>Darling, you must n't worry so.</dialogue> <character>FREDDY</character> <dialogue>But there's a genius inside that body - crying out for love and understanding and normal human relationships. I just have to find some way to re - establish his communications system.</dialogue> <character>ELIZABETH</character> <dialogue>But you ca n't do that at night. And even if you could - it would cost a fortune. Come to bed, darling.</dialogue> <character>FREDDY</character> <dialogue>Oh, Delbruck, Delbruck. Was will dien tachlas von Dir?</dialogue> <character>ELIZABETH</character> <dialogue>You've done everything that's humanly possible, Frederick. Oh, darling, I'm so worried about you - you need rest.</dialogue> <character>FREDDY</character> <dialogue>I suppose you're right.</dialogue> <character>ELIZABETH</character> <dialogue>Of course I am. Now come along like a good boy.</dialogue> <scene_description>He gets up .</scene_description> <character>FREDDY</character> <dialogue>What would I do without you?</dialogue> <scene_description>They kiss .</scene_description> <character>ELIZABETH</character> <dialogue>Is your room just down the hall? in case I get frightened during the night?</dialogue> <character>FREDDY</character> <dialogue>Yes, but. I thought, perhaps tonight, under the circumstances, I might. stay here with you.</dialogue> <character>ELIZABETH</character> <dialogue>Oh, darling! Do n't let's spoil everything.</dialogue> <character>FREDDY</character> <dialogue>I do n't want to spoil anything - I just want to top it all off.</dialogue> <character>ELIZABETH</character> <dialogue>Would you want me, now, like this, so soon before our wedding? So near we can almost touch it? Or wait a little while longer, when I can give myself without hesitation? When I can be totally and unashamedly yours?</dialogue> <character>FREDDY</character> <dialogue>That's a tough choice.</dialogue> <character>ELIZABETH</character> <dialogue>Is it worth taking a chance?</dialogue> <character>FREDDY</character> <dialogue>I suppose you're right.</dialogue> <character>ELIZABETH</character> <dialogue>Of course I am. Now give me a kiss and say good night like my good boy.</dialogue> <scene_description>They kiss .</scene_description> <character>FREDDY</character> <dialogue>Good night.</dialogue> <character>ELIZABETH</character> <dialogue>That's my good boy.</dialogue> <scene_description>Freddy steps out into the :</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Elizabeth blows him a kiss and slowly closes her door . Freddy stands for a moment , then walks to the door next to Elizabeth 's room and knocks . ANGLE ON INGA She is wearing a flimsy nightgown , opens the door .</scene_description> <character>INGA</character> <dialogue>Why, Doctor. is anything the matter?</dialogue> <character>FREDDY</character> <dialogue>Just passing through the night.</dialogue> <character>INGA</character> <dialogue>What's wrong, Doctor? You seem. lonely.</dialogue> <character>FREDDY</character> <dialogue>Oh, a little. But it's not just physical loneliness. It's the pangs that come from missing someone intellectually. as I have you.</dialogue> <character>INGA</character> <dialogue>I've missed you intellectually, too, Doctor.</dialogue> <scene_description>He stares at her almost `` see - through '' nightgown .</scene_description> <character>FREDDY</character> <dialogue>It's terrible - the price society demands in the name of fidelity. ultimately?</dialogue> <character>INGA</character> <dialogue>Not fooling around.</dialogue> <character>FREDDY</character> <dialogue>I know, but I mean - not fooling around physically? Or not fooling around intellectually?</dialogue> <character>INGA</character> <dialogue>I see what you mean.</dialogue> <character>FREDDY</character> <dialogue>There can never. ever. be anything physical between us.</dialogue> <scene_description>You know that , dear .</scene_description> <character>INGA</character> <dialogue>I know Frederick.</dialogue> <scene_description>He is staring at her breasts .</scene_description> <character>FREDDY</character> <dialogue>It would n't be fair to Elizabeth.</dialogue> <character>INGA</character> <dialogue>Of course not.</dialogue> <character>FREDDY</character> <dialogue>For that matter, it would n't be fair to you, or to me.</dialogue> <scene_description>On the word `` you '' , he touches Inga 's breast to emphasize his point . On the word `` me '' , he touches his own chest . Pause .</scene_description> <character>INGA</character> <dialogue>What?</dialogue> <character>FREDDY</character> <dialogue>I say, it would n't be fair to you. or to me.</dialogue> <character>INGA</character> <dialogue>Nor to Elizabeth.</dialogue> <character>FREDDY</character> <dialogue>No. Nor to Elizabeth.</dialogue> <character>INGA</character> <dialogue>We all have our feelings. I know that I have mine. And. I would n't want to hurt yours.</dialogue> <scene_description>On the word `` mine '' , she touches her chest for emphasis . On the word `` yours '' , she places her hand on Freddy 's chest and rubs it a little .</scene_description> <character>FREDDY</character> <dialogue>Yes, I do have my feelings. And, of course, you have yours.</dialogue> <scene_description>He rubs her chest .</scene_description> <character>INGA</character> <dialogue>And Elizabeth has hers.</dialogue> <character>FREDDY</character> <dialogue>Yes, Elizabeth has hers.</dialogue> <character>INGA</character> <dialogue>But, after all, you have yours.</dialogue> <scene_description>She unbuttons a button of his pajama top so that she can touch his chest better .</scene_description> <character>FREDDY</character> <dialogue>Yes, I have mine.</dialogue> <character>INGA</character> <dialogue>And I have mine.</dialogue> <character>FREDDY</character> <dialogue>Yes. yes, you have yours.</dialogue> <character>INGA</character> <dialogue>Why do n't we talk inside?</dialogue> <character>FREDDY</character> <parenthetical>( keeping one hand on her chest . )</parenthetical> <dialogue>Well.</dialogue> <parenthetical>( he looks at his watch . )</parenthetical> <dialogue>. perhaps for a few minutes.</dialogue> <scene_description>They go into Inga 's room .</scene_description> </scene> <scene> <stage_direction>EXT. BURGOMEISTER'S HOUSE - NIGHT</stage_direction> <scene_description>VILLAGERS , with torches and DOGS , stand on the street , in front of the Burgomeister 's steps .</scene_description> <character>FIRST VILLAGER</character> <dialogue>Burgomeister Krempen.</dialogue> <character>SECOND VILLAGER</character> <dialogue>Burgomeister Krempen!</dialogue> <character>THIRD VILLAGER</character> <parenthetical>( pounding on the door . )</parenthetical> <dialogue>Burgomeister Krempen!</dialogue> <character>FOURTH VILLAGER</character> <dialogue>Mayor Krempen!</dialogue> <character>BURGOMEISTER</character> <parenthetical>( opening the door . )</parenthetical> <dialogue>What is it? What's going on?</dialogue> <character>FIRST VILLAGER</character> <dialogue>The monster, sir. The Monster is loose.</dialogue> <character>BURGOMEISTER</character> <dialogue>Do you realize it's after eight o'clock?</dialogue> <character>SECOND VILLAGER</character> <dialogue>Yes, sir, but the monster. He's escaped!</dialogue> <character>THIRD VILLAGER</character> <dialogue>He's running through the countryside, terrorizing the villagers. No one is safe.</dialogue> <character>BURGOMEISTER</character> <dialogue>What do you mean ` the' monster - as if this happened every Sunday. You mean ` a' monster.</dialogue> <character>FOURTH VILLAGER</character> <dialogue>No, sir, it's ` the' monster. The Frankenstein monster.</dialogue> <character>BURGOMEISTER</character> <dialogue>Oh, Tommy Rot!</dialogue> <character>ASSORTED VILLAGERS</character> <dialogue>Yes! Frankenstein! The Frankenstein monster!</dialogue> <character>BURGOMEISTER</character> <dialogue>Now wait a minute! Just wait a minute!</dialogue> <scene_description>They quiet down .</scene_description> <character>BURGOMEISTER</character> <dialogue>Now see here! There'll be no more wild accusations bandied about while I'm still Burgomeister of this village. If there is mischief afoot, the way to find out is to confront the man with the charges brought against him.It's the only decent thing to do. And as long as I'm Burgomeister of your village - a man's name is still his honor.</dialogue> <character>FIRST VILLAGER</character> <dialogue>But it's true, sir. Young Master Freddy - he's come from America and read all of his grandfather's secret notes. They've started the whole business all over again, sir.</dialogue> <character>BURGOMEISTER</character> <dialogue>That swine!</dialogue> <character>SECOND VILLAGER</character> <dialogue>It's in the blood, sir. The whole family is insane.</dialogue> <character>THIRD VILLAGER</character> <dialogue>He's got to be put away.</dialogue> <character>FOURTH VILLAGER</character> <dialogue>And the monster destroyed!</dialogue> <character>ASSORTED VILLAGERS</character> <dialogue>Yes! The monster! Kill the monster! The monster must be destroyed!</dialogue> <character>BURGOMEISTER</character> <dialogue>Now see here! Before we go running about, killing people, we'd better make damned sure of our facts. A riot is an ugly thing. and once you get one started - there's little chance of stopping it short of bloodshed.</dialogue> <scene_description>`` Groans '' of disappointment from assorted Villagers .</scene_description> <character>BURGOMEISTER</character> <dialogue>So the first thing we'll do, is march calmly up to the Frankenstein castle and have a nice little chat with our good doctor. Now then! Who does n't have a torch and a dog? All right - follow me!</dialogue> <character>ASSORTED VILLAGERS</character> <dialogue>Yay! Down with Frankenstein! Kill the monster!</dialogue> <scene_description>They all run off ahead of the Burgomeister .</scene_description> </scene> <scene> <stage_direction>INT. INGA'S BEDROOM - NIGHT</stage_direction> <scene_description>Freddy and Inga are under the sheets . Only their faces can be SEEN .</scene_description> <character>FREDDY</character> <dialogue>It would n't be right. you know that.</dialogue> <character>INGA</character> <dialogue>Yes, I know.</dialogue> <character>FREDDY</character> <dialogue>It would n't be fair to her.</dialogue> <character>INGA</character> <dialogue>Yes, I know.</dialogue> <character>FREDDY</character> <dialogue>You've got to help me to remain faithful.</dialogue> <character>INGA</character> <dialogue>Yes, I will.</dialogue> <character>FREDDY</character> <dialogue>But an intellectual relationship, like this - we could have as often as we wanted. Three times a day - anything!</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction> <scene_description>The angry Villagers are marching and shouting , gathering up steam on their way to the Frankenstein castle .</scene_description> </scene> <scene> <stage_direction>INT. ELIZABETH'S BEDROOM - NIGHT</stage_direction> <scene_description>Elizabeth is just finished brushing her hair , humming quietly to herself . She stands up and blows out the candles near her mirror . She walks to some French doors that open onto a small balcony . She opens the glass doors and looks at : ANGLE ON MOON Bright and full . BACK TO SCENE She takes a breath of fresh air , then closes the doors and walks to her large double bed . She slips off her robe - revealing her thin body in delicate nightgown . Suddenly she hears : `` MMMMMMMMMMmmmmmmmmmmm . '' She turns towards the French doors and listens . She decides that it was nothing and gets into bed .</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE - NIGHT</stage_direction> <scene_description>The Burgomeister and the Villagers are at the steps of the castle . The Burgomeister pounds on the front door . ELIZABETH 'S BEDROOM Elizabeth lies in bed , illuminated be the flames from her fireplace . There is the soft SOUND of CURTAINS FLAPPING . The French doors have been opened - the silk curtains flapping from a breeze outside .</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE</stage_direction> <scene_description>The Burgomeister pounds louder and louder on the front door . Finally the door opens and Freddy appears in his robe . He looks at the angry mob .</scene_description> <character>BURGOMEISTER</character> <dialogue>Frederick Frankenstein?</dialogue> <character>FREDDY</character> <dialogue>You have the wrong house.</dialogue> <character>BURGOMEISTER</character> <dialogue>And who might you be?</dialogue> <character>FREDDY</character> <dialogue>Dr. Frederick Fronkonsteen.</dialogue> <character>BURGOMEISTER</character> <dialogue>The grandson of Victor ` Fronkonsteen'?</dialogue> <character>FREDDY</character> <dialogue>No!</dialogue> <character>BURGOMEISTER</character> <dialogue>What was your grandfather's name?</dialogue> <character>FREDDY</character> <dialogue>Victor Frankenstein.</dialogue> <scene_description>Pause , as the Burgomeister tries to fit the pieces together . ELIZABETH 'S BEDROOM Elizabeth has a contented smile on her face . Her eyes are closed . A LARGE SHADOW grows against the wall behind her . The shadow crosses her face and blots out her key light from the fireplace . She opens her eyes and looks ahead . Her face freezes in terror .</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE</stage_direction> <character>BURGOMEISTER</character> <dialogue>Forgive me for intruding so late at night, Herr Baron. But an ugly rumor has it that there are strange goings on in this castle. These good citizens are ready to rip you from limb to limb unless you can offer some rational explanation for their fears. How say you?</dialogue> <character>FREDDY</character> <dialogue>Ugly, vicious rumous.</dialogue> <scene_description>A BLOODCURDLING SCREAM !</scene_description> <character>ASSORTED VILLAGERS</character> <dialogue>What was that? Listen! Did you hear that?</dialogue> <character>BURGOMEISTER</character> <dialogue>They say, also, that you have recreated the horrible monster who, for so many years, has haunted and terrorized the God - fearing people of this village. What say you to that?</dialogue> <character>FREDDY</character> <dialogue>Poppycock!</dialogue> <scene_description>Igor comes running out from inside the castle .</scene_description> <character>IGOR</character> <dialogue>He's back! He's back! The monster's back!</dialogue> <scene_description>Everyone looks at Freddy .</scene_description> <character>FREDDY</character> <dialogue>What monster?</dialogue> <character>IGOR</character> <dialogue>What d'ya mean `` What monster?' You remember. the one we made in the basement.</dialogue> <scene_description>EVERYONE LOOKS AT FREDDY</scene_description> <character>FREDDY</character> <dialogue>I think we all need a good night's sleep. Why do n't we meet next week and thrash this thing out?</dialogue> <character>BURGOMEISTER</character> <dialogue>Now wait a minute!</dialogue> <character>IGOR</character> <dialogue>You do n't understand, Master. The big fellow's broken in and kidnapped your fiancee.</dialogue> <character>FREDDY</character> <dialogue>What?</dialogue> <character>IGOR</character> <dialogue>He's carrying her off now through the woods.</dialogue> <scene_description>Freddy , the Burgomeister and Igor run around to the side of the castle . The Villagers follow .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF CASTLE</stage_direction> <scene_description>The Monster can just be SEEN , far below , disappearing into the woods -LRB- SEVEN TREES AND A BACKDROP -RRB- . Elizabeth is slung over his back .</scene_description> <character>ASSORTED VILLAGERS</character> <dialogue>There he is! That's the monster! After him! Kill him!</dialogue> <scene_description>The Burgomeister and all the Villagers run off after the Monster , leaving Freddy an Igor alone .</scene_description> <character>IGOR</character> <dialogue>What now, boss? A little something to eat and then join the chase?</dialogue> <character>FREDDY</character> <dialogue>No! The only hope now is to get him back here. If I can just find a way to relieve the pressure on his cerebellum.</dialogue> <character>IGOR</character> <dialogue>That sound good, boss.</dialogue> <character>FREDDY</character> <dialogue>and equalize the imbalance in his cerebrospinal fluid.</dialogue> <character>IGOR</character> <dialogue>I like your style, master. How do we get him here?</dialogue> <character>FREDDY</character> <dialogue>There's only one way.</dialogue> <character>IGOR</character> <dialogue>I'll bet it's a doozy.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Burgomeister and the Villagers are on the hunt . The Burgomeister is being pulled along by a GREAT DANE . THE VILLAGERS climb little hills and rocks . OTHER DOGS are BARKING ferociously .</scene_description> <character>BURGOMEISTER</character> <dialogue>There he is!</dialogue> <scene_description>The Burgomeister 's Great Dane is making so much noise , it 's difficult to hear .</scene_description> <character>1ST VILLAGER</character> <dialogue>What?</dialogue> <character>BURGOMEISTER</character> <dialogue>There he is!</dialogue> <character>1ST VILLAGER</character> <dialogue>What?</dialogue> <scene_description>The Burgomeister gives his leash a yank and the Great Dane finally stops howling .</scene_description> <character>BURGOMEUSTER</character> <parenthetical>( pointing . )</parenthetical> <dialogue>I said - there he is!</dialogue> <scene_description>Several Villagers look up and then start SHOOTING at a TALL VILLAGER , who is peeing on top of a distant rock . He has his back turned to the other Villagers .</scene_description> <character>TALL VILLAGER</character> <parenthetical>( turning around in terror . )</parenthetical> <dialogue>Do n't shoot! Do n't shoot! It's ME!</dialogue> </scene> <scene> <stage_direction>INT. CAVE - NIGHT</stage_direction> <scene_description>The Monster enters the cave slightly out of breath and stands the `` fainted '' Elizabeth on her feet . He shakes her .</scene_description> <character>MONSTER</character> <dialogue>MMmmm.</dialogue> <scene_description>He shakes her again .</scene_description> <character>MONSTER</character> <dialogue>MMmmm!</dialogue> <scene_description>Elizabeth slowly opens her eyes . The Monster smiles sweetly . Elizabeth smiles sweetly in return - forgetting for a moment where she is . Then her smile turns to growing horror . She starts to scream , but the Monster quickly covers her mouth . After a moment , the Monster tries to make a `` Shhhh '' sound with his finger , but as he releases her mouth to use his `` Shhh '' finger . her SCREAM is still going on . He covers her mouth again and shakes her .</scene_description> <character>MONSTER</character> <dialogue>MMMmmmm!</dialogue> <scene_description>He gradually takes his hand from her mouth . She is silent ; but her eyes are filled with terror . The Monster starts to unbutton his pants .</scene_description> <character>ELIZABETH</character> <dialogue>What?</dialogue> <scene_description>The Monster holds up his hand for her to `` Wait a minute . ''</scene_description> <character>MONSTER</character> <dialogue>MMMmmmm!</dialogue> <scene_description>He goes on unbuttoning his pants .</scene_description> <character>ELIZABETH</character> <dialogue>What in God's name are you doing?</dialogue> <character>MONSTER</character> <dialogue>Baack!</dialogue> <character>ELIZABETH</character> <dialogue>What?</dialogue> <character>MONSTER</character> <parenthetical>( motioning for her to move back . )</parenthetical> <dialogue>Baack!</dialogue> <scene_description>She moves back a foot .</scene_description> <character>MONSTER</character> <dialogue>Morrr!</dialogue> <scene_description>She moves back another foot . fascinated . We can not see what she sees , but what ever it is . she is suddenly filled with awe .</scene_description> <character>ELIZABETH</character> <dialogue>Oh my goodness! Nineteen if it's an inch.</dialogue> <scene_description>The Monster smiles .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Burgomeister and the Villagers make their way through the rocks and hills , alongside a stream . Row boats - with Villagers , torches and Dogs - travel up the stream alongside the Villagers who are on land .</scene_description> </scene> <scene> <stage_direction>INT. CAVE - NIGHT</stage_direction> <scene_description>Elizabeth and the Monster are lying on a bed of leaves .</scene_description> <character>ELIZABETH</character> <dialogue>Penny for your thoughts.</dialogue> <scene_description>The Monster 's eyes twinkle lasciviously .</scene_description> <character>ELIZABETH</character> <dialogue>You're incorrigible! Are n't you?</dialogue> <character>MONSTER</character> <dialogue>MMMmmmm.</dialogue> <character>ELIZABETH</character> <dialogue>All right then. seven's always been my lucky number.</dialogue> <scene_description>They are about to kiss , when suddenly the Monster 's ears perk up as he hears : MUSIC : THE EERIE TRANSYLVANIAN LULLABY He does n't know where it is coming from .</scene_description> <character>ELIZABETH</character> <dialogue>What, dear? What is it?</dialogue> <scene_description>The Monster gives a pathetic little cry .</scene_description> <character>MONSTER</character> <dialogue>MMMmm!</dialogue> <character>ELIZABETH</character> <dialogue>Is it that music?</dialogue> <character>MONSTER</character> <dialogue>MMMMM! MMMMM!</dialogue> <character>ELIZABETH</character> <dialogue>Probably just some nearby cottage. Nothing to worry about.</dialogue> <scene_description>The Monster gets up and starts out of the cave . pulled by forces he does n't understand .</scene_description> <character>ELIZABETH</character> <dialogue>Where are you going? They've left their F - M station on, that's all.</dialogue> <scene_description>He 's gone .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF OF CASTLE - NIGHT</stage_direction> <scene_description>Freddy stands in the night air , playing the violin - a handkerchief under his chin . In front of him is a tall microphone on a stand , with two enormous speakers nearby , facing the woods . Igor sits on a chair , near Freddy , like a member of a band waiting for his cue . Now Igor gets up , put his trumpet to his lips , and blows just the `` bridge . '' When he is finished , he sits back down and waits .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Monster walks passionately through the woods , fighting the branches in order to get to the music .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE WOODS - NIGHT</stage_direction> <scene_description>The Burgomeister and the Villagers make their way through the rocks and hills , alongside a stream . Rowboats , with Villagers , torches and Dogs , travel up the stream , alongside the Villagers who are on land . The rocks , hills and stream all look vaguely familiar .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF OF CASTLE - NIGHT</stage_direction> <scene_description>The Monster can be SEEN , crawling up the side of the Castle , trying to make it onto the roof . Freddy and Igor move close to the edges of the roof as Freddy continues playing .</scene_description> <character>FREDDY</character> <parenthetical>( to the Monster . )</parenthetical> <dialogue>You can do it.</dialogue> <scene_description>The Monster inches closer .</scene_description> <character>FREDDY</character> <dialogue>You can do it.</dialogue> <scene_description>The Monster inches closer .</scene_description> <character>IGOR</character> <dialogue>Come on, big fellow!</dialogue> <character>FREDDY</character> <parenthetical>( to Igor . )</parenthetical> <dialogue>Is everything ready?</dialogue> <character>IGOR</character> <dialogue>Yes, master. Are you sure you want to go through with it?</dialogue> <character>FREDDY</character> <dialogue>It's the only way.</dialogue> <character>IGOR</character> <dialogue>Okay, boss! But I hope you know what you're doing.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Burgomeister stands in water up to his waist - his clothes all wet and torn . His Great Dane is swimming next to him , BARKING LOUDLY .</scene_description> <character>1ST VILLAGER</character> <dialogue>Wait a minute! Maybe he went back to the castle.</dialogue> <character>2ND VILLAGER</character> <dialogue>That's right!</dialogue> <character>3RD VILLAGER</character> <dialogue>He's probably right.</dialogue> <character>2ND VILLAGER</character> <dialogue>It was all a trick by that lunatic doctor.</dialogue> <character>3RD VILLAGER</character> <dialogue>Let's go back there and tear them both to pieces!</dialogue> <character>4TH VILLAGER</character> <dialogue>Now see here. Let's not lose our heads. We've always listened to our Burgomeister in the past. We should have the decency to hear him now.</dialogue> <character>1ST VILLAGER</character> <dialogue>Well - what do you say, Burgomeister?</dialogue> <character>BURGOMEISTER</character> <dialogue>Let's go back there and tear them to pieces!</dialogue> <character>ASSORTED VILLAGERS</character> <dialogue>Yay! Back to the castle! Kill them both!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - NIGHT</stage_direction> <scene_description>The Monster lies on an operating table . His eyes are closed . From out of his head come ten thin tubes , connecting to one large tube . The large tube travels up , above the Monster 's head , then turns across the room for five or six feet , then down again where it connects with ten smaller tubes that are stuck into : FREDDY 'S HEAD Freddy lies on an operating table . His eyes are closed . Inga operates two `` INTAKE '' - `` OUTPUT '' gauges .</scene_description> <character>IGOR</character> <dialogue>It's the waiting I ca n't stand.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE LIBRARY</stage_direction> <scene_description>Frau Blucher sits in a chair , bare - chested . She is flaggelating herself with a handful of thin branches . She mumbles some mysterious prayer in German - occasionally looking out through a crack in the door to see what is happening to `` her '' monster and Freddy .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <character>IGOR</character> <dialogue>How do you know they're done?</dialogue> <character>INGA</character> <dialogue>The doctor said to allow seven minutes : no more and no less - or else they could both become hopelessly paralyzed.</dialogue> <scene_description>GIANT CLOCK ON THE WALL with a `` sweep '' second hand . It is FOUR MINUTES AFTER TEN . BACK TO SCENE</scene_description> <character>IGOR</character> <dialogue>How long is it so far?</dialogue> <character>INGA</character> <dialogue>Four</dialogue> <character>IGOR</character> <dialogue>Three minutes to go!</dialogue> <character>INGA</character> <dialogue>Yes.</dialogue> <character>IGOR</character> <dialogue>What d'ya want to do to kill time?</dialogue> <character>INGA</character> <dialogue>Oh, Igor - I'm so afraid! I just hope this all ends well.</dialogue> <scene_description>Igor looks into the LENS of the CAMERA .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction> <scene_description>The Burgomeister and the Villagers are almost at the front door .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Inga and Igor watch over the two bodies . THE CLOCK It is FIVE MINUTES AFTER TEN .</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE - NIGHT</stage_direction> <scene_description>The Villagers are pounding on the front door .</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE LIBRARY</stage_direction> <scene_description>Frau Blucher is at the height of her self - flagellation . She is almost in ecstasy .</scene_description> <character>FRAU BLUCHER</character> <dialogue>Oh, yes! Oh, yes, yes, yes!</dialogue> <scene_description>THE CLOCK It is FIVE AND A HALF MINUTES AFTER TEN .</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE - NIGHT</stage_direction> <scene_description>The villagers are RAMONG THE FRONT DOOR DOWN with a giant pole .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <character>INGA</character> <dialogue>Igor - are you sure the monster has a good brain? Are you absolutely certain that you took the brain of Hans Delbruck that night?</dialogue> <character>IGOR</character> <dialogue>Absolutely! May my mother grow two heads if I'm not telling the truth.</dialogue> <scene_description>TWO - HEADED OLD LADY rocking in a chair .</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE - NIGHT</stage_direction> <scene_description>The front door gives way . The Burgomeister and the Villagers burst into the castle .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION HALL</stage_direction> <scene_description>The Villagers scatter every way , in search of the doctor and the monster . THE CLOCK It is SIX MINUTES AND TWENTY SECONDS AFTER TEN .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <character>INGA</character> <parenthetical>( looking up as she hears the Villagers . )</parenthetical> <dialogue>What's that noise?</dialogue> <character>IGOR</character> <dialogue>Sounds like visitors. It's all right - Frau Blucher will show them in.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE LIBRARY</stage_direction> <scene_description>Frau Blucher is dripping wet from the passion of her climax .</scene_description> <character>FRAU BLUCHER</character> <dialogue>Victor. Victor! I'm coming. I'm coming, Victor!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY</stage_direction> <scene_description>Villagers come pouring down the stairs and into the laboratory .</scene_description> <character>FIRST VILLAGER</character> <dialogue>There they are!</dialogue> <character>ASSORTED VILLAGERS</character> <dialogue>Kill them! Kill that doctor! Kill the monster! Tear them both to pieces!</dialogue> <character>INGA</character> <parenthetical>( handling the dials . )</parenthetical> <dialogue>Igor - what time is it?</dialogue> <character>IGOR</character> <dialogue>Oh, must be around ten. ten - thirty.</dialogue> <character>INGA</character> <dialogue>Igor - the clock! Hurry!</dialogue> <scene_description>Igor looks at it : THE CLOCK It is SIX MINUTES AND FORTY - FIVE SECONDS AFTER TEN . BACK TO SCENE</scene_description> <character>IGOR</character> <dialogue>Another fifteen seconds to go.</dialogue> <character>INGA</character> <dialogue>Do something! Stall them!</dialogue> <scene_description>Igor rushes up to the charging Villagers .</scene_description> <character>IGOR</character> <dialogue>Now see here! What is the meaning of this?</dialogue> <character>BURGOMEISTER</character> <dialogue>We want the doctor!</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>BURGOMEISTER</character> <dialogue>We want the doctor!</dialogue> <character>IGOR</character> <dialogue>What?</dialogue> <character>FIRST VILLAGER</character> <dialogue>Come on, men!</dialogue> <scene_description>They sweep right over Igor . THE CLOCK It is SIX MINUTES AND FIFTY SECONDS AFTER TEN . BACK TO SCENE</scene_description> <character>SECOND VILLAGER</character> <parenthetical>( seeing Freddy lying on his table . )</parenthetical> <dialogue>Here's that crackpot doctor. Let's get him first!</dialogue> <scene_description>Several Villagers grab Freddy 's body and pull the tubes out from his head . THE CLOCK ZOOM TO CLOCK . It is only SIX MINUTES AND FIFTY - THREE SECONDS AFTER TEN . ANOTHER ANGLE</scene_description> <character>INGA</character> <dialogue>No! Please!</dialogue> <scene_description>Inga is standing further back , near the monster , unable to take her eyes off the clock and dials . The Villagers hold Freddy up , over their shoulders , yelling and screaming . They start off with him .</scene_description> <character>A GIANT VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Put that man down!</dialogue> <scene_description>Everyone quiets down and turns towards the Voice . There , on his operating table - holding the removed tubes from his head - sits the Monster .</scene_description> <character>AN OLD WOMAN</character> <dialogue>Why. it's the monster!</dialogue> <character>BURGOMEISTER</character> <dialogue>No, it could n't be.</dialogue> <character>THIRD VILLAGER</character> <dialogue>Yes it is. It must be.</dialogue> <character>MONSTER</character> <parenthetical>( standing on his operating table . )</parenthetical> <dialogue>I said : Put that man down!</dialogue> <scene_description>The frightened Villagers carry Freddy back to his table and lay him down .</scene_description> <character>BURGOMEISTER</character> <dialogue>And who are you, sir, that you order these people about?</dialogue> <character>MONSTER</character> <dialogue>I am a relative of the doctor's. I came to visit him a few weeks ago, in hopes that this distinguished member of my family might be able to help me with a problem that I've had since birth. and which has caused more sorrow in my heart than I wish on any man.</dialogue> <character>ASSORTED VILLAGERS</character> <parenthetical>( whispering . )</parenthetical> <dialogue>What'd he say? Relative?</dialogue> <character>MONSTER</character> <dialogue>You see, because of my great size and the somewhat unusual features of my head - when women look at me, their first impulse is to scream ; children often cry, or vomit ; and men are inclined to beat me over the head.</dialogue> <scene_description>The Laboratory is silent .</scene_description> <character>MONSTER</character> <dialogue>I lived in hopes of meeting people who would. overlook my outward appearance and respect me for whatever good qualities I had to offer. If anyone had ever shown a little kindness, I would have returned it, I think, at least one hundred times over. And for that one person's sake. I would have made piece with the whole world. Do you understand what it means - never to see a kind or happy face? You could imagine then, perhaps, how such bitterness led me, at last, to the brink of another kind or life. I decided that if I could n't inspire love. which was my deepest hope. I would, instead. cause fear.</dialogue> <scene_description>A quiet shudder runs through the Villagers .</scene_description> <character>MONSTER</character> <dialogue>But all of that happened to me a lifetime ago. And I paid for my crimes. severely. It was just then that fate, or chance, brought me to our famous doctor. I found this man to be vain ; I found him to be driven with ambitions of personal glory, and consumed with an unquenchable thirst for power. But even at the height of his quest - this ego - driven, brilliant and half - crazed scientist. always. always. held an image of me as something beautiful. And then, at the moment of truth, when it would have been easy enough to run and stay out of danger. he used himself as a guinea pig, in order to give me a calmer brain. and a slightly more eloquent way of speaking. Yes! I am ` The Monster''. sometimes known as ` Him,' or occasionally, ` The Creature.' But they're one and the same. I am that tall, peculiarly attractive stranger, with the winning smile. Would you all get the hell out of here!</dialogue> <scene_description>THE VILLAGERS mumble and shuffle out of the laboratory .</scene_description> <character>INGA</character> <dialogue>Oh, ` It's'. you were wonderful. But I'm so worried about the doctor.</dialogue> <scene_description>Igor is listening to Freddy 's heartbeat , as Inga and the Monster come to him . They all three put their ears to Freddy 's chest and listen . They smile . LEGEND ON THE SCREEN It reads :</scene_description> <character>A FEW WEEKS LATER</character> <dialogue /> </scene> <scene> <stage_direction>INT. MODERN BEDROOM - NIGHT</stage_direction> <scene_description>Elizabeth is sitting at her makeup table , dressed in a nightgown , getting ready for bed .</scene_description> <character>ELIZABETH</character> <dialogue>Darling! I hope you did n't find Daddy's little party too boring. He did it just for you, and he meant well. Tell me you liked it.</dialogue> <scene_description>BATHROOM DOOR</scene_description> <character>A VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>MMmmm.</dialogue> <character>ELIZABETH'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I know Mummy's just a scatterbrain without a serious thought in her head, but. you lover her just a little bit, do n't you?</dialogue> <character>A VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>MMmmm.</dialogue> <character>ELIZABETH'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I'm ready for bed, sweetheart. Almost done?</dialogue> <scene_description>The bathroom door opens and the Monster steps out . He is dressed in elegant silk pajamas and a handsome robe .</scene_description> <character>MONSTER</character> <dialogue>MMmmm.</dialogue> <scene_description>Even though his electrodes still stick out from his neck , he appears well - groomed . Elizabeth gets into bed and waits for him .</scene_description> <character>ELIZABETH</character> <dialogue>Did you see? I put a special hamper in the bathroom just for your shirts. The other one is just for socks and poo - poo undies.</dialogue> <character>MONSTER</character> <parenthetical>( as he takes off his robe . )</parenthetical> <dialogue>MMmmm.</dialogue> <scene_description>He gets into bead and turns out the table lamp .</scene_description> <character>ELIZABETH</character> <dialogue>Still happy you married me?</dialogue> <character>MONSTER</character> <dialogue>MMmmm.</dialogue> <character>ELIZABETH</character> <dialogue>Love me oodles and oodles?</dialogue> <character>MONSTER</character> <dialogue>MMmmm.</dialogue> <character>ELIZABETH</character> <dialogue>So this is what it's like to be completely happy!</dialogue> <character>MONSTER</character> <dialogue>MMmmm.</dialogue> </scene> <scene> <stage_direction>INT. CASTLE BEDROOM - NIGHT</stage_direction> <scene_description>Freddy is sitting in an easy chair near the fire , dressed in pajamas and reading a newspaper . -LRB- Probably the Transylvania Tribune - International Edition -RRB- . From the bathroom comes the SOUND of Inga , HUMING a pleasant tune to herself .</scene_description> <character>INGA'S VOICE</character> <parenthetical>( o.s. , from the bathroom . )</parenthetical> <dialogue>Did you have a nice day today?</dialogue> <character>FREDDY</character> <dialogue>Oh, just the usual : sore throats, a few colds. Someone who thought he was a werewolf, and two bladder transplants.</dialogue> <scene_description>She goes on humming .</scene_description> <character>INGA'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Did you notice the new drapes I put up in the bedroom?</dialogue> <character>FREDDY</character> <parenthetical>( looking up . )</parenthetical> <dialogue>Yes! They're very nice.</dialogue> <character>INGA'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Oh, I'm glad.</dialogue> <scene_description>A short pause of silence , and then Inga begins humming the EERIE TRANSYLVANIAN LULLABY , quietly unconsciously . Freddy 's face is hidden behind the newspaper , but he is suddenly completely motionless .</scene_description> <character>INGA'S VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I was hoping you'd like them.</dialogue> <scene_description>She continues humming the Lullaby . Freddy lowly lowers the newspaper . He touches his fingertips to his temple . His eyes open and close , as if he were trying to focus . Inga comes out of the bathroom , dressed in her nightgown , and folds back the covers of their large double bed . She continues humming .</scene_description> <character>INGA</character> <dialogue>All right if I turn out the lamp, sweetheart?</dialogue> <character>FREDDY</character> <parenthetical>( answering . )</parenthetical> <dialogue>MMmmm.</dialogue> <scene_description>She turns out the lamp as she goes on humming . The bedroom is lit only by moonlight and the glow from the fireplace .</scene_description> <character>INGA</character> <parenthetical>( as she is arranging the pillows . )</parenthetical> <dialogue>Shall I set the alarm?</dialogue> <character>FREDDY</character> <dialogue>MMMmmm.</dialogue> <scene_description>She goes on humming , as she pulls out the stopper on the alarm clock . Freddy rises . His arms hang away from his body , STIFFLY . He walks in fits and jerks .</scene_description> <character>FREDDY</character> <dialogue>MMMMmmmmm!</dialogue> <character>INGA</character> <dialogue>Yes, sweetie. I heard you. So! I'm ready for you, meine Liebe.</dialogue> <scene_description>Freddy is standing at the edge of the bed .</scene_description> <character>INGA</character> <dialogue>Are you ready for me?</dialogue> <character>FREDDY</character> <dialogue>MMMMmmmmm!</dialogue> <character>INGA</character> <dialogue>Ready for Fuchsmachen?</dialogue> <character>FREDDY</character> <dialogue>MMMMMMmmmmmmmmm!</dialogue> <character>INGA</character> <dialogue>I love it when you're excited. Come then, my Apfelstrudel! Come into my arms and let me hold you.</dialogue> <scene_description>Freddy kneels onto the bed . A long pause .</scene_description> <character>INGA</character> <dialogue>Sweetheart. Is this really you?</dialogue> <character>FREDDY</character> <dialogue>MMMMMMMMMMMMMMmmmmmmmmmmmmmmm!</dialogue> <scene_description>TURRET AT THE TOP OF THE CASTLE Igor sits in the window , blowing his trumpet . ANOTHER ANGLE PULL BACK SLOWLY , until the whole castle in SEEN . THE END</scene_description> </scene> </script>

Dr. Frederick Frankenstein is a lecturing physician at an American medical school and engaged to Elizabeth, a socialite. He becomes exasperated when anyone brings up the subject of his grandfather Victor Frankenstein, the infamous mad scientist, and insists that his surname is pronounced "Fronkonsteen". When a solicitor informs him that he has inherited his family's estate in Transylvania after the death of his great-grandfather, the Baron Beaufort von Frankenstein, Frederick travels to Europe to inspect the property. At the Transylvania train station, he is met by a hunchbacked, bug-eyed servant named Igor, and a young assistant, Inga. Upon hearing that the professor pronounces his name "Fronkensteen", Igor insists that his name is pronounced "Eyegor", rather than the traditional "Eegor". Upon arrival at the estate, Frederick meets Frau Blucher, the housekeeper. After discovering the secret entrance to his grandfather's laboratory and reading his private journals, Frederick decides to resume his grandfather's experiments in re-animating the dead. He and Igor steal the corpse of a recently executed criminal, and Frederick sets to work experimenting on the large corpse. Igor is sent to steal the brain of a deceased revered historian, Hans Delbrück; startled by his own reflection, he drops and ruins Delbrück's brain. Taking a second brain labeled "Abnormal", Igor returns with it, and Frederick unknowingly transplants it into the corpse. Soon, Frederick is ready to re-animate his creature, who is eventually brought to life by electrical charges during a lightning storm. The creature takes its first steps, but, frightened by the sight of Igor lighting a match, he attacks Frederick and nearly strangles him before he is sedated. Meanwhile, unaware of the creature's existence, the townspeople gather to discuss their unease at Frederick continuing his grandfather's work. Inspector Kemp, a one-eyed police official with a prosthetic arm, whose German accent is so thick that even his own countrymen cannot understand him, proposes to visit the doctor, whereupon he demands assurance that Frankenstein will not create another monster. On returning to the lab, Frederick discovers Blucher setting the creature free. She reveals the monster's love of violin music and her own romantic relationship with Frederick's grandfather. However, the creature is enraged by sparks from a thrown switch and escapes the castle. While roaming the countryside, the monster has encounters with a young girl and a blind hermit, references to 1931's Frankenstein. Frederick recaptures the monster and locks the two of them in a room, where he calms the monster's homicidal tendencies with flattery and fully acknowledges his own heritage, shouting out, "My name is Frankenstein!" At a theater full of illustrious guests, Frederick shows "The Creature", dressed in top hat and tails, following simple commands. The demonstration continues with Frederick and the monster performing the musical number "Puttin' On the Ritz". However, the routine ends suddenly when a stage light explodes and frightens the monster, who becomes enraged and charges into the audience, where he is captured and chained by police. Back in the laboratory, Inga attempts to comfort Frederick and they wind up sleeping together on the suspended reanimation table. The monster escapes when Frederick's fiancée Elizabeth arrives unexpectedly for a visit, taking her captive as he flees. Elizabeth falls in love with the creature due to his "enormous schwanzstucker". The townspeople hunt for the monster; to get the creature back, Frederick plays the violin to lure his creation back to the castle and recaptures him. Just as the Kemp-led mob storms the laboratory, Frankenstein transfers some of his stabilizing intellect to the creature who, as a result, is able to reason with and placate the mob. Elizabeth—with her hair styled after that of the female creature from the Bride of Frankenstein—marries the now erudite and sophisticated monster, while Inga, in bed with Frederick, asks what her new husband got in return during the transfer procedure. Frederick growls wordlessly and embraces Inga who, as Elizabeth did when abducted by the monster, sings the refrain "Ah, Sweet Mystery of Life".

Hall Pass_2011

tt0480687

<script> <scene> <scene_description>HALL PASS Written by Peter Farrelly, Bobby Farrelly, Kevin Barnett &amp; Pete Jones September 18, 2009</scene_description> <character>FADE IN:</character> <dialogue>EXT. HIGHWAY - NIGHT</dialogue> <dialogue>Very late. All is quiet. Then a battered MINI-VAN blows by a row of hedges that have been pruned to read: 'WELCOME TO CAPE COD.' A moment later a FLASHING COP CAR flies by in HOT</dialogue> <character>PURSUIT.</character> <dialogue>INT. MINI-VAN - SAME</dialogue> <dialogue>The WINDSHIELD IS GONE and the wind blows back the hair of two BEAT-UP-LOOKING MEN. The driver, FRED SEARING, 40-ish, has a look of determination and resolve on his chunky face, despite the BLACK EYE and BLOOD-STAINED TISSUE dangling out of his nose. The nervous passenger is RICK MILLS, 38.</dialogue> <character>RICK</character> <dialogue>Pull over, man!</dialogue> <character>FRED</character> <dialogue>No way, I can out-run 'em!</dialogue> <character>RICK</character> <dialogue>No you can't--not in this thing! Another POLICE CRUISER FISHTAILS OUT OF A SIDE STREET and</dialogue> <character>JOINS THE CHASE.</character> <dialogue>RICK</dialogue> <scene_description>Oh God, now there's two of 'em!</scene_description> <character>FRED</character> <dialogue>I don't care--I'm not stopping 'til we get there!</dialogue> <character>RICK</character> <dialogue>Are you crazy?!</dialogue> <character>FRED</character> <dialogue>Yeah, I'm crazy! I'm crazy about my wife!</dialogue> <scene_description>ESTABLISHING SHOT OF A CAPE COD HOSPITAL - NIGHT Rick and Fred come SKIDDING UP to the EMERGENCY ENTRANCE followed by the two police cruisers. When they stop, we see that somebody has spray-painted 'HORNY OLD MAN' on the side of the mini-van. Fred jumps out and SPRINTS toward the entrance. SEVERAL COPS spring from their cars and give chase. Before Fred can reach the front doors, he gets KNOCKED VIOLENTLY to the ground. Rick climbs out of the passenger seat with HIS HANDS RAISED.</scene_description> <character>RICK</character> <dialogue>Hear me out, gentlemen, I can explain every--!</dialogue> <dialogue>AS A BURLY OFFICER'S HEAD CONNECTS WITH RICK'S CHEST, we...</dialogue> <scene_description>SMASH CUT TO: Law &amp; Order MUSIC CUE as we SUPER: TWO WEEKS EARLIER FADE BACK IN:</scene_description> </scene> <scene> <stage_direction>INT. RICK'S FAMILY ROOM - DAY</stage_direction> <scene_description>ON TV SCREEN - a video shows several YOUNG PEOPLE, early- 20's, sunning themselves at the beach. A YOUNG-LOOKING RICK hams it up for the camera. RICK (O.S.) See the stud in the blue shorts? That's me the summer I got out of college. LITTLE GIRL'S VOICE (O.S.) Wow, Dad, you used to have muscles. REVERSE ANGLE reveals EMMA, 6, and GUNNAR, 4, sitting on either side of Rick.</scene_description> <character>RICK</character> <dialogue>I still have a few.</dialogue> <character>GUNNAR</character> <dialogue>Where? Rick shoots him a look.</dialogue> <character>RICK</character> <dialogue>They're hidden. BACK ON TV SCREEN - A PRETTY GIRL with a knockout body comes up and puts her arms around Rick.</dialogue> <character>EMMA</character> <dialogue>Who's that girl?</dialogue> <character>RICK</character> <dialogue>That's Mommy.</dialogue> <character>EMMA</character> <dialogue>No, I mean the young one standing next to you.</dialogue> <character>RICK</character> <dialogue>That's Mommy.</dialogue> <character>EMMA</character> <dialogue>Mommy used to have long hair? And she wore a bikini?</dialogue> <character>RICK</character> <parenthetical>(WISTFULLY)</parenthetical> <dialogue>Yes she did.</dialogue> <character>EMMA</character> <dialogue>How come she doesn't wear a bikini anymore?</dialogue> <character>GUNNAR</character> <dialogue>Is it because of her fat ass?</dialogue> <character>RICK</character> <dialogue>I guess. What? No. Who said Mommy's got a fat ass?</dialogue> <character>GUNNAR</character> <dialogue>Mommy.</dialogue> <character>LONG BEAT.</character> <dialogue>RICK</dialogue> <scene_description>Well, uh, I don't appreciate that language, Gunnar. You've got the best mom in the whole world--don't ever say anything bad about her. Just then, MAGGIE comes GRUNTING into the room carrying a ONE- YEAR-OLD BABY in one arm and a basket of laundry in the other. She's in her late-30's, cute, with short, manageable mommy hair. She's wearing SWEATPANTS, an OVERSIZED T-SHIRT, and NO MAKE-UP.</scene_description> <character>RICK</character> <dialogue>Hey beautiful, you better get a move on--we're supposed to be meeting Fred and Grace soon.</dialogue> <character>MAGGIE</character> <dialogue>I know, I know, I'm trying.</dialogue> <character>RICK</character> <dialogue>Well how long you gonna be?</dialogue> <character>MAGGIE</character> <dialogue>Forty-five minutes--sooner if you help with the kids. Maggie looks to him, hopeful.</dialogue> <character>RICK</character> <parenthetical>(NONCHALANT)</parenthetical> <dialogue>Forty-five minutes is good. Maggie shoots him a look and Rick smiles.</dialogue> <character>RICK</character> <dialogue>I'm kidding. Okay, kids, first one in the tub gets college paid for. Emma and Gunnar just stare at him.</dialogue> <character>RICK</character> <dialogue>Come on, you bums, let's go!</dialogue> <dialogue>As Rick starts to tickle his kids they run out of the room,</dialogue> <character>AND WE</character> </scene> <scene> <stage_direction>EXT. SIDEWALK - EVENING</stage_direction> <scene_description>Rick and Maggie walk along hand-in-hand. They're dressed-up and happy-looking.</scene_description> <character>RICK</character> <dialogue>I miss going out with you on Saturday nights. She smiles at him.</dialogue> <character>MAGGIE</character> <dialogue>I know, it's just like the old days.</dialogue> <dialogue>Rick pulls Maggie close as they walk.</dialogue> <character>RICK</character> <dialogue>Maybe we should make a rule that we go out at least six nights a week without the kids. Maggie GIGGLES.</dialogue> <character>RICK</character> <dialogue>I'm serious. We should go out every week--just you and me.</dialogue> <dialogue>A BEAUTIFUL BLONDE walks past them and Rick gives a QUICK GLANCE back AT HER ASS.</dialogue> <character>RICK</character> <dialogue>I think it'd be healthy.</dialogue> <character>MAGGIE</character> <dialogue>You gotta be kidding me? Maggie pulls away.</dialogue> <character>RICK</character> <dialogue>What?</dialogue> <character>MAGGIE</character> <dialogue>You just checked out that girl's butt.</dialogue> <character>RICK</character> <dialogue>I did?</dialogue> <character>MAGGIE</character> <dialogue>Yeah, you did, and it's rude.</dialogue> <character>RICK</character> <dialogue>Why? You think she saw me?</dialogue> <character>MAGGIE</character> <dialogue>saw you.</dialogue> <character>RICK</character> <dialogue>Oh, uh, yeah. I'm sorry, honey, I'm just kind of spacey today.</dialogue> <scene_description>GRACE (O.S.) Come on, we're late! REVERSE ANGLE reveals Fred Searing and his wife GRACE, 38, waiting outside a restaurant. Fred sports a full-head of hair that's maybe a little too stiff. Grace is short and appealing in a Rachel Ray kind of way. Fred leans in to kiss Maggie as Rick kisses Grace.</scene_description> <character>MAGGIE</character> <dialogue>Grace, let me ask you something: Does Fred ever check out other women in front of you?</dialogue> <character>GRACE</character> <dialogue>No, Fred's not a gawker.</dialogue> <scene_description>Grace pats a pleased-looking Fred on the head.</scene_description> <character>GRACE</character> <dialogue>Come on, Mags, let's go say hi to Dr. Lucy. We follow the women as they leave their husbands and ENTER the restaurant under a banner that says, 'Boston Psychiatric Association Person of the Year.'</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - CONTINUOUS</stage_direction> <scene_description>Grace and Maggie approach the check-in table. WOMAN'S VOICE (O.S.) There they are! ANOTHER ANGLE reveals DR. LUCY GILBERT, a very attractive and sophisticated-looking 40-year-old, holding court in the corner.</scene_description> <character>GRACE</character> <dialogue>Dr. Lucy! Congratulations!</dialogue> <scene_description>DR. LUCY Girls, thank you so much for coming. Dr. Lucy speaks with a FRENCH ACCENT.</scene_description> <character>MAGGIE</character> <dialogue>Are you kidding me? You're the only friend of ours who ever got an award--you think we're going to miss that? ANGLE ON Rick and Fred standing at the bar.</dialogue> <character>FRED</character> <dialogue>Do you mind telling me how your wife catches you checking out another girl? What is this, amateur hour?</dialogue> <dialogue>The BARTENDER delivers a couple beers and Rick pays.</dialogue> <character>RICK</character> <dialogue>The girl walked past and I glanced back at her for like half a second.</dialogue> <character>FRED</character> <dialogue>There's your problem, dumb-ass-- it's the wrong order. You don't wait for the girl to walk past and then glance back. You turn when she's still fifteen feet in front of you...then you wait for her to walk into your line of vision. Fred NOTICES an ATTRACTIVE WOMAN walking toward them from</dialogue> <scene_description>the right.</scene_description> <character>FRED</character> <dialogue>Observe. Before the woman reaches them, Fred turns to his left and holds the look until the Attractive Woman's ASS ENTERS HIS VIEW and he watches her walk away.</dialogue> <character>FRED</character> <dialogue>You see? I can't help it if her butt walks where I'm already looking.</dialogue> <character>RICK</character> <parenthetical>(GETTING IT)</parenthetical> <dialogue>It was your air space.</dialogue> <character>WOMAN'S VOICE (O.S.)</character> <dialogue>Hey, guys. They turn to see a BEAUTIFUL WOMAN with a healthy tan</dialogue> <scene_description>walking past carrying several drinks. This is MISSY FRANKENFIELD, mid-30's.</scene_description> <character>RICK AND FRED</character> <dialogue>Hey, Missy.</dialogue> <character>MISSY</character> <parenthetical>(CALLING back to them)</parenthetical> <dialogue>Don't forget to mingle! The guys watch Missy walk away.</dialogue> <character>FRED</character> <dialogue>Wow. Missy's looking pretty good for someone going through a divorce.</dialogue> <character>RICK</character> <dialogue>Yeah, that's rough stuff--I heard they might have to sell the house.</dialogue> <character>FRED</character> <dialogue>Too bad. You gonna hit 'em up for the listing?</dialogue> <character>RICK</character> <dialogue>What am I, a vulture? Nah, I don't go after the divorcee business unless they approach me first.</dialogue> <character>FRED</character> <dialogue>Yeah, it's kind of tacky, huh? As the guys crane their necks to get a better view of</dialogue> <scene_description>Missy's ass, we... REVERSE ANGLE to reveal Maggie, Grace and Dr. Lucy sipping lemondrops and watching Rick and Fred from across the room.</scene_description> <character>GRACE</character> <dialogue>Look at those two meatheads checking out Missy Frankenfield. What, do they think they're invisible over there?</dialogue> <character>MAGGIE</character> <dialogue>I thought you said Fred wasn't a gawker.</dialogue> <character>GRACE</character> <dialogue>He was standing right next to you. I can't let him know that I know-- that would take all the fun out of it.</dialogue> <character>(CHUCKLES)</character> <dialogue>You should see him. He's got some stupid move where he looks back before the girl passes to make it seem like he couldn't help but</dialogue> <scene_description>notice her ass. It's pathetic. Maggie and Dr. Lucy GIGGLE.</scene_description> <character>CUT TO:</character> <dialogue>EXT. RICK AND MAGGIE'S HOUSE - NIGHT</dialogue> <dialogue>Rick's car is parked in the driveway, and he and Maggie are getting out.</dialogue> <character>RICK</character> <dialogue>How about I drive the babysitter home while you go upstairs and prepare the altar? He puts his arm around her as they walk toward the front door.</dialogue> <character>MAGGIE</character> <dialogue>I want to, honey, but I've got to get up early with the kids.</dialogue> <character>RICK</character> <dialogue>I'll get up with the kids.</dialogue> <character>MAGGIE</character> <dialogue>But I have to go out and buy a gift- -they're going to a birthday party tomorrow.</dialogue> <character>RICK</character> <dialogue>I'll cjet the gift, then I'll take the kids to the park, then to the party. You can dust stay in bed,, get your beauty sleep, and bask in the sweet, sweet pounding I'm about to give you.</dialogue> <character>MAGGIE</character> <dialogue>I love it when you sweet-talk me. Maggie smiles but as Rick opens the front door they FREEZE</dialogue> <scene_description>IN THEIR TRACKS. THEIR POV - the babysitter (PAIGE, 20, cute) is standing there with their 4-year-old, Gunnar.</scene_description> <character>GUNNAR</character> <dialogue>Mommy! Daddy!</dialogue> <character>RICK</character> <parenthetical>(DEFLATED)</parenthetical> <dialogue>Little buddy.. .what are you doing up?</dialogue> <dialogue>Gunnar runs into his mother's arms and Maggie shrugs apologetically to Rick.</dialogue> <character>RICK</character> <dialogue>This is just a minor obstacle.</dialogue> </scene> <scene> <stage_direction>INT. RICK'S MINI-VAN - NIGHT</stage_direction> <scene_description>Rick is at the wheel of his Dodge Caravan and Paige sits in the passenger seat. She is on the busty side.</scene_description> <character>RICK</character> <dialogue>How were the kids tonight?</dialogue> <character>PAIGE</character> <dialogue>Perfect. That Gunnar is so cute-- all he wants to do is wrestle with me.</dialogue> <dialogue>Rick smiles at this.</dialogue> <character>PAIGE</character> <dialogue>Mr. Mills, would it be okay to turn down the air--I'm a little chilly. Look--I got goose bumps.</dialogue> <dialogue>As she HOLDS OUT HER ARM to show him the GOOSE-BUMPS, we RACK FOCUS BEYOND HER ARM to the ERECT NIPPLES that are PIERCING THROUGH HER SHEER TOP like small tents.</dialogue> <dialogue>BACK ON Rick as his EYES GO WIDE WITH TERROR and he looks away.</dialogue> <character>RICK</character> <dialogue>Oh, uh, sure, I'm sorry. Flustered, he moves to the temperature control which in</dialogue> <scene_description>LARGE ILLUMINATED DIGITAL TYPE reads: 69!!! He quickly PUNCHES THE A/C OFF, then trains his eyes straight ahead and grips the steering wheel tight at ten-and-two.</scene_description> <character>PAIGE</character> <dialogue>Thank you.</dialogue> <character>RICK</character> <dialogue>'Welcome.</dialogue> </scene> <scene> <stage_direction>EXT. COLLEGE CAMPUS - NIGHT</stage_direction> <scene_description>The mini-van pulls up in front of a sorority house.</scene_description> </scene> <scene> <stage_direction>INT. RICK'S MINI-VAN - CONTINUOUS</stage_direction> <scene_description>Paige hesitates before getting out.</scene_description> <character>PAIGE</character> <dialogue>Mr. Mills, can I ask you something?</dialogue> <character>RICK</character> <dialogue>Sure.</dialogue> <character>PAIGE</character> <dialogue>I was wondering...</dialogue> <character>(SQUINTS NERVOUSLY)</character> <dialogue>.could you buy me some beer? Rick looks surprised.</dialogue> <character>RICK</character> <dialogue>Buy you some.. .How old are you?</dialogue> <character>PAIGE</character> <dialogue>Twenty. But I'm turning twenty-one next week.</dialogue> <character>RICK</character> <dialogue>Oh. Happy birthday. That's a biggie.</dialogue> <character>PAIGE</character> <dialogue>Yeah. My aunt usually buys beer for me, but she's out of town.</dialogue> <character>(SMILES HOPEFULLY)</character> <dialogue>So. . .could ya?</dialogue> <character>RICK</character> <dialogue>Uh, I don't know, Paige...I could get in a lot of trouble for giving alcohol to a minor.</dialogue> <character>PAIGE</character> <dialogue>Oh, come on, I'm a junior in college. You drank when you were in college, didn't you?</dialogue> <character>RICK</character> <dialogue>Well, uh...</dialogue> <character>PAIGE</character> <dialogue>Besides, it's so arbitrary. How does it make sense that twenty's old enough to fight in Iraq or watch a porno movie, but it's too young to drink a beer? Rick shifts in his seat.</dialogue> <character>RICK</character> <dialogue>Really? Twenty's old enough to uh...?</dialogue> <character>PAIGE</character> <dialogue>Fight in Iraq?</dialogue> <character>RICK</character> <dialogue>No, the other thing.</dialogue> <character>PAIGE</character> <dialogue>Watch Porn? Oh, God yeah--half the girls in those things are my age.</dialogue> <dialogue>Rick catches a hint of cleavage, a flash of leg.</dialogue> <character>PAIGE</character> <dialogue>Look, I promise no one's gonna find out. If you want, you can join me down at the lake--we'll listen to some tunes and have a couple beers.</dialogue> <dialogue>Rick stares at her, pictures it in his head. She looks hopeful, open.</dialogue> <character>RICK</character> <dialogue>I'm sorry, Paige, I can't do that.</dialogue> <character>PAIGE</character> <dialogue>Why not?</dialogue> <character>RICK</character> <dialogue>Well... it would be.. .inappropriate. Rick's voice has taken on a firmer, more adult tone. Paige seems amused by it.</dialogue> <character>PAIGE</character> <dialogue>What, is that your grown-up voice?</dialogue> <character>(SMILES)</character> <dialogue>That would be inappropriate, Paige.</dialogue> <character>COME ON--</character> <dialogue>RICK</dialogue> <scene_description>No, Paige. (with an edge) What are you thinking? I'm a married man and I have a family. You think they'd like it if they knew I was hanging out at the lake, all alone, drinking beer with a college girl? She seems taken aback.</scene_description> <character>PAIGE</character> <parenthetical>(PUT-OFF)</parenthetical> <dialogue>I never said alone. My sorority's having a party down there tonight.</dialogue> <dialogue>Rick CLEARS HIS THROAT, tries to hide his embarrassment.</dialogue> <character>RICK</character> <dialogue>All right, better get inside. She opens the car door, then glares back at him.</dialogue> <character>PAIGE</character> <dialogue>Ewww. What the hell were you thinking?</dialogue> <character>RICK</character> <dialogue>Go ahead. Scoot along now. As she SLAMS the car door, we...</dialogue> </scene> <scene> <stage_direction>INT. RICK AND MAGGIE'S HOUSE - NIGHT</stage_direction> <scene_description>Rick bounds up the stairs to find Maggie gently closing Gunnar's bedroom door.</scene_description> <character>MAGGIE</character> <dialogue>Shhhh. He just fell asleep.</dialogue> <character>RICK</character> <dialogue>Awesome. Rick playfully pinches Maggie's butt as he follows her into their bedroom where...</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM -- CONTINUOUS</stage_direction> <scene_description>.They find Emma sitting up in their bed, smiling.</scene_description> <character>EMMA</character> <dialogue>Can I sleep with you tonight?</dialogue> <character>RICK</character> <dialogue>No.</dialogue> <character>EMMA</character> <dialogue>Please.</dialogue> <character>RICK</character> <dialogue>No. Absolutely not. Maggie, clearly softening to the idea, shrugs at Rick.</dialogue> <character>RICK</character> <dialogue>Are you serious? Look, besides the other thing, I don't like the fact that my daughter needs someone to sleep with every night--that's not going to be good when she goes off to college, you know. Maggie rolls her eyes.</dialogue> <character>EMMA</character> <dialogue>Well.. .can someone read me a story? Rick looks at Maggie, then at his daughter.</dialogue> <character>RICK</character> <dialogue>Okay, one quick story. Come on, jump on my back.</dialogue> <dialogue>Emma jumps on Rick's back.</dialogue> <character>RICK</character> <parenthetical>(TO MAGGIE)</parenthetical> <dialogue>You can get started without me-- I'll be right back.</dialogue> <dialogue>Rick piggybacks Emma out of the room.</dialogue> </scene> <scene> <stage_direction>INT. EMMA'S BEDROOM - MINUTES LATER</stage_direction> <scene_description>Emma is putting Rick's HAIR INTO PONYTAILS.</scene_description> <character>RICK</character> <dialogue>Okay, honey, this is the last pony and then night-night.</dialogue> <dialogue>Emma finishes putting on a rubberband, then looks at him, satisfied.</dialogue> <character>EMMA</character> <dialogue>There. You look pretty, Daddy.</dialogue> <character>RICK</character> <dialogue>Okay, now give me a kiss, hug and go to sleep.</dialogue> <dialogue>She lays back on her pillow. Rick gives her a big kiss on both cheeks.</dialogue> <character>RICK</character> <dialogue>I love you, Emma.</dialogue> <character>EMMA</character> <dialogue>I love you, too, Daddy.</dialogue> </scene> <scene> <stage_direction>EXT. HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Rick (still in ponytails) tip-toes out of Emma's bedroom, closes the door so tly, then HUSTLES DOWN THE HALLWAY.</scene_description> </scene> <scene> <stage_direction>INT. RICK &amp; MAGGIE'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Rick scrambles into the room and STOPS IN HIS TRACKS. HIS POV - Maggie lays in bed, FAST ASLEEP.</scene_description> <character>RICK</character> <dialogue>No. Please, no. Rick wants to wake her up but sees that she needs the sleep, so he just PULLS THE COVERS OVER HER SHOULDERS.</dialogue> <dialogue>As Rick walks around the bed and INTO THE BATHROOM in the b.g., we HOLD ON MAGGIE until she OPENS HER EYES. She listens to her husband brush his teeth with perhaps a tinge of GUILT, and when he shuts off the faucet, she CLOSES HER EYES AGAIN, and we...</dialogue> </scene> <scene> <stage_direction>EXT. PARK - MORNING</stage_direction> <scene_description>Rick pushes Gunnar and Emma on the swings as a sweaty Fred APPROACHES carrying a tennis racket. (We see several TENNIS COURTS in the b.g.)</scene_description> <character>FRED</character> <dialogue>Hey.</dialogue> <character>RICK</character> <dialogue>Hey. How'd you make out?</dialogue> <character>FRED</character> <dialogue>Great. Lost both sets.</dialogue> <character>RICK</character> <dialogue>So'd you get the business? Fred nods and wipes his brow.</dialogue> <character>FRED</character> <dialogue>Pretty sure I got the Auto and Home. He told me to call his accountant on Monday about the Life.</dialogue> <character>RICK</character> <dialogue>Nice. Fred looks around at all the pretty MOMS and NANNIES with their CHILDREN.</dialogue> <character>FRED</character> <dialogue>Can you believe the talent here today?</dialogue> <character>RICK</character> <parenthetical>(PAINED)</parenthetical> <dialogue>Yeah. I know. They NOTICE something O.S.. THEIR POV - we see a SCANDINAVIAN AU PAIR bent over EXPOSING HER THONG UNDERWEAR as she picks up a CHILD from a wagon.</dialogue> <character>FRED</character> <dialogue>Ouch.</dialogue> <dialogue>Rick SIGHS.</dialogue> <character>RICK</character> <dialogue>CPR girl's back, too. Rick nods toward A PIG-TAILED PARAMEDIC, early 30's,</dialogue> <scene_description>TEACHING A CPR CLASS. The two men look on solemnly.</scene_description> <character>FRED</character> <dialogue>Imagine if we were coming here back when we were single?</dialogue> <character>RICK</character> <parenthetical>(FALSE BRAVADO)</parenthetical> <dialogue>Oh baby, the damage we would do.</dialogue> <character>EMMA</character> <dialogue>Monkey bars! The kids JUMP off the swings and RUN for the jungle gym.</dialogue> <character>GUNNAR</character> <dialogue>Me first! Rick trails them like a Sherpa carrying a couple Razor scooters and a basketball as Fred tags along. They shlep past THE TRI-DELTA SORORITY playing ultimate frisbee and</dialogue> <scene_description>WEARING 'JUICY' SWEATS.</scene_description> <character>FRED</character> <dialogue>So you get lucky last night?</dialogue> <character>RICK</character> <dialogue>Nah, the kids were up when we got home. How 'bout you?</dialogue> <character>FRED</character> <dialogue>Well, kinda lucky. Grace conked right out so I snuck out to the car and rubbed one out. Rick shoots Fred a look.</dialogue> <character>RICK</character> <dialogue>The car? What are you Knight Rider? Why didn't you just go in the bathroom like a normal guy?</dialogue> <character>FRED</character> <dialogue>And get caught by Grace? Can't risk it. Besides, cars turn me on--it's where I lost my virginity. And they're comfy--I just put the seat back and turn on the tunes. The guys sit on a bench.</dialogue> <character>RICK</character> <dialogue>That's one of the things they don't tell you when you're young--that you'll still be jerking-off after you get married. I thought it was dust gonna be a teenage thing.</dialogue> <character>FRED</character> <dialogue>Yeah, I didn't see that one coming. The two men sit in silence for a LONG BEAT as the Frisbee Girls play all around them.</dialogue> <character>FRED</character> <dialogue>You know what I miss the most?</dialogue> <character>RICK</character> <dialogue>What?</dialogue> <character>FRED</character> <dialogue>The arch.</dialogue> <character>RICK</character> <dialogue>What arch?</dialogue> <character>FRED</character> <dialogue>You know when you're taking a girl's panties off for the first time, and you're wondering if she's going to stop you, but then she gives you that little pelvic arch- thrust that tells you that the struggle's over, everything's going to be okay? Rick SIGHS.</dialogue> <character>RICK</character> <dialogue>That's a happy moment.</dialogue> <character>FRED</character> <dialogue>Yep. Another thing gone forever. Rick looks at his watch.</dialogue> <character>RICK</character> <dialogue>I should get going, I have to drop the kids off at a birthday party.</dialogue> <character>FRED</character> <dialogue>You want to grab a coffee after?</dialogue> <scene_description>ESTABLISHING SHOT - COFFEE SHOP - LATER THAT MORNING</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP - SAME</stage_direction> <scene_description>Fred and Rick stand in line.</scene_description> <character>RICK</character> <dialogue>Do you have any interest in going down to the Patriot's training camp one of these days?</dialogue> <character>FRED</character> <dialogue>Are you kidding, I'd love that. Except...I always feel kind of pathetic waiting in line for Tom Brady's autograph.</dialogue> <character>RICK</character> <dialogue>Fred, I was planning on bringing the kids.</dialogue> <character>FRED</character> <dialogue>Genius! That's the perfect cover! Rick shoots him a look then REACTS to something O.S.</dialogue> <character>RICK</character> <dialogue>Uh-oh... HIS POV - SLO-MO of a BEAUTIFUL GIRL walking toward him. Her straight brown hair shimmers.. .her blue eyes twinkle.. .her white uniformed blouse is unbuttoned enough to reveal a tasteful amount of CLEAVAGE. This is COFFEE GIRL, 23, granola, fresh, Australian, spacey. BACK ON THE GUYS staring in awe.</dialogue> <character>FRED</character> <dialogue>Did you see her face? Her face is tremendous.</dialogue> <character>RICK</character> <parenthetical>(chanting, scared)</parenthetical> <dialogue>Please don't have a nice ass, please don't have a nice ass... But as she turns to pour a cup of coffee, we see that HER</dialogue> <scene_description>ASS IS SPECTACULAR. Rick turns away, annoyed.</scene_description> <character>RICK</character> <dialogue>Oh, come on! That's ri iculous.</dialogue> <character>FRED</character> <dialogue>I know. She's from Australia. Been working here about a month.</dialogue> <character>RICK</character> <dialogue>Why'd you have to bring me here?!</dialogue> <character>FRED</character> <dialogue>Okay, cool it, tiger--here she comes.</dialogue> <dialogue>Coffee Girl steps up to the counter and smiles at Fred.</dialogue> <character>COFFEE GIRL</character> <parenthetical>(AUSTRALIAN ACCENT)</parenthetical> <dialogue>Iced coffee with two Splendas again?</dialogue> <dialogue>Fred wants to say yes, but just nods.</dialogue> <scene_description>COFFEE GIRL How about your mate there?</scene_description> <character>RICK</character> <parenthetical>(STUNNED)</parenthetical> <dialogue>Uh...same. Her smile comes with a squint, which makes her eyes sparkle.</dialogue> <dialogue>ANOTHER ANGLE reveals a WANNABE ARTIST-TYPE MALE EMPLOYEE, mid-20's (clearly covetous of Coffee Girl) sizing Rick and Fred up as he wipes down a counter.</dialogue> <scene_description>BACK ON COFFEE GIRL AND OUR GUYS</scene_description> <character>COFFEE GIRL</character> <dialogue>(re: Rick's shirt) Hey, Old Navy, you like a muffin with that?</dialogue> <character>RICK</character> <dialogue>Uh, sure. What do you recommend?</dialogue> <character>COFFEE GIRL</character> <dialogue>They're all good. The Wannabe Artist-Type steps protectively up beside Coffee Girl.</dialogue> <character>WANNABE</character> <dialogue>I'd go with the bran muffin--you guys are probably having digestive issues at your age, right? Rick flinches at this, then turns to Coffee Girl.</dialogue> <character>RICK</character> <dialogue>I'll have a blueberry muffin please.</dialogue> <character>FRED</character> <dialogue>Make it a bran muffin for me. Rick shoots Fred a look, clearly annoyed. As Coffee Girl turns to get their order, we go to...</dialogue> <scene_description>SAME SCENE - A FEW MINUTES LATER Rick and Fred, now with coffees, sit at the rear of the shop.</scene_description> <character>RICK</character> <dialogue>Did you notice she's from Cleavage, Ohio?</dialogue> <character>FRED</character> <dialogue>Yeah. I bet her areolas look like a couple of pepperoni slices. Fred trains his eyes back on Coffee Girl and SQUINTS</dialogue> <scene_description>INTENSELY.</scene_description> <character>RICK</character> <dialogue>What the hell are you doing?</dialogue> <character>FRED</character> <dialogue>Shh. I'm taking a mental photograph for my spank bank.</dialogue> <character>(UNDER BREATH)</character> <dialogue>Say cheese.</dialogue> <scene_description>ED (O.S.) Jesus Christ, guys, give it a rest. Rick and Fred turn to see ED LONG, tall, good-looking, mid- 40's, standing at the creamer counter behind them.</scene_description> <character>RICK</character> <dialogue>Oh, hey, Ed. Didn't see you there.</dialogue> <character>ED</character> <dialogue>That's because you were shooting laser beams at the java babe.</dialogue> <character>RICK</character> <dialogue>Well, no, we were just--</dialogue> <character>ED</character> <dialogue>Come on, gentlemen, you're married men and she's half your age--grow</dialogue> <character>P-</character> <dialogue>The guys can't muster a response.</dialogue> <character>ED</character> <dialogue>So I guess I'll be seeing you at the house-warming party this weekend.</dialogue> <character>RICK</character> <dialogue>Hm?</dialogue> <character>ED</character> <dialogue>This Saturday afternoon at the new casa--we're inally in and we're having a little celebration.</dialogue> <character>RICK</character> <dialogue>Oh, I don't know if we can--</dialogue> <character>ED</character> <dialogue>Your wives already RSVP'd.</dialogue> <character>RICK</character> <dialogue>Right on.</dialogue> <character>ED</character> <dialogue>'Til then. Ed HOLDS OUT HIS FIST to them.</dialogue> <character>ED</character> <dialogue>Come on, pound the potato.</dialogue> <scene_description>Rick and Fred reluctantly take turns TAPPING Ed's fist with theirs. Then Ed leaves.</scene_description> <character>FRED</character> <parenthetical>(UNDER BREATH)</parenthetical> <dialogue>What a d-bag.</dialogue> <character>RICK</character> <dialogue>He's right though. Fred looks at Rick.</dialogue> <character>RICK</character> <dialogue>What are we doing sitting here gawking at her for? We're married men--it's creepy.</dialogue> <character>FRED</character> <dialogue>I don't see what the big deal is-- we're not hurting anyone. What is he Big Brother--he's gonna tell me what I can look at now? For God sakes, don't take that away from me- -it's all I got!</dialogue> <dialogue>As Rick thinks about this, we...</dialogue> </scene> <scene> <stage_direction>INT. RICK'S FAMILY ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON A BABY MONITOR - PULL BACK to reveal that it's in the middle of a POKER TABLE next to a pile of ONE-DOLLAR BILLS. Sitting around the table PLAYING LIAR'S POKER are Rick, Fred, GARY, HOG-HEAD, BAKER, and FLATS, all in their mid-30's to mid-40's. Hog-head has a huge melon, Baker is husky, Flats is a pale red-head, and Gary is slight and squirrelly.</scene_description> <character>BAKER</character> <dialogue>Rick, you open. Rick takes a fresh DOLLAR BILL off the pile in front of him and STUDIES THE SERIAL NUMBERS.</dialogue> <character>RICK</character> <dialogue>Four 9's.</dialogue> <character>FRED</character> <dialogue>Hey, where's Coakley? How come he didn't show?</dialogue> <character>GARY</character> <dialogue>Vegas. Hawaiian Tropic finals. The guys nod their approval.</dialogue> <character>BAKER</character> <dialogue>Man, imagine being Coakley? The guy's single, he's loaded, chicks love him, he doesn't have to answer to anybody.</dialogue> <character>GARY</character> <dialogue>That's the life.</dialogue> <character>FRED</character> <dialogue>That is the life.</dialogue> <character>HOG-HEAD</character> <dialogue>Let me ask you something: What would you guys pay to have your way with a Hawaiian Tropic girl for an entire weekend?</dialogue> <dialogue>The guys perk up as they think about this.</dialogue> <character>HOG-HEAD</character> <dialogue>You get to pick any one you want-- and you know up front that you won't get her pregnant, no diseases, you're never gonna hear from her again, and your wife will never find out.</dialogue> <character>GARY</character> <dialogue>How's it possible to know that my wife won't find out?</dialogue> <character>HOG-HEAD</character> <parenthetical>(ANNOYED)</parenthetical> <dialogue>It's not. I'm saying if it were possible, like if I was a magic genie and I could grant you this wish but then make it like it never even happened.</dialogue> <character>FLATS</character> <dialogue>But would I still have memory of it?</dialogue> <character>HOG-HEAD</character> <dialogue>Oh yeah. Great memories.</dialogue> <character>GARY</character> <dialogue>Oof. I think I'd pay 500 bucks for that.</dialogue> <dialogue>Baker shoots him a look.</dialogue> <character>BAKER</character> <dialogue>You cheap,bastard. We're talking about an investment that gets your rocks off and protects your wife's feelings. I'd pay five grand.</dialogue> <character>RICK</character> <dialogue>Wow.</dialogue> <character>GARY</character> <dialogue>Well, excuse me, Mr. Wall Street, but us public school teachers</dialogue> <dialogue>aren't getting any of that bail-out money you're over-tipping everyone with.</dialogue> <dialogue>Just then, the front door OPENS and Maggie ENTERS.</dialogue> <character>MAGGIE</character> <dialogue>Hey, guys.</dialogue> <character>RICK</character> <dialogue>Oh, hey, honey. How was the book club?</dialogue> <character>MAGGIE</character> <dialogue>Great.</dialogue> <character>FRED</character> <dialogue>What did you guys read this month?</dialogue> <character>MAGGIE</character> <dialogue>Hemingway.</dialogue> <character>GARY</character> <dialogue>Old Man and the Sea?</dialogue> <character>MAGGIE</character> <dialogue>No, Muriel's yoga book. The guys LAUGH.</dialogue> <character>MAGGIE</character> <dialogue>Actually, we were supposed to be discussing The Sun Also Rises but Grace pulled out a bottle of tequila and that was the end of that. So, did the kids go down easy?</dialogue> <character>RICK</character> <dialogue>Gunnar and Emma stalled for a while, but they weren't bad.</dialogue> <character>MAGGIE</character> <dialogue>How about the baby? Rick points to the BABY MONITOR in the middle of the table.</dialogue> <character>RICK</character> <dialogue>Not a peep.</dialogue> <character>MAGGIE</character> <dialogue>Great job. Now win some money, honey.</dialogue> <dialogue>She kisses Rick and walks out of the room.</dialogue> <character>GARY</character> <dialogue>I wish I could drink tequila. It's a great buzz but it always gives me the spins and then I have to go home early.</dialogue> <character>FRED</character> <dialogue>You want to know a sure cure for the spins?</dialogue> <dialogue>Fred puts a hand over his right eye.</dialogue> <character>FRED</character> <dialogue>Just cover up one eye. It balances out the equilibrium.</dialogue> <character>RICK</character> <dialogue>Or you could find a nice 12-step program.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - MOMENTS LATER</stage_direction> <scene_description>As Maggie gets to the top of the stairs, she can hear the O.S. SOUND OF THE BABY CRYING. She walks down the hall, opens the Baby's door and REACTS. HER POV - the exhausted and sweaty Baby is standing in his crib, SOBBING. The baby monitor is on the dresser next to the crib BLARING out LAUGHTER from the poker game.</scene_description> </scene> <scene> <stage_direction>INT. BABY NURSERY - CONTINUOUS</stage_direction> <character>MAGGIE</character> <dialogue>Oh, you poor thing... She hurries to the Baby and PICKS HIM UP.</dialogue> <character>MAGGIE</character> <dialogue>Silly Daddy... he got the monitors mixed-up. Have you been listening to those loud-mouths all night?</dialogue> <dialogue>As Maggie moves to turn off the monitor, we HEAR:</dialogue> <scene_description>FLATS (O.S.)</scene_description> </scene> <scene> <stage_direction>So how 'bout you, Fred--how much would you pay to s end an entire weekend with one of the hottest women in the world?</stage_direction> <scene_description>Maggie hesitates and LISTENS IN. FRED (O.S.) I wouldn't have to pay--I'm married to her. There's a BEAT, then the guys EXPLODE IN LAUGHTER. FRED (O.S.) No, seriously, I'd pay five grand, easy. Maggie's JAW DROPS. BACK ON POKER GAME</scene_description> <character>FRED</character> <dialogue>I'd have to figure out a way to get it out of the bank without Grace noticing, but I suppose the genie could help me with that.</dialogue> <character>HOG-HEAD</character> <dialogue>You could put me down for seven- five.</dialogue> <character>BAKER</character> <dialogue>Pfttt. Hog-head, your ass doesn't have seven-five.</dialogue> <dialogue>More LAUGHTER from the guys as Rick deals out fresh bills.</dialogue> <character>FLATS</character> <dialogue>So what's your number, Rick?</dialogue> <character>RICK</character> <dialogue>Oh jeez, Flats, I don't know...</dialogue> <character>FRED</character> <dialogue>Come on.. any girl you choose. You get to do anything you want with her, and your wife will never find out. It's completely harmless, a one-time thing--what would you pay for that?</dialogue> <dialogue>BACK ON MAGGIE as she cradles her baby and LEANS CLOSER to the monitor.</dialogue> <scene_description>RICK (O.S.) I honestly don't know, fellas. BAKER (O.S.) Ballpark. PUSH IN ON MAGGIE as she waits nervously for her husband's answer. RICK (O.S.) Well... I've got a great wife and I sure wouldn't want to hurt her feelings, so... Maggie SMILES at this. That's my guy! RICK (O.S.) I guess the real question is, what wouldn't I pay?! The guys LAUGH O.S. and MAGGIE REACTS, as we...</scene_description> </scene> <scene> <stage_direction>INT. MAGGIE AND RICK'S KITCHEN - LATER</stage_direction> <scene_description>Maggie's got Rick backed into a corner.</scene_description> <character>MAGGIE</character> <dialogue>What wouldn't you pay?!</dialogue> <character>RICK</character> <dialogue>I didn't really mean it, honey. (scared, defenseless)</dialogue> <dialogue>They kind of put me on the spot. Look, some of the other guys were throwing out some pretty hefty bids.</dialogue> <character>MAGGIE</character> <dialogue>What does that have to do with anything?</dialogue> <character>RICK</character> <dialogue>Well... I'm the host of the party, I didn't want to be a buzz-kill.</dialogue> <scene_description>Maggie squints, appalled.</scene_description> <character>RICK</character> <dialogue>Look, all I was saying was, there's no amount of money I wouldn't pay to protect you and the kids.</dialogue> <character>MAGGIE</character> <dialogue>How is having sex with a hooker protecting me and the kids?</dialogue> <character>RICK</character> <dialogue>No one said anything about hookers.</dialogue> <character>MAGGIE</character> <dialogue>You were paying for sex--what would you call her?</dialogue> <character>RICK</character> <parenthetical>(WEAKLY)</parenthetical> <dialogue>Well.. .the genie was getting the dough, not her.</dialogue> <character>(RECOVERING)</character> <dialogue>Come on, be reasonable, it was just guy-talk--it's not like it could really happen.</dialogue> <dialogue>Maggie shakes her head, disgusted, and leaves the room.</dialogue> <character>RICK</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Love you!</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - DAY</stage_direction> <scene_description>Maggie, Grace, and Dr. Lucy eat at an upscale restaurant. Dr. Lucy listens quietly to the women.</scene_description> <character>GRACE</character> <dialogue>Fred said five grand? What a blowhard!</dialogue> <character>MAGGIE</character> <dialogue>You know what's even funnier? Hog- head McCormick said he'd pay seven grand.</dialogue> <character>GRACE</character> <dialogue>What?! That bum hasn't worked since the dot-com bust--his wife supports him!</dialogue> <dialogue>The girls LAUGH.</dialogue> <character>GRACE</character> <dialogue>Well, look on the bright side: At least they're not cheating on us.</dialogue> <character>MAGGIE</character> <dialogue>Sometimes I wonder if it would be better if they did cheat and get it over with.</dialogue> <scene_description>DR. LUCY You mean, rather than take the slow boat to resentment? The girls look to Dr. Lucy. DR. LUCY I'm just saying.. .maybe a little freedom would be good for them. And for you.</scene_description> <character>(BEAT)</character> <dialogue>Have you ever considered giving them a hall pass?</dialogue> <character>GRACE</character> <dialogue>A what?</dialogue> <scene_description>DR. LUCY A hall pass. A week off from marriage. Grace and Maggie stop chewing.</scene_description> <character>MAGGIE</character> <dialogue>Wait a minute. . .Are you saying let them go out and cheat?</dialogue> <scene_description>DR. LUCY I'm saying give them a week off from marriage.</scene_description> <character>(BEAT)</character> <dialogue>Look, most married men have foggy memories of their single days and they somehow get under the impression that if not for you, they'd be able to be with ail those women who entice them.</dialogue> <character>GRACE</character> <dialogue>That's Fred. He thinks because he sees big tits everywhere and then still comes home for dinner that I should be welcoming him at the door like some conquering hero. Dr. Lucy smiles.</dialogue> <scene_description>DR. LUCY Well, maybe it's time to let them go out there and find out what it's really like.</scene_description> <character>MAGGIE</character> <dialogue>Wow. You're talking about the nuclear option.</dialogue> <dialogue>Maggie ponders the idea.</dialogue> <character>GRACE</character> <dialogue>And remind me again, what good could possibly come from this...?</dialogue> <scene_description>DR. LUCY There's a wonderful principle in psychology called 'reactance theory.' It basically states that if you're constantly told you can't do something, you want to do it more than ever. And conversely, if you remove the taboo, you remove the obsession. Grace makes a 't' sound.</scene_description> <character>GRACE</character> <parenthetical>(SARCASTIC)</parenthetical> <dialogue>I got an idea, Doc: Why don't you try a hall pass out on your husband and let us know how it works out.</dialogue> <character>DR. LUCY</character> <dialogue>Oh, I have. Grace and Maggie REACT to this.</dialogue> <character>MAGGIE</character> <dialogue>You're telling us you let Charlie sleep with another woman? Dr. Lucy takes a moment before answering.</dialogue> <character>DR. LUCY</character> <dialogue>I am not telling you that. I am telling you that I gave him the freedom to choose for himself.</dialogue> <character>GRACE</character> <dialogue>And...?</dialogue> <character>DR. LUCY</character> <dialogue>All I know is...our marriage is better than ever. Grace and Maggie think about this.</dialogue> <character>GRACE</character> <dialogue>I don't know. There's a reason that men evolved and apes didn't. It's because women demanded more. Without a wife, Einstein would've been humping a maple tree all day. As the women LAUGH, we</dialogue> <character>CUT TO:</character> <dialogue>EXT. ED &amp; KIMMY LONG'S ESTATE - DAY</dialogue> <dialogue>There are several flashy cars out front of this huge McMansion. As Fred and Grace and Rick and Maggie get out of Fred's mini-van, Ed Long comes out of the house to greet them. (Ed's 5-YEAR-OLD SON is beside him wearing khakis and</dialogue> <scene_description>a Polo shirt, just like his father.)</scene_description> <character>GRACE</character> <dialogue>There he is! The lord of the manor!</dialogue> <character>ED</character> <dialogue>Come on, everyone in the shack! The grand tour's about to begin!</dialogue> </scene> <scene> <stage_direction>INT. STUDY - AFTERNOON</stage_direction> <scene_description>Ed and his wife KIMMY (late-30's, high-maintenance) lead Rick, Fred, Maggie, Grace, and SEVERAL OTHER GUESTS into a large wood-paneled study. (The Long's 7-YEAR-OLD DAUGHTER sticks to her mother's side WEARING A MATCHING DRESS.)</scene_description> <character>ED</character> <dialogue>I call it headquarters. LARRY BOHAC, mid-40's, and his blonde bombshell of a wife, MANDY, (who wears A TOO-TIGHT T-SHIRT) look around in awe.</dialogue> <character>MANDY</character> <dialogue>Un-believable.</dialogue> <character>ED</character> <dialogue>That's sweet of you to say, Mandy.</dialogue> <character>LARRY</character> <dialogue>It's epic, Ed. Ed points to one wall which houses a GLASSED-IN HUMIDOR.</dialogue> <character>ED</character> <parenthetical>(RE: HUMIDOR)</parenthetical> <dialogue>And this over here--this is the war room. The temperature in there never goes above fifty-four degrees, never below fifty-three. I even threw in a back-up generator in case we lose power and the main generator doesn't kick in. Now who wants a Cubano? They're the real deal--Coakley snagged them on his trip to Havana.</dialogue> <character>KIMMY</character> <dialogue>Wait a second, Ed, first I want to show them Lny headquarters.</dialogue> <dialogue>Fred looks at Rick and rolls his eyes.</dialogue> </scene> <scene> <stage_direction>INT. MASTER BATHROOM - MOMENTS LATER</stage_direction> <scene_description>It looks like a Waterworks showroom. Despite its bloated opulence, Grace and Maggie can't help but be impressed.</scene_description> <character>KIMMY</character> <dialogue>It's my paradise.</dialogue> <character>ED</character> <dialogue>With a price tag north of one hundred and forty large, it better be paradise.</dialogue> <dialogue>Ed holds out his fist and Rick obediently POUNDS IT. Just then Grace NOTICES that Fred has disappeared.</dialogue> <character>GRACE</character> <dialogue>Hey, where did Fred go? Rick turns and sees that he's missing.</dialogue> </scene> <scene> <stage_direction>INT. ANOTHER PART OF THE UPSTAIRS - MOMENTS LATER</stage_direction> <scene_description>Rick walks down a hall and finds Fred in a guest room watching a baseball game on TV.</scene_description> <character>RICK</character> <dialogue>What are you doing?</dialogue> <character>FRED</character> <dialogue>I can't take these look-at-how-much- I-own parties. It's obnoxious. Rick nods and sits down beside him.</dialogue> <character>FRED</character> <dialogue>When I bought my completely-loaded Honda Odyssey, I didn't go around bragging about it, did I?</dialogue> <character>RICK</character> <dialogue>Well, kind of. You made me drive around town with you for two hours, remember?</dialogue> <character>FRED</character> <parenthetical>(DEFENSIVE)</parenthetical> <dialogue>I thought you'd want to watch a movie in a mini-van. You never got to watch a movie in a mini-van before, did you? Rick shrugs.</dialogue> <character>RICK</character> <dialogue>Why'd you have to hook your boat up to it?</dialogue> <character>FRED</character> <dialogue>Because it's the Touring Edition, numb-skull. The thing can tow more weight than ninety percent of the pick-ups out there!</dialogue> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - SAME</stage_direction> <scene_description>Everybody is admiring the antique fireplace.</scene_description> <character>KIMMY</character> <dialogue>The mantle actually came all the way from Tuscany, which is in Europe.</dialogue> <character>ED</character> <dialogue>Hey, gang, check this out.</dialogue> <character>KIMMY</character> <dialogue>Oh God, Eddie, they don't need to see that--they'll think we're wackos.</dialogue> <dialogue>Ed PUNCHES A CODE into a keypad and the WALL SLIDES OPEN revealing a SAFE ROOM.</dialogue> </scene> <scene> <stage_direction>INT. SAFE ROOM - CONTINUOUS</stage_direction> <scene_description>Maggie, Grace, and the others follow Ed into a safe room filled with VIDEO MONITORS surveilling all the rooms in the house. When Kimmy ENTERS she pushes a button CLOSING THE WALL BEHIND THEM.</scene_description> <character>MAGGIE</character> <dialogue>Oh my God... this is like secret agent stuff.</dialogue> <character>KIMMY</character> <dialogue>I think having a safe room is a bit over the top, but Ed feels with our two little ones you can never be too cautious.</dialogue> <character>GRACE</character> <dialogue>Aw, you're such a good daddy.</dialogue> <character>MAGGIE</character> <dialogue>(aside to Grace) Rick can't even set up the baby monitors right.</dialogue> <dialogue>Ed points to a monitor where we see Rick and Fred ENTER the master bedroom.</dialogue> <character>ED</character> <dialogue>Here come Tweedle-dee and Tweedle- dum.</dialogue> <dialogue>CLOSE ON VIDEO MONITOR - we see Rick and Fred cross over to the master bathroom doorway and look in.</dialogue> <scene_description>RICK (ON MONITOR)</scene_description> </scene> <scene> <stage_direction>All I'm saying is, who gets a mini-van when you don't even have any kids?</stage_direction> <scene_description>FRED (ON MONITOR) You don't know much about the insurance game, do you, Rick? When you pull into a person's driveway to sell them life insurance, who do you think they'd rather see? A hot- shot in a Porsche or a family man in a mini-van? Hm? Rick looks around the empty room.</scene_description> <character>RICK (ON MONITOR)</character> <dialogue>Hey, where'd everyone go?</dialogue> <character>GRACE</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Guys, we're in here!</dialogue> <character>KIMMY</character> <dialogue>They can't hear you. The room's completely soundproof.</dialogue> <character>ED</character> <dialogue>And bulletproof.</dialogue> <scene_description>ON VIDEO MONITOR WALL - we see Rick and Fred LEAVE ONE SCREEN and ENTER ANOTHER.</scene_description> <character>INT. STUDY - CONTINUOUS</character> <dialogue>Rick and Fred walk back into Ed's study.</dialogue> <character>RICK</character> <dialogue>They must've gone downstairs. Fred motions to Ed's humidor room.</dialogue> <character>FRED</character> <parenthetical>(BRITISH ACCENT)</parenthetical> <dialogue>Thanks for coming to the war room, old chap. By the way, did I mention that my wife's vagina never goes above fifty-four degrees, nor below fifty-three.</dialogue> <character>INT. SAFE ROOM - CONTINUOUS</character> <dialogue>Larry Bohac CHUCKLES and Grace shifts uncomfortably.</dialogue> <character>GRACE</character> <dialogue>Uh, maybe we should turn this off. But Ed turns THE VOLUME UP.</dialogue> <dialogue>CLOSE ON MONITOR - Rick plays along with a BAD BRITISH</dialogue> <scene_description>ACCENT. RICK (ON MONITOR) Is that so, dear boy? And what happens if you lose power during a big blow and your main generator doesn't kick in? FRED (ON MONITOR) Well that's why I had the back-up generator installed in Kimmy's rumpus. Kimmy makes a face, shocked.</scene_description> <character>GRACE</character> <dialogue>(under breath; resigned) Here we go...</dialogue> </scene> <scene> <stage_direction>INT. STUDY - CONTINUOUS</stage_direction> <character>RICK</character> <dialogue>Hey, speaking of installations, is that a shiny new set of cans on Mandy Bohac?</dialogue> <character>FRED</character> <dialogue>Either that or she's wearing her daughter's t-shirt.</dialogue> </scene> <scene> <stage_direction>INT. SAFE ROOM - CONTINUOUS</stage_direction> <scene_description>CLOSE ON Mandy's surprised face. She looks at Larry, who's suddenly not so amused.</scene_description> </scene> <scene> <stage_direction>INT. STUDY - CONTINUOUS</stage_direction> <character>RICK</character> <dialogue>They look good but I'll still take the real deal any day.</dialogue> <character>FRED</character> <dialogue>Right. You're telling me you'd take Kimmy Long's flapjacks over Mandy's new speedbags?</dialogue> <character>RICK</character> <dialogue>That's what I'm telling you. I like boobs with a little mileage on 'em. They're more fun.</dialogue> <character>FRED</character> <dialogue>Fun?</dialogue> <character>RICK</character> <dialogue>Yeah. You can smoosh 'em, swing 'em, hump 'em, Stretch-Armstrong 'em.</dialogue> <character>FRED</character> <dialogue>And what about the proven correlation between floppy boobs and large-mouth vaginas?</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ED &amp; KIMMY LONG'S ESTATE - MOMENTS LATER</stage_direction> <scene_description>Maggie and Grace hurry down the front walk trailed by their shell-shocked husbands. A trembling and IRATE Kimmy is held back at the door by Ed and a couple other Guests.</scene_description> <character>KIMMY</character> <dialogue>You people are horrible! Horrible!</dialogue> <character>ED</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>I'm very disappointed, gentlemen!</dialogue> </scene> <scene> <stage_direction>INT. MINI-VAN - DAY</stage_direction> <scene_description>No one speaks. Grace drives and Maggie sits beside her, humiliation etched across their faces. Finally:</scene_description> <character>FRED</character> <dialogue>Uh, anyone thinking chocolate chip cookie dough in a waffle cone?</dialogue> <dialogue>Grace YANKS the mini-van to the side of the road and GLARES</dialogue> <scene_description>BACK AT HIM.</scene_description> <character>GRACE</character> <dialogue>Large-mouth vaginas?! As the guys cower, we</dialogue> </scene> <scene> <stage_direction>INT. RICK &amp; MAGGIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Rick looks small and weak sitting on the couch while Maggie stands across from him rubbing her temples. It looks like the Norman Rockwell painting where the mom reprimands her little boy for sneaking a frog into the house.</scene_description> <character>MAGGIE</character> <dialogue>You know what really troubles me? The thing that you're all so obsessed with is meaningless to you. It's really just about numbers with you guys.</dialogue> <dialogue>Rick looks up, confused.</dialogue> <character>MAGGIE</character> <dialogue>Rick, you can't even tel me the month you lost your virginity. I can tell you the exact day and hour that I lost mine.</dialogue> <dialogue>Rick seems a little embarrassed by this.</dialogue> <character>RICK</character> <dialogue>Well, virginity is different for guys.</dialogue> <character>MAGGIE</character> <dialogue>The point is, obviously I like sex, too--it means something to me--but I don't walk around gawking at every guy I see.</dialogue> <character>RICK</character> <dialogue>All right, so I occasionally notice other women. I'm sorry.</dialogue> <character>MAGGIE</character> <dialogue>Occasionally? Rick rakes his hands through his hair and decides to come clean.</dialogue> <character>RICK</character> <dialogue>Okay, you want the truth? You really want me to pull back the curtain here? From the moment I leave the house in the morning 'til the moment I get home, I pretty much notice every woman in my path. Maggie turns to face him.</dialogue> <character>RICK</character> <dialogue>But it's not how you think it is, Mags. It's like... it's like a curse. I don't want to notice, but I can't help it. It's always been like that. I figured that when I</dialogue> <dialogue>c jot married that would be it, but it wasn't--the thing,doesn't give two shits about marriage.</dialogue> <character>MAGGIE</character> <parenthetical>(HURT)</parenthetical> <dialogue>So what are you saying--you're not happy with our sex life?</dialogue> <dialogue>Rick reaches up and takes her hand.</dialogue> <character>RICK</character> <dialogue>No. Of course I'm happy, honey--our sex life is great--not that I wouldn't mind a little more, but-- look, one thing has nothing to do with the other. I think about sex a lot--all guys do--that's just the way it is.</dialogue> <dialogue>Maggie sits down beside him, clearly at the end of her rope. No one speaks for a few moments. Then:</dialogue> <character>MAGGIE</character> <dialogue>I'm giving you a hall pass.</dialogue> <character>RICK</character> <dialogue>A what?</dialogue> <character>MAGGIE</character> <dialogue>One week off from marriage.</dialogue> <character>RICK</character> <dialogue>You mean, like a trial separation? You are seriously overreacting.</dialogue> <character>MAGGIE</character> <dialogue>It's not a separation, it's a hall pass. You can do whatever you want. Get it out of your system.</dialogue> <character>RICK</character> <parenthetical>(BEAT)</parenthetical> <dialogue>Wait a minute--are you for real?</dialogue> <character>MAGGIE</character> <dialogue>It's not a yes or no offer, and it's not a debate. You're getting a hall pass.</dialogue> <dialogue>As Maggie heads upstairs, we PUSH IN on a confused Rick.</dialogue> </scene> <scene> <stage_direction>INT. RICK AND MAGGIE'S KITCHEN - MORNING</stage_direction> <scene_description>Maggie is washing out a pan at the sink when Rick ENTERS dressed for work. We hear the O.S. SOUNDS of The Wiggles coming from a TV in another room.</scene_description> <character>RICK</character> <dialogue>'Morning.</dialogue> <character>MAGGIE</character> <dialogue>(not facing him) There's a couple hard-boiled eggs in a bowl there for you.</dialogue> <character>RICK</character> <dialogue>I'm gonna have to take them to go, hon, I've got a showing in fifteen minutes.</dialogue> <dialogue>Rick puts the eggs in his pocket, then approaches Maggie and kisses her on the cheek.</dialogue> <character>RICK</character> <dialogue>Hey, about this hall pass business.. .1 don't want it and I don't need it. All I need is--</dialogue> <character>MAGGIE</character> <dialogue>I told you, this isn't negotiable. She turns and faces him.</dialogue> <character>RICK</character> <dialogue>You're really serious about this?</dialogue> <character>MAGGIE</character> <dialogue>Rick, this isn't something that I...look, I really think you need this. I think we need this. Rick doesn't know what to say.</dialogue> <character>MAGGIE</character> <dialogue>This afternoon I'm taking the kids out to my parent's beach house. Rick REACTS to this.</dialogue> <character>RICK</character> <dialogue>For how long?</dialogue> <character>MAGGIE</character> <dialogue>We'll be back in one week. And as far as I'm concerned, starting right now. .. you have the week off from marriage.</dialogue> </scene> <scene> <stage_direction>EXT. VICTORIAN HOUSE - DAY</stage_direction> <scene_description>This is a big shiny place. All fixed-up. Fred pulls up in his mini-van and gets out. He walks past a Coldwell Banker For Sale sign with Rick's name on it.</scene_description> </scene> <scene> <stage_direction>INT. VICTORIAN HOUSE - SAME</stage_direction> <scene_description>Rick is showing the kitchen to a COUPLE, mid-40's, when Fred ENTERS.</scene_description> <character>RICK</character> <dialogue>Hey, what are you doing here?</dialogue> <character>FRED</character> <dialogue>I called your office and they told me you were in the neighborhood. Rick turns to the couple.</dialogue> <character>RICK</character> <dialogue>Oh, this is a friend of mine, Fred Searing. Fred, this is Harold and Nancy Goldberg--they're moving up here from Long Island.</dialogue> <character>FRED</character> <dialogue>Well, mazel tov, folks. The Goldbergs look at Fred a little warily as he takes out a card.</dialogue> <character>FRED</character> <dialogue>Here, let me give you my card. Home, auto, or life insurance--I'm the go-to mensch in town.</dialogue> <character>HAROLD GOLDBERG</character> <dialogue>We're good on insurance. Rick quickly jumps in.</dialogue> <character>RICK</character> <dialogue>(to the Goldbergs) Uh, why don't you two take another look around and if you have any questions I'll be right here.</dialogue> <character>HAROLD GOLDBERG</character> <dialogue>Thank you. The Goldbergs walk out and Rick closes the door behind them.</dialogue> <character>RICK</character> <parenthetical>(HUSHED)</parenthetical> <dialogue>What the he 1 are you doing--I'm trying to make a sale here.</dialogue> <character>FRED</character> <dialogue>You weren't picking up your cell--I wanted to see how much trouble you got in last night. You know what Grace made me do? She made me call the Longs and apologize. Rick flinches.</dialogue> <character>RICK</character> <dialogue>Oof .</dialogue> <character>FRED</character> <dialogue>How 'bout you--did Maggie freak out when you got home?</dialogue> <character>RICK</character> <dialogue>Uh... sort of. Rick peeks out the kitchen door to make sure the Goldberg's aren't listening. Then:</dialogue> <character>RICK</character> <dialogue>She gave me a hall pass.</dialogue> <character>FRED</character> <dialogue>A what?</dialogue> <character>RICK</character> <dialogue>A week off from marriage to do whatever I want. She's going to her parents' house down the Cape 'til next Sunday. Fred SNICKERS.</dialogue> <character>FRED</character> <dialogue>Yeah, right.</dialogue> <character>RICK</character> <dialogue>I'm serious.</dialogue> <character>FRED</character> <dialogue>You're full of shit.</dialogue> <character>RICK</character> <dialogue>Fred, it's true. You think I could make something like this up? Fred stares at him.</dialogue> <character>FRED</character> <dialogue>I don't get it--why aren't you more excited?</dialogue> <character>RICK</character> <dialogue>Well...I don't know how I feel.</dialogue> <character>FRED</character> <dialogue>About...?</dialogue> <character>RICK</character> <dialogue>The hall pass. Something about it isn't right.</dialogue> <character>FRED</character> <dialogue>You mean, like, you think Maggie might have a brain tumor or something?</dialogue> <character>RICK</character> <dialogue>No. I mean, just because my wife tells me it's okay to cheat... is it?</dialogue> <character>FRED</character> <dialogue>Uh, yeah.</dialogue> <character>(BEAT)</character> <dialogue>Why can't you just accept the fact that your wife is a goddamn saint, Rick? She's evolved. Don't you see? She gets it!</dialogue> <character>RICK</character> <dialogue>Yeah, but there's a part of me that's saying, 'Wow, you must have pushed her pretty hard to get her to this point.' And is that good for a marriage? That your wife is willing to try something this insane?</dialogue> <dialogue>Fred can't believe his ears.</dialogue> <character>FRED</character> <dialogue>Absolutely!</dialogue> <character>(BEAT)</character> <dialogue>Come on, doesn't it bother you that our wives dreams all come true, but ours don't? Look at Maggie; when she was a kid she played house--you g a ve her a house. She played with her E-Z-Bake Oven--you bought her a Viking. She played mommy--you made her a mommy.</dialogue> <character>RICK</character> <dialogue>The oven's a GE.</dialogue> <character>FRED</character> <dialogue>It's a real gas oven! And what about you, huh? Come on, man, your wife is living her dreams.. .and now it's time for you to live yours. As Rick thinks about this, we</dialogue> </scene> <scene> <stage_direction>INT. FRED &amp; GRACE'S HOUSE - NIGHT</stage_direction> <scene_description>Fred and Grace climb the stairs at the end of the day.</scene_description> <character>FRED</character> <dialogue>I don't know, I think this is some very forward-thinking on Maggie's part.</dialogue> <character>GRACE</character> <dialogue>Quit lobbying--you're not getting a hall pass. And you mark my words, this is going to end up biting Maggie in the ass.</dialogue> <dialogue>At the top of the stairs Fred puts his arms around her.</dialogue> <character>FRED</character> <dialogue>Why would I need a hall pass? I've got you.</dialogue> <character>GRACE</character> <dialogue>Not tonight you don't. I'm too bloated and I have cramps.</dialogue> <character>FRED</character> <dialogue>I don't mind.</dialogue> <character>GRACE</character> <dialogue>Fred, do I have to spell it out for you? I'm having my period.</dialogue> <character>FRED</character> <parenthetical>(MATTER-OF-FACT)</parenthetical> <dialogue>Yeah, I got that. He moves in for a kiss but she pulls away.</dialogue> <character>GRACE</character> <dialogue>Come on, hon, give me a break. Not tonight.</dialogue> <dialogue>Disappointed, Fred watches her walk toward the bedroom.</dialogue> <character>FRED</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Oh, shit--I forgot to take the trash out.</dialogue> </scene> <scene> <stage_direction>EXT. FRED &amp; GRACE'S HOUSE - NIGHT</stage_direction> <scene_description>Fred's mini-van is parked on the street in front of his home. We HEAR Styx's The Best of Times coming from inside the car and we MOVE IN CLOSER until we're... LOOKING THROUGH THE PASSENGER WINDOW at Fred. He's sitting in the driver's seat; his EYES ARE CLOSED and his head is slung back as he JERKS-OFF (just below frame) to the MUSIC. A POLICE CRUISER passes in the b.g., then a moment later BACKS INTO FRAME and STOPS NEXT TO FRED. As the two POLICE OFFICERS look on from their car trying to figure out what the guy is doing, the oblivious Fred continues to STROKE HIS MEAT to the BEAT. Officer #1 gets out of the driver's side. He DISAPPEARS FROM FRAME and then REAPPEARS at Fred's driver's side window. Now only inches from Fred, he bends over and LOOKS INSIDE THE CAR. The Officer motions for his partner to join him. As Fred continues to POUND HIMSELF TO THE MUSIC, Officer #2 climbs out of the cruiser. He takes out his flashlight and SHINES IT ON FRED'S O.S. LAP. As the weary officers look at each other with a NOW-WE'VE-SEEN-IT-ALL EXPRESSION, we... SAME SCENE - LATER The police lights are FLASHING now and several NEIGHBORS have gathered on their front lawns to see what's going on. PAN to Fred's front steps where we see a HANDCUFFED Fred standing meekly as the two Police Officers confer with a furious-looking Grace (in her bathrobe.)</scene_description> <character>OFFICER #1</character> <dialogue>All right, ma'am, if you say he's yours.. .you can have him. The Officer TAKES OFF FRED'S HANDCUFFS.</dialogue> <character>GRACE</character> <dialogue>Thank you, officers. Fred scurries into the house ahead of Grace. As soon as the door shuts, we HEAR:</dialogue> <scene_description>GRACE (O.S.) WHAT KIND OF SICK PRICK JERKS OFF IN HIS OWN FRONT YARD?! As the Police Officers head back to their car, we go... CLOSE ON a smiling Fred.</scene_description> <character>FRED</character> <dialogue>I got a Hall Pass!</dialogue> </scene> <scene> <stage_direction>INT. RICK'S OFFICE - DAY</stage_direction> <scene_description>Rick is at his desk staring at a giddy Fred.</scene_description> <character>RICK</character> <dialogue>How?</dialogue> <character>FRED</character> <dialogue>Doesn't matter how. I got one. Can you believe it?! I got a hall pass! Rick stands up, elated.</dialogue> <character>RICK</character> <dialogue>And I've got a hall pass!</dialogue> <character>FRED</character> <dialogue>We both have hall passes!</dialogue> <character>RICK</character> <dialogue>When does yours start? Fred looks at his watch.</dialogue> <character>FRED</character> <dialogue>Twenty-three minutes ago! She just left for the Cape--she's staying with Maggie. It's just you and me for the next six days!</dialogue> <character>RICK</character> <dialogue>Oh my God, do you realize how much</dialogue> <scene_description>easier this is going to make it-- having a hall pass partner?</scene_description> <character>FRED</character> <dialogue>And it's not just me--Baker, Gary, and Hog-head are coming out with us tonight!</dialogue> <character>RICK</character> <dialogue>No way?! They got hall passes, too?!</dialogue> <character>FRED</character> <dialogue>No, no, no--they just want to watch. Rick grows concerned.</dialogue> <character>RICK</character> <dialogue>You think that's a good idea, letting them in on it? What if they blab and it gets around town--it might embarrass our wives.</dialogue> <character>FRED</character> <dialogue>Don't worry, I already talked to them. Their lips are sealed. Rick and Fred smile.</dialogue> <character>FRED</character> <dialogue>We're living the dream, baby!</dialogue> <scene_description>SMASH CUT TO: Law &amp; Order MUSIC CUE as we SUPER:</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>Rick, Fred, and their MIDDLE-AGED POSSE (Baker, Hog-head &amp; Gary) walk across a boulevard like rock stars. (Think of the SLO-MO shots from Swingers or Reservoir Dogs.) Nobody smiles, they're all business as they hit the sidewalk and march straight into ...APPLEBEE'S.</scene_description> </scene> <scene> <stage_direction>INT. APPLEBEE'S - MOMENTS LATER</stage_direction> <scene_description>They step up to the bar.</scene_description> <character>RICK</character> <parenthetical>(TO BARTENDER)</parenthetical> <dialogue>Five MGD's, my friend. While waiting for the beers, the guys CHECK OUT THE SCENE. It's mostly FAMILIES, a few YOUNG COUPLES.</dialogue> <character>RICK</character> <dialogue>The guy at the Holiday Inn Express told me this place really kicks in around nine-thirty.</dialogue> <character>BAKER</character> <dialogue>Hey, why are you staying at a hotel if your wives are out of town?</dialogue> <character>FRED</character> <dialogue>Well, we can't very well take babes back to our places--if they know where we live they might end up stalking us.</dialogue> <character>RICK</character> <dialogue>Besides, I wouldn't be able to concentrate with all the pictures everywhere and the kids' cut-outs all over the fridge.</dialogue> <character>GARY</character> <dialogue>Yeah, isn't it weird how your own kids can creep you out sometimes? Rick shoots Gary a look.</dialogue> <character>FRED</character> <dialogue>I get the feeling there's a lot of divorcees in this place.</dialogue> <character>HOG-HEAD</character> <dialogue>That's good. Divorcees are into kinky sex--that's why they're divorced.</dialogue> <dialogue>Just then the BARTENDER arrives with the Miller Genuine Drafts and the guys CLINK BOTTLES.</dialogue> <character>HOG-HEAD</character> <dialogue>So come on, point out which girls you guys are gonna do tonight. Gary elbows Fred as he spots TWO MIDDLE-AGED WOMEN at the</dialogue> <scene_description>end of the bar.</scene_description> <character>GARY</character> <dialogue>What about those two? Why don't you bang them?</dialogue> <character>FRED</character> <dialogue>No way. They're doing the</dialogue> <character>SWEATSHIRT-AROUND-THE-WAIST THING--</character> <dialogue>they're obviously hiding something back there.</dialogue> <character>GARY</character> <dialogue>Okay, how about the blonde hostess? Maybe somebody should nail her, huh?</dialogue> <character>RICK</character> <dialogue>Attempt to be cool, Gary--we've got a whole week. Baker looks around at the lame bar scene.</dialogue> <character>BAKER</character> <dialogue>Are you guys sure that Applebee's is the best place to be picking up women?</dialogue> <character>RICK</character> <dialogue>What are you thinking--Olive Garden?</dialogue> <character>GARY</character> <dialogue>Nah, that's only good on Thursday nights.</dialogue> <character>HOG-HEAD</character> <dialogue>Hey, what about the auto show?</dialogue> <scene_description>Baker shoots them a look.</scene_description> <character>BAKER</character> <dialogue>Are you guys for real?</dialogue> <character>GARY</character> <dialogue>Wait a second--where's Coakley? That's where we should be.</dialogue> <character>BAKER</character> <dialogue>He's in Iceland.</dialogue> <character>RICK</character> <dialogue>What's he doing there?</dialogue> <character>BAKER</character> <dialogue>What do you think he's doing there? The guys all nod at this, proud of him.</dialogue> <character>RICK</character> <dialogue>Look, before we go bagging any chicks, I gotta get a hunk of beef in me.</dialogue> <character>GARY</character> <dialogue>Hey, I got a guy over at Outback Steak House who could set us up.</dialogue> <character>BAKER</character> <dialogue>Ooooh, he's got pull over at Outback. Wow.</dialogue> <character>RICK</character> <dialogue>Hey, I like Outback. Let's chug these and hit the road.</dialogue> <dialogue>As the guys drink up, Hog-head puts his arm around Gary.</dialogue> <character>HOG-HEAD</character> <dialogue>Hey, Gar, you don't happen to have any connections at 7/11, do ya? Maybe someone could hook me up with a player's card so I can cut right</dialogue> <scene_description>to the front of the raspberry slurpy line. The guys all LAUGH, as we</scene_description> <character>CUT TO:</character> <dialogue>ESTABLISHING SHOT OF CAPE COD BEACH COTTAGE - NIGHT</dialogue> <dialogue>This is an old summer shack nestled on a quiet bluff overlooking the sound.</dialogue> <character>INT. BEACH COTTAGE - SAME</character> <dialogue>Grace stands at the window staring out on the ocean, while Maggie nestles on the couch reading a summer novel. The</dialogue> <scene_description>kids are asleep and the place is quiet.</scene_description> <character>GRACE</character> <dialogue>I think we might've made a huge mistake.</dialogue> <character>MAGGIE</character> <dialogue>Stop thinking about it, Grace. Why don t you just try to get some sleep? Grace turns to Maggie.</dialogue> <character>GRACE</character> <dialogue>Sleep? I can't sleep. I don't understand you--how can you Just sit there and read knowing that Rick could be making out with a supermodel right now? Maggie doesn't answer.</dialogue> <character>GRACE</character> <dialogue>Our husbands aren't married this week. Do you know what husbands do when they're not married?</dialogue> <character>MAGGIE</character> <dialogue>Shh. You're going to wake the kids.</dialogue> <character>GRACE</character> <dialogue>Are you going to sit there and tell me you're not the least bit concerned about what they're doing right now? Maggie SIGHS.</dialogue> <character>MAGGIE</character> <dialogue>Okay... I'm a little concerned.</dialogue> <dialogue>Grace flops into the chair across from her.</dialogue> <character>MAGGIE</character> <dialogue>Of course I'm concerned. But what choice did we have?</dialogue> <character>GRACE</character> <dialogue>We could've kept the status quo. I mean, were things really that bad that we had to try something this extreme?</dialogue> <character>MAGGIE</character> <dialogue>For me they were.</dialogue> <character>(BEAT)</character> <dialogue>Look, you may call this a hall pass, but for me it's more of a Hail Mary pass. I'm serious, I don't know what else to do. Grace looks at Maggie, surprised.</dialogue> <character>MAGGIE</character> <dialogue>Remember last week when we went to Lucy's award thing? Grace nods.</dialogue> <character>MAGGIE</character> <dialogue>That night when we got home, Rick and I were gonna.. .you know... and I was waiting for him in bed while he tucked the kids in, and I started wondering who he would be thinking about during sex. Would it be the girl he checked out on the way into the party? Or would it be Missy Frankenfield--because I noticed him gawking at her? Or how about one of the waitresses, or maybe somebody he saw at work that day? Then when he came into the room, I did something I'd never done before: I pretended to be asleep.</dialogue> <character>GRACE</character> <dialogue>You're kidding me? You've never done that? I do that all the time! Maggie almost smiles.</dialogue> <character>MAGGIE</character> <dialogue>Look, I understand that people have fantasies and that you're not always thinking about the person you're with.</dialogue> <character>GRACE</character> <dialogue>That's for sure.</dialogue> <character>MAGGIE</character> <dialogue>But it's just...I don't know... it's been too long since I felt that he was thinking about me.</dialogue> <dialogue>They sit there for a moment, quiet. Then:</dialogue> <character>MAGGIE</character> <dialogue>I need this hall pass to work, Grace, because if it doesn't, I don't know what's going to happen.</dialogue> <scene_description>ESTABLISHING SHOT OF OUTBACK STEAKHOUSE - NIGHT We see two VERY OLD COUPLES walking out with doggie bags.</scene_description> </scene> <scene> <stage_direction>INT. OUTBACK STEAKHOUSE - SAME</stage_direction> <scene_description>Our five guys are in a MEAT COMA, slouched in their chairs nursing red wines and talking through PURPLE TEETH. Several EMPTY WINE BOTTLES, MARTINI GLASSES, HALF-EATEN STEAKS, CARVED UP POTATO AU GRATIN and CREAMED SPINACH PLATES, and MANGLED KEY-LIME PIES litter the table.</scene_description> <character>BAKER</character> <dialogue>Okay... so where to now? Rick can't think in this state.</dialogue> <character>RICK</character> <dialogue>Fred...?</dialogue> <character>FRED</character> <dialogue>Hm?</dialogue> <character>RICK</character> <dialogue>Answer Baker.</dialogue> <character>FRED</character> <dialogue>What's the question?</dialogue> <character>RICK</character> <dialogue>What are we doing for the rest of the night?</dialogue> <character>FRED</character> <parenthetical>(DISINTERESTED)</parenthetical> <dialogue>I don't know. Getting laid, right?</dialogue> <character>HOG-HEAD</character> <dialogue>I gotta go home and poo.</dialogue> <character>BAKER</character> <dialogue>Now?</dialogue> <character>HOG-HEAD</character> <dialogue>Yeah, I put too much Hollandaise on the mozzarella sticks.</dialogue> <character>GARY</character> <dialogue>Why don't you just back one out here?</dialogue> <character>HOG-HEAD</character> <dialogue>I'm pretty sure I'm gonna need a bath afterwards.</dialogue> <dialogue>Baker musters some initiative and STANDS UP.</dialogue> <character>BAKER</character> <dialogue>Come on, you guys! I say we go to a strip club and smoke cigars-- that 11 wake us up!</dialogue> <character>RICK</character> <dialogue>I got a better idea. Rick STRETCHES.</dialogue> <character>RICK</character> <dialogue>Let's go night-night.</dialogue> <character>BAKER</character> <dialogue>What?</dialogue> <character>RICK</character> <dialogue>I say we tie a bow on it and put her to bed. This is gonna be a long week so we should pace ourselves. Baker looks at his watch.</dialogue> <character>BAKER</character> <dialogue>It's only nine-thirty!</dialogue> <character>FRED</character> <dialogue>I'm with Rico.</dialogue> <character>(YAWNS)</character> <dialogue>Freddy tie-tie.</dialogue> <character>GARY</character> <parenthetical>(DISAPPOINTED)</parenthetical> <dialogue>Are you guys serious?</dialogue> <character>RICK</character> <dialogue>Relax, guys, this is just the calm before the storm. Get out the plywood and batten down the hatches.</dialogue> <character>FRED</character> <dialogue>That's right. Tonight we build up strength, tomorrow we make landfall.</dialogue> <scene_description>SMASH CUT TO: Law &amp; Order MUSIC CUE as we SUPER:</scene_description> </scene> <scene> <stage_direction>EXT. GOLF COURSE - MORNING</stage_direction> <scene_description>Rick, Fred, Hog-head, and Gary are stretching on the first tee of a local FOUR-STAR GOLF RESORT while taking in the sights. Nearby, we see the hotel swimming pool lined with ATTRACTIVE WOMEN in bikinis.</scene_description> <character>HOG-HEAD</character> <dialogue>Wow. This place sure beats the hell out of the Holiday Inn Express. Why aren't you staying here?</dialogue> <character>RICK</character> <dialogue>Too pricey. Besides, since we're paying for golf we get full access to the resort--including the pool bar.</dialogue> <character>FRED</character> <dialogue>Mothers, lock up your daughters-- the dogs are off the leash!</dialogue> <character>RICK</character> <dialogue>Turn-and-burn, baby! Gary raises his hand for a HIGH-FIVE, but Rick balks.</dialogue> <character>RICK</character> <dialogue>Nope. I don't do that.</dialogue> <character>HOG-HEAD</character> <dialogue>Hey, I say screw the golf--let's go straight to the pool bar and start getting you guys laid!</dialogue> <character>RICK</character> <dialogue>Hoch-head, relax, the pool bar ain't going nowhere. Besides, it'll be good for us to get a little sun before making our grand entrance-- chicks love a healthy glow.</dialogue> <character>FRED</character> <dialogue>Plus it wouldn't hurt to work up a little sweat--get those pheromones flying. Just then, two sexy BEER-CART GIRLS wave as they pass.</dialogue> <character>HOG-HEAD</character> <dialogue>You talked me into it.</dialogue> <character>GARY</character> <dialogue>Hey, guys, look what I brought. Gary holds up a ZIPLOCK BAG full of something chocolatey.</dialogue> <character>RICK</character> <dialogue>What's that?</dialogue> <character>GARY</character> <dialogue>Pot brownskies. The guys all look at one another, baffled.</dialogue> <character>RICK</character> <dialogue>What, are we on spring break? Where the hell'd you get those?</dialogue> <character>GARY</character> <dialogue>I got an in.</dialogue> <character>FRED</character> <dialogue>With who?</dialogue> <character>GARY</character> <dialogue>Guy who washes my dog. Go ahead. He holds out the bag and the guys hesitate.</dialogue> <character>GARY</character> <dialogue>Eating it isn't like smoking it. It's a much mellower buzz--you'll just feel relaxed.</dialogue> <character>HOG-HEAD</character> <dialogue>Are they chocolatey? As Hog-Head SNIFFS the brownies, Rick takes a practice</dialogue> <scene_description>swing.</scene_description> <character>RICK</character> <dialogue>Hog-head, come on, who eats pot brownies at eleven in the morning when they're playing golf?</dialogue> <character>HOG-HEAD</character> <dialogue>John Daly?</dialogue> <character>GARY</character> <dialogue>And by the way, Rick, this is spring break! You've got a hall pass! Live it up, man! It'll probably help your rap with the ladies later.</dialogue> <character>HOG-HEAD</character> <dialogue>Gary's right--when are we ever gonna get the chance to do pot brownies again?</dialogue> <dialogue>Hog-Head takes a brownie and BITES INTO IT.</dialogue> <character>HOG-HEAD</character> <dialogue>Mmm. These are yummy.</dialogue> <character>RICK</character> <dialogue>You don't even have a hall pass.</dialogue> <character>HOG-HEAD</character> <dialogue>So? I can still live vicariously through you guys, can't I?</dialogue> <character>RICK</character> <dialogue>It's not vicarious if you're actually doing it.</dialogue> <character>HOG-HEAD</character> <dialogue>Whatever. Just hit your ball. Hog-Head takes ANOTHER BITE.</dialogue> <character>FRED</character> <dialogue>Oh, what the hell, it's not like my game can get any worse.</dialogue> <dialogue>Rick watches Fred pick up a brownie and TENTATIVELY TASTE</dialogue> <scene_description>IT. Then Gary INHALES HIS IN ONE BITE.</scene_description> <character>RICK</character> <dialogue>All right, give me one of those things. As Rick drops his club and walks toward the brownies, we</dialogue> <character>SUPER:</character> </scene> <scene> <stage_direction>EXT. GOLF COURSE - DAY</stage_direction> <scene_description>A dazed and confused Rick and Fred are RECLINING in their cart in the middle of the fairway. For a while neither of them speak. Then:</scene_description> <character>FRED</character> <dialogue>What kind of soap do you use?</dialogue> <character>RICK</character> <parenthetical>(BEAT)</parenthetical> <dialogue>You mean in the shower?</dialogue> <character>FRED</character> <dialogue>Yeah.</dialogue> <character>RICK</character> <dialogue>Dove.</dialogue> <character>FRED</character> <dialogue>Yeah, I like Dove--it doesn't dry your skin so much. Fred stares into space.</dialogue> <character>FRED</character> <dialogue>Sometimes it's hard to wash off, though. Because of the moisturizer. You ever notice--?</dialogue> <character>RICK</character> <dialogue>I think Hog-head's dead. Fred looks over and sees Hog-head SPRAWLED OUT ON HIS BACK</dialogue> <scene_description>IN A SAND TRAP. He's not moving.</scene_description> <character>FRED</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Hog-head...? Are you okay? As Hog-head starts to make SNOW ANGELS IN THE SAND, an elderly COURSE RANGER pulls up in a golf cart.</dialogue> <character>RANGER</character> <dialogue>What the hell is he doing? Rick and Fred grow visibly tense at the sight of an</dialogue> <scene_description>authority figure.</scene_description> <character>RICK</character> <dialogue>Uh, he's having back spasms.</dialogue> <character>RANGER</character> <dialogue>Not him. Him. Rick and Fred turn and see Gary STANDING CHEST-DEEP in the MIDDLE OF A POND just STARING AT THEM.</dialogue> <character>RICK</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Gary! What are you doing?!</dialogue> <character>GARY</character> <dialogue>I don't know--you tell me! Gary starts to LAUGH MANIACALLY. The Ranger turns to Rick, annoyed.</dialogue> <character>RANGER</character> <dialogue>Look, this is the third time I've had to flag your group and you're only on the fourth hole. Now if I have to come out here again, you're done for the day.</dialogue> <character>RICK</character> <dialogue>Gotcha. We'll pick it up, sir. The Ranger shoots them a look and DRIVES OFF toward the TWO ASIAN FOURSOMES waiting on the tee behind them.</dialogue> <character>CUT TO:</character> <dialogue>SUPER:</dialogue> </scene> <scene> <stage_direction>EXT. GOLF COURSE - DAY</stage_direction> <scene_description>The four guys are unnaturally bunched together on another fairway.</scene_description> <character>RICK</character> <dialogue>Think. Where did you last see it?</dialogue> <character>GARY</character> <dialogue>On the course.</dialogue> <character>RICK</character> <dialogue>Where on the course?</dialogue> <character>GARY</character> <dialogue>I don't know--on a fairway, I think. I clot out, grabbed my club, took a swing, and when I turned around it had disappeared.</dialogue> <character>RICK</character> <dialogue>You're serious? You're telling us you lost your golf cart?</dialogue> <character>FRED</character> <parenthetical>(STONER VOICE)</parenthetical> <dialogue>Dude, where's my golf cart?</dialogue> <character>RICK</character> <dialogue>Shut up, Fred.</dialogue> <character>HOG-HEAD</character> <dialogue>Guys, I gotta go poo again.</dialogue> <character>GARY</character> <dialogue>I didn't lose it, I think it was stolen.</dialogue> <character>RICK</character> <parenthetical>(ANNOYED)</parenthetical> <dialogue>Who would steal a golf cart? Gary shrugs.</dialogue> <character>GARY</character> <dialogue>Criminals?</dialogue> <character>HOG-HEAD</character> <dialogue>Does anyone have any napkins?</dialogue> <character>GARY</character> <dialogue>Look, all I know is I had it on the seventh tee and now it's gone.</dialogue> <character>RICK</character> <dialogue>What are you talking about? We're only on the sixth hole.</dialogue> <character>GARY</character> <dialogue>What? Did we miss a hole? Where's my kids?</dialogue> <dialogue>Rick closes his eyes and rubs his head, trying to keep it together. Then he NOTICES something O.S..</dialogue> <character>RICK</character> <dialogue>Oh, come on, man! ANOTHER ANGLE REVEALS Hog-head down in a greenside bunker PULLING UP HIS PANTS. As he starts to KICK SAND over his</dialogue> <dialogue>O.S. POOP like a cat in its litter box, we HEAR a noise and the guys look up.</dialogue> <dialogue>THEIR POV - the Golf Ranger comes flying over a hill heading straight for them.</dialogue> <character>FRED</character> <dialogue>Run for it! The guys run toward Rick's cart, jump in, and take off. Rick and Fred are in the seats, while Gary and Hog-head HANG OFF THE BACK. The cart BARRELS down a cart path with the Ranger</dialogue> <scene_description>HOT IN PURSUIT.</scene_description> <character>GARY</character> <dialogue>He's gaining on us!</dialogue> <character>RICK</character> <dialogue>I can't go any faster, I've got it floored!</dialogue> <character>FRED</character> <dialogue>Cut through the woods! Without slowing down, Rick TURNS SHARPLY TO THE RIGHT and Gary and Hog-head TUMBLE OUT OF THE CART. With panic etched across their sweaty faces, Gary and Hog- head quickly jump to their feet and run after the cart. Rick slows just enough for them to catch up and jump back on,</dialogue> <scene_description>then he speeds down a maintenance path and DISAPPEARS INTO THE WOODS.</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK CAFE - DAY</stage_direction> <scene_description>Ed and Kimmy Long are sitting at an outside table having lunch with their two young children. Their 7-Year-Old Daughter is again dressed just like her mother and the 5- Year- Old Son is dressed like the father.</scene_description> <character>7-YEAR-OLD DAUGHTER</character> <dialogue>Hey, Mom, look! The family turns to see... THEIR POV - a stoned-looking Rick, Fred, Hog-head and Gary are driving the golf cart down the city street. They stop at a traffic light beside them. All the guys stare straight ahead, ZOMBIE-LIKE, except for Fred who NOTICES the Longs. He nods.</dialogue> <character>FRED</character> <dialogue>Ed. Kimmy. Clones. The light changes and as the golf cart DRIVES OFF through</dialogue> <scene_description>the busy intersection, we go BACK ON ED AND KIMMY shaking their heads.</scene_description> <character>KIMMY</character> <dialogue>Their poor wives.</dialogue> <scene_description>SMASH CUT TO: Law &amp; Order MUSIC CUE as we SUPER:</scene_description> </scene> <scene> <stage_direction>EXT. BASEBALL FIELD - LATE AFTERNOON</stage_direction> <scene_description>It's a picture perfect day as a THOUSAND PEOPLE watch a Cape Cod League baseball game rom the comfort of their picnic blankets. The home team has loaded the bases in the bottom of the ninth and Grace, Maggie, MAGGIE'S PARENTS, and the kids are CLAPPING ALONG WITH THE CROWD. CRACK! The BATTER HITS A ROPE TO RIGHT FIELD, and as the TYING and WINNING RUNS SCORE the PLACE GOES WILD. SAME SCENE - LATER The PLAYERS and FANS mingle on the field immediately after the game. Grace and Maggie stand near the pitcher's mound as they watch Maggie's kids run the bases. The wives look TANNED and REFRESHED from several days laying on the beach. Just then a big, goofy kid named GERRY approaches. He's a strapping 22-year-old first baseman from Puerto Rico with a perpetual SHIT-EATING GRIN.</scene_description> <character>GERRY</character> <dialogue>Hey, I'm Gerry--thanks for coming out and supporting us.</dialogue> <character>MAGGIE</character> <dialogue>Oh, it was fun. You guys looked good.</dialogue> <character>GERRY</character> <dialogue>Thanks. Gerry glances back at his TEAMMATES who are clearly egging him on.</dialogue> <character>GERRY</character> <dialogue>So...we saw you sitting up there with those little kids--are you nannies or something? The girls aren't immune to flattery and they smile.</dialogue> <character>MAGGIE</character> <dialogue>No, they're my kids.</dialogue> <character>GERRY</character> <parenthetical>(DUBIOUS)</parenthetical> <dialogue>Yeah, right. You have three kids?</dialogue> <character>MAGGIE</character> <dialogue>Uh-huh. A couple other PLAYERS amble over.</dialogue> <character>GERRY</character> <dialogue>Dudes, they're not nannies, they're mommies.</dialogue> <character>PLAYER #2</character> <dialogue>No way?!</dialogue> <character>GRACE</character> <dialogue>Well, she is, not me. I'm not old enough yet. Maggie and the players LAUGH.</dialogue> <character>RICK COLEMAN (O.S.)</character> <dialogue>Guys! The players turn to see their coach, RICK COLEMAN, approaching with MAGGIE'S FATHER, mid-70's.</dialogue> <character>RICK COLEMAN</character> <dialogue>Time to pack things up--let's go!</dialogue> <dialogue>The Players quickly scatter.</dialogue> <character>MAGGIE'S FATHER</character> <dialogue>Maggie, Grace, this is Rick Coleman- -the coach.</dialogue> <scene_description>Rick Coleman is a granite-jawed 38-year-old with a good head of hair and an easy-going manner.</scene_description> <character>RICK COLEMAN</character> <dialogue>I hope those clowns weren't</dialogue> <scene_description>bothering you.</scene_description> <character>MAGGIE</character> <dialogue>Oh, no, they were sweet.</dialogue> <character>GRACE</character> <dialogue>Yeah. Cute kids.</dialogue> <character>MAGGIE</character> <dialogue>So you're the guy who's been taking money off my dad every Saturday on the golf course?</dialogue> <character>RICK COLEMAN</character> <dialogue>I hate to break it to you but your old man's the one who's been taking all the money--he's a thief. Maggie's Father LAUGHS.</dialogue> <scene_description>RICK COLEMAN Hey, everyone's coming back to my place for some beers and a barbecue- -why don't you join us?</scene_description> <character>MAGGIE</character> <dialogue>Oh, thanks, but we've gotta get the kids home.</dialogue> <character>MAGGIE'S FATHER</character> <dialogue>Your mom and I will take 'em home. You two go out and have a good time- -cripes, you haven't been out all week.</dialogue> <dialogue>Grace perks up at this.</dialogue> <character>MAGGIE</character> <dialogue>Oh, I don't know, Dad, we really</dialogue> <character>HADN'T PLANNED--</character> <dialogue>GRACE</dialogue> <scene_description>Excuse me, can I have a word with you? Grace pulls Maggie aside.</scene_description> <character>GRACE</character> <parenthetical>(WHISPERING)</parenthetical> <dialogue>What's your problem?</dialogue> <character>MAGGIE</character> <dialogue>Oh, come on, Grace, these guys are barely out of college, and, in case you've forgotten, we're married.</dialogue> <character>GRACE</character> <dialogue>To who? Last I heard, Rick and Fred had the week off from marriage. So remind me again--who are we married to?</dialogue> <dialogue>Maggie thinks about this.</dialogue> <character>MAGGIE</character> <dialogue>Well...I guess one beer won't kill us.</dialogue> <character>GRACE</character> <parenthetical>(SMILING)</parenthetical> <dialogue>That's my girl. Grace glances over at the ballplayers.</dialogue> <character>GRACE</character> <dialogue>Why shouldn't we have fun? God knows our guys are living it up.</dialogue> <scene_description>A CLOSE-UP OF HOG-HEAD</scene_description> <character>HOG-HEAD</character> <dialogue>What would you guys rather do--make- out with a guy or let him blow you? PULL BACK TO REVEAL that...</dialogue> </scene> <scene> <stage_direction>INT. ESPN SPORTS ZONE BAR - CONTINUOUS</stage_direction> <scene_description>.Our five guys are sitting at the bar drinking beer and devouring plates of HOT WINGS. Around them we see about fifty TV's BLARING twenty different sporting events. There's ESPN logos everywhere and not a woman in sight.</scene_description> <character>HOG-HEAD</character> <dialogue>And you've gotta pick one or someone in your family will die-- that's the rule.</dialogue> <character>GARY</character> <dialogue>Oh boy, that's a toughie.</dialogue> <character>FRED</character> <dialogue>How long would you have to make-out with him?</dialogue> <character>HOG-HEAD</character> <dialogue>Ten minutes.</dialogue> <character>RICK</character> <dialogue>Tongue?</dialogue> <character>HOG-HEAD</character> <dialogue>Of course.</dialogue> <character>FRED</character> <dialogue>And how long would he have to blow you?</dialogue> <character>HOG-HEAD</character> <dialogue>Seven minutes.</dialogue> <character>GARY</character> <dialogue>Oof. I mean, getting blown by a dude is bad, but making out with a guy, it's so.. .intimate.</dialogue> <character>RICK</character> <dialogue>You think it's more intimate than getting blown by a guy?</dialogue> <character>GARY</character> <dialogue>Way more.</dialogue> <character>BAKER</character> <dialogue>All right, the hell with this shit, I'm outta here.</dialogue> <dialogue>Baker gets up from his stool.</dialogue> <character>RICK</character> <parenthetical>(TAKEN ABACK)</parenthetical> <dialogue>What? Why?</dialogue> <character>BAKER</character> <dialogue>I wanted to watch you guys pick up chicks, not talk about dicks.</dialogue> <character>FRED</character> <dialogue>Hey, greased lightning, let off the gas--sometimes these things take time.</dialogue> <character>GARY</character> <dialogue>Baker's right. This is day three and you haven't even talked to a girl.</dialogue> <character>RICK</character> <parenthetical>(POINTED)</parenthetical> <dialogue>That's not exactly accurate, Gary. Thanks to your scrumptious brownies, I did spend half of last night talking to Judy on the drug- and-poison hotline.</dialogue> <dialogue>Hog-head and Gary stand.</dialogue> <character>HOG-HEAD</character> <dialogue>I guess I'm gonna get going, too.</dialogue> <character>GARY</character> <dialogue>Yeah, this is boring. You guys are pussies.</dialogue> <character>FRED</character> <dialogue>Hey, I haven't seen you guys talk to any girls.</dialogue> <character>BAKER</character> <dialogue>We don't have hall passes!</dialogue> <character>(SHAKES HEAD)</character> <dialogue>Come on, guys, let's go. The three friends start to leave but Hog-head stops and turns.</dialogue> <character>HOG-HEAD</character> <dialogue>Hey, guys, it's all right if you strike-out.. .but for godsakes, at least take a couple of swings.</dialogue> <dialogue>A moment later the guys are gone and a humbled Rick and Fred sit there feeling alone.</dialogue> <character>FRED</character> <parenthetical>(BEING BRAVE)</parenthetical> <dialogue>This is actually good--you know, that they're leaving. You don't need five hunters to bag two birds.</dialogue> <character>RICK</character> <dialogue>No, you do not. And I love those guys but, let's be honest, they're not exactly chick-magnets.</dialogue> <character>FRED</character> <dialogue>You can say that again. Yep, the steak always looks better if you trim away some of the fat. And let's face it, we are the steak.</dialogue> <character>RICK</character> <dialogue>Dream team, baby. The guys CLINK BEERS. Then:</dialogue> <character>RICK</character> <dialogue>Maybe we should call the girls and ask them to come home.</dialogue> <dialogue>Fred glances at him, aghast.</dialogue> <character>FRED</character> <dialogue>What?</dialogue> <character>RICK</character> <dialogue>Who are we kidding, man? Do you really think we're going to be picking up any girls this week?</dialogue> <character>FRED</character> <dialogue>Why wouldn't we?</dialogue> <character>RICK</character> <dialogue>Because that's not us anymore.</dialogue> <character>FRED</character> <dialogue>Wait a second. You want to quit?</dialogue> <character>RICK</character> <dialogue>Fred, we're not the same guys we were fifteen years ago, back when we were single. We've changed. Fred stares at him, incredulous.</dialogue> <character>FRED</character> <dialogue>No, man, you've changed. All you care about is yourself--what about all the guys out there who are counting on us to make this thing work?</dialogue> <character>RICK</character> <dialogue>What are you talking about?</dialogue> <character>FRED</character> <dialogue>Don't you get it?</dialogue> <character>(DRAMATIC BEAT)</character> <dialogue>We're the chosen ones! Fred stands up and points at Rick.</dialogue> <character>FRED</character> <dialogue>That's right--this thing is bigger than us! Our wives didn't give us this hall pass, the good Lord did! And what do we have to show for it? Nothing.</dialogue> <character>RICK</character> <dialogue>Come off it, Fred. Obviously hooking up isn't something we really want--if it was, we could've done it by now.</dialogue> <character>FRED</character> <dialogue>Could we have? Rick is taken aback by this.</dialogue> <character>RICK</character> <parenthetical>(WANING CONFIDENCE)</parenthetical> <dialogue>Well ...of course. I mean, if we'd really wanted to.</dialogue> <character>FRED</character> <dialogue>Guess what? I did want to. And you know how close I got? We're three days in and the only woman I've spoken to was our waitress at Outback. And she never even made eye-contact.</dialogue> <character>RICK</character> <dialogue>I don't really care if some waitress makes eye-contact. I want to go home--I miss my wife and kids.</dialogue> <character>FRED</character> <dialogue>Let me explain something to you: If Grace and Maggie find out we can't get laid on our own, they'll start thinking we need them to get laid. Do you know what that'll do to the balance of power in our homes? It'll destroy it!</dialogue> <dialogue>Rick thinks about this and grows alarmed.</dialogue> <character>RICK</character> <dialogue>Well, what if we just tell them that we did hook up?</dialogue> <character>FRED</character> <dialogue>We can't. Grace'll know. She always knows when I'm lying.</dialogue> <character>RICK</character> <dialogue>Hey, what about a massage parlor?</dialogue> <character>FRED</character> <dialogue>No! That's giving up. Fred glares at him.</dialogue> <character>FRED</character> <dialogue>You don't get it, do you? A hall pass ain't all about sex. It's about being man enough to pick up a woman even though you may not be what--in the traditional sense--is considered... (makes quotes with</dialogue> <character>FINGERS)</character> <dialogue>.good-looking, or... (finger quotes again) .appealing. Rick seems stung by this news.</dialogue> <character>FRED</character> <dialogue>Look, if we can't show that something positive can come from having a hall pass, then the whole concept is dead. Not just for us...but for all mankind. Rick thinks about this for a moment, then stands up with a</dialogue> <character>RENEWED SENSE OF PURPOSE.</character> <dialogue>RICK</dialogue> <scene_description>All right, let's get out of here. I know exactly where we should be.</scene_description> <character>CUT TO:</character> <dialogue>EXT. BALL TEAM BEACH HOUSE - NIGHT</dialogue> <dialogue>The party's in full swing. A hundred or so PLAYERS, PLAYER'S GIRLFRIENDS, and FRIENDS are in and out of the pool,</dialogue> <scene_description>drinking beer and rocking out to Arcade Fire on the boombox. ANGLE ON Maggie and Rick Coleman sipping beers while in the b.g. we see Grace PLAYING VOLLEYBALL in the pool (still in the shorts and t-shirt she wore that afternoon.)</scene_description> <character>MAGGIE</character> <dialogue>So how about you, Rick, do you have any children?</dialogue> <character>RICK COLEMAN</character> <dialogue>Nah, but maybe some day. Your mom keeps talking about hooking me up with your cousin Kate. Maggie LAUGHS.</dialogue> <scene_description>RICK COLEMAN That's not a good sign.</scene_description> <character>MAGGIE</character> <dialogue>No, I hardly know her. She moved to Miami when I was eight.</dialogue> <character>RICK COLEMAN</character> <dialogue>That's what your mom said. I coach at the University of Miami.</dialogue> <character>MAGGIE</character> <dialogue>Then you should go out with her.</dialogue> <character>RICK COLEMAN</character> <dialogue>Nice try.</dialogue> <character>(BEAT)</character> <dialogue>So how about yourself--how long you been married?</dialogue> <character>MAGGIE</character> <dialogue>Uh...fourteen years. We were college sweethearts.</dialogue> <character>RICK COLEMAN</character> <dialogue>Nice. And where is he this week?</dialogue> <character>MAGGIE</character> <dialogue>He's up in Boston.</dialogue> <character>RICK COLEMAN</character> <dialogue>Poor guy. All work and no play, huh?</dialogue> <dialogue>Maggie forces a smile.</dialogue> <character>MAGGIE</character> <dialogue>Something like that. Suddenly Grace is PROPELLED OUT OF THE WATER and UP ONTO</dialogue> <character>GERRY'S SHOULDERS.</character> <dialogue>GRACE</dialogue> <scene_description>Stop it! What are you doing?! Gerry LAUGHS and BOUNCES AROUND THE POOL and Grace and Maggie and the coach can't help but LAUGH along with him, as we</scene_description> <character>CUT TO:</character> <dialogue>EXT. RAMADA INN - NIGHT</dialogue> <dialogue>Rick and Fred pull into the hotel's lot in the mini-van. As Rick gets out, Fred reaches behind his seat and comes out clutching a MOTORCYCLE HELMET. Rick stares at him.</dialogue> <character>FRED</character> <parenthetical>(DEFENSIVE)</parenthetical> <dialogue>Chicks dig motorcycles.</dialogue> <character>INT. RAMADA INN OLDIE'S BAR - NIGHT</character> <dialogue>It's 80's night and a Hall &amp; Oates cover band is PLAYING complete with look-alikes, except Oates is black. Behind the band there's a banner that reads: 'Ramada Inn proudly welcomes the Mutual of Omaha Leadership Council!' We see middle-aged CORPORATE TYPES everywhere.</dialogue> <character>DARRYL HALL</character> <parenthetical>(SINGING)</parenthetical> <dialogue>". .Oh-oh here she comes, watch out boy she'll chew you up. Oh-oh here she comes, she's a maneater..." ANGLE ON THE BAR where Rick and Fred are checking out the scene. Fred is WEARING THE HELMET. (It's a huge BLACK, OVERSIZED HELMET WITH A VISOR.) He pulls it off, SHAKES OUT</dialogue> <scene_description>HIS HAIR, and places it prominently ON THE BAR.</scene_description> <character>FRED</character> <dialogue>Jackpot, baby. Rick NOTICES SOMETHING O.S..</dialogue> <character>RICK</character> <dialogue>How about those two? ANGLE ON two pretty LATINO WOMEN sitting alone at a table.</dialogue> <character>FRED</character> <dialogue>Ooh, yeah. Daddy likes. Fred pulls a piece of paper out of his back pocket and hands it to Rick.</dialogue> <character>RICK</character> <dialogue>What's this?</dialogue> <character>FRED</character> <dialogue>I went on-line this afternoon and wrote down some good pick-up lines to break the ice.</dialogue> <character>RICK</character> <parenthetical>(READING)</parenthetical> <dialogue>'Hi. Will you help me find my puppy? I think he ran into the cheap hotel across the street.'</dialogue> <character>FRED</character> <dialogue>That's a good one--except for one thing: We don't have a puppy, so when she gets there she'll realize we're full of shit. Rick shoots him a look.</dialogue> <character>RICK</character> <dialogue>I don't think it's supposed to be for real. It's just to make her laugh so she'll talk to you. Fred considers this.</dialogue> <character>FRED</character> <dialogue>Oh God no, it doesn't work on that level. Here, this is my favorite. He takes the paper from Rick.</dialogue> <character>FRED</character> <parenthetical>(READING)</parenthetical> <dialogue>'You must be from Ireland because when I look at you my penis is Dublin.'</dialogue> <character>RICK</character> <dialogue>It's a charmer but you know what? We don't need phony pick-up lines. Why don't we just be ourselves?</dialogue> <character>FRED</character> <dialogue>Great. If you know how to. Rick takes a DEEP BREATH and braces himself.</dialogue> <character>RICK</character> <dialogue>Give me the helmet. Fred hands him the helmet, then Rick marches up to the two Latino Women with the helmet under his arm and Fred close on his heels.</dialogue> <character>RICK</character> <dialogue>Hi. The women give him a pleasant look.</dialogue> <character>LATINO WOMAN #1</character> <dialogue>Hello. Fred gives a little wave from behind Rick.</dialogue> <character>FRED</character> <dialogue>Hola. LONG BEAT as Rick tries to figure what to say next. Then:</dialogue> <character>RICK</character> <dialogue>Well.. .this is awkward. I feel like I'm back at my first junior high school mixer.</dialogue> <dialogue>Rick and Fred force a LAUGH and the girls smile. Another LONG, UNCOMFORTABLE BEAT. Rick clears his throat.</dialogue> <character>RICK</character> <dialogue>So...are you ladies from Ireland?</dialogue> <character>LATINO WOMAN #2</character> <dialogue>No.</dialogue> <scene_description>RICK. I'm very surprised to hear that news, because when I look at you my penis doubles in size. The women FLINCH at this, losing their smiles. Fred leans in.</scene_description> <character>FRED</character> <dialogue>No, he means his dick is Dublin. Like the city. In Ireland. As the girls turn away from them, we begin a... MUSIC MONTAGE - Hall &amp; Oates' I Can't Go For That plays as our GUYS GET SHOT DOWN by a DOZEN DIFFERENT BEAUTIFUL WOMEN.</dialogue> <scene_description>SAME SCENE - LATER Rick and Fred are at the bar looking TIRED and FRUSTRATED.</scene_description> <character>RICK</character> <dialogue>I have this overwhelming urge to donkey-kick everyone in this bar.</dialogue> <character>FRED</character> <dialogue>Okay, tiger, keep your chin up--no one said this was going to be easy. Even in college you had to take fifty rejections for every score, remember?</dialogue> <character>RICK</character> <dialogue>Yeah, but it didn't sting so much when I was drunk. Fred perks up.</dialogue> <character>FRED</character> <dialogue>That's it! We should be drinking!</dialogue> <character>RICK</character> <dialogue>You're right. We're too stiff.</dialogue> <character>FRED</character> <dialogue>Way too stiff. We gotta start pounding 'em, get those creative juices flowing, bring the soul to the surface. Rick smiles.</dialogue> <character>RICK</character> <dialogue>That's when we're at our most charming!</dialogue> <scene_description>SMASH CUT TO: SAME SCENE - LATER A HAMMERED Fred is HOLDING A HAND OVER ONE EYE as he SHOUTS at a table full of GORGEOUS YOUNG WOMEN.</scene_description> <character>FRED</character> <dialogue>You say no to me? You say no to me?! I SAY NO TO YOU!</dialogue> <dialogue>He's being restrained by an unusually patient BOUNCER. In the b.g. we see Rick PASSED OUT ON A STOOL in a VERY AWKWARD</dialogue> <scene_description>POSITION.</scene_description> <character>BOUNCER</character> <dialogue>Come on, buddy, let's go... The women glare at Fred with disgust, maybe even a little amusement.</dialogue> <character>FRED</character> <dialogue>No, screw them! (pointing at the women)</dialogue> <dialogue>You think your shit don't stink?! Well I got news for ya: I wouldn't titty-bang you in a snow storm!</dialogue> <character>20-SOMETHING WOMAN</character> <dialogue>(mocking), Oh, please, sir, please titty-bang us in a snow storm! The women LAUGH.</dialogue> <character>FRED</character> <dialogue>Nope, you blew it, not gonna happen.</dialogue> <character>BOUNCER</character> <parenthetical>(still restraining Fred)</parenthetical> <dialogue>There you go, mister, you got 'em good. Now let's go. As the Bouncer drags him toward the exit, a STUNNING GIRL passes them WEARING TIGHT LEATHER PANTS with an AMERICAN</dialogue> <scene_description>FLAG PRINT ON THE BUTT. Fred turns to her.</scene_description> <character>FRED</character> <parenthetical>(SLURRING)</parenthetical> <dialogue>Hey, sweetie, you need a pole for that flag? Just then, the Girl's LARGE BOYFRIEND appears, and as his FIST MEETS FRED'S FACE, we</dialogue> <character>SMASH CUT TO:</character> <dialogue>Law &amp; Order MUSIC CUE as we SUPER:</dialogue> <character>DAY 4</character> <dialogue>INT. RICK AND FRED'S HOTEL ROOM - AFTERNOON</dialogue> <dialogue>A SNORING Rick is FAST ASLEEP, sprawled out on his back on the bed WEARING ONLY HIS BOXERS despite the clock next to</dialogue> <scene_description>him reading 3:37 in the afternoon. He's surrounded by several left-over ROOM SERVICE TRAYS. ANOTHER ANGLE reveals Fred CURLED UP NAKED ON THE BATHROOM FLOOR, also SNORING. HE USES A BATH MAT AS A PILLOW.</scene_description> <character>SMASH CUT TO:</character> <dialogue>Law &amp; Order MUSIC CUE as we SUPER:</dialogue> <scene_description>ESTABLISHING SHOT OF COLDWELL BANKER REAL ESTATE OFFICE - DAY</scene_description> </scene> <scene> <stage_direction>INT. COLDWELL BANKER OFFICE - SAME</stage_direction> <scene_description>A worn-out-looking Rick is working at his desk when Fred approaches (with a BLACK EYE.)</scene_description> <character>FRED</character> <dialogue>I know what we've been doing wrong. Rick lifts his chin.</dialogue> <character>FRED</character> <dialogue>If we're gonna break out of this slump, we've got to start using our strength. And that is.. .people who know us, like us. So we should go after the women we've already won over.</dialogue> <character>RICK</character> <dialogue>You mean like our wives?</dialogue> <character>FRED</character> <dialogue>Yeah, like that, but not them. Fred sits in the chair across from Rick.</dialogue> <character>FRED</character> <dialogue>I was thinking Coffee Girl.</dialogue> <character>RICK</character> <dialogue>You've won over Coffee Girl?</dialogue> <character>FRED</character> <dialogue>Well, I'm sure she'd recognize me. Rick thinks about this.</dialogue> <character>RICK</character> <dialogue>Look, if you really want to go after someone you already know, have you considered Missy Frankenfield?</dialogue> <scene_description>Fred's listening.</scene_description> <character>RICK</character> <dialogue>She's got all the stats you like--</dialogue> <scene_description>she's beautiful, you k now her phone n ow- number, she's freshly divorced...</scene_description> <character>FRED</character> <dialogue>Which according to Hog-head means she's horny.</dialogue> <character>RICK</character> <dialogue>Bingo. As Fred smiles, we</dialogue> </scene> <scene> <stage_direction>EXT. CAPE COD BEACH - DAY</stage_direction> <scene_description>Maggie and Grace are laying outintheir bathing suits when they hear O.S. YELLING and lookupto see the baseball player Gerry WATERSKIING toward them.Helets go of the rope and skis UP ONTO THE SHORE.</scene_description> <character>GERRY</character> <dialogue>What's up, beach bunnies? Grace and Maggie sit up and smile.</dialogue> <character>GRACE</character> <dialogue>What are you doing here? He KICKS OFF THE SKI, then runs over and SHAKES HIS WET BODY</dialogue> <scene_description>ALL OVER THE GIRLS.</scene_description> <character>GRACE &amp; MAGGIE</character> <dialogue>Gerry, stop it!</dialogue> <character>GERRY</character> <dialogue>Hey, where are the kiddies? We thought we'd take you all for a boat ride.</dialogue> <character>MAGGIE</character> <dialogue>My parents took them to Martha's Vineyard for the weekend.</dialogue> <dialogue>Just then, we hear a LOUD HORN. They look up to see the boat pulling close to shore. Rick Coleman is behind the wheel and a couple PLAYERS are in the back. Maggie waves.</dialogue> <character>RICK COLEMAN</character> <parenthetical>(THROUGH BULLHORN)</parenthetical> <dialogue>All right, everybody aboard! We're going waterskiing!</dialogue> <dialogue>The two women look at each other--why not? As they get up and RUN INTO THE WATER, we</dialogue> </scene> <scene> <stage_direction>INT. COFFEE SHOP - DAY</stage_direction> <scene_description>Rick stands in line at the coffee shop looking casual in slacks and a Harvard t-shirt. Music plays. He peers ahead and sees the Wannabe Artist-Type taking the order of a TEENAGE GIRL. At the other register, Coffee Girl is also taking orders. Rick is hoping to get Coffee Girl but Wannabe gets to him first.</scene_description> <character>WANNABE</character> <dialogue>Can I take your order? Rick sees that there's no one behind him. He turns to the Wannabe.</dialogue> <character>RICK</character> <dialogue>Uh...I don't know what I want. Wannabe stares at him, waiting. Rick hesitates a few moments, then levels with the guy.</dialogue> <character>RICK</character> <dialogue>Look, man, I want her to take my order.</dialogue> <character>WANNABE</character> <dialogue>Why?</dialogue> <character>RICK</character> <dialogue>Uh, she knows how I like it.</dialogue> <character>WANNABE</character> <parenthetical>(ATTITUDE)</parenthetical> <dialogue>Little help, Leigh--your unique barista skills have been requested.</dialogue> <dialogue>Rick waves weakly to Leigh and winks. As Leigh approaches,</dialogue> <scene_description>Wannabe mocks Rick by waving at him and winking.</scene_description> <character>LEIGH</character> <dialogue>Hi. What would you like? Rick was hoping to have a conversation but Wannabe is crowding them.</dialogue> <character>RICK</character> <dialogue>Iced coffee. With two Splendas. Leigh rings him up.</dialogue> <character>LEIGH</character> <dialogue>That'll be two dollars. Rick hands her a fiver and nods toward the speakers.</dialogue> <character>RICK</character> <dialogue>By the way, nice tunes. Do you choose 'em or do they come down from corporate?</dialogue> <character>LEIGH</character> <dialogue>Me. It's Snow Patrol.</dialogue> <dialogue>She hands Rick his change and he dumps it in the tip jar.</dialogue> <character>RICK</character> <dialogue>Nice soundtrack. Pretty solid movie, too. Wannabe BARKS out a LAUGH.</dialogue> <character>WANNABE</character> <dialogue>Dude, you're thinking of Snow Do s-- the Cuba Gooding kiddie flick. This is Snow Patrol, the band. Rick shrugs, a little embarrassed.</dialogue> <character>LEIGH</character> <dialogue>Thanks for the tip. As Leigh grabs a cup and goes to make the coffee, Wannabe SAYS SOMETHING to her that WE CAN'T HEAR and they both</dialogue> <scene_description>LAUGH. A PHONE RINGS in the employee room. Leigh hands Wannabe the coffee, then runs back to answer it. Wannabe hands Rick the iced coffee and winks at him.</scene_description> <character>WANNABE</character> <dialogue>Enjoy your two-Splenda'd iced coffee, mister.</dialogue> <dialogue>Rick starts to go, then turns around and stares at Wannabe. Wannabe, comforted by the counter between them, smiles back.</dialogue> <character>RICK</character> <dialogue>Why are you smiling? You think this counter is some alligator-infested moat?</dialogue> <dialogue>Rick's stare becomes a glare and Wannabe loses his smile.</dialogue> <character>RICK</character> <dialogue>This little 'I'm-on-the-inside, too- cool-for-school, let's-laugh-at-the-</dialogue> <character>DORKY-SUBURBAN-GUY-CAUSE-I'M-SAFE-</character> <dialogue>ON-THIS-SIDE-OF-THE-COUNTER'</dialogue> <scene_description>routine's gonna get you hurt. After you lose all of your family's money on your avante garde piece of crap short film, you're going to need a job. And it's guys like me that hire. And guys like me don't hire punks like you. So shape up. As Rick turns and walks out, we PAN over to see that Leigh HAS BEEN WATCHING THIS.</scene_description> </scene> <scene> <stage_direction>EXT. COFFEE SHOP - A FEW MINUTES LATER</stage_direction> <scene_description>Rick sits alone at a table on the sidewalk drinking his coffee. He NOTICES some postcards advertising a two-week free trial at the local gym and starts to read them. LEIGH (O.S.) I work-out there. Rick looks up, suddenly finding himself alone with Leigh.</scene_description> <character>RICK</character> <dialogue>You do? Leigh nods and starts to straighten up the tables.</dialogue> <character>RICK</character> <dialogue>I work-out at home, but I was thinking of going public with my work-outs. What do you squat? She seems amused by this.</dialogue> <character>LEIGH</character> <dialogue>I don't really squat, just run on the hamster-wheel everyday after work.</dialogue> <dialogue>She starts wiping down a table.</dialogue> <character>COFFEE GIRL</character> <dialogue>So did you go to Harvard? She nods at Rick's t-shirt.</dialogue> <character>RICK</character> <dialogue>Yeah.</dialogue> <character>(BEAT)</character> <dialogue>I mean, you know...I went to a party there once.</dialogue> <dialogue>Coffee Girl GIGGLES and Rick perks up.</dialogue> <character>RICK</character> <parenthetical>(RE:SHIRT)</parenthetical> <dialogue>Actually, this is Harvard Health Care. Sleep apnea... snoring too much. (holds up gym postcard)</dialogue> <dialogue>So is this a good place to join?</dialogue> <character>LEIGH</character> <dialogue>Great place. Real chill. And they have a bar, so I always grab a beer after my workout.</dialogue> <character>RICK</character> <dialogue>Bitchin'. Sounds like a nice routine. Maybe I'll routine it, too.</dialogue> <character>LEIGH</character> <dialogue>If you join, tell 'em Leigh sent you--they'll give me two free months.</dialogue> <character>RICK</character> <dialogue>I'll do that, Leigh.</dialogue> <character>LEIGH</character> <dialogue>Rockin'. Leigh gives him the peace sign.</dialogue> <character>RICK</character> <dialogue>R-O-C-K in the U-S-A. Leigh smiles and as she heads back inside, we</dialogue> </scene> <scene> <stage_direction>INT. RICK &amp; FRED'S HOTEL ROOM - DAY</stage_direction> <scene_description>Fred is sitting on his bed flipping through his address book until he comes to Missy Frankenfield. He hits the SPEAKERPHONE and DIALS. Several RINGS later: MISSY FRANKENFIELD (V.0.) Hi, this is Missy. Sorry I missed your call. I'm out of town for a few days, and I may have limited cell reception. Please leave a message and I'll get back to you as soon as I can. BEEP. Fred mouths the word 'shit', then picks up the receiver.</scene_description> <character>FRED</character> <dialogue>Hey, Missy, this is Fred Searing. I . uh, I dust wanted to give you a ring and, um...well, give me a call when you get back. It's kind of an emergency. Well, not life- threatening, but--</dialogue> <dialogue>The machine CUTS HIM OFF. Fred HANGS UP, dejected. He sits there for a BEAT, then grabs his keys and GOES OUT THE DOOR.</dialogue> </scene> <scene> <stage_direction>EXT. STRIP MALL - LATE AFTERNOON</stage_direction> <scene_description>TIGHT ON FRED - he's wearing SHADES and has a BASEBALL CAP pulled down over his eyes. PULL BACK TO REVEAL that he's outside a MASSAGE PARLOR. As he approaches the massage parlor entrance, a bunch of LADIES walk out of the TRAVEL AGENCY just to the right so Fred veers into the DRY CLEANERS to the left.</scene_description> </scene> <scene> <stage_direction>INT. DRY CLEANERS - CONTINUOUS</stage_direction> <scene_description>Fred ENTERS and immediately bumps into Kimmy Long (Ed's wife) standing in line behind several other WOMEN. She is accompanied by her 7-year-old daughter and neither of them look happy to see him.</scene_description> <character>FRED</character> <dialogue>Oh, hi. Kimmy nods blankly. The Daughter glares at him. Fred nervously steps up next to them in line, passing time as he waits for the sidewalk to clear.</dialogue> <character>FRED</character> <dialogue>Um, I don't think I got a chance to tell you how impressed I was with your new place. Absolutely elegant.</dialogue> <dialogue>Kimmy GRUNTS a thank you and turns away from him. ANGLE ON the KOREAN LADY who owns the dry cleaners. She stands behind the desk with an accordion wall behind her.</dialogue> <scene_description>DRY CLEAN KOREAN LADY Mr. Searing, you pick up last week-- no more clothes here! Fred smiles uncomfortably at Kimmy.</scene_description> <character>FRED</character> <dialogue>That's right... (looks at watch) Well, gotta get going--I have a meeting across town in ten minutes. See ya. Fred EXITS.</dialogue> </scene> <scene> <stage_direction>EXT. SIDEWALK - CONTINUOUS</stage_direction> <scene_description>Fred comes out of the dry cleaners, makes sure the coast is clear, then DUCKS INTO THE MASSAGE PARLOR.</scene_description> </scene> <scene> <stage_direction>INT. MASSAGE PARLOR - CONTINUOUS</stage_direction> <scene_description>A YOUNG KOREAN WOMAN is behind the counter. YOUNG KOREAN WOMAN You want massage? Fred looks around. There's an OLD KOREAN LADY sitting on a couch. He looks at the Young Korean Woman and nods. YOUNG KOREAN WOMAN You fill out. The Young Korean Woman hands Fred a form. Fred puts it down and covertly moves in.</scene_description> <character>FRED</character> <dialogue>I'd prefer no paper trail.</dialogue> <scene_description>YOUNG KOREAN WOMAN Need for insurance company.</scene_description> <character>FRED</character> <dialogue>I don't think my insurance company's gonna cover this one.</dialogue> <scene_description>YOUNG KOREAN WOMAN Ten dollar co-pay?</scene_description> <character>FRED</character> <dialogue>Uh, no.</dialogue> <scene_description>YOUNG KOREAN WOMAN Fill out form. It policy. Fred moves in closer.</scene_description> <character>FRED</character> <dialogue>Look, I don't really want this in print.</dialogue> <dialogue>The Young Korean Woman hands him back the form.</dialogue> <scene_description>YOUNG KOREAN WOMAN How I know what you want if you no fill out form?</scene_description> <character>FRED</character> <dialogue>Um, couldn't I just tell you? She stares at him for a LONG BEAT.</dialogue> <scene_description>YOUNG KOREAN WOMAN So, what you waiting for?! Fred glances back at the Old Korean Lady, then WHISPERS in the Young Korean Woman's ear. She nods and looks at him. YOUNG KOREAN WOMAN Okay.. .but must see I.D. first. Fred SIGHS and pulls out a hundred-dollar bill.</scene_description> <character>FRED</character> <dialogue>How about a C-note so I don't have to fill out any forms or show any I.D.'s?</dialogue> <dialogue>The Young Korean Woman thinks about this for a moment, then SLIDES OPEN THE ACCORDION WALL behind her, REVEALING... THE DRY CLEANERS NEXT DOOR - the Dry Cleaning Korean Lady looks back at him, along with Kimmy Long, her daughter, and</dialogue> <scene_description>ALL THE OTHER WOMEN IN LINE. YOUNG KOREAN WOMAN Gentleman want a rub-and-tug with tea-bag happy ending but don't fill out form! Kimmy Long glares at him, appalled. As Fred backpedals OUT OF THE MASSAGE PARLOR, he waves at her weakly, and we...</scene_description> </scene> <scene> <stage_direction>EXT. PARTY BOAT - DAY</stage_direction> <scene_description>One hundred GUESTS dance on the top deck of this large ship as the Bee Gee's Night Fever BLASTS from the speakers.</scene_description> <character>SONG</character> <dialogue>.Night fever, night fever.. .we know how to do it...'</dialogue> <dialogue>As the song heats up, the crowd parts, REVEALING... Rick Coleman and Gerry decked-out in WHITE, TONY-MANARO-SUITS. They're DANCING UP A STORM with Maggie and Grace who are thrilled to be in such capable hands. Grace is getting tossed around a bit, but it's clear that Maggie can hold her own on a dance floor.</dialogue> <dialogue>The crowd soon FORMS A CIRCLE around the two couples, and as Rick and Gerry SWING AND LIFT our delighted and breathless wives, we</dialogue> <scene_description>SAME SCENE - LATER Maggie and Rick Coleman are standing at the rail of the boat taking a breather.</scene_description> <character>RICK COLEMAN</character> <dialogue>Wow. You can really move out there. Maggie shrugs modestly.</dialogue> <character>MAGGIE</character> <dialogue>Thanks. I was a dance major in college.</dialogue> <character>RICK COLEMAN</character> <dialogue>Really? I always wondered--what do you do with a degree in dance?</dialogue> <character>MAGGIE</character> <dialogue>Well, as it turned out, nothing.</dialogue> <character>(BLUSHING)</character> <dialogue>I guess the original plan was to go to New York and try to hook-up with one of the big dance companies, but then I got married and. . .your priorities change.</dialogue> <dialogue>She looks away, maybe a little embarrassed.</dialogue> <character>MAGGIE</character> <dialogue>Anyway, that was fun. I haven't danced this much in a long time.</dialogue> <character>RICK COLEMAN</character> <dialogue>Why not?</dialogue> <character>MAGGIE</character> <dialogue>I don't know, you get busy, kids, school, there's so much going on.</dialogue> <character>RICK COLEMAN</character> <dialogue>Well you gotta make time for the stuff you love or you'll forget who you are. Maggie appreciates the sentiment. She makes strong eye- contact with Rick for a moment, but catches herself and</dialogue> <scene_description>looks away.</scene_description> <character>MAGGIE</character> <dialogue>You know, my husband's name is Rick. Rick smiles at this.</dialogue> <character>RICK COLEMAN</character> <dialogue>Well that makes me the perfect guy to have an affair with--you'd never have to worry about screaming out the wrong name during sex. Maggie smiles at this, but she seems a nick uncomfortable.</dialogue> <scene_description>RICK COLEMAN I'm kidding.</scene_description> <character>MAGGIE</character> <dialogue>I know.</dialogue> <character>RICK COLEMAN</character> <dialogue>Now come on, let's go find Grace and get something to eat. I'm starving. As they head back to the party, we</dialogue> </scene> <scene> <stage_direction>INT. RICK'S TOYOTA AVALON - LATE AFTERNOON</stage_direction> <scene_description>Rick is parked across the street from FITNESS FIRM HEALTH CLUB. He's reading the newspaper and glancing at the entrance for Leigh. Suddenly there's a LOUD TAP on the window and Rick looks over to see Flats (who we met at Rick's poker night) standing outside with a shit-eating grin. Rick rolls down the window.</scene_description> <character>FLATS</character> <dialogue>Hey, Rick.</dialogue> <character>RICK</character> <parenthetical>(STARTLED)</parenthetical> <dialogue>Oh...hey, Flats. How you doing, man?</dialogue> <character>FLATS</character> <dialogue>Great. What's up with you? How's that hall pass thing going? Rick makes a Scooby Doo sound, alarmed.</dialogue> <character>RICK</character> <dialogue>Who told you about that--was it Hog- head?</dialogue> <character>FLATS</character> <dialogue>No. Some old lady was yakking about it down at the post office. Rick REACTS to this.</dialogue> <character>FLATS</character> <parenthetical>(BIG SMILE)</parenthetical> <dialogue>So what's the deal--you getting laid?</dialogue> <character>RICK</character> <parenthetical>(DEFENSIVE)</parenthetical> <dialogue>What? No.</dialogue> <character>RICK</character> <dialogue>I don't know where you're getting your information, Flats, but a hall pass isn't just about getting laid, it's about getting a week off from marriage to do as you please-- whether that be fishing, or watching TV, whatever it is that relaxes you.</dialogue> <character>FLATS</character> <parenthetical>(DUBIOUS)</parenthetical> <dialogue>Oh, I didn't know that. Just then Rick NOTICES Leigh (dressed in work-out clothes) walking down the sidewalk toward the gym.</dialogue> <character>RICK</character> <dialogue>Uh, Flatsy, I gotta run. I'm late for my work-out appointment.</dialogue> <dialogue>When Rick hops out of his car, we see that he's wearing gym shorts and an old Springsteen t-shirt. He hesitates, then grabs a SWEATSHIRT out of the car and TIES IT AROUND HIS WAIST. Rick hurries down the sidewalk toward Leigh.</dialogue> <character>RICK</character> <dialogue>Hey, girl!</dialogue> <character>LEIGH</character> <parenthetical>(SMILING)</parenthetical> <dialogue>All right! You decided to go for it.</dialogue> <dialogue>As Rick follows Leigh into the gym, a smiling Flats CALLS</dialogue> <character>OUT:</character> <dialogue>FLATS</dialogue> <scene_description>Hey, Rick! Good luck with the fishing! As Flats begins to LAUGH, a sheepish Rick scurries into the building.</scene_description> </scene> <scene> <stage_direction>INT. FITNESS FIRM HEALTH CLUB - MOMENTS LATER</stage_direction> <scene_description>Rick and Leigh stand at the front desk. A young, buff dude, CLYDE, looks up from folding towels.</scene_description> <character>LEIGH</character> <dialogue>Clyde, this is my friend, uh...</dialogue> <character>RICK</character> <dialogue>Rick.</dialogue> <character>LEIGH</character> <dialogue>He's looking to join.</dialogue> <character>CLYDE</character> <dialogue>Great. I'll get you signed up. Leigh pats Rick's hand.</dialogue> <character>LEIGH</character> <dialogue>See ya.</dialogue> <dialogue>She turns to leave.</dialogue> <character>RICK</character> <dialogue>So, uh, are you gonna grab a brewski after your work-out?</dialogue> <character>LEIGH</character> <dialogue>Nah. Rick looks disappointed.</dialogue> <character>LEIGH</character> <dialogue>I'm gonna grab two. Leigh flashes him a smile and as she walks away, she gives him the peace sign. He returns it.</dialogue> <character>RICK</character> <dialogue>Peace it! As soon as he hears himself, Rick cringes.</dialogue> <character>CUT TO:</character> <dialogue>CLOSE ON RICK'S FACE - he's wearing the headphones and has worked up a PRETTY GOOD SWEAT. PULL BACK to reveal that he's SITTING ON THE TOILET.</dialogue> <character>INT. HEALTH CLUB - MEN'S LOCKER ROOM - SEVERAL MINUTES LATER</character> <dialogue>We hear a FLUSH. Rick shuffles out of a stall and moves to a sink. While he washes his hands, a young, NAKED,</dialogue> <scene_description>METROSEXUAL- TYPE whips his leg into the sink beside him. Rick slowly turns to look. RICK'S POV - as the Metrosexual talks to ANOTHER NAKED MAN, he fills his hand with SHAVING CREAM and the hand DISAPPEARS BETWEEN HIS OWN LEGS. The guys continue their conversation, unfazed. Then the Metrosexual starts to SHAVE HIS BALLS. As Rick dries his hands, he can't contain himself.</scene_description> <character>RICK</character> <dialogue>What's that about--you swimming the English Channel? The Metrosexual shoots Rick an annoyed look.</dialogue> <character>METROSEXUAL</character> <dialogue>Nah, Just not into looking like the knuckle-dragging guy on the evolution-of-man chart. Off Rick looking self-consciously down at his fur-covered body, we go...</dialogue> <character>INT. HOT TUB ROOM - A FEW MINUTES LATER</character> <dialogue>Rick ENTERS the empty hot tub room, takes off his towel, and eases into the STEAMING WATER. He hits a button and the jets kick on FULL BLAST, turning the hot tub into a BUBBLY</dialogue> <character>CAULDRON.</character> <dialogue>RICK</dialogue> <scene_description>Oh...yes. He bunches up his towel and puts it behind his head, then settles in and CLOSES HIS EYES.</scene_description> <character>DISSOLVE TO:</character> <dialogue>SAME SCENE - LATER</dialogue> <dialogue>Rick is in a DEEP SLEEP. His mouth is wide open but his head is BARELY ABOVE WATER as he SNORES LOUDLY. He dips beneath the surface and as he begins to CHOKE and COUGH, he wakes</dialogue> <scene_description>up. Rick takes a moment to get his bearings, then STRUGGLES to get out of the hot tub. But his MUSCLES HAVE TURNED TO JELLY.</scene_description> <character>RICK</character> <parenthetical>(WEAKLY)</parenthetical> <dialogue>Little help... When none comes, a life-and-death STRUGGLE ensues as the flabby, middle-aged dad tries to climb to safety.</dialogue> <character>RICK</character> <dialogue>Help ...me... Just as Rick starts to go under, the two young naked metrosexuals hear his MOANS and come to his rescue. They jump in the hot tub and heave him ashore. As Rick GASPS for air, one of the metrosexuals kneels down and lifts Rick's head onto his NAKED LAP.</dialogue> <character>NAKED METROSEXUAL #1</character> <dialogue>Are you having chest pains, sir?</dialogue> <character>RICK</character> <parenthetical>(WINDED)</parenthetical> <dialogue>No, no, I think I was...in the hot tub too long. I can't feel my body.</dialogue> <character>NAKED METROSEXUAL #2</character> <dialogue>How long were you in there?</dialogue> <character>RICK</character> <dialogue>What time is it?</dialogue> <character>NAKED METROSEXUAL #2</character> <dialogue>Seven-thirty.</dialogue> <character>RICK</character> <dialogue>About three hours. That's when Rick realizes that his head is RESTING ON THE GUY'S COCK. He tries to roll off him, but Metrosexual #1</dialogue> <scene_description>HOLDS HIM TIGHT.</scene_description> <character>NAKED METROSEXUAL #1</character> <dialogue>Try not to move, sir.</dialogue> <character>RICK</character> <dialogue>I'm okay, just help me up.</dialogue> <character>NAKED METROSEXUAL #1</character> <parenthetical>(TO METROSEXUAL #2)</parenthetical> <dialogue>All right, give him a hand. Metrosexual #2 straddles Rick's chest and leans down to pull him up. As Rick starts to rise, HIS FACE COMES PERILOUSLY CLOSE TO THE SECOND MAN'S O.S. DANGLING COCK and Rick has to</dialogue> <scene_description>TURN HIS HEAD TO AVOID CONTACT. They finally get Rick to his feet. As the naked men help him across the room, we ANGLE ON - two TANNED, HAIRLESS METROSEXUAL ASSES flanking Rick's HIRSUTE BUTT.</scene_description> <character>RICK</character> <dialogue>Okay, thanks, guys. I can take it from here.</dialogue> <dialogue>The metrosexuals release Rick and he gets about two steps before his LEGS GIVE OUT and he TUMBLES DOWN A SMALL FLIGHT</dialogue> <scene_description>OF STEPS. SMASH CUT TO: Law &amp; Order MUSIC CUE as we SUPER:</scene_description> </scene> <scene> <stage_direction>INT. RICK AND FRED'S HOTEL ROOM - DAY</stage_direction> <scene_description>A depressed Rick and Fred sit in bed numbing their pain by WATCHING THE BOURNE SUPREMACY and eating a couple PINTS OF BEN AND JERRY'S ICE CREAM.</scene_description> <character>FRED</character> <dialogue>We let down the male species.</dialogue> <character>(SIGHS)</character> <dialogue>I really thought our hall passes might change the philosophy of marriage in America.</dialogue> <dialogue>Fred eats a big scoop of ice cream.</dialogue> <character>FRED</character> <parenthetical>(WITH MOUTH-FULL)</parenthetical> <dialogue>I envisioned a national holiday, right between July 4th and Labor Day, like the first Friday in August, Hall Pass Day; a day for husbands to get some strange, a day that would forever be known as the holiday,that saved the institution of marriage.</dialogue> <character>RICK</character> <dialogue>All right, don't give up.</dialogue> <character>FRED</character> <dialogue>I'm not giving up, I'm facing facts- -this is our last day and we got nothing cooking. Maybe you were right. Maybe we should just tell the girls to come home.</dialogue> <character>RICK</character> <dialogue>No. I want the hall pass. Fred looks at Rick, surprised.</dialogue> <character>RICK</character> <dialogue>At first I wasn't sure, but now I want the dream.</dialogue> <character>FRED</character> <dialogue>I'm not even sure I know what the dream is anymore.</dialogue> <character>RICK</character> <dialogue>I just...I just want to know what it's like to be with another woman.</dialogue> <character>FRED</character> <dialogue>Well, just pull up one of the golden oldies in your spank bank-- it's almost like being there.</dialogue> <character>RICK</character> <dialogue>I don't have anything in that spank bank.</dialogue> <character>FRED</character> <dialogue>I'm talking about all the girls before you met Maggie. Rick doesn't say anything.</dialogue> <character>FRED</character> <dialogue>What?</dialogue> <character>(BEAT)</character> <dialogue>No, you're not serious? Rick lowers his head.</dialogue> <character>FRED</character> <dialogue>Wait a second, are you saying...?</dialogue> <character>(BEAT)</character> <dialogue>But how can that be--you didn't meet Maggie until college?</dialogue> <character>RICK</character> <parenthetical>(DEFENSIVE)</parenthetical> <dialogue>Yeah, so? What do you think, everyone gets laid in high school? I got news for you, mister--getting laid in high school is not a right, it's a privilege.</dialogue> <dialogue>Fred puts down his ice cream. Rick SIGHS.</dialogue> <character>RICK</character> <dialogue>First class, first day, freshman year, I saw Maggie--she was sitting three seats away in Western Civ-- and I fell in love instantly. I begged her for three months to go out with me, she finally caved, and that night I told her I loved her.</dialogue> <character>RICK</character> <dialogue>Eighty-four days later she told me she loved me back and we've been together ever since. Fred stares at him.</dialogue> <character>FRED</character> <dialogue>Wow. That's a really creepy story. Just then Fred's cell phone RINGS and he ANSWERS it.</dialogue> <character>FRED</character> <dialogue>Hello.</dialogue> <character>(BEAT)</character> <dialogue>Yeah.</dialogue> <character>(BEAT)</character> <dialogue>Oh, okay, great. Fred hangs up but doesn't say anything.</dialogue> <character>RICK</character> <dialogue>Who was that?</dialogue> <character>FRED</character> <dialogue>Just an angel from heaven. Suddenly Fred jumps to his feet.</dialogue> <character>FRED</character> <dialogue>Coakley's back in town! As Rick's face fills with renewed hope, we...</dialogue> <character>CUT TO:</character> <dialogue>INT. BEACH COTTAGE - AFTERNOON</dialogue> <dialogue>Maggie and Grace are sitting at the kitchen table gazing at</dialogue> <scene_description>a BOUQUET OF FLOWERS and an open GIFT BOX displaying an</scene_description> <character>ENGRAVED I.D. BRACELET.</character> <dialogue>MAGGIE</dialogue> <scene_description>Does this mean you're going steady?</scene_description> <character>GRACE</character> <parenthetical>(GUILTY)</parenthetical> <dialogue>That's not funny. I feel terrible-- the poor kid's spending all his hard-earned money on me--that's sad. Cute, but sad.</dialogue> <character>MAGGIE</character> <dialogue>Grace, you should be flattered. You're thirty-eight-years-old and college kids are still swooning over you.</dialogue> <character>GRACE</character> <dialogue>Well I just feel bad if I gave him the wrong impression.</dialogue> <character>MAGGIE</character> <dialogue>The wrong impression? What makes you think that--I mean, besides the flowers, I.D. bracelet, and love letter?</dialogue> <dialogue>Maggie picks up a card.</dialogue> <character>MAGGIE</character> <parenthetical>(READING)</parenthetical> <dialogue>'Dearest Grace--Our final game is tonight. Please meet me at the coach's place afterwards to celebrate. Yours truly, Gerry.'</dialogue> <character>GRACE</character> <dialogue>Thanks for piling on. Grace stands up and SIGHS.</dialogue> <character>GRACE</character> <dialogue>Well...I can't accept this. I guess I'm just gonna have to go set him straight.</dialogue> <scene_description>ESTABLISHING SHOT OF A PIZZERIA UNO - NIGHT</scene_description> </scene> <scene> <stage_direction>INT. PIZZERIA UNO - SAME</stage_direction> <scene_description>Rick and Fred are sitting at a table sharing a pizza while Fred texts someone.</scene_description> <character>RICK</character> <dialogue>What are you doing?</dialogue> <character>FRED</character> <dialogue>Just texting Missy Frankenfield that we're going to be at Enter the Dragon--I'm covering all my bases.</dialogue> <character>RICK</character> <dialogue>You don't need Missy Frankenfield tonight. If we can't get the job done with Coakley as our wingman, then we're pathetic. Just then, Fred NOTICES something O.S.</dialogue> <character>FRED</character> <dialogue>All right, here come da man! CLOSE ON RESTAURANT ENTRANCE - a suave, DEBONAIR MAN (played by George Clooney) comes through the doors and stops to</dialogue> <scene_description>check out the room. Rick and Fred jump up and approach him WITH OPEN ARMS but at the last second Clooney steps aside REVEALING a THIN, BALDING MAN dressed HEAD-TO-TOE IN MOTORCYCLE LEATHERS (think Larry David.)</scene_description> <character>FRED &amp; RICK</character> <dialogue>Coakley!</dialogue> <character>COAKLEY</character> <dialogue>My two favorite nutsuckers--how the hell are ya?! The three men hug, then Coakley nods toward Clooney.</dialogue> <character>COAKLEY</character> <dialogue>See who just walke ( in here in front of me?</dialogue> <character>RICK</character> <dialogue>No, who?</dialogue> <character>COAKLEY</character> <dialogue>George Clooney.</dialogue> <character>FRED</character> <dialogue>What's he doing here?</dialogue> <character>COAKLEY</character> <dialogue>I don't know--must be shooting a movie or something.</dialogue> <character>FRED</character> <dialogue>Huh. Look, man, we've got a situation on our hands.</dialogue> <character>COAKLEY</character> <dialogue>Yeah, yeah, Baker filled me in. S'been rough sledding, huh?</dialogue> <dialogue>Coakley puts his arms around the two guys.</dialogue> <character>COAKLEY</character> <dialogue>Well, don't worry, my little snickerdicks...Coakley's here.</dialogue> </scene> <scene> <stage_direction>EXT. ENTER THE DRAGON NIGHT CLUB - NIGHT</stage_direction> <scene_description>A mass of BEAUTIFUL GIRLS and SLICK GUYS vie for position outside this CROWDED CLUB. REVERSE ANGLE REVEALS Rick, Fred and Coakley watching from across the street.</scene_description> <character>COAKLEY</character> <dialogue>I'm gonna need three-hundred bucks.</dialogue> <character>FRED</character> <dialogue>For what? Coakley shoots him a look.</dialogue> <character>COAKLEY</character> <dialogue>If you're really serious about this, stop questioning me.</dialogue> <dialogue>The guys look at each other, then reluctantly COUGH UP THE DOUGH. With money in hand, Coakley marches confidently across the street followed by Fred and Rick. When the SLICK BOUNCER sees them approaching, he PARTS THE CROWD.</dialogue> <character>SLICK BOUNCER</character> <dialogue>Good evening, Mr. Coakley.</dialogue> <character>COAKLEY</character> <dialogue>What up, my guy? Coakley PASSES ON THE MONEY with a handshake and the Bouncer UNHOOKS THE VELVET ROPE. Then Coakley smiles back at Fred and Rick.</dialogue> <character>COAKLEY</character> <dialogue>Push the defrost button on the microwave, boys. The deep freeze is over.</dialogue> </scene> <scene> <stage_direction>INT. ENTER THE DRAGON NIGHT CLUB - NIGHT</stage_direction> <scene_description>Coakley leads them into the club. Rick and Fred can't believe all the BEAUTIFUL PEOPLE around them.</scene_description> <character>COAKLEY</character> <dialogue>Okay, guys, you tried it your way and you railed miserably. You struck out, you were oh-for- everything. So now we do it my way, which is... The guys look at Coakley like Richard Gere looks at the</dialogue> <scene_description>Dalai Lama.</scene_description> <character>COAKLEY</character> <dialogue>. Go ugly early. Rick and Fred are visibly deflated.</dialogue> <character>COAKLEY</character> <dialogue>Guys, you're not trying to get married here--you're trying to get laid.</dialogue> <character>RICK</character> <dialogue>Aren't you the guy who goes to the Hawaiian Tropic finals every year? Is that for the ugly girls?</dialogue> <character>COAKLEY</character> <dialogue>I go to the Tropic finals because Miss North Dakota's gonna lose and she's gonna need a hug. And quite often you can parlay a hug into a hand-job. Rick, you're up--get us two bottles of Moet and six glasses.</dialogue> <scene_description>Rick shoots Fred a look, then weaves his way through a scrum of PEOPLE up to the bar. He tries to flag down a bartender but can't get anyone's attention.</scene_description> <character>PAIGE (O.S.)</character> <dialogue>Hi, Mr. Mills. Rick turns to see that he's crammed in beside his babysitter Paige who's looking a LITTLE TIPSY.</dialogue> <character>RICK</character> <dialogue>Oh, hey, Paige. What are you doing here? She pulls out her license and holds it up.</dialogue> <character>PAIGE</character> <dialogue>I turned twenty-one yesterday.</dialogue> <character>(DRUNKEN SMILE)</character> <dialogue>I'm legal now.</dialogue> <character>RICK</character> <dialogue>Oh. Well, happy birthday. You out celebrating?</dialogue> <character>PAIGE</character> <dialogue>Yeah, I'm here with my Aunt Meg. Paige points across the club to AUNT MEG, a striking</dialogue> <scene_description>redhead, early 40's, who's talking to a couple of YOUNG MEN.</scene_description> <character>PAIGE</character> <dialogue>She's the best. Forty-two years old but she still parties like she's my age.</dialogue> <character>RICK</character> <dialogue>Nice. Rick continues to try to get the bartender's attention.</dialogue> <character>PAIGE</character> <dialogue>So, Rick, how's the hall pass going?</dialogue> <scene_description>Paige smirks at Rick who shrinks a little.</scene_description> <character>PAIGE</character> <dialogue>You don't mind if I call you Rick, do you? I am officially an adult now.</dialogue> <character>RICK</character> <dialogue>No, of course not--what did you just say?</dialogue> <character>PAIGE</character> <dialogue>I was asking about your hall pass. (off Rick's look)</dialogue> <dialogue>I baby-sit for the Putneys and I heard Gary talking about it the other night at their barbecue. Rick REACTS to this.</dialogue> <character>RICK</character> <dialogue>He was talking about it at a barbecue?!</dialogue> <character>PAIGE</character> <dialogue>Oh, he wasn't saying it in a bad way.</dialogue> <character>PAIGE</character> <dialogue>In fact, I thought it was very classy of you to be staying at the Holiday Inn Express instead of bringing girls back to your home with all the kids' pictures and schoolwork taped up everywhere. Rick forces a smile.</dialogue> <character>RICK</character> <dialogue>Thank you. A male BARTENDER, 25, finally appears in front of Rick.</dialogue> <character>RICK</character> <dialogue>Yeah, um, two bottles of Moet and six glasses please.</dialogue> <dialogue>Paige eyes Rick as she sips her drink.</dialogue> <character>PAIGE</character> <dialogue>So does it work both ways?</dialogue> <character>RICK</character> <dialogue>What?</dialogue> <character>PAIGE</character> <dialogue>The hall pass. Does your wife get one, too.</dialogue> <character>RICK</character> <parenthetical>(AMUSED)</parenthetical> <dialogue>Uh, no, no. A hall pass is for men only.</dialogue> <character>PAIGE</character> <dialogue>Oh. Who made that rule?</dialogue> <character>RICK</character> <dialogue>Well ...um... As Rick thinks about this, Paige moves in tighter.</dialogue> <character>PAIGE</character> <dialogue>By the way, I kind of owe you an apology. (lowers her voice,</dialogue> <character>BASH</character> <dialogue>Last week ful) when you drove me home, I shouldn't have snapped at you like that.</dialogue> <character>RICK</character> <dialogue>Oh, don't worry about it. It was a big misunderstanding.</dialogue> <character>PAIGE</character> <dialogue>No, it wasn't. She takes a moment, looks around.</dialogue> <character>PAIGE</character> <dialogue>If you thought I was coming on to you that night, it's because...I was.</dialogue> <dialogue>Rick flinches at this. Just then the Bartender returns with the champagne. Rick fumbles through his pocket and finally pays. Then he's left alone with Paige and her coed-in-love- with-the-professor eyes and her suddenly heaving cleavage.</dialogue> <character>RICK</character> <dialogue>Yeah. Um...I have to go, Paige, but it was great seeing you.</dialogue> <dialogue>Paige grabs Rick's arm as he tries to go. She looks suddenly annoyed.</dialogue> <character>PAIGE</character> <dialogue>Are you serious? You're doing this again... even with a hall pass?</dialogue> <character>RICK</character> <dialogue>Paige, you're my kids' babysitter. Have a happy birthday. As Rick walks away, we go</dialogue> <dialogue>BACK ON COAKLEY AND FRED as Rick arrives with the champagne.</dialogue> <character>COAKLEY</character> <dialogue>Here we go, bubbles doth floweth.</dialogue> <character>FRED</character> <dialogue>Holy crap... look who's here. The guys turn to see the coffee girl, Leigh, walking past with two of her GIRLFRIENDS. She sees them and LIGHTS UP.</dialogue> <character>LEIGH</character> <dialogue>Hey, Rick! What happened yesterday-- I thought we were gonna grab a beer?</dialogue> <dialogue>Fred looks at Rick, confused.</dialogue> <character>RICK</character> <parenthetical>(SHEEPISH)</parenthetical> <dialogue>Yeah, I got a little caught up in my curls and reps and shit.</dialogue> <character>(CHANGING SUBJECT)</character> <dialogue>So is this your playground?</dialogue> <character>LEIGH</character> <dialogue>Nah, I've never been here, but a</dialogue> <scene_description>friend of mine's DJ-ing tonight so I promised him I'd come. Just then Wannabe from the coffee shop swoo s in and gives Leigh a kiss on the cheek. He has a pair of headphones hanging around his neck.</scene_description> <character>WANNABE</character> <dialogue>Wassup, girl?</dialogue> <dialogue>Wannabe NOTICES Rick and loses his smile.</dialogue> <character>WANNABE</character> <dialogue>Oh. Hey. What are you doing here-- you auditing the place?</dialogue> <character>RICK</character> <dialogue>Actually, I work for Sirius XM Radio--we're looking to hire some new deejays so I'm checking out all the clubs. Wannabe stiffens, suddenly respectful.</dialogue> <character>WANNABE</character> <dialogue>Oh. Cool. Are you serious?</dialogue> <character>RICK</character> <dialogue>Not! Leigh is amused by this, but she tries to hide it from the deflated Wannabe.</dialogue> <character>WANNABE</character> <parenthetical>(ANNOYED)</parenthetical> <dialogue>Oh, that's hip. Real fresh. (turns to Leigh) Why don't you hit the dance floor-- the next song's gonna be for you. As Leigh's Girlfriends pull her onto the dance floor,</dialogue> <scene_description>Wannabe returns to his deejay booth.</scene_description> <character>FRED</character> <parenthetical>(GLARING)</parenthetical> <dialogue>Beer? When were you two going to have a beer?</dialogue> <character>RICK</character> <parenthetical>(GUILTY)</parenthetical> <dialogue>No, no, no, Leigh and I just belong to the same gym and happened to be there at the same time yesterday afternoon.</dialogue> <character>FRED</character> <dialogue>What gym do you belong to and where the hell was I?</dialogue> <character>COAKLEY</character> <dialogue>Well, according to Kimmy Long, you were at the massage parlor trying to get a rub-and-tug without filling out the paperwork.</dialogue> <dialogue>This takes the wind out of Fred's sails.</dialogue> <character>RICK</character> <dialogue>What? Coakley CHUCKLES and Rick glares at Fred.</dialogue> <character>RICK</character> <dialogue>I thought the massage parlor was admitting defeat?</dialogue> <character>FRED</character> <dialogue>I had a knot in my neck--why the hell didn't you tell me you saw Coffee Girl?!</dialogue> <character>COAKLEY</character> <dialogue>Okay, guys, cut the crap. We're all here for the same thing. And I'll give you a hint what that thing is: It begins with a 'P' and ends with an 'ussy.'</dialogue> <scene_description>Coakley puts his arm around Fred.</scene_description> <character>COAKLEY</character> <dialogue>Now relax, Fredd , everyone's gonna get taken care ot. (looks out at crowd) We Just gotta find you a gazelle with a bad wheel.</dialogue> <character>FRED</character> <dialogue>Huh? Coakley spots something.</dialogue> <character>COAKLEY</character> <dialogue>Ooh--there's a couple of trainwrecks. Let's go.</dialogue> <character>FRED</character> <parenthetical>(ALARMED)</parenthetical> <dialogue>Whoa--wait a second. But Coakley steers Fred over to two CHUBBY, NOT-SO-</dialogue> <scene_description>ATTRACTIVE BLONDES laying on a 'bed' in the corner.</scene_description> <character>COAKLEY</character> <dialogue>Ladies, this is my friend Fred Pinkberry--his yogurt company just went public and he's out celebrating. He'd like to offer you a flute of champagne. The Chubby Blondes PERK UP.</dialogue> <character>CHUBBY BLONDE #1</character> <dialogue>I love Pinkberry! As the girls make room for a reluctant Fred, we go... BACK ACROSS THE ROOM where we see Rick watching Leigh and</dialogue> <scene_description>her hot girlfriends DANCE. Leigh catches Rick staring. He smiles and clumsily shoots her the PEACE SIGN. Finally, he takes a deep breath and DANCES HIS WAY UP NEXT TO HER.</scene_description> <character>RICK</character> <dialogue>So.. .having a good time?</dialogue> <character>LEIGH</character> <dialogue>Chillin'.</dialogue> <character>RICK</character> <dialogue>Me too. Just chillin' and wigglin'. LONG BEAT as they dance. Then:</dialogue> <character>RICK</character> <dialogue>I haven't been ancing in a long time.</dialogue> <character>LEIGH</character> <parenthetical>(TEASING)</parenthetical> <dialogue>I can tell.</dialogue> <character>RICK</character> <dialogue>Oh yeah? Just try to keep up. She smiles at this, then Coakley DANCES UP BESIDE RICK and</dialogue> <scene_description>PULLS HIM ASIDE.</scene_description> <character>COAKLEY</character> <dialogue>Abort! Abort! You stand not a chance.</dialogue> <character>RICK</character> <dialogue>No, no, I think we're starting to gel.</dialogue> <dialogue>Coakley rolls his eyes.</dialogue> <character>COAKLEY</character> <dialogue>No, no, you're mistaken. Look, dude, this ain't Operation Cock- block here--now trust me, retreat.</dialogue> <dialogue>Rick glances back at Leigh, torn. She looks fantastic.</dialogue> <character>RICK</character> <dialogue>Coak, I'm never gonna have another hall pass, so this memory has to last a lifetime. . .you know what I mean?</dialogue> <dialogue>Coakley looks at Leigh and SIGHS.</dialogue> <character>COAKLEY</character> <dialogue>All right, I'll be at the bar when this thing blows up in your face.</dialogue> <dialogue>As Rick dances back over to Leigh, we... PAN ACROSS THE ROOM to the PISSED-OFF Wannabe watching them from the deejay booth.</dialogue> <character>WANNABE</character> <parenthetical>(INTO MIC)</parenthetical> <dialogue>All right, 'all, adult-swim's over. Now if you was born before 1980 you're gonna want to step off the floor 'cause we're about to kick it up.</dialogue> <dialogue>ON RICK - he looks over at Wannabe but CONTINUES TO DANCE.</dialogue> <character>RICK</character> <dialogue>Is this guy your boyfriend or something?</dialogue> <character>LEIGH</character> <dialogue>No, no, no. She waves it off, then shrugs guiltily.</dialogue> <character>LEIGH</character> <dialogue>One time we messed around a little.</dialogue> <character>RICK</character> <dialogue>And what does 'messed around a little' mean these days?</dialogue> <character>LEIGH</character> <dialogue>Anal. Rick tries hard to act nonchalant.</dialogue> <character>LEIGH</character> <dialogue>I'm kidding. He kissed me one night and I kissed back--I shouldn't have.</dialogue> <scene_description>WANNABE (O.S.) Seriously, you grandpappies better get off the floor before someone falls and breaks a hip! Rick points at Wannabe.</scene_description> <character>RICK</character> <parenthetical>(CALLING BACK)</parenthetical> <dialogue>Just play your funky music, white boy! As the music shifts gears and becomes FASTER and LOUDER, we</dialogue> </scene> <scene> <stage_direction>INT. BEACH COTTAGE - NIGHT</stage_direction> <scene_description>Maggie's at the sink cleaning up when she NOTICES that the ANSWERING MACHINE LIGHT IS BLINKING. She dries her hands, then pushes the button.</scene_description> <character>HISPANIC WOMAN'S VOICE (V.0.)</character> <parenthetical>(on answering machine)</parenthetical> <dialogue>Hola, Maggie, this is Isabel. I went to clean the house today but nobody has been there or slept in any of the beds this week, so I just cleaned the windows and left early. I hope you don't mind.</dialogue> <dialogue>CLOSE ON a concerned-looking Maggie. She moves to the window, stares at the lights on the ocean.</dialogue> <scene_description>RICK COLEMAN (O.S.) Hey. Maggie turns to see Rick Coleman standing out on her front porch.</scene_description> <character>MAGGIE</character> <dialogue>Oh. Hey. She goes to the screen door.</dialogue> <character>RICK COLEMAN</character> <dialogue>Thought you might want to help me celebrate the end of the season. He holds up a grocery bag.</dialogue> <scene_description>RICK COLEMAN I got some good late-night eats. Maggie hesitates a moment. Then she opens the door and lets him in.</scene_description> </scene> <scene> <stage_direction>INT. ENTER THE DRAGON NIGHT CLUB - NIGHT</stage_direction> <scene_description>A bored-looking Fred is smooshed between the Chubby Blondes on the bed.</scene_description> <character>CHUBBY BLONDE #1</character> <dialogue>It was the greys--you know, the tall, skinny aliens--and they were all over my yard, but--and here's the weird thing--I wasn't at all afraid of them so when they asked me if I wanted to get in their spaceship, I said, 'Sure,' and I walked right on.</dialogue> <character>CHUBBY BLONDE #2</character> <dialogue>Oh my God, you're so brave! I would never, ever in a million years climb into one of those things. Fred, would you ever just walk into a UFO on your own?</dialogue> <character>FRED</character> <parenthetical>(DEADPAN)</parenthetical> <dialogue>If they came right now I would, sure.</dialogue> <scene_description>MISSY FRANKENFIELD (O.S.) There you are! Fred looks up to see Missy Frankenfield approaching.</scene_description> <character>FRED</character> <dialogue>Oh my god! You're here! Fred jumps off the bed and gives Missy a hug.</dialogue> <character>FRED</character> <dialogue>Franken-berry, how the heck are ya?!</dialogue> <dialogue>She returns the embrace, but not quite as tight.</dialogue> <character>FRED</character> <dialogue>You look incredible!</dialogue> <character>MISSY FRANKENFIELD</character> <parenthetical>(CLEARLY UNCOMFORTABLE)</parenthetical> <dialogue>Thanks, Fred, you look good, too.</dialogue> <character>FRED</character> <dialogue>Never felt better. Missy nods.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>I have to say, I can't believe I'm actually here--I was on my way home from dinner when I noticed your text. So what's this big emergency?</dialogue> <character>FRED</character> <dialogue>Huh? Oh, uh, yeah. By 'emergency' I just meant that there's some important stuff I want to talk to you about. You know, one on one, me and you--without all the husbands and wives and hoopla. So how are you?</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>I'm... good.</dialogue> <character>FRED</character> <dialogue>No, I mean how-are-you. Inside. What's happenin' in there? There must be all sorts of emotions churning up with the divorce and everything.</dialogue> <dialogue>She gives him a long look.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Maybe we should go somewhere else-- this doesn't seem like the best place to spill one's guts.</dialogue> <dialogue>Just then, Coakley swoops in and pulls Fred aside.</dialogue> <character>COAKLEY</character> <parenthetical>(UNDER BREATH)</parenthetical> <dialogue>What part of 'go ugly early' didn't you understand? You've got a better chance of winning husband-of-the- year than tagging that chiquita. Fred flinches at this.</dialogue> <character>FRED</character> <dialogue>But...I know her. She said she wants to leave with me.</dialogue> <character>COAKLEY</character> <dialogue>Then she's insane--run for the hills.</dialogue> <character>FRED</character> <dialogue>Coak, the woman's going through a divorce. She's not insane, she's just making really poor decisions right now. (hands him his car keys)</dialogue> <dialogue>Here, give Rick the keys to my mini- van. I'm gonna go back to the hotel with Missy.</dialogue> <dialogue>Coakley looks back at Missy and softens.</dialogue> <character>COAKLEY</character> <dialogue>It's your funeral, princess. BACK ON RICK AND LEIGH dancing up a storm. Rick is OUT OF BREATH and SWEATING LIKE A PIG. His shirt is soaked and his hair is dripping wet.</dialogue> <character>LEIGH</character> <dialogue>Are you okay--you keep checking your pulse?</dialogue> <character>RICK</character> <dialogue>Nah, I'm fine. I had a little chest cramp during the last song, but I worked through it. She smiles at this.</dialogue> <character>LEIGH</character> <dialogue>Come on, let's sit this one out. I need a breather.</dialogue> <dialogue>They move to the bar and Rick starts DRYING HIMSELF with a stack of cocktail napkins.</dialogue> <character>LEIGH</character> <dialogue>So what's up with the ring? He looks at his finger, then back at her.</dialogue> <character>RICK</character> <dialogue>Um...have you ever heard of a hall pass?</dialogue> </scene> <scene> <stage_direction>EXT. BALL TEAM BEACH HOUSE - NIGHT</stage_direction> <scene_description>Grace pulls up in her Camry and gets out. She hears MUSIC coming from inside and hesitates a BEAT before walking nervously onto the porch and KNOCKING. A moment later Gerry appears in the doorway.</scene_description> <character>GERRY</character> <dialogue>There she is! Come on in, I'm mixing up some margaronis. We lost our final game, but I got four hits!</dialogue> <character>GRACE</character> <dialogue>Oh. Great. Uh, where is everyone?</dialogue> <character>GERRY</character> <dialogue>They all went out to party--now get in here!</dialogue> <dialogue>But Grace stays on the porch.</dialogue> <character>GRACE</character> <dialogue>Gerry, I'm sorry but I can't stay.</dialogue> <character>GERRY</character> <dialogue>What? Grace hasn't been in this situation in a long time and it shows. Gerry steps out onto the porch looking concerned.</dialogue> <character>GERRY</character> <dialogue>Is everything okay?</dialogue> <character>GRACE</character> <dialogue>Yeah, yeah, everything's fine, but... (holds up gift box) .I can't accept this.</dialogue> <character>GERRY</character> <dialogue>Why not? Grace does a double-take.</dialogue> <character>GRACE</character> <dialogue>Gerry, I'm a married woman. Gerry nods at this, maybe a little hurt. She hands him the box and he reluctantly accepts it.</dialogue> <character>GERRY</character> <dialogue>Um... I'm sorry if I made you uncomfortable, Grace. It's just that...I really like you.</dialogue> <character>GRACE</character> <dialogue>I like you, too, Gerry, and you didn't make me uncomfortable.</dialogue> <dialogue>She smiles at him and he forces a smile back, and there's some serious eye-contact, and then BAM!</dialogue> <dialogue>They DIVE AT EACH OTHER and start SUCKING FACE LIKE THERE'S NO TOMORROW. As they continue to MAUL EACH OTHER, they STUMBLE INTO THE HOUSE, and we</dialogue> </scene> <scene> <stage_direction>INT. ENTER THE DRAGON NIGHT CLUB - NIGHT</stage_direction> <scene_description>Rick and Leigh are leaning against the bar.</scene_description> <character>LEIGH</character> <dialogue>So...you're married?</dialogue> <character>RICK</character> <dialogue>I wasn't deliberately hiding it. He holds up his ring hand.</dialogue> <character>LEIGH</character> <dialogue>Yeah, I just thought your wife had died or something and you were wearing it out of respect.</dialogue> <character>RICK</character> <parenthetical>(UNCOMFORTABLE)</parenthetical> <dialogue>Uh, nope. She's still hangin' in there.</dialogue> <dialogue>Just then, Coakley PULLS RICK ASIDE.</dialogue> <character>COAKLEY</character> <dialogue>Come on, you're not gonna close the sale here--let's move this clambake back to my place.</dialogue> <character>RICK</character> <dialogue>Okay, but what am I gonna do there?</dialogue> <character>COAKLEY</character> <dialogue>What do you mean, what are you gonna do? I've got a house with bedrooms--do the math. When it doesn't work out with her--which it won't--there's going to be a bunch of other back-up chicks there. Rick nods then turns to Leigh.</dialogue> <character>RICK</character> <dialogue>My buddy's inviting everybody back to his crib.</dialogue> <character>LEIGH</character> <dialogue>Sounds cool. As they walk toward the exit, we</dialogue> <scene_description>ESTABLISHING SHOT OF HOLIDAY INN EXPRESS - NIGHT</scene_description> </scene> <scene> <stage_direction>INT. HOLIDAY INN EXPRESS HALLWAY - NIGHT</stage_direction> <scene_description>Fred and Missy are walking down the hallway toward his room.</scene_description> <character>MISSY FRANKENFIELD</character> <dialogue>I've got to be honest, Fred... I'm not really sure what we're doing here.</dialogue> <character>FRED</character> <dialogue>What do you mean? We're hangin', we're connecting--that's what friends do. Especially if they want to take it to the next level where they can call each other 'good friends.'</dialogue> <dialogue>He comes to his room and starts to unlock the door.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>You're married, Fred.</dialogue> <character>FRED</character> <dialogue>Ah, blah, blah, blah, blah. Fred opens the door but Missy stays in the hall.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>What does blah-blah mean? You are still married, right?</dialogue> <character>FRED</character> <dialogue>Happily. Look, I don't want to get into all the details, but my wife gave me this one-time deal where I get to be with another woman.</dialogue> <dialogue>He opens the door wide. She looks at him for a BEAT.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>I thought we were going to the hotel bar?</dialogue> <character>FRED</character> <dialogue>We are. There's a mini-bar in my room. You better hurry up, it's last call. Fred smiles.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Are you out of your flippin' mind? Fred loses the smile.</dialogue> <character>FRED</character> <dialogue>Um...</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Are you out of your mind?!</dialogue> <character>FRED</character> <dialogue>I'm going to be honest with you-- your tone right now is scaring me.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>You call me up for the first time in your life, claim you have some kind of emergency, and it turns out that you just want to screw me?!</dialogue> <character>FRED</character> <dialogue>Or not.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Well, screw you, Fred! She starts walking down the hallway. Fred nods, unfazed.</dialogue> <character>FRED</character> <dialogue>Nail on the head! She turns and glares at him.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>What?</dialogue> <character>FRED</character> <dialogue>What you just said--I had that coming. Big time. Fred hangs his head.</dialogue> <character>FRED</character> <parenthetical>(SOFTLY)</parenthetical> <dialogue>Seriously, Missy, I...I don't know what's gotten into me this week. I think I must be having some kind of mid-life crisis or something because I've been acting like a real jackass.</dialogue> <character>(SIGHS</character> <dialogue>Anyway ease forgive me. I really am very, very sorry and ashamed.</dialogue> <dialogue>Missy, standing a few feet away, finally calms down.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Okay. Whatever.</dialogue> <character>FRED</character> <dialogue>Thank you.</dialogue> <scene_description>LONG BEAT.</scene_description> <character>FRED</character> <dialogue>So ... . you want to come in for that drink?</dialogue> <dialogue>He arches an eyebrow.</dialogue> <character>MISSY FRANKENFIELD</character> <dialogue>Fuck you, Fred! Missy STORMS away.</dialogue> <character>FRED</character> <parenthetical>(TO SELF )</parenthetical> <dialogue>'No thank you' would have sufficed. Fred walks into his room and closes the door.</dialogue> </scene> <scene> <stage_direction>INT. RICK &amp; FRED'S HOTEL ROOM - CONTINUOUS</stage_direction> <scene_description>Fred goes to the mini-bar and pours himself a drink. He looks around the room. The week's over and he's failed miserably. He sits on the bed. Alone. Then a KNOCK. Fred gets up and opens the door.</scene_description> <character>FRED</character> <dialogue>Hi. May I help you? REVERSE ANGLE REVEALS Paige's Aunt Meg. She's wearing a skirt and low-cut tank top and has cougar written all over her.</dialogue> <character>AUNT MEG</character> <dialogue>Rick, my name's Meg. I'm your babysitter Paige's aunt, and I just wanted to come over here and tell you this: They don't make men like you anymore. She smiles.</dialogue> <character>FRED</character> <dialogue>Oh. Well, thank you.</dialogue> <character>(BEAT)</character> <dialogue>Would you like to come in?</dialogue> </scene> <scene> <stage_direction>EXT. BALL CLUB BEACH HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>A guilt-ridden Grace is just finishing GETTING DRESSED when Gerry comes out of the bathroom buttoning up his shirt.</scene_description> <character>GERRY</character> <dialogue>Everything okay?</dialogue> <character>GRACE</character> <dialogue>Yeah. Yeah. It's just ...no, everything's not okay.</dialogue> <character>GERRY</character> <dialogue>What? He moves close to her and she grows uncomfortable.</dialogue> <character>GRACE</character> <dialogue>Look, you're a great cguy, Gerry, and you're very charming and very sweet and the last thing I wanted to do was hurt your feelings,</dialogue> <dialogue>but...well, what,just happened can never happen again. Gerry looks confused.</dialogue> <character>GERRY</character> <dialogue>Oh.</dialogue> <character>GRACE</character> <dialogue>I know it's probably hard for you to understand but...I love my husband.</dialogue> <character>GERRY</character> <dialogue>So? What does that have to do with anything? Fate threw us together and we went with it--isn't that what life's all about?</dialogue> <dialogue>Grace looks at him, recognizing the youth and triteness of his words.</dialogue> <character>GRACE</character> <dialogue>Not always.</dialogue> <character>(BEAT)</character> <dialogue>It wasn't fair to my husband... and it wasn't fair to you because this could never become anything more than just.. .what it was.</dialogue> <dialogue>She looks at him and shrugs apologetically. Gerry BARKS out a LAUGH.</dialogue> <character>GERRY</character> <dialogue>I know that.</dialogue> <character>GRACE</character> <dialogue>You do?</dialogue> <character>GERRY</character> <parenthetical>(BIG SMILE)</parenthetical> <dialogue>Of course I do. Jeez. I mean, no offense, but let's face it, you're a lot older than me.</dialogue> <dialogue>She flinches, a little embarrassed. A quick reality check for Grace.</dialogue> <character>GRACE</character> <dialogue>Right.</dialogue> <character>GERRY</character> <dialogue>I don't mean that in a bad way. I'm just saying, I didn't think we were going to start dating, you know? Could you imagine the looks we'd get? It'd be like Hugh Hefner and his girlfriends--except in reverse. Gerry CHUCKLES.</dialogue> <character>GERRY</character> <dialogue>You'd be Hugh Hefner.</dialogue> <character>GRACE</character> <dialogue>Yeah, I got that part. Gerry looks at his watch.</dialogue> <character>GERRY</character> <dialogue>Ooh, I gotta get going. We have kind of a team meeting in like twenty minutes.</dialogue> <dialogue>Gerry sees Grace glance at the clock: 12:15 A.M.</dialogue> <character>GERRY</character> <dialogue>It's, uh, kind o a tradition that we always get together on the night of the last game. It would probably be uncool if I missed it.</dialogue> <character>GRACE</character> <dialogue>You don't have to explain.</dialogue> <character>GERRY</character> <dialogue>Seriously, though, thanks for everything--that was awesome.</dialogue> <dialogue>He holds up his hand and she diligently HIGH-FIVES HIM. Then Gerry WALKS OUT THE DOOR. Grace sits there alone for a moment. We PUSH IN ON HER and we hear Gerry's CAR START OUTSIDE, and when Grace STARTS TO CRY, we</dialogue> </scene> <scene> <stage_direction>EXT. COAKLEY'S HOUSE - NIGHT</stage_direction> <scene_description>This is a Tudor home in an upscale Brookline neighborhood. We can hear 'Rage Against The Machine' BLASTING from the street. There's thirty or so cars out front and PEOPLE are still arriving.</scene_description> </scene> <scene> <stage_direction>INT. COAKLEY'S HOUSE - SAME</stage_direction> <scene_description>The place is JAMMING. It's a nice house but under-furnished in a bachelor pad kind of way. Rick and Leigh are in a corner drinking beers.</scene_description> <character>LEIGH</character> <dialogue>I guess I still have a lot to get out of my system before I do the marriage trip. I'm one of those people who wants to try everything once before I die.</dialogue> <character>RICK</character> <parenthetical>(BLURTING OUT)</parenthetical> <dialogue>Have you ever been with a married guy?</dialogue> <dialogue>Leigh pauses, but she doesn't flinch.</dialogue> <character>LEIGH</character> <dialogue>No.</dialogue> <character>RICK</character> <dialogue>Neither have I. Rick winces, but Leigh smiles at him. It's the moment of truth.</dialogue> <character>RICK</character> <dialogue>I'd like to help you take being with a married guy off your list of things to do before you die.</dialogue> <character>LEIGH</character> <dialogue>You would?</dialogue> <character>RICK</character> <dialogue>Yes. Leigh gets close.</dialogue> <character>LEIGH</character> <dialogue>I don't want to be a home-wrecker.</dialogue> <character>RICK</character> <dialogue>I've got a one-time pass, remember?</dialogue> <character>LEIGH</character> <dialogue>That wasn't just a line?</dialogue> <character>RICK</character> <dialogue>No. It's for real. Leigh seems intrigued. She moves closer still, takes his hand.</dialogue> <character>LEIGH</character> <dialogue>So where can we go to talk some more about this?</dialogue> <character>RICK</character> <parenthetical>(NERVOUS)</parenthetical> <dialogue>Um, Coakley has a game room upstairs. We could.. .talk there.</dialogue> <scene_description>WANNABE (O.S.) Leigh! Rick and Leigh look over to see an AGITATED Wannabe forcing his way through the crowd.</scene_description> <character>WANNABE</character> <dialogue>Where have you...? Why didn't you...? You knew this was my big night! How could you just--? (turns away, emotional)</dialogue> <dialogue>Look, can I please talk to you in private? Now.</dialogue> <dialogue>Leigh looks apologetically at Rick.</dialogue> <character>LEIGH</character> <dialogue>Can you give me a second?</dialogue> <character>RICK</character> <dialogue>Sure. Wannabe and Leigh walk a few feet away and Rick watches them have an ANIMATED CONVERSATION. It appears Wannabe may even be crying. Finally, Wannabe storms across the room but when he gets to the door, he looks back at Leigh.</dialogue> <character>WANNABE</character> <dialogue>Well? Are you coming? Leigh SIGHS, then approaches Rick.</dialogue> <character>LEIGH</character> <dialogue>I'm sorry, Rick. I have to go deal with this. Rick can't believe what's happening.</dialogue> <character>RICK</character> <dialogue>Really? Now? I thought you said he wasn't your boyfriend.</dialogue> <character>LEIGH</character> <dialogue>He's not...but he is a friend. Leigh glances at the broken-down Wannabe standing there at the door, then turns back to Rick.</dialogue> <character>LEIGH</character> <dialogue>I'm sorry. Before Rick can stop her, Leigh LEAVES THE PARTY with Wannabe. After a LONG BEAT, Rick slides down into a chair,</dialogue> <character>DEVASTATED.</character> <dialogue>CUT TO:</dialogue> <character>INT. BEACH COTTAGE - KITCHEN - NIGHT</character> <dialogue>Maggie is spilling her guts to Rick Coleman as he stands</dialogue> <scene_description>over the stove MAKING PANCAKES.</scene_description> <character>MAGGIE</character> <dialogue>.And he hasn't even spent one night in his own bed this week.</dialogue> <character>RICK COLEMAN</character> <dialogue>Let me get this straight--you gave him his freedom and now you're mad that he's acting free? This logic clearly stings Maggie.</dialogue> <character>RICK COLEMAN</character> <dialogue>Hey, I'm sure there's an explanation. Maybe he took a trip</dialogue> <scene_description>somewhere?</scene_description> <character>MAGGIE</character> <dialogue>I called his assistant--he's been in the office almost everyday.</dialogue> <character>RICK COLEMAN</character> <dialogue>Look, Maggie, for all you know your husband's been working at a sou kitchen, sleeping in his car al week, and he's only gotten laid two or three times at most.</dialogue> <dialogue>She looks up and forces a smile.</dialogue> <character>MAGGIE</character> <dialogue>Ha-ha. Maggie checks her watch.</dialogue> <character>MAGGIE</character> <dialogue>Jeez, I wonder what's taking Grace so long?</dialogue> <character>RICK COLEMAN</character> <dialogue>Well, if she went over to break the kid's heart, the least she could do is lend a sympathetic ear.</dialogue> <dialogue>He flips a pancake onto a plate.</dialogue> <scene_description>RICK COLEMAN Prepare yourself for heaven. She reaches for the plate, but he slaps her hand away. RICK COLEMAN Not so fast, lady. I'm not finished. You have not lived until you've had my steaming hot blueberry pancakes... He pulls a carton of vanilla ice cream out of a bag. RICK COLEMAN</scene_description> </scene> <scene> <stage_direction>A la mode. Maggie smiles.</stage_direction> <character>MAGGIE</character> <dialogue>Oh My-lanta.</dialogue> <character>RICK COLEMAN</character> <dialogue>And to wash it all down... Rick reaches into the bag and pulls out a DESSERT WINE. Off Maggie's smile, we</dialogue> </scene> <scene> <stage_direction>INT. COAKLEY'S HOUSE - NIGHT</stage_direction> <scene_description>A glum Rick is walking through the PACKED PARTY when he bumps into Baker and Hog-Head standing around a keg with a GROUP OF GUYS.</scene_description> <character>RICK</character> <dialogue>Hey. . .what are you guys doing here?</dialogue> <character>HOG-HEAD</character> <dialogue>We're here for the hall pass.</dialogue> <character>RICK</character> <dialogue>Really? I thought you guys had given up on us?</dialogue> <character>BAKER</character> <dialogue>We did. We're here with them. He nods toward RICK LEARY and WILLY BOSHANE, both early 40's and paunchy.</dialogue> <character>RICK</character> <dialogue>What are you talking about?</dialogue> <character>BAKER</character> <dialogue>When Leary and Boshane heard about your guy's hall pass, they convinced their wives to give them</dialogue> <scene_description>one, too. A smiling Leary tries to HIGH-FIVE Rick, but he's having none of it. He turns to Baker, livid.</scene_description> <character>RICK</character> <dialogue>You weren't supposed to tell anyone about the hall pass!</dialogue> <character>LEARY</character> <dialogue>They didn't say anything. Our wives heard about it at the pool.</dialogue> <character>RICK</character> <dialogue>No! At the pool?! Rick rubs his face, distressed.</dialogue> <character>BOSHANE</character> <dialogue>Yep. And then about three days ago-- after some hard-core negotiating-- we managed to push the bill through. The guys LAUGH. Rick can hardly believe what he's spawned.</dialogue> <character>RICK</character> <dialogue>Really? So...how's it going?</dialogue> <character>BOSHANE</character> <dialogue>Solid. Very solid.</dialogue> <character>LEARY</character> <dialogue>We're building mucho momentumo. Baker makes a JERK-OFF MOTION.</dialogue> <character>LEARY</character> <parenthetical>(ANNOYED)</parenthetical> <dialogue>Hey, Baker, a hall pass ain't just about sex, you know.</dialogue> <character>BOSHANE</character> <dialogue>That's right. It's about going bowling and, uh, staying up late, and being able to do what you want to do when you want to do it.</dialogue> <character>RICK</character> <dialogue>Haven't gotten laid yet, huh?</dialogue> <character>BOSHANE</character> <parenthetical>(DISPIRITED)</parenthetical> <dialogue>It's a lot tougher than we thought it would be. Just then Gary comes around a corner.</dialogue> <character>GARY</character> <dialogue>Hey, dudes, there's like ten very bangable chicks out on the back deck--let's go! Leary HOLDS UP HIS BEER.</dialogue> <character>LEARY</character> <dialogue>To freedom! The guys TAP their beer cups, then EXIT toward the back</dialogue> <scene_description>deck. A dejected and defeated Rick watches them go, then turns and pushes his way through the crowd to the front door. As he OPENS THE DOOR to leave, he finds himself FACE-TO-FACE WITH LEIGH.</scene_description> <character>LEIGH</character> <dialogue>Hey, where are you going?</dialogue> <character>RICK</character> <dialogue>What are you doing...? I thought you'd left.</dialogue> <character>LEIGH</character> <dialogue>No. I told you, I just had to talk him off the ledge. I calmed him down and sent him on his way.</dialogue> <character>RICK</character> <dialogue>Oh. Uh, great.</dialogue> <character>LEIGH</character> <dialogue>So where's that game room? I thought we were gonna play some games. She smiles and takes his hand and as they walk away, we</dialogue> <scene_description>go...</scene_description> </scene> <scene> <stage_direction>INT. COAKLEY'S HOUSE - SECOND FLOOR - NIGHT</stage_direction> <scene_description>Rick and Leigh walk down the hall to the game room. He opens the door and flips on the light. THEIR POV - there's a pool table, a few pinball machines, a bar, and a bed.</scene_description> <character>LEIGH</character> <dialogue>I'll be right back--I just have to use the bathroom.</dialogue> <dialogue>Rick nods, then watches as Leigh walks off and disappears into the bathroom. He takes a DEEP BREATH. This is it. Just then he hears O.S. LAUGHTER. Rick heads down the hallway and pushes open a door.</dialogue> <scene_description>COAKLEY (O.S.) Hey. REVERSE ANGLE reveals Coakley SITTING ALL ALONE in a small study off the hall. He has a bowl of Cap'n Crunch on his lap and is watching a re-run of The Andy Griffith Show.</scene_description> <character>RICK</character> <dialogue>Hey. How come you're not downstairs partying?</dialogue> <dialogue>Coakley gives him a sad, worn-out smile.</dialogue> <character>COAKLEY</character> <dialogue>All partied out, pal. Rick nods, understanding. Coakley LAUGHS once again at the</dialogue> <scene_description>TV.</scene_description> <character>COAKLEY</character> <dialogue>Man, that Barney Fife still kills me.</dialogue> <dialogue>He looks back to Rick.</dialogue> <character>COAKLEY</character> <dialogue>Hey, I was thinking about this hall- pass business. It's really ironic, isn't it?</dialogue> <dialogue>Rick glances down the hall to see if Leigh has returned.</dialogue> <character>RICK</character> <dialogue>How's that?</dialogue> <character>COAKLEY</character> <dialogue>Well think about it. There's two kinds of guys who cheat on their wives: The guy who does it behind her back, and a guy like you who has his wife's permission.</dialogue> <character>RICK</character> <dialogue>Well it's not really cheating if I have permission.</dialogue> <character>COAKLEY</character> <dialogue>Yeah, whatever. The point is, if you asked a hundred people who the better CJuy is, ninety-nine of 'em would pick you, because you're being honest--there's no deceit involved.</dialogue> <dialogue>Rick is growing uncomfortable.</dialogue> <character>COAKLEY</character> <dialogue>But the funny thing is, the other guy, the cheater, the bad guy, he has to live with all that guilt and anxiety, while his wife's running around happy as a clam because she doesn't know anything. And you, the good guy, you've got no guilt at all because you just laid it all on your wife's shoulders.</dialogue> <character>RICK</character> <dialogue>Well I didn't really think of it</dialogue> <character>COAKLEY</character> <dialogue>It's like she's your guilt Sherpa! Coakley CHUCKLES and Rick deflates.</dialogue> <character>COAKLEY</character> <dialogue>Funny, huh?</dialogue> <character>RICK</character> <parenthetical>(WEAKLY)</parenthetical> <dialogue>Yeah.</dialogue> <character>COAKLEY</character> <dialogue>And that, my friend, is why you are a genius.</dialogue> <dialogue>As Rick lets this all sink in, we</dialogue> </scene> <scene> <stage_direction>INT. RICK &amp; FRED'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Paige's Aunt Meg is sitting on the couch. Her legs are crossed revealing a lot of skin. Fred hands her a glass of wine and sits beside her.</scene_description> <character>FRED</character> <dialogue>Cheers. They CLINK glasses.</dialogue> <character>AUNT MEG</character> <dialogue>Rick, I hope you don't mind me tracking you down--Paige told me where you were staying.</dialogue> <character>FRED</character> <dialogue>Please. Not at all.</dialogue> <character>AUNT MEG</character> <dialogue>You've been very sweet to her. Fred waves her off.</dialogue> <character>FRED</character> <dialogue>Hey, she's a good kid. I do what I can for the kids.</dialogue> <dialogue>Aunt Meg moves in a little closer, squints at him sweetly.</dialogue> <character>AUNT MEG</character> <dialogue>She told me everything. And I have to say, I was very impressed.</dialogue> <character>FRED</character> <dialogue>Hm?</dialogue> <character>AUNT MEG</character> <dialogue>I know she tried to hook-up with you--twice in fact--and that you set her straight both times.</dialogue> <dialogue>Fred hadn't heard this from Rick and is a little confused.</dialogue> <character>FRED</character> <dialogue>Uh...hook-up?</dialogue> <character>AUNT MEG</character> <parenthetical>(SMILES)</parenthetical> <dialogue>Rick, enough with the chivalry. Paige wanted to sleep with you and you didn't take advantage of her. I'm just saying that's very cool. He shrugs modestly.</dialogue> <character>FRED</character> <dialogue>Well... she's a kid and kids get crushes. I remember in tenth grade I had the biggest crush on my French teacher--thank God Mr. LeClaire was professional enough to only date seniors. Meg GIGGLES.</dialogue> <character>AUNT MEG</character> <dialogue>I'm serious, it takes a certain kind of guy to say no to a beautiful young girl like that-- especially since you have your wi e's permission now.</dialogue> <dialogue>Meg shoots him a knowing smile and puts her glass down.</dialogue> <scene_description>AUNT MEG I like that, Rick. You have morals. She leans in and KISSES HIS NECK. Fred glances down at her breasts.</scene_description> <character>FRED</character> <dialogue>Hey, all you have in this world is your word.</dialogue> <dialogue>As Aunt Meg CLIMBS ON TOP OF FRED, we</dialogue> </scene> <scene> <stage_direction>INT. COAKLEY'S HOUSE - GAME ROOM - NIGHT</stage_direction> <scene_description>Rick ENTERS to find Leigh playing a pinball machine. Leigh turns and smiles at Rick.</scene_description> <character>RICK</character> <dialogue>Leigh, I gotta split.</dialogue> <character>LEIGH</character> <dialogue>What?</dialogue> <character>RICK</character> <parenthetical>(NERVOUS)</parenthetical> <dialogue>Yeah, I kind of hit a wall. She can hardly believe her ears.</dialogue> <character>LEIGH</character> <dialogue>Really? Are you feeling okay? You're not mad because I went outside with my friend, are you?</dialogue> <character>RICK</character> <dialogue>No, no, no. Look, I shouldn't be doing this. I have.. .you know, commitments.</dialogue> <dialogue>Leigh nods at this, then unties a shoulder strap and her DRESS FALLS TO THE FLOOR. Suddenly she's NAKED before him and she's PERFECT.</dialogue> <character>RICK</character> <parenthetical>(WEAKLY)</parenthetical> <dialogue>Um, you dropped something. For a moment nobody moves. We can almost hear Rick's heart beat. Then Leigh STEPS CLOSER to him and Rick instinctively leans back.</dialogue> <character>LEIGH</character> <dialogue>Relax. Don't think so much. You're gonna have your wife for the rest of your life, but tonight. . .you have me. Leigh smiles. And it's the kind of smile you only get two or three times in your life, if you're lucky, and probably</dialogue> <scene_description>never from a woman this beautiful. She reaches down and UNBUCKLES HIS PANTS, then she PULLS OFF HIS SHIRT. They stand face-to-face now, the middle-aged guy and the young beauty, and it's happening exactly the way Rick had hoped it would, the dream. She presses her body against his and STARTS TO KISS HIS NECK, her hand DISAPPEARING SOMEWHERE BELOW HIS WAIST. Then she leans her head AGAINST HIS CHEST. As he looks down at her, we PUSH IN on a suddenly conflicted Rick.</scene_description> <character>RICK</character> <dialogue>Nope. I can't do this. He reaches for his shirt.</dialogue> <character>LEIGH</character> <dialogue>What are you doing?</dialogue> <character>RICK</character> <dialogue>I'm sorry. She stares at him, confused, as he buckles his pants.</dialogue> <character>LEIGH</character> <dialogue>Your wife didn't give you a hallway permission slip, did she?</dialogue> <character>RICK</character> <dialogue>Yes, she did, but... look, you're insanely beautiful and pathologically sexy and every cell in my body is telling me to dust do this, but-- Rick points to his chest.</dialogue> <character>RICK</character> <dialogue>See this area, this spot right here? The first time Maggie and I slept together, back in college, she fell asleep right here. And she left a puddle of drool. And it didn't bother me. It actually felt good. That's when I knew I was going to marry her.</dialogue> <character>(BEAT)</character> <dialogue>And when my kids--Emma and Gunnar-- when they were babies, this is where they slept. Or sometimes at four o'clock in the morning Emma would just lay there and stare up at me. It was where we first got to know each other.</dialogue> <character>(BEAT)</character> <dialogue>So I'm sorry, Leigh, but as amazing as I think you are...I gotta go home.</dialogue> <dialogue>Rick shrugs apologetically.</dialogue> <character>LEIGH</character> <dialogue>Well, I think you have a screw loose and you're probably going to regret this for the rest of your life, but. . .right on, man.</dialogue> <character>RICK</character> <dialogue>Um...do you want me to give you a ride home?</dialogue> <character>LEIGH</character> <dialogue>No. It's only one-thirty--I'm going back down to the party. Rick raises two fingers.</dialogue> <character>RICK</character> <dialogue>Peace it.</dialogue> <character>LEIGH</character> <dialogue>R-O-C-K in the U-S-A. As they smile at each other one last time, we</dialogue> </scene> <scene> <stage_direction>INT. FRED'S MINIVAN - NIGHT</stage_direction> <scene_description>Rick is pulling away from Coakley's house when the car phone RINGS. Rick pushes a button to ANSWER.</scene_description> <character>RICK</character> <dialogue>Hello.</dialogue> <scene_description>MAN'S VOICE (V.0.)</scene_description> <character>(ON SPEAKERPHONE)</character> <dialogue>Yes, is this Fred Searing?</dialogue> <character>RICK</character> <dialogue>Oh, uh, no, I'm sorry, he's not here right now. I'm using his car.</dialogue> <scene_description>MAN'S VOICE (V.0.)</scene_description> <character>(ON SPEAKERPHONE)</character> <dialogue>Well, would you know where I could find him? This is Sgt. Polisner of the Massachusetts State Police. As Rick grows alarmed, we</dialogue> </scene> <scene> <stage_direction>INT. RICK &amp; FRED'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Fred is still on the couch with Aunt Meg on the floor in front of him. Fred's PANTS ARE DOWN TO HIS ANKLES, leaving him with only his boxers on. Meg KISSES HIS CHEST and STOMACH, then leans back and TAKES OFF HER TANK-TOP, revealing EXTRA-LARGE BAZOOKAS stuffed into a slinky bra.</scene_description> <character>AUNT MEG</character> <dialogue>I'm attracted to men with integrity.</dialogue> <character>FRED</character> <dialogue>Thanks--wow, you got great jugs. Meg takes Fred's hand and leads him toward the bed (with his pants still at his ankles), Fred WADDLING LIKE A PENGUIN.</dialogue> <character>AUNT MEG</character> <dialogue>Moral-guy's a tit-man, huh?</dialogue> <character>FRED</character> <parenthetical>(SHRUGGING)</parenthetical> <dialogue>Well, I grew up in the midwest. She pushes him down on the bed and Fred quickly kicks off</dialogue> <scene_description>his pants and shoes (but keeps his boxers on.) Meg TACKLES him and the two of them start to roll around UNDER THE COVERS. An O.S. Fred seems to be working his way down her stomach.</scene_description> <character>AUNT MEG</character> <dialogue>Oh yes! Rick... please...I want you to make love to me. Just then Rick BURSTS INTO THE ROOM, out of breath. Fred and Meg come up from under the covers. (Fred is at waist-level</dialogue> <scene_description>on her.)</scene_description> <character>RICK</character> <dialogue>Fred, I need to talk to you! Meg GLARES down at Fred, confused.</dialogue> <character>AUNT MEG</character> <dialogue>Fred? I thought you were Rick?!</dialogue> <character>RICK</character> <dialogue>I'm Rick. Fred cowers guiltily.</dialogue> <character>FRED</character> <dialogue>Please don't judge me. As Aunt Meg KARATE KICKS Fred in the face, we</dialogue> </scene> <scene> <stage_direction>EXT. HOLIDAY INN EXPRESS - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Fred, now dressed, hurries across the parking lot with Rick on his heels. Fred has BLOOD-STAINED TISSUE stuffed up his nose.</scene_description> <character>FRED</character> <dialogue>What did they tell you? Is Grace gonna be okay?</dialogue> <character>RICK</character> <dialogue>All I know is she was in a car accident and they rushed her to the hospital.</dialogue> <character>FRED</character> <dialogue>Oh my God... Suddenly they hear O.S. GLASS SHATTERING. They look up and</dialogue> <scene_description>REACT. THEIR POV - From fifty yards across the parking lot, they can see that Fred's mini-van's windshield has just been BASHED IN by the BAT-WIELDING Wannabe. On the side of the vehicle is spray-painted: HORNY OLD MAN.</scene_description> <character>FRED</character> <dialogue>Whoa!!! What the hell...?! Wannabe turns to them, a CRAZED LOOK on his face.</dialogue> <character>WANNABE</character> <dialogue>How do you like me now, Splenda- boy?</dialogue> <character>FRED</character> <dialogue>You moron, that's Lny car! His is the one next to it! Wannabe looks over at Rick's Avalon, PULLS OUT A KNIFE, and quickly SLASHES TWO OF RICK'S TIRES. As Rick and Fred RUN TOWARD HIM, Wannabe JUMPS INTO AN OLD BRONCO and PEELS OUT</dialogue> <scene_description>OF THE PARKING LOT. BACK ON Rick and Fred as they slow down and CATCH THEIR BREATHS.</scene_description> <character>RICK</character> <dialogue>Nice job, Fred.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT</stage_direction> <scene_description>The mini-van blows by a sign that reads 'CAPE COD - 60 MILES.'</scene_description> </scene> <scene> <stage_direction>INT. MINI-VAN - SAME</stage_direction> <scene_description>The WINDSHIELD IS GONE and the wind blows back Rick and Fred's hair as if they were on a motorcycle. Fred tries his car phone as he drives.</scene_description> <character>FRED</character> <dialogue>Oh come on! How can a hospital not have a live operator?!</dialogue> <character>RICK</character> <dialogue>It's four in the morning, Fred. Fred hangs up and pounds his steering wheel.</dialogue> <character>FRED</character> <dialogue>What was I thinking?! I had a great wife--a beautiful wife--and now I may lose her.. .because of you.</dialogue> <character>RICK</character> <dialogue>What are you talking about?! You said our wives were living their dreams, with their fancy gas ovens, and that our dream was the hall pass! How can you blame this on me?!</dialogue> <character>FRED</character> <dialogue>I'd never even heard of a hall pass until you flaunted yours in my face! 'Hey, look at me, I've got a hall pass--everyone should have a hall pass!' You ruined my life, Mills!</dialogue> </scene> <scene> <stage_direction>EXT. BEACH COTTAGE - NIGHT</stage_direction> <scene_description>Maggie and Rick Coleman sit on the back deck DRINKING WINE.</scene_description> <character>RICK COLEMAN</character> <dialogue>This is a great place.</dialogue> <character>MAGGIE</character> <dialogue>Yeah, my family's had it since I was a kid. We used to come for a week a summer, then two weeks, then a month, then by the time I got to high school we were living here all summer long.</dialogue> <character>RICK COLEMAN</character> <dialogue>Something's wrong here, Maggie.</dialogue> <character>MAGGIE</character> <dialogue>Hm?</dialogue> <character>RICK COLEMAN</character> <dialogue>Something's wrong with a guy who would leave a woman like you alone for this long.</dialogue> <character>MAGGIE</character> <parenthetical>(UNCOMFORTABLE)</parenthetical> <dialogue>Well, you know...I did give him a hall pass.</dialogue> <character>RICK COLEMAN</character> <dialogue>So what? If you were my girl, I wouldn't have taken it.</dialogue> <dialogue>An awkward moment. Rick touches her hand and Maggie looks away.</dialogue> <scene_description>RICK COLEMAN You deserve way better.</scene_description> <character>MAGGIE</character> <dialogue>Uh, in Rick's defense, he didn't really even want the hall pass. I kind of forced it on him.</dialogue> <character>RICK COLEMAN</character> <dialogue>Why would you do that? Maggie thinks about this.</dialogue> <character>MAGGIE</character> <dialogue>I don't know.</dialogue> <character>(BEAT)</character> <dialogue>I guess I felt like he wasn't noticing me anymore. j guess I wanted to feel.. .desired again. And the truth is, in my heart, I never thought he'd go through with it.</dialogue> <dialogue>He brushes her hair from her face and they look into each other's eyes. He leans in and she does, too, and right when it looks like THEY MAY KISS, Maggie hesitates as suddenly</dialogue> <scene_description>EVERYTHING BECOMES CLEAR TO HER.</scene_description> <character>MAGGIE</character> <dialogue>Oh my God...</dialogue> <character>RICK COLEMAN</character> <dialogue>What?</dialogue> <character>MAGGIE</character> <dialogue>This hall pass ...it wasn't for him.</dialogue> <character>(SOFTLY)</character> <dialogue>It was...for me. And as they hang on that realization, we</dialogue> <character>CUT TO:</character> <dialogue>EXT. HIGHWAY - NIGHT</dialogue> <dialogue>A police cruiser is parked on the highway divider.</dialogue> </scene> <scene> <stage_direction>INT. POLICE CRUISER - SAME</stage_direction> <scene_description>Two YOUNG COPS are relaxing with their coffees when the SMASHED-UP MINI-VAN FLIES BY.</scene_description> <character>COP #1</character> <dialogue>Did you see that? He didn't have a windshield.</dialogue> <dialogue>Cop #2 throws the car into drive and they pull a U-ey and</dialogue> <scene_description>GIVE CHASE.</scene_description> </scene> <scene> <stage_direction>INT. MINI-VAN - CONTINUOUS</stage_direction> <scene_description>Fred looks regretful.</scene_description> <character>FRED</character> <dialogue>I'm sorry, man, I shouldn't have blamed you for this. I'm the one who dragged you into this thing.</dialogue> <character>RICK</character> <dialogue>No, you didn't. I went willingly.</dialogue> <character>FRED</character> <dialogue>I've been bad, Rick. I've been real bad.</dialogue> <character>RICK</character> <dialogue>We've both been bad.</dialogue> <character>FRED</character> <dialogue>I've been worse. I kissed your babysitter's aunt.</dialogue> <character>RICK</character> <dialogue>That's not so bad.</dialogue> <character>FRED</character> <dialogue>On the vagina.</dialogue> <character>RICK</character> <dialogue>Ooh. They hear a SIREN and Rick looks back to see the cops on their tail.</dialogue> <character>RICK</character> <dialogue>Oh shit.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - CONTINUOUS</stage_direction> <scene_description>The battered MINI-VAN blows by the 'WELCOME TO CAPE COD' hedges with the cop car on their tail.</scene_description> </scene> <scene> <stage_direction>INT. MINI-VAN - CONTINUOUS</stage_direction> <scene_description>Fred isn't slowing down. He grows more determined.</scene_description> <character>RICK</character> <dialogue>Pull over, man!</dialogue> <character>FRED</character> <dialogue>No way, I can out-run 'em!</dialogue> <character>RICK</character> <dialogue>No you can't--not in this thing!</dialogue> <character>EXT. HIGHWAY - CONTINUOUS</character> <dialogue>We see another POLICE CRUISER FISHTAIL OUT OF A SIDE STREET and JOIN THE CHASE.</dialogue> <character>INT. MINI-VAN - CONTINUOUS</character> <dialogue>RICK</dialogue> <scene_description>Oh God, now there's two of 'em!</scene_description> <character>FRED</character> <dialogue>I don't care--I'm not stopping 'til we get there!</dialogue> <character>RICK</character> <dialogue>Are you crazy?!</dialogue> <character>FRED</character> <dialogue>Yeah, I'm crazy! I'm crazy about my wife!</dialogue> <character>EXT. CAPE COD HOSPITAL - NIGHT</character> <dialogue>Rick and Fred come SKIDDING UP to the EMERGENCY ROOM</dialogue> <scene_description>ENTRANCE in the graffitied mini-van.</scene_description> <character>INT. POLICE CRUISER - CONTINUOUS</character> <dialogue>The two Young Cops SCREECH to a stop behind the mini-van as the second cruiser flies up behind them.</dialogue> <character>COP #2</character> <dialogue>We're on! The officers spring from their cars and quickly TACKLE Fred as he runs toward the front doors. Rick climbs out of the passenger seat with HIS HANDS RAISED.</dialogue> <character>RICK</character> <dialogue>Hear me out, gentlemen, I can explain everything!</dialogue> <dialogue>A BURLY OFFICER from the back-up car form-tackles Rick, BLASTING him backwards onto the sidewalk.</dialogue> <dialogue>Fred and Rick manage to roll away and then CRAWL THROUGH THE</dialogue> <scene_description>FRONT ENTRANCE.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EMERGENCY ROOM - CONTINUOUS</stage_direction> <scene_description>Our guys barely get in the door before being PUMMELED TO THE FLOOR by the four cops. The TWO PEOPLE seated in the waiting room STAND UP IN SHOCK and then a swarm of DOCTORS and ORDERLIES come running in to see what the commotion is.</scene_description> <character>FRED</character> <dialogue>Grace needs me! Cop #1 PINS FRED'S HEAD TO THE FLOOR as Cop #2 lays across his legs.</dialogue> <character>COP #1</character> <dialogue>Okay, just take it easy, buddy.</dialogue> <character>FRED</character> <dialogue>No, I won't take it easy! Look, I'm sorry I was speeding and I shouldn't have run from you guys, but my wife's been in an accident and she's in this emergency room and I gotta see how she is because...</dialogue> <character>(GROWS EMOTIONAL)</character> <dialogue>.THAT WOMAN'S MY WHOLE LIFE!</dialogue> <dialogue>The cops look moved and unsure what to do.</dialogue> <character>DOCTOR</character> <dialogue>Are you the husband of... (glances down at chart) .Grace Searing? Fred strains to look up.</dialogue> <character>FRED</character> <dialogue>Yes! Is she okay?! The Doctor hesitates and the cops look at each other and</dialogue> <scene_description>then the Burly Officer releases Rick from his head-lock.</scene_description> <character>BURLY OFFICER</character> <dialogue>All right, let him up. The young officers get off Fred and help him up. Fred rushes to the Doctor, who seems very serious.</dialogue> <character>FRED</character> <dialogue>Please tell me she's gonna be okay.</dialogue> <character>DOCTOR</character> <dialogue>She is. Your wife broke her nose and she got shaken up a bit, but all in all she's a very lucky woman.</dialogue> <character>FRED</character> <dialogue>You got that wrong, doc. I'm the lucky one. Fred is visibly relieved as the doctor smiles and walks off.</dialogue> <character>FRED</character> <parenthetical>(CALLING OUT)</parenthetical> <dialogue>Bless you, doctor! Fred turns to Rick and the two men hug and then Rick grabs Fred by the shoulders and looks him in the eye.</dialogue> <character>RICK</character> <dialogue>You take care of that woman, buddy, and I'm gonna go home and take care of mine.</dialogue> <dialogue>Fred nods, emotional, as the cops look at each other, unmoved. Rick starts to walk away.</dialogue> <character>FRED</character> <dialogue>Rick... Rick stops and turns at the door.</dialogue> <character>FRED</character> <dialogue>You go love that lady! The Burly Officer rolls his eyes and steps up to Rick.</dialogue> <character>BURLY OFFICER</character> <dialogue>Uh, before you 'go love that lady', we're going to have to write you guys up.</dialogue> <dialogue>As the officer pulls out his CITATION PAD, we</dialogue> </scene> <scene> <stage_direction>EXT. BEACH COTTAGE - NIGHT</stage_direction> <scene_description>Rick pulls up in the wrecked mini-van and gets out.</scene_description> </scene> <scene> <stage_direction>INT. BEACH COTTAGE - CONTINUOUS</stage_direction> <scene_description>Rick steps quietly into the house. He sees two empty bottles of wine and two half-filled glasses on the coffee table. Then he hears Maggie's O.S. VOICE coming from the bedroom. MAGGIE (O.S.) Oh my god...oh my god...oh my and... ON RICK - he looks concerned as he approaches the bedroom door.</scene_description> </scene> <scene> <stage_direction>INT. BEACH COTTAGE - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Rick ENTERS to find Maggie laying in bed... TALKING ON THE PHONE.</scene_description> <character>MAGGIE</character> <parenthetical>(INTO PHONE)</parenthetical> <dialogue>Oh my god... oh my god, you poor thing.</dialogue> <dialogue>Maggie looks up, shocked to see Rick.</dialogue> <character>MAGGIE</character> <parenthetical>(INTO PHONE)</parenthetical> <dialogue>Hold on, Rick just walked in.</dialogue> <character>(TO RICK)</character> <dialogue>Grace was in a car accident!</dialogue> <character>RICK</character> <dialogue>I know. She's okay. Maggie goes back to the phone.</dialogue> <character>MAGGIE</character> <parenthetical>(INTO PHONE)</parenthetical> <dialogue>And they let you go?</dialogue> <character>(BEAT)</character> <dialogue>Okay... so you're on your way? Great.</dialogue> <character>(BEAT)</character> <dialogue>I love you, too, honey. She hangs up.</dialogue> <character>MAGGIE</character> <dialogue>My God, she scared ( me to death.</dialogue> <character>RICK</character> <dialogue>March twenty-fifth, 1988.</dialogue> <character>MAGGIE</character> <dialogue>What?</dialogue> <character>RICK</character> <dialogue>The day I lost my virginity. March</dialogue> <scene_description>25th, 1988 at approximately ten- thirty in the evening. Maggie thinks about this.</scene_description> <character>MAGGIE</character> <dialogue>What are you talking about? We were dating then. Rick nods. She looks at him, not sure if she understands.</dialogue> <character>RICK</character> <dialogue>You were my first. And you were my last. And you were everything in between. As it all sinks in, Maggie STARTS TO WELL UP.</dialogue> <character>MAGGIE</character> <dialogue>Really?</dialogue> <character>RICK</character> <dialogue>Really.</dialogue> <character>MAGGIE</character> <dialogue>So...is that why you were crying that first night? Rick shrugs, embarrassed.</dialogue> <character>MAGGIE</character> <dialogue>And I was...I was your last?</dialogue> <character>RICK</character> <dialogue>You are my only. Forever.</dialogue> <dialogue>Maggie smiles and runs into his arms. They KISS, and it's a real kiss, the kind they haven't had in a long while.</dialogue> <character>DISSOLVE TO:</character> <dialogue>Law &amp; Order MUSIC CUE as we SUPER:</dialogue> </scene> <scene> <stage_direction>EXT. BEACH COTTAGE - DAWN</stage_direction> <scene_description>The sky is lightening but the sun hasn't risen yet. A taxi- van pulls up and Fred gets out. (Fred has a BLACK EYE.) He helps Grace out of the van, then pays the DRIVER. (Grace has TWO BLACK EYES and her nose is HEAVILY BANDAGED.) When the taxi drives off, Fred helps Grace toward the house.</scene_description> <character>FRED</character> <dialogue>.And what were you doing driving around at one o'clock in the morning?</dialogue> <character>GRACE</character> <parenthetical>(NERVOUS)</parenthetical> <dialogue>Well...I was upset so I went for a drive--you know, to think--and I must have hit a patch of sand, and before I knew it I was into the pole.</dialogue> <dialogue>Fred stops and looks her in the eye.</dialogue> <character>FRED</character> <dialogue>I'm sorry, Grace.</dialogue> <character>GRACE</character> <dialogue>For what?</dialogue> <character>FRED</character> <dialogue>For putting you through all this. Grace looks awash in guilt.</dialogue> <character>GRACE</character> <dialogue>It's not your fault, Fred.</dialogue> <character>FRED</character> <dialogue>Yes, it is--of course it's my fault. This isn't you--driving around all night, thinking--you're not a thinker.</dialogue> <dialogue>When she looks up at him, he forces a smile. But she doesn't smile back.</dialogue> <character>GRACE</character> <dialogue>Look, Fred, we have to talk about... about what happened this week.</dialogue> <dialogue>Fred takes a DEEP BREATH and looks around, trying to avoid the moment.</dialogue> <character>FRED</character> <dialogue>Grace. . .do we really have to do this?</dialogue> <dialogue>Grace lowers her head guiltily.</dialogue> <character>GRACE</character> <dialogue>Yeah. Yeah, we do. When she looks back up, she NOTICES the SPRAY-PAINTED and</dialogue> <scene_description>BATTERED MINI-VAN.</scene_description> <character>GRACE</character> <dialogue>Horny old man?</dialogue> <character>FRED</character> <parenthetical>(MATTER-OF-FACT)</parenthetical> <dialogue>Oh, no, honey, that's not me--they were talking about Rick.</dialogue> <dialogue>Grace looks at him, confused. Suddenly Fred falls to his knees.</dialogue> <character>FRED</character> <dialogue>Look, all you gotta know is that whatever happened doesn't matter! I love you and only you! And I'm going to treat you like the queen that you are for the rest of your living days, so help me God! I'll mow the lawn, I'll shovel the snow, I'll wash the stubble off the sink...</dialogue> <dialogue>Grace looks down at him.</dialogue> <character>FRED</character> <dialogue>.But please, I'm begging you, sweetie... can we please just never talk about what happened this week?</dialogue> <dialogue>Grace's eyes flicker about, hardly believing her luck.</dialogue> <character>GRACE</character> <dialogue>Um...deal. Fred gets up and THROWS HIS ARMS AROUND HIS WIFE.</dialogue> <character>GRACE</character> <dialogue>I love you, Fred. As they embrace, Fred sees Rick come out the front door with his arm around Maggie. Fred shoots Rick a THUMBS-UP. CLOSE ON RICK AND MAGGIE as they smile at Fred and Grace.</dialogue> <character>RICK</character> <dialogue>Come on, you two! We're gonna go watch the sun come up!</dialogue> <dialogue>Hall &amp; Oates's 'When The Morning Comes' begins to play and</dialogue> <scene_description>as our two HAPPY COUPLES hold hands and walk off toward the beach, we pull up, up, up, and...</scene_description> <character>FADE OUT:</character> <dialogue>THE END</dialogue> </scene> </script>

Best friends Rick and Fred are in stagnant marriages with their wives, Grace and Maggie. The two discuss how they miss their single days, so Grace and Maggie give them a "hall pass": a week during which they can have sex with other women. Rick and Fred try to pick up women with their friends Gary, Flats, and Hog Head while Maggie and Grace decide they should get hall passes, too. On day one of hall pass week, Rick and Fred decide to eat before going to a local bar but become too tired after eating to stay out longer. On day two, they eat hash brownies and play golf but get too high and wreak havoc on the golf course. On day three, Rick and Fred go to a bar with their friends but fail to impress the women there. They get drunk to loosen up, but wind up getting into a bar fight. On day four, they suffer the hangovers from day three. On day five, Rick goes to his favorite coffee shop, where he flirts with the attractive waitress named Leigh, angering her co-worker Brent, who wants her for himself. Rick and Leigh later meet at her gym and she invites him for a beer after they work out. Rick falls asleep in the hot tub for several hours, leaving his muscles too weak to use; two naked men have to help him leave. Meanwhile, Grace and a minor league baseball player named Gerry get closer, and Maggie finds herself attracted to Gerry's coach. On day six, Rick and Fred go to a bar with their single, womanizing friend Coakley, where Rick meets his children's babysitter Paige, who has just turned 21 and is partying with her aunt Meg. Paige is attracted to Rick, but he turns her down to dance with Leigh. Later, Rick parties at Coakley's while Fred takes a girl to his hotel room. However, she feels sick and, after a minor incident in the bathroom, is sent home in a taxi by Fred before anything happens. Later that evening, Meg shows up at the room and mistaking Fred for Rick, seduces him. Meanwhile, Gerry's coach tries to seduce Maggie but she rebuffs him. Grace, on the other hand, has sex with Gerry but tells him she can't see him again; he agrees, saying she is too old for him. On her way back home, she feels guilty about cheating on Fred and has a car accident. At Coakley's house, Leigh offers Rick casual sex. To his own surprise, Rick turns her down, saying he loves Maggie too much to cheat on her. After answering Fred's phone, Rick learns of Grace's accident and rushes to the hotel to tell him. In the lobby he finds Paige, who thinks he was having sex with Meg. They enter the room and find Fred with her. After finding out he's not Rick, Meg kicks Fred in the face. On hearing about Grace's accident, Fred tries to go to the hospital but finds Brent vandalizing what he thinks is Rick's car because of jealousy over Leigh. On seeing Meg (his mother) at the hotel, Brent thinks Fred has had sex with her and tries to kill him, but Paige and Meg tackle him. Rick and Fred go to the hospital with Brent and the police in pursuit. At the hospital, Brent is arrested for attacking them. Rick goes home to Maggie. He tells her he did not use the hall pass and confesses that she is the only woman he has ever been with. Moved, Maggie tells him she did not use her hall pass, either, and they reconcile and have sex for the first time in months. Fred and Grace also reconcile and decide to stick to not divulge, as per the 'hall pass'. However, Fred ultimately reveals that he had sex with Meg when Grace asks him to take her to see Kathy Griffin. During the credits, Fred hosts a barbecue where he pays Kathy Griffin to be present. Gary's wife suggests that she give him a hall pass. Gary imagines sleeping with a married woman and then accidentally killing her, her entire family, and several bystanders and being raped in prison; but he then shrugs it off and agrees to "give it a whirl".

8-Bit Christmas_2021

tt11540284

<script> <scene> <character>8-BIT CHRISTMAS</character> <dialogue>Written by</dialogue> <scene_description>Kevin Jakubowski</scene_description> <character>7-14-19</character> <dialogue>Based on the novel "8-Bit Christmas" by Kevin Jakubowski</dialogue> <scene_description>Star Thrower Entertainment 310-855-9009</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO - ESTABLISHING - MORNING - DAY</stage_direction> <scene_description>A cold but sunny morning in Chicago. Snow glistens on trees. A jingle bell rings in the distance. Christmas is in the air.</scene_description> </scene> <scene> <stage_direction>EXT. MICHIGAN AVENUE - MORNING - DAY</stage_direction> <scene_description>COMMUTERS file down sidewalks and bridges. A sea of boots and coats. One man stands out. He is JAKE DOYLE (40, stressed, but can laugh about it). He talks on his iPhone as he walks.</scene_description> <character>ADULT JAKE</character> <dialogue>...What do you mean you didn't send it yet? We need the shipment, Ed. We needed it yesterday.</dialogue> <character>ANNIE</character> <dialogue>Dad look! That's the tablet I want!</dialogue> <scene_description>Jake's daughter ANNIE DOYLE (8, inquisitive) points to a storefront DISPLAY of the latest TABLET. Annie sniffles with a cold but her eyes are curious, alert.</scene_description> <character>ANNIE</character> <dialogue>Can we go inside? Can we go look?</dialogue> <scene_description>Jake holds up a finger, "just a second", stays on the phone.</scene_description> <character>ADULT JAKE</character> <dialogue>I don't care if it's almost Christmas. Get us the-- whoa!</dialogue> <scene_description>Jake steps on a patch of ice and almost loses his balance. He shoots a look at a nearby SALVATION ARMY SANTA CLAUS (60s).</scene_description> <character>ADULT JAKE</character> <dialogue>Still?! The ice?!</dialogue> <character>SALVATION ARMY SANTA</character> <dialogue>I told 'em to salt it.</dialogue> <character>ADULT JAKE</character> <dialogue>Get us the shipment Ed. Because I just yelled at Santa. Yeah. You're making me the guy who yells at Santa. My daughter is very upset.</dialogue> <scene_description>Jake holds the phone down to Annie, she's all smiles.</scene_description> <character>ANNIE</character> <dialogue>I'm very upset!</dialogue> <scene_description>Jake chuckles, takes the phone back.</scene_description> <character>ADULT JAKE</character> <dialogue>See? Get us the shipment!</dialogue> <scene_description>Jake takes Annie's hand as they hustle across the street.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - SKYSCRAPER - A LITTLE LATER - MORNING - DAY</stage_direction> <scene_description>Jake and Annie ride an elevator up to Jake's office. Annie blows her nose as she watches Jake scroll through emails.</scene_description> <character>ANNIE</character> <dialogue>Are you stressed Dad? Are you tired? Is this elevator safe?</dialogue> <scene_description>Jake's phone buzzes. It's his WIFE calling.</scene_description> <character>ADULT JAKE</character> <dialogue>Hold on, it's Mom.</dialogue> <parenthetical>(on phone)</parenthetical> <dialogue>Hey. Yeah, it's strep. We got the antibiotic. When can you come get her? Me? Honey, I can't watch her all day. Because I just can't.</dialogue> <scene_description>Annie sighs, she's used to this. Jake doesn't notice her reaction. He just listens to his wife, softening a little.</scene_description> <character>ADULT JAKE</character> <dialogue>Okay. No, you're right. I can watch her. I'm not too busy.</dialogue> <scene_description>The doors open. Jake exits.</scene_description> <character>ADULT JAKE</character> <dialogue>I got this.</dialogue> <scene_description>A beat. Annie is still in the elevator. The doors start to close. Jake runs back and pulls her out.</scene_description> <character>ADULT JAKE</character> <dialogue>Totally got it.</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S OFFICE - MAIN FLOOR - MOMENTS LATER - DAY</stage_direction> <scene_description>Jake leads Annie through his office. Employees bustle about.</scene_description> <character>ANNIE</character> <dialogue>Do all these people work here? What time does work start? Are you late?</dialogue> <scene_description>A coworker, BETH (30s) passes by.</scene_description> <character>BETH</character> <dialogue>Pendrock keeps calling from New York, Jake.</dialogue> <character>ADULT JAKE</character> <dialogue>I know, I know.</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S CORNER OFFICE - MOMENTS LATER - DAY</stage_direction> <scene_description>Jake walks Annie into his spacious corner office. BLUEPRINTS and PICTURES adorn the walls. Annie looks out the window.</scene_description> <character>ANNIE</character> <dialogue>Is that a park down there? Is that a jungle gym? Is this office eco- friendly?</dialogue> <character>ADULT JAKE</character> <dialogue>Okay, no more questions. You're sick. You need to take a nap.</dialogue> <character>ANNIE</character> <dialogue>That's boring.</dialogue> <scene_description>Jake gently leads Annie to a couch, takes off her coat.</scene_description> <character>ANNIE</character> <dialogue>If I had my own tablet I wouldn't be bored.</dialogue> <character>ADULT JAKE</character> <dialogue>Enough about the tablet, sweetie, okay? C'mere.</dialogue> <scene_description>Jake sets a pillow down and Annie reluctantly lies down.</scene_description> <character>ADULT JAKE</character> <dialogue>There we go. Now, I'm gonna go over there and send about three hundred emails and you're gonna lie here and get some rest. Cool? Cool.</dialogue> <scene_description>Jake heads to his desk, gets right back to work.</scene_description> <character>ANNIE</character> <dialogue>Are you gonna work over Christmas again too?</dialogue> <character>ADULT JAKE</character> <parenthetical>(not paying attention)</parenthetical> <dialogue>Uh-huh, sounds good.</dialogue> <scene_description>Annie sighs, disappointed. Bored, she starts to look around the room. Something in the corner sparks her interest. Jake looks up to see Annie now standing before his OLD TV.</scene_description> <character>ADULT JAKE</character> <dialogue>Hey, you're supposed to be resting.</dialogue> <character>ANNIE</character> <dialogue>What's that?</dialogue> <scene_description>Annie points to an OLD NINTENDO under the TV.</scene_description> <character>ADULT JAKE</character> <dialogue>A Nintendo.</dialogue> <character>ANNIE</character> <dialogue>A what?</dialogue> <character>ADULT JAKE</character> <dialogue>A video game from when I was little.</dialogue> <character>ANNIE</character> <dialogue>Cool. Can we play?</dialogue> <character>ADULT JAKE</character> <dialogue>Annie, I have work to do--</dialogue> <character>ANNIE</character> <dialogue>Please? Pleeeeeese?</dialogue> <scene_description>Jake sighs. He needs a play here. Beth walks by his door.</scene_description> <character>ADULT JAKE</character> <dialogue>Beth?</dialogue> <character>BETH</character> <dialogue>What's up?</dialogue> <scene_description>Jake heads to the door, out of ear shot from Annie.</scene_description> <character>ADULT JAKE</character> <dialogue>Can you push the Pendrock call for a bit. I gotta get her down for a nap somehow.</dialogue> <character>BETH</character> <dialogue>No problem.</dialogue> <scene_description>Jake heads back to Annie who is now feebly trying to get the Nintendo to work, pressing buttons, etc. Jake picks up a GAME from a KANGAROOS SHOE BOX full of games on the coffee table.</scene_description> <character>ADULT JAKE</character> <dialogue>Here. First you have to do this.</dialogue> <scene_description>Jake blows on the game as is customary.</scene_description> <character>ANNIE</character> <dialogue>Why?</dialogue> <character>ADULT JAKE</character> <dialogue>I don't know, you just do.</dialogue> <scene_description>Jake hands the game to Annie, she blows on it happily.</scene_description> <character>ANNIE</character> <dialogue>I thought you said Grandma and Grandpa didn't let you have video games when you were little.</dialogue> <character>ADULT JAKE</character> <dialogue>They didn't.</dialogue> <character>ANNIE</character> <dialogue>Then how did you get it?</dialogue> <character>ADULT JAKE</character> <dialogue>Tell you what? If I tell you the story of how I got my Nintendo will you take a nap? A long one?</dialogue> <character>ANNIE</character> <dialogue>Uh-huh.</dialogue> <character>ADULT JAKE</character> <dialogue>You have to promise though. Because this is probably the most amazing, dangerous, awesome story of all time and you'll probably get so excited you'll never want to sleep ever again so you have to promise.</dialogue> <character>ANNIE</character> <dialogue>Promise.</dialogue> <scene_description>Jake puts the game in the console, has a seat next to Annie.</scene_description> <character>ADULT JAKE</character> <dialogue>Okay. The year was 1987. Or was it '88?</dialogue> <parenthetical>(thinking to himself)</parenthetical> <dialogue>'85 Bears. Super Bowl in '86...</dialogue> <character>ANNIE</character> <dialogue>Does it really matter Dad?</dialogue> <character>ADULT JAKE</character> <dialogue>You wanna hear this or not?</dialogue> <scene_description>Annie does. Jake hands her a controller, she smiles. EXCITE BIKE starts to play on TV. Jake softens a little, settles in.</scene_description> <character>ADULT JAKE</character> <dialogue>The year was 1988. Let's call it December. I was ten years old...</dialogue> <scene_description>The sounds of an 8-Bit motor-cross bike rev as we... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN CHICAGO STREET - 1988 - MORNING - DAY</stage_direction> <scene_description>The Excite Bike sound effects now match a BOY on his bike. This is YOUNG JAKE DOYLE (10). He pedals down the middle of the street as fast as his legs can carry him. He wears a ski jacket, Walter Payton Kangaroo shoes and a Bears knit cap.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>In the winter, if the streets were plowed, I could make it to Timmy Kleen's house in just under eight minutes.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>On a bike? How fast were you going?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Super fast.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Did you wear a helmet?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Uh, yeah. We always wore helmets in the 80s. We were super safe.</dialogue> <scene_description>A HELMET suddenly appears on Jake's head.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>What color was it?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Just let me tell the story, Annie.</dialogue> <scene_description>WHOOSH! Jake rounds a corner and flies down another street. The Excite Bike sound effects match his increase in speed. Suburban middle class houses pass him by.</scene_description> </scene> <scene> <stage_direction>INT. SUBURBAN HOUSE - FAMILY ROOM - CONTINUOUS</stage_direction> <scene_description>MIKEY TROTTER (10) watches INSPECTOR GADGET, eating cereal.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>I had recently come to the profound conclusion that Inspector Gadget would never catch Dr. Claw on any Saturday morning, so that gave me a five minute head start.</dialogue> <scene_description>On TV DR. CLAW yells his famous line as he makes his escape.</scene_description> <character>DR. CLAW</character> <dialogue>I'll get you next time Gadget!</dialogue> <character>MIKEY TROTTER</character> <parenthetical>(to TV, disappointed)</parenthetical> <dialogue>You kiddin' me?</dialogue> <scene_description>Trotter looks up through the window and notices Jake whizzing by. He quickly drops his cereal and rushes out of the room.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MORNING - CONTINUOUS</stage_direction> <scene_description>Jake pedals on, determined. He approaches a snowblower and rides through its snow shower. Nothing will get in his way.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>The rule at Kleen's was simple. The first ten kids to get through his door got to play. And the first one on his couch got first game, after Kleen of course, but if you got that pole position, you were sitting pretty all weekend.</dialogue> <scene_description>Jake pulls even with a PAPER BOY (10) on his bike delivering papers. The two lock eyes. Jake accelerates past him. The Paper Boy reluctantly picks up his pace.</scene_description> </scene> <scene> <stage_direction>EXT. TIMMY KLEEN'S HOUSE - MOMENTS LATER - DAY</stage_direction> <scene_description>Jake pedals up to TIMMY KLEEN'S HOUSE. It's by far the biggest and nicest one on the block. In one continuous motion Jake hops off his bike and ditches it in the yard. Momentum carrying him, Jake runs up the front steps and rings the bell repeatedly. He takes his helmet off, noticing it for the first time and chucks it over his shoulder. A sleepy TIFFANY KLEEN (16) answers the door. She struggles to hold a yipping little dog LACY DOG from getting out.</scene_description> <character>TIFFANY KLEEN</character> <dialogue>Lacy Dog! NO! You're too early, I don't even think he's up--</dialogue> <scene_description>Jake runs past her right into the house.</scene_description> <character>TIFFANY KLEEN</character> <dialogue>--yet. Hey!</dialogue> </scene> <scene> <stage_direction>INT. TIMMY KLEEN'S BASEMENT - CONTINUOUS</stage_direction> <scene_description>Jake comes running down the basement steps into a nice rec room. He flicks on a light, heroically illuminating a NINTENDO ENTERTAINMENT SYSTEM sitting under a HUGE TV on the far side of the room. Jake stands awestruck.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And there she was, glistening in all her gray plastic glory. A maze of rubber wiring and electronic intelligence so advanced it was deemed not a video game but an 8- bit Entertainment System.</dialogue> <character>JAKE</character> <dialogue>Wow...</dialogue> <scene_description>As Jake smiles we see a RETAINER in his mouth.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>There wasn't a pair of blistered kid thumbs in suburbia that didn't feel an instinctive tingle when the word Nintendo was mentioned.</dialogue> <character>TIMMY KLEEN (O.S.)</character> <dialogue>Forget something?</dialogue> <scene_description>Jake turns around to see TIMMY KLEEN (10) at the bottom of the stairs. He wears a KARATE ROBE over silk PJ's and stirs chocolate milk in a coffee cup. Remember the rich kid in the neighborhood with all the cool stuff? This is him.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was an early lesson in God's cruelty giving the only Nintendo in town to rich kid Timmy Kleen.</dialogue> <character>TIMMY KLEEN</character> <dialogue>Your shoes, butthead.</dialogue> <character>JAKE</character> <dialogue>Oh, sorry, sorry about that.</dialogue> <scene_description>Kleen heads upstairs. Jake follows, tiptoeing in his shoes.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>I'd prayed several times to be made part of his family.</dialogue> </scene> <scene> <stage_direction>INT/EXT. TIMMY KLEEN'S HOUSE - MOMENTS LATER - FOYER</stage_direction> <scene_description>Jake sets his shoes by the door. Timmy stirs his chocolate milk and gazes out the window. TWO DOZEN KIDS are now jostling for position outside in the snow, hoping to get in.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Outside, half of H.C Storm Elementary wrestled in the snow. Including my four best friends.</dialogue> <scene_description>Jake looks at a particular group of KIDS, his friends. FREEZE ON: MIKEY TROTTER. On screen, a wood border frames him up like an '87 TOPPS BASEBALL CARD, name and logo included.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Mikey Trotter. All time quarterback. Great at drawing army guys and lighting things on fire.</dialogue> <scene_description>UN FREEZE.</scene_description> <character>MIKEY TROTTER</character> <dialogue>How much you guys think a flame thrower costs?</dialogue> <character>EVAN OLSEN</character> <dialogue>Flame throwers are dangerous.</dialogue> <scene_description>BASEBALL CARD FREEZE ON: EVAN OLSEN (10) looking nervous.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Evan Olsen. Nervous. Allergic to bees. Probably has to go home in ten minutes.</dialogue> <scene_description>UN FREEZE.</scene_description> <character>EVAN OLSEN</character> <dialogue>I prolly gotta go home soon.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>More Nintendo for us.</dialogue> <scene_description>BASEBALL CARD FREEZE ON: TOMMY GRUSECKI (10, smart) as he studies a BECKETT BASEBALL CARD MAGAZINE.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Tommy Grusecki. Baseball card genius. Future multi-millionaire.</dialogue> <scene_description>UN FREEZE.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>Hey look at that. My Canseco rookie's up two bucks.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>The Canseco's mine.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Is not.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Is too! It was in my pack!</dialogue> <scene_description>BASEBALL CARD FREEZE ON: RYAN GRUSECKI pushing his brother.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Ryan Grusecki. Tommy's twin brother. At least I think that's Ryan. It was always hard to tell them apart.</dialogue> <scene_description>UN FREEZE: Ryan and Tommy go at it.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Yep. That was my crew. These were the guys who'd make it all happen.</dialogue> <character>JOSH FARMER (O.S.)</character> <parenthetical>(with a lisp)</parenthetical> <dialogue>Hey guys! What's up?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh yeah, and this kid.</dialogue> <scene_description>JOSH FARMER (10, serious lisp) runs into frame.</scene_description> <character>JOSH FARMER</character> <dialogue>Just got off the phone with Whitney Houston, she says hi.</dialogue> <scene_description>BASEBALL CARD FREEZE ON: Josh's smiling face.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Josh Farmer. Pathological liar. Not really our friend, but always around.</dialogue> <scene_description>UN FREEZE.</scene_description> <character>JOSH FARMER</character> <dialogue>I tell you I saw Bigfoot in the bushes outside my Dad's apartment last night. Intense.</dialogue> <character>MIKEY TROTTER</character> <dialogue>The same apartment you saw Randy the Macho Man Savage at?</dialogue> <character>JOSH FARMER</character> <dialogue>That's the one.</dialogue> <character>EVAN OLSEN</character> <dialogue>And he told you wrestling was real?</dialogue> <character>JOSH FARMER</character> <dialogue>You guys have good memories.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>You never saw Macho Man, Farmer.</dialogue> <character>JOSH FARMER</character> <dialogue>Did too. He was eating a hot dog.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Macho Man eats Slim Jims.</dialogue> <character>JOSH FARMER</character> <dialogue>I know, I thought it was weird too.</dialogue> <character>BOY (O.S.)</character> <dialogue>Hey! He's coming out!</dialogue> <scene_description>A hush falls over the crowd. Everyone turns to the porch. The door slowly opens and out steps Timmy. He stands high above the crowd on the top step. Lacey Dog nips at his heels.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Kleen surveyed the crowd like an annoyed Roman emperor. He checked his Swatch watch. Both of them.</dialogue> <scene_description>Kleen checks his wrist, revealing two Swatch watches.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Eight AM. Game time.</dialogue> <character>TIMMY KLEEN</character> <dialogue>Anyone for a little Nintendo?</dialogue> <scene_description>The crowd ROARS! Everyone rushes toward the door. Fresh to the scene, the Paper Boy from earlier pedals through the crowd chucking papers indiscriminately. It's pandemonium.</scene_description> </scene> <scene> <stage_direction>INT. KLEEN'S BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Today's TEN LUCKY KIDS file downstairs, out of breath.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Boots off, boots off. Don't touch the wall it's French.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Wait, my brother's still outside.</dialogue> <character>TIMMY KLEEN</character> <dialogue>You know the rules. First ten, that's it.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>But it's Ryan.</dialogue> <character>TIMMY KLEEN</character> <parenthetical>(mimicking)</parenthetical> <dialogue>"But it's Ryan".</dialogue> <scene_description>Ryan Grusecki bangs on the adjacent basement well window.</scene_description> <character>RYAN GRUSECKI</character> <dialogue>Lemme in!</dialogue> <scene_description>Kleen just closes the curtain shut.</scene_description> <character>RYAN GRUSECKI (O.S.)</character> <dialogue>Jerk!</dialogue> <character>TIMMY KLEEN</character> <dialogue>You guys want some Pop Tarts or something?</dialogue> <character>MIKEY TROTTER</character> <dialogue>Yeah that'd be great.</dialogue> <character>TIMMY KLEEN</character> <dialogue>Too bad.</dialogue> <scene_description>Kleen chuckles to himself as the boys seat themselves numerically on the couch. Kleen turns on DUCK HUNT, grabs the GUN and holds it directly on the TV. He smiles devilishly.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Winner stays.</dialogue> <scene_description>Kleen blasts away, he'll be playing forever. Jake scowls.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>As I sat there and watched Timmy Kleen blast away to his evil heart's content...</dialogue> <character>TIMMY KLEEN</character> <dialogue>Die duck! Die! Ha ha ha!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>One thing became clear: I needed to get my own Nintendo. Fast.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>An old, two story, Victorian style farm house. Jake sits at the kitchen table lost in thought, spinning his retainer.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>For two months I'd been secretly laying the ground work for my Nintendo Christmas sales pitch.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - DAY - QUICK POP - FLASHBACK</stage_direction> <scene_description>Jake proudly hangs a crude DRAWING on the refrigerator of a family playing Nintendo together.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Carefully crafting pictures...</dialogue> </scene> <scene> <stage_direction>INT. DOYLE MINI VAN - DAY - QUICK POP - FLASHBACK</stage_direction> <scene_description>Jake sits in the back seat, singing the theme to Super Mario Brothers, loudly. "Do-do-do-do-do-do-do..."</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Quietly singing theme songs.</dialogue> <character>FRONT SEAT VOICE (O.S.)</character> <dialogue>Shut up already!</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - DAY - QUICK POP - FLASHBACK</stage_direction> <scene_description>Jake sits at the kitchen table eating NINTENDO CEREAL.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And making ever so subtle suggestions.</dialogue> <character>JAKE</character> <dialogue>Oh my God! This is the best cereal I've ever had in my life!</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Jake sits up in his chair, centers himself.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>But tonight was the night I'd finally put it all into action.</dialogue> <scene_description>Jake's mom PATTY DOYLE (40, even keeled) cooks chili on the stove. She wears a leotard and leg warmers.</scene_description> <character>JAKE</character> <dialogue>You know what's really important mom? Hand-eye coordination.</dialogue> <character>PATTY DOYLE</character> <parenthetical>(didn't hear him)</parenthetical> <dialogue>What's that dear?</dialogue> <character>JAKE</character> <dialogue>Hand-eye coordination. Totally. You need it to get into college.</dialogue> <character>PATTY DOYLE</character> <dialogue>Is that right.</dialogue> <scene_description>CRASH! Something falls in the other room.</scene_description> <character>JOHN DOYLE (O.S.)</character> <dialogue>God bless it!</dialogue> <character>PATTY DOYLE</character> <dialogue>Well I'm sure your dad will want to teach it to you then.</dialogue> <scene_description>JOHN DOYLE (40s, gruff) storms into the kitchen through a plastic sheet hanging over the door to the dining room. He wears a tool belt and is slightly dusted in plaster dust.</scene_description> <character>JOHN DOYLE</character> <dialogue>Has anyone seen my bandsaw?</dialogue> <character>PATTY DOYLE</character> <dialogue>I think it's in the shower.</dialogue> <character>JOHN DOYLE</character> <dialogue>That's the table saw. I need the bandsaw. Jake get in here.</dialogue> <scene_description>John grabs a package of nails off the counter and goes back through the sheet. Jake reluctantly follows.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - DINING ROOM - MOMENTS LATER</stage_direction> <scene_description>Jake awkwardly holds a board as John hammers nails into it.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was a well known up and down Linwood Avenue that in 1978 my father went to install a kitchen cabinet and had not stopped since.</dialogue> <character>PATTY DOYLE (O.S.)</character> <dialogue>Dinner's ready! You almost finished out there?</dialogue> <scene_description>John gives a quick glance around. The room, like much of the house, is totally gutted.</scene_description> <character>JOHN DOYLE</character> <dialogue>No.</dialogue> <character>PATTY DOYLE (O.S.)</character> <dialogue>You know what I mean.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>He was warmly referred to in our house as the dyslexic Bob Vila.</dialogue> <scene_description>John examines his work. Not satisfied.</scene_description> <character>JOHN DOYLE</character> <dialogue>God bless it.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>And no matter what, if I was ever going to get a Nintendo, I'd have to go through him.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - A LITTLE LATER</stage_direction> <scene_description>Jake sits at the table eating dinner with his parents and his little sister LIZZY DOYLE (6, super smart, cute, conniving).</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>This was going to take some serious buttering up.</dialogue> <character>JAKE</character> <dialogue>Drywall looks really good in there Dad. Totally.</dialogue> <character>JOHN DOYLE</character> <dialogue>Stop saying totally. It makes you sound like a moron. And why's your retainer out of your mouth?</dialogue> <character>JAKE</character> <dialogue>We're eating.</dialogue> <character>JOHN DOYLE</character> <dialogue>Do you know how expensive that thing is? Put it back in.</dialogue> <scene_description>Jake looks at his mom for some help.</scene_description> <character>PATTY DOYLE</character> <dialogue>John you really can't eat with it in. It doesn't work that way.</dialogue> <character>JOHN DOYLE</character> <dialogue>Well it's terribly designed then.</dialogue> <character>LIZZY DOYLE</character> <dialogue>If I had a retainer I'd wear it all the time. No matter what.</dialogue> <character>JOHN DOYLE</character> <dialogue>I know you would Lizzy. Good girl.</dialogue> <scene_description>Lizzy smiles devilishly at Jake. Jake scowls.</scene_description> <character>JOHN DOYLE</character> <dialogue>You haven't seen my bandsaw have you?</dialogue> <character>LIZZY DOYLE</character> <dialogue>It's in the backyard. Right next to all the dog poop that Jake didn't pick up.</dialogue> <character>JOHN DOYLE</character> <dialogue>You didn't pick that up?! Cry in a bucket, Jake. What have you been doing all day?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Well Dad, I've been playing an amazing new system called Nintendo! You seem ready to hear about it, let me regale you with its wonders!</dialogue> <character>JAKE</character> <dialogue>Uh, I was in Timmy Kleen's basement.</dialogue> <character>JOHN DOYLE</character> <dialogue>You can't play outside?</dialogue> <character>JAKE</character> <dialogue>It's cold.</dialogue> <character>JOHN DOYLE</character> <dialogue>It's not even below zero out. What the heck were you doing inside all day?</dialogue> <character>PATTY DOYLE</character> <dialogue>Probably playing the Nintenda.</dialogue> <character>JOHN DOYLE</character> <dialogue>Nintenda?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Nintendo.</dialogue> <character>PATTY DOYLE</character> <dialogue>Tenda?</dialogue> <character>JAKE</character> <dialogue>Tendo. The Nintendo Entertainment System. It's this totally-- really educational piece of technology, Dad. I think you'd like it.</dialogue> <character>PATTY DOYLE</character> <dialogue>Well I ran into Mrs. Trotter at the Jewel today. Apparently Nintendo's been doing all kinds of strange things to children in Japan.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Like making them smarter? Faster? Better at sports and Karate?</dialogue> <character>PATTY DOYLE</character> <dialogue>They get so involved that they forget about everything else. School, friends. One little boy supposedly had a seizure.</dialogue> <character>JAKE</character> <dialogue>A seizure?</dialogue> <character>PATTY DOYLE</character> <dialogue>Plus they're very expensive.</dialogue> <character>JOHN DOYLE</character> <dialogue>Video games make you fat Jake. That is a fact.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Cabbage Patch Kids don't make you fat. And you can take them outside. They're a great Christmas present.</dialogue> <scene_description>Lizzy smiles at Jake. She's good and she knows it.</scene_description> <character>JOHN DOYLE</character> <dialogue>No Nintendo in this house. I'll tell you that right now.</dialogue> <character>PATTY DOYLE</character> <dialogue>I second that.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Nintendo no-friendo.</dialogue> <character>PATTY DOYLE</character> <dialogue>Now what did you want to talk to us about honey? Something important you said?</dialogue> <scene_description>Jake just sighs and stares at his plate, crushed.</scene_description> <character>JAKE</character> <dialogue>Never mind.</dialogue> <character>MIKEY TROTTER (PRE-LAP)</character> <dialogue>Jake. Jake...</dialogue> </scene> <scene> <stage_direction>EXT. HC STORM ELEMENTARY SCHOOL - PLAYGROUND - DAY</stage_direction> <scene_description>Jake sits in a daze slumped against the bottom of a MASSIVE SNOW MOUND on the playground. Trotter and Olsen crouch on either side of him like a couple of scared infantry men. In the distance, we hear the sounds of screaming. Welcome to fifth grade.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Jake!</dialogue> <scene_description>Jake snaps out of it and looks up.</scene_description> <character>MIKEY TROTTER</character> <dialogue>You gotta focus man.</dialogue> <character>EVAN OLSEN</character> <dialogue>His parents told him he couldn't get a Nintendo last night, go easy.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Jeez. You sure you're up for this?</dialogue> <character>JAKE</character> <dialogue>Yeah...</dialogue> <scene_description>The guys peer up toward the top of the mound. Standing there, dominating the game "King of the Mountain" is DAN DELUND (age unknown). He wears steel toed work boots and a Mötley Crüe t- shirt under his ratty bomber jacket. His rat tail is amazing.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was never quite certain what grade Dan "King of the Mountain" Delund was actually enrolled in, as the vast majority of his time was spent in such foreign districts as the principal's office and the Ben Franklin cigarette counter.</dialogue> <scene_description>Delund is easily twice the size of his opponents. As kids rush up to him he just tosses them off like rag dolls.</scene_description> <character>DAN DELUND</character> <dialogue>Woooo! You like that?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>And every day before school we would gather, for reasons unknown, to get pummeled by him in the game "King of the Mountain."</dialogue> <scene_description>Tommy Grusecki and Ryan Grusecki come tumbling down the mound face first and land on either side of the group.</scene_description> <character>RYAN GRUSECKI</character> <dialogue>I think I saw hair under his pits.</dialogue> <scene_description>Trotter keeps his eyes on Delund, focused.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Okay, his back is turned. This is it. You ready Jake?</dialogue> <character>JAKE</character> <dialogue>Right now?</dialogue> <character>MIKEY TROTTER</character> <dialogue>Olsen? Goonies never say die, man.</dialogue> <character>EVAN OLSEN</character> <dialogue>Goonies never met Dan Delund.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Let's DO IIIIIIIT!</dialogue> <scene_description>Trotter charges up the hill, yelling. Jake sighs, then reluctantly follows after him. Olsen sits there for a beat, then nervously charges up the hill too. Athletic and confident, Trotter sprints toward Delund.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Ahhhhh!</dialogue> <scene_description>Delund spins around, his eyes widening. In one powerful motion he just grabs Trotter and tosses him over the side.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Noooo!</dialogue> <scene_description>Jake and Olsen see this happening but it's too late to retreat. Delund clothes-lines both of them at the same time with two outstretched arms. They hit the ground with a THUD.</scene_description> <character>DAN DELUND</character> <dialogue>My mountain! Mine!</dialogue> <scene_description>Olsen somehow rolls himself off the hill. Jake tries to crawl away but Delund grabs him and starts white washing his face.</scene_description> <character>DAN DELUND</character> <dialogue>Ha! Ha! Ha!</dialogue> <character>JAKE</character> <dialogue>Quit it! Quit it! Quit it!</dialogue> <scene_description>Delund tosses Jake over the side, raises his arms in victory.</scene_description> <character>DAN DELUND</character> <dialogue>Mine!</dialogue> <scene_description>Jake comes tumbling down and lands next to Olsen, Trotter and the Gruseckis who all lie flat on their backs, dazed.</scene_description> <character>JAKE</character> <dialogue>I hate that guy.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Just think about the Power Glove, man.</dialogue> <character>JAKE</character> <dialogue>What Power Glove?</dialogue> <character>MIKEY TROTTER</character> <dialogue>You didn't tell him?</dialogue> <character>EVAN OLSEN</character> <dialogue>I thought you told him. The Power Glove! Kleen got one last night!</dialogue> <scene_description>Evan pulls out a NINTENDO POWER MAGAZINE from his back pocket, points to a POWER GLOVE ad. Jake's in awe.</scene_description> <character>JAKE</character> <dialogue>No way...</dialogue> <character>MIKEY TROTTER</character> <dialogue>Yes way.</dialogue> <character>EVAN OLSEN</character> <dialogue>He's already practicing, look.</dialogue> <scene_description>Jake and Olsen look to the other side of the playground where Kleen practices martial arts "Power Glove" moves with his naked right hand, chopping and punching at imaginary enemies.</scene_description> <character>EVAN OLSEN</character> <dialogue>We're all going over to his house after school to play it.</dialogue> <character>JAKE</character> <dialogue>He's gonna let us in?</dialogue> <character>EVAN OLSEN</character> <dialogue>We gotta bring him gifts, but yeah.</dialogue> <character>JAKE</character> <dialogue>Who else knows about it?</dialogue> <character>EVAN OLSEN</character> <dialogue>Just us. Well, and Farmer.</dialogue> <character>JAKE</character> <dialogue>Farmer knows? Great.</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TIMMY KLEEN'S HOUSE - LATER THAT DAY - DAY</stage_direction> <scene_description>Timmy Kleen's front lawn is SWARMING with KIDS, at least twice as many as Saturday. The atmosphere is like a rock concert. The crowd chants in unison.</scene_description> <character>CROWD</character> <dialogue>POW-ER GLOVE! POW-ER GLOVE! POW-ER</dialogue> <character>GLOVE!</character> <dialogue>JOSH FARMER</dialogue> <scene_description>I didn't say anything to anybody. Swear to God. The Gruseckis, Jake, Trotter and Olsen just stare at Farmer.</scene_description> <character>JOSH FARMER</character> <dialogue>Okay, maybe Meg Platt. And Steve Dybsky. And my second period gym class and some lunch ladies but that's it.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Come on Farmer! We're never gonna get in now.</dialogue> <character>JOSH FARMER</character> <dialogue>Don't worry, I got a Power Glove too, you guys can play it whenever.</dialogue> <character>MIKEY TROTTER</character> <dialogue>No you don't Farmer.</dialogue> <character>JOSH FARMER</character> <dialogue>No I do not.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>I don't think anybody in Chicago has one yet. I don't even know how the thing works.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Nobody knows how it works, man.</dialogue> <character>JOSH FARMER</character> <dialogue>Oh, it has a suction cup that connects directly to your brain. Yeah. My uncle was on the design team.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>At NASA.</dialogue> <parenthetical>(then, off their looks)</parenthetical> <dialogue>I hate you guys.</dialogue> <scene_description>Suddenly the front door starts to unlock. Everybody turns.</scene_description> <character>PAPER BOY</character> <dialogue>He's coming out!</dialogue> <scene_description>Tiffany Kleen walks out with a BOOMBOX, rolling her eyes.</scene_description> <character>TIFFANY KLEEN</character> <dialogue>This is so dumb.</dialogue> <scene_description>A voice yell-whispers behind her through the mail slot.</scene_description> <character>TIMMY KLEEN (O.S.)</character> <dialogue>Just do it.</dialogue> <scene_description>Tiffany reluctantly presses play. The 80s anthem "HOLDING OUT FOR A HERO" by Bonnie Tyler plays. Tiffany opens the door and Timmy struts out onto the porch. He wears sunglasses and his Karate robe. His right hand is stuffed into his robe pocket. The crowd is silent. Not sure what to make of this. But then, Kleen shoots his right hand up in the air to the beat. Sure enough he's wearing the POWER GLOVE. The crowd goes bananas!</scene_description> <character>HYSTERICAL KID</character> <dialogue>Yeah Kleen! YEEEEEAAAAAH!</dialogue> <scene_description>Jake just stares at the glove in awe.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was the most beautiful piece of machinery I'd ever laid eyes on. The thing made Luke Skywalker's robot hand look like a Tinker Toy.</dialogue> <scene_description>Kleen silences the crowd with one swipe of his hand.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Silence children of Batavia!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>I'm not kidding, that's seriously how this kid talked.</dialogue> <character>TIMMY KLEEN</character> <dialogue>What have you brought me?!</dialogue> <scene_description>Everyone holds up toys and money. Jake holds up a SAUSAGE.</scene_description> <character>JAKE</character> <dialogue>It was the best I could find.</dialogue> <character>MIKEY TROTTER</character> <dialogue>You're not getting in dude.</dialogue> <scene_description>The crowd surges. Kleen starts pointing to individual kids, who hold up and shout out their offerings.</scene_description> <character>KID</character> <dialogue>Five bucks from my first communion!</dialogue> <character>TIMMY KLEEN</character> <dialogue>One.</dialogue> <character>KID</character> <dialogue>A bunch a Micro Machines!</dialogue> <character>TIMMY KLEEN</character> <dialogue>Two.</dialogue> <character>JOSH FARMER</character> <dialogue>I can get you a Ryne Sandberg rookie card by tomorrow--!</dialogue> <character>TIMMY KLEEN</character> <dialogue>No.</dialogue> <character>JAKE</character> <dialogue>Over here! Timmy! It's gourmet! It's a gourmet sausage!</dialogue> <scene_description>Kleen's not interested. Jake's not going to make the cut. Lacy dog barks like a maniac. Jake watches her run to the back of the house. Suddenly he gets an idea.</scene_description> </scene> <scene> <stage_direction>EXT. KLEEN'S HOUSE - BACK OF THE HOUSE - CONTINUOUS - DAY</stage_direction> <scene_description>Jake runs to the back of the house to see Lacy Dog run through a TINY DOG DOOR.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Desperate times called for desperate measures. There was no way I was missing out on that Power Glove.</dialogue> <scene_description>Jake runs to the doggie door. As he pokes his head in Lacy Dog starts barking and nipping at his face.</scene_description> <character>JAKE</character> <dialogue>Ah! Shh! Lacy Dog, no!</dialogue> <scene_description>Lacy Dog won't shut up. Jake suddenly remembers the sausage. He tosses it inside. The barking stops. Jake dives through.</scene_description> </scene> <scene> <stage_direction>INT. TIMMY KLEEN'S HOUSE - FOYER - MOMENTS LATER</stage_direction> <scene_description>Jake runs through the house and casually files in with the group now walking down into the basement.</scene_description> <character>MIKEY TROTTER</character> <dialogue>How did you--?</dialogue> <scene_description>Jake just smiles as he removes his shoes.</scene_description> </scene> <scene> <stage_direction>INT. TIMMY KLEEN'S HOUSE - BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Ten lucky kids and Jake sit facing Kleen who stands dramatically before them. He raises his gloved fist.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Gentlemen. Behold! The power of the Power Glove!</dialogue> <scene_description>Kleen presses play on the dual deck boom box.</scene_description> <character>TIMMY KLEEN (V.O.)</character> <dialogue>Timmy's audio journal. Well, I peed on myself a little bit today--</dialogue> <scene_description>Kleen shuts off the tape. He pressed the wrong tape deck.</scene_description> <character>TIMMY KLEEN</character> <dialogue>No one heard that!</dialogue> <scene_description>Everyone stifles their laughter.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Behold! The power of the Power Glove!</dialogue> <scene_description>Kleen presses play on the other tape deck and "DANGER ZONE" by Kenny Loggins plays. Way too into it, Kleen starts playing DOUBLE DRAGON, a violent fighting game. Everyone watches, excited.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh man this was it! The Power Glove at last! Each one of us in that basement knew we were about to witness history.</dialogue> <scene_description>Kleen starts throwing punches.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Hi-ya!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>We just didn't know what kind yet.</dialogue> <character>TIMMY KLEEN</character> <dialogue>I said hi-ya!</dialogue> <scene_description>Kleen has trouble controlling his character on screen.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>You gotta kick him Kleen.</dialogue> <character>TIMMY KLEEN</character> <dialogue>I'm trying! Hi-ya! Hi-ya!</dialogue> <scene_description>Kleen's character just stands there, getting pummeled.</scene_description> <character>MIKEY TROTTER</character> <dialogue>You're getting killed man.</dialogue> <character>TIMMY KLEEN</character> <dialogue>Do what I say! Do what I say!</dialogue> <scene_description>Kleen jiggles the cord connected to the glove. He tries a few different buttons, nothing works.</scene_description> <character>TIMMY KLEEN</character> <dialogue>What's wrong with this thing?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>And that's when we realized. In the span of about fifteen seconds. A horror that has haunted our generation ever since.</dialogue> <character>MIKEY TROTTER</character> <dialogue>This thing sucks.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>The Power Glove sucked.</dialogue> <character>JAKE</character> <dialogue>It doesn't work at all!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>It didn't work at all.</dialogue> <character>TIMMY KLEEN</character> <dialogue>NOOOOOOOO!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Maybe it was the glove. Maybe it was the song. Maybe it was because he was just such a magnificent spaz. But Timmy Kleen lost his dang mind that day.</dialogue> <scene_description>Kleen loses it. He starts flailing about. Pounding the carpet. Kicking and screaming. Lacy Dog barks like a maniac.</scene_description> <character>TIMMY KLEEN</character> <dialogue>Stupid glove! Stupid game! Why are you so stupid?!</dialogue> <scene_description>The boys watch in amusement as Kleen starts to karate chop and kick anything he can find.</scene_description> <character>MIKEY TROTTER</character> <dialogue>You tell 'em Kleen!</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Yeah, show us your moves Kleen!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>The taunting probably didn't help either.</dialogue> <character>JAKE</character> <dialogue>Go Kleen go! Tae Kwan Do!</dialogue> <character>EVERYONE</character> <dialogue>Go Kleen go! Tae Kwon Do! Go Kleen go! Tae Kwon Do!</dialogue> <scene_description>The couch is in hysterics, chanting. Kleen starts doing Karate moves in a blind rage. Lacy Dog barks like crazy.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And then. It happened.</dialogue> <scene_description>Kleen suddenly locks his eyes on a target across the room and we go into SLOW MOTION...</scene_description> <character>TIMMY KLEEN</character> <dialogue>RRRRAAAAHHHHHH!</dialogue> <scene_description>Kleen charges the TV. He takes flight and jump kicks the screen. It rocks back and forth on impact.</scene_description> <character>EVERYONE</character> <dialogue>NOOOOO!</dialogue> <scene_description>We now notice Lacy Dog sitting directly under it, still barking. The TV lurches forward. The kids all watch it fall to the ground. The barking stops.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Broken stained glass window. Swallowed marble. Show Biz Pizza party compared to this. For there, lying under the weight a smashed forty two inch television set was a dead dog.</dialogue> <character>ANNIE (V.O.)</character> <dialogue>What?!</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S OFFICE - LATER - PRESENT DAY - DAY</stage_direction> <scene_description>Back to present day. Annie's face fills the frame, upset.</scene_description> <character>ANNIE</character> <dialogue>The dog dies?! There's a dead dog in this story?!</dialogue> <character>ADULT JAKE</character> <dialogue>It was the eighties, what can I tell you. Stuff got real.</dialogue> <scene_description>We notice that Annie and Jake have been playing Super Mario Brothers. The game has been paused on the TV.</scene_description> <character>ANNIE</character> <dialogue>Are you making all of this up?</dialogue> <character>ADULT JAKE</character> <dialogue>No way.</dialogue> <character>ANNIE</character> <dialogue>I don't believe you. I'm Googling Nintendo.</dialogue> <character>ADULT JAKE</character> <dialogue>Be my guest.</dialogue> <character>BETH (O.S.)</character> <dialogue>Jake?</dialogue> <scene_description>Beth knocks on Jake's door. Jake gets up to answer it. Annie nibbles on a cookie as she heads toward Jake's computer.</scene_description> <character>ADULT JAKE</character> <dialogue>And no more cookies. This story's backfiring on me here, you're supposed to be asleep by now.</dialogue> <scene_description>Jake approaches Beth at the door.</scene_description> <character>ADULT JAKE</character> <dialogue>What's up?</dialogue> <character>BETH</character> <dialogue>I pushed it an hour, but they want an answer.</dialogue> <scene_description>Beth hands Jake a large file, gives him a hopeful look.</scene_description> <character>BETH</character> <dialogue>It's a big contract, Jake.</dialogue> <character>JAKE</character> <dialogue>I know, I know.</dialogue> <character>BETH</character> <dialogue>You want another Christmas cookie Annie?</dialogue> <character>ANNIE</character> <dialogue>Yes please!</dialogue> <character>JAKE</character> <dialogue>She does not. Thank you Beth.</dialogue> <scene_description>Jake turns to Annie who is now on his computer.</scene_description> <character>ANNIE</character> <dialogue>So Power Glove didn't come out til 1989. And Nintendo came out in 1985 not 1988. Your dates are all wrong.</dialogue> <character>ADULT JAKE</character> <dialogue>Well I guess I should stop telling the story then.</dialogue> <character>ANNIE</character> <dialogue>No! I mean, you can still tell it if you want.</dialogue> <character>ADULT JAKE</character> <dialogue>And then you'll take a nap?</dialogue> <character>ANNIE</character> <dialogue>Uh-huh. What happened next? In the basement? What did you do?</dialogue> <scene_description>Jake looks at his file for a second. Then at Annie.</scene_description> <character>ADULT JAKE</character> <dialogue>Well, we did what every other rational, thoughtful, intelligent kid would've done in our position.</dialogue> <character>ANNIE</character> <dialogue>You ran away?</dialogue> <character>ADULT JAKE</character> <dialogue>So fast.</dialogue> </scene> <scene> <stage_direction>EXT. TIMMY KLEEN'S HOUSE - MOMENTS LATER - DAY</stage_direction> <scene_description>WHOOSH! Kleen's front door flies open and eleven screaming kids come pouring out. Some try to put their boots on as they run, others just sprint away in their stocking feet. Evan Olsen and a few other stragglers sit outside.</scene_description> <character>EVAN OLSEN</character> <dialogue>What happened?! What happened?!</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Get outta here!</dialogue> <scene_description>Jake holds his shoes in his hands and hops on the back of Trotter's bike as Trotter pedals away.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was the endo of Nintendo as we knew it. So many thoughts raced through my head. Would I be arrested? Would I go to jail? Or worse, would my parents find out?</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Jake sits at the table, nervously picking at his dinner.</scene_description> <character>PATTY DOYLE</character> <dialogue>So. What happened today? What did you do after school, Jake?</dialogue> <character>JOHN DOYLE</character> <dialogue>Nothing to do with a certain dog I bet.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh god. This was it. This was the end.</dialogue> <character>JOHN DOYLE</character> <dialogue>You see my boots over there? You see what's all over them?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Saw dust? Rage?</dialogue> <character>JOHN DOYLE</character> <dialogue>Poop. You never picked up Elwood's dog poop in the back yard did you?</dialogue> <scene_description>Jake exhales, relieved. The Doyle's golden lab ELWOOD looks up from the floor sadly.</scene_description> <character>JOHN DOYLE</character> <dialogue>Look at him. Poor guy can barely walk around back there.</dialogue> <character>JAKE</character> <dialogue>Sorry Dad, I forgot.</dialogue> <character>JOHN DOYLE</character> <dialogue>This weekend. Before it snows again and we can't get to it til April.</dialogue> <character>PATTY DOYLE</character> <dialogue>It's supposed to snow tonight, dear.</dialogue> <character>JOHN DOYLE</character> <dialogue>Says who? Skilling? Guy doesn't know what he's talking about.</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - FAMILY ROOM - THE NEXT MORNING</stage_direction> <scene_description>Chicago weatherman TOM SKILLING does his cheery morning forecast on WGN TV.</scene_description> <character>TOM SKILLING</character> <dialogue>Just like I said. Snow! Snow! Snow!</dialogue> <scene_description>Jake and John look out the window. It's definitely snowing.</scene_description> <character>JAKE</character> <dialogue>Yes!</dialogue> <character>JOHN DOYLE</character> <dialogue>God bless it.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Patty, still in that leotard, cooks eggs on the stove. Lizzy stares out the kitchen window.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Are we gonna have a snow day today Mommy?</dialogue> <character>PATTY DOYLE</character> <dialogue>I wouldn't count on it dear.</dialogue> <scene_description>Patty adjusts the knob to a RADIO above the stove.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Of course not. In the history of Batavia, Illinois there had never been a snow day. Not a single one. It could be twenty below with a Soviet attack on the way and we'd still have school.</dialogue> <scene_description>Jake enters the kitchen and stands next to Lizzy. The two stare up at the radio, hopeful.</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>...and St. Charles in Dupage County. In Kane County, school closings are as follows: Geneva, Oswego, Elburn, South Elgin, North Aurora...</dialogue> <character>JAKE</character> <dialogue>Come on...</dialogue> <character>RADIO ANNOUNCER</character> <dialogue>And that's it.</dialogue> <character>JAKE</character> <dialogue>No!</dialogue> <character>LIZZY DOYLE</character> <dialogue>Stupid.</dialogue> <character>PATTY DOYLE</character> <dialogue>That's enough you two. Coats and gloves on the double. And Jake. Don't forget your boots this time.</dialogue> <scene_description>Lizzy smiles slyly.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Yeah, don't forget your boots Jake.</dialogue> <scene_description>Jake just closes his eyes in pain.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>There was a slight problem with that.</dialogue> </scene> <scene> <stage_direction>EXT. DOYLE HOUSE - MOMENTS LATER - DAY</stage_direction> <scene_description>Jake steps out onto the porch, looking sick to his stomach.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>My mother, in a Kohl's coupon induced bout of madness, had accidentally bought me girls boots.</dialogue> <scene_description>Tilt down to reveal PURPLE ESPRIT BOOTS on Jake's feet. Boy George's "DO YOU REALLY WANT TO HURT ME" plays-- and will play every time we see the boots. Lizzy, now dressed in a one piece snowsuit smiles, mockingly.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Pretty.</dialogue> <scene_description>Jake scowls and walks down the steps.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>The boots were purple, with pretty white trim and pretty white letters that said ESPRIT, a word that I'd later learn was not only synonymous with female fashion but also French!</dialogue> <scene_description>Jake ducks behind a tree and takes a knee in the snow.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And they were a death sentence if anyone ever saw me in them.</dialogue> <character>JAKE</character> <dialogue>Just go ahead, I'll catch up.</dialogue> <scene_description>Jake pulls shoes out of his bag, starts to remove his boots.</scene_description> <character>LIZZY DOYLE</character> <dialogue>You shouldn't be doing that.</dialogue> <character>JAKE</character> <dialogue>I'll catch up.</dialogue> <character>LIZZY DOYLE</character> <dialogue>You're not supposed to let me walk by myself.</dialogue> <character>JAKE</character> <dialogue>Then wait a second and shut up.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Oooh. You said a swear.</dialogue> <character>JAKE</character> <dialogue>Shut up's not a swear.</dialogue> <character>LIZZY DOYLE</character> <dialogue>You said it again.</dialogue> <character>JAKE</character> <dialogue>I got a lot on my mind Lizzy!</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL PLAYGROUND - LATER THAT MORNING - DAY</stage_direction> <scene_description>Jake, now in his shoes, Trotter and Olsen sit at the base of the snow mound, thinking. Up above them we hear the constant sounds of Delund's taunts and kids' screams.</scene_description> <character>DAN DELUND (O.S.)</character> <dialogue>You like that?!</dialogue> <character>KID (O.S.)</character> <dialogue>Noooooo!</dialogue> <character>EVAN OLSEN</character> <dialogue>Are we even sure the dog's dead?</dialogue> <character>MIKEY TROTTER</character> <dialogue>You ever see the end of Raiders of the Lost Arc?</dialogue> <character>EVAN OLSEN</character> <dialogue>Yeah?</dialogue> <character>MIKEY TROTTER</character> <dialogue>It looked like that.</dialogue> <character>EVAN OLSEN</character> <dialogue>Jesus.</dialogue> <character>JAKE</character> <dialogue>The dog's dead, Olsen.</dialogue> <character>DAN DELUND (O.S.)</character> <dialogue>I am literally going to murder you!</dialogue> <character>KID (O.S.)</character> <dialogue>Nooooo!</dialogue> <character>EVAN OLSEN</character> <dialogue>Are we gonna get in trouble?</dialogue> <character>JAKE</character> <dialogue>I dunno. All I know is we gotta find another Nintendo now.</dialogue> <scene_description>Tommy comes tumbling down the hill, lands there in a heap.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>Hey, we talked to Kleen.</dialogue> <scene_description>Ryan comes tumbling down right after him.</scene_description> <character>RYAN GRUSECKI</character> <dialogue>Hey, we talked to Kleen.</dialogue> <character>JAKE</character> <dialogue>What'd he say?</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Nothing. He says he doesn't want to talk about it. It was weird, but I don't think we're in trouble.</dialogue> <character>EVAN OLSEN</character> <dialogue>Thank God.</dialogue> <character>DAN DELUND (O.S.)</character> <dialogue>Is that all you babies got?!</dialogue> <scene_description>Josh Farmer comes running up, out of breath.</scene_description> <character>JOSH FARMER</character> <dialogue>Hey! Did you guys hear?!</dialogue> <character>MIKEY TROTTER</character> <dialogue>Yes, we heard about the dog Farmer, we were there, remember?</dialogue> <character>JOSH FARMER</character> <dialogue>No, the Cub Scouts! They're giving away a Nintendo this year! Whoever sells the most wreathes in the wreath selling contest gets one!</dialogue> <character>JAKE</character> <dialogue>No way.</dialogue> <character>JOSH FARMER</character> <dialogue>Yes way! A sixth grader just told me!</dialogue> <character>MIKEY TROTTER</character> <dialogue>The same sixth grader who told you there were tryouts for the A-Team?</dialogue> <character>JOSH FARMER</character> <dialogue>That wasn't-- that was a different-- Murdoch's gotta go guys.</dialogue> <character>DAN DELUND (O.S.)</character> <dialogue>Alright then! I guess I gotta come down there and start pounding people!</dialogue> <scene_description>The boys all groan, scramble for their bags and run off toward the school as the bell rings. Farmer yells after them.</scene_description> <character>JOSH FARMER</character> <dialogue>Fine. You don't have to believe me! I'm gonna win the Nintendo anyway! I already sold sixty seven wreathes already!</dialogue> <character>JOSH FARMER</character> <parenthetical>(then, to himself)</parenthetical> <dialogue>Tell me what to do. I do what I want.</dialogue> <character>DAN DELUND (O.S.)</character> <dialogue>I see you Farmer!</dialogue> <character>JOSH FARMER</character> <dialogue>Dang it.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM - LATER - DAY</stage_direction> <scene_description>Jake sits in his desk. MRS. HUGO (30's, perpetual head cold) teaches at the front of the class.</scene_description> <character>MRS. HUGO</character> <dialogue>It's called... The Dewey Decimal system. That's right.</dialogue> <scene_description>Mrs. Hugo underlines "Dewey Decimal System" on the board.</scene_description> <character>MRS. HUGO</character> <dialogue>This is a skill you will definitely need to know as adults. Just like cursive.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>By mid morning Nintendo prize rumors were circulating like Mario Brother fireballs.</dialogue> <scene_description>Trotter leans back in his seat and whispers to Olsen.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Farmer says first prize comes with a Power Pad too, pass it on.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>However ridiculous Farmer's Cub Scout story was, we were all starting to believe it.</dialogue> <scene_description>Olsen leans back to Jake.</scene_description> <character>EVAN OLSEN</character> <dialogue>First prize comes with a Power Pad, pass it on.</dialogue> <scene_description>Jake leans back to Tommy Grusecki.</scene_description> <character>JAKE</character> <dialogue>First prize comes with--</dialogue> <character>MRS. HUGO</character> <dialogue>Jake Doyle!</dialogue> <scene_description>Jake just sits there, caught.</scene_description> <character>MRS. HUGO</character> <dialogue>Is there something you'd like to share with the class?</dialogue> <character>JAKE</character> <dialogue>No.</dialogue> <character>MRS. HUGO</character> <dialogue>Don't think I haven't been watching you. You're the only one in here with wet shoes. You know the rules. No boots. No recess.</dialogue> <character>JAKE</character> <dialogue>But--</dialogue> <character>MRS. HUGO</character> <dialogue>No buts. Now I expect to see you in boots at recess, or your name goes on the board. With a check.</dialogue> <scene_description>The class turns to face Jake, concerned.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh God, not a check. No one even knew what that meant. The only kid who ever got one was Dan Delund and he lived in the principal's office. I did not want to end up there.</dialogue> <scene_description>Jake looks at the board to see Dan Delund's name up there with a series of checks. Jake looks to see Delund's empty seat in the class-- a sign of his absence.</scene_description> <character>MRS. HUGO</character> <dialogue>So what's it gonna be Mr. Doyle? Boots? Or a check?</dialogue> <scene_description>Jake closes his eyes again. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PLAYGROUND - LATER - DAY</stage_direction> <scene_description>"DO YOU REALLY WANT TO HURT ME" plays. Jake's girls boots tap nervously in the snow. He hides awkwardly behind a garbage can on the perimeter of the playground. All around him, recess is in full swing.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Over the years I'd come to find that garbage cans were great hiding places. They were solid, abundant, and they smelled really bad, so people tended to stay away from them.</dialogue> <scene_description>Jake catches a whiff, scowls.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Unless of course they needed you on their football team.</dialogue> <scene_description>Twenty yards away, two teams are about to square off for a game of snow football on the blacktop. Delund and his team on one side, Trotter's team on the side closest to Jake.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Jake, come on! You're on our team!</dialogue> <character>JAKE</character> <dialogue>Just play without me!</dialogue> <character>MIKEY TROTTER</character> <dialogue>What are you doing back there? Is there a dead squirrel again?</dialogue> <scene_description>Trotter trots over with the ball.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Is it all furry and frozen-- Dude! You're wearing Katie Sorrentino's boots.</dialogue> <character>JAKE</character> <dialogue>They're mine.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Oh man.</dialogue> <scene_description>Delund calls from the other end of the blacktop.</scene_description> <character>DAN DELUND</character> <dialogue>Let's go Trotter! You baby!</dialogue> <character>MIKEY TROTTER</character> <dialogue>We gotta get you outta here. If Delund sees you he'll kill you.</dialogue> <scene_description>Olsen runs over.</scene_description> <character>EVAN OLSEN</character> <dialogue>Hey, what are-- Oh my GOD! You're wearing Katie Sorrentino's boots!</dialogue> <character>JAKE</character> <dialogue>They're mine.</dialogue> <scene_description>Out on the blacktop Delund's had enough.</scene_description> <character>DAN DELUND</character> <dialogue>That's it! I'm coming over there!</dialogue> <character>JAKE</character> <dialogue>What do I do?</dialogue> <scene_description>The guys panic. Delund jogs toward the group.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Answering too many math questions, having insufficient fruit roll ups for the taking, these were grounds for physical retaliation. But girls' boots? There was no telling what Delund would do.</dialogue> <character>DAN DELUND</character> <dialogue>I call dibs if there's a dead squirrel back there again--</dialogue> <scene_description>Delund notices the boots and stops short. Bewildered. Angry.</scene_description> <character>DAN DELUND</character> <dialogue>What the--?! Are those..?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Painfully, my mind flipped through the Rolodex of punishment I was about to endure.</dialogue> <scene_description>Jake takes his retainer out, preparing for the beating.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Weeks of wedgies, swirlies, dead legs, dead arms, dead torsos--</dialogue> <character>DAN DELUND</character> <dialogue>I think we got ourselves a pair of girls' boots here.</dialogue> <scene_description>Delund grabs Jake by the coat, holds him up.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>But then, I heard the voice of an angel.</dialogue> <character>JOSH FARMER (O.S.)</character> <dialogue>HEY! HEY YOU GUYS! YOU GUYS!</dialogue> <scene_description>Farmer runs across the playground waving a green flyer.</scene_description> <character>JOSH FARMER</character> <dialogue>I got proof! The Cub Scout "take home note"! It says it right here! Proof it's a Nintendo! It really is a Nintendo!</dialogue> <scene_description>Delund drops Jake and grabs Farmer's flyer. This is bigger news than girls' boots any day. A crowd starts to gather.</scene_description> <character>DAN DELUND</character> <dialogue>Just a picture of a dumb wreath. So what?</dialogue> <character>JOSH FARMER</character> <dialogue>You gotta read it.</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"This year's first prize is a the perfect addition to any Cub Scout living room. The new Nintendo Entertainment System!"</dialogue> <scene_description>The boys' eyes widen. Maybe it is true. Delund grabs the flyer back, his disbelief vanishing. We see it in print.</scene_description> <character>DAN DELUND</character> <dialogue>"Nintendo Entertainment System."</dialogue> <scene_description>A beat. Delayed shock.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>By God, little Farmer had struck gold!</dialogue> <scene_description>The boys all cheer and jump around. Delund puts Farmer in a headlock and happily/violently nuggies his head.</scene_description> <character>JOSH FARMER</character> <dialogue>Ow. Ow. Okay, ow.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>A cheer went up among us. And for a brief moment, my girls' boots became a neglected side show. It was all I needed.</dialogue> <scene_description>Jake casually runs away toward the side of the school. Only Trotter, Olsen and Delund have seen the boots.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Ecstatic on several levels, I took off to hide behind the dumpster and contemplate the biggest wreath selling campaign to ever hit Batavia. That Nintendo was mine.</dialogue> <scene_description>Jake crouches behind a dumpster, giddy with excitement.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - JAKE'S BEDROOM - LATE AFTERNOON - DAY</stage_direction> <scene_description>Jake rushes into his room, tearing off his jacket. He's wearing his shoes now. Patty calls out from downstairs.</scene_description> <character>PATTY DOYLE (O.S.)</character> <dialogue>How was school honey?! What did you learn today?!</dialogue> <scene_description>Jake takes his boots out of his backpack, stuffs them under his bed. He grabs his Cub Scout uniform from his closet.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - LATE AFTERNOON - CONTINUOUS - DAY</stage_direction> <scene_description>Patty sits at the table with Lizzy. Patty drinks coffee, Lizzy drinks milk. They both flip through magazines.</scene_description> <character>LIZZY DOYLE</character> <dialogue>I learned about Brazil today.</dialogue> <character>PATTY DOYLE</character> <dialogue>Really?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Yes, it's in South America. They speak Portuguese there. Most people don't know that, but I do.</dialogue> <scene_description>Lizzy helps herself to a cookie, nibbling it thoughtfully.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Portuguese comes from Portugal. Do you think they have Cabbage Patch dolls in Portugal?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Ah yes. There were other Christmas plans hatching in the Doyle house.</dialogue> <character>PATTY DOYLE</character> <dialogue>Well Lizzy, I don't really--</dialogue> <scene_description>Jake comes flying through the kitchen. His Cub Scout uniform is half on half off. He slides across the floor.</scene_description> <character>PATTY DOYLE</character> <dialogue>Jake. Where are you--?</dialogue> <scene_description>No response, Jake is out the door.</scene_description> <character>LIZZY</character> <dialogue>They probably don't have Cabbage Patch dolls in Portugal. Those poor, poor children of Portugal...</dialogue> </scene> <scene> <stage_direction>EXT. STREET - OUTSIDE THE DOYLE HOUSE - CONTINUOUS - DAY</stage_direction> <scene_description>Jake comes flying out of the house buttoning up his blue Cub Scout shirt under his jacket. He wears a blue and gold Cub Scout ski cap and holds a clipboard and a pen.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Less than twenty minutes after the final school bell, I was fitted in my dress blues and on my way, secretly envisioning the acres of Alaskan pine forest needed to cover the amount of wreathes I was about to sell.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE ON JAKE'S STREET - CONTINUOUS - DAY</stage_direction> <scene_description>Jake rushes up the steps of a neighboring house to make his first sale. He knocks confidently on the door.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh I had it all planned out.</dialogue> <parenthetical>(sales voice)</parenthetical> <dialogue>"Yes, I'm with the Cub Scouts ma'am. And without your help, thousands of boys may become drug addicts and communists before the year 1997. All we need from you is a bit of generosity in the form of a marvelous Merry Christmas wreath!"</dialogue> <scene_description>The door opens. An imposing FAT MAN stands there.</scene_description> <character>FAT MAN</character> <dialogue>WHAT?!</dialogue> <scene_description>Jake freezes, scared.</scene_description> <character>JAKE</character> <dialogue>Uh. Communists.</dialogue> <character>FAT MAN</character> <dialogue>What? What is it?</dialogue> <scene_description>Jake just stands there, stammering.</scene_description> <character>FAT MAN</character> <dialogue>Look kid they got Ditka on WGN tellin' ethnic jokes, whaddya want?</dialogue> <character>JAKE</character> <dialogue>Uh, hello, my name is--</dialogue> <character>FAT MAN</character> <dialogue>Wait, are you trying to sell me something?</dialogue> <scene_description>The Fat Man points to a small white sign next to the door that reads "No Solicitors".</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Solicitors? Oh no, I'm with the Cub Scouts sir.</dialogue> <character>JAKE</character> <dialogue>Wanna buy a wreath?</dialogue> <scene_description>The Fat Man looks at his door. It already has a wreath on it.</scene_description> <character>FAT MAN</character> <dialogue>You got a learning disability?!</dialogue> <scene_description>Jake just stares at him blankly.</scene_description> <character>FAT MAN</character> <parenthetical>(concerned)</parenthetical> <dialogue>Wait, you don't really got a learning disability do you?</dialogue> <scene_description>Jake shakes his head "no".</scene_description> <character>FAT MAN</character> <dialogue>Good.</dialogue> <scene_description>The Fat Man slams the door shut in Jake's face.</scene_description> <character>JOSH FARMER (O.S.)</character> <dialogue>Gotta look out for those "No Solicitors" signs.</dialogue> <scene_description>Jake turns to see Josh Farmer walking up the steps of the house next door. Like Jake, he wears a Cub Scout hat and holds a clipboard.</scene_description> <character>JAKE</character> <dialogue>What are you doing here Farmer?</dialogue> <character>JOSH FARMER</character> <dialogue>Just out for a stroll.</dialogue> <scene_description>Farmer smiles, rings the bell.</scene_description> <character>JAKE</character> <dialogue>You can't sell wreathes here.</dialogue> <character>JOSH FARMER</character> <dialogue>Why's that?</dialogue> <character>JAKE</character> <dialogue>Because this is my block, that's the rule.</dialogue> <character>JOSH FARMER</character> <dialogue>You think there are rules here, Doyle? There are no rules.</dialogue> <character>JAKE</character> <dialogue>That Nintendo's mine!</dialogue> <character>JOSH FARMER</character> <dialogue>I already sold sixty seven wreathes already.</dialogue> <character>JAKE</character> <dialogue>To who?</dialogue> <character>JOSH FARMER</character> <dialogue>People. Your mom.</dialogue> <character>JAKE</character> <dialogue>You're full of it Farmer.</dialogue> <character>JOSH FARMER</character> <dialogue>We'll see about that.</dialogue> <scene_description>A HOUSE WIFE opens the door in front of Josh. Josh smiles.</scene_description> <character>JOSH FARMER</character> <dialogue>Hello ma'am. That's a lovely blouse you're wearing. Let me ask you a question. Do you love your country?</dialogue> <scene_description>Farmer's good. Jake scowls, rolls up his sleeves. This isn't gonna be easy. The Jam's "TOWN CALLED MALICE" kicks in and we begin our wreath selling montage!</scene_description> </scene> <scene> <stage_direction>EXT/INT. VARIOUS LOCATIONS - MONTAGE - DAY</stage_direction> <scene_description>Cub Scouts hustle up and down sidewalks and staircases all over town. The boys in blue are out in force.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>All over town Cub Scouts pounded the pavement in record numbers.</dialogue> <scene_description>Various Cub Scouts stand on different door steps and porches.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Merry Christmas sir.</dialogue> <character>EVAN OLSEN</character> <dialogue>It's that time of year again.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>You're in luck.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>A swarm of snot nosed Gordon Gekkos had been born.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>I'm talking top of the line.</dialogue> <character>EVAN OLSEN</character> <dialogue>Totally tax deductible.</dialogue> <character>JOSH FARMER</character> <dialogue>A hundred percent recyclable.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Flame resistant.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Non toxic.</dialogue> <character>EVAN OLSEN</character> <dialogue>Christmas wreathes!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>All in the name of Nintendo. And it was every man for himself.</dialogue> <scene_description>- Two CUB SCOUTS argue outside a JEWEL GROCERY STORE.</scene_description> <character>CUB SCOUT 1</character> <dialogue>I was here first!</dialogue> <character>CUB SCOUT 2</character> <dialogue>Were not!</dialogue> <character>CUB SCOUT 1</character> <dialogue>Was too! I got Jewel! You take the White Hens!</dialogue> <character>CUB SCOUT 1</character> <dialogue>No one goes to White Hens!</dialogue> <scene_description>- Two CUB SCOUTS race toward the same door, then wrestle on the front porch trying to be the first one to ring the bell. - The PAPER BOY rides down the street, chucking papers with a bright red WREATH ORDER FORM wrapped onto every one. - The Cub Scouts at the Jewel now have each other in head locks. A SALVATION ARMY SANTA CLAUS tries to break them up.</scene_description> <character>SALVATION ARMY SANTA</character> <dialogue>Guys, guys!</dialogue> <scene_description>- A bare fingered glove bangs on a door.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Kids who weren't even in Cub Scouts were getting in on the action.</dialogue> <scene_description>Pull back to reveal Dan Delund. He's written CUB SCOUT on a piece of masking tape and taped it to his White Snake hat.</scene_description> <character>DAN DELUND</character> <dialogue>Your mom home? No? Okay you just bought three wreathes.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Even I was getting the hang of it.</dialogue> <scene_description>- Jake stands on a few porches, more confident.</scene_description> <character>JAKE</character> <dialogue>Hello sir.</dialogue> <character>JAKE</character> <dialogue>Hello ma'am.</dialogue> <scene_description>- Jake stands before his ancient neighbor MISS SHERMAN (90s, bathrobe and slippers). She can barely hear or see.</scene_description> <character>JAKE</character> <dialogue>Hello Miss Sherman. It's Jake Doyle from down the street.</dialogue> <character>MISS SHERMAN</character> <dialogue>Who?</dialogue> <character>JAKE</character> <dialogue>JAKE DOYLE FROM DOWN THE STREET!</dialogue> <scene_description>- Jake stands on another doorstep.</scene_description> <character>JAKE</character> <dialogue>Wanna buy a wreath?</dialogue> <scene_description>- Jake stands in the Christmas decorations aisle of a hardware store next to a MAN HOLDING CHRISTMAS LIGHTS.</scene_description> <character>JAKE</character> <dialogue>Wanna buy a wreath?</dialogue> <scene_description>- Jake stands on a doorstep next to a PIZZA DELIVERY GUY waiting for the door to open. Jake turns to the pizza guy.</scene_description> <character>JAKE</character> <dialogue>Wanna buy a wreath?</dialogue> <scene_description>- Back to old Miss Sherman.</scene_description> <character>JAKE</character> <dialogue>Would you like to buy a wreath?</dialogue> <character>MISS SHERMAN</character> <dialogue>Teeth? I don't have any teeth.</dialogue> <character>JAKE</character> <dialogue>A WREATH! WOULD YOU LIKE TO BUY A</dialogue> <character>WREATH MISS SHERMAN?!</character> <dialogue>MISS SHERMAN</dialogue> <scene_description>Oh, yes indeedy. Come on in. I'll make ya some sandwiches. Miss Sherman pulls him inside. Jake groans. - Farmer steps out of a house smiling. It's DUSK out now.</scene_description> <character>JOSH FARMER</character> <dialogue>And God bless the United States of America! You have yourself a merry Christmas Mrs. Doyle.</dialogue> <scene_description>Farmer's just sold a wreath to Jake's mom. He skips down the steps and pats a stunned Jake on the shoulder.</scene_description> <character>JOSH FARMER</character> <dialogue>Told ya.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - LATER - NIGHT</stage_direction> <scene_description>Jake sits at the dinner table, fuming. At the counter, Patty cuts up vegetables for some large dinner salads.</scene_description> <character>JAKE</character> <dialogue>Did it have to be Farmer?</dialogue> <scene_description>John enters through the backdoor, carrying a bucket of tools. He's clearly been working outside on the house.</scene_description> <character>PATTY DOYLE</character> <dialogue>I'm sorry. You hate selling wreathes. How was I supposed to know you were going to do it this year.</dialogue> <character>LIZZY DOYLE</character> <dialogue>He only cares about it now because they're giving away a Ninten--</dialogue> <scene_description>Jake kicks the table, coughs.</scene_description> <character>JAKE</character> <dialogue>A night in Chicago. Yeah, it's a new prize. At a hotel I think.</dialogue> <character>PATTY DOYLE</character> <dialogue>That's a weird prize.</dialogue> <scene_description>Lizzy smiles, delighted.</scene_description> <character>LIZZY DOYLE</character> <dialogue>That is a weird prize. Don't you think that's a weird prize Dad?</dialogue> <scene_description>John rummages through the refrigerator, not listening.</scene_description> <character>JOHN DOYLE</character> <dialogue>God bless it. Where the hell is it?</dialogue> <character>PATTY DOYLE</character> <dialogue>Screwdriver's in the butter dish.</dialogue> <scene_description>John pulls a screwdriver out of the butter dish.</scene_description> <character>JOHN DOYLE</character> <dialogue>No that's not it.</dialogue> <scene_description>John puts it back. He rummages more.</scene_description> <character>PATTY DOYLE</character> <dialogue>What are you looking for?</dialogue> <character>JOHN DOYLE</character> <dialogue>My gourmet sausage.</dialogue> <scene_description>Jake looks around nervously.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Whoopsie...</dialogue> <character>JOHN DOYLE</character> <dialogue>How the hell do you lose a sausage?</dialogue> <character>PATTY DOYLE</character> <dialogue>I'm sure it will turn up honey. Have a seat, dinner's ready.</dialogue> <character>JOHN DOYLE</character> <dialogue>I wanna eat it with dinner.</dialogue> <character>PATTY DOYLE</character> <dialogue>We're having salads.</dialogue> <character>JOHN DOYLE</character> <dialogue>That's why I wanna eat the sausage!</dialogue> <scene_description>Patty sits. John sits down in a huff.</scene_description> <character>JAKE</character> <dialogue>Maybe Elwood ate it, Dad. He's been pooping so much lately.</dialogue> <character>JOHN DOYLE</character> <dialogue>He has, hasn't he. You know how I know that? Because it's still not picked up.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Whoopsie again.</dialogue> <character>JAKE</character> <dialogue>It snowed.</dialogue> <character>JOHN DOYLE</character> <dialogue>That's no excuse. Tomorrow morning. You and that shovel. Back yard.</dialogue> <character>JAKE</character> <dialogue>But I'm totally supposed to sell wreathes all day.</dialogue> <character>JOHN DOYLE</character> <dialogue>Too bad. And stop saying totally.</dialogue> <character>JAKE</character> <dialogue>That's not fair.</dialogue> <character>JOHN DOYLE</character> <dialogue>You want fair? I'll give you fair! Every day I go to work and bust my--</dialogue> <character>PATTY DOYLE</character> <dialogue>--Innn the name of the father...</dialogue> <scene_description>Patty starts to make the sign of the cross, the signal that it's time to pray and eat. And that she's had enough.</scene_description> <character>PATTY DOYLE</character> <dialogue>And of the Son and of the Holy Spirit amen.</dialogue> <character>JOHN DOYLE</character> <dialogue>Gourmet sausage!</dialogue> <character>ALL THE DOYLES</character> <dialogue>Bless us, oh Lord, for these thy gifts...</dialogue> <scene_description>The Doyles all mumble their way through the Catholic dinner prayer. John sputters. Jake cringes. Lizzy smiles.</scene_description> </scene> <scene> <stage_direction>EXT. DOYLE HOUSE - BACKYARD - MORNING - DAY</stage_direction> <scene_description>Jake stands in the backyard, a small shovel over his shoulder and a garbage bag in his had. Elwood pops a squat in the snow nearby, panting almost mockingly at Jake.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Elwood was one year older than myself and in that eleven year span I was convinced he had pooped more times than any other dog, in the history of the world.</dialogue> <scene_description>Jake scans the yard. Despite the recent snow fall, little black poo specs still dot the lawn. John heads toward the shed carrying half a hardware store. The shed sits in a tucked away corner of the yard next to a cluster of large trees.</scene_description> <character>JAKE</character> <dialogue>What's Lizzy doing? She can't help?</dialogue> <character>JOHN DOYLE</character> <dialogue>Lizzy's being six years old right now Jake. Just pick it up.</dialogue> <scene_description>Jake scowls. John sighs.</scene_description> <character>JOHN DOYLE</character> <dialogue>C'mere. Take a deep breath.</dialogue> <scene_description>John takes a deep breath, soaking in the winter air.</scene_description> <character>JOHN DOYLE</character> <dialogue>Smell that?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Poo?</dialogue> <character>JOHN DOYLE</character> <dialogue>Fresh air. That's all we had and we loved it. You know, when I was your age we didn't have Nintendos. We used to build forts in the woods all day. Can you believe that? We'd gather up old lumber, siding, whatever we could find. We made look out towers, rope ladders...</dialogue> <character>JAKE</character> <dialogue>Trap doors?</dialogue> <character>JOHN DOYLE</character> <dialogue>Yeah, trap doors too.</dialogue> <character>JAKE</character> <dialogue>Cool.</dialogue> <character>JOHN DOYLE</character> <dialogue>It was cool. We'd work on 'em all year round.</dialogue> <character>JAKE</character> <dialogue>Kinda like the house?</dialogue> <character>JOHN DOYLE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>Yeah. Kinda like the house.</dialogue> <scene_description>John and Jake trade a smile. A nice moment between the two for a change. They watch as Elwood finishes up his business.</scene_description> <character>JOHN DOYLE</character> <dialogue>Cry in a bucket that dog poops a lot.</dialogue> <character>JAKE</character> <dialogue>Yeah.</dialogue> <character>JOHN DOYLE</character> <dialogue>Do that one last. Let it freeze.</dialogue> <scene_description>John heads to the shed. Jake grabs his shovel, gets to work.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - JAKE'S ROOM - LATER - DAY</stage_direction> <scene_description>Jake trudges into his room, tired from a morning of picking up poop. He opens his closet to grab his Cub Scout uniform.</scene_description> <character>LIZZY DOYLE (O.S.)</character> <dialogue>We need to talk.</dialogue> <scene_description>Startled, Jake turns to see Lizzy coloring at his desk.</scene_description> <character>JAKE</character> <dialogue>What are you doing in my room?</dialogue> <character>LIZZY DOYLE</character> <dialogue>I need your help.</dialogue> <character>JAKE</character> <dialogue>With what?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Getting a Cabbage Patch. Santa didn't get me a She-Ra last year so I can't trust him. I gotta go through Mom and Dad.</dialogue> <character>JAKE</character> <dialogue>So what do you need me for?</dialogue> <character>LIZZY DOYLE</character> <dialogue>I need you to tell them to get me one. A red head named Dawn, with freckles. It looks bad if I say it all the time. And we gotta act fast.</dialogue> <scene_description>Lizzy points to a TIME MAGAZINE article next to her coloring book. A headline reads "CABBAGE PATCH KIDS IN RECORD DEMAND." A picture shows two MOMS fighting over a doll.</scene_description> <character>JAKE</character> <dialogue>What are you gonna do for me?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Tell you how to win the Nintendo.</dialogue> <character>JAKE</character> <dialogue>You don't know how to win a Nintendo.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Okay never mind.</dialogue> <scene_description>Lizzy starts to pack up her stuff.</scene_description> <character>JAKE</character> <dialogue>Wait. Okay. How can I win it?</dialogue> <character>LIZZY DOYLE</character> <dialogue>You promise to help me get a Cabbage Patch?</dialogue> <character>JAKE</character> <dialogue>Sure.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Promise?</dialogue> <character>JAKE</character> <dialogue>Yes, I promise already. What is it?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Okay. You sold two wreathes to Miss Sherman yesterday right?</dialogue> <character>JAKE</character> <dialogue>How do you know that?</dialogue> <character>LIZZY DOYLE</character> <dialogue>Don't worry about it. She bought a lot because she's old, right?</dialogue> <character>JAKE</character> <dialogue>Not necessarily.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Yes necessarily. When you're old, you buy stuff from kids. That's what you do. So what you need are a bunch of old people all in one place so you don't have to track them all down.</dialogue> <character>JAKE</character> <dialogue>What's your point?</dialogue> <scene_description>Lizzy sets her crayon down and looks at Jake.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Prairie Pines. The nursing home. Two hundred old people with no where to go and nothing to do except buy wreathes from you.</dialogue> <scene_description>Jake almost has to sit down that's such a good idea.</scene_description> <character>JAKE</character> <dialogue>Wow. That's a really good idea.</dialogue> <character>LIZZY DOYLE</character> <dialogue>I know. So we got a deal or what?</dialogue> <scene_description>Jake does sit down, reeling from the brilliance of this.</scene_description> <character>JAKE</character> <dialogue>Yeah...</dialogue> <scene_description>Lizzy stands and hands Jake a drawing from her Cabbage Patch Coloring book-- a picture of the exact doll she wants.</scene_description> <character>LIZZY DOYLE</character> <dialogue>A redhead. With freckles. Don't mess it up.</dialogue> <scene_description>Lizzy exits the room.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIRIE PINES NURSING HOME - A LITTLE LATER - DAY</stage_direction> <scene_description>Jake rides his bike up to PRARIE PINES NURSING HOME. He wears his Cub Scout shirt and his nicest dress pants and dress shoes. His hair is combed and parted.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Ladies and gentlemen of Prairie Pines nursing home!</dialogue> </scene> <scene> <stage_direction>INT. PRAIRIE PINES NURSING HOME - MOMENTS LATER</stage_direction> <scene_description>Jake strides down the hall.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Allow me to introduce myself.</dialogue> <scene_description>Jake puts on a SANTA HAT as he rounds a corner and enters a large DINING HALL. Dozens of OLD FOLKS enjoy lunch together.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>I am Jake Doyle. Cutest Cub Scout alive!</dialogue> <scene_description>Jake stops in the doorway and waves adorably.</scene_description> <character>JAKE</character> <dialogue>Hello everybody.</dialogue> <scene_description>The entire dining hall looks up, delighted to have a little kid here visiting.</scene_description> <character>OLD FOLKS</character> <dialogue>Oh hello! / Merry Christmas!/ What a cute Cub Scout! / It's Santa's little helper!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>That's me.</dialogue> <character>OLD MAN</character> <dialogue>Well don't just stand there sonny, come on over.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Don't mind if I do.</dialogue> <scene_description>Jake clicks his pen, smiling. This is going to work.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE MINIVAN - THE NEXT DAY - DAY</stage_direction> <scene_description>The Doyles' '86 Chrysler Minivan heads east down I-290 toward Chicago. STEELY DAN'S "DO IT AGAIN" plays on the tape deck. Jake sits in the way back seat, happily studying his sales sheets. They are heavily filled in with new sales.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It took five hours and eleven cups of rice pudding, but I managed to sell a whopping eighty two wreathes to the nursing home. All thanks to Lizzy.</dialogue> <scene_description>Jake shuffles to Lizzy's Cabbage Patch Kid drawing. He gives Lizzy a nod. Lizzy nods back in solidarity.</scene_description> <character>JAKE</character> <dialogue>Hey mom. Did you know that Water Tower Place has the best selection of Cabbage Patch kids in Chicago?</dialogue> <character>PATTY DOYLE</character> <dialogue>I didn't know that, no.</dialogue> <character>JAKE</character> <dialogue>They do, which is good 'cause they're really flying off the shelves.</dialogue> <scene_description>John leans over to Patty as he drives, concerned.</scene_description> <character>JOHN DOYLE</character> <dialogue>He doesn't want a Cabbage Patch kid now does he?</dialogue> <character>PATTY DOYLE</character> <dialogue>Who knows with this one.</dialogue> <scene_description>A car suddenly cuts John off. He lays on the horn.</scene_description> <character>JOHN DOYLE</character> <dialogue>Oh! Just put it anywhere pal! Yeah!</dialogue> <scene_description>John scans the heavy traffic, shaking his head, muttering.</scene_description> <character>JOHN DOYLE</character> <dialogue>Everybody come on down to the city. All at once. All at the same time.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Ah yes, the annual Doyle Chicago Shopping Trip. Also known as my dad's least favorite day of the year.</dialogue> <character>PATTY DOYLE</character> <dialogue>You know, you could really use some new turtle necks John. Let's try some on today.</dialogue> <character>JOHN DOYLE</character> <dialogue>Sounds great.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>The shopping. The stress. The traffic. The tourists.</dialogue> <scene_description>John stews. Another car cuts him off. He lays on the horn.</scene_description> <character>JOHN DOYLE</character> <dialogue>Wisconsin plates! Shocker!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>The man held it together with nothing more than sheer will and a Steely Dan Mix tape.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Can we turn on Christmas carols?</dialogue> <character>JOHN DOYLE</character> <dialogue>No Christmas carols!</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE SHOPPING MALL - LATER - DAY</stage_direction> <scene_description>A group of elf costumed CHRISTMAS CAROLERS sing SLEIGH RIDE as they ride up a crowded escalator with the Doyles. The mall is PACKED. One ANNOYING CAROLER is inches from John's face.</scene_description> <character>PATTY DOYLE</character> <dialogue>Just breathe honey. Just breathe.</dialogue> <scene_description>This is John's hell.</scene_description> <character>JOHN DOYLE</character> <dialogue>They gotta put a bar in here.</dialogue> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE - MARSHALL FIELDS - LATER - DAY</stage_direction> <scene_description>Lizzy scurries ahead through the department store MARSHALL FIELDS. Jake walks with Patty. John lags behind carrying the day's shopping bags like a pack mule.</scene_description> <character>LIZZY DOYLE</character> <dialogue>There's the Cabbage Patch section!</dialogue> <character>PATTY DOYLE</character> <dialogue>Lead the way Lizzy.</dialogue> <scene_description>Lizzy charges ahead toward a big Cabbage Patch Kid sign.</scene_description> <character>JAKE</character> <dialogue>Hey Mom, did you know Cabbage Patch kids come with their own birth certificates?</dialogue> <character>PATTY DOYLE</character> <dialogue>I didn't know that, no.</dialogue> <character>JAKE</character> <parenthetical>(whispering)</parenthetical> <dialogue>Lizzy really wants one.</dialogue> <character>PATTY DOYLE</character> <dialogue>They're very expensive Jake. And very hard to find.</dialogue> <scene_description>Lizzy rounds the corner and stops short. The Cabbage Patch aisle is almost completely BARE. Only a few bald headed boys and an armless girl remain. An OLD JANITOR sadly sweeps up the remains.</scene_description> <character>OLD JANITOR</character> <dialogue>Sold out in twenty minutes. Last patch in all of Chicago.</dialogue> <scene_description>Lizzy holds it together for a second, then buries her head in her hands, crying. Patty picks her up, consoling her.</scene_description> <character>PATTY DOYLE</character> <dialogue>It's okay Lizzy. I saw some really nice Care Bears on the way in.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Yippie.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Poor little Lizzy. It kinda made you want to go over there and wipe her tears and give her a big hhhh--</dialogue> <scene_description>Jake notices a BEAUTIFUL NINTENDO DISPLAY in the distance.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>--hhhhhold on a second.</dialogue> <scene_description>Jake just stands there staring at it. The display is twenty feet tall, featuring large cut-outs of NES characters: Zelda, Mario, etc. A huge TV rests in the center of it, surrounded by blinking lights and other high tech flourishes.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Hello Jake.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Who said that?</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>You know who.</dialogue> <scene_description>Jake focuses on the GIANT REPLICA of the NES console at the base of the display. In Jake's mind, it's talking to him. It's slightly robotic and creepy. Think the voice of KEVIN SPACEY (but, you know, not him).</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Nintendo?</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>That's right. Come over here. I've missed you.</dialogue> <scene_description>Patty taps Jake on the shoulder, not noticing the display.</scene_description> <character>PATTY DOYLE</character> <dialogue>Jake, Dad and I are going upstairs to get the Fenelons a gift.</dialogue> <character>JOHN DOYLE</character> <dialogue>They never get us anything.</dialogue> <scene_description>Patty sets Lizzy down.</scene_description> <character>PATTY DOYLE</character> <dialogue>You can stay down here with the toys, just watch your sister. Okay?</dialogue> <scene_description>Jake hasn't heard a word she just said.</scene_description> <character>JOHN DOYLE</character> <dialogue>Jake.</dialogue> <character>JAKE</character> <dialogue>What?</dialogue> <character>JOHN DOYLE</character> <dialogue>Watch your sister.</dialogue> <character>PATTY DOYLE</character> <dialogue>We'll be right back. Okay?</dialogue> <character>JAKE</character> <dialogue>Yeah.</dialogue> <scene_description>Patty heads up the escalator with John. Jake just stares at the Nintendo, completely under its spell.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>That's it. Come on over Jake.</dialogue> <character>LIZZY DOYLE</character> <dialogue>What am I gonna do about my Cabbage Patch now, Jake?</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>Forget your sister Jake, she's useless.</dialogue> <character>JAKE</character> <dialogue>Yeah, useless...</dialogue> <character>LIZZY DOYLE</character> <dialogue>Who are you talking to?</dialogue> <scene_description>Jake starts walking toward the display. Lizzy follows.</scene_description> <character>LIZZY DOYLE</character> <dialogue>We need a new plan. Jake? Jake.</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>Do you know how many games I have here Jake? I have all of the games.</dialogue> <scene_description>Jake gets closer, now standing eye level with the NES.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>What game would you like to play?</dialogue> <character>JAKE</character> <dialogue>Top Gun.</dialogue> <scene_description>Beat.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Pick another one. I don't have that one.</dialogue> <character>JAKE</character> <dialogue>Mega Man.</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>Mmm, how 'bout Double Dragon? It's loaded up right now. You have to get an employee to change it otherwise. It's a whole thing.</dialogue> <character>JAKE</character> <dialogue>Cool.</dialogue> <scene_description>Jake grabs a controller and starts playing DOUBLE DRAGON. His character punches and kicks opponents at will.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Oh very good. Yes. I can tell you've got what it takes.</dialogue> <character>JAKE</character> <dialogue>Yes I do.</dialogue> <scene_description>Jake exhales, focused-- a kid about to get in the zone.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Maybe it was the excitement of the display, or just the thrill of playing in public. But for some reason I started playing the game of my life.</dialogue> <scene_description>As Jake punches and kicks, TIME STARTS PASSING.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Never before had my thumbs maneuvered with such efficiency. My response time was clicking at an all star rate.</dialogue> <scene_description>Jake's eyes widen. His face contorts with his character's motions on screen. KIDS start to gather around to watch.</scene_description> <character>BOY ONE</character> <dialogue>Dude you're on fire.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>All other distractions became irrelevant. My senses had reached a higher state. I'd become one with Nintendo.</dialogue> <scene_description>Jake's beats a level, pulls out his retainer and in SLOW MOTION yells a primal roar.</scene_description> <character>JAKE</character> <dialogue>YEAAAAAH!</dialogue> <scene_description>The crowd, even bigger now, cheers! Jake bounces in place like a boxer. People pat him on the shoulders.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Yes! Yes! You were born for this moment!</dialogue> <character>BOY ONE</character> <dialogue>What'd you say your name was again?</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>Go ahead. Tell them your name Jake. Say it!</dialogue> <character>JAKE</character> <dialogue>Jake Doyle!</dialogue> <character>NINTENDO (V.O.)</character> <dialogue>Jake Doyle! Nintendo master!</dialogue> <character>BOY TWO</character> <dialogue>My man Jake.</dialogue> <character>BOY ONE</character> <dialogue>Jake! Jake! Jake!</dialogue> <scene_description>The crowd starts chanting. "Jake! Jake! Jake!"</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>This was why I wanted a Nintendo. This right here. This was my destiny. Nothing could stop me now!</dialogue> <character>CROWD</character> <dialogue>Jake! Jake! Jake!</dialogue> <scene_description>Jake keeps playing, a manic look in his eyes. Through the chanting, two muffled voices start to come into focus.</scene_description> <character>PATTY DOYLE (O.S.)</character> <dialogue>Jake! Jake! Jake!</dialogue> <character>JOHN DOYLE (O.S.)</character> <dialogue>JAKE STEPHAN DOYLE!</dialogue> <scene_description>Jake freezes and looks up to see his parents standing above him. John grabs him by the jacket, lifts him up.</scene_description> <character>JOHN DOYLE</character> <dialogue>Where. Is. Your. Sister?!</dialogue> <scene_description>The chanting stops. The music stops. Everything stops.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh dear God in heaven.</dialogue> <character>JOHN DOYLE</character> <dialogue>Where is she?!</dialogue> <scene_description>Jake can't get out an answer. John drops him like a sack of potatoes. He and Patty start looking around frantically.</scene_description> <character>PATTY DOYLE</character> <dialogue>Lizzy! Lizzy honey?</dialogue> <character>JOHN DOYLE</character> <dialogue>Elizabeth!</dialogue> <character>BOY ONE</character> <dialogue>You're a dead man bro.</dialogue> <scene_description>Jake drops the controller and starts running around looking for Lizzy too. Panic has set in.</scene_description> <character>JAKE</character> <dialogue>Lizzy?! Lizzy?!</dialogue> <scene_description>Jake runs down toy aisle after toy aisle.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>In the realm of punishable kid offenses losing your sister ranked somewhere just above grand theft auto and just below lighting your grandma on fire. I had to find her.</dialogue> </scene> <scene> <stage_direction>EXT. WATER TOWER PLACE - MICHIGAN AVE - MOMENTS LATER - DAY</stage_direction> <scene_description>Lizzy stands before a SALVATION ARMY SANTA CLAUS (30s), grilling him with questions. She's been at it for awhile.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Do they speak English at the North Pole?</dialogue> <character>SALVATION ARMY SANTA</character> <dialogue>Yes.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Even the elves?</dialogue> <character>SALVATION ARMY SANTA</character> <dialogue>Yes.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Even the elves that make the Cabbage Patch dolls?</dialogue> <character>SALVATION ARMY SANTA</character> <dialogue>Yes.</dialogue> <scene_description>Jake comes rushing outside and sees Lizzy.</scene_description> <character>JAKE</character> <dialogue>She's out here mom! I found her!</dialogue> <scene_description>Patty comes running out and scoops up Lizzy. Hugging her.</scene_description> <character>PATTY DOYLE</character> <dialogue>Oh Lizzy!</dialogue> <character>LIZZY DOYLE</character> <dialogue>Mom, they might still have Cabbage Patch dolls at the North Pole! Even ones with red hair!</dialogue> <character>PATTY DOYLE</character> <dialogue>Lizzy, we told you to stay with Jake.</dialogue> <character>LIZZY DOYLE</character> <dialogue>He was playing Nintendo.</dialogue> <scene_description>John comes barreling out of the store, out of breath, irate.</scene_description> <character>JOHN DOYLE</character> <dialogue>God bless America Jake! You play that stuff and your head goes to mush in three minutes!</dialogue> <character>JAKE</character> <dialogue>Sorry Dad.</dialogue> <character>JOHN DOYLE</character> <dialogue>She's your sister! It's not like losing your retainer for cripes sake!</dialogue> <scene_description>Jake freezes. He cautiously runs his tongue over his teeth. No retainer. He subtilely checks his pockets. No retainer.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh for two.</dialogue> <scene_description>John notices Jake's reaction.</scene_description> <character>JOHN DOYLE</character> <dialogue>Open your mouth.</dialogue> <scene_description>Jake slowly opens his mouth just enough so that you can't see anything on his teeth or the roof of his mouth.</scene_description> <character>JOHN DOYLE</character> <dialogue>Open it Jake.</dialogue> <scene_description>Jake stands motionless, weighing his options.</scene_description> <character>PATTY DOYLE</character> <dialogue>Do you have the Marshall Field bag John?</dialogue> <scene_description>John looks down at the bags for a brief second. Jake makes a break for it and runs back inside. John chases after him.</scene_description> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE - CONTINUOUS - DAY</stage_direction> <scene_description>Jake rushes through the crowded store, frantically trying to get back to the Nintendo display.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>The actual cost of my retainer had been explained to me in the simple terms of "if you lose it, don't bother coming home."</dialogue> <scene_description>John runs after Jake, now hell bent on catching him.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>I figured it cost roughly as much as a new car.</dialogue> <scene_description>Jake sprints around sales displays, weaves and bobs, takes short cuts, dodges old ladies, runs past stores. John barrels through fake snow, knocks over animatronic snow men, side steps small children. He curses and sputters, takes off his coat mid-stride and chucks it. Jake and John end up on matching escalators on either side of the second story foyer. They lock eyes from a distance. A father son standoff. Jake darts through shoppers on his escalator. John gets stuck behind those damn ELF CAROLERS again. The same annoying one is right in his face.</scene_description> <character>ANNOYING ELF CAROLER</character> <dialogue>Fiiiive golden rinnnnngs!</dialogue> <character>JOHN DOYLE</character> <dialogue>AHHHHH!</dialogue> <scene_description>Jake nears the top of his escalator. Then he sees it. His retainer! It's lying across the hall on the floor in the slush, getting kicked around, in danger of being crushed. It sits equidistant from Jake's escalator and John's. SLOW MOTION: Jake takes off like a shot and runs towards it. He slides feet first, baseball style toward the retainer. In one athletic swoop he scoops it up, wipes it on his coat, pops it in his mouth and stops at his dad's approaching feet. John stands above Jake like an umpire. He didn't see the slide. He points to Jake's mouth. Jake opens it, smiling.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Safe.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL PLAYGROUND - BEHIND THE DUMPSTER - DAY</stage_direction> <scene_description>Jake's slight smile matches the one from the previous scene. He sits in the snow behind the dumpster, hiding his girls' boots from view, watching recess from a distance.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Despite nearly losing my sister and my retainer at the hands of Nintendo, I had managed to survive.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN HOUSE - DAY</stage_direction> <scene_description>Jake comes bounding down the steps, fresh from another sale.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And by the final day of wreath selling I'd sold an astounding ninety six wreathes.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE MINI VAN - NIGHT</stage_direction> <scene_description>John drives, intently listening to the CHICAGO BLACKHAWKS game on the radio. Jake sits shotgun, staring out the window.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Before I knew it, I'd have a Nintendo. And then everything would change. Everything...</dialogue> <scene_description>Jake smiles to himself. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - NIGHT - FANTASY SEQUENCE</stage_direction> <scene_description>Peter Gabriel's "BIG TIME" plays. There's a party going on in the Doyle house. A Nintendo party! Pretty much everyone we've seen in the movie so far is here, decked out in hip 80s fashion. Lizzy walks around with a tray of ECTO COOLER JUICE BOXES passing them out to guests. A NINTENDO rests on a marble pedestal, hooked up to a BIG SCREEN TV in a maze of blinking lights and high tech wiring. A crowd of kids huddle around it, playing ICE HOCKEY. Arm in arm, John and Patty happily survey the party.</scene_description> <character>JOHN DOYLE</character> <dialogue>Jake's test scores are up again.</dialogue> <character>PATTY DOYLE</character> <dialogue>That Nintendo Entertainment System is the best thing that ever happened to this family.</dialogue> <character>JOHN DOYLE</character> <dialogue>Totally.</dialogue> <scene_description>A pair of COMBAT BOOTS descend the stairs. Tilt up to reveal Jake. He wears sunglasses, a Miami Vice sport coat and a Rad Racer T-Shirt. The NES gun is holstered on his belt. GIRLS wave hello, including KATIE SORRENTINO who wears her boots.</scene_description> <character>JAKE</character> <dialogue>Like those boots Katie Sorrentino. If you've noticed, mine are completely different from yours.</dialogue> <character>KATIE SORRENTINO</character> <dialogue>I did.</dialogue> <scene_description>Katie smiles, a little flirtatiously. Jake nods back cooly. Jake walks through the party, trading hellos with various 80'S ICONS including MARC SUMMERS and SPUDS MCKENZIE.</scene_description> <character>JAKE</character> <dialogue>Marc Summers, my man. Spuds McKenzie, 'sup dog? Glad you could make it. Mega Man and the California Raisins! That's what I'm talking about!</dialogue> <scene_description>Jake exchanges high fives with a life size MEGA MAN and life size CALIFORNIA RAISINS. Jake leans over to Dan Delund, who wears a suit and sunglasses and works the door, clearly the party's bouncer.</scene_description> <character>JAKE</character> <dialogue>We gotta get Ronald McDonald out of here. He's freaking people out.</dialogue> <character>DAN DELUND</character> <dialogue>No problem boss.</dialogue> <parenthetical>(points off camera)</parenthetical> <dialogue>You. Clown.</dialogue> <scene_description>Delund goes to take care of it. Jake walks up to the Nintendo where the Gruseckis play Ice Hockey.</scene_description> <character>JAKE</character> <dialogue>Gentlemen. Next game of Ice Hockey, mix it up a bit. Go all fat guys versus all skinnies. It's a party.</dialogue> <scene_description>Jake pulls out a candy cigarette, takes a bite.</scene_description> <character>JAKE</character> <parenthetical>(to the crowd)</parenthetical> <dialogue>A Nintendo party!</dialogue> <scene_description>The partygoers all cheer "woooo!". BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. DOYLE MINIVAN - NIGHT</stage_direction> <scene_description>Jake cheers quietly to himself, in a daze.</scene_description> <character>JAKE</character> <dialogue>Wooo... Wooo...</dialogue> <character>JOHN DOYLE</character> <dialogue>Will you quit "wooing" for crying out loud?!</dialogue> <scene_description>Jake snaps out of it.</scene_description> <character>JAKE</character> <dialogue>Huh?</dialogue> <character>JOHN DOYLE</character> <dialogue>We're on a power play here, I'm trying to listen to this.</dialogue> <character>JAKE</character> <dialogue>Sorry Dad.</dialogue> <character>JOHN DOYLE</character> <parenthetical>(muttering to himself)</parenthetical> <dialogue>Hawks can't score, kid's makin' weird noises...</dialogue> <scene_description>The crowd noise intensifies. John turns it up.</scene_description> <character>PAT FOLEY (V.O.)</character> <dialogue>Larmer high slot... Savard with it now. Down the near side-- past Claude Lemuix-- Oh! He shoots he scores! DENNY SAVARD! Hawks take the lead!</dialogue> <scene_description>The Stadium horn blares. The crowd erupts. John cheers.</scene_description> <character>JOHN DOYLE</character> <dialogue>Ha ha! Dipsey-doo to you Lemuix!</dialogue> <character>PAT FOLEY (V.O.)</character> <dialogue>And Claude Lemuix is still jawing away. He did not like that move Savard put on him.</dialogue> <character>JOHN DOYLE</character> <dialogue>Oh, quit your whining Claude. You're all talk no walk. Jake?</dialogue> <scene_description>Jake looks over. John looks him in the eyes.</scene_description> <character>JOHN DOYLE</character> <dialogue>Always remember, a bully like Claude Lemuix isn't worth a hill of beans. All talk, no walk. Worst combo a man can have. Now what do you know about Cabbage Patch Dolls?</dialogue> <character>JAKE</character> <dialogue>Huh?</dialogue> <character>JOHN DOYLE</character> <dialogue>You seem to know a lot about them.</dialogue> <character>JAKE</character> <dialogue>I don't want a Cabbage Patch Doll.</dialogue> <character>JOHN DOYLE</character> <dialogue>I know, but you know what they look like, right?</dialogue> <character>JAKE</character> <dialogue>I guess.</dialogue> <character>JOHN DOYLE</character> <dialogue>Good.</dialogue> <scene_description>Jake looks out the window, suddenly concerned.</scene_description> <character>JAKE</character> <dialogue>Where are we going?</dialogue> <character>JOHN DOYLE</character> <dialogue>To see a guy.</dialogue> <character>JAKE</character> <dialogue>About Cabbage Patch Dolls?</dialogue> <character>JOHN DOYLE</character> <dialogue>Do you wanna deal with your sister if she doesn't get one?</dialogue> <character>JAKE</character> <dialogue>No.</dialogue> <character>JOHN DOYLE</character> <dialogue>Then there ya go.</dialogue> </scene> <scene> <stage_direction>EXT. SHADY STREET - AURORA - NIGHT</stage_direction> <scene_description>A deserted street in the much more urban city of Aurora. John and Jake exit the van. Jake looks a little nervous. John is focused, he splits a stick of gum for the two of them.</scene_description> <character>JOHN DOYLE</character> <dialogue>Stay close. Let me do the talking.</dialogue> <scene_description>A DEALER stands against an abandoned building across the street. He wears a Members Only jacket, smokes a cigarette. Jake and John approach him.</scene_description> <character>DEALER</character> <dialogue>Help you boys?</dialogue> <character>JOHN DOYLE</character> <dialogue>Word is you've come into a little cabbage.</dialogue> <character>DEALER</character> <dialogue>Step into my office gentlemen.</dialogue> <scene_description>The dealer leads John and Jake down the adjacent alleyway toward his car, a '79 CUTLASS.</scene_description> <character>JOHN DOYLE</character> <dialogue>I'm gonna need a girl with freckles.</dialogue> <character>DEALER</character> <dialogue>Not a problem.</dialogue> <scene_description>The dealer opens his trunk to reveal a dozen CABBAGE PATCH KIDS all covered in a blanket with just their heads sticking out. It's a little unsettling.</scene_description> <character>DEALER</character> <dialogue>Best patch in the Tri Cities.</dialogue> <scene_description>John looks them over, then gives Jake a look for confirmation. Jake leans over, studying them.</scene_description> <character>JAKE</character> <dialogue>Yeah, they're legit.</dialogue> <character>DEALER</character> <dialogue>'Course they're legit.</dialogue> <character>JOHN DOYLE</character> <dialogue>There aren't any freckles on the redhead.</dialogue> <character>DEALER</character> <dialogue>The freckles are on the blond here.</dialogue> <character>JOHN DOYLE</character> <dialogue>Listen Mac, I need a redhead with freckles or we don't have a deal.</dialogue> <character>DEALER</character> <dialogue>This ain't a make your own pizza pie here pal. Look, I had this lady lookin' for a green eyed black haired kid a few weeks ago. I says all I got is a green eyed blond haired one. Lady says she'll just dye the doll's hair. Badda-bip- boop, she's got herself a black haired green eyed Cabbage Patch doll.</dialogue> <character>JOHN DOYLE</character> <dialogue>That worked?</dialogue> <character>DEALER</character> <dialogue>Like a charm.</dialogue> <character>JOHN DOYLE</character> <dialogue>How much?</dialogue> <character>DEALER</character> <dialogue>Hundred.</dialogue> <character>JOHN DOYLE</character> <dialogue>A hundred?!</dialogue> <character>DEALER</character> <dialogue>Where else you gonna find one man? Every store from Wheaton to Winnetka's out.</dialogue> <character>JOHN DOYLE</character> <dialogue>Sixty bucks. I got the name of two brothers in Villa Park selling for fifty, I'll go there right now if I have to.</dialogue> <character>DEALER</character> <dialogue>Diaz brothers. You don't want their bald headed junk. Eighty.</dialogue> <character>JOHN DOYLE</character> <dialogue>Seventy. Last offer.</dialogue> <character>DEALER</character> <dialogue>Fine. Deal.</dialogue> <scene_description>John pulls out his wallet, nods for Jake to grab the doll. Jake pulls the doll out to find it's COMPLETELY NAKED.</scene_description> <character>JOHN DOYLE</character> <dialogue>Oh! Hey!</dialogue> <scene_description>John covers Jake's eyes, grabs the doll.</scene_description> <character>JOHN DOYLE</character> <dialogue>What the hell is this?!</dialogue> <character>DEALER</character> <dialogue>What?</dialogue> <character>JOHN DOYLE</character> <dialogue>Where's her clothes?</dialogue> <character>DEALER</character> <dialogue>You didn't say nothin' about no clothes.</dialogue> <character>JOHN DOYLE</character> <dialogue>Jiminy Cricket. I can't give my daughter a naked doll for crying out loud. My wife will kill me!</dialogue> <character>DEALER</character> <dialogue>I don't do clothes man, it just complicates things. I want this dress, I want that dress, I want a stinkin' space suit, no, you want the doll, you get the doll, that's it.</dialogue> <scene_description>John sputters. He puts a five back in his wallet.</scene_description> <character>JOHN DOYLE</character> <dialogue>Sixty five. I thought there were clothes.</dialogue> <character>DEALER</character> <dialogue>Seventy.</dialogue> <character>JOHN DOYLE</character> <dialogue>Sixty five, that's all you're gonna get. Yes or no?</dialogue> <scene_description>The dealer relents and holds his hand out for the cash. John slaps it in. John leads Jake out of the alley, proudly.</scene_description> <character>JOHN DOYLE</character> <dialogue>Down from a hundred. You see that Jake? Lizzy's gonna love it.</dialogue> <scene_description>Jake forces a smile.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Of course she would. Like always, my parents were getting Lizzy exactly what she wanted for Christmas. Me? I had to do it all on my own...</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA - NIGHT</stage_direction> <scene_description>The cafeteria is eerily dark. Rows and rows of Cub Scouts stand in front of metal folding chairs, all dressed in uniform, their faces illuminated by candles in their hands. Jake stands next to Olsen and Trotter. Anticipation is in the air. MR. HALBERG (40s, Pack Leader, 'Nam Vet) stands before the group. He wears a Cub Scout shirt and holds a candle.</scene_description> <character>MR. HALBERG</character> <dialogue>Gentlemen, look deeply into the candle's flame. Stare into its dancing light. Now... close your eyes. What do you see?</dialogue> <scene_description>All the scouts close their eyes.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Fifty seven glorious visions of Nintendo blazed before us. For tonight was the night one of us was going home with an NES.</dialogue> <character>MR. HALBERG</character> <dialogue>You see the flame gentlemen. It burns even when your eyes are closed. Because when we blow these candles out, we know the Cub Scout flame will never fade.</dialogue> <scene_description>Halberg blows out his candle, the Cub Scouts follow suit.</scene_description> <character>MR. HALBERG</character> <dialogue>It will remain with us forever.</dialogue> <scene_description>The lights come back on, everyone sits. Halberg is a little choked up with his speech. He checks his list.</scene_description> <character>MR. HALBERG</character> <dialogue>Ahem. A lot to go over tonight gents. Pine Wood Derby, Loyalty Day parade, I got another 'Nam poem for you entitled "A Tie is Not a Loss-"</dialogue> <character>DAN DELUND</character> <dialogue>Get to the wreathes, Halberg!</dialogue> <character>MR. HALBERG</character> <dialogue>I'm sorry?</dialogue> <character>DAN DELUND</character> <dialogue>The wreathes.</dialogue> <scene_description>Halberg notices Dan Delund leaning against the back wall in his bomber jacket-- the only kid here not in uniform.</scene_description> <character>MR. HALBERG</character> <dialogue>Are you in this troop?</dialogue> <character>DAN DELUND</character> <dialogue>I'm here ain't I?</dialogue> <scene_description>Halberg stares, about to say something.</scene_description> <character>CUB SCOUT ONE (O.S.)</character> <dialogue>Do the wreathes!</dialogue> <character>CUB SCOUT TWO (O.S.)</character> <dialogue>Yeah! Wreathes!</dialogue> <scene_description>The crowd starts chanting "Wreathes-wreathes-wreathes!".</scene_description> <character>MR. HALBERG</character> <dialogue>Okay, okay. We'll do the wreathes.</dialogue> <scene_description>The boys cheer and stomp their feet!</scene_description> <character>MR. HALBERG</character> <dialogue>Calm down, calm down. Now I know you've all been selling very hard this year, so we've really done our best to make these prizes special. Mr. Delacruz, if you will?</dialogue> <scene_description>Another Scout Leader, MR. DELACRUZ rolls three carts out onto the stage marked THIRD PRIZE, SECOND PRIZE and FIRST PRIZE. Each prize is mysteriously covered with a SHEET.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Ho-ho! Look at that! First prize looked even bigger than a normal NES system. Who knew what other Nintendo treasures were under there.</dialogue> <scene_description>Farmer leans over to the Gruseckis.</scene_description> <character>JOSH FARMER</character> <dialogue>Told ya it came with the Power Pad.</dialogue> <scene_description>Mr. Halberg steps on stage, clears his throat.</scene_description> <character>MR. HALBERG</character> <dialogue>Ahem. Alright. In third place this year... Joshua Farmer!</dialogue> <scene_description>Applause and laughter. Josh reluctantly goes up on stage.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Considering Farmer's constant claims to victory, this was a delight to us all. Anybody had a chance now.</dialogue> <scene_description>Mr. Halberg lifts the sheet revealing a small box. Farmer opens it and pulls out a small card and reads from it.</scene_description> <character>JOSH FARMER</character> <dialogue>A subscription to "Boys' Life".</dialogue> <scene_description>More mocking laughter. Josh trudges back to his seat.</scene_description> <character>MR. HALBERG</character> <dialogue>In second place, selling even more than last year, Jeff Bristow!</dialogue> <scene_description>Polite applause. JEFF BRISTOW, the Cub Scout who was fighting outside the Jewel earlier, sulks his way up onto the stage.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Bristow walked up onto stage like he'd just been shot. There was no second place when it came to Nintendo.</dialogue> <scene_description>Halberg pulls back the sheet revealing a nice GLOBE.</scene_description> <character>MR. HALBERG</character> <dialogue>Look at that! A globe that lights up!</dialogue> <scene_description>Bristow picks up the globe and immediately dumps it in the trash as he walks off stage.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>You had to feel for the guy.</dialogue> <character>MR. HALBERG</character> <dialogue>And now, the first prize winner of this year's wreath selling contest.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>This was it. This was it...</dialogue> <character>MR. HALBERG</character> <dialogue>The highest sales total in troop history... Jake Doyle!</dialogue> <scene_description>Jake cheers! His friends all maul him like he just hit a walk off homer. Jake gallops up on stage, beaming.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>You can put it on the boaaaaard, YES! Oh, so many people to thank. My friends, my family, the Nintendo corporation.</dialogue> <character>MR. HALBERG</character> <dialogue>This year's first prize, the best we've had in years...</dialogue> <scene_description>SLOW MOTION: Halberg pulls back the sheet.</scene_description> <character>MR. HALBERG</character> <dialogue>A brand new set of World Book Encyclopedias!</dialogue> <scene_description>SHOCK hits the crowd. Horrible, terrible, dog-just-got-run over-by-an-ice-cream-truck, shock. A few kids fall to their knees. A set of ENCYCLOPEDIAS glisten under the lights.</scene_description> <character>JAKE</character> <dialogue>What?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>It was like winning more school.</dialogue> <scene_description>Delund picks up a chair, hurls it across the room.</scene_description> <character>DAN DELUND</character> <dialogue>Where's the Nintendo? Where is it?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>It didn't make any sense! Why? Why had the Cub Scouts promised us toys and then given us books!? Who could possibly be behind something so terrible, so awful, so villainous?!</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL GYMNASIUM - NIGHT</stage_direction> <scene_description>Timmy's Dad, DR. TIMOTHY KLEEN SR (50s, glasses) stands behind a podium. A button with Lacey Dog's face on it is pinned to his tweed jacket. This is a serious man.</scene_description> <character>DR. KLEEN</character> <dialogue>Parents of Batavia. Good evening.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Doctor Timothy Kleen Senior, that's who.</dialogue> <scene_description>A hundred concerned parents sit on folding chairs in the gym, including JOHN &amp; PATTY DOYLE and a row of CUB SCOUT LEADERS.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL GYMNASIUM - CONTINUOUS - NIGHT</stage_direction> <scene_description>Jake, Trotter and Olsen straddle their bikes and peer through a small window at the back of the gym. A sign on the door reads: EMERGENCY PTA MEETING TONIGHT ON VIDEO GAME VIOLENCE.</scene_description> <character>MIKEY TROTTER</character> <dialogue>The dog...</dialogue> <character>JAKE</character> <dialogue>This is bad.</dialogue> <character>EVAN OLSEN</character> <dialogue>This is really bad...</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA - CONTINUOUS - NIGHT</stage_direction> <scene_description>Dr. Kleen continues.</scene_description> <character>DR. KLEEN</character> <dialogue>As some of you may know, there was an incident at my home last week. A member of the Kleen family, Lacy Dog Kleen...</dialogue> <scene_description>We notice MRS. KLEEN (30s, trophy wife) sitting in the audience, wearing all black, crying into a Kleenex.</scene_description> <character>DR. KLEEN</character> <dialogue>...was crushed to death by our forty two inch television set.</dialogue> <character>JOHN DOYLE</character> <dialogue>Forty two inches. That's a nice TV.</dialogue> <character>DR. KLEEN</character> <dialogue>This dog killing crime has a culprit ladies and gentlemen. And it goes by the name Nintendo!</dialogue> <scene_description>Kleen clicks on a slide projector and an image of Nintendo covered in blood fills the screen. The audience gasps.</scene_description> <character>DR. KLEEN</character> <dialogue>Nintendo is the reason for this!</dialogue> <scene_description>Kleen clicks to a photo of the smashed TV.</scene_description> <character>DR. KLEEN</character> <dialogue>And this!</dialogue> <scene_description>A photo of a Timmy Kleen wailing hysterically.</scene_description> <character>DR. KLEEN</character> <dialogue>And this!</dialogue> <scene_description>A photo of Lacy Dog's paw sticking out from underneath the TV like the Wicked Witch of the East. The crowd gasps.</scene_description> <character>DR. KLEEN</character> <dialogue>The question is, are we prepared to do something about it?!</dialogue> <scene_description>Mikey's mom, MRS. TROTTER (40s) stands up, fired up.</scene_description> <character>MRS. TROTTER</character> <dialogue>We should ban it!</dialogue> <character>DAD ONE</character> <dialogue>Yeah! Ban it!</dialogue> <character>OFFICER MASEJEWSKI</character> <dialogue>No more dogs are dying in my town!</dialogue> <character>DR. KLEEN</character> <dialogue>We must protect our dogs! We must protect our children!</dialogue> <scene_description>The crowd cheers. Jake, Trotter &amp; Olsen look on, distraught.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Kleen's panicked propaganda continued on well into the night, leaving even the most skeptical parents petrified that their own television sets might suddenly be jump kicked onto little sisters, immobile grandparents, Neil Diamond record collections. Poor Frankie Wattendorf who'd been unfortunately dragged to the event sat amid the hysteria and wept, openly.</dialogue> <scene_description>FRANKIE WATTENDORF (8) sits between his parents, sobbing.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was virtual Nintendo Armageddon.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - FAMILY ROOM - MORNING - DAY</stage_direction> <scene_description>Saturday morning cartoons. Jake and Lizzy sit on the couch watching MUPPET BABIES in their pajamas.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And there was nothing we could do about it.</dialogue> <scene_description>The cartoon is suddenly interrupted by a NEWS ANCHOR.</scene_description> <character>NEWS ANCHOR</character> <dialogue>We interrupt this program to bring you a special news bulletin from Kane County.</dialogue> <scene_description>Lizzy and Jake exchange a worried look. The TV cuts to the GENEVA COURTHOUSE in Kane County. A group of concerned parents picket in the background with "NINTENDO-NO!" signs. A REPORTER interviews Dr. Kleen.</scene_description> <character>REPORTER</character> <dialogue>Thank you Walter. We're here live in Geneva with video game violence activist, Dr. Timothy Kleen. Dr. Kleen, it's only eight shopping days now until Christmas and you've managed to pass a county wide ban on selling Nintendos?</dialogue> <character>DR. KLEEN</character> <dialogue>That's correct. Every store in Kane county has agreed to it.</dialogue> <character>REPORTER</character> <dialogue>You really feel that Nintendo promotes violence enough to make it illegal?</dialogue> <character>DR. KLEEN</character> <dialogue>Has your dog ever been crushed to death by your TV?</dialogue> <character>REPORTER</character> <dialogue>No it has not.</dialogue> <character>DR. KLEEN</character> <dialogue>Okay then. Parents need to know the truth. Nintendo is pure evil and it has to be stopped. Nintendo-NO! Nintendo-NO! Nintendo-NO!</dialogue> <scene_description>Jake looks like he's about to cry. Concerned, Lizzy hands him the remote. Jake starts changing channels, his nerves shot.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Suddenly it was as if the entire world was against me. Was there no end to this anti-Nintendo madness?</dialogue> <scene_description>Jake begins to hallucinate, his imagination running wild. He clicks to MAX HEADROOM, the computer talking head.</scene_description> <character>MAX HEADROOM</character> <dialogue>Ni, Ni, Ni, Nintendo No-friend-o.</dialogue> <scene_description>He clicks to McGRUFF the crime fighting cartoon dog.</scene_description> <character>MCGRUFF</character> <dialogue>Say no to Nintendo and take a bite out of crime.</dialogue> <scene_description>He clicks to A CARTOON MR. T.</scene_description> <character>CARTOON MR. T</character> <dialogue>I pity the fool who plays Nintendo!</dialogue> <scene_description>He clicks to A GI-JOE CARTOON. SHIPWRECK and FLINT talk to two kids. One is fat: ERIC, one is skinny: MICHAEL.</scene_description> <character>FLINT</character> <dialogue>And that's why Eric over there is such a big fatso.</dialogue> <scene_description>Eric turns from his game of Nintendo, waves in agreement.</scene_description> <character>MICHAEL</character> <dialogue>Because Nintendo makes him fat?</dialogue> <character>SHIPWRECK'S PARROT</character> <dialogue>"Nintendo makes him fat. Nintendo makes him fat."</dialogue> <scene_description>They all laugh heartily.</scene_description> <character>MICHAEL</character> <dialogue>Well now I know.</dialogue> <character>FLINT</character> <dialogue>And knowing is half the battle.</dialogue> <character>ALL</character> <dialogue>"GI JOE! A REAL AMERICAN--"</dialogue> <scene_description>Jake clicks to that iconic "JUST SAY NO" COMMERCIAL.</scene_description> <character>GUY</character> <dialogue>This is your brain.</dialogue> <character>JAKE</character> <dialogue>No way.</dialogue> <scene_description>The guy cracks an egg and drops it into a sizzling pan.</scene_description> <character>GUY</character> <dialogue>This is your brain on Nintendo. Any questions?</dialogue> <character>ANNIE (V.O.)</character> <dialogue>Yes! What is happening?!</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S OFFICE - PRESENT DAY - LATER</stage_direction> <scene_description>Back to Jake's present day office. Annie is beside herself.</scene_description> <character>ANNIE</character> <dialogue>Cartoons are talking to you?! They banned Nintendo? What is going on?!</dialogue> <scene_description>Annie and Jake sit on the floor in front of the TV. Couch pillows and blankets have been fashioned into a small fort. Take out lunch rests between them. Nintendo is paused on TV.</scene_description> <character>ADULT JAKE</character> <dialogue>Sometimes grownups just get really upset, Annie.</dialogue> <character>ANNIE</character> <dialogue>So what did you do? If the town banned it and Grandma and Grandpa won't get you one and you're acting like such a bad kid all the time--</dialogue> <character>ADULT JAKE</character> <dialogue>--Not all the time.</dialogue> <character>ANNIE</character> <dialogue>Yes all the time. If I was doing that stuff you'd never get me a tablet. If you're doing all this and everything is going wrong, then how did you get it?! How did you get the Nintendo?!</dialogue> <character>ADULT JAKE</character> <dialogue>Okay, calm down, calm down. Have some orange juice.</dialogue> <scene_description>Annie takes a gulp of juice, calms down a little.</scene_description> <character>ANNIE</character> <dialogue>It just doesn't seem like you're ever gonna get one, Dad.</dialogue> <character>ADULT JAKE</character> <dialogue>That's what makes it such a great story Annie. Now you want to hear the rest or not?</dialogue> <character>ANNIE</character> <dialogue>Yes.</dialogue> <character>ADULT JAKE</character> <dialogue>Okay...</dialogue> <scene_description>Jake leans in. He's starting to enjoy telling this thing.</scene_description> <character>ADULT JAKE</character> <dialogue>You see sometimes, at Christmas, just when you think all hope is lost, something magical happens. Some people call it a Christmas--</dialogue> <scene_description>Jake's intercom buzzes.</scene_description> <character>BETH (O.S.)</character> <dialogue>Jake, I got Pendrock on line one.</dialogue> <character>ANNIE</character> <dialogue>He'll call 'em back!</dialogue> <scene_description>Jake smiles, a little proud of Annie.</scene_description> <character>ADULT JAKE</character> <dialogue>--A Christmas miracle. It all happened at the baseball card store...</dialogue> </scene> <scene> <stage_direction>EXT. THE DUGOUT BASEBALL CARD STORE - 1988 - DAY</stage_direction> <scene_description>"I'M WALKING ON SUNSHINE" by Katrina and The Waves plays, the happiest, peppiest song of all time. Jake, Trotter, Olsen and the Gruseckis sit slumped against a bike rack outside THE DUGOUT baseball card shop. They are seriously, hopelessly depressed. Farmer dances to the music coming from a small boom box by his bike, trying to cheer them up.</scene_description> <character>JOSH FARMER</character> <dialogue>Come on guys! It's not that bad. We still got each other. Walk on some sunshine! Yeah!</dialogue> <scene_description>Tommy scowls.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>Who needs one?</dialogue> <scene_description>All the guys raise their hands. Tommy goes back inside to buy more baseball card packs. Farmer keeps dancing.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Turn that terrible song off Farmer!</dialogue> <character>JOSH FARMER</character> <dialogue>Can't. The play button's frozen. Wooo! Sunshine baby!</dialogue> <scene_description>Ryan grabs the boom box and bangs on it until it turns off.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Six days until Christmas and it was officially official. None of us were getting a Nintendo.</dialogue> <character>EVAN OLSEN</character> <dialogue>My cousin in Elmhurst might get one still. That's in Cook County.</dialogue> <character>JAKE</character> <dialogue>Dupage County.</dialogue> <character>EVAN OLSEN</character> <dialogue>How do you know?</dialogue> <character>JAKE</character> <dialogue>I got encyclopedias.</dialogue> <scene_description>Trotter shuffles through his pack of Topps.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Need it, got it, need it...</dialogue> <character>JOSH FARMER</character> <dialogue>You gonna eat your gum?</dialogue> <scene_description>Trotter tosses the gum from his pack at Farmer. Farmer drops it on the ground, picks it up and crunches away on it, happy.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Need it, got it, got it...</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>The only thing that could ease our pain now was cracking open a few tasty packs of baseball cards.</dialogue> <scene_description>Tommy comes back out of the store with fresh packs of FLEER '89 (new this week) for everyone. He dishes them out.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>There wasn't a boy among us who wasn't thoroughly convinced they'd make us millionaires one day.</dialogue> <scene_description>The guys all shuffle through their packs, calling out the good cards they got.</scene_description> <character>JAKE</character> <dialogue>I got a Clemens.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Mattingly.</dialogue> <character>EVAN OLSEN</character> <dialogue>Chris Sabo.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Oh, that's a good card.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>I got a Ripken. Billy Ripken.</dialogue> <scene_description>Ryan just stares at his card, gobsmacked.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>Who cares about Billy Ripken?</dialogue> <scene_description>Ryan looks like he's just seen a ghost.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>What? What is it?</dialogue> <character>RYAN GRUSECKI</character> <dialogue>You guys aren't gonna believe this.</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>What?</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Look! Right there! On his bat!</dialogue> <scene_description>The guys all gather round and peer over his shoulder.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And there it was. Written on the bottom of Billy Ripken's baseball bat, staring up at us like some kind of private joke from God. A swear word.</dialogue> <character>JOSH FARMER</character> <dialogue>Oh, that's a bad one.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>And not just any swear word. The worst swear word. "Swear word dash face." On a baseball card!</dialogue> <character>MIKEY TROTTER</character> <dialogue>It's an error card.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>No. It's the greatest error card of all time.</dialogue> <scene_description>Tommy quickly fumbles through his Beckett Magazine, searching for the price. The guys wait with baited breath.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>Billy Ripken... Ninety five bucks.</dialogue> <scene_description>The guys go crazy! Jumping up and down, hugging Ryan.</scene_description> <character>RYAN GRUSECKI</character> <dialogue>Careful! Don't tweak it! Careful!</dialogue> <character>JOSH FARMER</character> <dialogue>You're rich Grusecki!</dialogue> <character>EVAN OLSEN</character> <dialogue>Yeah, a couple more of those and you can buy your own Nintendo.</dialogue> <scene_description>Jake suddenly stops jumping around.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And that's when it hit me like an '85 Bears blitz. We didn't need Cub Scouts or our parents or anyone. We were going to buy our own Nintendo for Christmas. I had a plan.</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S BEDROOM - LATER THAT NIGHT</stage_direction> <scene_description>The guys sit on Jake's bedroom floor. Jake stands above them. He's just told them his incredible plan, which has been written out in extreme detail on an easel, entitled "FIFTEEN STEP PLAN FOR NINTENDO!".</scene_description> <character>JOSH FARMER</character> <dialogue>I don't get it.</dialogue> <character>JAKE</character> <dialogue>What do you mean you don't get it? It's a very clear fifteen point plan.</dialogue> <scene_description>Olsen points to the easel.</scene_description> <character>EVAN OLSEN</character> <dialogue>I think you spelled "covert" wrong.</dialogue> <character>MIKEY TROTTER</character> <dialogue>The field trip is Monday Farmer. To Chicago.</dialogue> <character>JOSH FARMER</character> <dialogue>So?</dialogue> <character>MIKEY TROTTER</character> <dialogue>So, they still sell Nintendo's there.</dialogue> <character>JOSH FARMER</character> <dialogue>So?</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>So we sell some baseball cards, get some money, sneak out of the field trip and buy our own Nintendo.</dialogue> <character>JOSH FARMER</character> <dialogue>Oh, okay, I get it. Why didn't you just say that in the first place?</dialogue> <character>JAKE</character> <dialogue>This can work guys.</dialogue> <character>EVAN OLSEN</character> <dialogue>I don't know, sounds dangerous.</dialogue> <character>JAKE</character> <dialogue>We don't have to do the flame thrower thing, I just tossed that in there for Mikey.</dialogue> <character>MIKEY TROTTER</character> <dialogue>Flame thrower thing would be pretty cool though.</dialogue> <character>EVAN OLSEN</character> <dialogue>I dunno, we could get in trouble. I can't get in trouble now Jake, it's almost Christmas.</dialogue> <character>JAKE</character> <dialogue>Forget Christmas! This is serious!</dialogue> <parenthetical>(beat, digs deep)</parenthetical> <dialogue>This is our one and only chance to get a Nintendo. One that we can play on our own and we don't have to worry about taking our boots off or getting in line or any of that stuff. We can totally do this. This is our Goonie adventure. Who's with me?</dialogue> <character>MIKEY TROTTER</character> <dialogue>I'm in.</dialogue> <scene_description>The Gruseckis look at each other, then.</scene_description> <character>TOMMY GRUSECKI</character> <dialogue>We're in.</dialogue> <character>RYAN GRUSECKI</character> <dialogue>We're in.</dialogue> <character>JOSH FARMER</character> <dialogue>You know, this reminds me of the time me and Face from the A-Team--</dialogue> <character>JAKE</character> <dialogue>Yes or no Farmer.</dialogue> <character>JOSH FARMER</character> <dialogue>I'm in.</dialogue> <character>JAKE</character> <dialogue>Olsen?</dialogue> <scene_description>Olsen still isn't sure. He looks around, sighs, then smiles.</scene_description> <character>EVAN OLSEN</character> <dialogue>We're gonna get in so much trouble.</dialogue> <character>JAKE</character> <dialogue>That's what I'm talkin' about!</dialogue> <scene_description>The guys all cheer! Olsen is in.</scene_description> <character>JOSH FARMER</character> <dialogue>Yeah! Woo!</dialogue> <scene_description>Farmer presses play on his little boom box. "WALKING ON SUNSHINE" plays again. Everyone tries to turn it off.</scene_description> <character>MIKEY TROTTER</character> <dialogue>No!</dialogue> <character>JAKE</character> <dialogue>Turn it off!</dialogue> <character>RYAN GRUSECKI</character> <dialogue>I hate this song!</dialogue> <character>JOSH FARMER</character> <dialogue>You love it! You know you love it!</dialogue> </scene> <scene> <stage_direction>INT/EXT. VARIOUS LOCATIONS - MONTAGE</stage_direction> <scene_description>The boys get to work on their plan. "WALKING ON SUNSHINE" continues through the whole montage. - Olsen puts fresh batteries in some WALKIE TALKIES. - Tommy and Ryan select a few cards, including Billy Ripken, and put them in a small plastic case. - Trotter squeezes a little cup of MOTTS APPLESAUCE onto the counter, experimenting. - Farmer leads the guys in some aerobic dancing exercises. - Olsen reluctantly hands over a few of his best cards to Tommy. Tommy puts them in the case. - Jake studies a city map of Chicago in his encyclopedia. - Trotter hands over a few of his best cards to Tommy. - Jake goes over a crude overhead drawing of a city block with the guys. We see words like BACK SEAT OF BUS, ESCAPE ROUTE, TICKING CLOCK, WATER TOWER PLACE, "KOVERT". - Jake hands Tommy a few of his best cards. - Farmer hands Tommy a few GARBAGE PAIL KID CARDS. Tommy just shakes his head. - Tommy's plastic case is now full of cards. The guys all follow him into The Dugout. - Moments later the guys exit the store, excited. Tommy fans through a bunch of ten dollar bills. He hands the stack to Ryan, Ryan hands it to Trotter, Trotter hands it to Olsen who puts the money in a TRAPPER KEEPER and hands it to Jake. - The guys walk off down the street like Reservoir Dogs. But as they do we see a FIGURE watching them. It's Dan Delund.</scene_description> <character>ANNIE (V.O.)</character> <dialogue>Oh no! Not Delund! What's he gonna do?!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Just hang on Annie, I'm getting there.</dialogue> </scene> <scene> <stage_direction>EXT. FRONT OF SCHOOL - MORNING - DAY</stage_direction> <scene_description>All the fifth grade classes board a school bus to Chicago. Jake stands off to the side, holding the Trapper Keeper, inspecting his crew as they pass by to get on the bus.</scene_description> <character>JAKE</character> <dialogue>Walkie talkies?</dialogue> <character>EVAN OLSEN</character> <dialogue>Check.</dialogue> <character>JAKE</character> <dialogue>Blanket?</dialogue> <character>TOMMY GRUSECKI</character> <dialogue>Check.</dialogue> <character>JAKE</character> <dialogue>Duffle bag?</dialogue> <character>RYAN GRUSECKI</character> <dialogue>Check.</dialogue> <scene_description>Farmer steps forward wearing head to toe CAMOUFLAGE clothing.</scene_description> <character>JOSH FARMER</character> <dialogue>Camouflage! Check.</dialogue> <character>JAKE</character> <dialogue>Not really necessary, Farmer, but I like the spirit.</dialogue> <scene_description>Trotter steps up, he and Jake exchange a little handshake.</scene_description> <character>MIKEY TROTTER</character> <dialogue>You got the money. I got the Motts.</dialogue> <character>JAKE</character> <dialogue>Let's do it.</dialogue> <scene_description>Jake and Trotter turn to walk toward the bus but run right into Dan Delund who stands over them, menacingly.</scene_description> <character>DAN DELUND</character> <dialogue>Nice Trapper Keeper, Boyle. I hear it's good for organizing money.</dialogue> <scene_description>Delund snatches the Trapper Keeper out of Jake's hands.</scene_description> <character>JAKE</character> <dialogue>Hey! That's ours!</dialogue> <character>DAN DELUND</character> <dialogue>Not anymore.</dialogue> <character>MIKEY TROTTER</character> <dialogue>You can't do that!</dialogue> <character>DAN DELUND</character> <dialogue>Oh yeah? What are you gonna do about it?</dialogue> <scene_description>Dan looms, threateningly. Trotter and Jake stammer.</scene_description> <character>DAN DELUND</character> <dialogue>That's what I thought. The Nintendo's mine.</dialogue> <scene_description>Delund chuckles to himself and walks onto the bus with the Trapper Keeper. Trotter and Jake just watch helplessly.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Oh man. This is bad.</dialogue> <character>JAKE</character> <dialogue>I don't think it could get any worse.</dialogue> <character>MRS. HUGO (O.S.)</character> <dialogue>Jake Doyle!</dialogue> <scene_description>Jake looks up to see Mrs. Hugo now standing above him.</scene_description> <character>MRS. HUGO</character> <dialogue>Where do you think you're going?</dialogue> <character>JAKE</character> <dialogue>On the bus. To the Art Institute.</dialogue> <character>MRS. HUGO</character> <dialogue>Not like that you're not. No boots. No field trip.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Son of a--</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL BUS - MOMENTS LATER - DAY</stage_direction> <scene_description>"DO YOU REALLY WANT TO HURT ME" plays. A nervous Jake slowly steps onto the now completely full bus in his girls' boots.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>At first I thought, maybe no one will notice.</dialogue> <scene_description>A KID in the second row immediately stands and points.</scene_description> <character>KID</character> <dialogue>Hey everybody! Jake Doyle's wearing girls' boots!</dialogue> <scene_description>The entire bus starts laughing and pointing. Humiliated, Jake trudges toward the back where his friends are sitting.</scene_description> <character>KID TWO</character> <dialogue>Look at those!</dialogue> <character>KID THREE</character> <dialogue>They're so pretty!</dialogue> <character>KATIE SORRENTINO</character> <dialogue>I have the same kind.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Reoccurring nightmares of Freddy Kruger and the '84 Cubs quickly fell to the wayside. It was a bad dream come to life.</dialogue> <scene_description>Delund stands up, pounding his fist in his hand, smiling.</scene_description> <character>DAN DELUND</character> <dialogue>Forgot about those. Nice boots Boyle! Come on back and have a seat!</dialogue> <scene_description>There are two seats left on the bus. One right next to Delund in the very back. And one right next to CONOR STUMP (10, the weirdest kid in school) toward the front. Jake gulps.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And suddenly our whole plan was in jeopardy.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL BUS - LATER - DAY</stage_direction> <scene_description>The bus makes its way through downtown Chicago. It's bumper to bumper traffic. Jake sits next Connor Stump who sings to himself. He's probably been doing so the entire trip.</scene_description> <character>CONNOR STUMP</character> <dialogue>When you're running into first and you feel a juicy burst. Diarrhea. Diarrhea.</dialogue> <scene_description>Jake puts his head in his hands. Stump keeps singing.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>The entire plan hung in the balance, and I was stuck sitting in the reject seat with Connor Stump.</dialogue> <character>CONNOR STUMP</character> <dialogue>When you're sliding into third and you feel a juicy turd. Diarrhea. Diarrhea...</dialogue> <scene_description>Jake looks back at Trotter who shrugs "What do we do?!" Jake looks over at Delund who is counting the money in his seat. Connor takes note.</scene_description> <character>CONNOR STUMP</character> <dialogue>Are you scared of Dan? I am. That's why I sing the poo songs. To calm me down. Do you know any poo songs?</dialogue> <character>JAKE</character> <dialogue>No.</dialogue> <character>CONNOR STUMP</character> <dialogue>You should learn some.</dialogue> <scene_description>Trotter comes running up, crouched down to avoid detection.</scene_description> <character>MIKEY TROTTER</character> <dialogue>We're almost to the spot Jake, what do we do?</dialogue> <character>JAKE</character> <dialogue>I don't know. Just, just go ahead, I'll think of something.</dialogue> <scene_description>Trotter nods, walks up to the front of the bus, moaning.</scene_description> <character>MIKEY TROTTER</character> <dialogue>Mrs. Hugo...</dialogue> <character>MRS. HUGO</character> <dialogue>Michael, what are you doing out of your seat?</dialogue> <character>MIKEY TROTTER</character> <dialogue>I don't feel good...</dialogue> <scene_description>With Mrs. Hugo distracted, Jake scurries to the back of the bus. Delund watches him approach.</scene_description> <character>DAN DELUND</character> <dialogue>Well looky what we got here. A girl in girls' boots.</dialogue> <character>JAKE</character> <dialogue>Dan, we gotta go get the Nintendo now. I can show you how to--</dialogue> <character>DAN DELUND</character> <dialogue>I'm not listening to you Boyle. The money's mine. I'll get my Nintendo when I get it.</dialogue> <character>JAKE</character> <dialogue>We gotta go now or else--</dialogue> <character>DAN DELUND</character> <dialogue>Or else what? You're gonna make me?</dialogue> <scene_description>Delund stands, he grabs Jake by the jacket.</scene_description> <character>DAN DELUND</character> <dialogue>Go back and sit with your girlfriend in your girls' boots.</dialogue> <scene_description>Dan pushes Jake hard. He stumbles backwards and falls onto the floor. Delund laughs hysterically as Jake lays there.</scene_description> <character>DAN DELUND</character> <dialogue>Ha ha! Look at the little girl! Are you gonna cry now little girl? Wha wha wha! Wha wha wha!</dialogue> <scene_description>Jake looks like he might actually cry. He looks around, all eyes are on him. Connor Stump looks up at him with innocent kid eyes. Something inside of Jake snaps.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oddly enough, it was something in Connor Stump's runny nose that made me get up. Nintendo or not, Delund had been king of the mountain for too long.</dialogue> <scene_description>Jake suddenly pops up off the floor and charges back toward Delund. Delund looks up from his seat, surprised.</scene_description> <character>JAKE</character> <dialogue>You're all talk, no walk Delund.</dialogue> <character>DAN DELUND</character> <dialogue>What's that supposed to mean?</dialogue> <scene_description>WHAM! Jake slams his ESPRIT BOOT into Delund's chest. Pinning him up against the seat. He leans toward him, growls.</scene_description> <character>JAKE</character> <dialogue>It means gimme the Trapper Keeper you heavy metal hair on an elephant's butt.</dialogue> <scene_description>The bus is in complete shock. Delund is in complete shock.</scene_description> <character>JAKE</character> <dialogue>Now.</dialogue> <scene_description>Delund swallows hard. Then, without a word he hands the Trapper Keeper over.</scene_description> <character>JOSH FARMER</character> <dialogue>Holy smokes...</dialogue> <scene_description>Kid's jaws are hitting the floor. Jake nods to the Gruseckis. They start waving hand signals toward Trotter. Trotter, who's still distracting Hugo, gives a subtle nod.</scene_description> <character>MRS. HUGO</character> <dialogue>Just tell me what it is. Is it your stomach? Do you think you might--</dialogue> <character>MIKEY TROTTER</character> <dialogue>Bluuuuuuughh!</dialogue> <scene_description>Trotter suddenly PUKES all over Mrs. Hugo.</scene_description> <character>MRS. HUGO</character> <dialogue>Ugh! Stop the bus! Carl! Stop the bus! Pull over!</dialogue> <scene_description>Kids start screaming, Hugo keeps yelling, it's chaos. The bus pulls over. Trotter runs out puking into his hands-- we now notice that he has cups of MOTTS APPLESAUCE in his sleeves. In the back, The Gruseckis mash a BLANKET over the emergency exit alarm. Farmer pulls the handle and thrusts the door open. Olsen tosses Jake a walkie talkie and a duffle bag. Jake jumps out onto the street and takes off. He's doing it! Olsen scrambles to the window and calls out after him.</scene_description> <character>EVAN OLSEN</character> <dialogue>Goonies never say die Doyle!</dialogue> </scene> <scene> <stage_direction>EXT. MICHIGAN AVENUE - MOMENTS LATER - DAY</stage_direction> <scene_description>Jake runs down the sidewalk. He checks his map and crosses the street toward WATER TOWER PLACE. He pulls out his walkie.</scene_description> <character>JAKE</character> <dialogue>Red Dog this is Blue Bird I'm approaching Water Tower Place. Over.</dialogue> <character>EVAN OLSEN (O.S.)</character> <dialogue>Blue Bird, this is Ewok One.</dialogue> <character>JAKE</character> <dialogue>What happened to Red Dog?</dialogue> <character>EVAN OLSEN (O.S.)</character> <dialogue>I changed it.</dialogue> <character>JAKE</character> <dialogue>We get to change names now? Start over.</dialogue> <parenthetical>(then)</parenthetical> <character>JAKE</character> <dialogue>Ewok One this is Millennium Falcon Super Cool.</dialogue> <character>EVAN OLSEN (O.S.)</character> <dialogue>Love it.</dialogue> <character>JAKE</character> <dialogue>I am crossing the street. Over.</dialogue> <scene_description>Jake runs toward WATER TOWER PLACE shopping center. The very same place he went shopping with his family last week. The same SALVATION ARMY SANTA CLAUS is there too.</scene_description> <character>SALVATION ARMY SANTA</character> <dialogue>Careful there kid. It's slippery.</dialogue> <scene_description>Jake gives Santa a wave and side steps a small patch of ice near the entrance. He runs through the doors.</scene_description> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE - CONTINUOUS</stage_direction> <scene_description>Jake runs through the store foyer. He clicks his digital Casio calculator watch to countdown NINE MINUTES.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>The plan was simple. I had exactly nine minutes to buy a Nintendo and three games and make it back to the bus before Trotter's applesauce ran out. As long as I didn't run into any major obstacles I figured I'd be good to goo-- Oh God.</dialogue> <scene_description>Jake runs up to Marshall Fields to find MRS. TROTTER and MRS. KLEEN picketing with NINTENDO-NO signs in front of the store. There's no way he can get past them without being seen.</scene_description> <character>JAKE</character> <dialogue>Are you kidding me?!</dialogue> <scene_description>Jake ducks behind a MALL MAP KIOSK. Pulls out his walkie.</scene_description> <character>JAKE</character> <dialogue>Ewok One. We have a problem.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL BUS - CONTINUOUS</stage_direction> <scene_description>Olsen holds his walkie talkie. The Gruseckis and Farmer huddle up with him in the back two seats.</scene_description> <character>EVAN OLSEN</character> <dialogue>What's the problem Millennium... Super whatever?</dialogue> <scene_description>We cut back and forth between the store and the bus.</scene_description> <character>JAKE</character> <dialogue>Mrs. Trotter and Mrs. Kleen are standing outside the store! Repeat Trotter and Kleen are here! I can't get in without them seeing me!</dialogue> <character>EVAN OLSEN</character> <dialogue>Oh no! What are we gonna do?!</dialogue> <character>JAKE</character> <dialogue>I don't know that's why I'm calling you!</dialogue> <character>EVAN OLSEN</character> <dialogue>Abort! Abort!</dialogue> <character>JAKE</character> <dialogue>No! No abort. We just need to get them out of the way.</dialogue> <scene_description>Jake notices the PHONE NUMBER for the building on the kiosk.</scene_description> <character>JAKE</character> <dialogue>Maybe we can page them. Over the intercom or something. Tell them they have a call.</dialogue> <scene_description>Tommy taps Olsen, points to a PAY PHONE across the street.</scene_description> <character>EVAN OLSEN</character> <dialogue>There's a pay phone across the street!</dialogue> <character>JAKE</character> <dialogue>Yes! Okay. How's Trotter? Gimme a sauce check.</dialogue> <scene_description>Olsen peers out the window to see Mrs. Hugo tending to Trotter who is now standing up, breathing slowly.</scene_description> <character>MRS. HUGO</character> <parenthetical>(to Trotter)</parenthetical> <dialogue>Is that it? Is that everything?</dialogue> <scene_description>Trotter doubles over and "pukes" again. Mrs. Hugo sighs.</scene_description> <character>MRS. HUGO</character> <dialogue>I should've gone to law school.</dialogue> <character>EVAN OLSEN</character> <dialogue>Sauce is still flying. We can make it to the pay phone. But what do we say?</dialogue> <character>JAKE</character> <dialogue>I don't know, something good.</dialogue> <character>EVAN OLSEN</character> <dialogue>Like what?!</dialogue> <character>JAKE</character> <dialogue>I don't know, make something up!</dialogue> <scene_description>Farmer rises from his seat. Smiles.</scene_description> <character>JOSH FARMER</character> <dialogue>Did someone say, "make something up"?</dialogue> </scene> <scene> <stage_direction>EXT. STREET - PAYPHONE - MOMENTS LATER - DAY</stage_direction> <scene_description>Farmer's on the payphone across the street, in his element.</scene_description> <character>JOSH FARMER</character> <dialogue>Yes, I need you to page a Mrs. Trotter and a Mrs. Kleen please. Yes, it's an emergency, this is their nephew. Well, I've just found a needle in my halloween candy and I'm trying to decide if I should eat it or not. Yes, I think you should get them.</dialogue> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE - CONTINUOUS</stage_direction> <scene_description>Jake nervously looks at his watch. It's down to SIX MINUTES.</scene_description> <character>JAKE</character> <dialogue>Come on... Come on...</dialogue> <scene_description>The PA crackles on.</scene_description> <character>PA VOICE (O.S.)</character> <dialogue>Paging Mrs. Trotter and Mrs. Kleen. Mrs. Trotter and Mrs. Kleen. Please come to the customer service desk. You have an emergency phone call.</dialogue> <scene_description>Surprised and concerned, Mrs. Trotter and Mrs. Kleen walk off toward the front lobby. Jake grabs his walkie talkie.</scene_description> <character>JAKE</character> <dialogue>It worked. I'm going in. Keep 'em on the phone.</dialogue> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Olsen looks out the window at Farmer across the street.</scene_description> <character>EVAN OLSEN</character> <dialogue>Copy that.</dialogue> <scene_description>Olsen gives Farmer a thumbs up and a signal to keep the call going. Farmer gives him a thumbs up back. He's got this.</scene_description> </scene> <scene> <stage_direction>INT. TOY SECTION - MARSHALL FIELDS - MOMENTS LATER</stage_direction> <scene_description>Jake runs through the store. Focused, determined.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Hello Jake. How 'bout a quick--</dialogue> <character>JAKE</character> <dialogue>Not today!</dialogue> <scene_description>Jake blows by the Nintendo display.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - PAYPHONE - CONTINUOUS</stage_direction> <scene_description>Farmer does his best to keep Kleen and Trotter on the line.</scene_description> <character>JOSH FARMER</character> <dialogue>Hello Mrs. Trotter. I mean Mrs. Kleen, right. It's your nephew!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Yes I know you don't have a nephew. That's exactly why I'm calling. I'm with the International Nieces and Nephews Collective. That's right.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Well, we're based in Europe.</dialogue> </scene> <scene> <stage_direction>INT. TOY SECTION - MARSHALL FIELDS - CONTINUOUS</stage_direction> <scene_description>Jake runs up to the aisle where Nintendos and games are sold. He grabs a Nintendo, pausing for a second to soak in the moment. He hoists it on his shoulder, starts grabbing games.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Okay, games, games, games, let's see... RBI Baseball.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Double Dragon, obviously. Top Gun or 1943? Top-Gun or-1943? Top-Gun- or-1943?</dialogue> <character>EVAN OLSEN (V.O.)</character> <dialogue>Four minutes Super Falcon!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Dah!</dialogue> <scene_description>Jake grabs Top Gun and runs off.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - PAYPHONE - MOMENTS LATER</stage_direction> <scene_description>Farmer keeps the conversation going somehow.</scene_description> <character>JOSH FARMER</character> <dialogue>Well it makes perfect sense if you think about it. You don't have a nephew, you would like a nephew, the Collective is here to help.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. TOY SECTION - MARSHALL FIELDS - COUNTER - CONTINUOUS</stage_direction> <scene_description>Jake runs up to the checkout counter to find five SHOPPERS in front of him, all with loaded up arms of merchandise.</scene_description> <character>EVAN OLSEN (V.O.)</character> <dialogue>Super Cool, come in. Farmer's losing them, you gotta hurry!</dialogue> <scene_description>Jake scrambles and heads toward the other end of the store.</scene_description> </scene> <scene> <stage_direction>INT. TOY SECTION - MARSHALL FIELDS - CONTINUOUS - DAY</stage_direction> <scene_description>Jake runs past the Nintendo display again.</scene_description> <character>NINTENDO (V.O.)</character> <dialogue>Tick tock, Jake. Tick tock.</dialogue> <character>JAKE</character> <dialogue>Shut up!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - PAY PHONE - CONTINUOUS - DAY</stage_direction> <scene_description>Farmer does his best to keep the ladies on the line.</scene_description> <character>JOSH FARMER</character> <dialogue>Oh, I have Mrs. Trotter now, yes, thank you. No I was unaware prank phone calls were a criminal offense. Well I'll get down to brass tacks then. I'm with the Book- It program. Your son's won a personal pan pizza.</dialogue> </scene> <scene> <stage_direction>INT. COSMETICS SECTION - MARSHALL FIELDS - CONTINUOUS - DAY</stage_direction> <scene_description>Jake reaches a checkout counter in cosmetics, out of breath.</scene_description> <character>JAKE</character> <dialogue>One Nintendo please.</dialogue> <scene_description>The COSMETICS CLERK (50s, female) looks him over, suspicious.</scene_description> <character>CLERK</character> <dialogue>How old are you?</dialogue> <character>JAKE</character> <dialogue>Lady, I got two hundred bucks and no time for questions, ring it up.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - CONTINUOUS - DAY</stage_direction> <scene_description>Trotter teeters back and forth on the sidewalk, moaning. The BUS DRIVER has joined Mrs. Hugo on the sidewalk now. The two watch Trotter in amazement. This kid has been puking forever.</scene_description> <character>MRS. HUGO</character> <dialogue>Feeling better now? Think we can get on the bus?</dialogue> <scene_description>Trotter doubles over again, "pukes", but no applesauce comes out. He's out of Motts cups.</scene_description> <character>BUS DRIVER</character> <dialogue>Yeah he's dry heavin', you're good.</dialogue> <scene_description>The Bus driver heads back to the bus. Trotter sneaks a panicked look up at Olsen. "I'm out." Olsen grabs his walkie.</scene_description> <character>EVAN OLSEN</character> <dialogue>The sauce is gone. Repeat. We are out of sauce.</dialogue> <scene_description>Olsen turns to see the Gruseckis pulling Farmer on the bus.</scene_description> <character>JOSH FARMER</character> <dialogue>I lost em.</dialogue> <character>EVAN OLSEN</character> <dialogue>And Farmer's off the phone!</dialogue> </scene> <scene> <stage_direction>INT. WATER TOWER PLACE - MARSHALL FIELDS - CONTINUOUS - DAY</stage_direction> <scene_description>Jake sprints toward the Marshall Fields exit as he stuffs the NINTENDO and GAMES in his duffle bag.</scene_description> <character>EVAN OLSEN (V.O.)</character> <dialogue>Repeat. Farmer's off the phone! Look out for Kleen and Trotter!</dialogue> <scene_description>Jake looks up to see Kleen and Trotter approaching. He has no where to hide. He dives along side A GROUP OF SHOPPERS heading toward the escalator. He army crawls along with them, using them as a screen from Kleen and Trotter. A TODDLER in the arms of one of the shoppers notices Jake and smiles. Jake give the kid a little wink, he's in the zone.</scene_description> </scene> <scene> <stage_direction>INT/EXT. WATER TOWER PLACE - CONTINUOUS - DAY</stage_direction> <scene_description>Jake runs down the escalator stairs, yells into his walkie.</scene_description> <character>JAKE</character> <dialogue>I got past 'em! I'm in the clear!</dialogue> <character>EVAN OLSEN (V.O.)</character> <dialogue>The bus is moving Jake. The stoplight is still the rendezvous! You're gonna make it!</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>This was it. This was it. Victory was mine. I could taste it...</dialogue> <scene_description>Jake barrels through the front doors, his eyes wide as saucers as he runs onto the sidewalk. Sunlight hits his face, he's free, he's made it! We go into SLOW MOTION.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Yes! Yes!</dialogue> <scene_description>Suddenly Jake's feet slide out from under him.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Nooooooo!</dialogue> <scene_description>Jake slips backward on a patch of ice-- the same spot that Adult Jake almost slipped at the beginning of the movie. The momentum thrusts Jake's hands upward and the duffle bag goes flying. It glistens in the sun as it flutters down, down, down onto the street. Jake scrambles up on his side just in time to see THE BUS come flying by and RUN OVER THE NINTENDO.</scene_description> <character>JAKE</character> <dialogue>Nooooooo!</dialogue> <scene_description>Front tire, then back tire. On the bus Olsen, Farmer, Trotter and the Gruseckis all peer out the back window, their faces pressed against the glass in horror, witnessing the damage.</scene_description> <character>THE GUYS</character> <dialogue>Noooooo!</dialogue> <scene_description>The bus stops at the stoplight at the end of the block. Jake just stands in the street, devastated. The Nintendo lays SMASHED TO BITS at his feet. The bus drives off.</scene_description> </scene> <scene> <stage_direction>INT. TAXI CAB - A LITTLE BIT LATER - DAY</stage_direction> <scene_description>Jake sits in the back of a CAB, totally dejected holding a broken piece of Double Dragon. A CABBIE (60's, South Side, gruff) looks Jake over in the mirror, a little concerned.</scene_description> <character>CABBIE</character> <dialogue>Where to chief?</dialogue> <character>JAKE</character> <dialogue>Art Institute.</dialogue> <scene_description>A beat. The Cabbie looks Jake over again.</scene_description> <character>CABBIE</character> <dialogue>So what gives?</dialogue> <character>JAKE</character> <dialogue>I got money, don't worry.</dialogue> <character>CABBIE</character> <dialogue>No, what gives? Why the long face?</dialogue> <character>JAKE</character> <dialogue>I don't want to talk about it.</dialogue> <character>CABBIE</character> <dialogue>You on Christmas vacation?</dialogue> <character>JAKE</character> <dialogue>Yeah, almost.</dialogue> <character>CABBIE</character> <dialogue>So, you should be happy. Go on tell me what the problem is.</dialogue> <scene_description>A beat. Jake sighs. Okay.</scene_description> <character>JAKE</character> <dialogue>I'm not gonna get what I want for Christmas. Nobody is.</dialogue> <character>CABBIE</character> <dialogue>Yeah, that's a tough one.</dialogue> <scene_description>The Cabbie sighs, then gets reflective.</scene_description> <character>CABBIE</character> <dialogue>One year when I was a kid I wanted a horse. Can you believe that? We live eight blocks from Comiskey and I want a horse. All November, all December that's all I talk about. My grandparents, my parents, they all ask "Chester what do you want for Christmas?". "A horse" I says, over and over "a horse". That's it, nothing else. Everybody tells me "Chester we can't get a horse and that's final." I don't listen, I spend all Christmas waiting for the horse, figuring out how to get the horse. And then you know what happened Christmas morning?</dialogue> <character>JAKE</character> <dialogue>You got the horse?</dialogue> <character>CABBIE</character> <dialogue>No, I don't even know what I got that year. But no horse. I realized later, I wasted a whole Christmas worrying about something that didn't really matter anyway.</dialogue> <scene_description>A car cuts the Cabbie off.</scene_description> <character>CABBIE</character> <dialogue>You see that? Come January I'll call that yuppie every name in the book. But now, well, it's Christmas. You only get so many of 'em and you gotta make 'em count. Like with you. Betch-ya you haven't even told somebody Merry Christmas this year have you.</dialogue> <scene_description>A beat. Jake thinks about that. The cab pulls into the back driveway of THE ART INSTITUTE OF CHICAGO.</scene_description> <character>CABBIE</character> <dialogue>Who you meeting here?</dialogue> <character>JAKE</character> <dialogue>My class. We're on a field trip. I kinda left. I'll probably get held back now. How much do I owe you?</dialogue> <character>CABBIE</character> <dialogue>Hold on. You cut out on a field trip?</dialogue> <character>JAKE</character> <dialogue>Yeah.</dialogue> <scene_description>The cabbie chuckles a bit, impressed.</scene_description> <character>CABBIE</character> <dialogue>Is it a big class?</dialogue> <character>JAKE</character> <dialogue>Pretty big.</dialogue> <character>CABBIE</character> <dialogue>This is the back entrance to the place. Tell the guard at the door there you got lost, the place is huge. He'll let you in, just hop right back in with your class, you'll be fine.</dialogue> <character>JAKE</character> <dialogue>Thanks. How much is it?</dialogue> <character>CABBIE</character> <dialogue>Ah don't worry about it. You gotta do me a favor though chief.</dialogue> <character>JAKE</character> <dialogue>What's that?</dialogue> <character>CABBIE</character> <dialogue>Have a merry Christmas.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - CHRISTMAS MORNING - DAWN</stage_direction> <scene_description>"HAVE YOURSELF A MERRY LITTLE CHRISTMAS" plays. It's Christmas morning at the Doyle house. Stockings hang from exposed wall studs. Presents rest under the tree. Cookies left for Santa have been nibbled on. All is calm and bright.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - JAKE'S ROOM - DAWN - CONTINUOUS</stage_direction> <scene_description>Jake sleeps soundly. A hand rustles his shoulder. He opens his eyes to see Lizzy standing there in her PJ's, BEAMING.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Is it time yet?</dialogue> <scene_description>Jake manages a small smile.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - PATTY AND JOHN'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Lizzy bursts into the room yelling and jumping on the bed.</scene_description> <character>LIZZY DOYLE</character> <dialogue>It's Christmas! It's Christmas! Wake up! Wake up!</dialogue> <character>PATTY DOYLE</character> <dialogue>Merry Christmas Lizzy, dear.</dialogue> <character>LIZZY DOYLE</character> <dialogue>Dad, wake up it's Christmas!</dialogue> <scene_description>John groans, puts a pillow over his head.</scene_description> <character>JOHN DOYLE</character> <dialogue>Christmas is canceled.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - A FEW MINUTES LATER - DAY</stage_direction> <scene_description>A giddy Lizzy crawls around the tree inspecting packages. Jake stands a few feet away, pessimistically looking it over.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Nine years of visual unwrapping experience, I could tell right away that there was no Nintendo under the tree. Fat ladies standing by quietly warmed their vocal chords.</dialogue> <scene_description>John and Patty descend the stairs, still half asleep.</scene_description> <character>PATTY DOYLE</character> <dialogue>No touching packages till we pass them out Lizzy. You know the rules.</dialogue> <scene_description>Lizzy doesn't listen, she shakes a package. It rattles.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Legos?</dialogue> <character>JAKE</character> <dialogue>Legos.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>All I wanted at this point was to get the whole thing over with.</dialogue> <scene_description>John plops on the couch.</scene_description> <character>JOHN DOYLE</character> <dialogue>Alright, lets have some Christmas.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - MONTAGE - TIME PASSING - DAY</stage_direction> <scene_description>The 8-BIT TETRIS THEME SONG plays as Patty hands out presents. The Doyles happily tear into packages. Jake just mopes his way through it. - Lizzy opens up a My Little Pony. - Patty opens a pair of leg warmers. - Jake opens some Legos. He nods, knowingly. - John opens an electric sander. He's impressed. - Patty opens up another pair of leg warmers. - John starts sanding a nearby wall. It's very loud. - Jake opens some ear muffs. He puts them on. - Lizzy opens her Cabbage Patch doll. She's ecstatic!</scene_description> <character>LIZZY</character> <dialogue>A CABBAGE PATCH!</dialogue> <scene_description>The doll wears nothing but a child sized Chicago Bears T- shirt. It also has PURPLE HAIR. Jake gives his dad a look. John shakes it off.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - A LITTLE LATER - DAY</stage_direction> <scene_description>Post presents bliss. The floor is a mess with wrapping paper. Jake and Lizzy sit on the couch on either side of Patty.</scene_description> <character>PATTY DOYLE</character> <dialogue>Well that was another great Christmas, wasn't it?</dialogue> <scene_description>John sands the wall behind the tree.</scene_description> <character>LIZZY DOYLE</character> <dialogue>What?!</dialogue> <character>PATTY DOYLE</character> <dialogue>I said that was another-- John! Do you have to do that right now?!</dialogue> <scene_description>John shuts the electric sander off.</scene_description> <character>JOHN DOYLE</character> <dialogue>You bought it for me.</dialogue> <scene_description>John pulls the cord taught, inadvertently knocking over an unseen PACKAGE wrapped in brown mailing paper by the door.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And that's when I saw it.</dialogue> <scene_description>The sun suddenly illuminates the package. A choir of ANGELS SING. Jake's eyes widen. Lizzy's eyes widen. Elwood's friggin' eyes widen. Could it be?</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was the exact size and shape of the box I'd held in my hands not three days before. I knew that box. I'd felt that box in my sleep. That was a Nintendo box.</dialogue> <scene_description>Lizzy runs over and sneaks a look at the shipping label.</scene_description> <character>LIZZY DOYLE</character> <dialogue>To Jake. From Uncle Dan.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Uncle Dan! Of course! Unreliable, stinking rich, crazy Uncle Dan! Uncle Dan who hadn't so much as sent me a postcard in three years.</dialogue> <character>JOHN DOYLE</character> <dialogue>Dan sent a gift? Great.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Clearly he was making up for it. With a Nintendo!</dialogue> <character>JOHN DOYLE</character> <dialogue>Where's he living again now?</dialogue> <character>PATTY DOYLE</character> <dialogue>Japan.</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Japan! Japan! The home of Nintendo! The land where dreams came true! Oh God don't mess with me now...</dialogue> <character>JOHN DOYLE</character> <dialogue>Well, it's got your name on it Jake.</dialogue> <scene_description>Jake slowly walks toward the package. John sits on the couch.</scene_description> <character>JOHN DOYLE</character> <parenthetical>(aside to Patty)</parenthetical> <dialogue>What'd he say he was sending?</dialogue> <character>PATTY DOYLE</character> <dialogue>I have no idea.</dialogue> <scene_description>Jake cautiously brings the package to the middle of the room. He kneels before it. Everyone waits with baited breath.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>I'd later read of Olympic athletes training their entire lives for one five second moment. This was it.</dialogue> <scene_description>Jake tears open the package, his eyes widening.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It had to be. It had to be...</dialogue> <scene_description>Jake gasps.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Lite Brite!</dialogue> <character>JAKE</character> <dialogue>Lite Brite?</dialogue> <character>ADULT JAKE (V.O.)</character> <dialogue>Lite Brite. Japanese Lite Brite.</dialogue> <scene_description>We now see the box. It's dotted with Japanese lettering and strange English phrases. TWO PREPPY JAPANESE CHILDREN smile as they make an ornate picture of a CLOWN on a LITE BRITE.</scene_description> <character>PATTY DOYLE</character> <dialogue>Oh look Jake, it's the "super happy yum" version. That's great.</dialogue> <character>JOHN DOYLE</character> <dialogue>Jeez, for a second there I thought it might be a Nintendo.</dialogue> <scene_description>Patty and John both start laughing.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>As I slowly tried to grasp the situation I began to fear that I might never recover from this. That this was a tragedy so great I'd never go to prom, never go to college, never leave the house. I'd become a thirty year old balding man in his parents' basement making elaborate pictures of Zelda on his Lite Brite.</dialogue> <scene_description>Jake just sits there in pain.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Christmas was dead to me now.</dialogue> </scene> <scene> <stage_direction>INT. DOYLE HOUSE - KITCHEN - LATER - NIGHT</stage_direction> <scene_description>Jake looks out his kitchen window, still in a daze.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>By nightfall I got word that despite the panic, level headed grandmas had come through. And half my friends went to bed with blistered thumbs from ten hours on their new Nintendos.</dialogue> <scene_description>Jake sighs and sits on the floor.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>It was a tough pill to swallow.</dialogue> <scene_description>Lizzy and Patty sit next to a HUGE PILE OF LUGGAGE. Lizzy holds her doll. John storms in and out, picking up bags.</scene_description> <character>JOHN DOYLE</character> <dialogue>We're going to Minnesota for three days Patty. You've been in our car before, I've seen you in it. You know how big it is.</dialogue> <character>PATTY DOYLE</character> <dialogue>Let's just go in the morning John.</dialogue> <character>JOHN DOYLE (O.S.)</character> <dialogue>I'm not hitting traffic!</dialogue> <character>LIZZY DOYLE</character> <dialogue>Can I bring Dawn outside at Grandma's, Mom?</dialogue> <character>PATTY DOYLE</character> <dialogue>Sure you can honey.</dialogue> <character>LIZZY DOYLE</character> <dialogue>We need to get her a hat though.</dialogue> <parenthetical>(whispering)</parenthetical> <dialogue>Her hair. It's an embarrassment.</dialogue> <scene_description>John walks back inside. He exchanges a glance with Patty.</scene_description> <character>JOHN DOYLE</character> <dialogue>Jake.</dialogue> <character>JAKE</character> <dialogue>Yeah?</dialogue> <character>JOHN DOYLE</character> <dialogue>There's still a ton of poop out there. Go grab the shovel and pick it up.</dialogue> <character>JAKE</character> <dialogue>Right now?</dialogue> <character>JOHN DOYLE</character> <dialogue>Yes right now. You've had all day to do it. And start by the shed. You haven't been back there in months.</dialogue> <scene_description>Jake sighs, grabs his coat and exits.</scene_description> </scene> <scene> <stage_direction>EXT. DOYLE HOUSE - BACKYARD - A LITTLE BIT LATER - NIGHT</stage_direction> <scene_description>We have not seen this part of the yard yet. It's tucked away behind the shed next to a small wooded area. Jake mopes through the snow and sits down on an overturned bucket. He watches his breath in the darkness. A sad beat.</scene_description> <character>JAKE</character> <dialogue>You forgot to turn on the lights Dad. Dad! The flood lights!</dialogue> <scene_description>The flood lights suddenly flick on. Jake slowly gets up. He looks toward the heavens and stops short.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>And there, high above the frozen dog poo that had become the bane of my existence was the most beautiful structure I had ever laid eyes on.</dialogue> <character>JAKE</character> <dialogue>Whoa...</dialogue> <scene_description>We see what Jake sees. A picture perfect TREE FORT, freshly painted and slightly hidden by the snowy branches.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>A tree fort. A spectacular, two level, solid wood, tree fort.</dialogue> <scene_description>Jake stands awestruck. He drops his shovel and walks towards it. He climbs the ladder and slowly looks around.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Oh it was breath taking.</dialogue> <scene_description>John, Patty and Lizzy walk outside to have a look.</scene_description> <character>LIZZY DOYLE</character> <dialogue>Wow-ee.</dialogue> <character>PATTY DOYLE</character> <dialogue>Maybe I should ask Santa to finish the kitchen next year Lizzy, what do you think?</dialogue> <character>JAKE</character> <dialogue>It's got a trap door!</dialogue> <character>JOHN DOYLE</character> <dialogue>Careful by that paint. It still looks wet.</dialogue> <character>PATTY DOYLE</character> <dialogue>Why don't I go get the video camera, John?</dialogue> <character>JOHN DOYLE</character> <dialogue>Nah. Let him be.</dialogue> <scene_description>John looks on, happy, proud.</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S OFFICE - LATER - PRESENT DAY - DUSK</stage_direction> <scene_description>It's almost dusk now. A Christmas tree twinkles in the park below. Headlights flicker on the street. Jake and Annie sit on the floor of his office, holding controllers.</scene_description> <character>ANNIE</character> <dialogue>But the Nintendo was hidden in the fort wasn't it?</dialogue> <character>JAKE</character> <dialogue>Nope.</dialogue> <character>ANNIE</character> <dialogue>Then how did you get it?</dialogue> <character>JAKE</character> <dialogue>I didn't get one until I worked a whole summer outside as a caddy. Grandpa said I could buy my own then.</dialogue> <character>ANNIE</character> <dialogue>I would've got you a Nintendo, Dad.</dialogue> <character>JAKE</character> <dialogue>Thank you Annie.</dialogue> <scene_description>Jake puts his arm around her. The two sit there together.</scene_description> <character>JAKE</character> <dialogue>But I think the tree fort ended up being a pretty good present.</dialogue> <character>ANNIE</character> <dialogue>Yeah.</dialogue> <scene_description>Annie and Jake look to the wall in front of them. Only now do we see that it is filled with BLUEPRINTS and PICTURES of TREE FORTS-- ornate and elaborate structures built for hospitals, yards and schools. Smiling kids are in each and every one. A prominent plaque reads 2018 CHICAGO BUSINESS of the YEAR: ALL SEASONS PLAYGROUNDS, FOUNDER &amp; CEO JAKE DOYLE. Jake builds tree forts for a living now. This is his business.</scene_description> <character>BETH</character> <parenthetical>(knocking)</parenthetical> <dialogue>Sorry to interrupt. Jake, I told Pendrock we'd just get back to them tomorrow.</dialogue> <character>ADULT JAKE</character> <dialogue>That's okay. We can get back to them today. The answer's no.</dialogue> <character>BETH</character> <dialogue>You sure?</dialogue> <character>ADULT JAKE</character> <dialogue>If we took that job we'd end up working straight through New Year's. The whole office.</dialogue> <character>BETH</character> <dialogue>Central Park, it's a huge contract.</dialogue> <character>ADULT JAKE</character> <dialogue>It's a restaurant deck. We build forts for kids. Do me a favor Beth, send everybody home. It's Christmas.</dialogue> <character>BETH</character> <dialogue>You got it boss.</dialogue> <scene_description>Beth smiles, exits. Jake looks back to see Annie now standing at his window, staring at the hustle and bustle below.</scene_description> <character>ADULT JAKE</character> <dialogue>You feeling any better?</dialogue> <character>ANNIE</character> <dialogue>Yeah.</dialogue> <character>ADULT JAKE</character> <dialogue>You wanna go check out that tablet on our way home?</dialogue> <character>ANNIE</character> <dialogue>You think we could go to the park instead?</dialogue> <scene_description>Jake smiles, proud.</scene_description> <character>ADULT JAKE</character> <dialogue>Totally.</dialogue> <scene_description>Annie runs over to grab her coat. Jake goes to turn off the light. As he does we notice a SMALL FRAMED PICTURE on the wall. It's of JAKE, TROTTER, OLSEN, THE GRUSECKIS and FARMER playing in Jake's fort circa summer '89. We see JOHN near the back, about to hammer a nail. He's smiling.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD/TREE FORT - A LITTLE BIT LATER - 1988 - NIGHT</stage_direction> <scene_description>John pops his head through the open trap door of the fort. He looks around and takes a deep breath.</scene_description> <character>JOHN DOYLE</character> <dialogue>Smell that?</dialogue> <character>JAKE</character> <dialogue>Fresh air?</dialogue> <character>JOHN DOYLE</character> <dialogue>Fresh air.</dialogue> <scene_description>A nice father-son beat. Jake watches his dad soak it in.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>From that moment on I saw John Doyle a little differently. He was more than just a guy who hated traffic and could never quite finish the kitchen. He was a magician. He was a hero. He was my dad.</dialogue> <character>JOHN DOYLE</character> <dialogue>Come on. It's getting late. We don't want to hit the traffic.</dialogue> <scene_description>Jake climbs down the rope ladder after John. At the bottom of the ladder, John grabs Jake and slings him over his shoulder. He carries him through the snow toward the house.</scene_description> <character>ADULT JAKE (V.O.)</character> <dialogue>Peacefully, my mind unfolded all the tree fort adventures that undoubtedly lay ahead. Ghost story campouts by flashlight. Week long snow ball battles. And round the clock sky gazing for Soviet spy planes.</dialogue> <character>JAKE</character> <dialogue>Hey dad.</dialogue> <character>JOHN DOYLE</character> <dialogue>Yeah?</dialogue> <character>JAKE</character> <dialogue>Merry Christmas.</dialogue> <character>JOHN DOYLE</character> <dialogue>Merry Christmas, Jake.</dialogue> <scene_description>FADE OUT.:</scene_description> </scene> </script>

In 2021, Jake Doyle recounts to his daughter, Annie, his Christmas of 1989 when all he wanted was a Nintendo Entertainment System. Timothy Keane, the richest kid in Jake's grade, is the only kid in town with a Nintendo and all the latest accessories. Every day, Jake and his friends gather with the rest of the school outside of Timmy's house, where he chooses ten kids to play with him in his basement. Tired of pandering to Timmy for access to the coveted Nintendo, Jake dreams of getting his own for Christmas. He requests it from his distracted schoolteacher mom, Kathy, and his DIY-obsessed dad, John, only to be denied on the basis that video games are bad for his brain and that he should play outside more. Jake's desire for a Nintendo intensifies after Timmy angrily destroys his TV and seriously injures his family's dog after losing a game. Hearing that the first prize of a Scout fundraiser for selling the most Christmas wreaths will be a Nintendo, Jake and his friends compete to win the system. Jake's sister Lizzy has her own desired toy, a Cabbage Patch Kids doll, and in exchange for tips on selling wreaths, Jake agrees to drop hints on her behalf. After finding that all Cabbage Patch Kids are sold out, Jake accompanies John to a back alley deal to buy a doll. Jake wins the fundraiser, only to discover that the prize was swapped out to an encyclopedia set after Timmy's father convinced the community to ban video games. Jake and his friends decide to take matters into their own hands, selling baseball cards (including a rare Bill Ripken card) to pool their money and buy a system to share. Without a ride to the mall, they concoct an elaborate plan to sneak away to the mall and make their purchase during a school trip. Evan Olsen creates a distraction while Jake infiltrates the mall, evading his friends' parents who are protesting video games in front of the game store and successfully buying the Nintendo. Once he returns, though, he trips, dropping the Nintendo which is crushed by the school bus as it drives away. The Cabbage Patch dealer from earlier helps Jake return to his field trip and advises him to focus less on presents and more on the spirit of giving. Christmas Day comes, and Jake does not receive a Nintendo. Instead, John surprises Jake with a backyard tree fort he made himself. Although Jake never got a Nintendo for Christmas, in retrospect he determined that the tree fort and his father's love for him was a better gift. In the present, Jake tells his daughter he eventually bought his own Nintendo after working all summer to earn one. He then shows her the tree fort, which remains standing, and reminisces about all the good memories and adventures he gained from his father's gift. The two join the rest of Jake's family for dinner, aside from John who has passed away, yet they all still save an empty seat for him at the dinner table.

Batman: Mask of the Phantasm_1993

tt0106364

<script> <scene> <character>BATMAN</character> <dialogue>HOKE VIDEO</dialogue> <scene_description>"Masks" Story by: Alan Burnett Screenplay by: Alan Burnett Paul Dini Martin Pasko Michael Reaves Final draft:</scene_description> <character>12/21/92</character> <dialogue>r =di:)</dialogue> <scene_description>WARNER BROS. ANIMATION, INC.</scene_description> <character>BATMAN</character> <dialogue>HOME VIDEO</dialogue> <scene_description>"Masks"</scene_description> <character>FADE IN:</character> <dialogue>EXT. GOTHAM CITY - THE S~.DY LADY CASINO - NIGET</dialogue> <dialogue>Above the entrance a seventy-foot, neon Rita Hayworth lookalike seductively posed with one hand on her .hip, the other behind her head, winks at the traffic below. You can almost hear, "Put the blame on Mame, boys ... "</dialogue> <character>0~ "RITA'S" HEAD</character> <dialogue>BATMAN circles behind her head on a bat glider and lands silently</dialogue> <character>~</character> <dialogue>~ i -· on the roof.</dialogue> <scene_description>'.'\ ·.,:~~-,•</scene_description> <character>ON ROOFTOP</character> <dialogue>He steps from the glider and looks around, making sure no one is up there with him. He moves to a certain spot and pulls out a device which he aims at the roof. It fires a dart into the roof with a THWUMP. The portion sticking out of the roof looks like a small antenna.</dialogue> <character>CLOSE ON BATMAN</character> <dialogue>Batman pulls an earphone from his belt which he puts to his ear. We hear FILTERED VOICES from below ...</dialogue> <character>CHUCKIE (V. 0.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>Take a good look, boys ...</dialogue> <character>INT. THE SUITE BELOW - CONTINUOUS</character> <dialogue>It's a plush garish HOTEL SUITE. Marble fountain, gold lame wallpaper ... the room they give Sinatra. A fifty-ish, squat racketeer, CHUCKIE SOL (Joe Pesci in a good suit) is showing off a suitcase full of counterfeit one-hundred dollar bills to his GOONS. One of the Goons holds it up to a light and squints.</dialogue> <scene_description>-.. ..:.•·</scene_description> <character>GOON #1</character> <dialogue>Geez, Mr. Sol, I can't tell the difference.</dialogue> <character>CHUCKIE</character> <dialogue>You'd need one of them neutron microscopes. It's identical down to Ben Franklin's stubble.</dialogue> <scene_description>Chuckie plucks it from the Goon's hand. ON CHUCKIE As he steps over to the suitcase and places the bill back with the stacks of other bills.</scene_description> <character>CHUCKIE</character> <dialogue>I want it laundered through the casino at a half mil a week. Three-quarter mil by March. Anybody got a problem with that?</dialogue> <scene_description>ON WINDOW Just then the Dark Knight CRASHES through the window. Glass flies like a bomb just hit. ON THE GOONS AND: CHUCKIE Reacting. The b~d guys are already pulling guns.</scene_description> <character>GOONS</character> <dialogue>Hey! /What?/ The Bat!</dialogue> <scene_description>No sooner does the first two goons have their pistols out than two batarangs HIT it and the guns go flying.</scene_description> <character>GOONS #1&amp;2</character> <dialogue>(cries of pain} ON BATMAN (NOTE: Quickly timed, almost faster than the eye can follow.) Another Goon takes a swipe at him from the side. Batman decks him with a left. Another from behind, Batman brings up his elbow</dialogue> <scene_description>to the fellow's jaw. A third Goon literally jumps en his back 1 (APPROPRIATE SFX).</scene_description> <character>GOON #3</character> <parenthetical>(battle cry)</parenthetical> <dialogue>Batman flips him over into ...</dialogue> <character>GOON #1</character> <dialogue>who has retrieved his gun and is about to fire just as Goon #3 comes CRASHING IN. The gun GOES OFF harmlessly as they demolish a glass display of bric-a-brac. SFX: BREAKING GLASS.</dialogue> <character>ON CHUCKIE</character> <dialogue>as the FIGHTING CONTINUES O.S. he sweeps up the briefcase and bolts out the door.</dialogue> <scene_description>CUT TO:</scene_description> <character>EXT. OPEN-AIR MOVING SIDEWALK</character> <dialogue>.</dialogue> <scene_description>The sidewalk is about 200 feet long, several stories above the ground, connecting the hotel to a parking structure. As Chuckie rushes across we PULL BACK to see that we're looking over someone's shoulder, someone standing inside the structure. The shadowy stranger moves OFF.</scene_description> <character>INSIDE THE PARKING STRUCTURE</character> <dialogue>Chuckie rushes in, looking over his shoulder. Suddenly he stops in his tracks as he sees what's before him.</dialogue> <character>CHUCKIE</character> <parenthetical>(gasps)</parenthetical> <character>,I</character> <dialogue>·v</dialogue> <character>REVERSE ANGLE - ON DARK FIGURE</character> <dialogue>The figure is about a hundred yards away and approaching, surrounded by swirls of smoky mist.</dialogue> <character>DARK FIGURE (ELECTRONIC FILTER)</character> <parenthetical>(throaty and harmonized)</parenthetical> <dialogue>Chuckie Sol ...</dialogue> <character>ON CHUCKIE</character> <dialogue>who immediately pulls out a gun.</dialogue> <character>CHUCKIE</character> <dialogue>Batman!</dialogue> <scene_description>He starts FIRING.</scene_description> <character>ON THE DARK FIGURE</character> <dialogue>almost appearing as if he's gliding on the mist. Chuckie continues FIRING but the bullets have no affect. As the figure gets closer we see that this is clearly not the Batman, but a ghoulish looking character with a Death's Head face mask. We'll call him PHANTASM.</dialogue> <character>PHANTASM</character> <dialogue>Your angel of death awaits.</dialogue> <character>ON CHUCKIE</character> <dialogue>as he runs out of bullets (SFX: CLICK-CLICK) he realizes this ain't no Batman.</dialogue> <character>CHUCKIE</character> <dialogue>You ain't the Bat!</dialogue> <scene_description>At that instant Phantasm glides in and knocks the gun from his hand. He then BACKHANDS the gangster, sending him flying.</scene_description> <character>CHUCKIE</character> <parenthetical>(impact cry)</parenthetical> <character>ON CHUCKIE</character> <dialogue>as he CRASHES against one of the pylons. The valise goes flying from his hands. He falls to the ground, feeling his lip. A trickle of blood is at the corner. Phantasm glides in.</dialogue> <character>CHUCKIE</character> <dialogue>Who-who are you? Whaddaya want?</dialogue> <scene_description>r-· \·.-.~;..•· Phantasm grabs him by the lapels and lifts him into the air, SMASHING his back against the pylon.</scene_description> <character>CHUCKIE</character> <dialogue>Oaf!</dialogue> <scene_description>Phantasm comes nose-to-nose with Chuckie.</scene_description> <character>PHANTASM</character> <dialogue>I want you, CRuckie-boy.</dialogue> <scene_description>And with a mighty heave he throws Chuckie o.s.</scene_description> <character>CHUCKIE</character> <parenthetical>(scream of terror)</parenthetical> <character>ON PARKED CARS</character> <dialogue>As Chuckie tumbles over the hoods of a couple of cars parked next to each other. He smashes into the wall behind them. APPROPRIATE SFX.</dialogue> <character>CHUCKIE</character> <parenthetical>(big impact grunts)</parenthetical> <dialogue>stepping toward Chuckie again. Just then he hears the sound of WHEELS SQUEALING. He turns toward the noise. ON CHUCKIE</dialogue> <dialogue>Looking horrified, he also turns in that direction. WIDE ON PHANTASM</dialogue> <dialogue>who steps back into the shadows as a car comes turning around the corner, heading downstairs to the exit. As soon as it passes Phantasm steps forward again and suddenly sees ••. REVERSE ANGLE ON FLOOR turns.</dialogue> <scene_description>ON CHUCKIE heading up the stairwell, the valise under one arm. He looks frantic. His heart rate must be hitting two-hundred. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT.. TOP FLOOR OF PARKING STRUCTURE</stage_direction> <scene_description>Open air. Very few cars. Chuckie reaches the top of the stairs. He gasps for air for a second, then moves on.</scene_description> <character>CHUCKIE</character> <parenthetical>(a couple of gasps)</parenthetical> <scene_description>DOWNSHOT ON STAIRWELL - ON PHANTASM Following, looking up as he climbs. Face heading TOWARD CAMERA. Should feel like a ghost rising on mist. ON CAR Chuckie opens the driver's door and heaves the valise into the back seat. ON BACK SEAT The case lands next to a thermos-size canister planted on the floor. We hear the car door SLAM. ON CHUCKIE sitting in the front seat, sweating bullets. He turns the ignition. The motor CHURNS, not turning over.</scene_description> <character>ON THE STAIRWELL</character> <dialogue>:r Phantasm rises from the stairwell on a cloud of mist and heads for</dialogue> <scene_description>the car.</scene_description> <character>INSIDE CAR - BACK ON CHUCKIE</character> <dialogue>The car finally STARTS, to his relief. He looks at the approaching Phantasm as he puts his car in gear.</dialogue> <character>CHUCKIE</character> <dialogue>This time I got you, you son of a</dialogue> <character>EXT. CAR</character> <dialogue>With a SQUEAL of tires, the car takes off.</dialogue> <character>ON PHANTASM</character> <dialogue>who stops in the center of the parking lot as the lights from Chuckie's car bear down. With a wave of his arms Phantasm completely envelops himself in mist once again.</dialogue> <character>WIDER</character> <dialogue>a split second later Chuckie plows right through the mist, missing Phantasm entirely.</dialogue> <character>ON CHUCKIE</character> <dialogue>looking back through the rear view mirror with a how-in-the-hell- did-I-miss-him expression.</dialogue> <character>BACK ON THE MIST</character> <dialogue>There's still a section of mist intact and from it Phantasm appears, pointing his hand at the vehicle and PRESSING a small device ( SFX) •</dialogue> <character>INT. BACK SEAT OF CAR</character> <dialogue>At that instant the canister in Chuckie's back seat EXPLODES with the black mist, which fills the car.</dialogue> <character>ON CHUCKIE</character> <dialogue>who is suddenly engulfed, completely blinded. He hits the BRAKES.</dialogue> <character>CHUCKIE</character> <dialogue>Wha-a-a-t?!</dialogue> <scene_description>The car SKIDS, swerving toward a low wall and railing. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ELEVATED SIDEWALK</stage_direction> <scene_description>As Batman runs out onto the walk, presumably after Chuckie, he hears the BURNING TIRES and looks up. TOP FLOOR - PARKING STRUCTURE - UPSHOT The car CRASHES through the wall of the structure right over the sidewalk. ON BATMAN reacting. As chunks of concrete fall, he dives from the elevated walk. WIDE The car flies through the air, spiraling in a slow corkscrew, until it SMASHES into the side of the hotel. The car's horn BLARES, stuck, as the smoke from the canister pours out of the car. ON BATMAN swinging onto the ground. Already the counterfeit money is drifting over the scene like oversized snowflakes. Batman spots something at his feet and reaches for it. INSERT ON CANISTER A small curved fragment of the exploded container. CAMERA FOLLOWS Batman's hand as he lifts UP the shard and looks at it. ON THE SIDELINES A CASINO GUARD and MAN IN TUX step out to see the sight.</scene_description> <character>CASINO GUARD</character> <dialogue>Good lord!</dialogue> <scene_description>The man spots Batman and points.</scene_description> <character>MAN IN TUX</character> <dialogue>Hey, it's him!</dialogue> <scene_description>ON BATMAN ~ looking back at them. Suddenly something catches his eye. He looks up as he fits the canister piece into a belt compartment. THE HOLE IN THE WALL ABOVE - ON PHANTASM - BATMAN'S POV The silhouetted form of Phantasm is glancing down. He steps back out of sight almost immediately. ON BATMAN who quickly SHOOTS his grappling hook skyward. ANGLE ON THE TOP even as the hook IMBEDS into the concrete, Phantasm has turned and is walking away, becoming enveloped in mist once again. CLOSE ON WALL as Batman is pulled up to the wall. He climbs over and looks around. ON FAINT WISPS OF VAPOR blowing away as if Phantasm disappeared with the mist. WIDE ON SCENE Batman alone, looking puzzled. All is quiet. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TV STUDIO - CLOSE ON ARTHUR REEVES</stage_direction> <scene_description>We don't know where we are, and won't for a few beats. COUNCILMAN ARTHUR REEVES, a handsome, thirty-something, hot-headed slick politico, is throwing a fit.</scene_description> <character>REEVES</character> <dialogue>I'm telling you, friends, it's vigilantism at its deadliest.</dialogue> <scene_description>ANGLE WIDENS TO INCLUDE COMMISSIONER GORDON, sitting near Reeves, looking uncomfortable.</scene_description> <character>REEVES</character> <parenthetical>(turning to Gordon)</parenthetical> <dialogue>How many times are we going to let this happen? How many times are we going to let Batman cross the line?</dialogue> <scene_description>I'm sorry, Councilman, you can't blame Batman for what happened to Chuckie Sol.</scene_description> <character>REEVES</character> <dialogue>Why not?!</dialogue> <scene_description>FAVOR REEVES He grabs up a newspaper from o.s., holds it up. There's a picture of the car sticking out of the hotel. The headline reads: GAHGSTER SLAIN.</scene_description> <character>REEVES</character> <dialogue>He was there. He was after him. He's a loose cannon, Commissioner.</dialogue> <scene_description>WIDEN to show that Reeves is speaking to a studio audience on the set of "GOTHAM INSIDER." SUMMER GLEESON stands nearby.</scene_description> <character>REEVES</character> <dialogue>It's not just my opinion. A lot of people -- including cops, I might add -- think Batman's as unstable as the crooks he brings in.</dialogue> <scene_description>CLOSE ON REEVES selling it to the audience.</scene_description> <character>REEVES</character> <dialogue>What kind of city are we running when we depend on the support of a potential madman?</dialogue> <character>AUDIENCE (0. S.)</character> <parenthetical>(cheers, hisses, etc.)</parenthetical> </scene> <scene> <stage_direction>PULL BACK TO INCLUDE INT. BATCAVE</stage_direction> <scene_description>to show we are watching this on the TV monitor. ALFRED, who has the bat costume and belt draped over one arm, CLICKS off the broadcast. As he turns:</scene_description> <character>ALFRED</character> <dialogue>Such rot, sir. Why, you're the very model of sanity.</dialogue> <parenthetical>(beat; deadpan)</parenthetical> <dialogue>Oh, by the way, I've pressed your tights and put away your exploding gas balls. ·</dialogue> <scene_description>WIDEN TO INCLUDE BRUCE WAYNE, bent over his lab table, studying the charred remains of the gas canister.</scene_description> <character>BRUCE</character> <dialogue>Thank you, Alfred.</dialogue> <scene_description>ANOTHER ANGLE Alfred leans over Bruce's shoulder and raises an eyebrow at the canister.</scene_description> <character>ALFRED</character> <dialogue>Might one inquire what this is?</dialogue> <scene_description>FAVOR BRUCE He looks at it, rubs his chin thoughtfully.</scene_description> <character>BRUCE</character> <dialogue>Part of a canister. I found it at the scene of the accident. There's a chemical residue baked onto it -- some kind of dense long-chain polymer.</dialogue> <character>ALFRED</character> <parenthetical>(humoring him)</parenthetical> <dialogue>Of course.</dialogue> <scene_description>He EXITS SHOT as Bruce continues to stare at the puzzle. WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SKY - ON CLOUDS - DAY</stage_direction> <scene_description>At first the clouds are such that we might think we're looking at Phantasm's smoky mist. But just when we suspect he might appear, a wide-body plane BURSTS through. OVERHEAD SHOT OF THE PLANE We follow the plane as it flies over the cityscape.</scene_description> <character>ANDREA ( V. 0 . )</character> <dialogue>I should be landing any minute.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PLANE - ON ANDREA BEAUMONT - CONTINUOUS</stage_direction> <scene_description>She sits in her seat talking on the plane's phone. She's a striking, smartly-dressed, brunette-haired woman who wears a locket hanging from a necklace. She gazes out the window as she speaks.</scene_description> <character>ANDREA</character> <dialogue>It'll be good to see you again, Arthur.</dialogue> <character>REEVES (V .0.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>You, too.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR REEVES'S OFFICE</stage_direction> <scene_description>He's sitting in his chair in his plush city office, checking himself in a desk mirror.</scene_description> <character>REEVES</character> <dialogue>And don't worry about a thing. We'll clear up these old family finances. Don't forget, you've got a big time city councilman on your side.</dialogue> </scene> <scene> <stage_direction>INT. PLANE - ON ANDREA</stage_direction> <character>ANDREA ( V. 0 €� )</character> <dialogue>Can't believe it's been ten years.</dialogue> <character>REEVES ((V.O.</character> <parenthetical>(filtered)</parenthetical> <dialogue>Thinking of looking up some old friends?</dialogue> <scene_description>She frowns a bit as she glances at her lap. ON ANDREA'S LAP There's a copy of FORTUNE with Bruce Wayne's picture on it along the words: PROFILE: BRUCE WAYNE. She touches his picture gently with her finger tips. ON ANDREA She lies when she says ... Oh, Arthur, don't start that again. He's ancient history.</scene_description> </scene> <scene> <stage_direction>INT. REEVES'$ OFFICE</stage_direction> <scene_description>He smiles like a cobra.</scene_description> <character>REEVES</character> <dialogue>That's encouraging.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Then I'll see you soon.</dialogue> <scene_description>ON ANDREA Suddenly she hears ...</scene_description> <character>FLIGHT ATTENDANT (MALE OR FEMALE) (V.O.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>Ladies and gentlemen, please fasten your seat belts.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PLANE - CONTINUOUS</stage_direction> <scene_description>It begins to descend from the SCREEN, leaving only the wide blue sky.</scene_description> <character>FLIGHT ATTENDANT (V.O.</character> <dialogue>We're about to make our descent into Gotham City.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. STARRY NIGHT SKY</stage_direction> <scene_description>We hear PARTY AMBIENCE as we PAN1 DOWN to the Wayne mansion where cars are pulling up. All the lights are on. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MANSION - CONTINUOUS</stage_direction> <scene_description>Bruce is throwing one of his usual get-togethers. All that's missing is Hef. The CAMERA PANS over the smartly dressed guests to three lovely BEAUTIES hanging onto Bruce.</scene_description> <character>BEAUTY #1</character> <dialogue>Come on, Bruce. All alone in this big mansion. Haven't you ever thought about marriage, even once?</dialogue> <character>BEAUTY #2</character> <dialogue>Oh, never say the "M" word in front of Bruce. It makes him nervous.</dialogue> <character>BEAUTY #3</character> <parenthetical>(slight Judy Holiday)</parenthetical> <dialogue>What about the "I" word?</dialogue> <scene_description>Bruce looks at her quizzically.</scene_description> <character>BRUCE</character> <dialogue>The "I" word?</dialogue> <scene_description>As she flashes those long lashes</scene_description> <character>BEAUTY #3</character> <dialogue>In-gagement.</dialogue> <scene_description>ANOTHER ANGLE As Bruce is reacting a FOURTH BEAUTY, equally attractive but in a severe dark dress, steps forward holding a drink, smiling sardonically.</scene_description> <character>BEAUTY #4</character> <parenthetical>(a bit tipsy)</parenthetical> <dialogue>I'd watch out for Brucie if I were you, girls.</dialogue> <scene_description>She stands in front of him and looks him in the eye.</scene_description> <character>BEAUTY #4</character> <dialogue>First he wines and dines you, makes you think you're the only woman he's ever been interested in, and just when you're wondering where to register the china ...</dialogue> <parenthetical>(pointed, mean eyes)</parenthetical> <dialogue>... he forgets your phone number. That's Bruce Wayne's style.</dialogue> <scene_description>Her smile disappears and she thr.ows the drink in his face. SFX: SPLASH.</scene_description> <character>BEAUTIES ,#1-2-3</character> <parenthetical>(assorted gasps)</parenthetical> <scene_description>ON BRUCE who wipes his eyes, stonefaced. (to the other girls) Excuse me. He heads away. ANOTHER ANGLE - BRUCE is stopped by someone dangling a handkerchief in front of his face.</scene_description> <character>REEVES ( 0. S €� )</character> <dialogue>A friend in need?</dialogue> <scene_description>Bruce takes the handkerchief and wipes his face.</scene_description> <character>BRUCE</character> <dialogue>Councilman. So how goes the bat bashing?</dialogue> <character>REEVES</character> <dialogue>Better than your love life.</dialogue> <parenthetical>(glancing toward the girls)</parenthetical> <dialogue>Really, Bruce, it's almost as if you pick them because you know there's no chance for a serious relationship.</dialogue> <scene_description>CLOSE ON REEVES Picking a drink off of Alfred's tray as the butler passes by.</scene_description> <character>REEVES</character> <dialogue>At least since that one girl ...</dialogue> <parenthetical>(feigned forgetfulness)</parenthetical> <dialogue>What was her name?</dialogue> <scene_description>ON BRUCE who stops wiping and freezes with a sullen look. This is a sensitive area for him to be kidded about.</scene_description> <character>REEVES (O.S.</character> <dialogue>Anne ... Andi ... Andrea. Yes.</dialogue> <scene_description>ON THEM BOTH As Reeves cocks a wiseguy eye at Bruce.</scene_description> <character>REEVES</character> <dialogue>Andrea Beaumont. Now there was a sweet number. How'd you let her get loose?</dialogue> <scene_description>Bruce looks at him wryly as he folds up the handkerchief. He's not going to get into this with him.·</scene_description> <character>BRUCE</character> <dialogue>Thanks for the handkerchief, Arthur. You know where you can stick it.</dialogue> <scene_description>And Bruce jabs the hankie down Reeves's breast pocket. He walks away. Reeves cracks a grin, happy to get Bruce's goat. CUT TO: THE STUDY - ON BRUCE who has stepped in to get away from it all. He shuts the door, muting the PARTY NOISE. He looks up sullenly. ON PORTRAIT OF HIS PARENTS The portrait hangs over a lit fireplace. The faces are stern, unsmiling, Victorian. ON THE FIREPLACE Bruce steps IN and places an outstretched arm on the mantle as he looks up at his parents. Then he looks toward the fire. The flickering light plays against him as he thinks back and we •.. SEGUE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - FRESHMAN BRUCE - TEN YEARS AGO - DAY</stage_direction> <scene_description>It's autumn. Young Bruce is posed the same way -- one arm leaning against the marble monument of his parents. He looks a little disheveled with his collar askew. CLOSER He places two flowers in a vase attached to the monument. A solemn moment. Suddenly he hears a voice. lu'IDREA {0. S.) {distant, unintelligible) That's right. And if Daddy gets any more protective, I might as well join the young Republicans ... ANGLE ON YOUNG ANDREA standing among the headstones on the other side of the Wayne monument. She appears to be talking to thin air. Her hair is long, flowing. It's times like this I wish you were around to ... Suddenly she senses his presence and turns to see him.</scene_description> <character>ANDREA</character> <dialogue>Yes?</dialogue> <character>BRUCE</character> <parenthetical>(uncertain)</parenthetical> <dialogue>Excuse me. I thought you were saying something. To me, I mean.</dialogue> <character>ANDREA</character> <dialogue>No.</dialogue> <scene_description>Bruce looks around curiously, then steps back.</scene_description> <character>BRUCE</character> <dialogue>I</dialogue> <scene_description>0-kay. No sooner does he turn away than Andrea turns around excitedly, again talking to the air.</scene_description> <character>ANDREA,</character> <dialogue>Know who that was? Bruce Wayne. You know. Wayne Enterprises? I've seen him on campus. Very moody. Cute, though.</dialogue> <scene_description>ANOTHER ANGLE Just then Bruce steps back IN, looking at her strangely again. Yes? Bruce glances around as if looking for someone else.</scene_description> <character>BRUCE</character> <dialogue>I heard my name. I thought ...</dialogue> <parenthetical>(has to ask)</parenthetical> <dialogue>Who are you talking to?</dialogue> <scene_description>She gestures toward the grave in front of her.</scene_description> <character>ANDREA</character> <dialogue>My mother.</dialogue> <scene_description>INSERT - ON HEADSTONE r It reads: VICTORIA BEAUMONT. Flowers cover the years. looking at the grave· and then up at Andrea. He seems a little befuddled.</scene_description> <character>BRUCE</character> <dialogue>Oh. I didn't mean to ...</dialogue> <scene_description>She picks up her bag.</scene_description> <character>ANDREA</character> <dialogue>That's okay. We're done. Mom doesn't have much to say today.</dialogue> <scene_description>ANOTHER ANGLE - BRUCE still looking puzzled. As she passes by him she pauses to tell him •••</scene_description> <character>ANDREA</character> <dialogue>Hey, I'm not the only one who talks to their loved ones, y'know.</dialogue> <scene_description>And she continues on. Bruce calls after as he follows.</scene_description> <character>BRUCE</character> <dialogue>I didn't say anything.</dialogue> <scene_description>ON THE TWO OF THEM WALKING</scene_description> <character>ANDREA</character> <dialogue>It's just that when I talk to her out loud, I can imagine how she'd reply. I can hear her. Like she's right there.</dialogue> <scene_description>FAVOR BRUCE trying to keep up. He nods, thoughtfully: He sort of understands what she's saying.</scene_description> <character>BRUCE</character> <dialogue>I talked to my parents. Once.</dialogue> <character>ANDREA</character> <dialogue>What did you say?</dialogue> <scene_description>ON GATE Bruce opens a gate that leads them out of the cemetery.</scene_description> <character>BRUCE</character> <dialogue>I made a vow.</dialogue> <character>ANDREA</character> <dialogue>What vow?</dialogue> <character>BRUCE</character> <dialogue>A secret one.</dialogue> <scene_description>She feigns great interest.</scene_description> <character>ANDREA</character> <dialogue>Oooh, a man of mystery. Have you kept your vow?</dialogue> <character>BRUCE</character> <dialogue>So far.</dialogue> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>By now they've come upon a motorcycle parked at the curb. She stops and regards him with renewed interest. She extends her hand.</scene_description> <character>ANDREA</character> <dialogue>Andrea Beaumont.</dialogue> <scene_description>Bruce shakes her hand.</scene_description> <character>BRUCE WAYNE</character> <dialogue>Bruce Wayne.</dialogue> <scene_description>ON ANDREA - OVER BRUCE'S SHOULDER She smiles at him wryly.</scene_description> <character>ANDREA</character> <dialogue>I know. The boy billionaire. So, tell me ...</dialogue> <scene_description>She straightens his disheveled collar.</scene_description> <character>ANDREA</character> <dialogue>With all that money and power, how come you always look like you want to jump off a cliff?</dialogue> <scene_description>ON BRUCE who smiles in spite of himself.</scene_description> <character>BRUCE</character> <dialogue>Why should you care?</dialogue> <scene_description>FAVORING ANDREA ~ as she gets on her motorcycle.</scene_description> <character>ANDREA</character> <dialogue>I don't.</dialogue> <parenthetical>(big smii'e)</parenthetical> <dialogue>My mother was asking.</dialogue> <scene_description>That said, she KICK-STARTS the engine.</scene_description> <character>ON THE TWO OF THEH</character> <dialogue>As she takes off, Bruce watches her. He's intrigued. Just then a HOWLING autumn breeze blows, RUSTLING leaves. A shadow falls over Bruce as if the clouds were covering the sun.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>EXT. NIGHT - ON MOON (FLASHBACK CONTINUES)</character> <dialogue>All moons should be this full, this bright. The WHISTLE OF WINDS BRIDGE the DISSOLVE as wisps of clouds move past the glowing orb, followed by a trio -of bats.</dialogue> <dialogue>PAN DOWN to the Gotham Mall. The toy store has the facade of a big clown face; the floral shoppe, a big bouquet, etc ... Near the giant top hat and white gloves of the Gotham Men's Wear outlet a FIGURE IN BLACK swings onto the roof.</dialogue> <scene_description>1: •,. shows that it's young Bruce dressed in a black turtle neck with a makeshift utility belt. He looks around to make sure no one has seen him and moves on.</scene_description> <character>ON THE SIDE OF THE BUILDING</character> <dialogue>We hear a CRASHING NOISE O.S. as Bruce steps over to the edge and looks down.</dialogue> <scene_description>B'uRGLAR #1 (O.S.) Hey, dummy.</scene_description> <character>EXT. BACK ALLEY - AT A DEPARTMENT STORE LOADING DOCK</character> <dialogue>A semi-truck has been backed into the loading dock. Two BURLY BURGLARS are carrying store items to the truck's van. One of them, carrying a stack of VCR's, has apparently just dropped the top one. He's looking down at the fallen VCR as Burglar 1 steps up to him carrying a box :of watches and jewelry.</dialogue> <character>BURGLAR #1</character> <dialogue>Whatsa matter with you? This is expensive merchandise.</dialogue> <scene_description>:l}•::,,, Burglar #1 KICKS the VCR out of his way and continues toward the INSIDE THE DOCK'S DOORWAY An African-American FEMALE NIGHT GUARD is tied up on the ground, mouth taped, watching helplessly. A THIRD BURGLAR steps over her, carrying lamps under his arm. She cringes.</scene_description> <character>BURGLAR #3</character> <dialogue>Comin' through.</dialogue> <scene_description>BACK ON BRUCE Looking down anxiously. He pulls a mask from his belt and ties it on, making him look very Ninja-like. He takes a deep breath.</scene_description> <character>BRUCE</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Here goes ...</dialogue> <scene_description>And he detaches a loop of rope from his belt. CLOSER ON BURGLARS - AT THE REAR OF THE TRUCK As #3 shoves the lamps into the truck, Burglar 1 pulls out a walkie-talkie.</scene_description> <character>BURGLAR #1</character> <dialogue>Okay, Skaz. We're done shoppin' .</dialogue> </scene> <scene> <stage_direction>.EXT. END OF ALLEY~ ON SKAZ</stage_direction> <scene_description>SKAZ - we could call him Burglar #4, but we're tired of typing numbers - is a mean-looking fellow in a cap and scarf, which conceal a headset and phone mike. He's the lookout at the alley leading out of the loading dock. He glances this way and that, bringing the mike up to his lips.</scene_description> <character>SKAZ</character> <dialogue>All clear here.</dialogue> <scene_description>BACK AT THE LOADING DOCK As #1 flattens the antenna on his walkie-talkie.</scene_description> <character>BURGLAR #1</character> <dialogue>Let's blow this popstand.</dialogue> <scene_description>But just as the swing the doors closed, they suddenly hear ...</scene_description> <character>BRUCE</character> <parenthetical>(big Ninja cry)</parenthetical> <dialogue>who swings IN, making a dramatic leap to the ground. (His Ninja cry carries into this shot.) When he springs up there are two Ninja stars in his hand. ON THE GUARD</dialogue> <dialogue>Even she looks astonished. ON THE BURGLARS The men look at him and look at each other.</dialogue> <character>BURGLAR #1</character> <dialogue>Who's this clown?</dialogue> <character>CLOSE ON BRUCE</character> <dialogue>He points to the ground.</dialogue> <character>BRUCE</character> <dialogue>(a teenager doing Clint Eastwood} On your stomachs. Arms spread. ON THE BURGLARS They look at him like he was the man with two heads. #1 turns to</dialogue> <scene_description>the girl guard.</scene_description> <character>BURGLAR #1</character> <dialogue>You know this guy?</dialogue> <character>ON THE GUARD</character> <dialogue>She shakes her head, also looking incredulous.</dialogue> <character>GUARD</character> <parenthetical>("no" mumbles)</parenthetical> <character>ON BRUCE</character> <dialogue>BRUCE</dialogue> <scene_description>You heard me.</scene_description> <character>ON THE BURGLARS</character> <dialogue>Burglar #1 feigns deference.</dialogue> <character>BURGLAR #1</character> <dialogue>Yeah, you heard him, boys.</dialogue> <scene_description>-~ And as if on cue, the two guys flanking him begin to spread out. ON BRUCE Now looking a little worried. He glances from one side to another.</scene_description> <character>BURGLAR #1 (O.S.</character> <dialogue>You heard Mr. Kung Fu.</dialogue> <scene_description>WIDER As Bruce finds himself in the middle of a triangle.</scene_description> <character>BURGLAR #2</character> <dialogue>Yeah, I'm shakin'.</dialogue> <scene_description>CLOSE ON BURGLAR #1 who steps back, yelling ... ON BURGLAR #3 Quick shot as he pulls out his gun. ON BURGLAR #2 also pulling out his gun. ON BRUCE who reacts, and spins around sending one· star flying left and one flying right. (APPROPRIATE SFX). ON BURGLAR #2 who has the gun knocked out of his hand as the star STRIKES it ( SFX) •</scene_description> <character>BURGLAR #2</character> <parenthetical>(cry of pain)</parenthetical> <scene_description>ON BURGLAR #3 His arm is KNOCKED back. The gun flies from his hand, FIRING. ON BURGLAR #1 He sees immediately what's happened and shouts:</scene_description> <character>BURGLAR 1</character> <dialogue>Get him!</dialogue> <scene_description>And he lunges forward at Bruce. ·~- ON BRUCE '· As #1 comes in Bruce KICKS him in the crotch.</scene_description> <character>BURGLAR #1</character> <parenthetical>(impact cry)</parenthetical> <dialogue>The guy doubles over, Bruce pulls his jacket over his head, then brings his knee up to rearrange his facial cartilage. SFX: CRUNCH.</dialogue> <character>BURGLAR #1</character> <parenthetical>(bigger impact cry)</parenthetical> <dialogue>As #1 flies back, #2 grabs Bruce in a mean bear hug from behind, just as #3 comes from the front. Instead of struggling, Bruce thrusts his head back, STRIKING the back of his head against #2's forehead.</dialogue> <character>BURGLAR #2</character> <parenthetical>(impact grunt)</parenthetical> <dialogue>#2's grip loosens, allowing Bruce to duck as #3 lets loose with a roundhouse punch, HITTING #2 right in the kisser.</dialogue> <character>BURGLAR #2</character> <parenthetical>(impact grunt)</parenthetical> <character>ON THE GUARD</character> <dialogue>who is now sitting up in wide-eyed surprise as she watches Burglar #2 land in front of her, knocked out cold.</dialogue> <character>BACK ON BRUCE</character> <dialogue>as #3 pulls out a switchblade. Bruce jumps back as he starts swinging away - SWISH, SWISH - at one point cutting Bruce's shirt at the stomach. But on his next thrust, Bruce grabs #3 by the wrist, brings his leg up to KICK the fellow under the armpit twice.</dialogue> <character>BURGLAR #3</character> <parenthetical>(two impact cries)</parenthetical> <dialogue>Then, with the grace of a Baryshnikov, Bruce pirouettes and swings his heel into the man's esophagus ...</dialogue> <character>BURGLAR #3</character> <parenthetical>("ugh" sound)</parenthetical> <dialogue>with its top propped open. #3 HITS it hard, his body arching back. The heavy metal top comes down, striking him face first with a terrible TWANG. He slides to ground, knocked out.</dialogue> <character>BURGLAR #3</character> <parenthetical>(pained moan)</parenthetical> <scene_description>FULL ON BRUCE Breathing hard, in a Bruce Lee pose, ready for anything else.</scene_description> <character>BRUCE</character> <parenthetical>(fast breaths)</parenthetical> <scene_description>WIDE ANGLE But as he looks around we see his opponents knocked out on the ground. He realizes he did it. He looks excited.</scene_description> <character>BRUCE</character> <parenthetical>(to himself)</parenthetical> <dialogue>Yes!</dialogue> <scene_description>Just then he hears:</scene_description> <character>GUARD (V.O.)</character> <parenthetical>(urgent mumbles)</parenthetical> <dialogue>He looks over.</dialogue> <scene_description>ON GUARD now standing, gesturing with her head as if to say, "Over there."</scene_description> <character>GUARD</character> <parenthetical>("Over T:here 11 mumbles)</parenthetical> <scene_description>ON BRUCE who looks puzzled at first, until he turns toward the truck. At that instant a SHOT is fired. Bruce manages to leap out of the way just in time. ON SKAZ who has his gun out and continues SHOOTING. He's covering himself as he gets to the cab and opens the door. ON BRUCE now ducking behind the dumpster. Another bullet STRIKES the metal. Just then the shooting stops as the cab door SLAMS shut ON THE CAB as a determined looking Skaz slips the clutch into first and GUNS it. ON THE REAR OF THE TRUCK As it lurches forward, the unlocked doors swing back open and loose boxes and items start spilling out. (APPROPRIATE SFX). FAVORING BRUCE He looks toward the guard apologetically ...</scene_description> <character>BRUCE</character> <dialogue>Excuse me.</dialogue> <scene_description>ON THE GUARD craning her neck to watch him. This guy's not for real. ON THE TRUCK As it continues, it strikes speed bumps which cause more stuff to fall out. (APPROPRIATE SFX). ON BRUCE running as fast as he can, trying to catch up. He dodges and leaps over lamps, VCR's, boxes and whatnot that continue to fall out (SFX). ON THE ALLEY EXIT as the truck comes barreling out. Brue~ is getting closer. ON THE CAB as Skaz puts the engine into a higher gear and ACCELERATES. ON BRUCE who is almost there. With a flying leap he manages to grab onto the end of the truck, but just barely.</scene_description> <character>BRUCE</character> <parenthetical>(grunt of effort)</parenthetical> <scene_description>ON ROAD r \ As the semi swings from the parking lot onto the road, we see ground ( SFX) • ON BRUCE using every ounce of energy to ·pull himself on.</scene_description> <character>BRUCE</character> <parenthetical>(straining sounds)</parenthetical> <dialogue>At one point the truck hits a bump causing the box of jewelry to fall all.over him (SFX). Nevertheless, he seems to be getting on. As he does ... DEEPER IN THE VAN</dialogue> <dialogue>We see that nearly half the contents have spilled out and what remains are mainly heavy duty items, including a couple of refrigerators, held back by rope. But not for long. The van HITS another bump and the rope SNAPS, just as ... ON THE ROAD</dialogue> <dialogue>showing the semi going up an incline. ON BRUCE</dialogue> <dialogue>Just as he stands up, he hears a ROLLING NOISE and looks up to see .•.</dialogue> <scene_description>TWO REFRIGERATORS - BRUCE'S POV ON BRUCE as he is struck by the refrigerators and is thrown out of the van ( SFX) .</scene_description> <character>BRUCE</character> <parenthetical>(cry of surprise)</parenthetical> <scene_description>ON THE REAR OF THE VAN as Bruce manages to hang onto the door handle, swinging out as the refrigerators CRASH into the street. (Bruce's SHOUT should bridge into this SHOT. ) ON THE SIDE OF THE TRUCK as the door swings wide showing Bruce. ON SKAZ driving. He glances at the outside mirror.</scene_description> <character>ON THE OUTSIDE MIRROR - SKAZ'S POV</character> <dialogue>Bruce hanging on for dear life. BACK ON SKAZ who reacts in surprise, then gets that "we'll-see-about-this" look and swiftly turns the wheel. ON THE SEMI as it veers sharply, WHEELS SKIDDING. ON BRUCE trying to hang on as the scenery behind him WHIZZES BY. ANOTHER ANGLE</dialogue> <dialogue>as the door BANGS into a lamp post, almost causing Bruce to lose his grip. ON SKAZ who glances into the mirror. IN THE MIRROR - SKAZ'S POV</dialogue> <scene_description>~- \ Bruce doesn't appear to be hanging on any longer.</scene_description> <character>ON SKAZ</character> <dialogue>who cracks a smile. Could he have gotten rid of the little bugger? ON TOP OF THE VAN Apparently not, for suddenly we see that Bruce is on the roof, crouching in Ninja fashion as he makes his way toward the front. ON SKAZ something catches his attention again. ON THE ROUND SECTION OF HIS OUTSIDE MIRROR he sees Bruce peering over the front of the van. ON BRUCE as he climbs down the front of the van, placing one foot on the roof of the cab to steady himself.</dialogue> <scene_description>with a determined look he suddenly HITS the brakes. ON BRUCE BRAKES SQUEAL as he is suddenly thrust forward, falling over the top of the cab, tumbling over the hood.</scene_description> <character>BRUCE</character> <parenthetical>(cry of surprise)</parenthetical> <scene_description>ON THE FRONT OF THE CAB Bruce manages to break his fall by grabbing onto the front grillwork. ON SKAZ'S FEET as he takes his foot off the brake and hits the gas again. SFX: ENGINE. ON THE WHEELS ON BRUCE propping himself up on the bumper and wondering what the heck he's got himself into now. He tries to climb onto the hood. FAVORING SKAZ now holding the pistol outside the window in his left hand. He drives with his right hand, while FIRING with his left. The bullets hit the front edge of the hood, causing Bruce to duck back down for cover (SFX). ON BRUCE Now looking more anxious than ever. ON SKAZ who spots something ahead and veers the wheel. ON THE CAB as it goes up the curv~, riding on half the sidewalk. SFX: SQUEALING TIRES. ON BRUCE looking ahead. Suddenly he sees what he's in for. set on the street for pick-up. ON BRUCE bracing himself. ON THE CAB as it plows through the cans, sending them flying (SFX). ON SKAZ cracking an evil .grin. ON BRUCE As the front of the cab strikes a speed sign, flattening it instantly (SFX).</scene_description> <character>BRUCE</character> <parenthetical>(impact grunt)</parenthetical> <dialogue>Followed by more garbage cans (SFX).</dialogue> <scene_description>CLOSER ON BRUCE looking battered as hell. Just then h~ realizes something. He pulls a pouch from his belt. CLOSE ON POUCH It must contain at least a half-dozen stars. ON BRUCE who starts shaking them out so that they are dropping in line with the tires on the driver's side. ON THE FIRST TIRES which suddenly BLOW. FRONT VIEW OF SKAZ as the cab lurches on a tilt. SFX: SQUEALING TIRES. ON THE OTHER TIRES which also BLOW, right in a row, causing the entire van to tilt toward the driver's side. .r-- as the remaining contents -- TV's, other heavy appliances -- all shift to the tilted side. (APPROPRIATE SFX) . WIDE ON SEMI as it slowly but inexorably SLAMS onto its side, SKIDDING along the street.</scene_description> <character>ON BRUCE</character> <dialogue>now hanging on the grill upside down as the cab is SKIDDING toward CAMERA. He looks ahead of him in alarm.</dialogue> <character>WHAT BRUCE SEES</character> <dialogue>The wall of a building, heading straight for him.</dialogue> <character>WIDER</character> <dialogue>Bruce cringes as the front of the cab SLIDES within a foot or so of a building and comes to a halt. Bruce slumps in relief.</dialogue> <character>BRUCE</character> <parenthetical>(exhausted sigh)</parenthetical> <character>INSIDE THE CAB - ON SKAZ</character> <dialogue>crumpled in a corner, looking bruised and battered. He lifts an eye up as a shadow·comes over him.</dialogue> <character>SKAZ</character> <parenthetical>(groan)</parenthetical> <character>ON BRUCE</character> <dialogue>standing in front of the cab, looking triumphant.</dialogue> <character>ALFRED (V.O.)</character> <dialogue>·I read about your anonymous</dialogue> <scene_description>exploits this morning and I must say ... DISSOLVE TO:</scene_description> <character>EXT. REAR OF THE WAYNE ESTATE - THE FOLLOWING DAY</character> <dialogue>Alfred is holding a newspaper as Bruce is practicing jujitsu moves in his kimono togs. He has a bandage on his forehead and some facial scratches.</dialogue> <scene_description>... are you sure you won't reconsider rugby? ON BRUCE posing and throwing punches. He frowns.</scene_description> <character>BRUCE</character> <dialogue>Sorry, Alfred, but "the plan" is working.</dialogue> <parenthetical>(grunt)</parenthetical> <dialogue>I had the edge. I could feel it.</dialogue> <parenthetical>(bigger grunt)</parenthetical> <dialogue>There was only one thing wrong.</dialogue> <parenthetical>(frowning)</parenthetical> <dialogue>They weren't afraid of me. I've got to strike fear in them from the start.</dialogue> <parenthetical>(grunt)</parenthetical> <dialogue>Just then Alfred notices something o.s.</dialogue> <character>ALFRED</character> <dialogue>Pardon, Master Bruce, but we may want to postpone the "shop talk" as it were. I believe you have a visitor.</dialogue> <scene_description>And as Alfred moves away, Bruce cranes his neck to see, not easy to do on one foot with arms extended. BRUCE'S POV - ANDREA Andrea is heading their way.</scene_description> <character>ANDREA</character> <dialogue>Hi.</dialogue> <scene_description>ON BRUCE as she walks up she notices the bandage.</scene_description> <character>ANDREA</character> <dialogue>Hey, what happened to you? Trip over some loose cash?</dialogue> <scene_description>He continues doing his moves as she looks around, getting a lay of the land.</scene_description> <character>BRUCE</character> <dialogue>What are you doing here?</dialogue> <scene_description>It's been three days since we met and still no calls. I figured you must be dead or something. ANOTHER ANGLE Bruce turns, continuing his moves.</scene_description> <character>BRUCE</character> <dialogue>You expect every guy you meet to call you up?</dialogue> <scene_description>She glances at him, a wry smile.</scene_description> <character>ANDREA</character> <dialogue>Only the ones that are smart enough to dial a phone.</dialogue> <scene_description>He almost loses his balance on that one. He quickly recovers, scowling, and throws a punch.</scene_description> <character>BRUCE</character> <parenthetical>(grunt)</parenthetical> <character>ANDREA</character> <dialogue>What is that?</dialogue> <character>BRUCE</character> <parenthetical>(on thrusting grunt)</parenthetical> <dialogue>Jujitsu.</dialogue> <character>ANDREA</character> <dialogue>Gesundheit.</dialogue> <scene_description>ON BRUCE He looks annoyed. Turns the other way.</scene_description> <character>ANDREA</character> <dialogue>That was a joke.</dialogue> <character>BRUCE</character> <dialogue>Jujitsu is no joke. It takes years to master.</dialogue> <scene_description>i I And he thrusts out his fist.</scene_description> <character>BRUCE</character> <parenthetical>(grunt)</parenthetical> <dialogue>But as his fist shoots out, she comes out of nowhere to block it with one hand and twist his arm.</dialogue> <character>BRUCE</character> <parenthetical>(wincing)</parenthetical> <dialogue>Hey ...</dialogue> <character>ANDREA</character> <dialogue>Gotta few moves of my own.</dialogue> <scene_description>And in one swift move, she throws Bruce for a loop.</scene_description> <character>BRUCE</character> <parenthetical>(cry of surprise)</parenthetical> <character>ON BRUCE</character> <dialogue>He's on his back, trying to prop himself up. She steps into foreground, looking down at him.</dialogue> <character>ANDREA</character> <dialogue>Miss Hovey's self-defense class for girls.</dialogue> <character>CLOSE ON BRUCE</character> <dialogue>-~ Looking up at her. He cracks a smile and starts chuckling.</dialogue> <character>BRUCE</character> <parenthetical>(chuckling)</parenthetical> <character>ON ANDREA</character> <dialogue>looking at him in mock astonish.</dialogue> <character>ANDREA</character> <dialogue>He laughs!</dialogue> <character>WIDER</character> <dialogue>Suddenly he sweeps his feet, tripping her onto her back (SFX).</dialogue> <character>ANDREA</character> <parenthetical>(cry of surprise)</parenthetical> <character>CLOSE ON ANDREA</character> <dialogue>Flat on her back. Before she can blink, Bruce is suddenly has her pinned down, nose-to-nose. She looks up at him as they both break out in playful smiles.</dialogue> <scene_description>Nice footwork. Can you dance, too?</scene_description> <character>ON MANSION'S REAR DOOR</character> <dialogue>Just then Alfred steps out of the mansion with a tray of refreshments. He sees the two of them on the ground and makes an abrupt u-turn, heading right back in the house again.</dialogue> <character>BACK ON BRUCE AND ANDREA</character> <dialogue>Smiling, looking into each other's eyes, wondering what's going to happen next as we</dialogue> <scene_description>SEGUE TO:</scene_description> <character>INT. MANSION - PRESENT TIME - BACK AT THE PARTY - ON BRUCE</character> <dialogue>The adult Bruce back at his fireplace in the den. Just then he hears the door OPEN along with distant off-key PLUNKS of a piano. Alfred steps IN.</dialogue> <character>ALFRED</character> <dialogue>Pardon, sir, but Miss Bambi is dancing on the piano.</dialogue> <scene_description>- ' BAMBI ( 0 • S • ) ·(: Brucie ... ! Where are you? Bruce's eyes roll in a pained expression. As he heads toward Alfred, we ... DISSOLVE TO:</scene_description> <character>EXT. CEMETERY - THAT SAME NIGHT</character> <dialogue>The CAMERA catches an owl as it PANS over the spooky grounds. , The owl's eyes sparkle as he HOOS and takes wing, flying o.s. Leaves are blown across the road as a limousine pulls up.</dialogue> <character>CLOSE ON THE DOOR</character> <dialogue>It opens. Another gangster, BUZZ BRONSKI, gets out. Though sixty-something, the guy's a brick wall. He holds up a flashlight which he flashes around. Doesn't see anyone or anything. He reaches back to pull out a black wreath. He glances at ...</dialogue> <character>THE FRONT SEAT</character> <dialogue>where his TWO BODYGU~.RDS driver and passenger -- are looking at him.</dialogue> <scene_description>You guys wait here.</scene_description> <character>PASSENGER BODYGUARD</character> <dialogue>Whatever you say, Mr. Branski.</dialogue> <scene_description>The gangster heads o.s. INSIDE THE CAR The Passenger Bodyguard looks a little nervous, eyes darting as another owl HOOTS.</scene_description> <character>DRIVER</character> <dialogue>They say the Bat iced this guy.</dialogue> <character>PASSENGER</character> <dialogue>I know.</dialogue> <character>CHUCXIE SOL'S GRAVESITE</character> <dialogue>The flashlight beam hits the gravestone. It reads: CHUClCIE SOL, 1943- 19-. The beam doesn't hit the last two numbers.</dialogue> <character>BUZZ</character> <parenthetical>(tsk tsk)</parenthetical> <dialogue>Chuckie, Chuckie •..</dialogue> <scene_description>The wreath is tossed down.</scene_description> <character>ON BUZZ</character> <dialogue>looking down with distaste •.</dialogue> <character>BUZZ</character> <dialogue>You always were a loser.</dialogue> <scene_description>Just then he hears ...</scene_description> <character>PHANTASM (V.O.)</character> <dialogue>Buzz ...</dialogue> <scene_description>He looks around.</scene_description> <character>PHANTASM (V.O.</character> <dialogue>Buzz Branski.</dialogue> <character>BUZZ</character> <dialogue>Who's there?</dialogue> <scene_description>A.i.'fOTHER ANGLE ·~ Just then Phantasm's death's head emerges from behind a grave</scene_description> <character>PHANTASM</character> <dialogue>Your angel of death awaits.</dialogue> <scene_description>The head moves forward as if floating on the mist. ON BUZZ pointing his flashlight at him.</scene_description> <character>BUZZ</character> <dialogue>Who the heck ..• ?!</dialogue> <scene_description>He starts moving back fearfully.</scene_description> <character>BUZZ</character> <dialogue>Get away from me, you freak!</dialogue> <scene_description>WIDER as he bumps into a wheelbarrow with digging tools, including a digging fork (shovel size). He drops the flashlight and picks up the fork {APPROPRIATE SFX). ON PHANTASM who backs into the mist as Buzz slices the fork through the mist. It connects with nothing. Suddenly from behind he hears ...</scene_description> <character>PHANTASM {O.S.)</character> <dialogue>Time to pay for your sins, Mr. Bronski ...</dialogue> <scene_description>Bronski turns to see Phantasm behind him. Again he swings, but Phantasm is too quick, ducking back into the mist.</scene_description> <character>PHANTASM (O.S.)</character> <dialogue>Over here ...</dialogue> <scene_description>ON PHANTASM Backing up, leaving a trail of mist in his wake. Buzz charges forward, ready to throw the fork like a javelin.</scene_description> <character>BUZZ</character> <dialogue>All right, creep, catch this!</dialogue> <scene_description>But just as he's about to throw it, he falls into the mist as if the earth had swallowed him up.</scene_description> <character>BUZZ</character> <parenthetical>(cry of surprise)</parenthetical> <character>ON BODYGUARDS</character> <dialogue>Still in· the car. They're already looking in the direction of Buzz's voice.</dialogue> <character>BUZZ (O.S.</character> <parenthetical>(distant cry)</parenthetical> <dialogue>Suddenly they hear a MUFFLED O.S. CRASH.</dialogue> <character>PASSENGER</character> <dialogue>C'mon!</dialogue> <scene_description>They rush out of the car.</scene_description> <character>ON BUZZ</character> <dialogue>Who is COUGHING as the mist dissipates.</dialogue> <character>BUZZ</character> <parenthetical>(coughing)</parenthetical> <dialogue>He suddenly realizes that he's lying at the bottom of a deeply-dug grave. A rope hangs down the side of the pit.</dialogue> <character>ON PHANTASM - BUZZ'S POV. ,; -~</character> <dialogue>r Looking down at him from the foot of the pit.</dialogue> <character>PHANTASM</character> <dialogue>Goodbye, Mr. Branski.</dialogue> <scene_description>And he steps back o.s. ON BUZZ looking up angrily. He sees the rope, grabs hold and starts to climb out.</scene_description> <character>ON OTHER END OF ROPE</character> <dialogue>It's tied to a lever of some sort. We're not sure for what yet, although as the rope is tugge~ the lever RACHETS into another gear and we suddenly hear a GRINDING NOISE.</dialogue> <character>WIDER</character> <dialogue>to show that the lever is on a dump truck piled high with dirt, It's parked almost flush to the side of the grave. Buzz has just pulled the lever that is causing the rear to upend, SPILLING the dirt into the grave.</dialogue> <scene_description>pushed back down by the dirt (SFX). He suddenly realizes he's in big trouble.</scene_description> <character>BUZZ</character> <dialogue>No! Stop! Help!</dialogue> <scene_description>By now the dirt is up to his waist ·and still POURING in. He cla,;,,1s at the sides. ON BODYGUARDS As they approach, guns in hand. The Driver leads.</scene_description> <character>DRIVER/PASSENGER BODYGUARDS</character> <parenthetical>(calling out)</parenthetical> <dialogue>Boss? Boss?</dialogue> <scene_description>ANOTHER ANGLE The GRINDING abruptly stops a split second before the Bodyguards step INTO FRAME. They look ahead in shock.</scene_description> <character>DRIVER</character> <dialogue>Boss--!</dialogue> <scene_description>ON DUMP TRUCK ··.r .... Now empty. PAN DOWN to show that the pit has been covered in an enormous mound of dirt. Atop the mound is the black wreath intended for Chuckie's grave. Sprouting from within it like a grotesque flower is Buzz's contorted hand. BACK ON THE BODYGUARDS taking in the sight when S?ddenly they hear FOOTSTEPS. They spin around to see ... ATOP A CREST - PHANTASM Silhouetted by the moon behind him. He turns to take one last look back. From the flow of the cape you'd swear it was Batman. BACK ON THE BODYGUARDS reacting.</scene_description> <character>PASSENGER</character> <dialogue>It's the Bat. It's the stinkin' Bat!</dialogue> <scene_description>And he starts FIRING like crazy. who swirls his cape and disappears behind the ridge. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. OLD BROWNSTONE - THE FOLLOWING DAY</stage_direction> <scene_description>The windows are covered with wrought iron. Even in the morning light the place looks dark and foreboding.</scene_description> </scene> <scene> <stage_direction>INT. OLD BROWNSTONE - STUDY</stage_direction> <scene_description>An old, skull-faced man is seated at a tray in a large shadowy den, sipping his tea. This, as we are to learn, is SALVATORE VALESTRA, ex-mob boss. CLOSE ON VALESTRA When he opens· the paper next to his tray he reacts in shock, dropping his forkful of grapefruit wedges.</scene_description> <character>VALESTRA</character> <parenthetical>(intake gasp)</parenthetical> <scene_description>INSERT - MAJOR HEADLINE It reads: SECOND GANGSTER SLAIN. INSERT - SUB HEAD It reads: HAS 'BATS' GONE BATS? ON VALESTRA He becomes so agitated that he starts to wheeze.</scene_description> <character>VALESTRA</character> <dialogue>No!</dialogue> <parenthetical>(going into a wheezing fit)</parenthetical> <dialogue>No!</dialogue> <scene_description>He throws down the paper in disgust and horror, then fumbles around his tray and the sides of his chair trying to find something. He pulls out a portable oxygen inhaler and brings the mask up to cover his nose and mouth. He starts taking big gulps as he lays his head back against his chair, the picture of a troubled spirit (SFX).</scene_description> <character>VALESTRA</character> <parenthetical>(big gulps of air)</parenthetical> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COMMISSIONER GORDON'S OFFICE - HIGH SHOT - SUNSET</stage_direction> <scene_description>Gordon sits at his desk as Reeves points a dramatic accusing finger at him.</scene_description> <character>REEVES</character> <dialogue>What do you mean you won't? You have to go after him!</dialogue> <character>GORDON</character> <dialogue>He didn't do it.</dialogue> <scene_description>ANOTHER ANGLE - REVEALING HIGH LEVEL COPS STANDING IN B.G. Reeves is starting to get his dander up.</scene_description> <character>REEVES</character> <dialogue>You've got two eyewitnesses, Commissioner Gordon ••.</dialogue> <scene_description>Reeves reaches over and grabs polygraph papers from DETECTIVE BULLOCK. He flings it at Gordon dramatically.</scene_description> <character>REEVES</character> <dialogue>And their polygraphs. What more do you need?</dialogue> <scene_description>Gordon rises, trying to restrain his fury. He swipes the paper off his desk.</scene_description> <character>GORDON</character> <dialogue>It's garbage, Mr. Reeves.</dialogue> </scene> <scene> <stage_direction>EXT. GORDON'S WINDOW SILL</stage_direction> <scene_description>Batman is crouched down, eavesdropping. He ain't happy.</scene_description> <character>GORDON (O.S.</character> <dialogue>The Batman does not kill. Period.</dialogue> </scene> <scene> <stage_direction>INT. GORDON'S OFFICE</stage_direction> <scene_description>Gordon's at his door, about to leave.</scene_description> <character>GORDON</character> <dialogue>You want him -- you get him. I'll have no part of it.</dialogue> <scene_description>And he opens the door. looking in Gordon 1 s direction. The door SLAMS, causing a couple of the cops to flinch. Not Reeves, though. Gordon 1 s impertinence only serves to bolster his misbegotten resolve. He turns to the cops.</scene_description> <character>REEVES</character> <dialogue>Well, gentlemen. Any ideas?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OVERCAST NIGHT SKY - MINUTES LATER</stage_direction> <scene_description>Suddenly the Bat Signal flashes in the sky. Hold for a BEAT. POLICE ROOFTOP - ON THE BAT SIGNAL SPOTLIGHT The police we saw below are looking in all directions for Batman's arrival. This includes Reeves who smiles wryly as Bullock checks his watch. CUT TO: ON BAT SIGNAL - REFLECTED IN THE BATMOBILE'S OUTSIDE MIRROR PULL BACK to include •.•</scene_description> </scene> <scene> <stage_direction>EXT. ROAD</stage_direction> <scene_description>as the Batmobile barrels TOWARD CAMERA, away from the city and the Bat Signal shining above (SFX). WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - AN HOUR LATER</stage_direction> <scene_description>The scene of Buzz Bronski's demise, now surrounded by yellow police tape. The slab has been propped up by chains on a crane- like vehicle. PAN OVER to Batman on bended knee. We hear him talking before we see him.</scene_description> <character>BATMAN (PARTIALLY O.S.)</character> <dialogue>There appears. to be some chemical residue on the lawn.</dialogue> <scene_description>CLOSER ON BATMAN We see that he is speaking into a mike wired to his utility belt. He picks up a tuft of grass as he speaks. It has some grayish specks on it. Could match the traces I found in the canister. Not much, but it's been that kind of day. As Batman CLICKS off the mike and slips it back into his belt he notices something o.s. THE WAYNE MONUMENT - BATMAN'S POV softly lit by moonlight. ON BATMAN as 4e rises and steps toward it. ON THE MONUMENT as Batman steps up to it. He touches the marble softly. A solemn moment, broken by ...</scene_description> <character>ANDREA (O.S.)</character> <dialogue>You think they could afford a weed eater.</dialogue> <scene_description>ANGLE AT VICTORIA BEAUMONT'S GRAVE Andrea is kneeling, tearing weeds from around her mother's tombstone.</scene_description> <character>ANDREA</character> <dialogue>Sorry, Mom, but the whole world's going to seed.</dialogue> <scene_description>At that moment, Batman's shadow moves IN. She looks up with a start.</scene_description> <character>ANDREA</character> <parenthetical>(big gasp)</parenthetical> <scene_description>CLOSE ON BATMAN You can read the surprise and anguish in his face. He steps back. ON ANDREA rising with a similar look of stunned surp~ise. The weeds fall from her hands.</scene_description> <character>ANDREA</character> <parenthetical>(as in "No, it can't be. ")</parenthetical> <dialogue>No . ..</dialogue> <scene_description>Still backing up. He finally turns and bolts, disappearing into the darkness.</scene_description> <character>CLOSE ON ANDREA</character> <dialogue>He's gone, but she keeps looking, wide-eyed, stunned. She realizes intuitively that he must be, has to be ...</dialogue> <character>ANDREA</character> <parenthetical>(softly)</parenthetical> <dialogue>Bruce ••.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>EXT. THE GOTHAM SHERIDAN HOTEL - NIGHT</character> <dialogue>A brand-new luxury hotel. Andrea is staying here. PAN VERTICALLY UP to the top floor where we SEE a restaurant whose picture windows offer a panoramic view of the city.</dialogue> <character>INT. RESTAURANT - NIGHT {CONTINUOUS)</character> <dialogue>In the main dining room, the MAITRE D' leads Andrea and Arthur Reeves to their elegantly-set table. Reeves follows close behind Andrea, who isn't paying any attention to him as:</dialogue> </scene> <scene> <stage_direction>.....</stage_direction> <scene_description>f REEVES ... so I'm having the banker cut through some red tape. He says he can roll your money into a higher-yield account.</scene_description> <character>ANGLE ON THEIR TABLE</character> <dialogue>The Maitre d' holds Andrea's chair away from the table as she sits. She looks at Reeves with a bewildered expression as she "comes to".</dialogue> <character>ANDREA</character> <dialogue>Amount? What amount?</dialogue> <character>REEVES</character> <dialogue>I said "account."</dialogue> <scene_description>The Maitre d' exits as Andrea forces a sheepish smile.</scene_description> <character>ANDREA</character> <dialogue>I'm sorry. I was just reminiscing.</dialogue> <scene_description>As a WAITER steps IN beside the table, hands Andrea a menu. Reeves smiles indulgently.</scene_description> <character>REEVES</character> <dialogue>Hey, that's okay. You must have a lot on your mind.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. A CATHEDRAL ACROSS THE STREET - CONTINUOUS - ON BATMAN</stage_direction> <scene_description>Batman is perched atop a buttress, partly concealed by a gargoyle. From this WINDSWEPT perch (SFX), Batman is spying on Andrea and Reeves through his miniature binoculars. LIGHTNING streaks the sky behind him. THUNDER ROLLS (SFX). BACK TO ANDREA AND REEVES</scene_description> <character>REEVES</character> <dialogue>Remember this place?</dialogue> <character>ANDREA</character> <dialogue>Sure. You, me and Daddy used to come here all the time.</dialogue> <scene_description>FAVOR REEVES He turns from the waiter back to Andrea, nods understandingly as the waiter EXITS in b.g.</scene_description> <character>REEVES</character> <dialogue>How is the old guy? You're still close, aren't you?</dialogue> <scene_description>FAVOR ANDREA She smiles warmly.</scene_description> <character>ANDREA</character> <dialogue>Closer than ever.</dialogue> <scene_description>FAVOR REEVES He flashes a grin at Andrea. It makes him seem insincere as:</scene_description> <character>REEVES</character> <dialogue>I'm sorry he couldn't make it into town this time.</dialogue> <scene_description>He reaches across the table, places his hands on hers. But then ..• I've always wished I could have some time alone with you. FAVOR AN'DREA who looks up, half smiling. It's hard to read her, though· she doesn't pull away. A.l"mREA Well ... who knows what the future might bring? BACK ON BATMAN We SEE a reflection of their clasped hands in the binocular lenses. Batman's head moves back from the binoculars. PUSH IN on his face, sad, if not in despair. THUNDER RUMBLES in the distance as we continue PUSHING IN. And it keep~ RUMBLING, louder and louder as we .•. SEGUE TO: BRUCE'S AND ANDREA'S HANDS (FLASHBACK R~SUMES) We don't know where we are yet, but it's outdoors. Daylight. The RUMBLING CONTINUES. TRUCK OUT to REVEAL that the clasped hands belong to the 20-year-old Bruce and Andrea. Above them is a monorail track. Suddenly a MONCRAIL RUMBLES by. They look up at it and at each other, smiling happily. SERIES OF SHOTS (MONTAGE) - BRUCE AND ANDREA TRACKING WITH them as they stroll over the Gotham World's Fair Grounds -- Gotham's version of the 1939 New York World's Fair. An H.V. Kaltenborn-style voice resonates through the P.A. system:</scene_description> <character>ANNOUNCER (V. 0.)</character> <dialogue>Welcome to a dream of the future. A bright tomorrow filled with hope and promise for all mankind. This is a vision of the shimmering utopia where we all shall spend the rest of our lives.</dialogue> <scene_description>We FOLLOW them, holding hands and exchanging loving glances, as they visit the Main Plaza, where we see a beautiful globe of the moon next to an Art Deco Buck Rogers-style spaceship poised on three scalloped fins next to the moon. This is Gotham's version of the trylon and perisphere of the New York Fair. The younger Bruce and Andrea hurry into a gaily-colored ride Pavilion. A sign reads: FORWARD TO THE FtrroRE Presented by CYBERTROH. CAMERA FOLLOWS as Bruce and Andrea scramble into a car which takes them past a fanciful diorama of "It's a Small World" style doll children all SINGING about the glories of life in the future set in a model city of the future. Some of the "children" are riding in autogryos (one-man whirlybirds).</scene_description> <character>DOLL SINGERS</character> <parenthetical>(brightly)</parenthetical> <dialogue>Forward, forward, to the future, Our ·dreams are shining bright. Glory and wonder surround us, A new tomorrow is in sight.</dialogue> <character>CLOSER ON BRUCE</character> <dialogue>looking as if he'd rather be any place else right now. This is definitely too cute for him. Andrea looks at Bruce and makes a face, showing that she doesn't like the ride either. They hold their ears and grin.</dialogue> <character>DOLL SINGERS (V.O.</character> <dialogue>With heart and hope to light the way ...</dialogue> </scene> <scene> <stage_direction>-~ ANGLE ON RIDE</stage_direction> <scene_description>The car passes by an ultra-modern Gotham apartment of the future. A life-like android HOUSEWIFE chops plastic vegetables in her kitchenette while her android HUSBAND reclines on the couch next to his android DOG. The husband looks up from his paper to wave to the riders.</scene_description> <character>DOLL SINGERS (V.O.</character> <dialogue>We'll welcome in a brand new day! Forward, forward to the future, the future starts today!</dialogue> <scene_description>CUT TO:</scene_description> <character>INT. HALL OF TRANSPORTATION .</character> <dialogue>A vast, high-ceilinged pavilion, open at the sides (columns supporting the roof), through which the fair's monorail track passes. av.e r the visitors' heads, models of one-man autogyros flutter about the transportation exhibit (SFX). CLOSER - BRUCE AND ANDREA</dialogue> <dialogue>Bruce and the younger Andrea stand before the track, holding hands as they look up in awe at the MONORAIL TRAIN ZOOMING by (SFX).</dialogue> <character>ANDREA</character> <dialogue>Do you think we'll really see any of this in our lifetime?</dialogue> <scene_description>Even as she speaks something catches Bruce's eye and he steps away. She turns to him.</scene_description> <character>ANDREA</character> <dialogue>Bruce?</dialogue> <scene_description>A PROTOTYPE FOR A JET-POWERED CAR - QUICK CUT It's mounted on a pedestal. A sign identifies it as THE CAR OF THE FUTURE. Bruce steps up to it, drawn by the rear jet thruster. Shades of the Batmobile. Andrea steps IN behind him.</scene_description> <character>ANDREA</character> <dialogue>Bruce ... ? Bruce, I'm talking to you.</dialogue> <scene_description>CLOSER ANGLE - FAVORING BRUCE He is jolted out of his reverie</scene_description> <character>BRUCE</character> <dialogue>Huh? ·</dialogue> <scene_description>-- then turns to face Andrea, sheepish.</scene_description> <character>BRUCE</character> <dialogue>Oh. I'm sorry, Andi. My mind was on ... something else ...</dialogue> <scene_description>TRACKING WITH BRUCE AND ANDREA as they turn and head out of the: exhibit. They move across the midway, passing under a huge Deco archway emblazoned with the words ENTER THE WORLD OF THE FO·ro~.</scene_description> <character>ANDREA</character> <dialogue>Like what?</dialogue> <character>BRUCE</character> <dialogue>Oh, just ... You know ...</dialogue> <parenthetical>(off sign on archway, pointing)</parenthetical> <dialogue>The future.</dialogue> <scene_description>TRACKING WITH ANDREA She smiles playfully. Anyone's in particular .•• ? or just the generic brand? HIGH ANGLE - FAIR GROUND EXIT FOLLOW Andrea and Bruce as, hand-in-hand, they pass through the turnstile and exit into the parking lot, where we SEE Bruce's li~o waiting, conspicuous among more modest passenger cars.</scene_description> <character>BRUCE ( V. 0 €� )</character> <dialogue>You know .•. ·</dialogue> <character>ANDREA (V. 0 €� )</character> <dialogue>No, I don't. When was the last time you talked t o ~ about your plans?</dialogue> <scene_description>ON BRUCE'S LIMO Andrea and Bruce step INTO SHOT, approaching it. We SEE the Alfred standing at attention beside the driver's-side door.</scene_description> <character>ANDREA</character> <dialogue>Y'know, Dad's been wanting to meet you.</dialogue> <scene_description>Bruce looks pained, but catches himself.</scene_description> <character>BRUCE</character> <dialogue>Oh, yeah?</dialogue> <scene_description>She looks at him out of the corner of her eye as she says this little number:·</scene_description> <character>ANDREA</character> <dialogue>But I told him you're not up to it yet.</dialogue> <character>BRUCE</character> <parenthetical>(with a shrug of wariness)</parenthetical> <dialogue>I can meet him.</dialogue> <character>ANDREA</character> <parenthetical>(jumping on it)</parenthetical> <dialogue>Great! I'll call him right now.</dialogue> <scene_description>And she heads o.s. toward the limo, leaving Bruce standing nonplussed. She is seated inside the open back door, dialing a number on the limo phone. She looks up at him as she puts the receiver to her ear.</scene_description> <character>ANDREA</character> <dialogue>You sure about this?</dialogue> <scene_description>ON BRUCE Feigning a smile. What'sa guy to say?</scene_description> <character>BRUCE</character> <dialogue>sure I'm sure.</dialogue> <scene_description>Alfred steps IN beside him.</scene_description> <character>BRUCE</character> <parenthetical>(aside)</parenthetical> <dialogue>What the heck am I doing, Alfred?. This isn't par~ of the plan! 1</dialogue> <character>ALFRED</character> <parenthetical>(gently)</parenthetical> <dialogue>Plans change, Master Bruce.</dialogue> <scene_description>Bruce shakes his head in confusion.</scene_description> <character>BRUCE</character> <dialogue>I must be going nuts.</dialogue> <character>ALFRED</character> <dialogue>If I may make so bold, sir I'd say quita the reverse.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CARL BEAUMONT'S OFFICE BUILDING - ESTABLISHING - DAY</stage_direction> <scene_description>(FLASHBACK CONTINUES) Beaumont's office is in a tall building on a wide avenue in Gotham's riverside financial district. , An auto-and-pedestrian bridge can be seen behind and to one side of the building.</scene_description> </scene> <scene> <stage_direction>INT. BEAUMONT'S OFFICE - ANGLE ON BEAUMONT AND YOUNGER REEVES</stage_direction> <scene_description>CARL BEAUMONT, an imposing-looking businessman in his early fifties, sits behind his dark mahogany desk and looks over some papers. A YOUNGER ARTHUR REEVES stands to one side of Beaumont and offers him another file. Sir, if you could just go over these ...</scene_description> <character>ANDREA (O.S.)</character> <dialogue>:&lt;no ck, knock ...</dialogue> <scene_description>ANOTHER AJ.'IGLE Beaumont glances up and instantly brightens as he sees his o.s. daughter. He adjusts his tie with one hand and pushes his work aside with the other as he makes ready to stand. Reeves looks slightly honked at being so easily ignored.</scene_description> <character>BEAUMONT</character> <dialogue>Well, this is a most pleasant interruption.</dialogue> <scene_description>ON ANDREA AND BRUCE Andrea beams at her o.s. dad as she stands arm in arm with a nervous-looking Bruce. Beaumont walks INTO SHOT and Andrea gently nudges Bruce forward.</scene_description> <character>BEAUMONT</character> <dialogue>At last I meet the elusive Bruce Wayne.</dialogue> <scene_description>Bruce awkwardly takes Beaumont's offered hand.</scene_description> <character>BRUCE</character> <dialogue>Nice to meet you, sir.</dialogue> <scene_description>CLOSER ON BEAUMONT He cocks an eyebrow at Bruce in mock-reproach.</scene_description> <character>BEAUMONT</character> <dialogue>"Sir ? Don't be so formal,</dialogue> <scene_description>Bruce. Andrea's told me so much about you, I feel like we're practically family. FAVOR ANDREA She shoots a disapproving glance at her father.</scene_description> <character>ANDREA</character> <parenthetical>(Watch it, Dad.)</parenthetical> <dialogue>Daddy ...</dialogue> <scene_description>ON REEVES ~ He deliberately clears his throat as he gathers up his papers.</scene_description> <character>REEVES</character> <dialogue>.,•·.' (clears throat)</dialogue> <scene_description>Don't mind me, I was just leaving.</scene_description> <character>WIDER</character> <dialogue>As Reeves walks by Andrea, Bruce and Beaumont; the latter nods toward him.</dialogue> <character>BEAUMONT</character> <dialogue>Oh, I'm sorry. This is Arthur Reeves, one of the hot young turks from my legal department.</dialogue> <scene_description>Reeves shakes Bruce's hand.</scene_description> <character>BEAUMONT</character> <dialogue>He's someone you should get to know.</dialogue> <scene_description>CUT TO:</scene_description> <character>EXT. BEAUMONT'S OFFICE BUILDING - CONTINUOUS</character> <dialogue>A black sedan pulls up to the door.</dialogue> <character>ON DRIVER - THROUGH FRONT WINDOW</character> <dialogue>looking up at the building. He is a lanky, fastidious character in a slouch hat. We'll refer to him as the TALL MAN. He turns to look back at the man he is driving. ON BACK PASSENGER WINDOW The window slides down to show a smoky interior. The smoke quickly dissipates, revealing a YOUNGER (by a decade) SAL VALESTRA with a cigar clenched in his maw and an ascot tucked into his overcoat. He is the picture of a gangster Buddah. The Tall Man's hand reaches in to open the door for him ...</dialogue> <scene_description>CUT TO:</scene_description> <character>INT. BEAUMONT'S OFFICE</character> <dialogue>Bruce is seated in front of the father, who looms over him as he half sits on the edge of his desk. Andrea is off to the side.</dialogue> <character>BRUCE</character> <dialogue>I hope we're not interrupting anything.</dialogue> <scene_description>Not at all. I'm never too busy for my Andi and her friends. During the following he takes Andrea's hand and looks at her fond:J\_y.</scene_description> <character>BEAUMONT</character> <dialogue>I tell you, Bruce, I do a lot of financial planning. When it comes to money you can't take the future for granted. But all the money in the world means little if you don't have loved ones to share it with. Nothing's more important than family.</dialogue> <character>BRUCE</character> <dialogue>Yes, Mr. Beaumont.</dialogue> <character>BEAUMONT</character> <parenthetical>( call me ... )</parenthetical> <dialogue>Carl.</dialogue> <scene_description>Just then we hear a BUZZ from his speaker phone.</scene_description> <character>SECRETARY (V.O.)</character> <parenthetical>(female, o.s.)</parenthetical> <dialogue>Excuse me, sir ...</dialogue> <scene_description>ON BEAUMONT On the word "Valestra," Beaumont turns sharply away from Andrea with an almost fearful expression:</scene_description> <character>SECRETARY (V.O.</character> <dialogue>... but there's a Mister Valestra here to see you.</dialogue> <scene_description>BACK ON DOORWAY Through the following Valestra steps IN.</scene_description> <character>SECRETARY (V.O.</character> <dialogue>He says he has an appointment.</dialogue> <scene_description>Without waiting for an invitation, Valestra swaggers in like he owns the place. Beaumont's attitude is subdued, almost cowed, a complete about-face.</scene_description> <character>BEAUMONT</character> <parenthetical>(clears throat, then)</parenthetical> <dialogue>If Mr. Valestra says he has an appointment, Virginia ...</dialogue> <character>ON VALESTRA</character> <dialogue>He grins a sickening predatory grin. Enough to freeze your blood.</dialogue> <character>BEAUMONT (O.S.)</character> <dialogue>... then Mr. Valestra has an appointment.</dialogue> <character>VALESTRA</character> <parenthetical>(to Andrea)</parenthetical> <dialogue>That's what I like about your pop, kiddo --</dialogue> <character>WIDE - THE SCENE</character> <dialogue>· Valestra sits on the edge of Beaumont's desk and helps himself to</dialogue> <scene_description>a cigar. He grins knowingly at Andrea, who is clearly appalled.</scene_description> <character>VALESTRA</character> <dialogue>-- he knows his priorities.</dialogue> <scene_description>FAST DISSOLVE TO:</scene_description> <character>EXT. BEAUMONT'S BUILDING - TRACKING WITH BRUCE AND ANDREA</character> <parenthetical>(FLASHBACK CONTINUES)</parenthetical> <dialogue>They emerge from the lobby and start down the sidewalk in the direction of the intersection where the street feeds into the bridge.</dialogue> <character>BRUCE</character> <dialogue>Is my shirt too big, or is that my flesh crawling?</dialogue> <character>ANGLE ON SIDEWALK UP AHEAD - VALESTRA'S BLACK SEDAN</character> <dialogue>parked at the curb. Bruce and Andrea move past it. We SEE The Tall Man standing outside the sedan now, bent forward to get a close look at his reflection in the passenger-side mirror as he brushes the corner of his mouth with his finger.</dialogue> <character>ANDREA</character> <dialogue>I hear Mr. Valestra has that effect on people sometimes.</dialogue> <character>ON THE TALL MAN - QUICK CUT</character> <dialogue>still fingering his mouth as he notices Andrea behind him in the rear-view mirror. His eyes widen.</dialogue> <scene_description>WIDER The Tall Man straightens up and gives Andrea a provocative leer. (wolf whistle)</scene_description> <character>BACK ON ANDREA AND BRUCE - TRACKING</character> <dialogue>Andrea keeps her eyes straight ahead as if she hasn't heard a thing. Bruce, however, turns to look OFF in The Tall Man's direction like he'd like to give the guy a pitchfork enema.</dialogue> <character>THE TALL MAN</character> <dialogue>glares back, no love lost.</dialogue> <character>TRACKING WITH BRUCE AND ANDREA</character> <dialogue>as they continue walking, Bruce still glaring OFF. Noticing this, she reacts.</dialogue> <character>ANDREA</character> <dialogue>C'mon, Bruce. Dad just counts their money. They don't tell him where it comes from.</dialogue> <character>BRUCE</character> <dialogue>It's not your father, Andi, it's ... it's everything •</dialogue> <character>. ,</character> <dialogue>:~ Just then they hear:</dialogue> <character>FIRST BIKER (O.S.)</character> <dialogue>I said, hand over the cash- box, man!</dialogue> <character>THEIR POV - BRIDGE GUARDHOUSE</character> <dialogue>A few feet away. There in the shadow of the guardhouse we SEE a STREET VENDOR -- a guy selling hand-crafted jewelry off a black velvet-draped card table. He is being harassed by three burly leather-clad Hell's Angels types.</dialogue> <dialogue>The FIRST BIKER is on his feet, bike parked in b.g. He has grabbed the vendor's metal cash box and he and the vendor are playing tug-of-war with it. The other two Bikers remain astride their hogs, watching. ON THE CUT he Second Biker dismounts, then kick-stands the bike and starts toward the vendor menacingly, as:</dialogue> <character>FIRST BIKER</character> <dialogue>Gimme! or so help me, I'll mess up your face so bad you'll be breathin' outta the part in your hair!</dialogue> <scene_description>RESUME BRUCE AND ANDREA Bruce starts loosening his tie, his other hand clenching into a fist.</scene_description> <character>BRUCE</character> <dialogue>Stay put. This could get serious.</dialogue> <scene_description>Andrea reacts, alarmed, as he starts forward, but she stops him, clutching at his arm.</scene_description> <character>ANDREA</character> <dialogue>Bruce, no! -- don't!</dialogue> <scene_description>He pulls away, staring at her incredulously.</scene_description> <character>BRUCE</character> <dialogue>What do you expect me to do, just stand here?</dialogue> <scene_description>She relents, letting go.</scene_description> <character>ANDREA</character> <parenthetical>(anxious)</parenthetical> <dialogue>Just come;back to me in one piece. Please.</dialogue> <scene_description>He runs OFF. She looks after worriedly. BACK ON THE VENDOR By now the Second Biker has come up behind him with a blackjack and SMACKS him across the back of the head (SFX). The vendor lets go of the cash box --</scene_description> <character>VENDOR</character> <parenthetical>(fainting moan)</parenthetical> <dialogue>-- and the First Biker is able to take it from him easily.</dialogue> <scene_description>NEW ANGLE The vendor falls, CRASHING into his card table (SFX). The table COLLAPSES, flattening and scattering the vendor's wares o.s. The vendor rolls OFF as Bruce comes running INTO the fray. ON FIRST BIKER, BRUCE The First Biker turns to find himself face to face with Bruce, who runs headlong into him, leading with his shoulder like a charging linebacker (SFX). (impact groans) The First Biker drops the cash box. It goes CRASHING to the pavement, but does not break open. NEW &amp;~GLE Bruce grabs The First Biker and judo-flips him OFF. HIGH ANGLE - THE RIVER The first Biker plummets into the drink {APPROPRIATE SFX).</scene_description> <character>FIRST BIKER</character> <parenthetical>(trailing cry)</parenthetical> <scene_description>WIDE ANGLE - BRUCE AND BIKERS The other two Bikers dismount their bikes and face Bruce. ON BRUCE He settles into a fighting stance. CLOSE ON BRUCE His expression hardens, eyes straight ahead, as he puts himself totally into the .now of the task. DIAL DOWN MUSIC AND SFX; all we -~ hear is his HEARTBEAT: steady, not racing. His brow is smooth, "·•.· his expression serene. He is the water wearing away the boulder drop by drop, the bird carrying away the mountain pebble by pebble. His entire being is focused on his foes; be there three or a thousand, it makes no difference. Except -- His eyes flicker and glance to one side. RACK FOCUS to show Andrea some distance behind him, watching anxiously. He can't see her, but he knows she's there.</scene_description> <character>ANDREA ( V. 0 €� )</character> <parenthetical>(memory reverb)</parenthetical> <dialogue>Just come back to me in one. piece.</dialogue> <scene_description>REFIELD ON Bruce; his brow now furrowed, his concentration no longer pure. ANOTHER ANGLE The two Bikers approach menacingly. One swings a tire chain -- the other SNAPS open a switchblade. Better have your insurance paid up, sucker! INTERCUT ANDREA - REACTION Watching from a distance, horrified. · Jamming hsr knuckles into her mouth to keep from screaming. ON BRUCE He delivers a high pinwheeling roundhouse kick, KICKING the blade out of the Second Biker's hand. The knife goes SKITTERING O.S. But before Bruce can regain his balance the Third Biker leaps up in a clumsy but effective flying side kick that HITS Bruce in the midsection.</scene_description> <character>BRUCE</character> <parenthetical>(impact groan)</parenthetical> <scene_description>ON WALL OF GUARDHOUSE Bruce SLAMS into it, taking the impact across his shoulderblades. ON SECOND AND THIRD BIKER They beat a hasty retreat, the Second Biker snatching up the cash box. ON BRUCE He gets to his feet, somewhat woozily, and charges o.s. ANGLE INCLUDES BIKES The Bikers leap onto their bikes and KICKSTART them. Bruce runs INTO SHOT. ANOTHER ANGLE Bruce leaps for one of them, just misses him. The two Bikers ROAR OFF.</scene_description> <character>SECOND BIKER</character> <parenthetical>(mocking laughter, hooting)</parenthetical> <scene_description>ON BRUCE A concerned-looking Andrea steps IN, drops to one knee beside him as he sits up. ·:\ Thank god you're all right. I was so frightened ... !</scene_description> <character>CLOSER - BRUCE, ANDREA</character> <dialogue>Bruce is seething, clearly angry at himself. Andrea tries to touch his face.</dialogue> <character>ANDREA</character> <dialogue>C'mon, let me have a look at you •••</dialogue> <scene_description>But Bruce annoyedly brushes her hand away.</scene_description> <character>BRUCE</character> <dialogue>Andrea, please •.•</dialogue> <scene_description>He scrambles to his feet and moves OFF. HOLD a beat on the startled Andrea, looking after ... then ... DISSOLVE TO:</scene_description> <character>INT. WAYNE MANOR - NIGHT - BRUCE'S STUDY (FLASHBACK CONTINUES)</character> <dialogue>Bruce sits with a skecch pad, doodling for a beat. Then he stops, looks up out the window, brooding.</dialogue> <scene_description>-~ OTS BRUCE - TO SKETCH-PAD PAGE - BRUCE'S DRAWING It's a figure study of a man in a skin-tight uniform with a long, flowing cape pinned at the shoulders -- basically the Batman costume, but without any of the bat-like touches: no scalloped bat-wing effect on the hem of the cape; no fins on the gloves; no bat-eared cowl, etc. BACK TO BRUCE He stares down at his drawing a beat, then his brow furrows with disgust. He RIPS the drawing out of the pad and CRUMPLES it up ( SFX) .</scene_description> <character>BRUCE</character> <parenthetical>(under his breath)</parenthetical> <dialogue>What am I still doing this for?</dialogue> <character>ANGLE - PAST BRUCE TO DOORWAY BEHIND HIM</character> <dialogue>Bruce tosses the wad of paper into the blazing fireplace. Simultaneously Alfred APPEARS in the doorway behind him, silently. Bruce doesn't yet realize he's there. Now Alfred listens as if he knows exactly what Bruce is talking about. Bruce POUNDS the arm of his chair as· he speaks:</dialogue> <scene_description>It's gotta be one or the other. I can't have it both ways. I can't put myself on the line as long as there's someone waiting for me to come home. Bruce reacts, startled by Alfred as:</scene_description> <character>ALFRED</character> <dialogue>Miss Beaumont would be glad to know you feel that way, Master Bruce.</dialogue> <character>NEW ANGLE</character> <dialogue>Bruce turns to regard Alfred incredulously as the butler picks up the telephone extension on an endtable (its pick-up button is FLASHING -- Andrea's call is on hold).</dialogue> <character>ALFRED</character> <dialogue>She's holding on line one, sir.</dialogue> <scene_description>Alfred holds out the phone to him. Bruce leaps up, recoiling as if the butler were holding out a handful of snakes.</scene_description> <character>BRUCE</character> <dialogue>Alfred, I can't. Not now.</dialogue> <scene_description>Bruce grabs a jacket hanging from a doorknob in b.g.</scene_description> <character>ON ALFRED</character> <dialogue>He looks on as Bruce, wearing a troubled expression, moves past him.</dialogue> <character>ALFRED</character> <dialogue>What shall I say?</dialogue> <character>BRUCE</character> <dialogue>I don't know. I just don't know!</dialogue> <scene_description>And Bruce EXITS, SLAMMING the door behind him. Alfred reacts, startled, then recovers. He looks after a beat, clearly disappointed. Off which ... WIPE TO:</scene_description> <character>CLOSE-UP - BRUCE - NIGHT</character> <dialogue>Somewhere else. Can't tell where yet. But it's outside. The</dialogue> </scene> <scene> <stage_direction> .·</stage_direction> <scene_description>· FLASHES illuminate Bruce's face in staccato bursts as:</scene_description> <character>BRUCE</character> <dialogue>{softly)</dialogue> <scene_description>It doesn't mean I don't care any more. I don't want to let you down -- honest. But ... but . .. It begins to RAIN. We PULL BACK SLOWLY, REVEALING BRUCE in the jacket we saw him don in the previous scene. Huddling against the cold. Addressing someone o.s.</scene_description> <character>BRUCE</character> <dialogue>••. it just doesn't hurt so bad any more. You can understand that, can't you?</dialogue> <scene_description>We continue pulling back, REVEALING that we're in:</scene_description> <character>EXT. CEMETERY - NIGHT - THE WAYNE PLOT</character> <dialogue>Bruce is standing before the monument to Thomas and Martha Wayne. He gestures in supplication as if pleading a case to them, trying to persuade them:</dialogue> <character>BRUCE</character> <dialogue>Look, I can give money to the city; they can hire more cops. Let someone else take the risks. It's different now.</dialogue> <character>CLOSE - BRUCE</character> <dialogue>A wet rivulet running down one cheek. The rain? Or is he letting himself feel?</dialogue> <character>BRUCE</character> <dialogue>Please. I need it to be different now.</dialogue> <character>RESUME SCENE</character> <dialogue>He drops to his knees, clasps his hands in his lap.</dialogue> <character>BRUCE</character> <dialogue>I know I made a promise, but I didn't see this coming. I didn't count on being happy.</dialogue> <character>ON BRUCE</character> <dialogue>-~ He leans forward, clutching the large grave-marker like he's</dialogue> <character>BRUCE {</character> <dialogue>Please. Tell me that it's okay.</dialogue> <scene_description>A beat. Silence. Then:</scene_description> <character>/..NDREA (0. S.)</character> <dialogue>Maybe they already have.</dialogue> <scene_description>Bruce reacts, eyes widening ... and whirls to see ANDREA standing a few feet away, near her mother's grave. Holding an umbrella as she steps forward out of the shadows toward him, and we TRUCK OUT TO INCLUDE BRUCE ..•</scene_description> <character>ANDREA</character> <dialogue>Maybe they sent me.</dialogue> <scene_description>BRUCE rises, just stares at her a beat ... then ... NEW ANGLE - BRUCE, ANDREA They embrace. TIGHTEN ON BRUCE as his eyes squeeze shut, and a single tear streams down his cheek. MATCH-DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CATHEDRAL - PRESENT - CLOSE ON BATMAN</stage_direction> <scene_description>still perched here. RAIN is now pouring down, dripping off his face and cowl like tears. DIAL UP BLIMP MOTOR (SFX) from above. It catches his attention; he looks up o.s., toward the source of a light that is spilling INTO FRAME. LOW ANGLE - POLICE BLIMP OVERHEAD - QUICK CUT It drifts lazily between sheets of rain, sweeping the area below with searchlights. BACK ON CATHEDRAL GARGOYLE The searchlight beam stabs INTO SHOT, sweeping the spot where Batman had been perched ... but now he is gone. FAST WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM STREET - DAY (NEXT MORNING)</stage_direction> <scene_description>~ Arthur Reeves is walking briskly along the sidewalk, overtaking HIGH ANGLE - TRACKING WITH REEVES FOLLOW him a beat. Suddenly, he stops dead as a black limo SCREECHES INTO VIEW right in front of him, ·emerging from an alley (SFX) and cutting him off. ON LI:HO A rear window SLIDES down to REVEAL a much older-looking Sal Valestra, beckoning to him. No cigar smoke this time. Reeves steps INTO SHOT, approaching the car.</scene_description> <character>VALESTRA</character> <dialogue>Get in.</dialogue> <scene_description>NEW ANGLE - FAVORING REEVES - QUICK CUT He looks around to make sure that no one is watching, then ...</scene_description> </scene> <scene> <stage_direction>INT. LIMO</stage_direction> <scene_description>Reeves crawls inside warily and sits beside Valestra, as the unseen driver pulls away from the curb (SFX).</scene_description> <character>VALESTRA</character> <dialogue>All I want to know is, is it true? Is the Batman really hitting our people?</dialogue> <scene_description>ON REEVES With a grim expression, he nods.</scene_description> <character>REEVES</character> <dialogue>There are eyewitnesses.</dialogue> <scene_description>ON VALESTRA His features contort into a mask of fury.</scene_description> <character>VALESTRA</character> <parenthetical>(building anger)</parenthetical> <dialogue>Beautiful. That's just beautiful. Why? He never leaned on us before. I'm too old for this!</dialogue> <scene_description>FAVOR REEVES He gives Valestra a withering look. I suppose you could demand police protection. FAVOR VALESTRA Through the following he begins to GASP, spittle forming at the corners of his mouth.</scene_description> <character>VALESTRA</character> <dialogue>What are you, a comedian? This is the Batman we're talking about here! A freak job he'll crucify me --</dialogue> <parenthetical>(breaks down into wheezing, racking coughs)</parenthetical> <scene_description>WIDER to INCLUDE a portable oxygen tank leaning against the seat back. Valestra lunges forward and grabs the mask, clutching it to his face as he frantically plucks at the valve, CRANKING it up full. (SFX: BELLOWS EFFECT as oxygen is pumped).</scene_description> <character>VALESTRA</character> <parenthetical>(hungry, wheezing gasps)</parenthetical> <dialogue>Reeves leans forward toward the partition separating the back seat from the driver, KNOCKS (SFX).</dialogue> <character>REEVES</character> <parenthetical>(to driver)</parenthetical> <dialogue>Pull over.</dialogue> <scene_description>CLOSE - REEVES giving the o.s. Valestra a sidelong glance, clearly unnerved.</scene_description> <character>REEVES</character> <dialogue>It's not very healthy in here.</dialogue> </scene> <scene> <stage_direction>INT. BATCAVE - MAIN COMPUTER STATION - EXTREME LONG SHOT</stage_direction> <scene_description>Batman sits at a keyboard, INPUTTING data (SFX). Then:</scene_description> <character>BATMAN</character> <parenthetical>(reading screen)</parenthetical> <dialogue>O'Neil Funding Corp ... Adams Tool and Die ...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I should've known.</dialogue> </scene> <scene> <stage_direction /> <scene_description>"' \ . Sir?</scene_description> <character>ALFRED (O.S.)</character> <dialogue>CLOSER - ON BATMAN</dialogue> <character>BATHAN</character> <parenthetical>(re: screen)</parenthetical> <dialogue>Chuckie Sol and Buzz Bronski ••• they have some history together.</dialogue> <character>ON ALFRED</character> <dialogue>In the weapons area. He is polishing the fencing foils with an oilcloth. He looks up, cocking an eyebrow in keen interest.</dialogue> <character>BATMAN (O.S.</character> <dialogue>They were partners in dummy corporations set up over ten yea1;s ago.</dialogue> <character>WIDER - TO INCLUDE BATMAN</character> <dialogue>As Alfred steps toward him. During the following, the screen shows a database with a highlight moving down a list of names to HOLD on the name VALE$TRA, SALVATORE.</dialogue> <character>BATMAN</character> <dialogue>The third director was one Salvatore Valestra.</dialogue> <scene_description>The name gives him pause. In his expression we see a flicker of recognition.</scene_description> <character>·NEW ANGLE - BATMAN, ALFRED</character> <dialogue>Batman rises, turns to go. ANGLE ADJUSTS to include the Batmobile, waiting on its turntable.</dialogue> <character>BATMAN</character> <parenthetical>(rising)</parenthetical> <dialogue>Sal's having company tonight. Don't wait up.</dialogue> <scene_description>Batman strides toward the Batmobile, and Alfred -- still with the foil in hand -- steps back into the weapons area. (hopeful) Meaning, I trust, that once you're done with him, you'll be seeing her? WITH BATMAN He steps up to the car, then stops, turns to shoot Alfred a sharp look.</scene_description> <character>BATMAN</character> <parenthetical>(defiant)</parenthetical> <dialogue>You think you know everything about me, don't you?</dialogue> <scene_description>BACK ON ALFRED He gives the foil one more wipe with the cloth, then, on the word "Sir," JAMS it into the sword rack with an irritated scowl:</scene_description> <character>ALFRED</character> <parenthetical>(grumbling)</parenthetical> <dialogue>I diapered your bottom, I bloody well ought to. Sir.</dialogue> <scene_description>ON BATMOBILE.COCKPIT Batman leaps in and without sliding the canopy closed, floors the gas pedal.</scene_description> <character>BATMAN</character> <dialogue>Well, you're wrong.</dialogue> <scene_description>REAR OF BATMOBILE (STOCK) The afterburner FLARES (SFX: ROCKET ROAR) and the car starts OFF. ALFRED disappointedly watches it go. WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. VALESTRA'S TOWNHOUSE - TO ESTABLISH - DUSK</stage_direction> <scene_description>START on the Batmobile parked in semi-concealment in an alley behind the building ... then PAN over to FRAME a fire-escape outside an upper-floor window of the townhouse. A beat ... then we SEE the bat-shadow inside, moving across a window. CUT TO: HOLD a beat on various papers -- personal documents -- strewn over the blotter. Blue-black gloves are thumbing through them. BATMAN looks up, scans the room. WIDEN as he grabs the goose-necked desk lamp, tilts the light up toward THE WALL START on a single photo: Valestra and a nightclub singer, spotlighted in the pool of light from the o.s. desk lamp. HOLD a beat, then PAN over the wall, the lamplight REVEALING, in turn, lots more photos of Valestra: Valestra and MAYOR HILL ... Valestra and union chiefs ... and finally we HOLD on one more picture, REVEALING Valestra and Chuckie Sol and Buzz Branski and Carl Beaumont, all seated together at a restaurant, all smiles, pouring and toasting champagne. A fifth figure -- the Tall Man -- is a shadowy shape at the picture's edge. BACK ON BATMAN Reacting with widening eye-slits. You can almost see his ears twitch. BACK TO WALL PHOTOS We PUSH IN to FRAME the smiling Carl Beaumont, his white teeth FILLING FRAME, which lightens and whitens as the following FADES UP:</scene_description> <character>ANDREA (REVERE)</character> <parenthetical>(mid-sentence; fading up)</parenthetical> <dialogue>... you know how much I've always wanted to see Europe, Bruce. And Dad has business there next week ...</dialogue> <scene_description>And when we PULL BACK, the white dulls to the slate-gray of an overcast sky a.nd we see that we've gone back ten years again, as we SEGUE TO:</scene_description> </scene> <scene> <stage_direction>EXT. REAR OF THE WAYNE ESTATE - SUNSET (FLASHBACK RESUMES)</stage_direction> <scene_description>A rocky promontory far to the rear of Wayne Manor. We see Bruce and Andrea, in silhouette, strolling along. The SURF POUNDS below ( SFX) .</scene_description> <character>ANDREA (V.0.</character> <dialogue>It's some sort of hush-hush deal. He won't tell me a thing.</dialogue> <scene_description>CLOSER - ANDREA AND BRUCE Bruce stops, reacts, clearly dismayed.</scene_description> <character>ANDREA</character> <dialogue>He can't even say when we'd be coming back.</dialogue> <character>BRUCE</character> <parenthetical>(turning to her)</parenthetical> <dialogue>Will you at least let me try to talk you out of it?</dialogue> <scene_description>Bruce puts an arm around her shoulders, steers her toward a rock near a crevice ••.</scene_description> <character>ANDREA</character> <dialogue>Bruce •..</dialogue> <character>BRUCE</character> <dialogue>Wait. Please.</dialogue> <scene_description>FAVOR BRUCE He looks down at her blankly for a beat, as if trying to figure out what to say. Silence. Then:</scene_description> <character>BRUCE</character> <dialogue>Oh, never mind, I'm no good at this.</dialogue> <scene_description>He rummages in a pocket, then pulls out a velvet box, crouches to hand it to her, as:</scene_description> <character>BRUCE</character> <dialogue>Here. You'll get the idea.</dialogue> <scene_description>FAVOR ANDREA She opens the box, and inside it is an engagement ring, with a glittering diamond big enough to choke the proverbial horse.</scene_description> <character>ANDREA</character> <parenthetical>(admiring gasp)</parenthetical> <dialogue>She seems tongue-tied, but it's only the shock of the moment.</dialogue> <character>BRUCE</character> <dialogue>What do you say?</dialogue> <scene_description>ANGLE ADJUSTS TO INCLUDE the beaming BRUCE, as she looks up at him ~ lovingly, eyes puddling up.</scene_description> <character>ANDREA</character> <dialogue>Of course I will.</dialogue> <scene_description>r· THROUGH THE FOLLOWING, we hear WHAT SOUNDS LIKE SEAGULLS CHIRPING (SFX), at first softly, but increasing in intensity. As Bruce holds the box for her, she takes the ring from it and slips it on, then admires it a beat.</scene_description> <character>ANDREA</character> <dialogue>I never thought this NOUld</dialogue> <scene_description>happen. I always felt like ..•• like I'd thrown you a curve ball, like you never knew what to do with me, 'cause I wasn't in The Plan.</scene_description> <character>CLOSE TWO - ON BRUCE AND ANDREA</character> <dialogue>They embrace ...</dialogue> <character>BRUCE</character> <dialogue>You are now. I'm changing the plan.</dialogue> <scene_description>They're about to kiss. By now the o.s. "CHIRPING" is mor~ clearly a SCREECHING sound and has grown DEAFENING ...</scene_description> <character>..</character> <dialogue>r·</dialogue> </scene> <scene> <stage_direction>.\_</stage_direction> <scene_description>·· -;..:.:., ·</scene_description> <character>WIDER</character> <dialogue>ON THE CUT, the crevice suddenly ERUPTS with an e:&lt;plosion of bats, forcing Bruce and Andrea to stagger back. (SFX: MAD SCREECHING of dozens of bats.) Bruce throws a protective arm over his intended as they look up in awe at the bats that keep coming, swirling in a great vortex, blanketing the darkening sky. It's as if Hell had blown open. The crazily-fluttering bats FILL FR.~E, BLACKENING it. A beat, then ... FADE IN ON: EXT. ON GOTHAM SUBURBAN STREET - ON A MANSION - NIGHT - (FLASHBACK CONTINUES)</dialogue> <dialogue>The home of the obviously well-to-do Beaumonts. The Wayne limo pulls into the long driveway and makes its way up to the circular drive before the front door. As the limo pulls up, we SEE that there are already two cars out front. INT. BRUCE WAYNE'S LIMO - CONTINUOUS - MOVING Andrea and Bruce sit behind the liveried Alfred. Andrea notices something o.s., reacts with puzzlement.</dialogue> <scene_description>Uh-oh. INT·. BACK SEAT OF LIMO - FAVOR ANDREA She points up and OFF.</scene_description> <character>ANDREA</character> <dialogue>Looks like he's got company</dialogue> <scene_description>WHERE SHE POINTS - WINDOW OF BEAUMONT 1 ·s STUDY From the silhouettes on the curtains, we can see that Carl Beaumont has clients in there. He's conferring with them across the desk.</scene_description> <character>ANDREA (V .·O. CONT 1 D)</character> <dialogue>business-type company.</dialogue> </scene> <scene> <stage_direction>INT. REAR OF LIMO</stage_direction> <scene_description>Andrea turns to Bruce, puzzled. He senses her unease.</scene_description> <character>ANDREA</character> <dialogue>He doesn't usually see clients here. At least not at this hour.</dialogue> <scene_description>She bit~s her lower lip.</scene_description> </scene> <scene> <stage_direction>EXT. LIMO</stage_direction> <scene_description>The right rear door opens, REVEALING Bruce and Andrea. He leans forward to hold the door open for her, DURING:</scene_description> <character>ANDREA</character> <dialogue>Maybe we should wait till tomorrow before we give him the good·news.</dialogue> <character>BRUCE</character> <dialogue>Maybe.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Goodnight, baby.</dialogue> <scene_description>She turns back, gives him a kiss.</scene_description> <character>ANDREA</character> <dialogue>Goodnight, Bruce •.. Alfred~ ..</dialogue> <scene_description>ON FRONT DOOR We SEE The Tall Man, in a fedora, leaning against a column. He is using a cuticle remover. Andrea passes THROUGH FRAME on her way into the house. She ignores The Tall Man as she passes him. He gives her an admiring leer.</scene_description> <character>TALL MAN</character> <parenthetical>(sexual come-on growl)</parenthetical> </scene> <scene> <stage_direction>INT. LIMO - MOVING</stage_direction> <scene_description>down the drive as Alfred pulls away. TIGHTEN ON BRUCE, staring back hostilely at THE TALL MAN He senses Bruce's hot stare. He looks back in the o.s. Bruce's direction and sneers. Off which .•. WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. REAR OF ESTATE - ON CREVICE - NEXT MORNING (F!ASHBACK</stage_direction> <scene_description>CONTINUES) We're on the crevice from which the bats burst earlier. There is a painter's ladder propped against the side of the shaft. ON THE CUT, a flashlight beam plays over the ladder •.. then Bruce, dressed in sweatshirt and jeans, and holding the flashlight, rises INTO VIEW, calling out as he climbs the ladder:</scene_description> <character>!BRUCE</character> <dialogue>It's another cave, all right. Could be as big as the house ...</dialogue> <scene_description>BRUCE'S POV - ALFRED'S FEET standing at the edge of the pit. START on them, then TILT UP, simulating Bruce's rising POV, up to Alfred's face. His brow is furrowed; the expression clearly one of sadness and dismay. In his hand he holds a small package wrapped in brown paper.</scene_description> <character>, BRUCE ( V. 0 €� CONT' D)</character> <dialogue>..• judgin'g from the number of bats that came out of it.</dialogue> <parenthetical>(beat; off Alfred's expression)</parenthetical> <dialogue>Alfred, what's wrong?</dialogue> <scene_description>NEW ANGLE - FAVORING ALFRED Bruce rises INTO SHOT beside him, alarmed. Alfred hands Bruce the package. I</scene_description> <character>ALFRED</character> <parenthetical>(subdued)</parenthetical> <dialogue>This just arrived, sir.</dialogue> <scene_description>takes the package, stares at it a beat. His puzzled expression seems to say, "What the hell does this mean?" Then he TEARS the package open (SFX).</scene_description> <character>OTS BRUCE - TO PACKAGE IN HIS HANDS</character> <dialogue>as the paper falls away to REVEAL the ring box. With a "Dear Bruce" letter taped to it.</dialogue> <character>RESUME BRUCE</character> <dialogue>who can't believe his eyes as he scans the note.</dialogue> <character>BRUCE</character> <parenthetical>(aghast; muttering/ reading)</parenthetical> <dialogue>" •.• left with Dad •.• too young .. . need time ... forget about me ... "?!</dialogue> <scene_description>Tbe note slips from his slackening hand and FLUTTERS OFF as his face contorts in sudden sorrow.</scene_description> <character>EXTREME HIGH ANGLE</character> <dialogue>as Bruce throws back his head and howls -- a classical-Greek</dialogue> <scene_description>., theater "Earth cry." ..'~.t':-·· --~</scene_description> </scene> <scene> <stage_direction>... !/•</stage_direction> <character>BRUCE</character> <dialogue>•c·,11.;:;,'</dialogue> <parenthetical>(from the depths)</parenthetical> <scene_description>HARD CUT TO:</scene_description> <character>INT. BRUCE'S STUDY - CLOSE ON THE PORTRAIT OF THE WAYNES</character> <parenthetical>(FLASHBACK CONTINUES)</parenthetical> <dialogue>Bruce;' s parents stare out at us, stiff, formal, unsmiling. We PAN AWAY to FRAME a window .•. then PUSH IN and</dialogue> <scene_description>DISSOLVE THROUGH TO:</scene_description> <character>EXT. PROMONTORY - ON THE CREVICE - CONTINUOUS</character> <dialogue>The CAMERA DESCENDS into the hellhole, turning and twisting around rock formations, becoming lost in the darkness.</dialogue> <scene_description>DISSOLVE TO: ...: - ~. :.~&gt; The CAMERA continues PANNING down stalactites, dripping limestone tears, as if this were all ONE SHOT. END PAN on the bat cowl draped over a dressmaker's form in the foreground. Alfred steps IN to pick it up, and ANGLE ADJUSTS as he turns to hold it out to Bruce, who stands in the shadows wearing the rest of the costume. He takes the cowl.</scene_description> <character>NEW ANGLE - BRUCE</character> <dialogue>His back to us as he puts on the cowl. Then he turns around, eyes glowing, demonic ••• and even the imperturbable butler is taken aback.</dialogue> <character>ALFRED</character> <dialogue>{barely a whisper)</dialogue> <scene_description>My God ••. His master solemnly moves past him. He is now someone else ••. "a creature dark and terrible" ... DISSOLVE TO:</scene_description> <character>INT. VALESTRA'S STUDY - ON BATMAN - THE PRESENT</character> <dialogue>Batman takes Beaumont's photo from the wall, slips it under his cloak. He moves to the open window, and in a swirl of his cape, he is gone.</dialogue> <scene_description>WIPE TO:</scene_description> <character>EXT. GOTHAM WORLD'S FAIR GROUNDS - DUSK - CLOSE ON GLOBE</character> <dialogue>The once beautiful globe of the moon, the glistening centerpiece of the fair, is now a rusted hulk, a white-stained roosting place for pigeons. CAMERA TILT-PANS DOWN across the now-abandoned and rotting fair exhibits and picks up another antique -- Sal Valestra pulling up in his dark sedan. The car stops in front of the now- dilapidated "World of the Future" exhibit. A few saw horse barriers have been arranged in front to keep people out.</dialogue> <character>CLOSER ON SEDAN</character> <dialogue>The door opens and Valestra, wearing a top coat and slouch hat, warily steps out. In one hand he carries a briefcase. In the other he holds his small oxygen tank and takes a deep breath from it to bolster himself.</dialogue> <character>VALESTRA</character> <parenthetical>(oxygen breath)</parenthetical> <dialogue>Valestra lowers the mask and looks nervously toward the exhibit .</dialogue> </scene> <scene> <stage_direction>,\_ :.... ·- ,/</stage_direction> <scene_description>(nervous) Geez, if there was just some other way .•• Valestra moves o.s. WIDER ON VALESTRA The old mobster edges around the barrier and hobbles into the exhibit. ANGLE ON PHANTASM Watching cautiously from a nearby vantage point. He melts back into the mist around him.</scene_description> </scene> <scene> <stage_direction>INT. WORLD OF THE FUTURE EXHIBIT - DARK</stage_direction> <scene_description>Valestra makes his way hesitantly through the darkened exhibit. All around him strange, gnomish shapes are seen clumped together in the shadows. Valestra pulls his collar tighter and takes a few steps forward. Suddenly the lights flash on revealing the old mobster standing in the midst of the "World of the Future 19 ride. Only now the doll-like audio-animatronic puppets have taken on a freakish look thanks to rust and decay. The dolls spasmodically jerk to life as a quavering, badly-pitched tape of the ride's formerly peppy theme song is heard.</scene_description> <character>RIDE SINGERS (V.O.)</character> <parenthetical>(slurred)</parenthetical> <dialogue>Forward, forward to the future, our dreams are shining bright. Glory and wonder --</dialogue> <scene_description>Suddenly MACHINE GUN FIRE shatters one of the smiling dolls to Valestra's right.</scene_description> <character>VALESTRA</character> <parenthetical>(terrified gasp)</parenthetical> <dialogue>Valestra leaps away in horror as the long, uninterrupted GUNFIRE rips the doll to bits. All is silent as the GUNFIRE ENDS (the song has long since cut off) but the o.s. gunman comically pumps one last SHOT into the broken pile of junk for good measure. Very shaken, Valestra looks toward the source of the gunfire.</dialogue> <character>VALESTRA</character> <parenthetical>(frightened wheezes)</parenthetical> <scene_description>VALESTRA'S POV - ANGLE ON THE JOKER The malevolent clown is first seen only as a tall, thin shape in the shadows. Just his eyes, grin, and the smoke rising from his the gun away.</scene_description> <character>JOKER</character> <dialogue>I hate that song.</dialogue> <scene_description>Suddenly the Joker brightens with mock-joy as he recognizes Valestra.</scene_description> <character>JOKER</character> <dialogue>Gasp! Can it be? Old Sallie "The Wheezer" Valestra!</dialogue> <scene_description>ON VALESTRA He forces a nervous smile as the Joker hurries in to over- enthusiastically pump his hand and slap him roughly on the back.</scene_description> <character>JOKER</character> <dialogue>Welcome, Pisan'! It's been a dog's age!</dialogue> <character>VALESTRA</character> <dialogue>Hello, Joker. Didn't mean to drop by unannounced.</dialogue> <scene_description>The Joker grandly waves away Valestra's apology as he gives him a mock-comradely hug.</scene_description> <character>JOKER</character> <dialogue>Oh, Sal-va-tore! Why so formal? Mi casa nostra es su casa nostra.</dialogue> <scene_description>ANGLE ON AUTOGYROS Suddenly a flock of small autogyros streak (SFX) out of the tunnel. CAMERA FOLLOWS the small flying models as they whirl around the surprised Valestra. The Joker looks at them nonchalantly.</scene_description> <character>JOKER</character> <dialogue>Oh,· don't mind my home security system.</dialogue> <scene_description>ON JOKER As he removes a small remote from his pocket and activates it. SFX: BEEP.</scene_description> <character>JOKER</character> <dialogue>Can't be too careful with all those weirdos around.</dialogue> <scene_description>They pause and streak (SFX) back into the darkness.</scene_description> <character>BACK TO JOKER AND VALESTRA</character> <dialogue>The Joker shoots Valestra a suspicious grin.</dialogue> <character>JOKER</character> <dialogue>so, what's an ·old-timer like you want with a two-timer like me?</dialogue> <character>VALESTRA</character> <dialogue>Business. I got ••.</dialogue> <character>JOKER</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Ooh! Business. Sounds like fun. Come ...</dialogue> <character>ON DILAPIDATED TRAM CAR</character> <dialogue>As Joker escorts Valestra to it.</dialogue> <character>JOKER</character> <dialogue>We'll repair to more comfortable environs. Let's see •..</dialogue> <parenthetical>(acting like a tour ;.~ ·:'::--!•·~ guide)</parenthetical> <dialogue>You must be at least this tall ...</dialogue> <scene_description>The Joker holds one hand up high over his head to indicate the height.</scene_description> <character>JOKER</character> <dialogue>•.. to go on this attraction.</dialogue> <scene_description>He then yanks Valestra up by his collar with his other hand.</scene_description> <character>VALESTRA</character> <dialogue>(pained gasp} The Joker looks between his hand and Valestra. JOKER Close enough!</dialogue> <character>ON VALESTRA</character> <dialogue>Joker lets Valestra drop into the seat.</dialogue> <character>VALESTRA</character> <parenthetical>(cry of surprise)</parenthetical> <dialogue>The Joker SLAMS the safety bar down on Valestra's lap so hard that the old gangster recoils.</dialogue> <character>JOKER</character> <parenthetical>(leaning in)</parenthetical> <dialogue>Now hold onto those hats and glasses!</dialogue> <scene_description>The Joker slides down next to Valestra.</scene_description> <character>JOKER</character> <dialogue>{normal voice, casual)</dialogue> <scene_description>There's a teensy little bit of a jump at first. ANOTHER ANGLE The Joker pulls a lever and BAM! The car shoots away like greased lightning.</scene_description> <character>JOKER {</character> <parenthetical>(overlapping Valestra)</parenthetical> <dialogue>Wheeee!</dialogue> <character>VALESTRA</character> <parenthetical>(overlapping Joker)</parenthetical> <dialogue>Auuuuugh!</dialogue> <scene_description>WIDER ON RIDE They streak past darkened dioramas of wondrous devices, now decaying with age. We see space-age designed refrigerators, bubble cars, personal robots, etc. ON JOKER'S CRAFT It zooms into a well-lit diorama showing an ultra-modern home of the future. This diorama has definitely seen better'times, having a particularly moth-eaten look to it. An android HOUSEWIFE, (the Joker calls her HAZEL) her head askew and half-rusting away, stands at a kitchen counter and mindlessly chops with a rusted knife. Nearby a decaying robot dog wags his exposed-wire "tail" as he lays on a couch. The car SHUDDERS to a stop. The Joker jumps out and loudly proclaims:</scene_description> <character>JOKER</character> <dialogue>Honey, I'm home!</dialogue> <scene_description>Valestra crawls out of the ride, gasping painfully and fumbling· for the oxygen.</scene_description> <character>VALESTRA</character> <parenthetical>(gasps} CLOSER ON HOUSEWIFE ANDROID Mindlessly fixing dinner on her perpetual cycle. The Joker sidles up to her and looks at the nonexistent food. JOKER (kidding)</parenthetical> <dialogue>What, meatloaf again? Aww, I had it for lunch.</dialogue> <scene_description>The Joker gently pinches her cheek as he flashes a big, playful smile at the o.s. Valestra.</scene_description> <character>JOKER</character> <dialogue>Isn't Hazel here a cutie? True, she's a real homebody, but you can't help who you fall in love with.</dialogue> <scene_description>Part of Hazel's face RIPS off in the Joker's fingers, but he just casually tucks it in his pocket and moves OFF. ON VALESTRA Standing uncertainly by the couch. The Joker walks in and knocks the robot dog off the couch with a vicious backhand swipe (SFX).</scene_description> <character>JOKER</character> <dialogue>Down, Rusty.</dialogue> <parenthetical>(to Valestra)</parenthetical> <dialogue>Have a seat, Sal. Tell me what's on your so-called mind.</dialogue> <scene_description>The Joker flops down comfortably in a modern-styled Eames chair as Valestra perches nervously on the couch.</scene_description> <character>VALESTRA</character> <dialogue>It's Batman. He's gone nuts.</dialogue> <scene_description>CLOSER ON VALESTRA A bundle of paranoia as he tells his story.</scene_description> <character>VALESTRA</character> <dialogue>First he whacked Chuckie Sol, then Buzz, and now he's after me. I know it! Couple days ago I saw him spyin' on me from the roofs.</dialogue> <parenthetical>(starts to gasp)</parenthetical> <dialogue>Valestra takes another hit from his oxygen tank (SFX).</dialogue> <parenthetical>(oxygen gasp)</parenthetical> <scene_description>ON JOKER Reclining in the chair with his arms behind his head.</scene_description> <character>JOKER</character> <parenthetical>(thoughtful)</parenthetical> <dialogue>Y'know, I've been reading lately how ol' Guano Man is wound tight enough to snap.</dialogue> <scene_description>An insane, animated expression flashes into the Joker's eyes and he gleefully ru~s his hands.</scene_description> <character>JOKER</character> <dialogue>Wouldn't it be great if I've finally driven him off the deep end?!</dialogue> <parenthetical>(excited squeal of delight)</parenthetical> <scene_description>ON VALESTRA Starting to look desperate. He stands and begins to nervously limp/pace.</scene_description> <character>VALESTRA</character> <dialogue>This isn't a joke! Batman's knockin' us off and you're the only one who can take him down.</dialogue> <scene_description>ANOTHER ANGLE Valestra grabs up his suitcase and opens it for the Joker to see. The case is filled with cash. As Valestra talks, Joker stands, takes out a stack of bills, smells them like a fine cigar, and finally uses them as a fan as he mimes a yawn.</scene_description> <character>VALESTRA</character> <dialogue>Look. Five million up front with whatever you want to finish him off.</dialogue> <scene_description>The Joker raises a contemptuous eyebrow as he tosses the bills back into the case.</scene_description> <character>JOKER</character> <dialogue>What do I look like, pest control?</dialogue> <parenthetical>(smug chuckle)</parenthetical> <dialogue>All control gone, Valestra tosses the case down.</dialogue> <character>VALESTRA</character> <dialogue>Thin~, you fool! Once he gets me, how long 'till he gets you?</dialogue> <scene_description>Valestra frantically grabs the Joker by the lapels. The Joker's grin instantly turns into a hateful, murderous scowl.</scene_description> <character>VALESTRA {</character> <dialogue>You know what I'm talkin' about! Your hands are just as dirty! Dirtier!</dialogue> <scene_description>FAVOR JOKER The Joker savagely SMACKS Valestra's hands off his lapels, grabs Valestra by the back of his hair and thrusts his face close to the shaking mobster.</scene_description> <character>JOKER</character> <parenthetical>(murderous hiss)</parenthetical> <dialogue>Don't touch me, old man.</dialogue> <scene_description>Suddenly the Joker breaks into a big smile.</scene_description> <character>JOKER</character> <parenthetical>(lighter)</parenthetical> <dialogue>I don't know where you've been.</dialogue> <parenthetical>(good-natured laugh)</parenthetical> <scene_description>WIDE ANGLE The Joker releases Valestra and places a friendly arm around his shoulders. The clown shakes his head and rolls his eyes as V~lestra smiles hesitantly.</scene_description> <character>JOKER</character> <dialogue>Oh, Sal. No one could take a joke like you. Of course I'll help you out.</dialogue> <character>VALESTRA</character> <dialogue>Really?</dialogue> <scene_description>ANGLE ON HAZEL Still chopping away in the f.g. in the b.g. we see the silhouettes of the Joker and Valestra. Certainment! No way is anybody gonna hurt my al' pal, Sal. ON JOKER AND VALESTRA Valestra starts to hesitantly smile and the Joker points to him with delight.</scene_description> <character>JOKER</character> <dialogue>That's it! That's what I want to see ...</dialogue> <scene_description>CLOSER ON JOKER He now points to his own grinning face.</scene_description> <character>JOKER</character> <dialogue>A nice big smile.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM CITY - NIGHT - CLOSE ON SPINNING COPTER BLADES</stage_direction> <scene_description>The blades of a police helicopter spin down AWAY FROM CAMERA. The copter passes by the roof of a fancy hotel. After the copter passes, Batman rises up from the shadows. He moves to the edge of the roof and vanishes over the side.</scene_description> </scene> <scene> <stage_direction>'INT. HOTEL SUITE - CONTINUING - DARK</stage_direction> <scene_description>Batman's silhouetted form lands on the balcony outside the suite's bedroom. He works the door's lock and it swings open. Batman steps into the suite and closes the door behind him just as the outer door opens. Batman quickly leaps into the shadows as voices are heard o.s.:</scene_description> <character>ANDREA</character> <dialogue>I'm exhausted. Thanks for dinner, Artie.</dialogue> <scene_description>Arthur Reeves follows her to the door.</scene_description> <character>REEVES</character> <dialogue>You know, it's not good to go to bed on a full stomach.</dialogue> <scene_description>Reeves's hand strays down to stroke against Andrea's hand on the door handle.</scene_description> <character>REEVES</character> <dialogue>We could stay up, talk for awhile ... or something.</dialogue> <character>ON ANDREA</character> <dialogue>Her eyes dart around, looking for a graceful way out.</dialogue> <character>ANDREA</character> <dialogue>Oh, Artie. I~ve got a killer day tomorrow. The banks, the attorney ...</dialogue> <scene_description>Andrea's eyes catch some movement in the back of the room.</scene_description> <character>ANDREA'S POV - BATMAN</character> <dialogue>A form in the shadows, but more than an indication to Andrea that he is there.</dialogue> <character>BACK TO ANDREA AND REEVES</character> <dialogue>Andrea gives Reeves a friendly smile and takes his arm.</dialogue> <character>ANDREA</character> <dialogue>But call me, okay?</dialogue> <scene_description>Reeves is pleasantly surprised as Andrea gives him a kiss on the lips.</scene_description> <character>ON BATMAN</character> <dialogue>. 'r Watching, impassive, from his place in the shadows.</dialogue> <character>ON ANDREA</character> <dialogue>She waves to Reeves, who is on his way out the outer door.</dialogue> <character>ANDREA</character> <dialogue>Good night.</dialogue> <character>REEVES</character> <dialogue>'Night.</dialogue> <scene_description>He goes. Andrea closes her bedroom door, leans against it crossly and snaps on the light.</scene_description> <character>ANDREA</character> <dialogue>Don't you ever knock?</dialogue> <character>ON BATMAN</character> <dialogue>He steps forward and takes the photo of Beaumont and the gangsters from his belt.</dialogue> <character>BATMAN</character> <dialogue>Have you ever seen this?</dialogue> <scene_description>Andrea takes the photo, looks at it and shakes her head.</scene_description> <character>ANDREA</character> <dialogue>No.</dialogue> <character>BATMAN</character> <dialogue>But that's your father. He's the one who set up their corporate. partnership.</dialogue> <scene_description>ANOTHER ANGLE Andrea shrugs and moves away from Batman.</scene_description> <character>. ANDREA</character> <dialogue>So? That's his job.</dialogue> <character>BATMAN</character> <dialogue>He was the one element that tied these gangsters together. Where's your father now?</dialogue> <scene_description>ON ANDREA She moves to a small bar, uses ice tongs to fill a glass and pours a drink from an elegant glass pitcher.</scene_description> <character>ANDREA</character> <dialogue>Haven't a clue. He's a world traveler, remember? Why don't you try Madagascar?</dialogue> <scene_description>Before she can drink, Batman's hand enters and pushes her hand down, SLAMMING the glass onto the bar. Batman glares at her.</scene_description> <character>BATMAN</character> <dialogue>That's not what you told Reeves. You told him you were closer than ever to your father.</dialogue> <scene_description>Andrea flashes Batman an ugly smile.</scene_description> <character>ANDREA</character> <dialogue>You had me bugged, is that it?</dialogue> <character>BATMAN</character> <dialogue>I can read lips.</dialogue> <character>ANDREA</character> <dialogue>Then read them now. Get out.</dialogue> <scene_description>A tense moment as they both stare at each other, neither one giving quarter. Then Batman silently withdraws and turns to pause at the window.</scene_description> <character>BATMAN</character> <dialogue>Why won't you tell me where he is? Are you still following his orders?</dialogue> <scene_description>ON ANDREA He holds up her drink and swirls around the ice, looking at it thoughtfully.</scene_description> <character>ANDREA</character> <dialogue>The way I see it, the only one in this room controlled by their parents is you.</dialogue> <scene_description>She looks coldly over the rim of her glass at Batman as she takes a drink. ON BATMAN Silhouetted against the window. His eyes narrow; then he vanishes through the French doors. ON ANDREA Taking another drink, she walks slowly and deliberately over to the doors, closes them and locks them tight. She turns and the glass falls from her hand. She slumps weeping into a nearby chair.</scene_description> <character>ANDREA</character> <parenthetical>(quiet sobs)</parenthetical> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM - NIGHT - CLOSE ON SWIRLING MIST</stage_direction> <scene_description>Phantasm's death-head rises out of the mist. ANGLE WIDENS to show Phantasm moving silently across rooftops, his mist following after him like a long gaseous cape. He pauses as he spots Sal Valestra's townhouse on the other side of the street. ANGLE ON VALESTRA'S WINDOW Phantasm leaps onto the windowsill and starts to PRY the window open. His mist swirls around him, and when it clears we see Phantasm is gone and the window is open. Phantasm makes his way cautiously through the halls, aware of distant LAUGHTER gradually growing louder.</scene_description> <character>VALESTRA (0. S.)</character> <parenthetical>(wheezing laugh)</parenthetical> <character>ANGLE ON DEN DOORS</character> <dialogue>Phantasm's hand enters and pushes open the big wooden den doors. Sal Valestra, wearing a robe and slippers, can be seen sitting in an easy chair. He is holding up a copy of the color comics section, which obscures his face.</dialogue> <character>VALESTRA (O.S.</character> <parenthetical>(wheezing laugh)</parenthetical> <dialogue>CAMERA TRUCKS IN fast on Valestra as Phantasm's hand ENTERS to rip the paper away from his face. Valestra is dead, his face stretched into a hideous grin by the Joker's nerve toxin. A small Bag O' Laughs on Valestra's lap is making the giggles. Rigged onto Valestra's chest is a small two-way radio-camera device. A green light on the device is blinking, indicating that it is transmitting.</dialogue> <character>JOKER ( V. 0 . )</character> <dialogue>Whoops! Guess the joke is on me! You're not Batman after all. Looks like there's a new</dialogue> <scene_description>-... ·.· face in Gotham ..•</scene_description> <character>ON PHANTASM</character> <dialogue>Warily looking at the· corpse and device.</dialogue> <character>JOKER (V.O.</character> <dialogue>And soon his name will be all over town. To say nothing ...</dialogue> <character>INT. HALLWAY</character> <dialogue>Phantasm suddenly bolts through the den door and dashes down the hallway, headed for the window.</dialogue> <character>JOKER (V.O.</character> <dialogue>Of his legs, and feet and head and ...</dialogue> <character>EXT. WINDOW</character> <dialogue>Phantasm dives through the window (SPX: BREAKING GLASS) just as the top floor of Valestra's townhouse EXPLODES.</dialogue> </scene> <scene> <stage_direction>EXT. ON STREETS - COP CAR</stage_direction> <scene_description>Their car is parked on the street. They are in the midst of sipping coffee from styrofoam cups when the EXPLOSION illuminates them. Bullock is in the passenger seat and nearly gags on his cruller as he says:</scene_description> <character>BULLOCK</character> <dialogue>That's Sal Valestra's place!</dialogue> <scene_description>The other cop points.</scene_description> <character>DRIVER COP</character> <dialogue>Look!</dialogue> <scene_description>CUT TO: COP'S POV - PHANTASM Or to be precise, Phantasm's outline, seen running inside a cloud of mist atop a nearby building. Again, it could be the Dark Knight. ON PHANTASM . . as he stops in the middle of the roof to get his bearings . ~ Already SIRENS are heard in the b.g. As Phantasm looks around he suddenly sees ..• OVER PHANTASM'S SHOULDER - BATMAN In the distance atop an adjacent building. Phantasm heads o.s. CLOSER ON BATMAN He SHOOTS his grappling line and swings off after the fleeing figure. ON PHANTASM CLOUD Batman swings down into the mist and KNOCKS Phantasm out of the cloud.</scene_description> <character>BATMAN</character> <dialogue>Your killing spree's over.</dialogue> <scene_description>Batman fires a mighty blow at Phantasm's head but the wraith ducks and kicks Batman in the gut. (APPROPRIATE SFX).</scene_description> <character>BATMAN</character> <parenthetical>(impact grunt)</parenthetical> <dialogue>grabs his enemy by the cloak and hauls him up. Just then a police helicopter is heard approaching (SFX). Batman and Phantasm both look toward the sound.</dialogue> <scene_description>·,""</scene_description> <character>CLOSE ON PHANTASM</character> <dialogue>He activates his mist screen and PUNCHES Batman, causing the DarJ&lt; Knight to drop- him.</dialogue> <character>BATMAN</character> <parenthetical>(impact grunt)</parenthetical> <character>WIDER</character> <dialogue>Phantasm quickly vanishes back into his mist as the helicopter thunders overhead. A spotlight stabs down, picking out Batman.</dialogue> <character>HELICOPTER COP (O.S.)</character> <parenthetical>(over bullhorn)</parenthetical> <dialogue>Batman! Stay where you are!</dialogue> <scene_description>Batman bolts for the edge of the building. ON POLICE COPTER The cop with the bullhorn turns to the pilot.</scene_description> <character>HELICOPTER COP</character> <dialogue>Stay on him!</dialogue> <scene_description>The pilot nods and the copter peels off after Batman (SFX). ON BATMAN He races over the rooftops, jumping, dodging and swinging off flagpoles as the helicopter tries to stay with him. Batman dives for a fire escape ladder which lowers downward. The helicopter has to veer off, back up into the sky. APPROPRIATE SFX. ANOTHER ANGLE ON BATMAN CAMERA FOLLOWS Batman as the ladder lowers him into an alley, then WIDENS to show Bullock and a number of cops, Swat officers and squad cars waiting for him.··</scene_description> <character>BULLOCK</character> <dialogue>Freeze!</dialogue> <scene_description>Batman SHOOTS his grapple and swings away just as the cops run forward. He swings up over the rim of a huge stone gargoyle and runs to the edge of the building. He leaps off and lands within the structure of a half-built apartment complex.</scene_description> <character>WIDER ON APARTMENT STRUCTURE</character> <dialogue>A canister of tear gas is SHOT up into the s~ructure (SFX).</dialogue> <character>ON BATMAN</character> <dialogue>The canister EXPLODES almost beneath his feet (SFX). He leaps back, COUGHING.</dialogue> <character>BATMAN</character> <parenthetical>(gasps, coughs)</parenthetical> <character>ON SWAT TEAM LEADER</character> <dialogue>One of the Swat Team Officers reacts to Batman's o.s. COUGH.</dialogue> <character>SWAT LEADER</character> <dialogue>I hear him!</dialogue> <scene_description>He squeezes off a round of .MACHINE GUN FIRE as Bullock runs to stop him. : . '·</scene_description> <character>BULLOCK</character> <dialogue>Wait!</dialogue> <character>ON BATMAN</character> <dialogue>He reaches for his gas mask as the volley of GUNFIRE from the street SPLINTERS the half-finished ceiling above his head. It falls on him and CRASHES through the floor. Batman and the debris fall to a floor below. (APPROPRIATE SFX).</dialogue> <character>BATMAN</character> <parenthetical>(cry of pain)</parenthetical> <character>ON BULLOCK</character> <dialogue>He shouts an order to his men.</dialogue> <character>BULLOCK</character> <dialogue>Get a light up there!</dialogue> <character>WIDER ON UNFINISHED APARTMENTS</character> <dialogue>Showing the gas still billowing out of one of the floors. There is a terrific amount of damage. A . spotlight starts to play over the building.</dialogue> <scene_description>In complete darkness. He starts to slowly push his way out of the wreckage.</scene_description> <character>BATMAN</character> <parenthetical>(pained gasps)</parenthetical> <dialogue>As the light sweeps through the building, we see that Batman's cowl has been torn open and he is bleeding. He touches his head and sees the blood on his glove. SFX: HELICOPTER ENGINE. Batman looks toward the sound.</dialogue> <character>BATMAN'S POV - HELICOPTER</character> <dialogue>The police·helicopter has circled around for another pass, but as we are seeing it through Batman's dazed eyes it looks fuzzy, unfocused.</dialogue> <character>BATMAN (O.S.)</character> <parenthetical>(dazed groans)</parenthetical> <character>ON BATMAN</character> <dialogue>He starts to painfully pull his grappling gun from his belt.</dialogue> <character>ON HELICOPTER COP</character> <dialogue>t"-</dialogue> <character>I</character> <dialogue>Leaning out the door of the copter. He shouts back to the pilot:</dialogue> <scene_description>• .. ·</scene_description> <character>HELICOPTER PILOT</character> <dialogue>I</dialogue> <scene_description>I think I see movement. Circle back. Suddenly the cop REACTS with surprise as the clamp of Batman's grapple shoots IN, attaching itself to the copter's skid (SFX).</scene_description> <character>COPTER COP'S POV - BATMAN</character> <dialogue>Seen in silhouette, swinging beneath the copter.</dialogue> <character>HELICOPTER PILOT (O.S.)</character> <dialogue>He's climbing on!</dialogue> <character>ON COPTER PILOT</character> <dialogue>He pulls his gun and FIRES at the figure.</dialogue> <character>ON SWAT LEADER</character> <dialogue>The leader pulls his piece and points to the copter.</dialogue> <character>SWAT LEADER</character> <dialogue>Fire!</dialogue> <scene_description>The Swat Officers pull their weapons and start FIRING at Batman. ON BATMAN'S SILHOUETTE The bullets from the copter cop and the Swat team rip into Batman. He is bounced around wildly by the GUNFIRE. Suddenly the ripped- to-shreds cape falls away, revealing a saw horse attached to the line beneath. ON SWAT LEADER AND COPS They realize they've been had.</scene_description> <character>SWAT LEADER</character> <dialogue>Quick! Around the back!</dialogue> <scene_description>ON BRUCE Without his cape and cowl, still bleeding from his head injury. He slides down a hanging construction cable to the street. He falls the last few inches and wearily tries to stagger back to his feet. He looks around as he hears cops approaching (SFX).</scene_description> <character>COPS (0. S.)</character> <dialogue>This way!</dialogue> <scene_description>BRUCE'S POV - COPS AND BULLOCK Distant, blurry shapes running toward him through the darkness.</scene_description> <character>BULLOCK</character> <dialogue>You! Stop!</dialogue> <scene_description>ON BRUCE He lurches forward, trying to escape. ON FENCE Bruce scrambles over a fence at.the end of the alley and starts to run across a street. ANOTHER ANGLE Suddenly a small two-seater convertible (with the top up) skids to a stop next to him (SFX). The door opens and Andrea gestures for him to get in.</scene_description> <character>BRUCE</character> <parenthetical>(groans)</parenthetical> <dialogue>Andrea ...</dialogue> <scene_description>Hurry! Bruce leaps in the car and it shoots away just as the cops are scrambling over the fence. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. MANSION - NIGHT</stage_direction> <scene_description>PUSH IN as we hear:</scene_description> <character>ALFRED ( V. 0. )</character> <dialogue>There are certain advantages to having a sturdy cranium, Master Bruce ...</dialogue> </scene> <scene> <stage_direction>INT. MANSION - BRUCE'S BEDROOM</stage_direction> <scene_description>Bruce is sitting on the edge of the bed, shirt off, his lower body still clad in gray tights. There could be a few small bandages on his torso in addition to the skull wrapping around his head. Andrea sits on the bed beside him, and Alfred stands nearby.</scene_description> <character>ALFRED</character> <dialogue>But, then, hard-headedness was always your virtue.</dialogue> <scene_description>r She puts a hand on his arm. Alfred notices this. FAVOR ALFRED He arches an eyebrow slightly.</scene_description> <character>ALFRED</character> <dialogue>Well. I'm sure I have things to do elsewhere ...</dialogue> <scene_description>He EXITS SHOT discretely. ON BRUCE AND ANDREA He puts his hand on hers.</scene_description> <character>.</character> <dialogue>BRUCE</dialogue> <scene_description>You have an excellent sense of timing.</scene_description> <character>ANDREA</character> <dialogue>It was all over TV -- I had to do something. Good thing my hotel wasn't too far away ...</dialogue> <scene_description>He raises his hand to her face, touches her cheek. She turns away slightly, as if to say, "Don't." A beat, then:</scene_description> <character>BRUCE</character> <dialogue>I'm grateful, of course.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I still need to know why you're not telling me the truth about your father.</dialogue> <scene_description>FAVOR ANDREA She hesitates for a moment. Then shrugs slightly and reaches for her purse. She takes out a tissue, dabs Bruce's forehead. The photo Batman gave her earlier falls out. Bruce picks it up, looks at it.</scene_description> <character>ANDREA</character> <parenthetical>(sighs)</parenthetical> <dialogue>Well, I suppose the world's greatest detective will find out eventually.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You remember Daddy was having a meeting that night with his "partners" ...</dialogue> <scene_description>SEGUE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BEAUMONT HOUSE - NIGHT (FLASHBACK)</stage_direction> <scene_description>As young Andrea leaves Bruce's limo and heads for the house. ON THE TALL MAN As before, he leers at cer as she passes.</scene_description> <character>TALL MAN</character> <parenthetical>(sexual come-on growl)</parenthetical> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <character>I</character> <dialogue>As she enters the house she pauses when she hears:</dialogue> <character>CHUCKIE SOL (O.S.)</character> <parenthetical>(faint)</parenthetical> <dialogue>It ain't right, Carl. You're a businessman, you know that.</dialogue> <parenthetical>(faint)</parenthetical> <dialogue>You've taken what's ours. You're going to pay, one way or another.</dialogue> <scene_description>Andrea reacts to this and runs inside.</scene_description> </scene> <scene> <stage_direction>INT. STUDY - WIDE ANGLE</stage_direction> <scene_description>Beaumont, looking pale and trapped, faces the three gangsters .. Andrea rushes IN, takes in the situation.</scene_description> <character>ANDREA</character> <dialogue>Leave him alone!</dialogue> <scene_description>FAVOR VALESTRA He turns his head slowly, a sinister homunculus, and regards her through a cloud of cigar smoke.</scene_description> <character>VALESTRA</character> <dialogue>I'm sorry you had to see this, Ms. Beaumont.</dialogue> <scene_description>ON ANDREA As Branski grabs her in an armlock. Andrea struggles to use her judo skills, but Branski has her pinned.</scene_description> <character>ANDREA</character> <parenthetical>(gasps)</parenthetical> <scene_description>FAVOR BEAUMONT AND CHUCKIE Beaumont looking toward his daughter in horror.</scene_description> <character>BEAUMONT</character> <dialogue>Let her go!</dialogue> <scene_description>Beaumont raises a hand toward Branski when Chuckie Sol suddenly lunges forward like a striking asp and forces him back.</scene_description> <character>CHUCKIE</character> <dialogue>Watch it, Pops.</dialogue> <scene_description>Chuckie casually smooths back his hair and steps aside as Valestra walks up.</scene_description> <character>BEAUMONT</character> <dialogue>Please, Sal -- give me one more day! I swear I'll get the money!</dialogue> <scene_description>Valestra looks at Beaumont.</scene_description> <character>VALESTRA</character> <dialogue>Convince me.</dialogue> <character>FAVOR BEAUMONT</character> <dialogue>Groveling. As he speaks, REFIELD TO FAVOR Andrea, who stares at her father in· incredulous shock.</dialogue> <character>BEAUMONT</character> <dialogue>This time tomorrow. On my mother's grave. As soon as the European banks open I'll have the whole amount wired to you.</dialogue> <character>FAVOR VALESTRA</character> <dialogue>With Branski and Sol on either side. Valestra leans back, glances at the other two for confirmation. A beat, then:</dialogue> <character>VALESTRA</character> <dialogue>Twenty-four hours. This time tomorrow, we'll have the money</dialogue> <scene_description>-~,,. ··\</scene_description> </scene> <scene> <stage_direction>-· ·• .</stage_direction> <scene_description>-- or I'll have your heart in my hand. (beat) Let's go, boys.</scene_description> <character>ON ANDREA AND BRONSKI</character> <dialogue>As Branski lets her go with a little shove.</dialogue> <character>WIDE ANGLE</character> <dialogue>Branski and Sol EXIT, followed by Valestra. Beaumont and Andrea watch them go.</dialogue> <character>ANOTHER ANGLE</character> <dialogue>Andrea turns to him.</dialogue> <character>ANDREA</character> <dialogue>Dad -- are you all right?</dialogue> <character>CLOSER ON THEM</character> <dialogue>Beaumont stands and says:</dialogue> <parenthetical>(intensely)</parenthetical> <dialogue>Pack a suitcase. We've got to get to the airport now.</dialogue> <scene_description>·Andrea stares at him in disbelief.</scene_description> <character>ANDREA</character> <dialogue>What?! But you said you'd have the money --</dialogue> <scene_description>ANOTHER ANGLE Beaumont starts shoving papers into his briefcase.</scene_description> <character>, BEAUMONT</character> <dialogue>It's not that simple. The money's tied up in investments. Could take weeks to free it up.</dialogue> <scene_description>ON ANDREA She's never seen her father like this before. She rushes to him, SLAMS the file drawer shut, forcing him to face her.</scene_description> <character>ANDREA</character> <dialogue>But I can't leave! Bruce proposed to me -- we're going to get married!</dialogue> <scene_description>ANGLE INCLUDES WINDOW Beaumont grabs Andrea by the shoulders before she can finish and shakes her.</scene_description> <character>BEAUMONT</character> <dialogue>Listen to me! I just used up the last shred of pity Sal Valestra has! If I don't pay him back in twenty-four hours they'll find us and they will kill us both!</dialogue> <scene_description>He drags her to the window, pulls open the blinds a tiny fraction.</scene_description> <character>BEAUMONT</character> <dialogue>Look!</dialogue> <scene_description>CLOSER ON WINDOW Andrea leans forward to peer through the crack in the blinds. . "'.,,·• We can barely see the Tall Man seated in the parked car •</scene_description> <character>BEAUMONT (V.O.</character> <dialogue>You see? One way or another, they'll get what they want.</dialogue> <character>BACK TO SHOT</character> <dialogue>Andrea pulls away from the window, looks at her father. Tears in her eyes.</dialogue> <character>ANDREA</character> <parenthetical>(verge of tears)</parenthetical> <dialogue>How -- why did you do this, Dad? Why'd you get involved with those people .•. ?</dialogue> <character>ANOTHER ANGLE</character> <dialogue>Beaumont puts his arms around her.</dialogue> <character>BEAUMONT</character> <parenthetical>(brokenly)</parenthetical> <dialogue>I'm sorry, Andi. I -- just wanted a chance for you -- I</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'll get you out of this. Somehow we'll be free of those guys, whatever it takes. That's a promise.</dialogue> <character>CLOSE ON ANDREA</character> <dialogue>Looking up at him, tearful, hurt and betrayed -- but trusting.</dialogue> <scene_description>CUT TO:</scene_description> <character>EXT. BEAUMONT HOUSE - NIGHT</character> <dialogue>The Tall Man sits in the car before the house, shuffling a deck of playing cards. The night wind WHISTLES outside.</dialogue> <character>EXT. REAR OF HOUSE - NIGHT</character> <dialogue>We SEE two shadowy figures moving quickly and furtively from the of the house into the woods beyond. Each carries a suitcase. this we hear:</dialogue> <character>ANDREA ( V. 0 €� )</character> <dialogue>We hid all over Europe. Eventually settled on the Mediterranean coast. Dad was able to parlay the money he</dialogue> <scene_description>embezzled into a fortune .</scene_description> </scene> <scene> <stage_direction>···:-.,,</stage_direction> <scene_description>··-r INT. BRUCE'S BEDROOM (PRESENT) DISSOLVE TO: Andrea and Bruce sitting on the bed as we left them. Andrea stares at the floor as sha finishes her story.</scene_description> <character>ANDREA</character> <dialogue>Finally he had enough to pay them back -- or so he thought.</dialogue> <scene_description>She looks at him.</scene_description> <character>ANDREA</character> <dialogue>But when he contacted them, it turned out it wasn't enough. It would never be enough. They wanted interest compounded in blood.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He had to find another way.</dialogue> <character>FAVOR BRUCE</character> <dialogue>He-reacts grimly.</dialogue> <character>BRUCE</character> <dialogue>The man in the costume your father?</dialogue> <character>ANDREA</character> <dialogue>He said he'd get them, somehow. When I heard about Chuckie Sol ... well, I had to come back. To find him. To stop him.</dialogue> <character>ANOTHER ANGLE</character> <dialogue>She stands, looks down at him.</dialogue> <character>ANDREA</character> <dialogue>I'm sorry, Bruce. That's twice now I've come into your life and screwed it up.</dialogue> <scene_description>She starts for the door. Bruce stands, takes her arm, pulls her to him.</scene_description> <character>CLOSER ON THEM</character> <dialogue>'r' They gaze into each other's eyes, and then kiss the kind of kiss ANGLE INCLUDES DOOR</dialogue> <dialogue>Alfred walks in with a tea tray, sees them, turns without missing a beat and walks out again. They don't even notice.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. WAYNE MANOR - PATIO - DAY</stage_direction> <scene_description>The following morning. The sun shines down more brightly than we've ever seen in Gotham. CLOSER Andrea walks out sipping a cup of coffee, wearing one of Bruce's pajama shirts, a look of tranquility on her face. As a morning breeze whips around her, Bruce (still bandaged and wearing pajama pants) steps in from behind, puts his arms around her and draws her close. She smiles, placing the cup on a patio table and turns to face him, putting her arms around his neck.</scene_description> <character>ANDREA</character> <dialogue>Can we make it work this time?</dialogue> <character>BRUCE</character> <dialogue>I want to say yes. But you know it's going to come down between me and your father.</dialogue> <scene_description>CLOSER Andrea rests her head on Bruce's chest.</scene_description> <character>ANDREA</character> <dialogue>Daddy doesn't matter anymore.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. WAYNE MANOR DRIVEWAY - DAY</stage_direction> <scene_description>Andrea is in her now top down convertible. Bruce is leaning over the car, giving his girl a good-bye kiss.</scene_description> <character>ANDREA</character> <dialogue>I'll see you tonight.</dialogue> <character>BRUCE</character> <dialogue>I'll be here.</dialogue> <scene_description>She gives him a wave and drives OFF. Watching her go. Alfred steps cheerfully out of the main doors.</scene_description> <character>ALFRED</character> <dialogue>It's so good to see you and Miss Beaumont together again.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Might one ask what this bodes for your alter ego?</dialogue> <scene_description>ON BRUCE Deeply troubled.</scene_description> <character>BRUCE</character> <dialogue>I'm not sure, Alfred. So much has changed --</dialogue> <scene_description>Alfred raises an eyebrow as Bruce walks back into the house.</scene_description> <character>ALFRED</character> <dialogue>You still love each other. That much, at least, has not changed.</dialogue> <scene_description>He follows Bruce inside.</scene_description> </scene> <scene> <stage_direction>INT. WAYNE MANOR - BEDROOM - CLOSE ON TABLE</stage_direction> <scene_description>On it rests the photo of Beaumont and the gangsters, next to a small framed reproduction of the portrait of Thomas and Martha Wayne that hangs in the den. PULL BACK TO INCLUDE Bruce and Alfred as they ENTER. Bruce is in the throes of indecision.</scene_description> <character>BRUCE (O.S.)</character> <parenthetical>(off Alfred's line)</parenthetical> <dialogue>It's true -- I love her. Maybe ... after this is settled ...</dialogue> <scene_description>He picks up the picture of his parents, looks at it.</scene_description> <character>BRUCE</character> <dialogue>... maybe then ...</dialogue> <scene_description>ANOTHER ANGLE including Alfred, who is very happy indeed to hear this.</scene_description> <character>ALFRED</character> <parenthetical>(softly)</parenthetical> <dialogue>I'm sure they would have wanted you to be happy, sir.</dialogue> <scene_description>Bruce nods, sets the picture down. As he does so, he notices the photo lying beside it. He picks it up, studies it, frowns.</scene_description> <character>ALFRED</character> <dialogue>Is something wrong?</dialogue> <scene_description>ON PHOTO We can see the shadowy shape of the Tall Man near the others. CAMERA PUSHES IN on the Tall Man as Bruce says .••</scene_description> <character>BRUCE (O.S.)</character> <dialogue>Maybe •.•</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BATCAVE - CLOSE ON COMPUTER, BRUCE, ALFRED</stage_direction> <scene_description>Bruce, wearing a robe over the pajama trousers, sits behind the computer with Alfred standing nearby. Bruce places the photo on a scanner. ANGLE ON COMPUTER As Bruce talks, the photo is enlarged onto the computer's main screen.</scene_description> <character>BRUCE</character> <dialogue>Computer -- isolate image and enlarge.</dialogue> <scene_description>ON COMPUTER SCREEN The area around the Tall Man is instantly blacked out and his facial image is enlarged several times, filling in a good portion of the screen.</scene_description> <character>BRUCE (O.S.)</character> <dialogue>Render an accurate likeness based on visible features.</dialogue> <scene_description>The photo now vanishes completely, leaving only computer generated lines suggesting the visible parts of the Tall Man's face. The computer starts "sketching out" his face. ON BRUCE His eyes widen with realization.</scene_description> <character>BRUCE</character> <parenthetical>(whisper of dread)</parenthetical> <dialogue>Oh, no ...</dialogue> <scene_description>TRUCK IN on Bruce's face, growing angry and hard.</scene_description> </scene> <scene> <stage_direction>INT. CHEMICAL PLANT - SURREAL SEQUENCE</stage_direction> <scene_description>A freakish, surreal reinterpretation of the Chemical Plant where Batman and The Joker first met. ~'7e see The Tall i !an bolting back in fear as a looming, silhouetted Batman looms over him. The Tall Man falls into an impossibly wide vat of green chemicals. The chemicals SWIRL and BOIL, filling the screen. Suddenly it turns into a swirling surrealistic jumble of purple and green colors, out of which erupt various objects of Joker-related imagery -- playing cards, chatter teeth, Harley, laughing fish, murderous robot clown toys, and finally a gigantic image of The Joker himself, evil as sin and LAUGHING to bust a gut.</scene_description> <character>JOKER</character> <parenthetical>(shrieking laugh)</parenthetical> <dialogue>The green liquid fills the screen, then FREEZES and CAMERA PULLS BACK to show the image of the Joker. The image DISSOLVES BACK to the Tall Man on the bat computer screen, now completely drawn. Police finger print blotches appear next to his face. Lettering underneath pops on: JACK NAPIER.</dialogue> <scene_description>ON BRUCE looking at the image with cold hatred~</scene_description> <character>BRUCE</character> <dialogue>Joker.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM · CITY HALL - DAY</stage_direction> <scene_description>Through the window of his office we see councilman Reeves on the phone. Reeves is pacing as he speaks, waving his free arm in rage.</scene_description> <character>REEVES</character> <dialogue>You're telling me there were four precincts on Batman's boot heels and he still got away?!</dialogue> </scene> <scene> <stage_direction>INT. REEVES OFFICE</stage_direction> <scene_description>Reeves SLAMS the phone down and glares at it. Unbelievable!</scene_description> <character>JOKER (O.S.)</character> <dialogue>Tsk! Tsk! And to think our tax money goes to pay those jerks!</dialogue> <scene_description>Reeves turns, surprised by the voice. CAHERA PAl'lS t.o the Joker, dr-ssed in his top coat and hat, leaning against the doorway of a back room.</scene_description> <character>REEVES</character> <parenthetical>(horrified)</parenthetical> <dialogue>You!</dialogue> <scene_description>Reeves quickly starts to hurry toward the other door.</scene_description> <character>JOKER</character> <parenthetical>( smug laugh)</parenthetical> <dialogue>That's right, Artie. Bring in the press, why don'tcha?</dialogue> <character>ANGLE ON JOKER</character> <dialogue>Mugging as if for imaginary photographers.</dialogue> <character>JOKER</character> <dialogue>-,</dialogue> <dialogue>~ Whatta photo op. The councilman</dialogue> <scene_description>and his wacky pal. i</scene_description> <character>ON REEVES</character> <dialogue>He hesitates by the door.</dialogue> <character>REEVES</character> <dialogue>You're no friend of mine.</dialogue> <character>ON</character> <dialogue>He looks mock-wounded.</dialogue> <character>JOKER</character> <dialogue>JOKER</dialogue> <scene_description>Oh, Artie! I'm crushed! How the high and mighty forget. ·' the The Joker moves casually toward Reeves' desk and sits down in chair.</scene_description> <character>JOKER</character> <dialogue>Don'tcha remember? You, me, Sallie and the gang.</dialogue> <scene_description>The Joker props his legs up on Reeves' desk as the councilman moves closer, protesting.</scene_description> <character>REEVES</character> <dialogue>I never met them or you. I worked for Beaumont. I didn't know what he was doing.</dialogue> <scene_description>ON JOKER He playfully picks up a letter opener and mimes picking his gloved fingernails.</scene_description> <character>JOKER</character> <dialogue>Oh, but you knew about it afterwards ...</dialogue> <scene_description>The Joker uses the letter opener to tilt up the brim of his hat and then grins conspiratorially at Reeves.</scene_description> <character>JOKER</character> <dialogue>And put it to good use, eh?</dialogue> <parenthetical>(evil chuckle)</parenthetical> <scene_description>ON REEVES AND JOKER Reeves feels trapped but still tries to hold a brave front.</scene_description> <character>REEVES</character> <dialogue>What do you want?</dialogue> <scene_description>The Joker STABS the letter opener into the desk for emphasis.</scene_description> <character>JOKER</character> <dialogue>To find out who's iced the old gang.</dialogue> <character>REEVES</character> <dialogue>Haven't you read the papers? It's Batman.</dialogue> <scene_description>ON JOKER He playfully holds up his palm, showing a joy buzzer in it. He buzzes it with his thumb. SFX: BUZZ.</scene_description> <character>JOKER</character> <dialogue>Ennnnh! Wrong! It ain't the 'Bat. Nope, nope, nope. I've seen the guy. He looks more like the Ghost of Christmas Past. Nowhere near as cute as Bat-boy.</dialogue> <scene_description>CLOSE ON REEVES He looks honestly surprised at this.</scene_description> <character>REEVES</character> <dialogue>You're saying it's someone else?</dialogue> <scene_description>The Joker leans in to look him squarely in the face.</scene_description> <character>JOKER</character> <dialogue>Yeah. Someone who wouldn't mind seeing our old pals out of the way.</dialogue> <scene_description>The Joker's lower lip quivers in mock-sadness.</scene_description> <character>JOKER</character> <dialogue>Maybe -- gulp, sob -- me, too.</dialogue> <scene_description>The Joker's faked sorrow instantly vanishes as he glares at Reeves.</scene_description> <character>JOKER</character> <dialogue>That's when I thought about you, Arturo. An important upstanding guy like you could find it awkward if certain secrets were revealed about his past.</dialogue> <scene_description>WIDER ON REEVES Protesting his innocence as the Joker rises and stalks forward.</scene_description> <character>REEVES</character> <dialogue>Wait, you're not saying that~ ...</dialogue> <scene_description>Just then Reeves's desk phone SFX: BUZZES.</scene_description> <character>SECRETARY (V.O.)</character> <dialogue>Mr. Reeves? Miss Beaumont on the line.</dialogue> <scene_description>The Joker looKs at the phone curiously.</scene_description> <character>JOKER</character> <dialogue>Beaumont? Not the babe?</dialogue> <scene_description>The Joker flashes Reeves a sly look.</scene_description> <character>JOKER</character> <dialogue>Oh, you devil, you.</dialogue> <scene_description>The Joker hits the speaker button. Andrea's voice is heard.</scene_description> <character>ANDREA ( V. 0 . )</character> <dialogue>Arthur?</dialogue> <scene_description>Forced to take the call, Reeves leans forward to pick up the phone but the Joker holds him back, indicating that he wants to listen too.</scene_description> <character>REEVES</character> <dialogue>Hello, Andrea. We're still on for lunch, right?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ANDREA'S CAR - TRAVELING</stage_direction> <scene_description>Andrea speaks on her car phone.</scene_description> <character>ANDREA</character> <dialogue>I'm sorry, I got hung up. I'll explain everything tonight, okay?</dialogue> <scene_description>CUT ' TO: ON JOKER AND REEVES Reeves looks at the Joker nervously as he concludes the call.</scene_description> <character>REEVES</character> <dialogue>All right. I'll see you then.</dialogue> <scene_description>With a flourish the Joker presses the speaker button as the call ends. ; He flashes Reeves a big cat-who-swallowed-the-canary smile and casually saunters around to position himself between Reeves and the door.</scene_description> <character>JOKER</character> <dialogue>Now ain't that a co-inky- dink? We're talkin' about the old man, and the spawn of his loins just happens to call.</dialogue> <parenthetical>(Smug, sighing laugh)</parenthetical> <dialogue>Haa, makes you want to laugh, doesn't it, Artie?</dialogue> <dialogue>Boxed in by the Joker, frantically looking for a way around him. There is none. The Joker's laughing shadow falls over the frightened counselor.</dialogue> <character>JOKER (O.S.)</character> <parenthetical>(rising maniacal laughter)</parenthetical> <scene_description>CUT TO:</scene_description> <character>EXT. GOTHAM HOSPITAL - NIGHT</character> <dialogue>TRUCK IN on a lit window in the upper reaches of the hospital. LAUGHTER is coming from the room.</dialogue> <character>REEVES (O.S.)</character> <parenthetical>(wild gasping laughter)</parenthetical> <scene_description>DISSOLVE THROUGH TO:</scene_description> <character>INT. HOSPITAL - CONTINUOUS</character> <dialogue>Councilman Reeves, dressed in a hospital.robe, is twitching back and forth on the bed, laughing uncontrollably. His face is twisted almost completely into the Joker's rictus grin .</dialogue> <scene_description>·r . ;,, .:</scene_description> </scene> <scene> <stage_direction>.... REEVES</stage_direction> <scene_description>(gasping laugh) A DOCTOR and a tray-bearing NURSE stand nearby, trying to administer to Reeves, but he is moving too much for the Doctor to give him an injection.</scene_description> <character>DOCTOR</character> <dialogue>Councilman, please! You've got to control yourself!</dialogue> <character>REEVES</character> <parenthetical>(through laughing gasps)</parenthetical> <dialogue>I'm trying, for God's sake!</dialogue> <character>ANOTHER ANGLE</character> <dialogue>Reeves's arms flail wildly, ~necking the tray out of the Nurse's hands (SFX). The Nurse holds Reeves down and the Doctor gives him the shot. Reeves's LAUGHTER subsides and he sags back onto the bed.</dialogue> <character>REEVES</character> <parenthetical>(weakened laughs)</parenthetical> <dialogue>There. That should relax you enough for the toxin to run its course. Try to stay calm.</dialogue> <character>REEVES</character> <parenthetical>(gasps)</parenthetical> <dialogue>Okay, okay.</dialogue> <character>DOCTOR</character> <dialogue>You're a lucky man. If your</dialogue> <scene_description>,secretary hadn't found you ••• The Doctor and Nurse EXIT. CAMERA PANS over to the window to show Batman's silhouetted form ENTERING.</scene_description> <character>ON REEVES</character> <dialogue>He turns and sees Batman o.s. The ominous bat shadow falls over him.</dialogue> <character>REEVES</character> <parenthetical>(weak giggle)</parenthetical> <dialogue>Oh, n-no ...</dialogue> <character>ON BATMAN</character> <dialogue>.·. A dark shape looming over the bed .</dialogue> <dialogue>r BATMAN</dialogue> <scene_description>Why did the Joker meet with you?</scene_description> <character>ON REEVES</character> <dialogue>He just shakes his head, his mouth stretching out into a panicked grin, tears forming at the edges of his eyes.</dialogue> <character>REEVES</character> <parenthetical>(rising giggle)</parenthetical> <character>ON BATMAN</character> <dialogue>He looms threateningly over the bed.</dialogue> <character>BATMAN</character> <dialogue>It has to do with the gangster murders, doesn't it? He thinks you're involved. Why?</dialogue> <character>CLOSE ON REEVES</character> <dialogue>Tears stream out of Reeves' eyes as he tries to keep himself from laughing.</dialogue> <character>REEVES</character> <parenthetical>(fighting giggles)</parenthetical> <dialogue>Id-don't know.</dialogue> <scene_description>Batman's hand reaches IN and yanks Reeves up by the front of his gown. CAMERA FOLLOWS Reeves up as he stares into Batman's narrow- slitted eyes.</scene_description> <character>BATMAN</character> <dialogue>That's not the answer I want.</dialogue> <scene_description>Terrified, Reeves starts to babble.</scene_description> <character>REEVES</character> <parenthetical>(gasping for breath)</parenthetical> <dialogue>B-Beaumont needed me to help him and Andrea get out of town. He kept in touch.</dialogue> <character>BATMAN</character> <dialogue>When was the last time you spoke to him?</dialogue> <scene_description>ANOTHER ANGLE Reeves swallows hard, and the ugly truth finally comes out.</scene_description> <character>REEVES</character> <dialogue>Years ago. My first election campaign. I was running out of money and asked Beaumont for help. He said no.</dialogue> <scene_description>Batman scowls grimly, getting the picture.</scene_description> <character>BATMAN</character> <dialogue>So you sold him to the mob.</dialogue> <scene_description>Reeves starts to GIGGLE uncontrollably again.</scene_description> <character>REEVES</character> <parenthetical>(through giggles)</parenthetical> <dialogue>I was broke! Desperate! They said all they wanted was their money back!</dialogue> <parenthetical>(bursts into gales of laughter)</parenthetical> <scene_description>ON BATMAN AND REEVES Scowling with disgust, Batman tosses the now-ROARING Reeves back onto the bed. He sweeps back out through the window a second before the Doctor and Nurse run in and try to calm down Reeves. (hysterical laughter) DISSOLVE TO: INT. ANDREA'S HOTEL ROOi·I Looking out at the balcony and the night. A batwinged shape drops down from o.s., steps into the dark room. ANOTHER ANGLE Batman moves about the room, a shadow among shadows. He opens the closet cautiously, glances into it, then approaches the desk. ON DESK Andrea's locket lies there, illuminated by a sliver of moonlight. Batman reaches INTO SHOT and picks it up. His hand brings it CLOSE TO CAMERA and his thumb trips the release catch. The locket. springs open, revealing side-by-side pictures of a younger Bruce and Andrea. REVERSE ANGLE - BATMAN His face is set in stone. He SNAPS the locket shut, and drops it back on the desk. The chain runs through his fingers like water. WIDE ANGLE He turns toward the door and is about to leave when the PHONE RINGS. He turns toward it. ON PHONE Batman picks it up, holds it to his ear and listens.</scene_description> <character>JOKER ( V. 0. )</character> <dialogue>Hell-.QQQ ... anybody home?</dialogue> <parenthetical>(laughs)</parenthetical> <scene_description>ANGLE INCLUDES WINDOW With the moon shining through it. We can SEE three black dots hovering against the lunar disk, growing gradually larger. Over this next scene GRADUALLY DIAL UP MOTOR SFX. Batman has his back to the window as he listens to the phone.</scene_description> <character>JOKER (V.O.</character> <dialogue>Listen, boopsie even though you never call and never write, I still got a soft spot for you. So I'm sending you a few gifts</dialogue> <scene_description>air mail. The MOTOR SFX are now loud enough for Batman to notice. He wheels toward the window. The approaching dots are now recognizable as ,,/ . '~·:.•·:········ the small autogyros from the Gotham World's Fair. Each has the Joker's grinning face on them, and each is sporting enough plastiqua to orbit Kate Smith.</scene_description> <character>JOKER (V.O.</character> <dialogue>Oh, by the way -- I wouldn't recommend jumping out tha window this time. Ta-ta, Toots.</dialogue> <parenthetical>(crazy laughter)</parenthetical> <character>ANOTHER ANGLE</character> <dialogue>The JOKER'S LAUGHTER continues as Batman drops the phone receiver.</dialogue> <character>ANGLE INCLUDES WINDOW</character> <dialogue>The first autogyro is about to cross the balcony as the Dark Knight whips out his grappling gun and FIRES the grappling hook toward the approaching menace.</dialogue> <character>EXT. HOTEL ROOM - ON BALCONY</character> <dialogue>The grappling hook shoots IN and strikes the first autogyro, driving it back into the next one, which is likewise driven backwards into the third (SFX) ~ PULL BACK as the three EXPLODE like a chain of firecrackers (really big firecrackers), doing severe damage to the outside of the building wall.</dialogue> <character>INT. ROOM - BATMAN - CONTINUOUS</character> <dialogue>Batman dives for cover behind the couch as shrapnel from the EXPLOSIONS PULVERIZE the French windows, sending shards of broken glass sleeting across the room.</dialogue> <character>ANOTHER ANGLE</character> <dialogue>Smoke wreathes the room. Batman rises cautiously and approaches the balcony, a batarang in one hand, ready to fend off any autogyros that might have avoided the chain reaction. But all is silent save for the JOKER LAUGHING his head off on the other end of the line.</dialogue> <character>JOKER</character> <parenthetical>(crazy laughter)</parenthetical> <scene_description>CUT TO:</scene_description> <character>INT. FUTURE HOME - CONTINUOUS</character> <dialogue>The Joker playfully fidgets with the phone.</dialogue> <character>JOKER</character> <dialogue>Hello? Hello? Operator, I</dialogue> <scene_description>-r</scene_description> <character>'.</character> <dialogue>believe my party's been disconnected!</dialogue> <parenthetical>(gales of laughter)</parenthetical> <dialogue>He hangs up the phone, turns toward Hazel in b.g.</dialogue> <character>JOKER</character> <dialogue>Ah, I gotta tell ya -- I just kill me sometimes! When I'm not killing other people!</dialogue> <parenthetical>(loud laughter)</parenthetical> <dialogue>He presses a button on a remote control console nearby and Hazel begins LAUGHING -- creaky ELECTRONIC LAUGHTER -- as well.</dialogue> <scene_description>CUT TO:</scene_description> <character>EXT. ELSEWHERE IN THE FAIRGROUNDS - NIGHT - ANDREA</character> <dialogue>Medium close, from the shoulders up, dressed in . black. Haunted eyes. She hears the O.S. LAUGHTER, which begins to REVERB as we</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>EXT. MEDITERRANEAN VILLA - LATE AFTERNOON (FLASHBACK)</character> <dialogue>A remote, pastoral scene overlooking an unbelievably blue sea. Andrea carries groceries in cloth sacks up the steps. The late sun casts long shadows •</dialogue> <character>.CLOSER</character> <dialogue>As she reaches for the door it is suddenly pulled open from within and the Tall Man steps out. Andrea stares at him in shock.</dialogue> <character>ANDREA</character> <dialogue>You?! But he paid you --</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>Dad --! !</dialogue> <character>ANOTHER ANGLE</character> <dialogue>She hurls herself past him into the villa, dropping the sacks of groceries (SFX). The Tall Man grins, uses his handkerchief to wipe his prints from the doorknob. He stuffs it back in his breast pocket, fixing it just so.</dialogue> <character>WIDE ANGLE</character> <dialogue>The Tall Man starts down the steps, glancing at the spilled produce.</dialogue> <scene_description>Hope you didn't buy him dinner too ...</scene_description> <character>ANDREA (O.S.)</character> <parenthetical>(screams, then muffled sobs)</parenthetical> <character>TALL MAN</character> <dialogue>(laughs} The LAUGHTER builds as he continues down the steps. It's the same LAUGHTER we heard from the Joker, and it REVERBS the same way to bring us back to:</dialogue> </scene> <scene> <stage_direction>EXT. FAIRGROUNDS - NIGHT - ANDREA - AS BEFORE</stage_direction> <scene_description>Her face bleak. PULL BACK to see her dressed in the Phantasm costume.· She raises the death's head mask and dons it, stands framed against the decaying remnants of the future. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FUTURE HOME - CONTINUOUS</stage_direction> <scene_description>The Joker's reclining on the decaying Eames chair. A big-screen TV is on, displaying STATIC. The Joker aims his remote, channel-surfing. The screen CLICKS from one channeL to another, all showing nothing but STATIC.</scene_description> <character>JOKER</character> <dialogue>Lookathis, Hazel. Same boring thing on every channel. I tell ya, television just keeps getting worse.</dialogue> <scene_description>He stands and hurls the remote into the screen. ON SCREEN It SHATTERS and SHOWERS SPARKS. ANOTHER ANGLE- JOKER Walking about, scratching his sides as he stretches.</scene_description> <character>JOKER</character> <dialogue>(yawn} Well, Haze, guess it's time to call it a night. EXT. FUTURE HOME - NIGHT</dialogue> <scene_description>The door opens and the Joker BOOTS the electronic dog out.</scene_description> <character>JOKER</character> <dialogue>.~:: ,. out, Rusty!</dialogue> <dialogue>·-~ The robot animal SHATTERS on a broken concrete pylon.</dialogue> </scene> <scene> <stage_direction>EXT. HOME - ANGLE ON ENTRANCE</stage_direction> <scene_description>A black figure, wreathed in smoke, steals toward the doors.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - JOKER</stage_direction> <scene_description>The Joker turns out the light and places an arm around his honey's waist.</scene_description> <character>JOKER</character> <dialogue>Whaddaya say, hon? Feeling the ol' electricity tonight?</dialogue> <parenthetical>(chuckles)</parenthetical> <scene_description>ANOTHER ANGLE He turns, sees the curtains rustling in the breeze. The patio doors are open. The Joker raises his eyebrows.</scene_description> <character>JOKER</character> <dialogue>Tsk. Ain't that always the way? Y~get in the mood and company shows up.</dialogue> <scene_description>~</scene_description> </scene> <scene> <stage_direction>, ..</stage_direction> <scene_description>WIDE ANGLE The darkness before the Joker seems to solidify into a column of thick black smoke. Phantasm steps from the smoke, glaring at the Joker like Hell made flesh.</scene_description> <character>PHANTASM</character> <dialogue>Jack Napier -- your angel of death awaits.</dialogue> <scene_description>FAVOR JOKER He's surprised.</scene_description> <character>JOKER</character> <dialogue>I'm impressed, lady. You're harder to kill than a cockroach on steroids.</dialogue> <scene_description>ON PHANTASM She hesitates a beat, then pulls the mask off. So you figured it out.</scene_description> <character>ON JOKER</character> <dialogue>Smug.</dialogue> <character>JOKER</character> <dialogue>Gotta hand it to you -- nice scheme. Costume's a bit theatrical, but hey, who am I to talk?</dialogue> <character>ANOTHER ANGLE</character> <dialogue>He suddenly hurls a punch at her. Andrea sidesteps nimbly, raises an arm toward the Joker.</dialogue> <character>CLOSER</character> <dialogue>The black smoke seems to ripple from it like a living thing, enveloping the Joker's head. The Joker staggers backwards, waving his hands frantically.</dialogue> <character>JOKER</character> <parenthetical>(coughs, gags)</parenthetical> </scene> <scene> <stage_direction> ....\_\_</stage_direction> <scene_description>€�:</scene_description> <character>ANGLE INCLUDES WALL</character> <dialogue>.\_,.,,..</dialogue> <scene_description>:t' The Joker SLAMS back again-st the wall as the tenebrous mist finally dissipates, letting him see again. He glares at Andrea.</scene_description> <character>JOKER</character> <dialogue>Cute, very cute.</dialogue> <parenthetical>(soft menace)</parenthetical> <dialogue>But I can blow smoke too, Toots.</dialogue> <scene_description>Gas HISSES from the flower in his lapel in a narrow stream toward Andrea.</scene_description> <character>FAVOR ANDREA</character> <dialogue>She once again disappears in smoke. The Joker's gas stream passes harmlessly through the thick black fog. ·</dialogue> <character>FAVOR JOKER</character> <dialogue>Looking about in vain for his antagonist.</dialogue> <character>JOKER</character> <dialogue>Nice trick, sweetheart. You could teach ol' Batsy a thing or two about disappearing.</dialogue> <scene_description>ANOTHER ANGLE Andrea suddenly appears behind the Joker and sends him flying ass over teakettle with a well-placed karate KICK.</scene_description> <character>JOKER</character> <parenthetical>(cry of pain and surprise)</parenthetical> <scene_description>FAVOR ANDREA She grabs the Joker, pulls him to his feet, then BELTS him again.</scene_description> <character>JOKER</character> <dialogue>Oaf!!</dialogue> <scene_description>WIDE ANGLE Andrea stalks toward the Joker, who backs away from her on his hands and knees.</scene_description> <character>ANDREA</character> <dialogue>You're not laughing any more. I thought you found death amusing.;</dialogue> <scene_description>FOLLOW \JOKER As he pushes pieces of furniture aside in a desperate attempt to get away from her.</scene_description> <character>JOKER</character> <dialogue>Oh, I do, I do.</dialogue> <scene_description>CLOSER He backs up against the control panel for.the robot. His hand crawls like a frantic spider over the buttons.</scene_description> <character>JOKER</character> <dialogue>But what I enjoy most is</dialogue> <scene_description>CLOSE ON HIS HAND His finger pushes the button he pushed ear:lier.</scene_description> <character>I</character> <dialogue>JOKER (O.S.</dialogue> <scene_description>-- a good laugh! WIDE ANGLE Hazel the robot suddenly begins LAUGHING, jerking her arms spasmodically. Phantasm whips about in anticipation of an attack</scene_description> <character>ON JOKER</character> <dialogue>He seizes a futuristic food processor and hurls it o.s.</dialogue> <character>JOKER</character> <dialogue>Made you look!</dialogue> <character>ON ANDREA</character> <dialogue>She starts to turn back, but the piece of equipment STRIKES her, dropping her to her knees.</dialogue> <character>ANDREA</character> <parenthetical>(stunned groan)</parenthetical> <character>ANGLE INCLUDES REAR GLASS DOORS</character> <dialogue>The Joker turns and runs away from the dazed Andrea. He CRASHES through the doors and dashes into the night.</dialogue> <character>JOKER</character> <parenthetical>(fading laughter)</parenthetical> <character>ON ANDREA</character> <dialogue>She jerks herself to her feet, defeating the pain by sheer force of will. She charges after the Joker.</dialogue> <scene_description>... r~ \ CUT TO:</scene_description> <character>INT. TRANSPORTATION EXHIBIT - ESTABLISHING - NIGHT</character> <dialogue>Considerably atrophied from when we last saw it in flashback. A giant automobile tire advertising Regal Tires has seen better days. Other exhibits include a huge car battery and a giant turbine prop.</dialogue> <character>ANOTHER ANGLE</character> <dialogue>Andrea ENTERS SHOT cautiously, half enveloped in mist. She reacts as she hears:</dialogue> <character>JOKER (O.S.)</character> <dialogue>Well, if it isn't Smoky the Babe -- just in time to meet her biggest fan!</dialogue> <character>ANGLE INCLUDES TURBINE PROP</character> <dialogue>Which suddenly begins to TURN. It CRANKS UP RAPIDLY, quickly producing an intake suction of hurricane proportions (SFX). (NOTE: The air is blown out a wind tunnel behind the prop.)</dialogue> <scene_description>ON ANDREA Bracing herself against the RISING GALE. Dust and small debris BLOW THROUGH SHOT. The WIND strips away her concealing fog, revealing her form-fitting costume. ON JOKER Crouching in the shadows of ;vhat was once a concession stand, behind the turbine, holding a portabl~ control mechanism. He twists a dial on it.</scene_description> <character>JOKER</character> <dialogue>How 'bout a little pick- me-up!</dialogue> <parenthetical>(laughs)</parenthetical> <scene_description>ON ANDREA Andrea is lifted from the floor by the WIND. She grabs one of the wires of the giant car battery to keep from being blown o.s. into the prop. CLOSER ON HER The WIND TEARS at her, RIPPING her cape from her. Debris PUMMELS her, causing her grip to slip until she's barely hanging onto the cable's end. CLOSE ON HER HANDS They lose their grip. REFIELD as she's blown several yards -closer to the prop, only to STOP her FLIGHT by grabbing the fin of the jet car (seen in flashback). ON ANDREA As she tries to grip the fin, but it's too smooth. Her fingers slide along the edge of the fin, until she's hanging onto the end. All the while we hear ...</scene_description> <character>JOKER (O.S.)</character> <parenthetical>(rising laughter)</parenthetical> <scene_description>ON BATMAN who suddenly appears in the far entrance. He sees ... ANDREA barely holding on. Suddenly she loses her grip and flies through the air toward the turbine. He SHOOTS his grappling gun. ON THE TURBINE As she is about to be sucked into the turbine, the grappling hook latches onto her belt and stops her in mid-air. APPROPRIATE SFX. ON JOKER looking at Batman in anger.</scene_description> <character>JOKER</character> <dialogue>What?!</dialogue> <scene_description>ON BATMAN bracing himself as he holds onto the grappling gun. CLOSE ON GRAPPLING GUN which begins to turn, drawing in the cable. ON ANDREA</scene_description> <character>'.</character> <dialogue>as she is pulled away from the turbine. ON JOKER</dialogue> <dialogue>Angry beyond words, he cranks the power to the max. WIDE</dialogue> <dialogue>As the turbine spins to a HIGHER PITCH. The pull is so strong that Andrea's body is doubled over by the wind. ON BATMAN</dialogue> <dialogue>Who is literally sliding on his feet toward the WIND as he tries to hold on. ON JOKER</dialogue> <dialogue>Smiling maliciously. He may kill two birds with one stone. ON BATMAN</dialogue> <dialogue>As he slides up to a building support pillar, he steps around it to use it to help brace himself. The WIND is blowing =uriously at him now.</dialogue> <dialogue>Using all his strength, he holds onto the grappling device with one hand, while he pulls out a batarang with another. ON THE BATARANG</dialogue> <dialogue>It's red, folded in half. With a flip of his hand he opens it to reveal that it has tiny rocket thrusters. ON BATMAN</dialogue> <dialogue>looking over, he throws the jet-powered batarang. ON THE BATARANG</dialogue> <dialogue>which BURSTS into jet-powered flight the second it's thrown and zooms o.s. ON BATMAN</dialogue> <dialogue>Andrea is reeled INTO SHOT; Batman grabs her up and leaps o.s. ON GIANT TIRE</dialogue> <dialogue>The batarang jets INTO SHOT against the WIND and EXPLODES at the base of the tire. The tire is jolted free of its anchorage and begins to ROLL o.s. ON JOKER</dialogue> <dialogue>He reacts to this, turns and takes to his heels. WIDE ANGLE</dialogue> <dialogue>The huge tire, aided by the turbine suction, rolls into the huge turbine, which shatters and EXPLODES. ON BATMAN AND ANDREA</dialogue> <dialogue>As the final pieces of debris fall down (SFX), they both rise, regaining their bearing. CLOSER</dialogue> <dialogue>They regard each other against an apocalyptic flaming b.g.</dialogue> <character>BATMAN</character> <dialogue>Your father's dead, isn't he? You came into town early to get Chuckie Sol so you could shift the blame to your father if you had to.</dialogue> <scene_description>They took everything, Bruce. My Dad. My life. You. (beat) I'm not saying it's right, or even sane, but it's all I've got left. So either help me or get out of the way. ANOTHER ANGLE Batman takes a few steps toward her.</scene_description> <character>BATMAN</character> <dialogue>You know I can't do that.</dialogue> <character>ANDREA</character> <parenthetical>(anguished cry)</parenthetical> <dialogue>Look what they did to us! What we could have had! They had to pay!</dialogue> <scene_description>FAVOR BATMAN Torn, hurting. He takes her by the shoulders tenderly.</scene_description> <character>BATMAN</character> <dialogue>But, -Andi -- what will vengeance solve?</dialogue> <scene_description>She looks at him, eyes dry and empty.</scene_description> <character>ANDREA</character> <dialogue>If anyone knows the answer to that, Bruce -- it's you.</dialogue> <scene_description>Stung, he lets go of her. The sadness deepens if possible.</scene_description> <character>BATMAN</character> <dialogue>Leave, Andi. Now. Please.</dialogue> <scene_description>She looks at him hard for a beat, then steps back. WIDER As she backs into the shadows, Batman turns away. Mustering up whatever resolve he has left, he heads for the Joker. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CENTER OF FAIRGROUNDS - NIGHT</stage_direction> <scene_description>The Joker's near the main exposition area of the fair. He runs to -r-,-</scene_description> <character>€�.</character> <dialogue>a set of lockers and yanks one open. Inside is a large,</dialogue> <dialogue>than the Rocketeer.</dialogue> <scene_description>ANOTHER ANGLE He straps it on, then steps over to a power pole and opens a circuit cabinet on it. CLOSER Inside is a large knife switch. The Joker throws it. There's a CRACKLE OF ELECTRICITY. As the Joker steps back, a batarang whirls INTO SHOT and SMASHES the circuit cabinet, which ERUPTS SPARKS. ANGLE INCLUDES BATMAN Approaching.</scene_description> <character>BATMAN</character> <parenthetical>(a curse)</parenthetical> <dialogue>Joker.</dialogue> <scene_description>FAVOR JOKER He grins sardonically.</scene_description> <character>JOKER</character> <dialogue>You're too late, Batman. There are twenty miles of tunnels under this place -- and they're all filled with high explosives!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>In five minutes, everything goes up in the biggest blast since the Arkham Christmas party.</dialogue> <parenthetical>(laughs)</parenthetical> <scene_description>WIDE ANGLE The Joker FIRES UP the rocket pack and rises into the air on a column of flame. APPROPRIATE SFX.</scene_description> <character>JOKER</character> <parenthetical>(mad laughter)</parenthetical> <scene_description>ON BATMAN - TRAVELING Running, leaping over debris. He whips out his grappling gun and FIRES it up O.S. ON GRAPPLING HOOK - TRAVELING Shooting up against a blurred b.g., the hook's tines opening. It "'•.• back o.s. REACTION SHOT - BATMAN Tight-lipped with fury. He tosses the grappling gun aside, no~ waiting for the cable to rewind, and dashes o.s. LONG SHOT - BATHAN Running, hurdling over broken remnants of railings. He leaps onto a semi-demolished building that was once a giant computer display, climbs it like a cat. CLOSER - ON TOP OF BUILDING Batman climbs to the top, stands silhouetted against the moon. He hurls a batarang with line attached up o.s. ON JOKER - MOVING PAN DOWN to his leg, where the batarang wraps about it. RESUME JOKER He reacts, looks down.</scene_description> <character>JOKER</character> <dialogue>Huh?</dialogue> <scene_description>ON BATMAN He leaps into the air and begins to climb the cable. ON JOKER He loses some altitude as Batman 1 s weight is added to his.</scene_description> <character>JOKER</character> <dialogue>You just don't know when to quit, do you?</dialogue> <scene_description>HIS POV - BATMAN Climbing doggedly up the rope. He can only go so far, however, because the ROCKET EXHAUST is between him and the Joker. ON JOKER He glances to one side o.s., works the controls and veers in that direction. ,. ,·~-:-. Batman dangling beneath the Joker as they move over the dismantled ~~- fairgrounds.</scene_description> <character>WIDE ANGLE</character> <dialogue>The Joker approaches the center of the fair, where the starship and moon structures tower over everything else. ON BATMAN - MOVING He's dragged brutally across the rough cratered surface of the moon {APPROPRIATE SFX). His costume is ripped in a dozen places. Blood streaks the lunar face. ANOTHER ANGLE</dialogue> <dialogue>The Joker ROCKETS up the side of the spaceship structure, pulling Batman with him. ON OBSERVATION DECK</dialogue> <dialogue>A narrow railed ring that surrounds the spaceship just below the needle nose. The Joker rises up past it. CLOSER</dialogue> <dialogue>As Batman is dragged up he manages to hook one leg around the railing, stopping his upward flight. ON JOKER</dialogue> <dialogue>His movement comes to an abrupt halt. He looks down o.s., reacts. HIS POV - BATMAN Anchored to the railing, pulling on the rope. WIDE ANGLE The Joker has drifted somewhat, so he and the rope are now at a slight angle to the vertical thrust of the ROCKET EXHAUST -- which means Batman can reel him in without winding up barbequed. The Joker reacts in horror to this .</dialogue> <character>.JOKER</character> <dialogue>What are you doing?!</dialogue> <character>ANOTHER ANGLE</character> <dialogue>The Joker frantically maneuvers, trying to aim the EXHAUST so as to fry Batman. This is not easy, since he has to keep himself</dialogue> <scene_description>~ upright so as to remain aloft. He dodges the FLAMES, doggedly pulling the Joker closer and closer.</scene_description> <character>JOKER</character> <dialogue>In another minute this whole place will be toast!</dialogue> <character>AJ.~OTHER ANGLE</character> <dialogue>Batman has pulled the Joker as close as he can without being roasted by the ROCKET EXHAUST. Now he climbs onto the railing and leaps for the Joker.</dialogue> <character>DRAMATIC ANGLE</character> <dialogue>Batman grabs the Joker, ripping at the latter's rocket harness as the two weave above the fairgrounds far below, drifting away from the spaceship sculpture. The Joker fights back, trying to push Batman off.</dialogue> <character>JOKER</character> <dialogue>You're crazy! I'm your only chance to get out of here! Let me go or we'll both die!</dialogue> <character>BATMAN</character> <dialogue>Then I'll see you in hell!</dialogue> <character>CLOSER</character> <dialogue>He manages to KICK one of the twin jets of the rocket pack, causing it to go askew and FIRE at an angle, causing the Joker to go. into a spin.</dialogue> <character>JOKER</character> <parenthetical>(cry of fear)</parenthetical> <character>ANOTHER ANGLE</character> <dialogue>The Joker goes into a nose dive, spiraling down spectacularly as Batman leaps from him for the railing.</dialogue> <character>J.OKER</character> <parenthetical>(trailing cry)</parenthetical> <character>ON BATMAN</character> <dialogue>He barely manages to grab the railing. He looks down o.s. ON JOKER - FALLING</dialogue> <scene_description>-~- As he plummets, he manages to free himself of the out-of-control ............ ON MOON STRUCTURE ·-~~ The Joker falls and HITS the rusted arc of the moon structure, BREAKING through it.</scene_description> <character>JOKER</character> <parenthetical>(cry of pain)</parenthetical> <dialogue>Most of the covering CRACKS and falls in with him, revealing the skeletal frame of the structure. ON BASE OF SPACESHIP STRUCTURE</dialogue> <dialogue>The rocket pack HITS the base of the structure and EXPLODES.</dialogue> <character>LONG SHOT - SPACESHIP STRUCTURE</character> <dialogue>For an instant it looks like we have ignition as FLAMES BILLOW from the base of the spaceship structure. But the structure, instead of rising, begins to COLLAPSE as the weakened fins give way.</dialogue> <character>ON OBSERVATION DECK - BATMAN</character> <dialogue>The Dark Knight leaps from the deck once again as the structure</dialogue> <scene_description>~r COLLAPSES.</scene_description> <character>LONG SHOT -</character> <dialogue>SPACESHIP AND MOON</dialogue> <scene_description>The spaceship topples onto the moon structure, CRUSHING it.</scene_description> <character>ON BATMAN - FALLING</character> <dialogue>out of batarangs and grappling guns. He grabs the protruding horizontal spire of another sculpture and swings around it, partially breaking the force of his fall.</dialogue> <character>ANOTHER ANGLE</character> <dialogue>It's still a punishing drop to the pavement. He lands hard, twisting one leg beneath him.</dialogue> <character>BATMAN</character> <parenthetical>(cry of pain)</parenthetical> <character>ON JOKER</character> <dialogue>Still alive, but trapped beneath the rubble. He shields himself as best he can as more wreckage RAINS INTO SHOT.</dialogue> <scene_description>Batman staggers INTO SHOT not far from where the Joker lies, presumably with multiple injuries. Batman's not looking much better himself: Costume torn and ragged, blood streaking his face and body, one leg injured or broken. He limps forward. The Joker looks up and sees him. He grins, a ghastly rictus.</scene_description> <character>JOKER</character> <parenthetical>(chuckling)</parenthetical> <dialogue>Okay. I give up.</dialogue> <character>FAVOR BATMAN</character> <dialogue>He hobbles toward the Joker; whether to help or finish it is hard to say at this point. Pieces of FLAMING RUBBLE are still FALLING from the spaceship structure.</dialogue> <character>ANGLE INCLUDES JOKER</character> <dialogue>As Andrea suddenly materializes out of the night beside him. He reacts, looks up at her.</dialogue> <character>JOKER</character> <dialogue>Too late. I surrendered. Tell her, Batman.</dialogue> <character>ON BATMAN</character> <dialogue>(~ He starts forward, surpris\_e and fear on his face.</dialogue> <character>BATMAN</character> <dialogue>Andrea! You've got to get out of here! The place is wired to explode!</dialogue> <scene_description>As if to underscore his words, a SERIES OF EXPLOSIONS begin in the distance, growing closer.</scene_description> <character>ANGLE INCLUDES ANDREA AND JOKER</character> <dialogue>A large piece of the structure CRASHES down between them, the FLAMES driving Batman back. Through the dancing heat we can see Andrea. She is calm as only one who embraces death can be. If there is an emotion in her face and voice, it is sadness. During the next few shots we can hear the STRING OF EXPLOSIONS GROWING LOUDER, even see them in the distance.</dialogue> <character>ANDREA</character> <dialogue>No. One way or another, it ends tonight.</dialogue> <scene_description>She holds up one of the gas canisters.</scene_description> <character>ANDREA</character> <dialogue>Goodbye, my love.</dialogue> <scene_description>ON JOKER Squirming. Trying to pull himself out.</scene_description> <character>JOKER</character> <parenthetical>(as ne struggles)</parenthetical> <dialogue>For once I'm stuck without a punchline.</dialogue> <parenthetical>(weak laughter)</parenthetical> <scene_description>WIDE ANGLE Andrea TRIGGERS the canister. Black mist obliterates our view of her and the Joker.</scene_description> <character>JOKER (O.S.)</character> <parenthetical>(laughter grows stronger, more manic)</parenthetical> <scene_description>ON BATMAN He realizes what she plans to do. He tries to reach her.</scene_description> <character>BATMAN</character> <parenthetical>(primal anguish)</parenthetical> <scene_description>ANOTHER ANGLE An EXPLOSION close by hurls him O.S. ON STREET Batman is hurled INTO SHOT next to a grating that is partially askew. FLAMING DEBRIS RAINS down around him. He can barely move, but he tries to crawl back through the flames to the only woman he ever really loved. If he can't save her, at least he can die with her.</scene_description> <character>JOKER (O.S.)</character> <parenthetical>(crazy laughte;r)</parenthetical> <scene_description>ANOTHER ANGLE Another o.s. EXPLOSION -- really cloGe -- causes the street to COLLAPSE beneath him. Batman tumbles into the abyss. (startled cry)</scene_description> </scene> <scene> <stage_direction>INT. SEWER</stage_direction> <scene_description>Batman, along with a SHOWER OF DEBRIS, falls into the swiftly RUNNING WATER and is carried into darkness. A moment later another EXPLOSION causes the street to completely COLLAPSE, burying the sewer. CUT TO: PANORAMIC ANGLE - THE FAIRGROUNDS The whole place is going UP IN FLAMES as the EXPLOSIONS tear the grounds apart .. The Joker's WILD LAUGHTER CONTINUES.</scene_description> <character>JOKER (O.S.)</character> <parenthetical>(mad laughter)</parenthetical> <dialogue>In the center, at the base of the moon structure, is a small blot . of black mist. But not for long -- the MOTHER OF ALL EXPLOSIONS turns the blackness white hot, CUTTING OFF the Joker's LAUGHTER at its peak, and we ...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. AQUEDUCT - NIGHT</stage_direction> <scene_description>Batman, battered and broken, pulls himself from ·the drainage pipe. He climbs onto the aqueduct and stares back at the CONFLAGRATION. His shoulders sag in a defeat unbearable. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BATCAVE - ON THRONE CHAIR</stage_direction> <scene_description>Batman sits, shell-shocked. His costume is ripped and blackened -- we can see bandages beneath it. His cowl is pushed back. One leg is in a splint where his legging has been ripped away. Alfred steps IN with a tray of bandages and medicinals. FAVOR BRUCE He looks at his fist, clinches it, then lets it fall limply. He looks up at Alfred.</scene_description> <character>BRUCE</character> <dialogue>I couldn't save her, Alfred.</dialogue> <character>ALFRED</character> <parenthetical>(gently)</parenthetical> <dialogue>I don't think she wanted to be saved, sir.</dialogue> <character>FAVOR ALFRED</character> <dialogue>He hurts for him. He puts a hand on Bruce's shoulder.</dialogue> <character>ALFRED</character> <dialogue>Vengeance blackens the soul, · Bruce. I always feared you would become that which you fought against. You walk the edge of that abyss every night, but you haven't fallen in. And I thank heaven for that.</dialogue> <scene_description>{beat) But Andrea fell into that pit years ago. And no one -- not even you -- could have pulled her back.</scene_description> <character>FAVOR BRUCE</character> <dialogue>He knows the truth of what Alfred says, but it's of small comfort. As he looks away in sad reflection ... CLOSE ON BRUCE</dialogue> <dialogue>A sparkle of light cast from o.s. dances on his eye, interrupting him. He looks o.s. to find the source. ANOTHER ANGLE</dialogue> <dialogue>He stands, walks forward. •Alfred watches him, puzzled.</dialogue> <character>ALFRED</character> <dialogue>What is it, Master Bruce?</dialogue> <character>ON STALACTITE</character> <dialogue>A limestone fang descending from the ceiling, narrowing to a point . in f.g. Bruce steps up to it. RACK FOCUS to show Andrea's locket</dialogue> <scene_description>hanging from the tip of the formation.</scene_description> <character>ON BRUCE</character> <dialogue>He lifts the dangling trinket gently in his hand, as though afraid of bursting it like a bubble. His face is filled with wonder.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>EXT. GOTHAM HARBOR - CRUISE SHIP - NIGHT</character> <dialogue>A cruise ship leaves the harbor. The city's skyline blazes in the b.g. The ship is passing under the Gotham Bay Bridge; the prow is already in shadow.</dialogue> <character>:( :'</character> <dialogue>. .. i... .... . CLOSER - PROMENADE DECK</dialogue> <dialogue>PARTY NOISES can be heard in b.g. A WOMAN IN BLACK, whom we see from the back with a scarf around her head, steps up to the rail to gaze at the city she's leaving behind. ANOTHER ANGLE</dialogue> <dialogue>Still not showing us the Woman's face. A lively MIDDLE-AGED PASSENGER, (think Ned Beatty) not unlike the salesman we met in the plane, crosses behind her with a drink in his hand. He sees the Woman and sidles up to the rail beside her.</dialogue> <character>PASSENGER</character> <dialogue>Hey, you're missing the party.</dialogue> <parenthetical>(re: the skyline)</parenthetical> <dialogue>Quite a sight.</dialogue> <character>WOMAN</character> <parenthetical>(distantly)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>FAVOR PASSENGER It percolates through the haze of several drinks that she's not happy. He takes in the basic black garb, says:</scene_description> <character>PASSENGER</character> <dialogue>I'm sorry.</dialogue> <parenthetical>(awkwardly)</parenthetical> <dialogue>Have you -- lost someone?</dialogue> <scene_description>ON WOMAN Except for her wistful eyes, her face is in shadows.</scene_description> <character>WOMAN</character> <dialogue>... Yes.</dialogue> <scene_description>HOLD ON HER for a beat. The bridge's shadow engulfs her, plunging her into darkness. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GOTHAM CITY SKYLINE - NIGHT</stage_direction> <scene_description>PANNING SLOWLY the Dark Deco metropolis, until we come to the Dark Knight, standing on a concrete precipice, overlooking the city. It's all he has now -- perhaps all he ever had. CLOSE ON BATMAN The eternal guardian. Without love, without pity. DRAMATIC ANGLE The Bat Signal suddenly lights up the sky behind him. Batman turns, FIRES his grappling gun and swings, cape flaring dramatically, toward the light. FADE OUT:</scene_description> <character>THE END</character> </scene> </script>

Bruce Wayne and Andrea Beaumont begin a relationship after meeting while Bruce visits his parents' grave and Andrea visits her mother's. During this time, Bruce makes his first attempts at crime-fighting. He foils a truck hijacking but is disappointed that the criminals were not scared of him. Bruce becomes conflicted about how to honor his parents; whether to defend Gotham City to avenge their deaths, or to settle down and marry like they wished. Bruce proposes marriage to Andrea, who accepts. However, she abruptly leaves Gotham with her father, businessman Carl Beaumont, ending the engagement in a Dear John letter. Heartbroken, Bruce assumes the mantle of Batman. Ten years later, Chuckie Sol proposes flooding Gotham with counterfeit money, but is thwarted by Batman. When Sol tries to escape in his car, the Phantasm, a masked vigilante resembling the Grim Reaper, attacks him. Sol attempts to kill the assailant with his car, but the Phantasm dodges it and Sol careens to his death. Witnesses see Batman at the scene and believe him to have killed Sol. City councilman Arthur Reeves, once a lawyer for Carl Beaumont, vows to have Batman arrested. The Phantasm murders another gangster, Buzz Bronski, in the Gotham Cemetery. Bronski's bodyguards mistakenly believe the Phantasm to be Batman. Batman investigates the scene of Bronski's death and encounters Andrea, inadvertently revealing his identity to her. Batman finds evidence linking Carl Beaumont with Sol, Bronski, and a third gangster, Salvatore Valestra, later finding a photograph of the four together in Valestra's home. Paranoid that Batman will come for him next, the now-elderly Valestra asks Reeves for help but is refused. In doing so, Valestra reveals he illegally aided Reeves in his political career. In desperation, Valestra turns to the Joker. The Phantasm goes to kill Valestra at his penthouse, only to find Valestra already killed by Joker venom. Joker booby-trapped the place expecting to kill Batman with a bomb, but sees through a camera that Batman is not the killer. The Phantasm escapes the blast and is pursued by Batman but disappears. The police attempt to ambush Batman, but he is saved by Andrea. Andrea later explains to Bruce that her father embezzled money from Valestra and was forced to flee to Europe to find a way to repay it. What Andrea later realized is that Valestra wanted "payment in blood". While Bruce considers resuming his relationship with Andrea, he concludes that Carl Beaumont is the Phantasm. However, Bruce takes another look at the photo. He recognizes Valestra's unnamed enforcer as the Joker prior to his transformation. The Joker reveals to Reeves that Batman did not commit the murders, and accuses Reeves of targeting him to erase his mob connections. Reeves is exposed to Joker venom; albeit a weakened dose as Joker was interrupted. Later hospitalized, Reeves struggles with hysteria. Batman interrogates Reeves, and he confesses that while previously working as Carl's lawyer, he helped the Beaumonts escape. When he ran out of money during his first run for office, he sold out their location to Valestra. Reeves failed to realize that Valestra wanted Beaumont dead. Both Batman and the Joker deduce that the Phantasm is Andrea, and that her final target is the Joker. Andrea tracks down the Joker to his hideout in Gotham's abandoned World's Fair. They fight but are interrupted by Batman. Batman pleads with her to stop, to no avail. The Joker prepares to destroy the fair but is seized by Andrea, who bids Bruce goodbye as the explosives detonate. Bruce survives the blast but finds no trace of either Andrea or the Joker. Alfred later consoles Bruce in the Batcave, assuring him that Andrea could not have been helped, before finding Andrea's locket containing a picture of them together. A sorrowful Andrea departs Gotham and a saddened Batman, cleared of accusations against him, resumes crimefighting.

Star Wars: Episode I - The Phantom Menace_1999

tt0120915

<script> <scene> <stage_direction>Star Wars: Episode 1:The Phantom Menace</stage_direction> <character>TITLE CARD</character> <dialogue>A long time ago in a galaxy far, far away.</dialogue> <scene_description>A vast sea of stars serves as the backdrop for the main title , followed by a roll up , which crawls up into infinity . EPISODE 1 THE PHANTOM MENACE Turmoil has engulfed the Galactic Republic . The taxation of trade routes to outlaying star systems is in dispute . Hoping to resolve the matter with a blockade of deadly battleships , the greedy Trade Federation has stopped all shipping to the small planet of Naboo . While the congress of the Republic endlessly debates this alarming chain of events , the Supreme Chancellor has secretly dispatched two Jedi Knights , the guardians of peace and justice in the galaxy , to settle the conflict . PAN DOWN to reveal a small space cruiser heading TOWARD CAMERA at great speed . PAN with the cruiser as it heads towardthe beautiful green planet of Naboo , which is surrounded by hundreds of Trade Federation battleships .</scene_description> </scene> <scene> <stage_direction>INT. REPUBLIC CRUISER - COCKPIT</stage_direction> <scene_description>In the cockpit of the cruise , the CAPTAIN and PILOT maneuver closer to one of the battleships .</scene_description> <character>QUI-GON</character> <parenthetical>( off screen voice . )</parenthetical> <dialogue>Captain.</dialogue> <scene_description>The Captain turns to an unseen figure sitting behind her .</scene_description> <character>CAPTAIN</character> <dialogue>Yes, sir?</dialogue> <character>QUI-GON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Tell them we wish to board at once.</dialogue> <character>CAPTAIN</character> <dialogue>Yes, sir.</dialogue> <scene_description>The CAPTAIN looks to her view screen , where NUTE GUNRAY , a Neimoidian trade viceroy , waits for a reply .</scene_description> <character>CAPTAIN</character> <parenthetical>( cont'd. ) With all due respect for the Trade Federation , the Ambassodors for the Supreme Chancellor wish to board immediately .</parenthetical> <dialogue /> <character>NUTE</character> <dialogue>Yes, yes, of coarse. ahhh. as you know, our blockade is perfectly legal, and we'd be happy to recieve the Ambassador. Happy to.</dialogue> <scene_description>The screen goes black . Out the cockpit window , the sinister battleship looms ever closer .</scene_description> </scene> <scene> <stage_direction>EXT. FEDERATION BATTLESHIP - DOCKING BAY - SPACE (FX)</stage_direction> <scene_description>The small space cruiser docks in the enormous main bay of the Federation battleship .</scene_description> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - DOCKING BAY - SPACE</stage_direction> <scene_description>A PROTOCOL DROID , TC - 14 , waits at the door to the docking bay . Two WORKER DROIDS , PK - 4 and EG - 9 watch .</scene_description> <character>PK-4</character> <dialogue>They must be important if the Viceroy sent one of those useless protocol gearheads to greet them.</dialogue> <scene_description>The door opens , and the Republic cruiser can be seen in the docking bay . Two darkly robed figures are greeted by TC - 14 .</scene_description> <character>TC-14</character> <dialogue>I'm TC - 14 at your service. This way, please.</dialogue> <scene_description>They move off down the hallway .</scene_description> <character>EG-9</character> <dialogue>A Republic cruiser! That's trouble. do n't you think?</dialogue> <character>PR-4</character> <dialogue>I'm not made to think.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - CONFERENCE ROOM</stage_direction> <scene_description>A door slides open , and the two cloaked shapes are led PAST CAMERA into the formal conference room by TC - 14 .</scene_description> <character>TC-14</character> <dialogue>I hope you honoured sirs with the most comfortable here. My master will be with you shortly.</dialogue> <scene_description>The droid bows before OBI - WAN KENOBI and QUI - GON JINN . He backs out the door and it closes . The JEDI lower their hoods and look out a large window at the lush green planet of Naboo . QUI - GON sixty years old , has long white hair in a ponytail . He is tall and striking , with blue eyes . OBI - WAN is twenty five , with very short brown hair , pale skin , and blue eyes . Several exotic , bird - like creatures SING in a cage near the door .</scene_description> <character>OBI-WAN</character> <dialogue>I have a bad feeling about this.</dialogue> <character>QUI-GON</character> <dialogue>I do n't sense anything.</dialogue> <character>OBI-WAN</character> <dialogue>It's not about the mission, Master, it's somethging. elsewhere. elusive.</dialogue> <character>QUI-GON</character> <dialogue>Do n't center on your anxiety, Obi - Wan. Keep your concentration here and now where it belongs.</dialogue> <character>OBI-WAN</character> <dialogue>Master Yoda says I should be mindful of the future.</dialogue> <character>QUI-GON</character> <dialogue>but not at the expense of the moment. Be mindful of the living Force, my young Padawan.</dialogue> <character>OBI-WAN</character> <dialogue>Yes, Master. how do you think the trade viceroy will deal with the chancellor's demands?</dialogue> <character>QUI-GON</character> <dialogue>These Federation types are cowards. The negotiations will be short.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>NUTE GUNRAY and DAULTRAY DOFINE stand , stunned , before TC - 14 .</scene_description> <character>NUTE</character> <parenthetical>( shaken . )</parenthetical> <dialogue>What?!? What did you say?</dialogue> <character>TC-14</character> <dialogue>The Ambassadors are Jedi Knights, I believe.</dialogue> <character>DOFINE</character> <dialogue>I knew it! They were sent to force a settlement, eh. Blind me, we're done for!</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - HALLWAY</stage_direction> <scene_description>A hologram of NUTE , surrounded by BATTLE DROIDS , appears in the conference room hallway .</scene_description> <character>NUTE</character> <dialogue>They must be dead by now. Blast, what's left of them.</dialogue> <scene_description>The hologram fades off , as a BATTLE DROID , OWO - 1 , cautiously opens the door . A deadly green cloud billows from the room . BATTLE DROIDS cock their weapons as a figure stumbles out of the smoke . It is TC - 14 , carrying the tray of drinks .</scene_description> <character>TC14</character> <dialogue>Oh, excuse me, so sorry.</dialogue> <scene_description>The PROTOCOL DROID passes the armed camp just as two flashing laser swords fly out of the deadly fog , cutting down several BATTLE DROIDS before they can fire .</scene_description> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>The bridge is a cocophony of alarms . NUTE and RUNE watch OWO - 1 on the viewscreen .</scene_description> <character>OWO-1</character> <dialogue>Not sure exactly what.</dialogue> <scene_description>OWO - 1 is suddenly cut in half in mid - sentence . RUNE gives NUTE a worried look .</scene_description> <character>NUTE</character> <dialogue>What in blazes is going on down there?</dialogue> <character>RUNE</character> <dialogue>Have you ever encountered a Jedi Knight before, sir?</dialogue> <character>NUTE</character> <dialogue>Well, not exactly, but I do n't.</dialogue> <parenthetical>( panicked . )</parenthetical> <dialogue>Seal off the bridge.</dialogue> <character>RUNE</character> <dialogue>That wo n't be enough, sir.</dialogue> <scene_description>The doors to the bridge SLAM shut .</scene_description> <character>NUTE</character> <dialogue>I want destroyer droids up here at once!</dialogue> <character>RUNE</character> <dialogue>We will not survive this.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - HALLWAY - OUTSIDE BRIDGE</stage_direction> <scene_description>QUI - GON cuts several BATTLE DROIDS in half , creating a shower of sparks and metal parts . OBI - WAN raises his hand , sending several BATTLE DROIDS crashing into the wall . QUI - GON makes his way to the bridge door and begins to cut through it .</scene_description> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>The CREW is very nervous as sparks start flying around the bridge door . QUI - GON and OBI - WAN are on the view screen .</scene_description> <character>NUTE</character> <dialogue>Close the blast doors!</dialogue> <scene_description>The huge , very thick blast door slams shut , followed by a second door , then a third . There is a hissing sound as the huge doors seal shut . QUI - GON tabs the door with his sword . The screen goes black as a red spot appears in the center of the blast door .</scene_description> <character>RUNE</character> <dialogue>They're still coming through!</dialogue> <scene_description>On the door , chunks of molten metal begin to drop away .</scene_description> <character>NUTE</character> <dialogue>Impossible! This is impossible!</dialogue> <character>RUNE</character> <dialogue>Where are those destroyer droids?!</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - HALLWAY - OUTSIDE BRIDGE</stage_direction> <scene_description>Ten ugly destroyer WHEEL DROIDS roll down the hallway at full speed . Just before they get to the bridge area , they stop and transform into their battle configuration . QUI - GON ca n't see them but senses their presence .</scene_description> <character>QUI-GON</character> <dialogue>Destroyer droids!</dialogue> <character>OBI-WAN</character> <dialogue>Offhand, I'd say this mission is past the negotiaion stage.</dialogue> <scene_description>The WHEEL DROIDS , led by P - 59 , rush the entry area from three hallways , blasting away with their laser guns . They stop firing and stand in a semi - circle as the smoke clears . OBI - WAN and QUI - GON are nowhere to be seen .</scene_description> <character>P-59</character> <dialogue>Switch to bio. There they are!</dialogue> <scene_description>The Jedi materialize at the far end of the hallway and dash through the doorway that slams shut . The WHEEL DROIDS blast away at the two JEDI with their laser swords .</scene_description> <character>OBI-WAN</character> <dialogue>They have shield generators!</dialogue> <character>QUI-GON</character> <dialogue>It's a standoff! Let's go!</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>NUTE and RUNE stand on the bridge , watching the view screen as the WHEEL DROIDS ' POV speeds to the doorway .</scene_description> <character>RUNE</character> <dialogue>We have them on the run, sir. they're no match for destroyer droids.</dialogue> <character>TEY HOW</character> <dialogue>Sir, they've gone up the ventilation shaft.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - MAIN BAY</stage_direction> <scene_description>QUI - GON and OBI - WAN appear at a large vent in a giant hanger bay . They are careful not to be seen . Thousands of BATTLE DROIDS are loading onto landing craft .</scene_description> <character>QUI-GON</character> <dialogue>Battle droids.</dialogue> <character>OBI-WAN</character> <dialogue>It's an invisible army.</dialogue> <character>QUI-GON</character> <dialogue>It's an odd play for the Trade Federation. We've got to warn the Naboo and contact Chancellor Valorum. Let's split up. Stow aboard separate ships and meet down on the planet.</dialogue> <character>OBI-WAN</character> <dialogue>You were right about one thing, Master. The negotiations were short.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>TEY HOW recieves a transmission .</scene_description> <character>TEY HOW</character> <dialogue>Sir, a transmission from the planet.</dialogue> <character>RUNE</character> <dialogue>It's Queen Amidala herself.</dialogue> <character>NUTE</character> <dialogue>At last we're getting results.</dialogue> <scene_description>On the view screen , QUEEN AMIDALA appears in her throne room . Wearing her elaborate headdress and robes , she sits , surrounded by the GOVERNING COUNCIL and FOUR HANDMAIDENS , EIRTAE , YANE , RABE , and SACHE .</scene_description> <character>NUTE</character> <parenthetical>( cont'd. ) Again you come before me , Your highness .</parenthetical> <parenthetical>The Federation is pleased .</parenthetical> <dialogue /> <character>AMIDALA</character> <dialogue>You will not be pleased when you hear what I have to say, Viceroy. Your trade boycott of our planet has ended.</dialogue> <scene_description>NUTE smirks at RUNE .</scene_description> <character>NUTE</character> <dialogue>I was not aware of such a failure.</dialogue> <character>AMIDALA</character> <dialogue>I have word that the Senate is finally voting on this blockade of yours.</dialogue> <character>NUTE</character> <dialogue>I take it you know the outcome. I wonder why they bother to vote.</dialogue> <character>AMIDALA</character> <dialogue>Enough of this pretense, Viceroy! I'm aware the Chancellor's Ambassadors are with you now, and that you have beencommanded to reach a settlement.</dialogue> <character>NUTE</character> <dialogue>I know nothing about any Ambassadors. you must be mistaken.</dialogue> <scene_description>AMIDALA , surprised at his reaction , studies him carefully .</scene_description> <character>AMIDALA</character> <dialogue>Beware, Viceroy. the Federation is going too far this time.</dialogue> <character>NUTE</character> <dialogue>Your Highness, we would never do anything without the approval of the Senate. You assume too much.</dialogue> <character>AMIDALA</character> <dialogue>We will see.</dialogue> <scene_description>The QUEEN fades off , and the view screen goes black .</scene_description> <character>RUNE</character> <dialogue>She's right, the Senate will never.</dialogue> <character>NUTE</character> <dialogue>It's too late now.</dialogue> <character>RUNE</character> <dialogue>Do you think she suspects an attack?</dialogue> <character>NUTE</character> <dialogue>I do n't know, but we must move quickly to disrupt all communications down there.</dialogue> </scene> <scene> <stage_direction>INT. NABOO PALACE - THRONE ROOM</stage_direction> <scene_description>The QUEEN , EIRTAE , SACHE and her Governor , SIO BIBBLE , stand before a hologram of SENATOR PALPATINE , a thin , kindly man .</scene_description> <character>PALPATINE</character> <dialogue>How could that be true? I have assurances from the Chancellor. his Ambassaodrs did arrive. It must be the. get. negotiate.</dialogue> <scene_description>The hologram of PALPATIONE sputters and fades away .</scene_description> <character>AMIDALA</character> <dialogue>Senator Palpatine?!?</dialogue> <parenthetical>( turns to Panaka . )</parenthetical> <dialogue>What's happening?</dialogue> <scene_description>CAPTAIN PANAKA turns to his SARGEANT</scene_description> <character>CAPT. PANAKA</character> <dialogue>Check the transmission generators.</dialogue> <character>BIBBLE</character> <dialogue>A malfunction?</dialogue> <character>CAPT. PANAKA</character> <dialogue>It could be the Federation jamming us. Your Highness.</dialogue> <character>BIBBLE</character> <dialogue>A communications disruption can only mean one thing. Invasion.</dialogue> <character>AMIDALA</character> <dialogue>Do n't jump to conclusions, Governor. The Federation would not dare go that far.</dialogue> <character>CAPT. PANAKA</character> <dialogue>The Senate would revoke their trade franchise, and they'd be finished.</dialogue> <character>AMIDALA</character> <dialogue>We must continue to rely on negotiation.</dialogue> <character>BIBBLE</character> <dialogue>Negotiation? We've lost all communications! and where atre the Chancellors Ambassadors? How can we negotiate? We must prepare to defend ourselves.</dialogue> <character>CAPT. PANAKA</character> <dialogue>This is a dangerous situation, Your Highness. Our security volunteers will be no match against a battle - hardened Federation army.</dialogue> <character>AMIDALA</character> <dialogue>I will not condone a course of action that will lead us to war.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE LANDING CRAFT - TWILIGHT (FX)</stage_direction> <scene_description>Six landing craft fly in formation toward the surface of the planet Naboo .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO SWAMP - SHALLOW LAKE - TWILIGHT</stage_direction> <scene_description>Three landing craft slowly descend through the cloud cover of the perpetually gray twilight side of the planet . One by one , the Federation warships land in the eerie swamp . OBI - WAN 's head emerges from the mud of a shallow lake . For in the background , the activities of the invasion force can be seen in the mist . OBI - WAN takes several deep breaths , then dissapears again under the muddy swamp . Troop Transports -LRB- MTT 's -RRB- emerge from the landing craft .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO EDGE OF SWAMP / GRASS PLAINS - TWILIGHT (FX)</stage_direction> <scene_description>The droid invasion force moves out of the swamp and onto a grassy plain . OOM - 9 , in his tank , looks out over the vast ARMY marching across the rolling hills . A small hologram of RUNE and NUTE stands on the tank .</scene_description> <character>RUNE</character> <dialogue>and there is no trace of the Jedi. They may have gotton onto one of your landing craft.</dialogue> <character>OOM-9</character> <dialogue>If they are down here, sir, we'll find them. We are moving out of the swamp and are marching on the cities. We are meeting no resistance.</dialogue> <character>NUTE</character> <dialogue>Excellent.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO SWAMP - TWILIGHT</stage_direction> <scene_description>QUI - GON runs through the strange landscape , glancing back to see the monstrous troop transports , emerging from the mist . Animals begin to run past him in a panic . An odd , frog - like Gungan , JAR JAR INKS , squats holding a clam he has retrieved from the murky swamp . The shell pops open . JAR JAR 's greta tongue snaps out and grabs the clam , swallowing it in one gulp . JAR JAR looks up and sees QUI - GON and the other creatures running like the wind toward him . One of the huge MTT 's bears down on the JEDI like a charging locomotive . JAR JAR stands transfixed , still holding the clam shell in one hand .</scene_description> <character>JAR JAR</character> <dialogue>Oh, noooooooooo!</dialogue> <scene_description>JAR JAR drops the shell and grabs onto QUI - GON as he passes . The JEDI is caught by surprise .</scene_description> <character>JAR JAR</character> <parenthetical>( Cont'd. ) Hey , help me !</parenthetical> <parenthetical>Help me !</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>Let go!</dialogue> <scene_description>The machine is about tp crush them as QUI - GON drags JAR JAR behind him . Just as the transport is about to hit them , QUI - GON drops , and JAR JAR goes splat into the mud with him . The transport races overhead . QUI - GON and JAR JAR pull themselves out of the mud . They stand watching the war machine dissapear into the mist . JAR JAR grabs QUI - GON and hugs him .</scene_description> <character>JAR JAR</character> <dialogue>Oyi, mooie - mooie! I luv yous!</dialogue> <scene_description>The frog - like creature kisses the JEDI .</scene_description> <character>QUI-GON</character> <dialogue>Are you brainless? You almost got us killed!</dialogue> <character>JAR JAR</character> <dialogue>I spake.</dialogue> <character>QUI-GON</character> <dialogue>The ability to speak does not make you intelligent. Now get outta here!</dialogue> <scene_description>QUI - GON starts to move off , and JAR JAR follows .</scene_description> <character>JAR JAR</character> <dialogue>No. no! Mesa stay. Mesa yous humble servaunt.</dialogue> <character>QUI-GON</character> <dialogue>That wont be necessary.</dialogue> <character>JAR JAR</character> <dialogue>Oh boot tis! Tis demunded byda guds. Tis a live debett, tis. Mesa culled Jaja Binkss.</dialogue> <scene_description>In the distance , two STAPS burst out of the mist at high speed , chasing OBI - WAN .</scene_description> <character>QUI-GON</character> <dialogue>I have no time for this now.</dialogue> <character>JAR JAR</character> <dialogue>Say what?</dialogue> <scene_description>The two STAPS barrell down on OBI - WAN .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) Oh , nooooo !</parenthetical> <parenthetical>Weesa ganna .</parenthetical> <dialogue /> <scene_description>QUI - GON throws JAR JAR into the mud .</scene_description> <character>QUI-GON</character> <dialogue>Stay down!</dialogue> <scene_description>His head pops up .</scene_description> <character>JAR JAR</character> <dialogue>dieeee!</dialogue> <scene_description>The two troops fire laser bolts at OBI - WAN . QUI - GON deflects the bolts back , and the STAPS blow up . One - two . OBI - WAN is exhausted and tries to catch his breath .</scene_description> <character>OBI-WAN</character> <dialogue>Sorry, Master, the water fried my weapon.</dialogue> <scene_description>OBI - WAN pulls out his burnt laser sword handle . QUI - GON inspects it , as JAR JAR pulls himself out of the mud .</scene_description> <character>QUI-GON</character> <dialogue>You forgot to turn your power off again, did n't you?</dialogue> <scene_description>OBI - WAN nods sheeplishly .</scene_description> <character>QUI-GON</character> <parenthetical>( cont'd. ) It wo n't take long to recharge , but this is a lesson I hope you 've learned , my young Padawan .</parenthetical> <dialogue /> <character>OBI-WAN</character> <dialogue>Yes, Master.</dialogue> <character>JAR JAR</character> <dialogue>Yousa sav - ed my again, hey?</dialogue> <character>OBI-WAN</character> <dialogue>What's this?</dialogue> <character>QUI-GON</character> <dialogue>A local. Let's go, before more of those droids show up.</dialogue> <character>JAR JAR</character> <dialogue>Mure? Mure did you spake?!?</dialogue> <scene_description>OBI - WAN and QUI - GON start to run . JAR JAR tries to keep up .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) Ex - squeeze me , but da moto grande safe place would be Otoh Gunga .</parenthetical> <parenthetical>Tis where I grew up .</parenthetical> <parenthetical>Tis safe city .</parenthetical> <dialogue /> <scene_description>They all stop .</scene_description> <character>QUI-GON</character> <dialogue>A city!</dialogue> <parenthetical>( JAR JAR nods his head . )</parenthetical> <dialogue>Can you take us there?</dialogue> <character>JAR JAR</character> <dialogue>Ahhh, will. on second taut. no, not willy.</dialogue> <character>QUI-GON</character> <dialogue>No?!</dialogue> <character>JAR JAR</character> <dialogue>Iss embarrissing, boot. My afrai my've bean banished. My forgoten der Bosses would do terrible tings to my. Terrible tings if my goen back dare.</dialogue> <scene_description>A PULSATING SOUND is heard in the distance .</scene_description> <character>QUI-GON</character> <dialogue>You hear that?</dialogue> <scene_description>JAR JAR shakes his head yes .</scene_description> <character>QUI-GON</character> <parenthetical>( cont'd. ) That 's the sound of a thousand terrible things heading this way .</parenthetical> <dialogue /> <character>OBI-WAN</character> <dialogue>When they find us, they will crush us, grind us into little pieces, then blast us into oblivion!</dialogue> <character>JAR JAR</character> <dialogue>Oh! Yousa point is well seen. Dis way! Hurry!</dialogue> <scene_description>JAR JAR turns and runs into the swamp .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO SWAMP LAKE - TWILIGHT</stage_direction> <scene_description>QUI - GON , OBI - WAN and JAR JAR run into a murky lake and stop as JAR JAR tries to catch his breath . The TRANSPORTS ARE HEARD in the distance .</scene_description> <character>QUI-GON</character> <dialogue>Much farther?</dialogue> <character>JAR JAR</character> <dialogue>Wesa goen underwater, okeyday?</dialogue> <scene_description>QUI - GON and OBI - WAN pull out small capsule from their utility belts that turn into breathing masks .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) My warning yous .</parenthetical> <parenthetical>Gungans no liken outlaunders .</parenthetical> <parenthetical>Do n't expict a wern welcome .</parenthetical> <dialogue /> <character>OBI-WAN</character> <dialogue>Do n't worry, this has not been our day for warm welcomes.</dialogue> <scene_description>JAR JAR jumps , does a double somersault with a twist , and dives into the water . Breath masks on , QUI - GON and OBI - WAN wade in after him .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO LAKE - UNDERWATER</stage_direction> <scene_description>QUI - GON and OBI - WAN swim behind JAR JAR , who is very much at home in the water . Down they swim into murky depths . In the distance the glow of Otoh Gunga , an underwater city made up of large bubbles , becomes more distinct . They approach the strange , art nouveau habitat . JAR JAR swims magically through one of the bubble membranes , which seals behind him . OBI - WAN and QUI - GON follow .</scene_description> </scene> <scene> <stage_direction>INT. OTOH GUNGA - CITY SQUARE</stage_direction> <scene_description>GUNGANS in the square scatter when they see the strange JEDI . Four GUARDS armed with long electro - poles ride two - legged KAADUS into the square . The GUARDS , led by CAPTAIN TARPALS , point their lethal poles at the dripping trio .</scene_description> <character>JAR JAR</character> <dialogue>Heyo - dalee, Cap'n Tarpals, Mesa back!</dialogue> <character>CAPT. TARPALS</character> <dialogue>Noah gain, Jar Jar. Yousa goen tada Bosses. Yousa in big dudu this time.</dialogue> <scene_description>CAPT. TARPALS gives JAR JAR a slight zap with his power pole . JAR JAR jumps and moves off , followed by the two JEDI .</scene_description> <character>JAR JAR</character> <dialogue>How wude.</dialogue> </scene> <scene> <stage_direction>INT. OTOH GUNGA - HIGH TOWER BOARD ROOM</stage_direction> <scene_description>The Bosses ' Board Room has bubble walls , with small lighted fish swimming around outside like moving stars . A long circular judge 's bench filled with GUNGAN OFFICIALS dominates the room . OBI - WAN and QUI - GON stand facing BOSS NASS , who sits on a bench higher than the others .</scene_description> <character>BOSS NASS</character> <dialogue>Yousa can not bees hair. Dis army of mackineeks up dare tis new weesong!</dialogue> <character>QUI-GON</character> <dialogue>That droid army is about to attack the Naboo. We must warn them.</dialogue> <character>BOSS NASS</character> <dialogue>Wesa no like da Naboo! Un dey no like uss - ens. Da Naboo tink day so smarty den us - ens. Day tink day brains so big.</dialogue> <character>OBI-WAN</character> <dialogue>After those droids take control of the surface, they will come here and take control of you.</dialogue> <character>BOSS NASS</character> <dialogue>No, mesa no tink so. Mesa scant talkie witda Naboo, and no nutten talkie it outlaunders. Dos mackineeks no comen here! Dey not know of uss - en.</dialogue> <character>OBI-WAN</character> <dialogue>You and the Naboo form a symbiont circle. What happens to noe of you will affect the other. You must understand this.</dialogue> <character>BOSS NASS</character> <dialogue>Wesa wish no nutten in yousa tings, outlaunder, and wesa no care - n about da Naboo.</dialogue> <character>QUI-GON</character> <parenthetical>( waves his hand . )</parenthetical> <dialogue>Then speed us on our way.</dialogue> <character>BOSS NASS</character> <dialogue>Wesa gon na speed yousaway.</dialogue> <character>QUI-GON</character> <dialogue>We need a transport.</dialogue> <character>BOSS NASS</character> <dialogue>Wesa give yousa una bongo. Da speedest way tooda Naboo tis goen through da core. Now go.</dialogue> <character>QUI-GON</character> <dialogue>Thank you for your help. We go in peace.</dialogue> <scene_description>QUI - GON and OBI - WAN turn to leave .</scene_description> <character>OBI-WAN</character> <dialogue>Master, whats a bongo?</dialogue> <character>QUI-GON</character> <dialogue>A transport, I hope.</dialogue> <scene_description>The JEDI notice JAR JAR in chains to one side , waiting to hear his verdict . QUI - GON stops . JAR JAR gives him a forlorn look .</scene_description> <character>JAR JAR</character> <dialogue>Daza setten yous up. Goen through da planet core is bad bombin!</dialogue> <character>QUI-GON</character> <dialogue>Thank you, my friend.</dialogue> <character>JAR JAR</character> <dialogue>Ahhh. any hep hair would be hot.</dialogue> <scene_description>JAR JAR 's soulful look is counterpointed by a sheepish grin .</scene_description> <character>OBI-WAN</character> <dialogue>We are short of time, Master.</dialogue> <character>QUI-GON</character> <dialogue>We'll need a navigator to get us through the planet's core. This Gungan my be of help.</dialogue> <scene_description>QUI - GON walks bact to BOSS NASS .</scene_description> <character>QUI-GON</character> <parenthetical>( cont'd. ) What is to become of Jar Jar Binks here ?</parenthetical> <dialogue /> <character>BOSS NASS</character> <dialogue>Binkss brokeen the nocombackie law. Hisen to be pune - ished.</dialogue> <character>QUI-GON</character> <dialogue>He has been a great help to us. I hope the punishment will not be too severe.</dialogue> <character>BOSS NASS</character> <dialogue>Pounded unto death.</dialogue> <character>JAR JAR</character> <parenthetical>( grimacing . )</parenthetical> <dialogue>Oooooh. Ouch!</dialogue> <scene_description>OBI - WAN looks concerned . QUI - GON is thinking .</scene_description> <character>QUI-GON</character> <dialogue>We need a navigator to get us through the planet's core. I have saved Jar Jar Binks' life. He owes me what you call a `` life.debt.''</dialogue> <character>BOSS NASS</character> <dialogue>Binks. Yousa havena liveplay with thisen hisen?</dialogue> <scene_description>JAR JAR nods and joins the JEDI . QUI - GON waves his hand .</scene_description> <character>QUI-GON</character> <dialogue>Your gods demand that his life belongs to me now.</dialogue> <character>BOSS NASS</character> <dialogue>Hisen live tis yos, outlauder. Begone wit him.</dialogue> <character>JAR JAR</character> <dialogue>Count mesa outta dis! Better dead here, den deader in da core. Yee guds, whata mesa sayin?!</dialogue> </scene> <scene> <stage_direction>EXT. NABOO CITY - UNDERWATER - SUB (FX)</stage_direction> <scene_description>A strange little submarine propels itself away from the Otoh Gunga , leaving the glow of the settlement in the distance .</scene_description> </scene> <scene> <stage_direction>INT. SUB COCKPIT - UNDERWATER</stage_direction> <scene_description>OBI - WAN in the co - pilots seat , JAR JAR guides the craft .</scene_description> <character>JAR JAR</character> <dialogue>Dis is nusen.</dialogue> <character>OBI-WAN</character> <dialogue>Master, why do you keep dragging these pathetic life forms along with us? Here, take over.</dialogue> <character>JAR JAR</character> <dialogue>Hey, ho? Where wesa goen?</dialogue> <character>QUI-GON</character> <dialogue>You're the navigator.</dialogue> <character>JAR JAR</character> <dialogue>Yo dreamen mesa hopen.</dialogue> <character>QUI-GON</character> <dialogue>Just relax, the Force will guide us.</dialogue> <character>JAR JAR</character> <dialogue>Ooooh, maxibig. `` da Force''. Wellen, dat smells stinkowiff.</dialogue> <scene_description>JAR JAR veers the craft to the left and turns the lights on . The coral vistas are grand , fantastic , and wonderous .</scene_description> <character>OBI-WAN</character> <dialogue>Why were you banished, Jar Jar?</dialogue> <character>JAR JAR</character> <dialogue>Tis a long tale, buta small part wawdabe mesa. ooooh. aaaa. clumsy.</dialogue> <character>OBI-WAN</character> <dialogue>They banished you because you're clumsy?</dialogue> <scene_description>As the little sub glides into the planet core , a large dark shape begins to follow .</scene_description> <character>JAR JAR</character> <dialogue>Mesa cause - ed mabee one or duey lettal bitty axadentes. yud - say boom da gasser, un crash Der Bosses heyblibber. den banished.</dialogue> <scene_description>Suddenly there is a loud CRASH , and the little craft lurches to one side . QUI - GON looks around and sees a huge , lumimnous OPEE SEA KILLER has hooked them with its long gooey tongue .</scene_description> <character>QUI-GON</character> <dialogue>Full speed ahead.</dialogue> <scene_description>Instead of full ahead , JAR JAR jams the controls into reverse . The sub flies into the mouth of the creature .</scene_description> <character>JAR JAR</character> <dialogue>Oooops.</dialogue> <character>OBI-WAN</character> <dialogue>Give me the controls.</dialogue> <scene_description>OBI - WAN takes over the controls and the OPEE SEA KILLER instantly releases the sub from its mouth .</scene_description> <character>JAR JAR</character> <dialogue>Wesa free!</dialogue> <scene_description>As the sub zooms away they see a larger set of jaws , munching on the hapless KILLER . The jaws belong to the incredible SANDO AQUA MONSTER . The lights on the tiny sub begin to flicker as they cruise deeper into the gloom .</scene_description> <character>QUI-GON</character> <dialogue>There's always a bigger fish.</dialogue> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>NUTE and RUNE stand before a hologram of DARTH SIDIOUS .</scene_description> <character>NUTE</character> <dialogue>The invasion is on schedule, My Lord.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Good. I have the Senate bogged down in procedures. By the time this incident comes up for a vote, they will have no choice but to accept your control of the system.</dialogue> <character>NUTE</character> <dialogue>The Queen has great faith the Senate will side with her.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Queen Amidala is yound and naive. You will find controlling her will not be difficult. You have done well, Viceroy.</dialogue> <character>NUTE</character> <dialogue>Thank you, My Lord.</dialogue> <scene_description>DARTH SIDIOUS fades away .</scene_description> <character>RUNE</character> <dialogue>You did n't tell him about the missing Jedi?</dialogue> <character>NUTE</character> <dialogue>No need to report that to him, until we have something to report.</dialogue> </scene> <scene> <stage_direction>INT. SUB COCKPIT - UNDERWATER</stage_direction> <scene_description>Sparks are flying , and water is leaking into the cabin . The sound of the power drive drops .</scene_description> <character>OBI-WAN</character> <dialogue>we're losing power.</dialogue> <scene_description>OBI - WAN is working with the sparking wires . JAR JAR panics .</scene_description> <character>QUI-GON</character> <dialogue>Stay calm. We're not in trouble yet.</dialogue> <character>JAR JAR</character> <dialogue>What yet? Monstairs out dare! Leak'n in here, all'n sink ` n, and nooooo power! You nutsen! WHEN YOUSA TINK WESA IN TROUBLE?!?</dialogue> <character>OBI-WAN</character> <dialogue>Power's back.</dialogue> <scene_description>The lights flicker on , revealing an ugly COLO CLAW FISH right in front of them .</scene_description> <character>JAR JAR</character> <dialogue>Monstairs back!</dialogue> <scene_description>The large COLO CLAW FISH is surprised and rears back . The sub turns around and speeds away .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) Wesa in trouble now ?</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>Relax.</dialogue> <scene_description>QUI - GON puts his hand on JAR JAR 's shoulder . JAR JAR relaxes into a coma .</scene_description> <character>OBI-WAN</character> <dialogue>You overdid it.</dialogue> <scene_description>The COLO CLAW FISH leaps after the fleeing sub as it shoots out of the tunnel and into the waiting jaws of the SANDO AQUA MONSTER . OBI - WAN -LRB- cont 'd -RRB- This is not good ! JAR JAR regains consciousness .</scene_description> <character>JAR JAR</character> <dialogue>Wesa dead yet? Oie Boie!</dialogue> <scene_description>JAR JAR 's eyes bulge , and he faints again . The sub narrowly avoids the deadly teeth of the AQUA MONSTER . The COLO CLAW FISH chasing them is n't so lucky . It is munched in half by the larger predator . The little sub slips away .</scene_description> <character>QUI-GON</character> <dialogue>Head for that outcropping.</dialogue> </scene> <scene> <stage_direction>EXT. THEED - MAIN ROAD INTO THEED - DAY (FX)</stage_direction> <scene_description>The long columns of the DROID ARMY move down the main road leading to Theed , the Naboo capital .</scene_description> </scene> <scene> <stage_direction>EXT. THEED PLAZA - DAY (FX)</stage_direction> <scene_description>As the QUEEN watches helplessly from a window in the palace , a transport carrying NUTE and RUNE lands in Theed Plaza . They exit the transport .</scene_description> <character>NUTE</character> <dialogue>Ah, victory!</dialogue> </scene> <scene> <stage_direction>INT. NABOO LAKE - UNDERWATER - SUB (FX)</stage_direction> <scene_description>The little sub continue to propel itself toward the surface , which is brightly lit .</scene_description> <character>JAR JAR</character> <dialogue>Wesa dude it!</dialogue> </scene> <scene> <stage_direction>EXT. THEED - ESTUARY - DAY</stage_direction> <scene_description>Paradise . Billowing clouds frame a romantic body of water . There is a LOUD RUSH OF BUBBLES , and a small sub bobs to the surface . The current in the estuary begins to pull the sub backward into a fast moving river . OBI - WAN switches off the two remaining bubble canopies . QUI - GON stands up to look around . JAR JAR lets out a sigh of relief .</scene_description> <character>JAR JAR</character> <dialogue>Wesa safe now.</dialogue> <character>QUI-GON</character> <dialogue>Get this thing started.</dialogue> <character>JAR JAR</character> <dialogue>Dissen berry good. Hey?</dialogue> <character>OBI-WAN</character> <dialogue>What is it?</dialogue> <scene_description>JAR JAR looks back to where they 're drifting . He sees they are headed for a huge waterfall .</scene_description> <character>JAR JAR</character> <dialogue>What!? Oie boie!</dialogue> <scene_description>OBI - WAN tries to start the engine . The long props behind the sub slowly begin to rotate . OBI - WAN struggles until finally , a few feet short of the waterfall , the sub starts and is able to generate enough power to stop drifting backward in the powerful current . The sub slowly moves forward . In the background , QUI - GON takes a cable out of his belt . The engine coughs and dies . They start drifting backward again . JAR JAR panics .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) Iyiiyi , wesa die 'n here , hey !</parenthetical> <dialogue /> <scene_description>QUI - GON shoots the thin cable , and it wraps itself around a railing on the shore . The sub pulls the cable taut , and the little craft hangs precariously over the edge of the waterfall .</scene_description> <character>QUI-GON</character> <dialogue>Come on.</dialogue> <scene_description>OBI - WAN climbs out of the sub and pulls himself along the cable . QUI - GON starts in after him .</scene_description> <character>QUI-GON</character> <parenthetical>( cont'd. ) Come on , Jar Jar .</parenthetical> <dialogue /> <character>JAR JAR</character> <dialogue>No! Too scary!</dialogue> <character>OBI-WAN</character> <dialogue>Get up here!</dialogue> <character>JAR JAR</character> <dialogue>No a mighty no!</dialogue> <scene_description>JAR JAR looks back and sees he is hanging over the waterfall .</scene_description> <character>JAR JAR</character> <parenthetical>( cont'd. ) Oie boie .</parenthetical> <parenthetical>mesa comen .</parenthetical> <parenthetical>Mesa comen !</parenthetical> <dialogue /> <scene_description>JAR JAR starts to climb out of the sub . OBI - WAN is on shore and helps to pull QUI - GON out of the water .</scene_description> <character>OBI-WAN</character> <dialogue>That was close.</dialogue> <character>BATTLE DROID 3B3</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Drop your weapons!</dialogue> <scene_description>The TWO JEDI turn around to see a BATTLE DROID standing in front of them . JAR JAR climbs up on shore between the JEDI .</scene_description> <character>BATTLE DROID 3B3</character> <dialogue>I said drop your weapons</dialogue> <scene_description>QUI - GON ignites his laser sword , and in a brief flash , the DROID is cut down by the JEDI . A stray laser bolt hits the cable and the sub breaks lose , crashing down the waterfall . The JEDI move on . JAR JAR reluctantly follows and looks back at the mess .</scene_description> <character>JAR JAR</character> <dialogue>Whoa!</dialogue> </scene> <scene> <stage_direction>EXT. THEED - PALACE - DAY</stage_direction> <scene_description>The waterfalls of Theed sparkle in the noonday sun .</scene_description> </scene> <scene> <stage_direction>INT. THEED - PALACE THRONE ROOM - DAY</stage_direction> <scene_description>QUEEN AMIDALA , SIO BIBBLE , and FIVE OF HER HANDMAIDENS -LRB- EIRTAE , YANE , PADME , RABE , SACHE -RRB- are surrounded by TWENTY DROIDS . CAPTAIN PANAKA and FOUR NABOO GUARDS are also held at gunpoint . NUTE and RUNE stand in the middle of the room .</scene_description> <character>BIBBLE</character> <dialogue>how will you explain this invasion to the Senate?</dialogue> <character>NUTE</character> <dialogue>The Naboo and the Federation will forge a treaty that will legitimize our occupation here. I've been assured it will be ratified by the Senate.</dialogue> <character>AMIDALA</character> <dialogue>I will not co - operate.</dialogue> <character>NUTE</character> <dialogue>Now, now, your Highness. You are not going to like what we have in store for your people. In time, their suffering will persuade you to see our point of view. Commander.</dialogue> <parenthetical>( OOM - 9 steps forward . )</parenthetical> <dialogue>Process them.</dialogue> <character>OOM-9</character> <dialogue>Yes, sir!</dialogue> <parenthetical>( turns to his sergeant . )</parenthetical> <dialogue>Take them to Camp Four.</dialogue> <scene_description>The SERGEANT marches the GROUP out of the throne room .</scene_description> </scene> <scene> <stage_direction>EXT. PALACE - PLAZA - DAY</stage_direction> <scene_description>QUEEN AMIDALA , PADME , EIRTA , YANE , RABE , SACHE , CAPTAIN PANAKA , SIO BIBBLE , and FOUR GUARDS are led out of the palace by ten BATTLE DROIDS . The plaza is filled with tanks and BATTLE DROIDS , which they pass on their way to the detention camp . Unbeknownst to them , QUI - GON , OBI - WAN , and JAR JAR sneak across on a walkway above the plaza and jump from a balcony to begin an attack to rescue the QUEEN . FOUR BATTLE DROIDS are instantly cut down . MORE DROIDS move forward and are also cut down by the JEDIS ' flashing lightsabres until there is only the DROID SERGEANT left . The SERGEANT starts to run but is pulled back to QUI - GON by the Force , until finally he is dispatched by the JEDI .</scene_description> <character>JAR JAR</character> <dialogue>Yousa guys bombad!</dialogue> <scene_description>QUEEN AMIDALA and the OTHERS are amazed . JAR JAR is getting used to this . They move between two buildings .</scene_description> <character>QUI-GON</character> <dialogue>Your Highness, we are the Ambassadors, for the Supreme Chancellor.</dialogue> <character>BIBBLE</character> <dialogue>Your negotiations seem to have failed, Ambassador.</dialogue> <character>QUI-GON</character> <dialogue>The negotiations never took place. Your Highness, we must make contact with the republic.</dialogue> <scene_description>CAPTAIN PANAKA steps forward .</scene_description> <character>CAPT. PANAKA</character> <dialogue>They've knocked out all our communications.</dialogue> <character>QUI-GON</character> <dialogue>Do you have transports?</dialogue> <character>CAPT. PANAKA</character> <dialogue>In the main hanger. This way.</dialogue> <scene_description>THEY disappear down an alleyway as the ALARMS are sounded</scene_description> </scene> <scene> <stage_direction>INT. CENTRAL HANGER - HALLWAY - DAY</stage_direction> <scene_description>CAPTAIN PANAKA cracks open a side door to the central hanger . QUI - GON looks in over his shoulder . OBI - WAN , JAR JAR , and the rest of the group are behind him . They see several Naboo spacecraft guarded by about FIFTY BATTLE DROIDS . ALARMS can be heard in the distance .</scene_description> <character>CAPT. PANAKA</character> <dialogue>There are too many of them.</dialogue> <character>QUI-GON</character> <dialogue>That wo n't be a problem.</dialogue> <parenthetical>( to Amidala . )</parenthetical> <dialogue>Your Highness, under the circumstances, Isuggest you come to Coruscant with us.</dialogue> <character>AMIDALA</character> <dialogue>Thank you, Ambassador, but my place is here with my people.</dialogue> <character>QUI-GON</character> <dialogue>They will kill you if you stay.</dialogue> <character>BIBBLE</character> <dialogue>They would n't dare.</dialogue> <character>CAPT. PANAKA</character> <dialogue>They need her to sign a treaty to make this invasion of theirs legal. They ca n't afford to kill her.</dialogue> <character>QUI-GON</character> <dialogue>The situation here is not what it seems. There is something else behind all this, Your Highness. There is no logic in the Federation's move here. My feelings tell me they will destroy you.</dialogue> <character>BIBBLE</character> <dialogue>Please, Your Highness, reconsider. Our only hope is for the Senate to side with us. Senator Palpatine will need your help.</dialogue> <character>CAPT. PANAKA</character> <dialogue>Getting past their blockade is impossible, Your Highness. Any attempt to escape will be dangerous.</dialogue> <character>BIBBLE</character> <dialogue>Your Highness, I will stay here and do what I can. They will have to retain the Council of Governors in order to maintain control. But you must leave.</dialogue> <scene_description>The QUEEN turns to PADME and EIRTAE .</scene_description> <character>AMIDALA</character> <dialogue>Either choice presents a great risk. to all of us.</dialogue> <character>PADME</character> <dialogue>We are brave, Your Highness.</dialogue> <character>QUI-GON</character> <dialogue>If you are to leave, Your Highness, it must be now.</dialogue> <character>AMIDALA</character> <dialogue>Then, I will plead our case before the Senate.</dialogue> <parenthetical>( to Bibble . )</parenthetical> <dialogue>Be careful, Governor.</dialogue> </scene> <scene> <stage_direction>INT. CENTRAL HANGER - DAY</stage_direction> <scene_description>The door opens to the main hanger . QUI - GON , OBI - WAN , JAR JAR , CAPTAIN PANAKA , TWO GUARDS , and THREE HANDMAIDENS -LRB- PADME , EIRTAE , RABE -RRB- , followed by QUEEN AMIDALA , head for a sleek chrome spacecraft . SIO BIBBLE , YANE and SACHE stay behind . The HANDMAIDENS begin to cry .</scene_description> <character>CAPT. PANAKA</character> <dialogue>We need to free those pilots.</dialogue> <scene_description>CAPTAIN PANAKA points to TWENTY GUARDS , GROUND CREW , and PILOTS held in a corner by SIX BATTLE DROIDS .</scene_description> <character>OBI-WAN</character> <dialogue>I'll take care of that. OBI - WAN heads toward the group of captured pilots.</dialogue> <scene_description>QUI - GON and the QUEEN , CAPTAIN PANAKA , JAR JAR , and the rest Of the GROUP approach the GUARDS at the ramp of the Naboo craft .</scene_description> <character>GUARD DROID</character> <dialogue>Where are you going?</dialogue> <character>QUI-GON</character> <dialogue>I'm Ambassador for the Supreme Chancellor, and I'm taking those people to Coruscant.</dialogue> <character>DROID GUARD</character> <dialogue>You're under arrest!</dialogue> <scene_description>The DROID GUARD draws his weapon , but before any of the DROIDS can fire , they are cut down . OTHER GUARDS run to their aid . OBI - WAN attacks the GUARDS around the PILOTS . QUI - GON stands , fighting off DROIDS as the OTHERS rush on board the spacecraft . OBI - WAN , the FREED PILOTS -LRB- including RIC OLIE -RRB- , GUARDS and GROUND CREW MEMBERS rush on board the ship . The OTHER PILOTS and GUARDS race to SIO BIBBLR . After everyone has made it onto the ship , QUI - GONjumps on board . ALARMS sound . MORE DROIDS rush into the hanger and fire as the ship takes off .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - HANGER ENTRY - DAY (FX)</stage_direction> <scene_description>The ship exits the hanger . BATTLE DROIDS standing in the hanger shoot at them .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE (FX)</stage_direction> <scene_description>The sleek spacecraft speeds away from the planet of Naboo and heads for the deadly Federation blockade .</scene_description> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - COCKPIT</stage_direction> <scene_description>The PILOT , RIC OLIE , navigates toward the massive battleship , QUI - GON and CAPTAIN PANAKA watch .</scene_description> <character>RIC OLIE</character> <dialogue>our communications are still jammed.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - DROID HOLD</stage_direction> <scene_description>JAR JAR is led into a low , cramped doorway by OBI - WAN .</scene_description> <character>OBI-WAN</character> <dialogue>Now stay here, and keep out of trouble.</dialogue> <scene_description>OBI - WAN closes the door . JAR JAR looks around and sees a long row of five short , dome - topped ASTRO DROIDS -LRB- R - 2 units -RRB- . The all look alike , except for thier paint color , and they all seem to be shut down .</scene_description> <character>JAR JAR</character> <dialogue>Ello, boyos.</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>Disa wan na longo trip. hey?</dialogue> <scene_description>JAR JAR taps a bright red R - 2 UNIT on the head , and its head pops up a bit . He lets out a gasp as he lifts the head .</scene_description> <character>JAR JAR</character> <parenthetical>( Cont'd. ) Tis opens ?</parenthetical> <parenthetical>Oooops !</parenthetical> <parenthetical>Many springs and things come flying out .</parenthetical> <dialogue /> <scene_description>JAR JAR quickly closes it again , very embarrassed .</scene_description> <character>JAR JAR</character> <parenthetical>( Cont'd. ) Yoi !</parenthetical> <parenthetical>Just yoken !</parenthetical> <dialogue /> <character>RIC OLIE</character> <dialogue>Powers back! That little droid did it. He bypassed the main power drive. Deflector shield up, at maximum.</dialogue> <scene_description>The lone BLUE DROID finishes his repairs and goes back into the ship . The Naboo spacecraft races away from the Federation battleship .</scene_description> <character>RIC OLIE</character> <dialogue>There's not enough power to get us to Coruscant. the hyperdrive is leaking.</dialogue> <character>QUI-GON</character> <dialogue>We'll have to land somewhere to refuel and repair the ship.</dialogue> <scene_description>QUI - GON studies a star chart on a monitor .</scene_description> <character>OBI-WAN</character> <dialogue>Here, Master. Tatooine. It's small, out of the way, poor. The Trade Federation has no presence there.</dialogue> <character>CAPT. PANAKA</character> <dialogue>How can you be sure?</dialogue> <character>QUI-GON</character> <dialogue>It's controlled by the Hutts.</dialogue> <character>CAPT. PANAKA</character> <dialogue>The Hutts?</dialogue> <character>OBI-WAN</character> <dialogue>It's risky. but there's no alternative.</dialogue> <character>CAPT. PANAKA</character> <dialogue>You ca n't take Her Royal Highness there! The Hutts are gangsters. If they discovered her.</dialogue> <character>QUI-GON</character> <dialogue>It would be no different than if we landed on a system controlled by the Federation. except the Hutts are n't looking for her, which gives us an advantage.</dialogue> <scene_description>CPATAIN PANAKA takes a deep breath in frustration .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - NABOO SPACECRAFT (FX)</stage_direction> <scene_description>The Naboo spacecraft races away .</scene_description> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - CONFERENCE ROOM</stage_direction> <scene_description>NUTE and RUNE sit around a conference table with a hologram of DARTH SIDIOUS .</scene_description> <character>NUTE</character> <dialogue>We control all the cities in the North and are searching for any other settlements.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Destroy all high - ranking officials, Viceroy. slowly. quietly. And Queen Amidala, has she signed the treaty?</dialogue> <character>NUTE</character> <dialogue>She has disappeared, My Lord. One Naboo cruiser got pat the blockade.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Viceroy, find her! I want that treaty signed.</dialogue> <character>NUTE</character> <dialogue>My Lord, it's impossible to locate the ship. It's out of our range.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>not for a Sith.</dialogue> <scene_description>A second SITH LORD appears behind DARTH SIDIOUS .</scene_description> <character>DARTH SIDIOUS</character> <parenthetical>( Cont'd. ) .</parenthetical> <dialogue>Viceroy, this is my apprentice. Lord Maul. He will find your lost ship.</dialogue> <character>NUTE</character> <dialogue>Yes, My Lord. The hologram fades off.</dialogue> <character>NUTE</character> <parenthetical>( Cont'd. ) This is getting out of hand .</parenthetical> <parenthetical>now there are two of them .</parenthetical> <dialogue /> <character>RUNE</character> <dialogue>We should not have made this bargain. What will happen when the Jedi become aware of these Sith Lords?</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - QUEENS CHAMBERS</stage_direction> <scene_description>QUI - GON , OBI - WAN , CAPTAIN PANAKA , and the LITTLE BLUE DROID stand before QUEEN AMIDALA and her THREE HANDMAIDENS , PADME , EIRTAE and RABE .</scene_description> <character>CAPT. PANAKA</character> <dialogue>An extremely well put together little droid. Without a doubt, it saved the ship, as well as our lives.</dialogue> <character>AMIDALA</character> <dialogue>It is to be commended. what is its number?</dialogue> <scene_description>The LITTLE BLUE DROID lets out a series of bleeps.CAPTAIN PANAKA leans over and scrapes some dirt off of the side of the DROID and read the number :</scene_description> <character>CAPT. PANAKA</character> <dialogue>R2 - D2, Your Highness.</dialogue> <character>AMIDALA</character> <dialogue>Thank you, Artoo Detoo. You have proven to be very loyal. Padme!</dialogue> <scene_description>PADME bows before the QUEEN .</scene_description> <character>AMIDALA</character> <parenthetical>( Cont'd. ) Clean this droid up the best you can .</parenthetical> <parenthetical>It deserves our gratitude .</parenthetical> <parenthetical>( to Panaka . )</parenthetical> <dialogue>Continue, Captain.</dialogue> <scene_description>CAPTAIN PANAKA looks nervously to OBI - WAN and QUI - GON .</scene_description> <character>QUI-GON</character> <dialogue>Yor Highness, we are heading for a remote planet called Tatooine. It is a system far beyond the reach of the Trade Federation. There we will be able to make needed repairs, then travel on to Coruscant.</dialogue> <character>CAPTAIN PANAKA</character> <dialogue>Your Highness, Tatooine is very dangerous. It's controlled by an alliance of gangs called the Hutts. I do not agree with the Jedi on this.</dialogue> <character>QUI-GON</character> <dialogue>You must trust my judgement, Your Highness.</dialogue> <scene_description>AMIDALA and PADME exchange looks . PADME moves next to the DROID .</scene_description> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - MAIN AREA</stage_direction> <scene_description>PADME sits in the Main Area , cleaning R2 - D2 , the brave little Astra Droid . JAR JAR pops out of an open door .</scene_description> <character>JAR JAR</character> <dialogue>Hidoe!</dialogue> <scene_description>Both PADME and ARTOO jump and let out a little SCREAM . The Gungan is embarrassed that he frightened them .</scene_description> <character>JAR JAR</character> <parenthetical>( Cont'd. ) Sorry , nomeanen to scare yousa .</parenthetical> <dialogue /> <character>PADME</character> <dialogue>That's all right.</dialogue> <character>JAR JAR</character> <dialogue>I scovered oily back dare. Needen it?</dialogue> <character>PADME</character> <dialogue>Thank you. This little guy is quite a mess.</dialogue> <scene_description>JAR JAR hands PADME the oil can .</scene_description> <character>JAR JAR</character> <dialogue>Mesa Ja Ja Binksss.</dialogue> <character>PADME</character> <dialogue>I'm Padme, I attend Her Highness, You're a Gungan, are n't you?</dialogue> <parenthetical>( Jar Jar nods . )</parenthetical> <dialogue>How did you end up here with us?</dialogue> <character>JAR JAR</character> <dialogue>Me no know. mesa day starten pitty okeyday witda brisky morning munchen. Den boom. getten berry skeered, un grabbed dat Jedi, and before mesa knowen it. pow! Mesa here.</dialogue> <parenthetical>( he shrugs . )</parenthetical> <dialogue>. getten berry berry skeered.</dialogue> <scene_description>ARTOO BEEPS a sympathetic beep .</scene_description> </scene> <scene> <stage_direction>INT. ANBOO SPACECRAFT - COCKPIT</stage_direction> <scene_description>OBI - WAN , QUI - GON , and CAPTAIN PANAKA watch over RIC OLIE 'S shoulder . A large yellow planet appears directly ahead . RIC OLIE searches his scopes .</scene_description> <character>OBI-WAN</character> <dialogue>Tahyt's it. Tatooine.</dialogue> <character>RIC OLIE</character> <dialogue>There's a settlement. a spaceport, looks like.</dialogue> <character>QUI-GON</character> <dialogue>Land near the outskirts. We do n't want to attract any attention.</dialogue> </scene> <scene> <stage_direction>EXT. TATOOINE - SPACE (FX)</stage_direction> <scene_description>The ship heads toward the planet of Tatooine .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - NABOO SPACECRAFT - DAY (FX)</stage_direction> <scene_description>The Naboo spacecraft lands in the desert in a swirl of dust . The spaceport of Mos Espa is seen in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO SPACECRAFT - MAIN AREA</stage_direction> <scene_description>OBI - WAN is hoisting the hyperdrive out of a floor panel . JAR JAR rushes up to him and falls to his knees .</scene_description> <character>JAR JAR</character> <dialogue>Obi - Wan, sire, pleeese, no mesa go!</dialogue> <character>OBI-WAN</character> <dialogue>Sorry, Qui - Gon's right. You'll make things less obvious.</dialogue> <scene_description>JAR JAR walks back to ARTOO in the hallway as QUI - GON -LRB- dressed as a farmer -RRB- enters the main area .</scene_description> <character>OBI-WAN</character> <parenthetical>( Cant 'd . )</parenthetical> <dialogue>The Hyperdrive generator is gone. We will need a new one.</dialogue> <scene_description>QUI - GON moves closer to OBI - WAN and speaks quietly to him .</scene_description> <character>QUI-GON</character> <dialogue>Do n't let them send ant transmissions. Be wary. I sense a disturbance in the Force.</dialogue> <character>OBI-WAN</character> <dialogue>I fell it also, Master.</dialogue> <scene_description>QUI - GON goes into the hallway to meet up with ARTOO and JAR JAR . They head to the exit ramp .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - SPACESHIP - DAY</stage_direction> <scene_description>They start their trek across the desert toward the city of Mos Espa . In the distance , a strange looking caravan makes its way toward the spaceport .</scene_description> <character>JAR JAR</character> <dialogue>Dis sun doen murder tada skin.</dialogue> <scene_description>From the spaceship , CAPTAIN PANAKA and PADME run toward them .</scene_description> <character>CAPT. PANAKA</character> <dialogue>Wait!</dialogue> <scene_description>QUI - GON stops as they catch up . PADME is dresses in rough peasant 's garb .</scene_description> <character>CAPT. PANAKA</character> <parenthetical>( Cont'd. ) Her Highness commands you to take her handmaiden with you .</parenthetical> <parenthetical>She wishes for her to observe the local .</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>No more commands from Her Highness today, Captain. This spaceport is not going to be pleasant.</dialogue> <character>CAPT. PANAKA</character> <dialogue>The Queen wishes it. She is curious about this planet.</dialogue> <character>PADME</character> <dialogue>I've been trained in defense. I can take care of myself.</dialogue> <character>CAPT. PANAKA</character> <dialogue>Do n't make me go back and tell her you refuse.</dialogue> <character>QUI-GON</character> <dialogue>I do n't have time to argue. But this is not a good idea. Stay close to me.</dialogue> <scene_description>He gives PADME a stern look .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - DAY</stage_direction> <scene_description>The little GROUP walks down the main street of Mos Espa . They pass dangerous looking citizens of all types . PADME looks around in awe at this exotic enviroment .</scene_description> <character>QUI-GON</character> <dialogue>moisture farms for the most part, but also a few indigenous tribes and scavengers. The few spaceports like this one are havens for those who do not wish to be found.</dialogue> <character>PADME</character> <dialogue>like us. JAR JAR is in a constant state of panic.</dialogue> <scene_description>ARTOO whistles along , with perfect confidence .</scene_description> <character>JAR JAR</character> <dialogue>Dissen berry berry bad.</dialogue> <parenthetical>( steps in ooze . )</parenthetical> <dialogue>Ooooh. icky. icky. goo.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - JUNK DEALER PLAZA - DAY</stage_direction> <scene_description>The GROUP comes to a little plaza surrounded by several junk spaceship dealers .</scene_description> <character>QUI-GON</character> <dialogue>We'll try one of the smaller dealers.</dialogue> <scene_description>They head for a little junk shop that has a huge pile of broken spaceships stacked up behind it .</scene_description> </scene> <scene> <stage_direction>INT. WATTO'S JUNK SHOP - DAY</stage_direction> <scene_description>QUI - GON , JAR JAR , PADME , and ARTOO enter the dingy junk shop and are greeted by WATTO , a pudgy blue alien who flies on short little wings like a hummingbird .</scene_description> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Hi chuba da naga? / What do you want?</dialogue> <character>QUI-GON</character> <dialogue>I need parts for a J - type 327 Nubian.</dialogue> <character>WATTO</character> <dialogue>Ah yes, ah yes. Nubian. We have lots of that. What kinda junk?</dialogue> <parenthetical>( subtitled . )</parenthetical> <dialogue>Peedenkel! Naba dee unko / Boy, get in here! Now!</dialogue> <character>QUI-GON</character> <dialogue>My droid here has a readout of what I need.</dialogue> <scene_description>A disheveled boy , ANAKIN SKYWALKER , runs in from the junk yard . He is about nine years old , very dirty , and dressed in rags . WATTO raises a hand , and ANAKIN flinches .</scene_description> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Coona tee - tocky malia? / What took you so long?</dialogue> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Mel tassa cho - passa. / I was cleaning the bin like you.</dialogue> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Chut - Chut! Ganda doe wallya. / Never mind! Watch the store. Me dwana no bata. / I've got some selling to do here.</dialogue> <parenthetical>( to Gui - Gon . )</parenthetical> <dialogue>Soooo, let me take - a thee out back. Ni you'll find what you need.</dialogue> <scene_description>ARTOO and QUI - GON follow WATTO toward the junk yard , leaving JAR JAR with PADME and the young boy ANAKIN . JAR JAR picks up a gizmo , trying to figure out its purpose . QUI - GON takes the part out of his hand and puts it back .</scene_description> <character>QUI-GON</character> <dialogue>Do n't touch anything.</dialogue> <scene_description>JAR JAR makes a rude face to QUI - GON 's back and sticks out his long tongue . ANAKIN sits on the counter , pretending to clean a part , staring at PADME . She is the most beautiful creaure he has ever seen in his life . PADME is a little embarrassed by his stare , but she musters up an amused smile . Finally , he gets the courage to speak .</scene_description> <character>ANAKIN</character> <dialogue>Are you an angel?</dialogue> <character>PADME</character> <dialogue>What?</dialogue> <character>ANAKIN</character> <dialogue>An angel. I've heard the deep space pilots talk about them. They live on the Moons of Iego I thimk. They are the most beautiful creatures in the universe. They are good and kind, and so pretty they make even the most hardened spice pirate cry.</dialogue> <character>PADME looks at him, not knowing what to say. PADME</character> <dialogue>PADME says. I've never heard of angels.</dialogue> <character>ANAKIN</character> <dialogue>You must be one. maybe you just do n't know it.</dialogue> <character>PADME</character> <dialogue>You're a funny little boy. How do you know so much?</dialogue> <character>ANAKIN</character> <dialogue>Since I was very little, three, I think. My Mom and I were sold to Gardulla the Hutt, but she lost us, betting on the Podraces, to Watto, who's a lot better master than Gardulla, I think.</dialogue> <character>PADME</character> <dialogue>You're. a slave?</dialogue> <scene_description>ANAKIN looks at PADME defiantly .</scene_description> <character>ANAKIN</character> <dialogue>I am a person! My name is Anakin.</dialogue> <character>PADME</character> <dialogue>I'm sorry. I do n't fully understand.</dialogue> <parenthetical>( looking around . )</parenthetical> <dialogue>This is a strange world to me.</dialogue> <scene_description>ANAKIN studies her intently .</scene_description> <character>ANAKIN</character> <dialogue>You are a strange girl to me.</dialogue> <scene_description>JAR JAR pushes the nose on what appears to be a LITTLE DROID , and it instantly comes to life , grows legs and arms , and starts marching around , knocking over everything . JAR JAR hold on but ca n't stop it .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Hit the nose !</parenthetical> <dialogue /> <scene_description>JAR JAR hits the nose , and the DROID collapses back into its original state . ANAKIN and PADME laugh . ANAKIN watches PADME straighten her hair .</scene_description> </scene> <scene> <stage_direction>EXT. WATTO'S JUNK YARD - BEHIND SHOP - DAY</stage_direction> <scene_description>WATTO reads a small portable monitor he is holding . He stands before a hyperdrive .</scene_description> <character>WATTO</character> <dialogue>Here it is. a T - 14 hyperdrive generator! Thee in luck, I'm the only one hereabouts who has one. but thee might as well buy a new ship. It would be cheaper, I think. Sying of which, how's thee going to pay for all this?</dialogue> <character>QUI-GON</character> <dialogue>I have 20,000 Republic dataries.</dialogue> <character>WATTO</character> <dialogue>Republic credits?!? Republic credits are no good out here. I need something more real.</dialogue> <character>QUI-GON</character> <dialogue>I do n't have anything else.</dialogue> <parenthetical>( raising his hand . )</parenthetical> <dialogue>But credits will do fine.</dialogue> <character>WATTO</character> <dialogue>No they wo n'ta. QUI - GON, using his mind power, waves his hand again.</dialogue> <character>QUI-GON</character> <dialogue>Credits will do fine.</dialogue> <character>WATTO</character> <dialogue>No, they wo n'ta. What you think you're some kinda Jedi, waving your hand around like that? I'm a Toydarian. Mind tricks do n'ta work on me - only money. No money, no parts! No deal! And no one else has a T - 14 hyperdrive, I promise you that.</dialogue> </scene> <scene> <stage_direction>INT. WATTO'S JUNK SHOP - DAY</stage_direction> <scene_description>JAR JAR pulls a part out of a stack of parts to inspect it , and they all come tumblimg down . He struggles to catch them , only to knock more down . ANAKIN and PADME are oblivious .</scene_description> <character>ANAKIN</character> <dialogue>would n't have lasted long if I were n't so good at fixing things. I'm making my own droid.</dialogue> <character>QUI-GON hurries into the shop, followed by ARTOO. QUI-GON</character> <dialogue>QUI - GON says. We're leaving. JAR JAR follows QUI - GON. PADME gives ANAKIN a loving look.</dialogue> <character>PADME</character> <dialogue>I'm glad I met you,. ah.</dialogue> <character>ANAKIN</character> <dialogue>Anakin.</dialogue> <character>PADME</character> <dialogue>Anakin.</dialogue> <character>ANAKIN</character> <dialogue>Anakin Skywalker.</dialogue> <character>PADME</character> <dialogue>Padme Naberrie.</dialogue> <scene_description>PADME turns , and ANAKIN looks sad as he watches her leave .</scene_description> <character>ANAKIN</character> <dialogue>I'm glad I met you too.</dialogue> <scene_description>WATTO enters the junk yard , shaking his head .</scene_description> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Ootmians! Tinka me chasa hopoe ma booty na nolia. / Outlanders! They think because we live so far from the center, we do n't know nothing.</dialogue> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>La lova num botaffa. They seemed nice to me.</dialogue> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Fweepa niaga. Tolpa da bunky dunko. Clean the racks, then you can go home.</dialogue> <scene_description>ANAKIN lets out a `` yipee '' and runs out the back .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - ALCOVE - DAY</stage_direction> <scene_description>QUI - GON , ARTOO , JAR JAR , and PADME have found a quiet spot between two buildings . The busy street beyond is filled with dangerous looking creatures . QUI - GON is talking on his com - link , while JAR JAR nervously watches the street . OBI - WAN is in the main hold of the Naboo craft .</scene_description> <character>QUI-GON</character> <dialogue>Obi - Wan, you're sure there is n't anything of value left on board?</dialogue> <character>OBI-WAN</character> <parenthetical>( V.O. ) .</parenthetical> <dialogue>A few containers of supplies, the Queen's wardrobe, maybe. Not enough for you to barter with. Not in the ammounts you're talking about.</dialogue> <character>QUI-GON</character> <dialogue>All right. Another solution will present itself. I'll check back.</dialogue> <scene_description>QUI - GON puts his comlink away and starts out into the main street . JAR JAR grabs his arm .</scene_description> <character>JAR JAR</character> <dialogue>Noah gain. da beings hereabouts cawazy. Wesa be robbed un crunched.</dialogue> <character>QUI-GON</character> <dialogue>Not likely. We have nothing of value, that's our problem.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - MARKET - DAY</stage_direction> <scene_description>QUI - GON , PADME , JAR JAR , and ARTOO move out into the street . JAR JAR is walking behind the others . They walk by an outdoor cafe filled with a rough gang of aliens , one of which is especially ugly , SEBULBA , a spider - like creature . JAR JAR stops for a moment in front of a stall selling dead frogs hanging on a wire . He looks around to see if anyone is looknig , then sticks out his tongue , and gets hold of one , pulling it into his mouth . Unfortunately , the frog is tied tightly to the wire . The vendor suddenly appears .</scene_description> <character>VENDOR</character> <dialogue>Hey, that will be seven truguts!</dialogue> <scene_description>JAR JAR opens his mouth in surprise , and the frog snaps away , ricochets around the market , and lands in Sebulba 's soup , splashing him . As JAR JAR moves away from the VENDOR , SEBULBA jumps up on the table and grabs the hapless Gungan .</scene_description> <character>SEBULBA</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Chuba! / You!</dialogue> <character>JAR JAR</character> <dialogue>Who, mesa?</dialogue> <character>SEBULBA</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Ni chuba na? / Is this yours?</dialogue> <scene_description>SEBULBA holds the frog up to the Gungan threateningly . SEVERAL OTHER CREATURES start to gather . SEBULBA shoves JAR JAR to the ground . The Gungan desperately tries to scramble to safety .</scene_description> <character>JAR JAR</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Why mesa always da one?</dialogue> <character>ANAKIN</character> <parenthetical>( V.O. ) .</parenthetical> <dialogue>Because you're afraid.</dialogue> <scene_description>JAR JAR turns to see ANAKNI pushing his way next to him . The boy stands up to SEBULBA in a very self - assured way .</scene_description> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Chess ko, Sebulba. Coo wolpa tooney rana. / Careful, Sebulba. This one's very connected.</dialogue> <scene_description>SEBULBA stops his assault on JAR JAR and turns to ANAKIN .</scene_description> <character>SEBULBA</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Tooney rana nu pratta dunko, shag. / Connected? Whada you mean, slave?</dialogue> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Oh da Hutt. cha porko ootman geesa. me teesa rodda co pana pee choppa chawa. / As in Hutt. big time outlander, this one. I'd hate to see you diced before we race again.</dialogue> <character>SEBULBA</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Neek me chowa, wermo, mo killee ma klounkee -LRB- Next time we race, wermo, it will be the end of you! -RRB- Una noto wo shag, me wompity du pom pom. / If you were n't a slave, I'd squash you right now.</dialogue> <scene_description>SEBULBA turns away .</scene_description> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Eh, chee bana do mullee ra. Yeah, it'd be a pity if you had to pay for me.</dialogue> <scene_description>QUI - GON , PADME and ARTOO arrive .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Hi !</parenthetical> <parenthetical>Your buddy here was about to be turned into orange goo .</parenthetical> <parenthetical>He picked a fight with a Dug .</parenthetical> <parenthetical>An especially dangerous Dug called Sebulba .</parenthetical> <dialogue /> <character>JAR JAR</character> <dialogue>Nosir, nosir. Mesa hate crunchen. Dat's da last ting mesa wanten.</dialogue> <character>QUI-GON</character> <dialogue>Nevertheless, the boy is right. you were heading for trouble. Thank you, my young friend.</dialogue> <scene_description>PADME looks at ANAKINB and smiles ; he smiles back . They start walking down the crowded street .</scene_description> <character>JAR JAR</character> <dialogue>Mesa doen nutten!</dialogue> <character>ANAKIN</character> <dialogue>Fear attracts the fearful. He was trying to overcome his fear by squashing you. be less afraid.</dialogue> <character>PADME</character> <dialogue>And that works for you.</dialogue> <character>ANAKIN</character> <dialogue>To a point.</dialogue> <parenthetical>( he smiles . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - SPACESHIP - DAY</stage_direction> <scene_description>OBI - WAN stands in front of the Naboo spacecraft as the wind picks up and begins to whip at his robe . CAPTAIN PANAKA exits the ship and joins him .</scene_description> <character>OBI-WAN</character> <dialogue>This storm's going to slow them down.</dialogue> <character>CAPT. PANAKA</character> <dialogue>It looks pretty bad. We'd better seal the ship.</dialogue> <scene_description>CAPTAIN PANAKA 'S comlink sounds off .</scene_description> <character>CAPT. PANAKA</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>Yes? We'll be right there.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - FRUIT STAND - DAY</stage_direction> <scene_description>ANAKIN and the GROUP stop at a fruit stand run by a jolly , but very poor , old lady named JIRA .</scene_description> <character>ANAKIN</character> <dialogue>How are you feeling today, Jira?</dialogue> <character>JIRA</character> <dialogue>The heat's never been kind to me, you know, Annie!</dialogue> <character>ANAKIN</character> <dialogue>Guess what? I've found that cooling unit I've been searching for. It's pretty beat up, but I'll have it fixed up for you in no time, I promise.</dialogue> <character>JIRA</character> <dialogue>You're a fine boy, Annie.</dialogue> <character>ANAKIN</character> <dialogue>I'll take four pallies today.</dialogue> <parenthetical>( to Padme . )</parenthetical> <dialogue>You'll like these.</dialogue> <scene_description>ANAKIN reaches in his pocket and comes up with three coins . He drops one . QUI - GON picks it up , revealing for a moment , his lightsabre .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Whoops , I thought I had more .</parenthetical> <parenthetical>Make thgat three , I 'm not hungry .</parenthetical> <dialogue /> <scene_description>The wind picks up . SHOP OWNERS are starting to close up their shops as JIRA gives them their pallies .</scene_description> <character>JIRA</character> <dialogue>Gracious, my bones are aching. storm's coming on, Annie. You'd better get home quick.</dialogue> <character>ANAKIN</character> <parenthetical>( to QUI - GON . )</parenthetical> <dialogue>Do you have shelter?</dialogue> <character>QUI-GON</character> <dialogue>We'll hed back to our ship.</dialogue> <character>ANAKIN</character> <dialogue>Is it far?</dialogue> <character>PADME</character> <dialogue>On the outskirts.</dialogue> <character>ANAKIN</character> <dialogue>You'll never reach the outskirts in time. sandstorms are very, very dangerous. Come with me. Hurry!</dialogue> <scene_description>The GROUP follows ANAKIN as he rushes down the windy street .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - SLAVE QUARTERS - STREET - SANDSTORM - DAY</stage_direction> <scene_description>The wind is blowing hard as QUI - GON , JAR JAR , and PADME follow ANAKIN down the street and into a slave hovel .</scene_description> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - MAIN ROOM - DAY</stage_direction> <scene_description>QUI - GON , JAR JAR , ARTOO , and PADME enter a small living space .</scene_description> <character>ANAKIN</character> <dialogue>Mom! Mom! I'm home.</dialogue> <character>JAR JAR</character> <dialogue>Dissen cozy.</dialogue> <scene_description>Anakin 's mother , SHMI SKYWALKER , a warm , friendly woman of forty , enters from her work area and is startled to see the room full of people .</scene_description> <character>SHMI</character> <dialogue>Oh, my! Annie, what's this?</dialogue> <character>ANAKIN</character> <dialogue>These are my friends, Mom. This is Padme, and. gee, I do n't know any of your names.</dialogue> <character>QUI-GON</character> <dialogue>I'm Qui - Gon Jinn, and this is Jar Jar Binks. ARTOO lets out a little beep.</dialogue> <character>PADME</character> <dialogue>and our droid, Artoo - Detoo.</dialogue> <character>ANAKIN</character> <dialogue>I'm building a droid. You wan na see?</dialogue> <character>SHMI</character> <dialogue>Anakin! Why are they here?</dialogue> <character>ANAKIN</character> <dialogue>A sandstorm, Mom. Listen.</dialogue> <scene_description>The wind HOWLS outside .</scene_description> <character>QUI-GON</character> <dialogue>Your son was kind enough to offer us shelter.</dialogue> <character>ANAKIN</character> <dialogue>Come on! Let me show you Threepio!</dialogue> <scene_description>ANAKIN leads PADME into the other room . ARTOO follows , beeping all the way . QUI - GON takes five small capsules from his utility belt and hands them to SHMI .</scene_description> <character>QUI-GON</character> <dialogue>I have enough food for a meal.</dialogue> <character>SHMI</character> <dialogue>Oh, tank you. Thank you so much. I'm sorry if I was abrupt. I'll never get used to Anakin's surprises.</dialogue> <character>QUI-GON</character> <dialogue>He's a very special boy. SHMI looks at him as if he's discovered a secret.</dialogue> <character>SHMI</character> <dialogue>Yes, I know.</dialogue> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - BEDROOM - DAY</stage_direction> <scene_description>ANAKIN shows off his ANDROID , which is lying on his workbench . There is one eye in the head ; the body , arms , and legs have no outer coverings .</scene_description> <character>ANAKIN</character> <dialogue>Is n't he great?! He's not finished yet.</dialogue> <character>PADME</character> <dialogue>He's wonderful!</dialogue> <character>ANAKIN</character> <dialogue>You reall like him? He's a protocol droid. to help Mom. Watch!</dialogue> <scene_description>ANAKIN pushes a switch , and the DROID sits up . Anakin rushes around , grabs an eye and puts it in one of the sockets .</scene_description> <character>THREEPIO</character> <dialogue>How do you do, I am See - Threepio, Human Cyborg Relations. How might I serve you?</dialogue> <character>PADME</character> <dialogue>He's perfect.</dialogue> <character>ANAKIN</character> <dialogue>When the storm is over, you can see my racer. I'm building a Podracer!</dialogue> <scene_description>PADME smiles at his enthusiasm . ARTOO lets out a flurry of beeps and whistles .</scene_description> <character>THREEPIO</character> <dialogue>I beg your pardon. what do you mean I'm naked?</dialogue> <scene_description>ARTOO BEEPS</scene_description> <character>THREEPIO</character> <parenthetical>( Cont'd. ) My parts are showing ?</parenthetical> <parenthetical>Oh , my goodness .</parenthetical> <parenthetical>How embarrassing !</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - QUEENS CHAMBERS</stage_direction> <scene_description>AMIDALA , EIRTAE , RABE , and OBI - WAN watch a very bad transmission of a SIO BIBBLE hologram .</scene_description> <character>BIBBLE</character> <dialogue>cut off all food supplies until you return. the death toll is catastrophic. we must bow to their wishes, Your Highness. Please tell us what to do! If you can hear us, Your Highness, you must contact me.</dialogue> <scene_description>AMIDALA looks upset . almost nervous .</scene_description> <character>OBI-WAN</character> <dialogue>It's a trick. Send no reply. Send no transmission of any kind.</dialogue> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - MAIN ROOM - DAY</stage_direction> <scene_description>QUI - GON listens to his comlink . OBI - WAN is in the cockpit .</scene_description> <character>OBI-WAN</character> <dialogue>the Queen is upset. but absolutly no reply was sent.</dialogue> <character>QUI-GON</character> <dialogue>It sounds like bait to establish a connection trace.</dialogue> <character>OBI-WAN</character> <dialogue>What if it is true and the people are dying?</dialogue> <character>QUI-GON</character> <dialogue>Either way, we're running out of time.</dialogue> </scene> <scene> <stage_direction>EXT. CORUSCANT - BALCONY OVERLOOKING CITY - NIGHT</stage_direction> <scene_description>DARTH SIDIOUS and DARTH MAUL look out over the vast city .</scene_description> <character>DARTH MAUL</character> <dialogue>Tatooine is sparsely populated. If the trace was correct, I will find them quickly, Master.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Move against the Jedi first. you will then have no difficulty taking the Queen back to Naboo, where she will sign the treaty.</dialogue> <character>DARTH MAUL</character> <dialogue>At last we will reveal ourselves to the Jedi. At last we will have revenge.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>You have been well trained, my young apprentice, they will be no match for you. It is too late for them to stop us now. Everything is going as planned. The Republic will soon be in my command.</dialogue> <scene_description>The hologram of DARTH MAUL fades off as DARTH SIDIOUS looks out over the city . EXT. . MOS ESPA - SANDSTORM - DAY The giant sandstorm engulfs the town , including the Naboo spaceship on the outskirts of the city center , where Watto 's ship is ; and the slave quarters , where drifts of sand begin building up against Anakin 's house .</scene_description> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - MAIN ROOM - DAY</stage_direction> <scene_description>QUI - GON , ANAKIN , SHMI , JAR JAR , and PADME are seated around a makeshift table , having dinner as the wind howls outside . JAR JAR slurps his soup rather loudly . Everyone looks at him . He turns a little brighter red .</scene_description> <character>SHMI</character> <dialogue>All slaves have transmitters placed inside their bodies somewhere.</dialogue> <character>ANAKIN</character> <dialogue>I've been working on a scanner to try and locate them, but no luck.</dialogue> <character>SHMI</character> <dialogue>Any attempt to escape.</dialogue> <character>ANAKIN</character> <dialogue>and they blow you up. poof!</dialogue> <scene_description>PADME and JAR JAR are horrified .</scene_description> <character>JAR JAR</character> <dialogue>How wude.</dialogue> <character>PADME</character> <dialogue>I ca n't believe there is still slavery in the galaxy. The Republic's anti - slavery laws.</dialogue> <character>SHMI</character> <dialogue>The Republic does n't exist out here. we must survive on our own.</dialogue> <scene_description>An awkward silence . ANAKIN attempts to end the embarrassment .</scene_description> <character>ANAKIN</character> <dialogue>Have you ever seen a Podrace?</dialogue> <scene_description>PADME shakes her head no . She notices the concern of SHMI . JAR JAR snatches some food from a bowl at the other end of the table with his tongue . QUI - GON gives him a dirty look .</scene_description> <character>QUI-GON</character> <dialogue>They have Podracing on Malastare. Very fast, very dangerous.</dialogue> <character>ANAKIN</character> <dialogue>I'm the only human who can do it.</dialogue> <scene_description>SHMI looks askance at her son .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Mom , what ?</parenthetical> <parenthetical>I 'm not bragging .</parenthetical> <parenthetical>It 's true .</parenthetical> <parenthetical>Watto says he 's never heard of a human doing it .</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>You must have Jedi reflexes if you race Pods.</dialogue> <scene_description>ANAKIN smiles . JAR JAR attempts to snare another bit of food from the bowl with his tongue , but QUI - GON , in a flash , grabs it between his thumb and forefinger . JAR JAR is startled .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Do n't do that again .</parenthetical> <dialogue /> <scene_description>JAR JAR tries to acknowledge with some silly mumbling . QUI - GON lets go of the tongue , and it snaps back into JAR JAR 's mouth .</scene_description> <character>ANAKIN</character> <dialogue>I. I was wondering. something.</dialogue> <character>QUI-GON</character> <dialogue>What?</dialogue> <character>ANAKIN</character> <dialogue>Well, ahhh. you're a Jedi Knight, are n't you?</dialogue> <character>QUI-GON</character> <dialogue>What makes you think that?</dialogue> <character>ANAKIN</character> <dialogue>I saw your laser sword. Only Jedi carry that kind of weapon.</dialogue> <scene_description>QUI - GON leans back and slowly smiles .</scene_description> <character>QUI-GON</character> <dialogue>Perhaps I killed a Jedi and stole it from him.</dialogue> <character>ANAKIN</character> <dialogue>I do n't think so. No one can kill a Jedi Knight.</dialogue> <character>QUI-GON</character> <dialogue>I wish that were so. ANAKIN. I had a dream I was a Jedi. I came back here and freed all the slaves. have you come to free us?</dialogue> <character>QUI-GON</character> <dialogue>No, I'm afraid not.</dialogue> <character>ANAKIN</character> <dialogue>I think you have. why else would you be here?</dialogue> <scene_description>QUI - GON thinks for a moment .</scene_description> <character>QUI-GON</character> <dialogue>I can see there's no fooling you.</dialogue> <parenthetical>( leans forward . )</parenthetical> <dialogue>You must n't let anyone know about us. we're on our way to Coruscant, the central system in the Republic, on a very important mission, and it must be kept secret.</dialogue> <character>ANAKIN</character> <dialogue>Coruscant. wow. how did you end up here in the outer rim?</dialogue> <character>PADME</character> <dialogue>Our ship was damaged, and we're stranded here until we can repair it.</dialogue> <character>ANAKIN</character> <dialogue>I can help! I can fix anything!</dialogue> <character>QUI-GON</character> <dialogue>I believe you can, but our first job is to aquire the parts we need.</dialogue> <character>JAR JAR</character> <dialogue>Wit no - nutten mula to trade.</dialogue> <character>PADME</character> <dialogue>These junk dealers must have a weakness of some kind.</dialogue> <character>SHMI</character> <dialogue>Gambling. Everything here revolves around betting on those awful races.</dialogue> <character>QUI-GON</character> <dialogue>Podracing. Greed can be a powerful ally. if it's used properly.</dialogue> <character>ANAKIN</character> <dialogue>I've built a racer! It's the fastest ever. There's a big race tomorrow, on Boonta Eve. You could enter my pod. It's all but finished.</dialogue> <character>SHMI</character> <dialogue>Anakin, settle down. Watto wo n't let you.</dialogue> <character>ANAKIN</character> <dialogue>Watto does n't know I've built it.</dialogue> <parenthetical>( to Qui - Gon . )</parenthetical> <dialogue>You could make him think it's your's, and you could get him to let me pilot it for you.</dialogue> <scene_description>QUI - GON looks to SHMI . She is upset .</scene_description> <character>SHMI</character> <dialogue>I do n't want you to race, Annie. It's awful. I die every time Watto makes you do it.</dialogue> <character>ANAKIN</character> <dialogue>But Mom, I love it. and they need help. they're in trouble. The</dialogue> <character>prize money would more than pay for the parts they need. JAR JAR</character> <dialogue>JAR JAR says. Wesa ina pitty bad goo.</dialogue> <character>GUI-GON</character> <dialogue>Your mother's right. Is there anyone friendly to the Republic who might be able to help us?</dialogue> <scene_description>SHMI shakes her head no .</scene_description> <character>ANAKIN</character> <dialogue>We have to help them, Mom. you said that the biggest problem in the universe is no one helps each other.</dialogue> <character>SHMI</character> <dialogue>Anakin, do n't.</dialogue> <scene_description>JAR JAR belches . There is silence for a moment as they eat .</scene_description> <character>PADME</character> <dialogue>I'm sure Qui - Gon does n't want to put your son in danger. We will find another way.</dialogue> <character>SHMI</character> <dialogue>No, Annie's right, there is no other way. I may not like it, but he can help you. he was meant to help you.</dialogue> <character>ANAKIN</character> <dialogue>Is that a yes? That is a yes!</dialogue> <scene_description>The storm continues to rage outside the slave hovel .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - JUNK DEALER PLAZA - DAY</stage_direction> <scene_description>The storm has passed . VENDORS and STREET PEOPLE clean up the mess and rebuild their food stalls . JAR JAR sits on a box in front of Watto 's parts shop , watching all the activity with growing nervousness . ARTOO is standing next to him . PADME stops QUI - GON as he is about to enter the shop .</scene_description> <character>PADME</character> <dialogue>Are you sure about this? Trusting our fate to a boy we hardly know. The Queen will not approve.</dialogue> <character>QUI-GON</character> <dialogue>The Queen does not need to know.</dialogue> <character>PADME</character> <dialogue>Well, I do n't approve.</dialogue> <scene_description>QUI - GON turns and starts into the shop .</scene_description> </scene> <scene> <stage_direction>INT. WATTO'S JUNK SHOP - DAY</stage_direction> <scene_description>WATTO and ANAKIN are in the middle of an animated discussion in Huttese .</scene_description> <character>WATTO</character> <dialogue>Patta go bolla!</dialogue> <character>ANKAIN</character> <dialogue>No batta!</dialogue> <character>WATTO</character> <dialogue>Pedunky. Maa kee cheelya.</dialogue> <character>ANAKIN</character> <dialogue>Bayno, Bayno!</dialogue> <scene_description>QUI - GON walks in , and WATTO and ANAKIN join him .</scene_description> <character>WATTO</character> <dialogue>The boy tells me you wanta sponser hi insa race. You ca n't afford parts. How can you do this? Not on Republic credits, I think.</dialogue> <parenthetical>( he laughs . )</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>My ship will be the entry fee.</dialogue> <scene_description>QUI - GON pulls a small object that looks like a watch out of his pocket , and a hologram of the Naboo spacecraft appears about a foot long in front of WATTO . He studies it .</scene_description> <character>WATTO</character> <dialogue>Not bad. not bad. a Nubian.</dialogue> <character>QUI-GON</character> <dialogue>It's in good order, except for the parts we need.</dialogue> <character>WATTO</character> <dialogue>but what would the boy ride? He smashed up my Pod in the last race. It will take some time to fix it.</dialogue> <scene_description>ANAKIN is embarrassed and steps forward .</scene_description> <character>ANAKIN</character> <dialogue>Ahhhh. it was n't my fault really. Sebulba flashed me with his vent ports. I actually saved the Pod. mostly.</dialogue> <character>WATTO</character> <parenthetical>( laughing . )</parenthetical> <dialogue>That you did. The boy is good, no doubts there.</dialogue> <character>QUI-GON</character> <dialogue>I have. acquired a Pod in a game of chance. `` The fastest ever built.''</dialogue> <character>WATTO</character> <dialogue>I hope you did n't kill anyone I know for it.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>So, you supply the Pod and the entry fee ; I supply the boy. We split the winnings fifty - fifty, I think.</dialogue> <character>QUI-GON</character> <dialogue>Fifty - fifty!?! If it's going to be fifty - fifty, I suggest you front the cash for the entry. If we win, you keep all the winnings, minus the cost of the parts I need. If we lose, you keep my ship.</dialogue> <scene_description>WATTO thinks about this . ANAKIN tries not to be nervous .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Either way , you win .</parenthetical> <dialogue /> <character>WATTO</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Deal! Yo bana pee ho - tah, meedee ya. / Your friend is a follish one, methinks.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO SPACECRAFT - TATOOINE DESERT - DAY</stage_direction> <scene_description>OBI - WAN stands outside the Naboo spacecraft , speaking into his comlink . QUI - GON is on the back porch of the hovel .</scene_description> <character>OBI-WAN</character> <dialogue>What if this plan fails, Master? We could be stuck here for a long time.</dialogue> <character>QUI-GON</character> <parenthetical>( V.O. ) .</parenthetical> <dialogue>A ship without a power supply will not get us anywhere, and there is something about this boy.</dialogue> </scene> <scene> <stage_direction>EXT MOS ESPA - SLAVE QUARTERS - PORCH - DAY</stage_direction> <scene_description>QUI - GON puts the comlink away as SHMI comes onto the porch PADME , ANAKIN , JAR JAR , and ARTOO work on the engines of the Podracer in the courtyard below .</scene_description> <character>QUI-GON</character> <dialogue>You should be proud of your son. He gives without any thought of reward.</dialogue> <character>SHMI</character> <dialogue>He knows nothing of greed. He has.</dialogue> <character>QUI-GON</character> <dialogue>He has special powers.</dialogue> <character>SHMI</character> <dialogue>Yes.</dialogue> <character>QUI-GON</character> <dialogue>He can see things before they happen. That's why he appears to have such quick reflexes. It is a Jedi trait.</dialogue> <character>SHMI</character> <dialogue>He deserves better than a slave's life.</dialogue> <character>QUI-GON</character> <dialogue>The Force is unusally strong with him, that much is clear. Who was his father?</dialogue> <character>SHMI</character> <dialogue>There was no father, that I know of. I carried him, I gave him birth. I ca n't explain what happened. Can you help him?</dialogue> <character>QUI-GON</character> <dialogue>I'm afraid not. Had he been born in the Republic, we would have identified him early, and he would have become Jedi, no doubt. he has the way. But it's too late for him now, he's too old.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - SLAVE QUARTERS - BACK YARD - DAY</stage_direction> <scene_description>KITSTER -LRB- a young boy about Anakin 's age -RRB- , SEEK -LRB- a boy of ten -RRB- , AMEE -LRB- a girl of six -RRB- , and WALD -LRB- a Greedo Type , six years old -RRB- join ANAKIN , JAR JAR , ARTOO , and PADME securing some wiring .</scene_description> <character>ANAKIN</character> <dialogue>Padme and Jar Jar, this is my friend Kitster, and seek, Amee, and Wald.</dialogue> <scene_description>All whistle , hoot , and speak a greeting .</scene_description> <character>KITSTER</character> <dialogue>Wow, a real Astro Droid. how'd you get so lucky?</dialogue> <character>ANAKIN</character> <dialogue>This is n't the half of it. I'm entered in the Boonta Race tomorrow!</dialogue> <character>KITSTER</character> <dialogue>What? With this?</dialogue> <character>WALD</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Annie, Jesko na joka. / You are such a joke, Annie.</dialogue> <character>AMEE</character> <dialogue>You've been working on that thing for years. It's never going to run.</dialogue> <character>SEEK</character> <dialogue>Come on, let's go play ball. Keep it up, Annie, and you're gon na be bug squash.</dialogue> <scene_description>SEEK , WALD , and AMEE take off , laughing . JAR JAR is fiddling with one of the energy binder plates .</scene_description> <character>ANAKIN</character> <dialogue>Hey! Jar Jar! Stay away from those energy binders.</dialogue> <character>JAR JAR</character> <dialogue>Who, mesa?</dialogue> <character>ANAKIN</character> <dialogue>If your hand gets caught in that beam, it will go numb for hours.</dialogue> <scene_description>JAR JAR peeks at the energy plate ; it makes a little electronic pop , zaps him in the mouth and jumps back . JAR JAR tries to say something , but his mouth is numb and his words are garbled .</scene_description> <character>JAR JAR</character> <dialogue>Ouch - dats muy bigo Oucho.</dialogue> <parenthetical>( Gibberish . )</parenthetical> <dialogue /> <character>KITSTER</character> <dialogue>But you do n't even know if this thing will run.</dialogue> <character>ANAKIN</character> <dialogue>It will.</dialogue> <scene_description>QUI - GON approaches the GROUP and gives ANAKIN a small battery . JAR JAR gets his hand caught in the afterburner and tries to tell Anakin , but ca n't get words out that make sense .</scene_description> <character>QUI-GON</character> <dialogue>I think it's time we found out. Use this power charge.</dialogue> <character>ANAKIN</character> <dialogue>Yes, sir!</dialogue> <scene_description>ANAKIN jumps into the little capsule behind the two giant engines . He puts the power pack back into the dashboard . EVERYONE backs away , except for JAR JAR who calls for help . Finally PADME frees him and the engines ignite with a ROAR . EVERYONE cheers .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - SLAVE QUARTERS - PORCH - DAY</stage_direction> <scene_description>SHMI , watching from the porch , smiles sadly .</scene_description> </scene> <scene> <stage_direction>EXT. SLAVE QUARTERS - BALCONY - NIGHT</stage_direction> <scene_description>ANAKIN sits on the balcony rail of his hovel as QUI - GON tends to a cut . The BOY leans back to look at the vast blanket of stars in the sky .</scene_description> <character>QUI-GON</character> <dialogue>Sit still, Annie. Let me clean this cut.</dialogue> <character>ANAKIN</character> <dialogue>There are so many! Do they all have a system of planets?</dialogue> <character>QUI-GON</character> <dialogue>Most of them.</dialogue> <character>ANAKIN</character> <dialogue>Has anyone been to them all?</dialogue> <character>QU-IG0N</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Not likely.</dialogue> <character>ANAKIN</character> <dialogue>I want to be the first one to see them all. Ouch!</dialogue> <scene_description>QUI - GON wipes a patch of blood off ANAKIN 'S arm .</scene_description> <character>QUI-GON</character> <dialogue>There, good as new.</dialogue> <scene_description>SHMI yells from inside the hovel .</scene_description> <character>SHMI</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Annie, bedtime!</dialogue> <scene_description>QUI - GON scrapes ANAKIN 's blood onto a comlink chip .</scene_description> <character>ANAKIN</character> <dialogue>What are you doing?</dialogue> <character>QUI-GON</character> <dialogue>Checking your blood for infections.</dialogue> <character>ANAKIN</character> <dialogue>I've never seen.</dialogue> <character>SHMI</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Annie! I'm not goiung to tell you again!</dialogue> <character>QUI-GON</character> <dialogue>Go on, you have a big day tomorrow.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Goodnight.</dialogue> <scene_description>ANAKIN rolls his eyes and runs into the hovel . QUI - GON takes the blood stained chip and inserts it into the comlink , then calls OBI - WAN .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Obi - Wan .</parenthetical> <dialogue /> <character>OBI-WAN</character> <dialogue>Yes, Master.</dialogue> <character>QUI-GON</character> <dialogue>Make an analysis of this blood sample I'm sending you.</dialogue> <character>OBI-WAN</character> <dialogue>Wait a minute.</dialogue> <character>QUI-GON</character> <dialogue>I need a midi - chlorian count.</dialogue> <character>OBI-WAN</character> <dialogue>All right. I've got it.</dialogue> <character>QUI-GON</character> <dialogue>What are your readings?</dialogue> <character>OBI-WAN</character> <dialogue>Something must be wrong with the transmission.</dialogue> <character>QUI-GON</character> <dialogue>Here's a signal check.</dialogue> <character>OBI-WAN</character> <dialogue>Strange. The transmission seems to be in good order, but the reading's off the chart. over twenty thousand.</dialogue> <character>QUI-GON</character> <parenthetical>( almost to himself . )</parenthetical> <dialogue>That's it then.</dialogue> <character>OBI-WAN</character> <dialogue>Even Master Yoda does n't have a midi - chlorian count that high!</dialogue> <character>QUI-GON</character> <dialogue>No Jedi has.</dialogue> <character>OBI-WAN</character> <dialogue>What does it mean?</dialogue> <character>QUI-GON</character> <dialogue>I'm not sure.</dialogue> <scene_description>The JEDI KNIGHT looks up and sees SHMI in the doorway watching him . Embarrassed , she goes back into the kitchen while QUI - GON ponders the situation .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT MESA - NIGHT</stage_direction> <scene_description>The sinister looking Sith spacecraft lands on top of a desert mesa at dus , scattering a herd of banthas . DARTH MAUL walks to the edge of the mesa and studies the landscape with a pair of electrobinoculars . He picks out the lights of three different cities in the distance , then pushes buttons on his electronic armband . Six football - sized PROBE DROIDS float out of the ship and head off in three different directions toward the cities . DARTH MAUL stands on the mesa and watches them through his electrobinoculars .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - SLAVE QUARTERS - PORCH - SUNRISE</stage_direction> <scene_description>Padme exits the hovel .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - SLAVE QUARTERS - BACK YARD - SUNRISE</stage_direction> <scene_description>As the twin suns rise , ARTOO is busy painting the racing Pod . ANAKIN is asleep . PADME passes ARTOO .</scene_description> <character>PADME</character> <dialogue>I hope you're about finished.</dialogue> <scene_description>ARTOO whistles a positive reply . PADME sees KITSTER riding toward them on an EOPIE , a strange camel - lile creature . He is leading a second EOPIE behind him . PADME goes over to ANAKIN . He looks very vulnerable as he sleeps . She watches him , then touches him on the cheek . ANAKIN wakes up , yawns , and looks at her , a little puzzled .</scene_description> <character>ANAKIN</character> <dialogue>You were in my dream. you were leading a huge army into battle.</dialogue> <character>PADME</character> <dialogue>I hope not ; I hate fighting. Your mother wants you to come in and clean up. We have to leave soon.</dialogue> <scene_description>ANAKIN stands up and stretches just as KITSTER arrives .</scene_description> <character>ANAKIN</character> <dialogue>Hook'em up, Kitster.</dialogue> <parenthetical>( to Padme . )</parenthetical> <dialogue>I wo n't be long. Where's Qui - Gon?</dialogue> <character>PADME</character> <dialogue>He and Jar Jar left already. They're with Watto at the arena.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - MAIN HANGER - DAY</stage_direction> <scene_description>RACE CREWS mill about outside the Main Hanger .</scene_description> </scene> <scene> <stage_direction>INT. MOS ESPA - ARENA - MAIN HANGER - DAY</stage_direction> <scene_description>The hanger is a large building with a dozen or so Podracers being readied for the race . ALIEN CREWS and PILOTS rush about , making last minute fixes on their vehicles . WATTO , QUI - GON , and JAR JAR walk through the activity .</scene_description> <character>WATTO</character> <dialogue>I want to see your spaceship the moment the race is over.</dialogue> <character>QUI-GON</character> <dialogue>Patienc, my blue friend. You'll have your winnings before the suns set, and we'll be far away from here.</dialogue> <character>WATTO</character> <dialogue>Not if your ship belongs to me, I think. I warn you, no funny business.</dialogue> <character>QUI-GON</character> <dialogue>You do n't think Anakin will win?</dialogue> <scene_description>WATTO stops before an orange racer . Sitting to one side , having his shoulders and neck massaged by TWIN YOBANAS , is SEBULBA .</scene_description> <character>WATTO</character> <dialogue>Do n't get me wrongo. I have great faith in the boy. He's a credit to your race, but Sebulba there is going to win, I think.</dialogue> <character>QUI-GON</character> <dialogue>Why?</dialogue> <character>WATTO</character> <dialogue>He always wins.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>I'm betting heavily on Sebulba.</dialogue> <character>QUI-GON</character> <dialogue>I'll take that bet.</dialogue> <character>WATTO</character> <parenthetical>( suddenly stops laughing . )</parenthetical> <dialogue>What?! What do you mean?</dialogue> <character>QUI-GON</character> <dialogue>I'll wager my new racing pod against. say. the boy and his mother.</dialogue> <character>WATTO</character> <dialogue>A Pod for slaves. I do n't think so. well, poerhaps. Just one. the mother, maybe. the boy is n't for sale.</dialogue> <character>QUI-GON</character> <dialogue>The boy is small, he ca n't be worth much.</dialogue> <scene_description>WATTO shakes his head .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) For the fastest Pod ever built ?!</parenthetical> <dialogue /> <scene_description>WATTO shakes his head again .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Both , or no bet .</parenthetical> <dialogue /> <character>WATTO</character> <dialogue>No Pod's worth two slaves. not by a long shot. one slave or nothing.</dialogue> <character>QUI-GON</character> <dialogue>The boy, then.</dialogue> <scene_description>WATTO pulls out a small cube from his pocket .</scene_description> <character>WATTO</character> <dialogue>We'll let fate decide. Blue it's the boy, red his mother.</dialogue> <scene_description>WATTO tosses the cube down . QUI - GON lifts his hand slightly ; it turns blue . QUI - GON smiles . WATTO is angry .</scene_description> <character>WATTO</character> <parenthetical>( Cont'd. ) You won the small toss , outlander , bou you wo n't win the race , so .</parenthetical> <parenthetical>it makes little difference .</parenthetical> <dialogue /> <scene_description>ANAKIN and PADME enter the hanger on one of the EOPIES , pulling an engine . KITSTER , on the other EOPIE , is pulling another engine . With THREEPIO walking alongside , ARTOO trundles behind , pulling the Pod with SHMI sitting on it . WATTO passes ANAKIN as he leaves .</scene_description> <character>WATTO</character> <parenthetical>( Cont'd. ) ( subtitled . )</parenthetical> <dialogue>Bonapa keesa pateeso, o wan na meetee chobodd. / Better stop your friends betting, or I'll end up owning him, too.</dialogue> <scene_description>WATTO walks off , laughing .</scene_description> <character>ANAKIN</character> <dialogue>What did he mean by that?</dialogue> <character>QUI-GON</character> <dialogue>I'll tell you later.</dialogue> <scene_description>ARTOO beeps at THREEPIO .</scene_description> <character>THREEPIO</character> <dialogue>Oh my! Space travel sounds rather perilous.</dialogue> <scene_description>ARTOO emits a series of beeps .</scene_description> <character>THREEPIO</character> <dialogue>I can assure you they will never get me onto one of those dreadful starships!</dialogue> <character>KITSTER</character> <parenthetical>( to Anakin . )</parenthetical> <dialogue>This is so wizard! I'm sure you'll do it this time, Annie.</dialogue> <character>PADME</character> <dialogue>Do what?</dialogue> <character>KITSTER</character> <dialogue>Finish the race, of course!</dialogue> <character>PADME</character> <dialogue>You've never won a race?</dialogue> <character>ANAKIN</character> <dialogue>Well. not exactly.</dialogue> <character>PADME</character> <dialogue>Not even finished?!</dialogue> <scene_description>ANAKN looks sheepish .</scene_description> <character>ANAKIN</character> <dialogue>but Kitster's right, I will this time.</dialogue> <character>QUI-GON</character> <dialogue>Of course you will.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - DAY</stage_direction> <scene_description>One of Darth Maul 's PROBE DROIDS slowly floats down the main street of Tatooine . It looks in shops and studies PEOPLE as it searches for OBI - WAN , QI - GON , or the QUEEN .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - DESERT RACE ARENA - DAY</stage_direction> <scene_description>An EXTREME HIGH WIDE ANGLE reveals a vast arena in the Tatooine desert . A large semi - circular amphitheatre that holds at least a hundred thousand people dominates the landscape . Large viewing platforms loom over the racetrack . INT . MOS ESPA - ARENA ANNOUNCER 'S BOX - DAY -LRB- FX -RRB- A two - headed ANNOUNCER describes the scene .</scene_description> <character>A</character> <dialogue>Toogi! Toogie! / Greetings! Toong mee cha kulkah du Boonta magi! tah oos azalus ooval Poddraces. / We have perfect weather today for the Boonta classic. The most hazardous of all Podraces.</dialogue> <character>B</character> <dialogue>That's absolutly right. And a big turnout here, from all corners of the Outer Rim territories. I see the contestants are making their way out onto the starting grid.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - DESERT RACE ARENA - DAY</stage_direction> <scene_description>On the left side of the tracks across from the grandstands , a line of Podracers emerges from the large hanger , surrounded by several CREW MEMBERS . Pods are pulled by a wide variety of CREATURES and are led by aliens carrying flags . The PILOTS stand facing the royal box .</scene_description> <character>A</character> <dialogue>La Yma beestoo / Yes, there they are!</dialogue> <character>B</character> <dialogue>I see Ben Quadinaros from the Tund system.</dialogue> <character>A</character> <dialogue>eh Gasgano doowa newpa Ord Petrovia! / And Gasgano in thenew Ord Pedrovia.</dialogue> <character>B</character> <dialogue>Two time winner, Boles Roor.</dialogue> <character>A</character> <dialogue>Poo tula moosta, woe grane champio Sebulba du Pixelito! Splastyleeya bookie ookie! / On the front line the reigning champion, Sebulba from Pixelito. By far the favorite today.</dialogue> <character>B</character> <dialogue>And a late entry, Anakin Skywalker, a local boy.</dialogue> <character>A</character> <dialogue>Wampa peedunkee unko. / I hope he has better luck this time.</dialogue> <character>B</character> <dialogue>I see the flaggers are moving onto the track.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - GRANDSTAND - DAY</stage_direction> <scene_description>Colorful canopies shade some of the SPECTATORS . VENDORS sell barbecued creature parts and colorful drinks .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - ROYAL BOX - DAY (FX)</stage_direction> <scene_description>All the PILOTS bow from the waist as JABBA THE HUTT enters the box and waves to the crowd .</scene_description> <character>A</character> <dialogue>O grandio lust, Jabba Du Hutt, amu intoe tah parena. / His honor, our glorious host, Jabba the Hutt has entered the arena.</dialogue> <scene_description>The crowd ROARS . SEVERAL OTHER SLUG - LIKE HUTTS follow , along with humans and aliens . Several SLAVE GIRLS on a chain are led alongside JABBA .</scene_description> <character>JABBA</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Chowbaso! Tam ka chee Boonta rulee ya, kee madda hodrudda du wundee. / Welcome! Sebulba tuta Pixelito.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - STARTING GRID - DAY</stage_direction> <scene_description>SEBULBA , who is right next to ANAKIN , stands and waves to his fans . A small pep band plays as his fans wave and cheer . KITSTER attaches the giant engins to Anakin 's Pod with a long cable . SHMI gives ANAKIN a big hug and kiss . She looks him right in the eye .</scene_description> <character>SHMI</character> <dialogue>Be safe.</dialogue> <character>ANAKIN</character> <dialogue>I will, Mom. I promise.</dialogue> <scene_description>She leaves as ANAKIN checks the cable hitches .</scene_description> <character>JABBA</character> <dialogue>Mawhonic tuta Hok, Teemto Pagalies tuta Moonus Mandel, Anakin SKywalker tuta Tatoonine.</dialogue> <scene_description>The CROWD YELLS . ANAKIN waves to the crowd , as JABBA continues with his introductions . SEBULBA moves over to one of Anakin 's engines . KITSTER and JAR JAR unhitch the EOPIES , and KITSTER leads them away . ARTOO beeps that everything is OK . JAR JAR pats ANAKIN on the back .</scene_description> <character>JAR JAR</character> <dialogue>Dis berry loony, Annie. May da guds be kind, mesa palo.</dialogue> <scene_description>PADME comes up and gives ANAKIN a little kiss on the cheeek . SEBULBA bangs on a part protruding from Anakin 's engine . He looks around to see if anyone has noticed .</scene_description> <character>PADME</character> <dialogue>You carry all our hopes.</dialogue> <character>ANAKIN</character> <dialogue>I wo n't let you down.</dialogue> <scene_description>PADME moves away as SEBULBA edges his way next to ANAKIN and gives him a sinister grin .</scene_description> <character>SEBULBA</character> <dialogue>Bazda wahota, shag. Dobiella Nok. Yoka to Bantha poodoo. / You wo n't walk away from this one, slave scum! You're Bantha poodoo.</dialogue> <character>ANAKIN</character> <parenthetical>( subtitled . )</parenthetical> <dialogue>Cha skrundee da pat, sleemo. / Do n't count on it, slime - ball.</dialogue> <scene_description>ANAKIN looks the evil SEBULBA in the eye with a cold stare . QUI - GON approaches , and SEBULBA backs off toward his racer .</scene_description> <character>JABBA</character> <parenthetical>( sutitled . )</parenthetical> <dialogue>. Ka bazza kundee hodrudda! /. Let the challenge begin!</dialogue> <scene_description>The CROWD lets out a LOUD CHEER . QUI - GON helps ANAKIN into his Pod . The boy straps himself into the tiny racer .</scene_description> <character>QUI-GON</character> <dialogue>Are you all set, Annie?</dialogue> <parenthetical>( Anakin nods . )</parenthetical> <dialogue>Remember, concentrate on the moment. Feel. Do n't think. Trust your instincts.</dialogue> <parenthetical>( he smiles . )</parenthetical> <dialogue>May the Force be with you.</dialogue> <scene_description>QUI - GON steps away as ANAKIN puts on his goggles . The PILOTS flip switches , and powerful energy binders shoot between the engines . ANAKIN flips a switch , and his engine starts . The incredible ROAR of high - powered engines igniting echoes throughout the arena . One driver , ODY MANDRELL , yells at a droid -LRB- DUM - 4 -RRB- to get away from the front of his engine . The crowd is tense .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - STARTING GRID - DAY</stage_direction> <scene_description>The giant power - house engines torque as the PILOTS gun them . The PILOTS flip switches , and poerful energy binders shoot between the engines . Aliens carrying large flags move off the track . JAR JAR covers his eyes .</scene_description> <character>JAR JAR</character> <dialogue>Mesa no watch. Dissen ganna be messy!</dialogue> <character>A</character> <dialogue>Ya pawa culka doe rundee! / The power couplings are being activated</dialogue> <character>B</character> <dialogue>Hey, it looks like they're clearing the grid.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - VIEWING PLATFORM - DAY</stage_direction> <scene_description>SHMI looks nervously to QUI - GON as he enters a veiwing platform . PADME and JAR JAR are already on board . The platform rises like an elevator .</scene_description> <character>SHMI</character> <dialogue>Is he nervous?</dialogue> <character>QUI-GON</character> <dialogue>He's fine.</dialogue> <character>PADME</character> <dialogue>You Jedi are far too reckless. The Queen.</dialogue> <character>QUI-GON</character> <dialogue>The Queen trusts my judgment, young handmaiden. You should too.</dialogue> <character>PADME</character> <dialogue>You assume too much.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA ANNOUNCER'S BOX - DAY (FX)</stage_direction> <character>B</character> <dialogue>Start your engines.</dialogue> <scene_description>The earth - pounding ROAR of the engines revving is deafening .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - ROYAL BOX - DAY (FX)</stage_direction> <scene_description>Jabba bites off the head of a frog and spits it at a gong , signaling the start of the race .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - STARTING GRID - DAY</stage_direction> <scene_description>On a bridge over the track , a great green light at the center flashes . The Podracers shoot forward with a high - pitches scream . ANAKIN 'S engine floods and coughs - then dies . All the other Podracers except one swerve around him and dissapear down the track . The slave boy struggles to get his racer started . The two - headed announcer reports .</scene_description> <character>A</character> <dialogue>An dare ovv! / And they're off!</dialogue> <character>B</character> <dialogue>Oh. wait. Little Skywalker has stalled.</dialogue> <scene_description>PADME and JAR JAR are very dissapointed with ANAKIN . QUI - GON puts his arm around a very worried SHMI to comfort her . Finally , Anakin 's engines ignite . He zooms away after the receeding pack of competitors , leaving one quadra - Pod racer still trying to get started . The two - headed ANNOUNCER describes the race as it progresses .</scene_description> <character>B</character> <dialogue>And there goes Skywalker. He'll be hard pressed to catch up with the leaders today.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - RACETRACK - DAY (FX)</stage_direction> <scene_description>The Podracers fly across the desert . SEBULBA is running neck and neck with MAWHONIC . They round the first turn in the track , side by side . SEBULBA drives his Pod into his rival , forcing him into the wall of a large rock formation . MAWHONIC crashes in a spectacular display of fire and smoke . ANAKIN is much faster than the back - end stragglers and passes them easily . One of the drivers , GASGANO , wo n't let ANAKIN by . ANAKIN tries to pass him on one side and is cut off . He then tries to pass him on the other side ansd is cut off . As they come up on a cliff drop - off , ANAKIN backs off , then guns it as GASGANO goes over the cliff . ANAJIN accelerates so fast that he sails right over the top of GASGANO and speeds away . Four TUSKEN RAIDERS perched above the race course fire their rifles at the Pods racing in the canyon below them . One shot ricochets off the back of Anakin 's Pod .</scene_description> <character>B</character> <dialogue>Looks like a few Tusken Riaders have campe out on the canyon dune turn.</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - VIEWING PLATFORM - DAY</stage_direction> <scene_description>JABBA THE HUTT and the crowd watch the progress of the race on small , hand - held view screens . JAR JAR is looking over the shoulder of a strange alien named FANTA .</scene_description> <character>JAR JAR</character> <dialogue>Where's Skywalker?</dialogue> <scene_description>FANTA moves the view screen out of Jar Jar 's view . PADME , SHMI , and QUI - GON watch another screen and look worried . ARTOO , down in the pits with KITSTER , lets out a worried sigh . The driver of the quadra - Pod looks worried .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - RACETRACK - DAY (FX)</stage_direction> <scene_description>ANAKIN is powering around corners and over hills and cliffs , passing other racers right and left . SEBULBA is in the lead . He is being challenged by another racer , XELBREE . SEBULBA slows a little , and as XELBREE pulls alongside , he opens a side vent on the racer 's engine and the exhaust starts to cut through the alien 's engine . The blast cuts along the engine until finally it EXPLODES . SEBULBA deftly veers away . ANAKIN works his way through a dense mass of racers as they zoom over a dune sea , kicking up dust . His Pod shakes violently as he goes over a jump . One of the Podracers , ODY , catches one of his engines in the sand , and the whole thing EXPLODES .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - VIEWING PLATFORM - DAY</stage_direction> <scene_description>QUI - GON sits quietly , meditating . PADME and SHMI search the landscape for any sign of the racers . JAR JAR is still annoying FANTA for information . The crowd SCREAMS . WATTO is laughing with his friends , confident in Anakin 's defeat . The quadra - Pod engines start just as the racers come around the corner . The DRIVER , BEN QUADINAROS , puts it in gear , and the four engines go off in all directions , EXPLODING in a spectacular display . The Pod drops to the ground as SEBULBA enters the arena , closely followed by all the OTHER RACERS . KITSTER strains to see as ARTOO beeps excitedly . The announcer continues .</scene_description> <character>B</character> <dialogue>There goes Quadinaros' power couplings.</dialogue> <character>A</character> <dialogue>Sebulba! Ka pa me cheespa wata! / Here comes Sebulba in record time.</dialogue> <scene_description>QUI - GON , PADME , SHMI , and JAR JAR yell for joy as ANAKIN passes . JAR JAR is very nervous and pounds on the back of his alien neighbor , FANTA .</scene_description> <character>JAR JAR</character> <dialogue>What gooie - on?</dialogue> <character>FANTA</character> <dialogue>Bug off.</dialogue> <scene_description>Lap two . SEBULBA and the pack race past the main arena . The crowd stands and YELLS as the Podracers scream off into the distance . QUI - GON and PADME look worried .</scene_description> <character>JAR JAR</character> <dialogue>He musta crash - ud.</dialogue> <character>PADME</character> <dialogue>Here he comes!</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - PIT AREA - DAY (FX)</stage_direction> <scene_description>ARTOO lets out an excited whistle , as KITSTER yells .</scene_description> <character>THREEPIO</character> <dialogue>He has to complete two more circuits? Oh dear!</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - RACETRACK - DAY (FX)</stage_direction> <scene_description>Sure enough , coming around the bend is ANAKIN , quickly gaining on the pack . The two - headed announcer describes the action . The crowd goes wild .</scene_description> <character>B</character> <dialogue>It looks like Skywalker is moving up through the field. He's in.</dialogue> <character>A</character> <dialogue>Steeth pa nagoola! / Sixth place, not bad.</dialogue> <scene_description>ANAKIN continues to gain on the pack . Tension for SHMI and PADME is unbearable . ODY stops in the pits . Droids work on his engines . DUM - 4 stands in front of the engine and is sucked in , causing the engine to die . DUM - 4 is spit out the back of the engine , very bent up . The engine lets out one final wheeze , then EXPLODES in a puff of smoke .</scene_description> <character>A</character> <dialogue>Ody Mandrell! Coona wa wunda dunko! / Ody Mandrell into the pits for some attention.</dialogue> <character>ODY</character> <dialogue>Droids!</dialogue> <scene_description>TERTER is getting close to SEBULBA , who purposely breaks a small part off his Pod , sending it into Terter 's engine , causing him to veer into ANAKIN , and unhooks one of the main straps on Anakin 's engines that links the Pod to his engines . ANAKIN struggles to keep control of the little Pod . It whips about wildly . As the Pod swings near the broken engine strap , ANAKIN grabs for it . Finally , he catches the strap and manages to unhook it to the Pod . SEBULBA cuts the engine of OBITOKI with his side exhaust , and the racer crashes with a cloud of dust . A THIRD RACER , HABBA , flie into the cloud of dust and crashes into OBITOKI . ANAKIN rounds a corner and heads into the cloud of smoke . He hits a part of one of the engines but regains control .</scene_description> <character>B</character> <dialogue>At the start of the third and final lap, Sebulba is in the lead, closely followed by Skywalker.</dialogue> <scene_description>ANAKIN finally catches up with SEBULBA , and runs neck and neck over the rough terrain . JAR JAR , QUI - GON , SHMI , and PADME all SCREAM s ANAKIN comes through the arena . The lights in the tower indicate that this is the third and last lap . WATTO begins to worry . SEBULBA uses his side exhaust port to try to cut through Anakin 's engines . ANAKIN manages to avoid having his engine disabled but is forced off course .</scene_description> <character>B</character> <dialogue>Skywalker is forced onto the service ramp!</dialogue> <character>A</character> <dialogue>Oh noah!</dialogue> <scene_description>On a tight corner , ANAKIN dives to the inside and takes the lead .</scene_description> <character>B</character> <dialogue>Amazing. a controlled thrust and he's back on course! What a move!</dialogue> <scene_description>SEBULBA is furious . He stay 's right on Anakin 's tail , crowding him and pushing him through the turns . SEBULBA pushes ANAKIN harder , and the young boy has a difficult time keeping control . One of the parts on Anakin 's engines begins to shake loose . ANAKIN sees it and switches over to an auxiliary system . While he is trying to accomplish this maneuver , SEBULBA races past him . ANAKIN tries to get around SEBULBA , to no avail . Every move ANAKIN makes , SEBULBA is able to block . Finally , ANAKIN fakes a move into the inside as he usually does , then tries to go around SEBULBA on the outside . They race sid by side down the final stretch of the track .</scene_description> <character>B</character> <dialogue>He's catching Sebulba.</dialogue> <character>A</character> <dialogue>Inkabunga. / Incredible!</dialogue> <scene_description>SEBULBA veers toward ANAKIN and bangs into his Pod . He crashes into ANAKIN over and over . The young boy struggles to maintain control as the steering rods on the two Pods become hooked together . SEBULBA laughs at ANAKIN .</scene_description> <character>B</character> <dialogue>That little human being is out of his mind.</dialogue> <character>A</character> <dialogue>Punda tah punda! / They're neck and neck!</dialogue> <character>B</character> <dialogue>They're side by side!</dialogue> <character>A</character> <dialogue>Bongo du bongu! / Shoulder to shoulder!</dialogue> <scene_description>As they head for the final stretch , ANAKIN fights to unlock the steering rods by trying to pull away from SEBULBA . The strain on the steering rod is tremendous . Suddenly , ANAKIN 's steering arm breaks , and his Pos starts spinning . The release of tension sends SEBULBA into an ancient statue . One engine EXPLODES , then the other . SEBULBA skids through the fire - balls , blackened , but unhurt . He slides to a smoking stop , gets out of his racer , and throws what 's left of a shifter arm on the ground . Suddenly he realizes his pants are on fire , and he struggles to put them out . ANAKIN flies through the EXPLOSION as the crowd stands , CHERRING . PADME and JAR JAR jump up and down with excitment , PADME screaming for joy . ARTOO and KITSTER whistle hysterically . QUI - GON and SHMI smile . ANAKIN races over the finish line , the winner .</scene_description> </scene> <scene> <stage_direction>INT. MOS ESPA - ARENA ANNOUNCERS BOX - DAY (FX)</stage_direction> <scene_description>The two - headed announcer excitedly calls the finish .</scene_description> <character>B</character> <dialogue>It's Skywalker! The crowd are going nuts! Oh Ah Oh Ah.</dialogue> <parenthetical>( rock head in tandem with partner . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - DAY</stage_direction> <scene_description>As ANAKIN stops the Podracer , KISTER turns up , and they embrace . Hundreds of SPECTATORS join them and put ANAKIN on their shoulders , marching off , CHEERING AND CHANTING . Darth Maul 's PROBE DROIDS move through the crowd .</scene_description> </scene> <scene> <stage_direction>INT. MOS ESPA - ARENA - PRIVATE BOX - DAY</stage_direction> <scene_description>Several ALIENS leave Watto 's box , laughing and counting their money . WATTO sees QUI - GON standing in the doorway .</scene_description> <character>WATTO</character> <dialogue>You! You swindled me! You knew the boy was going to win! Somehow you knew it! I lost everything.</dialogue> <scene_description>WATTO flies up to QUI - GON and puts his face right up against QUI - GON 's . QUI - GON simply smiles .</scene_description> <character>QUI-GON</character> <dialogue>Whenever you gamble, my freind, eventually you'll lose. Bring the parts to the main hanger. I'll come by your shop later so you can release the boy.</dialogue> <character>WATTO</character> <dialogue>You ca n't have him! It was n't a fair bet!</dialogue> <character>QUI-GON</character> <dialogue>Would you like to discuss it with the Hutts. I'm sure they can settle this.</dialogue> <character>WATTO</character> <dialogue>No, no! I want no more of your tricks! Take him!</dialogue> <scene_description>The SITH PROBE DROID watches with great interest .</scene_description> </scene> <scene> <stage_direction>EXT. MOS ESPA - ARENA - MAIN HANGER - DAY</stage_direction> <scene_description>The Main Hanger is almost deserted as RACERS depart .</scene_description> </scene> <scene> <stage_direction>INT. MOS ESPA - ARENA - MAIN HANGER - DAY</stage_direction> <scene_description>JAR JAR gives ANAKIN a great hug , then PADME gives him a hug , then SHMI .</scene_description> <character>ANAKIN</character> <dialogue>Ah, gee. enough of this.</dialogue> <character>SHMI</character> <dialogue>It's so wonderful, Annie. You have brought hope to those who have none. I'm so very proud of you.</dialogue> <character>PADME</character> <dialogue>We owe you everything.</dialogue> <character>ANAKIN</character> <dialogue>Just feeling this good was worth it.</dialogue> <scene_description>In the background , QUI - GON has harnessed the EOPIES to containers full of parts .</scene_description> <character>QUI-GON</character> <dialogue>Padme. Jar Jar, let's go, we've got to get these parts back to the ship.</dialogue> <scene_description>The GROUP walks over to QUI - GON and the EOPIES . PADME climbs on behind QUI - GON . JAR JAR swings up onto the second EOPIE , only to slwly slide off the other side . ARTOO whistles . ANAKIN and SHMI wave as they ride off .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) I 'll return the eopies by midday .</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - NABOO SPACECRAFT - DAY</stage_direction> <scene_description>ARTOO cruises ahead of QUI - GON and PADME , who are riding one of the EOPIES ; JAR JAR ridses the other . They stop in front of the sleek Naboo spacecraft . OBI - WAN comes out of the ship and joins them .</scene_description> <character>QUI-GON</character> <dialogue>Start getting this hyperdrive generator installed. I'm going back. some unfinished business. I wo n't be long.</dialogue> <character>OBI-WAN</character> <dialogue>Why do I sense we've picked up another pathetic life form?</dialogue> <character>QUI-GON</character> <dialogue>It's the boy who's responsible for getting those parts.</dialogue> <scene_description>On a hill far overlooking the Naboo spacecraft , the SITH PROBE DROID turns and speeds away .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - STREET - SLAVE QUARTERS - DAY</stage_direction> <scene_description>ANAKIN and A GREEDO are rolling around on the floor , fighting . About A DOZEN OR SO KIDS are standing around them , yelling . Suddenly , a long shadow is cast over the TWO BOYS ; they stop fighting and look up . QUI - GOMN is towering above them . KITSTER is with them .</scene_description> <character>QUI-GON</character> <dialogue>What's this?</dialogue> <character>ANAKIN</character> <dialogue>He said I cheated.</dialogue> <character>QUI-GON</character> <dialogue>Did you?</dialogue> <character>ANAKIN</character> <dialogue>No!</dialogue> <character>QUI-GON</character> <dialogue>Do you still think he cheated?</dialogue> <character>GREEDO</character> <dialogue>Yes.</dialogue> <character>QUI-GON</character> <dialogue>Well, Annie. You know the truth. You will have to tolerate his opinion, fighting wo n't change it.</dialogue> <scene_description>QUI - GON moves off down the street . Anakin follows . The GREEDO wanders over to WALD who has been watching the goings - on .</scene_description> <character>WALD</character> <dialogue>Keep this up, Greedo, and you're gon na come to a bad end.</dialogue> <scene_description>Farther down the street QUI - GON and ANAKIN head toward Anakin 's hovel . QUI - GON takes a handful of credits from beneath his poncho and hands them to the boy .</scene_description> <character>QUI-GON</character> <dialogue>These are yours. We sold the Pod.</dialogue> <character>ANAKIN</character> <parenthetical>( suddenly beaming . )</parenthetical> <dialogue>Yes!</dialogue> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - MAIN ROOM - DAY</stage_direction> <scene_description>SHMI is cleaning up as ANAKIN bursts through the door , followed by QUI - GON .</scene_description> <character>ANAKIN</character> <dialogue>Mom, he sold the Pod. Look at all the money we have!</dialogue> <scene_description>ANAKIN pulls a bag of coins out of his pocket .</scene_description> <character>SHMI</character> <dialogue>Oh, my goodness, That's wonderful.</dialogue> <character>QUI-GON</character> <dialogue>And Anakin has been freed.</dialogue> <character>ANAKIN</character> <dialogue>What?!?</dialogue> <character>QUI-GON</character> <dialogue>You're no longer a slave.</dialogue> <scene_description>ANAKIN jumps for joy ! SHMI is stunned .</scene_description> <character>ANAKIN</character> <dialogue>Did you hear that, Mom?</dialogue> <parenthetical>( to Qui - Gon . )</parenthetical> <dialogue>Was that part of the prize, or what?</dialogue> <character>QUI-GON</character> <dialogue>Let's just say Watto has learned an important lesson about gambling.</dialogue> <character>SHMI</character> <dialogue>Now you can make your dreams come true, Annie. You're free!</dialogue> <parenthetical>( turns to Qui - Gon . )</parenthetical> <dialogue>Will you take him with you? Is he to become a Jedi?</dialogue> <character>QUI-GON</character> <dialogue>Our meeting was not a coincidence. Nothing happens by accident. You are strong with the Force, but you may not be accepted by the Coucil.</dialogue> <character>ANAKIN</character> <dialogue>A Jedi! Mighty blasters, you mean I get to go with you in your starship and everything?!</dialogue> <scene_description>QUI - GON kneels down to the boy .</scene_description> <character>QUI-GON</character> <dialogue>Anakin, training to be a Jedi will not be a easy challenge. And if you succeed, it will be a hard life.</dialogue> <character>ANAKIN</character> <dialogue>But it's what I want. What I've always dreamed about. Can I go, Mom?!</dialogue> <character>QUI-GON</character> <dialogue>This path has been placed for you, Annie ; the choice to take it is yours alone.</dialogue> <scene_description>ANAKIN thinks , looks to his mother , then to QUI - GON .</scene_description> <character>ANAKIN</character> <dialogue>I want to go.</dialogue> <character>QUI-GON</character> <dialogue>Then, pack your things. We have n't much time.</dialogue> <character>ANAKIN</character> <dialogue>Yipee!</dialogue> <scene_description>ANAKIN hugs his mom and starts for the other room , then stops . SHMI and QUI - GON give each other a knowing look . ANAKIN has realized something .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) What about Mom ?</parenthetical> <parenthetical>Is she free too ?</parenthetical> <parenthetical>You 're coming , are n't you , Mom</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>I tried to free your mother, Annie, but Watto would n't have it.</dialogue> <character>ANAKIN</character> <dialogue>But the money from selling.</dialogue> <character>QUI-GON</character> <dialogue>It's not nearly enough.</dialogue> <scene_description>SHMI comes over to her son and sits next to him . Taking both of his hands in hers , she draws him close .</scene_description> <character>SHMI</character> <dialogue>Son, my place is here. My future is here. It is time for you to let go. to let go of me. I can not go with you.</dialogue> <character>ANAKIN</character> <dialogue>I want to stay with you. I do n't want things to change.</dialogue> <character>SHMI</character> <dialogue>You ca n't stop change any more than you can stop the suns from setting. Listen to your feelings ; Annie, you know what's right.</dialogue> <scene_description>ANAKIN takes a deep breath , drops his head . QUI - GON and SHMI exchange a look of concern . When ANAKIN raises up , there are tears in his eyes .</scene_description> <character>ANAKIN</character> <dialogue>I'm going to miss you so much, Mom.</dialogue> <character>SHMI</character> <dialogue>I love you, Annie. now hurry.</dialogue> <scene_description>ANAKIN and SHMI hug . ANAKIN runs into the other room .</scene_description> <character>SHMI</character> <parenthetical>( Cont'd. ) Thank you .</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>I will watch after him. You have my word. Will you be all right?</dialogue> <character>SHMI</character> <dialogue>He was in my life for such a short time.</dialogue> </scene> <scene> <stage_direction>INT. ANAKIN'S HOVEL - SECOND ROOM - DAY</stage_direction> <scene_description>ANAKIN has thrown the last of his things in a small backpack . As he leaves , he stops and pushes the button that wakes his droid up . THREEPIO stares at him blankly .</scene_description> <character>ANAKIN</character> <dialogue>Well, Threepio, I'm free. and I'm going away. in a starship.</dialogue> <character>THREEPIO</character> <dialogue>Master, Annie, you are my maker, and I wish you well. Although I'd like it better if I were a little less naked.</dialogue> <character>ANAKIN</character> <dialogue>I'm sorry I was n't able to finish you, Threepio. give you coverings and all. I'm going to miss working on you. You've been a great pal. I'll make sure Mom does n't sell you or anything. Bye.</dialogue> <scene_description>THREEPIO stares at ANAKIN as he rushes out of the room .</scene_description> <character>THREEPIO</character> <dialogue>Sell me?!?</dialogue> </scene> <scene> <stage_direction>EXT. MOS ESPA - STREET - SLAVE QUARTERS - DAY</stage_direction> <scene_description>KITSTER runs up to ANAKIN as he and QUI - GON exit Anakin 's hovel . SHMI stands in the doorway . ANAKIN pulls a handful of coins out of his pocket and gives them to KITSTER .</scene_description> <character>KITSTER</character> <dialogue>There are so many of us who want you to stay, Annie. You're a hero.</dialogue> <character>ANAKIN</character> <dialogue>I.</dialogue> <parenthetical>( looks to SHMI . )</parenthetical> <dialogue>I. have to go.</dialogue> <scene_description>QUI - GON has moved a short way down the street .</scene_description> <character>KITSTER</character> <dialogue>Well.</dialogue> <character>ANAKIN</character> <dialogue>Well.</dialogue> <character>KITSTER</character> <dialogue>Thank's for every moment you've been here. You're my best friend.</dialogue> <character>ANAKIN</character> <dialogue>I wo n't forget.</dialogue> <scene_description>ANAKIN hugs KITSTER and runs toward QUI - GON , then stops to look back at his mother standing in the doorway . He turns back to QUI - GON , then turns and runs back to his mother .</scene_description> <character>ANAKIN</character> <parenthetical>( starting to cry . )</parenthetical> <dialogue>I ca n't do it, Mom. I just ca n't.</dialogue> <scene_description>SHMI hugs ANAKIN . QUI - GON watches from the distance . She kneels down and looks him in the face .</scene_description> <character>SHMI</character> <dialogue>Annie, remember when you climbed the great dune in order to chase the Banthas away so they would n't be shot. Remember how you collapses several times, exhausted thinking you could n't do it?</dialogue> <scene_description>ANAKIN shakes his head .</scene_description> <character>SHMI</character> <parenthetical>( Cont'd. ) This is one of those times when you have to do something you do n't think you can do .</parenthetical> <parenthetical>I know how strong you are , Annie .</parenthetical> <parenthetical>I know you can do this .</parenthetical> <dialogue /> <character>ANAKIN</character> <dialogue>Will I ever see you again?</dialogue> <character>SHMI</character> <dialogue>What does your heart tell you?</dialogue> <character>ANAKIN</character> <dialogue>I hope so. yes. I guess.</dialogue> <character>SHMI</character> <dialogue>Then we will see each other again.</dialogue> <character>ANAKIN</character> <dialogue>I. will become a Jedi and I will come back and free you, Mom. I promise.</dialogue> <character>SHMI</character> <dialogue>No matter where you are, my love will be with you. Now be brave, and do n't look back. do n't look back.</dialogue> <character>ANAKIN</character> <dialogue>I love you so much.</dialogue> <scene_description>SHMI hugs ANAKIN , then turns him around so he is facing QUI - GON , and off he marches , like the brave little trooper that he is . He marches right past QUI - GON , starring right ahead , tears in his eyes , determined not to look back .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT MESA - DAY</stage_direction> <scene_description>The PROBE DROID beeps and whistles to DARTH MAUL . The SITH LORD gets on a speeder bike and follows the PROBE DROID into Mos Espa .</scene_description> </scene> <scene> <stage_direction>EXT MOS ESPA - STREET - FRUIT STAND - DAY</stage_direction> <scene_description>ANAKIN and QUI - GON exit WATTO 'S and stop before JIRA 'S fruit stand . ANAKIN hands JIRA some coins .</scene_description> <character>ANAKIN</character> <dialogue>I've been freed, and I'm going away. Buy yourself a cooling unit with this. Otherwise I'll worry about you.</dialogue> <scene_description>JIRA is astonished . She stares , not knowing what to say .</scene_description> <character>JIRA</character> <dialogue>Can I give you a hug</dialogue> <character>ANAKIN</character> <dialogue>Sure.</dialogue> <scene_description>She gives him a hug .</scene_description> <character>JIRA</character> <dialogue>I'll miss you, Annie. there is n't a kinder boy in the galaxy. You be careful.</dialogue> <scene_description>ANAKIN runs to join QUI - GON , who has already started down the street . As they walk along together , QUI - GON notices something out of the corner of his eye . Suddenly , without breaking his stride , he ignites his laser sword , swing around , and lunges forward and cuts a lurking PROBE DROID in half . QUI - GON inspects the sparking and fizzing DROID .</scene_description> <character>ANAKIN</character> <dialogue>What is it?</dialogue> <character>QUI-GON</character> <dialogue>Probe droid. Very unusual. not like anything I've seen before. Come on.</dialogue> <scene_description>QUI - GON and ANAKIN start running .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - NABOO SPACECRAFT - DAY</stage_direction> <scene_description>QUI - GON and ANAKIN run toward the Naboo spacecraft . ANAKIN is having a hard time keeping up .</scene_description> <character>ANAKIN</character> <dialogue>Master Qui - Gon, sir, wait!</dialogue> <scene_description>QUI - GON turns to answer and sees a DARK - CLOAKED FIGURE bearing down on a speeder bike .</scene_description> <character>QUI-GON</character> <dialogue>Anakin, drop!</dialogue> <scene_description>ANAKIN drops to the ground just as DARTH MAUL sweeps over him . DARTH MAUL jumps off his speeder bike , and before he has hit the ground , the Sith Lord has swund a death blow with his laser sword that is barely blocked by QUI - GON . ANAKIN picks himself up . The two galactic warriors , Sith and Jedi , are bashing each other with incredible blows . They move in a continual cloudof dust , smashing everything around them . This is a fierce fight . ANAKIN gets up , bewildered by the confrontation .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Annie , get to the ship !</parenthetical> <parenthetical>Take off !</parenthetical> <parenthetical>Go !</parenthetical> <parenthetical>Go !</parenthetical> <dialogue /> <scene_description>QUI - GON struggles to fend off the relentless onslaught as ANAKIN races to the ship .</scene_description> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - HALLWAY</stage_direction> <scene_description>ANAKIN runs into the main hallway of the spaceship , where PADME and CAPTAIN PANAKA are working .</scene_description> <character>ANAKIN</character> <dialogue>Qui - Gon's in trouble. He says to take off. now!</dialogue> <character>CAPT. PANAKA</character> <dialogue>Who are you?</dialogue> <character>PADME</character> <dialogue>He's a friend.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - COCKPIT</stage_direction> <scene_description>CAPTAIN PANAKA , ANAKIN , and PADME rush into the cockpit where OBI - WAN and RIC OLIE are checking the hyperdrive .</scene_description> <character>CAPT. PANAKA</character> <dialogue>Qui - Gon is in trouble, he says to take off!</dialogue> <character>PILOT</character> <dialogue>I do n't see anything.</dialogue> <character>OBI-WAN</character> <dialogue>Over there! Fly low!</dialogue> <scene_description>In the distance is a small cloud of dust .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - DESERT - NABOO SPACECRAFT - DAY</stage_direction> <scene_description>QUI - GON and DARTH MAUL continue theirsword battle . Leaping over one another in an incredible display of acrobatics , the two warrios hear the ship fly over them a few feet off the ground . QUI - GON almost dissapears for a moment . Before DARTH MAUL knows what 's happening , QUI - GON is on the spacecrat 's ramp .</scene_description> </scene> <scene> <stage_direction>EXT. TATOOINE - NABOO SPACECRAFT RAMP - DAY</stage_direction> <scene_description>The SITH LORD immediately jumps onto the ramp after QUI - GON , but barely makes it . His heels hang over the edge of a forty - foot drop . QUI - GON swings his laser sword with all his might and knocks DARTH AMUL off the ramp and onto the desert floor . The ramp closes , and the Naboo craft rockets away , leaving the Sith Lord standing alone .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - NABOO SPACECRAFT (FX)</stage_direction> <scene_description>The sleek spacecraft rockets away from the planet Tatooine .</scene_description> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - HALLWAY</stage_direction> <scene_description>ANAKIN and OBI - WAN rush into the hallway to find QUI - GON collapsed on the floor opposite the entry . ARTOO is looking over him . The JEDI is breathing hard , wet with sweat and covered in dirt .</scene_description> <character>ANAKIN</character> <dialogue>Are you all right?</dialogue> <character>QUI-GON</character> <dialogue>I think so. that was a surpirse I wont soon forget.</dialogue> <character>OBI-WAN</character> <dialogue>What was it?</dialogue> <character>QUI-GON</character> <dialogue>I do n't know. but he was well trained in the Jedi arts. My guess is he was after the Queen.</dialogue> <character>ANAKIN</character> <dialogue>Do you think he'll follow us?</dialogue> <character>QUI-GON</character> <dialogue>We'll be safe enough once we're in hyperspace, but I have no doubt he knows our destination.</dialogue> <character>ANAKIN</character> <dialogue>What are we going to do about it?</dialogue> <scene_description>OBI - WAN gives ANAKIN a `` who are you ? '' look . ANAKIN returns an innocent stare .</scene_description> <character>QUI-GON</character> <dialogue>We will be patient. Anakin Skywalker, meet Obi - Wan Kenobi.</dialogue> <character>ANAKIN</character> <dialogue>Pleased to meet you. Wow! You're a Jedi too?</dialogue> <scene_description>OBI - WAN gives the boy a skeptical look .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT - SPACE</stage_direction> <scene_description>RIC OLIE pulls back on the hyperdrive . OBI - WAN , QUI - GON , and ANAKIN watch .</scene_description> <character>QUI-GON</character> <dialogue>Let's hope this hyperdrive works and Watto did n't get the last laugh.</dialogue> <scene_description>The stars streak outside the cockpit window .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - NABOO SPACECRAFT (FX)</stage_direction> <scene_description>The ship streaks into hyperspace .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - STREET - NIGHT (FX)</stage_direction> <scene_description>SEVERAL FEDERATION DROIDS patrol a deserted city street . The Palace can be seen in the distance .</scene_description> </scene> <scene> <stage_direction>INT. NABOO PALACE - THRONE ROOM - THEED - NIGHT</stage_direction> <scene_description>NUTE sits in a strange , mechanical walking chair , which approaches SIO BIBBLE and SEVERAL OTHER NABOO OFFICIALS . RUNE follows a few paces behind . DROID GUARDS surround SIO BIBBLE and THE OTHERS as FOUR COUNCIL MEMBERS watch .</scene_description> <character>NUTE</character> <dialogue>When are you going to give up this pointless strike? Your Queen is lost, your people are starving, and you, Governor, are going to die, much sooner than your people, I'm afraid. Take him away!</dialogue> <character>BIBBLE</character> <dialogue>This invasion will gain you nothing. We're a democracy. The people have decided. They will not live under your tyranny.</dialogue> <scene_description>BIBBLE is taken away as OOM - 9 approaches NUTE .</scene_description> <character>OOM-9</character> <dialogue>My troops are in position to begin searching the swamps for these rumored underwater villages. they will not stay hidden for long.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - MAIN AREA</stage_direction> <scene_description>The ship is asleep . The lights are dim as PADME walks into the main room . She goes to a monitor and watches the BIBBLE plea recording . JAR JAR is stretched out on the floor , snoring . ARTOO is to one side , cooing as he rests . PADME appears tired . She senses someone watching her and turns around with a start . She sees ANAKIN sitting in the corner , shivering and looking verydejected . She goes over to him . He looks up at her with tears in his eyes . He is holding his arms to keep himself warm .</scene_description> <character>PADME</character> <dialogue>Are you all right?</dialogue> <character>ANAKIN</character> <dialogue>It's very cold.</dialogue> <scene_description>PADME gives him her over - jacket .</scene_description> <character>PADME</character> <dialogue>You're from a warm planet, Annie. Too warm for my taste. Space is cold.</dialogue> <character>ANAKIN</character> <dialogue>You seem sad.</dialogue> <character>PADME</character> <dialogue>The Queen is. worried. Her people are suffering. dying. She must convince the Senate to intervene, or. I'm not sure what will happen.</dialogue> <character>ANAKIN</character> <dialogue>I'm. I'm not sure what's going to happen to me. I dunno if I'll ever see you again.</dialogue> <parenthetical>( he pulls something from his pocket . )</parenthetical> <dialogue>I made this for you. Sou you'd remember me. I carved it out of a japor snippet. It will bring you good fortune.</dialogue> <scene_description>ANAKIN hands a wooden pendant to PADME . She inspects it , then puts it around her neck .</scene_description> <character>PADME</character> <dialogue>It's beautiful, but I do n't need this to remember you. Many things will change when we reach the capital, Annie. My caring for you will always remain.</dialogue> <character>ANAKIN</character> <dialogue>I care for you too. Only I. miss.</dialogue> <scene_description>ANAKIN is disturbed about something . Tears are in his eyes .</scene_description> <character>PADME</character> <dialogue>You miss your mother.</dialogue> <scene_description>ANAKIN looks at her , unable to speak . She hugs him .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - PLANET CORUSCANT (FX)</stage_direction> <scene_description>MOVE with the ship as it heads toward Coruscant .</scene_description> </scene> <scene> <stage_direction>INT. CORUSCANT - CITYSCAPE - NABOO SPACECRAFT - DAY (FX)</stage_direction> <scene_description>The spacecraft dlies over the endlesscityscape of Coruscant , the capital of the galaxy .</scene_description> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - COCKPIT</stage_direction> <scene_description>ANAKIN looks out the cockpit window in awe .</scene_description> <character>RIC OLIE</character> <dialogue>Coruscant. the capital of the Republic. the entire planet is one big city.</dialogue> <character>ANAKIN</character> <dialogue>Wow! It's so huge!</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - DAY (FX)</stage_direction> <scene_description>The ship flies through the cityscape of Coruscant .</scene_description> </scene> <scene> <stage_direction>EXT. CORUSCANT - SENATE LANDING PLATFORM - DAY</stage_direction> <scene_description>Supreme Chancellor VALORUM , SEVERAL GUARDS , and SENATOR PALPATINE stand on a landing platform . The sleek Naboo spacecraft lands on the platform high above the street level of the galactic capital . The ramp lowers . OBI - WAN , QUI - GON , JAR JAR and ANAKIN descend the ramp first and bow before PALPATINE and VALORUM . CAPTAIN PANAKA , TWO GUARDS , QUEEN AMIDALA , then PADME , RABE , EIRTAE , and MORE GUARDS descend the ramp . QUEEN AMIDALA stops before the group . ANAKIN and JAR JAR stand to one side , looking at the huge city . PADME smiles at ANAKIN . PALPATINE bows before the Queen .</scene_description> <character>PALPATINE</character> <dialogue>It is a great gift to see you alive, Your Majesty. May I present Supreme Chancellor Valorum.</dialogue> <character>VALORUM</character> <dialogue>Welcome, Your Highness. It is an honor to finally meet you in person. I must relay to you how distressed everyone is over the currant situation. I've called for a special session of the Senate to hear your position.</dialogue> <character>AMIDALA</character> <dialogue>I am grateful for your concern, Chancellor.</dialogue> <scene_description>PALPATINE starts to lead QUEEN AMIDALA and her RETINUE off the platform toward a waiting air taxi .</scene_description> <character>PALPATINE</character> <dialogue>There is a question of precedure, but I feel confident we can overcome it.</dialogue> <scene_description>JAR JAR and ANAKIN start to follow , then stop , noticing that OBI - WAN and QUI - GON are staying with the SUPREME CHANCELLOR . QUEEN AMIDALA waves to the duo to follow her . ANAKIN looks back to QUI - GON , and he nods to go ahead . ANAKIN and JAR JAR join the QUEEN , PALPATINE , PADME , RABE and EIRTAE in the taxi . PALPATINE gives the Gungan and the boy in the back of the taxi a skeptical look . JAR JAR leans over to ANAKIN .</scene_description> <character>JAR JAR</character> <dialogue>Da Queens - a bein grossly nice, mesa tinks.</dialogue> <parenthetical>( he looks around . )</parenthetical> <dialogue>Pitty hot!</dialogue> <scene_description>VALORUM and the JEDI watch the taxi move off into the city .</scene_description> <character>QUI-GON</character> <dialogue>I must speak with the Jei Council immediately, Your Honor. The situation has become more complicated.</dialogue> </scene> <scene> <stage_direction>INT. PALPATINE'S QUARTERS - ANTEROOM - DAY</stage_direction> <scene_description>QUEEN AMIDALA is sitting listening to PALPATINE . EIRTAE and RABE stand behind the QUEEN ; PADME is nowhere to be sen. ANAKIN and JAR JAR are waiting in an adjoining room . They can see the Queen but can not hear what is being said .</scene_description> <character>JAR JAR</character> <dialogue>Dissen all pitty odd to my.</dialogue> <character>ANAKIN</character> <dialogue>Do n't look at me. I do n't know what's going on.</dialogue> <scene_description>CAPTAIN PANAKA enters , then goes into the room with QUEEN AMIDALA .</scene_description> </scene> <scene> <stage_direction>INT. PALPATINE'S QUARTERS - LIVING AREA - DAY</stage_direction> <scene_description>PALPATINE is pacing as CAPTAIN PANAKA enters . EIRTAE and RABE stand to one side .</scene_description> <character>PALPATINE</character> <dialogue>the Republic is not what it once was. The Senate is full of greedy, squabbling delegates who are only looking out for themselves and their home sytems. There is no interest in the common good. no civility, only politics. its disgusting. I must be frank, Your Majesty, there is little chance the Senate will act on the invasion.</dialogue> <character>AMIDALA</character> <dialogue>Chancellor Valorum seems to think there is hope.</dialogue> <character>PALPATINE</character> <dialogue>If I may say so, Your Majesty, the Chancellor has little real power. he is mired down by baseless accusations of corruption. A manufactured scandal surrounds him. The bureaucrats are in charge now.</dialogue> <character>AMIDALA</character> <dialogue>What options do we have?</dialogue> <character>PALPATINE</character> <dialogue>Our best choice would be to push for the election of a stronger Supreme Chancellor. One who will take control of the bureaucrats, enforces the laws, and give us justice. You could call for a vote of no confidence in Chancellor Valorum.</dialogue> <character>AMIDALA</character> <dialogue>He has been our strongest supporter. Is there any other way?</dialogue> <character>PALPATINE</character> <dialogue>Our only other choice would to be to submit a plea to the courts.</dialogue> <character>AMIDALA</character> <dialogue>There's no time for that. The courts take even longer to decide things than the Senate. Our people are dying, Senator. more and more each day. We must do something quickly to stop the Federation.</dialogue> <character>PALPATINE</character> <dialogue>To be realistic, Your Highness, I'd say we're going to have to accept Federation control for the time being.</dialogue> <character>AMIDALA</character> <dialogue>There is something I can not do.</dialogue> </scene> <scene> <stage_direction>EXT. TEMPLE OF THE JEDI - DAY (FX)</stage_direction> <scene_description>A unique building with it tall spires stands out against the Coruscant skyline . A small transport passes by the vast temple .</scene_description> </scene> <scene> <stage_direction>INT. TEMPLE OF THE JEDI - COUNCIL CHAMBERS - DAY</stage_direction> <scene_description>QUI - GON stands in a tall stately room . Twelve JEDI sit in a semi - circle . OBI - WAN stands behind QUI - GON in the center of the room . The Senior Jedi is MACE WINDU . To his left is an alien Jedi named KI - ADI - MUNDI , and to his right , the Jedi Master , YODA .</scene_description> <character>QUI-GON</character> <dialogue>my only conclusion can be that it was a Sith Lord.</dialogue> <character>MACE WINDU</character> <dialogue>A Sith Lord?!?</dialogue> <character>KI-ADI</character> <dialogue>Impossible! The Sith have been extinct for a millenium.</dialogue> <character>YODA</character> <dialogue>The very Republic is threatened, if involved the Sith are.</dialogue> <character>MACE WINDU</character> <dialogue>I do not believe they could have returned without us knowing.</dialogue> <character>YODA</character> <dialogue>Hard to see, the dark side is. Discover who this assassin is, we must.</dialogue> <character>KI-ADI</character> <dialogue>I sense he will reveal himself again.</dialogue> <character>MACE WINDU</character> <dialogue>This attack was with purpose, that is clear, and I agree the Queen is the target.</dialogue> <character>YODA</character> <dialogue>With this Naboo queen you must stay, Qui - Gon. Protect her.</dialogue> <character>MACE WINDU</character> <dialogue>We will use all our resources here to unravel this mystery and discover the identity of your attacker. May the Force be with you.</dialogue> <character>YODA</character> <dialogue>May the Force be with you.</dialogue> <scene_description>OBI - WAN turns to leave , but QUI - GON continues to face the Council .</scene_description> <character>YODA</character> <parenthetical>( Cont'd. ) Master Qui - Gon more to say have you ?</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>With your permission, my Master. I have encountered a vergence in the Force.</dialogue> <character>YODA</character> <dialogue>A vergence, you say?</dialogue> <character>MACE WINDU</character> <dialogue>Located around a person?</dialogue> <character>QUI-GON</character> <dialogue>A boy. his cells have the highest concentration of midi - chlorians I have seen in a life form. It is possible he was conceived by the midi - chlorians.</dialogue> <character>MACE WINDU</character> <dialogue>You're referring to the prophesy of the one who will bring balance to the Force. you believe it's this boy?</dialogue> <character>QUI-GON</character> <dialogue>I do n't pressume.</dialogue> <character>YODA</character> <dialogue>But you do! Rrevealed your opinion is.</dialogue> <character>QUI-GON</character> <dialogue>I request the boy be tested.</dialogue> <scene_description>The JEDI all look to one another . They nod and turn back to OBI - WAN and QUI - GON .</scene_description> <character>YODA</character> <dialogue>Trained as a Jedi, you request for him?</dialogue> <character>QUI-GON</character> <dialogue>Finding him was the will of the Force. I have no doubt of that. There is too much happening here.</dialogue> <character>MACE WINDU</character> <dialogue>Bring him before us, then.</dialogue> <character>YODA</character> <dialogue>Tested he will be.</dialogue> </scene> <scene> <stage_direction>INT. QUEENS QUARTERS - CORUSCANT - DAY Anakin, tentative, walks down one of</stage_direction> <scene_description>the long hallways in Senator Palpatine 's quarters . He stops before a dor that is flanked by TWO GUARDS .</scene_description> <character>GUARD</character> <dialogue>May I help you, son?</dialogue> <character>ANAKIN</character> <dialogue>I'm. I'm looking for the handmaiden, Padme.</dialogue> <scene_description>The GUARD speaks into his comlink as ANAKIN looks around a bit nervously .</scene_description> <character>GUARD</character> <dialogue>The boy is here to see Padme.</dialogue> <character>RABE</character> <dialogue>Send him in.</dialogue> <scene_description>The doors open , and ANAKIN enters the Queen 's quarters . RABE greets ANAKIN as TWO OTHER HANDMAIDENS come and go into the next room .</scene_description> <character>ANAKIN</character> <dialogue>I'd like to speak with Padme, if I could.</dialogue> <character>RABE</character> <dialogue>I'm sorry, Annie. Padme is not here right now.</dialogue> <scene_description>The Queen speaks out in the next room .</scene_description> <character>AMIDALA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Who is it?</dialogue> <character>RABE</character> <dialogue>Anakin Skywalker, to see Padme, Your Highness.</dialogue> <scene_description>The QUEEN moves into the doorway and studies ANAKIN . ANAKIN bows and looks down , then takes a peek at her .</scene_description> <character>AMIDALA</character> <dialogue>I've sent Padme on an errand.</dialogue> <character>ANAKIN</character> <dialogue>I'm going to the Jedi temple to start my training, I hope.</dialogue> <scene_description>The QUEEN just stares at him .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I may not see her again .</parenthetical> <parenthetical>and .</parenthetical> <parenthetical>I just wanted to say goodbye .</parenthetical> <dialogue /> <character>AMIDALA</character> <dialogue>We will tell her for you. We're sure her heart goes with you.</dialogue> <scene_description>ANAKIN bows again .</scene_description> <character>ANAKIN</character> <dialogue>Thank you, Your Highness. I'm sorry to have disturbed you.</dialogue> <scene_description>The QUEEN dissapears behind the doorway , and ANAKIN exits .</scene_description> </scene> <scene> <stage_direction>EXT. CORUSCANT - GALACTIC SENATE BUILDING - DAY (FX)</stage_direction> <scene_description>A large , distinctive looking domed building stands out amid the cityscape of Coruscant .</scene_description> </scene> <scene> <stage_direction>INT. MAIN ROTUNDA - GALACTIC SENATE - DAY</stage_direction> <scene_description>The Senate chambers are huge . Thousands of SENATORS and their AIDES sit in the circular assembly area . CHANCELLOR VALORUM sits in an elevated area in the center . Hindreds of AIDES and DROIDS hurry about . SENATOR PALPATINE , QUEEN AMIDALA , EIRTA , RABE , and CAPTAIN PANAKA sit in the Naboo congressional box , which is actually a floating platform . PALPATINE leans over to the QUEEN .</scene_description> <character>PALPATINE</character> <dialogue>If the Federation moves to defer the motion. Your Majesty, Ibeg of you to ask for a resolution to end this congressional session.</dialogue> <character>AMIDALA</character> <dialogue>I wish I had your confidence in this, Senator.</dialogue> <character>PALPATINE</character> <dialogue>You must force a new election for Supreme Chancellor. I promise you there are many who will support us. it is our best chance. Your Majesty, our only, chance.</dialogue> <character>AMIDALA</character> <dialogue>You truely believe Chancellor Valorum will not bring our motion to a vote?</dialogue> <character>PALAPATINE</character> <dialogue>He is distracted. he is afraid. He will be of no help.</dialogue> <character>VALORUM</character> <dialogue>The Chair recognizes the Senator from the sovereign system of Naboo.</dialogue> <scene_description>The Naboo congressional box floats into the center .</scene_description> <character>PALPATINE</character> <dialogue>Supreme Chancellor, delegates of the Senate. A tragedy has occured on our peaceful system of Naboo. We have become caugt in a dispute you're all well aware of, which began right here with the taxation of trade routes, and has now engulfed our entire planet in the oppresion of the Trade Federation.</dialogue> <scene_description>A second box rushes into the center of the Senate . It is filled with Federation trade barons led by LOTT DOD , the Senator for the Federation .</scene_description> <character>LOTT DOD</character> <dialogue>This is outrageous! I object to the Senator's statements!</dialogue> <character>VALORUM</character> <dialogue>The Chair does not recognize the Senator from the Trade Federation at this time. Please return to your station.</dialogue> <scene_description>LOTT DOD reluctantly moves back to his place .</scene_description> <character>PALPATINE</character> <dialogue>To state our allegations, I present Queen Amidala, the recently elected ruler of Naboo, to speak on our behalf.</dialogue> <scene_description>QUEEN AMIDALA stands and addresses the assembly . There is some applause .</scene_description> <character>AMIDALA</character> <dialogue>Honorable representatives of the Republic, distinguished delegates, and Your Honor Supreme Chancellor Valorum, I come to you under the gravest of circumstances. The Naboo system has been invaded by force. Invaded. against all the laws of the Republic by the Droid Armies of the Trade.</dialogue> <character>LOTT DOD</character> <dialogue>I object! There is no proof. This is incredible. We recommend a commision be sent to Naboo to assertain the truth.</dialogue> <character>VALORUM</character> <dialogue>Overruled.</dialogue> <character>LOTT DOD</character> <dialogue>Your Honor, you can not allow us to be condemned without reasonable observation. It's against all the rules of procedure.</dialogue> <scene_description>A third box representing Malastare moves into the center of the room . AKS MOE , the Ambassador , addresses the convention .</scene_description> <character>AKS MOE</character> <dialogue>The Congress of Malastare concurs with the honorable delegate from the Trade Federation. A commision must be appointed. that is the law.</dialogue> <character>VALORUM</character> <dialogue>The point.</dialogue> <scene_description>VALORUM confers with several of his AIDES and VICE CHAIRMAN MAS AMEDDA . PALPATINE whispers something to the QUEEN .</scene_description> <character>PALPATINE</character> <dialogue>Enter the bureaucrats, the true rulers of the Republic, and on the payroll of the Trade Federation, I might add. This is where Chancellor Valorum's strength will dissapear.</dialogue> <character>VALORUM</character> <dialogue>The point is conceded. Section 523A take precedence here. Queen Amidala of the Naboo, will you defer your motion to allow a commission to explore the validity of your accusations?</dialogue> <scene_description>QUEEN AMIDALA is angry but remains composed .</scene_description> <character>AMIDALA</character> <parenthetical>( angrily . )</parenthetical> <dialogue>I will not defer. I have come before you to resolve this attack on our sovereignty now. I was not elected to watch my people suffer and die while you discuss this invasion in a committee. If this body is not capable of action, I suggest new leadership is needed. I move for a `` vote of no confidence''. in Chancellor Valorum's leadership.</dialogue> <character>VALORUM</character> <dialogue>What? No!</dialogue> <scene_description>This causes a great stir in the assembly . A loud mumur cresendos into a roar of approval and jeers . CHANCELLOR VALORUM is stunned and stands speechless . His Vice Chair , MAS AMEDDA , takes over .</scene_description> <character>MAS AMEDDA</character> <dialogue>Order! We shall have order.</dialogue> <scene_description>Things settledown a little . The Federation box settles next to AMIDALA . PRINCE BAIL ORGANA moves his box into the arena .</scene_description> <character>BAIL ORGANA</character> <dialogue>Alderaan seconds the motion for a vote of no confidence in Chancellor Valorum.</dialogue> <character>MAD AMEDDA</character> <dialogue>The motion has been seconded by Bail Organa of Alderaan.</dialogue> <scene_description>MAS AMEDDA turns to the confused VALORUM , and whispers something to him .</scene_description> <character>BAIL ORGANA</character> <dialogue>There must be no delays. The motion is on the floor and must be voted upon in this session.</dialogue> <character>LOTT DOD</character> <dialogue>The Trade Federation moves the motion be sent to the procedures committee for study.</dialogue> <scene_description>The assembly begins to chant . VALORUM talks to MAS AMEDDA .</scene_description> <character>ASSEMBLY</character> <dialogue>Vote now! Vote now! Vote now!</dialogue> <scene_description>PALPATINE stands next to AMIDALA .</scene_description> <character>PALPATINE</character> <dialogue>You see, Your Majaesty, the tide is with us. Valorum will be voted out, I assure you, and they will elect in a new Chancellor, a strong Chancellor, one who will not let our tragedy continue.</dialogue> <character>MAS AMEDDA</character> <dialogue>Thew Supreme Chancellor requests a recess. Tomorrow we will begin the vote.</dialogue> <scene_description>The Federation delegation is furious . VALORUM turns to PALPATINE .</scene_description> <character>VALORUM</character> <dialogue>Palpatine, I thought you were my ally. my friend. You have betrayed me! How could you do this?</dialogue> </scene> <scene> <stage_direction>EXT. PALACE OF THE JEDI - BALCONY - SUNSET</stage_direction> <scene_description>OBI - WAN and QUI - GON stand outside the palace on a balcony .</scene_description> <character>OBI-WAN</character> <dialogue>The boy will not pass the Council's tests, Master, and you know it. He is far too old.</dialogue> <character>QUI-GON</character> <dialogue>Anakin will become A Jedi. I promise you.</dialogue> <character>OBI-WAN</character> <dialogue>Do n't defy the Council, Master. not again.</dialogue> <character>QUI-GON</character> <dialogue>I will do what I must.</dialogue> <character>OBI-WAN</character> <dialogue>Master, you could be sitting on the Council by now if you would just follow the code. They will not go along with you this time.</dialogue> <character>QUI-GON</character> <dialogue>You still have much to learn, my young apprentice.</dialogue> </scene> <scene> <stage_direction>INT. PALACE OF THE JEDI - COUNCIL CHAMBERS - SUNSET</stage_direction> <scene_description>ANAKIN stands before the TWELVE JEDI . MACE WINDU holds a small hand - held viewing screen . In rapid succession , images flash across the screen .</scene_description> <character>ANAKIN</character> <dialogue>A ship. a cup. a speeder.</dialogue> <scene_description>MACE WINDU turns the viewing screen off and nods toward YODA .</scene_description> <character>YODA</character> <dialogue>Good, good, young one. How feel you?</dialogue> <character>ANAKIN</character> <dialogue>Cold, sir.</dialogue> <character>YODA</character> <dialogue>Afraid are you?</dialogue> <character>ANAKIN</character> <dialogue>No, sir.</dialogue> <character>MACE WINDU</character> <dialogue>Afraid to give up your life?</dialogue> <character>ANAKIN</character> <dialogue>I do n't think so.</dialogue> <scene_description>ANAKIN hesitates for a moment .</scene_description> <character>YODA</character> <dialogue>See through you, we can.</dialogue> <character>MACE WINDU</character> <dialogue>Be mindful of your feelings.</dialogue> <character>KI-ADI</character> <dialogue>YOur thoughts dwell on your mother.</dialogue> <character>ANAKIN</character> <dialogue>I miss her.</dialogue> <character>YODA</character> <dialogue>Afraid to lose her. I think.</dialogue> <character>ANAKIN</character> <parenthetical>( a little angry . )</parenthetical> <dialogue>What's that got to do with anything?</dialogue> <character>YODA</character> <dialogue>Eveything. Fear is the path to the dark side. fear leads to anger. anger leads to hate. hate leads to suffering.</dialogue> <character>ANAKIN</character> <parenthetical>( angrily . )</parenthetical> <dialogue>I am not afraid!</dialogue> <character>YODA</character> <dialogue>A Jedi must have the deepest commitment, the most serious mind. I sense much fear in you.</dialogue> <character>ANAKIN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I am not afraid.</dialogue> <character>YODA</character> <dialogue>Then continue, we will.</dialogue> </scene> <scene> <stage_direction>INT. PALPATINES QUARTERS - SUNSET</stage_direction> <scene_description>QUEEN AMIDALA is standing , staring out the window , with JAR JAR . The lights of the city shimmer before them . EIRTAE and SABE stand near the door . JAR JAR turns to face the QUEEN and sees her sadness .</scene_description> <character>JAR JAR</character> <dialogue>Mesa wonder why da guds invent pain?</dialogue> <character>AMIDALA</character> <dialogue>To motivate us, I imagine.</dialogue> <character>JAR JAR</character> <dialogue>Yousa tinken yousa people ganna die?</dialogue> <character>AMIDALA</character> <dialogue>I do n't know.</dialogue> <character>JAR JAR</character> <dialogue>Gungans ganna get pasted too, eh?</dialogue> <character>AMIDALA</character> <dialogue>I hope not.</dialogue> <character>JAR JAR</character> <dialogue>Gungans do die'n without a fight. wesa warriors. Wesa got ta grand army. Dat why you no liken us, metinks.</dialogue> <scene_description>PALPATINE and CAPTAIN PANAKA rush into the rom and bow before the QUEEN .</scene_description> <character>CAPT. PANAKA</character> <dialogue>Your Highness, Senator Palpatine has been nominated to succeed Valorum as Supreme Chancellor.</dialogue> <character>PALPATINE</character> <dialogue>A surprise, to be sure, but a welcome one. I promise, Your Majesty, if I am elected, I will bring democracy back to the Republic. I will put an end to corruption. The Trade Fedreation will lose its influence over the bureaucrats, and our people will be freed.</dialogue> <character>AMIDALA</character> <dialogue>Who else can be nominated?</dialogue> <character>CAPT. PANAKA</character> <dialogue>Bail Antilles of Alderaan and Ainlee Teem of Malastare.</dialogue> <character>PALPATINE</character> <dialogue>I feel confident. our `` situation'' will create a strong sympaphy vote for us. I will be Chancellor, I promise you.</dialogue> <character>AMIDALA</character> <dialogue>I fear by the time you have control of the bureaucrats, Senator, there will be nothing left of our cities, our people, our way of life.</dialogue> <character>PALPATINE</character> <dialogue>I understand your concern, Your Majesty ; unfortunately, the Federation has possession of our planet. The law is in their favor.</dialogue> <character>AMIDALA</character> <dialogue>With the Senate in transition, there is nothing more I can do here. Senator, this is your arena. I feel I must return to mine. I have decided to go back to Naboo. My place is with my people.</dialogue> <character>PALPATINE</character> <dialogue>Go back! But, Your Majesty, be realistic! You would be in danger. They will force you to sign the treaty.</dialogue> <character>AMIDALA</character> <dialogue>I will sign no treaty, Senator. My fate will be no different from that of our people. Captain!</dialogue> <character>CAPT. PANAKA</character> <dialogue>Yes, Your Highness?</dialogue> <character>AMIDALA</character> <dialogue>Ready my ship!</dialogue> <character>CAPT. PANAKA</character> <dialogue>Please, Your Majesty, stay here. where it's safe.</dialogue> <character>AMIDALA</character> <dialogue>No place is safe, if the Senate does n't condemn this invasion. It is clear to me now that the Republic no longer functions as a democracy. If you win the election, Senator, I know you will do everything possible to stop the Federation. I pray you will bring sanity and compassion back to the Senate.</dialogue> <scene_description>AMIDALA and her RETINUE exit the room . PALPATINE has a self - satisfied smile on his face .</scene_description> </scene> <scene> <stage_direction>INT. TEMPLE OF THE JEDI - COUNCIL CHAMBERS - TWILIGHT</stage_direction> <scene_description>ANAKIN , OBI - WAN , and QUI - GON stand before the TWELVE MEMBERS OF THE JEDI COUNCIL .</scene_description> <character>YODA</character> <dialogue>Correct you were, Qui - Gon.</dialogue> <character>MACE WINDU</character> <dialogue>His cells contain a high concentration of midi - chlorians.</dialogue> <character>KI-ADI</character> <dialogue>The Force is strong with him.</dialogue> <character>QUI-GON</character> <dialogue>He's to be trained, then.</dialogue> <scene_description>The COUNCIL MEMBERS look to one another .</scene_description> <character>MACE WINDU</character> <dialogue>No. He will not be trained.</dialogue> <scene_description>ANAKIN is crestfallen ; tears begin to form in his eyes .</scene_description> <character>QUI-GON</character> <dialogue>No?!</dialogue> <scene_description>OBI - WAN smiles .</scene_description> <character>MACE WINDU</character> <dialogue>He is too old. There is already too much anger in him.</dialogue> <character>QUI-GON</character> <dialogue>He is the chosen one. you must see it.</dialogue> <character>YODA</character> <dialogue>Clouded, this boy's future is. Masked by his youth.</dialogue> <character>QUI-GON</character> <dialogue>I will trin him, then. I take Anakin as my Padawan learner.</dialogue> <scene_description>OBI - WAN reacts with surprise . ANAKIN watches with interest .</scene_description> <character>YODA</character> <dialogue>An apprentice, you have, Qui - Gon. Impossible, to take on a second.</dialogue> <character>MACE WINDU</character> <dialogue>We forbid it.</dialogue> <character>QUI-GON</character> <dialogue>Obi - Wan is ready.</dialogue> <character>OBI-WAN</character> <dialogue>Iam ready to face the trials.</dialogue> <character>YODA</character> <dialogue>Ready so early, are you? What know you of ready?</dialogue> <scene_description>ANAKIN watches as QUI - GON and OBI - WAN exchange angry looks .</scene_description> <character>QUI-GON</character> <dialogue>Headstrong. and he has much to learn about the living Force, but he is capabe. There is little more he will learn from me.</dialogue> <character>YODA</character> <dialogue>Our own council we will keep on who is ready. More to learn, he has.</dialogue> <character>MACE WINDU</character> <dialogue>Now is not the time for this. the Senate is voting for a new Spreme Chancellor. Queen Amidala is returning home, which will put pressure on the Federation, and could widen the confrontation.</dialogue> <character>YODA</character> <dialogue>And draw out the Queen's attacker.</dialogue> <character>KI-ADI</character> <dialogue>Events are moving fast. too fast.</dialogue> <character>MACE WINDU</character> <dialogue>Go with the Queen to Naboo and discover the identity of the dark warrior. That is the clue we need to unravel this mystery of the Sith.</dialogue> <character>YODA</character> <dialogue>Young Skywalker's fate will be decided later.</dialogue> <character>QUI-GON</character> <dialogue>I brought Anakin here ; he must stay in my charge. He has nowhere else to go.</dialogue> <character>MACE WINDU</character> <dialogue>He is your ward, Qui - Gon. we will not dispute that.</dialogue> <character>YODA</character> <dialogue>Train him not. Take him with you, but train him not!</dialogue> <character>MACE WINDU</character> <dialogue>Protect the Queen, but do not intercede if it comes to war until we have the Senate's approval.</dialogue> <character>YODA</character> <dialogue>May the Force be with you.</dialogue> <scene_description>OBI - WAN , QUI - GON , and ANAKIN leave .</scene_description> </scene> <scene> <stage_direction>EXT. CORUSCANT - SENATE LANDING PLATFORM - NIGHT</stage_direction> <scene_description>QUI - GON , OBI - WAN , and ANAKIN stand on the landing platform outside the ship . ARTOO whistles a happy tune as he leans over the edge of the platform , watching the traffic . Suddenly , he leans over too far and falls overboard . After a moment , he reappears , using his on - board jets to propel himself back onto the landing platform . The wind whips at ANAKIN as he listens to the JEDI .</scene_description> <character>OBI-WAN</character> <dialogue>It is not disrespect, Master, it is the truth.</dialogue> <character>QUI-GON</character> <dialogue>From your point of view.</dialogue> <character>OBI-WAN</character> <dialogue>The boy is dangerous. they all sense it. Why ca n't you?</dialogue> <character>QUI-GON</character> <dialogue>His fate is uncertain, not dangerous. The Council will decide Anakin's future. that should be enough for you. Now get on board! OBI - WAN reluctantly boards the Naboo spacecraft followed by ARTOO. QUI - GON goes over to ANAKIN.</dialogue> <character>ANAKIN</character> <dialogue>Master Qui - Gon, sir, I do not wish to be a problem.</dialogue> <character>QUI-GON</character> <dialogue>You wo n't be, Annie. I'm not allowed to train you, so I want you to watch me and be mindful. always remember, your focus determines your reality. Stay close to me and you will be safe.</dialogue> <character>ANAKIN</character> <dialogue>Master, sir. I've been wondering. what are midi - chlorians?</dialogue> <character>QUI-GON</character> <dialogue>Midi - chlorians are a microcopic lifeform that reside within all living cells and communicates with the Force.</dialogue> <character>ANAKIN</character> <dialogue>They live inside of me?</dialogue> <character>QUI-GON</character> <dialogue>In your cells. We are symbionts with the midi - chlorians.</dialogue> <character>ANAKIN</character> <dialogue>Symbionts?</dialogue> <character>QUI-GON</character> <dialogue>Life forms living together for mutual advantage. Without the midi - chlorians, life could not exist, and we would have no knowledge of the Force. They continually speak to you, telling you the will of the Force.</dialogue> <character>ANAKIN</character> <dialogue>They do?</dialogue> <character>QUI-GON</character> <dialogue>When you learn to quiet your mind, you will hear them speaking to you.</dialogue> <character>ANAKIN</character> <dialogue>I do n't understand.</dialogue> <character>QUI-GON</character> <dialogue>With time and training, Annie. you will.</dialogue> <scene_description>Two taxis pull up , and CAPTAIN PANAKA , SENATOR PALPATINE , TWENTY OR SO TROOPS , GUARDS , and OFFICERS walk briskly toward the ship , followed by QUEEN AMIDALA , PADME , EIRTAE , and finally , JAR JAR . AMIDALA and her HANDMAIDENS stop before the JEDI .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) Your Highness , it is our pleasure to continue to serve and protect you .</parenthetical> <dialogue /> <character>AMIDALA</character> <dialogue>I welcome your help. Senator Palpatine fears the Federation means to destroy me.</dialogue> <character>QUI-GON</character> <dialogue>I promise you, I will not let that happen.</dialogue> <scene_description>AMIDALA enters the ship , followed by her HANDMAIDENS . JAR JAR hugs QUI - GON and ANAKIN .</scene_description> <character>JAR JAR</character> <dialogue>Wesa goen home!</dialogue> <scene_description>They ALL move onto the ship . The ship takes off .</scene_description> </scene> <scene> <stage_direction>INT. NABOO PALACE - THRONE ROOM - THEED - NIGHT</stage_direction> <scene_description>NUTE and RUNE stand before a hologram of DARTH SIDIOUS .</scene_description> <character>DARTH SIDIOUS</character> <dialogue>The Queen is on her way to you. I regret she is of no further use to us. When she gets there, destroy her.</dialogue> <character>NUTE</character> <dialogue>Yes, my Lord.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Viceroy, is the planet secure?</dialogue> <character>NUTE</character> <dialogue>Yes, my Lord, we have taken over the last pockets of primitive life forms. We are in complete control of the planet now.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Good. I will see to it that in the Senate, things stay as they are. I am sending Darth Maul to join you. He will deal with the Jedi.</dialogue> <character>NUTE</character> <dialogue>Yes, my Lord.</dialogue> <scene_description>DARTH SIDIOUS fades off .</scene_description> <character>RUNE</character> <dialogue>A Sith lord here with us?!</dialogue> </scene> <scene> <stage_direction>INT. SPACE - NABOO SPACECRAFT COCKPIT</stage_direction> <scene_description>ANAKIN stands next to the PILOT , RIC OLIE , pointing to various buttons and gauges .</scene_description> <character>ANAKIN</character> <dialogue>and that one?</dialogue> <character>RIC OLIE</character> <dialogue>The forward stabalizer.</dialogue> <character>ANAKIN</character> <dialogue>And those control the pitch?</dialogue> <character>RIC OLIE</character> <dialogue>You catch on pretty quick.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - QUEEN'S CHAMBERS</stage_direction> <scene_description>SABE and EIRTAE stand behind QUEEN AMIDALA as she talks with QUI - GON and CAPTAIN PANAKA . OBI - WAN and JAR JAR watch .</scene_description> <character>CAPT. PANAKA</character> <dialogue>The moment we land the Federation will arrest you, and force you to sign the treaty.</dialogue> <character>QUI-GON</character> <dialogue>I agree. I'm not sure what you hope to accomplish by this.</dialogue> <character>AMIDALA</character> <dialogue>I'm going to take back what's ours.</dialogue> <character>CAPT. PANAKA</character> <dialogue>There are only twelve of us, Your Highness. we have no army.</dialogue> <character>QUI-GON</character> <dialogue>I can not fight a war for you, Your Highness, only protect you.</dialogue> <character>AMIDALA</character> <dialogue>Jar Jar Binks!</dialogue> <scene_description>JAR JAR looks around , puzzled .</scene_description> <character>JAR JAR</character> <dialogue>Mesa, Your Highness?</dialogue> <character>AMIDALA</character> <dialogue>Yes. I need your help.</dialogue> </scene> <scene> <stage_direction>INT. NABOO CRUISER COCKPIT - DAY</stage_direction> <scene_description>The Naboo Cruiser heads toward the lush green planet . There is only one Federation battle cruiser orbiting . OBI - WAN and CAPTAIN PANAKA spot it on the view screen .</scene_description> <character>PANAKA</character> <dialogue>The blockade's gone.</dialogue> <character>OBI-WAN</character> <dialogue>The war's over. No need for it now.</dialogue> <character>RIC OLIE</character> <dialogue>I have one battleship on my scope.</dialogue> <character>OBI-WAN</character> <dialogue>A droid control ship.</dialogue> <character>PANAKA</character> <dialogue>They've probably spotted us.</dialogue> <character>OBI-WAN</character> <dialogue>We have n't much time.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SPACECRAFT - MAIN HOLD</stage_direction> <scene_description>The QUEEN , CAPTAIN PANAKA , TROOPS , and HANDMAIDENS get ready to disembark as the ship alnds . The elevator door slides open , and ANAKIN emerges into the hold area . He see PADME and run up to her .</scene_description> <character>ANAKIN</character> <dialogue>Hi! Where have you been?</dialogue> <character>PADME</character> <dialogue>Annie! What are you doing here?</dialogue> <character>ANAKIN</character> <dialogue>I'm with Qui - Gon. but. they're not going to let me be a Jedi. I'm too old.</dialogue> <character>PADME</character> <dialogue>This is going to be dangerous, Annie.</dialogue> <character>ANAKIN</character> <dialogue>Is it? I can help. Where are we going?</dialogue> <character>PADME</character> <dialogue>To war, I'm afraid. The Queen has had to make the most difficuld decision of her life. She does n't believe in fighting, Annie. We are a peaceful people.</dialogue> <character>ANAKIN</character> <dialogue>I want to help. I'm glad you're back.</dialogue> <scene_description>ANAKIN smiles . PADME smiles back .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO SWAMP - DAY</stage_direction> <scene_description>The Naboo spacecraft has landed in the Gungan swamp . TROOPS unload the ships in the background as OBI - WAN approaches QUI - GON .</scene_description> <character>OBI-WAN</character> <dialogue>Jar Jar is on his way to the Gungan city, Master.</dialogue> <scene_description>QUI - GON 's thoughts are elsewhere .</scene_description> <character>QUI-GON</character> <dialogue>Good.</dialogue> <scene_description>OBI - WAN and QUI - GON stand silently for a moment .</scene_description> <character>OBI-WAN</character> <dialogue>Do you think the Queen's idea will work?</dialogue> <character>QUI-GON</character> <dialogue>The Gungans will not easily be swayed, and we can not use our power to help her.</dialogue> <character>OBI-WAN</character> <dialogue>I'm. I'm sorry for my behavior, Master. It is not my place to disagree with you about the boy. I am grateful you think I am ready for the trials.</dialogue> <scene_description>QUI - GON looks at him for a long moment .</scene_description> <character>QUI-GON</character> <dialogue>You have been a good apprentice. You are much wiser than Iam, Obi - Wan. I foresee you will become a great Jedi Knight.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO SWAMP - UNDERWATER - DAY (FX)</stage_direction> <scene_description>JAR JAR swims down into Bubble City .</scene_description> </scene> <scene> <stage_direction>INT. OTOH GUNGA - CITY SQUARE</stage_direction> <scene_description>JAR JAR enters the main square of the bubble city . He stands , stunned , in amazement and fear . He is nervous and shaking .</scene_description> <character>JAR JAR</character> <dialogue>Ello! Where das everybody?</dialogue> <scene_description>The plaza is empty . He notices that many of the buildings are shot up as if there had been a battle of some kind .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO SWAMP LAKE - DAY</stage_direction> <scene_description>JAR JAR exits the swamp lake and walks over to QUEEN AMIDALA , CAPTAIN PANAKA , OBI - WAN , and QUI - GON . PADME , EIRTAE , RABE , ANAKIN , and ARTOO , FOUR PILOTS , and EIGHT GUARDS stand in the background near the starship .</scene_description> <character>JAR JAR</character> <dialogue>Dare - sa nobody dare. All gone. Some kinda fight, I tink. Sorry, no Gungas. no Gungas.</dialogue> <character>CAPT. PANAKA</character> <dialogue>Do you think they have been taken to camps?</dialogue> <character>OBI-WAN</character> <dialogue>More likely they were wiped out.</dialogue> <character>JAR JAR</character> <dialogue>No. mesa no tink so. Gungan hiden. When in trouble, go to sacred place. Mackineeks no find them dare.</dialogue> <character>QUI-GON</character> <dialogue>Do you know where they are?</dialogue> </scene> <scene> <stage_direction>EXT. NABOO SWAMP - DAY</stage_direction> <scene_description>The GROUP follows JAR JAR as he moves through the swamp . JAR JAR stops and sniffs the air . The GROUP stop behind him .</scene_description> <character>JAR JAR</character> <dialogue>Dissen it.</dialogue> <scene_description>JAR JAR makes a strange chattering noise . Suddenly , out of nowhere , CAPTAIN TARPALS and SIX OTHER GUNGAN TROOPS riding on KAADUS emerge from the brush .</scene_description> <character>JAR JAR</character> <parenthetical>( Cont'd. ) Heyo - dalee , Captain Tarpals .</parenthetical> <dialogue /> <character>CAPT. TARPALS</character> <dialogue>Binks! Noah gain!</dialogue> <character>JAR JAR</character> <dialogue>We comen to see da boss.</dialogue> <scene_description>CAPTIAN TARPALS rolls his eyes .</scene_description> <character>CAPT. TARPALS</character> <dialogue>Ouch time, Binks. Ouch time for all - n youse.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO SACRED TEMPLE RUINS - DAY</stage_direction> <scene_description>JAR JAR , QUEEN AMIDALA , ANAKIN , ARTOO , QUI - GON , OBI - WAN , PADME , RABE , EIRTAE , and the rest of her group are led through a clearing full of GUNGAN refugees . At the far end are the ruins of a grand temple with massive carved heads . BOSS NASS and several other COUNCIL MEMBERS walk out on the top of a three - quarter - submerged head .</scene_description> <character>BOSS NASS</character> <dialogue>Jar Jar, yousa payen dis time. Who's da uss - en others?</dialogue> <scene_description>QUEEN AMIDALA steps forward . CAPTAIN PANAKA and the JEDI stand behind her .</scene_description> <character>AMIDALA</character> <dialogue>I am Queen Amidala of the Naboo. I come before you in peace.</dialogue> <character>BOSS NASS</character> <dialogue>Naboo biggen. Yousa bringen da Mackineeks. Dya busten uss - en omm. Yousa all bombad. Yousa all die ` n, mesa tink.</dialogue> <scene_description>CAPTAIN PANAKA and HALF A DOZEN GUARDS and PILOTS look around nervously , and the GUNGAN TROOPS lower their long power poles . The JEDI stay relaxed . ANAKIN watches everything with great interest .</scene_description> <character>AMIDALA</character> <dialogue>We wish to form an alliance.</dialogue> <scene_description>Suddenly , PADME steps forward .</scene_description> <character>PADME</character> <dialogue>Your Honor.</dialogue> <scene_description>ARTOO whistles a quiet `` uh oh . ''</scene_description> <character>BOSS NASS</character> <dialogue>Whosa dis?</dialogue> <character>PADME</character> <dialogue>I am Queen Amidala.</dialogue> <parenthetical>( points to Queen . )</parenthetical> <dialogue>This is my decoy. my protection. my loyal bodyguard.</dialogue> <scene_description>ANAKIN is stunned . OBI - WAN and QUI - GON give each other a knowing look .</scene_description> <character>PADME</character> <parenthetical>( Cont'd. ) .</parenthetical> <dialogue>I am sorry for my deception, but under the circumstances it has become necessary to protect myself. Although we do not always agree, Your Honor, our two great societies have always lived in peace. until now. The Trade Federation has destroyed all that we have worked so hard to build. You are in hiding, my people are in camps. If we do not act quickly, all will be lost forever. I ask you to help us. no, I beg you to help us.</dialogue> <scene_description>PADME drops to her knees and prostrates herself before BOSS NASS . There is a gasp from CAPTAIN PANAKA , HIS TROOPS , and the HANDMAIDENS .</scene_description> <character>PADME</character> <parenthetical>( Cont'd. ) We are your humble servants .</parenthetical> <parenthetical>our fate is in your hands .</parenthetical> <dialogue /> <scene_description>Slowly , CAPTAIN PANAKA and his TROOPS bow down before the GUNGAN COUNCIL . Then the HANDMAIDENS , ANAKIN , and finally the JEDI . The GUNGANS are puzzled by this . BOSS NASS begins to laugh .</scene_description> <character>BOSS NASS</character> <dialogue>Yousa no tinken yousa greater den da Gungans. Mesa like dis. Maybe wesa bein friends.</dialogue> </scene> <scene> <stage_direction>INT. NABOO PALACE - THRONE ROOM - DAY</stage_direction> <scene_description>NUTE , RUNE , and DARTH MAUL walk with a hologram of DARTH SIDIOUS .</scene_description> <character>NUTE</character> <dialogue>we've sent out patrols. We've already located their starship in the swamp. It wo n't be long, My Lord.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>This is an unexpected move for her. It's too aggresive. Lord Maul, be mindful.</dialogue> <character>DARTH MAUL</character> <dialogue>Yes, my Master.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Be patient. Let them make the first move.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO EDGE OF SWAMP/ GRASS PLAINS - DAY</stage_direction> <scene_description>A GUNGAN SENTRY sits on top of the ancient temple heah , searching the landscape with a pair of electrobinoculars . He sees something and yells down to ANAKIN at the foot of the statue .</scene_description> <character>GUNGAN LOOKOUT</character> <dialogue>Daza comen!</dialogue> <character>ANAKIN</character> <dialogue>All right. They're here!</dialogue> <scene_description>ANAKIN yells and runs over to PADME and the JEDI , who are discussing a battle plan with FIVE GUNGAN GENERALS . SABE and EIRTAE stand nearby . BOSS NASS puts his arm around JAR JAR .</scene_description> <character>BOSS NASS</character> <dialogue>Yousa doen grand. Jar Jar bringen da Naboo together.</dialogue> <character>JAR JAR</character> <dialogue>Oh, no, no, no.</dialogue> <character>BOSS NASS</character> <dialogue>So, wesa maken yousa Bombad General.</dialogue> <character>JAR JAR</character> <dialogue>General?! Oh, no.</dialogue> <scene_description>JAR JAR 's eyes roll back , his tongue flops out and he faints . FOUR SPEEDERS pull up to the GROUP . CAPTAIN PANAKA and a DOZEN OR SO GUARDS and PILOT pile out and join the group .</scene_description> <character>PADME</character> <dialogue>What is the situation?</dialogue> <character>CAPT. PANAKA</character> <dialogue>Almost everyone's in camps. A few hundred police and guards have formed an underground movement. I brought as many of the keaders as I could. The Federation Army's also much larger than we thought, and much stronger. Your Highness, this is a battle I do not think we can win.</dialogue> <character>PADME</character> <dialogue>The battle is a diversion. The Gungans must draw theDroid Army away from the cities. We can enter the city using the secret passages on the waterfall side. Once we get to the main entrance, Captain Pnaka will create a diversion, so that we can enter the palace and capture the Viceroy. Without the Viceroy, they will be lost and confused.</dialogue> <scene_description>QUI - GON and OBI - WAN look on with interest .</scene_description> <character>PADME</character> <parenthetical>( Cont'd. ) What do you think , Master Jedi ?</parenthetical> <dialogue /> <character>QUI-GON</character> <dialogue>The Viceroy will be well guarded.</dialogue> <character>CAPT. PANAKA</character> <dialogue>The difficulty's getting into the throne room. Once we're inside, we should n't have a problem.</dialogue> <character>QUI-GON</character> <dialogue>There is a possibility with this diversion many Gungans will be killed.</dialogue> <character>BOSS NASS</character> <dialogue>Wesa ready to do are - sa part.</dialogue> <scene_description>JAR JAR smiles a very worried and sheepish grin . ANAKIN watches with interest , as does ARTOO .</scene_description> <character>PADME</character> <dialogue>We have a plan which should immobilize the Droid Army. We will send what pilots we have to knock out the Droid control ship which is orbiting the planet. If we can get past their rayshields, we can sever communication and their droids will be helpless.</dialogue> <character>QUI-GON</character> <dialogue>A well - conceived plan. However, there's great risk. The weapons on your fighters may not penetrate the shields on the control ship.</dialogue> <character>OBI-WAN</character> <dialogue>And there's an even bigger danger. If the Vicroy escapes, Your Highness, he will return with another droid army.</dialogue> <character>PADME</character> <dialogue>That is why we must not fail to get to the Viceroy. Everything depends on it.</dialogue> </scene> <scene> <stage_direction>INT. THEED - PALACE - THRONE ROOM - DAY</stage_direction> <scene_description>NUTE , RUNE , DARTH MAUL , OOM - 9 , and a hologram of DARTH SIDIOUS walk through the throne room .</scene_description> <character>DARTH SIDIOUS</character> <dialogue>she is more foolish than I thought.</dialogue> <character>NUTE</character> <dialogue>We are sending all available troops to meet this army of hers assembling near the swamp. It appears to be made up of primitives. We do not expect much resistance.</dialogue> <character>OOM-9</character> <dialogue>I am increasing security at all Naboo detention camps.</dialogue> <character>DARTH MAUL</character> <dialogue>I feel there is more to this, My Master. The two Jedi may be using the Queen for their own purposes.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>The Jedi can not become involved. They can only protect the Queen. Even Qui - Gon Jinn will not break that conenant. This will work to our advantage.</dialogue> <character>NUTE</character> <dialogue>I have your approval to proceed then, My Lord.</dialogue> <character>DARTH SIDIOUS</character> <dialogue>Proceed. Wipe them put. all of them.</dialogue> </scene> <scene> <stage_direction>INT. NABOO SWAMP LAKE - DAY (FX)</stage_direction> <scene_description>All is peaceful . SMALL CRITTERS drink out of a large swamp lake . Suddenly there is a disturbance in the middle of the lake . A rush of bubbles , then a GUNGAN SOLDIER riding a KAADU emerges from the water , followed by SEVERAL OTHERS . FROGS and OTHER LITTLE ANIMALS flee in all directions as the GUNGAN ARMY marches through the swamp . The KAADU shake themselves off as they exit the lake . When JAR JAR 's KAADU shakes off , JAR JAR falls off . SOLDIERS on huge , lizard - like FAMBAAS with large shield generators mounted on their backs follow the marching WARRIORS . The GUNGAN ARMY heads out of the swamp and onto the rolling grassy hills . HUNDREDS OF GUNGAN WARRIORS march in lon lines toward the horizon . Federation tanks move up to a ridge and stop . In the distance they see the GUNGAN ARMY marching toward them . The GUNGAN GENERAL CEEL sees the tanks on the ridge and orders a halt . The GUNGANS are spread out in a large line . JAR JAR is nervous . GENERAL CEEL signals to the shield operators .</scene_description> <character>GENERAL CEEL</character> <dialogue>Energize the shields.</dialogue> <scene_description>A red ray shoots out of the generator and blasts into a large dish on the back of a second FAAMBA and spreads like an umbrella over the assembled WARRIORS .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - CENTRAL PLAZA - DAY</stage_direction> <scene_description>PADME , followed by EIRTAE , OBI - WAN , QUI - GON , ANAKIN , and ARTOO , stealthily makes her way toward the entrance to the main hanger . They are followed by about TWENTY NABOO GUARDS , PILOTS , and TROOPS . They stop , and PADME uses a small red laser light to signal across the plaza to CAPTAIN PANAKA , RABE and TWENTY OTHER ASSORTED NABOO TROOPS . They signal back . QUI - GON leans over to ANAKIN .</scene_description> <character>QUI-GON</character> <dialogue>Once we get inside, Annie, you find a safe placeto hide and stay there.</dialogue> <character>ANAKIN</character> <dialogue>Sure.</dialogue> <character>QUI-GON</character> <dialogue>And stay there!</dialogue> <scene_description>DROID TROOPS mill about the tank - filled plaza . At the far end of the plaza , SEVERAL DROIDS begin to run and fire . NABOO SOLDIERS begin to fire back at the BATTLE DROIDS . As the ruckus erupts at one end of the plaza , PADME and her TROOPS rush into the main hanger . CAPTAIN PANAKA and HIS SOLDIERS continue to engage the DROIDS outside .</scene_description> </scene> <scene> <stage_direction>INT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>ALARMS ARE SOUNDING a PADME , the JEDI , ANAKIN , EIRTAE , and PADME 's TROOPS rush into the hanger . BATTLE DROIDS begin firing at them as they run for cover . ANAKIN runs under a Naboo fighter . The JEDI deflect bolts aimed at PADME back onto the BATTLE DROIDS , causing them to EXPLODE .</scene_description> </scene> <scene> <stage_direction>INT. THEED - PALACE THRONE ROOM - DAY</stage_direction> <scene_description>NUTE , RUNE , and FOUR COUNCIL MEMBERS watch the plaza battle on a large view screen .</scene_description> <character>NUTE</character> <dialogue>I thought the battle was going to take place far from here. this is too close!</dialogue> <character>RUNE</character> <dialogue>What is going on?</dialogue> <scene_description>DARTH MAUL enters the throne room .</scene_description> <character>DARTH MAUL</character> <dialogue>I told you there was more to this. the Jedi are involved.</dialogue> </scene> <scene> <stage_direction>EXT. NABOO GRASS PLAINS - DAY (FX)</stage_direction> <scene_description>The Federation tanks begin to fire on the GUNGANS , but they are protected by their energy shield . The tanks stop firing , and the GUNGANS CHEER , until they see the doors to the massive transports open , and racks of BATTLE DROIDS are pulled out and lined up by a squad of STAPS . The BATTLE DROIDS reconfigure into their standing position . The GUNGANS get ready for an attack . OOM - 9 gives the command to move forward , and THOUSANDS OF DROIDS march toward the GUNGANS . The GUNGANS power up their weapons . The DROIDS slowly march through the protective shield and start firing . The GUNGANS throw their power poles and fling small balls of energy with slingshots . The WARRIORS dump large balls of energy into mortars that heat up and fire the energy goo onto the BATTLE DROIDS , causing them to short out . The battle rages and the GUNGANS defend their shield generators against the ARMY OF DROIDS . OOM - 9 watches from a tank on a hill overlooking the battle .</scene_description> </scene> <scene> <stage_direction>INT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>ANAKIN hides behind one of the Naboo fighters , ducking as large bolts whiz past and EXPLODE near him . PADME and the TWO JEDI destroy BATTLE DROIDS right and left . The QUEEN 'S TROOPS and EIRTAE also blast away at the DROIDS . PADME signals to her pilots .</scene_description> <character>PADME</character> <dialogue>Get to your ships!</dialogue> <scene_description>The PILOTS and ARTOO UNITS run for the Naboo fighter craft stacked in the hanger bay . ONE OF THE PILOTS jumps into a fighter right above where ANAKIN is hiding .</scene_description> <character>FIGHTER PILOT</character> <dialogue>Better find a new hiding place, kid. I'm taking this ship.</dialogue> <scene_description>The ship begins to levitate out of the hanger . BATTLE DROIDS fire at it as it falls in behind five other fighters . ARTOO whistles to ANAKIN from a second fighter not far away . ANAKIN runs and jumps into the second fighter to hide .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - CENTRAL PLAZA - DAY (FX)</stage_direction> <scene_description>Two Naboo starfighters exit the main hanger . A tank fires at them , hitting one of them , which causes it to pinwheel into the ground and EXPLODE .</scene_description> </scene> <scene> <stage_direction>INT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>CAPTAIN PANAKA , SABE and NABOO TROOPS rush into the hanger and overwlm the few remaining BATTLE DROIDS . PADME , OBI - WAN , and QUI - GON join forces with CAPTAIN PANAKA .</scene_description> <character>PADME</character> <dialogue>My guess is the Viceroy is in the throne room.</dialogue> <scene_description>She looks to QUI - GON .</scene_description> <character>QUI-GON</character> <dialogue>I agree.</dialogue> <scene_description>They start to head for the exit , on the way passing the fighter where ANAKIN is hiding . ARTOO whistles a greeting as ANAKIN peeps out of the cockpit .</scene_description> <character>ANAKIN</character> <dialogue>Hey! Wait for me.</dialogue> <character>QUI-GON</character> <dialogue>No, Annie, you stay there. Stay right where you are.</dialogue> <character>ANAKNI</character> <dialogue>But, I.</dialogue> <character>QUI-GON</character> <dialogue>Stay in that cockpit.</dialogue> <scene_description>They head for the exit . As they are about to go through the door , suddenly everyone scatters , revealing DARTH MAUL standing in the doorway . CAPTAIN PANAKA , PADME , and HER TROOPS back away . QUI - GON and OBI - WAN step forward .</scene_description> <character>QUI-GON</character> <parenthetical>( Cont'd. ) We '' handle this .</parenthetical> <dialogue /> <scene_description>The TWO JEDI take off their capes and ignite their laser swords . DARTH MAUL takes off his cape , and ignites his laser sword . Both ends of the sword light up . At the far end of the hanger , SIX WHEEL DROIDS roll in and transform into their battle position . ARTOO calls ANAKIN 's attention to the DROIDS . The JEDI begin to fight the Sith Lord .</scene_description> <character>ANAKIN</character> <dialogue>Oh, no.</dialogue> <scene_description>The DROIDS begin to advance and start firing on PADME and HER TROOPS .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) We got ta do something , Artoo .</parenthetical> <dialogue /> <scene_description>ARTOO whistles a reply . Suddenly , the ship 's systems go on , and the ship begins to levitate .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) All right , thanks Artoo !</parenthetical> <parenthetical>Great idea !</parenthetical> <parenthetical>I 'll take over .</parenthetical> <parenthetical>Let 's see .</parenthetical> <dialogue /> <scene_description>ANAKIN steers the ship toward the DROIDS . He pushes a button , and the ship begins to shake .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Where 's the trigger ?</parenthetical> <parenthetical>Oops , wrong one .</parenthetical> <parenthetical>Maybe this one .</parenthetical> <dialogue /> <scene_description>ANAKIN pushes a second button , and the lasers begin to fire , wiping out several DESTROYER DROIDS . ARTOO whistles a cheer .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Yeah , all right .</parenthetical> <parenthetical>`` Droid blaster . ''</parenthetical> <parenthetical>Yeah !</parenthetical> <dialogue /> <scene_description>The JEDI are engaged in a fierce sword fight with DARTH MAUL . They have moved into the center of the hanger . While the WHEEL DROIDS are momentarily distracted by ANAKIN , CAPTAIN PANAKA , PADME , and HER TROOPS exit into a palace hallway . The WHEEL DROIDS start firing at ANAKIN . There are EXPLOSIONS all around him .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Oops .</parenthetical> <parenthetical>shield up !</parenthetical> <parenthetical>Always on the right .</parenthetical> <parenthetical>shields always on the right .</parenthetical> <dialogue /> <scene_description>ANAKIN flips several switches , and the after - burner ignites .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I know we 're moving .</parenthetical> <parenthetical>I 'll shut the energy drive down .</parenthetical> <dialogue /> <scene_description>The fighter rockets out of the hanger . ARTOO and ANAKIN hold on for dear life .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Oops !</parenthetical> <parenthetical>Wrong one .</parenthetical> <dialogue /> <scene_description>ARTOO beeps .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I 'm not doing anything !</parenthetical> <dialogue /> <scene_description>ARTOO beeps .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I know .</parenthetical> <parenthetical>I did n't push anything .</parenthetical> <dialogue /> <scene_description>The SITH LORD 's moves are incredible . He is fighting the TWO JEDI at once , flipping into the air , outmaneuvering them at every turn .</scene_description> </scene> <scene> <stage_direction>INT. NABOO STARFIGHTER - COCKPIT - SPACE</stage_direction> <scene_description>The Naboo fleet leaves the planet and heads toward the space station .</scene_description> <character>RIC OLIE</character> <dialogue>Bravo Flight A, take on the fighters. Flight B, make the run on the transmitter.</dialogue> <character>BRAVO TWO</character> <dialogue>Roger, Bravo Leader.</dialogue> <scene_description>The fleet approaches the space station . Many Federation fighters exit the hangers and attack .</scene_description> <character>RIC OLIE</character> <dialogue>Enemy fighters straight ahead!</dialogue> </scene> <scene> <stage_direction>EXT. NABOO GRASS PALINS - DAY</stage_direction> <scene_description>JAR JAR 's clumsiness works for him in the battle . He gets caught up in the wiring of a blasted DROID , dragging the torso around with him , the DROID 's gun firing randomly , accidently blasting SEVERAL DROIDS in one process . OOM - 9 decides to send in the WHEEL DROIDS and gives the signal . HUNDREDS OF WHEEL DROIDS roll out of the transports and head down toward the battle . They slowly roll through the deflector shields , then transform themselves once they get on the other side . The GUNGANS blast the WHEEL DROIDS with energy balls . The DESTROYER DROIDS blast many GUNGANS .</scene_description> </scene> <scene> <stage_direction>INT. NABOO STARFIGHTER - COCKPIT - SPACE</stage_direction> <scene_description>A giant dogfight ensues . ANAKIN 's fighter flies into space above Naboo . ARTOO beeps a worried concern .</scene_description> <character>ANAKIN</character> <dialogue>The Autopilot is searching for what other ships?</dialogue> <scene_description>ARTOO beeps and whistles .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) There is no manual override , Artoo .</parenthetical> <parenthetical>You 'll have to rewire it or something .</parenthetical> <dialogue /> <scene_description>ARTOO chirps that he 's trying .</scene_description> <character>ANAKIN</character> <parenthetical>( cont'd. ) Look !</parenthetical> <parenthetical>There they are !</parenthetical> <parenthetical>That 's where the autopilot is taking us .</parenthetical> <dialogue /> <scene_description>ANAKIN 's fighter flies toward the Federation Battleship .</scene_description> </scene> <scene> <stage_direction>INT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>The SITH LORD drives the JEDI out of the hanger and nto the power generator area next door .</scene_description> </scene> <scene> <stage_direction>INT. THEED - POWER GENERATOR PIT - DAY</stage_direction> <scene_description>Three swords are crossed in an intense display of swordmanship . The JEDI and the SITH LORD fight their way across the narrow bridge of the Theed power generator . DARTH MAUL jumps onto the bridge above them . The JEDI follow , one in front of the SITH LORD and one behind . They continue their sword fight .</scene_description> </scene> <scene> <stage_direction>INT. THEED - PALACE - HALLWAY - DAY</stage_direction> <scene_description>PADME , CAPTAIN PANAKA , EIRTAE , SABE and THIER TROOPS are trapped in a hallway by BATTLE DROIDS .</scene_description> <character>PADME</character> <dialogue>We do n't have time for this, Captain.</dialogue> <character>CAPT. PANAKA</character> <dialogue>Let's try the outside stairway.</dialogue> <scene_description>CAPTAIN PANAKA blasts a hole in the window , and they make their way outside the building onto a ledge about six stories above a raging waterfall . SABE , EIRTAE and about TWENTY NABOO SOLDIERS stay in the hallway to hold off the BATTLE DROIDS .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - PALACE - OVER WATERFALL - DAY</stage_direction> <scene_description>PADME , CAPTAIN PANAKA , and about TEN OTHER NABOO SOLDIERS are lined up along the edge . They have pulled small attachments out of their pistols and fire at a ledge about four stories above them . Thin cables shoot out of the pistols and are embedded into the ledge . PADME , CAPTAIN PANAKA , and the OTHERS begin to climb up the wall .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO GRASS PLAINS DAY</stage_direction> <scene_description>The GUNGAN ARMY is no match for the DESTROYER DROIDS . JAR JAR tries to run from the BATTLE DROIDS .</scene_description> <character>GENERAL CEEL</character> <dialogue>Retreat! Retreat!</dialogue> <scene_description>The GUNGANS begin to turn and run , on foot , on their kaadu , and in wagons . JAR JAR attempts to escape on a wagon of energy balls but only manages to unhitch the back gate , causing all of the energy balls to roll out of the wagon and down the hill . JAR JAR scrambles to avoid being hit by one of the balls . FOUR DESTROYER DROIDS are n't so lucky . They get blasted by the energy balls . The GUNGANS renew their attack on the DROID ARMY . JAR JAR 's bumbling destroys several more DESTROYER DROIDS .</scene_description> </scene> <scene> <stage_direction>INT. NABOO STARFIGHTER - COCKPIT -SPACE</stage_direction> <scene_description>ANAKIN finds himself in the middle of the space battle . A ship explodes behind him -LRB- over his left shoulder -RRB- .</scene_description> <character>ANAKIN</character> <dialogue>Whoo, boy! This is tense!</dialogue> <scene_description>He looks forward to see enemy ships approaching head on .</scene_description> <character>ANAKN</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>Oops! Artoo, get us off Autopilot!</dialogue> <scene_description>ARTOO screams a reply .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I 've got control ?</parenthetical> <dialogue /> <scene_description>ANAKIN fips switches .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Okay , let 's go left !</parenthetical> <dialogue /> <scene_description>He moves the controls left and the ship responds , turning left .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Yes .</parenthetical> <parenthetical>I 've got control .</parenthetical> <parenthetical>You did it , Artoo !</parenthetical> <dialogue /> <scene_description>ARTOO beeps</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Go back !</parenthetical> <parenthetical>?!</parenthetical> <parenthetical>Qui - Gon told me to stay in this cockpit and that 's what I 'm gon na do .</parenthetical> <parenthetical>Now c'mon !</parenthetical> <dialogue /> <scene_description>An enemy fighter comes into his sights . ANAKIN pushes the controls and instead of firing , his fighter accelerates past the enemy ship .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Oops !</parenthetical> <parenthetical>Whoa !</parenthetical> <dialogue /> <scene_description>Now the enemy ship is on his tail . He tries evasive maneauvers .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I 'll try spinning , that 's a good trick .</parenthetical> <dialogue /> <scene_description>ANAKIN rolls the ship as ARTOO screams desperately .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I know we 're in trouble !</parenthetical> <parenthetical>Hang on !</parenthetical> <parenthetical>The way out of this mess is the way we got into it .</parenthetical> <dialogue /> <scene_description>ARTOO beeps a reply .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Which one ?</parenthetical> <parenthetical>This one ?</parenthetical> <dialogue /> <scene_description>ANAKIN yanks on the reverse thrusters and the ship slows instantly - the enemy fighter shoots past and explodes against the space station .</scene_description> </scene> <scene> <stage_direction>INT. NABOO STARFIGHTER - COCKPIT - SPACE</stage_direction> <scene_description>The SQUADRON attacks the space station .</scene_description> <character>RIC OLIE</character> <dialogue>Bravo flight. go for the central bridge.</dialogue> <character>BRAVO TWO</character> <dialogue>ROger, Bravo Leader.</dialogue> <scene_description>The attack is fruitless .</scene_description> <character>RIC OLIE</character> <dialogue>Their deflector shield is too strong. We'll never get through it.</dialogue> <scene_description>Meanwhile , ANAKIN is being chased by another fighter . ARTOO shrieks .</scene_description> <character>ANAKIN</character> <dialogue>I know, Artoo! This is n't Podracing!</dialogue> <scene_description>The enemy ship fires and hits ANAKIN 's fighter , sending it into a spin . ARTOO screams .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) We 're hit !</parenthetical> <dialogue /> <scene_description>ANAKIN regains control as his ship enters the space station hanger .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Great gobs of bantha poo - doo !</parenthetical> <dialogue /> <scene_description>ANAKIN 's ship dodges parked transport ships and other obstacles . A huge bulkhead blocks his way . ARTOO beeps .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) I 'm trying to stop !</parenthetical> <parenthetical>I 'm trying to stop !</parenthetical> <parenthetical>Whoa !</parenthetical> <dialogue /> <scene_description>ANAKIN hits the reverse thrusters and the ship skids to a stop on the hanger deck . ARTOO givesout a worried whistle .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) All right !</parenthetical> <parenthetical>All right !</parenthetical> <parenthetical>Get the system started !</parenthetical> <dialogue /> <scene_description>ANAKIN ducks down to adjust a control panel .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Everything 's overheated .</parenthetical> <parenthetical>All the lights are red .</parenthetical> <dialogue /> <scene_description>ARTOO sees DROIDS appraoching , and beeps frantically .</scene_description> </scene> <scene> <stage_direction>INT. THEED - POWER GENERATOR PIT - DAY</stage_direction> <scene_description>The laser sword battle continues on the small catwalk around the vast power pit . DARTH MAUL kicks OBI - WAN off one of the ramps and he falls several levels . QUI - GON knocks the DARK LORD off another ramp , and he lands hard on a ramp two levels below . QUI - GON jumps down after him . The DARK LORD backs away along the catwalk into a small door . QUI - GON follows as OBI - WAN runs to catch up .</scene_description> </scene> <scene> <stage_direction>INT. THEED - POWER GENERATOR ELECRIC BEAM - HALLWAY</stage_direction> <scene_description>The SITH LORD , followed by QUI - GON , enters a long hallway filled with a series of deadly rays that go on and off in a pulsing pattern that shoots down the corridor every minute or so . DARTH MAUL makes it down several walls of deadly rays before they close . QUI - GON is one wall away from the DARK LORD . OBI - WAN is just starting into it and is five walls way from DARTH MAUL . The JEDI must wait until the next pulse to advance down the corridor . OBI - WAN is impatient and paces , waiting for the wall of rays to open . QUI - GON sits and meditates . The SITH LORD tries to patch up his wounds .</scene_description> </scene> <scene> <stage_direction>INT. THEED - PALACE - HALLWAY TO THRONE ROOM</stage_direction> <scene_description>A window in the hallway blasts apart . PADME , CAPTAIN PANAKA , and HER SOLDIERS climb into the hallway . They head for the door to the throne roo . Suddenly , two DESTROYER DROIDS skitter in front of the door . PADME turns around and sees TWO MORE appear at the far end of the hallway , trapping them in the middle . PADME throws down her pistol and turns to CAPTAIN PANAKA .</scene_description> <character>PADME</character> <dialogue>Throw down your weapons. They win this round.</dialogue> <character>CAPT. PANAKA</character> <dialogue>But we ca n't.</dialogue> <character>PADME</character> <dialogue>Captain, I said throw down your weapons.</dialogue> <scene_description>CAPTAIN PANAKA and HIS MEN throw down their weapons .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO GRASS PLAINS - DAY</stage_direction> <scene_description>A DESTROYER DROID blasts one of the shield generators , causing it to EXPLODE . The protective shield begins to weaken and fall apart.OOM - 9 sees the shield weaken and orders his tanks forward . The GUNGAN GENERAL signals a retreat as the tanks enter the battle . The GUNGANS flee as fast as they can . JAR JAR is blown off his KAADU and lands on one of the tank guns . A GUNGAN WARRIOR signals JAR JAR to jump off . JAR JAR is afraid . The gun swings around trying to knock JAR JAR off . JAR JAR hangs from the tank barrel as it moves along . Finally , he jumps onto a KAADU behind a GUNGAN WARRIOR . EXPLOSIONS from the tank fire are everywhere . It is chaos .</scene_description> </scene> <scene> <stage_direction>INT. THEED - POWER GENERATOR ELECTRIC BEAM - HALLWAY</stage_direction> <scene_description>The electric rays cycle as QUI - GON sits meditating . The wall of the deadly rays turn away , and OBI - WAN starts running toward QUI - GON and the DARK LORD . When the wall between QUI - GON and DARTH MAUL opens , QUI - GON is in a split second fighting the DARK LORD with a ferocity not seen before . They move into the area at the end of the corridor called the melting pit , a small area that is mostly made up of a deep hole . The electron ray gates begin to close . OBI - WAN tries to make it to the melting pit but is caught one gate short . He slides to a stop just before he hits the deadly electron field . QUI - GON and DARTH MAUL battle around the melting pit as a frustrated OBI - WAN watches . DARTH MAUL cathces QUI - GON off guard . The SITH makes a quick move , bashes his lightsaber handle into QUI - GON 's chin , and runs him through . QUI - GON slumps to the floor in a heap .</scene_description> </scene> <scene> <stage_direction>EXT. NABOO GRASS PLAINS - DAY</stage_direction> <scene_description>The GUNGANS have beeb overrun . Some flee into the hills , chased by BATTLE DROIDS on STAPS . Many OTHERS are herded into groups by BATTLE DROIDS and DESTROYER DROIDS . JAR JAR and GENERAL CEEL are held in a small group with OTHER OFFICERS .</scene_description> <character>JAR JAR</character> <dialogue>Dissa bad, berry bombad.</dialogue> <character>GENERAL CEEL</character> <dialogue>Mesa hopen dissa working for da Queen.</dialogue> </scene> <scene> <stage_direction>INT. THED - PALACE THRONE ROOM - DAY</stage_direction> <scene_description>PADME , CAPTAIN PANAKA , and SIX OTHER OFFICERS are brought by TEN BATTLE DROIDS before NUTE and RUNE and FOUR NEIMOIDIAN COUNCIL MEMBERS .</scene_description> <character>NUTE</character> <dialogue>Your little insurrection is at an end, Your Highness. Time for you to sign the treaty. and end this pointless debate in the Senate.</dialogue> <scene_description>SADBE dressed like the Queen appears in the doorway with SEVERAL TROOPS . Several destroyed battle droids can be seen in the distance .</scene_description> <character>SABE</character> <dialogue>I will not be signing any treaty, Viceroy, because you've lost!</dialogue> <scene_description>NUTE and THE OTHERS are stunned to see a SECOND QUEEN . NUTE yells at the TEN GUARDS in the room .</scene_description> <character>NUTE</character> <dialogue>After her! This one is a decoy!</dialogue> <scene_description>SIX OF THE DROIDS rush out of the throne room after SABE . NUTE turns to PADME .</scene_description> <character>NUTE</character> <parenthetical>( Cont'd. ) Your Queen will not get away with this .</parenthetical> <dialogue /> <scene_description>PADME slumps down on her throne and immediately hits a security button that opens a panel in her desk opposite CAPTAIN PANAKA . PADME grabs two pistols , tosses one of the to CAPTAIN PANAKA and one to an OFFICER . She takes a third pistol and BLASTS the last of the BATTLE DROIDS . The OFFICERS rush to the door control panel as PADME hits the switch to close the door . The OFFICER at the door jams the controls . CAPTAIN PANAKA throws more pistols to the OTHER GUARDS . The NEIMODIANS are confused and afraid .</scene_description> <character>PADME</character> <dialogue>Now, Viceroy, this is the end of your occupation here.</dialogue> <character>NUTE</character> <dialogue>Do n't be absurd. There are too few of you. It wo n't be long before hundreds of destroyer droids break in to rescue us.</dialogue> </scene> <scene> <stage_direction>INT. THEED - POWER GENERATOR - MELTING PIT</stage_direction> <scene_description>OBI - WAN screams as the pulsing electron gate opens , and the SITH LORD attacks him . The DARK LORD is relentless in his assault on the young JEDI . OBI - WAN and DARTH MAUL use the Force to fling objects at each other as they fight . DARTH MAUL seems to have the upper hand as OBI - WAN grows weary . DARTH MAUL catches OBI - WAN off guard , and the JEDI slips into a melting pit . He is barely able to hold onto a nozzle on the side of the pit . DARTH MAUL grin evilly at OBI - WAN as he kicks OBI - WAN 's lightsaber down the endless shaft . The SITH LORD smiles as he goes in for the kill . At the last moment , OBI - WAN jumps up out of the pit , calls QUI - GON 's lightsaber to hi , throwing DARTH MAUL off . The young JEDI swings with a vengeance , cutting the SITH down . DARTH MAUL falls into the melting pit to his death . OBI - WAN rushes over to QUI - GON , who is dying .</scene_description> <character>OBI-WAN</character> <dialogue>Master! Master!</dialogue> <character>QUI-GON</character> <dialogue>It is too late. It's.</dialogue> <character>OBI-WAN</character> <dialogue>No!</dialogue> <character>QUI-GON</character> <dialogue>Obi - Wan promise. promise me you'll train the boy.</dialogue> <character>OBI-WAN</character> <dialogue>Yes, Master.</dialogue> <character>QUI-GON</character> <dialogue>He is the chosen one. he will. bring balance. train him!</dialogue> <scene_description>QUI - GON dies . OBI - WAN cradles his Master , quietly weeping .</scene_description> </scene> <scene> <stage_direction>INT. NABOO STARFIGHTER - COCKPIT - FEDERATION HANGER</stage_direction> <scene_description>ANAKIN peeks over the edge of the cockpit to see BATTLE DROIDS surrounding the ship . He ducks back down .</scene_description> <character>ANAKIN</character> <dialogue>Uh oh. This is not good.</dialogue> <scene_description>He looks at the dashboard to see red lights .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) The systems are still overheated , Artoo .</parenthetical> <dialogue /> <scene_description>The BATTLE DROID CAPTAIN walks up to the ship and sees ARTOO .</scene_description> <character>BATTLE DROID CAPTAIN</character> <dialogue>Where's your pilot?</dialogue> <scene_description>ARTOO beeps a reply .</scene_description> <character>BATTLE DROID CAPTAIN</character> <parenthetical>( Cont'd. ) You 're the pilot ?</parenthetical> <dialogue /> <scene_description>ARTOO whistles .</scene_description> <character>BATTLE DROID CAPTAIN</character> <parenthetical>( Cont'd. ) Let me see your identification !</parenthetical> <dialogue /> <scene_description>ANAKIN sees the dashboard lights go from red to green .</scene_description> <character>ANAKIN</character> <dialogue>Yes. we have ignition.</dialogue> <scene_description>He flips the switch and the engine starts .</scene_description> <character>BATTLE DROID CAPTAIN</character> <parenthetical>( seeing Anakin . )</parenthetical> <dialogue>You! Come out of there or we'll blast you!</dialogue> <character>ANAKIN</character> <dialogue>Not if I can help it! Shields up!</dialogue> <scene_description>ANAKIN flips a switch and the ship levitates , knocking over the BATTLE DROID CAPTAIN . The OTHER DROIDS shoot , but the lasers are deflected by ANAKIN 's shields . ARTOO beeeps .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) This should stop them .</parenthetical> <dialogue /> <scene_description>ANAKIN fires lasers as the ship begins to rotate .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) .</parenthetical> <dialogue>and take this!</dialogue> <scene_description>He presses a button and launches two torpedos which miss the DROIDS .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Darn .</parenthetical> <parenthetical>I missed !</parenthetical> <dialogue /> <scene_description>The two torpedos fly down a hallway and explode inside the reactor room .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Let 's get out of here !</parenthetical> <dialogue /> <scene_description>ANAKIN 's ship roars through the hanger deck , bouncing over the DROIDS .</scene_description> <character>ANAKIN</character> <parenthetical>( Cont'd. ) Now , this is Podracing !</parenthetical> <parenthetical>Whoopee !</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. FEDERATION BATTLESHIP - BRIDGE</stage_direction> <scene_description>TEY HOW turns to CAPTAIN DOFINE .</scene_description> <character>TEY HOW</character> <dialogue>Sir, we're losing power. There is some problem with the main reactor.</dialogue> <character>DOFINE</character> <dialogue>Impossible! I do n't.</dialogue> <scene_description>The bridge explodes .</scene_description> </scene> <scene> <stage_direction>INT. NABOO FIGHTER - COCKPIT - SPACE</stage_direction> <scene_description>RIC OLIE watches in amazement as the Federation battleship starts to explode from the inside out .</scene_description> <character>BRAVO TWO</character> <dialogue>What's that? It's blowing up from the inside.</dialogue> <character>RIC OLIE</character> <dialogue>I do n't know, we did n't hit it.</dialogue> <character>BRAVO THREE</character> <dialogue>Look! One of ours! Outta the main hold!</dialogue> </scene> <scene> <stage_direction>EXT. NABOO GRASS PLAINS - DAY</stage_direction> <scene_description>Suddenly , all of the DROIDS begin to shake upside down , run around in circles , then stop . The GUNGANS carefully move out to inspect the FROZEN DROIDS . JAR JAR pushes one of the BATTLE DROIDS , and it falls over .</scene_description> <character>JAR JAR</character> <dialogue>Wierdind.</dialogue> </scene> <scene> <stage_direction>EXT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>ANAKIN and ARTOO follow the squad of yellow Naboo starfighters into the main hanger .</scene_description> </scene> <scene> <stage_direction>INT. THEED - CENTRAL HANGER - DAY</stage_direction> <scene_description>RIC OLIE and the OTHER PILOTS gather around as thye exit their ships .</scene_description> <character>BRAVO TWO</character> <dialogue>He flew into the hold, behind the deflector shield and blasted the main reactor.</dialogue> <character>BRAVO THREE</character> <dialogue>Amazing. They do n't teach that in the academy.</dialogue> <scene_description>ANAKIN 's ship skids to a stop behind the other Naboo starfighters . RIC OLIE , BRAVO TWO , the OTHER PILOTS , and GROUND CREW rush to his ship .</scene_description> <character>RIC OLIE</character> <dialogue>We're all accounted for. Who flew that ship?</dialogue> <scene_description>ANAKIN sheepishly opens the cockpit and stands up . All the PILOTS stare in amazement .</scene_description> <character>ANAKIN</character> <dialogue>I'm not going to get into trouble, am I?</dialogue> <scene_description>ARTOO beeps . oh . oh .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HANGER - COURTYARD - DAY</stage_direction> <scene_description>The large , grand cruiser of the Supreme Chancellor lands in the courtyard of the main hanger . CAPTAIN PANAKA and TWENTY TROOPS guard NUTE GUNRAY and RUNE HAAKO . OBI - WAN , the QUEEN , and her HANDMAIDENS stand before the NEIMOIDIANS .</scene_description> <character>PADME</character> <dialogue>Now, Viceroy, you are going to have to go back to the Senate and explain all this.</dialogue> <character>CAPT. PANAKA</character> <dialogue>I think you can kiss your Trade franchise goodbye.</dialogue> <scene_description>The main ramp of the cruiser is lowered as OBI - WAN and CAPTAIN PANAKA lead the VICEROY and HIS ASSISTANT toward the ship . The GRAND CHANCELLOR PALPATINE and SEVERAL REPUBLIC GUARDS descend the walkway , followed by YODA and SEVERAL OTHER JEDI MASTERS . The CHANCELLOR PALPATINE is greeted by the QUEEN .</scene_description> <character>AMIDALA</character> <dialogue>Congratulations on youer election, Chancellor. It is so good to see you again.</dialogue> <character>PALPATINE</character> <dialogue>It's good to be home. Your boldness has saved our people, Your Majesty. It is you who should be congratulated. Together we shall bring peace and prosperity to the Republic.</dialogue> <scene_description>OBI - WAN greets YODA and the OTHER JEDI as CAPTAIN PANAKA takes the NEIMODIANS onto the cruiser .</scene_description> </scene> <scene> <stage_direction>INT. TURRET ROOM - NABOO PALACE - LATE DAY</stage_direction> <scene_description>The sun streams into the multi - windowed room at a low angle . It is not quite sunset . YODA paces before OBI - WAN , who is kneeling in the center of the room .</scene_description> <character>YODA</character> <dialogue>Confer on you, the level of Jedi Knight the Coucil does. But agree on you taking this boy as your Padawan learner, I do not.</dialogue> <character>OBI-WAN</character> <dialogue>Qui - Gon believed in him. I believe in Qui - Gon.</dialogue> <character>YODA</character> <dialogue>The Chosen One the boy may be ; nevertheless, grave danger I fear in his training.</dialogue> <character>OBI-WAN</character> <dialogue>Master Yoda, Igave Qui - Gon my word. I will train Anakin. Without the approval of the Council if I must.</dialogue> <character>YODA</character> <dialogue>Qui - Gon's defiance I sense in you. Need that, you do not. Agree, the council does. Your apprentice, young Skywalker will be.</dialogue> </scene> <scene> <stage_direction>EXT. THEED - CENTRAL PLAZA - FUNERAL TEMPLE STEPS - SUNSET</stage_direction> <scene_description>QUI - GON 's body goes up in flames as the JEDI COUNCIL , the QUEEN , SIO BIBBLE , CAPTAIN PANAKA , the HANDMAIDENS , and ABOUT ONE HUNDRED NABOO TROOPES , TWENTY OTHER JEDI , PALPATINE , OBI - WAN -LRB- standing with ANAKIN -RRB- , JAR JAR , BOSS NASS , and TWENTY OTHER GUNGAN WARRIORS watch . There is a drum roll that stops . Doves are released , and the body is gone . ANAKIN looks to OBI - WAN .</scene_description> <character>OBI-WAN</character> <dialogue>He is one with the Force, Anakin. You must let go.</dialogue> <character>ANAKIN</character> <dialogue>What will happen to me now?</dialogue> <character>OBI-WAN</character> <dialogue>I am your Master now. You will become a Jedi, I promise.</dialogue> <scene_description>To one side , MACE WINDU turns to YODA .</scene_description> <character>MACE WINDU</character> <dialogue>There is no doubt. The mysterious warrior was a Sith.</dialogue> <character>YODA</character> <dialogue>Always two there are. no more. no less. A maste and an apprentice.</dialogue> <character>MACE WINDU</character> <dialogue>But which one was destroyed, the master or the apprentice?</dialogue> <scene_description>They give each other a concerned look .</scene_description> </scene> <scene> <stage_direction>EXT. THEED - CENTRAL PLAZA - DAY</stage_direction> <scene_description>CHILDEREN SING and throw flowers on the passing GUNGAN SOLDIERS . The CROWDS CHEER . It is a grand parade . QUEEN AMIDALA stands next to the SUPREME CHANCELLOR PALPATINE , ANAKIN , OBI - WAN , SIO BIBBLE , and the JEDI COUNCIL . ARTOO stands in front of the QUEEN 'S HANDMAIDENS and whistles at the parade . QUEEN AMIDALA and PALPATINE smile at one another In the parade are BOSS NASS and his GUARDS , JAR JAR and GENERAL CEEL . The GUNGANS ride KAADU . They stop before the QUEEN and walk up the steps to stand by her side.BOSS NASS holds up the Globe of Peace . EVERYONE CHEERS . The parade marches on . IRIS OUT End titles</scene_description> </scene> </script>

Thirty-two years before the Battle of Yavin, the Trade Federation upsets order in the Galactic Republic by blockading the planet Naboo in preparation for a full-scale invasion. The Republic's leader, Supreme Chancellor Finis Valorum, dispatches Jedi Master Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, to negotiate with Trade Federation Viceroy Nute Gunray. Darth Sidious, a Sith Lord and the Trade Federation's secret benefactor, orders the Viceroy to kill the Jedi and begin their invasion with an army of battle droids. The Jedi escape and flee to Naboo. During the invasion, Qui-Gon saves the life of a Gungan outcast, Jar Jar Binks, from being run over by a droid transport. Indebted to Qui-Gon, Jar Jar leads the Jedi to Otoh Gunga, an underwater city of Naboo. The Jedi try to persuade the Gungan leader, Boss Nass, to help the planet's surface dwellers but are unsuccessful. However, the Jedi manage to obtain Jar Jar's guidance and underwater transport to Theed, the capital city of Naboo. They rescue Naboo's queen, Padmé Amidala, and escape from the blockaded planet on her Royal Starship, intending to reach the Republic capital planet of Coruscant. The ship is damaged as they pass the Federation blockade and the hyperdrive is caught in the crossfire, rendering it useless. They land for repairs on the outlying desert planet of Tatooine, situated beyond the Republic's jurisdiction. Qui-Gon, Jar Jar, astromech droid R2-D2, and Padmé—disguised as one of her handmaidens—visit the settlement of Mos Espa to purchase spare parts at a junk shop. They meet the shop's owner, Watto, and his nine-year-old slave, Anakin Skywalker, a gifted pilot and engineer who has built a protocol droid, C-3PO. Qui-Gon senses a strong presence of the Force within Anakin, and is convinced that he is prophesied as "The Chosen One". Unable to acquire the required hyperdrive parts due to the Republic's currency being worthless on Tatooine, Qui-Gon wagers both the parts and Anakin's freedom with Watto in a podrace. Anakin wins the race and joins the group to be trained as a Jedi, leaving behind his mother, Shmi. En route to their starship, Qui-Gon encounters Darth Maul, Darth Sidious' apprentice, who intends to capture Padmé. A lightsaber duel ensues, but Qui-Gon quickly disengages and escapes onboard the starship before he introduces Anakin to Obi-Wan. Qui-Gon and Obi-Wan escort Padmé to Coruscant so that she can plead her people's case to Valorum and the Galactic Senate. Qui-Gon asks the Jedi Council for permission to train Anakin as a Jedi, but the Council refuses, concerned that Anakin is vulnerable to the dark side of the Force. Undaunted, Qui-Gon vows to take up Anakin as his new apprentice. Meanwhile, Naboo's Senator Palpatine persuades Amidala to call for a vote of no confidence in Chancellor Valorum to elect a more capable leader and to resolve the crisis. Though she is successful in pushing for the vote, Amidala grows frustrated with the corruption in the Senate and decides to return to Naboo. Qui-Gon and Obi-Wan are ordered by the Jedi Council to accompany the queen and investigate the return of the Sith, whom they had believed to be extinct. On Naboo, Padmé reveals herself to the Gungans as Queen Amidala and persuades them to join in an alliance against the Trade Federation. Jar Jar is promoted to general and joins his tribe in a battle against the droid army, while Padmé leads the search for Gunray in Theed. During a battle in the starship hangar, Qui-Gon tells Anakin to wait in the cockpit of a vacant starfighter. Darth Maul has infiltrated the palace and lightsaber battles with Qui-Gon and Obi-Wan. Anakin inadvertently triggers the starfighter's autopilot, traveling to the battle against the Federation droid control ship. Maul mortally wounds Qui-Gon with his lightsaber, but is then bisected by Obi-Wan and falls down a pit. Anakin blunders into the control ship's hangar and causes its destruction from within before escaping, deactivating the droid army in the process. As he lies dying, Qui-Gon requests Obi-Wan to train Anakin, and dies in Obi-Wan's arms. Palpatine is elected Chancellor, and Gunray is arrested. Yoda promotes Obi-Wan to the rank of Jedi Knight and reluctantly accepts Anakin as Obi-Wan's apprentice. During a celebratory parade, Padmé presents a gift of thanks to Boss Nass and the Gungans to establish peace.

Constantine_2005

tt0360486

<script> <scene> <stage_direction>EXT. ISTANBUL - DUSK</stage_direction> <scene_description>Glimpses of an ancient city . Almost motionless against the tide of time . Sea swelled along an endless wall . Billowing silk frozen against the sky . Birds lighting on Byzantine columns . FINAL IMAGE is of an imposing STRUCTURE beyond the trees .</scene_description> </scene> <scene> <stage_direction>INT. PRISON FOR THE CRIMINALLY INSANE</stage_direction> <scene_description>Corridor of ancient stone and steel extends into infinite darkness . Stale air hangs in the dim half - light like atomized ether . There is WHISPERING . And tangled VOICES . DRIFT IN PAST prison cells the size of closets . Brief flashes of carved faces , insanity - COMING TO REST ON the - FINAL CELL A gaunt PRISONER kneels on the granite , head bowed to a wall hung tapestry of Christ . But he 's not just praying . He 's digging . With his arm under the tapestry , he scratches at the stone with a SPOON . After only a year , the spoon finally breaks through .</scene_description> </scene> <scene> <stage_direction>INT. NARROW CHANNEL</stage_direction> <scene_description>Prisoner claws his way between ancient walls , comes to a dead end against a thick wooden door . He nudges a shoulder against it , digs in and pushes . DOOR GROANS open , sucking air into the pitch black CHAMBER .</scene_description> </scene> <scene> <stage_direction>INT. PRISONER'S CELL</stage_direction> <scene_description>The tapestry covering the HOLE is pulled against the wall , then billows outward like a sail .</scene_description> </scene> <scene> <stage_direction>INT. CHAMBER - PRISONER</stage_direction> <scene_description>pulls himself inside , chokes in the heavy air . He scans the musty room . Antique furniture . A few empty crates . And the remains of several deteriorating skeletons . He looks to the far wall , sees a hint of light above through the crumbling limestone . A way out . Too high to reach , Prisoner pulls an old CHEST out of a cobwebbed corner and slides it under the light . He steps up onto the chest , grabs the edges of the hole and starts to shove off when the top of the chest gives way and his foot crunches through . Prisoner reaches down to free his foot when he sees something inside - wrapped in a red cloth . He pulls it out and as he unwraps it , he discovers the cloth is a Nazi flag . At the center is a crudely - shaped IRON RELIC . Eight inches long . Stains on the edges . Could be the petrified tooth of some prehistoric animal . Or maybe an ancient arrowhead . As he holds it , feverish sweat starts to form on his face . MYSTERIOUS POV From BEHIND . As if he 's being watched by someone else . Prisoner spins , looks back AT us . Nothing . PRISONER starts toward the way out .</scene_description> </scene> <scene> <stage_direction>INT. PRISONER CORRIDOR</stage_direction> <scene_description>The Guard 's flashlight beam probes the cell - one by one - falls on the tapestry . Christ billows out from the wall , revealing the hole .</scene_description> </scene> <scene> <stage_direction>INT. PRISON - VARIOUS SHOTS</stage_direction> <scene_description>ALARMS SOUND . Lights BLAST ON . Guards with weapons rush through .</scene_description> </scene> <scene> <stage_direction>INT. NARROW CHANNEL</stage_direction> <scene_description>Prisoner squeezes toward light , grips the relic tight .</scene_description> </scene> <scene> <stage_direction>EXT. PRISON - NIGHT</stage_direction> <scene_description>SIRENS BLARE as SPOTLIGHTS sweep across the ominous structure . Prisoner breaks from the darkness , runs for the trees on the other side of the wall .</scene_description> <character>GUARDS</character> <parenthetical>( in Turkish . )</parenthetical> <dialogue>Stop! Stop!</dialogue> <scene_description>Prisoner spins , griping the relic tight . GUNSHOTS RING OUT . Bullets streak toward him but never hit their target . Guards check their weapons on the run .</scene_description> </scene> <scene> <stage_direction>EXT. NEAR A ROAD - NIGHT</stage_direction> <scene_description>Prisoner breaks from the trees , runs into a road . Headlights wash over him and TIRES SCREECH . Prisoner spins , is right in the path of a car . BRAKES SQUEAL - car locks up but too late - IMPACTS Prisoner who is violently thrown and lands in a heap . CAR slides to a stop . DRIVER jumps out , sees the front end sheet metal has accordioned all the way to the tires . He scans the area for a body , spots the Prisoner and is stunned to see him getting to his feet . Uninjured . Prisoner is just as amazed . He glances at the RELIC in his hand , notes the wrist has reddened and an odd SYMBOL has appeared as if embossed in the flesh . Driver calls out but the Prisoner is spooked , runs off . OVER this we hear - A CHILD 'S SCREAM .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - DAY</stage_direction> <scene_description>FATHER HENNESSEY -LRB- 50 -RRB- , stands over a young teen -LRB- 13 -RRB- , JEANIE , splashes holy water on her body . She screams again .</scene_description> <character>HENNESSEY</character> <dialogue>Et separatur a plasmate tuo, Ut num quam laedatur amorsu antiqui serpentes!</dialogue> <scene_description>Her body convulses , pulls against the bandages tying her hands and feet to the bed frame . Notice her fingernails . Drained of color . Almost black . Her MOTHER is off to one side , completely hysterical . On the other side is a crowd of bewildered TENANTS , all crammed into the hallway outside the opened door . Nothing can compare with an exorcism . Especially one that 's gone bad . The rather obese Priest tries to steady his hands and his heart . It 's obvious he 's totally out of his league here . GIRL lets out another SCREAM that ECHOES OVER -</scene_description> </scene> <scene> <stage_direction>EXT. AGING APARTMENT BUILDING</stage_direction> <scene_description>Not in a third world country but smack center in one of America 's richest cities . Sparkling high - rises tower in the distance while flashy billboards tout the sexiest fashions , the hottest automobiles and the smoothest malt liquor . SUPERIMPOSE : LOS ANGELES - TODAY</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY BY THE APARTMENT</stage_direction> <scene_description>A faded yellow taxi PULLS UP and stops . Someone steps out , grinds a cigarette butt into the asphalt .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - FOYER</stage_direction> <scene_description>Doors open , flood the musty darkness with a brief relief of sunlight . A MAN - whose face we do n't see - steps inside , his trench coat hanging like the folded wings of a raven . He pauses , pulls an ORNATE LIGHTER and lights a cigarette . Takes a puff and pushes on inside .</scene_description> </scene> <scene> <stage_direction>INT. NARROW STAIRCASE HALL WALL</stage_direction> <scene_description>Lined with tenants trying to get a glimpse of the unexplainable . The Stranger pushes through . Suspicious faces step out of his path . The ones that do n't he pushes aside - even the gangbangers . The man has no patience for politeness , no time for tact , no fear of anything . This man is JOHN CONSTANTINE . He arrives at his destination , barges into -</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT 7B</stage_direction> <scene_description>One scan of the situation is all it takes . The bed - the child - the panicked priest - who rushes to John .</scene_description> <character>HENNESSEY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Thank God you're here.</dialogue> <scene_description>John shoots him a disgusted look . Hennessey gives him a wide berth . John walks past the panic - stricken MOTHER without a glance , sets his cigarette on the nightstand , the glowing tip drooped over the edge . He puts a gloved hand to the child 's face and it burns on contact . His demeanor instantly changes as he leans right next to the ear of the little girl and whispers -</scene_description> <character>JOHN</character> <dialogue>This is Constantine. John Constantine, asshole.</dialogue> <scene_description>The girl JOLTS , bandages on her arms cut into her skin . Eyes snap open - glare right through him .</scene_description> <character>JOHN</character> <dialogue>How ya doing?</dialogue> <character>JEANIE</character> <dialogue>Vamos juntos a matarla.</dialogue> <scene_description>John whips out a key chain crammed with medallions .</scene_description> <character>JOHN</character> <dialogue>Let's see who we got here.</dialogue> <scene_description>He holds them up so they cast shadows across Jeanie 's face . He flips through each of these sculptured SAINTS until the child suddenly reacts to one - tries to look away . John stares at the Saint responsible , seems genuinely puzzled . He turns to the Mother - very serious .</scene_description> <character>JOHN</character> <dialogue>I need a mirror. Now.</dialogue> <scene_description>Shaken , the Mother produces a small compact . John pushes it away , turns to the doorway crowd .</scene_description> <character>JOHN</character> <dialogue>A large mirror. At least -.</dialogue> <parenthetical>( sizes up the child . )</parenthetical> <dialogue>- three feet high.</dialogue> <scene_description>The hallway crowd discusses possibilities .</scene_description> <character>JOHN</character> <dialogue>MOVE.</dialogue> <scene_description>Tenants run to retrieve a mirror . Hennessey looks worried . John grabs the bed - shoves Hennessey aside as he swings the bed around , legs gouging hardwood all the way . Faces it toward the window . INTERCUT - APARTMENT 5G BELOW Several of the MEN from the hallway crowd storm through an OLD WOMAN 'S stuffy apartment , locate a huge iron - framed mirror and rip it and half the plaster from the wall . JOHN centers on a drapery ROPE , pulls hard . Drapery HOOKS EXPLODE off the curtain rod as he swings open the window , looks down into the alley where that yellow taxi is parked .</scene_description> <character>JOHN</character> <dialogue>Chaz?</dialogue> <scene_description>CHAZ -LRB- 20s -RRB- looks up from his cab . Cool . Frustrated . You just know he 'd love to be up there , not down here .</scene_description> <character>JOHN</character> <dialogue>Move the car.</dialogue> <character>CHAZ</character> <dialogue>Why?</dialogue> <character>JOHN</character> <dialogue>MOVE THE DAMN CAR.</dialogue> <scene_description>John frees the drapery rope , ducks back into the room .</scene_description> <character>CHAZ</character> <dialogue>Park the car - Move the car.</dialogue> <scene_description>Chaz shifts into reverse , moves the car three feet .</scene_description> <character>CHAZ</character> <dialogue>There, I moved the damn car.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Four men struggle to carry up that enormous mirror . The Old Woman follows , begs them to be gentle . They swing the mirror around , take out a chunk of banister . She freaks .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT 7B</stage_direction> <scene_description>Hennessey can only watch as John threads the drapery rope through the fire escape railing , drapes it back through the window and loops it over the ceiling fan . He climbs onto the bed , leans over the child whose eyes have closed and she 's shaking badly . Her body seems to be going into shock . Is n't strong enough for this . John has no choice - slaps her . Eyes pop back open . Dark and dilated . He yells down at her in Aramaic and English .</scene_description> <character>JOHN</character> <dialogue>Amar natash bow basar! - Rescind from the flesh I command thee -</dialogue> <scene_description>The girl chokes as if ready to spit .</scene_description> <character>JOHN</character> <dialogue>That's it - time to go home.</dialogue> <scene_description>Jeanie SCREAMS -</scene_description> <character>JEANIE</character> <dialogue>Tiempo para morir!</dialogue> <scene_description>Her body suddenly PULSES half again larger . John recoils for a beat . Odd . He continues in Aramaic -</scene_description> <character>JOHN</character> <dialogue>Amar natash bow basar -</dialogue> <scene_description>Another PULSE and this time a SHAPE is clearly seen expanding under the child 's skin - as if the demon inside were trying to burst right through . John backs off - watches as the shape ripples her flesh , like fingers caressing from the other side . John glances to Hennessey . What the hell ? MIRROR arrives at the doorway , BANGS against the JAM . John waves them in . The four men heft it into the room .</scene_description> <character>JOHN</character> <dialogue>Lift it. Over the bed. Up.</dialogue> <scene_description>John ducks , settles on the girl as they raise it over him .</scene_description> <character>JOHN</character> <dialogue>Hennessey, tie it off -</dialogue> <scene_description>Hennessey is glad to be called into service - quickly ties one end of rope to the mirror . John straddles the girl , positions his head between her and the mirror above him .</scene_description> <character>JOHN</character> <dialogue>Now close your eyes - all of you - and whatever happens - do not look into the mirror.</dialogue> <scene_description>The men close their eyes . Muscles tense under the weight .</scene_description> <character>JOHN</character> <dialogue>Amar natash bow basar! - rescind from the flesh I command thee!</dialogue> <scene_description>Jeanie reacts - that SHAPE reappears , contorts the young body all out of proportion . John unblocks the mirror for a second and Jeanie is reflected inside . It 's not just the image of a young girl in there , but something else . The surface of the mirror FLEXES in the hands of the men . One starts to look -</scene_description> <character>JOHN</character> <dialogue>No!</dialogue> <scene_description>Jeanie SCREAMS - breaks free of the straps . She rises up , grabs John tight around the throat . Nails dig deep .</scene_description> <character>HENNESSEY</character> <dialogue>John?!</dialogue> <character>JOHN</character> <parenthetical>( looking into mirror . )</parenthetical> <dialogue>Not yet!</dialogue> <scene_description>John struggles , puts his hands over her mouth - cutting off her air supply . Question is , who 's going to pass out first ? Jeanie 's body is racked by whatever 's inside her . She goes into shock , body collapsing - shaking - close to death .</scene_description> <character>JOHN</character> <dialogue>Look! Look at me!</dialogue> <scene_description>But she 's passing out first . John quickly takes the medallion that caused the earlier reaction -</scene_description> <character>JOHN</character> <dialogue>Goddamit - look!</dialogue> <scene_description>- and presses it against her forehead . Eyes snap wide and John unblocks the mirror . Jeanie locks on her reflection and the image in the mirror changes drastically .</scene_description> <character>JOHN</character> <dialogue>Smile pretty you vain prick.</dialogue> <scene_description>The child 's reflection has now changed to a pissed off DEMON . One that knows it just got suckered in . MIRROR VIBRATES wildly in the men 's grip . Demon reflection ripples the glass - bending it outward into three - D space as the girl takes her last breaths -</scene_description> <character>JOHN</character> <dialogue>Now, Hennessey. Now!</dialogue> <scene_description>Hennessey PULLS the rope with all three - hundred - plus pounds as John gives the demon face a full extended FINGER .</scene_description> <character>JOHN</character> <dialogue>For your boss.</dialogue> <scene_description>Demon pushes for him but mirror is jerked into motion . Swings right out the window but catches on a sliver of wood -</scene_description> <character>JOHN</character> <dialogue>No you do n't.</dialogue> <scene_description>John jumps up and helps push the mirror free .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - HUGE MIRROR</stage_direction> <scene_description>Falls SLOW MOTION from the 7th story - tumbling end over end , sunlight beams glancing off the glass , PROJECTING the image of the Demon into the LA cityscape . ONTO buildings , sidewalks , a passing truck - until all three hundred pounds of IRON AND GLASS come CRASHING down ON the taxi 's hood .</scene_description> <character>CHAZ</character> <dialogue>SHIT!</dialogue> <scene_description>Demon 's image SHATTERS on impact - GLASS SPLINTERING into a million diamond - like fragments that choke the air . The GROAN of something evil reverberates into the city beyond . Chaz looks up , sees he missed dying by three feet .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - CONTINUOUS ACTION</stage_direction> <scene_description>Jeanie GASPS - takes her first breath as a child again . And CRIES . Mother pulls her in , hugs her tight . Note the girl 's fingernails . No longer black . John 's beat , reclaims that stub of a cigarette , still burning . Takes a drag . He pushes past Hennessey who is approaching the mother .</scene_description> <character>HENNESSEY</character> <dialogue>Now about the fee.</dialogue> <scene_description>John slips FROM VIEW into the kitchenette , hides the fact that he has to lean against the door to keep his balance . He catches his breath , looks up and is staring right at a child 's crayon drawing magneted to the fridge . A drawing of a figure poking another in the side with a long stick . This image is repeated over and over . John tugs it off the fridge , tucks it away .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - STAIRWELL - LATER</stage_direction> <scene_description>Hennessey follows John down the spiraling stairs , passing the gathered tenants . A few are freaked , cross themselves . Others horrified . But many want to touch them , shake their hands . A shadowy FIGURE several floors up stares over the rail at the heroes below . Note the slick suit , the polished veneer . This is BALTHAZAR and he definitely does not rent here . He flicks an ancient COIN between his fingers . JOHN pauses , gazes up through the stairwell as if sensing something . No one there . Balthazar is gone . JOHN shakes off the feeling , continues down the steps where Hennessey is shoving his HAT in front of the tenants . They 're gladly giving to the cause .</scene_description> <character>HENNESSEY</character> <dialogue>Thank you. Yes. Gracias.</dialogue> <character>JOHN</character> <dialogue>Hennessey.</dialogue> <scene_description>Hennessey stops his panhandling , continues toward the exit .</scene_description> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <scene_description>John and Hennessey stop near the front entrance . John rips the white collar from Hennessey 's neck .</scene_description> <character>HENNESSEY</character> <dialogue>I know, I know, but I did n't think she was really possessed, not like that.</dialogue> <character>JOHN</character> <dialogue>I'm not back an hour and you drag me into -</dialogue> <character>HENNESSEY</character> <dialogue>- Do n't be mad, John, do n't be -</dialogue> <scene_description>John rummages through his coat pockets -</scene_description> <character>HENNESSEY</character> <dialogue>On the left side.</dialogue> <scene_description>John keeps searching .</scene_description> <character>HENNESSEY</character> <dialogue>Vest pocket.</dialogue> <scene_description>John rips his smokes from the left vest pocket -</scene_description> <character>JOHN</character> <dialogue>Do n't do that shit on me -</dialogue> <character>HENNESSEY</character> <dialogue>Sorry, sorry. Here, you can have half.</dialogue> <scene_description>Hennessey starts to divvy the cash but John snatches the hat .</scene_description> <character>JOHN</character> <dialogue>I should take it all, save you from yourself.</dialogue> <scene_description>He gestures that bagged BOTTLE in Hennessey 's jacket .</scene_description> <character>HENNESSEY</character> <dialogue>It keeps them out, so I can sleep. Please, John, I need to sleep.</dialogue> <scene_description>John stares at his pathetic friend , sighs , finally slips a few bills from the wad and hands them over . Hennessey is bubbling with appreciation , starts to follow . John simply holds up a hand . Hennessey stops , watches John walk out . Alone .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY BY THE APARTMENT</stage_direction> <scene_description>John turns the corner , spots Chaz punching a dent from the taxi 's hood .</scene_description> <character>JOHN</character> <dialogue>I told you to move it.</dialogue> <character>CHAZ</character> <dialogue>Well maybe if you had told me you were dropping a three - hundred pound mirror with a pissed - off demon in it I would have moved it further.</dialogue> <scene_description>Chaz slams the hood . They slide into the car .</scene_description> <character>CHAZ</character> <dialogue>Well?</dialogue> <character>JOHN</character> <dialogue>Well what?</dialogue> <scene_description>Chaz reaches back into John 's front coat pocket - pulls out Hennessey 's wad of cash - slips off a few bills .</scene_description> <character>CHAZ</character> <dialogue>Should n't have cut your stay in the land of enlightenment. You were so close to growing a conscience.</dialogue> <scene_description>John grins , pulls his special lighter , lights a smoke and sits back .</scene_description> <character>JOHN</character> <dialogue>Los Angeles.</dialogue> <scene_description>He looks back up at the apartment , still puzzled .</scene_description> <character>JOHN</character> <dialogue>Never ceases to entertain.</dialogue> <scene_description>Chaz crams the car in gear as John takes a drag , coughs .</scene_description> </scene> <scene> <stage_direction>EXT. THE SKY</stage_direction> <scene_description>One of those perfect days . With perfect clouds . So clear you feel you could reach out and touch Heaven . Two young girls rise INTO FRAME on side - by - side swings . For a moment they 're suspended against that incredible sky . Then gravity takes hold and they fall back to Earth .</scene_description> <character>MAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You still with me?</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY - DAY</stage_direction> <scene_description>ANGELA 'S -LRB- 30 -RRB- weary eyes open . She 's on her belly hidden between track ties and shadows even deeper . Grips a police - issue revolver tight . She 's pinned down , unable to move .</scene_description> <character>ANGELA</character> <dialogue>Yeah.</dialogue> <scene_description>The MAN is thirty feet down the same track . Their VOICES ECHO off the curved walls , come from everywhere . How either of these two got here is n't important . Who will get out is .</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>So what's next, Detective? We gon na do a full marathon?</dialogue> <scene_description>Intermittent RADIO CHATTER buzzes from Angela 's WALKIE - TALKIE . You get the sense Angela is not alone in here .</scene_description> <character>ANGELA</character> <dialogue>Put your weapon on the tracks and step out with your hands above your head.</dialogue> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Or how ` bout you show yourself and I put a bullet in your skull just like I did hers!</dialogue> <character>ANGELA</character> <dialogue>That's just not going to happen.</dialogue> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You sure about that?!</dialogue> <scene_description>Angela checks the chamber - sees she has one bullet left .</scene_description> <character>ANGELA</character> <parenthetical>( almost pleading . )</parenthetical> <dialogue>Now put down your weapon on the tracks and -</dialogue> <scene_description>GROUND BEGINS to VIBRATE . Tunnel starts to GLOW .</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well ai n't this a peach?!</dialogue> <scene_description>Angela looks back , sees several SHADOWS of figures waving far off . Her RADIO is flooded with futzed CHATTER .</scene_description> <character>DETECTIVE WEISS</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over radio . )</parenthetical> <dialogue>Get off the tracks! Blueline is coming! Clear the tracks!</dialogue> <scene_description>Angela peeks over the track . Still no sign of her perp . The TRAIN is coming INTO VIEW and its BEAM shoots through the tunnel , turning every particle of dust into a supernova . The SOUND is DEAFENING .</scene_description> <character>MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>C'mon, Detective, step into the light and be saved!</dialogue> <scene_description>Angela looks back , squints into the brilliant LIGHT . She grips her GUN and in one burst of flat - out bravado - rises as she AIMS . And there he is - the Man rising with his own gun . Angela FIRES as both dive off the track . His BULLET RICOCHETS behind her . Hers finds its mark . Man goes down right in the train 's path . Angela rolls over on the side of the tracks , catches her breath . She closes her eyes and crosses herself as the train roars past in a staccato blur .</scene_description> </scene> <scene> <stage_direction>EXT. 20 LANES BOWLING ALLEY - DAY</stage_direction> <scene_description>Chaz 's taxi pulls up , parks . TAXI TRUNK OPENS , REVEALS suitcases stamped with AIR INDIA . John starts inside , pauses as Chaz yells -</scene_description> <character>CHAZ</character> <dialogue>There are four bags. I have two hands. This give you any ideas?</dialogue> <character>JOHN</character> <dialogue>Make two trips?</dialogue> <scene_description>John walks in . Chaz curses under his breath .</scene_description> </scene> <scene> <stage_direction>INT. 20 LANES BOWLING ALLEY</stage_direction> <scene_description>Evening leagues are going strong . John walks in , looks totally out of place . He moves down the BALL RACK area , runs his fingers across the various leftovers , finally stops at a pearl - white dazzler . He lifts it from the rack , steps out into the prep area - in front of one of the few lanes not in use . Number 13 . John snatches a grease pencil from the overhead , scribbles right on the ball - `` PROVISIONS DEPLETED . '' He fluffs his trench coat back , steps onto the polished wood with his well - traveled Oxfords . Young bowlers on both sides stop to look at this oddity . An attractive brunette is rather curious . John gives her a wink . Her boyfriend does n't appreciate it . John bowls . Perfect hook ball . Strike ! Brunette grins . John returns the smile , heads into the hallway by the pool tables .</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT</stage_direction> <scene_description>Seems small until you walk in and realize it 's as long as a bowling lane . Makes that cage enclosed bed at one end seem like it 's a mile away . Chaz throws the suitcases on it as John arrives .</scene_description> <character>CHAZ</character> <parenthetical>( yells across room . )</parenthetical> <dialogue>Simple question. How much longer do I have to be your slave?</dialogue> <scene_description>John pulls a chain and a wall of window shutters open .</scene_description> <character>JOHN</character> <dialogue>You're not my slave, Chaz. You're my very appreciated assistant. Like Tonto and Robin and that skinny fellow with the fat friend.</dialogue> <scene_description>Along the floor , encircling the entire room , are 5 gallon Sparkletts bottles . Each is adorned by a small hand - marked CROSS . John takes a moment to adjust one out of place .</scene_description> <character>CHAZ</character> <dialogue>How much longer?</dialogue> <scene_description>John does n't like his tone .</scene_description> <character>JOHN</character> <dialogue>Well I do n't know, what's the going rate for saving a taxi driver hanging from his fingernails about to be swallowed into the jaws of Hell?</dialogue> <character>CHAZ</character> <dialogue>So what time you want me back?</dialogue> <scene_description>John gives him a knowing look , goes back to emptying his pockets .</scene_description> <character>JOHN</character> <dialogue>I need to make an appearance at Midnite's. Say ten - ish?</dialogue> <scene_description>Chaz sighs , starts out -</scene_description> <character>JOHN</character> <dialogue>Chaz?</dialogue> <scene_description>Chaz turns back , catches an object John throws him .</scene_description> <character>JOHN</character> <dialogue>A little something from Delphi.</dialogue> <scene_description>It 's a dashboard air freshener shaped like a cow . Chaz tips it . Moooooo . John finds it rather amusing .</scene_description> <character>CHAZ</character> <dialogue>Gee, thanks.</dialogue> <scene_description>Chaz leaves . John removes a small BLACK BOX from his jacket . He sets it carefully on its own shelf by the window - stares out .</scene_description> <character>BEEMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>` Provisions depleted?'</dialogue> <scene_description>John turns to see BEEMAN waddle in .</scene_description> <character>BEEMAN</character> <dialogue>I gave you three months worth. You were gone only one.</dialogue> <scene_description>This diminutive occult version of Bond 's `` Q '' carries a custom bowling bag and squints in the light like a mole .</scene_description> <character>JOHN</character> <dialogue>What can I say, Beeman, India was a real drain.</dialogue> <scene_description>They shake hands . Beeman sets his bowling bag onto the table , unzips it .</scene_description> <character>BEEMAN</character> <dialogue>So what do you need?</dialogue> <character>JOHN</character> <dialogue>Everything you got.</dialogue> <character>BEEMAN</character> <parenthetical>( pausing . )</parenthetical> <dialogue>You smell something, John?</dialogue> <character>JOHN</character> <dialogue>Maybe. Incubus in this girl I just exorcized seemed a bit more spirited than usual.</dialogue> <scene_description>Beeman starts pulling things out . First is a frayed RAG . Then glass containers .</scene_description> <character>BEEMAN</character> <dialogue>Well, I've got your stone fragments from the Road to Damascus, dust from the Dead Sea Scrolls - oh, you'll love this -</dialogue> <scene_description>Out comes a little MATCHBOX with a smiling bug graphic .</scene_description> <character>BEEMAN</character> <dialogue>Screech beetle from Mount Sinai.</dialogue> <scene_description>He shakes the matchbox and the BEETLE flutters inside . It 's WINGS create an eerie HIGH - PITCHED WHIRL . John shrugs . So ?</scene_description> <character>BEEMAN</character> <dialogue>Yeah, to you it's nothing but to the Fallen - like fingernails on a chalkboard.</dialogue> <character>JOHN</character> <dialogue>What is it with you and bugs?</dialogue> <scene_description>Beeman pulls out a set of sculptured BRASS KNUCKLES . Actually solid gold and engraved with religious markings . John takes them , tries them on . Nice fit .</scene_description> <character>BEEMAN</character> <dialogue>Gold was blessed by the Bishop Anicott during the Crusades.</dialogue> <scene_description>John spots a foot - long COPPER TUBE in the bag , pulls it out , grips the bicycle handle on one end .</scene_description> <character>BEEMAN</character> <dialogue>Watch it there.</dialogue> <scene_description>With this puny little thing ? John gives the handle a squeeze and WHOOOOSH - ten - foot FLAME BELCHES out .</scene_description> <character>BEEMAN</character> <dialogue>Dragon's breath.</dialogue> <character>JOHN</character> <dialogue>I thought you could n't get it anymore.</dialogue> <scene_description>Beeman shrugs , modesty . John starts to put it down on the table and Beeman quickly pulls the frayed rag away .</scene_description> <character>BEEMAN</character> <dialogue>Whoa, do n't want to get a flame near this.</dialogue> <parenthetical>( off John 's look . )</parenthetical> <dialogue>Piece of the shroud Moses wore to the mountain.</dialogue> <scene_description>John picks it up - You 're shitting me , right ? Nope .</scene_description> <character>JOHN</character> <dialogue>Got any callinicus?</dialogue> <character>BEEMAN</character> <parenthetical>( intrigued . )</parenthetical> <dialogue>How spirited was this incubus?</dialogue> <character>JOHN</character> <parenthetical>( coughs . )</parenthetical> <dialogue>Like it was trying to come right out through the girl</dialogue> <scene_description>Beeman just stares at him - is this a joke ?</scene_description> <character>JOHN</character> <dialogue>I know how it sounds.</dialogue> <character>BEEMAN</character> <dialogue>We're finger puppets to them, John, elaborate costumes - they can work us but do n't come through us. They ca n't. You know that.</dialogue> <character>JOHN</character> <dialogue>Check the scrolls anyway. Corinthians. See if there are any precedents.</dialogue> <character>BEEMAN</character> <dialogue>Sure, John. Anything else?</dialogue> <character>JOHN</character> <parenthetical>( coughs again . )</parenthetical> <dialogue>Would n't happen to have anything for -</dialogue> <scene_description>Beeman sets down a bottle from the bag - Vick 's 44 .</scene_description> <character>BEEMAN</character> <dialogue>On the house.</dialogue> </scene> <scene> <stage_direction>EXT. LOS ANGELES POLICE DEPARTMENT - DAY</stage_direction> <scene_description>Lots of blue on blue in this parking lot .</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM</stage_direction> <scene_description>Locker door opens and Angela is there , covered in the grime of the subway . She 's pained as she pulls off her shoulder holster . Looks at herself in the door mirror . Tired , aging eyes stare back .</scene_description> <character>WEISS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Gutsy move out there, Dodson.</dialogue> <scene_description>Angela glances at DETECTIVE WEISS as he opens his locker .</scene_description> <character>ANGELA</character> <dialogue>Gutsy? Well that's a new one.</dialogue> <scene_description>The two exchange a look .</scene_description> <character>WEISS</character> <dialogue>You're alive. Bad guy's dead. No point in using the other words.</dialogue> <character>ANGELA</character> <dialogue>Thanks.</dialogue> <character>WEISS</character> <parenthetical>( shuts his locker . )</parenthetical> <dialogue>Even though it was reckless - irresponsible - stupid.</dialogue> <character>ANGELA</character> <dialogue>I knew you still cared.</dialogue> <character>WEISS</character> <dialogue>You're good, Angela, real good but one of these days.</dialogue> <character>ANGELA</character> <parenthetical>( heard it before . )</parenthetical> <dialogue>I know, nobody's luck lasts forever.</dialogue> <scene_description>He meets her eyes . Exactly . He really does care . Weiss breaks it off , leaves . Angela turns to close her locker door , notices her reflection does not turn . She grabs the door , looks back in . Reflection is as it should be . She shudders , slams the locker door .</scene_description> </scene> <scene> <stage_direction>EXT. CLUB MIDNITE - 10 PM</stage_direction> <scene_description>So exclusive there 's not even a line out front . Just a pair of bouncers waiting to roll someone just for fun . Chaz follows John from the cab to the entrance . A Bouncer selects a PICTURE CARD from a deck . On the front are TWO FLYING DOLPHINS . Only we can see the back , which is -</scene_description> <character>JOHN</character> <dialogue>Two frogs on a bench.</dialogue> <scene_description>Yep . They let him pass . Chaz steps up and lucky him - he gets the same TWO FLYING DOLPHINS .</scene_description> <character>CHAZ</character> <dialogue>Two frogs on a bench.</dialogue> <scene_description>But Chaz is stiff - armed because the back of this card shows a BEAR in a dress .</scene_description> <character>CHAZ</character> <dialogue>What? But I'm with him! Right, John? John?</dialogue> <scene_description>John glances back - gives him an impassive look . Chaz backs away , stares after him . Someday .</scene_description> </scene> <scene> <stage_direction>INT. CLUB MIDNITE</stage_direction> <scene_description>MUSIC FLOODS this exclusive establishment . It 's a clash of cultures and influences not easily dated . A retro speakeasy for the new millennium . John walks through a maze of passages while the fantasies of a twisted city play out in the shadows . He pauses , sees a clan of suited businessmen in a corner , showing off for several ladies . One fills a line of shot glasses from a pitcher of water . Another waves his hand over them , turns the water into RED WINE . The ladies are very impressed , drink up . NICO , a young black man , walks past John .</scene_description> <character>NICO</character> <dialogue>Neighborhood's going to Hell.</dialogue> <scene_description>John offers a half smile . He likes this kid , walks on . One of the men in the group turns , watches John . Balthazar . He grins and pockets that odd COIN .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>John starts up a long flight of stairs , stops in front of two very large doors . Their surface is ancient , the wood petrified over countless centuries . John places his fingers into the gnarled folds , closes his eyes -</scene_description> <character>JOHN</character> <dialogue>Numquam leadatur a morsu.</dialogue> <scene_description>A living GROAN BELLOWS from the rigid seams but the doors do n't budge .</scene_description> <character>JOHN</character> <dialogue>Bastard changed the code again.</dialogue> <parenthetical>( bangs the doors . )</parenthetical> <dialogue>Midnite! Come on, do I have to huff and puff here?!</dialogue> <scene_description>The doors unlatch .</scene_description> </scene> <scene> <stage_direction>INT. MIDNITE'S OFFICE</stage_direction> <scene_description>SWEEP ACROSS a meticulously - crafted ORRERY , a scientific sculpture that normally displays our solar system in relative motion . But the planets here are ancient RELICS with symbols and names - MATERIAL , ASTRAL , SPIRITUAL , ICONIC , etc. . And the globe at the center - `` CREATOR . '' This is an orrery of the forces of the Universe . And it 's not moving .</scene_description> <character>MIDNITE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Et separatur a plasmate tuo, Ut num quam laedatur amorsu antiqui serpentes.</dialogue> <scene_description>John steps in through the doors behind .</scene_description> <character>JOHN</character> <dialogue>Deciding which color to paint this place again?</dialogue> <scene_description>PAPPA MIDNITE stands in the jungle he calls an office . Part African witch doctor , part savvy businessman . A full six and half feet of solid contradictions .</scene_description> <character>MIDNITE</character> <dialogue>You're back early.</dialogue> <character>JOHN</character> <dialogue>I got tired of spending your money.</dialogue> <character>MIDNITE</character> <dialogue>But I'm sure you spent enough.</dialogue> <character>JOHN</character> <dialogue>Well I do have a certain standard of living.</dialogue> <character>MIDNITE</character> <dialogue>Tell me you found it.</dialogue> <character>JOHN</character> <dialogue>I found the vault.</dialogue> <character>MIDNITE</character> <dialogue>That's not what I asked.</dialogue> <character>JOHN</character> <dialogue>Hey, can I help it if Buddhist monks do n't take bribes?</dialogue> <scene_description>Midnite strides toward him when John calmly pulls from his pocket a small ebony and gold RELIC . It stops Midnite cold .</scene_description> <character>JOHN</character> <dialogue>Gotcha.</dialogue> <scene_description>A reluctant grin cracks Midnite 's stern features . He takes the relic in his thick fingers - stares breathlessly at a gaunt figure bracing itself against a cosmic wind .</scene_description> <character>MIDNITE</character> <dialogue>Second century depiction of a sephiroth in the 4th realm.</dialogue> <character>JOHN</character> <dialogue>Right. So we good here?</dialogue> <scene_description>Midnite ignores his outstretched palm , slides the relic precisely onto one of the many rods jutting from the Universal orrery .</scene_description> <character>MIDNITE</character> <dialogue>It should counter the iconic plane -</dialogue> <character>JOHN</character> <dialogue>That damn thing's never going to balance.</dialogue> <scene_description>Midnite lets go and the complex machine actually starts to move . To turn . John is somewhat intrigued until the newest relic collides with another and the orrery jams to a halt . Midnite deflates , stares at John , suspiciously .</scene_description> <character>MIDNITE</character> <dialogue>Must I remind you of what selling fake relics will do to your health?</dialogue> <character>JOHN</character> <dialogue>It's authentic, Midnite, you just have the wrong piece. Jesus.</dialogue> <scene_description>The two have a mini stare - down . John 's rigid poker face is only broken by a cough . Midnite sighs , breaks it off .</scene_description> <character>JOHN</character> <dialogue>What? - I did n't blink - that was a cough. You never cough?</dialogue> <scene_description>Midnite reaches into his tuxedo jacket and hands over a thick stack of HUNDREDS .</scene_description> <character>JOHN</character> <dialogue>Better not be any Washingtons in here this time.</dialogue> <character>MIDNITE</character> <dialogue>Why did you cut your trip short?</dialogue> <scene_description>John stops the counting , actually thinks about it .</scene_description> <character>JOHN</character> <dialogue>I do n't know. Just a feeling -</dialogue> <scene_description>John suddenly spins toward the entrance doors , is stunned to see -</scene_description> <character>JOHN</character> <dialogue>Balthazar.</dialogue> <scene_description>Balthazar is behind him . Utterly confident . Chillingly so .</scene_description> <character>BALTHAZAR</character> <dialogue>We're not still whining about Manhattan, are we?</dialogue> <scene_description>John 's attempt to disguise his anger fails .</scene_description> <character>BALTHAZAR</character> <dialogue>That expression alone has made my entire night.</dialogue> <scene_description>John takes several steps toward him . Grins . Malevolent . There 's history here .</scene_description> <character>JOHN</character> <dialogue>I'll make your night - I'll deport your sorry ass right where you stand -</dialogue> <character>MIDNITE</character> <dialogue>JOHN.</dialogue> <scene_description>John stops in his tracks .</scene_description> <character>JOHN</character> <dialogue>It's bad enough that you let these half - breeds in at all but this piece of shit -</dialogue> <character>BALTHAZAR</character> <dialogue>Perks of becoming a primary investor.</dialogue> <character>JOHN</character> <dialogue>What?!</dialogue> <scene_description>Midnite 's eyes say it all - not here , not now .</scene_description> <character>BALTHAZAR</character> <dialogue>Things change, balances shift. Get used to it, Constantine.</dialogue> <character>JOHN</character> <dialogue>Not while I'm still breathing -</dialogue> <scene_description>John starts to cough again .</scene_description> <character>BALTHAZAR</character> <dialogue>I'm sorry, I did n't catch that.</dialogue> <scene_description>John tries to catch his breath , ca n't . And that scares him a bit . He tries to hide it , pushes out .</scene_description> </scene> <scene> <stage_direction>EXT. CLUB MIDNITE</stage_direction> <scene_description>John SLAMS out the exit - coughing . He pulls the Vicks 44 from his jacket , struggles with the child protector cap .</scene_description> <character>HENNESSEY</character> <dialogue>Hey, John.</dialogue> <scene_description>John is surprised to see Hennessey waiting . He chokes , is about to bust the Vicks 44 bottle . Hennessey grabs hold , twists off the cap with one flick . John guzzles the syrup .</scene_description> <character>HENNESSEY</character> <dialogue>I'm real sorry about this morning, John, real sorry. Please do n't hate me for draggin' you into that. Please do n't.</dialogue> <scene_description>John can finally breathe .</scene_description> <character>JOHN</character> <dialogue>I do n't hate you.</dialogue> <character>HENNESSEY</character> <dialogue>That's good to hear. Real good.</dialogue> <character>JOHN</character> <dialogue>But could you at least wait until I call for you before you show up?</dialogue> <character>HENNESSEY</character> <dialogue>You did n't call?</dialogue> <character>JOHN</character> <dialogue>Not yet. Jesus, Hennessey, you freak me out sometimes.</dialogue> <character>HENNESSEY</character> <dialogue>So you want me to go away and come back?</dialogue> <character>JOHN</character> <dialogue>No. I've got an assignment for you.</dialogue> <character>HENNESSEY</character> <dialogue>Really? What kind of assignment?</dialogue> <character>JOHN</character> <dialogue>The kind you'll have to be sober for.</dialogue> <character>HENNESSEY</character> <dialogue>Oh God, you want me to surf the ether.</dialogue> <scene_description>He instinctively touches an AMULET around his neck . Four intersecting crosses .</scene_description> <character>JOHN</character> <dialogue>Come on, you know that exorcism was n't right.</dialogue> <character>HENNESSEY</character> <dialogue>I. I do n't have the Sight anymore.</dialogue> <character>JOHN</character> <dialogue>Do n't have it or do n't want to use it?</dialogue> <scene_description>Hennessey vacillates . This is obviously tough for him .</scene_description> <character>JOHN</character> <dialogue>Just look around. A few days. You spot anything unusual, anything - you let me know. Okay?</dialogue> <scene_description>John wraps an arm around his shoulder like a good buddy , then reaches behind his neck -</scene_description> <character>JOHN</character> <dialogue>It'll be like old times.</dialogue> <scene_description>- and unclips the amulet from Hennessey 's neck . That unnerves the big guy . John drops it in Hennessey 's pocket .</scene_description> <character>JOHN</character> <dialogue>Just for a few days.</dialogue> <character>HENNESSEY</character> <dialogue>Okay, okay. for you, John. Like old times. Right.</dialogue> <scene_description>Hennessey takes one last sip from his drink , hands the bottle over . John downs the rest . Nods .</scene_description> </scene> <scene> <stage_direction>INT. ST. ANTHONY'S CHURCH - CONFESSION BOOTH - NIGHT</stage_direction> <scene_description>Angela sits inside .</scene_description> <character>ANGELA</character> <dialogue>I killed a man today. Another one.</dialogue> <scene_description>FATHER GARRET sits on the other side of the mesh window .</scene_description> <character>FATHER GARRET</character> <dialogue>I'm sorry, Angela.</dialogue> <character>ANGELA</character> <dialogue>Most cops go twenty years without firing their gun. Not me. I always seem to be in the wrong place at the wrong time.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - SERIES OF SHOTS - NIGHT</stage_direction> <scene_description>Angela arrives home . Pours milk for a cat . Lets her hair down . Slips off her shoes .</scene_description> <character>ANGELA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I did n't even see his face. I just pulled the trigger and he went away. Just like all the others.</dialogue> <scene_description>Angela in the SHOWER - trying to wash off the guilt .</scene_description> <character>FATHER GARRET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>These feelings are natural in your line of work, Angela. I'd be worried if you did n't have them.</dialogue> <scene_description>Angela now in a recliner , cat in her lap . She 's tired . Eyes are heavy .</scene_description> <character>FATHER GARRET</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But you have to be strong. You ca n't allow your faith to be overshadowed by guilt.</dialogue> <character>ANGELA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm trying.</dialogue> <scene_description>Her eyes close .</scene_description> <character>ANGELA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm trying real hard.</dialogue> </scene> <scene> <stage_direction>INT. RAVENSCAR - NIGHT</stage_direction> <scene_description>Angela 's eyes open . An Angela whose frightened features are dripping with a fever sweat . She 's in a hospital gown , stares around a corner . Janitor polishes the floor in the distance . A nurse checks off charts in the f.g. And right between the two darts Angela , unseen by anyone .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT</stage_direction> <scene_description>A metal fire door swings open and Angela bursts out - breathing deep . She runs across the tar roof , almost afraid to look back . She gets to the ledge , steps up . A BOTTLE in the way fall - FOLLOW IT DOWN TO the - COURTYARD - where it SHATTERS -</scene_description> </scene> <scene> <stage_direction>INT. GROUND FLOOR HOSPITAL ROOM</stage_direction> <scene_description>The sound has drawn the attention of BARRY -LRB- 10 -RRB- lying in bed . He moves up and stares out the window - sees the broken glass in the courtyard . He scans up the building and spots a FIGURE standing on the roof . ROOFTOP - WIDER Chilling April air flutters Angela 's gown , vaporizes her breath . Tears stream down her cheeks as she contemplates the unthinkable . Cityscape of lights are spread out below but Angela is seeing something else . REFLECTED IN HER EYES - is a city engulfed in RED FLAMES . Follow that tear with the same reflection of fire inside as it traces her cheek and slips into her mouth . ANGELA shudders , rubs her wrist where we see the skin has swelled and reddened just like the Prisoner 's . And there 's that same circular symbol in the flesh . She wipes her tears - tries to be strong . Takes a few breaths for courage , them simply steps off .</scene_description> </scene> <scene> <stage_direction>INT. BARRY'S ROOM</stage_direction> <scene_description>BARRY 'S WIDE EYES follow her down .</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - LATER</stage_direction> <scene_description>Barry approaches across the barren courtyard , leans down to Angela 's contorted body . But she 's still alive . Barry stares into eyes that are fading fast . He reaches out , touches her face . Eyes close . She 's gone .</scene_description> </scene> <scene> <stage_direction>INT. ANGELA'S APARTMENT</stage_direction> <scene_description>Angela stirs awake . Disturbed . OVER this we hear INCESSANT COUGHING -</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - BATHROOM</stage_direction> <scene_description>John switches on the light , leans up from the sink and wipes his mouth with a towel . It 's covered with blood . More runs down the drain . He stares at himself in the mirror . ON John 's worried eyes - ANGLE - ANGELA 'S EYES looking equally distraught .</scene_description> <character>WEISS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's her, Angela.</dialogue> </scene> <scene> <stage_direction>EXT. RAVENSCAR HOSPITAL - WIDER - CONTINUOUS ACTION </stage_direction> <scene_description>DAY Angela is led by Detective Weiss past several officers and medical personnel .</scene_description> <character>WEISS</character> <dialogue>It's Isabel.</dialogue> <scene_description>They arrive at the covered body in the courtyard . Coroner sees Angela approach and lifts the sheet from the face . Angela comes to a dead stop , emotions coming fast and furious . She leans close and we see a mirror of Angela . That 's when you realize that was n't a dream . This is her twin . But that circular symbol is nowhere on her wrist now . Angela 's eyes well with tears . It takes everything she has to stay in control . Helps to wrap herself in the job . She steps back , looks up at the tall building .</scene_description> <character>ANGELA</character> <dialogue>She. she fell from the roof?</dialogue> <character>WEISS</character> <dialogue>No. She jumped.</dialogue> <scene_description>Angela gives him an incredulous glare . Shakes her head .</scene_description> <character>WEISS</character> <dialogue>I know it's hard to accept but -</dialogue> <character>ANGELA</character> <dialogue>Isabel would never in a million years take her own life. Never.</dialogue> <character>WEISS</character> <dialogue>Angela. there was a surveillance camera on the roof.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>John marches down a hallway , his trench coat a step behind . He unconsciously rubs his left wrist , coughs . Flicks an unlit smoke between his fingers . John stops at a doctor 's office door - hesitates .</scene_description> </scene> <scene> <stage_direction>INT. RAVENSCAR - SURVEILLANCE FOOTAGE</stage_direction> <scene_description>View of the rooftop . There 's Isabel in her nightgown , stepping up - pausing just a second . Then one step and she 's gone . So clear . So unrefutable . WIDER Angela shudders as a comforting HAND rests on her shoulder .</scene_description> <character>WEISS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Take some time.</dialogue> <scene_description>Angela brushes off his hand , then spots Weiss and the others on the other side of the room . Whose hand was that ?</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE</stage_direction> <scene_description>A LINE OF LIGHT BOXES illuminate several CHEST X - RAYS . A DARK sinister splotch snakes through both LUNGS . John stands there , stares at this wall of death with disbelief .</scene_description> <character>JOHN</character> <dialogue>No - I've beaten things, insurmountable things, things most people have never even heard of and after all that you think I'm going to be done in by THIS?</dialogue> <scene_description>He raises a puny little cigarette . DR. LES ARCHER -LRB- 50 -RRB- sighs . A delicate bedside manner is not his specialty .</scene_description> <character>DR. ARCHER</character> <dialogue>You would n't be the first, John.</dialogue> <character>JOHN</character> <dialogue>It ca n't be that simple. I mean come on, Les, you saved me before. You can do it again, right.</dialogue> <character>DR. ARCHER</character> <dialogue>This is different. This is aggressive.</dialogue> <scene_description>John tries to stay cool - fails . He TRASHES the X - ray boxes . Diseased lungs disappear . Doc shakes his head .</scene_description> <character>DR. ARCHER</character> <dialogue>Twenty years ago you did n't want to be here. Now you do n't want to leave.</dialogue> <character>JOHN</character> <dialogue>That's because I know exactly where I'm going this time.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>John steps outside of the Doctor 's office , pauses to gather himself . He starts walking . Wants out of here fast .</scene_description> </scene> <scene> <stage_direction>INT. RAVENSCAR - HALLWAY</stage_direction> <scene_description>Angela is on the move . Emotions are coming in strong . She ca n't get out of here fast enough . She aims for the elevators , sees a MAN has just entered one .</scene_description> <character>ANGELA</character> <parenthetical>( rushing toward it . )</parenthetical> <dialogue>Wait, hold the door!</dialogue> <scene_description>Angela , gets to the elevator , looks in . John stands inside alone . This should be the first time we realize they were in the same hospital .</scene_description> <character>ANGELA</character> <dialogue>Going down?</dialogue> <scene_description>John pauses as the doors start to close .</scene_description> <character>JOHN</character> <dialogue>Not if I can help it.</dialogue> <scene_description>The doors close right on Angela .</scene_description> </scene> <scene> <stage_direction>EXT. SOMEWHERE IN ISTANBUL - DAY</stage_direction> <scene_description>A PICKUP TRUCK crosses a barren landscape . In the back bed are several goats and one Prisoner . He grips the relic tight in one hand . That anxious fever has returned . Glazed eyes dart to the side and lock on a rising jetliner in the distance - dart back to the road they 're on - heading the opposite way . Prisoner clamps his eyes tight , grips to the relic tighter . Eyes snap open and he turns , thrusts his elbow through the center window , leans in and grabs the Driver - jerks his head back against the bulkhead - cracking it in the process . Prisoner latches onto the wheel , takes control . He swerves the car off the pavement , gets out and takes over as driver . Truck continues on , bouncing through a shallow ditch and into the field beyond , aiming straight for the rising airliners in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. L.A. APARTMENT - DAY</stage_direction> <scene_description>Close to condemned status . SCAN UP floor after floor , COMING TO REST ON a window covered with aluminum foil .</scene_description> </scene> <scene> <stage_direction>INT. HENNESSEY'S APARTMENT</stage_direction> <scene_description>Every wall of this tiny shithole is covered in aluminum foil . A sober Hennessey stands surrounded by decades of newspapers and periodicals - tries to get his breathing in check . He instinctively reaches to his neck to touch the amulet but it 's not there . Oh yeah - in the pocket . Decision made , he reaches up , starts tearing the foil from the walls and the window .</scene_description> </scene> <scene> <stage_direction>EXT. ECHO PARK (DOWNTOWN L.A.) - DAY</stage_direction> <scene_description>John sits at a park bench . Motionless . Taking in the world . Clouds passing the sun . Shadows drifting across the city . Leaves swirling after passing cars . John just sits there , HEARING every breath he takes , wondering which one will be his last .</scene_description> <character>ELLIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Lung cancer? Lung cancer?!</dialogue> <scene_description>John turns to see ELLIE -LRB- 23 -RRB- strutting up the sidewalk . Uninhibited . Oozing sex appeal . But dangerous . In more ways than you think .</scene_description> <character>ELLIE</character> <dialogue>That's funny as shit, John.</dialogue> <character>JOHN</character> <dialogue>As if you guys did n't have something to do with it.</dialogue> <character>ELLIE</character> <dialogue>Hey, I think you brought this one on yourself.</dialogue> <scene_description>John stares at her , tries to get a read .</scene_description> <character>ELLIE</character> <dialogue>Now why would n't you trust me?</dialogue> <character>JOHN</character> <dialogue>I do n't know, something in the air -</dialogue> <scene_description>She sits right on his lap , playfully .</scene_description> <character>ELLIE</character> <dialogue>Do n't worry, John, you'll beat this. You beat everything.</dialogue> <character>JOHN</character> <dialogue>Not this time, Ellie.</dialogue> <scene_description>John lifts her off of him , sets her aside .</scene_description> <character>ELLIE</character> <dialogue>Oh wow, you're serious. No wonder the Boss is in such a good mood.</dialogue> <character>JOHN</character> <dialogue>Yeah, I thought maybe you could talk to him for me. You know?</dialogue> <scene_description>Ellie jumps off the bench , creates an odd SOUND as she does .</scene_description> <character>ELLIE</character> <dialogue>What?! Dammit, John, I know I owe you but to even ASK that? All those saints and martyrs slipping through his grasp - his own foot soldiers sent back to him in chunks. He's going to take all that out on you, John, and he's going to enjoy ripping your soul to shreds until the end of time.</dialogue> <character>JOHN</character> <dialogue>So I take that as a ` no?'</dialogue> <character>ELLIE</character> <dialogue>You're the one soul the man himself would actually come up here to collect. And you know how much he despises this place.</dialogue> <character>JOHN</character> <dialogue>I'm starting to see his point.</dialogue> <scene_description>Ellie sits back down , strokes his arm .</scene_description> <character>ELLIE</character> <dialogue>Have you gone to see the Snob?</dialogue> <scene_description>Like scratching fingers across a blackboard . No way .</scene_description> <character>ELLIE</character> <dialogue>Look, do n't let your ego get in the way on this. I'd miss having someone up here I can. relate to.</dialogue> <scene_description>She gives him a kiss . And for a second John 's leg is brushed by a tail . John does n't react . Just turns and walks away .</scene_description> </scene> <scene> <stage_direction>INT./EXT. CHAZ'S TAXI - DAY</stage_direction> <scene_description>Seen through a mild rain is the Theological Society building , a foreboding structure that looks out of place for this city . John stares out the back seat window , takes a swig from a bottle of hard liquor . He turns to Chaz -</scene_description> <character>JOHN</character> <dialogue>I'm sure I can get you in here.</dialogue> <scene_description>Chaz gives the building another glance , shoves the meter flag back down . Tick . tick . tick .</scene_description> <character>CHAZ</character> <dialogue>Pass.</dialogue> </scene> <scene> <stage_direction>INT. THEOLOGICAL SOCIETY - LATER</stage_direction> <scene_description>A few bishops talk quietly . A cardinal studies Scriptures . Definitely not the place for atheists . John walks through the vaulted chamber room to the - LIBRARY John stops , fixes on the two gentlemen standing in front of a fireplace . One is a young man of pure class wrapped in Armani 's best . The other is Father Garret . John stands to the side and waits for their conversation to end . An ATTENDANT makes the rounds .</scene_description> <character>ATTENDANT</character> <dialogue>Can I take your coat, Mr. Constantine?</dialogue> <character>JOHN</character> <dialogue>No thanks, I'm not staying long.</dialogue> <character>ATTENDANT</character> <dialogue>How about you, ma'am?</dialogue> <scene_description>Attendant turns to Angela standing just a few feet away , her gaze fixed on the same two men .</scene_description> <character>ANGELA</character> <dialogue>I'm not staying long either.</dialogue> <scene_description>John glances over and for the second time they make contact . Something about her eyes . John stares a bit too long . Angela looks back toward the fireplace .</scene_description> <character>ANGELA</character> <dialogue>My business with him is urgent.</dialogue> <character>JOHN</character> <dialogue>First come, first served.</dialogue> <character>ANGELA</character> <dialogue>So you're rude no matter where you are.</dialogue> <scene_description>John gives her a look . The two men shake hands and start to part . John and Angela make their move toward the men . Both are surprised when Angela goes for Father Garret and John goes for - - the SNOB , officially known as GABRIEL . Yes , that one . FATHER GARRET and Angela have retreated to another area for privacy .</scene_description> <character>ANGELA</character> <dialogue>Why is he stalling on this? My sister needs a Catholic funeral.</dialogue> <character>FATHER GARRET</character> <dialogue>Angela, it's still considered a mortal sin -</dialogue> <character>ANGELA</character> <dialogue>She did n't commit suicide.</dialogue> <character>FATHER GARRET</character> <dialogue>The Bishop has read otherwise.</dialogue> <character>ANGELA</character> <dialogue>Father. David - this is Isabel.</dialogue> <parenthetical>( meeting his eyes . )</parenthetical> <dialogue>Please.</dialogue> <scene_description>Father Garret stares at her , tries to be compassionate .</scene_description> <character>FATHER GARRET</character> <dialogue>I'll talk to him again.</dialogue> <scene_description>But Angela has just lost a load of faith . BY THE FIREPLACE Gabriel sits in his chair , watches the fire with unblinking eyes . John approaches from behind and against the backdrop of flame , sees the nebulous shape of wings . The ghostly image is visible for only a heartbeat .</scene_description> <character>GABRIEL</character> <parenthetical>( without looking back . )</parenthetical> <dialogue>I know what you want, son.</dialogue> <scene_description>John sits across from him .</scene_description> <character>JOHN</character> <dialogue>Been keeping your all - seeing eye on me, have you?</dialogue> <character>GABRIEL</character> <dialogue>I could offer how a shepherd leads even the most wayward of his flock but it might sound disingenuous.</dialogue> <character>JOHN</character> <dialogue>So you're going to make me beg?</dialogue> <scene_description>Angela pauses on her way out , looks over .</scene_description> <character>GABRIEL</character> <dialogue>It would n't help. You've already wasted your chance at redemption.</dialogue> <character>JOHN</character> <dialogue>What about the minions I've sent back, the souls that I've saved - that should guarantee my passage across -</dialogue> <character>GABRIEL</character> <parenthetical>( keeping it private . )</parenthetical> <dialogue>- No - passage requires faith and faith by definition is belief without proof. You have proof. And that means you're not playing by the same rules as everyone else. Your work has mostly been for selfish reasons. I'm sorry.</dialogue> <character>JOHN</character> <dialogue>This is bullshit - bullshit!</dialogue> <scene_description>Now he 's really got Angela 's attention .</scene_description> <character>JOHN</character> <dialogue>It's like you've got some cosmic scale weighing everything we do - help an old lady across the street - put in a nickel, kick a dog, take out a dime - you're fucking nickel and diming us to death down here!</dialogue> <character>GABRIEL</character> <dialogue>Keep your voice down.</dialogue> <scene_description>John jumps up , leans into his face .</scene_description> <character>JOHN</character> <dialogue>And you know what, you're the ones with the problem, not us - You make these impossible rules to decide who goes up, who goes down and you do n't even understand us -</dialogue> <scene_description>This more than anything gets under Gabriel 's skin .</scene_description> <character>GABRIEL</character> <dialogue>Each of you is born with the promise of salvation preordained. The cost of your redemption is simple belief. And yet you whine about impossible rules. Sometimes I imagine you hardly deserve the gift you have been given.</dialogue> <character>JOHN</character> <dialogue>Gift?! More like a curse the way you manage things.</dialogue> <scene_description>Gabriel stands and towers over John .</scene_description> <character>GABRIEL</character> <dialogue>I am taking your situation into account, John, but do n't push me.</dialogue> <character>JOHN</character> <dialogue>Why me, Gabriel? It's personal, is n't it? I did n't go to church enough? I did n't pray enough? I was five bucks short in the collection plate? Why?</dialogue> <scene_description>Gabriel moves right up to him , makes this very personal .</scene_description> <character>GABRIEL</character> <dialogue>You're going to die because you smoked 30 cigarettes a day since you were 15. And you're going to Hell because of the life you took. Or to put it in a way that your kind would understand. You're fucked.</dialogue> </scene> <scene> <stage_direction>EXT. THEOLOGICAL SOCIETY - MINUTES LATER</stage_direction> <scene_description>Angela stands on the porch at the edge of a downpour . She hears a cough , looks over to see John standing on the other side , looking equally frayed . They share another glance . John fishes a pack of cigarettes from his pocket . Empty .</scene_description> <character>JOHN</character> <dialogue>He has a rotten sense of humor.</dialogue> <parenthetical>( steps past . )</parenthetical> <dialogue>And his punch lines are killers.</dialogue> <scene_description>John tosses the cigarette pack , walks right into the RAIN , away from Chaz 's taxi pulling up .</scene_description> <character>CHAZ</character> <parenthetical>( shouting out . )</parenthetical> <dialogue>John? It's raining! Hey!</dialogue> <scene_description>Angela watches John disappear in the rain , looks down at the empty cigarette pack .</scene_description> </scene> <scene> <stage_direction>INT. HENNESSEY'S APARTMENT - A CIGARETTE PACK</stage_direction> <scene_description>lies on the floor next to food wrappers , Coke bottles and stacks of newspapers . Hennessey sits amongst the garbage , slumped over . But he 's not sleeping . He 's surfing the ether . Allowing his sixth sense to guide him . His hands move down and across the stacks of newer periodicals , fingers probing the layers of information . Left hand suddenly stops . Hennessey 's eyes open . He removes the layers of periodicals on top of his left hand , leans close . Edges his fingers away and sees an OBITUARY . A name - Isabel Dodson .</scene_description> </scene> <scene> <stage_direction>EXT. L.A. STREETS - EVENING</stage_direction> <scene_description>John walks the streets , numb to the world . A rat scurries past near the curb . Then another . Several crows fly by . Above him is a BILLBOARD - `` YOUR TIME IS RUNNING OUT . '' Does n't matter that below it is - `` TO BUY A NEW CHEVY . '' The point is crystal clear . John shakes his head , breaks out laughing which quickly turns into a coughing fit . He leans to a gutter . Another rat scoots past . John barely notices . Then a frog jumps past . But it 's the crab crawling by that finally catches John 's gaze .</scene_description> <character>VOICE OF MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey, buddy, you got a light?</dialogue> <scene_description>John turns , settles on a silhouetted figure standing behind him , unlit cigarette butt in its mouth .</scene_description> <character>OLD MAN</character> <parenthetical>( coughs . )</parenthetical> <dialogue>We got ta stick together, right?</dialogue> <scene_description>John gathers himself . As he walks over to this OLD MAN , he rummages through his coat pocket , retrieves a matchbox . The box shudders as a high - pitch FLUTTERING filters from inside . Old Man winces as his entire body VIBRATES . John realizes - this is Beeman 's matchbox , the one with the screech beetle inside . And now he knows - a beat too late . Old Man attacks . John is knocked onto his haunches . As the Old Man closes in , he 's revealed in more detail . Body and face are actually an intricate puzzle , an assemblage of city vermin . Rats , insects , crows , frogs , crabs - all held together in the shape of a man . John scampers backwards , just inches from this being 's outstretched grasp . He shakes the matchbox and the screech beetle inside flutters again . Old Man/Demon cringes as his entire body vibrates apart for a second , then snaps back together . He GRABS onto John with fingers of squirming vermin . Snake wraps around his wrist . Crab snaps at his skin . John shakes the beetle box harder - causing the parts to vibrate even further . Old Man grabs John 's head and vermin of various leg count crawl right onto John 's face . John 's had enough - shakes the matchbox violently , then smashes it against the sidewalk . BEETLE lets out a death SHRIEK and the Old Man stutters - his parts vibrating so wildly you can actually see the b.g. through the seams . John scampers loose , grabs a road barricade and swings it with all his might . Old Man form shatters on impact . The entire mess collapses to the ground in a flood of scattering critters . John starts stomping on them as they scatter into the city . John stands there , shocked and concerned . What the hell is going on ?</scene_description> </scene> <scene> <stage_direction>INT. ANGELA'S APARTMENT - DAY</stage_direction> <scene_description>That surveillance VIDEO FOOTAGE from Ravenscar plays again . There 's Isabel in her nightgown walking across the roof . Spread out on a cluttered coffee table is Isabel 's case file . CORONER 'S REPORT is opened . Let 's see `` NO DRUGS IN SYSTEM '' and the biggie - `` Cause of Death - SUICIDE . '' Angela sits on the couch in her robe . Disheveled and distraught . She 's taking this hard .</scene_description> <character>ANGELA</character> <dialogue>I'm sorry, Isabel.</dialogue> <scene_description>She lowers her head . And in that brief moment of silence -</scene_description> <character>ISABEL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on TV . )</parenthetical> <dialogue>Constantine.</dialogue> <scene_description>Angela snaps back to the TV , freezes in shock . There 's Isabel ready to jump but this time she 's looking right back AT us - at Angela . Then she 's gone . Angela quickly rewinds the tape and watches the sequence again . This time Isabel does n't look back . This time there is no name . But Angela did see it . Did hear it . She sits for a second . Stunned .</scene_description> </scene> <scene> <stage_direction>INT. MIDNITE'S OFFICE</stage_direction> <scene_description>John paces as Midnite works on that Universal orrery , adjusting components but balance continues to elude him .</scene_description> <character>JOHN</character> <dialogue>A few months, maybe a year. That's it. End of story. Game over.</dialogue> <parenthetical>( as Midnite does n't react . )</parenthetical> <dialogue>Well, do n't break down on my account.</dialogue> <character>MIDNITE</character> <dialogue>What do you want from me? A shoulder to cry on?</dialogue> <character>JOHN</character> <dialogue>This bastard attacked me right out in the open - on Sepulveda no less.</dialogue> <character>MIDNITE</character> <dialogue>They do n't like you, John. You've deported how many back to Hell?</dialogue> <character>JOHN</character> <dialogue>That's just it - this was n't some possession or wayward half breed, it was a full - fledged demon. Here. On our plane.</dialogue> <character>MIDNITE</character> <dialogue>Right.</dialogue> <character>JOHN</character> <dialogue>I know what I saw.</dialogue> <character>MIDNITE</character> <dialogue>You must have just crossed over and did n't even realize it -</dialogue> <character>JOHN</character> <dialogue>I did n't cross over - It was on this side. Here.</dialogue> <character>MIDNITE</character> <dialogue>- it's wet out, you're wandering around aimlessly, not to mention completely emotional -</dialogue> <character>JOHN</character> <dialogue>Emotional?!</dialogue> <scene_description>John slams a fist against the counter . The orrery almost topples but Midnite saves it . Decades of work almost lost . Midnite glares at a desperate John .</scene_description> <character>MIDNITE</character> <dialogue>Okay, so you saw something. We've seen a few small ones slip through now and then.</dialogue> <character>JOHN</character> <dialogue>It's more than that. first the girl, then this.</dialogue> <character>MIDNITE</character> <dialogue>John, you know my connections. Any shifts or tremors in the planes and I'd hear about it.</dialogue> <scene_description>John just shakes his head , looks up - convinced .</scene_description> <character>JOHN</character> <dialogue>Something's coming.</dialogue> <scene_description>Midnite sighs , gives up with him .</scene_description> </scene> <scene> <stage_direction>INT. LAPD OFFICE - LATER</stage_direction> <scene_description>The name JOHN CONSTANTINE is center screen on a monitor - typed into the police station 's SEARCH ENGINE . Angela sits alone in the squad room , rain streaking across the windows . Interpol comes back with results and a list of priors scroll under John 's name . Must be a hundred PARKING VIOLATIONS . Several SPEEDING tickets and a few RECKLESS ENDANGERMENT . In fact John 's license has been REVOKED . But it 's the other incidents that draw Angela in . BRIEF CLOSEUPS Of specific words in a few HEADLINES - `` Occult activity on the rise . '' `` Claimed possession is refuted by Bishop . '' `` Satanic cult dissolved . '' Accompanies with an assortment of unusual case photos . - BLOOD PATTERNS on a WALL - Odd SYMBOLS burned into a ceiling . A cross burnt to a crisp . - JOHN in handcuffs looking back at a mother holding her son in her arms . A younger and more noble Father Hennessey stands beside them , looking grateful . Another line - `` INSUFFICIENT EVIDENCE to PROSECUTE . '' Angela scrolls , sees cities listed where John has made waves - LONDON - PARIS - ROME - BUDAPEST - MOSCOW . Stops on the one that matters - LOS ANGELES . And there 's an address . Angela hits PRINT and the HP HUMS away . A desk PHONE RINGS . Angela quickly looks around , sees she 's the only one here . She gets up , answers it .</scene_description> <character>ANGELA</character> <dialogue>L.A.P.D.. This is Dodson, hello?</dialogue> <scene_description>Dead air . The next PHONE RINGS . Angela reaches for it when the NEXT ONE RINGS , and the NEXT , the NEXT . The RINGS HOP phone to phone in intimidating mockery . Angela freezes , forces herself to stay calm . Sure enough , the RINGS abruptly CEASE . Angela reaches over , rips the page from the printer , leaves .</scene_description> </scene> <scene> <stage_direction>INT. ISTANBUL AIRPORT - DAY</stage_direction> <scene_description>A police guard scans passengers and a printout of the Prisoner . He walks past a man standing in the metal detector line . This is actually the Prisoner wearing the clothes and glasses of the Driver . Is that a blood stain on the lapel ? Sweat drops from his forehead and he nervously places the iron relic in a bag he took from the truck driver . He has no choice but to place it on the conveyer belt . MYSTERIOUS POV Watching the Prisoner . He looks back AT us , suspicious . Nothing there . PRISONER looks back nervously , as his bag goes through the detector . DETECTOR SCREEN shows the folds of the bag , a wallet , a passport and nothing else . The iron relic does n't even produce an outline . Bag slides out , untouched . Prisoner ca n't believe his luck , grabs the bag and walks on toward the gates .</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - NIGHT</stage_direction> <scene_description>VARIOUS of the city - the contrasts between the bright and cheerful and the dark and mysterious . That abandoned mission behind Bob 's Big Boy , the Islamic Temple wedged between competing banks . COME TO REST ON - The towering statue of The Good Shepherd . His hands are welcoming us into the `` HOLY CROSS CEMETERY . '' Right across the street is the 20 Lanes Bowling Alley .</scene_description> </scene> <scene> <stage_direction>INT. 20 LANES - THE BAR</stage_direction> <scene_description>John drinks alone . Pissed at life . At death . That small black box of his lies on the table unopened . Spider runs across the table . John flips an empty glass , traps it underneath . He takes a drag on his cigarette , tips the glass and blows smoke inside . Spider ca n't escape the poison air , bumps the glass . Trapped . Dying .</scene_description> <character>JOHN</character> <dialogue>Welcome to my life.</dialogue> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Constantine?</dialogue> <scene_description>John looks up , spots Angela . Those eyes again .</scene_description> <character>ANGELA</character> <dialogue>I saw you at -</dialogue> <character>JOHN</character> <dialogue>- I remember.</dialogue> <character>ANGELA</character> <dialogue>And -</dialogue> <character>JOHN</character> <dialogue>Yeah.</dialogue> <scene_description>She did make an impression .</scene_description> <character>ANGELA</character> <dialogue>I'd like to ask you a few questions.</dialogue> <character>JOHN</character> <dialogue>I'm not really in the talking mood right now.</dialogue> <character>ANGELA</character> <dialogue>Could you just listen then?</dialogue> <scene_description>Angela sets her LAPD detective badge on the table .</scene_description> <character>ANGELA</character> <dialogue>Please?</dialogue> <character>JOHN</character> <dialogue>Always a catch.</dialogue> <scene_description>Angela sits across from him , puts the badge away .</scene_description> <character>ANGELA</character> <dialogue>My sister was murdered last week.</dialogue> <character>JOHN</character> <dialogue>Sorry to hear.</dialogue> <character>ANGELA</character> <dialogue>Her name was Isabel. Isabel Dodson?</dialogue> <scene_description>She looks for a reaction . None .</scene_description> <character>ANGELA</character> <dialogue>You do n't remember her?</dialogue> <character>JOHN</character> <dialogue>Never met her.</dialogue> <character>ANGELA</character> <dialogue>You sure?</dialogue> <character>JOHN</character> <dialogue>She look anything like you?</dialogue> <parenthetical>( as Angela nods . )</parenthetical> <dialogue>I would've remembered.</dialogue> <scene_description>Another beat as their eyes meet . John looks away .</scene_description> <character>ANGELA</character> <dialogue>She was a patient at Ravenscar. Then last Tuesday she just decided to step off the roof.</dialogue> <character>JOHN</character> <dialogue>I thought you said she was murdered?</dialogue> <character>ANGELA</character> <dialogue>Isabel would never take her own life.</dialogue> <character>JOHN</character> <dialogue>You'd be surprised at what people will do.</dialogue> <character>ANGELA</character> <dialogue>Look, I know I'm not making much sense - hell I'm not really sure what I'm doing here. I just feel - the circles you travel in - the occult, demonology, exorcisms.</dialogue> <scene_description>John just stares at that spider in the glass . Trapped .</scene_description> <character>ANGELA</character> <dialogue>I believe someone got to her, Mr. Constantine, brainwashed her into stepping off that roof. Some kind of legion or cult.</dialogue> <character>JOHN</character> <dialogue>Sounds like a theory. Good luck.</dialogue> <character>ANGELA</character> <dialogue>Well I thought with your background and experience, you could at least point me in the right direction.</dialogue> <character>JOHN</character> <dialogue>Yeah, okay. Sure.</dialogue> <scene_description>John points - toward the exit . Angela is not amused . But she 's not giving up .</scene_description> <character>ANGELA</character> <dialogue>My sister always talked about a world better than this. Heaven as some call it. She was n't afraid of dying because she knew it was waiting for her. What everyone fails to grasp is that if she had really taken her own life -</dialogue> <character>JOHN</character> <dialogue>- she would have committed a mortal sin and her soul would have gone straight to Hell where it would never feel love or compassion or anything but pain again as the master himself rips her apart over and over for the rest of eternity.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That about right?</dialogue> <scene_description>The words have hit so hard that Angela is speechless . John sees the hurt in her eyes , would like to take it back - but it 's too late . She turns and starts out , slows -</scene_description> <character>ANGELA</character> <dialogue>You're not the only one afraid of Hell.</dialogue> <scene_description>John tries not to let that get to him . She leaves . He glances out the window , watches her pass by . So long . Good riddance . But something 's not right . Those deep shadows on the buildings seem to be moving . John watches , confused , realizes they 're heading in Angela 's direction .</scene_description> <character>JOHN</character> <dialogue>Oh shit.</dialogue> <scene_description>He stands , gains his bearings . As he walks out he flicks the glass over . Spider runs free .</scene_description> </scene> <scene> <stage_direction>EXT. 20 LANES BOWLING ALLEY - NIGHT</stage_direction> <scene_description>Cars are lined all the way down the street . Angela walks along the sidewalk unaware of the shadow following her . It 's joined by another in the trees - both closing in with each step .</scene_description> <character>JOHN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Detective!</dialogue> <scene_description>Angela looks back , sees John in the street .</scene_description> <character>JOHN</character> <dialogue>How open is your mind?</dialogue> <scene_description>She does n't answer , continues walking . What she does n't see are the shadows seeping back into the fringes . But John does . He starts walking toward her .</scene_description> <character>JOHN</character> <dialogue>Do you believe in Heaven and Hell?</dialogue> <parenthetical>( off no answer . )</parenthetical> <dialogue>How about what comes out of each?</dialogue> <scene_description>Angela keeps walking . He catches up with her .</scene_description> <character>JOHN</character> <dialogue>Hey!</dialogue> <character>ANGELA</character> <dialogue>You mean like angels?</dialogue> <character>JOHN</character> <dialogue>And demons.</dialogue> <scene_description>Angela stares at him , continues walking . He keeps up .</scene_description> <character>JOHN</character> <dialogue>See, you do n't have the mindset for this kind of work.</dialogue> <scene_description>They walk together down the lonely street .</scene_description> <character>ANGELA</character> <dialogue>Look, I see terrible things every day. A mother drowns her baby. A ten - year - old shoots his father. But it's not demons, it's the evil that men do.</dialogue> <scene_description>Behind them , a streetlight BLINKS OUT . Then another . They 're not looking back so they do n't see it .</scene_description> <character>JOHN</character> <dialogue>You're right, we're capable of terrible things but we usually justify it with motives like money and power and jealousy.</dialogue> <scene_description>Another LIGHT FIZZES , blinks out .</scene_description> <character>JOHN</character> <dialogue>Then sometimes, something comes along and gives us just the right nudge and we do truly evil things just for the kick of it.</dialogue> <character>ANGELA</character> <dialogue>I do n't believe in demons.</dialogue> <character>JOHN</character> <dialogue>You should. They believe in us.</dialogue> <scene_description>They pass another streetlamp as it goes bright , then blacks out . Both look up . The next LAMP FLARES then FIZZES OUT . Angela turns and sees that there are no lights behind them . She looks to John . But he 's staring straight ahead . Because now the light in front of them is FLARING BRIGHT .</scene_description> <character>JOHN</character> <dialogue>We should go.</dialogue> <scene_description>Second later it BLINKS OFF . John grabs her hand -</scene_description> <character>JOHN</character> <dialogue>Fast.</dialogue> <scene_description>Angela 's confusion turns to tension as a raspy guttural WIND races toward them . John jerks her into action . They run towards the next light . It blinks out right when they reach it . They race to stay in the light , aiming toward the safety of the brightly - lit statue of the Good Shepherd .</scene_description> </scene> <scene> <stage_direction>EXT. HOLY CROSS CEMETERY</stage_direction> <scene_description>They make it through the gate , pass through an alley of overhanging trees . Something RIPPLES through the branches - flitters right past Angela 's face . She swats at it , manages to get a branch across the cheek . They near the Good Shepherd and the floodlights FLICKER , fade out . Statues of saints become dark monoliths . John stops in an OPEN AREA between trees and a mausoleum . A lit CROSS on the wall provides the only illumination . Angela feels the scratch on her cheek , sees a trickle of blood . Now she hears SOUNDS in the darkness . Like LEATHER RUBBING . Surrounding them .</scene_description> <character>ANGELA</character> <dialogue>What is that?</dialogue> <scene_description>John is just as surprised he 's saying this -</scene_description> <character>JOHN</character> <dialogue>Wings.</dialogue> <character>ANGELA</character> <dialogue>Wings?</dialogue> <scene_description>John rummages through his trench coat - fishes out that cloth Beeman gave him . The one supposedly wrapped around Moses .</scene_description> <character>JOHN</character> <dialogue>And maybe talons.</dialogue> <scene_description>The cross is getting dimmer and dimmer .</scene_description> <character>ANGELA</character> <dialogue>Are you kidding? Of what?</dialogue> <character>JOHN</character> <dialogue>Something that's not supposed to be here.</dialogue> <scene_description>John quickly wraps the cloth tight around his hand . Angela spins , eyes seeing only darkness as the sounds get CLOSER - ghastly sound of MOVEMENT in the fringes of light . The cross now resembles a dying wire filament and with every second the circle of light gets smaller and those SOUNDS GET CLOSER . John takes out his special lighter .</scene_description> <character>JOHN</character> <dialogue>Close your eyes.</dialogue> <scene_description>They are now standing in pitch darkness .</scene_description> <character>ANGELA</character> <dialogue>Why?</dialogue> <character>JOHN</character> <dialogue>Suit yourself.</dialogue> <scene_description>John flicks the lighter and in one powerful motion - sweeps his arm up as he lights his hand . Sacred cloth catches fire - then IGNITES with a brilliant retina - searing FLASH - blinding Angela and illuminating a - - CIRCLE OF WINGED DEMONS - a roiling broth of reptilian death - right there - ready to pounce . RED FLAME radiates from the cloth and DEMONS SHRIEK as they are instantly vaporized . John tucks his burning hand into a coat pocket , extinguishes the flame . He leans down to a rubbery stain left from one of the burnt demon carcasses . Shakes his head in disbelief .</scene_description> <character>JOHN</character> <parenthetical>( to himself . ) '</parenthetical> <dialogue>I accidentally crossed over?' I do n't think so.</dialogue> <character>ANGELA</character> <parenthetical>( coming up behind . )</parenthetical> <dialogue>What was that? I saw wings - and teeth - they were flying. What the hell were those things?!</dialogue> <character>JOHN</character> <dialogue>They were n't angels.</dialogue> <scene_description>John scans the area , trying to think this through .</scene_description> <character>JOHN</character> <dialogue>Seplavites, actually. Scavengers for the damned.</dialogue> <parenthetical>( off her lost look . )</parenthetical> <dialogue>Demons?</dialogue> <character>ANGELA</character> <dialogue>What? You ca n't be serious. this is impossible.</dialogue> <character>JOHN</character> <dialogue>Yeah.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>And I do n't think they were after me.</dialogue> <scene_description>John looks at her with renewed interest .</scene_description> <character>JOHN</character> <dialogue>You really believe she would n't commit suicide?</dialogue> <character>ANGELA</character> <parenthetical>( a bit thrown . )</parenthetical> <dialogue>My sister?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Never in a million years.</dialogue> <scene_description>John makes the decision .</scene_description> <character>JOHN</character> <dialogue>Let's be sure.</dialogue> <scene_description>He starts walking . Angela is now compelled to follow .</scene_description> <character>ANGELA</character> <dialogue>How?</dialogue> <character>JOHN</character> <dialogue>Simple. See if she's in Hell.</dialogue> </scene> <scene> <stage_direction>EXT. L.A. COUNTY MORGUE - NIGHT</stage_direction> <scene_description>Not exactly an inviting place . Hennessey steps off the curb , looks up at his destination .</scene_description> </scene> <scene> <stage_direction>INT. ANGELA'S APARTMENT - NIGHT</stage_direction> <scene_description>John stares at a photo of Angela and her father in police uniform . Obviously happier times . Angela walks out of her bedroom holding a cardboard box . That gray cat follows close to her heels .</scene_description> <character>ANGELA</character> <dialogue>These are all Isabel's things.</dialogue> <character>JOHN</character> <dialogue>The cat too?</dialogue> <character>ANGELA</character> <dialogue>Yeah, why?</dialogue> <scene_description>John ignores the box of items , picks up the cat . He studies it a bit , then sits back in a chair with it .</scene_description> <character>ANGELA</character> <dialogue>Do n't you need candles and a pentagram for this to work?</dialogue> <character>JOHN</character> <parenthetical>( deadpan . )</parenthetical> <dialogue>Why, do you have any?</dialogue> <scene_description>John puts his feet , shoes and all into a BUCKET OF WATER .</scene_description> <character>JOHN</character> <dialogue>I need you to step outside now.</dialogue> <scene_description>Angela wants to stay .</scene_description> <character>JOHN</character> <dialogue>Angela? Please.</dialogue> <scene_description>Angela reluctantly moves toward the exit . John holds the cat , stares into its huge , unblinking eyes . There 's a moment where animal and man seem to connect . The water around John 's feet begins to BOIL . ANGELA pushes the door closed behind her but it slows on its way to latch . Bulbs pulsate as current ramps down . The room flickers , is suddenly caught in a ghostly dim half - light and John has now crossed over into - APARTMENT IN HELL Same layout , different decorator . John takes a deep , raspy breath , slowly stands . He turns to the wall behind him which is torn away , looking like some half - bombed structure in Beirut . Beyond the wall is no longer the blackness of a nightscape but a sickly sepia glow . Not quite day , not quite night . John steps over the crumbling wall into -</scene_description> </scene> <scene> <stage_direction>EXT. HELL LOS ANGELES</stage_direction> <scene_description>John walks out onto the top overpass of a crumbling maze of intersecting freeways . Burnt - out husks of long - forgotten vehicles sit in rows of gridlock . A low DRONE penetrates the silence .</scene_description> <character>JOHN</character> <dialogue>Is she here?</dialogue> <scene_description>On the horizon is a dying RED SUN . It strains to cut through the putrid brown haze .</scene_description> <character>JOHN</character> <dialogue>Is she here?!</dialogue> <scene_description>His VOICE REVERBERATES to infinity . John cautiously steps closer to the railing , looks down to the ribbons of twisting streets below . They 're crammed with teeming masses of the damned . All walking down in silence , faces numb with sorrow and grief .</scene_description> <character>JOHN</character> <dialogue>IS SHE HERE?!</dialogue> <scene_description>That low DRONE RISES IN PITCH and John now spots a huge blanket - like BLACKNESS crawling over the cityscape , rapidly closing in on him . You get the feeling this is n't a safe place for the living .</scene_description> <character>JOHN</character> <dialogue>It's a simple question! Is she here or not?!</dialogue> <scene_description>John suddenly locks on something far off . On top of a distant skyscraper is a FEMALE FIGURE in a sheer white gown . John ca n't make out her face but knows she 's looking right at him .</scene_description> <character>JOHN</character> <dialogue>Isabel?</dialogue> <scene_description>She lifts something and tosses it . John watches as a small object tumbles toward him just ahead of closing darkness .</scene_description> </scene> <scene> <stage_direction>INT. ANGELA'S APARTMENT - HALLWAY</stage_direction> <scene_description>In that same motion we left her in - Angela finishes pushing the door closed . As it LATCHES -</scene_description> <character>JOHN</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( weakly . )</parenthetical> <dialogue>Angela. come back in.</dialogue> <scene_description>Confused , Angela pushes the door back open . Cat BOLTS out . Angela catches her breath , moves inside .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>John sits slumped in the chair , drained . Steam rises off his skin . Angela sees the water in the bucket has almost all boiled out . She walks in , kneels down to him .</scene_description> <character>ANGELA</character> <dialogue>John? What happened?</dialogue> <scene_description>Sweat drips off as he looks up . He opens his palm - reveals to Angela a simple HOSPITAL BAND . The name `` ISABEL DODSON '' is typed on it . Even as a semi - convert , this news completely floors Angela . She takes the plastic band - grips it tight - tries to hold herself together . The adrenaline and pain overwhelm . Her knee buckle and she drops to the floor . John watches , is n't sure how to help . He finally reaches out a single hand - slowly rests it on her shoulder . The contact seems to open a floodgate of emotion and Angela falls right into his arms . John has n't been this close to anyone in a long time . Angela finally composes herself .</scene_description> <character>ANGELA</character> <dialogue>How? How did you do this?</dialogue> <scene_description>John tries not to stare into those eyes too long . Fails .</scene_description> </scene> <scene> <stage_direction>INT. L.A. COUNTY MORGUE - NIGHT</stage_direction> <scene_description>Body drawer slides open - reveals Isabel . Lying in a cold , sterile room of death . A Hell of a different type . Hennessey stares down at her , looks around the room again , makes sure he 's still alone . He reaches in , rips open the protective plastic and lowers his hand inside . Places it first on her forehead . Nothing . Then on her chest . Nothing . Wrist is last . Hennessey shudders . This is it . He closes his eyes and opens himself to the void -</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>When I was a kid, I saw things.</dialogue> <scene_description>FLASHBACK - EXT. . STREET - DAY A TEN - YEAR - OLD John comes out of a corner store with milk in a bag . He slows , eyes a MAN at a mailbox .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Things I was n't supposed to.</dialogue> <scene_description>The man looks right at young John as he passes . His face is distorted and his feet have sprouted roots which are dug into the ground .</scene_description> <character>WAITRESS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Coffee?</dialogue> <scene_description>Young John looks up toward the voice -</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT (PRESENT)</stage_direction> <scene_description>John looks up at the Waitress .</scene_description> <character>JOHN</character> <dialogue>Tea.</dialogue> <scene_description>She leaves . Angela sits across from him . They 're at the table by the window .</scene_description> <character>JOHN</character> <dialogue>My parents sent me to a doctor, a shrink, a priest. I was in four different institutions by the time I was eighteen.</dialogue> <scene_description>Angela notes him rubbing his wrist .</scene_description> <character>JOHN</character> <dialogue>The last place they put me was run by a church.</dialogue> <scene_description>A DOCTOR rushes past their table . PAN WITH him INTO . FLASHBACK - INT . MENTAL INSTITUTION - HALLWAY The Doctor rushes toward distant SCREAMING .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The revered Father made the brilliant deduction that I was possessed, said I needed to be exorcised.</dialogue> </scene> <scene> <stage_direction>INT. ROOM - HIGH ANGLE</stage_direction> <scene_description>The Doctor runs in . Sees the revered Father below , leaning over a bed where an 18 - year - old John is held down by three interns and that Doctor . John angrily screams at them all .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It was like someone trying to pull teeth that were n't there.</dialogue> <scene_description>Young John clamps his eyes shut tight .</scene_description> </scene> <scene> <stage_direction>INT. DINER - JOHN (PRESENT)</stage_direction> <scene_description>Present - day John does the same , remembering the pain .</scene_description> <character>JOHN</character> <dialogue>So I took things into my own hands and I found a way out.</dialogue> <character>ANGELA</character> <dialogue>You attempted suicide.</dialogue> <scene_description>John sees she 's looking at his wrist . The hint of a jagged scar can now be seen under the sleeve .</scene_description> <character>JOHN</character> <dialogue>I never attempt anything.</dialogue> <scene_description>John 's reflection in the window becomes - FLASHBACK - TEENAGE JOHN kneeling with a pair off scissors . He 's inside a .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Teenage John looks up at a room filled with people from all walks of life . Teachers , doctors , lawyers , garbage men . All somewhat different than normal . They sit in school chairs and wait for John to do the deed . He puts the blade to his wrist - one swipe and the world around him accelerates away in a STREAKED BLUR -</scene_description> </scene> <scene> <stage_direction>INT. DINER (PRESENT)</stage_direction> <character>ANGELA</character> <dialogue>But you're still here. Alive.</dialogue> <character>JOHN</character> <dialogue>Not my doing.</dialogue> <scene_description>His chest suddenly HEAVES forward - and we 're on . FLASHBACK - TEENAGE JOHN as he 's jolted by DEFIB PADS . He 's in the back of a .</scene_description> </scene> <scene> <stage_direction>INT. AMBULANCE - MOVING</stage_direction> <scene_description>Paramedics are soaked in sweat . One looks a bit like a young Dr. Archer . Heart monitor is FLAT LINE . There 's little hope .</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES</stage_direction> <scene_description>The ambulance moves through a city that is transforming . From this world 's Los Angeles to a barren Hell version .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Officially I was dead for seven minutes. But believe me, seven minutes in Hell is a lifetime.</dialogue> <scene_description>Ambulance heads toward that dying RED SUN .</scene_description> </scene> <scene> <stage_direction>INT. AMBULANCE</stage_direction> <scene_description>FLAT LINE on the monitor suddenly SPIKES with a pulse -</scene_description> </scene> <scene> <stage_direction>INT. MORGUE (PRESENT)</stage_direction> <scene_description>Hennessey 's hand jerks back from the plastic . His eyes fix on Isabel 's wrist . That odd circular SYMBOL is back . Hennessey 's unsettled , quickly shoves the drawer closed . He rushes out , slams right into a SECURITY GUARD coming in .</scene_description> <character>SECURITY GUARD</character> <dialogue>Hey, what're you doing in here?</dialogue> <scene_description>Guard looks back into the body room , sees a drawer partially open . He walks over , pulls it out further - sees the plastic cut away . Jesus . The symbol has already faded from Isabel 's wrist .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>When I returned I did n't just see demons anymore, I could do the one thing they could n't - come and go as I please.</dialogue> </scene> <scene> <stage_direction>EXT. MORGUE - HENNESSEY</stage_direction> <scene_description>runs as fast as a very obese man can - aiming for that PHONE BOOTH on the corner . He grabs the receiver , punches numbers as fast as he can . RING - RING - RING -</scene_description> <character>HENNESSEY</character> <dialogue>Be there, John. please.</dialogue> <scene_description>Something shivers up Hennessey 's leg and into his body . Eyes glaze over and Hennessey settles on a RESTAURANT .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Heaven and Hell are right here, behind every wall, every face - the world behind the world. It's crossing over that's the real trick. That's why most demons can only whisper in our ears. But even a whisper can turn your favorite pleasure into your worst nightmare.</dialogue> </scene> <scene> <stage_direction>INT. LATE NIGHT RESTAURANT</stage_direction> <scene_description>HENNESSEY barges in , squeezes past the MAITRE D' .</scene_description> <character>MAITRE D'</character> <dialogue>Sir, you need a reservation!</dialogue> <scene_description>But Hennessey is on a quest . For food . And it 's everywhere . He starts grabbing meals right off of plates . Fish , pasta , prime rib . Shovels it all in . Patrons are yelling - screaming . He 's eating as if his life depended on it . And even though he 's devouring anything in sight , this huge man is wasting away before our eyes . In the middle of all this chaos is one customer calmly eating his meal . Balthazar . Hennessey hijacks a food cart - consumes everything on it yet his skin is getting looser and the body inside gets thinner . He grabs a steak from a woman 's plate but she jerks it back so he bites into his arm . She screams as her husband pulls her away . Hennessey 's strength is withering away . Desperate , he grabs a FORK , digs it into his own hand . A Hispanic BUSBOY rushes into the room , grabs onto Hennessey .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But the worst demons are the ones that are allowed to be here - the ones that are half - human so they blend in.</dialogue> <scene_description>Balthazar stands , throws a few bills on the table and starts toward the back EXIT .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>just like those with the angel's touch living alongside of us. The half - breeds.</dialogue> <scene_description>That Busboy lowers Hennessey to the floor . For a moment we see him framed against the front doorway . And in that instant we get a brief glimpse of - ALTERNATE LOS ANGELES An incredible pristine lake reflecting a city of light . BACK TO SCENE BUSBOY looks up , meets Balthazar 's eyes . Bitter enemies . Balthazar grins , flips that coin between his fingers . He leaves out the back exit .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They call it ` the Balance.' I call it hypocritical bullshit.</dialogue> </scene> <scene> <stage_direction>INT. DINER</stage_direction> <character>JOHN</character> <dialogue>So when one of them gets a little cocky, peddles their influence or hijacks a soul - I deport their scaly ass right back to Hell.</dialogue> <parenthetical>( takes a sip of tea . )</parenthetical> <dialogue>I do n't get them all but maybe enough to insure my retirement.</dialogue> <character>ANGELA</character> <dialogue>Sounds like you're trying to buy your way into Heaven.</dialogue> <character>JOHN</character> <dialogue>Well, what would you do if you were sentenced to a prison where half the inmates were put there by you?</dialogue> <scene_description>Not a serene image at all . Angela studies him .</scene_description> <character>ANGELA</character> <dialogue>Why you? I mean many go to Hell, why were you able to escape?</dialogue> <character>JOHN</character> <parenthetical>( sips tea . )</parenthetical> <dialogue>I do n't know.</dialogue> <character>ANGELA</character> <dialogue>God has a plan for all of us.</dialogue> <character>JOHN</character> <dialogue>Not for me.</dialogue> <scene_description>John 's bitterness is obvious . Angela just stares at him - finally -</scene_description> <character>ANGELA</character> <dialogue>Isabel saw things too.</dialogue> <scene_description>John looks up . Moment is lost when her CELLULAR RINGS . The cop in her reacts , flips it open .</scene_description> <character>ANGELA</character> <dialogue>Detective Dodson here.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - LATER</stage_direction> <scene_description>The morgue is seen across the street . The Guard that chased Hennessey is just outside .</scene_description> <character>WEISS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Security Guard spotted him near the body, chased him out.</dialogue> <scene_description>We MOVE PAST Angela standing with Weiss . Around them is a complete shambles of fine dining -</scene_description> <character>WEISS</character> <dialogue>He comes over here, makes a run at the entire menu and pow - deflates like a fricken Macy's day balloon.</dialogue> <scene_description>- COME TO REST ON John 's shattered face . He stares down at Hennessey . Now yards of loose flesh sunken over an assemblage of bones . Only that ragged black tie he wore is familiar now . John leans down to the remains of his friend . A cop starts to intervene but Angela blocks him . Let him be . John has trouble taking this in , reluctantly reaches into Hennessey 's coat pocket - finds the protective amulet he himself removed from his friend . That 's even more crushing .</scene_description> <character>JOHN</character> <dialogue>Shit.</dialogue> <parenthetical>( sympathetic . )</parenthetical> <dialogue>Why did n't you call me, you fat sonna bitch.</dialogue> <scene_description>John lowers his head , then spots blood stains on one of Hennessey 's hands . He opens the fingers , studies the fork wound . The blood is already drying over it . John reaches over to the mess of dishes on the floor and grabs a melting ice cube . He pushes it into Hennessey 's hand , wiping away the dried blood . It quickly becomes apparent - this is n't random stabbings . This is a shape . John takes a napkin , lays it on the palm and presses . Residual blood creates a symbol onto the napkin . It 's the same circular symbol we saw on Isabel 's wrist . John does n't know what it is , but he knows it 's important .</scene_description> <character>JOHN</character> <parenthetical>( to Hennessey . )</parenthetical> <dialogue>Rest in peace, Father.</dialogue> </scene> <scene> <stage_direction>INT. 20 LANES - BEHIND THE LANES</stage_direction> <scene_description>With a loud crowd and 20 huge PIN MACHINES GRINDING AWAY the noise back here is DEAFENING . But this is Beeman 's home . See the desk , the TV . The fold - away bed . Beeman is on the phone . There 's a conversation but it 's way too noisy to hear . All we see are the emotions on Beeman 's face . No doubt news of Hennessey 's death is one of the biggies . Beeman quickly reaches for a marker , puts it to paper and starts drawing - listening and drawing - He 's finished , hangs up . Stares at the Symbol . That cabinet with the ancient books now gets his attention .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I need to see where Isabel died.</dialogue> </scene> <scene> <stage_direction>EXT. EAST LA - NIGHT</stage_direction> <scene_description>Graffiti - adorned walls give way to a tall iron fence , heavily - shadowed grounds and finally the six - story hospital complex of RAVENSCAR . A rim - lit figure stands on the roof . But this one is n't wearing a hospital gown , he 's wearing a trench coat .</scene_description> <character>ANGELA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Seances, crystals - channeling. Our father thought she was just trying to get attention. She certainly did that.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP</stage_direction> <scene_description>Angela stands behind John . A large water tank is anchored to the roof next to her . Note the FLAME logo .</scene_description> <character>ANGELA</character> <dialogue>She'd tell everyone about things she said she saw. Crazy things. Things that had n't happened yet. She'd scare my mother to death, talking on and on about Revelations and the end of the world. Then one day she just stopped. never said another word.</dialogue> <character>JOHN</character> <dialogue>So you put her in here.</dialogue> <scene_description>Angela does n't need to be reminded . It hurts even more now .</scene_description> <character>JOHN</character> <dialogue>Show me her room.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>John and Angela head toward Isabel 's room . A NURSE appears from around the corner walking with a boy . It 's Barry , the boy in the courtyard . He locks on Angela and when she makes eye contact he breaks away from the Nurse , runs toward her with arms outstretched .</scene_description> <character>NURSE</character> <dialogue>Barry!</dialogue> <scene_description>He runs right into Angela 's arms , hugs her tight . Angela is totally baffled . John is thoroughly intrigued .</scene_description> <character>NURSE</character> <dialogue>Oh God.</dialogue> <scene_description>She rushes in , gently tugs the boy away .</scene_description> <character>NURSE</character> <dialogue>No, Barry, that's not Isabel.</dialogue> <scene_description>Barry stares at Angela . He reaches out , touches her face , confused . Nurse pulls him back even further .</scene_description> <character>NURSE</character> <dialogue>I'm sorry. They were friends. He kind of had a crush on your sister.</dialogue> <scene_description>Angela nods , understanding . The Nurse leads Barry away . He does n't take his eyes off Angela the entire time . Neither does John .</scene_description> <character>JOHN</character> <dialogue>You were twins.</dialogue> <scene_description>Angela nods , steps inside . John pauses , thinking .</scene_description> </scene> <scene> <stage_direction>INT. ISABEL'S ROOM</stage_direction> <scene_description>John steps inside , gives the sterile room a thorough scan .</scene_description> <character>JOHN</character> <dialogue>So how long?</dialogue> <character>ANGELA</character> <dialogue>Two months.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>This time.</dialogue> <scene_description>He pulls out a drawer , looks at the bottom .</scene_description> <character>ANGELA</character> <dialogue>I already did all that.</dialogue> <scene_description>John runs his hands under the steel bed frame .</scene_description> <character>ANGELA</character> <dialogue>Now you're insulting me.</dialogue> <character>JOHN</character> <dialogue>You do n't walk off a building without leaving something behind.</dialogue> <character>ANGELA</character> <dialogue>You saw everything she left behind. In that box.</dialogue> <character>JOHN</character> <dialogue>Maybe she left something else. Something more personal. Just for you.</dialogue> <scene_description>Angela does n't like that look he 's giving her .</scene_description> <character>JOHN</character> <dialogue>You were her twin, Angela. Twins tend to think alike.</dialogue> <character>ANGELA</character> <dialogue>I'm not like my sister.</dialogue> <character>JOHN</character> <dialogue>But you were at once time. When you were kids. When you'd spend every waking hour with each other. You'd start a sentence, she'd finish it. You'd get hurt, she'd cry.</dialogue> <character>ANGELA</character> <dialogue>That was a long time ago.</dialogue> <character>JOHN</character> <dialogue>That kind of bond does n't just disappear.</dialogue> <character>ANGELA</character> <dialogue>There's nothing here.</dialogue> <scene_description>Angela seems unbalanced . John gets more aggressive .</scene_description> <character>JOHN</character> <dialogue>She planned her death in this room, she thought it up right where you're standing -</dialogue> <scene_description>Angela backs away . John advances .</scene_description> <character>JOHN</character> <dialogue>She knew you'd come - She counted on you to see what she saw, to feel what she felt - to do what she did. What did she do, Angela?</dialogue> <character>ANGELA</character> <dialogue>How should I know?</dialogue> <character>JOHN</character> <dialogue>What did she do, Angela?</dialogue> <character>ANGELA</character> <dialogue>I do n't know!</dialogue> <character>JOHN</character> <dialogue>What would you do?</dialogue> <scene_description>Angela backs into a wall . Nowhere else to go now .</scene_description> <character>JOHN</character> <dialogue>What would you leave her? What would it be? Where would it be?! Where would it be?</dialogue> <scene_description>Angela lashes out , shoves John hard , pushing him out of her way . She turns to the window , almost hyperventilating . John stays back , watches . Angela opens her eyes . The tension seems to flow right out of her when she sees -</scene_description> <character>ANGELA</character> <dialogue>The tree.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - NIGHT</stage_direction> <scene_description>A lone tree stands in the center of the lit courtyard . John and Angela approach it . Examine it . Nothing . John drops lower on the tree , to a child 's height . Finally sees something near the ground , gestures to Angela . She kneels down next to him , sees what he sees . That same SYMBOL . The one Hennessey carved into his hand . But this time there 's more .</scene_description> <character>ANGELA</character> <parenthetical>( trying to rationalize . )</parenthetical> <dialogue>There must have been a tree in our backyard. when we were kids.</dialogue> <scene_description>John may not be buying it but he 's not saying anything . His fingers trace these words carved below the symbol -</scene_description> <character>JOHN</character> <dialogue>` COR 14:01.'</dialogue> <character>ANGELA</character> <dialogue>Cor?</dialogue> <character>JOHN</character> <dialogue>Corinthians.</dialogue> <character>ANGELA</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>There is no 14h act in Corinthians.</dialogue> <scene_description>John 's face goes pale -</scene_description> <character>JOHN</character> <dialogue>I need a church.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CHAPEL - MINUTES LATER</stage_direction> <scene_description>Several families sit in solemn prayer . The pastor comforts a man and wife . John and Angela slip through , head for the shelves of reference books on the back wall . They whisper .</scene_description> <character>JOHN</character> <dialogue>Corinthians goes to 21 acts in the book of Ethenius. It's like a dark mirror of the Bible. It paints a different view of Revelations, says that the world will not come to an end at the hand of God but be reborn in the embrace of the damned.</dialogue> <character>ANGELA</character> <dialogue>There's a difference?</dialogue> <character>JOHN</character> <dialogue>Depends on which side of the fence you're standing.</dialogue> <scene_description>John stops , casually sticks his hand in the pastor 's bowl of holy water near the altar .</scene_description> <character>ANGELA</character> <dialogue>So why have n't I seen this book before?</dialogue> <character>JOHN</character> <dialogue>Because it does n't exist here on this side.</dialogue> <scene_description>John closes his eyes and the water in the bowl begins to BOIL -</scene_description> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What do you mean -</dialogue> <scene_description>Flickering candlelight slows to a stop , catching Angela mid - question and the room in that dim half - light . John turns and is inside - SAME CHAPEL - HELL The epitome of blasphemy - A church in Hell . Only they do n't worship God in here . And that 's not Christ on the cross . And those stained glass windows are now slate black . John is now facing books with completely different markings . He searches as a DRONE rises in pitch and an INKY BLACKNESS begins to flow down the walls , getting closer to John with each heartbeat . He finds the book , steps back as he closes his eyes - REGULAR CHAPEL</scene_description> <character>ANGELA</character> <dialogue>- not here on this side?</dialogue> <scene_description>John turns , covered in sweat . He 's holding a book she 's never seen , is already flipping through it .</scene_description> <character>ANGELA</character> <dialogue>Where did that come from?</dialogue> <character>JOHN</character> <parenthetical>( stopping to read . )</parenthetical> <dialogue>13:29. 13:30 - Here. Corinthians 14:01.</dialogue> <parenthetical>( skimming to this . )</parenthetical> <dialogue>` The sins of the father would only be exceeded by the ego of the son.'</dialogue> <character>ANGELA</character> <dialogue>Whose son?</dialogue> <scene_description>John stands , his brain going into overdrive .</scene_description> <character>JOHN</character> <dialogue>Symbol is n't a demon's. that's why I could n't place it. not a normal possession.</dialogue> <character>ANGELA</character> <dialogue>John, what are you talking about?</dialogue> <character>JOHN</character> <dialogue>But he ca n't cross over - impossible for the son to cross over.</dialogue> <character>ANGELA</character> <dialogue>Whose son? God's?</dialogue> <character>JOHN</character> <dialogue>No. The other one.</dialogue> <parenthetical>( off her look . )</parenthetical> <dialogue>Lucifer had a son too.</dialogue> </scene> <scene> <stage_direction>INT. 20 LANES - BEHIND THE LANES</stage_direction> <scene_description>Beeman sits under the glow of a desk lamp . The narrow alley of machines stretches out behind him . He stares into the scrolls - an ancient book with a single page folded a thousand times . Turns another page . BOWLING AREA Amazing how disturbing a bowling alley is when it 's closed . Rows of empty lanes stretching into darkness , the unlit pin areas looking like the jaws of an army of beasts .</scene_description> <character>BEEMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh my.</dialogue> <scene_description>BEHIND THE LANES Beeman has stopped turning pages . That 's because he 's now staring at an etching of the same symbol . Below are ink drawings of a ghastly beast rising up through a body . But it 's what 's above the beast that is most troubling . A figure on a cross - his arms outstretched - seemingly welcoming the beast into this world .</scene_description> <character>BEEMAN</character> <dialogue>This is not good.</dialogue> <scene_description>BOWLING BALL hits a lane . Beeman spins to the sound . BALL ROLLS round and round , closer and closer until it CLANGS dead against the back wall of one of the lanes . Beeman gets up , starts down the corridor of dormant pin machines . He stops at lane 13 , leans way way down , past the machinery and peeks out the pin hole .</scene_description> <character>BEEMAN</character> <dialogue>John?</dialogue> </scene> <scene> <stage_direction>EXT. LA STREETS - NIGHT</stage_direction> <scene_description>Angela 's SUV races quickly through traffic while John gets her up to speed .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The myth says Mammon was conceived before his father's fall from grace but was born after.</dialogue> </scene> <scene> <stage_direction>INT. SUV</stage_direction> <character>JOHN</character> <dialogue>But unlike his old man, he's never been in the presence of the Creator so he has no fear of him, no respect either. That goes double for us - God's most prized creations. Mammon would be the last demon we'd ever want crossing over.</dialogue> <character>ANGELA</character> <dialogue>But demons ca n't come and go, that's what you said.</dialogue> <character>JOHN</character> <dialogue>Unless they found a bridge.</dialogue> <parenthetical>( off her look . )</parenthetical> <dialogue>Some psychic with the chops to reach all the way to Hell and the grit to withstand whatever shit she'd pull out.</dialogue> <character>ANGELA</character> <dialogue>Isabel.</dialogue> <character>JOHN</character> <dialogue>But even a bridge would n't help Mammon. Because to cross over, the myth says he'd still need the one thing he could never get. Divine assistance. The help of God.</dialogue> <scene_description>Angela sits back , letting that sink in .</scene_description> <character>ANGELA</character> <dialogue>So it's impossible.</dialogue> <character>JOHN</character> <dialogue>Impossible? Sure it's impossible. That's what makes it so dangerous. These things exist to break the rules, to find the loopholes. If the past is any indication, then the future is n't on our side.</dialogue> <scene_description>John sits back , gut churning . Angela 's in detective mode .</scene_description> <character>ANGELA</character> <dialogue>She knew. That's why she killed herself. But it does n't make sense.</dialogue> <character>JOHN</character> <dialogue>Makes sense to me.</dialogue> <character>ANGELA</character> <dialogue>John, she sacrificed herself to beat him.</dialogue> <scene_description>John nods . Your point ?</scene_description> <character>ANGELA</character> <dialogue>Why is she in Hell?</dialogue> <scene_description>One of those rare moments where John has no answer .</scene_description> </scene> <scene> <stage_direction>INT. 20 LANES BOWLING ALLEY</stage_direction> <scene_description>Something small and SHINY is rolling down the alley . It lands in the trough , spins round and round - Beeman leans out to try and see what it is . The silver object keeps spinning . He waits for it to stop , swats a fly near his face . Then another . Book on his desk ignites in flame .</scene_description> </scene> <scene> <stage_direction>EXT. 20 LANES - NIGHT</stage_direction> <scene_description>SUV pulls into the empty parking lot . John is out before Angela gets it in park , unlocks the side door . A few flies escape to freedom as he opens the door . John rushes in .</scene_description> </scene> <scene> <stage_direction>INT. 20 LANES BOWLING ALLEY</stage_direction> <scene_description>Only a LOW HUM pervades the dead stillness of the alley .</scene_description> <character>JOHN</character> <dialogue>Beeman?</dialogue> <scene_description>John grabs the door that leads behind the pin area . It 's locked from the other side .</scene_description> <character>JOHN</character> <parenthetical>( pounds on door . )</parenthetical> <dialogue>Hey, Beeman? Beeman?!</dialogue> <scene_description>The LOW HUM fluctuates - sounds like a BUZZING .</scene_description> <character>ANGELA</character> <dialogue>Maybe he's not here.</dialogue> <character>JOHN</character> <dialogue>He's always here.</dialogue> <scene_description>Several more flies flit by him . This time John notices , turns and spots the source of the HUM - a cloud of FLIES near the center aisles . Angela follows his gaze , spots them as well .</scene_description> <character>ANGELA</character> <dialogue>What?</dialogue> <scene_description>John heads across the lanes . Swarm gets thicker and thicker . Angela keeps up with him , covers her mouth . They approach the pin area of the center lane . The source of the swarm is slowly revealed . In the catch trough is a solid mound of flies . John leans closer , spots a HAND protruding from the mound .</scene_description> <character>JOHN</character> <dialogue>Oh Jesus, no -</dialogue> <scene_description>He rips his coat off , flings it at the mound and million flies scatter - revealing the body of Beeman . Ravaged . Flies pouring out of his mouth , his ears -</scene_description> <character>ANGELA</character> <parenthetical>( stepping back . )</parenthetical> <dialogue>Oh God -</dialogue> <scene_description>John goes ballistic , screams to the walls -</scene_description> <character>JOHN</character> <dialogue>Who are you?! Answer me! Goddamit - reveal yourself! I summon you!</dialogue> <scene_description>He angrily rips his sleeves up - revealing two distinct TATTOOS on his forearms . Slams them together with all his might - clenching his eyes tight - concentrating - Veins in his arms and neck bulge , look ready to explode - Angela steps back in awe as the air around his outstretched arms begins to WARP - to tear a faint hole from the bowling alley right into another world right here - darker - Hellish -</scene_description> <character>JOHN</character> <dialogue>Into the light I command thee! Into the light I -</dialogue> <scene_description>John is choked by a cough - ca n't finish - arms separate and he buckles to his knees , reveals to Angela just how ill he really is . She leans down to him , sees hints of blood on the floor .</scene_description> <character>JOHN</character> <dialogue>this is my fault. I sent them in. I sent them right to their deaths. a damn one - man plague.</dialogue> <character>ANGELA</character> <dialogue>John, you need a doctor.</dialogue> <character>JOHN</character> <dialogue>I've seen a goddamn doctor!</dialogue> <scene_description>Angela glares at him - understands now . He 's dying . John stands , almost stumbles . Angela tries to help .</scene_description> <character>JOHN</character> <dialogue>Get away from me!</dialogue> <character>ANGELA</character> <dialogue>John?</dialogue> <character>JOHN</character> <dialogue>Stay the hell away -.</dialogue> <parenthetical>( tortured look to her . )</parenthetical> <dialogue>Please -</dialogue> <scene_description>He uses the handrail to walk away . Angela stands there , confused by her own emotions . She turns back to the carnage , hears the distant SIRENS .</scene_description> </scene> <scene> <stage_direction>INT./EXT. JOHN'S APARTMENT - NIGHT</stage_direction> <scene_description>John sits in his opened window , simmering . He holds a lit cigarette but does n't dare put it to his lips . Outside the city goes about its unending churn . Down on the street are several police vehicles . ENGINES START and they drive away . Swirl of blue and red lights flash across John 's moist eyes .</scene_description> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>There were no trees in our back yard.</dialogue> <scene_description>John finds Angela across the room in his doorway .</scene_description> <character>ANGELA</character> <dialogue>But you knew that already, did n't you?</dialogue> <scene_description>John meets her eyes . Sees the questions piling up .</scene_description> <character>ANGELA</character> <parenthetical>( walking towards him . )</parenthetical> <dialogue>You see something in me. Something Isabel had.</dialogue> <character>JOHN</character> <dialogue>Go home, Angela.</dialogue> <character>ANGELA</character> <dialogue>I need to understand -</dialogue> <scene_description>John just shakes his head .</scene_description> <character>ANGELA</character> <dialogue>Why not?</dialogue> <character>JOHN</character> <dialogue>Because you open up to that world, you're inviting whatever's out there back in. That's what happened to Isabel.</dialogue> <character>ANGELA</character> <dialogue>I'm not Isabel.</dialogue> <character>JOHN</character> <dialogue>No, she embraced her gift while you denied yours and that denial is exactly why you're still alive. Stick with me, that'll change.</dialogue> <scene_description>John gets off the window , starts walking away .</scene_description> <character>JOHN</character> <dialogue>And I do n't need another ghost following me around.</dialogue> <character>ANGELA</character> <dialogue>Dammit, John - they killed my sister!</dialogue> <scene_description>That stops him cold .</scene_description> <character>ANGELA</character> <dialogue>I ca n't let them get away with that. Even if it means going down the same path she did. Now if you wo n't help me get there, I'll find my own way. But I wo n't run. Never.</dialogue> <scene_description>The two stand there - locked in this moment .</scene_description> <character>ANGELA</character> <dialogue>Please.</dialogue> <scene_description>John ca n't believe this day - looks her dead in the eye .</scene_description> <character>JOHN</character> <dialogue>You do this, there's no turning back. You see them - they see you. Understand?</dialogue> <scene_description>Angela never blinks as she nods in agreement .</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - LATER</stage_direction> <scene_description>Pushing slowly through a lifeless apartment - drawing closer to the opened bathroom door . WATER is pouring .</scene_description> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do I take off my clothes or leave them on?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>John?</dialogue> <character>JOHN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm thinking.</dialogue> <character>ANGELA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>John.</dialogue> <character>JOHN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>On is fine.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>John fills a 70 - year - old porcelain BATHTUB . Angela stands in the center .</scene_description> <character>ANGELA</character> <dialogue>Why water?</dialogue> <character>JOHN</character> <dialogue>It's the universal conduit. Lubricates the transition from one plane to another. Now ask me if there's water in Hell.</dialogue> <scene_description>John turns off the faucet .</scene_description> <character>JOHN</character> <dialogue>Sit.</dialogue> <scene_description>Angela grabs his shoulder for balance , lowers herself . When she 's sitting , the water is all the way to her neck .</scene_description> <character>JOHN</character> <dialogue>Normally only a portion of the body has to be suspended but you wanted the crash course.</dialogue> <character>ANGELA</character> <parenthetical>( teeth chattering . )</parenthetical> <dialogue>What will I see?</dialogue> <scene_description>His eyes say it all . Enough .</scene_description> <character>JOHN</character> <dialogue>Lie down.</dialogue> <character>ANGELA</character> <parenthetical>( gesturing the depth . )</parenthetical> <dialogue>Lie down?</dialogue> <character>JOHN</character> <dialogue>You have to be fully submerged.</dialogue> <character>ANGELA</character> <dialogue>For how long?</dialogue> <character>JOHN</character> <dialogue>As long as it takes. Here -</dialogue> <scene_description>John cups the back of her neck , holds her face just above the water as she lowers down . Her breathing is picking up . John leans over the tub , looks straight down at her .</scene_description> <character>JOHN</character> <dialogue>Last chance.</dialogue> <parenthetical>( off her look . )</parenthetical> <dialogue>Take a deep one.</dialogue> <scene_description>Angela takes a deep breath , holds it . John pulls his hand away and she settles to the bottom , her eyes riveted on his the entire time . ANGELA 'S POV A silent John ripples above . His hand grips her arm , skin to skin . BACK TO SCENE Angela lies there and panic sets in . She starts to surface but John pushes her head back to the bottom , holds it firm . Her eyes dart about . Air is running out . She ca n't hold her breath much longer . It 's not working - But the room 's lighting begins to pulsate - as if the current were ramping down . It slows to that dim half - light as - JOHN 'S EYES - CLOSE . A single blink . ANGELA is lying in now BOILING WATER , screaming for all of her life . Water muffles the sound but not the fury . Huge TUB SHUDDERS hard - snapping out of the hold down bolts . John is stunned - how powerful is this woman ? Another SCREAM and the inch - thick TUB CRACKS . Water starts streaming onto the tile . John lunges , grabs Angela and PULLS her up from the water - her muffled SCREAMS SHATTERING the air as her mouth breaks the surface . She SLAMS hard against his chest - arms wrapping tight - fingers digging into his back - leaving marks that might just scar . TUB GIVES WAY and the damn breaks . John and Angela go down - hit the tile as one - water washing over them both . ANGELA lies there on top of John . Trembling . She looks up him , eyes filled with revelation .</scene_description> <character>ANGELA</character> <dialogue>All those people. so sad.</dialogue> <scene_description>John nods , helping her understand .</scene_description> <character>ANGELA</character> <dialogue>I've always known. where the bad guys are. where to aim, when to duck. it's not luck. I've always known.</dialogue> <scene_description>Tears stream down her cheeks . John reaches out to touch her when her eyes CLAMP TIGHT in pain -</scene_description> <character>JOHN</character> <dialogue>Angela?</dialogue> <scene_description>Eyes snap open and she 's off him in a second , runs out . John pries himself from the tile , goes after her .</scene_description> </scene> <scene> <stage_direction>INT. BEHIND THE ALLEY</stage_direction> <scene_description>Angela runs behind the vertebrae of machines , dripping water the entire way . John tries to keep up .</scene_description> <character>ANGELA</character> <dialogue>It was rolling toward him - not a ball - something smaller. Shiny.</dialogue> <scene_description>She stops , kneels to the floor . John walks up to join her . Something glints in the catch trough . She reaches down , plucks it up and brings an odd COIN INTO VIEW - John 's face contorts with rage as he takes the familiar coin .</scene_description> <character>JOHN</character> <dialogue>Balthazar.</dialogue> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - LATER</stage_direction> <scene_description>Beeman 's bowling bag is flipped and the contents are dumped onto a table . Powder , bugs and bullets go everywhere . John retrieves the odd - tipped bullets . Those brass knuckles and that copper pipe are taken also . CHRISTIAN RELICS are removed from a display cabinet . There 's the pure platinum Flask of Divinity , the petrified husk from the River of Life - the hollow shaft of an iron cross - all striking pieces individually but when twisted and locked together form a very imposing - - HOLY SHOTGUN . He swings the cross down , pours a pound of blasting powder into the husk - chambers a special bullet into one of the ten barrels , snaps it shut - turns and FIRES . BULLET leaves a trail of flame as it streaks across his endless apartment , blasts the center out of - A carton of Lucky Strikes . SETTLE ON the Surgeon General 's warning - burning away .</scene_description> <character>ANGELA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Can you kill him? What about the Balance?</dialogue> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - LATER</stage_direction> <scene_description>John is stuffing the bowling bag while Angela watches , now dressed in dry clothes . That shirt is John 's .</scene_description> <character>JOHN</character> <dialogue>That half - breed tipped my scales when he started killing my friends. I'm just adding a little counterweight.</dialogue> <scene_description>John lifts that holy shotgun - KA CHICK -</scene_description> <character>ANGELA</character> <dialogue>What about me? I ca n't stay here forever.</dialogue> <scene_description>John turns to her - locks on those eyes . He reaches into his coat pocket as he walks up to her . She shudders as his arms wrap around her face and for a beat they 're cheek to cheek . When he pulls back she sees he has clipped Hennessey 's AMULET around her neck .</scene_description> <character>JOHN</character> <dialogue>Think of it as a bulletproof vest.</dialogue> <character>ANGELA</character> <dialogue>So I'm going.</dialogue> <character>JOHN</character> <parenthetical>( knows he ca n't win . )</parenthetical> <dialogue>You're staying in the car.</dialogue> </scene> <scene> <stage_direction>INT./EXT. 20 LANES - DAWN</stage_direction> <scene_description>FAT - ASS TIRES BURN under the full torque of a 426 HEMI . A jet - black '70s BARRACUDA BLASTS from the basement garage of 20 Lanes - slides onto the streets of L.A. Angela hangs on as John grabs the SKULL shifter knob - slams into 2nd - leaves another layer of tread behind .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN</stage_direction> <scene_description>FLYING OVER the ocean , a 747 ROARS RIGHT OVER US . Dipping out of cloud cover , it reveals the coast of a sprawling metropolis stretched out miles below . L.A. LANDMARKS - DAWN streak PAST . The Big Donut , the occult bookstores , the '57 Chevy sign , that Mission in the park . This is actually the POV FROM John 's Barracuda . He downshifts - DRIFTS PAST a building with a facade of pre - stressed concrete and huge gold letters - `` BZR FINANCE AND BROKERAGE . ''</scene_description> <character>JOHN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>This should n't take long.</dialogue> </scene> <scene> <stage_direction>INT. BZR BROKERAGE</stage_direction> <scene_description>Elevator opens and John steps out into a lobby of concrete and glass . Pretentious design screams money . Lots of it . Since trading is still a half hour away , the place is practically empty . Across the room a stainless steal DOOR HISSES open . John looks the other way as a Security Guard exits . Thick DOOR glides closed , seals with another HISS . No way in . John notices the janitor down one hallway . It 's Nico from Midnite 's . He and John lock stares . Nico opens a `` Security Only '' door , steps inside - leaves the door open .</scene_description> </scene> <scene> <stage_direction>INT. TRADING ROOM</stage_direction> <scene_description>Monitors are powering up around the room . A few of those Young Businessmen we last saw at Midnite 's are here .</scene_description> <character>YOUNG TURK</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hey, early bird is a fat bird, know what I'm sayin'?</dialogue> <scene_description>Balthazar walks through , looking every bit like the smug and successful businessman he is . He stops at a LONG MIRROR on one wall . Adjusts his collar , his hair . His `` look . ''</scene_description> <character>PRETTY BOY</character> <dialogue>What are we pushing today, sir?</dialogue> <character>BALTHAZAR</character> <dialogue>Phillip Morris.</dialogue> <scene_description>As Balthazar admires himself , his reflection distorts slightly . The demon in him ? He touches his face , does a vowel stretch . His face distorts even further . That 's got him moving closer to the mirror . Balthazar 's concerned because now his skin appears in motion , rippling as if liquefied . And just when he sees the surface of the mirror BLISTERING and starts to move - BOOOM - One way GLASS EXPLODES outward on the front edge of a FIREBALL - sending Balthazar flying with glass and flame . John stands on the other side in an ACCESS CHANNEL - that Dragon 's breath flamethrower now duct - taped to his holy shotgun .</scene_description> <character>JOHN</character> <dialogue>How's he doing it?</dialogue> <scene_description>John steps into the trading room , eyes Balthazar rising from the floor . Suit 's in shreds , half his face is burned off , but now he 's pissed .</scene_description> <character>BALTHAZAR</character> <dialogue>This is in direct violation of the Balance!</dialogue> <character>JOHN</character> <dialogue>Screw the Balance.</dialogue> <scene_description>John hits him with another BLAST of FLAME - pins him hard against the wall . Balthazar 's young turks attack . One leaps over the trading station . John swings around - aims the SHOTGUN - BOOM - half - breed is blasted midair . The other turk seems to defy gravity as he scampers across the ceiling . John aims up - PUMPS SEVERAL ROUNDS - steps out of the way as a body falls , smashes into a desk . BOOM - BOOM - that 'll keep it down .</scene_description> </scene> <scene> <stage_direction>INT. BARRACUDA</stage_direction> <scene_description>Angela hears the GUNSHOTS . Cop instinct takes over and she gets out of the car . Checks the amulet . Intact .</scene_description> </scene> <scene> <stage_direction>INT. BZR TRADING ROOM</stage_direction> <scene_description>John turns his attention back to Balthazar , does n't hesitate and hits him with a continuous tide of flame . Suit and skin is peeling off , revealing something else underneath . The true form .</scene_description> <character>JOHN</character> <dialogue>How's he doing it, you half - breed shit?!</dialogue> <scene_description>John swings the flame aside so he can KICK Balthazar against the wall . But now his WEAPON SPUTTERS . Shit . Charcoal hand thrusts out , bats away the shotgun and grabs John by the throat . Balthazar rises from the ashes . He may be burned , but he 's one tough son of a bitch . Balthazar slides John up a wall by his neck . John ca n't break his hold . He 's choking , frantically rummages through his coat pockets . Comes out with those sacred GOLD KNUCKLES on his right hand . Balthazar tightens his grip and John swings , clocks him across the face . The enhanced punch sends a dizzying ripple throughout Balthazar 's body . But he does n't let go . John is choking , starts whaling on him . Again and again - each punch weakening this demon more . John finally gets him against the wall . Right arm 's tired so he slips the gold knuckles onto his left hand , and with extreme pleasure - continues punching away . Drives Balthazar to the floor , right to the brink of death . He leans up , winded . Watches in delight as Balthazar strains to take his final breaths .</scene_description> <character>BALTHAZAR</character> <dialogue>I will see you very soon.</dialogue> <character>JOHN</character> <dialogue>Not really, no.</dialogue> <character>BALTHAZAR</character> <dialogue>You ca n't cheat it this time. you're going back to Hell.</dialogue> <character>JOHN</character> <dialogue>True. But you're not.</dialogue> <scene_description>John removes that small BLACK BOX from his coat . Balthazar tries not to be concerned until John unlatches it and removes the one weapon he hardly ever uses - A Bible .</scene_description> <character>BALTHAZAR</character> <dialogue>What are you doing?</dialogue> <character>JOHN</character> <dialogue>I'm reading you your last rites.</dialogue> <scene_description>Balthazar reacts . This is n't good .</scene_description> <character>BALTHAZAR</character> <dialogue>Your remedial incantations have no relevance to my kind.</dialogue> <character>JOHN</character> <dialogue>Are n't you half human?</dialogue> <scene_description>Balthazar does n't have to answer .</scene_description> <character>JOHN</character> <dialogue>You see, that makes you eligible to be forgiven. You do know what it is to truly be forgiven? To be welcomed into the kingdom of God?</dialogue> <scene_description>Balthazar 's worst nightmare .</scene_description> <character>JOHN</character> <dialogue>A demon in heaven - love to be a fly on that wall.</dialogue> <character>BALTHAZAR</character> <dialogue>You're not a priest, you have no power.</dialogue> <character>JOHN</character> <dialogue>- I escaped hell, who else do you know that has the power to do that?!</dialogue> <scene_description>Balthazar is now doubting his own beliefs .</scene_description> <character>JOHN</character> <dialogue>Just tell me how Mammon is crossing over and you can go back to your shithole.</dialogue> <scene_description>Balthazar is n't convinced . John stands - raises the Bible and starts to read -</scene_description> <character>JOHN</character> <dialogue>` May the merciful God have mercy on you and grant you the pardon of all your sins.'</dialogue> <scene_description>He places a hand on Balthazar 's forehead . Balthazar glares at it as John 's voice rises with commanding authority .</scene_description> <character>JOHN</character> <dialogue>` Whosoever sins you remit on earth they are remitted unto them in heaven. I absolve you from -'</dialogue> <character>BALTHAZAR</character> <dialogue>- It may not even work.</dialogue> <character>JOHN</character> <dialogue>How? How's he doing it?!</dialogue> <scene_description>Balthazar looks scared as shit to tell him .</scene_description> <character>JOHN</character> <parenthetical>( bellowing out . )</parenthetical> <dialogue>` Grant your child entry into thy kingdom in the name of the Father, and the Son and the Holy Gh -'</dialogue> <character>BALTHAZAR</character> <dialogue>Sangre de dio.</dialogue> <scene_description>John is stunned - did he hear right ? Balthazar nods .</scene_description> <character>JOHN</character> <dialogue>How?</dialogue> <character>BALTHAZAR</character> <dialogue>What killed the Son of God will give birth to the son of the devil.</dialogue> <scene_description>John 's mind races and he finally puts it together .</scene_description> <character>JOHN</character> <dialogue>He's found the Spear.</dialogue> <scene_description>Balthazar 's expression confirms it . CLOSE ON THE PRISONER 'S RELIC It 's tucked between the folds of an AIRLINES blanket .</scene_description> <character>FLIGHT ATTENDANT</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over com . )</parenthetical> <dialogue>Ladies and gentlemen, we've been cleared for landing. Please make sure your seats are in their upright and locked position.</dialogue> <scene_description>Hand COMES IN , grips the relic . WIDEN to see .</scene_description> </scene> <scene> <stage_direction>INT. 747 - MID-FLIGHT</stage_direction> <scene_description>Prisoner in an aisle seat , trying to keep calm . He looks behind him as if being watched . Just nerves again .</scene_description> <character>FLIGHT ATTENDANT</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over com . )</parenthetical> <dialogue>We should be on the ground in Los Angeles within ten minutes.</dialogue> </scene> <scene> <stage_direction>EXT. BZR BROKERAGE - FRONT AREA</stage_direction> <scene_description>ANGELA moves through the gathered crowd looking up at the building . As she makes her way through , the amulet brushes against bodies - swinging from side to side . Angela suddenly stops in the center of the street , turns .</scene_description> <character>ANGELA</character> <dialogue>Something's coming.</dialogue> <scene_description>She stares at her surroundings with an increasing sense of dread . Then hears the RUMBLE and TIRES SCREECHING . Angela spins , spots John 's BARRACUDA exploding around the corner . It barrels up the street and slides to a SQUEALING stop in front of her . Passenger door swings open .</scene_description> <character>JOHN</character> <dialogue>What happened to staying in the car?</dialogue> <character>ANGELA</character> <dialogue>You were in danger.</dialogue> <character>JOHN</character> <dialogue>Well now there's a premonition.</dialogue> <scene_description>SIRENS crack the air . Angela jumps in and John PEELS OUT .</scene_description> </scene> <scene> <stage_direction>INT. BZR</stage_direction> <scene_description>Balthazar is taking his last breaths when the sound of WIND filters through the room . He looks up as a shadow drapes across him . Eyes widen .</scene_description> <character>BALTHAZAR</character> <dialogue>One more chance.</dialogue> <scene_description>Shadow darkens and his decimated form shudders .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jesus did n't die from being nailed to a cross.</dialogue> </scene> <scene> <stage_direction>EXT./INT. BARRACUDA - MOVING</stage_direction> <scene_description>John takes a turn at 70 as Angela stares into John 's Bible .</scene_description> <character>JOHN</character> <dialogue>He was finished off by a soldier's spear.</dialogue> <scene_description>He points in the Bible at a detailed painting of the event - Jesus hanging on the cross - being pierced by a soldier 's spear . It matches that child 's drawing John removed from the fridge - now lying on his seat .</scene_description> <character>ANGELA</character> <dialogue>I'm Catholic, John - I know the crucifixion story.</dialogue> <character>JOHN</character> <dialogue>Then you know what this spear would mean to a demon trying to cross over.</dialogue> <scene_description>She does n't .</scene_description> <character>JOHN</character> <dialogue>The stains on its edges?</dialogue> <scene_description>Angela looks back at the painting , notes the liquid flowing from Jesus ' wound . Angela ca n't believe it -</scene_description> <character>JOHN</character> <dialogue>Mammon needed divine assistance - how's the blood of God's only son?</dialogue> <scene_description>Angela sits stunned for a moment .</scene_description> <character>ANGELA</character> <dialogue>So that's it - he's got everything he needs to escape.</dialogue> <character>JOHN</character> <dialogue>Not quite.</dialogue> <parenthetical>( glances at her . )</parenthetical> <dialogue>Twins.</dialogue> <scene_description>Angela gives him a look . Something in the rearview mirror catches his gaze .</scene_description> <character>JOHN</character> <dialogue>Here we go -</dialogue> <scene_description>John floors it and Angela glances out the back window , spots something in the traffic - bounding over vehicles , hitting the pavement on all fours -</scene_description> <character>ANGELA</character> <dialogue>What is that?</dialogue> <character>JOHN</character> <dialogue>A hound on the hunt.</dialogue> <scene_description>A blur of muscle and bone leaps over cars at incredible speed - denting in roofs , CRACKING a WINDSHIELD - causing general chaos . Cars brake - SLIDE into each other . And still this thing keeps coming .</scene_description> <character>JOHN</character> <dialogue>Hang on -</dialogue> <scene_description>BARRACUDA slides into an alley , races toward the other end . Angela looks back , sees their pursuer enter the alley . It makes huge strides along the walls , defying all manner of physics .</scene_description> <character>ANGELA</character> <dialogue>Impossible.</dialogue> <scene_description>The beast goes right up the wall and disappears above the building .</scene_description> <character>ANGELA</character> <dialogue>I lost it.</dialogue> <scene_description>BAM , something lands hard on the roof , denting it a good foot . A huge clawed TALON punches into the sheet metal , starts shredding it right over Angela . Talon thrusts in . Angela dodges it - her amulet swinging wildly . John HITS the BRAKES and the beast flips off the roof and onto the hood - right INTO VIEW . A muscular anomaly with eyes that are unmistakably Balthazar 's . He lashes against the windshield with an extra appendage . Thank God for safety glass . He jerks back his embedded talon , pulls the entire windshield out with it , smashing it on the hood . GLASS PARTICLES EXPLODE into the car . John throws the car into a spin , slamming the Barracuda into several parked cars . Balthazar is uprooted , is thrown from the car . Angela looks back , sees Balthazar rolling into traffic .</scene_description> <character>ANGELA</character> <dialogue>He's down -</dialogue> <character>JOHN</character> <dialogue>He's not down. Gim me your phone.</dialogue> <scene_description>Angela pulls out her cellular .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN</stage_direction> <scene_description>A BRITISH COUPLE sit in the back of Chaz 's taxi , staring out at the seedy side of town as if it were `` Wild Kingdom . ''</scene_description> <character>BRITISH MAN</character> <dialogue>They mark their territory with graffiti instead of urine but they're still very much animals.</dialogue> <scene_description>British woman takes documentary photos . Chaz 's CELLULAR RINGS over the BUZZ of a dispatch SCANNER .</scene_description> <character>CHAZ</character> <dialogue>This is a private line - John?!</dialogue> <scene_description>INTERCUT JOHN .</scene_description> <character>JOHN</character> <dialogue>Chaz - where are you?!</dialogue> <character>CHAZ</character> <dialogue>Ah. 3rd and Figueroa.</dialogue> <character>JOHN</character> <dialogue>You still got that Sedrallus?</dialogue> <character>CHAZ</character> <parenthetical>( glancing to couple . )</parenthetical> <dialogue>Yeah, but I'm kind of busy right now, John.</dialogue> <character>JOHN</character> <dialogue>Dammit, Chaz, I'm trying to save my ass here!</dialogue> <character>CHAZ</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>What else is new.</dialogue> <character>JOHN</character> <dialogue>Remember the Chalic of Enook incident?</dialogue> <character>CHAZ</character> <parenthetical>( remembering . )</parenthetical> <dialogue>Oh no, no, no, not that, I just paid off this car!</dialogue> <character>JOHN</character> <dialogue>West side of the 3rd Street Bridge, say.</dialogue> <scene_description>He checks the speedometer - 90 mph .</scene_description> <character>JOHN</character> <dialogue>2 minutes.</dialogue> <character>CHAZ</character> <dialogue>I'm five blocks away!</dialogue> <parenthetical>( as John CLICKS off . )</parenthetical> <dialogue>John? John?! Ah. shit.</dialogue> <scene_description>Chaz downshifts , stops in cloud of dust -</scene_description> <character>CHAZ</character> <dialogue>Sorry, tour's over.</dialogue> <scene_description>The British start to argue .</scene_description> <character>CHAZ</character> <dialogue>OUT YA WANKERS! NOW!</dialogue> </scene> <scene> <stage_direction>EXT. LA STREETS - CONTINUOUS ACTION</stage_direction> <scene_description>John heads toward the skyline now - at 90 mph - to the 3rd Street Bridge on the horizon . Angela scans behind them , ca n't believe her eyes .</scene_description> <character>ANGELA</character> <dialogue>He's back.</dialogue> <scene_description>Here comes Balthazar through traffic on all fours -</scene_description> <character>ANGELA</character> <dialogue>John, he's back and he's gaining!</dialogue> <character>JOHN</character> <dialogue>Of course he's gaining.</dialogue> <scene_description>John PUNCHES the GAS to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. 3RD STREET BRIDGE</stage_direction> <scene_description>Chaz swerves onto the other side of the narrow bridge . He SCREECHES TO A STOP across the roadway - opens the glove box , grabs a velvet - wrapped object and pulls a glass vial out of it . Inside flows a phosphorescent green liquid . Chaz jumps out , runs to the back of the car , pauses when he hears the sound of a STRAINING ENGINE . Here comes the topless Barracuda over the bridge 's arched roadway . And what the hell is that running behind it ?</scene_description> <character>CHAZ</character> <dialogue>Shit - shit - shit -</dialogue> <scene_description>Chaz twists off the gas cap , drops the vial into the tank . He pulls out his BEEPER , rips the cover off , exposing the electronics . He wedges the beeper into the tank inlet , then starts sprinting off the bridge while -</scene_description> </scene> <scene> <stage_direction>INT. BARRACUDA</stage_direction> <scene_description>John gives Angela the number .</scene_description> <character>JOHN</character> <dialogue>9. 5. 4.</dialogue> <scene_description>Taxi in view . Angela punches in the number -</scene_description> <character>ANGELA</character> <dialogue>9 - 5 - 4.</dialogue> <scene_description>They RIP past the taxi -</scene_description> <character>JOHN</character> <dialogue>6. 6. 6</dialogue> <scene_description>Here comes Balthazar up the bridge . Like a supercharged cheetah , running full stride . And not even winded .</scene_description> <character>ANGELA</character> <dialogue>6. 6. 6</dialogue> <scene_description>Balthazar is almost to the taxi - John waits - then -</scene_description> <character>JOHN</character> <dialogue>6.</dialogue> <scene_description>Angela punches the last digit as - - Balthazar LEAPS to jump the taxi -</scene_description> </scene> <scene> <stage_direction>INT. GAS TANK</stage_direction> <scene_description>BEEPER CONTACTS BUZZ - spark - GAS IGNITES - TAXI EXPLODES right under Balthazar in a tremendous FIREBALL . Initial impact only kicks him higher . It 's when the Sedrallus in the tank truly ignites that the real FIREWORKS begin . Balthazar is caught in a haze of brilliant red particles that tear his body apart in midair . His final SHRIEK is chilling .</scene_description> </scene> <scene> <stage_direction>EXT./INT. BARRACUDA</stage_direction> <scene_description>John smacks the wheel , victoriously - looks over to Angela who sighs with relief . His expression changes as he centers on the empty necklace dangling around her neck .</scene_description> <character>JOHN</character> <dialogue>Where's the amulet?</dialogue> <scene_description>WHAM - something reaches through the roof hole and JERKS HER right out of the car .</scene_description> <character>JOHN</character> <dialogue>ANGELA!</dialogue> <scene_description>John SLAMS the BRAKES home - car spins and John is already jumping out before it comes to a stop . He runs to the rail .</scene_description> <character>CHAZ</character> <parenthetical>( running up . )</parenthetical> <dialogue>What the hell was that?!</dialogue> <scene_description>Both leap onto the concrete rail , lean over and spot a HUGE WINGED SHADOW just as it disappears below the bridge . Chaz is speechless as he turns to John . This is too much . John gives him the out he 's been waiting for -</scene_description> <character>JOHN</character> <dialogue>We're even.</dialogue> <scene_description>Chaz nods and John leaves him at the rail . He jumps back in the BARRACUDA and PEELS OUT . Chaz watches him race away , looks back at his burning taxi .</scene_description> <character>CHAZ</character> <dialogue>Even?</dialogue> </scene> <scene> <stage_direction>EXT. LAX - DAY</stage_direction> <scene_description>Prisoner walks out of the terminal , here at last . He stares at all the vehicles at his disposal . A family crowds around the back of a minivan . Wife hugs the dad . MYSTERIOUS POV Watches him from behind . Prisoner turns , looks back , suspiciously . Nothing . PRISONER walks out to the street , slides into the minivan , tears away . Kids ' toys tumble across the seats .</scene_description> </scene> <scene> <stage_direction>INT. CLUB MIDNITE - HALLWAY - CONTINUOUS ACTION</stage_direction> <scene_description>John bursts through a door - Midnite right on his heels .</scene_description> <character>MIDNITE</character> <dialogue>Mammon has been trying to climb out of his father's shadow for eons.</dialogue> <character>JOHN</character> <dialogue>And this time he might just make it.</dialogue> <character>MIDNITE</character> <parenthetical>( unconvinced . )</parenthetical> <dialogue>Because he's got the Spear?</dialogue> <character>JOHN</character> <dialogue>And the bridge.</dialogue> <character>MIDNITE</character> <dialogue>You're giving this girl way too much credit.</dialogue> <character>JOHN</character> <dialogue>You do n't know her.</dialogue> <character>MIDNITE</character> <dialogue>And you do? That would be a first.</dialogue> <scene_description>John swings open a STORAGE ROOM DOOR - looks in at large - scale relics - statues , props , etc. .</scene_description> <character>JOHN</character> <dialogue>Where's the chair?</dialogue> <character>MIDNITE</character> <dialogue>The chair?</dialogue> <character>JOHN</character> <dialogue>The delicate little number from Sing Sing?</dialogue> <scene_description>Midnite just stares at him .</scene_description> <character>MIDNITE</character> <dialogue>It's a fine line that separates a hero from a fool.</dialogue> <character>JOHN</character> <dialogue>I'll take my chances.</dialogue> <character>MIDNITE</character> <dialogue>And taint my establishment with your blood? I do n't think so.</dialogue> <character>JOHN</character> <dialogue>Midnite -</dialogue> <character>MIDNITE</character> <dialogue>You know what that device can do to the ill - equipped -</dialogue> <character>JOHN</character> <dialogue>Midnite -</dialogue> <character>MIDNITE</character> <dialogue>- and even in your most glorious days your brain was never your most powerful attribute -</dialogue> <character>JOHN</character> <dialogue>Where the hell is the chair, you dumb shit?!</dialogue> <scene_description>Midnite just stands there - his body inflating past it 's seven feet . John knows he went too far .</scene_description> <character>JOHN</character> <dialogue>That was the cancer talking, you know that, right?</dialogue> <character>MIDNITE</character> <parenthetical>( holds up his finger . )</parenthetical> <dialogue>Once.</dialogue> <scene_description>John nods .</scene_description> </scene> <scene> <stage_direction>INT. STORAGE AREA</stage_direction> <scene_description>Fluorescents flicker , REVEAL boxes of toilet tissue , cooking supplies , etc. . And sitting in one corner by the huge power transformer is - - the chair . Heavy wooden monstrosity with straps and cuffs and the wear of many who sat in it for the last time . Yeah , it 's an electric chair right out of Sing Sing .</scene_description> <character>JOHN</character> <dialogue>What's in your bathroom, a Renoir?</dialogue> <character>MIDNITE</character> <dialogue>I have insurance issues.</dialogue> <scene_description>John clears off the seat , starts to sit . Midnite blocks him .</scene_description> <character>MIDNITE</character> <dialogue>You have n't surfed in decades.</dialogue> <character>JOHN</character> <dialogue>Like riding a bike.</dialogue> <scene_description>He tries again . Midnite blocks him again .</scene_description> <character>MIDNITE</character> <dialogue>You'll be lucky to reach an elemental plane.</dialogue> <character>JOHN</character> <dialogue>Then just increase the juice.</dialogue> <scene_description>John tries again . Again Midnite stops him .</scene_description> <character>MIDNITE</character> <dialogue>In your condition your body wo n't take much.</dialogue> <character>JOHN</character> <dialogue>I just need enough rope to find her.</dialogue> <character>MIDNITE</character> <dialogue>And if you do - what then?</dialogue> <character>JOHN</character> <dialogue>One goddamn problem at a time -</dialogue> <scene_description>John shoves past him , plops his ass in the huge chair . His feet dangle off the ground . Midnite stands by , wo n't help . So John starts strapping himself in the chair . His chest , his ankles . One wrist . He obviously ca n't strap the other . He looks to the big man .</scene_description> <character>JOHN</character> <dialogue>You want me to sign a waiver?</dialogue> <scene_description>Midnite sighs - finally straps the other wrist in - pulls it TIGHT . Ouch .</scene_description> <character>JOHN</character> <dialogue>Hang on, Angela.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - CLOSE ON ANGELA</stage_direction> <scene_description>moving in a surreal fashion across an evening sky . Below her the City of Angels sweep past . Her eyes drift open and widen in horror as she sees beyond reality - REFLECTION IN HER EYES The city is ON FIRE . It 's a repeat of Isabel 's prophetic vision before she jumped .</scene_description> <character>MIDNITE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Listen to my voice inside.</dialogue> </scene> <scene> <stage_direction>INT. MIDNITE'S - STORAGE ROOM</stage_direction> <scene_description>Midnite kneels in front of John who is now handcuffed to the chair , cables draped from every limb .</scene_description> <character>MIDNITE</character> <dialogue>I'll try and guide you out.</dialogue> <character>JOHN</character> <dialogue>Try?</dialogue> <character>MIDNITE</character> <dialogue>Mammon was forced out of that girl when she jumped so unless he found a holding vessel to wait in, he would have fallen back to Hell.</dialogue> <character>JOHN</character> <dialogue>No, he's still here. I'm sure of it.</dialogue> <character>MIDNITE</character> <dialogue>Then watch yourself. He could be in anyone out there.</dialogue> <scene_description>John nods . Midnite lifts a palm of INSECT WINGS in front of his face .</scene_description> <character>JOHN</character> <dialogue>Roach wings? What happened to using lilac pedals -?</dialogue> <scene_description>Midnite cranks the JUICE on the panel as he BLOWS and John reacts as if being hit by a blast of wind . His head slams back against the slats . His skin ripples from the force . STAY ON his face as the sound of POWER courses through John .</scene_description> <character>MIDNITE</character> <dialogue>Peter do caelis, Deus, misere nobis. Fili Redemptor mundi, Deus, Miserere nobis.</dialogue> <scene_description>A FLASH turns into a streak behind John 's face - stretching to infinity .</scene_description> <character>MIDNITE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Find the possessor and the Spear will be revealed. find them. find them and follow.</dialogue> <scene_description>The flash whips back TOWARD us and John is suddenly somewhere else . He looks O.S.</scene_description> </scene> <scene> <stage_direction>INT. PRISON CHAMBER FROM THE OPEN</stage_direction> <scene_description>FROM that MYSTERIOUS POV , we watch the Prisoner hold the Spear for the first time . Like before , he turns and looks behind him where - John now stands . Watching . John centers on the Spear in the Prisoner 's hand . FLASH AHEAD - INT . ISTANBUL AIRPORT That same MYSTERIOUS POV of the Prisoner in line . He turns as he did before and it 's - - John behind him . Watching . Prisoner turns away . FLASH AHEAD - EXT. . LAX TERMINAL - EVENING MYSTERIOUS POV is ON the Prisoner at the exit doors . He looks back , suspiciously , and there 's - John . Watching . Prisoner turns , heads to the minivan . FLASH AHEAD - EXT. . EAST L.A. - MYSTERIOUS POV - NIGHT of a minivan still smoking from a recent impact against a large iron ENTRANCE GATE . Prisoner is running from it , glances back - John is there . Watches as the Prisoner enters the abandoned wing of - Ravenscar . John reacts . How did he miss this ? FLASH AHEAD - INT . SLEEP ROOM Fifty beds with fifty patients . Asleep . The Prisoner kneels next to one of the beds . John walks over , touches him and he rocks to the floor . Dead . Body reveals the Spear on the blanket of the bed . John reaches out to touch it when the boy BARRY suddenly SITS UP from under the blanket and grabs him by the throat . NOTE the boy 's BLACKENED FINGERNAILS . John struggles to pull him off but the boy 's grip is locked tight . John grabs at his hands - chokes out the name -</scene_description> <character>JOHN</character> <dialogue>MIDNITE!</dialogue> <scene_description>John 's hands suddenly become MIDNITE 'S as his ally pulls him back into -</scene_description> </scene> <scene> <stage_direction>INT. MIDNITE'S - STORAGE ROOM</stage_direction> <scene_description>John 's face is held tight in the life - saving fingers of Midnite 's grip . John gasps as he comes back - nods to Midnite and finally -</scene_description> <character>JOHN</character> <dialogue>Ravenscar. The abandoned wing. He's in the boy.</dialogue> </scene> <scene> <stage_direction>EXT. OVER HILLSIDE - FLYING - EVENING</stage_direction> <scene_description>WINGED SHADOW glides across the landscape , sweeps across manicured grounds and rises to reveal Ravenscar Hospital .</scene_description> </scene> <scene> <stage_direction>INT. MIDNITE'S OFFICE - LATER</stage_direction> <scene_description>Midnite piles ASSAULT RIFLES , SHOTGUNS , GLOCKS onto a table .</scene_description> <character>MIDNITE</character> <dialogue>You know these wo n't kill them.</dialogue> <scene_description>John adjusts the flames of a butane heater under a pan .</scene_description> <character>MIDNITE</character> <dialogue>You probably wo n't even get close enough to use them.</dialogue> <scene_description>In the pan is that RELIGIOUS RELIC he brought from India . It 's now MELTING . Midnite has trouble watching it dissolve .</scene_description> <character>MIDNITE</character> <dialogue>And it's not just the boy.</dialogue> <scene_description>John coughs , pours the melted gold into several small casting blocks .</scene_description> <character>MIDNITE</character> <dialogue>You better worry about whoever's helping him.</dialogue> <scene_description>John gives the big guy a glance , dips one of the castings into a pot of water - HISSSSSS .</scene_description> <character>MIDNITE</character> <dialogue>As much as I admire your blind faith even in the most dire situations - expecting to just waltz into a facility that is about to become the floodgate of Hell is reaching a bit, even for you.</dialogue> <scene_description>John stops the work , centers on him and Midnite just knows what he 's thinking . Midnite sighs , heavily .</scene_description> <character>MIDNITE</character> <dialogue>Well I suppose two fools can die just as easily as one.</dialogue> <scene_description>John almost smiles .</scene_description> <character>MIDNITE</character> <dialogue>Hey, you think I'm trusting you to save the world?</dialogue> <scene_description>John taps the casting and out falls a GOLD - TIPPED BULLET .</scene_description> <character>MIDNITE</character> <dialogue>But we're going to need more than a few magic bullets to get inside.</dialogue> <scene_description>John centers on the Sparkletts bottles positioned around the room . Just like John 's . Hmmmm .</scene_description> <character>JOHN</character> <dialogue>That ritual you do with the water, can you do more than one bottle at a time?</dialogue> <scene_description>Midnite raises an eyebrow .</scene_description> </scene> <scene> <stage_direction>EXT. RAVENSCAR - NIGHT</stage_direction> <scene_description>The motorized MAIN GATE is jammed - opening and closing on a crashed VAN . The van the Prisoner carjacked . The abandoned hospital wing stands ominous against a moonlit night . Vague figures move about near the emergency entrance . John 's BARRACUDA IDLES up with its headlights off . John stares out , points up to the WATER TANK - on the roof .</scene_description> <character>MIDNITE</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Figures.</dialogue> </scene> <scene> <stage_direction>INT. RAVENSCAR - PHYSICAL THERAPY ROOM</stage_direction> <scene_description>Therapy machines look like medieval torture devices in the dimly - lit room . BARRY stands waist deep in a large hydrotherapy tank inset into the tile floor . His skin is pale , sickly looking . Obviously containing Mammon takes its toll . Especially on a child . His hands are below his waist and now we see they 're lowering a still - unconscious Angela into the water . Her face floats just above the surface as he buckles restraining straps around her wrists .</scene_description> </scene> <scene> <stage_direction>INT. RAVENSCAR - ABANDONED WING</stage_direction> <scene_description>Front glass doors swing open and John and Midnite calmly strut inside . Stop . HEAR the O.S. MURMURS of an unseen crowd . This EMERGENCY ROOM is crammed with people . Lawyers . Brokers . Soccer moms . Truck drivers . Etc . Most are crowded in front of a set of double doors . Room goes dead silent as all eyes lock on our guys . John steps from Midnite , raises his hands like a riot cop .</scene_description> <character>JOHN</character> <dialogue>Okay - let's cut the scratch and call it a night. Meeting's over.</dialogue> <scene_description>That 's got their attention . As entertainment . A few chuckle . John is surprised to see Ellie stepping from the crowd . Still that bundle of sexual energy .</scene_description> <character>JOHN</character> <dialogue>Ellie?</dialogue> <character>ELLIE</character> <dialogue>Oh, John, you know how much I love it on this side. This was just an opportunity to make it permanent.</dialogue> <character>JOHN</character> <dialogue>You think his son will be any different? He'll just turn this place into his own Hell and then where will you to party, Heaven?</dialogue> <character>ELLIE</character> <dialogue>No need to get nasty.</dialogue> <character>JOHN</character> <dialogue>Never bothered you before.</dialogue> <character>ELLIE</character> <dialogue>I am so going to miss our little trysts.</dialogue> <scene_description>Ellie steps closer . The crowd starts to close in with her .</scene_description> <character>JOHN</character> <dialogue>I'm sure you will.</dialogue> <scene_description>John pulls out his lighter , holds it up - flicks it on .</scene_description> <character>JOHN</character> <dialogue>Now turn around and take your friends with you.</dialogue> <scene_description>Can he look more ridiculous ?</scene_description> <character>JOHN</character> <dialogue>I will deport you. All of you. You know I can.</dialogue> <scene_description>John steps back up onto a chair , thrusts the lighter higher -</scene_description> <character>ELLIE</character> <dialogue>Oh, John, this is embarrassing. Where is your pride?</dialogue> <scene_description>- right under a SPRINKLER HEAD .</scene_description> <character>JOHN</character> <dialogue>Go to Hell.</dialogue> <scene_description>Ellie looks up just as the sprinklers trigger . SERIES OF SHOTS Ellie and a room of half - humans - all looking up as water sprays from every nozzle . John and Midnite tense because the first drops have no effect . A beat - a SPURT in the waterlines and suddenly - SHRIEKS fill the room as half human skin begins to FRY .</scene_description> <character>ELLIE</character> <dialogue>Holy water!</dialogue> <scene_description>Emergency lighting has snapped on - throwing the room into a strobing nightmare of action . Flashes of human skin melting , revealing snippets of the true demons underneath . It 's total pandemonium as their rage is directed toward the only real humans in the room . John and Midnite fling their coats open - draw their WEAPONS and starts FIRING away at the attacking horde . Sacred bullets cause major damage - wounds that ripple out through demon bodies . John and Midnite slam back to back - spinning under the protective shield of a showering sprinkler head - shooting at all manner of distorted forms that venture into the COLUMN OF SPRAY . One reloads while the other FIRES . It 's a hellish form of a turkey shoot . Nothing sacred , nothing spared . John goes for the double doors . Midnite covers him - blows away another two disintegrating demons . Two come up behind and he spins , takes them down . JOHN gets to the doors , starts to open them when Ellie jumps onto his back - nails digging in .</scene_description> <character>ELLIE</character> <dialogue>I'm not going back there!</dialogue> <character>JOHN</character> <dialogue>We are what we are, Ellie -</dialogue> <scene_description>John FIRES over his back , loosens her grip . He grabs hold , shoves her face up into the spray of an overhead sprinkler head . Legs flail about . Midnite comes out of the rain - grabs John .</scene_description> <character>MIDNITE</character> <dialogue>Let's go.</dialogue> <scene_description>John drops Ellie to the floor . No more pretty face - no face at all - yet the screams still come . John and Midnite get to the doors - shove through .</scene_description> </scene> <scene> <stage_direction>INT. PHYSICAL THERAPY ROOM</stage_direction> <scene_description>Angela 's body and face are completely submerged now . She comes to , sees Barry above her - tries to rise but the boy pushes her head to the bottom , holds it there . Last bubbles are floating up from her mouth . Barry places his other hand on her arm , closes his eyes .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>Holy rain has stopped in here . A fine mist floats in the air . John and Midnite make their way through . Only their footsteps on the tile break the stark silence . Another set of doors is ahead . Before they reach it a faint shadow crosses in the mist . Both pause , expecting something to reveal itself . But it does n't .</scene_description> </scene> <scene> <stage_direction>INT. PHYSICAL THERAPY ROOM</stage_direction> <scene_description>Faint waves undulate Barry 's skin - ripple from his chest , down his arms and into a submerged Angela . Every muscle in her body tenses in stark relief . ANGELA 'S POV Barry 's image ripples above her in silence . Room lighting starts to pulse - slower and slower and when it 's caught in that dim half - light - Angela JOLTS and this time we CROSS OVER INTO - PHYSICAL THERAPY ROOM HELL Angela is lying in a bone - dry tank , lifts her head up to see a room not much different than the one she just left . Except for the SOUND . That low DRONE RISING IN PITCH - those DEMONIC SCREECHES scratching at the walls . And now those INKY splotches begin consuming the color and light from the walls . Moving in on Angela . Closer and closer - whatever 's coming is just about on her .</scene_description> <character>MAMMON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Angela.</dialogue> <scene_description>Angela SPINS and for a split second comes face to face with the hideous form of MAMMON . She SCREAMS .</scene_description> </scene> <scene> <stage_direction>INT. NORMAL PHYSICAL THERAPY ROOM - REAL TIME</stage_direction> <scene_description>John and Midnite burst into the room , spot Barry standing in the tank . His hands in the water . On Angela .</scene_description> <character>JOHN</character> <parenthetical>( rushing toward him . )</parenthetical> <dialogue>Barry!</dialogue> <scene_description>Barry looks up , sees the two men rushing toward him . Guns aimed .</scene_description> <character>JOHN</character> <dialogue>Let her up! Let her up!</dialogue> <scene_description>A beat as John meets Barry 's eyes - realizes he 's staring at a frightened child . Barry backs away as - - Angela sits up behind John . Water rippling off , straps dangling free . John turns - locks on her BLACK EYES .</scene_description> <character>JOHN</character> <dialogue>Shit -</dialogue> <scene_description>John thinks fast - scans the area and sees every mirror in the room has been shattered . So much for the quick fix . He jumps into the water with her , grabs her face and pushes her against the tank walls . This is an exorcism on the fly .</scene_description> <character>JOHN</character> <dialogue>Amar natash bow basar! Rescind from the flesh I command thee -</dialogue> <scene_description>Angela 's eyes snap open - dark and dilated . John sees it - clasps a hand over her mouth - cutting off her air supply .</scene_description> <character>JOHN</character> <dialogue>Back to Hell, asshole -</dialogue> <scene_description>Her body undulates as Mammon 's shape tries to come through . Pulsating through her arms , her chest - her face . Angela BITES into his palm . John recoils . She shoves him off and John hits the tile hard . Angela jumps from the tank , pushes past in a blur . John spins to see Midnite standing right there - Angela now firmly in his size - twelve grasp .</scene_description> <character>MIDNITE</character> <parenthetical>( to John . )</parenthetical> <dialogue>Finish it.</dialogue> <scene_description>MYSTERIOUS HIGH POV John coughs , struggles to stand . He tries to cover but it 's obvious his end is nearing . Midnite positions Angela to face him , braces her arms out from her sides - crucifixion - style . She tries but ca n't break free . John puts a hand to her forehead -</scene_description> <character>JOHN</character> <dialogue>Et separatur a plasmate tuo, Ut num quam laedatur amorsu antiqui serpentes.</dialogue> <character>JOHN/MIDNITE</character> <dialogue>Rescind from the flesh I command thee - Amar natash bow basar!</dialogue> <scene_description>Angela 's body stops fighting . The darkness in her eyes and fingernails begins to fade . It 's working . Midnite is suddenly JERKED backwards with an agonizing YELL . Angela is dropped , slips into unconsciousness . John watches in horror as Midnite 's 300 - pound frame is lifted right off the floor by an INVISIBLE GRASP , slammed into the ceiling , then twisted and thrown with incredible force against the floor . Midnite glares at John , tries to speak . But the words die on his lips . Enraged , John scans the empty room , sees a large SHADOW on the ceiling that does n't belong to any object . He holds back a cough long enough to rip up his sleeves and slams those tattoos together -</scene_description> <character>JOHN</character> <dialogue>Into the light I command thee! Into the light I command thee!</dialogue> <scene_description>It takes every ounce of John 's life force to keep this spell alive and when he 's about to drop from exhaustion the shadow is brought fully into the light - becomes that familiar shape of WINGS .</scene_description> <character>VOICE OF MAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Your ego is astounding.</dialogue> <scene_description>John strains to see the shadow become the real thing - the majestic wings of an angel .</scene_description> <character>JOHN</character> <dialogue>Gabriel?</dialogue> <scene_description>John is too weak to even be surprised anymore .</scene_description> <character>JOHN</character> <dialogue>Figures.</dialogue> <scene_description>Gabriel touches down in front of him . Spear in his hand .</scene_description> <character>JOHN</character> <dialogue>And the wicked shall inherit the Earth.</dialogue> <character>GABRIEL</character> <dialogue>You presume to judge me, John.</dialogue> <character>JOHN</character> <dialogue>Betrayal, murder, genocide? Call me provincial.</dialogue> <character>GABRIEL</character> <dialogue>I am seeking to inspire humankind to be all that was intended.</dialogue> <character>JOHN</character> <dialogue>By unleashing Hell on Earth? Good thinking.</dialogue> <scene_description>Gabriel 's wings fold behind as he walks around John .</scene_description> <character>GABRIEL</character> <dialogue>You've had it too easy for too long.</dialogue> <character>JOHN</character> <dialogue>So what's a few thousand years of pain, right?</dialogue> <character>GABRIEL</character> <dialogue>You never deserved to be blessed. You've all been born with a silver spoon in your mouth, never really appreciating the gift you were given so freely - unconditional love from your creator.</dialogue> <character>JOHN</character> <dialogue>And that just bugs the shit out of you.</dialogue> <character>GABRIEL</character> <dialogue>It's not your fault. Like the animals you are, you never learn unless sufficiently prodded. Pleasure has no lasting effect. But subject you to pain, unpleasantness - suffering - and you will take notice, you will fight to overcome, to earn your redemption. That is when you're at your best.</dialogue> <scene_description>Angela 's fingernails are starting to darken once again .</scene_description> <character>JOHN</character> <dialogue>You're trying to teach us a lesson?</dialogue> <character>GABRIEL</character> <dialogue>No, I'm giving you the chance to rise above the suffering and truly earn the love of God.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>The road to salvation begins tonight. Right now.</dialogue> <scene_description>John just stares at this rogue angel , centers on the Spear in his hand . He makes a break for it . Gabriel 's wings beat once . The GUST BLOWS John through the double doors , back into the - CORRIDOR - where he smashes against a mesh - screened window , drops to the floor in a heap with the other dying carcasses . PHYSICAL THERAPY ROOM Gabriel turns back to Angela . He approaches her - his rippling wings sliding up around her , enveloping her - pulling her in . Those eyes of his could melt Dracula . CORRIDOR - JOHN ca n't even stand , let alone save the girl . Or humanity . It would be so easy to give up . To roll over and die . But instead , he tries something he has n't done in a long time .</scene_description> <character>JOHN</character> <parenthetical>( whispering . )</parenthetical> <dialogue>. I know I'm not one of your favorites. I'm not even allowed in your house these days. but I could use a little attention.</dialogue> <scene_description>John waits for nothing . His body crumples , his cheek landing flat against the tile . Glistening shards of mirror glass lie around him . As he stares at his reflection in one , he gets the idea . PHYSICAL THERAPY ROOM - ANGELA 'S EYES begin to quiver . The color drains . Blackness is waiting . CORRIDOR - JOHN slides his back up the wall as he reels in that shard of mirror . PHYSICAL THERAPY ROOM - ANGELA 'S posture begins to change . Mammon 's form ripples through her - starts to push out through her skin . Gabriel stands behind her , his wings cocooned around her waist .</scene_description> <character>GABRIEL</character> <parenthetical>( whispering to her . )</parenthetical> <dialogue>Cross the bridge to your destiny.</dialogue> <scene_description>CORRIDOR - JOHN pulls up his sleeve , exposes his old scar . He pauses a beat , closes his eyes . STAY ON his face as he makes one swift SLICE movement . But he 's in a rush here - makes that same motion across his other wrist as well . With both wrists purging his life away , John settles back into the corner and waits for the inevitable .</scene_description> <character>JOHN</character> <dialogue>Hurry.</dialogue> <scene_description>PHYSICAL THERAPY ROOM - GABRIEL reveals the Spear . CORRIDOR - JOHN is dying . Eyes are starting to close as . PHYSICAL THERAPY ROOM - GABRIEL Raises the Spear over Angela 's chest . HEAR the SOUNDS of a million DEMONS inside of her ready to break free - He holds the Spear high above her chest - readies for the final thrust as - CORRIDOR Bulbs flicker as current ramps down and TIME COMES TO A COMPLETE STOP . All we 're left with is a distant METALLIC DRONE , like the reverberation of a gong struck a thousand years ago . John lies in that dim half - light . Motionless . Something starts to swirl near him and just like that , John is no longer alone . Shadow falls over his pathetic form .</scene_description> <character>SATAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The time has come at last to collect your soul.</dialogue> <scene_description>John pries his eyes open .</scene_description> <character>SATAN</character> <dialogue>Hello, John.</dialogue> <character>JOHN</character> <dialogue>You're early.</dialogue> <character>SATAN</character> <dialogue>You're the one show I would n't miss.</dialogue> <character>JOHN</character> <dialogue>So I've heard.</dialogue> <scene_description>Satan sees John 's slit wrists .</scene_description> <character>SATAN</character> <dialogue>I did n't think you'd make the same mistake twice.</dialogue> <scene_description>John looks up at him .</scene_description> <character>SATAN</character> <dialogue>You did n't, did you?</dialogue> <character>JOHN</character> <dialogue>so how's your son?</dialogue> <character>SATAN</character> <dialogue>And why would that matter to you?</dialogue> <character>JOHN</character> <dialogue>he's topside.</dialogue> <character>SATAN</character> <dialogue>I know.</dialogue> <character>JOHN</character> <dialogue>With Gabriel.</dialogue> <character>SATAN</character> <dialogue>Your point?</dialogue> <character>JOHN</character> <dialogue>He's helping your son create his own Hell on Earth.</dialogue> <character>SATAN</character> <dialogue>Well, boys will be boys.</dialogue> <character>JOHN</character> <dialogue>He has the Spear of Destiny.</dialogue> <scene_description>Satan did n't know that . Now he 's concerned . He studies this dying man .</scene_description> <character>SATAN</character> <dialogue>This is another one of your cons.</dialogue> <character>JOHN</character> <dialogue>Go look for yourself.</dialogue> <scene_description>Satan is still suspicious .</scene_description> <character>JOHN</character> <dialogue>You've waited twenty years for me, what's another twenty seconds?</dialogue> <scene_description>Satan contemplates his remark . Metallic reverberation is overtaken as SOUND and MOTION ramp back to real time - PHYSICAL THERAPY ROOM - THE SPEAR is about to be thrust into Angela 's chest .</scene_description> <character>SATAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Gabriel?</dialogue> <scene_description>Gabriel looks up - spots him in the room . Gabriel reacts - pulls the spear toward her with all his might - but Satan is faster - Angela vanishes and Gabriel has now pierced dead air . Satan holds Angela tight - covering her mouth like John did . She struggles and the demon inside appears - reflected in the huge chunks of tank glass scattered on the floor . Hideous . The real MAMMON .</scene_description> <character>SATAN</character> <dialogue>Say goodbye to the sun - both of you.</dialogue> <scene_description>Mammon SHRIEKS and Gabriel 's beautiful wings ignite in FLAME -</scene_description> <character>GABRIEL</character> <dialogue>No!</dialogue> <scene_description>CORRIDOR - JOHN is rocked by a major jolt that shakes the entire building to its foundation . A moment later - Satan is back . John looks up , gives him that look - you owe me . Satan hates admitting it but knows it 's true .</scene_description> <character>SATAN</character> <dialogue>So. what do you want? An extension?</dialogue> <scene_description>John shakes his head , can barely utter a sound .</scene_description> <character>JOHN</character> <dialogue>Isabel.</dialogue> <character>SATAN</character> <dialogue>What about her?</dialogue> <character>JOHN</character> <dialogue>let her. go home.</dialogue> <character>SATAN</character> <dialogue>You would give up your life so she could go to Heaven?</dialogue> <scene_description>John manages a nod .</scene_description> <character>SATAN</character> <dialogue>Fine.</dialogue> <parenthetical>( closes , opens eyes . )</parenthetical> <dialogue>It's done.</dialogue> </scene> <scene> <stage_direction>INT. PHYSICAL THERAPY ROOM</stage_direction> <scene_description>ANGELA gasps - her first real breath 's a strain . Adrenaline rushes through her and she quickly closes her eyes -</scene_description> </scene> <scene> <stage_direction>EXT. THAT GORGEOUS SKY</stage_direction> <scene_description>Stretches out BEFORE us . And here come those two swings , penduluming up in SLOW MOTION . Young Angela and Isabel share that moment again . But this time Isabel lets go and jumps out of her swing . Her body sails up and away , her fingers reaching out for what seems so close . so close . Isabel keeps going until she fades into the sky .</scene_description> <character>SATAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Time to go.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>John relaxes , stops fighting the inevitable . Satan takes his hand , starts to pull him home but suddenly finds himself pulling on what seems to be infinite mass . Try as he might , he ca n't budge John an inch . And now John 's other hand leaves his side , and as if weightless , begins to rise toward something above . No sense in beating around the bush here , John is in the embrace of God . Satan sees this and recoils in absolute RAGE -</scene_description> <character>SATAN</character> <dialogue>The sacrifice! No! THIS ONE BELONGS TO ME!</dialogue> <scene_description>John 's rising hand drifts back down in front of Satan , the middle finger fully extended . Final straw . Satan goes rabid - turns to PURE ENERGY for a split second . His hands remain on fire .</scene_description> <character>SATAN</character> <dialogue>You will live, John Constantine, you will live so you'll have the chance to prove that your soul truly belongs in Hell. You will live!</dialogue> <scene_description>Satan eagerly plunges his blazing hands into John 's body - John screams in agony . Satan tears through his tissue - collecting the cancer , then ripping out a mass of diseased tissue with one vengeful pull . John 's final blood - curdling SCREAM ECHOES over -</scene_description> </scene> <scene> <stage_direction>INT./EXT. RAVENSCAR</stage_direction> <scene_description>- through every room . Every corridor . Rippling out across the ground and finally dissipating in the hills beyond .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>On his hands and knees , John takes that first breath . New lungs fill for the first time . No cough . Not even a wheeze . Face has renewed color . Wrists have sealed tight . John is healed . He stands , steps back inside the - PHYSICAL THERAPY ROOM John stops over the body of one seven - foot African warrior . He stands immobilized , wrecked with emotion . A SOUND draws his attention to the one thing that could cause him even greater rage - GABRIEL - is hunched over near a wall . Jagged cartilage stumps protrude from his back . A pattern of sinew and bone is burned into the floor behind him . It 's all that remains of his once majestic wings . John approaches , spots blood dripping from the former angel . He realizes what this means . Gets a kick out of it .</scene_description> <character>JOHN</character> <dialogue>Human.</dialogue> <scene_description>Gabriel looks up as John retrieves a gun from the wet floor .</scene_description> <character>JOHN</character> <dialogue>You do n't deserve to be human.</dialogue> <character>GABRIEL</character> <dialogue>Then pass judgment on me now.</dialogue> <scene_description>John raises the gun - puts it to Gabriel 's forehead .</scene_description> <character>GABRIEL</character> <dialogue>Do it. Seek revenge. End my life.</dialogue> <scene_description>John 's finger nudges the trigger .</scene_description> <character>GABRIEL</character> <dialogue>Kill me! Pull the trigger! Be the hand of God!</dialogue> <scene_description>John pauses , realizes what 's happening here .</scene_description> <character>JOHN</character> <dialogue>and I'll be condemned again.</dialogue> <character>GABRIEL</character> <dialogue>Do it!</dialogue> <scene_description>It takes everything John has not to pull that trigger . He lowers the gun , shaking his head .</scene_description> <character>JOHN</character> <dialogue>You're even worthless as bait.</dialogue> <scene_description>John starts to turn away -</scene_description> <character>GABRIEL</character> <dialogue>Deny your true nature today, but what of tomorrow, of the tomorrow after that? It is only a matter of time before you end up right back where you belong. It is who you are, Constantine. Damned.</dialogue> <scene_description>John 's fist starts behind his back , gains momentum the entire arc until it ends abruptly against Gabriel 's face . The ex - angel is propelled all the way to the wall - SLAMS HARD against the concrete . Body crumples on impact , slides down to the muck . You know this hurt like absolute hell .</scene_description> <character>JOHN</character> <dialogue>That's called pain. Get used to it.</dialogue> <scene_description>John turns toward the double doors - stops cold . Huddled in the doorway , covered in grime is Angela and Barry . The experience has obviously left them both drained . John walks across the room , kneels down to them .</scene_description> <character>ANGELA</character> <dialogue>Thank you, John.</dialogue> <scene_description>He nods , beat . Wipes a trace of blood off her brow , puts a hand on Barry 's shoulder . HOLD a beat ON this gritty family tableau .</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - MIDNITE'S UNIVERSAL ORRERY</stage_direction> <scene_description>MOVING SLOWLY PAST the inoperative device . PAST strangely - shaped objects of platinum and gold , with names and symbols that make a bit more sense now .</scene_description> </scene> <scene> <stage_direction>EXT. AFRICA - DAY</stage_direction> <scene_description>Huge sun beats down on a lone FIGURE walking across a stretch of the most barren landscape on Earth . He stops , kneels to the heavily - cracked soil . Starts digging .</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - THE ORRERY</stage_direction> <scene_description>A HAND comes in , affixes an unseen object to a protruding rod . Its weight causes it to drop OUT OF FRAME but a moment later it rises back INTO VIEW and finds a balance .</scene_description> </scene> <scene> <stage_direction>EXT. AFRICA</stage_direction> <scene_description>JOHN pulls back the protective hood from his face . Healthy and tan with a new lease on life . He pops a NICORETTE TABLET , then unwraps rolls of cloth from around the Spear of Destiny . He drops it in the hole , stares at it a long beat .</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S APARTMENT - THE ORRERY</stage_direction> <scene_description>The entire mechanism shudders . And now miraculously , every globe , every moon , every obscure object in this miniature occult universe begins to rotate in complete sync . As it does , the defining object finally slides INTO VIEW . John 's lighter . ANGELA watches it rotate past , nods in approval .</scene_description> </scene> <scene> <stage_direction>EXT. AFRICA</stage_direction> <scene_description>John sighs , finally sweeps mounds of soil over the sacred relic . He stands , nods . Job done . A breeze blows past and John senses being watched . He spins and finds - nothing . For a hundred miles . He starts walking .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Some people are born to make a difference. I had to die. Twice.</dialogue> </scene> <scene> <stage_direction>EXT. 20 LANES BOWLING ALLEY - ANGELA</stage_direction> <scene_description>walking right in step . Something is closing in on her . A new TAXI pulls up . Chaz is driving . Angela gets in .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>God does work in mysterious ways.</dialogue> </scene> <scene> <stage_direction>EXT. AFRICA</stage_direction> <scene_description>John continues walking as something closes in on him at incredible speed .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Some people like it.</dialogue> <scene_description>Our view RISES OVER him and gliding across the barren landscape are the SHADOW of WINGS .</scene_description> <character>JOHN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Some people do n't.</dialogue> <scene_description>FADE OUT . THE END</scene_description> </scene> </script>

In the Mexican countryside, a scavenger named Manuel finds a spearhead wrapped in a Nazi flag at the ruins of an old church. The spearhead is later revealed as the Spear of Destiny. Manuel becomes possessed and travels to the United States. In Los Angeles, occult detective John Constantine exorcises a Filipina girl possessed by a demon trying to break through to Earth, which should not be possible under the rules of a standing wager between God and Lucifer for mankind's souls. Constantine's driver and apprentice Chas Kramer waits in the car as Constantine doesn't think he's ready to exorcise demons. Constantine later meets with the androgynous half-angel being Gabriel. He asks Gabriel for a reprieve from his impending death from lung cancer caused by prolonged smoking. Gabriel declines, telling Constantine that he exorcises demons for selfish reasons and cannot buy his way into Heaven. After being assaulted by another demon, Constantine goes to Papa Midnite, a reputed witch doctor who runs a club serving as neutral ground where half-breeds do not have to conceal themselves. Constantine is admitted into the club, but the bouncer tells Chas to leave, as he can not pass the psychic entry test. Midnite does not believe Constantine's claim of demons crossing over. Constantine leaves, after exchanging hostile words with half-demon Balthazar. Elsewhere, a woman named Isabel Dodson commits suicide in a psychiatric hospital. Her twin sister, Detective Angela Dodson, refuses to believe that Isabel, a devout Roman Catholic, would kill herself. Watching security footage of Isabel's suicide, Angela hears her say Constantine's name. Angela finds Constantine and asks him to help investigate. After they are attacked by winged demons, which Constantine believes were targeting Angela, he agrees to help. Constantine briefly transports himself to Hell through the possession of a familiar and sees Isabel damned to eternally relive her suicide. Constantine explains to Angela that he can see the true nature of the half-breeds. He committed suicide to escape his visions and his soul was sent to Hell, but he was revived by paramedics two minutes later; for the sin of taking his own life, his soul is still condemned to go to Hell once he dies. The two examine Isabel's room in the hospital and find a clue pointing to a prophecy in the Satanic Bible that Lucifer's son, Mammon, will attempt to claim Earth as his own kingdom. To do so, Mammon requires both a powerful psychic and assistance from God. Angela tells Constantine that Isabel, a clairvoyant and a psychic, was committed by her parents. Angela had the same gift but suppressed it. At Angela's insistence, Constantine reawakens her psychic ability through a near-death experience. She immediately finds a clue pinpointing Balthazar as an accomplice to the plot; Constantine interrogates Balthazar, who reveals that Mammon has the Spear, stained with the blood of Christ—the assistance from God. Angela, now the psychic in place of Isabel, is abducted by an invisible entity. Constantine convinces Midnite that the demons are breaking the wager's rules. With Midnite's help, Constantine finds out how the Spear emerged and Angela's location. Constantine arms himself and goes to the hospital, reluctantly bringing Chas along. The two fight their way through an army of half-demons to exorcise Angela. Chas is apparently killed by the invisible entity, which turns out to be Gabriel. Resenting God's favoritism towards humans, Gabriel plans to unleash Hell on Earth to weed out those deemed "unworthy" of God's love. Gabriel casts Constantine from the room and prepares to use the Spear to cut Mammon free from Angela. Out of options, Constantine slits his wrists. As he bleeds out, Lucifer arrives to personally collect his soul. Constantine tells Lucifer of Mammon's plan to usurp him. Confronted by Lucifer, Gabriel threatens to 'smite' him in God's honor; however, the attack against Lucifer comes up short, revealing to both Gabriel and Lucifer that Gabriel no longer has divine protection. Lucifer proceeds to burn Gabriel's wings, making Gabriel mortal. Lucifer banishes Mammon back to Hell and grants Constantine a wish out of gratitude; Constantine asks that Isabel be released to Heaven. Lucifer complies but realizes too late that he cannot take Constantine to Hell as a consequence; by selflessly sacrificing himself, Constantine is granted entry to Heaven. Infuriated, Lucifer heals Constantine's injuries and cures him of his lung cancer, hoping he will eventually damn himself again. Angela and Constantine depart, leaving the now human Gabriel. Sometime later, Constantine, now making an effort to quit smoking, entrusts the Spear to Angela and in a post-credits scene visits Chas's grave, where Chas appears in an angelic form.

The Italian Job_2003

tt0317740

<script> <scene> <stage_direction>EXT. THE PORT OF GENOA, ITALY - NIGHT</stage_direction> <scene_description>Forklifts RUMBLE . Workers WIPE FRAME . All the bustle and cacophony of a major seaport . We FIND ourselves focusing on ONE LARGE CRATE . With the GRINDING of gears , a crane lifts it off the dock and carries it onto a ship .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - SAME TIME</stage_direction> <scene_description>Through night - vision binoculars , CHARLIE CROKER , 28 , watches the mysterious crate . Charlie is young to run his own crew but he 's a born leader .</scene_description> <character>CHARLIE</character> <dialogue>Lyle?</dialogue> <scene_description>SWISH PAN TO : LYLE , 21 , brilliant and punctilious , fingering the keyboard of his strap - on supercharged laptop .</scene_description> <character>LYLE</character> <dialogue>I've got the orbital data and SV clock corrections for each satellite that gets the signal. That'll make my reading as solid as the Precise Positioning Service that only the D.O.D. can use. We're talkin' 100 meter horizontal accuracy, 156 meter vertical accuracy,.340 nanoseconds time accuracy.</dialogue> <scene_description>SWISH PAN TO : STEVE , 30 , bearded . Steve has an arrogant confidence mixed with the hint of a smile .</scene_description> <character>STEVE</character> <dialogue>Why ca n't he talk like a person?</dialogue> <character>CHARLIE</character> <dialogue>Because he's not.</dialogue> <character>LYLE</character> <dialogue>I do need one more thing, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>What's that?</dialogue> <character>LYLE</character> <dialogue>Someone to turn the goddamn homing device on. No signal, no score.</dialogue> <character>CHARLIE</character> <parenthetical>( to Steve . )</parenthetical> <dialogue>Where're the Italians?</dialogue> <character>STEVE</character> <dialogue>Patience.</dialogue> </scene> <scene> <stage_direction>INT. HUMVEE (MOVING) - SAME TIME</stage_direction> <scene_description>The driver is HANDSOME ROB , 30 . Riding shotgun is HALF - EAR , 35 , immersed in a book : Albert Einstein Creator &amp; Rebel . Half - Ear is a large black man with a Southern accent and a hearing aid .</scene_description> <character>HANDSOME ROB</character> <dialogue>What's that shit?</dialogue> <character>HALF-EAR</character> <dialogue>A book. It's called reading. You should try it some time.</dialogue> <scene_description>Handsome Rob holds up three fingers .</scene_description> <character>HANDSOME ROB</character> <dialogue>You wan na read something. Read between the lines.</dialogue> <character>HALF-EAR</character> <dialogue>Well here's something even you can relate to. Albert got a lotta trim. That genius thing is a babe magnet.</dialogue> <character>HANDSOME ROB</character> <dialogue>Lem me see that book.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL JEWELRY SHOP - SAME TIME</stage_direction> <scene_description>The final member of the crew , JOHN BRIDGER , 50s , is a tasteful man buying a very tasteful , and very expensive , diamond necklace . The saleswoman wraps it up as he dials a number on his cell phone .</scene_description> <character>STELLA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hello?</dialogue> <character>JOHN BRIDGER</character> <dialogue>Hi, sweetie.</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S CONDO - PHILADELPHIA - INTERCUT</stage_direction> <scene_description>STELLA BRIDGER , 27 , crushingly attractive , has just stepped out of the shower , hair still wet , body wrapped in a towel .</scene_description> <character>STELLA</character> <dialogue>Daddy. How are you?</dialogue> <character>JOHN BRIDGER</character> <dialogue>I'm sending you something.</dialogue> <character>STELLA</character> <dialogue>Really? Does it smell nice?</dialogue> <character>JOHN BRIDGER</character> <dialogue>No. But it's sparkly.</dialogue> <character>STELLA</character> <dialogue>Does it come with a receipt?</dialogue> <character>JOHN BRIDGER</character> <dialogue>I'm having it sent to you from the store.</dialogue> <character>STELLA</character> <parenthetical>( toweling her hair . )</parenthetical> <dialogue>Why not bring it by yourself? We could have dinner.</dialogue> <scene_description>He leaves the store and heads for the HOTEL ELEVATOR .</scene_description> <character>JOHN BRIDGER</character> <dialogue>Be a long trip. I'm in Genoa.</dialogue> <scene_description>She does n't like the sound of that .</scene_description> <character>STELLA</character> <dialogue>Let me guess. Checking out the birthplace of Christopher Columbus.</dialogue> <character>JOHN BRIDGER</character> <dialogue>Something like that.</dialogue> <character>STELLA</character> <dialogue>With your parole officer's approval.</dialogue> <scene_description>He steps into the elevator . Rides up .</scene_description> <character>JOHN BRIDGER</character> <dialogue>I think I've paid my P.O. my last visit. I liked the guy, but we never really connected.</dialogue> <character>STELLA</character> <dialogue>What are you into, Dad? Do n't break my heart. You told me you were through.</dialogue> <character>JOHN BRIDGER</character> <dialogue>After this, I swear to you, I am.</dialogue> <character>STELLA</character> <dialogue>You promised me. Daddy, do n't do this.</dialogue> <scene_description>The elevator door opens , Bridger steps out and starts down the hall .</scene_description> <character>JOHN BRIDGER</character> <dialogue>Everything's going to be fine. I've got to go now. I love you. Bye.</dialogue> <scene_description>He clicks off then uses his card key to step into the -</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - CONTINUOUS</stage_direction> <scene_description>He eyes Charlie , who looks pretty tense .</scene_description> <character>JOHN BRIDGER</character> <dialogue>Italians?</dialogue> <character>CHARLIE</character> <dialogue>Not yet.</dialogue> <character>STEVE</character> <dialogue>Do n't worry, they'll come through. You can trust these guys.</dialogue> <character>JOHN BRIDGER</character> <dialogue>I trust everyone. It's the devil inside them that I do n't trust.</dialogue> <parenthetical>( then , to Charlie . )</parenthetical> <dialogue>Got a sec?</dialogue> <character>CHARLIE</character> <dialogue>My office.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BATHROOM - NIGHT</stage_direction> <scene_description>They step inside , Charlie closing the door .</scene_description> <character>JOHN BRIDGER</character> <dialogue>How you feeling, boss?</dialogue> <character>CHARLIE</character> <dialogue>Fine. I'm fine, fine.</dialogue> <scene_description>Bridger seems amused by that answer .</scene_description> <character>JOHN BRIDGER</character> <dialogue>You know what fine, stands for, do n't you? Fucked - up, Insecure, Neurotic, and Emotional.</dialogue> <character>CHARLIE</character> <dialogue>You've become quite the philosopher since you quit drinking.</dialogue> <character>JOHN BRIDGER</character> <dialogue>You do n't like me sober?</dialogue> <character>CHARLIE</character> <dialogue>No, I'm glad. Makes you a better thief.</dialogue> <scene_description>Bridger pulls out a fine cigar , still in its wrapper , hands it to Charlie .</scene_description> <character>JOHN BRIDGER</character> <dialogue>For after the haul.</dialogue> <character>CHARLIE</character> <dialogue>Hope I get to fire it up. If Steve's Italians are a no - show, it's three months prep down the shitter and I've dragged you out of retirement for nothing.</dialogue> <character>JOHN BRIDGER</character> <dialogue>This is kinda nice. You being the boss with all the worries, me just along for the ride.</dialogue> <character>CHARLIE</character> <dialogue>Ai n't you sweet.</dialogue> <scene_description>From the other side of the door , they HEAR -</scene_description> <character>STEVE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Charlie!</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Charlie takes the binoculars from Steve . He SEES TWO ITALIAN CUSTOMS INSPECTORS climbing onboard the ship .</scene_description> <character>CHARLIE</character> <dialogue>Your Italians.</dialogue> <character>STEVE</character> <dialogue>Yup. Dixie cups.</dialogue> <character>CHARLIE</character> <dialogue>Dixie cups?</dialogue> <character>STEVE</character> <dialogue>I toss'em away if there's a problem down the road.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - NIGHT</stage_direction> <scene_description>In ITALIAN , the Inspectors quiz the NERVOUS CAPTAIN about the mysterious crate . One Inspector takes a crowbar and yanks out several strips of plywood , REVEALING unmarked cardboard boxes inside . The other Inspector pulls out one of the boxes and tears it open . It is filled with tomatoes . He takes a bite out of one . Nods . Everything seems to be order . The Captain looks relieved . The inspector closes the cardboard box but . Watch carefully now , because as he does this , he hits a power button on a small HOMING DEVICE and stuffs it in with the tomatoes .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - SAME TIME</stage_direction> <scene_description>On Lyle 's computer screen , a pulsating dot appears , BEEPING , sending out precise longitude and latitude .</scene_description> <character>LYLE</character> <dialogue>For those about to rock, we salute you.</dialogue> <scene_description>Charlie dials his cell phone .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE (MOVING) - INTERCUT</stage_direction> <scene_description>Handsome Rob answers .</scene_description> <character>HANDSOME ROB</character> <dialogue>Yeah.</dialogue> <character>CHARLIE</character> <dialogue>Let's get rich.</dialogue> <scene_description>Handsome Rob pulls over . They 're at the port . They can see the mysterious crate being lowered into the ship 's hold . Half - Ear climbs out , taking a large duffel bag with him .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP (DOCKED) - LATER, NIGHT</stage_direction> <scene_description>The Captain is doing his final checks before launch . OUR CAMERA DROPS to - BENEATH THE WATER where we FIND Half - Ear , in scuba gear , applying Nitramon explosive primer to the hull of the ship .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE (MOVING) - NIGHT</stage_direction> <scene_description>Plowing through thick brush that breaks out onto a secluded beach . Handsome Rob is still behind the wheel but now Steve is in the passenger seat . Lyle , in the back , is still on the laptop , legs fidgeting like a drummer on meth . POP goes his bubble gum .</scene_description> <character>HANDSOME ROB</character> <dialogue>Can you chill out back there? You'd make a hummingbird nervous.</dialogue> </scene> <scene> <stage_direction>EXT. UNDERNEATH THE SHIP - NIGHT</stage_direction> <scene_description>Half - Ear finishes up . Speaks into the headset inside his gear .</scene_description> <character>HALF-EAR</character> <dialogue>I'm done. Over.</dialogue> <character>LYLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Copy that. Enjoy the ride, cowboy.</dialogue> <scene_description>Half - Ear grabs onto the bottom rung of a ladder that is bolted to the side of the ship as it launches off the dock and into deeper water . TWO BRIGHT CIRCLES IN A SEA OF DARKNESS Coming closer . becoming clearer . It 's Charlie and John Bridger , in scuba gear , riding torpedo - shaped Dive Propulsion Vehicles -LRB- DPVs -RRB- that pull them through the deep blue sea at a good 5 m.p.h. Both DPVs drag equipment bags . A Global Satellite Positioning Device is mounted on the handlebar of Charlie 's DPV , being fed information via Lyle 's laptop . A circle pulsates on the monitor , a beacon to the crate in the ship .</scene_description> </scene> <scene> <stage_direction>EXT. UNDER THE BOAT - NIGHT</stage_direction> <scene_description>Half - Ear still clings to the ladder . It 's a wild ride . Through the headset inside his gear , he HEARS :</scene_description> <character>LYLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Get ready. 3. 2. 1. Drop.</dialogue> <scene_description>Half - Ear lets go of the ladder . The ship 's propellers speed by just above his head . WHOOSH . He removes a radio - controlled detonator . Hits the button .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - ON THE CUT</stage_direction> <scene_description>The hull of the boat EXPLODES .</scene_description> </scene> <scene> <stage_direction>INT. SHIP'S HOLD</stage_direction> <scene_description>A very neat hole on the bottom of the boat beneath the crate is opened . Water RUSHES IN and the crate falls right through the cavity , vanishing . UNDERWATER The huge , heavy crate drops down . down . hits the bottom . ON THE SHIP Chaos rules . She 's taking on water fast . No way to save her . The captain orders the dinghy lowered into the water .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE - NIGHT</stage_direction> <scene_description>Parked in the sand at the top of the bay . Steve looks out to the bay through infrared binoculars . The ship is going down . The crew on the dingy head back to the port , which is in the opposite direction of this beach .</scene_description> </scene> <scene> <stage_direction>EXT. THE BOTTOM OF THE SEA - NIGHT</stage_direction> <scene_description>The DPVs are now attached by a tether to an underwater lifting bag that is used to move heavy loads through water . The crate is surrounded by our three diver - bandits . Using crowbars they pull apart the plywood . The cardboard boxes of tomatoes dump out , tomatoes spilling everywhere . And now we see what was hidden between the boxes . A large safe . They move like clock - work . Half - Ear aims an underwater light at the dial . Charlie drills a small hole near the dial . John peers inside a horoscope and lines up the three wheels of the combination lock . until the door pops open . As they stare at what 's inside , they speak into their headsets , heard by all .</scene_description> <character>CHARLIE</character> <dialogue>Sweet Jesus.</dialogue> <character>JOHN BRIDGER</character> <dialogue>`` That for which all virtue is sold. And almost every vice - gold.''</dialogue> <scene_description>And now we see the contents of the safe : 160 glistening GOLD BRICKS . Made in Singapore , they weigh 25 pounds and each one is decorated with the face of an exotic Balinese girl . We 're talking thirty million dollars worth of gold .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE (PARKED) - NIGHT</stage_direction> <scene_description>They holler and high - five and it 's just a great moment to be alive . Steve takes another peek through his infrared binoculars and sees - The last vestiges of the ship hang above the waterline , then disappear .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - A LITTLE LATER</stage_direction> <scene_description>The gold is now stacked and secured on the lifting bag . They attach an underwater parachute to the bag and hook a hose from an air tank into press of a pressure release valves which cause the parachute to INFLATE . Looking like a hot - air balloon underwater , the whole thing floats up about fifteen feet . Half - Ear holds onto its side , going along for the ride . Then Charlie and John Bridger speed off on the DPVs which are tethered to the inflatable bag . As they glide through the water towards the secluded beach , we .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINOUS ROAD - FIRST LIGHT OF DAWN</stage_direction> <scene_description>The Humvee climbs into the mountain ranges of the Alps .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE (MOVING)</stage_direction> <scene_description>The gold is in three crates in the cargo bay . Handsome Rob and Steve are still up front . The others are in the back seats , the divers out of their scuba gear . They are pouring champagne into paper cups ; except for Bridger who abstains . He holds up his empty cup .</scene_description> <character>JOHN BRIDGER</character> <dialogue>My name is John and I'm a very rich alcoholic. And I'm going to live my life one very rich day at a time.</dialogue> <character>THE CREW</character> <dialogue>Alright, John!</dialogue> <scene_description>They laugh and pound their fists against the roof of the Humvee . Charlie pulls out the cigar Bridger gave him . As Bridger lights it for him -</scene_description> <character>JOHN BRIDGER</character> <dialogue>You planned this one down to a t, kid. It's a gift. You saw the big picture, made contingencies, covered the angles.</dialogue> <scene_description>Hearing this , Steve looks a little jealous .</scene_description> <character>JOHN BRIDGER</character> <dialogue>Shit, you made thirty million dollars in gold drop out of sight without holding a gun. Who else could've pulled that off?</dialogue> <character>CHARLIE</character> <dialogue>You could've. I had big shoes to fill.</dialogue> <character>JOHN BRIDGER</character> <dialogue>Fill the shoes but do n't follow the footprints.</dialogue> <character>CHARLIE</character> <dialogue>What're you talking about? You've lived the life.</dialogue> <character>JOHN BRIDGER</character> <dialogue>My life's been nothing but fake IDs, fake business cards and divorce papers. This is the only thing that's real.</dialogue> <scene_description>Bridger shows him a photograph of Stella that he keeps in his wallet .</scene_description> <character>CHARLIE</character> <dialogue>Stella's a beautiful girl.</dialogue> <character>JOHN BRIDGER</character> <dialogue>She's amazing. And I spent half her childhood in prison. This is a once in a lifetime haul, Charlie. Bring down the curtain after this one. Make a new life. Find someone amazing and be there for her.</dialogue> <scene_description>As the advice escapes Bridger 's mouth -</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINOUS ROAD</stage_direction> <scene_description>A Jeep thunders out of a hiding place in the trees and blocks the road . The Humvee brakes to avoid running into it .</scene_description> <character>HANDSOME ROB</character> <dialogue>Shit.</dialogue> <scene_description>Click . That 's the sound of a gun cocking as it 's pressed against Handsome Rob 's temple .</scene_description> <character>STEVE</character> <dialogue>Anyone acts stupid and his brains go on the windshield.</dialogue> <scene_description>They see the two Italian Inspectors jump out of the Jeep , AK - 47s leveled at the crew . Steve has double - crossed them . ON THE CREW : shocked would be a good place to start .</scene_description> <character>CHARLIE</character> <dialogue>What the hell do you think you're doing?</dialogue> <character>STEVE</character> <dialogue>Sorry Charlie. But I want the box of Cracker Jack all to myself.</dialogue> <scene_description>The Italians pull the crates of gold out of the back of the Humvee .</scene_description> <character>CHARLIE</character> <dialogue>You're not thinking this through. It's a stupid move.</dialogue> <character>STEVE</character> <dialogue>Think so? Well you're the brilliant one. The Master Planner. Is n't that so, John?</dialogue> <scene_description>Steve climbs out of the Humvee , gun still on Handsome Rob , the AK - 47s aimed at the others .</scene_description> <character>STEVE</character> <dialogue>You bet on the wrong horse.</dialogue> <character>JOHN BRIDGER</character> <dialogue>We'll hunt you down. You're gon na regret this.</dialogue> </scene> <scene> <stage_direction>EXT. HUMVEE</stage_direction> <scene_description>Safely outside , Steve turns his gun on Bridger .</scene_description> <character>STEVE</character> <dialogue>No regrets, Dixie cup.</dialogue> <scene_description>BOOM . He shoots Bridger in the head . Just like that . The Italians follow suit , AK - 47s SCREAMING out bursts of full automatic fire at the crew .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE</stage_direction> <scene_description>They duck for cover as the vehicle is riddled with gunfire . Glass shatters . Bullets ricochet . They 're in the epicenter of hell . Handsome Rob jerks the steering wheel and stomps the gas . Driving blind .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINOUS ROAD</stage_direction> <scene_description>The Humvee hits the side of the Jeep , grinds alongside it , metal tearing against metal . The Humvee 's right side tires precariously hover by the cliff and the raging water below . The gunners keep FIRING . Bullets rip into the Humvee 's tires .</scene_description> </scene> <scene> <stage_direction>EXT. HUMVEE</stage_direction> <scene_description>It almost escapes , but it ca n't make it on shredded rubber . It careens off the road and - SERIES OF SHOTS The Humvee plummets through the air and plunges into the raging river .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE</stage_direction> <scene_description>Water cascades in through the open windows . They 're thrown around as the Humvee rides the rapids . WHAM . The passenger door caves in as the Humvee rams into a large rock then is swept further downstream . Through the foam and spray , Charlie looks over to Bridger . He 's dead . The torrent ROARS . Only their chests and heads are above water . And that 's not all . There 's a WATERFALL AHEAD .</scene_description> </scene> <scene> <stage_direction>EXT. WATERFALL</stage_direction> <scene_description>The Humvee is palmed in its deadly embrace and hurled over . It cartwheels into the pool below , sending up a huge geyser of water . It sinks out of sight .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINOUS ROAD - SAME TIME</stage_direction> <scene_description>The crates of gold are now inside the Italians ' Jeep . Steve climbs in , leaving the crew for dead . UNDERWATER - SAME TIME The Humvee strikes the surface bottom with an ominous thud .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAINOUS ROAD - DAWN</stage_direction> <scene_description>The Jeep jerks to a stop . A door opens and the bodies of the two Italians , shot dead , are dumped out into the mud . Steve is alone now . Just him and the millions in gold .</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE - SAME TIME</stage_direction> <scene_description>The water entombs them . Blood from Bridger 's fatal gunshot mists the water red . They manage to get the door open . They start to swim out but Charlie wo n't go without Bridger . He grabs his friend 's body and pulls it up with him .</scene_description> </scene> <scene> <stage_direction>EXT. RIVER - SUNRISE</stage_direction> <scene_description>They drag themselves ashore , Handsome Rob helping Charlie pull Bridger 's corpse . Charlie is shocked , tormented , grieved , and angry beyond description . Against the rocky embankment , he holds Bridger . Not wanting to ever let go .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>If you would have told me that I would spend the next three years searching for Steve Bandell, I would have said that was nothing. Cause I would have spent a lifetime looking for that bastard if I had to.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>SOMEONE 'S POV . A top of the line safe . The only light in the office is the beam of a penlight on the dial . GLOVED HANDS spin the dial , feeling for `` contact points '' , areas on the dial where a slight resistance can be felt - if you have the touch . NEW ANGLE . A woman holds the penlight in her teeth while trying to crack the safe . It 's Stella Bridger , now 30 . Three Years Later Philadelphia . She manipulates the dial . Click . She grabs the safe 's lever and swings the heavy steel door open , her face a mixture of pride and relief . But before we see what 's inside - LIGHTS TURN ON . TWO COPS lurk at the doorway .</scene_description> <character>FIRST COP</character> <dialogue>You always work in the dark?</dialogue> <character>STELLA</character> <dialogue>Buzz of the fluorescents throws me off. She's all yours.</dialogue> <scene_description>The cops come closer and only now do we realize that they 're on the same team .</scene_description> <character>SECOND COP</character> <dialogue>Damn. Chris Perley could n't crack it. Neither could Michael Hoyt.</dialogue> <character>STELLA</character> <dialogue>Now you know who to call first.</dialogue> <character>FIRST COP</character> <dialogue>You're expensive, Stella. Those guys cut us a break on subpoena jobs. Goodwill, community service.</dialogue> <character>STELLA</character> <dialogue>Well I do it for the money. I'll send you the bill.</dialogue> <character>SECOND COP</character> <dialogue>Do n't you want to see what's inside?</dialogue> <character>STELLA</character> <dialogue>I never look. Bye, guys.</dialogue> <scene_description>And as she walks off , they do look - at her .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>A car RISES INTO FRAME on a bustling street : a 1960 Mini Cooper S. , a worldwide motoring icon . Its shape crouches low to the ground and its tiny 10 - inch wheel - at - each - corner gives it the legendary Mini look . If when you see its headlights and classic grille it does n't bring a smile to your face , then you 've got no automobile soul .</scene_description> </scene> <scene> <stage_direction>INT. MINI (CRUISING) - DAY</stage_direction> <scene_description>Stella takes on the road like someone who loves to be behind the wheel of a car that claimed victory in the Monte Carlo Rally three times . She passes a minivan , a breeze with the Mini 's quick , go - kart - like handling . She searches for a parking space on a street lined with SUVs . Sees a spot , it 's not really a space , just a gap between two gas guzzlers , there 's no way any car could squeeze in . Brake . Shift . Hard turn . She parallel parks the Mini with ease . She 's right in front of - HER SHOP Antique keys and locks dominate the storefront window with the name of the shop stenciled across the glass : BRIDGER LOCK AND SAFE COMPANY . Stella hops out of the Mini . With a poised walk she heads inside .</scene_description> </scene> <scene> <stage_direction>INT. SHOP - DAY</stage_direction> <scene_description>It is filled with old cast - iron safes she has rebuilt along with some new models . Stella 's RECEPTIONIST greets her .</scene_description> <character>RECEPTIONIST</character> <dialogue>How long?</dialogue> <character>STELLA</character> <dialogue>Four minutes, forty - three seconds.</dialogue> <scene_description>High - five .</scene_description> <character>RECEPTIONIST</character> <dialogue>You're the man.</dialogue> <character>STELLA</character> <dialogue>So what's on the line - up?</dialogue> <character>RECEPTIONIST</character> <dialogue>2:00. Home safe in Fairmount Park. Owner died and the wife never knew the combination. And Todd Milliken called. He has a prototype combination lock he wants you to test out tomorrow morning. Says he added two false contact points on the tumbler.</dialogue> <character>STELLA</character> <dialogue>Tell him if I do n't have it opened in six minutes flat, breakfast is on me.</dialogue> <character>RECEPTIONIST</character> <dialogue>And there's a Charlie Croker in your office. He said you two know each other.</dialogue> <parenthetical>( an aside . )</parenthetical> <dialogue>And he looks pretty fine for a white boy.</dialogue> <scene_description>Without a response , Stella heads over to - HER OPEN OFFICE DOOR and sees him fiddling with her collection of safe doors that line the shelves .</scene_description> <character>STELLA</character> <dialogue>Charlie Croker.</dialogue> <scene_description>He turns around . Smiles . Charming .</scene_description> <character>CHARLIE</character> <dialogue>Hi, Stella.</dialogue> <scene_description>She steps inside .</scene_description> <character>STELLA</character> <dialogue>Refresh my memory. After you came to see me and told me what happened to my father, I told you I never wanted to see you again, did n't I?</dialogue> <character>CHARLIE</character> <dialogue>Yeah. You did.</dialogue> <character>STELLA</character> <dialogue>So I'm a little confused.</dialogue> <character>CHARLIE</character> <dialogue>I found him.</dialogue> <scene_description>At first it seems that Charlie 's words have no effect on her , but then he notices that her hands are trembling .</scene_description> <character>CHARLIE</character> <dialogue>I can tell you where he is.</dialogue> <character>STELLA</character> <dialogue>I do n't want to know.</dialogue> <character>CHARLIE</character> <dialogue>Are you sure?</dialogue> <scene_description>She does n't answer .</scene_description> <character>CHARLIE</character> <dialogue>He's in Los Angeles.</dialogue> <scene_description>She does n't respond . Does n't ask him to go on , does n't ask him not to . So he goes on .</scene_description> <character>CHARLIE</character> <dialogue>The gold bricks he stole from us were minted in Singapore and decorated with the face of a Balinese girl. I've had my tentacles out and got a call from a friend of mine and your father's, Philly Steak.</dialogue> <scene_description>Stella remembers him .</scene_description> <character>STELLA</character> <dialogue>When I was little he would play poker at the house and drop quarters under the table for me to find.</dialogue> <character>CHARLIE</character> <dialogue>He got word from an L.A. connection named Skinny Pete that a gold dealer has been buying bricks with the Balinese girl on them, three or four at a time.</dialogue> <character>STELLA</character> <dialogue>You ever heard the expression, cut to the chase?</dialogue> <character>CHARLIE</character> <dialogue>I tracked Steve down to an address in the Hollywood Hills. He's changed his last name to Frezelli. And get this : he had a Worthington 1000 installed in the house before he even moved in. We both know that you do n't install a Worthington 1000 unless you have something precious to guard.</dialogue> <character>STELLA</character> <dialogue>Precious or not, I do n't deal with ill - gotten goods.</dialogue> <character>CHARLIE</character> <dialogue>We boosted that gold from a terrorist group that was about to trade it for bio - weapons. Now that does n't exactly make us Robin Hood, but maybe in our own little way we were doing a good deed. Problem is, no one in my crew can handle that safe. And I need someone I can trust.</dialogue> <character>STELLA</character> <dialogue>And you think that's me? Have n't you heard that I work for the other side?</dialogue> <character>CHARLIE</character> <dialogue>What I heard is that you have your father's touch. And he was the only safecracker I knew who could open a Worthington 1000.</dialogue> <character>STELLA</character> <dialogue>I'm not a safecracker. I'm a professional safe and vault technician.</dialogue> <character>CHARLIE</character> <dialogue>You're John Bridger's daughter. And this is our chance to set things right.</dialogue> <scene_description>That sets her off .</scene_description> <character>STELLA</character> <dialogue>Our chance? Who do you think you are coming in here? Stealing the gold is n't going to bring my father back to life.</dialogue> <character>CHARLIE</character> <dialogue>No, it wo n't.</dialogue> <character>STELLA</character> <dialogue>Then get out.</dialogue> </scene> <scene> <stage_direction>EXT. STREET — DAY</stage_direction> <scene_description>Charlie comes out of her shop and starts down the sidewalk . Suddenly , Handsome Rob appears out of the crowd and is walking next to him .</scene_description> <character>HANDSOME ROB</character> <dialogue>How'd it go with the chick?</dialogue> <character>CHARLIE</character> <dialogue>I'm working on it.</dialogue> <character>HANDSOME ROB</character> <dialogue>I do n't want her on the crew, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Got ta have her. Important piece of the puzzle.</dialogue> <character>HANDSOME ROB</character> <dialogue>There has to be someone else. What about Bill Huchins?</dialogue> <character>CHARLIE</character> <dialogue>Doing ten long at Levinworth.</dialogue> <character>HANDSOME ROB</character> <dialogue>Red O'Reilly?</dialogue> <character>CHARLIE</character> <dialogue>Chemo.</dialogue> <character>HANDSOME ROB</character> <dialogue>Martin Hernandez?</dialogue> <character>CHARLIE</character> <dialogue>Found Jesus.</dialogue> <scene_description>Handsome Rob stops Charlie .</scene_description> <character>HANDSOME ROB</character> <dialogue>I do n't want a civilian to screw this up.</dialogue> <character>CHARLIE</character> <dialogue>She has the skill. And the motivation.</dialogue> <character>HANDSOME ROB</character> <dialogue>Exactly. She's emotional. You know what happens when emotion gets into it.</dialogue> <character>CHARLIE</character> <dialogue>It's emotional for all of us at this point. Do n't kid yourself.</dialogue> </scene> <scene> <stage_direction>INT. EXPENSIVE RESTAURANT/BAR - NIGHT</stage_direction> <scene_description>RICHARD WORTH has his back to the bar . He 's a blue blood trial lawyer with an ego that has more horsepower than a Ferrari .</scene_description> <character>RICHARD</character> <dialogue>It's all in my patented sideways glance. Like this.</dialogue> <scene_description>He gives a sideways glance to Stella ; it 's their first date .</scene_description> <character>RICHARD</character> <dialogue>I hit each woman on the jury with one of these. We make contact. And I know exactly what they're doing. Undressing me with their eyes.</dialogue> <character>STELLA</character> <dialogue>I see.</dialogue> <scene_description>What a nightmare . Someone bumps into Stella , a mumbled , `` Excuse me . '' Nightmare continues .</scene_description> <character>RICHARD</character> <dialogue>The case is all but won. That's why in jury selection I choose as many women as possible. Except lesbians, of course. I can tell in sixty seconds if they're a lesbian. Want to know how I know?</dialogue> <character>STELLA</character> <dialogue>If they do n't undress you with their eyes?</dialogue> <character>RICHARD</character> <dialogue>Precisely. Like that waitress right there. See? She's looking at me right below my belt. Definitely not a lesbian.</dialogue> <scene_description>A waitress is indeed looking below Richard 's belt . But Stella notices that she was only looking because Richard 's zipper is all the way down . She smiles .</scene_description> <character>STELLA</character> <dialogue>Your fly.</dialogue> <character>RICHARD</character> <dialogue>I am fly. And I'm da bomb. Just wait until later tonight.</dialogue> <scene_description>Suddenly a BUSBOY stumbles and a tray of drinks fall , soaking Richard 's suit in red wine .</scene_description> <character>BUSBOY</character> <dialogue>Oh, man. I'm sorry.</dialogue> <character>RICHARD</character> <dialogue>You should be. Moron. What the hell's wrong with you?</dialogue> <character>BUSBOY</character> <dialogue>It was an accident. I'm very sorry.</dialogue> <character>RICHARD</character> <dialogue>Where's the manager? Richard Worth is not paying to have his suit cleaned. Damn.</dialogue> <parenthetical>( to Stella . )</parenthetical> <dialogue>I'm going to. I do n't believe this.</dialogue> <scene_description>He starts off to the bathroom and as soon as the space he was occupying empties , Charlie fills it .</scene_description> <character>CHARLIE</character> <dialogue>I think your date's going pretty well, what do you think?</dialogue> <scene_description>She shoots him a look that could reverse global warming .</scene_description> <character>STELLA</character> <dialogue>What are you doing here?</dialogue> <character>CHARLIE</character> <dialogue>What do you mean? I come here all the time.</dialogue> <character>STELLA</character> <dialogue>I do n't think so.</dialogue> <character>CHARLIE</character> <dialogue>Sure. Lawyers, Judges, my kind of crowd. See that gentleman there, he sentenced me to 90 days in county once. We need to talk.</dialogue> <character>STELLA</character> <dialogue>No, you need to listen. I want you to leave. Got it?</dialogue> <character>CHARLIE</character> <dialogue>Hey, I paid valet parking prices to get in here, not to mention a twenty spot to the busboy to spill that drink on Mister Zipper.</dialogue> <character>STELLA</character> <dialogue>You - I do n't believe this. You paid someone to spill that drink?</dialogue> <character>CHARLIE</character> <dialogue>Actually, you paid for it.</dialogue> <scene_description>Charlie returns her wallet .</scene_description> <character>CHARLIE</character> <dialogue>Did n't notice it was me who bumped into you earlier, did you? Anyway, I was hoping we could get to know each other a little better before we leave for Los Angeles. I already booked your flight.</dialogue> <character>STELLA</character> <dialogue>You truly are a fatuous, odious man.</dialogue> <character>CHARLIE</character> <dialogue>I have no idea what you just said, but I like the sound of it.</dialogue> <character>STELLA</character> <dialogue>Well maybe you'll understand this. Hit the road, Jack -</dialogue> <character>CHARLIE</character> <dialogue>Charlie -</dialogue> <character>STELLA</character> <dialogue>Or you'll be sorry, Charlie, cause I'll kick you in the nuts so hard that your voice will be as high as my heels.</dialogue> <scene_description>She means it , too .</scene_description> <character>CHARLIE</character> <dialogue>I'm beginning to worry about this whole relationship.</dialogue> <character>STELLA</character> <dialogue>I'll let you in on a secret. You ca n't have a relationship with a pickpocket, gold robber, or any kind of thief.</dialogue> <scene_description>Charlie looks away , lets her have her point . This whole thing is getting pretty heated so when he turns back to her , he uses a whole new approach . His emotions are genuine .</scene_description> <character>CHARLIE</character> <dialogue>John was n't just a man I crewed up with, he was my friend, he was the closest thing to a father I ever had. I wish to God I could bring him back. But all I can do is go after this guy, the guy that killed him, and hit him where he lives.</dialogue> <scene_description>She feels the honesty in his words but before she can reply , they 're interrupted by -</scene_description> <character>RICHARD</character> <dialogue>Everything alright, Stella?</dialogue> <scene_description>He 's back , red wine splotched on his suit .</scene_description> <character>STELLA</character> <dialogue>Fine. Richard. Charlie. Charlie was just saying goodbye.</dialogue> <scene_description>But for now , Charlie is just staring at Richard , boring into to him .</scene_description> <character>RICHARD</character> <dialogue>Can I help you with something?</dialogue> <character>CHARLIE</character> <dialogue>Oh, sorry. I was just undressing you with my eyes.</dialogue> <scene_description>And with that , Charlie goes . Stella ca n't help but smile .</scene_description> </scene> <scene> <stage_direction>EXT. STELLA'S CONDO - NIGHT</stage_direction> <scene_description>She comes home , having shed her date .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S BEDROOM - NIGHT</stage_direction> <scene_description>She goes through a drawer and pulls out a package she has n't looked at for years . She opens it . Inside is the beautiful necklace that her father bought her in Italy . It brings tears to her eyes .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S BEDROOM - NIGHT</stage_direction> <scene_description>He lies in bed , ca n't sleep . His phone rings . He picks up .</scene_description> <character>CHARLIE</character> <dialogue>Hello.</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S BEDROOM - INTERCUT</stage_direction> <scene_description>She 's on the other end of the line .</scene_description> <character>STELLA</character> <dialogue>I'm in this for one thing, Charlie, and one thing only. I want to see the look on his face when his gold is gone. He took my father from me, I'm taking this ; it's the best I can do.</dialogue> </scene> <scene> <stage_direction>EXT. STREETS - DAY</stage_direction> <scene_description>Stella 's Mini passes , weaves , tucks in between cars . She drives like a madman .</scene_description> </scene> <scene> <stage_direction>INT. MINI (SPEEDING)</stage_direction> <scene_description>Charlie feels like he 's inside a video game .</scene_description> <character>CHARLIE</character> <dialogue>I see Drive Defensively is your motto.</dialogue> <character>STELLA</character> <dialogue>Do n't worry. Jack Daniels never let me down.</dialogue> <scene_description>She slaps the dashboard of her car .</scene_description> <character>CHARLIE</character> <dialogue>By the way you drive, I'm not surprised you named your car after a bottle of whiskey. Left.</dialogue> <character>STELLA</character> <dialogue>Jack Daniels was chief engineer of the Mini. And I drive it exactly the way it was meant to be driven.</dialogue> <scene_description>She whips down the avenue .</scene_description> <character>CHARLIE</character> <dialogue>Another left.</dialogue> <scene_description>She hangs a left .</scene_description> <character>STELLA</character> <dialogue>We're going in circles. Who's tailing you this week?</dialogue> <character>CHARLIE</character> <dialogue>The possibilities are endless.</dialogue> </scene> <scene> <stage_direction>EXT. STADIUM PARKING LOT - DAY</stage_direction> <scene_description>The Mini parks in the middle of the huge , empty lot that surrounds Veterans Field , home of the Philadelphia Phillies .</scene_description> </scene> <scene> <stage_direction>INT. MINI</stage_direction> <scene_description>She looks around .</scene_description> <character>STELLA</character> <dialogue>Where are they?</dialogue> <character>CHARLIE</character> <dialogue>We're a little early. I did n't expect us to get here quite that fast. There.</dialogue> <scene_description>A Vespa pulls into the lot , headed their way . It 's Lyle . Charlie starts the introductions .</scene_description> <character>CHARLIE</character> <dialogue>That's Lyle. Gearhead. He's who really invented Napster.</dialogue> </scene> <scene> <stage_direction>INT. DORM ROOM - NORTHEASTERN UNIVERSITY - 1999 - NIGHT</stage_direction> <scene_description>Below a Metallica poster , Lyle has fallen asleep on his desk . His roommate , Napster creator SHAWN FANNING , recognizable in his trademark baseball cap , sneaks a peek at Lyle 's computer .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>At least that's how Lyle tells it.</dialogue> </scene> <scene> <stage_direction>INT. MINI - DAY</stage_direction> <scene_description>And now they see a monster pick - up truck bouncing into the lot , MUSIC THUMPING from its Alpine at ear - bleeding levels .</scene_description> <character>CHARLIE</character> <dialogue>Half - Ear. Explosives. He lost fifty percent of his hearing in the fifth grade.</dialogue> </scene> <scene> <stage_direction>INT. GRAMMAR SCHOOL BATHROOM - 1990 - DAY</stage_direction> <scene_description>A 10 year old boy stands in front of a toilet in the stall . BOOM ! Water geysers out of the bowl and soaks him .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>One M - 80 in the toilet bowl too many.</dialogue> <scene_description>Some kids in the bathroom saw the whole thing .</scene_description> <character>KID</character> <dialogue>That was rad!</dialogue> <character>HALF-EAR</character> <dialogue>Wha'?</dialogue> </scene> <scene> <stage_direction>INT. MINI - DAY</stage_direction> <scene_description>And now a RUMBLING in the distance . Stella looks . Sees a car streaking their way , almost like a mirage in the heat waves coming off the pavement . Closer . Faster . A classic Mustang . Its engine rumbles like a jackhammer . It 's had some serious custom work done to it .</scene_description> <character>CHARLIE</character> <dialogue>Handsome Rob. Premier wheel man. He once drove all the way to L.A. just so he could set the record for longest freeway chase.</dialogue> </scene> <scene> <stage_direction>EXT. L.A. FREEWAY - 1999 - DAY</stage_direction> <scene_description>Handsome Rob 's behind the wheel , flicks a cigarette butt out his open window - We watch it hit the pavement , ashes spark , and then behind the fallen butt we see that every lane of the 405 is filled with cop cars in pursuit .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Smashed the mark by twelve minutes.</dialogue> <scene_description>We now see Handsome Rob through the lens of a TV news helicopter camera .</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>He got a hundred and ten love letters sent to his jail cell from women who saw him on TV.</dialogue> </scene> <scene> <stage_direction>INT. MINI - DAY</stage_direction> <scene_description>As the cars converge in the parking lot .</scene_description> <character>STELLA</character> <dialogue>And what about you?</dialogue> <character>CHARLIE</character> <dialogue>I've been a thief since I had baby teeth.</dialogue> </scene> <scene> <stage_direction>INT. GRAMMAR SCHOOL PLAYGROUND - DAY</stage_direction> <scene_description>SEVEN YEAR OLD CHARLIE is shoved against a chain link fence by a SIXTH GRADE BULLY .</scene_description> <character>BULLY</character> <dialogue>Cough it up, Charlie!</dialogue> <scene_description>Charlie hands the bully a dollar bill . The bully puts it in a wallet that is over - stuffed with cash and saunters off , laughing it up with his bully pals . Charlie turns to his 2nd grade classmate who sports a fresh black eye .</scene_description> <character>CLASSMATE</character> <dialogue>So much for lunch.</dialogue> <character>SEVEN YEAR OLD CHARLIE</character> <dialogue>You need a dollar?</dialogue> <character>CLASSMATE</character> <dialogue>I thought he took your last one.</dialogue> <character>SEVEN YEAR OLD CHARLIE</character> <dialogue>He did.</dialogue> <scene_description>Charlie holds up the over - stuffed wallet that he pickpocketed from the bully .</scene_description> <character>SEVEN YEAR OLD CHARLIE</character> <dialogue>But I got lots more now.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT - DAY</stage_direction> <scene_description>Doors open simultaneously . Everyone out . The crew eyes Stella . Charlie gets right down to business .</scene_description> <character>CHARLIE</character> <dialogue>This is Stella. She's working with us on this one. IDs?</dialogue> <scene_description>Handsome Rob hands out fake driver 's licenses .</scene_description> <character>LYLE</character> <parenthetical>( reading his . )</parenthetical> <dialogue>Melvin Lisp? Could I - just once - have a cool name?</dialogue> <character>HALF-EAR</character> <parenthetical>( also complaining . )</parenthetical> <dialogue>220 pounds? Try 180.</dialogue> <character>HANDSOME ROB</character> <dialogue>Try ` Deal A Meal'.</dialogue> <character>LYLE</character> <dialogue>I do n't even have a cool nickname.</dialogue> <character>CHARLIE</character> <dialogue>Enough of this sewing - circle shit. Phones.</dialogue> <scene_description>Half - Ear hands out new cell phone to everyone and takes their old phones .</scene_description> <character>HALF-EAR</character> <dialogue>Philly Steak says these are clean as a whistle. He also got us four dozen internal chips with different numbers. Change out the chips twice a day.</dialogue> <scene_description>As Charlie hands out airline tickets -</scene_description> <character>CHARLIE</character> <dialogue>We travel to L.A. separately.</dialogue> <character>LYLE</character> <dialogue>You still have n't told us the most important thing. What exactly is the job, Charlie? And who exactly is she?</dialogue> <scene_description>Lyle and Half - Ear have been kept in the dark until now .</scene_description> <character>CHARLIE</character> <dialogue>This is Stella Bridger. And we're finishing the job that we started in Italy.</dialogue> <scene_description>They 're a little stunned at first .</scene_description> <character>HALF-EAR</character> <dialogue>Holy shit. It's about time.</dialogue> <scene_description>MONTAGE - LAX - NIGHT The crew deplane from five different airplanes , different air carriers . They disperse in separate vehicles . See Charlie at Avis , renting a car . See Handsome Rob renting a U - Haul panel truck . See Stella on a hotel shuttle bus . See Half - Ear on the underground Metro Rail , taking the Red Line . See Lyle in a taxi , headed south on Figueroa Street . He notices a YOUNG WOMAN HITCHHIKING . For a moment , their eyes connect . She is a beautiful waif and the feeling sweeps through Lyle : if only . But the taxi passes by . Charlie checks into Shutters , with its Victorian beach house feel and oceanfront view . Stella 's at the Peninsula in Beverly Hills with its opulent lobby . Handsome Rob 's at the Standard , with its kitschy decor and ironic style . He stares at a huge empty aquarium behind the front desk where a performance artist writhes and a DJ spins out rhythmic throbs . Very L.A. Half - Ear 's at the new Renaissance Hollywood Hotel adjacent to the dramatic Babylon Gate and the Kodak Theatre . And Lyle 's at the Downtown Bonaventure , riding up the glass elevator . Perfect gearhead hotel .</scene_description> </scene> <scene> <stage_direction>EXT. SHUTTERS HOTEL - BALCONY - SUNSET</stage_direction> <scene_description>The five of them sit in chairs on the balcony of his hotel room . There 's a sweeping view of the Pacific .</scene_description> <character>CHARLIE</character> <dialogue>We need an in to get a video blueprint of the interior. We're not going into this place blind. Half - Ear, you take the first surveillance shift. Who goes in, who goes out, levels of security, you know the drill.</dialogue> <character>HALF-EAR</character> <dialogue>You got it.</dialogue> <character>CHARLIE</character> <dialogue>I also want audio surveillance on his phone.</dialogue> <character>LYLE</character> <dialogue>I'll hack into the phone company's central office remote observance monitoring system and fool it into thinking there's a legal tap on the line. Reroute the digital copies of his calls to our own listening post.</dialogue> <character>CHARLIE</character> <dialogue>How long?</dialogue> <character>LYLE</character> <dialogue>I'll burn through the night, have it up and running before morning.</dialogue> <character>CHARLIE</character> <parenthetical>( to Handsome Rob . )</parenthetical> <dialogue>We need to know how long to get from the house to Union Station downtown.</dialogue> <character>HANDSOME ROB</character> <dialogue>No problemo.</dialogue> <character>CHARLIE</character> <dialogue>Stella. How much time will you need with the safe?</dialogue> <character>STELLA</character> <dialogue>I'll have it open in five minutes flat.</dialogue> <character>HANDSOME ROB</character> <dialogue>It's not the same as opening a safe for the cops. Your heart will be pounding in your ears. Perspiration on your fingertips. It's a whole different ball game.</dialogue> <character>STELLA</character> <dialogue>You get me to the safe, I'll open it.</dialogue> <scene_description>Out over the ocean , the sun is in its death throes , bruising the sky a coiling purple and orange .</scene_description> </scene> <scene> <stage_direction>EXT. STEVE'S HOUSE - MORNING</stage_direction> <scene_description>Nestled at the end of a cul - de - sac on Oporto Drive in the Hollywood Hills . Chrome . Glass . Carved wood .</scene_description> </scene> <scene> <stage_direction>EXT. MARAVILLA DRIVE - MORNING</stage_direction> <scene_description>The U - Haul panel truck is parked on the side of the road that overlooks Oporto Drive and Steve 's house .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - MORNING</stage_direction> <scene_description>It 's been converted into their surveillance vehicle , the back outfitted with monitors and surveillance equipment . Half - Ear peers through binoculars and says his notes into a micro - cassette recorder . His binoculars focus in on the fence that surrounds the perimeter of the property .</scene_description> <character>HALF-EAR</character> <parenthetical>( into recorder . )</parenthetical> <dialogue>We've got an anti - scaling fence. Hardened, electroplated steel. Hacksaw wo n't work. We'll need Nitramon.</dialogue> <scene_description>The binoculars SWISH PAN TO a guard booth where a guard keeps an eye on the gate .</scene_description> <character>HALF-EAR</character> <dialogue>Armed guard. 9MM semi - automatic in the holster. Security booth is accessible and ideal for a triple charger chemical grenade.</dialogue> <scene_description>The binoculars SWISH PAN TO four Rottweilers prowling the grounds .</scene_description> <character>HALF-EAR</character> <dialogue>Shit. Dogs. Why do black men hate dogs? I'll tell you why, Charlie. Because dogs are racist. That's a natural fact. Someone else deal with'em.</dialogue> </scene> <scene> <stage_direction>EXT. 101 FREEWAY - DAY</stage_direction> <scene_description>A sea of cars , gridlock in L.A. Crammed in the middle of the traffic meltdown is Handsome Rob 's rental car .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR (CRAWLING)</stage_direction> <scene_description>Timing out the getaway route . He 's got a Thomas Guide on the passenger seat and a stopwatch ticking away but he 's going nowhere fast . He futilely leans on the car horn .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - DAY</stage_direction> <scene_description>Lyle 's surveillance shift . He takes digital photos with a telephoto camera . ZOOMS IN on a security pad on the front door .</scene_description> <character>LYLE</character> <parenthetical>( into micro cassette player . )</parenthetical> <dialogue>Advent Home Navigator Hybrid System. Monitors 132 points for intrusion, fire, and environmental hazards. Best way around it is to get a back door password, trip the alarm during the heist, then call it in as a false alarm.</dialogue> </scene> <scene> <stage_direction>INT. STEVE'S HOUSE - OFFICE - DAY</stage_direction> <scene_description>A HAND turns the dial to a Worthington 1000 vault . The vault opens and voila : stacks and stacks of gold bricks .</scene_description> </scene> <scene> <stage_direction>EXT. STEVE'S HOUSE -DAY</stage_direction> <scene_description>The same hand clutches a very heavy duffle bag . OUR VIEW BOOMS UP to see Steve , three years older than when we last saw him , his beard shaved away .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - SAME TIME</stage_direction> <scene_description>Through his digital camera lens , Lyle watches Steve walk towards his car : a Ferrari 550 Barchetta Pininfarina . It 's the first time he 's seen Steve in three years .</scene_description> <character>LYLE</character> <parenthetical>( into micro cassette recorder . )</parenthetical> <dialogue>15:25. There he is. He's gained 15 to 20 pounds living off our money. And Handsome Rob, you're going to be pissed when you see his wheels.</dialogue> <scene_description>Lyle watches the security guard hit a switch in the guard booth . The gate rises like the blade of a guillotine in reverse . The Ferrari zooms away .</scene_description> </scene> <scene> <stage_direction>EXT. FIGUEROA STREET - DAY</stage_direction> <scene_description>Another route . Handsome Rob 's rental car is in the left turn lane waiting for the light to change .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR</stage_direction> <scene_description>The light finally is a green arrow but the lady in front of Handsome Rob is so preoccupied with applying her make - up that she does n't go until he honks but by then it 's too late as she makes it through the light but he does n't . He checks his stopwatch . Simmers .</scene_description> </scene> <scene> <stage_direction>EXT. PENINSULA HOTEL - POOLS SIDE - DAY</stage_direction> <scene_description>In a bikini , Stella lies on a lounge chair under a cabana , reading a copy of Vogue magazine . But as we take a closer look , we see that she 's really reading the owner 's manual for the Worthington 1000 safe which she 's inserted in the fold of Vogue .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - DAY</stage_direction> <scene_description>Charlie 's shift . He sees a Latina housekeeper get into her car .</scene_description> <character>CHARLIE</character> <parenthetical>( into micro cassette recorder . )</parenthetical> <dialogue>Housekeeper leaves at 17:30.</dialogue> </scene> <scene> <stage_direction>EXT. COIN &amp; BULLION STORE - EVENING</stage_direction> <scene_description>Steve bangs a fist against the steel security door that covers the closed store . The steel door rises up and a Ukrainian named YEVHEN unlocks another door . He is the gold dealer that Philly Steak told Charlie about .</scene_description> <character>YEVHEN</character> <dialogue>You're right on time.</dialogue> </scene> <scene> <stage_direction>INT. COIN &amp; BULLION STORE - EVENING</stage_direction> <scene_description>Yevhen is 50 and like many in the gold trade , there is n't a conspiracy theory that he does n't embrace . As they make their way to a back room , he keeps his mouth in overdrive -</scene_description> <character>YEVHEN</character> <dialogue>All those poor bastards out there putting their life savings in banks and S&amp;Ls and mutual funds. What do they think - that when the collapse comes they can depend on the government? I do n't think so.</dialogue> <scene_description>Steve motions to a security camera that looms down on them .</scene_description> <character>STEVE</character> <dialogue>Is the camera off?</dialogue> <character>YEVHEN</character> <dialogue>Of course. Just like you said. I never tape you, you can see for yourself.</dialogue> <scene_description>Steve sees the red light is off . He lays the duffel bag on a table , unzips it , pulls out three 25 pound gold bricks with the face of a Balinese Girl stamped on each one . As Yevhen inspects them -</scene_description> <character>YEVHEN</character> <dialogue>Governments are nothing more than puppets on the strings of the Trilateral Commission with their twisted gods.</dialogue> <scene_description>Yevhen retrieves a briefcase , opens it , presenting Steve with stacks of Ben Franklins : $ 100,000 worth . As Steve inspects the cash -</scene_description> <character>YEVHEN</character> <dialogue>I mean, it's so obvious that in a world where NAFTA can overturn the Supreme Court, not to mention Microsoft's nefarious financial machinations, this, is our only refuge ; gold.</dialogue> <scene_description>Steve closes the briefcase .</scene_description> <character>YEVHEN</character> <dialogue>Plus a little walking around money.</dialogue> </scene> <scene> <stage_direction>EXT. 7TH STREET - NIGHT</stage_direction> <scene_description>A fender bender in the middle of an intersection has traffic backed up for miles .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR</stage_direction> <scene_description>Handsome Rob checks the latest time on the stopwatch .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - NIGHT</stage_direction> <scene_description>Through night - vision binoculars Charlie sees a -LRB- different -RRB- security guard open the gate as Steve returns . He watches Steve go inside his house . Through the windows , he sees him use a remote to turn on a TV .</scene_description> </scene> <scene> <stage_direction>EXT. 101 FREEWAY - THE NEXT DAY</stage_direction> <scene_description>A freeway sign says : UNION STATION 1/2 MILE</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR</stage_direction> <scene_description>HANDSOME ROB can see the exit up ahead , but traffic is so backed up and going nowhere that it feels like it 's a hundred miles away . And it 's not even rush hour . Just life in L.A. Idling on the freeway , he looks at the drivers in the cars beside him . He sees a businesswoman reading the Wall Street Journal . Sees a man with his finger deep , deep up his nose .</scene_description> <character>HANDSOME ROB</character> <dialogue>Where's a grenade launcher when you need one?</dialogue> </scene> <scene> <stage_direction>EXT. YAMASHIRO RESTAURANT - DAY</stage_direction> <scene_description>Our crew walks along the pathways of Japanese gardens that wind along outside the restaurant . It 's a breathtaking view from high in the Hollywood Hills . Some tourists take in the vista .</scene_description> <character>HANDSOME ROB</character> <dialogue>Does n't matter what time it is. It's either bad traffic, peak traffic, or slit - your - wrists traffic.</dialogue> <character>HALF-EAR</character> <dialogue>You got ta ride the Metro - Rail, man.</dialogue> <character>HANDSOME ROB</character> <dialogue>I'm sure it's ideal for carrying a ton of gold, genius.</dialogue> <character>CHARLIE</character> <dialogue>What's your guesstimate?</dialogue> <character>HANDSOME ROB</character> <dialogue>If we had all green lights, fourteen minutes. But in the twenty times I've done it, the average is thirty - two minutes, with a top time of fifty minutes.</dialogue> <character>CHARLIE</character> <dialogue>Then we'll travel like Rockefeller.</dialogue> <scene_description>They do n't know where Charlie is going with this , but they 've been around him long enough to know it 's going somewhere .</scene_description> <character>CHARLIE</character> <dialogue>When cars first started catching on, workers on tall ladders would use these swiveling colored boards for traffic signals. Now whenever Rockefeller would take the drive from his mansion to his office on Wall Street, the workers would make sure that he got green boards all the way.</dialogue> <character>HANDSOME ROB</character> <dialogue>How do we get all green lights?</dialogue> <character>CHARLIE</character> <dialogue>Lyle?</dialogue> <character>LYLE</character> <dialogue>Let me see what I can do.</dialogue> <character>HALF-EAR</character> <dialogue>Did you know that the first traffic signal to be patented was invented by a black man named Garrett Morgan?</dialogue> <parenthetical>( to Charlie . )</parenthetical> <dialogue>You're not the only one who watches the History Channel.</dialogue> <character>HANDSOME ROB</character> <dialogue>We still need an in to get the video blueprint.</dialogue> <character>LYLE</character> <dialogue>Carpet cleaners? Gutter cleaners? Flower delivery?</dialogue> <character>CHARLIE</character> <dialogue>We'll never get by the guard unless they're certain it's legit. I'm thinking cable TV. We cut his cable, he calls the cable company. We show up. Send a cable technician into the house with a pinhole video camera while we get a feed through an RF antenna.</dialogue> <character>HANDSOME ROB</character> <dialogue>Who plays cable technician? Steve thinks we're all dead.</dialogue> <scene_description>But Stella knows that 's not exactly true . He does n't think Stella is dead ; he does n't know her at all .</scene_description> <character>STELLA</character> <dialogue>If you're all dead, I guess I'm the man for the job.</dialogue> <character>CHARLIE</character> <dialogue>Are you up for it?</dialogue> <character>STELLA</character> <dialogue>In for a penny, in for a pound.</dialogue> </scene> <scene> <stage_direction>EXT. ADELPHIA CABLE - PARKING LOT - EVENING</stage_direction> <scene_description>Service trucks pull into the lot . Technicians are getting out , finishing their shifts .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR (PARKED NEARBY)</stage_direction> <scene_description>Handsome Rob behind the wheel . Lyle shotgun , aiming his digital camera at the exiting workers .</scene_description> <character>LYLE</character> <dialogue>I'm telling you. He claims he named it Napster because his hair is so nappy underneath that cap of his. But I know the real reason. It's because I was NAPPING when he stole the idea from me. I should've been on the cover of Wired magazine.</dialogue> <character>HANDSOME ROB</character> <dialogue>Would you clam up. You'd give a woodpecker a headache.</dialogue> <character>LYLE</character> <dialogue>I'm the Napster.</dialogue> <character>HANDSOME ROB</character> <dialogue>Okay. You're the Napster. Heads up : cable chick.</dialogue> <scene_description>They see a female service tech getting out of her work truck . Lyle zooms his camera lens in on her Adelphia Cable work shirt . It has BECKY sewn in above her right breast .</scene_description> <character>LYLE</character> <dialogue>Becky. Nice name. I wonder what she calls the other one.</dialogue> <character>HANDSOME ROB</character> <dialogue>And it's such a mystery why you do n't have a girlfriend.</dialogue> <character>LYLE</character> <dialogue>I had a girlfriend. Unfortunately even though the relationship ceased in an objective reality, it's still going on in my mind.</dialogue> <parenthetical>( tapping his head . )</parenthetical> <dialogue>That woman's lived in here rent - free for four years.</dialogue> <scene_description>Lyle takes a few more pictures of Becky .</scene_description> <character>LYLE</character> <dialogue>Okay. All we need now is a work shirt like this one and a service truck like that one. You think Stella will be able to pull it off?</dialogue> <character>HANDSOME ROB</character> <dialogue>I have my doubts, but there's no talking to Charlie.</dialogue> <character>LYLE</character> <dialogue>Maybe he's been inserting his hard drive into her software. Clouds the judgment.</dialogue> <character>HANDSOME ROB</character> <dialogue>He knows better than to mix business with pleasure.</dialogue> <parenthetical>( getting out of the car . )</parenthetical> <dialogue>Only I'm allowed to do that.</dialogue> <character>LYLE</character> <dialogue>Where you going?</dialogue> <character>HANDSOME ROB</character> <dialogue>To get a work shirt and a service truck.</dialogue> <scene_description>Lyle watches him stroll over to Becky and strike up a conversation in the parking lot . Lyle ca n't hear what 's being said , but Becky smiles , and lest we forget , his name is Handsome Rob for a reason .</scene_description> </scene> <scene> <stage_direction>INT. BECKY'S APARTMENT - NIGHT</stage_direction> <scene_description>OUR CAMERA FOLLOWS a trail of clothes , hastily littered , that lead to the cable chick 's bed . Lit candles are on the bedside table . The couple is asleep under a tangle of sheets . Handsome Rob has clearly mixed business with pleasure . His eyes flash open . He slips out of bed . Pulls on his pants . Reaches into her pants and removes her key chain . He selects the key to her service truck and does an old trick : he blows out one of the candles and presses the key against the warm wax , making a clear impression of the key 's ridges . He returns the key chain . Takes a couple more steps , past her panties , past her bra and . He snags her work shirt . Then he 's gone .</scene_description> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Using locksmith equipment , he cuts a key that matches the impression on the candle wax .</scene_description> </scene> <scene> <stage_direction>EXT. ADELPHIA CABLE PARKING LOT - DAWN</stage_direction> <scene_description>Stella , wearing Becky 's work shirt , arrives before any other workers . Using the key Handsome Rob made , she unlocks the door to the cable truck and gets in .</scene_description> </scene> <scene> <stage_direction>EXT. NEARBY STREET - MORNING</stage_direction> <scene_description>The cable truck pulls over . Charlie and Lyle climb into the back where they ca n't be seen .</scene_description> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE -MORNING</stage_direction> <scene_description>The cable repair truck pulls over , parking down the street from Steve 's house . Charlie gets out . He quickly uses a crowbar to lift up a sidewalk cement grate that says CABLE on it . Inside are cable wires that feed the street . He crouches over and uses pliers to disconnect one of the cables .</scene_description> </scene> <scene> <stage_direction>INT. STEVE'S HOUSE - MORNING</stage_direction> <scene_description>He drifts into the kitchen for a cup of coffee . He hits the remote control for a TV . It turns on but there 's nothing but snow . He goes into the living room and checks out the plasma TV . The cable 's not working in here , either . He hits an intercom button on his telephone .</scene_description> </scene> <scene> <stage_direction>INT. GUARD HOUSE - INTERCUT</stage_direction> <scene_description>A SECURITY GUARD answers the intercom .</scene_description> <character>SECURITY GUARD</character> <dialogue>What can I do for you, Mister Frezelli?</dialogue> <character>STEVE</character> <dialogue>The cable's out. See if you can get someone over here to fix it'.</dialogue> <character>SECURITY GUARD</character> <dialogue>Yes, sir.</dialogue> <scene_description>He finds the number and dials .</scene_description> </scene> <scene> <stage_direction>INT. CABLE TRUCK (PARKED) - MORNING</stage_direction> <scene_description>Lyle monitors a digital copy of the security guard 's call that 's being routed to his laptop . Then he takes off his headphones and tells Charlie and Stella :</scene_description> <character>LYLE</character> <dialogue>Whoa. I've never heard the Muzak version of Purple Haze before.</dialogue> <character>CHARLIE</character> <dialogue>When's the appointment?</dialogue> <character>LYLE</character> <dialogue>Thursday between 9 a.m. and 3 p.m.</dialogue> <scene_description>Charlie dials a number on his cell phone .</scene_description> </scene> <scene> <stage_direction>INT. GUARD HOUSE - INTERCUT</stage_direction> <scene_description>The security guard answers the phone .</scene_description> <character>SECURITY GUARD</character> <dialogue>Hello.</dialogue> <character>CHARLIE</character> <dialogue>Yes, I'm calling from Adelphia Cable. I understand your service is out and an appointment was set up for Thursday.</dialogue> <character>SECURITY GUARD</character> <dialogue>Yes.</dialogue> <character>CHARLIE</character> <dialogue>Well we have a technician working in your area who finished with an appointment earlier than expected. Will someone be there for the next hour?</dialogue> <character>SECURITY GUARD</character> <dialogue>Sure. That'd be great.</dialogue> <character>CHARLIE</character> <dialogue>Our technician will see you then. Have a nice day.</dialogue> <character>SECURITY GUARD</character> <dialogue>You too.</dialogue> <scene_description>Charlie hangs up .</scene_description> <character>CHARLIE</character> <dialogue>Let's check the camera.</dialogue> <character>LYLE</character> <dialogue>Stella, you're going patriotic today.</dialogue> <scene_description>Lyle puts an American flag pin on her work shirt . Then he hits keys on his laptop and an image pops up on his monitor via an RF antenna : the POV of the pin .</scene_description> <character>CHARLIE</character> <dialogue>He's got cable lines in the kitchen, living room, bedroom and a cable modem on the computer in the office. Try to get a 360 look at each room. And walk slowly or the image will streak.</dialogue> <scene_description>Lyle hands her some papers .</scene_description> <character>LYLE</character> <dialogue>I printed these up to look like paperwork from Adelphia. When you're done, ask him to sign and date the bottom.</dialogue> <scene_description>Stella looks very tense .</scene_description> <character>CHARLIE</character> <dialogue>How you doing?</dialogue> <character>STELLA</character> <dialogue>Fine. I'm fine.</dialogue> <scene_description>Charlie seems amused by that answer .</scene_description> <character>CHARLIE</character> <dialogue>You know what fine, stands for? Fucked - up, Insecure -</dialogue> <scene_description>Stella joins in with him .</scene_description> <character>STELLA &amp; CHARLIE</character> <dialogue>Neurotic and Emotional.</dialogue> <scene_description>They look at each other a moment . and smile .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR (MOVING) - DAY</stage_direction> <scene_description>While the others deal with the cable , Handsome Rob and Half - Ear drive down Sunset .</scene_description> <character>HALF-EAR</character> <dialogue>Here's our spot.</dialogue> <scene_description>They pull up in front of a strip joint .</scene_description> <character>HANDSOME ROB</character> <dialogue>Girls girls girls.</dialogue> <scene_description>Half - Ear pulls a switchblade out of his boot and puts it in the glove compartment . Handsome Rob gives him a questioning look .</scene_description> <character>HALF-EAR</character> <dialogue>Philly Steak said we'd be frisked.</dialogue> </scene> <scene> <stage_direction>INT. STRIP CLUB - DAY</stage_direction> <scene_description>Outside the doorway of a back room they 're frisked by a BURLY MAN . He 's very thorough , digging hard into their crotches .</scene_description> <character>HANDSOME ROB</character> <parenthetical>( scowls . )</parenthetical> <dialogue>Y' got a great job.</dialogue> <character>BURLY MAN</character> <dialogue>Pays the rent, asshole. You got a problem, talk to Skinny Pete.</dialogue> <scene_description>He opens the door to the -</scene_description> </scene> <scene> <stage_direction>INT. BACK ROOM</stage_direction> <scene_description>Where we meet SKINNY PETE , who is the FATTEST MAN YOU 'VE EVER SEEN . He takes up an entire couch in the rear of the room . His catcher 's - mitt - sized hands motion them to come closer .</scene_description> <character>SKINNY PETE</character> <dialogue>Philly Steak sent you?</dialogue> <scene_description>His voice is raspy , it 's like a climbing - ten - floors - effort just for this guy to get out the words .</scene_description> <character>HALF-EAR</character> <dialogue>That's right.</dialogue> <character>SKINNY PETE</character> <dialogue>So was I right - on about the gold bricks or what?</dialogue> <character>HALF-EAR</character> <dialogue>That's really not what I'm here to talk about. Philly Steak said you could get us some supplies.</dialogue> <scene_description>The fattest man you 've ever seen attempts a nod , triple - chins colliding like a train wreck .</scene_description> <character>SKINNY PETE</character> <dialogue>What do you need?</dialogue> <character>HALF-EAR</character> <dialogue>A four inch can of Nitramon. Nitramon primer. Detonating cord. Two triple charger chemical grenades. Launcher.</dialogue> <character>SKINNY PETE</character> <dialogue>Nine p.m.</dialogue> <character>HANDSOME ROB</character> <dialogue>Should we hang here? Check out the dancers?</dialogue> <character>SKINNY PETE</character> <dialogue>Nothing's going down here. I do n't shit in my own yard, do you?</dialogue> <character>HANDSOME ROB</character> <dialogue>No, but I take a whizz off the deck sometimes.</dialogue> <scene_description>With his distended belly and bursting shirt , his eyes glazing with repletion , Skinny Pete writes down an address .</scene_description> <character>SKINNY PETE</character> <dialogue>Five thousand dollars. And do n't be late.</dialogue> </scene> <scene> <stage_direction>INT. SECURITY GUARD BOOTH -DAY</stage_direction> <scene_description>Looking at a monitor , one of Steve 's security guards sees the Adelphia repair truck pull up to the gate . He hits a button and the gate rises , beckoning it inside .</scene_description> </scene> <scene> <stage_direction>INT. CABLE TRUCK (MOVING)</stage_direction> <scene_description>Stella heads up the driveway , apprehension painted on her features . Lyle is hidden in the back . She parks next to the Ferrari and finds herself surrounded by the four Rottweilers . They snarl and flash their teeth outside her door until a shrill WHISTLE yanks their attention to -</scene_description> </scene> <scene> <stage_direction>EXT. STEVE'S HOUSE</stage_direction> <scene_description>where Steve has just stepped out the front door . The dogs immediately back off . Stella gets out of the truck as Steve walks over , smiling at her . She comes face to face with the man who killed her father .</scene_description> <character>STEVE</character> <dialogue>It's all right. They wo n't bother you now.</dialogue> <scene_description>She 's not sure she 's going to be able to speak or pull this off .</scene_description> <character>STELLA</character> <dialogue>It's okay. I'm used to running into all sorts of dogs on my job.</dialogue> <scene_description>He holds out a hand .</scene_description> <character>STEVE</character> <dialogue>I'm Steve.</dialogue> <character>STELLA</character> <dialogue>Becky.</dialogue> <scene_description>She shakes his hand . She hates this , feeling his skin touch hers , but she ca n't betray her feelings . He stands there a moment .</scene_description> <character>STELLA</character> <dialogue>You want to show me the problem?</dialogue> <character>STEVE</character> <dialogue>Yeah. Course. This way.</dialogue> </scene> <scene> <stage_direction>INT. STEVE'S HOUSE - SAME TIME</stage_direction> <scene_description>She enters , moving her body to give the pinhole camera a full sweep of the entryway .</scene_description> <character>STELLA</character> <dialogue>I'd like to check the cable modem first.</dialogue> </scene> <scene> <stage_direction>INT. BACK OF THE CABLE REPAIR TRUCK - SAME TIME</stage_direction> <scene_description>Lyle watches Stella and Steve on his laptop via the pinhole camera and hears them talking through his headphones .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - INTERCUT</stage_direction> <scene_description>Steve leads Stella down the marbled hall .</scene_description> <character>STEVE</character> <dialogue>I'll show you.</dialogue> <scene_description>They step into the -</scene_description> <character>OFFICE</character> <dialogue>She turns her body so the mini - lens can stare at the gleaming black Worthington 1000 safe. Then she goes up to his desk and pretends to work on the cable line that feeds into his computer.</dialogue> <scene_description>He stares at her as she bends down .</scene_description> <character>STEVE</character> <dialogue>The cable guy who hooked this up weighed about 300 pounds, did n't wear any underwear, and his pants slung a little too low if you know what I mean.</dialogue> <scene_description>She tries her best to ignore his flirtatious stare and his words .</scene_description> <character>STELLA</character> <dialogue>There we go. Now onto the TVs.</dialogue> </scene> <scene> <stage_direction>INT. BACK OF THE CABLE TRUCK - DAY</stage_direction> <scene_description>Lyle sees a perfect view of the main hallway as Stella walks down it .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>He escorts her inside . She works on the cable connection to the plasma TV . Finishes .</scene_description> <character>STEVE</character> <dialogue>Is it fixed?</dialogue> <character>STELLA</character> <dialogue>Turn it on and see.</dialogue> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE - SAME TIME</stage_direction> <scene_description>Back at the spot where Charlie disconnected the cable . Wearing a headset with a mic , he gets the word from Lyle -</scene_description> <character>LYLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now.</dialogue> <scene_description>Charlie reconnects the cable just as -</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Steve turns on the TV and the picture is -</scene_description> <character>STEVE</character> <dialogue>Perfect.</dialogue> <character>STELLA</character> <dialogue>Then it looks like you're all set.</dialogue> <scene_description>Steve stares at her a moment .</scene_description> <character>STEVE</character> <dialogue>Have we met before?</dialogue> <scene_description>She 's hoping to get out as quickly as she can .</scene_description> <character>STELLA</character> <dialogue>I do n't think so. Sign here, please.</dialogue> <scene_description>She hands him the paperwork and a pen . He signs it .</scene_description> <character>STELLA</character> <dialogue>Date.</dialogue> <character>STEVE</character> <dialogue>You read my mind.</dialogue> <character>STELLA</character> <dialogue>Oh, no. I meant that I need you to put the date by your signature. It's the 26th.</dialogue> <character>STEVE</character> <dialogue>I know what you meant.</dialogue> <parenthetical>( he smiles . )</parenthetical> <dialogue>This might seem a little sudden, but. would you like to have dinner with me?</dialogue> <character>STELLA</character> <dialogue>I do n't think that'd be a very good idea.</dialogue> <character>STEVE</character> <dialogue>Why? Is there some kind of cable - rule against dating customers?</dialogue> <character>STELLA</character> <dialogue>No, it's my rule. I do n't accept dates from men I've just met. I've only known you five minutes.</dialogue> <character>STEVE</character> <dialogue>Then I guess I'll have to sabotage my cable over and over again until you get to know me better.</dialogue> <scene_description>He 's being charming , and she has to act like he is being charming , but she really wants to throw - up .</scene_description> <character>STEVE</character> <dialogue>Look, I'm just talking about dinner. Friday night. It's no big deal. If you do n't like me, you never have to see me again. You know I'm not going to stop until you say yes.</dialogue> </scene> <scene> <stage_direction>INT. CABLE TRUCK (MOVING) - DAY</stage_direction> <scene_description>Stella drives in heavy traffic down Sunset . Charlie and Lyle are in the back .</scene_description> <character>CHARLIE</character> <dialogue>I know it was tough in there.</dialogue> <character>STELLA</character> <dialogue>He touched my hand. And he came - on to me. That slimy, disgusting man came onto me and I had to pretend that I liked it.</dialogue> <scene_description>Stella keeps her eyes forward , on the road , so Charlie and Lyle ca n't see her face . But Charlie catches her reflection in the rearview mirror and watches a tear glide down her cheek . She wipes it away .</scene_description> <character>STELLA</character> <dialogue>You do know what this means. I've created our window of opportunity.</dialogue> <character>CHARLIE</character> <dialogue>I know. When Steve leaves Friday night, we go in. By the time he realizes you've stood him up, we'll be long gone with the gold.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSING PROJECTS - NIGHT</stage_direction> <scene_description>A different world . A different vibe . That feeling in the gut : you do n't belong here .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR (MOVING)</stage_direction> <scene_description>Handsome Rob drives , Half - Ear in the passenger seat .</scene_description> <character>HALF-EAR</character> <dialogue>Skinny Pete.</dialogue> <character>HANDSOME ROB</character> <dialogue>The guy makes Jabba the Hut look like a spokesman for the Subway Sandwiches' diet.</dialogue> <scene_description>They pull over in front of the apartment building that Pete sent them to .</scene_description> <character>HALF-EAR</character> <dialogue>What do you think?</dialogue> <character>HANDSOME ROB</character> <dialogue>I'm trying not to.</dialogue> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Half - Ear hits the buzzer for the apartment number on the paper from the fat man . The door to the building buzzes in response and they go inside .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Climbing stairs . From behind closed doors : TVs , crying babies , violent yelling . They start down a hallway . Ahead of them a door opens and a suitcase is put in front of the doorway . The door closes . They do n't even get a glance at whomever is inside . They go to the suitcase . Half - Ear clicks open the lock for just a peek . He sees the goods . Handsome Rob starts to slide an envelope of cash under the door frame . Its sucked out of his hand by someone on the other side of the door and disappears .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Half - Ear carefully deposits the suitcase into the trunk of the rental car . Handsome Rob closes the trunk .</scene_description> <character>HALF-EAR</character> <dialogue>Drive slow. We crash and we're a crater.</dialogue> <scene_description>They get into the car .</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR</stage_direction> <scene_description>Handsome Rob keys the ignition . The beam of his headlights illuminate TWO HOMEBOYS . TWO MORE step out of the shadows , one right up to the passenger 's door window . That one taps a 9 MM against the glass . Half - Ear lowers the window . The homeboy pats one hand against the faux - leather inside of the door , his other hand clutches the weapon .</scene_description> <character>HOMEBOY</character> <dialogue>What'd you put in the trunk?</dialogue> <character>HALF-EAR</character> <dialogue>Suitcase.</dialogue> <scene_description>The homeboy , bugging on crank , is not one to be fucked with .</scene_description> <character>HOMEBOY</character> <dialogue>Just gim me the keys before I pop a cap in your head.</dialogue> <scene_description>Handsome Rob takes the trunk key off the chain and passes it over to Half - Ear . who nervously drops it onto the carpeted floor .</scene_description> <character>HOMEBOY</character> <dialogue>Hurry up!</dialogue> <scene_description>Half - Ear reaches down for the key . but in the flash of an eye . moving so fast it almost does n't register . we see him yank his switchblade from his boot , unleash its blade , and stab it down into the homeboy 's hand . The knife goes through his hand and lodges into the faux - leather interior of the door . The homeboy suffers as Half - Ear whacks the gun out of his other hand - while Handsome Rob keys the ignition and guns it . The other homeboys are already POPPING OFF SHOTS at the car with semi - automatic handguns . Half - Ear hits the deck . Glass shatters .</scene_description> </scene> <scene> <stage_direction>INT. TRUNK OF THE CAR</stage_direction> <scene_description>Bullets slam into the trunk , illuminating the darkness with streaks of light from the bullet holes . They barely miss the suitcase filled with explosives .</scene_description> </scene> <scene> <stage_direction>EXT. RENTAL CAR (MOVING)</stage_direction> <scene_description>The homeboy is still attached to the car door by the knife . His legs scurry to keep up with the moving vehicle but it 's going too fast so pretty soon he 's being dragged . Bullets whiz by him . He cries out in agony until Half - Ear has the time to yank out the knife and the homeboy rolls away on the pavement . The car makes a sharp right at the next block and pulls over . The U - Haul is waiting for them . They get out of the rental car and open its trunk . Half - Ear sees the bullet holes that surround the suitcase . An inch closer and they would 've been a crater .</scene_description> <character>HALF-EAR</character> <dialogue>Christ.</dialogue> </scene> <scene> <stage_direction>INT. U-HAUL - NIGHT</stage_direction> <scene_description>They get in with the suitcase . Charlie is behind the wheel , he 's been waiting for them . He hits the gas . They take off , leaving the shot - up rental car behind .</scene_description> <character>CHARLIE</character> <dialogue>Looks like that went without a hitch.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S HOTEL ROOM - DAY</stage_direction> <scene_description>An edited loop of the exterior and interior of Steve 's house plays on Lyle 's laptop . The crew is huddled around .</scene_description> <character>CHARLIE</character> <dialogue>Lyle, what's the distance from the front door to the vault?</dialogue> <scene_description>Lyle does n't answer .</scene_description> <character>CHARLIE</character> <dialogue>Lyle?</dialogue> <scene_description>Handsome Rob leans over to Charlie .</scene_description> <character>HANDSOME ROB</character> <dialogue>He only answers to The Napster now.</dialogue> <character>CHARLIE</character> <dialogue>I'm not calling you The Napster.</dialogue> <character>LYLE</character> <dialogue>You call him Half - Ear.</dialogue> <character>HALF-EAR</character> <dialogue>That was n't my idea.</dialogue> <character>LYLE</character> <dialogue>And him, Handsome Rob.</dialogue> <character>CHARLIE</character> <dialogue>That's only cause he is Handsome Rob.</dialogue> <character>LYLE</character> <dialogue>And I'm The Napster.</dialogue> <character>CHARLIE</character> <dialogue>How far?</dialogue> <parenthetical>( sighs , gives in . )</parenthetical> <dialogue>The Napster.</dialogue> <character>LYLE</character> <dialogue>Five hundred yards.</dialogue> <character>CHARLIE</character> <dialogue>So here's the riddle. How do we get over a ton of gold from the vault to the getaway car?</dialogue> <character>STELLA</character> <dialogue>How wide is the hallway?</dialogue> <scene_description>The video that Stella got of the hallway plays on the laptop . Lyle calculates :</scene_description> <character>LYLE</character> <dialogue>Only six feet.</dialogue> <scene_description>OUR VIEW PUSHES IN FAST on Stella . MINI COOPER -LRB- MOVING -RRB- - DAY She 's driving . Pure concentration . Then : Tires spinning over a marble floor . Then : The sideview mirrors scraping wallpaper . Then : The thin car is like a missile firing RIGHT DOWN STEVE 'S HALLWAY , a hair - raising fit .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S HOTEL ROOM - DAY</stage_direction> <scene_description>Her idea brings a smile to her face .</scene_description> <character>STELLA</character> <dialogue>Jack Daniels, straight up.</dialogue> <character>CHARLIE</character> <dialogue>Minis?</dialogue> <character>STELLA</character> <dialogue>We could rumble right up the front steps, bring the getaway car right to the vault, and then straight to Union Station.</dialogue> <scene_description>Handsome Rob likes it .</scene_description> <character>HANDSOME ROB</character> <dialogue>We'll need three to hold the gold.</dialogue> </scene> <scene> <stage_direction>EXT. CAR RENTAL COMPANY - DAY</stage_direction> <scene_description>Parked in the lot are shimmering Supercharged Mini Coopers , a new model that still captures the legendary Mini look and feel . Half - Ear climbs in one Mini . Lyle into another .</scene_description> </scene> <scene> <stage_direction>INT. CAR RENTAL COMPANY - SAME TIME</stage_direction> <scene_description>In the background , a large window overlooks the lot . Handsome Rob fills out the paperwork on the Mini he 's renting while flirting with a petite COUNTER BABE .</scene_description> <character>HANDSOME ROB</character> <dialogue>I'd say you're a Maserati 250 S. Just 4 cylinders but can go 0 to 60 in 4.2.</dialogue> <character>COUNTER BABE</character> <dialogue>As long as it's a convertible - I always like to have my top down.</dialogue> <scene_description>At the same time , in the background , we see Lyle and Half - Ear 's Mini pull out of their parking spaces and BACK RIGHT INTO EACH OTHER . Just a little bumper hit .</scene_description> <character>COUNTER BABE</character> <dialogue>Do you know them?</dialogue> <scene_description>They get out of their cars and start yelling at each other .</scene_description> <character>HANDSOME ROB</character> <dialogue>Never seen'em before in my life.</dialogue> </scene> <scene> <stage_direction>EXT. YEVHEN'S COIN &amp; BULLION STORE - NIGHT</stage_direction> <scene_description>Steve bangs a fist against the steel security door that covers the closed store . The steel door rises up and once again Yevhen unlocks another door .</scene_description> <character>YEVHEN</character> <dialogue>You're early.</dialogue> <character>STEVE</character> <dialogue>And I'm in a hurry, okay?</dialogue> </scene> <scene> <stage_direction>INT. YEVHEN'S COINS &amp; BULLION STORE - NIGHT</stage_direction> <scene_description>It does n't seem to matter if Steve 's in a hurry or not , Yevhen still runs at the mouth while heading into the back room .</scene_description> <character>YEVHEN</character> <dialogue>Of course the Florida vote rigging was a CIA and Mob operation.</dialogue> <character>STEVE</character> <parenthetical>( with total disinterest . )</parenthetical> <dialogue>That a fact?</dialogue> <character>YEVHEN</character> <dialogue>You want facts? Fact : CIA officials were allowed free - and illegal - access to official election material.</dialogue> <scene_description>Steve puts his duffel bag down on the table . It THUDS . Once again , he pulls out three gold bricks that each weigh 25 pounds .</scene_description> <character>YEVHEN</character> <dialogue>Now given the sordid history in Miami of joint ventures between Central Intelligence and the Mob, which led to the unsuccessful attempts to kill Fidel Castro and the successful assassination of your President John F. Kennedy, this conjunction raises numerous red flags.</dialogue> <character>STEVE</character> <dialogue>And I'd love to hear more about it, but like I said.</dialogue> <character>YEVHEN</character> <dialogue>Do n't worry, we'll have you out in no time. The cash is on its way.</dialogue> <scene_description>Steve cocks his head , as if he could not have heard right .</scene_description> <character>STEVE</character> <dialogue>On its way?</dialogue> <character>YEVHEN</character> <dialogue>My cousin is bringing it over.</dialogue> <character>STEVE</character> <dialogue>Your cousin?</dialogue> <character>YEVHEN</character> <dialogue>Yes. Cousin Mashkov.</dialogue> <character>STEVE</character> <dialogue>He's on his way?</dialogue> <character>YEVHEN</character> <dialogue>Do n't worry, he will be here any minute.</dialogue> <scene_description>Steve looks up to the security camera .</scene_description> <character>STEVE</character> <dialogue>The tape's off?</dialogue> <character>YEVHEN</character> <dialogue>Of course. Believe me, he does n't want to be on video, either.</dialogue> <character>STEVE</character> <dialogue>Yevhen. Did n't I tell you, many times, that I never wanted to meet with anyone but you?</dialogue> <scene_description>Yevhen sweats a bit .</scene_description> <character>YEVHEN</character> <dialogue>I know. But it's his cash. He uses me to launder money. I'm just a middleman.</dialogue> <character>STEVE</character> <dialogue>And a middleman is supposed to stay in the middle.</dialogue> <character>YEVHEN</character> <dialogue>But you were early. Please. Do n't worry. It will be fine. My cousin's a cool guy. Like I am.</dialogue> <character>STEVE</character> <dialogue>What you are, is a Dixie cup.</dialogue> <scene_description>Yevhen smiles quizzically , not sure if he 's being complimented or insulted .</scene_description> <character>YEVHEN</character> <dialogue>Dixie cup?</dialogue> <scene_description>Before the words are out of Yevhen 's mouth , Steve grabs one of the 25 pound gold bricks and slaps it across Yevhen 's face , shattering his jaw . Yevhen 's falls to the floor and Steve lifts the brick again and rams it down onto his head with an ugly THUD . And again . And again . He then takes the gold brick - slathered in blood - and places it back in his duffle bag .</scene_description> </scene> <scene> <stage_direction>INT. YEVHEN'S COINS &amp; BULLION STORE - TEN MINUTES LATER</stage_direction> <scene_description>Yevhen 's Ukrainian cousin , MASHKOV , stares down at the corpse . Steve is long gone . Mashkov kneels down by the body and starts sobbing .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT</stage_direction> <scene_description>Mashkov walks through a living room , past some lighting equipment and a video camera and we get just enough of a look to realize that a porno is being shot here but he could n't care less as he makes his way into the kitchen where - His boss , DANYA , 60 , the owner of this house , is eating a bowl of Frosted Flakes at the kitchen table . They speak in a colloquial Ukrainian tongue that we SUBTITLE .</scene_description> <character>MASHKOV</character> <dialogue>My cousin Yevhen was beaten to death.</dialogue> <character>DANYA</character> <dialogue>By who?</dialogue> <character>MASHKOV</character> <dialogue>That's what I'm going to find out.</dialogue> <scene_description>They stop talking for a moment as one of the `` ACTRESSES '' comes in , plops herself down next to Danya and pours herself a bowl of cereal . She puts her hand on Danya 's leg . She 's young and it 's a disturbing image and we RECOGNIZE HER : she 's the HITCHHIKER who Lyle passed in the taxi ride down Figueroa Street when he first arrived in L.A. Danya goes back to speaking SUBTITLED UKRAINIAN .</scene_description> <character>DANYA</character> <dialogue>And what will you do when you find this piece of shit who killed your cousin?</dialogue> <character>MASHKOV</character> <dialogue>I'll hack off his limbs and bury him while he's still alive.</dialogue> <character>DANYA</character> <dialogue>Okay. But now we should stop talking Ukrainian, it's rude to my girl.</dialogue> <parenthetical>( switching to accented ENGLISH . )</parenthetical> <dialogue>How are you tonight, Karen?</dialogue> <character>KAREN</character> <dialogue>Hungry.</dialogue> <character>DANYA</character> <dialogue>Then eat your Frosted Flakes.</dialogue> <character>KAREN</character> <parenthetical>( like Tony the Tiger . )</parenthetical> <dialogue>They're grrrreat!</dialogue> <scene_description>Danya laughs pleasantly .</scene_description> <character>DANYA</character> <dialogue>Such a perfect girl.</dialogue> <scene_description>But as she eats her cereal , we see a troubled , sad look on her face .</scene_description> </scene> <scene> <stage_direction>INT. RENTED WAREHOUSE - DAY</stage_direction> <scene_description>The three Minis are parked inside : one red , one white , one blue . Handsome Rob and Stella are doing custom work under the hoods . Lyle is wearing the strap - on laptop and typing away . Half - Ear squeezes silver Haliburton suitcases into the Minis ' trunks as Charlie enters -</scene_description> <character>CHARLIE</character> <dialogue>How are our matchbox cars?</dialogue> <character>HANDSOME ROB</character> <dialogue>Souped.</dialogue> <character>STELLA</character> <dialogue>Do n't let their size fool you. These were rally cars back in the day. 135 mph, 155 horsepower -</dialogue> <character>LYLE</character> <dialogue>Do I get to drive one?</dialogue> <character>HANDSOME ROB</character> <dialogue>No.</dialogue> <character>LYLE</character> <dialogue>Why not?</dialogue> <character>HANDSOME ROB</character> <dialogue>Because you ca n't navigate your way out of a parking lot. Here's your ride.</dialogue> <scene_description>He pulls a blanket off a Vespa . Lyle points at Half - Ear .</scene_description> <character>LYLE</character> <dialogue>But he ran into me.</dialogue> <character>HANDSOME ROB</character> <dialogue>He's not driving either.</dialogue> <parenthetical>( to Stella . )</parenthetical> <dialogue>You ever got a speeding ticket?</dialogue> <character>STELLA</character> <dialogue>Let's put it this way : I can only get insurance through companies that advertise on TV at 3:00 in the morning.</dialogue> <character>HANDSOME ROB</character> <dialogue>You drive. I drive. Charlie drives.</dialogue> <character>CHARLIE</character> <dialogue>I got us spots for three cars on a car carrier and five first class seats. Train 59 from Union Station to New Orleans.</dialogue> <character>HALF-EAR</character> <dialogue>That's N'Or ` lins, Yankee.</dialogue> <character>CHARLIE</character> <dialogue>What's the word on Rockefeller?</dialogue> <character>LYLE</character> <dialogue>The Traffic Control Center is on the top floor of a building on Olympic and Grand. They get their data from pavement loop detectors and video image vehicle detectors. That info is fused together by specially designed algorithms to predict traffic conditions and control the traffic lights. So all I have to do now is change the data by creating my own algorithm.</dialogue> <character>CHARLIE</character> <dialogue>What can I do to help?</dialogue> <character>LYLE</character> <dialogue>I need to hard - wire into the mainframes.</dialogue> </scene> <scene> <stage_direction>EXT. TRAFFIC CONTROL CENTER - NIGHT</stage_direction> <scene_description>Housed in a towering building on the corner of Olympic and Grand in the heart of downtown L.A. . OUR VIEW RISES UP to the rooftop , where WE FIND Charlie and Lyle . OUR VIEW MOVES IN CLOSER on Charlie , who adroitly picks the lock to an access door and they climb down a short set of steps into the</scene_description> </scene> <scene> <stage_direction>INT. MAINTENANCE ROOM - CONTINUOUS SHOT</stage_direction> <scene_description>From an equipment bag , Charlie pulls out a silent power drill and uses it to remove an access panel from the AC vent .</scene_description> </scene> <scene> <stage_direction>INT. AIR-CONDITIONING VENT - NIGHT</stage_direction> <scene_description>Charlie leads , crawling through this tight space , his path illuminated by the thin beam of a penlight .</scene_description> </scene> <scene> <stage_direction>INT. TRAFFIC CONTROL ROOM - NIGHT</stage_direction> <scene_description>A high - tech setting with a half - dozen workers overseeing the large traffic information monitors that display multiple images . OUR CAMERA PUSHES IN on the wall of monitors and then BLACKNESS as OUR VIEW CROSSES to the - OTHER SIDE OF THE WALL Where the 70 '' tall mainframe computers are housed and running . We see that the AC vent to this room is now open since Charlie and Lyle have already snuck inside . They move fast . Charlie removes the rear panels of the mainframes while Lyle adeptly hard - wires his laptop into the computers . The laptop 's screen lights up . Charlie fits two false panels where the rear panels of the mainframes used to be . Lyle pulls an innocent looking filing box out of his equipment bag . He places the box on a nearby shelf where it enjoys line - of - sight to the false panels . He punches a key on his laptop and the false panels and the filing box quietly clicks into action , communicating with his laptop via infrared . His laptop now shows a guiltwork of thumbnail views from the traffic information monitors . Typing commands , Lyle is clearly operating on a higher bandwidth than the rest us .</scene_description> <character>LYLE</character> <dialogue>B4 X TTratio, where Bi are Fisher's linear discriminant function coefficients, SpdRat is the speed ratio, and TTratio is the travel time ratio.</dialogue> <character>CHARLIE</character> <dialogue>I have no idea what you're doing. Just do it fast.</dialogue> <scene_description>There . He hits the ENTER button .</scene_description> <character>LYLE</character> <dialogue>We own this place.</dialogue> </scene> <scene> <stage_direction>INT. THE PANTRY RESTAURANT - DOWNTOWN L.A. - DAY</stage_direction> <scene_description>Their motto : `` Never closed . Never without a customer ! '' The place has the same decor as it did 75 years ago . It 's also a spot where everyone minds their own business . One of the OLD TIME WAITERS leads OUR CAMERA to a table in the back where Mashkov sits across from a LAPD HOMICIDE DETECTIVE . He slides over an envelope of cash and a photograph of Karen .</scene_description> <character>MASHKOV</character> <dialogue>$ 2000. And this is the new girl. Fresh off the bus. One of Danya's guys picked her up hitchhiking downtown.</dialogue> <scene_description>The detective checks out the photo .</scene_description> <character>DETECTIVE</character> <dialogue>Those tits'd make Dracula rise from his coffin at high - noon.</dialogue> <character>MASHKOV</character> <dialogue>They're all yours Saturday. You can do whatever you want to her. Her name is Karen.</dialogue> <character>DETECTIVE</character> <dialogue>You're too generous.</dialogue> <character>MASHKOV</character> <dialogue>I needed a fast answer.</dialogue> <character>DETECTIVE</character> <dialogue>And I'm the Shell Answer Man. A guy who works the counter at your cousin's shop told me that someone named Skinny Pete had been asking around about gold bricks with the face of a Balinese girl on them. Same gold bricks your cousin was buying.</dialogue> <character>MASHKOV</character> <dialogue>You talked to this Skinny Pete?</dialogue> <character>DETECTIVE</character> <dialogue>I thought you'd want a shot at him first.</dialogue> </scene> <scene> <stage_direction>INT. RENTED WAREHOUSE - DAY</stage_direction> <scene_description>Handsome Rob does some final tune - ups on the Minis . Half - Ear loads a triple charger chemical grenade into a launcher . Charlie steps into the U - Haul which is parked in here .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle is fixing glitches on his computer program . Stella is doing her nails . Charlie looks at her .</scene_description> <character>STELLA</character> <dialogue>You want the safe cracked, do n't you?</dialogue> <character>CHARLIE</character> <dialogue>Yeah.</dialogue> <character>STELLA</character> <dialogue>Then I have to have perfect nails.</dialogue> <scene_description>Square tips have a more even surface area . Better grip , no slipping .</scene_description> <character>CHARLIE</character> <dialogue>Are you making this shit up?</dialogue> <character>STELLA</character> <dialogue>I just let you in on a valuable trade secret.</dialogue> <character>LYLE</character> <dialogue>Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Yeah?</dialogue> <character>LYLE</character> <dialogue>Steve called to confirm a 7:30 reservation at Ago's. And as for your getaway, not even Rockefeller had it so good.</dialogue> </scene> <scene> <stage_direction>INT. STEVE'S BEDROOM - NIGHT</stage_direction> <scene_description>He 's getting dressed for his date . We can tell by the way he preens in front of the three sided full length mirror , adorning himself in the most expensive fashion , that he is a vain and arrogant man .</scene_description> </scene> <scene> <stage_direction>EXT. RENTED WAREHOUSE - NIGHT</stage_direction> <scene_description>The three Minis pull out of the warehouse and head off down the road . The U - Haul follows .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI (MOVING) - NIGHT</stage_direction> <scene_description>Leading the pack . He wears a headset and mic .</scene_description> <character>CHARLIE</character> <dialogue>Radio check.</dialogue> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S MINI (MOVING) - NIGHT</stage_direction> <scene_description>He drives , Half - Ear in the passenger seat .</scene_description> <character>HANDSOME ROB</character> <dialogue>Got cha, boss.</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S MINI (MOVING) - NIGHT</stage_direction> <scene_description>She follows behind Handsome Rob 's Mini .</scene_description> <character>STELLA</character> <dialogue>Loud and clear.</dialogue> </scene> <scene> <stage_direction>INT. U-HAUL (MOVING) - NIGHT</stage_direction> <scene_description>Lyle drives . His Vespa is parked in the cargo bay with his equipment .</scene_description> <character>LYLE</character> <dialogue>Check.</dialogue> </scene> <scene> <stage_direction>EXT. STEVE'S DRIVEWAY - NIGHT</stage_direction> <scene_description>Looking sharp , Steve gets into his Ferrari .</scene_description> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE - NIGHT</stage_direction> <scene_description>The U - Haul is idling on the side of the street about a mile down from Steve 's house . The Vespa is parked behind it . From up ahead , we see the Ferrari cruising down the winding road . As it passes by .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle speaks into his headset :</scene_description> <character>LYLE</character> <dialogue>For those about to rock, we salute you.</dialogue> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE - NIGHT</stage_direction> <scene_description>From side streets , the Minis converge on the road and head up towards Steve 's house .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI (MOVING) - NIGHT</stage_direction> <scene_description>He can feel the adrenaline already starting to course through is body .</scene_description> <character>CHARLIE</character> <dialogue>This is it, guys. Moment of truth.</dialogue> <scene_description>He takes a sharp curve . and the moment that Steve 's house should come into view . he hits the brakes , his expression turning to complete surprise . HIS POV The neighbor across the street from Steve is having the biggest party in town . The road is filled with parked cars and arriving guests . Ai n't no way they 're blowing the gate , launching chemical grenades or in any way robbing Steve 's house in the midst of this . CHARLIE 'S FACE As he takes this in , there 's a KNOCK on the window . He turns . Sees a uniformed VALET . Rolls down the window .</scene_description> <character>VALET</character> <dialogue>Are you hear for the Baxter party, sir?</dialogue> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE - NIGHT</stage_direction> <scene_description>We see the three Minis pull tight U - turns and head back the way they came .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI (MOVING) - NIGHT</stage_direction> <scene_description>He slaps his hand against the steering wheel , fuming .</scene_description> <character>CHARLIE</character> <dialogue>Shit. Stella?</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S MINI (MOVING) - INTERCUT</stage_direction> <scene_description>She already knows what he 's going to say .</scene_description> <character>STELLA</character> <dialogue>I know. I've got a date tonight.</dialogue> <character>CHARLIE</character> <dialogue>You'll have to fake it. Laugh at his jokes. You need him to ask you out again.</dialogue> </scene> <scene> <stage_direction>INT. AGO RESTAURANT - NIGHT</stage_direction> <scene_description>A posh restaurant . As OUR CAMERA FINDS Stella and Steve , she is laughing at something he said , faking her way through the date . They 're sitting at an intimate table .</scene_description> <character>STELLA</character> <dialogue>You really make laugh.</dialogue> <scene_description>He takes the lie like the compliment she wants him to think it is .</scene_description> <character>STEVE</character> <dialogue>So here's what I have lined up for after dinner. We'll go to Club Deep. The Ferrari always gets me to the front of the line. We'll do a little dancing.</dialogue> <character>STELLA</character> <dialogue>Not tonight. I do n't want to be out late.</dialogue> <character>STEVE</character> <dialogue>Why the curfew?</dialogue> <character>STELLA</character> <dialogue>Let's just say I've made some wrong calls in the past. I like to take things slow, cautious. Next time.</dialogue> <character>STEVE</character> <dialogue>I understand. You have nothing to worry about. You can trust me.</dialogue> <character>STELLA</character> <dialogue>I trust everyone. It's the devil inside them that I do n't trust.</dialogue> <scene_description>That saying strikes Steve .</scene_description> <character>STEVE</character> <dialogue>That's an interesting saying.</dialogue> <character>STELLA</character> <dialogue>What?</dialogue> <scene_description>He looks at her closely , really closely .</scene_description> <character>STEVE</character> <dialogue>There's only person I've ever heard say that. Used to say it all the time.</dialogue> <scene_description>This worries her . Because of course , she used to hear it from her father .</scene_description> <character>STELLA</character> <dialogue>Who was that?</dialogue> <scene_description>Under the table , he grabs her by the wrist , squeezes it like a vise .</scene_description> <character>STEVE</character> <dialogue>A man named John Bridger. Where did you pick up that phrase?</dialogue> <character>STELLA</character> <dialogue>Ow. I do n't remember. You're hurting me.</dialogue> <character>STEVE</character> <dialogue>John Bridger was a thief. And he had a daughter. About your age. He told me that she took over a safe and lock company that he used as a front.</dialogue> <character>STELLA</character> <dialogue>Let go of my wrist. What is wrong with you? It's just a saying.</dialogue> <scene_description>Steve 's voice is calm , so at ease that watching them you 'd think this was pleasant dinner conversation .</scene_description> <character>STEVE</character> <dialogue>No wonder I liked you right away. Just like I liked your old man, right up until the moment I shot him in the head. Now tell me who you're working with and tell me the plan. Do it now or we'll go for a ride and I'll break every bone in your body.</dialogue> <scene_description>Stella intentionally knocks over a glass of wine . It shatters on the floor . An emergency signal . Charlie , Half - Ear , Handsome Rob and Lyle appear around the table . Steve is shocked to see the men he left for dead three years ago standing before him , very much alive . They pull up chairs from another table , encircling him for a tense and pointed talk .</scene_description> <character>CHARLIE</character> <dialogue>Something wrong, Steve? You look like you want to call Ghostbusters.</dialogue> <scene_description>Half - Ear furtively slides the switchblade out of his boot .</scene_description> <character>HALF-EAR</character> <dialogue>She's coming with us. You got a problem with that?</dialogue> <character>STEVE</character> <dialogue>Fine by me. But it's you that has the problem.</dialogue> <character>LYLE</character> <dialogue>How do you figure?</dialogue> <character>STEVE</character> <dialogue>You've just blown the one thing you had going in your favor, the element of surprise. And I was surprised.</dialogue> <parenthetical>( he laughs unpleasantly . )</parenthetical> <dialogue>Jesus Christ when I saw all you guys come out of the woodwork. For a minute I thought maybe you were ghosts. But you're screwed now.</dialogue> <parenthetical>( an arrogant sneer a Half - Ear . )</parenthetical> <dialogue>Did you figure out how to take care of my security guard? I'll hire five more.</dialogue> <parenthetical>( at Lyle . )</parenthetical> <dialogue>You know how to bypass my alarm system? I'll have a new one installed tomorrow.</dialogue> <parenthetical>( at Handsome Rob . )</parenthetical> <dialogue>Does it tear you up inside seeing what car I drive? I'll buy a matching one in red.</dialogue> <parenthetical>( at Stella . )</parenthetical> <dialogue>You think you can crack my safe? You'll end up the same way as your dad.</dialogue> <parenthetical>( then to Charlie , all smiles . )</parenthetical> <dialogue>Looks like Good Time Charlie's got the blues.</dialogue> <character>CHARLIE</character> <dialogue>You can wear that shit - eating grin on your face, but I know under that Versace shirt you're in a cold sweat. And you're not going to sleep a minute tonight. Cause you thought you'd gotten away with it free and clear. You thought you'd gotten rid of us. You're the one who's screwed. Right to the wall.</dialogue> <character>STEVE</character> <dialogue>Give it your best shot. I'll outsmart you every step of the way. And this time, I'll bury you myself.</dialogue> <character>CHARLIE</character> <parenthetical>( taking the challenge . )</parenthetical> <dialogue>Get more guards. Change the alarm. Buy a dozen Ferraris. We'll still be here. Sleep tight.</dialogue> <scene_description>Charlie grabs a bread stick off the table and goes . The others follow .</scene_description> </scene> <scene> <stage_direction>INT. STRIP CLUB - BACK ROOM - NIGHT</stage_direction> <scene_description>The door bursts open as the burly man we met earlier is dragged inside at gunpoint . Five Ukrainians armed with MAC - 11 machine pistols storm the room where Skinny Pete works . Mashkov walks behind the posse . He carries a duffel bag . He takes in the sight of the fattest man he 's ever seen .</scene_description> <character>MASHKOV</character> <parenthetical>( in accented English . )</parenthetical> <dialogue>Do you know who I am?</dialogue> <character>SKINNY PETE</character> <dialogue>You work for Danya.</dialogue> <character>MASHKOV</character> <dialogue>Yes. And you are gon na be straight with me and everything's gon na be okay. You fuck with me, I will be ruthless.</dialogue> <character>SKINNY PETE</character> <dialogue>I understand.</dialogue> <character>MASHKOV</character> <dialogue>I do n't want you to understand. I want you to overstand.</dialogue> <character>SKINNY PETE</character> <dialogue>Overstand. Okay.</dialogue> <character>MASHKOV</character> <dialogue>Because if you do n't overstand, I will use this.</dialogue> <scene_description>Mashkov nonchalantly opens the duffel bag and pulls out a short - handled ax . Skinny Pete sees dried blood on the blade .</scene_description> <character>MASHKOV</character> <dialogue>Someone was asking about gold bars with a Balinese girl's face on them. I want the name of this man.</dialogue> </scene> <scene> <stage_direction>EXT. SHUTTER'S ON THE BEACH - MORNING</stage_direction> <scene_description>The sun shines over the ocean and the hotel .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S HOTEL ROOM</stage_direction> <scene_description>The crew is gathered . Lyle , monitoring digital surveillance on his laptop , takes off his headphones .</scene_description> <character>LYLE</character> <dialogue>Well we scared him alright. He's flying the coop. His security guard called Brink's Armored Car Service to confirm a 5 p.m. pick up at his house, then JetClub to confirm a MD11 cargo plane departing from the Imperial Terminal at LAX at 8 p.m.</dialogue> <character>CHARLIE</character> <dialogue>Confirmed? How'd we miss the first calls?</dialogue> <character>LYLE</character> <dialogue>They must have been cellular. The cargo plane is being chartered to Mexico City.</dialogue> <character>HANDSOME ROB</character> <dialogue>Only place with worse smog and traffic than L.A.</dialogue> <character>STELLA</character> <dialogue>Once the charter's in the air, he could change the flight path to anywhere. And good - bye gold.</dialogue> <character>CHARLIE</character> <dialogue>Not so fast. This is good news for us.</dialogue> <character>HANDSOME ROB</character> <dialogue>Good news?</dialogue> <character>CHARLIE</character> <dialogue>Sometimes when you're up to your ass in alligators you forget that you started off trying to drain the swamp.</dialogue> <character>HANDSOME ROB</character> <dialogue>Meaning what the fuck?</dialogue> <character>CHARLIE</character> <dialogue>We've been trying to get to the gold in the safe. Now the safe is coming to us. We'll boost it in transit.</dialogue> <scene_description>He might as well have said they 'll steal the Holy Grail before sunrise .</scene_description> <character>HANDSOME ROB</character> <dialogue>Charlie. He could take a dozen different routes to the airport and we have no idea which one. We ca n't take out an armored truck during rush hour.</dialogue> <character>CHARLIE</character> <dialogue>We're already set to do it. Napster : how would you like to create the biggest traffic jam in the history of Los Angeles?</dialogue> <character>LYLE</character> <dialogue>Keep talking.</dialogue> <character>CHARLIE</character> <dialogue>You gridlock every route except the one we choose. Force the truck to go exactly where we want it to go.</dialogue> <character>HANDSOME ROB</character> <dialogue>But where do we want it? We ca n't shoot it out with armed guards in a Brink's. We'd lose. And even if we pulled it off, the cops would be all over us, chasing us all the way to Union Station. We're outmanned and outgunned.</dialogue> <character>CHARLIE</character> <dialogue>But not outsmarted.</dialogue> <scene_description>Charlie hums with focused energy . There 's a term for it in horse racing . When a thoroughbred is at peak condition , and twitching with eagerness to run , he is `` on the muscle . '' That describes Charlie right now .</scene_description> <character>CHARLIE</character> <dialogue>We'll do it like the Italian job. We'll make thirty million in gold drop out of sight.</dialogue> <scene_description>They 're interrupted by Charlie 's cell phone RINGING . This throws them all off .</scene_description> <character>CHARLIE</character> <dialogue>Who else has this number?</dialogue> <character>HALF-EAR</character> <dialogue>No one but us.</dialogue> <scene_description>It 's still RINGING . Charlie decides to answer it .</scene_description> <character>CHARLIE</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. OFFICE - PHILADELPHIA - INTERCUT</stage_direction> <scene_description>Meet PHILLY STEAK . Or at least meet the back of his neck . Because that 's where he has a tatoo that says PHILLY STEAK .</scene_description> <character>PHILLY STEAK</character> <dialogue>Why'd you do it?</dialogue> <character>CHARLIE</character> <parenthetical>( informing the crew . )</parenthetical> <dialogue>Philly Steak.</dialogue> <parenthetical>( then into phone . )</parenthetical> <dialogue>Do what?</dialogue> <scene_description>OUR CAMERA TRACKS AROUND to Philly Steak 's face which is weathered and as leathery as a football . An old school crook .</scene_description> <character>PHILLY STEAK</character> <dialogue>Yevhen. The Ukrainian gold, dealer. You did n't, have to clip him, for Christ's sakes.</dialogue> <character>CHARLIE</character> <dialogue>Clip him?</dialogue> <character>PHILLY STEAK</character> <dialogue>Listen to me. You've got ta get out of L.A. Now.</dialogue> <character>CHARLIE</character> <dialogue>What're you talking about? We did n't clip anybody.</dialogue> <character>PHILLY STEAK</character> <dialogue>Well Skinny Pete just called me. Yevhen's cousin is under the distinct impression that you did.</dialogue> <character>CHARLIE</character> <dialogue>Why does he think that?</dialogue> <character>PHILLY STEAK</character> <dialogue>Because you wanted, to know about the gold with the Balinese Girl. Plus I guess Pete was under duress. This Ukrainian thinks he's Paul Fucking Bunyan.</dialogue> <character>CHARLIE</character> <dialogue>Do you know how to get in touch with him?</dialogue> <character>PHILLY STEAK</character> <dialogue>Yeah but.</dialogue> <character>CHARLIE</character> <dialogue>Maybe there's a way we can play this to our advantage.</dialogue> <character>PHILLY STEAK</character> <dialogue>Are you out of your mind? Listen to me, Charlie. Get out of L.A. Now. Cause if there's one thing I know, it's that you never mess with Mother Nature, mother - in - laws, or mother - fucking Ukrainians.</dialogue> </scene> <scene> <stage_direction>INT. SAFE HOUSE - MORNING</stage_direction> <scene_description>Speaking of - Five Ukrainians lock 'n load their MAC - 11 machine pistols plus an M4 carbine with a 40mm grenade launcher mounted beneath the barrel . Mashkov enters the room and tells the others in SUBTITLED UKRAINIAN .</scene_description> <character>MASHKOV</character> <dialogue>He's going to be on Train 59 for New Orleans.</dialogue> <character>UKRAINIAN</character> <dialogue>You sure your source is good?</dialogue> <character>MASHKOV</character> <dialogue>I'm sure.</dialogue> </scene> <scene> <stage_direction>INT. DANYA'S HOUSE - MORNING</stage_direction> <scene_description>The home where the porno was made . Karen , wearing a backpack stuffed with her only belongings , creeps into the kitchen with two 3/4 '' videotapes in hand . She sets them down on the counter . They say MASTER TAPE on the labels . She opens the microwave oven . Puts the tapes inside . Sets the timer for 60 minutes at the highest level and presses the start button . As the videotapes start to cook , we watch Karen flee out the door .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD AT HIGHLAND - DAY</stage_direction> <scene_description>The U - Haul is parked on the side of the noisy , congested boulevard . A large metal sheet is now mounted on the side of the panel truck . HIGH ANGLE . Parked behind the U - Haul are two of the Minis and Lyle 's Vespa . We see traffic flowing through the busy intersection next to the vehicles . Then WE BOOM DOWN , really fast , right into the black pavement and - THROUGH THE DARKNESS and out the other side , so we are now underground in the middle of the - METRO RAIL TUNNEL where Half - Ear is at work , mounting Nitramon primer to the tunnel walls , Charlie assisting . They both wear orange jumpsuits , plus headsets and mics .</scene_description> <character>HALF-EAR</character> <dialogue>Did you know Einstein's 7th grade teacher told him he was a moron who'd never amount to anything? Same as mine.</dialogue> <character>CHARLIE</character> <dialogue>Still hope for that Nobel Prize.</dialogue> <character>HALF-EAR</character> <dialogue>Not me, man. But I did get my college diploma.</dialogue> <character>CHARLIE</character> <dialogue>No shit. I thought you dropped out of high school.</dialogue> <character>HALF-EAR</character> <dialogue>Got my GED after Italy then just kept going.</dialogue> <character>CHARLIE</character> <dialogue>How'd you manage that, all the jobs we've been pulling?</dialogue> <character>HALF-EAR</character> <dialogue>Quit going to strip clubs. Went to night school instead. City college is all.</dialogue> <character>CHARLIE</character> <dialogue>Good for you. That's a real feather in your cap.</dialogue> <character>HALF-EAR</character> <dialogue>I did n't want to say anything to the guys.</dialogue> <scene_description>There 's a RUMBLING SOUND in the distance .</scene_description> <character>CHARLIE</character> <dialogue>Secret's safe with me.</dialogue> <scene_description>The RUMBLING grows unbearable as a Metro roars closer , headlights gobbling up the dark tunnel . They press themselves into a crevice in the wall . With a ROAR and a gust of wind , the Metro howls by . It makes their jaws clatter .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL (PARKED) - DAY</stage_direction> <scene_description>Stella 's in the cargo area with Lyle who 's working his laptop . It 's monitor displays a string of computer code . He HEARS over his headset :</scene_description> <character>CHARLIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Napster. How goes it up there? Over.</dialogue> <character>LYLE</character> <dialogue>Working on the Metro Rail system. Almost ready.</dialogue> </scene> <scene> <stage_direction>EXT. MARAVILLA DRIVE - SAME TIME</stage_direction> <scene_description>Handsome Rob 's Mini is parked on the side of the winding road . Using binoculars , he looks down onto Oporto Drive at Steve 's house . Into his headset :</scene_description> <character>HANDSOME ROB</character> <dialogue>Everything's quiet here. Over.</dialogue> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL - DAY</stage_direction> <scene_description>The Nitramon is applied . Half - Ear closes his eyes . Charlie observes him a moment .</scene_description> <character>CHARLIE</character> <dialogue>You okay?</dialogue> <character>HALF-EAR</character> <dialogue>Ah huh. Just need a moment's meditation.</dialogue> <character>CHARLIE</character> <dialogue>Now?</dialogue> <character>HALF-EAR</character> <dialogue>I'm about to insert a wire into a detonator tube and if the wire touches the sides of tube, we'll be blown to Kingdom Come. Best to be at one with yourself.</dialogue> <character>CHARLIE</character> <dialogue>Take all the time you need.</dialogue> <scene_description>Another moment , then Half - Ear sets to work . Charlie holds a mini - flashlight , illuminating the intricate detonator . Very carefully , he inserts a wire into a tube . Remember , the wire must not touch the sides . The wire is half - way in when a LARGE SPIDER drops onto his hand . Frozen , he ponders this . Charlie sees the spider , does n't know what to do . Half - Ear studies the spider . then he closes his eyes just a moment . relaxes . breathes in , breathes out . and then - He leans forward , opens his mouth and clamps his lips over the spider , comes back up . Finishes inserting the wire . Job done , he calmly opens his mouth . The spider puts a hairy leg out and delicately explores his cheek . Half - Ear plucks it off just as delicately , depositing the spider on the wall . Charlie just shakes his head in disbelief .</scene_description> <character>HALF-EAR</character> <dialogue>My work here is done.</dialogue> </scene> <scene> <stage_direction>EXT. OPORTO DRIVE -DAY</stage_direction> <scene_description>A Brink 's truck climbs the road towards Steve 's house , flanked by two BMW K1200LTA motorcycles .</scene_description> </scene> <scene> <stage_direction>EXT. MARAVILLA DRIVE - SAME TIME</stage_direction> <scene_description>Through binoculars , Handsome Rob is still keeping an eye on Steve 's house from the higher vantage point . HIS POV The front gate rises . The Brink 's truck and motorcycles are let inside and head up the driveway . But then he sees a SECOND ARMORED truck drive up , also guarded by two motorcycles . And a third Brink 's followed by motorcycles turns into the driveway .</scene_description> </scene> <scene> <stage_direction>EXT. STEVE'S HOUSE</stage_direction> <scene_description>It 's a convoy of matching armored trucks .</scene_description> </scene> <scene> <stage_direction>EXT. MARAVILLA DRIVE - DAY</stage_direction> <scene_description>Witnessing the twist of events through his binoculars . He speaks into his headset mic -</scene_description> <character>HANDSOME ROB</character> <dialogue>Problemo.</dialogue> </scene> <scene> <stage_direction>INT. U-HAUL - INTERCUT</stage_direction> <scene_description>The rest of the crew is now all in the U - Haul . Lyle 's manning the laptop .</scene_description> <character>CHARLIE</character> <dialogue>What is it?</dialogue> <character>HANDSOME ROB</character> <dialogue>He's brought in three identical armored trucks.</dialogue> <character>CHARLIE</character> <dialogue>Shit. Decoys. It's like a shell game on wheels.</dialogue> <character>LYLE</character> <dialogue>How can I reroute the truck if I do n't know which truck to reroute?</dialogue> </scene> <scene> <stage_direction>EXT. STEVE'S HOUSE - (TIME CUT) - DAY</stage_direction> <scene_description>The caravan of armored trucks and motorcycles now head down the driveway . The Ferrari follows behind .</scene_description> </scene> <scene> <stage_direction>EXT. MARAVILLA DRIVE - DAY</stage_direction> <scene_description>Handsome Rob sees the vehicles head east on Oporto . He reports into his mike :</scene_description> <character>HANDSOME ROB</character> <dialogue>Three Brink's trucks are leaving with motorcycle escorts, plus Steve in his Ferrari.</dialogue> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Maddening frustration .</scene_description> <character>LYLE</character> <dialogue>How're we going to figure out which truck has the gold?</dialogue> <scene_description>Charlie is just as frustrated . but in a tight spot he always comes up with an idea .</scene_description> <character>CHARLIE</character> <dialogue>You can monitor the traffic video cameras from your laptop, right?</dialogue> <character>LYLE</character> <dialogue>Yeah.</dialogue> <character>CHARLIE</character> <dialogue>Where's the first camera the trucks will go past?</dialogue> <scene_description>Lyle hits a command key and we now see the intersection of Woodrow Wilson Drive and Cahuenga where vehicles are driving under the traffic signal that a traffic video camera is mounted to .</scene_description> <character>LYLE</character> <dialogue>Cahuenga Boulevard. They all have to cross that.</dialogue> <character>CHARLIE</character> <dialogue>The weight of the gold will lower the suspension on the truck.</dialogue> </scene> <scene> <stage_direction>EXT. CAHUENGA BOULEVARD - DAY</stage_direction> <scene_description>The first armored truck makes its way through the green light .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle hits the keyboard and lines of measurements appear across the image of the Brink 's truck . He strikes another key , momentarily FREEZING the image . He makes a visual check of the top of the armored truck against the Cahuenga Boulevard street sign .</scene_description> <character>LYLE</character> <dialogue>Lines up with the top of the sign. Next.</dialogue> <scene_description>He unfreezes the first image just in time to check out the next armored truck in line . FREEZE . The top of this truck also lines up perfectly with the top of the street sign .</scene_description> <character>LYLE</character> <dialogue>First two are the same.</dialogue> </scene> <scene> <stage_direction>EXT. CAHUENGA BOULEVARD - SAME TIME</stage_direction> <scene_description>The third Brink 's truck makes its way through the intersection , the Ferrari behind it .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - SAME TIME</stage_direction> <scene_description>The third Brink 's comes into the monitor 's view . FREEZE . The top of the truck is below the top of the street sign .</scene_description> <character>LYLE</character> <dialogue>That's our truck! License plate AWP82092.</dialogue> </scene> <scene> <stage_direction>EXT. CAHUENGA - SAME TIME</stage_direction> <scene_description>We see the truck with the California plate AWP82092 . OUR VIEW RISES UP until we 're looking at an AERIAL VIEW as the three armored trucks and their motorcycles fan out in three different directions , with the Ferrari going in a fourth direction .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD AT HIGHLAND - DAY</stage_direction> <scene_description>Handsome Rob pulls up in his Mini and parks behind the other Minis .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - SAME TIME</stage_direction> <scene_description>Charlie gives the command .</scene_description> <character>CHARLIE</character> <dialogue>Gridlock time.</dialogue> <scene_description>Lyle executes , hitting a series of keys and -</scene_description> </scene> <scene> <stage_direction>INT. MAINFRAME COMPUTER ROOM - SAME TIME</stage_direction> <scene_description>inconspicuous on a shelf , the dummy file box CLICKS into action . In response , the false panels on the mainframes HUM to life and in the adjacent - TRAFFIC CONTROL CENTER The mosaic of traffic screens SPIRAL INTO DARKNESS . The workers ca n't believe it . They start hitting their keyboards trying to get the system up and running again . But it 's useless since -</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle controls the system now . A single mouse click loads his new algorithm into the computer and - SERIES OF RAPID - FIRE SHOTS All the traffic signals in Hollywood turn green simultaneously .</scene_description> </scene> <scene> <stage_direction>EXT. INTERSECTIONS</stage_direction> <scene_description>See cars collide into each other . See a domino line of rear - end crashes . A motorcycle tumbling over .</scene_description> </scene> <scene> <stage_direction>INT. TRAFFIC CONTROL CENTER</stage_direction> <scene_description>The stymied workers watch helplessly .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle quickly types out some words and</scene_description> </scene> <scene> <stage_direction>INT. TRAFFIC CONTROL CENTER</stage_direction> <scene_description>The workers see the words form on the giant screens : YOU 'LL NEVER SHUT DOWN THE REAL NAPSTER !</scene_description> </scene> <scene> <stage_direction>EXT. MORE INTERSECTIONS</stage_direction> <scene_description>The traffic lights turn RED simultaneously . Then all turn GREEN . Then RED again . It 's demolition derby time . Daisy - chains of wrecks . Cars spinning like hockey pucks . Total traffic meltdown .</scene_description> </scene> <scene> <stage_direction>INT. KNX-AM 1070 TRAFFIC HELICOPTER - DAY</stage_direction> <scene_description>Sweeping over a panoramic view of the greatest traffic jam in L.A. 's history is traffic anchor CHRISTINA GRIEGO . She reports what she sees :</scene_description> <character>CHRISTINA GRIEGO</character> <dialogue>This is Christina Griego with your drive - home traffic report on KNX. I'm looking down on Hollywood Boulevard and this is definitely a CIG alert.</dialogue> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>They 're blocked in solid ahead and behind .</scene_description> <character>STEVE</character> <dialogue>What the hell?</dialogue> <scene_description>He turns on the radio as -</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle 's fingers dance across the keyboard .</scene_description> <character>LYLE</character> <dialogue>Opening up a space on North Highland.</dialogue> </scene> <scene> <stage_direction>INT. GOLD TRUCK</stage_direction> <scene_description>Stuck in the middle of it . The driver and guard , both armed , are as confused as everyone else .</scene_description> <character>GUARD</character> <dialogue>Get us out of here.</dialogue> <character>DRIVER</character> <dialogue>I'm trying.</dialogue> <scene_description>He sees a way out , a sudden opening on North . Highland .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Via a traffic video camera , Lyle sees on his laptop the gold truck , followed by two motorcycles , making the turn onto North Highland .</scene_description> <character>LYLE</character> <dialogue>He's taking it.</dialogue> <scene_description>Lyle hits more keys .</scene_description> <character>LYLE</character> <dialogue>I now command you to turn left.</dialogue> </scene> <scene> <stage_direction>EXT. GOLD TRUCK</stage_direction> <scene_description>It comes to the next intersection . Every light is stuck on red - except the left turn only signal which is green . No choice . The truck takes it .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>He 's striking keys , an orchestral conductor , the crew his audience .</scene_description> <character>LYLE</character> <dialogue>I've got it on Hollywood Boulevard. Time to slow down.</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD BOULEVARD</stage_direction> <scene_description>Signals turn green , but only for three seconds , long enough for one car to gun through it at a time . At the same time , we see Charlie get out of the U - Haul and climb into the first Mini . Stella gets into the second Mini . Half - Ear joins Handsome Rob in the third .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI - DAY</stage_direction> <scene_description>Steve gets the scoop over the radio . He ca n't believe it .</scene_description> <character>CHRISTINA GRIEGO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>According to the police, the computers at the Traffic Control Center are down.</dialogue> <scene_description>Steve knows who did that .</scene_description> <character>STEVE</character> <dialogue>Sonovabitch.</dialogue> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI -DAY</stage_direction> <scene_description>Through his rearview mirror , Charlie eyes the gold truck creeping closer .</scene_description> <character>CHARLIE</character> <dialogue>Gentlemen, start your engines.</dialogue> <scene_description>THREE SHOTS Starting their engines - with souped - up , throaty roars : Charlie ; Handsome Rob ; Stella .</scene_description> <character>CHARLIE</character> <dialogue>Give us the flag when you're ready.</dialogue> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Lyle has hacked into the Metro Rail 's Control System . Starts his magic .</scene_description> <character>LYLE</character> <dialogue>Shutting down the rail as we speak.</dialogue> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNELS - SEVERAL SHOTS</stage_direction> <scene_description>A Metro is speeding through the Blue Line tunnel . Suddenly it loses power and comes to an inglorious stop . Another Metro stops on the Red Line . Inside a Metro on the Westside Corridor as it stops ; confused passengers stare out the glass .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>His laptop shows a group of still circles that represent the stalled Metros .</scene_description> <character>LYLE</character> <dialogue>Tunnel's clear. Go!</dialogue> </scene> <scene> <stage_direction>EXT. WALK OF FAME</stage_direction> <scene_description>The three Minis jump the curb and drive right over the star - lined sidewalk . Pedestrians throw themselves out of their path . The cars run over Marilyn Monroe 's star and the flowers and candles left by fans . They make a sharp turn down the cement stairs that lead to the Metro Rail platform . At the same time -</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD BOULEVARD</stage_direction> <scene_description>The creeping gold truck is just about alongside the parked U - Haul .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>Through his sideview mirror , Lyle eyes the progress of the gold truck . He gives the word :</scene_description> <character>LYLE</character> <dialogue>Coming into position.</dialogue> </scene> <scene> <stage_direction>INT. METRO RAIL STATION</stage_direction> <scene_description>The Minis roughly bounce down the second flight of stairs . The sides of the cars scrape against the metal handrails . Tourists , workers , all scamper away .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>The gold truck getting closer .</scene_description> <character>LYLE</character> <dialogue>Five. Four.</dialogue> </scene> <scene> <stage_direction>INT. METRO RAIL STATION</stage_direction> <scene_description>The Minis land on the platform where everyone is waiting for the next Metro . Heads turn at the sight of these half - cars streaking by .</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL</stage_direction> <scene_description>The gold truck is almost alongside the U - Haul .</scene_description> <character>LYLE</character> <dialogue>Three.</dialogue> </scene> <scene> <stage_direction>INT. METRO RAIL STATION</stage_direction> <scene_description>Charlie 's Mini flies off the platform and lands on the rail line . The car 's shocks take the hit . The other Minis follow suit , off the platform , onto the rails .</scene_description> <character>LYLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Two. One.</dialogue> <scene_description>THE MINIS Drive past the spot where they put the Nitramon explosives .</scene_description> <character>LYLE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do it.</dialogue> </scene> <scene> <stage_direction>INT. STELLA'S MINI</stage_direction> <scene_description>She brakes to a stop and braces herself as -</scene_description> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S MINI</stage_direction> <scene_description>Half - Ear pulls out his hearing aid , hits the remote to a detonator and -</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD &amp; HIGHLAND</stage_direction> <scene_description>The section of pavement that the gold truck sits on splits apart . The road surface drops away . Smoke billowing up as The BRINK 'S TRUCK FALLS .</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL</stage_direction> <scene_description>Suddenly the street , the armored truck and daylight come crashing down at us in a cloud of smoke and debris . The truck 's windshield implodes . The Minis come to a stop . Half - Ear jumps out . Aims the grenade launcher . FIRES .</scene_description> </scene> <scene> <stage_direction>INT. GOLD TRUCK</stage_direction> <scene_description>The triple charger chemical grenade sails in through the windshield and explodes , knocking out the guards . The driver slumps against the steering wheel , the horn BLARING under his weight . At the same time :</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - ON THE CUT</stage_direction> <scene_description>Lyle hits a button on a remote control and -</scene_description> </scene> <scene> <stage_direction>EXT. U-HAUL</stage_direction> <scene_description>Clamps unlock , releasing the heavy steel sheet from the side of the U - Haul . It SLAMS DOWN , neatly covering the gaping hole in the road like a huge manhole cover .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD &amp; HIGHLAND</stage_direction> <scene_description>The motorcycles following the Brink 's come to a sudden stop . The motorcycle guards watch the smoke clear . The armored truck has vanished ! Vaporized in the gridlock ! Gone ! Pandemonium . People scatter . A man jumps out of his BMW and sprints away from the explosion . Lyle gets out of the U - Haul and runs to his getaway vehicle : the Vespa . He 's about to hop on , but something stops him . The sight of the vacant , shimmering , 2002 BMW 750iL parked just ahead , keys dangling from the ignition . At the same time , the motorcycle guards climb off their bikes . Draw semi - automatic handguns . Result : more madness Bystanders flee . The BMW tears out of there , Lyle behind the wheel .</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL - DAY</stage_direction> <scene_description>The rear door to the Brink 's is open . Our crew sees the Worthington 1000 inside .</scene_description> <character>CHARLIE</character> <dialogue>Nice work.</dialogue> <character>HALF-EAR</character> <dialogue>Well like Einstein almost said : genius is ten percent inspiration, ninety percent detonation.</dialogue> <character>CHARLIE</character> <dialogue>Let's get our gold.</dialogue> <scene_description>Stella goes up to the imposing safe . Gives it a look of momentary respect , then sets to work .</scene_description> </scene> <scene> <stage_direction>INT. KNX-AM 1070 TRAFFIC HELICOPTER - DAY</stage_direction> <scene_description>Christina Griego telling her radio audience :</scene_description> <character>CHRISTINA GRIEGO</character> <dialogue>I've seen earthquakes, mudslides, fires, riots, but this. Let me try to paint a picture for our listeners.</dialogue> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Hearing the news over the radio .</scene_description> <character>CHRISTINA GRIEGO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There's been some kind of an explosion and a Brink's truck has just dropped down into the Metro Rail Blue Line.</dialogue> <scene_description>Steve slams the car into gear and jumps the sidewalk , passing the gridlock . He hollers into a walkie - talkie -</scene_description> <character>STEVE</character> <dialogue>The truck's in the Metro Rail. Where does the Blue Line go back above ground?</dialogue> </scene> <scene> <stage_direction>EXT. STREETS - SERIES OF SHOTS</stage_direction> <scene_description>The motorcycle guards who were escorting the decoy trucks hear Steve over their walkie - talkies . With squeals of rubber , they turn around as one of the guards answers -</scene_description> <character>MOTORCYCLE GUARD</character> <dialogue>It comes out at Flower &amp; Pico.</dialogue> <scene_description>At the same time -</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL - DAY</stage_direction> <scene_description>Stella works the dial , feeling for contact points . And -</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD &amp; HIGHLAND - DAY</stage_direction> <scene_description>The two motorcycle guards fervently try to lift off the steel sheet that dropped down from the U - Haul .</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL - DAY</stage_direction> <scene_description>They see daylight start to stream in from above as the steel sheet slides a little .</scene_description> <character>CHARLIE</character> <dialogue>Stella?</dialogue> <character>STELLA</character> <dialogue>Shhh.</dialogue> <scene_description>We HEAR Stella 's heart pounding in her ears . See the perspiration on her fingertips .</scene_description> <character>STELLA</character> <dialogue>You know when you said this would n't be the same as opening a safe for the cops?</dialogue> <character>HANDSOME ROB</character> <dialogue>Yeah.</dialogue> <character>STELLA</character> <dialogue>Did you have to be right?</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD &amp; HIGHLAND - DAY</stage_direction> <scene_description>The motorcycle guards strain , managing to shift the steel sheet enough so they can see the armored truck below .</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL - DAY</stage_direction> <scene_description>CLOSE SHOTS on Stella 's eyes , pure concentration . CLOSE SHOTS on each number on the dial . Finally : CLICK . She grabs the safe 's lever and swings the sturdy steel door open . She instinctively looks away .</scene_description> <character>CHARLIE</character> <dialogue>Do n't you want to see what's inside?</dialogue> <character>STELLA</character> <dialogue>I never look.</dialogue> <character>CHARLIE</character> <dialogue>Trust me. You wan na look.</dialogue> <scene_description>So she does . Inside is a mountain of gold bricks .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD &amp; HIGHLAND - MOMENTS LATER</stage_direction> <scene_description>The motorcycle guards heave , strain , finally getting the steel plate off . But it 's too late as -</scene_description> </scene> <scene> <stage_direction>INT. MINIS - SERIES OF SHOTS</stage_direction> <scene_description>Engines REV. Exhaust jets . Hands slam stick - shifts .</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL</stage_direction> <scene_description>The cars streak off deeper into the Metro Rail tunnel , headlights bouncing off the walls .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI (MOVING) - DAY</stage_direction> <scene_description>It 's a rush cruising down the tunnel . Taking the Blue Line . Leading the pack . But they 're not home free yet .</scene_description> </scene> <scene> <stage_direction>EXT. 101 FREEWAY - DAY</stage_direction> <scene_description>Rush hour gridlock - no problem . The Ferrari 's 12 cylinder massive 210 hp engine bellows as it hits 120 m.p.h. in the breakdown lane . A Highway Patrol car starts chasing after it , siren wailing .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI (HAULING ASS) - DAY</stage_direction> <scene_description>Merging onto the 110 South , Steve sees the patrol car in hot pursuit . He shifts into sixth and suddenly this car is a rocket blasting off , doing a 1/4 mile in 1.3 seconds , leaving the patrol car far behind . At the same time -</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE - GARAGE</stage_direction> <scene_description>Mashkov and the other heavily armed Ukrainians climb into a SUV . The garage door opens and the vehicle charges out of there . And at the same time -</scene_description> </scene> <scene> <stage_direction>INT. METRO RAIL TUNNEL</stage_direction> <scene_description>The three Minis speed by UNDERNEATH OUR CAMERA in streaks of red , white , and blue .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI (MOVING)</stage_direction> <scene_description>He spots the proverbial daylight at the end of the tunnel .</scene_description> </scene> <scene> <stage_direction>EXT. FLOWER &amp; PICO - DAY</stage_direction> <scene_description>Where the Blue Line rises up to ground level . The Minis thunder into the daylight , past the above ground platform , just as two motorcycles come flying around the corner after them . Picture this : two guards on each motorcycle with each man seated behind the driver holding AK - 47s in each hand , giving them the appearance of having submachine guns growing out of their shoulders . Fingers go flat against the AK - 47s triggers . Blowing SHOT after SHOT at the Minis . BAM - BAM - BAM .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI</stage_direction> <scene_description>In the teeth of gunfire . Bullets explode through the back window in a cacophony of CRASHING GLASS . A shot wings his door . POP ! Into headset :</scene_description> <character>CHARLIE</character> <dialogue>Split up!</dialogue> </scene> <scene> <stage_direction>EXT. FLOWER &amp; PICO</stage_direction> <scene_description>They head off in different directions through congested downtown rush hour traffic . One motorcycle takes off after Charlie 's Mini . The other goes after Handsome Rob 's Mini . So Stella 's free and clear except that Steve 's Ferrari is barreling down Pico and coming after her .</scene_description> </scene> <scene> <stage_direction>INT. LAPD HELICOPTER (FLYING)</stage_direction> <scene_description>An LAPD PILOT swoops in , barking out instructions to police cars converging on the scene .</scene_description> </scene> <scene> <stage_direction>EXT. CHARLIE'S MINI</stage_direction> <scene_description>Turning onto Exposition , the motorcycle in pursuit , the chopper overhead . His red Mini jumps a curve , now on a wide sidewalk , accelerating full throttle for the horizon while pedestrians flatten themselves against a high - rise in fear .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI</stage_direction> <scene_description>He sees someone give him the finger . Mutters :</scene_description> <character>CHARLIE</character> <dialogue>If you do n't like how I'm driving, get off the damn sidewalk.</dialogue> <scene_description>Meanwhile :</scene_description> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S MINI</stage_direction> <scene_description>He 's got the other motorcycle on his tail , RELENTLESS GUNFIRE dogging his every move . He shifts smooth as silk , squeezing between a car he 's passing and an oncoming car in the other lane . Half - Ear is trying his best to remain calm but Jesus , that was close . Suddenly , Handsome Rob veers off the road and WHAM . He takes down a chain link fence and is now in the parking lot of the :</scene_description> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER</stage_direction> <scene_description>His white Mini catapults across the asphalt , the motorcycle still right behind .</scene_description> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S MINI</stage_direction> <scene_description>Up ahead , he eyes the open door entrance to the Convention Center . Stomps the gas .</scene_description> <character>HALF-EAR</character> <dialogue>What are you doing?</dialogue> <scene_description>The turbine howls .</scene_description> <character>HALF-EAR</character> <dialogue>What - are - you - doing?</dialogue> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER</stage_direction> <scene_description>The Mini squeezes through the doorway and into the -</scene_description> </scene> <scene> <stage_direction>INT. CONVENTION CENTER</stage_direction> <scene_description>It 's the STAR TREK GRAND SLAM 2002 convention in full swing . Display tables are lined up in the cavernous hall and the Mini snakes through the maze and the Trekkies as - The motorcycle follows right behind and the chase is really on now . THUDA THUD THUDA , the Mini 's wheels climb a flight of steps . Waves of people flee the path of the little car and - THUD , THUDA , THUD , the motorcycle follows right behind . The Mini zips down the wide Concourse Hall - travels underneath banners of Star Trek characters that hang from the ceiling - the motorcycle keeps up , tires tearing into the carpeting .</scene_description> </scene> <scene> <stage_direction>INT. HANDSOME ROB'S MINI</stage_direction> <scene_description>He shifts , swerves , avoiding people , obstacles .</scene_description> <character>HALF-EAR</character> <dialogue>Go that way!</dialogue> <scene_description>Handsome Rob turns , taking them down the - WEST HALL that stretches out toward the Staples Center . WHIZ . The Mini goes by . WHIZ . The motorcycle goes by . Then - The Mini steamrolls through the exit doors and -</scene_description> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER/STAPLES CENTER</stage_direction> <scene_description>It bounds down outdoor steps and ramps onto the outside entrance to the Staples Center , fitting snugly between cement pillars that are designed to keep regular - sized cars out .</scene_description> </scene> <scene> <stage_direction>INT. STAPLES CENTER - DAY</stage_direction> <scene_description>The Mini bulldozes through glass doors . Across the lobby . Down an aisle that leads right to - CENTER COURT where OUR L.A. LAKERS are in the midst of practice . The Minis do look like matchbox cars next to these towering players . The car 's tires leave a streak of rubber on the parquet floor . The team clears a path . The car is off the court before they know it . But now the players see the motorcycle coming down the aisle . See the guns . See security guards running after it . KOBE BRYANT picks up a basketball . The motorcycle charges across center court . Kobe aims . hurls the ball . It RAMS into the motorcycle 's handlebars . The bike spins out of control and into a nasty fall , spitting off the riders while -</scene_description> </scene> <scene> <stage_direction>EXT. STAPLES CENTER</stage_direction> <scene_description>The Mini crashes out the opposite side of the arena and glides right through the L.A. Sports Arch of Fame before escaping onto Figueroa . Meanwhile :</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH ALAMEDA - DAY</stage_direction> <scene_description>The Ferrari is eating up the pavement as it hounds after Stella . Two police cars are roaring after them both .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S MINI</stage_direction> <scene_description>She slaps the gears into action , maneuvers tight turns around the cars in her path , just like she does at home with Jack Daniels .</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH ALAMEDA</stage_direction> <scene_description>A cop car tries to pass the same car as the Ferrari but smashes into an oncoming vehicle . As it spins like a corkscrew -</scene_description> </scene> <scene> <stage_direction>EXT. FERRARI</stage_direction> <scene_description>The rear tires spin smoke and it launches like a missile after the Mini .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S MINI</stage_direction> <scene_description>She keeps flooring it . the gauge rising . the customized engine screaming . But the Ferrari , like an unstoppable force , hangs menacingly in her rearview mirror . I/E FERRARI Steve RAMS into the rear bumper of the blue Mini . The bumper tears off , rolls across the pavement . The Ferrari is about to make another charge .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S MINI</stage_direction> <scene_description>She yanks the wheel left to avoid the hit . Suddenly finds herself in the path of an ARROWHEAD WATER TRUCK . She yanks the wheel right to avoid a collision .</scene_description> </scene> <scene> <stage_direction>INT. ARROWHEAD WATER TRUCK</stage_direction> <scene_description>The truck driver hits the brakes , over compensating as he turns away from the Mini and -</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH ALAMEDA</stage_direction> <scene_description>The truck falls over onto its side , sending those big jugs all over the road , water exploding into the air and - The Ferrari crashes through the jugs , one rolling up the hood and over the windshield , dousing it like a car wash . The lane is blocked by the wreck . Steve makes a right turn . The police cruiser hits the brakes but not fast enough . It slams into the water truck .</scene_description> </scene> <scene> <stage_direction>EXT. 5TH STREET</stage_direction> <scene_description>Steve turned onto a one - way street and he 's going the wrong way . A Jeep Wrangler almost runs into him head - on but both cars stop just in time . The DRIVER of Wrangler , a muscular fire plug of a guy , jumps out , furious .</scene_description> <character>FURIOUS DRIVER</character> <dialogue>What's wrong with you, you stupid - ass, son of a bitch, dickhead.</dialogue> <scene_description>As more invectives are hurled , Steve gets out of the Ferrari and walks towards the furious driver .</scene_description> <character>FURIOUS DRIVER</character> <dialogue>What? You want a piece of me? C'mon, dumbshit. Bring it on. I'll be pulling peanuts out of your asshole -</dialogue> <scene_description>BANG . Steve shoots the guy 's foot .</scene_description> <character>FURIOUS DRIVER</character> <dialogue>Shit! Shit! You shot me in the foot!</dialogue> <scene_description>While the furious driver hops on one leg , Steve gets into the Wrangler and takes off , abandoning the Ferrari . At the same time -</scene_description> </scene> <scene> <stage_direction>INT. BMW 750IL (MOVING) - SUNSET</stage_direction> <scene_description>Lyle 's coasting down Exposition Boulevard towards Union Station . Clear sailing for him . He sees a young woman thumbing for a ride . It 's Karen . And he recognizes her : she was hitchhiking when he first arrived in L.A. . He pulls over . To Lyle , she might be an angel in the empyrean if she was n't , so completely , a woman .</scene_description> <character>LYLE</character> <dialogue>Where are you going?</dialogue> <character>KAREN</character> <dialogue>Away.</dialogue> <character>LYLE</character> <dialogue>How about far, far away?</dialogue> <character>KAREN</character> <dialogue>The farther the better.</dialogue> </scene> <scene> <stage_direction>EXT. FIGUEROA &amp; OLYMPIC - DAY</stage_direction> <scene_description>Charlie 's still having a helluva time getting rid of the motorcycle . It screams like a Banshee as it streaks up alongside the Mini . Charlie suddenly sees an AK - 47 pointed right at him .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI</stage_direction> <scene_description>He jerks the steering wheel and swerves off the street , driving through the parking lot of the historic Hotel Figueroa . With the motorcycle dogging his heels , he looks up at the building . It has three towers that rise up 12 stories , with a giant mural of Albert Einstein covering one of the towers -LRB- it 's an ad for Apple Computers : Think different . -RRB- Suddenly the LAPD helicopter swoops down towards the parking lot , shattering the air , blowing up dirt and discarded newspapers in a rush of turbo - wash , trying to box in the Mini .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI</stage_direction> <scene_description>He 's got no place else to go .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FIGUEROA</stage_direction> <scene_description>The Mini squeezes through the entrance and into the lobby with its exotic Moroccan decor . Horrified guests catapult out of the way . The Mini drives past wooden statues , potted palm trees . The motorcycle follows the car as it streaks towards the elevator . Charlie looks back , sees the motorcycle . The elevator door opens . Some tourists step off .</scene_description> <character>CHARLIE</character> <dialogue>Going up?</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <scene_description>The Mini darts right in , not an inch to spare . Charlie reaches out the window , presses the button for ROOF . He sees the motorcycle charging after him , burning rubber across the beautiful tiled floor . Closer , closer . The door closes just in time . A second elevator opens , the motorcycle zooms inside , people screaming at the sight of the guns .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - DAY</stage_direction> <scene_description>The doors open , PING , and the Mini reverses out , spins . LOOKING DOWN onto the building 's rooftop , we see that it is shaped like a capitol E , three towers connected by a narrow strip . Each tower has its own elevator .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MINI</stage_direction> <scene_description>He wants to drive across the rooftop strip but there 's a big problem : the giant sign that exclaims HOTEL FIGUEROA in red and white neon lights blocks so much of the strip that even the Mini could n't squeeze through . In his rearview , he sees the second elevator door open and out comes the motorcycle . He 's trapped up here . But he 's not about to abandon ship .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP</stage_direction> <scene_description>So he floors it , slaps the gears , hurtles to the edge of the first tower and in - EYE - POPPING CGI SLOW MOTION SHOTS His car hurls into the wide blue empty space . The ground deliriously distant . Spiraling through the air like a football . NEXT TOWER - ROOFTOP The Mini lands right - side - up with a THUD . Charlie , rattled , looks over his shoulder and sees the LAPD helicopter rising over the rooftop , turbines SCREAMING . And here comes the motorcycle . Flying from one section of the rooftop to the next . It lands and the driver REVS it forward - I/E CHARLIE 'S MINI He speeds toward the edge of the roof and launches off towards the third tower some twenty feet away . Lands . Keeps going to the last elevator , skids to a stop . He reaches out , punches the call button . Then looks over his shoulder to witness - THE MOTORCYCLE going full throttle to make the final rooftop to rooftop jump . But its front wheel hits the edge slightly off - kilter . It soars but with a slight downward trajectory . Towards a large window on the top floor . Then lower . And the look on the driver 's face says it all as . The front wheel of the motorcycle SMACKS into the side of the building , just below the window . The guards are flung off the bike and their bodies CRASH through the window as - A hunk of exploding metal imbeds itself in the side of the LAPD chopper and -</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FIGUEROA</stage_direction> <scene_description>The guards land in the Tangier Suite in a hailstorm of glass shards . I/E . LAPD HELICOPTER Smoke billows out where the hunk of metal hit . The pilot keeps it under control but it 's time to go . With a WHINING THROB , the injured chopper banks away .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL FIGUEROA LOBBY - DAY</stage_direction> <scene_description>PING . The elevator door opens . Charlie 's Mini shoots out then skids out the lobby 's exit . He made it .</scene_description> </scene> <scene> <stage_direction>INT. STELLA'S MINI (SPEEDING) - DAY</stage_direction> <scene_description>She checks the rearview mirror . No sign of the Ferrari . Just a Jeep Wrangler back there . Stella looks relieved . Feels like she 's home free .</scene_description> </scene> <scene> <stage_direction>EXT. UNION STATION - SUNSET</stage_direction> <scene_description>Stella 's Mini pulls up to the ramp of the enclosed car carrier at the end of Amtrak Train 59 , bound for New Orleans . She can see the other two Minis are already inside . She gets out and hands the cargo loader a ticket .</scene_description> </scene> <scene> <stage_direction>EXT. UNION STATION - NIGHT</stage_direction> <scene_description>The `` All Aboard '' announcement goes out over the PA system . Then the Superliner train pulls out of the station , quickly picking up speed .</scene_description> </scene> <scene> <stage_direction>INT. FIRST CLASS CAR - NIGHT</stage_direction> <scene_description>The outside streaks by through the window . It 's a happy crew . Champagne is poured . Charlie holds up his glass and gets their attention .</scene_description> <character>CHARLIE</character> <dialogue>I want to make a toast. Cause there's somebody missing here today, and we all know who it is.</dialogue> <scene_description>They all raise their glasses .</scene_description> <character>CHARLIE</character> <dialogue>To John Bridger. The most brilliant master planner of them all. We wish he was with us.</dialogue> <scene_description>We PAN ACROSS their faces . It 's been a three year odyssey for them . They got the gold , but they lost someone they loved .</scene_description> <character>ALL OF THEM</character> <dialogue>To John.</dialogue> <scene_description>Clink .</scene_description> </scene> <scene> <stage_direction>INT. CAR CARRIER - NIGHT</stage_direction> <scene_description>OUR CAMERA MOVES past the three Minis parked inside . And STOPS at the last car in the carrier - the Jeep Wrangler . Its rear hatch rises and Steve creeps out . Looks around . It 's safe . He walks over to Stella 's Mini . Pops open the trunk REVEALING a silver Haliburton suitcase . He unzips the case . It 's filled with stacks and stacks of gold bricks , the exotic face of a Balinese girl on each one . Steve pulls out a brick , embraces it . He knows his gold . These bricks are real . But as he has a moment with his gold , BEHIND HIM , the trunks of the other two Minis RISE in unison . Then Mashkov RISES out of the trunk of the white Mini . Another Ukrainian RISES out of the trunk of the blue Mini . Four more Ukrainians slide out from underneath the Minis . They cock their M - lls . CLICK CLICK CLICK CLICK CLICK CLICK . Steve hears the sound from behind him . He turns around to see the weapons pointed at him .</scene_description> <character>MASHKOV</character> <dialogue>Take out your gun and drop it on the floor.</dialogue> <scene_description>Steve has no choice .</scene_description> <character>STEVE</character> <dialogue>Who are you?</dialogue> <character>MASHKOV</character> <dialogue>You knew my cousin. Yevhen.</dialogue> <character>STEVE</character> <dialogue>I never knew anyone named Yevhen.</dialogue> <character>MASHKOV</character> <dialogue>Get in the trunk. Not that trunk, this one. That gold is for us. A gift from some old friends of yours. They said to tell you that they did n't mind sharing the box of Cracker Jack, as long as you did n't get any. Not even the toy surprise.</dialogue> <scene_description>The Ukrainians force Steve into the trunk of the white Mini . And for the first time , he 's scared . Looking up at Mashkov , he begs .</scene_description> <character>STEVE</character> <dialogue>Please. Do n't shoot me. Please.</dialogue> <character>MASHKOV</character> <dialogue>Do n't worry. That was n't the deal. I'm not going to shoot you.</dialogue> <character>STEVE</character> <dialogue>Thank you. Thank God.</dialogue> <character>MASHKOV</character> <parenthetical>( to the others . )</parenthetical> <dialogue>He really thought I was going to shoot him.</dialogue> <scene_description>The Ukrainians laugh . Steve tries to laugh .</scene_description> <character>MASHKOV</character> <dialogue>No. No. I'm not going to shoot you. I'm going to hack off your limbs and bury you while you're still alive.</dialogue> <scene_description>And with that , he closes the trunk . THUD . Like the lid of a coffin . And for Steve , the world falls into BLACKNESS .</scene_description> </scene> <scene> <stage_direction>INT. FIRST CLASS CAR - SAME TIME</stage_direction> <scene_description>Underneath the crew 's seats , we see the other two silver Haliburton suitcases filled with the rest of the gold . We BOOM UP to our five thieves .</scene_description> <character>CHARLIE</character> <dialogue>New IDs.</dialogue> <scene_description>Handsome Rob passes out new fake driver 's licenses for when they arrive in New Orleans .</scene_description> <character>LYLE</character> <parenthetical>( re : his fake license . )</parenthetical> <dialogue>Simon Quackenbush? Could I - just once - have a cool name?</dialogue> <character>HALF-EAR</character> <parenthetical>( also complaining . )</parenthetical> <dialogue>250_pounds?</dialogue> <scene_description>They 're interrupted by the RING of Charlie 's phone . He answers .</scene_description> <character>CHARLIE</character> <dialogue>Did you get what you wanted?</dialogue> </scene> <scene> <stage_direction>INT. CAR CARRIER - INTERCUT</stage_direction> <scene_description>Mashkov is on the other end of the line .</scene_description> <character>MASHKOV</character> <dialogue>I'm happy.</dialogue> <scene_description>During this , Lyle types commands into his laptop that is connected to a phone jack in the car .</scene_description> <character>CHARLIE</character> <dialogue>It was good doing business with you.</dialogue> <scene_description>Lyle hits a final command and -</scene_description> </scene> <scene> <stage_direction>INT. ENGINEER ROOM - SAME TIME</stage_direction> <scene_description>signal box receives the command and -</scene_description> </scene> <scene> <stage_direction>EXT. CAR CARRIER - SAME TIME</stage_direction> <scene_description>The coupler between the car carrier and the rest of the train is electronically disengaged . This causes the train to separate from the car carrier . The train speeds on without it at 100 miles per hour . The car carrier slowly comes to a stop in the middle of nowhere .</scene_description> </scene> <scene> <stage_direction>INT. DINING CAR - NIGHT</stage_direction> <scene_description>The Dining Car features crisp white linens and extended windows for scenic dining . Lyle walks over to a table where Karen is waiting for him . She looks resplendent .</scene_description> <character>LYLE</character> <dialogue>Is this seat taken?</dialogue> <character>KAREN</character> <dialogue>It is now.</dialogue> <scene_description>He sits . And as OUR CAMERA HOLDS ON Lyle , ready to embark on a new life , we - THE COVER OF WIRED MAGAZINE It fills THE SCREEN . And beneath a photograph of Lyle himself , we read the headline : WILL THE REAL NAPSTER PLEASE STAND UP ? How The Laptop Fugitive Pulled It Off .</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR CAR - NIGHT</stage_direction> <scene_description>And as OUR CAMERA FINDS Half - Ear , checking out the books in the library , feeling like the wealthy man he is , we - THE COVER OF PHILADELPHIA CITY COLLEGE 'S ALUMNI NEWS And beneath a graduation photo of Half - Ear in his cap and gown , we read the headline : `` HE WAS ONE OF M 'S BEST STUDENTS '' Professor Relives Memories of Erudite Fugitive</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE CAR - NIGHT</stage_direction> <scene_description>And as OUR CAMERA FINDS Handsome Rob , who 's already caught the eye of a woman at the bar , we - THE COVER OF THE ADELPHIA CABLE INSIDER NEWSLETTER And beneath a photo of Becky the cable chick , we read the headline : `` HE TOOK THE SHIRT OFF MY BACK AND I 'D GIVE IT TO HIM AGAIN ! '' Feds Say Technician Admits to Encounter With ` Handsome ' Thief</scene_description> </scene> <scene> <stage_direction>INT. FIRST CLASS CAR - NIGHT</stage_direction> <scene_description>Charlie and Stella drink from glasses of champagne .</scene_description> <character>CHARLIE</character> <dialogue>We did it.</dialogue> <character>STELLA</character> <dialogue>We sure did.</dialogue> <character>CHARLIE</character> <dialogue>There's something I've been meaning to ask you, Stella. But I've just been so busy lately, what with the explosion, car chase, Ukrainians and all.</dialogue> <character>STELLA</character> <dialogue>It has been a hectic day.</dialogue> <character>CHARLIE</character> <dialogue>It's about that thing you said to me back in Philadelphia.</dialogue> <character>STELLA</character> <dialogue>That thing?</dialogue> <character>CHARLIE</character> <dialogue>You said that you ca n't have a relationship with a pickpocket, gold robber, or any kind of thief.</dialogue> <character>STELLA</character> <dialogue>Oh. That thing.</dialogue> <character>CHARLIE</character> <dialogue>Do you still believe that?</dialogue> <character>STELLA</character> <dialogue>Yeah. I do.</dialogue> <character>CHARLIE</character> <dialogue>Well I was wondering. What about a retired pickpocket, gold robber, thief?</dialogue> <character>STELLA</character> <dialogue>Now that's an entirely different question.</dialogue> <scene_description>And as an enigmatic smile settles across her face , we - THE COVER OF CONDE MAST TRAVEL MAGAZINE And beneath a photo of sunbathers on a glorious beach , we read the headline : LIVING THE GOOD LIFE ON THE PINK SANDS OF BERMUDA And OUR VIEW SLOWLY PUSHES IN CLOSER ON the magazine cover . CLOSER on the line of sunbathers . PANNING ACROSS their faces - and you 'd never notice unless you were really , really , looking for them . is it them ? CLOSER on the pixels . and yes , it sure is . Charlie &amp; Stella in lounge chairs , living the good life . THE END</scene_description> </scene> </script>

John Bridger, a professional safecracker, has assembled a team to steal 35 million dollars worth of gold bullion from a safe in Venice, held by Italian gangsters who had stolen it weeks earlier. The team includes Charlie Croker, a professional thief; Lyle or "Napster", a computer expert; Handsome Rob, their wheelman; Steve, their inside man; and Left Ear, their explosives expert. The heist is successful, but as they drive towards Austria with the bullion, they are stopped by men loyal to Steve, who had turned on them and takes the bullion for himself. Steve kills John when he admonishes him, and Rob drives the van over a bridge into the waters below to protect the others, using air tanks from the heist to stay alive. Steve leaves them for dead. A year later in the United States, Charlie learns that Steve has resurfaced under a new identity and is laundering the gold through a Ukrainian jeweler named Yevhen to finance his lavish lifestyle in Los Angeles. Charlie gathers the team, and also recruits John's daughter Stella, a skilled private safe cracker, offering her the chance to get revenge on Steve for her father's death. They stake out Steve's mansion, and Stella, disguising herself as a cable technician, is able to map out its interior, allowing them to determine the location of Steve's safe containing the bullion. Coincidentally, Steve, unaware of Stella's identity, offers to go out on a date with her. Charlie and Stella devise a plan using explosives to blow the safe while Steve is away on his supposed date, using three heavily modified Mini Coopers to transport the gold out of the mansion. Charlie enlists the help of Skinny Pete for the explosives and Wrench to make the modifications on the cars. As Steve continues to launder the gold bars, Yevhen accidentally reveals that he knows about the Venice heist. Covering his tracks, Steve kills Yevhen which infuriates Mashkov, Yevhen's cousin and a leader of a Ukrainian crime family. When Charlie and his group embark on the night of the planned heist, they find Steve's neighbors are having a party. As the explosives would draw undue attention, they abandon their plan. Stella ends up having to meet Steve after all and inadvertently gives away her identity by using similar phrases to her father. When the team arrives to help protect her, Steve taunts them that he still has the upper hand, to which Charlie responds by punching him in the nose. Mashkov connects the murder to Charlie through Skinny Pete. Uneased by this, Steve makes plans to transport the gold to Mexico City by a private plane from Los Angeles International Airport after transporting it there in an armored car. Napster overhears of this, and Charlie and his gang make a new plan to steal the gold en route to the airport by hijacking the city's traffic control system to force the armored car to a planned spot where they will execute the heist. On the day of transport, they are surprised when three armored trucks leave Steve's mansion, but Napster is able to determine which one carries the bullion, and manipulates the traffic accordingly. Knowing that Steve is monitoring the transport by helicopter, they get the car to the target spot and then create a diversion as they detonate explosives to drop the part of the road with the car into the old subway tunnels below. After opening the truck, they find a different safe to the one that held the gold before. Although she struggles initially, Stella cracks the safe, and they load up the Coopers with the gold. They race from the subway to the Los Angeles River and through the city, pursued by Steve's henchmen on motorcycles, with Napster helping to create a green wave to evade traffic. After Charlie disables his helicopter, Steve abandons it and steals a Ford Bronco to follow them to Union Station. At Union Station, the cars are loaded onto a train car with the help of Wrench. Steve arrives shortly thereafter and after bribing Wrench, is surprised to find Charlie and the others waiting for him. Steve brandishes a gun and demands his gold back, but Mashkov arrives; Charlie explains that he has offered Mashkov part of the gold and Steve in exchange for helping with security protection. Steve is punched in the face by Stella before being taken away by Mashkov, who reveals he will be tortured. The group boards the train as it departs to New Orleans, and celebrate in John's honor. The epilogue shows them all having used their share of the gold for their own desired purposes; Handsome Rob purchases an Aston Martin Vanquish, getting pulled over by a beautiful policewoman, Left Ear buys a mansion in southern Spain, while Napster buys a powerful stereo capable of blowing a woman's clothes off. Meanwhile, Charlie takes John's advice about finding someone he wants to spend the rest of his life with, and he and Stella travel to Venice together.

Hannah and Her Sisters_1986

tt0091167

<script> <scene> <stage_direction>HANNAH AND HER SISTERS</stage_direction> <scene_description>As the last credit appears , the song ends in a crescendo and the screen fades to total black . Immediately , a new melody begins , an uptempo jazz number , as a title appears on the screen . `` God , she 's beautiful . '' .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S APARTMENT - NIGHT</stage_direction> <scene_description>A full face of Lee , wearing a gray sweater and leaning against the dining room doorway . She gazes into the camera with a half - smile on her face as Elliot speaks over the screen .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>God, she's beautiful.</dialogue> <scene_description>Lee glances over her shoulder , then turns from the doorway and walks away . The camera follows her , moving across a book - and - photograph - filled bookshelf that obscures her from view as she walks into a crowded , comfortable vestibule . People , some holding drinks , some just entering the apartment , surround her . Everyone is talking at once , carrying on easy , familiar conversation .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>She's got the prettiest eyes, and she looks so sexy in that sweater.</dialogue> <scene_description>Lee smiles at the various people , exchanging greetings .</scene_description> <character>LEE</character> <dialogue>Hi, how are you?</dialogue> <scene_description>Two more guests enter the apartment ; the vestibule is full now . Still walking , Lee lightly hugs one of the children as she continues on her way towards the living room . Elliot 's voice , as well as the jazzy music , is heard .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I just want to be alone with her and hold her and kiss her.</dialogue> <scene_description>Lee walks into the living room , turning her head back for a moment to talk to the child she has just hugged .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>and tell her how much I love her and take care of her. Stop it, you idiot. She's your wife's sister. But I ca n't help it.</dialogue> <scene_description>The camera is still moving with Lee as she smiles and stops to chat with her mother . Elliot 's voice , as well as the music , continues over the low din of warm conversation .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm consumed by her. It's been months now. I dream about her. I - I, I think about her at the office. Oh, Lee.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>What am I gon na do?</dialogue> <scene_description>Lee starts to walk off again , finishing her conversation with her mother . She passes several other guests , then turns to greet April , giving her a warm , brief hug .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I hear myself mooning over you, and it's disgusting. Before, when she.</dialogue> <scene_description>Elliot 's voice - over continues as he is actually seen , standing in a doorway having a conversation with a gesturing , rotund man . Both are holding drinks as Lee , carrying a tray of hors d'oeuvres and two drinks , walks between them . The space is very tight ; the men hold up their drinks to make room for her .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>squeezed past me in the doorway, and I smelled that perfume on the back of her neck.</dialogue> <scene_description>Elliot watches Lee walk off ; the other man , oblivious , continues to talk . Elliot reluctantly returns to the conversation , but he ca n't help turning his head to gaze at the offscreen Lee as the other man chatters on .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jesus, I, I thought I was gon na swoon! Easy.</dialogue> <scene_description>The camera resumes following a smiling Lee . She has just put down the tray and drinks near April , and briskly and obliviously , she walks past a doorway where Elliot , still ruminating , watches her , entranced .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You're a dignified financial advisor. It does n't look good for you to swoon.</dialogue> <scene_description>The camera stays with Elliot , who is still watching the offscreen Lee . In the background , guests continue to chatter warmly with each other . Hannah , carrying a tray of hors d'oeuvres , walks up behind the distracted Elliot .</scene_description> <character>HANNAH</character> <parenthetical>( nibbling on an hors d'oeuvre . )</parenthetical> <dialogue>Elliot? Elliot?</dialogue> <parenthetical>( rubbing his shoulder . )</parenthetical> <dialogue>Sweetheart?</dialogue> <scene_description>Elliot returns from his reveries with a start .</scene_description> <character>ELLIOT</character> <parenthetical>( turning to Hannah . )</parenthetical> <dialogue>Mm - hm?</dialogue> <character>HANNAH</character> <parenthetical>( pointing to the tray . )</parenthetical> <dialogue>Have you tried these? These are wonderful.</dialogue> <parenthetical>( nibbling , swallowing . )</parenthetical> <dialogue>Holly and her friend made them.</dialogue> <scene_description>Elliot , taking one of the hors d'oeuvres , starts nibbling as well as he and Hannah walk past the bookshelf into the living room .</scene_description> <character>ELLIOT</character> <parenthetical>( swallowing . )</parenthetical> <dialogue>They're fantastic.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , still eating . )</parenthetical> <dialogue>Are n't they great?</dialogue> <character>ELLIOT</character> <dialogue>Your sister is an unbelievable cook.</dialogue> <character>HANNAH</character> <parenthetical>( swallowing . )</parenthetical> <dialogue>I know! I know!</dialogue> <scene_description>Elliot and Hannah , eating and talking , walk past a hallway and offscreen as Holly appears , walking down the hallway . She holds a drink and a plate of hors d'oeuvres ; she stands at the entrance to the hallway , eating and looking at the offscreen guests .</scene_description> <character>HANNAH</character> <parenthetical>( walking offscreen . )</parenthetical> <dialogue>She has all the cooking talent.</dialogue> <character>ELLIOT</character> <parenthetical>( walking offscreen swallowing . )</parenthetical> <dialogue>No, she does n't, either. You've got tons as well.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Ohhh, but I've eaten five of these.</dialogue> <scene_description>Holly , standing in the hallway onscreen , swallows loudly .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen , overlapping Holly . )</parenthetical> <dialogue>Holly, why do n't you open your own restaurant?</dialogue> <character>HOLLY</character> <parenthetical>( turning to the offscreen Elliot and Hannah , trying to swallow . )</parenthetical> <dialogue>Mmm, we practically are. Well.</dialogue> <parenthetical>( holding her hand to her mouth . )</parenthetical> <dialogue>not a restaurant, but.</dialogue> <parenthetical>( swallowing . )</parenthetical> <dialogue>April and I are going to do some catering!</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>What? You're kidding!</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>No, no, we decided!</dialogue> <scene_description>Holly takes a sip of her drink as Hannah and Elliot walk over to her .</scene_description> <character>HANNAH</character> <dialogue>Perfect!</dialogue> <character>HOLLY</character> <parenthetical>( nodding and swallowing . )</parenthetical> <dialogue>Mmm. I mean, we love to cook for our friends, so.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>we thought until an acting job comes through, we could just make some extra money, you know, doing a few private parties.</dialogue> <character>ELLIOT</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Great idea.</dialogue> <character>HANNAH</character> <parenthetical>( agreeing . )</parenthetical> <dialogue>I know.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping Hannah . )</parenthetical> <dialogue>That's where your talent lies.</dialogue> <character>HOLLY</character> <parenthetical>( swallowing and nodding . )</parenthetical> <dialogue>I know.</dialogue> <scene_description>Holly and Hannah begin to laugh .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing to Elliot , still laughing . )</parenthetical> <dialogue>Get outta here.</dialogue> <parenthetical>( to Hannah . )</parenthetical> <dialogue>Could I speak to you privately?</dialogue> <character>HANNAH</character> <dialogue>Oh, sure.</dialogue> <scene_description>Holly and Hannah walk off ; Elliot watches them leave .</scene_description> <character>ELLIOT</character> <parenthetical>( calling after them as he nibbles on an hors d'oeuvre . )</parenthetical> <dialogue>I'm her husband! She tells me anything!</dialogue> </scene> <scene> <stage_direction>INT. HANNAH'S KITCHEN - NIGHT</stage_direction> <scene_description>Hannah , licking her fingers , walks past a memo - cluttered refrigerator to the stove as Holly , behind her , begins to speak . The faint sounds of music are still heard .</scene_description> <character>HOLLY</character> <dialogue>Hannah, I have to borrow some more money.</dialogue> <parenthetical>( sipping her drink . )</parenthetical> <dialogue>Do n't get upset.</dialogue> <character>HANNAH</character> <parenthetical>( stirring some food in a saucepan on the stove . )</parenthetical> <dialogue>Mmm, I never get upset over that. Mmm?</dialogue> <character>HOLLY</character> <dialogue>This is the last time, I promise. And I'm keeping strict accounts.</dialogue> <scene_description>As Holly talks , sipping her drink , Hannah busily works in the kitchen , which contains a large center table stacked with bowls and plates of food , hanging pots and pans , and general party clutter . She walks on - and - offscreen as she talks and listens to her sister .</scene_description> <character>HANNAH</character> <dialogue>Holly, please. Do n't insult me.</dialogue> <character>HOLLY</character> <parenthetical>( putting her empty glass and plate down on the table . )</parenthetical> <dialogue>Someday, I'll pay it all back.</dialogue> <character>HANNAH</character> <dialogue>I know. H - how much do you need?</dialogue> <character>HOLLY</character> <dialogue>Two thousand dollars.</dialogue> <scene_description>Hannah , who 'd been mashing some food in a bowl on a nearby counter , hesitates momentarily . She turns to Holly .</scene_description> <character>HANNAH</character> <parenthetical>( trying to nod her head casually . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>HOLLY</character> <parenthetical>( gesturing , her back to the camera . )</parenthetical> <dialogue>Hannah, I know it's a lot, but my friend April and I, we have this catering idea I think's going to be great.</dialogue> <scene_description>Hannah , licking her fingers , walks past Holly .</scene_description> <character>HOLLY</character> <parenthetical>( turning to face Hannah . )</parenthetical> <dialogue>You admit that we're great cooks, right?</dialogue> <character>HANNAH</character> <parenthetical>( nodding , back at the stove now , stirring in a pot . )</parenthetical> <dialogue>Yeah.</dialogue> <character>HOLLY</character> <parenthetical>( putting her hands in her pockets . )</parenthetical> <dialogue>Well, in order to get started, there's just a few things I have to buy.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>and some old debts I have outstanding.</dialogue> <character>HANNAH</character> <parenthetical>( looking at her sister . )</parenthetical> <dialogue>Will you just tell me one thing?</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Okay.</dialogue> <character>HANNAH</character> <dialogue>Are we talking about cocaine again?</dialogue> <character>HOLLY</character> <parenthetical>( shaking her head no . )</parenthetical> <dialogue>I swear. I swear. We've already got some requests to do a few dinner parties.</dialogue> <scene_description>A timer goes off . Hannah walks past Holly to attend to some food on a different stove . Holly turns to face her . Only Holly is seen as she talks to the offscreen Hannah , the camera moving in closer on her face . As Holly speaks , she distractedly nibbles an hors d'oeuvre . In the background , her parents can be heard singing in the living room .</scene_description> <character>HOLLY</character> <dialogue>I mean, obviously, I'm not going to be a caterer forever, you know. We both still go to auditions. Something could turn up at any moment. But the parties are at night, days are free, I can still take my acting class. I have n't done drugs on a year.</dialogue> <scene_description>Holly pops another hors d'oeuvre into her mouth as the background singing gets louder and the film cuts to :</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S LIVING ROOM - NIGHT</stage_direction> <scene_description>The living room is crowded with family and guests sitting comfortably on chairs near the piano , where Evan , Hannah 's father , plays `` Bewitched '' as Hannah 's mother , Norma , sits nearby , accompanying him in their duet . A child is sprawled out under a blanket on a sofa ; some guests chatter quietly ; others drink and eat , listening .</scene_description> <character>EVAN &amp; NORMA</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` A whimpering, simpering Child again Bewitched, bothered, and bewildered Am I.''</dialogue> <scene_description>As they continue to sing , the film cuts back to the kitchen , where Lee , carrying some glasses , enters through the doorway .</scene_description> <character>LEE</character> <dialogue>Mom and Dad are floating down memory lane again!</dialogue> <scene_description>Lee walks over to her sisters , putting the glasses down on a counter . Hannah is scooping seeds out of a cantaloupe . Holly , leaning on the table , sips her drink . The music from the living room is softly heard as the three sisters chat comfortably and easily with each other .</scene_description> <character>HANNAH</character> <parenthetical>( smiling and turning to Lee . )</parenthetical> <dialogue>Aah. Hey, have you tried Holly and her friend's shrimp puffs?</dialogue> <character>LEE</character> <parenthetical>( nodding to Holly , touching her arm . )</parenthetical> <dialogue>I think they're fantastic.</dialogue> <character>HANNAH</character> <parenthetical>( to Holly . )</parenthetical> <dialogue>You've outdone yourself.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping her sisters , shrugging and smiling . )</parenthetical> <dialogue>Oh, my God. Thank you.</dialogue> <character>LEE</character> <parenthetical>( interrupting , to Hannah . )</parenthetical> <dialogue>I need an antihistamine. Mom thinks she's feeling her asthma, and so.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Ohh?</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , lighting a cigarette . )</parenthetical> <dialogue>Uh - oh.</dialogue> <character>LEE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. before she starts turning into Camille.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue /> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yeah, Mom's Camille when she gets up in the morning.</dialogue> <character>LEE</character> <parenthetical>( turning to Holly . )</parenthetical> <dialogue>At least she is n't drinking. Did you notice?</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Mm - hm.</dialogue> <character>HANNAH</character> <parenthetical>( turning to look at her sisters , laughing . )</parenthetical> <dialogue>Does n't she look great in that new dress?</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>The sisters all talk at once ; Hannah is still working at the sink .</scene_description> <character>HANNAH</character> <dialogue>Do n't you think she does?</dialogue> <character>HOLLY</character> <dialogue>She really does, though.</dialogue> <character>LEE</character> <parenthetical>( turning towards the sink . )</parenthetical> <dialogue>Yeah, she knows it, too,'cause she's flirting with all the men here.</dialogue> <character>HOLLY</character> <parenthetical>( puffing on her cigarette . )</parenthetical> <dialogue>God.</dialogue> <character>HANNAH</character> <parenthetical>( scooping out some cantaloupe seeds . )</parenthetical> <dialogue>Maybe when she's eighty, she'll stop straightening her garter belt when there's a guy around.</dialogue> <character>HOLLY</character> <parenthetical>( to Lee , laughing . )</parenthetical> <dialogue>I should get a garter belt.</dialogue> <character>LEE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Yeah.</dialogue> <character>HOLLY</character> <parenthetical>( looking down at herself . )</parenthetical> <dialogue>Get a garter belt.</dialogue> <parenthetical>( sipping her drink . )</parenthetical> <dialogue>Get a garter belt and flirt.</dialogue> <character>LEE</character> <parenthetical>( laughing , to Hannah . )</parenthetical> <dialogue>Where are the antihistamines?</dialogue> <character>HANNAH</character> <dialogue>Oh, I don - Ask Elliot for that. Uh, he's got them somewhere.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Lee leaves the kitchen . Holly , puffing on her cigarette , watches her go .</scene_description> <character>HOLLY</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Frederick did n't come with her.</dialogue> <character>HANNAH</character> <parenthetical>( turning to Holly , still working at the sink . )</parenthetical> <dialogue>When does Frederick ever come with her?</dialogue> <character>HOLLY</character> <parenthetical>( whispering intently . )</parenthetical> <dialogue>Tch. He's such an angry. he's such a depressive. I thought she was moving out!</dialogue> <scene_description>Hannah shakes her head in disapproval while Holly angrily takes another sip of her drink . And the film cuts briefly back to the living room , where Evan is still playing the piano and singing . The camera moves past him and a few guests to Norma , who is enthusiastically singing along , looking at Evan and moving her hands .</scene_description> <character>EVAN &amp; NORMA</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` A pill he is But still he is All mine and I'll Keep him until he is Bewitched, a ` both -''</dialogue> </scene> <scene> <stage_direction>INT. HANNAH'S DINING ROOM - NIGHT</stage_direction> <scene_description>The table is beautifully set for Thanksgiving dinner , complete with candles , flowers , cut crystal , china , and silver . Hannah 's children are playing in the room as Hannah enters , carrying a huge roast turkey . Behind her is Holly , carrying a casserole . Hannah 's parents can still be heard singing in the background .</scene_description> <character>HANNAH</character> <parenthetical>( to the children . )</parenthetical> <dialogue>Watch out, you guys. Beep - beep!</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, your kids are so adorable.</dialogue> <character>CHILDREN</character> <parenthetical>( walking through the doorway . )</parenthetical> <dialogue>Bye! Bye!</dialogue> <character>HOLLY</character> <parenthetical>( putting down her bowl on the table . )</parenthetical> <dialogue>God, it gets so lonely on the holidays.</dialogue> <character>HANNAH</character> <parenthetical>( setting down the turkey on the opposite end of the table . )</parenthetical> <dialogue>Oh, gosh. Well, you know, that's why I invited Phil Gammage tonight.</dialogue> <scene_description>As the sisters talk , the piano music stops . There 's the sound of light applause as Evan begins a new song , faintly heard in the dining room .</scene_description> <character>HOLLY</character> <parenthetical>( grimacing , reacting to Hannah . )</parenthetical> <dialogue>Oh, Hannah!</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>It's, uh, you never know -</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , gesturing . )</parenthetical> <dialogue>He's such a loser!</dialogue> <character>HANNAH</character> <dialogue>He's not a loser at all!</dialogue> <character>HOLLY</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Oh, he's such a loser!</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , lighting a set of candles on the table . )</parenthetical> <dialogue>He's the headmaster of Daisy's school.</dialogue> <character>HOLLY</character> <dialogue>Oh, perfect! He reminds me of Ichabod Crane.</dialogue> <parenthetical>( moving her hand up and down her throat . )</parenthetical> <dialogue>His Adam's apple keeps jumping up and down whenever he gets excited.</dialogue> <character>HANNAH</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Listen. He's a lot better than your ex - husband. He's got a good job.</dialogue> <parenthetical>( handing a pack of matches to Holly . )</parenthetical> <dialogue>Would you light those, please? He's - he's - he's not a dope addict or anything.</dialogue> <character>HOLLY</character> <parenthetical>( striking a match to light another set of candles . )</parenthetical> <dialogue>Give me a break.</dialogue> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Am I interrupting.</dialogue> <scene_description>The film cuts to April , standing in the doorway of the dining room and holding a drink .</scene_description> <character>APRIL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. any sister talk?</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Mm - mm!</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Come in.</dialogue> <scene_description>The camera moves with April as she walks over to the table , where Hannah and Holly are lighting candles .</scene_description> <character>APRIL</character> <dialogue>Oh, good.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , still offscreen . )</parenthetical> <dialogue>Come in, come in.</dialogue> <character>APRIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>. because there are no interesting single men at this party!</dialogue> <character>HANNAH</character> <parenthetical>( now onscreen . )</parenthetical> <dialogue>Oh, listen.</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , waving out her match . )</parenthetical> <dialogue>I know. It's terrible!</dialogue> <character>APRIL</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>I mean, I've looked everywhere.</dialogue> <character>HANNAH</character> <parenthetical>( picking at the turkey and gesturing . )</parenthetical> <dialogue>Maybe April would like Phil. Phil Gammage, the tall guy in there by the piano.</dialogue> <scene_description>Holly groans , looking at her sister , while April sips her drink and nods .</scene_description> <character>APRIL</character> <parenthetical>( pointing to herself . )</parenthetical> <dialogue>Hm - mm. Oh, yeah. I met Phil.</dialogue> <character>HANNAH</character> <parenthetical>( looking at April , nodding . )</parenthetical> <dialogue>Mmm?</dialogue> <character>APRIL</character> <dialogue>He's the - He looks like Ichabod Crane?</dialogue> <scene_description>Hannah screams with laughter as she walks toward the end of the table , past a gleeful Holly , who points her finger at Hannah as she passes . Hannah , still laughing , playfully pushes the accusing finger away .</scene_description> <character>APRIL</character> <parenthetical>( laughing with the sisters , gesturing . )</parenthetical> <dialogue>I love that. That's my type.</dialogue> <character>HANNAH</character> <parenthetical>( shaking her head , laughing . )</parenthetical> <dialogue>I ca n't believe it!</dialogue> <scene_description>She walks over to a nearby china cabinet .</scene_description> <character>APRIL</character> <parenthetical>( nodding and looking at Hannah . )</parenthetical> <dialogue>No, really, I really like him a lot.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , laughing and gesturing . )</parenthetical> <dialogue>No, really, we must n't get discouraged.</dialogue> <scene_description>As Holly continues to tease her sister , Hannah opens a drawer in the cabinet . She takes out two apples decorated with paper turkey heads and tails and hands them to April .</scene_description> <character>HOLLY</character> <parenthetical>( fussing at the table . )</parenthetical> <dialogue>Hannah will invite some men over who do n't look like Ichabod Crane.</dialogue> <character>APRIL</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Mmm.</dialogue> <scene_description>April starts to put the turkey apples on the table . A bemused Hannah takes two more out of the cabinet and places one of them on the table as well .</scene_description> <character>HOLLY</character> <parenthetical>( straightening a table setting . )</parenthetical> <dialogue>Not this Thanksgiving, you know.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , to April , who has just set down her apples . )</parenthetical> <dialogue>Here. Be careful with those.</dialogue> <character>HOLLY</character> <parenthetical>( continuing her teasing , gesturing . )</parenthetical> <dialogue>Maybe at Christmas, New Year's. If not this New Year's, maybe next New Year's.</dialogue> <scene_description>While Holly is talking , Hannah hands her the last turkey apple , accidentally sticking her with one of the toothpicks that keeps the decorations in place .</scene_description> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Ouch!</dialogue> <character>HANNAH</character> <parenthetical>( turning to her sister in surprise . )</parenthetical> <dialogue>Oh!</dialogue> <scene_description>The film cuts to a short hallway leading to a bathroom in Hannah 's apartment . In the foreground is a standing lamp . In the background , Elliot is seen walking inside the bathroom , looking around the room . Light piano music is dimly heard .</scene_description> <character>ELLIOT</character> <parenthetical>( searching . )</parenthetical> <dialogue>Must be here someplace.</dialogue> <scene_description>He walks out of the bathroom , moving down the hallway towards the camera .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, you know, I, I love that book you lent me. The Easter Parade? You were right. It had very special meaning for me.</dialogue> <character>ELLIOT</character> <dialogue>How's Frederick? He did n't come.</dialogue> <scene_description>Elliot walks into the bedroom as Lee continues to talk offscreen . The camera , leaving Elliot , moves across the room , past a wall of framed paintings , a headboard and bed , a night table and lamp , revealing Lee . She is flipping through a book by a curtained window .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, well, you know Frederick. One of his moods. Although it was n't a bad week. He.</dialogue> <parenthetical>( onscreen . )</parenthetical> <dialogue>uh, sold a picture.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, great.</dialogue> <scene_description>The camera stays with Lee as she walks around the room , past another curtained window , a television set , and a rolltop desk . She absently flips through the book as she talks to the offscreen Elliot .</scene_description> <character>LEE</character> <dialogue>Yeah, it was, it was one of his better drawings, a very beautiful nude study. Actually, it was of me.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>It's funny, you know, it's a funny feeling to know you're being hung naked in some stranger's living room.</dialogue> <scene_description>Lee puts the book she 's been holding down on the desk , only to pick up another one . She looks at the offscreen Elliot .</scene_description> <character>LEE</character> <dialogue>Well, you ca n't tell it's me, although -.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>You're turning all red, Elliot.</dialogue> <scene_description>She reacts . The camera moves to a blushing Elliot , following him now as he walks across the room .</scene_description> <character>ELLIOT</character> <parenthetical>( laughing self - consciously . )</parenthetical> <dialogue>Really? So, so, what else? Wh - what are you up to?</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, I do n't know. My unemployment checks are running out. Um, I was thinking of taking some courses at Columbia with the last of my savings.</dialogue> <scene_description>As Lee speaks , Elliot parts a hanging curtain against the wall to reveal a stereo and some records . He looks at the offscreen Lee .</scene_description> <character>ELLIOT</character> <dialogue>Like, uh?</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I do n't know exactly.</dialogue> <scene_description>As Elliot reaches inside the stereo shelf , grabbing a bottle of antihistamines , the camera moves back to Lee , who sits down on the bed . She is still holding a book .</scene_description> <character>LEE</character> <dialogue>Uh, sociology, psychology maybe. I always thought I might like to work with children.</dialogue> <scene_description>Elliot walks over to Lee ; he sits down on a footstool in front of her .</scene_description> <character>ELLIOT</character> <parenthetical>( gesturing with the bottle of pills gripped in his hand . )</parenthetical> <dialogue>Incidentally, I - I always have clients who are furnishing places. Some of them might - might be interested in buying art. Shall I, shall I call you?</dialogue> <parenthetical>( chuckling self - consciously . )</parenthetical> <dialogue /> <character>LEE</character> <dialogue>Yeah, sure.</dialogue> <parenthetical>( taking the bottle of pills Elliot hands her . )</parenthetical> <dialogue>You know, uh, Frederick would really by grateful for a sale.</dialogue> <scene_description>She chuckles ; Elliot smiles and chuckles with her .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Hey, you guys?</dialogue> <scene_description>Elliot turns in the direction of his wife 's voice .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Dinner's ready.</dialogue> <scene_description>Hannah , eating a carrot stick , enters the bedroom . The camera stays with her momentarily as she walks towards Elliot and Lee .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, great.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You look so beautiful.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Come on.</dialogue> <character>HANNAH</character> <parenthetical>( standing by Elliot and Lee . )</parenthetical> <dialogue>Does n't she look pretty?</dialogue> <character>LEE</character> <dialogue>I bumped into your.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , agreeing with Hannah . )</parenthetical> <dialogue>Yeah.</dialogue> <character>LEE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. ex - husband on the street the other day.</dialogue> <character>HANNAH</character> <parenthetical>( biting her carrot . )</parenthetical> <dialogue>Oh, yeah?</dialogue> <character>LEE</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>He was, he's just as crazy as ever. He was on his way to get a blood test.</dialogue> <parenthetical>( laughing , Elliot joining in . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( reacting . )</parenthetical> <dialogue>God, Mickey's such a hypochondriac. I wonder how he'd handle it if there was ever anything really wrong with him?</dialogue> <character>ELLIOT</character> <parenthetical>( standing up . )</parenthetical> <dialogue>Let's go have dinner, shall we?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Mmm.</dialogue> <character>LEE</character> <parenthetical>( standing up , overlapping . )</parenthetical> <dialogue>Good idea.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - NIGHT</stage_direction> <scene_description>Everyone is seated around the table for Thanksgiving dinner . Facing the camera are Holly , Lee , Norma , and Hannah . She sits to the left of Elliot , who 's at the head of the table . On his right is Evan ; April sits next to him . She and the other guests sit with their backs to the screen . The table overflows with food , floral decorations , and candles . In the background , the children sit at a separate table ; a maid serves them turkey . The guests chatter comfortably among themselves as they eat .</scene_description> <character>EVAN</character> <parenthetical>( clanking a piece of silverware against his water glass . )</parenthetical> <dialogue>Now, ladies and gentlemen.</dialogue> <character>HOLLY</character> <parenthetical>( making a face . )</parenthetical> <dialogue>Dad.</dialogue> <scene_description>Evan continues to clank his glass to get everyone 's attention .</scene_description> <character>HOLLY</character> <dialogue>Dad.</dialogue> <character>LEE</character> <parenthetical>( reacting , to Holly . )</parenthetical> <dialogue>Oh.</dialogue> <character>HOLLY</character> <dialogue>Dad!</dialogue> <character>EVAN</character> <parenthetical>( still clanking . )</parenthetical> <dialogue>No, now.</dialogue> <character>HOLLY</character> <dialogue>I'm starving!</dialogue> <scene_description>Resigned , Holly puts down her silverware . Lee smothers a laugh . Norma , reacting , glances at Holly and Lee . Everyone knows what 's coming .</scene_description> <character>EVAN</character> <parenthetical>( clanking away . )</parenthetical> <dialogue>. this is a toast! This is a toast.</dialogue> <character>HANNAH</character> <parenthetical>( reaching across the table for Evan 's wine glass , laughing . )</parenthetical> <dialogue>Get his wine away.</dialogue> <character>EVAN</character> <dialogue>This is a toast. You know this beautiful Thanksgiving dinner was all.</dialogue> <scene_description>Holly laughs . Lee glances over to her , reacting . Hannah , embarrassed , reacts and sits with her hands on her face . Lee and the rest of the guests put down their silverware . They look at Evan , listening .</scene_description> <character>EVAN</character> <dialogue>prepared. by Hannah.</dialogue> <scene_description>Hannah , embarrassed , makes a victory sign .</scene_description> <character>HANNAH</character> <parenthetical>( modestly pointing to the maid . )</parenthetical> <dialogue>Uh, and a little help.</dialogue> <scene_description>Lee and Holly try to suppress their laughter . Norma glares at them .</scene_description> <character>NORMA</character> <parenthetical>( to her daughters . )</parenthetical> <dialogue>Hey!</dialogue> <character>HANNAH</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. from Mavis, also.</dialogue> <scene_description>Elliot wraps his arm around Hannah ; he pulls her towards him affectionately and kisses her on the cheek . She hugs him back .</scene_description> <character>ELLIOT</character> <parenthetical>( hugging Hannah . )</parenthetical> <dialogue>You bet.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , looking down the table while still in Elliot 's embrace . )</parenthetical> <dialogue>Holly and April, thanks for helping.</dialogue> <scene_description>Mavis the maid exits , carrying some trays , as the group starts to cheer and applaud . Holly waves her napkin at April , then holds up her wine glass .</scene_description> <character>EVAN</character> <parenthetical>( overlapping the noise . )</parenthetical> <dialogue>No, you did it.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , toasting her friend . )</parenthetical> <dialogue>April, April!</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>I am. I did slave all day.</dialogue> <character>EVAN</character> <parenthetical>( overlapping , holding out his wine glass . )</parenthetical> <dialogue>And we drink to her, and we all congratulate her on her wonderful accomplishment during this last year. her great success in A Doll's House!</dialogue> <scene_description>The group continues to cheer as they all toast Hannah . She reacts , smiling but embarrassed .</scene_description> <character>NORMA</character> <parenthetical>( overlapping , laughing . )</parenthetical> <dialogue>Ya - a - a - a - y!</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>I played Nora. I hate to tell you what year.</dialogue> <scene_description>The guests , sipping their wine , quiet down as Norma continues to speak . Lee and Holly unsuccessfully try to contain their laughter . Mavis reenters the dining room to serve more food to the children .</scene_description> <character>NORMA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>And it's very difficult to behave like Torvald's little chipmunk without making a perfect ass out of yourself!</dialogue> <parenthetical>( pausing while the guests laugh heartily . )</parenthetical> <dialogue>Now I think that Ibsen would have been damn proud of our Hannah!</dialogue> <scene_description>Norma toasts her daughter ; everyone follows her . The applause and cheers begin anew . Hannah , reacting , chuckles .</scene_description> <character>APRIL</character> <parenthetical>( overlapping the applause and clapping loudly . )</parenthetical> <dialogue>Speech! Speech! Speech!</dialogue> <character>NORMA</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yea - a - a - a - ah!</dialogue> <scene_description>A few guests sip their wine . They all quiet down as Hannah starts her speech , glancing around the table and gesturing .</scene_description> <character>HANNAH</character> <parenthetical>( reacting . )</parenthetical> <dialogue>I do n't know about that. Oh, no, I just, see, I - I've been very, very lucky. W - when I had the kids, I decided to stop working and just, you know, devote myself to having the family, and I've been very, very happy.</dialogue> <parenthetical>( banging her fists lightly on the table . )</parenthetical> <dialogue>but. I've always secretly hoped that maybe some little gem would come along and tempt me back on the stage.</dialogue> <character>EVAN</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>. just for a second. So, now I got that out of my system and I can go back to the thing that makes me happiest.</dialogue> <scene_description>Hannah tenderly takes Elliot 's hand as she looks around the table . He , in turn , kneads her shoulder , chuckling with equal tenderness .</scene_description> <character>EVAN</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Oh, bravo! Bravo!</dialogue> <scene_description>Hannah , still embarrassed , looks down at a plate . The group applauds once more , toasting and drinking , and warmly sounding their approval . `` We all had a terrific time . '' Classical string music plays as the film cuts to :</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN STREET - NIGHT</stage_direction> <scene_description>A taxi moves down Broadway towards the camera , passing a truck on the right , the Winter Garden marquee advertising Cats , and several buildings , and as the taxi moves offscreen , the classical music still playing , the movie cuts to the taxi 's backseat . Lee sits by the window , leaning her head in her hand , a reflective look on her face . Her voice is heard over the screen .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Is it my imagination, or does Elliot have a little crush on me?</dialogue> <parenthetical>( chuckling slightly . )</parenthetical> <dialogue>It's funny. I've had that thought before. He pays a lot of attention to me all the time, and he blushed tonight when we were alone in the bedroom. I wonder if he and Hannah are happy? It's funny, I. I still feel a little buzz from his flirting.</dialogue> </scene> <scene> <stage_direction>INT. FREDERICK'S LOFT - NIGHT</stage_direction> <scene_description>Lee stirs a cup of coffee on the counter of the loft 's modern kitchen area ; a nearby vase hold flowers . She walks across the loft , with its high ceilings and beige walls , holding her coffee .</scene_description> <character>LEE</character> <parenthetical>( to an offscreen Frederick . )</parenthetical> <dialogue>Want some coffee or tea?</dialogue> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No, thank you.</dialogue> <scene_description>Lee continues to walk , past a modern chaise , a bookcase , some sofas , two columns . Lamps hang down from the ceiling . The classical music still plays in the background . Lee stops at a plastic - enclosed work area . Frederick can be seen working at a drawing board on the other side of the clear plastic screen .</scene_description> <character>LEE</character> <parenthetical>( stirring her coffee . )</parenthetical> <dialogue>How about something to eat?</dialogue> <character>FREDERICK</character> <dialogue>No, nothing.</dialogue> <scene_description>The background music stops .</scene_description> <character>LEE</character> <dialogue>Are you sure?</dialogue> <character>FREDERICK</character> <dialogue>Absolutely.</dialogue> <character>LEE</character> <parenthetical>( walking around the screen to Frederick . )</parenthetical> <dialogue>Mmm, what am I gon na do with you?</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue /> <scene_description>As Lee walks over to the drawing board where Frederick is sitting , he is seen intently cleaning some paintbrushes with a rag . Lee stands by him , leaning over the board , and looks directly at him . The table is filled with cans of brushes and artist 's equipment .</scene_description> <character>LEE</character> <dialogue>God!</dialogue> <parenthetical>( sniffing . )</parenthetical> <dialogue>And why did n't you come tonight? We all had a terrific time. I really think you would have enjoyed yourself.</dialogue> <character>FREDERICK</character> <parenthetical>( not looking at Lee . )</parenthetical> <dialogue>I'm going through a period of my life where I just ca n't be around people.</dialogue> <parenthetical>( putting down the brushes and wiping his hands with the same rag . )</parenthetical> <dialogue>I did n't want to wind up abusing anyone.</dialogue> <character>LEE</character> <dialogue>You're not going to abuse them. They're all so sweet.</dialogue> <character>FREDERICK</character> <parenthetical>( taking off his glasses . )</parenthetical> <dialogue>Lee.</dialogue> <parenthetical>( pausing , reaching for Lee 's hand . )</parenthetical> <dialogue>you are the only person I can be with. who I really look forward to being with.</dialogue> <parenthetical>( pulling Lee to him , around the board . )</parenthetical> <dialogue /> <character>LEE</character> <parenthetical>( compliantly . )</parenthetical> <dialogue>You're too harsh with everyone. You know that, do n't you?</dialogue> <scene_description>Frederick and Lee embrace ; Lee sighs .</scene_description> <character>FREDERICK</character> <parenthetical>( looking into Lee 's eyes . )</parenthetical> <dialogue>Is n't it enough that I can love you?</dialogue> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Mmm.</dialogue> <character>FREDERICK</character> <dialogue>Hmm?</dialogue> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>. you're such a puzzle.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>So sweet with me and so. contemptuous of everyone else.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue /> <character>FREDERICK</character> <parenthetical>( sniffing . )</parenthetical> <dialogue>Well, there was a time.</dialogue> <parenthetical>( sniffing again . )</parenthetical> <dialogue>when you were very happy to be only with me. You wanted to learn everything about poetry, about music.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Mm - hm.</dialogue> <character>FREDERICK</character> <dialogue>Have I really taught you everything I have to give?</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>I do n't think so.</dialogue> <scene_description>Lee kisses Frederick twice , then releases him and walks out of the work area .</scene_description> <character>LEE</character> <parenthetical>( turning her head in Frederick 's direction . )</parenthetical> <dialogue>Oh, Elliot said he might have a couple of clients for you.</dialogue> <scene_description>Lee walks over to the loft 's stereo area , pulling up the sleeves of her sweater as Frederick talks .</scene_description> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm sure all those morons he handles have a deep feeling for art.</dialogue> <scene_description>Lee picks up a book from the stereo shelf . She leans back against the unit , glancing through its pages .</scene_description> <character>LEE</character> <parenthetical>( flipping through the book . )</parenthetical> <dialogue>Mmm.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>you never know. They might. He's just trying to do the nice thing.</dialogue> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Because he likes you.</dialogue> <character>LEE</character> <parenthetical>( looking up from the book . )</parenthetical> <dialogue>Me?</dialogue> <character>FREDERICK</character> <dialogue>Yeah.</dialogue> <scene_description>Frederick , leaving his work area , walks past Lee ; his hands are in his pockets .</scene_description> <character>FREDERICK</character> <parenthetical>( looking at Lee as he goes by . )</parenthetical> <dialogue>Elliot lusts after you.</dialogue> <character>LEE</character> <dialogue>Based on what? You never even see him.</dialogue> <scene_description>The camera stays with Frederick as he walks into the loft 's bedroom area .</scene_description> <character>FREDERICK</character> <dialogue>Based on. whenever you see him, you always come home full of books he's recommended.</dialogue> <scene_description>He sits down at the foot of the bed and starts taking off his shoes .</scene_description> <character>FREDERICK</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. or films you must see or.</dialogue> <parenthetical>( shrugging . )</parenthetical> <dialogue /> <character>LEE</character> <parenthetical>( walking over to him . )</parenthetical> <dialogue>Oh, no, no, no. He's my sister's husband. And I think if you gave him half a chance, you'd like him. He's very intelligent.</dialogue> <scene_description>Lee sits down next to Frederick ; he takes her hand .</scene_description> <character>FREDERICK</character> <dialogue>He's a glorified accountant, and he's after you.</dialogue> <parenthetical>( kissing Lee 's hand . )</parenthetical> <dialogue>And I prefer to sell my work to people who appreciate it, not to rock stars.</dialogue> <parenthetical>( kissing Lee 's face . )</parenthetical> <dialogue>You understand?</dialogue> <scene_description>Lee kisses Frederick back on the cheek . They embrace . Frederick laughs ; their embrace gets tighter .</scene_description> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Ohhh!</dialogue> <scene_description>The hypochondriac . Upbeat jazz plays in the background and continues as the film cuts to :</scene_description> </scene> <scene> <stage_direction>INT. TV STUDIO CORRIDOR - NIGHT</stage_direction> <scene_description>Metal elevator doors open and Mickey Sachs , a high - powered television producer , walks out , deep in conversation with his assistants , Paul and Larry . As the elevator operator begins to reclose the door with his passengers , Mickey , his assistants fast behind , walks down an office corridor past busy groups of studio personnel . Indistinct conversation , as well as the jazz , is heard in the background as the trio talk .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>What do you mean, they wo n't let us do the sketch?</dialogue> <character>PAUL</character> <dialogue>Talk to Standards and Practices. They think it's too dirty.</dialogue> <scene_description>The trio pass Mary , another assistant , in conversation with two other co - workers . She holds a clipboard .</scene_description> <character>MICKEY</character> <dialogue>But we showed it to them in rehearsal!</dialogue> <scene_description>Without missing a beat , he takes Mary 's wrist and continues walking .</scene_description> <character>MICKEY</character> <parenthetical>( to Paul . )</parenthetical> <dialogue>You know, what'd they do, figure out what the words mean?</dialogue> <scene_description>A foursome now , they briskly walk past a man and a woman going over a script . Mary and Mickey lead ; Paul and Larry follow .</scene_description> <character>MARY</character> <dialogue>Mickey, we got a half hour to air!</dialogue> <scene_description>As the group walks through a large doorway , Larry catches up to Mickey .</scene_description> <character>LARRY</character> <dialogue>We're short! The show is five minutes short!</dialogue> <scene_description>The group turns right into a new corridor , briefly off the screen . As they scurry off , their voices are heard .</scene_description> <character>MICKEY</character> <dialogue>How could it be short? We timed everything.</dialogue> <parenthetical>( offscreen . )</parenthetical> <dialogue>long.</dialogue> <character>PAUL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>If we have to.</dialogue> <scene_description>They are all now seen walking down the new corridor towards the camera . The corridor is crowded with busy TV personnel . The group continues to talk frantically as people hurry past them . One man pushes rudely past Mary as he walks ; she looks back at him briefly .</scene_description> <character>PAUL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. pull out the sketch, then we'll be ten minutes short!</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I do n't know how they can do that to us. That's - We go on in thirty minutes, right?</dialogue> <scene_description>Mary checks her wristwatch as they rush down the corridor .</scene_description> <character>LARRY</character> <parenthetical>( squeezing past several passersby . )</parenthetical> <dialogue>They're doing it because our ratings are low.</dialogue> <character>MICKEY</character> <parenthetical>( nervously rubbing his forehead . )</parenthetical> <dialogue>I got such a migraine.</dialogue> <scene_description>As the group briskly walks past an open door , Gail , another assistant , runs out , brandishing her glasses .</scene_description> <character>GAIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Hey, Mickey!</dialogue> <scene_description>Gail runs in front of the group . Without missing a step , she faces Mickey and walks backwards , gesturing and talking frantically .</scene_description> <character>GAIL</character> <dialogue>Mickey! Listen, we better go right to Ronny's dressing room. This kid must have taken sixteen hundred Quaaludes. I do n't think he's going to be able to do the show!</dialogue> <scene_description>The fast - tracking group turns the corner . Gail pats Mickey 's back ; she gestures in exasperation .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing towards heaven . )</parenthetical> <dialogue>Why me, Lord? What did I -</dialogue> <scene_description>He is interrupted by Ed Smythe , an official from the Standards and Practices Department , who 's been standing in the corridor waiting for Mickey . Mickey stops and shakes Ed 's hand as if he 'd known the official would be there . Gail stops by his side while the others walk into a background studio doorway that is busy with scurrying personnel .</scene_description> <character>MICKEY</character> <dialogue>You -.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Standards and Practices?</dialogue> <character>ED</character> <dialogue>Ed Smythe, yes.</dialogue> <character>MICKEY</character> <dialogue>Okay. Why, all of a sudden, is the sketch dirty?</dialogue> <parenthetical>( putting his hands on his hips . )</parenthetical> <dialogue /> <character>ED</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Child molestation is a touchy subject.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , looking at Gail . )</parenthetical> <dialogue>Could you -</dialogue> <character>ED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. with the affiliates.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping and grunting . )</parenthetical> <dialogue>Read the papers! Half the country's doing it!</dialogue> <character>ED</character> <parenthetical>( pointing at Mickey . )</parenthetical> <dialogue>Yes, but you name names.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>We nev - We do n't name names!</dialogue> <parenthetical>( turning to Gail for support , briefly touching her shoulders , then looking back at Ed . )</parenthetical> <dialogue>We say the Pope.</dialogue> <character>GAIL</character> <parenthetical>( gesturing emphatically . )</parenthetical> <dialogue>We always say the Pope!</dialogue> <character>ED</character> <dialogue>That sketch.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>We -</dialogue> <character>ED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. can not go on the air.</dialogue> <scene_description>A writer , holding a script , walks out of the background studio , looking around .</scene_description> <character>MICKEY</character> <dialogue>Oh, Je -</dialogue> <character>WRITER</character> <parenthetical>( interrupting , shouting . )</parenthetical> <dialogue>Hey!</dialogue> <scene_description>Mickey , Gail , and Ed turn towards the writer .</scene_description> <character>WRITER</character> <parenthetical>( angrily , slapping his script . )</parenthetical> <dialogue>Who changed my sketch about the PLO?</dialogue> <scene_description>Mickey and Gail walk over to the angry writer , Ed forgotten with this new crisis .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I had to make some cuts. It's four lousy lines!</dialogue> <character>WRITER</character> <dialogue>The whole premise is ruined!</dialogue> <scene_description>Mickey , Gail , and the writer start walking down a corridor adjacent to the studio .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing , trying to calm the writer down . )</parenthetical> <dialogue>Oh, you're crazy! It's not so delicate. Everybody's married to every line.</dialogue> <scene_description>The writer reacts angrily . Gail tries to get Mickey 's attention as they walk .</scene_description> <character>GAIL</character> <parenthetical>( tapping Mickey 's shoulder . )</parenthetical> <dialogue>Mickey, I can -</dialogue> <character>WRITER</character> <parenthetical>( interrupting , angrily gesturing . )</parenthetical> <dialogue>I do n't care! I do n't want anyone tampering with my goddamn work without telling me!</dialogue> <character>MICKEY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>Okay.</dialogue> <character>WRITER</character> <parenthetical>( pointing angrily . )</parenthetical> <dialogue>You want'em cut?! I'll cut'em myself!</dialogue> <scene_description>Mickey , still in surprised shock , turns away from the angry writer . He stands by an open dressing room , where Ron , an actor , slouches , dazed , in a chair facing a makeup mirror . People mill in the background behind the actor .</scene_description> <character>MICKEY</character> <parenthetical>( shrugging , distracted . )</parenthetical> <dialogue>All right, all right.</dialogue> <parenthetical>( muttering . )</parenthetical> <dialogue /> <character>GAIL</character> <parenthetical>( overlapping , trying to get Mickey 's attention and gesturing . )</parenthetical> <dialogue>Mickey, Mickey, listen, listen.</dialogue> <character>MICKEY</character> <parenthetical>( distractedly , his mind still on the writer . )</parenthetical> <dialogue>You know.</dialogue> <parenthetical>( muttering as the writer passes him and walks away . )</parenthetical> <dialogue /> <character>GAIL</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>In - in - in - instead of the child molestation sketch, why do n't we repeat the Cardinal Spellman Ronald Reagan homosexual dance number?</dialogue> <character>MICKEY</character> <parenthetical>( still distracted , looking off . )</parenthetical> <dialogue>No -</dialogue> <character>RON</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I do n't feel good, Mickey.</dialogue> <scene_description>Mickey , remembering Ron , runs into the dressing room . Gail follows him . Inside , a man and a woman talk , ignoring Ron . They share a drink in a paper cup . The woman looks back at Ron ; she gestures with disgust .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yeah, wh - Yeah, what did you do? Swallow a drugstore?!</dialogue> <scene_description>Ron coughs .</scene_description> <character>MICKEY</character> <parenthetical>( to Gail . )</parenthetical> <dialogue>Look at this guy.</dialogue> <character>GAIL</character> <parenthetical>( overlapping , touching Ron 's chair . )</parenthetical> <dialogue>Yeah?</dialogue> <character>RON</character> <parenthetical>( groaning . )</parenthetical> <dialogue>I lost my voice.</dialogue> <scene_description>Gail walks around the chair . The camera shows she and Mickey talking to Ron through the reflection in the cluttered makeup mirror .</scene_description> <character>MICKEY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Oh, Jesus!</dialogue> <character>GAIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Ron. Ronny, you know you do have to go on in twenty - five minutes.</dialogue> <scene_description>Ron sighs .</scene_description> <character>MICKEY</character> <parenthetical>( looking around , touching his stomach . )</parenthetical> <dialogue>Hey, does anybody got a Tagamet? My, my ulcer's starting to kill me!</dialogue> <character>RON</character> <parenthetical>( sighing . )</parenthetical> <dialogue>You want a Quaalude?</dialogue> <scene_description>Mickey , as reflected in the mirror , starts to pace as the movie cuts to :</scene_description> </scene> <scene> <stage_direction>EXT. BEVERLY HILLS BOULEVARD - DAY</stage_direction> <scene_description>Norman , a Los Angeles TV producer and Mickey 's former partner , is driving down a peaceful street lined with palm trees . He 's wearing sunglasses and headphones . He clicks his fingers in time to the music only he hears on his Walkman . He 's smiling contentedly while Mickey talks over the sun - filled scene . The continuous background jazz plays louder .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Christ, this show is ruining my health! Meanwhile, my ex - partner moves to California and every stupid show he produces turns out to be a big hit. Brother, what am I gon na do with my life? Speaking of that, I - I. got ta remember to see my ex - wife tomorrow. Tch.</dialogue> </scene> <scene> <stage_direction>INT. HANNAH'S APARTMENT FOYER - DAY</stage_direction> <scene_description>As Mickey finishes his ruminations , Hannah is seen walking towards her front door . She opens it , her back to the camera . Mickey stands there holding two boxed gifts . The jazz stops .</scene_description> <character>HANNAH</character> <dialogue>Hi! Hi!</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , sniffing . )</parenthetical> <dialogue>I know. I know.</dialogue> <character>HANNAH</character> <dialogue>Glad you could put in an appearance.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I got two minutes.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Very good.</dialogue> <scene_description>Hannah nods as Mickey comes inside . She closes the door behind him .</scene_description> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I got two minutes.'Cause, God, the show is killing me. I got a million appointments today. It just so happens it fell this way.</dialogue> <scene_description>Hannah continues to nod patiently , patting Mickey on the back , as they make their way across the foyer into the den , where the twins are playing . Mickey wears his coat .</scene_description> <character>MICKEY</character> <dialogue>I got ta see new comedians later, I've got ta -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Two minutes on your sons' birthday. You know, it's not going to kill you.</dialogue> <scene_description>Her voice trails off as Mickey walks over to the twins .</scene_description> <character>MICKEY</character> <dialogue>Happy Birthday, fellas! Happy Birthday!</dialogue> <scene_description>Hannah 's twins greet Mickey with cries of `` Hi , Daddy ! '' and indistinct chatter .</scene_description> <character>HANNAH</character> <parenthetical>( overlapping their chatter , bending down to talk to her sons . )</parenthetical> <dialogue>Guys, look what Daddy brought. Presents!</dialogue> <scene_description>Mickey hands a gift to each twin . They grow quiet , suddenly shy .</scene_description> <character>MICKEY</character> <parenthetical>( to his sons . )</parenthetical> <dialogue>Yeah, are n't you like, you know.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Huh?</dialogue> <character>MICKEY</character> <parenthetical>( continuing , holding out his arms . )</parenthetical> <dialogue>. a little, uh, hey! A little hug! What is this? Now how ` bout a little action from the kids?</dialogue> <scene_description>The twins put down their gifts , one on the sofa , one on the coffee table , and hug their father .</scene_description> <character>MICKEY</character> <parenthetical>( turning to Hannah . )</parenthetical> <dialogue>How is everything?</dialogue> <character>HANNAH</character> <parenthetical>( picking up the gift on the sofa and nodding . )</parenthetical> <dialogue>Everything's good. Everything's fine.</dialogue> <character>MICKEY</character> <parenthetical>( nodding , overlapping . )</parenthetical> <dialogue>Yeah? Yeah?</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Okay, kids, you can open the presents now.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Here, you guys. Open them up.</dialogue> <scene_description>Hannah makes room on the coffee table for the gift she is holding ; she places it next to the other one . The boys start opening them .</scene_description> <character>MICKEY</character> <dialogue>Let me get a little reaction here.</dialogue> <parenthetical>( to Hannah , putting his hands in his pockets . )</parenthetical> <dialogue>How's Elliot?</dialogue> <character>HANNAH</character> <dialogue>He's fine.</dialogue> <character>MICKEY</character> <dialogue>Yeah?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, you know what? I'm trying to convince him to produce a play.</dialogue> <character>MICKEY</character> <dialogue>Oh!</dialogue> <character>HANNAH</character> <dialogue>I think he'll find that satisfying.</dialogue> <character>MICKEY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Really? That'll be terrific for him, I think.</dialogue> <character>HANNAH</character> <dialogue>I think so.</dialogue> <character>MICKEY</character> <dialogue>I like him. I think he's a sweet guy.</dialogue> <character>HANNAH</character> <parenthetical>( stroking one of the twins ' backs . )</parenthetical> <dialogue>Yeah.</dialogue> <character>MICKEY</character> <dialogue>The few times that I've met him.</dialogue> <parenthetical>( pointing to the baseball mitt twin # 1 , has taken out of his box . )</parenthetical> <dialogue>Is n't that a great mitt?</dialogue> <character>TWIN #1</character> <dialogue>Thank you, Daddy.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping to Hannah . )</parenthetical> <dialogue>'Cause he's a loser.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , to Twin # 1 . )</parenthetical> <dialogue>Ohh!</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>H - he's so awkward and he's clumsy like me.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , chuckling . )</parenthetical> <dialogue>I know, I know.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>. so I, so I like that. I always like an underconfident person.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , touching the mitt and reacting . )</parenthetical> <dialogue>That's really nice!</dialogue> <character>MICKEY</character> <parenthetical>( still rambling on , gesturing to Hannah . )</parenthetical> <dialogue>. you know? I, uh.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You know, he's been wanting a mitt.</dialogue> <scene_description>She helps Twin # 2 open his present . It 's a football .</scene_description> <character>MICKEY</character> <dialogue>You've always had good taste in husbands, so.</dialogue> <character>HANNAH</character> <parenthetical>( chuckling and nodding . )</parenthetical> <dialogue>Thanks, thanks.</dialogue> <character>MICKEY</character> <dialogue>Mh - hm.</dialogue> <character>HANNAH</character> <parenthetical>( leaning down to look at the football . )</parenthetical> <dialogue>That's a beauty!</dialogue> <character>MICKEY</character> <dialogue>Is n't that great?</dialogue> <character>HANNAH</character> <dialogue>Oh!</dialogue> <character>MICKEY</character> <parenthetical>( pointing , to Twin # 2 . )</parenthetical> <dialogue>Go right over there.</dialogue> <character>HANNAH</character> <dialogue>Football!</dialogue> <scene_description>Twin # 2 , panting , runs offscreen to catch the football .</scene_description> <character>MICKEY</character> <parenthetical>( to the offscreen twin . )</parenthetical> <dialogue>Come on! Hurry up! Let's go!</dialogue> <character>HANNAH</character> <parenthetical>( looking offscreen at twin # 2 . )</parenthetical> <dialogue>Wow!</dialogue> <character>MICKEY</character> <parenthetical>( still pointing , gearing up for the pass . )</parenthetical> <dialogue>Go out, go out by the Sung vase and, and catch this.</dialogue> <scene_description>Mickey throws the football .</scene_description> <character>MICKEY</character> <dialogue>See?</dialogue> <parenthetical>( whistling . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( pointing offscreen . )</parenthetical> <dialogue>Hey, d - Watch, watch the picture.</dialogue> <scene_description>There 's a sound of breaking glass . Hannah and Mickey react .</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET - DAY</stage_direction> <scene_description>Mickey is walking up a West Side street , his hands in his coat pockets . Jazz plays in the background as he talks over the screen .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Gee, Hannah's sweet. Although, sometimes I still do get angry when I think of things. Oh, what the hell. At least, I'm not paying child support.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>Oh, God, I hope there's nothing physically wrong with me, either.</dialogue> <scene_description>Mickey pushes open the outside door of Dr. Abel 's office , as the movie cuts to the doctor 's consultation room . The doctor is framed in the doorway , looking through a file cabinet .</scene_description> <character>DR. ABEL</character> <parenthetical>( taking out Mickey 's file . )</parenthetical> <dialogue>So what's the, uh, problem this time?</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>This time I really think I have something.</dialogue> <scene_description>While Mickey answers him offscreen , Dr. Abel turns and walks toward him . The camera follows the doctor 's movements from the other side of the wall , obscuring him briefly . It moves across a dark examining - room wall to a second doorway , where Mickey sits on a stool , continuing to talk to the offscreen Dr. Abel .</scene_description> <character>MICKEY</character> <parenthetical>( onscreen . )</parenthetical> <dialogue>I mean, I'm absolutely convinced that - that - You know, I mean, it's not like that adenoidal thing, you know, where I did n't realize I had them out.</dialogue> <scene_description>Dr. Abel walks back onscreen . Both he and Mickey are now seen through the second doorway . Dr. Abel sniffs and stands directly in front of the sitting Mickey . He stares down at him as Mickey talks .</scene_description> <character>MICKEY</character> <parenthetical>( continuing , gesturing . )</parenthetical> <dialogue>So, so, but it was when I was younger, so -</dialogue> <character>DR. ABEL</character> <parenthetical>( overlapping , interrupting . )</parenthetical> <dialogue>You know, I saw your father this week about his sinus.</dialogue> <character>MICKEY</character> <parenthetical>( folding his arms on his chest . )</parenthetical> <dialogue>Mm - hm.</dialogue> <character>DR. ABEL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. and, uh, he complained of chest pains.</dialogue> <character>MICKEY</character> <dialogue>Well, this guy's the real hypochondriac of the family. I mean, he's, you know, he's -</dialogue> <character>DR. ABEL</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>You mentioned on the phone that you'd had some dizziness.</dialogue> <character>MICKEY</character> <parenthetical>( rubbing his hands on his knees . )</parenthetical> <dialogue>Yes, a little dizziness, and I think, I think I'm developing a hearing loss in my right ear.</dialogue> <parenthetical>( poking at his ears and gesturing . )</parenthetical> <dialogue>. or my left ear, my, my left. oh, n - n - n - no. No, I'm sorry. It was my right, my right, my right or my left ear.</dialogue> <scene_description>Dr. Abel chuckles .</scene_description> <character>MICKEY</character> <parenthetical>( nodding and gesturing . )</parenthetical> <dialogue>Now I ca - ca n't remember.</dialogue> <character>DR. ABEL</character> <dialogue>Let's take a look.</dialogue> <scene_description>An uptempo big - band sound is heard as the movie cuts to Mickey 's examination , beginning with a close - up of Dr. Abel using an otoscope to examine the ear of a nervous Mickey . Next is a hearing test . The film shows the doctors 's hands turning the dials on a sonometer . Mickey sits on a nearby high stool , large earphones on his head . He listens with such concentration that he squints his eyes . He holds up a finger in response to the sounds he hears in his headset . Finally , the film shows Dr. Abel hitting a large turning fork with his finger . He puts the vibrating fork to Mickey 's ear . Mickey , looking up at the offscreen doctor 's face , nods . The music stops as the film cuts back to Dr. Abel 's consultation room . Dr. Abel walks from the examining room , through the consultation room , to a second examining room across the way . He talks to the offscreen Mickey as he walks .</scene_description> <character>DR. ABEL</character> <dialogue>Well, I'm sorry to say you have had a significant drop in the high - decibel range of your right ear.</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Really?!</dialogue> <scene_description>Dr. Abel moves offscreen in the second examining room . The camera stays focused on the doorway to this room as the doctor and Mickey talk offscreen .</scene_description> <character>DR. ABEL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Have you been exposed to a loud noise recently, or did you have a virus?</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No, I - I've been perfectly healthy. You know me.</dialogue> <scene_description>Dr. Abel briefly passes by the doorway .</scene_description> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I always, I - I always imagine that I have things.</dialogue> <character>DR. ABEL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>When did you first notice this?</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, uh, about a month ago. Wha - what do I have?</dialogue> <scene_description>Looking preoccupied , Dr. Abel walks back into the consultation room , holding Mickey 's open file . He strides over to his desk , revealing a frightened Mickey , sitting in a chair opposite it . Still standing , the doctor leans over the desk , his back to the camera , and makes a few notes in the file .</scene_description> <character>DR. ABEL</character> <dialogue>You've had some dizzy spells.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>What about ringing and buzzing? Have you, uh, noticed any of that?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yes, now - now that you mention it, uh, I - I - I have, uh, buzzing and also ringing. Ringing and buzzing. Um, am I going deaf, or something?</dialogue> <character>DR. ABEL</character> <parenthetical>( making more notes in the file . )</parenthetical> <dialogue>And it's just in one ear?</dialogue> <character>MICKEY</character> <parenthetical>( picking at his fingers . )</parenthetical> <dialogue>Yes, is it, is it, uh, healthier to have problems in both ears?</dialogue> <scene_description>Dr. Abel chuckles as he closes Mickey 's file and straightens up . The camera looks past his back and shoulders to the anxious Mickey .</scene_description> <character>DR. ABEL</character> <parenthetical>( his face offscreen . )</parenthetical> <dialogue>What I'd like to do, is to make an appointment for you at the hospital. I'd like to have them run some tests.</dialogue> <character>MICKEY</character> <dialogue>The hospital? What kind of tests?</dialogue> <scene_description>Dr. Abel lays his pen across Mickey 's closed file . He walks around his desk and sits on its edge close to Mickey .</scene_description> <character>DR. ABEL</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Now, do n't get alarmed. These are just more sophisticated audiometry tests than I can run here.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>I mean, it's, it's nothing.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, if it's nothing, then why do I have to go into the hospital at all? I mean, uh, I hear perfectly fine, so I'm, so I'm a little weak on the, on the high decibels. So I, you know, I wo n't go to the opera.</dialogue> <character>DR. ABEL</character> <parenthetical>( sniffing . )</parenthetical> <dialogue>You know, there's no reason for panic. I just want to rule out some things.</dialogue> <character>MICKEY</character> <dialogue>Like what?</dialogue> <character>DR. ABEL</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>It's nothing. Will you trust me?</dialogue> </scene> <scene> <stage_direction>EXT. STREET CORNER - DAY</stage_direction> <scene_description>Mickey stands in a telephone booth on a corner near Dr. Abel 's office ; he talks on the phone . It is raining . A man and a woman holding an umbrella pass by ; traffic moves across a nearby intersection .</scene_description> <character>MICKEY</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Huh, uh, hello, Dr. Wilkes? Dr. Wilkes, this is Mickey Sachs. You have a minute? I want to ask you a question.</dialogue> <scene_description>The film cuts to Dr. Wilkes , on the telephone at his end . He is in his office ; he leans back in his chair , dangling his stethoscope as he speaks . Behind him , a chest X - ray is mounted on a light panel .</scene_description> <character>DR. WILKES</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Sure, Mickey. What's up?</dialogue> <scene_description>The movie cuts back and forth between Mickey in his phone booth asking questions and Dr. Wilkes in his office answering them .</scene_description> <character>MICKEY</character> <parenthetical>( into the telephone , gesturing . )</parenthetical> <dialogue>I - if you have, i - if you have a hearing loss in one ear, and - and it's not from a, uh, virus or a loud noise or anything, wh - what are the possibilities?</dialogue> <character>DR. WILKES</character> <parenthetical>( into his telephone . )</parenthetical> <dialogue>Anything. Uh, often it's hereditary. Flu, uh, even a small noise will do it.</dialogue> <character>MICKEY</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Uh, right, but - but nothing worse?</dialogue> <character>DR. WILKES</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Well, yes, I guess the, uh, dark side of the spectrum is a brain tumor.</dialogue> <character>MICKEY</character> <parenthetical>( into the telephone , reacting with a blank stare . )</parenthetical> <dialogue>Really?</dialogue> </scene> <scene> <stage_direction>INT. MICKEY'S OFFICE - NIGHT</stage_direction> <scene_description>Gail , wearing her glasses , stands behind a crowded but well - ordered desk . Two assistants , a man and a woman , stand around her .</scene_description> <character>GAIL</character> <parenthetical>( handing them each some pages of script . )</parenthetical> <dialogue>Okay, so here's the new pages.</dialogue> <character>WOMAN</character> <parenthetical>( looking over the pages . )</parenthetical> <dialogue>Say, did cards get these?</dialogue> <character>GAIL</character> <parenthetical>( scratching her head . )</parenthetical> <dialogue>No, not yet. No.</dialogue> <character>MAN</character> <parenthetical>( looking over his pages . )</parenthetical> <dialogue>Well, let's hope it's good.</dialogue> <character>GAIL</character> <dialogue>Yeah, really. Really.</dialogue> <scene_description>The assistants walk off . As they leave , Gail calls out after them .</scene_description> <character>GAIL</character> <dialogue>Eh, we'll be down in a minute, okay?</dialogue> <scene_description>The telephone starts to ring , Gail pauses , looking offscreen . She takes off her glasses and squints .</scene_description> <character>GAIL</character> <dialogue>Mickey, what's the matter with you? You're all white!</dialogue> <scene_description>The film cuts to Mickey , who is pacing and wringing his hands . He walks over to Gail . The phone continues to ring .</scene_description> <character>MICKEY</character> <dialogue>I feel dizzy. Sshh, you know, I do n't feel well.</dialogue> <scene_description>He starts to pant , looking worriedly around the room . He continues to wring his hands as Gail stares at him , concerned .</scene_description> <character>MICKEY</character> <dialogue>Do you hear a ringing? Is there, is there a, is there a ringing sound?</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue /> <character>GAIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yeah. Yeah, yeah. I hear, I hear it.</dialogue> <scene_description>She sits down and picks up the phone .</scene_description> <character>MICKEY</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>N - n - no, not that.</dialogue> <character>GAIL</character> <parenthetical>( overlapping , into the telephone . )</parenthetical> <dialogue>Hello?</dialogue> <character>MICKEY</character> <parenthetical>( covering first one ear , then the other , continuing . )</parenthetical> <dialogue>Like -.</dialogue> <parenthetical>( putting a finger into his ear , closing his eyes and listening . )</parenthetical> <dialogue /> <character>GAIL</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Uh, yeah, yeah. We're going to be working late tonight. N - no, we'll order out. It's all right. Yeah.</dialogue> <scene_description>Gail hangs up the phone .</scene_description> <character>MICKEY</character> <parenthetical>( turning to Gail , gesturing nervously . )</parenthetical> <dialogue>Sssss, if I have a brain tumor, I do n't know what I'm gon na do.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue /> <character>GAIL</character> <dialogue>You do n't have a brain tumor. He did n't say you had a brain tumor.</dialogue> <character>MICKEY</character> <parenthetical>( sighing . )</parenthetical> <dialogue>No, naturally.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>they're not gon na tell you, because, well, you know, th -, sometimes the weaker ones will panic if you tell'em.</dialogue> <character>GAIL</character> <parenthetical>( pointing a finger at Mickey . )</parenthetical> <dialogue>But not you.</dialogue> <character>MICKEY</character> <parenthetical>( flinging up his arms , sighing . )</parenthetical> <dialogue>Oh, God!</dialogue> <parenthetical>( looking around worriedly and touching Gail 's shoulder . )</parenthetical> <dialogue>Do you hear a buzzing? Is there a buzzing?</dialogue> <scene_description>He pants and begins to pace around the room . The camera follows him as he walks away from Gail .</scene_description> <character>GAIL</character> <parenthetical>( impatiently . )</parenthetical> <dialogue>Mickey, come on, we got a show to do!</dialogue> <character>MICKEY</character> <parenthetical>( pacing . )</parenthetical> <dialogue>I ca n't keep my mind on the show.</dialogue> <character>GAIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>But there's nothing wrong with you.</dialogue> <character>MICKEY</character> <parenthetical>( sighing and gesturing . )</parenthetical> <dialogue>If there's nothing wrong with me.</dialogue> <parenthetical>( pacing back to the desk and Gail . )</parenthetical> <dialogue>then why does he want me to come back for tests?!</dialogue> <character>GAIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, he has to rule out certain things.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue /> <character>MICKEY</character> <dialogue>Like what?! What?</dialogue> <character>GAIL</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>I do n't know. Cancer, I -</dialogue> <character>MICKEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Do n't say that! I do n't want to hear that word!</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>Do n't mention that while I'm in the building.</dialogue> <character>GAIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>But you do n't have any symptoms!</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>You - I got the classic symptoms of a brain tumor!</dialogue> <scene_description>Mickey sighs .</scene_description> <character>GAIL</character> <dialogue>Two months ago, you thought you had a malignant melanoma.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Naturally, I, I - Do you know I - The sudden appearance of a black spot on my back!</dialogue> <character>GAIL</character> <dialogue>It was on your shirt!</dialogue> <character>MICKEY</character> <parenthetical>( sighing . )</parenthetical> <dialogue>I - How was I to know?!</dialogue> <parenthetical>( pointing to his back . )</parenthetical> <dialogue>Everyone was pointing back here.</dialogue> <scene_description>He sighs again as Gail , frustrated , gestures impatiently to the papers on the desk .</scene_description> <character>GAIL</character> <dialogue>Come on, we've got to make some booking decisions.</dialogue> <scene_description>Mickey begins pacing around the room again . He wrings his hands and blows on them .</scene_description> <character>MICKEY</character> <dialogue>I ca n't. I ca n't think of it. This morning, I was so happy, you know. Now I, I do n't know what went wrong.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue /> <character>GAIL</character> <dialogue>Eh, you were miserable this morning! We got bad reviews, terrible ratings, the sponsors are furious.</dialogue> <character>MICKEY</character> <parenthetical>( pacing back to the desk , still wringing his hands . )</parenthetical> <dialogue>No, I was happy, but I just did n't realize I was happy.</dialogue> <scene_description>The Stanislavski Catering Company in action . Sophisticated pop music plays as the film cuts to :</scene_description> </scene> <scene> <stage_direction>INT. LOFT - DAY</stage_direction> <scene_description>An abstract painting on a wall fills the screen . Light laughter is heard , as well as the sophisticated music ; offscreen brunch guests chatter indistinctly .</scene_description> <character>FEMALE BRUNCH GUEST</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>These things are delicious! What in the world are they?</dialogue> <scene_description>Holly walks onto the screen in front of the painting . She holds an almost empty tray of hors d'oeuvres ; she wears a uniform .</scene_description> <character>HOLLY</character> <dialogue>Oh, um, those are quail eggs.</dialogue> <character>FEMALE BRUNCH GUEST</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, they're very good.</dialogue> <scene_description>Holly walks past the painting towards the female brunch guest . A man walks in front of her . Chatter , light laughter , and music are still heard ; a party is in progress .</scene_description> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah, my friend April makes those.</dialogue> <parenthetical>( holding out the tray . )</parenthetical> <dialogue>Here, try the shrimp puffs. These are delicious.</dialogue> <character>FEMALE BRUNCH GUEST</character> <parenthetical>( taking one from the tray . )</parenthetical> <dialogue>Oh, thank you. That looks great.</dialogue> <character>HOLLY</character> <dialogue>I make those.</dialogue> <character>FEMALE BRUNCH GUEST</character> <dialogue>Mmm. Thanks.</dialogue> <scene_description>Holly laughs lightly as she walks away from the woman . Holding her tray , she passes a large oval loft window and several clusters of brunch guests . They are eating and drinking . No one pays any attention to her .</scene_description> <character>HOLLY</character> <parenthetical>( to two male guests in her way . )</parenthetical> <dialogue>Excuse me.</dialogue> <scene_description>One of the men , murmuring his thanks , takes a last shrimp puff as Holly passes .</scene_description> <character>HOLLY</character> <parenthetical>( to the man . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Holly finally makes her way into the cluttered loft kitchen . Her tray is empty .</scene_description> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>The Stroganoff is ready.</dialogue> <scene_description>Holly , excited , runs over to April , who is busy taking the Stroganoff out of the oven . She wears the same uniform as Holly : black skirt , white shirt , and black bowtie .</scene_description> <character>HOLLY</character> <parenthetical>( animatedly . )</parenthetical> <dialogue>We're a big hit.</dialogue> <character>APRIL</character> <dialogue>Oh, in this we're a big hit. Yesterday I auditioned for Come Back Little Sheba. That, I was n't such a big hit.</dialogue> <scene_description>April , holding the Stroganoff , dashes out of the kitchen to serve the party guests . Holly calls after her , offscreen , as David walks past the hurrying April into the kitchen .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You will be. You will be. You'll get five jobs next week.</dialogue> <scene_description>David walks over to Holly , who is busy at the pot - and - pan - covered stove .</scene_description> <character>DAVID</character> <parenthetical>( to Holly . )</parenthetical> <dialogue>Excuse me, are there any more claims?</dialogue> <character>HOLLY</character> <parenthetical>( gesturing at some canapés warming on the stove . )</parenthetical> <dialogue>Only a few. A few.</dialogue> <parenthetical>( chuckling as David takes one . )</parenthetical> <dialogue>Do you like'em?</dialogue> <character>DAVID</character> <dialogue>I ca n't resist.</dialogue> <character>HOLLY</character> <parenthetical>( busily working at the stove . )</parenthetical> <dialogue>Really? How flattering! Did you try the shrimp puffs?</dialogue> <character>DAVID</character> <parenthetical>( eating a canapé and pointing at Holly . )</parenthetical> <dialogue>Listen, you guys are too attractive to be caterers. Something's wrong.</dialogue> <character>HOLLY</character> <dialogue>We're actresses.</dialogue> <character>DAVID</character> <dialogue>Is this your first job?</dialogue> <character>HOLLY</character> <parenthetical>( grabbing a quiche from an overhead stove . )</parenthetical> <dialogue>Really? Is the food that bad?</dialogue> <character>DAVID</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Oh no. Not at all.</dialogue> <scene_description>As Holly carries the quiche outside to the party , April comes back into the kitchen from another doorway . Music , as well as the chatter of mingling guests , is heard in the background .</scene_description> <character>APRIL</character> <dialogue>We need more bread and some baked lasa -.</dialogue> <parenthetical>( realizing Holly is n't there and , at the same time , noticing David . )</parenthetical> <dialogue>uh, lasagne.</dialogue> <parenthetical>( turning to David . )</parenthetical> <dialogue>Hi.</dialogue> <character>DAVID</character> <parenthetical>( standing by the sink as he wipes his hands and mouth with a napkin . )</parenthetical> <dialogue>I know. You're an actress with a great flair for shrimp puffs.</dialogue> <character>APRIL</character> <parenthetical>( working at the stove , pointing a finger for emphasis . )</parenthetical> <dialogue>Uh, no, the shrimp puffs are Holly's. I do the, uh, crêpes caviar.</dialogue> <scene_description>She walks past David to a counter where she begins to fold napkins . David leans back against the sink .</scene_description> <character>DAVID</character> <dialogue>And the quail is responsible for the quail eggs.</dialogue> <character>APRIL</character> <parenthetical>( turning to David and chuckling . )</parenthetical> <dialogue>Well, let's hope so.</dialogue> <scene_description>Holly enters the kitchen holding out a plate of clams . She walks over to David .</scene_description> <character>HOLLY</character> <dialogue>Here, I stole you a couple of extra clams.</dialogue> <character>DAVID</character> <parenthetical>( taking the plate . )</parenthetical> <dialogue>Ah!</dialogue> <character>HOLLY</character> <parenthetical>( looking busily around the room . )</parenthetical> <dialogue>Now.</dialogue> <character>DAVID</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>Incidentally, I'm David Tolchin.</dialogue> <character>APRIL</character> <parenthetical>( turning to David . )</parenthetical> <dialogue>Oh, uh, April Knox. Hi.</dialogue> <scene_description>They shake hands .</scene_description> <character>DAVID</character> <parenthetical>( looking at her . )</parenthetical> <dialogue>Hi.</dialogue> <character>APRIL</character> <parenthetical>( leaving the counter and squeezing past David and Holly . )</parenthetical> <dialogue>Oh.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , moving out of April 's way . )</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>April walks offscreen to another area of the kitchen . Holly picks up a napkin from the crowded table .</scene_description> <character>DAVID</character> <parenthetical>( overlapping Holly 's apology , turning to her . )</parenthetical> <dialogue>You're Holly.</dialogue> <character>HOLLY</character> <parenthetical>( nodding , looking at David as she wipes her hands with the napkin . )</parenthetical> <dialogue>Yeah, we're the Stanislavski Catering Company.</dialogue> <character>DAVID</character> <parenthetical>( chewing on a clam canapé . )</parenthetical> <dialogue>Now I'm going to tell you the truth. I really came in here because I was bored stiff by the party.</dialogue> <character>HOLLY</character> <parenthetical>( laughing , still wiping her hands . )</parenthetical> <dialogue>What makes you think we're more interesting?</dialogue> <scene_description>David walks around the table , putting the plate of clams down on the already crowded surface . Holly follows him , chuckling , throwing her napkin into an offscreen garbage can as David stops at a small television set near the doorway . Guests in the other room can be seen chatting together in clusters .</scene_description> <character>DAVID</character> <parenthetical>( turning on the set . )</parenthetical> <dialogue>Actually, I'm going to listen to Aida, if I'm not getting in your way.</dialogue> <scene_description>Canned laughter and miscellaneous chatter is heard from the television set . David watches the set , still munching on a clam , while Holly and April reassure him offscreen .</scene_description> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No. no. No -.</dialogue> <parenthetical>( sniffing . )</parenthetical> <dialogue /> <character>HOLLY</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Not at all.</dialogue> <scene_description>David checks his wristwatch as Holly walks over to him .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing , fiddling with another napkin . )</parenthetical> <dialogue>We saw, um, Pavarotti, eh, uh, in Ernani at the Met, and I cried.</dialogue> <character>DAVID</character> <parenthetical>( nodding , his hand still on his watch as he looks at Holly . )</parenthetical> <dialogue>I cry at the opera.</dialogue> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, I - I - I go limp in the last scene in La Traviata. Limp.</dialogue> <scene_description>Holly chuckles as David , listening to April , impressed , walks over to her . She is standing by the table .</scene_description> <character>DAVID</character> <parenthetical>( nodding , to April . )</parenthetical> <dialogue>Me, too. I have a private box at the Met.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>I bring my little bottle of wine, I open it, I sit there and I watch and.</dialogue> <parenthetical>( glancing over to the offscreen Holly . )</parenthetical> <dialogue>I cry. It's disgusting.</dialogue> <scene_description>April chuckles as Holly walks back onscreen ; she is busy preparing another tray of hors d'oeuvres .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Oh, what, what do you do?</dialogue> <character>DAVID</character> <parenthetical>( nodding . )</parenthetical> <dialogue>I'm an architect.</dialogue> <character>APRIL</character> <dialogue>Wha -.</dialogue> <parenthetical>( turning to glance at Holly . )</parenthetical> <dialogue>What kind of things do you build?</dialogue> <character>DAVID</character> <dialogue>Are you really interested?</dialogue> <character>APRIL</character> <dialogue>Yeah.</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <character>DAVID</character> <dialogue>What time do you get off?</dialogue> <scene_description>The three exchange glances . Holly shrugs .</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN STREET - DAY</stage_direction> <scene_description>A contemporary red building , designed by David , is seen , squeezed in between two older buildings . Holly , April , and David talk offscreen .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Wow, it's the red one?</dialogue> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, it's magnificent!</dialogue> <character>DAVID</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yeah.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>It's terrific!</dialogue> <scene_description>The film moves down from the buildings to reveal the trio sitting in David 's Jaguar across the street . David and April sit in the front seat ; Holly sits scrunched up in back , her head slightly forward .</scene_description> <character>DAVID</character> <parenthetical>( gesturing , looking back and forth from the buildings to Holly and April . )</parenthetical> <dialogue>The design's deliberately noncontextural. But I wanted to. keep the atmosphere of the street, you know, and the proportions.</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>DAVID</character> <dialogue>And in the material. That's. that's unpolished red granite.</dialogue> <parenthetical>( pausing as he watches Holly and April 's reaction . )</parenthetical> <dialogue /> <character>HOLLY</character> <dialogue>Oh!</dialogue> <character>APRIL</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, is that what it is?</dialogue> <character>HOLLY</character> <parenthetical>( starting to speak . )</parenthetical> <dialogue>Uh -</dialogue> <character>APRIL</character> <parenthetical>( interrupting , nodding at Holly . )</parenthetical> <dialogue>I - i - it has an o - organic quality, you know.</dialogue> <character>HOLLY</character> <parenthetical>( nodding , overlapping . )</parenthetical> <dialogue>Right.</dialogue> <character>APRIL</character> <parenthetical>( looking back at the building with reverence . )</parenthetical> <dialogue>It's almost. almost, uhhh, entirely wholly interdependent, if you know what I mean. I - I. I ca n't put it into words. The important thing is - is - is it - it breathes.</dialogue> <character>DAVID</character> <parenthetical>( turning to April , emphatically . )</parenthetical> <dialogue>You know, April, people pass by vital structures in this city all the time, and they never take the time to appreciate them. I get the feeling you tune in to your environment.</dialogue> <character>APRIL</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Oh -</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , gesturing and nodding . )</parenthetical> <dialogue>Oh, it's really important.</dialogue> <scene_description>David turns and briefly glances at Holly ; he then turns back to April .</scene_description> <character>APRIL</character> <parenthetical>( looking only at David . )</parenthetical> <dialogue>What are your favorite buildings, David?</dialogue> <character>DAVID</character> <dialogue>You want to see some?</dialogue> <character>APRIL</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Oh, yeah.</dialogue> <character>DAVID</character> <dialogue>Well, let's do it.</dialogue> <character>APRIL</character> <parenthetical>( looking at David . )</parenthetical> <dialogue>Great.</dialogue> <scene_description>David starts the car and the movie cuts to an unfolding visual excursion through New York City 's landmark buildings , as seen from the trio 's point of view in the moving Jaguar . Inspiring classical music plays in the background . The series of shots includes the Dakota , complete with surrounding winter trees , the Graybar building on Lexington Avenue , an incredibly ornate building on Seventh Avenue and Fifty - eighth Street , a red - stone church , an old building with embellished , bulging windows on West Forty - fourth Street , the Art Deco Chrysler Building , a red - brick building , Abigail Adams 's old stone house , and the Pomander Walk nestled off Broadway on the Upper West Side . The group can be seen walking down the path between the old - fashioned row houses and shrubbery . A lamppost sits in the foreground . It is now dark . The music continues to play as the film cuts to the façade of a rococo - style building , complete with French doors and ornate windows . The admiring group is heard offscreen .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, it's just so romantic. I just want to put on a long gown.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Yes.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , continuing . )</parenthetical> <dialogue>. and open the French doors and go on the balcony -</dialogue> <character>APRIL</character> <parenthetical>( offscreen , interrupting . )</parenthetical> <dialogue>It's French, though. It really is.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yeah.</dialogue> <character>APRIL</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>It feels like you're in France.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>It - it is. It's romantic.</dialogue> <scene_description>The music stops . The screen , which has been exploring the rococo building 's façade , now shows the equally elegant building alongside it .</scene_description> <character>DAVID</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>And it's got a handsome partner sitting right beside it.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yeah.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>They fit right in together. And your eye goes along, lulled into complacency, and then.</dialogue> <scene_description>The film moves from the two elegant façade to show an ugly , ultra - modern structure covered with tiny , diamond - shaped motifs .</scene_description> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>That's just -</dialogue> <character>DAVID</character> <parenthetical>( offscreen , interrupting . )</parenthetical> <dialogue>Look at this.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>That's disgusting!</dialogue> <character>APRIL</character> <parenthetical>( offscreen , continuing . )</parenthetical> <dialogue>. a monstrosity! Who would do that?</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>It's really terrible.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , emphatically . )</parenthetical> <dialogue>It's really sad.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>And it ruins everything else.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , agreeing . )</parenthetical> <dialogue>It does.</dialogue> <scene_description>The film moves from the ugly façade to the building 's equally ugly entrance . A large car is parked right in front of the building .</scene_description> <character>APRIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Well. we have seen a lot of stuff today, though.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , chuckling . )</parenthetical> <dialogue>Yeah.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Yeah.</dialogue> <character>APRIL</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>A lot of works.</dialogue> <scene_description>The group is now seen walking down the canopied entrance stairs of an apartment house on the other side of the street , where they 'd been gazing at both the lovely and ugly façades across the way . David is in the lead ; the women follow , Holly slightly behind April .</scene_description> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <character>DAVID</character> <parenthetical>( glancing at his watch . )</parenthetical> <dialogue>Maybe we should start thinking about going home, huh?</dialogue> <character>HOLLY</character> <dialogue>Fast.</dialogue> <character>APRIL</character> <dialogue>Oh, geez, yeah.</dialogue> <character>HOLLY</character> <parenthetical>( overlapped . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>They walk towards the car .</scene_description> <character>DAVID</character> <parenthetical>( looking back at the women as he walks around the car to the driver 's side . )</parenthetical> <dialogue>Uh, who gets dropped first?</dialogue> <character>APRIL</character> <dialogue>Uh -</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , looking at April . )</parenthetical> <dialogue>Oh, gee, I do n't know. Um.</dialogue> <character>DAVID</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Well.</dialogue> <character>APRIL</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Well, I live downtown.</dialogue> <character>HOLLY</character> <parenthetical>( glancing at April . )</parenthetical> <dialogue>Yeah, I, we both live downtown.</dialogue> <scene_description>David leans over the roof of the car , looking at the women , waiting for their decision .</scene_description> <character>APRIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Uh.</dialogue> <character>HOLLY</character> <parenthetical>( to David . )</parenthetical> <dialogue>It depends on what way you want to go.</dialogue> <character>APRIL</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Well, wait. You know what? I know.</dialogue> <character>HOLLY</character> <dialogue>Uh.</dialogue> <character>APRIL</character> <parenthetical>( to Holly , gesturing . )</parenthetical> <dialogue>If. well, if we took the, if we took Fifth, then - then - then we'd get to your house first, yeah?</dialogue> <character>DAVID</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>We could. we could do that.</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Right. Yeah, but Fifth is so jammed, is n't it?</dialogue> <scene_description>She looks at David .</scene_description> <character>APRIL</character> <parenthetical>( overlapping , to Holly . )</parenthetical> <dialogue>Well, sometimes, some, uh.</dialogue> <character>HOLLY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I mean, it's jammed. If we went. um.</dialogue> <scene_description>Both she and April mumble awkwardly .</scene_description> <character>DAVID</character> <parenthetical>( pointing to Holly , interrupting their chatter . )</parenthetical> <dialogue>Y - you live in Chelsea, do n't you?</dialogue> <character>HOLLY</character> <parenthetical>( nodding at David . )</parenthetical> <dialogue>Yes.</dialogue> <character>DAVID</character> <dialogue>Well, I - I guess if you live in Chelsea, that's probably first.</dialogue> <character>HOLLY</character> <parenthetical>( nodding nervously . )</parenthetical> <dialogue>Oh, okay.</dialogue> <character>APRIL</character> <dialogue>Yeah.</dialogue> <character>DAVID</character> <dialogue>And then, uh, April. huh?</dialogue> <character>APRIL</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Great.</dialogue> <scene_description>They get into the car . Once again Holly 's in the backseat . The classical music begins anew . The movie cuts briefly to cut to the traffic and lights of a Manhattan avenue as seen from the moving Jaguar . It then moves to a close - up of Holly , sitting in the backseat , her head near the window . She is staring straight ahead .</scene_description> <character>HOLLY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Naturally I get taken home first. Well, obviously he prefers April. Of course I was so tongue - tied all night. I ca n't believe I said that about the Guggenheim. My stupid little roller - skating joke. I should never tell jokes. Mom can tell'em and Hannah, but I kill'em.</dialogue> <parenthetical>( glaring at the offscreen April 's back . )</parenthetical> <dialogue>Where did April come up with that stuff about Adolph Loos and terms like `` organic form''?</dialogue> <parenthetical>( looking out the side window , pausing for a moment . )</parenthetical> <dialogue>Well, naturally. She went to Brandeis.</dialogue> <scene_description>The movie cuts to Holly 's point of view : the front seat where David and April sit , the Jaguar 's windshield , and the passing lights and traffic of the street . Holly continues her ruminations as April leans over to say something to David .</scene_description> <character>HOLLY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But I do n't think she knows what she's talking about. Could you believe the way she was calling him David? `` Yes, David. I feel that way, too, David. What a marvelous space, David.''</dialogue> <parenthetical>( emphatically . )</parenthetical> <dialogue>I hate April. She's pushy.</dialogue> <scene_description>The film moves back to Holly in the backseat , still lost in thought .</scene_description> <character>HOLLY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now they'll dump me and she'll invite him up. I blew it.</dialogue> <parenthetical>( sighing , looking out the side window . )</parenthetical> <dialogue>And I really like him a lot. Oh, screw it. I'm not gon na get all upset. I've got reading to do tonight. You know, maybe I'll get into bed early. I'll turn to a movie and take an extra Seconal.</dialogue> <scene_description>The classical music stops and some uptempo jazz begins . The screen cuts to black and a title appears . '' . nobody , not even the rain , has such small hands . ''</scene_description> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE FREDERICK'S LOFT - DAY</stage_direction> <scene_description>The movie briefly holds on a ripped , red , paint - splattered door as Elliot , wearing a raincoat , appears nearby . He looks down the street and the film cuts to his point of view : Frederick 's loft building . The movie goes back to the impatient Elliot ; he 's looking around him . He glances at his watch as the film cuts back once again to the loft building , where Lee finally appears , walking down the street away from Elliot . A truck passes down the street . Lee does n't see him . She walks further and further away ; she turns a corner . Elliot frantically looks around again ; then , in a burst of decision , he runs around a garbage dump , crossing the street , and still running , he moves down an adjacent street , past The Canal Lumber Company and several other buildings , as the film cuts back to Lee , walking down a different street , oblivious . The jazz plays on as the movie cuts back and forth between the fast - moving Elliot , rushing down the SoHo streets , past a truck waiting for a light to change , past some pedestrians , some garbage cans , turning corners , and the strolling Lee , walking up different streets , past different buildings . Lee eventually crosses a street , lost in thought , looking right and left , as Elliot , pretending nonchalance , waits on the corner , looking at his watch . She looks up in surprise ; the music stops .</scene_description> <character>ELLIOT</character> <parenthetical>( trying not to sound out of breath . )</parenthetical> <dialogue>Oh, my goodness!</dialogue> <character>LEE</character> <parenthetical>( overlapping , smiling in surprise . )</parenthetical> <dialogue>Oh, Elliot!</dialogue> <character>ELLIOT</character> <dialogue>Hi.</dialogue> <character>LEE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>What are you doing here?</dialogue> <character>ELLIOT</character> <parenthetical>( looking around , gesturing . )</parenthetical> <dialogue>Well, I'm - I'm looking for a bookstore.</dialogue> <character>LEE</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Oh, what, in this section of town?</dialogue> <character>ELLIOT</character> <dialogue>Yes. Yeah, I - I'm kill -</dialogue> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You're out looking here?</dialogue> <character>ELLIOT</character> <parenthetical>( glancing at his watch again . )</parenthetical> <dialogue>Well, yes, I'm killing time. I have a client near here and I. I'm quite early.</dialogue> <character>LEE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Ohhhh!</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>How about you?</dialogue> <character>LEE</character> <dialogue>Oh. Well, I live -</dialogue> <character>ELLIOT</character> <parenthetical>( interrupting , chuckling . )</parenthetical> <dialogue>Oh, yes! You live near here, do n't you?</dialogue> <character>LEE</character> <parenthetical>( overlapping , chuckling . )</parenthetical> <dialogue>Yes, I do.</dialogue> <character>ELLIOT</character> <parenthetical>( putting his hands behind his back . )</parenthetical> <dialogue>Where are you headed?</dialogue> <character>LEE</character> <dialogue>Oh, I was just going to my AA meeting.</dialogue> <character>ELLIOT</character> <dialogue>Oh, my goodness. Well, why do you still go to those? You never tough alcohol.</dialogue> <scene_description>They begin to walk down the street .</scene_description> <character>LEE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Well, listen, you did n't know me before Frederick. I'd. I'd start with a beer at about ten in the morning, and. go on.</dialogue> <character>ELLIOT</character> <parenthetical>( looking at Lee . )</parenthetical> <dialogue>Oh. You must have been, uh, very unhappy.</dialogue> <character>LEE</character> <dialogue>Yeah, unhappy and fat.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>And I still find the meetings very comforting, you know.</dialogue> <scene_description>She shrugs .</scene_description> <character>ELLIOT</character> <dialogue>I'll never understand it. You're so bright and charming and beautiful.</dialogue> <character>LEE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Oh, God.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , chuckling . )</parenthetical> <dialogue>I think to myself.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>what problems could she possibly have?</dialogue> <character>LEE</character> <parenthetical>( gesturing , laughing . )</parenthetical> <dialogue>Do n't let me get started on my childhood.</dialogue> <parenthetical>( stopping in her tracks , remembering . )</parenthetical> <dialogue>Oh, you know what? There is a bookstore.</dialogue> <character>ELLIOT</character> <parenthetical>( stopping alongside her . )</parenthetical> <dialogue>Yes?</dialogue> <character>LEE</character> <parenthetical>( overlapping , pointing . )</parenthetical> <dialogue>A couple of blocks from here. If you do n't know about it, you should. You'd really love it.</dialogue> <character>ELLIOT</character> <dialogue>Yes?</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah, you would.</dialogue> <character>ELLIOT</character> <parenthetical>( looking around for a moment , then gesturing to Lee . )</parenthetical> <dialogue>Well, i - if - if you have some free time.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah, sure.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <character>ELLIOT</character> <dialogue>Thank you.</dialogue> <scene_description>They begin to walk again as the movie cuts to the interior of the Pageant Book &amp; Print Shop , an old , serious bookstore . A nude print hangs at the end of one of the library shelf - like bookcases , which are packed , row after row , with books . An unseen Elliot and Lee carry on a conversation as the camera moves down an aisle , past the rows of books . A piano playing `` Bewitched '' is heard . Pictures hang on the aisle ends of the shelves .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Is n't this great?</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>They have everything here.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen , distracted . )</parenthetical> <dialogue>Yes, it's - it's wonderful.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>What book did you want to buy?</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>What? Book?</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Your book? You wanted to buy a book?</dialogue> <scene_description>The camera moves past another aisle of books to reveal Lee , browsing through a shelf .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, book? Oh, no, I.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>I'm killing time. I. I - I just, uh, w - want to browse, uh.</dialogue> <character>LEE</character> <parenthetical>( looking up at a row of books . )</parenthetical> <dialogue>Well, you sure picked the right place. I mean, you can stay here all afternoon, not buy anything and just read.</dialogue> <scene_description>She walks down a center aisle , the camera still in its parallel aisle , following her .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Unless, of course, if - if you had some time, I mean, we could get some coffee.</dialogue> <character>LEE</character> <dialogue>No, I do n't have time.</dialogue> <scene_description>Lee stops at the row where Elliot has been browsing . She is hidden by a shelf ; only Elliot is seen as he talks to the offscreen Lee .</scene_description> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>No, no. I - I - I understand completely. No problem. Y - you're busy. I - I - I.</dialogue> <character>LEE</character> <parenthetical>( offscreen , chuckling . )</parenthetical> <dialogue>You seem tense. Is everything all right? You feel okay?</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>No! No.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No?</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing , looking at books . )</parenthetical> <dialogue>Uh, yes!</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yes?</dialogue> <scene_description>Elliot starts walking down the center aisle , in the same direction Lee had walked up . He continues to talk to her as she remains offscreen in a nearby row .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen momentarily , hidden by a shelf as he talks . )</parenthetical> <dialogue>Yes.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Everything's okay?</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <character>ELLIOT</character> <dialogue>Yeah. How are you?</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm. all right.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen momentarily , hidden by another shelf as he walks . )</parenthetical> <dialogue>How - how's Frederick?</dialogue> <scene_description>Elliot stops walking to browse through some books . `` Bewitched '' still plays .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Fine. Oh, we went to the Caravaggio exhibition at the Met. It's such a treat to go through a museum with Frederick. I mean. you learn so much. Do you like Caravaggio?</dialogue> <character>ELLIOT</character> <parenthetical>( turning to talk to the offscreen Lee . )</parenthetical> <dialogue>Oh, yes. Who does n't?</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Look!</dialogue> <scene_description>Elliot turns and walks back down the center aisle to a row of books he 'd already passed .</scene_description> <character>ELLIOT</character> <parenthetical>( pointing to a book on a shelf , continuing . )</parenthetical> <dialogue>e.e. cummings. I'd like to get you this.</dialogue> <character>LEE</character> <parenthetical>( offscreen , laughing . )</parenthetical> <dialogue>Oh, no, I ca n't let you get me that. That's too much.</dialogue> <character>ELLIOT</character> <parenthetical>( pulling the book off the shelf and browsing through it . )</parenthetical> <dialogue>Oh, oh, yes. I - I - I -'d like to, uh, uh, very much.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No, I do n't think so.</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing with the book , looking at the offscreen Lee . )</parenthetical> <dialogue>I - I read a poem of you and thought of his last week.</dialogue> <parenthetical>( nervously laughing , trying to correct his mistake . )</parenthetical> <dialogue>A poem of.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>his and thought of you last -.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>You'll be fine, though.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <scene_description>Lee walks over to Elliot in the center aisle . She looks at the book .</scene_description> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Uh, uh, this is great. I mean, I love e.e. cummings, but I ca n't let you get this.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , patting the book . )</parenthetical> <dialogue>Yes, I'd. I - I - I'd love, I'd love to get you this.</dialogue> <character>LEE</character> <parenthetical>( looking down at the book . )</parenthetical> <dialogue>Well, sure.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>And - and maybe, um. maybe we could discuss it sometime.</dialogue> <scene_description>He hands Lee the book . She thumbs through it , as the movie cuts to : The street outside the bookstore . Lee , holding the book in a brown bag , and Elliot are walking out .</scene_description> <character>LEE</character> <parenthetical>( laughing , holding up the bag . )</parenthetical> <dialogue>Well, thanks a lot.</dialogue> <character>ELLIOT</character> <parenthetical>( pointing to the bookstore . )</parenthetical> <dialogue>Thanks for showing me the bookstore. Perhaps you could, uh, take me to an AA meeting sometime. Uh. uh, I'd love to see what goes on.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Well, yeah, yeah. You'd love it. It's really entertaining. You'd have a good time.</dialogue> <parenthetical>( stepping closer to the curb and hailing a cab . )</parenthetical> <dialogue>I know you would.</dialogue> <character>ELLIOT</character> <parenthetical>( pointing to the book . )</parenthetical> <dialogue>And, uh, d - do n't forget the poem on page a hundred and twelve. It reminded me of you.</dialogue> <scene_description>A taxi pulls over to the curb ; they walk over to it .</scene_description> <character>LEE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Really? Well.</dialogue> <scene_description>Elliot opens the rear door for Lee . She laughs as she gets in .</scene_description> <character>ELLIOT</character> <parenthetical>( leaning down to talk to Lee in the cab . )</parenthetical> <dialogue>Page a hundred and twelve.</dialogue> <character>LEE</character> <dialogue>Bye.</dialogue> <character>ELLIOT</character> <parenthetical>( closing the taxi door for Lee . )</parenthetical> <dialogue>Bye.</dialogue> <scene_description>He watches the taxi pull away .</scene_description> </scene> <scene> <stage_direction>INT. FREDERICK'S LOFT BEDROOM - NIGHT</stage_direction> <scene_description>Lee , in slacks and shirt , is curled up on the bed , her back to the camera , as she reads the e.e. cummings poem in the glow of a night - table lamp . The piano music is still heard .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( reading . )</parenthetical> <dialogue>`` your slightest look easily will unclose me though I have closed myself as fingers, you open always petal by petal myself.</dialogue> <scene_description>As Lee continues to read aloud , the movie cuts to Elliot 's darkened den , lit by a light in the hallway . Elliot enters , wearing a robe , crossing the room in the dark .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( continuing reading . ) ''</parenthetical> <dialogue>. as Spring opens.</dialogue> <parenthetical>( touching skillfully , mysteriously . )</parenthetical> <dialogue>her first rose.</dialogue> <parenthetical>( i do not know what it is about you that closes and opens ; only something in me understands the voice of your eyes is deeper than all roses . )</parenthetical> <dialogue>.</dialogue> <scene_description>Elliot turns on a light . The camera stays on his face as he looks off into the distance , mouthing indistinctly the line of poetry Lee next reads .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( continuing reading . )</parenthetical> <dialogue>`` nobody, not even the rain, has such small hands.''</dialogue> <scene_description>The film leaves Elliot 's face and cuts back to the loft , where Lee , having finished the poem , sits up in the bed , staring pensively , lost in her thoughts . The anxiety of the man in the booth . Upbeat jazz begins to play and the film cuts to : The façade of Mount Sinai Hospital . It is day . A few cars whiz by as the film moves inside , to various scenes depicting Mickey 's comprehensive exam . First is a hearing test , and the movie cuts to a darkened hearing - test room . A light goes on , revealing a slouched - over Mickey sitting in a glass booth . He is wearing a set of headphones . The camera moves back , revealing a technician at the console on the other side of the booth . Mickey signals with his finger when he hears a sound on his headset . The jazz continues . Next is an electronystagmography -LRB- ENG -RRB- . Graph paper rolls out of a machine , and after a brief glimpse of the rolling paper , the camera moves over to show Mickey lying terrified , without his glasses , on a couch , with electrodes stuck all over his head . The film then cuts to a BSER test room , where Mickey , sitting in a corner chair , wears another set of headphones . An electrode is attached to his forehead ; a nearby technician sits at a computer video screen , looking at a monitoring graph . Last but not least is the tomography . Over the shoulders of a technician in a booth , a large window displays a huge , white rotating machine . It makes a whooshing noise as it turns . The camera moves down the giant cranelike device to reveal Mickey , once again lying down , this time on a table , his eyes closed , underneath it .</scene_description> </scene> <scene> <stage_direction>INT. DR. GREY'S OFFICE - DAY</stage_direction> <scene_description>A sitting Dr. Grey , his back to the camera , is examining a group of X - rays clipped to the light board behind his desk .</scene_description> <character>DR. GREY</character> <dialogue>I was n't too happy with the results of your ENG or your BSER either.</dialogue> <scene_description>The doctor turns his chair around to face a tense Mickey sitting on the other side of his desk .</scene_description> <character>DR. GREY</character> <dialogue>Uh, which is why I sent you to Tomography, which was all that stuff you saw rolling around.</dialogue> <parenthetical>( pointing to a spot on one of the X - rays . )</parenthetical> <dialogue>You see this little gray area here?</dialogue> <scene_description>Mickey stares at the X - ray , horrified .</scene_description> <character>DR. GREY</character> <dialogue>That gray area's what I had hoped that we would n't run into. I'd like you to come in Monday morning for, uh, a CAT scan.</dialogue> <character>MICKEY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>A brain scan?</dialogue> <character>DR. GREY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Mr. Sachs, let's take one step at a time. We wo n't make any decisions until we have all the information in front of us, all right?</dialogue> </scene> <scene> <stage_direction>EXT. MOUNT SINAI HOSPITAL - DAY</stage_direction> <scene_description>Mickey is seen leaving the hospital . He strides slowly , his shoulders slouched , his hands in his pockets . His voice is heard over the screen as he crosses the street , continuing his self - absorbed walk on the opposite side . Occasional traffic goes by .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Okay. take it easy. He did n't say you had anything. He just does n't like the spot on your X - ray, that's all. It does n't mean you have anything. Do n't jump to conclusions.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>Nothing's gon na happen to you. You're in the middle of New York City. This is your town. You're surrounded by people and traffic and restaurants.</dialogue> <scene_description>Mickey brushes against a heavyset man who gives him a nasty look . Mickey is so dazed , he does n't even notice .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I mean, God, how can you, how can you just one day. vanish? Keep calm. You're gon na be okay. Do n't panic.</dialogue> </scene> <scene> <stage_direction>INT. MICKEY'S APARTMENT/BEDROOM LOFT - NIGHT</stage_direction> <scene_description>The dark bedroom is abruptly lit as Mickey , lying in his bed , wakes up with a start and turns on his night - table lamp .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm dying! I'm dying! I know it! There's a spot on my lungs!</dialogue> <parenthetical>( sitting up , putting on his glasses . )</parenthetical> <dialogue>All right now, take it easy, will you? It's not on your lungs. It's on your ear. No, it's the same thing, is n't it?</dialogue> <parenthetical>( pulling the sheets off and sitting on the edge of his bed . )</parenthetical> <dialogue>Oh, jeez, I ca n't sleep! Oh, God, there's a tumor in my head the size of a basketball!</dialogue> <parenthetical>( putting on his slippers . )</parenthetical> <dialogue>N - now I keep thinking I can feel it every time I blink! Oh, Jesus! He - he - he wants me to do a brain scan to confirm what he already suspects.</dialogue> <scene_description>Mickey , still ruminating , stands up . Fixing his pants , he walks out of his bedroom loft into a dark upper hallway .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( running his hand along a banister . )</parenthetical> <dialogue>Look. I'll make a deal with God. Let it just be my ear, okay? I'll go deaf. I'll go deaf and blind in one eye maybe. But I do n't want a brain operation! Once they go into my skull, I'll - I'll wind up like the guy with the, with the wool cap who delivers for the florist!</dialogue> <scene_description>He walks down a spiral staircase into the dark living room .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh, relax, will ya? Your whole life you run to doctors. The news is always fine.</dialogue> <parenthetical>( pausing at the bottom of the stairs . )</parenthetical> <dialogue>That's not true. What about years ago?</dialogue> <scene_description>The film cuts to a flashback of Mickey 's past . Dr. Smith , sitting behind his desk , faces the camera . Rows of periodicals line the wall behind him .</scene_description> <character>DR. SMITH</character> <parenthetical>( gesturing with one hand . )</parenthetical> <dialogue>I'm sorry to say, Mr. Sachs, that you can not have children.</dialogue> <scene_description>The camera moves to Dr. Smith 's point of view : Hannah and Mickey , sitting on the opposite side of the desk . They look stunned .</scene_description> <character>MICKEY</character> <parenthetical>( reacting , putting his hands across his chest . )</parenthetical> <dialogue>Gee.</dialogue> <character>HANNAH</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Is there no chance?</dialogue> <character>DR. SMITH</character> <parenthetical>( getting up from his desk . )</parenthetical> <dialogue>Well, naturally, this does n't mean that you ca n't have a normal sex life.</dialogue> <parenthetical>( walking over to the opened office door and closing it . )</parenthetical> <dialogue>But Mr. Sachs's tests indicate that he is infertile. Small sperm volume and infertile.</dialogue> <scene_description>The camera moves back to the stunned Mickey and Hannah , following Dr. Smith with their eyes .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing , looking up at an offscreen Dr. Smith . )</parenthetical> <dialogue>Is n't there anything I can do? Push - ups or hormones?</dialogue> <character>DR. SMITH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm afraid not.</dialogue> <character>MICKEY</character> <dialogue>Well, I got ta get a second opinion.</dialogue> <character>HANNAH</character> <parenthetical>( turning to Mickey . )</parenthetical> <dialogue>This is the second opinion.</dialogue> <character>MICKEY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>Well, then a third opinion.</dialogue> <scene_description>Dr. Smith walks back to his high - backed leather chair behind the desk and sits down . As he talks , the camera moves closer and closer to his face .</scene_description> <character>DR. SMITH</character> <dialogue>I realize this is a blow. My experience is that many very fine marriages become unstable and are destroyed by an inability to deal with this sort of problem. I hope you wo n't make too much of it. One can adopt children, and there are various artificial methods of fertilization.</dialogue> </scene> <scene> <stage_direction>EXT. GROVE STREET IN GREENWICH VILLAGE - DAY</stage_direction> <scene_description>Mickey and Hannah walk on the sidewalk , oblivious of the passing pedestrians . Hannah , crying , blows her nose .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I'm so humiliated. I do n't know what to say. I mean -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting , wiping her eyes with her tissue . )</parenthetical> <dialogue>Could you have ruined yourself somehow?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>How could I ruin myself? What do you mean, ruin myself?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , looking at Mickey . )</parenthetical> <dialogue>I do n't know. Excessive masturbation?</dialogue> <character>MICKEY</character> <dialogue>Hey, you gon na start knocking my hobbies? Jesus!</dialogue> <scene_description>Hannah sobs , clutching her tissue to her face .</scene_description> <character>MICKEY</character> <dialogue>Maybe, maybe we can adopt a child. He said you could adopt one -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Well, what about artificial insemination?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You know, where I - I - I would get implanted from a - a donor.</dialogue> <character>MICKEY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>What, by a st - stranger?</dialogue> <scene_description>Deep in conversation , they cross a tree - lined street . They pass a yellow wood - frame house bordered by a wrought - iron fence .</scene_description> <character>HANNAH</character> <dialogue>Yeah, they have these banks, you know, where they keep them frozen.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Fro -? You want a - a defrosted kid? Is that your idea?</dialogue> <character>HANNAH</character> <dialogue>I want to experience childbirth.</dialogue> <character>MICKEY</character> <dialogue>With a, with a stranger? With a -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting , sniffing . )</parenthetical> <dialogue>Just think about it. That's all I ask.</dialogue> <scene_description>They walk offscreen and the film cuts to Hannah and Mickey 's living room . The room is brightly lit ; it 's cluttered with pillows and plants . Norman and Carol , his wife , sit on the couch drinking coffee .</scene_description> <character>CAROL</character> <parenthetical>( putting down her cup . )</parenthetical> <dialogue>Oh, that was a wonderful show. I think that's the best show you two ever wrote.</dialogue> <character>NORMAN</character> <parenthetical>( holding his cup , pointing emphatically . )</parenthetical> <dialogue>No, the funniest show that Mickey and I ever did was the one we won the Emmy for.</dialogue> <scene_description>Mickey walks from the kitchen into the living room , holding a half - eaten chocolate cake on a serving plate . The sun pours through the windows he passes . Hannah is briefly seen in the background , preparing more coffee in the kitchen .</scene_description> <character>MICKEY</character> <dialogue>Yeah. I - I think as, I think as far as laughs, I mean just plain laughs, you know, that was probably the best thing that we ever did.</dialogue> <scene_description>Mickey puts the cake down on the coffee table , which is already crowded with assorted plants , plates , and a bamboo tray holding utensils and napkins .</scene_description> <character>NORMAN</character> <parenthetical>( agreeing . )</parenthetical> <dialogue>Mm - hm.</dialogue> <character>CAROL</character> <parenthetical>( overlapping , her hands over her crossed knees and nodding . )</parenthetical> <dialogue>Yeah, it was funny, it was very funny. But the show was about the two Frenchmen, now that was funny and it was warm.</dialogue> <scene_description>Mickey sighs and flops down on an adjoining couch . He rubs his forehead .</scene_description> <character>NORMAN</character> <parenthetical>( to Carol , gesturing with his cup . )</parenthetical> <dialogue>We got that idea on that trip to Paris.</dialogue> <character>CAROL</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Right.</dialogue> <character>NORMAN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Hmm?</dialogue> <character>CAROL</character> <parenthetical>( to the offscreen Hannah . )</parenthetical> <dialogue>Do you remember that summer in France? Hannah, you had jet lag for six straight weeks.</dialogue> <scene_description>Norman chuckles .</scene_description> <character>MICKEY</character> <parenthetical>( sighing , almost mumbling . )</parenthetical> <dialogue>Yeah, but it was, you know, I guess we had fun when we were there and, you know, it's just, I -</dialogue> <character>NORMAN</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Mm - hm.</dialogue> <scene_description>Hannah walks over to the group , holding a pot of coffee . She awkwardly steps past Mickey to pour coffee for Norman and Carol .</scene_description> <character>HANNAH</character> <parenthetical>( to Mickey . )</parenthetical> <dialogue>Sorry.</dialogue> <parenthetical>( to Norman and Carol . )</parenthetical> <dialogue>Coffee? Listen, you guys, we were - You want some more?</dialogue> <character>NORMAN</character> <parenthetical>( holding out his cup . )</parenthetical> <dialogue>Mmm.</dialogue> <character>HANNAH</character> <parenthetical>( refilling Norman 's cup . )</parenthetical> <dialogue>We - we. we had something we - we really wanted to discuss with you.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , coughing . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>Hannah refills Carol 's cup . She puts the pot down on the coffee table and sits down next to Mickey .</scene_description> <character>MICKEY</character> <parenthetical>( standing up and gesturing . )</parenthetical> <dialogue>Jeez, this is, this is, this is very delicate and - and I only bring this up amongst friends, you know.</dialogue> <scene_description>He starts to pace . Hannah , her hands clasped near her face , glances briefly at Carol .</scene_description> <character>MICKEY</character> <parenthetical>( turning to the group as he paces behind the couch . )</parenthetical> <dialogue>I mean.</dialogue> <parenthetical>( grunting . )</parenthetical> <dialogue>this is, uh. this should not go any further than this room.</dialogue> <character>NORMAN</character> <parenthetical>( sipping his coffee . )</parenthetical> <dialogue>I'm all ears.</dialogue> <scene_description>Hannah sighs . Mickey pauses for a moment , collecting his thoughts .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing and pacing . )</parenthetical> <dialogue>Hannah and I. ca n't have any children. Now I - I - I do n't want to get into whose fault it -.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>It's my fault that we ca n't and - and - and the details are too embarrassing to -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting , nervously picking at her fingers . )</parenthetical> <dialogue>W - w - we - we've decided after a lot of discussion that we - we'd try with artificial insemination.</dialogue> <scene_description>Mickey stops his pacing and looks at the group .</scene_description> <character>MICKEY</character> <parenthetical>( putting his hands on his hips . )</parenthetical> <dialogue>Yeah, I'm not so sure that I, that I like that idea myself, anyway -</dialogue> <scene_description>He starts to pace behind the couch anew .</scene_description> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Um, I - I did n't really want to, you know, go to a sperm bank or something, have some anonymous donor.</dialogue> <parenthetical>( gesturing at Norman and Carol . )</parenthetical> <dialogue>I - I just, you know, I - I - I would n't want that.</dialogue> <character>MICKEY</character> <parenthetical>( pacing . )</parenthetical> <dialogue>Right. We felt that if we were gon na do it, that we would like somebody who we knew and who we liked and who was warm and bright and.</dialogue> <scene_description>Norman and Carol remain silent .</scene_description> <character>HANNAH</character> <dialogue>And you can say no. you know. Feel free to say no. W - we realize it has all kinds of implications.</dialogue> <scene_description>Mickey stops pacing and leans on the couch behind Norman .</scene_description> <character>MICKEY</character> <dialogue>Yeah, but the - the point that, uh, that we're making here is that we need some sperm.</dialogue> <scene_description>Mickey , rubbing his hands on his knees , leans back against the wall . Norman and Carol turn to each other , reacting .</scene_description> <character>NORMAN</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Gee.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>Well. My first reaction after the initial shock is, uh, flattered that you would ask me.</dialogue> <parenthetical>( chuckling nervously . )</parenthetical> <dialogue /> <scene_description>Carol glances at Norman .</scene_description> <character>MICKEY</character> <parenthetical>( pointing at himself . )</parenthetical> <dialogue>Yeah, well, I would be the father.</dialogue> <parenthetical>( pointing to Norman . )</parenthetical> <dialogue>You would just have to masturbate into a little cup.</dialogue> <character>NORMAN</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>I can handle that.</dialogue> <character>HANNAH</character> <parenthetical>( scooting closer to Carol and Norman on the couch , gesturing . )</parenthetical> <dialogue>Obviously we wou - would n't have intercourse.</dialogue> <scene_description>She chuckles nervously .</scene_description> <character>CAROL</character> <parenthetical>( to Hannah , chuckling nervously briefly . )</parenthetical> <dialogue>Gosh, listen.</dialogue> <parenthetical>( rubbing her nose . )</parenthetical> <dialogue>I've got ta tell you the truth here. I'm a little uneasy about this.</dialogue> <character>HANNAH</character> <parenthetical>( putting her hand on Carol 's shoulder . )</parenthetical> <dialogue>Carol, I know it's a lot to ask.</dialogue> <character>CAROL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well. I feel for you. I do. I. I'm gon na cry. You want my husband to have a child with you?</dialogue> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Ye - D - d - d - do n't answer now. Just, you know, take it home and think about it for a while.</dialogue> <character>NORMAN</character> <parenthetical>( holding his coffee cup , thoughtful . )</parenthetical> <dialogue>I gave blood before and, uh. clothing to the poor.</dialogue> <character>CAROL</character> <parenthetical>( to Norman , scratching her ear . )</parenthetical> <dialogue>Okay, Norman, listen, I really want to talk about this at home.</dialogue> <parenthetical>( nodding as Hannah looks briefly offscreen at Mickey . )</parenthetical> <dialogue>I think it's a matter for your analyst. and mine.</dialogue> <character>NORMAN</character> <parenthetical>( emphatically . )</parenthetical> <dialogue>And maybe my lawyer.</dialogue> <scene_description>He takes a sip of coffee .</scene_description> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>You know, we - we understand completely if, you know, if you feel you'd - you'd rather not.</dialogue> <parenthetical>( chuckling nervously . )</parenthetical> <dialogue>I did n't mean to spoil the evening.</dialogue> <parenthetical>( rubbing her hands . )</parenthetical> <dialogue>Now let's move on to another topic.</dialogue> <scene_description>Hannah reaches for the cake as Carol and Norman exchange glances , reacting . The flashback ends . Mickey is back in the present in his darkened living room , illuminated by a glow from a window behind the couch . A coffee table sits in front of the couch . Papers are scattered on the floor . Mickey gets up from the couch where he 'd been sitting . He paces back and forth as he talks over the screen .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So you had my ex - partner's baby. Twins. Maybe that did cause some trouble, but.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>I think we were drifting apart anyhow. Now instead of man and wife we're just good friends. Boy, love is really unpredictable.</dialogue> </scene> <scene> <stage_direction>INT. METROPOLITAN OPERA HOUSE - NIGHT</stage_direction> <scene_description>Manon Lescaut is being performed . Onstage , the soprano in the title role sings a mournful aria as she kneels by the ruins of a wagon . The background is dark . The film moves up to the private boxes in the upper loge . David and Holly can be seen from a distance sitting in one of the boxes . David glances at her ; he reaches down for a bottle of wine . The movie briefly cuts back to the stage . The soprano is leaning on a wagon wheel ; her voice soars . Then it 's back to a closer look at Holly and David in their box . The aria continues as David hands a smiling Holly a glass . He uncorks the wine and pours some in both their glasses . Holly mouths a thank you , glancing around . They look at each other and raise their glasses in a toast . Dusty bought this huge house in Southampton . The opera audience is heard cheering , applauding , and sounding their `` Bravos . '' The clapping stops as the movie cuts to Frederick 's loft . It is day . Lee , wearing a baggy plaid shirt and jeans , has opened the door for Elliot and his client , wealthy rock star Dusty Frye .</scene_description> <character>ELLIOT</character> <parenthetical>( leading the way into the loft , gesturing . )</parenthetical> <dialogue>Lee, Frederick. say hello to Dusty Frye.</dialogue> <scene_description>Lee closes the door behind the men and walks over to Dusty .</scene_description> <character>LEE</character> <parenthetical>( shaking Dusty 's hand . )</parenthetical> <dialogue>Hi, Dusty.</dialogue> <character>DUSTY</character> <dialogue>Hi.</dialogue> <scene_description>Lee chuckles as she looks at him ; he is wearing sunglasses , a red - imprinted T - shirt , and a baggy coat . She turns and walks with Frederick , Elliot , and Dusty farther into the loft , her hands clasped behind her back .</scene_description> <character>ELLIOT</character> <parenthetical>( as he walks . )</parenthetical> <dialogue>Dusty's just bought a huge house in Southampton and he's in the process of decorating it.</dialogue> <character>DUSTY</character> <dialogue>Yeah. It's kind of a weird place, actually. A lotta wall space.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <character>LEE</character> <dialogue>Oh.</dialogue> <scene_description>They walk into the living room area of the loft , where Frederick , his hands in his pockets , neatly attired in vest sweater and white shirt , stands , waiting .</scene_description> <character>DUSTY</character> <parenthetical>( to Frederick , giving him a `` hip '' handshake . )</parenthetical> <dialogue>How ya doin', man?</dialogue> <character>ELLIOT</character> <parenthetical>( to a less than enthusiastic Frederick . )</parenthetical> <dialogue>I told him about your work, and he's very excited.</dialogue> <character>DUSTY</character> <dialogue>Yeah, I got an Andy Warhol. And I got a Frank Stella, too. Oh, it's very beautiful.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>Big, weird. you know.</dialogue> <parenthetical>( chuckling as he crosses his arms on his chest . )</parenthetical> <dialogue>If you stare at that Stella too long, the colors just seem to float. It's kinda weird.</dialogue> <scene_description>Frederick covers his face to hide his disgust .</scene_description> <character>LEE</character> <parenthetical>( chuckling , her arms crossed . )</parenthetical> <dialogue>Are you excited about becoming a collector?</dialogue> <character>DUSTY</character> <dialogue>Yeah.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah?</dialogue> <character>DUSTY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>I got a lot more to learn, though. I really was n't into art when I was a kid.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>FREDERICK</character> <parenthetical>( addressing but not looking at Dusty . )</parenthetical> <dialogue>Do you appreciate drawings?</dialogue> <character>DUSTY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>( chuckling as he notices and points to some offscreen drawings Frederick has set up . )</parenthetical> <dialogue>Oh! Hey! Wow!</dialogue> <parenthetical>( pointing to an offscreen nude drawing . )</parenthetical> <dialogue>She's beautiful. But, uh, really, I - I - I - I need something. I'm looking for something big.</dialogue> <scene_description>As Dusty talks , the camera follows Elliot , who walks past the others to examine the drawings more closely . Two framed nude drawings of Lee are propped up on an easel . Elliot glances admiringly at the drawings , then surreptitiously at Lee , admiring her body as she converses with an offscreen Dusty and Frederick .</scene_description> <character>LEE</character> <parenthetical>( looking at an offscreen Frederick , gesturing . )</parenthetical> <dialogue>Big. Frederick, show him the oils.</dialogue> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>They're in the basement.</dialogue> <scene_description>The camera leaves Elliot to follow the enthusiastic Lee as she takes Dusty by the arm and starts leading him to the door . Frederick follows at a distance .</scene_description> <character>LEE</character> <parenthetical>( to Dusty . )</parenthetical> <dialogue>Frederick's done this whole new series that I'm sure you would really love.</dialogue> <character>DUSTY</character> <parenthetical>( overlapping , muttering . )</parenthetical> <dialogue>Well, are. are they big?</dialogue> <character>LEE</character> <dialogue>Yeah. Some of them. yeah, some of them are very big.</dialogue> <character>DUSTY</character> <dialogue>'Cause I got a lot of wall space there.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <character>FREDERICK</character> <parenthetical>( angrily stopping in his tracks . )</parenthetical> <dialogue>I do n't sell my work by the yard!</dialogue> <character>LEE</character> <parenthetical>( chuckling , reacting . )</parenthetical> <dialogue>Oh, Frederick!</dialogue> <scene_description>The camera now moves back to Elliot , still staring at the nude drawings , as the sounds of Frederick 's and Dusty 's footsteps are heard leaving the loft . He turns and hesitantly smiles to an offscreen Lee .</scene_description> <character>ELLIOT</character> <parenthetical>( chuckling softly . )</parenthetical> <dialogue>How's everything?</dialogue> <character>LEE</character> <parenthetical>( walking onscreen towards Elliot . )</parenthetical> <dialogue>Oh, you know. I talked to Hannah this morning on the phone, and she said that you two might be going to the country for the weekend.</dialogue> <character>ELLIOT</character> <dialogue>Yeah, she loves to go out in the woods.</dialogue> <character>LEE</character> <parenthetical>( nodding , her arms clasped around her chest . )</parenthetical> <dialogue>Oh, yeah.</dialogue> <character>ELLIOT</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>But I go nuts. It's a conflict.</dialogue> <scene_description>He laughs . Lee , uneasy , looks down .</scene_description> <character>LEE</character> <dialogue>I have to get my teeth cleaned this week.</dialogue> <character>ELLIOT</character> <dialogue>Oh, that's nice.</dialogue> <scene_description>There 's an awkward moment of silence .</scene_description> <character>ELLIOT</character> <parenthetical>( breaking the silence , pointing in the direction of the door . )</parenthetical> <dialogue>I figured I'd get, uh, Frederick and Dusty together.</dialogue> <character>LEE</character> <parenthetical>( looking in the same direction , gesturing . )</parenthetical> <dialogue>Oh, yeah, that's really nice of you.</dialogue> <character>ELLIOT</character> <dialogue>Yes. This kid, he's earned a trillion dollars.</dialogue> <character>LEE</character> <parenthetical>( nodding , wrapping her arms around her chest again . )</parenthetical> <dialogue>Oh.</dialogue> <character>ELLIOT</character> <dialogue>He's got like six gold records.</dialogue> <character>LEE</character> <parenthetical>( gesturing , relieved that she 's found something to say . )</parenthetical> <dialogue>Oh, speaking of records. I bought that Mozart Trio you recommended.</dialogue> <scene_description>The camera follows Lee as she walks quickly to the stereo unit , pulling a record off the shelf .</scene_description> <character>LEE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. and the man in the record shop showed me another one that I think you'd love. It's a. another Bach, second movement.</dialogue> <scene_description>She pulls the record out of its jacket and puts it on the turntable .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, you - you have that one?</dialogue> <character>LEE</character> <parenthetical>( working at the stereo , turning her head towards Elliot . )</parenthetical> <dialogue>Yeah.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, I would love to hear it.</dialogue> <scene_description>Bach 's Concerto for Harpsichord fills the room .</scene_description> <character>LEE</character> <parenthetical>( putting the turntable cover in place . )</parenthetical> <dialogue>Oh, and Holly met a wonderful man who loves opera. An architect.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, that's nice. I'd love to see her wind up settled. She's a tense one.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <scene_description>The record in place , Lee turns and leans back against the stereo unit . She listens to the music , her eyes closed . The record plays for a few moments in the quiet room , as Elliot walks over to Lee and leans against the shelf near her .</scene_description> <character>LEE</character> <parenthetical>( intently . )</parenthetical> <dialogue>Is n't that beautiful?</dialogue> <character>ELLIOT</character> <parenthetical>( looking at Lee , his hands clasped in front of him . )</parenthetical> <dialogue>I know this. Bach. F Minor Concerto. It's one of my favorites.</dialogue> <scene_description>Lee , smiling , continues to listen to the music , her head down ; Elliot stares at her .</scene_description> <character>ELLIOT</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>Uh. did you ever get around to e.e. cummings?</dialogue> <character>LEE</character> <parenthetical>( wrapping her arms around her chest and looking away from Elliot for a moment . )</parenthetical> <dialogue>Yes, he's just adorable.</dialogue> <scene_description>Elliot nods .</scene_description> <character>LEE</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>They have a very large gay clientele, you know, where I get my teeth cleaned, and. all the hygienists now wear gloves because they're afraid of AIDS.</dialogue> <character>ELLIOT</character> <parenthetical>( taking a breath . )</parenthetical> <dialogue>Oh, right.</dialogue> <scene_description>There is another moment of silence . Elliot stares at Lee , who continues to look down , her arms around her chest . The harpsichord plays on .</scene_description> <character>ELLIOT</character> <parenthetical>( softly . )</parenthetical> <dialogue>Did you ever get around to the poem on page a hundred and twelve?</dialogue> <character>LEE</character> <dialogue>Yes, it made me cry.</dialogue> <parenthetical>( tentatively looking at Elliot . )</parenthetical> <dialogue>it was so beautiful. so romantic.</dialogue> <scene_description>Lee looks down again ; the music plays softly and Elliot continues to stare at her , thinking .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I want so badly to kiss her. Not here, you idiot. You've got to get her alone someplace.</dialogue> <scene_description>As Elliot 's thoughts are heard over the scene , Lee glances around the loft , then begins to walk away . The camera follows her as she goes past the nude drawings , which become the focus of attention as Lee walks offscreen .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But I've got to proceed cautiously. This is a very delicate situation. Okay, uh. ask her if you can see her for lunch or a drink tomorrow.</dialogue> <scene_description>Lee walks back onscreen , to the bookshelf behind the drawings . She takes the e.e. cummings book from the shelf and flips through it as she walks back to Elliot , who is still leaning by the stereo , still ruminating .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And be ready to make light of the offer if she's unresponsive. This has to be done very skillfully, very diplomatically.</dialogue> <character>LEE</character> <parenthetical>( showing Elliot a poem in her book . )</parenthetical> <dialogue>Did you ever read this one -?</dialogue> <scene_description>Elliot leaps up , grabs Lee , and kisses her passionately . Lee , surprised , pushes him away .</scene_description> <character>LEE</character> <dialogue>Elliot! Do n't!</dialogue> <character>ELLIOT</character> <dialogue>Lee! Lee! Lee, I'm in love with you.</dialogue> <scene_description>He kisses Lee again . He clumsily turns around ; she humps against the stereo unit . As Lee pulls away , she smashes into the turntable . The needle scratches loudly . Lee , shocked , is gasping . The record , pushed to a different part of the concerto , now plays a more complicated , faster fugue .</scene_description> <character>ELLIOT</character> <parenthetical>( breathing hard . )</parenthetical> <dialogue>Oh!</dialogue> <character>LEE</character> <parenthetical>( gasping . )</parenthetical> <dialogue>What are you doing?!</dialogue> <character>ELLIOT</character> <parenthetical>( frantically . )</parenthetical> <dialogue>I. I'm - I'm - I'm - I'm sorry. I have to talk to you for. There's so much that I want to tell you.</dialogue> <scene_description>Lee stares at Elliot in shock .</scene_description> <character>LEE</character> <parenthetical>( still gasping . )</parenthetical> <dialogue>Elliot!</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing desperately . )</parenthetical> <dialogue>I have been in love with you for so long.</dialogue> <scene_description>Frederick and Dusty 's indistinct voices , raised in argument , are suddenly heard . Elliot quickly turns away from Lee . She tries to compose herself and the film cuts to the loft entranceway . Frederick enters the loft first , followed by a confused Dusty . They stride across the loft past Lee , who is standing by the stereo . Elliot , standing near the nude drawings , is looking through a book .</scene_description> <character>FREDERICK</character> <parenthetical>( angrily . )</parenthetical> <dialogue>Please forget it! I do n't have any interest in selling anything!</dialogue> <character>DUSTY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I ask you if you have something with a little puce in it, you got ta fly off the handle!</dialogue> <character>LEE</character> <parenthetical>( in a slightly higher - pitched voice . )</parenthetical> <dialogue>What's the problem?</dialogue> <character>FREDERICK</character> <parenthetical>( pulling the nude drawings off his easel angrily . )</parenthetical> <dialogue>I'm not interested in what your interior decorator would think, okay?!</dialogue> <character>DUSTY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>Well, I ca n't commit to anything without consulting her first. That's what I have her for, okay?</dialogue> <character>FREDERICK</character> <parenthetical>( carrying the drawings off . )</parenthetical> <dialogue>This is degrading! You do n't buy paintings to blend in with the sofa!</dialogue> <character>DUSTY</character> <parenthetical>( looking after Frederick . )</parenthetical> <dialogue>It's not a sofa, it's an ottoman!</dialogue> <parenthetical>( touching his forehead , turning to Elliot . )</parenthetical> <dialogue>God, forget it! Let's just get outta here, Elliot.</dialogue> <character>ELLIOT</character> <parenthetical>( putting down the book . )</parenthetical> <dialogue>We'll go.</dialogue> <scene_description>The film moves outside the loft building . Dusty and Elliot emerge and walk to Dusty 's waiting limousine . Elliot is rubbing his forehead , anguished .</scene_description> <character>DUSTY</character> <parenthetical>( angrily , getting into the car . )</parenthetical> <dialogue>What a weirdo that guy is! Paranoid.</dialogue> <parenthetical>( noticing Elliot 's anguished face . )</parenthetical> <dialogue>What's the matter with you?</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Look I - I - I'll be okay. I'll be okay.</dialogue> <character>DUSTY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>It's not that big a deal. We just did n't hit it off.</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Now, look, you - you - you go on ahead.</dialogue> <character>DUSTY</character> <dialogue>Are you okay? You look - You're sweatin'.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , nervously . )</parenthetical> <dialogue>Yeah. Yeah, I just - just need so - some - some fresh air. It's probably something I ate. I'll - I'll walk. You go ahead.</dialogue> <scene_description>Dusty settles down in the backseat and closes the door . Elliot leans down to the chauffeur 's window , signaling for him to start driving .</scene_description> <character>ELLIOT</character> <parenthetical>( continuing , gesturing . )</parenthetical> <dialogue>You go. Go on. Go.</dialogue> <scene_description>The limousine drives off . Elliot runs to a phone booth across the street . He picks up the phone and dials . The film cuts to Frederick in his loft , standing near the phone . It rings . Frederick picks it up .</scene_description> <character>FREDERICK</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Hello? Hello? Hello?</dialogue> <scene_description>When no one answers , Frederick , reacting , hangs up , and the film moves back outside to the phone booth , where Elliot , the phone receiver to his ear , listens for a moment , then hangs up . He walks out of the booth , reacting , then walks down the sidewalk , where he bumps into a frantic Lee , just turning the corner .</scene_description> <character>LEE</character> <parenthetical>( gesturing in relief . )</parenthetical> <dialogue>Oh! There you are!</dialogue> <scene_description>Elliot mumbles , relieved and confused .</scene_description> <character>LEE</character> <dialogue>I was looking for you.</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I, I must apologize. I - I'm, I - I'm sorry. I'm so mixed up.</dialogue> <character>LEE</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, how do you expect me to react to such a thing?</dialogue> <scene_description>Elliot , uneasy , glances up in the direction of Frederick 's loft . He leads Lee a few yards up the street , away from any prying eyes .</scene_description> <character>ELLIOT</character> <parenthetical>( taking Lee 's arm . )</parenthetical> <dialogue>Wh -, uh, I know, I know but, I am in love with you.</dialogue> <character>LEE</character> <dialogue>Oh, do n't say those words!</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , shaking his head . )</parenthetical> <dialogue>I - I, I'm sorry. I know it's terrible.</dialogue> <character>LEE</character> <parenthetical>( pushing back her hair , shaking her head hopelessly . )</parenthetical> <dialogue>Why, you know the situation.</dialogue> <scene_description>She sighs .</scene_description> <character>ELLIOT</character> <parenthetical>( looking away for a moment . )</parenthetical> <dialogue>I know! I - I - I - I, I realize.</dialogue> <character>LEE</character> <dialogue>What do you expect me to say?</dialogue> <character>ELLIOT</character> <dialogue>Hannah and I are in the last stages.</dialogue> <character>LEE</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Wh - She's never said anything, and we're very close. She'd tell me such a thing.</dialogue> <character>ELLIOT</character> <dialogue>Wh -, it - it - it - it, it's so sad. She's crazy about me, but somewhere on the, along the line, I've fallen out of love with her.</dialogue> <character>LEE</character> <dialogue>Not because of me, I hope.</dialogue> <character>ELLIOT</character> <dialogue>Oh, no, no.</dialogue> <parenthetical>( nodding . )</parenthetical> <dialogue>Well, yes! I love you.</dialogue> <character>LEE</character> <dialogue>Oh, I ca n't be the cause of anything between you and Hannah. I jus -</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , shaking his head . )</parenthetical> <dialogue>Oh, no, no, no. It, uh, it - it - it - it was i - inevitable that Hannah and I part, anyway.</dialogue> <character>LEE</character> <dialogue>Why?</dialogue> <character>ELLIOT</character> <dialogue>Tch, w - well, for a million reasons.</dialogue> <character>LEE</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>But not over me?</dialogue> <character>ELLIOT</character> <dialogue>Tch, no! We were, we were both going in different directions.</dialogue> <character>LEE</character> <parenthetical>( looking down . )</parenthetical> <dialogue>Poor Hannah.</dialogue> <character>ELLIOT</character> <dialogue>But - but, but how about you? Do you, do you share any of my feelings? Or is this just an unpleasant embarrassment to you?</dialogue> <character>LEE</character> <parenthetical>( reacting uneasily . )</parenthetical> <dialogue>I ca n't say anything!</dialogue> <character>ELLIOT</character> <dialogue>W - well, please be candid. I, I - I do n't want you to feel bad.</dialogue> <character>LEE</character> <parenthetical>( putting her hand to her head . )</parenthetical> <dialogue>Yes! But I. I have certain feelings for you, but do n't make me say anything more, all right?</dialogue> <scene_description>Lee looks at him .</scene_description> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>O - o - o - okay, Lee. Okay, okay. You, you, y - you've said enough. It's my responsibility now. I will work things out.</dialogue> <character>LEE</character> <dialogue>Look, do n't do anything on my behalf.</dialogue> <parenthetical>( shaking her head . )</parenthetical> <dialogue>I live with Frederick, and Hannah and I are close.</dialogue> <character>ELLIOT</character> <dialogue>Yes, but you, you do care about me.</dialogue> <character>LEE</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Oh, Elliot, please! I ca n't be a party to this! I'm suddenly wracked with guilt just standing her talking to you on the street!</dialogue> <scene_description>She sighs .</scene_description> <character>ELLIOT</character> <parenthetical>( emphatically . )</parenthetical> <dialogue>Your guilt is because you feel the same.</dialogue> <character>LEE</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Oh, please, I have to go. I have to get my teeth cleaned.</dialogue> <scene_description>She walks off . Elliot stares after her , grinning .</scene_description> <character>ELLIOT</character> <parenthetical>( happily . )</parenthetical> <dialogue>I have my answer. I have my answer! I'm walking on air!</dialogue> <scene_description>He laughs .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER OUTSIDE EVAN AND NORMA'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>A taxi turns a West Side street corner and stops in front of Evan and Norma 's building , which is decorated with a long metal awning . It 's an overcast day . A station wagon on the opposite side of the street pulls away as Hannah , a white scarf fluttering over her shoulder , gets out of the cab . She runs into the building ; the taxi drives away . A piano plays `` Bewitched '' over the screen .</scene_description> </scene> <scene> <stage_direction>INT. EVAN AND NORMA'S APARTMENT - DAY</stage_direction> <scene_description>Evan , his back to the camera , walks to the front door and opens it to Hannah .</scene_description> <character>HANNAH</character> <parenthetical>( distracted . )</parenthetical> <dialogue>Hi. How's she doing?</dialogue> <character>EVAN</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I am glad to see you.</dialogue> <scene_description>Hannah takes off her shoulder bag and her coat as her aggravated father walks past her towards the kitchen . He passes a wall with an ornate mirror and some framed photographs .</scene_description> <character>EVAN</character> <dialogue>She's in the kitchen there. It's the same thing. Same thing. She promises, promises.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>But it's all lies.</dialogue> <scene_description>Through a doorway , Norma can be seen sitting on a chair in the kitchen . She wears a robe over a slip and stockings ; she 's drinking . Evan stands in the doorway looking at her ; he does n't go in .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen , patiently . )</parenthetical> <dialogue>Do n't make it worse, Dad.</dialogue> <character>EVAN</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Always.</dialogue> <scene_description>Hannah hurriedly passes her father and enters the kitchen ; her mother takes a sip of her drink .</scene_description> <character>HANNAH</character> <dialogue>Hi, Mom. How you doing? Here, let me get you some coffee. That's enough of that.</dialogue> <parenthetical>( taking away her mother 's drink , to Evan . )</parenthetical> <dialogue>What triggered it?</dialogue> <character>EVAN</character> <parenthetical>( gesturing , as Norma turns her head and watches him . )</parenthetical> <dialogue>We were making a commercial down at the mayor's office, and there was this young, good - looking salesman.</dialogue> <scene_description>Norma reacts , turning to her daughter . Hannah , however , has her back turned . She is busy taking charge in the kitchen as Evan speaks . She takes some pills out of a cupboard and hands them to her mother with a glass of water .</scene_description> <character>EVAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. and your mother was throwing herself at him in a disgusting way, and when she found she was too old to seduce him, that he was just embarrassed by her -</dialogue> <character>NORMA</character> <parenthetical>( angrily interrupting , turning her head . )</parenthetical> <dialogue>Liar! Liar!</dialogue> <scene_description>The camera moves to Evan , who continues to tell his story , ignoring his wife 's outburst , as he walks away from the kitchen doorway into the den .</scene_description> <character>EVAN</character> <dialogue>Then at lunch she got drunker and drunker.</dialogue> <parenthetical>( shouting over his shoulder . )</parenthetical> <dialogue>and finally she became Joan Collins!</dialogue> <scene_description>Evan walks over to the piano , where several framed family photographs sit in a line on its top . He picks one up as Norma speaks offscreen in the kitchen .</scene_description> <character>NORMA</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>All my life I've had to put up with insults.</dialogue> <scene_description>The camera moves back to the kitchen as Norma talks . She is still glaring offscreen at the doorway where Evan stood moments before . She holds the water glass and the pills .</scene_description> <character>NORMA</character> <parenthetical>( continuing , dramatically . )</parenthetical> <dialogue>. from this non - person, this, th - th - this haircut that passes for a man.</dialogue> <parenthetical>( turning to look at the offscreen Hannah . )</parenthetical> <dialogue>He could never support us. It's a good thing we had a talented daughter!</dialogue> <scene_description>Evan is back in the doorway , listening to Norma , getting more and more angry . As he makes a retort , he starts to walk back to the den and his piano .</scene_description> <character>EVAN</character> <dialogue>I can only hope that she was mine. With you as her mother.</dialogue> <parenthetical>( gesturing , his voice getting louder . )</parenthetical> <dialogue>her father could be anybody in Actors' Equity!</dialogue> <character>NORMA</character> <dialogue>She's talented. so it's not likely she's yours!</dialogue> <parenthetical>( taking a sip of water . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( walking over to the doorway to speak to Evan , who 's already fuming in the den . )</parenthetical> <dialogue>Dad, could you just please stay in the other room and let me take care of her?</dialogue> <scene_description>Hannah goes back to Norma ; she takes the glass of water away .</scene_description> <character>EVAN</character> <parenthetical>( offscreen , choosing to ignore Hannah 's suggestion . )</parenthetical> <dialogue>You never know when she's going to fall off the wagon and humiliate everybody.</dialogue> <scene_description>Hannah , choosing to ignore Evan 's remark , hands her mother a cup of coffee ; she puts her mother 's hands on the cup .</scene_description> <character>HANNAH</character> <dialogue>Here, Mom. Drink this.</dialogue> <parenthetical>( leaning against a kitchen counter . )</parenthetical> <dialogue>You know, you're awful. You probably were flirting.</dialogue> <character>NORMA</character> <parenthetical>( sipping her coffee . )</parenthetical> <dialogue>No! I like to joke around and have fun, and he gets angry because I get the attention. He's gotten sourer as he's gotten older, and I've tried to stay young. at heart.</dialogue> <character>HANNAH</character> <dialogue>You promised to stay on the wagon.</dialogue> <character>NORMA</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>The sacrifices I've made because of that man.</dialogue> <parenthetical>( inhaling . )</parenthetical> <dialogue>He's ruined me with his ego, his philandering, his -.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>his - his - his - his mediocrity!</dialogue> <character>HANNAH</character> <dialogue>Okay, stop being so dramatic.</dialogue> <character>NORMA</character> <parenthetical>( shouting to the offscreen Evan . )</parenthetical> <dialogue>He's the one that's made every ingenue in stock!</dialogue> <character>HANNAH</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Okay, okay.</dialogue> <character>NORMA</character> <parenthetical>( touching Hannah 's arm , gasping . )</parenthetical> <dialogue>Th - th - they, they wanted me for a screen test.</dialogue> <character>HANNAH</character> <parenthetical>( patiently . )</parenthetical> <dialogue>Yeah, I know, Mom.</dialogue> <character>NORMA</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>But I, I knew that he'd get up there and he'd flounder around with his expensive haircuts and hairdos and clothes. He's all show!</dialogue> <parenthetical>( touching Hannah 's arm again , then touching her chest . )</parenthetical> <dialogue>Now how can you act when there's nothing inside to come out?!</dialogue> <scene_description>Norma sips her coffee , softly sobbing . Hannah , reacting , walks away from the counter and , capping the bottle of pills , puts them back in the cupboard . Evan plays the piano offscreen . The camera moves in on Hannah 's face as she reflects , her voice heard over the screen .</scene_description> <character>HANNAH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>She was so beautiful at one time, and he was so dashing. Both of them just full of promise and hopes that never materialized.</dialogue> <scene_description>The camera leaves Hannah 's face as she continues to reflect ; it moves to the den , to the row of family photos on the piano : one of a present - day Evan and Norma , others where both Norma and Evan are young , beautiful , hopeful . The music plays on .</scene_description> <character>HANNAH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And the fights and the constant infidelities to prove themselves. and blaming each other. It's s - sad. They loved the idea of having us kids, but raising us did n't interest them much. But it's impossible to hold it against them. They did n't know anything else.</dialogue> <scene_description>The film cuts back to the kitchen . Norma stands up ; Hannah takes her coffee cup and sets it on the counter .</scene_description> <character>NORMA</character> <dialogue>You know, of all of us in the family, you were the one blessed with the true gift.</dialogue> <scene_description>She puts her arm around Hannah 's shoulder . Mother and daughter walk out of the kitchen .</scene_description> <character>HANNAH</character> <parenthetical>( holding the hand her mother had placed on her shoulder . )</parenthetical> <dialogue>Ohhh, my true gift is luck, Mom.</dialogue> <scene_description>Norma chuckles .</scene_description> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I just had a lot of luck. from my first show, you know? I've always thought Lee was the one destined for great things.</dialogue> <character>NORMA</character> <dialogue>Yes, she's lovely, but she does n't have your spark.</dialogue> <parenthetical>( gesturing and chuckling . )</parenthetical> <dialogue>She knows it. She worships you. She would n't dare get up there on the stage.</dialogue> <character>HANNAH</character> <parenthetical>( looking at her mother . )</parenthetical> <dialogue>Now, Holly's not shy.</dialogue> <scene_description>They stop at the entrance to the den . Evan can be seen playing the piano as they continue their conversation .</scene_description> <character>NORMA</character> <dialogue>No, Holly's game for anything. Holly takes after me.</dialogue> <character>HANNAH</character> <dialogue>True.</dialogue> <character>NORMA</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>I'd have been a great dope addict.</dialogue> <scene_description>Norma chortles . Hannah laughs , touching her mother . They walk over to Evan at the piano .</scene_description> <character>EVAN</character> <parenthetical>( looking up . )</parenthetical> <dialogue>Remember this, Hannah?</dialogue> <scene_description>Evan plays a few bars of `` You Are Too Beautiful '' as mother and daughter , their backs to the camera , listen . Norma leans over the piano ; Hannah looks off into the distance , deep in reflection . The piano music continues in the background as the movie cuts to : Lee walking along a wharf by the waterfront . The wind blows her hair ; she hugs the e.e. cummings book to her chest . She , too , is deep in thought . She stops at the edge of the wharf ; the camera continues to move , to a group of wooden pilings nearby , lapped by the water .</scene_description> <character>The abyss.</character> <dialogue>says.</dialogue> <scene_description>The piano piece ends and the film is quiet .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CAT-SCAN ROOM - DAY</stage_direction> <scene_description>The quiet continues as the film cuts to a close - up of a large , circular CAT - scan module in an antiseptic hospital room . A slowly moving stretcher , bearing Mickey 's strapped prone body , begins to enter the round opening of the module . As the camera pulls back from Mickey , his taped head under the scan , two technicians can be seen through the window separating the scanner from the control room . One of them , sitting down , taps information into a computer while the other technician stands nearby , looking from Mickey to the computer screen . The movie then cuts briefly to the computer screen , showing an image of Mickey 's skull . Scan lines bleep over the skull . The camera moves up from the screen to reveal Mickey once again , as seen through the window , silent and serious under the CAT - scan module . From Mickey 's prone form , the film moves to the two technicians , as seen through the window in the scanner room . They examine the computer screen and talk indistinctly to each other . One of the men , nodding , taps more information into the computer . While they 're studying the CAT - scan picture , the camera cuts to a back view of Mickey under the module . There is a science - fiction feel to this scene , as if Mickey is lying in the center of a huge , white , futuristic circle . The stretcher , bearing Mickey , slowly moves out of the module .</scene_description> </scene> <scene> <stage_direction>INT. DR. BROOK'S OFFICE - DAY</stage_direction> <scene_description>Dr. Brooks , holding Mickey 's X - rays , walks past a row of bookshelves to his light panel . He props up the X - rays .</scene_description> <character>DR. BROOKS</character> <dialogue>Mr. Sachs.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>I'm afraid the news is not good.</dialogue> <scene_description>Dr. Brooks turns to an offscreen Mickey .</scene_description> <character>DR. BROOKS</character> <parenthetical>( continuing , taking a pencil out of his pocket . )</parenthetical> <dialogue>If I can show you exactly where the tumor is, and why we feel that surgery would be of no use.</dialogue> <scene_description>The film quickly cuts to a close - up of Mickey 's face , reacting in total despair . He closes his eyes ; he covers his face with his hand .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's over. I'm face - to - face with eternity.</dialogue> <character>DR. BROOKS</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>. grown quite large without being detected.</dialogue> <parenthetical>( trailing off indistinctly as Mickey continues his anguished ramblings . )</parenthetical> <dialogue /> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Not later, but now. I'm so frightened I ca n't move, speak, or breathe.</dialogue> <scene_description>As Mickey finishes his speech , the `` real '' Dr. Brooks is seen walking into the office . The previous scene had been a figment of Mickey 's imagination , a nightmare fantasy only . Holding Mickey 's X - rays , the `` real '' Dr. Brooks walks past the same row of books to the light panel .</scene_description> <character>DR. BROOKS</character> <dialogue>Well, you're just fine. There's absolutely nothing here at all. And your tests are all fine.</dialogue> <parenthetical>( switching on the light on the panel and propping up the X - rays . )</parenthetical> <dialogue>I must admit, I was concerned, given your symptoms.</dialogue> <parenthetical>( turning to look at the offscreen Mickey . )</parenthetical> <dialogue>What caused this hearing loss in one ear, I guess we'll never really know for sure. But whatever it was, it's certainly not anything serious at all.</dialogue> <parenthetical>( nodding . )</parenthetical> <dialogue>I'm very relieved.</dialogue> </scene> <scene> <stage_direction>EXT. MOUNT SINAI HOSPITAL - DAY</stage_direction> <scene_description>Once again , Mickey is seen leaving the building , but this time he bounds down the steps , jumping for joy . He runs swirling down the street , clapping his hands , happy with relief . Upbeat , uptempo jazz plays in the background . Several cars pass as Mickey joyfully runs . Suddenly he stops , his hand to his mouth , reflecting .</scene_description> </scene> <scene> <stage_direction>INT. MICKEY'S OFFICE - DAY</stage_direction> <scene_description>Gail sits in a chair in front of a bookshelf . A sofa , a coffee table holding periodicals , and an endtable with a lamp complete the tableau . Gail 's hands are clasped on her lap .</scene_description> <character>GAIL</character> <dialogue>What do you mean you're quitting? Why? The news is good! You do n't have canc - the thing.</dialogue> <scene_description>Mickey , standing behind his desk , his back to the camera , his coat still on , looks out at the Manhattan skyline .</scene_description> <character>MICKEY</character> <dialogue>Do you realize what a thread we're all hanging by?</dialogue> <character>GAIL</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Mickey, you're off the hook. You should be celebrating.</dialogue> <character>MICKEY</character> <parenthetical>( walking around to the front of his desk , gesturing . )</parenthetical> <dialogue>Can you understand how meaningless everything is? Everything! I'm talking about nnnn - our lives, the show. the whole world, it's meaningless.</dialogue> <character>GAIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yeah. but you're not dying!</dialogue> <character>MICKEY</character> <dialogue>No, I'm not dying now, but, but.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>you know, when I ran out of the hospital, I, I was so thrilled because they told me I was going to be all right. And I'm running down the street, and suddenly I stop,'cause it hit me, all right, so, you know, I'm not going to go today. I'm okay. I'm not going to go tomorrow.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>But eventually, I'm going to be in that position.</dialogue> <scene_description>Gail gets up from her chair . She walks past Mickey to a nearby cabinet . She opens a drawer , rummaging around for something . The camera follows her , leaving Mickey briefly .</scene_description> <character>GAIL</character> <dialogue>You're just realizing this now?</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Well, I do n't realize it now, I know it all the time, but, but I managed to stick it in the back of my mind.</dialogue> <scene_description>As Mickey continues to talk offscreen , Gail closes the cabinet drawer and walks to a file cabinet behind Mickey 's desk .</scene_description> <character>MICKEY</character> <dialogue>because it - it's a very horrible thing to. think about!</dialogue> <scene_description>Gail opens the file cabinet and takes out a pack of gum . She slams it closed , distracted .</scene_description> <character>GAIL</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Yeah. What?</dialogue> <character>MICKEY</character> <parenthetical>( turning to Gail . )</parenthetical> <dialogue>Can I tell you something? Can I tell you a secret?</dialogue> <character>GAIL</character> <parenthetical>( nodding impatiently as she walks around the desk . )</parenthetical> <dialogue>Yes, please.</dialogue> <character>MICKEY</character> <parenthetical>( pointing . )</parenthetical> <dialogue>A week ago, I bought a rifle.</dialogue> <character>GAIL</character> <parenthetical>( sitting on the arm of a chair near Mickey . )</parenthetical> <dialogue>No.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , nodding and gesturing . )</parenthetical> <dialogue>I went into a store, I bought a rifle. I was gon na. You know, if they told me that I had a tumor, I was going to kill myself. The only thing that mighta stopped me, might've, is my parents would be devastated. I would, I woulda had to shoot them, also, first. And then, I have an aunt and uncle, I would have. You know, it would have been a bloodbath.</dialogue> <character>GAIL</character> <parenthetical>( shrugging , unwrapping a stick of gum . )</parenthetical> <dialogue>Tch, well, you know, eventually it, it is going to happen to all of us.</dialogue> <character>MICKEY</character> <dialogue>Yes, but does n't that ruin everything for you? That makes everything.</dialogue> <scene_description>Gail sighs . She pops a piece of gum into her mouth as Mickey continues to speak .</scene_description> <character>MICKEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. you know it, it just takes the pleasure out of everything.</dialogue> <parenthetical>( gesturing , pointing . )</parenthetical> <dialogue>I mean, you're gon na die, I'm gon na die, the audience is gon na die, the network's gon na - The sponsor. Everything!</dialogue> <character>GAIL</character> <parenthetical>( chewing . )</parenthetical> <dialogue>I know, I know, and your hamster.</dialogue> <character>MICKEY</character> <parenthetical>( nodding emphatically . )</parenthetical> <dialogue>Yes!</dialogue> <character>GAIL</character> <parenthetical>( chewing and pointing to Mickey . )</parenthetical> <dialogue>Listen, kid, I think you snapped your cap.</dialogue> <scene_description>Mickey sighs .</scene_description> <character>GAIL</character> <parenthetical>( continuing , chewing loudly . )</parenthetical> <dialogue>Maybe you need a few weeks in Bermuda, or something. Or go to a whorehouse! No?</dialogue> <character>MICKEY</character> <parenthetical>( shaking his head , his hand to his chest . )</parenthetical> <dialogue>I ca n't stay on this show. I got ta get some answers. Otherwise.</dialogue> <parenthetical>( pausing and holding his head . )</parenthetical> <dialogue>I'm telling you, I'm going to do something drastic.</dialogue> <scene_description>The entrance to the St. Regis Hotel , elegant and warmly lit in the night . Pedestrians pass . Baroque harpsichord music plays over the scene . The camera moves up the hotel 's façade , past its welcoming flags , to its ornate windows several floors up . As the harpsichord continues to play , the film moves inside , to one of the hotel rooms . Elliot , his back to the camera , is opening the door to Lee . Elliot closes the door behind her as she enters . They stand very close to each other , framed by the door and a stark , subtly striped wallpapered wall .</scene_description> <character>ELLIOT</character> <parenthetical>( looking intensely at Lee , his hands in his pockets . )</parenthetical> <dialogue>I thought you were n't coming.</dialogue> <character>LEE</character> <dialogue>I almost did n't.</dialogue> <character>ELLIOT</character> <parenthetical>( putting his hand on her shoulder , wanting to kiss her . )</parenthetical> <dialogue>Lee. uh.</dialogue> <character>LEE</character> <dialogue>I did n't sleep all night.</dialogue> <character>ELLIOT</character> <parenthetical>( taking his hand away , gesturing to the room . )</parenthetical> <dialogue>No, no - no - no, I'm sure.</dialogue> <scene_description>They walk towards the camera , further into the room . Elliot puts his arm around Lee .</scene_description> <character>LEE</character> <dialogue>What are we doing, meeting in a hotel room? It's terrible, is n't it?</dialogue> <scene_description>The music stops . The camera follows Lee as she walks towards the curtained windows , past a fireplace , a mirror , some innocuous pictures , a delicate table holding a lamp , the foot of the bed .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I - I could n't think where to invite you without taking risks.</dialogue> <character>LEE</character> <dialogue>I promised myself I would n't let this happen till you were living alone. I was so torn when you called.</dialogue> <scene_description>She parts a corner of the curtains , looking out the window , turning when Elliot speaks .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I've wanted to call you everyday since I first told you how I felt.</dialogue> <scene_description>He walks over to Lee by the curtained windows .</scene_description> <character>ELLIOT</character> <dialogue>I resisted so many times.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Do n't think badly of me.</dialogue> <scene_description>He takes Lee into his arms .</scene_description> <character>ELLIOT</character> <dialogue>This is not an easy situation.</dialogue> <character>LEE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>I know it is n't.</dialogue> <scene_description>They kiss , their figures almost silhouetted in the warm glow of the room . Elliot takes Lee 's coat off without breaking the kiss . They embrace . They kiss each other lightly , then stronger , more passionately , their embrace much tighter . And it 's later that night . The harpsichord music begins to play again as the camera moves over the bed covers to reveal Lee , lying contentedly under the sheets , her hair fanned out on the pillows , one arm near her head .</scene_description> <character>LEE</character> <dialogue>That was just perfect. You've ruined me for anyone else.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I do n't want anyone else ever to have you.</dialogue> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>I was so worried I would n't compare with Hannah.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen , laughing . )</parenthetical> <dialogue>Oh, my God.</dialogue> <scene_description>He enters the screen , sitting down on the edge of the bed next to Lee . He holds a cigarette .</scene_description> <character>ELLIOT</character> <dialogue>You really do have those thoughts, do n't you?</dialogue> <character>LEE</character> <parenthetical>( chuckling , touching Elliot 's arm . )</parenthetical> <dialogue>Oh, all the time.</dialogue> <scene_description>Elliot chuckles ; they hold hands .</scene_description> <character>LEE</character> <dialogue>I know she must be a really passionate person.</dialogue> <character>ELLIOT</character> <parenthetical>( looking at their clasped hands . )</parenthetical> <dialogue>Yes, she's, she's very warm, but, but it - it's me that wants to be giving to you. I - I - I want to do things for you. Hannah does n't need me as much.</dialogue> <parenthetical>( chuckling as Lee laughs . )</parenthetical> <dialogue>I'm being presumptuous. Not that you need me.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>I want you to take care of me. And I love when you do things to me.</dialogue> <scene_description>Elliot leans down to Lee ; they begin to kiss passionately .</scene_description> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE FREDERICK'S LOFT - NIGHT</stage_direction> <scene_description>Lee walks along the sidewalk in the rain ; she 's bareheaded . The streets are dark . A car drives by ; a pedestrian passes holding an umbrella . Lee passes a restaurant well lit inside by hanging lamps . The baroque music continues as she enters the loft , her head soaked . She closes the door , touching her soaking hair .</scene_description> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You're late.</dialogue> <scene_description>Lee walks through the loft 's living room area , unbelting her coat , towards the bathroom . She passes Frederick , who sits at a table in the kitchen area , drinking a cup of coffee and reading the paper . A plate with a half - eaten sandwich sits in front of him . The music stops .</scene_description> <character>LEE</character> <parenthetical>( opening the bathroom door . )</parenthetical> <dialogue>Lucy and I kept talking, and I did n't realize how late it had gotten.</dialogue> <character>FREDERICK</character> <parenthetical>( barely glancing up from his paper . )</parenthetical> <dialogue>You missed a very dull TV show about Auschwitz. More gruesome film clips. and more puzzled intellectuals declaring their mystification over the systematic murder of millions.</dialogue> <scene_description>As he talks , Lee is seen turning on the bathroom light . She takes off her coat , hanging it on a hook , then begins to dry her hair with a towel .</scene_description> <character>FREDERICK</character> <parenthetical>( turning his head slightly in Lee 's direction and gesturing . )</parenthetical> <dialogue>The reason why they could never answer the question `` How could it possibly happen?'' is that it's the wrong question. Given what people are, the question is.</dialogue> <parenthetical>( swallowing . )</parenthetical> <dialogue>`` Why does n't it happen more often?'' Of course it does, in subtler forms.</dialogue> <scene_description>Frederick takes a bite of his sandwich and another sip of coffee as Lee walks out of the bathroom , tossing the towel down on the counter .</scene_description> <character>LEE</character> <parenthetical>( moving her fingers through her wet hair . )</parenthetical> <dialogue>I have a little headache from this weather.</dialogue> <scene_description>She takes a kettle and fills it with water .</scene_description> <character>FREDERICK</character> <parenthetical>( grunting , sipping his coffee . )</parenthetical> <dialogue>It's been ages since I sat in front of the TV. just changing channels to find something.</dialogue> <scene_description>As Frederick continues his monologue , Lee is busy in the background : striking a wooden match and lighting a burner on the stove for the kettle , taking a glass out of the cupboard , walking into the bathroom for some pills , filling the glass with water in the kitchen sink , and taking her pills .</scene_description> <character>FREDERICK</character> <dialogue>You see the whole culture. Nazis, deodorant salesman, wrestlers. beauty contests, the talk show. Can you imagine the level of a mind that watches wrestling?</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>Hmm? But the worst are the fundamentalist preachers. third - rate con men, telling the poor suckers that watch them that they speak for Jesus. and to please send in money.</dialogue> <parenthetical>( picking up his sandwich . )</parenthetical> <dialogue>Money, money, money! If Jesus came back, and saw what's going on in his name, he'd never stop throwing up.</dialogue> <scene_description>He takes a bite of his sandwich and a sip of coffee . Lee sets her glass on the kitchen counter and walks towards the bedroom area .</scene_description> <character>LEE</character> <parenthetical>( impatiently , her hands in her hair . )</parenthetical> <dialogue>Oh, God, Frederick, could you please lighten up?! I'm really not in the mood to hear a review of contemporary society again.</dialogue> <scene_description>She starts to take off her wet clothes by the bed . Frederick takes off his glasses . He turns and looks at Lee in surprise .</scene_description> <character>FREDERICK</character> <parenthetical>( standing up from the table . )</parenthetical> <dialogue>You know, you've been very nervous lately.</dialogue> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>I ca n't take this anymore.</dialogue> <character>FREDERICK</character> <parenthetical>( walking over to the bed . )</parenthetical> <dialogue>I'm just trying to complete an education I started on you five years ago.</dialogue> <character>LEE</character> <parenthetical>( unbuttoning her blouse . )</parenthetical> <dialogue>I'm not your pupil.</dialogue> <parenthetical>( sighing , her hands at her side . )</parenthetical> <dialogue>I was, but I'm not.</dialogue> <character>FREDERICK</character> <parenthetical>( sitting down on the edge of the bed . )</parenthetical> <dialogue>When you leave the nest, I just want you to be ready to face the real world.</dialogue> <scene_description>He pulls Lee down next to him on the bed .</scene_description> <character>LEE</character> <parenthetical>( putting her hand on Frederick 's leg . )</parenthetical> <dialogue>Frederick, we're going to have to make some changes.</dialogue> <scene_description>She sighs .</scene_description> <character>FREDERICK</character> <parenthetical>( quickly looking at Lee , alarmed . )</parenthetical> <dialogue>Like what?</dialogue> <character>LEE</character> <dialogue>Oh, you know what. I'm suffocating!</dialogue> <character>FREDERICK</character> <parenthetical>( turning away , his hands clasped in front of him . )</parenthetical> <dialogue>Oh! Are we going to have this conversation again?</dialogue> <character>LEE</character> <dialogue>Yes, we're going to have this conversation again. I. I have to leave. I have to move out.</dialogue> <character>FREDERICK</character> <parenthetical>( shaking his clasped hands intensely . )</parenthetical> <dialogue>Why?</dialogue> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Because I have to!</dialogue> <character>FREDERICK</character> <parenthetical>( emotionally . )</parenthetical> <dialogue>What are you going to use for money?!</dialogue> <character>LEE</character> <dialogue>I do n't know. I thought, maybe I'd move in with my parents for a while.</dialogue> <character>FREDERICK</character> <dialogue>Tch, oh. I always told you you would leave me.</dialogue> <parenthetical>( looking at Lee . )</parenthetical> <dialogue>But. does it have to be now?</dialogue> <character>LEE</character> <parenthetical>( hugging her arm with her other hand . )</parenthetical> <dialogue>Well, maybe it'll only be temporary, but I ha - I have to try.</dialogue> <character>FREDERICK</character> <parenthetical>( taking Lee 's head in his hands and looking at her . )</parenthetical> <dialogue>Oh. Lee, you are my whole world.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Good God! Have you been kissed tonight?!</dialogue> <character>LEE</character> <parenthetical>( reacting , pushing Frederick 's hands from her face . )</parenthetical> <dialogue>No.</dialogue> <character>FREDERICK</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Oh, yes, you have!</dialogue> <character>LEE</character> <parenthetical>( quickly standing up , defensively . )</parenthetical> <dialogue>No.</dialogue> <character>FREDERICK</character> <parenthetical>( raising his voice . )</parenthetical> <dialogue>You've been with someone!</dialogue> <character>LEE</character> <parenthetical>( overlapping , running away from the bed . )</parenthetical> <dialogue>Stop accusing me!</dialogue> <scene_description>Lee runs into the kitchen , her hands tight around her chest .</scene_description> <character>FREDERICK</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm too smart, Lee! You ca n't fool me! You're turning all red!</dialogue> <scene_description>Lee , fraught with emotion , briefly puts her outstretched hands on the refrigerator door , then turns around and leans against it , hugging herself , her blouse still unbuttoned , her hair still wet and bedraggled .</scene_description> <character>LEE</character> <dialogue>Leave me alone!</dialogue> <scene_description>Frederick enters the kitchen area and leans against the counter .</scene_description> <character>FREDERICK</character> <parenthetical>( angrily . )</parenthetical> <dialogue>Oh, Christ! What's wrong with you?!</dialogue> <character>LEE</character> <parenthetical>( leaning against the refrigerator , sighing . )</parenthetical> <dialogue>I'm sorry.</dialogue> <character>FREDERICK</character> <dialogue>Oh, could n't you say something? You have to slither around behind my back!</dialogue> <character>LEE</character> <parenthetical>( overlapping , her voice emotionally raised . )</parenthetical> <dialogue>I'm saying it now!</dialogue> <character>FREDERICK</character> <dialogue>So you met somebody else?</dialogue> <character>LEE</character> <parenthetical>( sighing , nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>Frederick cringes , reacting . He puts his hand to his forehead ; he sighs .</scene_description> <character>LEE</character> <parenthetical>( walking into the bathroom . )</parenthetical> <dialogue>But you, God, you knew that was going to happen sooner or later. I ca n't live like this!</dialogue> <character>FREDERICK</character> <parenthetical>( turning to face Lee in the bathroom , his arms crossed . )</parenthetical> <dialogue>Who is it?</dialogue> <character>LEE</character> <parenthetical>( frantically putting things in her purse , glaring at Frederick . )</parenthetical> <dialogue>What's the difference?! It's just somebody I met!</dialogue> <character>FREDERICK</character> <dialogue>But who? Where did you meet him?</dialogue> <character>LEE</character> <dialogue>It does n't make a difference! I have to move out!</dialogue> <character>FREDERICK</character> <dialogue>You are, you are my only connection to the world!</dialogue> <scene_description>Lee turns and faces Frederick in the bathroom doorway .</scene_description> <character>LEE</character> <parenthetical>( gesturing emotionally . )</parenthetical> <dialogue>Oh, God, that's too much responsibility for me. It's not fair! I want a less complicated life, Frederick. I want a husband, maybe even a child before it's too late.</dialogue> <character>FREDERICK</character> <parenthetical>( reacting , his face in his hand . )</parenthetical> <dialogue>Jesus. Jesus!</dialogue> <character>LEE</character> <parenthetical>( gesturing , moving closer to Frederick . )</parenthetical> <dialogue>Oh, God, I do n't even know what I want.</dialogue> <character>FREDERICK</character> <parenthetical>( sighing heavily , reacting . )</parenthetical> <dialogue>Oh.</dialogue> <character>LEE</character> <parenthetical>( rubbing Frederick 's shoulder tenderly . )</parenthetical> <dialogue>Tch, oh, what do you get out of me, anyway? I mean.</dialogue> <parenthetical>( laying her head against his shoulder , sighing deeply . )</parenthetical> <dialogue>it's not sexual anymore. It's certainly not intellectual. I mean, you're so superior to me in every way that -</dialogue> <scene_description>Frederick furiously shakes Lee away . He pounds his fist against a cupboard . Lee , gasping , moves away .</scene_description> <character>FREDERICK</character> <dialogue>Please, do n't patronize me!</dialogue> <scene_description>He puts his hand on his forehead , then turns to the offscreen Lee .</scene_description> <character>FREDERICK</character> <dialogue>God! I should have married you years ago when you wanted to! I should have agreed.</dialogue> <scene_description>He walks over to Lee in another area of the kitchen .</scene_description> <character>LEE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Oh, God, do n't you know it never would have worked?</dialogue> <scene_description>Frederick turns away from Lee . He begins to pace near the counter .</scene_description> <character>FREDERICK</character> <dialogue>I told you, one day you would leave me.</dialogue> <parenthetical>( leaning on the counter . )</parenthetical> <dialogue>for a younger man. I -</dialogue> <scene_description>He loudly pounds his fist on the counter in despair and frustration , then covers his eyes with his hands in sorrow .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S BEDROOM - NIGHT</stage_direction> <scene_description>Hannah , wearing a plaid shirt , sits up in bed , a book propped up on her knees . A cupboard with some bric - a - brac is mounted behind the night table , which holds a small , white , warm - glowing lamp and some photographs . She turns the page as Elliot , in pajamas and silk bathrobe , enters . She continues to read her book as he sits down at the edge of the bed and muses . His voice is heard over the screen .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What passion today with Lee. She's a volcano. It was a totally fulfilling experience. Just as I dreamed it would be.</dialogue> <parenthetical>( nodding slightly as he takes off his slippers . )</parenthetical> <dialogue>That's what it was. It was like living out a dream. a great dream.</dialogue> <parenthetical>( taking off his bathrobe . )</parenthetical> <dialogue>Now I feel very good and cozy being here next to Hannah. There's something very lovely and real about Hannah.</dialogue> <parenthetical>( tossing his bathrobe aside and lying down on the bed next to Hannah , his hands crossed over his stomach . )</parenthetical> <dialogue>She gives me a very deep feeling of being part of something. She's a wonderful woman. and I betrayed her. She came into my empty life and changed it. and I paid her back by banging her sister in a hotel room. God, I'm despicable. What a cruel and shallow thing to do.</dialogue> <parenthetical>( sitting up . )</parenthetical> <dialogue>I have to call her now and tell her what we did was crazy.</dialogue> <parenthetical>( anxiously . )</parenthetical> <dialogue>It ca n't ever happen again. I'm not that kind of man. and I value Hannah too much. I love my wife. Now I've betrayed her. Oh, God!</dialogue> <scene_description>Elliot frantically stands up and leaves the room .</scene_description> <character>HANNAH</character> <parenthetical>( reading , not looking up . )</parenthetical> <dialogue>Where're you going?</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I've, uh. got ta find, got ta get a phone number in my desk. I forgot to phone Mel Kaufman.</dialogue> <character>HANNAH</character> <parenthetical>( still reading . )</parenthetical> <dialogue>It's so late.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yeah, I know. I - I ca n't believe I forgot.</dialogue> <scene_description>Elliot walks quickly into the darkened hallway .</scene_description> <character>ELLIOT</character> <parenthetical>( muttering . )</parenthetical> <dialogue>What if he answers?</dialogue> <parenthetical>( turning into the doorway leading to the living room . )</parenthetical> <dialogue>I'll hang up.</dialogue> <parenthetical>( walking into the darkened living room . )</parenthetical> <dialogue>I'll tell her we ca n't communicate until I terminate my marriage.</dialogue> <parenthetical>( whispering . )</parenthetical> <dialogue>It's immoral.</dialogue> <scene_description>Elliot switches on the light . He paces back and forth in front of the piano and an accompanying music stand . The top of the piano is filled with family photos ; the lamp he turned on illuminates some framed pictures on the wall and the piece of sheet music open on the piano .</scene_description> <character>ELLIOT</character> <parenthetical>( gesturing and whispering . )</parenthetical> <dialogue>Then, time will pass. I wo n't call, and she'll get the idea. I got ta stop this before I get in too deep. I'd rather hurt Lee a little, than destroy Hannah.</dialogue> <scene_description>Elliot stops pacing and checks his wristwatch .</scene_description> <character>ELLIOT</character> <parenthetical>( whispering , rubbing his hands . )</parenthetical> <dialogue>It's one - thirty. She. she ca n't have a conversation with me. with him around. I'm getting hysterical.</dialogue> <parenthetical>( putting his hands on his hips . )</parenthetical> <dialogue>I'll call her first thing in the morning. I'll call her at six.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Frederick goes jogging at six, yeah, she'll be alone. And I'll, I'll call her and nip it in the bud.</dialogue> <scene_description>The phone rings . Elliot jumps .</scene_description> <character>ELLIOT</character> <parenthetical>( loudly , to the offscreen Hannah , gasping . )</parenthetical> <dialogue>I've got it! I've got it! I've got it!</dialogue> <parenthetical>( picking up the phone , into the telephone . )</parenthetical> <dialogue>Hello?</dialogue> <parenthetical>( loudly , for the offscreen Hannah 's benefit . )</parenthetical> <dialogue>Mel!</dialogue> <scene_description>The movie cuts to Lee , standing in the dark in Frederick 's loft . She talks softly into the telephone .</scene_description> <character>LEE</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>I would have hung up if you had n't answered and I promise I wo n't ever do this again, but I just had to tell you, I feel very close to you tonight. Very, very close.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Good night.</dialogue> <scene_description>Lee hangs up the phone and the movie cuts back to Elliot , standing in his living room . Stunned , he slowly lowers the phone receiver . `` The only absolute knowledge attainable by man is that life is meaningless . '' - Tolstoy Jazz is heard as the movie cuts to the outside of a university library , the camera focused on a huge replica of Rodin 's Thinker before moving to the front entrance . Mickey can be seen emerging from its depths . He wears his raincoat , his hands are in his pockets . He ponders the scene as he walks past the statue and a small front garden and down the sidewalk . Passersby , some holding books , are seen .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Millions of books written on every conceivable subject by all these great minds, and, and in the end, none of'em knows anything more about the big questions of life than I do. Ss - I read Socrates. You know, n - n - n -, this guy used to kn - knock off little Greek boys. What the hell's he got to teach me? And, and Nietzsche with his, with his Theory of Eternal Recurrence. He said that the life we live, we're gon na live over and over again the exact same way for eternity. Great. That means I, uh, I'll have to sit through the Ice Capades again. Tch. It's not worth it.</dialogue> <scene_description>The movie next cuts to a sunny day in Central Park . A male jogger , seen through some tree branches , runs by . The camera moves past him , revealing a pondering Mickey walking by the reservoir . He continues to talk over the screen .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And, and Freud, another great pessimist. Jeez, I was in analysis for years. Nothing happened. My poor analyst got so frustrated. The guy finally put in a salad bar.</dialogue> <scene_description>Several joggers pass Mickey ; he continues to ruminate .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh! Look at all these people jogging. trying to stave off the inevitable decay of the body. Boy.</dialogue> <parenthetical>( smacking his lips . )</parenthetical> <dialogue>it's so sad what people go through with their - their stationary bike and their exercise and their.</dialogue> <parenthetical>( glancing at a fat woman jogger in a red sweatsuit who runs by . )</parenthetical> <dialogue>. Oh! Look at this one! Poor thing. My God, she has to tote all that fat around. Maybe the poets are right. Maybe love is the only answer.</dialogue> <scene_description>Mickey goes over to the chain - link fence encircling the reservoir . He stops walking and looks out over the water .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Shh - Of course, I was in love with Hannah. That did n't work out too well.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>I even took her sister out. Remember that?</dialogue> <scene_description>Mickey continues to look through the fence at the water and the distant skyline . A jogger crosses in front of him . It 's very quiet ; the soft jazz continues .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Remember years ago when Hannah and I got divorced and she fixed me up with her sister Holly?</dialogue> <scene_description>The film cuts abruptly to Mickey 's flashback of his date with Holly , beginning with a rock club performance . The soft jazz becomes loud , pulsating rock . Three punkers - a girl with pink hair , a girl with a spiked mohawk , and a guy with Stevie Wonder braids and sunglasses - watch and bop their heads to the sounds of the offscreen rock band , The 39 Steps . The camera moves to the stage , revealing a sleazy - looking rock band in the midst of their number .</scene_description> <character>THE 39 STEPS</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` I want to be like you I said I'm going to fit into your group.''</dialogue> <scene_description>As the band loudly plays on , the camera moves across the spellbound audience , sitting at crowded , smoky , small tables , to reveal a stricken Mickey and a mesmerized Holly squeezed together at one of them . A nearby member of the audience swills beer from a bottle . Holly , beating time to the music and enjoying herself , takes a puff of her cigarette . She wears a wristful of silver bracelets . She glances at Mickey impatiently . He 's the only one in the place wearing a suit .</scene_description> <character>THE 39 STEPS</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` I do n't wan na be different Said I'm gon na be just like you Because I'm gon na buy the records That they play on radio.</dialogue> <scene_description>Holly turns back to the band , who are still in full swing . The camera moves down the body of the lead singer , singing into a microphone , from his longish , curly red hair , through his cut - off red shirt and sweaty torso , to his guitar . He wears several silver bracelets on his wrists and gold bracelets on his upper arm . The microphone screeches feedback .</scene_description> <character>THE 39 STEPS</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` I'm gon na dance at clubs Gon na do just what I'm told Because I'm bleedin' now And I'm bleedin' now I wan na slip, slip, slip, slip, slip Into the crowd I wan na slip, slip, slip, slip, slip Into the crowd.''</dialogue> <scene_description>The camera moves back to Holly and the even more stricken - looking Mickey . They are crowded in with people . In the background , a waitress holds up a tray . A man drinks from a glass mug ; people chatter indistinctly over the loud band . The club is noisy , smoky , and thick with people . Holly glances at Mickey once again , this time unable to contain her annoyance .</scene_description> <character>HOLLY</character> <dialogue>Oh, why are you making those faces?</dialogue> <character>MICKEY</character> <parenthetical>( leaning over to Holly , gesturing . )</parenthetical> <dialogue>I ca n't hear you. I ca n't hear anything. I'm, I'm, I'm, I'm gon na lose hearing in my ear! I'm -</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , gesturing to the offscreen band . )</parenthetical> <dialogue>Listen, you are witnessing genius!</dialogue> <character>MICKEY</character> <parenthetical>( pointing to his ears . )</parenthetical> <dialogue>I, I, my ears are experiencing a meltdown! I ca n't hear anything.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , gesturing dramatically . )</parenthetical> <dialogue>Look, ca n't you feel the energy? It's tangible energy! The room's alive with positive vibrations!</dialogue> <scene_description>She opens a vial of cocaine .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing , trying to talk over the band . )</parenthetical> <dialogue>Holly, I'm frightened! I'm - After they sing. they're gon na take hostages! Now let's -</dialogue> <scene_description>Holly holds a short metal straw of cocaine to her nose and sniffs it .</scene_description> <character>MICKEY</character> <parenthetical>( panicking . )</parenthetical> <dialogue>Do n't, no, please. Will you - No, do n't.</dialogue> <character>HOLLY</character> <parenthetical>( holding the straw towards Mickey . )</parenthetical> <dialogue>You want some?</dialogue> <character>THE 39 STEPS</character> <parenthetical>( singing in the background while Holly and Mickey talk . )</parenthetical> <dialogue>`` I want to dress like you Say, I'll buy all the clothes I want to fuck like you Yeah, I'm sure it shows Because I'm.''</dialogue> <character>MICKEY</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>I do n't. No. No.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , sniffing . )</parenthetical> <dialogue>Come on, Mickey. Come on.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>But, no, you've been doing that all night! You're gon na. you're gon na burn a hole in your. You're gon na develop a third nostril! Really.</dialogue> <parenthetical>( putting his hand on Holly 's shoulder . )</parenthetical> <dialogue>do n't, please.</dialogue> <scene_description>While Mickey pleads with her , Holly puts her cocaine vial into her purse . She holds a finger against one nostril and sniffs . She then picks up her lit cigarette and continues to smoke .</scene_description> <character>MICKEY</character> <dialogue>Can we, can we go?</dialogue> <character>HOLLY</character> <parenthetical>( looking at the offscreen hand , bopping her head to the music and smoking . )</parenthetical> <dialogue>No!</dialogue> <character>MICKEY</character> <parenthetical>( touching his ear in pain . )</parenthetical> <dialogue>My - uh.</dialogue> <scene_description>The camera leaves the crowded tables and moves back to the band . The lead singers continues to sing with his band , swaying his body to the music .</scene_description> <character>THE 39 STEPS</character> <parenthetical>( singing . ) ''</parenthetical> <dialogue>. Gon na buy the records That they play on the radio.''</dialogue> <scene_description>as the film cuts abruptly to outside the rock club . The music has stopped . Mickey and Holly , almost in dark silhouette , are walking at a fast clip along the sidewalk , arguing . They pass some lighted clothing store windows ; a few cars go by in the dark street .</scene_description> <character>HOLLY</character> <parenthetical>( enthusiastically . )</parenthetical> <dialogue>I love songs about extraterrestrial life, do n't you?</dialogue> <character>MICKEY</character> <dialogue>Not when they're sung by extraterrestrials.</dialogue> <character>HOLLY</character> <parenthetical>( impatiently , with annoyance . )</parenthetical> <dialogue>Oh, well, I can not communicate with you! I, you know, I never realized you were such a tightass.</dialogue> <character>MICKEY</character> <dialogue>I ca n't understand you. Your sisters, both sisters have such good taste in music. I do n't know where you went, went wrong.</dialogue> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Do you mind? I'm - I'm my own person.</dialogue> <character>MICKEY</character> <dialogue>Can I take you someplace to hear something nice?</dialogue> <character>HOLLY</character> <parenthetical>( touching the hat on her head . )</parenthetical> <dialogue>Eh, Mickey, it's getting late.</dialogue> <character>MICKEY</character> <dialogue>Now come on, you're be -,'cause you're being angry at me.</dialogue> <scene_description>They stop briefly at a street corner and look for oncoming cars before crossing . Mickey takes Holly 's arm as they walk across the street towards the camera .</scene_description> <character>HOLLY</character> <parenthetical>( angrily . )</parenthetical> <dialogue>I'm not angry! You know, you, well, you do n't believe in ESP, you do n't like rock music, you wo n't get high. It's like I'm dating Cardinal Cooke!</dialogue> </scene> <scene> <stage_direction>INT. THE CARLYLE CLUB - NIGHT</stage_direction> <scene_description>Bobby Short is playing `` I 'm In Love Again '' on the piano , accompanied by a bass player . An Art Deco mural fills the wall behind him .</scene_description> <character>BOBBY SHORT</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` Why am I Just as reckless as a child? Why am I Like a racehorse running wild? Why am I In a state of ecstasy? The reason is'cause something's Happened to me I'm in love again And the spring is comin'.''</dialogue> <scene_description>as the camera leaves the musicians and moves to the conversatively dressed audience . A far cry from the rock club atmosphere , the Carlyle is quiet except for Bobby Short 's singing . The audience at their tables watch him , some with smiles of pleasure . A man has his arm around a woman . Jewels sparkle in another woman 's hair . The men wear suits . Mickey and Holly sit at one of the tables ; a candle burns in its holder on the tabletop . Holly takes a cigarette from her purse as she holds her hand to her nose , sniffing . Mickey keeps shooting glances at Holly ; she ca n't sit still . Bobby Short continues to sing .</scene_description> <character>BOBBY SHORT</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` I'm in love again Hear my heart strings strummin' I'm in love again And the hymn they're hummin' Is those cuddle - up huddle - up blues I'm in love again And I ca n't rise above it.''</dialogue> <scene_description>as Holly lights her cigarette , dropping her matchbook on the floor . She bends down to pick it up , then starts to fidget in her chair . She gulps her wine ; she sniffs . Mickey tries to watch the offscreen Bobby Short ; he crosses his arms across his chest . The film cuts back briefly to Bobby Short playing the piano .</scene_description> <character>BOBBY SHORT</character> <parenthetical>( singing , continuing . )</parenthetical> <dialogue>`` I'm in love again And I love, love, love it.''</dialogue> <scene_description>then abruptly cuts to :</scene_description> </scene> <scene> <stage_direction>EXT. THE CARLYLE HOTEL - NIGHT</stage_direction> <scene_description>A taxi pulls away from the curb as Mickey and Holly walk out of the hotel through its revolving doors . Holly stays under the awning ; Mickey walks to the curb and looks angrily back at her . People pass by as Mickey walks back and forth from the curb to Holly , growing angrier and angrier .</scene_description> <character>HOLLY</character> <dialogue>Thanks for a swell time.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, if you did n't like it, you did n't like it, but you did n't have to talk while the guy was singing.</dialogue> <character>HOLLY</character> <dialogue>I was so bored!</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yeah, that's tough! You do n't deserve Cole Porter. You should stay with those groups that look like they're gon na stab their mother!</dialogue> <character>HOLLY</character> <dialogue>At least I'm open to new concepts!</dialogue> <character>MICKEY</character> <dialogue>And you do n't have to snort cocaine at the table all the time! What do you, what do you do? Carry a kilo around in your purse?</dialogue> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>This crowd would n't know the difference! They're embalmed!</dialogue> <character>MICKEY</character> <dialogue>Jesus.</dialogue> <parenthetical>( waving his arm and whistling for a taxi . )</parenthetical> <dialogue>I'm glad Hannah got us together. You know, she's got a great instinct for people. Really.</dialogue> <scene_description>A taxi pulls up to the curb . Mickey and Holly walk up to its rear door .</scene_description> <character>HOLLY</character> <dialogue>Oh, look, I'm sorry it did n't work out.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yeah. Me, too.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You know, it's probably my fault. I've been a little depressed lately.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Right. Yeah. I had a.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>God!</dialogue> <character>MICKEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. I had a great time tonight, really. It was like the Nuremberg Trials.</dialogue> <scene_description>He holds the door open for Holly . She gets in .</scene_description> <character>HOLLY</character> <parenthetical>( angrily . )</parenthetical> <dialogue>Oh, I'll see myself home!</dialogue> <scene_description>Holly slams the door . Mickey starts to walk along the sidewalk as the taxi drives off ; he passes the hotel and several evening - lit store windows . `` I 'm In Love Again '' begins to play in the background as Mickey 's voice is heard .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah, it was quite an evening. Holly with her cocaine.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>She should have been wearing a gold shovel around her neck. Tch, she was polymorphously insensitive, I think.</dialogue> <parenthetical>( smacking his lips . )</parenthetical> <dialogue>Too bad, too.'cause, you know, I always had a little crush on her.</dialogue> <scene_description>Both a bus and a taxi drive down the street , blocking Mickey from view . The music stops and the film cuts to :</scene_description> <character>Afternoons.</character> <dialogue>says.</dialogue> <scene_description>A big - band rendition of `` You Made Me Love You '' begins as the film cuts to a hotel room . Elliot and Lee can be seen dancing cheek to cheek in the reflection of a mirror over a dresser . A TV sits in the corner . A lamp is on one side of the dresser ; on the other side is a bucket with champagne . Two half - full glasses sit nearby . Elliot and Lee dance into view . Without missing a beat , Elliot picks up one of the glasses of champagne and hands it to Lee . She sips . Elliot sips , then puts it back down on the dresser . They embrace tightly , continuing to dance .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S DINING ROOM - NIGHT</stage_direction> <scene_description>Elliot , Hannah , and the twins sit at the dining room table . A Christmas tree stands in the corner of the room , next to a table holding a lamp ; a picture hangs on the wall . The family has just finished eating ; the table is cluttered with the remains of dinner , including a quart of milk , some chocolate syrup , and a bottle of ketchup . Hannah 's two adopted children stand by her chair ; she is showing them how a small camera works . The children watch her , fascinated , muttering among themselves . Elliot looks listless . He stares blankly at the table .</scene_description> <character>HANNAH</character> <parenthetical>( to her adopted children , holding the camera . )</parenthetical> <dialogue>Oh, you just have to read the instructions. I mean, you just set one of these things and you can take, you can take pictures underwater.</dialogue> <character>CHILD 1</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Can I try it?</dialogue> <character>HANNAH</character> <parenthetical>( handing him the camera . )</parenthetical> <dialogue>Sure! Yeah. When we get to the country, we'll try it in the lake.</dialogue> <scene_description>The child takes the camera from Hannah , as well as picking up a second identical one from the table .</scene_description> <character>CHILD 1</character> <dialogue>Okay.</dialogue> <character>HANNAH</character> <parenthetical>( resting her chin in her hands . )</parenthetical> <dialogue>Okay?</dialogue> <character>CHILD 2</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Can I go?</dialogue> <character>CHILD 1</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yeah.</dialogue> <character>HANNAH</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Yeah! Okay.</dialogue> <scene_description>The adopted children leave , the twins going off with them . When they 're gone , Hannah takes a sip of her coffee and looks at Elliot . She puts down her cup , still watching him .</scene_description> <character>HANNAH</character> <parenthetical>( after a beat . )</parenthetical> <dialogue>Are you in a bad mood?</dialogue> <character>ELLIOT</character> <parenthetical>( shaking his head slightly . )</parenthetical> <dialogue>I do n't know. Um. I'm just antsy.</dialogue> <scene_description>The camera moves in on their faces as they continue to speak . Family photos line the mantel behind Hannah 's head .</scene_description> <character>HANNAH</character> <parenthetical>( intensely . )</parenthetical> <dialogue>Yes. I know. The last few weeks, you have n't been yourself. And tonight at, tonight at dinner, you, you were kind of curt with me.</dialogue> <character>ELLIOT</character> <parenthetical>( looking down at his hands . )</parenthetical> <dialogue>Was I?</dialogue> <character>HANNAH</character> <dialogue>Yes, you were. A - and when I, when I brought up the idea of having a baby, you just, you jumped down my throat.</dialogue> <character>ELLIOT</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Well, I - I do n't think it's a very good idea.</dialogue> <character>HANNAH</character> <dialogue>Why not?</dialogue> <character>ELLIOT</character> <parenthetical>( edgily . )</parenthetical> <dialogue>Because it's the last thing in the world we need right now.</dialogue> <character>HANNAH</character> <dialogue>Why do you say that? Is there something wrong?</dialogue> <character>ELLIOT</character> <dialogue>I do n't know.</dialogue> <character>HANNAH</character> <dialogue>Well, tell me. Should I be worried?</dialogue> <character>ELLIOT</character> <dialogue>But, you got four children!</dialogue> <character>HANNAH</character> <dialogue>I want one with you.</dialogue> <character>ELLIOT</character> <dialogue>Well. I - I think we should wait till things settle.</dialogue> <character>HANNAH</character> <dialogue>But what do, what do you -.</dialogue> <parenthetical>( stuttering . )</parenthetical> <dialogue>what's that mean? W - w - we've been, we've been married for four years. How settled can things get?</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>You know, y - you have some very set plans on how your life should be structured. A - a house, uh, kids, certain schools, a h -, a home in Connecticut. I - it's all very. preconceived.</dialogue> <character>HANNAH</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Yeah, but I. uh - I thought you needed that. When - when - when we met, you said your life was chaos.</dialogue> <character>ELLIOT</character> <dialogue>I - I - I know, but there's got to be some give and take.</dialogue> <scene_description>Hannah sighs . Elliot angrily throws his napkin on the table . He stands up and begins to pace behind Hannah .</scene_description> <character>ELLIOT</character> <dialogue>Oh, let's not - I, I do n't know what the hell I'm talking about.</dialogue> <character>HANNAH</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Are you angry with me?</dialogue> <character>ELLIOT</character> <dialogue>No!</dialogue> <character>HANNAH</character> <dialogue>Do you feel, um. are you disenchanted with our marriage?</dialogue> <character>ELLIOT</character> <parenthetical>( pointing at Hannah . )</parenthetical> <dialogue>I did n't say that.</dialogue> <character>HANNAH</character> <dialogue>Are you in love with someone else?</dialogue> <character>ELLIOT</character> <parenthetical>( angrily . )</parenthetical> <dialogue>My God! Wha - what is this? The Gestapo? No.</dialogue> <scene_description>He sits down again , in a chair next to Hannah ; the ketchup bottle sits in front of him .</scene_description> <character>HANNAH</character> <parenthetical>( turning to look at him . )</parenthetical> <dialogue>Well, what? What, wh - what are you not telling me?</dialogue> <character>ELLIOT</character> <parenthetical>( gesturing and pointing . )</parenthetical> <dialogue>What kind of interrogation. Su - supposing I said yes? I - I - I am disenchanted. I am in love with someone else.</dialogue> <character>HANNAH</character> <dialogue>Are you?</dialogue> <character>ELLIOT</character> <parenthetical>( staring at Hannah for a beat before answering her . )</parenthetical> <dialogue>No!</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>But you keep asking these, these awful questions. My God, it's - it's like you want me to say yes!</dialogue> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>What, you, of c - What are you talking about? Of course not. I'd be destroyed!</dialogue> <scene_description>The camera moves in on Elliot 's anguished face . He talks over the screen .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>For Chrissakes, stop torturing her. Tell her you want out and get it over with. You're in love with her sister. You did n't do it on purpose. Be honest. It's always the best way.</dialogue> <scene_description>He looks down . Hannah leans over and tenderly puts her hand on his shoulder .</scene_description> <character>HANNAH</character> <parenthetical>( softly . )</parenthetical> <dialogue>Look, can I help you? If you're suffering over something, will you share it with me?</dialogue> <scene_description>She touches his hand ; Elliot embraces her .</scene_description> <character>ELLIOT</character> <dialogue>Hannah, you know how much I love you.</dialogue> <parenthetical>( kissing her on the forehead . )</parenthetical> <dialogue>I ought to have my head examined. I do n't deserve you.</dialogue> <scene_description>Elliot kisses Hannah again ; they embrace tightly . She touches his hair . The audition . There is no music .</scene_description> </scene> <scene> <stage_direction>INT. SOHO CLOTHING BOUTIQUE - DAY</stage_direction> <scene_description>The screen shows a metal staircase next to a large white column . Holly 's voice can be heard as she and Hannah make their way up the stairs , moving into view . A man carrying a shopping bag walks down the steps ; he passes them . Hannah and Holly talk as they climb .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You know, I just want to look so good, but I do n't want to seem, you know, like I'm overdressed.</dialogue> <parenthetical>( onscreen , walking up the stairs behind Hannah . )</parenthetical> <dialogue>You know what I'm saying?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , turning to look at Holly . )</parenthetical> <dialogue>Oh, no, not at all.</dialogue> <character>HOLLY</character> <parenthetical>( holding up a dress she 's carrying on her arm . )</parenthetical> <dialogue>Well, how about this?</dialogue> <character>HANNAH</character> <parenthetical>( looking at the dress . )</parenthetical> <dialogue>Well, I, I really like that. I think that's a pretty color on you.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, yeah.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue /> <scene_description>Hannah and Holly reach the top of the stairs . They walk onto a cavernous , high - tech floor . Empty bleachers line one wall ; the rest of the floor is filled with racks of clothes and empty space .</scene_description> <character>HOLLY</character> <parenthetical>( continuing , smiling . )</parenthetical> <dialogue>Did you ever think you'd be helping me buy something to wear to the opera?</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( playfully hitting Holly 's arm . )</parenthetical> <dialogue>Nuh - uh. but I think it's great. I ca n't wait to meet him.</dialogue> <scene_description>Holly follows Hannah to a rack of blouses .</scene_description> <character>HOLLY</character> <dialogue>He's married.</dialogue> <character>HANNAH</character> <parenthetical>( interrupting , looking through the rack . )</parenthetical> <dialogue>Oh - oh.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>. and his wife's, uh, in and out of institutions. She's schizophrenic.</dialogue> <scene_description>Holly continues to talk as she follows Hannah across the floor to a rack of dresses . Hannah 's on one side , flipping through the hangers . Holly , on the other side of the same rack , talks to her sister , not looking at the clothes .</scene_description> <character>HOLLY</character> <dialogue>Sometimes she's terrific.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oooo.</dialogue> <character>HOLLY</character> <dialogue>and then she just breaks down.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>And he has this sweet daughter. and when she goes to college next year, he's going to split permanently. I mean.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , looking up at Holly . )</parenthetical> <dialogue>Oh?</dialogue> <character>HOLLY</character> <dialogue>he's really paid his dues, but. then she helped put him through architecture school, you know, so.</dialogue> <scene_description>Hannah takes a jacket on a hanger off the rack and looks at it . She holds it to her .</scene_description> <character>HANNAH</character> <parenthetical>( interrupting , glancing at her sister for a moment with amazement . )</parenthetical> <dialogue>You found all this, all this out on one date?</dialogue> <character>HOLLY</character> <parenthetical>( chuckling and nodding . )</parenthetical> <dialogue>Well, I think he was dying to open up. It's so sad.</dialogue> <parenthetical>( finally looking back and forth along the rack . )</parenthetical> <dialogue>Now. what should I wear to my audition?</dialogue> <scene_description>Hannah turns to Holly with surprise . She puts the jacket back on the rack and stares at her ; she inhales .</scene_description> <character>HOLLY</character> <parenthetical>( explaining . )</parenthetical> <dialogue>I've got a singing audition for a Broadway musical.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>Of course, I'll never get it.</dialogue> <character>HANNAH</character> <dialogue>Singing?</dialogue> <character>HOLLY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Yeah, can you believe it?</dialogue> <character>HANNAH</character> <parenthetical>( walking around the rack to Holly , still surprised . )</parenthetical> <dialogue>Really?</dialogue> <character>HOLLY</character> <parenthetical>( vulnerably . )</parenthetical> <dialogue>Well, I mean, why not? You know, wh - what have I got to lose? Uh.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , shaking her head . )</parenthetical> <dialogue>Well, no. I - I know, I just, uh. No, I - I, eh, you know, I, I did n't, I did n't know you sung.</dialogue> <scene_description>Hannah begins to look at the rack of clothes on Holly 's side , while her sister stares at her , frowning .</scene_description> <character>HOLLY</character> <parenthetical>( defensively . )</parenthetical> <dialogue>Well, you think everybody in m - musicals sings so well?</dialogue> <character>HANNAH</character> <parenthetical>( gesturing , shaking her head . )</parenthetical> <dialogue>No! No, I, eh, it's just that they sing.</dialogue> <scene_description>Holly is silent for a moment . Hannah takes a blouse off the rack and looks at it .</scene_description> <character>HOLLY</character> <dialogue>Well. you know, uh. I sing a little, I mean.</dialogue> <parenthetical>( chuckling self - consciously . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( realizing she 's hurt Holly , reacting . )</parenthetical> <dialogue>Ohh!</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , shaking her head . )</parenthetical> <dialogue>You know.</dialogue> <character>HANNAH</character> <parenthetical>( hanging the blouse back on the rack . )</parenthetical> <dialogue>I know, no -.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>I know.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , still chuckling self - consciously , gesturing . )</parenthetical> <dialogue>I mean, y - you know, do n't say it that way, you know, because my confidence is not my strong point, I -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting , touching her sister 's shoulder . )</parenthetical> <dialogue>No, I'm sorry. No, I did n't mean that. No, I did n't mean that.</dialogue> <scene_description>The two sisters walk away from the rack , Hannah slightly in the lead . Behind them are some more racks of clothing and a large window with closed venetian blinds .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Uh, you know, I think I can fake my way through a song.</dialogue> <character>HANNAH</character> <parenthetical>( nodding as she looks around the store , pulling up her shoulder bag strap . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>HOLLY</character> <dialogue>Easily.</dialogue> <scene_description>Holly pauses , looking at her sister . They continue to walk .</scene_description> <character>HOLLY</character> <parenthetical>( looking at Hannah . )</parenthetical> <dialogue>W - why? You do n't think it's realistic?</dialogue> <character>HANNAH</character> <parenthetical>( putting her hand on Holly 's shoulder . )</parenthetical> <dialogue>No, I did n't, I, that's no. No, I - I - I, no, I - I just.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>hate to see you put yourself in a position where, where you get hurt, you know. You know, you know how you take.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>They walk over to a table laid out with colorful scarves and decorated with hurricane lamps bordering its edges .</scene_description> <character>HANNAH</character> <parenthetical>( continuing , looking at some clothes hanging beneath the table . )</parenthetical> <dialogue>. every, eh, single rejection as - as - as a. a confirmation that you have no talent, or something?</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Yeah. Well, maybe I'll get it.</dialogue> <parenthetical>( chuckling and gesturing . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( overlapping , looking at the clothes . )</parenthetical> <dialogue>I hope.</dialogue> <scene_description>Holly looks at her sister for a beat .</scene_description> <character>HOLLY</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Boy, you really know how to cut me down.</dialogue> <character>HANNAH</character> <parenthetical>( looking at Holly , reacting . )</parenthetical> <dialogue>What? You do n't, do n't be so sensitive. Ca n't I say anything?</dialogue> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Tch, well, I sing!</dialogue> <parenthetical>( suddenly shouting . )</parenthetical> <dialogue>For Chrissake, Hannah, you heard me sing!</dialogue> <scene_description>A female customer , who 'd come over to the table , browsing through the rack of clothes near Hannah , looks up , reacting . She walks away .</scene_description> <character>HANNAH</character> <parenthetical>( overlapping , reacting to her sister 's outburst . )</parenthetical> <dialogue>Okay!</dialogue> <parenthetical>( looking at her sister . )</parenthetical> <dialogue>Okay. I - What happened? You know, we were having a really nice time, a - and suddenly, everything went to bad feeling.</dialogue> <scene_description>She walks past Holly and briefly looks at a different rack of clothes beneath the table .</scene_description> <character>HOLLY</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Nobody but you can do that to me. I do n't know why.</dialogue> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Look, everything's going your way.</dialogue> <scene_description>She walks offscreen to a nearby rack ; the camera remains focused on Holly .</scene_description> <character>HOLLY</character> <dialogue>You're right.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>I'm happy.</dialogue> <parenthetical>( shrugging , looking at the offscreen Hannah . )</parenthetical> <dialogue>Why must I let my insecurities spoil everything?</dialogue> <scene_description>Holly chuckles and begins to look through the scarves on the table .</scene_description> </scene> <scene> <stage_direction>INT. THEATER - DAY</stage_direction> <scene_description>A group of theater executives , including the producer , the director , and two assistants , sit in a cluster in the empty audience , talking ; they look up at the offscreen Holly , who is auditioning on the stage . She is singing `` I 'm Old - Fashioned , '' accompanied by a piano .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen , singing softly . )</parenthetical> <dialogue>`` This year's fancies Are passing fancies.''</dialogue> <scene_description>The film moves from the audience to the stage where Holly , her hands clasped in front of her , continues to sing her song . A large group of other hopefuls are seen in the background behind her .</scene_description> <character>HOLLY</character> <parenthetical>( continuing her singing , barely moving her body . )</parenthetical> <dialogue>`` But sighing sighs Holding hands This my heart Understands I'm old - fashioned And I do n't mind it It's how I want to be As long as you agree To stay old - fashioned with me.''</dialogue> <scene_description>The camera moves from Holly back to the executives in the audience . As it passes the empty audience seats , they are heard offscreen .</scene_description> <character>PRODUCER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Thank you.</dialogue> <character>DIRECTOR</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Thank you.</dialogue> <character>PRODUCER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>It was very nice.</dialogue> <character>ASSISTANT #1</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Terrific.</dialogue> <scene_description>The camera has reached the executives in the audience . They are now chattering among themselves , Holly forgotten .</scene_description> <character>STAGE MANAGER</character> <parenthetical>( offscreen , overlapping the executives ' chatter . )</parenthetical> <dialogue>April Knox?</dialogue> <scene_description>The film cuts back to the stage , where April , handling the audition pianist some sheet music , prepares herself to sing `` The Way You Look Tonight . '' The stage is very black , stark , except for April and the pianist .</scene_description> <character>APRIL</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` Someday When I'm awfully low When the world is cold I will get a glow Just thinking of you And the way you look Tonight.''</dialogue> </scene> <scene> <stage_direction>EXT. A STREET OUTSIDE THE THEATER - DAY</stage_direction> <scene_description>A theater marquee can be seen on the busy street as Holly and April walk down the street towards the camera , moving closer and closer as they talk . Workmen and various street noises can be heard indistinctly in the background .</scene_description> <character>HOLLY</character> <dialogue>I'm telling you, you sounded great. You, uh, you may be surprised.</dialogue> <character>APRIL</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Oh, I'm just glad we have a catering job this week. I'm real low on money.</dialogue> <character>HOLLY</character> <dialogue>Yeah, we have Mr. Morris Levine's eightieth birthday party on Riverside Drive. or Riverside Memorial Chapel, depending on his health.</dialogue> <character>APRIL</character> <dialogue>Oh, uh, listen, David called me up.</dialogue> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>What?</dialogue> <character>APRIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Uh, David called me last night, and he wants to take me to the opera.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>I did n't know what to say.</dialogue> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>You're joking.</dialogue> <character>APRIL</character> <dialogue>No, he called late last night.</dialogue> <character>HOLLY</character> <parenthetical>( sadly . )</parenthetical> <dialogue>I, uh, I'm very surprised.</dialogue> <character>APRIL</character> <parenthetical>( chuckling , gesturing . )</parenthetical> <dialogue>He wants to take me to see Rigoletto.</dialogue> <character>HOLLY</character> <parenthetical>( looking briefly at April . )</parenthetical> <dialogue>And you, you - you're going?</dialogue> <character>APRIL</character> <dialogue>Well, I - I - I did n't know what to say. First I said no, but then, he pressed it. He said, uh, he'd taken you once and he really wanted to invite me.</dialogue> <character>HOLLY</character> <parenthetical>( pausing . )</parenthetical> <dialogue>But I'm seeing him.</dialogue> <character>APRIL</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I know. I said that, but.</dialogue> <parenthetical>( shrugging . )</parenthetical> <dialogue>he said it was something he really felt like doing.</dialogue> <character>HOLLY</character> <parenthetical>( stopping and facing April . )</parenthetical> <dialogue>Gee, um.</dialogue> <parenthetical>( looking off , sniffing . )</parenthetical> <dialogue>I. I do n't know what to say.</dialogue> <character>APRIL</character> <dialogue>Look, it's just an evening at the opera. Did I, I - I do wrong in accepting?</dialogue> <scene_description>Holly looks away sadly ; she shakes her head .</scene_description> <character>APRIL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Huh?</dialogue> <scene_description>The big leap . The film cuts to Father Flynn 's rectory office . The Catholic priest looks out a simple stained - glass window , then turns to an offscreen Mickey .</scene_description> <character>FATHER FLYNN</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Now why do you think that you would like to convert to Catholicism?</dialogue> <scene_description>The camera moves back to reveal Mickey , his back to the camera , sitting in front of Father Flynn 's desk . A lamp is lit in the background ; the Father 's desk is neat . The room is comfortably decorated in wood and leather .</scene_description> <character>MICKEY</character> <dialogue>Well, uh, because, y - you know, I got ta have something to believe in, otherwise life is just meaningless.</dialogue> <character>FATHER FLYNN</character> <parenthetical>( pacing behind his desk and gesturing . )</parenthetical> <dialogue>I understand. But why did you make the decision to choose the Catholic faith?</dialogue> <scene_description>The movie cuts to Mickey 's face . He 's very neat in a tie , sweater , and sports jacket .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Tch. Well, y - you know. first of all, because it's a very beautiful religion. It's very well structured. Now I'm talking now, incidentally, about the - the, uh, against - school - prayer, pro - abortion, anti - nuclear wing.</dialogue> <character>FATHER FLYNN</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>So at the moment you do n't believe in God.</dialogue> <scene_description>The camera cuts back to Father Flynn , who walks over to a leather armchair next to a table set for tea . He begins to pour the tea into china cups .</scene_description> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>No. A - a - and I - I want to. You know, I'm - I'm willing to do anything. I'll, you know, I'll dye Easter eggs if it works.</dialogue> <parenthetical>( walking over to Father Flynn and sitting down in an adjacent chair . )</parenthetical> <dialogue>I - I need some evidence. I got ta have some proof. Uh, you know, i - i - if I ca n't believe in God.</dialogue> <parenthetical>( gesturing , his raincoat in his lap . )</parenthetical> <dialogue>then I do n't think life is worth living.</dialogue> <character>FATHER FLYNN</character> <parenthetical>( stopping his tea pouring . )</parenthetical> <dialogue>It means making a very big leap.</dialogue> <scene_description>Father Flynn clasps his hands in his lap .</scene_description> <character>MICKEY</character> <parenthetical>( nodding , fiddling with his raincoat . )</parenthetical> <dialogue>Yes, well, can - can you help me?</dialogue> <scene_description>The film abruptly cuts to the long hallway in Mickey 's parents ' apartment . In the foreground , a section of the living room can be seen , with a bureau holding a lamp and a framed photo . The hallway itself is crowded with pictures and a wall shelf . At the other end of the hallway , in the background , is another bureau , with candlesticks on top and a framed picture on the wall above . Mickey 's mother stands in the front of this bureau at the hallway 's end , screaming at the top of her lungs , holding her heart dramatically .</scene_description> <character>MOTHER</character> <parenthetical>( crying . )</parenthetical> <dialogue>Why? Oh, my God!</dialogue> <scene_description>She sobs hysterically , staggering offscreen to the bathroom ; she shuts the door . Mickey walks into view , in the living room , looking after his shocked mother , who continues to cry over the scene .</scene_description> <character>MICKEY</character> <parenthetical>( overlapping and gesturing . )</parenthetical> <dialogue>I do n't understand.</dialogue> <parenthetical>( turning to his offscreen father . )</parenthetical> <dialogue>I thought that you would be happy.</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>How can we be happy?</dialogue> <scene_description>His father walks into view , carrying a teacup and a candy dish . He strides past Mickey towards the kitchen .</scene_description> <character>MICKEY</character> <parenthetical>( following his father . )</parenthetical> <dialogue>Well, because I never thought of God in my life. Now I'm giving it serious thought.</dialogue> <character>FATHER</character> <parenthetical>( offscreen , in the kitchen . )</parenthetical> <dialogue>But Catholicism? Why not your own people?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing at the kitchen door to his offscreen father . )</parenthetical> <dialogue>Because I got off to a wrong foot with my own thing, you know. B - b - b - but I need a dramatic change in my life.</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You're gon na believe in Jesus Christ?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I know it sounds funny, but I'm gon na try.</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>But why? We raised you as a Jew.</dialogue> <character>MICKEY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>So, just'cause I was born that way. You know, I'm old enough to make a mature decision.</dialogue> <scene_description>Mickey 's father walks into view ; he stands by the stove near the kitchen doorway , picking up a dirty glass and some bowls to clean .</scene_description> <character>FATHER</character> <dialogue>But why Jesus Christ? Why, for instance, should n't you become a Buddhist?</dialogue> <scene_description>Holding the dirty dishes in his hand , Mickey 's father looks at his son .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>A Bud -? That's totally alien to me. Look, you're getting on in years, right? Are n't you afraid of dying?</dialogue> <scene_description>Mickey 's father walks offscreen again , to the kitchen sink .</scene_description> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Why should I be afraid?</dialogue> <character>MICKEY</character> <parenthetical>( loudly gesturing . )</parenthetical> <dialogue>Oh!'Cause you wo n't exist!</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>So?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>That thought does n't terrify you?</dialogue> <scene_description>Mickey 's father walks out of the kitchen , past his son , to the living room .</scene_description> <character>FATHER</character> <parenthetical>( waving his arm . )</parenthetical> <dialogue>Who thinks about such nonsense? Now I'm alive. When I'm dead, I'll be dead.</dialogue> <character>MICKEY</character> <parenthetical>( following his father , gesturing . )</parenthetical> <dialogue>I do n't understand. Are n't you frightened?</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Of what? I'll be unconscious.</dialogue> <character>MICKEY</character> <parenthetical>( turning and walking down the hallway . )</parenthetical> <dialogue>Yeah, I know. But never to exist again!</dialogue> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>How do you know?</dialogue> <character>MICKEY</character> <dialogue>Well, it certainly does n't look promising.</dialogue> <scene_description>Mickey stops at the bathroom door at the other end of the hallway . He starts to pound it .</scene_description> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Who knows what'll be?</dialogue> <scene_description>Mickey 's father comes back on screen ; he 's carrying a plate of hors d'oeuvres and an empty glass towards the kitchen . He stops and looks down the hall at Mickey , who 's now struggling to open the bathroom door .</scene_description> <character>FATHER</character> <parenthetical>( gesturing with his hands full . )</parenthetical> <dialogue>I'll either be unconscious or I wo n't. If not, I'll deal with it then. I'm not gon na worry now about what's gon na be when I'm unconscious.</dialogue> <character>MICKEY</character> <parenthetical>( pounding on the door . )</parenthetical> <dialogue>Mom, come out!</dialogue> <character>MOTHER</character> <parenthetical>( offscreen in the bathroom . )</parenthetical> <dialogue>Of course there's a God, you idiot! You do n't believe in God?</dialogue> <character>MICKEY</character> <parenthetical>( sighing . )</parenthetical> <dialogue>But if there's a God, then wh - why is there so much evil in the world?</dialogue> <parenthetical>( shrugging . )</parenthetical> <dialogue>What - Just on a simplistic level. Why - why were there Nazis?</dialogue> <character>MOTHER</character> <parenthetical>( offscreen in the bathroom . )</parenthetical> <dialogue>Tell him, Max.</dialogue> <scene_description>Mickey , reacting , hits his forehead .</scene_description> <character>FATHER</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>How the hell do I know why there were Nazis? I do n't know how the can opener works.</dialogue> <scene_description>Mickey starts pounding the door again as the movie cuts to : A beautiful snow - covered church downtown , complete with courtyard and wrought - iron fence . A pedestrian walks by with an umbrella . A church choir sings a soaring hymn over the scene . The music continues as the film moves inside , where the choir is seen singing behind an altar glowing warm gold . A fairly large congregation sits in darkened pews as the film cuts to the back , where Mickey , his arms crossed , stands underneath some stained - glass windows , watching and listening to the inspiring music . The choir continues to sing as the movie cuts to Father Flynn in his office . He picks up some large , heavy books from a shelf near his window and he walks over to Mickey , who 's standing near his desk , already holding several tomes . Father Flynn puts the books on top of Mickey 's pile ; Mickey , flipping through the top one , awkwardly carries his bundle to the door . Next is seen a close - up of a painting of Jesus Christ on the cross , complete with crown of thorns and holy expression . His eyes , especially designed to blink as the lights hit them , open and close repeatedly . The hymn plays on , loudly , as the camera moves back , revealing Mickey , standing outside a barber shop window , looking at the Christ playing and shuffling from side to side to gets its eyes ' 3 - D effect . Smaller inspirational pictures border the bigger , blinking Christ . A barber pole with moving stripes stands nearby ; passing traffic is reflected in the window . Mickey turns from the window , shrugging , and starts to walk down the street , past a fruit and vegetable store with open - air - displayed flowers , past several briskly moving pedestrians . With the hymn still playing , the screen goes black briefly . Mickey opens the door , the light from a hallway illuminating him . He 's just entered his apartment . He closes the door and walks through his dark foyer ; he carries a brown bag . He switches on the light , and walking past his spiral staircase , past several framed pictures on the wall , he makes his way to his living room coffee table . Mickey pulls a crucifix out of the bag ; he looks at it , then puts it on the table near a pile of books and some objets d'art . He then takes out a copy of the New Testament , putting it on top of the crucifix . Then out comes a framed picture of a saint . It too gets put on the growing pile . But the bag is not yet empty . Next comes a large loaf of Wonder Bread and a large jar of Hellman 's mayonnaise . Mickey sets them on top of the saint .</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET - DAY</stage_direction> <scene_description>Lee is walking down the street , looking around her . The sidewalk is fairly crowded with people ; the sounds of traffic are heard . She passes some office buildings , a store 's large display window ; she stops when she sees Hannah . Her sister is waiting outside the Art Deco façade of a restaurant ; she 's looking in the opposite direction . Lee taps Hannah on the shoulder ; Hannah , surprised , turns and gasps .</scene_description> <character>LEE</character> <parenthetical>( overlapping Hannah 's gasp . )</parenthetical> <dialogue>Hi.</dialogue> <scene_description>The sisters laugh and embrace each other .</scene_description> <character>HANNAH</character> <dialogue>Hi. Where's Holly?</dialogue> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Hi. She's auditioning for a television commercial. She said she's gon na be a little late.</dialogue> <character>HANNAH</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Oh, yeah? How's she doing?</dialogue> <scene_description>She turns and walks towards the restaurant entrance .</scene_description> <character>LEE</character> <parenthetical>( following Hannah through the restaurant 's doors . )</parenthetical> <dialogue>Oh, God, you know Holly. When she's depressed, she's manic. I think it was a good idea that we invited her to lunch.</dialogue> <scene_description>They disappear inside . The camera follows them , cutting to the restaurant 's interior at the same time the sisters walk in . It 's a chic , trendy place , with an Art Deco design and high ceilings . A waiter in uniform stands near its glass and metal doors , holding a tray to his chest ; a few people sit at the bar ; a large plant in a vase sits in the foreground . The sisters walk toward the coatcheck area , deep in conversation .</scene_description> <character>HANNAH</character> <parenthetical>( pulling off her scarf , still on the subject of Holly . )</parenthetical> <dialogue>I hope you tell her it was your idea.</dialogue> <character>LEE</character> <dialogue>Why?</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>.'cause every time I try to be helpful, you know, sh - she gets so defensive.</dialogue> <character>LEE</character> <parenthetical>( unbuttoning her coat . )</parenthetical> <dialogue>Oh, Hannah, she's - she's just embarrassed in front of you, that's all.</dialogue> <scene_description>Hannah walks offscreen , farther into the coatcheck room . She talks offscreen as Lee alone is seen , reacting and speaking as well . In the background , a waiter crosses over to the bar , then walks away .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>So how are you?</dialogue> <character>LEE</character> <dialogue>Oh, me, I'm okay.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Do you miss Frederick?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I ca n't believe Elliot and I ca n't think of someone nice for you to go out with, you know -</dialogue> <character>LEE</character> <parenthetical>( interrupting , her voice slightly higher - pitched as she takes off her coat . )</parenthetical> <dialogue>How are you?</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm okay.</dialogue> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You know, how's everything? You doing okay? How's Frederick?</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>I mean, Elliot.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Y - yeah.</dialogue> <scene_description>Hannah walks out of the coatcheck room without her coat ; it 's Lee 's turn to disappear and check her things . Now only Hannah can be seen onscreen as the sisters talk . In the background , the waiter once again walks over to the bar .</scene_description> <character>HANNAH</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Oh, he's fine. He's - he's, I guess he's fine. I do n't know.</dialogue> <parenthetical>( shaking her head , her arms crossed . )</parenthetical> <dialogue>He's been kinda moody lately, the last few months.</dialogue> <character>LEE</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Really?</dialogue> <character>HANNAH</character> <dialogue>Yeah. I - I do n't know what's wrong with him. He's just. kind of distant and difficult.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh.</dialogue> <character>HANNAH</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>I've been trying to talk to him about it. He says everything's fine, but I do n't know. Automatically, you know, I leap to the worst conclusions.</dialogue> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Like what?</dialogue> <scene_description>As Hannah answers her sister , Holly can be seen entering the restaurant and walking over to the coatcheck area , an unlit cigarette in her mouth , her sunglasses still on her eyes .</scene_description> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I mean, I do n't know, he's seeing someone else or something, but.</dialogue> <character>LEE</character> <parenthetical>( walking back onscreen without her coat , reacting . )</parenthetical> <dialogue>Oh, no! I mean, everyone thinks things like that.</dialogue> <scene_description>Hannah mumbles indistinctly as Holly walks over to her sisters .</scene_description> <character>HANNAH</character> <parenthetical>( turning , to Holly . )</parenthetical> <dialogue>Hey, hi!</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Well, I just came from an audition.</dialogue> <character>LEE</character> <parenthetical>( overlapping , leaning against the coatcheck wall . )</parenthetical> <dialogue>Hi.</dialogue> <character>HOLLY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. which I did not get.</dialogue> <character>HANNAH</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Awwww.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , sighing . )</parenthetical> <dialogue>So what's new?</dialogue> <scene_description>She takes off her gloves and scarf , stuffing them in her bag -RRB-</scene_description> <character>HANNAH</character> <parenthetical>( helping Holly with her coat . )</parenthetical> <dialogue>Boy -</dialogue> <character>HOLLY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>They said I was too offbeat looking, whatever the hell that means.</dialogue> <character>HANNAH</character> <dialogue>Oh, what do they know?</dialogue> <scene_description>Holly gives her coat to the coatcheck person .</scene_description> <character>HOLLY</character> <parenthetical>( to the checker . )</parenthetical> <dialogue>Thanks.</dialogue> <parenthetical>( turning to her sisters . )</parenthetical> <dialogue>But guess who was there auditioning?</dialogue> <character>LEE</character> <dialogue>April?</dialogue> <scene_description>The hostess appears , peeking around the corner of the coatcheck area . She signals for the three sisters to follow her .</scene_description> <character>HANNAH</character> <parenthetical>( reacting to Holly 's news . )</parenthetical> <dialogue>Oh, gosh.</dialogue> <character>HOLLY</character> <dialogue>You got it.</dialogue> <scene_description>Holly takes off her sunglasses ; her cigarette still dangles from her mouth . Hannah murmurs her sympathy as the trio follows the hostess into the dining room .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I was very polite. I maintained my poise.</dialogue> <parenthetical>( taking out a match for her cigarette . )</parenthetical> <dialogue>I said hello.</dialogue> <scene_description>The sisters walk to their seats , at a round table in the middle of the room ; the hostess puts down their menus .</scene_description> <character>LEE</character> <dialogue>Hmm. I never trusted April, you know. She has eyes in the back of her head.</dialogue> <scene_description>They sit down . The hostess leaves . Other diners are seen in the background ; a waiter is taking the order of a couple sitting on a banquette ; other waiters clear off a table . Diners walk in and out . A low murmur of conversation , as well as the faint clatter of dishes , is heard . The camera moves closer to the three sisters , circling the table as Holly speaks .</scene_description> <character>HOLLY</character> <dialogue>Yeah, well, she and an architect are now a very definite item, which I still can not believe.</dialogue> <character>LEE</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Hmm.</dialogue> <character>HANNAH</character> <dialogue>Oh, God.</dialogue> <character>HOLLY</character> <parenthetical>( nodding her head , holding her cigarette . )</parenthetical> <dialogue>Yeah, although it's put an end to the Stanislavski Catering Company. Which is why I have to speak to you. And.</dialogue> <parenthetical>( gesturing to Hannah . )</parenthetical> <dialogue>you're gon na get impatient, but. I have to borrow some more money.</dialogue> <parenthetical>( putting her cigarette in her mouth and picking up the matches . )</parenthetical> <dialogue /> <character>HANNAH</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Well, that. th - that's fine.</dialogue> <character>HOLLY</character> <parenthetical>( gesturing , her cigarette in one hand , her matches in the other . )</parenthetical> <dialogue>But what I decided to do is some writing. Yeah, I think I've had it with acting. You know, these meaningless auditions at cattle calls. And I ca n't handle another rejection.</dialogue> <parenthetical>( emotionally . )</parenthetical> <dialogue>Now let's face it here. I got ta, you know, latch on to something in my life. You know - something with a future. I'm not sixteen anymore.</dialogue> <parenthetical>( lighting her cigarette . )</parenthetical> <dialogue>It's just. crazy!</dialogue> <parenthetical>( puffing her cigarette . )</parenthetical> <dialogue>I've got. an idea for a story. More than one. And I just need a few months, you know, or, uh, a year even.</dialogue> <scene_description>As the camera slowly circles the table , Hannah is seen listening to Holly , her hand on her mouth .</scene_description> <character>HOLLY</character> <dialogue>I've picked up a lot about dramatic structure from doing my scenes in acting class.</dialogue> <scene_description>Lee , her hand on her mouth , glances briefly at Hannah . As Hannah replies to Holly , the camera focuses on Lee 's face . She bites her nails ; she looks down , involved in her own thoughts .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Well, that - that's good. It just, uh. it just seems to me that - that six months or a year, if - if you spent it more productively.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , the camera still focused on Lee . )</parenthetical> <dialogue>Well - well, like what?</dialogue> <scene_description>Lee looks up , her hand still on her mouth , watching Hannah , as the camera slowly moves off her to show Hannah .</scene_description> <character>HANNAH</character> <dialogue>Well, I do n't know. We'd uh, uh, um. Did n't Mom mention there was something. something at the Museum of Broadcasting?</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Yeah, that's clerical.</dialogue> <character>HANNAH</character> <dialogue>No. She, did n't she say it was, um. she said it was in the publicity department. That - that can lead to other things.</dialogue> <scene_description>The camera is back on Lee . She looks around tensely , barely listening to the conversation . She fidgets . An empty table sits in the background .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Boy, I knew you'd be discouraging.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I'm not! I'm not! I'm trying to be helpful. A person does n't just say one day, `` Okay, now - now I'm finished as an actress. Now I'm a writer.'' I mean -</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , interrupting . )</parenthetical> <dialogue>Yeah, you mean not at my age.</dialogue> <character>LEE</character> <parenthetical>( shaking her head , unable to take much more . )</parenthetical> <dialogue>Oh, please! We all came to have lunch, did n't we?</dialogue> <character>HOLLY</character> <parenthetical>( reacting , now in view . )</parenthetical> <dialogue>Yeah, okay, right. Forget it.</dialogue> <parenthetical>( puffing on her cigarette . )</parenthetical> <dialogue>What's to eat?</dialogue> <scene_description>Holly abruptly picks up her menu .</scene_description> <character>LEE</character> <parenthetical>( trying to alleviate the tension . )</parenthetical> <dialogue>Boy. Holly. Holly.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I just want a salad.</dialogue> <parenthetical>( to Hannah . )</parenthetical> <dialogue>You really think I'm a loser, do n't you?</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>What do -? You're being ridiculous.</dialogue> <character>LEE</character> <parenthetical>( overlapping , reacting . )</parenthetical> <dialogue>You are, Holly. Stop it.</dialogue> <character>HOLLY</character> <parenthetical>( to Hannah . )</parenthetical> <dialogue>You treat me like a loser.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>How?</dialogue> <character>HOLLY</character> <dialogue>You never have any faith in my plans. You always undercut my enthusiasm.</dialogue> <scene_description>She puffs intensely on her cigarette as the camera slowly circles to Hannah 's face . She is equally intense , looking at both sisters as she speaks .</scene_description> <character>HANNAH</character> <dialogue>Not so! No. I think I've been very supportive. I've. I try to give you honest, constructive advice.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Hmm!</dialogue> <character>HANNAH</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I'm - I'm always happy to help you financially. I think I've gone out of my way to - to introduce you to interesting single men. There's nothing I would -</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , interrupting . )</parenthetical> <dialogue>Uh, losers! All losers!</dialogue> <character>HANNAH</character> <dialogue>You're too demanding.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You know, I could always tell what you thought of me by the type of men you fixed me up with!</dialogue> <scene_description>The camera , slowly circling the table , is back on Lee 's face . While her sisters argue emotionally on her right and left , she is looking down , biting her lip . She is outwardly still , but her face is registering her seething emotions .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You're crazy! That's not true.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Hey, Hannah, I know I'm mediocre.</dialogue> <character>LEE</character> <parenthetical>( interrupting angrily , looking as if she 's about to cry . )</parenthetical> <dialogue>Oh, will you stop attacking Hannah?!</dialogue> <character>HANNAH</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Oh, now -.</dialogue> <parenthetical>( stuttering . )</parenthetical> <dialogue /> <character>LEE</character> <parenthetical>( interrupting , shaking her head . )</parenthetical> <dialogue>She's going through a really rough time right now.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Why are you so upset?</dialogue> <character>LEE</character> <parenthetical>( sobbing and gesturing . )</parenthetical> <dialogue>You know, you've been picking on her ever since she came in here. Now just leave her alone for a while! I'm just suffocating.</dialogue> <parenthetical>( sniffing back her tears . )</parenthetical> <dialogue /> <character>HOLLY</character> <parenthetical>( leaning over to Lee , puzzled , reacting to her sister 's tears . )</parenthetical> <dialogue>What's the matter with you, Lee? Why are you so sensitive all of a sudden?</dialogue> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Look.</dialogue> <parenthetical>( onscreen , as the camera circles around the table . )</parenthetical> <dialogue>Listen. Listen.</dialogue> <parenthetical>( tapping Holly on her shoulder and gesturing . )</parenthetical> <dialogue>You want to write? Write.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen , overlapping to Lee . )</parenthetical> <dialogue>What's the matter?</dialogue> <character>HANNAH</character> <parenthetical>( flinging her hands . )</parenthetical> <dialogue>Write! Let's just not talk about it anymore.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Good.</dialogue> <character>HANNAH</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>Take. take a year. Take six months. Whatever you want. Who knows? Maybe you'll, maybe you'll be sitting with a good play.</dialogue> <scene_description>She opens her menu , then turns to Lee , reacting suddenly to her sister , who is rubbing her forehead , looking terribly upset .</scene_description> <character>HANNAH</character> <parenthetical>( to Lee . )</parenthetical> <dialogue>What's the matter? What's the matter with you?</dialogue> <parenthetical>( offscreen again as the camera circles back to Lee . )</parenthetical> <dialogue>You look pale. You okay?</dialogue> <character>LEE</character> <parenthetical>( overlapping , nodding and stuttering . )</parenthetical> <dialogue>I'm - I'm okay. Yeah, I - I - I, you know, I. I'm just, um, I got dizzy all of a sudden. I'm - I'm. I have a headache.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Yeah?</dialogue> <character>LEE</character> <parenthetical>( still rubbing her forehead , looking down at the menu . )</parenthetical> <dialogue>I think we need to eat.</dialogue> <scene_description>Summer in New York . A piano plays `` Bewitched '' in the background as the film cuts to a large tree , covered with bright white blossoms . The camera moves down the tree to reveal a well - kept , red - brick brownstone on a pleasant , sunny New York City street . A man wearing a summer suit walks by as the film moves inside the building , to Elliot 's analyst 's office . The psychotherapist sits in a comfortable armchair next to a curtained window . In front of the window sits a table covered with artifacts and a large lamp . The analyst 's fingers are touching , his arms resting on the chair , as he listens to the offscreen Elliot .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I - I ca n't seem to take action. I'm - I'm like, uh, Hamlet unable to kill his uncle.</dialogue> <scene_description>The music stops as the camera moves across the room to reveal Elliot , sitting in a wooden chair . He holds a long , thin cigarette ; he wears a gold Rolex watch . He face is not yet seen .</scene_description> <character>ELLIOT</character> <parenthetical>( face offscreen . )</parenthetical> <dialogue>I want Lee, but I ca n't harm Hannah. And in no other area am I a procrastinator.</dialogue> <scene_description>Elliot raises his cigarette to take a drag . The camera follows the cigarette up to his face . Elliot looks thoughtful as the movie cuts to :</scene_description> </scene> <scene> <stage_direction>EXT. COLUMBIA UNIVERSITY CAMPUS - DAY</stage_direction> <scene_description>Lee , wearing jeans and carrying an armful of books , is running up a broad set of steps in the sunlight , greeting other students as she passes . Elliot continues to talk over the scene .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Meanwhile. Lee has no direction. She's taking courses at Columbia. but just randomly.</dialogue> <scene_description>as Lee stops on a portico and turns to greet Doug , a professor , who is running over to her , calling her name . They mouth hello , smiling , and begin to walk off together .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I try not to call her, but then she calls me and then. I call and. we try to resist meeting, but. once in a while we meet. Sometimes we argue because I ca n't break up my marriage. Sometimes we wind up making love and. we both feel terrible.</dialogue> <scene_description>The film cuts back to Elliot in his analyst 's office .</scene_description> <character>ELLIOT</character> <dialogue>But it's my fault.</dialogue> <scene_description>Elliot takes a last drag on his cigarette . The camera follows his hand as he crushes it out in a nearby ashtray .</scene_description> <character>ELLIOT</character> <parenthetical>( face offscreen . )</parenthetical> <dialogue>For all my education, accomplishments, and so - called wisdom. I ca n't fathom my own heart.</dialogue> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - DAY</stage_direction> <scene_description>Hare Krishna music is heard over a sunlit view of the Manhattan skyline and the green trees of Central Park . The camera moves down to reveal a large group of Hare Krishnas dancing on the broad green lawn among other New Yorkers enjoying the day . The leader , holding some pamphlets , stands by a chain - link fence , a few feet away from his group , talking to someone on the other side . It 's Mickey , as the camera soon shows , wearing a short - sleeved shirt , a paper tucked under his arm .</scene_description> <character>KRISHNA LEADER</character> <dialogue>What makes you interested in becoming a Hare Krishna?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing , walking onscreen . )</parenthetical> <dialogue>Well, I'm not saying that I want to join or anything, but. but I know you guys believe in reincarnation, you know, so it interests me.</dialogue> <character>KRISHNA LEADER</character> <dialogue>Yeah, well, what's your religion?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, I was born Jewish, you know, but, uh, but last winter I tried to become a Catholic and. it did n't work for me. I - I studied and I tried and I gave it everything, but, you know, Catholicism for me was die now, pay later, you know. And I just could n't get with it. And I, and I wanted to, you know. I -</dialogue> <character>KRISHNA LEADER</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>You're afraid of dying?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well. yeah, naturally. Are n't you? I - L - let me ask you, reincarnation, does that mean my soul would pass to another human being, or would I come back as a moose or an aardvark or something?</dialogue> <character>KRISHNA LEADER</character> <parenthetical>( handing some Krishna literature over the fence to Mickey . )</parenthetical> <dialogue>Take our literature.</dialogue> <character>MICKEY</character> <parenthetical>( nodding , taking the material . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>KRISHNA LEADER</character> <dialogue>read it over, and think about it.</dialogue> <character>MICKEY</character> <parenthetical>( looking down at the material he 's just received . )</parenthetical> <dialogue>Well, okay. Thank you very much.</dialogue> <character>KRISHNA LEADER</character> <dialogue>You're welcome. Hare Krishna.</dialogue> <scene_description>Mickey walks off , the Hare Krishnas still dancing and singing on the other side of the fence . He flips through the literature as he walks , then looks straight ahead , pondering . His voice is heard over the screen .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Who are you kidding? You're gon na be a Krishna? You're gon na shave your head and put on robes and dance around at airports? You'll look like Jerry Lewis. Oh, God, I'm so depressed.</dialogue> <scene_description>Mickey puts his hand to his mouth as another title appears on a black screen . Autumn chill . Bach 's Concerto for Harpsichord is heard as the film cuts to the waterfront at dusk . A bench faces some wharf pilings ; the water gently laps against them as Lee walks into view , the wind blowing her hair . She stands and faces the water and the distant skyline across the bay . The view is contemplative , beautiful in the dim light . Lee is alone ; her hands are in her pockets . Lee , thinking , is heard over the scene ; the harpsichord music plays in the background .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The nights are really getting cooler. Summer went so quickly. Soon it'll be fall.</dialogue> <parenthetical>( walking to the beach and sitting down . )</parenthetical> <dialogue>My literature professor really likes me. It was fun being out with him last night.</dialogue> <parenthetical>( staring pensively at the water . )</parenthetical> <dialogue>Funny. I feel like I'm betraying Elliot. but that's ridiculous. Why should n't I see Doug? Elliot's not free.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Just go one step at a time. Let's see what the next few months bring.</dialogue> <scene_description>The concerto stops and the movie cuts to Holly , leaning into an open phone booth near a subway entrance . She wears a football jacket , jeans , and sneakers ; she holds a manuscript in her arms . It 's a busy corner . People rush past Holly towards the subway ; others are walking up the station steps . Holly smokes a cigarette as she talks on the phone to Hannah .</scene_description> <character>HOLLY</character> <parenthetical>( into the telephone . )</parenthetical> <dialogue>Hannah? Hi. Listen, um, you'll be happy to know that your money has not gone completely to waste. No, I have an actual first rough draft of something I wrote. Yeah. Yeah. Yeah, well, I showed it to Lee, and she gave me some good pointers. And, um, listen, I'm pretty near where you live. I wonder if I could just drop it off. and, you know, when you have time, some time, read it, an - and we'll talk when I come over at Thanksgiving. Okay? All right. Okay. Oh, wait, wait.</dialogue> <parenthetical>( turning her body , still on the phone . )</parenthetical> <dialogue>Listen. Listen. I think Lee met an interesting guy at Columbia. Yeah. Yeah, well, he sounds really nice.</dialogue> <parenthetical>( puffing on her cigarette . )</parenthetical> <dialogue>Yeah. Okay. All right. Well, we'll talk at Thanksgiving. Bye - bye.</dialogue> <scene_description>Holly hangs up the phone and takes a drag on her cigarette . She looks off in the distance , smiling , as the film cuts to :</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT</stage_direction> <scene_description>It 's Thanksgiving at Hannah 's once again . Guests are crowded together in the living room , surrounding the piano , where Evan is sitting and flipping through some sheet music . Norma stands behind him , leaning against a book - laden wall . The guests are chattering , enjoying themselves ; a lamp glows on the corner of the piano . A little boy sitting in a chair next to Evan is talking animatedly with a girl who is leaning over the arm of the sofa . An adult guest talks to the little boy ; another guest takes a sip of wine from a glass she 'd placed on the bookshelf behind her as Evan turns and addresses the group .</scene_description> <character>EVAN</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Now, here. here's a song that Norma sang on that trip we made up to the show in Buffalo. And, oh, was she beautiful that night!</dialogue> <scene_description>The guests laugh appreciatively . A woman comes over to Evan and hands him some wine .</scene_description> <character>NORMA</character> <dialogue>Come on.</dialogue> <parenthetical>( laughing and touching Evan 's shoulder . )</parenthetical> <dialogue /> <character>EVAN</character> <parenthetical>( overlapping , to the woman . )</parenthetical> <dialogue>Thank you, honey.</dialogue> <parenthetical>( putting his drink down on the piano . )</parenthetical> <dialogue>Oh, yes, you were, dear. Do n't you remember that night?</dialogue> <parenthetical>( gesturing and pushing back some sheet music that was starting to fall . )</parenthetical> <dialogue>She was so beautiful. she was so beautiful that when men saw her walking along the streets, they'd drive their cars right up on the sidewalk.</dialogue> <scene_description>He laughs ; the guests laugh with him .</scene_description> <character>EVAN</character> <parenthetical>( looking back at Norma . )</parenthetical> <dialogue>Is n't that right, honey, eh?</dialogue> <character>NORMA</character> <parenthetical>( tapping his shoulder . )</parenthetical> <dialogue>A slight exaggeration.</dialogue> <scene_description>The guest continue to laugh ; they are charmed .</scene_description> <character>EVAN</character> <parenthetical>( overlapping Norma , laughing . )</parenthetical> <dialogue>I know.</dialogue> <character>NORMA</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>But only slight.</dialogue> <scene_description>Evan continues to laugh with everyone as he starts to play the piano . A nearby woman toasts him with her drink . The camera moves around the room as he plays , showing the various guests , chattering over the music . Some are in clusters , in private conversations ; others listen and watch the offscreen Evan . A couple stands by the window ; one man gets up from his chair and walks away . Some guests sip their drinks , smiling , as the camera moves back to the piano and the book - laden wall . Evan is playing the piano with exuberance . Norma , still standing behind him , has a poignant , wistful expression on her face . She mouths the words to the song Evan is playing , `` It Could Happen to You . '' The woman next to her smiles , enjoying the music , as the camera continues its exploration , moving to a man standing in the doorway with a group of children . Mavis the maid walks by with a tray of hors d'oeuvres . The man takes one , mouthing his thanks , as the camera travels past the open bookshelf , past two boys in suits who are drinking soda and munching , to reveal Lee . She is leaning against another doorway , a faraway look on her face as she listens to the music . Mavis passes in the hall beyond the doorway . Several people , deep in conversation , stand nearby as Elliot , holding a drink , walks up behind her .</scene_description> <character>ELLIOT</character> <parenthetical>( sipping his drink . )</parenthetical> <dialogue>You've been very cold to me tonight.</dialogue> <character>LEE</character> <parenthetical>( glancing back at Elliot , then turning away . )</parenthetical> <dialogue>No.</dialogue> <character>ELLIOT</character> <dialogue>Is something wrong?</dialogue> <character>LEE</character> <parenthetical>( turning . )</parenthetical> <dialogue>Oh, not here.</dialogue> <parenthetical>( touching Elliot 's arm . )</parenthetical> <dialogue>There are too many people around.</dialogue> <scene_description>Lee slips past Elliot and walks away . Elliot looks back at her briefly , then , sipping his drink , he turns and looks offscreen at the crowd in the living room .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S KITCHEN - NIGHT</stage_direction> <scene_description>Holly is standing in the pantry , preparing some offscreen food . Near her is a restaurantlike swinging door with a glass porthole . In the foreground , the kitchen table is crowded with bowls and plates of food . An open cupboard separates Holly from the rest of the room .</scene_description> <character>HOLLY</character> <parenthetical>( looking offscreen . )</parenthetical> <dialogue>Hey, Hannah? You know, I think Lee is really serious about her new boyfriend. Yeah, eh, from what I understand he sounds really nice.</dialogue> <scene_description>Hannah walks into view , headed for the refrigerator . She carries two tomatoes .</scene_description> <character>HOLLY</character> <dialogue>I'm so happy for her. I think she's in love.</dialogue> <scene_description>Hannah opens the refrigerator , totally ignoring Holly .</scene_description> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Hey, what's the matter?</dialogue> <character>HANNAH</character> <parenthetical>( taking a bunch of celery out and slamming the refrigerator door . )</parenthetical> <dialogue>I'm real upset about what you wrote.</dialogue> <scene_description>Hannah walks over to the table , gathering up more food .</scene_description> <character>HOLLY</character> <dialogue>My script?</dialogue> <character>HANNAH</character> <dialogue>It's obviously based on Elliot and me.</dialogue> <character>HOLLY</character> <dialogue>Oh, so loosely.</dialogue> <character>HANNAH</character> <parenthetical>( angrily . )</parenthetical> <dialogue>No, not `` Oh, so loosely''! Real specifically! Is that how you see us?</dialogue> <character>HOLLY</character> <parenthetical>( shrugging , walking out of the pantry area . )</parenthetical> <dialogue>Well -</dialogue> <character>HANNAH</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Can I, can I not accept gestures and feelings from people? Do I, do I put people off?</dialogue> <scene_description>Holly walks over to the sink and washes her hands .</scene_description> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Well, it's a made - up story.</dialogue> <scene_description>She dries her hands as Hannah , her arms laden with vegetables , strides over to her sister .</scene_description> <character>HANNAH</character> <parenthetical>( yelling . )</parenthetical> <dialogue>No, it's real exact! The - the situations, the dialogue, everything. It's - it's full of intimate details between Elliot and me! Which I do n't, I do n't see how you could even possibly know about. A conversation we once had about adoption?</dialogue> <scene_description>Hannah storms out a nearby door as Holly turns away from the sink .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing , the towel still in her hand , as she speaks to her offscreen sister . )</parenthetical> <dialogue>Well, Lee mentioned that to me, so obviously you discussed it with her. You.</dialogue> <parenthetical>( pacing around the table . )</parenthetical> <dialogue>I just took the essence and I blew it up into drama.</dialogue> <scene_description>Holly wipes her hand on the towel as Hannah reenters the kitchen , carrying even more vegetables .</scene_description> <character>HANNAH</character> <dialogue>I do n't see how Lee could know about these things. I do n't! I do n't tell her everything.</dialogue> <scene_description>Hannah strides into the pantry area and flops the vegetables down on the counter . Holly puts the dishtowel down and absently straightens some things on the food - laden table .</scene_description> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Wow, I guess I hit a nerve.</dialogue> <character>HANNAH</character> <parenthetical>( turning to look at Holly . )</parenthetical> <dialogue>You make it sound like, you know, I have no needs or something. You think I'm too self - sufficient?</dialogue> <character>HOLLY</character> <parenthetical>( stopping her mindless straightening at the table , reacting . )</parenthetical> <dialogue>Now, Hannah, that's not what I meant, you know.</dialogue> <parenthetical>( walking offscreen to the sink area . )</parenthetical> <dialogue>Uh, yeah, everybody relies on you for so much. `` You're so giving. It's not a criticism. We love you. We're grateful.''</dialogue> <character>HANNAH</character> <parenthetical>( walking out of the pantry to the food - laden table . )</parenthetical> <dialogue>You're grateful, but you resent me.</dialogue> <character>HOLLY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, wow! I do n't want to have this conversation. I did n't do anything wrong.</dialogue> <scene_description>Hannah angrily gathers up some spices from the table ; Holly walks back onscreen holding a silver ice bucket . She stops at the corner of the table and faces Hannah .</scene_description> <character>HOLLY</character> <parenthetical>( onscreen . )</parenthetical> <dialogue>Y - you mentioned to me yourself that you and Elliot were having some problems.</dialogue> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Yeah, we're having some problems, but problems that are my business. which I do n't see how you could know about in such detail. How does Lee know about these things? How? They're private!</dialogue> <scene_description>Hannah picks up a large bowl and carries it , as well as her armload of spices , into the pantry area .</scene_description> <character>HOLLY</character> <parenthetical>( turning to look at her sister as she walks past . )</parenthetical> <dialogue>Well, why do n't you share them with us?</dialogue> <character>HANNAH</character> <parenthetical>( with her back to the camera . )</parenthetical> <dialogue>I do n't. I do n't want to bother everyone.</dialogue> <character>HOLLY</character> <parenthetical>( facing her sister 's back . )</parenthetical> <dialogue>That's the point. I'd like to be bothered.</dialogue> <character>HANNAH</character> <parenthetical>( turning to look at Holly . )</parenthetical> <dialogue>I do n't see how you could know about these things unless Elliot's been talking to you.</dialogue> <character>HOLLY</character> <parenthetical>( shaking her head . )</parenthetical> <dialogue>No, he has n't. If I offended you, I'm sorry.</dialogue> <scene_description>Hannah , reacting , puts the spices down on the pantry counter . Holly turns away . The film cuts to the dining room doorway . Guests can be seen mingling and talking and helping themselves at a buffet table in the living room . Lee and Elliot can be heard offscreen as the camera slowly moves from the doorway across the empty dining room to reveal them in the midst of an intense conversation . The piano , as well as soft chatter , is heard in the background .</scene_description> <character>LEE</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>It's over, Elliot. I do n't know how to make it any clearer. It's over. I ca n't see you anymore.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>Uh.</dialogue> <parenthetical>( onscreen , gesturing . )</parenthetical> <dialogue>I - I - I know. I deserve this.</dialogue> <character>LEE</character> <parenthetical>( touching her chest . )</parenthetical> <dialogue>Look, I'm just as much at fault.</dialogue> <character>ELLIOT</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>If - if - if you can believe I have such feelings for you!</dialogue> <character>LEE</character> <dialogue>I've got to be honest with you. I met someone else. I've met someone else.</dialogue> <parenthetical>( turning and walking away from Elliot . )</parenthetical> <dialogue>I. I told you I was n't going to wait forever.</dialogue> <scene_description>Lee goes over to an open door and closes it quickly .</scene_description> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>But it has n't been forever.</dialogue> <parenthetical>( walking over to Lee at the just - closed door . )</parenthetical> <dialogue /> <character>LEE</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>It's been nearly a year since our first time and you're still married to my sister, which. I now realize is fine because you're probably much more in love with her than you know.</dialogue> <character>ELLIOT</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Yeah, but we - we made so many plans.</dialogue> <character>LEE</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>Yeah. Uh, well, sure we did. An - an - and in a way you led me on, because I truly believed you were unhappy with Hannah. Otherwise, I would never have let myself be drawn in. I was very weak. So were you. Now I've met someone else.</dialogue> <scene_description>The door opens and Mavis appears , holding a set of candlesticks . She walks over to the dining room table , which is already decked out with a floral centerpiece , glassware , and china . She puts them down as Lee and Elliot stand awkwardly near the door , waiting for her to leave .</scene_description> <character>LEE</character> <parenthetical>( to Mavis . )</parenthetical> <dialogue>Dinner soon?</dialogue> <character>MAVIS</character> <dialogue>About fifteen minutes.</dialogue> <character>LEE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Uh - huh. Good.</dialogue> <scene_description>Mavis leaves . Both Lee and Elliot quickly close the door behind her and immediately pick up where they 'd left off .</scene_description> <character>ELLIOT</character> <dialogue>And you're in love overnight?</dialogue> <character>LEE</character> <dialogue>I care a great deal about him, yes.</dialogue> <character>ELLIOT</character> <parenthetical>( trying to put his arm around Lee . )</parenthetical> <dialogue>Lee.</dialogue> <character>LEE</character> <parenthetical>( pulling back , flinging her hands . )</parenthetical> <dialogue>Ah, it's over! Elliot, I mean it. It's over!</dialogue> <scene_description>They look at each other , reacting , as the film cuts back to Hannah 's kitchen . Norma 's face can be seen in the porthole window on the other side of the pantry 's swinging door . She looks around the kitchen , then opens the door and steps inside . Holly stands nearby , working in the pantry area .</scene_description> <character>NORMA</character> <parenthetical>( holding the door , half in and half out of the kitchen . )</parenthetical> <dialogue>Sweetheart, I loved your script. I thought it was so clever.</dialogue> <character>HOLLY</character> <parenthetical>( turning to Norma , smiling , and holding a glass of wine . )</parenthetical> <dialogue>Well, you're my mother. Not everybody's gon na be such a sucker.</dialogue> <character>NORMA</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I particularly liked the character of the mother. Just a boozy old flirt with a filthy mouth.</dialogue> <scene_description>Holly chuckles .</scene_description> <character>NORMA</character> <dialogue>I'm so proud!</dialogue> <character>HOLLY</character> <dialogue>Oh, Mom, thanks.</dialogue> <scene_description>Norma steps back out of the kitchen , the door swinging shut behind her . Holly looks at the door , sipping her wine , as the movie cuts back to Hannah 's living room . A chubby , friendly uncle sits on a sofa , one child on his lap and several others gathered cross - legged around him on the floor . They lean on the coffee table , which is covered with glasses and a bowl of chips . Other guests mingle in the background ; one couple enters the living room , smiling at the scene on the sofa . Mavis crosses the well - lit foyer in the background and opens the door to more guests . The piano plays on .</scene_description> <character>UNCLE</character> <parenthetical>( raising his bottle of beer to the children . )</parenthetical> <dialogue>Now here's a toast to Thanksgiving, all right?</dialogue> <scene_description>The children mutter their enthusiastic agreement , picking up their `` illicit '' glasses of beer .</scene_description> <character>UNCLE</character> <dialogue>Are we supposed to have beer? Yeeeah!</dialogue> <scene_description>The uncle pours more beer from his bottle into the kids ' outstretched glasses . They cry indistinctly with excitement .</scene_description> <character>UNCLE</character> <parenthetical>( overlapping the children 's squeals of delight . )</parenthetical> <dialogue>Let me at it!</dialogue> <parenthetical>( to one of the little boys . )</parenthetical> <dialogue>How's that, Fletcher?</dialogue> <scene_description>Laughing , he turns to the little girl sitting on his lap ; he clinks his bottle against the bottle she is holding , which is almost as big as she is .</scene_description> <character>UNCLE</character> <parenthetical>( to the little girl . )</parenthetical> <dialogue>Doll? To Thanksgiving. Here's a little toast, doll.</dialogue> <parenthetical>( clinking glasses . )</parenthetical> <dialogue>Come on. Bottoms up.</dialogue> <scene_description>The uncle and the children happily drink their beer as the movie cuts to a wall with subtly patterned wallpaper in Hannah 's bedroom . Her face moves on to the screen .</scene_description> <character>HANNAH</character> <parenthetical>( to the offscreen Elliot . )</parenthetical> <dialogue>Have you been talking to Holly or Lee about us? About our - our personal life?</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Me? Of course not.</dialogue> <character>HANNAH</character> <dialogue>There's things Holly wrote about in her script about us that are so. personal they could only have come from you.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Look, I've got a splitting headache and I do n't like being accused.</dialogue> <scene_description>Hannah walks towards Elliot ; he 's in the bathroom standing over the sink .</scene_description> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I'm not accusing. I'm asking. Do you. do you find me too. too giving?</dialogue> <parenthetical>( closing the door of the bathroom slightly so only she is seen on the screen . )</parenthetical> <dialogue>Too - too - too competent? Too - too, I do n't know, disgustingly perfect or something?</dialogue> <character>ELLIOT</character> <dialogue>No.</dialogue> <scene_description>Elliot walks from behind the partially closed door to an offscreen medicine cabinet .</scene_description> <character>HANNAH</character> <parenthetical>( following Elliot and gesturing , talking to his back . )</parenthetical> <dialogue>Well, what is it then? What? Eh, what's come between us? How have I alienated you?</dialogue> <character>ELLIOT</character> <parenthetical>( taking a bottle of aspirin from the cabinet and walking back to the sink , gesturing . )</parenthetical> <dialogue>Hannah, my head is throbbing.</dialogue> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>You never want to talk about it. I - Every time I bring it up, you - you change the subject. What is it? Do you - We're communicating less and less. You sleep with me less and less.</dialogue> <character>ELLIOT</character> <parenthetical>( angrily turning to Hannah and pointing as she shouts . )</parenthetical> <dialogue>Hannah, I am very mixed up! Now please!</dialogue> <scene_description>Elliot turns back to the sink , once again obscured by the partially closed door .</scene_description> <character>HANNAH</character> <parenthetical>( reacting , her voice trembling slightly , and gesturing . )</parenthetical> <dialogue>Do you talk to Holly or Lee behind my back? Do you? You must. They - they seem to know so much about us.</dialogue> <character>ELLIOT</character> <parenthetical>( walking towards a towel rack and gesturing . )</parenthetical> <dialogue>Well, maybe I've asked advice once or twice or - or made a joke.</dialogue> <scene_description>He dries his hands as Hannah , standing behind him , continues to talk .</scene_description> <character>HANNAH</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, what do you do? Do - do - do you talk to Holly, or Lee, or what? Do you, do you, do you phone them?</dialogue> <character>ELLIOT</character> <parenthetical>( whirling around to face Hannah , snapping . )</parenthetical> <dialogue>Leave me alone, can you?!</dialogue> <scene_description>He closes the door , briefly obscuring Hannah and himself from view .</scene_description> <character>ELLIOT</character> <parenthetical>( continuing in a lower tone . )</parenthetical> <dialogue>Jesus, I've told you. I need someone I can matter to.</dialogue> <scene_description>The camera moves behind the closed door , into the bathroom .</scene_description> <character>HANNAH</character> <parenthetical>( reacting , near tears . )</parenthetical> <dialogue>You matter to me. Completely.</dialogue> <character>ELLIOT</character> <parenthetical>( pausing , his voice rising again . )</parenthetical> <dialogue>It's hard to be around someone who gives so much and - and needs so little in return!</dialogue> <scene_description>He opens the medicine cabinet and puts the aspirin bottle back .</scene_description> <character>HANNAH</character> <parenthetical>( gesturing , pleading . )</parenthetical> <dialogue>But, look. I - I have enormous needs.</dialogue> <scene_description>Elliot slams the medicine cabinet shut .</scene_description> <character>ELLIOT</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Well, I ca n't see them, and neither can Lee or Holly!</dialogue> <scene_description>He leaves . Hannah watches him go , reacting . She is stunned .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S LIVING ROOM - ANOTHER NIGHT</stage_direction> <scene_description>The dark hallway is illuminated by light coming from the offscreen foyer ; pictures line the wall . Piano music is still heard very softly in the background as Hannah , hugging herself , walks slowly down the hallway into the living room . She briefly looks around , lost in thought . She sits down heavily , tiredly , on the arm of the couch as the movie cuts to several framed photographs on the mantel . One shows Hannah and Elliot on their wedding day . Another shows Elliot , obscured in the shadows . Yet another has captured Norma as a young girl . The camera , however , moves closer and closer to a photograph showing Hannah , Lee , and Holly , the three sisters , smiling into the camera . There is no sound .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S BEDROOM - NIGHT</stage_direction> <scene_description>The film shows the bedroom night table , holding a small lamp , a wooden box , a cast - iron fire truck , an ashtray , and glasses . Elliot 's pajama - clad arm moves into view . He turns off the lamp ; the room is now pitch - black .</scene_description> <character>HANNAH</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>It's so pitch - black tonight. I feel lost.</dialogue> <character>ELLIOT</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>You're not lost.</dialogue> <scene_description>Elliot turns the lamp back on , then turns to Hannah ; she is lying on her side of the bed , partially in shadow . He leans over and kisses her .</scene_description> <character>ELLIOT</character> <dialogue>I love you so much.</dialogue> <scene_description>They begin to kiss passionately as `` Bewitched '' starts to play in the background . Lucky I ran into you . `` Bewitched '' continues as the film cuts to a busy nighttime New York City street . Mickey , his hands in his pockets , walks along the sidewalk , one person among many other pedestrians . He pulls his coat tighter around him as he walks . `` Bewitched '' continues to play as he passes Tower Records ' neon - lit window . He glances inside . and sees Holly , her jacket flung over her shoulders , looking at some records . Mickey walks through the revolving doors of Tower Records , up a few stairs to the selling floor proper , and stops right in front of Holly .</scene_description> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Mmm, I do n't know if you remember me, but we had the worst night of my life together.</dialogue> <character>HOLLY</character> <parenthetical>( laughing , holding some records . )</parenthetical> <dialogue>I remember you.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yes, you do recall, right?</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , smiling and nodding . )</parenthetical> <dialogue>I recall you.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I was walking past and I saw you in here.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Yeah.</dialogue> <character>MICKEY</character> <dialogue>and I thought I'd come in and. and we could replay, uh, the whole, uh.</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , laughing and shaking her head . )</parenthetical> <dialogue>We did n't hit it off.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , smiling . )</parenthetical> <dialogue>Oh, that's putting it mildly. We did everything but exchange gunshots.</dialogue> <character>HOLLY</character> <dialogue>How are you?</dialogue> <character>MICKEY</character> <dialogue>Good. How are you?</dialogue> <character>HOLLY</character> <dialogue>I'm fine.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You look wonderful.</dialogue> <character>HOLLY</character> <parenthetical>( chuckling , shaking her head . )</parenthetical> <dialogue>Oh, no.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , scratching his head . )</parenthetical> <dialogue>Yeah, really. You do. You do.</dialogue> <character>HOLLY</character> <dialogue>Yeah?</dialogue> <character>MICKEY</character> <dialogue>It was a terrible evening.</dialogue> <character>HOLLY</character> <dialogue>Yeah, it was.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>Remember slamming the cab door in my face and.</dialogue> <parenthetical>( touching his nose as Holly laughs . )</parenthetical> <dialogue>you know, it came very dangerously close to emasculating my nose in a.</dialogue> <parenthetical>( touching his nose again . )</parenthetical> <dialogue /> <character>HOLLY</character> <parenthetical>( overlapping , laughing . )</parenthetical> <dialogue>I'd never do that.</dialogue> <character>MICKEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. in a really horrible way.</dialogue> <character>HOLLY</character> <parenthetical>( smiling , glancing away for a moment . )</parenthetical> <dialogue>Oh, well, that was a long time ago.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You look wonderful. You do. What happened to you?</dialogue> <character>HOLLY</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>People change. you know.</dialogue> <character>MICKEY</character> <parenthetical>( touching Holly 's shoulder . )</parenthetical> <dialogue>Well, I hope you've changed.</dialogue> <character>HOLLY</character> <dialogue>Yeah, I hope you have, too.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I hope so for your sake, because, uh, your personality left something to be desired.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , shaking her head . )</parenthetical> <dialogue>Yeah, and for yours. I'm sure you've changed.</dialogue> <character>MICKEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. namely a personality.</dialogue> <scene_description>Holly chuckles and turns to look at more records . She walks down the aisle , occasionally glancing at the bins of records . Mickey walks beside her .</scene_description> <character>MICKEY</character> <dialogue>So how are you?</dialogue> <character>HOLLY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>I'm okay.</dialogue> <character>MICKEY</character> <dialogue>You did n't answer my question. What are you doing?</dialogue> <character>HOLLY</character> <dialogue>Oh, nothing much. You know.</dialogue> <character>MICKEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Well.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>. just some stuff. A little of this, a little of that, that's all.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Yeah? Is that an embarrassing question? Should I have not asked it?</dialogue> <character>HOLLY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Probably not.</dialogue> <character>MICKEY</character> <dialogue>Are you, are you out of work or something?</dialogue> <character>HOLLY</character> <dialogue>No, well. I've been trying to write.</dialogue> <character>MICKEY</character> <dialogue>Have you?</dialogue> <character>HOLLY</character> <parenthetical>( picking up a record and looking at it . )</parenthetical> <dialogue>Yeah.</dialogue> <character>MICKEY</character> <dialogue>Well, that's interesting. Wh - what kind of stuff?</dialogue> <character>HOLLY</character> <parenthetical>( touching her chin for a moment . )</parenthetical> <dialogue>Oh. well, you - you're not interested in this.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>No, you can tell me.</dialogue> <character>HOLLY</character> <dialogue>Come on.</dialogue> <character>MICKEY</character> <dialogue>No, I am. I am.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, no, millions of people come up to you and say, `` Hey, I have something I just wrote,'' right?</dialogue> <character>MICKEY</character> <dialogue>Nobody ever said it.</dialogue> <character>HOLLY</character> <dialogue>Really?</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>This is it. Yeah. This is really -</dialogue> <character>HOLLY</character> <parenthetical>( interrupting , turning from the record bins to look at Mickey . )</parenthetical> <dialogue>Well, wo - would you be willing to - to read it? Something. that I wrote?</dialogue> <character>MICKEY</character> <parenthetical>( nodding his head . )</parenthetical> <dialogue>Well, yes, I would if, uh, if it would mean anything to you. I do n't know why it would.</dialogue> <character>HOLLY</character> <parenthetical>( laughing , touching her face . )</parenthetical> <dialogue>No, the reason I ask is -</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You've always hated my taste in the past.</dialogue> <character>HOLLY</character> <parenthetical>( pulling her jacket off her shoulders . )</parenthetical> <dialogue>No, I have n't.</dialogue> <character>MICKEY</character> <dialogue>You have.</dialogue> <character>HOLLY</character> <parenthetical>( gesturing , looking at Mickey . )</parenthetical> <dialogue>I have n't. No, the reason why I ask is I think it might make a great, uh, television script, and, you know, you're so active in television, so -</dialogue> <character>MICKEY</character> <parenthetical>( chuckling , gesturing . )</parenthetical> <dialogue>I'm not anymore. I have n't, I have n't been in television for a year.</dialogue> <character>HOLLY</character> <dialogue>You're kidding me.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I've done no television whatsoever. No.</dialogue> <scene_description>As Mickey continues to speak , Holly walks to another bin of records , reacting to his words . She looks offscreen at him , then down at some records . The camera follows her .</scene_description> <character>MICKEY</character> <parenthetical>( offscreen , continuing . )</parenthetical> <dialogue>I may, I may have to get back into it,'cause my accountant says that I'm running out of dollars. But. but, um, no, I have n't, I just sort of dropped out for a year.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , nodding . )</parenthetical> <dialogue>Oh. Oh.</dialogue> <character>MICKEY</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>. which is a long, dull story and I wo n't get into it. But -</dialogue> <scene_description>Mickey walks back onscreen to Holly . The two of them are partially obscured by a large white Jazz sign imprinted with a large red circle as they continue their conversation .</scene_description> <character>HOLLY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>You're okay, though, huh?</dialogue> <character>MICKEY</character> <dialogue>I'm - Yes. Yes, I'm fine. I'm fine. How are you?</dialogue> <character>HOLLY</character> <parenthetical>( face offscreen , obscured by the sign . )</parenthetical> <dialogue>Oh, I'm fine.</dialogue> <character>MICKEY</character> <dialogue>What. what about your script?</dialogue> <parenthetical>( face offscreen obscured by the sign . )</parenthetical> <dialogue>So what's it about?</dialogue> <character>HOLLY</character> <parenthetical>( face offscreen . )</parenthetical> <dialogue>Well, I'd love it if you'd read it, actually,'cause I really would value your opinion.</dialogue> <character>MICKEY</character> <parenthetical>( face offscreen . )</parenthetical> <dialogue>You have to remember, we - we - we did n't agree on one thing.</dialogue> <scene_description>They emerge from behind the Jazz sign , still walking , still talking .</scene_description> <character>HOLLY</character> <parenthetical>( smiling , gesturing . )</parenthetical> <dialogue>But you have to remember while you're reading and you're cursing my name, you know, that this is my first script. Well, it's not my first script.</dialogue> <character>MICKEY</character> <dialogue>Hmm.</dialogue> <character>HOLLY</character> <parenthetical>( touching her face . )</parenthetical> <dialogue>Actually, my first script was about Hannah and her husband, but, uh.</dialogue> <character>MICKEY</character> <dialogue>Yeah.</dialogue> <character>HOLLY</character> <dialogue>Hannah read it, she got really angry, and. you know, then I felt badly, so I -</dialogue> <scene_description>She picks up a record .</scene_description> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Oh, well, God, I can imagine what you wrote.</dialogue> <character>HOLLY</character> <dialogue>Oh, no! It was n't anything bad. But she just. you know. I do n't know.</dialogue> <scene_description>Mickey pulls out a record and looks at it .</scene_description> <character>MICKEY</character> <dialogue>Really?</dialogue> <character>HOLLY</character> <dialogue>So, uh. I threw it out, but I have this other one.</dialogue> <scene_description>Holly looks hopefully at Mickey .</scene_description> <character>MICKEY</character> <dialogue>Well, you know, I - I - I. you know, if you want me to, I'll read it.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>Oh, gosh, I do n't know.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>Well, could I come over tomorrow and read it to you?</dialogue> <character>MICKEY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Come over tomorrow and read it to me?</dialogue> <scene_description>Holly laughs , embarrassed , as Mickey puts the record he 's been looking at back in the bin .</scene_description> <character>MICKEY</character> <dialogue>You must be joking. I've been doing all my own reading since I was forty. you know.</dialogue> <character>HOLLY</character> <parenthetical>( laughing , looking at Mickey . )</parenthetical> <dialogue>Hmm. I think it's lucky I ran into you.</dialogue> <parenthetical>( laughing . )</parenthetical> <dialogue>Maybe.</dialogue> <character>MICKEY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Well, what about me?</dialogue> <character>HOLLY</character> <parenthetical>( chuckling , waving her arm . )</parenthetical> <dialogue>Oh, well.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping , gesturing . )</parenthetical> <dialogue>I should have kept going. I - I have a sneaking feeling, a nagging sensation I should've kept walking and.</dialogue> <scene_description>Holly chuckles , looking off for a moment .</scene_description> <character>MICKEY</character> <parenthetical>( continuing , looking at Holly . )</parenthetical> <dialogue>. and not begun this conversation.</dialogue> <scene_description>There is a brief pause and the movie cuts to :</scene_description> </scene> <scene> <stage_direction>INT. MICKEY'S APARTMENT - DAY</stage_direction> <scene_description>The screen shows a chaise in Mickey 's apartment ; an ashtray on a stand sits nearby . The camera moves down the chaise , past several piles of books , to Mickey 's coffee table . He sits , picking at his fingers and listening , on the edge of the table in front of Holly , who is sitting cross - legged on the floor , propped up with a pillow , reading her script aloud .</scene_description> <character>HOLLY</character> <parenthetical>( offscreen , as the camera moves across the room towards her and Mickey , reading . )</parenthetical> <dialogue>`` We all go through life playing the hand we're dealt. Craig : And what hand were you dealt?</dialogue> <parenthetical>( onscreen now . )</parenthetical> <dialogue>`` Emily : I'm two high pair, maybe even aces up. The problem is, you've got three deuces.''</dialogue> <scene_description>Holly closes the script and looks up at Mickey .</scene_description> <character>HOLLY</character> <dialogue>That's the end.</dialogue> <scene_description>Mickey smiles and shrugs , not knowing what to say .</scene_description> <character>HOLLY</character> <dialogue>No, you can tell me straight. It's okay. Just, you know, tell me what you think.</dialogue> <character>MICKEY</character> <parenthetical>( shaking his head , shrugging . )</parenthetical> <dialogue>It's great. I swea - I'm - I'm, tch, I'm speechless. I was. I was not in the mood to listen to this thing now.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>I do n't know what to say. I'm moved and I laughed and I - Uh, I, you know, I was on the edge of my seat. I just think it's wonderful! I'm, I'm totally. stunned. This is not an insult. I'm amazed that you can.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>It was - I just thought it was great.</dialogue> <character>HOLLY</character> <parenthetical>( reacting . )</parenthetical> <dialogue>Really?</dialogue> <character>MICKEY</character> <parenthetical>( grunting and gesturing . )</parenthetical> <dialogue>Yes! I was abso - And. w - what. made you think of that climax scene where the, where the. architect is walking home with his actress girlfriend and - and the ex - wife who's schizophrenic jumps out of the bushes and stabs him to death?</dialogue> <character>HOLLY</character> <parenthetical>( laughing and nodding . )</parenthetical> <dialogue>Oh, it just came to me one day.</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Well, it was just fabulous! I'm, I, you know.</dialogue> <character>HOLLY</character> <parenthetical>( gasping , hitting her forehead with her hand . )</parenthetical> <dialogue>Oh, gosh, you really think I can write?</dialogue> <character>MICKEY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>I thought it was wonder - There's maybe one or two things in there that I would do differently myself, but.</dialogue> <character>HOLLY</character> <parenthetical>( gasping and nodding . )</parenthetical> <dialogue>Right.</dialogue> <character>MICKEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. but who cares? It was just -.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>It was fabulous.</dialogue> <character>HOLLY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Oh!</dialogue> <character>MICKEY</character> <parenthetical>( smiling and shaking his head . )</parenthetical> <dialogue>Fabulous, I mean it! I'm so impressed.</dialogue> <scene_description>Holly , thrilled with Mickey 's overwhelming response , stands up , her hand on her head . Unable to contain herself , she begins to walk up and down the room , holding her script . The camera follows her ; Mickey is now offscreen .</scene_description> <character>HOLLY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Oh, God!</dialogue> <character>MICKEY</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>I am. You - you made my day.</dialogue> <character>HOLLY</character> <parenthetical>( gasping . )</parenthetical> <dialogue>Oh, wow!</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>It was just great. Uh, I was all set. I was set to be bored stiff.</dialogue> <character>HOLLY</character> <parenthetical>( grinning , looking at the offscreen Mickey . )</parenthetical> <dialogue>Uh, gee. Would you like to have lunch? Uh, uh.</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>I - I would love to talk to you about, uh, that script. I - I, you know, I think maybe that we could do something with it.</dialogue> <character>HOLLY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Okay, and listen, I would like to hear what made you suddenly decide to drop out of life.</dialogue> <character>MICKEY</character> <parenthetical>( offscreen . )</parenthetical> <dialogue>Oh, who cares?</dialogue> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Y - you used to - Oh, no! Yeah, I care. You used to be so ambitious and.</dialogue> <parenthetical>( pausing , grinning . )</parenthetical> <dialogue>God, you really liked it?!</dialogue> <scene_description>`` You Made Me Love You '' starts to play as the movie cuts to the street outside Mickey 's apartment house , an old building complete with a red entrance door and a gray , weather - beaten façade . Trees line the sidewalk . Holly and Mickey emerge from the door and walk up the street , revealing a whole row of similar apartment buildings . They pass a few other people as they walk . The film then moves to the outside of a charming glass and stainedwood café . Through the window , Holly and Mickey can be seen having lunch . Holly is talking animatedly ; Mickey takes a sip of coffee . Some people pass by . Next , the film cuts to an almost isolated path in Central Park , complete , with old - fashioned streetlamps and scattered leaves . Holly and Mickey stroll into view , deep in conversation .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Gosh, you really went through a crisis, you know that? H - how did you get over it? I mean, when I ran into you, you seemed, you seemed just perfectly fine. Well, you seem fine now.</dialogue> <character>MICKEY</character> <dialogue>Well.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>I'll tell you.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>One day about a month ago.</dialogue> <scene_description>The film abruptly cuts to Mickey 's flashback , a visual counterpoint to the story he is telling Holly . A close - up of a nervous , perspiring , and panting Mickey alone in his apartment appears on the screen as his voice is heard .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I really hit bottom. You know, I just felt that in a Godless universe, I did n't want to go on living. Now I happen to own this rifle.</dialogue> <parenthetical>( coughing . )</parenthetical> <dialogue /> <scene_description>Mickey raises the barrel of a rifle to his forehead . He shuts his eyes tightly .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>which I loaded, believe it or not, and pressed it to my forehead. And I remember thinking, at the time, I'm gon na kill myself. Then I thought. what if I'm wrong? What if there is a God? I mean, after all, nobody really knows that.</dialogue> <scene_description>The camera moves past the desperate Mickey to a mirror on the wall behind him . Its reflection shows his spiral staircase and some standing lamps . A clock faintly ticks .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But then I thought, no. You know, maybe is not good enough. I want certainty or nothing. And I remember very clearly the clock was ticking, and I was sitting there frozen, with the gun to my head, debating whether to shoot.</dialogue> <scene_description>The gun goes off with a loud bang . The mirror shatters .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>All of a sudden, the gun went off.</dialogue> <scene_description>Mickey , holding the rifle , is seen running over to the shattered mirror . The sounds of his excited neighbors , their shouting , a knocking door , are heard as he continues his tale .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I had been so tense, my finger had squeezed the trigger inadvertently.</dialogue> <character>NEIGHBOR #1</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>What's happening? Wh - wh - what's going on?</dialogue> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( continuing . )</parenthetical> <dialogue>. but I was perspiring so much, the gun had slid off my forehead and missed me.</dialogue> <character>NEIGHBOR #2</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>I do n't know. I heard a gun. Is everything all right?</dialogue> <scene_description>Mickey , still brandishing the rifle , runs into his sunlit living room . He looks around frantically , his shirt loose . Finally , he throws the rifle down between the sofa and the coffee table . The gun goes off a second time . Mickey , standing nearby , jumps , his hands flying to his head . The doorbell rings ; the neighbors begin pounding at the door .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And suddenly, neighbors were, were, pounding on the door, and - and I do n't know, the whole scene was just pandemonium. And, uh, you know, and I - I - I - I - I ran to the door.</dialogue> <scene_description>Mickey runs offscreen briefly to answer the door .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I - I - I - I did n't know what to say. You know, I was, I was embarrassed and confused, and my - my - my mind was r - r - racing a mile a minute.</dialogue> <scene_description>He returns onscreen , panting ; he looks frantically once again around the living room .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>and I - I jus knew one thing.</dialogue> <scene_description>The film cuts to a West Side street . It 's an overcast day . Mickey , walking slowly along the sidewalk , passes several other pedestrians and numerous storefronts , including Klein 's Pharmacy and a `` Bar - B - Q '' take out . Occasionally , he is obscured by a tree trunk on the opposite side of the street ; a few taxis go by as he talks over the scene .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I. I - I - I - I had to get out of that house. I had to just get out in the fresh air and - and clear my head. And I remember very clearly. I walked the streets. I walked and I walked. I - I did n't know what was going through my mind. It all seemed so violent and un - unreal to me. And I wandered.</dialogue> <scene_description>The movie cuts to the exterior of the Metro movie theater , with its smoked glass entrance doors and its Art Deco feel . An old publicity photo hangs inside . Mickey 's reflection is seen at the almost - transparent doors , as well as the reflection of the street and various cars whizzing by . His reflection walks towards the theater entrance ; he continues his story .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>for a long time on the Upper West Side, you know, an - and it must have been hours! You know, my, my feet hurt. My head was, was pounding, and, and I had to sit down. I went into a movie house. I - I did n't know what was playing or anything.</dialogue> <scene_description>Mickey walks into the movie house . He is seen through the glass doors , which still reflect the street and traffic outside . He makes his way through the lobby into the actual theater .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I just, I just needed a moment to gather my thoughts and, and be logical, and, and put the world back into rational perspective.</dialogue> <scene_description>The film abruptly cuts to the theater 's black - and - white screen , where the Marx Brothers , in Duck Soup , play the helmets of several soldiers standing in a line like a live xylophone . The sounds of the `` xylophone '' are heard as the movie cuts to the darkened theater , where Mickey slowly sits down in a balcony seat . The `` xylophone '' music stops and changes to `` Hidee - hidee - hidee - hidee - hidee - hidee - ho '' as sung by the Marx Brothers and ensemble in the movie . The singing continues faintly in the background as Mickey continues his tale :</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And I went upstairs to the balcony, and I sat down.</dialogue> <parenthetical>( sighing . )</parenthetical> <dialogue>and, you know, the movie was a - a - a film that I'd seen many times in my life since I was a kid, an - and I always u - uh, loved it. And, you know, I'm, I'm watching these people up on the screen, and I started getting hooked o - on the film, you know?</dialogue> <scene_description>The film cuts back to the black - and - white movie screen as Mickey continues to talk . The Marx Brothers , as well as the hundred - odd other cast members in Duck Soup , are kneeling and bowing as they sing `` Hidee - hidee - ho . '' They kick their heels up in the air . They sway back and forth , hands clasped , singing `` Oh - h - h - h - h - h . ''</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And I started to feel how can you even think of killing yourself? I mean, is n't it so stupid? I mean, l - look at all the people up there on the screen. You know, they're real funny, and, and what if the worst is true?</dialogue> <scene_description>The movie cuts back to Mickey , sitting almost obscured in the dark theater . The Oh - h - h - h - h - h 's coming from the offscreen movie are heard as he continues to speak .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What if there's no God, and you only go around once and that's it? Well, you know, do n't you want to be part of the experience? You know, what the hell, it - i - it's not all a drag. And I'm thinking to myself, geez, I should stop ruining my life.</dialogue> <scene_description>As Mickey talks , the film cuts back to the antics of the Marx Brothers on the black - and - white theater screen . The four brothers are now swaying and singing and strutting , their voices indistinct over Mickey 's narration .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>searching for answers I'm never gon na get, and just enjoy it while it lasts. And. you know.</dialogue> <scene_description>The film is back on Mickey 's dark form in the audience .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>after, who knows? I mean, you know, maybe there is something. Nobody really knows. I know, I know `` maybe'' is a very slim reed to hang your whole life on, but that's the best we have. And. then, I started to sit back, and I actually began to enjoy myself.</dialogue> <scene_description>As Mickey continues , the film cuts back to Duck Soup on the black - and - white screen . The Marx Brothers are sitting on a judge 's bench , playing banjos and singing with the other cast members . They jump down from the bench , still singing . Their voices swell .</scene_description> <character>MARX BROTHERS &amp; COMPANY</character> <dialogue>`` Oh, Freedonia Oh, do n't you cry for me They'll be coming around the mountain.''</dialogue> <scene_description>The Marx Brothers kneel , strumming their banjos , and the movie cuts back to Central Park . The flashback is over . Mickey and Holly continue their stroll as `` You Made Me Love You '' begins to play in the background . They pass some people , a cluster of buildings that look like castles , and the Manhattan skyline as seen through the trees , as the camera moves back , farther and farther away from them , showing a beautiful Central Park , frozen in time .</scene_description> <character>HOLLY</character> <parenthetical>( gesturing . )</parenthetical> <dialogue>Um. look, there's something I've, uh, that's been bothering me for a long time, and I just thought I'd just tell you what it was and just sort of clear the deck here, and.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>that's this.</dialogue> <character>MICKEY</character> <parenthetical>( mumbling . )</parenthetical> <dialogue>Oh, yeah? What?</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>That I've always regretted the way I behaved that evening we went out, and, uh. I've, I just thought I'd tell you that because I really made a fool out of myself.</dialogue> <character>MICKEY</character> <dialogue>Oh, do n't be silly! No! Do n't be ridiculous.</dialogue> <character>HOLLY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>It's all right.</dialogue> <character>MICKEY</character> <dialogue>I was the, I was. You know, it was my fault. I -.</dialogue> <parenthetical>( inhaling . )</parenthetical> <dialogue /> <scene_description>Holly laughs .</scene_description> <character>MICKEY</character> <dialogue>So, so you want to go out to dinner again? I mean, is that, is that. Have, you have any interest in that, or.</dialogue> <character>HOLLY</character> <dialogue>Sure. Sure, uh, yes.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Do you? I mean, are you, are you, are you, are you free this evening?</dialogue> <character>HOLLY</character> <dialogue>Yeah.</dialogue> <scene_description>They stroll offscreen . `` You Made Me Love You '' grows louder and the film cuts to : One year later .</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S APARTMENT - THANKSGIVING - NIGHT</stage_direction> <scene_description>A large , perfectly roasted turkey on a serving plate briefly fills the screen as the camera moves across the food - laden table in Hannah 's kitchen , past an electric mixer , several bowls , spices , tomatoes , and parsley , to reveal Evan walking through the doorway .</scene_description> <character>EVAN</character> <parenthetical>( holding a drink . )</parenthetical> <dialogue>I want ice! Who's got some -.</dialogue> <parenthetical>( pointing to an ice bucket on the table . )</parenthetical> <dialogue>Oh, there it is.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen , overlapping . )</parenthetical> <dialogue>It's on the table, Dad.</dialogue> <scene_description>The sounds of Thanksgiving guests in the other room are dimly heard ; `` You Made Me Love You '' continues softly in the background . Mavis passes the table , licking some food off her hand . Hannah , in the background , is busy by the stove .</scene_description> <character>EVAN</character> <parenthetical>( putting ice into his glass . )</parenthetical> <dialogue>Hey, where's Holly? She's late.</dialogue> <scene_description>As Mavis leaves the kitchen , Lee enters , carrying some empty glasses .</scene_description> <character>LEE</character> <parenthetical>( walking briskly to the sink . )</parenthetical> <dialogue>Hey, Hannah, did you read that last thing Holly wrote? It was great. She's really developed.</dialogue> <character>HANNAH</character> <parenthetical>( offscreen , in another area of the kitchen . )</parenthetical> <dialogue>I know, she. she really writes good dialogue.</dialogue> <character>LEE</character> <parenthetical>( turning to the offscreen Hannah . )</parenthetical> <dialogue>Yeah. I'll get some ice.</dialogue> <scene_description>Lee walks off , drying her wet hands in the air . Hannah , in a silk dress , moves onscreen , going to the table and pouring herself a glass of wine as Norma enters the kitchen .</scene_description> <character>NORMA</character> <dialogue>Hannah, can I tell everybody you're going to play Desdemona?</dialogue> <scene_description>Norma walks over to a glass - doored cabinet and takes out a bottle of gin .</scene_description> <character>HANNAH</character> <parenthetical>( taking a big sip of her wine . )</parenthetical> <dialogue>Oh, Mom, it's only television.</dialogue> <parenthetical>( beginning to mash some sweet potatoes in a bowl on the table . )</parenthetical> <dialogue /> <character>NORMA</character> <parenthetical>( gesturing with the bottle . )</parenthetical> <dialogue>Yes, but it's public television. And to me, Shakespeare does n't get any greater than Othello. You with some big black stud! I love it!</dialogue> <scene_description>Norma unscrews the liquor bottle and pours some into her empty glass as Hannah stops her mashing , reacting .</scene_description> <character>HANNAH</character> <parenthetical>( gasping and laughing . )</parenthetical> <dialogue>Oh, Mom!</dialogue> <character>EVAN</character> <parenthetical>( overlapping , reacting . )</parenthetical> <dialogue>Oh, honey!</dialogue> <scene_description>The movie leaves the kitchen and cuts to the doorway between the dining room and the living room . Upbeat jazz plays over the low din of the party . Two women stand by the partially set dining room table , chatting and arranging some plates , as Elliot strolls into view , sipping a drink . He passes the women and walks through the doorway into the living room , nodding hello to a guest who is walking the other way . He enters the living room , smiling . It is crowded with guests ; Hannah 's children play in their midst . One of Hannah 's boys grabs Elliot 's arm . They playfully `` spar '' for a moment before Elliot laughingly shakes him off , continuing on his way into a connecting room . He stops at the doorway , looking at the crowd . The camera shows his point of view : Guests stand in clusters , enjoying themselves ; one woman chats with a little boy ; another woman , carrying a drink , walks over to a group of other guests . The film then cuts back briefly to Elliot , holding his drink and looking straight ahead , as it shows his point of view once more . This time he sees a smiling Lee and Doug , talking animatedly ; a few guests are seen in the background . Elliot 's voice is heard over a close - up of the couple .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh, Lee, you are something.</dialogue> <scene_description>Lee and Doug kiss each other . They continue talking .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You look very beautiful. Marriage agrees with you. Everything that happened between us.</dialogue> <parenthetical>( pausing . )</parenthetical> <dialogue>seems more and more hazy.</dialogue> <scene_description>As Lee takes a sip of her drink , the movie cuts back to Elliot , standing in the doorway and still staring straight ahead . The camera moves in closer to his face as he talks over the scene .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I acted like such a fool. I do n't know what came over me. That complete conviction that I could n't live without you.</dialogue> <scene_description>The film quickly cuts to a brief look at Lee and Doug , still talking animatedly and smiling . Lee gently pushes back Doug 's hair .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What did I put us both through? And Hannah.</dialogue> <scene_description>The camera moves back to Elliot .</scene_description> <character>ELLIOT</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( continuing . )</parenthetical> <dialogue>. who as you once said, I love much more than I realized.</dialogue> <scene_description>After pausing for a moment on Elliot 's face , the film cuts to the foyer , where two boys and a girl gather by the door . One boy opens it , revealing Holly . She joyfully enters the apartment , greeting each child with an enthusiastic kiss .</scene_description> <character>HOLLY</character> <parenthetical>( kissing the children . )</parenthetical> <dialogue>Hi! How are you!</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>Happy Thanksgiving!</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue /> <character>BOY #1</character> <dialogue>Hi!</dialogue> <character>HOLLY</character> <dialogue>I did n't miss dinner, did I?</dialogue> <character>CHILDREN</character> <parenthetical>( overlapping , talking at once . )</parenthetical> <dialogue>No!</dialogue> <scene_description>The jazz ends as the record scratches and stops . Evan 's rendition of `` Is n't It Romantic '' is heard on the piano as Holly , shrugging the strap of her pocketbook off her shoulder , walks towards the living room . She is stopped by three guests - two women , one of them wearing glasses , and a man - who are coming out of the room .</scene_description> <character>HOLLY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Huh? Hi, Marge.</dialogue> <character>FEMALE GUEST #1</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>You look lovely.</dialogue> <scene_description>They kiss .</scene_description> <character>FEMALE GUEST #2</character> <parenthetical>( overlapping , hugging Holly . )</parenthetical> <dialogue>Hello, darling.</dialogue> <character>HOLLY</character> <dialogue>Happy Thanksgiving.</dialogue> <character>FEMALE GUEST #2</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>Good to see you. Same to you.</dialogue> <character>HOLLY</character> <parenthetical>( hugging the man . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>The movie cuts to Hannah , leaning contentedly against a doorway into the living room and listening to the offscreen Evan play the piano . Elliot , holding his drink , walks over to her . They look at each other for a beat ; Elliot then hugs Hannah , pulling her towards him . She leans her head on his shoulder , fingering his jacket lapel . They look offscreen together , happily , intimately , at the offscreen guests , as the camera moves across the room , past a few guests , to reveal Evan sitting at the piano . Norma sits at his side , one arm resting on the piano . She holds a drink and looks off in the distance , mouthing the words to `` Is n't It Romantic . '' The camera then moves to the doorway in the living room , where a man , holding a drink , enters and joins the happy crowd . Evan can be seen in the background , playing his song . A child plays near the coffee table . The camera continues to move past the doorway , past a huge grandfather clock , to a second doorway leading to the den . Here , more guests are gathered ; a child sits in a small chair by the sofa . He sips a soda as female guest # 2 enters the room and crouches down next to him , smiling . She waves to him . He waves back as the camera continues to move past the doorway to reveal Holly , standing in front of a hallway mirror , fixing her earrings . Mavis can be seen in the background , through the doorway into the dining room , lighting the candles on the table . She dims the lights , darkening the room and the hallway where Holly stands in a warm candlelit glow . Mavis leaves the dining room and passes Holly .</scene_description> <character>HOLLY</character> <parenthetical>( still fixing her earrings , to Mavis . )</parenthetical> <dialogue>It's beautiful.</dialogue> <scene_description>Mavis walks off . Holly , reflected in the mirror , begins fluffing her hair as Mickey enters and wraps his arms around her from behind . The camera stays focused on the mirror ; both Holly and Mickey are now seen in its reflection .</scene_description> <character>MICKEY</character> <parenthetical>( smacking his lips . )</parenthetical> <dialogue>Now do n't get nervous. It's just your husband.</dialogue> <character>HOLLY</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Hi.</dialogue> <character>MICKEY</character> <dialogue>Hi.</dialogue> <parenthetical>( kissing Holly . )</parenthetical> <dialogue>How you doin'?</dialogue> <character>HOLLY</character> <parenthetical>( nestling against Mickey . )</parenthetical> <dialogue>Okay.</dialogue> <character>MICKEY</character> <dialogue>When'd you get here?</dialogue> <character>HOLLY</character> <dialogue>Just a few minutes ago.</dialogue> <character>MICKEY</character> <dialogue>Oh.</dialogue> <parenthetical>( kissing her again . )</parenthetical> <dialogue>You look so beautiful.</dialogue> <scene_description>Mickey continues to kiss Holly . She responds , sighing and closing her eyes .</scene_description> <character>HOLLY</character> <dialogue>Thanks.</dialogue> <character>MICKEY</character> <parenthetical>( kissing Holly 's neck . )</parenthetical> <dialogue>You know, I was talking with your father before. and I was telling him that.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>it's ironic. I - I used to always have Thanksgiving with Hannah. and I never thought.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>that I could love anybody else.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>And here it is, years later and I'm married to you.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>and completely in love with you.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>The heart is a very, very resilient little muscle.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>It really is. I.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>It'd made a great story, I think. A guy marries one sister.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>does n't work out.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>many years later.</dialogue> <parenthetical>( kissing . )</parenthetical> <dialogue>he winds up.</dialogue> <parenthetical>( inhaling . )</parenthetical> <dialogue>married to the other sister. It's, you know, it's a.</dialogue> <character>HOLLY</character> <parenthetical>( fondling Mickey 's arm , smiling . )</parenthetical> <dialogue>Tch.</dialogue> <character>MICKEY</character> <parenthetical>( overlapping . )</parenthetical> <dialogue>I do n't know how you're gon na top that.</dialogue> <scene_description>Mickey continues to kiss Holly 's neck ; he chuckles .</scene_description> <character>HOLLY</character> <parenthetical>( kissing Mickey 's cheek . )</parenthetical> <dialogue>Mickey?</dialogue> <character>MICKEY</character> <parenthetical>( kissing Holly 's neck . )</parenthetical> <dialogue>Mmm, what?</dialogue> <character>HOLLY</character> <dialogue>I'm pregnant.</dialogue> <scene_description>The mirror shows Mickey pulling away slightly , reacting . They look at each other at arm 's length , Holly grinning . Mickey in shock , then embrace and kiss passionately , tighter and tighter , as the music swells . And the credits appear , white on a black screen .</scene_description> </scene> </script>

The story is told in three main arcs, with most of it occurring during a 24-month period beginning and ending at Thanksgiving parties, held at The Langham, hosted by Hannah, and her husband, Elliot. Hannah serves as the stalwart hub of the narrative; most of the events of the film connect to her. Elliot becomes infatuated with one of Hannah's sisters, Lee, and eventually begins an affair with her. Elliot attributes his behavior to his discontent with his wife's self-sufficiency and resentment of her emotional strength. Lee has lived for five years with a reclusive artist, Frederick, who is much older. She finds her relationship with Frederick no longer intellectually or sexually stimulating, in spite of (or maybe because of) Frederick's professed interest in continuing to teach her. She leaves Frederick after admitting to having an affair with somebody. For the remainder of the year between the first and second Thanksgiving gatherings, Elliot and Lee carry on their affair despite Elliot's inability to end his marriage to Hannah. Lee finally ends the affair during the second Thanksgiving, explaining that she is finished waiting for him to commit and that she has started dating someone else. Hannah's ex-husband Mickey, a television writer, is present mostly in scenes outside of the primary story. Flashbacks reveal that his marriage to Hannah fell apart after they were unable to have children because of his infertility. However, they had twins who are not biologically his, before divorcing. He also went on a disastrous date with Hannah's sister Holly, when they were set up after the divorce. A hypochondriac, he goes to his doctor complaining of hearing loss, and is frightened by the possibility that it might be a brain tumor. When tests prove that he is perfectly healthy, he is initially overjoyed, but then despairs that his life is meaningless. His existential crisis leads to unsatisfying experiments with religious conversion to Catholicism and an interest in Krishna Consciousness. Ultimately, a suicide attempt leads him to find meaning in his life after unexpectedly viewing the Marx Brothers' Duck Soup in a movie theater. The revelation that life should be enjoyed, rather than understood, helps to prepare him for a second date with Holly, which this time blossoms into love. Holly's story is the film's third main arc. A former cocaine addict, she is an unsuccessful actress who cannot settle on a career. After borrowing money from Hannah, she starts a catering business with April, a friend and fellow actress. Holly and April end up as rivals in auditions for parts in Broadway musicals, as well as for the affections of an architect, David. Holly abandons the catering business after the romance with David fails and decides to try her hand at writing. The career change forces her once again to borrow money from Hannah, a dependency that Holly resents. She writes a script inspired by Hannah and Elliot, which greatly upsets Hannah. It is suggested that much of the script involved personal details of Hannah and Elliot's marriage that had been conveyed to Holly through Lee (having been transmitted first from Elliot). Although this threatens to expose the affair between Elliot and Lee, Elliot soon disavows disclosing any such details. Holly sets aside her script, and instead writes a story inspired by her own life, which Mickey reads and admires greatly, vowing to help her get it produced and leading to their second date. A minor arc in the film tells part of the story of Norma and Evan. They are the parents of Hannah and her two sisters, and still have acting careers of their own. Their own tumultuous marriage revolves around Norma's alcoholism and alleged affairs, but the long-term bond between them is evident in Evan's flirtatious anecdotes about Norma while playing piano at the Thanksgiving gatherings. By the time of the film's third Thanksgiving, Lee has married someone she met while taking classes at Columbia, while Hannah and Elliot have reconciled their marriage. The film's final shot reveals that Holly is married to Mickey and that she is pregnant.

The American_2010

tt1440728

<script> <scene> <stage_direction>EXT. DALSLAND, SWEDEN- TWILIGHT</stage_direction> <scene_description>A lake . A forest . A dacha . A Saab outside the dacha . A light within .</scene_description> </scene> <scene> <stage_direction>INT. DACHA- NIGHT</stage_direction> <scene_description>JACK -LRB- dark , fit , mid - forties -RRB- is staring at the embers of a log fire . He sips from a thick cut crystal glass of whiskey . The impressive US Army Special Forces crest tattooed on the shoulder of his bare torso is at odds with JACK 's quiet manner and the distinguished silver that flecks his hair and stubble . JACK is no longer young . A creak behind him and his eyes flick over his left shoulder . INGRID -LRB- 34 -RRB- is naked . With an intimate familiarity she kisses JACK on the top of his head , sits close behind him and wraps her arms around her lover , linking her slender hands across his upper chest . Her head resting on his shoulder , her face beside his , INGRID and JACK watch the fire together in easy silence .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS- MORNING</stage_direction> <scene_description>INGRID leads JACK through the trees . Her coat has a white fur collar . They are fresh - faced and warm from bed . They head towards a vast and frozen lake . JACK senses something in the woods . Beneath the Conifers : impenetrable darkness . JACK looks around . Thick snow blankets the world and muffles any sound . There is not the slightest breeze .</scene_description> <character>INGRID</character> <dialogue>What are you looking for?</dialogue> <scene_description>Her Swedish accent is sing - song .</scene_description> <character>JACK</character> <dialogue>Nothing.</dialogue> <scene_description>His anxiety is evident . INGRID laughs out loud .</scene_description> <character>INGRID</character> <dialogue>There are no wolves in the woods so close to the city.</dialogue> <scene_description>JACK smiles .</scene_description> </scene> <scene> <stage_direction>EXT. LAKESIDE- MORNING</stage_direction> <scene_description>They continue through the woods until they reach the shoreline of the lake . INGRID steps onto the ice . Holds out her hand . A beat . JACK takes INGRID 's hand . Solid as stone , the frozen lake takes his weight . They walk out , INGRID slipping and laughing . The landscape is magical . JACK begins to relax , slipping and swearing . Suddenly , he stops . There are footprints in the thin snow going out across the lake .</scene_description> <character>INGRID</character> <dialogue>Snow - hare.</dialogue> <scene_description>Beside the Snow - hare 's prints are those of a man .</scene_description> <character>INGRID</character> <dialogue>A hunter?</dialogue> <scene_description>JACK studies the two sets of tracks . Those of the Snow - hare are heading out into the lake . The man 's prints are heading in the opposite direction , towards the shoreline . JACK spins around in the direction they 've just come from . No one . Then , about ten metres inland from the edge of the lake , a low branch dips and a thick rug of snow falls from the branch . JACK grabs INGRID , yanks her towards the cover of the lakeside trees and pushes her down into the snow . She grunts , winded . He lies besides her . We hear the CRACK of a bullet - so quiet it might be a bough snapping under the weight of winter . It is n't . JACK pulls a WALTHER PPK/S semi - automatic handgun from the pocket of his Parka . Cocks it . Waits . Then bobs up and down once . There 's another CRACK from the trees . JACK pinpoints the spot from the drift of BLUE SMOKE , almost invisible in the winter air . There 's someone in the shadows . He rubs snow into his woollen hat , edges up until he can just see over the snow and pumps THREE SHOTS into the dusk under the trees . We hear a muttering groan and then a sliding sound , as if JACK has just shot a tobogganist . More snow slides off the trees . JACK waits . INGRID gathers her breath but loses her wits :</scene_description> <character>INGRID</character> <dialogue>You have a gun.</dialogue> <scene_description>JACK keeps his eyes fixed on the trees .</scene_description> <character>INGRID</character> <dialogue>You have a gun! How do you have a gun? Why should you carry such a weapon?</dialogue> <scene_description>JACK looks at her briefly but makes no reply . She is busy thinking . So is he .</scene_description> <character>INGRID</character> <dialogue>Jack?</dialogue> <scene_description>He stands up slowly and walks inland towards the corpse that is just visible now in the shadows beneath the trees . INGRID follows , frightened . The MAN is slouched forwards in a drift of snow , his body cushioned in white softness . JACK kicks the sole of his boot . He 's dead .</scene_description> <character>INGRID</character> <dialogue>Jack talk to me!</dialogue> <scene_description>JACK grabs his collar and turns him over . He does n't recognise him . JACK fumbles at his buttons and rummages in his clothing . In his breast pocket he finds a MILITARY IDENTITY PASS .</scene_description> <character>INGRID</character> <dialogue>Who is he?</dialogue> <character>JACK</character> <dialogue>A hunter.</dialogue> <character>INGRID</character> <dialogue>He's not dressed like a hunter. Why is he alone? Hunters always go in pairs. For safety.</dialogue> <scene_description>Swiftly , JACK removes the bolt from the man 's rifle and throws it far into the trees .</scene_description> <character>JACK</character> <dialogue>Go for help. Call the police.</dialogue> <scene_description>INGRID sets off , stumbling up the track they have made through the snow . JACK shoots her just once , in the nape of her neck . She twitches in the snow , her blood staining the white fur of her coat collar . From a distance , INGRID looks like a shot Snow - hair . JACK approaches her . And steps over her , trying not to look down . Trying not to look back .</scene_description> </scene> <scene> <stage_direction>EXT. DACHA- MORNING</stage_direction> <scene_description>Outside the dacha is another MAN , standing by a black Mercedes - Benz sedan . The second hunter . He is holding an automatic pistol but he 's not on alert . JACK fells him easily with a bullet in the ear . He removes the clip from his WALTHER and reloads it .</scene_description> </scene> <scene> <stage_direction>INT. DACHA- MORNING</stage_direction> <scene_description>JACK packs a few belongings in a holdall .</scene_description> </scene> <scene> <stage_direction>EXT. DACHA- MORNING</stage_direction> <scene_description>JACK smashes the CB radio in the Mercedes and removes the distributor cap from the engine , burying it deep in the snow . Then he gets into the Saab . And drives off . TITLES Over images of : JACK on a ferry to Gotland ; changing clothes and vessels for Ystad ; travelling by road to Trelleborg ; catching the night crossing to Travemunde ; driving to Hamburg and from Hamburg catching a train to .</scene_description> </scene> <scene> <stage_direction>EXT. ROME- DAY</stage_direction> <scene_description>At a fast food stand not far from the central train station , a middle - aged man is squirting ketchup on a hotdog . It is Autumn , and without the usual mass of Summer tourists , LARRY stands out as an American . JACK does not .</scene_description> <character>JACK</character> <dialogue>Blending in?</dialogue> <scene_description>LARRY is shocked to see JACK but pretends the hot dog is the centre of attention .</scene_description> <character>LARRY</character> <dialogue>Jack. What brings you to Rome?</dialogue> <character>JACK</character> <dialogue>I closed the Stockholm account.</dialogue> <scene_description>LARRY might be older than JACK but he does n't seem it . His demeanour is sprightly .</scene_description> <character>JACK</character> <dialogue>But there were complications.</dialogue> <scene_description>Then LARRY turns and walks , eating carefully . He is not a man who likes to get his hands dirty . JACK walks beside him . Both men keep a trained eye on their surroundings .</scene_description> <character>JACK</character> <dialogue>Collateral damage. Two shooters. Unidentified.</dialogue> <parenthetical>( A beat . )</parenthetical> <dialogue>And a girl.</dialogue> <scene_description>LARRY takes a bite of his hot dog and casts a sideways look at JACK . JACK is tired .</scene_description> <character>LARRY</character> <dialogue>There's a bar across the street : the L'Aquila. Freshen up. Sit tight. Give me two hours.</dialogue> </scene> <scene> <stage_direction>INT. BAR- DAY</stage_direction> <scene_description>JACK washes his face in the cramped bathroom at the back of the bar . In the background , on the stereo , The White Stripes cover One More Cup of Coffee . JACK stares at himself in the mirror . He looks exhausted .</scene_description> </scene> <scene> <stage_direction>INT. BAR- DAY</stage_direction> <scene_description>JACK is sitting at the back of the bar . He has a good view of the whole establishment : including the entrance and the door to the bathrooms . He lights a cigarette . LARRY comes in and sits opposite him .</scene_description> <character>LARRY</character> <parenthetical>( genuinely shocked . )</parenthetical> <dialogue>You started smoking again?</dialogue> <scene_description>JACK exhales .</scene_description> <character>JACK</character> <dialogue>Guess so.</dialogue> <character>LARRY</character> <dialogue>Since when?</dialogue> <character>JACK</character> <dialogue>Since now.</dialogue> <scene_description>The WAITER slides over and flicks a cloth at the table .</scene_description> <character>WAITER</character> <dialogue>Cafe?</dialogue> <character>LARRY</character> <dialogue>Due.</dialogue> <scene_description>The WAITER disappears . A beat . LARRY puts an ENVELOPE on the table .</scene_description> <character>LARRY</character> <dialogue>Stockholm account. Final installment.</dialogue> <scene_description>JACK takes the envelope and puts it in an inside pocket . LARRY is about to speak but stops . The WAITER reappears and puts down two cups of coffee . LARRY puts two cubes of sugar in his cup and starts stirring . Then speaks low and fast :</scene_description> <character>LARRY</character> <dialogue>You ca n't stay here, Jack. You wo n't see ` em coming, not in a big city. But you ca n't go far, either. If the gentlemen whose accounts you closed belonged to Brink, Gallazzo, Simenov - any of the first division - you have four or five hours at most before every airport, train station, bus stop, toll booth and ski lift from Stockholm to Skopje is under surveillance.</dialogue> <scene_description>JACK smokes .</scene_description> <character>JACK</character> <dialogue>So.</dialogue> <scene_description>Not a question . An acknowledgement that LARRY knows exactly what he 's talking about . And JACK is listening .</scene_description> <character>LARRY</character> <dialogue>So. You find a hole - somewhere nearby - and you crawl into it and you stay put until I say it's safe to come out.</dialogue> <scene_description>JACK 's expression is as immoveable as a cliff face .</scene_description> <character>LARRY</character> <dialogue>Turn right outside the bar then second left. Via Spinetti. You'll find a silver Citroen C2 with Chieti plates. Check the glove box and follow the map. Castelvecchio. It's a fucking fortress. Literally. And as dead as a graveyard. Anyone within a three to five mile radius you'll see ` em coming.</dialogue> <scene_description>He pushes something across the table . A MOBILE PHONE in a cellophane bag .</scene_description> <character>LARRY</character> <dialogue>Get there. Stay there.</dialogue> <scene_description>LARRY finishes his coffee and dabs at the corners of his mouth with a napkin .</scene_description> <character>LARRY</character> <dialogue>Do nothing ` till you get my call.</dialogue> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>JACK gets into a compact Citroen C2 : nothing flash . He opens the glove compartment and finds a PLAIN MANILLA ENVELOPE . Inside the envelope is : - a PASSPORT bearing Jack 's photo in the name of Edward Clarke - a DRIVER 'S LICENSE in the same name - and a MAP .</scene_description> </scene> <scene> <stage_direction>EXT. AUTOSTRADA- DAY</stage_direction> <scene_description>A long tunnel : one of the longest in Europe . JACK at the wheel . It seems like night : red stripes , strip lights , shadows . Vast fans suspended from the ceiling shift the traffic fumes . A button of light , expanding . as we burst into daylight .</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN LANDSCAPE- DAY</stage_direction> <scene_description>We 're in another world . JACK 'S CAR is winding its way up a twisting mountain road towards . a ramshackle , lonely , desolate Italian HILLTOP TOWN . The town sits beneath it 's own castle . Medieval towers , gables , streets and church bells : framed by the snow - capped mountain peaks beyond . This is not the Italy of E.M. Forster or of Bella Tuscany . This is the Italy where the Crusaders built their fortresses . The Italy where Sergio Leone conceived of his great Westerns . A CHURCH BELL tolls .</scene_description> </scene> <scene> <stage_direction>EXT. CROSS ROADS- DAY</stage_direction> <scene_description>JACK stops the car . At the crossroads is a SIGNPOST pointing to the town . The sign reads : CASTELVECCHIO .</scene_description> </scene> <scene> <stage_direction>INT. CAR- CONTINUOUS</stage_direction> <scene_description>JACK looks at the sign . He looks up at the silent town , at the vast stone ramparts . An OLD MAN comes out of a crooked medieval doorway , stares at JACK and disappears into another building . JACK looks at the dead sockets of the windows , random beneath the rotting patchwork of rooves . A DOG barks . The WIND hisses . The atmosphere is deathly . JACK makes a decision . And drives away .</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN LANDSCAPE- DAY</stage_direction> <scene_description>We see JACK 'S CAR heading away from CASTELVECCHIO . The CAR crosses a spectacular VIADUCT that spans a deep RAVINE . The driver 's window opens . A MOBILE PHONE in a cellophane bag is thrown out . It drops hundreds of feet down the ravine . FADE OUT .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, MAIN SQUARE- DAY</stage_direction> <scene_description>CASTEL DEL MONTE is a well preserved , happy looking little mediaeval town with a handful of tourists . A chunk of time has passed . JACK is sitting on a table outside a small BAR wearing dark glasses , sipping a coffee and reading a guide book . He looks like a tastefully dressed , well educated American tourist . He blends in . And no one pays him much attention as he finishes his coffee , pays his bill , gets up and leaves . We follow JACK as he passes the parapet of the town ramparts and looks across the spectacular valley . towards the deserted CASTELVECCHIO .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, OLD TOWN CENTRE- DAY</stage_direction> <scene_description>At a leisurely pace , JACK passes a row of municipal rubbish bins just inside the fortified gates to the old town . Hidden well behind the bins we catch sight of JACK 's parked CAR .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY</stage_direction> <scene_description>We 're right in the heart of the mediaeval old town : like the stronghold at the centre of a castle . JACK approaches a small family run bed and breakfast just off the main square . The sign reads : `` PENSIONE ABRUZZO '' .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO- DAY</stage_direction> <scene_description>The internal courtyard is refreshingly cool . In the centre of the courtyard is a FOUNTAIN made of marble shot through with black veins . In the fountain stands an alabaster STATUE OF A GIRL . She 's wearing a toga and holding a clam shell from which the water falls . The water is delivered by a two and quarter millimetre diameter pipe made of bronze . As JACK crosses the courtyard he glances at the STATUE . He finds it hard to tear his eyes away .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- DAY</stage_direction> <scene_description>A toothbrush in the glass by the sink . The guidebook on the bedside table . Apart for this , JACK has avoided unpacking : living entirely out of his holdall for some time . From the holdall , JACK produces a pair of Leica 15x56 Geovid BRF Rangefinding BINOCULARS . Through his casement window he has good view of CASTELVECCHIO . He sweeps the town in grid formation : calm and methodical . This is a routine assessment . JACK 's POV : apart from the occasional appearance of an old man , woman or dog , the dead town across the valley is empty .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- NIGHT</stage_direction> <scene_description>JACK is lying on top of his bed , fully clothed and wide awake . Taped to the inside of the wooden bed frame . is his WALTHER semi - automatic handgun .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, OLD TOWN CENTRE- DAY</stage_direction> <scene_description>Blinding SUN fills frame . JACK is ostensibly photographing the sights : the mediaeval architecture , the square , the church .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, CHURCH- DAY</stage_direction> <scene_description>The CHURCH is at the top of town . A PRIEST , dressed in black , surveys the world below him : Locals are going about their business , a few scattered tourists are enjoying their holiday . One ` tourist ' catches the PRIEST 's attention . Perhaps it 's his build . Or the fact that he 's the only tourist on his own . Or perhaps it 's the obsessive grid - like methodology with which JACK photographs the little town .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, ALLEYWAY- DAY</stage_direction> <scene_description>JACK turns casually down one of the town 's many narrow alleyways . The alleyway way bends left and right in a series of blind corners and dark tunnels , the street enclosed by arches , criss - crossed by flying stone buttresses and flanked by outside stairwells . It 's a stalker 's heaven - or hell - depending on how dangerous the prey . JACK proceeds along the alleyway until he gets to a crossroads where FOUR NARROW ALLEYWAYS converge . Each alleyway leads uphill or downhill with varying degrees of steepness . JACK photographs each alleyway . From an upstairs window he can hear the soundtrack of a game show on television . From another alleyway comes the sound of a barking dog . No dog is visible . Curious , JACK turns around , walking back the way he came . The sound of barking gets louder . On his right hand side , JACK finds a HIDDEN ARCHWAY . The HIDDEN ARCHWAY resembles an archer 's slit but is big enough for a gown man to slip through . Unlike a window , the ` slit ' is actually just a crack in a triangular convergence of two separate and slightly overlapping ancient stone walls . The confluence of two stone surfaces makes the narrow gap between them very , very difficult to spot . JACK slips though the HIDDEN ARCHWAY . Inside is a courtyard .</scene_description> </scene> <scene> <stage_direction>INT. COURTYARD- DAY</stage_direction> <scene_description>Rotting doors lead to abandoned cellars and storerooms . A MONGREL tied to a post is barking savagely , his leash keeping him inches from sinking his bared fangs into JACK . JACK stares at the dog : a mysterious creature of fear and fury .</scene_description> </scene> <scene> <stage_direction>EXT. NARROW ALLEYWAY- DAY</stage_direction> <scene_description>JACK reappears through the HIDDEN ARCHWAY and slips back into the narrow alleyway . It 's like he 's materialised from thin air . He takes 2 PHOTOGRAPHS : - first of the HIDDEN ARCHWAY - and then of the street sign : VIA ROMANA . Just then a MAN on an original 1970s DUCATI turns down the alleyway and drives towards him . Casually , JACK continues walking . The DUCATI gets nearer . The MAN ON THE DUCATI is wearing a black crash helmet with a tinted visor . JACK picks up his pace . The DUCATI is ten metres away . JACK 's right hand moves towards his pocket . Five metres . JACK 's hand goes in his pocket . Two metres . BANG ! JACK drops to his knees . BANG ! The DUCATI backfires for a second time . A pause . Still on his knees , JACK pretends to tie his right shoe lace . The MAN ON THE DUCATI stops outside an apartment further up the alleyway , gets off his rickety motorbike and removes his helmet . He 's a corpulent , ruddy faced Italian man in his late sixties . He glances at JACK . JACK stands .</scene_description> <character>MAN ON DUCATI</character> <dialogue>Buon giorno!</dialogue> <character>JACK</character> <dialogue>Buon giorno.</dialogue> <character>MAN ON DUCATI</character> <dialogue>Da dove provenite?</dialogue> <scene_description>For an instant , the directness of the question catches JACK out .</scene_description> <character>JACK</character> <dialogue>America.</dialogue> <character>MAN ON DUCATI</character> <dialogue>Ah! L'Americano!</dialogue> <character>JACK</character> <dialogue>Si. Il Americano.</dialogue> <scene_description>JACK 's pronunciation is good but his grammar is a bit rusty . Perhaps he 's playing up on this . It suits the role of American tourist . The MAN laughs enthusiastically emphasizing the correct grammar :</scene_description> <character>MAN ON DUCATI</character> <dialogue>L'Americano! L'Americano!</dialogue> <scene_description>A WOMAN 'S VOICE comes from within the house - loud and angry - distracting the MAN ON THE DUCATI , who screams back passionately , enters his front door , and shuts it behind him with a hearty slam . JACK walks on .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY</stage_direction> <scene_description>JACK puts some coins in a CIGARETTE MACHINE . The MACHINE takes his money but wo n't dispense his cigarettes . He hits the refund button but nothing happens . JACK checks the time . And thumps the machine hard . Footsteps . JACK adjusts his position and checks the time again .</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Can I help you?</dialogue> <scene_description>The man behind him is reflected in the surface of JACK 's battered ROLEX .</scene_description> <character>JACK</character> <dialogue>I'm no good with machines.</dialogue> <scene_description>JACK turns , smiling politely . The PRIEST smiles back . He is dressed in an ill - fitting , un - stylish black suit , a black silk stock and a deep Roman collar fraying at the edge . His name is FATHER BENEDETTO . He is older than JACK .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>You are American.</dialogue> <scene_description>This is stated matter - of - factly : like a man practising English .</scene_description> <character>JACK</character> <dialogue>Si.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>You speak Italian?</dialogue> <character>JACK</character> <dialogue>Poco.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Va bene! You stay at Pensione Arbruzzo.</dialogue> <scene_description>Also a statement : this time with touch of triumph . JACK is disconcerted but does n't show it .</scene_description> <character>JACK</character> <dialogue>Not for much longer.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>On vacation?</dialogue> <character>JACK</character> <dialogue>Working vacation.</dialogue> <scene_description>This much is true - after a fashion . They speak in English unless otherwise specified :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Lavoro? Che genere de lavoro?</dialogue> <character>JACK</character> <dialogue>Photographer.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Va bene. Che genere de fotografia?</dialogue> <character>JACK</character> <dialogue>Pictures of the region. Architecture, landscapes.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>People?</dialogue> <scene_description>He stands straight and smiles winningly .</scene_description> <character>JACK</character> <dialogue>No people. Sights and landmarks. For guidebooks, magazines.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Ah! Magazine! Which magazine?</dialogue> <scene_description>JACK shows no discomfort .</scene_description> <character>JACK</character> <dialogue>Actually it's a syndicate. Lots of different publications. Um. Casa editrice.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Va bene. So you must share a glass of wine with me. Questa sera. This evening.</dialogue> <scene_description>A beat . JACK is slightly thrown .</scene_description> <character>JACK</character> <dialogue>You're very kind, but I.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Certo. You want to know the truth about Abruzzo? A priest sees everything.</dialogue> </scene> <scene> <stage_direction>EXT. PAY PHONE, CASTEL DEL MONTE- DAY</stage_direction> <scene_description>JACK is using the local PAY PHONE .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you have any idea how long I've been trying to reach you? What happened to the cell I gave you?</dialogue> <scene_description>JACK speaks quietly , keeping an eye on the town square :</scene_description> <character>JACK</character> <dialogue>Did I forget to mention my electromagnetic hypersensitivity?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do n't get jumpy on me, Jack. That cell was secure.</dialogue> <scene_description>JACK lights a cigarette .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've got a job. It's a custom fit. You do n't even have to pull the trigger.</dialogue> <character>JACK</character> <dialogue>Who's the client?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Relax. She triple checks out. Plus she comes to you. You do n't have to move an inch.</dialogue> <character>JACK</character> <dialogue>This is a small town, Larry. I do n't like small towns. I grew up in one. Besides, I'm already attracting attention.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So will anyone who's trying to kill you.</dialogue> <scene_description>This is a good point . JACK lights a cigarette .</scene_description> <character>JACK</character> <dialogue>I'll think about it.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Think about this. I cleaned up your shit and made you disappear. You owe me my usual twenty percent commission plus the first installment. The rest is yours. After this you're free.</dialogue> <scene_description>On JACK . Turning over the word .</scene_description> </scene> <scene> <stage_direction>INT. FATHER BENEDETTO'S HOUSE- MAGIC HOUR</stage_direction> <scene_description>The SUN is sinking behind the high mountains that overlook the hilltop town . JACK is wearing an immaculate white linen shirt . He 's sitting in a small walled garden snuggled at the rear of a crumbling fifteenth century edifice , overlooked yet secluded and trapping the last rays of the sun . FATHER BENEDETTO pours two large glasses of brandy from a globulous green bottle of ARMAGNAC and sniffs his drink like a honey bee hovering over a bloom .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Que siamo! The quality of the brandy is good, the liquor is smooth and the glass warmed by the sun.</dialogue> <scene_description>He pronounces warmed `` war - med '' . His English is sophisticated but quaint , like an out - of - date book . JACK sniffs his drink before he sips it . Not like a connoisseur : like a White House taster checking the safety of a Presidential beverage .</scene_description> <character>FATHER BENEDETTO</character> <parenthetical>( in ENGLISH . )</parenthetical> <dialogue>The only good thing to come from the Francesi, everything else.</dialogue> <scene_description>FATHER BENEDETTO grimaces .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>The French are. pezzi di merda. This is not an American discovery. Italians have known this for centuries.</dialogue> <parenthetical>( In ITALIAN . )</parenthetical> <dialogue>When Rome called France the province of Gaul, they were just the same. Arrogant sensualists. Their cuisine is fussy and their wine effeminate. Only their brandy is worthy of any attention.</dialogue> <scene_description>FATHER BENEDETTO looks at JACK .</scene_description> <character>FATHER BENEDETTO</character> <parenthetical>( in ENGLISH . )</parenthetical> <dialogue>Forgive me. I speak too fast. You study our history?</dialogue> <character>JACK</character> <dialogue>No.</dialogue> <scene_description>FATHER BENEDETTO looks horrified .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>You come to Italy to make a guide book and you do n't care about history?</dialogue> <character>JACK</character> <dialogue>I take pictures, father.</dialogue> <scene_description>A beat .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Of course. You are American. You think you can escape history. You live for the present.</dialogue> <scene_description>A beat . JACK likes this man . His shrewdness is disconcerting but humane . JACK sips his brandy .</scene_description> <character>JACK</character> <dialogue>I try to, father.</dialogue> </scene> <scene> <stage_direction>EXT. L'AQUILA- EVENING</stage_direction> <scene_description>Suburban sprawl with a mediaeval heart . L'AQUILA is the capital of the Abruzzo region and the nearest big town to Castel del Monte and Castelveccio . Like these two villages L'AQUILA is relatively isolated , nestled high up in the Appenine mountains .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, SHOPPING STREET- EVENING</stage_direction> <scene_description>JACK comes out of a SUPERMARKET carrying two bags of groceries and turns quickly down a dark side street .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, VIA LAMPEDUSA- EVENING</stage_direction> <scene_description>JACK passes a sign for a MODELLING AGENCY . It 's a small , inconspicuous sign , but it catches his eye because its graphics are subtly lewd and it 's attached to the buzzer of what is otherwise a purely residential apartment block . Entering the apartment block is a beautiful twenty four year - old Italian girl . CLARA . She catches JACK 's eye . He walks on .</scene_description> </scene> <scene> <stage_direction>INT. CASTEL DEL MONTE, PENSIONE ABRUZZO, JACK'S ROOM- NIGHT</stage_direction> <scene_description>The remnants of a simple yet sophisticated meal : apple , pecorino cheese , honey and walnuts . On his lap top , JACK has organised several weeks worth of PHOTOGRAPHS of CASTEL DEL MONTE into three categories : 1 . Street plan 2 . Exit routes/car 3 . Exit routes/foot Now he is cleaning and oiling his WALTHER PPK/S .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- DAY</stage_direction> <scene_description>JACK completes his morning exercises then showers and dresses . His manner is precise and methodical . Only a man who has lived alone for many years can live like this . When his preparations are complete , he picks up his BINOCULARS and studies the nearby town of CASTELVECCHIO through his medieval casement window .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCIO, JACK'S POV- CONTINUOUS</stage_direction> <scene_description>The dead town has come to life ! There 's a MARKET in progress . The central piazza is a hive of activity . Food , local produce , clothes and cheap CD stalls . The market has attracted TOURISTS . Standing by a phone box not far from a cheese stall is an attractive WOMAN in dark glasses . She 's rifling through her handbag , searching for something . Under her right arm is a rolled up copy of Il Messaggero . We notice the front page of the Italian daily newspaper has been folded in half .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- CONTINUOUS</stage_direction> <scene_description>JACK lowers his binoculars . Thinks . Decides to proceed with caution .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCHIO- DAY</stage_direction> <scene_description>Moving through the busy market , JACK is also carrying a copy of Il Messaggero . with the front page folded in half . He approaches the OLD WOMAN running a cheese stall .</scene_description> <character>JACK</character> <dialogue>Un po' di formaggio, per favore.</dialogue> <character>OLD WOMAN</character> <dialogue>Quale? Pecorino, parmigiano?</dialogue> <character>JACK</character> <dialogue>Questo.</dialogue> <scene_description>He points .</scene_description> <character>JACK</character> <dialogue>E un po' di pecorino.</dialogue> <scene_description>JACK glances casually around for the WOMAN . She 's sitting outside a CAFE about twenty metres away , chatting on her cellphone . JACK pays for his cheese and approaches the cafe .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCHIO, CAFE- DAY</stage_direction> <scene_description>JACK sits at an empty table next to the WOMAN . She finishes her call in English . She 's well spoken . As she replaces the phone in her handbag , she knocks the newspaper off her table . JACK picks it up .</scene_description> <character>WOMAN</character> <dialogue>Grazie.</dialogue> <character>JACK</character> <dialogue>Prego. You're welcome.</dialogue> <character>WOMAN</character> <dialogue>You're American.</dialogue> <character>JACK</character> <dialogue>`` Amidst gathering clouds''.</dialogue> <scene_description>The WOMAN speaks quickly , purposefully , barely looking at JACK .</scene_description> <character>WOMAN</character> <dialogue>You're assuming I'm English or you'd never have mentioned the weather. In fact I'm Belgian but I went to boarding school in England. And am quite happy to converse on all subjects meteorological.</dialogue> <scene_description>Judging by her stilted choice of words this is code . A WAITER comes out and flicks a cloth over the table . It 's nearly midday and the sun is hot . He speaks with a tired voice :</scene_description> <character>WAITER</character> <dialogue>Buon giorno. Desidera?</dialogue> <scene_description>He 's addressing the WOMAN .</scene_description> <character>WOMAN</character> <dialogue>Una spremute di limone. Per favore.</dialogue> <scene_description>Her Italian accent is perfect .</scene_description> <character>WAITER</character> <dialogue>Signore?</dialogue> <scene_description>The WOMAN looks at JACK for the first time , studying him , awaiting his answer as if a great deal depended on it .</scene_description> <character>JACK</character> <dialogue>Una gelata alla fragola. Per favore.</dialogue> <scene_description>The final fail safe . Now they can introduce themselves :</scene_description> <character>JACK</character> <dialogue>Edward.</dialogue> <character>WOMAN</character> <dialogue>Mathilde.</dialogue> <scene_description>The identification process over , there is nothing more to do but get down to business - and conversation becomes suddenly awkward .</scene_description> <character>MATHILDE</character> <dialogue>It's hot. My car has no air conditioning. I asked for it, but.</dialogue> <scene_description>She trails off .</scene_description> <character>JACK</character> <dialogue>What car did they give you?</dialogue> <scene_description>Her HAZEL eyes flick over the crowd in front of the cafe . She does n't answer . JACK clears his throat . Then says quietly :</scene_description> <character>JACK</character> <dialogue>Range?</dialogue> <scene_description>She takes a long time to answer . When she does , she does so over the rim of her half - empty coffee cup , scanning the crowd like a cheating wife customarily anxious not to be seen by her husband .</scene_description> <character>MATHILDE</character> <dialogue>One fifty to one seven five meters.</dialogue> <character>JACK</character> <dialogue>Time?</dialogue> <character>MATHILDE</character> <dialogue>Five seconds. Seven at the most.</dialogue> <character>JACK</character> <dialogue>Targets?</dialogue> <character>MATHILDE</character> <dialogue>One.</dialogue> <character>JACK</character> <dialogue>Fire rate?</dialogue> <character>MATHILDE</character> <dialogue>Rapid.</dialogue> <character>JACK</character> <dialogue>Magazine capacity?</dialogue> <character>MATHILDE</character> <dialogue>Large. Preferably 9mm Parabellum.</dialogue> <scene_description>The WAITER delivers the Spremuta and the raspberry ice - cream . The glass of lemon juice twists in MATHILDE 's slender fingers .</scene_description> <character>MATHILDE</character> <dialogue>The weapon must be fairly light. And compact. Possible to be broken down into its constituent parts.</dialogue> <character>L'AMERICANO</character> <dialogue>How compact?</dialogue> <character>MATHILDE</character> <dialogue>As compact as possible.</dialogue> <scene_description>JACK clears his throat .</scene_description> <character>JACK</character> <dialogue>You want a submachine gun to fit in a lady's purse?</dialogue> <character>MATHILDE</character> <dialogue>A small vanity case would be permissible.</dialogue> <character>JACK</character> <dialogue>A small briefcase would be possible.</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>X - rays? Camouflage : lap - top, DVD player, MP3 or digital camera?</dialogue> <scene_description>She 's not sure if he 's joking or not . Neither are we .</scene_description> <character>MATHILDE</character> <dialogue>Not necessary.</dialogue> <character>JACK</character> <dialogue>Noise?</dialogue> <character>MATHILDE</character> <dialogue>Silencer.</dialogue> <character>JACK</character> <dialogue>No such thing. You'll have to make do with a suppressor like everyone else. It'll dampen the decibels, dislocate the sound source and reduce muzzle flash. I ca n't make you silent but I can make you invisible as the Finnish phrase goes, but only as long as you're prepared to lose some range.</dialogue> <scene_description>JACK scans the crowd . On the other side of the square he spots a YOUNG MAN in his mid - thirties with short blonde hair and slight sunburn , hovering by a stall . Average height , slim , athletic build ; sunglasses , stone - washed designer jeans very neatly pressed with a sharp crease .</scene_description> <character>JACK</character> <dialogue>Two o'clock.</dialogue> <character>MATHILDE</character> <dialogue>Excuse me?</dialogue> <character>JACK</character> <dialogue>By the clothes stall. Light blue shirt, open at the neck, expensive buff suede shoes. Is he with you?</dialogue> <scene_description>The YOUNG MAN has disappeared into the crowd .</scene_description> <character>MATHILDE</character> <dialogue>I did n't see him. In any case, I'm alone.</dialogue> <scene_description>A pause . JACK 's jaw muscles grind .</scene_description> <character>MATHILDE</character> <dialogue>I can accept a slight loss of range.</dialogue> <character>JACK</character> <dialogue>You want a weapon with the firing capacity of a submachine gun and the range of a rifle.</dialogue> <character>MATHILDE</character> <dialogue>Can you do it?</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Give me a month. To trial. Then a week for final adjustments.</dialogue> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, LANDSCAPE- TWILIGHT</stage_direction> <scene_description>The sun is sinking . It 's hunting hour . A FALCON hovers on the wind above the town , looking for prey .</scene_description> </scene> <scene> <stage_direction>INT. CASTEL DEL MONTE, PENSIONE ABRUZZO- NIGHT</stage_direction> <scene_description>JACK is lying on top of his bed , fully clothed but fast asleep . His eyes roll left and right beneath his lids . He 's dreaming . In his right hand is a book of MEDIEVAL ITALIAN ART &amp; ARCHITECTURE . Twitching in his sleep , JACK 's grip on the ART &amp; ARCHITECTURE BOOK slowly loosens . THUD ! As the BOOK hits the floor JACK opens his eyes , sits up and rips the taped WALTHER from beneath the bed , pointing it at the door . Silence . JACK 's heart is beating .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- MORNING</stage_direction> <scene_description>JACK is looking through his BINOCULARS . JACK 'S POV : . of a small yellow and blue Italian POST OFFICE VAN heading up the winding alpine road towards CASTELVECCIO .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCHIO- DAY</stage_direction> <scene_description>With the market gone , the town is once more dead . And provides no cover . JACK parks his car not far from the town square , turns off the engine and gets out .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCHIO, TOWN SQUARE, CAFE- DAY</stage_direction> <scene_description>JACK is sitting in the CAFE where he met Mathilde . He is watching the entrance to the local POST OFFICE . He studies his WATCH . It 's been an hour and no one has come or gone from the tiny rural branch of the Poste Italiane . JACK puts the correct amount of change on the table and gets up .</scene_description> </scene> <scene> <stage_direction>INT. CASTELVECCHIO, POST OFFICE- DAY</stage_direction> <scene_description>The shop is small and dusty . So is the POSTMASTER .</scene_description> <character>JACK</character> <dialogue>Buon giorno.</dialogue> <scene_description>The POSTMASTER grunts his reply , jutting his chin .</scene_description> <character>JACK</character> <dialogue>Il fermo posta?</dialogue> <scene_description>The POSTMASTER turns to a rack of pigeonholes behind a sack of mail hanging in a metal frame like an old person 's walking aid . From one pigeonhole he draws a bundle of general delivery envelopes held together by an elastic band . Some have been there for weeks . Months even .</scene_description> <character>POSTMASTER</character> <dialogue>Nome?</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Clarke.</dialogue> <scene_description>Deftly , like a teller counting through a thick wad of banknotes he flicks through the mail with thin , wasted fingers .</scene_description> <character>POSTMASTER</character> <dialogue>Clarky?</dialogue> <character>JACK</character> <dialogue>Clarke. Una pacchetto.</dialogue> <character>POSTMASTER</character> <dialogue>Pacchetto!</dialogue> <scene_description>This makes all the difference . The POSTMASTER clicks again , disappearing behind the rack of pigeon holes .</scene_description> <character>POSTMASTER</character> <dialogue>Clarky, Clarky, Clarky. Ecco.</dialogue> <scene_description>and reappearing with a PACKAGE . The PACKAGE is from an Italian PHOTOGRAPHIC SUPPLIERS .</scene_description> <character>JACK</character> <dialogue>Grazie.</dialogue> <character>POSTMASTER</character> <dialogue>Identificazione.</dialogue> <scene_description>JACK flicks his eyes downwards . He has already put his PASSPORT on the counter . The POSTMASTER scoops it up with bony fingers . Looks from the picture to JACK . JACK bears the scrutiny with a deadly straight face .</scene_description> </scene> <scene> <stage_direction>INT. CASTEL DEL MONTE, PENSIONE ARBRUZZO- EVENING</stage_direction> <scene_description>JACK unwraps the PACKAGE . He removes : - film - photographic paper - development fluids - fixing solutions Then : - a solid , monolythic rectangular receiver made out of a single piece of lightweight alloy . - a bolt assembly . - a barrel . Only with this final piece is the puzzle complete . Laid out on the floor is a SOCIMI 821 SUB - MACHINE GUN . Without touching it , JACK studies the weapon like a connoisseur looking at the hue of a wine . In particular he notices that the SERIAL NUMBER has been scratched off . Then he moves slowly , assembling the weapon with precision engineered expertise : - inserting the barrel into the front of the receiver and securing it with the nut , - opening the sidefolding tubular stock and engaging the buttpad , - snuggling the buttpad to his shoulder , - looking down the barrel , - and slowly squeezing back the finger - grooved TRIGGER as we</scene_description> </scene> <scene> <stage_direction>INT. L'AQUILA, VIA LAMPEDUSA, CLARA'S ROOM- NIGHT</stage_direction> <scene_description>Our beautiful twenty four year - old Italian girl enters . CLARA . She sits on the edge of the bed , whose ageing metal springs squeak slightly , and puts her smoking cigarette in an ashtray on the bedside table . She kicks off her slip - on shoes . Slips off her panties . Lifts her light cotton dress over her head and lies back on the bed in one practised motion . JACK sits on the bed beside her . He does n't look at her .</scene_description> <character>ITALIAN GIRL</character> <dialogue>Amore?</dialogue> <scene_description>She reaches up to touch JACK as we cut to :</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, PAY PHONE- DAY</stage_direction> <scene_description>JACK is scanning the town square with his usual cautiousness .</scene_description> <character>JACK</character> <dialogue>Your source in Rome.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Clean bill of health and no OC. This was a straight favour with a dollar chaser, Jack. The guy's got a second cousin in NOCS on the graft who filched him the Socimi.</dialogue> <character>JACK</character> <dialogue>I hope you paid below the odds. The more you pay them the more cops gossip in the locker room.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No one's gossiping, Jack.</dialogue> <scene_description>JACK watches FATHER BENEDETTO waving at him from the other side of the square .</scene_description> <character>JACK</character> <dialogue>Yet.</dialogue> </scene> <scene> <stage_direction>EXT. TOWN SQUARE- DAY</stage_direction> <scene_description>FATHER BENEDETTO is sitting in his API three - wheeler . This comical and endearing method of rural transportation is a cross between a moped and a miniature pick - up truck . In the back of the truck are a mass of writhing SNAKES . The API is turning over but it wo n't start . The bonnet is open . JACK is fixing the engine . He gives a signal and FATHER BENEDETTO turns the ignition key again . This time the engine starts . FATHER BENEDETTO claps and cheers .</scene_description> </scene> <scene> <stage_direction>INT. FATHER BENEDETTO'S KITCHEN- EVENING</stage_direction> <scene_description>Sixteenth century . Sombre wood panelling stained dark with polish and smoke . Two paraffin lamps stand on a huge antique sideboard , their frosted orbs engraved with scenes from the life of Our Lord . The room is filled with a dining table : a massive black edifice of oak , five inches thick with six legs fluted like the columns of cathedrals . Using antique crockery , ancient copper pots and utensils like old fashioned instruments of torture FATHER BENEDETTO performs culinary alchemy : transforming flesh into meat , dough into bread , hard earth nuggets into vegetables . He hums as he cooks : Opera arias . And Johnny Cash . JACK sips from a glass of wine and watches FATHER BENEDETTO potter around the wood fired stove . The priest has his own wine which he sips as he works between bouts of humming .</scene_description> </scene> <scene> <stage_direction>INT. FATHER BENEDETTO'S KITCHEN- EVENING</stage_direction> <scene_description>JACK eats a bowl of chilled carrot and sorrel soup in silence . FATHER BENEDETTO watches him , pleased to see his guest so absorbed . As soon as JACK has finished , FATHER BENEDETTO invites him to help himself from the ancient tureen . Then he bustles over to the stove , humming again . JACK eats , studying a framed photo of FATHER BENEDETTO with his arm around a tough , corpulent Italian man in his mid - twenties . FABIO . FATHER BENEDETTO returns to the table with a large covered dish issuing steam into his face . He notices JACK 's eye - line .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>All the sheep in my flock are dear to me, but some are dearer than most. Especially those that have strayed from the fold.</dialogue> <scene_description>Off JACK 's intrigued look FATHER BENEDETTO clarifies :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Fabio. He is a.</dialogue> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>` car doctor'. But I suspect his practice is not entirely sound. Ecco!</dialogue> <scene_description>FATHER BENEDETTO whisks the lid off the covered dish revealing a stew of poultry carcasses covered in sauce .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Fagiano. Pheasant. With sauce of orange juice, orange peel, chestnuts, garlic, Marsala wine and. Come si dici in Inglese? Brodo di Pollo. Chicken broth.</dialogue> <scene_description>FATHER BENEDETTO serves each of them with a complete bird and pours white wine into fresh glasses .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Also : salsify in garlic butter. Mange - tout. Fried wild mushrooms with truffle.</dialogue> <scene_description>JACK helps himself to vegetables . FATHER BENEDETTO watches him as he savours his first taste . JACK licks his lips and sips some cold white wine . The two men regard one another , the priest awaiting a verdict .</scene_description> <character>JACK</character> <dialogue>Sinful.</dialogue> <scene_description>FATHER BENEDETTO shrugs .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>The Holy Father eats better than this.</dialogue> <scene_description>The flash of a smile crosses the priest 's face .</scene_description> <character>JACK</character> <dialogue>Have you ever wanted to be anything other than a priest?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Have you ever wanted to be anything other than a. come se dice in Inglese?</dialogue> <character>JACK</character> <dialogue>Photographer?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Photographer.</dialogue> <character>JACK</character> <dialogue>I do what I'm good at.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>I'm sure you have other talents. You have the hands of a craftsman, not an artist. You are good with machines. Yet you told me just the opposite when we first met.</dialogue> <scene_description>JACK hides his unease from the watchful priest .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Journalism can not make you a rich man.</dialogue> <scene_description>FATHER BENEDETTO 's eyes flick over the ROLEX .</scene_description> <character>JACK</character> <dialogue>No.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Perhaps you are rich already?</dialogue> <character>JACK</character> <dialogue>I'm not a young man. I have my savings.</dialogue> <character>FATHER BENEDETTO</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>My meagre income is subject to the vagaries of the stock market and with church attendance declining there's less and less money in the offertory. But if a man has God in his vaults.</dialogue> <scene_description>He looks searchingly at JACK .</scene_description> <character>JACK</character> <dialogue>I do n't think God is interested in me. Father.</dialogue> <character>FATHER BENEDETTO</character> <parenthetical>( in ENGLISH . )</parenthetical> <dialogue>I know better than to try to make a convert over pheasant and Trebbiano.</dialogue> <scene_description>JACK is silent . The two men continue eating . Then casually :</scene_description> <character>JACK</character> <dialogue>What are the snakes for, father?</dialogue> <scene_description>FATHER BENEDETTO taps the end of his nose in the universal sign for secrecy .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>`` The grave soul keeps its own secrets, and takes its own punishment in silence.''</dialogue> <scene_description>He has a twinkle in his eye . The priest is on a mission to extract the truth . and JACK knows it .</scene_description> </scene> <scene> <stage_direction>EXT. OUTSKIRTS OF TOWN- DAY</stage_direction> <scene_description>JACK is driving . He checks the rear view mirror . All clear . JACK accelerates the CAR , driving it hard at the sidewalk . The vehicle slams into the curb , mounting the pavement with a thump of crunching metal .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE- DAY</stage_direction> <scene_description>Just east of the old city walls a dirt track meanders downhill through a series of small holdings , allotments and scrap metal yards . The CAR moves slowly . We can hear the scrape of trailing metal . JACK pulls up beside a high chain fence . The DOGS on the other side start barking . This sets off other dogs in other scrap yards . JACK gets out of the car and approaches a makeshift hut beside the fence . Before he 's a metre from the door it opens and a tough , well - built , unshaven Italian man in his mid - twenties looks him up and down . FABIO .</scene_description> <character>JACK</character> <dialogue>Sono un amico di Padre Benedetto.</dialogue> <scene_description>Suspicion gives way suddenly to warmth :</scene_description> <character>FABIO</character> <dialogue>L'Americano?</dialogue> <scene_description>JACK smiles politely .</scene_description> <character>JACK</character> <dialogue>Buon giorno.</dialogue> </scene> <scene> <stage_direction>INT. WORKSHOP- DAY</stage_direction> <scene_description>The metal door slides open . FABIO leads JACK inside . At the back of the cluttered workshop is a blue ALFA ROMEO being resprayed white . Beside it , one half of a LANCIA is being welded to another . JACK knows better than to stare . He follows FABIO through to .</scene_description> </scene> <scene> <stage_direction>INT. BACK OFFICE- DAY</stage_direction> <scene_description>Girly calendars , Italian style .</scene_description> <character>JACK</character> <dialogue>I'm taking pictures forty minutes north of here. Right up in the mountains. Father Benedetto said you might be able to help.</dialogue> <character>FABIO</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>You need models. For your photographs? Italian girls?</dialogue> <scene_description>He winks at JACK . He 's being friendly .</scene_description> <character>JACK</character> <dialogue>My publisher would n't stretch to a four by four and the park trails are playing havoc with my chassis.</dialogue> <scene_description>The technical English is slightly beyond FABIO 's grasp . This suits JACK .</scene_description> <character>FABIO</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>Want me to take a look?</dialogue> <character>JACK</character> <dialogue>Not really. I just need something to work on a ruptured driveshaft.</dialogue> <character>FABIO</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>You're a mechanic?</dialogue> <character>JACK</character> <dialogue>Just a hobby. I tinker.</dialogue> <scene_description>JACK looks at the TOOLS hanging on the walls and littering the work benches . FABIO shrugs .</scene_description> <character>FABIO</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>Help yourself.</dialogue> <parenthetical>( In ENGLISH . )</parenthetical> <dialogue>My garage is your garage.</dialogue> <character>JACK</character> <dialogue>I appreciate that.</dialogue> <scene_description>FABIO gets on with work , sliding himself beneath the resprayed Alfa Romeo . JACK picks out various implements , laying them on the work surface : drill , hacksaw , lathe , vice , mallet . Behind an oil pan with a jagged hole in it he discovers several GEAR WHEELS with the teeth sheared off . He holds the biggest one up .</scene_description> <character>JACK</character> <dialogue>Bene?</dialogue> <scene_description>FABIO is engrossed his work .</scene_description> <character>FABIO</character> <dialogue>Si! Si! Va bene!</dialogue> <character>JACK</character> <dialogue>Quant ` e?</dialogue> <scene_description>FABIO grins and growls . A gearwheel with no bite is useless to him .</scene_description> <character>FABIO</character> <dialogue>Niente!</dialogue> <scene_description>JACK wraps the gearwheel in a sheet of oily newspaper and puts it in the sports bag with the tools . At the door , he pauses . That 's when JACK sees it on the notice board . A PHOTOGRAPH of FATHER BENEDETTO and FABIO . FABIO is much younger in this photo : fourteen or fifteen years old . He 's wearing an AS Roma football strip . Again : the priest has his arm around the boy .</scene_description> <character>JACK</character> <dialogue>Ciao. Grazie.</dialogue> <character>FABIO</character> <dialogue>Ciao, Americano!</dialogue> </scene> <scene> <stage_direction>INT. CASTEL DEL MONTE, CHURCH- DAY</stage_direction> <scene_description>FATHER BENEDETTO rings the CHURCH BELLS for Mass. .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, CHURCH TOWER- CONTINUOUS</stage_direction> <scene_description>THREE CHURCH BELLS ringing : large , medium and small . As the CLAPPERS hit the SOUNDBOWS we smash cut to :</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM, PENSIONE ABRUZZO- CONTINUOUS</stage_direction> <scene_description>JACK has laid out his newly acquired tools on the flag stone floor of his room . Beside them is the SOCIMI SUB - MACHINE GUN . Using the CHURCH BELLS as sound cover . JACK puts the GEARWHEEL on a flag stone tile and smashes it into five pieces with a four pound MALLET .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO- NIGHT</stage_direction> <scene_description>By torchlight , JACK is fashioning CONNECTORS from the smashed steel gear . It 's very , very tricky work and his eyes ache in the poor light .</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN LANDSCAPE- DAY</stage_direction> <scene_description>JACK is wearing a knapsack . He 's crossing a MEADOW and making his way towards a RUINED HAMLET . His manner is dark , purposeful , alert . The grass is long and the trees offer deep shade . JACK stops . Everywhere there is a profusion of wild flowers . His guardedness begins to evaporate . He has never seen anything so beautiful or utterly uncorrupted . He looks around , transfixed by delicate yellows and mauves , brash whites , harsh and brilliant crimsons , exquisite blues . The air is humming with insects , bees and butterflies . JACK is transfixed .</scene_description> </scene> <scene> <stage_direction>EXT. RUINED HAMLET- DAY</stage_direction> <scene_description>JACK scrambles up towards the abandoned houses , sweating in the heat . His original cautiousness has returned . Carefully , he checks the area for signs of recent disturbance . From the foot of the deserted hamlet he surveys the VALLEY with binoculars , monitoring every square on an imaginary grid for human activity . Satisfied that he 's alone , he takes a deep breath of mountain air . And scrambles back down to the valley .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS- DAY</stage_direction> <scene_description>JACK has parked his CITROEN in the shade of a squat but ample WALNUT TREE . In the near distance is a LAKE . JACK crunches over half - formed walnuts until he reaches a patch of soft grass beside the water . This , he decides , is the perfect spot . He unrolls a blanket , kneels , and from his KNAPSACK he produces : - a polystyrene cool box packed with ice and containing a chilled bottle of Frascati - a loaf of course bread - 50 gms of pecorino - 100 gms of proscuitto - a small jar of black olives - an orange - and a rolled blanket containing the disassembled parts of the SOCIMI SUBMACHINE GUN . JACK sets the stopwatch on his weather beaten ROLEX . It takes approximately thirty - four seconds to assemble the bastardised SOCIMI - including TELESCOPIC SIGHTS and SOUND SUPPRESSOR - and a further six seconds to press TEN ROUNDS into the magazine , slot it into the base of the hand grip , snuggle the butt to his shoulder and place his eye beside the rubber cup on the sight . He 's fast . Carefully he surveys the lake . Settles on a CLUMP OF REEDS . And with the focus and dexterity of a surgeon , concentrates until his grip and aim are perfectly tense and still . A beat . as JACK holds his breath . Then squeezes the trigger . CHOOP ! CHOOP ! CHOOP ! Not the conventional `` phut , phut , phut '' of a movie silencer , but the genuine dampened sonic boom of a TAC 65 sound suppressor . Through the sight we see the water churn at four o'clock to the REED CLUMP and four metres off . From the knapsack , JACK takes a watchmaker 's steel - handled screwdriver and adjusts the sight , then loads another ten rounds in the magazine . CHOOP ! CHOOP ! CHOOP ! The reeds are clipped , the bullets slapping into the bank behind , mud spurting . JACK adjusts again and reloads . CHOOP - CHOOP - CHOOP - CHOOP - CHOOP ! The reed clump is shot to shit .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO- DAY</stage_direction> <scene_description>The sound of CHURCH BELLS . JACK is at work : - modifying the SOUND SUPPRESSOR to make it more efficient - filing the CONNECTORS until the trigger squeeze is softer - adjusting the position of the TELESCOPIC SIGHT mountings And finally : - checking the balance of the weapon : JACK poises it on the edge of a ruler over the pencil mark he has determined to be the gun 's centre of gravity . The SOCIMI balances perfectly . By now the sun is low and the light fading . JACK 's eyes are sore and his fingers aching . He sits on his bed with his hands on his knees , silent in the dying light .</scene_description> </scene> <scene> <stage_direction>INT. BROTHEL, VIA LAMPEDUSA- NIGHT</stage_direction> <scene_description>We 're in the living room of a small apartment . It 's simply and attractively furnished . There are 2 GIRLS : not obviously hookers . The FIRST GIRL is on her mobile phone . Every now and again she glances at JACK . The SECOND GIRL approaches him for a light .</scene_description> <character>JACK</character> <dialogue>E Clara qui?</dialogue> <parenthetical>( Is Clara here ? )</parenthetical> <dialogue /> <character>SECOND GIRL</character> <dialogue>Non e stasera qui.</dialogue> <parenthetical>( She 's not here tonight . )</parenthetical> <dialogue /> <scene_description>She loops her arm through JACK 's .</scene_description> <character>SECOND GIRL</character> <dialogue>Volete una bevanda?</dialogue> <parenthetical>( Would you like a drink ? )</parenthetical> <dialogue /> <scene_description>JACK shakes his head .</scene_description> <character>JACK</character> <dialogue>Forse un altro tempo.</dialogue> <parenthetical>( Perhaps another time . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE- NIGHT</stage_direction> <scene_description>JACK parks in his usual hiding spot and heads for his pensione . A hundred yards ahead of him on the other side of the street is the same YOUNG MAN he spotted in Castelveccio . Cautiously , so as not to spook him , JACK continues walking , passing his pensione and heading for the town square . The YOUNG MAN is four parked cars away , leaning against a Fiat parked in front of a small pharmacy , his right hand on the roof , bending over as if speaking to the car 's local occupant who appears to be giving him directions . Twice he looks up and gazes along the street in both directions , casually , as if keeping an eye open for passing traffic in the narrow street . JACK side steps swiftly into the local bar .</scene_description> </scene> <scene> <stage_direction>INT. BAR- DAY</stage_direction> <scene_description>Crowded with locals . JACK orders a coffee . Through the window he tries to keep an surreptitious eye on the YOUNG MAN . But the darkness outside throws back reflections of the bright neon - lit bar within . One reflection catches our attention . The Italian girl . CLARA . She is drinking and laughing with friends , young Italians like her . She catches sight of JACK . He turns away .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE- NIGHT</stage_direction> <scene_description>JACK comes out of the bar with his hand in his pocket . No sign of the YOUNG MAN . He slips down a side street .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE STREETS- NIGHT</stage_direction> <scene_description>JACK slips from one side street to another taking full advantage of short - cuts , alleyways and crumbling walls . His route is circuitous . It betrays a perfect knowledge of the maze - like back streets of the town . Eventually JACK peeps out of a tiny passageway half - way down his own street and on the opposite side of the road from his PENSIONE . The entrance to the PENSIONE is clear . JACK crosses the street and slips inside .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO- NIGHT</stage_direction> <scene_description>We 're in the corridor outside JACK 'S ROOM . JACK takes his right hand from his pocket . He 's clutching the WALTHER . Slowly , he reaches his left hand upwards , towards the lintel above the door where he finds . a single FEATHER .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- NIGHT</stage_direction> <scene_description>From the inside of the room we watch four sturdily fashioned deadbolt locks slide open . Each lock is new and home made . JACK enters , shuts the door , locks all four bolts . And sits on the bed .</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE PAY PHONE- MORNING</stage_direction> <scene_description>A cluster of houses by the side of a main road : a bar , a restaurant , a phone box . JACK puts a coin in the slot . Two rings .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jack?</dialogue> <character>JACK</character> <dialogue>I've got company.</dialogue> <scene_description>JACK scans the area outside .</scene_description> <character>JACK</character> <dialogue>If he's not baby - sitting the Belgian contract then he's either a Joe, a cop or a shooter. He's not with The Company, they're fast : it's been three days and no TA. He's not intel : they're deep background and he wants to be noticed. He might be a cowboy but he ca n't be a cop : they work in pairs and he's alone. Strike Guarda di Finanza, State Police and NOCS : he's not Italian - he does n't look like one, dress like one or behave like one. So who the hell is he?</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Larry?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You got a long list of enemies, Jack.</dialogue> <character>JACK</character> <dialogue>What's he waiting for?</dialogue> <scene_description>JACK hears the sound of an engine . His hand moves to his pocket .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jack?</dialogue> <scene_description>He watches a black VW SHARON pass . There 's a family inside .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Want me to help take care of this?</dialogue> <character>JACK</character> <dialogue>I can handle it.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You sound spooked.</dialogue> <character>JACK</character> <dialogue>It's a bad line.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jack?</dialogue> <character>JACK</character> <dialogue>Yes?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I appreciate the value of a pre - emptive strike in circumstances like these, I really do, but if you're going to go Generation Kill then do me a favour, OK, because I'm running out of bribe money.</dialogue> <parenthetical>( A BEAT . )</parenthetical> <dialogue>Make it look like an accident.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIN STATION- DAY</stage_direction> <scene_description>Little more than a halt : one platform , one track , one station building - locked and shuttered . JACK steps out of his car . No one around . He checks his watch : it 's exactly noon . A TRAIN approaches . It 's a three - carriage local . It rattles round the bend in the track up the valley , diesel fumes pluming . There are no more than a dozen passengers on board . MATHILDE is the only one to alight . Her once brown hair is now BLONDE . She 's wearing a light summer skirt and carrying a navy blue canvas sports bag . They shake hands as the train pulls away , belching and honking as it rattles over the girders of an iron bridge and crosses some alpine rapids .</scene_description> <character>MATHILDE</character> <dialogue>Mr. Clarke. How good to see you again.</dialogue> <scene_description>Something quaint , old fashioned in her diction . English with the hint of a Belgian accent . JACK opens the boot of his car and she places her sports bag beside a WICKER PICNIC HAMPER .</scene_description> <character>MATHILDE</character> <dialogue>Refreshments?</dialogue> <character>JACK</character> <dialogue>The Carabinieri around here like roadblocks. It's cover.</dialogue> <scene_description>She nods . They get into the car . As the JACK 's door slams we smash cut to :</scene_description> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>MATHILDE 's sunglasses reflect the alpine landscape .</scene_description> <character>MATHILDE</character> <dialogue>You picked a beautiful spot.</dialogue> <scene_description>She takes off her shades . Her once hazel eyes are now GREY - BLUE . She glances round the hire car 's drab plastic interior .</scene_description> <character>MATHILDE</character> <dialogue>You would be hard pressed to make a fast get away in this.</dialogue> <scene_description>Perhaps she 's nervous . Her attempt at humour is n't working and she stumbles slightly on her grammar :</scene_description> <character>MATHILDE</character> <dialogue>I would have thought you to have had at least an Alfa Romeo.</dialogue> <character>JACK</character> <dialogue>This attracts less attention.</dialogue> <character>MATHILDE</character> <dialogue>Is it far?</dialogue> <character>JACK</character> <dialogue>Fifty minutes.</dialogue> <scene_description>She looks up through the sun roof at the high mountains over head .</scene_description> <character>MATHILDE</character> <dialogue>Up there?</dialogue> <scene_description>JACK nods . She eases herself back , resigned to a long climb .</scene_description> <character>MATHILDE</character> <dialogue>The train was tiring. One has to keep alert so much in cities.</dialogue> <scene_description>Her eyelids are drooping .</scene_description> <character>JACK</character> <dialogue>I'll wake you before the turn - off.</dialogue> <scene_description>She smiles gratefully . But does not shut her tired eyes . The CLOCK on the dash reads 12:17</scene_description> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>JACK negotiates the alpine road , leaning into the steering wheel , shifting up or down a gear and glancing from the mirror to the road and back again MATHILDE is asleep . JACK scans her , taking in every detail : her low - heeled shoes are expensive but she wears no jewelry except a Seiko wrist - watch on a metal strap and a thin gold chain at her throat . Her tan is light , her breasts neat and her legs shapely and recently waxed . But JACK does n't look at her like an object of desire . He looks at her cautiously , with an expression that says : `` this young woman is ruthless . If she were not , she would n't be alive . '' That 's when he notices the CAR in his rear view mirror . It 's too far behind to decipher the make or model and it weaves in and out of frame as JACK negotiates the alpine road . MATHILDE wakes with a start . The CLOCK on the dash reads 13:05 .</scene_description> <character>MATHILDE</character> <dialogue>Are we nearly there?</dialogue> <character>JACK</character> <dialogue>The turn - off's up ahead.</dialogue> <scene_description>His eyes flick to the rear view mirror . Hers to the wing . She spots the CAR behind . JACK catches her eye questioningly .</scene_description> <character>MATHILDE</character> <dialogue>I told you I work alone.</dialogue> <scene_description>JACK slows just before the turn off and pulls over . Then stops . Now its MATHILDE 's turn to look questioning .</scene_description> <character>JACK</character> <dialogue>Just a precaution.</dialogue> <scene_description>He gets out of the car and pretends to urinate . The CAR behind passes at speed . A blue Seat . The driver neither slows down nor looks in their direction . JACK gets back in the car . And turns off up a dirt track that disappears into the meadows .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS- DAY</stage_direction> <scene_description>JACK parks his CITROEN in the shade of the squat but ample WALNUT TREE . In the near distance is a large LAKE . This is the exact spot where he came to test the weapon . MATHILDE gets out of the car and stretches .</scene_description> <character>MATHILDE</character> <dialogue>Are those houses occupied?</dialogue> <scene_description>JACK looks at the RUINED HAMLET on the hillside .</scene_description> <character>JACK</character> <dialogue>Derelict. I checked three days ago.</dialogue> <character>MATHILDE</character> <dialogue>We should check again.</dialogue> <character>JACK</character> <dialogue>I'll check alone. There are adders the mountains. And vipers. Your shoes.</dialogue> <character>MATHILDE</character> <dialogue>I'll be careful.</dialogue> <scene_description>Her voice is curt . The trust she showed him in the car is gone now .</scene_description> </scene> <scene> <stage_direction>EXT. ITALIAN LANDSCAPE- DAY</stage_direction> <scene_description>They cross a meadow and make their way towards the RUINED HAMLET . The grass is long and the trees offer deep shade . JACK walks in front to ward off any snakes . Everywhere there is a profusion of wild meadow flowers . MATHILDE has never seen anything so beautiful . Overwhelmed , she stops . JACK stops . And watches her . She undergoes the same transformation that he did . Then she comes to , remembering herself . and walks on . Suddenly . a four foot ASP VIPER slithers across JACK 's path . He claps his hands and the SNAKE writhes for cover . JACK walks on . MATHILDE follows , pretending not to be frightened but walking closer to JACK now , scanning the long grass warily .</scene_description> </scene> <scene> <stage_direction>EXT. RUINED HAMLET- DAY</stage_direction> <scene_description>JACK scrambles up towards the houses , checking the area for signs of recent disturbance . MATHILDE follows . From beside the end building JACK surveys the valley with a tiny pair of binoculars , monitoring every square on the imaginary grid for human activity .</scene_description> <character>MATHILDE</character> <dialogue>You have tested the gun here before?</dialogue> <character>JACK</character> <dialogue>Yes.</dialogue> <scene_description>Satisfied that he 's alone , he lowers his binoculars . MATHILDE takes a deep breath of mountain air .</scene_description> <character>MATHILDE</character> <dialogue>It's beautiful here.</dialogue> <scene_description>She is sitting on a loose stone wall at the edge of what was once a terraced field . Her dress dips between her legs as she leans forward and rests her forearms on her knees , tired from the journey and the long , hot climb .</scene_description> <character>MATHILDE</character> <dialogue>I wish everywhere could be this tranquil.</dialogue> <scene_description>JACK looks at her , sensing a kindred spirit .</scene_description> <character>JACK</character> <dialogue>You'd be out of a job.</dialogue> <character>MATHILDE</character> <dialogue>You do n't like the peace?</dialogue> <character>JACK</character> <dialogue>It's hard to like something you know nothing about.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS- DAY</stage_direction> <scene_description>The WICKER PICNIC HAMPER is sitting on a rug by between the parked car and the lake . From the hamper , JACK removes : - a polystyrene cool box packed with ice and containing a chilled bottle of Aspirinio - a loaf of course bread - two clods of mozarella - 150 gms of proscuitto - 100 gms of parma ham - a large jar of pitted green olives - a Thermos of sweet black coffee - and , wrapped in cloth squares , the disassembled parts of the improved SOCIMI SUBMACHINE GUN . As MATHILDE starts to assemble the weapon with easy skill , JACK checks the stopwatch on his ROLEX . It takes her approximately twenty - eight seconds to assemble the bastardised gun - including TELESCOPIC SIGHTS and SOUND SUPPRESSOR - and a further three seconds to slot the empty magazine into the base of the hand grip , snuggle the butt to her shoulder and place her eye beside the rubber cup on the sight . She 's almost ten seconds faster than JACK . He stares at her : not an alluring young woman with good legs and nice tits but an extension of the weapon itself and everything it means .</scene_description> <character>MATHILDE</character> <dialogue>Rounds?</dialogue> <character>JACK</character> <dialogue>I've made up two sorts.</dialogue> <scene_description>He reaches into the PICNIC HAMPER .</scene_description> <character>JACK</character> <dialogue>Thirty lead and thirty jacketed.</dialogue> <character>MATHILDE</character> <dialogue>I should like a hundred of each.</dialogue> <scene_description>It 's an order : her voice is emotionless .</scene_description> <character>MATHILDE</character> <dialogue>And fifty explosive.</dialogue> <character>JACK</character> <dialogue>Not a problem.</dialogue> <scene_description>He hands her the practise ammunition in two small cartridge boxes : the shells snug in little plastic trays .</scene_description> <character>JACK</character> <dialogue>Will mercury do?</dialogue> <scene_description>She smiles almost imperceptibly .</scene_description> <character>MATHILDE</character> <dialogue>Mercury will do very nicely.</dialogue> <scene_description>She puts the gun down butt - first , leaning it against the side of the car .</scene_description> <character>MATHILDE</character> <dialogue>I have made my own targets.</dialogue> <scene_description>She reaches into her BLUE CANVAS SPORTS BAG and removes several pieces of folded cardboard strengthened with split bamboo cane . Without speaking she sets off through the alpine blooms . In her wake flutter a confetti of butterflies and grass crickets , honey bees sizzling frantically as her loose summer skirt sweeps across the flowers .</scene_description> <character>JACK</character> <dialogue>Watch out for vipers.</dialogue> <scene_description>He keeps his voice down but she hears him nonetheless , waving with her right hand : the hand holding the AMMUNITION BOXES . She 's no fool . Neither is he . He has the gun . At ninety meters distance she stops beside a pile of smooth stones - a boundary cairn - overgrown with little purple trumpet blooms . She unfolds the cardboard . At this distance all we can make out is a silver - grey shape against the stones . Returning to the car she picks up the weapon .</scene_description> <character>MATHILDE</character> <dialogue>Muzzle velocity?</dialogue> <character>JACK</character> <dialogue>At least three hundred and sixty miles per hour. That's including twenty off the top for the sound suppression.</dialogue> <scene_description>Impressed , MATHILDE looks at the marks on the metal where the serial number has been removed with acid .</scene_description> <character>MATHILDE</character> <dialogue>Socimi?</dialogue> <character>JACK</character> <dialogue>Eight - two - one.</dialogue> <character>MATHILDE</character> <dialogue>I've not had one before.</dialogue> <character>JACK</character> <dialogue>You'll find it easy. I've re - balanced it for the longer barrel. The fulcrum is two centimetres forward of the grip now. Which wo n't matter if you're firing - and I'm guessing you are - from a fixed position.</dialogue> <scene_description>No answer .</scene_description> <character>JACK</character> <dialogue>No major recoil issues. You should be able to hold onto any target. Even the smallest.</dialogue> <scene_description>MATHILDE puts two jacketed rounds into the magazine and stands with her feet apart , braced . The breeze beneath the walnut tree ruffles her summer skirt and presses it against her legs . CHOOP ! CHOOP ! For a moment longer she holds on the target then lowers the gun , holding it under her arm like a lady on a shire hunt would hold a 12 bore .</scene_description> <character>MATHILDE</character> <dialogue>You've done a good job, Mr. Clarke. Thank you. Thank you very much.</dialogue> <scene_description>She makes a minute adjustment to the telescopic sight , with her fingernail . She ca n't have turned the vertical screw more than one notch . Then she fully loads and fires again . CHOOP - CHOOP - CHOOP ! JACK lifts his binoculars and looks at the target . It 's the unmistakable outline of a BOEING 747 - 400 , about one and a half metres long . Painted against the cut - out is the upturn at the end of the wing . The front doorway is shaded in . Standing in it is the SILHOUETTE OF A MAN . In the centre of his head are three small HOLES . With the magazine containing the remaining 28 jacketed rounds , MATHILDE takes aim again . CHOOP - CHOOP - CHOOP - CHOOP ! Through his binoculars , JACK can see the empty space where the target 's head used to be , the scarred stones behind and the little scraps of cardboard floating on the warm air .</scene_description> <character>JACK</character> <dialogue>Good shot.</dialogue> <scene_description>MATHILDE says nothing . She fills the magazine with lead rounds , snaps it in place and hands the weapon to JACK .</scene_description> <character>MATHILDE</character> <dialogue>Go to the stones and fire near me.</dialogue> <scene_description>He 's taken aback .</scene_description> <character>MATHILDE</character> <dialogue>Say.</dialogue> <scene_description>She looks round for a target .</scene_description> <character>MATHILDE</character> <dialogue>into the bush with the yellow flowers. Two bursts. Five seconds apart.</dialogue> <scene_description>Slowly , JACK walks down to the stones , turns and looks back . The CITROEN is well hidden in the deep shade of the walnut tree . So is MATHILDE . In the poor light all he can see is her dress and her blouse . He wipes the sweat from his eyes and shuts them tightly . This is not just a weapon test . it 's a test of trust . He opens his eyes again . MATHILDE turns to face him as he shoulders the weapon . He aims the SOCIMI at the YELLOW FLOWERS right beside her . Holds his breath . And pulls the trigger . CHOOP ! CHOOP ! MATHILDE remains untouched . So do the YELLOW FLOWERS . Troubled , JACK blinks rapidly and counts to five . Then he fires again . CHOOP ! CHOOP ! CHOOP ! Through the sight , we see two stems of YELLOW BLOSSOM fall sideways . Relieved , JACK walks slowly back to the car .</scene_description> <character>MATHILDE</character> <dialogue>The sound suppression is superb. I could n't place the direction of fire.</dialogue> <scene_description>From her sports bag she removes a plain brown MANILLA ENVELOPE .</scene_description> <character>MATHILDE</character> <dialogue>I shall require the rounds and the weapon by the first of next month. In the meantime would you tighten the adjusting screws on the sight, they are too loose. And lengthen the stock by three centimetres. I also want a sixty round magazine.</dialogue> <character>JACK</character> <dialogue>You'll upset the balance.</dialogue> <character>MATHILDE</character> <dialogue>I'm prepared to accept that.</dialogue> <character>JACK</character> <dialogue>Then I'm happy to oblige.</dialogue> <character>MATHILDE</character> <dialogue>What about the a case?</dialogue> <character>JACK</character> <dialogue>A briefcase. Samsonite. Standard pattern in black with combination locks. Is there a number you'd prefer?</dialogue> <scene_description>She thinks .</scene_description> <character>MATHILDE</character> <dialogue>Eight - two - one.</dialogue> <character>JACK</character> <dialogue>Eight - two - one.</dialogue> <scene_description>MATHILDE hands him the ENVELOPE and disassembles the weapon . JACK wraps the SOCIMI parts up in their cloth squares and places them in the bottom of the PICNIC HAMPER .</scene_description> <character>MATHILDE</character> <dialogue>What do you want done with these?</dialogue> <scene_description>She has collected up the spent CARTRIDGE CASES .</scene_description> <character>JACK</character> <dialogue>Throw them in the lake.</dialogue> <scene_description>She walks down to the water and hurls the brass cases in . FISH rise . Again , the beauty of the place transfixes her . By the time she turns back , JACK has laid out the picnic .</scene_description> <character>MATHILDE</character> <dialogue>How thoughtful.</dialogue> <scene_description>She picks up a bottle of wine .</scene_description> <character>MATHILDE</character> <dialogue>I do n't know Italian wine.</dialogue> <character>JACK</character> <dialogue>Aspirinio. Like Mosacata but frizzante.</dialogue> <scene_description>Deftly he uncorks a bottle . And pours it into the grass .</scene_description> <character>JACK</character> <dialogue>It would n't look right if the picnic was n't touched.</dialogue> <character>MATHILDE</character> <dialogue>You chilled the wine. I thought.</dialogue> <character>JACK</character> <dialogue>It had to be chilled. They're Italian cops.</dialogue> <character>MATHILDE</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>You think of everything.</dialogue> <character>JACK</character> <dialogue>I'm paid to. Do n't move.</dialogue> <scene_description>She freezes . JACK points slowly . On her tanned forearm is a BUTTERFLY .</scene_description> <character>MATHILDE</character> <dialogue>Wow.</dialogue> <scene_description>They both stare at the insect , transfixed .</scene_description> <character>MATHILDE</character> <dialogue>It's so beautiful.</dialogue> <character>JACK</character> <dialogue>Parnassius apollo. It's endangered.</dialogue> <scene_description>She looks up at him . Like it 's a revelation she says :</scene_description> <character>MATHILDE</character> <dialogue>You like coming here.</dialogue> <character>JACK</character> <dialogue>It serves its purpose.</dialogue> <character>MATHILDE</character> <dialogue>You've never taken a woman here before?</dialogue> <scene_description>JACK is momentarily taken aback .</scene_description> <character>JACK</character> <dialogue>No.</dialogue> <scene_description>The BUTTERFLY flits away .</scene_description> <character>MATHILDE</character> <parenthetical>( sadly . )</parenthetical> <dialogue>Perhaps you do not have a woman in your life. It is not easy for us to keep relationships. Not in our world.</dialogue> <character>JACK</character> <dialogue>I have an acquaintance.</dialogue> <scene_description>A beat . She waits for him to say more . He does n't .</scene_description> <character>MATHILDE</character> <dialogue>Friendships are transitory. It is.</dialogue> <scene_description>Suddenly , there 's movement in the bushes . JACK snatches up his BINOCULARS . MATHILDE scans the tree cover .</scene_description> <character>JACK</character> <dialogue>Wild boar.</dialogue> <scene_description>He hands her the binoculars . And hurriedly packs up the picnic .</scene_description> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>Her sunglasses back on , MATHILDE watches the meadows slip backwards in the nearside wing mirror as the car bumps back down the alpine track .</scene_description> <character>MATHILDE</character> <dialogue>I wish you had n't brought me here.</dialogue> <scene_description>Again . a real sadness . JACK glances at her .</scene_description> <character>MATHILDE</character> <dialogue>This is the sort of place I wish I'd discovered by myself. Then maybe one day I could have retired here. But you already know it.</dialogue> <scene_description>JACK is touched .</scene_description> <character>JACK</character> <dialogue>I'm much older than you. By the time you've retired I'll be dead.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL TRAIN STATION- DAY</stage_direction> <scene_description>The CITROEN pulls up .</scene_description> </scene> <scene> <stage_direction>INT. CITROEN- DAY</stage_direction> <scene_description>The YOUNG WOMAN 's manner is once more tense and formal .</scene_description> <character>MATHILDE</character> <dialogue>We will meet as before?</dialogue> <scene_description>JACK nods . The distant sound of a DIESEL ENGINE . The train is approaching .</scene_description> <character>MATHILDE</character> <dialogue>On the first of next month?</dialogue> <scene_description>He nods again .</scene_description> <character>MATHILDE</character> <dialogue>Around noon?</dialogue> <scene_description>Not even a nod this time : just a slow blink . MATHILDE opens the door , runs around to the boot and grabs her canvas sports bag . Then returns to the passenger side of the car and looks in .</scene_description> <character>MATHILDE</character> <dialogue>Thank you for a lovely day. Mr. Butterfly.</dialogue> <scene_description>She leans in . and kisses him lightly on the cheek , her lips light and quick on his stubble .</scene_description> <character>MATHILDE</character> <dialogue>You must take your mistress to the meadow for a picnic.</dialogue> <scene_description>She closes the car door , walks onto the platform and vanishes onto a waiting carriage . The TRAIN honks and belches , moving off down the track in the direction from which it came . JACK watches it go . And drives off . Confused .</scene_description> </scene> <scene> <stage_direction>INT. CASTEL DEL MONTE, LOCAL BAR- NIGHT</stage_direction> <scene_description>Two OLD MEN drinking beer at the bar . Two more at a table , playing Scopa with old fashioned Trentine playing cards . Sitting at the back of the room , JACK stares at a shot of Grappa . Above him , mounted on the wall , is a TELEVISION . On the TV is a Western : Charles Bronson and Henry Fonda in ONCE UPON A TIME IN THE WEST . JACK downs his shot , gets up and walks over to the bar . Pays . The BARMAN nods at the screen .</scene_description> <character>BARMAN</character> <dialogue>Sergio Leone. Italiano.</dialogue> <scene_description>JACK turns and looks . HENRY FONDA in close - up , is about to shoot a red headed BOY of seven in the head . JACK stares . Just at the moment that the gun goes off . JACK turns away .</scene_description> <character>BARMAN</character> <parenthetical>( in poor ENGLISH . )</parenthetical> <dialogue>You like cow boy movie?</dialogue> <scene_description>JACK thinks . Then shakes his head .</scene_description> <character>JACK</character> <dialogue>Hokey.</dialogue> </scene> <scene> <stage_direction>INT. BROTHEL, VIA LAMPEDUSA- NIGHT</stage_direction> <scene_description>CLARA and JACK are naked . JACK tries to kiss her on the lips but CLARA turns away : just enough to let him know this is against the rules . JACK kisses her neck . Her breasts . Her stomach . As he moves his head between her legs , her fingers -LRB- already ensnared in his hair -RRB- tighten their grip , stopping him from going further . JACK looks up at CLARA , across her belly , and she looks back at him , her expression fixed yet curious . Against her rules but not , we sense , against her wishes , JACK kisses CLARA softly , tenderly , deeply until she is moving against his tongue , using her sex like a mouth to kiss him in return . They make love , breaking each of Clara 's two remaining rules in turn . First : JACK puts her in a position she initially resists . Then : he kisses her . CLARA comes , not wanting to . Suddenly , preoccupied , JACK does not .</scene_description> </scene> <scene> <stage_direction>INT. BROTHEL, VIA LAMPEDUSA- NIGHT</stage_direction> <scene_description>JACK is in bed with CLARA .</scene_description> <character>CLARA</character> <dialogue>Morboso?</dialogue> <scene_description>She looks at him .</scene_description> <character>CLARA</character> <parenthetical>( with certainty . )</parenthetical> <dialogue>Morboso.</dialogue> <character>JACK</character> <dialogue>Morboso?</dialogue> <character>CLARA</character> <dialogue>Morboso is like. when you ca n't stop thinking about something.</dialogue> <scene_description>He stares back at her : wordless .</scene_description> <character>CLARA</character> <dialogue>Or someone.</dialogue> <scene_description>A long pause : her eyes searching his . JACK sits up , lights a cigarette and stands by the window , looking through the blind , down into the street .</scene_description> <character>JACK</character> <dialogue>You need n't act.</dialogue> <character>CLARA</character> <dialogue>Act?</dialogue> <scene_description>CLARA watches him , confused but fascinated .</scene_description> <character>JACK</character> <dialogue>You might have to act with your other clients but you do n't have to pretend anything at all with me.</dialogue> <scene_description>She lights herself a cigarette .</scene_description> <character>JACK</character> <dialogue>I want you to be yourself with me. Be as indifferent as you like. I came here to get pleasure, not to give it.</dialogue> <scene_description>He hands her CASH . She counts it .</scene_description> <character>CLARA</character> <dialogue>Maybe I pretend very well. I got more tip than the other girls usually get.</dialogue> <scene_description>He walks to the door . Pauses .</scene_description> <character>JACK</character> <dialogue>I do n't sleep with the other girls.</dialogue> <scene_description>And leaves .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- NIGHT</stage_direction> <scene_description>JACK is asleep . He is not alone . In the bed beside him : INGRID . Pale as death . Eyes rolled back in her sockets . JACK wakes up suddenly , gasping . The bed is empty , the sheets twisted and damp .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE- DAWN</stage_direction> <scene_description>SUNRISE . over one of the most desolate and beautiful landscapes in all Italy .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- DAWN</stage_direction> <scene_description>In the gun - metal light of dawn , fiddly work : - cartridges taken apart - tiny holes drilled in the nose to a depth of precisely 3mm - the hole half - filled with mercury - and plugged with a drop of liquid lead . JACK is converting jacketed ammunition into EXPLOSIVE BULLETS .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH- DAY</stage_direction> <scene_description>Outside , the sun is merciless . Inside , JACK has taken refuge in the cool of the church . He is alone . He is not praying . Just staring impassively at the gaudy crucifixion : at the thorns and the nails and the running blood . Footsteps . JACK checks for reflections in his watch . It 's FATHER BENEDETTO : dressed for Mass. .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I've been looking for you.</dialogue> <scene_description>He mops the sweat from his brow with the hem of his Soutane , takes JACK by the arm and leads him to one side , away from the light of the candles .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>A man was here asking questions about you.</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Here?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>He came to the church this afternoon.</dialogue> <character>JACK</character> <dialogue>What did he want?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>To know where you live. He said he was a friend from Switzerland.</dialogue> <character>JACK</character> <dialogue>Switzerland?</dialogue> <scene_description>JACK thinks .</scene_description> <character>JACK</character> <dialogue>And you told him?</dialogue> <scene_description>The priest looks at with complete disdain :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Of course I do not tell him. How do I know him? He is maybe the police. Certainly he is no friend. A friend would know your pensione. Besides.</dialogue> <scene_description>FATHER BENEDETTO leans close and whispers :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Friends do not carry guns.</dialogue> <scene_description>FATHER BENEDETTO glances shrewdly at JACK , his eyes searching into him .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>If you live in Italy, and you are a man of the cloth, you meet many people. Besides, I lived once in Naples. If you live in Naples you know the difference between a fat wallet and a. custodia per armi di spalla. How you say in English?</dialogue> <character>JACK</character> <dialogue>Shoulder holster.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Si.</dialogue> <scene_description>JACK glances up and down the aisle . OLD LADIES are dribbling into church in twos and threes . The BELL for mass starts ringing .</scene_description> <character>JACK</character> <dialogue>You're a true friend, father.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>I am a priest.</dialogue> <scene_description>JACK turns to go .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Signor Clarke?</dialogue> <scene_description>Again the priest leans close , holding JACK by the elbow in a gesture of austere confidence .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I make a mistake. He did not say he was from La Svizzera : Switzerland. He said - forgive me the names in Italian are so similar - La Svezia : Sweden.</dialogue> </scene> <scene> <stage_direction>EXT. CHURCH, ROOF- DAY</stage_direction> <scene_description>THREE BELLS are ringing in the tower . Beneath them , a row of mediaeval GARGOYLES -LRB- dragons , griffins , dogs and devils -RRB- look down over the little town , their faces frightening or frightened . JACK is among the gargoyles , leaning over parapet , his eyes made huge by a pair of tiny binoculars , surveying the town below , checking each square of the grid for a glimpse of the YOUNG MAN . Nothing . Then he notices : Parked in the shadow of a spreading chestnut tree not far from the main square . An AUDI . with the YOUNG MAN we spotted in Castelveccio market sitting at the wheel .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, STREET- NIGHT</stage_direction> <scene_description>The YOUNG MAN comes out of a shop . This is the first time we 've seen him up close . In his early thirties , he 's wearing a dark brown leather jacket and expensive jeans . His blonde hair is cropped short , and there 's the hint of a botched prison - cell tattoo visible just beneath the collar of his shirt . The YOUNG MAN opens a small silver tin and a single deft movement removes a portion of SNUS -LRB- Swedish chewing tobacco -RRB- and inserts the it between his top lip and gum . It is a strangely sinister act . Then he blends in with the tourists , milling down the Corso and round the square heading towards .</scene_description> </scene> <scene> <stage_direction>INT. BAR- NIGHT</stage_direction> <scene_description>JACK is sitting in the window , making himself as visible as possible to the world outside . He downs a Grappa : then gets up to pay for it . His movements are slow and leisurely . The BARMAN hands him his change . And a small white ENVELOPE . JACK is not expecting this .</scene_description> <character>BARMAN</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>Someone left this for `` L'Americano''. This afternoon.</dialogue> <scene_description>JACK looks at the ENVELOPE .</scene_description> <character>JACK</character> <dialogue>Grazie.</dialogue> <scene_description>He turns casually away from the BARMAN 's prying eyes and opens the envelope with extreme caution . Inside is a folded CUTTING . It 's from the Swedish Daily newspaper ÖSTERSUNDS - POSTEN . JACK unfolds the cutting . We catch a glimpse of : - Ingrid 's dacha . - A police line . - Three dead bodies in the snow : the two hitmen and the girl . Heart racing , JACK slips the cutting in his pocket . Grabs three SUGAR CUBES from a silver bowl on the bar . And leaves .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- NIGHT</stage_direction> <scene_description>The YOUNG MAN is watching a PUPPET SHOW in the middle of the square . The PUPPETEER is using glove puppets and the Punch and Judy style performance involves Punch fucking Judy with a grotesquely carved , outsize sex organ . There is a large crowd gathered . JACK leaves the bar , turning left and walking purposefully down the street . The YOUNG MAN follows .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, CORSO FREDERICO- NIGHT</stage_direction> <scene_description>It 's a hot summer night and there are more tourists than usual . The YOUNG MAN uses them as cover . JACK turns down a dark , deserted alleyway . The YOUNG MAN hesitates . His right hand moves casually to his jacket pocket . And he follows .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY- NIGHT</stage_direction> <scene_description>We 're with the YOUNG MAN as he stalks his prey through the mediaeval maze of streets . We end up in the narrow alleyway that JACK photographed on his first day in town . Up ahead , disappearing round a distant bend , we catch a glimpse of JACK , his heels CLACKING on the cobbles . The YOUNG MAN follows swiftly , his trainers silent . He gets to a crossroads where FOUR NARROW ALLEYWAYS - all identical - converge . The YOUNG MAN is unsure which alleyway to take . The streets are empty . He listens . From an upstairs window he can hear the soundtrack of a late night film on television . It 's a romantic film , the violins muffled and sad with longing . From another alleyway comes the sound of SAVAGE BARKING . The YOUNG MAN looks around for the source of the barking , but the streets are empty . Suddenly , the barking stops . The YOUNG MAN looks confused . From his right hand jacket pocket we hear the unmistakable CLICK of a cocking mechanism .</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD- NIGHT</stage_direction> <scene_description>We 're recognise the secret courtyard : the one reached by means of the hidden archway . With one hand , JACK feeds another SUGAR CUBE to the MONGREL . With the other hand , he holds his WALTHER behind his back . and cocks it .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY- NIGHT</stage_direction> <scene_description>The YOUNG MAN is waiting at the far end of the alleyway , hugging the wall , scanning the CROSSROADS ahead , unsure which of the four possible alleyways holds his prey . JACK emerges from the HIDDEN ARCHWAY and walks quickly up behind him . JACK has removed his shoes and his bare feet are silent . He has thirty metres to cover . The gun hangs heavy in his right hand . It 's fitted with a TAC 65 SOUND SUPPRESSOR . He raises his right hand . Twenty metres . The gun is pointing at the YOUNG MAN . Fifteen metres . His finger takes up the slack of the trigger . Ten meters . Then : A DUCATI turns into the alleyway behind JACK , its headlights on full beam . JACK drops his right hand and thrusts his silenced WALTHER deep into his jacket pocket . The YOUNG MAN looks his way . JACK is outlined by the moped 's beam of light . The two men are face to face , within spitting distance . The DUCATI hurtles towards the YOUNG MAN . The MAN ON THE DUCATI is wearing a tinted BLACK CRASH HELMET . The YOUNG MAN 's eyes widen with fear . BANG ! The DUCATI misfires . Mistaking the sound for gunfire , the YOUNG MAN drops , rolls and fires back . We hear the sound of a single suppressed shot : CHOOP ! The BULLET grazes the FRONT SUSPENSION of the DUCATI and lodges in the REAR COWLING . The MAN ON THE DUCATI swerves and crashes , hitting a stone staircase . JACK looks around . The YOUNG MAN has disappeared . The MAN ON THE DUCATI is out cold . The front wheel of his DUCATI turns slowly , squeaking . CHOOP ! A bullet hits the road not far from JACK . CHOOP ! Another bullet hits the wall behind him . Swiftly , JACK grabs hold of the battered 1970s DUCATI .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, MEDIAVEVAL MAZE- NIGHT</stage_direction> <scene_description>JACK rides the classic DUCATI , turning left and right without hesitation , through archways , down steps , dropping level by level , cursing in time with his jagged breathing until .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, OUTSKIRTS OF TOWN- NIGHT</stage_direction> <scene_description>JACK emerges from the bottom of the town and races away on the winding road . Silence . All we can hear are the crickets . Then the sound of a car . An AUDI tears past us , following JACK out of town .</scene_description> </scene> <scene> <stage_direction>EXT. ALPINE ROAD- NIGHT</stage_direction> <scene_description>JACK is heading for the mountains . He takes the first corner at 70 MPH . The AUDI gleams black in the moonlight . Gaining on him .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER ANGLE- NIGHT</stage_direction> <scene_description>JACK takes the next bend at top speed , his classic 1970 1000cc engine howling . The AUDI slows , then powers through the bend , accelerating .</scene_description> </scene> <scene> <stage_direction>INT. AUDI- NIGHT</stage_direction> <scene_description>The YOUNG MAN puts his foot down . The SPEEDOMETER climbs .</scene_description> </scene> <scene> <stage_direction>EXT. ALPINE ROAD- NIGHT</stage_direction> <scene_description>The AUDI comes up swiftly behind Jack 's DUCATI and tries to ram him . JACK dodges the AUDI , swerving from one side of the road to another .</scene_description> </scene> <scene> <stage_direction>EXT. VIADUCT- NIGHT</stage_direction> <scene_description>A soaring concrete bridge spans a plunging alpine valley . The AUDI overtakes the DUCATI , then swerves left , trying to crush JACK against the concrete barrier that masks a three hundred and fifty foot fall . JACK breaks hard and the AUDI misses him , smashing into the concrete barrier amidst a shower of sparks and screeching metal . The AUDI follows the DUCATI into .</scene_description> </scene> <scene> <stage_direction>EXT. ALPINE TUNNEL- NIGHT</stage_direction> <scene_description>Long , dark , neon - lit . and blind curved . The AUDI comes up fast behind the DUCATI . Jack swerves the DUCATI onto the other side of the road . The AUDI swerves left and tries to crush JACK into the left - hand wall of the tunnel . Suddenly , a CAR comes round the bend . What happens next happens fast : JACK swerves left and skids into a SERVICE LAY - BY , narrowly avoiding the CAR . The lay - by is small and JACK has to slide the DUCATI on it 's side as he crashes it into the box - like space . The lay - by is too small for the AUDI . The AUDI and oncoming CAR collide . The AUDI 's crumple zones buckle as both vehicles ' bonnets concertina like a road safety test . The AUDI has air bags . The oncoming CAR does not . On impact , its DRIVER goes through the windscreen of his own car and onwards , through the windscreen of the AUDI . The wreckage is awesome . Deep within the mangled metal of the two cars . the YOUNG MAN groans and twitches . JACK appears at the crumpled window of the AUDI . He reaches through the broken window , grabs the YOUNG MAN by the head . and breaks his neck .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS- DAWN</stage_direction> <scene_description>JACK washes away the worst of the dirt and the blood in a MOUNTAIN STREAM .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD- DAY</stage_direction> <scene_description>JACK on the DUCATI . Turns off at a sign for L'AQUILA .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA- MORNING</stage_direction> <scene_description>L'AQUILA is the nearest and largest town in the region . It 's also the location of the Via Lampedusa brothel . JACK comes out of a pharmacy and quite literally bumps into CLARA . He winces with pain .</scene_description> <character>CLARA</character> <dialogue>Buon giorno!</dialogue> <character>JACK</character> <dialogue>Buon giorno.</dialogue> <character>CLARA</character> <dialogue>You are hurt?</dialogue> <character>JACK</character> <dialogue>I'm fine.</dialogue> <character>CLARA</character> <dialogue>What's wrong with you?</dialogue> <character>JACK</character> <dialogue>It's nothing really. Just a broken rib. Un costollo rotta?</dialogue> <character>CLARA</character> <dialogue>Stronzo! Let me help you!</dialogue> <character>JACK</character> <dialogue>I came off my bike.</dialogue> <character>CLARA</character> <dialogue>But you have to go to the hospital!</dialogue> <character>JACK</character> <dialogue>No, no, no. I have pain killers. I just need a strong cup of coffee.</dialogue> <character>CLARA</character> <dialogue>I know a place which make the strongest coffee in L'Aquila.</dialogue> <scene_description>Her limpid brown eyes twinkle .</scene_description> </scene> <scene> <stage_direction>INT. CLARA'S APARTMENT- DAY</stage_direction> <scene_description>A small , simply furnished bedroom with a bed , a desk and a chair . As he sips a large cup of strong black coffee , CLARA cleans a vicious welt on his right shoulder blade . As the dirt and blood come away she reveals an exquisite tattoo . of a BUTTERFLY .</scene_description> <character>CLARA</character> <dialogue>Ve bene. Tutto posto. Signor Farfalla.</dialogue> <parenthetical>( Good .</parenthetical> <parenthetical>Everything 's OK .</parenthetical> <parenthetical>Mr. Butterfly . )</parenthetical> <dialogue /> <scene_description>His eyes open wide and he turns to her quickly .</scene_description> <character>JACK</character> <dialogue>Why d'you call me that?</dialogue> <scene_description>A beat .</scene_description> <character>CLARA</character> <dialogue>You have a tattoo. On your back.</dialogue> <scene_description>Of course . He relaxes . But not completely .</scene_description> </scene> <scene> <stage_direction>EXT. CASTELVECCHIO- DAY</stage_direction> <scene_description>The situation at the beginning of the movie is perfectly reversed . From the relative safety of CASTELVECCHIO , JACK watches CASTEL DEL MONTE through binoculars : - The Phone Box . - The Bar . - The pensione D'Abruzzo . No sign of the police . No sign of any Shadow Dwellers .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- SUNSET</stage_direction> <scene_description>JACK is in his usual phone box . His manner is quietly purposeful .</scene_description> <character>JACK</character> <dialogue>How did he know I was here, Larry?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You think I hired him?</dialogue> <scene_description>A beat .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Are you out of your fucking mind, Jack?</dialogue> <character>JACK</character> <dialogue>I doubt it.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>After everything I've done for you? The car, the cell phone.</dialogue> <parenthetical>( which you threw away . )</parenthetical> <dialogue>, the safehouse, the fake passport? Someone has to pay for this shit, Jack! I have to pay for this shit. It comes out of my commission. You're my lousy profit margin. Why the fuck would I take a contract out on my own profit margin? You're not thinking straight. I was the one who told you to leave town! I told you to come to Rome! God damn it you've got a job to do! Why the Hell would I.</dialogue> <scene_description>WHAM ! Something smacks into the phone box at high speed . JACK drops to his knees and reaches for his WALTHER . Outside the phone box three TEENAGERS are kicking a FOOTBALL around .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- NIGHT</stage_direction> <scene_description>TINS of fruit drops : three kinds : black cherry , pineapple and lemon . Each tin is emptied of its fruit drops . Twenty rounds of ammunition - each round packed in silica - fit exactly into each tin . Lead rounds in the black cherry , jacketed in the pineapple and explosive in the lemon . JACK re - seals each tin with sellotape .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, CORSO FREDERICO II - DAY</stage_direction> <scene_description>The colonnades of this popular pedestrain street are crowded with window shoppers , tourists taking coffee , old men discussing politics and office girls walking hand in hand and chattering like songbirds . JACK is in dark glasses . He 's sitting in a coffee shop under the colonnade sucking a fruit drop and reading a copy of Il Messagiero . C.U. we see he 's studying a small column concerning the murder of two prostitutes in the nearby city of Chieti . JACK spots CLARA walking along the corso . She 's with a girl he has not seen before . ANNA . ANNA is small town girl with a keen sense of fashion . She and CLARA are hand in hand . CLARA sees JACK and speaks to her friend . They cross through the throng of boulevardiers .</scene_description> <character>CLARA</character> <dialogue>My friend Anna. This is my friend Signor Farfalla.</dialogue> <scene_description>CLARA 's eyes twinkle mischievously . The girls cease to hold hands and ANNA offers hers to JACK . JACK half rises like the perfect gentlemen , folding his newspaper and accepting ANNA 's greeting .</scene_description> <character>JACK</character> <dialogue>How do you do?</dialogue> <character>ANNA</character> <dialogue>I am very well thank you.</dialogue> <scene_description>Ah . This is to be an impromptu English lesson . JACK acquiesces gracefully .</scene_description> <character>JACK</character> <dialogue>Will you take a coffee with me?</dialogue> <character>CLARA</character> <dialogue>That would be very good.</dialogue> <scene_description>He indicates two empty chairs .</scene_description> <character>JACK</character> <dialogue>Prego.</dialogue> <scene_description>CLARA moves her chair to sit closer to JACK . Under the table , her knee presses against his . ANNA also moves her chair nearer to JACK : but her motive is to move it out of the sun . She is not flirting .</scene_description> <character>CLARA</character> <dialogue>Anna is learning English.</dialogue> <character>JACK</character> <dialogue>Have you been to England?</dialogue> <scene_description>ANNA seems momentarily confused .</scene_description> <character>ANNA</character> <dialogue>But you are.</dialogue> <scene_description>She looks at CLARA .</scene_description> <character>ANNA</character> <dialogue>Lui Americano?</dialogue> <character>JACK</character> <dialogue>I am.</dialogue> <scene_description>JACK glances at CLARA . How much has she told her friend ?</scene_description> <character>ANNA</character> <dialogue>Ah. I have not been to England only to France. But I would love to go to America.</dialogue> <scene_description>The WAITER comes over .</scene_description> <character>JACK</character> <dialogue>Due cappuccini e un cafe corretto.</dialogue> <character>CLARA</character> <dialogue>Anna is like all Italians. She thinks America is like in the movies. Little Italy, `` West Side Story'', `` Chicago''. I tell her in these times America is like here, there, anywhere. The streets are not. pave - ed with gold.</dialogue> <scene_description>She beams happily at JACK . He smiles back at her .</scene_description> <character>JACK</character> <dialogue>If not with gold, than at least not with enough medieval cobbles to loosen every - self tapping screw in a Fiat.</dialogue> <scene_description>JACK beams . Neither girl understands . But everyone smiles happily . The WAITER brings the coffee and CLARA insists on paying .</scene_description> <character>JACK</character> <dialogue>Where do you come from, Anna?</dialogue> <scene_description>ANNA frowns . JACK plays teacher .</scene_description> <character>JACK</character> <dialogue>Dove abita?</dialogue> <character>ANNA</character> <dialogue>Ah, yes! I live in Via dell' Argilla. Nearby to Clara.</dialogue> <scene_description>JACK briefly wonders what else he could teach her . He scans both girls and decides CLARA is the prettier . CLARA seems to sense this . She smiles to herself . JACK is touched .</scene_description> </scene> <scene> <stage_direction>EXT. CORSO FREDERICO II, L'AQUILA- DAY</stage_direction> <scene_description>We cut wide and watch JACK talk inconsequentialities with the girls . They stand to go . JACK rises .</scene_description> <character>CLARA</character> <dialogue>Perhaps we will have a drink together soon? I am free.</dialogue> <scene_description>Her words sound rehearsed . She considers a crowded timetable .</scene_description> <character>CLARA</character> <dialogue>on Monday.</dialogue> <character>JACK</character> <dialogue>Great. I'll see you then.</dialogue> <character>CLARA</character> <dialogue>But Eduardo. Where would you like to meet?</dialogue> <scene_description>Again : rehearsed . JACK is not expecting this . CLARA looks at him mischievously . ANNA is listening .</scene_description> <character>JACK</character> <dialogue>How about our usual place?</dialogue> <character>CLARA</character> <dialogue>Our usual place?</dialogue> <scene_description>She feigns complete perplexity .</scene_description> <character>CLARA</character> <dialogue>I forgot. Where is our usual place?</dialogue> <character>JACK</character> <dialogue>You've forgotten?</dialogue> <character>CLARA</character> <dialogue>Remind me.</dialogue> <scene_description>The twinkle in her eye . She 's testing him . JACK is the perfect gentleman .</scene_description> <character>JACK</character> <dialogue>Maybe we should try something different.</dialogue> <character>CLARA</character> <dialogue>Where would you like to try, Eduardo?</dialogue> <scene_description>A beat . JACK spots a restaurant on the opposite side of the road .</scene_description> <character>JACK</character> <dialogue>Locanda Grapelli?</dialogue> <scene_description>There is no warmth in his suggestion . But CLARA does n't care .</scene_description> <character>CLARA</character> <dialogue>Locanda Grapelli! Si!</dialogue> <scene_description>She looks genuinely delighted .</scene_description> <character>ANNA</character> <dialogue>This is the best food in the area.</dialogue> <character>JACK</character> <dialogue>Good.</dialogue> <character>CLARA</character> <dialogue>Seven?</dialogue> <character>JACK</character> <dialogue>Seven.</dialogue> <character>CLARA</character> <dialogue>Locanda Grapelli.</dialogue> <character>JACK</character> <dialogue>Locanda Grapelli.</dialogue> <character>CLARA</character> <dialogue>You'll be there?</dialogue> <character>JACK</character> <dialogue>I'll be there.</dialogue> <character>CLARA</character> <dialogue>See you then, Eduardo.</dialogue> <character>JACK</character> <dialogue>See you then, Clara. It was a delight to meet you Anna. Arrivederci.</dialogue> <character>ANNA</character> <dialogue>Arrivederci, Signor Farfalla.</dialogue> <scene_description>There is an unmistakable twinkle in ANNA 's eye . How much she knows is uncertain . She kisses him swiftly and softly on the cheek . CLARA does the same on the lips . Behind the mischief in her eyes is something doubtful . Has she gone too far ?</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN L'AQUILA- DAY</stage_direction> <scene_description>JACK visits three stores : - In a PHOTOGRAPHIC SHOP he buys half a dozen FILM PROTECTION BAGS . - In a HABERDASHERS he purchases several packets of HOOKS and EYES like the kind you find on brassieres . - In a OFFICE SUPPLY SHOP he buys some custom made headed notepaper , invoice books , notepads , envelopes , metal pens , a calculator and a mobile phone .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- NIGHT</stage_direction> <scene_description>JACK opens a black combination lock SAMSONITE BRIEFCASE and lines the bottom and sides with the lead - lined film protection bags , cut to fit . Into the base of the briefcase he glues pre - shaped pieces of firm grey plastic foam . These form the pockets into which he slots the constituent parts of the SOCIMI SUBMACHINE GUN . They fit perfectly . Over this JACK uses the HOOKS and EYES to clip a false bottom : a tough card cover onto which are pasted the custom made headed notepaper , invoice books , notepads and envelopes . To the briefcase 's central divider he adds the metal pens , a calculator and a mobile phone . He sets the combination to 821 . Then shuts and locks the BRIEFCASE . This done he sits on the bed and stares at the case . With his work complete , he is struck by a terrible sense of emptiness .</scene_description> </scene> <scene> <stage_direction>EXT. PARCO DELLA RESISTENZA - JUST BEFORE DAWN</stage_direction> <scene_description>A small park not far from Castel Del Monte 's town square . It is just after dawn . The pine trees and the poplars are silent . The sun is not yet up but the day is light . Sparrows hop about , searching for crumbs . JACK , ravaged by lack of sleep , wonders about like the demon of a lost darkness , looking for his hole down to the underworld .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Buon giorno!</dialogue> <scene_description>He 's twenty meters away , his hand raised in half - welcome , half - benediction . They greet one another and FATHER BENEDETTO falls into slow step with JACK . The priest walks with his hands behind his back . JACK with his hands in his pockets .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I walk here to meditate. Once a week, Wednesday, the farthest one can travel in the week from the Sabbath. The trees are like the Stations of the Cross : by certain trees I thank God for certain favours he has granted me, or certain gifts he has made to me and all men. For example, here by this pine, I thank him for the many friendships I have and ask him to look after those of my friends who are troubled.</dialogue> <scene_description>They reach a Cypress tree and FATHER BENEDETTO bows his head in prayer . After a while he says :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Some walk here in the cool of evening. Others come at night.</dialogue> <scene_description>There is a slight sadness in his voice as he says to himself :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I wonder how many bastards have been made here?</dialogue> <scene_description>He gives a small sideways glance at JACK .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Perhaps you'll stay and settle here yourself?</dialogue> <character>JACK</character> <dialogue>What makes you think I'm leaving?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>You told me as much when we first met. Besides, those who seek for peace seldom find it. They're always moving on, looking elsewhere.</dialogue> <parenthetical>( A BEAT . )</parenthetical> <dialogue>And they are usually sinners.</dialogue> <character>JACK</character> <dialogue>All men are sinners.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Some are greater sinners than others. And those who seek peace have much sinning in their history.</dialogue> <character>JACK</character> <dialogue>I do n't seek peace. I never have.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Until now.</dialogue> <character>JACK</character> <dialogue>Perhaps. Perhaps I'll stay. The valley. The villages. The mountains.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Forgive me. This is the priest in me speaking. And the friend. But you have done much sinning, Signor Clarke. You still do.</dialogue> <character>JACK</character> <dialogue>I see a whore. She's young enough to be my daughter.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>I do not refer to the sins of carnality. But to the deadly sins.</dialogue> <character>JACK</character> <dialogue>Are n't all sins equal?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>We are not discussing theology, my friend, but you. You like this town, this valley. You should like to remain here and find your peace at last. Yet you can not. There is something you can not ignore. Some force. Some enemy.</dialogue> <scene_description>JACK is silent .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>You want to speak but you dare not. You know no one sufficiently well to share your history with them. You know I am trustworthy yet still you are cautious.</dialogue> <scene_description>FATHER BENEDETTO stops , compelling JACK to stop too - and face him .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>What job do you do, Signor? Are you on the run, as they say?</dialogue> <character>JACK</character> <dialogue>Who says?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>It's an expression, no?</dialogue> <character>JACK</character> <dialogue>Everyone's on the run from something.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Some men watch some of the shadows. You watch them all.</dialogue> <character>JACK</character> <dialogue>I've done nothing I did n't have good cause to do.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Do you wish to tell me?</dialogue> <character>JACK</character> <dialogue>For what reason?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>For your own sake. Perhaps I can pray for you?</dialogue> <scene_description>A change of pace .</scene_description> <character>JACK</character> <dialogue>I make things. Artifacts.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Counterfeit money?</dialogue> <character>JACK</character> <dialogue>Why do you say that?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>You work in metal. You are given some steel by Fabio, the car doctor.</dialogue> <character>JACK</character> <dialogue>You know a lot about me.</dialogue> <character>FATHER BENEDETTO</character> <dialogue>I know only what you do in the town. People talk to me. I am their priest and they trust me.</dialogue> <character>JACK</character> <dialogue>And I should too?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Of course.</dialogue> <scene_description>They stare at one another . JACK wants to confess . He does not know why . But he does n't . He does something we 're not expecting :</scene_description> <character>JACK</character> <dialogue>Fabio. The ` car doctor'. Was he conceived here father?</dialogue> <scene_description>FATHER BENEDETTO is motionless .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Why do you ask me that?</dialogue> <character>JACK</character> <dialogue>He looks like you. Even more than he does in the photos you keep of each other. Where was he conceived, father? Under one of these trees? At night? Like all the other bastards?</dialogue> <scene_description>There is a very , very long pause . FATHER BENEDETTO stares up at JACK with extraordinary intensity .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I do not remember, Signor. It was twenty - five years ago.</dialogue> <scene_description>FATHER BENEDETTO walks . JACK follows . A gust of wind makes dust swirl from the gravel path . The two men do not speak again until they reach the next set of Cyprus trees .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>In the end it is I who confesses to you.</dialogue> <character>JACK</character> <dialogue>Expecting me to reciprocate?</dialogue> <character>FATHER BENEDETTO</character> <dialogue>Perhaps. For your own good. You can not doubt the existence of Hell. You live in it. It is a place without love. As for me, I go about my daily duties because the town requires it of me. Some know what you know. Perhaps I have no right to wear these robes. But I do have a heart full of a father's love. Something close to His heart! And for that I am both grateful and happy.</dialogue> <scene_description>On JACK .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>What do you have, my friend?</dialogue> <scene_description>Another gust of wind . The priest looks up into JACK 's face . The assassin 's eyes are red and stinging . Perhaps its from the dust .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S ROOM- EVENING</stage_direction> <scene_description>JACK dresses very carefully for dinner . It is clear he wishes to make a favourable impression upon CLARA .</scene_description> </scene> <scene> <stage_direction>EXT. LOCANDA GRAPELLI- NIGHT</stage_direction> <scene_description>Stone steps lead up from the street to large paved veranda that overlooks the town . Overhead a canopy of vine and jasmine . Above that a sky full of stars . Of the thirty or so candle - lit tables that dot the veranda , more than half are occupied by romantic couples . JACK scans the tables and checks his watch . It 's shortly after seven pm and there 's no sign of CLARA . He waits . Then turns to leave .</scene_description> <character>CLARA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ciao.</dialogue> <scene_description>She kisses him once on the lips . She 's hot and flustered . She 's been rushing .</scene_description> <character>CLARA</character> <dialogue>I did not think you would come.</dialogue> <character>JACK</character> <dialogue>I was n't sure you meant me to.</dialogue> <scene_description>CLARA looks doubtful . It 's the same look she gave him at the cafe . She is breaking the golden rule of prostitution . Getting involved . Her heart is pulling one way and her head another .</scene_description> <character>CLARA</character> <dialogue>Certo.</dialogue> <scene_description>A WAITER approaches .</scene_description> <character>WAITER</character> <dialogue>Per due?</dialogue> <scene_description>Judging by his disapproving tone , the WAITER seems to know what CLARA does for a living . CLARA senses this immediately .</scene_description> <character>CLARA</character> <dialogue>Si.</dialogue> </scene> <scene> <stage_direction>EXT. LOCANDA GRAPPELLI- NIGHT</stage_direction> <scene_description>CLARA and JACK sit at a table overlooking the town . The WAITER lights their candle and deposits two menus peremptorily .</scene_description> <character>CLARA</character> <dialogue>Una botiglia di acqua minerale non gasata et. una Parasini, per favore.</dialogue> <scene_description>Completely ignoring her , the WAITER addresses JACK with a wink .</scene_description> <character>WAITER</character> <dialogue>Menu in Inglese?</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>No, grazie.</dialogue> <character>WAITER</character> <dialogue>Tedesco? Olandese?</dialogue> <character>CLARA</character> <parenthetical>( to the WAITER . )</parenthetical> <dialogue>He speaks Italian. So do I. Listen :</dialogue> <scene_description>She repeats her order , articulating each word emphatically , like a teacher to a slow school child :</scene_description> <character>CLARA</character> <dialogue>Una botiglia di acqua minerale et una Parasini, per favore.</dialogue> <scene_description>She is n't upset . It 's just her way of letting both men know that she 's in charge . The WAITER turns to her , deferring to her strength of character .</scene_description> <character>WAITER</character> <dialogue>Gasata?</dialogue> <character>CLARA</character> <dialogue>Non gasata.</dialogue> <scene_description>He nods with some genuine deference and leaves . CLARA sighs .</scene_description> <character>CLARA</character> <parenthetical>( mostly to herself . )</parenthetical> <dialogue>Cittadina.</dialogue> <character>JACK</character> <dialogue>Small towns.</dialogue> <scene_description>JACK smiles . CLARA smiles back . They have this contempt in common . The WAITER reappears and pours a thumbful of wine . It is pale red in colour and frizzante . At CLARA 's insistence , JACK tastes it . It is dry and has a tar - like aftertaste .</scene_description> <character>CLARA</character> <dialogue>Parasini. From Calabria. It is good, you will agree?</dialogue> <character>JACK</character> <dialogue>It is. Very good.</dialogue> <scene_description>He looks at her and - for a brief moment - he undergoes what is a unique experience for him : a positive longing to repeat this brief moment many times in the future . CLARA catches the glow of his warmth and blossoms .</scene_description> <character>CLARA</character> <dialogue>Can I ask you something, Eduardo?</dialogue> <character>JACK</character> <dialogue>Sure.</dialogue> <character>CLARA</character> <dialogue>You are married?</dialogue> <character>JACK</character> <dialogue>No.</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>I doubt any of the couples here are. With the exception of the Germans at table seven. She's wearing a wedding ring and they have n't spoken a word to each other for eight and half minutes.</dialogue> <character>CLARA</character> <dialogue>I was sure this was your secret.</dialogue> <character>JACK</character> <dialogue>What makes you think I have a secret? I'm an ordinary man. I cough. I fart. I earn a living.</dialogue> <scene_description>JACK observes a GYPSY selling roses .</scene_description> <character>CLARA</character> <dialogue>I do not think you are an ordinary man. I think you are a good man. But you have a secret.</dialogue> <scene_description>The GYPSY approaches , offering CLARA a ROSE . She refuses firmly .</scene_description> <character>CLARA</character> <dialogue>He thinks we are a couple.</dialogue> <scene_description>JACK signals to the GYPSY and buys CLARA a ROSE .</scene_description> <character>JACK</character> <dialogue>Why spoil the illusion?</dialogue> <scene_description>She looks at him and smiles .</scene_description> <character>CLARA</character> <parenthetical>( in ITALIAN . )</parenthetical> <dialogue>As long as we know it is an illusion.</dialogue> <scene_description>Her smile is only a little bit sad . Still , JACK does n't know what to say . They are saved by the appearance of the WAITER .</scene_description> <character>WAITER</character> <dialogue>Buona sera. Desidera?</dialogue> <scene_description>CLARA orders , full of Italian charm , putting JACK at his ease . He watches her contentedly : the way she talks and moves .</scene_description> </scene> <scene> <stage_direction>EXT. CORSO FREDERICO- NIGHT</stage_direction> <scene_description>JACK and CLARA are walking . He has a cigarette in his mouth . They look like film stars . CLARA slips her arm through his . They say nothing . The pedestrian shopping street is thronging with other couples .</scene_description> </scene> <scene> <stage_direction>EXT. COFFEE BAR- NIGHT</stage_direction> <scene_description>The coffee bar has an outside section . CLARA and L'AMERICANO are seated in a throng of happy youngsters Clara 's age . JACK is the oldest person there . The WAITRESS brings two glasses of PROSECCO . She puts a small silver bowl of raspberry ice cream down in front of JACK . In front of CLARA she puts down an extravagant ice cream sundae . CLARA grins at her sundae like a little girl . She 's a bit drunk .</scene_description> <character>CLARA</character> <dialogue>Woooow!</dialogue> <scene_description>She eats , savoring the ice cream . JACK watches , savoring her pleasure .</scene_description> <character>JACK</character> <dialogue>How is it?</dialogue> <character>CLARA</character> <dialogue>Bitchin'.</dialogue> <character>JACK</character> <parenthetical>( amused . )</parenthetical> <dialogue>Bitchin'?</dialogue> <character>CLARA</character> <dialogue>It's - come se dice - ` slang', no? Eco.</dialogue> <scene_description>She scoops a spoonful dripping with nuts and chocolate sauce and holds it out to JACK .</scene_description> <character>JACK</character> <dialogue>No thanks.</dialogue> <character>CLARA</character> <dialogue>Come on, Eduardo!</dialogue> <scene_description>He hesitates . He eats .</scene_description> <character>CLARA</character> <dialogue>It is good, you will agree?</dialogue> <character>JACK</character> <parenthetical>( his mouth full . )</parenthetical> <dialogue>I will agree.</dialogue> <character>CLARA</character> <parenthetical>( sensing his teasing . )</parenthetical> <dialogue>My English is nice!</dialogue> <character>JACK</character> <dialogue>It's bitchin'.</dialogue> <character>CLARA</character> <parenthetical>( defending herself . )</parenthetical> <dialogue>You know how to swear in Italian?</dialogue> <character>JACK</character> <dialogue>Sure. Bastardo. Imbecile.</dialogue> <character>CLARA</character> <dialogue>`` Imbecile?'' Eduardo! Try : Mangia merde e morte : tuo cazzo un brufolo.</dialogue> <character>JACK</character> <dialogue>Eat shit and die, pimple dick?</dialogue> <scene_description>CLARA hiccups .</scene_description> <character>CLARA</character> <dialogue>Perdone!</dialogue> <character>JACK</character> <dialogue>I guess I've led a sheltered life. Of sorts.</dialogue> <character>CLARA</character> <dialogue>Shell - tered?</dialogue> <character>JACK</character> <dialogue>Too much work.</dialogue> <scene_description>CLARA 's CELL PHONE starts to ring . It 's on silent , but the screen is flashing , just visible where it sticks out of her handbag . CLARA looks down at the phone .</scene_description> <character>CLARA</character> <dialogue>Too much work.</dialogue> <scene_description>She turns the phone to silent . And looks up at JACK .</scene_description> <character>CLARA</character> <dialogue>I do n't apologise, Eduardo.</dialogue> <character>JACK</character> <dialogue>For what?</dialogue> <character>CLARA</character> <dialogue>For this I do. My job.</dialogue> <character>JACK</character> <dialogue>Never apologise.</dialogue> <scene_description>He means it . A beat .</scene_description> <character>CLARA</character> <dialogue>Except this job is full of testa di cazzo.</dialogue> <character>JACK</character> <dialogue>Mine too.</dialogue> <character>CLARA</character> <dialogue>Lei?</dialogue> <character>JACK</character> <dialogue>Si.</dialogue> <character>CLARA</character> <dialogue>But you are too young to. pensione?</dialogue> <character>JACK</character> <dialogue>Retire.</dialogue> <character>CLARA</character> <dialogue>Si.</dialogue> <character>JACK</character> <dialogue>Liar.</dialogue> <character>CLARA</character> <dialogue>No!</dialogue> <character>JACK</character> <dialogue>Would you be flattering me if I was n't a client?</dialogue> <scene_description>He 's put CLARA on the spot .</scene_description> <character>JACK</character> <dialogue>Am I a client?</dialogue> <scene_description>CLARA takes a deep breath .</scene_description> <character>CLARA</character> <dialogue>This say yes.</dialogue> <scene_description>She points at her head .</scene_description> <character>CLARA</character> <dialogue>This.</dialogue> <scene_description>She points at her heart .</scene_description> <character>CLARA</character> <dialogue>This can not be for sale. But I am not want to. come se dice?</dialogue> <character>JACK</character> <dialogue>Give it away.</dialogue> <scene_description>She looks at him . JACK studies her , searching for his own feelings .</scene_description> <character>CLARA</character> <dialogue>Stronzo! I buy you a present!</dialogue> <scene_description>She fishes about in her handbag . and produces a SILVER BOX . JACK unwraps the shiny paper . Inside is a plastic case like the sort you put engagement rings in . Inside the case is a BADGE , hand - painted , depicting the symbol of the region : the eagle of L'Aquila . JACK sticks the BADGE in his lapel .</scene_description> <character>JACK</character> <dialogue>Grazie.</dialogue> <scene_description>An embarrassed beat . CLARA kisses him .</scene_description> <character>JACK</character> <dialogue>Grazie, Clara.</dialogue> <character>CLARA</character> <dialogue>Prego. Eduardo.</dialogue> <scene_description>A pause .</scene_description> <character>CLARA</character> <dialogue>My apartment is not far from here.</dialogue> </scene> <scene> <stage_direction>INT. CLARA'S APARTMENT- MORNING</stage_direction> <scene_description>JACK opens his eyes . Sits up . He 's shocked to have slept so deeply . CLARA must be in the shower . He looks around at the little room casually , like a curious lover . Opens the top drawer of the bedside cabinet . Finds a VIBRATOR . Opens the bottom drawer . Finds a RED PURSE . Inside the RED PURSE . Finds a BERETTA DOUBLE - ACTION MODEL 21A BOBCAT . Just at that moment CLARA comes out of the bathroom . JACK shuts the drawer and pretends to be asleep .</scene_description> </scene> <scene> <stage_direction>EXT.PAY PHONE- DAY</stage_direction> <scene_description>JACK has driven to the remotest phone box he can find : not far from the entrance to one of the region 's four national parks : beside a lake , below a mountain range and approached by a long , straight , empty road . No one could possibly creep up on him here . Nevertheless , as he talks , JACK makes his habitual and continuous 360 scan of the area .</scene_description> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We're moving the drop.</dialogue> <character>JACK</character> <dialogue>Where?</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We do n't know yet. I'll call you ten am on the day with a venue. Give you enough time to make the noon delivery.</dialogue> <character>JACK</character> <dialogue>I do n't deliver, Larry. I never deliver. It's too dangerous. She comes to me. I know the town. That's what we agreed.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I told ` em. I told ` em if there was even the slightest chance security had been breached, you'd have dealt with it immediately.</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Breach? What breach?</dialogue> <scene_description>For the first time in the movie we cut to LARRY at home :</scene_description> </scene> <scene> <stage_direction>INT. LARRY'S APARTMENT, ROME- DAY</stage_direction> <scene_description>LARRY is sitting in a high back leather office chair before a large , imperial mahogany desk . In front of him are two banks of screens . The first bank displays 3 CCTV views : -LRB- 1 -RRB- the entrance to his apartment block -LRB- 2 -RRB- a staircase and -LRB- 3 -RRB- the entrance to his apartment itself . Another bank of screens shows 3 NEWS CHANNELS : -LRB- 1 -RRB- CNN , -LRB- 2 -RRB- BBC WORLD and -LRB- 3 -RRB- AL JAZEERA .</scene_description> <character>LARRY</character> <dialogue>Our pretty young Belgian client and her associates think someone on your long list of enemies might have put a tail on you.</dialogue> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Not possible.</dialogue> <character>LARRY</character> <dialogue>Course not, Jack. But if, for the sake of argument, it was possible - I'm thinking it could be Galazzo. Or Simenov. Or Italian undercover.</dialogue> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Cops?</dialogue> <character>LARRY</character> <dialogue>The crooked kind.</dialogue> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>How come I'm still here?</dialogue> <character>LARRY</character> <dialogue>The Belgians think they're planning to wait for the drop and exterminate you and Mathilde in one swoop.</dialogue> <scene_description>With the help of his DESKTOP computer LARRY is comparing the scrolling share prices on CNN with the fluctuating value of the US DOLLAR .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Where the hell's this information coming from?</dialogue> <character>LARRY</character> <dialogue>I'm fucked if I know, Jack. If you want my opinion, they're just being jittery. I told ` em you were the most security conscious professional I know. I told ` em no one gets close to you.</dialogue> </scene> <scene> <stage_direction>EXT.PAY PHONE- DAY</stage_direction> <character>JACK</character> <dialogue>They do n't.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I told ` em if we could n't trust you to keep a tight lid on operations the who could we trust?</dialogue> <character>JACK</character> <dialogue>They can. They can trust me and so can you.</dialogue> <scene_description>JACK is tense . Every word is carefully enunciated :</scene_description> <character>JACK</character> <dialogue>I've never jeopardised an operation in my life.</dialogue> <character>LARRY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You do n't have to tell me that, Jack. For Christ's sake, you closed your own girlfriend's account.</dialogue> <scene_description>ECU on JACK .</scene_description> </scene> <scene> <stage_direction>INT. LARRY'S APARTMENT, ROME- DAY</stage_direction> <scene_description>The words are out before he can stop them .</scene_description> <character>LARRY</character> <dialogue>Jack?</dialogue> <parenthetical>( A BEAT . )</parenthetical> <dialogue>Jack? I'm sorry.</dialogue> <scene_description>He rubs his eyes , wearied by his own insensitivity .</scene_description> <character>LARRY</character> <dialogue>That was, um. I'm just saying you can be relied on.</dialogue> <scene_description>Silence .</scene_description> <character>LARRY</character> <dialogue>Jack?</dialogue> <scene_description>CLICK .</scene_description> </scene> <scene> <stage_direction>EXT. PAY PHONE- DAY</stage_direction> <scene_description>JACK has hung up . He is lost in fearful thought , jaw muscles grinding .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH, ROOF- NIGHT</stage_direction> <scene_description>Amongst the GARGOYLES . JACK , looking through his miniature binoculars . His POV : Of CLARA seated in a cafe talking to a slick , tough YOUNG ITALIAN MAN in a suit . He is showing her photographs . Of what - we can not see . CLARA looks very , very serious . The YOUNG ITALIAN MAN leaves . JACK watches him get into a smart black ALFA ROMEO containing two other ITALIAN MEN . Rome plates . When he looks back at the cafe , CLARA has gone .</scene_description> </scene> <scene> <stage_direction>INT. PENSIONE ABRUZZO, JACK'S ROOM- DAY</stage_direction> <scene_description>JACK opens his PICNIC HAMPER and in it he puts : - a polystyrene cool box packed with ice and containing a chilled bottle of Aspirinio - a loaf of course bread - two clods of mozarella - 150 gms of proscuitto - and his WALTHER PPK/S .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE- DAY</stage_direction> <scene_description>CLARA is waiting on the Via Strinella near the entrance to the Parco della Resistanza , sheltering in the shade of a tree . She is holding the RED PURSE . At her feet is blue plastic bag rounded out by a watermelon . JACK pulls his CAR into the curb .</scene_description> <character>CLARA</character> <dialogue>Ciao, Eduardo!</dialogue> <scene_description>She opens the passenger door , leans in and kisses JACK long and full on the lips .</scene_description> <character>JACK</character> <dialogue>Put them in the back. We've got a way to go.</dialogue> <scene_description>She puts the plastic bag in the trunk . Inside the trunk is the PICNIC HAMPER .</scene_description> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>CLARA climbs in and fastens her seat - belt . She puts the RED PURSE between her legs . JACK glances at the RED PURSE . And drives .</scene_description> <character>CLARA</character> <dialogue>Where we go?</dialogue> <character>JACK</character> <dialogue>Swimming.</dialogue> <character>CLARA</character> <dialogue>How far do we go? To Fanale?</dialogue> <character>JACK</character> <dialogue>An hour. And we're not going to the sea, we're going to the lakes. In the mountains.</dialogue> <character>CLARA</character> <dialogue>For a. come se dice. you have in the back.</dialogue> <character>JACK</character> <dialogue>A picnic.</dialogue> <character>CLARA</character> <dialogue>A pick - nick! We are going for a pick - nick. Just the two of us.</dialogue> <scene_description>She looks at him .</scene_description> <character>CLARA</character> <dialogue>I have practise my English, Eduardo. I love to have pick - nick. It is a beautiful day, is n't it?</dialogue> <character>JACK</character> <dialogue>It is.</dialogue> </scene> <scene> <stage_direction>EXT. ALPINE ROAD- DAY</stage_direction> <scene_description>The CAR negotiates a familiar hairpin bend .</scene_description> </scene> <scene> <stage_direction>INT. CAR- DAY</stage_direction> <scene_description>CLARA is station hopping . She finds some LOU REED . She loves LOUD REED . JACK is concentrating on the road .</scene_description> <character>CLARA</character> <dialogue>Is it more far?</dialogue> <character>JACK</character> <dialogue>Ten kilometres. Another twenty minutes.</dialogue> <scene_description>She pauses to work out the mathematics . She 's smart . And puzzled . But she 's not frightened . Not yet .</scene_description> <character>CLARA</character> <dialogue>Twelve kilometres? In twenty minutes?</dialogue> <character>JACK</character> <dialogue>We're going off the beaten track.</dialogue> <scene_description>She looks confused .</scene_description> <character>JACK</character> <dialogue>Lontano. Fuori mano.</dialogue> <scene_description>CLARA laughs .</scene_description> <character>CLARA</character> <dialogue>You will speak Italian. One day, I will teach you.</dialogue> </scene> <scene> <stage_direction>EXT. ALPINE TRACK- DAY</stage_direction> <scene_description>JACK turns off the main road and onto an alpine track . This is the same route he took with the Belgian woman . The CAR bumps and tilts on the rough terrain .</scene_description> </scene> <scene> <stage_direction>INT. CAR- CONTINUOUS</stage_direction> <scene_description>CLARA is startled by such an insignificant track .</scene_description> <character>CLARA</character> <dialogue>Where are we going?</dialogue> <scene_description>Now she 's anxious . This is not what she expected .</scene_description> <character>JACK</character> <dialogue>You shall see.</dialogue> <character>CLARA</character> <dialogue>I think it is good we should stay close to the road.</dialogue> <character>JACK</character> <dialogue>There's no need to worry. I've been here before several times. Taking photographs.</dialogue> <scene_description>He swings the wheel suddenly to avoid a large boulder and the Citroen pitches as if struck by a wave . CLARA clings to the door with her right hand , her left hand dug deep into the fabric of the seat to steady herself .</scene_description> <character>JACK</character> <dialogue>You're not afraid of coming into the wild with me, are you?</dialogue> <character>CLARA</character> <dialogue>No!</dialogue> <scene_description>She laughs tensely .</scene_description> <character>CLARA</character> <dialogue>Of course I am not. Not with you. But this.</dialogue> <scene_description>She snaps her fingers .</scene_description> <character>CLARA</character> <dialogue>sentiero!</dialogue> <scene_description>She waves her hand in the air .</scene_description> <character>CLARA</character> <dialogue>You should have a jeep. A Toyota. It is not good for a. berlina.</dialogue> <scene_description>It 's as if the increased danger of the track diminishes her English .</scene_description> <character>JACK</character> <dialogue>This is a Citroen!</dialogue> <scene_description>He strikes the steering wheel hard with the palm of his hand .</scene_description> <character>JACK</character> <dialogue>This was made by the French for taking potatoes to market. Besides, I always come here in this car.</dialogue> <character>CLARA</character> <dialogue>You sure?</dialogue> <character>JACK</character> <dialogue>Of course. I do n't want to walk back to town any more than you do.</dialogue> <character>CLARA</character> <dialogue>I think you are crazy. This will go to nowhere.</dialogue> <character>JACK</character> <dialogue>I assure you it does.</dialogue> <scene_description>She pouts her reply . The TRACK disappears into a WOOD and runs out altogether , giving way to grass .</scene_description> <character>CLARA</character> <dialogue>Now there is no road!</dialogue> <scene_description>JACK stops the car and turns the engines off . Sudden silence . CLARA lets go of the seat .</scene_description> <character>CLARA</character> <dialogue>Is this where we go?</dialogue> <scene_description>They are surrounded by trees .</scene_description> <character>JACK</character> <dialogue>No. Not quite. We go another hundred metres, through the wood. But from here we just roll forward. No motor. No sound. And you'll see a wonder.</dialogue> <scene_description>She grips the seat again .</scene_description> <character>JACK</character> <dialogue>You wo n't need to hold on. I'll go slowly. Just relax and look.</dialogue> <scene_description>He eases his foot off the brake and the car begins to move forward , the springs squeaking slightly . After 50 metres JACK twists the steering wheel slightly and applies the brakes . They roll gradually down to the outer edge of the woods and come to a stop beneath a familiarly squat but ample WALNUT TREE . Beyond them is the LAKE , the MEADOWS and the RUINED HAMLET . The hidden valley is a riot of colour , the blooms and blossoms more brilliant than we 've ever seen them . By the edge of the lake stands a HERON , still as fence post . CLARA gets out of the car , dumbstruck . JACK gets out too . He watches her . then swiftly checks the ruined hamlet through his miniature binoculars . Deserted . By the time CLARA turns towards him , the binoculars are hidden .</scene_description> <character>CLARA</character> <dialogue>No one comes here?</dialogue> <scene_description>She speaks so quietly JACK can barely hear her .</scene_description> <character>JACK</character> <dialogue>No.</dialogue> <character>CLARA</character> <dialogue>Just you.</dialogue> <character>JACK</character> <dialogue>Yes.</dialogue> <scene_description>CLARA turns away , unbuttons her blouse and drops it on the grass . She is wearing no bra . On her back dapple the shadows and patches of sun eking through the branches of the walnut . She kicks off her shoes , which curve through the air . and unzips her skirt . It falls to the grass . She bends and steps daintily from her knickers . Then turns to face JACK . JACK can not take his eyes off her . Dizzy , he steps forward without meaning to .</scene_description> <character>CLARA</character> <dialogue>Well?</dialogue> <scene_description>She is coquettish - and tosses her auburn hair to one side .</scene_description> <character>CLARA</character> <dialogue>I am going to swim in the lake. Are you coming?</dialogue> <scene_description>She does n't wait for his reply , but turns and runs through the grass towards the water .</scene_description> <character>JACK</character> <dialogue>There are vipers! Vipera! Marasso!</dialogue> <character>CLARA</character> <dialogue>Maybe! But I am lucky!</dialogue> <scene_description>The HERON flies off , rising from the reeds with an ungainly flapping .</scene_description> <character>CLARA</character> <parenthetical>( shouting . )</parenthetical> <dialogue>He is an Italian bird! We disturb his siesta!</dialogue> <scene_description>Quickly , JACK glances inside the CITROEN . The RED PURSE is nowhere to be seen .</scene_description> <character>CLARA</character> <dialogue>Come, Signor Farfalla!</dialogue> <scene_description>JACK undresses . As he removes his clothes , he stalls for time , using the cover of undressing to search for the RED PURSE . We can see it wedged under the passenger seat . Due to the design of the car , JACK can not .</scene_description> <character>CLARA</character> <dialogue>Come!</dialogue> <scene_description>JACK turns to face the lake . He is naked . Yet with the caution of years he does not remove his shoes until he reaches the water 's edge . CLARA is standing in the middle .</scene_description> <character>CLARA</character> <dialogue>Stand by me.</dialogue> <scene_description>He obeys her order . He walks out to her and she takes his hand under the water , holding it out in front of them . JACK spots it resting on the smooth stone of the lake - bed . Brassy and gleaming . A SPENT SHELL . He covers it with his foot .</scene_description> <character>CLARA</character> <dialogue>Keep still. Watch.</dialogue> <scene_description>As the ripples of his arrival peter out in the reeds , TINY FISH appear in a shoal to gather about their hands . They hover like slivers of glass just under the surface then move in to nibble at the skin on their fingers .</scene_description> <character>JACK</character> <dialogue>If we stay here for a year, they'll devour us.</dialogue> <character>CLARA</character> <dialogue>It is said that if these fishes bite at two hands holding, then love is good for the people.</dialogue> <scene_description>He looks at her and for a moment he forgets the awful plan in his head . She kisses him , pressing herself against him , her skin and body as pure and warm as the water . He tries helplessly to pull away .</scene_description> <character>JACK</character> <dialogue>Maybe we should.</dialogue> <character>CLARA</character> <dialogue>Do you make love in the water?</dialogue> <character>JACK</character> <dialogue>I have n't.</dialogue> <scene_description>She places her arms around his neck and raises her feet from the smooth stones , wrapping her legs around his waist . She tries to push herself onto him but he resists .</scene_description> <character>CLARA</character> <dialogue>What's wrong?</dialogue> <scene_description>He does n't know what to say . She looks at him : confused , searching .</scene_description> <character>JACK</character> <dialogue>Let's eat.</dialogue> <scene_description>He walks towards the bank . She follows . The tiny fish dart around them for a few moments then flee for the reeds , travelling with the waves made by their departure .</scene_description> </scene> <scene> <stage_direction>EXT. LAKESIDE- DAY</stage_direction> <scene_description>CLARA is lying naked on a blanket . Beside her is the RED PURSE . Through sleepy , half - closed eyes she is watching L'AMERICANO . From her POV , JACK is kneeling behind the open PICNIC HAMPER , unpacking the food and wine . The LID of the basket obscures his hands .</scene_description> <character>CLARA</character> <dialogue>Eduardo.</dialogue> <scene_description>JACK looks at her .</scene_description> <character>CLARA</character> <dialogue>Is this your real name?</dialogue> <scene_description>A beat .</scene_description> <character>JACK</character> <dialogue>Is Clara yours?</dialogue> <character>CLARA</character> <dialogue>Si. Yes.</dialogue> <scene_description>She looks at him . Waiting for his reply .</scene_description> <character>JACK</character> <dialogue>Edward is my real name.</dialogue> <character>CLARA</character> <dialogue>Ed - ward.</dialogue> <scene_description>She does n't believe him .</scene_description> <character>CLARA</character> <dialogue>You are sure you are not married, Eduardo?</dialogue> <character>JACK</character> <dialogue>Quite sure.</dialogue> <scene_description>About this he 's telling the truth . CLARA reaches for the RED PURSE . From behind the picnic hamper lid we hear the CLICK of a cocking mechanism . CLARA hesitates for a moment . JACK watches her intently . She reaches into her purse . JACK is expressionless . When CLARA withdraws her right hand she is holding a tube of SUNTAN LOTION . A beat . JACK watches as she commences smoothing it into her skin , rubbing it around her breasts , pushing them aside , pressing them upwards . Then she caresses the lotion into her belly and down her thighs , bending at the waist as she works it into her shins .</scene_description> <character>CLARA</character> <dialogue>Will you put this on my back?</dialogue> <scene_description>She proffers him the SUNTAN LOTION . JACK stares at her baking body , transfixed by its terrible and perfect beauty . Hidden behind the LID of the picnic hamper . his trembling right hand grips tightly to his WALTHER . A long pause .</scene_description> <character>CLARA</character> <dialogue>Eduardo?</dialogue> <scene_description>He 's frozen .</scene_description> <character>CLARA</character> <dialogue>Amore?</dialogue> <scene_description>Time seems to stop . ECU on JACK . Suddenly , CLARA sits up .</scene_description> <character>CLARA</character> <dialogue>Eduardo, what's wrong?</dialogue> <scene_description>JACK swallows . When he speaks his mouth his dry .</scene_description> <character>JACK</character> <dialogue>Nothing.</dialogue> <scene_description>When he moves towards her , he is holding nothing in his hands . He takes the tube of SUNTAN lotion .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Dear Father Benedetto.</dialogue> <scene_description>And begins to run it into CLARA 's back .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I promised myself that I would write to you - as your friend - to say goodbye.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS- DAY</stage_direction> <scene_description>SLAM ! JACK shuts the boot of the car . He scans the lakeside . No sign of the picnic . No sign of CLARA .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Everything I've ever done.</dialogue> <scene_description>Then he spots something . On the ground , not far from the car . He walks over and picks it up . It 's one of CLARA 's shoes .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've done for a reason.</dialogue> <scene_description>JACK is staring at the SHOE .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I never thought the day would come when I'd run out of reasons. Reasons to worry. Reasons to run. Reasons to pull the trigger.</dialogue> <scene_description>JACK turns and walks over to the car . CLARA is in the passenger seat .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Maybe that day's come.</dialogue> <scene_description>JACK gets into the Citroen .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Or maybe I've just found a reason to change.</dialogue> <scene_description>And hands CLARA her shoe .</scene_description> <character>CLARA</character> <dialogue>Grazie, Eduardo.</dialogue> <character>JACK</character> <dialogue>I still do n't understand. What's the point of a gun if it's not loaded?</dialogue> <character>CLARA</character> <dialogue>One of the girls borrow it to me after the second hooker in Chieti is murdered. With some of the clients it make me feel safe. I do n't tell the police, of course, but. Madonna, Eduardo. How they do to these two women! A police agente from Rome show me photographs. They show photographs to everyone in Via Lampedusa.</dialogue> <scene_description>CLARA shivers with disgust .</scene_description> <character>CLARA</character> <dialogue>Non capito. how one person hurt another in this way.</dialogue> <scene_description>JACK looks lost , like a man drained of all resolution .</scene_description> <character>JACK</character> <dialogue>Does the gun make you feel safer with me?</dialogue> <character>CLARA</character> <dialogue>You are not a client.</dialogue> <character>JACK</character> <dialogue>Then why's it in your purse?</dialogue> <scene_description>CLARA looks unhappy .</scene_description> <character>CLARA</character> <dialogue>I have to work tonight, amore.</dialogue> <scene_description>Silence . JACK looks away .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Maybe this is suicide. Cops often put the graft on working girls. Perhaps the girl I told you about, Clara, has sold me out. Maybe she's a cop herself, or maybe she's a hired gun. Then again, maybe Clara is who she says she is and my Belgian clients will take the gun, shoot me themselves and keep the money. Always a risk in my profession. Or perhaps my trusted colleague in Rome no longer trusts me. Perhaps even you, Father, with your connections in Naples.</dialogue> <character>CLARA</character> <dialogue>What will you do?</dialogue> <character>JACK</character> <dialogue>I guess I'll go to work too.</dialogue> <character>CLARA</character> <dialogue>And after that? Tomorrow and the next day.</dialogue> <character>JACK</character> <dialogue>I ca n't stay here forever.</dialogue> <scene_description>As the words leave his lips he thinks how much he wishes he could .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's not that I've given up on life, Father. Just the way that I was living it. If you can call it living.</dialogue> <character>CLARA</character> <dialogue>I want always to stay here.</dialogue> <character>JACK</character> <dialogue>It's time to go home.</dialogue> <character>CLARA</character> <dialogue>Let me come to your home.</dialogue> <character>JACK</character> <dialogue>I ca n't, Clara. One day.</dialogue> <scene_description>She 's upset but decides not to press her demand .</scene_description> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>If I had one request, Father, it would be this. That it's not Clara who finally pulls the trigger. But whoever it is.</dialogue> <scene_description>CLARA kisses him and simply says :</scene_description> <character>CLARA</character> <dialogue>Stay forever here.</dialogue> <character>JACK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>by this time tomorrow I'll be dead.</dialogue> <scene_description>Fade to black .</scene_description> </scene> <scene> <stage_direction>EXT/INT. CHURCH- DAY</stage_direction> <scene_description>A POSTMAN hands the mail to FATHER BENEDETTO .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Ciao Fabio, come stai?</dialogue> <character>IL POSTINO</character> <dialogue>Bene grazie, Padre.</dialogue> <scene_description>We follow FATHER BENEDETTO inside as he rifles through a bunch of church circulars . One LETTER catches his eye . He opens it and starts to read aloud :</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Dear Father Benedetto. I promised myself that I would write to you - as your friend - to say goodbye.</dialogue> </scene> <scene> <stage_direction>INT. JACK'S ROOM- DAWN</stage_direction> <scene_description>JACK stands by the door in a impeccably pressed suit , the black SAMSONITE BRIEFCASE in his hand . He surveys his room . All evidence of his existence has been meticulously tidied away .</scene_description> <character>FATHER BENEDETTO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Everything I've ever done.</dialogue> <scene_description>JACK leaves . Only thing is left behind : The book of MEDIEVAL ITALIAN ART &amp; ARCHITECTURE on the bedside table .</scene_description> <character>FATHER BENEDETTO</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've done for a reason.</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA- DAY</stage_direction> <scene_description>The sun is shining . The mountains young and sharp and beautiful . The CAR moves swiftly across the viaduct that spans a spectacular gorge and plunges into a long tunnel .</scene_description> </scene> <scene> <stage_direction>INT. CAR- CONTINUOUS</stage_direction> <scene_description>JACK watches the road . On the long straights he looks backwards and forwards .</scene_description> </scene> <scene> <stage_direction>EXT. SERVICE STATION- DAY</stage_direction> <scene_description>JACK comes off the autostrada on a slip road and pulls into a forecourt consisting of several rows of Agip and Q8 pumps , a convenience shop , a repair garage and a cafe . The car park is not large . JACK parks the Citroen facing the EXIT . There is a single bar across it but this is raised . JACK double checks the magazine in his handgun is full and slips his WALTHER into his jacket pocket . Stepping out of the car he looks around the car park . It 's only a quarter full and ominously quiet . Somewhere in the distance we can hear a sound : creak , creak , creak , creak . JACK takes the BRIEFCASE from the rear seat and walks away . He makes a show of locking the car but does n't . As he approaches the CAFE he passes the GARAGE . We see the source of the creak , creak , creaking sound : a SIGN for engine oil , on hinges , revolving slowly in the breeze .</scene_description> </scene> <scene> <stage_direction>INT. AUTOSTRADA CAFE- DAY</stage_direction> <scene_description>Empty . JACK sits at a table at the back of the cafe . From here he can see both entrances : the public entrance and the service entrance and also the door to the bathrooms . Through the window , he has a good view of the garage forecourt and the slip road to and from the autostrada . JACK places the BRIEFCASE on a chair beside him and puts a PAPER BAG on the table next to the sugar dispenser . He checks his watch . It is two minutes before noon . He orders an espresso . His nerve - heightened senses take in everything : the sound of the cicadas , the buzz of the neon strip - lights and the creak , creak , creak of the engine oil sign outside , endlessly revolving . JACK 's eyes flick outside to the forecourt . We hear the cafe door open . And in an instant , MATHILDE is at his table . She is dressed in a tight black skirt , a simple blue blouse and a dark blue jacket . Her hair is neatly styled , her make - up immaculate and heavier than we 've seen her wear before . She looks exactly like the kind of woman who might carry a Samsonite briefcase .</scene_description> <character>MATHILDE</character> <dialogue>Hello. I see you have brought it in from the car with you.</dialogue> <scene_description>She speaks quietly : her voice low and attractive .</scene_description> <character>JACK</character> <dialogue>All there, as agreed.</dialogue> <character>MATHILDE</character> <dialogue>What's in the paper bag?</dialogue> <scene_description>The WAITRESS comes over with Jack 's coffee . MATHILDE orders another for herself .</scene_description> <character>JACK</character> <dialogue>Sweets. For your journey.</dialogue> <scene_description>She opens the bag and takes out one of the TINS . She can immediately feel that it 's heavier than it should be .</scene_description> <character>JACK</character> <dialogue>I guessed you'd have a sweet tooth.</dialogue> <character>MATHILDE</character> <dialogue>That is most thoughtful of you.</dialogue> <scene_description>The polite phrase sounds even more polite with her slight Belgian accent . The WAITRESS returns with the second espresso and MATHILDE pays for them both . JACK watches as she stirs her coffee to cool it . She 's nervous .</scene_description> <character>JACK</character> <dialogue>I suppose I'll read about this in the Times or the International Herald Tribune. Or Il Maessagiero.</dialogue> <scene_description>For a moment she is pensive .</scene_description> <character>MATHILDE</character> <dialogue>Yes, I expect so.</dialogue> <scene_description>She drinks her coffee , holding her cup in mid - air and looking out the window . JACK follows her eye - line to check she 's not signalling to an accomplice . The FORECOURT is still empty . Creak , creak , creak , creak . MATHILDE looks at JACK . Her expression is impossible to read . Perhaps it 's tinged with sadness . She drinks the rest of her coffee .</scene_description> <character>MATHILDE</character> <dialogue>I'm just going to the ladies. Wait here.</dialogue> <scene_description>She picks up the CASE . There is nothing JACK can do about this . She has taken him off guard and grasped the initiative . All he can do is wait .</scene_description> </scene> <scene> <stage_direction>INT. AUTOSTRADA BATHROOM- CONTINUOUS</stage_direction> <scene_description>MATHILDE enters a cubicle , opens the CASE , bypasses the stationary , lifts the false bottom and checks the SOCIMI parts are present and correct . Then she loads a magazine .</scene_description> </scene> <scene> <stage_direction>INT. AUTOSTRADA CAFE- DAY</stage_direction> <scene_description>MATHILDE returns from the bathroom .</scene_description> <character>MATHILDE</character> <dialogue>Shall we go.</dialogue> <scene_description>Not a question , a command . JACK is obliged to stand up .</scene_description> </scene> <scene> <stage_direction>EXT. AUTOSTRADA, CAR PARK- DAY</stage_direction> <scene_description>MATHILDE walks towards a large FORD . She is carrying the BRIEFCASE . JACK has his right hand in his jacket pocket .</scene_description> <character>MATHILDE</character> <dialogue>You wo n't need your piece.</dialogue> <scene_description>The slang word belies her . For an instant she has forgotten her Belgian accent . She sounds American .</scene_description> <character>JACK</character> <dialogue>You never know.</dialogue> <scene_description>She stops beside the FORD . JACK still has his hands on the Walther .</scene_description> <character>MATHILDE</character> <dialogue>OK?</dialogue> <character>JACK</character> <dialogue>Sure. You?</dialogue> <character>MATHILDE</character> <dialogue>Everything's just fine.</dialogue> <scene_description>She definitely sounds American now . Her RIGHT HAND slips into her pocket . JACK twists his wrist upwards and thumbs the cocking lever .</scene_description> <character>MATHILDE</character> <dialogue>Final payment.</dialogue> <scene_description>She hands JACK an ENVELOPE .</scene_description> <character>MATHILDE</character> <dialogue>Buy yourself a retirement clock.</dialogue> <scene_description>Her American accent shows that she 's letting her guard down . Maybe it 's designed to make JACK do the same . It does n't .</scene_description> <character>JACK</character> <dialogue>How do you know I'm retiring?</dialogue> <scene_description>She leans forward and kisses him lightly and quickly and on the lips .</scene_description> <character>MATHILDE</character> <dialogue>Have you taken your girl up to the meadow yet?</dialogue> <scene_description>JACK does n't answer . His whole body is tense for the bullet that he knows his coming . Perhaps there is a second person in the car . Just then . a COACH pulls into the car park . It stops with a hydraulic hiss and dozens of TEENAGE KIDS descend . MATHILDE looks both irritated and relieved .</scene_description> <character>MATHILDE</character> <parenthetical>( whispers to JACK . )</parenthetical> <dialogue>Do it.</dialogue> <scene_description>She gets into the driver 's seat of the FORD and swings the BRIEFCASE into the back .</scene_description> <character>MATHILDE</character> <dialogue>Goodbye, Mr. Butterfly.</dialogue> <scene_description>JACK tenses as MATHILDE raises her hand in farewell . The FORD pulls away and disappears down the slip road onto the autostrada . JACK watches it go . Thumbs back the lever on his Walther . Gets into his Citroen . And opens the ENVELOPE . - No wires . - No tricks . - Just a HUNDRED THOUSAND US DOLLARS . JACK stares at the money . He is n't supposed to be alive . For a while he stays put . He shuts his eyes in the sunshine and listens to the laughter of the teenage kids . To a girl calling : `` Amore ! '' To the cicadas . To the distant rush of traffic on the autostrada .</scene_description> </scene> <scene> <stage_direction>EXT. AUTOSTRADA- DAY</stage_direction> <scene_description>JACK drives fast . turning off the highway beneath a sign for L'AQUILA .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA- DAY</stage_direction> <scene_description>At the end a small street , JACK parks his car like a true Italian : illegally . Runs towards CLARA 'S APARTMENT . And rings the buzzer . No answer . JACK rings again . Still nothing . Shouts up at her window :</scene_description> <character>JACK</character> <dialogue>CLARA!</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA, CAFE- DAY</stage_direction> <scene_description>We 're at another roadside service station . LARRY comes out of a Kentucky Fried Chicken . He climbs into the passenger seat of the FORD . MATHILDE drives off .</scene_description> </scene> <scene> <stage_direction>INT. FORD- DAY</stage_direction> <scene_description>LARRY is dusting bread crumbs off his shirt . He 's about to get his hands dirty and he does n't like it .</scene_description> <character>LARRY</character> <dialogue>Not only did you not kill him, you gave him my fucking money?</dialogue> <character>MATHILDE</character> <dialogue>What else could I do? There were kids everywhere. Besides he's suspicious.</dialogue> <character>LARRY</character> <dialogue>He's paranoid. That's why I'm paying you the GDP of a small country to get close to him. You could have got him in the sack. You should have got him in the car park. Now you're going to have to take him out long range!</dialogue> <character>MATHILDE</character> <dialogue>I prefer it that way.</dialogue> <scene_description>She is a trained assassin . She respects JACK .</scene_description> <character>MATHILDE</character> <dialogue>The Socimi is the perfect weapon.</dialogue> <character>LARRY</character> <dialogue>Let's hope his workmanship is up to scratch.</dialogue> <scene_description>He slams a full magazine into the butt of a STERLING SUBMACHINE GUN .</scene_description> <character>LARRY</character> <dialogue>Sweden turned Jack into a liability. Three stiffs : two shooters and an innocent civilian. I ca n't afford a mistake like that again. Europol are crooked but they are n't cheap. Jack's supposed to make me money. Not run up cleaning bills.</dialogue> <character>MATHILDE</character> <dialogue>He made short work of the last guy you hired.</dialogue> <character>LARRY</character> <dialogue>Never mind Larson. He did n't stand a chance, not against someone as paranoid as Jack. The Swede was only there to take Jack's heat off you. So do n't fuck this up again.</dialogue> <scene_description>He grabs a TIN of fruit sweets .</scene_description> <character>LARRY</character> <dialogue>Mind if I help myself?</dialogue> <scene_description>LARRY opens the tin to find it full of AMMUNITION .</scene_description> <character>LARRY</character> <dialogue>Shit.</dialogue> <scene_description>He looks around the Ford .</scene_description> <character>LARRY</character> <dialogue>Is there any actual candy in this gas guzzler?</dialogue> </scene> <scene> <stage_direction>EXT. AUTOSTRADA- DAY</stage_direction> <scene_description>JACK turns off under the sign for CASTEL DEL MONTE .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, CHURCH STEPS- DAY</stage_direction> <scene_description>The town square is jam - packed with cars and coaches . Hundreds of tourists and locals have gathered on the church steps . There is even a camera crew . The church doors open and FATHER BENEDETTO steps out to a huge cheer . Behind him , LOCAL MEN are carrying a larger than life painted wooden STATUE OF SAINT DOMINIC . Draped over the saint 's shoulder and wrapped around his neck are around twenty five or thirty live SNAKES - local Viperi - each one several feet long and as thick as a skinny forearm . A local BAND strikes up as the STATUE is carried down the steps , FATHER BENEDETTO leading the strange annual religious parade around the town square , followed by a group of ALTAR BOYS .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, STREET- DAY</stage_direction> <scene_description>The giant FORD pulls up outside the town 's only proper HOTEL . MATHILDE gets out carrying the SAMSONITE BRIEFCASE .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY</stage_direction> <scene_description>JACK is looking for someone . The square is so tightly packed it 's hard to see , let alone move . Then he spots her . CLARA . She 's on the other side of the square , standing on the stone steps beneath a STATUE OF AN EAGLE . Her friend ANNA is beside her , taking photographs of the parade with a small digital camera . JACK moves towards CLARA . ANNA , through her viewfinder , is the first to notice him . She points JACK out to CLARA . CLARA waves at him . She says something to ANNA and descends into the crowd . JACK and CLARA squeeze their way through a sea of bodies towards one another as we cut to .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL ROOF- DAY</stage_direction> <scene_description>MATHILDE emerges through the fire escape door and walks to the edge of the roof . She opens the black SAMSONITE CASE and unpacks the top layer of office paraphernalia to reveal the disassembled parts of the SOCIMI SUBMACHINE GUN . Expertly she assembles the bastardised gun - including TELESCOPIC SIGHTS and SOUND SUPPRESSOR - slotting a full magazine into the base of the hand grip , snuggling the butt to her shoulder and placing her eye beside the rubber cup on the sight .</scene_description> </scene> <scene> <stage_direction>EXT. POV FROM TELESCOPIC SIGHTS- DAY</stage_direction> <scene_description>In the centre of the CROSS - HAIRS : JACK and CLARA meet . She kisses him . It is a long and loving kiss . The CROSS - HAIRS find the centre of JACK 's head . MATHILDE 'S FINGER . taking up the trigger slack .</scene_description> </scene> <scene> <stage_direction>EXT. TELESCOPIC SIGHTS- DAY</stage_direction> <scene_description>Other HEADS . - TOURISTS - LOCALS - KIDS on their PARENTS ' SHOULDERS . keep blocking our view of JACK . The TRIGGER FINGER , hesitating .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE- DAY</stage_direction> <scene_description>We 're right in the midst of the crowd . JACK and CLARA have to shout at one another above the noise of the band .</scene_description> <character>JACK</character> <dialogue>When can I see you?</dialogue> <character>CLARA</character> <dialogue>I have to work tonight.</dialogue> <scene_description>Their happiness clouds over . But the clouds pass quickly .</scene_description> <character>CLARA</character> <dialogue>You come to my apartment after.</dialogue> <character>JACK</character> <dialogue>If I asked you would you come away with me?</dialogue> <character>CLARA</character> <dialogue>Come away with you?</dialogue> <character>JACK</character> <dialogue>Why not?</dialogue> <character>CLARA</character> <dialogue>Together?</dialogue> <character>JACK</character> <dialogue>Together.</dialogue> <character>CLARA</character> <dialogue>Where?</dialogue> <character>JACK</character> <dialogue>Wherever. Then when we're through, we could come back here. For good.</dialogue> <character>CLARA</character> <dialogue>To live?</dialogue> <character>JACK</character> <dialogue>Where else?</dialogue> <character>CLARA</character> <dialogue>Forever?</dialogue> <character>JACK</character> <dialogue>Forever.</dialogue> <scene_description>A pause .</scene_description> <character>JACK</character> <dialogue>Unless you have other plans.</dialogue> <character>CLARA</character> <dialogue>Other plans?</dialogue> <scene_description>She swears in Italian . Obscenities . Then throws herself around JACK and squeezes him with all her strength . There are tears in her eyes .</scene_description> <character>CLARA</character> <dialogue>I love you, Signor Eduardo Farfalla.</dialogue> <scene_description>He looks at her .</scene_description> <character>JACK</character> <dialogue>I.</dialogue> <scene_description>The TRIGGER FINGER squeezes . The SOCIMI SUBMACHINE fires . An EXPLOSIVE BULLET travels down the chamber at approximately 360 miles per hour headed straight for JACK 's temporal lobe . Only it never gets there . The gun jams . A chamber explosion is a nasty thing . Instead of shooting out of the barrel , the round explodes in the cannon 's chamber . Hot shrapnel fragments like a land mine , ripping into MATHILDE 's hands , forearms and face .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE, TOWN SQUARE- DAY</stage_direction> <scene_description>A loud BANG pulls JACK and CLARA apart . Amidst the noise of the festival , no one else seems to notice . JACK looks in the direction of the HOTEL ROOF .</scene_description> <character>CLARA</character> <dialogue>What's happening?</dialogue> <character>JACK</character> <dialogue>Someone got what was coming to them.</dialogue> <scene_description>He turns to her :</scene_description> <character>JACK</character> <dialogue>Go to your apartment and pack. Wait ` till I get there. Do n't answer the door to anyone but me.</dialogue> <character>CLARA</character> <dialogue>Eduardo, please?</dialogue> <character>JACK</character> <dialogue>Trust me.</dialogue> <scene_description>She looks at him .</scene_description> <character>CLARA</character> <dialogue>I trust you.</dialogue> <scene_description>She wants to , but she does n't .</scene_description> <character>JACK</character> <dialogue>Clara. My name is not Eduardo.</dialogue> <character>CLARA</character> <dialogue>No?</dialogue> <character>JACK</character> <dialogue>My name is Jack.</dialogue> <character>CLARA</character> <dialogue>Jack.</dialogue> <scene_description>She looks worried .</scene_description> <character>CLARA</character> <dialogue>You promise you're not married?</dialogue> <character>JACK</character> <dialogue>I promise. Take this.</dialogue> <scene_description>He hands her an ENVELOPE . It contains his final instalment .</scene_description> <character>JACK</character> <dialogue>Look after it. In case.</dialogue> <character>CLARA</character> <parenthetical>( perplexed . )</parenthetical> <dialogue>In case?</dialogue> <scene_description>He wants to say it but he ca n't bring himself to . In case this is goodbye .</scene_description> <character>JACK</character> <dialogue>Now go.</dialogue> </scene> <scene> <stage_direction>EXT. STREET- DAY</stage_direction> <scene_description>LARRY is waiting on the corner of the town square . He is dialling and re - dialling a number in his mobile phone , scanning the crowds around him . In the two seconds it takes the TAXI to pass by , JACK steps free of a row cars on the other side of the street . As LARRY comes into view again , JACK sees the STERLING SUBMACHINE GUN in his hands . And LARRY sees JACK . LARRY 'S FINGER tightens on the trigger . L'AMERICANO throws himself to one side . There is a quick burst of popping explosions : ripping along the line of parked cars . PANIC erupts . JACK is about to fire back at LARRY but LARRY takes cover behind a TOURIST and fires back another brief burst . JACK is hit in the shoulder . He drops his gun . and retrieves it just as LARRY fires again . SCREAMS spread through the holiday crowd like a wave of fire moving down the street and spilling into the town square .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE- DAY</stage_direction> <scene_description>JACK runs into the square . LARRY pursues him , firing for a third time . The buzz of spent rounds and the crack of muzzle fire echo around the square , bouncing off the walls and confusing the crowd . People start to run in different directions - everyone heading for the maze of alleys that surround the main square . ALTAR BOYS scatter . So do the LOCAL MEN carrying the STATUE OF SAINT DOMINIC . The STATUE tumbles and smashes . Escaping SNAKES writhe . FATHER BENEDETTO takes cover . The two LOCAL CARABINIERI in their Land Rover get caught up in the chaos . Confused , they turn on their SIRENS . LARRY spots JACK in the crowd and fires a fourth time . One TOURIST is killed outright , another injured JACK dives for cover behind the STATUE OF THE EAGLE where he spotted Clara . Bullets ricochet .</scene_description> <character>LARRY</character> <dialogue>You're too old for this life, Jack.</dialogue> <scene_description>LARRY struggles for breath as he reloads . This is JACK 's chance .</scene_description> <character>LARRY</character> <dialogue>You get sentimental then you fuck things up.</dialogue> <scene_description>Rolling along the steps to the statue of the eagle , JACK spreads his legs , faces LARRY and fires the customary TWO PRECISION - ENGINEERED SHOTS that make up a military - style execution : The first shot hits LARRY in the heart . LARRY is thrown backwards against a parked car , accidentally altering his arc of fire as slugs bounce off the steps beside JACK , chips of marble stinging against his calves . Again , JACK takes aim . A beat as his finger tightens on the trigger . HEADSHOT . Half LARRY 'S FACE is wiped out of existence . What 's left of him slides down the parked car onto both knees . His hand flashes to his mangled throat then drops . He falls forwards and his STERLING clatters on the cobble stones . Complete silence . Not even the sound of a siren . The town square is empty . Except for FATHER BENEDETTO hiding in the wreckage of the broken STATUE . Jack 's WALTHER hangs ominously by his side . FATHER BENEDETTO stands unsteadily . Like lightening JACK spins , instinctively raising his WALTHER and zeroing in on FATHER BENEDETTO . His face is devoid of all emotion . He is a bloody machine looking at a potential target . We hear SIRENS . Across a slew of dead bodies , JACK keeps the gun pointed at FATHER BENEDETTO . FATHER BENEDETTO stands stock still , facing JACK . The SIRENS get louder .</scene_description> <character>JACK</character> <dialogue>What will you tell them?</dialogue> <scene_description>A beat . FATHER BENEDETTO takes something from inside his Soutane . And holds it up with a trembling hand . JACK 'S LETTER .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>I will them that the man who wrote this letter is my friend.</dialogue> <scene_description>FATHER BENEDETTO smiles sadly .</scene_description> <character>FATHER BENEDETTO</character> <dialogue>Jack.</dialogue> <scene_description>FATHER BENEDETTO shuts his eyes , muttering a quiet prayer . The SIRENS get closer . We hear Carabinieri screeching to a halt and clambering out of their cars , cocking submachine guns . When FATHER BENEDETTO opens his eyes again . JACK has disappeared .</scene_description> </scene> <scene> <stage_direction>EXT. CASTEL DEL MONTE- DAY</stage_direction> <scene_description>Using his meticulous knowledge of the alleyways and lanes that make up the medieval heart of the town , JACK avoids the CARABINIERI and , stealing a bicycle , makes it onto the main road before a road block has been set up .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, COACH STATION, LEFT LUGGAGE- DAY</stage_direction> <scene_description>JACK collects a sports bag from a LOCKER .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, COACH STATION, BATHROOM- DAY</stage_direction> <scene_description>JACK washes the blood from his hands .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, COACH STATION, MAIN HALL- DAY</stage_direction> <scene_description>When he emerges from the bathroom JACK is wearing the clothes of a fifty year - old American tourist from the mid - West with glasses and a baseball cap . He checks the time of next bus to Rome . Then glances at his watch . He has thirty minutes .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, STREET- DAY</stage_direction> <scene_description>JACK walks towards Clara 's APARTMENT BUILDING . Two hundred metres up ahead , two OFFICERS of the Guardia di Finanza wait in an unmarked car . JACK walks past Clara 's APARTMENT BUILDING . And keeps walking .</scene_description> </scene> <scene> <stage_direction>EXT. L'AQUILA, COACH STATION- DAY</stage_direction> <scene_description>The BUS for Rome is barely half - full . Blending in perfectly with a group of middle aged American tourists , JACK boards the steps , purchases a ticket and takes a seat at the rear .</scene_description> </scene> <scene> <stage_direction>EXT. AUTOSTRADA- DAY</stage_direction> <scene_description>A long tunnel : one of the longest in Europe . JACK alone at the back of the BUS . It seems like night : red stripes , strip lights , shadows . Vast fans suspended from the ceiling shift the traffic fumes . A button of light , expanding . as we burst into daylight . THE END .</scene_description> </scene> </script>

Jack, a gunsmith and contract killer, and his lover, Ingrid, are relaxing in Sweden. Jack becomes alarmed by a trail of footprints in the snow and pulls Ingrid towards shelter. Sniper gunshots ring out. Ingrid sees Jack pull a gun from his pocket and shoot the sniper. Knowing his identity is in jeopardy, and with little hesitation, Jack shoots and kills Ingrid. He flees to Rome and contacts his handler, Pavel, who insists that Jack cannot stay in Rome. Pavel sends him to Castelvecchio, a small town in the mountains of Abruzzo. Jack becomes nervous, and disposing of the cell phone Pavel gave him, goes to nearby Castel del Monte instead—where he uses the name Edward. While in Abruzzo, Jack contacts Pavel, who sets him up with another job. He meets Mathilde, an assassin who wants him to build her a custom sniper rifle. He also begins patronizing a prostitute, Clara, and they begin a relationship separate from her business duties. Jack meets with Mathilde to test the weapon. She is impressed by the craftsmanship, but asks him to make a few more adjustments. Later, Jack realizes that he is being followed by an assassin from Sweden, whom he kills. Jack is tormented by dreams of the events in Sweden and regrets killing Ingrid. His friendship and conversations with a local priest, Father Benedetto, encourage him to question his life choices. Both Mathilde and Clara notice Jack's association with butterflies, Mathilde by his expertise in endangered butterflies and Clara by his prominent tattoo. When Father Benedetto tells Jack he senses he lives in a special kind of hell, "a place without love", Jack starts to let himself feel love for Clara, and envisions a life with her. Jack talks to Pavel one last time—asking how the Swedes have found him. In his growing fear, he even suspects Clara when he discovers a small pistol in her purse. He questions Clara about the gun and is satisfied with her explanation (to defend herself, since newspapers have reported murdered prostitutes). Jack agrees to deliver the weapon to Mathilde as his last job, but at the last moment, he re-opens the briefcase. At the drop-off, Jack becomes suspicious that Mathilde plans to kill him. Before anything can happen, a busload of school children arrives. Mathilde gives Jack his payment—a thick envelope full of cash—and the two separate. As Mathilde drives away, Pavel contacts her and asks if she has killed Jack. She tells him she has not, but says she is following him and will kill him. Clara meets Jack at a religious procession in town. Jack asks her to go away with him and she agrees. Mathilde tries to shoot Jack from a nearby rooftop but the rifle explodes in her face, confirming Jack's suspicion and his last-minute decision to sabotage the rifle. Seeing Mathilde fall from the roof, Jack gives Clara the envelope full of cash and tells her to go to a river where they had picnicked and wait for him. He runs to Mathilde, who is dying on the pavement, and discovers that she also works for Pavel. As Jack goes to meet Clara, he hears Pavel behind him. They exchange gunfire and Pavel drops dead. As Jack drives to meet Clara at the river, he feels his abdomen and realizes he has been shot. Jack arrives at the picnic spot and as he sees Clara, he collapses. Clara screams and runs to the car. A white butterfly flits skyward from Jack's car.

Bad Moms_2016

tt4651520

<script> <scene> <character>BAD MOMS</character> <dialogue>Written by</dialogue> <scene_description>Jon Lucas &amp; Scott Moore June 9, 2015</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER, MASSACHUSETTS -- MORNING</stage_direction> <scene_description>Norchester is a beautiful, leafy suburb of Boston. Kids ride bikes. Dads walk dogs. Neighbors chat with each other. And in the middle of town sits THE NORCHESTER SCHOOL Surrounded by playgrounds and lush fields, Norchester is the public school we all wish our kids could go to: dynamic teachers, motivated students, winning sports teams, every type of arts program imaginable -- it's perfect. A LINE OF MINIVANS DISGORGE HUNDREDS OF K-12 CHILDREN in front of the school as WELL-DRESSED MOMS load up their precocious KIDS with backpacks, lunchboxes, and science projects before kissing them goodbye. Then A TOTALLY BUSTED 1985 TOYOTA CELICA thunders up to the school blasting HIP HOP and billowing GREY SMOKE from its tailpipe. The car rumbles to a stop and a HUGE 15 YEAR OLD with a mullet and ripped jeans get out--</scene_description> <character>VOICE FROM THE CAR</character> <dialogue>Hey dum-dum you forgot your lunch!</dialogue> <scene_description>A bag of McDONALD'S flies out of the car. The giant kid catches the bag and shambles off towards the school. Finally we reveal the MOM driving the Celica: CARLA DUNKLER She's wearing a low cut silver lamé top, no bra, sunglasses, and she couldn't give a fuck. FREEZE FRAME on Carla lighting up a cigarette as we smash the title over her face:</scene_description> <character>BAD MOMS</character> <dialogue>UNFREEZE as camera captures all of the other MOMS' horrified reactions to Carla. They shake their heads, disgusted...</dialogue> <scene_description>CARLA JUST FLIPS THEM ALL THE BIRD as she roars off down the street. The camera STAYS WITH the beautiful, super-fit, super-rich alpha mom of the school GWENDOLYN JAMES as she watches Carla drive off. She turns to her two best friends, VICKY LATROBE, not so bright, and MEAN STACY:</scene_description> <character>GWENDOLYN</character> <dialogue>That woman is a fucking cancer.</dialogue> <character>MEAN STACY</character> <dialogue>Why can't you get them kicked out of the school, like you did with the Mandel's?</dialogue> <character>GWENDOLYN</character> <dialogue>Because she's one-sixteenth Chickasaw Indian, and you can't fuck with that kind of diversity.</dialogue> <parenthetical>(scowling after Carla)</parenthetical> <dialogue>No, that bitch is bulletproof...</dialogue> <character>VICKY LATROBE</character> <dialogue>Couldn't you find another Indian to replace Carla?</dialogue> <character>GWENDOLYN</character> <dialogue>Vicky, I'm the President of the PTA, I'm not Kevin fucking Costner, okay? I can't just blow my ram's horn and make more Indians appear.</dialogue> <scene_description>Mean Stacy frowns at a CLUSTER OF MOMS nearby.</scene_description> <character>MEAN STACY</character> <dialogue>Oh gross look: all the Attachment Moms are wearing harem pants today.</dialogue> <scene_description>The ATTACHMENT MOMS, long hair, BABIES in slings, HIPPY KIDS at their feet, walk up the path wearing baggy harem pants...</scene_description> <character>GWENDOLYN</character> <dialogue>Those bitches better vaccinate their filthy children or I swear to God I will go off--</dialogue> <parenthetical>(waving sweetly to them)</parenthetical> <dialogue>Hey Meg! Hey Shar! Love your pants!</dialogue> <scene_description>The ATTACHMENT MOMS wave back, friendly, heyyy!</scene_description> <character>VICKY LATROBE</character> <dialogue>Uh-oh, the Tiger Moms are late today.</dialogue> <scene_description>Three anxious TIGER MOMS hurry their stressed CHILDREN up the walk to the school, wheeling suitcases full of books.</scene_description> <character>MEAN STACY</character> <dialogue>Violin Camp must've run late this morning.</dialogue> <character>GWENDOLYN</character> <dialogue>Look at their fucking kids. They look like hostages.</dialogue> <parenthetical>(smiling, to Tiger Moms)</parenthetical> <dialogue>Hey Karen call me!</dialogue> <scene_description>ONE OF THE TIGER MOMS waves sweetly as she hurries past.</scene_description> <character>MEAN STACY</character> <dialogue>Oh God pretend to look at your phones here comes that weird stay- at-home mom.</dialogue> <scene_description>A dorky stay-at-home mom, KIKI, approaches wearing a cardigan, mom jeans, and a desperate smile. She herds TWO SMALL KIDS and a pair of BABY TWINS. Gwendolyn's crew quickly looks at their phones, trying not to make eye contact, but Kiki walks right up to them, barely holding it together:</scene_description> <character>KIKI</character> <dialogue>Hey guys how are you guys?!</dialogue> <character>GWENDOLYN</character> <dialogue>Oh hey Kiki, how are y--</dialogue> <character>KIKI</character> <dialogue>I'm amazing Maddie was up all night barfing on my hair but I'm great I'm so happy--!</dialogue> <character>GWENDOLYN</character> <dialogue>Awesome well have a good day.</dialogue> <character>KIKI</character> <dialogue>Also Bernard has night terrors he's really not doing okay--!</dialogue> <character>GWENDOLYN</character> <dialogue>Great I'll see you at the bake sale-</dialogue> <character>KIKI</character> <dialogue>Hey I was going to get a fun coffee after this it's like the only thing I do for myself every day do you want to come with me?!</dialogue> <character>GWENDOLYN</character> <dialogue>Oh, I'd really rather not but thank you!</dialogue> <scene_description>Kiki nods, pained/happy, and shepherds all of her kids towards the school. Gwendolyn exhales, watching Kiki:</scene_description> <character>GWENDOLYN</character> <dialogue>Jesus she's like two days away from driving her kids into a lake.</dialogue> <scene_description>Just then a MINIVAN squeals up and the hero of our story AMY MITCHELL scrambles out, chic in a skirt suit. Amy hurries her two kids, DYLAN, 10, sweet, lazy, and JANE, 16, anxious over- achiever, out of her minivan. She smiles at a PASSING MOM.</scene_description> <character>MEAN STACY</character> <dialogue>And here's Amy, late as always...</dialogue> <character>GWENDOLYN</character> <dialogue>I love how hard she works.</dialogue> <character>VICKY LATROBE</character> <dialogue>Oh my god, such a hard worker.</dialogue> <character>GWENDOLYN</character> <dialogue>I just fucking said that Vicky.</dialogue> <scene_description>ON AMY as she ushers her kids up the path towards the school, handing them a comically large amount of stuff.</scene_description> <character>AMY</character> <dialogue>Okay, here are your lunches: organic turkey club for Jane and gluten free peanut butter and jelly with low salt yam chips for Dylan--</dialogue> <scene_description>She hands TUPPERWARE PLATTERS OF DELICIOUS FOOD to each of her kids. They take them, unimpressed and ungrateful.</scene_description> <character>DYLAN</character> <dialogue>What are yam chips?</dialogue> <character>AMY</character> <dialogue>I don't know, the school sent an email saying that yams are more sustainable than potatoes but to be totally honest I don't know what sustainable means I just don't want to get in trouble with the crazy food moms. Oh, and Dylan, here's what I made for your American History project--</dialogue> <scene_description>She hands Dylan an AMAZING THREE FOOT PAPER-MÂCHÉ HEAD OF RICHARD NIXON. Dylan takes it, again unimpressed by his mom's amazing handiwork, as they near the school entrance...</scene_description> <character>AMY</character> <dialogue>Okay, I love you guys so much.</dialogue> <scene_description>Amy kisses both of her kids, emotional--</scene_description> <character>JANE</character> <dialogue>Not so loud, mom, Jesus!</dialogue> <scene_description>I LOVE YOU BOTH SO MUCH I LOVE MY BABIES! Jane and Dylan race into school, embarrassed, as Amy grins...</scene_description> <character>GWENDOLYN</character> <dialogue>Hey Amy!</dialogue> <scene_description>Amy looks over, sees Gwendolyn and her crew, and smiles:</scene_description> <character>AMY</character> <dialogue>Oh hey! How are you guys?</dialogue> <character>GWENDOLYN</character> <dialogue>I don't know how you do it, leaving your kids and going to work every day. You're so strong.</dialogue> <character>AMY</character> <dialogue>Oh, thanks--</dialogue> <character>MEAN STACY</character> <dialogue>Don't you just miss them?</dialogue> <character>AMY</character> <dialogue>I do, but I also need like, money--</dialogue> <character>MEAN STACY</character> <dialogue>I had a job once but I didn't love it so I quit.</dialogue> <character>VICKY LATROBE</character> <dialogue>I design jewelry!</dialogue> <character>MEAN STACY</character> <dialogue>Jesus Christ Vicky stop saying that like it's a good thing.</dialogue> <character>AMY</character> <dialogue>Okay well, I'm late for work, so...</dialogue> <character>MEAN STACY</character> <dialogue>You're always late.</dialogue> <character>AMY</character> <dialogue>I know, it's basically the only thing I'm good at these days! Bye!</dialogue> <scene_description>They say goodbye. Gwendolyn watches Amy race off, troubled:</scene_description> <character>GWENDOLYN</character> <dialogue>She's so likeable.</dialogue> <scene_description>The moms shudder, equally disgusted. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOSTON/INT. AMY'S MINIVAN -- MORNING</stage_direction> <scene_description>Amy ROCKETS through downtown Boston like Jeff Gordon at Talladega. She cuts across three lanes of traffic as HORNS BLARE. She waves -- sorry!</scene_description> </scene> <scene> <stage_direction>INT. COFFEE FOR THE PEOPLE -- DAY</stage_direction> <scene_description>Coffee for the People is a hip, free-trade, super-lefty coffee company. The office is all reclaimed wood and glass, and the average age of the employees is 22. HIP YOUNG GUYS play ping pong, HIP YOUNG GIRLS ride scooters and chat over cappuccinos at the espresso bar. Work is so fun! Then Amy blows into the office, harried. TESSA, 20's, Amy's assistant with straight bangs falls into step with her:</scene_description> <character>TESSA</character> <dialogue>Hey man.</dialogue> <character>AMY</character> <dialogue>Good morning Tessa.</dialogue> <character>TESSA</character> <dialogue>The masseuse is here today, you want a shoulder rub?</dialogue> <character>AMY</character> <dialogue>Oh my God I would love that, but I don't have time. Thanks though--</dialogue> <scene_description>They hurry into AMY'S OFFICE It's a classic Working Mom's Office: photos of her kids everywhere, desk in complete disarray. Just as Amy and Tessa enter, DALE KIPLER, 24, the too way young, way too cool CEO of the company follows them in:</scene_description> <character>DALE KIPLER</character> <dialogue>Morning!</dialogue> <character>AMY</character> <dialogue>Oh hey Dale -- what's up?</dialogue> <character>DALE KIPLER</character> <dialogue>I had a dream last night. I was naked in a hotel room... Like totally naked, balls and everything-</dialogue> <character>AMY</character> <dialogue>Yup got it.</dialogue> <character>DALE KIPLER</character> <dialogue>And I walked over to the coffee maker in my hotel room...and I saw a bag of our coffee there.</dialogue> <character>TESSA</character> <dialogue>Cool dream Dale.</dialogue> <character>DALE KIPLER</character> <dialogue>Thanks Tessa.</dialogue> <character>AMY</character> <dialogue>So...is this your way of saying that you want to start selling our coffee to hotels now?</dialogue> <character>DALE KIPLER</character> <dialogue>No. This is my way of saying that I want you to start selling our coffee to hotels now.</dialogue> <character>AMY</character> <dialogue>Wow. Okay. Well, I'm already running all of our sales to supermarkets, restaurants and airlines, is there maybe someone else, like one of the guys who plays ping pong all day, who could run this?</dialogue> <scene_description>Dale looks out at the young hipsters playing ping pong...</scene_description> <character>DALE KIPLER</character> <dialogue>Amy. Listen to me. We're all equal here. I'm no better than you and you're no better than me.</dialogue> <character>DALE KIPLER</character> <dialogue>But you're way better than those guys, do you know what I mean? I can't trust them with one of my really cool dream ideas.</dialogue> <character>AMY</character> <dialogue>Right, but breaking into the hotel market is going to take a ton of work, and I'm sort of part time, remember?</dialogue> <character>DALE KIPLER</character> <dialogue>You are? Since when?</dialogue> <character>AMY</character> <dialogue>Six years ago?</dialogue> <character>DALE KIPLER</character> <dialogue>No way! You're always here!</dialogue> <character>AMY</character> <dialogue>I know, but I have a family...and stuff?</dialogue> <character>DALE KIPLER</character> <dialogue>Dude: I love family. That's why I wrote it on my arm:</dialogue> <scene_description>Dale shows her a Gothic forearm tattoo that reads "FAMILY."</scene_description> <character>DALE KIPLER</character> <dialogue>Tight, right?</dialogue> <character>AMY</character> <dialogue>I guess--?</dialogue> <character>DALE KIPLER</character> <dialogue>Cool, let me know how many hotels you can close by Friday.</dialogue> <parenthetical>(exiting, stops)</parenthetical> <dialogue>Oh hey, you coming out with us to lunch? We're doing Barbecue &amp; Bowling!</dialogue> <character>AMY</character> <dialogue>No...? I've got to work?</dialogue> <character>DALE KIPLER</character> <dialogue>Love that. You guys really are the Greatest Generation.</dialogue> <scene_description>Amy just watches him exit, baffled...</scene_description> <character>AMY</character> <dialogue>I miss working with grown-ups.</dialogue> <character>TESSA</character> <dialogue>Dude how the fuck are you gonna do this hotel thing on top of all the other work you have?</dialogue> <scene_description>Amy rubs her temples, overwhelmed with stress...</scene_description> <character>AMY</character> <dialogue>I have no idea... What's my schedule for today?</dialogue> <character>TESSA</character> <dialogue>Well, you're already late for your marketing meeting...</dialogue> <scene_description>BEGIN MONTAGE: -- Amy runs into a CONFERENCE ROOM where a meeting is in progress. She smiles apologetically. The PRESENTER glares...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Then you've got a sales pitch to the TDI restaurant group...</dialogue> <scene_description>-- Smiling, professional, Amy offers taster cups of coffee to SEVERAL GRAY-HAIRED EXECUTIVES, who nod, impressed...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Then you've got lunch at your desk while you write your annual sales report...</dialogue> <scene_description>-- Typing furiously, Amy eats a pathetic lunch from tupperware at her desk. Out her window, she watches ALL THE YOUNG PEOPLE in her office heading to lunch in MATCHING BOWLING SHIRTS, laughing. Amy frowns and keeps working...</scene_description> <character>TESSA (V.O.)</character> <dialogue>After lunch, you have Zumba...</dialogue> <scene_description>-- Dressed in Lululemon, dripping with sweat, Amy Zumbas in a class full of working women. She looks seriously nauseous...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Which is obviously not the ideal time to Zumba, but it's the only time I could fit it in...</dialogue> <scene_description>The CLIPS of Amy's day start cycling faster and faster...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Then you've got a meeting with the creepy guys from corporate...</dialogue> <scene_description>-- Back in her suit, Amy races into a meeting full of CREEPY CORPORATE GUYS who all leer at her lasciviously...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Followed by a second meeting to discuss how the first meeting went...</dialogue> <scene_description>-- Looking highly confused, Amy races into another meeting in a different office with exactly the same people...</scene_description> <character>TESSA (V.O.)</character> <dialogue>After that, you've got a parent- teacher conference at school...</dialogue> <scene_description>-- Amy races into her DAUGHTER'S CLASSROOM...to find class is in session, and all the kids are looking at her like: what are you doing here? Amy winces, sorry!</scene_description> <character>TESSA (V.O.)</character> <dialogue>...for Dylan, not Jane...</dialogue> <scene_description>-- Amy races into her SON'S CLASSROOM to again find the class in session. Again, all the kids looks like: why are you here?</scene_description> <character>TESSA (V.O.)</character> <dialogue>...with his math tutor.</dialogue> <scene_description>-- Amy races into an empty room to find the MATH TUTOR waiting, looking at his watch, disapproving. Amy smiles apologetically and wedges herself into a tiny desk...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Then, on your way home, you have 56 phonecalls to return.</dialogue> <scene_description>-- Feverishly talking on her cellphone, Amy aggressively DRIVES her minivan through Boston rush hour traffic...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Also, you wanted me to remind you to go to the grocery store...</dialogue> <scene_description>-- Amy weaves her grocery cart through a CROWDED SUPERMARKET, still on the phone. She dexterously grabs food-items and flings them into her cart, never slowing down...</scene_description> <character>TESSA (V.O.)</character> <dialogue>Then...after all that...</dialogue> <scene_description>-- Amy races her minivan around a corner and pulls into the driveway of her small, cozy, suburban home. She jerks to a halt next to her husband's SEDAN in the driveway...</scene_description> <character>TESSA (V.O.)</character> <dialogue>...you get to go home...</dialogue> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- NIGHT</stage_direction> <scene_description>Amy stumbles into her house carrying her work bag and, somehow, ten bags of groceries. She looks exhausted but smiles, happy to see her family...</scene_description> <character>TESSA (V.O.)</character> <dialogue>...and you can finally relax.</dialogue> <scene_description>DYLAN sprints past Amy holding a cellphone as JANE chases him, furious, still in her soccer uniform: DYLAN YOU ASSHOLE GIVE ME MY PHONE! They knock over a lamp and it CRASHES to the ground!</scene_description> <character>AMY</character> <dialogue>Hey hey hey--!</dialogue> <scene_description>But the kids race out. Amy SIGHS and lugs all her stuff into THE GREAT ROOM to find her husband, MIKE, watching TV with their dog ROSCOE, drinking a beer, feet up. He sees Amy and doesn't get up.</scene_description> <character>MIKE</character> <dialogue>Oh hey babe.</dialogue> <character>AMY</character> <dialogue>Hey.</dialogue> <scene_description>Amy crosses to the KITCHEN AREA and puts down her bags, exhausted, as sounds of her kids' VIOLENT CHASE filter in...</scene_description> <character>AMY</character> <dialogue>So, um, did you notice that Dylan and Jane are kind of like destroying the house?</dialogue> <character>MIKE</character> <dialogue>Oh no, I've been watching Travel Channel! We should totally go to Mongolia by the way--</dialogue> <character>AMY</character> <dialogue>Because I kind of thought you were watching the kids.</dialogue> <character>MIKE</character> <dialogue>Me? No. I'm really not sure why you thought that...</dialogue> <scene_description>He watches TV as something SHATTERS in the distance.</scene_description> <character>AMY</character> <dialogue>Mike.</dialogue> <character>MIKE</character> <dialogue>Yeah babe!</dialogue> <scene_description>Amy just looks at her husband looking dopily at her...and she decides, for the millionth time, that it just isn't worth it.</scene_description> <character>AMY</character> <dialogue>Nevermind.</dialogue> <character>MIKE</character> <dialogue>Cool -- what're you making for dinner?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN -- DINNER TABLE -- LATER THAT NIGHT</stage_direction> <scene_description>Amy has made a dinner worthy of four Michelin stars: stunning filet of fish, three vegetable sides, bottle of crisp white wine, and a fresh-baked cake on a stand. The family wolfs down the meal in silence. Mike types on his iPhone.</scene_description> <character>AMY</character> <dialogue>So. Dylan, how'd you do on your science quiz today?</dialogue> <character>DYLAN</character> <dialogue>I got a D.</dialogue> <character>AMY</character> <parenthetical>(troubled)</parenthetical> <dialogue>Oh. Wow. Do you need extra help? Or maybe another tutor?</dialogue> <character>DYLAN</character> <dialogue>Nah, I'm good.</dialogue> <scene_description>Frowning, Amy nudges Mike, who's still reading his iPhone:</scene_description> <character>AMY</character> <dialogue>Did you hear that, honey? Dylan got a D on his science quiz.</dialogue> <scene_description>Mike blindly holds up his hand:</scene_description> <character>MIKE</character> <dialogue>Nice going, bud.</dialogue> <scene_description>They high-five as Mike keeps typing on his phone. Amy just looks at her husband, frustrated... Then she remembers:</scene_description> <character>AMY</character> <dialogue>Oh Jane, how were your soccer tryouts?</dialogue> <character>JANE</character> <dialogue>Oh my god mom don't stress me out any more than I already am!</dialogue> <character>AMY</character> <dialogue>Okay, I was just--</dialogue> <character>JANE</character> <dialogue>Coach is posting the list of who made the team at 9 o'clock tonight and I'm so nervous it's giving me a rash look at my rash!</dialogue> <scene_description>Jane holds up her arm to reveal a RASH. Amy frowns, worried:</scene_description> <character>AMY</character> <dialogue>Oh god, baby, are you okay?</dialogue> <character>DYLAN</character> <dialogue>That looks like lupus.</dialogue> <character>JANE</character> <dialogue>Oh my God I have fucking lupus?!</dialogue> <character>AMY</character> <dialogue>No, you don't have lupus, and you're gonna make the soccer team, okay? I promise. Just don't go all black swan on me right now, okay?</dialogue> </scene> <scene> <stage_direction>INT. JANE'S ROOM -- LATER THAT NIGHT</stage_direction> <scene_description>Jane's bedroom is a shrine to all things soccer. Posters, jerseys, cleats on the floor -- soccer is her life. Insanely stressed, Jane and Amy pace in front the laptop on Jane's bed, biting their nails in exactly the same way...</scene_description> <character>JANE</character> <dialogue>What time is it now?!</dialogue> <character>AMY</character> <dialogue>Still 8:59.</dialogue> <scene_description>COME ON! Mother and daughter pace. Then Amy looks at her watch: 9:00! GO GO GO! Jane lunges for the laptop and furiously types. She scans the screen...and then freaks out: I MADE IT! I MADE THE TEAM! They hug and jump together! OH MY GOD I'M SO RELIEVED! They finally stop jumping and catch their breath. Amy beams:</scene_description> <character>AMY</character> <dialogue>I am so proud of you, baby.</dialogue> <character>JANE</character> <dialogue>Thanks, Mom. I never could have done this without you.</dialogue> <scene_description>Amy smiles, touched. These are the moments that make it all worth it...</scene_description> <character>JANE</character> <dialogue>Oh my God this is gonna look so pimp on my college applications! I mean I've got the grades, I've got 150 hours of community service, I've got four bullshit extra- curriculars, but playing on a state ranked soccer team?! That's huge!</dialogue> <parenthetical>(grinning, then)</parenthetical> <dialogue>Wait... What if I don't play?! What if I'm a benchwarmer?!</dialogue> <character>AMY</character> <dialogue>Oh baby it's fine--</dialogue> <character>JANE</character> <dialogue>No it's not fine! Do you have any idea how hard it is to get into an Ivy League school now?! They turn away Asians, mom!</dialogue> <character>AMY</character> <dialogue>Okay, that's a little racist--</dialogue> <character>JANE</character> <dialogue>If I don't make the starting line- up the recruiters won't see me play and then I'll have to go to a D3 college then I'm gonna go to a crappy law school then my alcoholic boyfriend is going to knock me up and before you know it we're all living in a school bus on the side of the highway! Oh my god I need to practice my footwork why the hell did I eat dessert?!</dialogue> <scene_description>Jane grabs a SOCCER BALL and hurries out, hyper-stressed. Amy just stands there, dumbstruck.</scene_description> <character>AMY</character> <dialogue>Holy shit she's so crazy.</dialogue> </scene> <scene> <stage_direction>INT. MIKE'S HOME OFFICE -- LATER THAT NIGHT</stage_direction> <scene_description>Amy enters Mike's home office, yawning, smiling...</scene_description> <character>AMY</character> <dialogue>Good news, Jane made the soccer--</dialogue> <scene_description>Amy stops upon seeing Mike behind his DESKTOP COMPUTER, trying to zip his pants and use the mouse at the same time.</scene_description> <character>AMY</character> <dialogue>Oh my god are you--?</dialogue> <character>MIKE</character> <dialogue>No! It was just...a prostate thing--</dialogue> <parenthetical>(struggling with mouse)</parenthetical> <dialogue>Why won't this window close?!</dialogue> <scene_description>Amy makes her way around the desk, chuckling...</scene_description> <character>AMY</character> <dialogue>You know, I've always wondered what kind of porno you like--</dialogue> <scene_description>Her smile vanishes when she sees that Mike is Skyping with a NAKED WOMAN with giant boobs and an even bigger bush. The naked woman sees Amy enter frame, and looks pissed:</scene_description> <character>NAKED WOMAN ON COMPUTER</character> <dialogue>Who the hell are you?!</dialogue> <character>AMY</character> <dialogue>I'm his wife -- who are you?!</dialogue> <character>NAKED WOMAN ON COMPUTER</character> <dialogue>Oh shit--</dialogue> <scene_description>The naked woman lunges out of frame. Amy spins on Mike:</scene_description> <character>AMY</character> <dialogue>Are you masturbating with another woman on Skype?!</dialogue> <character>MIKE</character> <dialogue>No! No.</dialogue> <character>AMY</character> <dialogue>Then what are you doing?!</dialogue> <character>MIKE</character> <parenthetical>(beat)</parenthetical> <dialogue>Okay yes obviously I'm masturbating with another woman on Skype.</dialogue> <character>AMY</character> <dialogue>Why are you doing that?!</dialogue> <character>MIKE</character> <dialogue>Look, I don't think I've done anything wrong here. This is very mainstream now.</dialogue> <scene_description>Amy rubs her face, trying to get her head around this...</scene_description> <character>AMY</character> <dialogue>I don't know Mike. This really feels like cheating...</dialogue> <character>MIKE</character> <dialogue>No no no, this is definitely not cheating. I've never even touched her! If anything, this is a sign of how much I respect our marriage.</dialogue> <character>AMY</character> <dialogue>It is.</dialogue> <character>MIKE</character> <dialogue>Yes! This amazing free app allows me to fulfill all of my darkest desires so I don't have to bring you into that world. Honestly, I don't masturbate on Skype for me -- I masturbate on Skype for us.</dialogue> <character>AMY</character> <dialogue>You gotta be shitting me.</dialogue> <character>MIKE</character> <dialogue>A lot of women would be very happy to find their husbands masturbating on Skype three times a day instead of cheating on them!</dialogue> <character>AMY</character> <dialogue>You do this three times a day?!</dialogue> <character>MIKE</character> <dialogue>With my work schedule it's almost impossible, but I try to make time. Honestly, you should try it. It's very invigorating. Plus it's totally safe, you can't get herpes or AIDS--</dialogue> <character>NAKED WOMAN ON COMPUTER</character> <dialogue>Fuck you Mike I don't have AIDS!</dialogue> <character>AMY</character> <dialogue>How long have you been doing this?</dialogue> <character>MIKE</character> <parenthetical>(looking at screen)</parenthetical> <dialogue>5 minutes and 22 seconds.</dialogue> <character>AMY</character> <dialogue>No, like, how many days?</dialogue> <character>MIKE</character> <dialogue>I don't remember. Not long--</dialogue> <character>NAKED WOMAN ON COMPUTER</character> <dialogue>10 months next Friday.</dialogue> <character>MIKE</character> <dialogue>Seriously Sharron--?</dialogue> <character>AMY</character> <dialogue>10 months?! Do...Do you love her?</dialogue> <scene_description>The naked woman slowly rises up in the Skype window, curious to hear Mike's answer. Mike sweats, tense, looking between the computer and his wife.</scene_description> <character>MIKE</character> <dialogue>No. I don't love her.</dialogue> <scene_description>The naked woman on the monitor scowls. So does Amy.</scene_description> <character>AMY</character> <dialogue>Do you have feelings for her?</dialogue> <character>MIKE</character> <dialogue>Look, you don't masturbate with someone for ten months without developing some feelings for them--</dialogue> <character>AMY</character> <dialogue>Do you have feelings for her, Mike.</dialogue> <scene_description>A beat.</scene_description> <character>MIKE</character> <dialogue>Yes. I have feelings for her. She's actually a pretty amazing woman. She runs her own dairy farm--</dialogue> <character>AMY</character> <dialogue>Get out.</dialogue> <character>MIKE</character> <dialogue>What?</dialogue> <character>AMY</character> <dialogue>Get the fuck out of my house Mike.</dialogue> <character>MIKE</character> <dialogue>Can I let my boner go down first--?</dialogue> <scene_description>NO! Mike stands, painfully zips up, crosses to the door. Stops.</scene_description> <character>MIKE</character> <dialogue>Are we really doing this?</dialogue> <character>AMY</character> <dialogue>Yeah. I think we are.</dialogue> <scene_description>Mike nods and exits. Amy just stands there, reeling... On the Skype screen the NAKED WOMAN reappears, consoling:</scene_description> <character>NAKED WOMAN ON COMPUTER</character> <dialogue>Look, I just think Mike feels really trapped right now--</dialogue> <scene_description>Amy clears the entire desk, sending the desktop CRASHING to the floor! Then she stands there, trying to breathe... She's about to break down crying when she hears: MOM! CAN YOU PUT ON MY OINTMENT?! Amy slumps. A mother's work is literally never done... Amy takes a deep breath, dries her eyes, straightens her shirt, and heads off to help her daughter.</scene_description> <character>AMY</character> <dialogue>I'm coming sweetie!</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER -- MORNING</stage_direction> <scene_description>The early morning sun rises over the picturesque town...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- MORNING</stage_direction> <scene_description>It's morning drop-off again. Moms park their minivans and hurry their cute kids off to school... CARLA DUNKLER leans against her car, sporting red fuck-me pumps and way too much cleavage. Texting on her phone, she chin-nods at a HOMELY DAD walking by:</scene_description> <character>CARLA</character> <dialogue>Looking good Jeff.</dialogue> <character>DAD</character> <dialogue>Oh, t-thanks--?</dialogue> <character>CARLA</character> <dialogue>You been hitting the speed bag?</dialogue> <character>DAD</character> <dialogue>Oh, not in like ten years?</dialogue> <character>CARLA</character> <dialogue>Well it's working buddy--</dialogue> <scene_description>Just then JEFF'S WIFE grabs his arm and angrily hurries her husband away from Carla. They blow past KIKI the desperate stay-at-home mom, who shepherds her four kids towards the school, smiling, barely holding onto her sanity.</scene_description> <character>KIKI</character> <dialogue>Yay! Another day of school...just like yesterday...and the day before that...and the day before that--</dialogue> <scene_description>Just then GWENDOLYN, MEAN STACY and VICKY approach, passing out flyers to all the moms:</scene_description> <character>GWENDOLYN</character> <dialogue>Emergency PTA meeting tonight at 5! Tell all your friends!</dialogue> <character>KIKI</character> <dialogue>Oh I don't really have any friends I'm very isolated at home with the twins--!</dialogue> <character>GWENDOLYN</character> <dialogue>It's really just a figure of speech-</dialogue> <character>KIKI</character> <dialogue>I mean sometimes I meet up with other moms in the park but we aren't really friends we just sit near each other--</dialogue> <character>GWENDOLYN</character> <dialogue>Great! Refreshments will be served!</dialogue> <scene_description>Gwendolyn jams a flyer into Kiki's hand and hurries off with her crew. Kiki looks at the flyer, deeply touched:</scene_description> <character>KIKI</character> <dialogue>Thank you so much for inviting me!</dialogue> <scene_description>But Gwendolyn and her crew have moved on, handing out flyers.</scene_description> <character>GWENDOLYN</character> <dialogue>Emergency PTA meeting tonight guys! If you care about your children please come!</dialogue> <character>VICKY LATROBE</character> <dialogue>Oh shit -- The Hotness is here.</dialogue> <scene_description>They all stop to see JESSIE HARKNESS, 30, coming up the path. He is the school's hot English Teacher, and ALL THE NEARBY MOMS subtly, and not so subtly, check him out.</scene_description> <character>GWENDOLYN</character> <dialogue>Good morning Mr. Harkness!</dialogue> <character>JESSIE</character> <dialogue>Morning, guys!</dialogue> <character>MEAN STACY</character> <dialogue>I love your tie today!</dialogue> <character>JESSIE</character> <parenthetical>(looking at his boring tie)</parenthetical> <dialogue>Thanks...it's blue...?</dialogue> <scene_description>The women all EXPLODE LAUGHING way too hard.</scene_description> <character>GWENDOLYN</character> <dialogue>Oh my God he's so funny!</dialogue> <character>VICKY LATROBE</character> <dialogue>He's like Lewis CK!</dialogue> <scene_description>Jessie smiles, a bit confused, and heads off towards the school. Stacy hungrily eyes his ass as he goes...</scene_description> <character>MEAN STACY</character> <dialogue>I would let him put it in my butt. Like in theory I'm against all butt stuff, but I would let him go to town back there...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S KITCHEN -- MORNING</stage_direction> <scene_description>Dressed in a white suit, Amy frantically makes a HUGE BREAKFAST of eggs, fresh-squeezed juice, yogurt and granola for her kids. She glances at the clock, stressed...</scene_description> <character>AMY</character> <dialogue>Okay, listen, Dad had to go out of town so I'm going to try and do everything by myself today! I think I can make it work as long as--</dialogue> <scene_description>Just their family dog ROSCOE runs headfirst into the kitchen wall WHAM! Then he gets up and does it again WHAM! And again WHAM! The whole family just watches him, troubled...</scene_description> <character>JANE</character> <dialogue>I think Roscoe is broken.</dialogue> <character>AMY</character> <dialogue>Come on Roscoe! Not today!</dialogue> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL/AMY'S MINIVAN -- DAY</stage_direction> <scene_description>Amy anxiously SPEEDS along while Roscoe sits shotgun wearing a BIKE HELMET. The kids sit in the back. Then Amy SQUEALS up to school and herds her kids out of the minivan.</scene_description> <character>AMY</character> <dialogue>Okay I only have four minutes to get Roscoe to the vet so have a great day I love you bye--</dialogue> <scene_description>Just then TAP-TAP! Gwendolyn raps on Amy's window. Amy startles and SPILLS coffee all over her white jacket-- GOOD NIGHT THAT IS HOT! Amy frantically dabs at the spill as she lowers her window.</scene_description> <character>AMY</character> <dialogue>Hi Gwendolyn!</dialogue> <character>GWENDOLYN</character> <parenthetical>(handing her a flyer)</parenthetical> <dialogue>Hey babe, there's an emergency PTA meeting today at 5. Should only last 2-3 hours.</dialogue> <character>AMY</character> <dialogue>Awesome! Can't wait!</dialogue> <scene_description>Gwendolyn walks off as Amy SQUEALS away, even more stressed: FUCK! (to Roscoe) Please just be okay, buddy--</scene_description> </scene> <scene> <stage_direction>INT. VETERINARIAN'S EXAM ROOM -- DAY</stage_direction> <scene_description>Amy holds Roscoe, listening to her VETERINARIAN:</scene_description> <character>VETERINARIAN</character> <dialogue>Your dog has vertigo.</dialogue> <character>AMY</character> <dialogue>That can't be a thing.</dialogue> <character>VETERINARIAN</character> <dialogue>He's going to vomit and violently shed hair for the next 36 hours.</dialogue> <character>AMY</character> <dialogue>Oh my god. Is there any medicine he can take?</dialogue> <character>VETERINARIAN</character> <dialogue>Yes. It comes from Brazil and it costs 600 dollars.</dialogue> <scene_description>Amy exhales. This day already sucks and it's not even 9AM...</scene_description> </scene> <scene> <stage_direction>INT. PHARMACY -- DAY</stage_direction> <scene_description>Amy runs into the pharmacy -- to see the IMMENSELY LONG LINE waiting for the pharmacist. She slumps, and gets in line...</scene_description> </scene> <scene> <stage_direction>INT. COFFEE FOR THE PEOPLE -- DAY</stage_direction> <scene_description>Amy races into work, sweaty and stained and covered in black dog hair but determined to make this day work. She dodges a flying NERF BASKETBALL and runs to the conference room.</scene_description> <character>AMY</character> <dialogue>I'm here! Amy is here--!</dialogue> <scene_description>Just as she reaches the conference room, the meeting lets out. Super-chill HIPSTERS exit past her.</scene_description> <character>MONOTONE HIPSTER</character> <dialogue>You have shit all over your jacket.</dialogue> <scene_description>Amy peeks inside the conference room to see DALE shaking his head at her as he talks to a co-worker. Amy winces, fuck!</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- AUDITORIUM -- DAY</stage_direction> <scene_description>Amy sits in the auditorium watching Dylan's 6th grade class put on a cute/horrible play. As a kid playing ABRAHAM LINCOLN drones on and on, Dylan just stands there, YAWNING, in what appears to be a donkey costume. Amy smiles, encouraging, and secretly glances at her watch, anxious...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S MINIVAN -- DAY</stage_direction> <scene_description>Amy wolfs down lunch from the tupperware on her lap as she speeds through Boston. When she slams on her brakes to avoid an accident, her lunch flies all over her already stained white suit! She SCREAMS, no--!</scene_description> </scene> <scene> <stage_direction>INT. COFFEE TESTING LAB -- DAY</stage_direction> <scene_description>Amy paces in a COFFEE TESTING LAB, talking urgently on her phone. When a MAN IN A WHITE LAB COAT hands her a small tester cup of coffee, Amy shoots it down without thinking -- and then discovers it's scalding hot! She explodes COUGHING! The Lab Coat Guys just look at her, deadpan...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>Jane and Dylan sit outside of school, waiting to be picked up, annoyed. Frazzled, Amy ROARS up to the school. The van's sliding door opens and Amy yells:</scene_description> <character>AMY</character> <dialogue>I know I know I'm sorry I'm late!</dialogue> <scene_description>Jane and Dylan hop into the still-slightly-moving vehicle... IN THE MINIVAN Jane angrily buckles up as Amy accelerates off.</scene_description> <character>JANE</character> <dialogue>I can't believe I'm going to be late to my first soccer practice!</dialogue> <character>AMY</character> <dialogue>I'm so sorry, baby! I'm trying!</dialogue> <character>JANE</character> <dialogue>Yeah well try harder! My future is on the line here mom!</dialogue> <scene_description>As Jane starts frantically getting dressed in her soccer clothes, Amy smiles at Dylan in the rear view mirror:</scene_description> <character>AMY</character> <dialogue>How was your day, Dylan?</dialogue> <character>DYLAN</character> <dialogue>I swallowed a pen cap.</dialogue> <scene_description>Amy slumps her head, shit, when-- WHAM! Amy clips a parked car's side mirror, SHATTERING her own! She glances in her rear view mirror...then looks at the dashboard clock...then she FLOORS it away from the scene of the crime!</scene_description> <character>DYLAN</character> <dialogue>Oh crap was that a hit and run--?!</dialogue> <character>AMY</character> <dialogue>Nope! No it was not!</dialogue> <scene_description>But Jane nods at her little brother: it totally was!</scene_description> </scene> <scene> <stage_direction>EXT. SOCCER FIELD -- DAY</stage_direction> <scene_description>A high-intensity GIRLS' SOCCER PRACTICE is already underway on this lush green field. Then Amy squeals up and hops out with Jane, who's still getting dressed. Amy helps Jane pull on her jersey as Jane hops, trying to put on her left cleat... They hustle towards the soccer practice past GIRLS DRILLING SHOTS ON GOAL Amy hurries Jane along:</scene_description> <character>AMY</character> <dialogue>Go go go--!</dialogue> <scene_description>Jane runs onto the field while Amy hurries over to COACH PATEL on the sidelines, disheveled and deeply apologetic.</scene_description> <character>AMY</character> <dialogue>I'm so sorry, Coach. This is all my fault.</dialogue> <character>COACH PATEL</character> <parenthetical>(noticing her look)</parenthetical> <dialogue>Rough day?</dialogue> <character>AMY</character> <dialogue>Oh my god, it literally couldn't get any wor--</dialogue> <scene_description>WHAM! A ball DRILLS Amy in the head and she drops OUT OF FRAME! CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- GYMNASIUM -- NIGHT</stage_direction> <scene_description>Hundreds of MOMS sit on folding chairs in the gymnasium as Gwendolyn takes the podium, wearing a headset mic.</scene_description> <character>GWENDOLYN</character> <dialogue>Hi guys. For those of you who don't know me, I'm Gwendolyn James--</dialogue> <scene_description>One person APPLAUDS way too aggressively.</scene_description> <character>GWENDOLYN</character> <dialogue>Can it, Vicky.</dialogue> <scene_description>The applause stops.</scene_description> <character>GWENDOLYN</character> <dialogue>I'm president of the PTA, I run my own lifestyle blog, Perfectmoms dotcom, and, most importantly, I am the proud mommy of two amazing daughters, Blair and Gandhi.</dialogue> <scene_description>IN THE BACK OF THE AUDITORIUM The doors open and AMY slowly enters, looking like a disaster: her hair is frazzled, her left eye is swollen, there is coffee, and food, and god knows what else all over her once white suit. Onstage, Gwendolyn continues her speech:</scene_description> <character>GWENDOLYN</character> <dialogue>I called this emergency PTA meeting to address an issue that radically affects the safety of our children:</dialogue> <parenthetical>(dramatic beat)</parenthetical> <dialogue>The Bake Sale.</dialogue> <scene_description>Amy just stands there, and says to no one in particular:</scene_description> <character>AMY</character> <dialogue>Did she just say...the bake sale?</dialogue> <character>NEARBY MOM</character> <dialogue>I-I think so?</dialogue> <scene_description>Onstage, Gwendolyn clicks through a very polished POWERPOINT PRESENTATION. It's like a TED Talk.</scene_description> <character>GWENDOLYN</character> <dialogue>Here is a list of toxic ingredients that are banned from the bake sale: no BPA, MSG, BHA, or BHT, plus no sesame or soy and obviously no sugar or nuts or eggs or gluten or milk or butter or salt.</dialogue> <scene_description>In the front row, KIKI tentatively raises her hand, confused:</scene_description> <character>KIKI</character> <dialogue>So what ingredients can we use--?</dialogue> <character>GWENDOLYN</character> <dialogue>To enforce these rules, I am creating a Bake Sale Police Force who will monitor the food, destroy any offending treats, and punish the wrongdoers.</dialogue> <character>AMY</character> <dialogue>Is this a joke? Did she say this was a joke before I got here?</dialogue> <scene_description>The nearby mom shakes her head, no...</scene_description> <character>GWENDOLYN</character> <dialogue>And the first volunteer for my Bake Sale Police Force is...</dialogue> <parenthetical>(looking up, seeing Amy)</parenthetical> <dialogue>Amy Mitchell! That's what you get for being late, sweetie!</dialogue> <character>AMY</character> <dialogue>W-What?</dialogue> <character>GWENDOLYN</character> <dialogue>Please arrive at the Bake Sale two hours early to get trained...</dialogue> <scene_description>And then something amazing happens. Amy says the one word she never says:</scene_description> <character>AMY</character> <dialogue>No.</dialogue> <scene_description>Gwendolyn's smile wavers, unsure she heard correctly.</scene_description> <character>GWENDOLYN</character> <dialogue>What's that now?</dialogue> <character>AMY</character> <dialogue>I've had a really long day. I've been burned, bruised, and knocked unconscious. I screwed up my daughter's first day of soccer and I hand-searched my son's poo for a pen cap he ate and my dog has vertigo and I have no help at home and I feel completely alone and old and unfuckable and I'm drowning at work and three hours ago I may or may not have committed a felony hit and run. And that was just today.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I can't do this anymore. I can't give any more of myself. There's none of me left. And there's no way I'm going to be on your fucking Bake Sale Police Force. I'm sorry, I'm done. I quit.</dialogue> <scene_description>All the Moms stare at her, shocked. Amy turns and walks out. Gwendolyn just watches her, aghast...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- PARKING LOT -- NIGHT</stage_direction> <scene_description>Amy exits the school like a zombie and walks into the night.</scene_description> </scene> <scene> <stage_direction>INT. NEIGHBORHOOD RESTAURANT/BAR -- NIGHT</stage_direction> <scene_description>Amy enters this restaurant and sits at the bar, dazed.</scene_description> <character>BARTENDER</character> <dialogue>What can I get y--?</dialogue> <character>AMY</character> <dialogue>Yes.</dialogue> <scene_description>The bartender hurries off to get her a drink...</scene_description> <character>VOICE FROM NEXT TO HER</character> <dialogue>Hey, I know you.</dialogue> <scene_description>Amy looks over to see CARLA DUNKLER sitting next to her in a sexy top, drinking a cocktail.</scene_description> <character>CARLA</character> <dialogue>You're that chick who always drives my kid home from school when I forget-slash-don't want to.</dialogue> <character>AMY</character> <dialogue>Amy Mitchell.</dialogue> <character>CARLA</character> <dialogue>Carla Dunkler. Jesus, you look like a bag of dicks.</dialogue> <scene_description>The bartender brings Amy a scotch. She downs it.</scene_description> <character>BARTENDER</character> <dialogue>Would you like a water--?</dialogue> <character>AMY</character> <dialogue>Leave the bottle.</dialogue> <scene_description>The bartender hesitates, then Carla nods at him, leave it. He does and moves off, just as:</scene_description> <character>VOICE BEHIND AMY</character> <dialogue>Amy?! There you are!</dialogue> <scene_description>Amy and Carla turn to see KIKI, the smiley, anxious stay-at- home mom, hurrying over to them, just so excited!</scene_description> <character>KIKI</character> <dialogue>I'm so so sorry to interrupt you guys, I just wanted to say that what you did in there was amazing! You said everything I've ever felt about being a mom but couldn't say because I'm a total spazz or at least that's what my husband says he's a doctor!</dialogue> <character>AMY</character> <dialogue>Well, thanks. It's Kiki, right?</dialogue> <character>KIKI</character> <dialogue>YES! Oh my God I can't believe you know my name!</dialogue> <character>AMY</character> <dialogue>You want to have a drink with us?</dialogue> <character>KIKI</character> <dialogue>Oh no, I can't! I have to go to the grocery store then I have to go home and clean my son's aquarium he gets so mad when I forget--!</dialogue> <character>AMY</character> <dialogue>Sit down Kiki.</dialogue> <character>KIKI</character> <parenthetical>(sitting)</parenthetical> <dialogue>Yes okay I'd love an apple juice!</dialogue> <character>AMY</character> <parenthetical>(pouring Kiki a scotch)</parenthetical> <dialogue>Try this instead.</dialogue> <scene_description>DISSOLVE TO: LATER -- THE BOTTLE OF SCOTCH IS A BIT EMPTIER The three moms are still talking and drinking, looser now.</scene_description> <character>AMY</character> <dialogue>...I just feel like we all work way too hard trying to make our kids' lives amazing and magical and it's like: they're kids, their lives already are amazing and magical.</dialogue> <character>KIKI</character> <dialogue>My daughter thinks sticks are amazing! She's not very bright.</dialogue> <character>AMY</character> <dialogue>And its turned into this crazy arms race between moms -- it's like "oh, you got a clown for your kid's birthday party? I'll get the entire cast of Frozen for mine."</dialogue> <character>CARLA</character> <dialogue>When I was a kid, my mom would buy a sheetcake from 7-Eleven for my birthday. That's it. And it rocked.</dialogue> <character>AMY</character> <dialogue>Yes! You'd get all jacked up on cake and off-brand soda and you'd run around the park with your friends and it was awesome! We didn't need Frozen! Fuck Frozen!</dialogue> <scene_description>DISSOLVE TO: LATER -- THE BOTTLE IS EMPTIER STILL and the women are pretty buzzed.</scene_description> <character>CARLA</character> <dialogue>...you know what I hate? There are so many rules now!</dialogue> <character>KIKI</character> <dialogue>Don't punish your kids!</dialogue> <character>AMY</character> <dialogue>Don't say no to your kids!</dialogue> <character>CARLA</character> <dialogue>Go to your kid's baseball games! Tell your kid you love him every single day! Don't sleep with the janitor at your kid's school! What is this, Russia?!</dialogue> <scene_description>Carla drinks, disgusted, as Amy and Kiki exchange a look.</scene_description> <character>AMY</character> <dialogue>Those aren't...all...terrible rules-</dialogue> <character>KIKI</character> <dialogue>Which janitor did you sleep with?!</dialogue> <character>CARLA</character> <dialogue>Rusty.</dialogue> <character>KIKI</character> <dialogue>The super old one?!</dialogue> <character>AMY</character> <dialogue>I thought he died.</dialogue> <character>CARLA</character> <dialogue>Look bitches, it's not easy out there for a single mom over the age of 40. I gotta do all the mom shit you guys do plus I gotta look sexy doing it. Not that it matters, because all guys our age want to do is fuck 20 year old girls with bald pussies. That's it. It's like, excuse me, are you 20 years old and is your vagina completely devoid of hair? Great let's get married. But an old chick like me, with alimony and a big bush and a weird kid sleeping upstairs? No way, I'm damaged goods.</dialogue> <character>CARLA</character> <dialogue>So I gotta get it wherever I can: old guys, immigrants, the occasional felon.</dialogue> <character>KIKI</character> <parenthetical>(horrified, smiling)</parenthetical> <dialogue>You sleep with felons?!</dialogue> <character>CARLA</character> <dialogue>Oh yeah, felons are great in bed. They're just so psyched you're not a man, you know?</dialogue> <scene_description>EVEN LATER -- THE BOTTLE IS NEARLY EMPTY Amy stares off, dreamy, as Kiki and Carla listen, buzzed...</scene_description> <character>AMY</character> <dialogue>You know what my biggest mom fantasy is? Having a quiet breakfast...by myself.</dialogue> <scene_description>Kiki and Carla nod in agreement.</scene_description> <character>CARLA</character> <dialogue>Yeah, that's hot.</dialogue> <character>KIKI</character> <dialogue>Sometimes when I'm driving and I'm all alone I fantasize about getting into a car crash. Not like a big car crash with fire and explosions, just like a little one, and then I get to go to the hospital for two weeks and I sleep all day and watch TV and eat jello and it's all covered by insurance and my family comes and they're so nice to me and Kent has tears in his eyes and he pretends it's hay fever but we all know why he's crying, we all know, and my kids bring balloons and the nurses rub cream on my feet and oh my God it's so amazing...</dialogue> <scene_description>Kiki notices Amy and Carla looking at her like she's nuts.</scene_description> <character>KIKI</character> <dialogue>Is that like...something you guys fantasize about too? No?</dialogue> <character>CARLA</character> <dialogue>The only thing I fantasize about is an old man with a ten inch dick who wants to buy me a car.</dialogue> <scene_description>EVEN LATER -- THE BOTTLE IS NOW EMPTY and the girls are pretty well sloshed.</scene_description> <character>KIKI</character> <dialogue>...and you know who doesn't deal with any of this crap? Men.</dialogue> <character>AMY</character> <dialogue>Yup. To be a great dad, all you gotta do is show up to a couple of your kid's soccer games. That's it. But if my daughter doesn't play cello and speak Portuguese and volunteer at the homeless shelter she built by hand from the fucking tree farm she's growing in our backyard, I'm a bad mom.</dialogue> <character>KIKI</character> <dialogue>Seriously, in this day and age, it's impossible to be a good mom.</dialogue> <character>AMY</character> <dialogue>So screw it...</dialogue> <parenthetical>(raising her glass)</parenthetical> <dialogue>Let's be bad moms.</dialogue> <character>KIKI</character> <dialogue>Oh my gosh this is so exciting!</dialogue> <character>CARLA</character> <dialogue>If this is gonna involve a lot of drinking, I'm in.</dialogue> <scene_description>They splashily toast: TO BAD MOMS! They drink up. Kiki is plastered:</scene_description> <character>KIKI</character> <dialogue>I love you guys forever.</dialogue> <character>CARLA</character> <dialogue>Dude, we just met--</dialogue> <character>AMY</character> <dialogue>We love you too, sweetie. Now let's get you home, okay?</dialogue> <character>KIKI</character> <dialogue>No, no, no, I still need to go to the supermarket...</dialogue> <scene_description>Kiki stands, wobbly. Amy stabilizes her, looks at Carla:</scene_description> <character>AMY</character> <dialogue>Then let's go to the supermarket.</dialogue> </scene> <scene> <stage_direction>INT. SUPERMARKET -- NIGHT</stage_direction> <scene_description>It's late and the market is full of exhausted, overworked MOMS. Then the SLIDING DOORS OPEN, 2Chainz kicks in, and AMY, KIKI AND CARLA ENTER THE SUPERMARKET like a fucking hurricane -- slo mo, hair blowing, beats pumping, and, for some reason, Carla is driving one of those electric three-wheel shopping carts. The TIRED MOMS turn to see Amy, Kiki and Carla entering in all their glory...and they're totally blown away. One of the tired moms lips, in dramatic slo mo: "who are these bitches?" AMY, KIKI AND CARLA ATTACK THE CEREAL AISLE They rip open boxes of cereal and pour them in their mouths...then into each other's mouths...then they just shower each other -- and passersby -- with cereal! Then AMY, KIKI AND CARLA RACE PAST AN OLDER EMPLOYEE restocking the shelves, tired. Then Carla doubles back, FRENCH KISSES the fuck out of him, and races on! Then AMY, KIKI AND CARLA ATTACK THE LIQUOR AISLE Wearing sunglasses with the price tags still on them, Amy, Kiki and Carla mix MUDSLIDES by draining milk jugs and adding Kahlua and vodka! Booze and milk splash all over the floor! Then, as Amy and Kiki cheer her on, Carla chugs her entire jug! 90% of the fluid splashes onto her face and clothes, but she doesn't care! When she finishes, she drop-kicks the empty jug across the store! Amy and Kiki jump up and down YAY! Then A SECURITY GUARD STORMS AROUND THE CORNER and charges right at them, pissed, in action movie slo-mo! Amy and Kiki turn and flee, laughing: oh shit! But Carla frowns and runs right at the security guard like a bull! THE SECURITY GUARD SEES CARLA RUNNING RIGHT AT HIM and he suddenly looks less confident -- umm? -- then he looks scared -- who is this chick? -- and then, slipping on the wet floor, he turns and hightails it away from Carla, terrified! She chases him around the corner, screaming, insane! AMY, KIKI AND CARLA RUN THROUGH THE AISLES high-fiving the tired moms, encouraging them, keep going! You can do it! One mom covers her kid's eyes, don't look at the crazy women! All the while, 2 Chainz blasts, until-- AMY, KIKI AND CARLA PASS AN ADORABLE BABY IN A STROLLER and the deafening hip-hop abruptly stops, and the three moms stop to COO at the beautiful baby.</scene_description> <character>AMY</character> <dialogue>Oh my God: so cute.</dialogue> <character>KIKI</character> <dialogue>Adorable.</dialogue> <character>CARLA</character> <dialogue>I want to eat her face.</dialogue> <scene_description>Then 2Chainz kicks in again and the moms race off again! AMY, KIKI AND CARLA PUSH OVERFLOWING GROCERY CARTS towards the exit. They're filled with junk food, beach chairs, inflatable toys, etc. They descend on the SELF-CHECKOUT MACHINES and start swiping their selections. Carla pretends to fuck the face of the machine as the SUPERMARKET MANAGER watches on, frozen in horror. Then, as the 2Chainz song builds to its epic climax, AMY, KIKI AND CARLA EXIT THE SUPERMARKET with carts full of ridiculous items. Drinking a Bud Light tallboy, Amy flashes the TIRED MOMS the peace sign, we out, while Kiki dances very whitely in her cart and Carla angrily makes the "I'm shooting my wad at you" hand gesture at all the TIRED MOMS in line, who just stare, dumbstruck... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S KITCHEN -- THE NEXT MORNING</stage_direction> <scene_description>Dylan and Jane sit at the empty kitchen table the next morning, dressed and concerned. Jane looks at the wall clock.</scene_description> <character>DYLAN</character> <dialogue>Should we just wake Mom up--?</dialogue> <scene_description>Just then, AMY, hungover as fuck, wearing an oversized sweatshirt and giant slippers, shuffles into the kitchen...</scene_description> <character>JANE</character> <dialogue>Oh my god! Are you okay?!</dialogue> <character>AMY</character> <dialogue>It's cool. This is just how I look when I'm incredibly hungover...</dialogue> <scene_description>Amy pulls a HOSTESS DING DONG out of a box and starts eating it. Jane watches, worried.</scene_description> <character>DYLAN</character> <dialogue>Aren't you going to make us breakfast?</dialogue> <scene_description>Amy looks at her kids, chewing, considering...</scene_description> <character>AMY</character> <dialogue>Yeah, no. I'm not gonna make your meals anymore...</dialogue> <scene_description>Jane and Dylan exchange a horrified look:</scene_description> <character>JANE</character> <dialogue>But...what are we gonna eat?!</dialogue> <character>AMY</character> <parenthetical>(mouth full)</parenthetical> <dialogue>I'd recommend the Ding-Dongs, but you can have whatever you want.</dialogue> <parenthetical>(shuffling off)</parenthetical> <dialogue>We're leaving in five minutes...or however long it takes me to find my pants.</dialogue> <scene_description>She shuffles off. Jane and Dylan look alarmed...</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- LATER</stage_direction> <scene_description>Wearing big sunglasses and frowzy sweats, her hair in a bun, Amy exits her house with her kids and makes for her minivan. Then she notices a COVERED CAR parked in the garage, stops.</scene_description> <character>AMY</character> <dialogue>You know what? Screw it. Let's take daddy's special car today...</dialogue> <character>DYLAN</character> <dialogue>Are...Are we allowed to do that?</dialogue> <scene_description>Amy crosses to the car and yanks off its cover to reveal a beautifully restored red 1968 FORD MUSTANG. She smiles:</scene_description> <character>AMY</character> <dialogue>Oh yeah. Momma's gonna get you to school on time for once.</dialogue> <scene_description>CUT TO: THE CLASSIC MUSTANG FISHTAILING AROUND A CORNER and ROARING through the neighborhood! Amy grins, wind in her hair, radio BLASTING ARIANA GRANDE or some other teen pop sensation! Jane sits shotgun, dancing in her seat, while in the back, Dylan holds on for dear life, his face peeled back! THIS...IS...SO...AWESOME!</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER HIGH SCHOOL -- DAY</stage_direction> <scene_description>A group of YOGA MOMS chat by the curb when Amy ROARS up in the Mustang and SQUEALS to a diagonal stop. The YOGA MOMS look appalled but Amy doesn't care, smiling at her children:</scene_description> <character>AMY</character> <dialogue>Have a great day, kids!</dialogue> <scene_description>Amy kisses her children as they get out of the car...</scene_description> <character>AMY</character> <dialogue>Oh, and don't forget your lunch!</dialogue> <scene_description>She throws two bags of McDONALD'S out of the car and her kids catch them, psyched.</scene_description> <character>JANE</character> <dialogue>Thanks mom!</dialogue> <character>DYLAN</character> <dialogue>You're the best mom ever!</dialogue> <scene_description>Dylan and Jane hurry off towards the school as GWENDOLYN and her crew appear, eying the bags of McDonald's with horror. Gwendolyn calls over to Amy:</scene_description> <character>GWENDOLYN</character> <dialogue>We're having a PTA meeting to discuss the upcoming election at 2-- will we see you there?</dialogue> <character>AMY</character> <dialogue>God I hope not!</dialogue> <scene_description>Amy grins and FLOORS the Mustang off, leaving Gwendolyn and her crew standing there, shocked. Gwendolyn seethes, ominous:</scene_description> <character>GWENDOLYN</character> <dialogue>This bitch is playing a dangerous game.</dialogue> <character>VICKY LATROBE</character> <dialogue>I like her red car!</dialogue> <character>MEAN STACY</character> <dialogue>Shut the fuck up Vicky.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LATTE CAFE -- MORNING</stage_direction> <scene_description>Amy sits at this sunny outdoor cafe, reading a newspaper, happier than we've ever seen her. A WAITER brings her a large cup of coffee, a delicious pastry, and a side of bacon.</scene_description> <character>AMY</character> <dialogue>Oh my god this is so amazing!</dialogue> <parenthetical>(to a MOM sitting nearby)</parenthetical> <dialogue>This is amazing, right?!</dialogue> <character>MOM</character> <parenthetical>(a bit thrown)</parenthetical> <dialogue>Oh. Yes. I suppose it is.</dialogue> <character>AMY</character> <dialogue>Do people actually live like this?!</dialogue> <character>MOM</character> <dialogue>Yeah? I mean, I do.</dialogue> <character>AMY</character> <dialogue>Really?! What's the secret?!</dialogue> <character>MOM</character> <dialogue>Well, I'm super rich...?</dialogue> <character>AMY</character> <dialogue>Right! That'll do it--</dialogue> <scene_description>Amy's cellphone RINGS. She answers it:</scene_description> <character>AMY</character> <dialogue>Best morning ever this is Amy!</dialogue> <scene_description>INTERCUT WITH AMY'S BOSS DALE KIPLER as he angrily paces in his huge ultra-hip office. TESSA and a dozen HIPSTERS sit in a circle on the floor, scared, as Dale barks into a speakerphone, furious:</scene_description> <character>DALE KIPLER</character> <dialogue>Amy, where are you? The Morning Huddle started an hour ago!</dialogue> <character>AMY</character> <dialogue>Yeah, I'm not gonna go to those anymore. They're a total waste of time.</dialogue> <scene_description>Several employees stymie LAUGHTER. Dale reddens, embarrassed:</scene_description> <character>DALE KIPLER</character> <dialogue>Are you feeling okay Amy?</dialogue> <character>AMY</character> <dialogue>Never felt better Dale. I'm eating a quiet breakfast and reading a newspaper for the first time in 12 years, plus I just met a very nice rich lady named--</dialogue> <scene_description>Amy nods at the nearby mom, what's your name?</scene_description> <character>MOM</character> <dialogue>J-Janet?</dialogue> <character>AMY</character> <parenthetical>(back to phone)</parenthetical> <dialogue>--named Janet. And I think we might be best friends.</dialogue> <character>DALE KIPLER</character> <dialogue>Listen to me Amy: you need to come into the office right now!</dialogue> <character>AMY</character> <dialogue>Actually I don't, Dale. I only work for you three days a week. If you want me to work more, you should pay me to do that instead of preying on my classically female desire to go above and beyond what's asked of me--</dialogue> <character>DALE KIPLER</character> <dialogue>Whoa, no one is preying on anyone--</dialogue> <character>AMY</character> <dialogue>Because it would suck for the CEO of a company that markets itself as pro-woman and pro-mom and whose customer base is 68% female to get sued by a working mom for unfair labor practices.</dialogue> <character>DALE KIPLER</character> <dialogue>Okay! Okay! There's no need to talk about lawsuits! And just for the record, I am very pro-mom!</dialogue> <character>AMY</character> <dialogue>Great! Then act like it!</dialogue> <parenthetical>(hangs up, smiles at Janet)</parenthetical> <dialogue>You gonna finish your scone?</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN NORCHESTER -- SHOPPING DISTRICT -- LATER</stage_direction> <scene_description>Amy strolls down this quaint street lined with cute shops, carrying several shopping bags, WHISTLING to herself, happy. Then she dials her phone. INTERCUT WITH KIKI in her house, ironing her husband's dress shirts while her TWINS play at her feet, SCREAMING. She answers, stressed:</scene_description> <character>KIKI</character> <dialogue>Hello?</dialogue> <character>AMY</character> <dialogue>Kiki, it's Amy!</dialogue> <character>KIKI</character> <dialogue>Oh hey! How are you?!</dialogue> <character>AMY</character> <dialogue>I'm awesome! Hey, I just saw in the paper that the new Channing Tatum movie where he's an astronaut but he never wears a shirt is playing at the Century 12, and I wanted to know if you wanted to come with me.</dialogue> <character>KIKI</character> <dialogue>Wait...you're just gonna go to a movie?! In the middle of the day?!</dialogue> <character>AMY</character> <dialogue>Ya!</dialogue> <character>KIKI</character> <dialogue>Are we, like...allowed to do that?!</dialogue> <character>AMY</character> <dialogue>I think we are! Call a sitter!</dialogue> <character>KIKI</character> <dialogue>Oh no I couldn't! Kent would kill me if he ever found out!</dialogue> <character>AMY</character> <dialogue>How would he find out?</dialogue> <scene_description>Kiki looks around, her heart racing...</scene_description> <character>AMY</character> <dialogue>Come on, live a little...</dialogue> <character>KIKI</character> <dialogue>Okay okay okay I'm gonna do it!</dialogue> <character>AMY</character> <dialogue>Great. I'm gonna call Carla.</dialogue> <character>KIKI</character> <dialogue>Fun! I like her but I'm also very scared of her! See you soon!</dialogue> <scene_description>Smiling, Amy hangs up and dials... INTERCUT WITH CARLA answering her phone, eating a hot dog and talking loudly:</scene_description> <character>CARLA</character> <dialogue>Yo.</dialogue> <character>AMY</character> <dialogue>Hey, it's Amy! Do you want to come to the movies with me and Kiki?</dialogue> <character>CARLA</character> <dialogue>I'm already here.</dialogue> <scene_description>GO WIDE to reveal that Carla is, in fact, watching a movie at the theater. Everyone glares at her for talking on her phone: GET OFF YOUR PHONE, LADY! Carla blindly flips off the entire theater and keeps talking:</scene_description> <character>CARLA</character> <dialogue>What do you bitches wanna see?</dialogue> </scene> <scene> <stage_direction>INT. MOVIE THEATER -- DAY</stage_direction> <scene_description>Amy, Kiki and Carla eat popcorn and watch as, onscreen, CHANNING TATUM, wearing a skin-tight astronaut's outfit and helmet, spacewalks outside of a space shuttle towards a FEMALE ASTRONAUT. Then he rips off his shirt. In outer space. The moms high-five each other, nice...</scene_description> </scene> <scene> <stage_direction>INT. THE BISTRO -- RESTAURANT -- DAY</stage_direction> <scene_description>The moms eat lunch and have drinks at a bistro after the movie, still excited about their newfound freedom.</scene_description> <character>AMY</character> <dialogue>This has been such a great day. Thanks for coming out with me.</dialogue> <character>KIKI</character> <dialogue>Are you joking?! This has been the best day of my life!</dialogue> <character>CARLA</character> <dialogue>Yeah, my ex has my kid for the day so it worked out perfect--</dialogue> <scene_description>Carla touches the LATIN BUSBOY's hand as refills their water:</scene_description> <character>CARLA</character> <dialogue>Thank you sir. Your water service today has been exemplary.</dialogue> <scene_description>The busboy smiles, a bit confused, and hurries off.</scene_description> <character>AMY</character> <dialogue>So is it hard sharing your son with your ex-husband?</dialogue> <character>CARLA</character> <dialogue>Fuck no. Have you seen my son? He's nine feet tall and all he talks about is baseball. You know what's interesting about baseball?</dialogue> <character>AMY</character> <dialogue>What?</dialogue> <character>CARLA</character> <dialogue>Nothing. It's a bunch of fat rednecks standing around chewing tobacco in their pajamas.</dialogue> <character>CARLA</character> <dialogue>Honestly I wish my son was into collecting feathers -- it'd be way more interesting.</dialogue> <character>KIKI</character> <dialogue>Do you go to all his games?</dialogue> <character>CARLA</character> <dialogue>His dad does, but I just can't anymore. The last game of his I went to lasted six hours and the final score was 1 to 2. In the 17th inning I nearly took my own life. I would rather go to Iraq than to another kid's baseball game.</dialogue> <character>AMY</character> <dialogue>And how do you think your divorce affected your son?</dialogue> <scene_description>Carla stops, looks at Amy, reading between the lines.</scene_description> <character>CARLA</character> <dialogue>You got problems at home?</dialogue> <character>AMY</character> <dialogue>What? No! No. I just--</dialogue> <character>CARLA</character> <dialogue>Because when married bitches ask me 900 questions about my divorce it's usually because they're thinking about doing it themselves.</dialogue> <scene_description>Amy frowns...then opens up to the girls:</scene_description> <character>AMY</character> <dialogue>I found out that my husband has been masturbating on Skype with the same woman for ten months.</dialogue> <scene_description>HELLO!</scene_description> <character>KIKI</character> <dialogue>What's Skype?</dialogue> <character>CARLA</character> <dialogue>Did you torch his car? Because you have to torch his car, that's just standard operating procedure--</dialogue> <character>AMY</character> <dialogue>No, no, it's actually okay. I thought I'd be devastated when Mike left, but mostly I just feel relieved. And the kids don't even seem to notice he's gone.</dialogue> <character>CARLA</character> <dialogue>Kids are so fucking dumb.</dialogue> <character>AMY</character> <dialogue>The truth is...our marriage has been over for years. I just had this vision of what a perfect family was supposed to be like, and being divorced didn't really fit into that, so I didn't let my marriage end even when it was clearly over, you know?</dialogue> <scene_description>Carla nods, sympathetic...</scene_description> <character>KIKI</character> <dialogue>Wow. I feel really grateful for my marriage now--</dialogue> <character>VOICE BEHIND THEM</character> <dialogue>Kiki?</dialogue> <scene_description>The girls turn to see Kiki's husband KENT, 40's, handsome, preppy. Kiki immediately stands up from the table, scared.</scene_description> <character>KIKI</character> <dialogue>Oh! Hey babe!</dialogue> <character>KENT</character> <dialogue>What are you doing here?</dialogue> <character>KIKI</character> <dialogue>I'm just having lunch with my new friends! This is Carla and this is--</dialogue> <character>KENT</character> <dialogue>Who's watching the kids?</dialogue> <character>KIKI</character> <dialogue>Rosie.</dialogue> <character>KENT</character> <dialogue>But isn't that your job?</dialogue> <character>CARLA</character> <dialogue>Whoa whoa whoa check your privilege, son--!</dialogue> <character>KIKI</character> <dialogue>Yes Kent of course it is! Sorry, I'm heading home now. Bye guys...</dialogue> <scene_description>Kiki quickly grabs her purse, throws some cash on the table and hurries off, anxious and scared... Kent shoots Amy and Carla a look, then heads off after her.</scene_description> <character>CARLA</character> <dialogue>Nice to meet you, Ike Turner! Have a good one!</dialogue> <character>AMY</character> <dialogue>Well. That was alarming...</dialogue> <character>CARLA</character> <dialogue>Yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>On the plus side she left way too much money so it looks like we're gonna get fucked up.</dialogue> <parenthetical>(to WAITRESS)</parenthetical> <dialogue>Can you send our water server over here as soon as possible thank you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>Amy pulls her Mustang up to the school, parks in a red zone, and gets out, eating HOSTESS DONUT HOLES from a box...</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>The BAKE SALE is going on in the main lobby of the school. ANXIOUS MOMS stand behind decorated tables selling their very elaborate home-made confections: hand-dipped pastries, origami brittle, personal souffles. Then AMY DROPS HER HALF-EATEN BOX OF DONUTS ON AN EMPTY TABLE and sits, putting her feet up. A KID instantly hurries over.</scene_description> <character>KID</character> <dialogue>Oh my God I love donut holes! How much are they?!</dialogue> <character>AMY</character> <dialogue>Twenty bucks each.</dialogue> <scene_description>The kid looks appalled when--</scene_description> <character>VOICE BEHIND HER</character> <dialogue>Oh my! What is this?!</dialogue> <scene_description>Amy looks over to see GWENDOLYN and her crew approaching, carrying DAZZLING ORNATE HOMEMADE PASTRIES. Gwendolyn stops, her smile thinly masking her horror:</scene_description> <character>GWENDOLYN</character> <dialogue>Umm, are those store bought donut holes?!</dialogue> <character>AMY</character> <dialogue>Oh no, I made them by hand and then I put them in this box.</dialogue> <character>VICKY LATROBE</character> <dialogue>Oh thank god because we don't allow store-bought--!</dialogue> <character>GWENDOLYN</character> <dialogue>Seriously, Vicky?!</dialogue> <scene_description>Vicky silences, chastened.</scene_description> <character>AMY</character> <dialogue>Look, Gwendolyn, who cares what kind of food people bring as long as it raises money for the school?</dialogue> <scene_description>Gwendolyn and her friends recoil as if slapped.</scene_description> <character>MEAN STACY</character> <dialogue>Oh no she didn't...</dialogue> <character>VICKY LATROBE</character> <dialogue>I think she just did...</dialogue> <character>MEAN STACY</character> <dialogue>Give it to her, G.</dialogue> <scene_description>Gwendolyn inhales, her fake smile tighter than ever:</scene_description> <character>GWENDOLYN</character> <dialogue>I care what food people bring, Amy, because this school has extremely high standards, and that's why we have the best test scores in the state, the best college acceptance rate in the state, and yes, the best artisanal bake sales in the state, six years running.</dialogue> <scene_description>BOOM!</scene_description> <character>GWENDOLYN</character> <dialogue>And I believe -- no, I know -- that excellent schools build excellent children, and that's what we all want, isn't it Amy?</dialogue> <character>AMY</character> <dialogue>I don't know, I sort of want happy children?</dialogue> <character>VICKY LATROBE</character> <dialogue>Oh that's a good point actually--</dialogue> <character>GWENDOLYN</character> <dialogue>Excellent children are happy children because losers are never happy and everyone knows that!</dialogue> <scene_description>Gwendolyn gets right in Amy's face, at her breaking point.</scene_description> <character>GWENDOLYN</character> <dialogue>Now I don't know what's been going on with you lately, with your weird outbursts and your terrible style, but it ends now. I run this school, and I can make life very difficult for you and your underachieving children, do you understand?</dialogue> <scene_description>Amy stands toe-to-toe with Gwendolyn, unafraid.</scene_description> <character>AMY</character> <dialogue>Can I be honest? I think you need to chill the fuck out. Here, have a donut hole...</dialogue> <parenthetical>(offering the box)</parenthetical> <dialogue>Seriously. They're amazing. They're made in China--</dialogue> <scene_description>Gwendolyn SWATS the box and donut holes go flying everywhere! Then Gwendolyn gets right up in Amy's face, insane:</scene_description> <character>GWENDOLYN</character> <dialogue>You just crossed the red line little girl -- and now I'm gonna have to get crazy on that ass.</dialogue> <character>MEAN STACY</character> <dialogue>Oh my God you're so fucked!</dialogue> <scene_description>Amy swallows, scared, as Gwendolyn spins and storms off -- SMASHING into a MOM carrying a fragile gingerbread house as she goes! The mom, and the gingerbread house, go flying! OUT OF MY WAY, BRIE!</scene_description> <character>BRIE</character> <parenthetical>(on ground, scared)</parenthetical> <dialogue>Sorry Gwendolyn!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER / INT. AMY'S MUSTANG -- DAY</stage_direction> <scene_description>Still rattled by her clash with Gwendolyn, Amy drives Jane through Norchester after school. Jane is stressed as ever:</scene_description> <character>JANE</character> <dialogue>I'm so not ready for SAT Bootcamp right now! Did I tell you that there's always a line for the bathroom because everyone is in there throwing up?</dialogue> <character>AMY</character> <dialogue>Are you serious?</dialogue> <character>JANE</character> <dialogue>Ya! Sydney Green barfs like three times a class. She's so thin.</dialogue> <scene_description>Amy frowns, troubled, as they pull up to the SAT BOOTCAMP storefront. Several STRESSED-OUT TEENAGERS pace out front.</scene_description> <character>AMY</character> <dialogue>Wait...why are we even doing this?</dialogue> <character>JANE</character> <dialogue>Umm so I can dominate the SATs and get into a sick college and have an awesome life?</dialogue> <scene_description>Suddenly Amy starts accelerating. Jane looks confused.</scene_description> <character>JANE</character> <dialogue>Wh--? You're passing SAT Bootcamp! Why are you passing SAT Bootcamp?!</dialogue> <character>AMY</character> <dialogue>Fuck SAT Bootcamp.</dialogue> <character>JANE</character> <dialogue>What?!</dialogue> <character>AMY</character> <dialogue>We're playing hooky.</dialogue> <character>JANE</character> <dialogue>But I need to learn this stuff!</dialogue> <character>AMY</character> <dialogue>The only thing you need to learn how to do is relax. And I know just where to take you.</dialogue> </scene> <scene> <stage_direction>EXT. HIGH-END DAY SPA -- DAY</stage_direction> <scene_description>Amy and Jane pull up to a lush, super-expensive DAY SPA. A VALET whisks away Porsche's and BMWs. Jane's eyes are wide:</scene_description> <character>JANE</character> <dialogue>Mom! We can't afford this place!</dialogue> <character>AMY</character> <dialogue>I know. Just be cool.</dialogue> <scene_description>Smiling, confident, Amy gets out and lobs her keys to the VALET, acting very much like she belongs.</scene_description> <character>JANE</character> <dialogue>Keep her close.</dialogue> <scene_description>Amy and Jane make their way towards the spa entrance...then, at the last second, Amy ducks AROUND THE SIDE OF THE BUILDING, and Jane hurries after her!</scene_description> <character>JANE</character> <dialogue>Where are we going--?!</dialogue> <character>AMY</character> <dialogue>Shhh!</dialogue> <scene_description>Amy and Jane sneak along the back of the building until they reach a WINDOWLESS DOOR. Amy knocks twice. A beat. Then CARLA opens the door, dressed in her white spa uniform, smiling:</scene_description> <character>CARLA</character> <dialogue>What up bitches?!</dialogue> <scene_description>Carla looks around, then waves them inside, hurry!</scene_description> </scene> <scene> <stage_direction>INT. DAY SPA -- DAY</stage_direction> <scene_description>Carla guides Amy and Jane through the ultra-lux spa...</scene_description> <character>AMY</character> <dialogue>Thanks again for doing this!</dialogue> <character>JANE</character> <dialogue>Yeah this is so cool!</dialogue> <character>CARLA</character> <dialogue>No worries. You have full access to everything in the spa. Have fun--</dialogue> <scene_description>Carla unlocks the LOCKER ROOM DOOR and they scramble inside.</scene_description> <character>CARLA</character> <dialogue>Just don't pee in the hot tub because I'm gonna use it later--</dialogue> <scene_description>Carla hurries off. Amy and Jane look around at the beautifully appointed locker room, then hug each other and jump up and down, conspiratorial and excited!</scene_description> <character>JANE</character> <dialogue>This is so much better that SAT Bootcamp!</dialogue> <character>AMY</character> <dialogue>I know! What do you want to do first?</dialogue> </scene> <scene> <stage_direction>INT. DAY SPA -- MUD BATH ROOM -- DAY</stage_direction> <scene_description>Amy and Jane lie in side-by-side MUD BATHS, relaxing.</scene_description> <character>AMY</character> <dialogue>Oh my god this is so nice...</dialogue> <character>JANE</character> <dialogue>How many people do you think have shat in here?</dialogue> <scene_description>A beat. Then mother and daughter laugh together...</scene_description> </scene> <scene> <stage_direction>INT. SPA -- KOREAN MASSAGE ROOM -- DAY</stage_direction> <scene_description>Amy and Jane lie on wood tables as TOUGH OLD KOREAN WOMEN in panties and bras walk on their backs, supporting themselves by ropes running along the ceiling. Wincing with every step, Jane whispers over to her mom:</scene_description> <character>JANE</character> <dialogue>Why are...these chicks...in their underwear?</dialogue> <character>AMY</character> <dialogue>I don't...know but...it feels... really good.</dialogue> </scene> <scene> <stage_direction>INT. SPA -- FACIAL ROOM -- DAY</stage_direction> <scene_description>Amy and Jane get facials, side-by-side. Their faces are covered in thick white cream.</scene_description> <character>AMY</character> <dialogue>You look like a Juggalo.</dialogue> <character>JANE</character> <dialogue>You look like Anonymous.</dialogue> </scene> <scene> <stage_direction>INT. DAY SPA -- ZEN GARDEN -- DAY</stage_direction> <scene_description>Amy and Jane recline in a zen garden wearing PLUSH WHITE ROBES while a MONK plays soothing FLUTE MUSIC in the corner. Amy and Jane inhale deeply, completely relaxed...</scene_description> <character>JANE</character> <dialogue>I'm really glad we did this, mom. I haven't felt this chill in, like, forever.</dialogue> <character>AMY</character> <dialogue>Oh I'm so glad, baby. You need a break from SATs and school and soccer and the whole dad thing and--</dialogue> <character>JANE</character> <dialogue>Wait, what whole dad thing?</dialogue> <character>AMY</character> <dialogue>Nothing! Nothing.</dialogue> <character>JANE</character> <dialogue>Does Dad have a brain tumor?!</dialogue> <character>AMY</character> <dialogue>What? No! It's just...your father and I are going through a bit of a rough patch right now.</dialogue> <character>JANE</character> <dialogue>Holy shit you're getting divorced?!</dialogue> <character>AMY</character> <dialogue>No! No. We're...probably...not getting divorced...right away.</dialogue> <character>JANE</character> <dialogue>I can't believe you're telling me this life-changing information in a rock garden while some weird monk plays the flute! What is the matter with you?!</dialogue> <character>AMY</character> <dialogue>Jane, listen. No matter what happens with your father and me, I need you to know: it's not your fault.</dialogue> <character>JANE</character> <dialogue>Why the hell would it be my fault?! Why would you even say that?!</dialogue> <character>AMY</character> <dialogue>I'm sorry, I'm so not good at this--</dialogue> <character>JANE</character> <dialogue>I can't believe I'm going to be from a broken home! What are we going to do at Christmas?!</dialogue> <character>AMY</character> <dialogue>Baby, Christmas is in like 8 months-</dialogue> <character>JANE</character> <dialogue>Wait: am I going to be a whore?!</dialogue> <character>AMY</character> <dialogue>What?!</dialogue> <character>JANE</character> <dialogue>Debby Tiner's parents got divorced and now she gives handjobs to anyone who asks for one!</dialogue> <character>AMY</character> <dialogue>I don't think that has anything to do with her parents' divorce.</dialogue> <character>JANE</character> <dialogue>No mom, that's what happens! For the rest of my life I'm going to struggle with intimacy, and I'm going to search for approval from weird old men, and the odds of me getting divorced just went up like a thousand percent! Thanks, mom!</dialogue> <character>AMY</character> <dialogue>Baby, please--</dialogue> <character>JANE</character> <dialogue>I just don't want to be weird okay?!</dialogue> <scene_description>Tears start down Jane's cheek. Amy puts her arm around Jane, comforting, her heart breaking for her daughter...</scene_description> <character>AMY</character> <dialogue>Sweetie, no matter what the future brings, I love you, and your dad loves you, and you will be okay. I promise.</dialogue> <character>JANE</character> <dialogue>How do you know that?</dialogue> <character>AMY</character> <dialogue>Because I'm your mom and I know you better than anyone in the world.</dialogue> <scene_description>Jane frowns, comforted, sniffling back tears...</scene_description> <character>JANE</character> <dialogue>I just had my whole life worked out so perfectly and now it's...not perfect anymore.</dialogue> <character>AMY</character> <dialogue>I know. I did too. But maybe life is supposed to be messy, you know? And maybe trying to make it perfect is what messes everything up in the first place...</dialogue> <scene_description>Jane nods, dries her eyes, feeling a little better...</scene_description> <character>AMY</character> <dialogue>Does Debbie Tiner really give everyone handjobs?</dialogue> <character>JANE</character> <dialogue>Yeah. She's really popular now.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- SOCCER FIELD -- DAY</stage_direction> <scene_description>Carrying a bag of soccer balls, COACH PATEL walks off the field when GWENDOLYN chases him down: COACH! COACH PATEL!</scene_description> <character>COACH PATEL</character> <parenthetical>(seeing her)</parenthetical> <dialogue>Fuck.</dialogue> <parenthetical>(smiling, friendly)</parenthetical> <dialogue>Hey Gwendolyn!</dialogue> <scene_description>She reaches him, carrying TWO STARBUCKS BEVERAGES.</scene_description> <character>GWENDOLYN</character> <dialogue>I brought your fave -- macchiados!</dialogue> <character>COACH PATEL</character> <dialogue>Oh thanks...?</dialogue> <character>GWENDOLYN</character> <dialogue>I wanted to chat about the starting line-up for next week's game. In particular I wanted to talk about Amy Mitchell's daughter, Jane...</dialogue> <character>COACH PATEL</character> <dialogue>Okay, but you know I can't really discuss that with you--</dialogue> <character>GWENDOLYN</character> <dialogue>Don't fuck with me Deepak that's what the last coach did and now he's coaching tee-ball in Canada.</dialogue> <scene_description>Coach Patel swallows hard, suddenly scared... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- NIGHT</stage_direction> <scene_description>Amy and Jane return home, happy and relaxed from the spa.</scene_description> <character>JANE</character> <dialogue>Thanks again mom. That was awesome.</dialogue> <character>AMY</character> <dialogue>I'm so glad you liked it, baby.</dialogue> <scene_description>Jane crosses to the stairs, stops.</scene_description> <character>JANE</character> <dialogue>So wait -- does this mean you're going to start dating dudes?</dialogue> <character>AMY</character> <dialogue>Oh. I don't know. I hadn't really thought about it...</dialogue> <scene_description>But then she just did. CUT TO:</scene_description> <character>AMY (PRE-LAP)</character> <dialogue>I want to get laid.</dialogue> </scene> <scene> <stage_direction>INT. SPA -- HOT TUB ROOM -- NIGHT</stage_direction> <scene_description>Carla sits in the hot tub, on her phone with Amy. She nods:</scene_description> <character>CARLA</character> <dialogue>I'm on my way.</dialogue> </scene> <scene> <stage_direction>INT. AMY'S BEDROOM -- NIGHT</stage_direction> <scene_description>Carla roots through Amy's closet while Amy paces in her bedroom, drinking a glass of wine, nervous.</scene_description> <character>AMY</character> <dialogue>This is so scary! I haven't even thought about being with another man in like 20 years!</dialogue> <scene_description>Just then Kiki bustles in, excited.</scene_description> <character>KIKI</character> <dialogue>Sorry I'm late I had to tell my husband I was going to a night gynecologist!</dialogue> <character>CARLA</character> <parenthetical>(flipping through clothes)</parenthetical> <dialogue>Dude, what are you gonna wear?</dialogue> <character>AMY</character> <dialogue>Well, I was thinking...my sexy purple dress.</dialogue> <scene_description>Amy pulls A VERY DRAB PURPLE LANE BRYANT MOM DRESS out of her closet and holds it up to her body, hopeful...</scene_description> <character>KIKI</character> <dialogue>I love it!</dialogue> <character>CARLA</character> <dialogue>No.</dialogue> <character>CARLA</character> <dialogue>You look like you're going to Grimmace's funeral.</dialogue> <scene_description>Frowning, Amy hangs up the dress and flips through her closet. She pulls out a huge wool sweater/dress.</scene_description> <character>AMY</character> <dialogue>Oh! I like this one.</dialogue> <character>KIKI</character> <dialogue>Me too! It looks very warm!</dialogue> <character>CARLA</character> <parenthetical>(repulsed)</parenthetical> <dialogue>Is it a dress? Or a sweater?</dialogue> <character>AMY</character> <dialogue>It's a dretter! They were huge like five years ago!</dialogue> <character>CARLA</character> <dialogue>Were they, though?</dialogue> <scene_description>A little desperate, Amy pulls out a BLACK FLOOR-LENGTH GOWN.</scene_description> <character>CARLA</character> <dialogue>Who are you, Jackie Onassis?</dialogue> <scene_description>Amy flips through her clothes, flustered:</scene_description> <character>AMY</character> <dialogue>I'm a mom, I don't have any sexy clothes!</dialogue> <character>CARLA</character> <dialogue>Goddammit get me a pair of scissors.</dialogue> <scene_description>CUT TO: CARLA CUTTING THE BLACK GOWN WITH A PAIR OF SCISSORS as Amy watches, horrified...</scene_description> <character>CARLA</character> <dialogue>All right, take off your shirt, I need to see what I'm working with.</dialogue> <scene_description>Amy hesitates, then pulls off her shirt to reveal she's wearing a GIANT TAN BRA. Carla startles:</scene_description> <character>CARLA</character> <dialogue>Holy shit look at your mom bra! It has so much surface area!</dialogue> <character>KIKI</character> <dialogue>It looks like two tan mixing bowls taped together.</dialogue> <character>CARLA</character> <dialogue>You could make three regular bras out of that one mom bra!</dialogue> <character>AMY</character> <dialogue>This isn't a mom bra! This is my sexy bra!</dialogue> <character>CARLA</character> <parenthetical>(smiling, then)</parenthetical> <dialogue>Oh shit you're serious.</dialogue> <character>CARLA</character> <dialogue>Kiki: go to her daughter's room and steal her sexy bra, okay?</dialogue> <character>AMY</character> <dialogue>Oh no, my daughter doesn't have a sexy bra, she's only 16.</dialogue> <parenthetical>(thinking about it)</parenthetical> <dialogue>Look behind her dresser.</dialogue> <scene_description>Kiki races out-- CUT TO: CARLA BLOWING OUT AMY'S HAIR to a sizeable coif... CARLA WAX-STRIPS AMY'S MUSTACHE AREA as Kiki irons Amy's dress... CARLA STRUGGLES TO ZIP AMY INTO HER DRESS as Kiki slides earrings into Amy's ears... Finally AMY STEPS IN FRONT OF HER FULL-LENGTH MIRROR</scene_description> </scene> <scene> <stage_direction>..and she looks super fucking hot. Kiki and Carla appear on either side of her and nod, impressed:</stage_direction> <character>CARLA</character> <dialogue>Damn.</dialogue> <character>KIKI</character> <dialogue>You look like Elsa!</dialogue> <scene_description>Amy smiles at her reflection -- it's been a long, long time since she's felt this sexy...</scene_description> <character>AMY</character> <dialogue>Someone call a motherfucking Uber.</dialogue> <scene_description>CUT TO: THE THREE MOMS EXITING AMY'S HOUSE in SEXY SLOW MOTION, dressed to murder. Jay-Z BLASTS as the moms strut down Amy's suburban front walk like it was a fashion runway in Paris... On the sidewalk, TWO BOYS ON BIKES stop short and gape at the hot moms coming down the path. Still in slo-mo, Amy nods at the kids, whatup. The kids nod back, whatup to you. Then Amy passes in front of her SUPER DORKY UBER DRIVER, who's holding open the back door of his HONDA CIVIC, and slides inside... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOSTON -- NIGHT</stage_direction> <scene_description>Establishing shots of downtown Boston at night...</scene_description> </scene> <scene> <stage_direction>INT. HILLSTONE BAR -- BOSTON -- NIGHT</stage_direction> <scene_description>Hillstone is a sexy, high-end Boston hotspot. Amy, Kiki, and Carla enter. Amy looks nervous...</scene_description> <character>CARLA</character> <dialogue>This is one of my favorite stomping grounds.</dialogue> <character>KIKI</character> <dialogue>Why?</dialogue> <character>CARLA</character> <dialogue>Because it's really fucking dark.</dialogue> <scene_description>The girls take a seat AT THE BAR. Amy glances at the menu.</scene_description> <character>AMY</character> <dialogue>Hey, check out this typo: it says the drinks cost 25 dollars each!</dialogue> <character>KIKI</character> <dialogue>Hilarious I love typos!</dialogue> <character>CARLA</character> <dialogue>That's how much drinks cost now you fucking hicks.</dialogue> <scene_description>Amy and Kiki exchange a shocked look. Carla scans the crowd.</scene_description> <character>CARLA</character> <dialogue>Okay let's get to it: what kind of guys do you like?</dialogue> <character>AMY</character> <dialogue>I don't know! I've only been with Mike and like three other guys...</dialogue> <parenthetical>(spotting a HOT LATIN GUY)</parenthetical> <dialogue>Oo, what about a Latin guy?! I've never been with a Latin guy before!</dialogue> <character>CARLA</character> <dialogue>Whoa whoa why don't you start with a nice pudgy Jewish guy and work your way up to Latin dudes, okay--?</dialogue> <character>VOICE BEHIND THEM</character> <dialogue>Excuse me, is this seat taken?</dialogue> <scene_description>The girls all turn to see a HANDSOME MAN IN A SUIT smiling at Amy. Amy stammers, suddenly overcome with nerves:</scene_description> <character>AMY</character> <dialogue>Yes! No! Sit. Please. Here.</dialogue> <scene_description>As the man sits next to Amy, she hisses over to her friends:</scene_description> <character>AMY</character> <dialogue>Oh my god what do I do?!</dialogue> <character>CARLA</character> <dialogue>Just laugh at his jokes and agree with all the stupid shit he says--</dialogue> <scene_description>Amy turns back to the man, smiling, trying to be cool:</scene_description> <character>AMY</character> <dialogue>I'm Amy, by the way.</dialogue> <character>MAN IN THE SUIT</character> <parenthetical>(shaking her hand)</parenthetical> <dialogue>Braden. I like your wedding ring.</dialogue> <scene_description>Carla face-palms. Amy blushes, stammering:</scene_description> <character>AMY</character> <dialogue>Oh, no-- I'm not-- I just found this ring on the subway!</dialogue> <character>MAN IN THE SUIT</character> <dialogue>And then you decided to wear it?</dialogue> <character>AMY</character> <dialogue>Yes! Yes. Because...it makes me feel like a...princess...?</dialogue> <character>MAN IN THE SUIT</character> <parenthetical>(weirded out)</parenthetical> <dialogue>Yeah I think I'm gonna sit somewhere else.</dialogue> <scene_description>The man hurries off. Amy GROANS, full of self-loathing. Kiki leans over, smiling, ever-positive:</scene_description> <character>KIKI</character> <dialogue>You did great, sweetie, but maybe next time you should try it without your wedding ring on--</dialogue> <character>AMY</character> <dialogue>Yup, it's already off.</dialogue> <scene_description>The CUTE BARTENDER approaches, friendly, throws down napkins:</scene_description> <character>CUTE BARTENDER</character> <dialogue>Hey ladies, where you in from?!</dialogue> <character>AMY</character> <dialogue>Oh, we live out in Norchester with our kids!</dialogue> <scene_description>The bartender's attention instantly cools:</scene_description> <character>BARTENDER</character> <dialogue>Great what can I get you.</dialogue> <scene_description>As Kiki orders, Carla turns to Amy:</scene_description> <character>CARLA</character> <dialogue>Also maybe don't mention that we have children--</dialogue> <character>AMY</character> <dialogue>Yup. That was my bad.</dialogue> <scene_description>We start CUTTING QUICKLY to Amy crashing and burning with various guys around the bar: -- Amy talks to a HIP MUSIC GUY:</scene_description> <character>AMY</character> <dialogue>I love music too! Have you heard the new Ariana Grande CD?!</dialogue> <scene_description>-- Amy talks to a VERY YOUNG-LOOKING GUY:</scene_description> <character>AMY</character> <dialogue>Seriously, does your mom know you're here?</dialogue> <scene_description>-- Amy smiles at a SUPER-HIPSTER with pink-framed glasses:</scene_description> <character>AMY</character> <dialogue>Why are you wearing a costume?</dialogue> <scene_description>-- Amy dabs a stain on some GUY's shirt with a SHOUT WIPE.</scene_description> <character>AMY</character> <dialogue>This'll just keep the stain from setting...</dialogue> <scene_description>The man quickly pretends to see a friend and hurries off... BACK AT THE BAR Amy sits down with Kiki and Carla, defeated and depressed.</scene_description> <character>AMY</character> <dialogue>Guys, I suck at this.</dialogue> <character>CARLA</character> <dialogue>No you don't. What about Donnie Wahlberg over there?</dialogue> <scene_description>Carla nods at a guy who looks kind of like DONNIE WAHLBERG.</scene_description> <character>KIKI</character> <dialogue>Oh my god is that actually Donnie Wahlberg or is it just a guy who looks kinda like Donnie Wahlberg?!</dialogue> <character>CARLA</character> <dialogue>What's the difference?</dialogue> <character>AMY</character> <dialogue>Look, I think I just want to go home.</dialogue> <scene_description>The girls nod, sympathetic, and collect their purses... Then a GROUP OF GUYS walk past, and one of them recognizes Amy:</scene_description> <character>PASSING MAN</character> <dialogue>Mrs. Mitchell?</dialogue> <scene_description>Amy looks up to see JESSIE HARKNESS, the way-too-attractive English teacher at Norchester who we met in first act.</scene_description> <character>AMY</character> <dialogue>Mr. Harkness?!</dialogue> <scene_description>Instant sparks between the two of them...</scene_description> <character>JESSIE</character> <dialogue>Please, call me Jessie.</dialogue> <character>AMY</character> <dialogue>And I'm Amy. Hi.</dialogue> <character>JESSIE</character> <dialogue>What are you guys doing here?</dialogue> <character>AMY</character> <dialogue>Oh, we're having a girls night out.</dialogue> <character>JESSIE</character> <dialogue>Nice. So Mr. Mitchell had to stay home with the kids?</dialogue> <character>AMY</character> <dialogue>No, um, Mr. Mitchell is no longer...on the scene.</dialogue> <character>CARLA</character> <dialogue>She caught him jerking off on Skype-</dialogue> <character>AMY</character> <dialogue>That's great thank you Carla.</dialogue> <character>JESSIE</character> <dialogue>Oh my god, I'm so sorry...</dialogue> <parenthetical>(to his FRIENDS)</parenthetical> <dialogue>You guys go ahead without me.</dialogue> <scene_description>Jessie sits down next to Amy, concerned...</scene_description> <character>JESSIE</character> <dialogue>Are you doing okay?</dialogue> <scene_description>He touches her arm. It's electric. Amy swallows.</scene_description> <character>AMY</character> <dialogue>I'm, you know, I'm suddenly doing a lot better?</dialogue> <scene_description>Jessie smiles, warm. Amy smiles back. Kiki just watches on, grinning, wide-eyed, weird, until Carla pulls her away.</scene_description> <character>CARLA</character> <dialogue>Okay creepy let's give them some space. Come on.</dialogue> <scene_description>Carla leads Kiki off through the bar...</scene_description> <character>KIKI</character> <dialogue>I can't believe Amy is talking to Mr. Harkness! I named my vibrator after him--!</dialogue> <character>CARLA</character> <dialogue>Can you not walk so close to me? I'm still trying to get laid.</dialogue> <character>KIKI</character> <dialogue>Sure thing you got it!</dialogue> <scene_description>BACK ON AMY AND JESSIE They talk by candlelight, close, intimate, connecting...</scene_description> <character>JESSIE</character> <dialogue>Yeah, I love teaching English. Books allow kids to talk about what they're really feeling but are too embarrassed to say, you know?</dialogue> <parenthetical>(off Amy's dreamy gaze)</parenthetical> <dialogue>Oh no am I the guy in the bar who won't stop talking about his job?</dialogue> <character>AMY</character> <dialogue>No! No. I love how passionate you are about what you do...</dialogue> <character>JESSIE</character> <dialogue>You work at Coffee For The People, right?</dialogue> <character>AMY</character> <dialogue>Yes! How did you know?</dialogue> <character>JESSIE</character> <dialogue>I don't know, I might've asked around about you a little bit...</dialogue> <character>AMY</character> <dialogue>What?! No way! You asked about me?</dialogue> <character>JESSIE</character> <dialogue>Yeah! I've always had a thing for you, you know that...</dialogue> <scene_description>Amy stammers, blown away...</scene_description> <character>AMY</character> <dialogue>Actually...I did not know that...</dialogue> <character>JESSIE</character> <dialogue>Really? I always felt like I made it way too obvious...</dialogue> <scene_description>A beat. Then Amy lunges and KISSES him--</scene_description> <character>JESSIE</character> <dialogue>Oh my God!</dialogue> <scene_description>He quickly pulls away. Amy is mortified:</scene_description> <character>AMY</character> <dialogue>I'm so sorry! I haven't done this in a really long time!</dialogue> <character>JESSIE</character> <dialogue>No it was great, you just scared the shit out of me!</dialogue> <scene_description>She laughs, embarrassed... Then he cradles her face gently, and kisses her properly... NEARBY Carla flirts with Donnie Wahlberg-- until Kiki spastically hits her, look look look! Carla turns to see Amy kissing Jessie, and smiles, nice. Then Kiki raises her phone to take a photo of them, and Carla slaps her hand down. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- MORNING</stage_direction> <scene_description>The sun rises. Birds chirp. Love is in the air.</scene_description> </scene> <scene> <stage_direction>INT. AMY'S BEDROOM -- MORNING</stage_direction> <scene_description>Amy wakes up in her bed, still glowing from the night before. Her phone RINGS with a text. She quickly grabs it, reads: TEXT FROM JESSIE: "Nice seeing you last night Mrs. Mitchell." Amy grins and TEXTS back: "The pleasure was all mine Mr. Harkness." Amy holds the phone close, and smiles up at the ceiling...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- STAIRS -- MORNING</stage_direction> <scene_description>Amy bounds down the stairs, breezes into the kitchen...and SCREAMS! Sitting, eating cereal, reading US Weekly, is MIKE.</scene_description> <character>MIKE</character> <dialogue>What up babe.</dialogue> <character>AMY</character> <dialogue>What--?! What are you doing here?!</dialogue> <character>MIKE</character> <dialogue>I want to get back together. I never should have left you, that was a total dick move.</dialogue> <character>AMY</character> <dialogue>What are you talking about? Three days ago you told me you had feelings for another woman.</dialogue> <character>MIKE</character> <dialogue>I know but then I met her in person and she's super weird.</dialogue> <character>AMY</character> <dialogue>So that's why you want to get back together with me?!</dialogue> <character>MIKE</character> <dialogue>No! That's not the only reason...</dialogue> <parenthetical>(thinking)</parenthetical> <dialogue>I also miss Jane and Dylan. Mostly Dylan, but I miss Jane too.</dialogue> <scene_description>Mike searches for forgiveness, but Amy isn't buying it...</scene_description> <character>MIKE</character> <dialogue>Look I just needed a break. Haven't you ever just needed a break?</dialogue> <character>AMY</character> <dialogue>Of course I have, but I didn't blow up my family to do it.</dialogue> <character>MIKE</character> <dialogue>Mark Feinstein facetimed with a hooker and his wife took him back.</dialogue> <character>AMY</character> <dialogue>I don't give a fuck about Mark Feinstein.</dialogue> <character>MIKE</character> <dialogue>Look, here's the deal: I love our kids and I'm willing to do whatever it takes to fix our marriage.</dialogue> <character>AMY</character> <dialogue>You'd even go to therapy?</dialogue> <character>MIKE</character> <dialogue>No way therapy is dumb!</dialogue> <scene_description>Amy starts physically shooing Mike towards the door.</scene_description> <character>AMY</character> <dialogue>Great, thanks for stopping by.</dialogue> <character>MIKE</character> <dialogue>Come on Aim, don't be a dick! I'm trying to do the right thing here--</dialogue> <scene_description>They reach the door, and Mike stops, panicked:</scene_description> <character>MIKE</character> <dialogue>Okay okay! Even though it's a total waste of time and money...and a little gay...I will go to therapy.</dialogue> <scene_description>Amy looks at him, highly skeptical...</scene_description> <character>AMY</character> <dialogue>And you really gotta get into it too. Like you gotta feel stuff and cry and talk about your fucked up family and the whole thing.</dialogue> <character>MIKE</character> <dialogue>Babe I haven't cried since the Sox traded Nomar in '04.</dialogue> <character>AMY</character> <parenthetical>(shoving him out)</parenthetical> <dialogue>Great, have fun on Skype--</dialogue> <character>MIKE</character> <dialogue>Okay okay I'll cry! I'll cry the whole fucking time! Jesus! Maybe while we're at therapy we can also talk about how you're a little crazy sometimes--</dialogue> <character>AMY</character> <dialogue>Goodbye, Mike.</dialogue> <character>MIKE</character> <dialogue>So are we doing therapy or what?</dialogue> <character>AMY</character> <dialogue>I'll think about it.</dialogue> <character>MIKE</character> <dialogue>Can I get my US Weekly back because I was in the middle of an article about Khloe Kardashian--</dialogue> <scene_description>Amy SLAMS the door on his face and stares off, conflicted... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- ATHLETIC DEPARTMENT -- DAY</stage_direction> <scene_description>Amy strolls through a hallway near the gym. FEMALE SOCCER PLAYERS hustle to and fro... Then Amy sees Jane, in her uniform and cleats, sitting on a bench outside Coach Patel's office, CRYING. Amy races over, concerned:</scene_description> <character>AMY</character> <dialogue>Oh no baby what's wrong?</dialogue> <character>JANE</character> <dialogue>Coach just told me I'm not starting! I'm a benchwarmer!</dialogue> <character>AMY</character> <dialogue>What?! But you're the best forward on the team!</dialogue> <character>JANE</character> <dialogue>Oh my God my life is ruined I'm never going to college I might as well just become a prostitute!</dialogue> <character>AMY</character> <dialogue>Okay okay, settle down. Momma's gonna fix this, okay?</dialogue> <scene_description>Jane nods, trying to pull herself together...</scene_description> <character>JANE</character> <dialogue>Okay but please don't make a scene.</dialogue> <character>AMY</character> <dialogue>Of course not, baby.</dialogue> <scene_description>Amy looks at her daughter reassuringly, then turns and kicks open COACH'S OFFICE DOOR! Inside COACH PATEL spins, sees Amy and how pissed she is, and blurts out, terrified:</scene_description> <character>COACH PATEL</character> <dialogue>Gwendolyn made me!</dialogue> <scene_description>CUT TO: GWENDOLYN HOSTING A P.T.A. TEA IN THE LIBRARY Gwendolyn sits with a group of PROPER MOMS in the library, wearing fancy hats and drinking tea out of tea cups...</scene_description> <character>GWENDOLYN</character> <dialogue>...my goal is to make this year's PTA luncheon the greatest luncheon this school has ever seen.</dialogue> <scene_description>One of the MOMS LAUGHS, assuming she's joking. Gwendolyn shoots her an icy look. The Mom silences, shrinks. Just then AMY blows in, furious:</scene_description> <character>AMY</character> <dialogue>How dare you bench my daughter!</dialogue> <scene_description>The proper moms startle and turn to see Amy, her eyes afire.</scene_description> <character>GWENDOLYN</character> <dialogue>Oh hello, Amy. How are you?</dialogue> <character>AMY</character> <dialogue>You had no right to do that!</dialogue> <character>GWENDOLYN</character> <dialogue>Actually I did. Soccer is a PTA sponsored activity, and I'm the president of the PTA, so...</dialogue> <scene_description>This is clearly news to Amy... She stammers, floundering:</scene_description> <character>AMY</character> <dialogue>Okay...well...you know...</dialogue> <parenthetical>(then, getting an idea)</parenthetical> <dialogue>Not for long.</dialogue> <character>GWENDOLYN</character> <dialogue>Oh dear, what does that mean?</dialogue> <character>AMY</character> <dialogue>It means I'm gonna run against you for PTA president!</dialogue> <character>GWENDOLYN</character> <dialogue>You can't be serious...</dialogue> <character>AMY</character> <dialogue>I'm sick of you running this school like a dictator! It sucks!</dialogue> <character>GWENDOLYN</character> <dialogue>I'm really sorry, ladies, Amy's husband recently left her and she's going through a bit of a mental breakdown right now.</dialogue> <scene_description>Amy GASPS, shocked... The MOMS recoil, embarrassed for her... Amy points at Gwendolyn, her blood boiling:</scene_description> <character>AMY</character> <dialogue>I'm coming for you Gwendolyn!</dialogue> <character>GWENDOLYN</character> <dialogue>Okey doke!</dialogue> <scene_description>Amy storms out. Gwendolyn smiles, completely unworried. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- LIVING ROOM -- DAY</stage_direction> <scene_description>Amy paces in her living room, still amped up, as Kiki and Carla counsel her.</scene_description> <character>KIKI</character> <dialogue>There is no way you can beat her! Gwendolyn has been PTA president for the last six years!</dialogue> <character>AMY</character> <dialogue>I know, but she messed with my kid, and I can't let that stand.</dialogue> <character>KIKI</character> <dialogue>Right, but Gwendolyn controls all the voting blocs. She's got The Attachment Moms, The Tiger Moms, The Sad Moms, The Drunk Moms, The Divorced Moms, The Black Moms, The Lesbian Moms -- she even has the Divorced Black Lesbian Moms, and that is not an easy group to win over.</dialogue> <scene_description>Amy frowns, starting to realize just how impossible this is going to be...</scene_description> <character>KIKI</character> <dialogue>Plus if you lose Gwendolyn will destroy you. She'll put your kids in all the dumb classes and give them all the crappy teachers and forget about soccer -- your kids won't even get milk!</dialogue> <character>AMY</character> <dialogue>But isn't that exactly why we need to take her down? She's a bully, and she wants to turn us all into perfect little Nazi moms just like her and she wants all our kids to be hyper-stressed over-scheduled freaks and I don't want that! My daughter has a new rash every week and she's only 16! We gotta fight back against these perfect moms!</dialogue> <character>CARLA</character> <dialogue>You had me at Nazi -- let's punch this chick right in the tits.</dialogue> <scene_description>Amy looks over at Kiki, hopeful...</scene_description> <character>KIKI</character> <dialogue>I still think it's a really bad idea with long-term ramifications for your children but okay let's do it I'm totally in!</dialogue> <character>AMY</character> <dialogue>Okay! Let's get started!</dialogue> <scene_description>CUT TO: AMY XEROXING THOUSANDS OF CAMPAIGN FLYERS AT WORK as she looks over her shoulder for her boss coming... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- AFTERNOON</stage_direction> <scene_description>Amy, Kiki, and Carla enthusiastically hand out campaign flyers to MOMS picking up their kids for the day... Amy staples a flyer to the SCHOOL KIOSK that reads "AMY FOR PTA PRESIDENT! COME MEET THE CANDIDATE TOMORROW NIGHT!" Kiki slides flyers under car windshield wipers... Carla tries to hand flyers to a group of MOMS walking past, only they refuse them. Carla chases after them, yelling at them to take the damn flyers. The moms literally jog away... GWENDOLYN removes one of Amy's flyers from the windshield of her Range Rover. She reads it and smirks, smug...</scene_description> </scene> <scene> <stage_direction>INT. FAMILY RESTAURANT -- THAT NIGHT</stage_direction> <scene_description>Finished with flyering, Amy, Kiki and Carla eat dinner in this casual family restaurant while all their KIDS eat at the next table over. The moms are in a great mood:</scene_description> <character>KIKI</character> <dialogue>So how many moms do you think are gonna come to your Meet The Candidate Night?!</dialogue> <character>CARLA</character> <dialogue>I told all the moms that if they didn't come I would fuck their husbands so hopefully we'll have decent numbers.</dialogue> <scene_description>Amy laughs...then notices her daughter studying a textbook, stressed, over at the kids' table. Amy frowns, concerned:</scene_description> <character>AMY</character> <dialogue>Jesus that kid never stops studying...</dialogue> <character>CARLA</character> <dialogue>You're lucky. All my kid does with books is try to rip them in half.</dialogue> <character>AMY</character> <dialogue>I'm trying so hard to get her to chill out and take life less seriously, and sometimes I feel like I'm doing an okay job, but then like two seconds later I feel like I'm failing miserably. I just wish I knew how I was doing, you know?</dialogue> <character>KIKI</character> <dialogue>Yeah, the most frustrating part of being a mom is you have no idea if you're doing a good job or not until your kids are fully grown.</dialogue> <character>CARLA</character> <dialogue>Yeah, and then it's too late. They're either cool or they're meth head serial killers.</dialogue> <character>AMY</character> <dialogue>The worst part is Jane is exactly like me -- she wants everything to be perfect and of course all that does is drive you completely insane. Luckily Dylan turned out like his dad and he's lazy as shit.</dialogue> <scene_description>The moms look over at their kids...</scene_description> <character>KIKI</character> <dialogue>Yesterday I gave Bernard the wrong juice box and he called me a cunt.</dialogue> <character>CARLA</character> <dialogue>My son still watches Sesame Street.</dialogue> <character>KIKI</character> <dialogue>My daughter stole money from a homeless woman.</dialogue> <character>CARLA</character> <dialogue>I have no idea who Jaxon's dad is.</dialogue> <character>AMY</character> <dialogue>My son failed Study Hall. The school said no one has ever done that before.</dialogue> <character>KIKI</character> <dialogue>Clare killed our neighbor's ferret and we all pretended it was an accident but it wasn't.</dialogue> <character>CARLA</character> <dialogue>I don't like my kid.</dialogue> <character>KIKI</character> <dialogue>One time I left Bernard at the mall on purpose.</dialogue> <scene_description>The moms frown at their kids, troubled...</scene_description> <character>AMY</character> <dialogue>But fuck I love them so much.</dialogue> <character>KIKI</character> <dialogue>Me too I would literally die for them right now.</dialogue> <character>CARLA</character> <dialogue>Every time I think about that big dumb motherfucker going off to college I cry like a baby...</dialogue> <scene_description>Carla looks at her giant son, growing emotional.</scene_description> <character>AMY</character> <dialogue>Damn you're gonna make me cry too.</dialogue> <character>KIKI</character> <parenthetical>(pouring tears)</parenthetical> <dialogue>I'm already going! Look at me! Children are such a gift!</dialogue> <scene_description>OVER AT THE KIDS' TABLE The kids glance over and see their moms all crying together.</scene_description> <character>JANE</character> <dialogue>What are they crying about now?</dialogue> <character>BERNARD</character> <dialogue>Who cares. They're so weird.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- MORNING</stage_direction> <scene_description>Another sunrise over Amy's house...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S KITCHEN -- MORNING</stage_direction> <scene_description>Amy brews coffee while Dylan grumpily makes himself a bowl of cereal for breakfast next to her. Milk splashes all over.</scene_description> <character>DYLAN</character> <dialogue>Cooking is hard.</dialogue> <character>AMY</character> <dialogue>I know, right?</dialogue> <character>DYLAN</character> <dialogue>Hey, so where's my science project?</dialogue> <character>AMY</character> <dialogue>Oh. I didn't do it.</dialogue> <character>DYLAN</character> <dialogue>What?! But it's due today!</dialogue> <character>AMY</character> <dialogue>Yeah, from now on you're actually gonna have to do your own homework.</dialogue> <character>DYLAN</character> <dialogue>WHAT?! That's so unfair!</dialogue> <character>AMY</character> <dialogue>Oh boy--</dialogue> <character>DYLAN</character> <dialogue>I'm a slow learner, remember?! I need help!</dialogue> <character>AMY</character> <dialogue>You're not a slow learner, sweetie, you're just really entitled. Do you know what entitled means?</dialogue> <character>DYLAN</character> <dialogue>No! Because I'm a slow learner!</dialogue> <character>AMY</character> <dialogue>It means mommy and daddy have been spoiling you and now you think the world owes you something, but it doesn't.</dialogue> <character>AMY</character> <dialogue>And if you don't learn how to work hard now, you're gonna grow up to be just another entitled white dude who thinks he's awesome for no reason and you'll start a ska band and it'll be so terrible and you'll be mean to girls and you'll grow an ironic mustache to look interesting but you won't actually be interesting and I really don't want to be responsible for putting that kind of poison into the world, so just do your homework, okay?</dialogue> <character>DYLAN</character> <dialogue>Fine. Jesus.</dialogue> <scene_description>Dylan heads off with his cereal, totally eviscerated... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COFFEE FOR THE PEOPLE -- MAIN AREA -- DAY</stage_direction> <scene_description>Coffee for the People is as casual as ever. Young hipsters play ping pong, ride scooters, and drink coffee. A DJ spins. Amy enters, smiling, and strolls over to Tessa's desk...</scene_description> <character>TESSA</character> <dialogue>Hey man, Dale was asking about your hotel project. He seemed really miffed. Do you want to work on that this morning?</dialogue> <character>AMY</character> <dialogue>Nah. I think I'm gonna work as hard as everyone else today...</dialogue> <scene_description>Amy walks right past Tessa to the NEAREST PING PONG TABLE where TWO HIPSTER DUDES are playing:</scene_description> <character>AMY</character> <dialogue>I got next.</dialogue> <scene_description>CUT TO: AMY KICKING ASS IN PING PONG! She dominates the hipsters, smashing impossible shot after impossible shot! CO-WORKERS gather around, impressed. Amy high-fives one of them after hitting a great shot! WOOO!</scene_description> <character>AMY</character> <dialogue>Oh my God this is so fun! Why didn't I play with you guys before?!</dialogue> <character>PING PONG HIPSTER #1</character> <dialogue>I don't know. You're surprisingly good for your age.</dialogue> <character>PING PONG HIPSTER #2</character> <dialogue>Hey, you wanna come to karaoke lunch with us?!</dialogue> <character>AMY</character> <dialogue>Nah, I'm gonna eat a yogurt at my desk and work on my hotel accounts.</dialogue> <scene_description>The ping pong guys nod, not surprised...</scene_description> <character>AMY</character> <dialogue>I'm just fucking with you! Let's go make some music!</dialogue> <scene_description>They all LAUGH and exit. Tessa watches Amy go, concerned... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- THAT EVENING</stage_direction> <scene_description>Amy ties BALLOONS onto a sign mounted next to her front door reading "MEET THE CANDIDATE NIGHT, COME ON IN!"</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- EVENING</stage_direction> <scene_description>Amy and Kiki set up a very casual wine &amp; pizza party while Carla reclines on the couch reading a magazine.</scene_description> <character>KIKI</character> <dialogue>Where are your kids tonight?</dialogue> <character>AMY</character> <dialogue>Staying with my very old neighbor.</dialogue> <character>CARLA</character> <dialogue>Is he hot?</dialogue> <character>VOICE AT THE OPEN DOOR</character> <dialogue>Knock knock?</dialogue> <scene_description>Amy looks over to see a LESBIAN COUPLE standing in the open front doorway. Amy crosses, welcoming them:</scene_description> <character>AMY</character> <dialogue>Hi guys, come in, come in!</dialogue> <scene_description>The women enter.</scene_description> <character>AMY</character> <dialogue>Sorry no one's here yet.</dialogue> <character>LESBIAN MOM #1</character> <dialogue>Yeah we figured, what with Gwendolyn's party and all...</dialogue> <character>AMY</character> <dialogue>Wait, what?</dialogue> <character>LESBIAN MOM #2</character> <dialogue>Oh, you didn't know? Gwendolyn heard you were having a campaign party so she threw a competing party at her house.</dialogue> <scene_description>Amy, Kiki, Carla exchange a shocked look.</scene_description> <character>CARLA</character> <dialogue>That fucking whore!</dialogue> <character>LESBIAN MOM #1</character> <dialogue>Yeah -- and she has Wolfgang Puck.</dialogue> <scene_description>CUT TO: WOLFGANG PUCK SLICING PRIME RIB AT A BUFFET in Gwendolyn's beautiful mansion. The buffet is stocked with every food imaginable, and the house is packed with MOMS, eating and whispering about how delicious everything is... Then GWENDOLYN breezes in like the belle of the ball in some ludicrous dress, smiling and greeting people as she passes.</scene_description> <character>GWENDOLYN</character> <dialogue>Wolf the crab is divine! The program will start in five minutes ladies! In the meantime please enjoy Koko Malumbo and the Nigerian Boys Choir!</dialogue> <scene_description>Gwendolyn smiles at an AFRICAN CHILDREN'S CHOIR in the corner as they launch into a cover of "Teach Your Children." CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- NIGHT</stage_direction> <scene_description>Amy, Carla, Kiki and the Lesbian Moms sit on the floor of Amy's living room, eating pizza and drinking wine, depressed.</scene_description> <character>AMY</character> <dialogue>I can't believe Gwendolyn would do this...</dialogue> <character>KIKI</character> <dialogue>I'm so sorry, sweetie...</dialogue> <character>CARLA</character> <dialogue>I know a guy who'll burn her house down if that's a call you want me to make.</dialogue> <scene_description>Amy just frowns at all the CASES OF CHEAP WINE in the corner.</scene_description> <character>AMY</character> <dialogue>What are we gonna do with all this wine...?</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. GWENDOLYN'S MANSION -- NIGHT</stage_direction> <scene_description>The MOMS sit in rows of chairs in Gwendolyn's huge living room, listening to her give a speech into a headset mic:</scene_description> <character>GWENDOLYN</character> <dialogue>...raising children capable of competing in the global marketplace isn't just an economic issue, it's a matter of national security. To discuss this issue further, I'd like to welcome the Former Head of CENTCOM, General David Petraeus.</dialogue> <scene_description>IMPRESSED APPLAUSE as DAVID PETRAEUS makes his way to the front of the room. Gwendolyn takes a seat next to a MOM...</scene_description> <character>THIRSTY MOM</character> <dialogue>So sorry to bother you, Gwendolyn, but where's your bar?</dialogue> <character>GWENDOLYN</character> <dialogue>That's really not what tonight is about, Cara.</dialogue> <scene_description>Gwendolyn smiles tartly. The mom frowns. Then she covertly pulls out her phone and texts: DOES AMY HAVE BOOZE? CUT TO: AMY CHUGGING A GLASS OF WINE and then HIGH-FIVING the Lesbian Mom next to her! The moms are sitting on the floor, buzzed, playing that drinking game where you hold your iPhone to your forehead. Everyone is laughing and yelling and having a blast: DRINK AGAIN! DRINK AGAIN!</scene_description> <character>AMY</character> <dialogue>Why do I have to drink again?!</dialogue> <character>LESBIAN MOM #1</character> <dialogue>Because you said the clue word!</dialogue> <character>AMY</character> <dialogue>What--?! I don't understand how this game works! Fuck!</dialogue> <scene_description>Laughing, Amy drinks more wine as the moms keep playing. Then-</scene_description> <character>THIRSTY MOM</character> <dialogue>Hello--?</dialogue> <scene_description>The moms all turn to see the THIRSTY MOM entering Amy's house. The second she sees the game they're playing, she chucks her purse aside and charges inside, psyched:</scene_description> <character>THIRSTY MOM</character> <dialogue>Oh hell yes!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GWENDOLYN'S MANSION -- NIGHT</stage_direction> <scene_description>Petraeus sits as Gwendolyn stands, addressing the MOMS:</scene_description> <character>GWENDOLYN</character> <dialogue>Thank you General Petraeus. Now for the next 45 minutes I would like to talk to you about the advantages of year-round school...</dialogue> <scene_description>A BORED MOM in the audience gets a TEXT on her phone. She opens it-- and startles to see it's a SELFIE OF THE THIRSTY MOM drunkenly flipping them the bird while Amy, Kiki, Carla, and the lesbian moms don gangsta poses all around her! It looks crazy fun! The text reads: COME TO AMY'S U BITCHES! Wide-eyed, the mom looks around and sees that ALL THE MOMS IN GWENDOLYN'S HOUSE are getting the same text -- and smiling. CUT TO: A LINE OF MOMS STREAMING INTO AMY'S HOUSE! Old school hip hop plays and A FEW MOMS dance with each other in Amy's living room, happy and free! Amy circulates with bottles of wine, pouring drinks for everyone who wants one! A DRUNK MOM grabs Amy, looks her in the eye:</scene_description> <character>DRUNK MOM</character> <dialogue>This is the best PTA meeting ever!</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. GWENDOLYN'S MANSION -- NIGHT</stage_direction> <scene_description>Gwendolyn watches the last MOMS hurry out of her mansion...</scene_description> <character>GWENDOLYN</character> <dialogue>You sure you can't stay?</dialogue> <character>DEPARTING MOM</character> <dialogue>Sorry I only have my sitter til 9!</dialogue> <scene_description>The moms race out, leaving Gwendolyn's giant house empty save for VICKY and MEAN STACY. Gwendolyn frowns, disturbed...</scene_description> <character>GWENDOLYN</character> <dialogue>Well. That ended a lot earlier than I expected...</dialogue> <character>VICKY LATROBE</character> <dialogue>You don't think...they're all going to Amy's party, do you?</dialogue> <character>MEAN STACY</character> <dialogue>Don't be fucking stupid Vicky, we had Wolfgang Puck and David Petraeus, what does she have?</dialogue> <scene_description>An awkward silence.</scene_description> <character>MEAN STACY</character> <dialogue>We should go.</dialogue> <character>GWENDOLYN</character> <dialogue>I'll drive.</dialogue> </scene> <scene> <stage_direction>INT. WHITE RANGE ROVER -- NIGHT</stage_direction> <scene_description>Gwendolyn, Mean Stacy and Vicky drive through Norchester at night, tense, looking for Amy's street...</scene_description> <character>MEAN STACY</character> <dialogue>I'm sure her party is super-lame. Amy is so poor.</dialogue> <scene_description>They turn down Amy's street...and their jaws drop:</scene_description> <character>VICKY LATROBE</character> <dialogue>Holy shit.</dialogue> <scene_description>Amy's party is going off! MINIVANS clog both sides of the street as MOMS eagerly stream into Amy's house! BASS THUMPS as MOMS drink and laugh on Amy's front porch. One MOM already lies face down on Amy's front lawn, passed out. Gwendolyn, Stacy, and Vicky stare in disbelief... Then:</scene_description> <character>VICKY LATROBE</character> <dialogue>That looks awesome!</dialogue> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- DINING ROOM -- NIGHT</stage_direction> <scene_description>A line of moms down shots then slam down their glasses down on the dining room table! Carla yells at them: ANOTHER! IN THE LIVING ROOM The entire room is now packed with MOMS dancing like women who haven't cut loose in years -- wild, reckless, alive! TIGER MOMS dance with ATTACHMENT MOMS dance with WAY TOO JEWISH MOMS dance with GAY DADS dance with WORKOUT MOMS... IN THE HALLWAY KIKI AND ANOTHER MOM show adorable pictures of their kids to each other on their phones -- until Carla blows past, SWATS their phones to the floor, and charges onward, insane! A LARGE MOM BREAKDANCES as everyone CLAPS and CHEERS her on! She spins around and around and even tries to helicopter on her head... IN AMY'S BEDROOM A WEIRD MOM garishly paints her face with Amy's make-up... IN THE HALLWAY Carla makes out with ONE OF THE LESBIAN MOMS, then turns and makes out with the OTHER LESBIAN MOM... IN THE KITCHEN A MOM shows KIKI how to do whippets out of a Cool Whip can... IN THE BACK YARD THREE MOMS drunkenly do double-dutch while ANOTHER MOM stands on a dirt-bike, expertly bouncing on one wheel, while nearby WOLFGANG PUCK smokes a joint with TWO HIPPY MOMS, laughing... IN AMY'S LIVING ROOM Amy dances with the mob of women, having a blast, until the song finally ends. Then CARLA stands on Amy's coffee table: WELCOME TO MEET THE CANDIDATE NIGHT! NOW PLEASE WELCOME YOUR CANDIDATE AMY...FUCKING...MITCHELL! The moms APPLAUD as Amy climbs up onto her coffee table. Out of view, GWENDOLYN, MEAN STACY, and VICKY quietly slip into the back of the room and listen...</scene_description> <character>AMY</character> <dialogue>Hey guys, thanks for coming out! I don't have a speech or anything, I just wanted to say that I think we all do way too much stuff, and if I'm elected we're gonna start doing way less! Less PTA meetings, less bake sales, less luncheons, less bullshit!</dialogue> <scene_description>The moms ROAR their approval! In the back, Gwendolyn looks genuinely surprised by the moms' fury...</scene_description> <character>AMY</character> <dialogue>Our kids need a break too! School starts way too early! And why do they have six hours of homework a night?! Our kids have no time to be kids anymore! And do they really need to take five standardized tests a week?! We shouldn't be teaching our kids to be good test takers we should be teaching them to be good people!</dialogue> <scene_description>Even MORE RABID APPLAUSE. Gwendolyn rolls her eyes...</scene_description> <character>AMY</character> <dialogue>Who gives a shit if our kids don't go to Harvard?! My boss went to Harvard and he's a total douche!</dialogue> <scene_description>The crowd CHEERS as Gwendolyn looks horrified...</scene_description> <character>AMY</character> <dialogue>Also I think we should all stop doing Zumba! There's no science supporting it plus you look super embarrassing when you do it!</dialogue> <scene_description>The crowd hesitates a bit, not...totally...behind her...</scene_description> <character>AMY</character> <dialogue>Okay I could be wrong about Zumba, but I think I'm right about the other stuff! So if you're tired of being overworked and under- appreciated and if you're tired of your school making you feel like shit while slowly driving your kids insane or if you're just a mom who wants to do less, then vote for me!</dialogue> <scene_description>THE CROWD GOES NUTS! Smiling, Amy steps down from the coffee table as MOMS swarm her, hugging her, high-fiving her, taking photos with her like she's famous! Some are even crying:</scene_description> <character>CRYING MOM</character> <dialogue>I love you so much Amy Mitchell!</dialogue> <character>INSANE MOM</character> <dialogue>Can we have a playdate?! I want a playdate with you so fucking bad!</dialogue> <character>INTENSE MOM</character> <dialogue>I will do whatever you tell me to.</dialogue> <scene_description>IN THE BACK OF THE ROOM Gwendolyn, Stacy and Vicky stare in disbelief:</scene_description> <character>MEAN STACY</character> <dialogue>This basic bitch is going to win the election...</dialogue> <character>GWENDOLYN</character> <dialogue>No she's not -- because I'm gonna hit her where it counts.</dialogue> <character>VICKY LATROBE</character> <dialogue>You're going to punch her in the vagina?!</dialogue> <character>GWENDOLYN</character> <dialogue>I literally don't even know why we hang out with you anymore.</dialogue> <character>VICKY LATROBE</character> <dialogue>Because our kids play lacrosse--</dialogue> <scene_description>But Gwendolyn is gone. Stacy and Vicky hurry out after her...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- LATER THAT NIGHT</stage_direction> <scene_description>The party is over -- and Amy's house is decimated. Bottles, cups, and trash are everywhere. Amy, Kiki and Carla sit on the kitchen counter, eating cookie dough from a tube, happy.</scene_description> <character>AMY</character> <dialogue>You know the best thing about a mom party? Everyone leaves at 11:00.</dialogue> <character>CARLA</character> <dialogue>I made out with a lot of women tonight.</dialogue> <character>KIKI</character> <dialogue>I really like whippets--!</dialogue> <character>MAN'S VOICE IN HALLWAY (O.S.)</character> <dialogue>Hello?</dialogue> <scene_description>Amy looks at her friends, confused. Then JESSIE appears in the kitchen doorway, ruggedly handsome -- and a bit confused. Amy straightens, surprised:</scene_description> <character>AMY</character> <dialogue>Oh hey! What are you doing here?</dialogue> <character>JESSIE</character> <dialogue>Umm, you kind of...booty-texted me?</dialogue> <character>AMY</character> <dialogue>What?!</dialogue> <scene_description>Carla hops off the counter and grabs Kiki--</scene_description> <character>CARLA</character> <dialogue>Great party Aim we'll see ya later.</dialogue> <scene_description>Carla and Kiki hurry out. Amy smiles, understanding...</scene_description> <character>AMY</character> <dialogue>I'm sorry, I think Carla booty- texted you with my phone.</dialogue> <character>JESSIE</character> <dialogue>Thank god, because what she wrote was deeply disturbing.</dialogue> <scene_description>Amy laughs. Then there's an awkward pause.</scene_description> <character>JESSIE</character> <dialogue>So should I...like...go?</dialogue> <scene_description>Amy looks at him...considers...</scene_description> <character>AMY</character> <dialogue>No. You really shouldn't.</dialogue> <scene_description>A beat. Then they start making out like crazy, driving each other around the kitchen, upsetting glasses, bowls, plates! With his free arm, Jessie clears the kitchen counter and bottles and cans CRASH to the floor! He lifts Amy up onto the counter as she pulls off his shirt! Amy stops for a second and takes in his incredibly chiselled physique:</scene_description> <character>AMY</character> <dialogue>Oh fuck yeah.</dialogue> <scene_description>She pulls him down on top of her OUT OF FRAME... MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S BEDROOM -- LATER THAT NIGHT</stage_direction> <scene_description>Amy and Jessie collapse back on her bed, sweaty, exhausted, post-coital. Amy smiles, extremely satisfied.</scene_description> <character>AMY</character> <dialogue>Mm, that was nice...</dialogue> <scene_description>Jessie just stares at the ceiling, wide-eyed, his mind blown.</scene_description> <character>JESSIE</character> <dialogue>I don't-- I can't-- What was that thing you did at the end?</dialogue> <character>AMY</character> <dialogue>I don't know. I just came up with it in the moment.</dialogue> <character>JESSIE</character> <dialogue>Honestly, that was by far the best I've ever had.</dialogue> <character>AMY</character> <dialogue>Really? Aww...</dialogue> <scene_description>Amy smiles, a bit proud. Jessie looks over at her, smitten:</scene_description> <character>JESSIE</character> <dialogue>I've never met a woman like you before, Amy...</dialogue> <character>AMY</character> <dialogue>That's because you're very young and you haven't met a lot of people yet. But thanks, you're very sweet.</dialogue> <character>JESSIE</character> <dialogue>Can I go down on you again?</dialogue> <character>AMY</character> <dialogue>Ya! Sounds great!</dialogue> <scene_description>Jessie grins and eagerly scoots downward... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- LATER THAT NIGHT</stage_direction> <scene_description>It's very late and the school is dark and empty and ominous. Then Gwendolyn's Range Rover quietly pulls up and Gwendolyn, Stacy, and Vicky get out and make for the entrance...</scene_description> <character>VICKY LATROBE</character> <dialogue>I still don't understand what we're doing here!</dialogue> <character>MEAN STACY</character> <dialogue>That's because you're fucking stupid.</dialogue> <scene_description>Gwendolyn unlocks the front door and they slip inside...</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- GIRLS LOCKER ROOM -- LATE NIGHT</stage_direction> <scene_description>Gwendolyn, Stacy and Vicky walk briskly through the spooky locker room, past rows of lockers, until Gwendolyn finds the one she is looking for. Using a master key, she unlocks the locker and starts riffling through someone's GYM BAG... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- MORNING</stage_direction> <scene_description>Carrying overnight bags, Amy's kids return home--</scene_description> <character>JANE</character> <dialogue>Hello?</dialogue> <scene_description>Then Jane and Dylan stop cold: the house is a disaster. Empty wine bottles and beer cans are everywhere. Lamps are broken. A RANDOM MOM sleeps on the couch. Jane looks disturbed:</scene_description> <character>JANE</character> <dialogue>What the fuck...?</dialogue> <scene_description>Then Amy shuffles down the stairs, hungover, in her robe...</scene_description> <character>AMY</character> <dialogue>Hey guys how was your night?</dialogue> <character>JANE</character> <dialogue>Fine, how was yours?</dialogue> <scene_description>Amy stops, looks around at her totalled house.</scene_description> <character>AMY</character> <dialogue>It was pretty good.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Oh crap what time is it?!</dialogue> <character>JANE</character> <dialogue>8 o'clock?</dialogue> <scene_description>Amy winces and races back up the stairs! Jane just frowns...</scene_description> </scene> <scene> <stage_direction>INT. FAMILY COUNSELLING OFFICE -- DAY</stage_direction> <scene_description>Hungover, hating life, Amy sits on a therapist's couch with MIKE. They both sit as far apart as possible. Across from them sits a very positive THERAPIST, smiling, sunny:</scene_description> <character>THERAPIST</character> <dialogue>Good morning! I'd like to start by saying that every marriage is save- able, it just takes two people who are willing to work at it, okay?</dialogue> <scene_description>Amy and Mike nod, not so sure...</scene_description> <character>THERAPIST</character> <dialogue>Awesome! Let's begin with an affirmation. Mike and Amy, I'd like you to look at each other and say three things that you like about each other...</dialogue> <scene_description>Mike and Amy look at each other, trying to think of 3 things.</scene_description> <character>MIKE</character> <dialogue>Can I go second?</dialogue> <character>THERAPIST</character> <dialogue>Sure! Amy, go ahead.</dialogue> <character>AMY</character> <dialogue>Well, I like that you gave me my children. And I like that you pick up the kids after school sometimes, that's really helpful. And I like that you came to therapy.</dialogue> <character>THERAPIST</character> <dialogue>Great! Mike, your turn.</dialogue> <character>MIKE</character> <dialogue>Okay, um, I like your spaghetti? And you make a pretty good calzone. That's two.</dialogue> <character>AMY</character> <dialogue>Do you have any that aren't pasta?</dialogue> <character>MIKE</character> <dialogue>And I like that you've never crashed the car.</dialogue> <scene_description>Amy just turns to the therapist, tired.</scene_description> <character>AMY</character> <dialogue>Okay I know you have to be neutral, but do you see what I'm working with here?</dialogue> <character>MIKE</character> <dialogue>What?! What'd I do wrong?!</dialogue> <scene_description>Slightly rattled, the therapist smiles bravely:</scene_description> <character>THERAPIST</character> <dialogue>You know what, let's try a different tack! I'd like to try a role reversal exercise. Amy, I want you to pretend to be Mike, and Mike I want you to pretend to be Amy, and now I want you to just talk about your days...</dialogue> <scene_description>A beat. Then Mike puts on a RIDICULOUS HIGH-PITCHED VOICE:</scene_description> <character>MIKE (AS AMY)</character> <dialogue>Hi I'm Amy all I did today was rub lotion on my face and talk talk talk!</dialogue> <character>AMY (AS MIKE)</character> <dialogue>What up I'm Mike. Today I made toast in the oven and stared off into space.</dialogue> <character>THERAPIST</character> <dialogue>We usually don't do the voices but, okay! How does it feel to be your partner?</dialogue> <scene_description>MIKE (AS AMY) I feel great! I've got a super- chill husband and two healthy kids and a beautiful house and a fully- loaded minivan and a closet packed with expensive clothes I never wear -- my life is amazing! I really don't know why I sit around all day complaining and eating cake! THERAPIST Wow. Okay Amy, would you like to--? AMY Yes I would. (as Mike) Hey, I'm Mike and I have no idea how good I have it! I've got a wife who takes care of everything in the world for me and all I have to do is not jack off on Skype three times a day but I still do that anyway because I'm a fucking idiot-- THERAPIST Okay guys this has officially gone off the rails-- MIKE (AS AMY) Actually I'm the idiot! I don't even know how to work the TV remote! It's like "Help I'm a girl what do all these clearly-labelled buttons do?!" AMY (AS MIKE) Hey Doc we've been here five minutes can I splooge all over your computer now?! THERAPIST Okay that's just gross-- MIKE (AS AMY) I'm too judgemental to ever love someone!</scene_description> <character>AMY (AS MIKE)</character> <dialogue>I'm too self-centered to ever love someone--!</dialogue> <character>THERAPIST</character> <dialogue>ENOUGH! Enough. Okay, look, I know I started out saying all marriages can be saved...but it ain't gonna happen for you guys.</dialogue> <scene_description>Amy and Mike look surprised by the therapist's candor...</scene_description> <character>MIKE</character> <dialogue>You don't even think we should stick it out for the kids?</dialogue> <character>THERAPIST</character> <dialogue>In my experience, parents who stay in unhappy marriages for their kids just end up making their kids twice as unhappy.</dialogue> <character>AMY</character> <dialogue>So what should we do?</dialogue> <character>THERAPIST</character> <dialogue>As a therapist, I'm not allowed to tell you what to do. But as a human being with two fucking eyes in my head, I think you should get divorced as soon as possible.</dialogue> <scene_description>Amy inhales, wow... After a moment, she looks over at Mike...</scene_description> <character>AMY</character> <dialogue>What do you think, Mike?</dialogue> <scene_description>A long SILENCE, then Mike nods, I agree. Amy nods too...</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY COUNSELLING OFFICE -- DAY</stage_direction> <scene_description>Amy and Mike slowly exit the therapist's office together. They stand on the sidewalk, awkward, unsure of what to do...</scene_description> <character>AMY</character> <dialogue>Can I give you a hug?</dialogue> <scene_description>Mike nods and they hug. It's actually a beautiful moment.</scene_description> <character>AMY</character> <dialogue>I'm sorry.</dialogue> <character>MIKE</character> <dialogue>I'm sorry too.</dialogue> <scene_description>Then BEEP BEEP, a woman sitting in a parked car on the curb waves at them. It's the fucking SKYPE WOMAN:</scene_description> <character>SKYPE WOMAN</character> <dialogue>Hey Mike! Hey Amy! Take your time!</dialogue> <character>AMY</character> <dialogue>Tell me that isn't the chick from Skype.</dialogue> <character>MIKE</character> <dialogue>It is. Turns out she's not as weird as I thought. Maybe all of us could get brunch sometime--?</dialogue> <scene_description>But Amy is already walking away, just over it... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COFFEE FOR THE PEOPLE -- AMY'S OFFICE -- DAY</stage_direction> <scene_description>Amy storms into her office, sunglasses on, still angry...and finds DALE standing there with a HUGE SECURITY GUARD...</scene_description> <character>AMY</character> <dialogue>Oh. Hey Dale.</dialogue> <character>DALE KIPLER</character> <dialogue>Can I have a hug?</dialogue> <scene_description>Amy hugs him, immediately suspicious...</scene_description> <character>AMY</character> <dialogue>What's up with the security guard?</dialogue> <character>DALE KIPLER</character> <dialogue>I'm so sorry Amy, but I have to positively transition you.</dialogue> <character>AMY</character> <dialogue>What...do those words...mean?</dialogue> <character>DALE KIPLER</character> <dialogue>It means that you used to work here, but now you're transitioning, in a very loving, positive way, to somewhere else that isn't here.</dialogue> <character>AMY</character> <dialogue>You're firing me?!</dialogue> <character>DALE KIPLER</character> <dialogue>Yuck I hate that word! But yes. I am totally firing you.</dialogue> <character>AMY</character> <dialogue>Why?!</dialogue> <character>DALE KIPLER</character> <dialogue>Well, you sort of stopped showing up...?</dialogue> <character>AMY</character> <dialogue>Yeah, because I'm part time.</dialogue> <character>DALE KIPLER</character> <dialogue>You only came in once this week.</dialogue> <character>AMY</character> <dialogue>It's only Tuesday!</dialogue> <character>DALE KIPLER</character> <dialogue>Amy. It's Friday.</dialogue> <scene_description>Amy raises her sunglasses and looks at the Security Guard, really? The Security Guard nods, yeah it's Friday.</scene_description> <character>DALE KIPLER</character> <dialogue>In appreciation of everything you've done, I got you a gift.</dialogue> <scene_description>Dale hands her a TINY BAG OF COFFEE. Amy just looks at it.</scene_description> <character>AMY</character> <dialogue>Really? You couldn't spring for the 16 ounce bag?</dialogue> <character>DALE KIPLER</character> <dialogue>Daryl will walk you out. Good luck on your path Amy--</dialogue> <character>AMY</character> <dialogue>I busted my ass for six years and all I get is 8 ounces of coffee?!</dialogue> <scene_description>The SECURITY GUARD guides Amy out as she resists:</scene_description> <character>AMY</character> <dialogue>Fuck you Dale! YOU HAVE TERRIBLE CLOTHES! YOU ALL DO! YOU ALL DRESS LIKE CLOWNS!</dialogue> <scene_description>As stunned HIPSTERS watch on, the guard wrestles Amy out.</scene_description> </scene> <scene> <stage_direction>INT. AMY'S CAR -- DAY</stage_direction> <scene_description>Amy drives, super-stressed, hitting her steering wheel!</scene_description> <character>AMY</character> <dialogue>Fuck! Fuck!</dialogue> <scene_description>Her phone rings. She answers, irate:</scene_description> <character>AMY</character> <dialogue>What?!</dialogue> <character>STERN VOICE ON THE PHONE</character> <dialogue>Mrs. Mitchell, this is Principal Burr. We need you to come in.</dialogue> <scene_description>Amy swallows, suddenly very meek:</scene_description> <character>AMY</character> <dialogue>Yes sir I'll be right there.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL BURR'S OFFICE -- DAY</stage_direction> <scene_description>It's a typical Principal's office with class photos and plaques on the wall. Amy and Jane sit opposite PRINCIPAL BURR at his desk. He's frowning, exuding authority...</scene_description> <character>AMY</character> <dialogue>You found what?</dialogue> <character>PRINCIPAL BURR</character> <dialogue>We found Adderall in your daughter's gym bag.</dialogue> <scene_description>Principal Burr places a SMALL ZIPLOC OF PILLS on the desk.</scene_description> <character>AMY</character> <dialogue>Oh my god--</dialogue> <character>JANE</character> <dialogue>That's not mine! And why were you looking in my gym bag?!</dialogue> <character>PRINCIPAL BURR</character> <dialogue>We were tipped off by a concerned parent.</dialogue> <scene_description>Amy stops, immediately smelling a rat...</scene_description> <character>AMY</character> <dialogue>Wait, was it Gwendolyn James?</dialogue> <character>PRINCIPAL BURR</character> <dialogue>I'm not at, um, liberty to say.</dialogue> <character>AMY</character> <dialogue>That bitch! Jesus, I knew Gwendolyn was evil, but this is insane!</dialogue> <character>PRINCIPAL BURR</character> <dialogue>Please note that I have neither confirmed nor denied the identity of the parent in question--</dialogue> <character>AMY</character> <dialogue>Look, my daughter doesn't take Adderall, though, admittedly, she kind of acts like she does. Gwendolyn did this to get back at me for--</dialogue> <character>PRINCIPAL BURR</character> <dialogue>I literally have no idea what you're talking about. What I do know is that Adderall is a Schedule 2 performance enhancing drug and therefore Jane is banned from participating in any athletic programs effective immediately.</dialogue> <character>AMY</character> <dialogue>What?!</dialogue> <character>JANE</character> <dialogue>No! You can't do that!</dialogue> <character>PRINCIPAL BURR</character> <dialogue>I'm sorry but my hands are tied. You're off the soccer team.</dialogue> <scene_description>Amy and Jane just stare at him, reeling in shock...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>Amy and Jane blow out of the school. Jane CRIES, hysterical, as around them, PARENTS and STUDENTS turn and gawk...</scene_description> <character>JANE</character> <dialogue>This is all your fault!</dialogue> <character>AMY</character> <dialogue>I know sweetie, and I am so sorry--</dialogue> <character>JANE</character> <dialogue>There is no way I'm getting into a good college now! Soccer was my ticket!</dialogue> <scene_description>By now everyone around them is listening.</scene_description> <character>AMY</character> <dialogue>I know, honey, but I didn't mean to-</dialogue> <character>JANE</character> <dialogue>Yes you did mean to! You were tired of being a mom so you quit and you started partying with your weird new friends and blowing off work and -- oh yeah -- fucking my English teacher! Yup, heard about that on Twitter today! Thanks mom!</dialogue> <scene_description>Amy GASPS, mortified. Jane calls out to everyone on the lawn: THAT'S RIGHT! MY MOM IS FUCKING MR. HARKNESS! SEVERAL MOMS shake their heads disapprovingly... ONE MOM, however, nods, impressed, you go girl.</scene_description> <character>AMY</character> <dialogue>Jane, I know you're mad--</dialogue> <character>JANE</character> <dialogue>Well this is what happens, mom! This is what happens when moms act really fucking selfish! Their kids pay the price! It's not so funny anymore, is it?!</dialogue> <scene_description>Amy looks overwhelmed with guilt:</scene_description> <character>AMY</character> <dialogue>Baby, please--</dialogue> <character>JANE</character> <dialogue>I want to stay with dad tonight. Even he's a better parent than you!</dialogue> <scene_description>Jane gets into the car and SLAMS the door. Amy just stands there, destroyed... Then she notices TWO DOZEN MOMS frozen on the lawn, gaping at her. Amy scowls, hustles into her car, and races off... BACK ON THE LAWN GWENDOLYN turns to a group of MOMS, sad and concerned:</scene_description> <character>GWENDOLYN</character> <dialogue>Is that really the kind of mom we want running our school...?</dialogue> <scene_description>The moms frown, clearly agreeing with her. Gwendolyn can barely to contain her glee... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- FRONT PORCH -- DAY</stage_direction> <scene_description>Amy anxiously paces on her porch. Mike stands next to her.</scene_description> <character>AMY</character> <dialogue>If you need anything just call me, okay?</dialogue> <character>MIKE</character> <dialogue>Babe, I'll be fine. I'm at the Four Seasons, they've got an indoor/ outdoor pool, room service, 18 hole golf course, it's incredible.</dialogue> <character>AMY</character> <dialogue>I can't believe you're staying at the fucking Four Seasons--</dialogue> <scene_description>Then Jane storms out of the house, carrying an ENORMOUS SUITCASE, still mad at her mom. Amy smiles at her, desperate:</scene_description> <character>AMY</character> <dialogue>Bye angel! Have fun with Daddy!</dialogue> <scene_description>But Jane just marches off down the stairs, ignoring her. Amy swallows, trying not to look hurt... Then DYLAN exits, lugging a DUFFEL BAG, an XBOX 360, and a SMALL FLATSCREEN TV.</scene_description> <character>AMY</character> <dialogue>Whoa, buddy, are you going too?!</dialogue> <character>DYLAN</character> <dialogue>The house smells funny.</dialogue> <scene_description>Dylan hurries off down the stairs...</scene_description> <character>MIKE</character> <dialogue>You know they have a TV at the hotel, right?</dialogue> <parenthetical>(to Amy)</parenthetical> <dialogue>I'll see you later.</dialogue> <scene_description>Amy nods, trying really hard not to cry...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- DAY</stage_direction> <scene_description>Amy walks into her filthy house, heartbroken and alone. Her home has never been this quiet before. It's awful and eerie.</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- UPSTAIRS</stage_direction> <scene_description>Amy slowly walks upstairs, touching the FAMILY PHOTOS hanging on the wall. There are shots of family vacations...and Amy and Mike at their wedding...and the kids at the beach... Then Amy passes her kids' BEDROOMS, and stops. Both rooms are empty. It's just too much, she can't hold it in anymore... Amy slides down the wall and starts quietly crying, finally letting it all go... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>It's an overcast day. Drop-off is winding down. Then Mike pulls up in his sedan and Jane and Dylan pile out, dishevelled. They make for the school, glum...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- SOCCER FIELD -- DAY</stage_direction> <scene_description>The GIRLS SOCCER TEAM practices. On the other side of the fence, JANE watches on in school clothes, heartbroken, before turning away and walking off alone...</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- DAY</stage_direction> <scene_description>MEAN STACY and VICKY hang a banner over the school entrance reading PTA ELECTION TONIGHT...</scene_description> <character>PRINCIPAL BURR (V.O.)</character> <dialogue>Welcome to the annual PTA election!</dialogue> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- AUDITORIUM -- NIGHT</stage_direction> <scene_description>The auditorium is filled with 300 MOMS sitting in their seats. GWENDOLYN sits on stage, beautiful and confident, next to an EMPTY CHAIR that is clearly meant for Amy. Principal Burr stands at the podium:</scene_description> <character>PRINCIPAL BURR</character> <dialogue>We will start today with our candidate statements. And, as only one of our candidates has shown up, we will start with Mrs. James...</dialogue> <scene_description>POLITE APPLAUSE as Gwendolyn stands and makes for the podium. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- LIVING ROOM -- DAY</stage_direction> <scene_description>Amy's house is still in shambles. Amy sits on her couch in her bathrobe, her hair all fucked up and her makeup runny from crying. She eats stale pizza out of the box on her lap and watches "12 Years A Slave" on TV, depressed... Then KIKI AND CARLA BURST THROUGH THE FRONT DOOR and stop cold:</scene_description> <character>CARLA</character> <dialogue>Why aren't you ready to go?!</dialogue> <character>AMY</character> <dialogue>Go where?</dialogue> <character>CARLA</character> <dialogue>To the PTA election! It's starting right now!</dialogue> <character>AMY</character> <dialogue>Oh God I'm not going to that.</dialogue> <character>KIKI</character> <dialogue>What?! Why not?!</dialogue> <character>AMY</character> <dialogue>Well let's see, my kids left me, my husband left me, I lost my job, my daughter hates me, all the moms at school hate me, and I am a complete failure as a mother. Who in their right mind would vote for me?!</dialogue> <scene_description>Amy angrily eats pizza. Kiki and Carla exchange a look...</scene_description> <character>CARLA</character> <dialogue>Wow.</dialogue> <character>KIKI</character> <dialogue>Yeah. Someone has a case of the Feeling Sorry For Myselfies.</dialogue> <character>CARLA</character> <dialogue>First of all, your daughter doesn't hate you, Amy, she thinks you quit on her. And every second you sit on your ass eating really old pizza and watching "12 Years a Slave," she's right.</dialogue> <scene_description>Amy guiltily lowers her pizza back into the box...</scene_description> <character>CARLA</character> <dialogue>Moms don't get to quit, Amy! Quitting is for dads!</dialogue> <character>KIKI</character> <dialogue>Preach it sisterfriend!</dialogue> <character>CARLA</character> <dialogue>It doesn't matter how hard shit gets for us moms, we keep coming back for more -- and you wanna know why?!</dialogue> <character>KIKI</character> <dialogue>Because we have low self-esteem!</dialogue> <character>CARLA</character> <dialogue>No? No. Because we love our kids -- our stupid, selfish, ungrateful little kids -- so much that we will do anything for them!</dialogue> <character>KIKI</character> <dialogue>We lift cars off of them sometimes!</dialogue> <character>AMY</character> <dialogue>Guys, I can't win the election--</dialogue> <character>CARLA</character> <dialogue>This isn't about the election Amy! This is about standing up to the bitch who hurt your little girl! It's that simple! Are you gonna let Gwendolyn get away with this shit, or are you gonna rise up like a beautiful phoenix and say, I don't care what you do to me, you fucked with my daughter and now I have to fight you! I will fight you on the playground! I will fight you in the cafeteria! I will even fight you in the ladies restroom if I have to -- I will have justice for my little girl because I am a fucking mom and that's what mom's do! We protect our young!</dialogue> <scene_description>Amy nods, jaw clenched, her blood rising...</scene_description> <character>CARLA</character> <dialogue>So get off your gross couch, run a brush through your disgusting hair, and let's body-slam this bitch!</dialogue> <scene_description>Amy looks up with the eye of the tiger:</scene_description> <character>AMY</character> <dialogue>Let's do it.</dialogue> <scene_description>SMASH CUT TO: A KEY TURNING IN AN IGNITION A hand jams a stick shift into gear! A foot stomps down on an accelerator and the Mustang PEELS RUBBER out of Amy's driveway!</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER STREET -- NIGHT</stage_direction> <scene_description>The bad moms fishtail around a corner and ROCKET down a leafy suburban street! Amy drives, focussed, intense, while Carla sits shotgun and Kiki gets tossed around the back...</scene_description> <character>KIKI</character> <dialogue>I can't...seem to locate...my safety belt--</dialogue> </scene> <scene> <stage_direction>EXT. NORCHESTER STREET/INT. AMY'S CAR -- NIGHT</stage_direction> <scene_description>A MAN walks his fancy poodle down this quiet street. Then Amy's Mustang ROOOOARS past! The man angrily gestures, slow down! Carla leans out her window and yells at him: I HATE YOUR DOG!</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER STREET/INT. AMY'S CAR -- NIGHT</stage_direction> <scene_description>Amy makes a hard right and flies down a suburban street!</scene_description> <character>CARLA</character> <dialogue>What are you doing?! This isn't how you get to school--!</dialogue> <scene_description>Then Amy throws the wheel and starts DRIVING THE WRONG WAY DOWN A ONE WAY STREET! The girls SCREAM as oncoming cars HONK and swerve aside to avoid crashing into them!</scene_description> <character>AMY</character> <dialogue>I've always wanted to do this! It would save so much time out of my day!</dialogue> <scene_description>Amy dodges a TRUCK then SKIDS back onto a two lane street!</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER STREET/INT. AMY'S CAR -- NIGHT</stage_direction> <scene_description>The girls rocket up another street when Kiki's PHONE RINGS. She reads the caller ID and smiles, cheerful:</scene_description> <character>KIKI</character> <dialogue>Oh look Kent is calling me!</dialogue> <scene_description>Amy and Carla exchange a concerned look as Kiki answers:</scene_description> <character>KIKI</character> <dialogue>Hi Kent how are you?!</dialogue> <scene_description>INTERCUT WITH KENT in their house, getting overrun by their KIDS! One of the TWINS pulls his hair while he yelps into the phone:</scene_description> <character>KENT</character> <dialogue>Kiki the kids are going insane!</dialogue> <character>KIKI</character> <dialogue>I know I deal with them every day! They're crazy, right?!</dialogue> <character>KENT</character> <dialogue>I can't do this! You have to come home!</dialogue> <character>KIKI</character> <dialogue>You want me to come home...?</dialogue> <scene_description>Amy and Carla turn and gesture back to Kiki: no way!</scene_description> <character>KIKI</character> <dialogue>B-But I'm going to the PTA meeting with my friends...</dialogue> <character>KENT</character> <dialogue>I said come home now dammit!</dialogue> <scene_description>Amy and Carla gesture furiously, fuck him! Kiki hesitates, torn...then she sits up, strong:</scene_description> <character>KIKI</character> <dialogue>And I said I'm going to the fucking PTA meeting with my fucking friends now stop being such a pussy and just make it work!</dialogue> <scene_description>Kiki hangs up the phone, excited, as the girls CHEER: THAT WAS AWESOME! GOOD FOR YOU DUDE!</scene_description> <character>KIKI</character> <dialogue>Thank you I can't feel anything my entire body has gone numb!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NORCHESTER SCHOOL -- AUDITORIUM -- DAY</stage_direction> <scene_description>Gwendolyn wraps up her speech in the crowded auditorium.</scene_description> <character>GWENDOLYN</character> <dialogue>...and it is for that reason, and the 29 others I laid out earlier, that I humbly request your vote. Thank you.</dialogue> <scene_description>POLITE APPLAUSE as Gwendolyn returns to her seat and Principal Burr returns to the podium. He eyes the EMPTY CHAIR next to Gwendolyn...</scene_description> <character>PRINCIPAL BURR</character> <dialogue>Thank you Mrs. James. Well, it appears that only one of our candidates decided to show up, so--</dialogue> <scene_description>WHAM! The doors at the back of the auditorium BLAST OPEN and AMY, CARLA and KIKI dramatically enter! Everyone turns and GASPS! ONSTAGE Gwendolyn's smile wavers, but she stays cool... IN THE FRONT ROW Vicky hits Mean Stacy, amazed:</scene_description> <character>VICKY LATROBE</character> <dialogue>Oh my God look Amy came this is so exciting do you see her?!</dialogue> <character>MEAN STACY</character> <dialogue>Yes shithead everyone sees her.</dialogue> <scene_description>AMY, KIKI AND CARLA STRIDE UP THE AISLE like total badasses, three-across, confident as hell...</scene_description> <character>AMY</character> <dialogue>Sorry I'm late guys.</dialogue> <character>PRINCIPAL BURR</character> <dialogue>Actually, you're just in time to make your candidate's statement...</dialogue> <scene_description>Amy hesitates slightly, whispering to her girls:</scene_description> <character>AMY</character> <dialogue>What's a candidate's statement?!</dialogue> <character>KIKI</character> <dialogue>I think maybe it's a speech?!</dialogue> <character>CARLA</character> <dialogue>Do you have one of those?!</dialogue> <character>AMY</character> <dialogue>NO! Five minutes ago I was on my couch watching "12 Years A Slave!"</dialogue> <scene_description>The girls keep walking, trying to stay confident...</scene_description> <character>CARLA</character> <dialogue>Well I'm sure you're gonna do great.</dialogue> <character>KIKI</character> <dialogue>Yeah! Just speak from the heart! Or whatever!</dialogue> <scene_description>Carla and Kiki peel off and take seats in the front row as Amy walks up the stairs and crosses to the podium, scared... She looks at the CROWD staring silently back at her. Amy clears her throat... FEEDBACK rings in the mic...</scene_description> <character>AMY</character> <dialogue>Hi, um, my name is Amy Mitchell, and I am running for PTA President.</dialogue> <scene_description>The auditorium is SILENT. Gwendolyn smirks, not worried.</scene_description> <character>GWENDOLYN</character> <dialogue>Keep going. You're doing great.</dialogue> <character>AMY</character> <dialogue>I know after the other day a lot of you think I'm a pretty bad mom...</dialogue> <scene_description>Various moms in the audience frown, confirming this...</scene_description> <character>AMY</character> <dialogue>And you know what? You're right.</dialogue> <scene_description>In the front row, Kiki whispers over to Carla:</scene_description> <character>KIKI</character> <dialogue>Why did we make her do this?!</dialogue> <character>CARLA</character> <dialogue>I don't know I think we made a huge mistake!</dialogue> <scene_description>BACK ONSTAGE Amy wipes her brow, nervous, her voice quivering...</scene_description> <character>AMY</character> <dialogue>Sometimes I'm too strict with my kids, sometimes I'm too nice, and sometimes I'm just a crazy bitch who doesn't make any sense...</dialogue> <scene_description>A couple MOMS in the audience CHUCKLE knowingly...</scene_description> <character>AMY</character> <dialogue>What works on my daughter almost never works on my son, and whenever I think I might actually be figuring my kids out, they grow older and I'm back to square one. The truth is, when it comes to being a mom...I have no fucking clue what I'm doing.</dialogue> <scene_description>More knowing LAUGHTER from the moms...</scene_description> <character>AMY</character> <dialogue>But you know what? I don't think anyone does.</dialogue> <scene_description>SCATTERED APPLAUSE. Kiki and Carla look around, surprised.</scene_description> <character>AMY</character> <dialogue>I think we're all bad moms. And you know why? Because being a mom today is fucking impossible.</dialogue> <scene_description>Even MORE APPLAUSE. Amy is starting to win over the crowd...</scene_description> <character>AMY</character> <dialogue>So can we all just stop pretending like we've got it all figured out and maybe stop judging each other all the time...?</dialogue> <scene_description>The APPLAUSE grows. Kiki whispers to Carla, excited:</scene_description> <character>KIKI</character> <dialogue>She's doing great!</dialogue> <character>CARLA</character> <dialogue>I know I never doubted her.</dialogue> <scene_description>Onstage, Amy starts gathering steam, her confidence growing:</scene_description> <character>AMY</character> <dialogue>I'm running for PTA president because I want our school to be a place where you don't have to be perfect.</dialogue> <character>AMY</character> <dialogue>A place where you can be yourself and make mistakes and where you're judged by how hard you're trying not by what you bring to the fucking bake sale.</dialogue> <scene_description>BIGGER APPLAUSE. In her seat, Gwendolyn shifts uncomfortably.</scene_description> <character>AMY</character> <dialogue>I want our school to be a place where it's okay to be a bad mom--</dialogue> <scene_description>Just then, a MOM stands up, excited:</scene_description> <character>MOM</character> <dialogue>My kids haven't had a bath in three weeks!</dialogue> <scene_description>All the moms LAUGH and APPLAUD.</scene_description> <character>AMY</character> <dialogue>Yes! We all do that sometimes--!</dialogue> <scene_description>Then a HIPPY MOM stands:</scene_description> <character>HIPPY MOM</character> <dialogue>I confiscated my daughter's pot and then I smoked the shit out of it!</dialogue> <scene_description>More LAUGHTER and APPLAUSE.</scene_description> <character>AMY</character> <dialogue>Good for you! Pot is awesome--!</dialogue> <scene_description>Then a TIGER MOM stands up:</scene_description> <character>TIGER MOM</character> <dialogue>I drove over my son's violin because I couldn't go to another fucking recital I just couldn't!</dialogue> <scene_description>The moms APPLAUD LIKE CRAZY! More and more moms stand and confess their bad mom transgressions:</scene_description> <character>BUSINESS MOM</character> <dialogue>I let my seven year old watch Mad Max: Fury Road!</dialogue> <character>WAY TOO JEWISH MOM</character> <dialogue>When my kids are really bad I tell them they caused the Holocaust!</dialogue> <character>DRUNK MOM</character> <dialogue>I drink margarita's for breakfast!</dialogue> <character>FRUMPY MOM</character> <dialogue>I slept with my son's math tutor!</dialogue> <character>STAY AT HOME MOM</character> <dialogue>I secretly got my tubes tied because I don't want any more kids!</dialogue> <character>STRANGE MOTHER</character> <dialogue>I think I hit someone on my way here!</dialogue> <scene_description>Annnd the APPLAUSE tapers off a bit... Amy jumps back in:</scene_description> <character>AMY</character> <dialogue>Okay well you get the point! If you're a perfect mom who's got this whole parenting thing down cold, please vote for Gwendolyn. But if you're a bad mom like me and you have no fucking clue what you're doing and you just want your school to stop making you feel worse than you already feel about yourself, please vote for me!</dialogue> <scene_description>The moms all jump up and give Amy a STANDING OVATION! Amy nods, thanks! In the front row, Kiki and Carla CLAP WILDLY!</scene_description> <character>KIKI</character> <dialogue>She should run for President of the World!</dialogue> <character>CARLA</character> <parenthetical>(clapping, then)</parenthetical> <dialogue>You know that's not an actual job, right?</dialogue> <scene_description>ACROSS THE AISLE Vicky CLAPS too, so excited, while Stacy just glares at her.</scene_description> <character>MEAN STACY</character> <dialogue>Are you fucking kidding me?</dialogue> <character>VICKY LATROBE</character> <dialogue>Ah blow it out your ass Stacy!</dialogue> <scene_description>Vicky keeps clapping while Stacy GASPS, shocked... BACK ONSTAGE Gwendolyn frowns, suddenly feeling very nervous. Principal Burr returns to the podium and the crowd quiets...</scene_description> <character>PRINCIPAL BURR</character> <dialogue>Thank you Mrs. Mitchell, for that rousing and completely inappropriate speech. Okay, let's vote. By show of applause, who would like Amy Mitchell to be President of the PTA--?</dialogue> <scene_description>The auditorium ERUPTS WITH APPLAUSE! On stage, Amy laughs, humbled. Principal Burr quiets the crowd.</scene_description> <character>PRINCIPAL BURR</character> <dialogue>Okay, okay. And who would like Gwendolyn James?</dialogue> <scene_description>Only Mean Stacy and ONE VERY WEIRD MOM stand and APPLAUD. The sound is tiny in the giant auditorium... ONSTAGE Gwendolyn seethes, completely humiliated. At the podium, Principal Burr BANGS his gavel.</scene_description> <character>PRINCIPAL BURR</character> <dialogue>Very well. The new President of the PTA is...Ms. Amy Mitchell!</dialogue> <scene_description>The entire auditorium GOES NUTS! Kiki and Carla race onto the stage and jump up and down and hug Amy! DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- EVENING</stage_direction> <scene_description>As the sun sets, MOMS spill out of the school, amped up from the election. Then Amy exits with Kiki and Carla, laughing.</scene_description> <character>KIKI</character> <dialogue>I still can't believe you won!</dialogue> <character>AMY</character> <dialogue>I know! Thanks for getting me off my couch and making me do this.</dialogue> <character>CARLA</character> <dialogue>Of course it was all my idea.</dialogue> <character>KIKI</character> <dialogue>No it wasn't--!</dialogue> <character>CARLA</character> <dialogue>Not now Kiki we're having a moment.</dialogue> <character>AMY</character> <dialogue>You know, it's funny, I gave up so many things when I became a mom, but I think the biggest thing I gave up was having friends. And I had no idea how much I missed that until I met you guys.</dialogue> <character>KIKI</character> <dialogue>I know I didn't have any friends either I was so alone!</dialogue> <character>CARLA</character> <dialogue>Yeah, you were pretty much the first bitches at this school to ever talk to me...</dialogue> <scene_description>Amy smiles at her two fellow loners, heartfelt...</scene_description> <character>AMY</character> <dialogue>I'm so glad we found each other.</dialogue> <character>CARLA</character> <dialogue>Me too.</dialogue> <character>KIKI</character> <dialogue>Me three let's hug each other for a really long time!</dialogue> <scene_description>Kiki pulls them into a group hug. Amy laughs. Carla smiles in spite of herself... After a while, Amy notices, on the curb, GWENDOLYN CRYING IN HER RANGE ROVER Amy's smile fades, and after a moment, she excuses herself.</scene_description> <character>AMY</character> <dialogue>Just give me a second, okay?</dialogue> <scene_description>Amy crosses the lawn, reaches the RANGE ROVER, and gently raps on the window. Gwendolyn looks up, sees Amy, and lowers her window, scowling:</scene_description> <character>GWENDOLYN</character> <dialogue>What, did you come to gloat?</dialogue> <character>AMY</character> <dialogue>No. I just wanted to see if you were okay.</dialogue> <character>GWENDOLYN</character> <parenthetical>(wiping away tears)</parenthetical> <dialogue>Yeah I'm fine everything's fine...</dialogue> <character>AMY</character> <dialogue>Okay, well, if you want to--</dialogue> <character>GWENDOLYN</character> <dialogue>It's just that the PTA was the one good thing left in my life and now it's gone too.</dialogue> <character>AMY</character> <dialogue>Oh come on, your life is awesome! You have like three boats!</dialogue> <character>GWENDOLYN</character> <dialogue>Oh God my life is so not awesome. Both of my parents are dying of cancer and my husband is being investigated by the FBI for embezzling 300 million dollars from Iceland -- spoiler alert, he did it -- and my secret son who nobody knows about is living on the street again and I'm basically the only thing holding my family together but it's cool everything's cool I'm sure we'll be fine...</dialogue> <scene_description>Gwendolyn QUIETLY CRIES, a total mess... Amy is floored:</scene_description> <character>AMY</character> <dialogue>Jesus Gwendolyn, I had no idea...</dialogue> <scene_description>Amy takes Gwendolyn's arm, really feeling for her...</scene_description> <character>AMY</character> <dialogue>You know what? I don't know how to be PTA President -- why don't you help me out next year?</dialogue> <scene_description>Gwendolyn looks up, hope returning to her tear-stained face:</scene_description> <character>GWENDOLYN</character> <dialogue>Really?</dialogue> <character>AMY</character> <dialogue>Yeah.</dialogue> <character>GWENDOLYN</character> <dialogue>Oh my God I would love that! I have so many ideas!</dialogue> <character>AMY</character> <dialogue>All right, good. I look forward to working with you.</dialogue> <scene_description>Amy smiles and turns to go...</scene_description> <character>GWENDOLYN</character> <dialogue>Hey -- I'm sorry I went after your daughter. That was way over the line.</dialogue> <character>AMY</character> <dialogue>Hey, we're all bad moms, right?</dialogue> <character>GWENDOLYN</character> <dialogue>Yeah. That's the only thing you said tonight that made any sense.</dialogue> <scene_description>Amy LAUGHS as Gwendolyn REVS her car to life...</scene_description> <character>GWENDOLYN</character> <dialogue>Don't tell anyone I cried, okay?</dialogue> <character>AMY</character> <dialogue>No one would believe me anyway.</dialogue> <character>GWENDOLYN</character> <dialogue>Good night, Amy.</dialogue> <character>AMY</character> <dialogue>Good night Gwendolyn.</dialogue> <scene_description>She drives off, leaving Amy standing there, smiling... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMY'S HOUSE -- MORNING</stage_direction> <scene_description>The sun rises over Amy's house. It's a beautiful new day...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S BEDROOM -- MORNING</stage_direction> <scene_description>Amy sleeps in her bed. Then someone climbs into bed with her. Amy rolls over and sees it's JANE, looking contrite.</scene_description> <character>JANE</character> <dialogue>Hey mom.</dialogue> <character>AMY</character> <dialogue>Hey sweetie...</dialogue> <character>JANE</character> <dialogue>I'm sorry I got so crazy about the soccer thing. That was so uncool.</dialogue> <character>AMY</character> <dialogue>Oh it's okay--</dialogue> <character>JANE</character> <dialogue>No it's not. I've really been trying to chill out about stuff, and it's just soccer, right? Screw soccer! Use your hands like everyone else--!</dialogue> <character>AMY</character> <dialogue>I got you back on the soccer team.</dialogue> <scene_description>Jane stops, sits up:</scene_description> <character>JANE</character> <dialogue>You did?!</dialogue> <scene_description>Amy nods. Jane hugs her mom, so excited:</scene_description> <character>JANE</character> <dialogue>Oh my God I love soccer soccer is my life thank you!</dialogue> <character>AMY</character> <dialogue>You're welcome, baby. I'm always going to fight for you, you know? You're my little girl...</dialogue> <scene_description>Jane nods and hugs her mom tight...</scene_description> </scene> <scene> <stage_direction>INT. AMY'S HOUSE -- KITCHEN -- MOMENTS LATER</stage_direction> <scene_description>Amy and Jane enter the kitchen arm-in-arm, smiling...to find DYLAN working at the STOVE. Amy startles and hurries over:</scene_description> <character>AMY</character> <dialogue>Oh no what are you doing?!</dialogue> <scene_description>Dylan turns and smiles, wearing an apron:</scene_description> <character>DYLAN</character> <dialogue>Making frittata's! You want one?!</dialogue> <scene_description>Amy stares, dumbstruck, at the PERFECT FRITTATA in his pan:</scene_description> <character>AMY</character> <dialogue>You made frittata's?!</dialogue> <character>DYLAN</character> <dialogue>Yeah! You said you weren't gonna cook for us anymore so I had to teach myself. Try a bite, it's got basil and a hint of tarragon.</dialogue> <character>AMY</character> <parenthetical>(taking a bite)</parenthetical> <dialogue>It's so light!</dialogue> <character>DYLAN</character> <dialogue>I know, right?! I love cooking! And it's like the harder I work at it, the better I get, which just makes me want to do it more! It's remarkable!</dialogue> <scene_description>A beat. Then Amy hugs her son, emotional...</scene_description> <character>AMY</character> <dialogue>I have literally spent ten years of my life trying to teach you that.</dialogue> <character>DYLAN</character> <dialogue>All right, let go, I've gotta go finish my homework.</dialogue> <scene_description>Amy just looks at her son, baffled:</scene_description> <character>AMY</character> <dialogue>Seriously: who are you?</dialogue> </scene> <scene> <stage_direction>EXT. NORCHESTER SCHOOL -- MORNING</stage_direction> <scene_description>It is once again morning drop-off at the Norchester School. MOMS happily load up their KIDS with backpacks, lunchboxes, and science projects before kissing them goodbye. Then AMY PULLS UP IN HER MUSTANG and gets out with her kids. She hugs them goodbye, warm.</scene_description> <character>AMY</character> <dialogue>Have a great day, guys. I love you both so much.</dialogue> <character>JANE AND DYLAN</character> <dialogue>Love you too Mom.</dialogue> <scene_description>Amy watches her kids walk off together, wishing that time would slow down... Then Jessie approaches, grinning.</scene_description> <character>JESSIE</character> <dialogue>Hey!</dialogue> <character>AMY</character> <dialogue>Oh hey.</dialogue> <character>JESSIE</character> <dialogue>Look, I can't get you out of my mind. I need to see you again as soon as possible.</dialogue> <character>AMY</character> <dialogue>Well, Mike has the kids next weekend. Why don't we go on a proper date?</dialogue> <character>JESSIE</character> <dialogue>I'd rather go on an improper date.</dialogue> <character>AMY</character> <parenthetical>(laughing)</parenthetical> <dialogue>Goodbye Mr. Harkness.</dialogue> <character>JESSIE</character> <dialogue>Goodbye Mrs. Mitchell.</dialogue> <scene_description>He smiles and walks off. Amy admires the view, proud...</scene_description> <character>AMY</character> <dialogue>Momma's still got it...</dialogue> <scene_description>Nearby CARLA GETS OUT OF HER CAR WITH HER HUGE SON Frowning, she hands him A TUPPERWARE LUNCH:</scene_description> <character>CARLA</character> <dialogue>Okay, for lunch I made you a hummus wrap with kale, okay?</dialogue> <parenthetical>(her kid just looks at her)</parenthetical> <dialogue>I know it's gross but it's really good for you. I'll see you at your baseball game tomorrow night, okay?</dialogue> <character>CARLA'S SON</character> <parenthetical>(touched, surprised)</parenthetical> <dialogue>You're really gonna come?</dialogue> <character>CARLA</character> <dialogue>Yes. I am. For all nine innings. Because I love you that much.</dialogue> <scene_description>The ginormous kid smiles and walks off. Carla watches him go.</scene_description> <character>CARLA</character> <dialogue>I still can't believe I pushed that thing out of my vagina.</dialogue> <scene_description>A moment later AMY and KIKI stroll up.</scene_description> <character>AMY</character> <dialogue>Morning!</dialogue> <character>CARLA</character> <dialogue>Hey!</dialogue> <character>KIKI</character> <dialogue>So: what are we doing today?!</dialogue> <character>AMY</character> <dialogue>I don't know. I was thinking maybe brunch?</dialogue> <character>KIKI</character> <dialogue>Or maybe a matinee?!</dialogue> <character>CARLA</character> <dialogue>What if we did something that didn't suck?</dialogue> <scene_description>Just then a WHITE RANGE ROVER SQUEALS UP to the curb, music BUMPING. Gwendolyn yells out the passenger side window:</scene_description> <character>GWENDOLYN</character> <dialogue>Get in, bitches! I've got my husband's plane for the day!</dialogue> <scene_description>The girls look at each other, and smile:</scene_description> <character>CARLA</character> <dialogue>I think I'm gonna like our new addition.</dialogue> <scene_description>The girls pile into the RANGE ROVER and the four bad moms race off together in search of their next adventure as we SMASH TO BLACK.: ROLL CREDITS As the names of our wildly talented cast and crew scroll by, we play interviews with THE ACTUAL MOMS OF OUR CAST recounting their favorite memories of being bad parents. Because everyone has a bad mom story. Even your mom.</scene_description> </scene> </script>

Amy Mitchell is a 32-year-old woman, living in the Chicago suburbs with her kids, Jane and Dylan, her husband, Mike, and their dog, Roscoe. She works as a sales rep for a coffee company, prepares healthful lunches for her children, does their homework for them, goes to all of their extracurricular activities, and is active in the school’s PTA, run by the domineering Gwendolyn James and her cronies, Stacy and Vicky. When Amy catches Mike cheating on her with a camgirl, she kicks him out and attempts to keep everything together. After a particularly stressful day, Amy publicly quits the PTA due to Gwendolyn's overzealous bake sale. At a nearby bar, she meets Carla, a laid-back, sexually active single mom of one son, Jaxon, and Kiki, a stay-at-home mom of four who admires Amy's dissent. Amy and Carla are irritated to see that Kiki's husband is domineering, expecting her to take care of all the kids and the house without help, while Amy and Kiki are taken aback by Carla's very hands-off approach to parenting. The three embark on an all-night bender, inspiring Amy to loosen up with her kids: she takes them for rides in Mike's sportscar, gets them lunch from Arby's, forces Dylan to fend for himself to prevent him from being entitled, and takes the overachieving and stressed Jane for a spa day. Amy herself wants to start dating again but is inexperienced as she had a shotgun marriage at 20. She ultimately strikes up a conversation with Jessie Harkness, a kind, handsome single father, whom she had a crush on, which leads to the two of them kissing. When Amy brings store-bought donut holes to the bake sale, she draws the ire of Gwendolyn, who uses her PTA authority to get Jane benched from the soccer team. Angered, Amy decides to run for PTA president against her. A meet-and-greet at Amy's draws only one visitor, who tells them Gwendolyn has launched a rival party at her own house, catered by Martha Stewart. The other moms and Martha swiftly abandon Gwendolyn's party, when it becomes clear that she intends to lecture them all evening, leading to a successful party at Amy's house. After the party, Jessie shows up (after Carla used Amy's phone to booty-call him), and he and Amy have sex. Gwendolyn responds to Amy’s antics by putting joints in Jane's locker, framing her and getting her kicked out of the soccer team. Not only do Jane, Dylan and even Roscoe, both go to stay with Mike, who has agreed to an amicable divorce, but Amy‘s boss, Dale Kipler, fires her for taking too much time off. A despondent Amy stays home during the PTA election but is fired up by Carla and Kiki. At the event, Amy gives an inspiring speech about how overworked moms need to take time off, do fewer and less stressful events, and most importantly, allow themselves to make mistakes. She wins by a landslide and winds up comforting a devastated Gwendolyn, who reveals her life is not perfect as she claimed it to be. Weeks later, Amy's approach has led to positive changes: Jane has been reinstated to the soccer team and is stressing out less, Dylan is applying himself, Kiki makes her husband help out with the kids, Carla is more responsible and hands-on, Gwendolyn is kinder with everyone, and all of the other moms are feeling more energized. Amy herself gets her job back with much better compensation after Dale sees how much he has taken her for granted, and she continues to see Jessie. Gwendolyn invites Amy, Carla, and Kiki for a day of fun on her husband's private jet. The end credits feature the cast of the film being interviewed with their real-life mothers.

Loveless_2017

tt6304162

<script> <scene> <character>LOVELESS</character> <dialogue>Oleg Negin, Andrey Zvyagintsev</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL BUILDING. DAY</stage_direction> <scene_description>School's out for the day. Students file out of the building, some alone, some in small groups. ALYOSHA SLEPTSOV (12) and MISHA KUZNETSOV (12), obviously pals, leave the school, carrying their backpacks. They reach the edge of a large wooded ravine that splits the area into two and take leave of each other with a complicated handshake that includes finger signs and fist bumps, and culminates with the boys poking each other in the shoulder. Then, MISHA heads along a path that skirts the ravine towards some high-rise buildings, while ALYOSHA takes another trail straight down into the ravine.</scene_description> </scene> <scene> <stage_direction>EXT. RAVINE. DAY</stage_direction> <scene_description>The trail takes ALYOSHA to a paved footpath sparsely edged by street lights and benches standing next to trash cans. ALYOSHA walks a little way along the footpath, then takes another trail that veers off to the side. He makes his way through bushes and tall thickets of deadwood, and finally reaches a riverbank. He follows the river for a while, then ducks back into the thicket and returns to the paved footpath, which veers sharply up a hill towards some high-rises nearly identical to those on the opposite edge of the ravine.</scene_description> </scene> <scene> <stage_direction>EXT. SLEPTSOVS' BUILDING. COURTYARD. DAY</stage_direction> <scene_description>ALYOSHA walks past a high-rise building with multiple entrances. He turns and approaches one of the entrances, presses a plastic key fob against the lock on the metal door, pulls the door open, and disappears into the dusky entrance. The door closes slowly on its automatic hinge, clunking loudly as it catches on the magnetic lock.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM (VIEW FROM THE WINDOW).</stage_direction> <scene_description>BLUE HOUR Overcast evening. Below the seventh-floor window, woods stretch as far as the eye can see under a dirty sky. A large satellite communication antenna looms over the forest in the center of the shot, its dish angled straight up, 'observing' the sky. The clouds above reflect the red light atop the antenna.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM. BLUE HOUR</stage_direction> <scene_description>ALYOSHA is sitting on a chair at his desk set up right under the window. As if in a trance, he stares with unseeing eyes at some distant fixed point on the horizon. He is alone in his room, supposedly doing his homework: his sixth-grade physics textbook is propped up on a desktop book stand before him; a grid notebook is open to a blank page; a pen is clasped loosely in his hand. A little off to the side, on the corner of the desk, sits a bulky laptop with a Batman sticker on its closed lid. Besides the desk, the room is furnished with a closet, wall bars for working out, and a bed. An Incredibles poster is taped directly to the wallpaper above the bed. The door to the room is slightly ajar. The doorbell trills out in the hallway, jolting ALYOSHA out of his reverie. He peers at the textbook and begins to write in his notebook. His mother ZHENYA (36), a well-groomed and shapely young woman, peeks into the room. She is dressed in a t-shirt and workout pants.</scene_description> <character>ZHENYA</character> <dialogue>They're here to look at the place. Tidy up your room.</dialogue> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ENTRANCE HALL. BLUE HOUR</stage_direction> <scene_description>ZHENYA glances at herself in the entrance hall mirror, straightens her hair, and opens the door to reveal three people: a female REALTOR (very young looking 45), a middle-aged BUSINESSMAN, and a YOUNG WOMAN (27).</scene_description> <character>REALTOR</character> <dialogue>Good evening.</dialogue> <character>ZHENYA</character> <dialogue>Evening!</dialogue> <scene_description>With a blinding smile, she ushers them inside. ALYOSHA closes the door to his room and returns to his desk.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. KITCHEN THAT OPENS INTO A BALCONY. BLUE</stage_direction> <scene_description>HOUR With a quick glance at the kitchen, ZHENYA, the REALTOR, the BUSINESSMAN, and the YOUNG WOMAN enter the glass-paneled balcony. The BUSINESSMAN opens one window pane, pokes out his head, and looks down.</scene_description> <character>REALTOR</character> <dialogue>It's a great neighborhood. Clean air, a metro station opening soon, a shopping center nearby...</dialogue> <character>ZHENYA</character> <parenthetical>(jumps in)</parenthetical> <dialogue>A new church, just recently built.</dialogue> <character>BUSINESSMAN</character> <parenthetical>(closes the window)</parenthetical> <dialogue>That's good. What about the neighbors?</dialogue> <character>ZHENYA</character> <dialogue>They're quiet.</dialogue> <character>BUSINESSMAN</character> <dialogue>Why are you selling?</dialogue> <character>ZHENYA</character> <dialogue>We're getting divorced.</dialogue> <character>BUSINESSMAN</character> <dialogue>Sorry.</dialogue> <character>ZHENYA</character> <dialogue>No worries.</dialogue> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. HALLWAY. BLUE HOUR</stage_direction> <scene_description>The REALTOR, ZHENYA, the BUSINESSMAN, and the YOUNG WOMAN exit the kitchen into the hallway.</scene_description> <character>BUSINESSMAN</character> <dialogue>OK, what's next?</dialogue> <character>REALTOR</character> <dialogue>Bedroom.</dialogue> <scene_description>The BUSINESSMAN and the YOUNG WOMAN disappear into the bedroom.</scene_description> <character>BUSINESSMAN</character> <parenthetical>(from the bedroom)</parenthetical> <dialogue>How big is it?</dialogue> <character>REALTOR</character> <dialogue>Hundred and fifty.</dialogue> <character>BUSINESSMAN</character> <dialogue>And the living room?</dialogue> <character>REALTOR</character> <dialogue>Two hundred and thirty-six. Come look.</dialogue> <scene_description>The BUSINESSMAN and the YOUNG WOMAN re-emerge into the hallway and enter the living room.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. LIVING ROOM. BLUE HOUR</stage_direction> <scene_description>The BUSINESSMAN and the YOUNG WOMAN enter the living room, look around, and nod. The YOUNG WOMAN crosses over to the window and looks over the neighborhood below.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM. BLUE HOUR</stage_direction> <scene_description>As ZHENYA, the REALTOR, the BUSINESSMAN, and the YOUNG WOMAN enter his room, ALYOSHA ignores them studiously, leaning over his desk and writing in his notebook, his tongue sticking out with the effort. ZHENYA approaches him and nudges him lightly on the back of the head.</scene_description> <character>ZHENYA</character> <dialogue>Say hello to our guests.</dialogue> <character>ALYOSHA</character> <parenthetical>(not turning around)</parenthetical> <dialogue>Hi.</dialogue> <character>ZHENYA</character> <dialogue>He's 12, about as untamed as they get.</dialogue> <character>BUSINESSMAN</character> <dialogue>A real man then.</dialogue> <character>ZHENYA</character> <dialogue>Yeah, right. Cries at the drop of a hat.</dialogue> <character>ALYOSHA</character> <dialogue>Mom…</dialogue> <character>ZHENYA</character> <dialogue>Don't "Mom" me. How many times do I have to tell you?</dialogue> <scene_description>ALYOSHA gets up and leaves the room.</scene_description> <character>BUSINESSMAN</character> <parenthetical>(to the REALTOR)</parenthetical> <dialogue>Remind me, how many square feet in total?</dialogue> <character>REALTOR</character> <parenthetical>(uncertainly)</parenthetical> <dialogue>Twelve hundred and ten...</dialogue> <scene_description>She looks at ZHENYA for confirmation. ZHENYA nods.</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD PARK. BLUE HOUR</stage_direction> <scene_description>ZHENYA (dressed in a track suit) jogs along a path through the park.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. KITCHEN THAT OPENS INTO A BALCONY. NIGHT</stage_direction> <scene_description>A TV atop the fridge is playing a reality show, with the sound turned down low. ZHENYA is sitting at the table with a glass of wine in her hand, scrolling through her iPhone 4. The front door lock clicks as someone opens the door and enters. ZHENYA shows no reaction. A few moments later, BORIS (42) appears in the kitchen door.</scene_description> <character>BORIS</character> <dialogue>Hey. Taking a break?</dialogue> <character>ZHENYA</character> <dialogue>What do you care?</dialogue> <character>BORIS</character> <dialogue>Never mind.</dialogue> <scene_description>He opens the fridge, looks inside, then closes it and steps away to lean his butt against the countertop next to the sink.</scene_description> <character>BORIS</character> <dialogue>So, did anyone come?</dialogue> <scene_description>ZHENYA nods without looking up from her phone.</scene_description> <character>ZHENYA</character> <dialogue>Said they had to think about it.</dialogue> <character>BORIS</character> <dialogue>I see.</dialogue> <scene_description>He looks down at his feet, clad in white IKEA slippers. He pushes himself away from the countertop with his arms, returns to the kitchen door, and pulls it closed.</scene_description> <character>BORIS</character> <dialogue>What about you... Did you think about it?</dialogue> <scene_description>ZHENYA lifts her exhausted eyes to his face.</scene_description> <character>ZHENYA</character> <dialogue>About what?</dialogue> <character>BORIS</character> <parenthetical>(returns to the countertop)</parenthetical> <dialogue>You know... You are his mother, after all...</dialogue> <character>ZHENYA</character> <dialogue>I'm so sick of your crap...</dialogue> <character>BORIS</character> <dialogue>He needs his mother more.</dialogue> <character>ZHENYA</character> <dialogue>Actually, at his age, he needs his father more. Though maybe not the kind of father you've been.</dialogue> <scene_description>She takes a gulp of wine. He loves summer camp. He'll love the children's home too. Same thing. BORIS heaves a deep sigh and shakes his head.</scene_description> <character>ZHENYA</character> <dialogue>And next thing you know, he'll be draft age. Better start getting used to it. Well, what did you think, you could pull the ol' hump and dump, and move on? Shit everywhere and leave the woman to clean it all up? No. I'm moving on too. That's equality for you.</dialogue> <character>BORIS</character> <dialogue>They're going to pester us to death...</dialogue> <character>ZHENYA</character> <dialogue>Who's going to pester you to death? You can pester with the best of them yourself.</dialogue> <character>BORIS</character> <dialogue>Juvy officers, social workers, I don't know, child psychologists... Protective services, for fuck's sake.</dialogue> <character>ZHENYA</character> <dialogue>So take him, and no one will bother you.</dialogue> <character>BORIS</character> <dialogue>They'll be going after you more. You're his mother.</dialogue> <character>ZHENYA</character> <dialogue>Oh, so it's me you're worried about? How nice. Juvy officers... They'll be only too happy. It's like pulling a baby from a fire. His home, his family, all gone, but he is safe and sound. All thanks to the heroic efforts of child protective services.</dialogue> <scene_description>She gets up from the table and steps out into the balcony, leaving her phone behind. In the balcony, ZHENYA throws one of the windows wide open, retrieves a pack of cigarettes and a lighter from the windowsill, lights up, takes a deep drag, and blows the smoke out of the window. Still leaning against the countertop, BORIS cracks open a cabinet under the sink, sees an empty wine bottle next to the trash can, and closes the cabinet again. After a moment's hesitation, he crosses over to the table, and his hand shoots out to quickly push the home button on ZHENYA's phone. The phone lights up with the password screen: it's locked. BORIS leaves the phone where it is, turns away, and joins ZHENYA in the balcony, stopping just across the threshold. Maybe you should talk to your mother one more time?</scene_description> <character>ZHENYA</character> <dialogue>Right. Better yet, you talk to yours. We'll call a psychic, do a séance. (flicks ash out of the window) I already talked to her. Don't need any more of that, thanks.</dialogue> <scene_description>BORIS heaves another sigh and shakes his head.</scene_description> <character>BORIS</character> <dialogue>If the Beard finds out...</dialogue> <character>ZHENYA</character> <dialogue>Ah, so that's what you're so afraid of! Silly me, I thought you were worried about your child. Would be a hoot, though, if they canned you from your precious job. I bet they would, too. For sending your own son to the orphanage. How un- Christian of you. How un-Orthodox. The Beard will never stand for it. That'll be hilarious! What are you going to do then?</dialogue> <character>BORIS</character> <dialogue>Stop it.</dialogue> <character>ZHENYA</character> <dialogue>Listen to you! So decisive! (takes a frenetic drag on her cigarette) What are you staring at? Quit gnashing your teeth!</dialogue> <character>BORIS</character> <parenthetical>(after a pause, quietly)</parenthetical> <dialogue>I'm so sick of your shit...</dialogue> <character>ZHENYA</character> <dialogue>Bastard.</dialogue> <character>BORIS</character> <dialogue>When do we tell him?</dialogue> <character>ZHENYA</character> <dialogue>We? What do you mean, "we"? You tell him. Tell him whenever you want. (flicks the cigarette out of the window) Do it now, if you want. Wake him up and tell him.</dialogue> <scene_description>She returns to the kitchen, steps over to the table, drains the wine from the glass in one gulp, and walks out of the kitchen with a look of nonchalance, leaving the door, which opens out into the hallway, wide open. 13. SLEPTSOVS' PLACE. HALLWAY. NIGHT ZHENYA walks down the hallway and enters the bathroom. We hear her urinate, flush the toilet, and wash her hands. She emerges from the bathroom and returns to the kitchen, closing the door behind her this time. Out in the hallway, the door closes to reveal ALYOSHA, who had been hidden behind it, dressed in a tank-top and underwear. He must have been standing there all through his parents' conversation. His face is streaming with tears; he seems to be shrinking into the wall.</scene_description> <character>ZHENYA (O.S., FROM THE KITCHEN)</character> <dialogue>That's it, case closed. Don't bring this up with me again. Got it? In fact, don't talk to me at all. I can't stand the sight of you or the sound of your voice anymore. When are you moving out already? If you're too cheap, I'll pay for the movers myself! Why are you still hanging around here? It's over, you understand? Over!</dialogue> <scene_description>ALYOSHA drags himself dejectedly back to his room and closes the door.</scene_description> <character>BORIS (O.S.)</character> <dialogue>I have the same right as you...</dialogue> <character>ZHENYA (O.S.)</character> <dialogue>Yes, yes, you have the right! You'll get yours, one way or another!</dialogue> <scene_description>She flings open the kitchen door, walks quickly down the hallway, iPhone in hand, and disappears into the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. KITCHEN. NIGHT</stage_direction> <scene_description>Alone in the kitchen, BORIS looks at the knife block sitting on the countertop, matte metallic knife handles protruding invitingly from it. He retrieves a large knife, places it on the countertop before him, then, after a slight pause, opens the bread box, takes out a loaf, crosses over to the fridge to retrieve some lean sausage wrapped in cling wrap, and makes himself a sandwich. He chews it absent mindedly, staring at a fixed point ahead.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. HALLWAY. NIGHT</stage_direction> <scene_description>BORIS turns off the kitchen light, walks down the hallway, and disappears into the living room. Inside the room, he switches on the light and closes the glass living room doors that had stood wide open until now. A short time later, he turns off the light and lies down on the couch. It squeaks audibly underneath him.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. KITCHEN. DAY</stage_direction> <scene_description>Morning. The kitchen TV is playing a morning talk show. ALYOSHA, washed and dressed, is sitting at the kitchen table, poking at fried eggs on his plate with a fork. A mug filled with tea stands next to the plate. ZHENYA, wearing a bathrobe but already in full makeup, is leaning with her butt against the countertop, flipping through her iPhone.</scene_description> <character>ALYOSHA</character> <dialogue>I don't want any more.</dialogue> <character>ZHENYA</character> <parenthetical>(without looking up)</parenthetical> <dialogue>Finish it. What am I supposed to do, throw it out?</dialogue> <character>ALYOSHA</character> <dialogue>I'm not hungry.</dialogue> <scene_description>ZHENYA glares at him, her head lowered.</scene_description> <character>ZHENYA</character> <dialogue>Drink your hot chocolate. What's up with you? Are you sick?</dialogue> <character>ALYOSHA</character> <dialogue>I'm not sick.</dialogue> <character>ZHENYA</character> <dialogue>Fine, leave it, I'll clean it up.</dialogue> <scene_description>ALYOSHA slides out of his chair and leaves the kitchen.</scene_description> <character>ZHENYA</character> <dialogue>No "thank you"?</dialogue> <character>ALYOSHA</character> <parenthetical>(from the hallway)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>ZHENYA puts her phone down on the countertop, crosses over to the table, retrieves the plate of unfinished eggs, takes it to the trash can, and tips the remaining eggs away. She opens the dishwasher and slides the plate inside.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ENTRANCE HALL. DAY</stage_direction> <scene_description>Dressed in a hooded jacket, ALYOSHA pulls on his shoes, swings his backpack over his shoulder, opens the front door, and steps outside. The female talk show host's voice wafts in from the kitchen, along with the clattering of dishes as ZHENYA loads the dishwasher.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' BUILDING. STAIRWELL. DAY</stage_direction> <scene_description>ALYOSHA closes the door behind him and walks past the elevator and down the stairs. For a long while, he runs down the stairs, hopping noisily and enthusiastically over two or three steps at a time.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' BUILDING. FIRST FLOOR LANDING. DAY</stage_direction> <scene_description>ALYOSHA reaches the first floor and bursts out of the building entrance, red-faced and with his jacket flung open. The metallic door closes slowly behind him on its automatic hinge, and the magnetic lock closes forcefully.</scene_description> </scene> <scene> <stage_direction>INT. BORIS' CAR. MOSCOW RING ROAD. DAY</stage_direction> <scene_description>Behind the wheel of his low-cost foreign car, BORIS is languishing in the Moscow traffic. The car radio is tuned to an abrasively energetic morning show on a Russian pop station. The program is dedicated to the looming end of the world predicted by the Mayan calendar. The anchors' mindless chatter gives way to a Russian dance hit from late summer 2012. BORIS taps nervously on the wheel, completely out of time with the song.</scene_description> </scene> <scene> <stage_direction>EXT. MOSCOW RING ROAD. DAY</stage_direction> <scene_description>The traffic is moving at a crawl.</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK OUTSIDE OFFICE BUILDING. DAY</stage_direction> <scene_description>BORIS parks on the sidewalk in Moscow's business area, literally squeezing his car into a tight spot between two other vehicles. His bag slung over his shoulder, he walks quickly towards the building, then breaks into a jog.</scene_description> </scene> <scene> <stage_direction>INT. SALES OFFICE. DAY</stage_direction> <scene_description>BORIS exits the elevator, passes through wide glass doors with the words SALES OFFICE written in gold against a blue background above, and hurries down an aisle between cubicle partitions. He ducks into his own cubicle, drops into the chair at a desk holding a monitor, keyboard, and headset with microphone, boots up the computer, then takes the bag from his shoulder, puts it into a desk drawer, and pulls on the headset.</scene_description> </scene> <scene> <stage_direction>INT. SELF-SERVE CAFETERIA. DAY</stage_direction> <scene_description>One wall of the cafeteria is decorated with a large, colorful painting of Jesus feeding the multitudes with two fish and five loaves of bread. BORIS walks along the self-serve line, placing food on his tray. He pays at the register and heads towards a specific table, already occupied by another man (COWORKER, 45) with a tray.</scene_description> </scene> <scene> <stage_direction>INT. SELF-SERVE CAFETERIA. TABLE. DAY</stage_direction> <scene_description>BORIS and the COWORKER eat their lunch without removing the plates from their trays. The COWORKER stares at his smartphone lying on the table next to his tray as he eats. BORIS is lost in thought.</scene_description> <character>BORIS</character> <parenthetical>(after a long pause)</parenthetical> <dialogue>Do you think the world is really going to end?</dialogue> <character>COWORKER</character> <dialogue>Definitely. (chews his food carefully and pokes at his teeth with his tongue) How's work? Any leads?</dialogue> <dialogue>BORIS shrugs uncertainly.</dialogue> <character>COWORKER</character> <dialogue>The Lord taught us to share.</dialogue> <character>BORIS</character> <dialogue>Fine, I'll have something for you by tonight. Maybe.</dialogue> <character>COWORKER</character> <dialogue>It's a win-win, trust me.</dialogue> <scene_description>BORIS picks up his glass of fruit juice and takes a sip.</scene_description> </scene> <scene> <stage_direction>INT. BEAUTY SPA. TREATMENT ROOM. DAY</stage_direction> <scene_description>Naked from the waist down, ZHENYA is lying face up on the waxing table at the spa. A young female COSMETOLOGIST (30) in a white lab coat applies hot wax to ZHENYA's pubic area with a spatula: one strip, then another, and another... She tears off the strips, and ZHENYA yelps.</scene_description> <character>ZHENYA</character> <dialogue>Ouch!</dialogue> <character>COSMETOLOGIST</character> <dialogue>Oh, come on.</dialogue> <character>ZHENYA</character> <dialogue>It hurts! Really!</dialogue> <character>COSMETOLOGIST</character> <dialogue>It hasn't even grown back yet! You can take it.</dialogue> <character>ZHENYA</character> <dialogue>So get this… Last night, my ex...</dialogue> <character>COSMETOLOGIST</character> <dialogue>What?</dialogue> <character>ZHENYA</character> <dialogue>Got himself all worked up, worried.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Good. Let him worry.</dialogue> <character>ZHENYA</character> <dialogue>So miserable, poor thing.</dialogue> <character>COSMETOLOGIST</character> <dialogue>He should be miserable. They're great at making a mess, but when it comes to cleaning it up...</dialogue> <character>ZHENYA</character> <dialogue>You think he's worried about the kid? Right. That'll be the day! He's got debts hanging over his head. Terrified he'll get booted from his job because of the divorce. Can you believe it? Their boss man is this radical Orthodox Christian type, a total bible-thumping whack job.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Lift your leg. A fundamentalist!</dialogue> <character>ZHENYA</character> <dialogue>Exactly. Full-on beard down to here, tailored traditional shirts, nice shoes, Brioni suits...</dialogue> <character>COSMETOLOGIST</character> <dialogue>That's one classy fundamentalist.</dialogue> <character>ZHENYA</character> <dialogue>You can say that again. Has them all under Christian Sharia over there. Only ever hires family men with children, all baptized Christians, of course. The New Year office party always falls on a fast. So naturally, not a bite to eat, and all very understated. Oh, and we spent a couple of vacations on pilgrimage tours of monasteries.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Yeah, I remember, you told me. So what, sounds fun. Exotic.</dialogue> <character>ZHENYA</character> <dialogue>Yeah, right. I was bored to death.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Other leg.</dialogue> <character>ZHENYA</character> <dialogue>At least the money is good. Anyway, I can see he's getting really worried now.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Could they really fire him?</dialogue> <character>ZHENYA</character> <dialogue>Who the hell knows. I hope so.</dialogue> <character>COSMETOLOGIST</character> <dialogue>But what about child support?</dialogue> <character>ZHENYA</character> <dialogue>Ouch! Are you trying to maim me?</dialogue> <character>COSMETOLOGIST</character> <dialogue>Okay, okay, calm down.</dialogue> <scene_description>The COSMETOLOGIST squeezes some soothing oil into her palm and rubs it into the freshly waxed areas.</scene_description> <character>COSMETOLOGIST</character> <dialogue>Flip over.</dialogue> <scene_description>ZHENYA flips over onto her stomach. The COSMETOLOGIST lathers hot wax into her butt crack.</scene_description> <character>COSMETOLOGIST</character> <dialogue>A friend of mine has this boss who's into, get this: extreme sports.</dialogue> <character>ZHENYA</character> <dialogue>No kidding.</dialogue> <character>COSMETOLOGIST</character> <dialogue>Yeah. He is always taking them kayaking, or skydiving, or ski jumping...</dialogue> <character>ZHENYA</character> <dialogue>Ski jumping sounds cool.</dialogue> <character>COSMETOLOGIST</character> <dialogue>I don't know. My friend busted her knee the first time. Spent half a year in a cast. Goodbye tendons!</dialogue> <character>ZHENYA</character> <dialogue>Yikes.</dialogue> <character>COSMETOLOGIST</character> <dialogue>She says some of her coworkers even bought doctor's notes online: you know, to say they had a weak heart or high blood pressure, or whatever...</dialogue> <character>ZHENYA</character> <dialogue>So what happened?</dialogue> <character>COSMETOLOGIST</character> <dialogue>He fired them! Said, if you're sick, go to the hospital.</dialogue> <character>ZHENYA</character> <dialogue>Damn...</dialogue> <character>COSMETOLOGIST</character> <dialogue>So prayers and monasteries aren't so bad - it could be much worse.</dialogue> <character>ZHENYA</character> <dialogue>Yeah, I guess. Though as far as I'm concerned, vacation means the sea, the beach, a nice hotel... all inclusive!</dialogue> <character>COSMETOLOGIST</character> <dialogue>You have good taste.</dialogue> </scene> <scene> <stage_direction>INT. BEAUTY SPA. HAIR SALON. DAY</stage_direction> <scene_description>ZHENYA is sitting in a salon chair in front of a mirror, swaddled in a black sheet up to her neck. A female STYLIST (40), scissors and comb in hand, is tinkering with her hair.</scene_description> <character>STYLIST</character> <parenthetical>(obviously continuing their conversation)</parenthetical> <dialogue>And how does your new guy feel about all this?</dialogue> <character>ZHENYA</character> <dialogue>Fine. He's actually very progressive, you know?</dialogue> <character>STYLIST</character> <dialogue>Well, he's rich and healthy... Why not be progressive?</dialogue> <character>ZHENYA</character> <dialogue>Knock on wood.</dialogue> <scene_description>ZHENYA pokes a hand out from under the sheet, leans slightly forward, and knocks on the shelf under the mirror.</scene_description> <character>STYLIST</character> <dialogue>Don't worry, I don't have the evil eye.</dialogue> <character>ZHENYA</character> <dialogue>I'm not even really superstitious. It's sort of a habit, you know, just in case.</dialogue> <scene_description>The STYLIST nods, brushing ZHENYA's hair.</scene_description> <character>STYLIST</character> <dialogue>Is he divorced? Got any kids?</dialogue> <character>ZHENYA</character> <dialogue>He's been divorced for three years. Has a grown-up daughter. She's studying abroad. In Portugal, I think. Works, too.</dialogue> <character>STYLIST</character> <dialogue>How old is he?</dialogue> <character>ZHENYA</character> <dialogue>Forty-five.</dialogue> <character>STYLIST</character> <dialogue>Good age. But he looks younger.</dialogue> <character>ZHENYA</character> <dialogue>He does tai chi, doesn't smoke, almost never drinks...</dialogue> <character>STYLIST</character> <dialogue>Now I'm really getting jealous. How is he getting along with your boy? So, I'll even it out in the back?</dialogue> <character>ZHENYA</character> <dialogue>Yeah, go ahead. He's not... I feel like the boy hates my guts. And he won't even hear of meeting the guy. The older he gets, the more he becomes like his father. He's even starting to smell like him.</dialogue> <character>STYLIST</character> <dialogue>Secondary sex characteristics. He's growing up. What did you expect? That he'd stay your little angel forever?</dialogue> <character>ZHENYA</character> <dialogue>He was never a little angel. He's always been so prickly. Almost ripped me in two during labor - he didn't want to come out. Took a full day.</dialogue> <character>STYLIST</character> <dialogue>Oh goodness gracious... I've got my own stupid cow, too. I look at her and it pains me to see it: she's just like her daddy... I hope he's drunk himself to death by now in that goddamned slum of his. But she's not into that, I mean, she doesn't drink. I told her outright: I'll kill you if you ever do. No, I'm talking about her personality. Actually, it's not even her dad she's like: more like his mother. And that's one major bitch, let me tell you.</dialogue> <scene_description>With a swift motion of her hand, the STYLIST captures a lock of ZHENYA's hair with the comb and uses her scissors to trim the ends.</scene_description> <character>ZHENYA</character> <dialogue>How old is your daughter, I've forgotten?</dialogue> <character>STYLIST</character> <dialogue>Nineteen. Dumb as a board. I mean, she has some smarts: she finished high school, passed her exams... But she refuses to keep studying, and won't budge. Out at all hours, doing God knows what. I told her, you get knocked up, don't count on me to help. And she's like, "I use protection". Can you believe that?</dialogue> <scene_description>Thank God for that, at least.</scene_description> <character>STYLIST</character> <dialogue>I don't know what she plans to live on. No profession, no ambition... I ask her, what do you want to be? And she says, I want to go into Parliament. So I say, go get an education while you still can then. And she says, you don't need an education to be in Parliament. And that's that. What can I say to that?</dialogue> </scene> <scene> <stage_direction>INT. BEAUTY SPA. RECEPTION DESK. DAY</stage_direction> <scene_description>A female CLIENT (55), doing her best to look younger, and a cute female RECEPTIONIST (35) trade compliments across the reception desk.</scene_description> <character>RECEPTIONIST</character> <dialogue>You look wonderful!</dialogue> <character>CLIENT</character> <dialogue>Really? (takes a few steps to the side, towards the mirror, and examines her new look) I keep thinking it might be too short.</dialogue> <character>RECEPTIONIST</character> <dialogue>No, it's absolutely perfect! It looks great on you!</dialogue> <character>CLIENT</character> <dialogue>You think so? Thank you! You are very kind. How much do I owe you?</dialogue> <character>RECEPTIONIST</character> <dialogue>Three and a half.</dialogue> <character>CLIENT</character> <dialogue>What do you mean, three and a half? Your website says three.</dialogue> <character>RECEPTIONIST</character> <dialogue>Our rates changed.</dialogue> <character>CLIENT</character> <dialogue>When? Just now?</dialogue> <character>RECEPTIONIST</character> <dialogue>Day before yesterday.</dialogue> <character>CLIENT</character> <dialogue>That's when I made the appointment. The website said three.</dialogue> <scene_description>You know, I don't deal with the website.</scene_description> <character>CLIENT</character> <dialogue>Well, you know, I want to speak to your manager.</dialogue> <character>RECEPTIONIST</character> <dialogue>Sure, go ahead.</dialogue> <character>CLIENT</character> <dialogue>Don't talk to me like that!</dialogue> <character>RECEPTIONIST</character> <dialogue>Like what? What did I say?</dialogue> <character>CLIENT</character> <dialogue>Call the manager! And give me your complaints book!</dialogue> <character>RECEPTIONIST</character> <dialogue>One moment.</dialogue> <scene_description>The RECEPTIONIST lifts the landline phone receiver and dials a number.</scene_description> </scene> <scene> <stage_direction>INT. BEAUTY SPA. MANAGER'S OFFICE. DAY</stage_direction> <scene_description>ZHENYA is sitting at the desk in the manager's office, staring at the computer screen. Her iPhone buzzes and vibrates on the table. She picks it up, glances at the screen, and takes the call.</scene_description> <character>ZHENYA</character> <dialogue>Hello... Yes, I see. I'll be right there.</dialogue> <scene_description>She puts the phone back down, and her eyes return to the computer screen. She grabs the mouse, moves it around the table, clicks a few times, then finally gets up, takes her phone, and walks out of the office.</scene_description> </scene> <scene> <stage_direction>INT. BEAUTY SPA. DAY</stage_direction> <scene_description>ZHENYA crosses the hair salon. Some of the chairs are occupied. Most of the hairdressers and clients are women: all but one male stylist and his male client.</scene_description> </scene> <scene> <stage_direction>INT. BEAUTY SPA. RECEPTION DESK. DAY</stage_direction> <scene_description>ZHENYA arrives at the reception desk just as the CLIENT finishes her tirade in the complaints book. She ends the complaint with a period and practically throws the pen on the desk.</scene_description> <character>ZHENYA</character> <dialogue>Good afternoon! How can I help you?</dialogue> <character>CLIENT</character> <dialogue>I need you to explain to me, my dear, why your website lists one rate, and your people charge another?</dialogue> <scene_description>Which services did you purchase?</scene_description> <character>RECEPTIONIST</character> <dialogue>A haircut. With Filippova.</dialogue> <character>CLIENT</character> <dialogue>When I made the appointment the other day, your website listed 3,000 as the price. And she's charging me three and a half. I come here a lot to get my hair done and use some of your other services, and this has never happened before. Never.</dialogue> <scene_description>ZHENYA nods with understanding.</scene_description> <character>ZHENYA</character> <dialogue>I'm very sorry. Our rates have gone up, and the website has now been updated. But you are right, it was out of date the day before yesterday. It's our mistake. You are still entitled to the old rate.</dialogue> <scene_description>The CLIENT visibly relents and settles her account, placing three 1,000-ruble notes on the desk while pointedly ignoring the RECEPTIONIST.</scene_description> <character>CLIENT</character> <parenthetical>(to ZHENYA)</parenthetical> <dialogue>I hope this doesn't happen again.</dialogue> <character>ZHENYA</character> <dialogue>Of course. Thank you very much. Have a good day.</dialogue> <character>CLIENT</character> <dialogue>Goodbye.</dialogue> <scene_description>She turns around and heads towards the exit. ZHENYA sees her to the door, then returns to the reception desk.</scene_description> <character>ZHENYA</character> <dialogue>I told you this morning, you have to warn them about the rates.</dialogue> <character>RECEPTIONIST</character> <dialogue>Sorry. I completely forgot.</dialogue> <character>ZHENYA</character> <dialogue>Is everything OK?</dialogue> <character>RECEPTIONIST</character> <dialogue>Yes.</dialogue> <scene_description>If this happens again, I'll have to dock your pay. Got it?</scene_description> <character>RECEPTIONIST</character> <dialogue>Yes.</dialogue> <character>ZHENYA</character> <dialogue>Pay more attention.</dialogue> </scene> <scene> <stage_direction>INT. SUPERMARKET. BLUE HOUR</stage_direction> <scene_description>BORIS is strolling leisurely past the supermarket shelves and displays, pushing a shopping cart. MASHA (25), noticeably pregnant, is walking next to him and they are filling the shopping cart with various items.</scene_description> <character>MASHA</character> <dialogue>Why do you never tell me anything?</dialogue> <character>BORIS</character> <dialogue>What do you mean?</dialogue> <character>MASHA</character> <dialogue>Like, how it went with your place yesterday? What did the buyers say?</dialogue> <character>BORIS</character> <dialogue>They said they had to think about it. Trust me, if anything actually happened, I would tell you.</dialogue> <character>MASHA</character> <dialogue>How come it's taking so long to sell? I mean, you work in sales!</dialogue> <character>BORIS</character> <dialogue>Well... You see, that's not really the same thing...</dialogue> <character>MASHA</character> <dialogue>No, I don't see. Leave the dumplings. Mom said never buy the dumplings.</dialogue> <character>BORIS</character> <dialogue>Where is she today?</dialogue> <character>MASHA</character> <dialogue>She went back home. Even I was getting tired of her. So it's just you and me tonight.</dialogue> <character>BORIS</character> <dialogue>Thank God.</dialogue> <character>MASHA</character> <parenthetical>(slaps him lightly on the back)</parenthetical> <dialogue>Don't say that!</dialogue> <character>BORIS</character> <dialogue>What?</dialogue> <character>MASHA</character> <dialogue>That's my mother you're talking about! Get some broccoli, instead of those dumplings.</dialogue> <scene_description>BORIS obediently picks up a head of broccoli.</scene_description> </scene> <scene> <stage_direction>EXT. SUPERMARKET. BLUE HOUR</stage_direction> <scene_description>Commuter district. MASHA and BORIS, cradling a full shopping bag, emerge from the store and head for his car, parked not far from the exit. MASHA settles into the front passenger seat. BORIS places the bag on the back seat and shuts the door.</scene_description> </scene> <scene> <stage_direction>EXT. MASHA'S PLACE. COURTYARD. BLUE HOUR</stage_direction> <scene_description>BORIS parks his car among the multitude of others standing alongside the multi- entrance high-rise building, retrieves the shopping bag, and follows MASHA to one of the entrances. She punches the code into the lock of a metal door, and they enter the building.</scene_description> </scene> <scene> <stage_direction>INT. MASHA'S PLACE. BEDROOM. BLUE HOUR</stage_direction> <scene_description>In the bedroom, on a large bed, BORIS and MASHA are making slow, careful love, lying on their sides. After they have finished, they hold each other for a long while.</scene_description> <character>MASHA</character> <dialogue>Everything is going to be OK, right? You won't leave us?</dialogue> <character>BORIS</character> <dialogue>Have you lost your mind? Why would you even think that?</dialogue> <character>MASHA</character> <dialogue>I just feel so scared sometimes...</dialogue> <scene_description>Her eyes suddenly well up with tears.</scene_description> <character>BORIS</character> <dialogue>Come on, stop it... I'm right here...</dialogue> <character>MASHA</character> <dialogue>You probably used to tell your ex the same thing.</dialogue> <character>BORIS</character> <dialogue>You are different. I never felt so happy with any of the others.</dialogue> <character>MASHA</character> <dialogue>How many others have there been?</dialogue> <scene_description>BORIS doesn't respond.</scene_description> <character>MASHA</character> <dialogue>More than ten?</dialogue> <character>BORIS</character> <dialogue>I'm hungry. Are you hungry?</dialogue> <character>MASHA</character> <dialogue>I'm always hungry these days. And by the way, I'm mad at you.</dialogue> <character>BORIS</character> <dialogue>I'll go make us some food.</dialogue> <character>MASHA</character> <dialogue>Bring me an apple.</dialogue> <character>BORIS</character> <dialogue>Okay.</dialogue> <scene_description>He climbs out of bed, pulls on his underwear, retrieves the covers that had slipped onto the floor, pulls them over MASHA, kisses her, and walks out of the bedroom. She rolls carefully over onto her back, pulls the covers up to her chin, and lies there, lost in thought. BORIS returns with a large red apple in his hand.</scene_description> <character>BORIS</character> <parenthetical>(stops in the doorway)</parenthetical> <dialogue>Catch!</dialogue> <scene_description>He tosses the apple to MASHA.</scene_description> <character>MASHA</character> <parenthetical>(catches it)</parenthetical> <dialogue>Thank you.</dialogue> <character>BORIS</character> <dialogue>Boiled chicken with broccoli?</dialogue> <character>MASHA</character> <dialogue>No. I want a cucumber and tomato salad.</dialogue> <character>BORIS</character> <dialogue>And salad on the side.</dialogue> <scene_description>She nods. He turns and leaves. Alone again, MASHA lifts the apple to her nose and inhales its aroma with relish. She then bares her teeth, opens her mouth wide, crunches into the apple hungrily and loudly, and chews with her mouth full.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE BEAUTY SPA. BLUE HOUR</stage_direction> <scene_description>ZHENYA is practically glowing as she emerges from the spa, carrying her handbag. The sign blazing above the door reads KALI YOGA BEAUTY SPA. A slender, meticulously groomed man with streaks of gray in his hair - ANTON (50) - climbs out of the driver's seat of a black Mercedes parked nearby. He rounds the car, opens the front passenger door for ZHENYA, offers her a hand as she climbs inside, then closes the door and returns to the driver's seat. Inside the car, ANTON kisses ZHENYA's hand. She laughs.</scene_description> </scene> <scene> <stage_direction>INT. CAFE. BLUE HOUR</stage_direction> <scene_description>ZHENYA and ANTON are eating dinner in a cozy, nearly empty cafe with quiet music and understated lighting. ANTON is watching her with undisguised delight.</scene_description> <character>ZHENYA</character> <dialogue>I can't eat when you look at me like that.</dialogue> <character>ANTON</character> <dialogue>I'm sorry.</dialogue> <scene_description>He lowers his eyes to his plate, filled with seafood and grilled vegetables.</scene_description> <character>ZHENYA</character> <dialogue>I was just joking.</dialogue> <scene_description>She sets down her fork and slides a hand along the tablecloth towards him. He smiles, takes her hand, and their fingers intertwine.</scene_description> <character>ANTON</character> <dialogue>Did you get your hair trimmed, or am I just imagining it?</dialogue> <character>ZHENYA</character> <dialogue>You noticed.</dialogue> <character>ANTON</character> <dialogue>Of course. I pay attention.</dialogue> <character>ZHENYA</character> <dialogue>Still? After all that's happened between us?</dialogue> <character>ANTON</character> <dialogue>Especially after all that's happened.</dialogue> <character>ZHENYA</character> <dialogue>After what happened the day before yesterday?</dialogue> <dialogue>Under the table, she slips a foot out of her shoe and slides it between his legs.</dialogue> <character>ZHENYA</character> <dialogue>Or the day before that?</dialogue> <character>ANTON</character> <dialogue>Zhenya...</dialogue> <character>ZHENYA</character> <dialogue>Yes, Anton? Am I making you blush?</dialogue> <scene_description>ANTON lifts his wine glass. ZHENYA lifts her own, and they clink their glasses together.</scene_description> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. BEDROOM. NIGHT</stage_direction> <scene_description>In the twilight, ZHENYA and ANTON are making tantric love on his bed.</scene_description> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. BEDROOM. NIGHT</stage_direction> <scene_description>Later, ZHENYA sits with her back to the headboard, illuminated by a night light, holding a glass of wine and wearing nothing but ANTON's shirt. Her legs are stretched out in front of her, one slung over the other. ANTON is lying on his back, covered up to his waist. His hands are on his stomach; his head is on the pillow; his eyes are closed. ZHENYA watches his profile and listens to his rhythmic breathing.</scene_description> <character>ZHENYA</character> <dialogue>Are you asleep?</dialogue> <scene_description>He doesn't respond.</scene_description> <character>ZHENYA</character> <dialogue>Hey!</dialogue> <scene_description>Silence.</scene_description> <character>ZHENYA</character> <dialogue>It's not fair.</dialogue> <scene_description>He remains silent.</scene_description> <character>ZHENYA</character> <dialogue>I love you... Do you hear me? I've never loved anyone. Except my mom, when I was little. But she was so cold to me. Never a kind word, or a warm touch. Nothing but discipline, order, chores, homework... Mean, lonely bitch.</dialogue> <character>ANTON</character> <parenthetical>(without opening his eyes)</parenthetical> <dialogue>Still alive and well, I hope?</dialogue> <character>ZHENYA</character> <dialogue>Alive. And yes, generally well. We almost never talk. Every time I call, we end up fighting. Later, I can't even figure out what started it.</dialogue> <scene_description>She takes a sip of her wine.</scene_description> <character>ZHENYA</character> <dialogue>I didn't even know what love meant until I met you. I never loved my husband. And there wasn't really anyone before him. Even with him, I got pregnant by accident. He was so happy, kept asking me to marry him. Said everything was going to be okay because we were together. But I didn't want any of it. I was so scared... Scared to get an abortion, scared to keep it... I really didn't want a kid. When I went into labor, I thought I was going to die. They had to take me to the ICU. And when they brought him to me afterwards, I couldn't even look at him. I felt outright disgusted. My milk never even came in. But then, life went on, things settled down and we fell into this inertia…</dialogue> <character>ANTON</character> <parenthetical>(without moving or opening his eyes)</parenthetical> <dialogue>Without love. Life should never be loveless.</dialogue> <character>ZHENYA</character> <dialogue>To this day, when I look at him, or even think about him, like now, for example, I have this feeling that I made a mistake which I can't fix. I blame him, I blame myself... All I want is to be happy. I'm an evil bitch, right?</dialogue> <scene_description>ANTON opens his eyes, turns his head, and looks at her.</scene_description> <character>ANTON</character> <dialogue>The most beautiful evil bitch in the world.</dialogue> <character>ZHENYA</character> <dialogue>Do you really love me?</dialogue> <character>ANTON</character> <dialogue>Come here.</dialogue> </scene> <scene> <stage_direction>EXT. ANTON'S PLACE. NIGHT</stage_direction> <scene_description>A yellow cab is waiting outside the entrance. ZHENYA comes out of the building and climbs into the back seat. The cab pulls away.</scene_description> </scene> <scene> <stage_direction>INT/EXT. YELLOW CAB/CITY STREETS. NIGHT</stage_direction> <scene_description>ZHENYA stares out of the window, leaning back in her seat, as the cab makes its long way through the city.</scene_description> </scene> <scene> <stage_direction>EXT. SLEPTSOVS' BUILDING. BLUE HOUR</stage_direction> <scene_description>Early twilight. The yellow cab pulls up outside the high-rise and idles for a short while. Finally, the back door opens, and ZHENYA climbs out. As the cab pulls away, she heads towards the entrance, digging her keys out of her purse as she walks. She unlocks the door, and disappears inside.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' BUILDING. STAIRWELL. BLUE HOUR</stage_direction> <scene_description>ZHENYA emerges from the elevator, unlocks her apartment door, and steps inside, trying not to make a sound.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ENTRANCE HALL. BLUE HOUR</stage_direction> <scene_description>Inside, ZHENYA takes off her shoes in the dark, tiptoes silently past the closed doors of the living room and Alyosha's room, enters the bedroom, and closes the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. BEDROOM. BLUE HOUR</stage_direction> <scene_description>In the bedroom, ZHENYA literally collapses onto the bed without switching on the light. She undresses, pulling her clothes off without getting up, seemingly without even lifting her head. Then she crawls under the covers and falls asleep, cradling her pillow.</scene_description> </scene> <scene> <stage_direction>INT. SALES OFFICE. BORIS' CUBICLE. DAY</stage_direction> <scene_description>BORIS is sitting at the desk inside his cubicle, staring at the computer monitor. He lets out a loud yawn without covering his mouth, leans back in his chair, and stretches, lifting his arms over his head. His COWORKER's face peeks over the partition wall.</scene_description> <character>COWORKER</character> <dialogue>Lunch time.</dialogue> </scene> <scene> <stage_direction>INT. SELF-SERVE CAFETERIA. DAY</stage_direction> <scene_description>The moment BORIS and his COWORKER enter the lunch room, BORIS' phone rings. He glances at the screen, nods to the COWORKER, and moves off to the side, stopping by the wall near the entrance, right under the painting of Jesus feeding the multitudes with two fish and five loaves of bread.</scene_description> <character>BORIS</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Hello.</dialogue> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM. DAY</stage_direction> <scene_description>ZHENYA has just emerged from the shower: her hair is wet and tangled; the bathrobe is open over her naked body. She is standing in the middle of ALYOSHA's room, holding her iPhone to her ear.</scene_description> <character>ZHENYA</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Did you see Alyosha last night?</dialogue> <character>BORIS</character> <dialogue>No, I didn't come home last night. Why, what's happened?</dialogue> <character>ZHENYA</character> <dialogue>I just got a call from school. He didn't show up yesterday or today.</dialogue> <character>BORIS</character> <dialogue>What do you mean, didn't show up? Who called you?</dialogue> <character>ZHENYA</character> <dialogue>His homeroom teacher.</dialogue> <character>BORIS</character> <dialogue>What exactly did she say?</dialogue> <character>ZHENYA</character> <dialogue>That he didn't show up to school yesterday or today. Are you deaf?</dialogue> <character>BORIS</character> <dialogue>Did he come home?</dialogue> <character>ZHENYA</character> <dialogue>I don't know. I got back late last night myself. Didn't check his room, thought he'd be asleep. I slept in this morning, thought he'd already left, as always. He's so independent... And I can't reach his phone. Has he called you?</dialogue> <character>BORIS</character> <dialogue>No.</dialogue> <character>ZHENYA</character> <dialogue>Oh God…</dialogue> <character>BORIS</character> <dialogue>Don't get hysterical. We'll find him, he'll be fine. We should call... what's his name... his friend.</dialogue> <character>ZHENYA</character> <dialogue>I already spoke to Misha. He hasn't seen him either, yesterday or today.</dialogue> <character>BORIS</character> <dialogue>I see... Where are you now?</dialogue> <character>ZHENYA</character> <dialogue>At home.</dialogue> <character>BORIS</character> <dialogue>And you can't tell whether or not he was home last night?</dialogue> <character>ZHENYA</character> <dialogue>No.</dialogue> <character>BORIS</character> <dialogue>Why not? How hard can it be?</dialogue> <character>ZHENYA</character> <dialogue>Oh, gee, I don't know. Why don't you come home and see for yourself?</dialogue> <character>BORIS</character> <dialogue>I'm at work, in case you forgot.</dialogue> <character>ZHENYA</character> <dialogue>Do you understand that no one has heard from him in over 24 hours?</dialogue> <character>BORIS</character> <dialogue>He could be coming up in the elevator as we speak. Or walking home right now, I don't know... I think you're overreacting. He probably did something bad: got an F, or lost his tablet... And now he's afraid of how you'll react, so he's staying away.</dialogue> <character>ZHENYA</character> <dialogue>You mean it's all my fault again?</dialogue> <character>BORIS</character> <dialogue>You don't even know whether or not he's been home. Most likely, he was there last night. Hello?</dialogue> <character>ZHENYA</character> <dialogue>Well, I'm calling the cops. And you can stay at work and keep deliberating over what might and might not have happened. Idiot.</dialogue> </scene> <scene> <stage_direction>INT. SELF-SERVE CAFETERIA. DAY</stage_direction> <character>BORIS</character> <dialogue>Can't we do this without insults? Hello?</dialogue> <scene_description>Realizing that ZHENYA has hung up on him, BORIS gnashes his teeth, heads towards the counter, and picks up a tray. His COWORKER waves to him from the head of the line.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM. DAY</stage_direction> <scene_description>A young female POLICE OFFICER (25) moves around the room, taking photos of the furniture and various items with her camera. She finishes up and heads into the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. KITCHEN. DAY</stage_direction> <scene_description>ZHENYA is sitting at the table, her face free of makeup and her hair tied back into a ponytail. A weary-looking plainclothes DETECTIVE (45) sits across from her, writing on a sheet of paper. A thin folder and a toothbrush in a sealed plastic bag lie on the table next to him. The POLICE OFFICER enters the kitchen.</scene_description> <character>POLICE OFFICER</character> <dialogue>I'm done.</dialogue> <character>DETECTIVE</character> <dialogue>Great, thanks. (nods at the toothbrush) Take this and wait for me in the car. We have to make one more stop.</dialogue> <scene_description>The POLICE OFFICER nods and leaves without even a glance at ZHENYA.</scene_description> <character>DETECTIVE</character> <dialogue>Well, what can I tell you... I see no evidence of criminal activity.</dialogue> <character>ZHENYA</character> <dialogue>What do you mean, "criminal activity"?</dialogue> <character>DETECTIVE</character> <dialogue>Well, you know, sometimes parents will do away with their kid, then file a missing person's report.</dialogue> <character>ZHENYA</character> <dialogue>And you thought that's what I'd done?</dialogue> <character>DETECTIVE</character> <dialogue>We always start out with that theory. But what you have here is a runaway. Happens all the time: 12 years old, rebellious age, hormones out of control. Give him a few days, he'll be back. Of course we could go to the precinct, spend a few hours on a detailed deposition. Probably not today though: we would need your husband to be present as well. But in any event, this case is unlikely to go beyond a preliminary inquiry.</dialogue> <character>ZHENYA</character> <dialogue>You said there's no evidence of criminal activity. But what if he was kidnapped? Because I can't imagine where he could be.</dialogue> <character>DETECTIVE</character> <dialogue>I'm sure he's just bumming around the neighborhood. He won't last long. He's used to a comfortable life. And you have a comfortable life here. You can't even imagine the kinds of conditions kids come back to. Because the streets are worse</dialogue> <scene_description>than any home, no matter how shitty. Now, as for a possible kidnapping. Here's how the system works: first, we conduct a preliminary inquiry, which includes interviews with the parents, relatives, friends, possible witnesses, and so forth. We are short on resources, plus we have other cases to investigate: murders, rapes, assaults, robberies, and so forth. So the preliminary inquiry could take a few days. If the runaway hasn't turned up by then, and if we have grounds, by which I mean evidence, then we open a missing person's case. Then, if the case investigation presents more grounds, meaning more evidence - suspicion of murder, kidnapping, and so forth - it becomes a criminal case. But that's up to the Investigative Committee. You can imagine how long that takes and the mountain of paperwork it requires. By then, the runaways have normally come back and run away all over again.</scene_description> <character>ZHENYA</character> <dialogue>So you're just going to do nothing?</dialogue> <character>DETECTIVE</character> <dialogue>I'm giving you a realistic picture. We are obligated to act. And we will. But in this specific case... The system does not have the resources or the time to chase after every kid.</dialogue> <character>ZHENYA</character> <dialogue>I see. This case is going straight in the trash. So what am I supposed to do? Sit around waiting for him to come back? What if he doesn't come back?</dialogue> <character>DETECTIVE</character> <dialogue>Statistics don't lie. In the overwhelming majority of cases, teenage runaways come back after a week, ten days at the most. But let me offer you some advice: if you want somebody to actually look for him, and if you want them to start as soon as possible, go online, find the missing child search team website, and give them a call - they'll tell you what info they need. It's staffed with volunteers, working their asses off round the clock. No bureaucracy and a streamlined, highly effective response protocol. How do I know? Past experience of working together, with good results. Anyway, here's my phone number. (hands her his card) I have yours. We'll be in touch.</dialogue> <scene_description>The DETECTIVE tucks the sheet of paper he was writing on into the folder and rises from the table. ZHENYA examines the card he handed her. And that's it?</scene_description> <character>DETECTIVE</character> <dialogue>For now.</dialogue> <character>ZHENYA</character> <dialogue>The drowning man's rescue is in his own hands, is that right?</dialogue> <character>DETECTIVE</character> <dialogue>His own hands, and his feet, his head, and most importantly, his heart.</dialogue> <character>ZHENYA</character> <dialogue>Unbelievable.</dialogue> <character>DETECTIVE</character> <dialogue>Trust me, had you gotten any other detective, they'd have been much more assertive with you, and much less helpful, to put it mildly. It's not that I'm such a nice guy. I'm just trying to save time: my own, yours, and the search team's. The sooner you contact them and the sooner they get started, the sooner they will find your little slacker hanging out on the street or at the mall somewhere, or most likely hiding out at a friend's house while their parents are away for a few days and they've got the place to themselves. So get moving. Or wait. Your choice. That's it, I have to go now.</dialogue> <character>ZHENYA</character> <dialogue>But if he's at a friend's house, why didn't he tell me?</dialogue> <character>DETECTIVE</character> <dialogue>That's a question only you can answer.</dialogue> </scene> <scene> <stage_direction>INT/EXT. BORIS' CAR/COMMUTER DISTRICT. BLUE HOUR</stage_direction> <scene_description>BORIS is driving his car through the neighborhood. He spots a group of about a dozen people in the open space near his building (?), most dressed in hiking gear, some wearing reflective vests. They are crowded around several all-terrain vehicles and a minivan, all its doors open.</scene_description> </scene> <scene> <stage_direction>EXT. SLEPTSOVS' BUILDING. BLUE HOUR</stage_direction> <scene_description>BORIS pulls up to the building and parks the car. Outside the next entrance over, a guy in camo is explaining something animatedly to several old women sitting on the bench.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' BUILDING. ENTRANCE LOBBY. BLUE HOUR</stage_direction> <scene_description>BORIS enters the building and presses the elevator button.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. STAIRWELL. BLUE HOUR</stage_direction> <scene_description>BORIS steps out of the elevator to see his apartment door slightly ajar. A young woman in camo pants (LENA, 30) is talking to a female neighbor who lives on the same landing. (DIALOG (?)). His head lowered to avoid catching the neighbor's eye and escape an unwanted conversation, BORIS ducks into the apartment.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ENTRANCE HALL/LIVING ROOM. BLUE HOUR</stage_direction> <scene_description>Leaving the front door ajar, BORIS heads straight into the living room.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. LIVING ROOM. BLUE HOUR</stage_direction> <scene_description>BORIS enters the living room to find ZHENYA and the male search team COORDINATOR (35) sitting across the table from each other. The COORDINATOR is writing in his notepad. A large color photo of ALYOSHA lies on the table in front of him.</scene_description> <character>BORIS</character> <parenthetical>(to the COORDINATOR)</parenthetical> <dialogue>Hello. (to ZHENYA) Sorry, got stuck in traffic.</dialogue> <scene_description>ZHENYA ignores him.</scene_description> <character>COORDINATOR</character> <parenthetical>(to Boris)</parenthetical> <dialogue>Take a seat. Come on, let's get to work. My name is Ivan. I'm the search team coordinator.</dialogue> <character>BORIS</character> <parenthetical>(takes a seat at the table)</parenthetical> <dialogue>My wife told me on the phone.</dialogue> <character>COORDINATOR</character> <dialogue>Excellent. Then let's get started. Or more accurately, let's continue. Let me tell you what's going to happen, so you have fewer questions later on. I will be asking you detailed questions about your son, Alyosha. Meanwhile, my team is interviewing your neighbors and possible witnesses: on the street, outside the building, in the local stores...</dialogue> <scene_description>The young woman in camo pants who was talking to the neighbor enters the living room, smartphone in hand.</scene_description> <character>LENA</character> <parenthetical>(to the COORDINATOR)</parenthetical> <dialogue>Nothing of interest from the neighbors.</dialogue> <character>COORDINATOR</character> <dialogue>Nothing at all?</dialogue> <character>LENA</character> <dialogue>No one saw or heard him, today or yesterday. Can't remember anything specific. More of our people have arrived. We set up a command post behind the building (?) and brought the fliers.</dialogue> <character>COORDINATOR</character> <dialogue>You printed them out? Excellent.</dialogue> <character>LENA</character> <dialogue>I'll keep canvassing the building.</dialogue> <character>COORDINATOR</character> <dialogue>Yes, stay on it.</dialogue> <scene_description>LENA leaves.</scene_description> <character>COORDINATOR</character> <dialogue>So depending on what the canvassing yields, we will focus on specific locations and objectives. You and I are going to finish up here and head on to the precinct to see the detective in charge - rarely happens, by the way, even in Moscow, so you really lucked out there. He promised to give us access to the security cameras. This is a big deal, and could really simplify our task. Next. It's getting late, and the boy will need a place to spend the night. Since it's not exactly spring outside, we'll be searching entrance lobbies and stairwells. We'll ask the detective for the entry codes, I expect he'll cooperate. So let's start from the beginning.</dialogue> <scene_description>He checks his notepad.</scene_description> <character>COORDINATOR</character> <dialogue>Alyosha Sleptsov, 12 years old, looks 10, no distinctive features, healthy, approximately 5'1", dark blond hair, last seen wearing blue jeans, red hooded jacket, blue backpack, white sneakers (?). Two days ago, left for school at the usual time, and by the looks of things, hasn't been home since. His cell phone is unreachable, but we will keep dialing it anyway. Now, I need you to tell me: what are the boy's interests? Hobbies, sports, dreams of building a space station, traveling the world, and so on?</dialogue> <character>ZHENYA</character> <dialogue>He doesn't have any hobbies. And he's not interested in sports, either. I guess he spends most of his time at home.</dialogue> <character>COORDINATOR</character> <dialogue>You guess. Ah. I see. At home: that means on the computer. His laptop is on his desk, right?</dialogue> <character>BORIS</character> <dialogue>Yes, but we try to limit his online time.</dialogue> <character>ZHENYA</character> <dialogue>Especially you.</dialogue> <character>COORDINATOR</character> <dialogue>Let's keep personal issues out of this. Can we access the computer?</dialogue> <character>BORIS</character> <dialogue>Of course.</dialogue> <character>ZHENYA</character> <dialogue>Yes.</dialogue> <character>COORDINATOR</character> <dialogue>Excellent. You have access to his email, social network accounts, phone numbers and addresses of his buddies and girlfriends?</dialogue> <character>ZHENYA</character> <dialogue>He only has one friend, I guess. Misha Kuznetsov.</dialogue> <character>COORDINATOR</character> <dialogue>Guessing again. Fine.</dialogue> <character>BORIS</character> <dialogue>I have all his user names and passwords. And he does only have one friend: Misha. I mean, in real life. As far as the social networks…</dialogue> <character>COORDINATOR</character> <dialogue>I see. Any close relatives he could have gone to see? Grandmas, grandpas, uncles and aunts, cousins?</dialogue> <character>ZHENYA</character> <dialogue>No one on my husband's side. On my side, just my mother. She lives outside Moscow.</dialogue> <character>BORIS</character> <dialogue>But it's probably been about three years since we last visited. I doubt the kid remembers.</dialogue> <character>COORDINATOR</character> <dialogue>The kid. I see. I do hope you called the grandmother? And she said she hadn't seen the boy, correct?</dialogue> <character>ZHENYA</character> <dialogue>I can't reach her. Actually, things between us are... you know...</dialogue> <character>COORDINATOR</character> <dialogue>What do you mean, you can't reach her?</dialogue> <character>ZHENYA</character> <dialogue>First she wouldn't pick up the phone, and now it says "the number you dialed is unavailable." Her connection was always shoddy...</dialogue> <character>BORIS</character> <dialogue>Her connection is fine. She's the one who's "shoddy".</dialogue> <character>COORDINATOR</character> <dialogue>Grandma's quite a character, then. I see. Did you try the neighbors?</dialogue> <character>ZHENYA</character> <dialogue>I don't have any of their numbers.</dialogue> <character>BORIS</character> <dialogue>It's her summer home, her plot, her house, her neighbors... It's best to stay out of it, to avoid a heap of trouble.</dialogue> <character>COORDINATOR</character> <dialogue>Could she be hiding Alyosha? Say, if he asked her to?</dialogue> <scene_description>ZHENYA shrugs.</scene_description> <character>ZHENYA</character> <dialogue>I don't think so...</dialogue> <scene_description>BORIS chortles.</scene_description> <character>BORIS</character> <dialogue>She's capable of anything. Stalin in a skirt!</dialogue> <character>ZHENYA</character> <dialogue>That's enough. How would he even get there? We only ever drove there. And my mother wouldn't exactly be happy to see him. You know how she is.</dialogue> <character>BORIS</character> <dialogue>What if they've been talking in secret? Isn't it possible? She's a real trouble maker. Damn, I thought he'd seemed withdrawn lately. She must've been filling his head with nonsense this entire time!</dialogue> <character>ZHENYA</character> <dialogue>But she doesn't love him. She doesn't love anyone.</dialogue> <scene_description>Loves, doesn't love... She's using the kid against me. And against you, too.</scene_description> <character>COORDINATOR</character> <parenthetical>(cuts them off)</parenthetical> <dialogue>Anyway. You have to go see the grandmother right away. Where exactly does she live outside Moscow?</dialogue> <character>ZHENYA</character> <dialogue>At her summer home. All year round.</dialogue> <character>BORIS</character> <dialogue>It's towards Kiev. Hard to explain. The turnoff from the highway is difficult to spot...</dialogue> <character>COORDINATOR</character> <dialogue>Do you have a car?</dialogue> <character>BORIS</character> <dialogue>Yes.</dialogue> <character>COORDINATOR</character> <dialogue>How long is the drive?</dialogue> <character>BORIS</character> <dialogue>About three hours. Maybe two and a half.</dialogue> <character>COORDINATOR</character> <dialogue>OK, here's what we'll do. Give me the contact info for all his friends and acquaintances, including his homeroom teacher's number - I hope you have it? Excellent. Also, all his user names and passwords. I'll take the laptop; we'll go through it at our headquarters and then decide on the next step. And you, the both of you, get your car and go see dear old granny. Lena will go with you: she's a highly skilled operative. Or rather, she'll follow you in her own car. Meanwhile, keep trying to reach the grandmother. When you get there, check everything carefully, don't overlook anything, and call me right away to tell me how it went, no matter what happens. Can you handle that? Someone will stay here, in case the boy comes back.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY. NIGHT</stage_direction> <scene_description>BORIS' car speeds along the dark highway, followed by an all-terrain vehicle driven by LENA.</scene_description> </scene> <scene> <stage_direction>INT. BORIS' CAR. HIGHWAY. NIGHT</stage_direction> <scene_description>Ominous music is playing on the radio. ZHENYA keeps dialing her mother's number, but to no avail.</scene_description> <character>ZHENYA</character> <dialogue>Oh for God's sake... (to BORIS) Can't you turn this off? Please? I have a headache.</dialogue> <character>BORIS</character> <dialogue>There're some pills in the glove compartment.</dialogue> <character>ZHENYA</character> <dialogue>Turn it off.</dialogue> <scene_description>BORIS hesitates, then switches off the radio. They drive in silence for a long time.</scene_description> <character>ZHENYA</character> <dialogue>Do you think he's there?</dialogue> <character>BORIS</character> <dialogue>Where else could he be? Think about it. (glances in the rearview mirror at LENA's car following closely behind) Fuck, he really knows how to make life difficult! Perfect timing too, the little shit.</dialogue> <character>ZHENYA</character> <dialogue>What if something terrible's happened to him?</dialogue> <character>BORIS</character> <dialogue>Don't think like that. He's fine. He'll get what's coming to him though, I'll see to that.</dialogue> <scene_description>ZHENYA digs through her purse and fishes out her cigarettes.</scene_description> <character>BORIS</character> <dialogue>You can't smoke in here anymore.</dialogue> <character>ZHENYA</character> <dialogue>Right, terribly sorry. You've got a pregnant woman to chauffeur around now, how could I forget? I'll blow it out the window.</dialogue> <character>BORIS</character> <dialogue>No, I said you can't.</dialogue> <character>ZHENYA</character> <dialogue>Or you'll do what? Throw me out of the car?</dialogue> <scene_description>She lights up spitefully. I see your headache has gone. He rolls down all the windows, puts the fan on high, and switches the radio back on, turning the volume all the way up. It's now playing a different tune. The wind roars through the car, beating against their faces and tearing at their hair. An air current knocks the ash from the tip of ZHENYA's cigarette. After only a few drags, she tosses it out of the window, and pushes the window button on the passenger door. The glass doesn't budge: BORIS has locked the windows in the open position.</scene_description> <character>ZHENYA</character> <dialogue>Close the windows!</dialogue> <scene_description>BORIS grins, staring at the road. ZHENYA leans back in her seat and covers her face with her hands.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD. COUNTRY ROAD. NIGHT</stage_direction> <scene_description>BORIS' car turns off the highway, windows rolled up and the radio now silent, and LENA's all-terrain vehicle follows it down a barely paved two-lane road with half the street lights broken. The road cuts through expanses of fields fringed by woods.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS. COUNTRY ROAD. NIGHT</stage_direction> <scene_description>Leaving the fields behind them, the two cars enter the woods, which soon grow increasingly sparse, giving way to the concrete fencing of summer home communities.</scene_description> </scene> <scene> <stage_direction>INT. BORIS' CAR. SUMMER HOME COMMUNITY. NIGHT</stage_direction> <scene_description>BORIS' car pulls up to the summer home community's automatic metal gates. LENA's vehicle stops a few feet to the right.</scene_description> <character>BORIS</character> <dialogue>Great, they put up a gate. What do we do now? Ram it?</dialogue> <character>ZHENYA</character> <dialogue>The side door is open.</dialogue> <character>BORIS</character> <dialogue>We just leave the car here?</dialogue> <character>ZHENYA</character> <dialogue>Well, what do you suggest?</dialogue> <scene_description>She opens the door and climbs out of the car. BORIS switches gears and backs away from the gate. His headlights illuminate ZHENYA and LENA, who has joined her outside. BORIS parks the car so as not to block the gate.</scene_description> </scene> <scene> <stage_direction>EXT. SUMMER HOME COMMUNITY. SIDE DOOR. NIGHT</stage_direction> <scene_description>ZHENYA, BORIS, and LENA, who is armed with a long black flashlight, leave their cars outside the gate and enter the community through the side door in the gate.</scene_description> </scene> <scene> <stage_direction>EXT. SUMMER HOME COMMUNITY. STREET. NIGHT</stage_direction> <scene_description>For a long while, ZHENYA, BORIS, and LENA walk along a sparsely lit, deserted street bordered by fences of all shapes and sizes surrounding even more diverse summer homes. None of the houses are particularly grand, and the lots surrounding them are small, just a little over a tenth of an acre. All the windows appear to be dark. Suddenly, an enraged dog begins to rattle his chain in an agitated frenzy from behind yet another fence.</scene_description> </scene> <scene> <stage_direction>EXT. SUMMER HOME COMMUNITY. ZHENYA'S MOTHER'S HOUSE. FENCE.</stage_direction> <scene_description>NIGHT ZHENYA, BORIS, and LENA are standing in front of the garden gate of a tall, solid wooden fence badly in need of a coat of paint. All they can see of the house beyond the fence is the ridge of its roof and the brick chimney. ZHENYA presses the doorbell next to the gate, and they hear a distant, muffled trill coming from somewhere deep in the house. Silence. ZHENYA leans on the doorbell for a few long moments. They hear no movement on the other side of the fence.</scene_description> <character>BORIS</character> <dialogue>She won't open up. Probably raising the barricades as we speak. She's such a...</dialogue> <character>ZHENYA</character> <dialogue>Enough. You make her sound like a complete monster.</dialogue> <character>LENA</character> <dialogue>Is there any other way in?</dialogue> <character>BORIS</character> <dialogue>Only over the fence.</dialogue> <character>ZHENYA</character> <dialogue>We don't have a key.</dialogue> <character>LENA</character> <dialogue>I see.</dialogue> <scene_description>LENA examines the gate, then walks along the fence and rounds the corner.</scene_description> <character>BORIS</character> <dialogue>Where is she going?</dialogue> <character>ZHENYA</character> <dialogue>How should I know?</dialogue> <scene_description>ZHENYA rings the bell again and phones her mother at the same time. No response. Suddenly, they hear crunching and cracking sounds, followed by the dull thump of something hitting the ground on the other side of the wall.</scene_description> <character>LENA (O.S.)</character> <dialogue>Son of a... Fuck.</dialogue> <scene_description>She reaches the gate and after a few seconds of fiddling with the lock, opens it from the inside.</scene_description> </scene> <scene> <stage_direction>EXT. SUMMER HOME COMMUNITY. ZHENYA'S MOTHER'S HOUSE. FRONT</stage_direction> <scene_description>YARD. NIGHT ZHENYA is standing outside the front door to her mother's house.</scene_description> <character>ZHENYA</character> <dialogue>Mom! Open up, it's me!</dialogue> <scene_description>Behind the door, all is silent. LENA and BORIS circle the house from opposite directions. The dark rectangle of a shed looms in the corner of the plot. LENA shines her flashlight into the windows of the house. Suddenly, in one of the windows, the spotlight lands on a woman's pallid face, which immediately disappears back into the darkness.</scene_description> <character>LENA</character> <dialogue>She's in there!</dialogue> <scene_description>LENA wheels around and walks quickly back to the front door. ZHENYA hammers on the door with her fist.</scene_description> <character>ZHENYA</character> <dialogue>Mom, open up! Alyosha is missing!</dialogue> </scene> <scene> <stage_direction>INT. ZHENYA'S MOTHER'S HOUSE. KITCHEN. NIGHT</stage_direction> <scene_description>A small oil lamp is burning under an icon on a shelf in the corner. ZHENYA is sitting on a chair at the table. Her MOTHER (65) removes a tea kettle from the stove, carries it to the sink, and fills it.</scene_description> <character>MOTHER</character> <dialogue>I nearly had a heart attack. First the doorbell starts ringing in the middle of the night, like there's a fire. Then I hear someone climbing over the fence. Oh, dear Lord in heaven... And I can't find my phone. What am I supposed to do?</dialogue> <scene_description>She turns off the faucet, replaces the kettle on the stove, takes a box of matches, and lights the gas burner under the kettle.</scene_description> <character>MOTHER</character> <dialogue>You could've at least warned me.</dialogue> <character>ZHENYA</character> <dialogue>I've been calling you nonstop. And don't tell me you didn't hear the phone.</dialogue> <character>MOTHER</character> <dialogue>As God is my witness.</dialogue> <character>ZHENYA</character> <dialogue>I know you. First you wouldn't pick up, then you turned it off.</dialogue> <character>MOTHER</character> <dialogue>I haven't seen it since this morning. Can't imagine where it's got to. I must have lost it. Ah, to hell with it.</dialogue> <scene_description>Zhenya's MOTHER takes four tea bowls from a shelf, places them on the table, then takes a seat and stares closely at ZHENYA.</scene_description> <character>MOTHER</character> <dialogue>Tell me this, my dear: I just can't figure out why you thought your boy was here. I can't even remember the last time I spoke to him. Or to you. Thank the Lord. (turns towards the icon in the corner and crosses herself) And I don't regret it for a second. Not even a little. What's that goddamned ape of yours doing skulking around outside? May God forgive me... Didn't you say you were getting a divorce?</dialogue> <character>ZHENYA</character> <dialogue>Your god and your devil are cut from the same cloth.</dialogue> <character>MOTHER</character> <dialogue>What'd you say? What cloth? You watch your mouth, girl. Don't be getting all smart. And quit waggling your head at me. This is your mother you are talking to. Have some respect. Or else scram, and don't let the door hit you on the way out. I didn't invite you here. Nothing but trouble since you were born. Do you know what you look like now?</dialogue> <character>ZHENYA</character> <dialogue>What?</dialogue> <character>MOTHER</character> <dialogue>A whore, that's what.</dialogue> <character>ZHENYA</character> <dialogue>Mom...</dialogue> <character>MOTHER</character> <dialogue>What do you want, huh? A teat to suck on? Here. Always mom-this, mom-that...</dialogue> </scene> <scene> <stage_direction>EXT. SUMMER HOME COMMUNITY. ZHENYA'S MOTHER'S HOUSE. FRONT</stage_direction> <scene_description>YARD/ATTIC. NIGHT In the front yard, LENA is climbing up a straight ladder to the attic, holding her flashlight. BORIS is on the ground, holding the ladder steady. LENA opens the bolt with a click, pushes open the door, and peeks inside, shining her flashlight around the attic. It illuminates the opposite slope of the roof, the ceiling beams, some small bits of trash  and nothing else. LENA locks the bolt and climbs down the ladder.</scene_description> <character>LENA</character> <dialogue>OK, we're done with the house. Let's check the shed.</dialogue> <character>BORIS</character> <dialogue>He's not here, I can feel it. He never was.</dialogue> <character>LENA</character> <dialogue>We'll check everything.</dialogue> </scene> <scene> <stage_direction>INT. ZHENYA'S MOTHER'S HOUSE. KITCHEN. NIGHT</stage_direction> <scene_description>BORIS enters the kitchen, walks over to the table, and sets down an ancient-model cell phone. LENA stops in the doorway. ZHENYA looks inquiringly at BORIS, who shakes his head in response.</scene_description> <character>MOTHER</character> <dialogue>So have you poked around every nook and cranny? No sign of him, huh? I don't know why you even thought...</dialogue> <scene_description>She takes the phone from the table and pushes a few buttons.</scene_description> <character>MOTHER</character> <dialogue>The battery is dead, of course. Where did you find it?</dialogue> <character>BORIS</character> <dialogue>Under your bed.</dialogue> <character>MOTHER</character> <dialogue>Must've fallen. Well at least you found it. Sit down, have some tea. I don't have anything to sweeten it, though. Just some honey, but it's all crystallized.</dialogue> <character>ZHENYA</character> <dialogue>No, thanks Mom, we're going soon.</dialogue> <character>MOTHER</character> <dialogue>Well aren't you polite. You two don't seem all that torn up about Alyosha going missing... Must've made this sob story up to get me feeling sorry for you, is that it?</dialogue> <scene_description>She looks from ZHENYA to BORIS and back again, then looks LENA up and down with a mix of suspicion and disgust. You picked the wrong one to mess with. I see right through you. You said you were getting a divorce. Thought you could saddle me with your fucking spawn, huh? Think again! (makes an obscene gesture) I've told you before, and I'll tell you again: I'm not looking after him.</scene_description> <character>BORIS</character> <dialogue>Do you get any company here, other than your TV?</dialogue> <scene_description>Zhenya's MOTHER pointedly ignores him and continues to look at ZHENYA.</scene_description> <character>MOTHER</character> <dialogue>Didn't I tell you, back when you were knocked up, to come to your senses? You ignored then. And I told you: the day will come when you'll come crawling to your mother, but it will be too late. (raps a finger on the table) Now, you reap what you sow. There's your future.</dialogue> <character>ZHENYA</character> <dialogue>Mom, what the hell are you saying? Have a little shame! At least in front of strangers.</dialogue> <character>MOTHER</character> <dialogue>Don't you lecture me. I have nothing to be ashamed of. This is my house. Snooping around here in the middle of the night, like thieves, and with your appraiser, too... Trying to make a fool of me. I'm not signing the house over to you, don't even think about it. I'm leaving it to God.</dialogue> <scene_description>The tea kettle on the stove begins to whistle. Zhenya's MOTHER gets up and switches off the gas.</scene_description> <character>MOTHER</character> <dialogue>I have nothing to feed you. Making ends meet on just my pension. With no help from you, not one bit. I'd die waiting. You wouldn't spare a nail for my casket.</dialogue> </scene> <scene> <stage_direction>INT. BORIS' CAR. HIGHWAY. BLUE HOUR</stage_direction> <scene_description>Predawn twilight. BORIS and ZHENYA drive along the highway in a deathly silence. He is staring at the road ahead, exhausted, while she sleeps, leaning away from him towards the window, her hands folded over her belly. The car bounces slightly on a pothole. ZHENYA wakes up and looks at BORIS.</scene_description> <character>ZHENYA</character> <dialogue>Where are we? How much longer?</dialogue> <character>BORIS</character> <dialogue>Another 40 minutes, I think.</dialogue> <character>ZHENYA</character> <dialogue>Put on some music, will you?</dialogue> <scene_description>BORIS turns on the radio.</scene_description> <character>BORIS</character> <dialogue>She gets more and more paranoid every year. And all that hatred... Awful.</dialogue> <character>ZHENYA</character> <dialogue>Like you're bursting with love, huh?</dialogue> <character>BORIS</character> <dialogue>Why are you defending her?</dialogue> <character>ZHENYA</character> <dialogue>Because she's right.</dialogue> <character>BORIS</character> <dialogue>About what? That you can't wait for her to croak?</dialogue> <character>ZHENYA</character> <dialogue>Watch your language. She's right that she warned me not to get involved with you, not to have the baby, not to be stupid. But stupid I was. I listened to you instead. "Everything will be okay," you said, "as long as we're together..." Now you tell me, how is it that you, who wooed me with promises of love and happiness, and showered me with flowers, in the end brought me nothing but pain and disappointment? Just an insufferable, shit-filled life.</dialogue> <scene_description>She watches his profile as he clenches his jaw, staring at the road.</scene_description> <character>ZHENYA</character> <dialogue>You know, I never loved you. I just couldn't live with her anymore. And I couldn't get free of her on my own. But I did with you. I used you. At least that's what I thought. And all the while, you were using me, you needed a family. I would've been fine without you. Really. I just needed somebody to move in with. You were simply convenient. Had you not gotten me pregnant... That clouded my judgment. I shouldn't have listened to you: I should've gotten the abortion, and that would've been that.</dialogue> <character>BORIS</character> <dialogue>You should have. You're right, it would have been better. For everyone.</dialogue> <character>ZHENYA</character> <dialogue>You don't say! So what's changed? Are you a different person? Didn't you just knock up another young idiot so you</dialogue> <scene_description>can drag her down to hell with you? And if your dick still works in 10 or 12 years' time, you'll do it all over again, I know it. Poor girl, I feel sorry for her. You ruined my life. Do you understand that? Thank God I finally met a good man, someone who doesn't need anything from me except me. BORIS stomps on the brake, turns off onto the shoulder, and stops the car.</scene_description> <character>ZHENYA</character> <dialogue>What happened? Did we break down?</dialogue> <character>BORIS</character> <dialogue>Yes, we broke down. Get out.</dialogue> <character>ZHENYA</character> <dialogue>No, I'm serious.</dialogue> <character>BORIS</character> <dialogue>So am I. Go fuck yourself.</dialogue> <character>ZHENYA</character> <dialogue>What?</dialogue> <scene_description>He leans over her and pushes the passenger door. It swings open.</scene_description> <character>BORIS</character> <dialogue>Get out, or I'll kick you out.</dialogue> <character>ZHENYA</character> <dialogue>Go ahead! That's the one thing you haven't done to me yet. I'm not going anywhere.</dialogue> <character>BORIS</character> <dialogue>Fuck off!</dialogue> <scene_description>He lifts his hand, his eyes blazing terribly, but instead of hitting her, simply clenches his fist until his knuckles turn white.</scene_description> <character>ZHENYA</character> <dialogue>Fine, I'll get out. You bastard.</dialogue> <scene_description>ZHENYA climbs out of the car.</scene_description> <character>ZHENYA</character> <dialogue>Don't forget, your son is missing!</dialogue> <scene_description>She slams the door shut with all her might. BORIS speeds off abruptly and drives away without looking back. Fucking idiot! Bitch!</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY. BLUE HOUR</stage_direction> <scene_description>Daybreak. Standing on the shoulder, ZHENYA takes her cigarettes from her purse with trembling hands and lights up a smoke. Feeling calmer, she pulls out her phone and makes a call.</scene_description> </scene> <scene> <stage_direction>EXT. RAVINE. DAY</stage_direction> <scene_description>Early morning. Walking in a dense line, the search team is combing the ravine that splits the Sleptsovs' neighborhood in two. A fog is creeping over the river.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT. DAY</stage_direction> <scene_description>Morning. The DETECTIVE is sitting a desk in front of a computer. BORIS and the COORDINATOR are standing behind him. All three are watching footage from the external security cameras. BORIS is dressed in a waterproof outdoor jacket and laced-up boots. The monitor shows a very long view of the building entrance. The door opens, and ALYOSHA bursts out of the building, wearing his jacket and a backpack on his back. He skips along the side of the building until he disappears from view. Several more people walk one after another in the same direction. (Possibly a second camera (?!).</scene_description> <character>DETECTIVE</character> <dialogue>And that's it. None of the other cameras picked him up. Not on the way to school, not around the mall, which is like a magnet to those kids...</dialogue> <character>COORDINATOR</character> <dialogue>There's a food court there. And it's a nice place to hang out.</dialogue> <character>DETECTIVE</character> <dialogue>...not on the way to the bus stop or the taxi depot, if, say, he was headed towards the metro, hoping to get to a train station somewhere. There are a few possibilities. He either turned down a street with no cameras - and there are plenty of places like that - or he was careful to stay out of camera range, which is less likely. Or somebody took him.</dialogue> <character>BORIS</character> <dialogue>What do you mean, "took him"?</dialogue> <character>COORDINATOR</character> <dialogue>Kidnapped him.</dialogue> <character>BORIS</character> <dialogue>Are you serious?</dialogue> <character>COORDINATOR</character> <dialogue>This is no joking matter.</dialogue> <character>BORIS</character> <dialogue>No, but... that's impossible...</dialogue> <character>DETECTIVE</character> <dialogue>Unfortunately, it does happen. (to the COORDINATOR) What have you got?</dialogue> <character>COORDINATOR</character> <dialogue>Nothing from the canvassing yesterday. Of course a lot of time has lapsed. By our standards. Time to open a missing person's case. Maybe even a criminal one.</dialogue> <scene_description>The DETECTIVE nods.</scene_description> <character>COORDINATOR</character> <dialogue>We handed out the fliers: took them to the emergency room, highway patrol, the stores; asked shopkeepers to keep them by the registers. We haven't put any up yet. A runaway would see those and hole up somewhere, then we'd never find him.</dialogue> <character>DETECTIVE</character> <dialogue>Naturally.</dialogue> <character>COORDINATOR</character> <dialogue>We spent half the night combing the stairwells, any place he might have known the entry code to and spent the night. (to BORIS) He really doesn't have a lot of friends. (to both) We are about to go talk to his best friend. Didn't get to do it yesterday, for reasons beyond our control. Looks like they have a secret spot, "the base" they call it. We found references to it on Alyosha's computer. Any clue as to where it might be?</dialogue> <scene_description>BORIS shrugs.</scene_description> <character>DETECTIVE</character> <dialogue>Leave me 20 or so of your fliers. I'll hand them out around the precinct.</dialogue> <character>COORDINATOR</character> <dialogue>Of course.</dialogue> <scene_description>BORIS' phone rings. He checks the screen, excuses himself, and steps off to the side.</scene_description> <character>BORIS</character> <dialogue>Hi...</dialogue> </scene> <scene> <stage_direction>EXT. PARK. DAY</stage_direction> <scene_description>MASHA is sitting on a park bench, holding her phone to her ear. An elderly woman is sitting very close to her on the bench, reading a current affairs magazine lying open on her lap.</scene_description> <character>MASHA</character> <parenthetical>(into the phone)</parenthetical> <dialogue>I miss you, baby. Are you coming tonight? You promised.</dialogue> <character>BORIS</character> <dialogue>I'm afraid I can't, honey. I have to keep searching.</dialogue> <character>MASHA</character> <dialogue>What about me? What about your work? You said they're very strict over there.</dialogue> <character>BORIS</character> <dialogue>I took some personal time.</dialogue> <character>MASHA</character> <dialogue>Mmm. From work and from me?</dialogue> <character>BORIS</character> <dialogue>Please don't be silly. You know what's going on.</dialogue> <character>MASHA</character> <dialogue>I just feel so lonely... You are there, I am here… It won't always be like this, will it?</dialogue> <character>BORIS</character> <dialogue>Of course not. Please stop doing this to me.</dialogue> <character>MASHA</character> <dialogue>When are you coming over?</dialogue> <character>BORIS</character> <dialogue>I don't know yet. I'll call you.</dialogue> <character>MASHA</character> <dialogue>When?</dialogue> <character>BORIS</character> <dialogue>Soon, baby, soon. OK, I have to go.</dialogue> <character>MASHA</character> <dialogue>Don't hang up. I want to hear what's going on over there.</dialogue> <character>BORIS</character> <dialogue>Stop it. You're putting me in an uncomfortable position.</dialogue> <character>MASHA</character> <dialogue>Why? Do you have something to hide?</dialogue> <character>BORIS</character> <dialogue>No, honey, of course not.</dialogue> <character>MASHA</character> <dialogue>I'm sure you're hiding something. Is your ex there, too?</dialogue> <character>BORIS</character> <dialogue>No, no, she's not. Don't be silly. I love you.</dialogue> <character>MASHA</character> <dialogue>Really?</dialogue> <character>BORIS</character> <dialogue>Of course.</dialogue> <character>MASHA</character> <dialogue>I love you too. We love you.</dialogue> <character>BORIS</character> <dialogue>And I love you both. OK, bye, baby.</dialogue> <character>MASHA</character> <dialogue>Bye, sweetie. I can't wait to see you.</dialogue> <scene_description>MASHA holds the phone to her ear for a few more seconds to make sure BORIS has hung up, then ends the call and turns to the old woman reading a magazine.</scene_description> <character>MASHA</character> <dialogue>Let's go, Mom.</dialogue> <character>MASHA'S MOM</character> <parenthetical>(closes the magazine)</parenthetical> <dialogue>You hungry?</dialogue> <scene_description>MASHA nods and heaves herself slowly up from the bench.</scene_description> <character>MASHA'S MOM</character> <parenthetical>(rises and helps MASHA to her feet)</parenthetical> <dialogue>You are so gentle with him, like a little kitten.</dialogue> <character>MASHA</character> <dialogue>Mom, let me deal with him my way...</dialogue> <character>MASHA'S MOM</character> <dialogue>Was I meddling? Of course you deal with him your way. I'm only looking out for you. My mother taught me, and I'm passing it on to you. You know how men are...</dialogue> <character>MASHA</character> <parenthetical>(suddenly ecstatic)</parenthetical> <dialogue>Oh! The baby moved!</dialogue> <parenthetical>(holds her belly)</parenthetical> <character>MASHA'S MOM</character> <dialogue>Let's see, let's see!</dialogue> <scene_description>She leans down and presses an ear to MASHA's stomach.</scene_description> <character>MASHA</character> <dialogue>Can you feel it?</dialogue> <character>MASHA'S MOM</character> <dialogue>Of course! My sweet babies!</dialogue> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. BEDROOM. DAY</stage_direction> <scene_description>ZHENYA is asleep on ANTON's bed, cradling a pillow. Freshly shaven and full of pep, ANTON enters the bedroom, perches on the bed, and gently wakes ZHENYA.</scene_description> <character>ANTON</character> <dialogue>Get up. Time to go. I made breakfast.</dialogue> <character>ZHENYA</character> <dialogue>Huh? Oh, right, right...</dialogue> <scene_description>She sits up in bed and squints at him sleepily.</scene_description> <character>ZHENYA</character> <dialogue>What time is it? Did anyone call me?</dialogue> <scene_description>She takes her iPhone from the bedside table and looks at the screen.</scene_description> <character>ANTON</character> <dialogue>I'll come with you, if you don't mind.</dialogue> <character>ZHENYA</character> <dialogue>Yeah? (lifts her face from the iPhone) No, I don't mind. But don't you have to go to work?</dialogue> <character>ANTON</character> <dialogue>Work can wait. They're people too, they'll understand.</dialogue> <character>ZHENYA</character> <dialogue>Right, I have to call what's his face, the coordinator... My God, it's so late! I set the alarm.</dialogue> <character>ANTON</character> <dialogue>I turned it off. You needed to get some sleep.</dialogue> <character>ZHENYA</character> <dialogue>Hello, Ivan? This is Alyosha Sleptsov's mother.</dialogue> </scene> <scene> <stage_direction>INT. COORDINATOR'S CAR. DAY</stage_direction> <scene_description>The COORDINATOR is driving a high all-terrain-vehicle through the neighborhood, following BORIS' car.</scene_description> <character>COORDINATOR</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Yes. Any news?</dialogue> <character>ZHENYA</character> <parenthetical>(a little taken aback)</parenthetical> <dialogue>No. You?</dialogue> <character>COORDINATOR</character> <dialogue>We haven't found him yet. We'll keep looking.</dialogue> <character>ZHENYA</character> <dialogue>You see, what happened was...</dialogue> <character>COORDINATOR</character> <dialogue>I really don't have the time.</dialogue> <character>ZHENYA</character> <dialogue>Yes, yes, I'm sorry. Tell me, is there anything I can do? I can't just sit around…</dialogue> <character>COORDINATOR</character> <dialogue>Get on the phone, call every single hospital in the area. We are looking for any unidentified boy between the ages of 10 and 13, brought in by the cops or an ambulance. Even if he doesn't fit the description, we need to check in person. If you find anyone who fits these parameters, contact me immediately, preferably by text, and I'll send over a team to take a look.</dialogue> <character>ZHENYA</character> <dialogue>We can go ourselves. We have a car.</dialogue> <character>COORDINATOR</character> <dialogue>Excellent. But let me know anyway. I'll send over one of our veteran operatives to go with you, they'll know what to do and what to say. If you find more than one boy, it's best to send several teams. OK, we'll be in touch.</dialogue> <scene_description>He hangs up and parks the car next to BORIS in a small parking lot outside the school wall.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL. DAY</stage_direction> <scene_description>BORIS and the COORDINATOR climb out of their cars, enter the school yard, and head towards the building.</scene_description> <character>BORIS</character> <dialogue>Why do you only want to talk to Misha Kuznetsov? Why not notify the entire school?</dialogue> <character>COORDINATOR</character> <dialogue>Same reason we haven't papered the town with fliers. If he knows people are looking for him, he'll dig in, and we'll never find him.</dialogue> <character>BORIS</character> <dialogue>What if he and Misha are in cahoots?</dialogue> <character>COORDINATOR</character> <dialogue>Of course at this age they are already pretty good liars, but nowhere near as good as adults. We'll get the truth out of him. I'll be the only one asking questions. This is not up for discussion.</dialogue> <scene_description>They enter the school building.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. PRINCIPAL'S OFFICE. DAY</stage_direction> <scene_description>In the Principal's office, the COORDINATOR is speaking to MISHA. BORIS is sitting on a chair nearby. The female PRINCIPAL (50) is also present.</scene_description> <character>COORDINATOR</character> <dialogue>When was the last time you saw him?</dialogue> <character>MISHA</character> <dialogue>Um... three days ago, I think...</dialogue> <character>COORDINATOR</character> <dialogue>Tuesday? The twenty-fifth?</dialogue> <character>MISHA</character> <dialogue>Yes.</dialogue> <character>COORDINATOR</character> <dialogue>Where?</dialogue> <character>MISHA</character> <dialogue>Here, at school.</dialogue> <character>COORDINATOR</character> <dialogue>What did you do after school?</dialogue> <character>MISHA</character> <dialogue>Nothing. We both went home.</dialogue> <character>COORDINATOR</character> <dialogue>Where do you normally hang out?</dialogue> <character>MISHA</character> <dialogue>Um... outside the building... I don't know...</dialogue> <character>COORDINATOR</character> <dialogue>Where else?</dialogue> <character>MISHA</character> <dialogue>Um... nowhere...</dialogue> <character>COORDINATOR</character> <dialogue>OK, fine. Probably at the mall?</dialogue> <character>MISHA</character> <dialogue>No, our parents won't let us.</dialogue> <character>COORDINATOR</character> <dialogue>So what, you just play in the sandbox all day like little babies?</dialogue> <character>MISHA</character> <dialogue>No. We're not babies. We play soccer at the hockey rink...</dialogue> <character>COORDINATOR</character> <dialogue>Do you have a bike?</dialogue> <character>MISHA</character> <dialogue>Yes.</dialogue> <character>COORDINATOR</character> <dialogue>And where do you and Alyosha normally cycle to?</dialogue> <character>MISHA</character> <dialogue>Just, uh... outside the building...</dialogue> <character>COORDINATOR</character> <dialogue>Listen, Misha, if you know where he is, but you promised not to tell, that's fine, don't tell us. We'll find him anyway. Or he will show up on his own when he gets tired of living outside. What matters is that you know your friend is safe, alive and well. And we old people can run around in circles looking for him, we don't mind. It's like hide-and-seek, right? Is this a game you two are playing?</dialogue> <character>MISHA</character> <dialogue>No. I don't know where he is. I swear.</dialogue> <scene_description>OK. I believe you. Well, where could he be? I know you two have your "base". I might not know where it is, but I know it's out there. You talked about it on Facebook. If you really don't know where he is, but you think he might be there, you have to tell us where it is. Your friend might be in danger.</scene_description> <character>MISHA</character> <dialogue>Um...</dialogue> <character>COORDINATOR</character> <dialogue>See, son, we will find it anyway. But what if we're too late? What's more important to you: your friend or some secret spot? You'll find a hundred other secret spots. Even if you swore some sort of an oath, you wouldn't be breaking it. It doesn't count when you're saving a friend. He needs your help.</dialogue> <character>MISHA</character> <dialogue>Um... our base is in the woods.</dialogue> <character>COORDINATOR</character> <dialogue>Is it a dugout? A tent?</dialogue> <character>MISHA</character> <dialogue>No, an abandoned building. It's in the basement...</dialogue> <character>COORDINATOR</character> <dialogue>How do you get there: on foot or by bike?</dialogue> <character>MISHA</character> <dialogue>It's far on foot, but you could do it. We usually take the bikes.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD THROUGH THE WOODS. DAY</stage_direction> <scene_description>Several all-terrain vehicles and a minivan are heading down a road through the woods.</scene_description> </scene> <scene> <stage_direction>INT. COORDINATOR'S CAR. ROAD THROUGH THE WOODS. DAY</stage_direction> <scene_description>BORIS travels through the woods in the COORDINATOR's car.</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED BUILDING. DAY</stage_direction> <scene_description>The search team's minivan and all-terrain vehicles pull up to an abandoned building concealed by the woods. The operatives file out of their cars and prepare for their search. Most of them look experienced and well-equipped, except for a few newbies like BORIS.</scene_description> </scene> <scene> <stage_direction>INT. ABANDONED BUILDING. BASEMENT. DAY</stage_direction> <scene_description>Armed with flashlights and radios, wearing a mix of construction hard hats and military helmets, the search team searches the basement. BORIS is among them. (They could be using portable fluorescent lamps. (?)) In one corner, they find several wooden board pallets; two disintegrating armchairs spilling their springs and foam; a wooden crate doubling as a table and covered with a piece of cardboard; empty soda bottles; crushed McDonalds boxes; and on one peeling wall, a poster of a vulgar half-naked woman, eyes rolled back in affected ecstasy. On one of the pallets, BORIS finds a tattered child-sized jean jacket. He picks it up, examines it, and turns to peer into the darkness at the search team operatives.</scene_description> <character>BORIS</character> <dialogue>This is his jacket.</dialogue> <scene_description>A radio hisses and clicks in the dark as one of the operatives immediately gets the COORDINATOR on the line.</scene_description> <character>OPERATIVE</character> <parenthetical>(into the radio)</parenthetical> <dialogue>Ivan, we've found a jean jacket. The father is sure it's his. Over.</dialogue> <character>COORDINATOR (O.S.)</character> <dialogue>Copy that. So we definitely have to comb the entire building and surrounding area.</dialogue> </scene> <scene> <stage_direction>EXT. ABANDONED BUILDING. DAY</stage_direction> <scene_description>The COORDINATOR is standing over a map of the area spread on the hood of one of the cars and talking to his team.</scene_description> <character>COORDINATOR</character> <dialogue>Remember to mark down and report dangerous or questionable spots, but never go near them on your own. We have experts for that. Let's not add to the misery by getting hurt. If anyone does have an accident, though, we suspend the search and focus all efforts on helping our friend. First off, contact the coordinator. The only person qualified to administer medical help is the doctor, this gentleman here.</dialogue> <scene_description>The COORDINATOR points at one of the operatives, who raises a hand in response.</scene_description> <character>COORDINATOR</character> <dialogue>If the runaway has limited mobility when you find him, do not move him. Talk to him, calm him down, and wait for the doctor. That's it. Now, lock and load, people! Figuratively, I mean; don't take that as literal instructions.</dialogue> </scene> <scene> <stage_direction>INT. ABANDONED BUILDING. DAY</stage_direction> <scene_description>The search team is painstakingly combing through the debris that fills the post- apocalyptic innards of the building.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL. DAY</stage_direction> <scene_description>ZHENYA and ANTON pull into a parking lot in ANTON's car. LENA, still wearing camo pants, parks her own car nearby, and the three of them walk through a secure entrance into the hospital grounds.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. MAIN LOBBY. DAY</stage_direction> <scene_description>After a short walk along the building and past the windows of the main lobby, the three enter the hospital building and head for the changing room.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. STAIRWELL. DAY</stage_direction> <scene_description>Wearing blue plastic shoe covers on their feet, ZHENYA, ANTON, and LENA take the stairs to the second floor.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. NURSE'S STATION. DAY</stage_direction> <scene_description>ZHENYA, ANTON, and LENA walk into the unit and head straight towards the nurse's station, with LENA leading the way. A NURSE (40) is sitting at a desk behind the counter, writing in a thick ledger.</scene_description> <character>LENA</character> <dialogue>Hello. Could you help us?</dialogue> <character>NURSE</character> <dialogue>Hello. What can I do for you?</dialogue> <character>LENA</character> <dialogue>We are from the search and rescue team. We're looking for a boy, Alyosha Sleptsov, 12 years old. This is his mother. (points at ZHENYA) He ran away from home, so he might be going by a different name. We got a tip that you admitted a child yesterday who fits his description. We'd like to see him.</dialogue> <scene_description>The NURSE closes the ledger, slides it into a desk drawer, locks it, and stands up.</scene_description> <character>NURSE</character> <parenthetical>(to LENA and ANTON)</parenthetical> <dialogue>You two need to step out, please. (to ZHENYA) You, follow me.</dialogue> <scene_description>ZHENYA and the NURSE walk down the hallway.</scene_description> <character>ZHENYA</character> <dialogue>Is he OK?</dialogue> <character>NURSE</character> <dialogue>He's fine. Just a little tired and frightened.</dialogue> <character>ZHENYA</character> <dialogue>Frightened of what?</dialogue> <character>NURSE</character> <dialogue>Well, the cops picked him up on the street last night, kept him somewhere at the precinct until morning, then brought him here, dirty and hungry...</dialogue> <character>ZHENYA</character> <dialogue>How could that be? They know we're looking for him. I filed a missing person's report.</dialogue> <character>NURSE</character> <dialogue>They don't know anything. The shift changes, and that's that. They have no idea who the kid is, or where he came from. And he's not talking either. So they take him to the hospital. We see this all the time.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL. WARD. DAY</stage_direction> <scene_description>The NURSE motions for ZHENYA to follow her and enters the ward, walled in by partitions. One of the two beds inside is unoccupied. The NURSE stops by the other bed, in which a boy is lying, facing the wall with the blanket pulled over his head. The NURSE leans over the boy and shakes him lightly by the shoulder. He pulls the covers from his head and turns to face them. It's not ALYOSHA.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS. DAY</stage_direction> <scene_description>The sun dips below the horizon. Search teams of between five and seven people, walking in a line with 15 to 20 feet between each person, continue to comb the woods. BORIS is part of one of the teams.</scene_description> <character>TEAM LEADER (35)</character> <dialogue>Stop! Don't get ahead of the others, and don't fall behind! Keep visual contact! Use your compass! And hold the line! Let's go!</dialogue> </scene> <scene> <stage_direction>EXT. WOODS. UNDER THE LARGE SATELLITE ANTENNA. DAY</stage_direction> <scene_description>BORIS' search team is walking in a line along a concrete fence topped with coils of barbed wire. The massive dish of the satellite antenna looms beyond the wall, turning at a painfully slow pace.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS. ANTENNA STATION CHECKPOINT. DAY</stage_direction> <scene_description>The TEAM LEADER and BORIS are talking to a police CAPTAIN (45) guarding the antenna. They hand him one of the fliers.</scene_description> <character>CAPTAIN</character> <parenthetical>(examining the flier)</parenthetical> <dialogue>No, I haven't seen him around here. No one gets inside without a pass or a special permit. This is a restricted facility.</dialogue> <character>TEAM LEADER</character> <dialogue>Could I take down your personal information?</dialogue> <character>CAPTAIN</character> <dialogue>Sure, go ahead.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS. LAKE. BLUE HOUR</stage_direction> <scene_description>BORIS and the TEAM LEADER emerge from the woods on the shore of a lake. The antenna looms on the opposite side of the lake, where other teams are searching the thicket at the edge of the water. The radio hisses and clicks in the TEAM LEADER's hand.</scene_description> <character>TEAM LEADER</character> <parenthetical>(into the radio)</parenthetical> <dialogue>Ivan, come in. We've searched the lakeshore. No trace of the boy. Over.</dialogue> <character>COORDINATOR (O.S.) (ON THE RADIO)</character> <dialogue>Copy that. Get back here.</dialogue> <character>BORIS</character> <dialogue>What about the lake itself?</dialogue> <character>TEAM LEADER</character> <dialogue>We don't search for bodies. That's up to the Emergency Services and the police...</dialogue> <scene_description>He turns around and heads back into the woods, leaving BORIS alone. BORIS remains there for a long time, staring at the dark surface of the lake.</scene_description> </scene> <scene> <stage_direction>EXT. COMMUTER DISTRICT. NIGHT</stage_direction> <scene_description>Late night in the city. The mobile search and rescue command post has moved from the woods back to the lot near the SLEPTSOVS' building. Most of the same team members and gear we saw in the woods are here now. Operatives are crowded outside the minivan, its doors open. The COORDINATOR is standing on the door step of the minivan, towering slightly over the crowd. ZHENYA and ANTON are standing at the front of the crowd; BORIS a little off to the side.</scene_description> <character>COORDINATOR</character> <dialogue>Since we have no leads and no new information about possible search sites, we are moving on to full-scale flier distribution. We paper everything with them: bus stops, doorways, lamp posts, benches, announcement boards, fences... Get permission from the guard or management before posting them in stores. In other words, follow the usual protocol. We also need a team of five people to search the stairwells.</dialogue> </scene> <scene> <stage_direction>EXT. COMMUTER DISTRICT. BUS STOP. NIGHT</stage_direction> <scene_description>ZHENYA, ANTON, and LENA hang fliers on both sides of the bus stop, using wide clear packing tape.</scene_description> </scene> <scene> <stage_direction>EXT. COMMUTER DISTRICT. SIDEWALK. NIGHT</stage_direction> <scene_description>ZHENYA, ANTON, and LENA put up fliers on lamp posts lining both sides of the street, winding packing tape all the way around each post.</scene_description> </scene> <scene> <stage_direction>INT. 24-HOUR STORE. NIGHT</stage_direction> <scene_description>LENA is talking to the OWNER (55) of a small 24-hour store: a barrel-bellied man from the Caucasus. ZHENYA and ANTON are standing nearby.</scene_description> <character>LENA</character> <dialogue>You have such a nice store, great foot traffic. Would it be OK if we put up a flier at the entrance? A young boy is missing.</dialogue> <scene_description>The OWNER looks ZHENYA and ANTON up and down.</scene_description> <character>OWNER</character> <dialogue>And who are you?</dialogue> <character>LENA</character> <dialogue>Search and rescue team. Volunteers.</dialogue> <character>OWNER</character> <dialogue>Ah. Fine, put it up. But not on the glass.</dialogue> <character>LENA</character> <dialogue>Thank you.</dialogue> <scene_description>She turns around and heads towards the exit.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH-RISE BUILDING. ENTRANCE. NIGHT</stage_direction> <scene_description>ZHENYA and ANTON tape a flier outside the building door, right above the intercom buttons.</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE BUILDING. STAIRWELL. NIGHT</stage_direction> <scene_description>BORIS and the COORDINATOR, holding the radio and with a flashlight at his side, search the stairwell. They take the elevator to the top floor, then walk down the stairs. While one searches the nooks and crannies, the other watches the stairwell. They check two floors and head further down. Suddenly, the elevator starts moving from the top floor.</scene_description> <character>COORDINATOR</character> <parenthetical>(to BORIS, quietly)</parenthetical> <dialogue>Stop.</dialogue> <scene_description>They stop on a landing between floors and listen closely. The elevator stops somewhere below them. The COORDINATOR's radio springs to life.</scene_description> <character>TEAM LEADER (O.S.)</character> <parenthetical>(on the radio)</parenthetical> <dialogue>Ivan, the elevator stopped on the fourth floor. Over.</dialogue> <scene_description>Got it. We're waiting.</scene_description> </scene> <scene> <stage_direction>INT. HIGH-RISE BUILDING. ENTRANCE LOBBY. NIGHT</stage_direction> <scene_description>On the first floor, the TEAM LEADER is watching floor numbers light up above the sliding elevator doors. Number four is lit up above one of the doors. The elevator starts moving, and number three blinks to life.</scene_description> <character>TEAM LEADER</character> <parenthetical>(into the radio)</parenthetical> <dialogue>It's heading down.</dialogue> <character>COORDINATOR (O.S.)</character> <parenthetical>(on the radio)</parenthetical> <dialogue>Copy that.</dialogue> <scene_description>Number two lights up, followed by number one... The elevator doors open, letting out two slightly tipsy YOUNG WOMEN (20).</scene_description> <character>YOUNG WOMAN 1</character> <parenthetical>(to the TEAM LEADER)</parenthetical> <dialogue>Oh... Hello!</dialogue> <scene_description>Her friend drags her towards the exit. The TEAM LEADER watches them leave, then lifts the radio to his mouth.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH-RISE BUILDING. COURTYARD. NIGHT</stage_direction> <scene_description>On the other side of the street, almost directly across from the building entrance, another operative dressed in camo stands holding a radio. The YOUNG WOMEN emerge from the building and head straight towards the operative.</scene_description> <character>TEAM LEADER (O.S.)</character> <parenthetical>(on the radio)</parenthetical> <dialogue>It's not him. We'll keep going.</dialogue> <character>COORDINATOR (O.S.)</character> <parenthetical>(on the radio)</parenthetical> <dialogue>Got it. Stay in touch.</dialogue> <scene_description>When the YOUNG WOMEN draw even with the operative, one of them gives him a wink. They turn and walk down the road past the building, heading in the direction of another OPERATIVE (40) wearing camo and equipped with a radio, standing outside the third entrance down.</scene_description> <character>YOUNG WOMAN 1</character> <parenthetical>(slows down as they reach the OPERATIVE)</parenthetical> <dialogue>Hey, it's the little green men! What planet are you from?</dialogue> <character>OPERATIVE</character> <dialogue>Keep moving, ladies.</dialogue> <scene_description>So polite! Her friend drags her along.</scene_description> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. BEDROOM. BLUE HOUR</stage_direction> <scene_description>Early twilight. On the bed, ZHENYA and ANTON are asleep under the covers, their arms around each other.</scene_description> </scene> <scene> <stage_direction>INT. MASHA'S PLACE. BEDROOM. BLUE HOUR</stage_direction> <scene_description>Daybreak. On the bed, BORIS is lying on his back, sleeping like a log, as the saying goes. MASHA is lying on her side next to him, watching his profile silently.</scene_description> </scene> <scene> <stage_direction>EXT. COMMUTER DISTRICT. DAY</stage_direction> <scene_description>Early morning. Fliers bearing ALYOSHA's photo are plastered all over the still deserted streets: on the bus stops, lamp posts, outside building and store entrances, on announcement boards, on the backs of park benches, on walls and fences...</scene_description> </scene> <scene> <stage_direction>INT. MORGUE. HALLWAY. DAY</stage_direction> <scene_description>The COORDINATOR marches briskly down a long hallway inconsistently lit with fluorescent lights. BORIS follows him, then ZHENYA a few steps back, with ANTON lagging behind considerably.</scene_description> </scene> <scene> <stage_direction>INT. MORGUE. COLD STORAGE. DAY</stage_direction> <scene_description>The COORDINATOR, BORIS, and ZHENYA stand over a body on a gurney, concealed by a sheet.</scene_description> <character>COORDINATOR</character> <dialogue>This won't be easy.</dialogue> <character>ZHENYA</character> <dialogue>I'm ready.</dialogue> <scene_description>The COORDINATOR turns his head and nods to someone. A morgue technician emerges from the side somewhere, wearing a lab coat that was once white, and uncovers the body. ZHENYA yelps, then immediately clamps a hand over her mouth. She stares at the gurney, her eyes bulging with horror. The blood drains from BORIS' face. He sways slightly, as if punched in the chest by an invisible fist, his breath caught in his throat.</scene_description> <character>ZHENYA</character> <parenthetical>(holding a hand to her face)</parenthetical> <dialogue>It's not him.</dialogue> <scene_description>They are looking at the disfigured body of a child: face smashed beyond recognition, body covered with bruises and signs of putrefaction, and a clotted reddish-black mess where the sex organs should be.</scene_description> <character>ZHENYA</character> <dialogue>Alyosha has a birthmark right there, on his chest. (looks helplessly at BORIS) A birthmark... on his chest...</dialogue> <character>BORIS</character> <parenthetical>(catches her eyes, then immediately looks at the COORDINATOR)</parenthetical> <dialogue>It's not him.</dialogue> <character>COORDINATOR</character> <dialogue>Are you sure?</dialogue> <character>BORIS</character> <dialogue>Yes.</dialogue> <character>ZHENYA</character> <dialogue>It's not him. The feet, the hands, the fingers  all different.</dialogue> <scene_description>Trembling, she takes a step back.</scene_description> <character>ZHENYA</character> <dialogue>Please, take it away...</dialogue> <scene_description>BORIS moves towards her, as if to catch her. She motions for him to stop. The COORDINATOR nods to the morgue technician, who covers the body with the sheet and rolls the gurney around the corner and into the darkness.</scene_description> <character>COORDINATOR</character> <dialogue>The proper thing would be to run a DNA analysis, just to be sure...</dialogue> <character>BORIS</character> <dialogue>To be sure of what? It's not him.</dialogue> <character>ZHENYA</character> <dialogue>We are absolutely certain it's not him.</dialogue> <character>COORDINATOR</character> <dialogue>You know, sometimes people simply refuse to believe...</dialogue> <character>ZHENYA</character> <parenthetical>(raises her voice)</parenthetical> <dialogue>It's not him. How many times do we have to tell you?</dialogue> <character>COORDINATOR</character> <dialogue>Listen, you are the only ones who can request the test. The cops still haven't opened a case. Dragging it out, as usual.</dialogue> <scene_description>Your detective, it turns out, is retiring in a few days - he has other things on his mind...</scene_description> <character>ZHENYA</character> <parenthetical>(explodes)</parenthetical> <dialogue>Quite torturing us! I told you, plain as day: it's not him! You hear me? It's not him! Not him! (to BORIS) Say something!</dialogue> <scene_description>She stares desperately at BORIS, then suddenly wrings her hands as tears literally stream from her eyes. She suddenly looks like a little girl.</scene_description> <character>ZHENYA</character> <dialogue>I wanted you to suffer, I wanted you to hurt, you bastard! I would've never given him up, you hear me? Never! You understand? I would've never given him up to anyone!</dialogue> <scene_description>She lunges at BORIS, fists raised, and starts pummeling him on the chest, shoulders, face... He doesn't defend himself. Blood starts dripping from his nose.</scene_description> <character>ZHENYA</character> <dialogue>I will never give him up! You hear me? Never! Please God, just let him come back!</dialogue> <scene_description>The COORDINATOR drags her away from BORIS and leads her out into the hallway.</scene_description> </scene> <scene> <stage_direction>INT. MORGUE. HALLWAY. DAY</stage_direction> <scene_description>The COORDINATOR leads ZHENYA out into the hallway. ANTON dashes over, puts his arms around ZHENYA, and holds her close.</scene_description> <character>ZHENYA</character> <parenthetical>(her face buried in his chest)</parenthetical> <dialogue>It's not him... It's not him...</dialogue> <character>ANTON</character> <parenthetical>(whispers)</parenthetical> <dialogue>Thank God for that. That's good.</dialogue> <scene_description>The COORDINATOR returns to the cold storage room.</scene_description> </scene> <scene> <stage_direction>INT. MORGUE. COLD STORAGE. DAY</stage_direction> <scene_description>The COORDINATOR returns to the cold storage room to see BORIS sitting on the floor, slumped against the wall, head hanging down, face buried in his hands. He feels the presence of another person, lifts his head, glances at the COORDINATOR, then hides his face in his hands again. Blood is smeared under his nose.</scene_description> </scene> <scene> <stage_direction>INT. SLEPTSOVS' PLACE. ALYOSHA'S ROOM. DAY</stage_direction> <scene_description>BORIS and ZHENYA's old apartment is undergoing major renovations. A contractor enters Alyosha's former room from the hallway, crosses over to some bags of construction trash stacked by one of the walls, picks one up, and walks out of the room. Another contractor is peeling wallpaper from a different wall. Eventually, he reaches the Incredibles poster, and pulls it down along with the wallpaper stuck to it. Outside the window, it is winter. Snow is falling over the same view of the woods that stretch as far as the eye can see under a dirty sky, with the same large satellite communication antenna looming over the forest, its dish angled straight up 'observing' the sky.</scene_description> </scene> <scene> <stage_direction>INT. MASHA'S PLACE. KITCHEN/HALLWAY. DAY</stage_direction> <scene_description>MASHA and her MOTHER are making dumplings in the kitchen. A text message notification chimes on a cell phone in the hallway. MASHA wipes her hands and walks out into the hallway to get her phone from the side table that stands under the mirror by the front door. She picks up the phone, looks at the screen, presses a few buttons, and carries the phone back into the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. MASHA'S PLACE. LIVING ROOM. DAY</stage_direction> <scene_description>From the hallway, we see a 2-year-old child walking brightly around the living room with toy in hand. A TV in the living room is showing a report on the winter military action in Debaltsevo, a village in Eastern Ukraine. BORIS is watching the report from the couch in front of the TV, eating chips right out of the bag. He has a beard and a different haircut.</scene_description> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. LIVING ROOM. DAY</stage_direction> <scene_description>The same report is playing on the TV. ZHENYA, with a new haircut and looking like a different person, her face altered in some elusive way, is sitting with her feet on the couch in front of the TV, flipping through her iPhone 6. Finally, she presses a button on the side of the phone, switching off the screen, gets up from the couch, and carries the gadget out of the room. On the other end of the couch, ANTON doesn't look up from the TV.</scene_description> </scene> <scene> <stage_direction>INT. ANTON'S PLACE. BALCONY. DAY</stage_direction> <scene_description>In a spacious, winterized balcony with expensive window panes, radiator, and heated floor, ZHENYA is running on a treadmill. She runs for a long time. Finally, she lowers the speed and slows down, then switches to a walk and stops, breathing heavily. She turns off the treadmill.</scene_description> </scene> <scene> <stage_direction>EXT. RAVINE. BLUE HOUR</stage_direction> <scene_description>Twilight. It's snowing. A badly faded flier with a barely distinguishable photo and text is taped to a lamp post that stands over a paved footpath down in the ravine. The tape's dirty edges are peeling off in places. The flier reads "Alyosha Sleptsov, 12 years old, missing since September 26, 2012..."</scene_description> </scene> </script>

October 2012, Moscow. Children are leaving school. A twelve-year-old boy named Alyosha walks along a path through a wooded area on the outskirts of town. He throws a strip of tape onto a tree. His parents, Zhenya and Boris, are divorcing and are trying to sell their apartment. Both parents have new relationships: Boris with Masha, a young woman who is pregnant with his child; and Zhenya with Anton, an older and wealthier man with an adult daughter. Alyosha overhears a fight between his parents, neither of whom claim to want him and are considering placing him in an orphanage. One day after spending most of the night with Anton, Zhenya realizes Alyosha has not been seen since the day before. The police believe Alyosha has run away and will return home within a day or two. When Alyosha does not return, a volunteer group specializing in the rescue of missing persons takes over the case and begins searching for the boy. The only relative Alyosha could have sought refuge with is Zhenya's estranged mother, who lives several hours away. Boris and Zhenya visit Zhenya's mother; their trip is punctuated by arguments and they do not find any clues as to Alyosha's whereabouts. On the return journey home, Zhenya and Boris argue again; Zhenya says her marriage to Boris while pregnant was a mistake and she should have had an abortion; she also says she feels pity for Masha. Enraged, Boris stops the car and forces her out on a rural roadway. The police again become involved with the search for Alyosha, which covers an increasingly wide area of the town and its surrounding area. After a fruitless search of an abandoned building that Alyosha's friend, Kuznetsov, identified as their hideout, Zhenya and Boris go to a morgue to view the remains of an unidentified child whose description matches Alyosha's. Both parents deny the disfigured child's body is their son's, though the experience proves traumatic and they break down in tears. Some time passes; Boris and Zhenya's apartment has been sold, and workers dismantle wall hangings and appliances in Alyosha's old room. On the streets, missing-person posters of Alyosha are looking old and faded. In 2015, Boris now lives with Masha and their infant son, whom he treats coldly, while Zhenya has moved in with Anton. Three years after his disappearance, on the wooded path along which Alyosha used to walk home from school, the strip of tape he threw onto the tree remains as a surviving remnant of his existence.

The Cable Guy_1996

tt0115798

<script> <scene> <stage_direction>The Cable Guy</stage_direction> <scene_description>FULL FRAME - WHITE NOISE Credits begin . The entire frame is filled with white noise within which one can make out thefaint image of a television program . Every few moments the channel changes , revealing a new ghostly image . The camera pulls back very slowly . We reveal that this image is coming from a twenty seven inch television . The camera pulls back some more and we see a man 's hand enter frame holding a remote control . The hand changes channels frantically . The camera pulls back into its final position and we see STEVEN BARTOWSKY , thirty years old , sitting on his couch . He is trying to find a channel with viewable reception . Unfortunately for him -- his cable is not hooked up .</scene_description> <character>STEVE</character> <parenthetical>( looks at watch . )</parenthetical> <dialogue>Jesus, where's the cable guy already?</dialogue> <scene_description>END OF CREDIT SEQUENCE</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>It is a stylish old apartment . There are half unpacked boxes strewn about the floor . Steven has just moved in . The phone rings .</scene_description> <character>STEVEN</character> <parenthetical>( into the phone . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>NEWSROOM - CONTINUOUS We see Steven 's best friend RICK standing in the middle of a busy newsroom . He is a rough looking , cynical local news cameraman . In the background , hanging from the ceiling is a television set . ON THE TV - An anchorman sits at his desk fixing his hair as he waits to go on the air . A graphic on the screen says `` Sam Sweet Trial Update . ''</scene_description> <character>RICK</character> <dialogue>How's the move going?</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Steven unpacks as they speak . The phone call intercuts between the two locations .</scene_description> <character>STEVEN</character> <dialogue>Horrible. The cable guy is missing in action. Apparently he's going to be here sometime between eight AM and my death.</dialogue> <character>RICK</character> <dialogue>You have n't called Robin have you? Please tell me you did n't call her.</dialogue> <character>STEVEN</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>No, I'm giving her space.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I ca n't believe she's doing this.</dialogue> <character>RICK</character> <dialogue>You never should have asked her to marry you. You're the mad smotherer.</dialogue> <character>STEVEN</character> <dialogue>All she had to do was say no. She did n't have to kick me out. I feel like Felix Unger.</dialogue> <character>RICK</character> <dialogue>You forced her to evaluate the relationship. If you did n't propose she would never have realized how unhappy she was.</dialogue> <character>STEVE</character> <dialogue>I do n't want to talk about it. So what time are you going to come by?</dialogue> <character>RICK</character> <dialogue>I ca n't. I'm working double shifts the rest of the week.</dialogue> <character>STEVEN</character> <dialogue>It's my first night here. Do n't do this to me.</dialogue> <character>RICK</character> <dialogue>The other camera guy pulled out his back. Besides, I spent the last two weeks with you on my couch. Is n't that enough?</dialogue> <character>STEVEN</character> <dialogue>Fine, fine.</dialogue> <character>RICK</character> <dialogue>One piece of advice. Slip the cable guy fifty bucks, he'll give you all the movie channels for free. Even the dirty ones.</dialogue> <character>STEVEN</character> <dialogue>I could n't. I'm not good at that stuff. What if he says no? I'll feel like an idiot.</dialogue> <character>RICK</character> <dialogue>None of them say no, believe me. I'll talk to you later.</dialogue> <scene_description>Steven hangs up , and waits .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - LATER</stage_direction> <scene_description>Steven continues unpacking . He is very neat . He opens a box and finds a pictures of him with his ex - girlfriend . He looks at one sadly , considering whether or not to put it on display . He puts it back in the box .</scene_description> </scene> <scene> <stage_direction>EXT. STEVEN'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>Establishing shot of a renovated apartment building built in the nineteen twenties . A moving truck pulls into a gated side garage .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - LATER</stage_direction> <scene_description>Movers deliver a small breakfast table and chairs . Steven directs them as to where to put them . CLOSE UP OF CLOCK - 3:52 P.M.</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - LATER</stage_direction> <scene_description>Steven puts a few feet of tin foil on his antenna to help the reception . He changes channels . Still nothing . He pulls it off frustrated .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - LATER</stage_direction> <scene_description>Many of the boxes are gone . Steven lies on the couch , staring at the ceiling , fidgeting . He is unable to fill his day without cable .</scene_description> <character>STEVEN</character> <dialogue>Where the hell is he?</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - LATER</stage_direction> <scene_description>Steven paces back and forth across the room . He stares at his watch frequently . CLOSE UP OF CLOCK - 5:12 P.M.</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - LATER</stage_direction> <scene_description>Steven slowly eats a sandwich in his empty kitchen . He looks at the clock . It says five - thirty . He picks up the phone and dials . A machine picks up .</scene_description> <character>ROBIN</character> <parenthetical>( VO . )</parenthetical> <dialogue>Hi, this is Robin. Leave a message. If you are trying to reach Steven he can now be reached at 555 - 3837.</dialogue> <scene_description>Steven hangs up .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - SUNSET</stage_direction> <scene_description>Steven does sit ups . He looks at the clock . CLOSE UP OF THE CLOCK - 6:48 P.M.</scene_description> <character>STEVEN</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Forget it. Idiots.</dialogue> <scene_description>He gets up , and walks into the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Steven gets undressed . He turns on the shower , adjusts the heat , then gets in . He tries to lose his tension by letting the hot water engulf him . He takes some shampoo , and lathers up his hair . THE DOORBELL RINGS</scene_description> <character>STEVEN</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Oh great.</dialogue> <scene_description>THE DOORBELL RINGS SEVERAL TIMES Steven jumps out of the shower , soaking wet , throws on a bathrobe and runs to the door .</scene_description> <character>STEVEN</character> <dialogue>Do n't leave! I'm here! I'm here!</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Steven runs to the door .</scene_description> <character>CABLE GUY</character> <parenthetical>( OS . )</parenthetical> <dialogue>Hello! Cable Guy!</dialogue> <scene_description>Steven reaches the door , and looks through the peep - hole . P.O.V. THROUGH THE PEEPHOLE The CABLE GUY is walking away .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM/HALLWAY - DAY</stage_direction> <scene_description>Steven opens the door and yells to the Cable Guy .</scene_description> <character>STEVEN</character> <dialogue>Hey, wait!</dialogue> <scene_description>The Cable Guy turns back .</scene_description> <character>CABLE GUY</character> <dialogue>Well, look who decided to show up. I was just gon na go collect my retirement pension.</dialogue> <scene_description>The Cable Guy wears a clean white jump suit , and is extremely confident despite the fact that he speaks with a slight lisp . This lisp gives him a child - like quality .</scene_description> <character>STEVEN</character> <dialogue>You were supposed to be here four hours ago.</dialogue> <character>CABLE GUY</character> <dialogue>Was I? So I'm the tardy one. Good to know.</dialogue> <character>STEVEN</character> <dialogue>Yes. I had to go to the Bed'n Bath place, but now it's closed. CABLE GUY</dialogue> <scene_description>-LRB- turns to leave -RRB- Maybe I should n't have come at all -- jerk off ! -LRB- turns back smiling -RRB- I 'm just joking . Let 's do this . -LRB- looks around -RRB- Oh , the old McNair place . I never thought they 'd get the floors clean after what happened here .</scene_description> <character>STEVEN</character> <dialogue>What happened?</dialogue> <character>CABLE GUY</character> <parenthetical>( long beat . )</parenthetical> <dialogue>They had a lot of cats.</dialogue> <scene_description>They walk into Steven 's living room .</scene_description> <character>CABLE GUY</character> <dialogue>Hey, this could be a cool pad. Here is a comment card.</dialogue> <scene_description>He pulls out a card , and hands it to Steven without turning back to look at him .</scene_description> <character>CABLE GUY</character> <dialogue>Please mail it in when I am done.</dialogue> <character>STEVEN</character> <dialogue>These go to your boss?</dialogue> <character>CABLE GUY</character> <dialogue>No, they go to me. I'm a perfectioniss. perfectioniss.</dialogue> <parenthetical>( he strains to lose his lisp . )</parenthetical> <dialogue>perfectioniss. t. Now let's take a look at what we're dealing with.</dialogue> <scene_description>The Cable Guy walks around the room with his hands out , sensing the space .</scene_description> <character>CABLE GUY</character> <dialogue>Come on baby. Come on baby. Talk to me baby. Tell me where you like it. That's it baby.</dialogue> <scene_description>He zones in on one wall . He fells the wall in a sensuous manner .</scene_description> <character>CABLE GUY</character> <dialogue>Here's your sweet spot.</dialogue> <scene_description>He pulls out his drill , and begins drilling .</scene_description> <character>CABLE GUY</character> <dialogue>So your lady kicked you out.</dialogue> <character>STEVEN</character> <dialogue>What?</dialogue> <character>CABLE GUY</character> <dialogue>In preparing your service I noticed you were previously wired across town at 1268 and a half Chestnut. Last week the billing was transferred to one Robin Harris. Smells like heartbreak to me.</dialogue> <character>STEVEN</character> <dialogue>I really do n't want to talk about it with you. Could you please just install my cable? I'm going to get dressed.</dialogue> <character>CABLE GUY</character> <dialogue>No sweat.</dialogue> <scene_description>Steven walks away , into the hallway . A moment later the Cable Guy runs to him .</scene_description> <character>CABLE GUY</character> <dialogue>Hey, I'm going to go to the hallway so I can access the floorboards. Do n't be spooked if you hear someone crawling underneath you.</dialogue> <character>STEVEN</character> <dialogue>Okay, whatever.</dialogue> <scene_description>Steven walks toward his bedroom .</scene_description> <character>CABLE GUY</character> <dialogue>Put on your bathing suit'cause you'll be channel surfing in no time.</dialogue> <scene_description>The Cable Guy pulls the trigger on his drill twice to punctuate his joke .</scene_description> </scene> <scene> <stage_direction>INT. - STEVEN'S LIVING ROOM - LATER</stage_direction> <scene_description>CLOSE UP - THE TELEVISION RIKKI KLIEMAN from COURT TV broadcasts from their studio .</scene_description> <character>RIKKI KLIEMAN</character> <parenthetical>( to camera . )</parenthetical> <dialogue>So ends day fifty - four of the trial of former child star Sam Sweet who has been accused of shooting his twin brother, Stan, in cold blood. The twins were stars of the hit sitcom `` Double Trouble'' which aired from nineteen seventy - seven till nineteen eighty - four.</dialogue> <scene_description>A video package rolls in - We see several photographs of Sam Sweet and his twin brother at various ages . Included is the cast photo of `` Double Trouble . '' Pictured in the photo are eight - year - old Stan and Sam and Conrad Janis as their single dad . We see a brief clip from `` Double Trouble , '' starring the two eight - year - old boys , then a shot of Sam Sweet being taken out of a police car in handcuffs .</scene_description> <character>RIKKI KLIEMAN</character> <parenthetical>( to camera . )</parenthetical> <dialogue>Life was n't so sweet after the cancellation of their program. Hollywood chewed them up and spit them out. A frustrated Sam turned to petty larceny, while his more impressionable brother, Stan, fell in with a fringe cult called `` The Brotherhood of Friends.'' Reduced to tabloid fodder a fury was growing inside of Sam. A burning need to be recognized as an individual, not a person famous for having an identical twin. A need that took the form of four shotgun blasts on the night of November fourteenth. And so today his attorneys continue the unusual defense of `` Twin Envy.''</dialogue> <scene_description>ANGLE ON Steven re - enters the room . The Cable Guy is watching television .</scene_description> <character>STEVEN</character> <dialogue>How's it going?</dialogue> <scene_description>The Cable Guy holds up one finger as if to say `` quiet . '' His eyes never leave the TV .</scene_description> <character>CABLE GUY</character> <dialogue>Guilty, guilty, guilt - freakin - tee. I hope they fry this bastard.</dialogue> <scene_description>Steven sees that the Cable Guy has completely redecorated the room in a fashion which makes the room impractical for anything other than watching television . The TV is now on the stairs blocking the entrance into the living room . All furniture faces the TV , making conversation impossible .</scene_description> <character>STEVEN</character> <parenthetical>( looks around . )</parenthetical> <dialogue>What happened?</dialogue> <character>CABLE GUY</character> <parenthetical>( jumps to his feet . )</parenthetical> <dialogue>The arrangement of your major appliances and your furniture was causing some noisy pics and hum bars in your reception. I moved a few things. Cleared it right up. Is that cool?</dialogue> <character>STEVEN</character> <parenthetical>( non - confrontational . )</parenthetical> <dialogue>I. guess so.</dialogue> <character>CABLE GUY</character> <dialogue>You programmed?</dialogue> <parenthetical>( off of Steven 's look . )</parenthetical> <dialogue>Then let me slave your remotes.</dialogue> <scene_description>He picks up Steven 's remotes , punches in a complicated series of commands , then points them at each other . As he holds them together he makes a face as if their power is surging through him .</scene_description> <character>CABLE GUY</character> <dialogue>Ooh, maybe we should leave these two alone.</dialogue> <character>STEVEN</character> <dialogue>So after this I'll only need one remote for everything?</dialogue> <character>CABLE GUY</character> <dialogue>You know you're pretty good at this. You could be a cable guy yourself.</dialogue> <parenthetical>( he finishes . )</parenthetical> <dialogue>Now let me check your levels.</dialogue> <scene_description>With amazing alacrity he adjusts color setting , sound controls , closed captioned , etc. . Then he clicks through the channels . A music video , documentary on Hitler , Oprah Winfrey Show , starving kids , Barney , court TV . The Cable Guy watches emotionless .</scene_description> <character>CABLE GUY</character> <dialogue>All right. That about does it. I just have some paperwork for you to fill out. Sign here.</dialogue> <scene_description>Steven does .</scene_description> <character>CABLE GUY</character> <dialogue>That gave me power of attorney over you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Joking.</dialogue> <scene_description>Steven laughs . The Cable Guy joins him , but then continues to laugh way too hard for way too long . As the laugh ends it quickly turns into an awkward moment . The Cable Guy does not want to leave .</scene_description> <character>CABLE GUY</character> <dialogue>I'm about finished here.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Okay. I feel good about this.</dialogue> <scene_description>Cable Guy walks to the door .</scene_description> <character>STEVEN</character> <dialogue>One thing.</dialogue> <character>CABLE GUY</character> <parenthetical>( turns back immediately . )</parenthetical> <dialogue>Yeah!</dialogue> <character>STEVEN</character> <dialogue>I. uh. I have this friend and he said he gave his cable guy fifty bucks and he got free movie channels. Have you ever heard of anything like that?</dialogue> <character>CABLE GUY</character> <parenthetical>( deadly serious . )</parenthetical> <dialogue>You mean illegal cable?</dialogue> <character>STEVEN</character> <dialogue>Uh. yes.</dialogue> <character>CABLE GUY</character> <dialogue>Who told you that? I want his name.</dialogue> <character>STEVEN</character> <dialogue>Forget it.</dialogue> <character>CABLE GUY</character> <dialogue>You're offering me a bribe? What you have just done is illegal, and in this state if convicted, you could be fined five - thousand dollars or spend six months in a correctional facility.</dialogue> <character>STEVEN</character> <dialogue>Please. that was dumb. I was just making conversation --</dialogue> <character>CABLE GUY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I'm just jerking your chain. Wake up little snoozy. I'll juice you up. All it is is a push of a button.</dialogue> <scene_description>He puts his arm around Steven and walks him toward the front door .</scene_description> <character>STEVEN</character> <dialogue>Oh, great. How much?</dialogue> <character>CABLE GUY</character> <dialogue>Do n't worry about it. I could n't charge you. Your girl just booted you. Consider it one guy doing another guy a solid.</dialogue> <character>STEVEN</character> <dialogue>That is so nice.</dialogue> <character>CABLE GUY</character> <dialogue>Hey, you're a ` nice' guy. You'd be surprised how many customers treat you like shit, like I'm a god damn plumber or something.</dialogue> <parenthetical>( hands him a card . )</parenthetical> <dialogue>Here is my personal beeper number. It's just for my preferred customers. Never call the company, they'll just put you on hold.</dialogue> <character>STEVEN</character> <dialogue>Thanks. Really.</dialogue> <parenthetical>( holds up comment card - jokes . )</parenthetical> <dialogue>You're gon na get some good marks here.</dialogue> <character>CABLE GUY</character> <dialogue>Maybe some day I'll take you out to the satellite and show you how all this stuff works. It's really incredible.</dialogue> <character>STEVEN</character> <dialogue>Sure. We should do that one day.</dialogue> <character>CABLE GUY</character> <dialogue>How ` bout tomorrow?</dialogue> <character>STEVEN</character> <dialogue>Tomorrow? Tomorrow's not good.</dialogue> <character>CABLE GUY</character> <dialogue>What are you going to do, sit home and stew about your ex?</dialogue> <character>STEVEN</character> <dialogue>No.</dialogue> <character>CABLE GUY</character> <parenthetical>( insulted . )</parenthetical> <dialogue>Oh, okay. I guess I crossed the line. Sorry.</dialogue> <character>STEVEN</character> <parenthetical>( guilty . )</parenthetical> <dialogue>You did n't cross the line.</dialogue> <character>CABLE GUY</character> <dialogue>No? Cool. I'll pick you up at six - thirty. On the flip side.</dialogue> <scene_description>The Cable Guy leaves before Steven can reconsider . Steven can not believe he just got roped into that . -LRB- End Revision - Pink -RRB-</scene_description> </scene> <scene> <stage_direction>INT. CITYWIDE LAND DEVELOPERS - CONFERENCE ROOM - DAY</stage_direction> <scene_description>Steven is in the middle of a presentation to his co - workers . His boss , HAL DANIELS , looks impressed . Steven pulls a sheet off of an architect 's model of a condominium complex .</scene_description> <character>STEVEN</character> <dialogue>There are twenty - four classrooms ; each can be converted into a 1400 square foot home. The facility has two tennis courts, an Olympic size pool and full gym, with a stage if the residents decide they want to perform `` Oklahoma.''</dialogue> <scene_description>Everyone laughs . Steven is very good at his job .</scene_description> <character>STEVEN</character> <dialogue>The kitsch appeal of living in an old schoolhouse should be very attractive to young, upwardly mobile home buyers. And most important, the structure is available in foreclosure. If we put down a cash bid, we're going to steal this thing.</dialogue> <scene_description>There is a pause , then everyone applauds . Mr. Daniels walks over to Steven and puts a proud arm around him . They speak as the meeting breaks up .</scene_description> <character>MR. DANIELS</character> <dialogue>Great work Steve - o. So you're feeling good?</dialogue> <character>STEVE</character> <dialogue>Yeah.</dialogue> <character>MR. DANIELS</character> <dialogue>Did I hear something about you having some troubles at home?</dialogue> <character>STEVE</character> <dialogue>Robin and I have been having a difficult time. I moved out, but I really think it's only temporary.</dialogue> <character>MR. DANIELS</character> <dialogue>Gotcha. I love this project, but it's a big mother. Know what I mean? If it fails, corporate's going to have my ass. I've got confidence in you, but you hear where I'm coming from, bro?</dialogue> <character>STEVEN</character> <dialogue>Absolutely. Now I've got more time than ever. It's a good thing.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>I know I can pull this thing off.</dialogue> <character>MR. DANIELS</character> <parenthetical>( playfully . )</parenthetical> <dialogue>Then what are you doing talking to me? You've got a lot of work to do. Get to it!</dialogue> <character>STEVEN</character> <dialogue>Thank you. I will.</dialogue> <scene_description>Hal goes down the stairs to his office . Steven watches him disappear , then turns to his secretary , JOAN .</scene_description> <character>STEVEN</character> <dialogue>I'll be right back.</dialogue> </scene> <scene> <stage_direction>INT. SASSY MAGAZINE OFFICES - DAY</stage_direction> <scene_description>Steven walks through the halls looking for Robin 's office .</scene_description> </scene> <scene> <stage_direction>INT. ROBIN'S OFFICE AT SASSY MAGAZINE - DAY</stage_direction> <scene_description>ROBIN HARRIS , an attractive woman in her late twenties , sits at her desk at `` Sassy Magazine . '' Her office is fairly nice , but she is definitely not at the upper level of the company yet . There are papers spread all over her desk . On her walls are pictures from the magazine , and articles she has written . Steven peeks his head in her door .</scene_description> <character>STEVEN</character> <dialogue>Hello.</dialogue> <scene_description>Robin 's face drops .</scene_description> <character>ROBIN</character> <dialogue>Steven, what are you doing here?</dialogue> <character>STEVEN</character> <dialogue>I was just in the area. Thought I'd pop by. How's work? How'd the big teen crush article come out?</dialogue> <character>ROBIN</character> <dialogue>They liked it.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I thought we agreed we were n't going to see each other for a month.</dialogue> <character>STEVEN</character> <dialogue>I know, it's just Daniels accepted my proposal to renovate the old schoolhouse.</dialogue> <character>ROBIN</character> <dialogue>That's wonderful, congratulations.</dialogue> <character>STEVEN</character> <dialogue>I know I'm breaking the rules, but come have dinner with me tonight to celebrate.</dialogue> <character>ROBIN</character> <dialogue>I do n't think we should.</dialogue> <character>STEVEN</character> <dialogue>Come on, this is the biggest day of my career.</dialogue> <character>ROBIN</character> <dialogue>Do n't put me in this position.</dialogue> <character>STEVEN</character> <dialogue>What position? I want to share this with you.</dialogue> <character>ROBIN</character> <parenthetical>( feeling pressured . )</parenthetical> <dialogue>I love you, but I need to take some time on my own to see how I feel. You agreed to this. I mean. this is exactly why we broke up, because you never listen to me.</dialogue> <character>STEVE</character> <dialogue>What? Now we're broken up? What happened to ` trial separation?'</dialogue> <character>ROBIN</character> <dialogue>I ca n't get into this now. If you have n't noticed, I'm at work.</dialogue> <character>STEVE</character> <dialogue>Sorry to disturb you.</dialogue> <scene_description>He turns to leave .</scene_description> <character>ROBIN</character> <parenthetical>( sincerely . )</parenthetical> <dialogue>Steven. Congratulations. I know how much this means to you. You deserve it.</dialogue> <character>STEVEN</character> <dialogue>Thanks.</dialogue> <scene_description>He leaves .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - SIX-THIRTY P.M.</stage_direction> <scene_description>Steven is watching television . He looks lonely and depressed . He clicks around in a daze , never stopping for more than a second . He hears a horn honking outside .</scene_description> <character>CABLE GUY</character> <parenthetical>( OS . )</parenthetical> <dialogue>Steven! Stev - ey! Let's go!</dialogue> <scene_description>ON THE TV - A commercial for Medieval Times Restaurant . Steven walks over to the window and sees The Cable Guy standing in front of his van , leaning in his window honking the horn .</scene_description> <character>CABLE GUY</character> <dialogue>Steven!</dialogue> <parenthetical>( waves . )</parenthetical> <dialogue>Hey buddy! Come on down!</dialogue> <scene_description>Steven waves and then steps back from the window . He does n't know what to do . He looks at the television . ON THE TV - The local news .</scene_description> <character>REPORTER</character> <dialogue>Coming up next a special report, `` Loneliness, America's Silent Killer.''</dialogue> <scene_description>Steven looks back out the window and sees the Cable Guy smiling and waving for him to come down .</scene_description> <character>STEVEN</character> <parenthetical>( begins walking to the door . )</parenthetical> <dialogue>What the hell.</dialogue> </scene> <scene> <stage_direction>EXT. STEVEN'S APARTMENT BUILDING - DUSK</stage_direction> <scene_description>Steven walks from his apartment to the customized van . On the side of the white van it says , `` The Cable Company - Get Wired Today . ''</scene_description> <character>STEVEN</character> <dialogue>How's it going?</dialogue> <character>CABLE GUY</character> <dialogue>Howdy partner. Climb aboard.</dialogue> <scene_description>Steven gets in .</scene_description> </scene> <scene> <stage_direction>INT. VAN - CONTINUOUS</stage_direction> <scene_description>The van drives onto the main boulevard .</scene_description> <character>CABLE GUY</character> <dialogue>Thanks for coming out. You know most people think cable is just a simple co - ax that comes out of the wall. They never take the time to understand how it works.</dialogue> <character>STEVEN</character> <dialogue>Where exactly are we goin?</dialogue> <character>CABLE GUY</character> <dialogue>We're going to take a ride on the information superhighway.</dialogue> </scene> <scene> <stage_direction>EXT. CITY - DUSK</stage_direction> <scene_description>Birds eye P.O.V. , shot follows the Cable Guy 's van as it drives through the city .</scene_description> <character>CABLE GUY</character> <dialogue>It all started in Lansford, Pennsylvania where Panther Valley Television, with the assistance of Jerrod Electronics, created the first cable television system.</dialogue> <scene_description>The van drives up into the hills , finally revealing a huge satellite dish on top of a small mountain , overlooking the entire city .</scene_description> <character>CABLE GUY</character> <dialogue>I went to Lansford once. It's the Cable Guy's Mecca. It was very emotional.</dialogue> </scene> <scene> <stage_direction>EXT. WOODED AREA - DUSK</stage_direction> <scene_description>Steven and the Cable Guy get out of the van , and walk down a trail .</scene_description> <character>CABLE GUY</character> <dialogue>I come here to think sometimes. To clear my head.</dialogue> <scene_description>They turn a corner and the satellite dish is right in front of them . It is enormous . Next to it is a one - hundred and fifty foot antenna . Next to that is a small fenced - in shack where the satellite 's controls are located .</scene_description> <character>CABLE GUY</character> <dialogue>There she is. Right now she's sending entertainment and information to millions of satisfied citizens.</dialogue> <character>STEVEN</character> <dialogue>That's pretty impressive.</dialogue> <character>CABLE GUY</character> <dialogue>See, I knew the moment I met you that you would appreciate this.</dialogue> <scene_description>The Cable Guy runs to the dish . A few seconds later he appears inside of it .</scene_description> <character>CABLE GUY</character> <parenthetical>( with wonder . )</parenthetical> <dialogue>The future is now. Soon every American home will integrate their television, phone, and computer. You'll be able to visit the Louvre on one channel, and watch female mud wrestling on another. You can do your shopping at home, or play Mortal Kombat with a friend in Vietnam. There's no end to the possibilities.</dialogue> <parenthetical>( waves to Steven . )</parenthetical> <dialogue>Come on up! What are you waiting for?!</dialogue> </scene> <scene> <stage_direction>INT. SATELLITE DISH - NIGHT</stage_direction> <scene_description>The Cable Guy and Steven are lying in the middle of the dish , looking up at the night sky .</scene_description> <character>CABLE GUY</character> <dialogue>Sometimes I'll sit here and imagine that there are billions of bits of information surging through me.</dialogue> <character>STEVEN</character> <dialogue>I've watched a lot of TV in my life. I guess I've always taken it for granted.</dialogue> <character>CABLE GUY</character> <dialogue>When I was a kid my mom worked nights. Never met dad. But the old TV was always there for me.</dialogue> <character>STEVEN</character> <dialogue>I know what you mean. My dad was there, but he might as well have been gone. My mom is a stewardess. She was always out of town.</dialogue> <character>CABLE GUY</character> <parenthetical>( moved . )</parenthetical> <dialogue>That's tough. You must have a lot of abandonment issues. Reality is n't `` Father Knows Best,'' it's a kick in the face on Saturday night. But what does n't kill us makes us stronger, right?</dialogue> <character>STEVEN</character> <parenthetical>( tentative . )</parenthetical> <dialogue>You know my brother's a speech therapist.</dialogue> <scene_description>The Cable Guy sits up . He looks angry .</scene_description> <character>CABLE GUY</character> <dialogue>So?</dialogue> <scene_description>There is a long silence . Steven does n't know how to react .</scene_description> <character>STEVEN</character> <dialogue>Never mind.</dialogue> <scene_description>The Cable Guy sits back down and pretends Steven never mentioned it .</scene_description> <character>CABLE GUY</character> <parenthetical>( beat . )</parenthetical> <dialogue>So, you're pretty love struck about your lady, huh?</dialogue> <character>STEVEN</character> <dialogue>I miss her. I asked her to marry me, and she asked me to move out.</dialogue> <character>CABLE GUY</character> <dialogue>I hate that.</dialogue> <character>STEVEN</character> <dialogue>She said she felt pressured. Can you believe that?</dialogue> <character>CABLE GUY</character> <dialogue>Women are a labyrinth. Can I be frank? I do n't think you listen to her. I think you try to tell her what she wants to hear. She wants you to thirst for knowledge about who she is. All the complicated splendor that is woman. When your love is truly giving, it will come back to you ten - fold.</dialogue> <character>STEVEN</character> <dialogue>You're right. That is remarkably insightful.</dialogue> <character>CABLE GUY</character> <dialogue>Yeah, it was Jerry Springer's final thought on Friday's show.</dialogue> </scene> <scene> <stage_direction>EXT. STEVEN'S APARTMENT BUILDING - LATER</stage_direction> <scene_description>The van pulls up in front of Steven 's apartment building .</scene_description> <character>CABLE GUY</character> <dialogue>You know what? Women are suckers for `` Sleepless in Seattle.'' It's on HBO this month. That's your bait right there.</dialogue> <character>STEVEN</character> <dialogue>Robin loves that movie.</dialogue> <character>CABLE GUY</character> <dialogue>They all do. Next time you talk to her tell her you're cooking yourself dinner, and watching it by yourself. Sound like you're happier than a pig in shit. She'll come running. Betcha. Then just play it cool.</dialogue> <character>STEVEN</character> <dialogue>Maybe I will.</dialogue> <scene_description>Steven gets out of the car .</scene_description> <character>STEVEN</character> <dialogue>Thanks a lot. I'm embarrassed to say this, but I do n't know your name. What is it?</dialogue> <character>CABLE GUY</character> <parenthetical>( touched . )</parenthetical> <dialogue>You really want to know my name? You do? Really? It's Ernie Douglas. But my friends call me Chip.</dialogue> <character>STEVEN</character> <dialogue>I'll see ya' Chip.</dialogue> <scene_description>Before he can exit the van , the Cable Guy is staring him in the eyes .</scene_description> <character>CABLE GUY</character> <dialogue>Let's just remember right now. You know some people walk through their entire lives and never find a true friend.</dialogue> <parenthetical>( long pause . )</parenthetical> <dialogue>I guess we're the lucky ones.</dialogue> <scene_description>-LRB- End Revised - Pink -RRB- STEVEN 'S P.O.V. - The Cable Guy is in slow motion . He blinks once .</scene_description> <character>STEVEN</character> <dialogue>Uh. good - bye.</dialogue> <character>CABLE GUY</character> <dialogue>Later buddy. I'll catch ya' on the flip side.</dialogue> <scene_description>Steven exits the van feeling a little uncomfortable .</scene_description> </scene> <scene> <stage_direction>INT. COFFEEHOUSE - NEXT DAY</stage_direction> <scene_description>Steven and Robin are talking . Robin does not look happy to see him .</scene_description> <character>STEVEN</character> <dialogue>I do n't listen to you. I pretend to understand but I'm really just saying what I think you want to hear. So from now on I'm going to try my best to listen more because I do love you and am interested in learning about every detail about the complicated splendor that is you.</dialogue> <scene_description>Robin looks at him , somewhat shocked .</scene_description> <character>ROBIN</character> <dialogue>Oh.</dialogue> <character>STEVEN</character> <dialogue>I want us to get back together, but I can see why taking this time might be good for us. So, I'm not mad.</dialogue> <scene_description>After a long beat , Robin smiles .</scene_description> <character>ROBIN</character> <dialogue>Sometimes time apart is healthy.</dialogue> <character>STEVEN</character> <dialogue>You're right. Well, that's what I came here to say. Look, I've got to get back to the office.</dialogue> <scene_description>He starts getting up .</scene_description> <character>ROBIN</character> <dialogue>So, are you doing anything tomorrow?</dialogue> <character>STEVEN</character> <dialogue>I'm just going to cook myself dinner and watch a movie. `` Sleepless in Seattle'' is on cable.</dialogue> <character>ROBIN</character> <dialogue>Really?</dialogue> <character>STEVEN</character> <dialogue>If you're around you should drop by and check out the new apartment.</dialogue> <character>ROBIN</character> <dialogue>Okay, maybe I will.</dialogue> <scene_description>He exits the room . As he does we see a television broadcasting the Sweet case . ON MTV - Sam Sweet sits behind the defendant 's table . TABITHA SOREN is giving the news update .</scene_description> <character>TABITHA SOREN</character> <dialogue>Today in the Sam Sweet case the prosecution played the 911 call that Sam Sweet made the night he murdered his brother. Keep in mind, he confessed one month later.</dialogue> <scene_description>The courtroom listens to a 911 phone call . The transcription is seen on the screen .</scene_description> <character>SAM SWEET V ON THE TAPE</character> <parenthetical>( crying and babbling . )</parenthetical> <dialogue>Hello, please send help. My twin brother has been shot.</dialogue> <character>911 OPERATOR</character> <dialogue>Slow down sir. What happened?</dialogue> <character>SAM SWEET</character> <dialogue>Oh my god, they shot him with a shot gun four times. I mean I think it was a shotgun. Who would do such a thing?! I think it was an Asian gang or something. They were speaking some other language.</dialogue> <scene_description>Sam leans over and whispers something in his lawyer 's ear .</scene_description> <character>TABITHA SOREN</character> <dialogue>Hmm. Who indeed? Coming up next, a rare interview with Michael Jackson's zoo - keeper.</dialogue> </scene> <scene> <stage_direction>INT. HIGH SCHOOL GYM - DAY</stage_direction> <scene_description>Steven is playing a pick - up , full court basketball game with some of his friends . It is a competitive , but friendly game . Steven is on skins , Rick is on shirts .</scene_description> <character>STEVEN</character> <dialogue>Here, here, here.</dialogue> <scene_description>A player passes to Steven . Rick is covering him . Steven drives to the basket and puts in a lay up .</scene_description> <character>RICK</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Shit! My fault! My fault!</dialogue> <character>STEVEN</character> <dialogue>Not your fault. I'm in the zone. There is no stopping me today.</dialogue> <scene_description>Play begins again . A player named JEFF takes the ball out , then passes to a heavy - set player who catches the ball , then drives to the basket . When he does he twists his ankle , dropping the ball . The ball rolls out of bounds into a dark corner of the gym . We follow it as it rolls on the ground until it hits a man 's sneaker . A pair of hands pick up the ball . The camera tilts up the man 's body . It is the Cable Guy . He is holding another ball . He starts dribbling the two balls in a circular pattern .</scene_description> <character>CABLE GUY</character> <dialogue>Hey, you guys play here, too? Cool. I was just in the neighborhood. Thought I'd run the court for a couple of innings.</dialogue> <character>RICK</character> <parenthetical>( gestures to injured player . )</parenthetical> <dialogue>Great. We need another man.</dialogue> <character>STEVEN</character> <dialogue>This is. Chip Douglas. my cable guy.</dialogue> <scene_description>Rick smiles in recognition .</scene_description> <character>CABLE GUY</character> <dialogue>We met about a week ago during a routine installation, but I feel like I've known him my whole life.</dialogue> <scene_description>Steven ca n't believe this is happening .</scene_description> <character>RICK</character> <dialogue>Oh really. That's sweet. All right Chip Douglas, you're on shirts. Let's play.</dialogue> <character>CABLE GUY</character> <dialogue>No, I want to be on Steven's team. I'm skins.</dialogue> <scene_description>The Cable Guy quickly takes off his shirt . Steven looks shocked because underneath his clothes he is rippled with muscles . The dichotomy between his nerdy face , and his awesome physique is scary .</scene_description> <character>JEFF</character> <dialogue>I do n't care, I'll be shirts. Let's just play.</dialogue> <character>CABLE GUY</character> <dialogue>Wait a sec'. I've got to warm up.</dialogue> <scene_description>The Cable Guy starts running wind sprints across the court , touching all the main lines . Everyone stares at him until he finishes .</scene_description> <character>CABLE GUY</character> <dialogue>Let's get it on!</dialogue> <character>STEVEN</character> <dialogue>Are you any good?</dialogue> <character>CABLE GUY</character> <dialogue>Feed me under the boards and you'll find out.</dialogue> <scene_description>Play begins . The shirts inbound to Jeff . The Cable Guy is all over him , covering him as tightly as humanly possible . He keeps his hands near Jeff 's face , whacks him in the back as he dribbles , etc. . He could n't be more annoying . Jeff passes to Rick who drives to the basket and puts up a shot which goes in . Rick and Jeff slap hands .</scene_description> <character>CABLE GUY</character> <parenthetical>( doing the traveling hand signal . )</parenthetical> <dialogue>Traveling! That's traveling!</dialogue> <character>RICK</character> <dialogue>Yeah, whatever you say Chip.</dialogue> <scene_description>Everyone runs down the court , ignoring him .</scene_description> <character>CABLE GUY</character> <dialogue>All right, so we're playing that type of game. Prison rules. I get it.</dialogue> <scene_description>Steven takes the ball out . The cable Guy runs around the court , attempting to get open . He criss crosses all over the court .</scene_description> <character>CABLE GUY</character> <dialogue>Feed me the rock! Feed me the rock! I'm open!</dialogue> <scene_description>Steven passes to the Cable Guy , who drives to the basket , pushing Jeff out of the way in the process . The ball goes in .</scene_description> <character>CABLE GUY</character> <parenthetical>( does the foul hand signal . )</parenthetical> <dialogue>And one! That's definitely a foul!</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>You want to mug me, my wallet is in my other pants.</dialogue> <character>STEVEN</character> <parenthetical>( to Cable Guy . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>CABLE GUY</character> <dialogue>Do n't play from fear Steven. We can take these guys.</dialogue> <scene_description>MUSIC UP - SLOW MOTION - STEVEN 'S P.O.V. a . The shirts put a shot which does n't go in . The Cable Guy swings his elbows wildly as he pulls it down . b . The Cable Guy drives to the basket in slow motion violently taking down two men , including Rick . c. Rick drives to the basket . On his way he fakes out Steven who falls to the floor . Rick scores . The Cable guy helps Steven up . As the Cable Guy walks across the court he bangs shoulders with Rick . d . The cable Guy passes the ball to Steven , then sets a nasty pick against Rick , who goes down hard .</scene_description> <character>CABLE GUY</character> <dialogue>Take it to the hole!</dialogue> <scene_description>Steven is so un - nerved by the Cable Guy 's behavior that he misses a simple lay up . Steven grabs his own rebound . When he puts up a second shot , Rick gently fouls him . Steven stumbles to the ground . The ball does not go in .</scene_description> <character>CABLE GUY</character> <dialogue>Hey, are you okay?</dialogue> <scene_description>He pulls Steven up .</scene_description> <character>STEVEN</character> <dialogue>Yeah. I'm fine.</dialogue> <character>CABLE GUY</character> <dialogue>Let's switch. I'll cover Rick.</dialogue> <scene_description>The cable Guy gets in Rick 's face and gives him a death stare . Steven takes out the ball . He passes to a teammate who passes it to the Cable Guy who drives to the basket , then literally steps on Rick 's back and leaps into the air and dunks the ball .</scene_description> <character>RICK</character> <parenthetical>( enraged . )</parenthetical> <dialogue>What the hell was that? That's it. I've had enough.</dialogue> <scene_description>Everyone begins to exit the court .</scene_description> <character>JEFF</character> <dialogue>Thanks for bringing your `` friend''.</dialogue> <scene_description>The Cable Guy runs up to Rick .</scene_description> <character>CABLE GUY</character> <dialogue>Good game.</dialogue> <parenthetical>( slaps Rick on the butt . )</parenthetical> <dialogue>You were tough out there. Your play brought me up to a higher level. I mean that.</dialogue> <character>RICK</character> <parenthetical>( dismissive . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>He shakes his head and exits with the rest of the players .</scene_description> <character>STEVEN</character> <dialogue>What are you doing?</dialogue> <character>CABLE GUY</character> <dialogue>It was payback time. I was protecting you.</dialogue> <character>STEVEN</character> <dialogue>You ruined the game.</dialogue> <character>CABLE GUY</character> <dialogue>I do n't appreciate your tone Steven. That's not the way friends speak to each other.</dialogue> <character>STEVEN</character> <dialogue>What are you talking about? I do n't even know you!</dialogue> <character>CABLE GUY</character> <dialogue>Well let's fix that. Let me buy you a Heineken?</dialogue> <character>STEVEN</character> <dialogue>No, I'm going home.</dialogue> <scene_description>Steven turns to leave .</scene_description> <character>CABLE GUY</character> <dialogue>Well, uh, I guess we'll talk later. I've got to go shower up and do some stuff. I'll call you if I get a chance. Or you call me. or something.</dialogue> <scene_description>The Cable guy puts his hand up for Steven to high five . Steven slaps it halfheartedly . Then the cable guy extends his palm out low by his knee .</scene_description> <character>CABLE GUY</character> <dialogue>And down low.</dialogue> <scene_description>Steven stares at it for a beat . The cable Guy waits . He 'll wait as long as it takes . Finally Steven gives him a low five just so he can leave .</scene_description> <character>CABLE GUY</character> <parenthetical>( pulls his hand away so Steven misses it . )</parenthetical> <dialogue>Too slow. Have a good one.</dialogue> <character>STEVEN</character> <parenthetical>( as he walks away . )</parenthetical> <dialogue>Yeah, have a good one.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - NEXT NIGHT</stage_direction> <scene_description>Steven runs in with a small bag of groceries . He is dressed for a date . He pulls out a bottle of wine . He opens the oven , and checks on dinner . It is almost ready . Then he checks his message machine as he prepares the meal . He begins chopping an onion .</scene_description> <character>MESSAGE VOICE</character> <dialogue>You have eleven messages.</dialogue> <character>STEVEN'S MOTHER</character> <parenthetical>( ON THE MACHINE . )</parenthetical> <dialogue>Steven, it's mom. Give me a call. I'm still your mother.</dialogue> <character>STEVEN'S FATHER</character> <parenthetical>( ON THE MACHINE . )</parenthetical> <dialogue>I'm getting on. Steven call your mother.</dialogue> <character>CABLE GUY</character> <parenthetical>( ON THE MACHINE . )</parenthetical> <dialogue>Hey Steven. Just checking in. Give me a ring. I'm at 555 - 4329.</dialogue> <parenthetical>( beep . )</parenthetical> <dialogue>What's up Steven? I'm at a pay phone. If you're there pick up. Pick up. Pick up. Okay, I'll be home later. I'll talk to you then.</dialogue> <scene_description>Steven stops chopping .</scene_description> <character>CABLE GUY</character> <parenthetical>( ON THE MACHINE . )</parenthetical> <parenthetical>( beep . )</parenthetical> <dialogue>Okay I'm home now. Give me a buzz when you get in. I'll be here pretty much all night. Bye.</dialogue> <parenthetical>( beep tone . )</parenthetical> <dialogue>Hey Steven. Quick question, give me a call when you get a chance.</dialogue> <parenthetical>( beep tone . )</parenthetical> <dialogue>I was just taking a whiz, thought you might have called. Okay later.</dialogue> <parenthetical>( beep tone . )</parenthetical> <dialogue>Sorry, I had call waiting, did n't get to it, thought it might have been you. All right, bye.</dialogue> <scene_description>Steven is beginning to get a little wigged out by this . He fast forwards through a sampling of the rest of the calls .</scene_description> <character>CABLE GUY</character> <parenthetical>( fast forwards . )</parenthetical> <dialogue>. We're having ourselves quite a little game of phone tag here. You're it!</dialogue> <parenthetical>( fast forwards . )</parenthetical> <dialogue>. I was just blow drying my hair and I thought I heard the phone ringing.</dialogue> <parenthetical>( fast forwards . )</parenthetical> <dialogue>. you're a tough man to reach.</dialogue> <parenthetical>( fast forwards . )</parenthetical> <dialogue>I guess you're too busy to call your friends.</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB- Steven fast forwards the machine . All he hears is sighing . Then --</scene_description> <character>CABLE GUY</character> <parenthetical>( ON THE MACHINE . )</parenthetical> <parenthetical>( long beat - then quiet and distant . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>The doorbell rings . Steven takes a deep breath then opens the door . It is Robin . She is dressed casually , but looks beautiful .</scene_description> <character>STEVEN</character> <dialogue>Hey, good to see you.</dialogue> <scene_description>There is an awkward moment where Steven intentionally does n't kiss her hello .</scene_description> <character>STEVEN</character> <dialogue>Come on in. What do you think of the place?</dialogue> <scene_description>She looks at the odd placement of furniture .</scene_description> <character>ROBIN</character> <dialogue>You made some interesting choices laying out the room.</dialogue> <character>STEVEN</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>That's actually where the movers put the furniture. I'm gon na change it, very soon.</dialogue> <character>ROBIN</character> <dialogue>No, I like it.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - LATER</stage_direction> <scene_description>The food is all eaten . Steven and Robin are sitting on the couch having an awkward conversation .</scene_description> <character>ROBIN</character> <dialogue>So how's work?</dialogue> <character>STEVEN</character> <dialogue>Work's good.</dialogue> <character>ROBIN</character> <dialogue>How's Hal?</dialogue> <character>STEVEN</character> <dialogue>Do n't get me started. That guy has no vision. It's like working for Mr. MaGoo. He's just worthless.</dialogue> <character>ROBIN</character> <dialogue>It's just great that you're getting to do it. It's a real step up.</dialogue> <character>STEVEN</character> <dialogue>I know. Now if only someone at corporate smartened up enough to dump Hal, then I could really get some stuff done.</dialogue> <character>ROBIN</character> <dialogue>It's nice to see you doing so well.</dialogue> <character>STEVEN</character> <dialogue>Well, it's nice just to see you.</dialogue> <parenthetical>( looks at his watch . )</parenthetical> <dialogue>Hey, it should be starting.</dialogue> <scene_description>They sit on the couch . Robin moves to sit in closer to Steven . Steven turns on the television . The screen is filled with white noise . The sound is loud static . He changes channels looking for the signal . Then fumbles with the remote control as he attempts to lower the volume .</scene_description> <character>STEVEN</character> <dialogue>Damn cable is out. Son of a bitch.</dialogue> <character>ROBIN</character> <dialogue>It's alright. We can watch it another night.</dialogue> <character>STEVEN</character> <dialogue>No, no. We really should see it now. Now's a good time.</dialogue> <scene_description>He plays with the remote , hoping it will magically come back . It does n't .</scene_description> <character>STEVEN</character> <dialogue>Wait, wait. I know what to do.</dialogue> <scene_description>He walks over to the phone , then pulls the Cable Guy 's beeper number out of his wallet . He dials it , then presses the number in .</scene_description> <character>STEVEN</character> <dialogue>The Cable Guy's a friend of mine. I'll just page him. We'll have this fixed in no time.</dialogue> <scene_description>Steven dials the Cable Guy 's beeper number into the phone . The moment he is finished dialing -- THERE IS A KNOCK - THE CAMERA WHIP PANS TO THE DOOR Steven walks to the door and opens it . Standing there is the Cable Guy looking dark and disturbed , different than we 've ever seen him before . Steven is startled .</scene_description> <character>STEVEN</character> <dialogue>That was. fast.</dialogue> <character>CABLE GUY</character> <dialogue>Is there a problem with your service?</dialogue> <character>STEVEN</character> <dialogue>Yeah. my cable went out.</dialogue> <scene_description>Steven pushes him out into the hall .</scene_description> <character>CABLE GUY</character> <dialogue>Really?</dialogue> <scene_description>The Cable Guy holds up a cut cable cord .</scene_description> <character>CABLE GUY</character> <dialogue>So you called me. Interesting how you call when you need something. Is that how you treat people?</dialogue> <character>STEVEN</character> <dialogue>I've been really busy. You've got to get my cable going, Robin is here. This is really important.</dialogue> <scene_description>He peeks in to get a look at Robin . They make momentary eye contact . Steven pushes him back out .</scene_description> <character>CABLE GUY</character> <dialogue>But calling me back is n't?</dialogue> <character>STEVEN</character> <dialogue>I'm sorry. Please, you've got to help me.</dialogue> <character>CABLE GUY</character> <dialogue>Why should I help you? I gave you free cable. What have you ever done for me?</dialogue> <character>STEVEN</character> <dialogue>Anything you want. Name it -- quickly.</dialogue> <character>CABLE GUY</character> <dialogue>Tomorrow night, we hang out.</dialogue> <character>STEVEN</character> <dialogue>Fine, whatever you want.</dialogue> <character>CABLE GUY</character> <dialogue>God bless you. You're too good to me.</dialogue> <scene_description>The Cable Guy walks over to a fuse type box , turns one knob , then walks back to Steven .</scene_description> <character>CABLE GUY</character> <parenthetical>( loud - normally . )</parenthetical> <dialogue>All set.</dialogue> <character>STEVEN</character> <dialogue>So what's with the cut cord?</dialogue> <character>CABLE GUY</character> <parenthetical>( nonchalantly . )</parenthetical> <dialogue>That's for effect. See ya' tomorrow Steven.</dialogue> <parenthetical>( conspiratorially . )</parenthetical> <dialogue>She's pretty. And do n't kiss her. Do n't even touch her. Fight the urge at all costs. It will pay off later with.</dialogue> <scene_description>He makes a motion which implies sex .</scene_description> <character>CABLE GUY</character> <dialogue>Enjoy the flick.</dialogue> <scene_description>The Cable Guy walks away . Steven walks back inside .</scene_description> <character>ROBIN</character> <dialogue>Who was that?</dialogue> <character>STEVEN</character> <dialogue>Nobody.</dialogue> <scene_description>Steven sits down next to Robin . Robin moves next to him . Steven looks very happy . ON THE TV A scene from the film `` Sleepless in Seattle . '' The camera pulls out and reveals the Cable Guy watching the film in the back of his van -- alone . We can not see much of the inside of the van because the only light is that of the television , but we can tell that he lives there . -LRB- SCENE 29 OMITTED -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - DUSK</stage_direction> <scene_description>The Cable Guy and Steven walk across a parking lot . Steven has his eyes closed .</scene_description> <character>CABLE GUY</character> <dialogue>Sorry about yesterday. I was in kind of a weird mood. How'd things go with you? Keep'em closed.</dialogue> <character>STEVEN</character> <dialogue>Pretty well. We'll see. Look, about the other night. I did n't appreciate you -</dialogue> <character>CABLE GUY</character> <dialogue>Do n't peek. I want this to be a surprise.</dialogue> <character>STEVEN</character> <dialogue>I really do n't need to be surprised. Where are we going?</dialogue> <character>CABLE GUY</character> <dialogue>Only the best restaurant in town.</dialogue> <scene_description>They walk around a corner .</scene_description> <character>CABLE GUY</character> <dialogue>Okay, here we are. Open sesame.</dialogue> <scene_description>Steven opens his eyes . The camera moves behind then and reveals an enormous faux castle with a big sign on it which says `` MEDIEVAL TIMES RESTAURANT . ''</scene_description> <character>STEVEN</character> <dialogue>Medieval Times?</dialogue> <character>CABLE GUY</character> <dialogue>I know what you're thinking. Do n't worry, I'm buying.</dialogue> </scene> <scene> <stage_direction>INT. MEDIEVAL TIMES - LATER</stage_direction> <scene_description>The Cable Guy and Steven are walking to their table . All the seating overlooks a large , circular arena , the kind a rodeo is held in . The entire restaurant/arena is designed in Medieval themed decor . All of the staff are dressed as knights , sorcerers , royalty , etc. -LRB- Revision Ends - Pink -RRB-</scene_description> <character>STEVEN</character> <dialogue>Funny. I never thought I would ever come here.</dialogue> <character>CABLE GUY</character> <dialogue>I love this place. I come here twice a week.</dialogue> <scene_description>A Hispanic woman with a large butt walks by . The Cable Guy is transfixed .</scene_description> <character>CABLE GUY</character> <dialogue>Oh man, that's my look. I love big butts. Ow, that hurts.</dialogue> <scene_description>He grabs his crotch and squeezes , as if it 's the only way he can control himself .</scene_description> <character>CABLE GUY</character> <dialogue>There oughta be a law. Man she is hot. It's just not fair.</dialogue> <character>STEVEN</character> <parenthetical>( gestures to him squeezing his crotch . )</parenthetical> <dialogue>Please do n't.</dialogue> <character>CABLE GUY</character> <dialogue>You know what I need right now? Pooooon tang. And I'm not talking about the place in Vietnam.</dialogue> <character>STEVEN</character> <dialogue>Good to know.</dialogue> <scene_description>They sit down . The WAITRESS walks over . She is dressed in peroid clothes , but is not enthusiastic about her job .</scene_description> <character>WAITRESS</character> <parenthetical>( flatly . )</parenthetical> <dialogue>Welcome to Medieval Times. My name is Melinda. I'll be your serving wench. May I get you something from the bar keep?</dialogue> <character>CABLE GUY</character> <parenthetical>( too into it . )</parenthetical> <dialogue>Dost thou have a mug of ale for me and me mate? He has been pitched in battle for a fortnight an has a King's thirst for the beer thust thou might have for thust.</dialogue> <character>WAITRESS</character> <parenthetical>( uninspired . )</parenthetical> <dialogue>I'll be right back my lord.</dialogue> <scene_description>The Cable Guy puts something together .</scene_description> <character>CABLE GUY</character> <dialogue>There you go.</dialogue> <scene_description>He hands Steven a paper crown . They both put theirs on .</scene_description> <character>STEVEN</character> <dialogue>Thanks for the help.</dialogue> <scene_description>The Cable Guy sees something . His eyes widen .</scene_description> <character>CABLE GUY</character> <dialogue>Steven, do n't turn around, but there is a woman eyeing you like you are a piece of meat and she has n't eaten in a week.</dialogue> <scene_description>Steven acts like he is n't interested , but he is .</scene_description> <character>STEVEN</character> <dialogue>Really? What does she look like?</dialogue> <character>CABLE GUY</character> <dialogue>Shoe's a hottie. I wish she was checking me out. Man - she is on fire! Total robo - babe.</dialogue> <character>STEVEN</character> <dialogue>Are you serious?</dialogue> <character>CABLE GUY</character> <dialogue>Do n't look.</dialogue> <character>STEVEN</character> <dialogue>I've got to look.</dialogue> <character>CABLE GUY</character> <dialogue>Okay, but play it cool. Just turn like you are looking for the waitress.</dialogue> <scene_description>Steven puts up his hand , and turns as if he 's going to call for the waitress . He sees the woman . She is in her sixties , and probably was n't attractive at any stage of her life . Steven turns back to the cable Guy , annoyed .</scene_description> <character>CABLE GUY</character> <dialogue>Ha - ha. I'm just messing with your mind. But you fell for it man. You are one horny Indian Chief.</dialogue> <character>STEVEN</character> <parenthetical>( not laughing . )</parenthetical> <dialogue>You got me.</dialogue> <character>CABLE GUY</character> <dialogue>So what did you want to rap about?</dialogue> <scene_description>The trumpets go off , the lights go down and the show begins .</scene_description> <character>CABLE GUY</character> <dialogue>Hold that thought. Show's on.</dialogue> <scene_description>The Cable Guy turns and looks at a stage that stands at one end above the arena . ON THE STAGE - A MAN WHO LOOKS LIKE ALAN RICKMAN IN `` ROBIN HOOD '' SPEAKS TO THE CROWD</scene_description> <character>HOST</character> <dialogue>Welcome to a magnificent journey into the past. This is Medieval Times!</dialogue> <scene_description>The entire crowd , filled completely with white trash tourists , applauds .</scene_description> <character>HOST</character> <dialogue>Are you prepapred for a night of feasting and sport the likes of which ye will never forget?!</dialogue> <scene_description>The audience applauds .</scene_description> <character>HOST</character> <dialogue>I charge you to stand up on your feet and cheer for your section's knight!</dialogue> <scene_description>ON THE STANDS - Each section of the crowd is painted a color that corresponds with a knight . The Cable Guy stands up and cheers like he is at a wrestling match . Steven remains seated .</scene_description> <character>CABLE GUY</character> <dialogue>Let the games begin! The Red Knight rules! Blue Knight! You're going down! Going down!</dialogue> <scene_description>An embarrassed Steven applauds politely . The Cable Guy sits down .</scene_description> </scene> <scene> <stage_direction>INT. MEDIEVAL TIMES - LATER</stage_direction> <scene_description>ON THE FLOOR - In the center of the room two Knights are fighting with swords while on horseback . ON STEVEN AND THE CABLE GUY - They are eating whole chickens with their bare hands while watching the show .</scene_description> <character>STEVEN</character> <parenthetical>( to the Watiress . )</parenthetical> <dialogue>Could I get a knife and fork?</dialogue> <character>WAITRESS</character> <dialogue>There were no utensils in Medieval Times, so there are no utensils at ` Medieval Times.' Do you want a refill on that Pepsi?</dialogue> <character>STEVEN</character> <dialogue>There were no utensils, but there was Pepsi?</dialogue> <character>WAITRESS</character> <dialogue>Look, I have a lot of tables to get to.</dialogue> <scene_description>The waitress exits .</scene_description> <character>CABLE GUY</character> <parenthetical>( stands up - yells to the competitors . )</parenthetical> <dialogue>Spill his blood! Take his kead! Show no mercy!</dialogue> <scene_description>The two knights fight with swords . After a few moments of battle the Red Knight wins . The crowd erupts . The Cable Guy goes crazy .</scene_description> <character>CABLE GUY</character> <parenthetical>( to Steven . )</parenthetical> <dialogue>Come on, get into it, we won!</dialogue> <scene_description>Releuctantly , Steven stands up and applauds .</scene_description> <character>STEVEN</character> <parenthetical>( halfheartedly . )</parenthetical> <dialogue>Way to go Red Knight. Good job of killing. Good work.</dialogue> <scene_description>Steven and the Cable Guy sit down .</scene_description> <character>CABLE GUY</character> <dialogue>So, what were you saying before?</dialogue> <character>STEVEN</character> <parenthetical>( tentatively . )</parenthetical> <dialogue>How do I put this? I've really enjoyed hanging out with you, but.</dialogue> <character>CABLE GUY</character> <dialogue>That's why I became a cable guy. To make friends like you. Every time I walk up to a new door, that door is a possibility for friendship. When I walked in your apartment I knew there was something there. I just knew it.</dialogue> <character>STEVEN</character> <parenthetical>( sotto . )</parenthetical> <dialogue>Oh lord.</dialogue> <parenthetical>( tries to get back on track . )</parenthetical> <dialogue>I want you to know -</dialogue> <scene_description>The lights change . Trumpets play a fanfare . The host walks out onto the stage , interrupting Steven .</scene_description> <character>HOST</character> <dialogue>We have reached the climax of our competition good people! Now, two noble men from our audience will battle to the death to resolve a grievance. Will a Master.</dialogue> <parenthetical>( looks at his clipboard . )</parenthetical> <dialogue>Steven M. Bartowsky and Lord Ernie Douglas make you way to the fighting pit!</dialogue> <scene_description>A spotlight shines on them . Steven is shocked .</scene_description> <character>STEVEN</character> <dialogue>What's going on?</dialogue> <character>CABLE GUY</character> <dialogue>We're going to do battle. It'll be fun.</dialogue> <character>STEVEN</character> <dialogue>Is this a normal part of the show?</dialogue> <character>CABLE GUY</character> <dialogue>No, but I give all the Knights free cable. They said it would be cool if we just went at it for a little while.</dialogue> <scene_description>Two PIMPLY FACED SERFS from the show come and lead them away .</scene_description> <character>STEVEN</character> <dialogue>Is this safe?</dialogue> <character>CABLE GUY</character> <dialogue>That's what the armor's for.</dialogue> </scene> <scene> <stage_direction>INT. FIGHTING PIT - LATER</stage_direction> <scene_description>Steven and the Cable Guy are being dressed in armor by the two serfs . The Cable Guy could not be happier . Steven is freaked out .</scene_description> <character>STEVEN</character> <dialogue>What are we supposed to do? We've got to be careful we do n't hurt each other.</dialogue> <scene_description>The Cable Guy does n't answer him . He has his game face on .</scene_description> <character>CABLE GUY</character> <dialogue>I can not listen to any of your instructions for you are my sworn enemy, and are about to meet your demise.</dialogue> <scene_description>Before Steven can answer him the trumpets blare .</scene_description> <character>HOST</character> <dialogue>Let the battle begin. Come now people, let me hear your voices!</dialogue> <scene_description>The crowd cheers . Music plays . The serfs hand them each a sword and shield , then walk them to the center of the pit . The Cable Guy crouches in a war - like position . He begins to circle Steven like a cat . Steven mirrors him , not sure of what to do .</scene_description> <character>STEVEN</character> <dialogue>Just take it easy.</dialogue> <scene_description>The Cable Guy runs at Steven , and swings his sword . In fear , Steven puts his shield over his head . The sword smashes into it sending sparks into the air . The Cable Guy darts toward Steven and pokes him several times with his sword . Each time Steven blocks it with either his sword or his shield .</scene_description> <character>STEVEN</character> <parenthetical>( enraged . )</parenthetical> <dialogue>What are you doing?!</dialogue> <character>CABLE GUY</character> <parenthetical>( matter of fact . )</parenthetical> <dialogue>I'm trying to kill you.</dialogue> <scene_description>The Cable Guy grabs a mace -LRB- a stick with a chain and ball attached to it -RRB- off of a weapon filled wall and runs at Steven , swinging with abandon . Steven blocks the deadly mace with his shield .</scene_description> <character>STEVEN</character> <dialogue>Hey, watch it!</dialogue> <scene_description>The Cable Guy leaps onto Steven . Then he speaks into his ear as he pushes him down onto the ground .</scene_description> <character>CABLE GUY</character> <dialogue>This is just like when Spock had to fight Kirk on ` Star Trek.' Best friends forced to do battle.</dialogue> <scene_description>Steven gets angry and pushes the Cable Guy off of him . He swings at the Cable Guy with his sword , just missing him . The Cable Guy rolls on the ground and pops back up in the air .</scene_description> <character>CABLE GUY</character> <dialogue>That's the spirit. Let's give'em a good show.</dialogue> <scene_description>Steven charges at the Cable Guy , swinging wildly . It is a real battle now . He bangs away at the Cable Guy 's mace until he knocks it out of his hands . The Cable Guy runs backwards , then falls on the ground . By the look in his eyes we can tell that the Cable Guy 's feelings are hurt .</scene_description> <character>CABLE GUY</character> <dialogue>So that's how it's gon na be, huh? All right. If you want to play rought, Daddy can play rough.</dialogue> <scene_description>The Cable Guy charges at Steven with his shield . He upper cuts the shield to Steven 's face , sending him to the ground . The Cable Guy runs to the wall and grabs a huge battle ax , a four foot long stick with a fancy silver blade on the end of it . He swings it in circles like a Japanese master . Steven grabs a similar weapon , and then begin to circle each other .</scene_description> <character>STEVEN</character> <dialogue>Chip, this is n't funny! Will you stop it!</dialogue> <character>CABLE GUY</character> <dialogue>The name is Spock. If we do n't battle to the death, they'll kill us both. Good - bye Jim.</dialogue> <scene_description>He swings his sword , and they battle ` Star Trek ' style . The Cable Guy begins to sing the `` Star Trek Battle Music '' as they fight .</scene_description> <character>STEVEN</character> <dialogue>This is n't ` Star Trek!'</dialogue> <scene_description>MUSIC UP : STAR TREK BATTLE MUSIC They bang the handles of their battle axes together , jockeying for position . The Cable Guy pushes Steven away from him , then takes a huge swing , but Steven leaps in the air over the blade . The Cable Guy swings over his head , and Steven blocks it with his ax handle . They continue to swing and roll in a vicious battle . Then the Cable Guy takes a swing which Steven is unable to block . The battle ax cuts through part of Steven 's protection . STEVEN -LRB- looking down -RRB- Jesus . The Cable Guy runs to a horses ' entrance . There is a long pause , and then we hear the sound of pounding horse hooves . A moment later the Cable Guy rides out on a horse holding a jousting stick . The show 's host runs up to Steven .</scene_description> <character>HOST</character> <dialogue>Quickly, muster a top your steed.</dialogue> <parenthetical>( Steven does n't move - the host drops character . )</parenthetical> <dialogue>Get on the god damn horse! I do n't think he's kidding!</dialogue> <scene_description>Left with no choice , Steven jumps on a horse and grabs a joust . The host smacks Steven 's horse sending it straight toward the charging Cable Guy . STEVEN Do n't do this ! CABLE GUY Jim , we have no choice ! STEVEN Oh my god . They run toward each other . A horrible game of chicken . Neither gives in . When they reach one another Steven knocks the Cable Guy off his horse with his jousting stick . The Cable Guy flies through the air , lands on his back . Steven rides to him . Jumps off his horse , throws off his helmet . STEVEN -LRB- concerned -RRB- Are you okay ? The Cable Guy sits up and smile at him . CABLE GUY Well done good sir . You are the victor , but we shall meet again . The two serfs put Steven on a chair connected to two poles . They carry him to the center of the arena in victory . The crowd cheers wildly . Steven feels the adrenaline rush . He holds up his arms in triumph , and smiles .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>They are walking up the stairs . CABLE GUY You 've got a real warrior 's instinct . STEVEN I 've got to admit there 's a real feeling of power holding that jousting stick . CABLE GUY If Robin saw you tonight , she would be begging you to take her back . I 'm telling you these knights get laid all the time . STEVEN We should go again next week . CABLE GUY Easy there Lancelot . Steven opens the door to his apartment .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Steven pops into the kitchen and hits a button on his answering machine . MACHINE You have zero messages . CABLE GUY Nobody loves ya . -LRB- grabs a beer from the fridge -RRB- Hey , I think I left my staple gun in the living room the other day . Could you be a pal ? Steven walks to the living room . 36AA INT . LIVING ROOM - CONTINUOUS Steven turns on the lights . CABLE GUY What do you think ? Steven 's entire stereo system and TV have been replaced with a sixty - five inch television , laser disc player , karaoke machine and a brand new stereo system . All top of the line . STEVEN What is this ? CABLE GUY I took the liberty of updating your in home entertainment system . I got you the big screen , plus THX quality sound that would make George Lucas cream in his pants . STEVEN You went in my house when I was n't home ? CABLE GUY How else was I supposed to get the stuff in here ? Magic ? STEVEN How much did this cost ? CABLE GUY Practically nothing . I have a connection . Preferred customer . I hook him up , he hooks me up . STEVEN Look , I ca n't accept this . I would n't feel right . CABLE GUY Yes but you give me something so much more valuable . friendship . STEVEN And you 've given me friendship , so we 're even . -LRB- beat -RRB- Really , do n't take it personally , but you 've got to take it back . CABLE GUY -LRB- sadly -RRB- Well , my buddy with the pick - up truck works all week . Is it all right if I leave it here till Saturday ? STEVEN -LRB- guilty -RRB- Sure , no problem . And do n't get me wrong . I really appreciate the gesture . CABLE GUY Mm - hmm . -LRB- beat -RRB- Staple gun ? STEVEN Oh , right . Steven picks up the staple gun . The Cable Guy pulls out a leather pouch . Steven drops the staple gun in the pouch . The Cable Guy never touches it .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S OFFICE - NEXT DAY</stage_direction> <scene_description>Steven dials the phone . On his computer screen a graphic reads `` HELLO STEVEN - HAVE A WONDERFUL DAY . '' STEVEN -LRB- into the phone -RRB- Robin , it 's Steven again . I 'm still trying to reach you . Okay , I 'm at work . Call me . He hangs up . He is getting frustrated . The door opens . Hal Daniels sticks his head in , but does not enter . MR. DANIELS How 's it going ? STEVEN Good . MR. DANIELS -LRB- long beat -RRB- Good good ? STEVEN Great . MR. DANIELS Good . Keep it up . He leaves . The phone rings . SECRETARY -LRB- through the intercom -RRB- Robin on line two . Steven lights up . He takes a deep breath , then answers the phone . STEVEN Hey , I had the best time the other night . When am I going to get you on my couch again ?</scene_description> </scene> <scene> <stage_direction>INT. VAN - DAY</stage_direction> <scene_description>The Cable Guy is driving around . He speaks on a cellular phone . CABLE GUY Well tonight 's not looking too good . How about tomorrow ? STEVEN Chip ? CABLE GUY I knew I 'd get you on the phone that way . Listen , that equipment will be history the day after tomorrow . It sure would be a pity to leave that karaoke machine a virgin . STEVEN What do you mean ? CABLE GUY Tomorrow night , you are having a karaoke jam . No ifs ands or buts . Well maybe a few butts . Later gator .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - SATURDAY NIGHT CLOSE UP - AN OLD MAN'S FACE INTENSELY SINGING "AMERICAN WOMAN."</stage_direction> <scene_description>We pull out to reveal we are in Steven 's living room . It is populated with about twenty odd looking misfits mingling and dancing to the music . Among them we see Rick looking very uncomfortable . 37AA INT . KITCHEN - CONTINUOUS Steven is on the phone . He is dressed up . Occasionally a misfit enters and grabs a drink from the fridge . STEVEN Hey Robin . What 's up ? Did you get my message ?</scene_description> </scene> <scene> <stage_direction>INT. - ROBIN'S APARTMENT - INTERCUT</stage_direction> <scene_description>The scene intercuts between the two locations . Robin is dressed up , and on her way out . ROBIN Yes . You left me five messages . It king of freaked me out . STEVEN Sorry . I 've been trying to reach you 'cause I 'm having a party . You 've got to come over . ROBIN -LRB- listens for a beat -RRB- I ca n't . I 'm going to dinner with someone . STEVEN Dinner ? What , like a date ? ROBIN Not really a date . STEVEN You 've got a date ?! I thought things were going well between us . ROBIN They are . STEVEN So why are you going out on a date ? ROBIN I made it before we got together the other night . I knew you would freak out . STEVEN I 'm not freaking out . ROBIN Yes , you are freaking out . STEVEN I 'm not . I just ca n't believe you would do this . ROBIN I 'm not doing anything wrong . I 'm allowed to date . It 's not like we 're back together . We had a good time the other night , and you 're already pressuring me . STEVEN -LRB- pissy -RRB- Fine , enjoy yourself . Have fun . ROBIN I will . STEVEN Fine . Bye . Steven hangs up the phone . The Cable Guy appears , and hands him a beer . CABLE GUY This is just a sign that you need to live a little . She 's having fun , and you should too . STEVEN You 're probably right . CABLE GUY Damn right I 'm right . STEVEN Oh , I got you a little something . He hands a box to the Cable Guy . CABLE GUY I thought you said we were even . You 're breaking the rules . STEVEN So shoot me . He opens it . The box says , `` Lose Your Lisp in Thirty Days . '' The Cable Guy is so moved he can not speak . STEVEN My brother said it might help with your lisp . The Cable Guy looks Steven in the eye for a long beat , then hugs him hard . CABLE GUY Words can not express . -LRB- he is too moved to finish his sentence -RRB- STEVEN It 's no big deal . CABLE GUY Yes it is . He stares at Steven until it makes him uncomfortable . CABLE GUY Now I 'm on a mission . This has got to be the best party ever ! Let 's rock .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>They walk into the living room . A sad looking OLDER MAN is singing `` Superfreak . '' Everyone 's having fun . We see a couple of off duty policemen in uniform mingling with the crowd . -LRB- Revision Ends - Blue -RRB- STEVEN You 've got plenty of friends . CABLE GUY These people are acquaintances . They 're not ride to the airport friends , like us . -LRB- sees something -RRB- Whoa , chick alert at three o'clock . A real barn burner . Do n't look . STEVEN You 're playing with me again . CABLE GUY No sirree Steven . This woman is all over you like a lamp - shade . STEVEN Shut up . He turns and sees a stunning woman standing in the middle of a group of male and female misfits . When he looks at her , she smiles . He quickly turns back . CABLE GUY Did it just get hotter in here ? -LRB- grabs his crotch -RRB- Oh , that hurts . STEVEN Who 'd she come with ? CABLE GUY I do n't know , but she looks pretty available to me . I 'd strike while the iron is hot . He who hesitates , masturbates , know what I 'm saying ?</scene_description> <character>ANGLE ON</character> <dialogue>A nerdy, balding man walks over to Rick. ODD MAN He sure can throw a party. Chip's an incredible man. I really admire him. RICK Where do you know him from? ODD MAN He hooked up my cable. Did n't charge me either. That's the kind of guy he is.</dialogue> <scene_description>ANGLE ON Steven slowly walks over to the pretty woman . STEVEN Hey . I 'm Steven . WOMAN Heather . STEVEN Can I get you something to drink ? HEATHER Sure . I 'll have a shot of tequila if you will . STEVEN Coming right up .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>AT THE KARAOKE AREA - Steven and Heather are singing `` You 're the One that I Want '' from `` Grease . '' They are both drunk , and having a great time . The Cable Guy walks over to Rick . CABLE GUY I 'm glad you accepted my invitation . RICK Steven invited me . The Cable Guy looks at Steven and Heather . CABLE GUY Look at him . Have you ever seen him so alive ? He 's changing , Rick . You 've got to learn to live with that . RICK I do n't know what your story is `` Chip Douglas , '' but I 'm going to find out . CABLE GUY Oooh . How dramatic . The song ends . Rick walks away . He waves to Steven as he heads out . Steven runs over to him . RICK I 'm getting out of here . STEVEN -LRB- drunk -RRB- Why ? This is a great party . This girl is really into me . RICK You 're whacked man . That guy is bad news . STEVEN You do n't even know him . You 're just mad 'cause he kicked your ass in basketball . RICK I ca n't even deal . I 'm outta here . ON THE CABLE GUY - At the karaoke area . He speaks into the microphone .</scene_description> <character>CABLE GUY</character> <dialogue>Hello everyone. First of all I'd like to thank Steven for being such a terific host.</dialogue> <scene_description>Steven smiles , and does a half wave to everyone as they applaud .</scene_description> <character>CABLE GUY</character> <dialogue>Do n't forget to kick in some spinach for the beer. Steven ai n't made of money. And I expect some of you to join in the clean up crew.</dialogue> <character>OFF DUTY COP</character> <dialogue>Sing something! Do a song!</dialogue> <character>CABLE GUY</character> <parenthetical>( false coyness . )</parenthetical> <dialogue>No. I really could n't.</dialogue> <character>ODD MAN</character> <dialogue>Come on! Do your song!</dialogue> <character>CABLE GUY</character> <dialogue>Okay, just to stop that guy from begging. This number is dedicated to all of the ladies in the house.</dialogue> <scene_description>He puts on a Janet Jackson type microphone , then breaks into a fast paced rap of the song `` Bust A Move , '' accompanied by elaborate dance moves .</scene_description> <character>CABLE GUY</character> <parenthetical>( rapping . )</parenthetical> <parenthetical>( Lyrics to `` Bust A Move . '' )</parenthetical> <dialogue /> <scene_description>During the musical break the Cable Guy begins to break dance . He knows all the moves . The robot , the spider , the crab . He looks like a deranged cast member or `` Electric Boogaloo . '' The guests go crazy . ANGLE ON STEVEN AND HEATHER</scene_description> <character>STEVEN</character> <dialogue>You sounded just like Olivia Newton John.</dialogue> <character>HEATHER</character> <dialogue>I've been practicing for years.</dialogue> <character>STEVEN</character> <parenthetical>( laughs . )</parenthetical> <dialogue>So what do you do?</dialogue> <character>HEATHER</character> <dialogue>I can barely hear you. Do you want to talk in the other room?</dialogue> <character>STEVEN</character> <dialogue>Oh. okay.</dialogue> <scene_description>They walk into Steven 's bedroom . ON THE CABLE GUY</scene_description> <character>CABLE GUY</character> <parenthetical>( Lyrics to `` Bust A Move . '' )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction> <scene_description>Steven and Heather are sitting on the bed talking .</scene_description> <character>STEVEN</character> <dialogue>She says she wants a break, and that's fine with me. I think I needed some time also.</dialogue> <character>HEATHER</character> <dialogue>Yeah. I know what you mean.</dialogue> <scene_description>She leans in and kisses him .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>The cable Guy has got all of the guests in a frenzy .</scene_description> <character>CABLE GUY</character> <parenthetical>( Lyrics to `` Bust A Move . '' )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. STEVEN'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Steven and Heather are kissing passionately . Suddenly the door flies open , and the Cable Guy dances into the room , takes out a Polaroid instamatic camera and FLASHES A PICTURE of them . Steven is disoriented . Behind the Cable Guy in the hallway is everyone from the party .</scene_description> <character>CABLE GUY</character> <parenthetical>( Lyrics to `` Bust A Move . '' )</parenthetical> <dialogue /> <scene_description>He continues to rap , dance and flash pictures of everyone as he dances out of the room .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - NEXT MORNING</stage_direction> <scene_description>Steven walks into the living room looking a little disheveled . The Cable Guy is cooking him breakfast .</scene_description> <character>CABLE GUY</character> <dialogue>Good morning sleepy head. I hope you do n't mind, I crashed on the couch. Bacon and eggs coming up.</dialogue> <character>STEVEN</character> <dialogue>Where did Heather go?</dialogue> <character>CABLE GUY</character> <dialogue>I heard her slip out early this morning.</dialogue> <character>STEVEN</character> <dialogue>What a night. That was just what I needed.</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> <character>CABLE GUY</character> <dialogue>You look like a new man.</dialogue> <character>STEVEN</character> <dialogue>I feel like a new man. I was getting so used to being rejected. I really liked her.</dialogue> <character>CABLE GUY</character> <dialogue>Hey, it was my treat.</dialogue> <character>STEVEN</character> <parenthetical>( taken aback . )</parenthetical> <dialogue>What do you mean it was `` your treat?''</dialogue> <character>CABLE GUY</character> <dialogue>You know, I bought this time, you buy next time.</dialogue> <character>STEVEN</character> <parenthetical>( getting concerned . )</parenthetical> <dialogue>Buy what?</dialogue> <character>CABLE GUY</character> <dialogue>You know, the women.</dialogue> <character>STEVEN</character> <dialogue>You mean Heather is a prostitute?</dialogue> <character>CABLE GUY</character> <dialogue>Of course she is. Do you think a woman like that would hang out with us if we were n't paying? Do n't tell me you did n't know.</dialogue> <character>STEVEN</character> <dialogue>I ca n't believe this.</dialogue> <scene_description>He sits in a chair , and leans over in pain .</scene_description> <character>CABLE GUY</character> <dialogue>She's clean I assure you. I tried her out last week to make sure she was top quality, and I'm as healthy as a horse. Not a drip. She's the best, ask any of my friends.</dialogue> <scene_description>Steven cringes .</scene_description> <character>STEVE</character> <dialogue>You've got to be kidding? Please tell me she's a friend of yours. You're just playing with my mind again, right?</dialogue> <character>CABLE GUY</character> <dialogue>I wish I had friends like that.</dialogue> <character>STEVEN</character> <dialogue>Get out of my house!</dialogue> <character>CABLE GUY</character> <dialogue>Do n't be ashamed of yourself. I know she was a working girl, but she kind of liked you. You might have been able to get a freebie.</dialogue> <character>STEVEN</character> <dialogue>Out, now! I do n't ever want to see you again.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>Robin is never going to forgive me.</dialogue> <character>CABLE GUY</character> <dialogue>I'll tell you how to handle that. Do n't tell her. You want to get her back, I'll help you get her back.</dialogue> <character>STEVEN</character> <dialogue>I do n't want your help. I want you to leave.</dialogue> <parenthetical>( gestures to the TV . )</parenthetical> <dialogue>And take that stuff out of here.</dialogue> <character>CABLE GUY</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Whatever. I can take a hint. I'll see ya'.</dialogue> <scene_description>The Cable Guy exits .</scene_description> </scene> <scene> <stage_direction>EXT. FANCY RESTAURANT - NIGHT</stage_direction> <scene_description>P.O.V. Shot - Robin and a date enter the restaurant . We move to reveal the Cable Guy driving up in his van . He watches them from across the street . A moment later he heads inside .</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction> <scene_description>The Cable Guy enters the restaurant . The HOSTESS walks over to him .</scene_description> <character>HOSTESS</character> <dialogue>May I help you?</dialogue> <character>CABLE GUY</character> <dialogue>No, I'm meeting someone here.</dialogue> <scene_description>He looks around the restaurant , then spots Robin and a handsome , chiseled man at a table . They are on a date . The Cable Guy looks angry . He walks to the restroom .</scene_description> </scene> <scene> <stage_direction>INT. RESTROOM - NIGHT</stage_direction> <scene_description>An OLDER BATHROOM ATTENDANT stands in front of the sinks . On the counter sits a variety of toiletries . A MAN washes his hands . The bathroom attendant hands him some paper towels . The man puts a tip in the basket , and exits .</scene_description> <character>BATHROOM ATTENDANT</character> <dialogue>Most appreciated.</dialogue> <scene_description>The Cable Guy walks over to the bathroom attendant . He dramatically whips out a twenty dollar bill , and puts it in front of the bathroom attendant 's nose .</scene_description> <character>CABLE GUY</character> <dialogue>You've been working hard. Take a break.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - A LITTLE LATER</stage_direction> <scene_description>Robin is talking to her date RAY . He is handsome , and somewhat goofy . They have empty salad plates in front of them .</scene_description> <character>RAY</character> <dialogue>My brother and I wan na start our own sun block company. But the twist is, it's only for skiing. SkiBlock. Or SunSki. We have n't decided yet. Maybe BlockSki. Do you think that sounds good?</dialogue> <character>ROBIN</character> <dialogue>BlockSki? That sounds right.</dialogue> <character>RAY</character> <dialogue>So, Gail told me you're just coming off a relationship.</dialogue> <character>ROBIN</character> <dialogue>Well, not really. We're kind of in a holding pattern. He wants more of a commitment, but I do n't think I'm ready. I just want to have a good time for a while.</dialogue> <character>RAY</character> <dialogue>Then we got to get you on a Skidoo!</dialogue> <character>ROBIN</character> <dialogue>Skidoo?</dialogue> <character>RAY</character> <dialogue>High powered snow mobile. It'll blow your mind. It flies over powder like it's glass.</dialogue> <scene_description>Their waitress passes by .</scene_description> <character>RAY</character> <parenthetical>( impatiently . )</parenthetical> <dialogue>Hey, how are you doing on that chicken? Have the eggs hatched yet? Thanks.</dialogue> <scene_description>Robin is mortified by his behavior .</scene_description> <character>RAY</character> <dialogue>So, how's your work going?</dialogue> <character>ROBIN</character> <dialogue>It's been crazy. They just hired a --</dialogue> <character>RAY</character> <dialogue>Hold that thought. I have to use the rest room. Be right back.</dialogue> <scene_description>He leaves . Robin looks relieved to have a break .</scene_description> </scene> <scene> <stage_direction>INT. RESTROOM - MOMENTS LATER</stage_direction> <scene_description>Ray enters the restroom . The Cable Guy is now wearing the bathroom attendant 's blue shirt white pants and a thin fake moustache . A DISTINGUISHED MAN walks over and washes his hands .</scene_description> <character>MAN</character> <parenthetical>( to Cable guy . )</parenthetical> <dialogue>Towel please.</dialogue> <character>CABLE GUY</character> <dialogue>My pleasure.</dialogue> <scene_description>The man puts out his hand to take the paper towel , but the Cable Guy does n't hand it to him , he grabs the man 's hands and surrounds them with several paper towels , and begins drying them furiously . When he 's done , he takes a beat and wipes them over and over , just to make sure they 're dry . The man is aghast .</scene_description> <character>CABLE GUY</character> <dialogue>Enjoy your meal</dialogue> <scene_description>The man exits . Ray walks toward the stalls .</scene_description> <character>CABLE GUY</character> <dialogue>Good evening sir. Pleasant night, is n't it?</dialogue> <character>RAY</character> <parenthetical>( curt . )</parenthetical> <dialogue>Yeah.</dialogue> <character>CABLE GUY</character> <dialogue>But I guess the weather's always pleasant in here. The winters are remarkably mild.</dialogue> <scene_description>He laughs at his own joke . Ray walks into the handicapped stall .</scene_description> <character>CABLE GUY</character> <parenthetical>( OS . )</parenthetical> <dialogue>If you need anything, just let me know. Anything at all.</dialogue> <character>RAY</character> <parenthetical>( getting annoyed . )</parenthetical> <dialogue>I think I can handle it.</dialogue> <scene_description>Ray unzips his fly , and prepares to pee standing up . Suddenly , as if out of thin air , the Cable Guy is standing right behind him . He speaks into Ray 's ear , startling him .</scene_description> <character>CABLE GUY</character> <dialogue>I'm here to serve you.</dialogue> <character>RAY</character> <dialogue>Jesus! Get out of here!</dialogue> <character>CABLE GUY</character> <dialogue>Most people never bother to take advantage of all my services, for instance --</dialogue> <scene_description>The Cable Guy grabs the back of Ray 's shirt , kicks his feet out from under him , and slams his face into the toilet bowl , sloshing it around . Ray struggles , but the Cable Guy is too strong .</scene_description> <character>CABLE GUY</character> <dialogue>I can help you wash up. Cleanliness is so very important.</dialogue> <scene_description>He pulls his face out . CABLE GUY Then once you 're done I have a variety of skin care products which can make you look years younger . The Cable Guy kicks the door open , and pulls Ray toward the counter . He grabs a bottle of lotion .</scene_description> <character>CABLE GUY</character> <dialogue>This lotion is superb at removing liver spots.</dialogue> <scene_description>He slaps it onto Ray 's face .</scene_description> <character>CABLE GUY</character> <dialogue>This one is an excellent moisturizer.</dialogue> <scene_description>The Cable Guy pours some after cologne into his hands , and rubs his hands together as if he 's about to put it on Ray 's face .</scene_description> <character>CABLE GUY</character> <dialogue>And one can never underestimate the effects of a good cologne.</dialogue> <scene_description>The Cable Guy rears back and slaps Ray across the face .</scene_description> <character>CABLE GUY</character> <parenthetical>( sniffs . )</parenthetical> <dialogue>Mm. High Karate. And now a touch of powder.</dialogue> <scene_description>He takes a large powder puff , and smashes it into Ray 's face temporarily blinding him .</scene_description> <character>CABLE GUY</character> <parenthetical>( grabs a tweezer . )</parenthetical> <dialogue>Ooh, I almost forget, it's oh so very important to be properly tweezed.</dialogue> <scene_description>The Cable Guy plucks several hairs out from between Ray 's eyebrows .</scene_description> <character>CABLE GUY</character> <dialogue>You're on a big date, you'll need fresh breath.</dialogue> <scene_description>He takes a clear jar of combs , and pours the blue fluid and the combs into Ray 's mouth .</scene_description> <character>CABLE GUY</character> <dialogue>Whoops, that's not mouth wash. But that reminds me. Proper hair care is a must.</dialogue> <scene_description>The Cable Guy combs his soaking wet hair into a very goofy looking side part .</scene_description> <character>CABLE GUY</character> <dialogue>Looking good, now let's dry you off.</dialogue> <scene_description>He runs Ray face first into the starting button of an automatic hand dryer . It turns on . The Cable Guy puts his face right up next to the air .</scene_description> <character>CABLE GUY</character> <dialogue>Now suck it. Suck the air!</dialogue> <scene_description>Ray hesitantly puts his mouth around the nozzle , and his cheeks start fluttering like an astronaut experiencing heavy G - Force .</scene_description> <character>CABLE GUY</character> <dialogue>from this angle you look just like Neil Armstrong experiencing G - Force. I believe you have the `` right stuff.''</dialogue> <scene_description>The Cable Guy pulls him away , and smashes his face into the tip basket .</scene_description> <character>CABLE GUY</character> <dialogue>Do n't worry about the tip. But I've got one for you.</dialogue> <parenthetical>( whispers into his ear . )</parenthetical> <dialogue>Stay away from Robin. She's taken.</dialogue> <scene_description>He tosses him out the door .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - CONTINUOUS</stage_direction> <scene_description>The door opens , and Ray falls to the floor .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - CONTINUOUS</stage_direction> <scene_description>Robin sits alone at her table . She looks at her watch . In the background the Cable Guy slips out .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Steven is watching television while eating a TV dinner . ON THE TV - LOCAL TELEVISION NEWS</scene_description> <character>ANCHOR MAN</character> <dialogue>Here's a bizarre story from downtown, where a man was beaten in a restroom by an assailant disguised as a bathroom attendant. The victim has been unable to speak since the unmotivated attack.</dialogue> <scene_description>We see the image of a shaken up RAY being led out of the restaurant by two police officers .</scene_description> <character>ANCHOR MAN</character> <dialogue>A police sketch artist put together this drawing from witnesses' descriptions.</dialogue> <scene_description>We see a drawing which looks a little like the Cable Guy . In it he has a moustache and appears to be Hispanic . Steven looks carefully . Does he know that man ? Nah . He changes the channel . ON THE TV - the FOX logo flies up , followed by a slick promo for a FOX Movie - of - the - Week on the Sam Sweet trial .</scene_description> <character>ANOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Tonight on Fox, the true story behind the trial that's captured the nation.</dialogue> <scene_description>We see ERIC ROBERTS holding a shotgun , pointed at another scared ERIC ROBERTS .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The jury may still be out, but the chilling facts are in. Eric Roberts, in his dramatic debut is Sam and Stan Sweet. `` Brother, Sweet Brother : The Killing of Stanton Sweet.'' Tonight on Fox.</dialogue> </scene> <scene> <stage_direction>EXT. ROBIN'S APARTMENT - DAY</stage_direction> <scene_description>The Cable Guy walks over to a FEMALE NEIGHBOR .</scene_description> <character>CABLE GUY</character> <dialogue>Excuse me, apartment 202 is Robin Harris?</dialogue> <character>FEMALE NEIGHBOR</character> <parenthetical>( points . )</parenthetical> <dialogue>It's right upstairs.</dialogue> </scene> <scene> <stage_direction>INT. ROBIN'S HOME - NEXT DAY</stage_direction> <scene_description>There is a LOUD KNOCK . Robin walks to the door and opens it without undoing the chain .</scene_description> <character>ROBIN</character> <dialogue>Who is it?</dialogue> <scene_description>The Cable Guy sticks his face as far into the crack of the door as possible .</scene_description> <character>CABLE GUY</character> <dialogue>It's the Cable Guy.</dialogue> <character>ROBIN</character> <dialogue>There's no problem with my cable.</dialogue> <character>CABLE GUY</character> <dialogue>I've got an upgrade order for one Robin Harris. The Rainbow package, that's every pay channel available.</dialogue> <character>ROBIN</character> <dialogue>I did n't order this.</dialogue> <character>CABLE GUY</character> <dialogue>Apparently you've got a secret admirer.</dialogue> <scene_description>She unlocks the chain , and the Cable Guy quickly steps inside .</scene_description> <character>ROBIN</character> <dialogue>Was it a man named Steven?</dialogue> <character>CABLE GUY</character> <dialogue>I ca n't tell you.</dialogue> <character>ROBIN</character> <dialogue>Come on.</dialogue> <character>CABLE GUY</character> <dialogue>No, I promised Steven I would n't say.</dialogue> <scene_description>He gave it away on purpose . They both laugh .</scene_description> <character>CABLE GUY</character> <dialogue>Whoops, I slipped. Well you did n't hear it from me.</dialogue> </scene> <scene> <stage_direction>INT. AIR DUCT - LATER</stage_direction> <scene_description>The Cable Guy is in the air duct . He is pulling cord . He reaches an area of the duct which opens up to a vent . He looks through and sees Robin changing in the bedroom . He tries not to look at Robin undress . He turns away .</scene_description> <character>CABLE GUY</character> <dialogue>I'm sorry Steven. I'm just a man.</dialogue> <scene_description>He turns back and looks at her . He notices a birthmark on her back .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - LATER</stage_direction> <scene_description>The Cable Guy is on his way out .</scene_description> <character>CABLE GUY</character> <dialogue>That about does it. Enjoy.</dialogue> <character>ROBIN</character> <dialogue>So, are you a friend of Steven's?</dialogue> <character>CABLE GUY</character> <dialogue>I'm proud to say I am. I installed his cable recently, and we just hit it off.</dialogue> <character>ROBIN</character> <dialogue>That's right. You fixed his cable the other night.</dialogue> <parenthetical>( suspicious . )</parenthetical> <dialogue>So you guys are going out a lot?</dialogue> <character>CABLE GUY</character> <dialogue>Not really. That man is devoted to you. You know I'm probably crossing a boundary telling you this, but he's really crazy about you.</dialogue> <character>ROBIN</character> <dialogue>Did he say that?</dialogue> <character>CABLE GUY</character> <dialogue>Only every five minutes. Quite frankly, I'm sick of hearing it. No, I'm just kidding with you.</dialogue> <parenthetical>( looks her deeply in the eyes . )</parenthetical> <dialogue>He's a good man. He mentioned that you guys have had some problems.</dialogue> <character>ROBIN</character> <dialogue>Well, it's a little complicated.</dialogue> <character>CABLE GUY</character> <dialogue>It always is. You know I asked a woman to marry me once. She said she wanted to think about it. We agreed to take some time apart to re - assess our feelings. To give each other.</dialogue> <parenthetical>( mockingly . )</parenthetical> <dialogue>space.</dialogue> <parenthetical>( chokes up . )</parenthetical> <dialogue>Well, she is no longer with us.</dialogue> <character>ROBIN</character> <dialogue>I'm so sorry.</dialogue> <character>CABLE GUY</character> <dialogue>Sometimes you do n't have the time you think you have. Just promise me you'll never go bungee jumping in Mexico.</dialogue> <character>ROBIN</character> <dialogue>I promise.</dialogue> <character>CABLE GUY</character> <parenthetical>( embarrassed that he spoke too much . )</parenthetical> <dialogue>Anyway, I've got to go.</dialogue> <scene_description>He quickly departs . We hold on Robin for a beat .</scene_description> </scene> <scene> <stage_direction>EXT. ROBIN'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>The Cable Guy smiles , proud of himself .</scene_description> </scene> <scene> <stage_direction>EXT. RENOVATION SITE - DUSK</stage_direction> <scene_description>Establishing shot of the building . We hear Steven 's cellular phone ring .</scene_description> </scene> <scene> <stage_direction>INT. RENOVATION SITE - DUSK - INTERCUT</stage_direction> <scene_description>Steven holds on a cellular phone as he walks down the long Gothic hallway of a half renovated school house . Around him construction workers go about their business .</scene_description> <character>STEVEN</character> <dialogue>Hello?</dialogue> <character>ROBIN</character> <parenthetical>( VO . )</parenthetical> <dialogue>I love you.</dialogue> <character>STEVEN</character> <dialogue>Robin?</dialogue> </scene> <scene> <stage_direction>INT. ROBIN'S APARTMENT - INTERCUT</stage_direction> <scene_description>Robin is on the phone .</scene_description> <character>ROBIN</character> <dialogue>Yes.</dialogue> <character>STEVEN</character> <parenthetical>( surprised . )</parenthetical> <dialogue>I. love you too.</dialogue> <character>ROBIN</character> <dialogue>That was so sweet of you.</dialogue> <character>STEVEN</character> <parenthetical>( playing along . )</parenthetical> <dialogue>Oh. well.</dialogue> <character>ROBIN</character> <dialogue>You did n't have to do that.</dialogue> <character>STEVEN</character> <dialogue>I. wanted to.</dialogue> <character>ROBIN</character> <dialogue>Giving me free cable. Only you would do that.</dialogue> <character>STEVEN</character> <dialogue>You got it? Great.</dialogue> <character>ROBIN</character> <dialogue>Yes, your friend came by.</dialogue> <character>STEVEN</character> <dialogue>My friend?</dialogue> <character>ROBIN</character> <dialogue>The Cable Guy. I liked him. He was kind of goofy, but nice. Thank you so much for doing that.</dialogue> <character>STEVEN</character> <dialogue>I'm. glad you liked it. I've wanted to do something nice for you, but I've been trying to give you your space.</dialogue> <character>ROBIN</character> <dialogue>Well, I do n't think we should make rules anymore.</dialogue> <character>STEVE</character> <dialogue>Okay.</dialogue> <character>ROBIN</character> <dialogue>Call me later if you're around?</dialogue> <character>STEVEN</character> <dialogue>Sure. I'll call you as son as I get home. Bye.</dialogue> <scene_description>Steven is elated . He can barely contain himself .</scene_description> <character>RICK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Steven, are you ready to go?</dialogue> <scene_description>Steven turns and sees Rick wearing a `` Soundgarden '' T - shirt .</scene_description> <character>STEVEN</character> <parenthetical>( pained . )</parenthetical> <dialogue>The concert. Oh Jesus.</dialogue> <character>RICK</character> <dialogue>What?</dialogue> <character>STEVEN</character> <dialogue>Robin just called. I think we're getting back together.</dialogue> <character>RICK</character> <parenthetical>( pissed . )</parenthetical> <dialogue>So you're blowing me off? I ca n't believe this.</dialogue> <character>STEVEN</character> <dialogue>This is the first time she asked to get back together.</dialogue> <character>RICK</character> <dialogue>You do this every time. You only call me after a girl breaks your heart. `` Oh Rick can I stay on your couch? Let's talk all night about how mean girls are.'' Then as soon as a relationship starts again it's bye - bye Rick. I do n't know why I fall for it anymore.</dialogue> </scene> <scene> <stage_direction>EXT. STEVEN'S APARTMENT - NIGHT</stage_direction> <scene_description>It is raining . Rick pulls up , and drops Steven off .</scene_description> <character>STEVEN</character> <dialogue>Ca n't you get someone else to go?</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> <character>RICK</character> <dialogue>Maybe I'll take MY cable guy.</dialogue> <scene_description>Steven gets out of the car . Rick drives off . Steven walks up the steps to his apartment . The Cable Guy appears from behind a corner .</scene_description> <character>CABLE GUY</character> <dialogue>Pretty smooth work. I set'em up, you knock'em down.</dialogue> <character>STEVEN</character> <dialogue>What?</dialogue> <character>CABLE GUY</character> <dialogue>Robin. I got her back for you. I juiced her up.</dialogue> <character>STEVEN</character> <dialogue>How do you know we're back together?</dialogue> <character>CABLE GUY</character> <dialogue>Free cable is the ultimate aphrodisiac.</dialogue> <character>STEVEN</character> <dialogue>I do n't want you messing around with my life. You've caused enough trouble as it is.</dialogue> <character>CABLE GUY</character> <dialogue>I know. I felt bad about the other night, so I wanted to make it up to you. So what are you doing? Do you want to catch a bite?</dialogue> <scene_description>Steve looks the Cable Guy in the eye .</scene_description> <character>STEVEN</character> <parenthetical>( sincerely yet curt . )</parenthetical> <dialogue>Look, I appreciate you helping me out with Robin. But you have to understand, I'm going to have to work extra hard to not screw this relationship up again. You're a great guy, but I just do n't have any room in my life for a new friend. Do you understand?</dialogue> <character>CABLE GUY</character> <dialogue>I appreciate your honesty. You're a real straight shooter.</dialogue> <character>STEVEN</character> <dialogue>So, you're okay?</dialogue> <character>CABLE GUY</character> <dialogue>Hey, I'm a big boy. It's no big deal. Whatever.</dialogue> <character>STEVEN</character> <dialogue>All right. well, take care.</dialogue> <character>CABLE GUY</character> <dialogue>Have a good one.</dialogue> <scene_description>The Cable Guy walks away . Steven stands there feeling a little guilty about what he just did . MUSIC UP .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - NIGHT</stage_direction> <scene_description>ON THE TV - Conan O'Brien is doing a monologue joke about Sam Sweet . Steven and Robin are kissing . Outside it is raining . There is occasional lightning and thunder . In the middle of kissing , lightning flashes . Steven looks up and sees a flash of the Cable Guy staring down at them , his faced pressed against the skylight . In the next flash he is gone . Was it real ? Steven looks scared .</scene_description> <character>ROBIN</character> <dialogue>Are you alright?</dialogue> <character>STEVEN</character> <dialogue>I'm fine.</dialogue> <scene_description>They go back to kissing .</scene_description> </scene> <scene> <stage_direction>EXT. TELEPHONE POLE/INT. ROBIN'S OFFICE - DAY</stage_direction> <scene_description>The Cable Guy and Robin are speaking on the phone . As the conversation continues we slowly pull back and reveal that the Cable Guy is standing on the top of a telephone pole , dressed as a phone company employee . He speaks into a repairman 's phone which is illegally hooked into the telephone pole .</scene_description> <character>CABLE GUY</character> <dialogue>Hey, it's Chip Douglas.</dialogue> <character>ROBIN</character> <dialogue>Chip Douglas?</dialogue> <character>CABLE GUY</character> <dialogue>Your cable guy.</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> <character>ROBIN</character> <parenthetical>( surprised to hear from him . )</parenthetical> <dialogue>Oh, hi. What's up?</dialogue> <character>CABLE GUY</character> <dialogue>I feel kind of weird calling you. It's just. I'm worried about Steven.</dialogue> <character>ROBIN</character> <dialogue>What is it?</dialogue> <character>CABLE GUY</character> <dialogue>Something is n't right. He has n't been himself lately. Have you noticed anything?</dialogue> <character>ROBIN</character> <dialogue>No, things are actually going really well.</dialogue> <character>CABLE GUY</character> <dialogue>Good.</dialogue> <character>ROBIN</character> <dialogue>Should I be worried?</dialogue> <character>CABLE GUY</character> <dialogue>Nope. I'm probably just being a nervous nellie. Let's just keep our eyes open.</dialogue> <character>ROBIN</character> <parenthetical>( nervous . )</parenthetical> <dialogue>I will. Good - bye.</dialogue> <scene_description>She hangs up , then dials Steven 's number .</scene_description> <character>ROBIN</character> <dialogue>Steven Bartowsky please.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S SECRETARY'S DESK - CONTINUOUS</stage_direction> <scene_description>His secretary , JOAN , answers the phone .</scene_description> <character>JOAN</character> <dialogue>Sorry Robin. He's in a meeting.</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction> <scene_description>A dozen of the top employees of the company Steven works for are having a meeting . Steven listens intently as a SALES MANAGER speaks to the group .</scene_description> <character>SALES MANAGER</character> <dialogue>The response to our initial offering has been remarkable. A local investment group has decided to buy the entire complex and turn them into rentals. In retrospect I must admit we made one big mistake.</dialogue> <scene_description>Everyone hangs on his every word .</scene_description> <character>SALES MANAGER</character> <dialogue>We should have asked for more money.</dialogue> <scene_description>The entire room laughs . Mr. Daniels stands up .</scene_description> <character>MR. DANIELS</character> <dialogue>I just want to put this out there, Stevey. You did it bro. You laid your cajones, and mine, out on the table, and you slam dunked it. Way to go.</dialogue> <parenthetical>( nervously jokes . )</parenthetical> <dialogue>Now watch, they'll kick you upstairs ahead of me. All right, in other business.</dialogue> <scene_description>As Mr. Daniels speaks , Joan tries to get Steven 's attention from a crack in the door .</scene_description> <character>JOAN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Pssst. Steven.</dialogue> <scene_description>Steven turns and sees her . She waves for him to come to her . He waves her off .</scene_description> <character>JOAN</character> <parenthetical>( more urgently - quietly . )</parenthetical> <dialogue>I really need to speak with you.</dialogue> <scene_description>Some people are beginning to notice this exchange .</scene_description> <character>STEVEN</character> <parenthetical>( curtly . )</parenthetical> <dialogue>It can wait.</dialogue> <scene_description>Right then two POLICE OFFICERS storm into the room . Joan stands behind them looking concerned .</scene_description> <character>POLICE OFFICER</character> <dialogue>Is there a Steven Bartowsky here?</dialogue> <character>STEVEN</character> <dialogue>Uh. I'm Steven Bartowsky. What's going on?</dialogue> <character>POLICE OFFICER</character> <dialogue>You are under arrest.</dialogue> <character>MR. DANIELS</character> <dialogue>On what charge?</dialogue> <character>POLICE OFFICER</character> <dialogue>Receipt of stolen merchandise.</dialogue> <character>STEVEN</character> <dialogue>What? I never --</dialogue> <character>POLICE OFFICER</character> <dialogue>Please put our hands on the table.</dialogue> <scene_description>Steven moves a sudden move toward the Police Officer . The Officer jabs him in the ribs with his club . Steven groans , then leans over in pain .</scene_description> <character>POLICE OFFICER</character> <dialogue>Please follow my instructions. Hands on the table.</dialogue> <scene_description>Steven puts his hands on the table . The Officer kicks his legs apart , then frisks him in front of everyone . It is pure humiliation .</scene_description> <character>POLICE OFFICER</character> <dialogue>Hands behind your back.</dialogue> <scene_description>The other Officer cuffs him , then turns him around . POLICE OFFICER # 2 You have the right to remain silent . Anything you say may be used against you in a court of law . You have the right to an attorney . If you can not afford an attorney one will be provided for you . Do you understand ?</scene_description> <character>STEVE</character> <dialogue>This is all a mistake. I did n't accept any stolen goods.</dialogue> <scene_description>Just then it hits him . He hears the Cable Guy 's voice in his head .</scene_description> <character>CABLE GUY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( with echo . )</parenthetical> <dialogue>. you're getting THX quality sound that would make George Lucas cream in his pants -- cream in his pants.</dialogue> <scene_description>He pushes him toward the door . Steven looks at everyone 's horrified faces as he is taken away . He tries to break the tension with a joke .</scene_description> <character>STEVEN</character> <dialogue>Hey, relax. I'm the one who's going to jail.</dialogue> <scene_description>Nobody laughs . He exits .</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE TOWER - MOMENTS LATER</stage_direction> <scene_description>Steven is walked to a police car , and put inside . We slowly reveal a man across the street at an auto shop . He is looking under the hood of his car . Apparently it has broken down . The man turns and we see that it is the Cable Guy covertly watching Steven 's humiliation . As the policeman pushes Steven into the car he looks at the Cable guy and touches his nose . The Cable Guy touches his nose .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - LATER</stage_direction> <scene_description>Steven is chained to a bench . He is speaking to his father EARL , a stout man of sixty , and his LAWYER .</scene_description> <character>EARL</character> <dialogue>I ca n't believe you did this.</dialogue> <character>STEVEN</character> <dialogue>I did n't do anything. My cable guy gave me all that stuff as a present.</dialogue> <character>EARL</character> <dialogue>A stereo system and a big screen TV as a present? You expect me to believe that? You know you're killing your mother with this.</dialogue> <character>STEVEN</character> <dialogue>I swear it's true.</dialogue> <character>EARL</character> <dialogue>Why would you accept such extravagant gifts?</dialogue> <character>STEVEN</character> <dialogue>I do n't know. I should n't have.</dialogue> <character>EARL</character> <dialogue>What is really going on here Steven? Are you on something?</dialogue> <character>STEVEN</character> <dialogue>I'm fine! I did n't do anything! Please call my cable guy, his name is Ernie Douglas.</dialogue> <character>LAWYER</character> <dialogue>Steven, the police looked into it, nobody named Ernie Douglas works for ` The Cable Company.'</dialogue> <character>EARL</character> <dialogue>You want to tell us the truth now</dialogue> <character>STEVEN</character> <parenthetical>( falling apart . )</parenthetical> <dialogue>That's got to be a mistake. Oh, this is not happening.</dialogue> <character>EARL</character> <dialogue>Yes it is, and it's killing your mother. Did you deliberately want to ruin our fortieth anniversary party on Monday, Steven?</dialogue> <character>STEVEN</character> <dialogue>Yeah, Dad, I did. It's all a big plan.</dialogue> <parenthetical>( to the lawyer . )</parenthetical> <dialogue>When can you get me out of here?</dialogue> <character>LAWYER</character> <dialogue>Unfortunately it's too late to get a bail hearing today. You're going to have to spend the weekend in county lock up.</dialogue> <character>STEVEN</character> <dialogue>The entire weekend?</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> </scene> <scene> <stage_direction>INT. PRISON - LATER</stage_direction> <scene_description>Steven is now wearing prison blues . He holds a pillow and a set of sheets as he walks down the long corridor to his cell . Lining each side are cells filled with angry prisoners who throw things at Steven , and taunt him as he walks by . It is a nightmare . PRISONER # 1 New meat ! Look at the pretty boy ! PRISONER # 2 Nobody touches him , he 's mine ! You touch him , you 're dead ! PRISONER # 3 Is baby scared ? Do n't cry baby ! They all laugh and scream at him until he reaches his cell . A guard opens the door . Steven enters his cell . He turns and inside is an angry looking prisoner . The door is locked behind him .</scene_description> <character>ANGRY PRISONER</character> <dialogue>Ooh, looks like I won the lottery.</dialogue> </scene> <scene> <stage_direction>INT. VISITORS ROOM - MORNING</stage_direction> <scene_description>A guard walks Steven in . His lawyer sits on the other side of the glass with his back to Steven . Steven sits down and picks up the phone , excited to hear any news .</scene_description> <character>STEVEN</character> <dialogue>What did you hear? What did you hear?</dialogue> <scene_description>The man turns around . It is not Steven 's lawyer , it is the Cable Guy dressed in an expensive suit .</scene_description> <character>CABLE GUY</character> <dialogue>Hello Steven. I came as soon as I heard.</dialogue> <scene_description>Steven 's head sinks .</scene_description> <character>STEVEN</character> <dialogue>Who are you?! What's your real name?!</dialogue> <character>CABLE GUY</character> <dialogue>So many questions.</dialogue> <character>STEVEN</character> <dialogue>Why are you doing this to me?</dialogue> <character>CABLE GUY</character> <dialogue>I did n't do this to you, you did this to you. You need to learn who your friends are.</dialogue> <character>STEVEN</character> <dialogue>You set me up.</dialogue> <character>CABLE GUY</character> <dialogue>I taught you a lesson. I can be your best friend, or your worst enemy. I hope you'll choose the latter. I mean, the former. You know what I mean.</dialogue> <character>STEVEN</character> <dialogue>I'll never be your friend. You need help.</dialogue> <scene_description>The Cable Guy absorbs the blow , then goes on the offensive .</scene_description> <character>CABLE GUY</character> <dialogue>Right now I think you're the one who needs help. I'm here to give you comfort.</dialogue> <scene_description>The Cable Guy huts his hand up to the glass .</scene_description> <character>CABLE GUY</character> <dialogue>Come on, touch it.</dialogue> <scene_description>Steven just stares at him .</scene_description> <character>CABLE GUY</character> <dialogue>Come on. You need human contact. Touch it.</dialogue> <character>STEVEN</character> <dialogue>I will not touch it.</dialogue> <scene_description>The Cable Guy stands up , and begins unbuttoning his shirt .</scene_description> <character>STEVEN</character> <dialogue>What are you doing? Stop it.</dialogue> <scene_description>Steven looks around frantically .</scene_description> <character>CABLE GUY</character> <dialogue>I know how you're feeling right now.</dialogue> <scene_description>The Cable Guy pushes his naked breast against the glass . Other prisoners are beginning to stare .</scene_description> <character>STEVEN</character> <parenthetical>( smacking the glass . )</parenthetical> <dialogue>Stop it! Stop it!</dialogue> <character>CABLE GUY</character> <dialogue>I'm here for you.</dialogue> <character>STEVEN</character> <parenthetical>( smacks the glass three times . )</parenthetical> <dialogue>Get off there! Are you trying to get me killed?</dialogue> <scene_description>The Cable Guy begins to laugh .</scene_description> <character>CABLE GUY</character> <parenthetical>( as he buttons his shirt . )</parenthetical> <dialogue>I was just messing with your mind. That was from ` Midnight Express.' Awesome film. Oliver Stone won the Academy Award for the screenplay.</dialogue> <character>STEVEN</character> <dialogue>Guard! Guard!</dialogue> <character>CABLE GUY</character> <dialogue>Do n't you worry about Robin, I'll make sure she's well taken care of.</dialogue> <character>STEVEN</character> <dialogue>You go near her, I'll kill you.</dialogue> <scene_description>Steven lunges at the glass . Steven 's guard pulls Steven out of the room toward the exit .</scene_description> <character>STEVEN</character> <dialogue>Hey, this is the guy who framed me!</dialogue> <scene_description>The Cable Guy walks to his door . He turns to the guard at the door .</scene_description> <character>CABLE GUY</character> <parenthetical>( warmly . )</parenthetical> <dialogue>Louis, how'd you like that Tyson fight on Pay Per View? I told you it's more fun when it's Free Per View.</dialogue> <scene_description>They both laugh . The door closes behind them .</scene_description> </scene> <scene> <stage_direction>EXT. OUTDOOR CAFÉ - DAY</stage_direction> <scene_description>The Cable Guy is sitting at a table wearing a Walkman . People look at him funny as he speaks out loud to his lisp tape . -LRB- Revision 11/13/95 - Blue -RRB-</scene_description> <character>CABLE GUY</character> <parenthetical>( over - pronouncing . )</parenthetical> <dialogue>Sea shells. Sea shells. Salmon. Salmon. Silverware. Silverware. Suspicious. Suspicious. Sensational. Sensational.</dialogue> <scene_description>Robin is brought over to the table by a hostess . The Cable Guy takes off his Walkman , and stands up to be polite . He sits down in perfect synch with her .</scene_description> <character>ROBIN</character> <dialogue>Hello.</dialogue> <character>CABLE GUY</character> <dialogue>Hello. I'm sorry we have to meet under these circumstances.</dialogue> <character>ROBIN</character> <dialogue>Me too. Believe me.</dialogue> <character>CABLE GUY</character> <dialogue>I know we do n't know each other very well, but we do have one thing in common, our concern for Steven.</dialogue> <character>ROBIN</character> <dialogue>Well, you were right. Something's happening with him and he wo n't even acknowledge it.</dialogue> <character>CABLE GUY</character> <dialogue>If he refuses to admit he has a problem, we may have to let him hit bottom. He's gon na need some tough love.</dialogue> <character>ROBIN</character> <parenthetical>( tentatively . )</parenthetical> <dialogue>You know his lawyer said that nobody named Ernie Douglas works for the Cable Company.</dialogue> <character>CABLE GUY</character> <parenthetical>( chuckles . )</parenthetical> <dialogue>Did he do a name search?'Cause I work under a pseudonym so the customers wo n't harass me at home. Kind of like a stripper. My real name is Larry, Larry Tate.</dialogue> <character>ROBIN</character> <dialogue>And he's saying he received all the stereo equipment from you.</dialogue> <character>CABLE GUY</character> <parenthetical>( I know , and I 'm not mad .</parenthetical> <parenthetical>He 's been cornered , so he 's telling some wives tales .</parenthetical> <parenthetical>He does n't mean to hurt me .</parenthetical> <dialogue /> <character>ROBIN</character> <dialogue>I just feel like I triggered this with him. It's not that I do n't want to get married, it's just I felt like he wanted to get married just to get married. I do n't deal well with pressure.</dialogue> <character>CABLE GUY</character> <dialogue>Hey, welcome to the human race. We're not perfect. We all think we have to look like a ` Baywatch' babe and be as witty as ` Seinfeld.' Give yourself a break.</dialogue> <character>ROBIN</character> <dialogue>God I could go for turkey and mashed potatoes now.</dialogue> <character>CABLE GUY</character> <dialogue>Comfort food. Bring it on.</dialogue> <character>ROBIN</character> <dialogue>Exactly.</dialogue> <scene_description>She laughs .</scene_description> <character>CABLE GUY</character> <dialogue>You've got a great laugh. Can I make a small request? I'd like to hear it a little more often.</dialogue> <scene_description>She blushes .</scene_description> </scene> <scene> <stage_direction>INT. PRISON ADMINISTRATION - NEXT DAY</stage_direction> <scene_description>ON THE TV - Hard Copy 's BARRY NOLAN , sits behind his desk giving a news update .</scene_description> <character>BARRY NOLAN</character> <dialogue>The Sam Sweet trial has been thrown into chaos as a result of a videotape made a month after the killing. In this `` Hard Copy'' exclusive an apparently intoxicated Sam Sweet puts on a macabre show for his friends at a party. The judge has not decided whether this tape is admissible as evidence.</dialogue> <scene_description>We see a videotape of Sam Sweet at a party . The date and time are seen in the corner . Sam stands next to the corner of a wall which is completely covered with a mirror . Sam gestures with a beer bottle as he looks at his reflection in the mirror .</scene_description> <character>SAM SWEET</character> <parenthetical>( to camera . )</parenthetical> <dialogue>Hey everyone. Look it's me and.</dialogue> <parenthetical>( gestures to his reflection . )</parenthetical> <dialogue>my brother Stan.</dialogue> <parenthetical>( waves at reflection . )</parenthetical> <dialogue>Hi Stan. It's so nice to see you. How are you feeling?</dialogue> <parenthetical>( to camera . )</parenthetical> <dialogue>Look, he's alive.</dialogue> <scene_description>Sam punches the mirror , shattering it .</scene_description> <character>SAM SWEET</character> <parenthetical>( angry . )</parenthetical> <dialogue>Now he's dead.</dialogue> <scene_description>Realizing he 's revealed too much , he forces a smile .</scene_description> <character>SAM SWEET</character> <dialogue>What? I'm just goofing around.</dialogue> <scene_description>We pull back and reveal a group of police officers watching this on television . We pan over to Steven 's father EARL paying bail .</scene_description> <character>STEVEN</character> <dialogue>I'm sorry dad.</dialogue> <character>EARL</character> <dialogue>I do n't want to hear it. Do you know the pain you out your mother through? You're lucky she did n't die of a heart attack.</dialogue> <character>STEVEN</character> <dialogue>I did n't do anything.</dialogue> <character>EARL</character> <dialogue>Just like you said you did n't steal that' X - Men' comic book when you were eight. Then I found it in your underwear drawer.</dialogue> <character>STEVEN</character> <dialogue>Will you ever stop mentioning that?</dialogue> <character>EARL</character> <dialogue>This cost me a lot of money. You jump bail, and I swear I'll hire a bounty hunter to hunt you down.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - DAY</stage_direction> <scene_description>Steven walks into his apartment , exhausted from his jail experience . He walks into the living room and sees several new frames on the wall . They are four foot blow ups of Polaroid photographs of Steven with his arm around the Cable Guy at the karaoke jam . The photos have been tinted in a stylish fashion . Steven angrily runs to the wall and takes them down .</scene_description> </scene> <scene> <stage_direction>EXT. STEVEN'S PARENTS' HOME - NIGHT</stage_direction> <scene_description>Steven and Robin are walking up the stairs to the front door . They are dressed up for his parents ' anniversary party . -LRB- Revision Ends - Blue -RRB-</scene_description> <character>ROBIN</character> <dialogue>Are you sure you're okay?</dialogue> <character>STEVEN</character> <dialogue>I'm fine.</dialogue> <character>ROBIN</character> <dialogue>You're not fine. When you say you're fine, I know you're not fine.</dialogue> <character>STEVEN</character> <dialogue>I just want to get this over with so I can go home and get some rest.</dialogue> <character>ROBIN</character> <dialogue>I wanted you to know I invited your friend. He was concerned about you.</dialogue> <character>STEVEN</character> <dialogue>Great. I feel. Bad. I've been kind of blowing Rick off lately.</dialogue> <scene_description>He rings the doorbell .</scene_description> <character>ROBIN</character> <dialogue>Not Rick.</dialogue> <scene_description>The door opens . Standing there , dressed to kill , is the Cable Guy .</scene_description> <character>CABLE GUY</character> <dialogue>You can only come in if you came to rage.</dialogue> <scene_description>Steven is shocked . Robin walks in . When Steven walks in , the Cable Guy stops him .</scene_description> <character>CABLE GUY</character> <parenthetical>( to Robin . )</parenthetical> <dialogue>Is this guy cool?</dialogue> <parenthetical>( to Steven . )</parenthetical> <dialogue>I'm just joshing. Come on in.</dialogue> <scene_description>They walk inside .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S FATHER'S HOME</stage_direction> <scene_description>Steven turns to Robin .</scene_description> <character>STEVEN</character> <parenthetical>( enraged . )</parenthetical> <dialogue>What is he doing here?</dialogue> <character>ROBIN</character> <dialogue>I invited him.</dialogue> <character>STEVEN</character> <dialogue>When did you invite him?</dialogue> <character>ROBIN</character> <dialogue>At lunch the other day.</dialogue> <character>STEVEN</character> <dialogue>At lunch? You had lunch with him?</dialogue> <scene_description>The Cable Guy walks over .</scene_description> <character>ROBIN</character> <dialogue>Hello. You look great.</dialogue> <scene_description>She gives him a peck on the cheek . Steven winces .</scene_description> <character>CABLE GUY</character> <dialogue>And you are a vision. Hello Steven. You're looking rested.</dialogue> <character>STEVEN</character> <dialogue>Come here.</dialogue> <scene_description>He pulls the Cable Guy aside .</scene_description> <character>CABLE GUY</character> <dialogue>Steven, what's with you tonight? I'm getting some really weird energy from you.</dialogue> <character>STEVEN</character> <dialogue>Maybe it's because I just got out of prison, where you sent me. I should just drag you to the police right now.</dialogue> <character>CABLE GUY</character> <dialogue>You can if you like, but I'd hate to have to show Robin this.</dialogue> <scene_description>He takes out a Polaroid of Steven kissing the hooker .</scene_description> <character>STEVEN</character> <dialogue>You son of a bitch.</dialogue> <scene_description>The Cable Gut quickly puts it away .</scene_description> <character>CABLE GUY</character> <dialogue>Come on Steven, let's just have a good time tonight.</dialogue> <scene_description>Robin , Earl and Steven 's mother walk over .</scene_description> <character>EARL</character> <dialogue>Steven, your mother and I had a long talk with your friend Larry here when he came over to screw in the cable.</dialogue> <character>STEVEN'S MOTHER</character> <parenthetical>( to the Cable Guy . )</parenthetical> <dialogue>Thank you again for that.</dialogue> <character>EARL</character> <parenthetical>( beat . )</parenthetical> <dialogue>We owe you an apology. I did n't realize the seriousness of your problems. You're obviously going through some kind of personal hell and I need to be more understanding. We did n't get involved with things like that when I was your age.</dialogue> <scene_description>Steven can not figure out what kind of lie the Cable Guy has told them .</scene_description> <character>EARL</character> <dialogue>I know we have n't been there for you lately but we're going to see you through this,'cause we are a family. I love you.</dialogue> <scene_description>He gives him a big hug . Steven grimaces .</scene_description> <character>STEVEN'S MOTHER</character> <dialogue>You've got a good friend here.</dialogue> <scene_description>They walk into the next room where the entire family is gathered for pre - dinner cocktails . Steven 's brother PETE walks over to Steven . He carries a baby in a pouch .</scene_description> <character>PETE</character> <parenthetical>( winks . )</parenthetical> <dialogue>Hey buddy, we're with you. Keep your chin up.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM - LATER</stage_direction> <scene_description>As the Cable Guy charms Steven 's family we pan across all of the guests laughing , and enjoying dinner .</scene_description> <character>CABLE GUY</character> <dialogue>So Steven is carrying this battle ax, and he's chasing me, swinging like a mad man. I'm yelling at him, ` hey, it's just a show!'</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> <character>STEVEN'S SISTER</character> <dialogue>He always takes things too seriously.</dialogue> <character>CABLE GUY</character> <dialogue>Tell me something I do n't know. This guy almost took my head off.</dialogue> <scene_description>Everybody laughs . The camera moves to Steven . He stares at the Cable Guy , his eyes filled with rage . STEVEN 'S P.O.V. . The Cable Guy is talking and eating in SLOW - MOTION . ON STEVEN - watching him . He is in normal motion . ON THE CABLE GUY - eating in SLOW - MOTION ON STEVEN - getting very irritated .</scene_description> <character>STEVEN</character> <dialogue>What are you doing?</dialogue> <scene_description>ON THE CABLE GUY As he talks we realize he has not been in slow motion , he 's just been pretending he 's in slow motion .</scene_description> <character>CABLE GUY</character> <dialogue>It's from `` Goodfellas.'' Remember the intro scene at the bar. I'm Johnny Two Times.</dialogue> <scene_description>He moves in slow motion some more . Everyone laughs . TONY , Steven 's six year old nephew , runs to the Cable Guy with a toy gun . TONY/CABLE GUY Pow , pow , pow . You 're under arrest . Everyone laughs . The Cable Guy starts running around the table . Tony makes chase , laughing all the way .</scene_description> <character>CABLE GUY</character> <dialogue>You'll never catch me copper.</dialogue> <scene_description>The Cable Guy stops , grabs a piece of asparagus and puts it between his lip and nose , and pretends it 's a moustache .</scene_description> <character>CABLE GUY</character> <dialogue>I'm gon na wear a disguise.</dialogue> <scene_description>Steven looks at the Cable Guy and remembers something . STEVEN 'S P.O.V. - He sees the Cable Guy . The artist 's rendering of the man who beat up Robin 's date appears in front of the Cable Guy 's face . Steven realizes that they are the same person . Steven gets a frightened look on his face . The kid points his gun at the Cable Guy and yells `` pow . '' The Cable Guy drops to the floor like he 's been shot .</scene_description> <character>CABLE GUY</character> <dialogue>Oh, you got me.</dialogue> <scene_description>The Cable Guy plays dead . The kid walks over to him . When he gets close , the Cable Guy lunges to grab him .</scene_description> <character>CABLE GUY</character> <parenthetical>( devil voice . )</parenthetical> <dialogue>Aaah! Nobody messes with me and lives!</dialogue> <scene_description>The kid screams with laughter and runs away . The Cable Guy chases him around the table and out of the room . Steven instantly fears for Tony 's safety . He follows them . 72 - 75 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIBRARY - A MOMENT LATER</stage_direction> <scene_description>Steven walks around looking for Tony . Suddenly from behind a couch Tony and the Cable Guy pop out . TONY/CABLE GUY Booo ! Steven flies back , scared out of his wits . Tony and the Cable Guy start laughing hysterically . They have a grand ` ol time enjoying their little prank .</scene_description> <character>CABLE GUY</character> <dialogue>Oh man, you should have seen your face. It was classic.</dialogue> <character>STEVEN</character> <dialogue>Very funny. Tony, go to your mother!</dialogue> <scene_description>Tony immediately starts crying . He leaves .</scene_description> <character>CABLE GUY</character> <dialogue>Look what you've done.</dialogue> <character>STEVEN</character> <dialogue>I know you beat up Robin's date.</dialogue> <scene_description>The Cable Guy 's laughter stops on a dime .</scene_description> <character>CABLE GUY</character> <dialogue>I guess I did what you did n't have the guts to do.</dialogue> <character>STEVEN</character> <dialogue>You stay away from Robin.</dialogue> <character>CABLE GUY</character> <parenthetical>( disturbed . )</parenthetical> <dialogue>Do n't mess with me. I'm feeling like a part of the family, and I like it. You should try it sometime.</dialogue> <scene_description>Steven 's mother enters .</scene_description> <character>STEVEN'S MOTHER</character> <parenthetical>( looks at them . )</parenthetical> <dialogue>My, you two look like brothers. Come on back, we're all having coffee in the living room.</dialogue> <scene_description>Cable Guy quickly starts walking back to the dining room .</scene_description> <character>CABLE GUY</character> <parenthetical>( happily . )</parenthetical> <dialogue>Are you guys trying to fatten me up?'Cause if you are, you're doing a damn good job of it.</dialogue> <scene_description>He laughs , and exits . Steven slowly follows . 76 - 78 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. LIVING AREA - LATER</stage_direction> <scene_description>Everyone is sitting around having coffee . The Cable Guy is writing words on torn up pieces of paper .</scene_description> <character>CABLE GUY</character> <dialogue>You guys have never played `` Porno Password?''</dialogue> <character>EARL</character> <dialogue>No, but I like the sound of it.</dialogue> <character>CABLE GUY</character> <dialogue>It's the adult version of the popular television game show. Robin you're on my team. Steven, you're with mom.</dialogue> <parenthetical>( to everyone else . )</parenthetical> <dialogue>You're the audience.</dialogue> <scene_description>The Cable Guy sits next to Robin . Steven and his mother sit across from them . The Cable Guy looks at the word , then shows it to the family so none of the contestants can see it . He whispers it in Steven 's ear .</scene_description> <character>CABLE GUY</character> <parenthetical>( whispers . )</parenthetical> <dialogue>The password is. vagina.</dialogue> <scene_description>Steven winces .</scene_description> <character>STEVEN</character> <dialogue>I really do n't want to play this game.</dialogue> <parenthetical>( looks to his mother . )</parenthetical> <dialogue>Woman. Woman.</dialogue> <character>STEVEN'S MOTHER</character> <dialogue>Uh. man?</dialogue> <character>STEVEN</character> <dialogue>No.</dialogue> <character>CABLE GUY</character> <parenthetical>( to Robin . )</parenthetical> <dialogue>Pe - nis. Pe - nis. Pe - nis.</dialogue> <scene_description>Robin concentrates hard , but she ca n't figure it out .</scene_description> <character>CABLE GUY</character> <dialogue>Peeee - nis. Peeee - nis.</dialogue> <character>ROBIN</character> <dialogue>Vagina?</dialogue> <character>CABLE GUY</character> <parenthetical>( pumps his fist . )</parenthetical> <dialogue>Yes!</dialogue> <scene_description>He high fives Robin . Everyone laughs .</scene_description> <character>EARL</character> <parenthetical>( blurts out . )</parenthetical> <dialogue>I thought it was going to be schlong!</dialogue> <parenthetical>( covers his mouth - embarrassed . )</parenthetical> <dialogue>Whoops.</dialogue> <scene_description>Everyone laughs . They are all having a great time , except Steven . The Cable Guy looks at the next word , shows it to the family privately , then whipsers to Steven .</scene_description> <character>CABLE GUY</character> <dialogue>The password is. nipple.</dialogue> <character>STEVEN</character> <dialogue>Can I pass?</dialogue> <character>EARL</character> <dialogue>Come on Steven, do n't be a stick in the mud.</dialogue> <character>STEVEN</character> <dialogue>Breast. Breast.</dialogue> <character>STEVEN'S MOTHER</character> <dialogue>Tit?</dialogue> <scene_description>Everyone laughs . Steven 's face is red .</scene_description> <character>CABLE GUY</character> <dialogue>Hard.</dialogue> <parenthetical>( gestures like there is another word after it . )</parenthetical> <dialogue>Hard.</dialogue> <character>ROBIN</character> <dialogue>Erection?</dialogue> <scene_description>Everyone laughs . Steven looks like he might kill the Cable Guy .</scene_description> <character>STEVEN</character> <dialogue>Center. Center.</dialogue> <character>STEVEN'S MOTHER</character> <dialogue>Nipple?</dialogue> <scene_description>Everyone cheers .</scene_description> <character>STEVEN'S MOTHER</character> <dialogue>I ca n't believe I got it. I was going to say areola.</dialogue> <scene_description>Everyone laughs except Steven , who is mortified .</scene_description> <character>CABLE GUY</character> <dialogue>I wish you did,'cause we'd be ahead.</dialogue> <scene_description>The Cable Guy shows the word to everyone , then whispers in Steven 's ear .</scene_description> <character>CABLE GUY</character> <dialogue>The password is. I'm not sure how to pronounce this, it's either clitoris, or clit - oris.</dialogue> <character>STEVEN</character> <parenthetical>( snaps . )</parenthetical> <dialogue>I ca n't say that to my mother!</dialogue> <character>EARL</character> <dialogue>Hey, she's a grown woman. She can handle it.</dialogue> <character>ROBIN</character> <dialogue>Come on Steven. We're just having fun.</dialogue> <character>STEVEN</character> <dialogue>No, I've had enough. I ca n't do this. This guy is ruining my life, I wo n't sit here and play X - rated party games with him.</dialogue> <character>EARL</character> <dialogue>Steven, I really think you're over - reacting.</dialogue> <character>STEVEN</character> <dialogue>I am not over - reacting. You're all being fooled by this guy! He's a felon for Christ sake!</dialogue> <parenthetical>( to the Cable Guy . )</parenthetical> <dialogue>I hate you! Get out of my life!</dialogue> <character>CABLE GUY</character> <dialogue>I'm sorry everyone. If I am a nuisance, I will leave. I would never stay where I am not wanted.</dialogue> <character>ROBIN</character> <parenthetical>( to the Cable Guy . )</parenthetical> <dialogue>You're not a nuisance. Please do n't go.</dialogue> <parenthetical>( to Steven . )</parenthetical> <dialogue>Steven, you're being an asshole.</dialogue> <character>EARL</character> <dialogue>Yeah, Steven it seems like you're the one with the problem.</dialogue> <character>STEVEN</character> <dialogue>What? You have no idea what this guy is really like.</dialogue> <character>CABLE GUY</character> <dialogue>I'll just go.</dialogue> <character>STEVEN</character> <dialogue>See what I mean!</dialogue> <character>CABLE GUY</character> <dialogue>Steven, what's with you tonight?</dialogue> <parenthetical>( gets close to Steven and whispers . )</parenthetical> <dialogue>Robin showed me that birthmark on her left shoulder. It's very sexy.</dialogue> <scene_description>Steven punches the Cable Guy in the facem sending him to the floor . All of the women , including Robin run to help him .</scene_description> <character>ROBIN</character> <parenthetical>( to Steven . )</parenthetical> <dialogue>I ca n't believe you.</dialogue> <scene_description>The Cable Guy gets up .</scene_description> <character>CABLE GUY</character> <dialogue>I'm fine. Thank you for a delightful evening.</dialogue> <parenthetical>( to Steven . )</parenthetical> <dialogue>I forgive you.</dialogue> <scene_description>He exits . Everyone looks at Steven like he is the devil .</scene_description> <character>STEVEN</character> <dialogue>You do n't understand.</dialogue> <scene_description>Everyone walks away from Steven . The party is over .</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY - LATER</stage_direction> <scene_description>Robin is venting her anger at Steven as they walk to the car .</scene_description> <character>ROBIN</character> <dialogue>I just think you were completely out of line. I do n't know what's happening to you these days.</dialogue> <scene_description>Steven gets fed up .</scene_description> <character>STEVEN</character> <dialogue>Robin, this guy is a sociopath. He leaves messages on my machine night and day. He shows up wherever I go. He wo n't leave me alone.</dialogue> <character>ROBIN</character> <dialogue>Sounds familiar.</dialogue> <character>STEVEN</character> <dialogue>You know he was the one who beat up your date at that restaurant. That's right. And he gave you the free cable. It was n't me.</dialogue> <character>ROBIN</character> <dialogue>But you took the credit for it?</dialogue> <character>STEVEN</character> <dialogue>That's what he wanted. He was manipulating me. It feels so good to be honest about this. We're finally communicating. I've been wanting to tell you for so long, but he's been blackmailing me.</dialogue> <character>ROBIN</character> <dialogue>Blackmailing you? How?</dialogue> <character>STEVEN</character> <dialogue>With a photograph.</dialogue> <character>ROBIN</character> <dialogue>Of what?</dialogue> <character>STEVEN</character> <dialogue>Me with a. prostitute.</dialogue> <character>ROBIN</character> <dialogue>What?!</dialogue> <character>STEVEN</character> <dialogue>He set it up. He invited this woman to my party and did n't tell me she was a prostitute. I'm so glad we can talk about this.</dialogue> <character>ROBIN</character> <dialogue>When did you have a party?</dialogue> <character>STEVEN</character> <dialogue>When we were n't communicating. I invited you. You were out on a date.</dialogue> <character>ROBIN</character> <dialogue>And you were with a prostitute.</dialogue> <character>STEVEN</character> <dialogue>She seduced me. That's what they do. They're professionals. And I did n't even know she was a prostitute.</dialogue> <character>ROBIN</character> <dialogue>So that makes it better?</dialogue> <character>STEVEN</character> <dialogue>That's not the point. The point is this guy has been setting me up. He's responsible.</dialogue> <character>ROBIN</character> <dialogue>He did n't have sex with a whore. You did.</dialogue> <character>STEVEN</character> <dialogue>Robin you do n't -</dialogue> <character>ROBIN</character> <dialogue>I do n't want to hear it. Breaking up was the best thing we ever did. You have some serious problems, and it's not my responsibility to help you. I am only responsible for my own happiness.</dialogue> <character>STEVEN</character> <dialogue>Where did that come from?</dialogue> <character>ROBIN</character> <dialogue>It was Jerry Springer's `` final thought.''</dialogue> <scene_description>She exits .</scene_description> </scene> <scene> <stage_direction>INT. NEWSROOM - NIGHT</stage_direction> <scene_description>Rick is running to an editing bay . Steven follows him .</scene_description> <character>STEVEN</character> <dialogue>I'm sorry I've been blowing you off.</dialogue> <character>RICK</character> <dialogue>You bet your ass you've been blowing me off.</dialogue> <character>STEVEN</character> <dialogue>It's just, this guy is really doing a number on me.</dialogue> <character>RICK</character> <dialogue>I told you not to hang out with him.</dialogue> <character>STEVEN</character> <dialogue>You're the one who told me to offer him money so I could get free cable.</dialogue> <character>RICK</character> <dialogue>You did n't tell me he was a psychopath.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'll see if I can get my friend in research to track him down. What's his name again?</dialogue> <character>STEVEN</character> <dialogue>Ernie Douglas.</dialogue> <character>RICK</character> <dialogue>Ernie Douglas? Ernie Douglas? Why does that sound so familiar?</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S OFFICE - NEXT DAY</stage_direction> <scene_description>Steven 's secretary Joan is watching a news report about the Sam Sweet trial on a mini television . On the TV - a Female Prosecutor gestures with a shotgun as she questions a policeman . Joan changes channels . The image changes to LARRY KING interviewing ALAN DERSHOWITZ regarding `` the abuse excuse . '' BACK TO SCENE Steven walks over to Joan .</scene_description> <character>STEVEN</character> <parenthetical>( to his secretary . )</parenthetical> <dialogue>Did anyone notice I'm late?</dialogue> <character>JOAN</character> <dialogue>What are you talking about, you've been here for an hour.</dialogue> <character>STEVEN</character> <dialogue>Thank you.</dialogue> <scene_description>Steven walks to his office .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Steven walks behind his desk . He notices something which disturbs him . His computer is on . He clicks a button and a message comes on the screen . ON THE SCREEN - `` GOOD MORNING STEVEN . HAVE A WONDERFUL DAY . HERE 'S AN EXTRA SPECIAL SURPRISE . '' Then an image comes on the screen . It is black and white surveillance video , digitized to the computer format . The video is of Robin and Steven talking . It is the conversation they had before they watched `` Sleepless in Seattle . ''</scene_description> <character>STEVEN</character> <dialogue>Work's good.</dialogue> <character>ROBIN</character> <dialogue>How's Hal?</dialogue> <character>STEVEN</character> <dialogue>Do n't get me started. That guy has no vision. It's like working for Mr. MaGoo. He's just worthless.</dialogue> <character>ROBIN</character> <dialogue>It's just great that you're getting to do it. It's a real step up.</dialogue> <character>STEVEN</character> <dialogue>I know. Now if only someone at corporate smartened up enough to dump Hal, then I could really get some stuff done.</dialogue> <scene_description>The sccene starts again . It is on a loop . Steven is aghast . He looks up and sees the scene is playing on every computer in the office . He gets a panicked look on his face . Is Hal seeing this ? He runs out of his office to prevent Hal from viewing this . OFFICE BULLPEN - CONTINUOUS Steven runs to the edge of the stairs and looks down . STEVEN 'S P.O.V. - He sees Hal downstairs , walking into his office . BACK TO STEVEN - He runs down the stairs towards Hal 's office as fast as he can .</scene_description> </scene> <scene> <stage_direction>INT. HAL'S OFFICE</stage_direction> <scene_description>Steven walks in . Hal is sitting behind his desk staring angrily at the computer . He looks up and sees Steven .</scene_description> <character>HAL</character> <dialogue>Do n't worry. I did n't see it -'cause I have no vision.</dialogue> <scene_description>Steven knows what 's coming .</scene_description> </scene> <scene> <stage_direction>INT. PARKING GARAGE - LATER</stage_direction> <scene_description>Steven walks to his car carrying a box filled with his belongings . He has been fired . Suddenly a car alarm beeps . It 's headlights flash . Then another , and another . Soon he is surrounded by screaming car alarms , and flashing headlights . He looks around in fear .</scene_description> <character>STEVEN</character> <dialogue>Chip! Chip, this is n't funny! Where are you?!</dialogue> <scene_description>Suddenly they all stop simultaneously , and then the only sound is a miniacle laugh echoing through the garage . Steven runs to his car , and gets in . He drives up the ramp in a panic . From out of nowhere the Cable Guy steps into the beam of his headlights . He can not stop in time . The Cable Guy is thrown into the air , then lands on the back of the roof of the car . Before he falls off he grabs on to the bar of the luggage rack . Steven looks through his rear view window and sees the Cable Guy staring at him . As Steven continues to drive the Cable Guy climbs on to the roof of the car , then jumps on the hood , and stares at Steven through the windshield . Steven swerves around , almost losing control of the car .</scene_description> <character>STEVEN</character> <dialogue>Leave me alone! I have no job, no girlfriend, no family anymore! It's over! You won!</dialogue> <character>CABLE GUY</character> <parenthetical>( menacingly . )</parenthetical> <dialogue>Oh no. It's not over. It's just gettin' started.</dialogue> <scene_description>He turns a corner very sharply throwing the Cable Guy off his car . The Cable Guy falls to the ground , rolling many times , then leaps to his feet using the momentum of the roll , and runs off , scampering like a supernatural bug . 83 - 94 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. NEWSROOM - NIGHT</stage_direction> <scene_description>ON THE TV - The local news .</scene_description> <character>MARK THOMPSON</character> <dialogue>The jury has notified the judge that they are very close to reaching a verdict, and would like to keep deliberating into the evening hours.</dialogue> <scene_description>Rick is sitting at his desk . A FEMALE RESEARCHER walks over , and sits down .</scene_description> <character>RESEARCHER</character> <dialogue>There are five people named Ernie Douglas in this county. Two are African American. One is eighty - five years old. One is eleven years old, and the last one is in a wheelchair.</dialogue> <character>RICK</character> <dialogue>So we're nowhere. Ernie Douglas? Ernie Douglas?</dialogue> <scene_description>She begins tapping her foot nervously .</scene_description> <character>RICK</character> <dialogue>Could you stop that?</dialogue> <character>RESEARCHER</character> <dialogue>Do n't snap at me. I'm doing this as a favor.</dialogue> <scene_description>He continues staring at her two - tone wing tipped style shoe .</scene_description> <character>RICK</character> <parenthetical>( has an epiphany . )</parenthetical> <dialogue>Wait, could you start that again? Start tapping your foot again.</dialogue> <scene_description>She begins tapping . Rick begins humming the theme to `` My Three Sons . '' She joins him . They sing louder and louder . They 've broken the code . -LRB- Revision Ends - Blue -RRB-</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S KITCHEN - NIGHT</stage_direction> <scene_description>The PHONE RINGS . Steven runs in the front door , and picks up the phone .</scene_description> <character>STEVEN</character> <dialogue>Hello.</dialogue> <character>RICK</character> <parenthetical>( VO . )</parenthetical> <dialogue>Bingo. `` My Three Sons.''</dialogue> <character>STEVEN</character> <dialogue>Chip and Ernie Douglas.</dialogue> </scene> <scene> <stage_direction>INT. NEWSROOM - CONTINUOUS - INTERCUT</stage_direction> <scene_description>Rick sits at his desk . The researcher is at his side .</scene_description> <character>RICK</character> <dialogue>I've got a list of every cable installer fired in the last four years. Every one of these guys has the same physical description as our friend.</dialogue> <parenthetical>( reads from the list . )</parenthetical> <dialogue>Murray Slaughter, Brendan Walsh, Sam Malone, Alex Reiger. There was even a guy who liked to be called ` the big Ragu.'</dialogue> <scene_description>97AA INT . STEVEN 'S LIVING ROOM - CONTINUOUS Steven walks in and looks for the Cable Guy 's hidden camera as he speaks on the phone .</scene_description> <character>STEVEN</character> <dialogue>Carmine from `` Laverne and Shirley.''</dialogue> <character>RICK</character> <dialogue>That's so sad that you know that. Anyway, the cable company in town fired a guy six months ago named Darren Stevens. He stole the truck and disappeared. That's our guy.</dialogue> <scene_description>Steven finds a small camera in one of the television speakers . He rips it out .</scene_description> <character>STEVEN</character> <dialogue>So he does n't even work for the Cable Company?</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S APARTMENT - NIGHT</stage_direction> <scene_description>Quick cuts of Steven bolting doors , and locking windows .</scene_description> <character>RICK</character> <parenthetical>( VO . )</parenthetical> <dialogue>He was fired for beating up a customer who yelled at him for being late. A company in Denver thinks they might have a lead on who he really is. If I were you I'd lock down tonight. I'll call you when I get some more info.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S BEDROOM - NIGHT</stage_direction> <scene_description>Steven is watching television . He struggles to stay awake . ON THE TV - Court TV . The prosecutor in the Sam Sweet trial is speaking .</scene_description> <character>PROSECUTOR</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Do n't let your memories of these cute twins distract you from the fact that this funny star of a situation comedy killed his own brother in cold blood, then called the police and said he was killed by an Asian gang. There was no laugh - track on that night.</dialogue> <scene_description>The prosecutor 's words turn into gibberish as Steven 's eyes go heavy and he falls asleep . ON STEVEN - HE IS ASLEEP HE SLOWLY WAKES UP . The gibberish turns into clearly spoken words , only this time the voice sounds more familiar . ON THE TV - We see the Sam Sweet trial . A prosecutor makes a passionate final summation . We reveal that it is the Cable Guy .</scene_description> <character>CABLE GUY</character> <dialogue>This man killed his own brother. Some people do n't even have a brother.</dialogue> <scene_description>The camera pushes in on the Cable Guy 's face . He looks to camera .</scene_description> <character>CABLE GUY</character> <dialogue>do they Steven? Are you listening to me? Do n't shut it off. Do n't shut it -</dialogue> <scene_description>ON STEVEN - He shuts off the TV , and walks out of the room .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S HALLWAY - CONTINUOUS</stage_direction> <scene_description>The entire apartment appears much larger . Steven walks down the hallway . He looks into the living room and sees Rick .</scene_description> <character>RICK</character> <dialogue>Why do you keep icing me man?</dialogue> </scene> <scene> <stage_direction>INT. ELONGATED BATHROOM - CONTINUOUS</stage_direction> <scene_description>He opens up a door and sees an elongated version of his bathroom . The shower is steaming . The two eight year old Sweet twins stand in front of it looking very spooky . He quickly closes the door .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>He continues down the hallway and opens the door to the dining room , but when he opens it he sees Robin 's bedroom .</scene_description> </scene> <scene> <stage_direction>INT. ROIN'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Robin is in bed . A man wearing a cable installer 's uniform is smothering her with a pillow . The man turns - it is Steven . He quickly closes the door .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>He hears someone pounding on the front door . He opens the door . Nobody is there . Then the Cable Guy pops into frame holding a cut cord .</scene_description> <character>CABLE GUY</character> <dialogue>You owe me!</dialogue> <scene_description>Steven slams the door . Then looks through the peep hole . P.O.V. THROUGH THE PEEPHOLE The Cable Guy begins to run full speed at the door . As he does he gets bigger and bigger , and more distorted as he come closer to the peephole . BANG ! He hits the door . Then disappears from frame . A moment later he stumbles back into frame , then walks to the far end of the hall , and runs again to the door even faster . BANG ! He staggers back into position again . He runs toward the door .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S HALLWAY - CONTINUOUS</stage_direction> <scene_description>Steven runs away from the front door . The door smashes open , and the Cable Guy runs after him . Steven runs away down the hallway . The hallway appears to be a mile long . He tries to run fast but appears to move in almost slow motion . Every time he looks over his shoulder he sees the Cable Guy running at an alarmingly fast rate of speed toward him , grunting like a wolf . He looks back another time and the Cable Guy is gone . He keeps running , and the hallway starts getting smaller and smaller , till he can barely fit through . He becomes trapped at the end of the hall . Arms come out of the window behind him and grab him . Fifty Cable Guy faces pop out of the wall on both sides .</scene_description> <character>CABLE GUY</character> <dialogue>I just want to hang out. No big deal.</dialogue> <scene_description>Steven breaks free of the hands and runs into his living room .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Steven runs in . The television is on . He sits on the edge of the couch not sure what to do . He puts his head down . When he looks up , he sees the Cable Guy 's face on the television set . The Cable Guy 's face stretches out from the television , getting larger and larger .</scene_description> <character>CABLE GUY</character> <dialogue>Steven, you're just like me. We're cut from the same cloth. We're one and the same!</dialogue> <scene_description>Then it opens its mouth , and swallows Steven pulling him into the television .</scene_description> </scene> <scene> <stage_direction>INT. STEVEN'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Steven wakes up in a cold sweat .</scene_description> <character>STEVEN</character> <parenthetical>( panting . )</parenthetical> <dialogue>Oh my god. She's right. I am a smotherer. I'm just like him.</dialogue> <scene_description>The phone rings .</scene_description> <character>STEVEN</character> <dialogue>Hello.</dialogue> <character>CABLE GUY</character> <parenthetical>( VO . )</parenthetical> <dialogue>It did n't have to come to this Steven. We could have been blood brothers.</dialogue> <character>STEVEN</character> <dialogue>Rick told me you were fired from The Cable Company. You're not even a real cable guy.</dialogue> </scene> <scene> <stage_direction>INT. SOMEWHERE - CONTINUOUS</stage_direction> <scene_description>Close up of the Cable Guy 's face .</scene_description> <character>CABLE GUY</character> <dialogue>Do you feel good now that you've hurt me? Well now I'm going to have to hurt you. I'm going to take away what you hold dearest in the world.</dialogue> <character>STEVEN</character> <parenthetical>( VO . )</parenthetical> <dialogue>I swear to God, if you touch -</dialogue> <character>CABLE GUY</character> <dialogue>Could you hold on a second, I've got call waiting. It'll just be a sec.</dialogue> <scene_description>He clicks over . Steven just sits there , waiting . Waiting some more . Then the Cable Guy clicks back .</scene_description> <character>CABLE GUY</character> <dialogue>Sorry about that. Where was I? Oh yeah. You're going to feel my wrath.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S BEDROOM - CONTINUOUS</stage_direction> <character>STEVEN</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Do n't do this. There must be some way for us to work this out.</dialogue> </scene> <scene> <stage_direction>INT. SOMEWHERE - CONTINUOUS</stage_direction> <character>CABLE GUY</character> <dialogue>I wish there was.</dialogue> <parenthetical>( losing it . )</parenthetical> <dialogue>Oh Steven, I'm just so tired. So very tired.</dialogue> <character>STEVEN</character> <dialogue>Let's talk in person. Where are you?</dialogue> <character>CABLE GUY</character> <dialogue>I'm close. So very close.</dialogue> <scene_description>The camera rotates and reveals that the Cable Guy is actually lying down . Then the camera rises up and reveals that the Cable Guy is lying in the floorboards right underneath Steven . A single beam of light shines across his face . As he speaks a large daddy long legs spider crawls across his face . He never acknowledges it .</scene_description> <character>CABLE GUY</character> <dialogue>You know, I do n't think you're right for Robin. She needs someone who can be sensitive to her needs. Someone who understands her soul.</dialogue> <character>STEVEN</character> <dialogue>You stay away from her.</dialogue> <character>CABLE GUY</character> <dialogue>Are n't we the control freak. Looks like you're starting to sweat.</dialogue> <character>STEVEN</character> <dialogue>I got the camera. You ca n't see me.</dialogue> <scene_description>Steven begins to pick his face .</scene_description> <character>CABLE GUY</character> <dialogue>Oh yeah? Then why are you picking your face?</dialogue> <scene_description>Steven throws the phone . When it lands we see the speaker phone light is on . He begins looking for the camera . He smashes his TV . JUMP CUTS - Steven tearing through everything in his apartment .</scene_description> <character>CABLE GUY</character> <dialogue>You're getting closer.</dialogue> <scene_description>Steven overturns a CD rack .</scene_description> <character>CABLE GUY</character> <dialogue>Pity, such a nice CD rack. You know sometimes the answer is right under your nose.</dialogue> <scene_description>Steven lloks at the floorboards , then runs out of the room , and returns a moment later with an ax . He starts chopping at the floorboards , tearing the out . He looks down into the hole , he sees nothing . Then a hand grabs him by the shirt and pulls his face into the space in the floor . The Cable Guy 's face appears in front of him , screaming like a mad man . He licks Steven 's face quickly , then disappears back into the hole . Steven falls back . He hears the Cable Guy scuttle away . Steven sticks his head back down into the hole only to see the dust in the floorboards swirl in the aftermath of the Cable Guy 's exit . He hears the Cable Guy crawling through the walls above him , then through the side walls , and away into the distance . When it clears he discovers a small makeshift observation room has been set up in the crawlspace . There are a few photos pasted to the floorboards . One shows the Cable Guy as a child standing next to his mother . Steven 's picture has been pasted into those photos making him look like the Cable Guy 's brother . The only other photo is of Jerry Springer . Steven sees a small television monitor and a set of headphones from which the Cable Guy has been watching him . He looks at a cellular phone . Every speed dial on the back of the phone says `` Steven '' next to it . Steven gets up , and runs out of his front door .</scene_description> </scene> <scene> <stage_direction>EXT. STEVEN'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>It is raining lightly outside . Steven is in his car . He pulls away quickly .</scene_description> </scene> <scene> <stage_direction>INT. RICK'S NEWSROOM - NIGHT</stage_direction> <scene_description>Rick sits at his desk . The PHONE RINGS .</scene_description> <character>RICK</character> <dialogue>Hello.</dialogue> <scene_description>109AA INT . MOVING VEHICLE - NIGHT Super Close Up - What the audience will think is Steven 's mouth -LRB- actually the Cable Guy -RRB- speaking on a cellular phone .</scene_description> <character>STEVEN</character> <dialogue>Hey Rick. I need to meet with you right away. I've got some information about this crazy cable guy.</dialogue> <character>RICK</character> <dialogue>Me too. I've got the whole story.</dialogue> <character>STEVEN</character> <dialogue>That's great. Let's meet at the old school at nine - thirty.</dialogue> <character>RICK</character> <dialogue>Why all the way out there?</dialogue> <character>STEVEN</character> <dialogue>I think he's been following me. Do n't be late, buddy.</dialogue> <scene_description>109AB EXT. . ROBIN 'S APARTMENT - NIGHT Steven 's car screeches to a stop . He runs up to Robin 's door and starts knocking . Her FEMALE NEIGHBOOR opens her door .</scene_description> <character>STEVEN</character> <dialogue>Be home! Be home!</dialogue> <character>FEMALE NEIGHBOOR</character> <dialogue>Go away! I remember you. You're her obsessive boyfriend. She said you might come here. I'm calling the police.</dialogue> <scene_description>She closers her door . He runs off .</scene_description> </scene> <scene> <stage_direction>EXT. HALF RENOVATED SCHOOL - NIGHT</stage_direction> <scene_description>Rick drives up , then walks into the building .</scene_description> </scene> <scene> <stage_direction>INT. HALF RENOVATED SCHOOL - CONTINUOUS</stage_direction> <scene_description>Rick walks through the school looking for Steven .</scene_description> <character>RICK</character> <dialogue>Steven? Steven?</dialogue> <scene_description>In the distance he sees Steven standing in the shadows .</scene_description> <character>STEVEN</character> <dialogue>Hey Rick. I'm really excited to hear what you found out about this nut.</dialogue> <character>RICK</character> <dialogue>I hit the Holy Grail. This guy is deeply troubled. Only child. His mother was arrested for prostitution, and phone solicitation. Apparently she was some phone sex pioneer.</dialogue> <character>STEVEN</character> <dialogue>No way.</dialogue> <character>RICK</character> <dialogue>And get this, he was discharged from the Marines. He got mad at his Sergeant so he sent a weapons silo to Defcon Two using a Radio Shack computer. And that's not the half of it.</dialogue> <scene_description>As Rick gets closer Steven steps forward out of the shadows , and we reveal that it is not Steven , but the Cable Guy , dressed like Steven , doing a perfect impression -LRB- actually the real voice of Steven looped into the Cable Guy 's mouth - with a very slight lisp -RRB- .</scene_description> <character>CABLE GUY</character> <dialogue>Really? Tell me more.</dialogue> <scene_description>Rick 's face turns white . He stumbles backwards , trying to get away .</scene_description> <character>CABLE GUY</character> <dialogue>I'm very interested in learning everything I can about that wacked out cable installer.</dialogue> <scene_description>He turns and runs . He is fifteen feet away from the Cable Guy . The camera pushes in on the Cable Guy . He pulls out a staple gun , and fires . We hear but do not see Rick yelp , and fall .</scene_description> <character>CABLE GUY</character> <dialogue>It sounds like he might hurt somebody.</dialogue> </scene> <scene> <stage_direction>INT. STEVEN'S CAR - NIGHT</stage_direction> <scene_description>Steven is driving in his car . His cellular phone rings . He picks it up .</scene_description> <character>STEVEN</character> <parenthetical>( panicked . )</parenthetical> <dialogue>Hello.</dialogue> <character>CABLE GUY</character> <parenthetical>( VO . )</parenthetical> <parenthetical>( talks like a game show host . )</parenthetical> <dialogue>Nosey friends for two hundred. This supposed pal of Steven's is currently residing in the intensive care unit of Good Samaritan Hospital.</dialogue> <character>STEVEN</character> <dialogue>Rick.</dialogue> <character>CABLE GUY</character> <parenthetical>( VO . )</parenthetical> <dialogue>I'm sorry, you did n't answer in the form of a question.</dialogue> <scene_description>He hangs up .</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>Steven 's car pulls up . He gets out , and runs toward the hospital .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - NIGHT</stage_direction> <scene_description>Steven flies through the swinging doors , and runs through the hallway of the hospital . He walks up to a DOCTOR .</scene_description> <character>STEVEN</character> <parenthetical>( rapid fire . )</parenthetical> <dialogue>Rick Legatos. He's a friend of mine. Where is he?</dialogue> <character>DOCTOR</character> <dialogue>Room 205.</dialogue> <character>STEVEN</character> <dialogue>Can I see him?</dialogue> <character>DOCTOR</character> <dialogue>Yes. But he ca n't speak. He's in shock.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - MOMENTS LATER</stage_direction> <scene_description>Steven enters the room . The camera pulls back to reveal Rick laying in full traction , face down , his rear end heavily bandaged . He is unconscious . Steven tentatively walks over to Rick 's rear end . He pulls back a small portion of the bandage and sees that his butt is covered with staples . The staples form the shape of a television with an antenna . Inside the TV is the word `` RING . ''</scene_description> <character>STEVE</character> <parenthetical>( perplexed . )</parenthetical> <dialogue>Ring?</dialogue> <scene_description>The phone rings . Steven jumps , then picks up the phone .</scene_description> <character>STEVEN</character> <dialogue>Hello.</dialogue> <character>CABLE GUY</character> <parenthetical>( VO . )</parenthetical> <dialogue>Poor Rick. Seems he had a little accident with the business end of a staple gun.</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB-</scene_description> <character>STEVEN</character> <dialogue>You're not going to get away with this.</dialogue> <character>CABLE GUY</character> <dialogue>The question is, are you going to get away with it? Apparently there was an anonymous tip placed to the police leading them to a staple gun at the crime scene with your fingerprints all over it.</dialogue> <character>ROBIN</character> <parenthetical>( VO . )</parenthetical> <dialogue>All right, I'm ready.</dialogue> <scene_description>114 - 6 OMITTED -LRB- NOW A PART OF SCENE 106 -RRB-</scene_description> </scene> <scene> <stage_direction>INT. ROBIN'S APARTMENT - CONTINUOUS - INTERCUT</stage_direction> <scene_description>We reveal that the Cable Guy is at Robin 's apartment . They are getting ready to go out .</scene_description> <character>CABLE GUY</character> <parenthetical>( non psychotic voice . )</parenthetical> <dialogue>Be right there.</dialogue> <character>STEVEN</character> <dialogue>Was that Robin?</dialogue> <character>CABLE GUY</character> <parenthetical>( psychotic again . )</parenthetical> <dialogue>I've got to go. We're going to take a romantic stroll on the information superhighway.</dialogue> <scene_description>Steven drops the phone , and runs out of the room .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - CONTINUOUS</stage_direction> <scene_description>Steven runs down the hall to the elevator . Before he reaches it the doors open , and the two policemen who arrested him at work walk out . Steven quickly turns left , but the policemen see him , and make chase .</scene_description> <character>OFFICER</character> <dialogue>Hey, hold it!</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>Steven runs out of the hospital . The two policemen run after him , about twenty feet behind . Steven jumps in his car , and takes off . The police follow in their car .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>Steven 's car turns a corner , and flies down a busy boulevard . A second later the police cars follow with sirens blaring .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - NIGHT</stage_direction> <scene_description>The Cable Guy and Robin are at the dish . He gives her the same tour he gave Steven earlier in the film .</scene_description> <character>CABLE GUY</character> <dialogue>it all started in Lansford, Pennsylvania where Panther Valley Television, with the assistance of Jerrod Electronics, created the first cable television system.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>The chase continues .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - NIGHT</stage_direction> <scene_description>The Cable Guy and Robin are now standing on the edge of the dish .</scene_description> <character>CABLE GUY</character> <dialogue>The future is now. Soon every American home will integrate their television, phone, and computer. You'll be able to visit the Louvre on one channel, and watch female mud wrestling on another. You can do your shopping at home, or play a game of Mortal Kombat with a friend in Vietnam.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>The chase continues . Steven slams on the gas , until he is driving one - hundred miles - per - hour . He weaves in and out of traffic , running stop lights , and avoiding obstacles . The police cars disappear behind him . On a dime , Steven turns left onto a residential street and shuts off his lights . A moment later all of the police cars pass by . Steven pulls out and heads the other way .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - NIGHT</stage_direction> <character>ROBIN</character> <dialogue>This is really fascinating, but I really think we ought to go now.</dialogue> <character>CABLE GUY</character> <dialogue>I knew you'd appreciate it. I took Steven here once, and he did n't give a rats ass about my interests.</dialogue> <character>ROBIN</character> <dialogue>I'm worried about Steven.</dialogue> <character>CABLE GUY</character> <dialogue>Maybe Steven should be worried about you.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So, where was I?</dialogue> </scene> <scene> <stage_direction>EXT. DIRT ROAD - NIGHT</stage_direction> <scene_description>Steven drives his car up the muddy dirt road . It gets stuck in the mud . He gets out of the car , and begins walking to the satellite dish which is surrounded by a chain link fence . He hears the sounds of horse hooves coming closer , and closer . The he sees a headless man on a horse ride straight toward the fence . The horse has the coat of arms from Medieval Times . When he reaches it he smashes off the chain with a sword , then rides through . The horse rears back on its hind legs . The horse runs full speed directly at Steven . At the last possible moment the horse jumps over Steven . When the horse stops , the Cable Guy pops his head through the top of his coat .</scene_description> <character>CABLE GUY</character> <parenthetical>( chuckles . )</parenthetical> <dialogue>Ichabod Crane! The Disney Channel showed it all last month.</dialogue> <scene_description>The Cable Guy rides toward him again .</scene_description> <character>CABLE GUY</character> <parenthetical>( like the Vegas announcer . )</parenthetical> <dialogue>Let's get ready to ruuuuuummmmbbble!</dialogue> <scene_description>-LRB- Revision Ends - Blue -RRB- This time when he gets near Steven , he leaps off the horse , onto him . They both slam into a puddle of mud . The Cable Guy punches him in the stomach , and then the face .</scene_description> <character>STEVEN</character> <dialogue>Where's Robin?!</dialogue> <character>CABLE GUY</character> <dialogue>This is n't about Robin, this is about you and me.</dialogue> <scene_description>Steven charges directly at the Cable Guy .</scene_description> <character>STEVEN</character> <dialogue>Where's Robin?!</dialogue> <scene_description>Steven tackles him to the ground , and begins hitting him . They are both covered in mud like warriors from the rain forest . Steven grabs a large rock and holds it over his head .</scene_description> <character>STEVEN</character> <dialogue>Tell me!</dialogue> <character>CABLE GUY</character> <parenthetical>( nonchalantly . )</parenthetical> <dialogue>I'm sorry, I did n't catch the question?</dialogue> <scene_description>Steven brings down the rock . At the last moment the Cable Guy moves his head . The rock slams into the ground .</scene_description> <character>CABLE GUY</character> <dialogue>Steven you've changed.</dialogue> <parenthetical>( beat - then impressed . )</parenthetical> <dialogue>I like it.</dialogue> <scene_description>The Cable Guy convulses his body , pushing Steven off him . They wrestle on the ground . The Cable Guy gets on top of Steven , then pulls a power drill out of his belt and turns it on .</scene_description> <character>CABLE GUY</character> <dialogue>I think it's time to make you cable ready.</dialogue> <scene_description>He slowly brings the drill down to Steven . Steven blindly reaches behind him . He grasps a large branch and bats the Cable Guy off him . The Cable Guy grabs a large tree brance and runs towards Steven . They begin fighting in a fashion which mirrors their Medieval Times swordfight .</scene_description> <character>CABLE GUY</character> <dialogue>Last time we fought I let you win! Best two out of three!</dialogue> <scene_description>MUSIC UP : Ominous version of the ` Star Trek ' battle music .</scene_description> <character>CABLE GUY</character> <parenthetical>( crazed . )</parenthetical> <dialogue>You treat me like the TV! You use me, but you ca n't live without me!</dialogue> <scene_description>The Cable Guy smashes Steven in the knee with his branch .</scene_description> <character>CABLE GUY</character> <dialogue>You ca n't shut me off with your remote control! I'm not like Robin and Rick and Mommy and Daddy and brother and sister and cousin -</dialogue> <scene_description>Steven smashes him in the head with the branch .</scene_description> <character>STEVEN</character> <dialogue>I got the point.</dialogue> <scene_description>The Cable Guy goes down . He appears to be unconscious .</scene_description> <character>ROBIN</character> <parenthetical>( in the distance . )</parenthetical> <dialogue>Steven.</dialogue> <scene_description>He looks to the dish , but can not see her .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - MOMENTS LATER</stage_direction> <scene_description>Steven climbs over the edge into the dish . Below him he sees that the bottom of the dish is filled with several feet of rain water . Three wires go from the points on the edge of the dish , and meet at a point at the center of the satellite , thirty feet above the floor of the dish . ROBIN is hanging by her bound hands from the center of where those wires meet . Steven climbs down towrd the bottom of the dish .</scene_description> <character>ROBIN</character> <dialogue>Help me Steven!</dialogue> <scene_description>In the background we see the blurry image of the Cable Guy climbing through an entry hatch at the top of the dish . Robin 's eyes fill with terror .</scene_description> <character>ROBIN</character> <dialogue>Steven! Look out!</dialogue> <character>CABLE GUY</character> <parenthetical>( mimics her . )</parenthetical> <dialogue>Yeah Steven. Look out!</dialogue> <scene_description>The Cable Guy leaps out of the hatch like a jack - in - the - box . He slides down the dish , knocking Steven down . The two tumble down the slope of the dish , and tumble all the way down into the water .</scene_description> <character>CABLE GUY</character> <parenthetical>( sweetly , like a girl . )</parenthetical> <dialogue>I've missed you.</dialogue> <scene_description>The Cable Guy immediately punches Steven , sending him back into the water . The Cable Guy dives on top of him . A moment later the Cable Guy pulls Steven up , then grabs his collar and speaks right into his face .</scene_description> <character>CABLE GUY</character> <parenthetical>( dramatically . )</parenthetical> <dialogue>`` Dry land is not a myth, I've seen it.'' Kevin Costner from Waterworld. I do n't know what the fuss was about, the movie ruled, I saw it six times.</dialogue> <scene_description>He pulls Steven under the water , and tries to hold him there . He pulls him up after a few moments .</scene_description> <character>CABLE GUY</character> <dialogue>Is n't it weird that we ` vve wound up in this position?</dialogue> <scene_description>He pushes him under the water again . After a moment he pulls him back up . Steven gasps for air .</scene_description> <character>CABLE GUY</character> <dialogue>Who would have thunk it?</dialogue> <scene_description>Enraged , Steven punches him in the mouth with such tremendous force that it appears to have knocked his jaw out of alignment .</scene_description> <character>CABLE GUY</character> <parenthetical>( without any lisp . )</parenthetical> <dialogue>You're gon na have to do better than that Steven.</dialogue> <parenthetical>( realizing his lisp is gone . )</parenthetical> <dialogue>Steven. Hey, my lisp is gone.</dialogue> <scene_description>Steven hits him again , this time on the other side of the face .</scene_description> <character>CABLE GUY</character> <parenthetical>( lisping again . )</parenthetical> <dialogue>You stupid son of a bitch.</dialogue> <scene_description>The Cable Guy falls unconscious .</scene_description> <character>ROBIN</character> <dialogue>Steven!</dialogue> <scene_description>Steven runs to her .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - LATER</stage_direction> <scene_description>He runs to the side of the dish . He realizes he must climb up to release her . He climbs onto the WIRE and begins tightrope walking toward her . He walks very slowly , almost losing his balance several times .</scene_description> <character>STEVEN</character> <dialogue>Hang on.</dialogue> <scene_description>CLOSE ON : The opposite wire . The Cable Guy 's muddy hands slam onto it . He pulls himself up .</scene_description> <character>CABLE GUY</character> <parenthetical>( laughs maniacally . )</parenthetical> <dialogue>I know what your saying. Who does this guy think he is, Jason?</dialogue> <character>STEVEN</character> <dialogue>Stay away from her!</dialogue> <scene_description>Suddenly , the Cable Guy does a front flip , and lands perfectly on the wire .</scene_description> <character>CABLE GUY</character> <dialogue>I saw that in Trapeze, starring Tony Curtis. He was just on `` Life - styles of the Rich and Famous.'' He still looks terrific.</dialogue> <scene_description>Steven is about ten feet from the dangling Robin , but the reverberation from the Cable Guy 's landing makes Steven lose his balance . He falls over , but catches ont the wire . He is left hanging there . The Cable Guy sees this , and begins to run incredibly fast toward Robin .</scene_description> <character>CABLE GUY</character> <dialogue>And the race is on.</dialogue> <scene_description>He does a cartwheel on the strut , hops on one leg , then takes off toward her , running at full speed . Steven , left with no other option , simply bounces up and down on the wire . Robin sees this and joins him . The Cable Guy begins to lose his balance .</scene_description> <character>CABLE GUY</character> <parenthetical>( knows he 's about to fall . )</parenthetical> <dialogue>This is such an anti - climactic way to end this.</dialogue> <scene_description>The Cable Guy loses his balance and falls to the water below . The Cable Guy has surely met his demise .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITTE DISH - LATER</stage_direction> <scene_description>Steven and Robin are sitting in the dish , a few feet from where the water begins . They are exhausted from their ordeal . They hold each other close .</scene_description> <character>ROBIN</character> <dialogue>I'm sorry I did n't believe you. I love you.</dialogue> <character>STEVEN</character> <dialogue>I love you too. You're right. We should n't get married. I've got a lot of problems to work out which have absolutely nothing to do with you.</dialogue> <character>ROBIN</character> <dialogue>We'll work them out together.</dialogue> <scene_description>They kiss . Suddenly the Cable Guy pops up from underwater . He looks frightening . Then he starts coughing uncontrollably . He looks like a small boy who has swallowed too much water .</scene_description> <character>CABLE GUY</character> <parenthetical>( between coughs . )</parenthetical> <dialogue>What just happened? Where am I?</dialogue> <parenthetical>( remembers . )</parenthetical> <dialogue>Oh yeah, I was trying to kill you.</dialogue> <scene_description>He leaps at Steven , and puts him in a head - lock . He squeezes until Steven passes out . The he lays him on the ground .</scene_description> <character>CABLE GUY</character> <parenthetical>( to Robin . )</parenthetical> <dialogue>It's a sleeper hold. Hulk Hogan used it on Sly Stallone in `` Rocky Three.'' He should wake up in thirty seconds, so let's get going.</dialogue> <scene_description>He holds her around the neck , and puts a staple gun to her head , then walks her out of the dish . Steven slowly wakes up . He looks and sees the Cable Guy and Robin beginning to climb up the rdio antenna . He quickly gets up to follow them . 126 EXT. . ANTENNA - NIGHT The Cable Guy and Robin climb the antenna . Steven follows them up from a distance . The Cable Guy and Robin reach a platform at the top of the antenna . The Cable Guy holds Robin with one hand , and holds a staple gun to her temple with the other hand . Steven climbs onto the platform .</scene_description> <character>STEVEN</character> <dialogue>Easy.</dialogue> <scene_description>He walks with Robin to the edge of the platform . There is a one - hundred foot drop to the dish below . A police helicopter hovers in the air around them .</scene_description> <character>CABLE GUY</character> <dialogue>It did n't have to be this way Steven. I'm just trying to show you the kind of things that can happen when you mistreat people.</dialogue> <character>STEVEN</character> <dialogue>Do n't do anything stupid.</dialogue> <character>CABLE GUY</character> <dialogue>You know this is just like that secen in that Clint Eastwood movie `` Dirty Harry'' -</dialogue> <character>STEVEN</character> <parenthetical>( snaps . )</parenthetical> <dialogue>No! This is not like anything! This is not a movie! We're real people! You're hurting us! This is reality!</dialogue> <scene_description>The Cable Guy 's eyes turn sad . This hits the Cable Guy like a sucker punch . Dazed , he lets go of Robin . She runs to Steven 's arms . From below we hear the sound of sirens . A pack of police cars pull up and surround the antenna . The Cable Guy 's expression changes . He begins to look like a scared little boy .</scene_description> <character>CABLE GUY</character> <dialogue>If this is reality.</dialogue> <parenthetical>( he climbs onto the guard railing . )</parenthetical> <dialogue>. I am outta here.</dialogue> <scene_description>The Cable Guy slowly falls backward off the antenna .</scene_description> <character>STEVEN</character> <dialogue>Nooo!</dialogue> <scene_description>Steven lunges for the Cable Guy , grabbing his forearm , then grabbing the antenna with the other hand .</scene_description> <character>STEVEN</character> <dialogue>You're not going anywhere.</dialogue> <scene_description>The Cable Guy hangs high above the satellite dish . Steven tries to pull the Cable Guy back onto the platform , but the Cable Guy does not want to be saved .</scene_description> <character>STEVEN</character> <dialogue>Do n't do this. You just need help. We all get lonely.</dialogue> <character>CABLE GUY</character> <dialogue>Yeah, but I get really lonely.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I mean, look at me.</dialogue> <character>STEVEN</character> <dialogue>You're gon na be fine. Just come on up.</dialogue> <character>CABLE GUY</character> <parenthetical>( a long beat . )</parenthetical> <dialogue>Steven, I think I sat too close to the television. Mommy was right.</dialogue> <scene_description>Steven ca n't hold onto his forearm any longer . The Cable Guy 's arm slips and Steven grabs onto his hand at the last possible second .</scene_description> <character>CABLE GUY</character> <dialogue>It's too late for me, but there's a lot of little Cable Boys out there who still have a chance. Say good - bye to the baby - sitter.</dialogue> <scene_description>The Cable Guy stops holding onto Steven 's hand . He begins falling toward the dish below .</scene_description> </scene> <scene> <stage_direction>EXT. ANTENNA - NIGHT</stage_direction> <scene_description>LONG WIDE SHOT of the entire antenna . The Cable Guy falls backward toward the satellite .</scene_description> </scene> <scene> <stage_direction>INT. SUBURBAN HOME - NIGHT</stage_direction> <scene_description>A nuclear family is watching court TV . On the TV - A REPORTER speaks to the camera from the courthouse .</scene_description> <character>REPORTER</character> <dialogue>This is the moment America has been waiting for. We've just been told the jury is ready to render their decision.</dialogue> </scene> <scene> <stage_direction>EXT. ANTENNA - CINTINUOUS</stage_direction> <scene_description>The Cable Guy sails through the air . As he falls he looks almost peaceful . Totally comfortable with what he is doing . 128AA INT . COUCH POTATO APARTMENT - CONTINUOUS A COUCH POTATO sits on a fold out bed , his eyes glued on the television . ON THE TV - The COURT CLERK is about to read the jury 's decision .</scene_description> <character>COURT CLERK</character> <dialogue>By unanimous vote the defendant Sam Sweet.</dialogue> <scene_description>128AB EXT. . SATELLITE DISH - CONTINUOUS CLOSE ON - The Cable Guy plummeting toward the dish , about to hit . 128AC INT . NEIGHBORHOOD BAR - CONTINUOUS The camera flies through the crowd at the same speed as the Cable Guy straight into a close up of the television .</scene_description> <character>COURT CLERK</character> <dialogue>has been found -</dialogue> <scene_description>We hear a loud thud . The screen turns to white noise . We hear a loud thud . The screen turns to white noise .</scene_description> </scene> <scene> <stage_direction>EXT. TOP OF THE ANTENNA - CONTINUOUS</stage_direction> <scene_description>Steven and Robin gasp .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - CONTINUOUS</stage_direction> <scene_description>From below we see the Cable Guy 's silhouette motionless on the struts of the satellite dish .</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY - CONTINUOUS</stage_direction> <scene_description>A wide panorama of the city . All of the color televisions which can be seen through the many windows of apartments and houses turn to white noise .</scene_description> </scene> <scene> <stage_direction>INT. NEIGHBORHOOD BAR - CONTINUOUS</stage_direction> <scene_description>The television shows white noise . Everyone screams at the TV .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - CONTINUOUS</stage_direction> <scene_description>The Cable Guy appears dead . The needle of the antenna sticks through his mid - section . A red light blinks at the tip of the needle . Then , the Cable Guy 's eyes open .</scene_description> <character>CABLE GUY</character> <dialogue>Damn, that hurt like a mother. What the hell was I thinking?</dialogue> <parenthetical>( looks at the needle . )</parenthetical> <dialogue>Oh man, that stings.</dialogue> <scene_description>Steven and Robin look relieved .</scene_description> <character>CABLE GUY</character> <dialogue>A little help here!</dialogue> </scene> <scene> <stage_direction>INT. COUCH POTATO APARTMENT - NIGHT</stage_direction> <scene_description>A pasty white couch potato stares at the white noise , not sure what to do . He turns and picks up a book . As music crescendos he begins to read .</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE DISH - LATER</stage_direction> <scene_description>The Cable Guy is being taken away on a stretcher toward an emergency helicopter . Steven and Robin are covered in police blankets . Steven calls to a paramedic .</scene_description> <character>STEVEN</character> <dialogue>Is he going to be all right?</dialogue> <character>PARAMEDIC</character> <dialogue>I do n't know. It's in God's hands.</dialogue> <scene_description>The paramedics put the Cable Guy on the helicopter . The helicopter flies away . P.O.V. SHOT - From the helicopter looking down on Steven and Robin holding each other , getting smaller and smaller until they disappear .</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - CONTINUOUS</stage_direction> <scene_description>The Cable Guy lies in a stretcher next to the paramedic . He is barely conscious , struggling for survival .</scene_description> <character>PARAMEDIC</character> <dialogue>Hang in there buddy. Stay with me. Just stay with me.</dialogue> <scene_description>The Cable Guy 's eyes slowly open . He motions for the paramedic to come closer .</scene_description> <character>CABLE GUY</character> <dialogue>Am I really your buddy?</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAWN</stage_direction> <scene_description>The helicopter flies away . THE END</scene_description> </scene> </script>

Architect Steven Kovacs moves into an apartment after a failed marriage proposal to his girlfriend Robin Harris. Taking advice from his friend Rick Lagados, Steven bribes cable installer Ernie "Chip" Douglas into giving him free movie channels. Chip gets Steven to hang out with him the next day and makes him one of his "preferred customers". Chip takes Steven to the city's central satellite dish, where he confides to Steven about being raised on television due to the frequent absences of his single mother. Chip soon proves to be intrusive as he crashes a basketball game between Steven and his friends and leaves several messages on Steven's answering machine. Following a passionate knight battle between Chip and Steven at Medieval Times, Steven finds that Chip has secretly installed an expensive home theater system in his living room as a gift in return for Steven's friendship. Although Steven declines the gift, he agrees to host a party attended by Chip's other preferred customers before having the system returned. In the fervor the party, Steven sleeps with a young guest, whom Chip reveals the next morning to have been a prostitute that he had hired specifically for Steven. Upon this revelation, Steven angrily ejects Chip from his apartment. To make amends, Chip tracks down Robin, who is dating another man. A disguised Chip severely beats the man in a restaurant bathroom and tells him to stay away from Robin. He later upgrades Robin's cable, ostensibly as a gift from Steven. Robin decides to get back together with Steven as a result. However, when Chip informs Steven of his role in reuniting him with Robin, Steven politely ends his relationship with Chip. Devastated, Chip sets out on a series of vengeful acts. He gets Steven arrested for possession of stolen property and mocks him through a prison visitation window. After being released on bail, Steven is further embarrassed when Chip attends dinner with his family and Robin. Following a sexualized version of the game Password, Steven openly berates Chip and punches him. The next day, Steven is fired from his job when Chip transmits a privately-recorded conversation, in which Steven insults his boss, onto the company's computers. Rick investigates Chip at Steven's request and finds that Chip was fired from the cable company for stalking customers, and uses the names of television characters as aliases such as Chip Douglas from My Three Sons and Larry Tate from Bewitched. Chip calls Steven that night, telling him he is paying Robin a visit. After visiting Robin's empty apartment, Steven tracks them down to the satellite dish, where Chip holds Robin hostage in a rainstorm. After a physical altercation and a chase, Steven is able to save Robin. As the police arrive, Chip apologizes to Steven for being a bad friend. Chip, proclaiming that he must "kill the babysitter" to prevent others from becoming like him, dives backwards from the top of a ladder above the satellite dish, falling onto it and knocking out the television signal to the entire city. Chip survives the fall with an injured back, and bids Steven farewell before being hauled away in a rescue helicopter. When one of the paramedics addresses him as "buddy", Chip asks the paramedic if he is truly his buddy, to which the paramedic replies "Yeah, sure you are", causing Chip to smile deviously.

Horrible Bosses_2011

tt1499658

<script> <scene> <stage_direction>INT. NICK'S APARTMENT - LATE NIGHT</stage_direction> <scene_description>Looking incredibly weary , NICK WATERS , 30 's , enters his apartment in his business suit . He stumbles into -</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BEDROOM - CONTINUOUS ACTION</stage_direction> <scene_description>He drops his briefcase , strips off his jacket , loosens his tie and collapses onto the bed like a dead man . PAN OVER TO the alarm clock which reads `` 1:23 AM . ''</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BEDROOM - EARLY MORNING</stage_direction> <scene_description>The alarm clock now reads `` 4:59 AM . '' It switches to `` 5:00 '' and a BLARING BUZZER goes off . Nick sits up in bed , shuts off the buzzer and painfully forces himself out of bed . He hurries out of the bedroom , passing the saddest , deadest houseplant in history .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Nick opens his fridge to reveal a wasteland of moldy leftover containers and crusty condiments . The orange juice container he grabs is empty .</scene_description> <character>NICK</character> <dialogue>Damn.</dialogue> <scene_description>He opens the freezer . It contains nothing but multiple boxes of `` Jimmy Dean 's Breakfast Bowl - with Bacon ! '' He pops one in the microwave , then glances over at a framed photo of a slightly younger Nick kissing a smiling OLD WOMAN on the cheek . The frame reads : `` I Y Grandma ! '' Nick sighs sadly .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BATHROOM - MINUTES LATER</stage_direction> <scene_description>Nick sits on the toilet eating his breakfast bowl with a fork . He takes some toilet paper from the roll and wipes his mouth with it .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S SHOWER - MOMENTS LATER</stage_direction> <scene_description>Nick showers while simultaneously brushing his teeth and shaving . He loses track and brushes his face with the toothbrush .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Nick hastily grabs work clothes from his messy drawers and closet . Clearly , no laundry has been done in a while .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S APARTMENT ELEVATOR - MOMENTS LATER</stage_direction> <scene_description>Nick hurriedly buttons his shirt , tucks it in and begins tying his tie as the elevator reaches the lobby .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - SHORT TIME LATER</stage_direction> <scene_description>As he drives to work , he dials a number and transfers it to speakerphone .</scene_description> <character>JENNA</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( GROGGY . )</parenthetical> <dialogue>Hello?</dialogue> <character>NICK</character> <parenthetical>( CHEERY . )</parenthetical> <dialogue>Hey, Jenna, it's Nick.</dialogue> <character>JENNA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's five - thirty in the morning, Nick.</dialogue> <character>NICK</character> <dialogue>Yeah, sorry. This is like the only time I have to make any personal calls. I just wanted to see if you felt like going out again because I had a great time with you on our last date.</dialogue> <character>JENNA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Our last date was two weeks ago. You have n't called me since.</dialogue> <character>NICK</character> <dialogue>I know and that's my bad. I've been swamped at work -</dialogue> <character>JENNA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah, I remember. Work was all you talked about when we went out.</dialogue> <character>NICK</character> <dialogue>Right. Well, I'm up for a promotion which will give me a lot more free time -</dialogue> <character>JENNA</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Listen, I'm actually seeing someone. And even if I were n't, the last thing I need is some career - obsessed guy complaining about work all the time. See you around, Nick.</dialogue> <scene_description>She hangs up .</scene_description> </scene> <scene> <stage_direction>EXT. COMMTRONIX INDUSTRIES - SHORT TIME LATER</stage_direction> <scene_description>A soulless four - story building in a drab office park . Nick exits his car and runs full - speed to the entrance .</scene_description> </scene> <scene> <stage_direction>INT. COMMTRONIX INDUSTRIES LOBBY - CONTINUOUS ACTION</stage_direction> <scene_description>Nick bursts through the doors and looks at his watch . It reads `` 6:02 . '' He looks up at a security camera with a flashing red light , indicating he is on tape .</scene_description> <character>NICK</character> <dialogue>Fuck!</dialogue> </scene> <scene> <stage_direction>INT. NICK'S CUBICLE - LATER</stage_direction> <scene_description>Nick sits at his desk inputting information from a large PILE of documents into a spreadsheet on his computer . The clock on his computer turns to `` 8:00 AM . ''</scene_description> <character>HARKEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Nick.</dialogue> <scene_description>Nick jumps , startled . He turns to see his boss , DAVE HARKEN , 40 's , standing behind him .</scene_description> <character>NICK</character> <dialogue>Yes?</dialogue> <character>HARKEN</character> <dialogue>See you in my office?</dialogue> </scene> <scene> <stage_direction>INT. HARKEN'S OFFICE - CLOSE ON A VIDEOTAPE REPLAY </stage_direction> <character>MOMENTS LATER</character> <dialogue /> <scene_description>of the lobby security camera footage on a television . The time code at the bottom of the screen reads `` 6:02 . '' We see Nick looking up at the camera and silently mouthing the word `` Fuck ! '' The image freezes and we PULL BACK to see Harken holding the remote . Nick stands across from him .</scene_description> <character>HARKEN</character> <dialogue>Here's my concern, Nick. You're a punctual guy. You understand the importance of getting to work on time. So that leaves me to wonder if there is n't something wrong with the internal clock in our security system. What do you think?</dialogue> <character>NICK</character> <dialogue>I do n't know, Mr. Harken. I might have been a minute late.</dialogue> <character>HARKEN</character> <dialogue>Two minutes according to this. So either you're a liar - which I know you're not - or our system is off by a full minute. And if that's the case, I have no choice but to dismiss Thomas, our longtime security coordinator.</dialogue> <character>NICK</character> <dialogue>Okay, I might have been two minutes late.</dialogue> <scene_description>There 's an uncomfortable beat . Then -</scene_description> <character>HARKEN</character> <dialogue>So you did lie.</dialogue> <character>NICK</character> <dialogue>No, I -</dialogue> <scene_description>Harken picks up the phone .</scene_description> <character>NICK</character> <dialogue>Who are you calling?</dialogue> <character>HARKEN</character> <dialogue>Thomas. I'm letting him go.</dialogue> <character>NICK</character> <dialogue>Wait! Okay, I guess I lied. But I did n't mean to -</dialogue> <character>HARKEN</character> <parenthetical>( hangs up phone . )</parenthetical> <dialogue>Trust is everything in this office, my friend. I know you've been working your tail off for that promotion, but if I ca n't trust you, how can I make you Senior VP of Sales?</dialogue> <character>NICK</character> <dialogue>I understand. You can trust me.</dialogue> <character>HARKEN</character> <dialogue>Now you sound like my wife.</dialogue> <scene_description>He glances at a framed photo on his desk . INSERT - PHOTO of the hot , bikini - clad MRS. HARKEN , 30 's , standing on a beach . BACK TO SCENE</scene_description> <character>HARKEN</character> <parenthetical>( IMITATING HER . )</parenthetical> <dialogue>` Trust me, honey.' ` Trust me.' Meanwhile, she's making love to every guy in the neighborhood.</dialogue> <character>NICK</character> <parenthetical>( UNCOMFORTABLE . )</parenthetical> <dialogue>Oh, I'm sure she's. loyal to YOU -</dialogue> <character>HARKEN</character> <dialogue>How could you possibly know that?</dialogue> <character>NICK</character> <dialogue>I do n't.</dialogue> <character>HARKEN</character> <dialogue>Are you making love to my wife, Nick?</dialogue> <character>NICK</character> <dialogue>What?! No!</dialogue> <character>HARKEN</character> <dialogue>I'm just kidding around. She's out of your league. No offense.</dialogue> <character>NICK</character> <dialogue>None taken.</dialogue> <character>HARKEN</character> <dialogue>Hmm.</dialogue> <scene_description>Harken has crossed to a credenza with several bottles of booze , two glasses and an ice bucket . He begins to fill a glass with ice and Scotch .</scene_description> <character>HARKEN</character> <dialogue>Would you like one?</dialogue> <character>NICK</character> <dialogue>It's 8:15.</dialogue> <character>HARKEN</character> <dialogue>You think there's something wrong with a man enjoying a drink in the morning?</dialogue> <character>NICK</character> <parenthetical>( QUICKLY . )</parenthetical> <dialogue>No, no. It's fine. I'd love a drink.</dialogue> <scene_description>Harken hands him the drink he just poured .</scene_description> <character>NICK</character> <dialogue>Thank you.</dialogue> <character>HARKEN</character> <dialogue>My pleasure.</dialogue> <scene_description>Harken returns to his chair and sits .</scene_description> <character>NICK</character> <dialogue>Are n't you having one?</dialogue> <character>HARKEN</character> <dialogue>It's 8:15, Nick. I'm not an alcoholic.</dialogue> <character>NICK</character> <dialogue>Oh. Well, I only took it because I thought you were having one.</dialogue> <character>HARKEN</character> <dialogue>You took a drink because you thought I was going to have one? That does n't exactly sound like something a Senior VP would do.</dialogue> <character>NICK</character> <dialogue>Well, I -</dialogue> <character>HARKEN</character> <dialogue>What if you thought I was going to dip my balls in honey and shaved coconut? Would you do that too?</dialogue> <character>NICK</character> <parenthetical>( LAUGHING NERVOUSLY . )</parenthetical> <dialogue>Of course not.</dialogue> <character>HARKEN</character> <dialogue>Of course not. Anyway, we've moved up the date of the AGM so you're gon na need to complete your due diligence by Monday. You'll probably need to be here all weekend.</dialogue> <character>NICK</character> <parenthetical>( SIGHS . )</parenthetical> <dialogue>Okay.</dialogue> <character>HARKEN</character> <dialogue>Hey, you want a promotion, you've got ta earn it. Life's a marathon and you ca n't win a marathon without putting a few Band - Aids on your nipples.</dialogue> <character>NICK</character> <parenthetical>( huh ? )</parenthetical> <dialogue>Got it.</dialogue> <scene_description>Nick gets up to go .</scene_description> <character>HARKEN</character> <dialogue>Nick.</dialogue> <scene_description>Nick turns back .</scene_description> <character>HARKEN</character> <dialogue>That's 18 - year - old Scotch. I ca n't really pour it back into the bottle.</dialogue> <scene_description>Nick , unsure of what to do , picks up the glass and gulps it down .</scene_description> <character>HARKEN</character> <dialogue>That should carry you till lunch, huh?</dialogue> </scene> <scene> <stage_direction>EXT. DENTAL OFFICE - DAY</stage_direction> <scene_description>A car pulls up outside the modest building .</scene_description> </scene> <scene> <stage_direction>INT. STACY'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>STACY , cute , 30 's , is dropping off DALE STEVENS , 30 's , who wears the scrubs of a dental hygienist .</scene_description> <character>STACY</character> <dialogue>Boy, I have to get used to driving with this heavy ring on. I keep swerving to the left.</dialogue> <character>DALE</character> <dialogue>Aww. You really like it?</dialogue> <character>STACY</character> <dialogue>I love it. I feel like a queen.</dialogue> <scene_description>CLOSE ON HER ENGAGEMENT DIAMOND It 's tiny and yellowish . BACK TO SCENE</scene_description> <character>DALE</character> <dialogue>Well, you're my queen. I love you, Stacy.</dialogue> <character>STACY</character> <dialogue>Have a great day at work.</dialogue> <scene_description>They kiss . Dale exits the car .</scene_description> </scene> <scene> <stage_direction>EXT. DENTAL OFFICE - CONTINUOUS ACTION</stage_direction> <scene_description>Stacy drives off . Dale steels himself for what lies ahead , then goes inside .</scene_description> </scene> <scene> <stage_direction>INT. DENTAL OFFICE - MOMENTS LATER</stage_direction> <scene_description>Dale enters the waiting room , passing a few PATIENTS . He grabs a mask and goggles from a supply room , then heads</scene_description> <character>INTO --</character> <dialogue /> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Dale finds his boss , DR. JULIA HARRIS , 30 's , sexy but with something a little off , hovering over a patient , MR. ANDERTON , 50 's . Dale seems visibly uneasy .</scene_description> <character>JULIA</character> <dialogue>All right, Mr. Anderton, I'm going to give you the nitrous now and your root canal will be over before you know it.</dialogue> <parenthetical>( TO DALE . )</parenthetical> <dialogue>Dale? Please.</dialogue> <scene_description>Dale turns the valve on the tank and soon Mr. Anderton 's eyes roll back in his head . Julia shuts the door , picks up a drill and begins boring into the patient 's molar .</scene_description> <character>JULIA</character> <parenthetical>( loudly , over the DRILL . )</parenthetical> <dialogue>How are you today, Dale?</dialogue> <character>DALE</character> <dialogue>I'm fine. Thanks.</dialogue> <character>JULIA</character> <dialogue>You get a haircut?</dialogue> <character>DALE</character> <dialogue>Uh - huh.</dialogue> <character>JULIA</character> <dialogue>Looks good.</dialogue> <character>DALE</character> <dialogue>Thank you.</dialogue> <character>JULIA</character> <dialogue>You ever watch that show, ` Gossip Girl'?</dialogue> <character>DALE</character> <dialogue>Uh, no.</dialogue> <character>JULIA</character> <dialogue>I watched it last night. I'll tell you, lot of cuties on that program.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>Number 7 scraper, please.</dialogue> <scene_description>Dale hands her a tool .</scene_description> <character>JULIA</character> <dialogue>Thank you. I fingered myself so hard to Penn Badgely, I broke a nail.</dialogue> <scene_description>Dale sighs and looks down at the unconscious Mr. Anderton . This obviously is n't the first time Julia has spoken this way .</scene_description> <character>JULIA</character> <dialogue>I'd let that kid put it in my ass. Bet he's packing a plus - size sausage under those True Religions.</dialogue> <parenthetical>( then , looking up at DALE . )</parenthetical> <dialogue>Probe.</dialogue> <character>DALE</character> <dialogue>What?</dialogue> <character>JULIA</character> <dialogue>I need the probe.</dialogue> <character>DALE</character> <dialogue>Oh, right.</dialogue> <scene_description>He hands her the tool .</scene_description> <character>JULIA</character> <dialogue>Bet you're no shrimp in the cock department either, huh, Dale?</dialogue> <character>DALE</character> <dialogue>Julia, please.</dialogue> <character>JULIA</character> <dialogue>Oh, come on. You know I like to fool around.</dialogue> <scene_description>She lifts the patient 's limp hand and cups it over her breast .</scene_description> <character>JULIA</character> <parenthetical>( FEIGNING SHOCK . )</parenthetical> <dialogue>Mr. Anderton! Bad!</dialogue> <scene_description>She smacks the lifeless hand and cackles with laughter .</scene_description> <character>JULIA</character> <dialogue>Okay, enough fun. Let's get back to work. Water, please.</dialogue> <scene_description>Dale hands her the Water Jet tool . Julia briefly sprays some water in the patient 's mouth , then casually sprays down Dale 's crotch with it .</scene_description> <character>DALE</character> <dialogue>Hey!</dialogue> <character>JULIA</character> <dialogue>Sorry, I'm a squirter.</dialogue> <parenthetical>( studying his groin . )</parenthetical> <dialogue>I think I can just make out our friend. Looks like someone is circumcised!</dialogue> <character>DALE</character> <dialogue>All right, Julia, listen. You ca n't keep doing this.</dialogue> <character>JULIA</character> <dialogue>I know, I know, you have a GIRLFRIEND -</dialogue> <character>DALE</character> <dialogue>She's not my girlfriend anymore. Stacy and I got engaged last night.</dialogue> <scene_description>Julia 's whole demeanor changes . She becomes deadly serious .</scene_description> <character>JULIA</character> <dialogue>What?</dialogue> <character>DALE</character> <dialogue>We're engaged.</dialogue> <character>JULIA</character> <dialogue>You're actually going to marry that little dummy?</dialogue> <character>DALE</character> <dialogue>Hey!</dialogue> <character>JULIA</character> <dialogue>I thought you said she was just a hole for your dick.</dialogue> <character>DALE</character> <dialogue>That's a horrible thing to say. I never said that!</dialogue> <scene_description>Mr. Anderton GROANS groggily .</scene_description> <character>JULIA</character> <parenthetical>( OMINOUSLY . )</parenthetical> <dialogue>I'm very disappointed in you, Dale.</dialogue> <parenthetical>( then , coldly . )</parenthetical> <dialogue>Scaler.</dialogue> <scene_description>Shaken , Dale hands her the tool .</scene_description> </scene> <scene> <stage_direction>EXT. PELLIT CHEMICAL CO. - DAY</stage_direction> <scene_description>A medium - sized warehouse building in an industrial neighborhood .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT CHEMICAL CO. - CONTINUOUS ACTION</stage_direction> <scene_description>KURT GAMBLE , 30s , good - looking , sits at his desk . Unlike Nick and Dale , Kurt seems content in his workplace . A reasonably cute , but by no means drop - dead gorgeous , UPS GIRL approaches his desk with a package .</scene_description> <character>UPS GIRL</character> <dialogue>Excuse me? Can you sign for this, please?</dialogue> <character>KURT</character> <parenthetical>( TAKING IT . )</parenthetical> <dialogue>Sure.</dialogue> <parenthetical>( LOOKING UP . )</parenthetical> <dialogue>Whoa, whoa. Hold on. What is this?</dialogue> <character>UPS GIRL</character> <dialogue>I'm sorry?</dialogue> <character>KURT</character> <dialogue>This is one of those hidden camera shows, is n't it?</dialogue> <character>UPS GIRL</character> <dialogue>What do you mean?</dialogue> <character>KURT</character> <dialogue>Come on. You're way too good - looking to be a UPS girl. What are you, a model? An actress? What's gon na happen when I open this box? Is something going to jump out at me?</dialogue> <character>UPS GIRL</character> <parenthetical>( GRINNING . )</parenthetical> <dialogue>Nothing's gon na happen. I'm just a UPS girl.</dialogue> <character>KURT</character> <dialogue>Shut up.</dialogue> <character>UPS GIRL</character> <parenthetical>( PLAYFULLY . )</parenthetical> <dialogue>You shut up. It's true.</dialogue> <character>KURT</character> <dialogue>Well, then, I need to take you out to dinner.</dialogue> <character>UPS GIRL</character> <dialogue>Why?</dialogue> <character>KURT</character> <dialogue>Because I want to be able to tell my friends that I took out the hottest UPS girl in America. Come on, what do you say?</dialogue> <scene_description>She considers this briefly , then scribbles her number on a Post - it note .</scene_description> <character>KURT</character> <dialogue>Awesome. I'm Kurt.</dialogue> <character>UPS GIRL</character> <dialogue>Myrna.</dialogue> <character>KURT</character> <dialogue>Pretty name. How's Tuesday? Macaroni Grill?</dialogue> <character>UPS GIRL</character> <dialogue>Okay.</dialogue> <character>KURT</character> <dialogue>See you then, Myrna.</dialogue> <scene_description>She heads off . Kurt opens his DATEBOOK and scribbles `` UPS Girl '' in the Tuesday slot . We see every night of the week is filled with appointments with other women : `` Barnes &amp; Noble girl , '' `` Lauren ? Laura ? , '' `` Blonde Chick '' and so on .</scene_description> <character>JACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Busy week?</dialogue> <scene_description>Kurt looks up at JACK PELLIT , 70s , the kindly , affectionate owner of the company .</scene_description> <character>KURT</character> <dialogue>Hey, Jack. Yeah, just doing my part for the women of America.</dialogue> <character>JACK</character> <parenthetical>( CHUCKLING . )</parenthetical> <dialogue>You're what we used to call a rapscallion.</dialogue> <character>KURT</character> <dialogue>That sounds a lot more innocent than ` sex addict.'</dialogue> <character>JACK</character> <dialogue>Walk with me, Kurt.</dialogue> <scene_description>The two of them head toward the exit .</scene_description> <character>JACK</character> <dialogue>I wanted to talk to you about -</dialogue> <character>KURT</character> <dialogue>Last quarter's profits? I ran the numbers. We're down by 11 percent year - to - year.</dialogue> <character>JACK</character> <dialogue>It's this damn recession. What about cost - cutting measures?</dialogue> <character>KURT</character> <dialogue>Well, I know you do n't want to cut STAFF -</dialogue> <character>JACK</character> <dialogue>No way. These people have worked their asses off for me. There's no reason they should suffer.</dialogue> <scene_description>Kurt looks at his boss with admiration . There 's a lot of love between these two .</scene_description> <character>KURT</character> <dialogue>There's also the issue of our hazardous waste disposal. We're paying a lot right now and the Bolivians have come back with a very good offer.</dialogue> <character>JACK</character> <dialogue>You know why it's good? Because they'll dump our chemicals in rivers, pollute water supplies and hurt people. I've spent my life building this company. Would you want the Pellit name to be associated with something like that?</dialogue> <character>KURT</character> <dialogue>No, I would n't.</dialogue> <scene_description>As they pass the unisex rest room , they see MARGIE , 30s and clearly pregnant , looking uncomfortable as she waits to get in .</scene_description> <character>JACK</character> <dialogue>Everything okay, Margie?</dialogue> <character>MARGIE</character> <dialogue>Oh hi, Mr. Pellit. Kurt. I've just been waiting to get in there for a while now.</dialogue> <character>JACK</character> <dialogue>Who's in there?</dialogue> <character>MARGIE</character> <dialogue>It's. your son.</dialogue> <character>JACK</character> <parenthetical>( SIGHS . )</parenthetical> <dialogue>Of course it is.</dialogue> <parenthetical>( then , knocking on THE DOOR . )</parenthetical> <dialogue>Bobby? There's someone waiting. You almost done in there?</dialogue> <scene_description>After a long beat , the door opens and out steps BOBBY PELLIT , late - 20s , weasely - looking , sniffing a bit too much and rubbing his nose repeatedly . There 's something unnaturally energetic about him .</scene_description> <character>PELLIT</character> <dialogue>What the fuck?! A guy ca n't get any privacy in this place!</dialogue> <character>JACK</character> <dialogue>It's all yours, Margie.</dialogue> <scene_description>Margie quickly slips into the rest room and shuts the door .</scene_description> <character>JACK</character> <dialogue>You know, Bobby, you seem to be spending more time in that bathroom than at your desk these days.</dialogue> <character>PELLIT</character> <dialogue>Well, then, you're fucking stupid, Dad. Because that's clearly not true.</dialogue> <character>JACK</character> <dialogue>All I ask is that you do your part around here, son.</dialogue> <character>PELLIT</character> <dialogue>I do my part. I do other people's parts. But you just like to ride my ass because I'm your son. I do n't see you screaming at -.</dialogue> <parenthetical>( RE : KURT . )</parenthetical> <dialogue>- dickskin here.</dialogue> <character>JACK</character> <parenthetical>( PATIENTLY . )</parenthetical> <dialogue>That's because Kurt does his work and does it well. You could take a lesson from him.</dialogue> <character>PELLIT</character> <parenthetical>( SNORTS . )</parenthetical> <dialogue>The only thing I'd take a lesson from him on is being gay. And I would n't take that lesson because I do n't want to be gay.</dialogue> <character>JACK</character> <parenthetical>( HEADING OFF . )</parenthetical> <dialogue>Come on, Kurt.</dialogue> <scene_description>Kurt follows after Jack .</scene_description> <character>PELLIT</character> <dialogue>Yeah, that's what I thought.</dialogue> <scene_description>Jack and Kurt pass a receptionist desk and go out into -</scene_description> </scene> <scene> <stage_direction>EXT. PELLIT CHEMICAL CO. PARKING LOT - CONTINUOUS ACTION</stage_direction> <scene_description>Kurt walks Jack to his Cadillac .</scene_description> <character>JACK</character> <dialogue>Tell me something, Kurt. Are you happy here?</dialogue> <character>KURT</character> <dialogue>You kidding? It's the best job in the world.</dialogue> <character>JACK</character> <dialogue>I'm glad to hear you say that. I'm rewriting my will tonight and there's going to be a special place for you in there.</dialogue> <scene_description>He gives Kurt a hug like a doting father , then climbs into his car . As Jack pulls out and begins driving across the parking lot , Kurt waves . Suddenly , the car 's HORN begins to honk in a CONSTANT BLARE . Kurt lowers his hand as the car veers off the pavement , slowly cruising into a tree where it stops abruptly , the horn still honking . A bewildered Kurt runs toward the car , as we -</scene_description> </scene> <scene> <stage_direction>INT. BRADFORD'S BAR - THAT NIGHT</stage_direction> <scene_description>Kurt sits at a table looking depressed .</scene_description> <character>KURT</character> <dialogue>He died instantly. They say his heart burst in his chest like a water balloon.</dialogue> <scene_description>PAN to reveal Kurt is sitting with Dale , who looks just as dejected .</scene_description> <character>DALE</character> <dialogue>Wow. Sorry, man. He was like a dad to you.</dialogue> <character>KURT</character> <dialogue>I loved him. And I loved working for him. And now his idiot son is gon na be in charge. You know how many times I've caught him doing blow at work?</dialogue> <scene_description>PAN FURTHER to reveal Nick sitting beside Dale .</scene_description> <character>NICK</character> <dialogue>That sucks. You were the only one of us who did n't totally hate his job.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>Did I tell you Harken tricked me into having a drink at eight o'clock this morning? The guy's the devil.</dialogue> <character>DALE</character> <dialogue>I thought he was giving you a promotion.</dialogue> <character>NICK</character> <dialogue>He is. And he's got to do it before the General Meeting next week.</dialogue> <character>DALE</character> <dialogue>Well, at least your boss does n't sexually harass you.</dialogue> <character>KURT</character> <dialogue>This again?</dialogue> <character>DALE</character> <dialogue>I'm telling you, she's out of control. It's a full - on hostile work environment.</dialogue> <character>KURT</character> <dialogue>She's a woman who wants to have sex with you. How bad can it be?</dialogue> <character>DALE</character> <dialogue>Today she sprayed my crotch with water so she could see the outline of my wiener.</dialogue> <character>KURT</character> <dialogue>Why do n't you just fuck her?</dialogue> <character>DALE</character> <dialogue>I'm engaged!</dialogue> <character>KURT</character> <dialogue>Oh yeah. Congratulations, by the way.</dialogue> <character>DALE</character> <dialogue>Thank you.</dialogue> <character>NICK</character> <dialogue>There's got ta be other dental hygienist jobs out there.</dialogue> <character>DALE</character> <dialogue>I ca n't apply for another job, remember?</dialogue> <character>KURT</character> <dialogue>Oh, right. Because you'd have to tell them you're a child molester.</dialogue> <character>NICK</character> <dialogue>He's not a child molester. He just took his dick out in a playground.</dialogue> <character>DALE</character> <dialogue>It was nighttime and I was peeing! And it's bullshit that I got put on the registered sex offender list for that!</dialogue> <character>KURT</character> <dialogue>It worked out. Julia probably hired you because she's a sexual deviant herself.</dialogue> <character>DALE</character> <dialogue>Why would they put a playground next to a bar anyway? That's entrapment.</dialogue> <scene_description>A SEMI - CUTE GIRL walks past .</scene_description> <character>KURT</character> <parenthetical>( WITH JOYLESS RESIGNATION . )</parenthetical> <dialogue>Well, I should go see if that girl wants to bone.</dialogue> <scene_description>Kurt groans as he pulls himself out of the booth .</scene_description> <character>NICK</character> <dialogue>I thought you were all broken up about your boss dying.</dialogue> <character>KURT</character> <dialogue>This is how I grieve, okay?</dialogue> <scene_description>Kurt heads off after the girl .</scene_description> <character>DALE</character> <dialogue>Man. He must be grieving all the time.</dialogue> </scene> <scene> <stage_direction>INT. COMMTRONIX INDUSTRIES CONFERENCE ROOM - NEXT DAY</stage_direction> <scene_description>Nick sits alongside five other CO - WORKERS at a conference table . Harken 's chair at the head is empty . Nick pours himself some water from a glass pitcher on the table .</scene_description> <character>NICK</character> <dialogue>He did say ten o'clock, right?</dialogue> <character>CO-WORKER</character> <dialogue>Yeah. Do you know what this is about?</dialogue> <character>NICK</character> <dialogue>It just said ` staff meeting' on the memo.</dialogue> <parenthetical>( WHISPERING . )</parenthetical> <dialogue>Funny how he gets all over me if I'm a minute late, but he makes us wait fifteen.</dialogue> <character>HARKEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You were two minutes late, Nick.</dialogue> <scene_description>Nick jumps as Harken enters .</scene_description> <character>HARKEN</character> <dialogue>And I did n't know I had to punch a clock with you.</dialogue> <character>NICK</character> <dialogue>You do n't. Of course you do n't. I'm sorry -</dialogue> <character>HARKEN</character> <dialogue>I'm going to attribute this to your drinking problem.</dialogue> <character>NICK</character> <dialogue>I do n't have a -</dialogue> <character>HARKEN</character> <parenthetical>( with a smile to the OTHERS . )</parenthetical> <dialogue>Let's get started. Shall we?</dialogue> <scene_description>Nick 's eyes narrow . Suddenly , he grabs the heavy glass pitcher from the table and SHATTERS IT AGAINST HARKEN 'S FACE . Shards of glass fly everywhere as Harken falls from his chair onto the floor . SAME SCENE -LRB- REALITY -RRB- Harken is fine . Nick is as we left him .</scene_description> <character>HARKEN</character> <dialogue>Okay, have we figured out our best sales distribution plan for the new model year handsets?</dialogue> <scene_description>Nick 's CO - WORKERS bury their heads in their notes . Nick tensely raises his hand .</scene_description> <character>HARKEN</character> <dialogue>Yes?</dialogue> <character>NICK</character> <dialogue>I simulated a number of sales cycles, factoring in likely end - users, point - of - sale limitations and specific demographic variables.</dialogue> <character>HARKEN</character> <dialogue>And?</dialogue> <character>NICK</character> <dialogue>And in my opinion, an open plan selling process in our top 30 markets along with targeted upgrade offers to existing customers promises the greatest yield.</dialogue> <scene_description>Harken nods . Is he impressed ?</scene_description> <character>HARKEN</character> <dialogue>Thank you, Nick. Did everyone see how he did that? Yes, he may be a pathological liar and have a crippling drinking problem, but when the chips are down, Nick has what it takes.</dialogue> <scene_description>Nick glows .</scene_description> <character>HARKEN</character> <dialogue>Which brings us to our next order of business. I've decided who I want as our new Senior VP of Sales. He's sitting right here among you.</dialogue> <scene_description>Everyone turns to look at Nick .</scene_description> <character>HARKEN</character> <dialogue>It's me.</dialogue> <scene_description>Everyone 's head snaps back to Harken .</scene_description> <character>NICK</character> <dialogue>What?</dialogue> <character>HARKEN</character> <dialogue>I've decided to absorb the responsibilities of the Senior VP position into my own. I realized if you want something done right, you do it yourself. So, I'm going to be knocking down the wall between my office and what would've been the Senior VP's to create a single, enormous office. However, as a cost - cutting measure, I will only be taking 85 % of the additional salary I'm entitled to. It's called self - sacrifice, people. Learn from this.</dialogue> <scene_description>Harken heads out .</scene_description> </scene> <scene> <stage_direction>INT. COMMTRONIX INDUSTRIES - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Nick hurries to catch up with Harken .</scene_description> <character>NICK</character> <dialogue>Mr. Harken, can I speak to you?</dialogue> <character>HARKEN</character> <dialogue>What is it?</dialogue> <character>NICK</character> <dialogue>You've been hinting for months that I was in line for that promotion.</dialogue> <character>HARKEN</character> <dialogue>And look how hard you've worked.</dialogue> <character>NICK</character> <dialogue>So you've just been lying to me?</dialogue> <character>HARKEN</character> <dialogue>Not lying. Motivating. We're all on the same team here, Nick. We're all trying to find Lorenzo's oil before it's too late for little Lorenzo. Besides, I'm the one who's taking on a lot more work.</dialogue> <character>NICK</character> <parenthetical>( barely keeping it TOGETHER . )</parenthetical> <dialogue>Last month you kept me working so late I did n't get to say goodbye to Gam Gam!</dialogue> <character>HARKEN</character> <dialogue>What?</dialogue> <character>NICK</character> <dialogue>My grandmother. I told you I needed to see her but you said I'd be fired if I left early. She died before I could get to the hospital.</dialogue> <parenthetical>( VOICE QUIVERING . )</parenthetical> <dialogue>She taught me how to swim -</dialogue> <character>HARKEN</character> <dialogue>Oh, my God. I had no idea. that you called your grandmother Gam Gam.</dialogue> <parenthetical>( CHUCKLING . )</parenthetical> <dialogue>I do n't mean to laugh, but that's adorable.</dialogue> <parenthetical>( off Nick 's outraged LOOK . )</parenthetical> <dialogue>Look, Nick, I'm sorry you did n't get to say bye - bye to Gam Gam. I make you work late because you're an invaluable part of this operation. And I need you in your current position.</dialogue> <character>NICK</character> <dialogue>I've been in that position for eight years now. Why would I stay here after being treated like this?!</dialogue> <character>HARKEN</character> <dialogue>Because I will see to it that no one else in our industry will hire you.</dialogue> <character>NICK</character> <dialogue>What?</dialogue> <character>HARKEN</character> <dialogue>Anyone who interviews you will want my letter of recommendation. And I'm prepared to tell them that you are a dishonest, insubordinate drunk.</dialogue> <character>NICK</character> <dialogue>But that's not true! You ca n't do this!</dialogue> <scene_description>Harken gets directly in Nick 's face , speaking softly but intensely .</scene_description> <character>HARKEN</character> <dialogue>Let me make this clear, you weak, little fuck. I own you. You're my bitch. Do n't make the mistake of thinking you have free will. Because I can crush you any time I like.</dialogue> <parenthetical>( stepping back , FRIENDLY AGAIN . )</parenthetical> <dialogue>Settle in, friend. You're here for the long haul.</dialogue> <scene_description>Harken slaps him hard on the back and continues on his way , leaving a stunned Nick .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT CHEMICAL CO. - DAY</stage_direction> <scene_description>Kurt somberly heads to his desk . He 's wearing a dark suit .</scene_description> <character>PELLIT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yo, dickwall! What the fuck?</dialogue> <scene_description>Kurt sees Bobby Pellit standing in the doorway of what was Jack 's office .</scene_description> <character>KURT</character> <dialogue>What?</dialogue> <character>PELLIT</character> <dialogue>You're three hours late. What's the deal?</dialogue> <character>KURT</character> <dialogue>I was at your father's funeral.</dialogue> <character>PELLIT</character> <dialogue>Maybe that excuse would've flown when my dad was here, but I'm in charge now.</dialogue> <character>KURT</character> <dialogue>That excuse would n't have made any sense when your dad was here.</dialogue> <character>PELLIT</character> <dialogue>In my office. Now.</dialogue> </scene> <scene> <stage_direction>INT. PELLIT'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Kurt enters . He notices that the `` Jack Pellit '' nameplate has been partially taped over with the name `` Bobby '' scribbled in magic marker .</scene_description> <character>PELLIT</character> <dialogue>Sit.</dialogue> <scene_description>Kurt sits . Bobby quickly slips a small mirror and rolled up dollar bill into a drawer . Kurt sees Bobby has tossed most of Jack 's mementos , achievement awards and photos with luminaries in the trash .</scene_description> <character>PELLIT</character> <dialogue>I've been looking over the books. You're the accountant. Tell me why this company is in the crapper.</dialogue> <character>KURT</character> <dialogue>It's not in the crapper. It's a recession. But we're still profitable.</dialogue> <character>PELLIT</character> <dialogue>Bullshit. Look, I know you and my dad were pals. Frankly, I always thought it was weird and gay and I never understood why my dad thought you were so great. But it does n't matter now because he's in the ground and I'm your boss. And there's gon na be some changes around here. First of all.</dialogue> <parenthetical>( pointing to a BALANCE SHEET . )</parenthetical> <dialogue>What is this ` EnviroTech Waste Management' shit that we're paying so much for?</dialogue> <character>KURT</character> <dialogue>Your father made the decision to pay a little more to dispose of our chemical waste responsibly.</dialogue> <character>PELLIT</character> <dialogue>Yeah, fuck that. We've got an offer from Bolivia to dump the stuff for a third the cost.</dialogue> <character>KURT</character> <dialogue>But that would endanger thousands of local residents.</dialogue> <character>PELLIT</character> <dialogue>So some jungle tribesmen get cancer. Boo friggin' hoo.</dialogue> <character>KURT</character> <dialogue>They're not tribesmen. It's a MODERN -.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>Look, Bobby, your dad told me very clearly he'd die before he'd save money by hurting people.</dialogue> <character>PELLIT</character> <dialogue>Well then, we're right on schedule, are n't we?</dialogue> <scene_description>Kurt 's eyes narrow . He reaches into the trash can and grabs one of Jack 's discarded ACHIEVEMENT TROPHIES and PLUNGES its pointy end deep into Pellit 's chest , impaling him in his chair . SAME SCENE -LRB- REALITY -RRB- Kurt sits across from an unharmed Pellit .</scene_description> <character>PELLIT</character> <dialogue>Oh, and we also need to trim the fat around here.</dialogue> <character>KURT</character> <parenthetical>( snapping out of it . )</parenthetical> <dialogue>What do you mean?</dialogue> <character>PELLIT</character> <dialogue>I want you to fire the fat people. They're slow and lazy and they make me sad to look at. Start with Large Marge.</dialogue> <scene_description>ANGLE ON Margie at her desk .</scene_description> <character>KURT</character> <dialogue>Margie's not fat. She's pregnant. I'm not firing her.</dialogue> <character>PELLIT</character> <dialogue>Fine. Then fire Professor Xavier over there.</dialogue> <scene_description>ANGLE ON a balding , middle - aged man in a wheelchair , HANK , who sits at a desk near Margie 's .</scene_description> <character>KURT</character> <dialogue>Hank?</dialogue> <character>PELLIT</character> <dialogue>He creeps me out. Rolling around in that weird little chair of his.</dialogue> <character>KURT</character> <dialogue>I'm not firing anyone! It's like you do n't care about this company at all.</dialogue> <character>PELLIT</character> <dialogue>No shit. You think when I was a kid I dreamed of running a fucking chemical company? No. I dreamed of retiring. Of being fed tropical fruit on a beach by a model while she blows me. And as soon as I squeeze all the profit out of this place, that's exactly what I'm gon na do. So here's the deal. You either fire the fatty or the cripple, or I fire both of them.</dialogue> </scene> <scene> <stage_direction>INT. PELLIT CHEMICAL CO. - MOMENTS LATER</stage_direction> <scene_description>Kurt sighs as he looks from Margie to Hank and back . At last , he gathers his resolve and crosses to Hank 's desk . From a RESPECTFUL DISTANCE we watch as Kurt breaks the news to Hank who reacts with sad resignation . Kurt turns to see Pellit standing directly beside him .</scene_description> <character>PELLIT</character> <parenthetical>( loudly , to the room . )</parenthetical> <dialogue>Everyone, can I have your attention please? I've just learned that Kurt has fired our dear friend Hank here. I want you to know that I am as surprised and angry about this as you are.</dialogue> <character>KURT</character> <dialogue>What are you -?!</dialogue> <character>PELLIT</character> <dialogue>This is entirely an accounting department decision. My hands are tied.</dialogue> <parenthetical>( then , to Kurt . )</parenthetical> <dialogue>You are one heartless bastard, Gamble.</dialogue> <scene_description>Pellit heads off . Hank glares at Kurt .</scene_description> <character>KURT</character> <dialogue>Look, Hank, this was not my -</dialogue> <character>HANK</character> <dialogue>Fuck you, Kurt.</dialogue> <scene_description>Hank wheels away , leaving Kurt to face the angry looks of his CO - WORKERS .</scene_description> </scene> <scene> <stage_direction>INT. DENTAL OFFICE - DAY</stage_direction> <scene_description>Dale , dressed for work , knocks on Julia 's office door .</scene_description> <character>JULIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come in.</dialogue> </scene> <scene> <stage_direction>INT. JULIA'S OFFICE - CONTINUOUS ACTION</stage_direction> <scene_description>Dale enters .</scene_description> <character>DALE</character> <dialogue>You wanted to see -</dialogue> <scene_description>He looks up to find Julia sitting at her desk in nothing but an unbuttoned white lab coat .</scene_description> <character>DALE</character> <parenthetical>( AVERTING EYES . )</parenthetical> <dialogue>Oh, God.</dialogue> <character>JULIA</character> <dialogue>Have a seat, Dale.</dialogue> <character>DALE</character> <dialogue>Do I have to?</dialogue> <character>JULIA</character> <dialogue>Please.</dialogue> <scene_description>He sits , then immediately stands again .</scene_description> <character>DALE</character> <dialogue>Look, Julia, this is ridiculous -</dialogue> <character>JULIA</character> <parenthetical>( holding up hand . )</parenthetical> <dialogue>I know what you're going to say and that's exactly what I want to talk to you about. Yes, I like to joke around at work. And sometimes I might cross the line a bit. But the last thing I want to do is make you uncomfortable. That's unprofessional and I pride myself on being a professional.</dialogue> <scene_description>She leans back in her chair and puts her hands behind her head revealing even more of her body .</scene_description> <character>JULIA</character> <dialogue>So from now on, I want you to tell me when and if I cross the line.</dialogue> <character>DALE</character> <dialogue>Now. Right now.</dialogue> <character>JULIA</character> <dialogue>What?</dialogue> <character>DALE</character> <dialogue>You're naked, Julia!</dialogue> <character>JULIA</character> <dialogue>I'm not naked. You ca n't even see my pussy.</dialogue> <character>DALE</character> <dialogue>Okay, right there! Just saying ` pussy' to me. That's over the line.</dialogue> <character>JULIA</character> <dialogue>That's over the line? You're starting to sound like a little faggot, Dale.</dialogue> <character>DALE</character> <dialogue>Again! Naked, ` pussy,' ` faggot.' All over the line. And probably ILLEGAL -</dialogue> <character>JULIA</character> <dialogue>Okay, let's not start talking about illegal, Mr. Pees - on - Young - Boys.</dialogue> <character>DALE</character> <dialogue>It was an empty playground! In the middle of the night!</dialogue> <character>JULIA</character> <dialogue>Even worse. That little boy must have been terrified.</dialogue> <scene_description>Julia stands and moves uncomfortably close to Dale . He tries not to stare at her breasts .</scene_description> <character>JULIA</character> <dialogue>Let's cut to the chase. You're engaged now. And I respect the institution of marriage too much to violate it. That's why you need to fuck me well before the wedding. Because the closer it gets, the less ladylike I'm going to feel about this whole thing.</dialogue> <character>DALE</character> <dialogue>I'm not going to sleep with you, Julia.</dialogue> <character>JULIA</character> <dialogue>We'll see about that.</dialogue> <parenthetical>( then , suddenly ENRAGED . )</parenthetical> <dialogue>OUT! GET OUT!</dialogue> <scene_description>Startled , Dale hurries out of the office .</scene_description> </scene> <scene> <stage_direction>INT. BRADFORD'S BAR - THAT NIGHT</stage_direction> <scene_description>Nick , Dale and Kurt sit miserably over their drinks . They 've all had a few .</scene_description> <character>NICK</character> <dialogue>I feel like a total sucker. Harken was never planning on promoting me.</dialogue> <character>KURT</character> <dialogue>That coked - out douchebag is gon na destroy Pellit Chemicals.</dialogue> <character>DALE</character> <dialogue>She stood there with her breasts right in my face.</dialogue> <scene_description>Nick and Kurt turn to Dale .</scene_description> <character>KURT</character> <dialogue>You know, yours just does n't sound that bad.</dialogue> <character>DALE</character> <dialogue>Why do n't you guys quit? It's not like you're sex offenders.</dialogue> <character>NICK</character> <dialogue>It's true. I mean, I'm young. I could go back to school, change fields.</dialogue> <scene_description>In the b.g. , a GUY has noticed them . He heads over .</scene_description> <character>KURT</character> <dialogue>Yeah. Why should I care about protecting Pellit's name when his own son does n't? There's a million jobs out there.</dialogue> <character>DALE</character> <dialogue>The world is your oyster.</dialogue> <character>GUY</character> <dialogue>Well, well, if it is n't the Three Musketeers, Nick, Kurt and Dale. Still hanging out like high school, huh?</dialogue> <character>NICK</character> <dialogue>I do n't believe it. Kenny Orkin!</dialogue> <character>DALE</character> <dialogue>I heard you moved to New York to work at Lehman Brothers or something.</dialogue> <character>KENNY</character> <parenthetical>( GUY . )</parenthetical> <dialogue>I did. Hired me right out of Yale.</dialogue> <character>KURT</character> <dialogue>So what are you doing back here?</dialogue> <character>KENNY</character> <dialogue>Do n't you read the papers? They shut us down. I've been looking for work for the last two years. It's crazy out here. I ca n't even get a job waiting tables.</dialogue> <character>NICK</character> <dialogue>You? Waiting tables? You were voted Most Likely to Succeed. Everyone thought you were set.</dialogue> <character>KENNY</character> <dialogue>Everyone including me.</dialogue> <parenthetical>( INTENSE . )</parenthetical> <dialogue>I'd murder those Lehman Brothers if I could. Line them up, put one bullet through their three heads.</dialogue> <character>DALE</character> <dialogue>Easy, Kenny.</dialogue> <character>KENNY</character> <dialogue>It's just not fair. I was making high six - figures. Now I ca n't even afford this drink.</dialogue> <parenthetical>( holds up glass . )</parenthetical> <dialogue>Seriously, you think you guys can help me out at all?</dialogue> <scene_description>The three guys exchange uncomfortable looks as they reach for their wallets .</scene_description> <character>DALE</character> <dialogue>Uh, sure. Here's a few bucks, Kenny.</dialogue> <character>KENNY</character> <dialogue>Okay, y' know that's not really gon na do it for me.</dialogue> <parenthetical>( looking around , LEANING IN . )</parenthetical> <dialogue>I'll tell you what? What if I give you guys handjobs? Forty bucks. We can do it in the bathroom right here. I'll do the three of you for a hundred.</dialogue> <character>KURT</character> <dialogue>You're gay now?</dialogue> <character>KENNY</character> <dialogue>No, I'm not gay.</dialogue> <scene_description>They look skeptical .</scene_description> <character>KENNY</character> <dialogue>I'm the opposite of gay!</dialogue> <scene_description>They guys look at each other with eyebrows raised . Nick mouths `` opposite . ''</scene_description> <character>KENNY</character> <dialogue>Come on. Handjobs for the Three Musketeers. Let's do this!</dialogue> <scene_description>The BARTENDER spots Kenny and points at him .</scene_description> <character>BARTENDER</character> <parenthetical>( YELLING . )</parenthetical> <dialogue>I thought I told you to stay out of here!</dialogue> <character>KENNY</character> <dialogue>Whoops. Got ta go, guys. Call me if you change your minds. I'm at my mom's.</dialogue> <scene_description>He hurries out . There 's a silent beat as the guys process what they 've just witnessed .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>The three guys are walking home , all mildly buzzed .</scene_description> <character>KURT</character> <dialogue>So I guess we're just gon na be miserable for the rest of our lives.</dialogue> <character>DALE</character> <dialogue>What do you mean?</dialogue> <character>KURT</character> <dialogue>What options do we have? We can quit our jobs and turn into Kenny. Or keep our jobs and turn into sad, ball - less losers who spend their days dreaming of ways to kill their bosses.</dialogue> <scene_description>There 's a beat as Nick regards Kurt .</scene_description> <character>NICK</character> <dialogue>You do that too?</dialogue> <character>KURT</character> <dialogue>Of course. Everyone does. It's the only thing that keeps us from going totally bat - shit.</dialogue> <character>NICK</character> <dialogue>The other day I imagined shoving one of those jugs from the water cooler in Harken's mouth and making him drink until his bladder explodes.</dialogue> <character>DALE</character> <dialogue>Jeez.</dialogue> <character>KURT</character> <dialogue>That's so funny. I had the same idea for Pellit. Only using gasoline instead of water. And his ass instead of his mouth.</dialogue> <character>DALE</character> <dialogue>You guys are sick.</dialogue> <character>KURT</character> <dialogue>What's sick about it? It's just a way to let off steam.</dialogue> <character>NICK</character> <dialogue>Yeah, Dale. It's not like we're actually going to kill our bosses.</dialogue> <scene_description>They continue walking . After a beat .</scene_description> <character>KURT</character> <dialogue>You have to admit though, our lives would be a lot better if our bosses were dead.</dialogue> <character>NICK</character> <dialogue>Well, of course. It's the one thing that keeps me from being happy.</dialogue> <character>DALE</character> <dialogue>Me too.</dialogue> <scene_description>There 's another beat .</scene_description> <character>KURT</character> <dialogue>Let's just consider this, for one second.</dialogue> <character>DALE</character> <dialogue>Consider what?</dialogue> <character>KURT</character> <dialogue>Killing our bosses. I'm just being hypothetical here.</dialogue> <character>DALE</character> <parenthetical>( laughing it off . )</parenthetical> <dialogue>Yeah, right.</dialogue> <character>NICK</character> <dialogue>Very funny.</dialogue> <character>KURT</character> <dialogue>Well, it's not like they're gon na live forever. These pieces of shit are going to die someday. We'd just be accelerating that natural process.</dialogue> <character>NICK</character> <dialogue>Shut up, Kurt.</dialogue> <character>DALE</character> <dialogue>Yeah, shut up, Kurt.</dialogue> <character>KURT</character> <parenthetical>( EARNEST . )</parenthetical> <dialogue>Frankly, I do n't see any reason not to do it.</dialogue> <character>DALE</character> <dialogue>Well, first of all, killing someone is illegal and immoral -</dialogue> <character>KURT</character> <dialogue>It may be illegal but I'm not sure it's immoral. Sometimes one evil person has to die for the greater good of the community. If Bobby Pellit has his way, hundreds, maybe thousands of innocent Bolivians will suffer. It would actually be immoral not to kill him.</dialogue> <scene_description>Nick begins to warm to the idea .</scene_description> <character>NICK</character> <dialogue>I did n't get to say goodbye to Gam Gam because of Harken.</dialogue> <character>KURT</character> <dialogue>Exactly! Who knows how many other Gam Gams have died alone.</dialogue> <character>DALE</character> <dialogue>I ca n't believe you guys are actually talking about this. I do n't care how bad our bosses are. We're not murderers.</dialogue> <character>NICK</character> <dialogue>No, we're not, Dale. We're just trying to live our lives. But what are we supposed to do when someone makes it impossible for us to live our lives? Do we just bend over and take it up the ass forever?</dialogue> <character>KURT</character> <dialogue>No, we do not!</dialogue> <character>DALE</character> <dialogue>What you guys are talking about is wrong and you know it.</dialogue> <character>NICK</character> <dialogue>Julia's ruining your life. That's wrong.</dialogue> <character>KURT</character> <dialogue>Yeah!</dialogue> <character>DALE</character> <dialogue>She's not ruining my life. If anything's ruining my life it's you guys and your drunk bullshit.</dialogue> <character>KURT</character> <dialogue>If it's bullshit, Dale, then how come we all want to do it so much?</dialogue> <scene_description>They reach the corner where they part ways .</scene_description> <character>DALE</character> <dialogue>I do n't want to do it. And when you sober up neither will you. We're not killing anyone.</dialogue> <scene_description>Dale heads off .</scene_description> <character>KURT</character> <parenthetical>( TO NICK . )</parenthetical> <dialogue>I was just being hypothetical.</dialogue> <character>NICK</character> <parenthetical>( QUICKLY . )</parenthetical> <dialogue>Yeah, me too.</dialogue> <scene_description>OFF their ambivalent looks -</scene_description> </scene> <scene> <stage_direction>INT. DENTAL OFFICE - NEXT DAY</stage_direction> <scene_description>Dale is organizing some equipment when a pair of woman 's hands suddenly cover his eyes .</scene_description> <character>WOMAN</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( SUGGESTIVELY . )</parenthetical> <dialogue>Guess who?</dialogue> <character>DALE</character> <parenthetical>( WEARILY . )</parenthetical> <dialogue>I'm really not in the mood for this now -</dialogue> <scene_description>He turns and reacts as he sees it 's not Julia , but his fiancée , Stacy .</scene_description> <character>DALE</character> <dialogue>Stacy?!</dialogue> <character>STACY</character> <dialogue>Not in the mood for what?</dialogue> <character>DALE</character> <dialogue>For. nothing. What are you doing here?</dialogue> <scene_description>Julia appears in her office doorway .</scene_description> <character>JULIA</character> <dialogue>I invited her.</dialogue> <character>STACY</character> <dialogue>She called and said now that we're engaged, she wanted to offer me free dental work. And you know I've had that loose filling for a while. It's so sweet of you, Julia.</dialogue> <character>JULIA</character> <dialogue>It's my pleasure. You're part of the family now.</dialogue> <character>DALE</character> <parenthetical>( VISIBLY UPTIGHT . )</parenthetical> <dialogue>Uhhhh. I do n't know if this is a good idea.</dialogue> <character>STACY</character> <dialogue>Why not?</dialogue> <character>DALE</character> <dialogue>We do n't want to take advantage of Julia.</dialogue> <character>JULIA</character> <dialogue>Dale, there's nothing you could do that would be taking advantage of me. Nothing.</dialogue> <parenthetical>( then , to Stacy . )</parenthetical> <dialogue>Now what do you say we pump you full of gas?</dialogue> <scene_description>Julia leads Stacy into the exam room . Dale cuts them off .</scene_description> <character>DALE</character> <dialogue>Wait - no gas. She does n't need to be out.</dialogue> <character>STACY</character> <dialogue>What are you talking about, Dale? You know I'm not good with drills.</dialogue> <character>JULIA</character> <parenthetical>( POINTEDLY . )</parenthetical> <dialogue>You do n't want your fiancée to suffer, do you?</dialogue> <scene_description>OFF Dale 's defeated look -</scene_description> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM - SHORT TIME LATER</stage_direction> <scene_description>Stacy lies on the chair with the nitrous mask over her nose . Julia and Dale stand beside her .</scene_description> <character>STACY</character> <parenthetical>( LOSING CONSCIOUSNESS . )</parenthetical> <dialogue>Ten, nine. eight. seh.</dialogue> <scene_description>And she 's out . Immediately , Julia pounces on Dale , feverishly trying to unbuckle his belt .</scene_description> <character>DALE</character> <dialogue>Hey! Stop it, what are you -?</dialogue> <character>JULIA</character> <dialogue>You're gon na give me that dong, Dale!</dialogue> <character>DALE</character> <dialogue>NO!</dialogue> <scene_description>Stacy groans softly . Dale pushes Julia away .</scene_description> <character>DALE</character> <dialogue>I knew you only brought her in here to mess with me.</dialogue> <character>JULIA</character> <dialogue>Let's have sex on top of her. Let's use her like a bed!</dialogue> <scene_description>Julia begins to clamber up onto Stacy 's supine body . Dale pulls her off .</scene_description> <character>DALE</character> <dialogue>All right, that's it, Julia. This is over. You're out of your mind. I quit!</dialogue> <scene_description>He goes to turn off the gas but before he can -</scene_description> <character>JULIA</character> <dialogue>I'll tell her you fucked me!</dialogue> <character>DALE</character> <dialogue>What?</dialogue> <character>JULIA</character> <dialogue>If you do n't fuck me, I'll tell her you fucked me.</dialogue> <character>DALE</character> <dialogue>Tell her whatever you want. She'd never believe you.</dialogue> <scene_description>Julia opens a nearby drawer and tosses an envelope onto Stacy 's chest .</scene_description> <character>JULIA</character> <dialogue>She already knows you're a sex offender. And once she sees these, I think she'll believe me.</dialogue> <character>DALE</character> <dialogue>What is that?</dialogue> <character>JULIA</character> <dialogue>You remember your first week here when I replaced the crown on your second bicuspid?</dialogue> <character>DALE</character> <parenthetical>( NERVOUSLY . )</parenthetical> <dialogue>. Yeah?</dialogue> <character>JULIA</character> <dialogue>I took a few snapshots of the procedure. For my files.</dialogue> <scene_description>Dale lunges at the envelope and pulls out the photos . CLOSE ON THE PICTURES - Dale lies on the dentist chair , his eyes open and his hands behind his head with Julia at his crotch , apparently fellating him . - Julia , now nude , straddles Dale , who is naked from the waist down on the chair . She holds one arm in the air like a rodeo cowboy . - Julia is on the floor , her legs splayed while Dale lies limply on top of her . - Julia is on all fours . Dale is limply draped over her back , apparently doing her doggy - style . BACK TO SCENE</scene_description> <character>DALE</character> <parenthetical>( SHOCKED . )</parenthetical> <dialogue>You. you did all this while I was unconscious?</dialogue> <character>JULIA</character> <dialogue>Yup.</dialogue> <character>DALE</character> <dialogue>How did you make it look like I was awake?</dialogue> <character>JULIA</character> <dialogue>Taped your eyes open.</dialogue> <character>DALE</character> <dialogue>This is rape! You raped me!</dialogue> <character>JULIA</character> <dialogue>Do n't get all dramatic. Your dick was n't hard. But it will be next time. Or else Stacy here gets a look at my photo album.</dialogue> <scene_description>She holds up the packet of photos .</scene_description> <character>JULIA</character> <parenthetical>( SUDDENLY PROFESSIONAL . )</parenthetical> <dialogue>Now, let's repair this patient's filling, shall we?</dialogue> <scene_description>Dale gapes at her , dumbstruck .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S APARTMENT - THAT EVENING</stage_direction> <scene_description>Kurt and Nick are playing a videogame as Dale bursts through the front door .</scene_description> <character>DALE</character> <dialogue>Let's kill the bitch.</dialogue> <character>KURT</character> <dialogue>Huh?</dialogue> <character>NICK</character> <dialogue>What bitch?</dialogue> <character>DALE</character> <dialogue>My boss. Our bosses. They need to die.</dialogue> <scene_description>Nick and Kurt exchange a look .</scene_description> <character>NICK</character> <dialogue>We were drunk last night, man. And did n't you say killing was wrong?</dialogue> <character>DALE</character> <dialogue>That was before Julia tried to fuck me on top of my fiancée's unconscious body.</dialogue> <character>KURT</character> <dialogue>Whoa!</dialogue> <character>DALE</character> <dialogue>I say we kill them all. Are you guys in or out?</dialogue> <character>KURT</character> <dialogue>I was in last night.</dialogue> <character>DALE</character> <dialogue>Yes! Nick?</dialogue> <scene_description>They both turn to Nick who is uncertain . Kurt spots the photo of Nick with his GRANDMOTHER and grabs it off the wall .</scene_description> <character>KURT</character> <dialogue>Look at her. Look at Bubby.</dialogue> <character>NICK</character> <dialogue>Gam Gam.</dialogue> <character>KURT</character> <dialogue>Look at Gam Gam. Getting a smooch from her favorite grandson. Little does she know that she'll never get to say goodbye to him. And why? Because his shithead boss would n't let him leave. What would Gam Gam want you to do?</dialogue> <character>NICK</character> <dialogue>Probably not kill him.</dialogue> <character>KURT</character> <dialogue>This is n't about Gam Gam. This is about you. What do you want, Nick?</dialogue> <character>NICK</character> <dialogue>I want him to die.</dialogue> <character>KURT</character> <dialogue>Damn straight!</dialogue> <character>NICK</character> <dialogue>Okay, I'm in.</dialogue> <character>KURT</character> <dialogue>All right! Let's do this.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>How do we do this?</dialogue> <character>DALE</character> <dialogue>I was thinking about that on my way over. Stacy and I watch a lot of ` Law &amp; Order' and there's a ton of ways criminals mess up. Things we'd never think of. They leave behind clothing fibers, bullet casings, hair, skin cells -</dialogue> <character>KURT</character> <dialogue>Skin cells?! I ca n't even keep track of my keys!</dialogue> <character>DALE</character> <dialogue>Exactly. And that's why we need a professional.</dialogue> <character>NICK</character> <dialogue>What are you talking about, a hitman?</dialogue> <scene_description>Dale nods .</scene_description> <character>KURT</character> <dialogue>You know, that's not bad. I mean, we do n't clean our own apartments, right? We hire someone to clean them for us.</dialogue> <character>DALE</character> <dialogue>Maybe you do, moneybags.</dialogue> <character>NICK</character> <dialogue>But where are we supposed to find a hitman?</dialogue> <character>DALE</character> <dialogue>That's the only problem. I have no idea.</dialogue> <scene_description>There 's a beat . Kurt 's eyes light up .</scene_description> <character>KURT</character> <dialogue>I do. Meet at my place tomorrow after work. And make sure you're not followed.</dialogue> <character>NICK</character> <dialogue>Why would anyone follow us?</dialogue> <character>KURT</character> <dialogue>I do n't know. People get followed.</dialogue> <character>DALE</character> <dialogue>What people?</dialogue> <character>KURT</character> <dialogue>Just meet me at my place.</dialogue> </scene> <scene> <stage_direction>INT. KURT'S APARTMENT - NEXT EVENING</stage_direction> <scene_description>Kurt opens the door on Nick and Dale . The decor of Kurt 's place is best described as a middle - income bachelor pad .</scene_description> <character>KURT</character> <dialogue>Come in. The guy should be here pretty soon.</dialogue> <character>NICK</character> <dialogue>Wait. You actually found someone?!</dialogue> <character>KURT</character> <dialogue>It was as easy as buying a used futon.</dialogue> <scene_description>He points to his computer . On the screen is a listing</scene_description> <character>FROM --</character> <dialogue /> <character>DALE</character> <dialogue>Craigslist?! You found a hitman on Craigslist.</dialogue> <character>KURT</character> <dialogue>Yup. But they do n't post it as ` hitman.' That would be stupid. They use code words, like ` liquidation,' ` pest control,' ` wet work.' Check it out. This is our guy.</dialogue> <scene_description>Nick reads the listing .</scene_description> <character>NICK</character> <dialogue>` Skilled professional with years of experience in domestic and international wet work. Fast and discreet. No children or political figures.'</dialogue> <character>KURT</character> <dialogue>See? He's principled.</dialogue> <character>DALE</character> <dialogue>This is so dangerous. What if he's a narc?</dialogue> <character>NICK</character> <dialogue>Yeah, Kurt. Call him back and cancel.</dialogue> <character>KURT</character> <dialogue>It's too late. He's on his way.</dialogue> <character>DALE</character> <dialogue>What do we do if this guy gets here and he asks for so much money that we ca n't afford him and he gets mad and kills all of us?</dialogue> <character>KURT</character> <dialogue>I do n't think he'd stay in business long if he killed everyone who could n't afford him.</dialogue> <character>NICK</character> <parenthetical>( looking out window . )</parenthetical> <dialogue>Guys! I think this is him!</dialogue> <scene_description>The others hurry to look . From - THEIR POV We see a black Mercedes SLK pull up . A distinguished - looking MAN in a well - tailored suit steps out . He wears sunglasses and carries a briefcase . BACK TO SCENE</scene_description> <character>NICK</character> <dialogue>Nice car.</dialogue> <character>KURT</character> <dialogue>Whoa. This guy's legit.</dialogue> <character>DALE</character> <dialogue>I bet that briefcase has one of those guns you have to screw together.</dialogue> <character>NICK</character> <dialogue>All right, let's just be professional here. We do n't want to seem all giddy.</dialogue> <scene_description>A knock at the door .</scene_description> <character>KURT</character> <parenthetical>( HUSHED . )</parenthetical> <dialogue>How's my hair?</dialogue> <character>NICK</character> <parenthetical>( SOTTO . )</parenthetical> <dialogue>It does n't matter!</dialogue> <scene_description>Kurt opens the door on the Man who looks even smoother up close .</scene_description> <character>MAN</character> <parenthetical>( BRITISH ACCENT . )</parenthetical> <dialogue>Is one of you Kurt?</dialogue> <character>DALE</character> <parenthetical>( whispering to Nick . )</parenthetical> <dialogue>Oh my God, he's like James Bond!</dialogue> <character>KURT</character> <parenthetical>( to the Man . )</parenthetical> <dialogue>Yes, hi, I'm Kurt. Please come in.</dialogue> <character>MAN</character> <dialogue>Thank you. Are all three of you participating in this?</dialogue> <character>NICK</character> <dialogue>Yes, we are.</dialogue> <character>MAN</character> <dialogue>Very well. Now before we go any further, I need to know if there are any hidden recording devices in this room. I will find out if there are.</dialogue> <character>DALE</character> <dialogue>No, no! We definitely do n't want to record this, sir.</dialogue> <character>MAN</character> <dialogue>Then let's get started.</dialogue> <scene_description>He walks to the middle of the living room , opens his briefcase and takes out a plastic tarp which he proceeds to unfurl over the carpet .</scene_description> <character>KURT</character> <dialogue>Whoa, whoa. What's that for?</dialogue> <character>MAN</character> <dialogue>For the mess.</dialogue> <character>NICK</character> <dialogue>We do n't want you to kill us!</dialogue> <character>DALE</character> <parenthetical>( FREAKING OUT . )</parenthetical> <dialogue>Oh my God! I knew it!</dialogue> <character>MAN</character> <dialogue>Kill you? What are you talking about?</dialogue> <scene_description>The guys exchange a confused look .</scene_description> <character>KURT</character> <dialogue>Your ad said you do wet work.</dialogue> <character>MAN</character> <dialogue>That's correct. I urinate on other men for money.</dialogue> <character>NICK/KURT</character> <dialogue>What?!</dialogue> <character>MAN</character> <dialogue>Why do you think my ad was in the ` men seeking men' section?</dialogue> <character>NICK</character> <parenthetical>( TO KURT . )</parenthetical> <dialogue>You were looking in ` men seeking men'?!</dialogue> <character>KURT</character> <dialogue>Yeah! We're men seeking a man, are n't we?</dialogue> <character>NICK</character> <dialogue>You are such a moron.</dialogue> <character>MAN</character> <dialogue>So you're telling me I drove all the way to the Valley and no one wants to be pissed on?</dialogue> <character>DALE</character> <dialogue>Please do n't kill us.</dialogue> <character>MAN</character> <dialogue>I do n't kill people!</dialogue> <parenthetical>( then , sighing . )</parenthetical> <dialogue>Can I use your rest room? I've stored up rather a large amount of pee for this.</dialogue> <character>KURT</character> <parenthetical>( POINTING . )</parenthetical> <dialogue>It's right through there.</dialogue> <scene_description>The Man heads off . After a beat -</scene_description> <character>KURT</character> <dialogue>Good thing I did n't call the guy who was offering to do ` dirty work.'</dialogue> </scene> <scene> <stage_direction>INT. KURT'S CAR - THAT NIGHT</stage_direction> <scene_description>Kurt drives . Nick is in the passenger seat . Dale in back .</scene_description> <character>KURT</character> <dialogue>All right, I'll take the blame for that one.</dialogue> <character>NICK</character> <dialogue>That's big of you.</dialogue> <character>KURT</character> <dialogue>I'm going to make it up to you. I figured out a much better way to find a contract killer.</dialogue> <character>DALE</character> <dialogue>What's that?</dialogue> <scene_description>Kurt reaches up and pushes a button on the rear - view mirror . A male voice comes over the speaker .</scene_description> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( INDIAN ACCENT . )</parenthetical> <dialogue>Hello, Mr. Gamble, thank you for contacting On Star -</dialogue> <character>DALE</character> <dialogue>Oh, come on!</dialogue> <character>NICK</character> <parenthetical>( TO KURT . )</parenthetical> <dialogue>This is your plan?</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>- my name is Gregory. How can I be of service this evening?</dialogue> <character>KURT</character> <dialogue>Gregory, I need you to direct me to the most dangerous bar in Los Angeles.</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm sorry?</dialogue> <character>KURT</character> <dialogue>We need to find the bar with the most scumbags, lowlifes and hardcore shitheads. Can you help us out?</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm afraid our listings are not organized by danger, sir. I do see there is a Bennigan's three blocks from your current LOCATION -</dialogue> <character>KURT</character> <dialogue>Okay, Gregory? That's unhelpful. While I'm sure there are plenty of shitheads there, they're not the kind of shitheads we need.</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I can direct you to the neighborhood with the greatest number of car - jackings in your area.</dialogue> <character>KURT</character> <dialogue>Now we're talking.</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Very good, sir. You may wish to lock your doors.</dialogue> <scene_description>Kurt and the others lock their doors .</scene_description> </scene> <scene> <stage_direction>EXT. SCARY NEIGHBORHOOD - SHORT TIME LATER</stage_direction> <scene_description>Kurt 's car drives down a depressed - looking block .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>The guys are still chatting with Gregory .</scene_description> <character>NICK</character> <dialogue>So, do you like living in Bangalore?</dialogue> <character>GREGORY</character> <parenthetical>( ON STAR REP ; V.O . )</parenthetical> <dialogue>It's not bad. Humid.</dialogue> <character>DALE</character> <dialogue>Now, ` Gregory.' Is that your real name?</dialogue> <character>GREGORY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No, sir. My real name is Atmanand.</dialogue> <character>KURT</character> <dialogue>Atmanand? How did you get Gregory from that?</dialogue> <character>GREGORY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>` Gregory' was assigned to me by On Star.</dialogue> <character>NICK</character> <dialogue>Why do n't they let you use your real name?</dialogue> <character>GREGORY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Many Americans find our real names off - putting.</dialogue> <character>KURT</character> <dialogue>Actually, I do find Atmanand a little off - putting.</dialogue> <character>GREGORY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( FLAT . )</parenthetical> <dialogue>You have arrived at your destination, sir.</dialogue> <character>DALE/NICK</character> <dialogue>Thank you, Gregory. / Thanks, Gregory.</dialogue> </scene> <scene> <stage_direction>EXT. DIVE BAR - SHORT TIME LATER</stage_direction> <scene_description>Kurt 's car pulls up on a grimy - looking South - Central street and stops in front of a dingy bar . The guys get out and look around warily .</scene_description> <character>KURT</character> <dialogue>This must be the place.</dialogue> <character>DALE</character> <dialogue>Are n't you worried about your car?</dialogue> <character>KURT</character> <dialogue>Nah, Gregory's watching it.</dialogue> <character>NICK</character> <dialogue>You really think we're gon na find a hitman in there?</dialogue> <character>KURT</character> <dialogue>I think we're gon na have a hard time deciding between all the hitmen in there. Trust me, these are the lowest of the low.</dialogue> </scene> <scene> <stage_direction>INT. DIVE BAR - CONTINUOUS ACTION</stage_direction> <scene_description>The three guys enter the squalid , smoky place . The room is full of surly - looking PATRONS , none of them white . People turn to stare .</scene_description> <character>NICK</character> <dialogue>Oh, real nice, Kurt. Way to be racist.</dialogue> <character>KURT</character> <dialogue>This is n't a race thing. We need a criminal and this neighborhood is where they live. I'm not saying that's because there are a lot of black people here. That's the fault of our society that discriminates and disenfranchises them.</dialogue> <character>DALE</character> <dialogue>You said they were the lowest of the low.</dialogue> <character>KURT</character> <dialogue>I was speaking socio - economically.</dialogue> <character>NICK</character> <dialogue>So what do we do now? Yell out ` anyone here kill people for money?'</dialogue> <character>KURT</character> <dialogue>Let me handle this.</dialogue> <scene_description>They each take a seat at the bar where a no - nonsense BARTENDER walks over to them .</scene_description> <character>BARTENDER</character> <dialogue>Yeah?</dialogue> <character>KURT</character> <dialogue>Hey. How you doing? Nice place.</dialogue> <parenthetical>( LEANING IN . )</parenthetical> <dialogue>Listen, does anyone here kill people for money?</dialogue> <character>NICK</character> <dialogue>Kurt!</dialogue> <scene_description>An intense - looking GUY on the next stool notices them .</scene_description> <character>BARTENDER</character> <dialogue>The fuck did you just say?</dialogue> <character>KURT</character> <dialogue>Do n't get me wrong. This is n't about race. Our society discriminates and disenfranchises YOU -</dialogue> <character>DALE</character> <parenthetical>( head in hands . )</parenthetical> <dialogue>Oh my God.</dialogue> <character>BARTENDER</character> <dialogue>I'm a small business owner. Who are you calling disenfranchised?</dialogue> <character>KURT</character> <dialogue>I did n't mean you in particular.</dialogue> <character>BARTENDER</character> <dialogue>Right. You mean all black people.</dialogue> <character>NICK</character> <dialogue>Maybe we should go?</dialogue> <character>BARTENDER</character> <dialogue>You could do that. Or I could take the aluminum baseball bat I'm holding in my right hand and disenfranchise your teeth from your mouth.</dialogue> <character>DALE</character> <dialogue>I vote we go.</dialogue> <scene_description>The three stand and head for the door .</scene_description> <character>KURT</character> <dialogue>Okay, we're going. I'm sorry if I offended you. It was never my -</dialogue> <character>BARTENDER</character> <dialogue>Oh shit, please shut up.</dialogue> <character>KURT</character> <dialogue>Okey doke.</dialogue> </scene> <scene> <stage_direction>EXT. DIVE BAR - CONTINUOUS ACTION</stage_direction> <scene_description>The guys come out onto the sidewalk .</scene_description> <character>DALE</character> <dialogue>This is ridiculous. We're never gon na find someone to do this for us.</dialogue> <character>COCKSUCKER JONES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yo!</dialogue> <scene_description>They turn to see COCKSUCKER JONES , 30s , the guy who was sitting next to them at the bar .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>I think I can help you boys.</dialogue> <scene_description>He gestures for them to follow him into the alley beside the bar . Kurt and Nick move to follow .</scene_description> <character>DALE</character> <dialogue>Oh, we're just gon na follow him into that alley? All right.</dialogue> </scene> <scene> <stage_direction>INT. ALLEY - CONTINUOUS ACTION</stage_direction> <scene_description>Cocksucker Jones leans in to the three guys .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>I heard you're looking for someone to take care of some business for you?</dialogue> <character>NICK</character> <dialogue>Yes, we are. Are you a. businessman?</dialogue> <character>COCKSUCKER JONES</character> <parenthetical>( putting out his HAND . )</parenthetical> <dialogue>Cocksucker Jones.</dialogue> <character>NICK</character> <parenthetical>( unsure whether to take his hand . )</parenthetical> <dialogue>Excuse me?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>That's my name.</dialogue> <character>DALE</character> <dialogue>Your first name is Cocksucker?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>And my last name's Jones. You got a problem with that?</dialogue> <character>DALE</character> <dialogue>No, no. It's just interesting. That's the name on your birth certificate?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Naw, man. It's a nickname. My real name is Dean.</dialogue> <character>DALE</character> <dialogue>Oh! Like Dean Jones. The actor from Herbie the Love Bug.</dialogue> <character>KURT</character> <parenthetical>( quietly to Dale . )</parenthetical> <dialogue>I do n't think he knows who Dean Jones is.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>I know who Dean Jones is, bitch! I ca n't walk around here with that kind of faggy, cracker name.</dialogue> <character>NICK</character> <dialogue>So you chose ` cocksucker'?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>That's right. Nobody fucks with a cocksucker. ` Cocksucker' is the toughest name there is.</dialogue> <character>DALE</character> <dialogue>Not ` motherfucker'?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>I considered Motherfucker. But in the end, I thought Cocksucker Jones sounded more badass than Motherfucker Jones.</dialogue> <character>KURT</character> <dialogue>I agree.</dialogue> <character>NICK</character> <dialogue>Okay, here's the thing : we each work for a boss that we need to get rid of. Is that something you might be able to help us with?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>It is. Assuming you've got the cheese.</dialogue> <character>KURT</character> <dialogue>We've got cheese. How much cheese are we talking?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>For three hits? That's gon na run you thirty large.</dialogue> <character>NICK</character> <dialogue>That's a lot of cheese.</dialogue> <character>KURT</character> <dialogue>We do n't have that much cheese.</dialogue> <character>DALE</character> <dialogue>Is n't there any kind of discount because we're buying three at once? Like buy two, get one free.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>This ai n't the motherfucking Cold Stone Creamery. It's thirty large or nothing.</dialogue> <character>NICK</character> <dialogue>There's no way we can pay that.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Five large.</dialogue> <character>DALE</character> <dialogue>Wow.</dialogue> <parenthetical>( TO NICK . )</parenthetical> <dialogue>Good negotiating.</dialogue> <character>NICK</character> <dialogue>That's a lot more reasonable. And that would be for all three, Cocksucker?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Yeah.</dialogue> <character>KURT</character> <dialogue>Great. We're in.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Okay, meet me back here tomorrow night with the cash. I'll take care of the rest.</dialogue> <character>NICK</character> <dialogue>Should we bring the bills in any kind of special denominations?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>No, just, whatever. Small bills.</dialogue> <character>NICK</character> <dialogue>Got it.</dialogue> <character>KURT</character> <dialogue>And do you want it in any particular container, like a shoebox?</dialogue> <character>NICK</character> <dialogue>Or a paper bag?</dialogue> <character>DALE</character> <dialogue>Or plastic. I read an article that plastic is actually better for the environment than paper.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Fuck the environment! Just put that shit in a briefcase.</dialogue> <character>NICK</character> <dialogue>Got it. Thanks. Come on, guys.</dialogue> <scene_description>They turn to go , when Dale turns back .</scene_description> <character>DALE</character> <dialogue>Should we deduct the cost of the briefcase?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>What?!</dialogue> <character>DALE</character> <dialogue>I mean, assuming we do n't get the case back. We're not getting the case back, right?</dialogue> <scene_description>Cocksucker glares at him .</scene_description> <character>DALE</character> <dialogue>Well, that's like an extra eighty bucks. Only seems fair that we should take that out of your end.</dialogue> <character>NICK</character> <dialogue>We'll cover the briefcase, Dale.</dialogue> <character>DALE</character> <dialogue>Then let's get a cheap one. It does n't have to be real leather.</dialogue> <parenthetical>( then to Cocksucker . )</parenthetical> <dialogue>Are you cool with faux -?</dialogue> <scene_description>Kurt grabs Dale by the shoulder and hustles him to the car . SERIES OF SHOTS MUSIC CUE : Frank Sinatra 's '' -LRB- Forget Your Troubles , Come On -RRB- Get Happy '' - Dale , Kurt and Nick each take a turn at an ATM machine , withdrawing the maximum amount they can . - Nick at his desk at work . He looks over his cubicle wall and his eyes narrow as he sees Harken directing a WORKMAN who stencils the words `` Senior Vice President of Sales '' below where it already says `` President . '' Another WORKMAN uses a sledgehammer on the wall of the office . Nick grins malevolently . - Kurt is at his desk in the chemical company . He looks up to see Bobby Pellit open his office door and lead out two obvious HOOKERS . Pellit has white powder around his nostrils . He spots Kurt watching him and he sneers back . Kurt smiles devilishly . - CLOSE ON Dale as he places tooth X - rays into plastic contact sheets . PULL BACK to reveal Julia is licking his neck while tweaking his nipples through his scrubs . In contrast to earlier , Dale appears to be unfazed and almost amused by Julia 's antics .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - THAT NIGHT</stage_direction> <scene_description>Cocksucker Jones holds an open briefcase that 's empty but for a single stack of taped together 20 - dollar bills .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>Looks like it's all here.</dialogue> <character>DALE</character> <dialogue>Turns out we did n't really need the briefcase after all. Could've just used a manila envelope.</dialogue> <character>KURT</character> <dialogue>Shut up, Dale.</dialogue> <character>NICK</character> <dialogue>So, Cocksucker, how long do you think it'll be before you've. taken care of business?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Here's the thing. I just got out of doing a dime for some pretty ugly shit and I'm still on probation. They're watching me. So if I step out of line, I go right back inside.</dialogue> <character>KURT</character> <dialogue>You told us you could take care of it.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>And I'm gon na. I'm gon na be your professional advisor. Think of me as your murder consultant.</dialogue> <character>NICK</character> <dialogue>We do n't want a murder consultant. We want a murderer.</dialogue> <character>DALE</character> <dialogue>I knew we were getting ripped off!</dialogue> <character>KURT</character> <dialogue>Okay, look. This is n't what we talked about. Can we just get our money back, please? Then we'll be on our way.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Sorry, no refunds.</dialogue> <character>NICK</character> <dialogue>That's five thousand dollars. You think we're just gon na walk away and let you keep that?</dialogue> <character>COCKSUCKER JONES</character> <parenthetical>( getting in his face . )</parenthetical> <dialogue>I think you're forgetting who you're talking to.</dialogue> <scene_description>Cocksucker pulls back the lower edge of his jacket to reveal what appears to be the holster of a gun .</scene_description> <character>DALE</character> <dialogue>Whoa, whoa! We do n't want any trouble.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Now either I give you the advice you paid for, or you can walk away with nothing. Up to you.</dialogue> <character>KURT</character> <dialogue>Look, the whole reason we came to you is because we do n't have the experience to do it ourselves.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Most killers are first - timers. Look, the key to a good murder is making it look like an accident. Gas leak, brakes failing, suicide, that sort of thing. If you do it right, you wo n't even have to be there when it goes down.</dialogue> <character>NICK</character> <dialogue>That makes sense. But how would we fake three accidents?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>You need to stalk your prey, track their movements, get to know them inside and out. Where do they go? What do they eat for breakfast? Who're they fucking?</dialogue> <character>DALE</character> <dialogue>You're talking about surveillance and recon.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>But making it look like an accident wo n't be enough if the pigs can pin a motive on you.</dialogue> <character>NICK</character> <dialogue>Well, we all have obvious motives for killing our bosses.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>So why do n't you kill each other's bosses?</dialogue> <character>DALE</character> <dialogue>Hey, that's a good idea. Like Hitchcock's Strangers on a Train.</dialogue> <character>KURT</character> <dialogue>The Danny DeVito movie?</dialogue> <character>DALE</character> <dialogue>Yes, the famous Alfred Hitchcock/Danny DeVito movie. You're thinking of Throw Mama from the Train. But it's actually the same idea. If we kill each other's bosses there's no link to us.</dialogue> <character>NICK</character> <dialogue>That's pretty good. COCKSUCKER JONES That's what you're paying me for. Now ai n't that worth five grand?</dialogue> <scene_description>The guys all AD LIB `` no 's . ''</scene_description> <character>COCKSUCKER JONES</character> <dialogue>Yeah, well, too fucking bad.</dialogue> </scene> <scene> <stage_direction>INT. NICK'S CUBICLE - NEXT EVENING</stage_direction> <scene_description>Nick is poring over a stack of documents when his phone rings .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - SAME TIME</stage_direction> <scene_description>Kurt and Dale wait in the car outside of Nick 's office .</scene_description> <character>KURT</character> <dialogue>We're outside. You ready for a little recon?</dialogue> <character>NICK</character> <dialogue>Yeah. I just need to get Harken to let me leave early.</dialogue> <character>KURT</character> <dialogue>What's the difference? He's not going to be your boss much longer.</dialogue> <character>NICK</character> <parenthetical>( WHISPERING . )</parenthetical> <dialogue>If I get fired before we kill Harken, this'll all have been for nothing. I'll just be an out - of - work murderer.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>I'll be down in three minutes.</dialogue> <scene_description>He hangs up then peers over his cubicle wall to see Harken talking to another EMPLOYEE nearby . Nick takes a breath , leans over his garbage pail and sticks a Commtronix pen down his throat . At the sound of Nick 's loud WRETCHING , Harken looks over to see him puking into the trash pail .</scene_description> <character>HARKEN</character> <dialogue>What in God's name?!</dialogue> <character>NICK</character> <parenthetical>( WEAKLY . )</parenthetical> <dialogue>Sorry, sir. I've been fighting this bug all day. I'll just get back to work -</dialogue> <scene_description>Nick wipes his mouth and turns pathetically back to his desk .</scene_description> <character>HARKEN</character> <dialogue>No. Go home. I do n't want you getting everyone else sick.</dialogue> <character>NICK</character> <dialogue>Oh, okay. Thank you, Mr. Harken.</dialogue> <scene_description>Nick grabs his jacket and moves to go .</scene_description> <character>HARKEN</character> <dialogue>Wait. Take your work with you. Have it on my desk at six AM.</dialogue> <scene_description>Nick barely conceals his contempt as he picks up the stack of papers and heads out .</scene_description> <character>HARKEN</character> <parenthetical>( MUTTERING . )</parenthetical> <dialogue>Disgusting.</dialogue> </scene> <scene> <stage_direction>EXT. BOBBY PELLIT'S STREET - NEXT DAY</stage_direction> <scene_description>Kurt 's car pulls up slowly and parks . Kurt , Dale and Nick slump down in their seats .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <character>KURT</character> <dialogue>Okay, boys, as soon as Pellit makes a move, we tail him. It is on now.</dialogue> <character>NICK</character> <dialogue>Oh, it's on.</dialogue> <character>DALE</character> <dialogue>Hells yeah!</dialogue> <scene_description>They watch the house with steely determination .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - ONE HOUR LATER</stage_direction> <scene_description>The guys are bored out of their minds , barely awake . Dale nibbles on a peanut butter and jelly sandwich in a plastic bag .</scene_description> <character>KURT</character> <dialogue>Ugghhhhh, I ca n't believe how much this sucks.</dialogue> <character>DALE</character> <dialogue>I do n't get it. On TV, surveillance always looks so great. They've got their cups of coffee. Their sunflower seeds. They talk about their lives. And then, right when they reveal something really intimate, the perp appears and they spring into action.</dialogue> <scene_description>A long , silent pause as they watch the house .</scene_description> <character>NICK</character> <dialogue>Are we even sure he's home?</dialogue> <scene_description>They exchange looks .</scene_description> <character>KURT</character> <parenthetical>( opening his door . )</parenthetical> <dialogue>Let's go check it out.</dialogue> <scene_description>They get out of the car . Dale pockets his sandwich .</scene_description> </scene> <scene> <stage_direction>EXT. PELLIT'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>The three guys creep around Pellit 's patio , peeking in doors and windows . Finally :</scene_description> <character>NICK</character> <dialogue>I do n't see him.</dialogue> <scene_description>Kurt is about to try a window when Dale stops him .</scene_description> <character>DALE</character> <dialogue>What are you doing?</dialogue> <character>KURT</character> <dialogue>We're not gon na get intel standing on his lawn. We have to go in.</dialogue> <character>DALE</character> <dialogue>What about fingerprints? We do n't have gloves.</dialogue> <character>KURT</character> <dialogue>Here, do this.</dialogue> <scene_description>Kurt pulls his shirt sleeves down over his hands . Dale does the same . Nick , who wears a T - shirt , tucks his hands inside the bottom of the shirt . With some difficulty , Kurt slides open the window .</scene_description> <character>KURT</character> <dialogue>Here we go.</dialogue> <scene_description>The three of them manage to wriggle through the window . It 's not graceful : Dale 's foot gets caught on the sill , causing him to tumble on top of Nick and Kurt . At last , all three are inside .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT'S LIVING ROOM - CONTINUOUS ACTION</stage_direction> <character>KURT</character> <dialogue>Dale, keep an eye out. Let us know if Pellit's coming.</dialogue> <character>DALE</character> <dialogue>Got it. Wait, I do n't know what he looks like.</dialogue> <character>NICK</character> <dialogue>It does n't matter. Just tell us if anyone comes.</dialogue> <character>DALE</character> <dialogue>Got it.</dialogue> <scene_description>They take in Pellit 's living room . There 's a leather sofa , a 60 - inch plasma and enormous speakers . On the wall are framed Ed Hardy posters depicting dragons and half - naked girls .</scene_description> <character>KURT</character> <dialogue>Wow. This guy's a bigger douchebag than me.</dialogue> <character>NICK</character> <dialogue>Okay, let's split up. Look for any intel we can use on him.</dialogue> <character>KURT</character> <dialogue>What kind of intel?</dialogue> <character>NICK</character> <dialogue>I do n't know. I guess we'll know it when we see it.</dialogue> <scene_description>Kurt heads upstairs while Dale and Nick look around the living room .</scene_description> <character>DALE</character> <dialogue>Hey, Nick? Does this count as intel?</dialogue> <scene_description>Nick looks over to see Dale holding in his sleeve - covered hands an open wooden box filled with white powder .</scene_description> <character>NICK</character> <dialogue>Holy shit, that's a lot of blow.</dialogue> <character>DALE</character> <dialogue>God, this must be worth, like, ten thousand - oh shit!</dialogue> <scene_description>Suddenly , the box slips out of Dale 's hands . It hits the floor , sending a cascade of cocaine all over the rug .</scene_description> <character>NICK</character> <dialogue>What the fuck?!</dialogue> <character>DALE</character> <dialogue>Sorry, my sleeves were slippery!</dialogue> <character>NICK</character> <dialogue>We've got to get that back in the box.</dialogue> <character>DALE</character> <dialogue>I've got it.</dialogue> <scene_description>He kneels and begins trying to scoop up the coke in his hands . It 's an impossible task .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT'S BEDROOM - SAME TIME</stage_direction> <scene_description>Kurt looks around the room . He does n't see anything useful so he heads into -</scene_description> </scene> <scene> <stage_direction>INT. PELLIT'S BATHROOM - CONTINUOUS ACTION</stage_direction> <scene_description>He flips on the light . His eyes land on Pellit 's toothbrush . He grins slyly .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT'S LIVING ROOM - SAME TIME</stage_direction> <scene_description>Dale is still on his knees , scooping up coke , as Nick returns from the kitchen cradling a Dustbuster in his T - shirt .</scene_description> <character>NICK</character> <dialogue>Look out. Let me try this.</dialogue> <scene_description>Struggling with his hands in his T - shirt , Nick vacuums up the cocaine from the rug . When he 's finished , he pops open the vacuum 's waste receptacle and dumps the contents back in the wooden box . CLOSE ON THE BOX Which is now filled not only with cocaine , but bits of hair , dust bunnies , food and other crap . BACK TO SCENE</scene_description> <character>DALE</character> <dialogue>I guess we should've emptied the Dustbuster before we used it.</dialogue> <character>NICK</character> <dialogue>You think?</dialogue> </scene> <scene> <stage_direction>INT. PELLIT'S BATHROOM - SAME TIME</stage_direction> <scene_description>Just BELOW FRAME , Kurt removes Pellit 's toothbrush from his ass and returns it to its holder , careful to keep his hands covered with his sleeves . He 's about to go when he notices a bar of Neutrogena face soap beside the sink . He looks around deviously .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT'S LIVING ROOM - MINUTES LATER</stage_direction> <scene_description>Dale and Nick are doing their best to pick the crap out of Pellit 's cocaine .</scene_description> <character>DALE</character> <dialogue>Hey look, there's a piece of cereal in here. Ca n't tell if that's a corn flake or a frosted flake.</dialogue> <scene_description>Kurt comes down the stairs .</scene_description> <character>KURT</character> <dialogue>Okay, my work upstairs is done. You guys ready to split?</dialogue> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Kurt pulls away from the curb .</scene_description> <character>NICK</character> <dialogue>We need to be better prepared. That was totally dangerous and a complete waste of time.</dialogue> <character>KURT</character> <dialogue>Not a complete waste.</dialogue> <scene_description>He pulls a BlackBerry out of his pocket .</scene_description> <character>NICK</character> <dialogue>Oh no. do n't tell me.</dialogue> <character>DALE</character> <dialogue>You stole that from Pellit's house?</dialogue> <character>KURT</character> <dialogue>It's got his calendar and his contacts. This is what recon's all about.</dialogue> <character>DALE</character> <parenthetical>( GLUM . )</parenthetical> <dialogue>Nobody said we'd be stealing.</dialogue> <character>KURT</character> <dialogue>Shall we pay a little visit to your boss, Nick?</dialogue> <character>NICK</character> <dialogue>I guess so. But let's make a stop first.</dialogue> </scene> <scene> <stage_direction>EXT. RITE-AID PHARMACY - MINUTES LATER</stage_direction> <scene_description>Nick emerges from the store with a plastic bag and gets into Kurt 's car .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <character>DALE</character> <dialogue>What did you need to get?</dialogue> <scene_description>Nick holds up a box of latex gloves .</scene_description> <character>NICK</character> <dialogue>No more sleeve gloves.</dialogue> <character>DALE</character> <dialogue>Nice.</dialogue> <character>KURT</character> <dialogue>Oh man, you should've asked me. I've got a whole box of those in my bedside table.</dialogue> <parenthetical>( off their grossed - OUT LOOKS . )</parenthetical> <dialogue>Do n't judge me.</dialogue> <character>NICK</character> <dialogue>Take a right up here. Harken's place is about a mile away.</dialogue> <scene_description>They drive for a beat . Then -</scene_description> <character>DALE</character> <dialogue>Y' know. this is kinda, I do n't know. exciting.</dialogue> <character>KURT</character> <dialogue>Very.</dialogue> <character>NICK</character> <parenthetical>( a little smile . )</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>I guess we're really doing this now, huh?</dialogue> <character>DALE</character> <parenthetical>( GRINNING . )</parenthetical> <dialogue>I guess so.</dialogue> </scene> <scene> <stage_direction>EXT. HARKEN'S HOUSE - SHORT TIME LATER</stage_direction> <scene_description>A two - story house with a tidy yard . Kurt 's car pulls up .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Kurt and Nick begin pulling on their gloves .</scene_description> <character>DALE</character> <dialogue>Can I have a pair?</dialogue> <character>NICK</character> <dialogue>You know, last time with the three of us, it got a little. messy. What if Kurt and I go in and you stay here and watch out for Harken?</dialogue> <character>DALE</character> <dialogue>Okay - again, I do n't know what he looks like.</dialogue> <character>NICK</character> <dialogue>If anyone approaches the house, assume it's him and give us a signal.</dialogue> <character>DALE</character> <dialogue>Fine. I'll honk the horn six times.</dialogue> <character>KURT</character> <dialogue>Maybe something a little more subtle?</dialogue> <character>DALE</character> <dialogue>Honk the horn four times?</dialogue> <character>NICK</character> <dialogue>How about you just honk once?</dialogue> <character>DALE</character> <dialogue>People honk once all the time. You'll be running in and out of the house.</dialogue> <character>KURT</character> <dialogue>Fine. Honk twice.</dialogue> <character>DALE</character> <parenthetical>( SKEPTICAL . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Nick and Kurt get out of the car . After a beat , Dale remembers his sandwich and pulls it out of his pocket .</scene_description> </scene> <scene> <stage_direction>EXT. HARKEN'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Kurt and Nick sneak up to the front porch which is camouflaged by shrubs . They peek inside .</scene_description> <character>NICK</character> <parenthetical>( WHISPERING . )</parenthetical> <dialogue>Looks like the coast is clear.</dialogue> <scene_description>Kurt tries the windows . They 're locked .</scene_description> <character>KURT</character> <dialogue>Damn. Guess we'll have to break in the old - fashioned way.</dialogue> <scene_description>Kurt looks around and spots a small rock beside the porch . He picks it up and winds back to throw it at the window .</scene_description> <character>NICK</character> <dialogue>Kurt, wait!</dialogue> <scene_description>But it 's too late . Kurt has released the rock . It HITS the window , but instead of breaking the glass , the rock itself BREAKS into two pieces .</scene_description> <character>KURT</character> <dialogue>Holy shit. I broke the rock.</dialogue> <character>NICK</character> <dialogue>No, it's one of those hide - a - key things. Look.</dialogue> <scene_description>Nick shows Kurt a key concealed in one half of the fake rock . He grabs it and inserts it into the front door lock .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S LIVING ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>The guys tiptoe in , whispering and tense . The place is tastefully decorated with attractive furniture and modern art . There is a vase of flowers on a table .</scene_description> <character>NICK</character> <dialogue>Wow. This is not how I pictured his place.</dialogue> <character>KURT</character> <dialogue>For all we know, he's got a closet full of skin suits.</dialogue> <scene_description>A CAT springs out of nowhere , startling them , then runs off .</scene_description> <character>NICK</character> <dialogue>Jesus!</dialogue> <character>KURT</character> <dialogue>Stupid cat.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>Let's check upstairs.</dialogue> <scene_description>They head up .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - SAME TIME</stage_direction> <scene_description>Dale is finishing the last of his peanut butter sandwich . He checks the rearview mirror . No sign of anyone .</scene_description> <character>DALE</character> <parenthetical>( singing a la Cher , SIMULATING AUTO - TUNE . )</parenthetical> <dialogue>` Do you believe in love after love/I can feel something inside me say/I really do n't think you're strong enough now.'</dialogue> </scene> <scene> <stage_direction>INT. HARKEN'S BEDROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Just as Kurt and Nick enter , the cat suddenly jumps out from behind the door , startling them again .</scene_description> <character>KURT</character> <dialogue>God damn it! How many cats do they have?</dialogue> <character>NICK</character> <dialogue>I think that was the same one.</dialogue> <character>KURT</character> <dialogue>Little bastard.</dialogue> <scene_description>Kurt notices a framed wedding photo on the dresser of Harken and Mrs. Harken .</scene_description> <character>KURT</character> <dialogue>Damn. That's Mrs. Harken? I'd like to cover her in cock yogurt.</dialogue> <character>NICK</character> <dialogue>You want to cover every woman in. did you say ` cock yogurt'?</dialogue> <character>KURT</character> <dialogue>I did.</dialogue> <scene_description>Yet again , Kurt and Nick jump as the cat LEAPS out of hiding with a YOWL then runs off .</scene_description> <character>KURT</character> <dialogue>Ahhh!</dialogue> <character>NICK</character> <dialogue>If he's so scared of us, why does n't he just leave us alone?!</dialogue> </scene> <scene> <stage_direction>INT. KURT'S CAR - SAME TIME</stage_direction> <scene_description>Dale plays a bowling game on his cell phone .</scene_description> <character>DALE</character> <dialogue>C'mon, c'mon. yes!</dialogue> <scene_description>A breeze blows through the open windows of the car , catching the plastic bag from Dale 's sandwich and carrying it out the window .</scene_description> </scene> <scene> <stage_direction>EXT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Just then , Harken , in running attire , comes jogging up the street . His eye is caught by the plastic bag falling from the car window onto the street . He stops and angrily picks up the bag .</scene_description> <character>HARKEN</character> <dialogue>Hey, schmuck.</dialogue> <scene_description>Dale , surprised , turns to the window .</scene_description> <character>DALE</character> <dialogue>Excuse me?</dialogue> <character>HARKEN</character> <dialogue>You want to tell me why you're littering on my street?</dialogue> <character>DALE</character> <dialogue>Oh, I'm sorry, that blew out the window. I was n't littering.</dialogue> <character>HARKEN</character> <dialogue>I do n't care if it blew out of your twat. Now, get your fucking Chevy Cavalier the hell off my block!</dialogue> <character>DALE</character> <dialogue>Whoa. Sir, there's no need to be hostile.</dialogue> <character>HARKEN</character> <dialogue>Hostile? You want to see hostile? How about I go in the house and get my -</dialogue> <scene_description>Suddenly , Harken begins to choke and his face grows increasingly red .</scene_description> <character>DALE</character> <dialogue>Get your what?</dialogue> <scene_description>With one hand Harken grabs his throat and with the other he looks at the plastic bag he 's holding .</scene_description> <character>HARKEN</character> <parenthetical>( STRAINED . )</parenthetical> <dialogue>Peanuts?</dialogue> <character>DALE</character> <dialogue>Huh? Oh, yeah. It was a peanut butter sandwich.</dialogue> <scene_description>Harken collapses to his knees . His face is turning blue now . Dale quickly steps out of the car .</scene_description> <character>DALE</character> <dialogue>Oh god! What should I do?! Tell me what to do!</dialogue> <scene_description>Harken yanks up the right leg of his jogging pants revealing an EPI - PEN strapped to his ankle . He reaches for it , but Dale moves faster .</scene_description> <character>DALE</character> <dialogue>What do I do with this? Should I inject you?!</dialogue> <scene_description>Harken nods urgently as his eyes begin to roll back .</scene_description> <character>DALE</character> <dialogue>Okay, hold on! I got this.</dialogue> <scene_description>Dale takes the cap off the epi - pen , raises his arm and jams the needle into Harken 's chest . Harken lets out a grunt .</scene_description> <character>DALE</character> <dialogue>Did I do it? Did I get enough in?! I'm gon na do it again!</dialogue> <scene_description>Dale raises his arm again .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S BEDROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Nick continues to search around the bedroom . Kurt is by the window .</scene_description> <character>NICK</character> <dialogue>Do you see a Day Runner or an address book?</dialogue> <character>KURT</character> <dialogue /> <character>NO --</character> <parenthetical>( glances out the WINDOW . )</parenthetical> <dialogue>What the? Dude, check this out.</dialogue> <scene_description>Nick joins him at the window and they both react as they see what appears to be Dale repeatedly STABBING Harken in the chest , neck and arms . Harken lies motionless on the sidewalk .</scene_description> <character>NICK</character> <parenthetical>( EXCITED . )</parenthetical> <dialogue>That's Harken! Dale's killing Harken!</dialogue> <character>KURT</character> <dialogue>Holy shit! He's really doing it!</dialogue> <parenthetical>( REALIZING . )</parenthetical> <dialogue>Out where everyone can see him.</dialogue> <character>NICK</character> <dialogue>What the hell is he thinking?!</dialogue> <character>KURT</character> <dialogue>He's not stopping. He's gon na get us all caught. We've got ta get out of here.</dialogue> <character>NICK</character> <dialogue>What about Dale?</dialogue> <character>KURT</character> <dialogue>He's a psychopath. We leave him behind.</dialogue> <character>NICK</character> <dialogue>Right. Let's go through the back!</dialogue> <scene_description>As they hurry to leave the room , Kurt stumbles over the CAT which has appeared yet again . Unseen by either of them , PELLIT 'S BLACKBERRY SLIPS out of his pocket and lands on the floor at the foot of Harken 's bed .</scene_description> </scene> <scene> <stage_direction>EXT. HARKEN'S HOUSE - CONTINUOUS ACTION</stage_direction> <scene_description>As Dale kneels over Harken to check his breathing , a car pulls up alongside and MRS. HARKEN steps out . Seeing her husband on the ground , she rushes over .</scene_description> <character>MRS. HARKEN</character> <dialogue>Oh my god! What happened?!</dialogue> <character>DALE</character> <dialogue>He had an allergic reaction. But I think he's coming around. Do you know him?</dialogue> <character>MRS. HARKEN</character> <dialogue>He's my husband.</dialogue> <scene_description>Mrs. Harken kneels beside Harken and supports his head .</scene_description> <character>MRS. HARKEN</character> <dialogue>Honey? Can you hear me?</dialogue> <scene_description>Harken groggily looks down at his torso which is perforated by dozens of tiny needle marks .</scene_description> <character>HARKEN</character> <parenthetical>( groggy , to Dale . )</parenthetical> <dialogue>Wha - What did you do to me?</dialogue> <character>DALE</character> <dialogue>I injected you with your thing.</dialogue> <character>MRS. HARKEN</character> <dialogue>He saved your life, honey.</dialogue> <parenthetical>( TO DALE . )</parenthetical> <dialogue>Thank you so much!</dialogue> <scene_description>She grabs Dale in a warm hug .</scene_description> <character>DALE</character> <dialogue>Oh, it was nothing.</dialogue> <character>HARKEN</character> <parenthetical>( to Mrs. Harken . )</parenthetical> <dialogue>What's this? What's with the hugging?</dialogue> <character>MRS. HARKEN</character> <dialogue>I'm just thankful that he was here.</dialogue> <character>HARKEN</character> <dialogue>I'll bet you are. Do you know this guy?</dialogue> <character>MRS. HARKEN</character> <dialogue>No. We just -</dialogue> <character>HARKEN</character> <dialogue>Are you fucking him, Rhonda?</dialogue> <character>MRS. HARKEN</character> <dialogue>Oh, come on.</dialogue> <character>HARKEN</character> <parenthetical>( TO DALE . )</parenthetical> <dialogue>What were you doing out here, anyway? Waiting to fuck my wife?</dialogue> <character>DALE</character> <parenthetical>( FLUSTERED . )</parenthetical> <dialogue>I've never met your wife -</dialogue> <scene_description>Still a bit woozy , Harken gets to his feet and points at Dale .</scene_description> <character>HARKEN</character> <dialogue>You need to get the hell out of here.</dialogue> <character>MRS. HARKEN</character> <dialogue>Dave, stop it. You should be thanking him. Why are you being so suspicious?</dialogue> <character>HARKEN</character> <dialogue>Why? Because I know you sleep around on me. And I'm going to find out who it is.</dialogue> <character>MRS. HARKEN</character> <dialogue>You're being ridiculous.</dialogue> <character>HARKEN</character> <dialogue>Am I? What about Maurilio? I see the way you look at him.</dialogue> <character>MRS. HARKEN</character> <dialogue>I am not having sex with the gardener!</dialogue> <scene_description>As Harken and his wife continue to bicker , Dale quietly retreats to Kurt 's car .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S APARTMENT - LATER</stage_direction> <scene_description>Nick and Kurt pace nervously .</scene_description> <character>NICK</character> <dialogue>I ca n't believe that idiot Dale. You realize we're all going to jail because of him.</dialogue> <character>KURT</character> <dialogue>I ca n't go to jail. Look at these eyes. Look at this ass. They'll be all over me.</dialogue> <character>NICK</character> <dialogue>Yeah, me too.</dialogue> <character>KURT</character> <parenthetical>( NOT CONVINCED . )</parenthetical> <dialogue>Well.</dialogue> <character>NICK</character> <dialogue>What do you mean ` well'? I'd get raped just as much as you.</dialogue> <character>KURT</character> <parenthetical>( PATRONIZING . )</parenthetical> <dialogue>No, of course you would. You're a good - looking guy.</dialogue> <character>NICK</character> <dialogue>You think you're more rape - able than I am.</dialogue> <character>KURT</character> <dialogue>I never said that -</dialogue> <scene_description>Dale enters .</scene_description> <character>DALE</character> <dialogue>Oh good. You guys are here. Did you see me out there?</dialogue> <character>KURT</character> <dialogue>Yeah, Dale, we saw you.</dialogue> <character>DALE</character> <dialogue>Pretty neat, huh?</dialogue> <character>NICK</character> <dialogue>No, it was n't neat! You stabbed Harken to death in front of the whole neighborhood!</dialogue> <character>KURT</character> <dialogue>Not cool, man.</dialogue> <character>DALE</character> <dialogue>Wait, that was Harken?</dialogue> <character>NICK</character> <dialogue>Who'd you think you were stabbing?</dialogue> <character>DALE</character> <dialogue>I was n't stabbing anybody. That was an epi - pen. He was having an allergic reaction to peanuts and I injected him.</dialogue> <scene_description>Kurt and Nick digest this for a beat .</scene_description> <character>NICK</character> <dialogue>So let me understand this. My boss, who we are trying to kill, was dying in front of you and you saved his life?</dialogue> <character>KURT</character> <dialogue>Not cool, man.</dialogue> <character>DALE</character> <dialogue>Wait, you were just mad at me for killing him and now you're mad at me for not killing him?!</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>See, this is why I needed to know what these people look like!</dialogue> <character>NICK</character> <dialogue>Hang on a sec. Maybe this recon was n't a waste of time. Now we know Harken's deathly allergic to peanuts and Pellit has a huge stash of cocaine.</dialogue> <character>KURT</character> <parenthetical>( GETTING IT . )</parenthetical> <dialogue>We could put peanuts in Harken's house and rat poison in Pellit's coke!</dialogue> <character>NICK</character> <dialogue>Everyone would assume that Pellit just got a batch of tainted drugs.</dialogue> <character>DALE</character> <dialogue>But Harken must always have that epi - pen on him.</dialogue> <scene_description>They consider this for a beat .</scene_description> <character>KURT</character> <dialogue>I bet he does n't wear it in the shower. We could put peanuts in his shampoo!</dialogue> <character>NICK</character> <dialogue>Perfect! Two fatal accidents. And we're not even there when they happen.</dialogue> <character>DALE</character> <dialogue>That just leaves Julia.</dialogue> <character>KURT</character> <dialogue>Tomorrow night, I'll surveil her and figure out how to take her down.</dialogue> <character>NICK</character> <dialogue>Good. I'll get some rat poison and take care of Pellit. Dale, think you can get some peanuts into Harken's shampoo?</dialogue> <character>DALE</character> <dialogue>I can do that.</dialogue> <character>KURT</character> <dialogue>All right. That just leaves us with one final thing to settle.</dialogue> <character>NICK</character> <dialogue>What's that?</dialogue> <character>KURT</character> <dialogue>Dale, if Nick and I were in prison, which one of us would get raped more?</dialogue> <scene_description>OFF Dale 's confusion and Nick 's annoyance -</scene_description> </scene> <scene> <stage_direction>EXT. PELLIT'S STREET - NEXT NIGHT</stage_direction> <scene_description>Nick sits in his parked car watching the house through binoculars .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Through an upstairs window , he sees Pellit enter his bedroom . Nick checks his coat pocket and confirms it contains a Home Depot bag with rat poison inside . Nick dials his cell phone .</scene_description> </scene> <scene> <stage_direction>EXT. JULIA'S CONDO - SAME TIME</stage_direction> <scene_description>Kurt sits in his car , reading Maxim magazine . Julia 's car pulls up . She gets out , goes to the trunk , opens it , then bends down to get a bag of groceries . Nick watches her ass appreciatively as she does and keeps watching as she heads into her building . SFX : His cell phone rings .</scene_description> <character>NICK</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Hey. Have you learned anything about Julia yet?</dialogue> <character>KURT</character> <dialogue>Well, I've learned that Dale is a homosexual because this chick is unbelievably hot. How's it going over there?</dialogue> <character>NICK</character> <dialogue>I'm just waiting for Pellit to go to sleep. I wonder how Dale's doing with Harken.</dialogue> </scene> <scene> <stage_direction>EXT. HARKEN'S STREET - SAME TIME</stage_direction> <scene_description>Dale 's car is parked .</scene_description> </scene> <scene> <stage_direction>INT. DALE'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Dale watches the movie Precious on his laptop . He glances over to see Harken turn on the light in his bedroom . On the seat beside Dale , we see a large jar of Planters peanuts .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S BEDROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Harken looks around suspiciously , then goes to Mrs. Harken 's closet . He opens it and begins looking through her clothing . He sniffs one of her dresses and his eyes narrow . He sniffs himself , then compares it to the smell of the dress . Unsatisfied , he continues searching around the room for any incriminating evidence . Suddenly , his foot comes in contact with something on the floor . He reaches down and picks up . PELLIT 'S BLACKBERRY . He turns it on and scrolls down the contacts list to `` HOME '' which shows Bobby Pellit 's name and address . Harken 's face turns beet red .</scene_description> </scene> <scene> <stage_direction>INT. DALE'S CAR - MOMENTS LATER</stage_direction> <scene_description>Dale ducks down as he sees Harken 's garage door opening . Harken 's Porsche 911 pulls out and zooms up the street . Still scooched down , Dale dials his phone .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - SAME TIME</stage_direction> <scene_description>Nick watches Pellit performing a series of sweaty KUNG FU MOVES in a full - length mirror .</scene_description> <character>NICK</character> <dialogue>Jesus, where does he get the energy?</dialogue> <parenthetical>( REMEMBERING . )</parenthetical> <dialogue>Oh yeah.</dialogue> <scene_description>CELL PHONE RINGS . Nick answers .</scene_description> <character>NICK</character> <dialogue>What's up, Dale?</dialogue> <character>DALE</character> <dialogue>Harken just left his house. I'm going in.</dialogue> <character>NICK</character> <dialogue>Good luck, man.</dialogue> <character>DALE</character> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>INT. HARKEN'S BATHROOM - MINUTES LATER</stage_direction> <scene_description>Dale flips on the light and enters clutching the peanut jar in his gloved hands . He slides open the shower curtain and Harken 's CAT LEAPS OUT at him .</scene_description> <character>DALE</character> <dialogue>Ahhh!</dialogue> <scene_description>He regains his composure and finds a bottle of men 's shampoo . As he nervously removes the cap from the shampoo and the lid from the peanuts , he notices that MR. PEANUT is STARING right at him . Despite his jaunty top hat and little monocle , there is something almost accusing in his look . Dale stares back at Mr. Peanut as we see his resolve soften .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - SAME TIME</stage_direction> <scene_description>Nick watches as Pellit finally gets into bed and turns off his bedside lamp .</scene_description> <character>NICK</character> <dialogue>Okay. Here we go.</dialogue> <scene_description>Nick reaches for the door handle as - SFX : Nick 's cell phone rings . Nick jumps , then answers the phone .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S BATHROOM - CONTINUOUS ACTION</stage_direction> <character>DALE</character> <parenthetical>( INTO PHONE . )</parenthetical> <dialogue>Nick?</dialogue> <character>NICK</character> <dialogue>What?</dialogue> <character>DALE</character> <dialogue>I'm not sure if I can do this.</dialogue> <character>NICK</character> <dialogue>Where are you?</dialogue> <character>DALE</character> <dialogue>In Harken's bathroom. About to pour the nuts in his shampoo. But, I just. I know he's a real shithead, but he's still a person, y' know?</dialogue> <scene_description>Lights appear in Nick 's rearview mirror .</scene_description> <character>NICK</character> <parenthetical>( looking down at the rat poison , RELUCTANTLY . )</parenthetical> <dialogue>Yeah. I know.</dialogue> <scene_description>Harken 's Porsche pulls up and stops just behind Nick 's car . Harken gets out and heads toward Pellit 's front door .</scene_description> <character>DALE</character> <dialogue>What should I do? Should I do it?</dialogue> <scene_description>Suddenly , Nick looks up to see HARKEN knocking on Pellit 's door . In the bedroom , Pellit 's light goes on .</scene_description> <character>NICK</character> <parenthetical>( WHISPERING . )</parenthetical> <dialogue>What the fuck?!</dialogue> <character>DALE</character> <dialogue>What?</dialogue> <character>NICK</character> <dialogue>It's Harken. He's here!</dialogue> <character>DALE</character> <dialogue>At Pellit's?! Why?!</dialogue> <character>NICK</character> <dialogue>I do n't know. He's knocking on his door!</dialogue> <character>DALE</character> <dialogue>How would Harken even know Pellit?</dialogue> </scene> <scene> <stage_direction>EXT. PELLIT'S HOUSE - CONTINUOUS ACTION</stage_direction> <scene_description>Looking irritated , Pellit answers the door . Before he can get a word out . Harken removes a gun from his pocket and SHOOTS Pellit twice in the chest .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Nick reacts , slumping down in his seat , horrified .</scene_description> <character>NICK</character> <dialogue>Oh my god oh my god oh my god.</dialogue> <character>DALE</character> <dialogue>What? What? What?!</dialogue> <character>NICK</character> <dialogue>He shot him. Harken shot Pellit!</dialogue> <character>DALE</character> <dialogue>Oh my god. Is he dead?!</dialogue> <character>NICK</character> <dialogue>Shhhh!</dialogue> <scene_description>With shaking hands , Nick reaches for his ignition but knocks the car keys out . They fall onto the floor of the car .</scene_description> <character>NICK</character> <parenthetical>( HUSHED . )</parenthetical> <dialogue>Fuck!</dialogue> <scene_description>As Nick bends down to find his keys , Harken 's shadow looms over him . Nick cowers just out of sight .</scene_description> </scene> <scene> <stage_direction>EXT. NICK'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Harken looks around . Did he hear something ? No . He calmly but briskly walks away from Nick 's car , gets into his own and speeds off .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - CONTINUOUS ACTION</stage_direction> <character>DALE</character> <dialogue>What's happening?</dialogue> <character>NICK</character> <dialogue>Harken's gone.</dialogue> <character>DALE</character> <dialogue>What about Pellit?</dialogue> <character>NICK</character> <dialogue>He's not moving. He looks dead.</dialogue> <character>DALE</character> <dialogue>Shit! What do we do?!</dialogue> <character>NICK</character> <dialogue>I've got to get out of here before someone sees me! Meet me at the bar. I'll call Kurt.</dialogue> <scene_description>Nick ZOOMS away from the curb .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER - MOMENTS LATER</stage_direction> <scene_description>Nick 's car SPEEDS through a red light at an intersection . A TRAFFIC CAMERA FLASHES as it snaps Nick 's photo and license plate .</scene_description> </scene> <scene> <stage_direction>INT. BRADFORD'S BAR - SHORT TIME LATER</stage_direction> <scene_description>With trembling hands , Nick and Dale take deep gulps of their drinks . Kurt hurries in , looking disheveled . The ensuing conversation is conducted in tense whispers .</scene_description> <character>KURT</character> <dialogue>Okay, let's all stay calm and figure this out.</dialogue> <character>NICK</character> <dialogue>Calm? How can we be calm? I watched a man die an hour ago!</dialogue> <character>KURT</character> <dialogue>A man you were going to kill anyway.</dialogue> <character>NICK</character> <dialogue>Well.</dialogue> <character>KURT</character> <dialogue>What?</dialogue> <character>NICK</character> <dialogue>I do n't know if I had it in me.</dialogue> <character>DALE</character> <dialogue>Me neither.</dialogue> <character>KURT</character> <dialogue>I ca n't believe you guys! You ca n't just bail on a plan like that at the last minute.</dialogue> <character>NICK</character> <dialogue>You think when it came down to it, you would've been able to murder Julia?</dialogue> <scene_description>Kurt softens .</scene_description> <character>KURT</character> <dialogue>I do n't know. I mean, afterwards, it was kind of hard to imagine killing her.</dialogue> <scene_description>Nick and Dale turn to him , quizzically .</scene_description> <character>DALE</character> <dialogue>` Afterwards'?</dialogue> <scene_description>Kurt realizes what he said .</scene_description> <character>NICK</character> <dialogue>You slept with her, did n't you?</dialogue> <character>DALE</character> <parenthetical>( TO KURT . )</parenthetical> <dialogue>Oh god. Please tell me you did n't sleep with her.</dialogue> <scene_description>Kurt lowers his head .</scene_description> <character>NICK</character> <dialogue>You are a mess.</dialogue> <character>KURT</character> <dialogue>I know, I know. But it's not my fault.</dialogue> <scene_description>FLASHBACK - EXT. . JULIA 'S HOUSE - NIGHT Kurt 's car is parked across the street .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>At first I was surveilling her just like I was supposed to.</dialogue> </scene> <scene> <stage_direction>INT. KURT'S CAR - NIGHT</stage_direction> <scene_description>Kurt watches through her bedroom window as Julia undresses sexily .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then she started deliberately undressing in front of the window. With the lights on. She must've known I was there.</dialogue> <scene_description>As Julia removes her bra , we see Kurt 's face pressed against his car window , his breath fogging it up .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - LATER</stage_direction> <scene_description>Julia enters her bedroom with a tray of food . She wears a skimpy kimono - style robe . She sits on her bed and unwraps a Popsicle .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then she made herself a little snack. A Popsicle.</dialogue> <scene_description>We see Julia eat the Popsicle as suggestively as humanly possible . Then she picks up a banana and peels it .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>then a banana.</dialogue> <scene_description>Julia eases the whole banana into her mouth . Then she picks up a hot dog .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>and finally a hot dog. I mean, three penis - shaped foods can not be coincidence. And in that weird order? That's not a proper meal.</dialogue> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE - SHORT TIME LATER</stage_direction> <character>DALE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So you took that as an invitation to fuck her?</dialogue> <scene_description>Julia opens her front door , stares straight at Kurt and beckons him inside with one finger . She walks back inside , leaving the door wide open .</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No. I took her invitation to fuck her as an invitation to fuck her.</dialogue> <scene_description>Kurt opens his car door so quickly he tumbles out headfirst , planting his face on the street . He jumps up , but one ankle is tangled in the seatbelt . He finally extricates himself and hurries to the house as fast as he can .</scene_description> </scene> <scene> <stage_direction>INT. BRADFORD'S BAR - CONTINUOUS ACTION (PRESENT)</stage_direction> <character>NICK</character> <dialogue>There is something clinically wrong with you.</dialogue> <character>KURT</character> <dialogue>I know. I'm a rapscallion.</dialogue> <character>DALE</character> <dialogue>You're not a rapscallion. You're a whore. A filthy whore.</dialogue> <character>KURT</character> <dialogue>Hey. Not nice. And besides, I think I actually solved your problem, Dale. Julia just needed a good fucking. I bet she's not going to mess with you anymore.</dialogue> <character>NICK</character> <dialogue>Whatever. We have bigger fish to fry right now. What do we do about Harken?</dialogue> <character>KURT</character> <dialogue>Here's what we do. We call the cops and make an anonymous tip that Harken killed Pellit. Boom. Harken's in jail. Pellit's in hell. Julia's had the crazy fucked out of her. Our problems are solved. Boom.</dialogue> <character>NICK</character> <dialogue>Okay, but we should find a payphone. We do n't want them tracing the call to us.</dialogue> </scene> <scene> <stage_direction>EXT. BRADFORD'S BAR - MINUTES LATER</stage_direction> <scene_description>Nick , Kurt and Dale emerge from the bar .</scene_description> <character>NICK</character> <dialogue>Come on, we'll take my car.</dialogue> <scene_description>The three of them climb into Nick 's car .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Before Nick can even pull out of his parking spot , they hear the WHOOP of a police siren and see the flashing lights of a SQUAD CAR behind them . The guys ' faces go white .</scene_description> <character>NICK</character> <dialogue>What the hell?</dialogue> <scene_description>Nick unrolls his window as one COP approaches his side and his PARTNER comes up on the other .</scene_description> <character>COP</character> <dialogue>Are you the owner of this vehicle?</dialogue> <character>NICK</character> <dialogue>Uh, yes. Is there something wrong?</dialogue> <character>COP</character> <dialogue>We've got an APB on a black Kia Spectra, license 4HIG208.</dialogue> <character>NICK</character> <dialogue>Can I ask why?</dialogue> <character>COP</character> <dialogue>A traffic cam caught this vehicle fleeing the scene of a crime tonight. I'm going to need you to follow us to the station.</dialogue> <character>KURT</character> <dialogue>Officer? This is not my car. Is it okay if I just -?</dialogue> <character>COP</character> <dialogue>All three of you, please.</dialogue> <scene_description>Nick glares at Kurt as the cops head back to their car .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - LATER</stage_direction> <scene_description>Kurt , Nick and Dale sit in a waiting area looking equal parts terrified and pissed at each other . Throughout the following , they speak in hushed voices .</scene_description> <character>DALE</character> <dialogue>They know everything. We're dead. I ca n't believe I let you guys talk me into this!</dialogue> <character>KURT</character> <dialogue>Oh, please. We were just being hypothetical. You're the one who pushed us to do it.</dialogue> <character>NICK</character> <dialogue>We ca n't even say anything about Harken now.</dialogue> <character>KURT</character> <dialogue>Why not?</dialogue> <character>NICK</character> <dialogue>Uh, well, Kurt, being outside the murder victim's house because I was planning to murder him probably is n't the best alibi in the world.</dialogue> <character>KURT</character> <dialogue>You know, I did n't actually do anything illegal, so.</dialogue> <character>DALE</character> <dialogue>You broke into two people's houses and stole a BlackBerry!</dialogue> <character>KURT</character> <dialogue>You gon na rat on me, Dale?</dialogue> <character>DALE</character> <dialogue>Well, since I'm the only one without a connection to the murder, yeah, maybe I will.</dialogue> <character>NICK</character> <dialogue>That means you'd also rat on me.</dialogue> <character>KURT</character> <dialogue>Not if I rat on Dale first.</dialogue> <scene_description>Just then , a burly detective , HAGAN , appears behind them .</scene_description> <character>HAGAN</character> <dialogue>Gentlemen, this way, please.</dialogue> <scene_description>The guys glare angrily at each other as they follow Hagan .</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM - MINUTES LATER</stage_direction> <scene_description>Nick , Dale and Kurt sit on metal chairs across a table from Hagan and his equally burly partner , SAMSON . Hagan slides a PHOTO across the table to Nick . CLOSE ON A BLACK AND WHITE IMAGE OF NICK taken by the traffic camera . His terrified face is clear , as is the time stamp at the bottom . BACK TO SCENE</scene_description> <character>HAGAN</character> <dialogue>Do you want to explain why you were driving 61 in a 25 zone, a block from the victim's house two minutes after he was shot to death?</dialogue> <character>NICK</character> <dialogue>I. was drag racing.</dialogue> <parenthetical>( off their skeptical LOOK . )</parenthetical> <dialogue>I am a drag racer. There's no law against that, is there?</dialogue> <character>HAGAN</character> <dialogue>Actually there is.</dialogue> <character>SAMSON</character> <dialogue>You were drag racing in a Kia Spectra?</dialogue> <character>NICK</character> <dialogue>I do n't win a lot.</dialogue> <character>HAGAN</character> <dialogue>Here's what I do n't understand. You're at the crime scene. An hour later when we find your car, you just happen to be hanging out with this guy.</dialogue> <parenthetical>( gestures to Dale . )</parenthetical> <dialogue>. a registered sex offender -</dialogue> <character>KURT</character> <parenthetical>( RE : DALE . )</parenthetical> <dialogue>Tsk tsk.</dialogue> <character>HAGAN</character> <dialogue>and this guy.</dialogue> <parenthetical>( gestures at Kurt and holds up a wallet . )</parenthetical> <dialogue>. whose employee ID says he works for Pellit Chemicals, the victim's company.</dialogue> <character>KURT</character> <parenthetical>( FEIGNING SHOCK . )</parenthetical> <dialogue>Wait. My boss was murdered?! Bobby Pellit?!</dialogue> <character>DALE</character> <parenthetical>( WRY . )</parenthetical> <dialogue>You want me to get you a Kleenex?</dialogue> <character>KURT</character> <dialogue>I ca n't believe this.</dialogue> <parenthetical>( TO NICK . )</parenthetical> <dialogue>What were you doing near his house?!</dialogue> <scene_description>Nick looks at him , pissed .</scene_description> <character>NICK</character> <dialogue>Where were you during the murder?</dialogue> <character>KURT</character> <dialogue>I was making love.</dialogue> <character>DALE</character> <parenthetical>( SNORTS . )</parenthetical> <dialogue>` Making love.'</dialogue> <character>KURT</character> <parenthetical>( to the cops . )</parenthetical> <dialogue>Let me ask you something, Detective. Let's say one of us knew who the shooter was and was willing to hand you that perp on a platter. Would he be entitled to some sort of immunity for that information?</dialogue> <scene_description>Both Dale and Nick shoot daggers at him .</scene_description> <character>HAGAN</character> <dialogue>No. But he would be entitled to some sort of jail time. Because if he knew who the shooter was and did n't tell us, that would be obstruction of justice.</dialogue> <scene_description>A beat .</scene_description> <character>KURT</character> <dialogue>Well, then I'm glad we have no idea who the shooter is, right, guys?</dialogue> <character>SAMSON</character> <parenthetical>( LOSING PATIENCE . )</parenthetical> <dialogue>If you expect us to believe this is all just a big coincidence, we're going to be here for a long time.</dialogue> <character>DALE</character> <dialogue>Okay wait!</dialogue> <scene_description>Now it 's Kurt and Nick who look nervous . Is Dale about to crack ?</scene_description> <character>DALE</character> <dialogue>Saying that we'll be here for a long time implies that we ca n't leave. Does that mean we're under arrest?</dialogue> <scene_description>Samson looks to Hagan who grimaces .</scene_description> <character>HAGAN</character> <dialogue>No. We just brought you in for questioning.</dialogue> <character>DALE</character> <dialogue>So, you do n't have evidence constituting probable cause to arrest us?</dialogue> <character>SAMSON</character> <dialogue>Not yet.</dialogue> <character>DALE</character> <dialogue>Well then, we're free to go?</dialogue> <character>HAGAN</character> <dialogue>Technically.</dialogue> <scene_description>Dale nervously stands up , half expecting to be hit .</scene_description> <character>DALE</character> <dialogue>Come on, guys.</dialogue> <scene_description>Kurt and Nick , impressed and relieved , stand and head out .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - CONTINUOUS ACTION</stage_direction> <scene_description>The three guys head for the exit .</scene_description> <character>NICK</character> <parenthetical>( TO DALE . )</parenthetical> <dialogue>Nice work. Where'd that come from?</dialogue> <character>DALE</character> <dialogue>` Law &amp; Order.'</dialogue> <character>KURT</character> <dialogue>We really showed those guys.</dialogue> <character>NICK</character> <dialogue>` We'? You were gon na turn us in!</dialogue> <character>KURT</character> <dialogue>For, like, a second.</dialogue> <character>SAMSON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Stop!</dialogue> <scene_description>The guys turn to see Samson holding out a traffic citation .</scene_description> <character>SAMSON</character> <parenthetical>( handing it to Nick . )</parenthetical> <dialogue>For speeding and running a red light.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>Do n't get too comfortable out there, boys. Our forensics team is sweeping Pellit's house for fingerprints and DNA. And they do n't miss much.</dialogue> <scene_description>We HOLD ON Kurt 's face and - FLASHBACK - INT . PELLIT 'S BATHROOM - DAY Kurt pulls Pellit 's toothbrush out of his butt and returns it to its holder . BACK TO SCENE -LRB- PRESENT -RRB- Kurt suddenly looks nauseous .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - MINUTES LATER</stage_direction> <scene_description>Kurt drives , Nick is in front and Dale in back .</scene_description> <character>KURT</character> <dialogue>We are so fucked.</dialogue> <character>NICK</character> <dialogue>Maybe it's time to lawyer up.</dialogue> <character>DALE</character> <dialogue>I do n't have money for a lawyer. I gave all my money to Cocksucker Jones!</dialogue> <character>KURT</character> <dialogue>Hey, that's right! I forgot all about Cocksucker. Why do n't we ask him what to do?</dialogue> <character>NICK</character> <dialogue>We did pay him five thousand dollars to be our murder consultant.</dialogue> <character>DALE</character> <dialogue>Actually, it was five thousand forty with the briefcase.</dialogue> <scene_description>OFF their looks -</scene_description> </scene> <scene> <stage_direction>INT. DIVE BAR - SHORT TIME LATER</stage_direction> <scene_description>Cocksucker Jones looks up from his bar stool , surprised to see Nick , Kurt and Dale .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>Oh damn, look who's back. How did it go with the Strangers on a Train shit?</dialogue> <character>KURT</character> <dialogue>Not great. We need your help.</dialogue> <character>NICK</character> <dialogue>One of our intended victims killed another of our intended victims.</dialogue> <scene_description>Cocksucker 's eyes go wide .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>Shut the fuck up! What kind of evil geniuses are you?</dialogue> <character>DALE</character> <dialogue>We do n't even know why it happened. But the cops brought us in as suspects. What do we do now?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>First things first. I'm gon na need another five thousand dollars.</dialogue> <character>KURT</character> <dialogue>What? No way. You said the last five thousand would cover this!</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Okay, fine. Pay for my drink.</dialogue> <scene_description>As Nick puts down a few bills on the bar , Dale leans in to Kurt .</scene_description> <character>DALE</character> <parenthetical>( SOTTO . )</parenthetical> <dialogue>Not the best negotiator, is he?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Let me ask you this - the guy who killed the other guy you were planning on killing, are the police after him too?</dialogue> <character>NICK</character> <dialogue>No. They do n't suspect him.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>All right, so you're gon na need to encourage him to turn himself in, by say, kidnapping his wife and mailing him her earlobe or something.</dialogue> <character>DALE</character> <dialogue>That's horrible.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Naw, the earlobe's vestigial.</dialogue> <parenthetical>( off their looks . )</parenthetical> <dialogue>All right, how about you trick him into confessing what he did while you wear a wire?</dialogue> <character>KURT</character> <dialogue>A wire. That's good.</dialogue> <character>NICK</character> <parenthetical>( TO COCKSUCKER . )</parenthetical> <dialogue>Is that how the cops caught you when you murdered someone?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>What the hell are you talking about? I never murdered anyone.</dialogue> <scene_description>There 's a beat .</scene_description> <character>NICK</character> <dialogue>What?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Who told you I killed somebody?</dialogue> <character>KURT</character> <dialogue>You did. You said you served a ` dime' for ` some pretty ugly shit.'</dialogue> <character>COCKSUCKER JONES</character> <dialogue>It was ugly.</dialogue> <character>DALE</character> <dialogue>What was it?</dialogue> <character>COCKSUCKER JONES</character> <parenthetical>( LEANING IN . )</parenthetical> <dialogue>You ever see the movie Snow Falling on Cedars?</dialogue> <character>NICK/KURT</character> <dialogue>No. DALE Yes.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>I got caught with a video camera making a bootleg copy of that movie.</dialogue> <character>NICK</character> <dialogue>You did ten years for video piracy?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Hey, that's a federal offense. They take that shit serious.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I also made the mistake of representing myself at trial. May have insulted a few of the jurors.</dialogue> <character>KURT</character> <dialogue>Hold on. You're telling me we've been taking murder advice from someone whose biggest crime was taping an Ethan Hawke movie?!</dialogue> <character>COCKSUCKER JONES</character> <dialogue>So you do know it.</dialogue> <character>DALE</character> <dialogue>If you're not a murderer, why do you carry that gun on your belt?</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Gun?</dialogue> <scene_description>He pulls back his jacket to reveal the holster we saw earlier .</scene_description> <character>COCKSUCKER JONES</character> <dialogue>This is a motherfucking iPhone.</dialogue> <scene_description>He pulls the phone out and shows them .</scene_description> <character>NICK</character> <dialogue>I feel like such a moron.</dialogue> <character>COCKSUCKER JONES</character> <dialogue>Well, you are a moron. You do n't walk into a bar and hand a guy five thousand dollars just because he's black.</dialogue> <character>KURT</character> <dialogue>Come on, guys. Let's get out of here.</dialogue> <scene_description>The three of them turn to go .</scene_description> <character>COCKSUCKER JONES</character> <parenthetical>( calling after them . )</parenthetical> <dialogue>Trust me on the wire thing, though. Worked for Donnie Brasco. Bootlegged that movie too.</dialogue> </scene> <scene> <stage_direction>EXT. POLICE CRIME LAB - NEXT DAY</stage_direction> <scene_description>Hagan and Samson pull up in their car and get out .</scene_description> </scene> <scene> <stage_direction>INT. FORENSICS LAB - MOMENTS LATER</stage_direction> <scene_description>The detectives enter to find a CRIME TECH leaning over his computer .</scene_description> <character>HAGAN</character> <dialogue>You got something for us?</dialogue> <character>CRIME TECH</character> <dialogue>We did n't find any foreign prints in the house, but we did get a DNA match for one of your suspects, Kurt Gamble.</dialogue> <character>SAMSON</character> <dialogue>Where was it?</dialogue> <character>CRIME TECH</character> <dialogue>Pellit's upstairs bathroom. His toothbrush. It had traces of Gamble's fecal matter.</dialogue> <character>HAGAN</character> <dialogue>That sick bastard.</dialogue> <character>CRIME TECH</character> <dialogue>That's not all. We found feces on Pellit's hairbrush, face soap, floss and razor.</dialogue> <character>SAMSON</character> <dialogue>Razor?!</dialogue> <character>CRIME TECH</character> <dialogue>The handle. Not the blade. This Gamble guy put just about everything in that bathroom up his ass.</dialogue> <character>HAGAN</character> <dialogue>All I care about is that it puts him inside the house. That's enough for a warrant for him and his drag racing, sex offender friends.</dialogue> <parenthetical>( takes out cell . )</parenthetical> <dialogue>I'll call the DA.</dialogue> </scene> <scene> <stage_direction>EXT. HARKEN'S HOUSE - THAT NIGHT</stage_direction> <scene_description>Kurt 's car pulls up with the lights off and parks .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>Kurt is at the wheel , Nick sits shotgun , Dale in back .</scene_description> <character>KURT</character> <dialogue>Okay, looks quiet. Is the tape recorder ready?</dialogue> <scene_description>Dale pulls out a mini - tape recorder and hands it to Nick along with a roll of surgical tape .</scene_description> <character>DALE</character> <dialogue>Fresh batteries, fresh six - hour tape, voice activated.</dialogue> <character>NICK</character> <dialogue>One of us needs to tape it to our chest.</dialogue> <character>KURT</character> <dialogue>I'll do it. I'm the only one without hair on my chest.</dialogue> <character>NICK</character> <dialogue>That's'cause you shave it.</dialogue> <character>KURT</character> <dialogue>I do n't shave it. I wax it.</dialogue> <scene_description>Nick gives Kurt the recorder and Kurt tapes it to his chest then lowers his shirt .</scene_description> <character>DALE</character> <dialogue>So what do we do now? Wait for Harken to come home and ambush him?</dialogue> <character>NICK</character> <dialogue>I have a better idea. Let's be in the house when he walks in. He'll be so mad, he'll be more likely to confess.</dialogue> <character>KURT</character> <dialogue>Right. We'll sit there in the dark till he comes in, and then switch on a lamp. That'll freak him out.</dialogue> <character>DALE</character> <dialogue>Hey, we should find an office chair so one of us can dramatically spin around and face Harken.</dialogue> <character>NICK</character> <dialogue>I'll be in the chair.</dialogue> <character>KURT</character> <dialogue>Why do you get to be the guy in the chair?</dialogue> <character>NICK</character> <dialogue>He's my boss.</dialogue> <character>DALE</character> <dialogue>We could try and find more than one office chair so the three of us can spin around at the same time.</dialogue> <character>KURT</character> <dialogue>That does n't sound intimidating. That sounds like a musical number.</dialogue> <character>DALE</character> <dialogue>I guess you're right. I'll turn on the lamp.</dialogue> <character>KURT</character> <dialogue>So I'm just supposed to stand there like an idiot?</dialogue> <character>NICK</character> <dialogue>You're recording it all. You're the most important member of the team.</dialogue> <character>KURT</character> <dialogue>Do n't patronize me, Nick.</dialogue> </scene> <scene> <stage_direction>EXT. HARKEN'S PORCH - MINUTES LATER</stage_direction> <scene_description>The guys tiptoe onto the porch , peeking in the windows . Nick tries the front door . and it swings open . They look at each other , then quietly head inside .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S HOUSE - CONTINUOUS ACTION</stage_direction> <scene_description>The LIGHTS suddenly come on .</scene_description> <character>PARTYGOERS</character> <dialogue>Surprise!</dialogue> <scene_description>There are 20 or 30 PARTYGOERS in the house which is decorated for a birthday party . The guys stand dumbstruck . The revelry peters out as the guests realize there are three strangers at the door . Mrs. Harken steps up .</scene_description> <character>MRS. HARKEN</character> <dialogue>Who are you?</dialogue> <character>NICK</character> <dialogue>Uh. hi. sorry we're late. I'm Nick. I work with your husband AND -</dialogue> <character>MRS. HARKEN</character> <parenthetical>( NOTICING DALE . )</parenthetical> <dialogue>Are n't you the young man who helped Dave on the street the other day?</dialogue> <character>DALE</character> <dialogue>Uh, yes. How's he doing?</dialogue> <character>MRS. HARKEN</character> <dialogue>He's fine. Thanks to you.</dialogue> <parenthetical>( then , to Nick . )</parenthetical> <dialogue>Did I invite you to this?</dialogue> <scene_description>Before Nick can answer a GUEST at the window calls out .</scene_description> <character>GUEST #1</character> <dialogue>His car just turned the corner!</dialogue> <character>GUEST #2</character> <dialogue>Someone get the lights!</dialogue> <scene_description>As everyone scurries to hide , Kurt finds himself pressed up against Mrs. Harken , beside the sofa . He checks her out .</scene_description> <character>KURT</character> <parenthetical>( shaking her hand . )</parenthetical> <dialogue>Hi, we did n't formally meet. I'm Kurt.</dialogue> <character>MRS. HARKEN</character> <parenthetical>( DISTRACTED . )</parenthetical> <dialogue>Hi.</dialogue> <character>KURT</character> <dialogue>Nick did n't tell me that his boss was married to a model.</dialogue> <character>MRS. HARKEN</character> <parenthetical>( noticing him now , FLATTERED . )</parenthetical> <dialogue>I'm not a model.</dialogue> <character>KURT</character> <parenthetical>( `` SINCERE '' . )</parenthetical> <dialogue>When did you quit?</dialogue> <scene_description>We see Mrs. Harken is intrigued . Just then , the front door opens and Harken enters . The lights come on .</scene_description> <character>PARTYGOERS</character> <dialogue>Surprise!</dialogue> <scene_description>A jittery Harken nearly jumps out of his skin as the crowd starts singing `` Happy Birthday . '' Mrs. Harken takes Harken 's arm .</scene_description> <character>MRS. HARKEN</character> <dialogue>Were you surprised?</dialogue> <character>HARKEN</character> <parenthetical>( RELIEVED . )</parenthetical> <dialogue>Oh, yeah.</dialogue> <character>MRS. HARKEN</character> <dialogue>Look, everyone's here.</dialogue> <character>HARKEN</character> <parenthetical>( EVILLY . )</parenthetical> <dialogue>Almost everyone.</dialogue> <character>MRS. HARKEN</character> <dialogue>Who are you talking about?</dialogue> <character>HARKEN</character> <dialogue>I think you know.</dialogue> <parenthetical>( THEN . )</parenthetical> <dialogue>I need to put my stuff away. I'll be right back.</dialogue> <scene_description>He heads off to his study , leaving his confused wife . She notices Kurt , standing at the buffet , staring at her . He smiles and winks . Mrs. Harken gives him a little wave . ANGLE ON NICK , KURT AND DALE</scene_description> <character>NICK</character> <dialogue>He's going off alone. This is our chance.</dialogue> <character>DALE</character> <dialogue>You guys ready?</dialogue> <character>KURT</character> <parenthetical>( still staring at Mrs. Harken . )</parenthetical> <dialogue>So fucking ready.</dialogue> <character>NICK</character> <dialogue>Okay, stay close.</dialogue> <character>KURT</character> <parenthetical>( NOT LISTENING . )</parenthetical> <dialogue>Gotcha.</dialogue> <scene_description>The three of them head toward the study .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S STUDY - CONTINUOUS ACTION</stage_direction> <scene_description>Just as Nick and Dale enter , Harken looks up and sees them .</scene_description> <character>HARKEN</character> <dialogue>What the hell are you doing here?</dialogue> <parenthetical>( TO DALE . )</parenthetical> <dialogue>You come to stab me a few more times, you lunatic?</dialogue> <parenthetical>( TO NICK . )</parenthetical> <dialogue>And my wife invited you? Are you fucking her too?</dialogue> <scene_description>Nick tries his best to suppress his nervousness and be cool and threatening .</scene_description> <character>NICK</character> <dialogue>We know what you did, Harken.</dialogue> <character>HARKEN</character> <dialogue>What does that mean?</dialogue> <character>NICK</character> <dialogue>We were there. We saw you kill him.</dialogue> <character>HARKEN</character> <parenthetical>( TURNING DEAD SERIOUS . )</parenthetical> <dialogue>So what is this? A shakedown? You think you can blackmail me because you saw me kill my wife's lover?</dialogue> <scene_description>Nick winces . So close .</scene_description> <character>DALE</character> <parenthetical>( BLURTING OUT . )</parenthetical> <dialogue>Say his name.</dialogue> <scene_description>Nick and Harken turn to Dale .</scene_description> <character>HARKEN</character> <dialogue>What?</dialogue> <character>DALE</character> <dialogue>The guy you killed. What was his name?</dialogue> <character>HARKEN</character> <dialogue>Trust me, Pellit's name does n't matter anymore.</dialogue> <character>NICK</character> <dialogue>There it is!</dialogue> <parenthetical>( turning to Dale . )</parenthetical> <dialogue>Let's go, guys -</dialogue> <scene_description>He freezes as he sees for the first time that Kurt did n't accompany them into the study . It 's just him and Dale . Nick looks around , panicked .</scene_description> <character>HARKEN</character> <dialogue>Yeah, I killed Pellit -</dialogue> <character>NICK</character> <dialogue>Hang on. Hold that thought, because I want to get my friend, KURT -</dialogue> <character>HARKEN</character> <dialogue>I walked right up to his door and I shot him in his fucking chest, and I'll tell you something : I liked it. So if you think I'm a pussy who wo n't do the same exact thing to some half - assed blackmailer, guess again.</dialogue> <character>NICK</character> <parenthetical>( looking back at the LIVING ROOM . )</parenthetical> <dialogue>You know who really thinks you're a pussy is my friend Kurt. Let me go grab him and you can tell him exactly what you just -</dialogue> <character>HARKEN</character> <dialogue>You're pathetic, Waters. You come into my home, on my goddam birthday and try and pull this shit? Well, guess what? You're a dead man. You.</dialogue> <parenthetical>( TO DALE . )</parenthetical> <dialogue>. you, and your friend Kurt, whoever the fuck he is. Dead. Men.</dialogue> <character>DALE</character> <parenthetical>( SOFTLY . )</parenthetical> <dialogue>We did n't know it was your birthday.</dialogue> <scene_description>Harken has crossed to a drawer and taken out a small safe . He begins turning the combination lock .</scene_description> <character>NICK</character> <dialogue>What are you doing? What's in that?</dialogue> <character>HARKEN</character> <dialogue>My gun. Just give me a second.</dialogue> <scene_description>Nick and Dale exchange a look , then quickly rush out of the room .</scene_description> </scene> <scene> <stage_direction>INT. HARKEN'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>looking thoroughly freaked out , Nick and Dale push their way through the partygoers .</scene_description> <character>NICK</character> <dialogue>We had him! We had the whole thing. What happened to Kurt?</dialogue> <scene_description>Just then , the door to a guest bathroom opens and Kurt emerges , buckling his belt and looking strangely red in the face .</scene_description> <character>KURT</character> <dialogue>Oh, hey.</dialogue> <character>NICK</character> <dialogue>` Hey'?! Where were you?!</dialogue> <character>KURT</character> <dialogue>Uh, I had to go to the bathroom. Bad salmon puff. Are we ready to record Harken?</dialogue> <character>NICK</character> <dialogue>You're too late, Kurt! He confessed the whole damn thing!</dialogue> <character>DALE</character> <dialogue>More than once! Then he told us we were dead men! He's getting his gun right now!</dialogue> <character>KURT</character> <dialogue>Oh, man, I'm so sorry. I fucked up.</dialogue> <character>NICK</character> <dialogue>Yeah, you -</dialogue> <scene_description>Suddenly , the bathroom door opens again and out steps Mrs. Harken , also looking disheveled . She adjusts her dress then rejoins the party .</scene_description> <character>NICK</character> <parenthetical>( realizing what Kurt WAS DOING . )</parenthetical> <dialogue>You dick!</dialogue> <scene_description>Overcome with rage , Nick PUNCHES Kurt in the arm then rushes to the door . Dale and Kurt hurry after him . ANGLE ON HARKEN seeing them go . With a grim look , he calmly heads to the garage .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - MINUTES LATER</stage_direction> <scene_description>Nick sits steaming mad as Kurt drives . Dan fiddles with the tape recorder in the back .</scene_description> <character>KURT</character> <dialogue>Look, I was n't thinking. She's so hot and I'm so weak. I'm a weak, weak man. I admit it.</dialogue> <scene_description>From the back seat , we hear from the tape recorder :</scene_description> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>In here? But all those people are right outside.</dialogue> <character>MRS. HARKEN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I know. That makes it even hotter.</dialogue> <scene_description>We hear unbuckling and unzipping .</scene_description> <character>MRS. HARKEN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Your balls are so smooth.</dialogue> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I wax them.</dialogue> <character>DALE</character> <dialogue>Is there anything you do n't wax?</dialogue> <scene_description>Kurt shrugs . We hear some WET , SMACKING SOUNDS .</scene_description> <character>NICK</character> <dialogue>Ugh. Turn it off, Dale!</dialogue> <character>KURT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh yeah. oh shit!</dialogue> <character>MRS. HARKEN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Whoops. That was fast.</dialogue> <character>KURT</character> <parenthetical>( QUICKLY . )</parenthetical> <dialogue>Yeah, Dale, turn that off!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - CONTINUOUS ACTION</stage_direction> <scene_description>A short distance behind a car is following Kurt 's . As it comes closer we see it 's a Porsche . And it 's driven by a determined - looking Harken .</scene_description> </scene> <scene> <stage_direction>EXT. KURT'S APARTMENT - SHORT TIME LATER</stage_direction> <scene_description>Kurt 's car turns the corner and stops short .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - CONTINUOUS ACTION</stage_direction> <scene_description>From the guys ' POV we see an unmarked car and a police squad car parked outside of Kurt 's place . Hagan and Samson stand with two UNIFORMED OFFICERS .</scene_description> <character>KURT</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Holy shit! They must have found my DNA.</dialogue> <character>NICK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Turn around! Get us out of here!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - CONTINUOUS ACTION</stage_direction> <scene_description>Kurt quickly does a U - turn and ZOOMS off in the direction they came , inadvertently SPEEDING through a red light . We see a traffic camera FLASH . INSERT - A BLACK AND WHITE PHOTOGRAPH clearly showing the three guys , their faces distorted with panic .</scene_description> </scene> <scene> <stage_direction>INT. KURT'S CAR - MOMENTS LATER</stage_direction> <character>KURT</character> <dialogue>Okay, it's clear that none of us can go home again. Probably ever.</dialogue> <character>DALE</character> <dialogue>What?!</dialogue> <character>KURT</character> <dialogue>I'm sure they have cops at all our places. I think our best bet is to get out of the country.</dialogue> <character>NICK</character> <dialogue>Where are we going to go?</dialogue> <character>KURT</character> <dialogue>Mexico?</dialogue> <character>DALE</character> <dialogue>Everyone flees to Mexico. That's the first place they'll look.</dialogue> <character>KURT</character> <dialogue>You're right. What about Asia? We could become kick boxers.</dialogue> <character>NICK</character> <dialogue>What the fuck are you talking about?</dialogue> <character>KURT</character> <dialogue>What if our entire lives have been leading up to this moment? What if we were destined from the very beginning to become Asian kick boxers?</dialogue> <character>NICK</character> <dialogue>What if I was destined to smack you right in the face?</dialogue> <character>KURT</character> <dialogue>That seems like a lesser destiny.</dialogue> <scene_description>SFX : Dale 's cell phone rings .</scene_description> <character>DALE</character> <parenthetical>( ANSWERING PHONE . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. JULIA'S BATHROOM - SAME TIME</stage_direction> <scene_description>Julia lies in a bubble bath , a glass of wine on the edge of the tub .</scene_description> <character>JULIA</character> <dialogue>Hello, lover.</dialogue> <character>DALE</character> <dialogue>Oh God. Look, Julia, I ca n't talk right now -</dialogue> <scene_description>Kurt reacts at hearing it 's Julia . He makes an `` I 'm not here '' gesture .</scene_description> <character>JULIA</character> <dialogue>No worries, baby. I actually meant to call your home phone. You know, to tell Stacy about us.</dialogue> <character>DALE</character> <dialogue>No! Wait!</dialogue> <character>JULIA</character> <dialogue>I think I've waited long enough. I'm tired of you playing with my emotions.</dialogue> <character>DALE</character> <dialogue>I'm not playing. I'm going to do it. I swear!</dialogue> <character>JULIA</character> <dialogue>This Friday. At the office.</dialogue> <character>DALE</character> <dialogue>Fine!</dialogue> <character>JULIA</character> <dialogue>Wait. What are you going to do to me?</dialogue> <character>DALE</character> <dialogue>I'm going to. have sex with you.</dialogue> <character>JULIA</character> <dialogue>Details! And be explicit.</dialogue> <character>DALE</character> <dialogue>Right now? You want me to say it?</dialogue> <character>KURT</character> <dialogue>Oh, shit. We've got company.</dialogue> <scene_description>He points out the back window and the guys react as they see Harken driving directly on their tail .</scene_description> <character>NICK</character> <dialogue>It's Harken! Lose him!</dialogue> <character>KURT</character> <dialogue>Lose him? Sure, Nick. His 500 horsepower is no match for my 150.</dialogue> <character>JULIA</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Say it!</dialogue> <character>DALE</character> <parenthetical>( BLURTING OUT . )</parenthetical> <dialogue>I'm gon na put my penis in your pussy!</dialogue> <scene_description>Despite the danger , Kurt and Nick turn curiously to look at Dale .</scene_description> <character>JULIA</character> <dialogue>Oh, come on, Casanova. You can do better than that.</dialogue> <character>DALE</character> <parenthetical>( WITH DIFFICULTY . )</parenthetical> <dialogue>I'm gon na make you feel good. With my tongue. and my fingers. And whatnot.</dialogue> <scene_description>Just then , Harken speeds up and SLAMS into the tail of Kurt 's car . Kurt struggles to stay on the road .</scene_description> <character>NICK</character> <dialogue>Jesus Christ, this guy's nuts!</dialogue> <character>JULIA</character> <dialogue>You going to slap me with your cock, Dale?</dialogue> <character>DALE</character> <dialogue>Yes! Yes! I'm going to beat your face with my cock!</dialogue> <character>JULIA</character> <dialogue>More!</dialogue> <scene_description>BANG ! Harken again HITS Kurt 's car from behind . A tail light shatters .</scene_description> <character>DALE</character> <parenthetical>( FRANTIC . )</parenthetical> <dialogue>I'm gon na put my balls in your hair! I'm gon na spit on your arms!</dialogue> <scene_description>Kurt and Nick exchange a baffled look .</scene_description> <character>JULIA</character> <dialogue>See you Friday, you dirty bird.</dialogue> <scene_description>Julia hangs up . Dale looks like he 's been violated .</scene_description> <character>DALE</character> <dialogue>Nice job ` fucking the crazy out of her,' Kurt!</dialogue> <character>KURT</character> <dialogue>Maybe I should've spit on her arms.</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Good evening, Mr. Gamble.</dialogue> <scene_description>The three of them JUMP , startled by the sudden voice in the car with them .</scene_description> <character>KURT</character> <dialogue>What the hell?</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is Gregory, your On Star rep. Our on - board sensors report that you have a damaged tail light.</dialogue> <character>KURT</character> <dialogue>Yeah, thanks, Gregory, we know. We're being chased by a crazy man and he just smashed into us!</dialogue> <scene_description>Kurt looks in the rearview mirror and sees Harken is still behind them . As his car reaches an intersection , Kurt swerves at the last second and takes a hard left . Harken overshoots the turn .</scene_description> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh dear. I will alert the local police authorities and direct them to your location.</dialogue> <character>NICK</character> <dialogue>No, wait! Do n't call the police! They're already after us.</dialogue> <character>DALE</character> <dialogue>They think we murdered someone.</dialogue> <scene_description>Suddenly , Kurt 's engine dies and the car comes to a gradual stop .</scene_description> <character>NICK</character> <dialogue>Why are you slowing down?!</dialogue> <character>KURT</character> <dialogue>I'm not! The engine died!</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I have remotely disabled your engine.</dialogue> <character>KURT</character> <dialogue>Why would you do that, Gregory?!</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's a standard On Star safety protocol when we believe a driver has committed a crime.</dialogue> <character>KURT</character> <dialogue>I pay nineteen bucks a month for this fucking service!</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Please stay with your vehicle. The police should arrive shortly.</dialogue> <character>DALE</character> <dialogue>I thought you were our friend, Gregory!</dialogue> <scene_description>There 's a sound of screeching tires and Harken 's Porsche ZOOMS up behind them .</scene_description> <character>NICK</character> <dialogue>He's not stopping!</dialogue> <character>KURT</character> <dialogue>Oh, shit!</dialogue> </scene> <scene> <stage_direction>EXT. STREET - CONTINUOUS ACTION</stage_direction> <scene_description>Harken 's car PLOWS into the rear of Kurt 's , forcing it into the back of a parked car . Even if the engine was working , there 'd be nowhere to go now . Dazed from the impact , the guys look back to see Harken slowly approaching on foot , holding a gun in his hand .</scene_description> <character>DALE</character> <dialogue>Shit, shit, shit.</dialogue> <scene_description>Harken taps on Kurt 's window with the barrel of the gun . Kurt lowers the window .</scene_description> <character>KURT</character> <dialogue>I'm guessing you do n't want to EXCHANGE INSURANCE information -?</dialogue> <character>HARKEN</character> <dialogue>Out of the car. All of you.</dialogue> <scene_description>The three guys nervously exit the car and face Harken who points the gun at them .</scene_description> <character>NICK</character> <dialogue>Look, Mr. Harken -</dialogue> <character>HARKEN</character> <dialogue>Shut the fuck up! I've got six bullets in here. So if I want to, I can shoot each of you twice, just like I did that bastard, Pellit. But if I do that, I'll have to spend the rest of my life running from the law or rotting in jail.</dialogue> <scene_description>Police sirens approaching .</scene_description> <character>DALE</character> <parenthetical>( NEAR TEARS . )</parenthetical> <dialogue>So, you're not gon na shoot us?</dialogue> <character>HARKEN</character> <dialogue>No. I have a better idea.</dialogue> <scene_description>Harken turns the gun toward his own thigh and FIRES .</scene_description> <character>HARKEN</character> <dialogue>Unnnnhhhh!</dialogue> <character>NICK</character> <dialogue>What the -?!</dialogue> <scene_description>As his leg bleeds , Harken wipes the gun off with his shirt , then suddenly tosses it to Dale .</scene_description> <character>HARKEN</character> <dialogue>Catch.</dialogue> <scene_description>Startled , Dale catches the pistol with shaking hands .</scene_description> <character>HARKEN</character> <parenthetical>( THROUGH GRITTED TEETH . )</parenthetical> <dialogue>Now I can tell the cops that when I discovered you three killed Pellit, you tried to kill me to shut me up.</dialogue> <character>KURT</character> <dialogue>That's crazy!</dialogue> <scene_description>Down the street , two squad cars turn the corner and speed toward them . Dale looks down at the gun in his hand and drops it .</scene_description> <character>HARKEN</character> <dialogue>Is it? Because I do n't see a shred of evidence proving that I killed Pellit. It's like I've always told you, Nick. Life is a marathon and you ca n't win a marathon without putting a few Band - Aids on your nipples.</dialogue> <scene_description>Nick deflates . The three guys realize Harken 's won . Then , from the car 's open window they hear :</scene_description> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Did I mention that this conversation is being recorded?</dialogue> <scene_description>Kurt , Nick and Dale exchange a look of shock and relief .</scene_description> <character>HARKEN</character> <dialogue>Who said that?</dialogue> <character>KURT</character> <parenthetical>( GRINNING . )</parenthetical> <dialogue>That's Gregory, our On Star rep.</dialogue> <character>ON STAR REP</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( PROUDLY . )</parenthetical> <dialogue>My name is Atmanand!</dialogue> <scene_description>Harken 's face falls . He looks around nervously as the police cars come to a halt .</scene_description> <character>HARKEN</character> <dialogue>You ca n't - this is n't -</dialogue> <scene_description>And with that , Harken BOLTS AWAY as fast as his injured leg will take him . It 's not very fast . The guys watch him for a beat as they share a joyful , exhausted moment together .</scene_description> <character>NICK</character> <dialogue>I think this is gon na work out okay for us.</dialogue> <character>KURT</character> <dialogue>I told you.</dialogue> <character>DALE</character> <parenthetical>( RE : HARKEN . )</parenthetical> <dialogue>Should we stop him?</dialogue> <character>KURT</character> <dialogue>Probably.</dialogue> <character>NICK</character> <dialogue>I've got this.</dialogue> <parenthetical>( looking to heaven . )</parenthetical> <dialogue>This is for you, Gam Gam.</dialogue> <scene_description>Nick sprints off after his hobbling boss and in SLOW MOTION , violently TACKLES Harken to the pavement . Harken goes down hard , his face SLAMMING against the asphalt . As the COPS hurry toward them , Nick kneels on the back of Harken 's neck , pinning him .</scene_description> <character>HARKEN</character> <dialogue>Get the fuck off me!</dialogue> <scene_description>Kurt steps up and kneels beside the battered figure .</scene_description> <character>KURT</character> <parenthetical>( GENTLY . )</parenthetical> <dialogue>Hey, Harken, one last thing?</dialogue> <character>HARKEN</character> <parenthetical>( BARKING . )</parenthetical> <dialogue>What?!</dialogue> <character>KURT</character> <dialogue>Your wife gives great head.</dialogue> <scene_description>Harken struggles wildly but he 's helpless . CUT TO BLACK .</scene_description> </scene> <scene> <stage_direction>EXT. PELLIT CHEMICAL CO. - MORNING</stage_direction> <scene_description>SUPERIMPOSE : ONE WEEK LATER The sun is shining . Birds are chirping . It 's a bright , new day as Kurt heads into the building .</scene_description> </scene> <scene> <stage_direction>INT. PELLIT CHEMICAL CO. - DAY</stage_direction> <scene_description>Kurt enters and looks over at what was Pellit 's office . He smiles when he sees Margie , the pregnant employee , now running the company . He heads over .</scene_description> </scene> <scene> <stage_direction>INT. MARGIE'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Kurt knocks on the doorframe and enters .</scene_description> <character>MARGIE</character> <dialogue>Oh, hey, Kurt. Come in.</dialogue> <character>KURT</character> <dialogue>Thanks, Margie. I just wanted to congratulate you on taking over Bobby's job.</dialogue> <character>MARGIE</character> <dialogue>Thank you. Terrible what happened to him.</dialogue> <character>KURT</character> <dialogue>Yeah. Tough month for the Pellit family. Anyway, if there's anything I can do to help out before the baby gets here, please let me know.</dialogue> <character>MARGIE</character> <parenthetical>( CONFUSED . )</parenthetical> <dialogue>What baby?</dialogue> <character>KURT</character> <dialogue>Your baby.</dialogue> <character>MARGIE</character> <parenthetical>( beat , offended . )</parenthetical> <dialogue>I'm not pregnant.</dialogue> <character>KURT</character> <parenthetical>( CHUCKLING . )</parenthetical> <dialogue>Yeah, right. Look at that big belly.</dialogue> <scene_description>Kurt pats her belly . Margie now looks genuinely pissed off .</scene_description> <character>MARGIE</character> <dialogue>I'm aware that I have a weight problem, Kurt. It just happens to manifest itself in my lower abdomen.</dialogue> <character>KURT</character> <dialogue>I. oh, my God. I'm really sorry, Margie -</dialogue> <scene_description>He falls silent under Margie 's death stare .</scene_description> <character>MARGIE</character> <parenthetical>( COLDLY . )</parenthetical> <dialogue>Kurt, I know you were a favorite of Jack's. He was willing to overlook your inappropriate behavior with female clients and service people. But you should be aware, I'm not Jack. And I have very little tolerance for the mistreatment of women. So consider this your first strike.</dialogue> <character>KURT</character> <dialogue>How was I supposed to know you were just fat -</dialogue> <character>MARGIE</character> <dialogue>Strike two.</dialogue> <scene_description>Kurt opens his mouth to say something but thinks better of it . He stands up and slumps out . Life as he knew it at Pellit Chemicals is clearly over .</scene_description> </scene> <scene> <stage_direction>INT. DENTAL EXAMINATION ROOM - DAY</stage_direction> <scene_description>Julia enters to find Dale waiting for her . A PATIENT lies asleep in the chair , his face obscured by the nitrous mask .</scene_description> <character>JULIA</character> <dialogue>Thank God it's Friday, right, Dale?</dialogue> <character>DALE</character> <parenthetical>( RESIGNED . )</parenthetical> <dialogue>Yeah.</dialogue> <character>JULIA</character> <dialogue>Let's drill this patient and then you can drill me.</dialogue> <character>DALE</character> <dialogue>Could we do it on top of the patient? I like the element of danger.</dialogue> <character>JULIA</character> <parenthetical>( IMPRESSED . )</parenthetical> <dialogue>You continue to surprise me, you weird little man.</dialogue> <scene_description>Julia quickly undoes the patient 's belt and yanks his pants down .</scene_description> <character>JULIA</character> <parenthetical>( TO DALE . )</parenthetical> <dialogue>You like that? This getting you hot?</dialogue> <character>DALE</character> <dialogue>Oh, yeah.</dialogue> <scene_description>Julia begins handling the patient 's implied genitals which are obscured by a tray of tools .</scene_description> <character>JULIA</character> <parenthetical>( in a puppet voice . ) '</parenthetical> <dialogue>I wish I was Dale's weenie so I could have sex with Julia.'</dialogue> <scene_description>Suddenly , the patient bursts out LAUGHING and sits up .</scene_description> <character>JULIA</character> <dialogue>What the hell?!</dialogue> <scene_description>The patient pulls off his nitrous mask to reveal it 's KENNY , the guys ' former classmate from the bar .</scene_description> <character>KENNY</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>Sorry, Dale. I could n't keep it together anymore -</dialogue> <character>JULIA</character> <dialogue>What is this?</dialogue> <character>DALE</character> <dialogue>Julia, meet my old high school friend, Kenny.</dialogue> <character>KENNY</character> <dialogue>How do you do?</dialogue> <character>DALE</character> <dialogue>Kenny will do just about anything for fifty bucks and that's why I hired him to help me frame you. Your days of sexually assaulting me and your patients are over.</dialogue> <character>JULIA</character> <parenthetical>( LAUGHS DERISIVELY . )</parenthetical> <dialogue>Seriously? This is all you've got? Your word against mine? I'm a highly respected professional and you're two losers.</dialogue> <character>DALE</character> <dialogue>Three losers.</dialogue> <scene_description>Dale points to the window where Julia sees COCKSUCKER JONES outside holding up a video camera . He waves to her .</scene_description> <character>JULIA</character> <dialogue>You little bastard -</dialogue> <character>DALE</character> <dialogue>Shut up, Julia. Now, my fiancee and I are going to take a very expensive two week vacation which you're going to pay for. And then I'm going to come back to a rape - free workplace. Because if you so much as look at my ass, I'll have yours locked up.</dialogue> <scene_description>With a bounce in his step , Dale strides out of the room . There 's an awkward beat with Kenny and Julia .</scene_description> <character>KENNY</character> <dialogue>I do n't suppose you could take a look at this molar -</dialogue> <character>JULIA</character> <parenthetical>( SCREAMING . )</parenthetical> <dialogue>OUT! GET OUT!</dialogue> <scene_description>Kenny scampers out , pulling up his pants as he goes .</scene_description> </scene> <scene> <stage_direction>INT. NICK'S OFFICE (FORMERLY HARKEN'S) - DAY</stage_direction> <scene_description>Nick is in his new office as a young employee , CARTER , 20 's , pops his head in .</scene_description> <character>CARTER</character> <dialogue>You wanted to see me, Mr. Waters?</dialogue> <character>NICK</character> <dialogue>Hi, Carter. Just wanted to check if you had a chance to finish those regional sales projections yet?</dialogue> <character>CARTER</character> <dialogue>Oh, I think I may need another day.</dialogue> <character>NICK</character> <dialogue>Okay. I was hoping to give them to the marketing guys today, but I can hold them off.</dialogue> <parenthetical>( FRIENDLY . )</parenthetical> <dialogue>In the future, it'd be great if you could tell me if you're going to miss a deadline.</dialogue> <scene_description>Carter 's eyes narrow . All at once , he rushes at Nick , grabs him by the throat and HURLS him THROUGH THE PLATE GLASS WINDOW , shattering it .</scene_description> </scene> <scene> <stage_direction>EXT. COMMTRONIX INDUSTRIES - CONTINUOUS ACTION</stage_direction> <scene_description>Nick plummets forty feet and lands with a SICKENING CRUNCH directly onto his own car . Just behind him we see a parking plaque that reads `` Nick Waters , Senior VP of Sales . '' SAME SCENE -LRB- REALITY -RRB- Carter stands opposite Nick as before .</scene_description> <character>CARTER</character> <dialogue>Sure. No problem, Mr. Waters.</dialogue> <character>NICK</character> <dialogue>Thanks, buddy.</dialogue> <scene_description>Nick smiles and closes the door behind Carter . He settles into his comfy chair and puts his feet up on the desk .</scene_description> <character>NICK</character> <dialogue>It's good to be the boss.</dialogue> <scene_description>CUT TO BLACK . THE END</scene_description> </scene> </script>

Nick Hendricks and Dale Arbus are friends who despise their bosses. Nick works at Comnidyne, a financial firm for the sadistic David Harken, who implies the possibility of a promotion for Nick for months, only to award it to himself. Dale is a dental assistant being sexually harassed by his boss, Dr. Julia Harris; she threatens to tell his fiancée Stacy that he had sex with her unless he actually has sex with her. Nick and Dale's accountant friend Kurt Buckman enjoys working for Jack Pellitt at a chemical company, but after Jack unexpectedly dies of a heart attack, the company is taken over by Jack's cocaine-addicted son Bobby, whose apathy and incompetence threaten the future of the company. At night, over drinks, Kurt jokingly suggests that their lives would be happier if their bosses were no longer around. Initially hesitant, they eventually agree to kill their employers. In search of a hitman, the trio meet Dean "Muthafuckah" Jones, an ex-con who agrees to be their "murder consultant." Jones suggests that Dale, Kurt and Nick kill each other's bosses to hide their motive while making the deaths look like accidents. The three reconnoiter Bobby's house, and Kurt steals Bobby's phone. They next go to Harken's house, where Kurt and Nick go inside while Dale waits in the car. Harken returns home and confronts Dale for littering, but then has an allergy attack from the peanut butter on the litter. Dale saves Harken by stabbing him with an EpiPen. Nick and Kurt think Dale is stabbing Harken to death and flee, with Kurt accidentally dropping Bobby's phone in Harken's bedroom. The next night, Kurt watches Julia's home, but she seduces and has sex with him. Nick and Dale reluctantly wait outside Bobby's and Harken's houses, respectively, to commit the murders, despite neither of them wanting to. Harken discovers Bobby's cellphone in his bedroom and uses it to find his address, suspecting his wife Rhonda is having an affair. He drives over and kills Bobby, with Nick as a secret witness. Nick flees at high speed, setting off a traffic camera. The trio meet to discuss their reservations about continuing with their plan. They are questioned by the police, who believe the camera footage makes them suspects in Bobby's murder. Lacking evidence, the police are forced to let the trio go free. The trio consult with Jones again, but learn that he never actually killed anyone, having been imprisoned for bootlegging a film. Jones suggests that they get Harken to confess and secretly tape it. The three accidentally crash Harken's surprise birthday party, where Nick and Dale get Harken to confess to the murder before realizing that Kurt, who has the audio recorder, is elsewhere having sex with Rhonda. Harken threatens to kill all three for attempting to blackmail him. They flee by car, but Harken gives chase and repeatedly rams their vehicle. Believing they have committed a crime, the car's navigation-system operator remotely disables Kurt's car, allowing Harken to catch and hold them at gunpoint. Harken shoots himself in the leg as he boasts about his plan to frame them for murdering Bobby and attempting to kill him to get rid of the witness. The police arrest Nick, Dale and Kurt, but the navigation-system operator, Gregory, reveals that it is his company's policy to record all conversations for quality assurance. Gregory plays the tape that has Harken confessing he murdered Pellitt. Harken is sentenced to 25 years to life in prison, while the friends get their charges waived. Nick is promoted to president of the company under a sadistic CEO, Kurt retains his job under a new boss, and Dale, with the help of Jones, blackmails Julia into ending her harassment.

The Predator_2018

tt3829266

<script> <scene> <character>THE PREDATOR</character> <dialogue>by</dialogue> <scene_description>Shane Black &amp; Fred Dekker Based on the characters created by Jim Thomas &amp; John Thomas REVISED DRAFT: 04-17-2016: SPACE Cold. Silent. A billion twinkling stars. Then... A bass RUMBLE rises. Becomes a BONE-RATTLING ROAR as -- A SPACECRAFT RACHETS PAST CAMERA, fuel cables WHIPPING into frame, torn loose! Titanium SCREAMS as the ship DETACHES VIOLENTLY; shards CASCADING in zero gravity--! (NOTE: For reasons that will become apparent, we let us call this vessel "THE ARK.") WIDER - THE ARK as it HURTLES AWAY from a docking gantry underneath a vastly LARGER SHIP it was attached to. Wobbly. Desperate. We're witnessing a HIJACK. WIDER STILL - THE PREDATOR MOTHER SHIP DWARFS the escaping vessel. Looming; like a nautilus of molded black steel.</scene_description> </scene> <scene> <stage_direction>INT. PREDATOR MOTHER SHIP</stage_direction> <scene_description>Backed by the glow of compu-screens, a half-glimpsed alien -- A PREDATOR -- watches the receding ARK through a viewport. (NOTE: we see him mostly in shadow, full reveal to come).</scene_description> </scene> <scene> <stage_direction>INT. SMALLER VESSEL (ARK)</stage_direction> <scene_description>Emergency lights illuminate a dank, organic-looking interior. CAMERA MOVES PAST: EIGHT STASIS CYLINDERS Around the periphery. FROST clouds the cryotubes, prevents us from seeing the "passengers." Finally, CAMERA ARRIVES AT -- A HULKING, DREAD-LOCKED FIGURE The pilot of this crippled ship. We do not see him fully either, but for the record? This is our "GOOD" PREDATOR." HIS TALONS dance across a control panel; a shrill beep..! Predator symbols, but we get the idea: ERROR--ERROR--ERROR-- Our Predator TAPS more controls. Feverish. Until --</scene_description> </scene> <scene> <stage_direction>EXT. ARK</stage_direction> <scene_description>A final tether COMES LOOSE, venting PLASMA energy, and -- Through the viewport, the Ark is enveloped by a BLINDING LIGHT -- then a SWIRL OF PARTICLE ENERGY, as we -- SMASH TO: STARFIELD. Silence. Then -- THE ARK DROPS out of hyperspace. SHUDDERS into a NEW ORBIT... Approaching what is, in fact, A DYING PLANET. Ice caps melting; atmosphere toxified; the dominant species continually finding new ways to fuck things up. Oddly, the only planet in our solar system not named after a God: Earth.</scene_description> </scene> <scene> <stage_direction>INT. THE ARK - DAMAGED FROM THE GETAWAY</stage_direction> <scene_description>SPARKS, gagging smoke... Our Predator realizes he's on a sinking ship... He programs a new command sequence; ON A MONITOR - A GRAPHIC of the CRYOTUBES. A SCROLLING COUNTDOWN, commenced -- in Predator symbols. A self destruct sequence..? One last thing: The Predator taps the panel again -- and a SLOT OPENS, revealing A DEVICE like a Steampunk TV remote. This is the KUJHAD. Remember it. He extracts it from its slot and -- K-CHK! SNAPS IT into its own WRIST COMPUTER. Then he rises urgently, and...</scene_description> </scene> <scene> <stage_direction>EXT. STRATOSPHERE</stage_direction> <scene_description>The ARK SHUDDERS, penetrating earth's atmosphere, as: WHOOSH! AN ESCAPE POD, JETTISONED... From the main body of the craft. A series of RIPPLING SHIMMERS engulf it, and before our eyes, it auto-engages STEALTH CAMOUFLAGE -- and VANISHES..! Pause. Then... a rising swell of JUNGLE NOISES... It begins. CUT TO: A MAN IN TIGHT CLOSE-UP Rugged face. Stubble. He's looking down, eyes red-rimmed with fatigue, as we HEAR: A hollow TRICKLE of piss in plastic. He finishes. Screws the top back on a thermos. Then lowers it, where it DANGLES ON A THIN NYLON LINE because we are --</scene_description> </scene> <scene> <stage_direction>EXT. CUBAN JUNGLE - DAY</stage_direction> <scene_description>WITH THE SOLDIER, perched in a gnarled tree... THIRTY FEET OFF THE GROUND. He shifts in his "nest." Brings to bear an M24 sniper rifle. Meet LIEUTENANT QUINN McKENNA, 30s. On the BACK of his hand... a faded (yet prominent) CRESCENT SCAR. Souvenir of another fight. SUPER: CAYO MUERTO, CUBA WE HEAR a TALKIE SQUELCH -- then a tinny voice from his Bluetooth headset:</scene_description> <character>HAINES' TALKIE</character> <dialogue>VOICE (filtered)</dialogue> <scene_description>Piggy One, copy. (beat) Piggy One, this is Piggy Two, do you copy? MCKENNA (into headset mike) I was peeing. Do you mind..? ANOTHER RADIO VOICE joins the conversation, filtered:</scene_description> <character>DUPREE'S</character> <dialogue>VOICE Piggy Three.</dialogue> <character>TALKIE</character> <dialogue>I</dialogue> <scene_description>question, over.</scene_description> <character>MCKENNA</character> <dialogue>Cut the chatter.</dialogue> <scene_description>He cracks his neck, then adjusts his scope.</scene_description> <character>DUPREE'S TALKIE VOICE</character> <dialogue>Seriously. If you're the one that went to market, right? That means Haines and me, we get to choose between the roast beef and the staying home. Right?</dialogue> <character>MCKENNA</character> <dialogue>Dupree, I swear to God --</dialogue> <scene_description>McKenna presses his eye to the rifle sight. HIS POV - THROUGH HIS SCOPE A MANSION. Neoclassical. Built in the 1850s, but painted hot Havana aquamarine. Surrounded by high walls and roaming SENTRIES. You guessed it: A DRUG LORD'S COMPOUND.</scene_description> <character>DUPREE'S TALKIE VOICE</character> <dialogue>I just wanna be the stay home piggy, that's all I'm saying.</dialogue> <character>HAINES' TALKIE VOICE</character> <dialogue>McKenna. We got a problem.</dialogue> <scene_description>McKenna tenses.</scene_description> <character>MCKENNA</character> <dialogue>What is it?</dialogue> <character>HAINES' TALKIE VOICE</character> <dialogue>You can't be the one who went to market. You already went wee wee wee.</dialogue> <scene_description>McKenna shakes his head; he's so over these assholes. He wipes away sweat, SWIVELS the rifle, SEEING: A SMALL CONVOY, NOW On the DIRT ROAD leading into the compound. BLACK SUVs.</scene_description> <character>MCKENNA</character> <parenthetical>(all business)</parenthetical> <dialogue>Eyes north.</dialogue> <character>HAINES' TALKIE VOICE</character> <dialogue>I see it.</dialogue> <character>MCKENNA</character> <dialogue>Stay sharp. Ranging now.</dialogue> <scene_description>He presses his eye to the scope, PANNING WITH: THE SUVs As they stop, dust rising. DRUG SOLDIERS besiege the vehicles -- roughly PULLING OUT several HOSTAGES with pillow cases over their heads. A MAN in a silk shirt appears. The DRUG LORD faces the sagging hostages, contemptuous. His men raise their weapons.</scene_description> <character>MCKENNA</character> <parenthetical>(CONT'D) (into com)</parenthetical> <dialogue>Target in the reticle, no cross wind. I'm not waiting, 10-50 out.</dialogue> <scene_description>TIGHT CLOSE-UP ON HIS THUMB As he slowly, silently, FLICKS the safety catch. He centers the Drug Lord's head in the crosshairs. Stops breathing. All in all, a pretty crappy time for an EARTHQUAKE. A deep bass RUMBLE, coming from... where? Above? As, utterly without warning -- THE TOP OF THE DRUG LORD'S MANSION -- SHEARED OFF BEFORE OUR EYES. A TSUNAMI of debris, blown loose. EXPELLED -- Whatever caused it, it's headed right AT MCKENNA. He DROPS the rifle; GRABS his combat knife to CUT HIMSELF LOOSE -- TUMBLES, as the canopy of green ERUPTS--! CUT TO BLACK.: TIME CUT: MCKENNA, ON THE GROUND Amid sudden SILENCE. On his side now, face in the dirt... SLANTED POV Showing that the UFO just effectively PUNCHED A TUNNEL in the jungle, strewn with smoking debris and pulped branches. He blinks. No telling how long he was out. A minute? An hour? He looks up, keys his headset:</scene_description> <character>MCKENNA</character> <dialogue>Piggy Team, do you copy?</dialogue> <scene_description>In his ear, only STATIC.</scene_description> <character>MCKENNA</character> <dialogue>Goddammit, COPY!</dialogue> <scene_description>Still: nothing but STATIC. McKenna stumbles to his feet. Feeling exposed. Trees, aflame. Smoke everywhere. Exhales raggedly, all too aware he's squarely in THE DEBRIS FIELD left by the spacecraft. Only now, he's SEEING: THE PREDATOR EJECTION POD It lies hissing, spitting. Swamped in plant matter. He eases to a halt. Wary. Sights through HIS SCOPE And we notice, first off -- the HATCH. It's open, steam curling from inside. He stalks forward, past the muddy, smoking IMPACT CRATER. Looks down. Frowns: DROPLETS OF FLUORESCENT FLUID On the ground. Lying amidst them, something we recognize: A Predator WRIST GAUNTLET. Discarded? Jarred loose? Beside it, he notices something else: a tiny metal DEVICE that resembles a trilobite. A CLOAKING BALL. McKenna stoops -- palms the alien-looking device... HEARS VOICES. He DIVES behind a fallen LOG. Snaps the rifle to his shoulder, sights downrange. 300 yards -- People are swarming out of the drug mansion. Fuck. He nervously juggles the metal BALL.... absently depresses a SWITCH (an electronic HUM) -- He looks left -- all clear. Glances over his shoulder. Looks to his RIGHT -- ohmyfuckingGod. Jumps a foot. A FUCKING PREDATOR. Two feet away -- and it wasn't there a SECOND AGO. He scrambles backward, blinks: The PREDATOR, stock still. No reaction. Simply lies there, all eight feet of it. Its MASK askew. We realize: He's been there ALL ALONG. McKenna merely DE-CLOAKED him. He holds his breath, cautious not to wake the sleeping beast. That said, he can't resist. Licks his lips, reaches... cautiously LIFTS the dislodged BATTLE MASK worn by the Predator. Looks down, blanching -- At the insectile craziness this thing calls a FACE.</scene_description> <character>MCKENNA</character> <dialogue>Fuck me.</dialogue> <scene_description>He dry-washes his face with his hand. Scans the alien tech -- mask, gauntlet. Evidence. With quick, practiced moves, STASHES them in his pack --</scene_description> <character>MCKENNA</character> <dialogue>Sorry, bud. Without these, no one's gonna believe me.</dialogue> <scene_description>He starts to go, STOPS. Looks back, says softly:</scene_description> <character>MCKENNA</character> <dialogue>Welcome to earth, brother. Just so you know..?</dialogue> <parenthetical>(lights up)</parenthetical> <dialogue>It only gets worse from here.</dialogue> <scene_description>He turns. RUNS... As he leaves frame, CAMERA settles on the hulking, sprawled PREDATOR -- Its EYES SNAP OPEN. EXT. JUNGLE - WITH McKENNA - DAY Moving through the overgrowth. Sudden CRACKLE of radio chatter:</scene_description> <character>HAINES' TALKIE VOICE (O.S.)</character> <dialogue>Repeat: switch to 30-30, Dupree, do you copy?</dialogue> <scene_description>THEY'RE BACK ONLINE. Bingo. McKenna stops, keys his walkie:</scene_description> <character>MCKENNA</character> <dialogue>Piggy Two, respond, over.</dialogue> <character>HAINES' TALKIE VOICE</character> <dialogue>McKenna, is that you?</dialogue> <scene_description>Now DUPREE'S voice joins in:</scene_description> <character>DUPREE'S</character> <dialogue>VOICE Hi, guys. Can I just say -</dialogue> <character>TALKIE</character> <dialogue>- holy shit?</dialogue> <character>MCKENNA</character> <dialogue>We're blown. Move out, converge for extraction.</dialogue> <character>HAINES' VOICE</character> <dialogue>Copy that. I have visual on Dupree, I -- what the fuck..?</dialogue> <scene_description>McKenna freezes.</scene_description> <character>MCKENNA</character> <dialogue>Did not copy that. Talk to me, Haines.</dialogue> <character>HAINES' VOICE</character> <dialogue>I... There's something moving...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Dupree, break left, break left--!</dialogue> <character>MCKENNA</character> <dialogue>Talk to me, what's happening??</dialogue> <scene_description>A RATTLE OF MACHINE GUN FIRE -- BRRRAPPP!!! -- A series of strangled HUMAN SCREAMS. HE DOESN'T NEED THE WALKIE, HE CAN HEAR THEM -- McKenna CHARGES BACK in the direction he just came from. He SNAPS his rifle to his shoulder; TEARING through the brush. HEARTBEAT thudding in his ears... as: A NEW SOUND, NOW -- RISING. A low, bass THUMPING -- WHUP-WHUP-WHUP. He looks up, SEES: A BLACK HELICOPTER Inbound, range 500 meters. What the hell? Skimming the treeline... on a bee-line for the Drug Lord's compound. McKenna frowns: his extraction..? No. Impossible. Wrong helicopter. He heaves to his feet, switches on his mic:</scene_description> <character>MCKENNA (INTO MIC)</character> <dialogue>Mayday. TIC in process. Bogey inbound. AH-6 Little Bird, BLACK, no markings. Who sent these gu--</dialogue> <scene_description>The chopper UNLEASHES TWO AIR-TO-SURFACE ROCKETS. A sudden, sky-high whooosh... McKenna, AGAPE -- They come vectoring in, remorseless. DETONATE--! Say goodbye to the mansion. The sentries. The Drug Lord. And his Soldiers. AND the Hostages. All gone in one horrendous, volcanic SECOND -- Pretty much the job McKenna came here to do. Except no prisoners, no witnesses, no mercy. Scorched. Fucking. Earth. The chopper BANKS sharply, coming in for a landing. BLACK- CLAD MERCS, already leaning out the sides... MCKENNA Debris pelting down around him. Stumbling, gun up -- Bursts through a thicket into a clearing -- BACK WHERE HE LEFT THE PREDATOR But no Predator. Just a sea of blood. THE REMAINS OF TWO SOLDIERS; dressed like McKenna. Same camo face paint, jungle khakis. His men. McKenna spins, gun tracking. Sights down the barrel: BLACK OPS MERCS From the helicopter. Headed his way. No way out. McKenna looks to his team; shredded. EVISCERATED. Draws a shuddering breath... BOLTS. Deeper into the jungle -- leaving them behind, as over the scene, from everywhere and nowhere, a piercing SHRIEK -- An eerie PREDATOR WAR CRY, echoing... as we END SEQUENCE. CROSS FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BUSY CUBAN STREET (AGUJERO MIERDA) - DAY</stage_direction> <scene_description>Traffic. Choking fumes. Blaring Afro-Cuban JAZZ. THREE CUBAN POLICE OFFICERS push through the locals. Flashing an 8x10 PHOTOGRAPH. Chattering urgently. CLOSE ON PHOTO An Air Force Lieutenant in dress blues. Handsome. Clean-shaven. McKENNA. The COPS pass by an ALLEY, routinely peer inside -- Empty. DEAD END. Garbage cans, filth, dried urine. A CAT. No sign of McKenna. They move on. WE HOLD AS... The brindled CAT begins to ripple. To distort. GLASS-LIKE HUMAN CONTOURS appear, against the surrounding stucco. A CRACKLE of energy, like TV static, AS -- A MAN materializes before our eyes. Bedraggled, unshaven. Edgy. McKENNA. HE'S USING THE PREDATOR'S CLOAKING BALL.</scene_description> </scene> <scene> <stage_direction>INT. SLEAZY CANTINA - DAY (MOMENTS LATER)</stage_direction> <scene_description>AN UNSAVORY PATRON sits at a table, alone. A VOICE:</scene_description> <character>MCKENNA'S VOICE (O.S.)</character> <dialogue>Dominguez.</dialogue> <scene_description>McKenna "DE-CLOAKS," again using the Predator device. Seems to WALK OUT OF THE WALL. DOMINGUEZ, suitably terrified -- McKenna TOSSES A BOX onto the table: THUNK--!</scene_description> <character>MCKENNA (SUBTITLED)</character> <dialogue>This needs to get across the border. U.S.A. No molestar, comprende?</dialogue> <scene_description>McKenna sweeps side tattered DRAPES to reveal a squat, UGLY building. The U.S. CONSULATE.</scene_description> <character>MCKENNA (SUBTITLED)</character> <dialogue>Mail out of the consolate has immunity. Get it on the embassy truck.</dialogue> <scene_description>Dominguez eyes the parcel.</scene_description> <character>DOMINGUEZ (SUBTITLED)</character> <dialogue>I am very scared of the way you appeared to materialize out of the wall.</dialogue> <scene_description>McKenna plunks 12 thousand pesos on the table. In English:</scene_description> <character>MCKENNA</character> <dialogue>Do it. Or I'll find you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CANTINA - DAY</stage_direction> <scene_description>McKenna steps outside, affecting nonchalance -- The CLATTER of M4s being hefted and aimed at his HEAD. A SUITED MAN steps into view. Intense, calculating eyes. Clearly in charge. For the record? Agent TRAEGER, CIA.</scene_description> <character>TRAEGER</character> <dialogue>McKenna. You've been busy.</dialogue> <character>MCKENNA</character> <dialogue>Who the fuck are you?</dialogue> <scene_description>Traeger flashes his ID. Gestures to the police.</scene_description> <character>TRAEGER</character> <dialogue>My friends here'll escort you to the airfield. Got a DC-8 all gassed up and ready to go.</dialogue> <character>MCKENNA</character> <dialogue>Wow. Thanks, pal. Where to?</dialogue> <character>TRAEGER</character> <dialogue>Can't decide. Either Six Flags, or a remote secure prison.</dialogue> <character>MCKENNA</character> <dialogue>I don't like roller coasters.</dialogue> <character>TRAEGER</character> <dialogue>There it is, then.</dialogue> <scene_description>He FIRES from the hip. A DART embeds itself in McKenna. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN SCHOOL (GEORGIA) - ESTABLISHING - DAY</stage_direction> <scene_description>A proud sign:</scene_description> <character>LAWRENCE G. GORDON MIDDLE SCHOOL</character> <dialogue>"Home of The Warriors"</dialogue> <scene_description>HALLOWEEN HAUNT 10/25: WELCOME PARENTS &amp; STDS: CUT TO: A BLACK KNIGHT as it topples a WHITE PAWN on a chess board.</scene_description> </scene> <scene> <stage_direction>INT. SCIENCE CLASSROOM - DAY</stage_direction> <scene_description>The room's hushed. Respectful. Because at lunchtime, those tabletops with the sinks? They make way for THE CHESS CLUB. SIX or SEVEN games, in progress. The SCIENCE TEACHER eats his lunch at his desk, as... oh, yeah. We should probably mention THE AWKWARD KID Eating a sandwich with the crusts cut off as he wanders, scrutinizes every game, like a NASA scientist. This is RORY, 12. He doesn't know it yet, but he's going to save the world.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL BREEZEWAY - DAY</stage_direction> <scene_description>TWO BULLIES stand near a fire alarm, daring each other to pull it. Meet E.J. and DEREK. They will grow up, get bald, and attempt to sell you a car.</scene_description> </scene> <scene> <stage_direction>INT. SCIENCE CLASS - DAY</stage_direction> <scene_description>The alarm PEALS, deafening. EVERYONE's up like a shot, quickly SHUFFLING OUT of the room. Leaving: RORY, who -- nobody notices -- is curled up in a FETAL BALL; fingers in his ears, eyes squeezed shut, the alarm like fingernails on a chalkboard to him. E.J. AND DEREK appear at the door... Spot Rory, who flinches; a deer in headlights. The bullies move in for the kill...</scene_description> <character>DEREK</character> <dialogue>Hey, E.J., you hungry?!</dialogue> <character>E.J.</character> <dialogue>Hell, yeah! You know what I'm hungry for? An ASS BURGER!</dialogue> <scene_description>He KICKS Rory. The nick-name confirms our suspicions: the awkward kid is awkward for a reason: the autism spectrum.</scene_description> <character>DEREK</character> <dialogue>Mm, that sounds delicious! A big, juicy ASS BURGER.</dialogue> <scene_description>Derek gets his kick in. They're about to unleash more when -- the alarm STOPS. Sudden, unnerving quiet. Time running out, E.J. and Derek look around for one last indignity. They settle for this: KNOCKING OVER ALL THE CHESS PIECES. Every game ruined. He and Derek trade a LAUGHING high-five, and they're GONE. For a quiet, electric moment, Rory is alone in the room. His eyes flicker across the chess boards: mental inventory. Beat. Then -- he SCRAMBLES INTO ACTION. It takes a moment to register what he's doing. Another to believe it. He puts back every chess piece on every board exactly as they were before the fire alarm... The Chess Club members filter in and return to their games, none the wiser. OFF Rory, beaming silently -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBS - DAY</stage_direction> <scene_description>Heading home. Rory LOPES along, talking to himself. Suddenly: a strident BARKING from behind a picket fence, where: A PIT BULL GROWLS and SNAPS from between the posts. Rory freaks; gives the dog a wide berth, clearly terrified.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - RORY'S HOUSE - DAY</stage_direction> <scene_description>The sound of a KEY IN A LOCK, then Rory comes through the back door. Replaces the key under the porch mat. A STAIN -- ON THE KITCHEN WALL Briefly makes him FIXATE. Seepage. A WATER SPOT. He grabs a paper towel, delicately blots away the run-off -- goes to the refrigerator. On which, a hand-written note: SPENT 1.5 HRS CLEANING HOUSE. IF YOU MESS IT UP, I WILL CUT YOU. XOXO MOM A doorbell RINGS off-screen, and --</scene_description> </scene> <scene> <stage_direction>INT. FOYER - SAME</stage_direction> <scene_description>Rory opens the door, is greeted by a POSTAL WORKER.</scene_description> <character>POSTAL WORKER</character> <dialogue>Quinn McKenna live here?</dialogue> <scene_description>Rory blinks, not sure what to say.</scene_description> <character>POSTAL WORKER</character> <dialogue>Didn't mean to stump you. How's this: is Quinn McKenna your mom, or your dad?</dialogue> <character>RORY</character> <parenthetical>(nods)</parenthetical> <dialogue>Dad.</dialogue> <character>POSTAL WORKER</character> <dialogue>Now we're gettin' somewhere.</dialogue> <scene_description>He upends a handcart -- dumps a big stack of LETTERS AND BOXES onto the porch.</scene_description> <character>POSTAL WORKER</character> <dialogue>His P.O. box payments are past due. I'm real sorry.</dialogue> <scene_description>He starts away. Hesitates.</scene_description> <character>POSTAL WORKER</character> <dialogue>Guess he's not around much, huh?</dialogue> <scene_description>Rory nods. Awkward. The postman frowns:</scene_description> <character>POSTAL WORKER</character> <dialogue>Lotta D.C. post marks. Government work?</dialogue> <character>RORY</character> <dialogue>MOS 11B3VW3.</dialogue> <scene_description>The postman, confused.</scene_description> <character>RORY</character> <dialogue>Military designation.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He kills people.</dialogue> <scene_description>The postman decides he's done here. Rory watches him go, as we PAN the huge stack of mail, so that WE SEE: McKENNA'S PARCEL FROM CUBA. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DOG PARK NEAR U.C. BERKELEY - DAY</stage_direction> <scene_description>CASEY BRACKETT, 27, sits on a bench, red penciling papers. LEASHES dangle from one arm... a dog BARKS CRAZILY O.S.</scene_description> <character>CASEY</character> <parenthetical>(to unseen dog)</parenthetical> <dialogue>Summer! Stop that! That's not yours, does it look like it's yours?</dialogue> <scene_description>A JOGGER with a dog runs by; eyes Casey. Perhaps "ogles" would be more apt. He backtracks. Jogs in place beside her, catching his breath.</scene_description> <character>JOGGER</character> <dialogue>How's it goin'?</dialogue> <scene_description>He huffs, as though having just pushed a boulder uphill. Elaborately towels his neck. A curt DOG-YELP, off-screen --</scene_description> <character>CASEY</character> <parenthetical>(to unseen dog)</parenthetical> <dialogue>Teddy! Knock it off, you can see she doesn't like that!</dialogue> <scene_description>The jogger, persistent. Extends his hand:</scene_description> <character>JOGGER</character> <dialogue>Seen you around here. Doug Amaturo.</dialogue> <scene_description>He conspicuously scritches the ears of his designer DOG --</scene_description> <character>JOGGER</character> <dialogue>This is Barkolepsy. She has a... sleeping thing. She's a lab--</dialogue> <character>CASEY</character> <dialogue>-- Labradoodle. Hypoallergenic cross between a poodle and a labrador.</dialogue> <scene_description>Casey STANDS, starts to walk. Persistant Guy, following --</scene_description> <character>JOGGER</character> <parenthetical>(impressed)</parenthetical> <dialogue>Right. That's right. Are you a breeder?</dialogue> <character>CASEY</character> <dialogue>Science professor. Berkeley.</dialogue> <character>JOGGER</character> <dialogue>What do you teach?</dialogue> <character>CASEY</character> <dialogue>Evolutionary biology. The science of how creatures change, adapt.</dialogue> <character>JOGGER</character> <dialogue>You mean, like... how a man changes when he meets an attractive woman?</dialogue> <scene_description>Casey grins sourly.</scene_description> <character>CASEY</character> <dialogue>More like -- survival of the fittest.</dialogue> <character>JOGGER</character> <dialogue>You believe in that stuff?</dialogue> <character>CASEY</character> <dialogue>You mean science? Yeah. Yes, I</dialogue> <scene_description>do. (beat) It's funny, Darwin thought it was about strength, agility, intelligence... These days, you just have to be a rich, fat white guy.</scene_description> <character>JOGGER</character> <dialogue>I... what?</dialogue> <character>CASEY</character> <dialogue>Drop a CEO into the Serengeti. Only question -- what color animal shits him out. My vote? Reddish-tan.</dialogue> <scene_description>The Jogger: Gulp. He nods slowly.</scene_description> <character>JOGGER</character> <dialogue>Um, I don't wanna hold you up so...</dialogue> <scene_description>He BOLTS. Casey reaches in her jacket, fishes out a silver FLASK -- swigs -- A kindly OLD LADY looks up, says:</scene_description> <character>OLD LADY</character> <dialogue>I couldn't help overhearing. Can I ask you something, professor?</dialogue> <character>CASEY</character> <dialogue>Please.</dialogue> <character>OLD LADY</character> <dialogue>What do your students call you?</dialogue> <character>CASEY</character> <dialogue>"Professor," mostly.</dialogue> <character>OLD LADY</character> <parenthetical>(smiles sweetly)</parenthetical> <dialogue>Maybe they should call you Sunshine.</dialogue> <scene_description>A VOICE interrupts:</scene_description> <character>VOICE</character> <dialogue>Doctor Brackett?</dialogue> <scene_description>Casey turns -- THREE CIA AGENTS stand there. A SEDAN with government plates idles ominously behind them. The lead agent is CHURCH, 30s.</scene_description> <character>AGENT CHURCH</character> <dialogue>I understand you enjoy star gazing.</dialogue> <scene_description>Casey blinks. WTF? THEN we get it: some kind of CODE.</scene_description> <character>AGENT CHURCH</character> <dialogue>My men will take care of your dogs. Would you come with me, please?</dialogue> <scene_description>OFF Casey, rattled. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GOVERNMENT SEDAN - SAME</stage_direction> <scene_description>Casey and the CIA man climb into the back. As the driver pulls out, she looks out the back -- at her dogs.</scene_description> <character>AGENT CHURCH</character> <dialogue>Dog person, huh?</dialogue> <character>CASEY</character> <dialogue>Hey, they don't judge you, they don't lie. People have hidden agendas. Animals just love you, or-- tear your throat out. I kinda have to respect that.</dialogue> <scene_description>Church hands her a file folder.</scene_description> <character>AGENT CHURCH</character> <dialogue>How are you with higher forms of life?</dialogue> <character>CASEY</character> <dialogue>I wasn't aware there were any.</dialogue> <scene_description>As she opens the file, he shines a pen light to illuminate the TOP SHEET:</scene_description> <character>CLASSIFIED: PROJECT STARGAZER</character> <dialogue>The letterhead? A familiar eagle-and-shield insignia: CIA. The page has been stamped TOP SECRET:</dialogue> <character>MEMORANDUM FOR CLEARED PERSONNEL</character> <dialogue>SUBJECT: Class 4 Incursion -- Cayo Muerta, Cuba</dialogue> <scene_description>Casey frowns. Glances at the agent. Is this a joke? She speed-reads the next page. A BRIEF on the discovery of the ESCAPE POD in the jungle. Then -- 8X10 PHOTOS: The debris field; the charred escape pod. Next -- McKENNA's MILITARY PORTRAIT -- the one Traeger was showing the locals in Cuba. She flips to THE LAST PHOTO; draws a sharp breath. SATELLITE PHOTO: Through trees, vines... a figure. Blurry. Indistinct. It's a photograph of THE PREDATOR. As we PRE-LAP A CLAP OF THUNDER -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CORPUS CHRISTIE V.A. - NIGHT</stage_direction> <scene_description>Lightning dances across the Texas plains as the clouds open. SUPER: VETERAN'S ADMINISTRATION</scene_description> <character>CORPUS CHRISTIE, TEXAS</character> <dialogue>V.A. PSYCHIATRIST (OVER)</dialogue> <scene_description>So, you're denying what you said about some "thing" in the jungle?</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - NIGHT</stage_direction> <scene_description>MCKENNA sits in a plastic chair at a table, the rain beating on a skylight high above. He's wearing an orange jumpsuit.</scene_description> <character>MCKENNA</character> <dialogue>I thought this was a psych eval.</dialogue> <scene_description>The V.A. PSYCHOLOGIST stands by, watching a MED TECH attach two pnuemo-tubes around McKenna's chest.</scene_description> <character>V.A. PSYCH</character> <dialogue>That's right.</dialogue> <character>MCKENNA</character> <dialogue>So why the polygraph?</dialogue> <scene_description>The Med Tech attaches finger pads and a blood pressure cuff.</scene_description> <character>V.A. PSYCH</character> <dialogue>It's common with high risk civil servants. We need to know if you pose a threat.</dialogue> <character>MCKENNA</character> <dialogue>I'm an assassin. Figured posing a threat was kind of the fucking point.</dialogue> <character>V.A.</character> <dialogue>PSYCH (smiles)</dialogue> <scene_description>I meant to the general public.</scene_description> <character>V.A. PSYCH</character> <dialogue>OR yourself. You've been... struggling with PTSD, it's in your file.</dialogue> <scene_description>McKenna exhales. NOW he gets it.</scene_description> <character>MCKENNA</character> <dialogue>I get it. You're not here to find out if I'm crazy -- you're here to make sure the label sticks.</dialogue> <character>V.A. PSYCH</character> <dialogue>You think you're being railroaded?</dialogue> <character>MCKENNA</character> <dialogue>I can see the tracks on the floor.</dialogue> <scene_description>Off the Psych's sudden raised eyebrow:</scene_description> <character>MCKENNA</character> <dialogue>I don't really see tracks on the floor. Relax.</dialogue> <scene_description>The Psych nods:</scene_description> <character>V.A. PSYCH</character> <dialogue>But you do see a vast... cover-up.</dialogue> <scene_description>The psychologist switches on the polygraph machine. A laptop GLOWS with a graph of McKenna's vitals. Game on.</scene_description> <character>V.A. PSYCH</character> <dialogue>Tell me about Cayo Muerto, Cuba.</dialogue> <character>MCKENNA</character> <dialogue>People died. I saw something I wasn't supposed to. Pretty simple.</dialogue> <scene_description>The psychologist looks at the polygraph. Barely a flicker. All graphs straight as arrows.</scene_description> <character>MCKENNA</character> <dialogue>You're gonna have to do better'n that, doc. I was tortured for 48 hours in Kandahar.</dialogue> <character>V.A. PSYCH</character> <dialogue>You think I'm the enemy, don't you, Lieutenant?</dialogue> <character>MCKENNA</character> <dialogue>I think you want me to say something crazy, so you can lock me in a room and throw away the room. That's what I think.</dialogue> <character>V.A. PSYCH</character> <dialogue>Maybe some time in a quiet room would do you some good.</dialogue> <character>MCKENNA</character> <dialogue>You know what would do me some good? Knowing who -- or WHAT -- killed my men. And what that thing in the jungle was. AND why the fuck a Black Ops helicopter conveniently showed up out of nowhere to make sure there weren't any witnesses.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Knowing all that shit? THAT--? That would do me some good.</dialogue> <scene_description>The Doc looks at the polygraph screen. NOW some flickers.</scene_description> <character>PSYCH SPECIALIST</character> <dialogue>Let's talk about Kandahar.</dialogue> <scene_description>Oh, shit. A SPIKE on the graph.</scene_description> <character>MCKENNA</character> <dialogue>Oooh, BIG spike. You got me now.</dialogue> <character>PSYCH SPECIALIST</character> <dialogue>You were pinned down. You lost a friend. You got captured, interrogated. Forget the details, but since then--? You spend most of your time in country... estranged from your wife and son because you don't feel like -- well, you deserve a normal life. You feel like a... stranger on your own planet, don't you, Lieutenant?</dialogue> <character>MCKENNA</character> <parenthetical>(huge)</parenthetical> <dialogue>An alien, you mean?</dialogue> <scene_description>The molecules in the air stop moving.</scene_description> <character>MCKENNA</character> <dialogue>Like the one in the jungle, right?</dialogue> <scene_description>His eyes gleam. A sick grin. Goading.</scene_description> <character>MCKENNA</character> <dialogue>Is that good? Is that what you wanted? Do I get a cookie now?</dialogue> <scene_description>ON THE POLYGRAPH MONITOR All graphs SPIKING spastically. If he was fighting the appearance of being crazy... he's failed.</scene_description> <character>MCKENNA</character> <dialogue>I think we're done here.</dialogue> <character>V.A. PSYCH</character> <dialogue>As do I.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CORPUS CHRISTIE V.A. - NIGHT</stage_direction> <scene_description>Something like a prison bus idles in front of the administration building, as STAFF escort McKenna into --</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING - NIGHT</stage_direction> <scene_description>McKenna DROPS into a seat. The bus jerks forward, RAIN SPATTERING the windows. While, in the darkness... SEVEN MEN in prison scrubs; eyes that have seen shit that would turn your hair white. McKenna notes a hulking form manacled beside him. Also in his 30s, with a comma of dark hair and a scar across one eye. Meet NEBRASKA WILLIAMS. He notices McKenna's gaze.</scene_description> <character>WILLIAMS</character> <dialogue>Got a smoke?</dialogue> <character>MCKENNA</character> <dialogue>Pretty sure they don't allow that on the bus.</dialogue> <character>WILLIAMS</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Can't blame a guy for trying.</dialogue> <scene_description>After a pause:</scene_description> <character>MCKENNA</character> <dialogue>I'm McKenna. You?</dialogue> <character>WILLIAMS</character> <dialogue>Nebraska.</dialogue> <character>MCKENNA</character> <dialogue>Is that your real name?</dialogue> <character>WILLIAMS</character> <dialogue>Name's Gaylord.</dialogue> <character>MCKENNA</character> <dialogue>Good call.</dialogue> <scene_description>McKenna looks out the window thoughtfully.</scene_description> <character>MCKENNA</character> <dialogue>How'd you snag a ticket on this shitmobile, anyway?</dialogue> <character>WILLIAMS</character> <parenthetical>(impassive)</parenthetical> <dialogue>Killed my C.O.</dialogue> <scene_description>This gives McKenna pause. For servicemen, this is not small potatoes.</scene_description> <character>MCKENNA</character> <dialogue>Any particular reason?</dialogue> <character>WILLIAMS</character> <parenthetical>(another shrug)</parenthetical> <dialogue>Guy was an asshole.</dialogue> <scene_description>McKenna sits very still. The bus drives on. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - ABANDONED MILITARY BASE - NIGHT</stage_direction> <scene_description>Desolate. Windswept. A small cluster of squat buildings guarded by razor wire and 'NO TRESPASSING' signs. AN HH-60 PAVE HAWK APPEARS And SETS DOWN, dust swirling. TWO SECURITY MERCS jump out, assist CASEY from the open hatch. (NOTE: "Project: Stargazer" is guarded by Private CIA- HIRE MERCENARIES like the ones McKenna saw in Cuba. They are NOT U.S. MILITARY SERVICEMEN. The short version? Stargazer = BAD GUYS; U.S. Military = GOOD GUYS.) A GATE CLATTERS OPEN -- REVEALS a small, square structure. The size of a one-car garage. A MERC goes to the code box as Church hands her a clipboard:</scene_description> <character>AGENT CHURCH</character> <dialogue>Non-disclosure agreement.</dialogue> <character>CASEY</character> <dialogue>I signed that when they recruited me, two years ago.</dialogue> <character>AGENT CHURCH</character> <dialogue>It's a rider. New information's come to light in the last forty- eight hours.</dialogue> <scene_description>Reluctantly, she signs the NDA; is gestured forward. Church remains behind -- conspicuously. He doesn't have clearance. The code box emits a hollow CLICK! and BLAST DOORS SLIDE OPEN, TO REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. SECURITY CHECKPOINT - CONTINUOUS</stage_direction> <scene_description>Small, compact room. A TECHNICIAN stands at a work station. Scanners; cameras; printers. On the wall: A BIG RED BUTTON. QUICK CUTS - I.D. MONTAGE as the TECHNICIAN scans Casey's RETINAS -- her HAND PRINTS -- A BAR CODE prints out -- then Casey is stood against a bare wall, and off a digital camera FLASH-- A LAMINATED PHOTO ID BADGE Now hangs around her neck. She looks up, awkward. Now what? The Technician turns to the big red button; SLAMS IT -- THE WHOLE ROOM SHUDDERS and we hear a WHINE from all around us because... THE ROOM IS AN ELEVATOR. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PROJECT STARGAZER</stage_direction> <scene_description>The elevator door slides OPEN TO REVEAL... A VAST UNDERGROUND COMPLEX. TECHNICIANS bustle to and fro, including (as Casey duly notes) some with lab coats and scrubs. Casey is drawn into a small VIEWING ROOM Like an operating theater, looking down through raked glass into the MAIN LAB. She sees MED TECHS IN BIOHAZARD SUITS around a custom-built table with stirrups and monitors. Take a breath now -- Because there, strapped to the table, is something she's waited her whole life to see: an actual, living, extra- terrestrial life form. In this case--? A CAPTURED, UNCONSCIOUS PREDATOR. An involuntary gasp from Casey, as we see in her eyes: her world has changed.</scene_description> <character>O.S. VOICE (COLWELL)</character> <dialogue>Ma'am.</dialogue> <scene_description>She SPINS, almost jumps out of her skin. A bespectacled man in the doorway behind her: DOCTOR SEAN COLWELL.</scene_description> <character>COLWELL</character> <dialogue>Didn't mean to startle you. I'm Doctor Colwell.</dialogue> <scene_description>He enters, shakes her hand.</scene_description> <character>COLWELL</character> <dialogue>I'm told you pretty much wrote the book on evolutionary biology.</dialogue> <scene_description>Casey's still rattled by the sight of the Predator.</scene_description> <character>CASEY</character> <dialogue>Four, actually.</dialogue> <parenthetical>(sheepish)</parenthetical> <dialogue>Um... books...</dialogue> <character>COLWELL</character> <dialogue>So you know your stuff. How'd they rope you into this..?</dialogue> <scene_description>She looks back into the lab below. Pensive.</scene_description> <character>CASEY</character> <dialogue>I wrote a letter when I was six. Said I loved animals and... if NASA ever found a space animal, they should call me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Couple years ago, they put me on a short list because of a paper I wrote on hybrid strains. A computer had cross-referenced my letter.</dialogue> <character>COLWELL</character> <parenthetical>(smiles)</parenthetical> <dialogue>NASA still had it, huh?</dialogue> <scene_description>Casey shakes her head.</scene_description> <character>COLWELL</character> <dialogue>(CONT'D) The Oval Office.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I wrote the letter to Clinton. He thought it was cute so it's been in there ever since.</dialogue> <scene_description>IN THE LAB BELOW TRAEGER (the CIA man we met in Cuba) squints up through the glass of the viewing booth. Keys an intercom button:</scene_description> <character>TRAEGER</character> <parenthetical>(on intercom)</parenthetical> <dialogue>Doctor Brackett..?</dialogue> <scene_description>She nods, tentative. He gestures.</scene_description> <character>TRAEGER</character> <dialogue>Would you like to meet the Predator?</dialogue> <scene_description>TIME-CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DECON CHAMBER</stage_direction> <scene_description>White. Sterile. Casey and Colwell enter through an airlock hatch. It SEALS SHUT with a HISS, air-tight.</scene_description> <character>PRE-RECORDED VOICE</character> <dialogue>Chamber secure. Remove garments.</dialogue> <character>CASEY</character> <parenthetical>(to VOICE)</parenthetical> <dialogue>You're not gonna buy me a drink first?</dialogue> <scene_description>She and Colwell start to strip, separated by a partition. SERIES OF CUTS -- DECON CASEY, NAKED in a new chamber -- the room flares WHITE HOT. BURNS OFF her outer layer of skin -- then:</scene_description> <character>PRE-RECORDED VOICE</character> <dialogue>Protocol complete.</dialogue> <scene_description>She dons a HAZMAT SUIT, all business. Dismissive of her nudity. She knows she can halt traffic, doesn't much care. Colwell appears beside her, also in HazMat. Goes to the door. Presses his eye and hand to scanners:</scene_description> <character>COLWELL</character> <dialogue>Colwell, Sean H.</dialogue> <scene_description>The LAST HATCH SHUSHES OPEN, and Colwell leads the way into:</scene_description> </scene> <scene> <stage_direction>INT. MAIN LAB - CONTINUOUS</stage_direction> <scene_description>Traeger approaches her, hand extended:</scene_description> <character>TRAEGER</character> <dialogue>Thanks for coming. I'm sure -</dialogue> <scene_description>- (an understatement) -- you have questions.</scene_description> <character>CASEY</character> <dialogue>Two, actually.</dialogue> <scene_description>She nods to the dormant Predator.</scene_description> <character>CASEY</character> <dialogue>Why do you call it "the Predator"?</dialogue> <character>TRAEGER</character> <dialogue>Just a nick-name. The data suggests it tracks its prey, seems to... well, enjoy it. Like a game.</dialogue> <character>CASEY</character> <dialogue>That's a hunter.</dialogue> <character>TRAEGER</character> <dialogue>I'm sorry?</dialogue> <character>CASEY</character> <dialogue>That's a hunter. Not a predator. Predators kill for food, to survive. There's only one animal on earth that hunts for sport.</dialogue> <scene_description>Traeger tries not to roll his eyes; "liberal." Casey paces beside the Predator. Regards its mandibled features with something akin to wonder. Whispers:</scene_description> <character>CASEY</character> <dialogue>(CONT'D) You... are one beautiful motherfucker.</dialogue> <character>TRAEGER</character> <dialogue>I'm going to assume your second question is: why are you here?</dialogue> <scene_description>An ironic grin from Casey. "Bingo."</scene_description> <character>TRAEGER</character> <dialogue>Our test results yielded something a little... odd. We were wondering if maybe you could shed some light on it.</dialogue> <scene_description>He nods to COLWELL, who produces a TABLET. He shows Casey a read-out. She studies it for a second... then blanches.</scene_description> <character>CASEY</character> <dialogue>Is this a joke?</dialogue> <character>COLWELL</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>We ran the genome sequence ten times. This specimen has --</dialogue> <character>CASEY</character> <dialogue>-- human DNA.</dialogue> <scene_description>She looks at them, baffled. How is that possible?</scene_description> <character>TRAEGER</character> <dialogue>We know about spontaneous speciation. Mostly plants and insects, but --</dialogue> <character>COLWELL</character> <dialogue>-- some mammals. Sheeps, goats. Red wolves are known to be a hybrid of coyotes and gray wolves.</dialogue> <character>TRAEGER</character> <dialogue>Exactly. Possibly some form of recombinant technology, or...</dialogue> <character>CASEY</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Guys, I get</dialogue> <scene_description>it. (beat) You want to know if someone fucked a Predator.</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING - NIGHT</stage_direction> <scene_description>Trundling through the night; rain-lashed. ON MCKENNA, ASLEEP In the strobing dark; rain drums like GUNFIRE at the window. MEMORY FLASH: RUBBLE-STREWN STREET - KANDAHAR - DAY McKENNA, several years younger, in desert camo, flak, full battle rattle. He and his squad TAKING COVER, breathless. He glances at the SOLDIER next to him. Pale, trembling. Bleeding out from stray shrapnel. The soldier KEENS with pain, as -- urgent VOICES, close by. Speaking PASHTO. The wounded soldier MOANS loudly. Shit. He's going to give away their position. McKenna GRABS him; CLAMPS A HAND over his mouth as the TALIBAN SOLDIERS get closer -- And as the soldier BITES INTO MCKENNA'S HAND to distract himself from the overwhelming pain --</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING (BACK TO SCENE)</stage_direction> <scene_description>As McKENNA WAKES. No startle-awake bullshit -- simply comes to. Fully aware. His HAND, near his head... THE SCAR we saw in Cayo Muerte: prominent. Now we know how he got it. From the back of the bus, now, A VOICE:</scene_description> <character>COYLE</character> <dialogue>Hey, Baxley! Got a question for ya. How do you circumcise a homeless man?</dialogue> <scene_description>He's addressing a prisoner at the front, BAXLEY, whose eyes thin to slits. Clearly, these two have a history.</scene_description> <character>COYLE</character> <dialogue>Kick your mom in the chin!</dialogue> <scene_description>One of the MPs at the front weighs in:</scene_description> <character>MP ON BUS</character> <dialogue>Shut the fuck up back there!</dialogue> <scene_description>McKenna eyes his measly protein bar. Says to Williams:</scene_description> <character>MCKENNA</character> <dialogue>Dinner and a show. Great.</dialogue> <parenthetical>(indicates stoic BAXLEY)</parenthetical> <dialogue>He just sits there.</dialogue> <character>WILLIAMS</character> <dialogue>He'll kill him one of these days.</dialogue> <character>MCKENNA</character> <dialogue>What's stopping him?</dialogue> <character>WILLIAMS</character> <dialogue>He likes the jokes.</dialogue> <scene_description>McKenna looks to a THIRD prisoner, talking to himself nervously, Tourette's: FLYBOY.</scene_description> <character>WILLIAMS</character> <dialogue>That's Flyboy. Three tours piloting Hueys. Now he gets jumpy when he's not in the air.</dialogue> <scene_description>McKenna nods to an older Vet -- NETTLES.</scene_description> <character>WILLIAMS</character> <dialogue>Nettles. Ordnance man. They gave him a medal for blowing up half a mountain in Mosul.</dialogue> <character>MCKENNA</character> <dialogue>Why's he here?</dialogue> <character>WILLIAMS</character> <dialogue>Blew up the other half,</dialogue> <scene_description>too. (beat) Everyone's got a story. What's yours?</scene_description> <character>MCKENNA</character> <dialogue>You wouldn't believe me.</dialogue> <character>WILLIAMS</character> <dialogue>This is the batshit bus. Try me.</dialogue> <scene_description>McKenna shrugs.</scene_description> <character>MCKENNA</character> <dialogue>All right.</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>I had a run-in with a space alien. They want to put a lid on it, so... here I am.</dialogue> <scene_description>Williams looks out the window, shaking his head. Tsk tsk.</scene_description> <character>WILLIAMS</character> <dialogue>Goddamn space aliens.</dialogue> </scene> <scene> <stage_direction>INT. MAIN LAB (PROJECT STARGAZER) - AS BEFORE</stage_direction> <scene_description>CASEY, examining the dormant Predator. Shines a penlight -- checks pupil dilation.</scene_description> <character>CASEY</character> <dialogue>You ran iris biometrics?</dialogue> <scene_description>A nearby MED TECH nods. Casey turns to Traeger.</scene_description> <character>CASEY</character> <dialogue>Do you have the file they gave me? The incident in Cayo Muerto..?</dialogue> <scene_description>Traeger nods to the med tech. The file is quickly produced and Casey FLIPS to the blurry photo of the Predator. Points:</scene_description> <character>CASEY</character> <dialogue>In this photo, it's wearing some kind of... atmosphere mask, a biohelmet.</dialogue> <character>TRAEGER</character> <dialogue>We looked, believe me.</dialogue> <scene_description>She notices something else:</scene_description> <character>CASEY</character> <dialogue>And look at the wrist computer. Something's missing.</dialogue> <scene_description>Sure enough, the Predator's wrist computer is OPEN -- an empty slot where the KUJHAD should be. She looks at Traeger:</scene_description> <character>CASEY</character> <dialogue>Where are they?</dialogue> <scene_description>Traeger and Colwell trade uneasy glances. After a beat, Casey re-opens the file. FLIPS to the photo of... McKENNA.</scene_description> <character>CASEY</character> <dialogue>Is this the man who made first contact?</dialogue> <parenthetical>(Colwell nods)</parenthetical> <dialogue>I'd like to talk to him.</dialogue> <character>COLWELL</character> <dialogue>He's en route to lockdown in a military psych ward.</dialogue> <character>CASEY</character> <dialogue>Well, if you're going to lobotomize him, can I ask him some questions first?</dialogue> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING - NIGHT</stage_direction> <scene_description>ONE OF THE MPS responds to a SQUAWK from his radio. SPEAKS ("Go ahead"). As he listens, his eyes drift to McKenna --</scene_description> <character>MP ON BUS</character> <dialogue>Read you five-by-five. Out.</dialogue> </scene> <scene> <stage_direction>EXT. RAIN-SWEPT HIGHWAY - NIGHT</stage_direction> <scene_description>Gears GRIND. The bus steers to a HALT, sloshing water... promptly executes a ponderous and awkward U-TURN. THROUGH GLASS: we push in on McKENNA, confused... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. RORY'S HOUSE (GEORGIA) - NIGHT</stage_direction> <scene_description>Neighborhood SOUNDS: THRUM of cicadas, bad TV, distant sirens. A dinged Subaru Outback pulls into the driveway.</scene_description> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Rory's mom, EMILY -- pretty, 30s, beleaguered -- comes through the back door into the kitchen, arms weighted down by shopping bags. She CALLS OUT:</scene_description> <character>EMILY</character> <dialogue>Rory? I'm home! I got you something! Rory -- ?</dialogue> <scene_description>RORY APPEARS -- Mom gives him a quick kiss. She sees a stack of LANGUAGE BOOKS on the counter: French, German, Swedish.</scene_description> <character>EMILY</character> <dialogue>You did one of these after school?</dialogue> <character>RORY</character> <dialogue>I did all of them after school.</dialogue> <scene_description>She smiles, fumbles with a bag from Target.</scene_description> <character>EMILY</character> <dialogue>So look. I got you two options...</dialogue> <scene_description>She pulls out TWO BOXED HALLOWEEN COSTUMES -- Like those Ben Cooper specials from yesteryear. In this case..?</scene_description> <character>EMILY</character> <dialogue>Pirate..? Or Frankenstein..?</dialogue> <scene_description>She holds up each with equal gusto; he regards her blankly:</scene_description> <character>RORY</character> <dialogue>What's Frankenstein?</dialogue> <character>EMILY</character> <dialogue>You know -- Frankenstein. Mad doctor made him out of dead people? Bolts on his neck? Walks around?</dialogue> <character>RORY</character> <dialogue>Like "Walking Dead"?</dialogue> <character>EMILY</character> <dialogue>No, Frankenst... Green skin? He met Wolfman?</dialogue> <scene_description>Rory looks at her like she grew a tail. Exasperated, she holds up the OTHER BOX as if her son just won a prize.</scene_description> <character>EMILY</character> <dialogue>Let's go with PIRATE -- !!</dialogue> <scene_description>But he's not really buying any of it. He takes the mask out of the box, reluctantly puts it on. RORY'S POV: The sound of his BREATHING as, through the eye holes, WE SEE: THAT WATER SPOT -- the one on the kitchen WALL, as MEMORY FLASH: Rory, a mere BABE in his mother's arms as McKENNA drives a FIST through the SPOT, for reasons long forgotten, and -- BACK TO PRESENT It's been plastered over; yet the ghost of McKenna's rage continues to ooze out... Rory puts the pirate mask down:</scene_description> <character>RORY</character> <dialogue>It's too small. The guys'll... you know.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>They'll still be able to tell.</dialogue> <character>RORY'S MOM</character> <dialogue>Tell what?</dialogue> <character>RORY</character> <dialogue>That it's me.</dialogue> <parenthetical>(sets the box down)</parenthetical> <dialogue>No big deal. Dad's always telling me to be a big boy.</dialogue> <scene_description>He starts out of the room.</scene_description> <character>EMILY</character> <dialogue>I love you, peanut.</dialogue> <character>RORY</character> <dialogue>(half-hearted; in Swedish) Jag älskar dig.</dialogue> <scene_description>His mom looks after him, blinking back tears.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>Rory comes down the steps to his LAIR: recycled PCs, saved from dumpsters. Multiple ON-LINE GAMES glow. A hanging sign reads: "CONTROL AREA." Rory sits, fingers blurring as he speed runs through two games simultaneously. But gradually... his distraction wins. He turns to look at his work table, ON WHICH RESIDES: THE PARCEL FROM CUBA. He sucks in a sharp breath. Goes to it... and TEARS IT OPEN like a Christmas present. Reaches in, and removes... Holy shit -- THE BATTLE-SCARRED PREDATOR BIOHELMET. The iconic WAR MASK from five separate films. It DWARFS this suburban boy's delicate hands. He examines it. Sets it aside, reaches for the next prize: THE KUJHAD; the data-storage device. It GLISTENS in his grasp. He hefts it like a light-sabre. Then -- Curiously, hesitantly, presses a button on the device. Nothing. Emboldened, he presses another. And another. And anoth -- BLEEP--! Oooh, shit. A DISPLAY BLINKS ON; GLOWING RED symbols scrolling in cryptic patterns. Rory's eyes widen as we -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OUTER SPACE</stage_direction> <scene_description>Cold. Silent. OUR OPENING SHOT all over again, as... A LOOMING SPACECRAFT enters frame. Bulbous. Cockroach- shaped. We've seen it before: THE PREDATOR MOTHER SHIP from our opening; docking gantry below still scarred and shredded from where THE ARK detached.</scene_description> </scene> <scene> <stage_direction>INT. PREDATOR SHIP - SAME</stage_direction> <scene_description>Quick, tantalizing glimpses of this new, different PREDATOR. We still don't see him fully. Not yet. As we will come to learn: this is AN UPGRADE. It taps a control pad -- and a DISPLAY APPEARS, similar to Rory's. Speaking of whom:</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - RORY</stage_direction> <scene_description>SCRIBBLES the symbols from the Kujhad on a PeeChee folder. Glances up -- The symbols CHANGE. Blip-! Just like that, a new sequence. Rory scrunches up his face. Huh. Have you ever seen someone "do math" by using their fingers to create invisible equations in the air? Well, that's what Rory does now, except... THE SYMBOLS HE WROTE LIFT off the paper, SUPERIMPOSED for us to see. He does some mental calculations, and -- The symbols RE-ARRANGE. (NOTE: This is NOT REAL. It depicts Rory's mental process. We are literally watching him translate Predator language.) He TAPS BUTTONS, causing the display to CHANGE BACK, and --</scene_description> </scene> <scene> <stage_direction>INT. PREDATOR SHIP - THAT MOMENT</stage_direction> <scene_description>THE UPGRADE REACTS as his READ-OUT CHANGES, too. A glitch? He taps the controls, REVERTING it to its previous version --</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - RORY</stage_direction> <scene_description>sees the DISPLAY CHANGE again -- and OVERRIDES IT exactly as he did before. "Take that!" And we realize -- Our kid is REMOTELY FUTZING AN INCOMING PREDATOR SPACECRAFT!</scene_description> </scene> <scene> <stage_direction>INT. PREDATOR SHIP</stage_direction> <scene_description>The Upgrade, all business. SLAMS IN A CODE, and</scene_description> </scene> <scene> <stage_direction>-- EXT. STRATOSPHERE - THE PREDATOR SHIP</stage_direction> <scene_description>With shimmering spasms, its STEALTH CAPABILITY is engaged and the ship literally VANISHES--!</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - ON RORY</stage_direction> <scene_description>Grinning at the new code sequence. It's a GAME! Gleefully, he punches in the same sequence, only IN REVERSE, and --</scene_description> </scene> <scene> <stage_direction>EXT. STRATOSPHERE</stage_direction> <scene_description>The transparent Predator Mother Ship BECOMES VISIBLE AGAIN--!</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - ON RORY</stage_direction> <scene_description>A VOICE from upstairs breaks the moment:</scene_description> <character>EMILY (O.S.)</character> <dialogue>You okay down there, kiddo?</dialogue> <scene_description>Rory freezes, tries to sound like everything's normal.</scene_description> <character>RORY</character> <dialogue>Just playing games, mom!</dialogue> <character>EMILY (O.S.)</character> <dialogue>Love you!</dialogue> <character>RORY</character> <dialogue>Oui, J'aime ma mère!</dialogue> <scene_description>CUT TO: CLOSE ON A TRACKING MONITOR as a BLIP APPEARS. Then vanishes. Then RE-APPEARS.</scene_description> </scene> <scene> <stage_direction>INT. SATELLITE TRACKING STATION - NIGHT</stage_direction> <scene_description>A TECH SERGEANT in army khaki watches the blip on his scope. SUPER: KAENA POINT TRACKING STATION -- OAHU, HAWAII The analyst FLAGS his SUPERVISOR.</scene_description> <character>TRACKING ANALYST</character> <dialogue>Sir?</dialogue> <scene_description>His uniformed SUPERVISOR walks over.</scene_description> <character>TRACKING SUPERVISOR</character> <dialogue>Whatcha got, sergeant?</dialogue> <character>TRACKING ANALYST</character> <dialogue>Weird-ass bogey, sir. What do you make of it?</dialogue> <scene_description>They watch as the blip VANISHES and RE-APPEARS sporadically. OTHER TECHS look on curiously. The supervisor frowns.</scene_description> <character>TRACKING SUPERVISOR</character> <dialogue>Get me NORAD.</dialogue> </scene> <scene> <stage_direction>INT. MAIN LAB (PROJECT STARGAZER) - AS BEFORE</stage_direction> <scene_description>CASEY, bent over an electron microscope. Intent. Examining the Predator's blood. Traeger, over her shoulder -- She rises from the microscope, sees a blood centrifuge nearby, a test tube rack just above it. In the rack is: A SINGLE VIAL of membranous yellow substance. She frowns:</scene_description> <character>CASEY</character> <dialogue>Wait a minute.</dialogue> <parenthetical>(re: centrifuge)</parenthetical> <dialogue>If this is blood --</dialogue> <parenthetical>(re: vial)</parenthetical> <dialogue>-- then what's that?</dialogue> <scene_description>Traeger looks vaguely discomfited. But before he can answer, a LACKEY approaches.</scene_description> <character>LACKEY</character> <dialogue>V.A. shuttle's here, sir.</dialogue> </scene> <scene> <stage_direction>EXT. DESERT - ABANDONED MILITARY BASE - NIGHT</stage_direction> <scene_description>Black-clad MERCENARIES wait for the V.A. SHUTTLE as it trundles toward the chain link perimeter.</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING - SAME</stage_direction> <scene_description>Prisoners, GRUMBLING. Flyboy calls out to the MP at the front (who, we should note, is bald as a cue ball).</scene_description> <character>FLYBOY</character> <dialogue>Hey, Kojak! When did they put the middle of fucking nowhere on the itinerary?</dialogue> <character>MP ON BUS</character> <dialogue>Zip it, Flyboy. We're just makin' a pit stop.</dialogue> <character>WILLIAMS</character> <dialogue>"Pit stop."</dialogue> <parenthetical>(to McKenna)</parenthetical> <dialogue>This is all your fault, isn't it?</dialogue> <scene_description>McKenna, uneasy. It's beginning to seem that way. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NORTH AMERICAN AEROSPACE DEFENSE COMMAND, COLORADO</stage_direction> <scene_description>Fans of War Games will recognize the gallery and massive TRACKING SCREENS. Air Force PERSONNEL watch the bogey on A HUGE MONITOR where THE BLIP is seen moving toward the southern U.S... A GENERAL oversees; STAFF SERGEANT at his side.</scene_description> <character>STAFF SERGEANT</character> <dialogue>Still inbound, sir. One second they're on the grid, the next they're ghosting.</dialogue> <character>NORAD GENERAL</character> <dialogue>Radio contact?</dialogue> <character>STAFF SERGEANT</character> <dialogue>Negative, sir.</dialogue> <scene_description>The General chews on a pen. What the fuck is it? Finally:</scene_description> <character>NORAD GENERAL</character> <dialogue>Where's the 325th?</dialogue> <character>STAFF SERGEANT</character> <dialogue>Lackland, sir.</dialogue> <character>NORAD GENERAL</character> <dialogue>Have them scramble some jets. Let's not take any chances.</dialogue> </scene> <scene> <stage_direction>INT. MAIN LAB (PROJECT STARGAZER) - THAT MOMENT</stage_direction> <scene_description>Traeger's AIDE approaches. Furtive:</scene_description> <character>AIDE</character> <dialogue>Sir, NORAD's reporting a 202 anomaly.</dialogue> <scene_description>Colwell and Traeger trade looks. Casey sees this.</scene_description> <character>CASEY</character> <dialogue>Look, I know I'm new, but -- it'd be swell if somebody would kinda sorta, I dunno... tell me what the fuck is going on here?</dialogue> <scene_description>Traeger answers without missing a beat.</scene_description> <character>TRAEGER</character> <dialogue>This isn't the first Predator we've encountered.</dialogue> <scene_description>Casey stiffens. The revelation lands hard.</scene_description> <character>TRAEGER</character> <dialogue>Apparently they use earth as a kind of "hunting ground."</dialogue> <character>COLWELL</character> <dialogue>They've left things behind. Evidence. Weapons. Some are even stored in this facility.</dialogue> <character>CASEY</character> <dialogue>Your point -- ?</dialogue> <character>COLWELL</character> <dialogue>The point, doctor... is that our satellite defense stations have just tracked a new UFOB.</dialogue> <parenthetical>(nods grimly to the dormant Predator)</parenthetical> <dialogue>Our friend here might have company coming.</dialogue> <scene_description>Traeger MUTTERS something under his breath --</scene_description> <character>CASEY</character> <dialogue>Excuse me?</dialogue> <character>TRAEGER</character> <dialogue>They're gnarly fuckers, that's all. Took four of my best just to bring that one down.</dialogue> <scene_description>She blinks. Stares at him:</scene_description> <character>CASEY</character> <dialogue>I'm sorry. It took four--?</dialogue> <character>TRAEGER</character> <dialogue>That's right. So?</dialogue> <character>CASEY</character> <dialogue>So -- a meth head can take down four men.</dialogue> <parenthetical>(re: Predator)</parenthetical> <dialogue>Look at it!</dialogue> <scene_description>Traeger looks uneasy.</scene_description> <character>COLWELL</character> <dialogue>What's your point, doctor?</dialogue> <character>CASEY</character> <dialogue>My point is you brought it here. To a location where you just happen to store its weapons --</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>How do you know it didn't WANT TO BE CAPTURED?</dialogue> <scene_description>That's when ALARM KLAXONS peal throughout the complex.</scene_description> <character>CASEY</character> <dialogue>What's happening?</dialogue> <scene_description>TRAEGER'S AIDE clutches a phone receiver. YELLS:</scene_description> <character>AIDE</character> <dialogue>Proximity alert, sir! Bogey's inbound! Range two hundred miles!</dialogue> <scene_description>At which point, without warning -- THE PREDATOR'S EYES SNAP OPEN. Just like that. Alert. Calm. Calculating. We realize: it was playing possum. CASEY LEAPS backward; liberates a TRANQUILIZER RIFLE from a nearby rack. She hoists it, BACKS AWAY -- full defense mode.</scene_description> <character>CASEY</character> <dialogue>EVERYBODY GET OUT! NOW!</dialogue> <scene_description>She STABS the code for the DECON chamber. Hatch OPENS. She leaps inside, except -- she's the only one. Everyone else is going for their SIDEARMS as -- Bam--! The Predator MOVES. SNAPS ITS RESTRAINTS like they were paper. RISES from the table, as --</scene_description> </scene> <scene> <stage_direction>INT. DECON CHAMBER</stage_direction> <scene_description>The hatch CLOSES, sealing her in.</scene_description> <character>PRE-RECORDED VOICE</character> <dialogue>Chamber secure. Remove garments.</dialogue> <scene_description>Casey, sweating. FUMBLING at the catches of her Hazmat suit.</scene_description> <character>CASEY</character> <dialogue>Come on, come on...</dialogue> </scene> <scene> <stage_direction>INT. MAIN LAB - THAT MOMENT</stage_direction> <scene_description>SECURITY MEN rush to restrain the Predator, but it SWIPES at them with its talons -- DUCKS, PARRIES. TOSSES them like rag dolls. Speed and stealth, mind-numbing.</scene_description> </scene> <scene> <stage_direction>INT. DECON CHAMBER - WITH CASEY</stage_direction> <scene_description>SEEING THIS -- terrified -- while at the same time desperately trying to DISROBE. Blood SPATTERS the window --</scene_description> </scene> <scene> <stage_direction>INT. MAIN LAB - SAME</stage_direction> <scene_description>THE PREDATOR, rampaging. COLWELL draws a weapon -- but it GRABS HIM by the hair; snags a scalpel in its other talon. Like a samurai -- BEHEADS HIM with the scalpel--! The next second, SLICES OFF HIS HAND -- Then BEE-LINES TO THE DECON HATCH... Spoils in hand, PRESSES COLWELL'S HEAD and HAND to the scanners. Then, nightmarishly: MIMICS the dead man's voice exactly:</scene_description> <character>THE PREDATOR</character> <dialogue>Colwell, Sean H.</dialogue> <scene_description>A green light BLEEPS. ACCESS GRANTED--!</scene_description> </scene> <scene> <stage_direction>INT. DECON CHAMBER</stage_direction> <scene_description>Skin burn complete, Casey's scooping up her clothes, as -- the HATCH SHUSHES OPEN behind her. She SPINS, naked - - clutching the tranq gun. -- And there's THE PREDATOR. Trembling, breathless, Casey LEVELS THE WEAPON. Pulls the trigger: a dry CLICK--! Jammed. The Predator cocks its head at her. Is it... smiling? And then -- it simply MOVES PAST her. SPARING HER. As Casey breathes in short terrified bursts, we -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SKY OVER CENTRAL AMERICA - NIGHT</stage_direction> <scene_description>THREE F-22 RAPTORS slice the sound barrier -- following the Predator ship's last known position.</scene_description> </scene> <scene> <stage_direction>INT. F-22 COCKPIT - FLYING - NIGHT</stage_direction> <scene_description>ON THE LEAD PILOT as he checks his instruments. We HEAR:</scene_description> <character>RADIO CHATTER</character> <dialogue>Catfish one, approaching vector. Triangulate SAM radar, over.</dialogue> </scene> <scene> <stage_direction>INT. UNDERGROUND CORRIDOR - THAT MOMENT</stage_direction> <scene_description>THREE TACTICAL MERCS spin round a bend, rifles up. As they clatter past an alcove, two MUSCULAR ARMS SWIPE OUT--! GLTCH--GLTCH! TALONS puncturing flesh; severing brain stems. Two down. The remaining merc SPINS, gun up -- Predator, weaponless... Fuck it -- SCOOPS A MACHINE GUN IN EACH HAND. BUDDA-BUDDA--! The merc topples. The Predator calmly DROPS the guns, retrieves Colwell's head and hand from the floor.</scene_description> </scene> <scene> <stage_direction>INT. DECON CHAMBER</stage_direction> <scene_description>Casey finishes pulling on her clothes, notices -- on the floor, splatters of phosphorescent GREEN BLOOD. She looks back into the lab -- at the tranq gun CARTRIDGE on the rack. Then... something arguably more important: The mysterious SPECIMEN VIAL she saw earlier.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - AS BEFORE</stage_direction> <scene_description>The Predator approaches a VAULT DOOR; again uses Colwell's VISCERA to override security. TOSSES THEM ASIDE and ENTERS:</scene_description> </scene> <scene> <stage_direction>INT. A HIGH SECURITY VAULT</stage_direction> <scene_description>Like a bank vault, but for Predator technology. The Predator RUMMAGES; tossing items aside violently. Plainly looking for something... but not finding it. Frustrated, it GRABS what it knows -- a new WRIST GAUNTLET, a PLASMA CANNON. Finally, snatches up a THIRD object: A bent, scorched BATTLE MASK. With this last, it does an odd thing: lifts the mask to its eyes. With one hand, taps a code on its side, blip-! POV: THROUGH THE MASK We're seeing what IT is seeing. Here's the weird part: Wherever it is..? It's not the room he's currently IN. Blurry... faulty transmission. Still, oddly FAMILIAR. We're seeing Rory's bedroom. WTF? CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RORY'S BASEMENT - SAME TIME</stage_direction> <scene_description>THE OTHER MASK, Rory's -- leaning against the wall, face outward. A green LIGHT blinking, as it transmits -- BACK TO POV - BLURRED We see RORY at his bench, back to us... now we SNAP-ZOOM in to a spot on the wall, near the kid's head: A drawing of a pit bull. Taped there, along with other drawings. In the corner, printed neatly: RORY DECLAN McKENNA, GRADE 6. GORDON MIDDLE SCHOOL The Predator lowers the mask. Turns, with new purpose. Taps its wrist and... with a glitching SHIMMER, CLOAKS. Vanishing.</scene_description> </scene> <scene> <stage_direction>EXT. COMPOUND ABOVE - NIGHT</stage_direction> <scene_description>The V.A. bus STOPS, MID-COMPOUND. ALARMS continue to WAIL throughout the facility. SOLDIERS approach --</scene_description> <character>SOLDIER</character> <dialogue>Sit tight. There's been a breech.</dialogue> </scene> <scene> <stage_direction>INT. V.A. BUS - SAME</stage_direction> <scene_description>MCKENNA AND WILLIAMS, apprehensive. What's going on?</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND CORRIDOR</stage_direction> <scene_description>Dressed and clutching the tranq rifle, Casey follows a trail of Predator blood to THE STILL-OPEN VAULT -- immediately sees it's been ransacked. What the hell was it looking for? A bleeding MED-TECH stumbles around the corner, sees her:</scene_description> <character>DYING MED-TECH</character> <dialogue>Please... It... it MUSTN'T GET AWAY...</dialogue> <character>CASEY</character> <dialogue>It won't.</dialogue> <parenthetical>(nods grimly)</parenthetical> <dialogue>Not my space animal.</dialogue> <scene_description>She turns -- sprints out of frame, and meanwhile</scene_description> </scene> <scene> <stage_direction>EXT. SKY - THE F-22S</stage_direction> <scene_description>Flying in formation. PILOTS scanning the horizon.</scene_description> <character>RADIO CHATTER</character> <dialogue>Catfish one, still no visual, check your six two and three, over --</dialogue> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - BASEMENT - SAME</stage_direction> <scene_description>He's back to his video games. Because of course he is. Then... bored, he picks up the Kujhad. PUNCHES IN THE CODE from before... just for the hell of it, and --</scene_description> </scene> <scene> <stage_direction>EXT. SKY OVER CENTRAL AMERICA - NIGHT</stage_direction> <scene_description>THE PREDATOR SHIP APPEARS OUT OF NOWHERE -- smack in the trajectory of the three Raptor jets!</scene_description> <character>RADIO VOICE #1</character> <dialogue>(filtered)</dialogue> <character>RADIO VOICE #2</character> <dialogue>(filtered)</dialogue> <scene_description>Holy shit! Heads up! Bandit! Three-zero- five! QUICK CUTS -- AS THEY QUICKLY COURSE CORRECT Milliseconds before impact --</scene_description> </scene> <scene> <stage_direction>INT. V.A. VAN - ABANDONED BASE - NIGHT</stage_direction> <scene_description>Something outside the bus catches McKenna's eye: A DARK FIGURE -- emerging from a bunker in the distance. A hulking, lithe, humanoid chameleon shape. Shimmering.... McKenna nudges Williams, who squints... the thing FLICKERS; seems to VANISH in mid-stride. Williams stiffens --</scene_description> <character>WILLIAMS</character> <dialogue>Your little green friend?</dialogue> <character>MCKENNA</character> <dialogue>Yup.</dialogue> <character>WILLIAMS</character> <dialogue>Turns invisible?</dialogue> <character>MCKENNA</character> <dialogue>Yup.</dialogue> <character>WILLIAMS</character> <dialogue>Goddamn space aliens.</dialogue> </scene> <scene> <stage_direction>EXT. COMPOUND - UP TOP - THAT MOMENT</stage_direction> <scene_description>CASEY emerges, into the night. Tranq gun at the ready. Comes around the edge of a building, SEES a Predator BLOOD TRAIL --</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - AS BEFORE</stage_direction> <scene_description>ALARM KLAXONS wailing outside. McKenna, fraught. Struggling to concoct an escape strategy. Williams sees the look; doesn't like it.</scene_description> <character>MCKENNA</character> <parenthetical>(re: Predator)</parenthetical> <dialogue>That thing killed my men.</dialogue> <character>WILLIAMS</character> <dialogue>Yeah, they'll do that. Stay on the bus.</dialogue> <character>MCKENNA</character> <dialogue>What are you, nuts? We gotta move.</dialogue> <character>WILLIAMS</character> <dialogue>Exactly. Stay on the bus.</dialogue> <scene_description>McKenna, thrown. Williams looks at him, sidelong:</scene_description> <character>WILLIAMS</character> <dialogue>It's a bus.</dialogue> <scene_description>He swivels his head -- a barely perceptible NOD to COYLE.</scene_description> <character>COYLE</character> <parenthetical>(erupts)</parenthetical> <dialogue>Hey, Baxley! If your mom's vagina was a video game, it'd be rated E for everyone!</dialogue> <scene_description>The SECOND MP rattles the cage door with his baton.</scene_description> <character>SECOND MP ON BUS</character> <dialogue>Knock it off!</dialogue> <character>COYLE</character> <dialogue>Seriously, what's the difference between five big black guys and a joke?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Baxley's mom can't take a joke!</dialogue> <scene_description>Baxley's out of his seat so fast he's a blur -- manacles clutched in his fists, he WRAPS THEM AROUND COYLE'S NECK -- choking him--! Coyle GASPS, SPUTTERS. The second MP fumbles with his key ring as the first UNCLIPS HIS SIDEARM, adrenaline spiking. Yells to the prisoners:</scene_description> <character>MP ON BUS</character> <dialogue>Everyone on the floor, face down!</dialogue> <scene_description>THE OTHERS OBEY; kneel with heads bowed, as -- The second MP UNLOCKS THE CAGE DOOR -- GRABS a Remington 870 pump action from its mount. Both men RUN up the aisle to: BACK OF THE BUS As they pry the two prisoners apart, the first MP reaches for the baton on his belt, except: shit. It's not there. BECAUSE BAXLEY JUST NABBED IT--! SWINGS IT into the back of the MP's legs. HE GOES DOWN hard, as -- SECOND MP whips the SHOTGUN UP. Barely time to register: COYLE, right in front of him, SHOVES the barrel with his palm so it CLOCKS THE MP in the forehead -- CRACK! -- dropping him. Coyle GRABS the shotgun -- And TOSSES IT TO WILLIAMS, who SPINS, cocks it -- K-CHUK! - - and levels it at the DRIVER.</scene_description> <character>WILLIAMS</character> <dialogue>Whoopsie.</dialogue> <scene_description>THE DRIVER puts his HANDS UP as Baxley and Coyle -- the best of friends now -- snag the guards' keys and start unlocking the prisoners' shackles. A ruse from square one. Shorn of his manacles, Williams takes the DRIVER'S SEAT.</scene_description> <character>MCKENNA</character> <dialogue>I need that alien.</dialogue> <character>WILLIAMS</character> <dialogue>Don't think he'll board the bus willingly.</dialogue> <character>MCKENNA</character> <dialogue>Just get me close.</dialogue> <scene_description>WILLIAMS jerks the bus into gear... and GUNS IT.</scene_description> </scene> <scene> <stage_direction>EXT. COMPOUND - WITH THE PREDATOR</stage_direction> <scene_description>As it CLOAKS and DE-CLOAKS itself. One second, it's there. The next: GONE. Vanished. IT LEAPS, parkour style. Alights on a rooftop, and -- Suddenly pauses, EARS PRICKED. It darts a look SKYWARD as, without warning -- THE PREDATOR MOTHER SHIP APPEARS Blasts across the sky. Holy shit. Shearing through the atmosphere, and, with even LESS warning -- TWO F-22 FIGHTER JETS -- IN PURSUIT Jesus. Flashing through frame, fucking DEAFENING, as -- WITH THE V.A. BUS It PUNCHES through a fence--! Chain link whipping away --</scene_description> </scene> <scene> <stage_direction>INT. V.A. BUS - DRIVING</stage_direction> <scene_description>WILLIAMS is DRIVING like a mad man, eyes darting between the SPACESHIP and the buildings below. McKENNA yells:</scene_description> <character>MCKENNA</character> <dialogue>Open the door!!</dialogue> <scene_description>He YANKS the Remington from Williams. Door, HISSING open -- MCKENNA DROPS SIDEWAYS On the open steps, sighting up the barrel of the weapon. Cold intent. Everything goes SILENT. GUNSIGHT POV And there it is: through his sight, the trademark Predator DISTORTION. Nearing the tree line, CUT TO: CASEY, ON THE RUN Tops a ladder, swings onto rusty metal BRIDGE. High ground. Surveys the compound... bingo. BLOOD TRAIL, 12 o'clock. A sudden RUMBLE, she looks down, SEES: THE V.A. BUS THUNDERING UNDER the bridge. She times her jump -- DROPS DOWN, ONTO THE ROOF -- thunk! Swivels the TRANQ GUN, targeting the TREE LINE, just as</scene_description> </scene> <scene> <stage_direction>-- EXT. GROUND LEVEL - THE BUS</stage_direction> <scene_description>MCKENNA LEAPS FREE, shotgun tight to his chest. He TUCKS AND ROLLS. Comes up, GETS OFF TWO SHOTS -- too little, too late -- THE PREDATOR VANISHES Over the perimeter wall. As an afterthought, the creature lashes out: SEVERS a LIGHT POLE -- it CRUMPLES DOWNWARD --</scene_description> </scene> <scene> <stage_direction>INT. V.A. SHUTTLE</stage_direction> <scene_description>WILLIAMS SEES the obstacle. Shit! STANDS ON THE BRAKES -- THE BUS COLLIDES with the massive pole, tires BLOWN, as -- ON THE ROOF - CASEY Loses her footing; TOPPLES backward. Still clutching the tranq gun, she squeezes the trigger involuntarily, and -- THPPP--! A DART imbeds itself in her foot. She ROLLS OFF the top of the bus like a string-cut marionette, as --</scene_description> </scene> <scene> <stage_direction>EXT. COMPOUND - SAME</stage_direction> <scene_description>McKenna sees her pitch off the side, SCRAMBLES TO catch her. Then quickly registers the ARMED SECURITY MEN moving in from all sides, and hastily (comically) FLEES just as -- WHOMP--! Casey LANDS on the ground with an ugly KLUD! She ROLLS OVER; groggy. So much for Prince fucking Charming. AT THE BUS The others SCRAMBLE OUT, as NEBRASKA WILLIAMS spots: A small, open Quonset hut with a column of vintage, army green HARLEY MOTORCYCLES. He yells:</scene_description> <character>WILLIAMS</character> <dialogue>Get to the choppers.</dialogue> </scene> <scene> <stage_direction>EXT. COMPOUND - AT THE BUS</stage_direction> <scene_description>One of the MERCS sees Casey, on the ground: he taps a switch on his VIDEO HEADSET -- CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MAIN LAB (UNDERGROUND) - AS BEFORE</stage_direction> <scene_description>TRAEGER has his own glass-like headset with THE MERC'S POV:</scene_description> <character>SHOOTER (O.S.)</character> <parenthetical>(awaiting the order)</parenthetical> <dialogue>Sir..?</dialogue> <scene_description>Traeger sighs, deep regret:</scene_description> <character>TRAEGER</character> <dialogue>No witnesses.</dialogue> </scene> <scene> <stage_direction>EXT. COMPOUND - BACK UP TOP</stage_direction> <scene_description>The MERC, about to follow orders when a BURBLING ROAR fills the air, and -- McKENNA COMES OVER THE TOP AIRBORNE on his howling HARLEY. Launches off an embankment. FIRES MID-AIR, blam-blam-! takes out the dude's LEGS. Lands. Fishtails madly -- steers toward Casey; pure Steve McQueen. SCOOPS HER UP -- And here come THE LOONIES; Williams in the lead! A phalanx of crazy-ass Hell's Angels. The recovering mercs OPEN FIRE -- as the cycles BLAST FORWARD, out of the compound, as we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SKY OVER TEXAS - THAT MOMENT</stage_direction> <scene_description>THE F-22S FLY alongside and above the NOW-VISIBLE PREDATOR SPACECRAFT, rocking their wings. ON THE LEAD PILOT (INTERCUT:)</scene_description> <character>RADIO CHATTER</character> <dialogue>Go, zero-two! Go zero-three!</dialogue> <scene_description>AIR-TO-AIR MISSILES spew from the Raptors, and RIP ACROSS the surface of the Predator ship. It bucks and WOBBLES, as --</scene_description> </scene> <scene> <stage_direction>EXT. SKY OVER TEXAS - THE AERIAL PURSUIT</stage_direction> <scene_description>THE F-22s BANK OFF as the PREDATOR SHIP TUMBLES, smoking. A glitching SHIMMER as it manages to CLOAK itself one final time... seconds before it impacts -- And now, an odd sight -- one we hinted at in our opening: An INVISIBLE CRASH. The leafy canopy EXPLODES, then a careening DEBRIS FIELD forming before our eyes -- All that's missing is the ship that's CAUSING IT.</scene_description> </scene> <scene> <stage_direction>EXT. THE CRASH SITE - NIGHT</stage_direction> <scene_description>Tendrils of vapor rise, and...</scene_description> </scene> <scene> <stage_direction>INT. PREDATOR SHIP - SAME</stage_direction> <scene_description>Amidst choking smoke, the UPGRADE rises from its seat. Touches a switch, and A PANEL OPENS, revealing a dank, cramped COMPARTMENT. Inside, barely glimpsed -- The eerie silhouettes of TWO slobbering, four- legged CREATURES... Whoa. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RORY'S ROOM - NIGHT</stage_direction> <scene_description>Rory lies in bed. Wide awake. Peering into a tiny KEYCHAIN VIEWER with a light in it: A PHOTO -- Father and son in happier times. RORY sighs. Rolls over. Turns on his bedside table lamp -- And there, on the nightstand, is THE KUJHAD. The BIOHELMET sits beside it; eerie, beckoning. Rory reaches for the Kujhad, but it's no longer blinking. Shit. He THUMBS buttons to wake it up. Nothing at first. Then... it GLOWS RED. Success! Rory chews his lip, thinking. What next? And then he learns the meaning of the phrase, "Be careful what you wish for." Because suddenly: SHAPES, moving in his peripheral vision. He looks up. GASPS -- GIANT, MULTI-EYES SPIDERS Crawling on the walls and ceiling. Out of nowhere. All around him/ Terrified, Rory starts to hyperventilate. He STABS BUTTONS in a desperate bid to make them go away -- Then notices: the spiders are GLITCHING with electronic distortion. He double-takes, SEES -- MONOFILAMENTS OF LIGHT emanating from the biohelmet... it's the source of the images. Not just images: HOLOGRAPHIC PROJECTIONS. He picks up the helmet, lifts it to his face and... BIOHELMET POV (INTERCUT:) Like police video, the spiders are PRE-RECORDED IMAGES OF A PREDATOR HUNT ON ANOTHER WORLD. At his fingertips is A VIRTUAL DOCUMENT of the Predators' travels across the galaxy. He pulls the mask away, a stew of various IMAGES projected IN 3D all around him. Including something he didn't expect: What appears to be A MAP. At its center, a highlighted, ALIEN SHAPE. Blinking. A beacon, a marker? Or maybe, just maybe...? A transponder. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. RURAL MOTEL - NIGHT</stage_direction> <scene_description>NEBRASKA WILLIAMS smokes a cigarette in the blinking neon of the motel sign. He hears A SCUFFLE, turns to SEE: NETTLES, emerging from behind the sign. Zipping his pants.</scene_description> <character>WILLIAMS</character> <dialogue>Nettles.</dialogue> <parenthetical>(nods to motel room)</parenthetical> <dialogue>There's a toilet in the room.</dialogue> <scene_description>Nettles eyes widen, like he's just seen God.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>A staccato KNOCK on the door (a code). FLYBOY opens it, lets Williams and Nettles back in. CASEY's in the bed, sleeping off the tranquilizer dart -- THE REST OF THE VETS gathered around. McKenna, weary, says:</scene_description> <character>MCKENNA</character> <dialogue>Don't any of you guys have someplace to be?</dialogue> <scene_description>The Loonies trade glances. Shrug.</scene_description> <character>BAXLEY</character> <dialogue>V.A. Psych Ward?</dialogue> <character>COYLE</character> <dialogue>Military prison?</dialogue> <scene_description>McKenna nods.</scene_description> <character>MCKENNA</character> <dialogue>Point taken.</dialogue> <character>WILLIAMS</character> <dialogue>So now what, chief? Your green boy got away.</dialogue> <character>BAXLEY</character> <dialogue>I'm tellin' you -- TV news, bro. They'll have to believe you.</dialogue> <character>MCKENNA</character> <dialogue>Right. And I have some land in Florida to sell you.</dialogue> <character>BAXLEY</character> <dialogue>Just get somebody credible. Like Channel 9. What's-her-name, the lady with the big heinie --</dialogue> <character>COYLE</character> <dialogue>Fool, she's the meteorologist.</dialogue> <character>BAXLEY</character> <dialogue>She is?</dialogue> <character>NETTLES</character> <parenthetical>(chiming in)</parenthetical> <dialogue>He's right -- one look at her and you can tell whether.</dialogue> <scene_description>The others trade looks -- what does that even mean? Then:</scene_description> <character>BAXLEY</character> <dialogue>If we can get someone to listen --</dialogue> <character>MCKENNA</character> <dialogue>And if 'if's and buts' were candy and nuts, we'd all have a merry Christmas.</dialogue> <scene_description>Baxley subsides, grumpily. On the BED, CASEY stirs -- blinks awake. Alarmed to see THE LOONIES surrounding her.</scene_description> <character>CASEY</character> <dialogue>I love waking to the sound of macho bullshit.</dialogue> <scene_description>She grimaces. Fumbles out her CELL PHONE -- Incredibly, McKenna GRABS the shotgun, COCKS IT: Is he gonna shoot her? No. He GRABS THE PHONE, shoves it under a pillow, and -- a muted BOOM--! The pillow's a smoking ruin. PHONE, vanquished.</scene_description> <character>CASEY</character> <parenthetical>(stunned disbelief)</parenthetical> <dialogue>Are you crazy--?</dialogue> <scene_description>A beat. Then a SMALL CHORUS:</scene_description> <character>THE LOONIES</character> <dialogue>Maybe. A little. I dunno, probably. (etc.)</dialogue> <scene_description>McKenna ignores them. Turns to Casey.</scene_description> <character>MCKENNA</character> <dialogue>Use your head, lady. You want them tracing that phone?</dialogue> <character>NETTLES</character> <parenthetical>(chiming in)</parenthetical> <dialogue>Question.</dialogue> <scene_description>Everyone looks at him --</scene_description> <character>NETTLES</character> <parenthetical>(CONT'D) (to McKenna)</parenthetical> <dialogue>How much you askin' for this land in Florida?</dialogue> <scene_description>Casey huffs impatiently. She starts up, heads for the door --</scene_description> <character>CASEY</character> <dialogue>You guys can play house if you want, I have dogs to feed and midterms to grade --</dialogue> <character>MCKENNA</character> <dialogue>Don't be stupid.</dialogue> <scene_description>She looks up sharply.</scene_description> <character>MCKENNA</character> <dialogue>They tried to put a bullet in your head back there.</dialogue> <parenthetical>(eyes smouldering)</parenthetical> <dialogue>You're expendable. Just like the rest of us.</dialogue> <scene_description>That STOPS her. She exhales. Looks round at the "unit" --</scene_description> <character>CASEY</character> <dialogue>Expendables, huh? More like the Seven fucking Dwarfs.</dialogue> <scene_description>Nettles grins bashfully -- Casey sighs.</scene_description> <character>CASEY</character> <dialogue>Can I borrow a phone, at least? I need someone to feed my dogs.</dialogue> <scene_description>She flops in a chair. Gazes up at McKenna.</scene_description> <character>CASEY</character> <dialogue>You saw it first, didn't you? The Predator?</dialogue> <parenthetical>(off his quizzical look)</parenthetical> <dialogue>I read the file. Those men it killed -- yours?</dialogue> <scene_description>McKenna nods, grim.</scene_description> <character>CASEY</character> <dialogue>I figured. You may as well have written their script. Psycho ex- sniper. PTSD, divorced... even got a flaky kid who curls up in a ball, it's perfect --</dialogue> <scene_description>McKenna's eyes blaze. She shrugs:</scene_description> <character>CASEY</character> <dialogue>I'm just telling you what's in the file.</dialogue> <character>MCKENNA</character> <dialogue>It said "flaky?"</dialogue> <character>CASEY</character> <dialogue>That was an unfortunate embellishment. Can we move on?</dialogue> <character>WILLIAMS</character> <parenthetical>(joining in)</parenthetical> <dialogue>We can start with what you were doing at a supposedly abandoned military base -- full of private soldiers. Mercs.</dialogue> <character>CASEY</character> <dialogue>I'm an evolutionary biologist. I was on call in case of... you know, contact.</dialogue> <scene_description>McKenna thinks it over, paces. Stops, exhales raggedly...</scene_description> <character>MCKENNA</character> <dialogue>If we wanna keep breathin', we gotta find this thing. Expose it. We all agreed?</dialogue> <scene_description>A look goes round. A bonding moment... exiles, all; perfect scapegoats. No none will miss them.</scene_description> <character>MCKENNA</character> <dialogue>Good. First things first. What is it?</dialogue> <character>CASEY</character> <dialogue>The Predator? Well...</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>It has human DNA, for one thing.</dialogue> <scene_description>The loonies react. WHAT?</scene_description> <character>CASEY</character> <dialogue>That's not all. I was there when it escaped, it... I think it was looking for something.</dialogue> <scene_description>McKenna goes pale with realization.</scene_description> <character>MCKENNA</character> <dialogue>Its equipment.</dialogue> <scene_description>He looks up -- realizes all eyes are on him.</scene_description> <character>MCKENNA</character> <dialogue>I took it. So I'd have</dialogue> <scene_description>evidence. (swallows hard) I... I think I know where it's headed. Pause. Nettles clears his throat:</scene_description> <character>NETTLES</character> <dialogue>We're gonna need some ordnance.</dialogue> <character>CASEY</character> <dialogue>"Ordnance"?</dialogue> <character>NETTLES</character> <dialogue>You know. Weapons and shit.</dialogue> <scene_description>Nebraska Williams' brow furrows. Plotting.</scene_description> <character>WILLIAMS</character> <dialogue>I know a guy.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FOREST CLEARING - (THE NEXT) EVENING</stage_direction> <scene_description>A parked, two-tone WINNEBAGO SUPER CHIEF. From inside:</scene_description> <character>TV SOUND (O.S.)</character> <dialogue>... the 41 year-old came to this Texas home to meet our decoy, whom he believes to be an underage girl.</dialogue> </scene> <scene> <stage_direction>INT. WINNEBAGO - EVENING</stage_direction> <scene_description>Every square inch CRAMMED with war mementos and weaponry. Been to a gun show? That. A grizzled man in a WHEELCHAIR watches TV. Master Gunnery Sergeant GARRISON CUTTER, 60s.</scene_description> <character>CHRIS HANSEN (ON THE TV)</character> <dialogue>And what are you up to today?</dialogue> <character>PERVERT (ON THE TV)</character> <dialogue>Nothin'. Just came to hang out.</dialogue> <character>CHRIS HANSEN (ON THE TV)</character> <dialogue>I see you brought some condoms and some Mike's Hard Lemonade.</dialogue> <scene_description>There's a RAP on the door, and Cutter ROLLS himself the entire three feet to answer it as he RAISES AN M16. He opens up enough to see a sliver of a face:</scene_description> <character>WILLIAMS</character> <dialogue>Gunny.</dialogue> <character>CUTTER</character> <dialogue>Well, if it ain't Nebraska Williams.</dialogue> <character>WILLIAMS</character> <dialogue>Just wonderin' how'd you feel about a little recon mission...</dialogue> <scene_description>Cutter peers through the crack in the door, SEEING: THE GROUP OF LOONIES in the moonlight. McKenna. The others. The very uncomfortable, but equally appealing... CASEY. Behind him: dirty laundry. Take-out containers. A cat YOWLS.</scene_description> <character>CUTTER</character> <dialogue>Let me check my schedule.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT (RORY'S HOUSE) - EVENING</stage_direction> <scene_description>Rory, in his "Control Area" wearing the Frankenstein mask his mom bought him. He pulls it off, frowning. Lame. Then -- a scuffling SOUND at the basement window. He turns to SEE what appears to be... A LARGE, FOUR-LEGGED ANIMAL SNIFFING at the window. The neighbor's pit bull...? It disappears -- he doesn't pay it much mind.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>EMILY does the dishes -- oblivious as RORY, clutching something, furtively heads out the back door BEHIND HER. PRE-LAP: the SOUND OF A DOORBELL RINGING, and --</scene_description> </scene> <scene> <stage_direction>INT. FRONT ENTRY - NIGHT (LATER)</stage_direction> <scene_description>Emily opens the door to reveal: TRAEGER, flanked by armed SECURITY MEN.</scene_description> <character>TRAEGER</character> <dialogue>Mrs. McKenna?</dialogue> <parenthetical>(flashes his ID)</parenthetical> <dialogue>Can we have a word?</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE THE HOUSE (INTERCUT:)</stage_direction> <scene_description>REVEAL MCKENNA and the rest of the vets, HIDDEN IN THE BUSHES with field glasses and talkies. Williams aims A SHOTGUN MIKE at the house, allows them to hear the conversation:</scene_description> <character>EMILY</character> <dialogue>Let me guess: he's done something crazy.</dialogue> <character>TRAEGER</character> <dialogue>Why would you guess that..?</dialogue> <character>EMILY</character> <dialogue>Because the look on your face says he's not dead, and yet here you fucking are.</dialogue> <scene_description>STEVENS notices a locked GUN CASE in the adjoining study.</scene_description> <character>EMILY</character> <dialogue>Those are his. He's a hunter.</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>Look, I haven't seen Quinn for a year. He's on assignment.</dialogue> <character>TRAEGER</character> <dialogue>How about your son -- where is he?</dialogue> <character>EMILY</character> <dialogue>Around here somewhere. Why?</dialogue> <character>TRAEGER</character> <dialogue>Mind if we speak with him?</dialogue> </scene> <scene> <stage_direction>INT. THE BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Traeger and the security men come down the stairs, finding Rory's lair... but the kid? Nowhere to be seen.</scene_description> <character>RORY'S MOM</character> <dialogue>That's weird. If he's not in his room, he's always here. He said he was going trick-or-treating, but...</dialogue> <scene_description>She frowns. SEES the two discarded costumes on his work table. Why would he leave without his costume?</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBIA - NIGHT</stage_direction> <scene_description>RORY timidly roams the neighborhood, surrounded by costumed trick-or-treaters and their parents. His head, ENCASED IN THE PREDATOR'S BIOHELMET. The KUJHAD, clutched by his side. Swell costume. Navigating's a bit tricky, he stumbles a little -- RORY'S POV: Human HEAT SIGNATURES. Every direction.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO (NEAR RORY'S HOUSE) - NIGHT</stage_direction> <scene_description>CUTTER at the wheel, taking watch. At the NOOK in back, CASEY squints into a microscope. Murmurs, under her breath --</scene_description> <character>CASEY</character> <dialogue>It's like a supermatrix of tryhydroxy and amino acids...</dialogue> <scene_description>She pulls back from the lens. Blinks, incredulous:</scene_description> <character>CASEY</character> <dialogue>With evidence of recombinant gene splicing.</dialogue> <character>CUTTER</character> <dialogue>What's that mean?</dialogue> <character>CASEY</character> <dialogue>If I'm right..? It means they're trying to upgrade themselves.</dialogue> <scene_description>She picks up a TALKIE, keys it:</scene_description> <character>CASEY</character> <dialogue>McKenna? I've found something.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE RORY'S HOUSE - NIGHT</stage_direction> <scene_description>McKenna's TALKIE SQUELCHES -- he quickly turns it down. Then he freezes -- notices something in the shadows: THAT "DOG" FROM EARLIER. Sniffing at the basement windows.</scene_description> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - SAME</stage_direction> <scene_description>Inside, Traeger ALSO hears it. Stops, looks toward the back of the house. Nods to TWO OF HIS MEN to check it out --</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE HOUSE - SAME</stage_direction> <scene_description>TRAEGER'S MEN EMERGE from the house and fan out. WITH ONE OF THE SECURITY MEN Flashlight up. He catches a glimpse of "the dog" as it pads away into the brush. Keys his talkie:</scene_description> <character>SECURITY DETAIL</character> <dialogue>I'm on it. Triangulate on my signal.</dialogue> </scene> <scene> <stage_direction>EXT. EDGE OF WOODS - NIGHT</stage_direction> <scene_description>The Security Man SLAPS a bug from his cheek. Then, a GRUNTING SOUND from nearby. He WHIPS HIS FLASHLIGHT ONTO -- AN ARMADILLO Foraging in a pile of garbage. It looks up, beady-eyed --</scene_description> <character>SECURITY</character> <dialogue>(CONT'D) You scared the shit out</dialogue> <character>DETAIL</character> <dialogue>of me, you little walking helmet.</dialogue> <scene_description>Which is when -- the armadillo SCREAMS (yes, they do that). It's looking past the Security Man, who HEARS a throaty CLICKING SOUND behind him, and SPINS, face-to-face with: ONE OF THE FOUR-LEGGED CREATURES from the ship! Yellow, albino eyes. MANDIBLES. The man turns to RUN -- BUT HE'S BLOCKED by the SECOND CREATURE! QUICK CUTS - SAVAGE, MERCILESS Strangled screams. IMPOTENT GUNSHOTS shatter the suburban stillness as --</scene_description> </scene> <scene> <stage_direction>EXT. RORY'S HOUSE - THAT MOMENT</stage_direction> <scene_description>TRAEGER bursts from the back door with his remaining Security Man. They RUSH in the direction of the screams and gunshots -- MOVING WITH TRAEGER He stumbles to a mute halt, SEEING: THE FIRST OF HIS MEN, splayed inside-out. The other one, nearby. Similarly crimson. Traeger registers alarm, but oddly, not much surprise. He keys his talkie:</scene_description> <character>TRAEGER</character> <dialogue>Team Edward to Team Jacob. Secure the perimeter.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>MCKENNA AND THE MEN, guns up. CASEY joins them, GRABS a pair of night-vision binocs to SEE: THE TWO PREDATOR HYBRIDS Retreating into the night. She swallows; adrenaline pumping.</scene_description> <character>CASEY</character> <dialogue>Jesus...</dialogue> <scene_description>(catches her breath) They're dogs. McKenna looks at her like she has antlers.</scene_description> <character>MCKENNA</character> <dialogue>Excuse me?</dialogue> <character>CASEY</character> <dialogue>The Predators -- they're hunters, get it?</dialogue> <scene_description>A mordant grin, despite herself:</scene_description> <character>CASEY</character> <dialogue>They brought their fucking dogs.</dialogue> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - NIGHT</stage_direction> <scene_description>McKenna SLAMS THROUGH THE FRONT DOOR, finds himself face to face with Emily -- HIS WIFE. Stone-faced:</scene_description> <character>EMILY</character> <dialogue>Hi, honey, you're home.</dialogue> <scene_description>An awkward moment -- then she clocks the shotgun in his hand.</scene_description> <character>MCKENNA</character> <dialogue>Where's Rory?</dialogue> <character>EMILY</character> <dialogue>Oh, I get it. You think you can just waltz in here and --</dialogue> <character>MCKENNA</character> <dialogue>I asked you a question.</dialogue> <character>EMILY</character> <parenthetical>(calling upstairs)</parenthetical> <dialogue>Agent Traeger, he's down here!!</dialogue> <character>MCKENNA</character> <dialogue>Nice try.</dialogue> <parenthetical>(taps earbud)</parenthetical> <dialogue>I was listening. Oh, and "What's he done now?" Thanks for that.</dialogue> <character>EMILY</character> <dialogue>What was I supposed to say?</dialogue> <character>MCKENNA</character> <dialogue>How about, "My ex-husband -- is my he all right?"</dialogue> <scene_description>This catches her off-guard.</scene_description> <character>EMILY</character> <dialogue>I thought you... hit bottom.</dialogue> <character>MCKENNA</character> <dialogue>Not yet. But hey, the night's young.</dialogue> <parenthetical>(repeats)</parenthetical> <dialogue>Where's our son?</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT - CONTINUOUS</stage_direction> <scene_description>McKenna bee-lines to Rory's "Control Area," SEES THE PARCEL he sent from Cuba. He shakes it. EMPTY.</scene_description> <character>MCKENNA</character> <dialogue>Shit -- !</dialogue> <character>EMILY</character> <parenthetical>(on the stairs)</parenthetical> <dialogue>What? He ordered some video games.</dialogue> <character>MCKENNA</character> <dialogue>No no no no...</dialogue> <scene_description>McKenna rifles through Rory's stuffs for any trace of the alien tech.</scene_description> <character>MCKENNA</character> <dialogue>The whole fucking reason I sent it to a P.O. box was so I wouldn't put you in danger! Goddammit.</dialogue> <parenthetical>(turns to her)</parenthetical> <dialogue>We need to find him -- NOW.</dialogue> <scene_description>He BOLTS, heading upstairs again --</scene_description> <character>EMILY</character> <dialogue>Quinn, you're scaring me.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - FIRST FLOOR</stage_direction> <scene_description>Back the way they came. McKenna tosses over his shoulder:</scene_description> <character>MCKENNA</character> <dialogue>So you let him order any video games he wants?</dialogue> <character>EMILY</character> <dialogue>Excuse me?</dialogue> <character>MCKENNA</character> <dialogue>I specifically said -- no first person shooters, no combat games. You don't even check, do you?</dialogue> <character>EMILY</character> <dialogue>Whatever. He has, like, THREE. Jesus--</dialogue> <scene_description>He turns on her.</scene_description> <character>MCKENNA</character> <dialogue>THREE?</dialogue> <character>EMILY</character> <dialogue>Yes. And did you ever think that maybe he plays them to connect with his father??</dialogue> <parenthetical>(catches herself)</parenthetical> <dialogue>Oh my God, we're doing this.</dialogue> <scene_description>She STOPS. Sees: THE LOONIES, gathered in her living room. A comical moment as they grin stupidly. Sheepish waves. McKenna, meanwhile: snatching PHOTOS OF RORY from walls, tables. School portraits, holiday pics --</scene_description> <character>EMILY</character> <dialogue>What are you doing? Give me those!</dialogue> <parenthetical>(to McKenna, re: Loonies)</parenthetical> <dialogue>Who are these people?!</dialogue> <scene_description>He calmly takes the pictures from her.</scene_description> <character>MCKENNA</character> <dialogue>They're my unit. They're soldiers.</dialogue> <scene_description>She blinks, incredulous:</scene_description> <character>EMILY</character> <dialogue>They look like ushers at a porno theater.</dialogue> <parenthetical>(to Williams)</parenthetical> <dialogue>No offense.</dialogue> <character>WILLIAMS</character> <parenthetical>(to McKenna)</parenthetical> <dialogue>The wife..?</dialogue> <character>MCKENNA</character> <dialogue>For better or worse.</dialogue> <parenthetical>(waves a hand)</parenthetical> <dialogue>Emily? Loonies. Loonies? Emily.</dialogue> <character>EMILY</character> <dialogue>Wait, back up -- your</dialogue> <scene_description>unit? (frowns) What happened to Haines..? Dupree?</scene_description> <character>MCKENNA</character> <dialogue>They're dead.</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>And the thing that killed them is looking for Rory. SO. You can think I'm crazy all you want --</dialogue> <scene_description>He looks her dead in the eye:</scene_description> <character>MCKENNA</character> <dialogue>But right now? Our son is in a kill box.</dialogue> <scene_description>He turns to the Loonies:</scene_description> <character>MCKENNA</character> <dialogue>I want a grid search. Three teams.</dialogue> <scene_description>He gives the first picture to Williams.</scene_description> <character>MCKENNA</character> <dialogue>(CONT'D) You go west.</dialogue> <parenthetical>(another picture for Baxley and Coyle)</parenthetical> <dialogue>You two, east.</dialogue> <parenthetical>(one for Nettles and Flyboy)</parenthetical> <dialogue>Up the middle.</dialogue> <scene_description>He turns to Emily -- who's shrugging into her COAT. Snatching up, of all things, a FIREPLACE POKER. He GRABS IT away --</scene_description> <character>EMILY</character> <dialogue>What are you doing? Our son's in danger!</dialogue> <character>MCKENNA</character> <dialogue>That's right, and last time I looked -- ?</dialogue> <parenthetical>(hefts his GUN)</parenthetical> <dialogue>This is match grade.</dialogue> <parenthetical>(the POKER)</parenthetical> <dialogue>This, not so much. But points for originality.</dialogue> <scene_description>He turns to the Loonies:</scene_description> <character>MCKENNA</character> <dialogue>Objective area's eight square blocks. Parallel sweeps. Stay on your radios.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Find my son.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE RORY'S HOUSE - NIGHT</stage_direction> <scene_description>WILLIAMS AND THE LOONIES split up with military precision; years of training back in play. McKenna turns to his wife:</scene_description> <character>MCKENNA</character> <dialogue>They're gonna come back, and they're gonna ask questions. All that matters is our boy.</dialogue> <parenthetical>(hands her a phone)</parenthetical> <dialogue>This is a burner, I'll call you.</dialogue> <character>EMILY</character> <dialogue>I don't like what you do, Quinn. I never did.</dialogue> <parenthetical>(grudging)</parenthetical> <dialogue>But watching you do it--?</dialogue> <character>MCKENNA</character> <dialogue>Turns you on, doesn't it?</dialogue> <scene_description>A warm look between them; a history of good and bad and everything in-between.</scene_description> <character>EMILY</character> <dialogue>Get out of here before I open that gun case.</dialogue> </scene> <scene> <stage_direction>EXT. ANOTHER STREET - SUBURBS - NIGHT</stage_direction> <scene_description>RORY lifts the Predator helmet, watches OTHER KIDS ringing doorbells, collecting goodies. Timid to try it himself...</scene_description> <character>OFF-SCREEN VOICE</character> <dialogue>Hey, Ass-Burger!</dialogue> <scene_description>Oh, Christ. IT'S E.J. -- the bully from school. Rory turns to go the other way. Finds himself boxed in by:</scene_description> <character>DEREK</character> <dialogue>What're you supposed to be?</dialogue> <character>RORY</character> <dialogue>Leave me alone.</dialogue> <character>E.J.</character> <dialogue>Or what -- ? You'll wash your hands five hundred times?</dialogue> <scene_description>Rory hurries away. The bullies dog his heels, chuckling</scene_description> </scene> <scene> <stage_direction>-- EXT. A CREEPY HOUSE - NIGHT</stage_direction> <scene_description>Patchy lawn. Porch light OFF. The least inviting house on this or any block. Possible escape..? Rory heads up the steps. Looks back -- THE BULLIES On the sidewalk, smirking. No turning back now. Gulp. He RINGS the doorbell. A BUZZ echoes from deep inside...</scene_description> <character>RORY</character> <dialogue>... trick or treat..?</dialogue> <scene_description>A VOICE from behind the door:</scene_description> <character>STONER'S VOICE</character> <dialogue>Fuck off.</dialogue> <scene_description>ON THE SIDEWALK -- E.J. and Derek CHORTLE with amusement. Taking the hint, Rory turns. Moves stiffly toward the street. A door CREAKS OPEN behind him, and... An unfriendly looking STONER appears in the darkened doorway.</scene_description> <character>STONER</character> <dialogue>Here's a treat, you little shit.</dialogue> <scene_description>He PITCHES SOMETHING through the air -- Splat! A ROTTEN APPLE SMACKS Rory in the back of the head. Bullies, laughing... The reaction is shockingly swift and spontaneous. PREDATOR MASK POV The interior of the helmet LIGHTS UP. Symbols, scrolling. TARGETING INFORMATION. A tiny PLASMA-CASTER juts forth -- UNLEASHES HELLFIRE. ON THE PORCH - THE STONER is literally DISINTEGRATED as the doorway BLOWS OUT ALL AROUND HIM -- ! EXT. A BLOCK AWAY - McKENNA AND CASEY see the EXPLOSION. Trade alarmed looks -- and RUN --</scene_description> </scene> <scene> <stage_direction>EXT. STONER'S HOUSE - NIGHT</stage_direction> <scene_description>The front lawn, SMOKING. Rory turns toward the slack- jawed bullies, his face the imposing PREDATOR BIOHELMET. The bullies almost shit their pants before FLEEING in abject terror --! Colored CHERRY LIGHTS flash over the scene -- POLICE CRUISER, INBOUND Rory pulls off the helmet as a ROOKIE COP draws his weapon.</scene_description> <character>ROOKIE COP</character> <dialogue>Freeze!</dialogue> <scene_description>But Rory panics, RUNS --</scene_description> </scene> <scene> <stage_direction>EXT. BACK ALLEY - RORY, HAULING ASS</stage_direction> <scene_description>And in his panic, DROPS the Predator biohelmet. He can't turn back -- so he KEEPS RUNNING.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - DRIVING - NIGHT</stage_direction> <scene_description>CUTTER at the wheel, as an APB SQUAWKS from:</scene_description> <character>POLICE BAND RADIO</character> <dialogue>-- male juvenile, ten to twelve years old, metal Halloween mask --</dialogue> <scene_description>Cutter grabs his talkie, SHOVES IT at the speaker of the police band radio.</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD - THAT MOMENT</stage_direction> <scene_description>CASEY AND MCKENNA ON THE MOVE. McKenna's talkie SQUELCHES:</scene_description> <character>POLICE BAND RADIO</character> <dialogue>-- repeat: moving east on Woodruff.</dialogue> <scene_description>McKenna swears. GRABS Casey --</scene_description> <character>MCKENNA</character> <dialogue>This way. Move.</dialogue> </scene> <scene> <stage_direction>EXT. BACK IN THE ALLEY</stage_direction> <scene_description>The PREDATOR DOGS emerge from the shadows. Sniffing. One snatches the FALLEN BIOHELMET in its mandibles -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. STONER'S HOUSE - SAME</stage_direction> <scene_description>More POLICE CRUISERS, BLOWING INTO FRAME. They jolt to a stop, just in time to see the ROOKIE COP come running, panting and wheezing. He calls to the new arrivals:</scene_description> <character>ROOKIE COP</character> <dialogue>I lost him!</dialogue> <scene_description>He stops. Puzzled. Looks left -- right --</scene_description> <character>ROOKIE COP</character> <dialogue>Where's my fucking car?</dialogue> </scene> <scene> <stage_direction>INT. SQUAD CAR - FLASHERS TURNING</stage_direction> <scene_description>WILLIAMS drives, slews around a corner--! Keys his walkie:</scene_description> <character>WILLIAMS</character> <dialogue>Eastbound on Buckingham. The kid's rabbiting, he's spooked.</dialogue> <scene_description>CUT TO: RORY, RUNNING Between houses, terrified, THE KUJHAD clutched in his sweaty hand -- the very thing the Predator's after.</scene_description> </scene> <scene> <stage_direction>EXT. JIM &amp; JOHN'S BAR-B-Q - NIGHT</stage_direction> <scene_description>RORY rounds a bend. STOPS in his tracks, path blocked by -- Christ. It's that fucking PIT BULL -- the one that taunts him on the way home from school. The dog GROWLS. Primal. Then, oddly -- moves RIGHT UP TO RORY. Stops beside him. Rory's brow furrows with confusion... Then, a decision. He reaches out, tentatively... to pet the dog? The dog doesn't flinch. Their eyes meet. A sweet, unspoken recognition that they're not all that different: two earth creatures, just trying to get by. Then the dog FREEZES. A throaty GROWL as it backs away from something OFF-SCREEN, and Rory TURNS TO SEE: ONE OF THE PREDATOR DOGS Snarling. Vicious. Rory gapes, thunderstruck -- Now the OTHER PREDATOR DOG appears! Thinking quickly: Rory STABS BUTTONS on the KUJHAD, and with that -- OTHERWORLDLY CREATURES APPEAR. HOLOGRAMS. The Predator dogs RETREAT, fearful. Nice job, Rory. Until the images FLICKER, and FADE. Damn! The sniffers turn toward Rory -- but just then, A VOICE from off-screen:</scene_description> <character>MCKENNA</character> <dialogue>Son!</dialogue> <scene_description>AND THERE'S HIS DAD, shotgun in hand. McKenna cocks and FIRES at the sniffers -- K-CHUK-BLAMM! K-CHUK-BLAMM! BUT THE SNIFFERS JUST KEEP COMING. A SQUAD CAR SCREAMS into the parking lot and -- WILLIAMS ROLLS OUT onto the pavement before the car's even stopped. Levels the grenade launcher. Click--! Nothing. Fucking thing's jammed. As he struggles to fix it, the OTHER VETS MOVE IN, loaded for bear. OPEN FIRE on the Predator Dogs. A HAIL STORM OF ARTILLERY--! The Sniffers barely flinch. Just KEEP -- MOVING -- FORWARD.</scene_description> <character>MCKENNA</character> <dialogue>Um, Gaylord?</dialogue> <scene_description>Williams finishes a final adjustment on the launcher --</scene_description> <character>WILLIAMS</character> <dialogue>I thought I told you --</dialogue> <scene_description>-- then THROWS IT into McKenna's waiting hands.</scene_description> <character>WILLIAMS</character> <dialogue>(CONT'D) Call me Nebraska.</dialogue> <scene_description>McKenna SPINS. WHOMMM--! FIRES A 40MM RECOILLESS GRENADE down the Predator dog's throat. A muted FWHHMPP! from within, and -- The creature BUCKLES. Punch-drunk. Finally topples as... THE SECOND SNIFFER crouches to attack. But that's when Williams steps forward, a BOLT GUN in hand. He levels it at the creature -- FIRES, AND -- THE BOLT impales the creature's forehead. It wavers. Lists. Walks in a lazy circle. Not dead but... no longer a threat. Nebraska Williams mutters ruefully:</scene_description> <character>WILLIAMS</character> <dialogue>Goddamn space aliens.</dialogue> <scene_description>But his triumph is short-lived as he looks to THE POLICE CAR he stole: because standing on top, bathed in the strobing colors of the lightbar is... THE PREDATOR. It STOMPS down the hood of the car, on a bee-line for Rory. McKenna pumps the shotgun, unloads: BLAM--! But the thing KEEPS RIGHT ON COMING.</scene_description> </scene> <scene> <stage_direction>INT. SQUAD CAR - NIGHT</stage_direction> <scene_description>Baxley at the wheel. He GUNS IT -- SLAMS into the Predator from behind at high speed!</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - SAME</stage_direction> <scene_description>Alas, nothing. The front fender is dented, but the Predator? Just glowers at Baxley like it's irked. Then -- CONTINUES TOWARD RORY... CASEY appears, CALLS out to McKenna:</scene_description> <character>CASEY</character> <dialogue>That thing in his hand! THAT'S WHAT IT WANTS--!</dialogue> <scene_description>MCKENNA RUNS -- grapples to wrest the device away from his son. But as always -- THE PREDATOR'S FASTER. The Creature GRABS McKENNA! SLAMS HIM, hard, into an old, neon "Jim &amp; John's" sign! It CRACKS and SPARKS--! And just as we consider saying good-bye to our lead, McKenna watches, stunned, as the Predator THUMBS A BUTTON on its wrist gauntlet and, believe it or not, TALKS: Guttural. Alien-sounding. But ENGLISH:</scene_description> <character>GOOD PREDATOR</character> <dialogue>... Coming... for me ... Run...</dialogue> <scene_description>Then -- a throaty CLICKING SOUND. From off-screen. The Predator turns to look. Stiffens; replies, that selfsame CLICKING. Defensive. Like two cats YOWLING at each other. The remaining alien DOG pricks up its ears -- looking back toward the approach of its owner... its MASTER.... At which point, McKenna and the others turn TO SEE: A MASSIVE SILHOUETTE EMERGING from the darkness. Rising up -- On first viewing, it very much resembles the iconic PREDATOR. It seems, if anything, more HUMAN than prior versions. McKENNA stands, blinking. Because this new, upgraded Predator? It's HUGE. TEN FEET TALL. With a SHRIEK, THE WINNEBAGO slews into the parking lot, Cutter at the wheel.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - ON CUTTER</stage_direction> <scene_description>as he catches his first glimpse of THE UPGRADE.</scene_description> <character>CUTTER</character> <dialogue>Baby Jesus on a pony.</dialogue> <scene_description>Which is when: OUTSIDE THE GOOD PREDATOR RELEASES MCKENNA; raises its PLASMA CANNON-- and TRIGGERS A WITHERING BLAST at the Upgrade--! Then another. And ANOTHER..! Nothing. Bupkis. Spit wads. Because this new, UPGRADED Predator? Doesn't need armor. Its body, its skin -- IS armor. RORY, MEANWHILE Stock still. In shock. McKenna approaches --</scene_description> <character>MCKENNA</character> <dialogue>Rory? Come on.</dialogue> <scene_description>Rory doesn't budge.</scene_description> <character>MCKENNA</character> <dialogue>Son? We have to go. RIGHT... FUCKING... NOW...</dialogue> <scene_description>No time for negotiations, McKenna PICKS UP HIS SON, backing slowly toward THE WINNEBAGO Where Cutter is frozen, gripping the wheel. McKenna and the others board the vehicle slowly; no sudden movements.</scene_description> <character>MCKENNA</character> <dialogue>How fast does this thing go?</dialogue> <scene_description>Cutter can't tear his away eyes from the upgrade.</scene_description> <character>CUTTER</character> <dialogue>Not fast enough.</dialogue> <scene_description>WITH THE PREDATORS (INTERCUT:) As the GOOD PREDATOR MOVES! As if to engage the upgrade -- to take him on. But that's what's scary. Because we thought our INITIAL Predator was a big deal. Invincible. But this?? As Cutter STOMPS the gas, the UPGRADE PREDATOR WHIPS AROUND -- COLLARS the smaller Predator -- HEFTS it -- LITERALLY TEARS IT APART BEFORE OUR EYES. WRENCHES its spine loose -- RAISES ITS BLOOD-SLICKED TROPHY to the full moon. Emits a primal, blood-chilling SHRIEK. It spins toward the Winnebago -- turns its eyes on us full blast -- and that's when we see it. REALLY see it: The EYES. They've... evolved. Human-looking.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - THAT MOMENT</stage_direction> <scene_description>Cutter GUNS IT--! and we INTERCUT:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBS - SERIES OF SHOTS - NIGHT</stage_direction> <scene_description>as the Winnebago SCREAMS along, SWERVING, clipping parked cars -- OUR PRINCIPALS gawking out the windows at: EERIE GLIMPSES of THE UPGRADE, in pursuit -- darting, leaping -- SPRINTING through the shadows alongside the SPEEDING RV. Speed, agility? Terrifying. The term "Predator" redefined.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - DRIVING</stage_direction> <scene_description>CASEY, apoplectic, points at THE KUJHAD Rory's still holding.</scene_description> <character>CASEY</character> <dialogue>Goddammit, McKenna, that's what it wants! That thing!</dialogue> <scene_description>A massive CRUNCH! as the huge vehicle JARS VIOLENTLY. It's trying to get in. RORY's curled up in a fetal ball. Not a fire alarm this time, but rather, CRIPPLING FEAR that's triggered his shutdown. And the Predator device--? He's clutching it, as if for dear life.</scene_description> <character>CASEY</character> <dialogue>For Christ's sake, GIVE IT TO HIM OR WE'RE ALL DEAD!</dialogue> <scene_description>McKenna knows she's right. And with sudden, terrifying force, violently PRIES HIS SON'S FIST OPEN to wrench it free--! Rory YELPS with pain and surprise as McKenna HURLS THE KUJHAD OUT an open window -- ! EVERYONE squints out the back of the Winnebago, glimpsing: THE UPGRADE as it scrambles for THE KUJHAD, and... SNAPS IT into the slot on ITS OWN wrist gauntlet. A last nightmarish glance at our escaping heroes -- then it DISAPPEARS into the night...</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - DRIVING - NIGHT</stage_direction> <scene_description>The group just stares blankly, speechless. The only sound, the rhythmic RATTLE of the RV's Chevy 454 engine. RORY winces, hands shaking. Afraid to look at McKenna. Less terrified of the Predator than the violence inflicted by his father. He HEARS BARKING, and -- OUT THE WINDOW - THE PIT BULL Now maybe Rory's only friend, chasing the Winnebago and BARKING into the night... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JIM AND JOHN'S BAR-B-Q- NIGHT</stage_direction> <scene_description>TRAEGER stands over the gnarled remains of the "good" Predator. POLICE and FBI VEHICLES form a perimeter. With trembling hand, he clutches a cell phone, says:</scene_description> <character>TRAEGER</character> <dialogue>Traeger here. The asset's dead.</dialogue> </scene> <scene> <stage_direction>INTERCUT: INT. DARK GOVERNMENT FACILITY (AREA 52)</stage_direction> <scene_description>A stocky, four-star GENERAL, on the phone. Square-jawed, with vaguely malevolent, dark eyes. This is WOODHURST, 66.</scene_description> <character>WOODHURST</character> <dialogue>Explain.</dialogue> <character>TRAEGER</character> <dialogue>There's a new player, sir. Our nightmare scenario. The genetics are... unprecedented.</dialogue> <character>WOODHURST</character> <dialogue>An upgrade?</dialogue> <character>TRAEGER</character> <dialogue>Affirmative. Pulled our asset apart like a piece of taffy.</dialogue> <character>WOODHURST</character> <dialogue>Jesus...</dialogue> <parenthetical>(ice cold)</parenthetical> <dialogue>You spooks over at Stargazer -- you were going to tell me you had an asset in captivity, weren't you..? Funny how I was only notified once it had escaped.</dialogue> <character>TRAEGER</character> <dialogue>Of course, sir. It had only been 72 hours, we were ascertaining --</dialogue> <character>WOODHURST</character> <dialogue>Shut up.</dialogue> <character>TRAEGER</character> <dialogue>Sir, I --</dialogue> <character>WOODHURST</character> <dialogue>Shut up.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Lies are wasted speech. You cross me again, I won't just kill you, I'll sell tickets. Understood?</dialogue> <character>TRAEGER</character> <dialogue>Understood... General.</dialogue> <character>WOODHURST</character> <dialogue>The asset brought something to earth. Something it wasn't supposed to have. Find it. Then bring it to me.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAK GROVE - NIGHTTIME</stage_direction> <scene_description>Very late now. The WINNEBAGO, cached in a grove of TREES. Crickets chirrup, peaceful... a breather, in other words. McKENNA's perched in a TREE. On watch. Glances down at: RORY, huddled among the loonies, drawing in the dirt with a stick. The poor kid's shivering; barely holding it together. CLOSE ON DIRT We see what he's absently etching with his stick, oblivious -- it's a crude MAP. And: we've seen it before... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>And a RINGING cell phone -- the burner McKenna gave Emily. Frantic with worry, she GRABS IT! HEARS:</scene_description> <character>MCKENNA'S PHONE</character> <dialogue>VOICE (filtered)</dialogue> <scene_description>It's me.</scene_description> <character>EMILY</character> <dialogue>Please tell me he's okay.</dialogue> </scene> <scene> <stage_direction>EXT. OAK TREE - NIGHT (INTERCUT:)</stage_direction> <scene_description>McKenna, on the ground now, clutching a cell phone. Williams, having a smoke nearby.</scene_description> <character>MCKENNA</character> <dialogue>He's fine, he's with me. I'll bring him home when it's --</dialogue> <scene_description>Emily's eyes flicker off-screen, uneasy.</scene_description> <character>EMILY</character> <dialogue>It's okay, you don't have to explain. Listen -- remember our first date..?</dialogue> <scene_description>McKenna, baffled.</scene_description> <character>MCKENNA</character> <dialogue>That night in Buckhead?</dialogue> <character>EMILY</character> <dialogue>Exactly.</dialogue> <scene_description>And with that, she hangs up. No explanation. McKenna frowns. WTF? Williams looks at him, quizzical.</scene_description> <character>WILLIAMS</character> <dialogue>"Night in Buckhead?"</dialogue> <character>MCKENNA</character> <parenthetical>(nods; remembering)</parenthetical> <dialogue>Yeah... we were going at it in my Trans Am that night, and --</dialogue> <scene_description>Sudden realization.</scene_description> <character>MCKENNA</character> <dialogue>... cops were watching us...</dialogue> </scene> <scene> <stage_direction>INT. RORY'S HOUSE - KITCHEN - REVEALING</stage_direction> <scene_description>His ex is, indeed, SURROUNDED BY BLACK OPS TECHNICIANS with surveillance equipment. Before they can stops her: Emily POPS the phone's SIM card, DROPS It into the sink's garbage disposal -- flicks on the water and the disposal.</scene_description> <character>EMILY</character> <dialogue>You guys fucked with the wrong family.</dialogue> </scene> <scene> <stage_direction>EXT. OAK GROVE - SAME</stage_direction> <scene_description>THE LOONIES are now climbing on and around the Winnebago, stretching camouflage netting over it. RORY watches.</scene_description> <character>RORY</character> <dialogue>I don't think that's gonna work.</dialogue> <character>BAXLEY</character> <dialogue>What do you mean?</dialogue> <character>RORY</character> <dialogue>Wrong colors, wrong pattern. They'll find us.</dialogue> <scene_description>McKenna appears behind him. Puts a hand on his shoulder.</scene_description> <character>MCKENNA</character> <dialogue>I think they know what they're doing.</dialogue> <scene_description>Rory FLINCHES at the touch, and McKenna quickly withdraws...</scene_description> </scene> <scene> <stage_direction>EXT. IN THE WOODS</stage_direction> <scene_description>NETTLES walks the perimeter, armed. Suddenly -- a familiar, blood-chilling CLICKING--! HE WHIPS around. But nothing. Shrubs. Dirt. Sudden SILENCE. Then -- THE CLICKING'S CLOSER! Nettles SPINS -- A FLASH OF THE PREDATOR DOG'S FACE fills the frame, as...</scene_description> </scene> <scene> <stage_direction>EXT. GROVE - BACK TO SCENE</stage_direction> <scene_description>McKenna and Rory, sitting side by side. Awkward. To break the tension, McKenna fishes in a pocket, produces a set of DOG TAGS. He hands them to Rory, who fingers them:</scene_description> <character>COLLETT, RORY T.</character> <dialogue>AIR FORCE 13006929</dialogue> <scene_description>The kid looks at his dad, confused.</scene_description> <character>MCKENNA</character> <dialogue>Friend of mine. From...</dialogue> <scene_description>An involuntary glance at the TEETH MARKS on his hand.</scene_description> <character>MCKENNA</character> <dialogue>... from a long time ago.</dialogue> <scene_description>Rory clutches the odd gift; oblivious to its significance.</scene_description> <character>RORY</character> <dialogue>Weird, us having the same name.</dialogue> <character>MCKENNA</character> <dialogue>Yeah.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>Funny, huh?</dialogue> <scene_description>Pause... then:</scene_description> <character>RORY</character> <dialogue>Mom says... you're a killer.</dialogue> <character>MCKENNA</character> <dialogue>I'm a soldier.</dialogue> <character>RORY</character> <dialogue>What's the difference..?</dialogue> <scene_description>Good question. McKenna looks at his son.</scene_description> <character>MCKENNA</character> <dialogue>When you like it -- that's when you're a killer.</dialogue> <character>RORY</character> <parenthetical>(nods)</parenthetical> <dialogue>Mom likes killing spiders.</dialogue> <character>MCKENNA</character> <dialogue>I hate spiders.</dialogue> <character>RORY</character> <parenthetical>(nods)</parenthetical> <dialogue>This is the most we've talked.</dialogue> <scene_description>Pause... almost companionable. Then:</scene_description> <character>RORY</character> <dialogue>I think it was a good guy.</dialogue> <character>MCKENNA</character> <parenthetical>(bewildered)</parenthetical> <dialogue>Excuse me?</dialogue> <character>RORY</character> <dialogue>The alien. The smaller one. He was trying to save us from the big one. Almost like there's two sides.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Maybe they're having a war.</dialogue> <scene_description>McKenna feels a sober chill... NEARBY - WILLIAMS Tenses, hearing something in the woods. He SPINS, levels his M16 into the darkness.</scene_description> <character>WILLIAMS</character> <dialogue>Company's coming.</dialogue> <scene_description>Which is when NETTLES BURSTS OUT OF THE BRUSH -- followed by that goddamn PREDATOR DOG! The surviving one; the one with the bolt in its forehead. But the group quickly realizes: it's not chasing him. It's merely following him.</scene_description> <character>NETTLES</character> <dialogue>Anybody got a goddamn Milk Bone?</dialogue> <scene_description>They watch curiously as the thing wanders like an obedient (if addled) puppy.</scene_description> <character>FLYBOY</character> <dialogue>Jesus, Nebraska, you lobotomized the poor sumbitch.</dialogue> <scene_description>The Predator Dog starts toward Rory. Instantly fearful, the kid GRABS a gnarled piece of wood and HURLS IT at the creature! It DUCKS -- turns to look at the fallen branch. Then... PADS AWAY to retrieve it. In seconds, it RETURNS to Nettles and DROPS IT at his feet.</scene_description> <character>NETTLES</character> <dialogue>Well, I'll be go-to-hell.</dialogue> <scene_description>He reaches to "pet" the thing. Gently takes its dreadlock-like appendages in his hand. THE SNIFFER reacts oddly. Suddenly disoriented. The group LAUGHS. Even Rory smiles; a moment of respite. Camaraderie.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - SAME</stage_direction> <scene_description>McKENNA enters. Gets himself a beer. CASEY says:</scene_description> <character>CASEY</character> <dialogue>Nice kid.</dialogue> <scene_description>McKenna nods thanks. Sits.</scene_description> <character>CASEY</character> <dialogue>You know... a lot of experts think being on the spectrum's not a disorder. Some think it might even be the next evolutionary step.</dialogue> <character>MCKENNA</character> <dialogue>All I know is, when his gram comes over, he ignores her and hugs a pillow she made.</dialogue> <character>CASEY</character> <dialogue>It's the same love. Just</dialogue> <scene_description>deflected. (cautiously) If I can offer an opinion... maybe you're a little bit afraid of each other? He shakes his head, rueful.</scene_description> <character>MCKENNA</character> <dialogue>Nice spin, but... I think we're both afraid of me.</dialogue> <scene_description>He takes a swig of his beer.</scene_description> </scene> <scene> <stage_direction>EXT. OAK GROVE - OUTSIDE THE WINNEBAGO - THAT MOMENT</stage_direction> <scene_description>THE VETS continue to play with the beast's DREADS. As they're touched, the Sniffer goes slack, wobbly. Like he's stoned.</scene_description> </scene> <scene> <stage_direction>INT. WINNEBAGO - SAME</stage_direction> <scene_description>McKenna, watching this through the window.</scene_description> <character>MCKENNA</character> <dialogue>What do you make of those--?</dialogue> <scene_description>(gestures to his hair:) The Marley shit?</scene_description> <character>CASEY</character> <dialogue>Maybe sensory receptors. Like... cat whiskers.</dialogue> <character>MCKENNA</character> <parenthetical>(sips his beer)</parenthetical> <dialogue>Anything else, professor?</dialogue> <scene_description>She looks at him grimly --</scene_description> <character>CASEY</character> <dialogue>Just this.</dialogue> <scene_description>-- and produces THE VIAL she stole from the lab.</scene_description> <character>CASEY</character> <dialogue>They extracted this from the Predator's spinal fluid. In layman's terms, it's like distilled "lizard brain." The part that kicks in under extreme survival conditions.</dialogue> <character>MCKENNA</character> <dialogue>So..?</dialogue> <character>CASEY</character> <dialogue>Remember I told you they rip out peoples' spines?</dialogue> <character>MCKENNA</character> <dialogue>Sure. Trophies, you said.</dialogue> <character>CASEY</character> <dialogue>Right. But if a Predator's first and foremost a survivor--</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wouldn't it make sense to collect DNA "souvenirs"?</dialogue> <character>MCKENNA</character> <dialogue>From... peoples' spines?</dialogue> <character>CASEY</character> <dialogue>Brain stem -- close enough. Look, suppose, just suppose, that these space creatures are... siphoning off our lizard brain juice.</dialogue> <character>MCKENNA</character> <dialogue>You don't have to overdo the "layman's terms" --</dialogue> <character>CASE</character> <dialogue>I'm just saying... it might explain the human DNA.</dialogue> <scene_description>McKenna considers this.</scene_description> <character>MCKENNA</character> <dialogue>Collecting "survival" traits, from the most high-end human specim --</dialogue> <character>CASEY</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Why stop there? Seriously -- why not other species, too?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Extreme hybridization. That's why they hunt. To extract the defense mechanisms from the strongest, the smartest, the most dangerous species on every planet they visit...</dialogue> <character>MCKENNA</character> <dialogue>To make hybrids.</dialogue> <parenthetical>(looks up, stunned)</parenthetical> <dialogue>Are you just pulling this out of your ass?</dialogue> <character>CASEY</character> <dialogue>This new Predator, the bigger one -- it didn't need a mask, you notice that? And did you see its fucking eyes?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They're evolving, Lieutenant. Changing.</dialogue> <character>MCKENNA</character> <dialogue>Or being upgraded.</dialogue> <character>CASEY</character> <dialogue>And here's the clincher.</dialogue> <parenthetical>(leans in)</parenthetical> <dialogue>Project Stargazer? The shit- show that recruited me?</dialogue> <scene_description>Mckenna shrugs: What about it?</scene_description> <character>CASEY</character> <dialogue>A stargazer's a type of flower; an orchid. And not just any orchid --</dialogue> <character>MCKENNA</character> <dialogue>Holy shit...</dialogue> <parenthetical>(softly)</parenthetical> <dialogue>A hybrid.</dialogue> <scene_description>Damn. McKenna gets up. Pacing. It's a lot to digest.</scene_description> <character>CASEY</character> <dialogue>That thing back there... the new one, "Thing Two"? Probably top of the line. "Thing One"? Last year's model.</dialogue> <parenthetical>(re: the sniffer)</parenthetical> <dialogue>Old Yeller out there's another kind. But none of them is the essential Predator. You know why? Because survival is. Because this --</dialogue> <scene_description>She holds up the vial, locks eyes with McKenna.</scene_description> <character>CASEY</character> <dialogue>This is the Predator.</dialogue> <scene_description>A SOUND rises outside. Distant WHORPLE of chopper blades. McKenna's up like a shot.</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - MOMENTS LATER</stage_direction> <scene_description>McKenna bursts outside -- looks to Flyboy, who's stock still, gauging the sound of the incoming copter:</scene_description> <character>FLYBOY</character> <dialogue>Sounds like a Pave Hawk.</dialogue> <scene_description>Sikorsky. (looks at McKenna) Not civilian. All McKenna needs to hear. He whirls round --</scene_description> <character>MCKENNA</character> <dialogue>Lights out! MOVE--!</dialogue> <scene_description>THE LOONIES SCRAMBLE to turn off lanterns as McKenna DIVES into the Winnebago; renders it dark. Everyone freezes... THE SIKORSKY ROARS OVERHEAD, a blinding SEARCHLIGHT raking the woods. Slowly, the SOUND diminishes. Then... THE COPTER TURNS. Start back in their direction. Shit! McKenna looks around. As the ersatz C.O., it's on him to form a plan. He looks at his "men." Motley as they seem, they're SERVICEMEN, U.S. Vets. And they're nothing if not loyal.</scene_description> <character>MCKENNA</character> <dialogue>(CONT'D) Best split up.</dialogue> <parenthetical>(to Nettles)</parenthetical> <dialogue>You and Flyboy, west.</dialogue> <scene_description>(to Baxley and Coyle) You two north.</scene_description> <character>FLYBOY</character> <dialogue>But -- what do we do?</dialogue> <scene_description>And McKenna sees in their faces: they don't want to go. He grasps at straws to give them something. A mission.</scene_description> <character>MCKENNA</character> <parenthetical>(to Flyboy)</parenthetical> <dialogue>We'll need air transport. Something that can outrun that Pave Hawk.</dialogue> <parenthetical>(looks at Nettles)</parenthetical> <dialogue>And maybe some incendiaries. Never know when we could use a diversion. Roger that?</dialogue> <scene_description>And that's when: The Loonies, God bless 'em, SALUTE MCKENNA. He looks at them, abruptly moved.</scene_description> <character>MCKENNA</character> <dialogue>Wish I had coordinates, but...</dialogue> <character>FLYBOY</character> <dialogue>We'll find you, sir.</dialogue> <scene_description>McKenna nods. SNAPS back a salute. And with that, the LOONIES DISPERSE; grabbing weapons, disappearing into the woods.</scene_description> <character>CUTTER</character> <parenthetical>(to McKenna)</parenthetical> <dialogue>They know it's a snipe hunt, right?</dialogue> <scene_description>Rory's observed this whole exchange. A tentative VOICE:</scene_description> <character>RORY</character> <dialogue>What's a snipe hunt?</dialogue> <character>WILLIAMS</character> <dialogue>When you're chasing something you'll never find.</dialogue> <character>MCKENNA</character> <parenthetical>(urgent)</parenthetical> <dialogue>Come on.</dialogue> <scene_description>They turn to make a run for it. Get five yards before they're STARTLED by: The PREDATOR DOG; gnarled stick clenched in its mandibles! Try as it might to be adorable, it's one ugly motherfucker. As the HELICOPTER grows louder, Casey makes frantic "shoo- ing" motions. But the Sniffer isn't taking the hint. She spies an errant GRENADE on the ground, SNATCHES IT UP. And LOBS it as far as she can, into a ravine. The Sniffer drops the wood and RACES after it. Problem solved. Except -- THE SIKORSKY Is now circling the clearing. GOD-LIGHT, stabbing down --</scene_description> </scene> <scene> <stage_direction>TIME CUT: EXT. CLEARING - THE SIKORSKY</stage_direction> <scene_description>Touching down. (Loonies and Sniffer, long gone.) TRAEGER steps down from the chopper, wind WHIPPING. His men DRAW WEAPONS on Williams and Cutter, as...</scene_description> <character>TRAEGER</character> <parenthetical>(re: Winnebago)</parenthetical> <dialogue>Whose idea was the jungle camo?</dialogue> <scene_description>McKenna glances at Rory, who shrugs -- told you so.</scene_description> <character>TRAEGER</character> <dialogue>Should have used Woodland. Might as well have shot up a signal flare.</dialogue> <scene_description>He approaches Casey. Regards her with a grin, then -- extends his open palm. After a beat, she stiffly hands him THE VIAL.</scene_description> <character>TRAEGER</character> <dialogue>There, now. That wasn't so hard.</dialogue> <scene_description>His men rudely PAT DOWN McKenna and the others.</scene_description> <character>TRAEGER</character> <dialogue>Where is it?</dialogue> <character>MCKENNA</character> <dialogue>Where's what?</dialogue> <character>TRAEGER</character> <dialogue>The device. It goes --</dialogue> <parenthetical>(mimes Predator's wrist gauntlet)</parenthetical> <dialogue>-- right in here.</dialogue> <character>CASEY</character> <dialogue>We threw it out of the RV. That thing has it.</dialogue> <scene_description>Traeger ponders.</scene_description> <character>TRAEGER</character> <dialogue>You know what I think? I think it's time for some... robust discussion.</dialogue> <scene_description>SMASH TO: MCKENNA'S FACE CRACK--! It SLAMS into the ground! Pummeled, caked with dirt. Purplish welts glisten, backlit by searchlights. It'll take a minute, but eventually you'll get it: we are in an abandoned abattoir. A SLAUGHTERHOUSE.</scene_description> </scene> <scene> <stage_direction>EXT. HOLDING PEN - NIGHT</stage_direction> <scene_description>McKENNA, on his knees. TWO BLACK-CLAD MERCS loom over him.</scene_description> <character>MERC</character> <dialogue>You hid it once. In the mail. Where'd you hide it this time?</dialogue> <scene_description>A BRUTAL KICK for emphasis. McKenna COUGHS blood.</scene_description> <character>MERC</character> <dialogue>This is getting old, Lieutenant. Cough up some more blood if you agree.</dialogue> <scene_description>Another KICK--! McKenna writhes in the mud... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ABATTOIR OFFICE - SAME</stage_direction> <scene_description>CASEY, handcuffed to a chair. A few feet away, Traeger pours himself a drink. Holds up the bottle:</scene_description> <character>TRAEGER</character> <dialogue>Can I tempt you, Ms. Brackett?</dialogue> <character>CASEY</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Just tell me, why are they fucking HERE? If it's not to hunt, then WHY?</dialogue> <scene_description>Traeger regards her coolly, shrugs, smiles:</scene_description> <character>TRAEGER</character> <dialogue>Ms. Brackett, do you remember a few years back when Hostess went bust? There was a run on Twinkies. Snapped up, coast to coast. "Get 'em while they last", remember?</dialogue> <character>CASEY</character> <dialogue>What are you saying, we're Twinkies?</dialogue> <character>TRAEGER</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Think about it. How long before climate change makes the planet unlivable? Two generations? One?</dialogue> <scene_description>Casey's blinks -- dawning realization:</scene_description> <character>CASEY</character> <dialogue>Jesus. We're an endangered species, and they know it. That's why they keep coming here -- they want to snap up our best DNA before it goes bye-bye.</dialogue> <character>TRAEGER</character> <dialogue>Exactly. Adapt themselves with it, then... move in.</dialogue> <scene_description>Casey blinks, stunned.</scene_description> <character>CASEY</character> <dialogue>What about their own planet?</dialogue> <character>TRAEGER</character> <dialogue>We think it's dying.</dialogue> <parenthetical>(frowns)</parenthetical> <dialogue>Well -- cooling, to be precise. You read the file, they thrive in a hot-house environment. Maybe they want to make a move to ours. It is getting warmer, you know.</dialogue> <scene_description>Casey shudders.</scene_description> <character>CASEY</character> <dialogue>And your angle -- the upgrade tech, am I right?</dialogue> <character>TRAEGER</character> <parenthetical>(shrugs)</parenthetical> <dialogue>If we can upgrade ourselves? Become the ultimate survival engines--? Why wouldn't we?</dialogue> <scene_description>Casey looks sick to her stomach.</scene_description> <character>CASEY</character> <dialogue>How would you disseminate it? Who gets it?</dialogue> <character>TRAEGER</character> <dialogue>Whoever can afford it, of course.</dialogue> <scene_description>He grabs her by the hair. Yanks tightly.</scene_description> <character>TRAEGER</character> <dialogue>Now something is on that hijacked ship, and I think you know what it is...</dialogue> </scene> <scene> <stage_direction>INT. SLAUGHTERHOUSE - NIGHT</stage_direction> <scene_description>A rail system circles the room with meat hooks on it. In one corner, a group of CRYPTOGRAPHERS study the familiar PREDATOR HIEROGLYPHICS on a large DRY ERASE BOARD. RORY SITS nearby, drawing with crayons. A lone GUARD keeps watch on. Glances at Rory's drawing. Says, offhandedly:</scene_description> <character>GUARD</character> <dialogue>What's that?</dialogue> <scene_description>Rory shrugs; doesn't look up.</scene_description> <character>RORY</character> <dialogue>Map.</dialogue> <character>GUARD</character> <dialogue>Map of what?</dialogue> <character>RORY</character> <dialogue>Where the ark is.</dialogue> <scene_description>The CHATTER in the room STOPS. All eyes on Rory. A CRYPTOGRAPHER approaches him, slow. Smiles tentatively. Points at the drawing, says:</scene_description> <character>CRYPTOGRAPHER</character> <dialogue>Um... do you mind if I..?</dialogue> <scene_description>Another shrug from Rory. Whatever. The Cartographer takes the "map" to the Team Leader.</scene_description> <character>TEAM</character> <dialogue>LEADER (sotto)</dialogue> <scene_description>Are you insane? He's a kid --</scene_description> <character>CRYPTOGRAPHER</character> <dialogue>A kid who had that biohelmet for twenty-four hours.</dialogue> <character>TEAM LEADER</character> <dialogue>Even if the ship is there, we still need the key to get in, the entry code's on the fucking KEY.</dialogue> <scene_description>He gestures at the dry erase board; DOZENS of attempts to translate the Predator language into letters or numbers.</scene_description> <character>TEAM LEADER</character> <dialogue>That sequence could be a hundred digits, for all we know--!</dialogue> <character>RORY'S VOICE (O.S.)</character> <dialogue>Twenty-two.</dialogue> <scene_description>Every head in the room turns to:</scene_description> <character>RORY</character> <dialogue>I'm pretty sure it's twenty-two.</dialogue> <scene_description>You can hear a pin drop. TIME CUT: MINUTES LATER - SAME Traeger approaches Rory, feigning nonchalance. Attempts a paternal tone:</scene_description> <character>TRAEGER</character> <dialogue>Hi, Rory. I'm Will. I understand you know how to access the spaceship.</dialogue> <scene_description>Rory nods, tense. Bites his lip. Traeger grins. TRAEGER (CONT'D) Here's the thing. We work for the United States Government. Just like your dad.</scene_description> <character>RORY</character> <dialogue>Except you're assholes.</dialogue> <scene_description>Traeger's grin slips. Then he plasters it back on. Holds up Rory's drawing: the MAP.</scene_description> <character>STEVENS</character> <dialogue>I won't argue. Question is... will you get me into this ship, or not?</dialogue> <scene_description>Rory stiffens, wary.</scene_description> <character>RORY</character> <dialogue>If you let my dad go.</dialogue> <scene_description>Traeger glances at his lackeys. "Kid's good." He leans in:</scene_description> <character>TRAEGER</character> <dialogue>Okay. You want to play grown-up, let's play grown-up. Man to man..? We're not going to let him go. Not until you give us what we want. But when you do -- I promise he'll go back to the V.A. hospital... where they will take good care of him.</dialogue> <character>RORY</character> <dialogue>What if I don't tell you?</dialogue> <scene_description>Traeger shakes his head with disappointment; tsk tsk tsk.</scene_description> <character>TRAEGER</character> <dialogue>Oh, now, Rory... I thought we were playing grown-up.</dialogue> </scene> <scene> <stage_direction>EXT. HOLDING PEN - A FEW MOMENTS LATER</stage_direction> <scene_description>McKenna, face in the dirt. Groggy. Barely conscious. SEES: HIS POV - RORY being dragged to a waiting Sikorsky. Fueled, blades spinning. MCKENNA STARTS TO MOVE, when suddenly --</scene_description> <character>OFF-SCREEN VOICE</character> <dialogue>Not so fast, slick.</dialogue> <scene_description>THWACK--! Another KICK to his gut. THOSE FUCKING MERCS, standing over him. He watches helplessly as THE CHOPPER Lifts off, WHORPLES into the night sky. As it does, one of the mercs draws his sidearm to END this, says to his buddy:</scene_description> <character>MERC#1</character> <dialogue>Golf tomorrow?</dialogue> <character>MERC #2</character> <dialogue>Why not?</dialogue> <scene_description>McKenna sees what he's doing -- COUGHS. Ropey spits of blood.</scene_description> <character>MCKENNA</character> <dialogue>... You know what... burns me</dialogue> <scene_description>up..? (gasp, cough) You never even... read my file, did you..? The mercs trade amused glances.</scene_description> <character>MERC #1</character> <dialogue>What makes you think that?</dialogue> <character>MCKENNA</character> <dialogue>'Cause you're makin' plans... for tomorrow.</dialogue> <scene_description>The mercs, VERY amused by this.</scene_description> <character>MCKENNA</character> <dialogue>Worst part? Is you... making me lie to my son. I really don't like to do that.</dialogue> <character>MERC#2</character> <dialogue>What lie did you tell him?</dialogue> <scene_description>McKENNA, face to camera, grins:</scene_description> <character>MCKENNA</character> <dialogue>That I wouldn't enjoy this.</dialogue> <scene_description>That's when his HAND DARTS OUT, SNATCHES the guy's forearm; uses his other hand for leverage, and -- Crack--! The MERC SCREAMS as McKenna SNAPS HIS FOREARM at an alarming angle, then GRABS the man's gun, presses it into his eye -- BLAM--! The MERC DROPS WITH A THUD as McKenna stands, levels the sidearm at the remaining MERC; frozen in place. Like the Predator in the lab, he was playing possum. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MEAT REFRIGERATOR</stage_direction> <scene_description>A walk-in. Williams and Cutter, sitting on the floor. They LOOK UP TO SEE: THE MERC opening the thick, industrial door; McKenna holds him at gunpoint, says to the guy:</scene_description> <character>MCKENNA</character> <dialogue>Now the armory.</dialogue> </scene> <scene> <stage_direction>EXT. HOLDING PEN</stage_direction> <scene_description>A MERC rounds a corner -- EYES GO WIDE. HIS POV -- the MAN McKENNA KILLED, wedged into a corner. The guy turns to raise an alarm -- STOPS. His eyes widen. AN INHUMAN SHAPE, LOOMING over him.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE</stage_direction> <scene_description>A GUN at the back of CASEY'S HEAD. She closes her eyes, waits for the shot -- As, abruptly, we hear loud clumping noises from the corridor outside. FOOTFALLS, as AN INTRUDER, NOW Pokes his head around the corner. Snuffling, drooling. As benign as it is INHUMAN: THE PREDATOR DOG. The sniffer. Wagging its tail, no less. Sees Casey, the intended target of its current game-in-progress... and FYI, in its mouth? THE GRENADE from the clearing. It's FETCHED it. Brought it back. It DROPS the grenade -- CLUNK! -- right in Casey's lap. Her ASSASSIN, stupefied... Casey wastes no time: SNATCHES UP the grenade -- pulls the pin -- SHOVES IT down the guard's SHIRT BACK. Promptly BOLTS FOR THE DOOR, dragging the CHAIR she's handcuffed to --</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>Hits the deck as -- FWOOM!! -- the room BLOWS OUT BEHIND HER! Blood and dust and dry wall. Smoke clears, and... THE PREDATOR DOG pads out of the room, unscathed. Drops a new toy at her feet. Wait, sorry. Not a toy. The GUARD'S SEVERED HEAD. Casey throws up a little in her mouth as she hears FOOTFALLS. SEES McKENNA, WILLIAMS, CUTTER (in his wheelchair) come around a corner, armed to the teeth.</scene_description> </scene> <scene> <stage_direction>EXT. SLAUGHTERHOUSE - NIGHT</stage_direction> <scene_description>McKenna opens the door a crack. PEERS OUT: HIS POV: SOLDIERS run around the perimeter, taking up firing positions to prevent their escape. McKenna, Williams and Cutter trade looks. Shrug.</scene_description> <character>CUTTER</character> <dialogue>Duck soap.</dialogue> <character>WILLIAMS</character> <dialogue>Piece of cake.</dialogue> <scene_description>They LOCK AND LOAD, no hesitation. CASEY gapes. It's suicide.</scene_description> <character>CASEY</character> <dialogue>See this? THIS is why the army thinks you're crazy!</dialogue> <scene_description>Except... a SOUND now. A low pulse; BASS VIBRATO from outside. MCKENNA peers through the crack again... and his eyes widen. An involuntarily gasp.</scene_description> <character>MCKENNA</character> <dialogue>You've got to be kidding me.</dialogue> </scene> <scene> <stage_direction>EXT. SLAUGHTERHOUSE - NIGHT - START ON AN ADVERTISING BANNER</stage_direction> <scene_description>FLAPPING in the wind. And on it, an airbrushed, scantily clad girl ("A New Look for Sexy!") being pulled by... A PINK HELICOPTER. Yes, pink. The Victoria's Secret logo on the side, no less, as we REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CHOPPER - FLYING - NIGHT</stage_direction> <scene_description>FLYBOY AT THE HELM, of course. The other VETS (NETTLES, BAXLEY, COYLE) in the back. THE LOONIES to the rescue!</scene_description> </scene> <scene> <stage_direction>EXT. SLAUGHTERHOUSE - THAT MOMENT</stage_direction> <scene_description>As the pink copter LANDS unsteadily and -- AT THE EXIT DOOR McKenna SHOVES IT OPEN, and... OUR HEROES RUN FOR IT, into the open, GUNS BLAZING--! Williams PUSHES THE WHEELCHAIR at high speed; Cutter's M60 CHATTERING as hot shell casings SPIT out the side -- ! AT THE STOLEN COPTER McKenna and Williams provide COVERING FIRE as Casey and the Loonies HEFT CUTTER ABOARD, then -- YANK HIS WHEELCHAIR IN.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN COPTER - CONTINUOUS</stage_direction> <scene_description>This chopper was built for five people. Current load? EIGHT. Plus a wheelchair. Lufthansa, it ain't. As FLYBOY LIFTS OFF --</scene_description> <character>MCKENNA</character> <dialogue>Very inconspicuous.</dialogue> <character>FLYBOY</character> <dialogue>We had to kill seven Victoria's Secret models.</dialogue> <character>CASEY</character> <dialogue>Tell me you're joking.</dialogue> <character>FLYBOY</character> <dialogue>I'm joking. I'd sooner piss on the Mona Lisa.</dialogue> <scene_description>He throttles up, pulls up on the collective.</scene_description> </scene> <scene> <stage_direction>EXT. SLAUGHTERHOUSE - SERIES OF SHOTS - NIGHT</stage_direction> <scene_description>As the copter rises, MERCS OPEN FIRE. Too little, too late --</scene_description> </scene> <scene> <stage_direction>INT. STOLEN COPTER</stage_direction> <scene_description>Flyboy looks to McKenna for direction.</scene_description> <character>FLYBOY</character> <dialogue>You got a heading in mind, Lieutenant?</dialogue> <scene_description>McKenna squints down at the rushing landscape. Casey points: THE PREDATOR DOG hauling ass, SOUTHBOUND.</scene_description> <character>CASEY</character> <dialogue>Follow that dog.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE CLEARING - DAY IS BREAKING</stage_direction> <scene_description>On first blush, we're back in Cuba. Same tropical foliage, same humidity, same goddamn mosquitoes. Then we HEAR: TRUDGING BOOTS. CRACKLE of radio crosstalk. And that's when we note: a long BUMPY GREEN ROCK. Wait a minute. Did it just... move? Yes, it did. Because it's not a rock. It's a fucking ALLIGATOR -- Because we're in FLORIDA. The gator sinks into the swamp as TRAEGER EMERGES from the brush, flanked by A SMALL ARMY OF MERCS; poor Rory in tow. An AIDE clutches a hand-held GPS device.</scene_description> <character>TRAEGER'S AIDE</character> <dialogue>We're at the waypoint. Should be right here.</dialogue> <scene_description>But the clearing is just that: clear. Then, Traeger notices:</scene_description> <character>TRAEGER</character> <dialogue>What are those?</dialogue> <scene_description>They're DEAD BIRDS, laying on the jungle floor in a wide arc. A MERC CHEWING TOBACCO Examines them. Nudges one with his boot. He SPITS to the side, and -- splat! The spittle HANGS THERE IN MID-AIR. Traeger sees this. Intrigued. Turns to a MERC.</scene_description> <character>TRAEGER</character> <dialogue>Give me your weapon.</dialogue> <parenthetical>(takes the gun)</parenthetical> <dialogue>Paint pellets.</dialogue> <scene_description>The soldier scoops some glycol pellets, hands them over. Traeger loads them -- FIRES, twice. THOOK! THOOK! Eerily, the TWO SPLATS OF PAINT stay frozen in the air, COATING AN INVISIBLE SURFACE. Traeger points:</scene_description> <character>TRAEGER</character> <dialogue>FIRE!</dialogue> <scene_description>The entire brigade OPENS FIRE with a BLISTERING FUSILLADE! RORY clamps his hands over his ears, SCREAMS silently. Under the bombardment, a series of spastic SHIMMERS as, BEFORE OUR EYES... THE PREDATOR SPACECRAFT APPEARS--! Its cloaking device short-circuited by the assault. Soldiers gape as -- Traeger tenses. Looks around. Where's the Predator? But nothing. Silence. A thin smile of triumph:</scene_description> <character>TRAEGER</character> <dialogue>(CONT'D) We beat it here.</dialogue> <parenthetical>(to his aide)</parenthetical> <dialogue>Get on the horn. Tell Woodhurst we have his space ship.</dialogue> <scene_description>He turns to Rory -- ushers the boy forward, gripping his shoulder. SHOVES HIM toward -- THE SHIP'S ENTRYWAY And next to the hatch... an ALIEN CODE BOX.</scene_description> <character>TRAEGER</character> <dialogue>Open it.</dialogue> <scene_description>Rory hesitates. Feeling all eyes on him, he relents. Reaches for the code box. TWO DOZEN DUMBSTRUCK SOLDIERS look on -- As a little boy inputs the code from memory. SH-KKK! As easy as that, the HATCH OPENS. Traeger turns to his AIDE. Points. You're coming, too.</scene_description> </scene> <scene> <stage_direction>INT. THE ARK</stage_direction> <scene_description>A cavernous THRUM oscillates as Traeger looks around, petrified. The technology is clearly alien. Then he notices: THE STASIS CYLINDERS INSET around the periphery of the hold.</scene_description> <character>TRAEGER'S AIDE</character> <dialogue>What the hell are they?</dialogue> <character>TRAEGER</character> <dialogue>Property of Project Stargazer, that's what they are.</dialogue> <parenthetical>(to his aide)</parenthetical> <dialogue>Tell the men to secure the craft; get it ready for transport. I want it moving before that... THING gets here.</dialogue> <scene_description>RORY, meanwhile, has noticed a control panel: A MONITOR On it, THE GRAPHIC depicted in our opening. The stasis cylinders HIGHLIGHTED IN RED with time-code beside them. Except the COUNTDOWN has stopped, MID-SEQUENCE... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. STOLEN COPTER - FLYING - LATE AFTERNOON</stage_direction> <scene_description>No longer morning, it's late in the day... MCKENNA and CASEY, eyeing the rolling country below. Palmettos, swampland -- and, galloping in and out of sight: THE SNIFFER. McKenna whispers:</scene_description> <character>MCKENNA</character> <dialogue>Go, baby, go. Run to papa.</dialogue> <scene_description>Casey frowns. Points below, WHERE: THE SNIFFER has STOPPED; visible now on a low hill overlooking a road closure, beyond which: some kind of activity. McKENNA raises his binocs: HIS POV - ABANDONED DIRT ROAD Not just "activity" -- it's THE ARK. Currently in transit -- THE ARMY CORPS OF ENGINEERS SWARM round a huge FLATBED TRUCK, removing tarp from the spacecraft. Showers of SPARKS as they solder towing rings; LASH steel cables.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN COPTER - SAME</stage_direction> <scene_description>Flyboy pops a wad of bubble gum, says:</scene_description> <character>FLYBOY</character> <dialogue>Looks like they got it this far by truck. Now they're prepping to airlift it in.</dialogue> <scene_description>Seeing something, Casey grabs McKenna's binocs. HER POV: TRAEGER BELOW In the eye of the hurricane, giving orders.</scene_description> <character>CASEY</character> <dialogue>There's that asshole, Traeger.</dialogue> <scene_description>McKenna goes taut.</scene_description> <character>MCKENNA</character> <dialogue>That means Rory's down</dialogue> <scene_description>there. (to Flyboy) Take us down. FLYBOY banks sharply, descends into the trees, as we -- CUT TO: A SIGN being strapped to a palmetto tree with wire: DANGER: QUARANTINE AREA -- AIR FORCE PERSONNEL ONLY</scene_description> </scene> <scene> <stage_direction>EXT. FLORIDA HIGHWAY - DAY</stage_direction> <scene_description>A FIVE YEAR-OLD kid, cowlick, cutoffs, licking a Popsicle, watches a SOLDIER put the sign up. WIDER - A TRAILER PARK where a dozen or so RESIDENTS have set up beach chairs to watch. Not a lot to do in the trailer park, apparently. GIRLS IN BIKINIS man A CUBAN FOOD TRUCK; boom-box BLARING. A terrible Ricky Ricardo caricature advertises CUBAN PETE'S. Then a bone-jarring BASS RATTLE as --</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - OUTSIDE TRAILER PARK - SAME</stage_direction> <scene_description>OUR MERRY BAND (McKenna, Casey, et al) crouched in the trees near the trailer park, LOOKING SKYWARD as -- TWO BOEING VERTOL HEAVY LIFTING HELICOPTERS (HLH) THUNDER overhead, en route to The Ark.</scene_description> <character>FLYBOY</character> <dialogue>Heavy lifting copters. It's an airlift, all right.</dialogue> <scene_description>The massive copters WHORPLE over an adjacent CRACKER BARREL restaurant.</scene_description> <character>MCKENNA</character> <dialogue>We've gotta get closer to the perimeter. Blend in somehow.</dialogue> <character>WILLIAMS</character> <parenthetical>(scoffs)</parenthetical> <dialogue>Like this?</dialogue> <scene_description>He gestures to the group, FESTOONED with AK's, AR- 15's, holstered glocks -- not to mention TRANQ GUNS.</scene_description> <character>CASEY</character> <dialogue>Stand out like a sore thumb.</dialogue> <character>MCKENNA</character> <dialogue>Yeah? When's the last time you stopped in a crowd and said, "Hey, that guy over there -- his thumb looks sore." Be honest.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Fine. We bag the guns.</dialogue> <scene_description>Across the road, the CRACKER BARREL'S DOORS OPEN: And out trudge three men, ALL STRAPPED to the fucking teeth. Assault rifles. Pistols. They wave heartily at McKenna, hoist a bucket of chicken --</scene_description> <character>MAN #1</character> <dialogue>Y'all hungry?</dialogue> <scene_description>A ten year-old GIRL scrambles from under the porch, sporting a CROSSBOW and a .44 Magnum.</scene_description> <character>NETTLES</character> <dialogue>Florida... We're blending.</dialogue> <character>COYLE</character> <dialogue>Hey, you wanna blend more? Shoot the kid. Claim "Stand Your Ground."</dialogue> <character>WILLIAMS</character> <dialogue>Stab a gator and you'll be practically invisible.</dialogue> <character>CASEY</character> <parenthetical>(exasperated)</parenthetical> <dialogue>We done?</dialogue> <character>NETTLES</character> <dialogue>One more.</dialogue> <scene_description>(thinks, changes his mind) Nah, we're done.</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER PARK - SAME</stage_direction> <scene_description>Our heroes troop into the bustling TRAILER PARK, approach the CUBAN PETE TRUCK. MCKENNA clocks the back of the truck, covered in ANTI-GOVERNMENT SLOGANS -- banners, placards. MCKENNA (to Casey; sotto) You still have your Stargazer I.D.? She nods, hands it over with apprehension:</scene_description> <character>CASEY</character> <dialogue>You're gonna do something stupid, aren't you?</dialogue> <scene_description>McKenna and Williams trade conspiratorial grins.</scene_description> <character>WILLIAMS</character> <dialogue>Lady? You haven't seen stupid yet.</dialogue> <scene_description>AT THE CUBAN PETE TRUCK A fenced-off patch of SOD next to the truck hosts a few struggling tomatoes. The PROPRIETER ("PETE") tends it. McKENNA approaches.</scene_description> <character>MCKENNA</character> <dialogue>Sir--?</dialogue> <character>PROPRIETER ("PETE")</character> <dialogue>Call me Pete. What can I do for you?</dialogue> <character>MCKENNA</character> <dialogue>Well, Pete, my name's McKenna. Until recently, I worked for the U.S. Government --</dialogue> <scene_description>He flashes Casey's (temporary) government credentials.</scene_description> <character>MCKENNA</character> <dialogue>-- for THOSE people.</dialogue> <parenthetical>(points toward the quarantine signs)</parenthetical> <dialogue>Well, guess what, brother? They're at it again. A cover-up. You think that's really a toxic leak in those woods?</dialogue> <character>"PETE"</character> <dialogue>What, then?</dialogue> <scene_description>McKenna adopts a solemn look.</scene_description> <character>MCKENNA</character> <dialogue>What if I told you... there's something in those trees, and it ain't no man.</dialogue> <scene_description>Cuban Pete tenses.</scene_description> <character>"PETE"</character> <dialogue>It's Bigfoot, isn't it?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE ARK - SAME</stage_direction> <scene_description>RORY is still inside the spacecraft, under guard. He explores... casts his eyes round the interior, notices: An EQUIPMENT ALCOVE. And in it... a PREDATOR BIO-MASK like the one he wore on Halloween. He reaches for it --</scene_description> <character>GUARD</character> <dialogue>HEY! Don't touch that!</dialogue> <scene_description>Rory JUMPS. Backs away, intimidated -- and meanwhile: EXT. DIRT ROAD - SAME The two MASSIVE HELICOPTERS hover overhead, deafening -- RAPPELLING LINES unfurl -- SPECIALISTS RAPPEL down, like a SWAT TEAM. Tactical. Professional. And meanwhile --</scene_description> </scene> <scene> <stage_direction>EXT. ROADBLOCK OUTSIDE SITE</stage_direction> <scene_description>Heat. Cicadas. TWO SOLDIERS on a JEEP -- manning a ROADBLOCK. They HEAR the roar of an engine, look up. WTF? THE "CUBAN PETE" TRUCK comes BARRELING AT THEM, terrible CUBAN DISCO BLARING, breeches the perimeter, and --</scene_description> </scene> <scene> <stage_direction>EXT. DIRT ROAD - THE ARK - CONTINUOUS</stage_direction> <scene_description>The food truck TRUNDLES INTO VIEW at high speed--! SOLDIERS CONVERGE, flagging it down. Shouts, cursing -- like your bowels after a Cuban Pete's supper, this is all highly irregular, as -- UNDER THE TRUCK - BAXLEY DROPS from an open floor hatch, IMPACTS the dirt, and -- quickly ROLLS OUT OF SIGHT, commando-style -- NETTLES, AT THE WHEEL WRENCHES the truck to a halt, at which point: PLUMP (YET WINSOME) BIKINI GIRLS Come piling from within, all with laden trays of hot CUBAN FOOD. Soldiers, agape -- one of the girls flashes a GRIN:</scene_description> <character>BIKINI GIRL</character> <dialogue>Y'all brave boys gotta eat, right?</dialogue> <scene_description>The OFFICER IN CHARGE steps forward, apoplectic:</scene_description> <character>OFFICER IN CHARGE</character> <dialogue>We have plenty of damn FOOD, now get this thing turned around --</dialogue> <scene_description>WITH COYLE - ON A HILLTOP He watches through a sniper scope. Speaks into a throat mic:</scene_description> <character>COYLE</character> <dialogue>Shit. We went from Victoria's Secret to this?</dialogue> <scene_description>BELOW - INSIDE THE PERIMETER BAXLEY spits, says:</scene_description> <character>BAXLEY</character> <dialogue>Relax. These guys are mercs-for- hire, they'd fuck a woodpile on the off chance there's a snake in it.</dialogue> <parenthetical>(suddenly)</parenthetical> <dialogue>Whoa.</dialogue> <scene_description>BAXLEY'S POV: From the TRUCK, now, emerges a FOURTH girl. Daisy Dukes, tied up shirt-top... long, blonde (borrowed) WIG -- CASEY, no less. She sashays PAST armed men, DO-SI-DOS right up to the officer in charge -- extends a hand -- Pulls him into a DANCE. Salsa, rumba -- something. The girls cheer. The surrounding soldiers, guns wavering, as</scene_description> </scene> <scene> <stage_direction>INT. MOBILE COMMAND POST - SAME</stage_direction> <scene_description>TRAEGER looks out upon the scene, aghast:</scene_description> <character>TRAEGER</character> <dialogue>What in blue fuck is going on?</dialogue> <character>TRAEGER'S AIDE</character> <dialogue>Locals, sir. We're on it.</dialogue> </scene> <scene> <stage_direction>EXT. HILLSIDE - NEARBY</stage_direction> <scene_description>A LONE SOLDIER trots toward the truck. Muttering, shaking his head... Steps round a thicket -- An ARM lashes out. PULLS HIM IN. McKenna's coal- blackened face, inches from his --</scene_description> <character>MCKENNA</character> <dialogue>Where's the boy?</dialogue> </scene> <scene> <stage_direction>EXT. CLEARING - WITH CASEY</stage_direction> <scene_description>MUSIC, blaring. Girls dancing. Then, suddenly, Casey's wristwatch goes BEEP-! Her head snaps round -- she SHOUTS:</scene_description> <character>CASEY</character> <dialogue>NOW.</dialogue> <scene_description>From the FOOD CONTAINER at her side, she lets drop a spherical object. It bounces..! Shit. SMOKE GRENADE. Pop--! Smoke, BILLOWING. Choking. Cuban Pete's THREE DAUGHTERS, on it. Three quick tosses, Pop-! Pop-! Pop-! They drop flat, hands on their heads -- SMOKE EVERYWHERE. Cloying. TWO SOLDIERS stagger, looking for a target, when -- THUP!THUP! Both of them DROP LIKE SANDBAGS, thanks to: WILLIAMS -- hidden under the FOOD TRUCK -- wielding a TRANQUILIZER GUN, and -- CASEY swiftly TASES the OFFICER in the side. He goes down -- she drops with him -- liberates his SIDEARM, rolls away -- COYLE AND BAXLEY, NOW Chiming in with additional SMOKE CHARGES, as OUR BOY NETTLES SLAMS open the food truck's REAR DOOR, kicks loose two PROPANE TANKS, sets them rolling -- Snaps a rifle to his shoulder, and as they bounce and tumble, FIRES--! DETONATES BOTH. They go up with a whooooosh--! Cascading flame... Debris, raining down -- TRAEGER, NOW Emerges from his COMMAND POST to a scene of chaos. SMOKE everywhere. Flame. He BARKS into his talkie:</scene_description> <character>TRAEGER</character> <dialogue>SECURE THE PAYLOAD! DO</dialogue> <scene_description>IT! (to his Aide) Bring me the boy. Now. At which point, we abruptly (and oddly) CUT TO: DARKNESS (COULD BE ANYWHERE) A space. Cramped, disorienting -- where are we? Then, a familiar, TALON-LIKE HAND raises an equally familiar device (THE KUJHAD). Commences tapping out a code --</scene_description> </scene> <scene> <stage_direction>EXT. THE ARK - ENTRANCE HATCH</stage_direction> <scene_description>TRAEGER'S AIDE appears at the hatch. Physically GRABS the GUARD posted to keep an eye on Rory:</scene_description> <character>TRAEGER'S AIDE</character> <dialogue>We're taking 'er up! Where's the kid?</dialogue> <scene_description>They both scan the interior... shit. Where did he go? Not far. He steps out from the EQUIPMENT ALCOVE -- now wearing the Predator mask he found. The mask's tiny PLASMA-CASTER swivels, whrrrrrr--! A volley of energy BLOWS THE TWO MEN OUT THE OPEN HATCH! Rory starts to go. TRIPS -- falls, drops the MASK, it bounces away -- he looks up, cocks his head: A HATCH OPENING behind him. A familiar, blood-chilling CLICKING SOUND, as... THE UPGRADED PREDATOR, NOW EMERGES, fetus-like from a FLOOR COMPARTMENT. He's been concealed aboard the ship the whole time. THE NINE-FOOT PREDATOR RISES... towering. Ghastly. Rory scrambles to his feet. LEAPS out the hatchway --</scene_description> </scene> <scene> <stage_direction>EXT. "ARK" - CONTINUOUS</stage_direction> <scene_description>-- hits the ground running. And screaming. And flailing. But at least he's OUTSIDE. And that's when THE GROUND RISES UP In his path. Literally comes alive, like a CREATURE -- AS McKENNA STANDS Trailing dirt. The SOD from the trailer park GARDEN strapped to his back. Face blackened. Eyes feral. He clutches his son:</scene_description> <character>MCKENNA</character> <dialogue>Easy, buddy. It's me. Dad.</dialogue> <scene_description>Rory nods. McKenna looks up, STARTLED, as -- a FIGURE charges out of the smoke. It's CASEY. AN OTHERWORLDLY HUMMING, NOW Suffuses the air... low. Ominous -- Uh-oh. They look toward the SHIP, as it commences to VIBRATE -- oh, shit. ON THE SHIP -- MOVEMENT, NOW HATCHES begin to open. All around the exterior. Metal doors SLIDING UPWARD -- dark inside. Beckoning. A CLATTER of assault rifles, SOLDIERS level their weapons... THAT'S WHEN THE HYBRIDS EMERGE FROM THEIR PODS..! SWARMING. Some on four legs, some three. Some upright -- others SCUTTLING like crabs. So much smoke, so hard to see... The soldiers BLINDLY OPEN FIRE--!</scene_description> <character>TRAEGER</character> <dialogue>NO! NO! KEEP THEM ALIVE -- !</dialogue> <scene_description>THE HYBRIDS CARVE A PATH THROUGH THE SOLDIERS--! Obscenely SHRIEKING as they're pelted with bullets. Never stopping -- McKENNA AND CASEY Desperately casting around for a hiding place -- it's RORY who grabs his Dad's arm, POINTS:</scene_description> <character>MCKENNA</character> <dialogue>What is it, son?</dialogue> <character>RORY</character> <dialogue>In there. The empty tubes.</dialogue> <scene_description>McKenna blinks. Brilliant. The VACATED CRYOTUBES, hatches wide open. He grabs Casey and the kid, bundles them inside:</scene_description> </scene> <scene> <stage_direction>INT. CRAMPED COMPARTMENT - MCKENNA</stage_direction> <scene_description>He SPOONS with Casey. Cradling his son, close. Hiding. The bear hug he longed for? Now a survival tool. RORY cracks one eyelid, unable to not look: BRIEF, NIGHTMARE GLIMPSES Of the ship's INTERSTELLAR PASSENGERS roaming the mist, killing. Each different, but all expressing a common trait: The trademark mottled skull and mandibles of THE PREDATOR. RORY SPOTS NETTLES The HERO LOONY, shepherding GIRLS into the taco truck. Swinging up into the DRIVER'S SEAT, except... Something between TUSK AND TALON comes through the windshield. Rory SHUTS HIS EYES; bye-bye, Nettles. AT THE MAIN HATCH - THE UPGRADE Here he comes. Golem-like. Looming. Stalking majestically from the main hatchway as... THE HYBRIDS Converge on him. GATHERING. Circling their leader in ragged formation -- almost a MILITARY greeting. An unspoken order from the UPGRADE -- and with that, off they go, loping away -- Vanishing into the surrounding trees.</scene_description> </scene> <scene> <stage_direction>INT. CRAMPED COMPARTMENT</stage_direction> <scene_description>McKENNA turns to Rory:</scene_description> <character>MCKENNA</character> <dialogue>Are you... are you okay?</dialogue> <scene_description>Mckenna frowns. No answer. Rory's not looking at him. He's looking UP. Petrified... because they're not alone. Something's in here with them. McKenna follows his gaze. A low animal CHITTERING, all too familiar... above them, hanging UPSIDE DOWN: not a holographic projection, but the real deal -- A SPIDER/PREDATOR HYBRID.</scene_description> </scene> <scene> <stage_direction>EXT. THE ARK - CONTINUOUS</stage_direction> <scene_description>They all SCRAMBLE OUT. SPIN back around, panicked, as THE HYBRID APPEARS. Poised in the hatch, mandibles extended. As McKenna watches -- Rory taps the code, the hatch SLAMS SHUT -- BISECTING THE SPIDER PREDATOR--! But the front half? Still alive, STILL MOVING -- CASEY AND MCKENNA BLAST IT TO TATTERS. As the thing finally, blessedly expires:</scene_description> <character>MCKENNA</character> <parenthetical>(CONT'D) (gasping)</parenthetical> <dialogue>I hate spiders. If... if it happens again --</dialogue> <character>RORY AND MCKENNA</character> <parenthetical>(nod, in unison:)</parenthetical> <dialogue>Let's call Mom.</dialogue> </scene> <scene> <stage_direction>EXT. RAILHEAD - DAY (MOMENTS LATER)</stage_direction> <scene_description>Aftermath. A HAZE of smoke and debris hangs over the vacated ARK. Medics tend to the wounded. McKENNA limps into view. Bee-lines to Traeger. Livid.</scene_description> <character>MCKENNA</character> <dialogue>It was in there the whole time, you asshole. That was its goddamn PLAN!</dialogue> <character>TRAEGER</character> <dialogue>Fool me twice, shame on me.</dialogue> <character>MCKENNA</character> <dialogue>Where was it going? WHERE DID HE WANT YOU TO TAKE HIM--?</dialogue> <character>TRAEGER</character> <dialogue>That's classified, Lieutenant.</dialogue> <scene_description>Before McKenna can respond with action, Traeger DRAWS HIS SIDEARM ON HIM; a twinkle in his eye.</scene_description> <character>TRAEGER</character> <dialogue>Kind of ironic, really. A trained sniper, dying from a headshot.</dialogue> <scene_description>BLAMM--! McKenna flinches as -- BLOOD spatters his face. A thousand-meter-a-second SNIPER ROUND just pierced TRAEGER'S HEAD. The guy drops, lifeless. SHIT. McKENNA spins, eyes tracking downrange -- Predator weapon--? Nope. M24 sniper rifle. GENERAL WOODHURST, comes into view, flanked by ARMY troops.</scene_description> <character>WOODHURST</character> <dialogue>Good riddance to bad rubbish.</dialogue> <scene_description>(NOTE: This is the General we saw on the phone with Traeger earlier.) He stops just shy of McKenna. Nods tersely:</scene_description> <character>WOODHURST</character> <dialogue>Breathe easy, soldier. I'm on your side.</dialogue> <scene_description>CASEY, RORY and THE LOONIES step forward to join McKenna. Woodhurst regards them. Points to Rory, Casey, and Cutter:</scene_description> <character>WOODHURST</character> <dialogue>(CONT'D) You stay here.</dialogue> <parenthetical>(looks up)</parenthetical> <dialogue>The rest of you, come with me.</dialogue> <scene_description>Casey puts a maternal hand on Rory's shoulder. A reassuring look to McKenna: "I'll take care of him." TIME-CUT:</scene_description> </scene> <scene> <stage_direction>EXT. THE EVERGLADES - AERIAL SHOT - DUSK</stage_direction> <scene_description>A Cape Canaveral-like launch facility abuts what looks like an animal habitat. Vast swampland beyond.</scene_description> </scene> <scene> <stage_direction>INT. UH-72 LAKOTA HELICOPTER - FLYING - DUSK</stage_direction> <scene_description>Woodhurst rides shotgun. McKenna and The Loonies in back, looking down at the facility below.</scene_description> <character>MCKENNA</character> <dialogue>What am I looking at? Stargazer HQ?</dialogue> <character>WOODHURST</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>Stargazer was all Traeger. CIA black ops, corporate donors, all that shit. Wasn't us.</dialogue> <scene_description>Off McKenna, stupefied:</scene_description> <character>WOODHURST</character> <dialogue>Oh, yeah. Son of a whore went off the reservation. He was in it for profit. Practically stole that Predator for his little science experiments. He's also the one who framed you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's not like I shot him just 'cause I felt like it.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DIRT ROAD - THE ARK - AS BEFORE</stage_direction> <scene_description>CASEY can't help but eye THE SPACECRAFT curiously. Her army CHAPERONES, momentarily distracted; RORY nudges her, mischievous:</scene_description> <character>RORY</character> <dialogue>Wanna see what's inside?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. AREA 52 - DUSK</stage_direction> <scene_description>A BLAST of SOUND AND WIND as the TWO LAKOTA HELICOPTERS LAND inside chain link and razor wire marked with signs:</scene_description> <character>RESTRICTED AREA</character> <dialogue>NO TRESPASSING -- U.S. GOVERNMENT PROPERTY</dialogue> <scene_description>Dust swirls as McKenna and the men jump out -- trade glances: It isn't just the SOLDIERS MOBILIZING, or even the 40mm anti- aircraft guns... It's the urgency. Like they're preparing for a siege. Woodhurst leads them down some steps to A MODERNISTIC BUNKER Half-in/half-out of the ground. GREEN BERETS at the entrance.</scene_description> <character>WOODHURST</character> <dialogue>We don't have time for security checks, just behave yourselves and we won't have to shoot you.</dialogue> <character>MCKENNA</character> <dialogue>What is this place?</dialogue> <character>WOODHURST</character> <dialogue>"Area 52." Base of operations.</dialogue> <character>MCKENNA</character> <dialogue>For what?</dialogue> <character>WOODHURST</character> <dialogue>Defending earth from the Predators.</dialogue> <scene_description>The doors YAWN OPEN, and --</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - AREA 52 (MOMENTS LATER)</stage_direction> <scene_description>Woodhurst leads the men down a long corridor lined with DISPLAY CASES: Predator SKELETONS; WEAPONS; BATTLE ARMOR.</scene_description> <character>WOODHURST</character> <dialogue>They've been coming here for years. Problem is, their m.o.'s changing. Dissension among the ranks. You saw it yourself -- that big one tore the other one in half.</dialogue> <scene_description>They reach a security checkpoint. Walk right through.</scene_description> <character>WOODHURST</character> <dialogue>Luckily, we have some... "consultants" helping</dialogue> <scene_description>us. (a hard look) Hope you boys are wearing your Depends... Hydraulic DOORS SLIDE OPEN TO REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. ANIMAL ENCLOSURE</stage_direction> <scene_description>Like you'd see at the zoo. But no lions, no tigers, no bears. Instead? Behind thick Plexi: TWO PREDATORS turn to look at our heroes. Same size as our "good" Predator. They blink curiously.</scene_description> <character>WOODHURST</character> <dialogue>There's a cold war going on, gentlemen. Seems it's heating up.</dialogue> <parenthetical>(re: Predators)</parenthetical> <dialogue>These two... are defectors. Been here almost a year.</dialogue> <scene_description>McKenna, at a loss. No words. Finally manages:</scene_description> <character>MCKENNA</character> <dialogue>They're okay with... with being cooped up in there?</dialogue> <character>WOODHURST</character> <dialogue>Oh, we let 'em out at night. Game preserve, next door. They're peace emmissaries but... hell, they're still Predators, they're gonna kill shit.</dialogue> <scene_description>He lights a cigar:</scene_description> <character>WOODHURST</character> <dialogue>That first one you met? "Tiny?"</dialogue> <parenthetical>(points to defectors)</parenthetical> <dialogue>He was on their side. Stole the ark with those hybrids so the big fuck couldn't use 'em against us.</dialogue> <character>WILLIAMS</character> <dialogue>Whoa. You're saying the first alien was... friendly?</dialogue> <character>MCKENNA</character> <dialogue>Fuck that. The son of a bitch killed my men.</dialogue> <character>WOODHURST</character> <dialogue>Hey, I never said he was a nice guy... just that he was on our side. Which brings us to the Big Bad --</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Who, unless I miss my guess, is on his way here right now. With his "team."</dialogue> <character>MCKENNA</character> <dialogue>But why? What's his end game?</dialogue> <scene_description>Woodhurst shrugs:</scene_description> <character>WOODHURST</character> <dialogue>Like I said. Cold war.</dialogue> <parenthetical>(re: Predators)</parenthetical> <dialogue>He came to kill these two.</dialogue> <scene_description>McKenna takes a moment. Looks up --</scene_description> <character>MCKENNA</character> <dialogue>So, he's... an assassin?</dialogue> <character>WOODHURST</character> <dialogue>That's right, Lieutenant. That thing out there's an assassin.</dialogue> <parenthetical>(icy glance)</parenthetical> <dialogue>Just like you.</dialogue> <character>MCKENNA</character> <dialogue>Say you're right. It takes out its targets, then what?</dialogue> <scene_description>Without warning, ONE OF THE PREDATORS "talks"; its peculiar, throaty RATTLE of CLICKS over a scratchy P.A. speaker. An AIDE hands Woodhurst a device with a small LED screen. He keys it like a walkie-talkie, says:</scene_description> <character>WOODHURST</character> <dialogue>Please repeat that.</dialogue> <scene_description>The Predator repeats with more emphasis. Woodhurst looks at THE LED SCREEN A brief delay, we see: Searching... Searching... finally, a DIGITIZED VOICE issues from the device:</scene_description> <character>TRANSLATOR VOICE</character> <dialogue>"Protocol 3. The synthetic will identify and procure most evolved opponent."</dialogue> <scene_description>The words hang in the air a moment.</scene_description> <character>WOODHURST</character> <dialogue>That's the thing, see -- it won't just leave. Not without souvenirs.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's going to choose the strongest, most worthy adversary, and --</dialogue> <character>MCKENNA</character> <parenthetical>(finishing the thought)</parenthetical> <dialogue>-- and rips out its spine for the DNA, to take back home.</dialogue> <parenthetical>(turns to Predator)</parenthetical> <dialogue>Is that about the size of it..?</dialogue> <scene_description>The Predator SPEAKS AGAIN. Woodhurst looks at THE TRANSLATOR: Searching... Searching... Searching...</scene_description> <character>TRANSLATOR</character> <dialogue>VOICE "About size."</dialogue> </scene> <scene> <stage_direction>EXT. AREA 52 - NIGHT</stage_direction> <scene_description>A SENTRY PATROLS. Stops, and squints at: A four-legged ANIMAL, in silhouette. A coyote..? Now, ANOTHER ANIMAL joins the first: no legs here at all. Tentacles.</scene_description> <character>SENTRY</character> <dialogue>Mudbug One, we got BAMFs at the outside wire, WE GOT BAMFS AT TH--</dialogue> <scene_description>WHOMP--!! ONE OF THE CREATURES TAKES HIM DOWN, DRAGS HIM. Nothing left after ten yards but slicks of blood and sinew.</scene_description> </scene> <scene> <stage_direction>INT. SURVEILLANCE ROOM - A ROW OF VIDEO MONITORS</stage_direction> <scene_description>Featuring the exterior: THE HYBRIDS, cutting through the perimeter sentries. Alarms start to WAIL, as WOODHURST Looks on, McKenna and the others bathed in the ice-blue glow of the monitors. The General licks his lips, says:</scene_description> <character>WOODHURST</character> <dialogue>Get 'em outta here.</dialogue> <character>MCKENNA</character> <dialogue>Who?</dialogue> <scene_description>Woodhurst points at the Predators in the enclosure.</scene_description> <character>WOODHURST</character> <dialogue>Them. We'll hold off the others 'til you get away.</dialogue> <character>MCKENNA</character> <dialogue>Away WHERE--?</dialogue> <character>WOODHURST</character> <dialogue>The SHIP, for Chrissakes. If you get them to the ship, they know how to fly it.</dialogue> <scene_description>His tone softens. Respectful.</scene_description> <character>WOODHURST</character> <dialogue>Look, we've been watching you. You're good at this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Just get 'em to their ride. We'll handle the bugs.</dialogue> <scene_description>McKenna and team don't ask questions. They MOBILIZE. As Woodhurst calls after them:</scene_description> <character>WOODHURST</character> <dialogue>I'm scrambling F-22's. Contact them once you're in the air!</dialogue> <scene_description>SERIES OF QUICK CUTS: BUNKER CORRIDOR Lights FLICKER on and off, suggesting the Predators have attacked the central power system. Our heroes -- as well as the PREDATOR DEFECTORS -- GRAB WEAPONS from the display cases. McKenna stuffs them in a backpack: a Shuriken, a combistick, a biohelmet. He puts on the mask, looks at Williams.</scene_description> <character>MCKENNA</character> <parenthetical>(muffled)</parenthetical> <dialogue>I feel like an idiot.</dialogue> <character>WILLIAMS</character> <dialogue>You look like an idiot.</dialogue> </scene> <scene> <stage_direction>EXT. SERIES OF SHOTS - AREA 52 - NIGHT</stage_direction> <scene_description>VEHICLES come blasting up out of a tunnel, exiting the compound. A HIGH SPEED CONVOY, on the move. ARMY MOTORCYCLES. Behind them: JEEPS -- with pedestal- mounted machine guns. Imagine the Presidential motorcade but bristling with artillery. And IN THE CENTER of the convoy, the key vehicle -- the one WILLIAMS is driving: AN M113 STRYKER ARMORED PERSONNEL CARRIER. McKenna, Baxley and Coyle are on top as well as, yes -- THE TWO PREDATORS Each armed with an M60 machine gun in one hand, a plasma- caster in the other. Ready to fight alongside our heroes. Behind them, a continuous ROAR of gunfire -- the army versus the HYBRIDS, off-screen. Now, however, it becomes sporadic... And then, rather suddenly, ceases altogether.</scene_description> <character>WILLIAMS</character> <dialogue>Guess they took care of the bugs?</dialogue> <scene_description>One of the PREDATOR DEFECTORS utters some guttural CLICKS. Williams consults the translator: Searching... Searching...</scene_description> <character>TRANSLATOR</character> <dialogue>VOICE "Fornicate."</dialogue> <scene_description>MCKENNA, UP TOP looks toward the rear of the gauntlet. They've got company.</scene_description> <character>MCKENNA</character> <dialogue>Incoming!</dialogue> <scene_description>THE HYBRIDS SCRAMBLE into view at high speed, picking up the scientists' scent. Drooling mandibles, flashing eyes... Nightmare time. THE FIRST HYBRID LEAPS ONTO the rear support jeep. Fanged. Clinging. A SOLDIER RAKES IT WITH ARTILLERY-- BRRAAAPPPP--! The jeep JACK-KNIFES. The HYBRID leaps to the ground, THE GUNNER'S SKIN IN ITS MOUTH -- ! TWO MORE HYBRIDS SCURRY behind the APC like racing dogs. THE LOONIES AND THE PREDATORS unload on them, but one manages to LEAP onto the back! Teeth gnashing. It FALLS OFF, but quickly regroups -- HURTLES back, but -- BRAKK! BRAKK! Surgical bullet hits. The thing BUCKLES. Plumes of GREEN BLOOD, as -- MCKENNA hangs off the back of the APC with a SNIPER RIFLE, taking well-placed shots. Beside him:</scene_description> <character>BAXLEY</character> <dialogue>Look at their necks, Chief!</dialogue> <scene_description>McKenna blinks. "What??"</scene_description> <character>BAXLEY</character> <parenthetical>(CONT'D) (pointing)</parenthetical> <character>THEIR NECKS!</character> <dialogue>McKenna squints at:</dialogue> <scene_description>THE HYBRIDS, IN PURSUIT And there, sure enough, something resembling COLLARS. McKenna raises the TRANSLATOR PAD; YELLS to the nearest Predator scientist:</scene_description> <character>MCKENNA</character> <dialogue>WHAT ARE THOSE COLLARS?!</dialogue> <scene_description>The Predator BARKS and TRILLS between blasts. CLOSE ON TRANSLATOR: Searching... Searching...</scene_description> <character>TRANSLATOR VOICE</character> <dialogue>"Self. Destruct."</dialogue> <scene_description>McKenna, intense. Thinking quickly, he grabs the talkie from his belt, turns it on:</scene_description> <character>MCKENNA</character> <parenthetical>(into Bluetooth)</parenthetical> <dialogue>Casey, it's McKenna! Are you there? Do you have access to the ship?!</dialogue> </scene> <scene> <stage_direction>INT. ARK - THAT MOMENT (INTERCUT:)</stage_direction> <scene_description>Casey and Rory, INSIDE THE SHIP.</scene_description> <character>CASEY</character> <dialogue>(into Bluetooth; sheepish) Um..?</dialogue> <scene_description>She makes a face at Rory; "BUS-TED."</scene_description> <character>MCKENNA</character> <dialogue>Listen to me! The hybrids have some kind of self-destruct collars! Is there a way to --</dialogue> <scene_description>Rory overhears this; GRABS Casey's talkie, excited:</scene_description> <character>RORY</character> <dialogue>Dad, it's me, I saw it! I saw the the program! The first Predator was trying to blow them up, but the sequence stopped.</dialogue> <character>MCKENNA</character> <dialogue>Can you do it?</dialogue> <character>CASEY</character> <dialogue>There was something about self- destruct in the file. The one Schaefer met in '87 left a pretty big hole.</dialogue> <character>RORY</character> <dialogue>These only have a ten-foot radius. We're cool. Sort of.</dialogue> <scene_description>Casey turns, incredulous. Rory squirms, self-conscious:</scene_description> <character>RORY</character> <dialogue>(CONT'D) Maybe twenty.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I, uh, saw it in the helmet.</dialogue> <scene_description>Suddenly paranoid, Casey YANKS THE SNIFFER'S COLLAR OFF - - HURLS IT out the open hatch. The Sniffer CHASES AFTER IT, playing fetch again. Casey WHIRLS -- sees RORY'S FINGERS, already tapping a CONTROL PANEL. She can't fight the urge to smile.</scene_description> <character>CASEY</character> <dialogue>He's on it, McKenna.</dialogue> </scene> <scene> <stage_direction>EXT. CONVOY - MOVING FAST</stage_direction> <scene_description>McKenna watches the hybrids darting after them.</scene_description> <character>MCKENNA</character> <parenthetical>(into Bluetooth; tense)</parenthetical> <dialogue>I have visual. Any time now would be great.</dialogue> </scene> <scene> <stage_direction>INT. ARK - SAME</stage_direction> <scene_description>Rory hits keys, sweating.</scene_description> <character>MCKENNA</character> <dialogue>Rory--?</dialogue> <character>RORY</character> <dialogue>I know, I get it. I'm TRYING!</dialogue> <scene_description>CASEY looks around, frantic.</scene_description> <character>CASEY</character> <dialogue>Too far. We must be out of</dialogue> <scene_description>range. (wit's end) If only there was a way to MOVE this thing!</scene_description> </scene> <scene> <stage_direction>EXT. CONVOY - WITH THE HYBRIDS</stage_direction> <scene_description>DARTING and WEAVING. Seemingly fixated on a single objective: THE ARMORED PERSONNEL CARRIER MCKENNA sees this, keys the translation device:</scene_description> <character>MCKENNA</character> <dialogue>WHY ARE THEY IGNORING THE OTHER</dialogue> <character>VEHICLES--?</character> <dialogue>The Predator near him speaks: KLIK-RATTLE-KLIK! On the device: Searching... Searching...</dialogue> <character>TRANSLATOR</character> <dialogue>VOICE "We are target."</dialogue> <scene_description>OFF McKenna, the color draining from his face -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SMALL FLORIDA TOWN - NIGHT</stage_direction> <scene_description>THE APC careens into view. HYBRIDS close on its heels. BAXLEY EATS IT as, from nowhere, a hybrid LEAPS -- TEARS HIS SKIN OFF. The body tumbles away... COYLE, next in line. He doesn't go quietly. UNLOADS a volley of ammo in the creature's FACE -- THE HYBRID CHEWS HIS SPINE OUT before it COLLAPSES, dead weight pressing down on Coyle's ravaged corpse. WILLIAMS, DRIVING For the first time, he looks nervous. Glances down: CLOSE ON GPS SCREEN Showing the SPACE SHIP'S location. A quick glance tells us they are still a mile out.</scene_description> <character>WILLIAMS</character> <parenthetical>(into Bluetooth)</parenthetical> <dialogue>Hey, Lieutenant, you got a plan, or..?</dialogue> <scene_description>ON MCKENNA And his face pretty much tells the tale: nope. Then he spots something new. In the distance behind them, but growing... THE PREDATOR, THE BIG BAD SPRINTING like a cheetah, in pursuit. CLOSING FAST. He sports TWO WRIST GAUNTLETS -- projectile arrows and CANNON. That's it. Lean and mean. CLOSE ON MCKENNA Carnage, all around. He looks at the Predator defectors; SCREAMS into the translation device:</scene_description> <character>MCKENNA</character> <dialogue>HOW DO WE WIN--??</dialogue> <scene_description>BLEAT OF CLICKS from the Predator. Searching... Searching...</scene_description> <character>TRANSLATOR</character> <dialogue>VOICE "Maybe not win."</dialogue> <scene_description>WILLIAMS looks at the GPS display. Frowns. SEES the ship-blip is now MOVING TOWARD THEM.... WTF? Which is when: A HUGE SHADOW falls over road. Blotting out the moon. Is it..? It is. THE ARK -- and it's fucking AIRBORNE--!</scene_description> </scene> <scene> <stage_direction>INT. ARK - THAT MOMENT</stage_direction> <scene_description>Dwarfed by the massive "Captain's chair", RORY is now wearing the Predator biohelmet, psychically linked to the technology. He works the controls, spins to CASEY:</scene_description> <character>RORY</character> <dialogue>Taking her down... NOW.</dialogue> <scene_description>Determined, he GRABS the control yoke. Just one problem</scene_description> </scene> <scene> <stage_direction>-- EXT. THE ARK</stage_direction> <scene_description>Landing this fucker ain't easy. Plus it's damaged, remember? The spacecraft BUCKS. WOBBLES --</scene_description> </scene> <scene> <stage_direction>INT. THE ARK</stage_direction> <scene_description>CASEY, flung sideways. Goes sliding --</scene_description> <character>CASEY</character> <dialogue>Are you trying to crash?? I thought you were some kind of genius, for chrissake!</dialogue> <character>RORY</character> <dialogue>I'M IN SPECIAL CLASS, OKAY?</dialogue> <scene_description>A sudden LURCH. The DESTRUCT console JERKS in her hands, and she blinks, registering: it moves. New idea. She GRABS THE CONTROL PANEL, hauls it loose -- and PROPELS it across the deck toward: AN ESCAPE POD. We saw the first Predator use one: at the start of the film. THE HATCH SLIDES DOWN, eclipses her from view -- RORY On it. Knows what to do, GRABS the control yoke, and</scene_description> </scene> <scene> <stage_direction>-- EXT. THE ARK</stage_direction> <scene_description>IT SWIVELS IN PLACE like a cannon, lining up, AIMING</scene_description> </scene> <scene> <stage_direction>-- INT. ESCAPE POD</stage_direction> <scene_description>CASEY sees a red button, SLAMS it, and WHOOOOSH--! LAUNCHES HERSELF. The pod goes airborne --</scene_description> </scene> <scene> <stage_direction>EXT. FLORIDA TOWN - MAIN DRAG - THAT MOMENT</stage_direction> <scene_description>It tumbles... SLAMS DOWN! Traverses the length of the street. INSIDE: CASEY'S JOLTED, SCREAMING, AS -- OUTSIDE: THE HYBRIDS watch the pod SCREAM PAST them, hesitate with confusion. That's when WE SEE: Tiny red LEDs on their collars are BLINKING... And now? One by one, before our eyes, THE HYBRIDS EXPLODE AS THE SPACECRAFT SKIDS PAST THEM -- like a string of NUCLEAR FIRECRACKERS -- THOOM! THOOM! THOOM!</scene_description> </scene> <scene> <stage_direction>EXT. ATOP THE PERSONNEL CARRIER - MOVING</stage_direction> <scene_description>McKenna sees the sky behind them LIGHT UP from the detonating hybrids. But his exhilaration is cut short as he notices: THE DEAD HYBRID on the top of the APC -- The LED on its collar is blinking now. Oh, shit. The TWO PREDATORS RAISE their wrist gauntlets -- THOOK! THOOK! LAUNCHING GRAPPLING HOOKS! Yank the corpse UP -- AND HEAVE IT OFF THE APC Like fishermen throwing a marlin back into the ocean. Williams puts the pedal to the metal: BA-WHOOM!! THE HYBRID EXPLODES, mid-air. At which point, not to be outdone -- Williams promptly CRASHES. SERIES OF SHOTS The APC PLOWS through chainlink, THROWING McKenna and the Predators off... and meanwhile, back at the ranch --</scene_description> </scene> <scene> <stage_direction>EXT. ESCAPE POD</stage_direction> <scene_description>The hatch POPS OPEN... Casey half-crawls, half-TUMBLES out. Looks up, sweaty, feral -- ONE HYBRID LEFT. A weird, SATANIC looking thing, rushing straight at her -- It comes in range of the signal. BLOWS. She dives for COVER behind the pod. Bits of PREDATOR- THING, raining. A dismembered TORSO arcs down. Hits the tarmac. Turns to her, STILL ALIVE, REACHING -- She rips out its spine. The SNIFFER lopes up beside her. A proud hunting dog... admiring its Huntress. An image to remember. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL STADIUM - NIGHT</stage_direction> <scene_description>McKENNA and WILLIAMS, sprawled. Groggy. Ten yard-line of a high school FOOTBALL FIELD. Williams nods downrange: THE ARK IS DOWN Just past the fifty yard-line. Imbedded in the turf. AND THERE'S RORY Limping from the ship. Disoriented. McKenna starts toward him. His expression suggests that once he has the boy in his arms, he's not likely to let go. At which point, the "DEFECTOR" PREDATORS RISE SLOWLY, throatily CLICKING... Grab their WEAPONS. Then? Everything goes to hell. Striding across the field -- THE UPGRADE. Big as life. Raises the GAUNTLET. Promptly spikes an ION BLAST through each of the smaller Predators; DISINTEGRATING them -- He BELLOWS victory: Mission Accomplished. Then PIVOTS. Mandibles twitching -- walks toward ITS CLOSEST REMAINING FOE, human or alien: The kid. The loser. "Ass Burger." The Predator SCOOPS HIM UP in one hand -- regards him clinically, with something akin to... RESPECT? Turns, now... And enters the downed spaceship. With Rory.</scene_description> <character>MCKENNA</character> <dialogue>RORY!!!</dialogue> <scene_description>The HATCH SLAMS SHUT. McKenna stares in disbelief... then starts after them, the FULL meaning of this hitting him -- His son figured out how to fly the Ark; how to kill the hybrids. So what does that mean to the Upgrade? Only this: RORY IS ITS MOST EVOLVED OPPONENT.</scene_description> </scene> <scene> <stage_direction>INT. THE ARK - A CRYOTUBE</stage_direction> <scene_description>As the Predator roughly TOSSES RORY INTO IT for safe keeping. Screens BLINK to life; a deep BASS RUMBLE is heard as the ship POWERS UP for departure.</scene_description> </scene> <scene> <stage_direction>EXT. BLEACHERS - ON MCKENNA</stage_direction> <scene_description>As the spacecraft's engines RUMBLE, and -- HE VAULTS up the bleacher steps--! Williams sees this. Trades a glance with Flyboy. They exchange "fuck it" shrugs, and HAUL ASS after him -- THE ARK RISES Plasma exhaust SPEWING, as McKenna SCRAMBLES up bleachers -- THE ARK, now fifteen feet below the top of the stadium... McKENNA doesn't slow. Runs, LAUNCHES into the air -- Touches down, WHACK--! ON TOP OF THE SHIP. He yelps in pain. ANKLE, twisted, and meanwhile -- WILLIAMS AND FLYBOY, MORE SENSIBLE Stand, looking down at him. Patiently wait as the top of the ship RISES EVEN WITH THEM -- STEP ON, like stepping onto an escalator. McKenna shoots them a withering look. That's when the ship TURNS, throwing the three men off balance. THEY SCRAMBLE to find handholds --</scene_description> </scene> <scene> <stage_direction>EXT. FLORIDA TOWN - THAT MOMENT</stage_direction> <scene_description>LOCAL POLICE CARS, screaming into view, flashers turning. A MOTORCYCLE COP looks up, stunned. SEEING: HIS POV - THE ARK RISING Over the treeline. He GRABS for his lapel mike -- but that's the same moment his handgun is LIBERATED FROM ITS HOLSTER, and he WHIRLS TO: CASEY, aiming his own sidearm at him.</scene_description> <character>MOTORCYCLE COP</character> <dialogue>You don't want to do this, lady.</dialogue> <character>CASEY</character> <dialogue>There's a lot of shit I don't wanna do, Ponch.</dialogue> <scene_description>She mounts his Harley, ROARS OFF after the Predator ship.</scene_description> </scene> <scene> <stage_direction>EXT. THE ARK - AERIAL</stage_direction> <scene_description>Just in time for OUR VERTIGO SHOT -- as the ship ascends with our three soldiers hanging precariously. McKenna's backpack SLIDES away -- He flails at it, the Predator weapons disgorging, tumbling earthward, fuck -- He hauls it in, secures it. Cups his ear, the one with the BLUETOOTH inside. YELLS into the com over the RUSHING WIND:</scene_description> <character>MCKENNA</character> <dialogue>Rory, I'm on top of the ship!! Are you okay?!</dialogue> </scene> <scene> <stage_direction>INT. ARK</stage_direction> <scene_description>Safe in his coffin-like tube, Rory is shocked to hear his Dad. Puts his hand over his mouth so the Predator won't hear:</scene_description> <character>RORY</character> <dialogue>Mom was right. You are crazy.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD BELOW - NIGHT</stage_direction> <scene_description>CASEY's stolen chopper ROARS in pursuit of the spaceship. She sees something by the side of the road, BRAKES abruptly-- ! The items that fell from the ship. Dented, scarred: A Predator BIOHELMET. A few feet beyond it, A CLOAKING BALL. Like the one McKenna used in Cuba.</scene_description> </scene> <scene> <stage_direction>EXT. THE ARK - FLYING</stage_direction> <scene_description>Mid-air, Williams looks up, blanches. POINTS:</scene_description> <character>WILLIAMS</character> <dialogue>Uh-oh. On your six, chief!</dialogue> <scene_description>McKenna squints, seeing something on the horizon. Scratch that: TWO THINGS, on the horizon: F-22 RAPTOR STEALTH FIGHTERS Closing fast. The ones Woodhurst scrambled. A SIDEWINDER LAUNCHES from one of them, AND --</scene_description> </scene> <scene> <stage_direction>INT. ARK</stage_direction> <scene_description>RORY, tense, peers from hiding at A MONITOR depicting the incoming air-to-air missile. Then a blinking DOTTED LINE begins to form, surrounding the ship. Rory taps his Bluetooth, FRANTIC:</scene_description> <character>RORY</character> <dialogue>Dad?? There's a force field going online -- automatic!</dialogue> <character>MCKENNA (O.S.)</character> <dialogue>Um -- say again?</dialogue> <character>RORY</character> <dialogue>Just... JUMP! STRAIGHT UP, NOW!</dialogue> </scene> <scene> <stage_direction>EXT. THE ARK - SERIES OF SHOTS</stage_direction> <scene_description>No time to argue, McKenna YELLS THE ORDER to his men:</scene_description> <character>MCKENNA</character> <dialogue>JUMP--!</dialogue> <scene_description>What happens next, happens quickly. The force field DOES engage, but first, THREE THINGS: 1) McKENNA attempts to jump. STUMBLES. Falls FLAT. 2) WILLIAMS? He does jump. Straight UP, in fact. 3) FLYBOY, alas, does neither. He FREEZES, caught out, as -- THE INVISIBLE FORCE FIELDS BLASTS ON with an ionized CRACKLE! Now, let's tally the result. First off -- MCKENNA is lying UNDER the field, which is just above him. A LOCK OF HIS HAIR feathers down, clipped. NEBRASKA COMES DOWN, boots first, ON TOP of the force shield! Standing in mid-aid. Surreal. But sadly: CONFUSED FLYBOY has been cut off at the knees. SEVERED, he topples away. His last flight. NEBRASKA, NOW, DROPS DOWN Hanging on for dear life. Lies splayed, palms flat, separated from McKenna only by the force shield. Without it, they'd be on TOP of each other. SERIES OF SHOTS - THE INCOMING MISSILE BLASTS OVERHEAD: a MISS. Passes them and RIPS FORWARD into -- THE TREES AHEAD Vanishes. Pause... DETONATION. Tower of FLAME. They're going to pass right through it. McKenna, breathless, under the shields. Protected. Nebraska, not so much. They face each other through the barrier. Lock eyes; inches apart a moment before: NEBRASKA IS BURNED AWAY, flames engulfing the spacecraft.</scene_description> </scene> <scene> <stage_direction>INT. F-22 - FLYING - THAT MOMENT</stage_direction> <scene_description>The SECOND PILOT adjusts his HUD. LOCKS ON the Predator Ark.</scene_description> <character>F-22 PILOT</character> <dialogue>Two five-six, bogey's in my sights, fangs out. Lighting up 'winders...</dialogue> <scene_description>AN ALARM PIERCES: something's wrong. The PILOT looks to his radar, shit, he's being painted, as -- THE PREDATOR SHIP, RETALIATING Hell, yeah. From the craft, an energy bolt LANCES UPWARD. Mere feet in front of McKenna, nearly INCINERATES him --</scene_description> </scene> <scene> <stage_direction>INT. F-22 - SAME</stage_direction> <scene_description>THE PILOT engages the ejection handle, and -- FWOOSH! Pilot and seat both ROCKET AWAY AS -- The ship DISSOLVES into flame beneath him.</scene_description> </scene> <scene> <stage_direction>EXT. PREDATOR ARK - WITH MCKENNA</stage_direction> <scene_description>SEEING the jet go to PIECES, high overhead. He looks around, desperation mounting. Has a nutty idea. He draws a gun, grips it tightly. Galvanizes, and -- LAUNCHES HIMSELF ROLLS toward the edge, not stopping -- tumbles off the ship, OVER THE FUCKING EDGE! We think it's suicide. But nope: As long as he's inside the shield, he can RIDE the fucker. Which he DOES. Slewing. Tumbling down an invisible slide. CLUD--! Fetches to a stop. UNDERNEATH the craft. Florida blows by beneath him. The only thing that's got his back, utterly INVISIBLE. He decides not to look down. Fixates OVERHEAD, instead, on: THE EXPOSED SHIP'S BELLY. More specifically--? The EMPTY PORT where an escape pod once nestled. He wrestles his way inside, clinging to a strut. Sees a keypad, YELLS:</scene_description> <character>MCKENNA</character> <dialogue>RORY! What's the sequence?? I watched you put it in, TELL ME!</dialogue> </scene> <scene> <stage_direction>INT. ARK - CRYOTUBE - INTERCUT:</stage_direction> <scene_description>Rory HEARS this, stammers:</scene_description> <character>RORY</character> <dialogue>To the pod?? I... I can't remember.</dialogue> <character>MCKENNA</character> <dialogue>Okay, do this -- TRY.</dialogue> <character>RORY</character> <dialogue>I can't think, it's mixed up in my head --</dialogue> <character>MCKENNA</character> <dialogue>Dammit, son, I watched you! It was one, two, then over three, up two...</dialogue> <scene_description>McKenna stops. Blinks.</scene_description> <character>MCKENNA</character> <dialogue>Holy shit. I fucking KNOW it.</dialogue> <scene_description>He begins frantically stabbing away at the entry pad.</scene_description> <character>MCKENNA</character> <dialogue>Rory? You know how I always said be a big boy?</dialogue> <character>RORY</character> <dialogue>Yeah?</dialogue> <character>MCKENNA</character> <dialogue>Screw it. Make yourself small,</dialogue> <scene_description>kid. (beat)</scene_description> <character>DOWN! NOW!</character> <dialogue>The hatch slides back --</dialogue> <dialogue>McKenna UNLOADS, shot after shot. Targeting any BLINKING LIGHTS. BLAZES AWAY. Teeth bared, fearsome --</dialogue> </scene> <scene> <stage_direction>INT. THE ARK</stage_direction> <scene_description>The ship SHUDDERS violently as -- THE PREDATOR whips around in his seat, ALARM KLAXONS PEALING. Registers the OPEN DOOR; a visitor. Doesn't miss a beat. Raises an arm, FIRES -- McKENNA, BLOWN BACKWARD THE BLAST knocks him loose. Sends him TUMBLING backward into open air -- And we say "open air" because even as the energy shield catches him, high over Florida, we can see it's FLICKERING. Like a bulb before it goes out -- And then, it goes out. McKENNA DROPS. Like a stone, even as THE PREDATOR ARK, CRIPPLED Begins descending. Pitching, yawing -- ALSO DESCENDING - MCKENNA But faster. PLUMMETING, a thousand feet in the air. SEES: A LONE PARACHUTE Billowing. THE EJECTED PILOT from the first F-22. MCKENNA ADJUSTS COURSE in mid-air; SLAMS into the guy, and -- GRABS HOLD, breaking his fall, as</scene_description> </scene> <scene> <stage_direction>EXT. FLORIDA SWAMP - DAWN - THE PREDATOR ARK</stage_direction> <scene_description>PIERCES the trees, SKIMS ACROSS brackish water -- HURTLES INTO a fallen willow, CRACK--!</scene_description> </scene> <scene> <stage_direction>INT. ARK (INTERCUT:)</stage_direction> <scene_description>The VIEW PORT explodes outward. Predator, EJECTED..! Exits, pinwheels through space... Disappears into the BOG. Vanishes, submerged. The ship subsides, comes to rest in... THE SWAMP Primitive. Primordial. What the world was like before the dinosaurs. Silence... McKENNA, NOW CRASHES DOWN--! Through the branches. Breaking ribs, tearing skin. Tossed like a rag doll, until --</scene_description> </scene> <scene> <stage_direction>EXT. SWAMP - DAWN</stage_direction> <scene_description>He JERKS TO A HALT, hanging in a tree branch twenty feet off the ground. Much like when we met first him. Unconscious PILOT, strapped beside him. McKenna takes stock. Looks down, at THE MASSIVE FIGURE RISING from the swamp. Back hunched; shards peppering its flesh. Rivulets of phosphorescent green blood... THE UPGRADED PREDATOR It's down to the two of them. McKenna doesn't waste a second. He's already unlimbered his sniper rifle and he DOUBLE-TAPS the trigger, puts TWO IN ITS CHEST. And from there..? It never stops. THE CREATURE BELLOWS..! Stumbles back, collides with the downed ARK. Puts a hand out to STEADY itself, grips the craft -- Mistake.</scene_description> </scene> <scene> <stage_direction>INT. ARK - WITH RORY</stage_direction> <scene_description>RORY LEAPS to the console. Finds a flickering button, POUNDS it with his tiny fist -- And just like that, triggers the FORCE SHIELDS.</scene_description> </scene> <scene> <stage_direction>EXT. ARK</stage_direction> <scene_description>The Predator looks down, goggles -- Noting the neatly cauterized STUMP where its forearm was. The limb DROPS AWAY as the Predator looks on, dumbly. McKENNA, MEANWHILE Drops..! ROLLS -- comes up running. BLASTING shots at the creature. Dives behind a tree... And blinks. Because right in front of him, incongruously: A MOTORCYCLE. Just lying there. He snaps his gaze upward, hearing trees move -- seeing NOTHING -- as, without warning CASEY, CLOAKING BALL IN HAND Shimmers and MATERIALIZES BEFORE OUR EYES. Launches, snarling, from an OVERHEAD TREE BRANCH. Onto the Predator's shoulders..! She grabs a fistful of DREADLOCKS. SLICES THEM CLEAN OFF--! THE PREDATOR STAGGERS and WEAVES. Disoriented. CLAWING blindly at the air. MCKENNA tosses his rifle -- pulls the COMBISTICK -- Here we go. The final flurry: THE UPGRADE SWATS McKENNA aside. CASEY, sent tumbling. Then the Predator SPINS, startled -- struck by THREE BULLETS, as HOLY FUCK, THE GUY IN THE TREE! The PILOT, has removed his Sig-Sauer from his nylon vest and, still strapped in, starts RAINING COVER FIRE -- PREDATOR, ONE SWIFT MOVE Triggers an ION BLAST. Blows the tree to splinters. Obliterates him. DEBRIS showers down. McKenna, scrambling... THE PREDATOR UNLOADS. Looses a veritable FIRESTORM. Triggers BLAST AFTER BLAST, churning up water, SHREDDING trees -- Our heroes can do nothing but duck and cover. They're no match. CASEY is blown six feet through the air, HITS, rattled, and it's all over -- heroes, done. EXCEPT: Now, above the din, a SOUND intrudes upon Casey's consciousness. Subtle at first, she squints -- Now WE hear it -- a heavy PANTING off-camera, as THE SNIFFER PADS INTO VIEW. Something in its mouth. IT DROPS IT at Casey's feet; an offering. CASEY'S POV: THE SELF-DESTRUCT COLLAR. The one she threw away earlier. It fetched it back. At which point, everything proceeds like a BLUR: Casey, no hesitation. She scoops it up, feverishly accessing buttons on her WRIST GAUNTLET -- Across the clearing, McKENNA sees this, yells:</scene_description> <character>MCKENNA</character> <dialogue>TOSS IT.</dialogue> <scene_description>She doesn't ask questions. Slings it. Across the clearing to McKENNA -- who SNAGS it from air, just in time to DIVE. Narrowly misses being INCINERATED -- He hits, ROLLS -- comes up in a combat crouch; HAVING RETRIEVED THE PREDATOR'S SEVERED ARM. The one with the arrows. He loops the COLLAR over the double-pronged PROJECTILES. Pivots, AIMS as -- CASEY, ON THE RUN Triggers the last two digits in the arming code: The LED BLINKS RED. McKenna FIRES; takes the creature in the leg. IMBEDS. Pause... THE EXPLOSION HURLS THE PREDATOR backward--! Red smoke and flames subside, revealing... A FIFTEEN FOOT CRATER. Smoking. Seething... in the midst of it, the PREDATOR, a bloodied green mess. Writhing... barely alive. McKENNA and CASEY stagger forward, Casey in battle mode RORY, NOW Staggers out of the downed ARK... rushes to his father's side. They embrace, but McKenna's eyes never leave the Predator; rifle at the ready. Cautiously, he reaches in his pack. Brings out the TRANSLATOR DEVICE. Keys it...</scene_description> <character>MCKENNA</character> <parenthetical>(to The Predator)</parenthetical> <dialogue>Who are you..? What are you?</dialogue> <scene_description>The Predator, half-conscious, "answers" with its trademark rattle of TRILLS AND CLICKS. Searching... Searching...</scene_description> <character>TRANSLATOR</character> <dialogue>VOICE "I... warrior."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>"You?"</dialogue> <scene_description>McKenna trades looks at Rory. A shrug. Not resigned, but... maybe a hint of pride?</scene_description> <character>MCKENNA</character> <dialogue>Same.</dialogue> <scene_description>The creature points at RORY.</scene_description> <character>TRANSLATOR VOICE</character> <dialogue>"Warrior... NEW breed."</dialogue> <scene_description>That's bizarre. For a moment we'd swear it's favoring the kid with a FOND LOOK, one of admiration -- Then it GOES for the kid. The last of its strength, LASHES OUT, talons bared -- MCKENNA Puts two SHOTS THROUGH ITS EYE. The Predator slumps. Dead. McKenna's eyes shift to his son, spattered in green blood. Staring.</scene_description> <character>MCKENNA</character> <dialogue>Sorry.</dialogue> <character>RORY</character> <dialogue>That's okay. You can shoot him again if you want.</dialogue> <character>MCKENNA</character> <dialogue>I'm good.</dialogue> <scene_description>A COMMOTION, NOW, they turn their gaze skyward, as SERIES OF SHOTS: HUEYS come ratcheting in, CIRCLING the clearing. SOLDIERS, rappelling down through TREE TOPS -- A PLATOON OF U.S. MILITARY Touches down, immediately sprinting for the three SURVIVORS, forming a makeshift perimeter -- WE HEAR A FAMILIAR SNORT And the slobbering PREDATOR DOG pads into view. Bee-lines to Casey, panting for her favor. EVERY MILITARY WEAPON SWIVELS to draw a bead on it. But like an Amazon warrior, Casey divests the nearest soldier of his weapon. Spins, COCKS IT -- !</scene_description> <character>CASEY</character> <dialogue>You touch my dog and I'll kill you.</dialogue> <scene_description>One of the soldiers RUNS up to them.</scene_description> <character>SOLDIER AT EXTRACTION SITE</character> <dialogue>Lieutenant McKenna?</dialogue> <scene_description>The soldier hands him a cell phone. McKenna puts the phone to his ear, perplexed. Then... a relieved smile, and he hands the phone to his son.</scene_description> <character>RORY</character> <parenthetical>(into phone)</parenthetical> <dialogue>Mom?</dialogue> </scene> <scene> <stage_direction>EXT. RORY'S HOUSE - DAY (INTERCUT:)</stage_direction> <scene_description>EMILY, on the front porch. Clutching a phone:</scene_description> <character>EMILY</character> <dialogue>Are you okay, honey?</dialogue> <scene_description>His answer, drowned out by the ROAR OF A CHOPPER descending.</scene_description> <character>EMILY</character> <dialogue>What'd you say, peanut?</dialogue> <scene_description>Rory plugs his ears. SHOUTS:</scene_description> <character>RORY</character> <dialogue>Ich liebe auch tou!</dialogue> <scene_description>But still, no good. The helicopter, deafening.</scene_description> <character>EMILY</character> <dialogue>WHAT??</dialogue> <scene_description>Now the chopper DIES DOWN... just in time for us to hear:</scene_description> <character>RORY</character> <dialogue>I love you.</dialogue> <scene_description>TIME CUT: MINUTES LATER - ON CASEY AND McKENNA Approaching the helicopter.</scene_description> <character>CASEY</character> <dialogue>It's weird. The file was all about how honorable these things are...</dialogue> <parenthetical>(re: upgrade)</parenthetical> <dialogue>But this one -- he wasn't about hunting. No sporting chance, nothing. Just slaughter.</dialogue> <character>MCKENNA</character> <dialogue>You said it yourself, it had human DNA...</dialogue> <parenthetical>(smiles sadly)</parenthetical> <dialogue>They're becoming more like us.</dialogue> <character>CASEY</character> <parenthetical>(unsettled)</parenthetical> <dialogue>McKenna, did we... did we just start a war?</dialogue> <scene_description>Now, a VOICE from the chopper:</scene_description> <character>VOICE (O.S.)</character> <dialogue>Negatory. The war's already started.</dialogue> <scene_description>They both look up as, framed in the hatchway, REVEAL: "DUTCH" SCHAEFER The Predator's first adversary. Face haunted; etched by pain.</scene_description> <character>SCHAEFER</character> <dialogue>Dutch Schaefer, U.S. Special Forces. Come with me.</dialogue> <character>RORY</character> <dialogue>Uh... me, too?</dialogue> <scene_description>Schaefer nods, smiles grimly... says:</scene_description> <character>SCHAEFER</character> <dialogue>Especially you.</dialogue> <scene_description>CUT TO BLACK. CREDITS.</scene_description> </scene> </script>

A Predator ship crash-lands on Earth. U.S. Army Ranger sniper Quinn McKenna and his team are attacked by the Predator while on a hostage retrieval mission. Quinn incapacitates the Predator and has parts of its armor sent off by mail to prove the existence of extraterrestrial life. Government agent Will Traeger has Quinn captured and held for examination. Traeger also takes the Predator to a lab for experimentation and observation, recruiting evolutionary biologist Casey Bracket to study it, who discovers that the Predator's genetic makeup contains human DNA. The Predator awakens, breaks out of its restraints, and kills the lab workers and armed guards, but spares Bracket, the only unarmed person, before escaping. Quinn is bussed off with a group of other captives, including former Marines "Nebraska" Williams, Coyle, Baxley, Lynch, and Army helicopter pilot Nettles. Witnessing the Predator's escape from the lab, they hijack the bus. Taking Bracket with them, they head over to Quinn's estranged wife, Emily, where he unexpectedly finds the Predator armor he'd previously mailed to a PO box. This was because he hadn't paid for the PO box so the postman had delivered it to her house. However, Rory, Quinn's autistic son, has gone trick-or-treating in the armor in hopes of avoiding detection from bullies. Quinn and the others find his son in time to stop a pair of Predator Hounds from ambushing the boy. Quinn blows one up by shooting a grenade into its mouth; Nebraska unintentionally lobotomizes the other dog after shooting it in the head. The Predator chases them into a nearby school and they start to give the Predator's armor back when a larger, more powerful Predator arrives and engages the first in combat. The group flees, and the second Predator kills the first before setting out to retrieve the lost technology. Bracket concludes that the Predators are attempting to improve themselves with the DNA of humans and, presumably, other planets' inhabitants. She also suggests that Rory's autism enables him to translate and understand Predator technology. The team flees to an abandoned barn, but Traeger finds and captures them, and shares his theory that the Predators anticipate that climate change will end their ability to retrieve human DNA for further hybridization, and as such are scrambling to retrieve samples before it is too late. Seeing Rory drawing a map to the spaceship, Traeger takes the boy to the ship. The team escapes and goes after him with the help of the now docile, brain-damaged Predator hound. Once all have arrived at the crashed ship, the second Predator arrives, kills Lynch, and explains through translation software that it will destroy the ship to keep it out of their hands and then give them all a head start before it hunts them down. The Predator quickly kills several of Traeger's soldiers while mortally wounding Baxley and Coyle, who then shoot each other. Traeger tries to use a Predator weapon on the alien but accidentally kills himself instead. The Predator takes Rory, assuming his autism as an advancement in human evolution which makes him a worthwhile subject for hybridization, and flies away in his ship. Quinn, Nebraska, and Nettles land on the ship's exterior, but the Predator activates a force field that slices off Nettles' legs, and he falls off the ship to his death. Nebraska sacrifices himself and slides into the ship's turbine, causing it to crash. Quinn sneaks into the ship as it crashes and attacks the Predator. After the crash, Bracket arrives, and the three manage to overpower and kill the Predator with its weapons. They pay their respects to their fallen comrades with trinkets representing each one before heading off. Later, Quinn and Rory are seen in a science lab watching the opening of cargo found on the Predator's ship, which a scientist indicates was left behind intentionally. A piece of technology floats out and attaches itself to a lab worker, working as a transformative "Predator killer" suit before deactivating. Realizing the first Predator was trying to pass it on to humanity for a fair fight against the larger Predators, Quinn indicates he will be the pilot to operate the suit.

Barton Fink_1991

tt0101410

<script> <scene> <stage_direction>BARTON FINK</stage_direction> <scene_description>ON BARTON FINK He is a bespectacled man in his thirties , hale but somewhat bookish . He stands , tuxedoed , in the wings of a theater , looking out at the stage , listening intently to end of a performance . In the shadows behind him an old stagehand leans against a flat , expressionlessly smoking a cigarette , one hand on a thick rope that hangs from the ceiling . The voices of the performing actors echo in from the offscreen stage :</scene_description> <character>ACTOR</character> <dialogue>I'm blowin' out of here, blowin' for good. I'm kissin' it all goodbye, these four stinkin' walls, the six flights up, the el that roars by at three A.M. like a castiron wind. Kiss'em goodbye for me, Maury! I'll miss'em -- like hell I will!</dialogue> <character>ACTRESS</character> <dialogue>Dreaming again!</dialogue> <character>ACTOR</character> <dialogue>Not this time, Lil! I'm awake now, awake for the first time in years. Uncle Dave said it : Daylight is a dream if you've lived with your eyes closed. Well my eyes are open now! I see that choir, and I know they're dressed in rags! But we're part of that choir, both of us -- yeah, and you, Maury, and Uncle Dave too!</dialogue> <character>MAURY</character> <dialogue>The sun's coming up, kid. They'll be hawking the fish down on Fulton Street.</dialogue> <character>ACTOR</character> <dialogue>Let'em hawk. Let'em sing their hearts out.</dialogue> <character>MAURY</character> <dialogue>That's it, kid. Take that ruined choir. Make it sing!</dialogue> <character>ACTOR</character> <dialogue>So long, Maury.</dialogue> <character>MAURY</character> <dialogue>So long.</dialogue> <scene_description>We hear a door open and close , then approaching footsteps . A tall , dark actor in a used tweed suit and carrying a beat - up valise passes in front of Barton : From offscreen stage :</scene_description> <character>MAURY</character> <dialogue>We'll hear from that kid. And I do n't mean a postcard.</dialogue> <scene_description>The actor sets the valise down and then stands waiting int he shadows behind Barton . An older man in work clothes -- not wardrobe -- passes in front of Barton from the other direction , pauses at the edge of the stage and cups his hands to his mouth .</scene_description> <character>OLDER MAN</character> <dialogue>FISH! FRESH FISH!</dialogue> <scene_description>As the man walks back off the screen :</scene_description> <character>LILY</character> <dialogue>Let's spit on our hands and get to work. It's late, Maury.</dialogue> <character>MAURY</character> <dialogue>Not any more Lil.</dialogue> <scene_description>Barton mouths the last line in sync with the offscreen actor :</scene_description> <character>MAURY</character> <dialogue>It's early.</dialogue> <scene_description>With this the stagehand behind Barton furiously pulls the rope hand - over - hand and we hear thunderous applause and shouts of `` Bravo ! '' As the stagehand finishes bringing the curtain down , somewhat muting the applause , the backstage actor trots out of frame toward the stage . The stagehand pulls on an adjacent rope , bringing the curtain back up and unmuting the applause . Barton Fink seems dazed . He has been joined by two other men , both dressed in tuxedos , both beaming toward the stage . BARTON 'S POV Looking across a tenement set at the backs of the cast as the curtain rises on the enthusiastic house . The actors take their bows and the cry of `` Author , Author '' goes up from the crowd . The actors turn to smile at Barton in the wings . BARTON He hesitates , unable to take it all in . He is gently nudged toward the stage by the two tuxedoed gentlemen . As he exits toward the stage the applause is deafening . TRACKING SHOT Pushing a maitre 'd who looks back over his shoulder as he leads the way through the restaurant .</scene_description> <character>MAITRE 'D</character> <dialogue>Your table is ready, Monsieur Fink. several members of your party have already arrived.</dialogue> <scene_description>REVERSE Pulling Barton</scene_description> <character>FINK</character> <dialogue>Is Garland Stanford here?</dialogue> <character>MAITRE 'D</character> <dialogue>He called to say he'd be a few minutes late. Ah, here we are.</dialogue> <scene_description>TRACKING IN Toward a large semi - circular booth . Three guests , two me and a woman in evening wear , are rising and beaming at Barton . A fat middle - aged man , one of the tuxedoed gentlemen we saw backstage , is moving out to let Barton slide in .</scene_description> <character>MAN</character> <dialogue>Barton, Barton, so glad you could make it. You know Richard St. Claire.</dialogue> <scene_description>Barton nods and looks at the woman .</scene_description> <character>MAN</character> <dialogue>and Poppy Carnahan. We're drinking champagne, dear boy, in honor of the occasion. Have you seen the Herald?</dialogue> <scene_description>Barton looks sullenly at his champagne glass as the fat man fills it .</scene_description> <character>BARTON</character> <dialogue>Not yet.</dialogue> <character>MAN</character> <dialogue>Well, I do n't want to embarrass you but Caven could hardly contain himself. But more important, Richard and Poppy here loved the play.</dialogue> <character>POPPY</character> <dialogue>Loved it! What power!</dialogue> <character>RICHARD</character> <dialogue>Yeah, it was a corker.</dialogue> <character>BARTON</character> <dialogue>Thanks, Richard, but I know for a fact the only fish you've ever seen were tacked to a the wall of the yacht club.</dialogue> <character>RICHARD</character> <dialogue>Ouch!</dialogue> <character>MAN</character> <dialogue>Bravo! Nevertheless, we were all devastated.</dialogue> <character>POPPY</character> <dialogue>Weeping! Copius tears! What did the Herald say?</dialogue> <character>MAN</character> <dialogue>I happen to have it with me.</dialogue> <character>BARTON</character> <dialogue>Please Derek --</dialogue> <character>POPPY</character> <dialogue>Do read it, do!</dialogue> <character>DEREK</character> <dialogue>`` Bare Ruined Choirs : Triumph of the Common Man. The star of the Bare Ruined Choirs was not seen on the stage of the Belasco last night -- though the thespians involved all acquitted themselves admirably. The find of the evening was the author of this drama about simple folk -- fish mongers, in fact -- whose brute struggle for existence can not quite quell their longing for something higher. The playwright finds nobility in the most squalid corners and poetry in the most callused speech. A tough new voice in the American theater has arrived, and the owner of that voice is named. Barton Fink.''</dialogue> <character>BARTON</character> <dialogue>They'll be wrapping fish in it in the morning so I guess it's not a total waste.</dialogue> <character>POPPY</character> <dialogue>Cynic!</dialogue> <character>DEREK</character> <dialogue>Well we can enjoy your success, Barton, even if you ca n't.</dialogue> <character>BARTON</character> <dialogue>Do n't get me wrong -- I'm glad it'll do well for you, Derek.</dialogue> <character>DEREK</character> <dialogue>Do n't worry about me, dear boy -- I want you to celebrate.</dialogue> <character>BARTON</character> <dialogue>All right, but I ca n't start listening to the critics, and I ca n't kid myself about my own work. A writer writes from his gut, and his gut tells him what's good and what's. merely adequate.</dialogue> <character>POPPY</character> <dialogue>Well I do n't pretend to be a critic, but Lord, I have a gut, and it tells me it was simply marvelous.</dialogue> <character>RICHARD</character> <dialogue>And a charming gut it is.</dialogue> <character>POPPY</character> <dialogue>You dog!</dialogue> <character>RICHARD</character> <parenthetical>( baying . )</parenthetical> <dialogue>Aaa - woooooooo!</dialogue> <scene_description>Barton turns to look for the source of an insistent jingling . We swish pan off him to find a busboy marching through the restaurant displaying a page sign , bell attached , with Barton 's name on it . TRACKING IN TOWARD A BAR A distinguished fifty - year - old gentleman in evening clothes is nursing a martini , watching Barton approach . PULLING BARTON As he draws near .</scene_description> <character>BARTON</character> <dialogue>I thought you were going to join us. Jesus, Garland, you left me alone with those people.</dialogue> <character>GARLAND</character> <dialogue>Do n't panic, I'll join you in a minute. What's you think of Richard and Poppy?</dialogue> <scene_description>Barton scowls</scene_description> <character>BARTON</character> <dialogue>The play was marvelous. She wept, copiously. Millions of dollars and no sense.</dialogue> <scene_description>Garland smiles , then draws Barton close .</scene_description> <character>GARLAND</character> <dialogue>We have to talk a little business. I've just been on the phone to Los Angeles. Barton, Capitol Pictures wants to put you under contract. They've offered you a thousand dollars a week. I think I can get them to go as high as two.</dialogue> <character>BARTON</character> <dialogue>To do what?</dialogue> <character>GARLAND</character> <dialogue>What do you do far a living?</dialogue> <character>BARTON</character> <dialogue>I'm not sure anymore. I guess I try to make a difference.</dialogue> <character>GARLAND</character> <dialogue>Fair enough. No pressure here, Barton, because I respect you, but let me point out a couple of things. One, here you make a difference to five hundred fifty people a night -- if the show sells out. Eighty five million people go to the pictures every week.</dialogue> <character>BARTON</character> <dialogue>To see pap.</dialogue> <character>GARLAND</character> <dialogue>Yes, generally, to see pap. However, point number two : A brief tenure in Hollywood could support you through the writing of any number of plays.</dialogue> <character>BARTON</character> <dialogue>I do n't know, Garland ; my place is here right now. I feel I'm on the brink of success -</dialogue> <character>GARLAND</character> <dialogue>I'd say you're already enjoying some.</dialogue> <scene_description>Barton leans earnestly forward .</scene_description> <character>BARTON</character> <dialogue>No, Garland, do n't you see? Not the kind of success where the critics fawn over you or the producers like Derek make a lot of money. No, a real success -- the success we've been dreaming about -- the creation of a new, living theater of, about, and for the common man! If I ran off to Hollywood now I'd be making money, going to parties, meeting the big shots, sure, but I'd be cutting myself off from the wellspring of that success, from the common man.</dialogue> <scene_description>He leans back and chuckles ruefully .</scene_description> <character>BARTON</character> <dialogue>I guess I'm sprouting off again. But I am certain of this, Garland : I'm capable of more good work. Maybe better work than I did in Choirs. It just does n't seem to me that Los Angeles is the place to lead the life of mind.</dialogue> <character>GARLAND</character> <dialogue>Okay Barton, you're the artist, I'm just the ten percenter. You decide what you want and I'll make it happen. I'm only asking that your decision be informed by a little realism -- if I can use that word and Hollywood in the same breath.</dialogue> <scene_description>Barton glumly lights a cigarette and gazes out across the floor . Garland studies him .</scene_description> <character>GARLAND</character> <dialogue>Look, they love you, kid -- everybody does. You see Caven's review in the Herald?</dialogue> <character>BARTON</character> <dialogue>No, what did it say?</dialogue> <character>GARLAND</character> <dialogue>Take my copy. You're the toast of Broadway and you have the opportunity to redeem that for a little cash -- strike that, a lot of cash.</dialogue> <scene_description>Garland looks at Barton for a reaction , but gets none .</scene_description> <character>GARLAND</character> <dialogue>The common man'll still be here when you get back. What the hell, they might even have one or two of'em out in Hollywood.</dialogue> <scene_description>Absently :</scene_description> <character>BARTON</character> <dialogue>That's a rationalization, Garland.</dialogue> <scene_description>Garland smiles gently .</scene_description> <character>GARLAND</character> <dialogue>Barton, it was a joke.</dialogue> <scene_description>We hear a distant rumble . It builds slowly and we cut to : A GREAT WAVE Crushing against the Pacific shore . The roar of the surf slips away as we dissolve to : HOTEL LOBBY A high wide shot from the front door , looking down across wilting potted palms , brass cuspidors turning green , ratty wing chairs ; the fading decor is deco - gone - to - seed . Amber light , afternoon turning to evening , slopes in from behind us , washing the derelict lobby with golden highlights . Barton Fink enters frame from beneath the camera and stops in the middle foreground to look across the lobby . We are framed on his back , his coat and hat . The lobby is empty . There is a suspended beat as Barton takes it in . Barton moves toward the front desk . THE REVERSE As Barton stops at the empty desk . He hits a small silver bell next to the register . Its ring - out goes on and on without losing volume . After a long beat there is a dull scuffle of shoes on stairs . Barton , puzzled , looks around the empty lobby , then down at the floor behind the front desk . A TRAP DOOR It swings open and a young man in a faded maroon uniform , holding a shoebrush and a shoe -- not one of his own -- climbs up from the basement . He closes the trap door , steps up to the desk and sticks his finger out to touch the small silver bell , finally muting it . The lobby is now silent again .</scene_description> <character>CLERK</character> <dialogue>Welcome to the Hotel Earle. May I help you, sir?</dialogue> <character>BARTON</character> <dialogue>I'm checking in. Barton Fink.</dialogue> <scene_description>The clerk flips through cards on the desk .</scene_description> <character>CLERK</character> <dialogue>F - I - N - K. Fink, Barton. That must be you, huh?</dialogue> <character>BARTON</character> <dialogue>Must be.</dialogue> <character>CLERK</character> <dialogue>Okay then, everything seems to be in order. Everything seems to be in order.</dialogue> <scene_description>He is turning to a register around for Barton to sign .</scene_description> <character>CLERK</character> <dialogue>Are you a tranz or a rez?</dialogue> <character>BARTON</character> <dialogue>Excuse me?</dialogue> <character>CLERK</character> <dialogue>Transient or resident?</dialogue> <character>BARTON</character> <dialogue>I do n't know. I mean, I'll be here, uh, indefinitely.</dialogue> <character>CLERK</character> <dialogue>Rez. That'll be twenty - five fifty a week payable in advance. Checkout time is twelve sharp, only you can forget that on account you're a rez. If you need anything, anything at all, you dial zero on your personal in - room telephone and talk to me. My name is Chet.</dialogue> <character>BARTON</character> <dialogue>Well, I'm going to be working here, mostly at night ; I'm a writer. Do you have room service?</dialogue> <character>CLERK</character> <dialogue>Kitchen closes at eight but I'm the night clerk. I can always ring out for sandwiches.</dialogue> <scene_description>The clerk is scribbling something on the back of an index card .</scene_description> <character>CLERK</character> <dialogue>Though we provide privacy for the residential guest, we are also a full service hotel including complimentary shoe shine. My name is Chet.</dialogue> <scene_description>He pushes a room key across the counter on top of the index card . Barton looks at the card . On it : `` CHET ! '' Barton looks back up at the clerk . They regard each other for a beat .</scene_description> <character>CLERK</character> <dialogue>Okay</dialogue> <character>BARTON</character> <dialogue>Huh?</dialogue> <scene_description>The clerk .</scene_description> <character>CLERK</character> <dialogue>Okey - dokey, go ahead.</dialogue> <character>BARTON</character> <dialogue>What --</dialogue> <character>CLERK</character> <dialogue>Do n't you wan na go to your room?!</dialogue> <scene_description>Barton stares at him .</scene_description> <character>BARTON</character> <dialogue>What number is it?</dialogue> <scene_description>The clerk stares back .</scene_description> <character>CLERK</character> <dialogue>Six - oh - five. I forgot to tell you.</dialogue> <scene_description>As Barton stoops to pick up his two small bags :</scene_description> <character>CLERK</character> <dialogue>Those your only bags?</dialogue> <character>BARTON</character> <dialogue>The others are being sent.</dialogue> <scene_description>The clerk leans over the desk to call after him :</scene_description> <character>CLERK</character> <dialogue>I'll keep an eye out for them. I'll keep my eyes peeled, Mr. Fink.</dialogue> <scene_description>Barton is walking to the elevator . ELEVATOR Barton enters and sets down his bags . An aged man with white stubble , wearing a greasy maroon uniform , sits on a stool facing the call panel . He does not acknowledge Barton 's presence . After a beat :</scene_description> <character>BARTON</character> <dialogue>Six, please.</dialogue> <scene_description>The elevator man gets slowly to his feet . As he pushes the door closed :</scene_description> <character>ELEVATOR MAN</character> <dialogue>Next stop : Six.</dialogue> <scene_description>SIXTH - FLOOR HALLWAY Barton walks slowly toward us , examining the numbers on the doors . The long , straight hallway is carpeted with an old stained forest green carpet . The wallpaper shows faded yellowing palm trees . Barton sticks his key in the lock of a door midway down the hall . HIS ROOM As Barton enters . The room is small and cheaply furnished . There is a lumpy bed with a worn yellow coverlet , an old secretary table , and a wooden luggage stand . As Barton crosses the room we follow to reveal a sink and wash basin , a house telephone on a rickety night stand , and a window with yellowing sheers looking on an air shaft . Barton throws his valise onto the bed where it sinks , jittering . He shrugs off his jacket . Pips of sweat stand out on Barton 's brow . The room is hot . He walks across the room , switches on an oscillating fan and struggles to throw open the window . After he strains at it for a moment , it slides open with a great wrenching sound . Barton picks up his Underwood and places it on the secretary table . He gives the machine a casually affectionate pat . Next to the typewriter are a few sheets of house stationary : `` THE HOTEL EARLE : A DAY OR A LIFETIME . '' We pan up to a picture in a cheap wooden frame on the wall above the desk . A bathing beauty sits on the beach under a cobalt blue sky . One hand shields her eyes from the sun as she looks out at a crashing surf . The sound of the surf mixes up . BARTON Looking at the picture TRACKING IN ON THE PICTURE The surf mixes up louder . We hear a gull cry . The sound snaps off with the ring of a telephone . THE HOUSE PHONE On the nightstand next to the bed . With a groan of bedsprings Barton sits into frame and picks up the telephone .</scene_description> <character>VOICE</character> <dialogue>How d'ya like your room!</dialogue> <character>BARTON</character> <dialogue>Who is this?</dialogue> <character>VOICE</character> <dialogue>Chet!</dialogue> <character>BARTON</character> <dialogue>Who?</dialogue> <character>VOICE</character> <dialogue>Chet! From downstairs!</dialogue> <scene_description>Barton wearily rubs the bridge of his nose .</scene_description> <character>VOICE</character> <dialogue>How d'ya like your room!</dialogue> <scene_description>A PILLOW As Barton 's head drops down into frame against it . He reaches over and turns off the bedside light . He lies back and closes his eyes . A long beat . We hear a faint hum , growing louder . Barton opens his eyes . HIS POV A naked , peeling ceiling . The hum -- a mosquito , perhaps -- stops . BARTON His eyes move this way and that . After a silent beat , he shuts them again . After another silent beat , we hear -- muffled , probably from am adjacent room -- a brief , dying laugh . It is sighing and weary , like the end of a laughing fit , almost a sob . Silence again . We hear the rising mosquito hum . FADE OUT</scene_description> </scene> <scene> <stage_direction>EXECUTIVE OFFICE</stage_direction> <scene_description>Barton Fink is ushered into a large , light office by an obsequious middle - aged man in a sagging suit . There are mosquito bites on Barton 's face . REVERSE From behind a huge white desk , a burly man in an expensive suit gets to his feet and strides across the room .</scene_description> <character>MAN</character> <dialogue>Is that him?! Barton Fink?! Lem me put my arms around this guy!</dialogue> <scene_description>He bear - hugs Barton .</scene_description> <character>MAN</character> <dialogue>How the hell are ya? Good trip?</dialogue> <scene_description>He separates without waiting for an answer .</scene_description> <character>MAN</character> <dialogue>My name is Jack Lipnik. I run this dump. You know that -- you read the papers.</dialogue> <scene_description>Lipnik is lumbering back to his desk .</scene_description> <character>MAN</character> <dialogue>Lou treating you all right? Got everything you need? What the hell's the matter with your face? What the hell's the matter with his face, Lou?</dialogue> <character>BARTON</character> <dialogue>It's not as bad as it looks ; just a mosquito in my room --</dialogue> <character>LIPNIK</character> <dialogue>Place okay?</dialogue> <scene_description>To Lou :</scene_description> <character>LIPNIK</character> <dialogue>Where did we put him?</dialogue> <character>BARTON</character> <dialogue>I'm at the Earle.</dialogue> <character>LIPNIK</character> <dialogue>Never heard of it. Let's move him to the Grand, or the Wilshire, or hell, he can stay at my place.</dialogue> <character>BARTON</character> <dialogue>Thanks, but I wanted a place that was less.</dialogue> <character>LIPNIK</character> <dialogue>Less Hollywood? Sure, say it, it's not a dirty word. Sat whatever the hell you want. The writer is king here at Capitol Pictures. You do n't believe me, take a look at your paycheck at the end of every week -- that's what we think of the writer.</dialogue> <parenthetical>( to Lou . )</parenthetical> <dialogue>. so what kind of pictures does he like?</dialogue> <character>LOU</character> <dialogue>Mr. Fink has n't given a preference, Mr. Lipnik.</dialogue> <character>LIPNIK</character> <dialogue>How's about it, Bart?</dialogue> <character>BARTON</character> <dialogue>To be honest, I do n't go to the pictures much, Mr. Lipnik --</dialogue> <character>LIPNIK</character> <dialogue>That's okay, that's okay, that's okay -- that's just fine. You probably just walked in here thinking that was going to be a handicap, thinking we wanted people who knew something about the medium, maybe even thinking there was all kind of technical mumbo - jumbo to learn. You were dead wrong. We're only interested in one thing : Can you tell a story, Bart? Can you make us laugh, can you make us cry, can you make us wan na break out in joyous song? Is that more than one thing? Okay. The point is, I run this dump and I do n't know the technical mumbo - jumbo. Why do I run it? I've got horse - sense, goddamnit. Showmanship. And also, and I hope Lou told you this, I bigger and meaner than any other kike in this town. Did you tell him that, Lou? And I do n't mean my dick's bigger than yours, it's not a sexual thing -- although, you're the writer, you would know more about that. Coffee?</dialogue> <character>BARTON</character> <dialogue>Yes, thank you.</dialogue> <character>LIPNIK</character> <dialogue>Lou.</dialogue> <scene_description>Lou immediately rises and leaves . Lipnik 's tone becomes confidential :</scene_description> <character>LIPNIK</character> <dialogue>He used to have shares in the company. An ownership interest. Got bought out in the twenties -- muscled out according to some. Hell, according to me. So we keep him around, he's got a family. Poor schmuck. He's sensitive, do n't mention the old days. Oh hell, say whatever you want. Look, barring a preference, Bart, we're gon na put you to work on a wrestling picture. Wallace Beery. I say this because they tell me you know the poetry of the street. That would rule out westerns, pirate pictures, screwball, Bible, Roman.</dialogue> <scene_description>He rises and starts pacing .</scene_description> <character>LIPNIK</character> <dialogue>But look, I'm not one of these guys thinks poetic has got ta be fruity. We're together on that, are n't we? I mean I'm from New York myself -- well, Minsk if you wan na go way back, which we wo n't if you do n't mind and I ai n't askin'. Now people're gon na tell you, wrestling. Wallace Beery, it's a B picture. You tell them, bullshit. We do n't make B pictures here at Capitol. Let's put a stop to that rumor right now.</dialogue> <scene_description>Lou enters with coffee .</scene_description> <character>LIPNIK</character> <dialogue>Thanks Lou. Join us. Join us. Talking about the Wallace Beery picture.</dialogue> <character>LOU</character> <dialogue>Excellent picture.</dialogue> <character>LIPNIK</character> <dialogue>We got a treatment on it yet?</dialogue> <character>LOU</character> <dialogue>No, not yet Jack. We just bought the story. Saturday Evening Post.</dialogue> <character>LIPNIK</character> <dialogue>Okay, the hell with the story. Wallace Beery is a wrestler. I wan na know his hopes, his dreams. Naturally, he'll have to get mixed up with a bad element. And a romantic interest. You know the drill. Romantic interest, or else a young kid. An orphan. What do you think, Lou? Wally a little too old for a romantic interest? Look at me, a writer in the room and I'm askin' Lou what the goddamn story should be!</dialogue> <scene_description>After a robust laugh , he beams at Barton .</scene_description> <character>LIPNIK</character> <dialogue>Well Bart, which is it? Orphan? Dame?</dialogue> <character>BARTON</character> <dialogue>Both maybe?</dialogue> <scene_description>There is a disappointed silence . Lipnik looks at Lou . Lou clears his throat .</scene_description> <character>LOU</character> <dialogue>Maybe we should do a treatment.</dialogue> <character>LIPNIK</character> <dialogue>Ah, hell, let Bart take a crack at it. He'll get into the swing of things or I do n't know writers. Let's make it a dame, Bart, keep it simple. We do n't got ta tackle the world our first time out. The important thing is we all have that Barton Fink feeling, but since you're Barton Fink I'm assuming you have it in spades. Seriously Bart, I like you. We're off to a good start. Dammit, if all our writers were like you I would n't have to get so goddamn involved. I'd like to see something by the end of the week.</dialogue> <scene_description>Lou is getting to his feet and signaling for Barton to do likewise .</scene_description> <character>LIPNIK</character> <dialogue>Heard about your show, by the way. My man in New York saw it. Tells me it was pretty damn powerful. Pretty damn moving. A little fruity, he said, but I guess you know what you're doing. Thank you for your heart. We need more heart in pictures. We're all expecting great things.</dialogue> <scene_description>TRACKING SHOT We are in the sixth - floor hallway of the Earle , late at night . A pair of shoes sits before each door . Faintly , from one of the rooms , we can hear the clack . clack . clack . of a typewriter . It grows louder as we track forward . EXTREME CLOSE SHOT -- TYPEWRITER Close on the typing so that we see only each letter as it is typed , without context . One by one the letters clack on : a - u - d - i - b - l - e . After a short beat , a period strikes . BARTON Elbows on his desk , he looks down at what he has just written . He rolls the paper up a few lines , looks some more . THE PAGE It says :</scene_description> </scene> <scene> <stage_direction>A TENEMENT BUILDING</stage_direction> <scene_description>On Manhattan 's Lower East Side . Early morning traffic is audible . BARTON After a beat he rolls the sheet back into place . EXTREME CLOSE SHOT The letter - strike area . It is lined up to the last period , which is struck over by a comma . The words `` as is '' are typed in and we cut back to -- BARTON -- as he continues typing . He stops after several more characters and looks . Silence . Breaking the silence , muffled laughter from an adjacent room . A man 's laughter . It is weary , solitary , mirthless . Barton looks up at the wall directly in front of him . HIS POV The picture of the girl on the beach . BARTON Staring , as the end - of - the - tether laughing continues . Barton looks back down at his typewriter as if to resume work , but the sound is too insistent to ignore . WIDE SHOT The room , Barton sitting at his desk , staring at the wall . The laughter . Barton pushes his chair back , goes to the door , opens it and looks out . HIS POV The empty hallway , a pair of shoes before each door . At the end of the hall a dim red bulb burns over the door to the staircase , punctuating the sick yellow glow of the line of wall sconces . The laughter , though still faint , is more resonant in the empty hall . Perhaps its quality has changed , or perhaps simply because it is so insistent , the laughter now might be taken for weeping . Barton pauses , trying to interpret the sound . He slowly withdraws into his room . HIS ROOM Barton looks down at his typewriter for a beat . The laughter/weeping continues . He walks over to his bed , sits down and picks up the house phone .</scene_description> <character>BARTON</character> <dialogue>Hello. Chet? This is Barton Fink in room 605. Yes, there's uh, there's someone in the room next door to mine, 604, and he's uh. He's uh. making a lot of. noise.</dialogue> <scene_description>After a beat :</scene_description> <character>BARTON</character> <dialogue>Thank you.</dialogue> <scene_description>He cradles the phone . The laughter continues for a moment or two , then abruptly stops with the muffled sound of the telephone ringing next door . Barton looks at the wall . The muffled sound of a man talking . The sound of the earpiece being pronged . Muffled footsteps next door . The sound of the neighbor 's door opening and shutting . Footsteps approaching the hall . A hard , present knock at Barton 's door . Barton hesitates for a beat , then rises to go get the door . ON THE DOOR As Barton opens it . Standing in the hall is a large man -- a very large man -- in short sleeves , suspenders , and loosened tie . His face is slightly flushed , with the beginnings of sweat .</scene_description> <character>MAN</character> <dialogue>Did you. Somebody just complained.</dialogue> <scene_description>Hastily :</scene_description> <character>BARTON</character> <dialogue>No, I did n't -- I mean, I did call down, not to complain exactly, I was just concerned that you might -- not that it's my business, but that you might be in some kind of. distress. You see, I was trying to work, and it's, well, it was difficult --</dialogue> <character>MAN</character> <dialogue>Yeah. I'm damn sorry, if I bothered you. The damn walls here, well, I just apologize like hell.</dialogue> <scene_description>He sticks his hand out .</scene_description> <character>MAN</character> <dialogue>My name's Charlie Meadows. I guess we're neighbors.</dialogue> <scene_description>Without reaching for the hand .</scene_description> <character>BARTON</character> <dialogue>Barton Fink.</dialogue> <scene_description>Unfazed , Charlie Meadows unpockets a flask .</scene_description> <character>CHARLIE</character> <dialogue>Neighbor, I'd feel better about the damned inconvenience if you'd let me buy you a drink.</dialogue> <character>BARTON</character> <dialogue>That's all right, really, thank you.</dialogue> <character>CHARLIE</character> <dialogue>All right, hell, you trying to work and me carrying on in there. Look, the liquor's good, wuddya say?</dialogue> <scene_description>As he enters :</scene_description> <character>CHARLIE</character> <dialogue>You got a glass? It's the least I can do.</dialogue> <character>BARTON</character> <dialogue>Okay. a quick one, sure.</dialogue> <scene_description>He gets two glasses from the wash basin . Charlie sits down on the edge of the bed and uncorks his flask .</scene_description> <character>CHARLIE</character> <dialogue>Yeah, just a nip. I feel like hell, all the carryings - on next door.</dialogue> <character>BARTON</character> <dialogue>That's okay, I assure you. It's just that I was trying to work --</dialogue> <character>CHARLIE</character> <dialogue>What kind of work do you do, Barton, if you do n't mind my asking?</dialogue> <character>BARTON</character> <dialogue>Well, I'm a writer, actually.</dialogue> <character>CHARLIE</character> <dialogue>You do n't say. That's a tough racket. My hat's off to anyone who can make a go of it. Damned interesting work, I'd imagine.</dialogue> <character>BARTON</character> <dialogue>Can be. Not easy, but --</dialogue> <character>CHARLIE</character> <dialogue>Damned difficult, I'd imagine.</dialogue> <scene_description>As he hands Charlie a glass :</scene_description> <character>BARTON</character> <dialogue>And what's your line, Mr. Meadows?</dialogue> <character>CHARLIE</character> <dialogue>Hell no! Call me Charlie. Well Barton, you might say I sell peace of mind. Insurance is my game -- door - to - door, human contact, still the only way to move merchandise.</dialogue> <scene_description>He fills a glass with whiskey and swaps it for the empty glass .</scene_description> <character>CHARLIE</character> <dialogue>In spite of what you might think from tonight, I'm pretty good at it.</dialogue> <character>BARTON</character> <dialogue>Does n't surprise me at all.</dialogue> <character>CHARLIE</character> <dialogue>Hell yes. Because I believe in it. Fire, theft, and casualty are not things that only happen to other people -- that's what I tell'em. Writing does n't work out, you might want to look into it. Providing for basic human need -- a fella could do worse.</dialogue> <character>BARTON</character> <dialogue>Thanks, I'll keep it in mind.</dialogue> <character>CHARLIE</character> <dialogue>What kind of scribbler are you -- newspaperman did you say?</dialogue> <character>BARTON</character> <dialogue>No, I'm actually writing for the pictures now --</dialogue> <character>CHARLIE</character> <dialogue>Pictures! Jesus!</dialogue> <scene_description>He guffaws .</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry, brother, I was just sitting here thinking I was talking to some ambitious youngster, eager to make good. Hell, you've got it made! Writing for pictures! Beating out that competition! And me being patronizing!</dialogue> <scene_description>He gestures toward his face :</scene_description> <character>CHARLIE</character> <dialogue>Is the egg showing or what?!</dialogue> <character>BARTON</character> <dialogue>That's okay ; actually I am just starting out in the movies -- though I was pretty well established in New York, some renown there,</dialogue> <character>CHARLIE</character> <dialogue>Oh, it's an exciting time then. I'm not the best - read mug on the planet, so I guess it's no surprise I did n't recognize your name. Jesus, I feel like a heel.</dialogue> <scene_description>For the first time Barton smiles .</scene_description> <character>BARTON</character> <dialogue>That's okay, Charlie. I'm a playwright. My shows've only played New York. Last one got a hell of a write - up in the Herald. I guess that's why they wanted me here.</dialogue> <character>CHARLIE</character> <dialogue>Hell, why not? Everyone wants quality. What kind of venue, that is to say, thematically, uh.</dialogue> <character>BARTON</character> <dialogue>What do I write about?</dialogue> <scene_description>Charlie laughs .</scene_description> <character>CHARLIE</character> <dialogue>Caught me trying to be fancy! Yeah, that's it, Bart.</dialogue> <character>BARTON</character> <dialogue>Well, that's a good question. Strange as it may seem, Charlie, I guess I write about people like you. The average working stiff. The common man.</dialogue> <character>CHARLIE</character> <dialogue>Well ai n't that a kick in the head!</dialogue> <character>BARTON</character> <dialogue>Yeah, I guess it is. But in a way, that's exactly the point. There's a few people in New York -- hopefully our numbers are growing -- who feel we have an opportunity now to forge something real out of everyday experience, create a theater for the masses that's based on a few simple truths -- not on some shopworn abstractions about drama that does n't hold true today, if they ever did.</dialogue> <scene_description>He gazes at Charlie .</scene_description> <character>BARTON</character> <dialogue>I do n't guess this means much to you.</dialogue> <character>CHARLIE</character> <dialogue>Hell, I could tell you some stories --</dialogue> <character>BARTON</character> <dialogue>And that's the point, that we all have stories. The hopes and dreams of the common man are as noble as those of any king. It's the stuff of life -- why should n't it be the stuff of theater? Goddamnit, why should that be a hard pill to swallow? Do n't call it new theater, Charlie ; call it real theater. Call it our theater.</dialogue> <character>CHARLIE</character> <dialogue>I can see you feel pretty strongly about it.</dialogue> <character>BARTON</character> <dialogue>Well, I do n't mean to get up on my high horse, but why should n't we look at ourselves up there? Who cares about the Fifth Earl of Bastrop and Lady Higginbottom and -- and -- and who killed Nigel Grinch - Gibbons?</dialogue> <character>CHARLIE</character> <dialogue>I can feel my butt getting sore already.</dialogue> <character>BARTON</character> <dialogue>Exactly, Charlie! You understand what I'm saying -- a lot more than some of these literary types. Because you're a real man!</dialogue> <character>CHARLIE</character> <dialogue>And I could tell you some stories --</dialogue> <character>BARTON</character> <dialogue>Sure you could! And yet many writers do everything in their power to insulate themselves from the common man -- from where they live, from where they trade, from where they fight and love and converse and -- and -- and. so naturally their work suffers, and regresses into empty formalism and -- well, I'm spouting off again, but to put it in your language, the theater becomes as phony as a three dollar bill.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, I guess that's tragedy right there.</dialogue> <character>BARTON</character> <dialogue>Frequently played, seldom remarked.</dialogue> <scene_description>Charlie laughs .</scene_description> <character>CHARLIE</character> <dialogue>Whatever that means.</dialogue> <scene_description>Barton smiles with him .</scene_description> <character>BARTON</character> <dialogue>You're all right, Charlie. I'm glad you stopped by. I'm sorry if -- well I know I sometimes run on.</dialogue> <character>CHARLIE</character> <dialogue>Hell no! Jesus, I'm the kind of guy, I'll let you know if I'm bored. I find it all pretty damned interesting. I'm the kind schmoe who's generally interested in the other guy's point of view.</dialogue> <character>BARTON</character> <dialogue>Well, we've got something in common then.</dialogue> <scene_description>Charlie is getting to his feet and walking to the door .</scene_description> <character>CHARLIE</character> <dialogue>Well Christ, if there's any way I can contribute, or help, or whatever --</dialogue> <scene_description>Barton chuckles and extends his hand .</scene_description> <character>BARTON</character> <dialogue>Sure, sure Charlie, you can help by just being yourself.</dialogue> <character>CHARLIE</character> <dialogue>Well, I can tell you some stories --</dialogue> <scene_description>He pumps Barton 's hand , then turns and pauses in the doorway .</scene_description> <character>CHARLIE</character> <dialogue>And look, I'm sorry as hell about the interruption. Too much revelry late at night, you forget there are other people in the world.</dialogue> <character>BARTON</character> <dialogue>See you, Charlie.</dialogue> <scene_description>Charlie closes the door and is gone . Barton goes back to his desk and sits . Muffled , we can hear the door of the adjacent room opening and closing . Barton looks at the wall . HIS POV The bathing beauty . From offscreen we hear a sticky , adhesive - giving - way sound .</scene_description> <character>BARTON</character> <dialogue>He looks around to the opposite -- bed -- wall.</dialogue> <scene_description>HIS POV The wallpaper is lightly sheened with moisture from the heat . One swath of wallpaper is just finishing sagging away from the wall . About three feet of the wall , where it meets the ceiling , is exposed . The strip of wallpaper , its glue apparently melted , sags and nods above the bed . It glistens yellow , like a fleshy tropical flower . BACK TO BARTON He goes over to the bed and steps up onto it . He smooths the wallpaper back up against the wall . He looks at his hand . HIS HAND Sticky with tacky yellow wall sweat . He wipes it onto his shirt . We hear a faint mosquito hum . Barton looks around . FADE OUT</scene_description> </scene> <scene> <scene_description>A TYPEWRITER Whirring at high speed . The keys strike too quickly for us to make out the words . SLOW TRACK IN On Barton , sitting on a couch in an office anteroom , staring blankly . Distant phones ring . Barton 's eyes are tired and bloodshot . HIS POV A gargoyle secretary sits typing a document . The office door opens in the background and a short middle - aged man in a dark suit emerges . To his secretary :</scene_description> <character>EXECUTIVE</character> <dialogue>I'm eating on the lot today --</dialogue> <scene_description>He notices Barton .</scene_description> <character>EXECUTIVE</character> <dialogue>Who's he?</dialogue> <scene_description>The secretary looks over from her typing to consult a slip of paper on her desk .</scene_description> <character>SECRETARY</character> <dialogue>Barton Fink, Mr. Geisler.</dialogue> <character>GEISLER</character> <dialogue>More please.</dialogue> <character>BARTON</character> <dialogue>I'm a writer, Mr. Geisler. Ted Okum said I should drop by morning to see you about the --</dialogue> <character>GEISLER</character> <dialogue>Ever act?</dialogue> <character>BARTON</character> <dialogue>Huh? No, I'm --</dialogue> <character>GEISLER</character> <dialogue>We need Indians for a Norman Steele western.</dialogue> <character>BARTON</character> <dialogue>I'm a writer. Ted O --</dialogue> <character>GEISLER</character> <dialogue>Think about it, Fink. Writers come and go ; we always need Indians.</dialogue> <character>BARTON</character> <dialogue>I'm a writer. Ted Okum said you're producing this Wallace Beery picture I'm working on.</dialogue> <character>GEISLER</character> <dialogue>What!? Ted Okum does n't know shit. They've assigned me enough pictures for a goddamn year. What Ted Okum does n't know you could almost squeeze into the Hollywood Bowl.</dialogue> <character>BARTON</character> <dialogue>Then who should I talk to?</dialogue> <scene_description>Geisler gives a hostile stare . Without looking at her , he addresses the secretary :</scene_description> <character>GEISLER</character> <dialogue>Get me Lou Breeze.</dialogue> <scene_description>He perches on the edge of the desk , an open hand out toward the secretary , as he glares wordlessly at Barton . After a moment :</scene_description> <character>SECRETARY</character> <dialogue>Is he in for Mr. Geisler?</dialogue> <scene_description>She puts the phone in Geisler 's hand .</scene_description> <character>GEISLER</character> <dialogue>Lou? How's Lipnik's ass smell this morning? Yeah? Yeah? Okay, the reason I'm calling, I got a writer here, Fink, all screwy. Says I'm producing that Wallace Beery wrestling picture -- what'm I, the goddamn janitor around here? Yeah, well who'd you get that from? Yeah, well tell Lipnik he can kiss my dimpled ass. Shit! No, alright. No, no, all right.</dialogue> <scene_description>Without looking he reaches the phone back . The secretary takes it and cradles it .</scene_description> <character>GEISLER</character> <dialogue>Okay kid, let's chow.</dialogue> <scene_description>COMMISSARY Barton and Geisler sit eating in a semicircular booth . Geisler speaks through a mouthful of food :</scene_description> <character>GEISLER</character> <dialogue>Do n't worry about it. It's just a B picture. I bring it in on budget, they'll book it without even screening it. Life is too short.</dialogue> <character>BARTON</character> <dialogue>But Lipnik said he wanted to look at the script, see something by the end of the week.</dialogue> <character>GEISLER</character> <dialogue>Sure he did. And he forgot about it before your ass left his sofa.</dialogue> <character>BARTON</character> <dialogue>Okay. I'm just having trouble getting started. It's funny, I'm blocked up. I feel like I need some kind of indication of. what's expected --</dialogue> <character>GEISLER</character> <dialogue>Wallace Beery. Wrestling picture. What do you need, a road map?</dialogue> <scene_description>Geisler chews on his cottage cheese and stares at Barton .</scene_description> <character>GEISLER</character> <dialogue>Look, you're confused? You need guidance? Talk to another writer.</dialogue> <character>BARTON</character> <dialogue>Who?</dialogue> <scene_description>Geisler rises and throws his napkin onto his plate .</scene_description> <character>GEISLER</character> <dialogue>Jesus, throw a rock in here, you'll hit one. And do me a favor, Fink : Throw it hard.</dialogue> <scene_description>COMMISSARY MEN 'S ROOM Barton stands at a urinal . He stares at the wall in front of him as he pees . After a moment , he cocks his head , listening . We hear a throat clearing , as if by a tenor preparing for a difficult passage . It is followed by the gurgling ruch of vomit . Barton buttons his pants and turns to face the stalls . There is more businesslike throat clearing . Barton stoops . HIS POV We boom down to show the blue serge pants and well - polished shoes of the stall 's kneeling occupant . A white handkerchief has been spread on the floor to protect the trouser knees . The toilet flushes . The man rises , picks up his handkerchief up off the floor and gives it a smart flap . BARTON He quickly straightens and goes to the sink . He starts washing his hands . We hear the stall door being unlatched . Barton glances over his shoulder . HIS POV The stall door opening . BARTON Quickly , self - consciously , he looks back down at his hands . HIS POV His hands writhing under the running water . We hear footsteps approaching . BARTON Forcing himself to look at his hands . We hear the man reach the adjacent sink and turn on the tap . Barton ca n't help glancing up . THE MAN A dapper little man in a neat blue serge suit . He has warm brown eyes , a patrician nose , and a salt - and - pepper mustache . He smiles pleasantly at Barton . BARTON He gives a nervous smile -- more like a tic -- and looks back down at his hands . We hear the man gargling water and spitting into the sink . After a moment , Barton looks up again . THE MAN Reacting to barton 's look as he washes his hands . This time , a curt nod accompanies his pleasant smile . BARTON Looks back down , then up again . THE MAN Extends a dripping hand .</scene_description> <character>MAN</character> <dialogue>Bill Mayhew. Sorry about the odor.</dialogue> <scene_description>His speech is softly accented , from the South .</scene_description> <character>BARTON</character> <dialogue>Barton Fink.</dialogue> <scene_description>They shake , then return to their ablutions . We hold on Barton as we hear Mayhew 's faucet being turned off and his foot - steps receding . For some reason , Barton 's eyes are widening .</scene_description> <character>BARTON</character> <dialogue>Jesus. W.P!</dialogue> <scene_description>The dapper little man stops and turns .</scene_description> <character>MAYHEW</character> <dialogue>I beg your pardon?</dialogue> <character>BARTON</character> <dialogue>W.P. Mayhew? The writer?</dialogue> <character>MAYHEW</character> <dialogue>Just Bill, please.</dialogue> <scene_description>Barton stands with his back to the sink , facing the little man , his hands dripping onto the floor . There is a short pause . Barton is strangely agitated , his voice halting but urgent .</scene_description> <character>BARTON</character> <dialogue>Bill!</dialogue> <scene_description>Mayhew cocks his head with a politely patient smile . Finally Barton brings out :</scene_description> <character>BARTON</character> <dialogue>You're the finest novelist of our time.</dialogue> <scene_description>Mayhew leans against a stall .</scene_description> <character>MAYHEW</character> <dialogue>Why thank you, son, how kind. Bein' occupied here in the worship of Mammon, I have n't had the chance yet to see your play --</dialogue> <scene_description>He smiles at Barton 's surprise .</scene_description> <character>MAYHEW</character> <dialogue>Yes, Mistuh Fink, some of the news reaches us in Hollywood.</dialogue> <scene_description>He is taking out a flask and unscrewing its lid .</scene_description> <character>BARTON</character> <dialogue>Sir, I'm flattered that you even recognize my name. My God, I had no idea you were in Hollywood.</dialogue> <character>MAYHEW</character> <dialogue>All of us undomesticated writers eventually make their way out here to the Great Salt Lick. Mebbe that's why I allus have such a powerful thrust.</dialogue> <scene_description>He clears his throat , takes a swig from the flask , and waves it at Barton .</scene_description> <character>MAYHEW</character> <dialogue>A little social lubricant, Mistuh Fink?</dialogue> <character>BARTON</character> <dialogue>It's still a little early for me.</dialogue> <character>MAYHEW</character> <dialogue>So be it.</dialogue> <scene_description>He knocks back some more .</scene_description> <character>BARTON</character> <dialogue>Bill, if I'm imposing you should say so, I know you're very busy -- I just, uh. I just wonder if I could ask you a favor. That is to say, uh. have you ever written a wrestling picture?</dialogue> <scene_description>Mayhew eyes him appraisingly , and at length clears his throat .</scene_description> <character>MAYHEW</character> <dialogue>You are drippin', suh.</dialogue> <scene_description>Barton looks down at his hands , then pulls a rough brown paper towel from a dispenser . Mayhew sighs :</scene_description> <character>MAYHEW</character> <dialogue>Mistuh Fink, they have not invented a genre of picture that Bill Mayhew has not, at one time or othuh, been invited to essay. I have taken my stabs at the wrastlin' form, as I have stabbed at so many others, and with as little success. I gather that you are a fresh - man here, eager for an upperclassman's council. However, just at the moment.</dialogue> <scene_description>He waves his flask .</scene_description> <character>MAYHEW</character> <dialogue>I have drinkin' to do. Why do n't you stop at my bungalow, which is numbah fifteen, later on this afternoon.</dialogue> <scene_description>He turns to leave .</scene_description> <character>MAYHEW</character> <dialogue>and we will discuss wrastlin' scenarios and other things lit ` rary.</dialogue> <scene_description>THE NUMBER `` 15 '' We are close on brass numerals tacked up on a white door . Muted , from inside , we hear Mayhew 's voice -- enraged , bellowing . We hear things breaking . Softer , we hear a woman 's voice , its tone placating . REVERSE TRACKING SLOWLY IN On Barton , standing in front of the door . The noise abates for a moment . We hear the woman 's voice again . Barton hesitates , listening ; he thinks , decides , knocks . With this the woman 's voice stops , and Mayhew starts wailing again . The door cracks open . The woman looks as if she has been crying .</scene_description> <character>WOMAN</character> <dialogue>Can I help you?</dialogue> <character>BARTON</character> <dialogue>I'm sorry, I. My name is Fink. Uh, Bill asked me to drop by this afternoon. Is he in?</dialogue> <character>WOMAN</character> <dialogue>Mr. Mayhew is indisposed at the moment --</dialogue> <scene_description>From inside , we hear Mayhew 's wail .</scene_description> <character>MAYHEW</character> <dialogue>HONEY! WHERE'S M'HONEY!</dialogue> <scene_description>The woman glances uncomfortably over her shoulder and steps outside , closing the door behind her .</scene_description> <character>WOMAN</character> <dialogue>Mr. Fink, I'm Audrey Taylor, Mr. Mayhew's personal secretary. I know this all must sound horrid. I really do apologize.</dialogue> <scene_description>Through the door Mayhew is still wailing piteously .</scene_description> <character>BARTON</character> <dialogue>Is, uh. Is he okay?</dialogue> <character>AUDREY</character> <dialogue>He will be. When he ca n't write, he drinks.</dialogue> <character>MAYHEW</character> <dialogue>WHERE ARE YOU, DAMMIT! WHERE'S M'HONEY!</dialogue> <scene_description>She brushes a wisp of hair out of her eyes .</scene_description> <character>AUDREY</character> <dialogue>I am sorry, it's so embarassing.</dialogue> <character>BARTON</character> <dialogue>How about you? Will you be alright?</dialogue> <character>AUDREY</character> <dialogue>I'll be fine. Are you a writer, Mr Fink?</dialogue> <character>BARTON</character> <dialogue>Yes I am. I'm working on a wres -- please call me Barton.</dialogue> <scene_description>Audrey reaches out and touches Barton 's hand .</scene_description> <character>AUDREY</character> <dialogue>I'll tell Bill you dropped by. I'm sure he'll want to reschedule your appointment.</dialogue> <character>BARTON</character> <dialogue>Perhaps you and I could get together at some point also. -- I'm sorry if that sounds abrupt. I just. I do n't know anyone here in this town.</dialogue> <scene_description>Audrey smiles at him .</scene_description> <character>AUDREY</character> <dialogue>Perhaps the three of us, Mr. Fink.</dialogue> <character>BARTON</character> <dialogue>Please, Barton.</dialogue> <character>AUDREY</character> <dialogue>Barton. You see, Barton, I'm not just Bill's secretary -- Bill and I are. I love. We -</dialogue> <character>MAYHEW'S VOICE</character> <dialogue>M'HONEY! WHERE'S M'HONEY!</dialogue> <scene_description>Audrey glances back as we hear the sound of shattering dishes and heavy footsteps .</scene_description> <character>BARTON</character> <dialogue>I see.</dialogue> <character>AUDREY</character> <dialogue>I know this must look. funny.</dialogue> <character>BARTON</character> <dialogue>No, no --</dialogue> <scene_description>Hurriedly :</scene_description> <character>AUDREY</character> <dialogue>We need each other. We give each other. the things we need --</dialogue> <character>VOICE</character> <dialogue>M'HONEY! bastard - ass sons of bitches. the water's lappin' up. M'HONEY!</dialogue> <character>AUDREY</character> <dialogue>I'm sorry, Mr. Fink. Please do n't judge us. Please.</dialogue> <scene_description>Flustered , she backs away and closes the door . CLOSE ON A SMALL WRAPPED PACKAGE Hand - printed on the package is the message : `` Hope these will turn the trick , Mr. Fink . -- Chet ! '' The wrapping is torn away and the small box is opened . Two thumbtacks are taken out . BARTON 'S HOTEL ROOM Late at night . The swath of wallpaper behind the bed has sagged away from the wall again , and has been joined by the swath next to it . Barton enters frame and steps up onto the bed . He smooths up the first swath and pushes in a thumbtack near the top . EXTREME CLOSE SHOT On the tack . As Barton applies pressure to push it in , tacky yellow goo oozes out of the puncture hole and beads around the tack . ON BARTON Smoothing up the second swath . As he pushes in the second tack he pauses , listening . Muffled , through the wall , we can hear a woman moaning . After a motionless beat , Barton eases his ear against the wall . CLOSE ON BARTON As his ear meets the wall . The woman 's moaning continues . We hear the creaking of bedsprings and her partner , incongruously giggling . Barton grimaces , gets down off the bed and crosses to the secretary , where he sits . He stares at the paper in the carriage . HIS POV The blank part of the page around the key - strike area , under the metal prongs that hold the paper down . We begin to hear moaning again . BACK TO BARTON Still looking ; sweating . HIS POV Tracking in on the paper , losing the prongs from frame so that we are looking at the pure unblemished white of the page . The moaning is cut short by two sharp knocks . THE DOOR As it swings open . Charlie Meadows leans in , smiling .</scene_description> <character>CHARLIE</character> <dialogue>Howdy, neighbor.</dialogue> <character>BARTON</character> <dialogue>Charlie. How are you.</dialogue> <character>CHARLIE</character> <dialogue>Jesus, I hope I'm not interrupting you again. I heard you walking around in here. Figured I'd drop by.</dialogue> <character>BARTON</character> <dialogue>Yeah, come in Charlie. Had n't really gotten started yet -- what happened to your ear?</dialogue> <scene_description>-- for Charle 's left ear is plugged with cotton wadding . As he enters :</scene_description> <character>CHARLIE</character> <dialogue>Oh, yeah. An ear infection, chronic thing. Goes away for a while, but it always comes back. Got ta put cotton in it to staunch the flow of pus. Do n't worry, it's not contagious.</dialogue> <character>BARTON</character> <dialogue>Seen a doctor?</dialogue> <scene_description>Charlie gives a dismissive wave .</scene_description> <character>CHARLIE</character> <dialogue>Ah, doctors. What's he gon na tell me? Ca n't trade my head in for a new one.</dialogue> <character>BARTON</character> <dialogue>No, I guess you're stuck with the one you've got. Have a seat.</dialogue> <scene_description>Charlie perches on the corner of the bed .</scene_description> <character>CHARLIE</character> <dialogue>Thanks, I'd invite you over to my place, but it's a goddamn mess. You married, Bart?</dialogue> <character>BARTON</character> <dialogue>Nope.</dialogue> <character>CHARLIE</character> <dialogue>I myself have yet to be lassoed.</dialogue> <scene_description>He takes his flask out .</scene_description> <character>CHARLIE</character> <dialogue>Got a sweetheart?</dialogue> <character>BARTON</character> <dialogue>No. I guess it's something about my work. I get so worked up over it, I do n't know ; I do n't really have a lot of attention left over, so it would be a little unfair.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, the ladies do ask for attention. In my experience, they pretend to give it, but it's generally a smoke - screen for demanding it back -- with interest. How about family, Bart? How're you fixed in that department?</dialogue> <scene_description>Barton smiles .</scene_description> <character>BARTON</character> <dialogue>My folks live in Brooklyn, with my uncle.</dialogue> <character>CHARLIE</character> <dialogue>Mine have passed on. It's just the three of us now.</dialogue> <scene_description>He taps himself on the head , chuckling .</scene_description> <character>CHARLIE</character> <dialogue>What's the expression -- me myself and I.</dialogue> <character>BARTON</character> <dialogue>Sure, that's tough, but in a sense, we're all alone in this world are n't we Charlie? I'm often surrounded by family and friends, but.</dialogue> <scene_description>He shrugs .</scene_description> <character>CHARLIE</character> <dialogue>Mm. You're no stranger to loneliness, then. I guess I got no beef ; especially where the dames are concerned. In my line of work I get opportunities galore -- always on the wing, you know what I'm saying. I could tell stories to curl your hair -- but it looks like you've already heard'em!</dialogue> <scene_description>He laughs at his reference to Barton 's curly hair , and pulls a dog - eared photograph from his wallet . As he hands it to Barton :</scene_description> <character>CHARLIE</character> <dialogue>That's me in Kansas City, plying my trade.</dialogue> <scene_description>THE PHOTO Charlie smiles and waves with one foot up on the running board of a 1939 roadster . A battered leather briefcase dangles from one hand .</scene_description> <character>CHARLIE</character> <dialogue>It was taken by one of my policy holders. They're more than just customers to me, Barton. They really appreciate what I have to offer them. Ya see, her hubby was out of town at the time --</dialogue> <character>BARTON</character> <dialogue>You know, in a way, I envy you Charlie. Your daily routine -- you know what's expected. You know the drill. My job is to plumb the depths, so to speak, dredge something up from inside, something honest. There's no road map for that territory.</dialogue> <scene_description>He looks from Charlie to the Underwood .</scene_description> <character>BARTON</character> <dialogue>and exploring it can be painful. The kind of pain most people do n't know anything about.</dialogue> <scene_description>He looks back at Charlie .</scene_description> <character>BARTON</character> <dialogue>This must be boring you.</dialogue> <character>CHARLIE</character> <dialogue>Not at all. It's damned interesting.</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <scene_description>He gives a sad chuckle .</scene_description> <character>BARTON</character> <dialogue>Probably sounds a little grand coming from someone who's writing a wrestling picture for Wallace Beery.</dialogue> <character>CHARLIE</character> <dialogue>Beery! You got no beef there! He's good. Hell of an actor -- though, for my money, you ca n't beat Jack Oakie. A stitch, Oakie. Funny stuff, funny stuff. But do n't get me wrong -- Beery, a wrestling picture, that could be a pip. Wrestled some myself back in school. I guess you know the basic moves.</dialogue> <character>BARTON</character> <dialogue>Nope, never watched any. I'm not that interested in the act itself --</dialogue> <character>CHARLIE</character> <dialogue>Okay, but hell, you should know what it is. I can show you in about thirty seconds.</dialogue> <scene_description>He is getting down on his hands and knees .</scene_description> <character>CHARLIE</character> <dialogue>You're a little out of your weight class, but just for purposes of demonstration --</dialogue> <character>BARTON</character> <dialogue>That's all right, really --</dialogue> <character>CHARLIE</character> <dialogue>Not a bit of it, compadre! Easiest thing in the world! You just get down on your knees to my left, slap your right hand here.</dialogue> <scene_description>He indicated his own right bicep .</scene_description> <character>CHARLIE</character> <dialogue>and your left hand here.</dialogue> <scene_description>He indicated his left bicep . Barton hesitates .</scene_description> <character>CHARLIE</character> <dialogue>You can do it, champ!</dialogue> <scene_description>Barton complies .</scene_description> <character>CHARLIE</character> <dialogue>All right now, when I say `` Ready. wrestle!'' you try and pin me, and I try and pin you. That's the whole game. Got it?</dialogue> <character>BARTON</character> <dialogue>Yeah, okay.</dialogue> <character>CHARLIE</character> <dialogue>Ready. wrestle!</dialogue> <scene_description>With one clean move Charlie flips Barton onto his back , his head and shoulders hitting with a thump . Charlie pins Barton 's shoulders with his own upper body . But before the move even seems completed Charlie is standing again , offering his hand down to Barton .</scene_description> <character>CHARLIE</character> <dialogue>Damn, there I go again. We're gon na wake the downstairs neighbors. I did n't hurt ya, did I?</dialogue> <scene_description>Barton seems dazed , but not put out .</scene_description> <character>BARTON</character> <dialogue>It's okay, it's okay.</dialogue> <character>CHARLIE</character> <dialogue>Well, that's all that wrestling is. Except usually there's more grunting and squirming before the pin. Well, it's your first time. And you're out of your weight class.</dialogue> <scene_description>Barton has propped himself up and is painfully massaging the back of his head . This registers on Charlie .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, I did hurt you!</dialogue> <scene_description>He clomps hurriedly away .</scene_description> <character>CHARLIE</character> <dialogue>I'm just a big, clumsy lug. I sure do apologize.</dialogue> <scene_description>We hear water running , and Charlie reenters with a wet towel . Barton accepts the towel and presses it to his head .</scene_description> <character>CHARLIE</character> <dialogue>You sure you're okay?</dialogue> <scene_description>Barton gets to his feet .</scene_description> <character>BARTON</character> <dialogue>I'm fine, Charlie. Really I am. Actually, it's been helpful, but I guess I should get back to work.</dialogue> <scene_description>Charlie looks at him with some concern , then turns and heads for the door .</scene_description> <character>CHARLIE</character> <dialogue>Well, it was n't fair of me to do that. I'm pretty well endowed physically.</dialogue> <scene_description>He opens the door .</scene_description> <character>CHARLIE</character> <dialogue>Do n't feel bad, though. I would n't be much of a match for you at mental gymnastics. Gim me a holler if you need anything.</dialogue> <scene_description>The door closes . Barton crosses to the secretary and sits down , rubbing the back of his head . He rolls up the carriage and looks at the page in the typewriter . HIS POV The page .</scene_description> </scene> <scene> <stage_direction>A TENEMENT BUILDING</stage_direction> <scene_description>On Manhattan 's Lower East Side . Early morning traffic is audible , as is the cry fishmongers . BACK TO BARTON He rubs the back of his head , wincing , as he stares at the page . His gaze drifts up . HIS POV The bathing beauty . BARTON Looking at the picture . He presses the heels of his hands against his ears . HIS POV The bathing beauty . Faint , but building , is the sound of the surf . BARTON Head cocked . The surf is mixing into another liquid sound . Barton looks sharply around . THE BATHROOM Barton enters . The sink , which Charlie apparently left running when he wet Barton 's towel , is overflowing . Water spills onto the tile floor . Barton hurriedly shuts off the tap , rolls up one sleeve and reaches into the sink . As his hand emerges , holding something , we hear the unclogged sink gulp water . BARTON 'S HAND Holding a dripping wad of cotton . BARTON After a brief , puzzled look he realizes where the cotton came from -- and convulsively flips it away . FADE OUT</scene_description> </scene> <scene> <scene_description>`` NEBUCHADNEZZAR BY W.P. Mayhew '' A hand enters with pen to inscribe : `` To Barton -- May this little entertainment divert you in your sojourn among the Philistines . -- Bill '' The book is closed and picked up . WIDER As - thoomp ! - the heavy volume is deposited across the table , in front of Barton , by Mayhew . Barton , Mayhew , and Audrey are seated around a picnic table . It is one of a few tables littering the lot of a small stucco open - air hamburger stand . It is peaceful early evening . The last of the sunlight slopes down through palm trees . Barton , Mayhew , and Audrey are the only customers at the stand . Mayhew 's black Ford stands alone at the edge of the lot . Mayhew leans back in his chair .</scene_description> <character>MAYHEW</character> <dialogue>If I close m ` eyes I can almost smell the live oak.</dialogue> <character>AUDREY</character> <dialogue>That's hamburger grease, Bill.</dialogue> <character>MAYHEW</character> <dialogue>Well, m ` olfactory's turnin' womanish on me -- lyin' and deceitful.</dialogue> <scene_description>His eyes still closed , he waves a limp hand gently in the breeze .</scene_description> <character>MAYHEW</character> <dialogue>Still, I must say. I have n't felt peace like this since the grand productive days. Do n't you find it so, Barton? Ai n't writin' peace?</dialogue> <character>BARTON</character> <dialogue>Well. actually, no Bill.</dialogue> <scene_description>Barton looks nervously at Audrey before continuing .</scene_description> <character>BARTON</character> <dialogue>No, I've always found that writing comes from a great inner pain. Maybe it's a pain that comes from a realization that one must do something for one's fellow man -- to help somehow to ease his suffering. Maybe it's a personal pain. At any rate, I do n't believe good work is possible without it.</dialogue> <character>MAYHEW</character> <dialogue>Mmm. Wal, me, I just enjoy maikn' things up. Yessir. Escape. It's when I ca n't write, ca n't escape m ` self, that I want to tear m ` head off and run screamin' down the street with m ` balls in a fruitpickers pail. Mm.</dialogue> <scene_description>He sighs and reaches for a bottle of Wild Turkey .</scene_description> <character>MAYHEW</character> <dialogue>This'll sometimes help.</dialogue> <character>AUDREY</character> <dialogue>That does n't help anything, Bill.</dialogue> <character>BARTON</character> <dialogue>That's true, Bill. I've never found it to help my writing.</dialogue> <scene_description>Mayhew is becoming testy :</scene_description> <character>MAYHEW</character> <dialogue>Your writing? Son, have you ever heard the story of Soloman's mammy -</dialogue> <scene_description>Audrey , anticipating , jumps hastily in . She taps the book on the table .</scene_description> <character>AUDREY</character> <dialogue>You should read this, Barton. I think it's Bill's finest, or among his finest anyway.</dialogue> <scene_description>Mayhew looks at her narrowly .</scene_description> <character>MAYHEW</character> <dialogue>So now I'm s ` posed to roll over like an ol' bitch dog gettin' ger belly scratched.</dialogue> <character>AUDREY</character> <dialogue>Bill --</dialogue> <character>BARTON</character> <dialogue>Look, maybe it's none of my business, but a man with your talent -- do n't you think your first obligation would be to your gift? Should n't you be doing whatever you have to do to work again?</dialogue> <character>MAYHEW</character> <dialogue>And what would that be, son?</dialogue> <character>BARTON</character> <dialogue>I do n't know exactly. But I do know what you're doing with that drink. You're cutting yourself off from your gift, and from me and Audrey, and from your fellow man, and from everything your art is about.</dialogue> <character>MAYHEW</character> <dialogue>No son, thisahere moonshine's got nothin' to do with shuttin' folks out. No, I'm usin' it to build somethin'.</dialogue> <character>BARTON</character> <dialogue>What's that?</dialogue> <character>MAYHEW</character> <dialogue>I'm buildin' a levee. Gulp by gulp, brick by brick. Raisin' up a levee to keep that ragin' river of manure from lappin' at m ` door.</dialogue> <character>AUDREY</character> <dialogue>Maybe you better too, Barton. Before you get buried under his manure.</dialogue> <scene_description>Mayhew chuckles .</scene_description> <character>MAYHEW</character> <dialogue>M'honey pretends to be impatient with me, Barton, but she'll put up with anything.</dialogue> <character>AUDREY</character> <dialogue>Not anything, Bill. Do n't test me.</dialogue> <character>BARTON</character> <dialogue>You're lucky she puts up with as much as she does.</dialogue> <scene_description>Mayhew is getting to his feet .</scene_description> <character>MAYHEW</character> <dialogue>Am I? Maybe to a schoolboy's eye. People who know about the human heart, though, mebbe they'd say, Bill over here, he gives his honey love, and she pays him back with pity -- the basest coin there is.</dialogue> <character>AUDREY</character> <dialogue>Stop it, Bill!</dialogue> <scene_description>He wanders over to a corner of the lot between two palm trees , still clutching his bottle , his back to Barton and Audrey , and urinates into the grass . He is singing -- loudly -- `` Old Black Joe . '' Audrey walks over to him . BARTON Watching her go . HIS POV Audrey touches Mayhew 's elbow . He looks at her , stops singing , she murmurs something , and he bellows :</scene_description> <character>MAYHEW</character> <dialogue>The truth, m ` honey, is a tart that does not bear scrutiny.</dialogue> <scene_description>She touches him again , murmuring , and he lashes out at her , knocking her to the ground .</scene_description> <character>MAYHEW</character> <dialogue>Breach my levee at your peril!</dialogue> <scene_description>BARTON He rises . AUDREY Coming back to Barton . MAYHEW Stumbling off down the dusty road , muttering to himself and waving his bottle of Wild Turkey .</scene_description> <character>AUDREY</character> <dialogue>Let him go.</dialogue> <character>BARTON</character> <dialogue>That son of a bitch. Do n't get me wrong, he's a fine writer.</dialogue> <scene_description>He looks down the road . Mayhew is a small lone figure , weaving in the dust .</scene_description> <character>MAYHEW</character> <dialogue>I'll jus' walk on down to the Pacific, and from there I'll. improvise.</dialogue> <character>BARTON</character> <dialogue>Are you all right?</dialogue> <scene_description>We hear distant bellowing :</scene_description> <character>MAYHEW</character> <dialogue>Silent upon a hill in Darien!</dialogue> <scene_description>Audrey bursts into tears . Barton puts his arms around her and she leans into him .</scene_description> <character>BARTON</character> <dialogue>Audrey, you ca n't put up with this.</dialogue> <scene_description>Gradually , she collects herself , wiping her tears .</scene_description> <character>AUDREY</character> <dialogue>Oh Barton, I feel so. sorry for him!</dialogue> <character>BARTON</character> <dialogue>What?! He's a son of a bitch!</dialogue> <character>AUDREY</character> <dialogue>No, sometimes he just. well, he thinks about Estelle. His wife still lives in Fayettesville. She's. disturbed.</dialogue> <character>BARTON</character> <dialogue>Really?</dialogue> <scene_description>He considers this for a moment , but his anger returns .</scene_description> <character>BARTON</character> <dialogue>Well that does n't excuse his behavior.</dialogue> <character>AUDREY</character> <dialogue>He'll wander back when he's sober and apologize. He always does.</dialogue> <character>BARTON</character> <dialogue>Okay, but that does n't excuse his --</dialogue> <character>AUDREY</character> <dialogue>Barton. Empathy requires. understanding.</dialogue> <character>BARTON</character> <dialogue>What. What do n't I understand?</dialogue> <scene_description>Audrey gazes at him . MAYHEW He is very distant now , weaving but somehow dignified in his light summer suit . `` Old Black Joe '' floats back to us in the twilight . FADE OUT</scene_description> </scene> <scene> <stage_direction>BARTON'S HOTEL ROOM</stage_direction> <scene_description>From a high angle , booming down on Barton . The room is dark . Barton lies fully clothed , stretched out on the bed , asleep . The hum of the mosquito fades up in the stillness . Suddenly Barton slaps his cheek . His eyes open , but he remains still . The hum fades up again . Barton reaches over and turns on the bedside lamp . His eyes shift this way and that as he waits , listening . The hum fades down to silence . Barton 's eyes shift . HIS POV The typewriter sits on the secretary , a piece of paper rolled halfway through the carriage . THE TYPEWRITER Barton enters frame and sits down in front of the typewriter . HIS POV Next to the typewriter are several crumpled pieces of paper . The page in the carriage reads :</scene_description> </scene> <scene> <stage_direction>A TENEMENT HOTEL</stage_direction> <scene_description>On the Lower East Side . We can faintly hear the cry of the fishmongers . It is too early for us to hear traffic ; later , perhaps , we will . BACK TO BARTON Looking down at the page . CLOSE ON BARTON 'S FEET Swinging in the legwell . One foot idly swings over to nudge a pair of nicely shined shoes from where they rest , under the secretary , into the legwell . We hear typing start . THE PAGE A new paragraph being started : `` A large man . '' BARTON 'S FEET As he slides them into the shoes . THE PAGE `` A large man in tights . '' The typing stops . BARTON Looking quizzically at the page . What 's wrong ? HIS FEET Sliding back and forth -- swimming -- in his shoes , which are several sizes too large . We hear a knock at the door . BARTON He rises and answers the door . Charlie stands smiling in the doorway , holding a pair of nicely shined shoes .</scene_description> <character>CHARLIE</character> <dialogue>I hope these are your shoes.</dialogue> <character>BARTON</character> <dialogue>Hi, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Because that would mean they gave you mine.</dialogue> <character>BARTON</character> <dialogue>Yeah, as a matter of fact they did. Come on in.</dialogue> <scene_description>The two stocking - footed men go into the room and Barton reaches under the secretary for Charlie 's shoes .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, what a day I've had. Ever had one of those days?</dialogue> <character>BARTON</character> <dialogue>Seems like nothing but, lately.</dialogue> <scene_description>Chalrie perches on the edge of the bed .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, what a day. Felt like I could n't've sold ice water in the Sahara. Jesus. Okay, so you do n't want insurance, so okay, that's your loss. But God, people can be rude. Feel like I have to talk to a normal person like just to restore a little of my.</dialogue> <character>BARTON</character> <dialogue>Well, my pleasure. I could use a little lift myself.</dialogue> <character>CHARLIE</character> <dialogue>A little lift, yeah.</dialogue> <scene_description>Smiling , he takes out his flask .</scene_description> <character>CHARLIE</character> <dialogue>Good thing they bottle it, huh pal?</dialogue> <scene_description>He takes a glass from the bedstand and , as he pours Barton a shot :</scene_description> <character>CHARLIE</character> <dialogue>Did I say rude? People can be goddamn cruel. Especially some of their housewives. Okay, so I've got a weight problem. That's my cross to bear. I dunno.</dialogue> <character>BARTON</character> <dialogue>Well it's. it's a defense mechanism.</dialogue> <character>CHARLIE</character> <dialogue>Defense against what? Insurance? Something they need? Something they should be thanking me for offering? A little peace of mind?</dialogue> <scene_description>He shakes his head .</scene_description> <character>CHARLIE</character> <dialogue>Finally decided to knock off early, take your advice. Went to see a doctor about this.</dialogue> <scene_description>He indicates his ear , still stuffed with cotton .</scene_description> <character>CHARLIE</character> <dialogue>He told me it was an ear infection. Ten dollars, please. I said, hell, I told YOU my ear was infected. Why do n't YOU give ME ten dollars? Well, THAT led to an argument.</dialogue> <scene_description>He gives a rueful chuckle .</scene_description> <character>CHARLIE</character> <dialogue>Listen to me belly - achin'. As if my problems amounted to a hill of beans. How goes the life of the mind?</dialogue> <character>BARTON</character> <dialogue>Well, it's been better. I ca n't seem to get going on this thing. That one idea, the one that lets you get started -- I still have n't gotten it. Maybe I only had one idea in me -- my play. Maybe once that was done, I was done being a writer. Christ, I feel like a fraud, sitting here staring at this paper.</dialogue> <character>CHARLIE</character> <dialogue>Those two love - birds next door drivin' you nuts?</dialogue> <scene_description>Barton looks at him curiously .</scene_description> <character>BARTON</character> <dialogue>How did you know about that?</dialogue> <character>CHARLIE</character> <dialogue>Know about it? I can practically see how they're doin' it. Brother, I wish I had a piece of that.</dialogue> <character>BARTON</character> <dialogue>Yeah, but --</dialogue> <character>CHARLIE</character> <dialogue>Seems like I hear everything that goes on in this dump. Pipes or somethin'. I'm just glad I do n't have to ply MY trade in the wee - wee hours.</dialogue> <scene_description>He laughs .</scene_description> <character>CHARLIE</character> <dialogue>Ah, you'll lick this picture business, believe me. You've got a head on your shoulders. What is it they say? Where there's a head, there's a hope?</dialogue> <character>BARTON</character> <dialogue>Where there's life there's hope.</dialogue> <scene_description>Charlie laughs .</scene_description> <character>CHARLIE</character> <dialogue>That proves you really are a writer!</dialogue> <scene_description>Barton smiles .</scene_description> <character>BARTON</character> <dialogue>And there's hope for you too, Charlie. Tomorrow I bet you sell a half - dozen policies.</dialogue> <character>CHARLIE</character> <dialogue>Thanks, brother. But the fact is, I got ta pull up stakes temporarily.</dialogue> <character>BARTON</character> <dialogue>You're leaving?</dialogue> <character>CHARLIE</character> <dialogue>In a few days. Out to your stompin' grounds as a matter of fact -- New York City. Things have gotten all balled up at the Head Office.</dialogue> <character>BARTON</character> <dialogue>I'm truly sorry to hear that, Charlie. I'll miss you.</dialogue> <character>CHARLIE</character> <dialogue>Well hell, buddy, do n't pull a long face! This is still home for me -- I keep my room, and I'll be back sooner or later.</dialogue> <scene_description>Barton rises and walks over to his writing table .</scene_description> <character>CHARLIE</character> <dialogue>And -- mark my words -- by the time I get back you're picture'll be finished. I know it.</dialogue> <scene_description>Barton scribbles on a notepad and turns to hand it to Charlie .</scene_description> <character>BARTON</character> <dialogue>New York can be pretty cruel to strangers, Charlie. If you need a home - cooked meal you just look up Morris and Lillian Fink. They live on Fulton Street with my uncle Dave.</dialogue> <scene_description>We hear a tacky , tearing sound . Barton looks toward the door . Charlie rises and walks over to the stand next to where Barton sits . The two staring men form an odd , motionless tableau -- the slight , bespectacled man seated ; the big man standing in a hunch with his hands on his thighs ; their heads close together . THEIR POV A swath of wallpaper in the entryway has pulled away from the wall . It sags and nods .</scene_description> <character>CHARLIE</character> <parenthetical>( off . )</parenthetical> <dialogue>Christ!</dialogue> <scene_description>THE TWO MEN Frozen , looking .</scene_description> <character>CHARLIE</character> <dialogue>Your room does that too?</dialogue> <character>BARTON</character> <dialogue>I guess the heat's sweating off the wallpaper.</dialogue> <character>CHARLIE</character> <dialogue>What a dump.</dialogue> <scene_description>He heads for the door and Barton follows .</scene_description> <character>CHARLIE</character> <dialogue>I guess it seems pathetic to a guy like you.</dialogue> <character>BARTON</character> <dialogue>Well.</dialogue> <character>CHARLIE</character> <dialogue>Well it's pathetic, is n't it? I mean to a guy from New York.</dialogue> <character>BARTON</character> <dialogue>What do you mean?</dialogue> <character>CHARLIE</character> <dialogue>This kind of heat. It's pathetic.</dialogue> <character>BARTON</character> <dialogue>Well, I guess you pick your poison.</dialogue> <character>CHARLIE</character> <dialogue>So they say.</dialogue> <character>BARTON</character> <dialogue>Do n't pick up and leave without saying goodbye.</dialogue> <character>CHARLIE</character> <dialogue>Course not, compadre. You'll see me again.</dialogue> <scene_description>Barton closes the door . He goes back to the desk , sits , and stares at the typewriter . After a beat he tips back in his chair and looks up at the ceiling . We hear a loud thump . HIS POV The ceiling -- a white , seamless space . As we track in the thumping continues -- slowly , rhythmically , progressively louder -- the effect , it seems , of odd doings upstairs . LOOKING DOWN ON BARTON From a high angle , tipped back in his chair , staring at the ceiling . We track slowly down toward him . The thumping continues , growing louder , sharper . HIS POV Moving in on the ceiling . We close in on an unblemished area and cease to have any sense of movement . With a blur something huge and dark sweeps across the frame to land with a deafening crash , and an instant later it is gone , having left a huge black `` T '' stamped into the white ceiling . We are pulling back from the white , past the metal prongs of the key - strike area on a typewriter . More letters appear rapid - fire , growing smaller as the pull back continues . The thumpimg becomes the clacking of the typewriter . BEN GEISLER Is emerging from his office . As he enters the secretary stops typing , glances down at a slip of paper , and murmurs tonelessly , without looking up :</scene_description> <character>SECRETARY</character> <dialogue>Barton Fink.</dialogue> <character>GEISLER</character> <dialogue>Yeah. Fink. Come in.</dialogue> <scene_description>The clack of the typewriter resumes as Barton rises . GEISLER 'S OFFICE The two men enter . This office is considerably smaller than Lipnik 's , done in grays and black . There are pictures on the wall of Geisler with various celebrities . Geisler sits behind his desk .</scene_description> <character>GEISLER</character> <dialogue>Wuddya got for me -- what the hell happened to your face?</dialogue> <character>BARTON</character> <dialogue>Nothing. It's just a mosquito bite.</dialogue> <character>GEISLER</character> <dialogue>Like hell it is ; there are no mosquitos in Los Angeles. Mosquitos breed in swamps -- this is a desert town. Wuddya got for me?</dialogue> <character>BARTON</character> <dialogue>Well I.</dialogue> <character>GEISLER</character> <dialogue>On the Beery picture! Where are we? Wuddya got?</dialogue> <character>BARTON</character> <dialogue>Well, to tell you the truth, I'm having some trouble getting started --</dialogue> <character>GEISLER</character> <dialogue>Getting STARTED! Christ Jesus! Started?! You mean you do n't have ANYthing?!</dialogue> <character>BARTON</character> <dialogue>Well not much.</dialogue> <scene_description>Geisler leaps to his feet and paces .</scene_description> <character>GEISLER</character> <dialogue>What do you think this is? HAMLET? GONE WITH THE WIND? RUGGLES OF RED GAP? It's a goddamn B picture! Big men in tights! You know the drill!</dialogue> <character>BARTON</character> <dialogue>I'm afraid I do n't really understand that genre. maybe that's the prob -</dialogue> <character>GEISLER</character> <dialogue>Understand shit! I though you were gon na consult another writer on this!</dialogue> <character>BARTON</character> <dialogue>Well, I've talked to Bill Mayhew -</dialogue> <character>GEISLER</character> <dialogue>Bill Mayhew! Some help! The guy's a souse!</dialogue> <character>BARTON</character> <dialogue>He's a great writer --</dialogue> <character>GEISLER</character> <dialogue>A souse!</dialogue> <character>BARTON</character> <dialogue>You do n't understand. He's in pain, because he ca n't write -</dialogue> <character>GEISLER</character> <dialogue>Souse! Souse! He manages to write his name on the back of his paycheck every week!</dialogue> <character>BARTON</character> <dialogue>But. I thought no one cared about this picture.</dialogue> <character>GEISLER</character> <dialogue>You thought! Where'd you get THAT from? You thought! I do n't know what the hell you said to Lipnik, but the sonofabitch LIKES you! You understand that, Fink? He LIKES you! He's taken an interest. NEVER make Lipnik like you. NEVER!</dialogue> <scene_description>Some puzzlement shows through Barton 's weariness .</scene_description> <character>BARTON</character> <dialogue>I do n't understand -</dialogue> <character>GEISLER</character> <dialogue>Are you deaf, he LIKES you! He's taken an interest! What the hell did you say to him?</dialogue> <character>BARTON</character> <dialogue>I did n't say anything -</dialogue> <character>GEISLER</character> <dialogue>Well he's taken an interest! That means he'll make your life hell, which I could care less about, but since I drew the short straw to supervise this turkey, he's gon na be all over me too! Fat - assed sonofabitch called me yesterday to ask how it's going -- do n't worry, I covered for you. Told him you were making progress and we were all very excited. I told him it was great, so now MY ass is on the line. He wants you to tell him all about it tomorrow.</dialogue> <character>BARTON</character> <dialogue>I ca n't write anything by tomorrow.</dialogue> <character>GEISLER</character> <dialogue>Who said write? Jesus, Jack ca n't read. You got ta TELL it to him - tell him SOMEthing for Chrissake.</dialogue> <character>BARTON</character> <dialogue>Well what do I tell him?</dialogue> <scene_description>Geisler rubs a temple , studies Barton for a beat , then picks up a telephone .</scene_description> <character>GEISLER</character> <dialogue>Projection.</dialogue> <scene_description>As he waits , Geisler gives Barton a withering stare . It continues throughout the phone conversation .</scene_description> <character>GEISLER</character> <dialogue>Jerry? Ben Geisler here. Any of the screening rooms free this afternoon? Good, book it for me. A writer named Fink is gon na come in and you're gon na show him wrestling pictures. I do n't give a shit which ones! WRESTLING pictures! Wait a minute - is n't Victor Sjoderberg shooting one now? Show him some of the dailies on that.</dialogue> <scene_description>He slams down the phone .</scene_description> <character>GEISLER</character> <dialogue>This ought to give you some ideas.</dialogue> <scene_description>He jots an address on a piece of paper and hands it to Barton .</scene_description> <character>GEISLER</character> <dialogue>Eight - fifteen tomorrow morning at Lipnik's house. Ideas. Broad strokes. Do n't cross me, Fink.</dialogue> <scene_description>SCREEN Black - and - white footage . A middle - aged man with a clapstick enters and shouts :</scene_description> <character>CLAPPER</character> <dialogue>DEVIL ON THE CANVAS, twelve baker take one.</dialogue> <scene_description>Clap ! The clapper withdraws . The angle is on a corner of the ring , where an old corner man stands behind his charge , a huge man in tights who is a little too flabby to be a real athlete . His hair is plastered against his bullet skull and he has a small mustache .</scene_description> <character>VOICE</character> <dialogue>Action.</dialogue> <scene_description>The wrestler rises from his stool and heads toward center ring and the camera . He affects a German accent :</scene_description> <character>WRESTLER</character> <dialogue>I will destroy him!</dialogue> <scene_description>He passes the camera .</scene_description> <character>VOICE</character> <dialogue>Cut.</dialogue> <scene_description>Flash frames . The clapper enters again .</scene_description> <character>CLAPPER</character> <dialogue>Twelve baker take two.</dialogue> <scene_description>Clap ! He exits . The wrestler moves toward the camera .</scene_description> <character>WRESTLER</character> <dialogue>I will destroy him!</dialogue> <character>VOICE</character> <dialogue>Cut.</dialogue> <scene_description>The clapper enters</scene_description> <character>CLAPPER</character> <dialogue>Twelve baker take three.</dialogue> <scene_description>Clap !</scene_description> <character>WRESTLER</character> <dialogue>I will destroy him!</dialogue> <scene_description>SLOW TRACK IN ON BARTON Seated alone in a dark screening room , the shaft of the projection beam flickering over his left shoulder . As we creep in closer :</scene_description> <character>WRESTLER</character> <parenthetical>( off . )</parenthetical> <dialogue>I will destroy him! I will destroy him! I will destroy him! I will destroy him!</dialogue> <scene_description>Another off - microphone , distant voice from the screen :</scene_description> <character>VOICE</character> <dialogue>Okay, take five.</dialogue> <scene_description>THE SCREEN A jerky pan , interrupted by flash frames . The wrestler is standing in a corner joking with a makeup girl who pats down his face as he smokes a cigarette . A cut in the film and another clapstick enters .</scene_description> <character>CLAPPER</character> <dialogue>Twelve charlie take one -</dialogue> <scene_description>BACK TO BARTON Staring at the screen , dull , wan , and forlorn .</scene_description> <character>VOICE</character> <parenthetical>( off . )</parenthetical> <dialogue>Action.</dialogue> <scene_description>THE SCREEN The angle is low -- canvas level . We hold for a brief moment on the empty canvas before two wrestlers crash down into frame . The German is underneath , on his back , pinned by the other man . The referee enters , cropped at the knees , and throws counting fingers down into frame .</scene_description> <character>REFEREE</character> <dialogue>One. two.</dialogue> <character>WRESTLER</character> <dialogue>AAAAHHHH!</dialogue> <scene_description>The German bucks and throws his opponent out of frame .</scene_description> <character>VOICE</character> <dialogue>Cut.</dialogue> <character>CLAPPER</character> <dialogue>Twelve charlie take two.</dialogue> <scene_description>Crash .</scene_description> <character>REFEREE</character> <dialogue>One. two.</dialogue> <character>WRESTLER</character> <dialogue>AAAAHHHH!</dialogue> <scene_description>BARTON Glazed .</scene_description> <character>WRESTLER</character> <parenthetical>( off . )</parenthetical> <dialogue>AAAAAAHHHHHH! AAAAAAHHHHHH! AAAAAAAAAAAAAAHHHHHHHHHHHH!</dialogue> <scene_description>PAGE IN TYPEWRITER The screaming drops out abruptly at cut . We hear only the sound of heavy footfalls on carpet . Below the opening paragraph , two new words have been added to the typescript : `` Orphan ? '' `` Dame ? '' The foot falls continue . THE HOTEL ROOM Night . Barton paces frantically back and forth . He looks at his watch . HIS POV It is 12:30 . CLOSE ON THE PHONE It is lifted out of the cradle .</scene_description> <character>BARTON</character> <dialogue>Hello, Chet, it's Barton Fink in 605. Can you try a number for me in Hollywood. Slausen 6 - 4304.</dialogue> <scene_description>We pull back to frame in Barton as we hear his call ring through . Barton sweats .</scene_description> <character>BARTON</character> <dialogue>Pick it up. Pick it up. Pick it -</dialogue> <character>AUDREY</character> <dialogue>Hello.</dialogue> <character>BARTON</character> <dialogue>Audrey, listen, I need help. I know it's late and I should n't be calling you like this -- believe me I would n't have if I could see any other alternative, but I -- I'm sorry - listen, how are you -- I'm sorry. You doing okay?</dialogue> <character>AUDREY</character> <dialogue>Who is this?</dialogue> <character>BARTON</character> <dialogue>Barton. I'm sorry, it's Barton Fink.</dialogue> <scene_description>Through the phone , in the background , we hear Mayhew 's drunken bellowing .</scene_description> <character>MAYHEW</character> <dialogue>Sons of bitches! Drown'em all!</dialogue> <scene_description>We hear various objects dropping or being thrown to the floor .</scene_description> <character>AUDREY</character> <dialogue>Barton, I'm afraid it's not a good time -</dialogue> <character>MAYHEW</character> <dialogue>Drown all those rascals.</dialogue> <character>BARTON</character> <dialogue>I'm sorry, I just feel like -- I know I should n't ask, I just need some kind of help, I just, I have a deadline tomorrow -</dialogue> <character>MAYHEW</character> <dialogue>I said drown'em all! Who is that?</dialogue> <scene_description>There is more clatter . Audrey 's voice is hushed , close to the phone :</scene_description> <character>AUDREY</character> <dialogue>All right Barton, I'll see if I can slip away -</dialogue> <character>MAYHEW</character> <dialogue>Who is that?! Gaddamn voices come into the house. sons of bitches.</dialogue> <character>BARTON</character> <dialogue>If you could, I'd --</dialogue> <character>AUDREY</character> <dialogue>If I can. He gets jealous ; he -</dialogue> <character>MAYHEW</character> <dialogue>Goddamn voices. DROWN'EM!</dialogue> <character>BARTON</character> <dialogue>I need help, Audrey.</dialogue> <character>AUDREY</character> <dialogue>I'll try to slip out. If he quiets down, passes out. I'm afraid he thinks -- well, he said you were a buffoon, Barton. He becomes irrational --</dialogue> <character>MAYHEW</character> <dialogue>Hesh up! Be still now! DROWN'EM! DROWN'EM! DROWN --</dialogue> <scene_description>WIDE ON THE ROOM Later . It is quiet . We are craning down toward the bed , where Barton lies stretched out , his head buried beneath a pillow as if to blot out the world . The track reveals the wristwatch on Barton 's dangled arm : 1:30 . THE HALLWAY At the end of the dimly lit corridor a red light blinks on over the elevator , with a faint bell . BACK TO BARTON With two violent and simultaneous motions he whips the pillow off his head and throws out his other wrist to look at his watch . There is a knock at the door . Barton swings his feet off the bed . THE DOORWAY Barton opens the door to Audrey .</scene_description> <character>AUDREY</character> <dialogue>Hello, Barton.</dialogue> <character>BARTON</character> <dialogue>Audrey, thank you for coming. Thank you. I'm sorry to be such a. such a. Thank you.</dialogue> <scene_description>They enter the main room , where Audrey perches on the edge of the bed .</scene_description> <character>AUDREY</character> <dialogue>Now that's all right, Barton. Everything'll be all right.</dialogue> <character>BARTON</character> <dialogue>Yes. Thank you. How's Bill?</dialogue> <character>AUDREY</character> <dialogue>Oh, he's. he drifted off. He'll sleep for a while now. What is it you have to do, exactly?</dialogue> <scene_description>Barton paces .</scene_description> <character>BARTON</character> <dialogue>Well I have to come up with -- an outline, I'd guess you call it. The story. The whole goddamn story. Soup to nuts. Three acts. The whole goddamn -</dialogue> <character>AUDREY</character> <dialogue>It's alright, Barton. You do n't have to write actual scenes?</dialogue> <character>BARTON</character> <dialogue>No, but the whole goddamn -- Audrey? Have you ever had to read any of Bill's wrestling scenarios?</dialogue> <scene_description>Audrey laughs .</scene_description> <character>AUDREY</character> <dialogue>Yes, I'm afraid I have.</dialogue> <character>BARTON</character> <dialogue>What are they like? What are they about?</dialogue> <character>AUDREY</character> <dialogue>Well, usually, they're. simply morality tales. There's a good wrestler, and a bad wrestler whom he confronts at the end. In between, the good wrestler has a love interest or a child he has to protect. Bill would usually make the good wrestler a backwoods type, or a convict. And sometimes, instead of a waif, he'd have the wrestler protecting an idiot manchild. The studio always hated that. Oh, some of the scripts were so. spirited!</dialogue> <scene_description>She laughs -- then stops , realizing that she has laughed . She looks at Barton .</scene_description> <character>AUDREY</character> <dialogue>Barton.</dialogue> <scene_description>She shakes her head .</scene_description> <character>AUDREY</character> <dialogue>Look, it's really just a formula. You do n't have to type your soul into it. We'll invent some names and a new setting. I'll help you and it wo n't take any time at all. I did it for Bill so many times --</dialogue> <scene_description>Barton 's pacing comes up short .</scene_description> <character>BARTON</character> <dialogue>Did what for Bill?</dialogue> <scene_description>Guardedly :</scene_description> <character>AUDREY</character> <dialogue>Well. THIS.</dialogue> <character>BARTON</character> <dialogue>You wrote his scripts for him?</dialogue> <character>AUDREY</character> <dialogue>Well, the basic ideas were frequently his -</dialogue> <character>BARTON</character> <dialogue>You wrote Bill's scripts! Jesus Christ, you wrote his -- what about before that?</dialogue> <character>AUDREY</character> <dialogue>Before what?</dialogue> <character>BARTON</character> <dialogue>Before Bill came to Hollywood.</dialogue> <scene_description>Audrey is clearly reluctant to travel this path .</scene_description> <character>AUDREY</character> <dialogue>Well, Bill was ALWAYS the author, so to speak -</dialogue> <character>BARTON</character> <dialogue>What do you mean so to speak?! Audrey, how long have you been his. secretary?</dialogue> <character>AUDREY</character> <dialogue>Barton, I think we should concentrate on OUR little project -</dialogue> <character>BARTON</character> <dialogue>I want to know how many of Bill's books you wrote!</dialogue> <character>AUDREY</character> <dialogue>Barton!</dialogue> <character>BARTON</character> <dialogue>I want to know!</dialogue> <character>AUDREY</character> <dialogue>Barton, honestly, only the last couple -</dialogue> <character>BARTON</character> <dialogue>Hah!</dialogue> <character>AUDREY</character> <dialogue>And my input was mostly. EDITORIAL, really, when he'd been drinking -</dialogue> <character>BARTON</character> <dialogue>I'll bet. Jesus -- `` The grand productive days.'' What a goddamn phony.</dialogue> <scene_description>He resumes pacing .</scene_description> <character>BARTON</character> <dialogue>W.P. Mayhew. William Goddamn Phony Mayhew. All his guff about escape. Hah! I'LL say he escaped!</dialogue> <scene_description>Barton sighs and looks at his watch .</scene_description> <character>BARTON</character> <dialogue>Well, we do n't have much time.</dialogue> <scene_description>He sits down next to Audrey . Audrey 's tone is gentle .</scene_description> <character>AUDREY</character> <dialogue>It'll be fine. Do n't judge him, Barton. Do n't condescend to him.</dialogue> <scene_description>She strokes Barton 's hair .</scene_description> <character>AUDREY</character> <dialogue>It's not as simple as you think. I helped Bill most by appreciating him, by understanding him. We all need understanding, Barton. Even you, tonight, it's all you really need.</dialogue> <scene_description>She kisses him . As Barton tentatively responds , we are panning away . We frame up on the door to the bathroom and track in toward the sink . We can hear the creak of bedsprings and Audrey and Barton 's breath , becoming labored . The continuing track brings us up to and over the lid of the sink to frame up its drain , a perfect black circle in the porcelain white . We track up to the drain and are enveloped by it as the sound of lovemaking mixes into the groaning of pipes . BLACK</scene_description> </scene> <scene> <scene_description>BARTON . The hum of a mosquito brings us out of the black and we are looking down at Barton , in bed , asleep . It is dawn . Barton 's eyes snap open . HIS POV The white ceiling . A humming black speck flits across the white . BARTON Slowly , cautiously , he props himself up , his look following the sound of the mosquito . His gaze travels down and to one side and is arrested as the hum stops . HIS POV Audrey lies facing away on her side of the bed , half covered by a blanket . BARTON Gingerly , he reaches over and draws the blanket down Audrey 's back . HIS POV The alabaster white of Audrey 's back . The mosquito is feeding on it . EXTREME CLOSE ON BARTON 'S EYES Looking . EXTREME CLOSE ON THE MOSQUITO Swelling with blood . WIDER As Barton 's hand comes through frame and slaps Audrey 's back . She does n't react . Barton draws his hand away . Audrey 's back is smeared with blood . ON BARTON He looks at his hand . HIS POV His hand is dripping with blood . Too much blood . BACK TO BARTON Eyes wide , he looks down at the bed . HIS POV Blood seeps up into the sheet beneath the curve of Audrey 's back . BARTON He pulls Audrey 's shoulder . AUDREY She rolls onto her back . Her eyes are wide and lifeless . Her stomach is nothing but blood . The top sheet , drawn to her waist is drenched red and clings to her body . BARTON He screams . He screams again . We hear rapid and heavy footfalls next door , a door opening and closing , and then a loud banging on Barton 's door . Barton 's head spins towards the door . He is momentarily frozen . Another knock . Barton leaps to his feet and hurries to the door . THE DOORWAY Over Barton 's shoulder as he cracks the door . Charlie stands in the hall in his boxer shorts and a sleeveless tee .</scene_description> <character>CHARLIE</character> <dialogue>Are you all right?</dialogue> <scene_description>Barton stares dumbly for a moment .</scene_description> <character>CHARLIE</character> <dialogue>Can I come in?</dialogue> <character>BARTON</character> <dialogue>No! I'm fine. Thank you.</dialogue> <character>CHARLIE</character> <dialogue>Are you sure --</dialogue> <character>BARTON</character> <dialogue>No. no.</dialogue> <scene_description>Barton is nodding as he shuts the door in Charlie 's face . He walks back into the room . HIS POV Audrey 's corpse , in long shot , face up on the bed . BARTON He walks toward the bed , wheels before he reaches it , and starts back toward the door . He stops short and turns back again to the room . He averts his eyes -- as it happens , toward the secretary . He walks stiffly over and sits , his back to Audrey . CLOSE ON BARTON As he sits in . He stares emptily down at the desk , in shock , totally shut down . Behind him , we can see Audrey on the bed . He stares for a long beat . Strange , involuntary noises come from his throat . He is not in control . Becoming aware of the noise he is making , he stops . He lurches to his feet . THE DOORWAY As Barton enters , opens the door , and sticks his head out . HALLWAY Barton peers out the see if the coast is clear . HIS POV The long hallway . In the deep background , Chet , the night clerk , is stooping in front of a door to pick up a pair of shoes . Next to him is a castored shoe caddy . All of the doorways between us and Chet are empty of shoes . CHET Close on him as , mid - stoop , he looks up . CHET 'S POV Up the long hall . In the deep background a door is closing . CHET He pauses , then straightens up and puts the shoes on the shoe caddy . It squeaks as he pushes it on down the hall . BARTON 'S ROOM Barton stands at the door , listening to a very faint squeak . Eventually it becomes inaudible . He cracks the door again , looks out , and exits . HALLWAY Barton goes to Charlie 's room and knocks . Footfalls end as the door is cracked open .</scene_description> <character>CHARLIE</character> <dialogue>Barton. Are you all right?</dialogue> <character>BARTON</character> <dialogue>No. Can I come in?</dialogue> <character>CHARLIE</character> <dialogue>Why do n't we go to your room -</dialogue> <character>BARTON</character> <dialogue>Charlie, I'm in trouble. You've got ta help me.</dialogue> <scene_description>Once again he is breathing hard . Charlie steps out into the hall and shuts the door behind him .</scene_description> <character>CHARLIE</character> <dialogue>Get a grip on yourself, brother. Whatever the problem is, we'll sort it out.</dialogue> <character>BARTON</character> <dialogue>Charlie, I'm in trouble -- something horrible's happened -- I've got ta call the police.</dialogue> <scene_description>Charlie leads him towards his room .</scene_description> <character>BARTON</character> <dialogue>Will you stay with me till they get here?</dialogue> <character>CHARLIE</character> <dialogue>Do n't worry about it, Barton. We can sort it -</dialogue> <scene_description>He is pushing Barton 's door open , but Barton grabs an elbow to stop him .</scene_description> <character>BARTON</character> <dialogue>Before you go in -- I did n't do this. I do n't know how it happened, but I did n't. I want you to know that.</dialogue> <scene_description>Charlie looks into his eyes . For a moment the two men stare at each other -- Charlie 's look inquisitive , Barton 's supplicating . Finally , Charlie nods .</scene_description> <character>CHARLIE</character> <dialogue>Okay.</dialogue> <scene_description>He turns and pushes open the door . BARTON 'S ROOM The two men enter . Barton lingers by the door . Charlie walks into the foreground to look off toward the bed . His eyes widen and he screams . He turns and disappears into the bathroom . We hear vomiting , then the flush of a toilet .</scene_description> <character>CHARLIE</character> <dialogue>Jesus. Jesus. Jesus have mercy.</dialogue> <scene_description>His reaction has not encouraged Barton , who is more and more agitated . Charlie emerges from the bathroom , sweating .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, Barton, what the hell is this? What're we gon na do?</dialogue> <character>BARTON</character> <dialogue>I've got ta call the police -- or you could call for me --</dialogue> <character>CHARLIE</character> <dialogue>Hold on --</dialogue> <character>BARTON</character> <dialogue>You got ta believe me --</dialogue> <character>CHARLIE</character> <dialogue>Hold on --</dialogue> <character>BARTON</character> <dialogue>I did n't do this, I did NOT do this --</dialogue> <character>CHARLIE</character> <dialogue>Hold on. Stop. Take a deep breath. Tell me what happened.</dialogue> <character>BARTON</character> <dialogue>I do n't know! I woke up, she was. God, you got ta believe me!</dialogue> <scene_description>Charlie , in spite of himself , is sneaking horrified glances back into the room .</scene_description> <character>CHARLIE</character> <dialogue>I believe you, brother, but this do n't look good.</dialogue> <character>BARTON</character> <dialogue>We got ta call the police --</dialogue> <character>CHARLIE</character> <dialogue>Hold on. I said hold on, so hold on.</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <character>CHARLIE</character> <dialogue>What do you think happened?</dialogue> <character>BARTON</character> <dialogue>I do n't know! Maybe it was her. boyfriend. I passed out. I do n't know. Wo n't the police be able to --</dialogue> <character>CHARLIE</character> <dialogue>Stop with the police! Wake up, friend! This does not look good! They hang people for this!</dialogue> <character>BARTON</character> <dialogue>But I did n't do it -- do n't you believe me?</dialogue> <character>CHARLIE</character> <dialogue>I believe you -- I KNOW you. But why should the police?</dialogue> <scene_description>Barton gives him a dumb stare .</scene_description> <character>CHARLIE</character> <dialogue>Did you. Barton, between you and me, did you have sexual intercourse?</dialogue> <scene_description>Barton stares at Charlie . He swallows . Charlie shakes his head .</scene_description> <character>CHARLIE</character> <dialogue>Jesus. They can tell that.</dialogue> <character>BARTON</character> <dialogue>They GOT TA believe me, Charlie! They got ta have mercy!</dialogue> <character>CHARLIE</character> <dialogue>You're in pictures, Barton. Even if you got cleared eventually, this would ruin you.</dialogue> <scene_description>He turns and starts toward the bed .</scene_description> <character>CHARLIE</character> <dialogue>Wait in the bathroom.</dialogue> <scene_description>BATHROOM Later . Barton , still in his underwear , sits leaning against the wall , staring glassily at his feet . From the other room we hear the creak of bedsprings and the sounds of bed clothes being torn off . Finally there is a last creak of bedsprings and the sound of Charlie grunting under great weight . We hear heavy footsteps approaching . Barton looks up through the open bathroom door . HIS POV Charlie is groping for the front doorknob , cradling the sheetswaddled body in his arms . BACK TO BARTON His neck goes rubbery . His eyes roll up . His head lolls back to hit the wall . BLACK Slap ! Slap ! We are low on Charlie , who is following through on a slap and backing away , having aroused Barton . Charlie is now wearing pants but is still in his sleeveless tee , which has blood flecks across the belly .</scene_description> <character>CHARLIE</character> <dialogue>You passed out.</dialogue> <scene_description>Barton looks groggily up .</scene_description> <character>BARTON</character> <dialogue>Uh - huh. Where's Audrey?</dialogue> <character>CHARLIE</character> <dialogue>She's dead, Barton! If that was her name.</dialogue> <scene_description>TRACKING IN ON BARTON He stares at Charlie .</scene_description> <character>CHARLIE</character> <parenthetical>( off . )</parenthetical> <dialogue>Barton, listen to me. You got ta act like nothing's happened. Put this totally out of your head. I know that's hard, but your play from here on out is just to go about business as usual. Give us some time to sort this out.</dialogue> <scene_description>Barton looks at his watch . THE WATCH 7:45 .</scene_description> <character>CHARLIE</character> <parenthetical>( off . )</parenthetical> <dialogue>. Just put it out of you head.</dialogue> <scene_description>TRACKING Toward a pool set in a grand yard with shaped hedges and statuary set amid palms trees . Sunlight glitters angrily off the water ; we are approaching Jack Lipnik who sits poolside in a white deck chair .</scene_description> <character>LIPNIK</character> <dialogue>Bart! So happy to see ya!</dialogue> <scene_description>REVERSE Pulling Barton , who is being escorted by Lou Breeze . Barton is haggard , sunken eyes squinting against too much sun .</scene_description> <character>LIPNIK</character> <dialogue>Sit! Talk! Relax for a minute, then talk! Drink?</dialogue> <scene_description>As Barton sits :</scene_description> <character>BARTON</character> <dialogue>Yeah. rye whiskey?</dialogue> <character>LIPNIK</character> <dialogue>Boy! You writers! Work hard, play hard! That's what I hear, anyway.</dialogue> <scene_description>He laughs , then barks at Lou Breeze .</scene_description> <character>LIPNIK</character> <dialogue>Lou.</dialogue> <scene_description>Lou exits .</scene_description> <character>LIPNIK</character> <dialogue>Anyway. Ben Geisler tells me things're going along great. Thinks we've got a real winner in this one. And let me tell you something, I'm counting on it. I've taken an interest. Not to interfere, mind you -- hardly seems necessary in your case. A writer -- a storyteller -- of your stature. Givitta me in bold strokes, Bart. Gim me the broad outlines. I'm sitting in the audience, the lights go down, Capitol logo comes up. you're on!</dialogue> <scene_description>He beams expectantly at Barton . Barton licks his parched lips .</scene_description> <character>BARTON</character> <dialogue>Yeah, okay. well. we fade in.</dialogue> <scene_description>Lipnik is nodding , already involved in the story .</scene_description> <character>BARTON</character> <dialogue>It's a tenement building. On the Lower East Side.</dialogue> <character>LIPNIK</character> <dialogue>Great! He's poor, this wrestler! He's had to struggle!</dialogue> <character>BARTON</character> <dialogue>And then. well.</dialogue> <scene_description>Barton looks back out at the pool , his eyes closed to slits against the sun . He looks back at Lipnik .</scene_description> <character>BARTON</character> <dialogue>Can I be honest, Mr. Lipnik?</dialogue> <character>LIPNIK</character> <dialogue>CAN you? You damn well better be. Jesus, if I had n't been honest in my business dealings -- well, of course, you ca n't always be honest, not with the sharks swimming around this town -- but if you're a writer, you do n't think about those things -- if I'd been totally honest, I would n't be within a mile of this pool -- unless I was cleaning it. But that's no reason for you not to be. Honest, I mean. Not cleaning the pool.</dialogue> <scene_description>Lou has entered with a drink , which he sets next to Barton . Lou sits . Barton looks around , takes the drink , sips at it greedily , but must finally take the plunge .</scene_description> <character>BARTON</character> <dialogue>Well. to be honest, I'm never really comfortable discussing a work in progress. I've got it all worked out in my head, but sometimes if you force it out in words -- prematurely -- the wrong words -- well, your meaning changes, and it changes your own mind, and you never get it back -- so I'd just as soon not talk about it.</dialogue> <scene_description>Lipnik stares at him . His smile has disappeared . There is a long beat . Lou Breeze clears his throat . He apparently feels obliged to fill the silence .</scene_description> <character>LOU</character> <dialogue>Mr. Fink. Never mind me. Never mind how long I've been in pictures. Mr. Lipnik has been in pictures just about since they were invented. HE practically invented them.</dialogue> <scene_description>Lipnik has turned to look curiously at Lou .</scene_description> <character>LOU</character> <dialogue>Now I think if he's interested in what one of his contract employees is doing while he draws pay, I think that employee ought to tell him, if he wants to stay an employee. Right now the contents of your head are the property of Capitol Pictures, so if I were you I would speak up. And pretty goddamn fast.</dialogue> <scene_description>Lou looks at Barton , expectantly . Lipnik continues to stare at Lou . There is a long silence , terribly heavy . Finally , Lipnik explodes -- at Lou .</scene_description> <character>LIPNIK</character> <dialogue>You lousy sonofabitch! You're telling this man -- this ARTIST -- what to do?!</dialogue> <scene_description>Lou Breeze is stunned .</scene_description> <character>LOU</character> <dialogue>Mr. Lipnik, I --</dialogue> <character>LIPNIK</character> <dialogue>This man creates for a living! He puts food on your table and on mine! THANK him for it! Thank him, you ungrateful sonofabitch! Thank him or YOU'RE fired!</dialogue> <scene_description>Barton is staring , aghast .</scene_description> <character>BARTON</character> <dialogue>Mr. Lipnik, that's not really necessar -</dialogue> <scene_description>Lipnik , still staring at Lou , gives no sign of hearing Barton . He rises and points .</scene_description> <character>LIPNIK</character> <dialogue>Get down on your knees, you sonofabitch! Get down on your knees and kiss this man's feet!</dialogue> <character>LOU</character> <dialogue>Mr. Lipnik, please --</dialogue> <character>BARTON</character> <dialogue>I -- Mr. Lipnik --</dialogue> <character>LIPNIK</character> <dialogue>KISS THIS MAN'S FEET!</dialogue> <scene_description>Lou , aghast , looks at Barton . Barton , aghast , can only return the same stunned look . Lipnik snarls at Lou :</scene_description> <character>LIPNIK</character> <dialogue>Okay, get out of here. You're fired, you understand me? Get out of my sight.</dialogue> <scene_description>Lou gets stiffly to his feet and stumbles away .</scene_description> <character>BARTON</character> <dialogue>Mr. Lipnik, I --</dialogue> <character>LIPNIK</character> <dialogue>I apologize, Barton.</dialogue> <character>BARTON</character> <dialogue>No no, Mr. Breeze has actually been a great help --</dialogue> <character>LIPNIK</character> <dialogue>You do n't have to cover for him. It's noble of you, but these things happen in business.</dialogue> <character>BARTON</character> <dialogue>Mr. Lipnik, I really would feel much better if you could reconsider --</dialogue> <character>LIPNIK</character> <dialogue>Ah, forget it, kid. I want you to pull this out of your head. If that sonofabitch would n't apologize to you, goddammit, I will. I respect your artistry and your methods, and if you ca n't fill us in yet, well hell, we should be kissing your feet for your fine efforts.</dialogue> <scene_description>He gets down on his knees in front of Barton .</scene_description> <character>LIPNIK</character> <dialogue>You know in the old country we were taught, as very young children, that there's no shame in supplicatin' yourself when you respect someone.</dialogue> <scene_description>Barton stares , horrified , at Lipnik , on the ground at his feet .</scene_description> <character>LIPNIK</character> <dialogue>On behalf of Capitol Pictures, the administration, and all a the stockholders, please accept this as a symbol of our apology and respect.</dialogue> <scene_description>BARTON 'S POV Lipnik kisses his shoe and looks up at him . Behind Lipnik the pool glitters . BARTON 'S ROOM The cut has a hard musical sting . Out of the sting comes a loud but distorted thumping noise . We are looking down , high angle , form one corner of the room . We are presented with a motionless tableau : Barton sits , hunched , in the far corner , elbows on knees , staring at the bed in front of him . He wears only trousers and a T - shirt and his body and face glisten with sweat . The bed 's sheets have been stripped and the ratty gray mattress has an enormous rust - red stain in the middle . After a beat , in the foreground , the only motion in the scene : A bead of tacky yellow wall - sweat dribbles down the near wall . Silence , then the thumping repeats , resolving itself to a knock at the door . Barton rises slowly and crosses to the door . THE DOOR Barton opens it to Charlie , who is dressed in a baggy suit , his hair slicked back , a tan fedora pushed back on his head . It is the first time we have seen him well turned out . A battered briefcase is on the floor next to him . He holds a parcel in his left hand , about one foot square , wrapped in brown paper and tied up with twine .</scene_description> <character>CHARLIE</character> <dialogue>Barton. Can I come in?</dialogue> <scene_description>Barton stands back from the door and Charlie picks up his briefcase and enters . THE ROOM As the two men enter .</scene_description> <character>BARTON</character> <dialogue>Jesus. You're leaving.</dialogue> <character>CHARLIE</character> <dialogue>Have to, old timer. Just for a while.</dialogue> <scene_description>Barton sounds desperate :</scene_description> <character>BARTON</character> <dialogue>Jesus, Charlie, I.</dialogue> <character>CHARLIE</character> <dialogue>Everything's okay, believe me. I know it's rough mentally, but everything's taken care of.</dialogue> <character>BARTON</character> <dialogue>Charlie! I've got no one else here! You're the only person I know in Los Angeles.</dialogue> <scene_description>He starts weeping</scene_description> <character>BARTON</character> <dialogue>that I can talk to.</dialogue> <scene_description>Charlie , also disturbed and unhappy , wraps both arms around Barton . Barton sobs unashamedly into his shoulder . Charlie is somber .</scene_description> <character>CHARLIE</character> <dialogue>It's okay. It's okay.</dialogue> <character>BARTON</character> <dialogue>Charlie, I feel like I'm going crazy -- like I'm losing my mind. I do n't know what to do. I did n't do it, believe me. I'm sure of that, Charlie. I just.</dialogue> <scene_description>His breath comes in short gasping heaves .</scene_description> <character>BARTON</character> <dialogue>I just do n't know what. to do --</dialogue> <character>CHARLIE</character> <dialogue>You got ta get a grip on, brother. You got ta just carry on -- just for a few days, till I get back. Try and stay here, keep your door locked. Do n't talk to anyone. We just got ta keep our heads and we'll figure it out.</dialogue> <character>BARTON</character> <dialogue>Yeah, but Charlie --</dialogue> <character>CHARLIE</character> <dialogue>Dammit, do n't argue with me. You asked me to believe you -- well I do. Now do n't argue with me.</dialogue> <scene_description>He looks at Barton for a beat .</scene_description> <character>CHARLIE</character> <dialogue>Look, pal -- can you do something for me?</dialogue> <scene_description>Charlie hands him his parcel .</scene_description> <character>CHARLIE</character> <dialogue>Keep this for me, till I get back.</dialogue> <scene_description>Barton , snuffling , accepts the package .</scene_description> <character>CHARLIE</character> <dialogue>It's just personal stuff. I do n't wan na drag it with me, but I do n't trust'em downstairs, and I'd like to think it's in good hands.</dialogue> <scene_description>Still snuffling :</scene_description> <character>BARTON</character> <dialogue>Sure, Charlie.</dialogue> <character>CHARLIE</character> <dialogue>Funny, huh, when everything that's important to a guy, everything he wants to keep from a lifetime -- when he can fit it into a little box like that. I guess. I guess it's kind of pathetic.</dialogue> <scene_description>Wallowing in self - pity :</scene_description> <character>BARTON</character> <dialogue>It's more than I've got.</dialogue> <character>CHARLIE</character> <dialogue>Well, keep it for me. Maybe it'll bring you good luck. Yeah, it'll help you finish your script. You'll think about me.</dialogue> <scene_description>He thumps his chest .</scene_description> <character>CHARLIE</character> <dialogue>Make me your wrestler. Then you'll lick that story of yours.</dialogue> <scene_description>Barton is tearfully sincere :</scene_description> <character>BARTON</character> <dialogue>Thanks, Charlie.</dialogue> <scene_description>Charlie solemnly thrusts out his hand .</scene_description> <character>CHARLIE</character> <dialogue>Yeah, well, see you soon, friend. You're gon na be fine.</dialogue> <scene_description>Barton shakes . As they walk to the door :</scene_description> <character>BARTON</character> <dialogue>You'll be back?</dialogue> <character>CHARLIE</character> <dialogue>Do n't worry about that, compadre. I'll be back.</dialogue> <scene_description>Barton shuts the door behind Charlie , locks it , and turns around . HIS POV The room . The bed . The blood - stained mattress . Barton walks across the room and sits carefully at the edge of the bed , avoiding the rust - colored stain . For a long beat , he sits still , but something is building inside . Finally , when we hear the distant ding of the elevator arriving for Charlie , it erupts : Barton sobs , with the unself - conscious grief of an abandoned child . HIGH WIDE SHOT Barton weeping , alone on the bed , next to the rust - colored stain . FADE OUT</scene_description> </scene> <scene> <scene_description>BATHING BEAUTY With the fade in , the sound of the surf mixes up . We pan down the picture to discover that a snapshot has been tucked into a corner of the picture frame : it is the snap of Charlie , smiling and waving , with his foot up on the running board of the 1939 Ford roadster . BARTON Sitting at the desk , staring at the picture . From his glazed eyes and the way his mouth hangs open , we may assume he has been staring at the picture for some time . He notices something on the desk and picks it up . HIS POV The Holy Bible -- Placed by the Gideons . Barton opens it , randomly , to the Book of Daniel . The text is set in ornately Gothic type . `` 5 . And the king , Nebuchadnezzar , answered and said to the Chaldeans , I recall not my dream ; if ye will not make known unto me my dream , and its interpretation , ye shall be cut in pieces , and of your tents shall be made a dunghill . '' BARTON Staring at the passage . His mouth hangs open . THE BIBLE Barton riffles to the first page . In bold type at the top : `` THE BOOK OF GENESIS '' Underneath , in the same ornately Gothic type : `` Chapter One 1 . Fade in on a tenement building on Manhattan 's Lower East Side . Faint traffic noise is audible ; 2 . As is the cry of fishmongers . '' BARTON Squinting at the page through bloodshot eyes . His mouth hangs open . BARTON 'S ROOM -- DAY At the cut the harsh clackety - clack of typing bangs in . Sunlight burns against the sheers of Barton 's window , making it a painfully bright patch in the room which itself remains fairly dim . Barton sits at the secretary , typing furiously . He finishes a page , yanks it out of the carriage , and places it face - down on a short stack of face - down pages . He feeds in a blank sheet and resumes his rapid typing . He is sweating , unshaven , and more haggard even than when we left him the previous night . The telephone rings . After several rings Barton stops typing and answers it , absently , still looking at his work . His voice is hoarse .</scene_description> <character>BARTON</character> <dialogue>Hello. Chet. Who?</dialogue> <scene_description>He puts the receiver down on the desk , leans over the typewriter , and examines something he has just written . He picks the phone back up and listens for a beat .</scene_description> <character>BARTON</character> <dialogue>No, do n't send them up here. I'll be right down.</dialogue> <scene_description>ELEVATOR A small oscillating fan whirs up in a corner of the elevator . We pan down to Barton , who is riding down with Pete , the old elevator operator . Barton 's voice is hoarse with fatigue .</scene_description> <character>BARTON</character> <dialogue>You read the Bible, Pete?</dialogue> <character>PETE</character> <dialogue>Holy Bible?</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <character>PETE</character> <dialogue>I think so. Anyway, I've heard about it.</dialogue> <scene_description>Barton nods . They ride for a beat . LOBBY Late afternoon sun slants in from one side . The lobby has the same golden ambiance as when first we saw it . Barton is walking toward two wing chairs in the shadows , from which two men in suits are rising . One is tall , the other short .</scene_description> <character>POLICEMAN</character> <dialogue>Fink?</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <character>POLICEMAN #2</character> <dialogue>Detective Mastrionotti.</dialogue> <character>POLICEMAN #1</character> <dialogue>Detective Deutsch.</dialogue> <character>MASTRIONOTTI</character> <dialogue>L.A.P.D.</dialogue> <character>BARTON</character> <dialogue>Uh - huh.</dialogue> <scene_description>All three sit in ancient maroon swing chairs . Mastrionotti perches on the edge of his chair ; Deutsch slumps back in the shadows , studying Barton .</scene_description> <character>DEUTSCH</character> <dialogue>Got a couple questions to ask ya.</dialogue> <character>MASTRIONOTTI</character> <dialogue>What do you do, Fink?</dialogue> <scene_description>Still hoarse :</scene_description> <character>BARTON</character> <dialogue>I write.</dialogue> <character>DEUTSCH</character> <dialogue>Oh yeah? What kind of write?</dialogue> <character>BARTON</character> <dialogue>Well as a matter of fact, I write for the pictures.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Big fuckin' deal.</dialogue> <character>DEUTSCH</character> <dialogue>You want my partner to kiss your ass?</dialogue> <character>MASTRIONOTTI</character> <dialogue>Would that be good enough for ya?</dialogue> <character>BARTON</character> <dialogue>No, I -- I did n't mean to sound --</dialogue> <character>DEUTSCH</character> <dialogue>What DID you mean?</dialogue> <character>BARTON</character> <dialogue>I -- I've got respect for -- for working guys, like you --</dialogue> <character>MASTRIONOTTI</character> <dialogue>Jesus! Ai n't that a load off! You live in 605?</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <character>DEUTSCH</character> <dialogue>How long you been up there, Fink?</dialogue> <character>BARTON</character> <dialogue>A week, eight, nine days --</dialogue> <character>MASTRIONOTTI</character> <dialogue>Is this multiple choice?</dialogue> <character>BARTON</character> <dialogue>Nine days -- Tuesday --</dialogue> <character>DEUTSCH</character> <dialogue>You know this slob?</dialogue> <scene_description>He is holding a small black - and - white photograph out toward Barton . There is a long beat as Barton studies the picture .</scene_description> <character>BARTON</character> <dialogue>Yeah, he. he lives next door to me.</dialogue> <character>MASTRIONOTTI</character> <dialogue>That's right, Fink, he lives next door to you.</dialogue> <character>DEUTSCH</character> <dialogue>Ever talk to him?</dialogue> <character>BARTON</character> <dialogue>Once or twice. His name is Charlie Meadows.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Yeah, and I'm Buck Rogers.</dialogue> <character>DEUTSCH</character> <dialogue>His name is Mundt. Karl Mundt.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Also known as Madman Mundt.</dialogue> <character>DEUTSCH</character> <dialogue>He's a little funny in the head.</dialogue> <character>BARTON</character> <dialogue>What did. What did he --</dialogue> <character>MASTRIONOTTI</character> <dialogue>Funny. As in, he likes to ventilate people with a shotgun and then cut their heads off.</dialogue> <character>DEUTSCH</character> <dialogue>Yeah, he's funny that way.</dialogue> <character>BARTON</character> <dialogue>I.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Started in Kansas City. Couple of housewives.</dialogue> <character>DEUTSCH</character> <dialogue>Couple of days ago we see the same M.O. out in Los Feliz.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Doctor. Ear, nose and throat man,.</dialogue> <character>DEUTSCH</character> <dialogue>All of which he's now missin'.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Well, some of his throat was there.</dialogue> <character>DEUTSCH</character> <dialogue>Physician, heal thyself.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Good luck with no fuckin' head.</dialogue> <character>DEUTSCH</character> <dialogue>Anyway.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Hollywood precinct finds another stiff yesterday. Not too far from here. This one's better looking than the doc.</dialogue> <character>DEUTSCH</character> <dialogue>Female caucasian, thirty years old. Nice tits. No head. You ever see Mundt with anyone meets that description?</dialogue> <character>MASTRIONOTTI</character> <dialogue>But, you know, with the head still on.</dialogue> <character>BARTON</character> <dialogue>No. I never saw him with anyone else.</dialogue> <character>DEUTSCH</character> <dialogue>So. You talked to Mundt, what about?</dialogue> <character>BARTON</character> <dialogue>Nothing, really. Said he was in the insurance business.</dialogue> <scene_description>Deutsch indicates Mastrionotti .</scene_description> <character>DEUTSCH</character> <dialogue>Yeah, and he's Buck Rogers.</dialogue> <character>MASTRIONOTTI</character> <dialogue>No reputable company would hire a guy like that.</dialogue> <character>BARTON</character> <dialogue>Well that's what he said.</dialogue> <character>DEUTSCH</character> <dialogue>What else?</dialogue> <character>BARTON</character> <dialogue>He. I'm trying to think. Nothing, really. He. He said he liked Jack Oakie pictures.</dialogue> <scene_description>Mastrionotti looks at Deutsch . Deutsch looks at Mastrionotti . After a beat , Mastrionotti looks back at Barton .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Ya know, Fink, ordinarily we say anything you might remember could be helpful. But I'll be frank with you : That is not helpful.</dialogue> <character>DEUTSCH</character> <dialogue>Ya see how he's not writing it down?</dialogue> <character>MASTRIONOTTI</character> <dialogue>Fink. That's a Jewish name, is n't it?</dialogue> <character>BARTON</character> <dialogue>Yeah.</dialogue> <scene_description>Mastrionotti gets to his feet , looking around the lobby .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Yeah, I did n't think this dump was restricted.</dialogue> <scene_description>He digs in his pocket .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Mundt has disappeared. I do n't think he'll be back. But.</dialogue> <scene_description>He hands Barton a card .</scene_description> <character>MASTRIONOTTI</character> <dialogue>give me a call if you see him. Or if you remember something that is n't totally idiotic.</dialogue> <scene_description>BARTON 'S ROOM We are tracking toward the paper - wrapped parcel that sits on the nightstand next to Barton 's bed . Barton enters and picks it up . He holds it for a beat , looking at it , then brings it over to the secretary and sits . He shakes it . No sound ; whatever is inside is well packed . Barton holds it up to his ear and listens for a long beat , as if it were a seashell and he is listening for the surf . Finally he puts it on his desk , beneath the picture of the bathing beauty , and starts typing , quickly and steadily . DISSOLVE</scene_description> </scene> <scene> <scene_description>REVERSE Some time later ; Barton still types . He is face to us ; beyond him we can see the bed with its rust - colored stain . The phone rings . Barton ignores it . It continues to ring . Barton rises and exits frame ; we hold on to the bed in the background . We hear Barton 's footsteps on the bathroom tile as the phone continues ringing . Barton sits back into frame stuffing cotton into each ear . He resumes typing . ANOTHER ANGLE Barton typing . The desk trembles under the working of the typewriter . Charlie 's parcel chatters . Barton takes a finished page out of the carriage and places it face down on the growing stack to his right . He feeds in a new page . We hear the muted ding of the elevator down the hall . Barton resumes typing . We hear a knock on Barton 's door . Barton does not react , apparently not hearing . THE DOORWAY We are close on the bottom of the door . Someone in the hallway is sliding a note beneath the door ; then his shadow disappears and his footsteps recede . The note is a printed message headed : `` While You Were Out . '' Underneath are the printed words : `` You were called by '' and , handwritten in the space following : `` Mr. Ben Geisler . '' Handwritten below , in the message space : `` Thank you . Lipnik loved your meeting . Keep up the good work . '' Barton 's offscreen typing continues steadily . FADE OUT</scene_description> </scene> <scene> <stage_direction>HALLWAY</stage_direction> <scene_description>A perfectly symmetrical wide low angle shot of the empty hall . Shoes are set put in front of each door except for one in the middle background . At the cut in we hear faint , regular typing . We hold for a beat . There is no motion . The long , empty hall . The distant typing . We hold . The typing stops . There is a beat of quiet . It is broken by the sound of a door opening . It is the shoeless door in the middle background . A hand reaches out to place a pair of shoes in the doorway . The hand withdraws . The door closes . A short beat of silence . The distant typing resumes . The long empty hall . The distant typing . FADE OUT</scene_description> </scene> <scene> <scene_description>OVER THE BLACK We hear the distant sound of a woman 's voice , tinny and indistinct .</scene_description> <character>WOMAN</character> <dialogue>Just a minute and I'll connect you.</dialogue> <scene_description>CLOSE ON BARTON His eyes are red - rimmed and wild . He sits on the edge of his bed holding the phone to his ear . His voice is unnaturally loud :</scene_description> <character>BARTON</character> <dialogue>Hello? Operator! I ca n't. Oh!</dialogue> <scene_description>He stops , reaches up , takes a cotton wad out of his ear . We hear various clicks and clacks as the telephone lines switch , and then a distant ring . The phone rings three or four times before it is answered by a groggy voice .</scene_description> <character>VOICE</character> <dialogue>Hello.</dialogue> <character>BARTON</character> <dialogue>Garland, it's me.</dialogue> <character>GARLAND</character> <dialogue>Barton? What time is it? Are you all right?</dialogue> <character>BARTON</character> <dialogue>Yeah, I'm fine, Garland -- I have to talk to you. I'm calling long distance.</dialogue> <character>GARLAND</character> <dialogue>Okay.</dialogue> <scene_description>Muffled , we hear Garland speaking to someone else .</scene_description> <character>GARLAND</character> <dialogue>It's Barton. Calling long distance.</dialogue> <scene_description>Back into the receiver :</scene_description> <character>GARLAND</character> <dialogue>What is it Barton? Are you okay?</dialogue> <character>BARTON</character> <dialogue>I'm fine, garland, but I have to talk with you.</dialogue> <character>GARLAND</character> <dialogue>Go ahead, son.</dialogue> <character>BARTON</character> <dialogue>It's about what I'm writing, Garland. It's really. I think it's really big.</dialogue> <character>GARLAND</character> <dialogue>What do you mean, Barton?</dialogue> <character>BARTON</character> <dialogue>Not big in the sense of large -- although it's that too. I mean important. This may be the most IMPORTANT work I've done.</dialogue> <character>GARLAND</character> <dialogue>Well, I'm. glad to hear that --</dialogue> <character>BARTON</character> <dialogue>Very important, Garland. I just thought you should know that. Whatever happens.</dialogue> <character>GARLAND</character> <dialogue>That's fine.</dialogue> <character>BARTON</character> <dialogue>Have you read the Bible, Garland?</dialogue> <character>GARLAND</character> <dialogue>Barton, is everything okay?</dialogue> <character>BARTON</character> <dialogue>Yes. Is n't it?</dialogue> <character>GARLAND</character> <dialogue>Well, I'm just asking. You sound a little --</dialogue> <scene_description>Guardedly :</scene_description> <character>BARTON</character> <dialogue>Sound a little what?</dialogue> <character>GARLAND</character> <dialogue>Well, you just. sound a little --</dialogue> <scene_description>Bitterly :</scene_description> <character>BARTON</character> <dialogue>Thanks, Garland. Thanks for all the encouragement.</dialogue> <scene_description>He slams down the phone . OVER HIS SHOULDER A one - quarter shot on Barton from behind as he picks up the cotton wad and sticks it back in his right ear . He resumes typing , furiously . After a beat he mutters , still typing .</scene_description> <character>BARTON</character> <dialogue>Nitwit.</dialogue> <scene_description>THE BATHING BEAUTY Later . We hear typing and the roar of the surf . ' CLOSE ON TYPEWRITER We are extremely close on the key - strike area . As we cut in Barton is typing : `` p - o - s - t - c - a - r - d - . '' The carriage returns a couple of times and `` T - H - E -- E - N - D '' is typed in . The paper is ripped out of the carriage . CLOSE ON A STACK OF PAGES Lying face down on the desk ; the last page is added , face down , to the pile . The pile is picked up , its edges are straightened with a couple of thumps against the desktop , and then the pile is replaced on the desk , face up . The title page reads : `` THE BURLYMAN Motion Picture Scenario By Barton Fink '' Barton 's right hand enters frame to deposit a small cotton wad on top of the script . Barton 's left hand enters to deposit another small cotton wad on top of the script . We hear Barton walk away . We hear bath water run . THE BATHING BEAUTY Still looking out to sea . USO HALL We are booming down to the dance floor as a raucous band plays an up - tempo number . BARTON Dancing animatedly , almost maniacally , his fingers jabbing the air . The hall is crowded , but Barton is one of few men not in uniform . USO GIRL Giggling , dancing opposite Barton .</scene_description> <character>GIRL</character> <dialogue>You're cute!</dialogue> <scene_description>BARTON Caught up in his dancing , oblivious to the girl . A white uniformed arm reaches in to tap Barton on the shoulder .</scene_description> <character>SAILOR</character> <dialogue>` Scuse me, buddy, mind if I cut in?</dialogue> <scene_description>Barton glares at him .</scene_description> <character>BARTON</character> <dialogue>This is MY dance, sailor!</dialogue> <character>SAILOR</character> <dialogue>C'mon buddy, I'm shipping out tomorrow.</dialogue> <scene_description>For some reason , Barton is angry .</scene_description> <character>BARTON</character> <dialogue>I'm a writer! Celebrating the completion of something GOOD! Do you understand that, sailor? I'm a WRITER!</dialogue> <scene_description>His bellowing has drawn onlookers ' attention .</scene_description> <character>VOICES</character> <dialogue>Step aside, four - eyes! Let someone else spin the dame! Give the navy a dance! Hey, Four - F, take a hike!</dialogue> <scene_description>Barton turns furiously against the crowd .</scene_description> <character>BARTON</character> <dialogue>I'm a writer, you monsters! I CREATE! He points at his head.</dialogue> <character>BARTON</character> <dialogue>This is my uniform!</dialogue> <scene_description>He taps his skull .</scene_description> <character>BARTON</character> <dialogue>THIS is how I serve the common man! THIS is where I --</dialogue> <scene_description>WHAPP ! An infantry man tags Barton 's chin on the button . Bodies surge . The crowd gasps . The band blares nightmarishly on . HOTEL HALLWAY Quiet at the cut . After a beat , there is a faint ding at the end of the hall and , as the elevator door opens , we faintly hear :</scene_description> <character>PETE</character> <dialogue>This stop : six.</dialogue> <scene_description>Barton , disheveled , emerges and stumbles wearily down the hall . He stops in front of his door , takes his key out , and enters the room . BARTON 'S POV Mastrionotti is sitting on the edge of the bed reading Barton 's manuscript . Deutsch stands in front of the desk staring at the bathing beauty .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Mother : What is to become of him. Father : We'll be hearing from that crazy wrestler. And I do n't mean a postcard. Fade out. The end.</dialogue> <scene_description>He looks up at Barton .</scene_description> <character>MASTRIONOTTI</character> <dialogue>I thought you said you were a writer.</dialogue> <character>DEUTSCH</character> <dialogue>I dunno, Duke. I kinda liked it.</dialogue> <character>BARTON</character> <dialogue>Keep your filthy eyes off that.</dialogue> <scene_description>Deutsch turns toward Barton and throws a folded newspaper at him .</scene_description> <character>DEUTSCH</character> <dialogue>You made morning papers, Fink.</dialogue> <scene_description>Barton opens the paper . A headline reads : Writer Found Headless in Chavez Ravine . The story has two pictures -- a studio publicity portrait of Mayhew , and a photograph of the crime scene : two plainclothes detectives stare down into a gulley as a uniformed cop restrains a pair of leashed dogs .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Second one of your friends to end up dead.</dialogue> <character>DEUTSCH</character> <dialogue>You did n't tell us you knew the dame.</dialogue> <scene_description>With a jerk of his thumb , Mastrionotti indicates the bloodstained bed .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Sixth floor too high for you, Fink?</dialogue> <character>DEUTSCH</character> <dialogue>Give you nose bleeds?</dialogue> <scene_description>Barton crosses the room and sits at the foot of the bed , staring at the newspaper .</scene_description> <character>DEUTSCH</character> <dialogue>Just tell me one thing, Fink : Where'd you put their heads?</dialogue> <scene_description>Distractedly :</scene_description> <character>BARTON</character> <dialogue>Charlie. Charlie's back.</dialogue> <character>MASTRIONOTTI</character> <dialogue>No kidding, bright boy -- we smelt Mundt all over this. Was he the idea man?</dialogue> <character>DEUTSCH</character> <dialogue>Tell us where the heads are, maybe they'll go easy on you.</dialogue> <character>MASTRIONOTTI</character> <dialogue>Only fry you once.</dialogue> <scene_description>Barton rubs his temples .</scene_description> <character>BARTON</character> <dialogue>Could you come back later? It's just. too hot. My head is killing me.</dialogue> <character>DEUTSCH</character> <dialogue>All right, forget the heads. Where's Mundt, Fink?</dialogue> <character>MASTRIONOTTI</character> <dialogue>He teach you to do it?</dialogue> <character>DEUTSCH</character> <dialogue>You two have some sick sex thing?</dialogue> <character>BARTON</character> <dialogue>Sex?! He's a MAN! We WRESTLED!</dialogue> <character>MASTRIONOTTI</character> <dialogue>You're a sick fuck, Fink.</dialogue> <character>DEUTSCH</character> <dialogue>All right, moron, you're under arrest.</dialogue> <scene_description>Barton seems oblivious to the two men .</scene_description> <character>BARTON</character> <dialogue>Charlie's back. It's hot. He's back.</dialogue> <scene_description>Down the hall we hear the ding of the arriving elevator . Mastrionotti cocks his head with a quizzical look . He rises and walks slowly out into the hall . Deutsch wathces him go . HIS POV Mastrionotti in the hallway in full shot , framed by the door , still looking puzzled .</scene_description> <character>MASTRIONOTTI</character> <dialogue>Fred.</dialogue> <scene_description>Deutsch stands and pushes his suit coat back past the gun on his hip , revealing a pair of handcuffs on his belt . He unhitches the cuffs and slips one around Barton 's right wrist and the other around a loop in the wrought iron footboard of the bed .</scene_description> <character>DEUTSCH</character> <dialogue>Sit tight, Fink.</dialogue> <scene_description>THE HALLWAY As Deutsch joins Mastrionotti .</scene_description> <character>DEUTSCH</character> <dialogue>Why's it so goddamn hot out here?</dialogue> <character>MASTRIONOTTI</character> <dialogue>Fred.</dialogue> <scene_description>Deutsch looks where Mastrionotti is looking . THE WALL Tacky yellow fluid streams down . The walls are pouring sweat . The hallway is quiet . MASTRIONOTTI AND DEUTSCH They look at each other . They look down the hall . THEIR POV The elevator stands open at the far end of the empty hall . For a long beat , nothing . Finally Pete , the elevator man , emerges . At this distance , he is a small figure , stumbling this way and that , his hands presseed against the sides of his head . He turns to face Mastrionotti and Deutsch and takes a few steps forward , still clutching his head . MASTRIONOTTI AND DEUTSCH Watching . PETE He takes on last step , then collapses . As he pitches forward his hands fall away from his head . His head separates from his neck , hits the floor , and rolls away from his body with a dull irregular trundle sound . MASTRIONOTTI AND DEUTSCH Wide - eyed , they look at each other , then back down the hall . All is quiet . THE HALLWAY Smoke is beginning to drift into the far end of the hall . We hear a muted rumble . MASTRIONOTTI AND DEUTSCH Mastrionotti tugs at his tie . He slowly unholsters his gun . Deutsch slowly , hypnotically , follows suit .</scene_description> <character>DEUTSCH</character> <dialogue>Show yourself, Mundt!</dialogue> <scene_description>More quiet . THE HALLWAY More smoke . LOW STEEP ANGLE ON ELEVATOR DOOR The crack where the floor of the elevator meets that of the hall . It flickers with red light from below . Bottom - lit smoke sifts up . CLOSE ON MASTRIONOTTI Standing in the foreground , gun at ready . Sweat pours down his face . Behind him , Deutsch stands nervously in the light - spill from Barton 's doorway . The rumble and crackle of fire grows louder . THE HALLWAY More smoke . PATCH OF WALL Sweating . A swath of wallpaper sags away from the top of the wall , exposing glistening lath underneath . With a light airy pop , the lathwork catches on fire . MASTRIONOTTI AND DEUTSCH Sweating .</scene_description> <character>DEUTSCH</character> <dialogue>Mundt!</dialogue> <scene_description>THEIR POV The hallway . Its end - facing - wall slowly spreads flame from where the wallpaper droops . LOW STEEP ANGLE ON ELEVATOR DOOR More red bottom - lit smoke seeps up from the crack between elevator and hallway floors . With a groan of tension relieved cables and a swaying of the elevator door , a pair of feet crosses the threshold into the doorway . JUMPING BACK Wide on the hallway . Charlie Meadows has emerged from the elevator and is hellishly backlit by the flame . His suit coat hangs open . His hat is pushed back on his head . From his right hand his briefcase dangles . He stands motionless , facing us . There is something monumental in his posture , shoulders thrown back . MASTRIONOTTI Tensed . Behind him , Deutsch gulps .</scene_description> <character>MASTRIONOTTI</character> <dialogue>There's a boy, Mundt. Put the policy case down and your mitts in the air.</dialogue> <scene_description>CHARLIE He leans slowly down to put the briefcase on the floor . CLOSE ON MASTRIONOTTI Relax . He murmurs :</scene_description> <character>MASTRIONOTTI</character> <dialogue>He's complying.</dialogue> <scene_description>BACK TO CHARLIE He straightens up from the briefcase , a sawed - off shotgun in his hands . BOOM ! The shotgun spits fire . Mastrionotti 's face is peppered by buckshot and he is blown back down the hallway into Deutsch . Bellowing fills the hallway over the roar of the fire :</scene_description> <character>CHARLIE</character> <dialogue>LOOK UPON ME! LOOK UPON ME! I'LL SHOW YOU THE LIFE OF THE MIND!</dialogue> <scene_description>THE HALLWAY The fire starts racing down the hallway . CLOSE STEEP ANGLE ON PATCH OF WALL Fire races along the wall - sweat goopus . TRACK IN ON DEUTSCH His eyes widen at Charlie and the approaching fire ; his gun dangles forgotten from his right hand . HIS POV Charlie is charging down the hallway , holding his shotgun loosely in front of his chest , in double - time position . The fire races along with him . He is bellowing :</scene_description> <character>CHARLIE</character> <dialogue>LOOK UPON ME! I'LL SHOW YOU THE LIFE OF THE MIND! I'LL SHOW YOU THE LIFE OF THE MIND!</dialogue> <scene_description>DEUTSCH Terrified , he turns and runs . REVERSE PULLING DEUTSCH As he runs down the flaming hallway , pursued by flames , smoke , and Karl Mundt -- who , also on the run , levels his shotgun . BOOM ! PUSHING DEUTSCH His legs and feet spout blood , paddle futilely at the air , then come down in a twisting wobble , like a car on blown tires , and pitch him helplessly to the floor . PULLING CHARLIE He slows to a trot and cracks open the shotgun . PUSHING DEUTSCH Weeping and dragging himself forward on his elbows . PULLING CHARLIE He slows to a walk . BARTON 'S ROOM Barton strains at his handcuffs . HIS POV Through the open doorway we see Charlie pass , pushing two shells into his shotgun . PULLING DEUTSCH Charlie looms behind him and -- THWACK -- snaps the shotgun closed . Deutsch rolls over to rest on his elbows , facing Charlie . Charlie primes the shotgun -- CLACK . He presses both barrels against the bridge of Deutsh 's nose .</scene_description> <character>CHARLIE</character> <dialogue>Heil Hitler.</dialogue> <scene_description>DEUTSCH Screams . CHARLIE Tightens a finger over both triggers . He squeezes . BLAM ! TRACK IN ON BARTON He flinches . The gunshot echoes away . Barton strains at the handcuffs . We hear Charlie 's footsteps approach -- slowly , heavily . THE DOORWAY Charlie , walking down the hall , glances in and seems mildly surprised to see Barton . The set of his jaw relaxes . His expression softens . He pushes his hat farther back on his head .</scene_description> <character>CHARLIE</character> <dialogue>Barton!</dialogue> <scene_description>He shakes is head and whistles .</scene_description> <character>CHARLIE</character> <dialogue>Brother, is it hot.</dialogue> <scene_description>He walks into the room . BARTON 'S ROOM As Charlie wearily enters .</scene_description> <character>CHARLIE</character> <dialogue>How you been, buddy?</dialogue> <scene_description>He props the shotgun in a corner and sits facing Barton , who stared at him .</scene_description> <character>CHARLIE</character> <dialogue>Do n't look at me like that, neighbor. It's just me -- Charlie.</dialogue> <character>BARTON</character> <dialogue>I hear it's Mundt. Madman Mundt.</dialogue> <scene_description>Charlie reaches a flask from his pocket .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, people can be cruel.</dialogue> <scene_description>He takes a long draught from his flask , then gives a haunted stare .</scene_description> <character>CHARLIE</character> <dialogue>if it's not my build, it's my personality.</dialogue> <scene_description>Charlie is perspiring heavily . The fire rumbles in the hallway .</scene_description> <character>CHARLIE</character> <dialogue>They say I'm a madman, Barton, but I'm not mad at anyone. Honest I'm not. Most guys I just feel sorry for. Yeah. It tears me up inside, to think about what they're going through. How trapped they are. I understand it. I feel for'em. So I try and help them out.</dialogue> <scene_description>He reached up to loosen his tie and pop his collar button .</scene_description> <character>CHARLIE</character> <dialogue>Jesus. Yeah. I know what it feels like, when things get all balled up at the head office. It puts you through hell, Barton. So I help people out. I just wish someone would do as much for me.</dialogue> <scene_description>He stares miserably down at his feet .</scene_description> <character>CHARLIE</character> <dialogue>Jesus it's hot. Sometimes it gets so hot, I wan na crawl right out of my skin.</dialogue> <scene_description>Self - pity :</scene_description> <character>BARTON</character> <dialogue>But Charlie -- why me? Why --</dialogue> <character>CHARLIE</character> <dialogue>Because you DO N'T LISTEN!</dialogue> <scene_description>A tacky yellow fluid is dripping from Charlie 's left ear and running down his cheek .</scene_description> <character>CHARLIE</character> <dialogue>Jesus, I'm dripping again.</dialogue> <scene_description>He pulls some cotton from his pocket and plugs his ear .</scene_description> <character>CHARLIE</character> <dialogue>C'mon Barton, you think you know about pain? You think I made your life hell? Take a look around this dump. You're just a tourist with a typewriter, Barton. I live here. Do n't you understand that.</dialogue> <scene_description>His voice is becoming choked .</scene_description> <character>CHARLIE</character> <dialogue>And you come into MY home. And you complain that I'M making too. much. noise.</dialogue> <scene_description>He looks up at Barton . There is a long silence . Finally :</scene_description> <character>BARTON</character> <dialogue>I'm sorry.</dialogue> <scene_description>Wearily :</scene_description> <character>CHARLIE</character> <dialogue>Do n't be.</dialogue> <scene_description>He rises to his feet and kneels in front of Barton at the foot of the bed . The two men regard each other . Charlie grabs two bars of the footboard frame , still staring at Barton . His muscles tighten , though nothing moves . His neck fans with effort . All of his muscles tense . His face is a reddening grimace . With a shriek of protest , the metal gives . The bar to which Barton is handcuffed had come loose at the top and Barton slides the cuff off it , free . Charlie gets to his feet .</scene_description> <character>CHARLIE</character> <dialogue>I'm getting off the merry - go - round.</dialogue> <scene_description>He takes his shotgun and walks to the door .</scene_description> <character>CHARLIE</character> <dialogue>I'll be next door if you need me.</dialogue> <scene_description>A thought stops him at the door and he turns to face Barton . Behind him the hallway blazes .</scene_description> <character>CHARLIE</character> <dialogue>Oh, I dropped in on your folks. And Uncle Dave?</dialogue> <scene_description>He smiles . Barton looks at him dumbly .</scene_description> <character>CHARLIE</character> <dialogue>Good people. By the way, that package I gave you? I lied. It is n't mine.</dialogue> <scene_description>He leaves . Barton rises , picks up Charlie 's parcel , and his script . THE HALLWAY As Barton emerges . Flames lick the walls , causing the wallpaper to run with the tack glue sap . Smoke fills the hallway . Barton looks down the hall . HIS POV Charlie stands in front of the door to his room , his briefcase dangling from one hand , his other hand fumbling in his pocket for his key . With his hat pushed back on his head and his shoulders slumped with fatigue , he could be any drummer returning to any hotel after a long hard day on the road . He opens the door and goes into his room . BACK TO BARTON He turns and walks up the hallway , his script in one hand , the parcel in the other . A horrible moaning sound -- almost human -- can be heard under the roar of the fire . BLACKNESS STUDIO HALLWAY We are tracking laterally across the lobby of an executive building . From offscreen we hear :</scene_description> <character>BARTON</character> <dialogue>Fink! Morris or Lillian Fink! Eighty - five Fulton Street!</dialogue> <scene_description>Filtered through phone :</scene_description> <character>OPERATOR</character> <dialogue>I understand that, sir --</dialogue> <character>BARTON</character> <dialogue>Or Uncle Dave!</dialogue> <scene_description>Our track has brought Barton into frame in the foreground , unshaven , unkempt , bellowing into the telephone . In a hallway in the background , a secretary gestures for Barton to hurry up .</scene_description> <character>OPERATOR</character> <dialogue>I understand that, sir, but there's still no answer. Shall I check for trouble on the line?</dialogue> <scene_description>Barton slams down the phone . LIPNIK 'S OFFICE Barton enters , still clinging on to Charlie 's parcel . Lou Breeze stands in one corner censoriously watching Barton . Lipnik is at the far end of the room , gazing out the window .</scene_description> <character>LIPNIK</character> <dialogue>Fink.</dialogue> <character>BARTON</character> <dialogue>Mr. Lipnik.</dialogue> <character>LIPNIK</character> <dialogue>Colonel Lipnik, if you do n't mind.</dialogue> <scene_description>He turns to face Barton and we see that he is wearing a smartly pressed uniform with a lot of fruit salad on the chest .</scene_description> <character>LIPNIK</character> <dialogue>Siddown.</dialogue> <scene_description>Barton takes a seat facing Lipnik 's desk .</scene_description> <character>LIPNIK</character> <dialogue>I was commissioned yesterday in the Army Reserve. Henry Morgenthau arranged it. He's a dear friend.</dialogue> <character>BARTON</character> <dialogue>Congratulations.</dialogue> <character>LIPNIK</character> <dialogue>Actually it has n't officially gone through yet. Had wardrobe whip this up. You got ta pull teeth to get anything done in this town. I can understand a little red tape in peacetime, but now it's all - out warfare against the Japs. Little yellow bastards. They'd love to see me sit this one out.</dialogue> <character>BARTON</character> <dialogue>Yes sir, they --</dialogue> <character>LIPNIK</character> <dialogue>Anyway, I had Lou read your script for me.</dialogue> <scene_description>He taps distastefully at the script on his desk , which has a slightly charred title page .</scene_description> <character>LIPNIK</character> <dialogue>I got ta tell you, Fink. It wo n't wash.</dialogue> <character>BARTON</character> <dialogue>With all due respect, sir, I think it's the best work I've done.</dialogue> <character>LIPNIK</character> <dialogue>Do n't gas me, Fink. If you're opinion mattered, then I guess I'd resign and let YOU run the the studio. It does n't and you wo n't, and the lunatics are not going to run THIS particular asylum. So let's put a stop to THAT rumor right now.</dialogue> <scene_description>Listlessly :</scene_description> <character>BARTON</character> <dialogue>Yes sir.</dialogue> <character>LIPNIK</character> <dialogue>I had to call Beery this morning, let him know we were pushing the picture back. After all I'd told him about quality, about that Barton Fink feeling. How disappointed we were. Wally was heartbroken. The man was devastated. He was -- well, I did n't actually call him, Lou did. But that's a fair description, is n't it Lou?</dialogue> <character>LOU</character> <dialogue>Yes, Colonel.</dialogue> <character>LIPNIK</character> <dialogue>Hell, I could take you through it step by step, explain why your story stinks, but I wo n't insult your intelligence. Well all right, first of all : This is a wrestling picture ; the audience wants to see action, drama, wrestling, and plenty of it. They do n't wan na see a guy wrestling with his soul -- well, all right, a little bit, for the critics -- but you make it the carrot that wags the dog. Too much of it and they head for exits and I do n't blame'em. There's plenty of poetry right inside that ring, Fink. Look at `` Hell Ten Feet Square''.</dialogue> <character>LOU</character> <dialogue>`` Blood, Sweat, and Canvas''.</dialogue> <character>LIPNIK</character> <dialogue>Look at `` Blood, Sweat, and Canvas''. These are big movies, Fink. About big men, in tights -- both physically and mentally. But especially physically. We do n't put Wallace Beery in some fruity movie about suffering -- I thought we were together on that.</dialogue> <character>BARTON</character> <dialogue>I'm sorry if I let you down.</dialogue> <character>LIPNIK</character> <dialogue>You did n't let ME down. Or even Lou. We do n't live or die by what you scribble, Fink. You let Ben Geisler down. He liked you. Trusted you. And that's why he's gone. Fired. That guy had a heart as big as the outdoors, and you fucked him. He tried to convince me to fire you too, but that would be too easy. No, you're under contract and you're gon na stay that way. Anything you write will be the property of Capitol Pictures. And Capitol Pictures will not produce anything you write. Not until you grow up a little. You ai n't no writer, Fink -- you're a goddamn write - off.</dialogue> <character>BARTON</character> <dialogue>I tried to show you something beautiful. Something about all of US --</dialogue> <scene_description>This sets Lipnik off :</scene_description> <character>LIPNIK</character> <dialogue>You arrogant sonofabitch! You think you're the only writer who can give me that Barton Fink feeling?! I got twenty writers under contract that I can ask for a Finktype thing from. You swell - headed hypocrite! You just do n't get it, do you? You think the whole world revolves inside whatever rattles inside that little kike head of yours. Get him outta my sight, Lou. Make sure he stays in town, though ; he's still under contract. I want you in town, Fink, and outta my sight. Now get lost. There's a war on.</dialogue> <scene_description>THE SURF Crashing against the Pacific shore . THE BEACH At midday , almost deserted . In the distance we see Barton walking . The paper - wrapped parcel swings from the twine in his left hand . BARTON He walks a few more paces and sits down on the sand , looking out to see . His gaze shifts to one side . HIS POV Down the beach , a bathing beauty walks along the edge of the water . She looks much like the picture on the wall in Barton 's hotel room . BARTON He stares , transfixed , at the woman . THE WOMAN Very beautiful , backlit by the sun , approaching . BARTON Following her with his eyes . THE WOMAN Her eyes meet Barton 's . She says something , but her voice is lost in the crash of the surf . Barton cups a hand to his ear .</scene_description> <character>BEAUTY</character> <dialogue>I said it's a beautiful day.</dialogue> <character>BARTON</character> <dialogue>Yes. It is.</dialogue> <character>BEAUTY</character> <dialogue>What's in the box?</dialogue> <scene_description>Barton shrugs and shakes his head .</scene_description> <character>BARTON</character> <dialogue>I do n't know.</dialogue> <character>BEAUTY</character> <dialogue>Is n't it yours?</dialogue> <character>BARTON</character> <dialogue>I. I do n't know.</dialogue> <scene_description>She nods and sits down on the sand several paces away from him , facing the water but looking back over her shoulder at Barton .</scene_description> <character>BARTON</character> <dialogue>You're very beautiful. Are you in pictures?</dialogue> <scene_description>She laughs .</scene_description> <character>BEAUTY</character> <dialogue>Do n't be silly.</dialogue> <scene_description>She turns away to look out at the sea . WIDER Facing the ocean . Barton sits in the middle foreground , back to us , the box in the sand next to him . The bathing beauty sits , back to us , in the middle background . The surf pounds . The sun sparkles off the water . THE END</scene_description> </scene> </script>

In 1941, up-and-coming Broadway playwright Barton Fink (Turturro) accepts a contract from Capitol Pictures in Hollywood to write film scripts for a thousand dollars per week. Upon moving to Los Angeles, Fink settles into the cheap Hotel Earle. His room's only decoration is a small painting of a woman on the beach, arm raised to block the sun. Fink is assigned to a wrestling film by his new boss Jack Lipnick (Lerner), but he finds difficulty in writing for the unfamiliar subject. He is distracted by sounds coming from the room next door, and he phones the front desk to complain. His neighbor, Charlie Meadows (Goodman), is the source of the noise and visits Fink to apologize. As they talk, Fink proclaims his affection for "the common man", and Meadows describes his life as an insurance salesman. Still unable to proceed beyond the first lines of his script, Fink consults producer Ben Geisler (Shalhoub) for advice. Irritated, the frenetic Geisler takes him to lunch and orders him to consult another writer for assistance. Fink accidentally meets the novelist William Mayhew (Mahoney) in the bathroom. They briefly discuss movie-writing and arrange a second meeting later in the day. Fink later learns from Mayhew's secretary, Audrey Taylor (Davis), that Mayhew suffers from alcoholism and that Taylor ghostwrote most of his scripts. With one day left before his meeting with Lipnick to discuss the movie, Fink phones Taylor and begs her for assistance. Taylor visits him at the Earle and they have sex. Fink awakens the next morning to find that Taylor had been violently murdered. Horrified, he summons Meadows and asks for help. Meadows is repulsed but disposes of the body and orders Fink to avoid contacting the police. After Fink has a meeting with an unusually supportive Lipnick, Meadows announces to Fink that he is going to New York for several days, and asks him to watch over a package he is leaving behind. Soon afterward, Fink is visited by two police detectives, who inform him that Meadows's real name is Karl "Madman" Mundt. Mundt is a serial killer whose modus operandi is beheading his victims. Stunned, Fink places the box on his desk without opening it and he begins writing feverishly. Fink produces the entire script in one sitting and he goes out for a night of celebratory dancing. Fink returns to find the detectives in his room, who inform him of Mayhew's murder and accuse Fink of complicity with Mundt. As the hotel is suddenly engulfed in flames, Mundt appears and kills the detectives with a shotgun, after which he mentions that he had paid a visit to Fink's parents and uncle in New York. Fink leaves the still-burning hotel, carrying the box and his script. Shortly thereafter he attempts to telephone his family, but there is no answer. In a final meeting with Lipnick, Fink's script is lambasted as "a fruity movie about suffering", and he is informed that he is to remain in Los Angeles; although Fink will remain under contract, Capitol Pictures will not produce anything he writes until he "[grows] up a little". Dazed, Fink wanders onto a beach, still carrying the package. He meets a woman who looks just like the one in the picture on his wall at the Earle, and she asks about the box. He tells her he does not know what it contains nor who owns it. She then assumes the pose from the picture.

Normal Adolescent Behavior_2007

tt0790721

<script> <scene> <scene_description>Normal Adolescent Behavior by Beth Schacter Director's Note Teenagers have sex. This is a movie about teenagers who have sex, but that doesn't mean there's sex in the movie. Some of the best teen films have been about sex and love and nobody ever got naked. This film will look beautiful and everyone will look sexy, but there's absolutely no reason anyone has to get naked. Max Roman 11/4/05 Innovative Artists 310.656.5145 [email protected]</scene_description> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL: PARKING LOT - NIGHT</stage_direction> <scene_description>CREDITS ROLL OVER 'GIRL ON THE STREET' INTERVIEWS done on a cheap video camera in various locations around Chagrin Falls, Ohio (population 6,500, an hour south of Cleveland): A TEEN GIRL #1 speaks into the camera, playing with her hair as she tries not to giggle.</scene_description> <character>TEEN GIRL #1</character> <dialogue>Mostly, girls just hook up with guys at parties, but usually it's with someone they know, like a friend. I mean, it's not like I hear people saying I'm saving myself for marriage or anything.</dialogue> <scene_description>She giggles and we cut to a TEEN GIRL #2, this one scrunching her face into her turtleneck, to hide her identity. Her friends mill in the background.</scene_description> <character>TEEN GIRL #2</character> <dialogue>The point of being young is to experience a bunch of people so you know what you want. In a few more years I'll be able to tell a good one from a bad one.</dialogue> <character>CROWD GIRL #1</character> <parenthetical>(yelling out)</parenthetical> <dialogue>And the big ones from the little ones.</dialogue> <scene_description>Another teen laughs, revealing her face and we cut to a TEEN GIRL #3 who has her hair cropped close. She speaks directly at the camera, dangerously close to the lens.</scene_description> <character>TEEN GIRL #3</character> <dialogue>They're nasty sluts. And slutty girls become slutty women and then they marry nasty guys, who drive gross cars and smell like cheap beer.</dialogue> <scene_description>A TEEN GIRL #4 pushes the Teen Girl #3 aside and screams:</scene_description> <character>TEEN GIRL #4</character> <dialogue>Is this like those Girls Gone Wild? Are you from MTV?</dialogue> <scene_description>SHE RAISES HER SHIRT AND FLASHES HER BREASTS, SCREAMING:</scene_description> <character>TEEN GIRL #4</character> <dialogue>WHOOOO!</dialogue> <scene_description>The screen freezes. The title Normal Adolescent Behavior Appears over her breasts.</scene_description> </scene> <scene> <stage_direction>EXT. CHAGRIN COOP SCHOOL: QUAD - DAY</stage_direction> <scene_description>MUSIC: Gary Glitter sings his raunchy "Do You Wanna Touch Me" Late Summer in Chagrin Falls, Ohio about forty minutes south of Cleveland. WENDY BERGMAN (senior, 17, beautiful but not ready to accept it) walks through the "Coop" private school grounds; she leads us under banners that say "WELCOME NEW CLASS" and "DON'T DIS THE ORIENTATION -- HAVE FUN AND WELCOME!" It all feels like it could be the Summer of Love except for the girls are wearing Seven jeans and the guys are wearing vintage and everyone's hair is done, even the 'alternative' kids. Wendy passes by as a group of fifty students does a 'lap sit' -- they stand in a circle and then sit down at the same time. Eventually they fall amid general hysterical laughter. If Wendy wasn't rolling her eyes before, she certainly is now. ACROSS THE QUAD we meet BILLIE (17, short blond hair and vintage clothes, hottest girl in school according to current web polls). She is walking towards Wendy; she is blond to Wendy's brunette, intelligent enthusiasm to Wendy's brilliant sarcasm. They are a perfect match for each other. A car pulls up quickly between them as they near the parking lot. It squeals to a stop and SEAN MAYER (17, tall with good looks that skew slightly pretty) gets out of the car. The car squeals away. If it looks like the opening of the Breakfast Club, well, all the better. He skulks towards the orientation festivities but he also steals a glance at Wendy. Billie yells out to Wendy:</scene_description> <character>BILLIE</character> <dialogue>Woman!</dialogue> <scene_description>Wendy jogs the last few feet to her best friend and then they join the rest of the group. Besides Billie there is ANN, Chinese with a defiant red streak in her hair; JONAH a stoner reading a Miles Davis biography; ROBERT, tall and the most conventionally good looking of the unconventional group and PRICE who has blond hair and blue eyes and wants desperately to fit in. Which is why he pulls out, and places on his head, a TRUCKER'S CAP. The GROUP GROANS.</scene_description> <character>PRICE</character> <dialogue>What?</dialogue> <character>BILLIE</character> <dialogue>You should burn that hat.</dialogue> <character>ANN</character> <dialogue>It's plastic. Toxic fumes?</dialogue> <character>BILLIE</character> <dialogue>He could burn a little of it. Symbolically.</dialogue> <scene_description>She jumps up, fishing a lighter from her bag. She hands the hat and the lighter to Price.</scene_description> <character>BILLIE</character> <dialogue>Do it. Show us you're better than the hat.</dialogue> <scene_description>The group looks at Wendy, asking for permission.</scene_description> <character>WENDY</character> <dialogue>Burn a little. It'll be good for you.</dialogue> <scene_description>Price burns a little of the hat, sheepishly, and the group all cheer. Price leans over to hug the girls and it quickly turns into a wrestling/play fight. Wendy looks up and sees a FRESHMEN GIRL and guy whispering and looking at the group's antics. Wendy stands up, brushing herself off.</scene_description> <character>WENDY</character> <dialogue>Sorry.</dialogue> <character>JONAH</character> <parenthetical>(to the Freshmen)</parenthetical> <dialogue>Can we help you?</dialogue> <scene_description>The rest of the group get up as well, looking slightly sheepish, except for Billie. The Freshmen stand there, waiting.</scene_description> <character>BILLIE</character> <dialogue>What?!</dialogue> <scene_description>Freshmen Girl points to Wendy's necklace, which reads, "Hoochie".</scene_description> <character>FRESHMAN GIRL</character> <dialogue>I like your necklace.</dialogue> <scene_description>The two laugh and walk away. Wendy touches her necklace, stung.</scene_description> <character>ROBERT</character> <dialogue>Okay! I think we've successfully oriented ourselves. Billie?</dialogue> <scene_description>Billie stands up, and the group gathers their things.</scene_description> <character>PRICE</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>Are you leaving?</dialogue> <character>WENDY</character> <parenthetical>(motioning out to the field)</parenthetical> <dialogue>Can't. My brother's here.</dialogue> <character>BILLIE</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>You okay?</dialogue> <character>WENDY</character> <dialogue>Yep.</dialogue> <character>BILLIE</character> <dialogue>Call me later?</dialogue> <character>WENDY</character> <dialogue>Frigging right.</dialogue> <scene_description>All six hug, with real warmth. Somebody yells out to them from a passing car.</scene_description> <character>STUDENT IN CAR</character> <dialogue>Kiss. Kiss. Kiss!</dialogue> <scene_description>Wendy and Billie roll their eyes.</scene_description> <character>WENDY</character> <dialogue>Seriously, when did being a lesbian become cooler than blowing a rock star?</dialogue> <character>BILLIE</character> <dialogue>You've never blown a rock star.</dialogue> <character>WENDY</character> <dialogue>Neither have you.</dialogue> <scene_description>They laugh. The other four are a little ways away, but Billie hangs on to Wendy for a second.</scene_description> <character>BILLIE</character> <dialogue>What if you could blow a rock star?</dialogue> <character>WENDY</character> <dialogue>And ruin what we have?</dialogue> <scene_description>Billie slaps Wendy's ass.</scene_description> <character>BILLIE</character> <dialogue>That's my girl.</dialogue> <scene_description>Wendy waves at Billie as she joins the others and walks off. Wendy is all alone outside the school. She wanders around, kicking a few pebbles, she picks a leaf from a tree and starts humming the theme to "The A-Team." Wendy goes back inside the school.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: HANGAR - DAY</stage_direction> <scene_description>The school is empty, a little eerie. Still humming, Wendy heads towards the classrooms, which are all in a large hangar type building -- each classroom is divided with partitions into a "bay". In the center is a library and at the far corner, a SCIENCE classroom.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LAB - DAY</stage_direction> <scene_description>Inside the science area, Wendy opens a door removing ETHANOL. Pouring the ethanol into a wide-mouthed beaker, she places the leaf in the ethanol, lights a Bunsen burner and lets the leaf start to boil in the solution. Sean watches, unseen by Wendy.</scene_description> <character>SEAN</character> <dialogue>Blowing up the school?</dialogue> <scene_description>Wendy tries to act cool.</scene_description> <character>WENDY</character> <dialogue>Did you follow me in here?</dialogue> <character>SEAN</character> <dialogue>I wanted to get the lay of the land. Plus I hate that song.</dialogue> <scene_description>Sean hums the "A-Team" theme back. Wendy is caught for a second, then comes right back at him.</scene_description> <character>WENDY</character> <dialogue>The "lay of the land".</dialogue> <character>SEAN</character> <dialogue>I'm new. I figured I could, I dunno, memorize where everything was.</dialogue> <character>WENDY</character> <dialogue>There's not much to memorize.</dialogue> <scene_description>She turns him around and points out the "landmarks" of school.</scene_description> <character>WENDY</character> <dialogue>These are the classrooms. No walls, so you have to have respect for everyone. That's a big word around here -- respect. Make sure you use it inappropriately.</dialogue> <character>SEAN</character> <dialogue>Like irony.</dialogue> <character>WENDY</character> <dialogue>That would be "incorrectly."</dialogue> <scene_description>Wendy points out some more places in the school.</scene_description> <character>WENDY</character> <dialogue>That's the library. We gather in the lounge for announcements every Thursday for Community Meeting; better known as "Where people bitch about the lack of respect in the public bathrooms".</dialogue> <character>SEAN</character> <dialogue>You're not blowing anything up, are you?</dialogue> <scene_description>Wendy turns back to her leaf.</scene_description> <character>WENDY</character> <dialogue>Get the lights.</dialogue> <scene_description>She gestures to the other side of the room. Sean runs to the switch, hits it. The sun has started to set, so the room is relatively dark. Wendy turns the Bunsen burner off. The leaf GLOWS BRIGHT RED.</scene_description> <character>WENDY</character> <dialogue>I just read about it and I wanted to try it. The electrons in the leaf are 'excited'. They have these names that are so... Human. Excited. Lazy. Aggressive. Did you know they can be "impure"?</dialogue> <character>SEAN</character> <dialogue>You couldn't try it during school?</dialogue> <character>WENDY</character> <dialogue>I hate chemistry.</dialogue> <character>SEAN</character> <dialogue>But ...</dialogue> <scene_description>She puts her finger to her lips.</scene_description> <character>WENDY</character> <dialogue>Shhh.</dialogue> <character>SEAN</character> <parenthetical>(smiles)</parenthetical> <dialogue>Your secret's safe. I swear.</dialogue> <character>WENDY</character> <dialogue>Who would you tell?</dialogue> <scene_description>He's stung, but hides it.</scene_description> <character>SEAN</character> <dialogue>My mom's a chemist. I would never make fun of you for liking this stuff.</dialogue> <character>WENDY</character> <parenthetical>(indignant, he's hit close to home)</parenthetical> <dialogue>If you did I'd kick your ass.</dialogue> <character>SEAN</character> <dialogue>If I did it would be ironic.</dialogue> <character>WENDY</character> <dialogue>That's incorrect.</dialogue> <character>SEAN</character> <dialogue>Kicking my ass would be inappropriate.</dialogue> <character>WENDY</character> <dialogue>No, but it would be disrespectful.</dialogue> <scene_description>A pause as she looks at Sean. He smiles at her. She tries not to smile back but she does.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Wendy!</dialogue> <scene_description>The lights blaze on, and the leaf stops shining red. Sean and Wendy move apart, quickly. At the other end of the room is NATHAN BERGMAN (15, he recently grew about six inches, now he's a taller version of his gawky old self).</scene_description> <character>WENDY</character> <dialogue>My brother, Nathan.</dialogue> <character>NATHAN</character> <dialogue>Can we go home already?</dialogue> <scene_description>Wendy dumps out the ethanol and leaf, and walks away from Sean, who quickly follows her.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: DRIVEWAY - DAY</stage_direction> <scene_description>Wendy's car pulls into a driveway, on the left, a large Tudor house, on the right, a similarly sized brick home with a much less well-tended yard.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S CAR - DAY</stage_direction> <scene_description>Sean sits in the passenger seat, Nathan's in the backseat.</scene_description> <character>SEAN</character> <parenthetical>(points left)</parenthetical> <dialogue>This is me.</dialogue> <character>WENDY</character> <parenthetical>(points right)</parenthetical> <dialogue>That's me.</dialogue> <character>SEAN</character> <dialogue>I know.</dialogue> <character>WENDY</character> <dialogue>You know?</dialogue> <character>NATHAN</character> <dialogue>Have you read "The Watchmen"?</dialogue> <character>WENDY</character> <dialogue>You knew who I was?</dialogue> <scene_description>Sean keeps his eyes on Wendy.</scene_description> <character>SEAN</character> <dialogue>Yeah. I mean, I saw you, you know, around. I didn't know who you were.</dialogue> <character>NATHAN</character> <dialogue>So you read it? Because I have all of them. If you wanna, you know, read them or whatever.</dialogue> <character>SEAN</character> <dialogue>Yeah, I'll read them.</dialogue> <character>WENDY</character> <dialogue>I'm going in, okay?</dialogue> <character>SEAN</character> <dialogue>You could come over...ask my mom about impure electrodes or whatever.</dialogue> <character>WENDY</character> <dialogue>I'm good. Thanks.</dialogue> <character>NATHAN</character> <parenthetical>(super eager)</parenthetical> <dialogue>Or you could come over to our house tomorrow? You can read them then.</dialogue> <character>SEAN</character> <dialogue>Yeah, sure.</dialogue> <scene_description>Nathan grins, thrilled. Wendy watches Sean as he gets out and goes into his house. Nathan is already at their front door.</scene_description> <character>NATHAN</character> <dialogue>You have the keys!</dialogue> <scene_description>Wendy sighs and gets out of the car.</scene_description> <character>WENDY</character> <dialogue>Why'd you ask him over for Saturday?</dialogue> <character>NATHAN</character> <dialogue>Why not?</dialogue> <scene_description>Wendy doesn't answer. FADE TO BLACK.: LEGEND: This Is Saturday</scene_description> </scene> <scene> <stage_direction>INT. JONAH'S HOUSE: ROOM - DAY</stage_direction> <scene_description>Zippy, happy pop music plays as we see our group get ready for Saturday night in their own homes on a Saturday afternoon. Jonah fixes his hair, takes a long pull on a bong, refixes his hair and then puts on a Cleveland Indians baseball hat.</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: ROOM - DAY</stage_direction> <scene_description>Ann sits on her bed, which is surrounded by posters that have inspirational sayings, like "Hang In There, Baby," and "God Will Provide, But It Helps To Study". Ann brushes her hair, tries out pigtails, then a ponytail, then scrunches it around so it covers her face.</scene_description> </scene> <scene> <stage_direction>INT. PRICE'S HOUSE: ROOM - DAY</stage_direction> <scene_description>Price reads a copy of RAYGUN while he is lifting weights.</scene_description> </scene> <scene> <stage_direction>INT. BILLIE'S HOUSE: ROOM - DAY</stage_direction> <scene_description>Billie applies lip liner, fills it in and then blots. She does it again. And again.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT'S HOUSE: BATHROOM - DAY</stage_direction> <scene_description>Robert showers, singing loudly along to the pop song we hear.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S BATHROOM - DAY</stage_direction> <scene_description>And finally Wendy, who is in her bathroom, sitting in the tub though there is no water in it, as she absentmindedly drums her fingers.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: NATHAN'S ROOM - EVENING</stage_direction> <scene_description>Nathan sits poised in his room, when the doorbell rings and he springs to life and runs out.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: LIVING ROOM - EVENING</stage_direction> <scene_description>Nathan sprints down the stairs and runs to answer it. Downstairs, Sean is waiting for Nathan.</scene_description> <character>SEAN</character> <dialogue>Hey.</dialogue> <character>NATHAN</character> <dialogue>Hi!</dialogue> <parenthetical>(trying to be cool)</parenthetical> <dialogue>Hey.</dialogue> <character>SEAN</character> <parenthetical>(he holds the comics up)</parenthetical> <dialogue>I brought these. If you want to read them.</dialogue> <character>NATHAN</character> <dialogue>Great. Cool.</dialogue> <character>SEAN</character> <dialogue>So thanks for inviting me.</dialogue> <character>NATHAN</character> <dialogue>We're neighbors.</dialogue> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - EVENING</stage_direction> <scene_description>Nathan has carefully prepared a tray of food, which is waiting for them.</scene_description> <character>SEAN</character> <dialogue>Holy shit. My mom can barely make pop tarts.</dialogue> <character>NATHAN</character> <dialogue>Oh I made it.</dialogue> <scene_description>A pause.</scene_description> <character>SEAN</character> <dialogue>For me?</dialogue> <character>NATHAN</character> <dialogue>Yeah, I mean, I don't get many guys, I mean people, you know...</dialogue> <character>SEAN</character> <dialogue>Yeah. No. That's cool.</dialogue> <scene_description>Sean takes an involuntary step back.</scene_description> <character>NATHAN</character> <dialogue>No... I mean, I like to cook, so it isn't like. I mean, like I didn't plan everything, it's not a trap. Here. Look, see these, these are really easy to make--</dialogue> <scene_description>Nathan grabs a cookie off the tray and hands it to Sean, but as he does, he trips on his own feet, he tumbles towards Sean and his hand ENDS UP ON SEAN'S CROTCH. There is a moment where Nathan doesn't know what to do. His hand actually stays there he's so confused. Sean moves away and Nathan stands up and does what anyone would do; he runs out. Sean goes after him.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN'S HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <scene_description>The girls are hanging out, talking about Sean.</scene_description> <character>WENDY</character> <dialogue>He's from Chicago.</dialogue> <character>ANN</character> <dialogue>So he transferred as a senior?</dialogue> <character>WENDY</character> <dialogue>I guess. People transfer.</dialogue> <character>ANN</character> <dialogue>In third grade people transferred. We've had the same people in our classes forever.</dialogue> <character>WENDY</character> <dialogue>So?</dialogue> <character>BILLIE</character> <dialogue>He seems a little too Queer Eye and not enough Straight Guy.</dialogue> <character>WENDY</character> <parenthetical>(a little too quickly)</parenthetical> <dialogue>He's not. He's nice.</dialogue> <character>BILLIE</character> <dialogue>He's nice?</dialogue> <character>WENDY</character> <dialogue>He was nice to Nathan.</dialogue> <character>BILLIE</character> <dialogue>Your brother is easy to be nice to. Like puppy dogs and homeless people.</dialogue> <character>ANN</character> <dialogue>Billie!</dialogue> <character>BILLIE</character> <dialogue>I'm not the one making him out like Sean the Saint.</dialogue> <character>ANN</character> <parenthetical>(the peacekeeper)</parenthetical> <dialogue>If we were normal girls, we'd be fighting over him. Fresh meat.</dialogue> <character>WENDY</character> <dialogue>Thank god we're not normal.</dialogue> <scene_description>Wendy goes to the door.</scene_description> <character>WENDY</character> <dialogue>I'm getting a pop.</dialogue> <character>BILLIE</character> <dialogue>For me too.</dialogue> <character>ANN</character> <dialogue>Yeah.</dialogue> <scene_description>Wendy shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - NIGHT</stage_direction> <scene_description>Wendy is getting three Diet Cokes from the fridge.</scene_description> <character>SEAN (O.S.)</character> <dialogue>Dammit.</dialogue> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: BACK FOYER - NIGHT</stage_direction> <scene_description>Wendy walks toward the voice, seeing Sean in the back foyer, standing in front of an open garbage can. He has an apple core, which he can't throw away because the garbage is overflowing.</scene_description> <character>WENDY</character> <dialogue>Yeah. I was supposed to take that out.</dialogue> <character>SEAN</character> <dialogue>Hey.</dialogue> <scene_description>Wendy takes glances quickly above her, as if Billie and Ann could see her right now. But they can't, so:</scene_description> <character>WENDY</character> <dialogue>I'll get it.</dialogue> <scene_description>Wendy takes the garbage bag out of the garbage and ties it shut.</scene_description> <character>SEAN</character> <dialogue>You need help?</dialogue> <character>WENDY</character> <dialogue>Sure.</dialogue> <scene_description>He takes the bag and follows her to the backyard.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: BACKYARD - NIGHT</stage_direction> <scene_description>They walk to the six trashcans that line up on the property line between their houses. Sean's backyard is littered with boxes. Wendy opens a trashcan and Sean places the bag inside. As he does, his hand touches hers for a moment, and she catches his eye.</scene_description> <character>WENDY</character> <dialogue>You were sweet to come by.</dialogue> <character>SEAN</character> <dialogue>Nathan's weird. But potentially very cool.</dialogue> <character>WENDY</character> <dialogue>He's temporarily weird. Proof that phases are real.</dialogue> <scene_description>Wendy absently wipes her hand on her pants.</scene_description> <character>SEAN</character> <dialogue>Is your hand okay?</dialogue> <character>WENDY</character> <dialogue>Huh? Yeah. You know when you touch something gross?</dialogue> <scene_description>Sean looks down at his own hand.</scene_description> <character>WENDY</character> <parenthetical>(laughs)</parenthetical> <dialogue>Oh god, no -- not you. I'm sorry. I meant the garbage.</dialogue> <character>SEAN</character> <dialogue>Oh.</dialogue> <scene_description>A pause.</scene_description> <character>WENDY</character> <dialogue>I should go in.</dialogue> <scene_description>They don't move, just stand there for another moment.</scene_description> <character>SEAN</character> <dialogue>You're kinda weird, too.</dialogue> <character>WENDY</character> <dialogue>Amazing line. Brilliant.</dialogue> <character>SEAN</character> <dialogue>And how do you know it's a line?</dialogue> <scene_description>He steps closer to her, thinking about kissing her.</scene_description> <character>WENDY</character> <dialogue>Well, if you're calling me weird in earnest, that's pretty mean.</dialogue> <character>SEAN</character> <parenthetical>(quiet)</parenthetical> <dialogue>So you're hopeful I'm trying to pick you up.</dialogue> <character>WENDY</character> <dialogue>Pick me up? What are you from, 1976?</dialogue> <character>SEAN</character> <dialogue>You're funny.</dialogue> <character>WENDY</character> <dialogue>No I'm not.</dialogue> <character>SEAN</character> <dialogue>Yeah. Clever. Funny. Smart. You like science.</dialogue> <character>WENDY</character> <dialogue>Those are all words that mean ugly.</dialogue> <character>SEAN</character> <dialogue>You are definitely not ugly. You're just pretty and smart.</dialogue> <scene_description>Wendy has nothing to say to this. They move closer to each other so that they are almost kissing, but they don't touch.</scene_description> <character>WENDY</character> <dialogue>I can't-- I mean, I'm not...</dialogue> <character>SEAN</character> <dialogue>Okay.</dialogue> <character>WENDY</character> <parenthetical>(not moving)</parenthetical> <dialogue>I'm not available. If you didn't find that out at orientation, you'll definitely find it out soon.</dialogue> <scene_description>From in front of the houses the sound of a horn honking interrupts them; Sean and Wendy stay still for one moment longer, but then Sean realizes who it is.</scene_description> <character>SEAN</character> <dialogue>I'm sorry.</dialogue> <scene_description>Sean leaves Wendy standing there. She waits until he is gone and then sprints inside.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - NIGHT</stage_direction> <scene_description>Wendy grabs the three Diet Cokes, frantic, almost dropping them. She runs upstairs.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <scene_description>Billie and Ann are looking out the window at the car; Wendy rushes in and looks over their shoulders to see Sean.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: DRIVEWAY - NIGHT</stage_direction> <scene_description>WENDY'S POV: Outside Sean's house, ALLYSON, another senior, not as pretty, but very put together, sits in her convertible.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <character>BILLIE</character> <dialogue>No shit.</dialogue> <character>WENDY</character> <dialogue>Allyson? What does she want?</dialogue> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: DRIVEWAY - NIGHT</stage_direction> <scene_description>And a second later, they get their answer. Sean runs out of the house and gets in the car.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <character>BILLIE</character> <dialogue>No.</dialogue> <character>ANN</character> <dialogue>Apparently so.</dialogue> <character>WENDY</character> <parenthetical>(trying to remain aloof)</parenthetical> <dialogue>That was fast.</dialogue> <character>ANN</character> <dialogue>That poor boy. He has no idea what he's getting himself into.</dialogue> <scene_description>The girls watch the car pull away, past a Brown Sedan that is gently rocking.</scene_description> <character>WENDY</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>That car has been there every night this week.</dialogue> <scene_description>A foot sticks out of the passenger window. The girls laugh. Billie goes back to the bed, but Wendy keeps looking out the window.</scene_description> <character>BILLIE</character> <dialogue>Are we getting ready or what?</dialogue> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S BATHROOM - NIGHT</stage_direction> <scene_description>Later that night, the three girls are in Wendy's bathroom. They have done their makeup and hair for a Saturday night, not too slutty, not too conservative. They look average, all-American, Midwestern. The girls look into the mirror into each other's eyes, smiling. N.E.R.D.'s song "Truth or Dare" starts playing. The SOUND OF A LOUD PARTY.</scene_description> <character>ALLYSON (O.S.)</character> <parenthetical>(yelling to be heard)</parenthetical> <dialogue>They are complete magno-sluts.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY: LIVING ROOM - NIGHT</stage_direction> <scene_description>Music continues. LOOKING AROUND THE ROOM, we see that everyone is treated to television sets running non-stop porn. Everyone drinks. Bong hits in the corner. In the background, girls disappear with guys into a variety of rooms. Basically, an average teen party. Sean stands with Allyson. RYAN (a girl, also a senior) is sitting on a kitchen counter nearby but out of earshot, with her boyfriend, AARON who is strumming a guitar. Alex, another senior, hands out beers to Sean and Allyson.</scene_description> <character>ALLYSON</character> <dialogue>I mean, I understand why the guys do it, but the girls? It is total depravity.</dialogue> <scene_description>THE DOOR THAT SEAN IS LEANING ON OPENS, and a sexy girl comes out of the bedroom, wiping her mouth. Sean lets her pass, and she looks at him, smiling seductively. A moment later a guy comes out, buttoning his pants.</scene_description> <character>ALLYSON</character> <parenthetical>(pointing)</parenthetical> <dialogue>You should ask Ryan and Aaron. They got out.</dialogue> <character>SEAN</character> <parenthetical>(laughing)</parenthetical> <dialogue>Got out? What, it's a cult?</dialogue> <character>ALLYSON</character> <parenthetical>(serious)</parenthetical> <dialogue>I guess. I mean, I don't know what else you would call it. Don't you have to kill yourself to be in a cult?</dialogue> <character>SEAN</character> <dialogue>And they all have sex with each other?</dialogue> <character>ALLYSON</character> <dialogue>It's pathetic, I know.</dialogue> <scene_description>Sean looks around at all the sex and drinking going on at this party.</scene_description> <character>SEAN</character> <dialogue>So, why is what you're doing different than what they're doing?</dialogue> <character>ALLYSON</character> <parenthetical>(defensive)</parenthetical> <dialogue>It just is. See, we invite them every week and they never show. Obviously they think they're better than us.</dialogue> <scene_description>Allyson notices something across the room.</scene_description> <character>ALLYSON</character> <dialogue>Oh my god! They put in a pole? That is so cool.</dialogue> <scene_description>Allyson goes towards the stripper pole someone has installed in the rec room.</scene_description> <character>ALLYSON</character> <dialogue>I wanna turn!</dialogue> <scene_description>Sean moves through the party, heading for the kitchen where he last saw Ryan. Two guys play Playstation in one room, while a girl gives another guy a lap dance, a blank stare on her face. Sean walks by TWO TANK-TOP GIRLS going to the bathroom wearing almost identical tank-tops.</scene_description> <character>TANK-TOP GIRL #1</character> <dialogue>Are you going to Brian's thing tomorrow night?</dialogue> <character>TANK-TOP GIRL #2</character> <dialogue>Yeah. I just wish it wasn't a BJ party.</dialogue> <character>TANK-TOP GIRL #1</character> <dialogue>Seriously. They should hand out bibs.</dialogue> <scene_description>Sean looks at Ryan.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY: LIVING ROOM - NIGHT</stage_direction> <scene_description>Later on, Sean holds two beers as Ryan fixes her shoe, shaking a pebble out of it. She stumbles a little, then gets the shoe back on.</scene_description> <character>RYAN</character> <dialogue>I'm not used to these. Aaron likes them.</dialogue> <character>SEAN</character> <dialogue>Your boyfriend?</dialogue> <scene_description>She shrugs, as if to say, "what can you do".</scene_description> <character>SEAN</character> <dialogue>So you know Wendy?</dialogue> <character>RYAN</character> <dialogue>Don't. Really.</dialogue> <character>SEAN</character> <dialogue>I just want to-- she's my next door neighbor, you know?</dialogue> <character>RYAN</character> <dialogue>Yeah.</dialogue> <scene_description>There's a pause as Ryan and Sean watch a bunch of girls playing spin the bottle for a group of very rowdy guys.</scene_description> <character>RYAN</character> <dialogue>Look, we just had an... arrangement, the eight of us. And when Aaron and I didn't want to be with them anymore, we stopped. It's not like I had to be de-programmed. Everyone wants it to be this big deal.</dialogue> <character>SEAN</character> <dialogue>So it's more like a club?</dialogue> <character>RYAN</character> <dialogue>No!</dialogue> <character>SEAN</character> <dialogue>What is it then?</dialogue> <scene_description>Ryan can't really answer. The girls playing spin the bottle kiss and everyone cheers.</scene_description> <character>SEAN</character> <dialogue>I can't talk to her?</dialogue> <character>RYAN</character> <dialogue>No. I mean, you might be able to talk to her, and maybe hang out at school. You should join Student Council. We're, I mean they're all on it. I'm not anymore.</dialogue> <character>SEAN</character> <dialogue>Seriously?</dialogue> <character>RYAN</character> <dialogue>Yeah. What, you figured we hung out and smoked crack?</dialogue> <character>SEAN</character> <dialogue>No. I don't know.</dialogue> <character>RYAN</character> <dialogue>Amnesty, and Model Congress and the Green Party. Last year we worked on two local campaigns.</dialogue> <scene_description>Sean looks shocked.</scene_description> <character>RYAN</character> <parenthetical>(kind of annoyed)</parenthetical> <dialogue>Yeah, good students who have sex. It happens.</dialogue> <scene_description>They watch another group of girls kiss in the spin the bottle game and then get doused with beer.</scene_description> <character>RYAN</character> <dialogue>I gotta find Aaron.</dialogue> <scene_description>She leaves Sean alone. He sees the SEXY GIRL WHO CAME OUT OF THE ROOM. She smiles at him and reaches out. He smiles shyly but lets her lead him back inside to a bedroom. As they enter, Tank-Top Girls look on.</scene_description> <character>TANK-TOP GIRL #2</character> <dialogue>What is she going for, a world's record?</dialogue> <scene_description>They laugh.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT'S HOUSE: LIVING ROOM - NIGHT</stage_direction> <scene_description>In contrast to the party, Robert's house is quiet, and serene. Marathon Man plays on the television. Our six are sitting on the floor of Robert's sunken living room, despite the overstuffed and expensive furniture. They are all draped over each other, so that you can't tell whose legs are whose. During the scene they throw individually wrapped condoms at each other, winging them hard, like frisbees. In front of them are six SHOE BOXES, each one with a name on it, one for each of them.</scene_description> <character>ROBERT</character> <dialogue>I would definitely want to torture Jack Black.</dialogue> <character>BILLIE</character> <dialogue>He's funny!</dialogue> <character>ROBERT</character> <dialogue>He's perfect torture material. He thinks he's funny, so he'd be laughing. Until he cried. Why, who would you torture?</dialogue> <character>WENDY</character> <dialogue>Lindsay Lohan.</dialogue> <character>BILLIE</character> <dialogue>Lindsay Lohan.</dialogue> <scene_description>They laugh.</scene_description> <character>ROBERT</character> <dialogue>Obvious and tired. Something original.</dialogue> <scene_description>Billie sticks out her tongue.</scene_description> <character>BILLIE</character> <parenthetical>(to Ann, of the boxes)</parenthetical> <dialogue>You putting in or taking out?</dialogue> <character>ANN</character> <dialogue>Taking out.</dialogue> <character>BILLIE</character> <dialogue>You always take out. I'm surprised that box isn't empty.</dialogue> <character>JONAH</character> <dialogue>I'd torture Eminem. Without a doubt.</dialogue> <character>BILLIE</character> <dialogue>Why?</dialogue> <character>JONAH</character> <dialogue>He's so smug, ya know. And he thinks he's black. So I would tie him up and shock him with stuff. You know, feet in a tub of water.</dialogue> <scene_description>Ann reaches into her box and pulls out a small black marble.</scene_description> <character>ANN</character> <dialogue>The marble that I stole in fifth grade.</dialogue> <character>JONAH</character> <dialogue>Why?</dialogue> <character>ANN</character> <dialogue>Because I'm going to give it back. Bad karma.</dialogue> <character>BILLIE</character> <dialogue>Like you know anything about karma. You should be worried about the yin and yang of that box.</dialogue> <character>PRICE</character> <dialogue>Besides, I stole that marble. You just held onto it for me.</dialogue> <scene_description>Ann sticks her tongue out at Price.</scene_description> <character>BILLIE</character> <dialogue>You stole that marble because someone--</dialogue> <character>WENDY</character> <dialogue>-- Lisa Nishi--</dialogue> <character>BILLIE</character> <dialogue>Right, Lisa Nishi, told you that you could sit with her if you did.</dialogue> <character>PRICE</character> <dialogue>I don't remember that.</dialogue> <character>ROBERT</character> <dialogue>I do. She let you sit with her and her little fifth grade posse for one second because you only stole one marble.</dialogue> <character>BILLIE</character> <dialogue>Who the hell plays with marbles anyway? It's so dipshitty 1957.</dialogue> <scene_description>Price shrugs.</scene_description> <character>WENDY</character> <dialogue>I'd torture at least one Olsen.</dialogue> <character>ANN</character> <parenthetical>(clearly one of her faves)</parenthetical> <dialogue>No!</dialogue> <character>WENDY</character> <dialogue>I would. She would be so spunky and then she'd break...it would be totally delicious.</dialogue> <parenthetical>(to Ann)</parenthetical> <dialogue>Why? Who'd you torture?</dialogue> <character>ANN</character> <dialogue>I dunno. That Harry Potter kid probably.</dialogue> <character>ROBERT</character> <dialogue>Wendy? It's your turn.</dialogue> <character>WENDY</character> <dialogue>Yeah. In. Putting in.</dialogue> <character>JONAH</character> <dialogue>Thank god. I'm sick of everyone taking stuff out. First you put it in the box and cry about whatever dumbass memory it stands for. And then you fish it out, saying you want it back.</dialogue> <character>WENDY</character> <dialogue>Crying?</dialogue> <character>JONAH</character> <dialogue>You know what I mean.</dialogue> <character>ROBERT</character> <parenthetical>(picking up Price's box)</parenthetical> <dialogue>Yeah, and how many things are left in Senorita Price's?</dialogue> <scene_description>Jonah fakes crying as he and Robert dip into the box.</scene_description> <character>JONAH</character> <dialogue>Ohhh, this is the black nail polish I wore when I wanted to be Goth.</dialogue> <character>PRICE</character> <dialogue>Screw you.</dialogue> <character>ANN</character> <dialogue>I can do whatever I want. It's my box.</dialogue> <character>BILLIE</character> <dialogue>Yes baby, it is.</dialogue> <character>ROBERT</character> <dialogue>What's going in?</dialogue> <scene_description>Wendy holds up her "Hoochie" necklace, that the freshmen pointed out earlier.</scene_description> <character>BILLIE</character> <dialogue>That was a gift.</dialogue> <character>WENDY</character> <dialogue>You're always saying you don't want us to apologize. Well, I don't want us to be a joke. It's not funny.</dialogue> <scene_description>Everyone thinks about that for a second.</scene_description> <character>JONAH</character> <dialogue>I'm funny.</dialogue> <character>BILLIE</character> <dialogue>You're freaking hysterical.</dialogue> <character>PRICE</character> <parenthetical>(still hung up on the game)</parenthetical> <dialogue>You know the torturing? Well, what would we torture them for?</dialogue> <character>ROBERT</character> <dialogue>To torture them.</dialogue> <character>PRICE</character> <dialogue>Usually there's a...end result. Like information or because you need to send a message to the other side.</dialogue> <scene_description>Robert starts laughing.</scene_description> <character>ROBERT</character> <dialogue>The other side? There isn't another side. We're just saying -- if we were gonna break someone's will, who would it be?</dialogue> <character>PRICE</character> <dialogue>Um. I dunno. Do they have to be alive?</dialogue> <character>ROBERT</character> <dialogue>No. You're not gonna do it anyway, so no. Anyone.</dialogue> <character>PRICE</character> <dialogue>Either Abraham Lincoln or me at twelve years old.</dialogue> <character>JONAH</character> <dialogue>Fuck. That is such a good answer.</dialogue> <scene_description>Billie takes stock of the boxes.</scene_description> <character>JONAH</character> <parenthetical>(re. the boxes)</parenthetical> <dialogue>I went. We all went.</dialogue> <scene_description>Robert stands up and stretches.</scene_description> <character>ROBERT</character> <dialogue>You guys gonna help clean up?</dialogue> <character>JONAH</character> <dialogue>You have a fucking maid.</dialogue> <character>ROBERT</character> <dialogue>Who reports back to my dad. Come on.</dialogue> <scene_description>Price, Jonah and Robert go out to start cleaning, Wendy and Ann start cleaning halfheartedly the area around them, what they can reach.</scene_description> <character>WENDY</character> <dialogue>Price got really cute this summer.</dialogue> <scene_description>Billie lays back, her head in Ann's lap.</scene_description> <character>BILLIE</character> <dialogue>We have to stop using that word, "cute." Bunnies are cute. Men are sexy.</dialogue> <character>WENDY</character> <dialogue>These aren't men.</dialogue> <character>BILLIE</character> <dialogue>They will be.</dialogue> <scene_description>She rolls over so she is looking at Wendy.</scene_description> <character>BILLIE</character> <dialogue>They'll be our men. Ten years from now they'll be the strongest, smartest men anyone knows. And they'll be ours.</dialogue> <character>WENDY</character> <dialogue>In ten years, I'm not gonna be here.</dialogue> <character>BILLIE</character> <dialogue>Why not? After all you invested? This is almost 17 years of training, of learning. You want to start from scratch?</dialogue> <character>WENDY</character> <parenthetical>(upset)</parenthetical> <dialogue>You're kidding right? What, we're gonna buy a big house in Utah?</dialogue> <character>BILLIE</character> <parenthetical>(nonplussed)</parenthetical> <dialogue>You'll see. We're all going to college together. And then get houses next door.</dialogue> <scene_description>As if to prove her point, Billie grabs Price by the knees as he walks by; he falls on the floor. Then she straddles him. He tries to get up.</scene_description> <character>PRICE</character> <parenthetical>(to Ann and Wendy)</parenthetical> <dialogue>A little help, here?</dialogue> <scene_description>Instead the girls all sit on Price, and it turns into more of a wrestling match/tickling fight. Price is outnumbered so Robert and Jonah come to his "rescue." Robert grabs Billie and Jonah grabs Wendy, leaving Ann on top of Price.</scene_description> <character>BILLIE</character> <parenthetical>(teasing)</parenthetical> <dialogue>Sorry, kids. It's Saturday night and rules are rules. Without rules we would die.</dialogue> <character>ROBERT</character> <parenthetical>(mocking her)</parenthetical> <dialogue>That's a little dramatic.</dialogue> <character>ANN</character> <dialogue>Billie is drama.</dialogue> <scene_description>Nonetheless they re-order, and not without some giggling. Now Robert is with Wendy, Price is with Billie, and Jonah is with Ann. The three couples start making out at various speeds, but each one is fully engaged with whomever they are with. As the camera pulls up and moves over the three couples, they each end up on the floor, Robert on top of Wendy, he starts to take off his shirt; Billie straddles Price, his hands go underneath her pants; Ann holds Jonah's hands down and slowly kisses him, moving down his chest. Condoms litter the floor. We hold above them.</scene_description> </scene> <scene> <stage_direction>EXT. ROBERT'S HOUSE: ENTRANCE - NIGHT</stage_direction> <scene_description>Billie and Wendy sit on the front steps of Robert's house. Wendy has her head in Billie's lap, and they share a bottle of beer. Billie is looking at Wendy's hair.</scene_description> <character>BILLIE</character> <dialogue>You have, like, sixteen split ends.</dialogue> <character>WENDY</character> <dialogue>Shut up.</dialogue> <scene_description>They sit in silence, looking out on the suburban street, everyone asleep, the gray hazy light of pre-dawn.</scene_description> <character>WENDY</character> <dialogue>When we get to college--</dialogue> <character>BILLIE</character> <dialogue>Shhh. This is the best time. This is the time I don't think about things like college. Just--</dialogue> <scene_description>Wendy gets it, and they return to the silence.</scene_description> <character>BILLIE</character> <parenthetical>(looking at her watch)</parenthetical> <dialogue>It's Sunday.</dialogue> <character>WENDY</character> <dialogue>Yeah, you're a freaking genius. Shut up, we're supposed to be having quiet Zen time.</dialogue> <scene_description>Billie thwacks Wendy lightly, and the girls giggle, and return to silence.</scene_description> </scene> <scene> <stage_direction>EXT. CLUB: PARKING LOT - NIGHT</stage_direction> <scene_description>As in the beginning, the video of girls, this time just after a football game outside a local Denny's. This GIRL looks down the whole time, she's distracted as she text messages someone.</scene_description> <character>TEEN GIRL #5</character> <dialogue>Why should guys have all the fun? I mean, if I have to lay there anyway, at least I could be having fun, right?</dialogue> <scene_description>She gets distracted by her text messages, and wanders away. TEEN GIRL #6 walks up and fixes her hair, then fishes a condom out of her back pocket.</scene_description> <character>TEEN GIRL #6</character> <dialogue>I'm like a boyscout--</dialogue> <character>YELLING GUY (O.S.)</character> <parenthetical>(yelling)</parenthetical> <character>FLAT AS ALL HELL!</character> <dialogue>TEEN GIRL #6</dialogue> <parenthetical>(she flips them off)</parenthetical> <dialogue>I'm prepared. I don't wanna have to have a baby at the prom. That's just ghetto.</dialogue> <scene_description>She looks at the condom, and then puts it back in her pocket. She smiles, knowingly.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN &amp; MAYER HOUSE - MORNING</stage_direction> <scene_description>Bergman &amp; Mayer homes seen from overhead. It's Monday morning, German-engineered cars are being driven to various workplaces.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - MORNING</stage_direction> <scene_description>Wendy comes into the kitchen. Wearing low-slung jeans and a sweater, she looks relatively tame. Wendy grabs some orange juice. ABBY BERGMAN (40's, dresses mostly in caftans and wears a lot of ethnic jewelry) drinks coffee.</scene_description> <character>ABBY</character> <dialogue>I would kill for your body.</dialogue> <scene_description>Wendy kisses her mom on the cheek.</scene_description> <character>ABBY</character> <dialogue>The best thing I can tell you is don't get pregnant. I'd have a flat stomach today if I had stayed a person and not become a mom.</dialogue> <character>WENDY</character> <dialogue>Mommm.</dialogue> <character>ABBY</character> <dialogue>See?</dialogue> <scene_description>Nathan comes into the kitchen in his baggy jeans and long T-shirt, he's half asleep.</scene_description> <character>NATHAN</character> <parenthetical>(opening the refrigerator)</parenthetical> <dialogue>Nobody ate the coffee cake I made?</dialogue> <character>WENDY</character> <dialogue>I can't eat that stuff.</dialogue> <scene_description>Abby doesn't say anything. Nathan takes a piece for himself, eats it quickly and washes it down with milk from the container.</scene_description> <character>WENDY</character> <dialogue>Now can we go?</dialogue> <character>NATHAN</character> <dialogue>I gotta get my bag.</dialogue> <scene_description>Nathan leaves Abby and Wendy alone for a moment.</scene_description> <character>ABBY</character> <dialogue>You ready for your college interviews?</dialogue> <character>WENDY</character> <dialogue>You worried I won't clean up okay? That I'll embarrass you?</dialogue> <character>ABBY</character> <parenthetical>(cowed)</parenthetical> <dialogue>It's just a question.</dialogue> <scene_description>A pause. Wendy reaches over and fingers her mother's ensemble.</scene_description> <character>WENDY</character> <parenthetical>(earnest)</parenthetical> <dialogue>Mom, honestly. You could do so much better.</dialogue> <scene_description>Nathan and Wendy leave, Abby sits alone in the kitchen for a moment, her shoulders sagging.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: DRIVEWAY - MORNING</stage_direction> <scene_description>Wendy and Nathan get into Wendy's car; she sits for a moment, staring at the Mayer house.</scene_description> <character>NATHAN</character> <parenthetical>(mocking Wendy a little)</parenthetical> <dialogue>Can we go?</dialogue> <character>WENDY</character> <dialogue>Hold on.</dialogue> <scene_description>Wendy gets half out of the car and then sits down again.</scene_description> <character>WENDY</character> <dialogue>You go.</dialogue> <character>NATHAN</character> <dialogue>Where?</dialogue> <character>WENDY</character> <dialogue>Ask him if he needs a ride.</dialogue> <character>NATHAN</character> <dialogue>Shut up. He'll think I'm gay.</dialogue> <character>WENDY</character> <dialogue>So?</dialogue> <character>NATHAN</character> <dialogue>I'm not gay.</dialogue> <character>WENDY</character> <dialogue>So then what do you care?</dialogue> <character>NATHAN</character> <dialogue>I care. I completely care.</dialogue> <character>WENDY</character> <dialogue>Are you going to ask any girls out today?</dialogue> <character>NATHAN</character> <dialogue>No.</dialogue> <character>WENDY</character> <dialogue>So why not be a little gay? For me.</dialogue> <character>NATHAN</character> <parenthetical>(lamest comeback ever)</parenthetical> <dialogue>You be a little gay.</dialogue> <scene_description>Wendy reaches over and opens the passenger door.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: FRONT DOOR - MORNING</stage_direction> <scene_description>Nathan rings the bell and waits, backing up a little. From the side of the house, a stream of water, followed by HELEN MAYER, 40, sexy even in her sweats, she holds the garden hose in front of her, watering everything she sees, turning most of it to mud.</scene_description> <character>HELEN</character> <parenthetical>(giving a little wave)</parenthetical> <dialogue>So I guess you're our new neighbors.</dialogue> <scene_description>Nathan is frozen.</scene_description> <character>NATHAN</character> <parenthetical>(whispers)</parenthetical> <dialogue>Yeah. Uhh. I'm your next-door Nathan.</dialogue> <scene_description>Helen puts down the hose and walks over, her hand extended. Nathan shakes it, staring at his hand touching hers.</scene_description> <character>HELEN</character> <dialogue>Sorry?</dialogue> <character>NATHAN</character> <dialogue>Your next-door neighbor, Nathan.</dialogue> <character>HELEN</character> <dialogue>Helen.</dialogue> <character>NATHAN</character> <dialogue>Okay.</dialogue> <scene_description>Nathan backs up and heads back to the car.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S CAR - MORNING</stage_direction> <character>WENDY</character> <dialogue>Well?</dialogue> <character>NATHAN</character> <dialogue>I forgot. She stopped me, and...</dialogue> <scene_description>He's dejected. Wendy rolls her eyes, goes out to Helen as Nathan watches.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: FRONT DOOR - MORNING</stage_direction> <character>WENDY</character> <dialogue>Hi. My brother was supposed to ask you if Sean needed a ride. To school.</dialogue> <character>HELEN</character> <dialogue>What happened?</dialogue> <character>WENDY</character> <dialogue>I think he was dropped on his head a lot. My brother. Not your son.</dialogue> <scene_description>Helen laughs.</scene_description> <character>HELEN</character> <dialogue>That'd be great. The ride. Not the head dropping.</dialogue> <scene_description>Helen goes back to the hose and sprays an upstairs window. BILL MAYER, (movie star handsome with 10 extra pounds) opens it after a second.</scene_description> <character>BILL</character> <parenthetical>(out the window)</parenthetical> <dialogue>You rang?</dialogue> <character>HELEN</character> <dialogue>Sorry, I thought that was Sean's room. Tell him he has a ride waiting.</dialogue> <parenthetical>(to Wendy)</parenthetical> <dialogue>We have to get him a car. Actually we have to get me a car, too. We're city people, I guess.</dialogue> <character>WENDY</character> <dialogue>It's not a problem.</dialogue> <scene_description>An awkward pause.</scene_description> <character>HELEN</character> <dialogue>Thanks.</dialogue> <character>WENDY</character> <dialogue>Sean said you're a scientist?</dialogue> <character>HELEN</character> <dialogue>Trying to be. I'm in a bit of a holding pattern. But yes. Are you interested in--</dialogue> <scene_description>Before she can answer, Sean runs out of the house and smiles at Wendy.</scene_description> <character>HELEN</character> <parenthetical>(to Sean)</parenthetical> <dialogue>Have fun.</dialogue> <scene_description>Sean gives her a wave; he and Wendy walk towards the car.</scene_description> <character>SEAN</character> <parenthetical>(annoyed)</parenthetical> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>Nothing. You nervous?</dialogue> <character>SEAN</character> <dialogue>Well, now I am.</dialogue> <scene_description>They get in the car.</scene_description> </scene> <scene> <stage_direction>EXT. CHAGRIN COOP SCHOOL: PARKING LOT - DAY</stage_direction> <scene_description>The car pulls into the school parking lot. Nathan gets out of the car and heads inside but Sean doesn't move. Wendy is about to say something when she sees Robert and Jonah pulling up and she panics.</scene_description> <character>WENDY</character> <parenthetical>(cold)</parenthetical> <dialogue>Okay kid. Your taxi ride is over.</dialogue> <character>SEAN</character> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>Unless you plan on paying me. The ride is over.</dialogue> <character>SEAN</character> <dialogue>Oh.</dialogue> <parenthetical>(embarrassed)</parenthetical> <dialogue>Oh, yeah.</dialogue> <parenthetical>(he gets his stuff, fumbles)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Wendy feels terrible but there is nothing she can do, so she lets Sean leave.</scene_description> <character>SEAN</character> <dialogue>Sorry.</dialogue> <scene_description>Wendy doesn't say anything. WENDY's POV: she watches Sean go into school in the rearview mirror, and she sees Robert and Jonah walk by, completely oblivious to the fact that Sean was in her car a few moments ago. Wendy loses sight of Robert and Jonah until there is a loud bang on the roof of her car. Wendy throws the door open.</scene_description> <character>WENDY</character> <dialogue>Dammit!</dialogue> <scene_description>Robert puts his face on the passenger window blowing fishy faces.</scene_description> <character>WENDY</character> <dialogue>You're a jackass.</dialogue> <scene_description>Robert grabs his crotch and Wendy laughs. She gets out of the car, Robert and Jonah hug her hello.</scene_description> <character>ROBERT</character> <dialogue>Your friend didn't say hi.</dialogue> <character>WENDY</character> <dialogue>He was in a hurry, I guess.</dialogue> <character>JONAH</character> <dialogue>Your new neighbor?</dialogue> <scene_description>Wendy is about to answer when Price comes out of the school and runs up to them.</scene_description> <character>PRICE</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>We need you.</dialogue> <scene_description>Wendy follows him into the school.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - DAY</stage_direction> <scene_description>Wendy, Price and Robert find Billie eating a big bag of Doritos. Billie sits opposite Ryan and Aaron in the lounge, a wordless face-off. A small crowd is gathering, though they try to be casual. Ryan isn't saying anything, she's trying to focus on Aaron. And she looks like she might cry.</scene_description> <character>BILLIE</character> <parenthetical>(to Ryan)</parenthetical> <dialogue>Doritos?</dialogue> <character>WENDY</character> <dialogue>You ready?</dialogue> <character>BILLIE</character> <dialogue>We're leaving?</dialogue> <character>WENDY</character> <dialogue>Senior class meeting? And then some other thing.</dialogue> <character>BILLIE</character> <parenthetical>(nonchalant)</parenthetical> <dialogue>Okay. We can go to a "thing".</dialogue> <character>WENDY</character> <dialogue>Actually, "some other thing".</dialogue> <character>BILLIE</character> <dialogue>That too.</dialogue> <scene_description>Billie finally looks away from Ryan and smiles her Cheshire Cat Grin. Wendy pulls her away.</scene_description> <character>WENDY</character> <dialogue>Don't be an instigator.</dialogue> <character>BILLIE</character> <parenthetical>(loud enough for Ryan to hear)</parenthetical> <dialogue>I'm just making sure our little housewife is being a good girl.</dialogue> <scene_description>Wendy looks back at Ryan, who is clearly upset by the almost-confrontation.</scene_description> <character>BILLIE</character> <dialogue>What do I always say to you?</dialogue> <character>WENDY</character> <parenthetical>(playing along)</parenthetical> <dialogue>It's because they named her Ryan.</dialogue> <character>BILLIE</character> <dialogue>After a soap opera. Don't name children after soap operas. How many times do I have to tell you people?</dialogue> <scene_description>Wendy and Billie laugh. Price and Robert come back up to the two of them, now that the moment has passed.</scene_description> <character>ROBERT</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>Did you have to wrestle her? Was it really ugly?</dialogue> <character>BILLIE</character> <dialogue>She didn't have to do anything. I'm as harmless as a kitten.</dialogue> <scene_description>Robert nuzzles Billie's neck while "meowing into it," Price takes Wendy's hand and kisses it gently. They find Ann and Jonah waiting for them and walk outside.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: MASTER BEDROOM - DAY</stage_direction> <scene_description>Bill is lying in bed, eyes open, not sleeping but not getting up, he's in his work clothes. We hear the sound of peeing, and then Helen comes to the bathroom sink.</scene_description> <character>BILL</character> <dialogue>Sean's at school?</dialogue> <character>HELEN</character> <dialogue>Yeah.</dialogue> <character>BILL</character> <dialogue>That girl came over for him?</dialogue> <character>HELEN</character> <dialogue>Wendy. I liked her. Funny.</dialogue> <scene_description>Helen watches Bill, who rolls over and faces her. Neither says anything as she holds a pregnancy test strip in her hands. She looks down and then looks at him. Her look says it all.</scene_description> <character>BILL</character> <dialogue>Really?</dialogue> <character>HELEN</character> <dialogue>Unless by "error proof test" they mean, full of errors, take three tests and all three will be wrong.</dialogue> <scene_description>She sits on the bed next to him.</scene_description> <character>BILL</character> <dialogue>What do we do?</dialogue> <scene_description>Helen looks at him, touched.</scene_description> <character>HELEN</character> <dialogue>Thanks for that.</dialogue> <character>BILL</character> <dialogue>What?</dialogue> <character>HELEN</character> <dialogue>The "we." Thanks for the "we."</dialogue> <character>BILL</character> <dialogue>It's always "we," dummy.</dialogue> <scene_description>Bill takes Helen in his arms and holds her for a moment.</scene_description> <character>HELEN</character> <dialogue>I can't wait another eighteen years. Waiting three weeks feels like a death sentence.</dialogue> <scene_description>She looks at Bill.</scene_description> <character>HELEN</character> <dialogue>Bad choice of words. Sorry.</dialogue> <character>BILL</character> <dialogue>What are you sorry for?</dialogue> <scene_description>Helen shrugs.</scene_description> <character>HELEN</character> <dialogue>It's a constant war.</dialogue> <parenthetical>(he doesn't understand)</parenthetical> <dialogue>I can't be bossed around by an internal organ.</dialogue> <scene_description>She turns and looks at him.</scene_description> <character>HELEN</character> <dialogue>Is that alright?</dialogue> <scene_description>Bill kisses her, and nods.</scene_description> <character>HELEN</character> <dialogue>You're going to be late.</dialogue> <character>BILL</character> <dialogue>You're right.</dialogue> <scene_description>She watches him leave, he dashes back in and gives her a quick peck on the forehead.</scene_description> <character>BILL</character> <dialogue>Tonight? We'll talk.</dialogue> <scene_description>Helen nods.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: HANGAR - DAY</stage_direction> <scene_description>Billie is sitting by herself waiting for Ann and Wendy. The two Tank-Top Girls sit nearby.</scene_description> <character>TANK-TOP GIRL #1</character> <dialogue>His name is Sam.</dialogue> <character>TANK-TOP GIRL #2</character> <dialogue>Sean. His name is Sean.</dialogue> <character>TANK-TOP GIRL #1</character> <dialogue>He was cute.</dialogue> <character>TANK-TOP GIRL #2</character> <dialogue>I don't remember. But he was...</dialogue> <parenthetical>(indicates size)</parenthetical> <dialogue>I mean seriously!</dialogue> <scene_description>The girls laugh. Billie looks over at them, all smiles.</scene_description> <character>TANK-TOP GIRL #1</character> <parenthetical>(trying to be cool)</parenthetical> <dialogue>Hey.</dialogue> <character>BILLIE</character> <dialogue>I like how you two dress alike. I was thinking of getting some working girls for my brother's bachelor party and you two could be like a twin act. They'd love it. You guys are what, ten bucks an hour? Or do you just take food stamps?</dialogue> <scene_description>A pause.</scene_description> <character>TANK-TOP GIRL #2</character> <parenthetical>(whispers it)</parenthetical> <dialogue>Bitch.</dialogue> <scene_description>Tank-Top Girl #1 pulls Tank-Top Girl #2 away.</scene_description> <character>BILLIE</character> <dialogue>Alright fine! I'll pay in crack. God, hookers are so picky these days.</dialogue> <scene_description>The girls are gone, and Billie smiles to herself.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: CLASSROOM - DAY</stage_direction> <scene_description>Sean sits in a bay -- the students, including Wendy and Jonah are seated around large tables arranged in a circle. As a STUDENT speaks, Wendy scrunches down in her chair and watches Sean carefully, over the top of her book.</scene_description> <character>STUDENT</character> <dialogue>I think what Aristotle is saying is that man, well people, you know, like man and woman, well they're in a battle that can't be won. But they have to fight, cause, you know, they have this nature, this whaddya call it? Nature? Like a Sicilian.</dialogue> <scene_description>There's a pause as the class digests this insight. Wendy raises her eyes to Sean, seeing what he'll do -- Sean raises his hand. The PHILOSOPHY TEACHER gestures at him to lower his hand.</scene_description> <character>PHILOSOPHY TEACHER</character> <dialogue>I'm just the guide, I'm not the boss.</dialogue> <scene_description>Sean doesn't know what to do.</scene_description> <character>PHILOSOPHY TEACHER</character> <parenthetical>(to Sean, condescending)</parenthetical> <dialogue>You can participate.</dialogue> <character>SEAN</character> <dialogue>I think you mean Sisyphus. Sisyphian.</dialogue> <character>PHILOSOPHY TEACHER</character> <parenthetical>(annoyed)</parenthetical> <dialogue>We don't correct. We add and we contribute. But everything said at the table has merit.</dialogue> <parenthetical>(pointedly)</parenthetical> <dialogue>Do you have something to contribute?</dialogue> <scene_description>Sean looks down. Wendy smiles to herself.</scene_description> <character>WENDY</character> <dialogue>It's Promethean.</dialogue> <character>PHILOSOPHY TEACHER</character> <dialogue>Wendy?</dialogue> <character>WENDY</character> <parenthetical>(to Sean)</parenthetical> <dialogue>If you're going to help him out, you might as well really help him out.</dialogue> <parenthetical>(to the class)</parenthetical> <dialogue>Promethean. Not Sisyphian.</dialogue> <parenthetical>(a pause)</parenthetical> <dialogue>Not everything said here has merit.</dialogue> <scene_description>The Teacher doesn't know what to say. Wendy smiles at Sean. Then she looks at Jonah, who hasn't glanced up from the book he is reading.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: CLASSROOM - DAY</stage_direction> <scene_description>Robert finds a seat in the classroom. Allyson suddenly leans over him, her hair and her breasts very much in his personal space.</scene_description> <character>ALLYSON</character> <dialogue>Hey, Robert.</dialogue> <character>ROBERT</character> <dialogue>Yeah. Hi.</dialogue> <character>ALLYSON</character> <dialogue>Why aren't you Rob? Or Robbie?</dialogue> <character>ROBERT</character> <dialogue>Dunno.</dialogue> <character>ALLYSON</character> <dialogue>So this Saturday we're having a party. To celebrate...well I guess, the weekend.</dialogue> <character>ROBERT</character> <dialogue>I'm busy.</dialogue> <character>ALLYSON</character> <dialogue>Yeah. I know. But you could come, right? I mean, if you wanted to.</dialogue> <character>ROBERT</character> <dialogue>Sure. But I don't want to.</dialogue> <scene_description>Allyson flips her hair and makes sure Robert can see all the way down her shirt.</scene_description> <character>ALLYSON</character> <dialogue>You sure? Cause we have killer parties.</dialogue> <scene_description>Robert opens his book, not responding right away.</scene_description> <character>ROBERT</character> <dialogue>Allyson, I wasn't interested last year. I'm not interested this year. And no amount of your cleavage is gonna change my mind.</dialogue> <scene_description>She stands up straight and harrumphs away.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: ROOF - DAY</stage_direction> <scene_description>Nathan watches Helen change. He looks down and sees that there is no car in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: LIVING ROOM - DAY</stage_direction> <scene_description>'Off The Wall' by Michael Jackson blares. Helen dances around. The front doorbell rings. Helen answers it: it is Nathan with comic books.</scene_description> <character>NATHAN</character> <dialogue>Hi!</dialogue> <character>HELEN</character> <dialogue>Hi.</dialogue> <character>NATHAN</character> <dialogue>Is Sean here?</dialogue> <character>HELEN</character> <dialogue>Track practice, I think.</dialogue> <character>NATHAN</character> <dialogue>Oh.</dialogue> <parenthetical>(a long pause)</parenthetical> <dialogue>He lent me these.</dialogue> <scene_description>There's a pause as Helen waits for him to say something more.</scene_description> <character>NATHAN</character> <dialogue>You need any help unpacking?</dialogue> </scene> <scene> <stage_direction>INT. MAYER HOUSE: KITCHEN - DAY</stage_direction> <scene_description>Michael Jackson is still singing. Nathan is cooking at the stove, Helen is unpacking boxes as Nathan cooks, keeping one eye on the strange young man.</scene_description> <character>NATHAN</character> <dialogue>Do you have a strainer?</dialogue> <character>HELEN</character> <dialogue>I'm sure we do-- I just can't find it.</dialogue> <scene_description>Nathan keeps cooking.</scene_description> <character>NATHAN</character> <parenthetical>(about the music)</parenthetical> <dialogue>Is this Michael Jackson?</dialogue> <character>HELEN</character> <dialogue>God, you weren't even born when this came out...</dialogue> <character>NATHAN</character> <parenthetical>(bristles)</parenthetical> <dialogue>I knew it was Michael Jackson.</dialogue> <scene_description>There's a pause.</scene_description> <character>NATHAN</character> <dialogue>So, do you get to stay home all day?</dialogue> <character>HELEN</character> <dialogue>You mean, like a housewife? God no. I work for a drug company. Research and Development. I used to teach but now that Sean is old enough, I get to have a real job.</dialogue> <character>NATHAN</character> <dialogue>You didn't go to work today?</dialogue> <character>HELEN</character> <dialogue>I took a couple of weeks to get settled. But there doesn't seem to be that much to do.</dialogue> <scene_description>Another awkward pause, that Nathan struggles to fill.</scene_description> <character>NATHAN</character> <dialogue>What does your, I mean Sean's father, you know...</dialogue> <character>HELEN</character> <dialogue>Bill? He's in finance. Banking. The funny thing is that he is terrible with money unless it is in the millions. That isn't funny at all, is it?</dialogue> <character>NATHAN</character> <dialogue>No, I guess not.</dialogue> <scene_description>They smile at each other. He pours the chocolate sauce onto the cake, let's it harden and then starts to garnish. It is a beautiful pastry.</scene_description> <character>HELEN</character> <dialogue>You know him as the decaying King of Pop. A pervert with an alien face. I think this is the last of the pure Michael Jackson.</dialogue> <scene_description>The song ends, and "She's Out Of My Life" starts.</scene_description> <character>HELEN</character> <dialogue>Bill loves this song.</dialogue> <scene_description>Nathan smirks, but hides it as he turns to serve the cake.</scene_description> <character>HELEN</character> <parenthetical>(looking at the cake)</parenthetical> <dialogue>Jesus. You made that from my cupboard?</dialogue> <character>NATHAN</character> <dialogue>It would be better if you had fresh hazelnut. And powdered sugar. But it's still really good.</dialogue> <scene_description>Helen is eating, Nathan doesn't try it.</scene_description> <character>HELEN</character> <dialogue>You cook a lot?</dialogue> <character>NATHAN</character> <dialogue>At home. At first I could only make steak, rice and green beans. Not that my mom or sister even notice. But I taught myself a lot of stuff. Pastries, and fresh bread, those are easy. I'm working on a glazed salmon with risotto. Did you know you have to drive 90 minutes to get frisee lettuce?</dialogue> <scene_description>Helen tries not to choke with laughter but Nathan doesn't see her, since he is still cooking.</scene_description> <character>HELEN</character> <dialogue>I'd love to try anything you make.</dialogue> <character>NATHAN</character> <parenthetical>(already formulating a plan)</parenthetical> <dialogue>Really?</dialogue> <scene_description>Helen smiles.</scene_description> <character>HELEN</character> <dialogue>Absolutely.</dialogue> <scene_description>Nathan smiles to himself.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <scene_description>Wendy, Billie and Ann are doing homework.</scene_description> <character>ANN</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>It takes me twice as long to do your English paper as it does for you to do my physics homework. Why is that?</dialogue> <character>WENDY</character> <parenthetical>(teasing)</parenthetical> <dialogue>Cause words is hard.</dialogue> <character>BILLIE</character> <dialogue>And we're stupid.</dialogue> <character>WENDY</character> <dialogue>I thought Asian people loved physics.</dialogue> <character>ANN</character> <dialogue>Who's Asian? I'm full-blooded Scandinavian.</dialogue> <scene_description>This cracks the girls up.</scene_description> <character>BILLIE</character> <parenthetical>(looks at the clock)</parenthetical> <dialogue>Shit. I gotta go.</dialogue> <parenthetical>(to Wendy)</parenthetical> <dialogue>You'll drive me?</dialogue> <scene_description>Wendy rolls her eyes and Billie spanks her playfully.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S CAR: DRIVING - NIGHT</stage_direction> <scene_description>Wendy drives Billie home, Billie is still working on her homework in the passenger seat.</scene_description> <character>WENDY</character> <dialogue>How many schools do we have in common?</dialogue> <character>BILLIE</character> <dialogue>For next year? I don't know, five maybe.</dialogue> <character>WENDY</character> <dialogue>Out of?</dialogue> <character>BILLIE</character> <dialogue>Six or seven.</dialogue> <character>WENDY</character> <dialogue>Those are good odds, then. That we'll all be in school together.</dialogue> <character>BILLIE</character> <dialogue>Yeah. Jonah'll get in wherever he wants. But he'll go where we go.</dialogue> <character>WENDY</character> <dialogue>Huh.</dialogue> <character>BILLIE</character> <dialogue>Why?</dialogue> <scene_description>The car cruises by the Brown Sedan, rocking, fogged up windows.</scene_description> <character>WENDY</character> <dialogue>If a guy can't find a bed for you, then he shouldn't be allowed to get any.</dialogue> <character>BILLIE</character> <dialogue>Agreed.</dialogue> <scene_description>Wendy watches the car out her back window.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S ROOM - NIGHT</stage_direction> <scene_description>Sean is working on a drawing when his pen fades. Sean shakes it to get more ink. It fades again and then runs out. Sean starts looking through the books and clothes. He picks up a book, throws it in the corner. There is a thud and then a second lighter thud. Sean's confused. He picks up another book, does it again. A thud, and then another thud, softer. Sean picks up a book, and doesn't throw it down. A small, soft thud. Sean looks around, another thud, coming from the window. He opens the window shade. Wendy is outside, slowly dribbling the basketball purposefully in his backyard.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: BACKYARD - NIGHT</stage_direction> <scene_description>Wendy tries to make a shot, and misses.</scene_description> <character>SEAN (O.S.)</character> <dialogue>And you were hoping for a basketball scholarship.</dialogue> <scene_description>Wendy ignores him. She retrieves the basketball and makes the shot. Sean sits on the ground. Wendy plays for a few more moments. Sean waits her out, hoping that she'll speak. She keeps playing, but finally talks.</scene_description> <character>WENDY</character> <dialogue>It's not possible. To be with me. Really.</dialogue> <scene_description>She holds the ball.</scene_description> <character>WENDY</character> <parenthetical>(suddenly nervous)</parenthetical> <dialogue>You do want to be with me, right?</dialogue> <scene_description>Sean steals the ball and then dribbles slowly, trying to get the slowest dribble possible, concentrating to control his frustration.</scene_description> <character>SEAN</character> <dialogue>I want to kiss you. Pretty much every time I see you I want to kiss you.</dialogue> <character>WENDY</character> <dialogue>That girl, Ryan? She was one of my best friends. And now I don't talk to her, ever.</dialogue> <character>SEAN</character> <dialogue>And Aaron.</dialogue> <character>WENDY</character> <dialogue>Yeah. Well, yeah. I mean, I saw him naked a whole lot. But that's different. I mean, he could just be an ex-boyfriend, right? You have ex-girlfriends, don't you?</dialogue> <character>SEAN</character> <dialogue>I don't know if that's the same.</dialogue> <character>WENDY</character> <dialogue>Yeah, I know you don't. You don't really know anything about me, do you?</dialogue> <scene_description>Wendy steals the ball back, dribbles, does a lay-up and misses.</scene_description> <character>SEAN</character> <dialogue>It doesn't make sense.</dialogue> <character>WENDY</character> <parenthetical>(re. missed basket)</parenthetical> <dialogue>You mean, since I'm so naturally athletic?</dialogue> <parenthetical>(Sean rolls his eyes, Wendy dribbles again, not looking at him)</parenthetical> <dialogue>You haven't even asked if it is true.</dialogue> <character>SEAN</character> <dialogue>Well is it?</dialogue> <scene_description>Sean rolls his eyes, Wendy dribbles again, not looking at him.</scene_description> <character>SEAN</character> <dialogue>It's a Greek tragedy waiting to happen.</dialogue> <scene_description>Wendy wings the ball at him, hard.</scene_description> <character>WENDY</character> <dialogue>I don't live in that world--</dialogue> <character>SEAN</character> <dialogue>--What? You don't live in what? The world of boyfriends? Of first dates? Of holding hands?</dialogue> <character>WENDY</character> <dialogue>No. You, jackass. Of disposable girlfriends. Of blowjobs for bracelets. Of macking and hooking up and going down and text-messaging some asshole who will cum all over my shirt. That world.</dialogue> <scene_description>Sean retrieves the ball, and starts his slow meticulous dribble.</scene_description> <character>SEAN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>You don't know what you're missing.</dialogue> <character>WENDY</character> <dialogue>I have a pretty good idea.</dialogue> <character>SEAN</character> <dialogue>What about the other world. Of boyfriends, and one girl, and one guy, and you know, we just go out. With each other. Nobody else.</dialogue> <character>WENDY</character> <dialogue>Ahh yes. Fairytale land. The land of make believe.</dialogue> <character>SEAN</character> <dialogue>What if it was real?</dialogue> <scene_description>Wendy marches up to Sean and kisses him hard, mostly to stop him from talking.</scene_description> <character>WENDY</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>You're going to rescue me? You and me against the world?</dialogue> <character>SEAN</character> <parenthetical>(earnest)</parenthetical> <dialogue>If you want me to.</dialogue> <scene_description>They kiss again. This time it is passionate and real, and Sean sighs, despite trying to be cool and manly.</scene_description> <character>WENDY</character> <parenthetical>(teasing him)</parenthetical> <dialogue>What was that?</dialogue> <character>SEAN</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Nothing.</dialogue> <character>WENDY</character> <dialogue>Did you just sigh?</dialogue> <character>SEAN</character> <dialogue>No. I made a noise. People make noises.</dialogue> <character>WENDY</character> <dialogue>You sighed. Like a girl in a romance novel.</dialogue> <character>SEAN</character> <dialogue>I just made a noise.</dialogue> <scene_description>Sean starts to walk back to his house. Wendy lets out a huge sigh. Sean starts to laugh. Sean lets out a louder sigh. Wendy reciprocates. Sean lets out a little moan. Wendy does the same. A loud moan, and Wendy does it louder. Wendy howls. Sean bays. A dog, somewhere nearby, howls back. They crack up. The moment is real and intimate for Wendy and she pulls away.</scene_description> <character>SEAN</character> <dialogue>Just leave them. Be with me.</dialogue> <character>WENDY</character> <dialogue>I--</dialogue> <character>SEAN</character> <dialogue>Say maybe.</dialogue> <character>WENDY</character> <dialogue>Maybe.</dialogue> <character>SEAN</character> <dialogue>Maybe what?</dialogue> <scene_description>She kisses him once more and then runs inside.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction> <scene_description>This parking lot is outside an all ages dance club. THE EIGHTH TEEN GIRL teeters on too high heels.</scene_description> <character>TEEN GIRL #8</character> <parenthetical>(in the middle of a statement)</parenthetical> <dialogue>--so TV is totally giving you all these messages about your booty. And mine is so...white. I don't want a white--</dialogue> </scene> <scene> <stage_direction>EXT. PRICE'S HOUSE: FRONT DOOR - EVENING</stage_direction> <scene_description>Wendy knocks on the front door of Price's large house which is a little shabbier than everyone else's.</scene_description> </scene> <scene> <stage_direction>INT. PRICE'S HOUSE: BEDROOM - EVENING</stage_direction> <scene_description>Wendy knocks on the door of Price's bathroom.</scene_description> <character>WENDY</character> <dialogue>Price?</dialogue> <character>PRICE (O.S.)</character> <dialogue>Thank god. One second.</dialogue> <scene_description>Wendy sits on Price's bed, flipping through the magazines. She notices that on some pages there is writing. On one page it says "I'm four inches taller" above a picture of a famous actor. On another page it says, "Get those Abs". Wendy puts the magazine down. The bathroom door opens but Price doesn't come out.</scene_description> <character>WENDY</character> <dialogue>What?</dialogue> <character>PRICE</character> <dialogue>You're going to laugh.</dialogue> <character>WENDY</character> <dialogue>I'm not.</dialogue> <scene_description>Price comes out of the bathroom. He has dyed his formerly surfer blond hair black and possibly gotten extensions so that he has a forelock of hair in front of his eyes. He has one a smallish vintage t-shirt and cords instead of his normal clothes (which weren't so super trendy). He looks like an Emo boy from a Bright Eyes concert.</scene_description> <character>WENDY</character> <dialogue>Your hair.</dialogue> <character>PRICE</character> <dialogue>I showed him some pictures. This guy in Cleveland. And he was really cool. He had tattoos on his fingers.</dialogue> <character>WENDY</character> <dialogue>I just --</dialogue> <character>PRICE</character> <dialogue>Is it really bad?</dialogue> <scene_description>Price looks in the mirror, pulls the lock of hair over his eyes and pouts.</scene_description> <character>PRICE</character> <dialogue>It's nice.</dialogue> <parenthetical>(he looks at Wendy)</parenthetical> <dialogue>You think people will notice.</dialogue> <character>WENDY</character> <dialogue>Yes.</dialogue> <character>PRICE</character> <dialogue>It would be worse if they didn't.</dialogue> <character>WENDY</character> <dialogue>Being ignored is not the high school revenge you think it is.</dialogue> <scene_description>She comes up behind Price and hugs him from behind. He turns around and they embrace.</scene_description> <character>PRICE</character> <parenthetical>(still hugging her)</parenthetical> <dialogue>I heard you thought I got hotter over the summer.</dialogue> <scene_description>Wendy moves away a tiny bit.</scene_description> <character>WENDY</character> <dialogue>I think I said cuter.</dialogue> <character>PRICE</character> <dialogue>There's a difference?</dialogue> <character>WENDY</character> <parenthetical>(looking at him)</parenthetical> <dialogue>You did. You lost weight or got in shape or something.</dialogue> <character>PRICE</character> <dialogue>I got a nose job.</dialogue> <character>WENDY</character> <dialogue>What?</dialogue> <character>PRICE</character> <dialogue>Yeah. And I do crunches every day. A hundred, sometimes five hundred. I lay in bed at night and if I do some of them half-assed, I get out and do them again.</dialogue> <character>WENDY</character> <dialogue>I don't understand. You got a nose job?</dialogue> <scene_description>Price just smiles at her, and goes back to the mirror.. Wendy stands on tiptoes and looks at his face carefully, coming kissing close, then kisses Price on the lips. He pulls away.</scene_description> <character>PRICE</character> <dialogue>It isn't night yet.</dialogue> <character>WENDY</character> <dialogue>Right.</dialogue> <character>PRICE</character> <dialogue>Last year, Billie made some comment.</dialogue> <character>WENDY</character> <parenthetical>(shocked)</parenthetical> <dialogue>About your nose? Nice.</dialogue> <character>PRICE</character> <dialogue>I just wanted to look good for you guys. It's worth it to me. To have all of you, each of you. I'd get ten more surgeries and do a thousand more sit-ups for you. Wouldn't you? For all of us?</dialogue> <scene_description>His passion is frightening. She backs up a little.</scene_description> <character>WENDY</character> <dialogue>You wanna walk over to Robert's with me?</dialogue> <character>PRICE</character> <dialogue>Yeah. In a minute.</dialogue> <scene_description>Wendy watches him look in the mirror again.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT'S HOUSE: LIVING ROOM - NIGHT</stage_direction> <scene_description>Robert sleeps with Ann. Price, his hair still black, is with Wendy. Billie is with Jonah. Wendy touches Price's hair and pulls her hand away. She looks into his eyes, but he won't look at her. She pushes Price away, and he doesn't pursue her. After a minute Price stands up and walks to another room where we hear a TV turn on. Wendy stands up and goes outside.</scene_description> </scene> <scene> <stage_direction>EXT. ROBERT'S HOUSE: FRONT DOOR - NIGHT</stage_direction> <scene_description>Wendy and Billie get comfortable on the steps, this time Billie wrapping her arms around Wendy, who sits a step below her.</scene_description> <character>WENDY</character> <dialogue>Beer?</dialogue> <scene_description>Billie passes it to her.</scene_description> <character>BILLIE</character> <dialogue>I missed you.</dialogue> <character>WENDY</character> <dialogue>I just didn't have any-- I didn't want to.</dialogue> <character>BILLIE</character> <dialogue>Listen, don't ever fake it. Right?</dialogue> <character>WENDY</character> <dialogue>Right.</dialogue> <character>BILLIE</character> <dialogue>Cause faking it is for dumbass girls who hook-up with the first guy in baggy jeans and a earth-fucking SUV.</dialogue> <character>WENDY</character> <dialogue>Seriously.</dialogue> <character>BILLIE</character> <dialogue>We are not those girls. You are not that girl.</dialogue> <character>WENDY</character> <dialogue>Yeah.</dialogue> <scene_description>There's a pause.</scene_description> <character>WENDY</character> <dialogue>What kind of girl am I?</dialogue> <character>BILLIE</character> <dialogue>You're...ummmm. You're</dialogue> <parenthetical>(she can't say whatever it is she wants to say, so she makes a joke)</parenthetical> <dialogue>A Very Bad Girl.</dialogue> <character>WENDY</character> <dialogue>Seriously... What kind?</dialogue> <scene_description>Billie takes a lock of Wendy's hair and makes a curl on her forehead.</scene_description> <character>BILLIE</character> <dialogue>...and When she was good she was very very good and when she was bad she was horrid.</dialogue> <scene_description>Billie leaves her hand on Wendy's face. Then Wendy leans on Billie's knee and holds on.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S ROOM - NIGHT</stage_direction> <scene_description>Sean is sound asleep in his bed when the window opens. Wendy pulls herself in, falling and making a loud thud. Sean wakes up.</scene_description> <character>SEAN</character> <dialogue>Are you lost?</dialogue> <scene_description>Wendy takes his hand and slowly puts it to her face.</scene_description> <character>SEAN</character> <dialogue>You okay?</dialogue> <character>WENDY</character> <parenthetical>(softly)</parenthetical> <dialogue>I don't know what I'm doing here.</dialogue> <scene_description>Sean kisses her and Wendy immediately goes for his pants. He takes her hands, kisses each finger and then stops there.</scene_description> <character>SEAN</character> <parenthetical>(gently)</parenthetical> <dialogue>Go to sleep.</dialogue> <scene_description>Sean buries his face in her hair, and Wendy closes her eyes as they spoon.</scene_description> <character>SEAN</character> <dialogue>Just so you know, I may jump you in the middle of the night.</dialogue> <scene_description>Wendy giggles.</scene_description> <character>WENDY</character> <dialogue>Good.</dialogue> <scene_description>She drifts off to sleep.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S ROOM - NIGHT</stage_direction> <scene_description>Sean and Wendy are naked, their bodies close, their eyes open, looking at each other. Wendy looks away for a second and Sean immediately gets her gaze back. Sean is careful but passionate and Wendy is taking it all in. Her gaze wanders again.</scene_description> <character>SEAN</character> <dialogue>What are you looking at?</dialogue> <scene_description>Wendy looks back at Sean -- caught.</scene_description> <character>WENDY</character> <dialogue>Nothing. We're all alone.</dialogue> <scene_description>Wendy can see that Sean doesn't understand. She buries her face in his shoulder.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN &amp; MAYER HOUSE - DAWN</stage_direction> <scene_description>Sun rises over the two houses.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S ROOM - DAWN</stage_direction> <scene_description>Bill, dressed for work stands in the doorway of Sean's room.</scene_description> <character>HELEN</character> <dialogue>Whatcha doing?</dialogue> <character>BILL</character> <dialogue>Shhh.</dialogue> <character>HELEN</character> <parenthetical>(whispers)</parenthetical> <dialogue>Whatcha doing?</dialogue> <character>BILL</character> <dialogue>I wanted to see Sean before I went to work.</dialogue> <scene_description>Inside Sean's room we see Wendy is hiding next to the bed. Bill looks at Helen, a little mournful. INTERCUT WENDY LISTENING TO BILL/HELEN.</scene_description> <character>HELEN</character> <dialogue>No.</dialogue> <character>BILL</character> <dialogue>I didn't say anything.</dialogue> <character>HELEN</character> <dialogue>I saw it. The "Good Night Moon" look.</dialogue> <character>BILL</character> <dialogue>What?</dialogue> <character>HELEN</character> <dialogue>That look you used to get when you would be reading to Sean. That "I'm a dad" look.</dialogue> <character>BILL</character> <dialogue>I can't help it.</dialogue> <character>HELEN</character> <dialogue>You're already a dad.</dialogue> <character>BILL</character> <dialogue>I'm not arguing.</dialogue> <character>HELEN</character> <dialogue>I start next week. And we've paid off all our credit card bills. All of them. And the car?</dialogue> <character>BILL</character> <dialogue>Yeah -- so that makes it okay, a BMW?</dialogue> <character>HELEN</character> <dialogue>A Beemer. Which you wanted.</dialogue> <character>BILL</character> <dialogue>Please stop saying that.</dialogue> <character>HELEN</character> <parenthetical>(teasing him)</parenthetical> <dialogue>A blue beemer.</dialogue> <scene_description>Bill sighs.</scene_description> <character>HELEN</character> <dialogue>I don't want to be Mommy for another seventeen years.</dialogue> <character>BILL</character> <dialogue>That's fine. Just don't say we're trading a BMW for a baby.</dialogue> <character>HELEN</character> <dialogue>Sorry.</dialogue> <character>BILL</character> <dialogue>It's just, if things were different--</dialogue> <character>HELEN</character> <dialogue>--hey, I said I was sorry.</dialogue> <scene_description>Bill says nothing. Helen heads back to their bedroom.</scene_description> <character>HELEN</character> <dialogue>I'm going back to bed.</dialogue> <scene_description>Bill watches her, then grabs his briefcase.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - MORNING</stage_direction> <scene_description>It is between classes, students chat in the hallways, girls hold hands with other girls, guys wrestle each other. It all seems chaotic, but no more so than any other school. Wendy is near the lounge area when Sean jogs up and starts walking next to her.</scene_description> <character>WENDY</character> <dialogue>Don't.</dialogue> <character>SEAN</character> <dialogue>I'm walking next to you.</dialogue> <scene_description>Wendy walks faster. Sean walks with her.</scene_description> <character>WENDY</character> <dialogue>Stop it.</dialogue> <scene_description>Wendy pulls Sean into a nearby storage closet, unaware that across the hall BILLIE SEES HER GO IN THERE WITH SEAN. Billie stops, Ann doesn't notice that she has stopped and keeps walking -- Billie isn't confused. She's angry.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: CLOSET - DAY</stage_direction> <scene_description>Sean tries to kiss her, but Wendy stops him.</scene_description> <character>WENDY</character> <dialogue>I can't.</dialogue> <character>SEAN</character> <dialogue>You can't and then you can. You won't and then you do. How much more of this am I supposed to stick around for?</dialogue> <character>WENDY</character> <dialogue>Until graduation?</dialogue> <scene_description>Sean lets this sink in, then he starts to open the door.</scene_description> <character>WENDY</character> <dialogue>Wait.</dialogue> <character>SEAN</character> <dialogue>Now you want me?</dialogue> <scene_description>Wendy kisses him, trying to convince him.</scene_description> <character>WENDY</character> <dialogue>Come on. Seven months. You can't wait for me?</dialogue> <character>SEAN</character> <dialogue>If you were in the army or something, yeah, I could wait for you. You're going to hook-up with three guys for seven months. So no, I don't think so.</dialogue> <scene_description>Wendy takes his hand and puts it on her breast.</scene_description> <character>WENDY</character> <dialogue>You want what your parents have, don't you?</dialogue> <character>SEAN</character> <dialogue>I guess. They seem pretty happy.</dialogue> <character>WENDY</character> <dialogue>I guess.</dialogue> <scene_description>Wendy doesn't respond right away.</scene_description> <character>WENDY</character> <dialogue>Meet me this afternoon?</dialogue> <character>SEAN</character> <parenthetical>(trying not to give in)</parenthetical> <dialogue>I don't know.</dialogue> <scene_description>She runs his hand over her breast.</scene_description> <character>WENDY</character> <dialogue>Please.</dialogue> <character>SEAN</character> <dialogue>Maybe. Maybe.</dialogue> <scene_description>Wendy kisses him.</scene_description> <character>WENDY</character> <dialogue>Wait in here.</dialogue> <scene_description>Wendy opens the door and closes Sean in; Sean stands in the dark closet, confused.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LAB - DAY</stage_direction> <scene_description>As Wendy gets into the room she sees Billie and Ann and sits between them. Billie reaches out and grabs the skin on Wendy's elbow. It doesn't really hurt, but it quietly gets Wendy's attention.</scene_description> <character>WENDY</character> <dialogue>What the hell?</dialogue> <character>BILLIE</character> <dialogue>You have something you want to tell me?</dialogue> <character>WENDY</character> <parenthetical>(playing it off)</parenthetical> <dialogue>I stole some french fries from you yesterday at lunch.</dialogue> <scene_description>Billie pulls, harder and is about to retort when:</scene_description> <character>ALLYSON</character> <parenthetical>(in her bitchiest tone)</parenthetical> <dialogue>What's wrong girls? Did someone forget to feed the lesbian?</dialogue> <scene_description>A gay girl with a buzz cut and another gay girl with tattoos on her neck laugh.</scene_description> <character>ALLYSON</character> <dialogue>See, even the lesbians don't want you.</dialogue> <character>BILLIE</character> <dialogue>They were laughing at you, Allyson. You need to learn how it works, Al. That little man in the canoe down there won't help himself, you know. At least the guys I sleep with know what to do.</dialogue> <character>ALLYSON</character> <dialogue>You're like completely perverted.</dialogue> <character>BILLIE</character> <dialogue>Jesus. You give new meaning to the word "meaningless sex" you know? I don't mean the act. I mean the gender. Without meaning.</dialogue> <character>ALLYSON</character> <parenthetical>(barely able to breathe)</parenthetical> <dialogue>And yet, you're the ones who are still skanks.</dialogue> <scene_description>The SCIENCE TEACHER has walked in.</scene_description> <character>SCIENCE TEACHER</character> <dialogue>Excuse me?</dialogue> <character>BILLIE</character> <dialogue>I believe Allyson just referred to us as skanks. At least that's what I heard.</dialogue> <character>SCIENCE TEACHER</character> <dialogue>Allyson?</dialogue> <scene_description>The teacher leaves it at that and then starts writing on the board, back turned. Allyson flips off the girls. Billie, Wendy and Ann all put their fingers up to their mouths in a V shape and stick out their tongues.</scene_description> <character>SCIENCE TEACHER</character> <parenthetical>(without turning around)</parenthetical> <dialogue>Is there a problem girls?</dialogue> <character>BILLIE</character> <dialogue>Women. We want to be referred to as women.</dialogue> <scene_description>The teacher turns around but the girls are sitting, quietly. Ann winks at Allyson.</scene_description> <character>BILLIE</character> <parenthetical>(whispers to Wendy)</parenthetical> <dialogue>I better not have seen what I just saw. Did I see that?</dialogue> <character>WENDY</character> <dialogue>No.</dialogue> <scene_description>Billie grabs Wendy's arm a little to hard, a moment that is part violent, part desperate.</scene_description> <character>BILLIE</character> <dialogue>We'll die without you. You know that.</dialogue> <character>WENDY</character> <dialogue>I have to go to the bathroom.</dialogue> <parenthetical>(trying a joke)</parenthetical> <dialogue>You can live without me for a minute, right?</dialogue> <scene_description>Wendy slips from Billie's grasp and walks out of the classroom.</scene_description> <character>ANN</character> <parenthetical>(real worry)</parenthetical> <dialogue>What's going on?</dialogue> <character>BILLIE</character> <dialogue>Don't worry about it.</dialogue> <scene_description>Billie gives Allyson a last glare and then looks down, contemplating her plan.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - DAY</stage_direction> <scene_description>Wendy and Sean are kissing, half undressed. Wendy moves toward Sean but misjudges the distance on the narrow bed and starts to slip off. Sean tries to grab at her, but she falls. Wendy is laughing hysterically. Sean goes to help her up and she pulls him off the bed.</scene_description> <character>SEAN</character> <dialogue>Ow!</dialogue> <character>WENDY</character> <dialogue>You didn't land on your butt.</dialogue> <character>SEAN</character> <dialogue>It was just my head.</dialogue> <scene_description>They laugh.</scene_description> <character>WENDY</character> <dialogue>It wasn't that bad.</dialogue> <scene_description>She reaches over and slaps Sean on the ass.</scene_description> <character>SEAN</character> <dialogue>Ow!</dialogue> <character>WENDY</character> <dialogue>Shut up, that didn't hurt.</dialogue> <character>SEAN</character> <dialogue>Your rings?</dialogue> <character>WENDY</character> <dialogue>Oh. Sorry.</dialogue> <character>SEAN</character> <dialogue>It's okay.</dialogue> <scene_description>She hits him again. He slaps her lightly back.</scene_description> <character>WENDY</character> <dialogue>No. Hit me for real.</dialogue> <character>SEAN</character> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>Hit me for real. I want to feel what it's like to be spanked for real.</dialogue> <character>SEAN</character> <dialogue>I'm not gonna hit you.</dialogue> <scene_description>Wendy gets on the bed, Sean follows, dubious.</scene_description> <character>WENDY</character> <dialogue>I'm telling you it's okay. You're not gonna hurt me if I tell you it's okay.</dialogue> <character>SEAN</character> <parenthetical>(he is upset at the idea)</parenthetical> <dialogue>No.</dialogue> <character>WENDY</character> <dialogue>Nobody ever spanked me. Not once.</dialogue> <character>SEAN</character> <dialogue>I got spanked for stealing once. It hurt a lot. And it's cruel. I'm never spanking my kids.</dialogue> <character>WENDY</character> <parenthetical>(half playing)</parenthetical> <dialogue>You have to. Sometimes they're bad and they have to learn. I never learned. Hit me.</dialogue> <scene_description>Sean won't do it so Wendy hits him on the arm. And then the leg. She smacks his face. Sean does nothing. Then he pounces on her, turns her over and spanks her. He stops.</scene_description> <character>SEAN</character> <dialogue>This is really weird.</dialogue> <character>WENDY</character> <dialogue>Do it again. Why'd you stop?</dialogue> <character>SEAN</character> <dialogue>Cause I think this is...</dialogue> <parenthetical>(searches for word)</parenthetical> <dialogue>...abnormal.</dialogue> <scene_description>Wendy gets up.</scene_description> <character>WENDY</character> <parenthetical>(pissed off)</parenthetical> <dialogue>I'm not abnormal.</dialogue> <character>SEAN</character> <dialogue>I didn't say you were. I said that this was just...</dialogue> <character>WENDY</character> <dialogue>No fine, I'm totally abnormal and you just want the girl next door.</dialogue> <character>SEAN</character> <dialogue>You are the girl next door.</dialogue> <character>WENDY</character> <dialogue>You know what I mean.</dialogue> <character>SEAN</character> <dialogue>Come back.</dialogue> <scene_description>Wendy sits on the side of the bed.</scene_description> <character>WENDY</character> <dialogue>I have Calculus to do.</dialogue> <character>SEAN</character> <dialogue>So do I.</dialogue> <character>WENDY</character> <dialogue>So get to work.</dialogue> <character>SEAN</character> <dialogue>Don't you want me to take you out on dates?</dialogue> <character>WENDY</character> <dialogue>Shouldn't you have done that before we had sex?</dialogue> <parenthetical>(Sean doesn't laugh)</parenthetical> <dialogue>I don't know how to be a girlfriend. I'm not sure I want to know.</dialogue> <character>SEAN</character> <dialogue>Come here.</dialogue> <scene_description>Wendy doesn't move.</scene_description> <character>WENDY</character> <dialogue>What do you want?</dialogue> <character>SEAN</character> <dialogue>World fucking peace.</dialogue> <character>WENDY</character> <dialogue>Hey look, it's Sarcastic Man. Able to be a jerk in a single bound.</dialogue> <character>SEAN</character> <dialogue>Bite me.</dialogue> <scene_description>She does. He laughs. Sean flips Wendy over and spanks her lightly, once.</scene_description> <character>WENDY</character> <dialogue>It doesn't feel like much.</dialogue> <scene_description>Sean hits her again, testing his strength.</scene_description> <character>SEAN</character> <dialogue>You guys never did this before? On your Saturday nights?</dialogue> <character>WENDY</character> <dialogue>No.</dialogue> <character>SEAN</character> <dialogue>I don't believe you.</dialogue> <character>WENDY</character> <dialogue>Are we talking or spanking?</dialogue> <scene_description>Sean hits Wendy hard, harder than he has before.</scene_description> <character>WENDY</character> <dialogue>Shit. Ow. Everyone has to be into it. We all have to agree and some people don't like to get spanked, I guess.</dialogue> <character>SEAN</character> <dialogue>Do you?</dialogue> <scene_description>He hits her again. She reaches back and hits him.</scene_description> <character>SEAN</character> <dialogue>You can't hit me.</dialogue> <character>WENDY</character> <dialogue>We have rules now?</dialogue> <character>SEAN</character> <parenthetical>(getting nasty)</parenthetical> <dialogue>I thought you'd like it if we had rules. Don't you guys have rules in your club.</dialogue> <character>WENDY</character> <dialogue>Don't call it a club!</dialogue> <character>SEAN</character> <dialogue>What else would you call it?</dialogue> <character>WENDY</character> <dialogue>We're friends. We've known each other since we were in elementary school. I love them.</dialogue> <scene_description>Sean smacks her, three times. Wendy finally loses her temper and pulls herself up and away from him.</scene_description> <character>SEAN</character> <parenthetical>(shrugging)</parenthetical> <dialogue>It's your game.</dialogue> <scene_description>Wendy thinks for a moment.</scene_description> <character>WENDY</character> <dialogue>You make it sound perverted. Calling it a club.</dialogue> <character>SEAN</character> <dialogue>You don't think it's perverted?</dialogue> <scene_description>Sean looks at her, still pouting a little.</scene_description> <character>WENDY</character> <dialogue>I never worry. Like about if I'm pretty, or sexy. I never worry about parties or being alone -- cause we love each other. And I know you think it's weird, or whorish. But my friends are cool people.</dialogue> <character>SEAN</character> <dialogue>Who you like to fuck.</dialogue> <character>WENDY</character> <dialogue>So? I like sleeping with you too. And you're never gonna make me feel like they do.</dialogue> <scene_description>A pause and then Sean moves towards her, but she backs away.</scene_description> <character>SEAN</character> <dialogue>Are those the only rules?</dialogue> <character>WENDY</character> <dialogue>Be honest. That's the only other one.</dialogue> <character>SEAN</character> <parenthetical>(softening)</parenthetical> <dialogue>I guess you're breaking that one with me?</dialogue> <character>WENDY</character> <dialogue>Yeah.</dialogue> <scene_description>Wendy looks in his eyes.</scene_description> <character>SEAN</character> <dialogue>Were you lying?</dialogue> <character>WENDY</character> <dialogue>When?</dialogue> <character>SEAN</character> <dialogue>When you said you loved me?</dialogue> <character>WENDY</character> <dialogue>I never said that.</dialogue> <character>SEAN</character> <dialogue>But you do.</dialogue> <scene_description>A beat.</scene_description> <character>WENDY</character> <dialogue>Yeah.</dialogue> <character>SEAN</character> <dialogue>Say it then.</dialogue> <character>WENDY</character> <dialogue>I love you.</dialogue> <character>SEAN</character> <dialogue>Yeah.</dialogue> <scene_description>She hits him.</scene_description> <character>WENDY</character> <dialogue>Say it back!</dialogue> <character>SEAN</character> <dialogue>Maybe.</dialogue> <scene_description>A pause as she looks at him.</scene_description> <character>WENDY</character> <dialogue>You don't have to--</dialogue> <character>SEAN</character> <dialogue>I love you.</dialogue> <character>WENDY</character> <dialogue>We kiss now, right?</dialogue> <scene_description>They move to kiss.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE: STREET - NIGHT</stage_direction> <scene_description>This parking lot is in front of a large house, where the house party rages inside.</scene_description> <character>TEEN GIRL #9</character> <parenthetical>(sitting on a car)</parenthetical> <dialogue>There's two types of lesbians. Girls who actually wanna do it with other girls, and girls who just wanna make guys go crazy.</dialogue> <character>TEEN GIRL #10</character> <parenthetical>(standing nearby, smirking)</parenthetical> <dialogue>Or, not popular, and popular.</dialogue> <character>TEEN GIRL #9</character> <dialogue>It's stupid. Like I have to kiss a girl to get a guy. What moron thought that up?</dialogue> <scene_description>Her boyfriend comes up and scoops her into his arms, kissing her and carrying her away. She waves a sweet "bye-bye" to the camera.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: FRONT DOOR - DAY</stage_direction> <scene_description>Helen sits on the front stairs with a cordless phone, calling someone. She gets no answer, then she chucks the phone into the bushes. It makes a beep, and she scrambles after it.</scene_description> <character>HELEN</character> <dialogue>Hello?</dialogue> <scene_description>Nothing. She throws the phone back on the ground.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: DRIVEWAY - DAY</stage_direction> <scene_description>Wendy's car pulls into the driveway. Nathan notices Helen is sleeping on the front steps, the phone in her hands. Wendy looks as well. Nathan opens the door.</scene_description> <character>NATHAN</character> <dialogue>I'll be right back.</dialogue> <character>WENDY</character> <dialogue>Don't. It's not our business.</dialogue> <character>NATHAN</character> <dialogue>What if she's hurt?</dialogue> <scene_description>Wendy has no answer to that, so she lets Nathan go to the house then after a beat she follows him.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: FRONT DOOR - DAY</stage_direction> <scene_description>Wendy and Nathan slowly approach the front steps.</scene_description> <character>NATHAN</character> <dialogue>Ummm.</dialogue> <scene_description>There is a small twitch from Helen, so he tries again.</scene_description> <character>NATHAN</character> <dialogue>Ummmm. Hi.</dialogue> <scene_description>Helen opens her eyes, looking at Nathan; her hair is stuck to the side of her face. Nathan is, as always, overwhelmed by her beauty. Wendy is more shocked.</scene_description> <character>HELEN</character> <dialogue>Oh. God this must seem... I mean, you must think--</dialogue> <character>NATHAN</character> <dialogue>You're locked out, huh?</dialogue> <character>HELEN</character> <dialogue>Not exactly. Bill's late and I don't have a car. I have somewhere to be.</dialogue> <scene_description>Nathan takes a step back. But Wendy stays still, something about Helen makes her want to stay and help.</scene_description> <character>WENDY</character> <dialogue>Do you need a ride?</dialogue> <character>HELEN</character> <dialogue>It's fine. I can call a taxi or something.</dialogue> <character>WENDY</character> <dialogue>No. That's crazy. Seriously, we want to take you.</dialogue> <scene_description>Nathan nods.</scene_description> </scene> <scene> <stage_direction>INT. WENDY'S CAR: DRIVING - DAY</stage_direction> <scene_description>Helen sits in the front seat while Wendy drives; everyone is quiet for a beat.</scene_description> <character>WENDY</character> <dialogue>My mom's prom date never showed.</dialogue> <character>HELEN</character> <parenthetical>(mean)</parenthetical> <dialogue>That's not the same thing.</dialogue> <parenthetical>(after a beat)</parenthetical> <dialogue>Actually it's exactly the same thing. That jackass. We might as well be in high school.</dialogue> <parenthetical>(suddenly yelling)</parenthetical> <character>DAMMIT!</character> <parenthetical>(and then back to "normal")</parenthetical> <dialogue>We should go back. You shouldn't be driving me places. This is completely through the looking glass.</dialogue> <character>WENDY</character> <dialogue>You want to go back?</dialogue> <character>HELEN</character> <dialogue>If by back you mean Chicago, then yes. I wanna go back.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>No. Keep going. It's on Duane. About three blocks away I guess.</dialogue> <character>WENDY</character> <dialogue>Oh.</dialogue> <scene_description>Helen wonders what Wendy knows about what is on Duane.</scene_description> <character>HELEN</character> <parenthetical>(suddenly very much a mother)</parenthetical> <dialogue>It's not...you shouldn't worry about me, okay? I'm fine. Okay?</dialogue> <parenthetical>(glances at Nathan)</parenthetical> <dialogue>And you can't come in.</dialogue> <parenthetical>(she sits back)</parenthetical> <dialogue>Sean says you want to be a scientist.</dialogue> <character>WENDY</character> <dialogue>He did?</dialogue> <character>HELEN</character> <dialogue>Do you?</dialogue> <character>WENDY</character> <dialogue>Yeah. I guess I do. Maybe a physicist or something in engineering. It's not exactly something they teach at school.</dialogue> <character>HELEN</character> <dialogue>I took Chemistry in college because Bill, Sean's dad, was in it. And I just was so smitten with him. And then when it turned out I was better at it -- more gifted I guess -- he was incredibly sweet about it.</dialogue> <character>WENDY</character> <dialogue>I'm just in the regular classes.</dialogue> <character>HELEN</character> <dialogue>This summer, maybe we can find you an internship or something. I'll look into it for you. It'll be good for college, some practical education.</dialogue> </scene> <scene> <stage_direction>EXT. DOCTOR'S OFFICE - DAY</stage_direction> <scene_description>The car pulls to a stop.</scene_description> <character>NATHAN</character> <dialogue>I remember this place. We got our vaccinations near here.</dialogue> <character>WENDY</character> <dialogue>We'll wait.</dialogue> <scene_description>Helen looks at Wendy in a quick thank you and then gets out of the car; Wendy turns the car around and parks, then looks at the entrance to the doctor's office and sighs deeply.</scene_description> <character>NATHAN</character> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>Nothing. It just sucks, watching someone be alone.</dialogue> <scene_description>Nathan looks at Wendy and then there's a long pause as they both sit in the car. They both stretch out their legs, so they are facing each other, Nathan in back, Wendy in front.</scene_description> <character>NATHAN</character> <dialogue>I think I might have farted in gym yesterday.</dialogue> <character>WENDY</character> <parenthetical>(trying not to laugh)</parenthetical> <dialogue>Okay. You think so?</dialogue> <character>NATHAN</character> <dialogue>Well we were running laps. And there was a noise. And I think it was my shoes. But then Andy says, "Whew, stop with the beans, Bergman." And then nobody would run behind me. And running is the only thing I can do in gym other than wrestle. But it probably wasn't me -- I mean gym is pretty smelly already, you know?</dialogue> <character>WENDY</character> <dialogue>He's a jackass. His brother is a jackass and his father is a huge ass. He has a genetic predisposition to asshole.</dialogue> <scene_description>Nathan smiles a thank you to Wendy and then there is another long silence.</scene_description> <character>NATHAN</character> <parenthetical>(picking up Wendy's comment from before)</parenthetical> <dialogue>But when do you see people when they aren't alone?</dialogue> <character>WENDY</character> <dialogue>Huh?</dialogue> <character>NATHAN</character> <dialogue>Before, you said it sucked watching someone be alone. Like you never see that. When do you watch people and they aren't alone?</dialogue> <character>WENDY</character> <dialogue>Are you serious? All the time. People are always around other people. We're social, you know, as animals.</dialogue> <character>NATHAN</character> <dialogue>I guess.</dialogue> <character>WENDY</character> <dialogue>Like right now, we're together, and not alone.</dialogue> <character>NATHAN</character> <parenthetical>(dubious)</parenthetical> <dialogue>Okay.</dialogue> <character>WENDY</character> <dialogue>You're here with me, right? I mean, you're not a figment of my imagination, are you?</dialogue> <character>NATHAN</character> <dialogue>No.</dialogue> <character>WENDY</character> <dialogue>So I'm not alone, and you're not alone.</dialogue> <character>NATHAN</character> <dialogue>I don't think that's what it means.</dialogue> <character>WENDY</character> <dialogue>What?</dialogue> <character>NATHAN</character> <dialogue>Alone. I don't think that's the definition of alone.</dialogue> <scene_description>Wendy looks at Nathan and laughs.</scene_description> <character>WENDY</character> <dialogue>You are so weird.</dialogue> <character>NATHAN</character> <parenthetical>(proudly)</parenthetical> <dialogue>I know.</dialogue> <scene_description>Wendy smiles at him and then resumes looking out the window at the building. Nathan starts to say something to Wendy.</scene_description> <character>NATHAN</character> <dialogue>I go to school with you, you know.</dialogue> <character>WENDY</character> <parenthetical>(not looking at him)</parenthetical> <dialogue>Yeah?</dialogue> <character>NATHAN</character> <dialogue>So I know--</dialogue> <scene_description>Wendy sits up.</scene_description> <character>WENDY</character> <dialogue>Don't. Okay?</dialogue> </scene> <scene> <stage_direction>INT. ROBERT'S HOUSE: LIVING ROOM - NIGHT</stage_direction> <scene_description>The couples are now Wendy and Jonah, Robert and Billie, and Ann and Price. All three guys are sitting, shirts off. The girls are in shirts and underwear, the guys are in boxers. The six boxes are stacked nearby, closed. Billie watches Wendy closely as each couple is making out. Wendy is trying to focus on Jonah but she feels awkward, she keeps sitting, pulling her hair off her face. Jonah is trying to keep in the moment, but something is off, he knows it. She puts her hand down on him and then pulls it away. She sits up, then re-settles.</scene_description> <character>BILLIE</character> <dialogue>She won't do it, will she?</dialogue> <scene_description>Everyone stops. Wendy stands up but doesn't leave.</scene_description> <character>BILLIE</character> <dialogue>You thinking of running away? Maybe we should try that whole fantasy thing Jonah was talking about. Hold you down, make you scream.</dialogue> <character>ROBERT</character> <dialogue>Shut up, Billie.</dialogue> <character>BILLIE</character> <dialogue>You have no idea what it means if she leaves right now.</dialogue> <character>ANN</character> <parenthetical>(confused)</parenthetical> <dialogue>It doesn't mean anything.</dialogue> <parenthetical>(to Wendy)</parenthetical> <dialogue>Right?</dialogue> <scene_description>Wendy can't speak.</scene_description> <character>JONAH</character> <parenthetical>(to Billie)</parenthetical> <dialogue>We're fine. Stop being such a brat.</dialogue> <scene_description>Now Ann sits up and pulls away from Price. Everything is breaking down.</scene_description> <character>ANN</character> <dialogue>You can't force her. That's a rule.</dialogue> <character>PRICE</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>We can stop if you want to.</dialogue> <character>ANN</character> <dialogue>Yeah, we can stop.</dialogue> <character>BILLIE</character> <dialogue>We can't fucking stop.</dialogue> <scene_description>Billie stands up.</scene_description> <character>BILLIE</character> <dialogue>We don't stop, we don't turn back.</dialogue> <character>ROBERT</character> <parenthetical>(to Billie)</parenthetical> <dialogue>Hey, psycho, let me know when Billie returns.</dialogue> <character>BILLIE</character> <dialogue>Fuck you.</dialogue> <scene_description>Billie advances on Wendy, she isn't wearing her underwear and that seems to make her bolder.</scene_description> <character>BILLIE</character> <dialogue>Look at me. Look at you. We're seventeen. We'll never look like this again. Our bodies want it, we want it.</dialogue> <character>WENDY</character> <dialogue>I don't want it.</dialogue> <scene_description>Billie storms over to Wendy and hits her hard with a closed fist. Suddenly the guys are pulling them apart, not before Wendy hits back, just as viciously.</scene_description> <character>WENDY</character> <dialogue>You bitch.</dialogue> <character>BILLIE</character> <dialogue>Original.</dialogue> <scene_description>The guys keep them separated but Billie is still fighting.</scene_description> <character>PRICE</character> <parenthetical>(trying for a joke)</parenthetical> <dialogue>Break out the mud. Or the jello.</dialogue> <scene_description>Nobody laughs.</scene_description> <character>BILLIE</character> <dialogue>You either do Jonah right now, or you are so completely gone.</dialogue> <character>WENDY</character> <dialogue>Excuse me?</dialogue> <character>JONAH</character> <dialogue>Hold on.</dialogue> <character>WENDY</character> <dialogue>I "do" him? We don't "do" each other.</dialogue> <scene_description>Billie breaks free and grabs Wendy by the back of the neck and forces her towards Jonah.</scene_description> <character>BILLIE</character> <dialogue>I'm not kidding you.</dialogue> <scene_description>Jonah backs away and Robert grabs Billie, giving Wendy a chance to break free.</scene_description> <character>ANN</character> <dialogue>Let's just stop. We'll have some food. Or watch a DVD.</dialogue> <character>BILLIE</character> <dialogue>Shut up Ann.</dialogue> <character>ROBERT</character> <dialogue>Billie!</dialogue> <character>BILLIE</character> <dialogue>You all shut up.</dialogue> <scene_description>Wendy breaks free and moves towards Billie.</scene_description> <character>BILLIE</character> <dialogue>You gonna go home and cry to your boyfriend about how you almost cheated on him?</dialogue> <character>WENDY</character> <dialogue>Shut up.</dialogue> <character>PRICE</character> <dialogue>Hold on.</dialogue> <character>ANN</character> <dialogue>What's she talking about?</dialogue> <scene_description>The guys and Ann look at Wendy.</scene_description> <character>ANN</character> <dialogue>Wendy?</dialogue> <character>PRICE</character> <dialogue>She's cheating on us?</dialogue> <scene_description>There's a beat as Wendy doesn't say anything. She isn't denying it and one by one the group gets it -- she is cheating on them.</scene_description> </scene> <scene> <stage_direction>EXT. ROBERT'S HOUSE: FRONT DOOR - NIGHT</stage_direction> <scene_description>Wendy stumbles out of the house, crying. As the door shuts we see Billie standing, Ann behind her, the guys behind Ann - all watching Wendy go.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - NIGHT</stage_direction> <scene_description>Wendy gets to her street, the Brown Sedan, parked as it always is on the side of the road with two people in it, the windows fogging up. Wendy stops and looks at it, then knocks on the window. No answer. She knocks louder and then opens the door revealing an 18-year-old COUPLE. Her shirt is unbuttoned, his is off.</scene_description> <character>WENDY</character> <dialogue>Hey there!</dialogue> <character>MAKE-OUT GUY</character> <dialogue>What the hell--</dialogue> <scene_description>Guy goes to shut the door, but Wendy is standing in the way.</scene_description> <character>WENDY</character> <parenthetical>(to girl)</parenthetical> <dialogue>That's your boyfriend, right?</dialogue> <parenthetical>(the girl says "Yes." Wendy keeps going)</parenthetical> <dialogue>You're dating and all couply and you love him and he loves you and you're thinking about babies and marriage or maybe marriage and then babies or like a house and some furniture, right?</dialogue> <character>MAKE-OUT GIRL</character> <parenthetical>(to guy)</parenthetical> <dialogue>Shut the door.</dialogue> <scene_description>But he can't.</scene_description> <character>WENDY</character> <parenthetical>(to girl)</parenthetical> <dialogue>You know what's totally fucked up? That you never hear anybody say that they are a girlfriend. They're "my girlfriend." That's my dog, or that's my car.</dialogue> <character>MAKE-OUT GUY</character> <dialogue>It is my car.</dialogue> <character>WENDY</character> <parenthetical>(to Girl)</parenthetical> <dialogue>You're pathetic. You're like this barely conscious amoeba willing to give away your identity for a penis to call your own.</dialogue> <scene_description>Wendy suddenly slams the door in the guy's face.</scene_description> <character>WENDY</character> <parenthetical>(into the window)</parenthetical> <dialogue>I'd rather never have sex again than be you.</dialogue> <scene_description>She turns on her heel and stumbles toward home.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S ROOM - NIGHT</stage_direction> <scene_description>Wendy watches Sean sleep. She doesn't wake him up, but sits on the floor near his bed, looking at Sean's hands. He opens his eyes.</scene_description> <character>WENDY</character> <dialogue>Hi.</dialogue> <scene_description>Sean, still half asleep, opens the covers but Wendy doesn't move. Sean slides down and gets on the floor next to her.</scene_description> <character>SEAN</character> <dialogue>It's over?</dialogue> <character>WENDY</character> <dialogue>No. But I'm all yours.</dialogue> <scene_description>Wendy smiles at him. DISSOLVE TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN &amp; MAYER HOUSE - MORNING</stage_direction> <scene_description>A Monday morning -- seen from above: Sean, Wendy and Nathan get into Wendy's car and drive away. Helen comes out of the house and looks around, Abby is getting in her car and gives Helen a wave. Helen is left all alone.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: HANGAR - MORNING</stage_direction> <scene_description>Sean and Wendy walk into school, holding hands. Wendy looks down at their hands entwined.</scene_description> <character>WENDY</character> <dialogue>This is okay?</dialogue> <character>SEAN</character> <dialogue>You tell me.</dialogue> <character>WENDY</character> <dialogue>It's not too cute?</dialogue> <scene_description>Sean looks around.</scene_description> <character>WENDY</character> <dialogue>What?</dialogue> <character>SEAN</character> <dialogue>I'm just wondering who you are worried about seeing us hold hands.</dialogue> <scene_description>Wendy stops.</scene_description> <character>WENDY</character> <dialogue>This is hard for me. Be nice.</dialogue> <character>SEAN</character> <dialogue>I am!</dialogue> <scene_description>A pause.</scene_description> <character>WENDY</character> <dialogue>Be nice.</dialogue> <character>SEAN</character> <dialogue>Fine. I'm being nice.</dialogue> <scene_description>He skips around her, still holding her hand. Wendy laughs until she sees Robert and Jonah walking into school behind them. She pulls Sean into the school, but he is still goofing off.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - MORNING</stage_direction> <scene_description>Sean follows Wendy into the school, then throws his arm around her. Across the lounge, Wendy sees Billie and Ann, fighting. Billie grabs Ann's arm, almost shaking her, she's furious. Ann pulls away, and walks towards Wendy, who separates from Sean. Wendy and Ann face each other, but instead of talking to Wendy, Ann just stands in front of her, crying. There is a long pause as Wendy and Ann look at each other.</scene_description> <character>ANN</character> <parenthetical>(softly)</parenthetical> <dialogue>I hate you.</dialogue> <scene_description>Ann walks past Wendy.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: BATHROOM - MORNING</stage_direction> <scene_description>Wendy stands in the bathroom, trying to catch her breath and calm down. She looks in the mirror, pushes her hair forward so she can hide behind it. She gives herself a moment and then turns to go but standing in her way is Ryan.</scene_description> <character>WENDY</character> <dialogue>What?</dialogue> <character>RYAN</character> <dialogue>You left.</dialogue> <character>WENDY</character> <dialogue>Where's Aaron?</dialogue> <scene_description>Wendy takes a step forward but Ryan doesn't move and Wendy stops. There's a pause and then Ryan throws her arms dramatically around Wendy.</scene_description> <character>WENDY</character> <dialogue>Jesus.</dialogue> <scene_description>Ryan pulls away violently and holds Wendy at arms length.</scene_description> <character>RYAN</character> <dialogue>You left. So now's not the time to push people away.</dialogue> <character>WENDY</character> <parenthetical>(still snide)</parenthetical> <dialogue>Yeah? What's it time for, Ryan?</dialogue> <character>RYAN</character> <dialogue>You're lucky. With me, Aaron was all I had once I left. But you have me, Aaron AND Sean.</dialogue> <character>WENDY</character> <parenthetical>(her attitude fading)</parenthetical> <dialogue>How lucky for me.</dialogue> <character>RYAN</character> <dialogue>I knew you would leave.</dialogue> <character>WENDY</character> <dialogue>You don't know shit.</dialogue> <scene_description>Ryan laughs.</scene_description> <character>WENDY</character> <dialogue>What?</dialogue> <character>RYAN</character> <dialogue>You just sound ridiculous when you swear. You always did.</dialogue> <scene_description>Wendy laughs, relaxing a little.</scene_description> <character>RYAN</character> <dialogue>You're here. You're out.</dialogue> <character>WENDY</character> <dialogue>What's up with those shoes?</dialogue> <scene_description>Ryan looks down at the heels.</scene_description> <character>RYAN</character> <dialogue>Aaron likes them.</dialogue> <character>WENDY</character> <dialogue>So?</dialogue> <character>RYAN</character> <dialogue>I like doing nice things for him.</dialogue> <character>WENDY</character> <dialogue>Why'd you quit Amnesty? And Student Government?</dialogue> <character>RYAN</character> <parenthetical>(lying)</parenthetical> <dialogue>Billie. I wanted my afternoons free.</dialogue> <character>WENDY</character> <dialogue>You quit for Aaron, didn't you?</dialogue> <scene_description>Ryan sighs.</scene_description> <character>RYAN</character> <dialogue>You know how he hated waiting around for us every afternoon?</dialogue> <character>WENDY</character> <dialogue>So you quit?</dialogue> <scene_description>A beat.</scene_description> <character>RYAN</character> <dialogue>Sean's great.</dialogue> <character>WENDY</character> <dialogue>We're comparing boyfriends?</dialogue> <character>RYAN</character> <dialogue>Come out with us.</dialogue> <character>WENDY</character> <dialogue>I don't know.</dialogue> <character>RYAN</character> <dialogue>Come on. It'll be fun.</dialogue> <scene_description>Wendy pushes past Ryan, and goes back out into the school. Sean is waiting for her, and they walk off, arm in arm.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: BACKYARD - DAY</stage_direction> <scene_description>Nathan is standing at the back door, holding a Cruset pan that is steaming. Pulling back a little we can see Bill is looking down at him, a strange and confused look on his face.</scene_description> <character>NATHAN</character> <dialogue>Is Helen here?</dialogue> <character>BILL</character> <dialogue>Ummm.</dialogue> <character>NATHAN</character> <parenthetical>(persistent)</parenthetical> <dialogue>Can you tell her Nathan is here?</dialogue> <character>BILL</character> <dialogue>This isn't a good--</dialogue> <parenthetical>(of the dish)</parenthetical> <dialogue>What is that?</dialogue> <character>NATHAN</character> <dialogue>Glazed salmon and a risotto. I promised when I got it right, she could have it so...</dialogue> <scene_description>Bill is seeing that the kid is smitten.</scene_description> <character>BILL</character> <dialogue>Listen, Nathan? We're kind of in the middle of something here so if you could uh... I guess leave that here? Or a message.</dialogue> <character>NATHAN</character> <dialogue>Maybe you could just tell her--</dialogue> <character>BILL</character> <dialogue>I have to get back inside.</dialogue> <scene_description>He reaches for the pan, and Nathan reluctantly gives it up. Bill is almost inside.</scene_description> <character>NATHAN</character> <parenthetical>(after a beat)</parenthetical> <dialogue>You're welcome.</dialogue> <character>BILL</character> <dialogue>Excuse me?</dialogue> <character>NATHAN</character> <dialogue>You're welcome. For the salmon.</dialogue> <character>BILL</character> <parenthetical>(dismissive)</parenthetical> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. MAYER HOUSE: PANTRY - DAY</stage_direction> <scene_description>Bill kicks the door shut hard and then sees that HELEN HAS BEEN STANDING THERE THE WHOLE TIME.</scene_description> <character>BILL</character> <dialogue>An overgrown hobbit just delivered a salmon to our door.</dialogue> <character>HELEN</character> <dialogue>You are such a shit.</dialogue> <character>BILL</character> <dialogue>What?</dialogue> <character>HELEN</character> <dialogue>He's a nice kid.</dialogue> <character>BILL</character> <dialogue>We're in the middle of you hating me. So I'm sorry if our marriage took precedence over Iron Chef.</dialogue> <character>HELEN</character> <dialogue>He's my friend.</dialogue> <character>BILL</character> <parenthetical>(whining)</parenthetical> <dialogue>He's fourteen years old!</dialogue> <character>HELEN</character> <dialogue>He's very helpful.</dialogue> <scene_description>Bill looks at her, he is trying to decide what she means, but Helen is heading out the door.</scene_description> <character>BILL</character> <dialogue>Where are you going?</dialogue> <character>HELEN</character> <dialogue>To do what I always do, fix what you broke.</dialogue> <scene_description>Helen goes out the back door, turns around so she can see Bill's reaction as she slams the door in his face.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: BACKYARD - DAY</stage_direction> <scene_description>Helen turns and Nathan is right there, still in her backyard, waiting for her. He has been listening to Helen and Bill fight.</scene_description> <character>HELEN</character> <dialogue>I'm sorry.</dialogue> <character>NATHAN</character> <dialogue>Me, too.</dialogue> <character>HELEN</character> <parenthetical>(completely maternal)</parenthetical> <dialogue>You have nothing to be sorry for.</dialogue> <character>NATHAN</character> <dialogue>I'm sorry you're married to him.</dialogue> <scene_description>Helen laughs and then Nathan joins in. Her laughter dies down and so does his -- were their ages closer together or this a different world, they would kiss now. But instead.</scene_description> <character>NATHAN</character> <dialogue>I should go inside. I'm glad you're feeling better.</dialogue> <scene_description>Helen is silent, overwhelmed by Nathan's grace and maturity; even Nathan is a little overwhelmed by the moment. He walks in his own back door. Helen turns to go back into her own house.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: WENDY'S ROOM - NIGHT</stage_direction> <scene_description>Wendy stands in the middle of her room holding a phone in her hand. She starts to dial and then puts the phone down. She tries again, but then stops. She puts the phone away and sits on her bed, opening a book. She lies on her stomach, then on her back, then she kicks off her shoes, she scooches around on her bed. She closes the book, then opens it up again, but doesn't read. Then she just sits there. Alone. And doesn't know what to do. She stands and we follow her to Nathan's room, but his door is locked. Wendy stands, alone, in the hallway. She looks lost in her own home -- which of course she is. Wendy hears something downstairs.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - NIGHT</stage_direction> <scene_description>Wendy comes into the kitchen, trying to act nonchalant and takes out some ice cream and a spoon and absently eating. Abby is unpacking a tote bag full of work and carries a briefcase; she has a laptop set up in the kitchen. Wendy watches, just relieved for the company.</scene_description> <character>ABBY</character> <dialogue>Hey.</dialogue> <character>WENDY</character> <dialogue>Hey.</dialogue> <scene_description>Wendy offers her mom some ice cream.</scene_description> <character>ABBY</character> <dialogue>Thanks.</dialogue> <scene_description>They eat in silence.</scene_description> <character>ABBY</character> <parenthetical>(trying)</parenthetical> <dialogue>Work was good. I thought I'd try being here for awhile.</dialogue> <character>WENDY</character> <dialogue>We're fine. You're not missing much.</dialogue> <character>ABBY</character> <dialogue>I'm a terrible cook anyhow. Good thing your brother learned. Though he charged eight hundred dollars worth of salmon this week. Salmon isn't the new dope, is it?</dialogue> <character>WENDY</character> <dialogue>Dope?</dialogue> <character>ABBY</character> <parenthetical>(she finishes the ice cream and takes it to the garbage)</parenthetical> <dialogue>Did you see our new neighbors?</dialogue> <character>WENDY</character> <parenthetical>(carefully)</parenthetical> <dialogue>Yeah. We met them, like weeks ago.</dialogue> <character>ABBY</character> <dialogue>How many of "them" are there?</dialogue> <character>WENDY</character> <dialogue>Mom, dad and son. They seem nice. Sean -- he's in my ethics and my Greek lit class.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I think school tripped him out.</dialogue> <character>ABBY</character> <dialogue>Is he cute?</dialogue> <character>WENDY</character> <dialogue>Yeah.</dialogue> <character>ABBY</character> <dialogue>Every mother dreams her son will fall in love with the girl next door.</dialogue> <character>WENDY</character> <parenthetical>(trying to keep control)</parenthetical> <dialogue>I'm not the girl next door.</dialogue> <character>ABBY</character> <dialogue>You're not a traditional girl next door, true. You still have something special.</dialogue> <scene_description>She goes to push Wendy's hair off her face. Wendy ducks away from her touch.</scene_description> <character>WENDY</character> <dialogue>Mom!</dialogue> <character>ABBY</character> <dialogue>Sorry. I got lost in the moment. It won't happen again.</dialogue> <character>WENDY</character> <dialogue>You're so needy.</dialogue> <character>ABBY</character> <parenthetical>(hurt)</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>Wendy gets up and goes. She turns and looks at her mom sitting alone. She feels bad.</scene_description> <character>ABBY</character> <dialogue>Don't you look at me like that. I'm not to be pitied.</dialogue> <character>WENDY</character> <dialogue>I wasn't.</dialogue> <character>ABBY</character> <dialogue>Every time you look at me I think you're tallying up all the things I don't have.</dialogue> <character>WENDY</character> <dialogue>I'm not--</dialogue> <character>ABBY</character> <dialogue>It's okay. I'm just a lot happier than you give me credit for.</dialogue> <parenthetical>(she smiles)</parenthetical> <dialogue>Where are the girls tonight?</dialogue> <scene_description>Wendy doesn't answer so Abby goes back to work, and after a moment, Wendy leaves.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: FRONT DOOR - NIGHT</stage_direction> <scene_description>Wendy comes out of her house, breathes deeply and sits on the front steps.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN HOUSE: FRONT DOOR - NIGHT</stage_direction> <scene_description>Wendy opens the door to find Jonah standing there.</scene_description> <character>WENDY</character> <dialogue>Hi.</dialogue> <character>JONAH</character> <dialogue>Hey. You look nice.</dialogue> <character>WENDY</character> <dialogue>Thanks.</dialogue> <scene_description>An awkward moment, and then he hugs her.</scene_description> <character>JONAH</character> <dialogue>You're okay, right?</dialogue> <character>WENDY</character> <dialogue>Yeah.</dialogue> <character>JONAH</character> <dialogue>He didn't put some sort of voodoo spell on you, did he?</dialogue> <scene_description>Wendy laughs.</scene_description> <character>WENDY</character> <dialogue>No.</dialogue> <character>JONAH</character> <dialogue>Good.</dialogue> <scene_description>A beat.</scene_description> <character>JONAH</character> <dialogue>I wanted to leave once. Before Ryan and Aaron even.</dialogue> <character>WENDY</character> <dialogue>What happened?</dialogue> <character>JONAH</character> <dialogue>Too chicken, I guess.</dialogue> <character>WENDY</character> <parenthetical>(choosing her words carefully)</parenthetical> <dialogue>For a...guy?</dialogue> <character>JONAH</character> <dialogue>Yeah.</dialogue> <character>WENDY</character> <dialogue>You can go anywhere next year. Or you could leave now.</dialogue> <character>JONAH</character> <dialogue>Are you having fun?</dialogue> <character>WENDY</character> <dialogue>No. Not really.</dialogue> <character>JONAH</character> <dialogue>Anyway, I just wanted to tell you I was proud of you. It was brave. Stupid, but brave. I wish I could have done it, but...whatever.</dialogue> <parenthetical>(he smiles at her)</parenthetical> <dialogue>I made a choice. Nobody's fault, right?</dialogue> <scene_description>Jonah hugs her again, holding her close.</scene_description> <character>WENDY</character> <dialogue>I miss you.</dialogue> <scene_description>Wendy watches Jonah walk away.</scene_description> </scene> <scene> <stage_direction>EXT. ROBERT'S HOUSE: FRONT DOOR - NIGHT</stage_direction> <scene_description>Match cut to Robert's front steps, where Billie and Wendy usually sit.</scene_description> </scene> <scene> <stage_direction>INT. BILLIE'S CAR - NIGHT</stage_direction> <scene_description>Billie and Ann sit in Billie's car outside Robert's house. Billie is looking at the front stairs. Ann starts to cry softly.</scene_description> <character>BILLIE</character> <dialogue>What are you doing?</dialogue> <character>ANN</character> <dialogue>I miss her.</dialogue> <character>BILLIE</character> <dialogue>Fuck her.</dialogue> <scene_description>Ann keeps crying.</scene_description> <character>BILLIE</character> <dialogue>What is wrong with you?</dialogue> <scene_description>Ann opens the car door and tries to leave. Her seatbelt is still on. She removes it and then runs from the car, leaving the door open. Billie reaches over and slams the door shut.</scene_description> <character>BILLIE</character> <dialogue>Fuck you, too.</dialogue> <scene_description>Billie sits there, watching Robert's house.</scene_description> </scene> <scene> <stage_direction>EXT. BERGMAN &amp; MAYER HOUSE - DAY</stage_direction> <scene_description>Everyone has already left for the day. Sprinklers start up and spray the lawns.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - DAY</stage_direction> <scene_description>Wendy gets to her locker, then realizes that Billie is standing nearby. Wendy doesn't look at her right away.</scene_description> <character>BILLIE</character> <dialogue>Your friends, all of us, we don't want to let you go. And we won't do it.</dialogue> <character>WENDY</character> <parenthetical>(quietly)</parenthetical> <dialogue>What if I want to?</dialogue> <scene_description>Billie shrugs.</scene_description> <character>BILLIE</character> <dialogue>If you were a mom, and your kid was about to lose a limb, wouldn't you, I don't know, fight to keep it?</dialogue> <character>WENDY</character> <dialogue>I don't think this is the same thing.</dialogue> <character>BILLIE</character> <dialogue>But we feel it is.</dialogue> <character>WENDY</character> <parenthetical>(starting to get angry)</parenthetical> <dialogue>You're speaking for everyone now?</dialogue> <character>BILLIE</character> <dialogue>Yeah.</dialogue> <character>WENDY</character> <dialogue>I don't believe you. I think this is you, being lost and frightened and you don't know what else to do.</dialogue> <scene_description>Billie doesn't respond, she just reaches into the bag and pulls out WENDY'S BOX from Robert's house. She drops it on the ground in front of Wendy.</scene_description> <character>BILLIE</character> <dialogue>I think your queer ass boyfriend would really dig this, huh? I was thinking of putting it in his locker. A little after- track-practice surprise.</dialogue> <scene_description>Wendy goes for it but Billie is faster and she holds onto the box.</scene_description> <character>WENDY</character> <parenthetical>(calmly as possible)</parenthetical> <dialogue>You know what? Go ahead. It doesn't work like that with us. Even better, why don't you give it to him in class. Because even if you posted it on the internet and took out billboards, he wouldn't care.</dialogue> <character>BILLIE</character> <dialogue>I think he's gonna like the pictures from this summer especially.</dialogue> <scene_description>Billie opens her mouth very wide and does a pretty good oral sex simulation. Wendy remains calm.</scene_description> <character>WENDY</character> <dialogue>Do it then. Don't talk about it.</dialogue> <character>BILLIE</character> <dialogue>And the ones of you on all fours. I mean, it probably makes more sense in context, you know, with the pictures of all of us, but still--</dialogue> <scene_description>Wendy grabs the box from Billie's unsuspecting hands, marches over to Sean's locker, takes her car keys and easily pries open the weak metal. The locker opens and she shoves the box in. Then she closes it again.</scene_description> <character>WENDY</character> <dialogue>He wants me and that kills you.</dialogue> <character>BILLIE</character> <dialogue>Not so far.</dialogue> <character>WENDY</character> <dialogue>I'm not the box, Billie. And you are. You're a pathetically limited little bitch, aren't you?</dialogue> <scene_description>Billie reaches over and opens Sean's locker again. Then she shuts it hard so it locks.</scene_description> <character>BILLIE</character> <dialogue>I was thinking of teaching your brother how to kiss. You know, train him up right. For future generations of Coop chicks.</dialogue> <scene_description>Wendy lunges at her but Billie moves away quickly and Wendy lets her go.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - DAY</stage_direction> <scene_description>Sean is standing in front of his locker, which is open. He has WENDY'S BOX in one hand, the lid on the ground. We still don't see into the box, but we see the Polaroids, just corners of them, some of them look like porn and some of them look like regular high school candids.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: LIVING ROOM - EVENING</stage_direction> <scene_description>Wendy opens the door and looks around for Sean.</scene_description> <character>WENDY</character> <dialogue>Sean?</dialogue> <scene_description>She doesn't hear anything, then she hears a BASKETBALL being bounced in the backyard.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: BACKYARD - NIGHT</stage_direction> <scene_description>Helen is trying to shoot some baskets, she misses completely and Wendy retrieves the ball for her.</scene_description> <character>HELEN</character> <dialogue>Hi.</dialogue> <scene_description>Wendy holds the basketball for a second.</scene_description> <character>HELEN</character> <dialogue>I think he's upstairs.</dialogue> <character>WENDY</character> <dialogue>--okay.</dialogue> <scene_description>Wendy shoots a basket, it bounces back to her, and she hands the ball to Helen who makes a wobbly attempt. Instead of leaving her alone, Wendy decides to help.</scene_description> <character>WENDY</character> <dialogue>Stand here.</dialogue> <scene_description>Helen obliges, and readies her shot.</scene_description> <character>WENDY</character> <dialogue>Don't bend so much. Aim the fingers of your bottom hand toward the back of the rim.</dialogue> <scene_description>Helen tries it, and makes basket.</scene_description> <character>WENDY</character> <dialogue>That wasn't bad.</dialogue> <character>HELEN</character> <dialogue>You know that girl in school who always says she has her period so she doesn't have to go to gym? That was me.</dialogue> <scene_description>Wendy smiles at her. Helen and Wendy trade off shooting baskets.</scene_description> <character>HELEN</character> <dialogue>In school, I figured I would always be that girl -- the smart one, the one who was bad at sports. But it didn't last. That person today, the person you saw, it wasn't really me either. Or it was me, and I'm not that person anymore. It was me for a moment. That was the me who gets an abortion. And now she's gone.</dialogue> <character>HELEN</character> <dialogue>I just didn't know I would be re- inventing myself so much when I grew up. You figure that when you're young is when you re-invent yourself -- but it turns out that it is forever. You're forever being a new you, in a new life, with new consequences.</dialogue> <character>WENDY</character> <dialogue>I guess. Maybe you only think you're new. Maybe you're the same, only you don't know it.</dialogue> <character>HELEN</character> <dialogue>That's depressing.</dialogue> <character>WENDY</character> <parenthetical>(laughs)</parenthetical> <dialogue>Yeah. But probably true.</dialogue> <scene_description>Helen pushes forward.</scene_description> <character>HELEN</character> <parenthetical>(struggling)</parenthetical> <dialogue>If he... I mean if you...I know you guys have a..closeness. And that maybe you tell him things or want to tell him things--</dialogue> <character>WENDY</character> <dialogue>I'm not lying to him.</dialogue> <scene_description>Helen is surprised, but tries to hold it back.</scene_description> <character>HELEN</character> <dialogue>It's not a lie if you don't tell him about something that happened.</dialogue> <character>WENDY</character> <dialogue>How is it not a lie?</dialogue> <scene_description>A pause.</scene_description> <character>HELEN</character> <parenthetical>(exhausted)</parenthetical> <dialogue>I don't know.</dialogue> <scene_description>She sits down on the pavement.</scene_description> <character>WENDY</character> <dialogue>Was your husband sorry?</dialogue> <character>HELEN</character> <dialogue>He apologized, if that's what you mean.</dialogue> <character>WENDY</character> <dialogue>Yeah.</dialogue> <character>HELEN</character> <dialogue>He did it on purpose though. He wanted to talk about it more.</dialogue> <character>WENDY</character> <dialogue>Did you tell him he can talk about it when he gets pregnant?</dialogue> <scene_description>Helen laughs.</scene_description> <character>HELEN</character> <dialogue>It doesn't work like that when you're married. You don't always get to say the meanest, most clever thing.</dialogue> <scene_description>Wendy throws a couple more baskets, not looking at Helen.</scene_description> <character>WENDY</character> <dialogue>What's it like?</dialogue> <character>HELEN</character> <dialogue>Being married? It's like...I don't know if I can say it the right way, I mean, what's it like to have a family? Try and explain it to me.</dialogue> <character>WENDY</character> <dialogue>Custom made pants.</dialogue> <character>HELEN</character> <parenthetical>(laughing, not expecting an answer)</parenthetical> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>It's like custom made pants. They fit you perfectly but you can't change. Not even a little.</dialogue> <character>HELEN</character> <parenthetical>(sweetly)</parenthetical> <dialogue>Only sometimes. Honestly. It isn't always like that. Is Sean pushing for...</dialogue> <character>WENDY</character> <dialogue>No. No, it's not Sean. It's the whole "girlfriend" thing.</dialogue> <character>HELEN</character> <dialogue>The name?</dialogue> <character>WENDY</character> <dialogue>The identity. Being someone's "girlfriend".</dialogue> <character>HELEN</character> <dialogue>You have to be something else first. The only way to be with someone is to be someone.</dialogue> <scene_description>Wendy hands the ball to her.</scene_description> <character>WENDY</character> <dialogue>Sean's inside?</dialogue> <scene_description>Helen nods.</scene_description> </scene> <scene> <stage_direction>INT. MAYER HOUSE: SEAN'S BEDROOM - NIGHT</stage_direction> <scene_description>Wendy walks into Sean's bedroom which is empty. She hears water running in the bathroom.</scene_description> <character>WENDY</character> <dialogue>Hello?</dialogue> <scene_description>Inside the bathroom, Sean is getting out of the shower. Wendy opens the door and knocks him down. Sean tries to get up and Wendy goes to help him when she sees HER BOX on the floor, the contents clearly rifled through, water dripping over it from the shower. Her first instinct is to save the valuable contents from getting wet so she grabs the stuff.</scene_description> <character>SEAN</character> <dialogue>Yeah. God forbid the kiddie porn gets wet.</dialogue> <character>WENDY</character> <dialogue>That's not what's in here.</dialogue> <character>SEAN</character> <dialogue>Yeah, this is all puppies and "I love unicorns" and tapioca pudding.</dialogue> <character>WENDY</character> <dialogue>It's not porn. It's just--</dialogue> <character>SEAN</character> <dialogue>They made you do it, right?</dialogue> <character>WENDY</character> <dialogue>Screw you.</dialogue> <scene_description>Sean doesn't say anything, he just sits on the lip of the tub.</scene_description> <character>WENDY</character> <dialogue>Do you want me to go?</dialogue> <scene_description>Sean shrugs. Wendy reaches out and takes his hand to get him to stand. He pulls it away so she gets down on the floor and takes his wet hand and puts in to her lips. Then she kisses each finger. She kisses his palm, and then his wrist. Sean doesn't pull away.</scene_description> <character>WENDY</character> <dialogue>Look, I don't know how this works. I mean, do we fight now? Tell me what we do.</dialogue> <character>SEAN</character> <dialogue>We don't do anything.</dialogue> <scene_description>Wendy pauses.</scene_description> <character>WENDY</character> <parenthetical>(trying to make a joke)</parenthetical> <dialogue>So this is what being dumped feels like, huh?</dialogue> <character>SEAN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>You'd have to be mine for me to dump you, huh?</dialogue> <character>WENDY</character> <dialogue>What? What do I do? You wanna yell at me? I'm lost--</dialogue> <character>SEAN</character> <dialogue>That's enough. You don't get to play the little innocent girl right now. Not after--</dialogue> <parenthetical>(gestures to the box)</parenthetical> <dialogue>No way.</dialogue> <character>WENDY</character> <dialogue>You know what? It happened. You want it to go away, like magic? Poof, and now I'm all different? I'm magically a virgin?</dialogue> <character>SEAN</character> <dialogue>Yeah.</dialogue> <scene_description>Wendy laughs, but Sean doesn't.</scene_description> <character>WENDY</character> <dialogue>You're kidding, right?</dialogue> <character>SEAN</character> <dialogue>No. Burn the box. Burn it all.</dialogue> <character>WENDY</character> <dialogue>You're delusional. Why don't you burn all the stuff from your old girlfriends.</dialogue> <character>SEAN</character> <dialogue>I don't have stuff. That's the point.</dialogue> <character>WENDY</character> <dialogue>You're insane.</dialogue> <character>SEAN</character> <dialogue>Why? Do you need this stuff? I mean does it have any value?</dialogue> <character>WENDY</character> <dialogue>I'm not saying it has value. But it's what? Letters? A couple of trinkets?</dialogue> <scene_description>She holds up the "Hoochie" necklace.</scene_description> <character>WENDY</character> <dialogue>This? Some pictures of me naked? You're acting like you're pure and virginal.</dialogue> <character>SEAN</character> <dialogue>Compared to this?</dialogue> <character>WENDY</character> <dialogue>Really? What was the name of the blowjob girl?</dialogue> <character>SEAN</character> <dialogue>Who?</dialogue> <character>WENDY</character> <dialogue>From the party? Billie told me. The girl who went down on you?</dialogue> <character>SEAN</character> <dialogue>You believe what Billie says? Besides that is completely--</dialogue> <character>WENDY</character> <dialogue>Please. Don't be average. It isn't different. Either you agree to be in this with me, or you don't.</dialogue> <scene_description>Sean pulls his hand away.</scene_description> <character>SEAN</character> <parenthetical>(pissed off)</parenthetical> <dialogue>--fine.</dialogue> <character>WENDY</character> <dialogue>You could just forget it? If I burned it, you would just forget that I was ever someone else.</dialogue> <scene_description>She isn't sure what she was, so she just stops.</scene_description> <character>SEAN</character> <dialogue>I could stop being reminded, couldn't I?</dialogue> <scene_description>Wendy looks at him for a beat. He puts his hand out for her to kiss again, to seal the deal. She kisses it.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - DAY</stage_direction> <scene_description>School is over, and everyone mills around, grabbing books, screaming at each other. It's chaos. The doors are open, it's a warm fall afternoon and students have started throwing/chucking buckeyes (like large acorns) at each other. Sean and Wendy walk with Ryan and Aaron as they get their things from their lockers.</scene_description> <character>SEAN</character> <dialogue>So you'll come on Saturday?</dialogue> <character>WENDY</character> <dialogue>Huh?</dialogue> <character>SEAN</character> <dialogue>A double date. With Ryan and Aaron.</dialogue> <character>WENDY</character> <parenthetical>(focusing on Sean)</parenthetical> <dialogue>Yeah, of course.</dialogue> <scene_description>Wendy doesn't see Billie walk by.</scene_description> <character>SEAN</character> <dialogue>It'll be fun.</dialogue> <parenthetical>(lowers his voice)</parenthetical> <dialogue>And tonight we do it, right? You'll burn the box tonight?</dialogue> <scene_description>Wendy notices Billie.</scene_description> <character>WENDY</character> <parenthetical>(not listening)</parenthetical> <dialogue>Yeah, okay.</dialogue> <scene_description>Billie looks lost without Ann or Wendy, but straightens her back and walks to the soda machines, feeds in her dollar. Some buckeyes are thrown at her. She doesn't flinch. More are thrown. Still, Billie doesn't move. Finally a barrage of buckeyes are raining down on Billie. She flinches when one hits her in the face. Wendy watches, unable to move.</scene_description> <character>WENDY</character> <parenthetical>(it is killing her)</parenthetical> <dialogue>Say something. Do something.</dialogue> <character>SEAN</character> <dialogue>What?</dialogue> <character>WENDY</character> <dialogue>Not you. Her.</dialogue> <scene_description>Billie finally turns and leaves, never looking at Wendy, never reacting. As she leaves, the other seniors clap.</scene_description> <character>RYAN</character> <dialogue>That is insane.</dialogue> <scene_description>Wendy doesn't say anything, and Sean goes back to his locker. Wendy waits a moment and then walks away.</scene_description> <character>SEAN</character> <dialogue>Where are you going?</dialogue> <character>WENDY</character> <dialogue>I have to see if she's okay.</dialogue> <scene_description>Sean grabs her wrist.</scene_description> <character>SEAN</character> <dialogue>Everyone will see you.</dialogue> <character>RYAN</character> <dialogue>She's fine.</dialogue> <character>AARON</character> <dialogue>Billie can take it.</dialogue> <scene_description>Wendy pulls her arm away, and then stands, looking out at the sea of students, wanting to run after Billie, but not sure if she should.</scene_description> <character>WENDY</character> <dialogue>I'm not going to burn it. I'm not going to say I'm sorry for what happened.</dialogue> <character>SEAN</character> <dialogue>Keep your voice down.</dialogue> <scene_description>Wendy's suddenly past the "voice down"/decorum place.</scene_description> <character>WENDY</character> <dialogue>And I'm not going to apologize. You either love me, or you don't. I just gave up five of the best people in the world for you.</dialogue> <character>SEAN</character> <dialogue>Who you slept with.</dialogue> <character>WENDY</character> <dialogue>So what? So what if I slept with them? They matter to me. And I just walked away and destroyed my life because you walked up with all this...</dialogue> <character>SEAN</character> <dialogue>Love. It's called love. You don't want to say it, fine. But that's what I offered you.</dialogue> <character>WENDY</character> <dialogue>You offered me a role in your fairy tale. That's all.</dialogue> <scene_description>Sean doesn't know what to say. So Wendy makes a decision for both of them.</scene_description> <character>WENDY</character> <dialogue>You don't want me to be your girlfriend.</dialogue> </scene> <scene> <stage_direction>INT. BILLIE'S CAR - DAY</stage_direction> <scene_description>Billie sees Wendy in the rearview mirror. Billie smiles, she can't help it. And she reaches over and unlocks the passenger car door. Wendy gets in.</scene_description> <character>BILLIE</character> <dialogue>You remember Miss Hise's class?</dialogue> <scene_description>Wendy smiles, carefully.</scene_description> <character>WENDY</character> <dialogue>We tortured her daughter, Greer.</dialogue> <character>BILLIE</character> <dialogue>She carried those bookbags.</dialogue> <character>WENDY</character> <dialogue>She smelled terrible.</dialogue> <character>BILLIE</character> <dialogue>And then in third grade, when my parents split up, and I decided, I don't know why, to do a dance, from that movie, Flashdance. You remember?</dialogue> <character>WENDY</character> <parenthetical>(starting to laugh)</parenthetical> <dialogue>We saw it on cable.</dialogue> <character>BILLIE</character> <parenthetical>(laughing with her)</parenthetical> <dialogue>I can see the third grade me, and she's getting up to do that dance, and I want to tell her to stop. I'm embarrassed right now, just talking about it.</dialogue> <scene_description>Their laughter fades but the moment was real.</scene_description> <character>BILLIE</character> <dialogue>Your friends, all of us, we don't want to let you go.</dialogue> <scene_description>Wendy doesn't respond right away.</scene_description> <character>WENDY</character> <dialogue>It can't be like before. I need to know it'll be--</dialogue> <character>BILLIE</character> <dialogue>That I won't be so evil?</dialogue> <character>WENDY</character> <dialogue>I'm asking for small changes, not miracles.</dialogue> <scene_description>They laugh.</scene_description> <character>WENDY</character> <dialogue>I love you.</dialogue> <character>BILLIE</character> <dialogue>Yeah. Me too.</dialogue> <character>WENDY</character> <dialogue>You wanna hug me, bitch?</dialogue> <scene_description>Billie laughs, and does. Wendy notices the welt from the buckeyes, and touches it. Billie pulls away.</scene_description> <character>BILLIE</character> <dialogue>You gotta do one thing though.</dialogue> </scene> <scene> <stage_direction>EXT. CHAGRIN COOP SCHOOL: ENTRANCE - DAY</stage_direction> <scene_description>No sound. Billie and Wendy walk toward the school, Wendy is looking ahead of her, Billie is looking at Wendy. At first we see them close up and then we are inside the school, watching them as they walk towards the front glass doors, and when they finally get there, and they open them, we hear the chatter and background of the school again.</scene_description> </scene> <scene> <stage_direction>INT. CHAGRIN COOP SCHOOL: LOUNGE - DAY</stage_direction> <scene_description>Billie and Wendy stand in front of Ryan, Aaron and Sean. The milling stops. Everyone stares. There's a long, incredibly uncomfortable pause.</scene_description> <character>BILLIE</character> <dialogue>Hi!</dialogue> <scene_description>Wendy doesn't say anything.</scene_description> <character>BILLIE</character> <dialogue>We're scaring you?</dialogue> <character>RYAN</character> <dialogue>You're disturbing us. Billie.</dialogue> <character>BILLIE</character> <dialogue>Well, gosh, we're sorry.</dialogue> <parenthetical>(to Wendy)</parenthetical> <dialogue>Do it.</dialogue> <character>WENDY</character> <parenthetical>(slowly)</parenthetical> <dialogue>Did she tell you where the scar came from?</dialogue> <character>BILLIE</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>Do it.</dialogue> <scene_description>Ryan looks stricken.</scene_description> <character>WENDY</character> <dialogue>All the girls knew. We never told the guys about dear old Uncle Rob--</dialogue> <character>BILLIE</character> <dialogue>It was Uncle Bob.</dialogue> <character>WENDY</character> <dialogue>Uncle Bob who smelled like Aqua Velva and tasted like Doritos.</dialogue> <character>BILLIE</character> <parenthetical>(can't resist)</parenthetical> <dialogue>That dear old Uncle Bob liked to touch her. And that one time he actually had her for a whole weekend.</dialogue> <character>RYAN</character> <dialogue>Shut up. Shut up you bitches. You can't stop me. I don't care what you say.</dialogue> <parenthetical>(her ace)</parenthetical> <dialogue>Aaron knows everything.</dialogue> <scene_description>Ryan is looking at Wendy, imploring her.</scene_description> <character>RYAN</character> <parenthetical>(to Wendy)</parenthetical> <dialogue>Don't.</dialogue> <character>WENDY</character> <parenthetical>(to Billie)</parenthetical> <dialogue>Let's go, okay? Billie?</dialogue> <character>BILLIE</character> <dialogue>Everything?</dialogue> <parenthetical>(smiles broadly)</parenthetical> <dialogue>Aaron, did you know that Ryan here. She liked it. She liked the pain. She liked to be held down and forced. Made her all--</dialogue> <scene_description>Billie turns to Wendy.</scene_description> <character>WENDY</character> <dialogue>No.</dialogue> <character>BILLIE</character> <dialogue>What did it make her? Wendy?</dialogue> <scene_description>Wendy takes a deep breath, then turns to Billie.</scene_description> <character>WENDY</character> <parenthetical>(small)</parenthetical> <dialogue>Hot.</dialogue> <scene_description>Billie smiles triumphantly. There's a beat. POV WENDY: She sees Sean, Ryan, Aaron, Billie. A crowd of people. Everyone in the school. BACK TO SCENE</scene_description> <character>WENDY</character> <dialogue>Like when you used to make us play gang rape. Where we had to be the firemen.</dialogue> <character>RYAN</character> <dialogue>That wasn't me.</dialogue> <scene_description>Wendy is looking at Billie. Everyone is looking at them.</scene_description> <character>WENDY</character> <dialogue>Or how you kept cutting yourself with Exacto knives during art class. How you thought you were a vampire for most of eighth grade.</dialogue> <character>BILLIE</character> <parenthetical>(almost a growl)</parenthetical> <dialogue>Stop.</dialogue> <character>WENDY</character> <dialogue>Or how Jonah and Robert have been sleeping together for three years. Or how Ann's mom tied her hands together so she wouldn't touch herself when she was six.</dialogue> <parenthetical>(Wendy starts getting giddy)</parenthetical> <dialogue>Or how I peed during a spelling bee in third grade. Or how Aaron threw up when you got your period in fifth. Or the time we all got crabs because Price fooled around with some girl over Christmas break. Yeah, we're one big happy family--</dialogue> <scene_description>Billie has left the lounge. Wendy turns to Sean.</scene_description> <character>WENDY</character> <dialogue>Burn the box yourself. I don't need it anymore.</dialogue> <scene_description>Wendy walks out of the school.</scene_description> </scene> <scene> <stage_direction>EXT. CHAGRIN COOP SCHOOL: ENTRANCE - DAY</stage_direction> <scene_description>Wendy smiles as she walks. For the first time, there is no hesitation. DISSOLVE TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. MALL: PARKING LOT - NIGHT</stage_direction> <scene_description>Floodlights make everyone look kind of greenish as they leave their mall jobs.</scene_description> <character>TEEN GIRL #11</character> <parenthetical>(wearing a "Gap" name tag)</parenthetical> <dialogue>I fell in love with this guy once and it was complete torture. He kept wanting to hug me all the time. I'm like, are you nine years old? What the hell is that? Hugging and stuffed bears. Like he read about it at the Hallmark store. You know how many successful actresses are married?</dialogue> <parenthetical>(makes zero with her fingers and then smiles)</parenthetical> <dialogue>He did give me this though--</dialogue> <scene_description>She walks up to the camera and shoves her hand in the lens, so we catch a distorted glimpse of exactly what a mall job will buy at Zales.</scene_description> <character>TEEN GIRL #11</character> <dialogue>I got to keep this. Nice huh?</dialogue> <scene_description>LEGEND: This Is Saturday</scene_description> </scene> <scene> <stage_direction>EXT. ROBERT'S HOUSE: FRONT DOOR - DAY</stage_direction> <scene_description>A series of shots, as in the beginning of the film. Robert carefully places four boxes on the front step, takes his own, passes one to Jonah and the two go back inside.</scene_description> </scene> <scene> <stage_direction>EXT. MAYER HOUSE: BACKYARD - DAY</stage_direction> <scene_description>Sean, standing in front of a Weber grill in his backyard, burning the contents of the box. He puts the "Hoochie" necklace in his pocket.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE PARTY: LIVING ROOM - NIGHT</stage_direction> <scene_description>The House Party, with the porn, the drinking, the girls making out with other girls. Ann is giving a guy a pole dance with a blank look on her face. We track through the same party, and the Tank-Top Girl #1 from the first party pulls Price into a bedroom.</scene_description> </scene> <scene> <stage_direction>INT. BILLIE'S HOUSE: ROOM - NIGHT</stage_direction> <scene_description>Billie has the box open in front of her but we don't see her face, as she sits on the floor of her room. Laid out on the floor, encircling her, are various mementos. She lays each one out carefully, in some order we are not privy to. She smooths a few pictures, she carefully places a lighter next to an old license plate. As we circle the items, we catch a passing glimpse of Billie, who might be crying.</scene_description> </scene> <scene> <stage_direction>INT. BERGMAN HOUSE: KITCHEN - NIGHT</stage_direction> <scene_description>Wendy sits on the kitchen counter watching Nathan cook. She is holding a wooden spoon and Nathan hands her a mixing bowl, so Wendy mixes. She kicks her legs absently against the wooden cabinet and then kicks her shoes off. The camera pulls back, leaving the room, so we see Wendy framed in the doorway, Nathan walks out and it is just Wendy alone and happy, a dopey half smile on her face, as the credits start to roll.</scene_description> <character>THE END</character> </scene> </script>

Wendy, Billie, and Ann are seniors at an alternative private school; they spend all their time with fellow students Jonah, Price, and Robert. The six have been friends since elementary school and their friendship has become a six-person polyamorous relationship. They swap sex partners each week; their loyalty is to the group, not to one person. After school orientation, Wendy meets Sean, a new senior who moved from Chicago; he finds out about her "inner geek", and she quickly recognizes a kindred spirit. Soon their friendship becomes romantic, and Wendy is torn between her genuine affection and desire for Sean, and her commitment and belief in the group. Wendy starts to test the boundaries of her vow to her friends, and Billie realizes that she is going to have to fight to keep her best friend; which should not be a problem, since each of the teens has collected a box full of mementos from their sexual experience. If Wendy tries to leave, Billie can destroy her reputation and relationship in a heartbeat. While Wendy is trying to decide between Sean and her friends, Wendy's younger brother Nathan meets Sean's mother, Helen, who is waiting a long three weeks to start a new job. Nathan develops a huge crush on her, and he uses his considerable cooking skills to try and woo her. Then Wendy spends another Saturday night with the group, and she is unable to "cheat" on Sean; her hesitation is all that Billie needs to accuse her best friend. After the girls fight, Wendy takes out her frustration on a random couple who keep making out in front of her house. Ryan, hearing that Wendy is out of the group, tries to be friends, but Wendy is conflicted. Sean and Wendy try to be a "normal" couple, but the group quickly tests the relationship: Billie puts the box of memorabilia in Sean's locker. Wendy claims she is not scared; she knows that Sean loves her. Maybe so, but when he sees the photos that document a lifetime of sexual experimentation, he is fed up and offers an ultimatum: Wendy can burn the box, leave the group, and be a normal girl, or they can break up. Wendy has gone from one ultimatum to another. When Wendy sees Billie being hassled for being alone by other students, she wants to comfort her friend. Billie invites Wendy back to the group but she tests her—pushing Wendy to publicly ridicule Ryan, a girl who left the group last year along with her boyfriend, Aaron. Billie believes that seeing a really dark side of Wendy will keep Sean away for good, and somehow restore their group. Wendy takes it a step further though, outing everyone's secrets; not just in front of Sean but in front of the student body. Each of the six has some skeletons in their closet, and having them all exposed is going to leave everyone isolated from their pseudofamily of six, and also ostracised within the school. The future (which Billie was planning out 10 years at the beginning of the movie) is a lot less certain - and Wendy is going to be the first one out of the gate in finding something new.

Strangers on a Train_1951

tt0044079

<script> <scene> <stage_direction>EXT. UNION STATION, WASHINGTON, D.C. DAY</stage_direction> <scene_description>LONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILE ENTRANCE TO THE STATION IN THE F.G. LOW CAMERA Activity of cars and taxis arriving and discharging passengers with luggage , busy redcaps , etcetera . We FOCUS on a taxi pulling up and stopping , The driver hands out modest looking luggage , including a bunch of tennis rackets in cases to a redcap . CAMERA PANS DOWN as the passenger gets out of the taxi so that we see only his shoes and the lower part of his trousers . He is wearing dark colored brogues and a conservative suit apparently . The feet move toward , the entrance to the station and out of scene . Immediately a chauffeur - driven limousine drives up and an expensive place of airplane luggage is handed out of this , and the passenger alighting from the back is seen to be wearing black and white sport shoes which , as before , are all we see of him . The sport shoes start off in the wake of the brogues .</scene_description> </scene> <scene> <stage_direction>INT. STATION LOBBY</stage_direction> <scene_description>CAMERA FOLLOWS the sport shoes and the brogues across the lobby into a passenger tunnel . There is the usual activity of passengers walking to and from , a loud - speaker announcing trains , etc. .</scene_description> </scene> <scene> <stage_direction>EXT. PASSENGER TUNNEL</stage_direction> <scene_description>As the brogues and the sport shoes emerge to the train platform , CAMERA PANS them over to the steps of the train .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN</stage_direction> <scene_description>The brogues and the sport shoes pass separately down the aisle , the sport shoes turning in at a compartment door and the brogues continuing toward the parlor car .</scene_description> </scene> <scene> <stage_direction>INT. PARLOR CAR (PROCESS)</stage_direction> <scene_description>The brogues come to rest before a chair as the owner sits down . A moment later the sport shoes come to rest . before in adjoining chair . The legs belonging to the sport shoes stretch out , and one of the shoes touches one of the brogues .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( over scene . )</parenthetical> <dialogue>Oh, excuse Me!</dialogue> <scene_description>CAMERA PULLS BACK AND UP to SHOW two young men seated in two parlor car chairs . BRUN0 ANTHONY , the wearer of the sport shoes , is about twenty - five . He wears his expensive clothes with the tweedy nonchalance of a young man who has always had the best . The wearer of the brogues is a fine looking but , at the moment , a somewhat troubled young man . This is GUY HAINES . He , too , is in his middle twenties and is well dressed because he can now afford to be . He nods politely , acknowledging Bruno 's apology , then turns away with the gesture implying he wants privacy .</scene_description> <character>BRUNO</character> <parenthetical>( smiling with sudden recognition . )</parenthetical> <dialogue>I beg your pardon, but are n't you Guy Haines.</dialogue> <scene_description>Guy nods with a polite half smile . Being a well known tournament tennis player , he has had this sort of experience before .</scene_description> <character>BRUNO</character> <parenthetical>( snapping his finger . )</parenthetical> <dialogue>Sure! I saw you blast Faraday right off the court in South Orange last season. What a backhand! Made the semi - finals, did n't you?</dialogue> <scene_description>Guy acknowledges this with a modest nod and turns to his magazine rolled up in is fist .</scene_description> <character>BRUNO</character> <parenthetical>( with open admiration . )</parenthetical> <dialogue>I certainly admire people who do things.</dialogue> <parenthetical>( smiling and introducing himself . )</parenthetical> <dialogue>I'm Bruno Anthony. Bruno. See Guy looks up. Bruno indicates his gold tie pin which bears his name in cut - out letters. Guy looks at it with the faintest expression of disdain. I suppose you think it's corny. But my mother gave it to me so of course I wear it to please her.</dialogue> <character>GUY</character> <parenthetical>( patiently . )</parenthetical> <parenthetical>( a faint smile . )</parenthetical> <dialogue>How do you do.</dialogue> <character>BRUNO</character> <parenthetical>( with an apologetic grin . )</parenthetical> <dialogue>I do n't usually talk so much. Go Ahead and read.</dialogue> <character>GUY</character> <parenthetical>( wryly . )</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>Guy tries to read but is uneasily aware of Bruno 's open appraisal .</scene_description> <character>BRUNO</character> <dialogue>It must be pretty exciting to be so important.</dialogue> <character>GUY</character> <parenthetical>( fidgeting slightly . )</parenthetical> <dialogue>A tennis player is n't so important.</dialogue> <character>BRUNO</character> <dialogue>People who do things are important. I never seem to do anything.</dialogue> <scene_description>Not knowing how to answer this , Guy looks a little embarrassed .</scene_description> <character>BRUNO</character> <parenthetical>( still insistent on being friendly . )</parenthetical> <dialogue>I suppose you're going to Southampton - for the doubles.</dialogue> <character>GUY</character> <parenthetical>( politely . )</parenthetical> <dialogue>You are a tennis fan.</dialogue> <scene_description>Bruno is inordinately pleased by this small tribute .</scene_description> <character>BRUNO</character> <dialogue>Wish I could see you play. But I've got to be back in Washington tomorrow. I live in Arlington, you know.</dialogue> <scene_description>He has taken out a cigarette case . Holds it out to Guy .</scene_description> <character>BRUNO</character> <dialogue>Cigarette?</dialogue> <character>GUY</character> <dialogue>Not now, thanks. I do n't smoke much.</dialogue> <character>BRUNO</character> <dialogue>I smoke too much.</dialogue> <scene_description>He fumbles for a match . Guy brings out a lighter and hands it to Bruno .</scene_description> <character>BRUNO</character> <dialogue>Thanks.</dialogue> <parenthetical>( he stares at the lighter , impressed . )</parenthetical> <dialogue>Elegant.</dialogue> <scene_description>CLOSE SHOT OF THE LIGHTER Showing that it has the insignia of crossed rackets embossed on it , and underneath is engraved the inscription : `` To G from A '' .</scene_description> <character>BRUNO'S VOICE</character> <parenthetical>( reading . )</parenthetical> <dialogue>To G from A. Bet I can guess who A is.</dialogue> <scene_description>WIDER SHOT Guy reacts sharply .</scene_description> <character>GUY</character> <parenthetical>( coldly . )</parenthetical> <dialogue>Yes?</dialogue> <character>BRUNO</character> <dialogue>Anne Burton. Sometimes I turn the sport page and look at the society news. And the pictures. She's very beautiful, Senator Burton's daughter.</dialogue> <character>GUY</character> <dialogue>You're quite a reader, Mr. Anthony.</dialogue> <character>BRUNO</character> <dialogue>Yes, I am. Ask me anything, from today's stock reports to Li'l Abner, and I got the answer. Even news about people I do n't know. Like who'd like to marry whom when his wife gets her divorce.</dialogue> <character>GUY</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Perhaps you read too much.</dialogue> <character>BRUNO</character> <parenthetical>( contritely . )</parenthetical> <dialogue>There I go again. Too friendly. I meet someone I' like and open my yap too wide. I'm sorry.</dialogue> <scene_description>At the appeal on Bruno 's face , Guy slowly relents .</scene_description> <character>GUY</character> <dialogue>That's all right. Forget it. I guess I'm pretty jumpy.</dialogue> <scene_description>Bruno smiles with and signals a waiter .</scene_description> <character>BRUNO</character> <dialogue>There's a new cure for that.</dialogue> <parenthetical>( to waiter . )</parenthetical> <dialogue>Scotch and plain water. A pair. Double.</dialogue> <parenthetical>( to Guy with a chuckle . )</parenthetical> <dialogue>Only kind of doubles I play.</dialogue> <character>GUY</character> <dialogue>You'll have to drink both of them.</dialogue> <character>BRUNO</character> <parenthetical>( grinning . )</parenthetical> <dialogue>And I can do it.</dialogue> <parenthetical>( moving in . )</parenthetical> <dialogue>When's the wedding?</dialogue> <character>GUY</character> <dialogue>What?</dialogue> <character>BRUNO</character> <dialogue>The wedding. You and Anne Burton.</dialogue> <parenthetical>( a gesture of explanation . )</parenthetical> <dialogue>It was in the papers.</dialogue> <character>GUY</character> <dialogue>It should n't have been. Unless they've legalized bigamy overnight.</dialogue> <character>BRUNO</character> <dialogue>I have a theory about that. I'd like to tell you about it some time. But right now I suppose divorce Is still the simplest operation.</dialogue> <scene_description>The waiter has brought the drinks . Bruno slips the lighter into hip pocket to free his hands for the bills which he gives to the waiter , waving away the change . He offers a glass to Guy . Guy takes it .</scene_description> <character>GUY</character> <parenthetical>( as if he needs it . )</parenthetical> <dialogue>I guess I will.</dialogue> <character>BRUNO</character> <parenthetical>( happily . )</parenthetical> <dialogue>This is wonderful - having your company all the way to New York.</dialogue> <character>GUY</character> <parenthetical>( forced to explain . )</parenthetical> <dialogue>As a matter of fact, I'm not going direct. I'm stopping off. At Metcalf.</dialogue> <character>BRUNO</character> <dialogue>Metcalf? What would anybody want to go there for?</dialogue> <character>GUY</character> <dialogue>It's my home town.</dialogue> <character>BRUNO</character> <dialogue>Oh, I get it! A little talk with your wife to about the divorce! I suppose she was the girl next door. Held her hand in high school and before you knew it - hooked!</dialogue> <parenthetical>( proud of his perspicacity . )</parenthetical> <dialogue>Am I right?</dialogue> <character>GUY</character> <parenthetical>( laconically . )</parenthetical> <dialogue>Close enough.</dialogue> <character>BRUNO</character> <parenthetical>( raises his glass . )</parenthetical> <dialogue>Well, here's luck, Guy. Drink up - then we'll have some lunch sent to my compartment.</dialogue> <character>GUY</character> <dialogue>Thanks very much. But I think I'll go to the dining car.</dialogue> <parenthetical>( he hails a waiter who is passing through with a food - laden tray . )</parenthetical> <dialogue>Do you know if there are any vacant seats in the dining car now?</dialogue> <character>WAITER</character> <dialogue>Not for about twenty minutes I'm afraid, Sir.</dialogue> <character>BRUNO</character> <parenthetical>( pleased . )</parenthetical> <dialogue>See? You'll have to lunch with me.</dialogue> <parenthetical>( motions the waiter back . )</parenthetical> <dialogue>Say, waiter, bring me some lamb chops and French fries and chocolate ice cream, Compartment D, Car 121.</dialogue> <parenthetical>( turns to Guy . )</parenthetical> <dialogue>What'll you have, Guy?</dialogue> <character>GUY</character> <dialogue>Thanks just the same, but I really do n't think -</dialogue> <character>BRUNO</character> <dialogue>Oh, go on and order.</dialogue> <scene_description>The waiter is hovering impatiently . Guy gives in out of embarrassment .</scene_description> <character>GUY</character> <dialogue>Well, I'll Just have a hamburger and a cup of coffee.</dialogue> <character>BRUNO</character> <parenthetical>( delighted , lifts his glass in another toast . )</parenthetical> <dialogue>To the next Mrs. Haines.</dialogue> <scene_description>Guy nods curtly .</scene_description> </scene> <scene> <stage_direction>INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS)</stage_direction> <scene_description>Bruno and Guy are finishing lunch . Bruno has been drinking and his eyes are bright and feverish . An almost empty liquor bottle is near a couple of detective novels covered with gaudily Illustrated dust jackets . Bruno has in unlighted cigarette in his mouth . Guy 's lighter is on the table . Bruno snaps it a couple of times , as though fascinated , lights his cigarette and puts the lighter on the table again .</scene_description> <character>BRUNO</character> <dialogue>Sure, I went to college. Three of them. Every time they kicked me out my father threw me back in.</dialogue> <parenthetical>( bitterly . )</parenthetical> <dialogue>He finally gave up. He thinks I'm awfully small fry, not worth the bait.</dialogue> <parenthetical>( wistfully . )</parenthetical> <dialogue>You my friend, Guy?</dialogue> <character>GUY</character> <dialogue>Sure. I'm your friend, Bruno.</dialogue> <character>BRUNO</character> <parenthetical>( a little woozy . )</parenthetical> <dialogue>No, you're not, nobody thinks I'm anything special. Only my mother.</dialogue> <parenthetical>( empties the bottle into his glass . )</parenthetical> <dialogue>My father hates me.</dialogue> <scene_description>Guy smiles this off as nonsense .</scene_description> <character>GUY</character> <dialogue>You must be imagining things.</dialogue> <character>BRUNO</character> <parenthetical>( hitting the bottom of the bottle for the last drop . )</parenthetical> <dialogue>And I hate him. He thinks I ought to catch the eight - five bus every morning, punch a timeclock and work my way up selling paint or something. Him - with all his money!</dialogue> <character>GUY</character> <parenthetical>( amused by Bruno . )</parenthetical> <dialogue>Well, what do you want to do?</dialogue> <character>BRUNO</character> <dialogue>You mean before or after I kill him?</dialogue> <character>GUY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Before, of course.</dialogue> <character>BRUNO</character> <parenthetical>( leaning forward eagerly . )</parenthetical> <dialogue>I want to do everything. I got a theory you're supposed to do everything before you die. Have you ever driven a car, blindfolded, at a hundred and fifty miles an hour?</dialogue> <character>GUY</character> <dialogue>Not lately.</dialogue> <character>BRUNO</character> <dialogue>I did. I flew in a jet plans too.</dialogue> <parenthetical>( his hand traces a swift streak through the air , and he adds sound effects . )</parenthetical> <dialogue>Zzzzzzzp! Man, that's a thrill! Almost blow the sawdust out of my head. I'm going to make a reservation on the first rocket to the moon.</dialogue> <character>GUY</character> <parenthetical>( amused and curious . )</parenthetical> <dialogue>What are you trying prove?</dialogue> <character>BRUNO</character> <dialogue>I'm not like you, Guy. You're lucky. You're smart. Marrying the boss's daughter is a nice short cut to a career, is n't it?</dialogue> <character>GUY</character> <parenthetical>( quickly . )</parenthetical> <dialogue>Marrying the senator's daughter has nothing to do with it. Ca n't a fellow look past a tennis not without being a goldbricker?</dialogue> <character>BRUNO</character> <dialogue>Take it easy, boy. I'm your friend, remember? I'd do anything for you.</dialogue> <character>GUY</character> <parenthetical>( humoring Bruno . )</parenthetical> <dialogue>Sure, Bruno, sure.</dialogue> <parenthetical>( glancing at his watch . )</parenthetical> <dialogue>We'll be pulling in soon. I've got to change trains.</dialogue> <character>BRUNO</character> <dialogue>What'd you say her name was - your wife's?</dialogue> <character>GUY</character> <dialogue>Miriam.</dialogue> <character>BRUNO</character> <dialogue>That's it. Miriam Joyce Haines. Played around a lot, I suppose?</dialogue> <character>GUY</character> <dialogue>Let's not talk about it any more.</dialogue> <character>BRUNO</character> <parenthetical>( almost hopefully . )</parenthetical> <dialogue>Maybe she'll make more trouble for you.</dialogue> <character>GUY</character> <dialogue>I do n't think so.</dialogue> <character>BRUNO</character> <dialogue>You mean you got enough on her to get your divorce no matter what?</dialogue> <character>GUY</character> <dialogue>Let's change subject, Bruno, ca n't we?</dialogue> <character>BRUNO</character> <dialogue>Okay, Guy. Want me to tell you one of my ideas for murdering my father?</dialogue> <character>GUY</character> <parenthetical>( indicating the detective novels . )</parenthetical> <dialogue>You've been reading too many of these.</dialogue> <character>BRUNO</character> <parenthetical>( going right on . )</parenthetical> <dialogue>You want to hear about the busted light socket in the bathroom, or the carbon monoxide in the garage?</dialogue> <character>GUY</character> <dialogue>No. I may be old fashioned, but I thought murder was against the law.</dialogue> <character>BRUNO</character> <dialogue>But not against the law of nature. My theory is that everybody is a potential murderer. Did n't you ever want to kill somebody? Say one of those useless fellows Miriam was running around with?</dialogue> <character>GUY</character> <dialogue>You ca n't go around killing people just because you think they're useless.</dialogue> <character>BRUNO</character> <dialogue>Oh, what's a life or two? Some people are bitter off dead, Guy. Take your - wife and my father, for instance. It reminds me of a wonderful idea had once. I used to put myself to sleep at night - figuring it out. Now, let's say you want to get rid of your wife.</dialogue> <character>GUY</character> <dialogue>Why?</dialogue> <character>BRUNO</character> <dialogue>Let's say she refuses to give you a divorce -.</dialogue> <parenthetical>( raises a finger and stops Guy 's protest . )</parenthetical> <dialogue>Let's say. You'd be afraid to kill her because you'd get caught. And what would trip you up? Motive. Now here's the plan.</dialogue> <character>GUY</character> <dialogue>I'm afraid I have n't time to listen.</dialogue> <character>BRUNO</character> <parenthetical>( ignoring the remark . )</parenthetical> <dialogue>It's so simple, too. A couple of fellows meet accidentally, like you and me. No connection between them at all. Never saw each other before. Each of them has somebody he'd like to get rid of, but he ca n't murder the person he wants to get rid of. He'll get caught. So they swap murders.</dialogue> <character>GUY</character> <dialogue>Swap murders?</dialogue> <character>BRUNO</character> <dialogue>Each fellow does the other fellow's murder. Then there is nothing to connect them. The one who had the motive is n't there. Each fellow murders a total stranger. Like you do my murder and I do yours.</dialogue> <character>GUY</character> <parenthetical>( with relief . )</parenthetical> <dialogue>We're coming into my station.</dialogue> <character>BRUNO</character> <dialogue>For example, your wife, my father. Criss - cross.</dialogue> <character>GUY</character> <parenthetical>( sharply . )</parenthetical> <dialogue>What?</dialogue> <character>BRUNO</character> <parenthetical>( with a smile . )</parenthetical> <dialogue>We do talk the same language - do n't we, Guy?</dialogue> <character>GUY</character> <parenthetical>( preparing to leave . )</parenthetical> <dialogue>Sure, we talk the same language. Thanks for the lunch.</dialogue> <character>BRUNO</character> <parenthetical>( beaming . )</parenthetical> <dialogue>I'm glad you enjoyed it. I thought the lamb chops were a little overdone myself.</dialogue> <scene_description>He holds out his hand . Guy is in a hurry but he shakes hands .</scene_description> <character>GUY</character> <dialogue>Nice meeting you, Bruno.</dialogue> <character>BRUNO</character> <parenthetical>( detaining him at the door . )</parenthetical> <dialogue>You think my theory is okay, Guy? You like it?</dialogue> <character>GUY</character> <dialogue>Sure, sure, Bruno. They're all okay.</dialogue> <parenthetical>( he salutes a quick goodbye and hurries away . )</parenthetical> <dialogue /> <scene_description>Left alone , Bruno picks up Guy 's lighter from the table , starts to call Guy back to hand It to him.Then he looks closer at the insignia of crossed tennis rackets .</scene_description> <character>BRUNO</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Criss - cross.</dialogue> <scene_description>A WIDE VIEW OF THE TOWN OF METCALF METCALF RAILROAD STATION as the train comes in . THE TRAIN STATION PLATFORM MED . SHOT As Guy gets off the with his suitcase and tennis rackets . A baggage man with baggage truck is passing .</scene_description> <character>GUY</character> <dialogue>Hi, Bill.</dialogue> <character>BAGGAGE MAN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Guy Haines! Good to too you, boy. You be sure to win at Southampton tomorrow, hear me? I've got two dollars on your nose.</dialogue> <character>GUY</character> <parenthetical>( indicating his suitcase and rackets . )</parenthetical> <dialogue>Then park these in a lucky spot for a few hours, will you?</dialogue> <character>BAGGAGE MAN</character> <dialogue>Sure thing.</dialogue> <scene_description>He loads them onto a truck .</scene_description> </scene> <scene> <stage_direction>INT. METCALF STREET LONG SHOT</stage_direction> <scene_description>Guy is walking up the main street .</scene_description> </scene> <scene> <stage_direction>EXT. MUSIC SHOP</stage_direction> <scene_description>Typical music shop of a small town , with plate glass windows and displays of radios , records , sheet music , etc. . Activity of a couple of customers and salespeople inside . Guy comes along the street and goes into the shop .</scene_description> </scene> <scene> <stage_direction>INT. MUSIC SHOP</stage_direction> <scene_description>As Guy enters . There are the usual counters and shelves , pianos and radios on display , and the sound of a piano being tuned in the back of the store . MIRIAM is finishing with a customer at a counter . MR. HARGREAVES , the manager , is busy at the shelves . Another girl clerk is serving a customer . In one of the glass cubicles where records are tried out , a customer is playing symphonic music ; in a second glass cubicle another customer is listening to a record of popular music . A third cubicle is empty . Activity of the street is seen through the plate glass front . Guy walks straight to Miriam , just as she is finishing with her woman customer , handing over a small package .</scene_description> <character>MIRIAM</character> <parenthetical>( taking money from customer . )</parenthetical> <dialogue>Even change. Thank you, Madam.</dialogue> <parenthetical>( she looks up at Guy as the woman moves off . )</parenthetical> <dialogue>Well - hello, Guy.</dialogue> <character>GUY</character> <dialogue>You're looking well, Miriam.</dialogue> <scene_description>Miriam 's face is pretty because it is still young . She is self - centered and inclined to be vindictive . She wears harlequin glasses with myopic lenses which tend to make her eyes look small .</scene_description> <character>MIRIAM</character> <dialogue>So are you. You've got a nice tan, playing tennis with all your rich friends.</dialogue> <character>GUY</character> <parenthetical>( ignoring the remark . )</parenthetical> <dialogue>What time do we meet your lawyer?</dialogue> <character>MIRIAM</character> <parenthetical>( sly little smile . )</parenthetical> <dialogue>What's your hurry?</dialogue> <character>GUY</character> <dialogue>My hurry? That's funny, coming from you! You're the one who's in a hurry, are n't you?</dialogue> <character>MIRIAM</character> <parenthetical>( coyly . )</parenthetical> <dialogue>When you would n't give me the divorce right away, I sort of hoped it was because you were a little bit jealous.</dialogue> <character>GUY</character> <parenthetical>( biting . )</parenthetical> <dialogue>I got over being jealous, a long time ago Miriam.</dialogue> <scene_description>Miriam 's eyes slide toward the other girl clerk who has moved closer , within listening range .</scene_description> <character>MIRIAM</character> <parenthetical>( indicating empty glass cubicle . )</parenthetical> <dialogue>Let's talk in there.</dialogue> <scene_description>Guy follows Miriam across to the empty room . Miriam has brought her purse along . They enter .</scene_description> </scene> <scene> <stage_direction>INT. CUBICLE</stage_direction> <scene_description>Once inside , the sounds of the music playing from other parts of the shop are heard but very faintly . The piano tuning still goes on , but less stridently . Miriam and Guy are cooped together in the close quarters .</scene_description> <character>MIRIAM</character> <parenthetical>( intimately . )</parenthetical> <dialogue>Now this is cosier. Sort of like old times, is n't it, Guy?</dialogue> <character>GUY</character> <parenthetical>( coldly . )</parenthetical> <dialogue>Oh, skip it, Miriam. It's pretty late to start flirting with a discarded husband. Especially when you're going to have another man's baby.</dialogue> <character>MIRIAM</character> <dialogue>Do you know, I think you're handsomer than ever?</dialogue> <character>GUY</character> <dialogue>Let's see your lawyer and get this over with.</dialogue> <character>MIRIAM</character> <dialogue>Did you bring the money, Guy? Lawyers are expensive.</dialogue> <character>GUY</character> <parenthetical>( taking money from his wallet . )</parenthetical> <dialogue>Here it is.</dialogue> <character>MIRIAM</character> <parenthetical>( taking the money greedily . )</parenthetical> <dialogue>If I'd known what all that tennis nonsense of yours was going to lead to, I would n't have run out on you.</dialogue> <character>GUY</character> <dialogue>What are you trying to say, Miriam? Come out with it.</dialogue> <character>MIRIAM</character> <parenthetical>( tucking the bills away . )</parenthetical> <dialogue>I'm not getting a divorce.</dialogue> <character>GUY</character> <parenthetical>( tense and angry . )</parenthetical> <dialogue>Why, you little doublecrosser. I did n't want this divorce, you did. That's what you've been harping about for the past year.</dialogue> <character>MIRIAM</character> <dialogue>It's a woman's privilege to change her mind. Now I can shop for some pretty clothes. I would n't want you to be ashamed of me in Washington when we go to all those dinners and swanky parties.</dialogue> <character>GUY</character> <dialogue>And what do you mean by that?</dialogue> <character>MIRIAM</character> <parenthetical>( Coyly . )</parenthetical> <dialogue>Do n't look so mad, Guy. You always smile when your picture is being taken for the papers. Especially when you have Anne Burton hanging on your arm.</dialogue> <character>GUY</character> <dialogue>Let's not talk about Anne Burton.</dialogue> <character>MIRIAM</character> <dialogue>So, it's really serious between you two? Well, you can throw your dreams about her into the ashcan. Guy, I'm coming to Washington.</dialogue> <character>GUY</character> <dialogue>What for?</dialogue> <character>MIRIAM</character> <dialogue>To have my baby and be with you.</dialogue> <character>GUY</character> <dialogue>Why me? It's not my baby.</dialogue> <character>MIRIAM</character> <dialogue>But people do n't know that, Guy, do they? It would make a pretty story, would n't it - the senator's daughter involved with a married man who's about to become a father.</dialogue> <character>GUY</character> <parenthetical>( furiously . )</parenthetical> <dialogue>You black conniving little liar!</dialogue> <scene_description>A few people in the shop look around as Guy 's voice rises above the sound of the record playing .</scene_description> <character>MIRIAM</character> <dialogue>Keep your voice down.</dialogue> <character>GUY</character> <dialogue>What happened? Did he run out on you?</dialogue> <character>MIRIAM</character> <dialogue>No man runs out on me. Not even you.</dialogue> <character>GUY</character> <dialogue>You're a liar and a cheat, Miriam. You've wanted to get rid of me long enough and now I'll go you one better - I never want to see or hear of you again.</dialogue> <character>MIRIAM</character> <parenthetical>( demurely . )</parenthetical> <dialogue>I could be very pathetic as the deserted little mother in a courtroom, Guy. Think it over. Who would believe you?</dialogue> <scene_description>Guy seizes her angrily and in so doing , knocks the tone arm across the record with a loud screech . From outside we can see heads turn . Mr. Hargreaves , the manager , is very disturbed . MED . SHOT THROUGH GLASS PARTITION FROM HARGREAVES ' VIEWPOINT We see Guy gripping Miriam 's arms and apparently addressing her in a threatening manner , although we do not hear his words . The smile has faded from Miriam 's face and something like cringing fear has taken its place . She is drawn and tense and seems to cower beneath Guy 's rage . Mr. Hargreaves moves forward and opens Guy 's tirade .</scene_description> <character>GUY</character> <dialogue>That's what should happen to people like you. And if I.</dialogue> <character>HARGREAVES</character> <parenthetical>( interrupts . )</parenthetical> <dialogue>Break it up, folks. This is n't the place for a family quarrel.</dialogue> <character>GUY</character> <parenthetical>( his eyes blazing . )</parenthetical> <dialogue>Sorry. I'm leaving.</dialogue> <scene_description>He starts to exit from the booth . Miriam grabs his arm and screams at him :</scene_description> <character>MIRIAM</character> <parenthetical>( yelling like a fishwife . )</parenthetical> <dialogue>You heard what I said, Guy Haines. You ca n't throw me away like an old shoe. I'm coming to Washington to have my baby. Tell that to the senate!</dialogue> <scene_description>Guy strides out of the store , the manager and a few customers turning around in surprise . The two customers in other booths , seeing the quarrel , open their doors simultaneously and Miriam 's tirade is climaxed by a cacophony of noise , a big symphony , loud hot music , and the apparently unaware piano tuner .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET METCALF SHOOTING TOWARDS STATION</stage_direction> <scene_description>Guy is striding along angrily . He comes to the same intersection and the same cop . The officer makes a friendly gesture , is if he 'd like to talk awhile , but Guy strides past him without noticing .</scene_description> </scene> <scene> <stage_direction>EXT. METCALF STATION (PROCESS)</stage_direction> <scene_description>Guy comes into the scene , crosses to a row of public telephone booths , enters one . Inside the telephone booth , he dumps some loose change on the shelf , sticks a nickel in the telephone , speaks into it .</scene_description> <character>GUY</character> <dialogue>Long distance.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>I want Washington, D. C. The number is Republic 0800. Person to person. Miss Anne Burton.</dialogue> <scene_description>Another pause , very long . Guy is very restless . He digs a cigarette out of his pocket and sticks it in his mouth , then looks through his pockets for his lighter , does n't find it . He looks puzzled , but about that time the operator speaks to him .</scene_description> <character>GUY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Right.</dialogue> <scene_description>Guy picks coins up off the shelf and drops them into the telephone , then waits . He shifts the receiver and fumbles in his other jacket pocket , then turns to the phone .</scene_description> <character>GUY</character> <parenthetical>( tautly , into phone . )</parenthetical> <dialogue>Anne, - Anne darling. Yes, I'm in Metcalf -.</dialogue> <parenthetical>( gets a grip on himself . )</parenthetical> <dialogue>No, everything did n't go smoothly. She does n't want a divorce, not now.</dialogue> </scene> <scene> <stage_direction>INT. BURTON LIVING ROOM</stage_direction> <scene_description>ANNE BURTON is a beautiful , high - spirited and well - bred young woman . The smile on her face his faded to anxiety as she listens over the telephone which is on the desk .</scene_description> <character>ANNE</character> <parenthetical>( after a pause then with unpleasant realization . )</parenthetical> <dialogue>Another man's child! But she ca n't do that to you, Guy - it's unbelievable - it's, it's evil!</dialogue> <parenthetical>( she listens , then calmly . )</parenthetical> <dialogue>Yes, I know how you must feel.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>But you sound so savage.</dialogue> <scene_description>BACK TO GUY IN TELEPHONE BOOTH</scene_description> <character>GUY</character> <parenthetical>( furiously . )</parenthetical> <dialogue>Sure I sound savage. I feel savage. I'd like to break her neck!</dialogue> <parenthetical>( a pause , then raising his voice . )</parenthetical> <dialogue>I said I'd like to break her foul, poisonous, useless little neck!</dialogue> <parenthetical>( the connection is bad and he strains to hear . )</parenthetical> <dialogue>What's that?</dialogue> <scene_description>Meantime the noise of a through train has been HEARD , and the horn on a streamliner locomotive . It has come up very fast , it is now almost to the station . Guy rises his voice and yells into the telephone . His voice fights the roar of the train :</scene_description> <character>GUY</character> <dialogue>I SAID I COULD STRANGLE HER!</dialogue> <scene_description>The expression on his face is frenzied and suggesting that he means exactly what he is saying .</scene_description> </scene> <scene> <stage_direction>INT. ANTHONY LIVING ROOM</stage_direction> <scene_description>The scene opens on a CLOSEUP OF A MAN 'S HANDS . One of them is semi - flexed and turning slowly , The other is receiving the final touches of a manicure . CAMERA PULLS BACK to reveal that these are Bruno 's hands , and that , he is studying them moodily , CAMERA PULLS BACK FARTHER to reveal his mother , MRS. ANTHONY , sitting opposite him at a little table in the Anthony living room . She is working with scissors , file and nail buffer . Mrs. Anthony is a gentle , once pretty woman , whose pastel exterior harbors a tigress - like determination to protect her son , Bruno is in his robe and is unshaven . There is evidence of long established wealth in the heavy dark appointments of this room .</scene_description> <character>MRS. ANTHONY</character> <dialogue>Since you insisted on a manicure, dear, I do wish you'd keep your hands quiet. You're so restless lately.</dialogue> <character>BRUNO</character> <parenthetical>( almost dreamily as he admires the free hand . )</parenthetical> <dialogue>I like them to look just right.</dialogue> <scene_description>Mrs. Anthony looks up , notices his moody expression .</scene_description> <character>MRS. ANTHONY</character> <dialogue>Did I file them too short?</dialogue> <character>BRUNO</character> <dialogue>No, Ma. They look fine. Thanks.</dialogue> <character>MRS. ANTHONY</character> <dialogue>Then what's the matter?</dialogue> <character>BRUNO</character> <dialogue>I'm all right, Ma. Do n't worry about me.</dialogue> <character>MRS. ANTHONY</character> <dialogue>You look so Pale, dear. Are you out of vitamins?</dialogue> <character>BRUNO</character> <dialogue>I bought a bottle of them yesterday. A whole fifth.</dialogue> <character>MRS. ANTHONY</character> <parenthetical>( anxiously . )</parenthetical> <dialogue>But you have that ` look'. I can always tell. You have n't got into any more mischief, Bruno?</dialogue> <scene_description>He denies this with a slow , solemn shake of his head .</scene_description> <character>MRS. ANTHONY</character> <dialogue>I do hope you've forgotten about that silly little plan of yours?</dialogue> <character>BRUNO</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Which one?</dialogue> <character>MRS. ANTHONY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>About blowing up the White House?</dialogue> <character>BRUNO</character> <parenthetical>( his eyes dancing . )</parenthetical> <dialogue>I was only kidding, Ma. Besides, what would the president say?</dialogue> <character>MRS. ANTHONY</character> <parenthetical>( laughing gaily . )</parenthetical> <dialogue>You're a naughty boy, Bruno. But you can always make me laugh.</dialogue> <parenthetical>( she rises . )</parenthetical> <dialogue>Now get shaved, dear, before your father gets home.</dialogue> <scene_description>Bruno 's fist crashes down on the little table , upsetting it , as he gets to his feet .</scene_description> <character>BRUNO</character> <dialogue>I'm sick and tired of bowing and scraping to the king.</dialogue> <character>MRS. ANTHONY</character> <parenthetical>( placating him . )</parenthetical> <dialogue>Now, now, Let's not lose control. Come see my painting, dear -.</dialogue> <parenthetical>( she leads him toward an easel . )</parenthetical> <dialogue>I do wish you'd take up painting. It's such a soothing pastime.</dialogue> <scene_description>They look at the painting . INSERT The painting is a horrible mess . Out of the violence of the pattern a man 's face can be discerned , wild - eyed and distorted . We hear laughter from Bruno . BACK TO SCENE Bruno 's roar of laughter puzzles Mrs. Anthony , but she is pleased to hear his good humor . He puts an arm around her .</scene_description> <character>BRUNO</character> <dialogue>You're wonderful, Ma! It's the old boy, all right. That's father!</dialogue> <character>MRS. ANTHONY</character> <parenthetical>( bewildered . )</parenthetical> <dialogue>It is? I was trying to paint Saint Francis.</dialogue> <scene_description>At this moment there is the sound of the front door opening . Then immediately the telephone bell rings in the hall . Bruno is instantly alert , as if he had been expecting a call . He goes toward the door to the hall , as the butler enters .</scene_description> <character>BUTLER</character> <parenthetical>( to Bruno . )</parenthetical> <dialogue>They are ready with your call to Southampton, Sir.</dialogue> <scene_description>Bruno 's father MR. ANTHONY , purposefully enters the living room . He an impeccably dressed business man with an uncompromising eye . His entrance momentarily blocks Bruno 's exit .</scene_description> <character>MRS. ANTHONY</character> <parenthetical>( to her husband . )</parenthetical> <dialogue>How nice that you're early, Charles. I'll tell cook.</dialogue> <scene_description>Bruno now exits into the hall , passing his father without speaking .</scene_description> <character>MR. ANTHONY</character> <dialogue>Just a minute, Eunice.</dialogue> <parenthetical>( calls after Bruno . )</parenthetical> <dialogue>Bruno! Come here! I want to talk to you and your mother.</dialogue> </scene> <scene> <stage_direction>INT. HALL CLOSE SHOT BRUNO</stage_direction> <scene_description>as he approaches the telephone .</scene_description> <character>BRUNO</character> <parenthetical>( calls back to his father . )</parenthetical> <dialogue>Sorry father. Long distance.</dialogue> <parenthetical>( he picks up the telephone . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at the telephone as the Voices of his mother and father can be heard from the other room .</scene_description> <character>MR. ANTHONY'S VOICE</character> <dialogue>Now it's hit and run driving! And you knew about it all the time!</dialogue> <character>BRUNO</character> <parenthetical>( eagerly into phone . )</parenthetical> <dialogue>Guy?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Bruno, Bruno Anthony.</dialogue> <character>MR. ANTHONY'S VOICE</character> <dialogue>You're going to protect him once too often. After all we do have a responsibility to society.</dialogue> <scene_description>Bruno gives a look in his father 's direction , before he speaks into the telephone in a low voice .</scene_description> <character>BRUNO</character> <dialogue>I just wanted to ask how you made out with Miriam.</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONE</stage_direction> <character>GUY</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>What?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Metcalf? Who'd you say you were?</dialogue> <scene_description>CLOSEUP BRUNO</scene_description> <character>BRUNO</character> <parenthetical>( sotto voce . )</parenthetical> <dialogue>Bruno, Guy. Bruno Anthony. Do n't you remember? On the train.</dialogue> <scene_description>The voices of Mr. and Mrs. Anthony can still be heard in dispute as Bruno listens at phone :</scene_description> <character>MRS. ANTHONY</character> <dialogue>I never permit it!</dialogue> <scene_description>Bruno gives a significant look in direction of the living room as he speaks into the phone .</scene_description> <character>BRUNO</character> <parenthetical>( softly . )</parenthetical> <dialogue>Are you getting your divorce?</dialogue> <character>MR. ANTHONY'S VOICE</character> <dialogue>I tell you he should be sent somewhere for treatment before it's too late.</dialogue> <character>BRUNO</character> <parenthetical>( into phone , with satisfaction . )</parenthetical> <dialogue>So she double - crossed you! Are you going to see her again?</dialogue> <scene_description>The phone clicks in Bruno 's ear . He looks hurt for an instant , then replaces the receiver . Bruno listens to his father off scene and his expression becomes more enigmatic .</scene_description> <character>MR. ANTHONY'S VOICE</character> <dialogue>I tell you, Eunice, I'm going to have that boy put away if it's the last thing I do!</dialogue> <scene_description>Bruno looks off in direction of his farther 's voice with an expression which says , `` Crow while you can , you have n't much time . '' He reaches into his pocket , brings out Guy 's cigarette lighter and as he flicks it on and off .</scene_description> </scene> <scene> <stage_direction>EXT. METCALF STATION LONG SHOT DAY</stage_direction> <scene_description>This is the same shot we saw when Guy arrived in Metcalf . We see the station and one of the main streets beyond the station . LONG SHOT A NEARER VIEW We see the train come around the curve . Again this is just the same angle that we used for Guy . It comes to a stop in the foreground and we see Bruno alight onto the platform . He looks about him for a moment and then strolls away in the direction of the town . He approaches the row of telephone booths .</scene_description> </scene> <scene> <stage_direction>EXT. STATION CLOSE SHOT</stage_direction> <scene_description>We see Bruno enter the small booth and start to glance through the telephone directory . INSERT TELEPHONE DIRECTORY Bruno 's finger runs down the names until it stops at : Joyce , Miriam Haines . 2420 Metcalf Avenue . A RESIDENTIAL STREET IN METCALF LONG SHOT It is now much later . It is beginning to get dark , and the street lights are on . In the far distance we see a local bus approaching . MED . SHOT SHOOTING DOWN onto a small seat by a bus stop , we see Bruno with an open newspaper in front of him . It is held up as he reads it . CLOSEUP Bruno is glancing over the top of the paper . LONG SHOT From his viewpoint we see a typical frame house . The upper windows are lit as are the lower ones as well . A woman is sitting in a rocker on the front porch . This is MRS. JOYCE , Miriam 's mother . She has white hair . A woman comes along the street and pauses as she gets to Mrs. Joyce .</scene_description> <character>WOMAN</character> <parenthetical>( calls out as she passes . )</parenthetical> <dialogue>Hello Mrs. Joyce. Warm, ai n't it?</dialogue> <character>MRS. JOYCE</character> <dialogue>That it is.</dialogue> <character>WOMAN</character> <dialogue>I've been reading where your son - in - law's been coming right along at tennis.</dialogue> <character>MRS. JOYCE</character> <parenthetical>( sourly . )</parenthetical> <dialogue>We do n't have any interest in tennis any more.</dialogue> <scene_description>The neighbor passes on . CLOSE UP Bruno , still glancing over the top of his paper . LONG SHOT Again from Bruno 's viewpoint , we see Miriam 's house . At this moment the front door swings open , emitting a long streak ot bright light . We see the silhouette of a woman emerge , followed by two other men . They 're laughing and joking . Suddenly they look up the street . At this very moment the bus pulls up in front of Bruno 's view , cutting off the sight of his quarry . The bus comes to a stop . CLOSE SHOT Bruno rises in alarm and moves around toward the end of the bus so that he shall not lose sight of the girl coming out of the house . SEMI - LONG SHOT From his viewpoint , the girl , whom we now see is Miriam , is running followed by the two young men . They are calling for the bus not to go - shouting , `` Hi - stop ! '' Mrs. Joyce calls from the porch :</scene_description> <character>MRS. JOYCE</character> <dialogue>Do n't you stay out too late, Miriam.</dialogue> <character>MIRIAM</character> <parenthetical>( calling back . )</parenthetical> <dialogue>Goodnight, Mother. See you later.</dialogue> <scene_description>CLOSE UP Bruno watches Miriam . MED . SHOT Miriam comes nearer and nearer to Bruno . With her two companions she brushes past him and jumps onto the bus . THE CAMERA PANS BRUNO AFTER THEM .</scene_description> </scene> <scene> <stage_direction>EXT. AMUSEMENT PARK LONG SHOT</stage_direction> <scene_description>We see the bus pull up outside the Amusement Park , and the various passengers alight . These include Miriam nd her companions , and Bruno . LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK We see the usual midway with its various concessions on each side : in the distance the Ferris wheel , Merry - go - rounds , etc. , and beyond that a lake . In the foreground we see people filling in and out . MED . LONG SHOT A GROUP BY A FROZEN CUSTARD STAND This group comprises Miriam and her two boy - friends . They lick their way out of the crowd and debate between themselves where to go next . CLOSE SHOT Miriam 's eye catches the attention of something off screen . SEMI - LONG SHOT From her viewpoint we see Bruno standing and casually watching her . Other people pass around and in front of him , so that he is the only immobile figure . SEMI - CLOSEUP Miriam , with a kind of coy consciousness , turns away with the others and they go on to some other concession . MED . SHOT As Bruno starts to advance in the direction of Miriam he is momentarily held up by a small boy in cowboy uniform carrying a gun and a balloon . The small boy points the gun at Bruno . SEMI - CLOSE UP The small boy pointing the gun fires it twice with a couple of ` bangs ! ' He then starts to move off . SEMI - CLOSE UP Bruno moves on past the boy . He casually touches the balloon with his cigarette end - it goes off with a ` pop ' . CLOSE UP The small boy turns and looks with dismay at his pricked balloon , wondering what happened . SEMI - CLOSE UP Bruno moves on , pleased with himself , returning his attention to Miriam who is somewhere ahead of him . MEDIUM SHOT Miriam and her two boy - friends by the sledge hammer concession where the aim is to swing the hammer hard enough down onto its target to ring the bell and register the 100 mark . Miriam is in the foreground of the shot . The first boy steps up to try his hand . As he swings , Miriam turns and glances about her , obviously looking for Bruno . LONG SHOT FROM MIRIAM VIEWPOINT The crowds milling , but no sign of Bruno . MEDIUM SHOT The first boy having failed to ring the bell , the second stops up and slams the hammer down . CLOSE SHOT The register shooting up only to the hallway mark . CLOSE SHOT MIRIAM She looks a little disdainful and again glances around for Bruno . Looking first to her left where she sees nothing , she then looks to her right , and as she does THE CAMERA PANS to show Bruno standing right it her shoulder . Miriam gives a little start . Bruno smiles at her . With a smirk he walks over and after paying his fee , goes to take up the hammer . CLOSE UP MIRIAM She watches Bruno . CLOSE SHOT Bruno looks down at his hands . INSERT Bruno 's two strong hands - as he holds them palms tilted upward and fingers curled in . CLOSE UP Bruno , as he smiles faintly , glancing across at Miriam . CLOSE UP MIRIAM She gives a faint smile in return . CLOSE SHOT With a studied movement , Bruno picks up the handle of the hammer and swings . CLOSE SHOT The register shoots up to the 100 mark and rings the bell . MEDIUM SHOT Bruno drops the hammer and glances around at Miriam again . Her two boy - friends are calling for her from a little distance .</scene_description> <character>BOY'S VOICE</character> <dialogue>Come On, Miriam. Come On!</dialogue> <scene_description>CLOSE SHOT MIRIAM She turns away and is lost in the crowd . MEDIUM SHOT OVER BRUNO 'S SHOULDER AT MERRY - GO ROUND IN BACKGROUND Bruno turns to follow Miriam , his manner casual . As he takes a few steps , WE PAN ACROSS with him until , over his shoulder , we see a merry - go - round in the background . Miriam and the two boys are aboard and climbing onto horses . As Bruno goes toward the merry - go - round , the CAMERA MOVES UP A LITTLE with him . The merry - go - round starts to move slowly round as Bruno hops on . MEDIUM SHOT ON MERRY - GO - ROUND Bruno begins to look around for Miriam , who is apparently on the other side of the merry - go - round . He starts to thread his way through the horses which are beginning to move up and down . CAMERA FOLLOWING HIM . He passes one or two of the oncoming heads before he reaches Miriam . She is on an outside mount which is high in the air when she sees Bruno facing her . Her laughter dies for a moment and she smiles at him coyly . Bruno passes her and gets on the horse directly behind her , Miriam glancing at him as her horse comes down . MEDIUM SHOT BRUNO ON HORSE With horse 's head in foreground , as it is coming toward us . SIDE VIEW MIRIAM Miriam on her horse , moving from left to right . Miriam , holding the reins , glances back with a gay laugh . SIDE VIEW BRUNO Bruno on his horse , as though he is chasing Miriam . He is a little more open now in his laughter . GROUP SHOT MIRIAM AND TWO BOYS Miriam and her boy friends begin to sing the song being played on the calliope . CLOSE UP MIRIAM As she starts to sing , she glances back . CLOSE UP BRUNO He is starting to join in the singing . MEDIUM SHOT The horses of the merry - go - round are filling the screen as they whizz by , and again we get the picture of Bruno chasing Miriam as they rush past the CAMERA , the music and tempo at a high speed .</scene_description> </scene> <scene> <stage_direction>EXTERIOR OF BOAT LANDING ON SHORE OF ARTIFICIAL LAKE</stage_direction> <scene_description>Across the water may be seen a small wooded island . Between this and the boat landing there is an artificially constructed `` Tunnel of Love '' . We see Miriam and her companions approach the boat concession and CAMERA FOLLOWS THEM onto the little landing stage . CAMERA MOVES UP SLOWLY over the boy 's shoulders until we get MIRIAM IN CLOSE UP . She glances back . Her expression changes to a coy smile of satisfaction as she sees : MEDIUM SHOT -LRB- FROM MIRIAM 'S VIEWPOINT -RRB- Bruno is approaching the pay box . MEDIUM SHOT Miriam and her companions are escorted to a small boat with electric motor . Once they are seated the boat chugs away from the landing stage and off into the darkness . Bruno steps into the foreground and gets into the next boat which floats alongside . He , too , moves away into the darkness . ENTRANCE TO THE TUNNEL As Miriam 's boat passes through , she gives another little glance over shoulder before her boat disappears into the darkness of the tunnel . After a brief moment Bruno 's boat comes into the picture , and it , too , goes into the tunnel . INSIDE THE TUNNEL We see the silhouettes of the occupants of Miriam 's boat on the wall of the tunnel , lit dimly from the light coming from the tunnel exit . The silhouette of Bruno in his boat , lit by the tunnel entrance , gradually approaches the other three . When the silhouettes are almost touching , we - EXIT OF THE TUNNEL It is empty . There is a sudden piercing scream from inside , followed after a second or two by protestations and giggling as Miriam 's boat emerges into the light . She is pushing one of the boys away from her .</scene_description> <character>MIRIAM</character> <parenthetical>( squealing . )</parenthetical> <dialogue>George, stop it, I tell you!</dialogue> <scene_description>Their boat moves out of the picture , toward the island . Presently Bruno 's boat comes smilingly following and he , too , moves on out of the picture . MEDIUM SHOT ISLAND The group of Miriam and her companions are scrambling out of their boat and moving onto the island , one of the boys trying the boat on the shore . They disappear into the Woods of the island . Again Bruno 's boat comes into the picture . He steps out , lift the prow of the boat a little onto the shore . LONG SHOT ISLAND We see the amusement park lighted beyond the lake . Silhouetted in the foreground , the trees and foliage of the island . Nearby we see the silhouetted figures of Miriam and her companions move across the scene , right to left . Miriam is pushing George away from her .</scene_description> <character>MIRIAM</character> <parenthetical>( protesting perfunctorily . )</parenthetical> <dialogue>George, no!</dialogue> <scene_description>She backs away from him and the boys go on picture . Miriam goes in another direction , around , the bushes . George obviously misses her , for we hear his voice call out :</scene_description> <character>GEORGE'S VOICE</character> <dialogue>Miriam!</dialogue> <scene_description>Miriam backs out of the bushes until the back of her head is in CLOSEUP in the foreground of the shot . Suddenly she hears steps in back of her and turns her head toward CAMERA . Her face changes as she recognizes someone offscene .</scene_description> <character>MIRIAM</character> <dialogue>Oh!</dialogue> <scene_description>She gives a coy smile of recognition . CAMERA PULLS BACK to reveal the mad and shoulders of Bruno between Miriam and the camera . His hand holds Guy 's lighter which he flicks on as he raises it above Miriam 's face . 0f Bruno , we see only the back of his head and shoulders .</scene_description> <character>BRUNO</character> <dialogue>Is your name Miriam?</dialogue> <character>MIRIAM</character> <parenthetical>( with surprise . )</parenthetical> <dialogue>Why yes. How did you -</dialogue> <scene_description>We see Bruno 's gloved hands dart quickly to Miriam 's throat . The lighter falls down out of picture , and as Bruno 's hands grip her throat , his head moves slightly to blot out Miriam 's face . His head moves a bit farther until Miriam 's face is nearly uncovered at the other side of the screen , and we see her glasses fall off . CLOSE SHOT Miriam 's glasses hit the ground . The shadows of their struggling figures over the shot . CLOSE UP The screen is filled with one of the lenses of the glasses . They are of the diminishing type . Against the moonlit sky we see reflected , the elongated struggling figures , as though we were shooting up at them . Suddenly one of the figures falls forward . CLOSE UP Miriam 's head drops into the picture by the glasses . Bruno 's hand comes into the picture and picks up the glasses . One of the lenses has been broken by Miriam 's fall . As we see Bruno 's sport shoes move away , the CAMERA MOVES PAST MIRIAM 'S HEAD until it comes to Guy 's lighter pressed into the earth . CLOSE UP BRUNO Bruno glances back over his shoulder . He looks down and goes back one or two steps . CLOSE UP BRUNO 'S HAND Bruno 's hands retrieve the lighter from the ground . LONG SHOT ISLAND We see a full view of the island again , with the amusement park beyond . The faint noise of the calliope continues in the distance . Bruno has been lost to view . Miriam 's companions are still searching for her . We hear their faint voices in the distance .</scene_description> <character>VOICES</character> <dialogue>Miriam! Miriam! Where are you?</dialogue> <scene_description>MEDIUM SHOT Bruno comes to the shore where his boat is moored . He gets in and is quickly chugging away . He moves calmly , matter - of - fact and not furtively . LONG SHOT LAKE Bruno 's boat throbbing its way across toward the landing stage . MEDIUM SHOT LANDING STAGE There are two boats unloading . Bruno 's boat is approaching . We hear a loud call from the island . Someone has found Miriam .</scene_description> <character>VOICES</character> <dialogue>Hey, here she is! What's the matter with her? Has she fainted?</dialogue> <scene_description>More shouts from the island cause the people at the landing stage to look back . The boatman 's attention is also attracted . Suddenly , as Bruno is getting out of boat , there is a loud scream from the island .</scene_description> <character>VOICE</character> <parenthetical>( crying out . )</parenthetical> <dialogue>She is dead!</dialogue> <character>OTHER VOICE</character> <parenthetical>( from island . )</parenthetical> <dialogue>Help! Help!</dialogue> <scene_description>Bruno by this time has stopped onto the landing stage , and in company with the other people , is looking back as if to see what 's wrong on the island . Then he moves away , starting off of the landing stage . The boatman turns and glances at Bruno , but quickly returns his attention to the disturbance across on the island . He hurries forward and with a couple of men passengers jumps into one of the boats . He calls to his assistant as he gets into the boat .</scene_description> <character>BOATMAN</character> <dialogue>Got a cop!</dialogue> <scene_description>The assistant runs off out of the pictures MEDIUM SHOT BRUNO As Bruno calmly threads his way along the midway , we hear above the noise of the various concessions , a shrill police whistle in the distance . Presently a couple of policemen comes running from direction of the main entrance and past Bruno . He glances at them over his shoulder , then strolls on toward the main entrance to the park . ENTRANCE TO AMUSEMENT PARK EXTERIOR As Bruno comes out through the turnstile , he stands for a moment on the street . At this moment a man hesitates at the curbstone . He is blind and tapping the sidewalk with his white cane . He takes one step into the roadway , then hesitates . Bruno steps forward and takes the blind man 's arm . CAMERA PULLS BACK as Bruno escorts the blind man across the road . With a sweeping gesture he holds back a couple of cars to lot them pass . Once on the other side of the road , the blind man utters his thanks .</scene_description> <character>BLIND MAN</character> <dialogue>Thanks.</dialogue> <scene_description>He goes off . Bruno looks back toward the park , then glances down at his wristwatch . INSERT BRUNO 'S WRISTWATCH The time is 9.30 .</scene_description> </scene> <scene> <stage_direction>INT. OBSERVATION CAR OF A TRAIN NIGHT</stage_direction> <scene_description>Through the rear window we see the tracks rushing away from us . Seated in the foreground are Guy Haines and a rather professorial type opposite him , a bespectacled man around forty - five or fifty who is extremely drunk . MEDIUM SHOT GUY He is reading an evening newspaper . CLOSE SHOT The feet opposite Guy stretch out and touch Guy 's feet . CLOSEUP GUY He lowers his paper and looks across . MED . SHOT The drunk opposite Guy looks down at his feet and then up to Guy resentfully as though Guy had kicked him . He eyes Guy up and down , then suddenly , without warning , bursts into song , to the tune of the Barber Shop Chord .</scene_description> <character>COLLINS</character> <dialogue>There was a man, now please take note. There was a man who had a goat. He loved that goat, Indeed he did. He loved that goat, just like a kid.</dialogue> <parenthetical>( He stops singing abruptly and addresses Guy . )</parenthetical> <dialogue>What is your opinion?</dialogue> <character>GUY</character> <parenthetical>( amused . )</parenthetical> <dialogue>You'll never make the Metropolitan.</dialogue> <character>COLLINS</character> <parenthetical>( fuzzily - pumping Guy 's hand . )</parenthetical> <dialogue>Name's Collins. On sabbatical - Delaware Tech. Glad to meet you. I jus' gave a speech in New York. On integration. In the differential calculus a function is given and its differential is obtained. Understand?</dialogue> <character>GUY</character> <parenthetical>( solemnly . )</parenthetical> <dialogue>Sure, I understand.</dialogue> <character>COLLINS</character> <parenthetical>( resentfully . )</parenthetical> <dialogue>Y ` do?</dialogue> <scene_description>Again he bursts into loud song . LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHT A solitary taxi is seen driving past the Capitol Building . The taxi comes to a side street and stops outside a small apartment house . MED . SHOT Guy gets out of the taxi with his rackets and bag , pays the driver and goes up the steps to the front door of his apartment . CLOSE SHOT As Guy is about to enter the front door and we see his name posted on a small card as one of the several tenants , he hears a soft call from across the street .</scene_description> <character>VOICE</character> <parenthetical>( softly . )</parenthetical> <dialogue>Guy!</dialogue> <scene_description>Guy turns his head and looks across the street . MED . LONG SHOT -LRB- FROM GUY 'S VIEWPOINT -RRB- We see a small space between two houses across the street . Out of the darkness the voice repeats .</scene_description> <character>VOICE</character> <dialogue>Over here, Guy.</dialogue> <scene_description>MED . SHOT GUY He turns , and with a slightly bewildered and wary expression , goes out of the picture to cross the street . MED . SHOT Guy reaches the other side of the street and still puzzled and cautious , approaches the dark alleyway . MED . SHOT After a moment a figure steps out of the darkness . It is Bruno . He steps back into the darkness again as Guy comes up to him . TWO SHOT Guy frowning in puzzlement as he looks at Bruno .</scene_description> <character>BRUNO</character> <parenthetical>( cheerfully . )</parenthetical> <dialogue>Hello, Guy.</dialogue> <character>GUY</character> <parenthetical>( recognizes Bruno - not pleased . )</parenthetical> <dialogue>What are you doing here? At this time of night?</dialogue> <character>BRUNO</character> <parenthetical>( a little sadly . )</parenthetical> <dialogue>You do n't seem very pleased to see me, Guy.</dialogue> <scene_description>Guy stands without answering .</scene_description> <character>BRUNO</character> <parenthetical>( pleased again . )</parenthetical> <dialogue>I brought you a little present.</dialogue> <character>GUY</character> <dialogue>What do you mean?</dialogue> <scene_description>Bruno 's hand comes out of his pocket and he hands Miriam 's glasses to Guy . INSERT Guy 's hands taking Miriam 's glasses from Bruno . One of the lenses is broken . TWO SHOT As Guy takes the glasses he looks at Bruno in bewilderment .</scene_description> <character>GUY</character> <dialogue>What's this all about?</dialogue> <character>BRUNO</character> <dialogue>Recognize them?</dialogue> <scene_description>CLOSEUP GUY He looks down at the glasses , mystified . He looks up again to Bruno . CLOSEUP BRUNO</scene_description> <character>BRUNO</character> <dialogue>It was very quick, Guy. She was n't hurt in any way. It was all over in no time.</dialogue> <scene_description>CLOSEUP GUY He is horrified . He looks swiftly down at the glasses in his hand , then back to Bruno .</scene_description> <character>BRUNO'S VOICE</character> <parenthetical>( bragging . )</parenthetical> <dialogue>I know you'd be surprised. Nothing for us to worry about. Nobody saw me, only Miriam.</dialogue> <scene_description>TWO SHOT Guy can hardly believe what he is hearing .</scene_description> <character>BRUNO</character> <dialogue>I was very careful. Even when I dropped your lighter there, I went right back to it up. If It'd been found, it would have ruined our whole scheme, would n't it?</dialogue> <character>GUY</character> <dialogue>Are you trying to tell me you've - Why, you maniac!</dialogue> <character>BRUNO</character> <parenthetical>( looks at Guy with astonishment . )</parenthetical> <dialogue>But, Guy, you wanted it! We planned it on the train together, remember?</dialogue> <scene_description>Guy suddenly starts to go . Bruno grabs his arm .</scene_description> <character>BRUNO</character> <dialogue>Where are you going?</dialogue> <character>GUY</character> <dialogue>Where do you think I'm going? I'm going to call the police, of course.</dialogue> <character>BRUNO</character> <dialogue>But you ca n't, Guy. We'd both be arrested for murder.</dialogue> <scene_description>Guy turns back slowly and faces him .</scene_description> <character>GUY</character> <dialogue>We'd both be arrested for murder?</dialogue> <character>BRUNO</character> <dialogue>You're is much in it as I am. We planned it together. Criss - cross. I do your murder -</dialogue> <character>GUY</character> <parenthetical>( suddenly angry . )</parenthetical> <dialogue>You crazy fool! You think you can get away with that?</dialogue> <character>BRUNO</character> <parenthetical>( a little hurt . )</parenthetical> <dialogue>Oh, come now, Guy. Why should I go to Metcalf and kill a total stranger, unless it was part of the plan and you were in on it? You're the one that benefits, Guy. You're a free man. I did n't even know the girl.</dialogue> <scene_description>Guy makes a move to leave , but Bruno holds on tight .</scene_description> <character>GUY</character> <dialogue>Let me go, Bruno. I had nothing to do with this and the police will believe me.</dialogue> <character>BRUNO</character> <parenthetical>( concerned . )</parenthetical> <dialogue>If you go to the police now, you'll just be turning yourself in as in accessory. You see, you have the motive.</dialogue> <scene_description>At this moment both turn at a sound across the street . LONG SHOT -LRB- FROM THEIR VIEWPOINT -RRB- We hear the sound of a telephone ringing in Guy 's apartment . The top of one of his windows is open .</scene_description> <character>BRUNO</character> <dialogue>What is it?</dialogue> <character>GUY</character> <dialogue>My telephone.</dialogue> <character>BRUNO</character> <parenthetical>( amused . )</parenthetical> <dialogue>Someone has some news for you, Guy.</dialogue> <scene_description>Guy still stares across the street . LONG SHOT -LRB- FROM HIS VIEWPOINT -RRB- We see a police car pull up outside Guy 's apartment . TWO SHOT Bruno pulls Guy back further into the shadows . Guy instinctively flattens himself against the wall . He looks across the street again . LONG SHOT -LRB- FROM HIS VIEWPOINT -RRB- We see the two policemen go into his apartment building . TWO SHOT Guy is still flattened against the wall to keep out of light .</scene_description> <character>BRUNO</character> <dialogue>Tell them you know about it already, Guy.</dialogue> <scene_description>CLOSEUP GUY He looks across at the police , then down at himself with some surprise and disgust , then over at Bruno , suddenly conscious he is behaving like a criminal and that Bruno is responsible for his predicament .</scene_description> <character>GUY</character> <parenthetical>( muttering . )</parenthetical> <dialogue>You've got me acting, like a criminal, you crazy fool!</dialogue> <scene_description>Bruno for a moment looks menacingly at Guy .</scene_description> <character>BRUNO</character> <dialogue>Do n't you call me that.</dialogue> <scene_description>Bruno 's flare of anger dies . They both look again across the street . LONG SHOT -LRB- FROM THEIR VIEWPOINT -RRB- The two policemen come out of the house , get into their car and drive off . Guy 's telephone is still ringing . TWO SHOT</scene_description> <character>BRUNO</character> <dialogue>You must be tired, Guy. I know I am. I've sure had a strenuous evening.</dialogue> <scene_description>Guy looks at him , almost numb .</scene_description> <character>BRUNO</character> <dialogue>Now look, Guy, about my father. I have the plans made. Two plans. A plan of the grounds and a plan of the house. I have in old Luger I bought at a pawn shop in San Francisco. My father -</dialogue> <scene_description>Guy turns and starts to move in across the street . TWO SHOT Bruno follows Guy and we FOLLOW them across the street . CAMERA ON THEIR BACKS . Guy strides ahead to the house .</scene_description> <character>BRUNO</character> <dialogue>Wait a minute, Guy. To have to talk. We have to arrange things.</dialogue> <scene_description>Guy turns at the door to his apartment building .</scene_description> <character>GUY</character> <parenthetical>( furiously . )</parenthetical> <dialogue>Get away before I give you what you gave Miriam.</dialogue> <character>BRUNO</character> <parenthetical>( sadly . )</parenthetical> <dialogue>You're not yourself, Guy. You're tired. When you think things over, you'll see I'm right. Tomorrow -</dialogue> <scene_description>Guy opens his door , turns on Bruno .</scene_description> <character>GUY</character> <parenthetical>( with finality . )</parenthetical> <dialogue>I do n't know you. I never saw you before. I never want to see you again.</dialogue> <scene_description>He goes in and slams the door in Bruno 's face .</scene_description> <character>BRUNO</character> <parenthetical>( to the closed door . )</parenthetical> <dialogue>But we have to -</dialogue> <scene_description>He realizes there is no use in trying to talk to Guy any further . He turns and faces the CAMERA IN CLOSE UP as he moves away , looking sad almost to the point of tears .</scene_description> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT</stage_direction> <scene_description>Guy is standing at the telephone which is still ringing . He has Miriam 's glasses in his hand . He looks down at them for a moment , then picks up the receiver . He hesitates , then speaks into the phone .</scene_description> <character>GUY</character> <parenthetical>( hoarsely , into phone . )</parenthetical> <dialogue>Yes?</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>Yes, Anne. I'm sorry, darling. I just got in.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Of course I'm all right.</dialogue> <parenthetical>( forcing his voice to sound normal . )</parenthetical> <dialogue>But you sound upset. Is anything wrong?</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>All right. I'll come over. Right away.</dialogue> <scene_description>He hangs up but keeps his hand on the telephone , deliberating . He starts to dial , then suddenly hangs up and starts out .</scene_description> </scene> <scene> <stage_direction>EXT. A RESIDENTIAL STREET, WASHINGTON LONG SHOT NIGHT</stage_direction> <scene_description>A taxi drives up and stops in front of a handsome residence . It is the Burton home . Guy gets out of the taxi and goes up the steps . MED . SHOT OVER GUY 'S SHOULDER His figure tense , he rings the bell . After a moment 's wait , the door is opened from inside and Anne Burton stands in the lighted hallway . She looks at Guy with an anxious , taut expression , searches his face hastily , then as he takes a step inside she is suddenly in his arms . They embrace with wordless fervor .</scene_description> <character>GUY</character> <parenthetical>( holding her close . )</parenthetical> <dialogue>Anne darling, you're trembling.</dialogue> <scene_description>Anne draws back and looks into his face as if searching for an answer to some question in her mind .</scene_description> <character>ANNE</character> <dialogue>Guy -.</dialogue> <parenthetical>( her fingers gently touch his face . )</parenthetical> <dialogue>I wonder if you know how much I love you.</dialogue> <scene_description>Guy takes her hand from hIs face , caresses it with his lips .</scene_description> <character>GUY</character> <parenthetical>( forcing a smile . )</parenthetical> <dialogue>Brazen woman. I'm the one to say that.</dialogue> <character>ANNE</character> <parenthetical>( tensely . )</parenthetical> <dialogue>But I wanted you to know, before.</dialogue> <parenthetical>( forcing herself to be calm . )</parenthetical> <dialogue>Before we go into the living room.</dialogue> <scene_description>Father wants to see you . CLOSEUP GUY He looks apprehensively in direction of the living room , conscious of what the news is to be , but covering up . LONG SHOT LIVING ROOM FROM GUY 'S VIEWPOINT SENATOR BURTON and BARBARA BURTON are seated near a desk on the farthest side of the room . Senator Burton is a distinguished fifty , a man with great pride in tradition , his family and his career . Barbara , Anne 's younger sister , is a lively seventeen who loves excitement , says exactly what she thinks and rarely thinks before she says it . Superficially , in height and figure , she resembles Miriam . She also weirs glasses . By her gestures we gather she is speaking urgently , but softly , to her father , who lifts a weary hand to quiet her as she looks toward Guy in the hallway , Barbara keeps quiet and also looks toward Guy . They both wait for him to enter . CLOSEUP GUY He steels himself for the long walk across the hall and the living room . CLOSEUP ANNE Watching Guy closely . MED . SHOT As Guy starts to make the long trek across the living room , with Anne behind him -</scene_description> <character>GUY</character> <parenthetical>( stiffly . )</parenthetical> <dialogue>Good evening, sir. Hello, Babs.</dialogue> <scene_description>Barbara has been squirming in her seat , then as if jet propelled she catapults out of it and runs to Guy , giving him a big hug and a smack on the cheek .</scene_description> <character>BARBARA</character> <dialogue>Something awful has happened, Guy.</dialogue> <character>SENATOR</character> <parenthetical>( firmly . )</parenthetical> <dialogue>Sit down, Barbara.</dialogue> <scene_description>Subdued , she sits down . But Guy remains standing .</scene_description> <character>SENATOR</character> <parenthetical>( finding it difficult to begin . )</parenthetical> <dialogue>There seems to be no way of diplomatically breaking tragic news. I'm sorry, Guy, to be the one to tell you. It concerns your wife. She's been murdered.</dialogue> <scene_description>Guy stares woodenly at the Senator , is if hypnotized .</scene_description> <character>BARBARA</character> <dialogue>The police have been using everything but radar to locate you.</dialogue> <character>SENATOR</character> <dialogue>You're to call Headquarters at Metcalf.</dialogue> <scene_description>The full impact of what has happened hits Guy once more .</scene_description> <character>GUY</character> <dialogue>Miriam. murdered.</dialogue> <character>ANNE</character> <parenthetical>( with inner tension . )</parenthetical> <dialogue>She was. strangled.</dialogue> <scene_description>Slowly Guy 's eyes meet hers . They are remembering what he said on the phone : `` I could strangle her . '' He sinks into a chair . The Senator is quite distressed . During the following scene Barbara quietly goes about the business of pouring drinks and serving them . She knows everyone 's preference .</scene_description> <character>SENATOR</character> <parenthetical>( wrylt , to Guy . )</parenthetical> <dialogue>It happened on an island in an amusement park. It was sort of a lovers lane, I believe. A rather sordid atmosphere.</dialogue> <character>BARBARA</character> <parenthetical>( quickly , to Guy . )</parenthetical> <dialogue>Miriam went there with two boys. They were the ones who found her. So they're not suspects. But you probably will be.</dialogue> <character>SENATOR</character> <dialogue>Young lady, we ca n't overlook the fact that murder is at our doorsteps. But I forbid you to drag it into the living room!</dialogue> <character>BARBARA</character> <parenthetical>( wide - eyed . )</parenthetical> <dialogue>Let's not fool ourselves. The police will say Guy wanted Miriam out of the way so he could marry Anne. In a crime of this sort the police first go after the husband, and Guy had every motive.</dialogue> <character>SENATOR</character> <parenthetical>( aghast . )</parenthetical> <dialogue>Motive?</dialogue> <character>GUY</character> <parenthetical>( quietly . )</parenthetical> <dialogue>She's right. Whichever way you look at it. I'm in a spot.</dialogue> <character>SENATOR</character> <parenthetical>( disconcerted but whistling in dark . )</parenthetical> <dialogue>Oh come now, my boy. I'm sure you have nothing to worry about.</dialogue> <character>BARBARA</character> <parenthetical>( flatly . )</parenthetical> <dialogue>If he has n't an alibi for nine - thirty tonight he has plenty to worry about.</dialogue> <character>ANNE</character> <parenthetical>( who has n't taken anxious eyes off Guy . )</parenthetical> <dialogue>You can tell them where you were, ca n't you, Guy?</dialogue> <character>GUY</character> <parenthetical>( wearily . )</parenthetical> <dialogue>At nine - thirty I was on the train from New York to Washington.</dialogue> <character>SENATOR</character> <parenthetical>( relieved . )</parenthetical> <dialogue>There you are.</dialogue> <character>BARBARA</character> <dialogue>Who saw you? Did you speak to anyone? You'll need a Witness, you know.</dialogue> <character>GUY</character> <parenthetical>( as if it did n't matter . )</parenthetical> <dialogue>Yes, I spoke to someone.</dialogue> <character>SENATOR</character> <parenthetical>( hopefully . )</parenthetical> <dialogue>Anyone you know?</dialogue> <character>GUY</character> <dialogue>No. His name was Collins. He is a professor.</dialogue> <character>SENATOR</character> <parenthetical>( brightening . )</parenthetical> <dialogue>Harvard.</dialogue> <character>GUY</character> <dialogue>University of Virginia.</dialogue> <scene_description>The Senator 's expression says : `` Well , that 's not too bad . '' CLOSEUP ANNE Her face shows her relief that Guy can account for his time .</scene_description> <character>ANNE</character> <dialogue>Then everything's's all right.</dialogue> <scene_description>BACK TO SCENE</scene_description> <character>BARBARA</character> <dialogue>Not quite. Detectives play a game called Motive, Motive, Who'd got the Motive.</dialogue> <character>ANNE</character> <parenthetical>( near the breaking point . )</parenthetical> <dialogue>I'm sick of hearing that word!</dialogue> <character>BARBARA</character> <dialogue>He'll still have to answer questions.</dialogue> <character>SENATOR</character> <dialogue>Routine. Pure routine.</dialogue> <character>GUY</character> <dialogue>I'm afraid there'll be a lot of reporters at your front door in the morning.</dialogue> <character>BARBARA</character> <dialogue>Daddy does n't mind a little scandal. He's a senator.</dialogue> <character>ANNE</character> <parenthetical>( answering Guy 's look . )</parenthetical> <dialogue>It ca n't be helped, darling. It is not your fault. It's not as though anyone can say you had something to do with it.</dialogue> <character>GUY</character> <dialogue>Someone might say it. I'd do anything to keep you all out of this mess.</dialogue> <character>SENATOR</character> <dialogue>Profit by my experience, Guy. Never lose any sleep over accusations.</dialogue> <parenthetical>( an afterthought . )</parenthetical> <dialogue>Unless they can be proved, of course. We'll help all we can. Dreadful business, dreadful. That poor unfortunate girl.</dialogue> <character>BARBARA</character> <parenthetical>( flatly . )</parenthetical> <dialogue>She was a tramp.</dialogue> <character>SENATOR</character> <parenthetical>( pontificially . )</parenthetical> <dialogue>She was a human being. let me remind you that even the most unworthy of us has the right to life and the pursuit of happiness.</dialogue> <character>BARBARA</character> <parenthetical>( unimpressed . )</parenthetical> <dialogue>From what I hear, she pursued it in all directions.</dialogue> <character>SENATOR</character> <dialogue>Barbara!</dialogue> <character>ANNE</character> <dialogue>Father, it's getting terribly late, and Guy looks so tired.</dialogue> <character>SENATOR</character> <parenthetical>( quickly . )</parenthetical> <dialogue>Of course, of course. Back to bed, Barbara.</dialogue> <character>BARBARA</character> <parenthetical>( ignoring this - to Anne and Guy . )</parenthetical> <dialogue>Well, you two. Nothing stands in your way now. You can be married right away. Think of it - you're free!</dialogue> <scene_description>CLOSE TWO ANNE AND GUY look at one another with a growing realization of what Miriam 's death actually means to their happiness - they are free . BACK TO SCENE The Senator firmly urges Barbara to the door .</scene_description> <character>SENATOR</character> <parenthetical>( to Barbara . )</parenthetical> <dialogue>One does n't always have to say what one thinks!</dialogue> <character>BARBARA</character> <parenthetical>( sweetly . )</parenthetical> <dialogue>Father, I'm not a politician.</dialogue> <scene_description>The Senator gives her a gentle but firm push out of sight .</scene_description> <character>SENATOR</character> <dialogue>You wo n't forget that call, Guy? Captain Turley.</dialogue> <character>GUY</character> <dialogue>Yes sir. Goodnight.</dialogue> <scene_description>Barbara pokes her head quickly around the door .</scene_description> <character>BARBARA</character> <dialogue>I still think it would be wonderful to have a man love you so much he'd kill for you.</dialogue> <parenthetical>( she ducks out . )</parenthetical> <dialogue /> <scene_description>TWO SHOT Left alone , Guy and Anne embrace . Anne 's nervous tension comes to the surface in a flood of relief .</scene_description> <character>ANNE</character> <dialogue>I told myself over and over I was being silly, but there was one horrible moment tonight when the news came through. I kept remembering what you shouted telephone from Metcalf.</dialogue> <character>GUY</character> <dialogue>That I could strang.</dialogue> <scene_description>Anne quickly puts her fingers over his mouth .</scene_description> <character>ANNE</character> <dialogue>Do n't even say it. Forget you ever said it. Even more terrifying than the murder itself, Guy, was the awful thought that if you had anything to do with it we'd be separated, - perhaps forever. I'd never see you again. I could n't bear it.</dialogue> <scene_description>LONG SHOT MAIN STREET OF METCALF DAY with its customary mid - afternoon activity .</scene_description> </scene> <scene> <stage_direction>EXT. METCALF POLICE HEADQUARTERS DAY</stage_direction> <scene_description>A knot of people are hanging around the entrance , including a few newspaper photographers . There is a rush of interest when a taxi pulls up and Guy steps out of it . Guy pushes his way through the people . Two or three bulbs flash . There is a murmur from the crowd and we hear Guy 's name . He passes into the entrance .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OF POLICE HEADQUARTERS</stage_direction> <scene_description>Guy comes into the corridor from the street and approaches two policemen who are standing nearby .</scene_description> <character>GUY</character> <dialogue>Captain Turley's office?</dialogue> <scene_description>One of the policemen gestures to a door at the right . Guy crosses and enters .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION ROOM OUTSIDE CAPTAIN TURLEY'S OFFICE</stage_direction> <scene_description>At one side of the room is a young police sergeant seated at a typewriter . A group of people are seated in chairs lined against the opposite wall . Guy enters , crosses to the sergeant at the desk .</scene_description> <character>GUY</character> <dialogue>Captain Turley is expecting me. Guy Haines.</dialogue> <character>SERGEANT</character> <dialogue>Just a moment, Mr. Haines.</dialogue> <scene_description>He rises and goes into an adjoining room . CLOSEUP GUY He now has time to take stock of the waiting people . He catches his breath when he sees : CLOSEUP MRS. JOYCE Miriam 's mother , dressed all in black , is seated in one of the chairs . She has been staring at the floor , but brings her eyes up slowly to glare at Guy with a look of burning hatred .</scene_description> <character>MRS. JOYCE</character> <parenthetical>( a fierce whisper . )</parenthetical> <dialogue>You'll pay for this!</dialogue> <scene_description>CLOSEUP MR. HARGREAVES Mr. Hargreaves from the music shop looks across at Guy , attempts in awkward nod but is very embarrassed . CLOSEUP GUY Guy nods in returns . MED . SHOT The two boys who were with Miriam at the amusement park . They look at Guy with interest . MED . SHOT GUY He looks about him uncomfortably , then turns suddenly as he sees : MED . SHOT Seated behind Guy , apart from the others who are waiting , is Professor Collins , Guy 's drunken companion on the train of the night before . The professor is completely sober now , dignified and erect . He has removed his glasses to polish them and does not react to Guy 's presence . CLOSEUP GUY Guy starts with a smile of recognition to say , `` How do you do ? '' but at that moment he hears the door open and his name called :</scene_description> <character>SERGEANT'S VOICE</character> <dialogue>Will you come in, please, Mr. Haines?</dialogue> <scene_description>MED . SHOT Guy breaks away from his uncompleted greeting to the professor and goes through the door to Captain Turley 's office , followed by the eyes of the waiting people .</scene_description> </scene> <scene> <stage_direction>INT. CAPTAIN TURLEY'S OFFICE</stage_direction> <scene_description>CAPTAIN TURLEY is conscientious , methodical and always polite . He puts aside photographs and records and rises from behind his desk as Guy comes in . A detective lieutenant , CAMPBELL , is attending a coffee maker . Their expressions are grave by contrast with Guy 's confident attitude after seeing the professor in the waiting room .</scene_description> <character>CAPTAIN TURLEY</character> <dialogue>Good of you to be so prompt, Mr. Haines. This is Lieutenant Campbell.</dialogue> <parenthetical>( the two nod to each other . )</parenthetical> <dialogue>Wo n't you sit down?</dialogue> <character>GUY</character> <dialogue>Thank you, sir.</dialogue> <parenthetical>( he sits . )</parenthetical> <dialogue /> <character>CAPTAIN TURLEY</character> <dialogue>I know you're a busy man, so we wo n't detain you any longer than necessary. Now you already been good enough to tell us where you were last evening, and we've managed to locate the gentleman you spoke with on the train.</dialogue> <scene_description>Turley signals to Campbell to call the professor in .</scene_description> <character>GUY</character> <parenthetical>( brightening . )</parenthetical> <dialogue>Yes. I saw him outside.</dialogue> <character>CAMPBELL</character> <parenthetical>( at open door . )</parenthetical> <dialogue>Will you come in please, professor?</dialogue> <scene_description>CLOSEUP GUY He looks up eagerly . MED . SHOT Professor Collins comes in and sits in a chair opposite Guy .</scene_description> <character>TURLEY</character> <dialogue>Professor Collins, this is Mr. Haines. He was with you on the train last night.</dialogue> <scene_description>The professor studies Guy for a moment , then awkwardly turns to Turley .</scene_description> <character>COLLINS</character> <dialogue>I'm terribly sorry, but I really do n't remember meeting this gentleman.</dialogue> <scene_description>CLOSEUP GUY Surprised . His confident expression fades . CLOSEUP PROFESSOR COLLINS He turns from the captain to Guy .</scene_description> <character>COLLINS</character> <parenthetical>( apologetically . )</parenthetical> <dialogue>Unfortunately, I remember very little about the journey from New York. You see, there had been a little celebration -</dialogue> <scene_description>MED . SHOT GROUP Guy interrupts with a slight note of impatience .</scene_description> <character>GUY</character> <dialogue>But we were sitting opposite each other in the observation car! You were singing a song about a goat -</dialogue> <character>COLLINS</character> <parenthetical>( incredulously . )</parenthetical> <dialogue>A goat?</dialogue> <character>GUY</character> <parenthetical>( urgently . )</parenthetical> <dialogue>And calculus. You were going over a speech you'd made.</dialogue> <scene_description>Turley and Campbell are watching closely .</scene_description> <character>COLLINS</character> <dialogue>I was? I'm sorry, Mr. Halnes.</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>I certainly must have celebrated! I ca n't remember you at all.</dialogue> <scene_description>CLOSEUP GUY Momentarily Guy is frustrated , then he turns quietly to Turley .</scene_description> <character>GUY</character> <parenthetical>( calmly , logically . )</parenthetical> <dialogue>Captain, is it so important whether or not Professor Collins remember me? Surely, the important thing is that I've been able to name a man who was on the train with me. You've been able to find him. Is n't that proof of where I was at nine - thirty last night?</dialogue> <scene_description>Guy asks this question with a look of near triumph that he has clearly established his alibi .</scene_description> </scene> <scene> <stage_direction>INT. BURTON LIVING ROOM EVENING</stage_direction> <scene_description>The Burtons are having coffee . Barbara has been glancing through a new murder mystery with a lurid cover . As Guy enters , Anne rises to greet him .</scene_description> <character>ANNE</character> <dialogue>Hello, darling. Have you had your dinner?</dialogue> <character>GUY</character> <dialogue>On the train.</dialogue> <character>ANNE</character> <dialogue>You were n't in Metcalf all this time? We expected you hours ago.</dialogue> <character>BARBARA</character> <parenthetical>( flatly . )</parenthetical> <dialogue>I did n't. They sometimes throw a suspect in the can and keep him there all night.</dialogue> <character>SENATOR</character> <parenthetical>( after a disapproving glance at Barbara . )</parenthetical> <dialogue>Sit down, Guy. Sit down. Give him some coffee, Anne.</dialogue> <parenthetical>( back to Guy . )</parenthetical> <dialogue>You had no trouble with the police of course, once they verified your alibi?</dialogue> <character>GUY</character> <parenthetical>( morosely . )</parenthetical> <dialogue>When an alibi is full of bourbon, sir, it ca n't stand up.</dialogue> <character>BARBARA</character> <dialogue>You mean the professor was boiled?</dialogue> <character>GUY</character> <dialogue>Completely. He did n't remember me.</dialogue> <character>ANNE</character> <dialogue>But, you knew he was on the train! Was n't that enough to prove you were on it, too?</dialogue> <character>GUY</character> <dialogue>Apparently not at the right time. They suggested I could have caught the train at Baltimore after Miriam was murdered. They had it all worked out -.</dialogue> <parenthetical>( taps his head . )</parenthetical> <dialogue>in their timetables.</dialogue> <character>ANNE</character> <parenthetical>( growing indignant and increasingly nervous . )</parenthetical> <dialogue>That's ridiculous. They're acting as if you were guilty.</dialogue> <character>BARBARA</character> <parenthetical>( somewhat subdued and trying to be comforting . )</parenthetical> <dialogue>Everything will be all right, Anne. The police were just being thorough -.</dialogue> <parenthetical>( she 's unsure of herself , and defers to the senator . )</parenthetical> <dialogue>Were n't they, daddy?</dialogue> <character>SENATOR</character> <dialogue>I certainly hope so.</dialogue> <parenthetical>( to Guy . )</parenthetical> <dialogue>What is your next step?</dialogue> <character>GUY</character> <parenthetical>( wryly . )</parenthetical> <dialogue>Whatever it is, the police will know it. They gave me a present - come take a look.</dialogue> <scene_description>He crosses to the window , lifts the curtain slightly , then turns back to the others .</scene_description> <character>GUY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>My guardian angel.</dialogue> <scene_description>The group move to look out the window , the senator with reluctance . LONG SHOT EXT. . STREET FROM THEIR VIEWPOINT Through the window we see the figure of a man across the street . He is lighting a cigarette and strolling up and down . BACK TO GROUP</scene_description> <character>BARBARA</character> <parenthetical>( impressed . )</parenthetical> <dialogue>You're being tailed!</dialogue> <character>GUY</character> <parenthetical>( turning to them . )</parenthetical> <dialogue>That's Leslie Hennessy. He works sixteen hours a day. Somebody else takes over for the next eight.</dialogue> <parenthetical>( drops the curtain , turns back into room . )</parenthetical> <dialogue>As a matter of fact, Hennessy's a very nice fellow.</dialogue> <character>BARBARA</character> <dialogue>Should n't we ask him in for Coffee - or something?</dialogue> <scene_description>Nobody bothers to answer her . The Senator is disturbed , but confident of his own prestige as he goes back to his coffee .</scene_description> <character>SENATOR</character> <dialogue>I'll have him called off immediately of course.</dialogue> <character>GUY</character> <parenthetical>( calmly . )</parenthetical> <dialogue>I'm afraid where I go, Hennessy goes. Even to the Senate.</dialogue> <character>SENATOR</character> <parenthetical>( Pausing with his cup hallway to his mouth . )</parenthetical> <dialogue>Is he likely to - picket my office?</dialogue> <character>GUY</character> <dialogue>Very likely.</dialogue> <scene_description>The Senator 's cup is suddenly back on its saucer and he is on his feet , pacing nervously .</scene_description> <character>SENATOR</character> <dialogue>I would suggest, Guy, for your own peace of mind, of course, that you work here at the house for a few days.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>It would be less embarrassing for you.</dialogue> <scene_description>Guy has been looking at Anne and is concerned at the worry on her face . He nods in assent to the Senator 's suggestion , but puts his hand over Anne 's .</scene_description> <character>GUY</character> <parenthetical>( hopelessly . )</parenthetical> <dialogue>Then what about practicing? Perhaps I'd better forget Forest Hills?</dialogue> <character>SENATOR</character> <dialogue>My dear boy, would n't it look rather - awkward - if you suddenly canceled all your plans.</dialogue> <character>ANNE</character> <dialogue>He's right, Guy. You must n't do anything that would look suspicious. You've got to carry on as though nothing has happened.</dialogue> <character>BARBARA</character> <parenthetical>( pointing out the window . )</parenthetical> <dialogue>Escorted by Mr. Hennessy.</dialogue> <scene_description>The are crestfallen again . RANDALL , the manservant , has entered with the telephone .</scene_description> <character>RANDALL</character> <dialogue>A call for you, Mr. Haines. They say it is urgent.</dialogue> <scene_description>The phone is plugged in to a connection and Guy crosses the room and picks up the receiver . The Burtons watch him .</scene_description> <character>GUY</character> <dialogue>Hello -</dialogue> </scene> <scene> <stage_direction>INT. TELEPHONE BOOTH BIG HEAD CLOSEUP OF BRUNO</stage_direction> <scene_description>His face wears the most affable expression .</scene_description> <character>BRUNO</character> <dialogue>Hello, Guy. I tried your apartment, but -.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Why, Guy, this is Bruno!</dialogue> </scene> <scene> <stage_direction>INT. BURTON LIVING ROOM</stage_direction> <scene_description>Guy hangs up the telephone quickly . He looks at the others , awkwardly tries to explain :</scene_description> <character>GUY</character> <dialogue>Must be some mistake. It was n't for me.</dialogue> <scene_description>His embarrassment grows as Anne looks at him with a puzzled expression . FADE OUT . FADE IN</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON STREET APPROACHING JEFFERSONS MEMORIAL DAY</stage_direction> <scene_description>Guy and HENNESSY are walking along the street together , CAMERA MOVING WITH THEM . Their relationship is most friendly . Guy carries a briefcase . Hennessy is an amiable but not gullible young man in his early thirties . He knows his job , is well groomed , well educated , and well liked .</scene_description> <character>GUY</character> <dialogue>Well, I suppose I was pretty lucky to be seeded fifth, really.</dialogue> <character>HENNESSY</character> <dialogue>I've never seen the Forest Hillss tournament before. I'm looking forward to it.</dialogue> <character>GUY</character> <parenthetical>( wryly . )</parenthetical> <dialogue>Do you mean we'll be going there together, Hennessy?</dialogue> <character>HENNESSY</character> <dialogue>Oh, do n't worry. This thing will be cleared up by that time.</dialogue> <parenthetical>( changes the subject . )</parenthetical> <dialogue>Ever thought of turning professional, Guy?</dialogue> <character>GUY</character> <dialogue>I wo n't have to do that. When I'm through with tennis. I'll be going into politics, I hope.</dialogue> <character>HENNESSY</character> <parenthetical>( aghast . )</parenthetical> <dialogue>Politics! It's a good thing for you I do n't report that to the chief.</dialogue> <scene_description>He turns to light a cigarette . As he does , Guy gives a barely perceptible start at what he sees offscene . LONG SHOT JEFFERSON MEMORIAL FROM GUYS VIEWPOINT The tiny figure of a man is standing at the base of the tall white column . The figure lifts in arm and waves . Instinct tells us that this is Bruno . Hennessy is still mumbling his opinion of politics .</scene_description> <character>HENNESSY'S VOICE</character> <dialogue>If he knew you were getting into that rat - race -</dialogue> <scene_description>TWO SHOT GUY AND HENNESSY Guy turns his back on Bruno 's figure and looks frantically toward to street , wanting to get away .</scene_description> <character>HENNESSY</character> <dialogue>- He'd put ten men on your trail. He says -</dialogue> <character>GUY</character> <parenthetical>( interrupts . )</parenthetical> <dialogue>Let's take this cab. It's getting late.</dialogue> <scene_description>He hails a taxi which is cruising by , and they start to get in . Guy directs the driver .</scene_description> <character>GUY</character> <dialogue>Pentagon Building, please.</dialogue> <character>HENNESSY</character> <dialogue>Oh, no, not there! I always get lost.</dialogue> </scene> <scene> <stage_direction>INT. TAXI CLOSE SHOT</stage_direction> <scene_description>Guy turns and looks out of the window . LONG SHOT JEFFERSON MEMORIAL from Guy 's viewpoint , shot through the cab window . Again we see the solitary figure of Bruno looking after Guy and beginning to recede with the background as the cab starts off .</scene_description> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT NIGHT</stage_direction> <scene_description>As Guy comes in from outside , there is a note on the floor that has been pushed under the door . Guy picks it up , stares at it for a minute before he opens it . He takes out a handwritten note and reads it with an expression of disgust . INSERT NOTE -LRB- IN GUY 'S HANDS -RRB- Dear Guy : We have to meet and make plans . Call me at Arlington - . Time 's getting short .</scene_description> <character>Bruno</character> <dialogue /> <scene_description>The handwriting is sprawling and erratic , embellished with conceited flourishes . MEDIUM SHOT Guy looks off for a moment with set face , then tearing the note into shreds , crosses to a small desk , lights a match and holds it to the fragments , letting them burn and fall into an ash tray . Guy looks off for a moment with set face , then tearing the note into shreds , crosses to a small desk , lights a match and holds it to the fragments , letting them burn and fall into an ash tray . LONG SHOT EXT. . MELLON GALLERY LATE AFTERNOON CAMERA is in a low setup , to take in the sign across the doorway which identifies the gallery . Hennessy stands in the foreground in front of the building , on duty .</scene_description> </scene> <scene> <stage_direction>INT. MELLON GALLERY</stage_direction> <scene_description>Guy and Anne are walking slowly through a more or less deserted room of the gallery . Their manner is relaxed and intimate .</scene_description> <character>ANNE</character> <dialogue>Well, we'd better be getting back.</dialogue> <character>GUY</character> <dialogue>We've actually been alone for an hour. Seems almost indecent. You like?</dialogue> <character>ANNE</character> <parenthetical>( softly . )</parenthetical> <dialogue>I like.</dialogue> <character>GUY</character> <dialogue>I was beginning to feel like a goldfish.</dialogue> <character>ANNE</character> <dialogue>So was I. When we build our house, darling, we wo n't even have glass windows. No doorbells, no newspapers, no telephone -</dialogue> <character>GUY</character> <dialogue>No Hennessy.</dialogue> <character>ANNE</character> <parenthetical>( suddenly serious . )</parenthetical> <dialogue>How long can it go on?</dialogue> <character>GUY</character> <dialogue>I do n't know. I suppose until they find out who did it.</dialogue> <character>ANNE</character> <dialogue>We'll be happier then, wo n't we?</dialogue> <character>GUY</character> <dialogue>I suppose so.</dialogue> <scene_description>Anne looks it him , surprised at his lack of enthusiasm . They walk on out of the picture . A figure steps out from behind a pillar in the main hall of the gallery , near the spot from which they have disappeared . It is Bruno . He calls .</scene_description> <character>BRUNO</character> <parenthetical>( softly . )</parenthetical> <dialogue>Guy!</dialogue> <scene_description>Anne stops and looks back . Guy knows who it is and would not turn but that he is forced to by Anne 's action . He takes a few steps towards Bruno . CLOSEUP Anne watches Guy approach this stranger . She looks downward at Bruno 's tie pin . CLOSEUP Bruno 's tie pin , bearing his name , gleams in the light . CLOSEUP Anne reads the name on the tie pin . TWO SHOT Guy comes up to Bruno , steps in front of him .</scene_description> <character>GUY</character> <parenthetical>( muttering harshly . )</parenthetical> <dialogue>Will you stop pestering me!</dialogue> <character>BRUNO</character> <dialogue>But Guy, you have n't called me. My father's leaving for Florida the end of this week -</dialogue> <character>GUY</character> <parenthetical>( interrupts . )</parenthetical> <dialogue>You crazy fool! There's a detective outside. He'll see us together!</dialogue> <character>BRUNO</character> <parenthetical>( brushing this off . )</parenthetical> <dialogue>Oh, they ca n't have anything on you.</dialogue> <parenthetical>( looking past Guy . )</parenthetical> <dialogue>Is n't that Anne Burton? Slight improvement over Miriam - eh, Guy?</dialogue> <character>GUY</character> <dialogue>Stay away from me, I tell you!</dialogue> <scene_description>He leaves Bruno abruptly to rejoin Anne . Bruno looks after him , a little hurt . TWO SHOT Guy rejoins Anne and they start to walk away .</scene_description> <character>ANNE</character> <dialogue>Who was it, Guy?</dialogue> <character>GUY</character> <parenthetical>( unnerved . )</parenthetical> <dialogue>I never saw him before. Just some tennis fan.</dialogue> <scene_description>Anne looks at him a little oddly . He seems unduly concerned about a casual stranger . CLOSEUP ANNE Her face is troubled . FADE OUT . FADE IN</scene_description> </scene> <scene> <stage_direction>INT. MORTON STUDY MED. SHOT</stage_direction> <scene_description>Guy and a secretary have set up office in the Morton study . As the scene opens the secretary is handing Guy a large envelope .</scene_description> <character>SECRETARY</character> <dialogue>Here's a special delivery, Mr. Haines. It's marked personal.</dialogue> <scene_description>As Guy is opening the envelope , Barbara speaks to him from atop a library ladder . She is getting a book from one of the top shelves of a bookcase , which is next to a window .</scene_description> <character>BARBARA</character> <dialogue>Are you getting in any practice today, Guy?</dialogue> <character>GUY</character> <parenthetical>( as he takes out a large folded sheet of paper and glances at it , mystified . )</parenthetical> <dialogue>Yes, if I can get a court at the club.</dialogue> <scene_description>As Guy 's hands unfold the paper and hold it for moment , we see that it is a diagrammed plan of the grounds and the Interior of the Anthony house . There are dotted lines along the upper hall , with an arrow which points to one room and where Bruno has indicated in his handwriting , `` My father 's room . '' Over this we hear the voices of Barbara and the secretary :</scene_description> <character>SECRETARY'S VOICE</character> <dialogue>Barbara, who are you waving at?</dialogue> <character>BARBARA'S VOICE</character> <dialogue>Mr. Hennessy. I think it is a shame Daddy wo n't let us have him in the house to sit down. Have you met him yet, Louise?</dialogue> <character>SECRETARY'S VOICE</character> <dialogue>No.</dialogue> <character>BARBARA'S VOICE</character> <dialogue>He is awfully cute.</dialogue> <scene_description>MED . SHOT Guy frowns , quickly folds the paper up and stuffs it into his pocket . He looks off abstractedly . CLOSEUP SECRETARY She looks at Guy sympathetically .</scene_description> <character>SECRETARY</character> <dialogue>Is anything wrong, Mr. Haines?</dialogue> <scene_description>CLOSEUP GUY Her voice breaks his reverie . He answers her with a forced smile .</scene_description> <character>GUY</character> <dialogue>No, thank you, Louise.</dialogue> <scene_description>FADE OUT . FADE IN TENNIS COURT AT WASHINGTON COUNTRY CLUB There are twenty or thirty people sitting in the bleacher seats opposite the umpire 's chair . A game of mixed doubles is in progress . MED . SHOT AT THE ENTRANCE TO THE COURT Guy appears , carrying his racquets . His partner for the forthcoming game , and one or two other players , are close by . CLOSER SHOT Guy looks about him . Several people are looking at him awkwardly or avoiding his eyes . He moves self - consciously away , and the CAMERA PANS HIM around the court to the umpire 's chair . MED . SHOT A couple of women players whisper something about Guy as he goes past them .</scene_description> <character>FIRST WOMAN</character> <dialogue>I did n't think he'd show up after what happened.</dialogue> <character>SECOND WOMAN</character> <dialogue>And miss all the publicity?</dialogue> <scene_description>MED . SHOT As Guy stands at the umpire 's chair , the umpire glances down and gives him a rather embarrassed greeting . CLOSEUP GUY He looks across at the watching crowd . MED . SHOT FROM GUY 'S VIEWPOINT The heads of the people in the bleachers move from side to side , to follow the play on the court . One head is not moving . It is staring at Guy . It is Bruno . At this moment , we hear the umpire calling , `` Game , set and match '' to the winning mixed doubles pair . CLOSEUP GUY His expression becomes set . LONG SHOT The mixed doubles couples complete their handshaking at the net and move off the court . We see Guy move up to the base line while the other player takes his position for the preliminary knock - up . MED . SHOT As Guy casually knocks the ball across the net , he glances again toward Bruno . MED . SHOT FROM GUY 'S VIEWPOINT Bruno is making his way out of the small stand . CLOSEUP GUY Perplexed and apprehensive as to what Bruno may be up to . He hears his opponent 's voice .</scene_description> <character>PLAYER'S VOICE</character> <dialogue>Ready, Guy?</dialogue> <scene_description>Guy shakes off his abstraction and poises himself to receive the ball . MED . SHOT PASSAGEWAY LEADING TO TERRACE We see Guy coming alone , having fInIshed his game . He is carrying his rackets , wears a towel around his neck , etcetera . He walks into foreground , into CLOSEUP , and suddenly stops short at what he sees : MED . SHOT FROM GUY 'S VIEWPOINT The group at the table comprising Bruno , Anne and the two French people . Bruno is preening himself as the others laugh uproariously , obviously at something Bruno has said . Anne catches sight of Guy and smiles at him . CLOSE SHOT GUY CAMERA MOVES WITH HIM as he comes forward toward the table . MED . SHOT GROUP AT TABLE As Guy comes into the scene . He stands staring .</scene_description> <character>ANNE</character> <dialogue>Guy, darling - this is Mr. Antony - a friend of Monsieur and Madame Darville.</dialogue> <parenthetical>( to Bruno . )</parenthetical> <dialogue>Guy Haines.</dialogue> <scene_description>CLOSEUP GUY He gives a weak acknowledgment in Bruno 's direction , realizing that Bruno has wormed his way into the group and that he must accept the introduction . MEDIUM SHOT Bruno half rises , smiles affably at Guy , reaches out his hand . Guy is forced to shake hands with him</scene_description> <character>BRUNO</character> <dialogue>I've been a fan of yours for a long time, Mr. Haines. In fact, I follow everything you do.</dialogue> <character>MME. DARVILLE</character> <dialogue>Mr. Antony has been telling us such charming stories. Very funny.</dialogue> <scene_description>CLOSEUP GUY He gives another weak little smile . MED . SHOT In response to the Frenchwoman 's attentive and eager expression , Bruno leans forward on the table and starts saying something more in extremely fluent French . CLOSEUP ANNE She is staring at Bruno with a new expression . CLOSEUP FROM ANNE 'S VIEWPOINT Bruno 's coat has spread open a bit , and his tie pin bearing the name `` Bruno '' is resting on the edge of the table . CLOSEUP ANNE She becomes aware that this is the man she has seen call to Guy in the art museum , that they have met before . Her eyes turn a little in Guy 's direction , though she does not look at him . CLOSEUP GUY He is still watching Bruno talk to the French couple . Guy is unaware of Anne 's looks . Suddenly his attention is arrested by the sound of Barbara 's voice calling him .</scene_description> <character>BARBARA'S VOICE</character> <dialogue>Guy!</dialogue> <scene_description>He turn his head and CAMERA PANS him to Barbara , who is standing a few steps from the table beckoning to him .</scene_description> <character>BARBARA</character> <parenthetical>( Sotto voce . )</parenthetical> <dialogue>I've just been talking to your shadow.</dialogue> <parenthetical>( very impressed . )</parenthetical> <dialogue>Guy, did you know Mr. Hennessy helped crack that axe murder I was reading about? You know, the one where the body was cut up and hidden in the butcher shop? He was locked in the ice box with the left leg for six hours!</dialogue> <character>GUY</character> <dialogue>He pulls those yarns right out of his hat, Babs.</dialogue> <scene_description>CLOSEUP GUY He gives a sharp look back toward Bruno . There is more laughter coming from the French couple at the table . CLOSE SHOT GROUP AT TABLE FROM GUY 'S VIEWPOINT Bruno is occupied with his French joke , but Anne is looking at Guy strangely . TWO SHOT GUY AND BARBARA Guy turns back to Barbara . Barbara looks with interest toward Bruno .</scene_description> <character>BARBARA</character> <dialogue>Who's the nice looking Frenchman with the Darvilles?</dialogue> <character>GUY</character> <dialogue>He's not French. His name's Antony.</dialogue> <scene_description>Barbara steps toward the table . MED . SHOT AT TABLE as Barbara joins the group .</scene_description> <character>BARBARA</character> <dialogue>How do you do, Madame Darville. Monsieur.</dialogue> <scene_description>They looks up . CLOSEUP BRUNO Bruno stops in the middle of some French to stare at Barbara . Her voice continues .</scene_description> <character>BARBARA'S VOICE</character> <dialogue>How are you?</dialogue> <character>FRENCH COUPLES' VOICES</character> <dialogue>Delightful to see you. How sweet you look, Miss Barbara.</dialogue> <scene_description>CLOSE SHOT BARBARA FROM BRUNO VIEWPOINT</scene_description> <character>BARBARA</character> <dialogue>I hope you are n't forgetting our little party on Thursday, Madame.</dialogue> <scene_description>From Bruno 's viewpoint , as Barbara speaks , CAMERA MOVES IN CLOSER until to faintest impression of the merry - go - round fills the screen with the effect of whirling around Barbara 's head . Her glasses seem to glint until her eyes are obliterated by the glare . MED . SHOT THE GROUP</scene_description> <character>MME. DARVILLE</character> <dialogue>We are planning on it?</dialogue> <character>M. DARVILLE</character> <dialogue>But of course.</dialogue> <scene_description>All talk dies out as all eyes turn to Bruno , who is staring at Barbara . Except Anne 's , who is saying quietly to Bruno :</scene_description> <character>ANNE</character> <dialogue>This is my sister Barbara. Barbara, this is Mr. Antony.</dialogue> <scene_description>CLOSEUP BRUNO He does not acknowledge the introduction immediately . He is still staring at Barbara . Then he nods abstractedly . CLOSEUP ANNE She is looking at Bruno , wondering what mystery lies behind this strange individual and why he and Guy have disclaimed any previous acquaintance . FADE OUT . FADE IN</scene_description> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT NIGHT</stage_direction> <scene_description>CLOSEUP A LUGER PISTOL HELD IN GUY 'S HANDS CAMERA PULLS BACK TO SHOW Guy staring down at it . He is partially dressed for an evening party , in black bow tie but without his jacket . He leans forward to take up a letter from among brown paper wrappings on the table . INSERT : LETTER Dear Guy - Just two more days left . We must get together for final details . The note , in Bruno 's handwriting , is unsigned . CLOSEUP GUY He stares down at the note . At this moment there is a knock at the door . MED . SHOT Guy hastily gather together the gun , the note and the wrappings and puts them in a dresser drawer . He crosses to the door and opens it . Hennessy enters , carrying a topcoat .</scene_description> <character>GUY</character> <dialogue>Hiya, Hennessy. Wo n't keep you out late tonight.</dialogue> <parenthetical>( getting into his dinner jacket . )</parenthetical> <dialogue>With Forest Hills coming up tomorrow, I've got to get some sleep.</dialogue> <character>HENNESSY</character> <parenthetical>( helping himself to a cigarette . )</parenthetical> <dialogue>That's too bad. Hammond takes over in a couple of hours. I'd like to see him earn his salary.</dialogue> <scene_description>Guy turns to the dresser drawer in which he has put the note and the gun , maneuvering his body between the dresser and Hennessy 's view . He takes out a handkerchief , closes the drawer , sticks the handkerchief in his pocket , speaking as he does so .</scene_description> <character>GUY</character> <dialogue>Does n't that bloodhound over relax? He sticks so close he's beginning to grow on me - like a fungus.</dialogue> <character>HENNESSY</character> <parenthetical>( mildly . )</parenthetical> <dialogue>He thinks you're a very suspicious character. He does n't trust anybody! Not even himself.</dialogue> <scene_description>Guy is eager to get out of the room , and Hennessy is maddeningly slow in his movements .</scene_description> <character>GUY</character> <dialogue>Come on.</dialogue> <parenthetical>( indicating at Hennessy overcoat . )</parenthetical> <dialogue>Do n't forget your sleeping bag.</dialogue> <character>HENNESSY</character> <parenthetical>( taking his time . )</parenthetical> <dialogue>Yeah, If I have to wait too long on the sidewalk my feet get cold. And if I sit too long on those stone steps, my -</dialogue> <scene_description>Guy has the door open and eases Hennessy toward the haIl .</scene_description> <character>GUY</character> <parenthetical>( quickly . )</parenthetical> <dialogue>Do n't worry. Since you told Barbara Burton about the icebox, you're her favorite charity. She'll send the butler out with something to defrost you.</dialogue> <character>HENNESSY</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Cute kid.</dialogue> <scene_description>He 's gone , and with a last glance at the dresser , Guy goes out and closes the door .</scene_description> </scene> <scene> <stage_direction>EXT. BURTON HOUSE LONG SHOT NIGHT</stage_direction> <scene_description>The street outside the Burton house is lined with cars and limousines . Various guests are arriving . MED . SHOT On the opposite side of the street we see Hennessy , now wearing his topcoat . He looks bored as he glances across the street to the house .</scene_description> </scene> <scene> <stage_direction>INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNE</stage_direction> <scene_description>Her face is troubled . CAMERA BEGINS TO PULL BACK . We see now that the reception is in progress and that Anne stands beside her father to greet the arriving guests . CAMERA PULLS BACK FURTHER to show us a full view of a very crowded Washington gathering Many white ties and tails and decollete in evidence . Many accents . Even some foreign languages are being spoken . Music and chatter in the b.g. CLOSE SHOT Anne and the Senator are still greeting new arrivals . Anne 's manner is somewhat preoccupied . She glances around as she speaks , as though looking for someone .</scene_description> <character>ANNE</character> <parenthetical>( to new arrival . )</parenthetical> <dialogue>Thank you so much, Mr. Lindsay. We'll look forward to it.</dialogue> <scene_description>PANNING SHOT FROM ANNE 'S VIEWPOINT THE CAMERA PASSES various groups of guests in conversation including Guy and Barbara who are together . From this distance we can not hear what they are saying . CAMERA CONTINUES TO the front door . It opens to admit a new arrival . It is Bruno . He wears white tie and tails , looking very elegant . We see Guy excuse himself from Barbara , cross to Bruno and speak to him angrily , obviously asking , `` What are you doing here ? '' Bruno , however , greets Guy with a smile then turns from him , unperturbed and bland . He sees Anne and moves toward her , smiling . CLOSEUP ANNE As Bruno comes in her direction , Anne 's expression shows her mystification and concern about Bruno 's presence and about Guy 's attitude toward him . MED . SHOT Bruno comes up to Anne and the Senator . He gives a slight bow to the Senator ; then puts his hand out to Anne .</scene_description> <character>BRUNO</character> <dialogue>Good evening, Miss Burton.</dialogue> <scene_description>The Senator looks inquiringly . Anne makes the introduction .</scene_description> <character>ANNE</character> <dialogue>This is Mr. Antony, father.</dialogue> <character>SENATOR</character> <dialogue>How do you do, sir.</dialogue> <character>BRUNO</character> <dialogue>I'd like to talk to you sometime, Senator, about my idea of harnessing the life force. It will make atomic power look like the horse and buggy.</dialogue> <parenthetical>( the Senator and Anne are beginning to look at him in amazement . )</parenthetical> <dialogue>I'm already developing my faculty for seeing millions of miles. And, Senator, can you imagine being able to smell a flower on the planet of Mars? I'd like to lunch with you some day soon and tell you more about it.</dialogue> <scene_description>Interrupted by new arrivals , Bruno moves away out of the picture , with a charming smile to Anne . The Senator greets the new guests with open mouth and simply shakes their hands while glancing off in direction of the departing Bruno .</scene_description> <character>DOWAGER</character> <parenthetical>( to Senator . )</parenthetical> <dialogue>So nice to see you, my dear Senator.</dialogue> <character>SENATOR</character> <dialogue>Ah yes, indeed - I beg your pardon?</dialogue> <scene_description>She realizes he has n't heard a word she 's said and haughtily moves on . The Senator turns to Anne .</scene_description> <character>SENATOR</character> <parenthetical>( still looking after Bruno . )</parenthetical> <dialogue>I do n't remember inviting that young man. Who is he?</dialogue> <character>ANNE</character> <dialogue>A friend of the Darvilles.</dialogue> <character>SENATOR</character> <dialogue>He has an unusual personality. Provocative.</dialogue> <scene_description>CLOSEUP ANNE She looks off in Bruno 's direction extremely disturbed at this new aspect of the mysterious stranger . CLOSEUP GUY He is watching Bruno . MED . SHOT Guy sees Bruno join a group of several ladies who are seated on a settee and a couple of older men who are standing by . A waiter comes along with a tray of drinks . Bruno takes one . CLOSEUP BARBARA She comes from the same direction that Guy came . She stops short as she sees : MED . SHOT FROM BARBARA 'S VIEWPOINT Bruno is now heartily joining in conversation with one of the elderly gentlemen . CLOSE SHOT BRUNO AND GROUP Bruno talking to an elderly , dignified gentlemen .</scene_description> <character>BRUNO</character> <dialogue>But tell me, Judge, after you've sentenced a man to the chair, is n't it difficult to go and eat your dinner after that?</dialogue> <character>JUDGE</character> <dialogue>Young man, when a murderer is caught, he must be tried. When he is convicted, he must be sentenced. When he is sentenced to death, he must be executed.</dialogue> <character>BRUNO</character> <dialogue>Quite impersonal, is n't it, sir?</dialogue> <character>JUDGE</character> <dialogue>So it is. Besides, it does n't happen every day.</dialogue> <scene_description>At this moment , Anne comes into the scene . She hesitates as she hears Bruno 's answer .</scene_description> <character>BRUNO</character> <dialogue>So few murderers are caught.</dialogue> <scene_description>The Judge moves out of the way . Bruno smiles blandly at the ladies . One of them speaks to him .</scene_description> <character>MRS. CUNNINGHAM</character> <dialogue>Well, Mr. Antony, you seem very interested in the subject of murder.</dialogue> <scene_description>Anne looks more troubled , then moves on out of the scene .</scene_description> <character>BRUNO</character> <dialogue>No more than anyone else. No more than you, for instance.</dialogue> <character>MRS. CUNNINGHAM</character> <dialogue>Me? I'm not interested in murder.</dialogue> <scene_description>Bruno pulls up a chair to face the two woman on the settee , sits down , straddling the seat , to look at them over the back of the chair and settle down for a nice conversation .</scene_description> <character>BRUNO</character> <parenthetical>( his tone is teasing . )</parenthetical> <dialogue>Oh, come now, everyone's interested in that. Everyone would like to put someone out of the way. Now surely, Madame, you're not going to tell me that there has n't been a time when you wanted to dispose of someone. Your husband, for instance.</dialogue> <character>MRS. CUNNINGHAM</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Good heavens, no!</dialogue> <character>BRUNO</character> <parenthetical>( playfully . )</parenthetical> <dialogue>Ah ah!</dialogue> <parenthetical>( shaking a finger at her . )</parenthetical> <dialogue>Are you sure? Do you mean to tell me there was n't a tiny moment - when you'd been made really angry? And what did you say?</dialogue> <character>MRS. CUNNINGHAM</character> <parenthetical>( squirms , giggling . )</parenthetical> <dialogue>Well.</dialogue> <character>BRUNO</character> <dialogue>There you are, you see! There you are! All right, now you're going - to do a murder. How are you going to do it? This is the fascinating part - how are you going to do it. I did n't get your name?</dialogue> <character>MRS. CUNNINGHAM</character> <dialogue>Mrs. Cunningham.</dialogue> <character>BRUNO</character> <dialogue>Mrs. Cunningham, how are you going to do it?</dialogue> <character>MRS. CUNNINGHAM</character> <parenthetical>( entering into the spirit of the play . )</parenthetical> <dialogue>Well, I suppose I'll have to get a gun from somewhere.</dialogue> <character>BRUNO</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Tssk, tssk. Oh no, Mrs. Cunningham. Bang, bang, all over the place. Blood everywhere?</dialogue> <scene_description>The other woman joins in :</scene_description> <character>MRS. ANDERSON</character> <dialogue>What about a little poison?</dialogue> <character>BRUNO</character> <dialogue>Ah! That's better, that's better. Mrs?</dialogue> <character>MRS. ANDERSON</character> <dialogue>Anderson.</dialogue> <character>BRUNO</character> <parenthetical>( he is thoroughly enjoying himself . )</parenthetical> <dialogue>That's better, Mrs. Anderson. But Mrs. Cunningham is in a dreadful hurry. Poison could take. let's see. ten to twelve weeks, if poor Mr. Cunningham is to die from natural causes.</dialogue> <character>MRS. CUNNINGHAM</character> <dialogue>I have a wonderful Idea! I can take him out in the car and when I get to a lonely spot, knock him on the head with a hammer, pour gasoline over him and over the car and start the whole thing ablaze.</dialogue> <character>BRUNO</character> <parenthetical>( looks at her deprecatingly . )</parenthetical> <dialogue>And then have to walk all that way home?</dialogue> <scene_description>Mrs. Anderson laughs .</scene_description> <character>BRUNO</character> <dialogue>No, I have the best way, and the best tools.</dialogue> <parenthetical>( he holds out his hands and shows them . )</parenthetical> <dialogue>Simple, silent, and quick. The silent part being the most important. Let me show you what I mean.</dialogue> <parenthetical>( he raises his hands toward Mrs. Cunningham 's throat , then stops a moment to ask . )</parenthetical> <dialogue>You do n't mind if I borrow your neck for a moment do you?</dialogue> <character>MRS. CUNNINGHAM</character> <parenthetical>( giggles . )</parenthetical> <dialogue>Well, it's not for long.</dialogue> <character>BRUNO</character> <dialogue>Oh! no.</dialogue> <parenthetical>( he takes a drink and puts his glass down . )</parenthetical> <dialogue>Now, when I nod my head, just see if you can cry out, and I bet you ca n't.</dialogue> <parenthetical>( he places his hands around Mrs. Cunningham 's neck . )</parenthetical> <dialogue>Now with my two thumbs. you see that's where I'll be able to prevent any sound coming from you. Now, just wait for the nod of my head.</dialogue> <scene_description>CLOSEUP BRUNO As he starts to Press her neck , his eyes wander from the face of his `` victim '' to someone else off scene . MED . SHOT BARBARA She is watching this rather unorthodox demonstration . The CAMERA MOVES UP until her head fills the screen . Her glasses glint in the light . CLOSEUP BRUNO He is now transfixed . His breathing becomes heavy . A strange expression comes over his face . He still stares off at Barbara . MED . SHOT BARBARA We see the whirling merry - go - round spinning around her head . BIG HEAD CLOSEUP BRUNO He now seem to have almost gone into a trance . Over the shot we begin to HEAR a strangled cry , and a broken exclamation , then Mrs. Anderson 's voice .</scene_description> <character>MRS. ANDERSON'S VOICE</character> <dialogue>Mr. Antony! Mr. Antony!</dialogue> <character>ANOTHER VOICE</character> <dialogue>Stop him! Stop him!</dialogue> <scene_description>CLOSEUP Bruno 's wrists and hands and the neck of his victim . We can just see Mrs. Cunningham 's chin at the top of the screen . Her head is tossing from side to side . Her hands are clutching at Bruno 's wrists . The hands of the other two women , also in the picture , are pulling at Bruno 's wrists . Mrs. Cunningham 's hands begin to slide off . Her head drops back . Over this we HEAR cries of :</scene_description> <character>VOICES</character> <dialogue>Stop him! Help, somebody! Pull him off! Mr. Antony! Mr. Antony!</dialogue> <scene_description>CLOSEUP BRUNO His body is swaying slightly at the various efforts to drag him away from Mrs. Cunningham . His eyes begin to close , and slowly he falls away from the picture in a dead faint on the floor . MEDIUM SHOT There is a rush of people around Mrs. Cunningham , who is breathing frantically , her eyes opening and closing . A couple of women are feebly slapping her hands , someone else is fanning her face . MEDIUM SHOT The Senator and Guy rush into the picture . They look at the fallen Bruno . They search around for an explanation . Other man come in ad they start to pick Bruno up .</scene_description> <character>GUY</character> <dialogue>Bring him this way.</dialogue> <scene_description>Guy gives a quick look in direction of Mrs. Cunningham , sees that she is being attended to . MEDIUM SHOT Anne rushes into the picture . She sees Bruno being helped to his feet ; then turns her attention to Mrs. Cunningham , who has now somewhat recovered . Mrs. Cunningham is helped to the settee . There is a babble of women 's voices trying to explain what has happened .</scene_description> <character>ANNE</character> <parenthetical>( thru the babble . )</parenthetical> <dialogue>Bring her upstairs.</dialogue> <scene_description>As the two groups pass off in different directions , the few people who ran into the scene late are asking the others what the disturbance is . `` What 's wrong ? '' `` Did she faint ? '' `` I did n't see anything . '' `` What happened to him ? '' `` Somebody hurt ? '' But one small figure stands in the clear . It is Barbara , She is still transfixed by what she has seen . Her hands are trembling . CAMERA MOVES SLOWLY IN ON HER . We see that her lips are trembling , too , and in her eyes frightened tears are welling . Her breath is heavy .</scene_description> </scene> <scene> <stage_direction>INT. STUDY</stage_direction> <scene_description>Bruno is stretched out on a settee . He is completely out . His collar and tie are open . Two or three of the male guests are just leaving the room . The Senator remains behind for a moment with Guy .</scene_description> <character>SENATOR</character> <dialogue>I thought he was a bit weird when he arrived. Who is he?</dialogue> <character>GUY</character> <dialogue>I hardly know him, sir.</dialogue> <character>SENATOR</character> <dialogue>Get him out of here as soon as you decently can - will you. This is a nice item for the gossips. First thing you know, they'll be talking about orgies. I'd better get back.</dialogue> <character>GUY</character> <dialogue>Yes, sir.</dialogue> <scene_description>The Senator leaves . Guy stands over Bruno 's outstretched figure . MEDIUM SHOT Bruno is now half awake . Almost without seeing Guy , he staggers to his feet and begins to make his way to the door . Guy advances , and with a sharp thrust , pushes Bruno back on the settee . Bruno looks and sees Guy clearly for the first time .</scene_description> <character>BRUNO</character> <dialogue>What happened? I was on a merry - go - round somewhere. It made me dizzy.</dialogue> <scene_description>Guy moves forward , and thrusting his hand in Bruno 's open shirt , pulls him to his feet . Bruno ignores Guy 's violence and remain puzzled .</scene_description> <character>GUY</character> <parenthetical>( disgusted . )</parenthetical> <dialogue>You're a mad, crazy maniac, and you ought to be locked - up! Now will you get out of here and let me alone?</dialogue> <character>BRUNO</character> <dialogue>But, Guy -</dialogue> <scene_description>Guy smashes Bruno in the jaw , in utter disgust , and knocks him back onto the settee . Bruno looks up from his sprawled position , a dull look in his eye .</scene_description> <character>BRUNO</character> <dialogue>You should n't have done that, Guy.</dialogue> <character>GUY</character> <parenthetical>( subsiding . )</parenthetical> <dialogue>Come on - pull yourself together. Do your tie up.</dialogue> <scene_description>Bruno staggers to his feet . He fumbles at his collar . As he crosses to him , CAMERA MOVES IN to a CLOSER SHOT .</scene_description> <character>GUY</character> <dialogue>Here - let me.</dialogue> <scene_description>He fixes Bruno 's shirt and collar together and quickly ties his white bow . Bruno stands swaying like a small boy as Guy does this . CAMERA PANS WITH THEM as Guy starts to escort Bruno from the room .</scene_description> <character>GUY</character> <dialogue>Have you got a car here?</dialogue> <character>BRUNO</character> <parenthetical>( mumbling . )</parenthetical> <dialogue>Driver's outside.</dialogue> <scene_description>They pass trough door into the hallway .</scene_description> </scene> <scene> <stage_direction>INT. HALL MEDIUM SHOT</stage_direction> <scene_description>One or two of the guests turn their heads as Guy takes Bruno across to the front door . CLOSE SHOT Barbara appears in the hallway , coming from the crowded sitting room . She watches the two men go out the front door . MEDIUM SHOT Bruno and Guy going out the front door . The man - servant does not close it immediately , so we are able to HEAR the call for Mr. Antony 's car . CLOSEUP BARBARA She turns her head and looks up the stairs . Barbara has not quite recovered from her ordeal . She hurries forward to greet Anne who is hurrying down the stairs . TWO SHOT CAMERA PANS DOWN with Anne as she descends the last few steps . Barbara enters the picture and the two girls meet at the foot of the stairs .</scene_description> <character>ANNE</character> <dialogue>What's the matter, Barbara? Did you see it happen? Did you see it - all?</dialogue> <scene_description>CLOSEUP BARBARA</scene_description> <character>BARBARA</character> <parenthetical>( still shaken . )</parenthetical> <dialogue>He looked at me! His hands were on her throat, but, he was strangling me!</dialogue> <scene_description>CLOSEUP ANNE</scene_description> <character>ANNE</character> <parenthetical>( aghast . )</parenthetical> <dialogue>How do you mean?</dialogue> <scene_description>TWO SHOT</scene_description> <character>BARBARA</character> <dialogue>He was looking at her first. Then he looked over at me. He went into a sort of trance.</dialogue> <parenthetical>( shudders . )</parenthetical> <dialogue>He looked horrible!</dialogue> <parenthetical>( reflectively . )</parenthetical> <dialogue>He thought he was murdering me.</dialogue> <scene_description>CLOSEUP ANNE She looks away , with growing consciousness of the situation TWO SHOT</scene_description> <character>BARBARA</character> <dialogue>Anne, why me? Why me? What did I have to do with it?</dialogue> <scene_description>Anne is extremely concerned and thoughtful . Suddenly she gets an idea and with a pat on Barbara 's arm , asks hurriedly :</scene_description> <character>ANNE</character> <dialogue>Do you know where Guy is?</dialogue> <character>BARBARA</character> <dialogue>He went out with that man!</dialogue> <scene_description>Anne hurries to the front door and passes through .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE</stage_direction> <scene_description>Anne comes out onto the steps and looks around . She stops short as she sees : LONG SHOT EXT. . STREET FROM ANNE 'S VIEWPOINT There are cars lined up outside on the street . One limousine is pulling up in the center , two figures at the passenger door . One is climbing in . The other is Guy . CLOSEUP ANNE She calls out urgently :</scene_description> <character>ANNE</character> <dialogue>Guy!</dialogue> <scene_description>CLOSE SHOT Guy turns and closes the door . MEDIUM SHOT FROM ANNE 'S VIEWPOINT The limousine moves off and Guy comes toward her . MEDIUM SHOT Anne comes down the steps and intercepts Guy on the sidewalk . She leads him along a few paces and then stops and faces him . CLOSE TWO SHOT Anne nods off in the direction of the departed Bruno and speaks in a desperate , low voice .</scene_description> <character>ANNE</character> <dialogue>You did n't meet him for the first time the other day, did you, Guy?</dialogue> <scene_description>Guy stares at her for a moment .</scene_description> <character>GUY</character> <dialogue>You mean when you introduced us at the club?</dialogue> <character>ANNE</character> <dialogue>Yes. Did you notice how he stared at Barbara that day?</dialogue> <character>GUY</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>Well, I did n't - particularly -</dialogue> <character>ANNE</character> <parenthetical>( breaks in . )</parenthetical> <dialogue>He stared at her again tonight - while his hands were around Mrs. Cunningham's throat.</dialogue> <scene_description>Guy looks at Anne with an expression of growing fear and alarm . She goes on inexorably :</scene_description> <character>ANNE</character> <dialogue>What did Miriam look like, Guy.</dialogue> <character>GUY</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>Well, why do you ask me? You've seen her pictures in the paper.</dialogue> <character>ANNE</character> <dialogue>Go on, I want you to tell me.</dialogue> <character>GUY</character> <parenthetical>( haltingly . )</parenthetical> <dialogue>Well, she was dark, not too tall, rather pretty -</dialogue> <character>ANNE</character> <dialogue>What else?</dialogue> <character>GUY</character> <dialogue>What else is there?</dialogue> <character>ANNE</character> <dialogue>She wore glasses, did n't she?</dialogue> <character>GUY</character> <dialogue>Yes.</dialogue> <character>ANNE</character> <dialogue>She looked a lot like Barbara, did n't she?</dialogue> <scene_description>Guy suddenly begins to realize what Anne is getting at . Anne lowers her head , deliberately avoids looking at Guy , as she asks :</scene_description> <character>ANNE</character> <dialogue>How did you get him to do it, Guy.</dialogue> <character>GUY</character> <dialogue>I get him to do it?</dialogue> <character>ANNE</character> <dialogue>He killed Miriam, did n't he? Tell me, Guy!</dialogue> <character>GUY</character> <dialogue>Yes.</dialogue> <parenthetical>( suddenly bursting out . )</parenthetical> <dialogue>He's a maniac. I met him on the train going to Metcalf. He had a crazy scheme about exchanging murders. I do his murder and he do mine.</dialogue> <character>ANNE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>What do you mean - your murder, Guy?</dialogue> <character>GUY</character> <dialogue>Well, he'd read about me in the paper. He knew about Miriam - and about you. He suggested that if he got rid of Miriam for me, I should kill his father.</dialogue> <character>ANNE</character> <dialogue>You must have realized he was talking a lot of nonsense!</dialogue> <character>GUY</character> <dialogue>Of course! I did n't give it another thought. And now a lunatic wants me to kill his father.</dialogue> <character>ANNE</character> <parenthetical>( beginning to believe . )</parenthetical> <dialogue>It's too fantastic!</dialogue> <character>GUY</character> <parenthetical>( grimly . )</parenthetical> <dialogue>Yes, is n't it?</dialogue> <character>ANNE</character> <dialogue>You mean you've known about Miriam all this time?</dialogue> <character>GUY</character> <dialogue>Since the first night. He gave me her glasses.</dialogue> <character>ANNE</character> <dialogue>Why did n't you call the police?</dialogue> <character>GUY</character> <parenthetical>( bitterly . )</parenthetical> <dialogue>And have them say what you did - `` Mr. Haines, how did you get him to do it?'' And Bruno would say we'd planed it together.</dialogue> <character>ANNE</character> <dialogue>Oh, Guy - what can we do?</dialogue> <character>GUY</character> <dialogue>I do n't know, Anne. I do n't know.</dialogue> <character>ANNE</character> <parenthetical>( With an anxious look across the street . )</parenthetical> <dialogue>Guy, had n't we better go inside? Your friend Hennessy's watching us.</dialogue> <parenthetical>( she Shudders . )</parenthetical> <dialogue /> <character>GUY</character> <parenthetical>( sadly . )</parenthetical> <dialogue>You see, Anne, that's why I did n't want you to know anything about this. I wanted to protect all of you - your father, Barbara. And now that you know, you're acting guilty, too.</dialogue> <character>ANNE</character> <parenthetical>( desperately . )</parenthetical> <dialogue>Oh, if we could only talk to father or someone about it.</dialogue> <character>GUY</character> <dialogue>No, that's no good, Anne. I must n't drag anyone else into this mess. Come on. Let's go in.</dialogue> <scene_description>They go toward the house . TWO SHOT ACROSS THE STREET As Hennessy watches Anne and Guy go toward the house , his relief , HAMMOND , comes up . Hammond 's a zealous , hard - eyed sleuth .</scene_description> <character>HENNESSY</character> <parenthetical>( a little glum . )</parenthetical> <dialogue>Hello, Hammond.</dialogue> <character>HAMMOND</character> <dialogue>You look worried. What's the matter?</dialogue> <character>HENNESSY</character> <dialogue>You'd better keep on your toes. Something funny's going on.</dialogue> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT LATER THAT NIGHT</stage_direction> <scene_description>Still in his dinner clothes , Guy is seated in deep thought near the telephone , wrestling with his problem . There is an open telephone directory in front of him . He comes to a decision , picks up the telephone and dials a number . He waits for the answer , then :</scene_description> <character>GUY</character> <dialogue>Bruno? Yes, yes, it's Guy. I've decided to do what you want. I'll make that little visit to father.</dialogue> <parenthetical>( listens a moment . )</parenthetical> <dialogue>Tonight.</dialogue> <parenthetical>( listens another moment . )</parenthetical> <dialogue>Yes, I want to get this thing over with, can you leave the house again, Bruno?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You'd better stay out till daylight.</dialogue> <scene_description>Guy hangs up , rises and starts to move with purpose for his night 's activities .</scene_description> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT NIGHT</stage_direction> <scene_description>Guy is sitting at the table . He is dressed differently , having changed from his dinner clothes to a sack suit . There is only one lamp lighted in the room . Guy presents a grim picture . He is studying the plan of Bruno 's house , and he picks up the key Bruno sent along with it . Finally he looks at his watch , then folds the plan and puts it in his pocket with the key . He rises , crosses to the chest of drawers , opens the top drawer . INSERT : THE OPEN DRAWER Guy 's hands take out the Luger . His hand then picks up Miriam 's glasses from the drawer , holds them a moment . He is about to put them back , then decides to take them along , puts them into his pocket . MED . SHOT CAMERA PANS GUY across to the window . He parts the curtains slightly and looks out . MED . SHOT ON STREET -LRB- FROM GUY 'S VIEWPOINT -RRB- Hammond is lighting a cigarette as he strolls in front of the house .</scene_description> </scene> <scene> <stage_direction>INT. GUY'S APARTMENT</stage_direction> <scene_description>Guy crosses to his door , which he opens surreptitiously . MED . SHOT CORRIDOR Guy glances down the stairs , then closes the door behind him quietly and moves away to a window at the turn of the stairs .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE</stage_direction> <scene_description>Guy comes out of the window onto the second floor fire escape . He creeps stealthily down and emerges into a narrow alleyway . He steps back into the shadows for a moment when he sees : LONG SHOT FROM GUY 'S VIEWPOINT -LRB- PROCESS -RRB- The strolling figure of Hammond on the far side of the street . MED . SHOT Guy turns away and is soon lost in the darkness of the street .</scene_description> </scene> <scene> <stage_direction>EXT. A TALL PAIR OF ELABORATE IRON GATES NIGHT</stage_direction> <scene_description>We are on the inside of the gates . We see them swing open slightly and the figure of Guy edges through them . CLOSE SHOT Guy leaves the gates ajar and then , taking the plan of Bruno 's house from his pocket , and the key , he looks toward the house .</scene_description> </scene> <scene> <stage_direction>EXT. STEPS LONG SHOT NIGHT</stage_direction> <scene_description>This is a long flight of steps . Moonlit . They are lined with tall black cypress trees which throw their shadows across the steps . Guy moves out of one shadow , into another and carefully starts up the stairs . AT THE DOOR He pauses , looks about for a moment and listens . Then he puts the key into the lock , finding it with his flashlight . The door opens a few inches . He turns off the flash , and enters .</scene_description> </scene> <scene> <stage_direction>INT. ANTONY HOME ENTRANCE HALL</stage_direction> <scene_description>As Guy moves in soundlessly and closes the door . He looks toward the stairs which are in shadow . MED . SHOT Guy starts up the stairs slowly . He carries his flashlight and the plan . AT THE TOP OF THE STAIRS THE DOG A huge shadow lies it the head of the stairs . As Guy comes slowly up the stairs , the Great Dane looks down at him . GUY ON THE STAIRS He reacts to the sight of the dog , stops an instant , and turn on his flashlight . The heavy massive face of the dog looks straight down at him . Guy turns off the flashlight and after a moment of indecision starts slowly up the stairs once more , the dog watching every step he takes . UPPER HALLWAY Guy comes up the last few stairs and still the dog has n't moved . Guy slowly edges past him and the Great Dane 's head turns to watch him . GUY moving quietly along the hallway , approaches two doors . He takes out his flash and identifies the door with his plan . The plan shows two doors in relation to the stairway . The first one is clearly marked : `` MY room . '' The adjoining door is marked : `` My FATHER 'S room . '' CLOSE SHOT GUY He pauses at the first door , then passes it quietly , walking on to the next one . He turns the knob soundlessly and passes through into the room .</scene_description> </scene> <scene> <stage_direction>INT. ANTONY BEDROOM LONG SHOT</stage_direction> <scene_description>The room is in darkness except for the dim outline of the recumbent figure in the bed . We hear Guy 's voice , in a loud whisper :</scene_description> <character>GUY</character> <dialogue>Mr. Antony!</dialogue> <scene_description>The figure stirs . ANOTHER ANGLE Guy takes a stop closer to the bed .</scene_description> <character>GUY</character> <parenthetical>( urgently . )</parenthetical> <dialogue>Mr. Antony! Do n't be alarmed - but I must talk to you about your son. About Bruno. Mr. Antony!</dialogue> <scene_description>The figure on the bed turns and a hand stretches out toward a bedside light . The light goes on with a sudden glare . CLOSEUP FACE OF BRUNO IN THE LIGHT -LRB- LOW CAMERA -RRB- The low CAMERA throws a vast shadow up on the wall behind him , creating a grimace of his smile .</scene_description> <character>BRUNO</character> <dialogue>Yes, Mr. Haines?</dialogue> <scene_description>CLOSEUP GUY His face is dead . MED . SHOT Bruno rises from the bed and sits on the and of it . He is fully dressed , just as he was at the party , in white tie and tails .</scene_description> <character>BRUNO</character> <parenthetical>( politely . )</parenthetical> <dialogue>My father is n't home tonight, Mr. Haines.</dialogue> <parenthetical>( smiles grimly at Guy 's surprise . )</parenthetical> <dialogue>I was about to tell you that over the phone. But you came to such a sudden decision. I wondered why.</dialogue> <character>GUY</character> <parenthetical>( recovering quickly . )</parenthetical> <dialogue>Since you sent me a key to your house, I decided to use it - to make a little social call on your father. I thought he'd be Interested to know he his a lunatic son.</dialogue> <scene_description>The faintest flicker of Bruno 's eyes indicates the intensity of his reaction . He stares hard at Guy .</scene_description> <character>BRUNO</character> <dialogue>Then a I correct, Mr. Haines, in assuming that you have no intention of going ahead with our arrangement?</dialogue> <character>GUY</character> <dialogue>No intention whatsoever. I never had.</dialogue> <character>BRUNO</character> <dialogue>I see. You wo n't have any further use for the key, then, Mr. Haines.</dialogue> <parenthetical>( he holds out his hand and Guy gives him the key . )</parenthetical> <dialogue>Thank you very such.</dialogue> <scene_description>As Bruno continues to stare at him , Guy takes out the Luger . For a moment a look of fear comes into Bruno 's face as he thinks Guy will probably shoot him . After a pause , Guy tosses the gun on the bed .</scene_description> <character>GUY</character> <dialogue>Or this.</dialogue> <scene_description>Bruno 's relief turns again to menace . He picks up the gun and fingers it nervously .</scene_description> <character>GUY</character> <parenthetical>( kindly . )</parenthetical> <dialogue>Look, Bruno. You're terribly sick.</dialogue> <parenthetical>( haltingly . )</parenthetical> <dialogue>I do n't know whether it's possible for you to realize it or not. I do n't know much about these things, Bruno. But why do n't you go someplace where you can get some treatment? Not only for your own sake, Bruno, but you ca n't go on causing more and more destruction to anyone you happen to meet.</dialogue> <scene_description>Bruno pays no attention . He rises . TWO SHOT Guy 's arguments have made no impression on Bruno whatsoever . He fingers the gun .</scene_description> <character>BRUNO</character> <dialogue>I do n't like to be doublecrossed. I have a murder on my conscience, but it's not my murder, Mr. Haines - it's yours. And as you're the one to profit, I think you should be the one to pay for it.</dialogue> <scene_description>For an instant his nervous hands seem to be struggling with the urge to kill Guy .</scene_description> <character>GUY</character> <parenthetical>( gives up . )</parenthetical> <dialogue>Well, I guess it's no use, Bruno. We sees to have nothing further to discuss.</dialogue> <scene_description>Bruno goes to the door in silent acquiescence and opens it for Guy to pass through .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY MED. SHOT</stage_direction> <scene_description>Guy walks toward the stairs , tense and apprehensive . Bruno is following him , still holding the gun . When the Great Dane sees Bruno it gets to its feet , as if waiting for a command . Guy starts down the stairs but Bruno stays where he is , the dog beside him . Gay turns and looks back it this tableaux of menace .</scene_description> <character>BRUNO</character> <dialogue>Do n't worry. I'm not going to shoot you, Mr. Haines. It might disturb mother.</dialogue> <parenthetical>( with a feeling of power . )</parenthetical> <dialogue>I'm a very clever follow. I'll think of something better than that. Much better.</dialogue> <scene_description>LONG SHOT Bruno remains in the foreground of the scene as Guy proceeds on down the stairs . We see him open the front door and pass through .</scene_description> </scene> <scene> <stage_direction>EXT. STREET ACROSS GUY'S APARTMENT EARLY CLOSE SHOT HENNESSY AND HAMMOND MORNING</stage_direction> <scene_description>Hennessy is relieving Hammond who has kept watch on Guy 's apartment night .</scene_description> <character>HAMMOND</character> <parenthetical>( in the middle of his story . )</parenthetical> <dialogue>He came back at three twenty - five. I did n't even know he'd given me the slip until his ` phone kept ringing for about half an hour. Nobody sleeps that sound. So I got the janitor to let me in. No Haines.</dialogue> <character>HENNESSY</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Wonder where he went?</dialogue> <character>HAMMOND</character> <dialogue>We'll probably hear of another dame murdered.</dialogue> <character>HENNESSY</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>Shut up. I'd better contact Metcalf. I should think this calls for more questioning of Mr. Haines.</dialogue> <character>HAMMOND</character> <dialogue>Questioning? Nuts! Let's take him in.</dialogue> <character>HENNESSY</character> <dialogue>My dear Mr. Hamond, how many times do I have to tell you that we have nothing conclusive on Haines? There's no evidence that he was ever at the scene of the crime. Ca n't you get that into your thick head?</dialogue> <parenthetical>( quietly . )</parenthetical> <dialogue>Now stay put till I get back.</dialogue> <scene_description>As he starts away - FADE OUT . FADE IN</scene_description> </scene> <scene> <stage_direction>INT. ANTONY LIVING ROOM LATE MORNING</stage_direction> <scene_description>Anne and Mrs. Antony are in the middle of a conversation . Anne 's manner is tense and purposeful , Mrs. Antony 's much less serious .</scene_description> <character>MRS. ANTONY</character> <dialogue>Oh, now, Miss Burton, really! I know Bruno's been in some very awkward scrapes, but nothing so ridiculous as a murder.</dialogue> <parenthetical>( she gives a short little laugh . )</parenthetical> <dialogue /> <character>ANNE</character> <parenthetical>( desperately . )</parenthetical> <dialogue>But, Mrs. Antony, you've got to make him do something about this. Do n't you see that just one word from him would extricate Guy from this dreadful situation?</dialogue> <character>MRS. ANTONY</character> <parenthetical>( lightly . )</parenthetical> <dialogue>Oh, but Miss Burton, I'm sure this thing must be some practical joke. You know, Bruno sometimes goes too far.</dialogue> <parenthetical>( girl to girl . )</parenthetical> <dialogue>Of course I should n't be saying this to an outsider, but sometimes he's terribly irresponsible and gets into all kinds of escapades.</dialogue> <character>ANNE</character> <dialogue>But do n't you understand, Mrs. Antony - your son is responsible for a woman's death.</dialogue> <character>MRS. ANTONY</character> <parenthetical>( drawing herself up with some hauteur . )</parenthetical> <dialogue>Did Bruno tell you this?</dialogue> <character>ANNE</character> <dialogue>Of course not, Mrs. Antony.</dialogue> <character>MRS. ANTONY</character> <parenthetical>( that settles it . )</parenthetical> <dialogue>Well, there you are.</dialogue> <parenthetical>( she sighs and rises , winding it up . )</parenthetical> <dialogue>Well, Miss Burton, it was very nice of you to call. You must excuse me now. I must get back to my painting. Do you care for painting, Miss Burton? I find it so soothing.</dialogue> <parenthetical>( shakes Anne 's hand . )</parenthetical> <dialogue>You must come again sometime.</dialogue> <scene_description>She goes out . Anne is left helpless , standing in the middle of the room . She picks up her purse and is about to go when she hears a voice :</scene_description> <character>BRUNO'S VOICE</character> <dialogue>Oh, Miss Burton!</dialogue> <scene_description>Anne turns back in direction of the voice . CAMERA PULLS BACK until we can see the feet of Bruno protruding from behind a chair in which he is sitting . He has obviously heard the entire conversation between Anne and his mother . Bruno rises . He is in dressing gown and pajamas .</scene_description> <character>BRUNO</character> <dialogue>I'm afraid mother was n't very helpful, was she?</dialogue> <parenthetical>( he strolls toward Anne . )</parenthetical> <dialogue>You know she has n't been well for a long time. She's a little - how shall I say - confused.</dialogue> <parenthetical>( shakes his head commiseratingly . )</parenthetical> <dialogue>Poor mother.</dialogue> <scene_description>Anne is too stunned to speak .</scene_description> <character>BRUNO</character> <dialogue>You know, I'm very upset with Guy. He should n't have sent you on an errand like this.</dialogue> <character>ANNE</character> <dialogue>Guy does n't know I'm here, Mr. Antony.</dialogue> <character>BRUNO</character> <dialogue>He's been leading you up the garden path, I'm afraid. He must be very desperate to try to involve me. I've been protecting him ever since we had that conversation on the train and he told me how he hated his wife.</dialogue> <scene_description>Bruno is now standing near the window a little apart from Anne , with his back to him . He takes something out of the pocket of his dressing gown and looks down at it in his hand . It is Guy 's lighter . Suddenly he stuffs it back his pocket and turn back to Anne .</scene_description> <character>BRUNO</character> <dialogue>Why, do you know, Miss Burton, he tried to get me to go back to the island one night after dark and pick up his lighter so the police would n't find it? He dropped it there, you know, when - well, that night.</dialogue> <scene_description>Anne 's horror is growing .</scene_description> <character>BRUNO</character> <dialogue>The whole thing's been worrying me so much. But of course I could n't do it, Miss Burton. It would have been too risky. And besides, it would have made me an accessory.</dialogue> <scene_description>Anne stares at this insane man and sinks on the settee . She starts to cry in sheer frustration . Bruno goes to her sympathetically .</scene_description> <character>BRUNO</character> <dialogue>Miss Burton, I know how you feel.</dialogue> <scene_description>He puts his hand on her shoulder . Anne flings it off . There is an awkward pause as Bruno looks down at her . Then he begins to look around restlessly .</scene_description> <character>BRUNO</character> <dialogue>Miss Burton, you must excuse me. I have an urgent appointment.</dialogue> <parenthetical>( looks it his watch . )</parenthetical> <dialogue>I must go up and change. Now, I really must go. if you'll excuse me.</dialogue> <scene_description>He turns , starts out of the room and up the stairs in the hall . Anne watches him . STAIRWAY FROM ANNE 'S VIEWPOINT Bruno turns and waves to Anne from the landing , then goes on up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM MED. SHOT</stage_direction> <scene_description>Anne slowly rises , a lonely figure in the large room , and makes her way out . LONG SHOT FOREST HILL STADIUM Grouped . A game is in progress . MED . SHOT A TERRACE NEAR THE MAIN STADIUM -LRB- PROCESS -RRB- where people get refreshments . There are various table with umbrellas . MED . SHOT AT ONE OF TABLE -LRB- PROCESS -RRB- Anne and Guy are seated at the table .</scene_description> <character>ANNE</character> <dialogue>And he said that if the police found your lighter there, that's all they'd need - something to prove you were at the scene of the murder.</dialogue> <character>GUY</character> <parenthetical>( grimly . )</parenthetical> <dialogue>That big lie about my wanting him to get it back means he's going to put my lighter on that island!</dialogue> <character>ANNE</character> <parenthetical>( urgently . )</parenthetical> <dialogue>Guy, you'll have to get there before he does. You wo n't have time to play, You'd better tell them.</dialogue> <parenthetical>( she nods her head in the direction of the center court . )</parenthetical> <dialogue /> <character>GUY</character> <dialogue>Darling, if that loudspeaker announces that I'm not going to play, Hennessy bound to be suspicious He'd keep me from ever getting near Metcalf.</dialogue> <character>ANNE</character> <dialogue>Then I'll go.</dialogue> <character>GUY</character> <parenthetical>( quickly . )</parenthetical> <dialogue>No, darling.</dialogue> <parenthetical>( he puts his hand on hers and speaks firmly , with concern for her safety as well as for his own situation . )</parenthetical> <dialogue>You stay right here and help me give Hennessy the slip after the match.</dialogue> <character>ANNE</character> <dialogue>But, Guy, that'll be too late!</dialogue> <character>GUY</character> <parenthetical>( getting a thought . )</parenthetical> <dialogue>Did n't Bruno say that I wanted him together there one night after dark?</dialogue> <character>ANNE</character> <dialogue>Yes.</dialogue> <character>GUY</character> <dialogue>Well, that's what's in his mind now. He's not going to expose himself in broad daylight, If I can finish off this match in three sets, I'll still get there in time.</dialogue> <scene_description>REYNOLDS , Guy 's opponent , enters scene behind Guy 's chair .</scene_description> <character>REYNOLDS</character> <dialogue>We're on in a few minutes, Guy.</dialogue> <parenthetical>( to Anne . )</parenthetical> <dialogue>How are you, Miss Morton.</dialogue> <scene_description>Anne acknowledges his greeting with a nod .</scene_description> <character>GUY</character> <dialogue>Okay, Tim. Be right with you.</dialogue> <scene_description>Reynolds leaves Anne and Guy rise , and as they walk toward the stadium , we can see Guy start to speak to Anne in a whisper . ENTRANCE TO COVERED STAND ALREADY SHOT Hennessy and Hammond are standing by .</scene_description> <character>HAMMOND</character> <dialogue>Well, if Turley said to pick him up for questioning, let's pick him up!</dialogue> <character>HENNESSY</character> <dialogue>Let him have his game first, Hammond.</dialogue> <character>HAMMOND</character> <parenthetical>( sourly . )</parenthetical> <dialogue>This is the first time I ever waited for a murder suspect to play tennis before I pulled him in. When the boys it headquarters heir about this they'll send me orchids.</dialogue> <scene_description>Guy and Anne come into the scene just as the players from the previous match emerge . They pass through , nodding to Hennessy .</scene_description> <character>HENNESSY</character> <dialogue>Good luck, Guy.</dialogue> <scene_description>Guy is so preoccupied with his grim does n't nod to Hennessy until Anne nudges him . INSIDE THE STAND MED . SHOT Anne is reluctant to leave Guy who must now join his opponent , Reynolds .</scene_description> <character>GUY</character> <dialogue>You got it straight?</dialogue> <parenthetical>( ANNE nods . )</parenthetical> <dialogue>Just make sure Barbara has everything ready as soon as the third set starts.</dialogue> <scene_description>He goes on to the court , and Anna goes to her box . MED . SHOT Anne joins Barbara in the box . She starts to whisper something to her . LONG SHOT Guy and Reynolds complete their warm - up as the umpire announces that Guy is to serve . The game starts .</scene_description> </scene> <scene> <stage_direction>EXT. ANTONY HOME</stage_direction> <scene_description>A taxi is at the front door . Bruno is descending the steps . He gets into the cab , which moves off . FOREST HILLS MED . SHOT ANNOUNCER 'S BOOTH -LRB- PROCESS -RRB- Over the shoulder of the announcer WE SEE the game in progress through the window of his booth .</scene_description> <character>ANNOUNCER</character> <dialogue>- It looks like an interesting match with Haines constantly charging the net - not like Haines at all - to press so early in the game.</dialogue> <scene_description>MED . SHOT TEN COURT Guy and his opponent , Reynolds , in play . Guy scores a point . CLOSEUP THE UMPIRE He announces game to Haines . MED . LONG SHOT We see the two men change ends and come toward the Umpiri 's chair . Reynolds stops to take a drink of water . Guy , with an impatient glance at him , moves over to the passing line and waits , the CAMERA going with him .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON STREET</stage_direction> <scene_description>A taxicab is seen coming along . MED . SHOT INSIDE CAB -LRB- PROCESS -RRB- Bruno is sitting with in unlighted cigarette in his mouth . CAMERA MOVES IN until he is in big CLOSEUP . His eyes look down . There is the SOUND of a click , then , Guy 's lighter comes up into the picture held against the cigarette . FADE IN LONG SHOT FOREST HILLS STADIUM Grouped . A game is in progress . MED . SHOT A terrace where people get refreshments . There are various tables with umbrellas . MED . SHOT AT ONE OF TABLE -LRB- PROCESS -RRB- Guy is seated . He has his rackets with him and is waiting his turn to start his match . An official is talking to him but Guy keeps looking around as if expecting someone .</scene_description> <character>OFFICIAL</character> <dialogue>Well, at least there'd be a trip to Australia, if you made it.</dialogue> <character>GUY</character> <parenthetical>( absently . )</parenthetical> <dialogue>We'll know more about that by the end of the week.</dialogue> <parenthetical>( his face brightens as he sees Anne . )</parenthetical> <dialogue /> <scene_description>Anne hurries in , nods briefly to the official who has started to leave , and sits down .</scene_description> <character>OFFICIAL</character> <dialogue>They're close to the finish, Guy</dialogue> <character>GUY</character> <dialogue>Be right there.</dialogue> <parenthetical>( turns to Anne . )</parenthetical> <dialogue>I was afraid you would n't get here. Wish me luck, darling.</dialogue> <scene_description>He makes a move as if to follow official toward the stadium , but Anne puts hand on his arm .</scene_description> <character>ANNE</character> <parenthetical>( quickly and urgently . )</parenthetical> <dialogue>Guy, listen to me, If I sound all mixed up I ca n't help it. I - I'm scared.</dialogue> <character>GUY</character> <dialogue>What about?</dialogue> <character>ANNE</character> <dialogue>That's just it. I do n't know. It's Bruno. I talked to him, Guy -</dialogue> <scene_description>Guy stares at her , takes a quick look toward the stadium , then gives Anne his full attention .</scene_description> <character>ANNE</character> <dialogue>He acted peculiar - as if he could put the murder right in your lap, and not involve himself at all.</dialogue> <character>GUY</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>He'd drag himself into it, - and Bruno loves Bruno. I'm all right so long as he thinks I have an alibi for that night.</dialogue> <parenthetical>( noticing the stricken look on Anne is face . )</parenthetical> <dialogue>He knows?</dialogue> <scene_description>Anne nods slowly .</scene_description> <character>GUY</character> <parenthetical>( grimly . )</parenthetical> <dialogue>Then he'll think of something. He said he would.</dialogue> <character>ANNE</character> <dialogue>Guy, has he anything that the police could trace to you -.</dialogue> <parenthetical>( quoting Bruno . )</parenthetical> <dialogue>Any little thing.</dialogue> <character>GUY</character> <dialogue>My cigarette lighter. He said once he could have left it on the islands as evidence.</dialogue> <parenthetical>( a pause . )</parenthetical> <dialogue>But he would n't do that. Not in broad day light.</dialogue> <character>ANNE</character> <parenthetical>( trying to think . )</parenthetical> <dialogue>But he's going somewhere, Guy. He told his mother -</dialogue> <character>GUY</character> <parenthetical>( tensely . )</parenthetical> <dialogue>Metcalf - did he say Metcalf?</dialogue> <character>ANNE</character> <dialogue>No, - I do n't think so. Oh, why ca n't I remember - he said such crazy things!</dialogue> <character>GUY</character> <parenthetical>( tensely . )</parenthetical> <dialogue>Try to think, Anne!</dialogue> <character>VOICE</character> <parenthetical>( OFFSCENE . )</parenthetical> <dialogue>Guy Haines! - Reynolds!</dialogue> <scene_description>While Anne is frantically trying to remember , Guy turns toward , the stadium and gives a signal of `` Be right there . ''</scene_description> <character>ANNE</character> <dialogue>Something about the moon - he said he had an appointment with the moon.</dialogue> <scene_description>Guy 's shoulders droop with disappointment .</scene_description> <character>GUY</character> <dialogue>That's no help. But I ca n't take any chances. I've got to get that lighter - somehow.</dialogue> <scene_description>REYNOLDS , Guy 's opponent , ENTERS SCENE behind Guy 's chair .</scene_description> <character>REYNOLDS</character> <dialogue>Okay, Guy. We're on.</dialogue> <scene_description>He walks away . Anne and Guy rise , following him .</scene_description> <character>GUY</character> <dialogue>I'll have to default.</dialogue> <character>ANNE</character> <dialogue>And have Hennessy and that other one right at your heels?</dialogue> <scene_description>Guy 's expression says she 's right , as they walk toward the stadium . ENTRANCE TO COVERED STAND Hennessy and Hammond , the two detectives , are standing by .</scene_description> <character>HAMMOND</character> <dialogue>First time I ever waited for a killer to play tennis before I nabbed him! When the boys at headquarters hear about this they'll send me an orchid!</dialogue> <character>HENNESSY</character> <dialogue>We got our orders. We take him in - after the match.</dialogue> <scene_description>Guy and Anne come INTO THE SCENE just as the players from the previous match emerge . They pass through , nodding to Hennessy .</scene_description> <character>HENNESSY</character> <parenthetical>( a little sadly . )</parenthetical> <dialogue>Good luck, Guy!</dialogue> <scene_description>Guy gives him a thank - you nod . Hammond rolls his eyes in disgust at Hennessy 's politeness . INSIDE THE STAND MED . SHOT Anne is about to turn to her box but she is reluctant to leave Guy , who must now join his opponent , Reynolds . As their eyes hold , in mutual helplessness , Guy suddenly stares at her with realization .</scene_description> <character>GUY</character> <dialogue>The moon! You said he had an appointment -</dialogue> <scene_description>Anne looks puzzled as Guy looks up at the sun , then at his watch .</scene_description> <character>GUY</character> <dialogue>Then he is going to Metcalf. But he has to wait until it gets dark -.</dialogue> <parenthetical>( with frantic haste , he thinks quickly , then murmurs to Anne . )</parenthetical> <dialogue>Listen, Anne, as soon as the third set starts, tell Barbara -</dialogue> <scene_description>MED . CLOSE SHOT REYNOLDS waiting at the bottom of steps to the stand . Guy joins his opponent , and Anne goes to her box . Guy and Reynolds move onto the court amid the rounds of applause that greet them . MEDIUM SHOT ANNE JOINS BARBARA In the box . She starts to whisper something to her . LONG SHOT Guy and Reynolds complete their warm - up as the umpire announces that Guy is to serve . The game starts .</scene_description> </scene> <scene> <stage_direction>EXT. ANTONY HOME</stage_direction> <scene_description>A taxi is at the front door . Bruno is descending the steps . He gets into the cab , which moves off . FOREST HILLS MED . SHOT ANNOUNCER 'S BOOTH Over the shoulder of the announcer WE SEE the game in progress through the window of his booth .</scene_description> <character>ANNOUNCER</character> <dialogue>It looks like an interesting match - with Haines out to blast Reynolds into a fast fight, - not like Haines at all - to press so early in the game.</dialogue> <scene_description>MED . SHOT THE COURT Guy and his opponent , Reynolds , in play . Guy scores a point . CLOSEUP THE UMPIRE He announces game to Haines . MED . LONG SHOT We see the two men change ends and come toward the Umpire 's chair . Reynolds stops to take a drink of Water . Guy , with an impatient glance it him , moves over to the passing line and waits , the CAMERA going with him .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON STREET</stage_direction> <scene_description>A taxicab is seen coming along . MED . SHOT INSIDE TAXI CAB Bruno is sitting with an unlighted cigarette in his mouth . CAMERA MOVES IN until he is in big CLOSEUP . His eyes look down . There is the SOUND of a click , then Guy 's lighter comes up into the picture held against the cigarette .</scene_description> </scene> <scene> <stage_direction>INT. ANNOUNCER'S BOOTH FOREST HILL</stage_direction> <scene_description>The announcer is broadcasting the progress of the match and we learn from him that this first set is nearly finished . LONG SHOT THE COURT Guy and Reynolds in play . MED . SHOT Anne and Barbara sitting in their box watching the play anxiously . MED . SHOT At the entrance to the covered stand . The two detectives Hennessy and Hammond , are watching . Hammond is bored by this game .</scene_description> <character>HAMMOND</character> <dialogue>Stupid game. You'd never get me into them short pants. I'd feel naked.</dialogue> <character>HENNESSY</character> <parenthetical>( his eyes intent on the game . )</parenthetical> <dialogue>You'd feel naked in an Eskimo suit - if you were n't wearing your badge.</dialogue> <scene_description>MED . SHOT Guy playing hard but holding his own . MED . SHOT Reynolds , his opponent , playing back . LONG SHOT The big crowd watching . MED . SHOT Guy scores point over Reynolds . MED . SHOT There is general applause from the crowd in the covered stand as we HEAR the Umpire 's announcement .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Haines wins the first set.</dialogue> </scene> <scene> <stage_direction>EXT. UNION STATION WASHINGTON D.C.</stage_direction> <scene_description>We see Bruno get out of a cab and pass into the depot . LONG SHOT FOREST HILLS The game in process . MED . SHOT A nearer view of the game . CLOSE SHOT GUY IN PLAY volleying with Reynolds . CLOSE SHOT Reynolds playing the covered stand people are concentrating . MED . SHOT Guy misses a point and the game . He and Reynolds make for the Umpire 's chair . We HEAR the Umpire announce .</scene_description> <character>UMPIRE'S VOICE</character> <dialogue>Game to Mr. Reynolds. Games are two all. Second set.</dialogue> </scene> <scene> <stage_direction>INT. UNION STATION WASHINGTON, D.C.</stage_direction> <scene_description>Bruno is casually waiting for the train . He stands near a news - stand reading a paper . We see that the paper is open at the sports page . There is a picture of Guy among other tennis players . WITH A DISSOLVE the whole character of this page changes with the exception of Guy 's picture , which becomes surrounded with large type , announcing the arrest of Guy Haines for the murder of his wife Miriam . A sub - heading tells of Guy 's cigarette lighter found at the scene of the crime . All this DISSOLVES AWAY and the page becomes once more the sports section . CLOSEUP Bruno looks up with satisfaction . LONG SHOT FOREST HILLS The crowd watching . MED . SHOT Guy and Reynolds in play . MED . SHOT Guy playing hard . MED . SHOT Reynolds playing back . CLOSEUP The Umpire watching the game . Suddenly he announces :</scene_description> <character>UMPIRE</character> <dialogue>Game to Mr. Reynolds. Games are three all. second set.</dialogue> </scene> <scene> <stage_direction>INT. CLUB CAR ON TRAIN</stage_direction> <scene_description>Bruno is now seated in his accustomed place in the club car . His gloved fingers are quietly toying with Guy 's lighter . A passenger next to him asks :</scene_description> <character>PASSENGER</character> <dialogue>May I have a light, please?</dialogue> <scene_description>Bruno looks at him for a moment and then at the lighter . With great deliberation he puts the lighter away in his pocket and takes out book - matches . Lighting a match , he holds it to his fellow passenger 's cigarette . LONG SHOT FOREST HILLS The game as seen from under the covered stand . MED . SHOT Anne and Barbara very tense . CLOSEUP GUY about to serve , looks anxiously across the court . CLOSEUP THE CLOCK CLOSEUP GUY as he serves . CLOSEUP REYNOLDS returns . CLOSEUP BALL hits the net . CLOSEUP UMPIRE announces .</scene_description> <character>UMPIRE</character> <dialogue>Second set to Haines. Haines leads two sets to love.</dialogue> <scene_description>There is a round of applause . We see the heads of the two players reach the Umpire 's chair . Guy , very anxious still , as he wipes his neck with a towel .</scene_description> </scene> <scene> <stage_direction>INT. COVERED STAND CLOSE SHOT ANNE BARBARA</stage_direction> <scene_description>Anne is speaking .</scene_description> <character>ANNE</character> <dialogue>If he wins this next set - you'd better have everything ready.</dialogue> <parenthetical>( takes bill from her purse and hands it to Barbara . )</parenthetical> <dialogue>Here - give the driver this ten dollars.</dialogue> <character>BARBARA</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>I wish understood what this is all about!</dialogue> <character>ANNE</character> <parenthetical>( urgently . )</parenthetical> <dialogue>You do n't have to understand, just do it. And for heaven's sake, act natural.</dialogue> <scene_description>Barbara nods and goes along . ENTRANCE TO COVERED STAND Barbara smiles winningly at Hennessy as she goes through . Her interpretation of `` acting natural '' is exaggerated and rather comical . Hammond 's eyes narrow as he looks after her suspiciously . LONG SHOT The game in progress . Guy starts the next set . He serves . MED . SHOT Reynolds returns . MED . SHOT Guy volleys . MED . SHOT Reynolds puts the ball in the air . CLOSE SHOT Guy smashes . CLOSE SHOT The ball hits the net . CLOSEUP UMPIRE</scene_description> <character>UMPIRE</character> <dialogue>Love fifteen.</dialogue> <scene_description>LONG SHOT THE CROWD We HEAR the smash of the ball and the voice of the Umpire .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Love thirty.</dialogue> <scene_description>CLOSEUP ANNE looking very worried . Again the call of the Umpire .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Double fault. Love forty.</dialogue> </scene> <scene> <stage_direction>INT. THE ANNOUNCER'S BOOTH</stage_direction> <scene_description>The announcer telling his listeners that Guy Haines seems to be a little reckless .</scene_description> <character>ANNOUNCER</character> <dialogue>- Haines has n't let up his terrific pace for an instant, smashing every ball with a recklessness we've never seen in his playing. It's beginning to look as if he does n't care whether he wins or loses because he's in a hurry - an awfully big hurry -</dialogue> </scene> <scene> <stage_direction>EXT. METCALF STATION</stage_direction> <scene_description>We see Bruno alight from the train . He makes his way in the direction of the town . MED . SHOT METCALF STATION As Bruno comes toward us , he stands on the sidewalk and then takes the lighter from his pocket once more . At this moment a hurrying passenger on his way to the depot accidentally jogs Bruno 's elbow . The lighter flies from his hand . CLOSE SHOT We see it fall through the bars of a grating by the sidewalk . CLOSEUP BRUNO looks down in dismay . FOREST HILLS MED . SHOT The game in progress . Guy and his opponent playing hard . Guy misses a point . We HEAR the Umpire 's call .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Game to Mr. Reynolds. Mr. Reynolds leads five games to three in the third set.</dialogue> </scene> <scene> <stage_direction>EXT. METCALF STATION</stage_direction> <scene_description>Bruno is leading a porter toward the grating , pulling him by the arm . They reach the drain .</scene_description> <character>BRUNO</character> <dialogue>Down there - my - my cigarette -.</dialogue> <parenthetical>( catches himself - not wanting to say `` cigarette lighter '' . )</parenthetical> <dialogue>case. It's very valuable.</dialogue> <character>PORTER</character> <parenthetical>( peering down . )</parenthetical> <dialogue>Down here?</dialogue> <character>BRUNO</character> <dialogue>You've got to get this grating up right away.</dialogue> <scene_description>Two passersby enter .</scene_description> <character>FIRST PASSERBY</character> <dialogue>What's the trouble?</dialogue> <character>BRUNO</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Ca n't we do something!</dialogue> <parenthetical>( to passerby . )</parenthetical> <dialogue>I dropped my cigarette case.</dialogue> <character>PORTER</character> <parenthetical>( looking down . )</parenthetical> <dialogue>Might n't be any good, mister. Probably gone down the storm drain.</dialogue> <character>BRUNO</character> <parenthetical>( horrified . )</parenthetical> <dialogue>Storm drain?</dialogue> <character>FIRST PASSERBY</character> <dialogue>On the other hand, it might have lodged on the edge.</dialogue> <character>SECOND PASSERBY</character> <dialogue>Do n't they have a trap down there - like under a sink?</dialogue> <character>BRUNO</character> <parenthetical>( excited . )</parenthetical> <dialogue>Do n't just stand here - do something!</dialogue> <character>PORTER</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Guess we could phone the city engineer, all right. Worst he could do would be to tell me to take a running jump and -.</dialogue> <parenthetical>( Bruno grabs his arm .</parenthetical> <parenthetical>Porter shakes Bruno off . )</parenthetical> <dialogue>Relax, mister.</dialogue> <character>BRUNO</character> <dialogue>I do n't want to relax.</dialogue> <scene_description>He goes on his knees and forces his arm down the drain .</scene_description> </scene> <scene> <stage_direction>INT. THE ANNOUNCER'S BOOTH FOREST HILLS</stage_direction> <character>ANNOUNCER</character> <parenthetical>( with great excitement . )</parenthetical> <dialogue>This is more than a tennis game, ladies and gentlemen - it's a desperate fight with Guy Haines playing as if his life depended on it!</dialogue> <scene_description>MED . SHOT Guy is volleying . MED . SHOT Reynolds lobs . CLOSEUP Guy smashes . CLOSE SHOT Reynolds lobs again . CLOSE SHOT Guy smashes . CLOSE SHOT Reynolds misses and the ball hits inside the line . CLOSEUP The Umpire calling .</scene_description> <character>UMPIRE</character> <dialogue>Game to Mr. Haines. Mr. Reynolds leads five games to four. third set.</dialogue> </scene> <scene> <stage_direction>EXT. METCALF STATION MED. SHOT</stage_direction> <scene_description>A few more passersby have stopped to watch Bruno , whose arm is pushed through the grating . CLOSEUP Bruno 's face - straining . CLOSEUP Under the grating Bruno 's hand is groping . His fingers are a long way from the lighter . LONG SHOT FOREST HILLS with the game in progress . MED . SHOT EXT. . CLUB A taxi has pulled up . Barbara gets out . CLOSE SHOT She takes the ten dollar bill from her purse and passes it to the driver . She gives a final look inside the cab . CLOSEUP On the seat are Guy 's everyday pants , laid out . MED . SHOT Barbara hurries out of the picture toward the club . LONG SHOT The crowd watching . CLOSEUP The tense face of Anne . CLOSEUP The Umpire is somewhat impressed .</scene_description> </scene> <scene> <stage_direction>INT. THE ANNOUNCER'S BOOTH CLOSEUP</stage_direction> <scene_description>The announcer is telling his listeners that the score is now six - five in favor of Haines . That he has pulled up wonderfully and only needs one more game to win the match .</scene_description> </scene> <scene> <stage_direction>EXT. COVERED STAND ENTRANCE</stage_direction> <scene_description>Barbara , very nervous but trying to `` act natural '' , passes Hennessy and Hammond . Hammond 's eyes again follow her , but Hennessy is intent on the game . MED . SHOT FEATURING BOX As Barbara joins Anne , she gives her a surreptitious signal by ringing her thumb and forefinger , indicating everything is set . CLOSE SHOT Guy now playing hard . CLOSEUP His racket smashing at the ball . CLOSEUP Reynolds and his racket hitting the ball back . CLOSEUP THE UMPIRE CALLING</scene_description> <character>UMPIRE</character> <dialogue>Advantages, Mr. Haines.</dialogue> <scene_description>CLOSEUP Guy serving . CLOSEUP His ball hitting the racket . CLOSEUP The ball in the net . CLOSEUP A second ball hitting the net . The Umpire 's voice calling :</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Duece!</dialogue> </scene> <scene> <stage_direction>EXT. METCALF STATION</stage_direction> <scene_description>A LOW SHOT ON Bruno bent over the grating and the onlookers behind him . BIG HEAD CLOSEUP BRUNO straining and panicky . CLOSEUP Under the grating , Bruno 's fingers get near the lighter , and in their groping , they knock the lighter off the ledge , onto the ledge below . CLOSEUP Bruno 's horror - stricken face . FOREST HILLS MED . SHOT Guy still playing . CLOSE SHOT Barbara standing with Hennessy , watching . We HEAR the score .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Advantage, Mr. Reynolds.</dialogue> <scene_description>CLOSEUP ANNE unable to bear the suspense . She glances O.S. MED . SHOT The waiting cab . CLOSE SHOT Guy and Reynolds in play .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Score is deuce.</dialogue> <scene_description>CLOSE SHOT Reynolds serves . CLOSE SHOT Guy volleys . He waits for the return ball . He misses it .</scene_description> <character>UMPIRE'S VOICE</character> <parenthetical>( O.S. ) .</parenthetical> <dialogue>Advantage, Mr. Reynolds.</dialogue> </scene> <scene> <stage_direction>EXT. METCALF STATION</stage_direction> <scene_description>ANGLE SHOOTING THROUGH the grating at CLOSEUP BRUNO 'S HEAD AND SHOULDERS staining . CLOSEUP Under the grating , Bruno 's fingers go lower and lower , straining to reach the lighter , which is still a few inches out of reach . FOREST HILLS MED . SHOT Guy is volleying with Reynolds .</scene_description> </scene> <scene> <stage_direction>INT. ANNOUNCER'S BOOTH</stage_direction> <scene_description>He is very excited .</scene_description> <character>ANNOUNCER</character> <dialogue>- Haines has n't let up for a moment. If he wins this set, he wins the whole match!</dialogue> <scene_description>CLOSEUP ANNE AND BARBARA in their box . They are extremely tense . MED . SHOT Guy slams hard a shot that wins him the game . LONG SHOT CROWD applauding and shouting . CLOSE SHOT ANNE AND BARBARA At an urgent signal from Anne , Barbara hurries out as if she knew what she had to do . LONG SHOT Guy shakes hands with his opponent , and then hurries across to Anne in the stand . He leans over the front of the box . While congratulating him outwardly , she whispers something to him . He leaves his racket with her and hurries away . MED . SHOT STAND ENTRANCE A block of people leaving cut off Hennessy 's view . Barbara tries desperately to keep his attention off Guy .</scene_description> <character>BARBARA</character> <parenthetical>( breathlessly . )</parenthetical> <dialogue>Is n't it wonderful, Mr. Hennessy? He won! It calls for a celebration. Anne says you must have dinner with us. Just the family, and you, and Guy.</dialogue> <character>HENNESSY</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>Sorry I ca n't make it. Business.</dialogue> <character>BARBARA</character> <dialogue>But Guy is your business. You'll be with him, wo n't you?</dialogue> <character>HENNESSY</character> <parenthetical>( a little grimly . )</parenthetical> <dialogue>Yeah - I'll be with Guy.</dialogue> <scene_description>MED . SHOT Guy moving along the front of the stand making for another exit . CLOSE SHOT Barbara takes it for granted that Hennessy will accept her invitation .</scene_description> <character>BARBARA</character> <dialogue>Guy says you love steak - rare, Medium, or well - done?</dialogue> <character>HENNESSY</character> <dialogue>I sure wish I could -</dialogue> <scene_description>SEMI CLOSEUP Hammond is looking off . He calls into the stand .</scene_description> <character>HAMMOND</character> <dialogue>Hennessy!</dialogue> <scene_description>He points off toward Guy . MED . SHOT Guy is hurrying toward the public entrance of the stand . SEMI CLOSEUP Hennessy and Hammond move off , leaving a dismayed Barbara . SEMI LONG SHOT Guy hurrying under the stand toward the waiting cab . MED . SHOT The two men hurrying after him .</scene_description> </scene> <scene> <stage_direction>EXT. CLUB</stage_direction> <scene_description>Guy goes to the waiting cab and gets in . The cab moves off . MED . SHOT The two men hurry out of the club and stand helplessly looking after the departing cab . They hurry out of the picture . CLOSE SHOT We see them grab another car . It is a chauffeur - driven limousine . Hammond jumps in front and seats himself beside the driver . Hennessy hops in the back . The car moves off .</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE TWO SHOT</stage_direction> <scene_description>Hennessy finds himself seated by an old dowager about seventy - five years of age . She looks startled for a moment and almost recoils from him . He shows her his badge .</scene_description> <character>HENNESSY</character> <dialogue>If you'll pardon us, madam, we need your help. We're chasing a man.</dialogue> <scene_description>The old lady 's eyes light up .</scene_description> <character>DOWAGER</character> <dialogue>How exciting.</dialogue> <parenthetical>( she leans forward and calls to the chauffeur . )</parenthetical> <dialogue>Hurry, O'Toole! Hurry!</dialogue> <scene_description>She leans back and maintains her air of excitement as she looks across at Hennessy . CLOSE SHOT INSIDE THE TAXI Guy is busy changing his pants . He glances over his shoulder .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>The two men looking ahead toward Guy .</scene_description> </scene> <scene> <stage_direction>EXT. METCALF STATION</stage_direction> <scene_description>CLOSEUP BRUN0 'S FACE - ANGLE SHOOTING UP to get the peering faces behind him . Bruno still frantically trying to reach the lighter . CLOSEUP Under the grating Bruno 's fingers slowly closing in on the lighter . They barely manage to grasp it . CLOSEUP BRUN0 'S FACE - triumphant . CLOSEUP Bruno 's fist , holding the lighter , comes through the grating . CLOSE SHOT Bruno straightens up . CAMERA BACK as all the onlookers turn their heads in his direction .</scene_description> <character>ONLOOKER</character> <dialogue>You sure must think a lot of that - Whatever it is.</dialogue> <scene_description>Bruno does n't answer . With the lighter in his closed fist , he darts through the crowd , the people looking after him . LONG SHOT The sun is much lower .</scene_description> </scene> <scene> <stage_direction>INT. CLUB CAR</stage_direction> <scene_description>Guy is now glancing at his watch . The sun is behind him and very much lower .</scene_description> </scene> <scene> <stage_direction>EXT. AMUSEMENT PARK</stage_direction> <scene_description>Bruno is looking at his watch and then across at the sky . LONG SHOT FROM HIS VIEWPOINT The last trace of the setting sun has gone .</scene_description> </scene> <scene> <stage_direction>EXT. METCALF STATION MED. SHOT</stage_direction> <scene_description>Guy is stepping off the train . He crosses to a waiting taxi , CAMERA FOLLOWING him . CLOSE SHOT</scene_description> <character>GUY</character> <parenthetical>( to the driver . )</parenthetical> <dialogue>The amusement park, quick.</dialogue> <scene_description>As he gets in the Cab , we go to - CLOSE SHOT MAN watching Guy get into taxi . As we hear the taxi drive away , the man hurries across to a waiting police car . CLOSE SHOT He puts his head in the side window and tells the two waiting detectives where Guy has gone .</scene_description> <character>MAN</character> <dialogue>Amusement park.</dialogue> <scene_description>We see one of the detectives take up a microphone as the car drives off .</scene_description> </scene> <scene> <stage_direction>EXT. AMUSEMENT PARK</stage_direction> <scene_description>It is now getting dark . MED . SHOT Bruno leaves his spot at the side of the tent and ambles over toward the queue of people waiting for boats . CLOSE SHOT BRUNO joining the queue . He glances ahead of him . MED . SHOT FROM HIS VIEWPOINT We see the light above the pay booth go on , shedding a downward glare . CLOSE SHOT BRUNO pulls his hat a little further over his , eyes . Some new arrivals join the queue behind him .</scene_description> </scene> <scene> <stage_direction>INT. TAXI</stage_direction> <scene_description>Guy looking anxiously ahead on his way to the amusement park . AMUSEMENT PARK ENTRANCE We see a police car arrive . One uniformed man and two detectives get out of the car and make their way toward the entrance . One of to detectives stands at the entrance while the other two hurry into the grounds . MED . SHOT Guy 's taxi arrives . MED . SHOT Across the street , another police car arrives . MED . SHOT At Guy is paying his cab fare , he glances around him . MED . SHOT FROM HIS VIEWPOINT He sees one police car . CLOSE SHOT GUY gives a furtive glance around while waiting for his change . MED . SHOT ANOTHER POLICE CAR MED . SHOT Guy cautiously makes his way toward the entrance to the Amusement Park . MED . SHOT Guy passes the waiting detective and looks off . From his viewpoint we see : MED . SHOT THE TWO DETECTIVES who were at the station indicate Guy is the man . MED . SHOT One detective turns away and starts to follow Guy . CLOSE SHOT BRUNO in the queue of people . He is edging slowly along . He is about ten people away from the entrance . He suddenly looks ahead and sees . FROM HIS VIEWPOINT The uniformed man and the detective are talking casually to the boat men in charge of the concession .</scene_description> <character>DETECTIVE</character> <parenthetical>( to boatman . )</parenthetical> <dialogue>The killer is here tonight. So keep your eyes open and the minute you see him, let us know.</dialogue> <scene_description>CLOSE SHOT The boatman looks at them with an expression of alarm . CLOSE SHOT BRUNO begins to look a little uneasy . We see him begin to mentally deliberate . MED . SHOT Guy , threading his way through the crowds , conscious that he is being followed , but nevertheless , on the lookout for Bruno . CLOSE SHOT BRUNO moving along the line . CAMERA MOVES IN until his head and shoulders fill the screen . He is now coming within range of the flood - lit pay - box . The light seems to creep up across his chest and slowly reveal his face . He lowers his head . MED . SHOT The boatman begins to look along the queue . There is an expression of growing recognition on his face . MED . SHOT Bruno sees this , makes a decision and casually deserts the queue of people . MED . SHOT The boatman hurries across to the uniformed man and begins to talk to him excitedly , looking in Bruno 's direction . MED . SHOT GUY Coming along and looking for Bruno . His eyes light up . SEMI - LONG SHOT FROM HIS VIEWPOINT We see Bruno making his way from the queue of people . CLOSE SHOT GUY calls to Bruno .</scene_description> <character>GUY</character> <dialogue>Hey, Bruno.</dialogue> <scene_description>CLOSE SHOT BRUNO gives a quick glance back , sees Guy then he turns and looks off in another direction . SEMI - LONG SHOT The uniformed man and the boatman approaching him . CLOSE SHOT Bruno hurries on . He stop short as he sees . SEMI - LONG SHOT FROM HIS VIEWPOINT Another uniformed man . MED . SHOT Bruno starts to run . MED . SHOT Guy starts to run after him . MED . SHOT Bruno is seen to jump on a merry - go - round , which is just starting . Its pace is already pretty fast . MED . SHOT Guy runs toward Bruno . CLOSE SHOT</scene_description> <character>DETECTIVE</character> <dialogue>Haines! Hold it! Hold it!</dialogue> <scene_description>The detective pulls out his gun and starts to run after Guy . SEMI - LONG SHOT Guy jumps on the merry - go - round after Bruno . Its speed is so great that he nearly gets flung off . CLOSE SHOT The detective fires at Guy . CLOSE SHOT The man running the machine in the center of the merry - go - round is suddenly hit in the shoulder . CLOSE SHOT His hand , which is on the starting lever , jerks it down . MED . SHOT The detective , after Guy , jumps on the machine but is flung off on his back . FULL SHOT The merry - go - round has now started to increase the speed . CLOSE SHOT Bruno at the far side is trying to jump off , but it 's going too fast . LONG SHOT FROM HIS VIEWPOINT We see the hard ground whizzing past him . Everything seems to be a blur . We get a glimpse of screaming women and the crowds rushing up from the midway . CLOSE SHOT BRUNO He turns and glances over his shoulder . MED . SHOT FROM HIS VIEWPOINT Guy is threading his way between the rising and falling horses . Guy gets right up close to him . TWO SHOT As Guy comes near to Bruno , the latter turns on him and starts to attack him .</scene_description> <character>BRUNO</character> <dialogue>I want to get off of here! Let me off of here! It makes me dizzy.</dialogue> <character>GUY</character> <dialogue>Stop it, Bruno. Give me my lighter, Bruno!</dialogue> <scene_description>MED.SHOT Against the whirling background of the merry - go - round , Turley and Campbell rush up as the detective struggles to his feet , slightly hurt . The noise from the calliope is very loud .</scene_description> <character>CAMPBELL</character> <parenthetical>( to Turley , puzzled ; indicating the merry - go - round . )</parenthetical> <dialogue>Who's the man he's fighting with on there?</dialogue> <scene_description>At this moment the boatman rushes up .</scene_description> <character>BOATMAN</character> <parenthetical>( excited . )</parenthetical> <dialogue>There he is! That's the one! That's the one who killed her!</dialogue> <character>TURLEY</character> <dialogue>Of course he is. We know that.</dialogue> <scene_description>CLOSE SHOT ON MERRY - GO - ROUND Guy and Bruno in a struggle . Guy has to protect himself from a madman whose hands attempt to reach his throat . They are staggering across between the rising and falling horses . MED . SHOT OUTSIDE MERRY - GO - ROUND A detective turns to the group around hIm .</scene_description> <character>DETECTIVE</character> <dialogue>Get somebody to come and stop that thing!</dialogue> <scene_description>An elderly man in soiled work clothes speaks up .</scene_description> <character>WORKMAN</character> <dialogue>I'll handle it.</dialogue> <scene_description>Immediately the workman heads straight for the merry - go - round and starts to crawl under it on his stomach .</scene_description> <character>DETECTIVE</character> <parenthetical>( calls after him . )</parenthetical> <dialogue>Hey! Be careful! Stop!</dialogue> <scene_description>A second detective speaks to him quizzically .</scene_description> <character>2ND DETECTIVE</character> <dialogue>Well, do you want to do it yourself?</dialogue> <scene_description>The first detective leans over and looks off toward the workman who is continuing his slithering way under the machine , then straightens up .</scene_description> <character>1ST DETECTIVE</character> <parenthetical>( changing his mind . )</parenthetical> <dialogue>No. I think he'll make it all right.</dialogue> <scene_description>MED . SHOT GUY AND BRUNO Bruno swings around till his back is to us . He pushes Guy toward the edge , but Guy manages to grab the rein of the nearest horse . The momentum of the machine swings Guy around against the horse , whose big head towers in the f.g. Bruno , on this side of the horse pushes forward and tries to grab the reins from Guy 's hand . He tries to slash at Guy 's face . The back of Bruno 's head is toward us during this . Guy suddenly leans out across the horse and smashes his fist against Bruno 's face . Bruno 's head goes back until it is in the f.g. in a upside - down position . MED . SHOT THE CAMERA IS LOW so that we get the effect of Bruno falling into the CAMERA from Guy 's blow ! MED . SHOT In the f.g. is a young boy of four years . He is excited by the speed of the ride and laughs at the fight with great enjoyment . He sees this by suddenly glancing over his shoulder . In the b.g. Guy and Bruno are continuing their fight . Bruno rises . Guy staggers after him . Bruno again leaps upon Guy . The two men sway toward the CAMERA until Bruno gets alongside the little boy . The boy now shows some anxiety . The three figures now fill the screen with the horses ' heads in the f.g. Bruno is forced against the little boy , who now , alarmed , beats Bruno on the cheek with one hand , the other holding onto the brass rail in front . Bruno stops and with a sweep of his arm , knocks the little boy off the horse onto the floor below . The little boy , in falling , grabs the horse 's rein or stirrup . CLOSE SHOT Guy breaks away from Bruno and dives around the back of the horse to grab the little boy . CLOSE SHOT As Guy grabs the boy , he staggers forward with him to a small gondola . Bruno leaps onto his back but Guy manages to put the boy in the gondola . CLOSE SHOT UNDERNEATH THE WHIRLING MERRY - GO - ROUND The boat man is making slow progress . FROM HIS VIEW POINT We see his goal . It is the wounded mechanic in the center , who is slightly stirring . All during this the base of the merry - go - round is skimming above the back and head of the boat man . BACK ON MERRY - GO - ROUND The two men are now in a clinch . Guy tries to fight off the maddened Bruno . They are flung between the horses , bouncing one against the other , almost half way around the merry - go - round . CLOSE SHOT BRUNO AND GUY Again they struggles between two horses . On each side of them are two young screaming girls . The two bounce from one horse to the other . CLOSE SHOT The calliope has little figures and these boat away on their cymbals almost as though they are applauding what 's going on . CLOSE SHOT Underneath the merry - go - round , the boat man has made further progress . He is creeping inch by inch . His nose starts to run . He starts to fumble for a dirty piece of handkerchief . He blows his nose and then moves on . CLOSE SHOT Back above the two men swinging past the two girls on their horse and they both crash to the floor underneath another horse , upon which is riding side - saddle , a mother and her three - year - old little girl . CLOSEUP The two big heads of the men , battling . The two men roll underneath the horse 's hoofs , which are seen rising and falling . They get right underneath one horse . CLOSEUP Guy has turned over on his back and his eyes look up . CLOSEUP FROM HIS VIEWPOINT We see the big horse 's head above and its hoofs coming down toward the CAMERA and filling the screen . We get a faint impression of the screaming mother hugging her child to her breast , above . BIG CLOSEUP THE HORSE 'S HOOFS striking Guy 's head . CLOSE SHOT Guy wrenches himself out of this position . He rolls away from the CAMERA right to the edge of the merry - go - round . He manages to grab a rail . MED . SHOT Guy 's body is flung out horizontally . We see the crowd behind back - up for fear of being knocked over . The screw of tension increase . Over this comes the sound of an approaching ambulance siren . CLOSE SHOT Bruno edges himself toward Guy . He is hanging on to the reins of a horse . His feet manage to roach Guy 's knuckles . CLOSEUP BRUNO 'S VICIOUS EXPRESSION CLOSEUP BRUNO 'S FEET kicking at Guy 's knuckles . CLOSEUP GUY 'S AGONIZED EXPRESSION MED . SHOT A flash of the horror - stricken faces of the spectators seen through the whirling machine . CLOSEUP Machinery and the lever that was pulled on too fast . The Boatman 's hand comes up into the picture and pulls the lever over . LONG SHOT The sudden braking causes the whole merry - go - round to topple over with a grinding roar . LONG SHOT FROM HIGH ANGLE The merry - go - round his keeled over . For a moment we do n't know who has survived . There is a surge of people milling and shouting . Those who have jumped back out of the way when the merry - go - round toppled , now rush forward again as the cloud of dust settles . From the midway in the background others are running forward . MED . LONG SHOT Distraught parents try to force their way to their children who were on the merry - go - round , but are hold back from the wreckage by police . MED . CLOSE SHOT Guy is somewhat stunned from his fall . He is helped to his feet by some men in the crowd . His knuckles are bleeding . In the background people are rushing about . The crowd is in uproar as women and children are helped from the wreckage . Officials and uniformed policemen pushing back the surge of the crowd .</scene_description> <character>AD LIBS</character> <dialogue>Get back. Get back there. Give us room here.</dialogue> <scene_description>Turley and Campbell rush in to Guy .</scene_description> <character>TURLEY</character> <dialogue>Are you all right, Haines?</dialogue> <character>GUY</character> <dialogue>Yes, I think so.</dialogue> <scene_description>Guy is surrounded by police and Campbell stands at his elbow . At this moment the boatman runs in . One of the detectives is with him .</scene_description> <character>DETECTIVE</character> <dialogue>Mr. Turley! Mr. Turley!</dialogue> <parenthetical>( indicating boatman . )</parenthetical> <dialogue>He says this is n't the man we want.</dialogue> <parenthetical>( with a nod in Guy 's direction . )</parenthetical> <dialogue>It's the other one - the one he was fighting with.</dialogue> <character>TURLEY</character> <parenthetical>( stops to give his full attention to this unexpected bit of information . )</parenthetical> <dialogue>What do you mean, this is n't the -.</dialogue> <parenthetical>( turns to Guy , not quite taking it in . )</parenthetical> <dialogue>Not Haines?</dialogue> <parenthetical>( back to boatman . )</parenthetical> <dialogue>But you said he was. You pointed him out.</dialogue> <character>BOATMAN</character> <dialogue>No, I did n't, sir. I've never seen this man before in my life. I meant the other one.</dialogue> <scene_description>The detective who was holding Guy instinctively relax his hold on Guy 's arm . Turley turns to Guy , puzzled .</scene_description> <character>TURLEY</character> <dialogue>What is this all about, Haines? Did you know he killed your wife?</dialogue> <character>GUY</character> <parenthetical>( nods . )</parenthetical> <dialogue>He has my cigarette lighter and wanted to plant it there on the island to pin the whole thing on me.</dialogue> <parenthetical>( urgently . )</parenthetical> <dialogue>Let me talk to him. Let me show you. Where is he?</dialogue> <character>ANOTHER DETECTIVE</character> <dialogue>Over here.</dialogue> <scene_description>He leads the way . They follow . MED . CLOSE SHOT as Guy and Turley enter to the spot where Bruno is pinned under the overturned machine . He is caught between two of the horses , the head of one of them across his chest . Bruno 's head sags back somewhat , but is resting on pieces of debris . A uniformed policeman looks up from Bruno to Turley :</scene_description> <character>POLICEMAN</character> <dialogue>This one's in a pretty bad way, Mr. Turley.</dialogue> <scene_description>Guy is shocked at the sight of Bruno .</scene_description> <character>GUY</character> <parenthetical>( looking down at Bruno . )</parenthetical> <dialogue>Ca n't you get that stuff off him?</dialogue> <character>POLICEMAN</character> <dialogue>No, they've done everything they can until the crane comes.</dialogue> <scene_description>Bruno opens his eyes and sees Guy .</scene_description> <character>BRUNO</character> <dialogue>Hello, Guy.</dialogue> <scene_description>Turley has leaned forward to look at the helpless Bruno .</scene_description> <character>BRUNO</character> <parenthetical>( weakly nodding at Turley . )</parenthetical> <dialogue>Who's that?</dialogue> <character>GUY</character> <dialogue>This is Mr. Turley, Chief of Police.</dialogue> <character>BRUNO</character> <parenthetical>( with a half smile . )</parenthetical> <dialogue>So they got you at last, eh, Guy?</dialogue> <scene_description>Guy looks around desperately , frustrated for a moment as Turley eyes him stonily . Then he turns again to Bruno .</scene_description> <character>GUY</character> <parenthetical>( rather gently . )</parenthetical> <dialogue>Can you talk a little? Can you tell the chief you have my lighter?</dialogue> <character>BRUNO</character> <parenthetical>( with a faint , quizzical smile . )</parenthetical> <dialogue>I have n't got it. It's still on the island where you left it.</dialogue> <scene_description>Guy looks around helplessly to Turley , who looks back at him suspiciously .</scene_description> <character>DETECTIVE</character> <parenthetical>( looking down at Bruno . )</parenthetical> <dialogue>I think he's going.</dialogue> <scene_description>Turley leans over to look . CLOSE SHOT BRUNO 'S FIST FROM TURLEY 'S VIEWPOINT As Bruno is dying , his closed fist slowly starts to open .</scene_description> <character>DETECTIVE'S VOICE</character> <dialogue>He's finished.</dialogue> <scene_description>Guy 's lighter is now revealed in Bruno 's open hand . MED . SHOT GROUP Turley takes the lighter from the dead Bruno 's hand . Guy is watching him . Turley straightens up and holds the lighter out to him .</scene_description> <character>TURLEY</character> <dialogue>Is this your lighter, Haines?</dialogue> <scene_description>Guy nods without speaking , and with a half look in Bruno 's direction .</scene_description> <character>TURLEY</character> <dialogue>Well, you were right.</dialogue> <parenthetical>( sticks the lighter into his own pocket . )</parenthetical> <dialogue>I'd better keep this for the time being.</dialogue> <parenthetical>( in a friendly tone . )</parenthetical> <dialogue>We can clear the whole thing out the morning. How about staying in town over night, Haines? I imagine you have a lot to tell me. Nine o'clock, all right?</dialogue> <character>GUY</character> <parenthetical>( nods . )</parenthetical> <dialogue>Okay, Mr. Turley. Thanks.</dialogue> <scene_description>Turley turns back to the group around Bruno . Guy looks down for a moment at Bruno , then speaks to the boatman , who is standing nearby .</scene_description> <character>GUY</character> <dialogue>Can you tell me where there's a telephone?</dialogue> <character>BOATMAN</character> <parenthetical>( indicating . )</parenthetical> <dialogue>There's one up near the entrance.</dialogue> <parenthetical>( with a look back to the dead Bruno . )</parenthetical> <dialogue>Who was he, Bud?</dialogue> <scene_description>Guy looks back sympathetically in Bruno 's direction , speaks without looking at the boatman .</scene_description> <character>GUY</character> <dialogue>Bruno. Bruno Antony.</dialogue> <parenthetical>( reminiscently and a little compassionately , remembering what Bruno had said of himself . )</parenthetical> <dialogue>A very clever fellow.</dialogue> <scene_description>He moves off through the crowd .</scene_description> </scene> <scene> <stage_direction>INT. BURTON STUDY NIGHT</stage_direction> <scene_description>Anne , Barbara and the Senator are sitting silently in the attitudes of waiting . The telephone rings . Anne is instantly on her feet . Barbara and the Senator watch her anxiously as she goes to answer it .</scene_description> <character>ANNE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello.</dialogue> <parenthetical>( impatiently . )</parenthetical> <dialogue>Yes, operator, yes!</dialogue> <parenthetical>( waits a moment , then eagerly : . )</parenthetical> <dialogue>Guy?</dialogue> <parenthetical>( a pause , then she closes her eyes with heartfelt relief .</parenthetical> <parenthetical>Another pause , then : . )</parenthetical> <dialogue>Yes, darling, yes. Of course I'll be there. Goodbye.</dialogue> <scene_description>She hangs up , turns slowly , to face Barbara and her father . Her expression is one of intense relief .</scene_description> <character>ANNE</character> <dialogue>Guy'll be back tomorrow.</dialogue> <parenthetical>( overcome with emotion she has difficulty in speaking . )</parenthetical> <dialogue>He wants me to take him some things.</dialogue> <scene_description>With a sob , Barbara flings herself into Anne 's arms . As she cries , Anne strokes her head comfortingly . Then with a half - choked sobs Anne , too , begins to cry . She speaks through her tears , looking over Barbara 's shoulder at her father .</scene_description> <character>ANNE</character> <dialogue>He says he looks silly in his tennis clothes.</dialogue> <scene_description>The Senator eyes them a moment , then speaks a little wryly :</scene_description> <character>SENATOR</character> <dialogue>I presume from all those tears that you have had good news.</dialogue> </scene> <scene> <stage_direction>INT. PARLOR OF TRAIN NEXT DAY</stage_direction> <scene_description>Anne and Guy are sitting quietly together . Opposite them is a man in a clerical collar who is reading a sports magazine . On the cover is a picture of a tennis player in action . The man looks over the top of his magazine at Guy , with recognition . He leans forward .</scene_description> <character>CLERIC</character> <dialogue>I beg your pardon, but are n't you Guy Haines?</dialogue> <character>GUY</character> <parenthetical>( uncomfortably . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>Guy and Anne exchange a brief look , rise hurriedly and start to walk away before the conversation can go any farther . The cleric looks after them with a frown and a puzzled shrug of his shoulders , as if to say , `` Did I say something wrong ? '' FADE OUT . THE END</scene_description> </scene> </script>

Amateur tennis star Guy Haines (Farley Granger) wants to divorce his vulgar and promiscuous wife Miriam (Laura Elliott), so he can marry the elegant Anne Morton (Ruth Roman), the daughter of a senator, and hopefully have a career in politics. On a train Haines accidentally meets Bruno Anthony (Robert Walker), who recognizes Guy. Bruno tells Guy about his idea for the perfect murders: Bruno will kill Miriam, and in exchange Guy will kill Bruno's father. They have no identifiable motive for the crimes, and therefore they will not be suspects. Guy hurriedly leaves, but Bruno feels he has agreed. Bruno pockets Guy's monogrammed cigarette lighter. Guy meets up with Miriam, who is pregnant by someone else and now does not want a divorce. He calls Anne and tells her he wants to "strangle" Miriam. At Bruno's home, his doting mother and unpleasant father live in luxury. Bruno and Guy talk on the phone; Guy explains that his wife refused the divorce and hangs up. Bruno follows Miriam and her two beaux to an amusement park, stalks her through various rides, and strangles her to death on the "Magic Isle". Bruno waits for Guy and gives him Miriam's glasses, also reminding him that he is now obliged to kill Bruno's father. Bruno sends Guy his house key, a map to his father's room, and, later, a pistol. Senator Morton (Leo G. Carroll) informs Guy that his wife has been murdered. The police question Guy; his alibi fails when the drunken college professor he met on a train does not remember him. Guy is given a police escort who follows him. Bruno also continues to follow Guy, around the Jefferson Memorial, at the National Gallery of Art, and at his tennis match at Forest Hills. Bruno introduces himself to Anne, and sees Barbara (Anne's younger sister Patricia Hitchcock) who reminds him of Miriam. Soon afterwards, Bruno appears at a party at Senator Morton's house, hobnobbing with the guests, much to Guy's apprehension and Anne's increasing suspicion. Using another guest, Bruno demonstrates how to strangle someone. He again sees Barbara; her resemblance to Miriam triggers a flashback, and he begins to really strangle the woman. He blacks out and Barbara tells her sister, "His hands were on her throat, but he was strangling me." Anne confronts Guy, who explains the truth about the crime. According to Bruno's original plan, Guy creeps into Bruno's home at night. He reaches Bruno's father's room hoping to warn him, but Bruno is waiting for him. Because Guy will not complete his end of the bargain, Bruno says Guy must instead take responsibility for the murder which "belongs" to him; Bruno will see to that. Anne visits Bruno's house explaining to his befuddled mother (Marion Lorne) that her son is responsible for a murder, but the woman does not believe her. Bruno overhears the conversation. He lets Anne know that he has Guy's lighter and will plant it at the scene of Miriam's murder. Anne and Guy devise a plan to finish his tennis match, evade his police escort, and reach the amusement park before Bruno plants the lighter. Guy eventually wins the long match at Forest Hills. Bruno is also delayed when he drops Guy's lighter down a storm drain and has to recover it. Guy arrives at the amusement park. Bruno is waiting for sunset and tries to stay out of sight until he can plant the lighter, but one of the workers recognizes him from the night of the murder and informs the police. Guy and Bruno struggle on the carousel. A shot fired by the police hits the carousel operator. The ride spins wildly out of control and crashes. Bruno is mortally wounded. The worker tells the police chief that Bruno is the one from the night of the crime, not Guy. Guy explains that Bruno is at the amusement park to "plant" Guy's lighter there. With his last breath Bruno lies to the police, but after death Bruno's fingers open to reveal Guy's lighter.

Eileen_2023

tt5198890

<script> <scene> <character>EILEEN</character> <dialogue>Written by</dialogue> <scene_description>Luke Goebel and Ottessa Moshfegh Based on EILEEN, by Ottessa Moshfegh SHOOTING DRAFT</scene_description> </scene> <scene> <stage_direction>INT. DODGE, FOREST - DAWN</stage_direction> <scene_description>A frozen lake in a forest, seen through the windshield of a 1954 DODGE CORONET. Exhaust fumes rise out of the air vents and fill the car, blocking the view. SUPER: Eileen</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. SEASIDE OVERLOOK - DAY</stage_direction> <scene_description>Eileen, parked at an overlook, spies on teenagers necking inside their cars. The ocean churns violently below. Eileen leans out the open driver door, stuffs snow in her underwear, trying to quell her sexual urge.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. SEASIDE ROAD - EVENING</stage_direction> <scene_description>Dodge speeds on a snowy seaside road, veering a bit carelessly.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE STREET - NIGHT</stage_direction> <scene_description>Dodge passes prim but humble houses with white picket fences, everything seemingly in order in this typical coastal New England town. A loud BANG as the Dodge backfires.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE STREET - NIGHT</stage_direction> <scene_description>EILEEN DUNLOP is behind the wheel of the Dodge. She is 24 years old but still pubescent, pale, disheveled, and wears a ratty gray coat. Eileen coughs, the cabin filling with exhaust. She struggles to roll down her window as she keeps driving, choking on the toxic fumes, panicking. Big violent cough. Eileen's facial expression is flat and dead as she keeps driving. This "dead face" is her default expression, her death mask.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE STREET - NIGHT</stage_direction> <scene_description>Eileen pulls up and parks in the driveway of a shabby three- story colonial, no lights on inside. Eileen trudges through the snow to the front door and pulls her keys out of her purse. She looks up to see a cluster of icicles hanging down like daggers from the rafter over the door. She opens the door. As she closes the door behind her, an icicle cracks off from the rafter above, and falls, narrowly missing her head. She looks behind her and sees the shattered icicle.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen enters and turns the light on in the front hall. JIM, late 50s, peers out the front hall window, paranoid, sitting at the edge of the light in an old recliner. He smokes a cigar. An empty liquor bottle sits next to him. He holds a pistol in his lap and looks out the window into the dark, suspicious. Eileen puts the bottles within his reach on the floor and goes upstairs. Eileen goes to the kitchen and puts the empty bottle with a dozen others. She opens the fridge. It's empty. Eileen closes the fridge and goes upstairs to her attic room. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. ATTIC/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen pulls a TIN BOX from a hiding place. On the lid of the tin is a newspaper photo of Manhattan. She opens the lid, takes the crumpled five-dollar bill from her pocket and adds it to the several hundred dollars already in the tin. She closes the lid. A single bulb on the ceiling illuminates the room: dusty old trunks and boxes; spider webs in the rafters; a pile of library books; National Geographic magazines; a large mason jar tinged urine yellow. Eileen, still in her gray coat, sits down on an army cot. She pulls a ratty afghan over her. She pulls out a bag of chocolates from her coat. She chews a chocolate then spits it out into a Kleenex. She drops the Kleenex onto the floor. She pops another chocolate into her mouth. As she chews, she puts her finger in her nose curiously. She spits out the chocolate. Another chocolate.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. PRISON PARKING LOT - DAY</stage_direction> <scene_description>A SECURITY GUARD opens the entrance gate and waves Eileen through.</scene_description> </scene> <scene> <stage_direction>INT. PRISON STAFF ENTRANCE - DAY</stage_direction> <scene_description>OVERNIGHT GUARDS, exhausted, in heavy coats over their uniforms, pass her.</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>Eileen walks calmly past the Visitors Area. Through the glass, adolescent BOYS sit with their relatives. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>In the prison yard young INMATES stand shivering. A young boy, LEE POLK, 16, sits alone on a bench in the prison yard. A GUARD stands watching him. Eileen watches him from the window by the coffee station in her office. She stirs a cup of hot water and creamer.</scene_description> <character>MRS. MURRAY</character> <dialogue>Eileen! Eileen!</dialogue> <scene_description>Eileen turns. MRS. MURRAY a quirky middle-aged secretary looks at her from a counter where she receives a new inmate. MRS. STEVENS sits at her desk, eating a donut, phone to her ear, licking the powder off her fingers.</scene_description> <character>MRS. MURRAY</character> <dialogue>I need form I-37.</dialogue> <character>EILEEN</character> <dialogue>A transfer form?</dialogue> <character>MRS. MURRAY</character> <dialogue>No. Intake! I-37. Aren't you listening?</dialogue> <parenthetical>(to Intake Guard)</parenthetical> <dialogue>She's useless.</dialogue> <scene_description>An INTAKE GUARD stands at the counter, talking to Mrs. Murray. Eileen goes to the filing room to get the form. NEW INMATE, 13, who sits tearfully in his civilian clothes holding a tray and folded prison uniform. Eileen grabs the form and heads towards the counter.</scene_description> <character>MRS. STEVENS (O.S.)</character> <dialogue>Dr. Frye still needs to sign it, but he's probably asleep in his office.</dialogue> <scene_description>Eileen arrives at the counter.</scene_description> <character>MRS. MURRAY</character> <dialogue>Oh yeah, maybe you can go wake up Dr. Frye? Just blow softly into his ear. He loves that.</dialogue> <character>MRS. STEVENS</character> <dialogue>Leave Eileen alone, she's tired.</dialogue> <character>MRS. MURRAY</character> <dialogue>Oh is that what it is? I thought maybe it was that time of the month.</dialogue> <scene_description>Eileen reaches for her keys on a hook by the door.</scene_description> <character>EILEEN</character> <dialogue>At least I have a time of the month.</dialogue> <character>MRS. MURRAY</character> <dialogue>Oh, yeah? You know something, honey. That won't last forever. You'll be old like us soon.</dialogue> <scene_description>A loud bell sounds. Eileen walks down the corridor.</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>MOTHERS and their YOUNG CHILDREN wait to see their sons. Randy walks past the doorway with the young INMATES.</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>Eileen pats down the last of the MOTHERS before escorting them into the sally port and unlocking the door for them. The mothers file into the visitation room. Each one hugs their son quickly before sitting down.</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>Eileen sits at her desk by the door to the visitation room. She stares blankly through the glass at tearful mothers and sons. Her eyes drift to Randy, who stands guard. Randy is picking his teeth. He looks back at Eileen before taking his keys, unlocking the sally port door and joining her in the waiting room. Randy takes Eileen by the arms and forces her up against a wall, pressing her face into the glass of a window. He licks her ear, reaches his hand up her skirt, and rips her stockings and panties. She moans and gasps as he unfastens his pants. The mothers and sons pay no attention. The loud buzz of the sally port suddenly brings Eileen back into the room. She pulls her hand quickly out of her underwear and sniffs her fingers as she walks to the sally port to let the mothers back into the waiting room. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. STAFF ROOM CORRIDOR - CONTINUOUS</stage_direction> <scene_description>Eileen walks down the corridor towards the staff room. Guards, clerks and the secretaries eat chocolate cake off paper plates and chatter. Through the STAFF ROOM door window Eileen can see the WARDEN, standing with DR. FRYE, in a floppy suit.</scene_description> <character>WARDEN</character> <dialogue>As much as we're going to miss the old dog, I hope you'll all be welcoming to Dr. Frye's replacement on Monday.</dialogue> <character>DR. FRYE</character> <dialogue>A fine, fine young doctor.</dialogue> <character>WARDEN</character> <dialogue>Yes, well, let's hope the boys take her seriously.</dialogue> <character>DR. FRYE</character> <dialogue>I'll take her! Seriously!</dialogue> <scene_description>Laughter.</scene_description> <character>WARDEN</character> <dialogue>I think you'll be taking your insulin and your retirement package and that'll be enough for you.</dialogue> <character>DR. FRYE</character> <dialogue>That's right. I'll really miss all the fun around here.</dialogue> <character>WARDEN</character> <dialogue>Now let's hear it for Doctor Frye. Cheers!</dialogue> </scene> <scene> <stage_direction>INT. DODGE/ EXT. SEASIDE ROAD - DAY</stage_direction> <scene_description>Eileen drives with the windows away from MOOREHEAD PRISON, the sea churning in the distance. The prison an old, gray stone building reminiscent of a rich person's summer estate but surrounded by barbed wire chainlink fences. Eileen shivers inside the Dodge. She leans over and rolls up the passenger window. She holds her hands out against the heating vents, but it's not much help.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. LIQUOR STORE - DUSK</stage_direction> <scene_description>Eileen pulls up outside Lardner's Liquor Store. Through the store window BOB, 60s, is working behind the counter, talking to a COP, 50s. Eileen rolls up the windows, gets out of the car and enters the liquor store.</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - DUSK</stage_direction> <character>BOB (O.C.)</character> <dialogue>I see a lot of Anne these days.</dialogue> <scene_description>In the aisle Eileen pockets chocolates as she traipses toward the gin. She picks up two bottles.</scene_description> <character>COP (O.C.)</character> <dialogue>Yeah, a lot of broken hearts out there.</dialogue> <parenthetical>(turns to leave)</parenthetical> <dialogue>You have a good one.</dialogue> <scene_description>A bottle in each fist, Eileen approaches the counter. Cop sees her, suddenly softens, a bit falsely.</scene_description> <character>COP</character> <dialogue>Hey hon.</dialogue> <scene_description>Eileen is completely composed, flat.</scene_description> <character>EILEEN</character> <dialogue>Hey.</dialogue> <character>COP</character> <dialogue>How's your dad?</dialogue> <character>EILEEN</character> <dialogue>Good.</dialogue> <character>COP</character> <parenthetical>(eyes the gin)</parenthetical> <dialogue>You know what, let me get that.</dialogue> <character>EILEEN</character> <dialogue>Thanks.</dialogue> <scene_description>Cop pulls out his wallet. Eileen leaves.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen drives along her street. Red lights flash up ahead. Jim stands in the middle of the street, gesticulating wildly with his gun, red in the face. A cop car is parked out front. BUCK WARREN, a young cop tries to calm him down. Eileen pulls up, windows down, and hears Jim yelling. There are neighbors peering through the curtains.</scene_description> <character>JIM</character> <dialogue>...And you can fuck right off. This is my neighborhood. Those God damned Lutherans next door are the problem, not me. I know who called.</dialogue> <scene_description>Eileen parks, kills the engine, and rolls up her window.</scene_description> <character>BUCK</character> <dialogue>Chief, nobody's complaining. We just want to make sure you get inside safe and sound.</dialogue> <scene_description>Eileen gets out of the car carrying two bottles and walks toward Jim.</scene_description> <character>JIM</character> <dialogue>Why wouldn't I be safe and sound? I keep the whole neighborhood safe and sound. What do you know?</dialogue> <character>EILEEN</character> <dialogue>Dad?</dialogue> <character>JIM</character> <dialogue>Eileen, go inside.</dialogue> <character>EILEEN</character> <dialogue>Why don't you keep me safe and sound? You're making a scene. Let's go inside together.</dialogue> <character>JIM</character> <dialogue>Trust me, Eileen, nobody wants nothing with you.</dialogue> <character>EILEEN</character> <dialogue>Come inside.</dialogue> <scene_description>Eileen takes Jim by the arm and leads him up the front walk. Buck follows. Jim is obviously sloshed out of his mind.</scene_description> <character>JIM</character> <dialogue>Goddamn Lutherans. Your mother always hated those people.</dialogue> </scene> <scene> <stage_direction>EXT.DUNLOP HOUSE/INT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Eileen tries to sit Jim in the wingback. Useless decorations are thoughtlessly arranged around the room, collecting dust. Jim tries to stand as Eileen gets him to sit.</scene_description> <character>EILEEN</character> <dialogue>Dad, you can't go around policing people.</dialogue> <character>JIM</character> <dialogue>Who says? Do you know who that guy was?</dialogue> <character>BUCK</character> <dialogue>We've got it all covered, chief. You can take it easy. Please.</dialogue> <scene_description>Buck lingers by the front door.</scene_description> <character>JIM</character> <dialogue>You fucking take it easy!</dialogue> <character>EILEEN</character> <dialogue>You're not a cop anymore.</dialogue> <character>JIM</character> <dialogue>Yeah sure. I didn't want to go, they made me, cuz I was too goddamn good at it--pour me a drink.</dialogue> <character>BUCK</character> <dialogue>I gotta get back to the station.</dialogue> <character>JIM</character> <dialogue>Good. Get back to the station, Buck.</dialogue> <character>BUCK</character> <dialogue>Call us if you need anything, all right? Merry Christmas.</dialogue> <scene_description>Buck leaves. Eileen starts taking Jim's shoes off his feet.</scene_description> <character>JIM</character> <dialogue>Hey, come here. What's that smell? Did you step in something?</dialogue> <character>EILEEN</character> <dialogue>No. Why? What do you smell?</dialogue> <character>JIM</character> <dialogue>Roadkill. Maybe you should keep your distance.</dialogue> <character>EILEEN</character> <dialogue>Yeah, I'll keep my distance.</dialogue> <scene_description>Eileen removes Dad's shoes.</scene_description> <character>JIM</character> <dialogue>What the fuck are you doing?</dialogue> <character>EILEEN</character> <dialogue>But maybe you should be nicer to me. No one else is going to put up with your shit.</dialogue> <scene_description>Eileen takes Dad's shoes upstairs.</scene_description> </scene> <scene> <stage_direction>INT. MOTHER'S BEDROOM/DUNLOP HOUSE - NIGHT</stage_direction> <character>JIM (O.C.)</character> <parenthetical>(shouting from downstairs)</parenthetical> <dialogue>I've got Joanie.</dialogue> <scene_description>Eileen opens the closet, full of her dead mother's clothes, shoes, everything--she was a hoarder.</scene_description> <character>JIM (O.C.)</character> <dialogue>Joanie wouldn't leave the place looking like this. She's a real woman, your sister. She smells like a woman. And she knows how to keep a house.</dialogue> <scene_description>She pulls out a dozen pairs of her father's shoes.</scene_description> <character>EILEEN</character> <dialogue>And she doesn't live here. And she's married.</dialogue> <character>JIM (O.C.)</character> <dialogue>Because she's not a hanger on.</dialogue> <character>EILEEN</character> <dialogue>And she doesn't want to talk to you.</dialogue> <character>JIM (O.C.)</character> <dialogue>Sure, because she made a life of her own. She's made something of herself.</dialogue> <character>EILEEN</character> <dialogue>Whatever, dad.</dialogue> <character>JIM (O.C.)</character> <dialogue>Get a life Eileen. Get a clue.</dialogue> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen comes out through the front door, struggling to carry a dozen pairs of her father's shoes. She drops one, picks it up, then puts them in the trunk of the Dodge and slams it. OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT/EXT. OFFICE/PRISON YARD - DAY</stage_direction> <scene_description>Eileen stands at the coffee station stirring her usual hot water, creamer and sugar. She stares out the window. Lee Polk sits alone on a bench in the prison yard. A GUARD stands watching him. Other INMATES are kept separate from him. Overseen by PRISON GUARDS. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. PRISON LOADING BAY - DAY</stage_direction> <scene_description>Eileen hauls a bag of trash toward the dumpster. In the background, a bright red PLYMOUTH BARRACUDA sails into a parking space. REBECCA ST. JOHN, late 30s, tall, her hair whipping in the wind, gets out of the car with a sleek leather briefcase. Eileen turns, confounded by the strange, colorful vision in this bleak landscape. Eileen lifts the dumpster lid and hefts the bag of trash up, watching as Rebecca strides toward the prison. The bag gets snagged. Liquid spills onto the ground. Eileen steps back, dropping the bag, and the trash falls out at her feet, cups and coffee grinds and banana peels, etc. Eileen sees the splatter has hit her stocking. She picks up a used napkin from the trash pile and dabs at the stain.</scene_description> </scene> <scene> <stage_direction>INT. STAFF ROOM - DAY</stage_direction> <scene_description>Eileen enters, cheeks red from cold, nose dripping, her hands filthy from the trash. Staff members are seated eating donuts, sipping from disposable drinkware. The secretaries stand by the door. Rebecca smokes as if at a cocktail party, glamorously out of place and stunningly beautiful. She's completely self- possessed and radiant. Warden stands next to Rebecca giving a speech. Eileen gawks: she's never seen anyone like Rebecca.</scene_description> <character>WARDEN</character> <dialogue>Listen up. As you know, in the new year we will be up for state review. So we're going to be tightening our procedures, and implementing new strategies based on some big new ideas. And on that note this new young lady to my left, Doctor Miss Rebecca St. John, is our new prison psychologist. She's just finished her doctorate at Radcliffe--</dialogue> <character>REBECCA</character> <dialogue>Harvard.</dialogue> <scene_description>Warden bristles. Rebecca tips her cigarette to ash on the floor and blows smoke at the ceiling. The secretaries cluck their tongues.</scene_description> <character>WARDEN</character> <dialogue>Harvard... We may not be Harvard people, but I think we can keep up with her and hopefully she can keep up with us.</dialogue> <scene_description>Rebecca looks across the room at Eileen. She smiles then turns her attention back to Warden.</scene_description> <character>WARDEN (O.C.)</character> <dialogue>She may be easy on the eye but I assure you she's very smart... Ladies, I hope you'll show Ms. St. John around in her first few days as she learns our customs here.</dialogue> <scene_description>Warden continues to speak, but there is no sound. Instead, there is Eileen, her face aglow as she stands transfixed by the vision of Rebecca. It is a conversion moment. The hint of a smile creeps across her face.</scene_description> </scene> <scene> <stage_direction>INT. STAFF ROOM - LATER</stage_direction> <scene_description>Later: the gathering has devolved a bit. Rebecca turns away from Warden. Mrs. Stephens and Mrs. Murray chat nearby, watching as Rebecca approaches Eileen tidying up the donut tray. Eileen picks up a stray sprinkle and eats it.</scene_description> <character>REBECCA</character> <dialogue>How much for a glazed?</dialogue> <character>EILEEN</character> <dialogue>Oh, no, they're free.</dialogue> <character>REBECCA</character> <parenthetical>(eating a sprinkle)</parenthetical> <dialogue>Just kidding. I'm Rebecca.</dialogue> <scene_description>She extends her hand.</scene_description> <character>EILEEN</character> <dialogue>I know.</dialogue> <scene_description>Eileen wipes her hand off on her skirt. They shake.</scene_description> <character>REBECCA</character> <dialogue>Say, where can a girl freshen up around here?</dialogue> <character>EILEEN</character> <dialogue>I can show you.</dialogue> <scene_description>Eileen takes Rebecca's coat.</scene_description> <character>REBECCA</character> <dialogue>Sure, appreciate it.</dialogue> <character>EILEEN</character> <dialogue>Can I take your jacket?</dialogue> <character>REBECCA</character> <dialogue>Aren't you sweet. Thanks.</dialogue> <character>EILEEN</character> <dialogue>This way.</dialogue> <character>REBECCA</character> <dialogue>I don't think I caught your name.</dialogue> <character>EILEEN</character> <dialogue>Eileen.</dialogue> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>Eileen carries Rebecca's coat as she escorts her down the corridor to the locker room. Two young inmates mop the floor behind them. Guards stand watching.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - DAY (CONTINUOUS)</stage_direction> <scene_description>Rebecca applies make-up at the sink mirror.</scene_description> <character>EILEEN</character> <dialogue>Where are you from?</dialogue> <character>REBECCA</character> <dialogue>Oh, I'm from New York originally. Manhattan. I couldn't stand Cambridge, way too uptight. Well, there were a couple of interesting people. But no.</dialogue> <character>REBECCA</character> <dialogue>I just needed a break. Get some fresh air. And I love the beach.</dialogue> <scene_description>Eileen stands holding Rebecca's coat by her locker. Rebecca moves to her locker, works at the padlock, turning the dial.</scene_description> <character>REBECCA</character> <parenthetical>(turning the dial)</parenthetical> <dialogue>Alright. 32, 24, 34. Practically my measurements.</dialogue> <scene_description>Eileen smiles and shakes her head.</scene_description> <character>REBECCA</character> <dialogue>Some women think their figures are the only thing that matters. Honestly, I think that's kind of pathetic.</dialogue> <character>EILEEN</character> <parenthetical>(inspired)</parenthetical> <dialogue>I completely agree. My sister's like that. But she's not very smart.</dialogue> <scene_description>Rebecca opens her purse. She rifles through to find her compact.</scene_description> <character>REBECCA</character> <dialogue>Well, good, then we have better things to do than worry about our figures. Though that's not the popular opinion, wouldn't you say?</dialogue> <character>EILEEN</character> <dialogue>I don't care what's popular. There's no point. In a place like this.</dialogue> <character>REBECCA</character> <dialogue>Well look at you. A regular Katherine Hepburn. Rare to meet a young woman with so much gumption. I'm like that too. I don't give a rat's ass what people think.</dialogue> <character>EILEEN</character> <dialogue>They're probably scared of you.</dialogue> <scene_description>Rebecca puts on an air of high snobbery.</scene_description> <character>REBECCA</character> <dialogue>Moi?... See you around.</dialogue> <scene_description>Rebecca leaves. Eileen watches her go, entranced. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. PRISON CHAPEL - DAY</stage_direction> <scene_description>Mrs Murray stands on stage, spotlit, holding a script.</scene_description> <character>MRS. MURRAY</character> <dialogue>Every year we hold this special assembly to celebrate the birth of Our Lord Jesus Christ, and every year a few of you miscreant bastards ruin it for the rest of us.</dialogue> <scene_description>Eileen sits on a stool at the back of the hall next to a spotlight. The chapel is full of boys in standard blue uniforms. They are a diverse group, aged 10-18. Some look like young men, some are small children. Eileen scans the crowd for Rebecca, but doesn't find her. She looks toward the door. Eileen turns away.</scene_description> <character>MRS. MURRAY</character> <dialogue>Well, you've disrespected Christmas for the last time.</dialogue> <scene_description>Mrs Stevens and other members of staff stand at the back of the hall waiting for the nativity play to start.</scene_description> <character>MRS. MURRAY</character> <dialogue>Because This year, you're going to sit on your hands, you're going to zip your lips, and if I see any of you biting, kicking, screaming, pushing, pulling hair, laughing, moaning, or if I hear one wayward comment, you're going straight to the cave.</dialogue> <scene_description>Mrs. Murray turns to the Warden who nods in agreement.</scene_description> <character>MRS. MURRAY</character> <dialogue>And now without further ado, and with special thanks to our friends from Mount Olive who once again this year helped me direct our Christmas pageant, I present to you, "Christmas in Prison."</dialogue> <scene_description>Mrs Murray walks off stage and stands with the other guards against the wall. The lights go down. Rebecca enters quietly, notebook in hand. She moves like a dream, turning toward Eileen and winking as she walks down the aisle to stand by the wall. Eileen smiles. ACTOR 1, 16, bloated and pale and dressed in the standard inmate uniform, is marched on to the stage by ACTOR 2 who is dressed as a Prison Guard. He mimes throwing Actor 1 into his 'cell', slams the door and walks away.</scene_description> <character>ACTOR 1</character> <dialogue>Oh, what am I to do? Sentenced for three years to sit indoors among boys of my same creed--plain bad. So much time to plot what evildoings I'll undertake as soon as I get out. But in the meantime, I suppose I could read a book.</dialogue> <character>DELUCA (O.C.)</character> <dialogue>You can't read, motherfucker!</dialogue> <scene_description>Guard 2 jumps, hits DeLuca in the neck with a baton. He cries out. Eileen stares at Rebecca during this commotion. Actor 1 takes his cue again and opens the Bible.</scene_description> <character>ACTOR 1</character> <dialogue>But in the meantime, I suppose I could read a book.</dialogue> <scene_description>He opens his prison bible and the curtains part to reveal 'Bethlehem'. Two young inmates, "JOSEPH" and "MARY," enter on a donkey. "Mary" has a pillow up her dress to show pregnancy.</scene_description> <character>"MARY"</character> <dialogue>Well, I'm pretty tired. Can we rest in that barn over there?</dialogue> <scene_description>She points to a crude manager.</scene_description> <character>"JOSEPH"</character> <dialogue>Better than paying for a motel.</dialogue> <scene_description>Rebecca looks around, craning her neck--'what the hell is this shit?' Eileen brightens, hoping she's looking for her.</scene_description> <character>"MARY"</character> <dialogue>You're the best, Joseph. Thanks for taking us here to be counted in the census.</dialogue> <character>"JOSEPH"</character> <dialogue>Yes. Welcome back to Bethlehem.</dialogue> <character>DELUCA</character> <dialogue>Fuck you.</dialogue> <character>"JOSEPH"</character> <dialogue>Will you shut the fuck up? We practiced this!</dialogue> <character>MRS. MURRAY</character> <dialogue>Guards!!!</dialogue> <scene_description>Guard 2 grabs DeLuca and drags him out of the auditorium. The two inmates in the 'Donkey' walk apart and 'Mary' falls to the floor. The crowd laugh. They cannot be tamed. Mrs Murray runs on to the stage, trying to keep the show going. Eileen watches Rebecca stand and trudge back up the aisle to leave. She looks up to Eileen and shakes her head in disbelief, mouthing something.</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - NIGHT</stage_direction> <scene_description>Eileen, her lipstick faded, but her face still aglow with the intoxication of the day, carries two bottles of gin to the counter, where Bob is reading a newspaper.</scene_description> <character>EILEEN</character> <dialogue>Hey.</dialogue> <character>BOB</character> <parenthetical>(puts newspaper down)</parenthetical> <dialogue>Hey, hon.</dialogue> <character>EILEEN</character> <dialogue>This and a pack of Luckies.</dialogue> <character>BOB</character> <parenthetical>(rote)</parenthetical> <dialogue>Oh, it's a lucky day, huh?</dialogue> <character>EILEEN</character> <dialogue>Yeah. The luckiest.</dialogue> <character>BOB</character> <dialogue>Yup. Cigarettes are great.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen lights a cigarette on the stove.</scene_description> <character>JIM</character> <dialogue>Don't light yourself on fire.</dialogue> <scene_description>She comes up from the stove puffing and coughing, obviously not a seasoned smoker.</scene_description> <character>JIM</character> <dialogue>You're in a good mood, what's wrong with you?</dialogue> <character>EILEEN</character> <dialogue>Nothing's wrong, Dad.</dialogue> <scene_description>Eileen gets two dirty juice glasses and wipes them clean on her shirt. She unscrews the whisky and gin and pours.</scene_description> <character>JIM</character> <dialogue>You look funny with that thing in your mouth.</dialogue> <character>EILEEN</character> <parenthetical>(pouring)</parenthetical> <dialogue>How was your day, Dad?</dialogue> <character>JIM</character> <dialogue>How was my day? I don't know. It was a day...just another day. What's the point?</dialogue> <character>EILEEN</character> <parenthetical>(coquettish, playful, almost like Rebecca)</parenthetical> <dialogue>My day was a doozy. A big fight broke out during the Christmas pageant.</dialogue> <character>EILEEN</character> <dialogue>A kid got his collarbone broken, and then I had to do all this paperwork for the warden.</dialogue> <scene_description>Eileen sets the glass on the kitchen table, where Jim is cleaning his gun. She stands with her back against the wall. Eileen ashes on the floor, sips her whisky, leans back.</scene_description> <character>JIM</character> <dialogue>Don't ash on the floor, it's tacky.</dialogue> <character>EILEEN</character> <dialogue>Anyway, it was one of those days you never forget.</dialogue> <character>JIM</character> <dialogue>Yeah, days I'll never forget. Let's see. December 16, 1944. First time I held a dead man's head in my lap. What a waste. Twenty degrees, snowing. I don't know why I ever came back.</dialogue> <character>EILEEN</character> <dialogue>Maybe because you had a wife and two kids?...</dialogue> <character>JIM</character> <dialogue>Maybe.</dialogue> <character>EILEEN</character> <dialogue>I love the beach.</dialogue> <character>JIM</character> <dialogue>Good for you. The war kind of ruined beaches for me.</dialogue> <scene_description>Jim stubs out his cigarette.</scene_description> <character>JIM</character> <dialogue>How's that Polk kid? He talked yet?</dialogue> <character>EILEEN</character> <dialogue>Huh?</dialogue> <character>JIM</character> <dialogue>Polk. The kid who killed his father, who was a good cop, more or less.</dialogue> <character>JIM</character> <dialogue>What kind of kid would ever think of killing his father like that? Stabbed him in bed while he was asleep...In front of his mother. And then he just sat down. Never denied it. Never said a word the whole trial. Psychopathic.</dialogue> <scene_description>Eileen sits, looking at dad.</scene_description> <character>JIM</character> <dialogue>Course I wouldn't have to worry about you doing something like that, cuz you're a girl. Can't imagine you with a knife.</dialogue> <character>EILEEN</character> <dialogue>Can you imagine me with a gun?</dialogue> <scene_description>Beat as Jim recognizes the opportunity to torture Eileen.</scene_description> <character>JIM</character> <dialogue>Yeah, I can see it. One day. When you've had enough, and you feel like ducking out. Maybe when I'm dead and gone and you've got nobody and you know you never will. I can imagine that. But you never would, would you? Because you're too good. Gimme one of those cigarettes. What've you got, Old Gold?</dialogue> <scene_description>Eileen slides the pack over.</scene_description> <character>EILEEN</character> <dialogue>No.</dialogue> <scene_description>Jim picks a Lucky out of the pack.</scene_description> <character>JIM</character> <dialogue>I like Old Gold.</dialogue> <character>EILEEN</character> <dialogue>I know.</dialogue> </scene> <scene> <stage_direction>INT. PRISON WAITING ROOM - DAY</stage_direction> <scene_description>Eileen enters the empty waiting room. She unlocks the sally port and slips into the prison corridor, unseen by the GUARDS</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>Eileen slips past the guards and down a corridor.</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY CELL - DAY</stage_direction> <scene_description>Eileen stops at one of the cells and looks in onto Lee Polk lying on his cot. He has his back to her. He turns and sees her face in the window. They eyes lock in connection: two young people who are trapped. OMITTED OMITTED NT. OFFICE - LATE AFTERNOON (LATER) Eileen searches the filing cabinet. She finds the Lee Polk's file and pulls it out. Close in on... -autopsy diagram. -crime scene photo: a middle-aged white man lies face up in bed, throat slit, stab wounds through his pajamas, a puddle of blood pooled under him, a grizzly scene. -various close-ups: knife, pool of blood etc. -prison mugshots of Lee Polk. Eileen hears footsteps coming down the corridor. She tries to replace the file and fumbles. The contents of the folder spill onto the floor. Eileen squats down to pick up papers.</scene_description> <character>REBECCA</character> <parenthetical>(seeing the papers)</parenthetical> <dialogue>Oopsie. Can I help you?</dialogue> <scene_description>Eileen looks up. Rebecca is standing in the office door, wearing a tight skirt suit, high heels and coat. She carries her briefcase.</scene_description> <character>EILEEN</character> <dialogue>No, it's okay. Just butter fingers.</dialogue> <character>REBECCA</character> <parenthetical>(squatting down to help her anyway)</parenthetical> <dialogue>Oh you should see me, I'm a total klutz.</dialogue> <scene_description>Rebecca holds up the crime scene photo.</scene_description> <character>REBECCA</character> <dialogue>Oh, right, Lee Polk. That's something you don't see every day.</dialogue> <character>EILEEN</character> <dialogue>Yeah, it's pretty bad.</dialogue> <scene_description>Rebecca brings the photo to Eileen and takes a closer look at the file which lies open on top of the filing cabinet.</scene_description> <character>REBECCA</character> <dialogue>Bedtime reading?</dialogue> <character>EILEEN</character> <dialogue>I was just doing some filing.</dialogue> <scene_description>Rebecca lights a cigarette as she looks through the photos. The file remains open while they talk.</scene_description> <character>REBECCA</character> <dialogue>Some show yesterday.</dialogue> <scene_description>She offers a cigarette to Eileen.</scene_description> <character>EILEEN</character> <dialogue>They do it every year. (taking a cigarette) Thanks.</dialogue> <character>REBECCA</character> <parenthetical>(lighting her cigarette)</parenthetical> <dialogue>I'd call that cruel and unusual punishment.</dialogue> <character>EILEEN</character> <parenthetical>(coughs)</parenthetical> <dialogue>Sorry, I don't usually smoke.</dialogue> <character>REBECCA</character> <dialogue>Nasty habit. But that's why I like it.</dialogue> <character>REBECCA</character> <dialogue>Not very becoming of a lady, though. It turns your teeth yellow. See?</dialogue> <scene_description>Rebecca leans toward Eileen, hooking a finger on her bottom lip and stretching it away from her gums to show her teeth.</scene_description> <character>REBECCA</character> <dialogue>That's coffee and cigarettes. And red wine.</dialogue> <scene_description>Eileen is astonished by Rebecca's beauty; her skin is miraculously smooth, like a baby's.</scene_description> <character>EILEEN</character> <dialogue>Your teeth look perfect.</dialogue> <scene_description>Rebecca smokes, looks at the photos.</scene_description> <character>EILEEN</character> <dialogue>I don't drink coffee. So my teeth should be perfect, but they're all rotted... due to my extreme propensity for sweets.</dialogue> <character>REBECCA</character> <dialogue>A propensity for sweets. You don't get enough sweetness in your life?</dialogue> <character>EILEEN</character> <dialogue>I just eat a lot of candy.</dialogue> <character>REBECCA</character> <dialogue>I wouldn't think to look at you! You're so petite... Being tall has its advantages, but most men are just too short for me. Have you noticed, or am I imagining, men these days are all getting shorter and shorter? Balder and fatter?</dialogue> <character>EILEEN</character> <dialogue>The men around here are all little boys.</dialogue> <scene_description>Rebecca laughs, wrinkles her nose.</scene_description> <character>REBECCA</character> <dialogue>You're funny.</dialogue> <scene_description>Eileen blushes.</scene_description> <character>REBECCA</character> <dialogue>I meant outside of this prison. Although you're right. The guards, the warden, not much to look at.</dialogue> <character>EILEEN</character> <dialogue>You should have seen Dr. Frye. He was really pretty nasty looking.</dialogue> <character>REBECCA</character> <dialogue>That doesn't surprise me. My office isn't very becoming, and it all smells like dirty leather. I'm starting to wonder what went on in there.</dialogue> <character>EILEEN</character> <parenthetical>(trying to seem smart)</parenthetical> <dialogue>Nothing good.</dialogue> <scene_description>Rebecca raises her eyebrows.</scene_description> <character>EILEEN</character> <dialogue>I mean, I've never actually been in that office.</dialogue> <character>REBECCA</character> <dialogue>Oh no? You should come by sometime. Although, if the door is closed, that means I'm with one of the boys.</dialogue> <character>EILEEN</character> <dialogue>Aren't you ever scared? Being alone in there with them?</dialogue> <character>REBECCA</character> <dialogue>No. You should stop by, all right?</dialogue> <scene_description>Rebecca closes the file.</scene_description> <character>REBECCA</character> <dialogue>But if you hear me screaming in there, by all means, kick the door down and rescue me.</dialogue> <character>EILEEN</character> <dialogue>Okay.</dialogue> <scene_description>Rebecca slips the folder into her briefcase</scene_description> <character>REBECCA</character> <dialogue>I'm just kidding, honey. There's a buzzer.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>Eileen stirs her usual cup of hot water and creamer. She turns to look out the window. Lee Polk is not sitting on his usual bench. Eileen stops stirring. The Prison bell rings. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>A group of inmates are being escorted back to the prison side of the visitation room. On her side of the sally port, Eileen is letting a group of tearful mothers and young children back into the waiting room. She locks the door after them. She wears a new lipstick and a bit of face powder. A woman wearing ill-fitting black slacks and a pilly sweater enters the waiting room with an air of defiant arrogance. She walks to Eileen at her desk.</scene_description> <character>MRS. POLK</character> <dialogue>I'm here to see Leonard Polk.</dialogue> <scene_description>Beat as Eileen recognizes Mrs. Polk, mother of the boy she watched in the cave. She scans the schedule. Through the doorway, Randy leads Lee Polk down the hall toward the visitation room.</scene_description> <character>MRS. POLK</character> <dialogue>Anne Polk.</dialogue> <character>EILEEN</character> <dialogue>You're not on the schedule. Were you a late addition?</dialogue> <scene_description>Mrs. Polk sighs and shakes her head.</scene_description> <character>MRS. POLK</character> <dialogue>I was called, I don't know. I'm here now.</dialogue> <character>EILEEN</character> <dialogue>You've got to fill out this form.</dialogue> <character>MRS. POLK</character> <dialogue>Aren't you chief Dunlop's kid?</dialogue> <character>EILEEN</character> <dialogue>Yeah.</dialogue> <character>MRS. POLK</character> <parenthetical>(filling out form)</parenthetical> <dialogue>I thought so.</dialogue> <character>REBECCA (O.C.)</character> <dialogue>Mrs. Polk?</dialogue> <scene_description>Suddenly Rebecca enters the waiting room, rushing toward them. Mrs. Polk nods.</scene_description> <character>REBECCA</character> <dialogue>I'm Doctor St. John. We spoke on the phone, thank you so much for coming.</dialogue> <parenthetical>(to Eileen)</parenthetical> <dialogue>No need to bother with that, we all know who you are. Eileen, will you help us with the door?</dialogue> <character>REBECCA</character> <parenthetical>(to Mrs. Polk)</parenthetical> <dialogue>Can I take your coat?</dialogue> <scene_description>Eileen unlocks the sally port and Rebecca escorts Mrs. Polk into the visitation room. Eileen cranes her neck to see Lee Polk sitting at the table. He wears a strange look of contentment as his mother approaches.</scene_description> <character>MRS. POLK</character> <parenthetical>(to Lee)</parenthetical> <dialogue>Why are you doing this to me?</dialogue> <scene_description>Eileen locks the door. Behind the soundproof glass, Randy stands in the corner. Lee, Rebecca, and Mrs. Polk sit at the table. Mrs Polk talks to her son. He stares at her but says nothing. Rebecca scribbles notes as Mrs. Polk talks. Mrs. Polk is turning red, frustrated by Lee's implacable coolness and his refusal to acknowledge her. She breaks down crying and busies herself wiping her eyes with a handkerchief. Mrs. Polk abruptly gets up and knocks on the glass.</scene_description> <character>MRS. POLK</character> <parenthetical>(mouthing soundlessly)</parenthetical> <dialogue>Let me out of here.</dialogue> <scene_description>Eileen opens the door, eyeing Mrs. Polk nervously. Mrs. Polk gathers her coat from where she left it in the waiting room, buttons it furiously, mumbling.</scene_description> <character>MRS. POLK</character> <dialogue>You all do what you want with him... Won't even talk to his own mother?</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>He's always been a nasty boy. A filthy, nasty boy.</dialogue> <scene_description>Eileen watches Rebecca still sitting with Lee, leaning in close, talking to him calmly. She puts her hand on his. Mrs. Polk sets her jaw, bristles, ignores Eileen, and leaves. Eileen steps into the open doorway and gestures to Randy with a shrug--'What now?' Randy taps his watch with his finger.</scene_description> <character>RANDY</character> <dialogue>I need to lock up. Visitation hours were actually over twenty minutes ago.</dialogue> <character>REBECCA</character> <dialogue>Of course. Thank you.</dialogue> <parenthetical>(to Lee)</parenthetical> <dialogue>Would you like to keep talking in my office.</dialogue> <scene_description>Lee and Rebecca get up to leave. Randy reaches for his handcuffs.</scene_description> <character>RANDY</character> <dialogue>Turn around--</dialogue> <character>REBECCA</character> <dialogue>That won't be necessary.</dialogue> <character>RANDY</character> <dialogue>I need to cuff him.</dialogue> <character>REBECCA</character> <dialogue>No.</dialogue> <character>REBECCA</character> <parenthetical>(to Lee)</parenthetical> <dialogue>Don't worry, it's all right.</dialogue> <scene_description>She leads Lee by the arm out of the visitation room, leaving Randy and Eileen befuddled.</scene_description> <character>RANDY</character> <parenthetical>(mocking Rebecca)</parenthetical> <dialogue>That won't be necessary.</dialogue> <character>EILEEN</character> <dialogue>Don't do that. She's a doctor.</dialogue> <character>RANDY</character> <dialogue>I think she needs a doctor. That kid killed a cop.</dialogue> <character>EILEEN</character> <dialogue>He killed his father. There's a difference.</dialogue> <scene_description>Eileen spots Rebecca's notebook on the table.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S OFFICE CORRIDOR - DAY</stage_direction> <scene_description>Eileen, carrying Rebecca's notebook, struts down the corridor. She knocks on Rebecca's office door. Rebecca opens the door, irritated, but corrects her expression when she sees Eileen.</scene_description> <character>REBECCA</character> <dialogue>Oh, Eileen. Can I help you?</dialogue> <scene_description>Eileen holds out the notebook.</scene_description> <character>EILEEN</character> <dialogue>You left your notebook.</dialogue> <character>REBECCA</character> <dialogue>Oh, thank you so much. I needed this. I hope you didn't read it.</dialogue> <character>EILEEN</character> <dialogue>Of course not.</dialogue> <scene_description>Rebecca lets the door swing open. Inside her office, Lee Polk is looking at a large book of pictures.</scene_description> <character>REBECCA</character> <dialogue>I'm only kidding. It's just chicken scratch anyway.</dialogue> <scene_description>Eileen turns to leave.</scene_description> <character>REBECCA</character> <dialogue>Wait. Eileen.</dialogue> <character>EILEEN</character> <dialogue>Yeah?</dialogue> <scene_description>Rebecca steps out into the corridor and closes the door behind her.</scene_description> <character>REBECCA</character> <dialogue>I don't want to be forward, and I'm sure you have other plans, but... can I treat you to a drink tonight? I don't know anyone in this darn town and I'd love to treat you to a cocktail if you're game.</dialogue> <scene_description>Beat as this sinks in. Eileen is flattered, flustered, breathless.</scene_description> <character>EILEEN</character> <dialogue>Okay.</dialogue> <character>REBECCA</character> <dialogue>Okay? I've twisted your arm?</dialogue> <scene_description>Eileen smiles and nods.</scene_description> <character>REBECCA</character> <dialogue>So who makes the best martini in town?</dialogue> <character>EILEEN</character> <dialogue>Maybe O'Hara's? It's actually the only bar in town.</dialogue> <character>REBECCA</character> <dialogue>O'Hara's sounds good. I'll see you there at 7? With bells on? Is that the expression?</dialogue> <character>EILEEN</character> <dialogue>Okay.</dialogue> <scene_description>Rebecca winks and returns to her office, shutting the door. Eileen walks away down the hall. We see the joy and rising panic in her face. She picks up the pace.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen is in the shower, shaving her legs with her father's razor. She nicks herself. Blood runs down the shower drain. Curious, she shaves some pubic hair.</scene_description> </scene> <scene> <stage_direction>INT. MOTHER'S BEDROOM - NIGHT</stage_direction> <scene_description>Eileen, wearing her bathrobe, pulls clothes out of the packed closet. She shakes out a few dresses, dismisses them. Eileen tries on a series of outfits from past decades. She winds up in a black wool dress. She sits at her mother's crowded vanity, brushes her hair, applies lipstick. She tries on a wolf fur coat, dismisses it, chooses a fancy coat that actually makes her look a little like a starlet.</scene_description> </scene> <scene> <stage_direction>INT. FRONT ROOM/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen tiptoes down the stairs. The house is silent. She pulls on little white gloves. Jim is asleep in his recliner by the window, his gun in his lap. Eileen gently picks up his bottle of gin, takes a long swig, winces, then polishes it off. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. O'HARA'S BAR - NIGHT</stage_direction> <scene_description>A Christmas carol plays on the jukebox. Eileen enters the dark warm din of the bar, a little nervous and glossy-eyed from the gin. She scans the clientele: all blue-collar men. Rebecca is already sitting cross legged on a barstool facing a booth of scruffy young men (BAR MEN). She is utterly out of place here, a diamond in the rough. Eileen sidles up to her at the bar.</scene_description> <character>EILEEN</character> <dialogue>Hi.</dialogue> <scene_description>Rebecca swirls around on the barstool, ignoring the men.</scene_description> <character>REBECCA</character> <dialogue>Oh, Eileen!</dialogue> <scene_description>She moves her purse off the stool to her right and adds it to her coat on the stool to her left. Eileen pulls off her gloves and sits.</scene_description> <character>REBECCA</character> <dialogue>What will you have?</dialogue> <character>EILEEN</character> <dialogue>I'll have a beer, I guess.</dialogue> <character>REBECCA</character> <dialogue>A beer...? Oh.</dialogue> <scene_description>SANDY, 50's, a thick man with deep acne scars, a flirt, works behind the bar. He addresses Eileen with flat familiarity.</scene_description> <character>SANDY</character> <dialogue>Hi Eileen. Nice to see you, hon.</dialogue> <parenthetical>(to Rebecca, his face lighting up)</parenthetical> <dialogue>What's next, sweetheart?</dialogue> <scene_description>Rebecca puts her hand over Eileen's on the bar.</scene_description> <character>REBECCA</character> <dialogue>Oh my stars, you're absolutely frozen.</dialogue> <parenthetical>(to Sandy)</parenthetical> <dialogue>One beer please and maybe a little whisky to warm up my girl.</dialogue> <character>REBECCA</character> <parenthetical>(to Eileen)</parenthetical> <dialogue>What say, huh?</dialogue> <scene_description>She squeezes Eileen's hand, then lets it go. Eileen takes off her coat. Rebecca leans back to survey her.</scene_description> <character>REBECCA</character> <dialogue>Oh, my, you look very glamorous.</dialogue> <character>EILEEN</character> <dialogue>It's just an old dress.</dialogue> <scene_description>Sandy serves Eileen her beer and whisky.</scene_description> <character>SANDY</character> <parenthetical>(to Rebecca)</parenthetical> <dialogue>And how about you, sweetheart? Another martini?</dialogue> <character>REBECCA</character> <dialogue>I'd love one. Thank you. But let's hold the olives this time.</dialogue> <parenthetical>(to Eileen)</parenthetical> <dialogue>I thought I'd have a hard time finding the place, but here it is.</dialogue> <scene_description>Eileen shoots the whisky.</scene_description> <character>REBECCA</character> <dialogue>You feel all right?</dialogue> <character>EILEEN</character> <dialogue>Oh yeah, I'm fine... There's something wrong with my car so I have to drive with the windows down or else it fills with smoke.</dialogue> <scene_description>Sandy serves the martini. Eileen sips her beer as the men in the background jostle each other. Rebecca's eyes dart around Eileen's face.</scene_description> <character>REBECCA</character> <dialogue>You're kidding me. That sounds positively awful. Can't you get your husband to fix that for you?</dialogue> <character>EILEEN</character> <dialogue>Oh, I'm not married.</dialogue> <character>REBECCA</character> <parenthetical>(sipping martini)</parenthetical> <dialogue>I've always been single. And when I have a guy around me it's just for fun, and it's brief. I don't stay anywhere long, with anything. It's sort of my modus vivendi, or my pathology, depending on who I'm talking to.</dialogue> <character>REBECCA</character> <dialogue>How long have you worked at Moorehead?</dialogue> <character>EILEEN</character> <dialogue>Three or four years. It was only going to be temporary while I moved back here for a bit while my mother was sick... and then she died.</dialogue> <parenthetical>(trying to sound chipper)</parenthetical> <dialogue>I've been at the prison and time's just flown by.</dialogue> <character>REBECCA</character> <dialogue>Oh God. Prison is no place for time to fly by. And your mother dying. That's a lot for a young lady.</dialogue> <character>EILEEN</character> <dialogue>I'm twenty-four.</dialogue> <character>REBECCA</character> <dialogue>Then you must be eager to get back out there. Are you? You know, I'm an orphan too. My uncle raised me out west where the sun shines. I'll never understand how you all do it up here. Winter after winter, positively creepy. I'm in a kind of strange love affair with New England. I love it and I also hate it. Things feel very real out here, don't they? There's simply no fantasy and no sentimentality. No imagination. Nowhere to hide.</dialogue> <scene_description>Eileen, trying to hide being a little hurt, nods in agreement.</scene_description> <character>REBECCA</character> <parenthetical>(pushing away her empty glass)</parenthetical> <dialogue>I'm sorry. I've had too much to drink. I tend to talk too much when I drink.</dialogue> <character>EILEEN</character> <dialogue>That's all right.</dialogue> <character>REBECCA</character> <dialogue>Better than talking too little.</dialogue> <scene_description>She winks at Eileen and swivels on her bar stool, jostling Eileen's legs. Eileen is uncomfortable, obviously guarding her emotions.</scene_description> <character>REBECCA</character> <dialogue>Did you see Lee Polk today?</dialogue> <scene_description>Eileen stiffens.</scene_description> <character>EILEEN</character> <dialogue>Um...</dialogue> <character>REBECCA</character> <dialogue>Did she say anything to you? Mrs. Polk?</dialogue> <character>EILEEN</character> <dialogue>She was just upset. Those mothers are always upset.</dialogue> <character>REBECCA</character> <dialogue>Did she seem like an angry woman to you?</dialogue> <character>EILEEN</character> <dialogue>I don't know. Everyone is kind of angry here. It's Massachusetts.</dialogue> <scene_description>Sandy wordlessly serves Rebecca another martini.</scene_description> <character>REBECCA</character> <dialogue>I had this professor at Harvard, brilliant, but very difficult. He'd done some experiments on prisoners with psychedelics to study recidivism.</dialogue> <character>REBECCA</character> <dialogue>I don't agree with his methods-- there's no magic pill--but you can set people free, if you get them to tell the truth... to feel it. That's what I want to do.</dialogue> <parenthetical>(picks up her drink)</parenthetical> <dialogue>Secrets and lies... I tell you doll, some families are so sick, so twisted, the only way out is for someone to die. Don't you think?</dialogue> <character>PAT</character> <parenthetical>(from the booth)</parenthetical> <dialogue>Hey! ...Hey! What'd you say your name was?</dialogue> <scene_description>Rebecca turns toward the men at the booth, returning to her performance.</scene_description> <character>REBECCA</character> <dialogue>Who, me?</dialogue> <character>PAT</character> <dialogue>We were just saying, you look so familiar. Are you in the movies or something?</dialogue> <character>REBECCA</character> <dialogue>Hardly. I work at the boy's prison. I'm Eileen.</dialogue> <scene_description>Rebecca elbows Eileen surreptitiously.</scene_description> <character>REBECCA</character> <dialogue>And this is my friend, Rebecca. She's a psychologist.</dialogue> <scene_description>Eileen demurs, hiding behind her glass of beer.</scene_description> <character>REBECCA</character> <dialogue>Don't be shy, Rebecca. These boys won't bite.</dialogue> <scene_description>JERRY, standing beside PAT, chimes in, revealing missing front teeth.</scene_description> <character>JERRY</character> <dialogue>Unless you ask us to.</dialogue> <character>PAT</character> <dialogue>This is Jerry. But you can ignore him, he's married.</dialogue> <character>REBECCA</character> <dialogue>What happened to your teeth, Jerry? Did you get in a fight with your old lady?</dialogue> <character>JACKY</character> <dialogue>That's it, his wife's got an arm like Joe Frasier.</dialogue> <character>PAT</character> <dialogue>Naw, he just slipped on the ice.</dialogue> <character>JERRY</character> <dialogue>I'm gonna grow some new ones, I just need a few more of these.</dialogue> <scene_description>Jerry holds up his drink. Rebecca holds up her martini.</scene_description> <character>REBECCA</character> <dialogue>Cheers to that. To Jerry. And his new teeth.</dialogue> <scene_description>Everybody drinks. A dance song starts to play on the jukebox. Rebecca is tired of the men.</scene_description> <character>REBECCA</character> <dialogue>Feel like dancing, Rebecca?</dialogue> <character>EILEEN</character> <dialogue>With you?</dialogue> <scene_description>Rebecca grabs Eileen's hand.</scene_description> <character>REBECCA</character> <dialogue>Yeah.</dialogue> <scene_description>She leads Eileen toward the dance floor, then takes her hands in hers and leads her around, dancing. Eileen giggles and stops every few seconds, covers her face in embarrassment as Rebecca sways and shimmies. Rebecca grabs Eileen by the hips and twists them in time to the music. Eileen is deliciously humiliated. Rebecca shows Eileen how to dance. Eileen gets into it, her inhibitions fly away as this new "Rebecca." They dance together. The men follow with their drinks, nod to the music, watching them. It gets more sensual. For Rebecca, it's a performance for the men, but for Eileen, this dancing is completely sincere in its eroticism, a new identity. Pat attempts to cut in. Rebecca CLOCKS him. He staggers back, stunned, then lunges for her. Other men hold him back. Rebecca returns to Eileen. They dance alone, holding each other close. The men are now ensnared in a fight of their own. Rebecca and Eileen ignore them.</scene_description> </scene> <scene> <stage_direction>EXT. O'HARA'S BAR - NIGHT</stage_direction> <scene_description>Eileen and Rebecca exit the bar and walk to Rebecca's car. They smoke, huddled against a wall in the parking lot. Rebecca stares at Eileen's face. Light snow sparkles in the air. Their breath shows.</scene_description> <character>REBECCA</character> <dialogue>You remind me of a girl in a Dutch painting. You have a strange face. Plain but fascinating. It has a beautiful turbulence. I love it.</dialogue> <scene_description>Eileen is transfixed.</scene_description> <character>REBECCA</character> <dialogue>I bet you have brilliant dreams. I bet you dream of other worlds. Maybe you'll dream of me and my morning remorse, which is certain. I shouldn't drink, but I do. Thank you.</dialogue> <scene_description>She throws her cigarette, gives Eileen a quick hug, and a platonic peck on the lips, gets into her car. Eileen watches as she drives away, swerving a bit in the snow. Once the car is out of sight, Eileen does an about-face and heads back into O'Hara's.</scene_description> </scene> <scene> <stage_direction>INT. O'HARA'S BAR - NIGHT</stage_direction> <scene_description>Eileen takes Rebecca's seat at the bar. The young men behind her in the booth eye her resentfully. They're drunk, and embroiled in their own raucous drama. Eileen fingers a half-smoked Pall Mall in the ashtray. It has Rebecca's lipstick on it. She puts it to her lips. Sandy walks by. Eileen clears her throat.</scene_description> <character>EILEEN</character> <dialogue>Hey Sandy. Can I get another martini and some matches?</dialogue> <character>SANDY</character> <dialogue>You better be careful, Eileen.</dialogue> <parenthetical>(lighting her cigarette)</parenthetical> <dialogue>I don't want any trouble with your dad.</dialogue> <character>EILEEN</character> <dialogue>My dad isn't gonna cause any trouble.</dialogue> <scene_description>A song plays on the jukebox. Eileen perks up, playing Rebecca. Shoots her martini.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. DUNLOP HOUSE - MORNING</stage_direction> <scene_description>Eileen wakes up slumped over the steering wheel with an exquisite headache. A frozen pool of vomit sits on the seat next to her. Her pantyhose are full of runs. The windows are down. She blows on her hands, reaches for the keys in the ignition, but they're gone. She checks her purse for the keys but doesn't find them. She looks at herself in the rearview mirror, sees a mad woman: messy hair, lipstick smeared down her chin. She turns around, sees that the trunk is open. The shoes have gone. Dad's footprints in the snow lead to the house.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - MORNING</stage_direction> <scene_description>Eileen stumbles through the snow to the side door. It's locked. She peers through the window, where Jim is lying on the living room couch, his worn black Oxfords on his feet.</scene_description> <character>EILEEN</character> <parenthetical>(not too loud)</parenthetical> <dialogue>Dad.</dialogue> <scene_description>She bangs on the window; Jim doesn't budge.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - MORNING</stage_direction> <scene_description>She goes around the back of the house, and tries to open the cellar door, cursing.</scene_description> <character>EILEEN</character> <dialogue>Stupid drunk motherfucker... Damnit.</dialogue> <scene_description>As she tugs at the door, she gags and vomits up yellow bile. It takes her a few moments to catch her breath. She picks up a big handful of snow and eats it.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - MORNING</stage_direction> <scene_description>Eileen goes to the side of the house. Through the window she sees Jim, shirtless. He is thin and frail but full of tension, jolting slowly with a bottle in his hand. He seems to have grown small breasts.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - MORNING</stage_direction> <scene_description>Eileen tries the window. Strangely, it is unlocked. She opens it and crawls in.</scene_description> </scene> <scene> <stage_direction>INT. FRONT ROOM/DUNLOP HOUSE - DAY</stage_direction> <scene_description>Eileen walks across the front room.</scene_description> <character>EILEEN</character> <dialogue>Hey, have you seen the keys?</dialogue> <scene_description>Eileen goes to the bottom of the stairs.</scene_description> <character>EILEEN</character> <dialogue>Dad, can I have the keys?</dialogue> <scene_description>Suddenly Eileen is hit by a book thrown down the stairs.</scene_description> <character>JIM</character> <dialogue>No, you may not have the keys!</dialogue> <scene_description>Jim stands on the upstairs landing.</scene_description> <character>JIM</character> <dialogue>Not until you read that book from cover to cover. I want to hear every word.</dialogue> <scene_description>Eileen picks up the book. It's Oliver Twist. She clears her throat and turns to the first page. Then she changes her mind- -she won't be tortured today.</scene_description> <character>EILEEN</character> <dialogue>Where did you put the keys?</dialogue> <scene_description>Jim blushes with rage. He disappears into mother's bedroom, returns with a pillow. He throws it down the stairs at Eileen.</scene_description> <character>JIM</character> <dialogue>Make yourself comfortable. You're not going anywhere until you read the last word.</dialogue> <character>EILEEN</character> <dialogue>Dad, this is ridiculous. I have to go to work.</dialogue> <character>JIM</character> <dialogue>Out all night. Nearly crashed the car, sleeping in your own sick and now you're worried about getting to work on time? I can hardly look at you I'm so ashamed. Oliver Twist would be grateful for this home, this nice house, but you, Eileen...</dialogue> <parenthetical>(voice cracks with emotion)</parenthetical> <dialogue>You seem to think you can just come and go as you please. Trash, Eileen. Just trash.</dialogue> <character>EILEEN</character> <dialogue>I went out with a girl from work.</dialogue> <character>JIM</character> <dialogue>A girl from work? Do you think I was born yesterday? Who is he? I at least want to know who the boy is before you get knocked up and sell your soul to Satan.</dialogue> <scene_description>Eileen refuses to defend herself.</scene_description> <character>EILEEN</character> <dialogue>Please, can you just give me the keys? Please. I'll be late.</dialogue> <character>JIM</character> <dialogue>You aren't going anywhere dressed like that. Now really, Eileen, how dare you? That's the dress your mother wore to my father's funeral. You have no respect. Get changed. I don't want anyone to see you in that getup. They'll think I'm dead.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. DUNLOP HOUSE - DAY</stage_direction> <scene_description>Eileen has changed into her clothes for work. She pushes the frozen vomit off the vinyl seat into the snow with a rag. It comes off easily, but leaves a large stain. She sprinkles the powder on it and scrubs. A police cruiser pulls up on the street. Buck Warren, big and dopey, eyes still full of sleep, gets out of the cruiser, corrects his cap, is surprised to see Eileen in the driveway. Buck is dutifully formal.</scene_description> <character>BUCK</character> <dialogue>Miss Dunlop? May I have a word? It's about your father.</dialogue> <scene_description>Although she is hungover and feeling like hell, Eileen now straightens.</scene_description> <character>EILEEN</character> <dialogue>Oh Jesus. Well, he's inside. Go talk to him.</dialogue> <character>BUCK</character> <dialogue>It's about his gun.</dialogue> <character>EILEEN</character> <dialogue>This oughta be good. Pray tell, Buck.</dialogue> <character>BUCK</character> <dialogue>Yesterday afternoon we received several calls from neighbors and from Connie at the school that Chief Dunlop was sitting at that north-facing window--</dialogue> <parenthetical>(gestures toward living room)</parenthetical> <dialogue>--pointing his weapon at children walking home from school.</dialogue> <character>BUCK</character> <dialogue>Well, actually, he's agreed to relinquish his property to your care. As long as you promise not to use it on him. His words.</dialogue> <scene_description>Eileen laughs sardonically, genuinely amazed, and walks toward the house. Buck follows her.</scene_description> <character>BUCK</character> <dialogue>Can I come in?</dialogue> <character>EILEEN</character> <dialogue>Fine, yes. You wanna hang it on me like an ornament?</dialogue> </scene> <scene> <stage_direction>INT. FRONT HALL/DUNLOP HOUSE - CONTINUOUS</stage_direction> <scene_description>Eileen and Buck enter the house. Eileen puts her bucket in the sink and walks through the front room towards the door. Buck follows her in. Jim comes tottering downstairs pointing the gun at them. He's been drinking.</scene_description> <character>BUCK</character> <dialogue>I trust Ms. Dunlop will take excellent care of the weapon.</dialogue> <character>JIM</character> <parenthetical>(gesturing to the house with the gun)</parenthetical> <dialogue>As she does with all things, as you can see.</dialogue> <scene_description>Buck takes the gun, then places it gently into Eileen's open palms, giving her a look that means 'don't ever let him get this gun back.' Eileen holds the gun. It's a Smith &amp; Wesson Model 10. "DUNLOP" is etched into the handle. In her eyes, something glimmers. Eileen shoves the butt of the gun under her chin and pulls the trigger. Her head explodes and she falls straight back in the hallway. Buck and her father blink stupidly, in shock.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. SEASIDE ROAD - DAY</stage_direction> <scene_description>Eileen puts the revolver in the glovebox as she speeds to work, windows down, hair whipping. Music screeches from the radio. Eileen starts gagging, sticks her nose out the window, reaches to turn off the radio, mistakenly turning the wheel of the car and almost hitting oncoming traffic. A truck horn blares.</scene_description> </scene> <scene> <stage_direction>INT. PRISON STAFF ENTRANCE - DAY</stage_direction> <scene_description>Eileen runs through security. It's deserted, quiet. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>Eileen rushes down the corridor and into the office. Mrs. Murray and Mrs. Stevens glare at her.</scene_description> <character>MRS. MURRAY</character> <dialogue>Look what the cat dragged in.</dialogue> <character>MRS. STEVENS</character> <dialogue>Good afternoon, Eileen.</dialogue> <scene_description>Mrs. Stevens is on the phone, covering the receiver.</scene_description> <character>MRS. MURRAY</character> <dialogue>You look fresh as a daisy, like always.</dialogue> <character>EILEEN</character> <dialogue>I had car trouble.</dialogue> <character>MRS. MURRAY</character> <dialogue>Yeah? I believe the trouble part.</dialogue> <character>EILEEN</character> <dialogue>It's almost Christmas, can you give me a break?</dialogue> <character>MRS. MURRAY</character> <dialogue>No. Get to work.</dialogue> <scene_description>Eileen glares back at them and sits. Her head is throbbing. She starts flipping through the papers on her desk.</scene_description> <character>MRS. STEVENS</character> <dialogue>I need the Polk file.</dialogue> <scene_description>She turns to Eileen at her desk, who looks worse than ever.</scene_description> <character>EILEEN</character> <dialogue>Oh, I think Dr. St. John has it.</dialogue> <character>MRS. STEVENS</character> <dialogue>Perfect.</dialogue> <parenthetical>(into the phone)</parenthetical> <dialogue>This will have to wait until after the holidays. We have a new doctor on staff and apparently she doesn't follow procedures...</dialogue> <character>EILEEN</character> <parenthetical>(to Mrs. Murray)</parenthetical> <dialogue>She's not in today?</dialogue> <character>MRS. MURRAY</character> <dialogue>She's already been and gone. Back after Christmas.</dialogue> <character>MRS. STEVENS</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Yep will do. Thank you. Bye bye.</dialogue> <scene_description>Eileen's face falls even further. She's depressed. She looks back at her work, up at the clock, rubs her eyes. She can't take it anymore. She gets up.</scene_description> <character>MRS. MURRAY</character> <dialogue>Where are you going?</dialogue> <character>EILEEN</character> <dialogue>The infirmary. I think something's going around.</dialogue> <character>MRS. MURRAY</character> <dialogue>You look like you've been going around.</dialogue> <scene_description>Eileen walks out past Mrs. Stevens, who puts down her phone.</scene_description> <character>MRS. STEVENS</character> <parenthetical>(bitchy, to Mrs. Murray)</parenthetical> <dialogue>She's a boozer.</dialogue> <scene_description>Eileen exits the office and passes Rebecca's door. She looks around to make sure she's not being watched and slips inside. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S OFFICE - DAY</stage_direction> <scene_description>Eileen shuts the door behind her. It's quiet, dim. She slowly luxuriates in exploring the room, touching all the old leather, a few keepsakes on the shelves. She's on edge from her trespassing. She looks through a few files and books on the desk, picks up the book laid open. It is the book Lee was looking through. She sits down in Rebecca's chair, snoops through the desk drawers. She finds an address book, flips through. She rifles further into a file drawer. Finally she lays her head on Rebecca's desk and watches as snow falls out the window. She closes her eyes.</scene_description> </scene> <scene> <stage_direction>INT. FRONT HALL/DUNLOP HOUSE - EVENING</stage_direction> <scene_description>Eileen enters through the front door carrying two bottles of gin. She looks into the kitchen. Her father's chair is empty.</scene_description> <character>EILEEN</character> <parenthetical>(taking off her coat)</parenthetical> <dialogue>Dad?</dialogue> <parenthetical>(no answer)</parenthetical> <dialogue>Dad?</dialogue> <scene_description>Silence. She puts the bottles by the sink. She goes upstairs, finds Jim has fallen down the attic stairs. He isn't moving. She crouches beside him, touches his face. His chin is gashed, blood gushing out. She shakes him. He moans.</scene_description> <character>EILEEN</character> <dialogue>Dad! Can you hear me?</dialogue> <scene_description>Panicking, and desperate to stop the bleeding, Eileen takes a towel from the bathroom and presses it against his chin.</scene_description> <character>EILEEN</character> <dialogue>Dad...</dialogue> <character>JIM</character> <parenthetical>(croaking)</parenthetical> <dialogue>My gun...</dialogue> <character>EILEEN</character> <dialogue>Nobody's after you. Sit up, sit up...</dialogue> </scene> <scene> <stage_direction>INT. DODGE/EXT. X-VILLE - EVENING</stage_direction> <scene_description>Eileen drives Jim to the hospital. He slumps against her, drunk, afraid, still holding the towel to his chin, soaked in blood.</scene_description> <character>EILEEN</character> <dialogue>We're almost there, Dad.</dialogue> <scene_description>As Eileen drives, Jim's hand absentmindedly reaches across her, touches the inside of her leg.</scene_description> <character>JIM</character> <dialogue>Joanie, Joanie, Joanie...</dialogue> <character>EILEEN</character> <dialogue>Dad--</dialogue> <scene_description>She moves his hand away.</scene_description> <character>JIM</character> <dialogue>Quit fussing, Joanie.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - NIGHT</stage_direction> <scene_description>Eileen speaks to a DOCTOR who is smoking a cigarette and wearing a Santa hat. They stand at a drinking fountain.</scene_description> <character>DOCTOR</character> <dialogue>We stitched it up, and I don't think he has a concussion. But his blood alcohol level is point one- seven. His liver's enlarged, he's covered in bruises. I'm not blaming you, honey, but who's letting him live like this?</dialogue> <character>EILEEN</character> <dialogue>My mom died, and he's not working. What else is he supposed to do?</dialogue> <character>DOCTOR</character> <dialogue>There are men who don't drink all day.</dialogue> <character>EILEEN</character> <dialogue>I know that.</dialogue> <character>DOCTOR</character> <dialogue>I know this is hard for you, but if he stops drinking he might die, and if he keeps drinking it will definitely kill him. I don't know what else to say to you.</dialogue> <scene_description>Dad walks down the hospital corridor pulling on his coat. Head bandaged, cigarette hanging from his mouth. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MOTHER'S BEDROOM - NIGHT</stage_direction> <scene_description>Eileen pulls back the covers on the bed. He sits. She kneels, takes off his shoes, a bit stern. She pulls his sweater over his head, getting him ready for bed.</scene_description> <character>EILEEN</character> <dialogue>You know that doctor told me you're gonna die?</dialogue> <character>JIM</character> <dialogue>Like he's not?</dialogue> <character>EILEEN</character> <dialogue>If you keep drinking like this, it'll kill you.</dialogue> <character>JIM</character> <dialogue>Screw him. You know they killed your mother at that hospital. They owe me more than stitches.</dialogue> <scene_description>Eileen tries to get him to lie down.</scene_description> <character>EILEEN</character> <dialogue>Can you lean back?</dialogue> <character>JIM</character> <dialogue>Of course I can lean back. You don't think I know how to go to bed?</dialogue> <scene_description>Eileen turns as she goes to put dad's sweater in the closet. Dad gets up and tries to leave through the bedroom door.</scene_description> <character>JIM</character> <dialogue>I need a drink. And anyway, I do not sleep here. It's haunted.</dialogue> <character>EILEEN</character> <dialogue>Please Dad. If I bring you a bottle will you lie down?</dialogue> <character>JIM</character> <dialogue>No. I wanna have a drink with my daughter. You're different these days. You're almost interesting.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>A fire burns in the fireplace. Jim and Eileen stare at the flames, sitting apart on the sofa, drinks in hand.</scene_description> <character>JIM</character> <dialogue>What do you do with all the money you make at work?</dialogue> <scene_description>Eileen wears her mother's coat.</scene_description> <character>JIM</character> <dialogue>Why don't you ever buy your own clothes?</dialogue> <scene_description>Jim stares at the coat. Eileen strokes the fur collar.</scene_description> <character>JIM</character> <dialogue>I remember that coat. I remember your mother...</dialogue> <character>EILEEN</character> <dialogue>How does it look on me?</dialogue> <character>JIM</character> <dialogue>Your mother looked beautiful in that coat. I bought it for her to wear when she got out of the bug house.</dialogue> <scene_description>Eileen says nothing.</scene_description> <character>JIM</character> <dialogue>You know I loved your mother. No matter what you think it looked like, I loved her. I know what people say about me. They think I made her crazy because I'm a hard ass. I may have yelled a few times but... she always forgave me. Cuz we loved each other. Love will make you crazy, Eileen. You'll probably never understand that.</dialogue> <character>EILEEN</character> <dialogue>Why?</dialogue> <character>JIM</character> <dialogue>Some people, they're the real people. Like in a movie, they're the ones you're watching. They're the ones making the moves. And the other people are just there, filling the space. And you take 'em for granted. You think, aw, they're easy. Take a penny leave a penny. That's you, Eileen. You're one.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY - DAY</stage_direction> <scene_description>The phone rings inside the house. Through a window, outside, Eileen follows her dad as he trudges through the snow to the side door, carrying the cardboard box of bottles. Eileen removes her keys and opens the door.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN/DUNLOP HOUSE - CONTINUOUS</stage_direction> <scene_description>The phone continue to ring but is unanswered. Eileen follows her dad into the kitchen. He rips off the top of the cardboard box and pulls out two bottles. Eileen pulls a gun and shoots him in the head. Blood hits the wall.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM/DUNLOP HOUSE - DAY</stage_direction> <scene_description>Eileen lies in the bathtub. Her nose and mouth beneath the water. Downstairs the phone rings. Eileen closes her eyes. After a moment Jim yells up the stairs.</scene_description> <character>JIM (O.C.)</character> <dialogue>Eileen!</dialogue> <character>EILEEN</character> <dialogue>What, Dad?</dialogue> <character>JIM (O.C.)</character> <dialogue>The phone rang. Some woman looking for you.</dialogue> <scene_description>Eileen sits up, yells back.</scene_description> <character>EILEEN</character> <dialogue>What did you say?</dialogue> <character>JIM (O.C.)</character> <dialogue>Nothing. I know nothing and said nothing.</dialogue> <scene_description>Eileen leaps out of the bathtub.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN/DUNLOP HOUSE - DAY</stage_direction> <scene_description>The phone dangles off the hook, receiver thudding against the wall. Eileen flies in, soaking wet, wrapped in a towel.</scene_description> <character>EILEEN</character> <dialogue>Hello?</dialogue> <character>REBECCA (O.S.)</character> <parenthetical>(tinny through the phone)</parenthetical> <dialogue>Hello, Christmas angel.</dialogue> <character>EILEEN</character> <parenthetical>(brightening)</parenthetical> <dialogue>Rebecca?</dialogue> <scene_description>As Rebecca speaks, Eileen's face transforms from dead tired to gleeful and beaming.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>Look, I was just thinking of you and... well, I don't know what you're planning for Christmas Eve, but I thought maybe you'd like to come over. There are some records we could play, and maybe dance again, if all goes well... Unless you have a better offer, of course.</dialogue> <character>EILEEN</character> <dialogue>I don't have a better offer.</dialogue> <character>REBECCA (O.S.)</character> <dialogue>So you'll come?</dialogue> <character>EILEEN</character> <dialogue>Yeah.</dialogue> <scene_description>Eileen holds the phone against her heart. God has answered her prayer.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>Hello?</dialogue> <character>EILEEN</character> <parenthetical>(holding the phone back up)</parenthetical> <dialogue>Yeah, I'm here.</dialogue> <character>REBECCA (O.S.)</character> <dialogue>Let me give you the address.</dialogue> <character>EILEEN</character> <dialogue>Okay, hold on.</dialogue> <character>REBECCA (O.S.)</character> <dialogue>It's 32 Maple Street. So, see you later. Okay, bye.</dialogue> <scene_description>Eileen finds a pen and paper and starts writing. Jim stands at the sink peeling a boiled egg. Eileen finishes the call and runs upstairs, taking them two at a time. Jim pops the whole egg into his mouth. PRE-LAP: 'All These Things' by Art Neville.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. DUNLOP STREET - DUSK</stage_direction> <scene_description>Eileen, dressed for her date drives happily. The roads are calm. The snow falls softly. Homes are full of happy families. Lights blink on Christmas trees. Church bells chime through bare trees. The sky looks beautiful, tinged orange and blue as the sun sets. Eileen is so happy. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. MAPLE STREET HOUSE - NIGHT</stage_direction> <scene_description>Eileen drives down a residential street. She spots Rebecca's red Barracuda sitting parked in the driveway of a two-story brown home with peeling white trim. There are lights on in every window, music on inside, loud enough to hear outside. Eileen parks, rolls up her window, smoothes her hair and applies lipstick in the rearview mirror, then gets out of the car with the bottle of wine. Eileen unlatches the gate and steps into the yard. She walks carefully, not wanting to slip. In the window, a shadow moves behind yellow curtains. At the front door, Eileen knocks.</scene_description> </scene> <scene> <stage_direction>EXT. MAPLE STREET HOUSE - NIGHT</stage_direction> <scene_description>Rebecca swings open the door, holding a fat cat. She wears a large cardigan over her clothes. Her hair is mussed, her makeup a bit faded.</scene_description> <character>REBECCA</character> <dialogue>You made it! Oh, thank God you're here. It's a Christmas miracle.</dialogue> <character>EILEEN</character> <dialogue>Sorry it took me so long.</dialogue> <scene_description>The cat claws at Rebecca's hair. She drops the cat on the porch.</scene_description> <character>REBECCA</character> <dialogue>I think that cat is possessed.</dialogue> <scene_description>It hisses and runs away.</scene_description> <character>EILEEN</character> <parenthetical>(holding out the bottle)</parenthetical> <dialogue>Merry Christmas!</dialogue> <scene_description>She hands Rebecca the bottle of wine.</scene_description> <character>REBECCA</character> <dialogue>Well aren't you a peach. Come in!</dialogue> <scene_description>They go inside the house.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE - NIGHT (CONTINUOUS)</stage_direction> <scene_description>The front hall of the house has peeling wallpaper, a hissing radiator. It's messy and lived-in. Something like a Pat Boone record (a song like "Secret Love") turns on the record player, filling the home with music.</scene_description> <character>REBECCA</character> <dialogue>Eileen, I'm sorry the place is such a mess. I haven't--I mean--I tried to clean up a bit, but it's just beyond me. I hope it doesn't make you uncomfortable. Let's open this wine.</dialogue> <scene_description>Eileen follows Rebecca down the hallway toward the kitchen. They pass a living room: coffee table piled high with junk. Everything messy. There are squares on the wallpaper where frames have been removed. A telephone hangs in the kitchen doorway. It rings. Rebecca picks it up and hangs it up.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE KITCHEN - NIGHT (CONTINUOUS)</stage_direction> <scene_description>In the kitchen there is one chair at a small enamel table. The sink is full of dirty dishes, peanut shells and empty cans of Schlitz beer.</scene_description> <character>REBECCA</character> <dialogue>Here, sit down. I hope you didn't have to drive too far--was it far?</dialogue> <character>EILEEN</character> <dialogue>No, I drive all over the place.</dialogue> <scene_description>Eileen sits awkwardly. She touches her face self-consciously, as if something might be on it. She unbuttons and re-buttons her coat. Rebecca stands and stares at Eileen, then collects herself.</scene_description> <character>REBECCA</character> <dialogue>Let me take your coat?</dialogue> <character>EILEEN</character> <dialogue>Oh thanks.</dialogue> <scene_description>Rebecca helps Eileen take off her coat, then hangs it on a peg near the basement door. Rebecca fingers the fabric.</scene_description> <character>REBECCA</character> <dialogue>So nice and soft.</dialogue> <character>EILEEN</character> <dialogue>It was my mother's.</dialogue> <character>REBECCA</character> <dialogue>She must have been a really classy lady to have such a classy daughter.</dialogue> <character>EILEEN</character> <dialogue>She was something of a clothes horse, actually...</dialogue> <scene_description>Rebecca returns to the kitchen and picks up the bottle.</scene_description> <character>REBECCA</character> <dialogue>Let's open this wine!</dialogue> <character>EILEEN</character> <dialogue>I hope it's a kind you like.</dialogue> <character>REBECCA</character> <dialogue>Oh, I'm sure it's delicious. A drink sounds nice, actually. Let's see where the corkscrew is hiding...</dialogue> <scene_description>Rebecca doesn't know where the corkscrew is. She pulls a rattling drawer and closes it. She opens a cabinet. Cans of soup, spices. It's a mess. She opens another drawer and it gets stuck halfway out. Exasperated, she turns to Eileen.</scene_description> <character>REBECCA</character> <dialogue>You know, I've been so busy lately, I can't seem to remember... There must be one somewhere in all this mess, huh?</dialogue> <scene_description>She riffles through another drawer of spoons and forks.</scene_description> <character>REBECCA</character> <dialogue>Let me see... You know, a very handy young PhD student once taught me a trick for how to open a bottle if you're ever stranded without a corkscrew.</dialogue> <scene_description>Rebecca takes off her shoe, puts the bottle into it, and slams it into a wall repeatedly.</scene_description> <character>REBECCA</character> <dialogue>Philosophers are always the biggest drunks. Although he was kind of cute.</dialogue> <scene_description>With another slam, the cork rises.</scene_description> <character>REBECCA</character> <dialogue>Aha!</dialogue> <character>EILEEN</character> <dialogue>Wow! I didn't know you could do that.</dialogue> <scene_description>Rebecca pulls the cork out with her teeth.</scene_description> <character>REBECCA</character> <dialogue>Eugene Henderson, Harvard!</dialogue> <scene_description>She spits out the cork. Eileen looks around with optimism but the home is completely incongruous with Rebecca's character and beauty.</scene_description> <character>EILEEN</character> <dialogue>What a great trick.</dialogue> <character>REBECCA</character> <dialogue>Now we need some glasses.</dialogue> <scene_description>Rebecca looks through more cabinets, can't find any glasses. She comes back with two cheap coffee mugs, both chipped. She pours the wine.</scene_description> <character>REBECCA</character> <dialogue>To Eileen, my Christmas savior.</dialogue> <character>EILEEN</character> <dialogue>Savior? I didn't do anything.</dialogue> <character>REBECCA</character> <dialogue>You're being a friend. That's</dialogue> <scene_description>everything. Eileen blushes. Rebecca drinks. Eileen looks into Rebecca's eyes. Rebecca looks away nervously, her mind is clearly somewhere else. Eileen takes a sip, makes a sour face; she doesn't like the taste and worries the wine is not good.</scene_description> <character>EILEEN</character> <dialogue>Oh God, this is awful.</dialogue> <character>REBECCA</character> <parenthetical>(purring)</parenthetical> <dialogue>Mmmmmm. No. It's a punch of flavor, that's what Syrah is. I hope you haven't spent too much on it. To Jesus Christ, happy birthday!</dialogue> <scene_description>Rebecca laughs.</scene_description> <character>EILEEN</character> <dialogue>Do you live here alone?</dialogue> <character>REBECCA</character> <dialogue>Oh no. Oh sure. I simply can't have roommates. I like my own space. You know, I still like to have fun. And I like to make a lot of noise. And make a mess, as you can see. I can play music as loud as I want, too. I can scream as loud as I want.</dialogue> <scene_description>Rebecca sings an operatic high note.</scene_description> <character>REBECCA</character> <dialogue>Aaaaah!</dialogue> <character>EILEEN</character> <dialogue>I can't stand roommates either. In college I had to lock my door-</dialogue> <character>REBECCA</character> <dialogue>That's right. You were in college. What did you study again?</dialogue> <character>EILEEN</character> <dialogue>Just the required courses. If I hadn't left, I probably would have ended up a secretary anyway.</dialogue> <character>REBECCA</character> <dialogue>Eileen, you're not really a secretary. Mrs. Murray and Mrs. Stevens, they're secretaries. Because they do what they're told. And that's why they're miserable and nasty... You've got a big life in front of you, I'm sure.</dialogue> <character>EILEEN</character> <dialogue>Okay. I'm not a real secretary.</dialogue> <character>REBECCA</character> <dialogue>No, you're not. Because you're smart. And you're curious, aren't you?</dialogue> <character>EILEEN</character> <dialogue>I was never that good in school. I'm just kind of average, I think.</dialogue> <character>REBECCA</character> <dialogue>Oh don't say that, Eileen. Never say that. Do you really think of yourself as a normal person?</dialogue> <character>EILEEN</character> <dialogue>Normal how?</dialogue> <character>REBECCA</character> <dialogue>I really am a bad hostess. Maybe we'll feel better if we eat something.</dialogue> <scene_description>Rebecca opens the old refrigerator.</scene_description> <character>EILEEN</character> <dialogue>I feel fine.</dialogue> <scene_description>She pulls out a hunk of cheese.</scene_description> <character>EILEEN</character> <dialogue>Can I use your bathroom?</dialogue> <character>REBECCA</character> <parenthetical>(stiffly)</parenthetical> <dialogue>Sure. It's just up the stairs.</dialogue> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE UPSTAIRS - NIGHT</stage_direction> <scene_description>Eileen slowly creeps up the stairs, taking in the strangeness of the house and all its creaks and cracks. The carpet on the steps is worn and faded. At the second floor, she looks down a dismal hallway. A door is slightly open. She carefully tiptoes toward it, pushes it gently and looks inside. It's a small bedroom with a twin- sized bed. The small mattress is stripped and sagging. Rebecca suddenly yells from the foot of the stairs, making Eileen gasp.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>It's the other door, on the right.</dialogue> <scene_description>Eileen hurries quietly to the other door.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE BATHROOM - NIGHT</stage_direction> <scene_description>Eileen enters the small bathroom and looks at her reflection in the greasy mirror. On the lip of the sink there is a bar of soap with tiny curled hairs dried to its chalky surface. She peers at them. She fingers the edge of the medicine cabinet door, pulls it a bit--something CLANGS downstairs--but resists opening it.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE KITCHEN - NIGHT</stage_direction> <scene_description>Eileen returns to the kitchen, more perturbed than when she left. Rebecca has set a hunk of cheese and a jar of pickles on the table. She stands with her arms crossed, a serious look in her eyes. She seems to have composed herself. Eileen lets out a high neurotic giggle.</scene_description> <character>EILEEN</character> <dialogue>I'm sorry.</dialogue> <scene_description>Rebecca opens the jar of pickles.</scene_description> <character>REBECCA</character> <dialogue>What do you have to be sorry about?</dialogue> <scene_description>Rebecca studies Eileen. Eileen studies her back, then blushes. Eileen picks at the cheese with her fingers.</scene_description> <character>REBECCA</character> <dialogue>Go on, eat, eat. Have a pickle too. You're right. Why do we need a little cheese knife? To keep our fingers clean? It's all ridiculous. Everything is. All these stupid traditions. Like that warden and his prison, at Christmas.</dialogue> <character>EILEEN</character> <dialogue>What do you mean?</dialogue> <character>REBECCA</character> <dialogue>I've tried to explain how things need to change, but all he cares about is whether the boys are going to think about me while they molest themselves in their cells at night. God forbid.</dialogue> <character>REBECCA</character> <dialogue>There's a strict no masturbation policy at Moorehead. It's illegal to get off in prison. You know that, right?</dialogue> <scene_description>Eileen pulls a pickle out of the jar and just holds it up.</scene_description> <character>EILEEN</character> <dialogue>Ummm.</dialogue> <character>REBECCA</character> <dialogue>As if that's the downfall of civilization. People having orgasms... You can't count on men to fix anything... People are so ashamed of their desires. Especially men.</dialogue> <scene_description>Eileen puts the pickle back in the jar.</scene_description> <character>REBECCA</character> <dialogue>Eileen, as you can probably tell by now, I live a little differently from most people.</dialogue> <character>EILEEN</character> <dialogue>Oh not at all. Your house is really nice. It's cozy.</dialogue> <character>REBECCA</character> <parenthetical>(rising intensity)</parenthetical> <dialogue>I don't mean the house. I have my own... ideas. Maybe you and I even share some of those ideas.</dialogue> <scene_description>Eileen nervously picks at the cheese and eats it.</scene_description> <character>EILEEN</character> <dialogue>What ideas do we... share?</dialogue> <scene_description>Rebecca leans toward Eileen, her voice suddenly soft, but urgent.</scene_description> <character>REBECCA</character> <dialogue>May I confide in you?</dialogue> <scene_description>She takes Eileen's hand.</scene_description> <character>EILEEN</character> <dialogue>Of course.</dialogue> <character>REBECCA</character> <dialogue>It's about Lee Polk.</dialogue> <character>EILEEN</character> <dialogue>It is?</dialogue> <character>REBECCA</character> <dialogue>Yes. Tell me, Eileen. What would make a person want to kill their father?</dialogue> <character>EILEEN</character> <dialogue>Everybody wants to kill their father.</dialogue> <character>REBECCA</character> <dialogue>No they don't. Who told you that?</dialogue> <scene_description>Eileen shrugs.</scene_description> <character>REBECCA</character> <dialogue>Really think about it. What would make you do it? Because Lee snuck into his parents' bedroom in the middle of the night and hacked through his father's throat with an old kitchen knife, stabbed him in the chest repeatedly. His mother claimed she thought there'd been a break-in. How do you sleep through something like that?</dialogue> <character>EILEEN</character> <dialogue>I don't know.</dialogue> <character>REBECCA</character> <dialogue>You don't. That's why I called her in. You were there. The poor boy could barely look at her. So afterward, I just asked him point blank. I said, what did your father do to you? What made you want to do that to your father's body? And he spilled it all in a matter of minutes. Nobody had ever bothered to ask him before. Nobody had wanted to know. Wouldn't you want to know? Wouldn't you be curious?</dialogue> <character>EILEEN</character> <dialogue>Yes.</dialogue> <character>REBECCA</character> <dialogue>Do you want to know?</dialogue> <character>EILEEN</character> <dialogue>Yes.</dialogue> <character>REBECCA</character> <dialogue>Eileen, you can never tell anyone, you understand. Do you understand? Promise me.</dialogue> <character>EILEEN</character> <dialogue>Promise.</dialogue> <scene_description>Rebecca sticks out her slender pinky finger. Eileen hooks hers around it. Rebecca kisses Eileen's hand.</scene_description> <character>REBECCA</character> <dialogue>The first thing you need to know is that This isn't my house, Eileen. It's the Polk house. I have Mrs. Polk tied up downstairs.</dialogue> <scene_description>Eileen is heartbroken. Suddenly it becomes obvious to her that Rebecca's friendship is not motivated out of admiration and affection, as she'd prefer to think. Rebecca has forged a rapport as part of a strategy. She has assumed that Eileen would be useful to her. Eileen stands slowly and walks to the front door, taking her coat as she goes. Rebecca calls after her.</scene_description> <character>REBECCA</character> <dialogue>Eileen! Please wait. I thought I could do this alone.Eileen, please don't go. Please.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE FRONT ROOM - CONTINUOUS</stage_direction> <scene_description>Rebecca runs after her, stops her at the front door. Eileen pulls on her coat, getting ready to leave.</scene_description> <character>REBECCA</character> <dialogue>Eileen!</dialogue> <scene_description>Rebecca throws herself at the door, blocking Eileen in.</scene_description> <character>EILEEN</character> <dialogue>I thought you invited me here because you liked me.</dialogue> <character>REBECCA</character> <dialogue>Oh, I do. I'm sorry. Please just give me a moment. Let me explain. I need a friend.</dialogue> <scene_description>Eileen says nothing.</scene_description> <character>REBECCA</character> <dialogue>I came here yesterday afternoon to check on Mrs. Polk. I said I could see she was upset after our meeting with Lee, and was there anything she wanted to discuss. She said nothing, so I pressed her. I told her what Lee had told me. She spat at me, called me the pervert and called her husband a saint. I left my card, told her to think it over but I knew she wouldn't call. And then I left. I couldn't sleep last night because I couldn't stop thinking about what Lee told me-- what his father did to him and how his mother had let it happen. I don't even remember driving over here. I was so angry. But suddenly I was pushing past her asking how could you do it? How could you be complicit in such torture? And she snapped, started screaming, attacking me. See.</dialogue> <scene_description>Rebecca shows Eileen her ripped sweater and scratches on her shoulder.</scene_description> <character>REBECCA</character> <dialogue>So I defended myself, we fought and I don't know what happened but somehow we fell downstairs to the basement. I thought she was going to kill me so I hit her with a chair and tied her up.</dialogue> <character>REBECCA</character> <dialogue>I tried to talk to her, rationally, to explain that I was here to help Lee, that I could help her too, if she'd let me but she just kept screaming that I'd kidnapped her, that her husband was a cop, and I was going to go to jail. So, I found some codeine in the bathroom and got her to be quiet. And then I called you, because as you can see, I'm in a bit of a pinch.</dialogue> <character>EILEEN</character> <dialogue>What can I do?</dialogue> <character>REBECCA</character> <dialogue>I need her to confess. And I need a witness. Two against one, you understand? I can't go to jail.</dialogue> <character>EILEEN</character> <dialogue>Okay.</dialogue> <scene_description>A moment passes before the solution comes to Eileen, so simple and easy she almost laughs.</scene_description> <character>EILEEN</character> <dialogue>Wait here.</dialogue> </scene> <scene> <stage_direction>INT. DODGE/EXT. MAPLE STREET HOUSE - NIGHT</stage_direction> <scene_description>Eileen walks across the street to her parked car, leans into the Dodge and takes something from the glove compartment. She puts it in her coat pocket and strides back to the house.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE KITCHEN - NIGHT</stage_direction> <scene_description>Eileen carefully sets the gun on the table.</scene_description> <character>REBECCA</character> <dialogue>It's incredible. Why do you have that? Why did you bring that around here?</dialogue> <character>EILEEN</character> <dialogue>My dad's sick.</dialogue> <character>REBECCA</character> <dialogue>Pick it up. Show me how you'll hold it.</dialogue> <scene_description>Eileen does as she's told, holding the gun with both hands, extending her arms out straight, lowering her face.</scene_description> <character>REBECCA</character> <dialogue>That's very good, Eileen.</dialogue> <scene_description>Rebecca wrinkles her nose and closes her sweater tight around her body. Eileen and Rebecca go to the cellar door, slide the chain off the lock and pull it open. Rebecca turns, breathy and smiling, and grips Eileen's shoulder.</scene_description> <character>REBECCA</character> <dialogue>Alright. Be cool.</dialogue> <scene_description>Eileen follows her down the stairs.</scene_description> </scene> <scene> <stage_direction>INT. MAPLE STREET HOUSE BASEMENT - NIGHT</stage_direction> <scene_description>Eileen and Rebecca go down into the basement together. Eileen gets a look at the junk in the corners of the room: a pile of wood pieces, a rusted sink, a washer and dryer. Rebecca leads her into the darkness of the basement. She reaches to pull another light on. Mrs. Polk in a torn and dirtied nightdress, sits on the floor. She is gagged and bound by the hands to a pipe. There is dried blood in her hair and on her forehead. Mrs. Polk's eyes bulge as they see Rebecca getting closer. She mumbles indiscernibly through the gag.</scene_description> <character>REBECCA</character> <dialogue>Mrs. Polk, just tell us the truth and I'll let you go free.</dialogue> <scene_description>Rebecca kneels beside Mrs. Polk.</scene_description> <character>REBECCA</character> <dialogue>Families can heal. You're not a lost cause. Nobody is. I'm sure things were hard for you, being married to a man like that. It's obvious you're having a hard time.</dialogue> <character>REBECCA</character> <dialogue>Why don't you tell us what happened in this house? Why you helped your husband do what he did. And then we'll be even, and we can all walk out of here and we can figure out how to help Lee.</dialogue> <scene_description>Mrs. Polk nods in agreement and Rebecca removes the gag.</scene_description> <character>MRS. POLK</character> <dialogue>Fucking untie me! Untie me! You crazy bitch, get out of my house! You're in big trouble if you think you're gonna get away with this. You're going to jail for a long time.</dialogue> <scene_description>Rebecca turns to Eileen who stands in the shadows.</scene_description> <character>REBECCA</character> <dialogue>Eileen.</dialogue> <scene_description>Eileen steps towards Mrs. Polk.</scene_description> <character>MRS. POLK</character> <dialogue>What the hell is she doing here? What are you doing here?</dialogue> <character>EILEEN</character> <dialogue>I really think you need to tell us the truth, Mrs. Polk.</dialogue> <character>MRS. POLK</character> <dialogue>What the hell are you talking about?!</dialogue> <character>EILEEN</character> <dialogue>If you don't, we could leave you down here tied up. The human body can't live very long without food or water. And sooner or later you're going to have to take a shit. I guess you'll just have to shit all over yourself... and piss. That's not gonna feel very good.</dialogue> <character>MRS. POLK</character> <dialogue>I'm not scared of you--I know you. I know who your dad is.</dialogue> <character>EILEEN</character> <dialogue>If you know my dad, then you oughta be scared...</dialogue> <character>MRS. POLK</character> <dialogue>Scared of a womanizing drunk piece of shit who everybody knows is batshit crazy? You think he didn't have problems of his own? You think he didn't have secrets of his own? You think your mom didn't know about 'em? Think it didn't drive her crazy?</dialogue> <scene_description>Eileen takes the gun from behind her back and points it at Mrs. Polk's head.</scene_description> <character>EILEEN</character> <dialogue>I am going to fucking kill you. If you don't start talking. Right now.</dialogue> <scene_description>Mrs. Polk gasps and blubbers.</scene_description> <character>MRS. POLK</character> <dialogue>Please...</dialogue> <character>MRS. POLK</character> <dialogue>Please, don't kill me.</dialogue> <character>EILEEN</character> <dialogue>I won't have to kill you if you talk.</dialogue> <character>REBECCA</character> <dialogue>I can't help you unless you confess.</dialogue> <scene_description>She is truly terrified. She looks up at Eileen, who stares intently back at her. Eileen cocks the gun, determined.</scene_description> <character>MRS. POLK</character> <dialogue>Okay. You win...</dialogue> <character>MRS. POLK</character> <dialogue>When you get married, and you have children... You take an oath, when you get married, to honor and obey your husband. You'll never understand that.</dialogue> <scene_description>Eileen steps back but keeps the gun pointed at her as she talks.</scene_description> <character>MRS. POLK</character> <dialogue>At first, I thought Mitch was just checking on him in his sleep, like any father would. Like he just wanted to be sure his son was safe and sound in bed. Sometimes I'd feel him getting out of bed; sometimes I'd just feel him when he'd come back. And he'd kiss me or hold me and... you know? We hadn't really been together since Lee'd been born. And not much before that. But suddenly Mitch wanted me. I was flattered. I didn't know what was going on, but I started getting these infections down there... oh God. I figured it was my fault. And then I wondered if Mitch had brought something home with him. Then one time I got up in the middle of the night. I don't remember why. Glass of water, I don't know. I thought maybe it was a dream. I went and looked in. It didn't dawn on me right away. I swear to you. You don't expect your husband's going to do something like that, you know. Nobody would believe it anyway. What was I gonna do? What could I do? And then I figured, if he was clean, an enema and a bath before bed, it would be better for all of us.</dialogue> <scene_description>She bends forward, shakes her head back and forth, stunned it seems by her own words.</scene_description> <character>MRS. POLK</character> <dialogue>I knew what I was doing wasn't quite right. But who do you tell? You do the best you can. You know what happens when you have children? Your husband never looks at you the same. But after he went to bed with Lee, he'd come to me. And it was like a big burden had been lifted. He was relaxed.</dialogue> <character>MRS. POLK</character> <dialogue>And it felt good, how he'd hold me. He loved me then. He'd whisper and kiss me and say nice things. It was the way it had been before, when we were young and happy and in love, and it felt good to me. Is that so wrong? To want to feel that way? I had my husband back. You wouldn't understand. You're young. You haven't had your heart broken--</dialogue> <scene_description>Eileen pulls the trigger--BOOM!--and hits Mrs. Polk in the shoulder. Rebecca screams. Mrs. Polk starts to scream, struggling against her restraints. A quickly spreading darkness seeps through Mrs. Polk's nightdress.</scene_description> <character>MRS. POLK</character> <dialogue>I'm bleeding! Help me! HELP ME!</dialogue> <scene_description>She is becoming hysterical. Rebecca goes to Mrs. Polk's side.</scene_description> <character>REBECCA</character> <dialogue>Eileen! Help me!</dialogue> <scene_description>She covers Mrs. Polk's mouth with her hand but she cannot be soothed. She pants like a crazed animal and shakes her head violently against Rebecca's hold, trying to scream for help. Rebecca takes the bottle of sedatives from her pocket. Mrs. Polk twists her neck and bucks her head. Eileen reaches to grab Mrs. Polk's face, one fist under her jaw. They wrestle Mrs Polk's head like a farmer with a cow, pinch her nose closed. She clenches her jaw, holds her breath, stares up fiercely into their eyes. Finally her lips part and Rebecca works the pills into her mouth. Finally Mrs. Polk stops moving, passed out.</scene_description> <character>REBECCA</character> <dialogue>Why did you shoot her?</dialogue> <character>EILEEN</character> <dialogue>I was upset.</dialogue> <character>REBECCA</character> <dialogue>What do we do now?</dialogue> <character>EILEEN</character> <dialogue>Take her to my house. My dad's always whipping his gun out, everyone knows it. We'll make it look like he shot her in a blackout. He's just a drunk piece of shit, right? He's gonna die or go crazy. The doctor said so. Then we can go to New York for the New Year just the two of us. I love you. It's okay.</dialogue> <scene_description>Rebecca agrees.</scene_description> <character>EILEEN</character> <dialogue>Come on.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. MAPLE STREET HOUSE - NIGHT</stage_direction> <scene_description>Eileen reverses her car into the back yard. She gets out and helps Rebecca carry Mrs. Polk down the stairs to the car. They bring her to the driver's side and Eileen opens the back door. They shove Mrs. Polk in and close her inside.</scene_description> <character>REBECCA</character> <dialogue>Go ahead to your father's house and wait for me there. I'll clean up here. We can't leave any evidence behind.</dialogue> <character>REBECCA</character> <dialogue>I'll be quick.</dialogue> <scene_description>Rebecca turns to dash back into the house, hops up the icy stairs and closes the door behind her. Eileen jumps into the car and races off.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. X-VILLE - NIGHT</stage_direction> <scene_description>Eileen drives fast through the deserted town with Mrs. Polk in the back seat. She's exhilarated.</scene_description> </scene> <scene> <stage_direction>INT. DODGE/EXT. DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen pulls deep into the driveway behind the house and parks. She is serious, emboldened. She looks back at Mrs. Polk, who is still breathing and gets out quickly.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen moves quietly through the dark house and finds Jim asleep in his chair by the window. She hurries upstairs.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen grabs the tin of money and stuffs the cash into a small purse. She moves fast, knowing Mrs. Polk could wake up. She looks out of the window, checking for Rebecca's imminent arrival.</scene_description> </scene> <scene> <stage_direction>INT. MOTHER'S BEDROOM - NIGHT</stage_direction> <scene_description>Eileen reaches into her mother's closet and takes a beautiful fur coat. She looks out the window to makes sure that Mrs. Polk is still passed out. She is.</scene_description> </scene> <scene> <stage_direction>INT. FRONT ROOM/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen tiptoes down the stairs and enters the front room pulling on her mother's fur coat. She stands at the window and watches the road. No sign of Rebecca yet. Eileen lights a cigarette. She smokes for a minute, considering her entire life. A range of emotions triggered by the last few hours play across her face. She settles on austere self-preservation. This is not her death mask but something more integrated. She is alive now. No sign of Rebecca. Slowly it dawns on Eileen that Rebecca is not coming. She sits back on the arm of the couch.</scene_description> </scene> <scene> <stage_direction>EXT. DODGE, DESERTED ROAD, NEW JERSEY - DAWN</stage_direction> <scene_description>Dodge headlights travel through the dark.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST, NEW JERSEY - DAWN</stage_direction> <scene_description>The Dodge stops in a forest clearing overlooking a frozen lake.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD, NEW JERSEY - DAWN</stage_direction> <scene_description>Eileen walks through the trees and breaks cover into an open field of snow. The sun starts to rise.</scene_description> <character>JIM (O.C.)</character> <dialogue>Eileen.</dialogue> <scene_description>Eileen turns towards the voice.</scene_description> </scene> <scene> <stage_direction>INT. FRONT ROOM/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen has not left. She still sits at home staring out of the window.</scene_description> <character>JIM (O.C.)</character> <dialogue>Eileen.</dialogue> <scene_description>Eileen turns to face her dad who has started to wake in his wingback.</scene_description> <character>EILEEN</character> <dialogue>Go back to sleep, dad.</dialogue> <character>JIM</character> <dialogue>Where are you going?</dialogue> <scene_description>Eileen turns back to look out the window at the empty road. No sign of Rebecca.</scene_description> <character>EILEEN</character> <dialogue>I think I might just get on the road.</dialogue> <character>JIM</character> <dialogue>Well all right, then.</dialogue> <scene_description>Eileen stubs out her cigarette.</scene_description> <character>EILEEN</character> <dialogue>Goodnight, Dad.</dialogue> </scene> <scene> <stage_direction>INT. FRONT HALL/DUNLOP HOUSE - NIGHT</stage_direction> <scene_description>Eileen stands in the front room. She looks up the stairs, saying goodbye to the house. She turns and opens the front door.</scene_description> </scene> <scene> <stage_direction>EXT. DUNLOP HOUSE - NIGHT (CONTINUOUS)</stage_direction> <scene_description>Eileen steps outside. Eileen shuts the front door. An icicle breaks off the rafter and falls, slicing her cheek. She is shocked. She touches the blood and tastes it. OMITTED</scene_description> </scene> <scene> <stage_direction>NT. DODGE/EXT. DESERTED ROAD, NEW JERSEY - DAWN</stage_direction> <scene_description>Eileen looks at her face in the rearview mirror. The cut on her face has clotted. She drives down an empty road. In the back seat, Mrs. Polk stirs. Eileen looks back at her, concerned. It's now or never. She pulls over to the side of the road and down a narrow track.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST, NEW JERSEY - DAWN</stage_direction> <scene_description>The Dodge stops in a forest clearing overlooking a frozen lake. Eileen rolls up the windows and closes the door gently, leaving the engine running. The car fills with fumes.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAWN</stage_direction> <scene_description>Eileen walks down a road, sticking her thumb out to hitch a ride. A truck pulls over.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST, NEW JERSEY - DAWN</stage_direction> <scene_description>The car stands alone overlooking the frozen lake. From inside all the windows fog up with exhaust fumes.</scene_description> </scene> <scene> <stage_direction>INT. TRUCK/ EXT. ROAD - MORNING</stage_direction> <scene_description>Eileen sits in the passenger seat of a semi. Christmas carol on the radio. She smiles to herself.</scene_description> </scene> <scene> <stage_direction>EXT. ONRAMP - HIGHWAY - MORNING</stage_direction> <scene_description>The truck enters the highway from the onramp and merges with traffic.</scene_description> <character>THE END</character> </scene> </script>

In Massachusetts during the 1960s, Eileen Dunlop is a young woman working in a corrections facility for teenage boys. At work, Eileen is shunned by her colleagues and fantasizes about one of the guards. At home, Eileen lives with her widowed and alcoholic father, Jim, a former chief of police who suffers from paranoia and is emotionally abusive towards her. Eileen frequently daydreams about killing herself and her father. A new psychologist, Rebecca Saint John, joins the prison staff. Eileen is immediately drawn to Rebecca's intellectual conversation and glamorous appearance. Rebecca begins working with an inmate, Lee Polk, who was imprisoned for stabbing his father to death. Rebecca invites Lee's mother, Rita, to speak with her and Lee, but Rita soon leaves distraught after Lee refuses to speak with her. That evening, Rebecca invites Eileen to a local bar. Following a night of drinking and dancing, Rebecca kisses Eileen before leaving. The next morning, Eileen wakes in her car to find that Jim has locked her out of the house. As she cleans vomit from the seat of her car, a local policeman arrives to inform her that the neighbors have raised complaints about Jim's violent and erratic behavior. As a consequence, Jim has agreed to relinquish his gun into Eileen's care. At work, Eileen is upset to learn that Rebecca has already left for the Christmas holiday. Eileen spends the day sleeping at Rebecca's desk. On Christmas Eve, Eileen receives a call from Rebecca, inviting her to her house for drinks. When Eileen arrives, they share a drink, but a panicked Rebecca eventually reveals that they are actually in the Polks' house. Rebecca, suspecting that Lee was sexually abused by his father, had arrived to question Rita. The conversation became heated and, following a scuffle during which they fell into the basement, Rebecca tied Rita up and drugged her. She now plans to coerce Rita into admitting involvement in her son's abuse, with Eileen as a witness. Eileen reluctantly agrees to help, retrieving her father's gun from her car. In the basement, Rita breaks down after being threatened by Eileen. She admits that, although initially oblivious to her husband's abuse of Lee, she eventually became aware after walking in on her husband in Lee's room. Feeling powerless to stop the abuse, and enjoying her husband's renewed interest in her, Rita instead enabled her husband by giving Lee an enema and bathing him before he went to bed. As Rita finishes her story, Eileen shoots her in the shoulder; Eileen and Rebecca drug Rita into unconsciousness. Amid Rebecca's unease, Eileen suggests framing Jim for the shooting and running away together, confessing her love for Rebecca. The two load Rita into Eileen's car, and agree to meet at Eileen's house. Rebecca does not show up, and as dawn breaks, Eileen drives to a remote forest and leaves the still-drugged Rita in her car, which fills with engine smoke. Eileen then returns to the main road and hitches a ride, smiling to herself as she leaves the town.

The Whale_2022

tt13833688

<script> <scene> <character>THE WHALE</character> <dialogue>by</dialogue> <scene_description>Samuel D. Hunter Based on the play by Samuel D. Hunter White Draft: 11.26.20 Blue Draft: 11.28.20 Pink Draft: 1.26.21 Yellow Draft: 2.10.21 Green Draft: 2.26.21 Goldenrod Draft: 3.4.21 Buff Draft: 4.14.21 Protozoa / A24 Opening credits over black. Slowly, we begin to hear the sound of ocean waves in the distance, calmly lapping against the shore, slowly building in volume.</scene_description> </scene> <scene> <stage_direction>EXT. - ROAD JUST OUTSIDE OF TOWN - DAY</stage_direction> <scene_description>A barren road on the outskirts of a town in the Palouse region of northern Idaho. Then, a bus appears coming down the road. It pulls over at a bus stop, letting out a single passenger. The camera stays wide as the person heads toward town. CUT TO: 1A VIRTUAL CLASSROOM - DAY 1A We see fifteen or so squares in a virtual classroom. The STUDENTS are all college-aged, most of them look distant and bored. A couple of them, on mute, are obviously having conversations with people outside of the shot. The center square conspicuously has its video turned off. The name on the square reads "INSTRUCTOR."</scene_description> <character>CHARLIE (V.O.)</character> <dialogue>Like we discussed yesterday, I really want you all to focus on topic sentences more. Too many of you are rushing into examples in your body paragraphs. It'd be good for everyone to review the paragraph structure PDF I sent you a few weeks ago.</dialogue> <scene_description>A few students shake their heads, clearly a bit overwhelmed.</scene_description> <character>CHARLIE (V.O.)</character> <dialogue>I know these rules can feel constraining. But remember, the point of this course is to learn how to write clearly and persuasively. That's how you can effectively communicate your ideas.</dialogue> <scene_description>A chat dialogue to the whole class comes up: "why can't he get his camera fixed".</scene_description> <character>CHARLIE (V.O.)</character> <parenthetical>(chuckles)</parenthetical> <dialogue>Chris, I imagine that was supposed to be a private chat that you sent to the whole class, well done.</dialogue> <scene_description>Everyone laughs vaguely. The shot begins to pull in to the instructor square.</scene_description> <character>CHARLIE (V.O.)</character> <dialogue>And yes, the camera on my laptop still doesn't work. Believe me, you're not missing much. Oh--and for those of you who still haven't given me paper three, I need it by Wednesday, no exceptions.</dialogue> <scene_description>The shot is now pulled all the way in to the instructor square. In the background, we begin to hear the distant sound of ocean waves lapping against a shore.</scene_description> <character>CHARLIE (V.O.)</character> <dialogue>And remember: the more you revise these essays, the better. The more you change, chances are you'll express your thoughts and ideas more clearly and persuasively. Alright?</dialogue> <scene_description>As he finishes talking, the shot is now fully black. The sound of the waves increases. 1B TITLE: THE WHALE 1B After a moment, the title and the waves fade out. We begin to hear the faint sounds of two men grunting and moaning, in the middle of performative sex. 1C TITLE: MONDAY 1C CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - DAY</stage_direction> <scene_description>A desolate two-bedroom apartment in a cheaply constructed building. CHARLIE, a man in his late 40s weighing around 600 pounds, is on the couch, masturbating to gay porn playing on a laptop on a rolling desk. He struggles to reach his penis, bending over awkwardly. His breathing becomes more shallow as he maneuvers his hand around his stomach. Suddenly, he has a sharp pain in his chest. He doubles over. He starts to reach for his phone, an old android with a broken screen, but he has another surge of pain. He accidentally knocks the phone to the floor, it bounces underneath the couch. He leans back, struggling to calm himself down. The gay porn continues to play in the background. In his panic, he reaches in between some couch cushions and takes out a folder. Inside the folder is a well-worn essay with a "C-" grade written on the cover page along with a few notes. The title of the essay is "Moby Dick." He looks at it.</scene_description> <character>CHARLIE</character> <parenthetical>(reading)</parenthetical> <dialogue>"In the amazing book Moby Dick by the author Herman--"</dialogue> <scene_description>Another wave of pain forces him to stop reading. A knock at the front door. Charlie looks. Just then, he's hit with a wave of pain. He clutches his chest, groaning loudly.</scene_description> <character>CHARLIE</character> <dialogue>Liz?!</dialogue> <scene_description>Another knock.</scene_description> <character>CHARLIE</character> <dialogue>Just use your key, open the door, just--!</dialogue> <scene_description>Another wave of pain. Charlie groans again. Finally, the front door opens and THOMAS, 19, appears. He wears a shirt and tie, holds a few books.</scene_description> <character>THOMAS</character> <dialogue>Oh my God.</dialogue> <scene_description>Charlie looks at him, confused. It's obviously not who he was expecting to see.</scene_description> <character>CHARLIE</character> <dialogue>Who are--?</dialogue> <scene_description>Charlie leans forward in pain again. Thomas comes further in.</scene_description> <character>THOMAS</character> <dialogue>Oh, gosh, are you--? Should I call an ambulance? I should call an ambulance--</dialogue> <scene_description>Thomas notices the gay porn, still playing. Charlie reaches forward and shuts the laptop. Thomas takes out his phone, frantic. Charlie extends the essay to him.</scene_description> <character>CHARLIE</character> <dialogue>Read this to me.</dialogue> <character>THOMAS</character> <dialogue>My phone is dead, do you have--?</dialogue> <character>CHARLIE</character> <dialogue>PLEASE JUST READ IT TO ME!</dialogue> <scene_description>Thomas grabs the essay from Charlie.</scene_description> <character>THOMAS</character> <dialogue>Okay, okay--!</dialogue> <parenthetical>(reading quickly)</parenthetical> <dialogue>"In the amazing book Moby Dick by the author Herman Melville, the author recounts his story of being at sea. In the first part of his book the author, calling himself Ishmael, is in a small seaside town and he is sharing a bed with a man named Queequeg--" What is this, why am I reading this?! I need to--</dialogue> <character>CHARLIE</character> <dialogue>Just read it, any of it!</dialogue> <character>THOMAS</character> <parenthetical>(reads)</parenthetical> <dialogue>"And I felt saddest of all when I read the boring chapters that were only descriptions of whales, because I knew the author was just trying to save us from his own sad story, just for a little while."</dialogue> <scene_description>Charlie's breathing begins to return to normal. The pain slowly subsides.</scene_description> <character>THOMAS</character> <parenthetical>(reading)</parenthetical> <dialogue>"This book made me think about my own life, and then it made me feel glad for my..."</dialogue> <character>THOMAS</character> <parenthetical>(pause)</parenthetical> <dialogue>Did that--help?</dialogue> <scene_description>Charlie takes a few deep breaths, lies back on the couch. He grabs a towel, wipes the sweat off his face.</scene_description> <character>CHARLIE</character> <dialogue>Yes. Yes, it--.</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>My phone is dead, do you have a phone? I need to call an ambulance. You need help--</dialogue> <character>CHARLIE</character> <dialogue>I don't go to hospitals.</dialogue> <character>THOMAS</character> <dialogue>Look I can't help you, I don't--</dialogue> <character>CHARLIE</character> <dialogue>I don't go to hospitals.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Sorry. You can go, I'm sorry. Thank you for reading that to me.</dialogue> <scene_description>Charlie reaches for the essay, Thomas gives it to him. Thomas eyes the door, then turns back to Charlie.</scene_description> <character>THOMAS</character> <dialogue>Are you sure you're okay?</dialogue> <scene_description>Charlie looks at him, a dawning realization that there is a stranger in his home.</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry, who are...?</dialogue> <scene_description>Awkward silence. Finally:</scene_description> <character>THOMAS</character> <parenthetical>(tentative)</parenthetical> <dialogue>Are you acquainted with the gospel of Jesus Christ?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>THOMAS</character> <dialogue>I'm sharing Christ's message of love, and... Um.</dialogue> <character>CHARLIE</character> <dialogue>Oh.</dialogue> <parenthetical>(looking away)</parenthetical> <dialogue>Look, I should call my friend. She's a nurse, she--takes care of me.</dialogue> <scene_description>Thomas nods anxiously, heading toward the front door.</scene_description> <character>THOMAS</character> <dialogue>Yeah, of course, I'll...</dialogue> <character>CHARLIE</character> <dialogue>Wait, my phone fell under there, can you--?</dialogue> <scene_description>Charlie points under the couch. Thomas goes to the couch, bending down. He reaches under the couch, hesitating a bit. He finds the phone, gives it to Charlie, then moves toward the front door again. Just then, Charlie has another pain in his chest. Thomas hesitates, looking at him.</scene_description> <character>CHARLIE</character> <dialogue>Listen, I don't know what's gonna happen in the next few minutes, if you don't mind, could you...?</dialogue> <scene_description>Pause. Thomas considers.</scene_description> <character>THOMAS</character> <dialogue>Yeah, of course.</dialogue> <character>CHARLIE</character> <dialogue>Thank you.</dialogue> <scene_description>Charlie makes a call on his phone. Thomas closes the front door. Charlie's call goes to voicemail.</scene_description> <character>LIZ (V.O.)</character> <dialogue>It's Liz, I'm not around, please--</dialogue> <scene_description>Charlie ends the call. He starts to compose a text. Pause.</scene_description> <character>THOMAS</character> <dialogue>What was--? That thing you had me read to you?</dialogue> <character>CHARLIE</character> <dialogue>It's an essay. It's my job. I teach online college courses.</dialogue> <character>THOMAS</character> <dialogue>But why did you have me read it to you?</dialogue> <character>CHARLIE</character> <dialogue>Because I thought I was dying. And I wanted to hear it one last time.</dialogue> </scene> <scene> <stage_direction>INT. - LIVING ROOM - SHORTLY LATER</stage_direction> <scene_description>Charlie sits on the couch as before. One sleeve of his shirt is rolled up, and LIZ, a nurse in her 40s, is taking his blood pressure with an oversized cuff. Thomas sits on a chair in a corner, trying not to look at Charlie.</scene_description> <character>LIZ</character> <dialogue>You should have called an ambulance.</dialogue> <character>CHARLIE</character> <dialogue>With no health insurance?</dialogue> <character>LIZ</character> <dialogue>Being in debt is better than being dead. What's wrong with you? Why is there a missionary here?</dialogue> <character>CHARLIE</character> <parenthetical>(eyeing Liz)</parenthetical> <dialogue>Someone left the door unlocked.</dialogue> <character>LIZ</character> <dialogue>I left after you fell asleep earlier, I must've forgotten. Good thing, too! If I hadn't, you might have--</dialogue> <character>CHARLIE</character> <dialogue>Liz. I don't like it when you--</dialogue> <character>LIZ</character> <dialogue>Okay, okay. I just hate the thought of you being sealed up in this place when I'm not here. Now shut up, I'm trying to...</dialogue> <scene_description>Charlie takes a deep breath, sweat pouring down his face. He grabs a towel, wipes his forehead. Liz listens for his blood pressure. She reads the high number. Her eyes widen. Charlie looks at her.</scene_description> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>LIZ</character> <dialogue>Sh.</dialogue> <scene_description>Liz reads the lower number. She looks at Charlie, then takes off the cuff.</scene_description> <character>LIZ</character> <dialogue>Tell me what you felt.</dialogue> <character>CHARLIE</character> <dialogue>Pain, in my chest. It was hard to breathe, I couldn't intake air.</dialogue> <character>LIZ</character> <dialogue>How are you sleeping?</dialogue> <character>CHARLIE</character> <dialogue>I'm not, really.</dialogue> <scene_description>Liz takes out a stethoscope, threading it down the back of Charlie's shirt. Charlie bends forward as best as he can, Liz listens to his breathing.</scene_description> <character>LIZ</character> <dialogue>You're wheezing.</dialogue> <character>CHARLIE</character> <dialogue>I always wheeze, Liz.</dialogue> <character>LIZ</character> <dialogue>You're wheezing more. Deep breath.</dialogue> <scene_description>Charlie takes a deep breath. He winces.</scene_description> <character>LIZ</character> <dialogue>That hurt?</dialogue> <character>CHARLIE</character> <dialogue>What was my blood pressure?</dialogue> <scene_description>Liz takes the stethoscope out of her ears, Charlie leans back onto the couch.</scene_description> <character>LIZ</character> <dialogue>238 over 134.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Oh.</dialogue> <character>LIZ</character> <dialogue>Yeah. Oh.</dialogue> <scene_description>Another pause. Charlie tries to reach for his walker but is unable.</scene_description> <character>CHARLIE</character> <dialogue>Could you--? I haven't been to the bathroom all day, I'm ready to explode.</dialogue> <scene_description>Liz hands Charlie his walker. She holds it to the floor, putting all her weight on it, allowing Charlie to brace himself on the walker and stand up. Liz heads to the bathroom to prepare it for Charlie.</scene_description> </scene> <scene> <stage_direction>3A INT. - BATHROOM - CONTINUOUS 3A</stage_direction> <scene_description>Liz makes her way into the bathroom, tidying things up for Charlie. She looks in the mirror and takes a deep breath, steeling herself. She goes back into the living room.</scene_description> </scene> <scene> <stage_direction>3B INT. - LIVING ROOM - CONTINUOUS 3B</stage_direction> <scene_description>Charlie slowly starts making his way down the hallway toward the bathroom as Liz passes by him.</scene_description> <character>LIZ</character> <dialogue>You need help in there?</dialogue> <scene_description>Thomas gets up tentatively, looking down the hallway.</scene_description> <character>CHARLIE</character> <dialogue>No, I'm fine, just--. Sorry.</dialogue> <character>LIZ</character> <dialogue>What are you sorry about?</dialogue> <character>CHARLIE</character> <dialogue>Sorry, I don't know. Just--sorry.</dialogue> <scene_description>Charlie makes his way into the bathroom. Liz goes to the couch, takes the bedsheet off of it. Liz eyes Thomas suspiciously. Thomas forces a smile. Awkward pause.</scene_description> <character>THOMAS</character> <dialogue>I should go.</dialogue> <character>LIZ</character> <dialogue>Thank you. For helping him.</dialogue> <scene_description>Thomas starts gathering his things, about to head toward the front door.</scene_description> <character>LIZ</character> <dialogue>You must be from New Life.</dialogue> <scene_description>Liz opens a closet, throws the dirty bedsheet into a hamper and grabs a clean one. Inside the closet is an entire universe of medical supplies: lotions, clean towels, deodorants, over-the-counter medications, ointments, etc. Thomas nods, smiles slightly at her.</scene_description> <character>LIZ</character> <dialogue>You know Doug, from the church council?</dialogue> <scene_description>Liz spreads the clean bedsheet over the couch.</scene_description> <character>THOMAS</character> <dialogue>Oh, yeah, I think so? I mean I'm sort of new so I don't--</dialogue> <character>LIZ</character> <dialogue>He's my dad.</dialogue> <character>THOMAS</character> <dialogue>He's--?</dialogue> <character>LIZ</character> <dialogue>Doug and Cindy adopted me when I was a baby.</dialogue> <character>THOMAS</character> <parenthetical>(brightening)</parenthetical> <dialogue>Oh that's--that's great, I've never seen you there but I'm sort of new to the area so--</dialogue> <character>LIZ</character> <dialogue>I fucking hate New Life.</dialogue> <character>THOMAS</character> <dialogue>Oh.</dialogue> <character>LIZ</character> <dialogue>My dad forced me to go when I was a kid. It was awful, growing up with all that end times bullshit...</dialogue> <character>LIZ</character> <dialogue>You're young, why the hell would you want to believe that the world is about to end?</dialogue> <scene_description>Liz finishes with the bedsheet. Thomas considers, wording his answer very carefully.</scene_description> <character>THOMAS</character> <dialogue>I believe that when Christ returns, it's going to be--beautiful.</dialogue> <scene_description>Liz goes to the kitchen, retrieving a pack of cigarettes and an ashtray from on top of the fridge. She then goes to a window, opens it. She pulls out a cigarette and lights one, blowing smoke out of the window.</scene_description> <character>LIZ</character> <dialogue>Look, you can go. I know Charlie appreciates the help. But if you're here to convert him--</dialogue> <character>THOMAS</character> <dialogue>We don't "convert" people, our message is a message of hope for people--</dialogue> <character>LIZ</character> <dialogue>--"people of all faiths," I know, you're sweet. But believe me, he doesn't want to hear about New Life.</dialogue> <character>THOMAS</character> <dialogue>Why?</dialogue> <character>LIZ</character> <dialogue>Because it's caused him a lot of pain.</dialogue> <character>THOMAS</character> <dialogue>How?</dialogue> <character>LIZ</character> <dialogue>It killed his boyfriend.</dialogue> <scene_description>Pause. Thomas looks at her. The sound of a toilet flushing. Liz looks away from Thomas. Liz puts out her cigarette and puts the ashtray and the pack of cigarettes back to their place on top of the fridge.</scene_description> <character>THOMAS</character> <dialogue>You're saying that the church--?</dialogue> <character>LIZ</character> <dialogue>Killed Charlie's boyfriend, yes. And I should add that New Life has caused me a lot of pain in my life. So we don't need you coming over here, especially not now, not this week.</dialogue> <character>THOMAS</character> <dialogue>Why?</dialogue> <character>LIZ</character> <dialogue>Because he's probably not going to be here next week.</dialogue> <character>THOMAS</character> <dialogue>Where is he going?</dialogue> <scene_description>Charlie emerges from the hallway with his walker.</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry you had to come over, Liz.</dialogue> <scene_description>Liz shuts the window.</scene_description> <character>LIZ</character> <dialogue>It's okay.</dialogue> <character>CHARLIE</character> <dialogue>And I'm sorry I always think I'm dying.</dialogue> <scene_description>Liz goes to Charlie, speaking to him as he heads back to the couch.</scene_description> <character>LIZ</character> <dialogue>Charlie your blood pressure is 238 over 134.</dialogue> <scene_description>Charlie arrives at the couch. Bracing himself on his walker and the arm of the couch, he collapses down into a seated position.</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry.</dialogue> <character>LIZ</character> <dialogue>Go to the hospital.</dialogue> <character>CHARLIE</character> <dialogue>I'm sorry--</dialogue> <character>LIZ</character> <dialogue>Stop saying you're sorry, go to the hospital.</dialogue> <parenthetical>(pause, then firmly:)</parenthetical> <dialogue>You have congestive heart failure. If you don't go to the hospital, you'll be dead by the weekend. You. Will. Die.</dialogue> <scene_description>Silence.</scene_description> <character>CHARLIE</character> <dialogue>Then I should probably keep working, I have a lot of essays this week--</dialogue> <character>LIZ</character> <dialogue>Goddammit.</dialogue> <character>CHARLIE</character> <dialogue>I know, I'm an awful person. I know. I'm sorry.</dialogue> <scene_description>Liz collapses onto the recliner, exasperated. Charlie looks at her. Thomas takes a step toward Charlie.</scene_description> <character>THOMAS</character> <dialogue>Did you still want to hear about Christ's message of love and--?</dialogue> <scene_description>NO. HE DOES NOT.:</scene_description> <character>THOMAS</character> <dialogue>Okay, okay, I'll go, I...</dialogue> <scene_description>Thomas backs away, heading toward the front door. He stops, turns to Charlie.</scene_description> <character>THOMAS</character> <dialogue>I still don't understand why you wanted me to read that essay to you.</dialogue> <character>CHARLIE</character> <dialogue>It's a really good essay.</dialogue> <scene_description>Liz stands, moving toward Thomas. Thomas hurries outside, Liz shuts the door behind him. Liz turns to Charlie. Pause.</scene_description> <character>LIZ</character> <dialogue>You have to go to the hospital, Charlie, this has gone way too far--</dialogue> <character>CHARLIE</character> <dialogue>And rack up tens of thousands of dollars of hospital bills, that I'll never be able to pay back, ever--</dialogue> <character>LIZ</character> <dialogue>This affects me too, you know? You're my friend.</dialogue> <character>CHARLIE</character> <dialogue>I know. I'm sorry.</dialogue> <character>LIZ</character> <dialogue>You say you're sorry one more time I'm gonna shove a knife right into you, I swear to God--</dialogue> <character>CHARLIE</character> <dialogue>Go ahead, what's it gonna do? My internal organs are two feet in at least.</dialogue> <scene_description>Liz smiles despite herself. Charlie laughs. Pause. Liz relents, goes to the couch, sitting next to Charlie. Silence.</scene_description> <character>LIZ</character> <dialogue>I've been telling you this would happen.</dialogue> <character>CHARLIE</character> <dialogue>I know.</dialogue> <character>LIZ</character> <dialogue>Haven't I been telling you--?</dialogue> <character>CHARLIE</character> <dialogue>You have.</dialogue> <scene_description>She finds the television remote, turns on the television. She sits next to Charlie, putting her head on his shoulder. She flips through the channels absent-mindedly. She lands on a news channel playing coverage of the 2016 Idaho primaries.</scene_description> <character>CHARLIE</character> <dialogue>Liz.</dialogue> <scene_description>Silence apart from the television.</scene_description> <character>CHARLIE</character> <dialogue>Liz.</dialogue> <scene_description>More silence.</scene_description> <character>CHARLIE</character> <dialogue>Please.</dialogue> <scene_description>Liz pauses again, then relents. She gets up, goes to the kitchen. She opens up a shopping bag, takes out a large bucket of gas station fried chicken. She brings the bucket to Charlie and gives it to him without looking him in the eye. She sits back down, starts to flip channels.</scene_description> <character>CHARLIE</character> <dialogue>Thank you.</dialogue> <scene_description>She flips another channel, lands on an familiar episode of a sitcom. Charlie starts to eat the chicken.</scene_description> <character>LIZ</character> <dialogue>Oh I've seen this one, it's good.</dialogue> <scene_description>Charlie continues to eat the chicken, Liz watches television.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATE THAT NIGHT</stage_direction> <scene_description>Charlie is asleep in front of the television which plays a late-night program. The chicken bucket is full of bones. Charlie wakes up with a start. He looks at the television, then at the bucket of chicken. He searches for a piece of chicken, but the bones are licked clean. Charlie grabs the remote, turning off the television. He notices the Moby Dick essay from earlier on an arm of the couch, not in its proper folder. He wipes his fingers off with a rag, then takes the essay and reaches for its folder. He regards the essay for a moment, smiling, then gently puts it back into the folder.</scene_description> <character>CHARLIE</character> <parenthetical>(softly, to himself)</parenthetical> <dialogue>In the first part of his book, the author, calling himself Ishmael, is in a small sea-side town and he is sharing a bed with a man named Queequeg.</dialogue> <scene_description>He lifts his shirt up, pulling it off of his body. He folds the shirt neatly while he speaks.</scene_description> <character>CHARLIE</character> <dialogue>The author and Queequeg go to church and later set out on a ship captained by the pirate named Ahab who is missing a leg, and very much wants to kill the whale, which is named Moby Dick, and which is white.</dialogue> <scene_description>Charlie reaches for his walker. Charlie braces himself on the walker and stands up.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Charlie, shirtless, moves down the hallway with his walker, breathing heavily.</scene_description> <character>CHARLIE</character> <dialogue>In the course of the book, the pirate Ahab encounters many hardships. His entire life is set around trying to kill a certain whale. I think this is sad because the whale doesn't have any emotions, and doesn't know how bad Ahab wants to kill him. He's just a poor big animal.</dialogue> <scene_description>He opens his bedroom door.</scene_description> </scene> <scene> <stage_direction>INT. - BEDROOM - CONTINUOUS</stage_direction> <scene_description>A stained, uncovered king-sized mattress rests on top of a sheet of plywood laid over several cinder blocks in a room that feels more like a converted office than a bedroom. The mattress is surrounded by empty food containers and empty and half-full two liter soda bottles. Charlie moves toward the bed.</scene_description> <character>CHARLIE</character> <dialogue>And I feel bad for Ahab as well, because he thinks that his life will be better if he can kill this whale, but in reality it won't help him at all.</dialogue> <scene_description>Bracing himself on the walker, Charlie manages to lower himself down onto the mattress slowly. His knees and chest ache as he descends. He reaches for a bottle of soda on his nightstand. He opens it, takes a long drink. Finally, he is able to lay flat on the mattress. He stares up to the ceiling, wheezing, taking a few deep breaths. Charlie puts the soda bottle on the floor. He closes his eyes, listening to the sound of his heart beating, struggling to pump blood throughout his body.</scene_description> <character>CHARLIE</character> <dialogue>This book made me think about my own life. This book made me think about my own life. This book made me--</dialogue> <scene_description>CUT TO: 6A TITLE: TUESDAY 6A OMITTED</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN - LATE MORNING</stage_direction> <scene_description>Charlie is in the kitchen, leaning up against the counter. His walker is within reach, he is reading through some essays on his laptop. He is just finishing up a small bowl of plain oatmeal. He takes one last bite, then puts the bowl and spoon down onto the counter. Just then, he catches a glimpse of an old stash of candy bars hidden in the back of a half-open drawer. He opens the drawer, takes out one of the candy bars. He opens it up, looking at it. After a moment, he quickly wraps the candy back up, puts it back into the drawer, and closes it. He thinks for a moment, then goes to his laptop. Charlie types "congestive heart failure" into a search engine. He scans an article. His heart rate begins to increase. He types in another search: "congestive heart failure obesity prognosis". He scans a few more results. His pulse is faster still. Finally, he types: "BP 238/134". He scans a few results. They are even more dire than he expected. He glances at a few of them, then slams the computer shut, breathing in and out. Charlie quickly opens up the candy drawer and grabs the candy bar from moments before. He eats the entire thing in three large, quick bites. He hastily grabs a handful of candy bars, opening a few, eating them too quickly. After a few moments, he hears a soft cooing coming from the window. He just barely gets a glimpse of a robin flying away from the window. Charlie swallows what's in his mouth, taking a big breath. He sighs, then puts the uneaten candy bars back on the counter. He thinks for a moment, then makes a decision. He pulls out his phone. He looks at it for a moment, then makes a call. He puts the phone to his ear as he smooths out his hair, anxious. 8A OMITTED 8A</scene_description> </scene> <scene> <stage_direction>INT. - BATHROOM - A SHORT TIME LATER</stage_direction> <scene_description>Charlie is in the shower. Water streams from the shower head, and Charlie uses a loofah to wash his body.</scene_description> </scene> <scene> <stage_direction>INT. - BATHROOM - A SHORT TIME LATER</stage_direction> <scene_description>Charlie, leaning on the sink for support with one arm, shaves with a disposable razor. Charlie nicks himself slightly. He winces. He keeps going. OMITTED</scene_description> </scene> <scene> <stage_direction>11A INT. - LIVING ROOM - MOMENTS LATER 11A</stage_direction> <scene_description>Well-dressed and refreshed, Charlie is at the window where he saw the bird before. He opens it up. There is a plate sitting on the ledge. Charlie opens his hand, placing several small pieces of apple onto the plate. He shuts the window. It's obvious this has become a ritual for him. Just then, a knock at the door. Charlie looks.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>ELLIE, 17, holding a backpack, stands near the front door looking at Charlie, who is lowering himself onto the couch from his walker.</scene_description> <character>ELLIE</character> <dialogue>Does this mean I'm gonna get fat?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>No, it doesn't. I was always big, but I just--let it get out of control.</dialogue> <scene_description>Ellie scans the room.</scene_description> <character>CHARLIE</character> <dialogue>Was your mom okay with you coming over here?</dialogue> <character>ELLIE</character> <dialogue>I didn't tell her.</dialogue> <scene_description>Charlie shifts a little on the couch, uncomfortable. He takes a breath. Ellie watches him.</scene_description> <character>CHARLIE</character> <dialogue>It's really good to see you, you look--beautiful. How's school? You're a senior, right?</dialogue> <character>ELLIE</character> <dialogue>You actually care?</dialogue> <character>CHARLIE</character> <dialogue>Of course I care... I pester your mom for information as often as she'll give it to me.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>So why aren't...? Don't you have school?</dialogue> <character>ELLIE</character> <dialogue>Got suspended this morning.</dialogue> <character>CHARLIE</character> <dialogue>Oh. Why?</dialogue> <character>ELLIE</character> <dialogue>I posted something about my stupid bitch lab partner that the vice- principal said was "vaguely threatening."</dialogue> <scene_description>Ellie moves inside a little more, eyeing the room. She keeps her distance from Charlie.</scene_description> <character>CHARLIE</character> <dialogue>You don't like school?</dialogue> <character>ELLIE</character> <dialogue>Only idiots like high school.</dialogue> <character>CHARLIE</character> <dialogue>But--you're on track to graduate, right?</dialogue> <character>ELLIE</character> <dialogue>Counselor says I might not. I'm not worried. I'm a smart person, I never forget anything. But high school is just bullshit.</dialogue> <character>CHARLIE</character> <dialogue>Ellie, it's important, if you don't graduate--</dialogue> <character>ELLIE</character> <dialogue>Are you actually trying to parent me right now?</dialogue> <character>CHARLIE</character> <dialogue>No, I... I'm sorry, I just...</dialogue> <scene_description>Charlie looks at Ellie, mounting concern. Ellie wanders into the kitchen.</scene_description> <character>CHARLIE</character> <dialogue>I thought we could spend some time with each other.</dialogue> <character>ELLIE</character> <dialogue>I'm not spending time with you. You're disgusting.</dialogue> <character>CHARLIE</character> <dialogue>I know I... I'm a lot bigger since the last time you saw me--</dialogue> <character>ELLIE</character> <dialogue>I'm not talking about what you look like.</dialogue> <character>ELLIE</character> <dialogue>You'd be disgusting even if you weren't this fat, you'd still be that piece of shit dad who walked out on me when I was eight. All because he wanted to fuck one of his students. Can I have one of these?</dialogue> <scene_description>Ellie points to a box of doughnuts in the kitchen. Pause. Charlie nods. Ellie takes a doughnut. She comes out of the kitchen, nibbling on the doughnut. Charlie looks at her, thinking. Pause.</scene_description> <character>CHARLIE</character> <dialogue>Look, it's been a long time. I just thought maybe we could--get to know each other.</dialogue> <scene_description>Ellie chortles.</scene_description> <character>ELLIE</character> <dialogue>I don't even know why I'm here.</dialogue> <scene_description>She moves toward the front door, about to leave.</scene_description> <character>CHARLIE</character> <dialogue>I can pay you.</dialogue> <scene_description>She stops, turns and looks at him.</scene_description> <character>ELLIE</character> <dialogue>You want to pay me to spend time with you?</dialogue> <character>CHARLIE</character> <dialogue>And I can help you with your work. It's what I do for my job.</dialogue> <scene_description>Charlie grabs his laptop, opens it up. His web browser is open to an online university message board for one of his courses. He shows it to Ellie. Ellie glances at the screen.</scene_description> <character>CHARLIE</character> <dialogue>I can help you pass your classes.</dialogue> <character>ELLIE</character> <dialogue>You teach online?</dialogue> <character>CHARLIE</character> <dialogue>Yes.</dialogue> <character>ELLIE</character> <dialogue>Your students know what you look like?</dialogue> <scene_description>Charlie closes the laptop.</scene_description> <character>CHARLIE</character> <dialogue>I--keep the camera shut off.</dialogue> <character>ELLIE</character> <dialogue>That's probably a good idea.</dialogue> <scene_description>Ellie considers for a moment, then opens up her backpack. She rummages through it, looking for something.</scene_description> <character>ELLIE</character> <dialogue>If I show a lot of improvement in one subject, my counselor says I might be able to graduate. You can rewrite these essays for English. But they have to be really good.</dialogue> <scene_description>Ellie takes a couple of essays out of her backpack, hands them to Charlie. Charlie takes them, looks at them.</scene_description> <character>CHARLIE</character> <dialogue>I don't know if I should write them for you, I can work with you on--</dialogue> <character>ELLIE</character> <dialogue>How much can you pay me?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Everything I have, all the money I have in the bank.</dialogue> <character>ELLIE</character> <dialogue>How much?</dialogue> <scene_description>Ellie stares at him. Pause. Charlie relents.</scene_description> <character>CHARLIE</character> <dialogue>A hundred-and-twenty thousand? Something like that. I'd have to check.</dialogue> <scene_description>Pause. Ellie looks doubtful.</scene_description> <character>CHARLIE</character> <dialogue>I never go out, all I pay for is food, internet, rent... And I work all the time.</dialogue> <character>ELLIE</character> <dialogue>And you'd give all that to me? Not to my mom, to me?</dialogue> <character>CHARLIE</character> <dialogue>Yes, just--. Don't tell your mom, okay?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>And maybe you could do some writing. Just for me.</dialogue> <character>ELLIE</character> <dialogue>Why?</dialogue> <character>CHARLIE</character> <dialogue>You're a smart person. I bet you're a strong writer. Plus, I'm a teacher, I wanna make sure you're getting something out of this.</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>I don't even understand you.</dialogue> <scene_description>Ellie heads for the front door, opening it up. She stops, thinking for a moment. Very faintly, we begin to hear the sound of ocean waves in the background. She turns, facing Charlie.</scene_description> <character>ELLIE</character> <dialogue>Stand up and walk over to me.</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>ELLIE</character> <dialogue>Come over here. Walk toward me.</dialogue> <scene_description>Charlie pauses, then reaches for his walker.</scene_description> <character>ELLIE</character> <dialogue>Without that thing. Just stand up and come over here.</dialogue> <character>CHARLIE</character> <dialogue>Ellie, I can't really--</dialogue> <character>ELLIE</character> <dialogue>Shut up. Come over here.</dialogue> <scene_description>Pause. Charlie looks around, trying to find something to brace himself. Finally, he puts one hand on the arm of the couch. He struggles to roll forward so he can put his weight onto his legs. Ellie watches him silently. The effort of bending forward is painful, but he doesn't stop. He is almost able to get on his feet, but a surge of pain brings him back to the couch. He looks at Ellie. She stares back at him, motionless. He grabs the edge of an end table, bracing himself. He puts all his effort into it, and manages to rise a few inches off the couch. He keeps his eyes locked on Ellie. Just as it looks like he might be able to freely stand, the end table gives way, two of the legs cracking in half. It takes a lamp with it, along with a stack of papers. Charlie falls back onto the couch. He rolls back, dizzy with pain and lack of oxygen. Charlie breathes for a moment, managing to calm himself down. He opens his eyes, then looks back at Ellie as she rushes out the front door.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER THAT AFTERNOON</stage_direction> <scene_description>Charlie stands with his walker by a bookcase near the dining table, one of Ellie's essays in his hand. He reaches up and takes out a well-loved copy of Leaves of Grass. A knock at the door.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>Gambino's.</dialogue> <scene_description>Pause. He puts the book back on the shelf.</scene_description> <character>CHARLIE</character> <dialogue>Yeah, you can--. I put a twenty in the mail box?</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Sure.</dialogue> <character>CHARLIE</character> <dialogue>You can just leave it on the--</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Yeah, I--. I remember.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Everything okay in there?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Yeah.</dialogue> <scene_description>Pause.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>You sure?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, I'm fine.</dialogue> <scene_description>Charlie starts moving toward the front door. He drops off Ellie's essay on the kitchen counter.</scene_description> <character>CHARLIE</character> <dialogue>Thank you.</dialogue> <scene_description>Pause. Charlie listens. Finally, we hear the sound of the mailbox opening and shutting. We see the silhouette of the DELIVERY BOY passing by the kitchen windows. Charlie waits for a moment, then moves toward the door with his walker.</scene_description> </scene> <scene> <stage_direction>INT. - FRONT DOORWAY - MOMENTS LATER</stage_direction> <scene_description>Charlie opens up the front door. We now see that his apartment is on the second floor of a cheaply constructed building, his front door opening to an exterior walkway and staircase that lead down to the parking lot. There is a large pizza box sitting on a small outdoor table next to the door. We hear the sound of a car door shutting. Charlie looks down to the parking lot, sees the delivery boy driving away. He watches the car leave the parking lot and disappear down the street.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - THAT EVENING</stage_direction> <scene_description>Charlie sits on the couch. Liz sits next to him, holding a small machine with some electrodes attached to it. As Charlie breathes in and out, we see that the electrodes are attached to Charlie's palm.</scene_description> <character>LIZ</character> <dialogue>Breathe slowly, relax.</dialogue> <scene_description>Liz watches the number on the machine. Silence. She breathes in and out, Charlie does as well.</scene_description> <character>LIZ</character> <dialogue>It measures perspiration, it's an indicator of stress. It's about establishing a relationship between your brain and your body. If you know how to make yourself calm, then your blood pressure'll... Here.</dialogue> <scene_description>Liz shows him the number on the machine, which is going down slowly.</scene_description> <character>CHARLIE</character> <dialogue>I don't need a little machine to tell me how to take a few deep breaths and stop sweating.</dialogue> <character>LIZ</character> <dialogue>Well apparently you fucking do. Take another deep breath.</dialogue> <scene_description>Liz puts the machine in Charlie's lap and goes to the kitchen. She starts to unpack the groceries she just brought over.</scene_description> <character>LIZ</character> <dialogue>We're just gonna try some different methods or whatever, if you refuse to go to the hospital then you--</dialogue> <scene_description>Liz sees Ellie's essays sitting on the counter. She picks one up, notices Ellie's name at the top. She takes the essay and leaves the kitchen, showing it to Charlie.</scene_description> <character>LIZ</character> <dialogue>Where did this come from?</dialogue> <scene_description>Pause. Charlie looks away.</scene_description> <character>LIZ</character> <dialogue>Was she here?</dialogue> <scene_description>Charlie looks at Liz, apologetic.</scene_description> <character>LIZ</character> <dialogue>No, I don't like this. This isn't a good idea.</dialogue> <scene_description>Pause. Liz goes back to the kitchen. She continues to stock items.</scene_description> <character>LIZ</character> <dialogue>You know you're not supposed to be around her. Does her mom know about this?</dialogue> <character>CHARLIE</character> <dialogue>I just want to see her, I've always just wanted to see her. Mary's kept her from me all this time--</dialogue> <character>LIZ</character> <dialogue>Why do you suddenly need to see her so bad, why now?</dialogue> <character>CHARLIE</character> <dialogue>Liz.</dialogue> <scene_description>Charlie looks at her. Pause. Liz looks away.</scene_description> <character>LIZ</character> <dialogue>Why the hell do you have her homework, anyway?</dialogue> <scene_description>Liz goes back to putting away groceries in the kitchen.</scene_description> <character>CHARLIE</character> <dialogue>Look, I wasn't planning on this, but she just--. She needs some help in school, so I'm just going to help her with some essays.</dialogue> <character>LIZ</character> <dialogue>You haven't seen this girl since she was eight years old, and you wanna reconnect with her by doing her homework for her?</dialogue> <character>CHARLIE</character> <dialogue>It's fine--</dialogue> <character>LIZ</character> <dialogue>It's not fine. She shouldn't be around you when you're like this. What if something happens, what if you need help?</dialogue> <scene_description>Liz notices the number on the machine, which is slowly going back up.</scene_description> <character>LIZ</character> <dialogue>Charlie, calm down!</dialogue> <scene_description>Frustrated, Charlie takes the electrodes off, puts the machine on the couch next to him. Liz glares at him, then grabs the machine and puts it in her bag.</scene_description> <character>CHARLIE</character> <dialogue>I'm worried about her.</dialogue> <character>LIZ</character> <dialogue>Why?</dialogue> <scene_description>Charlie opens up his laptop, it's open to Ellie's Facebook page.</scene_description> <character>LIZ</character> <dialogue>You're spying on her, now?</dialogue> <character>CHARLIE</character> <dialogue>It doesn't even look like she has friends, I don't think she's...</dialogue> <scene_description>Liz joins him on the couch. He scrolls through her profile, landing on one black and white shot of a barren suburban street at night, several streetlights trailing off into the distance throwing pools of light onto the street. It's strikingly beautiful, if bleak. He continues to scroll, landing on a selfie. The photo has one comment: "dyke." Charlie stares at it.</scene_description> <character>CHARLIE</character> <dialogue>I'm worried she's forgotten what an amazing person she is.</dialogue> <scene_description>Charlie and Liz look at the photo for a moment. Liz looks at Charlie, then shuts the laptop.</scene_description> <character>LIZ</character> <dialogue>She's just a teenager, everyone's insane when they're a teenager. When I was that age, when my dad would really piss me off? I'm just lucky I didn't get arrested, I'll say that much.</dialogue> <scene_description>Liz goes back into the kitchen, putting the rest of the groceries away.</scene_description> <character>LIZ</character> <dialogue>Point is, bringing her over here is a bad idea.</dialogue> <scene_description>Liz grabs a meatball sub, brings it to Charlie. Charlie shuts the laptop. Liz looks straight into his eyes.</scene_description> <character>LIZ</character> <dialogue>You've got enough to deal with right now, you hear me? Do not bring her over here again.</dialogue> <scene_description>Charlie looks at the meatball sub in Liz's hand. Liz continues to stare at him.</scene_description> <character>CHARLIE</character> <dialogue>Okay.</dialogue> <scene_description>Liz hands Charlie the meatball sub, then heads back into the kitchen. Charlie unwraps the sub and begins eating it, fairly quickly.</scene_description> <character>LIZ</character> <dialogue>It's not like she's alone, you know. She has her mom.</dialogue> <scene_description>Charlie takes a big bite of the sub, accidentally inhaling a large chunk of meat. His windpipe is blocked. Liz has her back turned to him. She turns on the water, starts to wash dishes that have piled up in the sink. She sees the digital clock on the microwave.</scene_description> <character>LIZ</character> <dialogue>Shit, I have to go soon... I hate these night shifts. Just a steady parade of dumb drunk college kids.</dialogue> <scene_description>Charlie begins to panic. He reaches into his mouth, trying to pull out the piece of meat. It doesn't work.</scene_description> <character>LIZ</character> <dialogue>Did I tell you about this girl from a few nights ago? The puke was bright purple, I swear. What does that? Why can't these kids just drink beer?</dialogue> <scene_description>No response. Charlie continues to choke.</scene_description> <character>LIZ</character> <dialogue>Charlie?</dialogue> <scene_description>Liz finally turns around, sees Charlie. She goes to him.</scene_description> <character>LIZ</character> <dialogue>Are you choking? Oh God, are you choking?!</dialogue> <scene_description>Liz, not knowing what to do, pushes Charlie forward. She hits his back a couple of times, it doesn't work.</scene_description> <character>LIZ</character> <dialogue>Okay, okay--lean over the arm!</dialogue> <scene_description>Liz helps Charlie move so that the base of his stomach is over the arm of the couch. She circles the couch, climbs on top of him. Putting all her weight into it, she attempts to give him the Heimlich Maneuver. The first few attempts don't work, but finally on the third or fourth attempt Charlie spits out the chunk of meatball onto the carpet.</scene_description> <character>LIZ</character> <dialogue>Shit. Oh shit, Charlie.</dialogue> <scene_description>Charlie leans back on the couch, in an immense amount of pain. He takes a few deep breaths.</scene_description> <character>CHARLIE</character> <dialogue>I'm okay. I'm okay.</dialogue> <scene_description>Silence. Charlie breathes. Liz stares at him. The water continues to run in the kitchen sink.</scene_description> <character>LIZ</character> <dialogue>GODDAMMIT CHARLIE, WHAT IS WRONG</dialogue> <dialogue>WITH YOU? Chew your food like a normal human being! You could have just died right in front of me, you- -!</dialogue> <character>CHARLIE</character> <dialogue>I'm sorry...</dialogue> <scene_description>Silence. Liz looks away, struggles to calm down.</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry, Liz.</dialogue> <scene_description>Finally, she goes to the kitchen, grabs a wad of paper towels. She goes back to the couch, cleaning up the piece of meatball that Charlie coughed up. Liz throws away the paper towels, then goes back to Charlie. She sees the partially eaten sub on the floor. She considers, then picks it up, looking at it.</scene_description> <character>LIZ</character> <dialogue>It's okay.</dialogue> <scene_description>Liz brushes it off a bit, then extends it to Charlie. Charlie looks at it, then her. He takes the sub. Liz looks away, going into the kitchen. She turns off the water. She pauses, taking a breath, gathering herself. Charlie looks at the meatball sub. CUT TO: 15A TITLE: WEDNESDAY 15A</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATE MORNING</stage_direction> <scene_description>Charlie, on the couch, is in front of his laptop with the virtual classroom on the screen, this time with a different group of STUDENTS. As before, his camera is not on.</scene_description> <character>CHARLIE</character> <dialogue>I read through some of the posts on the course discussion forum this morning. In particular a post about crafting a good thesis. Quote, "just pick a sentence from the reading and say it's good or some shit."</dialogue> <parenthetical>(pause, sighing)</parenthetical> <dialogue>Listen, at this point in the course, I've given you all I can in terms of structure, building a thesis, paragraph organization... But if all of that isn't built on your own original ideas and truthful analysis, it doesn't mean anything. So just--as you write and revise, focus on that. Focus on the truth of your argument. It may sound silly, but it's--important. I promise it's important.</dialogue> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Leaning on his walker, Charlie is at a bookcase leafing through several old notebooks on the shelf. Most of them are old and well-worn. Finally, he spots what he was looking for: a blank notebook with a purple cover. He grabs it, taking it off the shelf. As he pulls it out, he notices something on the shelf nearby: an old framed photo wedged between a couple of books. He pulls the photo out, looking at it. The photo is roughly six or seven years old, it's a picture of Charlie in his early 40s standing on a beach on the Oregon Coast, his arm around a slightly younger man. They both look young, healthy, and happy. Charlie is big, but not nearly as large as he is now. Charlie stares at the photo, smiling a bit. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - SHORTLY LATER</stage_direction> <scene_description>Charlie stands with his walker at the closed door to the second bedroom. There is an old, dust-covered key laying flat on top of the doorframe. Using his claw, Charlie tries to grab the key. He struggles to get the right angle, and lifting his arms this high proves difficult. Just as he's about to get hold of the key, it slips from the claw's grip and falls to the floor. Charlie tries to use the claw to grab the key. He manages to grip the key momentarily, but as he's lifting it he loses his grip and the key falls back to the floor, bouncing underneath the washing machine in an adjacent closet. He sighs, looking at the locked door.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Ellie sits in a corner, typing on her phone. Charlie is on the couch reading an essay. He steals a few glances at Ellie.</scene_description> <character>CHARLIE</character> <dialogue>This is... You say here that Walt Whitman wrote "Song for Myself."</dialogue> <character>ELLIE</character> <parenthetical>(not looking up)</parenthetical> <dialogue>Yeah?</dialogue> <character>CHARLIE</character> <dialogue>It's called "Song of Myself."</dialogue> <character>ELLIE</character> <dialogue>My title's better.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Yeah, well it... Okay, I'll just change it.</dialogue> <scene_description>Charlie makes a note in the essay.</scene_description> <character>CHARLIE</character> <parenthetical>(reading)</parenthetical> <dialogue>"The poem 'Song of Myself' is in a book called 'Leaves of Grass.' It was written by Walt Whitman and was published in 1855. He paid for the first publication himself."</dialogue> <character>ELLIE</character> <dialogue>You don't have to read it out loud, just re-write it.</dialogue> <scene_description>He looks at Ellie. She continues to type on her phone.</scene_description> <character>CHARLIE</character> <dialogue>But this... You're supposed to analyze the poem, this is just a list of facts.</dialogue> <character>ELLIE</character> <dialogue>Yup. Thank you, Wikipedia.</dialogue> <character>CHARLIE</character> <dialogue>It's actually an amazing poem, Whitman uses the metaphor of "I" not to refer to himself but to explode the entire definition of self in favor of this all- encompassing--</dialogue> <character>ELLIE</character> <dialogue>I really, really don't care.</dialogue> <scene_description>Pause. Ellie continues to type, not looking at Charlie.</scene_description> <character>CHARLIE</character> <dialogue>You know, I think you might like it if you actually read it.</dialogue> <scene_description>Ellie finally looks up from her phone, looks at Charlie.</scene_description> <character>ELLIE</character> <dialogue>You're just like my teachers, you think just because I'm not losing my shit over the poem, it's because I didn't read it. I did read it.</dialogue> <character>ELLIE</character> <dialogue>It's overwritten and dumb and repetitive and even though he thinks his "metaphor of I" is deep, it's actually just bullshit and in reality he's just some worthless 19th century faggot.</dialogue> <scene_description>Pause. Ellie stares at him for a moment.</scene_description> <character>CHARLIE</character> <dialogue>That's an interesting perspective. It would make for an interesting essay.</dialogue> <scene_description>Ellie goes back to her phone.</scene_description> <character>ELLIE</character> <dialogue>Just write that thing about exploding the definition of self, my English teacher'll love it.</dialogue> <scene_description>Charlie looks at the essay again, reads a few more sentences. His eyes drift back to Ellie. Charlie puts his hand on the edge of the couch, nervously teasing a loose thread.</scene_description> <character>CHARLIE</character> <dialogue>How's your mom doing?</dialogue> <character>ELLIE</character> <dialogue>Oh my God.</dialogue> <scene_description>Ellie grabs her backpack, stands up.</scene_description> <character>ELLIE</character> <dialogue>If you're not gonna write these essays for me--</dialogue> <character>CHARLIE</character> <dialogue>Ellie, I don't need you here to write this for you. If you want to go, you can go. You can still have the money.</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>I thought you wanted to get to know me.</dialogue> <character>CHARLIE</character> <dialogue>I do, but I don't want to force you to be here. It's up to you.</dialogue> <scene_description>Pause. Ellie considers. After a moment, she puts her backpack down and sits.</scene_description> <character>ELLIE</character> <dialogue>She's fine. Mom. I guess.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Is she--happy?</dialogue> <character>ELLIE</character> <dialogue>When she drinks.</dialogue> <character>CHARLIE</character> <dialogue>Oh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You guys still live in that duplex over on Orchard?</dialogue> <character>ELLIE</character> <dialogue>You don't even know where we live?</dialogue> <parenthetical>(short pause)</parenthetical> <dialogue>You don't stay in touch with mom?</dialogue> <character>CHARLIE</character> <dialogue>I check in as much as she lets me. She really only tells me things about you.</dialogue> <character>ELLIE</character> <dialogue>Why?</dialogue> <character>CHARLIE</character> <dialogue>Because that's all I ask about.</dialogue> <scene_description>Pause. Ellie gets up, starts wandering around the room, examining things.</scene_description> <character>ELLIE</character> <dialogue>When I was eleven we moved to the other side of town, near the Walmart.</dialogue> <character>CHARLIE</character> <dialogue>Is your mother--with anyone right now?</dialogue> <character>ELLIE</character> <dialogue>No. Why, you interested?</dialogue> <character>CHARLIE</character> <dialogue>Oh, no, I just...</dialogue> <scene_description>Ellie looks at a bookshelf, spots the framed photo of Alan and Charlie from before. She turns it right side up, examining it.</scene_description> <character>ELLIE</character> <dialogue>Why did you gain all that weight?</dialogue> <scene_description>Ellie takes the framed photo in her hands, studying it.</scene_description> <character>CHARLIE</character> <dialogue>Oh, I don't--</dialogue> <character>ELLIE</character> <dialogue>If you're gonna interrogate me I'm gonna do the same thing. Why did you gain all that weight?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Someone close to me passed away, and it--... It had an effect on me.</dialogue> <scene_description>Ellie turns to Charlie, holds up the framed photo. Charlie looks at the photo, nodding slightly. Charlie continues to play with the loose thread on the couch, his heartbeat rising a bit. Ellie looks at the photo again.</scene_description> <character>ELLIE</character> <dialogue>Your boyfriend.</dialogue> <character>CHARLIE</character> <dialogue>My partner.</dialogue> <character>ELLIE</character> <dialogue>Your student.</dialogue> <character>CHARLIE</character> <dialogue>He wasn't that young, it was a night school course--</dialogue> <character>ELLIE</character> <dialogue>Oh, I remember him. You had him over for dinner once when mom was in Montana visiting grandma. You made steaks. The good kind. Better meal than you ever made me or mom. I remember hearing the two of you talking after I went to bed.</dialogue> <character>CHARLIE</character> <dialogue>How do you remember all that?</dialogue> <character>ELLIE</character> <dialogue>I told you. I never forget anything.</dialogue> <scene_description>Pause. Ellie stares at Charlie.</scene_description> <character>ELLIE</character> <dialogue>How did he die?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>You know, I--. I'd really rather not talk about this right now, if that's alright.</dialogue> <scene_description>Ellie rolls her eyes, puts the framed photo near the window where the bird had been, facing out. She goes back to her seat, takes out her phone again. Charlie reaches behind the couch, takes out the purple notebook.</scene_description> <character>CHARLIE</character> <dialogue>I'll write these essays for you, but I'd like you to do some writing, just for me?</dialogue> <scene_description>Charlie extends the notebook to Ellie. She looks up from her phone, doesn't take the notebook.</scene_description> <character>ELLIE</character> <dialogue>I hate writing essays.</dialogue> <character>CHARLIE</character> <dialogue>Just think about the poem for a while, and write something. Be honest, tell me what you really think.</dialogue> <character>ELLIE</character> <dialogue>You want me to write what I really think?</dialogue> <scene_description>Charlie keeps the notebook extended toward Ellie. Ellie stares at him for a second, then grabs the notebook. She opens it up, grabs a pen, starts writing. Charlie reaches for his walker.</scene_description> <character>CHARLIE</character> <dialogue>I'll be back in a minute. Just write whatever you want.</dialogue> <scene_description>Charlie manages to brace himself on the walker and stand up. He slowly heads down the hall toward the bathroom. Ellie continues to write in the notebook, watching him from the corner of her eye. Charlie continues down the hall into the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. - BATHROOM - CONTINUOUS</stage_direction> <scene_description>Charlie makes his way into the bathroom. He turns on the water. Leaning on the sink, he fights a wave of tears. The wave of tears comes back, nearly overtaking him. He stifles it as best he can.</scene_description> <character>ELLIE (O.S.)</character> <dialogue>Are you okay?</dialogue> <parenthetical>(short pause)</parenthetical> <dialogue>Unless you're dying, there's no way I'm coming in there.</dialogue> <character>CHARLIE</character> <dialogue>No, it's... I'm fine.</dialogue> <scene_description>Charlie breathes in and out, struggling to calm down.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Ellie is standing halfway down the hall, holding the notebook. She looks toward the bathroom silently. Suddenly we hear the sound of flapping wings near the window, Ellie looks and sees the bird from before. Ellie approaches the window, sees the plate with pieces of apple on it. Only a few slightly brown pieces remain. A knock at the front door. Ellie looks toward the front door, then toward the bathroom, considering calling out for Charlie. Another knock. Finally, she goes to the front door, unlocking the two bolts and throwing it open. Thomas stands in the doorway.</scene_description> <character>THOMAS</character> <dialogue>Oh, uh. Hi.</dialogue> <scene_description>Ellie doesn't respond, staring at him silently.</scene_description> <character>THOMAS</character> <dialogue>I was--looking for Charlie?</dialogue> <character>ELLIE</character> <dialogue>He's in the bathroom.</dialogue> <character>THOMAS</character> <dialogue>Oh. I can come back if--</dialogue> <scene_description>Ellie beckons him inside. Thomas pauses, then cautiously makes his way inside. Ellie shuts the door behind him, takes a seat, stares at him. Thomas awkwardly smiles at her. Pause.</scene_description> <character>THOMAS</character> <dialogue>Are you his--friend?</dialogue> <character>ELLIE</character> <dialogue>I'm his daughter.</dialogue> <character>THOMAS</character> <parenthetical>(taken aback)</parenthetical> <dialogue>Oh.</dialogue> <character>ELLIE</character> <dialogue>Are you surprised?</dialogue> <character>THOMAS</character> <dialogue>Well, yeah, I guess.</dialogue> <character>ELLIE</character> <dialogue>What's more surprising? That a gay guy has a daughter, or that someone found his penis?</dialogue> <scene_description>Pause. Thomas makes a move toward the front door.</scene_description> <character>ELLIE</character> <dialogue>I'm kidding, Jesus.</dialogue> <scene_description>Thomas stops, looks at her. An awkward silence.</scene_description> <character>THOMAS</character> <dialogue>I, uh. Charlie was interested in hearing more about my church, I brought some literature and I thought that--</dialogue> <character>ELLIE</character> <dialogue>Are you like a Mormon?</dialogue> <character>THOMAS</character> <dialogue>No, I, uh--I'm from New Life?</dialogue> <character>ELLIE</character> <dialogue>Ohhh. That end times cult thing.</dialogue> <character>THOMAS</character> <dialogue>It's not a cult--</dialogue> <character>ELLIE</character> <dialogue>I'll tell you one thing I like about religion.</dialogue> <scene_description>Thomas looks at her, unsure of how to respond. He gives her a slight smile, a slight shrug.</scene_description> <character>ELLIE</character> <dialogue>What I like about religion is that it assumes everyone is an idiot and that they're incapable of saving themselves. I think they got something right with that.</dialogue> <character>THOMAS</character> <dialogue>Well I don't really--</dialogue> <character>ELLIE</character> <dialogue>But what I don't like about religion is that when people accept Jesus or whatever, they suddenly think they're better than everyone else. That by accepting the fact that they're stupid sinners they've somehow become better, and they turn into assholes.</dialogue> <scene_description>Ellie stares at Thomas. Pause.</scene_description> <character>THOMAS</character> <dialogue>I--don't really know what to say, I have some pamphlets--</dialogue> <scene_description>Ellie takes out her phone, snaps a picture of Thomas.</scene_description> <character>THOMAS</character> <dialogue>Why did you just do that?</dialogue> <character>ELLIE</character> <dialogue>Are you coming back tomorrow?</dialogue> <character>THOMAS</character> <dialogue>I'm not sure?</dialogue> <character>ELLIE</character> <dialogue>Come back tomorrow, I'll be here around the same time.</dialogue> <character>THOMAS</character> <dialogue>I'm sorry, what's happening?</dialogue> <scene_description>Charlie appears in the hallway, he sees Thomas.</scene_description> <character>CHARLIE</character> <dialogue>Oh.</dialogue> <character>THOMAS</character> <dialogue>Hi, um. I was just--</dialogue> <scene_description>Ellie takes a picture of Charlie with her phone, then grabs her backpack, starts gathering her things. She leaves the notebook behind.</scene_description> <character>ELLIE</character> <parenthetical>(to Charlie)</parenthetical> <dialogue>You'll have that one done by tomorrow?</dialogue> <character>CHARLIE</character> <dialogue>Sure.</dialogue> <character>ELLIE</character> <dialogue>Five page minimum.</dialogue> <character>CHARLIE</character> <dialogue>It'll be good, I promise.</dialogue> <scene_description>Ellie turns to Thomas.</scene_description> <character>ELLIE</character> <dialogue>I'm Ellie.</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>Thomas.</dialogue> <scene_description>Pause, Ellie studies him. Thomas smiles at her awkwardly. Finally, Ellie leaves. Charlie notices the framed photo of himself and his partner on the shelf, looks at it briefly. He reaches up and turns it over, putting it face down.</scene_description> <character>THOMAS</character> <dialogue>So!</dialogue> <scene_description>Charlie turns to Thomas. Thomas looks back at him, smiling.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Charlie is on the couch, looking through some Bible tracts absent-mindedly. Thomas holds a Bible.</scene_description> <character>THOMAS</character> <dialogue>Christ's return has been promised for centuries. But there are a lot of clues in scripture that suggest it's imminent.</dialogue> <scene_description>Charlie turns a page in the tract. There is an illustration of hundreds of people floating up to heaven from out of a hellish city landscape. Charlie flips a page, the phrase "THE END IS COMING" appears in bold letters.</scene_description> <character>THOMAS</character> <dialogue>So that means that we don't have time to deny the gospel, we don't have the luxury of--</dialogue> <character>CHARLIE</character> <dialogue>You really think the world is gonna end soon?</dialogue> <scene_description>Pause. Thomas looks at Charlie.</scene_description> <character>THOMAS</character> <dialogue>I mean... The Bible says that no one shall know the day or the hour, but--yeah. I think we're probably living in end times.</dialogue> <character>CHARLIE</character> <dialogue>And that doesn't... Bother you?</dialogue> <scene_description>Charlie flips another page in the pamphlet. There is an illustration of a thoroughly Caucasian Jesus, his arms open wide.</scene_description> <character>THOMAS</character> <dialogue>No, it--. I think it's amazing, it's...</dialogue> <scene_description>Charlie turns to Thomas. Thomas thinks, looking at his hands.</scene_description> <character>THOMAS</character> <dialogue>The idea that there's a better world coming to replace this one? That all the terrible things about this country, this planet, will just get wiped clean, replaced with something pure and holy and--</dialogue> <character>CHARLIE</character> <dialogue>Look, I--. I'm sorry, I don't mean to be rude, but... I know all this.</dialogue> <character>THOMAS</character> <dialogue>What do you mean?</dialogue> <character>CHARLIE</character> <dialogue>I've probably read just about everything written by New Life Church, probably every pamphlet they've ever published--</dialogue> <character>THOMAS</character> <dialogue>Oh--I mean that's great and everything, but these tracts are just the beginning, there's so much in the Bible that--</dialogue> <character>CHARLIE</character> <dialogue>I've read the Bible.</dialogue> <scene_description>Pause. Thomas looks at him, smiling.</scene_description> <character>THOMAS</character> <dialogue>Oh yeah?</dialogue> <character>CHARLIE</character> <dialogue>Sure. Couple times.</dialogue> <character>THOMAS</character> <dialogue>Did you... Like it?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>I thought it was... Devastating. God creates us, expels us from paradise, then we wander around for thousands of years killing each other before he comes back to save 144,000 of us, meanwhile the other seven and a half billion of us fall into hell.</dialogue> <scene_description>Pause. Thomas considers, thumbs through his Bible a bit.</scene_description> <character>THOMAS</character> <dialogue>Yeah, that's not really how I interpret it, but...</dialogue> <scene_description>Finally, Thomas sighs, puts down the Bible. He sits next to Charlie.</scene_description> <character>THOMAS</character> <dialogue>Charlie, you have to understand-- God hasn't turned his back on you. If you accept him, he's going to release you from this, he's going to take your soul out of this body and give you a new body, one made of pure light. Don't you want that?</dialogue> <scene_description>Charlie sighs, looking away from him.</scene_description> <character>CHARLIE</character> <dialogue>I'm not interested in being saved. I appreciate you helping me out the other day, but you can go, this doesn't--</dialogue> <character>THOMAS</character> <dialogue>Okay, look--I really think God sent me here for a reason, there's a reason I knocked on your door when you needed someone the most.</dialogue> <parenthetical>(short pause)</parenthetical> <dialogue>Isn't there any way I can help? That's why I became a missionary in the first place, right?</dialogue> <scene_description>Pause. Charlie looks at him.</scene_description> <character>CHARLIE</character> <dialogue>There is--something you can do.</dialogue> <scene_description>Charlie looks at Thomas. Thomas suddenly grows uncomfortable, moving away from Charlie.</scene_description> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>THOMAS</character> <dialogue>No, I just... I hope you know I wasn't talking about...</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <parenthetical>(finally realizing)</parenthetical> <dialogue>Oh my God.</dialogue> <character>THOMAS</character> <dialogue>It's just with the... What you were watching, the first time I came in here--</dialogue> <character>CHARLIE</character> <dialogue>I am not attracted to you. Please, understand me when I say that. I am not attracted to you. You're a fetus.</dialogue> <scene_description>Thomas looks away, a little ashamed.</scene_description> <character>THOMAS</character> <dialogue>Sorry, I just...</dialogue> <character>CHARLIE</character> <dialogue>Thomas, tell me the truth. Do you find me disgusting?</dialogue> <scene_description>Pause. Thomas looks Charlie straight in the eye.</scene_description> <character>THOMAS</character> <dialogue>No.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I just want to help. Please, just let me help.</dialogue> <scene_description>Charlie looks at him, thinking.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - A SHORT TIME LATER</stage_direction> <scene_description>Charlie and Thomas are in the hallway. Charlie is standing with his walker. Thomas is on his knees, searching for the key underneath the washing machine. He finds it, then stands up. He looks at the key for a moment, then puts it in the bedroom door, unlocking it. Just as he's about to open the door Charlie reaches out and stops him, leaving the door open only a few inches. Thomas looks at Charlie. Charlie looks away. Charlie starts making his way back to the living room.</scene_description> <character>CHARLIE</character> <dialogue>Thank you, that was--. That was helpful.</dialogue> <character>THOMAS</character> <dialogue>What happened to your...?</dialogue> <scene_description>Charlie stops, looking at Thomas.</scene_description> <character>THOMAS</character> <dialogue>Sorry it's just--. Your friend, Liz, she said that your boyfriend... She said that he used to go to New Life?</dialogue> <scene_description>Pause. Charlie looks at him. The sound of a key in the front door, the door opening.</scene_description> <character>LIZ (O.S.)</character> <dialogue>Charlie?!</dialogue> <character>CHARLIE</character> <parenthetical>(calling out)</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>Charlie makes his way down the hallway. Thomas watches him.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Charlie comes into the living room, followed by Thomas. Liz is coming in through the front door, pulling a folded up wheelchair behind her.</scene_description> <character>LIZ</character> <dialogue>Alright, I got you this. I did some asking around and--</dialogue> <scene_description>Liz sees Thomas.</scene_description> <character>LIZ</character> <dialogue>What the fuck is he doing here?</dialogue> <character>CHARLIE</character> <dialogue>He was just helping me with something, Liz. Take it easy.</dialogue> <scene_description>Liz glares at Thomas, then pulls the wheelchair the rest of the way through the doorway.</scene_description> <character>LIZ</character> <dialogue>Okay, well... You can go now.</dialogue> <character>CHARLIE</character> <dialogue>Liz.</dialogue> <character>LIZ</character> <parenthetical>(to Thomas)</parenthetical> <dialogue>Go home.</dialogue> <scene_description>Thomas grabs his backpack, moves toward the front door. He knocks over a floor lamp in his haste.</scene_description> <character>THOMAS</character> <dialogue>Crap, sorry--</dialogue> <character>LIZ</character> <dialogue>Leave it.</dialogue> <scene_description>Thomas bends down, grabs the lamp.</scene_description> <character>LIZ</character> <dialogue>I said leave it!</dialogue> <character>CHARLIE</character> <dialogue>Liz, would you stop?</dialogue> <scene_description>Liz glares at Charlie. Thomas awkwardly puts the lamp right side up, then goes to the front door. He opens it, about to leave. Liz goes to Thomas, blocking him. She shuts the front door, glaring at him.</scene_description> <character>LIZ</character> <dialogue>Actually, stay. We'll have a chat.</dialogue> <scene_description>Liz locks the two bolts on the door, then brings the wheelchair to Charlie. Thomas stands near the front door, not knowing what to do.</scene_description> <character>CHARLIE</character> <dialogue>What is it?</dialogue> <character>LIZ</character> <dialogue>What the fuck does it look like?</dialogue> <scene_description>Liz unfolds the wheelchair.</scene_description> <character>LIZ</character> <dialogue>It's a fat guy wheelchair.</dialogue> <character>CHARLIE</character> <dialogue>Why do I need a wheelchair?</dialogue> <character>LIZ</character> <dialogue>I was talking with one of the E.R. doctors, he said that moderate activity would be a good idea. Sense of independence might help you out.</dialogue> <character>CHARLIE</character> <dialogue>How much did you pay for this thing?</dialogue> <character>LIZ</character> <dialogue>Nothing. We ordered it for a patient a few months ago, it's just been sitting around.</dialogue> <character>CHARLIE</character> <dialogue>What happened to the patient?</dialogue> <scene_description>Liz doesn't respond.</scene_description> <character>LIZ</character> <dialogue>Try it out.</dialogue> <scene_description>Liz braces the back of the wheelchair by putting all her weight onto it. Charlie slowly backs toward the wheelchair.</scene_description> <character>LIZ</character> <parenthetical>(like a truck backing up)</parenthetical> <dialogue>Beep. Beep. Beep.</dialogue> <scene_description>Charlie looks back at her. Liz smiles. Charlie keeps moving backward, reaching the wheelchair. He collapses down into it. Thomas watches silently. Liz unlocks the wheels of the wheelchair, moves some trash and other items out of his way. Charlie wheels himself forward a little bit, using both his arms and his legs to help himself move. Charlie smiles a bit, unexpectedly pleased.</scene_description> <character>LIZ</character> <dialogue>Good?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, it--it's actually really nice.</dialogue> <character>LIZ</character> <dialogue>Lemme clear some space for you.</dialogue> <scene_description>Liz starts moving some stuff around, making room for the wheelchair. She goes to one end of the coffee table, about to lift it. She pauses, looking at Thomas.</scene_description> <character>LIZ</character> <dialogue>Hello?</dialogue> <scene_description>Thomas quickly moves to the other side of the coffee table. He helps Liz move it to the side. Charlie wheels himself a few more feet. He smiles wider.</scene_description> <character>CHARLIE</character> <dialogue>Thank you, Liz, this is really great...</dialogue> <character>LIZ</character> <dialogue>See? I told you.</dialogue> <character>THOMAS</character> <dialogue>I should probably go.</dialogue> <character>LIZ</character> <dialogue>Not before we have our little chat.</dialogue> <character>THOMAS</character> <dialogue>Oh, I--what?</dialogue> <scene_description>Liz grabs her cigarettes and ashtray from on top of the fridge, then indicates the front door.</scene_description> <character>LIZ</character> <dialogue>C'mon.</dialogue> <character>CHARLIE</character> <dialogue>Liz--</dialogue> <character>LIZ</character> <parenthetical>(to Charlie)</parenthetical> <dialogue>Just gimme a minute with him.</dialogue> <scene_description>Liz unbolts both locks on the door, opens it and gestures for Thomas to meet her outside. Thomas, unsure of what to do, moves outside as Liz has indicated. Liz follows him, giving Charlie a look as she does so. She shuts the apartment door. Charlie is left alone. He slowly rolls himself toward the kitchen, looking through the shuttered windows.</scene_description> </scene> <scene> <stage_direction>EXT. - APARTMENT FRONT DOOR - MOMENTS LATER</stage_direction> <scene_description>Thomas awkwardly stands as Liz grabs a lawn chair and sits. She pulls out a cigarette and lights it. Liz signals for Thomas to sit on a nearby bench. A silence as she looks him over.</scene_description> <character>LIZ</character> <dialogue>Where you from?</dialogue> <character>THOMAS</character> <dialogue>What?</dialogue> <character>LIZ</character> <dialogue>You said you've only been here for a little while. Where you from?</dialogue> <character>THOMAS</character> <dialogue>Uh--Iowa? Town called Waterloo?</dialogue> <character>LIZ</character> <dialogue>You asking me?</dialogue> <character>THOMAS</character> <dialogue>No, I--. I'm from Waterloo.</dialogue> <character>LIZ</character> <dialogue>Your whole family move out here for New Life?</dialogue> <scene_description>Pause. Thomas tenses up a bit.</scene_description> <character>THOMAS</character> <dialogue>No, I--. It's just me. I wanted to do some missionary work before school.</dialogue> <character>LIZ</character> <dialogue>You're from Iowa and you came to Idaho to do missionary work? Why aren't you in Africa or something?</dialogue> <character>THOMAS</character> <dialogue>Idaho needs the word just as much as anyone else.</dialogue> <scene_description>Liz takes a long drag of her cigarette.</scene_description> <character>LIZ</character> <dialogue>Okay listen. I know this is fun for you. You get to travel around, act superior than everyone else, and eventually you go home, get some boring job, have too many kids.</dialogue> <character>LIZ</character> <dialogue>It all sounds great, it's God's plan. But, there are other types of people. People like Charlie, for whom this amazing plan doesn't fit. So just stay away from him. He doesn't need this right now.</dialogue> <character>THOMAS</character> <dialogue>I disagree.</dialogue> <scene_description>Liz looks at him. She stubs out her half-smoked cigarette on the sole of her shoe, putting it back in the pack.</scene_description> <character>LIZ</character> <dialogue>Excuse me?</dialogue> <character>THOMAS</character> <dialogue>Sorry, I just--. He's refusing to go to the hospital, he's dying. What he needs is spiritual guidance.</dialogue> <scene_description>She moves toward Thomas.</scene_description> <character>LIZ</character> <dialogue>And you're gonna give him that?</dialogue> <character>THOMAS</character> <dialogue>No. God will.</dialogue> <character>LIZ</character> <dialogue>I see.</dialogue> <scene_description>Pause. Liz stares at him.</scene_description> <character>LIZ</character> <dialogue>My big brother did some missionary work for New Life. Went to South America.</dialogue> <character>THOMAS</character> <dialogue>Oh.</dialogue> <character>LIZ</character> <dialogue>Yeah. I was the black sheep, I refused to go to church ever since I was twelve. Dad knew I was a lost cause. But not my brother, he loved New Life.</dialogue> <parenthetical>(pause)</parenthetical> <character>LIZ</character> <dialogue>He wrote me a letter a few months after he left, told me he was tired and lonely, but he didn't want to come home because he didn't want to get married.</dialogue> <character>THOMAS</character> <dialogue>He didn't want to--?</dialogue> <character>LIZ</character> <dialogue>Dad had set it all up, pushed him into getting married to this girl from the church he barely knew. But when he came back--he met someone else. Fell in love, started a whole new life. And dad kicked him out of the church. And--the family.</dialogue> <scene_description>Liz leans into Thomas, growing angry. Thomas grows more and more nervous.</scene_description> <character>LIZ</character> <dialogue>I thought he was gonna be able to get over all that religious stuff, but it was like a cancer, he couldn't shake it. He just--caved in on himself, stopped sleeping, stopped eating. Lost a ton of weight. One night, Charlie came home, and he wasn't here. Couple weeks later, a guy was out jogging on a bike path near the river in Lewiston, saw something washed up on shore, and...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>That was Alan. The love of Charlie's life, and my brother.</dialogue> <scene_description>Pause. Thomas finally realizes.</scene_description> <character>THOMAS</character> <dialogue>Oh.</dialogue> <character>LIZ</character> <dialogue>Yeah. Oh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>To this day my dad won't admit it. Told the whole congregation Alan's death was an "unfortunate accident." Denying him to the end.</dialogue> <scene_description>Pause. Thomas takes this in.</scene_description> <character>THOMAS</character> <dialogue>I just... I know you don't trust me, and I haven't known him for very long. But I really think God has brought me here, right when Charlie needs it most. I just want him to be saved, that's all--</dialogue> <scene_description>This triggers something in Liz. She bears down on him.</scene_description> <character>LIZ</character> <dialogue>You listen to me. He doesn't need "saving." In a few days he's probably going to be dead, so what he needs is for you to leave him alone. I am the only one who can help him, you understand me?</dialogue> <character>CHARLIE (O.S.)</character> <dialogue>Liz.</dialogue> <scene_description>Liz turns around. Charlie is behind her in his wheelchair, in the open doorway, staring at her. Thomas quickly leaves.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - A SHORT TIME LATER</stage_direction> <scene_description>Liz cleans in the kitchen, preoccupied. Charlie is in the living room in his wheelchair, facing away from her. Liz comes into the living room, picks up the remote. She turns on the television, flips through a few channels.</scene_description> <character>LIZ</character> <dialogue>You wanna watch some Maury? That sounds good, right?</dialogue> <scene_description>Liz finds the right channel, puts the remote down. She watches the television for a few moments, still standing. Charlie remains motionless. Liz doesn't look at him.</scene_description> <character>LIZ</character> <dialogue>Actually, I got another night shift tonight. I better, uh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You good for the night?</dialogue> <scene_description>Pause. Charlie nods slightly, Liz still doesn't look at him. After a moment, Liz grabs her stuff and leaves, locking both of the locks behind her. Charlie stares forward vacantly.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - THAT NIGHT</stage_direction> <scene_description>Charlie, in his wheelchair, is in front of the slightly opened door to the second bedroom. Taking a breath, he pushes the door completely open and looks inside the darkened room. He reaches up and flips the light switch. Nothing happens. He flips it a few more times. He moves inside the room just slightly, unable to go through the door fully.</scene_description> </scene> <scene> <stage_direction>INT. - SECOND BEDROOM - CONTINUOUS</stage_direction> <scene_description>Charlie looks around the room, the room is only barely lit from the light spilling from the hallway. It's obvious he hasn't been in here for quite some time. Charlie looks around the room. He leans in, taking a big breath through his nose, taking in the smell of the room. He closes his eyes. He takes another big breath in, smiling. Charlie opens his eyes, looking around the room. Near the door, there is a bookcase with a few different books on it. He spots a simple, well-worn, hard-bound NIV translation of the Bible with the number "72" written in marker on the fore edge. His smile disappears. Charlie breathes in and out, becoming upset. Sweat starts to stream down his face. His pulse quickens. After a moment, he quickly moves out of the room, shutting the door behind him. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER THAT NIGHT</stage_direction> <scene_description>Charlie is in his wheelchair, scanning through a book of poetry, reading to himself. A knock at the front door.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>Gambino's.</dialogue> <character>CHARLIE</character> <dialogue>Hi, yeah. You can--</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Money in the mailbox, leave it on the bench?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Yeah. Thank you.</dialogue> <scene_description>Charlie pauses, waiting for the delivery boy to take the money and leave the pizza. He doesn't hear anything. Another moment passes.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>I'm Dan.</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>I just--. My name, it's Dan.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I've been coming here for a while now. Just thought you'd wanna know my name.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Charlie.</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Hey, Charlie.</dialogue> <scene_description>We hear the sound of the mailbox opening and shutting.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>Have a good night, okay?</dialogue> <scene_description>We hear the sound of the delivery boy going down the stairs. Charlie looks at the front door.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Charlie is in his wheelchair, in front of the television, watching 2016 primary election coverage. A pizza box sits on the couch with one piece uneaten and a few crusts here and there. Charlie is finishing the next-to-last slice when he notices Ellie's notebook sitting on the other side of the couch. With his reaching claw, he picks up Ellie's notebook. He takes the remote, turns off the television. He opens the notebook to the first page. Written in the notebook are three separate lines: "This apartment smells. This notebook is retarded. I hate everyone." Charlie looks at it for a moment, then smiles broadly.</scene_description> <character>CHARLIE</character> <parenthetical>(reading softly, to himself)</parenthetical> <dialogue>"This apartment smells. This notebook is retarded. I hate everyone."</dialogue> <scene_description>Charlie thinks for a moment. He reads it again, counting out the syllables on his fingers.</scene_description> <character>CHARLIE</character> <parenthetical>(counting to five)</parenthetical> <dialogue>This apartment smells...</dialogue> <parenthetical>(counting to seven)</parenthetical> <dialogue>This notebook is retarded...</dialogue> <parenthetical>(counting to five)</parenthetical> <dialogue>I hate everyone.</dialogue> <scene_description>Charlie smiles wider. He begins to laugh a little. The laughter grows and soon it causes a sudden pain in his chest, the most severe he's had so far. He grabs his chest, speaking softly to himself.</scene_description> <character>CHARLIE</character> <dialogue>I felt saddest of all when I read the boring chapters that were only descriptions of whales because I knew that the author was just trying to save us from his own sad story, just for a little while. This apartment smells.</dialogue> <scene_description>The pain starts to subside. He takes a few deep breaths, starts to smile again.</scene_description> <character>CHARLIE</character> <dialogue>This apartment smells. I hate everyone. The author was just trying to save us from his own sad story. I hate everyone. I hate everyone.</dialogue> <scene_description>CUT TO: 32A TITLE: THURSDAY 32A OMITTED 33A OMITTED 33A</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Charlie is at the door on his wheelchair. He opens it up. Ellie stands outside, holding her backpack. Short pause.</scene_description> <character>ELLIE</character> <dialogue>You have it?</dialogue> <character>CHARLIE</character> <dialogue>It's almost done. You can wait while I finish it up, print it?</dialogue> <scene_description>Ellie looks at the door, annoyed. Finally, she relents, comes inside and sits on the recliner. She pulls out her phone.</scene_description> <character>CHARLIE</character> <dialogue>While you're here, maybe you could write a little more in your notebook?</dialogue> <scene_description>Charlie pulls out Ellie's notebook, extends it to her.</scene_description> <character>ELLIE</character> <dialogue>Oh my God.</dialogue> <character>CHARLIE</character> <dialogue>You've only written a couple sentences so far, can you write more?</dialogue> <character>ELLIE</character> <dialogue>I kind of hate you.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, but you hate everyone.</dialogue> <scene_description>Charlie smiles broadly at her, Ellie looks away.</scene_description> <character>CHARLIE</character> <dialogue>Look just keep going, forget the poem, just write whatever you want, whatever you're thinking--</dialogue> <character>ELLIE</character> <dialogue>Be quiet, just--.</dialogue> <scene_description>Ellie fumes, then grabs the notebook out of Charlie's hand. She finds a pen, plops down into a chair and opens it up. She stares at the blank page. Finally, she starts to write a little. Charlie looks at her lovingly. Pause. After a moment he wheels himself a little closer to her, speaking tentatively.</scene_description> <character>CHARLIE</character> <dialogue>You know, I... I was in a strange place in my life when I married your mom--</dialogue> <character>ELLIE</character> <dialogue>Did I fucking ask?</dialogue> <character>CHARLIE</character> <dialogue>Sorry, I just... I'm sorry.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I understand that you're angry. But you don't need to be angry at the whole world, just be angry at me--</dialogue> <character>ELLIE</character> <dialogue>You know what?! You can't throw me away like a piece of garbage and then suddenly want to be my dad eight years later. You left me for your boyfriend, it's really that simple. And if you've been telling yourself anything different, then you've been lying to yourself.</dialogue> <scene_description>This stings. Charlie is at a loss.</scene_description> <character>ELLIE</character> <dialogue>But you know what? I'm glad, because you taught me something very important: people are assholes. Most people learn that way too late, you taught me that when I was eight. Thank you for that.</dialogue> <scene_description>Ellie takes the notebook, starts writing again. Silence.</scene_description> <character>ELLIE</character> <dialogue>You know you could've...</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>You could've been sending us money. If you have all that money and wanted to be a part of my life so bad, you could have been sending money to my mom.</dialogue> <character>CHARLIE</character> <dialogue>I did.</dialogue> <character>ELLIE</character> <dialogue>I mean more than just child support.</dialogue> <scene_description>Pause. Ellie continues to write in the notebook. Charlie moves toward her in the wheelchair. He reaches out, puts a hand on the notebook. Ellie stops writing.</scene_description> <character>CHARLIE</character> <dialogue>I did.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>When I left your mom... She didn't want me around you. I hoped she'd eventually change her mind, but she...</dialogue> <scene_description>Pause. Ellie stares down, not looking at him.</scene_description> <character>ELLIE</character> <dialogue>You could have just fucking called me. All this time. You could have been part of my life.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Ellie, look at me. Who would want me to be a part of their life?</dialogue> <scene_description>Charlie looks at her, Ellie stares back at him. It's the closest they've been to one another yet. Ellie is starting to crack a bit. But just as quickly as the moment came, Ellie ends it, looking away. Pause.</scene_description> <character>ELLIE</character> <dialogue>I'm hungry.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>There's stuff for sandwiches in the fridge.</dialogue> <scene_description>Ellie gets up, goes to the kitchen without looking at Charlie. She opens up the fridge, takes out cold cuts, mustard, bread. She looks back at Charlie.</scene_description> <character>ELLIE</character> <dialogue>I'll make you one, but it's going to be small. And I'm only using turkey or chicken and no mayonnaise.</dialogue> <scene_description>She opens a jar of mustard, finds a breadknife. Charlie looks at her, smiling. Ellie looks at him, stops, clearly annoyed.</scene_description> <character>ELLIE</character> <dialogue>What?</dialogue> <character>CHARLIE</character> <dialogue>No, it's just--.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You're an amazing person, Ellie. I hope you know what an amazing person you are. I couldn't ask for a more incredible daughter.</dialogue> <scene_description>Silence. Charlie smiles broadly at her, Ellie stares back at him.</scene_description> <character>CHARLIE</character> <dialogue>I'll print it out for you now.</dialogue> <scene_description>Charlie opens his laptop, pulling up a document. He hits print, and a printer in a corner comes to life. Charlie watches the printer, thinking. We hear the sound of flapping wings. Ellie looks at the window in the living room, sees the robin from before eating freshly cut pieces of apple off the plate. She stares at it. She looks down at the breadknife in her hand, her knuckles growing white. She silently digs the knife into the kitchen counter, gouging the surface.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Charlie is asleep in the wheelchair with a mostly eaten sandwich in his lap. Ellie sits on the couch, a plate with a half-eaten sandwich sits on the coffee table in front of her. Ellie stares at Charlie, who is snoring lightly. Ellie lifts her hands to her mouth. She's holding a small marijuana pipe and a lighter. She takes a hit, blowing it in Charlie's direction. She thinks for a moment, looking around.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Ellie makes her way down the hallway, still holding the pipe and lighter. She glances inside Charlie's bedroom, sees the stained mattress. She recoils. She looks at the closed door to the second bedroom. She goes to it, opening it. For the first time, we get a good look at the room. The bedroom, in stark contrast to the rest of the apartment, is perfectly organized and well-kept. There is no trash, nothing is stained. The bed is made, framed pictures of Charlie and Alan on the dresser are perfectly arranged. But everything looks like it's been untouched for several years, giving everything a muted quality, like the resin that browns pigments on medieval paintings. She looks inside at the clean and orderly room, curious and a little shocked. She sees the photos of Alan and Charlie on the dresser. She looks at the bed. For a brief moment, we see a hint of compassion on her face. Just then--a knock at the front door. Ellie freezes, not knowing what to do. Another knock. Ellie returns to the living room.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Ellie frantically puts the pot pipe and lighter into Charlie's hand. He remains asleep.</scene_description> <character>ELLIE</character> <dialogue>Yeah?!</dialogue> <character>THOMAS</character> <parenthetical>(calling out)</parenthetical> <dialogue>I, uh... Hello?</dialogue> <scene_description>Ellie pauses, recognizing the voice. She grabs the pot pipe and lighter. She moves to the door, unlocking it and swinging it open. Thomas stands in the doorway.</scene_description> <character>THOMAS</character> <dialogue>Oh, hi.</dialogue> <scene_description>Thomas sees the pipe in Ellie's hand.</scene_description> <character>THOMAS</character> <dialogue>Are you--?</dialogue> <character>ELLIE</character> <dialogue>Come inside.</dialogue> <scene_description>Thomas cautiously makes his way inside, Ellie shuts the door behind him without locking it. Thomas sees Charlie.</scene_description> <character>THOMAS</character> <dialogue>Is he--?</dialogue> <scene_description>Thomas goes to Charlie, looking at him.</scene_description> <character>THOMAS</character> <dialogue>Is he okay?</dialogue> <character>ELLIE</character> <dialogue>I don't know. I ground up some Ambien and put it in his sandwich.</dialogue> <character>THOMAS</character> <dialogue>Wait, what?</dialogue> <character>ELLIE</character> <dialogue>I only gave him a couple, he's fine. I can take like three at a time.</dialogue> <scene_description>Ellie moves to the couch, sits down.</scene_description> <character>THOMAS</character> <dialogue>You have--? Where did you get Ambien?</dialogue> <character>ELLIE</character> <dialogue>I had sex with a pharmacist.</dialogue> <scene_description>Thomas stares at her.</scene_description> <character>ELLIE</character> <dialogue>Just kidding, gross. My mom pops them like Tic Tacs.</dialogue> <character>THOMAS</character> <dialogue>I don't know if he should be taking...</dialogue> <scene_description>Ellie takes a hit from the pipe. Thomas watches her.</scene_description> <character>ELLIE</character> <parenthetical>(exhaling)</parenthetical> <dialogue>Does this make you nervous?</dialogue> <scene_description>Thomas looks away.</scene_description> <character>ELLIE</character> <dialogue>It's just pot. It's not like I'm smoking meth or anything.</dialogue> <character>THOMAS</character> <dialogue>I know--. I know what pot is.</dialogue> <character>ELLIE</character> <dialogue>You only think you know what pot is because your parents told you a bunch of lies about it.</dialogue> <character>THOMAS</character> <dialogue>Don't--. I know what drugs are, I've smoked pot before.</dialogue> <character>ELLIE</character> <dialogue>Oo, I'm so impressed.</dialogue> <character>THOMAS</character> <dialogue>I'm not trying to impress you--</dialogue> <character>ELLIE</character> <dialogue>You have not smoked pot.</dialogue> <character>THOMAS</character> <dialogue>Yes, I have, it was... Kind of a problem.</dialogue> <character>ELLIE</character> <dialogue>That is the stupidest fucking thing I've ever heard in my entire life.</dialogue> <character>THOMAS</character> <dialogue>I was smoking every day. I had a problem.</dialogue> <character>ELLIE</character> <dialogue>You were a stoner. You had a hobby.</dialogue> <scene_description>Ellie takes another hit, blowing it at Thomas. Thomas gets up, moving to the door.</scene_description> <character>THOMAS</character> <dialogue>Okay, look just tell him I was here and I'll--</dialogue> <character>ELLIE</character> <dialogue>If you leave I'll feed him the rest of the pills I have in the bottle.</dialogue> <scene_description>Thomas stops, turns to Ellie.</scene_description> <character>THOMAS</character> <dialogue>What?</dialogue> <scene_description>Ellie grabs her backpack, reaches inside, pulls out a bottle of prescription pills. She examines the bottle.</scene_description> <character>ELLIE</character> <dialogue>There's like twenty or thirty more, I'll crush them up and put them in some water and pour it down his throat.</dialogue> <scene_description>Thomas goes to Ellie.</scene_description> <character>THOMAS</character> <dialogue>You wouldn't actually do that, would you?</dialogue> <character>ELLIE</character> <dialogue>Sit down.</dialogue> <scene_description>Thomas looks at her for a moment, then sits down, maintaining his distance. Ellie looks at him, Thomas looks away.</scene_description> <character>ELLIE</character> <dialogue>Why do you keep coming back here?</dialogue> <character>THOMAS</character> <dialogue>He needs help. He needs God in his life right now.</dialogue> <character>ELLIE</character> <dialogue>That's a stupid reason. Do you think he wants to have sex with you? That's so gross, oh my God, take a hit.</dialogue> <scene_description>Ellie extends the pipe to Thomas.</scene_description> <character>THOMAS</character> <dialogue>I don't want--!</dialogue> <character>ELLIE</character> <dialogue>If you don't take a hit I'm gonna call the police and tell them you tried to rape me. Take a hit.</dialogue> <scene_description>Thomas stares at her, incredulous.</scene_description> <character>THOMAS</character> <dialogue>I don't understand you at all.</dialogue> <character>ELLIE</character> <dialogue>Oh my God.</dialogue> <scene_description>They stare at each other for a moment. Finally, Thomas relents and takes the pipe.</scene_description> <character>THOMAS</character> <dialogue>Is there a carb on this?</dialogue> <character>ELLIE</character> <dialogue>Oo, I'm so impressed.</dialogue> <character>THOMAS</character> <dialogue>I wasn't trying to--</dialogue> <character>ELLIE</character> <dialogue>There isn't a carb.</dialogue> <scene_description>Thomas pauses, then tentatively lights the pipe and takes a hit. Before he's done inhaling, Ellie takes out her phone and takes a picture of him. Thomas coughs violently, almost drops the pipe.</scene_description> <character>ELLIE</character> <dialogue>Calm down.</dialogue> <character>THOMAS</character> <dialogue>What are you gonna do with that picture?!</dialogue> <character>ELLIE</character> <dialogue>I'm gonna masturbate to it. Is that what you want me to say? You're a pervert, take another hit.</dialogue> <scene_description>Thomas stares at her. Pause. Ellie sighs, buries her face in her hands.</scene_description> <character>ELLIE</character> <dialogue>Look, I'm just fucking with you, alright? I'm not gonna kill anyone, I'm not gonna tell anyone you raped me.</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>You're not going to give him more Ambien?</dialogue> <scene_description>Ellie shakes her head.</scene_description> <character>THOMAS</character> <dialogue>Why do you keep coming back here?</dialogue> <character>ELLIE</character> <dialogue>I don't know.</dialogue> <character>THOMAS</character> <dialogue>Seriously, if you hate him so much--</dialogue> <character>ELLIE</character> <dialogue>I'm done answering questions now.</dialogue> <scene_description>Pause. Thomas looks at the pipe in his hand for a moment.</scene_description> <character>THOMAS</character> <dialogue>Can I take a hit?</dialogue> <character>ELLIE</character> <dialogue>It goes against your religion and that makes you a hypocrite. Go ahead.</dialogue> <scene_description>Thomas considers for a moment, then takes another hit--a larger one than before. He exhales. Ellie takes another photo of him with her phone.</scene_description> <character>THOMAS</character> <dialogue>I really wish you wouldn't do that--</dialogue> <character>ELLIE</character> <dialogue>Yeah I heard you the first time. Do you find me attractive?</dialogue> <scene_description>Pause. Thomas looks at her, caught off guard.</scene_description> <character>THOMAS</character> <dialogue>I--</dialogue> <character>ELLIE</character> <dialogue>Because I'm not attracted to you at all, just to let you know. I'm not trying to be mean or anything, I just don't think you're good looking. Or interesting. Or intelligent.</dialogue> <scene_description>Pause. Ellie looks at Thomas, who is a little hurt. She rolls her eyes, gets up, goes into the kitchen, looking for food.</scene_description> <character>ELLIE</character> <dialogue>Oh my God grow up, maybe someone else finds you attractive. Maybe my dad finds you attractive.</dialogue> <character>THOMAS</character> <dialogue>I really wish you wouldn't--</dialogue> <character>ELLIE</character> <dialogue>It's so easy to make you uncomfortable, it's a little sad. You can cash that out.</dialogue> <scene_description>Pause. Thomas takes another large hit. He's pretty high by this point. Ellie finds a bag of potato chips, comes back into the living room. She eats the chips as she talks.</scene_description> <character>THOMAS</character> <dialogue>If my parents knew that I was getting high, that I was getting high while I was out witnessing for the church--</dialogue> <character>ELLIE</character> <dialogue>You're not from New Life.</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>What?</dialogue> <scene_description>Pause. Ellie continues to eat potato chips, moves back to the couch and sits next to Thomas.</scene_description> <character>ELLIE</character> <dialogue>There's a kid a grade below me who goes there. He said they stopped doing door-to-door stuff last year when a lady was out preaching or whatever and a guy answered his door with no clothes on.</dialogue> <scene_description>Pause. Thomas stares at Ellie for a second, then starts to stand up.</scene_description> <character>THOMAS</character> <dialogue>I need to go.</dialogue> <scene_description>Thomas gathers his things, shaky on his feet. He goes to the door.</scene_description> <character>ELLIE</character> <dialogue>Who are you, really?</dialogue> <scene_description>Thomas heads to the door, Ellie jumps up from the couch, getting between Thomas and the door. Thomas turns around, dazed and panicked. He looks around the room, looks at the window, then heads down the hall. Ellie follows him. Thomas, panicked and unsure of what to do, goes into the second bedroom and shuts the door on Ellie. Ellie tries the door, Thomas has locked it.</scene_description> <character>ELLIE</character> <dialogue>C'mon, tell me!</dialogue> <character>THOMAS (O.S.)</character> <dialogue>Why do you care?!</dialogue> <character>ELLIE</character> <dialogue>Because I think we have a blossoming friendship.</dialogue> <scene_description>Pause. INTERCUT - SECOND BEDROOM/HALLWAY - CONTINUOUS Thomas sits down on the ground, leaning his back against the door. He pauses.</scene_description> <character>THOMAS</character> <dialogue>You're just messing with me.</dialogue> <character>ELLIE</character> <dialogue>No I'm not.</dialogue> <scene_description>Pause. Thomas exhales looks around the room, regarding the untouched bed, the photos on the dresser.</scene_description> <character>THOMAS</character> <dialogue>You won't tell anyone?</dialogue> <character>ELLIE</character> <dialogue>Who am I gonna tell?</dialogue> <scene_description>Pause. Ellie sits down on the ground, listening.</scene_description> <character>THOMAS</character> <dialogue>I was on a mission. With a group from my church, back in Waterloo, my hometown in Iowa. When my dad caught me smoking pot, he thought a mission would be a good idea. Truth is he was probably just embarrassed by me and wanted me gone for a while.</dialogue> <parenthetical>(pause)</parenthetical> <character>THOMAS</character> <dialogue>Anyway. I just--left. I couldn't do it anymore.</dialogue> <character>ELLIE</character> <dialogue>Why?</dialogue> <character>THOMAS</character> <dialogue>The mission leader, this guy Jerry-- all he had us doing was standing on corners, handing out pamphlets. At the end of each day he'd be like, "look how many people we're helping!" I tried to talk to him about different ways to minister, different ways to actually help people... But you could tell, he wouldn't've cared. He didn't need to earn or prove his faith at all. So after a while I was like--wait, am I actually like, helping anybody?</dialogue> <character>ELLIE</character> <dialogue>No. You were not.</dialogue> <character>THOMAS</character> <dialogue>I started to feel that way, too.</dialogue> <character>ELLIE</character> <dialogue>I don't feel that way, I know you weren't helping people. It doesn't help people to tell them to believe in God. Why would that help people?</dialogue> <character>THOMAS</character> <dialogue>I just--I want to believe it. All my family, my friends, they're so-- happy. I just want to be like that.</dialogue> <character>ELLIE</character> <dialogue>But why did you leave then?</dialogue> <scene_description>Thomas stands up, moving across the room. He looks at the photos on the dresser, picking one up. It leaves an imprint of itself on the dresser, exposing the accumulated dust. Pause.</scene_description> <character>THOMAS</character> <dialogue>I was--worried that I might get arrested.</dialogue> <character>ELLIE</character> <dialogue>For smoking pot?</dialogue> <character>THOMAS</character> <dialogue>For stealing from the mission.</dialogue> <scene_description>Ellie thinks for a moment, then pulls out her phone. She opens up a voice memo app. She presses record, placing her phone at the base of the door.</scene_description> <character>THOMAS</character> <dialogue>One day, I finally just--ditched the pamphlets. Went door to door, started actually engaging with people. Finally felt like I was doing something. Helping people, maybe.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>That night at the mission meeting, I told everyone what I did that day, and Jerry was like, "that's not what we do, buddy!" and I was like "well why not?!" and we ended up having this huge argument in front of everyone, and... So that night, I decided to leave. And when everyone was asleep, I--took the petty cash.</dialogue> <character>ELLIE</character> <dialogue>How much?</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>Two-thousand, four-hundred and thirty-six dollars.</dialogue> <character>ELLIE</character> <dialogue>Oh.</dialogue> <character>THOMAS</character> <dialogue>Yeah. Oh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>And I just--got on a bus. Jerry and my parents were calling me over and over, eventually I just tossed my phone. After a while I ended up here.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I thought I could use this money for my own mission, see my faith save just one person... And now I'm almost out of money. I can't go home, my parents probably wanna disown me. I don't know what to do.</dialogue> <scene_description>Thomas sees the old Bible sitting on the bookshelf that Charlie was staring at before. He goes to it.</scene_description> <character>ELLIE</character> <dialogue>You're more interesting to me, now.</dialogue> <character>THOMAS</character> <dialogue>Thanks.</dialogue> <scene_description>Thomas takes the Bible, opening it up. There is a stamp on the first page that reads "Property of New Life Church" and a hand-written name in the corner: "Alan Grant." Thomas flips through the Bible, which has obviously been meticulously studied--nearly every page has highlights, notes, or underlines. He smiles slightly, touching the pages. He lands on one particular page in Romans, sees a couple of verses that have been heavily highlighted, underlined, circled--more than any other verse.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Ellie stands at the door, looking down at her phone, which is still recording.</scene_description> <character>ELLIE</character> <dialogue>So that's why you wanna save my dad.</dialogue> <scene_description>The bedroom door unlocks, Ellie quickly grabs her phone, shuts off the recording. She puts it in her pocket. The door slowly opens, Thomas stands looking at her, holding the Bible. Silence. Ellie takes her phone out and takes a picture of Thomas. She smiles at him. Suddenly, the sound of the front door opening. Ellie rushes into the living room, followed by Thomas.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Just as Ellie and Thomas come into the room, the front door opens and Liz enters, followed by MARY, a harried woman in her 40s. Ellie sees Mary, she goes to her.</scene_description> <character>ELLIE</character> <parenthetical>(to Mary)</parenthetical> <dialogue>Mom--</dialogue> <character>MARY</character> <dialogue>Shut up.</dialogue> <scene_description>Liz looks at Thomas and Ellie. Thomas quickly grabs his things and hurries to the door, the Bible still in his hand. Liz glares at him. Thomas quickly leaves. Liz turns and sees Charlie, still asleep in his wheelchair.</scene_description> <character>LIZ</character> <dialogue>Charlie? Charlie.</dialogue> <scene_description>Liz goes to Charlie. Mary turns and finally gets a look at Charlie. She freezes for a moment, shocked. Liz shakes Charlie a bit, trying to wake him up. She checks his breathing. Mary goes to Charlie as he wheezes loudly in his sleep. She looks at him closely.</scene_description> <character>MARY</character> <dialogue>Charlie...</dialogue> <scene_description>Mary gets closer, examining his body in disbelief. She looks him up and down as Ellie moves into the living room. Mary looks away, upset. Liz continues to shake Charlie. Pause. Mary and Liz both look at Ellie. Ellie stares back at them, defiant.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - SHORTLY LATER</stage_direction> <scene_description>Liz is hooking Charlie up to an oxygen tank, threading a plastic tube over his ears and under his nose. Charlie is noticeably weaker than before, and he is wheezing more heavily. Ellie sits at the dining table. Mary sits with her, nervously fiddling in her coat pockets. She takes out a pack of cigarettes along with a lighter. Liz notices.</scene_description> <character>LIZ</character> <dialogue>Not with the oxygen tank.</dialogue> <character>MARY</character> <dialogue>I'll stand by the window.</dialogue> <scene_description>Liz stares daggers at Mary. Annoyed, Mary puts her cigarettes and lighter away. Charlie looks at Mary. He smiles a little.</scene_description> <character>CHARLIE</character> <parenthetical>(to Mary)</parenthetical> <dialogue>Ellie told you that she was coming over here?</dialogue> <character>LIZ</character> <dialogue>No, I did. And just in time, looks like. You having more pain?</dialogue> <scene_description>Charlie nods.</scene_description> <character>LIZ</character> <dialogue>How easy is it to move?</dialogue> <character>CHARLIE</character> <dialogue>Not very.</dialogue> <character>LIZ</character> <dialogue>Any confusion? Have you felt disoriented, forgotten where you are or what you're doing?</dialogue> <scene_description>Charlie shakes his head. Liz finishes hooking him up to the oxygen tank, looks at him.</scene_description> <character>CHARLIE</character> <dialogue>Am I--okay?</dialogue> <character>LIZ</character> <dialogue>No, you're not okay. But as far as the sleeping pills, you're fine. I don't think she gave you much.</dialogue> <character>ELLIE</character> <dialogue>Yeah, that's what I told you.</dialogue> <scene_description>Liz goes to Ellie, standing over her.</scene_description> <character>LIZ</character> <dialogue>You know I was a very angry, very stupid little girl once too, but if you would have given him more pills than that--</dialogue> <character>ELLIE</character> <dialogue>Yeah except I didn't give him more than that, I gave him two pills.</dialogue> <character>MARY</character> <dialogue>Ellie, how much money did he offer you?</dialogue> <scene_description>Charlie looks at Mary, pleading.</scene_description> <character>MARY</character> <dialogue>All of it?</dialogue> <character>ELLIE</character> <dialogue>How do you know about--?</dialogue> <character>MARY</character> <parenthetical>(to Ellie)</parenthetical> <dialogue>You think I'm an idiot? You think I would believe that you were coming over here out of the kindness of your heart?</dialogue> <character>LIZ</character> <dialogue>Charlie doesn't have any money.</dialogue> <scene_description>Mary looks at Liz. Liz goes back to Charlie, attaching the oxygen tank to the back of his wheelchair.</scene_description> <character>MARY</character> <parenthetical>(to Charlie)</parenthetical> <dialogue>She doesn't know?</dialogue> <character>CHARLIE</character> <dialogue>Mary--</dialogue> <character>MARY</character> <parenthetical>(to Liz)</parenthetical> <dialogue>Where do you think all the money from his teaching has been going? The account for Ellie, by now it has to be huge.</dialogue> <parenthetical>(to Charlie)</parenthetical> <dialogue>Over a hundred thousand at least, right?</dialogue> <scene_description>Liz circles the wheelchair, faces Charlie.</scene_description> <character>LIZ</character> <dialogue>That's not true, is it?</dialogue> <scene_description>Charlie looks away from Liz. Silence.</scene_description> <character>LIZ</character> <dialogue>Charlie, we could have gotten you anything you needed. Special beds, physical therapists, fucking health insurance.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Last winter when my pickup broke down and I had to walk through the snow to get your groceries--</dialogue> <character>CHARLIE</character> <dialogue>I offered to get your truck fixed--</dialogue> <character>LIZ</character> <dialogue>Yeah and I refused because I thought you had seven hundred dollars in your bank account.</dialogue> <scene_description>Liz looks at him, deeply hurt. Charlie reaches out to her, trying to take her hand, she backs away from him.</scene_description> <character>CHARLIE</character> <dialogue>That money's for Ellie. It's always been for Ellie.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>If there was ever any type of emergency, I would have given you the money--</dialogue> <character>LIZ</character> <dialogue>Would you?</dialogue> <scene_description>Pause. Liz stares at him for a moment, then looks away. She fights the instinct to cry. Finally, she looks around the room, then grabs her bag and heads to the front door.</scene_description> <character>CHARLIE</character> <dialogue>Wait--</dialogue> <scene_description>Liz leaves, slamming the door behind her. Mary stares at Charlie. Silence.</scene_description> <character>ELLIE</character> <dialogue>Mom, you're not getting any of my money.</dialogue> <character>MARY</character> <dialogue>Oh shut up, Ellie.</dialogue> <scene_description>Mary stands up. She looks at Ellie.</scene_description> <character>MARY</character> <dialogue>Leave, right now.</dialogue> <scene_description>Ellie glares at Mary, then angrily grabs her bag and heads toward the door.</scene_description> <character>CHARLIE</character> <dialogue>Wait--</dialogue> <scene_description>Charlie struggles to wheel himself toward Ellie.</scene_description> <character>CHARLIE</character> <dialogue>Ellie, I know you didn't mean to hurt me, I know you--</dialogue> <character>ELLIE</character> <dialogue>Okay, you know what? Listen to me.</dialogue> <scene_description>Ellie goes to Charlie, leans down to him, looking him straight in the eye.</scene_description> <character>ELLIE</character> <dialogue>I don't care about you. Try to get that through your fucking skull.</dialogue> <scene_description>Charlie looks at her, pleading. He reaches out toward her.</scene_description> <character>CHARLIE</character> <dialogue>Ellie, please--</dialogue> <scene_description>Ellie swats his hand away.</scene_description> <character>ELLIE</character> <dialogue>Just fucking die already.</dialogue> <character>MARY</character> <dialogue>Enough.</dialogue> <scene_description>Ellie stares at Charlie for a moment longer, then goes to the door, opening it. Just before she leaves:</scene_description> <character>CHARLIE</character> <dialogue>Ellie, your--. Your essay.</dialogue> <scene_description>Ellie stops. Charlie moves to the printer, taking the pages out. He puts the pages in a manila folder, extends it to Ellie. Ellie doesn't look at him.</scene_description> <character>CHARLIE</character> <dialogue>It's a really good essay.</dialogue> <scene_description>Ellie pauses for a moment, then grabs the folder out of Charlie's hand without looking at him. Ellie leaves, Charlie watches her go.</scene_description> </scene> <scene> <stage_direction>41A INT. - LIVING ROOM - CONTINUOUS 41A</stage_direction> <scene_description>Mary looks at Charlie. Silence apart from Charlie's wheezing. Mary stands. Very slowly, she approaches him, circles his wheelchair, looking at him from all sides.</scene_description> <character>MARY</character> <dialogue>Jesus, Charlie.</dialogue> <scene_description>She finally stops, looks at him in the eyes. Charlie looks away, ashamed. Mary turns away from him, sighing, rubbing her face with her hands.</scene_description> <character>MARY</character> <dialogue>Do you--have anything?</dialogue> <scene_description>Charlie looks at her, unsure of what she means. Mary continues to look at him. Charlie realizes.</scene_description> <character>CHARLIE</character> <dialogue>Above the sink. Kitchen counter, on the left.</dialogue> <scene_description>Mary goes into the kitchen, opening a cabinet above the sink. She finds an aging half-empty bottle of vodka. She takes the bottle, then opens other cabinets, looking for a glass.</scene_description> <character>MARY</character> <dialogue>Our deal was we wait until she was out of the house to give her the money.</dialogue> <character>CHARLIE</character> <dialogue>What's the difference?</dialogue> <character>MARY</character> <dialogue>The difference is she's seventeen and in high school. She's gonna spend it on ponies or face tattoos or something.</dialogue> <scene_description>Mary finds a glass, pours herself a drink.</scene_description> <character>CHARLIE</character> <dialogue>I think she's a little smarter than that.</dialogue> <scene_description>Mary drinks, taking a deep breath. She relazes a bit.</scene_description> <character>MARY</character> <dialogue>So, how has it been? Getting to know her.</dialogue> <character>CHARLIE</character> <dialogue>She's... Amazing.</dialogue> <scene_description>Mary chuckles.</scene_description> <character>MARY</character> <dialogue>You still do that.</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>MARY</character> <dialogue>That positivity. It's so annoying.</dialogue> <character>CHARLIE</character> <dialogue>Well you're a complete cynic, I was just trying to balance us out.</dialogue> <scene_description>Mary smiles a bit.</scene_description> <character>MARY</character> <dialogue>Well, I guess I do miss that. That one thing.</dialogue> <character>CHARLIE</character> <dialogue>Just that?</dialogue> <character>MARY</character> <dialogue>That and the cooking. Last month I tried to make a stir-fry thing, almost set the entire apartment building on fire.</dialogue> <scene_description>Charlie laughs a little, which quickly results in a coughing fit. Mary looks at him. She takes her drink and finds a place to sit.</scene_description> <character>MARY</character> <dialogue>I never knew you were doing this to yourself.</dialogue> <character>CHARLIE</character> <dialogue>Well you never asked how I was doing.</dialogue> <scene_description>Mary looks at him, annoyed.</scene_description> <character>MARY</character> <dialogue>Well you never asked how I was doing either. Every month it's just, "how much money do you need?", and "how's Ellie?"</dialogue> <character>CHARLIE</character> <dialogue>You didn't tell me she was flunking out of school.</dialogue> <character>MARY</character> <dialogue>I guess I just didn't need the lecture about my involvement in her education.</dialogue> <character>CHARLIE</character> <dialogue>That's not what I...</dialogue> <scene_description>Charlie exhales. He looks at her. Silence.</scene_description> <character>CHARLIE</character> <dialogue>How're you doing, Mary?</dialogue> <scene_description>Pause. Mary doesn't look at him. She drinks.</scene_description> <character>CHARLIE</character> <dialogue>I know I'm not supposed to be around her. You could probably call the police if you really wanted to--</dialogue> <character>MARY</character> <dialogue>Christ, you really think I'd do that?</dialogue> <character>CHARLIE</character> <dialogue>You fought me pretty hard for full custody. And I don't blame you for keeping her from me, I--</dialogue> <character>MARY</character> <dialogue>Charlie, need I remind you: you left us.</dialogue> <character>CHARLIE</character> <dialogue>I know...</dialogue> <character>MARY</character> <dialogue>And I was left raising our kid and explaining to people that my husband left me for a man.</dialogue> <character>CHARLIE</character> <dialogue>But you didn't have to cut me out of her life like that--</dialogue> <character>MARY</character> <dialogue>Oh please, you were more than happy to forget about us for a while. You know that.</dialogue> <scene_description>This stings. Charlie looks away. Pause.</scene_description> <character>CHARLIE</character> <dialogue>I've made--a lot of mistakes. I know that. But I just wanted to see her, Mary. I've always just wanted to see her.</dialogue> <character>MARY</character> <dialogue>It's all about you even now, huh?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Well, now you know why I kept you from her.</dialogue> <scene_description>Mary grabs her glass, heads back into the kitchen and pours another glass of vodka.</scene_description> <character>CHARLIE</character> <parenthetical>(confused)</parenthetical> <dialogue>What?</dialogue> <scene_description>Pause.</scene_description> <character>MARY</character> <dialogue>She's... Awful. Isn't she?</dialogue> <scene_description>Charlie looks at her, confused.</scene_description> <character>MARY</character> <dialogue>She's a terror. And you think it's my fault.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Wait, is that why you've been keeping her from me all this time? Because you thought I'd think you were a bad mother?</dialogue> <character>MARY</character> <dialogue>At first. But later, when she was fifteen, sixteen... I was worried she would hurt you.</dialogue> <character>CHARLIE</character> <dialogue>Hurt me? That's ridiculous--</dialogue> <character>MARY</character> <dialogue>I don't take any pleasure in admitting it, I'm her mother for Christ's sake. I spent way too much time telling myself, she's just rebellious, she's just difficult. Charlie, she's evil.</dialogue> <character>CHARLIE</character> <dialogue>She is not evil.</dialogue> <scene_description>Mary looks at him for a moment, then goes to the couch. She opens Charlie's laptop.</scene_description> <character>CHARLIE</character> <dialogue>What're you doing?</dialogue> <scene_description>Mary opens a web browser, starts typing.</scene_description> <character>MARY</character> <dialogue>You think it's just me?</dialogue> <scene_description>Mary shows Charlie the laptop, which is open to Ellie's Facebook page. Displayed prominently is the photo of Charlie that Ellie took before. Charlie examines the photo. Charlie scrolls down a bit, revealing the photo's caption.</scene_description> <character>CHARLIE</character> <parenthetical>(reading)</parenthetical> <dialogue>"There'll be a grease fire in hell when he starts to burn."</dialogue> <scene_description>Pause. Mary shuts the laptop, putting it back on the computer desk.</scene_description> <character>MARY</character> <dialogue>Don't feel bad, I've made quite a few appearances on that thing.</dialogue> <scene_description>Mary sits down with her glass, taking a long drink. Charlie is silent, staring forward. Pause.</scene_description> <character>CHARLIE</character> <dialogue>She's a strong writer.</dialogue> <scene_description>Mary slams down the glass of vodka.</scene_description> <character>MARY</character> <dialogue>That's your response?</dialogue> <character>CHARLIE</character> <dialogue>This isn't evil, this is honesty. Do you know how much bullshit I've read in my life?</dialogue> <character>MARY</character> <dialogue>My God. I don't understand you, Charlie!</dialogue> <character>CHARLIE</character> <dialogue>Every time I would call and ask you how she was doing, you said she was fine, if she's so evil then why--</dialogue> <character>MARY</character> <dialogue>What was I supposed to tell you?! That she was off making her classmates cry or slashing her teachers' tires? You didn't want to hear about that stuff!</dialogue> <character>CHARLIE</character> <dialogue>I could have helped her!</dialogue> <character>MARY</character> <dialogue>She doesn't want your help! She doesn't want anyone!</dialogue> <scene_description>Mary, a little drunk by this point, starts wandering aimlessly.</scene_description> <character>MARY</character> <dialogue>You think I didn't want her to have a dad? She adored you. The only reason you married me in the first place was to have a kid, I know that.</dialogue> <character>CHARLIE</character> <dialogue>Mary. Please.</dialogue> <scene_description>Mary stops. Silence. Finally, she relents and goes into the kitchen. She pours the remainder of her drink into the sink.</scene_description> <character>MARY</character> <dialogue>Well this brings back memories, doesn't it?</dialogue> <scene_description>Mary comes back into the main room, sits back down on the couch near Charlie. Charlie smiles at her.</scene_description> <character>MARY</character> <dialogue>Listen, I... I never got to say that I was sorry.</dialogue> <character>CHARLIE</character> <dialogue>What would you have to be sorry about?</dialogue> <character>MARY</character> <dialogue>That's not what I mean, I mean about... Your friend.</dialogue> <character>CHARLIE</character> <dialogue>Oh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>His name was Alan.</dialogue> <character>MARY</character> <dialogue>I know his fucking name, Charlie.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I saw him once, in the Walmart parking lot. He wasn't looking too good, I think it wasn't long before he... Anyway I had all these things I wanted to say to him, hurl at him like bricks, but I... Asked him if he wanted some help. He let me carry a couple of bags to his car for him, he said thank you, and I left. I never even told him who I was.</dialogue> <scene_description>They look at one another. Charlie struggles for breath, his wheezing particularly noticeable now that they are close.</scene_description> <character>MARY</character> <dialogue>You're wheezing.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, it's gotten worse.</dialogue> <character>MARY</character> <dialogue>Should I call someone?</dialogue> <character>CHARLIE</character> <dialogue>No, I...</dialogue> <character>MARY</character> <dialogue>Let me hear.</dialogue> <scene_description>Charlie looks at her. Pause. Then Charlie leans back in his wheelchair, putting one arm in the air. Mary gets up and goes to Charlie. She bends down, putting her ear on his chest. She listens for a moment.</scene_description> <character>CHARLIE</character> <dialogue>How do I sound?</dialogue> <scene_description>Mary doesn't respond, she puts a hand on Charlie's chest and closes her eyes.</scene_description> <character>CHARLIE</character> <dialogue>That was the first time we've all been together in almost nine years, you realize that?</dialogue> <scene_description>Mary buries her face in Charlie's chest, struggling to maintain herself. Pause.</scene_description> <character>CHARLIE</character> <dialogue>When Ellie was little, when we did that trip to the Oregon Coast together... We laid on the beach, Ellie played in the sand, later I went swimming in the ocean... Last time I ever went swimming, actually.</dialogue> <scene_description>Very slowly, we begin to hear the sound of ocean waves in the background.</scene_description> <character>CHARLIE</character> <dialogue>I kept cutting my legs on the rocks, and the water was so cold, and you were so mad that my legs bled and stained the seats in the minivan.</dialogue> <scene_description>Charlie laughs a little, Mary laughs as well. Her laughs quickly turn into heavy, silent sobs. She continues to bury her face in his chest.</scene_description> <character>CHARLIE</character> <dialogue>And you said for days after that I smelled like seawater. You remember that?</dialogue> <scene_description>Charlie lowers his arm, putting it on Mary's back. They hold one another for a moment as the sound of waves subsides.</scene_description> <character>MARY</character> <dialogue>You sound awful.</dialogue> <character>CHARLIE</character> <dialogue>I'm dying, Mary.</dialogue> <scene_description>Mary remains for a moment longer before pushing herself off of him, holding back tears.</scene_description> <character>MARY</character> <dialogue>Fuck you.</dialogue> <character>CHARLIE</character> <dialogue>I'm sorry.</dialogue> <character>MARY</character> <dialogue>Fuck you.</dialogue> <scene_description>Mary backs away, not looking at Charlie. Pause.</scene_description> <character>MARY</character> <dialogue>For sure?</dialogue> <character>CHARLIE</character> <dialogue>Yeah. For sure.</dialogue> <scene_description>Charlie wheels himself over to Mary.</scene_description> <character>CHARLIE</character> <dialogue>Listen to me. I need to make certain that she's going to be okay. We can't give up on her.</dialogue> <scene_description>Pause. Mary looks at Charlie, her anger growing.</scene_description> <character>MARY</character> <dialogue>You already gave up on her. You gave up on her when she was eight years old!</dialogue> <character>CHARLIE</character> <dialogue>I wish I would have been a part of her life, Mary, both of your lives--</dialogue> <character>MARY</character> <dialogue>Go to the hospital! You have money, go to the hospital!</dialogue> <character>CHARLIE</character> <dialogue>We both know that money is for Ellie. But beyond that, I have to make sure that she's going to be alright, that she's going to have a decent life, where people care for her and she cares for other people... She doesn't have anyone else, Mary.</dialogue> <character>MARY</character> <dialogue>I need to--. I have to go.</dialogue> <scene_description>Mary grabs her purse, heading toward the front door.</scene_description> <character>CHARLIE</character> <parenthetical>(desperate)</parenthetical> <dialogue>I need to know I did one thing right in my life.</dialogue> <scene_description>Mary stops at the door. She waits for a moment, not looking at Charlie.</scene_description> <character>MARY</character> <dialogue>We both did our parts. I raised her, you're giving her the money. It's the best we could do.</dialogue> <scene_description>Mary stands at the door, unmoving, still not looking at Charlie. Charlie is at a loss.</scene_description> <character>MARY</character> <dialogue>Do you need anything before I leave?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Water, or something?</dialogue> <scene_description>Charlie doesn't respond. Mary waits for a beat, then leaves. Charlie is left alone, wheezing. He closes his eyes, leaning his head up.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - THAT NIGHT</stage_direction> <scene_description>Hours later, Charlie is dozing in his wheelchair, his phone on his chest. His wheezing is heavy, he's only partially able to sleep. Suddenly, he wakes up with a start. He looks around, momentarily confused. Just then, the phone resting on his chest falls to the floor, bouncing toward the window where the bird had been. Charlie notices that the window is slightly open. He slowly wheels himself toward the window. He looks outside, sees that the plate with the pieces of apple on it has been smashed to bits. A knock at the door. Charlie</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>Gambino's.</dialogue> <scene_description>Pause. Charlie stares for a moment longer, then finally snaps out of it.</scene_description> <character>CHARLIE</character> <dialogue>Yeah...</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Charlie? You okay?</dialogue> <character>CHARLIE</character> <dialogue>Yeah.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Money's in the, uh.</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Sure.</dialogue> <scene_description>The sound of a mail box opening and shutting.</scene_description> <character>DELIVERY BOY (O.S.)</character> <dialogue>You sure you're doing okay?</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>Yeah, Dan.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Thanks.</dialogue> <character>DELIVERY BOY (O.S.)</character> <dialogue>Have a good night, okay?</dialogue> <scene_description>Charlie listens for a moment, we hear the sound of the delivery boy walking away. Charlie waits one more moment, then starts wheeling himself over to the front door, the reaching claw in his lap.</scene_description> </scene> <scene> <stage_direction>42A EXT. - APARTMENT FRONT DOOR - CONTINUOUS 42A</stage_direction> <scene_description>Charlie maneuvers the claw toward the pizza boxes, trying to grab an edge of the box. As he's struggling to get a grip on the pizza boxes, he glances up. The delivery boy is standing in the stairwell, having only descended a step or two, staring at Charlie. Charlie stops. He slowly lifts his head up, looking back at him. There is a very long silence as they look at one another in silence. Finally:</scene_description> <character>DELIVERY BOY</character> <dialogue>Jesus...</dialogue> <scene_description>The delivery boy averts his eyes, staring at the floor. Charlie continues to stare at him as the delivery boy finally descends the stairway. Charlie remains in the doorway for a moment, motionless. OMITTED OMITTED OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Charlie is ravenously eating the pizza, chewing and swallowing dangerously fast. Sweat pours down his face. Still eating the pizza, Charlie opens up his laptop. He logs on to his teaching software, then begins to write a post to all of his students in all of his classes. We see only bits and pieces of what he's writing: "fuck these ridiculous essays," "fuck the readings," and most notably, "JUST WRITE SOMETHING FUCKING HONEST." He slams his laptop shut. He searches around the kitchen, finds a few more bits of food: some cereal bars, potato chips, various junk food. He has a pain in his chest, he doubles over. Just after the pain hits, he is overcome with a wave of nausea. He reaches under the sink, grabbing a trash can. He holds the can up to his head, vomiting into it. Finally, he begins to calm down. His breathing slowly returns to normal. He puts the trash can down on the floor. He looks around the apartment, holding back tears. Just then, a loud knock at the front door.</scene_description> <character>CHARLIE</character> <dialogue>Liz?!</dialogue> <character>THOMAS (O.S.)</character> <dialogue>Can I come inside?!</dialogue> <scene_description>Charlie grabs some paper towels off the counter, cleaning off his face a bit.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Charlie barely manages to wheel himself out of the kitchen and into the living room, moving toward the door. A dog in a nearby apartment starts barking.</scene_description> <character>CHARLIE</character> <dialogue>It's not locked!</dialogue> <scene_description>Thomas comes bounding inside, full of evangelical fervor.</scene_description> <character>THOMAS</character> <dialogue>Thank you, hi--!</dialogue> <scene_description>Thomas makes his way inside, shutting the door behind him. Charlie pivots, facing Thomas.</scene_description> <character>CHARLIE</character> <dialogue>What's wrong?</dialogue> <character>THOMAS</character> <dialogue>Listen, I'm not--. I'm not exactly who I said I was. I'm not from New Life.</dialogue> <scene_description>Pause.</scene_description> <character>CHARLIE</character> <dialogue>I don't--</dialogue> <character>THOMAS</character> <dialogue>I've been in a pretty bad place recently, I sort of stole some money and ran away a few months ago? And your daughter, she took these pictures of me smoking pot, and she made a recording or something and she found my church back in Waterloo somehow and sent it to them and they sent it to my parents--</dialogue> <character>CHARLIE</character> <dialogue>Wait--</dialogue> <character>THOMAS</character> <dialogue>And you know what they said? It's just money. They forgive me. They love me, and they want me to come home.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>How awful is that?!</dialogue> <scene_description>Charlie looks at Thomas. Pause.</scene_description> <character>CHARLIE</character> <dialogue>Ellie, she--? She did all that?</dialogue> <character>THOMAS</character> <dialogue>And I can't really tell if she was trying to help me or hurt me, do you ever get that feeling with her?</dialogue> <scene_description>Charlie smiles a little, looks up. He lets out a little laugh.</scene_description> <character>CHARLIE</character> <parenthetical>(smiling)</parenthetical> <dialogue>How did she even--? She found your church, tracked down your parents? She really did all that?</dialogue> <character>THOMAS</character> <dialogue>Yeah. I'm going home tomorrow. But Charlie, before I leave...</dialogue> <scene_description>Charlie doesn't listen to Thomas, smiles wider, letting out a big laugh. The laughter causes Charlie pain, he grabs his chest. Thomas goes to him.</scene_description> <character>THOMAS</character> <dialogue>What's wrong?</dialogue> <character>CHARLIE</character> <dialogue>Nothing, it just--. It just hurts.</dialogue> <character>THOMAS</character> <dialogue>Charlie, I want to help you. I know I can help you.</dialogue> <character>CHARLIE</character> <dialogue>I'm not going to the hospital--</dialogue> <character>THOMAS</character> <dialogue>I know. I won't make you go, but I can help you.</dialogue> <scene_description>Charlie looks at Thomas, sees that he's holding something. He squints, slowly starting to realize that he's holding Alan's Bible. Thomas opens the Bible, flips a few pages.</scene_description> <character>CHARLIE</character> <dialogue>What are you--?</dialogue> <character>THOMAS</character> <parenthetical>(reading)</parenthetical> <dialogue>"Therefore, brothers and sisters, we have an obligation--but it is not to the flesh, to live according to it. For if you live according to the flesh, you will die; but if by the Spirit you put to death the misdeeds of the body, you will live."</dialogue> <scene_description>Thomas looks at Charlie. He gives Charlie the Bible, pointing to the verse from before that has been especially highlighted, underlined, circled.</scene_description> <character>CHARLIE</character> <dialogue>I don't. Understand.</dialogue> <character>THOMAS</character> <dialogue>When I read this, I finally got it. I finally understood why God brought me here, to you. So I could help you understand what happened to Alan, so it won't happen to you, too.</dialogue> <scene_description>Pause. Charlie looks at the Bible, then at Thomas.</scene_description> <character>CHARLIE</character> <dialogue>How did you get this?</dialogue> <character>THOMAS</character> <dialogue>Charlie--Alan tried to escape God's will. He chose his life with you over God. But this is why he was obsessed with this verse, he knew he was living in the flesh, not in the Spirit. He never prayed for salvation--but it's not too late for you. Through the Spirit, you can put to death the misdeeds of the body and you will live.</dialogue> <scene_description>Thomas grabs Charlie's hand. Charlie stares at him.</scene_description> <character>CHARLIE</character> <dialogue>You think Alan died--because he chose to be with me? You think God turned his back on him because he and I were in love?</dialogue> <scene_description>Pause. Thomas considers carefully. Finally:</scene_description> <character>THOMAS</character> <dialogue>Yes.</dialogue> <scene_description>They stare at one another in silence.</scene_description> <character>CHARLIE</character> <dialogue>You know, I wasn't always this big.</dialogue> <scene_description>Pause.</scene_description> <character>THOMAS</character> <dialogue>Yeah, I know...</dialogue> <character>CHARLIE</character> <dialogue>I mean I was never the best looking guy in the room, but Alan loved me. He thought I was beautiful.</dialogue> <character>THOMAS</character> <dialogue>Okay--</dialogue> <scene_description>Thomas lets go of Charlie's hand, moving away from him.</scene_description> <character>CHARLIE</character> <dialogue>Halfway through the semester he started meeting me during my office hours. We were both crazy about one another, but we waited until the course was over before...</dialogue> <character>THOMAS</character> <dialogue>This isn't--</dialogue> <character>CHARLIE</character> <dialogue>It was just after classes had ended for the year, it was a perfect temperature outside. We went for a walk in the arboretum, and we kissed--</dialogue> <character>THOMAS</character> <dialogue>Charlie, stop.</dialogue> <scene_description>Thomas turns, moves away from Charlie. Charlie follows him in his wheelchair.</scene_description> <character>CHARLIE</character> <dialogue>We would spend entire nights lying together, naked. We would make love.</dialogue> <scene_description>Thomas looks away from him.</scene_description> <character>CHARLIE</character> <dialogue>We would make love. Do you find that disgusting?</dialogue> <character>THOMAS</character> <dialogue>Charlie, God is ready to help you--</dialogue> <character>CHARLIE</character> <dialogue>I hope there isn't a God.</dialogue> <scene_description>Charlie continues to build in volume, growing to a shout.</scene_description> <character>CHARLIE</character> <dialogue>I hope there isn't a God because I hate thinking that there's an afterlife, that Alan can see what I've done to myself.</dialogue> <character>THOMAS</character> <dialogue>Charlie--</dialogue> <character>CHARLIE</character> <dialogue>That he can see my swollen feet, the sores on my skin, the patches of mold in between the flaps--</dialogue> <scene_description>Thomas recoils, turning away from Charlie.</scene_description> <character>THOMAS</character> <dialogue>Okay, stop!</dialogue> <character>CHARLIE</character> <dialogue>--the infected ulcers on my ass, the sack of fat on my back that turned brown last year--</dialogue> <character>THOMAS</character> <dialogue>Stop!</dialogue> <character>CHARLIE</character> <dialogue>This is disgusting?!</dialogue> <character>THOMAS</character> <dialogue>Yes!</dialogue> <character>CHARLIE!</character> <dialogue>I'M DISGUSTING?!</dialogue> <scene_description>Thomas turns to Charlie aggressively, shouting at him.</scene_description> <character>THOMAS</character> <dialogue>YES YOU'RE DISGUSTING, YOU'RE--!</dialogue> <scene_description>Thomas stops himself, moving away in shame. They are left together in silence. Charlie looks at the Bible in his hands.</scene_description> <character>CHARLIE</character> <parenthetical>(not speaking to Thomas)</parenthetical> <dialogue>I'm sorry...</dialogue> <character>THOMAS</character> <dialogue>What?</dialogue> <scene_description>Pause. Charlie extends the Bible to Thomas.</scene_description> <character>CHARLIE</character> <dialogue>Go home to your family.</dialogue> <scene_description>Thomas looks at Charlie for a moment. He goes to Charlie, tentatively taking the Bible from him. He slowly makes his way to the front door and leaves. Charlie tries to calm himself down. After a few moments, he begins to wheel himself down the hallway. CUT TO: 48A TITLE: FRIDAY 48A</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - DAWN</stage_direction> <scene_description>Charlie--exhausted, and in constant pain--is in front of the framed photo of himself and Alan on the Oregon Coast, still turned face down. He reaches up to the photo and slowly turns it right-side up. He leans back. He stares at the photo, unblinking. Morning light barely begins to creep in through the window.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER THAT MORNING</stage_direction> <scene_description>Charlie, tired and dazed, sweat pouring down his face, is sitting on the couch in front of his laptop. The virtual classroom from before is visible. The oxygen tank sits next to him.</scene_description> <character>CHARLIE</character> <dialogue>Well, your complaints have been heard.</dialogue> <character>CHARLIE</character> <dialogue>I've been replaced by someone who will no doubt have you rewrite and rewrite and rewrite, be more objective, less authentic, less you with every draft...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But... Some of you saw what I posted. Asking you to write something honest. And the things some of you wrote...</dialogue> <scene_description>Charlie smiles through the pain. He pulls out a few printed pieces of paper, looking at them.</scene_description> <character>CHARLIE</character> <dialogue>Kristy, you wrote: "My parents want me to be a radiologist, but I don't even know what that is."</dialogue> <parenthetical>(pulling up another)</parenthetical> <dialogue>Julian, you wrote "I'm sick of people telling me that I have promise."</dialogue> <parenthetical>(pulling up another)</parenthetical> <dialogue>Adam you wrote, "I think I need to accept that my life isn't going to be very exciting."</dialogue> <scene_description>Charlie leans back, breathing. He smiles wide.</scene_description> <character>CHARLIE</character> <dialogue>You all wrote these... Amazing, honest things, I just...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I want to be honest with you now. Now you've been so honest with me, I just...</dialogue> <scene_description>Charlie pauses, then tentatively moves the cursor toward the button to turn on his video. He hesitates for a moment, taking a breath, then turns on his camera. For the first time, the "INSTRUCTOR" square reveals Charlie. He smiles at them, giving a little wave. His students all look on, silently stunned. Charlie moves the laptop away from his body, filming more of himself. He tilts the laptop down, filming his entire body. After a moment he tilts the camera back up to his face. He smiles gently.</scene_description> <character>CHARLIE</character> <dialogue>These assignments--they don't matter. This course doesn't matter. College doesn't matter.</dialogue> <character>CHARLIE</character> <dialogue>These amazing, honest things you wrote--they matter.</dialogue> <scene_description>Charlie pauses for a second, then in one motion throws the laptop across the room. It crashes against the fridge.</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - LATER</stage_direction> <scene_description>Liz stands in the front doorway, staring at the broken computer, holding a bag. Charlie is in the same position as before. Liz closes the door and comes further in. She retrieves the stethoscope from the medical cabinet, then approaches Charlie, listening to his breathing.</scene_description> <character>CHARLIE</character> <dialogue>I'm sorry.</dialogue> <character>LIZ</character> <dialogue>Don't.</dialogue> <scene_description>Liz listens for a moment longer, then takes off the stethoscope and moves away from Charlie. Pause.</scene_description> <character>LIZ</character> <dialogue>I really hate you for putting me through this again, you know that?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Those last few months before Alan... I'd come over here, scream at him, shake him, just trying to get him to fucking eat something. God, that was awful.</dialogue> <character>CHARLIE</character> <dialogue>It was awful for me, too.</dialogue> <character>LIZ</character> <dialogue>Yeah, well you weren't the one who had to identify his body. All bloated--</dialogue> <character>CHARLIE</character> <dialogue>They wouldn't let me.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I wasn't. Family.</dialogue> <scene_description>Pause. Liz stands for a moment, then goes to her bag. She takes out a plastic bag filled with two sub sandwiches. She drops the sandwiches onto the couch, looking at Charlie, defeated.</scene_description> <character>LIZ</character> <dialogue>I got you two meatball subs. Extra cheese. I don't know what I'm doing.</dialogue> <scene_description>Liz goes to Charlie, bending down to him, looking directly at him. Charlie's breath begins to grow more shallow.</scene_description> <character>CHARLIE</character> <dialogue>I'm not. Going to the hospital.</dialogue> <scene_description>Liz looks at him.</scene_description> <character>LIZ</character> <dialogue>I'm not asking you to.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I can't do this anymore.</dialogue> <scene_description>Charlie's breathing is increasingly shallow, sweat pours down his face.</scene_description> <character>CHARLIE</character> <dialogue>I thought I could save him, Liz, I...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I thought if I loved him enough, he wouldn't need anything else. I told him he didn't need God, he didn't need anything but me.</dialogue> <scene_description>Liz goes to him, looking him straight in the eye.</scene_description> <character>LIZ</character> <dialogue>Charlie, all I know is that you gave Alan the best years of his life. If it weren't for you, he would have jumped off that bridge years earlier. Nobody could've saved him. Believe me, I spent years trying.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I don't think I believe anyone can save anyone.</dialogue> <scene_description>Very softly, we begin to the hear the sound of waves. Charlie smiles, joy radiating from underneath immense pain, his eyes glazing over.</scene_description> <character>CHARLIE</character> <dialogue>She saved him.</dialogue> <scene_description>Pause. Liz looks at him, confused.</scene_description> <character>CHARLIE</character> <dialogue>She wasn't trying to hurt him. She was trying to help him.</dialogue> <character>LIZ</character> <dialogue>Who are you talking about?</dialogue> <character>CHARLIE</character> <dialogue>He's going home. She did that.</dialogue> <scene_description>Liz goes to Charlie, putting her hands on his head.</scene_description> <character>LIZ</character> <dialogue>Charlie?</dialogue> <character>CHARLIE</character> <dialogue>She didn't do it to hurt him, she did it to send him home.</dialogue> <character>LIZ</character> <dialogue>Do you feel light-headed? Charlie, look at me.</dialogue> <character>CHARLIE</character> <dialogue>She was trying to help him.</dialogue> <character>LIZ</character> <dialogue>Who?</dialogue> <character>CHARLIE</character> <dialogue>Ellie. She was trying to help him, she just wanted him to go home.</dialogue> <scene_description>Charlie looks at Liz lovingly. He takes her hands, smiling at her.</scene_description> <character>CHARLIE</character> <dialogue>Do you ever get the feeling. That people. Are incapable. Of not caring? People. Are. Amazing.</dialogue> <scene_description>Suddenly, the front door opens and Ellie charges inside, holding the essay from before.</scene_description> <character>ELLIE</character> <parenthetical>(raging)</parenthetical> <dialogue>What the fuck did you--?!</dialogue> <scene_description>She advances on Charlie, but then stops when she sees the state he's in.</scene_description> <character>ELLIE</character> <dialogue>What's wrong with him?</dialogue> <character>LIZ</character> <dialogue>He's dying.</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>So call someone.</dialogue> <character>CHARLIE</character> <dialogue>No.</dialogue> <character>ELLIE</character> <dialogue>Call a fucking ambulance!</dialogue> <character>CHARLIE</character> <dialogue>Liz.</dialogue> <scene_description>Liz looks at Charlie, Charlie looks back at her.</scene_description> <character>ELLIE</character> <dialogue>I need to talk to him.</dialogue> <character>LIZ</character> <dialogue>I'm not leaving you alone with him.</dialogue> <character>ELLIE</character> <dialogue>I need to talk to him alone.</dialogue> <character>CHARLIE</character> <dialogue>Liz. Please.</dialogue> <scene_description>Charlie and Liz continue to look at one another, silently. Finally, Liz smiles at him, nodding. Pause.</scene_description> <character>LIZ</character> <dialogue>Okay.</dialogue> <scene_description>Liz wraps her arms around Charlie, giving him a kiss on the forehead. She slowly stands back up.</scene_description> <character>LIZ</character> <dialogue>I'll call someone.</dialogue> <scene_description>She heads to the front door, about to open it. She gives Charlie one last look.</scene_description> <character>LIZ</character> <dialogue>Charlie.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'll wait downstairs.</dialogue> <scene_description>Charlie smiles at her. Liz gives him one last look then finally leaves. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Ellie stares at Charlie, struggling to maintain herself.</scene_description> <character>ELLIE</character> <dialogue>Why did you do that?!</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <scene_description>Ellie holds up the essay from before.</scene_description> <character>ELLIE</character> <dialogue>I failed.</dialogue> <character>CHARLIE</character> <dialogue>It's. A really good essay.</dialogue> <scene_description>The waves continue to increase in volume. Ellie advances on Charlie, yelling at him, desperately trying to keep herself together.</scene_description> <character>ELLIE</character> <dialogue>Are you just trying to screw me over one last time? I don't care that you're dying, I don't care about you! Do you want me to fail out of high school, is that why you did this?</dialogue> <character>CHARLIE</character> <dialogue>I didn't. Write it.</dialogue> <character>ELLIE</character> <dialogue>This is the essay you gave me yesterday.</dialogue> <character>CHARLIE</character> <dialogue>You didn't. Read it.</dialogue> <character>ELLIE</character> <dialogue>I don't need to read it--!</dialogue> <character>CHARLIE</character> <dialogue>Read it.</dialogue> <scene_description>Pause. Finally, Ellie flips the cover page on the essay and reads the opening. She recognizes it immediately.</scene_description> <character>ELLIE</character> <dialogue>This is... I know what this is.</dialogue> <scene_description>Charlie smiles at her.</scene_description> <character>CHARLIE</character> <dialogue>I knew you would.</dialogue> <scene_description>Ellie looks at him.</scene_description> <character>ELLIE</character> <dialogue>I wrote this.</dialogue> <character>CHARLIE</character> <dialogue>You never. Forget anything.</dialogue> <character>ELLIE</character> <dialogue>I wrote this in eighth grade for English, why do you--?</dialogue> <character>CHARLIE</character> <dialogue>And I felt saddest of all. When I read the boring chapters. That were only descriptions of whales. Because I knew. That the author was just trying to save us. From his own sad story. Just for a little while.</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>Why do you have this?</dialogue> <character>CHARLIE</character> <dialogue>Your mother. She sent it to me. Four years ago. I wanted to know how you were doing in school. So she sent it. And it's the best essay. I've ever read.</dialogue> <scene_description>Ellie is struggling to hold on to her anger, she looks away from Charlie.</scene_description> <character>ELLIE</character> <dialogue>Why are you fucking with me like this?</dialogue> <character>CHARLIE</character> <dialogue>I'm not.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm sorry for leaving you. I was in love. And I left you behind. You didn't. Deserve that.</dialogue> <scene_description>Ellie looks away.</scene_description> <character>ELLIE</character> <dialogue>I don't...</dialogue> <character>CHARLIE</character> <dialogue>I don't know. How I could have done that. You're so beautiful. You're amazing.</dialogue> <character>ELLIE</character> <dialogue>Stop.</dialogue> <character>CHARLIE</character> <dialogue>You're amazing. This essay. Is amazing. This essay. Is you.</dialogue> <character>ELLIE</character> <dialogue>Stop saying that.</dialogue> <character>CHARLIE</character> <dialogue>This essay. Is you.</dialogue> <character>ELLIE</character> <dialogue>Stop saying that!</dialogue> <character>CHARLIE</character> <dialogue>You're the best thing. I've ever done.</dialogue> <scene_description>Charlie has a severe pain in his chest, he doubles over. Ellie is frantic, doesn't know what to do. She moves a little closer to him.</scene_description> <character>ELLIE</character> <dialogue>What's the matter?!</dialogue> <character>CHARLIE</character> <dialogue>Ellie.</dialogue> <character>ELLIE</character> <dialogue>I can't be here right now, I have to go, I can't--</dialogue> <scene_description>Ellie goes to the door.</scene_description> <character>CHARLIE</character> <dialogue>You're perfect. You'll be happy. You'll care for people.</dialogue> <scene_description>Ellie stops, unable to bring herself to leave.</scene_description> <character>ELLIE</character> <dialogue>The ambulance is coming, they'll help you.</dialogue> <character>CHARLIE</character> <dialogue>No. They won't.</dialogue> <scene_description>Pause.</scene_description> <character>ELLIE</character> <dialogue>You're going to the hospital.</dialogue> <character>CHARLIE</character> <dialogue>No.</dialogue> <character>ELLIE</character> <dialogue>You just need surgery or something!</dialogue> <character>CHARLIE</character> <dialogue>Read it to me.</dialogue> <character>ELLIE</character> <dialogue>What?!</dialogue> <character>CHARLIE</character> <dialogue>If you want to help. Read it to me. You can help me. If you read it.</dialogue> <scene_description>Ellie is holding back tears at this point.</scene_description> <character>ELLIE</character> <dialogue>You asshole. You fat fucking asshole!</dialogue> <character>CHARLIE</character> <dialogue>You'll help. If you read it.</dialogue> <scene_description>Ellie turns back to the door.</scene_description> <character>ELLIE</character> <dialogue>Fuck you.</dialogue> <character>CHARLIE</character> <dialogue>Please.</dialogue> <character>ELLIE</character> <dialogue>Fuck you!</dialogue> <character>CHARLIE</character> <dialogue>Ellie!</dialogue> <scene_description>Just as Ellie swings the front door open, she can no longer hold her emotions back. She nearly collapses into tears.</scene_description> <character>ELLIE</character> <dialogue>Dad, please.</dialogue> <scene_description>Ellie looks at Charlie, pleading. Ellie and Charlie are in the same position as they were at the end of their first scene together. The sound of waves continues to grow louder and louder. Ellie looks at the essay. She begins to read.</scene_description> <character>ELLIE</character> <parenthetical>(reading)</parenthetical> <dialogue>"In the amazing book Moby Dick by the author Herman Melville, the author recounts his story of being at sea. In the first part of his book, the author, calling himself Ishmael, is in a small sea-side town and he is sharing a bed with a man named Queequeg."</dialogue> <scene_description>Charlie looks at Ellie with joy, listening to her read. He reaches up and takes the oxygen tube out of his nose. Ellie continues to read.</scene_description> <character>ELLIE</character> <dialogue>"The author and Queequeg go to church and later set out on a ship captained by the pirate named Ahab, who is missing a leg, and very much wants to kill the whale which is named Moby Dick, and which is white."</dialogue> <scene_description>Charlie braces himself on the couch.</scene_description> <character>ELLIE</character> <dialogue>"In the course of the book, the pirate Ahab encounters many hardships. His entire life is set around trying to kill a certain whale."</dialogue> <scene_description>Wheezing heavily and with a huge amount of effort and pain, Charlie attempts to stand up.</scene_description> <character>ELLIE</character> <dialogue>"I think this is sad because this whale doesn't have any emotions, and doesn't know how bad Ahab wants to kill him."</dialogue> <scene_description>Charlie, continues to rise. For the first time, he is standing fully erect on his own. The waves increase in volume. Charlie beams.</scene_description> <character>ELLIE</character> <dialogue>"He's just a poor big animal. And I feel bad for Ahab as well, because he thinks that his life will be better if he can kill this whale, but in reality it won't help him at all."</dialogue> <scene_description>Charlie takes a step toward Ellie, his eyes on hers the entire time.</scene_description> <character>ELLIE</character> <dialogue>"I was very saddened by this book, and I felt many emotions for the characters."</dialogue> <scene_description>Charlie takes another step.</scene_description> <character>ELLIE</character> <dialogue>"And I felt saddest of all when I read the boring chapters that were only descriptions of whales, because I knew that the author was just trying to save us from his own sad story, just for a little while."</dialogue> <scene_description>Charlie takes one last step. The waves reach their loudest level. For the first time, Ellie smiles at Charlie.</scene_description> <character>ELLIE</character> <dialogue>"This book made me think about my own life, and then it made me feel glad for my--"</dialogue> <scene_description>Charlie looks up. The waves cut off. A sharp intake of breath. The shot cuts out. Then: END CREDITS</scene_description> </scene> </script>

Charlie, a recluse living with morbid obesity, teaches online English writing courses to college students, but keeps his webcam off, ashamed of his physical appearance. His nurse and only friend, Liz, is shown enabling him by bringing tremendous amounts of food, while contradictorily urging him to visit a hospital for congestive heart failure treatment, but Charlie insists he cannot afford medical care. Charlie is also visited by Thomas, a missionary for the New Life Church who wants to save him. He orders pizza almost every night, following an established routine with delivery driver Dan, who drops off the pizza outside on his porch and collects cash payment from the mailbox without the two ever interacting face-to-face. Charlie hopes to reconnect with his estranged teenage daughter Ellie, whom he abandoned eight years ago when leaving his wife Mary to be with his lover Alan. He reveals that he has been saving money for years and offers Ellie the entire $120,000 in his bank account if she spends time with him without her mother's knowledge. Ellie agrees on the condition that he completes all her homework for her, though he also requests that she writes in a notebook he gives her. As Charlie's health worsens, Liz brings him a wheelchair so he can remain mobile. Thomas' visits disgruntled Liz, who chastises him. She reveals she is the adopted daughter of New Life's head pastor and that Alan was her brother; his religious guilt drove him to suicide, leading a grief-stricken Charlie to start uncontrollably binge-eating. Despite Liz's objections, Thomas still believes his mission is to help Charlie. One day, Ellie places crushed Ambien into Charlie's food, knocking him out. Thomas arrives, and the two smoke marijuana, whereupon Thomas confesses to stealing his youth group's money and running away from home because he felt dissatisfied. Ellie secretly records their conversation. Out of concern, Liz takes Mary to visit. When Liz learns about the amount Charlie has saved for Ellie, she storms out, furious over being lied to about why he avoided medical treatment. Mary and Charlie argue over his decision to leave his family for Alan. Charlie admits he hopes Ellie will prove he did "one thing right with his life". Later that night, while delivering pizza, Dan sees Charlie for the first time and silently runs off in shock. As a result, Charlie has a severe binge-eating episode and sends a profanity-laden email to his students, telling them to disregard the classwork and just write back "something honest". Thomas visits Charlie one last time to inform him that he is moving back home after Ellie sent his confession to his former youth group and family, who have forgiven him and implored him to return. He attempts to preach to Charlie, but Charlie chastises him when he attributes Alan's death to his sexual orientation. During his next class, Charlie tells his students he is being fired after the email he sent, and reads some of their submissions. To reciprocate their honesty, he switches on his webcam for the first time, and the students have mixed reactions. Charlie calmly proclaims that academics do not matter, but the honest things his students wrote do, before abruptly ending the class by tossing his laptop against the fridge, destroying it. Liz returns and comforts Charlie as his health rapidly declines. Ellie arrives to furiously confront him over an essay he agreed to rewrite for her; Charlie had instead replaced it with an essay about Moby-Dick she wrote in eighth grade, as he considers it the most honest essay he has ever read. Ellie initially rebukes him as he attempts to reconcile one final time, though she reads the paper aloud at Charlie's insistence. Charlie stands up and begins to walk toward her without assistance, which he had tried but failed to do during her first visit. As she finishes reading, they smile at each other, and Charlie begins to float as he is engulfed in a bright white light.

White Christmas_1954

tt0047673

<script> <scene> <character>"WHITE CHRISTMAS"</character> <dialogue>by</dialogue> <scene_description>Melvin Frank, Norman Krasna and Norman Panama FULL SHOT - REAR AREA - (DAY) - (GLASS) This is December 24, 1944, in the first safe area directly behind the battle line, in the Italian theatre. In the distance occasional artillery light flashes are seen and artillery rumbles are heard. The battered terrain shows the effects of battle. In the foreground is a recreation area, covered with camouflage; entertainment is in progress on a raised stage. Men of the division are seated about on benches, boxes, and the ground. A camouflaged motor pool of jeeps and tanks is nearby. MED. SHOT - NEAR RECREATION AREA We can HEAR LAUGHTER and APPLAUSE from the men as a jeep with two stars on the front indicating it is the General's car jounces along a road toward the side of the recreation area. A YOUNG SERGEANT is at the wheel, an ADJUTANT beside him, and in the rear are GENERAL WAVERLY and GENERAL CARLTON. JEEP - MED. CLOSE As it jounces along. General Waverly is weather-beaten and weary; his uniform, while neat, shows the effects of long wear. General Carlton, on the other hand, is stiff, clean and fresh from the Pentagon. He is staring off at the recreation area.</scene_description> <character>GENERAL CARLTON</character> <parenthetical>(To Adjutant)</parenthetical> <dialogue>What's this all about, Colonel?</dialogue> <character>ADJUTANT</character> <parenthetical>(Turning)</parenthetical> <dialogue>A little entertainment for the men, sir. Tonight's Christmas Eve.</dialogue> <character>GENERAL CARLTON</character> <dialogue>These men are moving up tonight. They should be lined up for full inspection!</dialogue> <scene_description>The jeep has come to a halt.</scene_description> <character>GENERAL WAVERLY</character> <parenthetical>(Eyeing him)</parenthetical> <dialogue>You're absolutely right.</dialogue> <parenthetical>(To Adjutant)</parenthetical> <character>GENERAL WAVERLY</character> <dialogue>There's no Christmas in the Army, Colonel.</dialogue> <character>ADJUTANT</character> <dialogue>Yes, sir.</dialogue> <scene_description>Waverly and the Adjutant alight from the jeep.</scene_description> <character>GENERAL WAVERLY</character> <parenthetical>(To Carlton)</parenthetical> <dialogue>There's always a slip-up or two during a change in command. The men get a little loose. But I know I'm leaving them in good hands.</dialogue> <character>GENERAL CARLTON</character> <parenthetical>(Stiffly)</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>(To Driver)</parenthetical> <dialogue>Sergeant, take me to headquarters immediately! We'll have those men turned out on the double!</dialogue> <scene_description>The Sergeant looks at General Waverly.</scene_description> <character>GENERAL WAVERLY</character> <dialogue>Goodbye, Sergeant. Take the short cut.</dialogue> <character>SERGEANT</character> <dialogue>Yes, sir!</dialogue> <scene_description>The jeep pulls off and makes a half circle. The Adjutant makes a gesture, as if to stop it. The General stops him. TWO SHOT - GENERAL WAVERLY AND ADJUTANT The Adjutant turns to him.</scene_description> <character>ADJUTANT</character> <dialogue>That's not the way to headquarters!</dialogue> <character>GENERAL WAVERLY</character> <dialogue>Joe, you know that, and I know that, but the new General doesn't know it. Or he won't for about an hour and a half.</dialogue> <character>ADJUTANT</character> <dialogue>That Sergeant'll be a private tomorrow!</dialogue> <character>GENERAL WAVERLY</character> <dialogue>Yes... isn't he lucky?</dialogue> <scene_description>He takes the Adjutant by the arm and leads him toward the recreation area. RAISED PLATFORM - MED. SHOT CAPTAIN BOB WALLACE (BING CROSBY) is wearing a makeshift beard and Santa Claus hat and PRIVATE PHILIP DAVIS (DONALD O'CONNOR) is in combat clothes. They are doing a number to entertain the soldiers, WHAT DOES A SOLDIER WANT FOR CHRISTMAS? During introduction, we CUT TO: TWO SHOT - GENERAL AND ADJUTANT just starting to take seats, off to one side where they are not noticed by the performers. GROUP SHOT - ABOUT 6 SOLDIERS seated in audience. They look off, see General, start to rise. TWO SHOT - GENERAL AND ADJUTANT The General notices them - motions for them to sit down again, indicating he doesn't want attention called to himself. PLATFORM - FULL SHOT The number concludes to applause. Bob holds up his hand for silence. He removes his beard.</scene_description> <character>BOB</character> <dialogue>Thanks, fellows. I guess by now you know the Old Man's being replaced by a new Commanding General fresh out of the Pentagon... this divisions's been awfully lucky so far, but tonight they're running a special on St. Christophers at the PX... The Old Man's heading back to the rear - he's never moved in that direction in his life.</dialogue> <character>BOB</character> <dialogue>All I can say is, we owe so much to General Waverly and the way --</dialogue> <character>WAVERLY'S VOICE</character> <parenthetical>(A bellow)</parenthetical> <scene_description>ATTENTION! Automatically, Bob stiffens. Phil does the same. AUDIENCE - FULL SHOT Every man is at attention and every head has turned to where General Waverly has taken up a position near the front of the platform.</scene_description> <character>GENERAL WAVERLY</character> <dialogue>Captain Wallace, button your shirt. You're out of uniform!</dialogue> <parenthetical>(Bob, grinning, hastily buttons his shirt)</parenthetical> <dialogue>This division is now under the command of General Harold G. Carlton, and I don't want anyone to forget it -- not that he'll let you. He's tough -- just what this sloppy outfit needs. You'll be standing inspection night and day -- you may even learn how to march. And if you don't give him everything you got, I may come back and fight for the enemy. Merry Christmas!</dialogue> <scene_description>The boys respond with "Merry Christmas".</scene_description> <character>GENERAL WAVERLY</character> <parenthetical>(Embarrassed)</parenthetical> <dialogue>Well -- I guess that's about it - uh - uh --</dialogue> <scene_description>Bob, covering his embarrassment:</scene_description> <character>BOB</character> <dialogue>Perhaps I can help you out, sir.</dialogue> <scene_description>He turns to the musicians, gives the downbeat. They play THE OLD MAN, which is sung by the entire outfit. The General stands at attention through the first chorus, visibly moved. During the second chorus he starts up the aisle, revealing for the first time that his left leg is bandaged to the knee. The Adjutant puts out his arm to help. Waverly refuses. Toward the finish of the song, he turns, faces the men and salutes them. The men return the salute. (This is not a military mistake, the General salutes the enlisted men as a deliberate gesture.) There is a Red Cross ambulance standing by. DISSOLVE TO: CLOSE SHOT - (NIGHT) - TINY CANDLE THE CAMERA PULLS BACK to reveal a hand lighting a candle on a tiny makeshift Christmas tree. We reveal a number of enlisted men huddled around the tree in a trench, including Bob and Phil. One of the men looks at his wristwatch. Now another does. CLOSE SHOT - WRISTWATCH The hand is approaching midnight. CLOSE SHOT - SOLDIER He is looking at his wristwatch. CLOSE SHOT - WRISTWATCH The second hand is pointing to the hour. FULL SHOT OF SCENE This is the prearranged signal for Bob to begin singing WHITE CHRISTMAS. Phil accompanies him on a harmonica. Toward the end of the song, an enemy barrage DROWNS out the music. A shell BURSTS in the vicinity. CLOSE SHOT - BOB AND PHIL Phil pulls Bob down in time to save him from the shrapnel burst. This has also pushed Bob's face into the mud, which he thinks is unnecessary. Phil, ignoring Bob's hostile look, brightly continues with WHITE CHRISTMAS from where the song left off. Bob finishes with him, but eyeing him. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SKY - (NIGHT)</stage_direction> <scene_description>CAMERA SHOOTING UP to the sky as brilliant fireworks explosion lights up the screen. Over scene SUPERIMPOSE: INSERT - NEWSPAPER Headline reads: "V-E DAY!" As CAMERA MOVES FAST INTO headline, we LOSE the fireworks display and the headline covers the whole screen. DISSOLVE TO: INSERT - CHURCH TOWERS - (DAY) Bells are ringing for celebration of V-E Day. CAMERA MOVES INTO mouth of one bell, blacking out the screen. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BILL POSTER OF FLORIDA SHOW - (NIGHT)</stage_direction> <scene_description>featuring names and pictures of Bob and Phil. CAMERA MOVES to a CLOSE SHOT of the picture, HOLDS for a second, then suddenly the picture comes to life and we are on the stage of the theatre where Bob and Phil are doing the production number "BELLS".</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. THEATRE - AUDIENCE</stage_direction> <scene_description>Perhaps twenty people, photographed at a slant. They're warm. One woman has a fan, some use programs. They are enjoying the show, however. There are some vacant seats apparent. This theatre is a modern traveling tent show, such as have been playing in Florida in recent years, and beyond the sides we see palm trees, characteristic of Florida. FULL SHOT - AUDIENCE APPLAUDING the conclusion of the number. MED. FULL SHOT - BACKSTAGE The curtain is down, the boys come off, the curtain goes up on the next number, which is dancing. Phil and Bob are met by COOKE, the Company Manager. RITA, a luscious Latin type, and some of the remaining chorus girls and other players ad lib, "Couldn't be cuter!" "Great." "Very funny!"</scene_description> <character>COOKE</character> <parenthetical>(To Bob and Phil)</parenthetical> <dialogue>New York's on the telephone.</dialogue> <scene_description>Bob and Phil, with Cooke, go to the backstage telephone.</scene_description> <character>PHIL</character> <parenthetical>(Into phone)</parenthetical> <dialogue>Hello.</dialogue> <parenthetical>(He listens. To Bob and Cooke)</parenthetical> <dialogue>Oscar.</dialogue> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. MANAGER'S OFFICE</stage_direction> <scene_description>This is the business office of Bob and Phil. OSCAR is their representative and manager, not their employer. He is sixty and looks competent. He refers to a telegram in his hand. Pictures of the boys adorn the desk, and Wallace and Davis sheets of previous shows are on the wall. It must be evident from their billing that the boys are important stars in New York.</scene_description> <character>OSCAR</character> <dialogue>Listen, I just heard what you're doing -- giving the cast a week off with pay for Christmas. You don't know how touched I am. I'm all choked up. Between sobs, I managed to book you on the Ed Harrison show this week to take up the slack. It'll be stealing money.</dialogue> <scene_description>CLOSE SHOT - GROUP Phil is holding the receiver up to Bob. Oscar's VOICE can be plainly heard.</scene_description> <character>PHIL</character> <parenthetical>(Into phone)</parenthetical> <dialogue>We'll have to go to New York -- four days and four nights of rehearsals -- that's stealing money?</dialogue> <scene_description>CLOSE SHOT - OSCAR As he speaks into the telephone</scene_description> <character>OSCAR</character> <dialogue>It is for me -- I get ten percent.</dialogue> <parenthetical>(He listens for a moment)</parenthetical> <dialogue>Next time you guys make a charitable gesture, find out if you got with what to make it. See you Wednesday.</dialogue> <scene_description>He hangs up. GROUP SHOT - PHIL, BOB AND COOKE Bob hangs up the phone.</scene_description> <character>BOB</character> <dialogue>Well... while the cast takes it easy we'll be slaving over a hot kinnie.</dialogue> <character>COOKE</character> <dialogue>What train do you want? There's a one-thirty this morning but you have to sit up all night.</dialogue> <character>PHIL</character> <dialogue>Let's get out tonight.</dialogue> <character>BOB</character> <dialogue>Okay.</dialogue> <scene_description>The boys walk to their dressing room. A group of the chorines come flying by, toward the dressing rooms, with squealing. They make quite a picture from the rear, bouncing and all.</scene_description> <character>PHIL</character> <dialogue>What are we going to do until one- thirty?</dialogue> <character>BOB</character> <dialogue>We'll eat dinner.</dialogue> <character>PHIL</character> <parenthetical>(Looking at the retreating bouncing)</parenthetical> <dialogue>Eat, eat All you think of is your stomach!</dialogue> <scene_description>Rita shows up in front of Phil.</scene_description> <character>RITA</character> <parenthetical>(Eagerly)</parenthetical> <dialogue>You said you had something to rehearse with me after the show. What is it?</dialogue> <scene_description>Phil evidently was trying to hide this from Bob and is self- conscious at being caught.</scene_description> <character>PHIL</character> <dialogue>It's a kind of new dance number.</dialogue> <character>RITA</character> <parenthetical>(Eagerly)</parenthetical> <dialogue>I'm ready.</dialogue> <character>BOB</character> <parenthetical>(Taking Phil by the arm)</parenthetical> <dialogue>He isn't. Some business has come up. See you in a week.</dialogue> <parenthetical>(He pulls Phil away)</parenthetical> <dialogue>Come on, Romeo, dinner!</dialogue> <parenthetical>(Tempting him)</parenthetical> <dialogue>Lamb chops, lamb chops!</dialogue> <character>PHIL</character> <parenthetical>(Pretending that he is letting himself be pulled while he is still anxious to go in the other direction)</parenthetical> <dialogue>I'm looking at them! We're going in the wrong direction.</dialogue> <scene_description>DISSOLVE TO: MED. SHOT - WATERFRONT INN - BOB AND PHIL - (NIGHT) The boys are now finishing their dinner. Bob is facing the orchestra, Phil would have to turn to see it. The MUSIC plays, the boys eat. The table is close to the bar. On two stools sit JUDY and BETTY. Betty is wearing her glasses and examining some railroad tickets that have just been handed her by the bartender. Phil is not paying attention to his eating, he is entranced with Judy's pretty legs draped over the bar stool. Bob cannot see the girls and is not even interested enough to turn around. MED. CLOSE SHOT - BETTY AND JUDY On her part, Judy is not absorbed in the tickets, but is unobtrusively sizing up Phil.</scene_description> <character>BETTY</character> <parenthetical>(Checking the tickets)</parenthetical> <dialogue>We'll have to rush to get the 1:30 train.</dialogue> <scene_description>CLOSE SHOT - PHIL AND BOB Bob notices Phil's absorption.</scene_description> <character>BOB</character> <dialogue>Have you ever considered laying off the female sex for awhile?</dialogue> <character>PHIL</character> <dialogue>What other kind is there?</dialogue> <parenthetical>(He picks up the card which announces the performers names and reads)</parenthetical> <dialogue>'The Stewart Sisters.' Sister act!</dialogue> <parenthetical>(He smacks his lips. He doesn't realize that these two girls are the Stewart Sisters)</parenthetical> <character>BOB</character> <dialogue>Down, Rover, down. Remember, we have an agreement--you chase no new tidbits during the season. You were man enough to give me your hand on it.</dialogue> <character>PHIL</character> <dialogue>You were sneaky enough to take it.</dialogue> <scene_description>MED. CLOSE SHOT - BETTY AND JUDY Betty looks from the tickets and sees that Judy is covertly eyeing Phil. She leans forward.</scene_description> <character>BETTY</character> <parenthetical>(Quietly)</parenthetical> <dialogue>Ahem.</dialogue> <parenthetical>(Judy's eyes are toward Phil. A little louder)</parenthetical> <dialogue>Ahem! All right dear, relax.</dialogue> <character>JUDY</character> <dialogue>He's awful cute.</dialogue> <character>BETTY</character> <dialogue>So was the one in Kansas City, and the one in Canton, Ohio, and the one in Waco, Texas.</dialogue> <character>JUDY</character> <parenthetical>(Mock seriousness)</parenthetical> <dialogue>Canton, Ohio wasn't so much.</dialogue> <character>BETTY</character> <dialogue>One of these days you're going to meet somebody extra cute and the next performance I'll be doing a single.</dialogue> <character>JUDY</character> <parenthetical>(Sincerely)</parenthetical> <dialogue>Nobody'll ever be cute enough to break up this sister act.</dialogue> <scene_description>MED. SHOT - BOOTH - BOB AND PHIL Phil is still fingering the card.</scene_description> <character>PHIL</character> <dialogue>I haven't much luck with sister acts. They're all alike. Shall I tell you what these two are like?</dialogue> <character>BOB</character> <dialogue>Shoot.</dialogue> <character>PHIL</character> <dialogue>Four feet two inches tall. Pudgy. Round races. Have big bows in their hair. Always smiling.</dialogue> <parenthetical>(He parodies a smile)</parenthetical> <dialogue>Lots of teeth. Sister acts have more teeth than anybody else. Two, three hundred teeth at a time. The American Dental Association is investigating it.</dialogue> <scene_description>There is a drum roll from the orchestra. Betty takes off her glasses and puts them in their case, on the bar. The bandleader's voice announces:</scene_description> <character>BANDLEADER</character> <dialogue>Ladies and gentleman, the Stewart Sisters!</dialogue> <scene_description>The audience applauds politely while the girls start toward the platform, Phil reacts in surprise to the new development. PLATFORM - FULL SHOT Betty and Judy do their number: "SISTERS". As they take their bows -- MED. SHOT - BOB AND PHIL Phil pretends to recognize Judy.</scene_description> <character>PHIL</character> <dialogue>Say, Dolores! That's Dolores!</dialogue> <character>BOB</character> <dialogue>Who?</dialogue> <character>PHIL</character> <dialogue>Remember that girl I told you about who got sick in St. Paul? That's her! The girl in the oxygen tent! I told you about her! The road company of "Student Prince." The whole company went to church and prayed for her! It was the most touching thing I've ever seen in show business.</dialogue> <character>(HE GETS UP.)</character> <dialogue>I'll bring her over.</dialogue> <scene_description>He goes, Bob watching, disgusted. NOVELLO, the owner of the Waterfront Inn, comes up. MED. SHOT - BOB AND NOVELLO Novello evidently knows Bob.</scene_description> <character>NOVELLO</character> <dialogue>Didn't you get your dessert yet, Mr. Wallace?</dialogue> <character>BOB</character> <dialogue>I'm not having any, but I think my partner's lining up some pastries now.</dialogue> <character>NOVELLO</character> <dialogue>Sure wish I could afford to book you boys here.</dialogue> <character>BOB</character> <dialogue>Call our agent - we've got half an hour between trains.</dialogue> <scene_description>Phil enters the shot with Judy and Betty.</scene_description> <character>PHIL</character> <dialogue>Hello, Mister Novello.</dialogue> <character>NOVELLO</character> <dialogue>Good evening, Mister Davis.</dialogue> <scene_description>MED. SHOT - GROUP Novello pulls out the table to permit the girls to be seated.</scene_description> <character>PHIL</character> <parenthetical>(Burlesque formality)</parenthetical> <dialogue>Miss Stewart, Mister Wallace. Miss Stewart, Mister Wallace.</dialogue> <character>JUDY AND BETTY</character> <dialogue>How do you do.</dialogue> <character>BOB</character> <parenthetical>(Rising)</parenthetical> <dialogue>How do you do.</dialogue> <scene_description>Phil gets Betty next to Bob, he sits next to Judy.</scene_description> <character>NOVELLO</character> <dialogue>See you later, folks.</dialogue> <character>PHIL</character> <dialogue>'Bye.</dialogue> <parenthetical>(He leaves)</parenthetical> <character>JUDY</character> <dialogue>We saw your show at the matinee, and we liked it very much.</dialogue> <character>BOB</character> <dialogue>Thank you, ma'am.</dialogue> <scene_description>The orchestra has gone into WHITE CHRISTMAS.</scene_description> <character>PHIL</character> <dialogue>Where are you going to be for Christmas?</dialogue> <character>JUDY</character> <dialogue>We're booked in Vermont.</dialogue> <character>PHIL</character> <dialogue>Vermont? What's there?</dialogue> <character>BETTY</character> <dialogue>Snow. We spent last Christmas in South Carolina, the year before in Hawaii. They didn't seem like Christmases. There ought to be snow. This one's going to be real white.</dialogue> <character>BOB</character> <dialogue>Well, it's the way you've been raised. If you saw a lot of snow when you were a kid you miss it more around Christmas. There's a lot of snow around St. Paul.</dialogue> <character>JUDY</character> <dialogue>Is that where you come from - St. Paul?</dialogue> <scene_description>It dawns on him, slowly. He shows no emotion.</scene_description> <character>BOB</character> <dialogue>No. You come from St. Paul.</dialogue> <character>JUDY</character> <dialogue>I come from Canton, Ohio.</dialogue> <character>BOB</character> <parenthetical>(Just for the record he knows)</parenthetical> <dialogue>I'd like to ask you something. Were you ever in an oxygen tent?</dialogue> <character>JUDY</character> <dialogue>Oxygen tent? Oh no!</dialogue> <character>BOB</character> <dialogue>Were you ever in a road company of "Student Prince?"</dialogue> <character>BETTY</character> <dialogue>No. Why?</dialogue> <scene_description>Bob looks at Phil. The rules are clear between them. Bob puts his hand out. Phil takes it. They shake.</scene_description> <character>BOB</character> <dialogue>Very good.</dialogue> <character>PHIL</character> <dialogue>Thank you.</dialogue> <character>BOB</character> <dialogue>What I admire are the details, the invention, the little lies all around the big one. It takes talent.</dialogue> <character>PHIL</character> <dialogue>Oh, it's nothing.</dialogue> <character>BOB</character> <dialogue>Don't say that. Don't belittle yourself. Credit where credit is due. You did it fine.</dialogue> <character>BETTY</character> <dialogue>Private conversation?</dialogue> <character>BOB</character> <dialogue>Little game we play.</dialogue> <character>PHIL</character> <parenthetical>(To Judy)</parenthetical> <dialogue>May I have this dance?</dialogue> <character>JUDY</character> <dialogue>I'd love to.</dialogue> <character>PHIL</character> <parenthetical>(Helping her up)</parenthetical> <dialogue>I'm not going to keep calling you Miss Stewart.</dialogue> <character>JUDY</character> <dialogue>The name is Judy.</dialogue> <character>PHIL</character> <parenthetical>(To Bob)</parenthetical> <dialogue>What a pretty name!</dialogue> <character>BOB</character> <parenthetical>(They're off)</parenthetical> <dialogue>Nicer than Dolores!</dialogue> <character>BETTY</character> <dialogue>I'm Betty.</dialogue> <character>BOB</character> <dialogue>I'm low man. Bob.</dialogue> <parenthetical>(He takes her arm, indicating Phil and Judy)</parenthetical> <dialogue>Follow that couple.</dialogue> <character>BETTY</character> <dialogue>Why?</dialogue> <scene_description>They move toward the dance floor.</scene_description> <character>BOB</character> <dialogue>Want to make sure they keep dancing.</dialogue> <character>BETTY</character> <dialogue>Stop worrying. He won't get any place with her.</dialogue> <character>BOB</character> <dialogue>You sure?</dialogue> <character>BETTY</character> <dialogue>I'm positive. I trained her myself.</dialogue> <character>BOB</character> <dialogue>She's in the ring with the champ, though. You've heard of Alcoholics Anonymous?</dialogue> <parenthetical>(She nods; he indicates Phil)</parenthetical> <dialogue>Women Anonymous. Their biggest case.</dialogue> <scene_description>Keeps falling off the wagon.</scene_description> <character>BETTY</character> <dialogue>Well, you keep an eye on him, and I'll keep an eye on her.</dialogue> <character>BOB</character> <dialogue>Fine. We can make out the probation report together.</dialogue> <scene_description>The orchestra blends into a vocal chorus of the song. (To be decided upon.) The vocal is shared by Bob, Betty, Judy and Phil, individually. Toward the end of the vocal Phil dances Judy out to the terrace overlooking the water. This blends into their dance. The staging of the number should reunite the four principals by the end of the number. The audience applauds and they all go back to their booth. MED. CLOSE SHOT - BETTY AND JUDY They are a half dozen steps ahead of the boys.</scene_description> <character>JUDY</character> <dialogue>They're both very cute, aren't they?</dialogue> <character>BETTY</character> <parenthetical>(Hiding her real interest)</parenthetical> <dialogue>Both?</dialogue> <character>JUDY</character> <dialogue>Uh huh.</dialogue> <character>BETTY</character> <dialogue>Which one do you like best?</dialogue> <character>JUDY</character> <dialogue>I like them both.</dialogue> <character>BETTY</character> <dialogue>You can't have both. There's a law.</dialogue> <character>JUDY</character> <dialogue>Oh, we'll never meet them again, what does it matter?</dialogue> <scene_description>The men are now up to them and help them into the booth. MED. SHOT - BOOTH - GROUP Bob does not sit.</scene_description> <character>BOB</character> <dialogue>Judy, you made even him look good.</dialogue> <character>JUDY</character> <parenthetical>(Pleased)</parenthetical> <dialogue>You're very flattering, but he was doing all the leading.</dialogue> <character>BETTY</character> <parenthetical>(Fair)</parenthetical> <dialogue>You dance very well together. If I say it.</dialogue> <character>PHIL</character> <parenthetical>(Sitting)</parenthetical> <dialogue>Lightest girl I ever saw. Floats like a bubble. One big bubble.</dialogue> <character>BOB</character> <dialogue>All right, bubble lover, stand up!</dialogue> <character>PHIL</character> <dialogue>What for? I just sat down.</dialogue> <character>BOB</character> <dialogue>La train. At one-thirty, and we have to pack.</dialogue> <character>PHIL</character> <dialogue>Train?</dialogue> <character>BOB</character> <dialogue>You know, choo choo. Goes on tracks.</dialogue> <parenthetical>(Train whistle noise)</parenthetical> <dialogue>Wo woo.</dialogue> <character>PHIL</character> <dialogue>Oh no!</dialogue> <character>BOB</character> <dialogue>Oh yes!</dialogue> <character>PHIL</character> <dialogue>Can't we go tomorrow?</dialogue> <character>BOB</character> <dialogue>The train goes tonight.</dialogue> <parenthetical>(Phil looks disconsolately at Judy)</parenthetical> <dialogue>Say goodbye to the lady bubble, because we're going to have to run for it now.</dialogue> <character>PHIL</character> <dialogue>Lady bubble, I have an idea we're going to meet up again sometime.</dialogue> <character>JUDY</character> <dialogue>We might, we're on the same train.</dialogue> <character>PHIL</character> <dialogue>No.</dialogue> <character>JUDY</character> <dialogue>Yes.</dialogue> <character>BOB</character> <parenthetical>(Pulling Phil away)</parenthetical> <dialogue>No.</dialogue> <scene_description>As they start off, Novello enters to the girls, agitated.</scene_description> <character>NOVELLO</character> <dialogue>The sheriff is here! He's in my office!</dialogue> <character>JUDY</character> <dialogue>The sheriff!</dialogue> <character>NOVELLO</character> <dialogue>He's got a warrant to arrest you!</dialogue> <scene_description>Bob has stopped. He looks at Phil, suspiciously.</scene_description> <character>BOB</character> <dialogue>I thought we watched you every minute.</dialogue> <scene_description>Phil holds up his hand in "Scout's honor."</scene_description> <character>PHIL</character> <dialogue>Never stopped dancing.</dialogue> <scene_description>Bob turns back to the table.</scene_description> <character>BOB</character> <parenthetical>(To the girls)</parenthetical> <dialogue>Can we help?</dialogue> <character>JUDY</character> <parenthetical>(Fearful)</parenthetical> <dialogue>I've never been arrested!</dialogue> <character>PHIL</character> <dialogue>There's nothing to it!</dialogue> <character>BOB</character> <dialogue>Don't get panicky!</dialogue> <character>NOVELLO</character> <dialogue>Yes, don't get excited, you still have to give your show!</dialogue> <parenthetical>(Apologetically)</parenthetical> <dialogue>He's not going to arrest them until after the show!</dialogue> <character>BOB</character> <dialogue>That's considerate! How'd you arrange that?</dialogue> <character>NOVELLO</character> <dialogue>I'm a taxpayer here! You better go in and change, girls! You haven't much time!</dialogue> <scene_description>The girls start off, confused. Novello, Bob and Phil follow.</scene_description> <character>BOB</character> <dialogue>May I enquire what you are being arrested for?</dialogue> <character>BETTY</character> <dialogue>The owner of the hotel we were at says we dropped a cigarette on his rug and burned it.</dialogue> <character>JUDY</character> <dialogue>We couldn't have dropped a cigarette because we don't smoke.</dialogue> <character>BETTY</character> <dialogue>He wants two hundred dollars, but it's just plain stealing.</dialogue> <character>JUDY</character> <dialogue>We left the money for our bill in an envelope on the bed.</dialogue> <character>BETTY</character> <dialogue>Then we dropped the bags out the window and checked them at the depot.</dialogue> <character>JUDY</character> <dialogue>What are we going to do now?</dialogue> <character>NOVELLO</character> <dialogue>You have to give another show.</dialogue> <scene_description>He leaves them, as Bob and Phil look unpleasantly after him. They have reached the wings.</scene_description> </scene> <scene> <stage_direction>INT. WINGS - MED. SHOT</stage_direction> <scene_description>STAGEHAND is setting up a record on a record-playing mechanism backstage, as the group passes by heading for the dressing rooms.</scene_description> <character>PHIL</character> <dialogue>The old burned rug routine.</dialogue> <character>BOB</character> <dialogue>Kind of old fashioned, isn't it? I thought that went out with the Cherry Sisters. We'll have to do something.</dialogue> <character>PHIL</character> <parenthetical>(Hopefully)</parenthetical> <dialogue>Got a flash?</dialogue> <character>BOB</character> <dialogue>A glimmer. Have to stir it around a little.</dialogue> <scene_description>The girls have opened the door to their dressing room.</scene_description> <character>JUDY</character> <dialogue>We wouldn't want you boys to get into any trouble.</dialogue> </scene> <scene> <stage_direction>INT. DRESSING ROOM - MED. SHOT</stage_direction> <scene_description>As they all enter.</scene_description> <character>PHIL</character> <dialogue>Why not? Maybe we'll all wind up in the same cell.</dialogue> <scene_description>As they close the door, DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. NOVELLO'S OFFICE - MED. SHOT</stage_direction> <scene_description>Novello is with the SHERIFF and the LANDLORD. The Sheriff is a husky fellow. At the moment he's eating an eclair and coffee, from Novello's desk. The Landlord glares at him.</scene_description> <character>LANDLORD</character> <dialogue>That's the second dessert you've had, Sheriff!</dialogue> <character>SHERIFF</character> <dialogue>Real good, too.</dialogue> <character>LANDLORD</character> <dialogue>I haven't got all night to wait here while you eat free food! You've got your warrant, arrest those girls!</dialogue> <character>SHERIFF</character> <parenthetical>(Displeased)</parenthetical> <dialogue>Now, we agreed to let them finish their show first.</dialogue> <character>LANDLORD</character> <dialogue>I didn't agree!</dialogue> <parenthetical>(To Novello)</parenthetical> <dialogue>That was his idea!</dialogue> <character>NOVELLO</character> <dialogue>I've got some rights, too. You don't get those girls until after they've done their number!</dialogue> <character>LANDLORD</character> <dialogue>Well, how long is it going to take?</dialogue> <scene_description>Novello puts his hand up, listening.</scene_description> <character>NOVELLO</character> <dialogue>Wait a minute! That's their music!</dialogue> <scene_description>He gets up, opens the office door, and we HEAR their entrance music, as before, and the Orchestra Leader's voice, "The Stewart Sisters." MED. SHOT - CAFE FLOOR Bob and Phil stand with their backs to the audience. They turn, face front, and we realize they are mouthing to a record. CLOSE SHOT - WINGS - RECORD PLAYER We identify that the music is coming from this spinning record player we have previously established. MED. SHOT - CAFE FLOOR Bob and Phil do the number. MED. SHOT - AUDIENCE They APPLAUD at end of number.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. NOVELLO'S OFFICE</stage_direction> <scene_description>We faintly HEAR the applause.</scene_description> <character>LANDLORD</character> <dialogue>They're clapping! It's over! Arrest them!</dialogue> <scene_description>The Sheriff gets up. CUT TO: MED. SHOT - CAFE FLOOR The boys bow themselves off, and run toward their dressing room. MED. SHOT - CORRIDOR They hurry down the corridor, passing the office door.</scene_description> <character>BOB</character> <dialogue>Get out of these clothes! Toot sweet!</dialogue> <character>PHIL</character> <dialogue>Ma, unhook my bra!</dialogue> <scene_description>The office door opens behind them, which they do not see. The Sheriff steps out, followed by the Landlord and Novello.</scene_description> <character>SHERIFF</character> <parenthetical>(Calm)</parenthetical> <dialogue>Just a second, folks! I'll handle this!</dialogue> <parenthetical>(He walks to the dressing room door)</parenthetical> <scene_description>MED. CLOSE SHOT - DRESSING ROOM DOOR There is a plaque attached to the key in the lock. The Sheriff smilingly turns the key in the lock. He puts the key in his pocket.</scene_description> <character>SHERIFF</character> <parenthetical>(Winking)</parenthetical> <dialogue>You stay here. Let them try to go through the window.</dialogue> <scene_description>The landlord is delighted.</scene_description> <character>LANDLORD</character> <dialogue>If they make a break for it, shoot 'em!</dialogue> <scene_description>WIPE TO:</scene_description> </scene> <scene> <stage_direction>MED SHOT - EXT. CAFE - (NIGHT) - SHERIFF</stage_direction> <scene_description>The Sheriff walks around the corner of the cafe, and a police car awaits, with cop at the wheel.</scene_description> <character>SHERIFF</character> <dialogue>Just a minute, Hank, couple of customers coming up.</dialogue> <character>HANK</character> <dialogue>Okay, boss.</dialogue> <scene_description>The Sheriff continues to the window of our dressing room. MED CLOSE SHOT - DRESSING ROOM WINDOW It opens. The Sheriff watches it. Out comes Phil's legs, meaning to get out backwards. The Sheriff applies both hands and pushes back.</scene_description> <character>SHERIFF</character> <dialogue>Back you go, boys!</dialogue> <scene_description>He pushes Phil in. Nimbly, he raises himself in.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. DRESSING ROOM</stage_direction> <scene_description>The Sheriff is in the room. He looks coolly at the boys, who are now in their own clothes. He stares at them. They stare at him. Recognition comes all at once.</scene_description> <character>PHIL</character> <dialogue>Pete!</dialogue> <character>SHERIFF</character> <dialogue>Phil! Bob!</dialogue> <character>BOB</character> <dialogue>Pete!</dialogue> <scene_description>They all throw their arms around each other, pounding violently. 'No! Wow! You dirty skunk! You grave robber!'</scene_description> <character>PHIL</character> <parenthetical>(Unbelieving)</parenthetical> <dialogue>Are you the Sheriff here?</dialogue> <character>SHERIFF</character> <dialogue>You bet I am!</dialogue> <character>BOB</character> <dialogue>How'd you get in this line of work?</dialogue> <character>SHERIFF</character> <dialogue>After I got out of the army I sat down and figured it out! Who never got in trouble in the army?</dialogue> <character>SHERIFF</character> <dialogue>The M.P.'s! They were the ones who arrested you! So I came back here and ran for Sheriff!</dialogue> <character>BOB</character> <dialogue>A civilian M.P.! If the fellows ever saw you now! They'd skin you alive!</dialogue> <character>PHIL</character> <dialogue>You ever see any of them?</dialogue> <character>SHERIFF</character> <dialogue>Whitey Harris and Jack Ross have a filling station near here!</dialogue> <character>BOB</character> <dialogue>Jack Ross! Will you ever forget the party he threw in Naples?</dialogue> <character>PHIL</character> <dialogue>In a captured brewery. Very sensible, giving a party in a brewery. Cuts out the middleman.</dialogue> <character>BOB</character> <dialogue>Do you remember when Danny Beasly climbed up -</dialogue> <parenthetical>(As he says 'Danny Beasly' he recalls Danny is dead)</parenthetical> <dialogue>- the tower of the City Hall and rang the bell by swinging on the clapper? He couldn't hear anything for two days.</dialogue> <character>SHERIFF</character> <dialogue>Danny Beasly! Too bad he didn't make it.</dialogue> <character>BOB</character> <dialogue>Not everybody was lucky.</dialogue> <character>PHIL</character> <dialogue>We were lucky in one thing - the old man.</dialogue> <character>SHERIFF</character> <dialogue>You can say that again. Say I'm supposed to arrest a couple of dames! A fellow swore out a warrant!</dialogue> <character>PHIL</character> <dialogue>He's a crook! Burned a hole in a rug and is trying to hold up two kids.</dialogue> <character>SHERIFF</character> <dialogue>You don't say!</dialogue> <character>BOB</character> <parenthetical>(At his watch)</parenthetical> <dialogue>We got to get our bags and be at the station in ten minutes! We'll never make it!</dialogue> <character>SHERIFF</character> <dialogue>Just a moment!</dialogue> <parenthetical>(He goes to the window)</parenthetical> <dialogue>Hank !</dialogue> <scene_description>REVERSE ANGLE - POLICE CAR - SHOOTING BY SHERIFF Hank looks up enquiringly.</scene_description> <character>HANK</character> <dialogue>Yes, sir.</dialogue> <character>SHERIFF</character> <dialogue>Take my friends where they want to go!</dialogue> <character>HANK</character> <dialogue>Yes, sir.</dialogue> <character>SHERIFF</character> <dialogue>Hurry up!</dialogue> <character>BOB</character> <parenthetical>(Going out the window)</parenthetical> <dialogue>Thanks, Pete.</dialogue> </scene> <scene> <stage_direction>EXT. WINDOW - POLICE CAR</stage_direction> <scene_description>Hank has thrown the door open.</scene_description> <character>PHIL</character> <dialogue>Do you think we can make it?</dialogue> <character>HANK</character> <dialogue>This thing goes over a hundred an hour! Hold on!</dialogue> <scene_description>He starts with his red lights going, his siren screaming, and tires grinding.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. DRESSING ROOM</stage_direction> <scene_description>The Sheriff watches them go, pleased. A pounding on the door recalls the Landlord, and he frowns. He strides to the door, takes out his key and opens it. MED. SHOT - CORRIDOR The Landlord and Novello are looking out the window at the departing police car, the noise having distracted them from the door pounding. The siren is still heard, retreating. The Sheriff snaps his cigarette at their feet. They turn to him, faces alight.</scene_description> <character>SHERIFF</character> <dialogue>They escaped! We're pursuing 'em!</dialogue> <character>LANDLORD</character> <dialogue>Escaped!</dialogue> <character>SHERIFF</character> <parenthetical>(Pointing)</parenthetical> <dialogue>What do you mean smoking on theatrical premises!</dialogue> <character>LANDLORD</character> <dialogue>That's not mine! I wasn't smoking!</dialogue> <character>SHERIFF</character> <dialogue>What's that burning? A lollypop?</dialogue> <parenthetical>(He grabs him by the shoulder, not too gently, and starts him out)</parenthetical> <dialogue>Come on!</dialogue> <scene_description>He protests, 'What - !' 'But!' Novello is openmouthed. WIPE TO:</scene_description> </scene> <scene> <stage_direction>EXT. STATION - (NIGHT)</stage_direction> <scene_description>The train is already moving as the police car arrives. The girls are on the observation platform. The police car screams to a stop. The boys fly out, with bags, and just make the train, the girls pulling them aboard.</scene_description> <character>JUDY</character> <parenthetical>(Seriously)</parenthetical> <dialogue>You didn't steal the police car?</dialogue> <character>PHIL</character> <dialogue>No, no. Friend of ours.</dialogue> <scene_description>They go toward the lounge car.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. LOUNGE CAR - GROUP</stage_direction> <scene_description>They all take seats in the lounge car, happy to have accomplished their escape.</scene_description> <character>BOB</character> <dialogue>Well, we'll be together as far as New York.</dialogue> <character>BETTY</character> <dialogue>Maybe it'll snow in New York for Christmas. If it doesn't, we'll mail you a snowball from Vermont.</dialogue> <character>JUDY</character> <dialogue>I haven't been on ice skates in years.</dialogue> <character>PHIL</character> <dialogue>Ice? You mean the stuff in a Scotch and soda?</dialogue> <parenthetical>(Suddenly)</parenthetical> <dialogue>Bob, how about snow for Christmas?</dialogue> <character>BOB</character> <dialogue>You'll only thaw it out.</dialogue> <character>PHIL</character> <dialogue>Come on, Bob, we could have a great week up in Vermont.</dialogue> <scene_description>Bob looks from him to Judy, whose expression is almost pleading.</scene_description> <character>BOB</character> <dialogue>I see what you mean. But Wednesday we've got to be back in New York.</dialogue> <character>PHIL</character> <dialogue>All right -- so it's just for a couple of days. Don't you want me to enjoy the winter sports?</dialogue> <character>BOB</character> <dialogue>You enjoy them all year round.</dialogue> <parenthetical>(He looks to Betty)</parenthetical> <dialogue>We won't get in your way, will we?</dialogue> <character>BETTY</character> <dialogue>As long as your friend doesn't try to take my sister for a sleigh ride.</dialogue> <character>BOB</character> <dialogue>If he tries it, I'll smash his flexible flyer.</dialogue> <parenthetical>(To Phil)</parenthetical> <dialogue>It's all set.</dialogue> <character>PHIL</character> <parenthetical>(Really pleased)</parenthetical> <dialogue>The thing I like about you, Bob, is you're not only kind and generous, you're handsome.</dialogue> <character>BOB</character> <dialogue>We're going to have to sit up all night. Let's get some shut eye.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>FULL SHOT - EXT. TRAIN - (NIGHT)</stage_direction> <scene_description>The rhythm of the wheels and the engine funnel, underscored musically.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. TRAIN</stage_direction> <scene_description>All but Phil are half dozing. One or two other people are seen in the background, asleep. There is an air of peace and quiet in the car, as the music underscoring continues. Their faces are occasionally streaked with light flashes emanating from the surrounding countryside. Phil turns to the side of the car and sees a bill poster showing a copy of a winter scene from the Grandma Moses collection, advertising Vermont. CAMERA PULLS UP TO scene, the music swells and we DISSOLVE to a similar landscape in stylized concept. This is the WINTER FANTASY production number. At the end of the fantasy we hear the Conductor's voice, "Pine Tree. Pine Tree, Vermont." MED. SHOT - OUR GROUP - (DAY) They are bundling themselves up, coat collars tight, expecting to enter the snow country. REVERSE ANGLE - SCENE THROUGH PLATFORM DOOR Pine Tree Station, all green, no snow. Four hotel busses await, one marked 'Columbia Inn Bus.' FULL SHOT - PINE TREE STATION - (GLASS SHOT) Our foursome is just getting off the train. They are the only ones. They are looking about, puzzled.</scene_description> <character>PHIL</character> <dialogue>Are you sure this is the right Vermont?</dialogue> <character>BOB</character> <dialogue>This isn't a southern Vermont?</dialogue> <character>JUDY</character> <dialogue>I don't understand it.</dialogue> <character>BETTY</character> <dialogue>There has to be snow! This place is advertised as America's Snow Playground!</dialogue> <character>BOB</character> <dialogue>Well, if you say so.</dialogue> <parenthetical>(Gesturing to the waiting Columbia Inn bus driver)</parenthetical> <dialogue>Driver, your sleigh and reindeer.</dialogue> <scene_description>The other three bus drivers are disappointed. DISSOLVE TO: FULL SHOT - BUS EN ROUTE The bus goes by an incongruous skating rink, with water instead of ice. Signs indicate the direction of the sun scorched toboggan slide. WIPE TO: MED. SHOT - BUS EN ROUTE The bus winds around another turn in the beautiful green surroundings and we pass a ski lift and a ski jumping platform. WIPE TO: MED. SHOT - BUS EN ROUTE Still another turn of the bus, and in the distance we see a LONG SHOT of the Columbia Inn.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. COLUMBIA INN</stage_direction> <scene_description>MARTHA, a sixty year old spinsterish woman, good of heart, forbidding exterior, is occupied at the desk. The door opens and a pretty fifteen year old, SUSAN, carrying the mail, walks toward her.</scene_description> <character>SUSAN</character> <dialogue>Mail, Martha.</dialogue> <scene_description>She puts the mail on the desk.</scene_description> <character>MARTHA</character> <parenthetical>(As she shuffles through it)</parenthetical> <dialogue>What's the weather forecast down at the Post Office?</dialogue> <character>SUSAN</character> <dialogue>Awful. Fair and warmer.</dialogue> <character>MARTHA</character> <dialogue>If we don't get snow soon we can turn this hotel into a haunted house. We haven't had a guest for three weeks.</dialogue> <character>SUSAN</character> <parenthetical>(As Martha keeps searching through the mail)</parenthetical> <dialogue>What are you looking for?</dialogue> <character>MARTHA</character> <parenthetical>(Not finding it)</parenthetical> <dialogue>Your grandfather's written Washington asking if he can get back in active service. I think he wants to fly jets.</dialogue> <character>SUSAN</character> <dialogue>I think he could do it.</dialogue> <character>MARTHA</character> <dialogue>He says older men have been called, and besides, he misses the food.</dialogue> <character>MARTHA</character> <dialogue>I tell you, Susan, he tried to make it a casual letter, with little jokes, but it came out just begging.</dialogue> <scene_description>Through the huge window behind Susan and Martha we see the figure of a man in overalls, bending over an incinerator, shoveling the ashes into a wheelbarrow. His back is to CAMERA.</scene_description> <character>SUSAN</character> <parenthetical>(Moved)</parenthetical> <dialogue>Oh, Martha! What are we going to do?</dialogue> <character>MARTHA</character> <parenthetical>(Blowing her nose)</parenthetical> <dialogue>I don't know. Don't let on we know he's written. He'll start in I'm only his housekeeper and that I found out through some chicanery or something.</dialogue> <character>SUSAN</character> <parenthetical>(Soothing her)</parenthetical> <dialogue>How did you find out?</dialogue> <character>MARTHA</character> <dialogue>Like any housekeeper -- I read the carbon paper.</dialogue> <parenthetical>(She hands the mail to Susan)</parenthetical> <dialogue>Bring him the mail.</dialogue> <scene_description>Susan starts out as CAMERA MOVES UP to window. After a moment, Susan appears and crosses to the man in overalls. He straightens up, dusts off his hands, and as he turns to take the letters, we see for the first time that he is General Waverly. He looks through them, eagerly, then, downcast, shoves them in his overalls and goes back to his work. DISSOLVE TO: OMITTED</scene_description> </scene> <scene> <stage_direction>FULL SHOT - EXT. INN - (DAY)</stage_direction> <scene_description>The bus comes to a stop and our principals get out, Phil staying with the driver for the luggage. The others enter the inn.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. INN</stage_direction> <scene_description>Martha at the desk, and her eyes widen in surprise.</scene_description> <character>MARTHA</character> <parenthetical>(Happily)</parenthetical> <dialogue>Welcome to Columbia Inn. How do you do?</dialogue> <character>ALL</character> <dialogue>How do you do?</dialogue> <character>MARTHA</character> <parenthetical>(Offering pen)</parenthetical> <dialogue>What kind of accommodations would you like? We can give you a fairly wide choice--any room in the Inn, including mine.</dialogue> <character>BETTY</character> <dialogue>We're not here as guests. We're the Stewart sisters.</dialogue> <character>MARTHA</character> <parenthetical>(Disappointed)</parenthetical> <dialogue>Oh.</dialogue> <character>BOB</character> <dialogue>My friend and I are guests. We've come down for the snow. Where are you keeping it?</dialogue> <character>MARTHA</character> <dialogue>We take it in during the day!</dialogue> <character>BOB</character> <parenthetical>(Looking around)</parenthetical> <dialogue>What are your rates here?</dialogue> <character>MARTHA</character> <dialogue>Make us an offer.</dialogue> <parenthetical>(To the girls)</parenthetical> <dialogue>I'm afraid we won't be able to use you. We'll pay you the half salary for canceling.</dialogue> <character>JUDY</character> <dialogue>Oh, no! Are things that bad?</dialogue> <character>MARTHA</character> <dialogue>We're using the ski-tow to hang the wash on.</dialogue> <parenthetical>(To Bob)</parenthetical> <character>MARTHA</character> <dialogue>You're not going to stay either, are you?</dialogue> <character>BOB</character> <parenthetical>(Shaking his head)</parenthetical> <dialogue>I'm afraid not, ma'am.</dialogue> <scene_description>Through the door comes Waverly, carrying a load of wood in one arm, and a bucket of coke in the other hand. Susan follows carrying an armful of kindling. Bob turns away.</scene_description> <character>BOB</character> <dialogue>I'll tell Phil to leave the luggage -</dialogue> <parenthetical>(It hits him, he comes to a stop, and then to attention)</parenthetical> <dialogue>General Waverly! Sir!</dialogue> <character>WAVERLY</character> <parenthetical>(Easy, simple)</parenthetical> <dialogue>At ease! How are you, Captain.</dialogue> <character>BOB</character> <dialogue>I'm fine, sir.</dialogue> <parenthetical>(But he looks around questioningly, bewildered)</parenthetical> <character>WAVERLY</character> <parenthetical>(Smiling)</parenthetical> <dialogue>We just try to keep the General part quiet.</dialogue> <character>BOB</character> <dialogue>Why?</dialogue> <parenthetical>(Reminding himself)</parenthetical> <dialogue>Begging your pardon, sir.</dialogue> <character>WAVERLY</character> <dialogue>Well, to put it in one sentence, people don't expect major generals to carry firewood.</dialogue> <scene_description>Through the door comes Phil, fast, talking:</scene_description> <character>PHIL</character> <dialogue>Bob, I was thinking we ought to -</dialogue> <scene_description>Phil has his arm out indicating the direction of the door, when he sees Waverly. He freezes. He brings his hand up to a salute, from that position.</scene_description> <character>WAVERLY</character> <dialogue>At ease!</dialogue> <character>PHIL</character> <dialogue>Oh, sir!</dialogue> <parenthetical>(Horrified)</parenthetical> <dialogue>A janitor!</dialogue> <character>WAVERLY</character> <dialogue>Never thought I'd make it, he? ...Matter of fact, it's worse than that. I own this hotel.</dialogue> <character>MARTHA</character> <dialogue>He got it in a shrewd business move.</dialogue> <character>BETTY</character> <parenthetical>(To Bob)</parenthetical> <dialogue>Was everybody in your outfit? We seem to run into them all over the country.</dialogue> <character>BOB</character> <dialogue>The Draft Board didn't know when to stop.</dialogue> <character>WAVERLY</character> <dialogue>If I start the introductions, can I get to meet these young ladies?</dialogue> <parenthetical>(Indicating them)</parenthetical> <dialogue>My housekeeper, Miss Martha Allen, my granddaughter, Susan Waverly.</dialogue> <character>BOB</character> <dialogue>I'm Bob Wallace -- this is Phil Davis --</dialogue> <character>BETTY</character> <dialogue>We're the Stewart sisters.</dialogue> <character>JUDY</character> <dialogue>Your floor show.</dialogue> <character>MARTHA</character> <parenthetical>(To Waverly)</parenthetical> <dialogue>Don't worry -- I've already told them we'd have to cancel.</dialogue> <character>WAVERLY</character> <dialogue>Why? We have a floor, haven't we?</dialogue> <character>MARTHA</character> <dialogue>Last time I looked. But who are they going to sing to?</dialogue> <character>WAVERLY</character> <dialogue>Even if it's only to you and me, it will be well worth it. Besides, there will be six inches of snow tonight and we'll be full up tomorrow.</dialogue> <character>BETTY</character> <parenthetical>(Happily)</parenthetical> <dialogue>Is that the weather forecast?</dialogue> <character>WAVERLY</character> <dialogue>No. But if there was one thing I learned in the army it was to be positive -- especially when you don't know what you're talking about. You'll excuse me, gentlemen, I'm on K.P.</dialogue> <scene_description>Phil and Bob stiffen automatically.</scene_description> <character>PHIL AND BOB</character> <dialogue>Yes, sir!</dialogue> <character>WAVERLY</character> <parenthetical>(To Betty and Judy)</parenthetical> <dialogue>And you two charming ladies, I want you to know I'm looking forward to your show this evening. Whatever your audience lacks in numbers, it will make up for in enthusiasm --</dialogue> <parenthetical>(He glares at Martha)</parenthetical> <dialogue>or I'll know the reason why!</dialogue> <scene_description>He smiles at the girls, and exits, dignified.</scene_description> <character>JUDY</character> <parenthetical>(Utterly charmed)</parenthetical> <dialogue>Gee... no wonder we won the war!</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM INN - (NIGHT) - MED. CLOSE SHOT -</stage_direction> <scene_description>BETTY AND JUDY They are doing the number, SISTERS, on the floor. THE CAMERA PULLS BACK to reveal the scene. There is a scant audience distributed at several tables, totaling not more than fourteen in number. Not far from the kitchen entrance Bob and Phil are sitting at one table. Martha is seen doing general overseeing, principally acting as hostess. Susan doubles between the cashier's desk and helping out at table. MED. CLOSE SHOT - BOB AND PHIL They are admiring the performance. Phil indicates for Bob to look in this direction. Bob does. REVERSE ANGLE - MED. SNOT The General is seating a table. MED. SHOT - BOB AND PHIL Bob shakes his head, unhappy at this condition. They look at each other.</scene_description> <character>BOB</character> <dialogue>I think well stay a little longer than we planned.</dialogue> <scene_description>MED. FULL SHOT - BETTY AND JUDY They finish the number and are applauded enthusiastically, but the few people in the audience don't make for much clatter. One set of hands seems to be applauding loudest and clearest. MED. SHOT - GENERAL WAVERLY He is the one doing the enthusiastic applauding. He walks toward the boys, still applauding. They applaud too. The girls enter the scene, to sit with the boys. Martha is only applauding politely, until Waverly glares at her. Then her enthusiasm is boundless.</scene_description> <character>WAVERLY</character> <dialogue>Excellent. I enjoyed it very much.</dialogue> <character>JUDY</character> <dialogue>Thank you.</dialogue> <character>MARTHA</character> <dialogue>It was nice, if you like music.</dialogue> <scene_description>A waitress brings food, which Martha helps distribute.</scene_description> <character>BETTY</character> <parenthetical>(After a look that the waitress is not in a position to hear)</parenthetical> <dialogue>Mister Waverly, we'd like to make you a proposition.</dialogue> <character>WAVERLY</character> <parenthetical>(Smiling)</parenthetical> <dialogue>Well, for heaven's sake!</dialogue> <character>BETTY</character> <dialogue>You've been very nice not canceling, we'd like to make a gesture. Until it snows, and you have guests, we'll take half salary.</dialogue> <character>MARTHA</character> <parenthetical>(Appreciative)</parenthetical> <dialogue>That's really nice of you.</dialogue> <parenthetical>(She takes out pencil and her order book)</parenthetical> <dialogue>Now let's get that in writing.</dialogue> <character>WAVERLY</character> <parenthetical>(Pushing it aside)</parenthetical> <dialogue>Never heard of anything so ridiculous.</dialogue> <parenthetical>(Gets up)</parenthetical> <dialogue>Your next performance is tomorrow night, after dinner. Be here, or I'll sue!</dialogue> <scene_description>He dignifiedly walks in the direction of some departing guests, and proceeds to show them to the door.</scene_description> <character>MARTHA</character> <parenthetical>(Annoyed)</parenthetical> <dialogue>Light-Horse Harry. Advance, advance, never retreat! He's advancing right into bankruptcy.</dialogue> <character>PHIL</character> <dialogue>That's just the way he was in the army. Always thinking of the other fellow.</dialogue> <character>BOB</character> <dialogue>We ate and then he ate. We slept, and then he slept.</dialogue> <character>PHIL</character> <dialogue>Then he woke up, and nobody slept for the next forty-eight hours.</dialogue> <character>MARTHA</character> <dialogue>I happen to know he's sunk his life's savings into this place. I read the carbon paper.</dialogue> <character>JUDY</character> <dialogue>Gee, I wish there were something we could do to help.</dialogue> <character>BOB</character> <dialogue>Maybe there is.</dialogue> <character>PHIL</character> <dialogue>You got a flash?</dialogue> <character>BOB</character> <dialogue>A glimmer. Have to stir it around a bit.</dialogue> <character>PHIL</character> <parenthetical>(To the girls)</parenthetical> <dialogue>Shhh!</dialogue> <parenthetical>(Indicating Bob, tapping his forehead)</parenthetical> <dialogue>Ticking away madly. Wheels within wheels. This is the brain that, in darkest Italy, devised a formula to make food out of K-Ration! Shhhhhh!</dialogue> <scene_description>As he regards Bob with something akin to awe, we DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. LOBBY - (NIGHT)</stage_direction> <scene_description>The last of the supper audience is leaving. We see into a room which adjoins the reservation desk and Bob is on the phone.</scene_description> </scene> <scene> <stage_direction>CLOSE SHOT - INT. INN OFFICE</stage_direction> <scene_description>Phil is sitting on the desk while Bob talks.</scene_description> <character>BOB</character> <parenthetical>(Into phone)</parenthetical> <dialogue>Relax... I didn't ask you how much it'll cost us...</dialogue> <parenthetical>(We hear an excited high voice on the phone)</parenthetical> <dialogue>Easy, easy, remember your blood pressure... I don't care how much it'll cost us... That's better... Have everybody on the train first thing in the morning. The whole Troupe, and the scenery, and the costumes... You'll have to cancel us off the Ed Harrison Show... Oscar, remember your blood pressure. Incidentally, how much will this cost?</dialogue> <parenthetical>(He hears some figure. - It obviously is a very large number)</parenthetical> <dialogue>Good night, Oscar.</dialogue> <parenthetical>(He hangs up)</parenthetical> <dialogue>There you are.</dialogue> <character>PHIL</character> <dialogue>Incidentally, how much will this cost?</dialogue> <character>BOB</character> <parenthetical>(Clears his throat)</parenthetical> <dialogue>We are coming out - even.</dialogue> <character>PHIL</character> <dialogue>You mean flat?</dialogue> <character>BOB</character> <dialogue>That's the same as even.</dialogue> <character>PHIL</character> <dialogue>Wheels within wheels. It's nice how you take care of the money for both of us because you're older and so level headed. I wonder where I'd be now if hadn't saved your life?</dialogue> <character>BOB</character> <dialogue>Do you want me to cancel the troupe coming?</dialogue> <character>PHIL</character> <parenthetical>(Getting off the desk)</parenthetical> <dialogue>No, no. Let's go through the gesture.</dialogue> <character>PHIL</character> <dialogue>If you had been on the Titanic when it went down, you wouldn't've been satisfied just to sink into the ocean.</dialogue> <parenthetical>(Gesturing)</parenthetical> <dialogue>You'd have done a swan dive into it. With me on your back!</dialogue> <scene_description>DISSOLVE TO: FULL SHOT - COLUMBIA INN FLOOR - (DAY) The scene is a melee of the excitement accompanying preparations for the show. The little stage has been enlarged - the draperies pulled back right and left and a side wall pushed back a little farther. There is hammering and painting going on in various parts of the room. Trunks have been unpacked and wardrobe hung up in odd places, as more trunks arrive. Girls in abbreviated rehearsal clothes walk around, do cartwheels; two people sing at the piano; six girls kick in unison; altogether, it is quite a contrast to the bareness of the previous scene. THE CAMERA TRUCKS through all the activity, taking in our group at the doorway, which features Bob and Phil, the girls standing nearby. Martha and Susan are amazed at the activity.</scene_description> <character>MARTHA</character> <dialogue>I can't believe it! You mean you brought the whole show up here?</dialogue> <character>BOB</character> <dialogue>When you hired the Stewart sisters you also hired a New York show. It was in the small print.</dialogue> <character>PHIL</character> <dialogue>And you can't get out of it. We've got lawyers.</dialogue> <character>SUSAN</character> <dialogue>I can't thank you enough, but I wonder if Gramp'll let you do it?</dialogue> <character>PHIL</character> <dialogue>Why not?</dialogue> <character>MARTHA</character> <dialogue>His pride. When he decides he's going into bankruptcy he likes to go.</dialogue> <character>BOB</character> <dialogue>Now just a second. We're not doing this for him!</dialogue> <character>PHIL</character> <dialogue>Oh no! We're bringing the show down here to rehearse!</dialogue> <character>BOB</character> <dialogue>The company's been getting a little ragged. We'd appreciate the use of the hall.</dialogue> <character>PHIL</character> <dialogue>Of course we don't expect it free!</dialogue> <character>BOB</character> <dialogue>We'll pay a little, but not much. - You see, the audience will be guinea- pigs -- and for us, that's quite an improvement.</dialogue> <scene_description>This has not fooled Susan. She throws her arms around Bob and then Phil.</scene_description> <character>SUSAN</character> <dialogue>I don't know what to say!</dialogue> <scene_description>She cannot refrain from tears of gratitude and turns and runs out. There is a moment of silence.</scene_description> <character>BOB</character> <dialogue>I hope this is not an indication of advancing age, getting kissed out of gratitude.</dialogue> <character>PHIL</character> <dialogue>You didn't expect a girl that pretty to kiss you because she wanted to?</dialogue> <character>BOB</character> <dialogue>A body keeps hoping.</dialogue> <scene_description>Betty steps up to him and gives him the biggest smack. Bob is quite surprised.</scene_description> <character>BETTY</character> <parenthetical>(Sincerely)</parenthetical> <dialogue>That was the nicest thing I ever saw anybody do.</dialogue> <character>BOB</character> <dialogue>It was still gratitude.</dialogue> <character>PHIL</character> <parenthetical>(To Judy)</parenthetical> <dialogue>I'm his partner. I'm entitled to half the credit.</dialogue> <parenthetical>(Judy steps up to him and just pecks him on the cheek, then joins her sister in rehearsal)</parenthetical> <dialogue>She's not as grateful as her sister.</dialogue> <scene_description>They look off through the exit and see a moving van unloading scenery, as the General arrives in his buggy. He steps down and looks with amazement at the scenery passing by. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. INN - (DAY) - MED. CLOSE SHOT - WAVERLY, BOB AND PHIL</stage_direction> <scene_description>Waverly is looking interestedly at the goings on, but is puzzled. The boys exchange a glance.</scene_description> <character>WAVERLY</character> <parenthetical>(Finally)</parenthetical> <dialogue>I'm not clear about some of it. Explain it again.</dialogue> <character>PHIL</character> <parenthetical>(Not too good a job)</parenthetical> <dialogue>Well, sir. We have this show, and we laid off for the holidays. You see, business was bad.</dialogue> <character>WAVERLY</character> <dialogue>I know about business being bad. Go on.</dialogue> <character>PHIL</character> <dialogue>Yes sir. Well, so we figured as long as we had the opportunity we'd do a little rehearsing. Right here.</dialogue> <character>WAVERLY</character> <dialogue>Why here?</dialogue> <parenthetical>(There is a hint here of the General)</parenthetical> <character>WAVERLY</character> <dialogue>Phil looks to Bob for help as they move toward the lobby.</dialogue> <scene_description>The troupe is busy transporting the costumes, etc., from the moving van to the dining room auditorium as the above scene is played.</scene_description> <character>BOB</character> <dialogue>Well, sir, this nice empty room. The minute we looked at it we said it was ideal. Didn't we?</dialogue> <character>PHIL</character> <dialogue>That's what we said. Ideal.</dialogue> <character>BOB</character> <dialogue>And then we'll have an audience to play to. You see, sir, you need an audience on which to try out your new material.</dialogue> <character>WAVERLY</character> <dialogue>Where are you going to get the audience?</dialogue> <character>PHIL</character> <dialogue>Oh, what guests there are in the other hotels. They're pretty bored here without snow, and a New York show's kind of a novelty in Vermont.</dialogue> <character>WAVERLY</character> <dialogue>I would think so.</dialogue> <parenthetical>(He thinks)</parenthetical> <dialogue>How will they know you're here?</dialogue> <character>BOB</character> <dialogue>Oh, word gets around.</dialogue> <character>PHIL</character> <dialogue>Yes sir, and we also took the girls twice around the town for a little run. They were stiff from the train. In their practice clothes.</dialogue> <character>BOB</character> <dialogue>Makes the blood circulate,</dialogue> <character>WAVERLY</character> <parenthetical>(Hers no dope)</parenthetical> <dialogue>Hmm. Whose blood?</dialogue> <character>BOB AND PHIL</character> <dialogue>Yes sir.</dialogue> <character>WAVERLY</character> <dialogue>Apparently there must be a lot about show business I don't understand.</dialogue> <character>PHIL</character> <dialogue>It'll come to you, sir.</dialogue> <character>BOB</character> <dialogue>It just takes time.</dialogue> <character>PHIL</character> <dialogue>We wouldn't be any good as generals.</dialogue> <character>WAVERLY</character> <dialogue>You weren't any good as privates!</dialogue> <character>PHIL</character> <parenthetical>(Pointing to Bob)</parenthetical> <dialogue>He was an officer, sir.</dialogue> <character>WAVERLY</character> <dialogue>Only to confuse the enemy.</dialogue> <scene_description>He turns away and goes to his quarters. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. INN FLOOR - (DAY)</stage_direction> <scene_description>The company is rehearsing as Bob and Phil enter.</scene_description> <character>BOB</character> <dialogue>That's all for today, kids.</dialogue> <scene_description>People break off what they were doing and begin to drift out. Bob and Phil have gone toward Betty and Judy.</scene_description> <character>BOB</character> <dialogue>Get a little rest before tonight's performance.</dialogue> <character>PHIL</character> <parenthetical>(To Judy)</parenthetical> <dialogue>I'll walk you over.</dialogue> <character>BOB</character> <dialogue>Phil!</dialogue> <parenthetical>(He takes a sheet of music out of his inside pocket)</parenthetical> <dialogue>Look this over, I want to try something.</dialogue> <character>PHIL</character> <parenthetical>(To Judy)</parenthetical> <dialogue>See you later.</dialogue> <scene_description>The girls go. Phil goes toward the piano, Bob goes toward Martha, who is on the phone, accepting reservations. FULL SHOT - ROOM Bob takes Martha by the arm and seats her in the middle of the room as an audience of one. Phil looks up from the piano, puzzled. The sunset is visible through the window and there is a mood of quiet.</scene_description> <character>MARTHA</character> <dialogue>Guinea pig?</dialogue> <character>BOB</character> <parenthetical>(Nodding)</parenthetical> <dialogue>That's the idea. Want you to hear a song I just wrote.</dialogue> <character>MARTHA</character> <dialogue>If it's a love song, don't get too close.</dialogue> <character>BOB</character> <dialogue>It isn't. Just tell me how you think the Old Man would feel about this one.</dialogue> <scene_description>He leaves her and goes to the piano and they do WHAT CAN YOU DO WITH A GENERAL, solely for Martha. Toward the end of the song -- MED. CLOSE SHOT - GENERAL WAVERLY Unseen by the others he is standing by the door listening to the song.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. ROOM</stage_direction> <scene_description>The boys finish the number. Martha applauds and Bob bows.</scene_description> <character>MARTHA</character> <parenthetical>(Very moved)</parenthetical> <dialogue>I think it's just wonderful --</dialogue> <scene_description>CLOSE SHOT - SUSAN - AT KITCHEN DOOR She is standing there, drying her eyes with her apron.</scene_description> <character>SUSAN</character> <dialogue>I think so, too.</dialogue> <scene_description>CLOSE SHOT - WAVERLY - AT THE DOOR</scene_description> <character>WAVERLY</character> <dialogue>I'm afraid I disagree. The song is funny, but there is one thing wrong with it.</dialogue> <character>PHIL'S VOICE</character> <dialogue>What's that, sir?</dialogue> <character>WAVERLY</character> <dialogue>It's true. I'd rather you didn't.</dialogue> </scene> <scene> <stage_direction>FULL SHOT - INT. INN FLOOR</stage_direction> <scene_description>Bob and Phil exchange a quick glance.</scene_description> <character>BOB AND PHIL</character> <dialogue>Yes, sir.</dialogue> <scene_description>The General turns and exits toward the lobby, THE CAMERA PANS with him, a lonely figure walking through the lobby, the CAMERA STOPPING on a poster advertising tonight's performance. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>FULL SHOT - INT. INN FLOOR - (NIGHT)</stage_direction> <scene_description>It is fairly-well filled. Bob, Phil, Betty, Judy and the ensemble are performing a NUMBER which is a MINSTREL SHOW routine done to lyrics and music. Bob and Phil are end men, Betty is interlocutor, and Judy is later introduced as Mandy. This takes Judy and Phil into a dance to the song MANDY. This entire number is done in white-face with stylized costumes and set. During the applause and bows, we CUT TO: MED. SHOT - WAVERLY TABLE Waverly, flanked by Susan and Martha, is at a large table. The other occupants are local hotel owners and their wives.</scene_description> <character>FIRST OWNER</character> <dialogue>Great show, Waverly.</dialogue> <character>WAVERLY</character> <dialogue>Thank you.</dialogue> <character>SECOND OWNER</character> <dialogue>We needed something like this. I had six checkouts, and when they heard about this they decided to stay.</dialogue> <character>FIRST OWNER</character> <dialogue>Same here.</dialogue> <parenthetical>(Big smile)</parenthetical> <dialogue>Much obliged.</dialogue> <character>WAVERLY</character> <dialogue>Glad to help.</dialogue> <scene_description>Martha and Susan beam; all is well. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>FULL SHOT - INT. INN FLOOR - (NIGHT)</stage_direction> <scene_description>It is empty and most of the lights are out. At a considerable distance from CAMERA Martha extinguishes the last light, except for a small work light which is servicing Bob, who is fingering the piano keys and writing music notes, hard at work. FULL SHOT - GIRLS' BUNGALOW In the background we see the boys' bungalow.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. GIRLS' BUNGALOW</stage_direction> <scene_description>Betty and Judy are in twin beds, the light is coming in from the moon. The girls are seen in profile.</scene_description> <character>JUDY</character> <parenthetical>(Talkative)</parenthetical> <dialogue>The moon! I can't get over the moon up here. The size of it!</dialogue> <character>BETTY</character> <parenthetical>(In a quiet mood)</parenthetical> <dialogue>Same one they have all over.</dialogue> <character>JUDY</character> <dialogue>They'll never prove it to me. And everything smells so beautiful.</dialogue> <parenthetical>(She breathes)</parenthetical> <dialogue>What is it - pine or fir?</dialogue> <character>BETTY</character> <parenthetical>(Small sniff)</parenthetical> <dialogue>We're near the bakery.</dialogue> <character>JUDY</character> <parenthetical>(Friendly, not realizing the stab)</parenthetical> <dialogue>You know your trouble, Betty? You're not romantic.</dialogue> <scene_description>Betty turns and looks toward her. Since Judy does not see her, Betty's expression is a true reflection of how she feels.</scene_description> <character>JUDY</character> <dialogue>Everything's so wonderful here, so pretty, so exciting, I can't understand how you stay frozen up. Let yourself go, go, like me!</dialogue> <character>BETTY</character> <parenthetical>(Afraid to ask)</parenthetical> <dialogue>Which one is it?</dialogue> <character>JUDY</character> <dialogue>What do you mean?</dialogue> <character>BETTY</character> <dialogue>Bob or Phil?</dialogue> <character>JUDY</character> <dialogue>Neither.</dialogue> <character>BETTY</character> <dialogue>You mean both.</dialogue> <character>JUDY</character> <parenthetical>(Smiling)</parenthetical> <dialogue>It's the same. No one is going to break up our act.</dialogue> <character>BETTY</character> <dialogue>Isn't there one you prefer over the other?</dialogue> <character>JUDY</character> <dialogue>The way Phil dances, and he's funny. It's easy to see yourself married to him.</dialogue> <character>BETTY</character> <parenthetical>(An effort)</parenthetical> <dialogue>And Bob?</dialogue> <character>JUDY</character> <dialogue>He's different, deeper, and he's funny, too. It'd be nice to be married to both of them.</dialogue> <character>BETTY</character> <dialogue>Good thing they're not a quartette.</dialogue> <character>JUDY</character> <parenthetical>(Oblivious)</parenthetical> <dialogue>If I was Catherine the Great, that's what I'd do. Phil in the daytime, Bob at night. Or should it be the other way around?</dialogue> <scene_description>CLOSE SHOT - JUDY AND BETTY SHOOTING PAST Betty. Is it possible our Betty has a suspicion of a tear?</scene_description> <character>JUDY</character> <dialogue>Phil'd be more fun in a night club, but eventually a girl wants a pipe and slipper fellow. That's Bob, smoking a pipe and petting a cocker spaniel. Still, Phil could learn to smoke a pipe. Breaking a fellow in to suit you is something every girl should go through. I hear it's half the fun. Which one do you like better? Betty?</dialogue> <parenthetical>(No answer.)</parenthetical> <dialogue>Betty?</dialogue> <parenthetical>(Softer)</parenthetical> <dialogue>Are you asleep?</dialogue> <character>JUDY</character> <parenthetical>(No answer. Judy turns over and closes her eyes)</parenthetical> <dialogue>Music has underscored this scene. Betty is wide awake. She is looking toward the window. As the curtains billow outward we see a diffused figure of Bob, sitting on a fence, putting out his pipe. This is followed by an equally diffused figure of Betty, leaving her bed, crossing the furniture, and joining Bob. Bob takes her in his arms. At this point we are brought back to reality by the wind slamming a shutter. This causes the diffusion to vanish, and Betty gets out of bed and puts on her robe.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. INN KITCHEN - MED. SHOT - (NIGHT)</stage_direction> <scene_description>We PAN Betty to the refrigerator door, which she opens.</scene_description> <character>BOB'S VOICE</character> <dialogue>Tuna fish, on the lower shelf.</dialogue> <scene_description>Betty whirls around. MED. SHOT - BETTY AND BOB We see Bob is having a snack of his own.</scene_description> <character>BETTY</character> <dialogue>Oh!</dialogue> <character>BOB</character> <dialogue>What are you doing? Sleep-walking?</dialogue> <character>BETTY</character> <dialogue>I couldn't sleep.</dialogue> <character>BOB</character> <dialogue>Little young for that, aren't you?</dialogue> <scene_description>He gets up and goes to the refrigerator. His preoccupation with the food will permit Betty's expression to be more obvious than her lines, which are spoken to tell the audience of her regard for Bob, since their significance must escape him.</scene_description> <character>BOB</character> <dialogue>What shall I make you?</dialogue> <character>BETTY</character> <dialogue>Anything'll do.</dialogue> <character>BOB</character> <dialogue>If you tell me what you want to dream about I'll know what to make you.</dialogue> <character>BETTY</character> <parenthetical>(Amused)</parenthetical> <dialogue>How's that?</dialogue> <character>BOB</character> <dialogue>Different foods make for different dreams. I've got a whole theory about it. It's called "The Wallace Way of Wishful Wooing." You'll find it in the American Medical Journal under 'W'. Ham and Swiss cheese, for instance, you get a cool, thin, blonde girl. Turkey sandwich, you get a dark sort of stumpy girl, sexy though. Now a liverwurst sandwich -</dialogue> <parenthetical>(He shakes his head)</parenthetical> <dialogue>you get both girls at once. Bad night.</dialogue> <character>BETTY</character> <dialogue>What do you dream on tuna?</dialogue> <character>BOB</character> <dialogue>Darndest thing, I dream about me.</dialogue> <character>BETTY</character> <parenthetical>(Evenly)</parenthetical> <dialogue>Then I'll have a tuna sandwich.</dialogue> <scene_description>Bob doesn't get the significance of what she has said.</scene_description> <character>BOB</character> <dialogue>Now that's very flattering. Tuna coming up.</dialogue> <parenthetical>(He is occupied at the frigidaire while she watches him yearningly)</parenthetical> <dialogue>Let me make you some warm milk. That'll help the insomnia.</dialogue> <character>BETTY</character> <parenthetical>(Meaningly)</parenthetical> <dialogue>No it won't.</dialogue> <parenthetical>(Looking straight at his back)</parenthetical> <dialogue>Warm milk won't do it.</dialogue> <character>BOB</character> <dialogue>Whatever you've got on your mind isn't worth staying awake for.</dialogue> <character>BETTY</character> <dialogue>I think it is.</dialogue> <scene_description>He smiles at her, oblivious to the meaning behind her lines.</scene_description> <character>BOB</character> <dialogue>Would you like to know how I handle a situation like that...?</dialogue> <character>BETTY</character> <dialogue>Tell me, Doctor...</dialogue> <scene_description>Bob begins to sing COUNT YOUR BLESSINGS, as he prepares the warm milk and hands it to her. She drinks it down. As he reaches the second chorus, he starts to dim the lamp on the table, Betty, pretending to be sleepy, leans her head toward Bob. He takes a pillow from a nearby chair and puts it between her head and her chair. She waits, eyes closed, expectantly. But Bob gets to his feet, and carefully tiptoes to the door and exits, closing it softly behind him. After a moment, Betty snaps on the light, throws the pillow on the floor, and rests her chin in her hand, disappointed and wide awake. FADE OUT: FADE IN:</scene_description> </scene> <scene> <stage_direction>LONG SHOT - INT. INN FLOOR - (DAY)</stage_direction> <scene_description>Various members of the company are in rehearsal clothes and sitting around the room. The orchestra is playing the introduction to Phil's number, which will employ a line of six girls who are just coming on the floor. Bob is on stage supervising the rehearsal. Judy is standing across from the piano. Betty is seated on the sidelines with her legs stretched over two chairs. She is knitting a loud colored argyle sock. Phil, standing close by, has just finished rolling up a ball of yarn. He looks at Betty's knitting, then at his feet.</scene_description> <character>PHIL</character> <dialogue>Don't make them too tight. I wear size 12.</dialogue> <character>BOB</character> <dialogue>All right kids! Places! Let's get going! Phil, you're on!</dialogue> <scene_description>Phil reacts. Bob crosses to his stage manager station, which is a desk and high chair, where Albert is seated, not far from his wife, Sylvia, who is sipping a glass of water. Albert holds a stop watch and evidently helps in the administration.</scene_description> <character>BOB</character> <parenthetical>(To Albert)</parenthetical> <dialogue>How long are we so far?</dialogue> <character>ALBERT</character> <dialogue>An hour and ten minutes.</dialogue> <character>BOB</character> <dialogue>Something has to come out.</dialogue> <scene_description>From his position, Phil, in a series of leaps and turns, reaches center floor and begins his solo. CLOSE SHOT - BETTY She continues knitting while watching Phil dancing. As Phil comes to a portion where he speeds up his steps she unconsciously speeds up her knitting, Bob has seen her, and he looks from her knitting and her look of admiration, which he mistakes for affection, and then looks from the socks to Phil's feet. At the end of the number, which is applauded by the witnesses, Judy runs to Phil and hugs and kisses him, THE CAMERA STAYING at this distance. Bob, looking at Betty, mistakenly sees her disappointment.</scene_description> <character>BOB</character> <dialogue>All right, places for the next number!</dialogue> <parenthetical>(He turns to Sylvia)</parenthetical> <dialogue>You're next, Sylvia.</dialogue> <character>BOB</character> <parenthetical>(Sylvia and Albert exchange peculiar glances, Bob senses it)</parenthetical> <dialogue>What's the trouble?</dialogue> <character>ALBERT</character> <dialogue>Mr. Wallace -</dialogue> <parenthetical>(He is embarrassed to go on)</parenthetical> <character>BOB</character> <dialogue>Come on, out with it.</dialogue> <character>ALBERT</character> <dialogue>I don't think Sylvia ought to go on, unless you cut out the high kicks and let her do some easy waltzes. Very easy waltzes.</dialogue> <scene_description>Bob looks from one to the other and their smiling shyness indicates pregnancy.</scene_description> <character>BOB</character> <dialogue>You're kidding!</dialogue> <character>SYLVIA</character> <dialogue>We don't want anyone else to know.</dialogue> <character>ALBERT</character> <dialogue>Please don't mention it.</dialogue> <parenthetical>(The orchestra starts to play ROCKABYE BABY. Sylvia and Albert are startled)</parenthetical> <dialogue>For heaven's sake!</dialogue> <character>SYLVIA</character> <dialogue>How did they know?</dialogue> <scene_description>The girls start crowding around.</scene_description> <character>GIRLS</character> <parenthetical>(Ad libbing)</parenthetical> <dialogue>You wouldn't tell us, would you? We had to find out ourselves, etc.</dialogue> <parenthetical>(Phil and Judy are among the group)</parenthetical> <character>MARTHA</character> <parenthetical>(Formally)</parenthetical> <dialogue>There will be a celebration of the forthcoming event tonight after the show!</dialogue> <parenthetical>(Everyone approves)</parenthetical> <scene_description>MED. SHOT - BOB, PHIL AND ALBERT Phil puts his arm around Albert.</scene_description> <character>PHIL</character> <dialogue>Obviously you're going to call the boy after me!</dialogue> <character>BOB</character> <dialogue>After you? I hired Sylvia! The baby'll be named after me!</dialogue> <character>PHIL</character> <dialogue>I've been dancing with her! That's more important! The baby'll be named after me!</dialogue> <character>BOB</character> <dialogue>The hiring was more important! After me!</dialogue> <character>PHIL</character> <dialogue>The dancing was more important! After me!</dialogue> <character>ALBERT</character> <dialogue>I'm her husband.</dialogue> <parenthetical>(Small pause)</parenthetical> <dialogue>The baby'll be named after me.</dialogue> <character>BOB</character> <dialogue>Well, we're going to need another dancer!</dialogue> <character>PHIL</character> <dialogue>How about Judy, she knows all the routines, she could pick it up in no time.</dialogue> <scene_description>They walk to the table where the coffee is, and the group now includes Betty.</scene_description> <character>BOB</character> <dialogue>On the other hand, it's all right if we lose a number, we're running too long now. We have to cut somewhere.</dialogue> <character>BETTY</character> <dialogue>Wouldn't it be better if you cut my solo number? I've never felt right in it anyway.</dialogue> <parenthetical>(Indicating Phil)</parenthetical> <character>BETTY</character> <dialogue>The show needs every bit of his dancing.</dialogue> <character>BOB</character> <parenthetical>(Interpreting this as mere selflessness for love)</parenthetical> <dialogue>Well -</dialogue> <character>BETTY</character> <dialogue>There you are - painless.</dialogue> <scene_description>She turns away rather abruptly, since she is becoming emotional. Bob shakes his head, impressed with what he thinks is her devotion. MED. CLOSE TWO SHOT - BOB AND PHIL Bob dunks a doughnut into his coffee as he looks after Betty. He looks at Phil and shakes his head.</scene_description> <character>BOB</character> <dialogue>Greater love hath no woman than to give up a solo number. Old Chinese saying.</dialogue> <character>PHIL</character> <parenthetical>(All this is beyond him)</parenthetical> <dialogue>What are you talking about?</dialogue> <character>BOB</character> <dialogue>Drink your coffee.</dialogue> <scene_description>DISSOLVE TO: FULL SHOT - WAVERLY QUARTERS - (NIGHT) This is the party later that evening. Some people are dancing. Others are grouped about, and there is a general home party atmosphere. The General, Martha and Susan are seen helping everyone to feel at home. The CAMERA STARTS ON A LONG SHOT and DOLLIES THROUGH THE GROUP, passing Sylvia, where ad lib comments about the impending baby are sketchily HEARD. The CAMERA CONTINUES toward the piano, where Bob and Betty are examining the music sheet of A MAN CHASES A GIRL. Betty looks up and the CAMERA FOLLOWS her look to Phil, who is dancing with Rita. Rita nestles up close to Phil. This is seen by Bob and Betty. Bob smiles. CLOSE SHOT - PHIL AND RITA On closer view, we can see that Rita is the aggressor.</scene_description> <character>PHIL</character> <parenthetical>(Referring to the grip)</parenthetical> <dialogue>Don't you want me to breathe?</dialogue> <character>RITA</character> <dialogue>Not especially.</dialogue> <character>PHIL</character> <dialogue>What's gotten into you?</dialogue> <character>RITA</character> <dialogue>You were chasing me in Florida.</dialogue> <character>PHIL</character> <dialogue>And you were running. What made you stop?</dialogue> <character>RITA</character> <dialogue>You're interested in Judy, aren't you?</dialogue> <character>PHIL</character> <dialogue>That's it, eh? Unless it belongs to someone else, a girl doesn't - Ouch!</dialogue> <parenthetical>(Evidently Rita has deliberately stepped on his instep)</parenthetical> <scene_description>SCENE FROM BOB'S VIEWPOINT Betty is walking over to the dancing couple and deliberately cuts in on Rita, who is displeased, but can do nothing but yield. Bob's reaction still implies that this is understandable since Betty loves Phil. He turns back toward the piano, and other couples are between him and Betty and Phil. Still at the same camera distance, we see Betty turning Phil over to Judy. CLOSE SHOT - PHIL AND JUDY Judy is a little cool.</scene_description> <character>PHIL</character> <dialogue>What's the matter?</dialogue> <character>JUDY</character> <dialogue>Nothing is the matter.</dialogue> <character>PHIL</character> <dialogue>This isn't the way you dance.</dialogue> <character>JUDY</character> <dialogue>Some people dance closer than others.</dialogue> <scene_description>Phil is delighted that she is jealous.</scene_description> <character>PHIL</character> <dialogue>Yes, that's true. I'm one of the close ones. That's my type.</dialogue> <scene_description>He holds her closely, by force, dancing, smiling and pleased with himself. MED. FULL SHOT - ROOM The dance music stops. The people disperse. MED. CLOSE SHOT - AT PIANO Harry, the piano player, is playing the last half of A MAN CHASES A GIRL. Bob and Betty are leaning over the piano, Bob humming the melody. Betty pantomimes to the others to quiet down. Bob starts to sing the lyric. In the second chorus, he is joined in the singing by Betty. During this chorus we CUT TO show various reactions of the group, and end on Phil, sitting close to Judy, holding her hand. CLOSE TWO SHOT - PHIL AND JUDY We HEAR Bob and Betty, off scene, continuing to the end of the second chorus, on which Phil, sotto voce, sings the last four bars.</scene_description> <character>PHIL</character> <parenthetical>(Singing; looking at Judy)</parenthetical> <dialogue>And once you've caught him, don't ever let him go.</dialogue> <scene_description>APPLAUSE follows the song. Phil gets up.</scene_description> <character>PHIL</character> <dialogue>Ladies and gentlemen, I would like to make an announcement.</dialogue> <scene_description>FULL SHOT - CROWD Everyone quiets, waiting to hear the announcement.</scene_description> <character>PHIL</character> <dialogue>It is my pleasure to identify the man who has been doing the chasing. I am him! - Or he! - Or it! Anyway, Judy has caught me. What I'm trying to say is, we're engaged.</dialogue> <scene_description>He looks fondly at Judy, taking it for granted she is overwhelmed at this method of announcing to her that he is going to marry her. He hugs her amidst a general reaction of congratulations. MED. SHOT - BOB He is flabbergasted. MED. SHOT - GROUP Phil and Judy are separated by the congratulators. Betty, hiding her emotion, grips Phil's arm.</scene_description> <character>BETTY</character> <dialogue>I hope you realize that you're getting he most wonderful girl in the world.</dialogue> <scene_description>Bob sees her emotion through the speech. Betty notices Judy upset, shaking off the people around her and running through the doorway to the kitchen. Betty makes her way through the crowd to follow her, as the orchestra goes into HER COMES THE BRIDE.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. KITCHEN</stage_direction> <scene_description>Judy is crying into her hands as Betty enters.</scene_description> <character>BETTY</character> <dialogue>Darling, don't cry.</dialogue> <character>JUDY</character> <parenthetical>(Turning to her)</parenthetical> <dialogue>I didn't know he was going to make that announcement, I swear I didn't.</dialogue> <scene_description>Betty puts one arm around her.</scene_description> <character>BETTY</character> <dialogue>I know you didn't.</dialogue> <character>JUDY</character> <dialogue>He had no right to do that.</dialogue> <character>BETTY</character> <dialogue>You do love him, don't you?</dialogue> <character>JUDY</character> <dialogue>That doesn't matter.</dialogue> <character>BETTY</character> <dialogue>Nothing else matters.</dialogue> <character>JUDY</character> <dialogue>We're not going to break up our act.</dialogue> <scene_description>Phil enters the kitchen.</scene_description> <character>PHIL</character> <dialogue>I've been looking for you, Judy.</dialogue> <character>BETTY</character> <dialogue>Excuse me.</dialogue> <scene_description>She goes through the corridor toward the living room. MED. CLOSE SHOT - CORRIDOR OFF BUTLER'S PANTRY In the background we see the General in the butler's pantry getting some drinks for the guests. He is not seen by Betty who stops at the mirror in the corridor to wipe away a few tears. Bob comes into view in the mirror, entering the corridor from the living room.</scene_description> <character>BOB</character> <dialogue>Don't take this too much to heart. Phil is a great kid but constancy isn't his long suit.</dialogue> <character>BETTY</character> <dialogue>I'm not the least bit worried.</dialogue> <parenthetical>(Phil and Judy enter from the kitchen)</parenthetical> <dialogue>Frankly, this couldn't come at a better time.</dialogue> <character>BETTY</character> <dialogue>They want me to come back to The Carousel again - I used to sing there before Judy and I teamed up - and I had to turn it down because they can only use a single.</dialogue> <parenthetical>(Not too well)</parenthetical> <dialogue>So - this couldn't be more convenient. You stay with the show and I'll go back to The Carousel.</dialogue> <character>JUDY</character> <dialogue>When did you get this offer?</dialogue> <character>BETTY</character> <dialogue>Just today, as a matter of fact. I got a telegram.</dialogue> <character>JUDY</character> <dialogue>Why didn't you mention it before?</dialogue> <character>BETTY</character> <dialogue>I didn't want to hurt your feelings.</dialogue> <character>JUDY</character> <dialogue>Where is the telegram?</dialogue> <character>BETTY</character> <dialogue>I threw it away. What is this, a third degree? You don't think I made it up?</dialogue> <character>JUDY</character> <dialogue>Yes, I do.</dialogue> <scene_description>There is a pause, and Waverly, who has been watching each one, speaks.</scene_description> <character>WAVERLY</character> <dialogue>Well now, I wouldn't bet any large sum of money on that, since I took the message over the telephone, and I had to deliver the telegram.</dialogue> <parenthetical>(To take the tension off)</parenthetical> <dialogue>And she didn't tip me, either.</dialogue> <scene_description>Betty looks at him gratefully.</scene_description> <character>JUDY</character> <dialogue>Oh, Betty!</dialogue> <parenthetical>(She throws her arms around her)</parenthetical> <dialogue>I'm sorry! I misunderstood!</dialogue> <character>BETTY</character> <dialogue>Now, baby! It's all right!</dialogue> <character>PHIL</character> <dialogue>Well, everything's fine now!</dialogue> <scene_description>Happy, he beams at Judy. MED. CLOSE SHOT - BOB AND WAVERLY Something bothers Bob about this story. He looks searchingly at Betty, puzzled. He does not notice Waverly, who watches him watching Betty. SLOW DISSOLVE: TO: LONG SHOT - RAILROAD STATION - DAY Train about to leave. The General is in the foreground sitting in the buggy. Betty is saying goodbye to him. Bob and the porter are taking care of her luggage.</scene_description> <character>GENERAL</character> <parenthetical>(Shouting over noise of train)</parenthetical> <dialogue>Where are you going to be?</dialogue> <character>BETTY</character> <dialogue>The Carousel.</dialogue> <scene_description>The General looks at her, questioningly.</scene_description> <character>BETTY</character> <parenthetical>(Whispering, during a lull in the noise)</parenthetical> <dialogue>I sent them a telegram this morning.</dialogue> <scene_description>The General smiles; Betty waves a farewell to him and crosses to the train, starting up the steps. The notion behind this scene is to be able to hear only intermittent dialogue due to the whistle, bells, and escaping steam. The manner of playing, though, indicates the sentiment. To emphasize it: Bob is fonder of Betty than he realizes, and Betty fully realizes how fond she is of him but that he does not return, consciously, her affection. We hear Betty:</scene_description> <character>BETTY</character> <dialogue>Take care of my little sister.</dialogue> <character>BOB</character> <dialogue>She can take care of herself. Worry about the menfolk. Now don't forget to write.</dialogue> <character>BETTY</character> <dialogue>I'll send you picture postcards.</dialogue> <scene_description>Not all of this is heard, since the sound effects pick their spots, but the attention is on the General, who is watching the scene with a whimsical look. He, as does the audience, realizes Bob's true feelings. As the train starts to leave, Betty and Bob shake hands. She holds his handshake a little longer than necessary, and Bob is forced to move along with the train. Finally she releases him, and Bob looks after the train, puzzled. REVERSE ANGLE THE CAMERA is now on the train platform, Bob out of sight. Betty wipes away a tear. In the background we see the General in the buggy noticing this. MED. LONG SHOT - TRAIN IN DISTANCE Bob is in the foreground, the General in the background. Bob joins the General at the buggy. From Waverly's expression we can see that he has decided on a plan of action.</scene_description> <character>WAVERLY</character> <dialogue>Must be interesting to be a woman.</dialogue> <character>BOB</character> <dialogue>The idea's never occurred to me, sir.</dialogue> <character>WAVERLY</character> <dialogue>Well, think about it.</dialogue> <parenthetical>(Bob is thinking about it)</parenthetical> <dialogue>Well?</dialogue> <character>BOB</character> <dialogue>Not interested!</dialogue> <character>WAVERLY</character> <dialogue>A man like you must be an expert on women.</dialogue> <character>BOB</character> <dialogue>It's a little immodest to say so, but I consider myself an authority on the fair sex, I've made a study of the subject. They're simple creatures.</dialogue> <character>WAVERLY</character> <dialogue>They couldn't fool you?</dialogue> <character>BOB</character> <dialogue>I'm single.</dialogue> <character>WAVERLY</character> <dialogue>'Pride goeth before a fall.'</dialogue> <character>BOB</character> <dialogue>'Who knows his own strength is twice armed.'</dialogue> <character>WAVERLY</character> <dialogue>It's always a pleasure to meet an expert in any field. Tell me, why do you think Betty went to New York?</dialogue> <character>BOB</character> <parenthetical>(Not willing to admit it)</parenthetical> <dialogue>She has a job in The Carousel.</dialogue> <character>WAVERLY</character> <dialogue>Expert, you're wrong! She went to New York because she's so in love with someone here she just couldn't stand it.</dialogue> <character>BOB</character> <dialogue>Phil.</dialogue> <parenthetical>(A mixture of resentment and frustration)</parenthetical> <dialogue>I'm darned if I can figure out why.</dialogue> <character>WAVERLY</character> <dialogue>I thought you were an expert on women.</dialogue> <parenthetical>(To the horse)</parenthetical> <dialogue>Come on, Delilah!</dialogue> <scene_description>DISSOLVE TO: CLOSE SHOT - CHRISTMAS TREE ANGEL - DAY THE CAMERA PANS DOWN from the ceiling and we see that THE INN is being decorated for Christmas Eve. Everybody is so engaged, except those actively helping Phil and Judy rehearse. The attitude is slightly cool on Judy's part, but it is lover's coolness.</scene_description> <character>PHIL</character> <parenthetical>(Fitting the action)</parenthetical> <dialogue>Good, Judy.</dialogue> <parenthetical>(During the dancing)</parenthetical> <dialogue>Now the same as the middle part.</dialogue> <scene_description>They make a nice couple, with his arm around her waist, dancing as one. REVERSE ANGLE - BOB He enters the room, and watches. He looks intently at Phil. Phil and Judy dance closer to Bob. They see him. They continue dancing, talking as they do.</scene_description> <character>PHIL</character> <dialogue>Betty get off all right?</dialogue> <character>BOB</character> <parenthetical>(Slightly belligerent)</parenthetical> <dialogue>Certainly.</dialogue> <character>JUDY</character> <dialogue>Betty left something for you. She said to give it to you after she left. It's on the piano.</dialogue> <scene_description>Bob hears, nods, but keeps staring at Phil. Phil becomes conscious of the staring.</scene_description> <character>PHIL</character> <dialogue>What's the matter?</dialogue> <character>BOB</character> <dialogue>I don't get it.</dialogue> <character>PHIL</character> <dialogue>Don't get what?</dialogue> <character>BOB</character> <dialogue>I just don't see it. You' re skinny, you got a big nose, and you squint.</dialogue> <character>PHIL</character> <dialogue>Who? Me?</dialogue> <character>BOB</character> <dialogue>Yes, you! Nothing personal though.</dialogue> <character>PHIL</character> <dialogue>No, of course not.</dialogue> <character>BOB</character> <dialogue>I'm just trying to figure out what anyone sees in you.</dialogue> <character>PHIL</character> <dialogue>Well, stop worrying about it. When I ask you for a date just turn me down. Come on, Judy.</dialogue> <scene_description>They dance away. Bob crosses to the piano and picks up the package Betty left for him. He opens it up and it is a single knitted sock, the one she knitted on previously. He looks through the box for its mate. There is none. The CAMERA MOVES CLOSER to Bob, puzzled. DISSOLVE TO: CLOSE SHOT - BLACKBOARD - (DAY) Painted at the top is the legend: WEATHER FORECAST At the moment a hand is completing, in chalk: "No Snow" After a moment, the hand returns and draws two lines through the "S" so that it now reads, "No $now". CAMERA PULLS BACK to reveal we are on:</scene_description> </scene> <scene> <stage_direction>EXT. PINE TREE POST OFFICE - FULL SHOT</stage_direction> <scene_description>Bob comes out of the Post Office and mounts a bicycle. He cycles down the street, whistling A MAN CHASES A GIRL. DISSOLVE TO: SECTION OF VILLAGE - HORSESHOE PITCHING GROUNDS - MED. SHOT - (DAY) There is a group of elderly men, among them the hotel owners, pitching horseshoes. Waverly is sitting on a bench, ruefully looking at the sign.</scene_description> <character>FIRST HOTEL OWNER</character> <parenthetical>(Starting a new game)</parenthetical> <dialogue>How about it, Waverly, want to play?</dialogue> <character>WAVERLY</character> <parenthetical>(Looking at him a moment)</parenthetical> <dialogue>I'm too young for that sort of thing.</dialogue> <scene_description>First Owner laughs goodnaturedly and continues playing. Bob rides into the scene and dismounts. MED. SHOT - BOB AND WAVERLY Bob sits into the shot.</scene_description> <character>WAVERLY</character> <dialogue>Kind of warm for that kind of exercise, isn't it?</dialogue> <character>BOB</character> <parenthetical>(Trying to help)</parenthetical> <dialogue>It isn't very warm.</dialogue> <parenthetical>(He looks to the sky)</parenthetical> <dialogue>I think the weatherman's wrong about his forecast. Those look like snow clouds to me.</dialogue> <character>WAVERLY</character> <parenthetical>(Without looking up)</parenthetical> <dialogue>They're cumulus clouds, at an elevation of seven thousand feet.</dialogue> <character>BOB</character> <dialogue>Yes, sir.</dialogue> <parenthetical>(Still trying)</parenthetical> <dialogue>Still, weather's a funny thing. It could snow - overnight.</dialogue> <character>WAVERLY</character> <parenthetical>(He thinks a moment)</parenthetical> <dialogue>I'll tell you something I haven't told my family. I'm going back in the Army.</dialogue> <character>BOB</character> <dialogue>Really, sir? That's great news!</dialogue> <character>WAVERLY</character> <dialogue>Yes. I miss the Army.</dialogue> <character>BOB</character> <dialogue>Where are you going to be sent, sir?</dialogue> <character>WAVERLY</character> <dialogue>Well, I'm not sure yet. I've always been a combat officer, but I got an idea they're going to try and palm off one of the training commands on me. They'd better not. They just better not.</dialogue> <parenthetical>(He's worked up now)</parenthetical> <dialogue>I'm not ready for pitching horseshoes yet.</dialogue> <parenthetical>(He smiles)</parenthetical> <dialogue>Now nothing to the women folk about this!</dialogue> <character>BOB</character> <dialogue>No, sir.</dialogue> <character>WAVERLY</character> <dialogue>Let's mosey over to the post office, I'm expecting a letter any day.</dialogue> <character>BOB</character> <parenthetical>(Remembering)</parenthetical> <dialogue>Oh, I beg your pardon, sir.</dialogue> <parenthetical>(He pulls the letter out of his pocket)</parenthetical> <dialogue>That's what I came over to give you, it slipped my mind.</dialogue> <scene_description>The General takes the letter, he looks at it front and back.</scene_description> <character>WAVERLY</character> <parenthetical>(Solemn)</parenthetical> <dialogue>This is the one.</dialogue> <parenthetical>(He opens it, He squints. He looks to Bob)</parenthetical> <dialogue>My glasses are in my room. I'd like to read it by myself, but I'm a little anxious.</dialogue> <parenthetical>(He smiles at his own predicament)</parenthetical> <dialogue>Read it, son. Slowly.</dialogue> <character>BOB</character> <parenthetical>(Reading)</parenthetical> <dialogue>Dear Tom: Why, you dirty, old -</dialogue> <parenthetical>(He stops)</parenthetical> <character>WAVERLY</character> <parenthetical>(Pleased)</parenthetical> <dialogue>Skip that word.</dialogue> <character>BOB</character> <dialogue>Yes, sir.</dialogue> <parenthetical>(Continuing)</parenthetical> <dialogue>It certainly was a surprise hearing from you. Your amusing letter was appreciated more than you imagine. Of course you've got plenty of time to be amusing, sitting on that porch, rocking away, while we put in a full day's work. You always were a lucky stiff, and I envy you. A few years more, I was saying to Emmy the other evening, and I'm going to be able to take it easy like old Tom.</dialogue> <character>WAVERLY</character> <parenthetical>(Just repeats)</parenthetical> <dialogue>Old Tom.</dialogue> <character>BOB</character> <dialogue>Oh, well, some people have all the luck. Everyone in the family is fine here. Carol had the mumps, which is no joke at eleven years of age -</dialogue> <character>WAVERLY</character> <dialogue>The rest of the letter is about the family.</dialogue> <parenthetical>(Bob looks at him, and then glances at the rest to see if it is so)</parenthetical> <dialogue>He's telling me they have nothing for me, we're not fooling each other.</dialogue> <parenthetical>(He holds has hand out)</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>(Bob gives him his letter. There is a pause. An attempt at being light)</parenthetical> <dialogue>Say, it couldn't be hard to learn to pitch horseshoes. Now could it?</dialogue> <character>BOB</character> <parenthetical>(Trapped, unhappy for him)</parenthetical> <dialogue>No sir.</dialogue> <parenthetical>(His nerve up)</parenthetical> <dialogue>Begging your pardon, sir, there's a lot to be said for leisure. You're not used to it, you've always been active, but in time -</dialogue> <scene_description>He stops, seeing Waverly's expression. Waverly winks at him.</scene_description> <character>WAVERLY</character> <parenthetical>(Quietly)</parenthetical> <dialogue>Never kid a kidder. Go on back to the hotel.</dialogue> <character>BOB</character> <dialogue>Yes sir.</dialogue> <scene_description>Waverly gets up to join the horseshoe players after all. Bob watches this reflectively as we FADE OUT: FADE IN:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - (DAY) - INT. HOTEL ROOM - BOB AND PHIL</stage_direction> <scene_description>Bob is packing his valise, Phil helping him.</scene_description> <character>PHIL</character> <dialogue>Judy thinks my eyes are soulful. Do you think my eyes are soulful?</dialogue> <character>BOB</character> <dialogue>One of them is.</dialogue> <character>PHIL</character> <dialogue>You have no poetry in you. It's about time you went in for girls, too. After all, you haven't many years left for that sort of thing.</dialogue> <scene_description>Bob, his back turned to Phil, comes across the sock Betty knitted for him; he hastily shoves it into the bottom of has bag.</scene_description> <character>BOB</character> <parenthetical>(Over above)</parenthetical> <dialogue>I'm the quiet type. Little do you know what's aged me.</dialogue> <character>PHIL</character> <dialogue>Wheels within wheels, eh? Well, live it up, Pops. Eat, drink and be merry -- is that why you're leaving for New York?</dialogue> <character>BOB</character> <dialogue>I told you what I'm seein' Ed Harrison about. That's all.</dialogue> <character>PHIL</character> <dialogue>Business, business. Glad to be rid of you. You're not in the girly mood.</dialogue> <character>BOB</character> <parenthetical>(Easily annoyed at the moment)</parenthetical> <dialogue>What do you know about girls? You wouldn't know what to do with a girl if she fell on you!</dialogue> <character>PHIL</character> <dialogue>Well, I'd know enough not to get up.</dialogue> <scene_description>There is a KNOCK at the door and Martha sticks her head in.</scene_description> <character>MARTHA</character> <dialogue>Mr. Wallace -- gonna miss your train!</dialogue> <character>PHIL</character> <parenthetical>(To Bob)</parenthetical> <dialogue>For her I'd get up.</dialogue> <scene_description>As Bob slams his suitcase shut, DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CAROUSEL CLUB - MED. CLOSE - (DAY)</stage_direction> <scene_description>A poster outside advertises the appearance of Betty Stewart. MUSIC is heard emanating from the club. DISSOLVE THROUGH: TO:</scene_description> </scene> <scene> <stage_direction>INT. CAROUSEL CLUB - MED. SHOT - (DAY)</stage_direction> <scene_description>A rehearsal is in progress in the deserted club. The chairs are up on the tables, musicians in their shirt sleeves, as Betty SINGS a chorus of LOVE, YOU DIDN'T DO RIGHT BY ME. As she finishes, the orchestra LEADER turns to her.</scene_description> <character>LEADER</character> <dialogue>Betty - You really live that number.</dialogue> <character>BETTY</character> <dialogue>The story of my life.</dialogue> <character>LEADER</character> <dialogue>Shall we try it over again?</dialogue> <character>BETTY</character> <parenthetical>(Meaningly)</parenthetical> <dialogue>I wish I could.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. CAROUSEL CLUB - MED. SHOT - (NIGHT)</stage_direction> <scene_description>It is alive with customers; couples are dancing on the floor, as a number ends. Bob enters, and is conducted to a ringside table by a maitre d'.</scene_description> <character>BOB</character> <dialogue>I'm expecting Ed Harrison.</dialogue> <character>MAITRE D'</character> <dialogue>Very well, Mr. Wallace.</dialogue> <scene_description>STAGE - MED. CLOSE Betty is standing at the microphone ready to sing. She sees Bob. The Leader raises his baton.</scene_description> <character>BETTY</character> <parenthetical>(Stopping him, sotto)</parenthetical> <dialogue>Let's not do the new number.</dialogue> <character>LEADER</character> <dialogue>What?</dialogue> <character>BETTY</character> <dialogue>Play "Blue Skies" -- anything.</dialogue> <character>LEADER</character> <dialogue>Relax. Just do it the way you sang it this afternoon -- you'll be great.</dialogue> <scene_description>He gives the downbeat, and Betty has no choice but to sing LOVE, YOU DIDN'T DO RIGHT BY ME. She is assisted in the second chorus by a vocal group. CLUB - MED. SHOT as Bob watches her. When she finishes the number, Betty steps down from the platform and joins Bob.</scene_description> <character>BETTY</character> <parenthetical>(As Bob holds the chair)</parenthetical> <dialogue>Well, surprise. What brought you to the big city? And don't say 'a train.'</dialogue> <parenthetical>(Forced gaiety, hiding her tension)</parenthetical> <character>BOB</character> <dialogue>I never heard you sing that well. That's a good number for you.</dialogue> <character>BETTY</character> <parenthetical>(Her own significance)</parenthetical> <dialogue>Some numbers suit you better than others. What are you doing here?</dialogue> <character>BOB</character> <dialogue>Business, business. Meeting a fellow here.</dialogue> <character>BETTY</character> <dialogue>Judy all right?</dialogue> <character>BOB</character> <dialogue>She's fine. Couldn't be better.</dialogue> <parenthetical>(Carefully)</parenthetical> <dialogue>Playing footsie with Phil.</dialogue> <character>BETTY</character> <dialogue>That's nice.</dialogue> <character>BOB</character> <dialogue>I think they like each other.</dialogue> <character>BETTY</character> <dialogue>I do, too.</dialogue> <character>BOB</character> <parenthetical>(Eyeing her)</parenthetical> <dialogue>They're kind of suited, in a lot of ways.</dialogue> <character>BETTY</character> <dialogue>Some people are.</dialogue> <character>BOB</character> <dialogue>Thanks for the knitted sock.</dialogue> <character>BETTY</character> <dialogue>Don't mention it.</dialogue> <character>BOB</character> <dialogue>I thought it was for Phil.</dialogue> <character>BETTY</character> <parenthetical>(Evenly)</parenthetical> <dialogue>If the sock fits, wear it.</dialogue> <character>BOB</character> <parenthetical>(Unsure of her meaning)</parenthetical> <dialogue>It started out for Phil.</dialogue> <character>BETTY</character> <dialogue>It just started out as a sock.</dialogue> <scene_description>Every line of the sock exchange should have the meaning of the love implications.</scene_description> <character>BOB</character> <dialogue>You're a very odd girl.</dialogue> <character>BETTY</character> <dialogue>You're a very odd fellow.</dialogue> <scene_description>Bob is close to declaring himself, if he was only sure of his ground.</scene_description> <character>BOB</character> <dialogue>Two feet, one sock. I must be.</dialogue> <character>BETTY</character> <dialogue>I'll get around to the other one, eventually.</dialogue> <character>BOB</character> <dialogue>You mean to do any knitting in the near future?</dialogue> <character>BETTY</character> <dialogue>The feeling comes and goes.</dialogue> <character>BOB</character> <dialogue>Think if the model hung around for a while... the feeling might be more permanent?</dialogue> <character>BETTY</character> <dialogue>Maybe.</dialogue> <scene_description>Bob leans over and takes her hand.</scene_description> <character>BOB</character> <dialogue>What's this maybe, shmaybe, comes and goes? Friends tell me I don't have many years left for this sort of thing... I ought to know right now if --</dialogue> <scene_description>He is interrupted by ED HARRISON, who has been brought to the table by the maitre d'.</scene_description> <character>ED</character> <dialogue>Bob! How are you?</dialogue> <character>BOB</character> <dialogue>Hiya, Ed.</dialogue> <character>ED</character> <parenthetical>(He knows Betty)</parenthetical> <dialogue>Betty.</dialogue> <scene_description>She nods, as Ed sits down.</scene_description> <character>ED</character> <parenthetical>(To Bob)</parenthetical> <dialogue>Now what's this big deal you wanted to discuss? I shouldn't even talk to you after canceling out on my show.</dialogue> <character>BOB</character> <parenthetical>(Carefully)</parenthetical> <dialogue>Ed, I saw the old man.</dialogue> <character>ED</character> <dialogue>Waverly? Where, in the Pentagon?</dialogue> <character>BOB</character> <dialogue>Pentagon, nothing. He owns a little hotel in a winter resort in Vermont.</dialogue> <character>ED</character> <dialogue>Our old man?</dialogue> <character>BOB</character> <dialogue>Nobody even knows who he is.</dialogue> <character>BETTY</character> <dialogue>He's too proud to let them know he's General Waverly.</dialogue> <scene_description>Ed looks at her, surprised.</scene_description> <character>ED</character> <parenthetical>(To Bob, indicating Betty)</parenthetical> <dialogue>Was she in our outfit, too?</dialogue> <character>BOB</character> <dialogue>Vermont branch.</dialogue> <character>ED</character> <dialogue>What are we going to do about it? You got a flash?</dialogue> <character>BOB</character> <dialogue>A glimmer.</dialogue> <character>ED</character> <dialogue>Got to stir it around a little?</dialogue> <character>BOB</character> <dialogue>All stirred. Remember how Old Flintbottom always used to find a way to keep our morale up... without telling us? It's about time we returned the favor. Let's surprise him with a real big bang- up reunion.</dialogue> <character>ED</character> <dialogue>Now you're talking! How do we spread the word?</dialogue> <scene_description>Bob takes a piece of paper out of his inside pocket and hands it to Ed.</scene_description> <character>BOB</character> <dialogue>You're gonna read this little speech on your television show. People look at it, don't they?</dialogue> <character>ED</character> <parenthetical>(Scanning the paper)</parenthetical> <dialogue>Now's as good a time as any to find out.</dialogue> <scene_description>As he continues to read the piece of paper, we DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. COLUMBIA INN LOBBY - PHIL IN PHONE</stage_direction> <scene_description>BOOTH - (NIGHT) Phil is excited.</scene_description> <character>PHIL</character> <dialogue>Bob, just leave it to me! He won't get near a set if I have to break a leg... Goodbye, Bob!</dialogue> <scene_description>He opens the door of the booth and hurries across the lobby toward Susan, who is at the desk, and BANGS on the bell, which is on the counter. Martha comes running from the kitchen.</scene_description> <character>PHIL</character> <parenthetical>(Excitedly)</parenthetical> <dialogue>Now everybody pay close attention.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. TELEVISION STATION - (NIGHT)</stage_direction> <scene_description>Ed is about to go on the air. Bob is opposite him, out of camera range, The technical crew are watching the hand of the dial approaching 60.</scene_description> <character>ED</character> <dialogue>I hope Phil has been able to keep the old man away from a television set.</dialogue> <character>BOB</character> <dialogue>He has. In anything involving something crooked he's dependable.</dialogue> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. LOBBY COLUMBIA INN</stage_direction> <scene_description>Seated around the television set are Waverly, Martha and Susan. Martha and Susan look at their watches and each other, nervously. Waverly also looks at his watch.</scene_description> <character>WAVERLY</character> <dialogue>Ed Harrison will be on in a half minute. I like him. I never miss him.</dialogue> <scene_description>The women are becoming very nervous. Suddenly we HEAR off scene the most tremendous clatter dorm the stairway and Phil's shouting.</scene_description> <character>PHIL</character> <dialogue>Ow! Ow! Ow!</dialogue> <character>WAVERLY</character> <parenthetical>(Jumping up)</parenthetical> <dialogue>What's that?</dialogue> <scene_description>He runs toward the stairs. Martha and Susan breathe a sigh of relief and follow Waverly. MED. CLOSE SHOT - STAIRS Waverly runs to the tangled Phil.</scene_description> <character>PHIL</character> <dialogue>My leg is broken! Ow, ow!</dialogue> <character>WAVERLY</character> <dialogue>Take it easy, boy.</dialogue> <parenthetical>(He starts feeling his leg)</parenthetical> <character>PHIL</character> <dialogue>Ow! Ow! It's broken!</dialogue> <character>WAVERLY</character> <dialogue>No it isn't! You may have a bad sprain, but no bones are busted!</dialogue> <character>PHIL</character> <dialogue>It's broken, sir. I can feel it.</dialogue> <character>WAVERLY</character> <dialogue>Let me help you.</dialogue> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. TELEVISION STATION</stage_direction> <scene_description>The technician indicates for Ed Harrison to start as the second hand hits straight up.</scene_description> <character>ED</character> <dialogue>I would like to address all former officers, enlisted men, Wacs and nurses who were under the command of General Tom Waverly --</dialogue> </scene> <scene> <stage_direction>MED. SHOT - INT. COLUMBIA INN OUTSIDE WAVERLY'S OFFICE</stage_direction> <scene_description>Waverly and Martha are helping Phil through the door.</scene_description> <character>PHIL</character> <dialogue>Ow! Ow! It's broken in two or three places!</dialogue> <character>WAVERLY</character> <dialogue>That's just the impression you have! I tell you it's only shock!</dialogue> <scene_description>THE CAMERA FOLLOWS THEM into the office as they lay him out on the couch.</scene_description> <character>WAVERLY</character> <parenthetical>(Laying him out)</parenthetical> <dialogue>Take it easy, boy!</dialogue> <character>PHIL</character> <dialogue>Don't leave me! Everything is going round and round!</dialogue> <character>WAVERLY</character> <dialogue>Nobody's leaving you! Martha, get me a cold towel!</dialogue> </scene> <scene> <stage_direction>MED. CLOSE SHOT - INT. TELEVISION STATION</stage_direction> <character>ED</character> <dialogue>The objective is Pine Tree, Vermont --- Synchronize watches for Operation Waverly...</dialogue> </scene> <scene> <stage_direction>MED. SHOT - INT. OFFICE</stage_direction> <scene_description>Phil has his eyes closed.</scene_description> <character>WAVERLY</character> <dialogue>Things still going around?</dialogue> <character>PHIL</character> <dialogue>Now they're going sideways!</dialogue> <scene_description>Waverly takes the wet towel from Martha.</scene_description> <character>PHIL</character> <dialogue>Now they're going in and out!</dialogue> <scene_description>Waverly slaps the towel on his face.</scene_description> <character>WAVERLY</character> <dialogue>This'll bring him out of it.</dialogue> <character>PHIL</character> <parenthetical>(Sitting up)</parenthetical> <dialogue>Where am I?</dialogue> <character>WAVERLY</character> <dialogue>He's all right.</dialogue> <scene_description>Judy bursts into the room.</scene_description> <character>JUDY</character> <dialogue>Phil, what's happened to you?</dialogue> <scene_description>Phil assumes a pain-stricken face again and Judy throws her arms around him. Phil smiles over her shoulder at Waverly. DISSOLVE TO: FULL SHOT - NIGHT - COUNTRY ROAD Silhouette of busses, Station in background, if desirable. MED. FULL SHOT - FORK IN ROAD Two men, with M.P. armbands, slow up the busses. One is revealed to be Phil.</scene_description> <character>FIRST M.P.</character> <dialogue>All quiet, folks! Entering the town!</dialogue> <character>PHIL</character> <dialogue>The Old Man's asleep! Let's keep him that way!</dialogue> <scene_description>The busses move on. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - NIGHT - INT. LOBBY</stage_direction> <scene_description>Bob and Betty tiptoe through the entrance to the inn. In the semidarkness of the lobby we hear a "sst - ", and Susan and Martha are revealed having been waiting for them.</scene_description> <character>MARTHA</character> <dialogue>We've been waiting for you.</dialogue> <character>BOB</character> <dialogue>How is everything going?</dialogue> <character>SUSAN</character> <dialogue>Just fine.</dialogue> <character>BETTY</character> <dialogue>They are bedded down in all the hotels.</dialogue> <scene_description>Martha blows her nose.</scene_description> <character>MARTHA</character> <dialogue>His old outfit... If I wasn't such a mean old biddy, I'd probably break right down and cry.</dialogue> <parenthetical>(She cries)</parenthetical> <character>BOB</character> <dialogue>There's nothing to cry about, is there?</dialogue> <scene_description>He looks to Susan and she begins to bawl.</scene_description> <character>SUSAN</character> <parenthetical>(Through the crying)</parenthetical> <dialogue>Thank you so much.</dialogue> <scene_description>Bob looks to Betty for support.</scene_description> <character>BOB</character> <dialogue>Can't you do something?</dialogue> <character>BETTY</character> <dialogue>They're just affected by the gesture.</dialogue> <scene_description>She can't hold it back either, and now the three women are crying.</scene_description> <character>BOB</character> <dialogue>That's fine.</dialogue> <character>BETTY</character> <parenthetical>(Through her tears)</parenthetical> <dialogue>Where are Judy and Phil?</dialogue> <character>BOB</character> <dialogue>Probably in their rooms, crying.</dialogue> <scene_description>They start out. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - EXT. BUNGALOW - NIGHT</stage_direction> <scene_description>As Bob and Betty turn around the corner, they see Phil and Judy, locked in an embrace. Bob has been in front, but he steps back quickly, not wanting to embarrass the lovers.</scene_description> <character>BETTY</character> <dialogue>Who is it? General Waverly?</dialogue> <character>BOB</character> <dialogue>The lovers.</dialogue> <character>BETTY</character> <parenthetical>(To Bob)</parenthetical> <dialogue>We can't just stand here. We have to get some sleep.</dialogue> <scene_description>She walks into sight, Bob following. Phil and Judy break, embarrassed.</scene_description> <character>JUDY</character> <dialogue>We were rehearsing for the show tomorrow night.</dialogue> <character>BETTY</character> <dialogue>Is it going to be that kind of a show? We'll be raided!</dialogue> <character>JUDY</character> <dialogue>What are you doing here? What happened at The Carousel?</dialogue> <character>BETTY</character> <dialogue>I'm helping out here tomorrow.</dialogue> <character>PHIL</character> <dialogue>Hi, Bob. Everything's under control.</dialogue> <parenthetical>(Fluster)</parenthetical> <dialogue>I mean with the show. We've got a lot of new material. You both are going to have to do a lot of rehearsing.</dialogue> <parenthetical>(Flustered again)</parenthetical> <dialogue>I mean the other kind of rehearsing - I mean - rehearsing Well, good night, Judy.</dialogue> <scene_description>And he holds his hand out, and they shake hands, still flustered.</scene_description> <character>JUDY</character> <dialogue>Good night, Phil. Good night, Bob.</dialogue> <character>BETTY</character> <parenthetical>(To both)</parenthetical> <dialogue>Good night.</dialogue> <scene_description>Flustered, the boys open the door to the girls' bungalow, thinking it is their own.</scene_description> <character>PHIL</character> <dialogue>Let's get out of here before the gossip starts.</dialogue> <scene_description>They all laugh. The girls enter their bungalow and put on the light. The boys head toward their bungalow. Phil enters in a gay mood. Bob stops at the door, turns around and looks toward the window of the girls' bungalow. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. GIRLS' BUNGALOW - NIGHT</stage_direction> <scene_description>Judy is getting into bed. Betty, in her dressing gown, is looking out of the window toward the boys' bungalow.</scene_description> <character>BETTY</character> <dialogue>Bob is still pacing up and down on the porch... I think I'll go out and see what's bothering him.</dialogue> <character>JUDY</character> <dialogue>That's how I started in Canton, Ohio.</dialogue> <character>BETTY</character> <dialogue>This is Vermont. Nothing can happen here.</dialogue> <character>JUDY</character> <dialogue>Keep your guard up... That ain't Coolidge out on that porch.</dialogue> <scene_description>Betty throws her a look, and exits.</scene_description> </scene> <scene> <stage_direction>EXT. BOYS' BUNGALOW - MED SHOT</stage_direction> <scene_description>Bob stands on the porch, in robe and slippers, thoughtfully puffing at his pipe. Betty comes into scene.</scene_description> <character>BETTY</character> <dialogue>What are you doing? Sleep walking?</dialogue> <character>BOB</character> <parenthetical>(Turning)</parenthetical> <dialogue>Couldn't sleep.</dialogue> <scene_description>Betty comes up on the porch.</scene_description> <character>BETTY</character> <dialogue>Whatever you've got on your mind isn't worth staying awake for.</dialogue> <character>BOB</character> <dialogue>Where have I heard that?</dialogue> <character>BETTY</character> <dialogue>Tell you how I handle a situation like this, Doctor.</dialogue> <scene_description>She starts to sing, COUNT YOUR BLESSINGS. At the conclusion, she walks away, leaving him standing there. FADE OUT: FADE IN: CLOSE SHOT - ARCHED SIGN IN FRONT OF INN - (NIGHT) This sign announces the show opening. People are streaming into the inn.</scene_description> </scene> <scene> <stage_direction>MED. SHOT - INT. WAVERLY'S QUARTERS</stage_direction> <scene_description>The General is in his dressing gown, furious. Martha and Susan are playing a part.</scene_description> <character>WAVERLY</character> <dialogue>How could you send all my suits to the cleaners?</dialogue> <character>MARTHA</character> <dialogue>You've only got two.</dialogue> <character>SUSAN</character> <dialogue>Why can't you wear your uniform?</dialogue> <character>WAVERLY</character> <dialogue>I won't appear in uniform!</dialogue> <character>SUSAN</character> <dialogue>Please, Gramp.</dialogue> <character>WAVERLY</character> <dialogue>Absolutely not!</dialogue> <character>MARTHA</character> <dialogue>Very well. I'll explain to Bob and Phil that you didn't care to come to the show tonight.</dialogue> <character>WAVERLY</character> <dialogue>I'll have you court-martialed!</dialogue> <character>MARTHA</character> <dialogue>You don't mind being ungrateful, you just don't like being told you are!</dialogue> <character>SUSAN</character> <parenthetical>(Follows it up)</parenthetical> <dialogue>If you think you don't owe them anything, you're not obliged to go.</dialogue> <character>MARTHA</character> <dialogue>They haven't done much for you. Hardly anything. You do what you think is right!</dialogue> <character>WAVERLY</character> <parenthetical>(Angrily)</parenthetical> <dialogue>Martha, I'll make my own decisions! I got along very well in the army without you!</dialogue> <character>MARTHA</character> <dialogue>It took 15,000 men to take my place!</dialogue> <scene_description>She stalks out. DISSOLVE TO: FULL SHOT - INN FLOOR - (NIGHT) It is slowly filling up. One of the guiding officials turns out to be the Sheriff we have previously seen.</scene_description> <character>PETE</character> <parenthetical>(Seating a party)</parenthetical> <dialogue>Right this way.</dialogue> </scene> <scene> <stage_direction>MED. SHOT - INT. MAKESHIFT DRESSING ROOM - BOB AND PHIL</stage_direction> <scene_description>They are getting into their old uniforms, which are slightly misfit.</scene_description> <character>BOB</character> <parenthetical>(At the trousers)</parenthetical> <dialogue>This thing's shrunk.</dialogue> <character>PHIL</character> <parenthetical>(Looking at the bulge)</parenthetical> <dialogue>Pants always shrink in closets.</dialogue> <character>BOB</character> <dialogue>I can't breathe in this. What am I going to do?</dialogue> <character>PHIL</character> <dialogue>I know what I'm going to do.</dialogue> <parenthetical>(Showing him)</parenthetical> <dialogue>I'm going to take one big deep breath, and that's going to be it for the next three hours.</dialogue> <scene_description>Bob takes a deep breath and gets the top button buttoned. MED. SHOT - LOBBY STAIRWAY - (NIGHT) General Waverly comes down the stairs, cutting quite a figure in his uniform and decorations. Martha and Susan, waiting for him at the bottom, look him over, admiringly.</scene_description> <character>WAVERLY</character> <parenthetical>(Gruffly)</parenthetical> <dialogue>Well, I couldn't come down in my bathrobe.</dialogue> <scene_description>FULL SHOT - INN FLOOR The spotlight prepared, pinpoints the General as he enters the room, and the music starts. The audience rises and applauds. He can't believe it. He reaches his table, decorated with flowers, and recognizes he is the guest of honor. From the lobby we hear the outfit SINGING the opening strains of THE OLD MAN. All eyes turn to the lobby entrance, through which the old outfit marches, and continues to the stage, and then back to their respective tables as the song finishes. MED. SHOT - WAVERLY He is profoundly moved and walks to the stage. The audience is seated. Waverly looks at the assembled crowd with great affection. The people begin to shout, "Speech! Speech!" Martha and Susan sit. The crowd quiets, waiting for the speech.</scene_description> <character>WAVERLY</character> <parenthetical>(He must have had a blood transfusion from a sergeant at some time)</parenthetical> <dialogue>I am not satisfied with the conduct of this division! Some of you men are under the impression that having been at Anzio entitles you not to wear neckties! You are wrong! Neckties will be worn in this area! I have also noticed a deterioration in the quality of saluting! This is to be improved! I have also had complaints from the commanding officer of the rest area in Naples! He informs me that the non-fraternization rule is constantly being broken by men of this division! In fact, this division is outstanding in its violations of non-fraternization! You all know the rules! The non- fraternization ban expressly declares you are not to talk to women!</dialogue> <parenthetical>(A slightly different tone)</parenthetical> <dialogue>Don't talk to them! That is all!</dialogue> <scene_description>They howl and cheer. He makes has way toward his own table, greeting old friends on the way. MED. CLOSE SHOT - BOB AND PHIL As they step to the front of the stage.</scene_description> <character>BOB</character> <parenthetical>(To the audience)</parenthetical> <dialogue>Doesn't that bring back memories? Remember those terrible, trying days in Italy... when we had to beat the women off with chocolate bars?</dialogue> <character>PHIL</character> <dialogue>And wasn't it awful the way they kept bothering us for American cigarettes? Why, I must have taught fifty girls how to smoke...</dialogue> <character>BOB</character> <dialogue>For a month's pay all we got was 950 million lira...</dialogue> <character>PHIL</character> <dialogue>Nine hundred and fifty two...</dialogue> <character>BOB</character> <dialogue>I was forced to hire a caddy for my loose change.</dialogue> <character>PHIL</character> <dialogue>Fore...!</dialogue> <character>BOB</character> <dialogue>I'm glad I'm well out of it.</dialogue> <scene_description>Phil looks at him.</scene_description> <character>PHIL</character> <dialogue>Who are we kidding?</dialogue> <scene_description>This is the cue for the orchestra to start the production number, I WISH I WAS BACK IN THE ARMY. At end of number - AUDIENCE - FULL SHOT As they applaud and cheer. The old outfit is happy. In the exultation, General Waverly places two fingers to his lips and blows a whistle of sheer pleasure and approval. We underscore with MUSIC indicating another number is taking place on stage, although we do not see it. SECTION OF AUDIENCE - MED. CLOSE Ed Harrison crosses to General Waverly and whispers to him.</scene_description> <character>ED HARRISON</character> <dialogue>Long distance call for you, sir.</dialogue> <scene_description>Waverly looks surprised, but rises and starts out. Bob, visible in b.g., has been watching. He and Harrison exchange knowing glances. AT HOTEL DESK - MED. SHOT The lobby is empty; in b.g. are the doors to the dining room, where the show is in progress. The telephone lies on the counter. Waverly enters and crosses to it. He is a little annoyed at being forced to leave the entertainment.</scene_description> <character>WAVERLY</character> <parenthetical>(Into phone, gruffly)</parenthetical> <dialogue>Hurry up, hurry up, I'm busy. Yes, this is General Waverly.</dialogue> <scene_description>He suddenly snaps to attention, the old soldier.</scene_description> <character>WAVERLY</character> <parenthetical>(Quietly)</parenthetical> <dialogue>And a Merry Christmas to you, Mr. President... Yes, practically the whole outfit is here. A little paunchy, but they're here. It certainly was a surprise -- more like a frameup. As usual, my Intelligence was not functioning efficiently... Yes?</dialogue> <parenthetical>(Long pause)</parenthetical> <dialogue>That's very nice of you, Mr. President... any time you want me, just say the word... but may I add this? It isn't always necessary to take a job... sometimes it's enough just to know it's there.</dialogue> <scene_description>Through the window behind the General we have seen it begin to SNOW. The General notices it for the first time, and his face brightens.</scene_description> <character>WAVERLY</character> <dialogue>If you ever take it into your mind to grab a little rest from all that work I wish you'd drop in on us here -- I can't promise you any golf but --</dialogue> <parenthetical>(As he looks at the falling snow)</parenthetical> <dialogue>-- we can certainly give you plenty of snow, Mr, President... Yes, Mr. President... What?</dialogue> <parenthetical>(Smiles)</parenthetical> <dialogue>Thanks, Ike.</dialogue> <scene_description>He hangs up the phone, and proudly, head erect, he walks through the lobby, smiling, eyes wet. He lifts the bell on the desk with a loud bang. Martha hurries in, startled.</scene_description> <character>MARTHA</character> <dialogue>You frightened me to death! That bell hasn't been used for three months!</dialogue> <character>GENERAL</character> <dialogue>Get this area policed up. No telling who might be dropping in.</dialogue> <scene_description>Martha salutes.</scene_description> <character>MARTHA</character> <dialogue>Yes, sir!</dialogue> <scene_description>She and the General gaze at the snow falling beyond the lobby door which is blown open by the wind. Underneath all this we have been hearing the introductory music to WHITE CHRISTMAS, which is the number now in progress on the stage. Waverly now turns and walks into the dining room.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - MOVING CAMERA</stage_direction> <scene_description>CAMERA FOLLOWS Waverly on his entrance. As he passes Susan, we see she is reacting to something on the stage. CAMERA PASSES Waverly and moves to: STAGE - FULL SHOT - MOVING CAMERA Center stage, there is a large cutout of a decorated Christmas tree. Also, there is considerable Christmas holly, mistletoe, etc. Bob and Betty are seen singing. Throughout action of this number Phil and Judy dance. In addition there is staged movement by the ensemble. Bob and Betty are on each side of the cutout Christmas tree, but it is obvious that Betty is preoccupied with some stage business which she is manipulating with one hand behind the cutout tree. CAMERA FOLLOWS Bob and Betty as their movement takes them behind the tree. It is now that we see very clearly that the rear wall of the stage (two immense barn doors) has opened; in b.g. we see the Vermont countryside being covered by the falling snow. Also, we see pine trees in the snow that are decorated. Betty steers Bob to a point directly beneath a sprig of mistletoe from which is also hanging the mate to the sock she gave him in scene 110. Bob looks up, sees the mistletoe and the sock, and smiles at Betty. She lifts one of his trouser legs and we see that he is wearing the other sock. They laugh and embrace. REVERSE SHOT - FROM DINING ROOM The cutout tree onstage rises to the flies and now the real trees and falling snow in b.g. are completely visible. One by one, the trees are lighted. AUDIENCE - MED. CLOSE Martha and Susan are standing happily beside the General, each holding one of his arms.</scene_description> </scene> <scene> <stage_direction>EXT. VERMONT TOWN - EXTREME HIGH SHOT - (MINIATURE)</stage_direction> <scene_description>A church bell is framed in the foreground, and, far in the distance, we see the town and the Inn and the snow as we FADE OUT:</scene_description> <character>THE END</character> </scene> </script>

On Christmas Eve in Europe in 1944, at the height of World War II, former Broadway star Captain Bob Wallace and aspiring performer Private Phil Davis entertain the 151st division with a soldier's show. The men have just received word their beloved Major General Thomas F. Waverly has been relieved of his command. Waverly arrives and delivers an emotional farewell. The men send him off with a rousing chorus of "The Old Man". After Waverly departs, enemy bombers attack the area. Phil pulls Bob away from a collapsing wall and is wounded by debris. Bob asks how he can pay back Phil for saving his life, and Phil suggests they become a duo act. Bob is not fond of the idea, but feels obliged to agree. After the war, the two are successful, first as performers, then as producers, launching a hit musical, Playing Around. They receive a letter supposedly from their old sergeant asking them to view his sisters' act. They watch Betty and Judy sing at a Florida nightclub. Phil, who likes to play matchmaker, notices Bob is interested in Betty. After the performance, the four meet, and Phil and Judy hit it off. Betty and Bob, however, argue about Bob's cynicism, and that it was actually Judy who wrote the letter.Finding out from Judy that the girls' landlord is falsely suing them for a damaged rug, and threatens to call the police to get his money, Phil gives them tickets he and Bob had purchased to spend Christmas in New York City. Bob and Phil improvise a performance to buy the girls time, then flee to the train, where they now have to sit up in the Club Car, much to Bob's chagrin. The girls convince Phil and Bob to forgo New York and spend Christmas with them in Pine Tree, Vermont, where they are booked as performers. In Vermont, they find all the tourists have left due to no snow and unseasonably warm weather. They arrive at the empty Columbia Inn and are aghast to discover that General Waverly, who is the landlord of the hotel, has sunk his life savings into it and is on the verge of bankruptcy. Phil and Bob decide to invite some of the cast of Playing Around to Pine Tree to stage a show to draw in the guests, and include Betty and Judy in the show. Betty and Bob's romance starts to bloom. Later, Waverly receives a humiliating rejection letter to his request to rejoin the army. Bob determines to prove to the General he is not forgotten, and calls up Ed Harrison, another old Army buddy who now has his own TV variety show, for help. Ed suggests they mention the General on the show and make a big scene of his misfortune and Bob's kindness, which would be free advertising for Bob and Phil. Bob strongly rejects the idea. Unfortunately, the housekeeper eavesdrops on the other phone for the first half of the conversation and does not hear Bob's rejection. She relays Ed's idea to Betty, who suddenly becomes cold towards a baffled Bob. Phil and Judy stage a phony engagement, thinking Betty is trying to avoid romance because she does not want to leave Judy unprotected. However, this backfires when Betty accepts a gig in New York and leaves. Phil and Judy admit the truth to Bob, who becomes enraged and hurries to New York to tell Betty. They partially reconcile, but Bob meets up with Harrison before he has a chance to find out what was really bothering her. Betty sees Bob go on Harrison's show and invite the entire 151st division to secretly join him at Pine Tree to surprise General Waverly. Realizing she was mistaken, Betty returns to Vermont in time to be in the show. On Christmas Eve, the soldiers surprise General Waverly at the show with another rousing chorus of "The Old Man", bringing him to tears. During the performance, Betty and Bob become engaged, and Judy and Phil decide to go through with their own engagement. As everyone sings "White Christmas", a thick snowfall at last blankets Vermont.

Space Cowboys_2000

tt0186566

<script> <scene> <scene_description>SPACE COWBOYS Written by KEN KAUFMAN and HOWARD KLAUSNER May 1999 Draft FOR EDUCATIONAL PURPOSES ONLY MANUAL MILITARY TYPEWRITER hammers out a screen narration: SUPERIMPOSE: OCTOBER, 1958. The successful launch of Sputnik I has started rumors that manned space flight is a year away for the Soviet Union. The United States has assumed the titanic challenge of "Taking the high ground of space."</scene_description> </scene> <scene> <stage_direction>EXT. USAF PROVING GROUND (CALIFORNIA HIGH DESERT) - DAY</stage_direction> <scene_description>A SONIC BOOM in the crystal blue desert sky. A modified Bell Labs X-2 Ultrasonic JET -- basically a rocket with stubby wings that look more like vestigial fins -- SCREAMS upwards, an 80 degree climb into space. On its side is stylishly painted "Daedalus."</scene_description> </scene> <scene> <stage_direction>INT. X- JET - CLOSE ON ALTIMETER - THAT MOMENT</stage_direction> <scene_description>108,999 FEET... THE "999's" roll over. The pilot's voice strains with the G-forces and thin oxygen.</scene_description> <character>PILOT (V.O.)</character> <dialogue>109,000. Come on, Frank, let's poke our nose into space.</dialogue> <scene_description>The pilot is Major WILLIAM "HAWK" HAWKINS, 26. In the seat behind him is MAJOR FRANK CORVIN, 29. Both wear bulky pressure suits and space helmets.</scene_description> <character>FRANK</character> <dialogue>No. That's enough, Hawk. We're approaching heat barrier. Let's level off.</dialogue> <parenthetical>(into his radio)</parenthetical> <dialogue>Recover One, this is Falcon. Beginning descent now.</dialogue> </scene> <scene> <stage_direction>INT. AIR FORCE B- - THAT MOMENT</stage_direction> <scene_description>Twelve miles below the X-2. Barrel-chested, buzz-cutted Captain "TANK" SULLIVAN is at the controls.</scene_description> <character>TANK</character> <dialogue>Roger, Daedalus. Got you on the scope, Frank.</dialogue> <scene_description>Tank sharpens the radar blip. As he does, we see a plastic hula girl on the instrument panel "dancing" frenetically.</scene_description> </scene> <scene> <stage_direction>INT. X- - THAT MOMENT</stage_direction> <scene_description>The altimeter hits 110,000. Frank and Hawk are breathing harder.</scene_description> <character>HAWK</character> <dialogue>Bingo. 110,000th floor, ladies' lingerie.</dialogue> <scene_description>The DRONE of the rocket MOTOR HESITATES -- a nanosecond at most -- then RESUMES as normal.</scene_description> <character>FRANK</character> <dialogue>You catch that, Hawk?</dialogue> <scene_description>Hawk is in the zone, listening and feeling the airplane.</scene_description> <character>FRANK</character> <dialogue>Hawk!</dialogue> </scene> <scene> <stage_direction>EXT. DESERT GROUND BELOW -- THAT MOMENT</stage_direction> <scene_description>Captain JERRY O'NEILL sits outside a USAF truck in front of a radar screen reading a Playboy magazine. He reads the copy aloud to himself.</scene_description> <character>JERRY</character> <dialogue>Miss September, herself a promising student pilot, has a particular weakness for structural engineers with Ph.D.'s in astro- physics.</dialogue> <scene_description>He slowly moves the Playboy away and sees a scorpion climbing his bare ankle. He rolls up the magazine tightly, holds it above the scorpion, ready to swat it. He looks at the scorpion... he looks at Miss September's smiling face and airbrushed-breast... He can't do it, he can't sully this redheaded vision: He calmly grabs the scorpion by its stinger tail and flings it. Hawk's voice crackles over the RADIO.</scene_description> <character>HAWK (V.O.)</character> <dialogue>She's alright, she's talking to me. You trust me, don't you, Frank?</dialogue> <character>JERRY</character> <dialogue>Uh oh... here we go again.</dialogue> </scene> <scene> <stage_direction>INT. X- - THAT MOMENT</stage_direction> <scene_description>THROUGH the canopy -- the horizon -- the blue turns to black. Hawk and Frank are touching outer space.</scene_description> <character>HAWK</character> <dialogue>Frank, look.</dialogue> <scene_description>The full moon is rising over the curvature of the Earth.</scene_description> <character>HAWK</character> <parenthetical>(calm, faraway voice)</parenthetical> <dialogue>That's where we're going. I don't know how, I don't know when...</dialogue> <scene_description>Frank looks up from the gauges at the horizon. He is mesmerized, speechless. Hawk starts to sing. Awesome pilot, lousy singer.</scene_description> <character>HAWK</character> <dialogue>Fly me to the moon and let me play among the stars --</dialogue> <scene_description>Frank looks out the window at the moon. The ROCKET MOTOR HESITATES AGAIN, SPUTTERS and GOES SILENT. All the gauges drop to zero. Engine failure. Frank is jolted back to reality.</scene_description> <character>FRANK</character> <dialogue>Holy God.</dialogue> <scene_description>All we hear is the WIND buffeting the plane and the eerie sound of the plane's airframe and body skin CREAKING. Hawk works frantically to restart the engine, trying to joke through it.</scene_description> <character>HAWK</character> <dialogue>Hey, Frank, wanna get out and gimme a push?</dialogue> <character>FRANK</character> <dialogue>Sonofabitch!</dialogue> <scene_description>They're nosing over, beginning what every pilot dreads most -- a flat spin. The cockpit ALARM SOUNDS.</scene_description> <character>HAWK</character> <dialogue>We have to eject.</dialogue> <character>FRANK</character> <dialogue>At 112,000 feet?! Are you outta your mind?!</dialogue> <character>HAWK</character> <dialogue>We're not gonna ride this thing out. Call Mayday -- we're popping!</dialogue> <character>FRANK</character> <parenthetical>(gasping for air)</parenthetical> <dialogue>We are not... losing... another... ship!</dialogue> </scene> <scene> <stage_direction>EXT. X- - THAT MOMENT</stage_direction> <scene_description>Spinning wildly, plummeting towards ground. The right wing shudders and rips away -- the plane inverts in its spin.</scene_description> </scene> <scene> <stage_direction>INT. X- - THAT MOMENT</stage_direction> <character>HAWK</character> <dialogue>Don't think about it, Frank. Just do it. I'm gonna count down to one. Ready? One!</dialogue> <scene_description>Hawk yanks the T-handle. The explosive BOLTS BLOW the canopy off. Two screams, one of terror, one of joy, as they eject, the supersonic wind hitting them like a truck. Frank and Hawk are in free fall -- 22 miles over the desert. Approaching the speed of sound, they scream towards Earth. Frank is paralyzed in a still fall. Hawk tumbles and soars like his namesake, living every man's ultimate fantasy -- pure flight. Side by side, he seems to taunt Frank as he flies about. Frank pulls his rip cord at 22,000, arresting his fall. Hawk keeps right on going.</scene_description> </scene> <scene> <stage_direction>EXT. GROUND - THAT MOMENT</stage_direction> <scene_description>Jerry, binoculars trained skyward, sees Frank's parachute deploy at exactly the moment he hears the thundering BOOM of the plane crashing into the desert floor,</scene_description> <character>JERRY</character> <dialogue>That's gotta be Frank... but where's Hawk?</dialogue> </scene> <scene> <stage_direction>EXT. SKY - THAT MOMENT</stage_direction> <scene_description>Hawk is soaring, spinning, laughing and screaming, ignoring the ground coming up quick.</scene_description> </scene> <scene> <stage_direction>INT. B- - THAT MOMENT</stage_direction> <scene_description>Tank searches through the windscreen for Hawk, when Hawk!-- a flailing flash, really -- free-falls right past the cockpit windshield, startling Tank.</scene_description> <character>TANK</character> <dialogue>Whooa shit!!</dialogue> <scene_description>He banks the huge plane hard left to avoid hitting him. Tank grimly takes the dancing hula girl off the instrument panel, replaces her with a plastic dashboard Jesus.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - HAWK</stage_direction> <scene_description>One thousand feet -- Mach one plus. Sluggish, lethargic, almost out. He wills his eyes open to see the ground coming up mighty fast and pulls the cord; the chute releases. A gut-wrenching force nearly yanks him out of the harness as he is pulled skyward -- 700 mph to zero in three seconds. He opens his face plate, gulping air, laughing like a schoolboy.</scene_description> </scene> <scene> <stage_direction>EXT. GROUND - THAT MOMENT</stage_direction> <scene_description>Jerry laughs, relieved, when he sees the second chute. He climbs into the truck, tosses the Playboy aside and STARTS the ENGINE.</scene_description> <character>JERRY</character> <dialogue>Crazy son of a bitch almost made like a bug on a windshield.</dialogue> <scene_description>Hawk touches down easily. He falls back on his chute, elated. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. EDWARDS AIR FORCE BASE - THAT MOMENT</stage_direction> <scene_description>Establishing.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>The office of Major BOB GERSON, Air Force Special Projects Administrator. Only 27, Gerson already has the look of a polished bureaucrat. He looks out the panoramic window behind his desk at a thick, black column of smoke rising above the desert -- obviously the experimental X-2. SIRENS audible. His look is neither alarm nor concern. He studies the scene coldly and objectively like a scientist. And his eyes seem to smile, as though this is no real catastrophe to him. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - THAT MOMENT</stage_direction> <scene_description>As Frank descends, he lifts his faceplate and looks out at -- A column of black smoke on the horizon -- where the X-2 crashed. Frank touches down -- not quite as graceful or elated as Hawk. Matter of fact, he tumbles over, caught in the chute and rigging. A look of single-minded revenge on his face, Frank unharnesses himself and charges toward Hawk awkwardly in his stiff, cumbersome pressure suit. Hawk sits up, howls with joy.</scene_description> <character>HAWK</character> <dialogue>112,000 and I feel fine! Let's do it again, Frank!</dialogue> <scene_description>Frank punches Hawk through the open faceplate of his helmet, knocking him off his feet.</scene_description> <character>FRANK</character> <dialogue>You always have to push things to their limit, don't you?</dialogue> <character>HAWK</character> <dialogue>That's what I do best, Frank.</dialogue> <scene_description>Frank dives on him, they lock up in a fight. Jerry jumps out of the just-arriving truck, and dives into the melee, trying to pull them apart. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOB GERSON'S OUTER OFFICE - LATER THAT DAY</stage_direction> <scene_description>Frank enters, literally hat in hand. Hawk follows him in, hat still on his head. Frank swipes it off, shoves it into his hands. The duty sergeant opens Gerson's door.</scene_description> </scene> <scene> <stage_direction>INT. GERSON'S OFFICE - CONTINUOUS ACTION</stage_direction> <scene_description>They enter, Gerson faces out his panoramic window -- we can still see the smoke from the brush fire caused by the crash of the X-2.</scene_description> <character>GERSON</character> <dialogue>Is that smoke I smell? Looks like a fire out by Ridgecrest.</dialogue> <character>FRANK</character> <dialogue>We crashed the X-2.</dialogue> <character>GERSON</character> <dialogue>My four-million dollar X-2? Is that the X-2 you're referring to?</dialogue> <character>HAWK</character> <dialogue>We did break both altitude and speed records, sir. And beat the free fall mark by 30,000 feet.</dialogue> <scene_description>Frank glares at Hawk.</scene_description> <character>GERSON</character> <dialogue>Three planes in ten months. That's bound to be a record, too, Hawkins.</dialogue> <character>FRANK</character> <dialogue>The engine failed. The aircraft went into a flat spin and we couldn't recover.</dialogue> <scene_description>Gerson nods "compassionately." No doubt that these two despise one another.</scene_description> <character>GERSON</character> <parenthetical>(patronizing)</parenthetical> <dialogue>But you made it. That's the important thing.</dialogue> <parenthetical>(glances at his watch)</parenthetical> <dialogue>And you made it just in time, Frank.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PRESS ROOM - MOMENTS LATER</stage_direction> <scene_description>Crammed with PRESS people and photographers. They snap away, shouting questions to Gerson at the podium, flanked by Team Daedalus: Frank, Hawk, Jerry and Tank, who smile for the cameras. Gerson holds up his hand for quiet, and produces an envelope with the Presidential seal.</scene_description> <character>GERSON</character> <dialogue>Gentlemen, I hold in my hand an announcement from the office of the President.</dialogue> <parenthetical>(reading the announcement)</parenthetical> <dialogue>'The United States' continued involvement in manned space exploration is hereby assigned to a new civilian agency, The National Aeronautics and Space Administration. Project Daedalus is now complete, and designated Mission Accomplished.</dialogue> <scene_description>He folds up the announcement. Frank is utterly confused.</scene_description> <character>ANOTHER REPORTER (PRESS)</character> <dialogue>What about the pilots? Who's gonna be the first American in</dialogue> <dialogue>space?</dialogue> <scene_description>Gerson turns to Frank, smiling. He slaps him on the shoulder.</scene_description> <character>GERSON</character> <dialogue>The selection has been made. After an exhaustive search we have identified who could best carry out this mission.</dialogue> <parenthetical>(to the Team)</parenthetical> <dialogue>This job calls for toughness -- physical and mental toughness -- and an ability to follow orders to the letter.</dialogue> <scene_description>Frank and Hawk exchange glances, wondering which it will be. Neither of them notices a sergeant walking in, holding the hand of... SAM a three-foot chimpanzee wearing a NASA flight suit.</scene_description> <character>GERSON</character> <dialogue>Gentlemen, meet Sam. The first American to cross into outer space.</dialogue> <scene_description>The chimp grins huge. Frank and the Team are open- mouthed, in shock. Gerson picks him up, smiling for the photo-op. The flashbulbs and questions erupt like a thunderstorm. Sam reaches his hand out to Frank.</scene_description> <character>GERSON</character> <dialogue>Oh, look, Frank. He wants to shake your hand.</dialogue> <character>FRANK</character> <dialogue>You bastard.</dialogue> <character>GERSON</character> <dialogue>Shake his hand for the cameras, Frank. That's an order.</dialogue> <scene_description>Frank slowly takes the chimp's hand, looking as though he might be sick. The cameras flash more, blinding an already stunned man.</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER (HOUSTON) - DAY</stage_direction> <scene_description>Establishing. SUPERIMPOSE: THE PRESENT</scene_description> </scene> <scene> <stage_direction>INT. SPACE TRACKING ROOM - DEEP IN COMPLEX - MORNING</stage_direction> <scene_description>If it's larger than a basketball and it's orbiting the Earth, it is tracked here. Pure NASA. Hi-Tech, all business. Five engineers sit at computers banging away at their keyboards in frustration. Astronaut/Engineer ETHAN GLANCE, 34, pushes back from the console. Ethan usually has the clean-cut swagger of an arrogant, handsome young man with too many letters after his name. Today, however, he's got the dishevelled look of a guy who's been up all night working.</scene_description> <character>ETHAN</character> <dialogue>It just isn't responding.</dialogue> <scene_description>The engineer next to Ethan turns to another engineer -- and translates in Russian to her.</scene_description> </scene> <scene> <stage_direction>INT. ADMINISTRATIVE WING - CORRIDOR - THAT MOMENT</stage_direction> <scene_description>Engineers and administrators move about, focused, with a purpose.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - CONTINUOUS ACTION</stage_direction> <scene_description>The sign on the door identifies this as the office of SARA HOLLAND, Space Shuttle Mission Director. Thirty- seven, ex-astronaut, focused like a laser beam on anything she pays attention to. Right now, she scans a thick computer printout, shaking her head at whatever it's telling her. The PHONE RINGS, she grabs it absent- mindedly.</scene_description> <character>SARA</character> <dialogue>Sara Holland. Okay, be right there.</dialogue> </scene> <scene> <stage_direction>INT. NASA CONFERENCE ROOM - MOMENTS LATER</stage_direction> <scene_description>At the conference table sit Flight Director EUGENE DAVIS (60s), an avuncular, rotund man. Beside him are NASA administrators, a couple of STATE DEPARTMENT OFFICIALS, orbital engineers, Russian engineers from Star City, and the Russian General VOSTOV (50s). Sara enters, arms full of files and printouts. BOB GERSON, now 67, quickly rises to meet her. Age has been kind to the retired General-turned-NASA Project Director: He at least has the appearance of venerability.</scene_description> <character>GERSON</character> <dialogue>Gentlemen, this is Mission Director Sara Holland. She's been closely monitoring the situation and she assures me the problem is well in hand.</dialogue> <scene_description>She looks at Gerson skeptically. Not the politician Gerson is, she begins her briefing, speaking a no- bullshit scientist's lingo colored with a hint of her Virginia heritage.</scene_description> <character>SARA</character> <dialogue>Good morning, gentlemen. As you know, 11 days ago Atmospheric Tracking determined that Russian communications satellite Ikon has initiated orbital degradation. Computer trajectory models predict a steady acceleration in sequence with the gravitational constant.</dialogue> <character>STATE DEPARTMENT OFFICIAL</character> <dialogue>Would you mind translating that for all the non-Ph.D.'s, Dr. Holland?</dialogue> <character>SARA</character> <dialogue>The satellite's orbit is decaying, and the Earth's gravity is taking over.</dialogue> <scene_description>Vostov looks particularly agitated.</scene_description> <character>SARA</character> <dialogue>There's a total systems failure in the on-line navigation and guidance avionics. All redundant systems are non-responsive. Without active course correction in the next 30 to 40 days, the satellite will reenter the atmosphere.</dialogue> <scene_description>Gerson looks nervously at Vostov.</scene_description> <character>VOSTOV</character> <dialogue>And crash?</dialogue> <character>SARA</character> <dialogue>General, Ikon gave you fourteen years of service. That is within the performance range of a communications satellite. It will probably crash in the ocean or burn up in the atmosphere. I think it's best to let it.</dialogue> <scene_description>Vostov stands, addresses the room conciliatorily.</scene_description> <character>VOSTOV</character> <dialogue>My country is grateful for the efforts of NASA and the State Department. However, losing Ikon is not an option. Ikon is not just a communications satellite to the Russian Federation. Ikon is the communications satellite. You are undoubtedly aware of our restructuring problems. Losing all telecommunications until we are able to replace Ikon could plunge us into chaos and perhaps even civil war.</dialogue> <character>DAVIS</character> <dialogue>Certainly you have other satellites aloft. Can't you transfer the workload?</dialogue> <character>GERSON</character> <dialogue>Gene, Sara; we have been given a Presidential mandate to assist the Russians...</dialogue> <parenthetical>(smiling at Vostov)</parenthetical> <dialogue>... our partners in the International Space Station.</dialogue> <parenthetical>(reassuringly to Vostov)</parenthetical> <dialogue>We will fix this problem. It's just a glitch.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - MOMENTS LATER</stage_direction> <scene_description>A clearly pissed off Sara walks briskly behind Gerson down the hallway.</scene_description> <character>SARA</character> <dialogue>You're feeding these guys bold- faced lies. This is a waste of money and a waste of my staff's time --</dialogue> <character>GERSON</character> <dialogue>You're a damn fine engineer, Sara, but you don't know shit about politics. Helping Russia save face is an act of good faith. You can't put a price on that.</dialogue> <scene_description>Gerson stops in front of a door and slides his ID key card through the electronic lock.</scene_description> </scene> <scene> <stage_direction>INT. SPACE TRACKING - CONTROL ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Sara and Gerson enter. Ethan stares at his computer monitor, exhausted and defeated. The Russian engineers are slumped asleep on couches and at their consoles.</scene_description> <character>ETHAN</character> <dialogue>This thing's dumb as a post. It's dead in the air.</dialogue> <character>GERSON</character> <dialogue>Forget trying to talk to the satellite. You have the code, override the guidance system.</dialogue> <scene_description>Ethan points to four technical drawings pinned to the wall.</scene_description> <character>ETHAN</character> <dialogue>You figure that mess out. The guidance system on this thing is a dinosaur.</dialogue> <scene_description>Sara crosses to the wall, analyzes the technical drawings.</scene_description> <character>ETHAN</character> <parenthetical>(nodding to sleeping Russians)</parenthetical> <dialogue>Even these guys don't understand it, it's pre-microprocessor, it's pre-everything. Whoever designed this byzantine piece of shit is probably chopping rocks in Siberia.</dialogue> <character>SARA</character> <parenthetical>(still staring at drawings)</parenthetical> <dialogue>Is there anyone around who remembers Skylab?</dialogue> <character>GERSON</character> <dialogue>What does that have to do with anything?</dialogue> <character>SARA</character> <dialogue>You're a damn fine politician, Bob, but you don't know shit about engineering.</dialogue> <parenthetical>(turns to face Bob)</parenthetical> <dialogue>This is the guidance system from Skylab.</dialogue> <character>GERSON</character> <dialogue>That's impossible. Maybe there are similarities, but they can't be the same.</dialogue> <scene_description>Sara goes to one of the computers, logs on.</scene_description> <character>SARA</character> <dialogue>I'm looking up the designer.</dialogue> <character>GERSON</character> <dialogue>Don't bother. It was Francis D. Corvin.</dialogue> <character>SARA</character> <dialogue>Is he dead?</dialogue> <scene_description>Gerson closes his eyes in dread.</scene_description> <character>GERSON</character> <dialogue>Only if I'm lucky.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. RANCH HOUSE (YOUNTVILLE, CALIFORNIA) - DAY</stage_direction> <scene_description>Frank Corvin's ranch house. An old Porsche 356 in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - DOOR OPEN</stage_direction> <scene_description>FRANK CORVIN, age 69, has aged well -- strong, fit, and tan if a bit weathered. He stands on a step ladder installing an electric garage opener with a cordless drill. He's losing his patience, cussing under and over his breath as his wife BARBARA, an attractive, long-gray- haired woman of 65 refers to -- INSTRUCTIONS which show the bearded assistant from "Home Improvement" grinning as he easily installs the device.</scene_description> <character>BARBARA</character> <dialogue>Would you like me to read you the instructions again -- ?</dialogue> <scene_description>Frank cuts her off with the LOUD CORDLESS DRILL at maximum revs. The final screw screwed in, he presses a button on the unit. The garage door goes down, smooth, perfect, the timed light goes on.</scene_description> <character>FRANK</character> <dialogue>Let me explain something, darlin'.</dialogue> <scene_description>Job done, he steps down from the ladder, victory on his face.</scene_description> <character>FRANK</character> <dialogue>Those instructions are written by a Japanese fella in Japan where they make the damn thing. Then they have some expatriated American, living in Japan because he can't get a job in the U.S., translate them. Then, since it's Japan and they're wary of foreigners, they get a Japanese fella to edit the American guy who translated the Japanese guy.</dialogue> <scene_description>He grins smugly, takes the instructions from her, tears them in half. The timed light clicks off; it's pitch black inside the garage. We hear him fumble for the remote, and press the button. Nothing. He presses it again. Nothing.</scene_description> <character>BARBARA</character> <dialogue>You know the door to the house is locked, right?</dialogue> <character>FRANK</character> <dialogue>It's just the security code.</dialogue> <scene_description>He pops the back off the remote --</scene_description> <character>FRANK</character> <dialogue>Or the battery...</dialogue> <character>BARBARA</character> <dialogue>You forgot the battery?</dialogue> <character>FRANK</character> <parenthetical>(romantic)</parenthetical> <dialogue>Well, looks like it's just you and me, in a dark place, the smell of gasoline and fertilizer in the air...</dialogue> <scene_description>He fumbles about, advancing on her. The ladder falls. She laughs, and "screams" for help.</scene_description> <character>BARBARA</character> <dialogue>Help! I'm locked in a smelly garage with a dirty old man!</dialogue> <scene_description>He stubs his toe, cusses. And laughs. She gives in, they start to make out. The GARAGE DOOR suddenly HUMS to life and opens, casting the daylight on them mid-embrace, revealing -- SARA AND ETHAN standing in front of Frank's Porsche, a beige government sedan behind it. Ethan holds an identical remote.</scene_description> <character>ETHAN</character> <dialogue>Mr. Corvin?</dialogue> <character>FRANK</character> <dialogue>Doctor Corvin.</dialogue> <character>ETHAN</character> <dialogue>Excuse me -- Doctor Corvin. Am I interrupting something?</dialogue> <scene_description>The question is too stupid to even answer. Sara shoots him a look.</scene_description> <character>SARA</character> <dialogue>Doctor Corvin. I'm Sara Holland, and this is Astronaut Ethan Glance. We're with NASA.</dialogue> <scene_description>Frank eyes them suspiciously, looking at the remote control in Ethan's hand.</scene_description> <character>ETHAN</character> <dialogue>It was in your car. I heard someone scream.</dialogue> <character>FRANK</character> <dialogue>Thanks for saving the day. Now what do you want?</dialogue> <character>ETHAN</character> <dialogue>Could we have a minute of your time?</dialogue> <character>FRANK</character> <dialogue>You should have called first. I'm a very busy man.</dialogue> <scene_description>Barbara stifles a giggle. Frank sends her a dirty look.</scene_description> <character>SARA</character> <dialogue>Dr. Corvin, in thirty-five days a satellite with your guidance system on board is going to re- enter the atmosphere. The system is non-responsive. Want to take a crack at it?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FRANK'S DINING ROOM - MOMENTS LATER</stage_direction> <scene_description>Ethan has spread the technical drawings on the dining table. They all drink glasses of iced tea. Frank slowly crunches his ice as he studies the drawings. This clearly sends shivers down Ethan's spine, and Frank knows it.</scene_description> <character>ETHAN</character> <dialogue>There seems to be an interruption in the path here, but the circuitry is still operational. It's sending us data --</dialogue> <character>FRANK</character> <dialogue>You've lost your uplink.</dialogue> <character>ETHAN</character> <dialogue>It has to be a problem in the manual routing drive here.</dialogue> <character>FRANK</character> <dialogue>I don't think so.</dialogue> <character>ETHAN</character> <dialogue>That's the consensus among the engineers.</dialogue> <character>FRANK</character> <dialogue>The same engineers that sent you here?</dialogue> <scene_description>He crunches his ice for emphasis. Ethan winces.</scene_description> <character>FRANK</character> <dialogue>Does that bother you?</dialogue> <character>ETHAN</character> <dialogue>Yes, it does, actually.</dialogue> <scene_description>Crunch.</scene_description> <character>SARA</character> <dialogue>Your design pre-dates all existing guidance systems. It was ahead of its time in '69, but this technology is obsolete now. None of the current engineers speak this language, and the older guys are...</dialogue> <scene_description>She trails off, the conclusion clear -- they're all dead.</scene_description> <character>FRANK</character> <dialogue>It wasn't designed for this duration of duty. It was designed for SkyLab. My advice to you is capture the satellite and bring it home.</dialogue> <character>ETHAN</character> <dialogue>It's too big.</dialogue> <character>FRANK</character> <dialogue>For the space shuttle? What kind</dialogue> <dialogue>of bird is it?</dialogue> <character>SARA</character> <dialogue>It's a Russian communications satellite.</dialogue> <character>FRANK</character> <dialogue>What the hell's my guidance system doing onboard a Russian satellite?</dialogue> <character>ETHAN</character> <dialogue>That's really not our primary concern at this time.</dialogue> <character>FRANK</character> <parenthetical>(Frank really hates him now)</parenthetical> <dialogue>Where's it orbiting, or is that not a primary concern either?</dialogue> <character>SARA</character> <dialogue>One thousand miles.</dialogue> <character>FRANK</character> <dialogue>Rate of decay?</dialogue> <character>SARA</character> <dialogue>8000 meters per day. And accelerating.</dialogue> <character>FRANK</character> <dialogue>You're right about one thing; that bird's coming home. Five weeks at the most.</dialogue> <character>SARA</character> <dialogue>NASA's calculations agree. But here we are. Doctor, you designed this system. If anyone can solve this, it's you.</dialogue> <scene_description>Frank chomps his ice, sizing up both of them.</scene_description> <character>FRANK</character> <dialogue>For a moment there, I was thinking you two might be a couple of Bob Gerson's lackeys.</dialogue> <character>FRANK</character> <dialogue>But judging by your command of the facts of history, I see that's impossible. He's been taking credit for that since I worked it out in '58, the year he replaced my ass with a monkey.</dialogue> <scene_description>His blood pressure's rising. He keeps his gaze on Sara, sees she looks uncomfortable.</scene_description> <character>FRANK</character> <dialogue>You don't work for Bob, do you?</dialogue> <character>SARA</character> <dialogue>He's a Project Manager at NASA. He's one of many people assigned to this problem.</dialogue> <scene_description>Frank nods, unmoved.</scene_description> <character>FRANK</character> <dialogue>I'll have to ask you both to leave.</dialogue> <character>ETHAN</character> <dialogue>Dr. Corvin, your country needs you.</dialogue> <character>FRANK</character> <dialogue>Stick a sock in it, son. I've heard it all before. You can't solve this problem from here, and you'll never get a crew up to speed on it in time. Your bird's dead, let her die. My only hope is that what doesn't disintegrate during re-entry lands on Bob Gerson's house.</dialogue> <scene_description>Frank's rage boils right under the surface. Barbara watches from the kitchen.</scene_description> <character>FRANK</character> <dialogue>But before you go, let me offer you both some career advice. Get as far from that son of a bitch as humanly possible.</dialogue> <scene_description>Ethan rolls up the drawing.</scene_description> <character>ETHAN</character> <dialogue>Apparently the buzz on you is correct.</dialogue> <character>FRANK</character> <dialogue>And what buzz is that?</dialogue> <character>ETHAN</character> <dialogue>You're not a team player. That's why you washed out at NASA.</dialogue> <character>FRANK</character> <dialogue>Get the hell out of my house!</dialogue> <scene_description>Ethan exits hurriedly. Sara takes her time. There's disappointment, but respect on her face. She exits. Frank's face is flushed red, his eyes angry slits, teeth clenched.</scene_description> <character>BARBARA</character> <dialogue>We have to brush up on your hospitality skills.</dialogue> </scene> <scene> <stage_direction>INT. CORVINS' KITCHEN - THAT NIGHT</stage_direction> <scene_description>Silence at the dinner table. Frank is still seething.</scene_description> <character>BARBARA</character> <dialogue>You know what the problem with that satellite is, don't you.</dialogue> <scene_description>Frank snorts, butters a roll. He obviously does.</scene_description> <character>BARBARA</character> <dialogue>You could fix it. Probably in a day. Right?</dialogue> <character>FRANK</character> <dialogue>I won't crawl back for another beating. Gerson made his bed, let him lie in it. Barbara. It's an old satellite, a Russian one at that. It'll burn up on re-entry and they'll build another one.</dialogue> <character>BARBARA</character> <dialogue>Frank...</dialogue> <scene_description>Barbara watches him leave, hates to see him like this.</scene_description> </scene> <scene> <stage_direction>INT. FRANK'S GARAGE - LATE NIGHT</stage_direction> <scene_description>Frank takes the original drawing of the guidance system out of a tube and spreads it across his drafting table. He blows the dust off it. He studies it, casually eating ice cream. The look on his face tells us the problem is obvious. His eyes travel up to -- GROUP PHOTO ON WALL Team Daedalus in the '50s: Frank, Hawk, Jerry, Tank and a few other guys posing in front of the X-2 jet pre- crash. Full of youthful vigor, their dreams still alive, eyes on the prize of space. BACK TO FRANK staring at the picture. His eyes are misty; it's as if old dreams frozen inside him have begun to thaw. Like a child, he licks the vanilla ice cream moustache off his upper lip.</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER (HOUSTON) - DAY</stage_direction> <scene_description>ESTABLISHING.</scene_description> </scene> <scene> <stage_direction>INT. SARA HOLLAND'S OFFICE - DAY</stage_direction> <scene_description>Sara looks up from a classified Air Force file entitled "Project Daedalus." Frank Corvin stands at her door, wearing his cracked leather Air Force jacket and jeans, chewing gum.</scene_description> <character>FRANK</character> <dialogue>I have a solution to your problem.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOB GERSON'S OFFICE - UPSTAIRS</stage_direction> <scene_description>The door opens. Gerson looks up, sees Sara bring Frank in, covers his disdain with an insincere smile.</scene_description> <character>GERSON</character> <dialogue>Frank Corvin. How long's it been?</dialogue> <character>FRANK</character> <dialogue>Not long enough, Bob.</dialogue> <character>GERSON</character> <parenthetical>(laughs)</parenthetical> <dialogue>Haven't lost that Corvin charm, have we? Coffee?</dialogue> <scene_description>Frank nods. Gerson goes to the credenza and pours a cup.</scene_description> <character>GERSON</character> <dialogue>Sara tells me you're up to speed on our little problem. We've got one sick bird.</dialogue> <parenthetical>(pointedly)</parenthetical> <dialogue>Apparently there's a flaw in the guidance system.</dialogue> <scene_description>He hands Frank his coffee. Frank smiles at his jab.</scene_description> <character>FRANK</character> <dialogue>That's a helluva way to get the designer of that system to help you out.</dialogue> <character>GERSON</character> <dialogue>Well, I heard about your initial</dialogue> <dialogue>response. Don't worry, I'm sure we'll come up with something.</dialogue> <character>SARA</character> <dialogue>Dr. Corvin is here with a solution.</dialogue> <character>GERSON</character> <dialogue>Well praise the Lord, we are delivered! Let's hear this solution, Frank.</dialogue> <scene_description>Frank's delivery is as nonchalant as possible.</scene_description> <character>FRANK</character> <dialogue>Send my team up. We'll fix your broken satellite.</dialogue> <scene_description>Both Gerson and Sara look incredulous. An eternity passes. Frank fills the silence with a loud slurp of coffee.</scene_description> <character>FRANK</character> <dialogue>You make a damn good cup of coffee, Bob.</dialogue> <character>GERSON</character> <dialogue>You want to run that by me again?</dialogue> <character>FRANK</character> <dialogue>Team Daedalus. Hawk, Tank, Jerry and me. Send us up.</dialogue> <character>GERSON</character> <dialogue>This is a joke, right?</dialogue> <scene_description>Frank grins impishly, shakes his head no. Sara resists smiling.</scene_description> <character>FRANK</character> <dialogue>We trained five years for a space mission.</dialogue> <character>GERSON</character> <dialogue>How old are you, Frank?</dialogue> <character>FRANK</character> <dialogue>Old enough to know your ass is in a sling.</dialogue> <character>GERSON</character> <dialogue>Sara, would you excuse us? This is fast becoming a personal matter.</dialogue> <scene_description>Enjoying this, Sara reluctantly exits.</scene_description> <character>FRANK</character> <dialogue>You're out of options. I know that because I'm the last person you'd come to for help.</dialogue> <character>GERSON</character> <dialogue>You got that right.</dialogue> <character>FRANK</character> <dialogue>Your satellite comes down in thirty-four days. It's too big to retrieve. It's too important to let crash. I designed that guidance system. I'm the only one who can fix it.</dialogue> <character>GERSON</character> <dialogue>I don't know how to break this to you, Frank. But you're an old man.</dialogue> <character>FRANK</character> <dialogue>Well, this old man's all you got. You know it, I know it. Besides, you let Glenn go up at 77. There's the offer. I'll be hearing from you.</dialogue> <scene_description>Frank stands, turns to leave. Gerson shouts after him.</scene_description> <character>GERSON</character> <dialogue>You became a senior citizen five years ago!</dialogue> <scene_description>Frank stops, turns around with a care-to-differ look.</scene_description> <character>FRANK</character> <dialogue>Four.</dialogue> <character>GERSON</character> <dialogue>For once in your life, be a team player. Train the crew if you like, but let the professionals at NASA fix the design flaw.</dialogue> <character>FRANK</character> <parenthetical>(getting angry)</parenthetical> <dialogue>There aren't any design flaws. How it ended up in a Russian bird in the middle of the cold war -- that's the only flaw I see. How did that happen, Bob?</dialogue> <scene_description>Gerson squirms.</scene_description> <character>FRANK</character> <dialogue>This is a hands-on job, and there's no way I can train anyone in this time-frame. My offer's on</dialogue> <dialogue>the table. Me and the team. Take it or leave it.</dialogue> <scene_description>He turns to leave again, walks to the door.</scene_description> <character>GERSON</character> <dialogue>You -- as a technical advisor, maybe. But I can't fill a space shuttle with geriatrics. You're professional enough to know that! Half those guys are probably dead anyway!</dialogue> <scene_description>Frank opens the door, and without looking back, walks out.</scene_description> <character>FRANK (O.S.)</character> <dialogue>The clock's ticking, Bob. And I'm only getting older.</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER - ENTRY HALL - MOMENTS LATER</stage_direction> <scene_description>Frank strides confidently to the front door. He's chased by a SECURITY GUARD, who grabs him. Frank pushes the man off him and keeps on walking.</scene_description> <character>SECURITY</character> <dialogue>Mr. Gerson would like you to wait here.</dialogue> <scene_description>Frank stops, turns around. Gerson exits an elevator and walks briskly towards him. Frank grins confidently, hands in the pockets of his leather flight jacket.</scene_description> <character>GERSON</character> <dialogue>Alright. It's a deal.</dialogue> <scene_description>He sticks out his hand. Frank looks at it, doesn't take it.</scene_description> <character>FRANK</character> <dialogue>I want it in writing.</dialogue> <character>GERSON</character> <dialogue>Okay. But here are the terms: you and every member of your team has to pass the same physical requirements as any other astronaut here. If one of you fails, none of you go up.</dialogue> <parenthetical>(as Frank thinks, nods)</parenthetical> <dialogue>And just to insure this isn't a total exercise in futility, you will train to fix that guidance system side-by-side with my people in case your men don't pass, which</dialogue> <dialogue>is a distinct possibility.</dialogue> <character>FRANK</character> <dialogue>That's fair.</dialogue> <character>GERSON</character> <dialogue>I can't tell you how much I'm going to enjoy watching you make a complete ass out of yourself.</dialogue> <scene_description>Frank sticks out his hand, and they shake. Frank grins.</scene_description> <character>FRANK</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>It's great to be working with you again, Bob.</dialogue> <scene_description>Frank walks off. Gerson shakes his head. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. AMERICA BAPTIST CHURCH (OKLAHOMA CITY) - SUNDAY</stage_direction> <scene_description>MORNING The Reverend Sullivan (Tank) pauses in his sermon -- puzzling over his notes. A youngish 67, his flowing robes can't hide his barrel-chest and Air Force tattoo on his wrist of a winged skull with a bloody dagger between its teeth. Tank is thoroughly lost, desperately trying to find his place, pages falling off the lectern.</scene_description> <character>TANK</character> <dialogue>Romans, uh... Chronicles... ah yes!</dialogue> <scene_description>The sparse congregation waits in catatonic silence. An old man, drool on his chin, jolts awake from his wife's elbow in his ribs. Sitting in the back of the church is Frank, barely containing his laughter at Tank's awkwardness in the pulpit.</scene_description> <character>TANK</character> <dialogue>'And in the fortieth year, Amariah begat Zadok, who begat Libni, the brother of Uzziah.' No... that's not it, either.</dialogue> <scene_description>Sighs from the congregation. Tank's losing them. He looks down at the face of the lectern at -- The hula girl we saw in his B-50 in '58. Keeps it there for good luck, and for moments like these.</scene_description> <character>TANK</character> <dialogue>Once upon a time, four of the best pilots in the Air Force trained to fly into space. They flew at the</dialogue> <dialogue>speed of sound to the very top of the sky, cheating death as they freefall from twenty miles high.</dialogue> <scene_description>The church is waking up now -- they apparently love these old war stories from Reverend Tank.</scene_description> </scene> <scene> <stage_direction>INT. BACK OF CHURCH - MOMENTS LATER</stage_direction> <scene_description>The recessional music thunders as the congregation dismisses. Frank waits, smiling, at the end of the receiving line. Tank sees him, and grabs him up in a bear hug.</scene_description> <character>TANK</character> <dialogue>Boss.</dialogue> <parenthetical>(looks up to the heavens)</parenthetical> <dialogue>Sorry. My former boss.</dialogue> <character>FRANK</character> <dialogue>I bring glad tidings, Reverend Tank. They go by the name of Daedalus. There appears to be a resurrection after all.</dialogue> </scene> <scene> <stage_direction>INT. TANK'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Pilot pictures among the seminary books. Frank reaches up and takes down a photo of Team Daedalus. Tank removes his robe, shaking his head in disbelief.</scene_description> <character>TANK</character> <dialogue>I don't know, Frank. That's a complicated proposition. I have a flock. I have grandchildren.</dialogue> <character>FRANK</character> <dialogue>They'll be here when you get back. Besides, you're bound to be able to milk this for three or four sermons.</dialogue> <character>TANK</character> <dialogue>I need to pray about this.</dialogue> <character>FRANK</character> <dialogue>Can you pray quick?</dialogue> <character>TANK</character> <dialogue>Wait... wait a moment, my stiff- necked brother...</dialogue> <parenthetical>(closes his eyes, swoons)</parenthetical> <dialogue>I am receiving a word from on High.</dialogue> <character>FRANK</character> <dialogue>And what is this word?</dialogue> <scene_description>Tank opens his eyes, grinning.</scene_description> <character>TANK</character> <dialogue>The word is, 'Why the hell not?'</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. AMUSEMENT PARK (CALIFORNIA) - DAY</stage_direction> <scene_description>The park is under construction, empty except for cranes and crews assembling roller coasters. One of the roller coasters is completely built, and a single car rides around the track.</scene_description> </scene> <scene> <stage_direction>INT. ROLLER COASTER CAR</stage_direction> <scene_description>Riding alone in the car is Jerry O'Neill. Slight of build, a few wrinkles, a bad jet-black toupee under his baseball cap; at 68 he has become a swinging bachelor out of touch with the times. He grins ear to ear as he talks into a micro-cassette recorder.</scene_description> <character>JERRY</character> <dialogue>Let's kick this apogee up about 15 percent -- whoaa! Second bank's too fast, some little Johnny's gonna pass out on us... drop it a G going into third loop.</dialogue> <parenthetical>(going upside down)</parenthetical> <dialogue>Little more of a sine wave feel here... not so flat.</dialogue> <scene_description>Standing at the bottom of the roller coaster are several technicians and a PRETTY YOUNG WOMAN about thirty, watching Jerry, smiling. Frank walks up to her as he watches Jerry go around. He seems to know her.</scene_description> <character>FRANK</character> <dialogue>Thirty-five years designing supersonic aircraft for the military. Now he's building roller coasters. Perfect.</dialogue> <parenthetical>(laughs at the irony)</parenthetical> <dialogue>Your father's a gifted man.</dialogue> <scene_description>The Young Woman looks at Frank, doesn't recognize him.</scene_description> <character>PRETTY YOUNG WOMAN</character> <dialogue>Oh, he's gifted, alright.</dialogue> <scene_description>The roller coaster come in. Jerry gets out and hugs the Young Woman, gives her a prolonged kiss that is anything but paternal. He sees Frank laughing to himself.</scene_description> <character>JERRY</character> <dialogue>Frank Corvin! What are you doing here?</dialogue> <character>FRANK</character> <dialogue>Just wondering if you're busy for the next month and a half.</dialogue> <scene_description>Jerry tosses his tape recorder to one of the technicians.</scene_description> <character>FRANK</character> <dialogue>NASA wants to send us into space.</dialogue> <scene_description>Jerry examines Frank, leaning in and tilting his head like Frank is crazy. He looks concerned.</scene_description> <character>JERRY</character> <dialogue>I wondered who'd be the first. Forty-year-old memories are sharp as the day they happened but you can't for the life of you remember what you had for breakfast.</dialogue> <parenthetical>(pauses, loudly)</parenthetical> <dialogue>What did you have for breakfast, Frank?</dialogue> <character>FRANK</character> <dialogue>Vegetarian huevos rancheros and some kind of flavored decaf cappuccino that tasted like it was filtered through a jock strap.</dialogue> <scene_description>Jerry smiles -- his old friend is okay.</scene_description> <character>JERRY</character> <dialogue>Frank!</dialogue> <scene_description>Frank proudly shows a copy of the NASA contract to Jerry. Jerry takes out a pair of very thick-lensed glasses ('80s Porsche frames) and puts them on. Frank's look of pride turns to one of worry as he sees Jerry's thick glasses.</scene_description> <character>FRANK</character> <dialogue>You need those?</dialogue> <character>JERRY</character> <parenthetical>(without irony)</parenthetical> <dialogue>Naah. They're just for reading... driving... seeing movies... walking.</dialogue> <parenthetical>(at the contract)</parenthetical> <dialogue>Frank, how on earth -- ?!</dialogue> <character>FRANK</character> <dialogue>Are you in?</dialogue> <character>JERRY</character> <dialogue>Hell yes I'm in.</dialogue> <scene_description>Jerry hugs Frank, slaps his back.</scene_description> <character>JERRY</character> <dialogue>Team Daedalus rides again. Hawk must've gone into orbit when you told him.</dialogue> <character>FRANK</character> <dialogue>I haven't talked to him yet. I haven't talked to him in a while, Jerry.</dialogue> <character>JERRY</character> <dialogue>When are you guys gonna grow up and stop acting like little boys?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. UTAH AIRFIELD - DAY</stage_direction> <scene_description>Various aircraft ring a Quonset Hut next to this dirt field. The place houses a couple of flying schools, a crop-dusting outfit, and an Air Tours service. The YOUNG PILOTS inside the hut are all 30-ish, fresh out of the military, almost too serious about their work. An antsy kid named JASON enters excitedly with his girlfriend.</scene_description> <character>JASON</character> <dialogue>It's my birthday. I want the shit scared outta me. You know, barrel rolls, loopdeloops... all that stuff.</dialogue> <character>YOUNG PILOT</character> <dialogue>We don't do that kind of flying. It's dangerous and irresponsible.</dialogue> <character>PILOT #2</character> <dialogue>Too many lawsuits.</dialogue> <scene_description>Jason's face falls.</scene_description> <character>JASON</character> <dialogue>Well who does?</dialogue> <scene_description>The Young Pilot thinks, then points to the side of the Quonset Hut, which is open.</scene_description> <character>YOUNG PILOT</character> <dialogue>He does.</dialogue> <scene_description>Hawk, now in his mid-sixties, sits unassumingly in a corroded aluminum fold-up chair, feet up on a cooler, reading a fishing magazine.</scene_description> <character>YOUNG PILOT</character> <dialogue>Hey, Hawk, this guy wants a scary ride.</dialogue> <scene_description>Hawk looks up, calmly eyes Jason who bounces on the balls of his feet in anticipation.</scene_description> <character>JASON</character> <dialogue>It's my birthday.</dialogue> <character>HAWK</character> <dialogue>Well, happy birthday.</dialogue> <scene_description>SLAM CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. AIRFIELD - MOMENTS LATER</stage_direction> <scene_description>A P-51 Mustang does a 450 mph barrel roll 100 feet off the deck.</scene_description> </scene> <scene> <stage_direction>INT. P- MUSTANG - THAT MOMENT</stage_direction> <scene_description>In the back seat, Jason hangs on for dear life.</scene_description> <character>HAWK</character> <dialogue>All right, let's go upstairs.</dialogue> <scene_description>The P-51's nose pulls straight up, and they're in a 6-G climb.</scene_description> <character>JASON</character> <dialogue>Oh God...!!</dialogue> <character>HAWK</character> <dialogue>Here comes the fun part -- we're going weightless.</dialogue> <character>JASON</character> <dialogue>I don't think that's such a good idea!</dialogue> <character>HAWK</character> <dialogue>Aw, you'll love it.</dialogue> <scene_description>10,000 feet up. The P-51 reaches its apogee, and gently noses over, her MOTOR WHINING down. As they go over the top, they go weightless.</scene_description> <character>JASON</character> <dialogue>Oh God!!</dialogue> <character>HAWK</character> <dialogue>This is what flying's all about.</dialogue> <scene_description>Jason doesn't seem to agree. He's fully green, and gags.</scene_description> <character>JASON</character> <dialogue>I've had enough, sir.</dialogue> <character>HAWK</character> <dialogue>You sure? You got ten minutes left.</dialogue> <parenthetical>(as Jason nods and groans)</parenthetical> <dialogue>Whatever. It's your money.</dialogue> <scene_description>He throws the stick over, and Jason screams for his life as the plane plunges earthward.</scene_description> </scene> <scene> <stage_direction>EXT. NEARBY ROAD - DRIVING - THAT MOMENT</stage_direction> <scene_description>THROUGH the windshield of his rental car, Frank watches the plane as it does a twisting, rolling free fall -- straight down. He recognizes Hawk's signature flying style, laughs.</scene_description> </scene> <scene> <stage_direction>INT. P- MUSTANG - THAT MOMENT</stage_direction> <scene_description>Hawk pulls out of the dive 100 feet off the deck again, pulling a snap-turn as he lines it up for the runway. Jason loses his lunch.</scene_description> </scene> <scene> <stage_direction>EXT. TAXIWAY - THAT MOMENT</stage_direction> <scene_description>The P-51 gracefully hits the tarmac and rolls to a stop. Hawk CUTS the ENGINE, popping the canopy. Jason pours himself out, wobbly-kneed. Hawk, annoyed, helps the humiliated, still-green Jason out. Vomit is splattered all over the back seat.</scene_description> <character>HAWK</character> <dialogue>Who gave you the bright idea to eat a big lunch before going up?</dialogue> <character>JASON</character> <dialogue>Oh my God, I'm so sorry, I'll clean it up, sir.</dialogue> <scene_description>Hawk reaches into the cockpit and pulls out a towel. Out of the corner of his eye, Hawk sees Jason's girlfriend bounding towards them from across the tarmac. Jason doesn't.</scene_description> <character>HAWK</character> <dialogue>Don't worry about it, I'll do it.</dialogue> <parenthetical>(loudly, so girlfriend hears)</parenthetical> <dialogue>You earned your wings today, Hot Shot. I give.</dialogue> <scene_description>Hawk musters up a wink and a smile that fades the second Jason steps down to hug his girl. Hawk turns and wearily begins cleaning out the cockpit. In the b.g., Frank's rental car pulls up. Frank gets out, but Hawk doesn't immediately see him.</scene_description> <character>FRANK</character> <dialogue>Hey.</dialogue> <scene_description>Hawk looks up, no visible reaction.</scene_description> <character>HAWK</character> <dialogue>Hey.</dialogue> <scene_description>Frank walks closer. A long beat passes.</scene_description> <character>FRANK</character> <dialogue>You know what the worst day in my life was?</dialogue> <character>HAWK</character> <dialogue>No.</dialogue> <character>FRANK</character> <dialogue>The day Armstrong set foot on the moon. I think I must've been the only person in the world who wanted to kill myself that day.</dialogue> <character>HAWK</character> <dialogue>Thanks for that, Frank. We haven't talked in 12 years, and that was pretty much the big question on my mind. What are you doing here?</dialogue> <scene_description>Frank grins mischievously. He's been looking forward to this.</scene_description> <character>FRANK</character> <dialogue>Keeping a promise. A promise I made 40 years ago.</dialogue> <character>HAWK</character> <dialogue>The one where you were going to kill me on sight or just have my legs broken?</dialogue> <character>FRANK</character> <parenthetical>(smiles, remembering)</parenthetical> <dialogue>The other one. I've engaged in a little blackmail with NASA.</dialogue> <dialogue>They've got a satellite that's gonna crash unless they find a way to fix the guidance system.</dialogue> <character>HAWK</character> <dialogue>I'm guessing you designed the guidance system.</dialogue> <character>FRANK</character> <parenthetical>(nods, grins)</parenthetical> <dialogue>They're desperate. Bob Gerson came begging to me for help. I told him I'd fix it... but only if he sends up the original Daedalus team to do the job.</dialogue> <scene_description>Frank shows him the contract. Hawk studies it.</scene_description> <character>FRANK</character> <dialogue>It's no joke, Hawk. Jerry and Tank are in; they're waiting for us at that roadhouse off the highway.</dialogue> <character>HAWK</character> <dialogue>You know, age just brings out more of the Frank in you, Frank. I am genuinely impressed.</dialogue> <scene_description>Hawk laughs, Frank laughs, the two men laugh together -- this seems to be going well. Hawk carefully folds up the contract and hands it back to Frank.</scene_description> <character>HAWK</character> <dialogue>Don't put foolish dreams in a fool's head. Especially not an old fool. Have a nice flight, Frank.</dialogue> <scene_description>Hawk goes back to the P-51's engine.</scene_description> <character>FRANK</character> <dialogue>You weren't a fool then. But you're being one now.</dialogue> <character>HAWK</character> <dialogue>Say hello to Barbara for me.</dialogue> <scene_description>Frank stares at him angrily, his temper rising.</scene_description> <character>FRANK</character> <dialogue>Sure. Say hello to Jackie for me.</dialogue> <character>HAWK</character> <dialogue>Wish I could, Frank. Wish I could.</dialogue> <scene_description>Frank freezes, unaware that Hawk's wife had died.</scene_description> <character>FRANK</character> <dialogue>I'm sorry. I didn't know.</dialogue> <scene_description>Hawk ignores him, continues checking the plugs.</scene_description> </scene> <scene> <stage_direction>INT. RENTAL CAR (HIGHWAY) - MOMENTS LATER</stage_direction> <scene_description>He curses to himself as he drives along the highway. An old pick-up truck passes him on the left lane, nearly going headfirst into an oncoming eighteen-wheeler. At the last minute, the pick-up quickly cuts in front of Frank, kicking up a cloud of dust and exhaust in his face and tearing off. Frank angrily HONKS the HORN. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ROADHOUSE (EDGE OF HIGHWAY) - DAY</stage_direction> <scene_description>Frank's car pulls up and parks. He gets out and walks to the front door. He notices the pickup truck that just cut him off parked in the lot, and glares at it. Jerry and Tank open the screen door, stand in the doorway. They see the pissed-off look on Frank's face.</scene_description> <character>JERRY</character> <dialogue>He said no, huh?</dialogue> <character>FRANK</character> <dialogue>Let's get the hell out of here.</dialogue> <character>TANK</character> <dialogue>Maybe we should talk to him.</dialogue> <character>FRANK</character> <dialogue>Forget it. He's still the same stubborn, thick-skulled jackass he always was.</dialogue> <scene_description>Hawk, who has been sitting at the bar, turns around on his stool and finishes a beer. He smiles at Frank.</scene_description> <character>HAWK</character> <dialogue>And you still drive slower than a little old lady going to church.</dialogue> <scene_description>A smile slowly ripples along Frank's face. A DRUM ROLL and PATRIOTIC MUSIC... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER - DAY</stage_direction> <scene_description>The four men of Team Daedalus, all wearing their cracked leather flight jackets, stride towards the mammoth NASA Headquarters, awed and dwarfed by its sheer size. The steps falter just a bit, the men wondering what they've gotten themselves into. They reach the giant front doors of the --</scene_description> </scene> <scene> <stage_direction>EXT. ADMINISTRATIVE HEADQUARTERS</stage_direction> <scene_description>The twin glass doors open automatically. Frank enters, Hawk enters, Jerry enters, Tank hesitates. The biggest and toughest-looking of the bunch turns tail and starts to trot off when Frank grabs him and pulls him inside.</scene_description> </scene> <scene> <stage_direction>INT. COMPLEX - VARIOUS SHOTS</stage_direction> <scene_description>Our four heroes strut down corridor after windowless corridor of the interconnected buildings. Glances are exchanged between them and the younger men and women who make up NASA. The atmosphere is clinical, antiseptic, anti-heroic, and the people who work here are of the MIT- physicist-in-space mold. The two groups are a vivid contrast. More corridors. And more corridors. This place goes on forever. Jerry and Tank are getting a little winded. Tank, exhausted, sits down. Frank grabs his arm and yanks him back up. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. EQUIPMENT TEST ROOM - DAY</stage_direction> <scene_description>A tireless, hyperactive seven-year-old boy named ANDREW runs in tight circles, doing "airplanes" while making sound effects. This room is set up for tours and class trips; space suits and tools are on display. Sara talks to a group of kids, age six to ten, and their TEACHER. Sara obviously loves being around kids. Sara steps into a Manned Maneuvering Unit (MMU) supported by a stand, wired up to a treadmill. The MMU looks like a giant chair-back with tiny jet nozzles and canisters of nitrogen gas.</scene_description> <character>SARA</character> <dialogue>This is an M.M.U. That stands for Manned Maneuvering Unit. The M.M.U. allows our astronauts to move around in space so they can do work outside the space shuttle.</dialogue> <scene_description>Frank, Hawk, Jerry and Tank enter the room. Sara smiles at Frank. The boy doing airplanes flies right into Tank's abdomen. Tank buckles over in pain. The kid ricochets off him, into Hawk.</scene_description> <character>TANK</character> <dialogue>Ooof!</dialogue> <character>TEACHER</character> <dialogue>Andrew!</dialogue> <scene_description>Hawk catches the kid and lifts him up.</scene_description> <character>SARA</character> <dialogue>Come here, Andrew. Let's have some fun.</dialogue> <scene_description>She lowers the MMU down to him, and straps him in. She starts the treadmill. Andrew excitedly swivels the joysticks on the MMU's armrest controls. Gas sprays out from different nozzles on the MMU.</scene_description> <character>SARA</character> <dialogue>Just one little burst from these jets is enough to move the astronaut miles in space.</dialogue> <character>ANDREW</character> <dialogue>How come I'm not going anywhere?</dialogue> <character>SARA</character> <dialogue>Because we're on Earth, and that's a very heavy unit. In space you don't weigh anything. There's no gravity, and there's no air resistance.</dialogue> <scene_description>The kids look fascinated but confused. Hawk holds his hand out, moves it up and down.</scene_description> <character>HAWK</character> <dialogue>Like when you stick your hand outside the car window and the air moves it up and down. That's air resistance.</dialogue> <character>SARA</character> <parenthetical>(smiles at him)</parenthetical> <dialogue>Right. In space that wouldn't happen.</dialogue> <character>LITTLE GIRL</character> <dialogue>So if I jumped on a trampoline in space...?</dialogue> <character>SARA</character> <dialogue>You'd go up... and up... and you'd never come down.</dialogue> <scene_description>The kids giggle, loving this. Frank, Hawk, Tank and Jerry look as awestruck and thrilled as the kids.</scene_description> <character>ANDREW</character> <dialogue>Could you hit a baseball to the moon?</dialogue> <character>SARA</character> <dialogue>Actually, you could. All you'd have to do is knock it halfway there, about a hundred thousand miles, and the moon's gravity would do the rest.</dialogue> <scene_description>Hawk contemplates this. The teacher of the class herds the kids out of the room, leaving just Sara, Frank, Hawk, Tank and Jerry.</scene_description> <character>SARA</character> <dialogue>I've never met a kid who didn't dream of being an astronaut when he grew up.</dialogue> <scene_description>Hawk throws his arm over Frank's shoulder.</scene_description> <character>HAWK</character> <dialogue>Ever met a kid who wouldn't let the dream go?</dialogue> <character>FRANK</character> <dialogue>Sara Holland, this is Colonel William "Hawk" Hawkins. Retired Air Force in 1990. Still the best pilot they ever had -- not counting me, that is.</dialogue> <character>HAWK</character> <dialogue>Ma'am.</dialogue> <scene_description>He shakes her hand. Their eyes connect with a spark.</scene_description> <character>SARA</character> <dialogue>The Hawk. I've heard of you. Commander Cliff Jenkins once told me a story about you and him in Viet Nam.</dialogue> <character>HAWK</character> <dialogue>It if came out of Cliff's mouth, I guarantee it's 100 percent bullshit.</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>How is the old bullshitter?</dialogue> <character>SARA</character> <dialogue>He's dead, actually.</dialogue> <scene_description>Hawk's smile freezes. Frank turns to Tank.</scene_description> <character>FRANK</character> <dialogue>While Hawk chews on his boot, we'll move right along. Captain 'Tank' Sullivan. The best navigator the Air Force ever had, could find anything anywhere. That is, before God got him.</dialogue> <character>TANK</character> <dialogue>Now more than ever. Pleased to meet you, Miss Holland.</dialogue> <character>FRANK</character> <dialogue>And last but not least, Captain Jerry O'Neill. Structural Engineer and designer. The Stealth Fighter is his drawing come to life.</dialogue> <character>SARA</character> <dialogue>You don't have a nickname?</dialogue> <character>JERRY</character> <parenthetical>(kisses her hand)</parenthetical> <dialogue>You can call me... 'anytime.'</dialogue> <scene_description>Big laugh. Frank rolls his eyes.</scene_description> <character>SARA</character> <dialogue>O-kay. Well, if you men are ready, we have some work to do.</dialogue> </scene> <scene> <stage_direction>INT. GERSON'S OFFICE - DAY</stage_direction> <scene_description>Gerson is alone with Vostov, who is pacing nervously.</scene_description> <character>VOSTOV</character> <dialogue>I don't need to remind you of the consequences of failure here -- personal consequences.</dialogue> <character>GERSON</character> <dialogue>That's the problem with you Russians, the glass is always half empty.</dialogue> <character>VOSTOV</character> <dialogue>These men you are sending up, they are not astronauts. The last time they trained for a space mission, people were driving cars with fins on them!</dialogue> <scene_description>Gerson laughs.</scene_description> <character>GERSON</character> <dialogue>Colonel Corvin isn't going anywhere. His team won't pass the physical trials.</dialogue> <character>VOSTOV</character> <dialogue>This is supposed to reassure me? What will you do then?</dialogue> <character>GERSON</character> <dialogue>My best young astronaut is training alongside Colonel Corvin, gaining proficiency in this antiquated guidance system of his. Until he does, Corvin is to believe he's going up.</dialogue> <character>VOSTOV</character> <parenthetical>(panicky)</parenthetical> <dialogue>I don't know, perhaps we should consult --</dialogue> <character>GERSON</character> <dialogue>There will be no consulting. No one is to be in the loop on our problem. Are we clear on that, General?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OPERATIONS BRIEFING ROOM - DAY</stage_direction> <scene_description>Crowded room, filled with technicians, operations people, engineers, back-up astronauts, Gerson and Vostov. On the side wall stands Ethan and his team of astronauts: three men, two women... and they don't look too happy. Most pissed among them is astronaut ROGER HINES, 35, an athletic black man with a lot of attitude. The room goes quiet when Gerson and Sara bring in Frank, Hawk, Jerry and Tank.</scene_description> <character>SARA</character> <dialogue>Good morning, all. Welcome to the STS-200 OPS overview briefing.</dialogue> <scene_description>All have NASA 3-ring binders, STS-200. That's the cue to open.</scene_description> <character>SARA</character> <dialogue>This is a rather unusual mission, I think we'd all agree. We'll get started on the particulars here in a moment, but first I'd like us to make welcome the astronauts selected for this mission, the</dialogue> <dialogue>founding members of Project Daedalus.</dialogue> <scene_description>Polite applause. Roger Hines' glare is withering.</scene_description> <character>SARA</character> <dialogue>As all of you know these men are the pioneers of this business. They were around when rockets were born.</dialogue> <character>SARA</character> <parenthetical>(smile)</parenthetical> <dialogue>Welcome, gentlemen. This is your team now.</dialogue> <scene_description>The door opens, and Flight Director Eugene Davis enters.</scene_description> <character>SARA</character> <dialogue>STS-200 was originally slated to deliver a structural payload to the international space station. Circumstances have forced us to push back that mission and undertake an emergency rescue operation. Our average staging time for a mission is 12 months. We're doing this one in 32 days.</dialogue> <parenthetical>(to Team Daedalus)</parenthetical> <dialogue>The flight crew you are replacing is one of NASA's best.</dialogue> <scene_description>ANGLE ON ETHAN, ROGER AND YOUNG TEAM</scene_description> <character>SARA</character> <dialogue>You will train right alongside them in the interest of speed. Colonel Hawkins, you will be piloting the newest shuttle in our fleet. This is her maiden flight.</dialogue> <scene_description>Hawk looks at Frank with a devilish grin, whispers to him.</scene_description> <character>HAWK</character> <dialogue>You know how much I love flying a virgin.</dialogue> <character>SARA</character> <dialogue>You were the finest America had to offer once; I've no doubts you still are.</dialogue> <scene_description>Sara signals someone in the back and the lights dim. A 3-D map of Earth appears on a video screen. Jerry puts his glasses on. Frank reaches over and takes them off.</scene_description> <character>SARA</character> <dialogue>In 1986 the former Soviet Union launched communications satellite Ikon into orbit. Ikon is an irreplaceable link in Russia's telecommunication's chain.</dialogue> <scene_description>The graphic changes to a satellite with large solar panels.</scene_description> <character>SARA</character> <dialogue>Her orbit is decaying rapidly. She will enter our atmosphere in 30 days. Your mission is to intercept and capture Ikon, using the shuttle's grappling arm. You will then have a 42-hour window in which to repair the guidance system. From there, Ikon will be reconfigured from Mission Control. Once accomplished, you will return her to geo-sync orbit, using the Payload Assist Module rockets.</dialogue> <scene_description>The lights come up. Eugene Davis raises his hand.</scene_description> <character>DAVIS</character> <dialogue>Question.</dialogue> <parenthetical>(glances uneasily at Frank)</parenthetical> <dialogue>With all due respect to Frank -- why don't we just capture the bird and bring her home with a team trained in satellite retrieval.</dialogue> <scene_description>It's clear that this is this question everyone here is wondering.</scene_description> <character>GERSON</character> <dialogue>It's too big, Gene.</dialogue> <character>DAVIS</character> <dialogue>For the space shuttle?</dialogue> <parenthetical>(to Vostov)</parenthetical> <dialogue>How did you guys get it up there?</dialogue> <character>VOSTOV</character> <dialogue>There were modifications post- deployment.</dialogue> <character>GERSON</character> <dialogue>The system has to be fixed on- site. Given the short time line, Frank, the only engineer proficient in such obsolete technology, is the only engineer who can do the job.</dialogue> <scene_description>Davis is not convinced. Neither is Roger. \</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - OUTSIDE BRIEFING ROOM - MOMENT LATER</stage_direction> <scene_description>Davis waits impatiently for astronauts, techs and Vostov to clear the hall before he dive-bombs Gerson, Sara and Frank.</scene_description> <character>DAVIS</character> <dialogue>So Frank Corvin's taking his band of Leisure World Aviators for a ride into space. NASA agreed to this? The Russians agreed to it?</dialogue> <character>GERSON</character> <dialogue>Frank has left us little choice in the matter.</dialogue> <scene_description>Frank grins. Davis smiles cynically.</scene_description> <character>DAVIS</character> <dialogue>I figured it might be something along those lines. You two hate each other too much to cook this up together.</dialogue> <scene_description>No reply; it's obviously true. The smile fades.</scene_description> <character>DAVIS</character> <dialogue>I don't want any part of it. Get yourself another flight director.</dialogue> <scene_description>He turns to walk away, stops and turns around.</scene_description> <character>DAVIS</character> <dialogue>By the way, how did the guidance system from SkyLab end up on a Russian Bird?</dialogue> <character>FRANK</character> <dialogue>Damned if I know. But I seem to be the only one able to fix it.</dialogue> <character>DAVIS</character> <dialogue>Grow up, Frank. Be a team player. Help my astronauts out -- as an engineer!</dialogue> <character>FRANK</character> <dialogue>If I weren't completely confident that I could deliver every bit as well as your astronauts, I wouldn't go near it.</dialogue> <scene_description>Davis waits, then lets out a soft rolling laugh from his chest.</scene_description> <character>DAVIS</character> <dialogue>You haven't changed a bit.</dialogue> <character>FRANK</character> <dialogue>That seems to be the consensus.</dialogue> <character>DAVIS</character> <parenthetical>(to Gerson)</parenthetical> <dialogue>I'm still the flight director, and I can pull the plug on this one.</dialogue> <scene_description>Frank smirks.</scene_description> <character>DAVIS</character> <dialogue>You guys made a deal, fine. But here's my deal. I'm not turning over a brand new shuttle to four rookies with a month's training. You're taking two of my guys with you.</dialogue> <parenthetical>(off Frank's wince)</parenthetical> <dialogue>Ethan's a brown-nosing brat, Roger's a cocky little shit, but they're the best astronauts in our pipeline. They're on board, or this flight stays on the pad.</dialogue> <character>FRANK</character> <dialogue>Okay, Gene.</dialogue> <character>DAVIS</character> <dialogue>And if I sense for one second that you guys aren't cutting it physically or mentally, you're off and the original team flies. So let's see if you've still got it.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NASA MEDICAL BUILDING - DAY</stage_direction> <scene_description>Four naked male butts -- not exactly buns of steel. Wearing only their socks, Team Daedalus is lined up for hernia check. They cough, wheeze, and curl toes at the end of the doctor's cold, rubber gloves. They each step forward, moving on to -- FOUR SCALES where they are weighed and have their height measured. Tank looks at his height, lets out a big laugh, turns to the straight-faced medical technician.</scene_description> <character>TANK</character> <dialogue>All this high-tech equipment and your calibration is off! This</dialogue> <dialogue>says I've shrunk an inch!</dialogue> <scene_description>He laughs, expecting the others to laugh with him. They don't; they just stare at him with pity. He gets the hint, stops laughing, stands as straight as he can.</scene_description> </scene> <scene> <stage_direction>INT. CARDIO CENTER - LATER</stage_direction> <scene_description>Hawk, Frank, Jerry and Tank stand on treadmills, stationary. An annoying CARDIO TECH applies EKG tabs on to our bare-chested men, connecting them to EKG monitors. The tech talks to them like they are deaf, old men, enunciating very loudly.</scene_description> <character>CARDIO TECH</character> <dialogue>I'm going to start you off very, very slow.</dialogue> <scene_description>He points to a large, red button on each treadmill.</scene_description> <character>CARDIO TECH</character> <dialogue>If at any time you feel dizzy or weak, just hit the red button near your right hand. That will stop the treadmill</dialogue> <scene_description>He starts the treadmills, slower even than a walking speed.</scene_description> <character>CARDIO TECH</character> <dialogue>How's everybody feeling?</dialogue> <scene_description>Annoyed, apparently.</scene_description> <character>HAWK</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Maybe you could talk a little louder.</dialogue> <character>CARDIO TECH</character> <dialogue>Is that speed okay?</dialogue> <character>HAWK</character> <dialogue>No. It's not.</dialogue> <scene_description>Hawk presses a button on the treadmill that increases the speed of his treadmill so he's moving at a jogging pace. The others follow suit. The men get down to some serious exercise. Cardio Tech can tell he's not wanted, leaves the room. MEDICAL CLINIC - LATER Ears, throats, heartbeats are checked. DR. ANNE CARUTHERS, the flight surgeon, a pretty woman in her late 40s, examines Jerry's ear, and moves his toupee at least an inch. MEDICAL CLINIC - EYE CHART - LATER Hawk stands on a red line, Frank waiting next to him. Dr. Caruthers instructs Hawk.</scene_description> <character>DR. CARUTHERS</character> <dialogue>Place your hand over your right eye and read the chart if you would.</dialogue> <character>HAWK</character> <parenthetical>(to Frank)</parenthetical> <dialogue>Time me.</dialogue> <character>FRANK</character> <dialogue>Huh?</dialogue> <scene_description>Frank, confused, looks up at the big clock. Hawk goes down the chart, reading incredibly fast. F,L,E,P,T,P,L,E,P,F,L,F,L,E,P,T,P,L,F,E,T... M,A,D,E,I,N,U,S,A... (laughs, fake modesty) Oh, made in U.S.A. What do you know. Score one for the economy.</scene_description> <character>DR. CARUTHERS</character> <dialogue>You have twenty-ten vision, Colonel.</dialogue> <character>HAWK</character> <dialogue>Uh, is that good?</dialogue> <scene_description>Frank yanks the joker away by his arm. Hawk takes a seat on a sofa a few feet behind.</scene_description> <character>FRANK</character> <dialogue>Fourteen seconds. Time me.</dialogue> <parenthetical>(a little slower)</parenthetical> <dialogue>F,L,E,P,T,P,L,E,P,F,L,F,L,E,P,T,P,F... I mean L... F... E... P.</dialogue> <scene_description>T. Frank shoots him a look.</scene_description> <character>DR. CARUTHERS</character> <dialogue>Twenty-twenty.</dialogue> <character>HAWK</character> <dialogue>And five seconds slow.</dialogue> <scene_description>Dr. Caruthers smiles, amused by the competition between the two men. Jerry hands his thick glasses to Caruthers and steps up to the same eye chart Hawk read. JERRY'S POV - EYE CHART It's a complete blur. ON JERRY Not even squinting. F, L, E, P, T, P, L, E, P, F, L, F, L, E, P, T, P, L, F, E, T.</scene_description> <character>DR. CARUTHERS</character> <parenthetical>(shocked)</parenthetical> <dialogue>You have twenty-ten vision, Captain.</dialogue> <scene_description>Hawk and Frank exchange baffled looks. Caruthers hands the smiling Jerry back his glasses. He saunters off. Frank walks up to him -- he doesn't even have to ask.</scene_description> <character>JERRY</character> <dialogue>I may be blind, Frank, but I have a perfect memory. Always did.</dialogue> </scene> <scene> <stage_direction>INT. MEDICAL CLINIC - BLOOD TEST - LATER</stage_direction> <scene_description>A needle comes out of Frank's arm. Dr. Caruthers quickly applies a cotton ball, closing his elbow. She hands the test tubes of his blood to an assistant.</scene_description> <character>DR. CARUTHERS</character> <dialogue>Next. Colonel Hawkins?</dialogue> <scene_description>Hawk sheepishly steps forward, dreading this. Sitting down, he turns away, not wanting to see.</scene_description> <character>DR. CARUTHERS</character> <dialogue>Are you feeling all right?</dialogue> <character>HAWK</character> <dialogue>Not crazy about needles.</dialogue> <character>DR. CARUTHERS</character> <dialogue>That's very common. When was your last physical?</dialogue> <character>HAWK</character> <dialogue>A while ago. I couldn't say.</dialogue> <scene_description>She jabs Hawk, starts drawing blood.</scene_description> <character>DR. CARUTHERS</character> <dialogue>You don't remember me, do you? My father was flight surgeon at Beal Air Force Base for 21 years.</dialogue> <character>HAWK</character> <dialogue>Dr. Martin? The Goat?</dialogue> <character>DR. CARUTHERS</character> <dialogue>'The Goat.' That was my Dad. I met you when I was 12 years old, but that's been a while. I doubt you'd remember.</dialogue> <character>HAWK</character> <parenthetical>(studies her a moment)</parenthetical> <dialogue>Freckles, pigtails, knobby knees. Was that you?</dialogue> <parenthetical>(as she grins, and nods)</parenthetical> <dialogue>So how is the Old Goat?</dialogue> <character>DR. CARUTHERS</character> <dialogue>Passed away. Nine years ago.</dialogue> <scene_description>Hawk's smile freezes, again. She finishes, smiling sadly. And walks off with the blood. Frank and Hawk get up and go into -- HALL both mulling over the same grim thought.</scene_description> <character>HAWK</character> <dialogue>Are you noticing how everybody seems to be dead lately?</dialogue> <scene_description>They walk down the hall holding cotton balls to their arms. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. ASTRONAUT QUARTERS - NEXT MORNING</stage_direction> <scene_description>Dawn. Frank, Hawk, Jerry and Tank assemble out front in their NASA sweats, a humorous contrast to -- Roger, Ethan and the young team. They stretch. Roger not only touches the ground, he can palm it. Tank watches them, tries to stretch. He can barely touch his knees, goes as far as his ankles, hangs there, a distressed look on his face.</scene_description> <character>TANK</character> <parenthetical>(whisper)</parenthetical> <dialogue>Hey, uh... Frank?</dialogue> <scene_description>Frank and Hawk are in good shape, stretch like pros. Hawk looks at Frank, tips his head towards Tank. Frank walks over and straightens Tank out. This hurt.</scene_description> <character>ETHAN</character> <dialogue>We'll start off easy today. Just do ten.</dialogue> <character>TANK</character> <parenthetical>(horrified)</parenthetical> <dialogue>Minutes?</dialogue> <character>JERRY</character> <dialogue>Miles.</dialogue> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER GROUNDS - LATER</stage_direction> <scene_description>Mile two. Astronaut Roger Hines leads the pack, doing about a five-minute mile, not breaking a sweat. Ethan and the rest of the young team right behind -- looking fit and invincible. About a quarter-mile behind them are!-- HAWK AND FRANK A little less invincible, but keeping a good pace. A few steps behind them are -- TANK AND JERRY Red-faced, huffing and puffing.</scene_description> <character>JERRY</character> <dialogue>I'm an engineer. I haven't run since Nixon was President. How far have we gone?</dialogue> <character>FRANK</character> <dialogue>Not quite two.</dialogue> <character>TANK</character> <dialogue>This is gonna give me a heart attack.</dialogue> <character>HAWK</character> <dialogue>That's the idea, Tank.</dialogue> <character>TANK</character> <dialogue>What -- to give us heart attacks?</dialogue> <character>HAWK</character> <dialogue>Exactly. Imagine if we didn't make it through lift-off. The U.S. would be the first nation to launch four corpses into orbit.</dialogue> <character>FRANK</character> <dialogue>If we're gonna have heart attacks, NASA's gonna make damn sure we have them right here on Earth. So let's get this over with.</dialogue> <scene_description>Frank picks up speed, leads the pack. The others catch up. A grim pall settles over their morning run. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - LATER THAT DAY</stage_direction> <scene_description>Roger pushes 225 pounds easily off his chest, repeats it eight times with perfect form, Ethan spotting him. Roger finishes, slams the barbells against the rack, turning to Hawk.</scene_description> <character>ROGER</character> <dialogue>Can you handle 225 pounds, Colonel?</dialogue> <character>HAWK</character> <dialogue>Sure.</dialogue> <scene_description>Hawk nervously turns to Tank.</scene_description> <character>HAWK</character> <dialogue>Spot me.</dialogue> <parenthetical>(winks, whispers)</parenthetical> <dialogue>Spot the hell out of me.</dialogue> <scene_description>Hawk slides onto the bench under the barbells. Tank rests his hands under the bar, spotting Hawk. Hawk grunts as he pushes the barbell up. Roger and Ethan don't realize -- TANK isn't just spotting, he's helping Hawk by lifting. The exertion shows in his clenched jaw, and the bulging vein in his neck -- he is straining not to grunt, must find a way to camouflage his exertion. He yells at Hawk, like a drill sergeant.</scene_description> <character>PUSH IT!</character> <dialogue>PUSH!</dialogue> <character>COME ON, HAWK, PUSH!</character> <dialogue>Hawk (and Tank) successfully lift the barbell five times. Roger and Ethan are none the wiser, look impressed. Tank is suffering. Tank finally lets the weight drop back onto the rack. Hawk slides out. Easy.</dialogue> <character>ETHAN</character> <dialogue>Not bad.</dialogue> <scene_description>Roger looks at Tank, sees his face is red from exertion.</scene_description> <character>ROGER</character> <dialogue>Man, you really get into it, don't you?</dialogue> <scene_description>Tank, suppressing a groan, gives Roger a weak thumbs-up. Hawk slaps Tank on the shoulder.</scene_description> <character>TANK</character> <parenthetical>(whispers)</parenthetical> <dialogue>I'm gonna go to my room and cry now.</dialogue> </scene> <scene> <stage_direction>INT. NASA DINING HALL - NIGHT</stage_direction> <scene_description>Full house. All crews breaking for dinner. Frank and the team bring their trays to a table reserved for them. They move slow and deliberately, obviously sore as hell. Creaks and groans as they fall into their chairs. They stare at the food, which includes corn on the cob, in exhausted silence.</scene_description> <character>TANK</character> <dialogue>I'm too tired to chew.</dialogue> <scene_description>ANGLE ON ETHAN AND ROGER sitting down with the young team. Looking over at our guys and laughing. FRANK sees the young team laughing. Cranky, he looks over his men.</scene_description> <character>FRANK</character> <dialogue>Try and look a little perkier, guys.</dialogue> <scene_description>They manage some phony "perk," big smiles hiding big discomfort. Jerry has a few bites of corn.</scene_description> <character>TANK</character> <dialogue>I'm thinking now of my Uncle Wendell. The last ten years of his life, no one ever had a conversation with him that did not</dialogue> <dialogue>center on his gout, his arthritis, or his bowel movements.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I am beginning to see the world through Uncle Wendell's eyes.</dialogue> <character>JERRY</character> <dialogue>You still sure about this, Frank?</dialogue> <character>FRANK</character> <dialogue>We're almost done with the tough stuff and you want to quit?</dialogue> <parenthetical>(looking his men over)</parenthetical> <dialogue>Tomorrow we start training for our mission. I want everyone to get a good night's sleep.</dialogue> <character>TANK</character> <dialogue>Boy, there's a challenge.</dialogue> <scene_description>Something catches Hawk's eye. He laughs.</scene_description> <character>HAWK</character> <dialogue>Jerry, what are you doing?</dialogue> <scene_description>Jerry fiddles with his mouth.</scene_description> <character>JERRY</character> <dialogue>It's these damn teeth.</dialogue> <parenthetical>(he adjusts them)</parenthetical> <dialogue>They won't stay in.</dialogue> <scene_description>Frank is mortified.</scene_description> <character>FRANK</character> <dialogue>For God's sake, Jerry.</dialogue> <scene_description>Hawk laughs. The waiter walks over holding a tray with four cans of Ensure, the power drink for seniors.</scene_description> <character>WAITER (O.S.)</character> <dialogue>Gentlemen. A round of drinks from your friends at the table over there.</dialogue> <scene_description>Ethan, Roger, and the young team laugh as they raise their coffee cups to them in a toast. The room goes quiet, awaiting their response. Frank, Hawk, Jerry and Tank raise the cans to their hosts, and clink them together.</scene_description> <character>FRANK</character> <parenthetical>(loudly, to the room)</parenthetical> <dialogue>To old farts in outer space.</dialogue> <scene_description>The room fills with laughter as they drink up happily, deflating the intended insult. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ASTRONAUT QUARTERS - FRANK AND HAWK'S ROOM - NIGHT</stage_direction> <scene_description>Three A.M., pitch black outside. Frank dozes on his bunk, glasses down his nose, STS-200 binder on his chest. A RUSTLING sound wakes him. He looks over, sees -- HAWK quietly dressing in jogging sweats.</scene_description> <character>FRANK</character> <dialogue>Too much for you, huh? Decide to quit while you're ahead?</dialogue> <scene_description>Hawk laughs as he puts a T-shirt on.</scene_description> <character>HAWK</character> <dialogue>Thought I'd start the day with a little jog.</dialogue> <character>FRANK</character> <dialogue>Are you crazy? We jog at five and it's only three. Go back to bed.</dialogue> <character>HAWK</character> <dialogue>You want to sleep, Frank, sleep. You look like you need the rest anyhow.</dialogue> <scene_description>The gauntlet down, Hawk opens the door to leave.</scene_description> <character>FRANK</character> <dialogue>You bastard.</dialogue> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER GROUNDS - PRE-DAWN</stage_direction> <scene_description>It's pitch-black out. Hawk jogs around the track -- FRANK right next to him, wondering how he got conned into this. DISSOLVE TO: SAME SCENE - DAWN Hawk and Frank, still jogging around the track. Sweaty, but looking strong.</scene_description> <character>HAWK</character> <dialogue>I'll race you the last lap.</dialogue> <character>FRANK</character> <dialogue>Hawk... okay.</dialogue> <character>HAWK</character> <dialogue>Countdown to one. Ready...?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>One.</dialogue> <scene_description>Hawk bursts forward, Frank right after him, two old men racing like schoolboys. LONG SHOT - HAWK AND FRANK running, neck and neck, the sun coming up behind them. The grounds' sprinklers burst on. IN PARKING LOT - THAT MOMENT Sara gets out of her car, walks briskly to the administrative offices, all business, until she sees -- FRANK AND HAWK finish the race in a tie, then fall on the grass, exhausted. They sprawl on their backs underneath the sprinklers to cool off. SARA smiles to herself as she watches. A new feeling is coming over NASA.</scene_description> </scene> <scene> <stage_direction>INT. GYM - OUTSIDE MEN'S LOCKER/DRESSING ROOM - MORNING</stage_direction> <scene_description>Sara, holding a manila envelope, tentatively walks up to the men's locker room door. She listens to FRANK AND HAWK TALKING from inside. The door suddenly opens, surprising Sara. Frank steps out, fully dressed, looks at the embarrassed Sara with a smile. She gathers her wits.</scene_description> <character>SARA</character> <dialogue>Hi, Frank. I'm looking for Hawk.</dialogue> <character>FRANK</character> <dialogue>He's inside. You can go on in.</dialogue> <character>SARA</character> <dialogue>Is it... okay?</dialogue> <character>FRANK</character> <parenthetical>(with a twinkle in his eye)</parenthetical> <dialogue>Oh yeah.</dialogue> <scene_description>He walks off. Sara enters the locker room.</scene_description> </scene> <scene> <stage_direction>INT. MEN'S LOCKER ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Sara enters, looking around, hears Hawk humming. She passes a row of lockers, looks behind it (we don't see what she sees) -- and instantly turns on her feet and walks back to the door, her face beet red.</scene_description> <character>SARA</character> <dialogue>I am so sorry.</dialogue> <scene_description>Hawk comes out from behind the lockers, towel wrapped around his waist.</scene_description> <character>HAWK</character> <dialogue>It's okay, it's okay.</dialogue> <parenthetical>(as she stops)</parenthetical> <dialogue>So. What brings you to the... men's locker room, Sara?</dialogue> <character>SARA</character> <parenthetical>(difficulty concentrating)</parenthetical> <dialogue>Gene moved up -- he moved up the simulator run.</dialogue> <scene_description>She trails off, nodding. Hawk looks at her, waiting for her to finish.</scene_description> <character>HAWK</character> <dialogue>To... when?</dialogue> <character>SARA</character> <dialogue>Right. That would be... eleven o'clock. There are some new procedures I wanted you to be aware of.</dialogue> <scene_description>She hands him the manila envelope. Hawk opens it and takes out several pages, which he carefully reviews, totally nonplussed by the situation. After a long, awkward beat, Hawk stares at her and smiles. She returns the smile weakly.</scene_description> <character>SARA</character> <dialogue>This is extremely uncomfortable. I'm going to leave now.</dialogue> <scene_description>Hawk gestures grandly to the door. He smiles, watching as she hurries off.</scene_description> <character>HAWK</character> <dialogue>Hey, Sara. I'm taking you out for a beer.</dialogue> <character>SARA</character> <parenthetical>(to herself)</parenthetical> <dialogue>I'm going to need one.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE SIMULATOR - MORNING</stage_direction> <scene_description>It is a full-scale mock-up of the space shuttle. Tank sits in the payload area holding the grappling arm control joy stick in his hand. He faces a monitor showing a simulated satellite in space. Six stoic engineers in white coats watch him as he tries to capture the satellite with the grappling arm. He looks disturbed that he is being observed so closely.</scene_description> <character>TANK</character> <dialogue>You're making me nervous.</dialogue> <scene_description>A FEMALE ENGINEER leans forward and whispers in Tank's ear.</scene_description> <character>FEMALE ENGINEER</character> <dialogue>You should probably get used to it. There's going to be a lot more people watching you on television.</dialogue> <scene_description>He gulps, misses the satellite.</scene_description> </scene> <scene> <stage_direction>INT. CLINIC - ON FOUR TEST TUBES - MORNING</stage_direction> <scene_description>of blood in a stand. Dr. Caruthers takes a drop of blood from one of the tubes and sandwiches it between two slides. She examines it under the microscope, focuses. She looks concerned. She takes one of the test tubes out of the rack and puts it in -- BLOOD CENTRIFUGE She turns the centrifuge on and the test tube goes whipping around and around... MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CENTRIFUGE ROOM - DAY</stage_direction> <scene_description>The massive arm swinging around the circular room slows to a stop. Two TECHS pop open the clear canopy and unfasten Jerry and Tank from the two seats. They're a little shaky as they exit the cockpit.</scene_description> <character>TECH</character> <dialogue>That was three G's. That's as bad as it gets during ascent and entry.</dialogue> <character>TANK</character> <dialogue>I'm so pleased.</dialogue> <scene_description>Hawk and Frank are up now. They eagerly jump inside the cockpit, and get strapped down, hooking up their headsets. The canopy closes over their heads.</scene_description> <character>HAWK</character> <dialogue>First one to pass out buys the beers tonight.</dialogue> <character>FRANK</character> <dialogue>You're on.</dialogue> <scene_description>Frank grabs the joystick and off they go, whipping around, 1 G, 2 G's... They reach 5 G's in no time.</scene_description> <character>HAWK</character> <parenthetical>(over communicator)</parenthetical> <dialogue>Hey, Frank, did we start yet?</dialogue> <character>FRANK</character> <parenthetical>(into communicator)</parenthetical> <dialogue>I don't know, feels like we're standing still.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - THAT MOMENT</stage_direction> <scene_description>The Engineers look aghast as the boys crank it up some more. Other crew people enter the room, including Roger and members of the young team.</scene_description> <character>HAWK (V.O.)</character> <parenthetical>(shaky voice, over monitor)</parenthetical> <dialogue>What's the matter, is the damn thing broken?</dialogue> <scene_description>This is a spectator event now. They're up to 8 G's. The room shakes. TIGHT ON HAWK AND FRANK'S FACES shaking and warping out like the science book pictures.</scene_description> <character>FRANK</character> <parenthetical>(really shaky)</parenthetical> <dialogue>Hey, Hawk, I'm pretty sure the machine just kicked in.</dialogue> <scene_description>Hawk cranks it up some more. And some more. This is getting serious. HAWK AND FRANK are beginning to "gray out," but neither will say "uncle" first.</scene_description> <character>HAWK</character> <dialogue>Yyyyou're... e-e-easy... Fffrankkkk...</dialogue> <scene_description>10 G's. The MACHINE is SCREAMING. The room is silent.</scene_description> <character>ROGER</character> <dialogue>They're gonna kill themselves.</dialogue> <scene_description>WHAT THE HELL IS GOING ON IN HERE?!! Everyone turns around. Davis, at the back of the room, steps forward and slams the "all stop" switch. The arm slowly winds down. Everybody is totally busted -- young and old alike -- just by being here. The arm stops, but we don't see anything through the canopy from inside the booth. Davis is seething -- grabs the intercom microphone.</scene_description> <character>DAVIS</character> <dialogue>I'm sure this was a great show. But this thing is not a toy!</dialogue> <parenthetical>(into the intercom)</parenthetical> <dialogue>One of you idiots care to explain this?!</dialogue> <scene_description>ANGLE ON CENTRIFUGE COCKPIT As the Tech lifts the canopy we see that Frank and Hawk have both passed out. With their flush red faces, drool at the corner of their mouths, and their sweaty hair, they look like sleeping babies strapped into car seats. The Tech takes their pulse. They groggily start to regain consciousness.</scene_description> <character>TECH</character> <dialogue>They're just unconscious, sir.</dialogue> <scene_description>Davis fights it, but his scowl gives way to a smirk... then a smile. The entire room looks relieved.</scene_description> <character>DAVIS</character> <dialogue>I'm getting too old for this shit.</dialogue> </scene> <scene> <stage_direction>INT. HONKY-TONK - NIGHT</stage_direction> <scene_description>The place is crowded with young professionals at happy hour. Hawk and Frank shoot pool. On the dance floor, a small group of pretty young women, led by Jerry, are line dancing. Tank stands alone drinking a beer looking around the room. He sees something that draws him like a bug to a light -- An arcade game -- the kind where a joy stick operated claw-on-a-crane drops down and picks up a stuffed animal inside a glass booth. Tank beelines towards the game and drops in two quarters. He swigs the last of his drink, then takes the joy stick.</scene_description> <character>TANK</character> <dialogue>Purple tiger.</dialogue> <scene_description>The crane comes to life as Tank maneuvers the joy stick left and right. It drops over a little stuffed purple tiger. Tank gingerly clamps on and guides it over the chute, dropping it. Tank joyfully retrieves his little stuffed animal and starts laughing goofily. He looks around the room to see if anyone saw his victory. No one did. He stops laughing and stuffs it in his pocket. OVER AT HAWK AND FRANK'S POOL TABLE The pretty young COCKTAIL WAITRESS brings over two bottles of beer. She puts them on a narrow counter near the pool table.</scene_description> <character>COCKTAIL WAITRESS</character> <dialogue>That'll be seven dollars.</dialogue> <scene_description>Frank and Hawk just look at each other, a stand-off -- neither goes for their wallet.</scene_description> <character>COCKTAIL WAITRESS</character> <dialogue>Hello?</dialogue> <character>HAWK</character> <dialogue>He's buying.</dialogue> <character>FRANK</character> <dialogue>Oh no. We passed out at the same time.</dialogue> <character>HAWK</character> <dialogue>Bullshit. I watched you pass out.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Right before I passed out.</dialogue> <scene_description>They crack up. Hawk reaches for his wallet.</scene_description> <character>HAWK</character> <dialogue>I got this round. Only because I'm so confident in my superiority to you in every aspect of human life.</dialogue> <scene_description>Frank stops Hawk from paying.</scene_description> <character>FRANK</character> <dialogue>Maybe there's a way to settle this.</dialogue> <parenthetical>(turns to the Waitress)</parenthetical> <dialogue>Given the choice, which one of us would you take home with you tonight?</dialogue> <scene_description>She plays along, looking them over.</scene_description> <character>COCKTAIL WAITRESS</character> <dialogue>You mean like, to 'the home'? Like the retirement home?</dialogue> <scene_description>Onlookers laugh. All except a big, tough man named TINY.</scene_description> <character>HAWK</character> <dialogue>No, seriously. Would you choose this man, with his asymmetrical sagging ass cheeks, love handles the size of Nebraska, and yellow ingrown toenails.</dialogue> <character>FRANK</character> <dialogue>Or this man, with the chicken- gizzard neck and the face that looks like a Death Valley fire road?</dialogue> <scene_description>The woman's charmed. She's about to answer when Tiny intercedes.</scene_description> <character>TINY</character> <dialogue>Stop harassing the waitress.</dialogue> <character>FRANK</character> <dialogue>I'm not harassing anyone. I was asking her a harmless question, one that's got nothing to do with you. So go back to nursing your virgin peach daiquiri and mind your own damn business.</dialogue> <character>TINY</character> <dialogue>It is my business. This woman's my friend, and she puts up with assholes like you all day because she has to --</dialogue> <character>COCKTAIL WAITRESS</character> <dialogue>Tiny --</dialogue> <scene_description>Hawk mouths to Frank, in disbelief, "Tiny?"</scene_description> <character>TINY</character> <dialogue>-- but I don't. So if you want to harass someone, start harassing me.</dialogue> <character>HAWK</character> <dialogue>I do believe he is, son.</dialogue> <scene_description>Onlookers laugh. The man isn't pleased.</scene_description> <character>TINY</character> <dialogue>I could put you in a hospital, old man.</dialogue> <character>FRANK</character> <dialogue>I've got Medicare. Take your best shot.</dialogue> <scene_description>More laughter.</scene_description> <character>TINY</character> <dialogue>I don't want to make your old lady a widow.</dialogue> <scene_description>This overheats Frank's core. Frank drops the charm, his temper flares. He grabs Tiny and shoves him against the counter.</scene_description> <character>FRANK</character> <dialogue>What did you say?</dialogue> <scene_description>Tiny pushes Frank off him, gets in fighting stance. Frank rips his leather jacket off, pulls up his sleeves. Hawk has obviously seen this happen before, rolls his eyes as he steps between the two men and addresses Frank's opponent.</scene_description> <character>HAWK</character> <dialogue>Excuse me a minute.</dialogue> <parenthetical>(to Frank)</parenthetical> <dialogue>Listen, Frank. You can't do this. We're going up into space in 25 days.</dialogue> <scene_description>Hawk speaks loudly enough that the crowd around them hears their conversation about "going into space." They seem like loons. The crowd includes one man drinking at the bar with a camera bag and notebook.</scene_description> <character>HAWK</character> <dialogue>If you hurt yourself, if you break a bone or sprain an ankle, your seat on the shuttle is going to that M.I.T. weenie with the blow- dried hair. And we all watch it on TV at your house.</dialogue> <character>FRANK</character> <dialogue>Who said I'm gonna hurt myself?</dialogue> <character>TINY</character> <dialogue>What the hell are you two talking about -- 'the space shuttle'?</dialogue> <scene_description>Hawk holds up his finger to Tiny for more time.</scene_description> <character>HAWK</character> <dialogue>You're going to blow it for us again, aren't you? You and that mean-assed temper of yours.</dialogue> <character>FRANK</character> <dialogue>You still think I blew our shot in '58?</dialogue> <character>HAWK</character> <dialogue>Face it already, Frank. You did.</dialogue> <scene_description>Tiny loses interest in fighting Frank. This suits Frank fine -- Hawk is now the subject of his wrath. Tank and Jerry watch from the sidelines, smiling.</scene_description> <character>JERRY</character> <dialogue>Here we go again.</dialogue> <scene_description>Frank shoves Hawk. Hawk retreats, not wanting to fight.</scene_description> <character>FRANK</character> <dialogue>And the pilot who wrecked every rocket and experimental jet the Air Force gave us?</dialogue> <scene_description>Frank shoves Hawk again. Hawk let the first one slide, but not this one. He pushes Frank back, grabs Frank's jacket off the pool table and throws it in his face. Frank catches it.</scene_description> <character>HAWK</character> <dialogue>Let's take it outside. I'm gonna kick your asymmetrical sagging ass.</dialogue> <scene_description>Hawk and Frank storm out of the bar. Bar patrons watch the two men like they are crazy. All except the man at the bar with the camera bag, who scribbles something in his notebook. OUTSIDE HONKY-TONK Hawk and Frank step out the swinging doors into the parking lot. Frank seething. Hawk laughing.</scene_description> <character>HAWK</character> <dialogue>How'd you like that? Can I still get you out of a jam or what? You see that guy's face when I said, 'space shuttle' -- ?</dialogue> <scene_description>Crack! Frank punches him hard in the jaw. Hawk hits the pavement, rubbing his jaw, realizing Frank wasn't in on the plan.</scene_description> <character>FRANK</character> <dialogue>Whose fault was it that Daedalus got canned, Colonel Hawkins?</dialogue> <character>HAWK</character> <dialogue>Shit. This is gonna be a long night.</dialogue> <scene_description>Hawk gets up, punches Frank in the face. The two go at it like this, duking it out in the parking lot, bobbing and weaving, neither one relenting... DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - OUTSIDE ENGINEERING LAB - MORNING</stage_direction> <scene_description>Eugene Davis walks down the hall. He passes -- HAWK walking toward him, head down because he's reading a file as he walks.</scene_description> <character>DAVIS</character> <dialogue>Good morning, Hawk.</dialogue> <scene_description>Hawk looks up long enough to show us his black eye.</scene_description> <character>HAWK</character> <dialogue>Morning, Gene.</dialogue> <character>DAVIS</character> <dialogue>What the hell happened to your eye?</dialogue> <scene_description>Hawk keeps on walking.</scene_description> <character>HAWK</character> <dialogue>I fell in the shower. Maybe you could have maintenance install some rubber no-slip adhesives on the floor, it can get pretty slippery in there.</dialogue> <scene_description>Davis knows he's being bullshitted, lets it go. He enters the -- ENGINEERING LAB Where Frank works on a mock-up of the guidance system with Jerry. His BACK is TO Davis and us. Ethan watches as Frank touches two separate electrical buses with probes. Jerry alternately watches a monitor while screwing something in.</scene_description> <character>FRANK</character> <dialogue>What's that doing?</dialogue> <character>JERRY</character> <dialogue>Still ten megahertz. Little more.</dialogue> <character>DAVIS</character> <dialogue>How's it coming along, Frank?</dialogue> <scene_description>Frank turns around; he, too, has a black eye.</scene_description> <character>FRANK</character> <dialogue>Pretty good, Gene.</dialogue> <character>DAVIS</character> <dialogue>What happened to your eye, Frank? You slip in the shower?</dialogue> <character>FRANK</character> <dialogue>How the hell did you know?</dialogue> <scene_description>Frank slowly gives his most charming grin. Davis turns his back on it and walks away. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CARDIO CENTER - MORNING</stage_direction> <scene_description>Ethan, alone in the room, pedals on stationary bike while reading the manual to Frank's guidance system, frustrated. His arm band heart MONITOR BEEPS. Gerson walks in.</scene_description> <character>GERSON</character> <dialogue>I haven't seen you in my office in a couple of days. I'm starting to</dialogue> <dialogue>worry.</dialogue> <character>ETHAN</character> <dialogue>You should worry. This guy won't let me within ten feet of him. I'm not even sure he knows how to fix the guidance system; he just wants a free ride.</dialogue> <scene_description>Gerson shuts off the bike, Ethan stops pedaling and the BEEPING STOPS.</scene_description> <character>GERSON</character> <dialogue>Ethan, maybe it's time you and I took a look at the big picture. There are six slots on the first Space Station crew. There are fourteen partner countries and all of them will want to send up one of their own. Some of those are bound to be women. You're a pale, stale American male. Consider the odds.</dialogue> <character>ETHAN</character> <dialogue>I'm confident in my abilities.</dialogue> <character>GERSON</character> <dialogue>Well let's see if you can't apply those abilities to Frank's guidance system. Your efforts won't go unnoticed.</dialogue> <scene_description>Gerson starts the bike again and we hear Ethan's HEARTBEAT RACING. Gerson smiles, satisfied, pats Ethan on the shoulder and leaves. CUT TO: LIGHTED RUNWAY The shuttle is on final approach to Cape Kennedy, coming in for a night landing. We're actually --</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE SIMULATOR - MORNING</stage_direction> <scene_description>Roger and Ethan at the controls, Frank and Hawk observing in the seats immediately behind. Pace is fast and furious -- all business. Gauges flashing everywhere.</scene_description> <character>ETHAN</character> <dialogue>Gear is down and locked. Airspeed 300. Cross-wind on our right, 14 knots.</dialogue> <character>ROGER</character> <dialogue>We're a little hot. Dropping flaps.</dialogue> <character>ETHAN</character> <dialogue>200... 100... touchdown.</dialogue> <scene_description>The virtual shuttle rolls to a stop. Roger turns to Hawk.</scene_description> <character>ROGER</character> <dialogue>You're up.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - SIMULTANEOUS ACTION</stage_direction> <scene_description>The room is humming. These flight engineers train right along with the astronauts in the simulator. Sara watches the big screen with Eugene Davis.</scene_description> <character>DAVIS</character> <dialogue>Nice landing, guys. Let's put our rookies up front. SimSupe, you on with me?</dialogue> </scene> <scene> <stage_direction>INT. SIMULATOR CONTROL ROOM - THAT MOMENT</stage_direction> <scene_description>The Simulator Supervisor (SIMSUPE) answers.</scene_description> <character>SIMSUPE</character> <dialogue>SimSupe. Go, Gene.</dialogue> <character>DAVIS</character> <dialogue>Standard package -- throw a little curve at 'em, though.</dialogue> <character>SIMSUPE</character> <dialogue>Roger that.</dialogue> <scene_description>He punches up a program on the computer.</scene_description> </scene> <scene> <stage_direction>INT. SIMULATOR - MOMENTS LATER</stage_direction> <scene_description>Hawk and Frank at the controls. Same scene on the simulator screen. An ALARM sounds as they approach the runway.</scene_description> <character>FRANK</character> <dialogue>Hydraulic failure. Right aileron.</dialogue> <character>HAWK</character> <dialogue>Switching to manual control.</dialogue> <character>ROGER</character> <dialogue>You can't do that, Colonel. The bird's on a computerized track.</dialogue> <scene_description>Another ALARM.</scene_description> <character>FRANK</character> <dialogue>Airspeed's too high. Come on, Hawk, stick to the protocol. Go around.</dialogue> <character>HAWK</character> <dialogue>We'll never make it. Switching to manual.</dialogue> <scene_description>Ethan shakes his head no. The runway approaches rapidly. Hawk pulls back on the wheel -- no response.</scene_description> <character>ROGER</character> <dialogue>You can't do that!!</dialogue> <scene_description>Roger grabs onto the seat arms as though they are really about to crash.</scene_description> <character>FRANK</character> <dialogue>Damn it! Prepare to abort!!</dialogue> <character>HAWK</character> <dialogue>Like hell.</dialogue> <scene_description>He fights to hold the wheel -- it's a rough, nearly sideways touchdown -- the shuttle bounces once, twice...</scene_description> <character>HAWK</character> <dialogue>Awww... shit.</dialogue> <scene_description>And its gear collapses as it crashes down, tumbling over. The screen goes blank.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Silence in the room. Davis looks up at the blank screen, calm, but obviously very concerned.</scene_description> <character>SARA</character> <dialogue>Come on, Gene. You can't throw all that at him on his first run!</dialogue> <character>DAVIS</character> <dialogue>We've got three weeks, Sara. And this is Flight School 101 stuff.</dialogue> <parenthetical>(shakes his head)</parenthetical> <dialogue>He's been out of the game too long.</dialogue> <scene_description>BACK TO SIMULATOR - THAT MOMENT Ethan and Roger show professionalism, but their eyes show satisfaction. Hawk and Frank stare straight ahead -- both angry and embarrassed.</scene_description> <character>FRANK</character> <parenthetical>(whispers)</parenthetical> <dialogue>This isn't your P-51, Hawk. You gotta do it their way.</dialogue> <character>HAWK</character> <dialogue>I don't need a damn computer to land an airplane, Frank.</dialogue> <character>ROGER</character> <dialogue>Sir, it's not an airplane. It's a flying brick on approach and you've got to work with the on- board computer.</dialogue> <character>HAWK</character> <dialogue>And if the on-board computer fails?</dialogue> <character>ETHAN</character> <dialogue>It's never failed.</dialogue> <scene_description>Hawk glances over at Frank -- sees how disappointed he is.</scene_description> <character>HAWK</character> <parenthetical>(into communicator)</parenthetical> <dialogue>Houston, S.T.S-200.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Go, 200.</dialogue> <character>HAWK</character> <dialogue>Request second landing.</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>Request also computer failure on approach.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Say again, 200?</dialogue> <character>HAWK</character> <dialogue>You heard me.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>The whole room waits. The CAPCOM (the voice of Mission Control) turns to Davis. As does Sara. She pleads with her eyes. He relents with a sigh.</scene_description> <character>DAVIS</character> <dialogue>All right, run it again.</dialogue> <character>CAPCOM</character> <dialogue>S.T.S-200, stand by for second</dialogue> <dialogue>approach.</dialogue> <character>DAVIS</character> <dialogue>Throw the works at him.</dialogue> <scene_description>CUT TO: SIMULATOR SCREEN (HAWK'S SECOND APPROACH) - MOMENTS LATER Emergency night landing into North Africa. Wind, rain, very rough.</scene_description> <character>FRANK</character> <dialogue>Altitude 3000. You're coming in too steep, Hawk.</dialogue> <character>ROGER</character> <dialogue>You better pull up, sir. You're gonna lose it again!</dialogue> <scene_description>Hawk ignores them. Another ALARM sounds.</scene_description> <character>FRANK</character> <dialogue>Auxiliary engine fire -- number two! Shut it down.</dialogue> <scene_description>Hawk calmly hits a sequence of switches, never taking his eyes off the approach.</scene_description> <character>HAWK</character> <dialogue>Don't need it anyway. We're just a flying brick from here on in.</dialogue> <parenthetical>(smiles to himself)</parenthetical> <dialogue>The flying brick...</dialogue> <scene_description>He hums to himself, totally in his element. The shuttle buffets wildly -- the radar ALARM sounds now.</scene_description> <character>FRANK</character> <dialogue>Wind shear on the nose.</dialogue> <scene_description>All the computer screens go blank. Ethan gloats.</scene_description> <character>ETHAN</character> <dialogue>Computers are down, sir. She's all yours.</dialogue> <scene_description>Hawk doesn't even notice. BACK TO MISSION CONTROL Sara is worried. Looks like a repeat. BACK TO HAWK focused on the runway coming up, still humming calmly.</scene_description> <character>FRANK</character> <dialogue>Altitude 500. Lined up.</dialogue> <character>ETHAN</character> <dialogue>Your airspeed's way too high.</dialogue> <character>FRANK</character> <dialogue>Airspeed four-nine-zero. That's too hot, Hawk!</dialogue> <character>ROGER</character> <dialogue>You'll never get this thing stopped!</dialogue> <character>HAWK</character> <dialogue>Aw, it's easy. You just gotta tap the brakes.</dialogue> <scene_description>He gently nudges the nose up.</scene_description> <character>ROGER</character> <dialogue>You can't do that! You're gonna put her into a stall!</dialogue> <scene_description>The stall ALARM sounds. The wings can't support the weight at this speed and attitude.</scene_description> <character>FRANK</character> <dialogue>100 feet. Hawk, what are you doing?</dialogue> <character>HAWK</character> <dialogue>Tapping the brakes.</dialogue> <character>ROGER</character> <dialogue>Drop the nose! You're gonna lose it!</dialogue> <character>FRANK</character> <dialogue>50 feet! Drop the nose!</dialogue> <character>HAWK</character> <dialogue>Airspeed?</dialogue> <character>FRANK</character> <parenthetical>(shocked)</parenthetical> <dialogue>Two hundred.</dialogue> <character>HAWK</character> <dialogue>What do you say we drop the nose?</dialogue> <scene_description>He nudges the wheel over gently. Touchdown. Light as a feather. BACK TO MISSION CONTROL They watch in shock as the shuttle rolls to a perfect stop. Davis is open-mouthed. Sara yells out loud.</scene_description> <character>SARA</character> <dialogue>Alright, Hawk!</dialogue> <scene_description>She can't believe she did that, looks around, embarrassed. BACK TO SIMULATOR Roger is flabbergasted.</scene_description> <character>ROGER</character> <dialogue>That's impossible.</dialogue> <character>HAWK</character> <dialogue>For a computer, maybe.</dialogue> <scene_description>He gives Frank a signature Hawk grin.</scene_description> <character>HAWK</character> <dialogue>The Flying Brick. I like the sound of that.</dialogue> </scene> <scene> <stage_direction>INT. DINING HALL - THAT NIGHT</stage_direction> <scene_description>Dinner. Ethan, Roger, and the young team look up as the Waiter arrives.</scene_description> <character>WAITER</character> <dialogue>Ladies and gentlemen, from your teammates at the table over there.</dialogue> <scene_description>He busily hands out a tray full of Gerber baby food jars, barely keeping a straight face.</scene_description> <character>WAITER</character> <dialogue>And some training material for you to look over...</dialogue> <scene_description>He hands out a stack of Curious George Goes Into Space books. As the room erupts in applause and laughter, Ethan and Roger turn slowly to... Team Daedalus -- They raise their cans of Ensure and clink them. MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BLUFF - CLOSE ON TWO BEER BOTTLES - NIGHT</stage_direction> <scene_description>clink together. Hawk and Sara sit side by side on the hood of her '65 Mustang convertible, the Houston city lights below them, the moon shining bright above them. He takes a sip of his beer.</scene_description> <character>SARA</character> <dialogue>Forty percent.</dialogue> <character>HAWK</character> <dialogue>Forty percent?! That's the best you'll give me?</dialogue> <character>SARA</character> <parenthetical>(grinning seductively)</parenthetical> <dialogue>You might nail it. You might crash and burn. The odds are against you, Colonel.</dialogue> <scene_description>With a twinkly smile, he puts the beer bottle on the hood and turns to her, looking like he's about to make a move on her. Instead, he bends down and picks up a rock off the ground and lets it fly, hitting a telephone pole a hundred feet away.</scene_description> <character>HAWK</character> <parenthetical>(mockingly)</parenthetical> <dialogue>Forty percent.</dialogue> <character>SARA</character> <dialogue>The wind was with you.</dialogue> <character>HAWK</character> <dialogue>The wind!?</dialogue> <scene_description>She laughs and hands him his beer.</scene_description> <character>SARA</character> <dialogue>Forty percent for you, you nail it. Forty for me, I would've missed by a mile.</dialogue> <parenthetical>(sips her beer)</parenthetical> <dialogue>That's why I moved out of the astronaut program. The odds of me getting on a shuttle were nowhere near forty percent. But I was an astronaut. Yes, I was.</dialogue> <character>HAWK</character> <dialogue>Damn right, you were.</dialogue> <scene_description>They clink bottles, then toast the moon.</scene_description> <character>SARA</character> <dialogue>You don't think like that, do you. You jumped out of planes twenty miles up, drove rocket sleds the speed of sound -- you're not afraid</dialogue> <scene_description>of anything.</scene_description> <character>HAWK</character> <dialogue>No, that's not true. I've been afraid.</dialogue> <character>SARA</character> <dialogue>Bullshit. When.</dialogue> <character>HAWK</character> <parenthetical>(thinking hard)</parenthetical> <dialogue>Well. When I was seventeen. God, I was crazy in love with this college girl. She was gorgeous, a real ball of fire and crazy in love with --</dialogue> <character>SARA</character> <parenthetical>(wearily)</parenthetical> <dialogue>You.</dialogue> <character>HAWK</character> <dialogue>No. A&amp;M's All-American defensive end. Scott LeBeau -- man he was six-six if he was a foot, and Gary Cooper handsome. One night some friends and I had a few too many of these...</dialogue> <parenthetical>(shakes his beer bottle)</parenthetical> <dialogue>... and we crash this big ol' sorority cotillion, everyone all dressed up in chiffon gowns and Daddy's tuxedo. And there's us looking like three hobos that just fell off a boxcar -- and this is at the governor's ranch, you see.</dialogue> <character>SARA</character> <dialogue>I'm getting the picture.</dialogue> <character>HAWK</character> <dialogue>So my friends see Scott LeBeau entering the outhouse, right?</dialogue> <parenthetical>(takes a deep breath)</parenthetical> <dialogue>Well, I did a better tackle on that outhouse than he'd ever done on the football field, rolled that sucker right down an embankment into the creek. There's screaming and crying the whole way down -- only it doesn't sound like an All-American defensive end. It is decidedly more feminine than that.</dialogue> <character>SARA</character> <dialogue>Oh my God, you didn't.</dialogue> <character>HAWK</character> <dialogue>The love of my life, slip-sliding away. My friends were pretty funny guys.</dialogue> <character>SARA</character> <dialogue>What did you do?</dialogue> <character>HAWK</character> <dialogue>Ran like hell, joined the Air Force the next morning.</dialogue> <scene_description>She playfully shoves him.</scene_description> <character>SARA</character> <dialogue>You were afraid Scott LeBeau was gonna kick your ass.</dialogue> <character>HAWK</character> <dialogue>Hell no, I was afraid of her.</dialogue> <scene_description>Laughing, they stare into each other's eyes. After an awkward pause, she makes the move, kissing him. ON HAWK'S FACE He's enjoying the kiss, but something is wrong. He kindly withdraws from the kiss, then hugs her. Sara looks quizzical. He stares over her shoulder, smiling, his thoughts far away.</scene_description> <character>HAWK</character> <dialogue>I married her four years later.</dialogue> </scene> <scene> <stage_direction>EXT. GROUNDS - DAWN</stage_direction> <scene_description>Frank, Hawk, Tank and Jerry run as a tight-knit group, keeping a good, strong pace. SOMEWHERE IN TREES (OVERLOOKING GROUNDS) The man from the bar hides in the bushes, aiming his telephoto lens at the men, clicking off pictures.</scene_description> </scene> <scene> <stage_direction>INT. ADMINISTRATIVE OFFICES - MORNING</stage_direction> <scene_description>Sara arrives to work a little late, so she adds a little jaunt to her step. Co-workers stare at her from their cubicles with prying, pitying eyes as she passes. She gets a little self- conscious.</scene_description> <character>SARA</character> <dialogue>What! I'm only fifteen minutes late.</dialogue> <scene_description>Someone tosses her a copy of USA Today. The headline says: "THE RIPE STUFF." Underneath is a big, grainy spy picture of Frank, Hawk, Jerry and Tank running on the track in their NASA sweats. They look good. Inset is an old photo of Team Daedalus, the same one we saw in Frank's garage.</scene_description> <character>SARA</character> <dialogue>Oh, shit.</dialogue> <scene_description>Holding the paper, she makes a bee-line for her office. She opens the door and goes -- INSIDE HER OFFICE where Bob Gerson is sitting in her chair. He is not happy.</scene_description> <character>GERSON</character> <dialogue>Extra. Extra. Read all about it.</dialogue> <character>SARA</character> <dialogue>Bob, I don't know how this leaked out --</dialogue> <character>GERSON</character> <dialogue>NASA is getting calls from every tabloid and TV show in the country asking me to verify this story.</dialogue> <scene_description>Sara weighs this.</scene_description> <character>SARA</character> <dialogue>Why can't we verify the story?</dialogue> <character>GERSON</character> <dialogue>S.T.S.-200 is a delicate and top secret satellite recovery. This looks like a three-ring circus. How do you suppose the Vice President felt this morning when he sat down for breakfast, opened his paper and saw this?</dialogue> <scene_description>He opens the USA Today; there is a full-page grainy spy photo of Frank and Hawk, post-jog, shirts off and sweating, looking good for 70-year-old guys... but they're still old guys. Sara emits a quick burst of laughter, chokes it back.</scene_description> <character>GERSON</character> <dialogue>I have to face him, Sara. You</dialogue> <dialogue>don't.</dialogue> <scene_description>He furiously throws his newspaper in the garbage and leaves.</scene_description> </scene> <scene> <stage_direction>INT. HANGAR - DAY</stage_direction> <scene_description>Inside is the shuttle simulator. It sits propped on a frame, with stairs leading to the cockpit hatch. Eugene Davis escorts Frank, Hawk, Jerry, Tank, Ethan and Roger, all wearing their flight uniforms, up the stairs. A technician opens the hatch.</scene_description> <character>DAVIS</character> <dialogue>This is a full-scale simulator of your cabin. Except for gravity, we're going to simulate living conditions on board in order to familiarize you with your new living environment. Bon voyage.</dialogue> <scene_description>The men enter the hatch to the shuttle. He shuts the hatch.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE SIMULATOR - BATHROOM - DAY</stage_direction> <scene_description>Roger demonstrates proper urination/defecation tools and technique for Frank, Hawk, Tank and Jerry. Roger holds up a clear funnel, speaks in a humorless deadpan.</scene_description> <character>ROGER</character> <dialogue>This is your funnel. Attaches to the hose here. Before starting up the hose, you want to make sure you have a tight seal against your skin.</dialogue> <scene_description>Jerry raises his hand, an impish smile on his face. Roger looks at him, knowing the question he's about to ask.</scene_description> <character>ROGER</character> <dialogue>Yes, one size fits all.</dialogue> <scene_description>Jerry lowers his hand. The others chuckle.</scene_description> <character>ROGER</character> <dialogue>Just in case, you also have a diaper under your pressure suits.</dialogue> <scene_description>More chuckles from our heroes. Roger remains poker- faced. CUT TO: SAME - LATER The men go about the simulated mission in the shuttle: A) FRANK AND JERRY runs systems check with the on-board computer. B) TANK practices capturing a mock-satellite with the robotic grappling arm. C) LUNCH The men eat "space food" while they work. CUT TO: SAME SCENE - LATER A call comes in.</scene_description> <character>SARA (V.O.)</character> <parenthetical>(dripping with irony)</parenthetical> <dialogue>Dr. Corvin, this is Mission Director Sara Holland.</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. CONTROL BOOTH - THAT MOMENT</stage_direction> <scene_description>A distressed Sara holds a copy of People magazine with a posed photo of Frank, Hawk, Jerry and Tank on the cover, all wearing their leather flight jackets with NASA caps.</scene_description> <character>SARA</character> <dialogue>I'm having what my ex would call a Salmon Day.</dialogue> <character>FRANK</character> <dialogue>A 'Salmon Day'?</dialogue> <character>SARA</character> <dialogue>You know, when you feel like you've been swimming uphill all day just to get screwed in the end? I am looking at a copy of People magazine with a picture of you and the boys on the cover. You wouldn't happen to know how this happened, would you?</dialogue> <scene_description>Frank and Hawk laugh.</scene_description> <character>FRANK</character> <dialogue>Let's see. They called me up on Tuesday. I met with them on Wednesday, I answered a few questions, they took a few photographs --</dialogue> <character>SARA</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>Frank, you have to clear this kind of stuff with me first. Are you aware of the impact this is going to have?</dialogue> <character>FRANK</character> <dialogue>I'd have to think that when you put four old S.O.B.'s on the cover of a magazine, it's gonna drop magazine sales pretty bad.</dialogue> <scene_description>The techs around Sara laugh. She just shakes her head.</scene_description> </scene> <scene> <stage_direction>INT. SET OF "THE TONIGHT SHOW" - DAY</stage_direction> <scene_description>JAY LENO does his monologue.</scene_description> <character>JAY</character> <dialogue>Did you read this? NASA is training four guys in their late sixties to go on the next shuttle mission. I'm not kidding. So far, NASA's biggest fear is that these guys are gonna spend the entire launch doing 50 in the left hand lane.</dialogue> <character>JAY</character> <parenthetical>(off light laughter)</parenthetical> <dialogue>Brand new shuttle too. They had to make a few modifications, though. Like putting phone books on the seats so the astronauts can see above the wheel...</dialogue> <scene_description>Behind Jay, Frank, Hawk, Jerry and Tank appear from behind the curtain, wearing their leather flight jackets. The crowd applauds wildly. Jay thinks it's for him.</scene_description> <character>JAY</character> <dialogue>Everybody at NASA loves these guys, they're very popular. Okay, there have been a few complaints from the ground crew. Apparently these guys keep putting those 'My grandchild is an honor student' bumper stickers on the back of the</dialogue> <dialogue>shuttle, and the ground crew has to keep scraping them off...</dialogue> <scene_description>Frank eggs on the crowd with a thumbs down. The crowd starts to heckle Jay. Frank and Tank lift up Jay, "surprising" him, and they start to escort him off the stage.</scene_description> <character>JAY</character> <dialogue>Stick around. We've got Sandra Bullock, Buck Owens, and these guys!</dialogue> <scene_description>"TONIGHT SHOW" SET - LATER Frank, Hawk, Tank and Jerry sit on the couch next to Jay.</scene_description> <character>JAY</character> <dialogue>Forget all this Right Stuff crap -- let's cut to the chase. I understand one of you is just a machine with the chicks...</dialogue> <parenthetical>(looks at Hawk)</parenthetical> <dialogue>Gotta be you, sir.</dialogue> <scene_description>Hawk shakes his head, points to Jerry.</scene_description> <character>JERRY</character> <dialogue>Jay, it's like I tell these clowns, you can't just know what a woman needs, you have to know what a woman wants.</dialogue> </scene> <scene> <stage_direction>INT. SARA'S HOUSE - NIGHT</stage_direction> <scene_description>Watching it on TV, laughing hysterically.</scene_description> <character>JAY (V.O.)</character> <dialogue>And you, sir. Is it true that you are a Baptist Minister?</dialogue> <character>TANK (V.O.)</character> <dialogue>That's right, my son.</dialogue> <character>JAY (V.O.)</character> <dialogue>And your name is Tank? A preacher named Tank?</dialogue> <scene_description>Tank rolls up his sleeve, shows his new tattoo -- a cross with rocket exhaust coming out, headed for the stars. The audience loves it. Sara's PHONE RINGS. She ignores it, letting the MACHINE ANSWER. GERSON leaves an ANGRY MESSAGE. She turns the TV VOLUME UP to drown him out. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OVER WATERS OVER CAPE CANAVERAL - DAY</stage_direction> <scene_description>Two NASA T-38 TRAINER JETS SCREAM by. Hawk and Roger practicing more approaches, each in his own jet, talking by radio.</scene_description> <character>ROGER (V.O.)</character> <dialogue>Follow me, Colonel. We're going to come in at forty degrees. This simulates the attitude of the ship on glide slope.</dialogue> <character>HAWK (V.O.)</character> <dialogue>The Flying Brick...</dialogue> <character>ROGER (V.O.)</character> <dialogue>That's correct.</dialogue> <character>HAWK (V.O.)</character> <dialogue>After you, Rog.</dialogue> <character>ROGER (V.O.)</character> <dialogue>Please don't call me 'Rog.'</dialogue> <character>HAWK (V.O.)</character> <dialogue>Roger, 'Rog.'</dialogue> <scene_description>Roger, annoyed, takes his jet in. Fighting it, he sets the plane down for a bumpy landing... then lights the AFTERBURNERS into another take-off roll, climbing hard into the sky. HAWK Lines his jet up, humming to himself. And just to make it interesting, does a Snap Roll with the jet at 500 feet before taking her in for a perfect Touch &amp; Go. He lights the AFTERBURNERS and the JET SCREAMS skyward in a vertical climb.</scene_description> <character>HAWK (V.O.)</character> <dialogue>Something like that?</dialogue> <character>ROGER (V.O.)</character> <parenthetical>(impressed)</parenthetical> <dialogue>Yeah. Something like that.</dialogue> <character>HAWK (V.O.)</character> <dialogue>Can I call you 'Rog' now?</dialogue> <character>ROGER (V.O.)</character> <dialogue>Yeah. You can call me 'Rog' now.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WEIGHTLESS ENVIRONMENT TRAINING FACILITY - DAY</stage_direction> <scene_description>The Neutral Buoyancy Lab. A giant pool where the astro- nauts train for weightless work. UNDERWATER Frank, Jerry, and Tank in cumbersome space suits, do repairs on a mock satellite. Divers stand by alongside. Ethan is at poolside, on headset, observing the procedure on the video screen looking frustrated.</scene_description> <character>FRANK</character> <dialogue>The lead is connected here, across the relay.</dialogue> <character>JERRY</character> <dialogue>You're a genius, Frank.</dialogue> <scene_description>Frank gives the divers a thumbs up. Frank, Jerry and Tank are lifted out of the water by cranes. Once out, techs help them removes their helmets. Ethan walks over.</scene_description> <character>ETHAN</character> <dialogue>So the relay patch is the key?</dialogue> <character>FRANK</character> <dialogue>Plain as the nose on your face.</dialogue> <character>ETHAN</character> <dialogue>How did you by-pass the heat exchanger?</dialogue> <character>FRANK</character> <dialogue>I didn't by-pass anything.</dialogue> <character>ETHAN</character> <dialogue>You're not being very forthcoming on the workings of the guidance system --</dialogue> <character>FRANK</character> <dialogue>I've tried everything short of calculus lessons to get you to understand this thing. What do you want me to do -- draw you a picture, connect the dots for you?</dialogue> <character>ETHAN</character> <dialogue>Excuse me. I hold two Masters Degrees from M.I.T., Dr. Corvin.</dialogue> <character>FRANK</character> <dialogue>I'd get my money back.</dialogue> <character>JERRY</character> <dialogue>Ethan, you've been trained on a different set of technologies. That's all.</dialogue> <character>ETHAN</character> <parenthetical>(ignoring Jerry, to Frank)</parenthetical> <dialogue>You're compromising this mission. I'm your backup. I am on a need- to-know basis.</dialogue> <character>FRANK</character> <dialogue>You don't need-to-know shit. And I don't need a backup.</dialogue> <character>ETHAN</character> <dialogue>Yes, you do. More than you know.</dialogue> <character>FRANK</character> <parenthetical>(stops, turns)</parenthetical> <dialogue>What is that supposed to mean?</dialogue> <scene_description>Ethan realizes too late that he's said too much. Frank looks suspicious, paranoid, furious.</scene_description> <character>FRANK</character> <dialogue>What don't I know?</dialogue> <parenthetical>(as Ethan holds his tongue)</parenthetical> <dialogue>What don't I know?!</dialogue> </scene> <scene> <stage_direction>INT. GERSON'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Gerson is in a tele-conference (via video feed) with a Suited Man appearing on a laptop computer which sits on his desk.</scene_description> <character>SUITED MAN (V.O.)</character> <dialogue>Let me spell it out for you, Bob. P-R spells bud-get.</dialogue> <scene_description>Frank bursts into the room, pointing a finger at Gerson.</scene_description> <character>FRANK</character> <dialogue>You're setting me up again!</dialogue> <character>GERSON</character> <dialogue>Here's one of our astronauts now. Frank, what a semi-pleasant surprise.</dialogue> <character>FRANK</character> <dialogue>You sonofabitch! You had no intention of sending me up.</dialogue> <character>GERSON</character> <dialogue>Frank, I'm in the middle of something just now.</dialogue> <scene_description>Frank angrily slams Gerson's laptop shut, terminating the call. Gerson smiles smugly.</scene_description> <character>GERSON</character> <dialogue>You just hung up on the head of our program, the Vice President. So what can I do for you, Frank?</dialogue> <scene_description>Frank quakes with anger. Red-faced, snorting loudly.</scene_description> <character>FRANK</character> <dialogue>You had no intention of sending me up, did you?! You screwed me over in '58 and you're screwing me over now -- !</dialogue> <character>GERSON</character> <dialogue>Screwed you over -- ?</dialogue> <character>FRANK</character> <dialogue>You lied to me again. How could I be so stupid as to make a deal with a chronic liar?!</dialogue> <character>GERSON</character> <dialogue>Deal, Frank? You blackmailed me. I didn't make any 'deal' with you. But whatever you want to call it -- you lost. I don't have to send you up.</dialogue> <scene_description>Frank looks confused. Gerson hands Frank a printout of a lab report. Frank looks it over; it makes no sense to him.</scene_description> <character>FRANK</character> <dialogue>I don't know what this shit means.</dialogue> <character>GERSON</character> <dialogue>It means someone didn't pass his physical. One of you has cancer.</dialogue> <scene_description>Frank goes white, tentatively turns the page over of the lab report, sees in cruel, military typeface: "HAWKINS, WILLIAM B." Frank's mouth goes dry.</scene_description> <character>GERSON</character> <dialogue>It's his pancreas. And it's inoperable.</dialogue> <character>FRANK</character> <dialogue>Does he know?</dialogue> <character>GERSON</character> <dialogue>Dr. Caruthers told him this morning.</dialogue> <scene_description>Frank shakes his head, getting angry again.</scene_description> <character>FRANK</character> <dialogue>No. I don't trust you! This is bullshit!</dialogue> <scene_description>He tears up the lab report, throws the scraps on Gerson's desk.</scene_description> <character>FRANK</character> <dialogue>I want independent tests done by independent doctors -- not ones you bankroll to lie for you and print up bullshit lab results!</dialogue> <parenthetical>(catches his breath)</parenthetical> <dialogue>This is low, even by your standards. Just to keep me from going into space.</dialogue> <scene_description>Gerson smiles smugly.</scene_description> <character>GERSON</character> <dialogue>Oh, that's what this drama is all about? And this whole time I thought it was Hawk, your friend. But it's really your seat on the space shuttle, isn't it? You can rest easy, Frank. NASA is still sending you, Jerry and Tank up on the shuttle -- regardless of the 'deal' you and I made.</dialogue> <character>FRANK</character> <dialogue>I don't understand.</dialogue> <character>GERSON</character> <dialogue>You're front page news, Frank. A real American hero. You've made NASA popular all over again. Thanks to you, they're gonna get that juicy budget infusion they've been drooling over. Oh, you're going, Frank. The Vice President insists.</dialogue> <scene_description>Gerson opens up the laptop, prepares to reconnect.</scene_description> <character>GERSON</character> <dialogue>Now if you'll excuse me, I have to call the head of our space program back and apologize for the interruption.</dialogue> <scene_description>Like a zombie, Frank wanders out of the office. OUTSIDE GERSON'S OFFICE - CONTINUOUS ACTION Frank wanders down the corridor, lost in painful thought. People greet him as they pass, but he doesn't hear them.</scene_description> </scene> <scene> <stage_direction>EXT. AIRCRAFT HANGAR - DUSK</stage_direction> <scene_description>Across from the space center complex. One of NASA's and the Air Force's storage garages. High-performance aircraft are lined up silently and eerily still, as though waiting. NEXT TO SR- is Hawk, dressed in civilian clothes. He walks the plane silently, deep in thought. As he ducks under the fuselage, he sees -- SARA watching him walk the plane. The obvious doesn't need to be said.</scene_description> <character>HAWK</character> <dialogue>This was my Blackbird. I retired this very airplane in '90. And here she is.</dialogue> <character>SARA</character> <dialogue>I've never actually seen one before.</dialogue> <scene_description>Hawk smiles like a proud parent showing off his kid.</scene_description> <character>HAWK</character> <dialogue>SR-71. This is what a plane's supposed to be. She's ugly on the ground, leaks like a sieve. But up around mach one, her seals all expand, she dries up and leans into the wind and goes like hell. I took her right to the edge. 128,000 feet.</dialogue> <scene_description>He runs his hand along the plane's skin, softly, reverently.</scene_description> <character>HAWK</character> <dialogue>She's only happy up there, goin' fast. She's not meant to be sitting on the ground. That's a lousy way to die. Sitting around, waiting...</dialogue> <parenthetical>(pauses)</parenthetical> <dialogue>Eight months. That's the best I can do, huh?</dialogue> <character>SARA</character> <dialogue>They don't know that for sure. There's chemo. Radiation.</dialogue> <character>HAWK</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>I watched my wife go out that way. I ain't taking that road.</dialogue> <scene_description>She nods, making sense of the other evening.</scene_description> <character>SARA</character> <parenthetical>(softly)</parenthetical> <dialogue>The love of your life.</dialogue> <character>HAWK</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>Where the hell is the pancreas, anyway? I don't even know what the damn thing does beside give you cancer.</dialogue> <scene_description>They share a weak laugh.</scene_description> <character>HAWK</character> <dialogue>What odds would you have given us?</dialogue> <character>SARA</character> <dialogue>Better than forty.</dialogue> <scene_description>She smiles coyly. He kisses her and they hug. FRANK approaches tentatively from the other end of the hangar. He sees Hawk and Sara break out of the hug and say a few words. Frank stops and waits respectfully. Sara walks away from Hawk, passing Frank.</scene_description> <character>SARA</character> <dialogue>Hi, Frank.</dialogue> <character>FRANK</character> <dialogue>Sara.</dialogue> <scene_description>Frank approaches Hawk, can't find the words.</scene_description> <character>HAWK</character> <dialogue>I'm sorry, Frank. I know how much this flight meant to you. Looks like I crashed another one. I'm sorry.</dialogue> <scene_description>Frank dreads what he has to say next.</scene_description> <character>FRANK</character> <dialogue>They still want to send us up. Me, Jerry and Tank.</dialogue> <scene_description>Hawk thinks on this, smiles slowly.</scene_description> <character>HAWK</character> <dialogue>Well, that's great, Frank. You played these guys perfectly.</dialogue> <parenthetical>(off Frank's worried look)</parenthetical> <dialogue>You said yes, right?</dialogue> <character>FRANK</character> <dialogue>I didn't say anything.</dialogue> <character>HAWK</character> <dialogue>Don't be an ass, Frank. Don't blow it a second time -- this is your last shot!</dialogue> <character>FRANK</character> <dialogue>This isn't easy, Hawk...</dialogue> <character>HAWK</character> <dialogue>Easy? Don't whine to me about easy.</dialogue> <character>FRANK</character> <dialogue>Put yourself in my shoes --</dialogue> <character>HAWK</character> <dialogue>Oh no you don't. You've blamed me for Daedalus for 40 damn years! You're not laying this one on me! You choke this one, it's you. All you!</dialogue> <character>FRANK</character> <dialogue>What would you do?</dialogue> <character>HAWK</character> <dialogue>I'd leave you behind in a heartbeat!</dialogue> <scene_description>Frank's temper starts to cook -- which is just what Hawk wanted.</scene_description> <character>FRANK</character> <dialogue>You would, wouldn't you?</dialogue> <character>HAWK</character> <dialogue>To go into space? Bet your ass, boy. In a heartbeat.</dialogue> <scene_description>Hawk turns on his heels and walks off. He stops and spins around.</scene_description> <character>HAWK</character> <dialogue>You know what the worst day in my life was, Frank? The day I met you and you put the idea in my head that I could pilot a ship into space.</dialogue> <scene_description>He turns and walks off. Frank watches him go. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. VEHICLE ASSEMBLY BUILDING - NIGHT</stage_direction> <scene_description>The mammoth hangar is the height of a thirty-story skyscraper, but we can't tell from this angle. Frank shows his clearance badge to the SECURITY GUARDS at the door.</scene_description> <character>GUARD</character> <dialogue>How can I help you, Colonel?</dialogue> <character>FRANK</character> <dialogue>I just wanted to go inside and have a look.</dialogue> <character>GUARD</character> <dialogue>Everyone's left for the night, tomorrow's roll-out, you know.</dialogue> <character>FRANK</character> <dialogue>That's okay, I want to be alone.</dialogue> <character>GUARD</character> <dialogue>Yes, sir.</dialogue> <parenthetical>(opens door)</parenthetical> <dialogue>By the way, I thought you might find it funny: My daughter has a photo of you on her wall next to Leonardo DiCaprio.</dialogue> <character>FRANK</character> <dialogue>And why would I find that funny?</dialogue> <scene_description>Frank winks, pats the guy on the shoulder. And goes --</scene_description> </scene> <scene> <stage_direction>INT. VEHICLE ASSEMBLY PLANT - CONTINUOUS ACTION</stage_direction> <scene_description>We STAY TIGHT ON Frank as he walks across the expansive floor, looking up at something. (NOTE: This is the biggest enclosed space in the world, but we don't get the sense of that yet.) Frank sits down on the floor, props himself up against the wall. He sticks a piece of bubble gum in his mouth, chews, blows a bubble as he looks up at it... DISSOLVE TO: FRANK - LATER in the same position, only sound asleep. An enormous MOTOR WHIRS as daylight streams across Frank's face. His eyes squint open, and he looks over at the light, coming from -- MIGHTY CONCRETE DOORS rolling apart, letting in a slit of light a foot wide and thirty stories high. The light hits -- SPACE SHUTTLE sitting on its enormous roll-out platform. Rays of sunlight play on the brand new titanium skin and protective tiles. She's positively gleaming in the morning sun, her fuel tanks and solid rocket boosters dwarfing everything around it, including -- FRANK who stares up in awe at it. The ground crew stands by proudly, preparing for roll- out. A CONSTRUCTION TECH sees Frank.</scene_description> <character>CONSTRUCTION TECH</character> <dialogue>Sir, are you here for roll-out?</dialogue> <character>FRANK</character> <dialogue>No.</dialogue> <scene_description>He gets up and strides out of the hangar, passing through the slowly-expanding slit of the concrete doors and onto the crawler-way as the one MPH roll-out begins behind him. The ground crew looks at him strangely.</scene_description> </scene> <scene> <stage_direction>INT. GERSON'S OFFICE - MORNING</stage_direction> <scene_description>Sara talks with Gerson. Frank enters the room.</scene_description> <character>FRANK</character> <dialogue>I'm not going. Not without Hawk.</dialogue> <character>GERSON</character> <dialogue>You're blackmailing me again, aren't you?</dialogue> <character>FRANK</character> <dialogue>No. I'll teach Ethan everything he needs to know. But I don't go up without Hawk.</dialogue> <scene_description>Frank turns around and exits. Gerson turns slowly to Sara.</scene_description> <character>GERSON</character> <dialogue>Next idea, Miss Holland?</dialogue> <character>SARA</character> <dialogue>You know, even with the cancer, Colonel Hawkins passed all his physicals. There's really no reason he can't fly the mission. Especially with a back-up.</dialogue> <character>GERSON</character> <dialogue>Frank Corvin is going to put me in the nut-house.</dialogue> <scene_description>Sara holds back her smile, runs out of the room.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER - ENTRY HALL - MOMENTS LATER</stage_direction> <scene_description>Frank walks to the front door. He knows he's done the right thing, but it hasn't brought him any joy. A SECURITY GUARD grabs his arm. He pushes the man off, keeps on walking.</scene_description> <character>SECURITY</character> <dialogue>Colonel Corvin, Miss Holland would like you to wait here.</dialogue> <scene_description>Frank stops, turns around. Sara exits an elevator, breaking into a wide grin.</scene_description> <character>SARA</character> <dialogue>Team Daedalus -- all of Team Daedalus -- has a launch in 92 hours. Let's get rested and prepped.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONFERENCE ROOM - DAY</stage_direction> <scene_description>THREE TECHS, Sara, and Davis in a huddle. Very serious, looks of dreading and foreboding.</scene_description> <character>SARA</character> <dialogue>This is a problem. Somebody has to deal with it.</dialogue> <character>TECH #1</character> <dialogue>Don't look at me. I'm not doing it.</dialogue> <character>TECH #2</character> <dialogue>I'm not doing it either.</dialogue> <scene_description>Sara looks pleadingly to Davis.</scene_description> <character>DAVIS</character> <dialogue>No way. I'm not trained for this. I'm just the flight director.</dialogue> <scene_description>Sara winces.</scene_description> </scene> <scene> <stage_direction>INT. SUIT-UP ROOM - ANGLE ON FRANK, HAWK, TANK, AND</stage_direction> <scene_description>JERRY - AT THAT MOMENT Across the room, in their spacesuits, holding their helmets. A last minute helmet fitting. Sara enters, walks over.</scene_description> <character>SARA</character> <dialogue>Jerry, can I talk to you in private?</dialogue> <character>JERRY</character> <dialogue>Sure thing, pretty lady.</dialogue> <scene_description>They walk over to a corner where they can have some privacy.</scene_description> <character>JERRY</character> <dialogue>Now how can I be of service?</dialogue> <scene_description>Sara hesitates with dread, can't look him in the eye.</scene_description> <character>SARA</character> <dialogue>It's your toupee, Jerry. You're going to have to remove it.</dialogue> <character>JERRY</character> <dialogue>What toupee?</dialogue> <scene_description>Sara stares at him blankly, doesn't know what to say next. He gives her a coy wink.</scene_description> <character>JERRY</character> <dialogue>But I'll get a haircut if you like.</dialogue> <scene_description>STEVE MILLER's "Space Cowboy" thunders in as we... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TRAINING ENTRYWAY - NEXT DAY</stage_direction> <scene_description>Female engineers swoon, whistling, giving high-fives to!--! Jerry swaggers down the hall in his blue NASA astronaut jumpsuit, zipper down to his chest, gold chain dangling, a Stetson on his head. He does a disco twirl and removes his hat to reveal his shiny pate -- he has totally shaved his head and pierced both ears.</scene_description> <character>JERRY</character> <dialogue>Come on girls, give it up for the space cowboy!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. READY ROOM (CAPE CANAVERAL) - NIGHT</stage_direction> <scene_description>Pre-dawn launch. Team Daedalus, Roger and Ethan go through the final suit-up and preparations. Quiet, thoughtful, nerves in evidence -- a pre-game, locker-room feel. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL (HOUSTON)</stage_direction> <scene_description>The place is humming with activity. Engineers at their stations, Sara flips through computer spreadsheets. Eugene Davis barks through the checklist procedure through his headset -- every answer coming over the COMMUNICATOR is "GO."</scene_description> <character>DAVIS</character> <dialogue>P.P.C, Guidance, Cape Flight, L.P.S., L.R.D...</dialogue> </scene> <scene> <stage_direction>EXT. ASTRONAUT BLOCKHOUSE - NIGHT</stage_direction> <scene_description>The doors open, Team Daedalus comes out -- to the applause and cheers of -- SMALL CROWD OF PEOPLE standing on the other side of a cordon. The crowd is a select one -- Frank's wife Barbara, members of Tank's congregation, Jerry's girl friend, Roger's wife and kid, Ethan's mother. The astronauts walk to a cordon, about 15 feet from their loved ones and shout their goodbyes. (NOTE: The unintimate goodbye is necessary to keep the astronauts from getting contaminated before boarding.)</scene_description> <character>FRANK</character> <parenthetical>(to Barbara)</parenthetical> <dialogue>Why are you so nervous?</dialogue> <character>BARBARA</character> <parenthetical>(what a stupid question)</parenthetical> <dialogue>Why am I nervous.</dialogue> <scene_description>Husband and wife stare at each other. Barbara looks to Frank's right, signals for Frank to look at -- HAWK He stands there, silently watching everybody else bidding farewell to their loved ones. The loner, he is the only one with no one to say goodbye to, but doesn't seemed bothered.</scene_description> <character>BARBARA</character> <dialogue>You bring that man back alive, Hawk.</dialogue> <character>HAWK</character> <dialogue>It's against my better judgement, Barb, but if that's your wish, I'll honor it.</dialogue> <scene_description>They all laugh, say final goodbyes and board the NASA van.</scene_description> </scene> <scene> <stage_direction>EXT. LAUNCH PAD -B - MOMENTS LATER</stage_direction> <scene_description>The space shuttle, poised on the pad, glowing in the beacon lights, clouds of VAPOR SNORT out as she is fueled -- this ship is alive, waiting for them. The van stops. The men exit and pause -- letting their eyes travel to the top.</scene_description> <character>HAWK</character> <dialogue>Hot-damn, Sam... that's a bird.</dialogue> <scene_description>Tank points to the side of the shuttle.</scene_description> <character>TANK</character> <dialogue>Well I'll be.</dialogue> <scene_description>Printed on the side, the name of the new shuttle: "DAEDALUS." The men smile in disbelief.</scene_description> <character>FRANK</character> <dialogue>Nice touch.</dialogue> </scene> <scene> <stage_direction>INT. TOP OF TOWER - WHITE ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>QUALLS, the launch safety officer, awaits -- giving their pressure suits a final check. He's as nervous and excited as they are, just not as skilled in hiding it.</scene_description> <character>QUALLS</character> <dialogue>General Corvin, General Hawkins, welcome to Daedalus.</dialogue> <character>FRANK</character> <dialogue>We're only colonels, Mr. Qualls.</dialogue> <character>QUALLS</character> <dialogue>I'm just sayin' it like it oughtta be.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - CONTINUOUS ACTION</stage_direction> <scene_description>The men are brought aboard the now-vertical ship, one by one. All business now, the techs and flight engineers strap them in, seal their helmets, and get their oxygen and communicators up and going. His job done, Qualls pauses at the round hatch, his eyes glistening, face beaming with pride.</scene_description> <character>QUALLS</character> <dialogue>You're good to go, men. See ya back on the ground, Team Daedalus.</dialogue> <scene_description>He slams the hatch shut. The men stare straight ahead, listening as the BOLTS SLAM into place and the airlock seals up. Then a deafening silence. Not on-line yet, they sit in a moment's contemplation. Looking at one another, realizing this is it.</scene_description> <character>FRANK</character> <dialogue>I don't know, maybe a prayer is in order. Reverend?</dialogue> <character>TANK</character> <dialogue>I was just reciting the Shepherd's prayer.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Alan Shepherd's prayer.</dialogue> <scene_description>All smile -- even Roger -- and together recite Alan Shepherd's famous pre-launch prayer on his 1961 Mercury flight.</scene_description> <character>TEAM DAEDALUS</character> <dialogue>Oh Lord, please don't let me fuck up.</dialogue> <scene_description>OVERLAPS TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - SIMULTANEOUS ACTION</stage_direction> <scene_description>They hear. And laugh and applaud, a great tension breaker.</scene_description> <character>DAVIS</character> <dialogue>Very appropriate, Reverend.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. LAUNCH PAD -B - PRE-DAWN (T-MINUS ONE MINUTE)</stage_direction> <scene_description>Not a human being in sight. Just space shuttle Daedalus -- fuel tanks filled with 4.5 million gallons of liquid hydrogen and oxygen, breathing steam, barely held to the gantry. Ready to go. As the VOICE of the LAUNCH CONTROL OFFICER (LC) commences the FINAL COUNTDOWN... SERIES OF SHOTS A) INSIDE OF COCKPIT is aglow with the instruments and screens. B) HAWK performs the final preparations and checks. C) CAPCOM continues his monotonous checklist of NASA three- letter acronyms. D) INSIDE HOUSTON MISSION CONTROL Davis's check is complete. He settles into the flight director's chair, watching the big screen with Daedalus on it. Sara puts her print-out aside.</scene_description> <character>LC</character> <dialogue>T-Minus 15 seconds.</dialogue> <scene_description>The room goes still. This remains the most tense moment of any mission -- no one has forgotten Challenger around here.</scene_description> <character>LC</character> <dialogue>EXT. ROOF OF CAPE HEADQUARTERS - THAT MOMENT</dialogue> <dialogue>The gallery of family, friends and officials joins in the countdown... Silent, awestruck.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>FLASH TO each of the men of Daedalus. Faces serious, anticipating. Hawk's is more like a kid's -- awaiting his ride on Space Mountain. Frank's shows just a hint of anxiety...</scene_description> <character>LC (V.O.)</character> <dialogue>9, 8, 7... ignition sequence begin. We have main engine start.</dialogue> <scene_description>ANGLE FROM ROOF OF CAPE HEADQUARTERS - THAT MOMENT The night sky is lit up for miles as the ENGINES ROAR to life. The SHUTTLE SHUDDERS from the force, "twanging in" 40 inches towards its liquid hydrogen fuel tank.</scene_description> <character>LC (V.O.)</character> <dialogue>3, 2, 1... and lift off. Lift off of space shuttle Daedalus, and S.T.S.-200.</dialogue> <scene_description>And the mighty ship slowly, majestically rises, shaking off her tethers. Shuttle Daedalus is on her way.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Thunderous applause -- but all eyes remain riveted to the screen as she clears the tower.</scene_description> <character>SARA</character> <dialogue>Go get 'em, guys.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Shoved hard into their seats as they go from 0 to Mach 1. Hawk war whoops with delight as the shuttle rolls over in her inverted flight attitude.</scene_description> <character>FRANK</character> <dialogue>Houston, this is Daedalus. Roll program.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Roger roll, Daedalus.</dialogue> <character>JERRY</character> <dialogue>Omigod...!!!</dialogue> <character>TANK</character> <parenthetical>(laughing under the G's)</parenthetical> <dialogue>Thank you, God.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Daedalus, you are go at throttle up.</dialogue> <character>FRANK</character> <dialogue>Roger, go at throttle up.</dialogue> <scene_description>He fights the G's to turn to look at Hawk -- who is just waiting for the command.</scene_description> <character>FRANK</character> <dialogue>Pull the trigger, Hawk.</dialogue> <scene_description>Hawk grins, and throws the throttle up.</scene_description> <character>CAPCOM (V.O.)</character> <dialogue>Stand by for separation of S.R.B.'s...</dialogue> <character>FRANK</character> <dialogue>Roger, Houston. Standing by... 3, 2, 1...</dialogue> <scene_description>A THUNDEROUS EXPLOSION...</scene_description> </scene> <scene> <stage_direction>EXT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The SOLID ROCKET BOOSTERS IGNITE, FIRING DAEDALUS out of the stratosphere and into HYPER-SONIC speed.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <character>FRANK</character> <dialogue>S.R.B.s are gone.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Roger, Daedalus. You are negative return.</dialogue> <character>FRANK</character> <dialogue>Roger, Houston. Negative return.</dialogue> <parenthetical>(to Hawk)</parenthetical> <dialogue>We're a dot.</dialogue> </scene> <scene> <stage_direction>EXT. PAD -B - THAT MOMENT</stage_direction> <scene_description>Darkness returns. Space shuttle Daedalus is now just a tiny pinpoint of light, high in the pre-dawn sky -- heading east towards the rising sun. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE DAEDALUS - T-PLUS MINUTES</stage_direction> <scene_description>17,100 MPH, in Earth orbit.</scene_description> <character>HAWK</character> <dialogue>Houston, this is Daedalus. Do we have a go for orbit OPS?</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Roger, Daedalus. You are go for orbit OPS. Good work, guys.</dialogue> <scene_description>They remove their helmets and watch them float away. Frank unbuckles and pushes off from his seat, followed by the others. They float about the cabin, weightless, tumbling, goofing like kids. Except Ethan: he's all professionalism and seriousness. FRANK stares THROUGH the window on one side at the vivid blue and white earth beneath him, small, tangible. Smiling, elated, he looks over his shoulder at -- HAWK staring THROUGH window on other side. Hawk looks at the moon -- and it is huge and bright. Hawk looks back at Frank.</scene_description> <character>HAWK</character> <dialogue>It was worth the wait.</dialogue> <character>FRANK</character> <dialogue>Yeah. It was.</dialogue> <scene_description>Hawk holds out his hand. After a beat, Frank grabs it.</scene_description> <character>HAWK</character> <dialogue>Thanks, Frank. I owe you one.</dialogue> <scene_description>They reel each other in, the handshake becoming a meaningful hug between two old friends. Roger floats up to Hawk.</scene_description> <character>ROGER</character> <dialogue>Not a bad take-off, for a rookie. You're over now.</dialogue> <parenthetical>(off Hawk's puzzled look)</parenthetical> <dialogue>Over the edge. You're in space. Welcome to the club.</dialogue> <scene_description>Big grin, big slap on the back. MID-DECK - LATER Jerry tries to prepare himself a snack, fumbling with the galley equipment. Frustrated as his afternoon snack takes flight in the weightless compartment. He attempts to retrieve it.</scene_description> <character>ETHAN</character> <dialogue>Let's get ready, everyone, we have a live global broadcast in two minutes.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Frank and the rest of the team can be seen on a giant TV monitor. Eugene Davis, Sara, Barbara Corvin and WALTER CRONKITE stand by.</scene_description> <character>TECH</character> <dialogue>5... 4... 3... 2...</dialogue> <scene_description>He waves his finger down, a signal to Cronkite.</scene_description> <character>CRONKITE</character> <dialogue>Good morning, Colonel.</dialogue> <scene_description>When Frank speaks, his lips are curled around his gums and he sounds odd, like he has no teeth.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Good morning, Walter.</dialogue> <character>CRONKITE</character> <dialogue>Well I guess the question on everyone's mind is: how has age affected your ability to command this shuttle so far?</dialogue> <character>FRANK (V.O.)</character> <dialogue>As you and I know, Walter, age is a very overrated factor in determining one's capabilities...</dialogue> <scene_description>As Frank talks, a pair of dentures floats by, between Frank and the video camera. He reaches out and grabs them.</scene_description> <character>FRANK (V.O.)</character> <dialogue>I've been looking everywhere for these.</dialogue> <scene_description>A tense moment at Mission Control, until Frank uncurls his lips from his teeth and grins. Whooping laughter from the entire room, including Sara, Eugene, and Cronkite. Barbara, Frank's wife, covers her face in embarrassment.</scene_description> <character>BARBARA</character> <dialogue>No. I didn't just see that.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - MOMENTS LATER</stage_direction> <scene_description>Frank and the crew stare into the video camera.</scene_description> <character>FRANK &amp; CREW</character> <dialogue>So long, everyone.</dialogue> <scene_description>The camera's light goes from green to red. Ethan puts himself in Frank's face, mighty pissed.</scene_description> <character>ETHAN</character> <dialogue>What the hell was that?</dialogue> <character>FRANK</character> <dialogue>'That' was a joke.</dialogue> <character>ETHAN</character> <dialogue>Not funny. Half the world was watching us, we represent the best America has to offer. Why can't you act your age?</dialogue> <character>FRANK</character> <dialogue>Lighten up, peachfuzz. Take a moment and enjoy yourself, you're in space.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL (HOUSTON)</stage_direction> <scene_description>In the far corner, Gerson and General Vostov huddle in conference. Vostov is sweating nervously.</scene_description> <character>GERSON</character> <dialogue>Four hours to intercept. We're right on schedule.</dialogue> <character>VOSTOV</character> <dialogue>That's not what I'm worried about.</dialogue> <character>GERSON</character> <dialogue>Relax. Our man is up there with them.</dialogue> <scene_description>ANGLE - FLIGHT DIRECTOR'S CONSOLE Eugene Davis monitors the situation. Sara, on headset, talks to the payload engineer on the floor.</scene_description> <character>SARA</character> <dialogue>Okay, Daedalus's got Ikon on the scopes. We should have a visual momentarily.</dialogue> <character>DAVIS</character> <dialogue>Stand by for terminal initiation burn.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE COCKPIT</stage_direction> <scene_description>Hawk and Roger gingerly guide the shuttle towards an object on the radar screen. Work mode now, the crew is getting set to grab Ikon.</scene_description> <character>HAWK</character> <dialogue>Range 5,000 meters.</dialogue> <scene_description>TANK AND JERRY In the crew cabin, operating the capture control. They stare at a tiny dot on the video guidance screen. Tank sweats it.</scene_description> <character>JERRY</character> <dialogue>Roger, Hawk. We've got a visual here.</dialogue> <character>HAWK</character> <dialogue>Standing by for a 15 second burn.</dialogue> <character>FRANK</character> <dialogue>Let's go ahead and deploy the arm.</dialogue> <scene_description>Tank operates a joystick, focusing intently on the screen. No smiling and joking now.</scene_description> </scene> <scene> <stage_direction>EXT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The shuttle's grappling arm unfolds from the open cargo bay.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <character>TANK</character> <dialogue>Deploying the arm. 2200 feet, dead center. Good driving up there, Hawk.</dialogue> <character>FRANK</character> <dialogue>Let's light 'em up.</dialogue> <scene_description>Hawk cranes his neck to see the satellite growing nearer.</scene_description> <character>HAWK</character> <dialogue>Stand by. T.I. burn in four, three, two, one...</dialogue> <scene_description>He hits a glowing switch. The shuttle's orbital maneuvering ENGINES FIRE, slowing them down on the line to satellite Ikon.</scene_description> <character>HAWK</character> <dialogue>Hello, Ikon. And how are we feeling today?</dialogue> <character>ROGER</character> <dialogue>Activating secondary radar and floods.</dialogue> <scene_description>Roger flips two switches.</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE IKON - THAT MOMENT</stage_direction> <scene_description>The shuttle hits Ikon with a flood light. Suddenly, like an origami flower unfolding into a dragon, the satellite slowly transforms into something very menacing looking. It morphs and grows, modules coming out of modules. The solar panels fold back like the ears of an attacking dogs. It slowly rotates to face the shuttle.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank stares through the bay window. His mouth drops open.</scene_description> <character>FRANK</character> <dialogue>Dear God...</dialogue> <scene_description>Roger hears SOMETHING on the RADAR.</scene_description> <character>ROGER</character> <dialogue>Holy shit, this thing's trying to get tone on us!</dialogue> <character>ETHAN</character> <dialogue>What are you talking about?</dialogue> <character>HAWK</character> <dialogue>It's painting a target on us. It thinks we're a bogie. Kill the radar.</dialogue> <scene_description>Roger flips OFF the RADAR. They wait nervously.</scene_description> </scene> <scene> <stage_direction>EXT. SATELLITE IKON - THAT MOMENT</stage_direction> <scene_description>It completes its rotation, facing the shuttle. We can see painted on the side of Ikon the faded letters "C.C.C.P."</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>A tense beat passes. They all stare through the cockpit window.</scene_description> <character>ROGER</character> <dialogue>We're okay.</dialogue> <character>JERRY</character> <dialogue>No wonder the damn thing's orbit is decaying. It's gotta weigh 50 tons.</dialogue> <character>FRANK</character> <dialogue>Fire the retros, Hawk.</dialogue> <parenthetical>(into headset)</parenthetical> <dialogue>Houston, Daedalus. Do you see what we see?</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Roger, Daedalus. We're studying it from here. Stand by for a decision.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Davis, in deep thought, watches Ikon on the screen along with everyone else in Mission Control.</scene_description> <character>DAVIS</character> <dialogue>Does that look like a communications satellite to you, Sara?</dialogue> <character>SARA</character> <parenthetical>(turns to Vostov)</parenthetical> <dialogue>General, what kind of modifications have your people made here?</dialogue> <character>DAVIS</character> <dialogue>There's just so much stress that grappling arm can take.</dialogue> <scene_description>Vostov stumbles.</scene_description> <character>GERSON</character> <dialogue>It's within operational limits. Tell Frank he can latch on.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE - PAYLOAD CAPTURE BAY</stage_direction> <scene_description>Frank stares out at the cockpit windows, mesmerized by Ikon.</scene_description> <character>FRANK</character> <dialogue>That is the damnedest thing I ever saw.</dialogue> <character>JERRY</character> <dialogue>It must be fitted with some kind of self-defense mechanism. The radar must have activated it.</dialogue> <character>FRANK</character> <dialogue>Can you grab it, Tank?</dialogue> <character>TANK</character> <dialogue>Yeah. I can reconfigure. I'm just worried about the mass.</dialogue> <character>FRANK</character> <dialogue>I'm worried the damn thing's gonna get pissed off again.</dialogue> <character>JERRY</character> <dialogue>Tank, you're gonna have to latch on without any radar assist.</dialogue> <character>TANK</character> <dialogue>Tank's gonna have to do what?</dialogue> <character>FRANK</character> <dialogue>I don't know about this.</dialogue> <character>ETHAN</character> <dialogue>The objective of this mission is the restoration of this satellite. Let's get on with it.</dialogue> <character>FRANK</character> <dialogue>I'm not getting my crew killed -- and that includes you.</dialogue> <parenthetical>(into communicator)</parenthetical> <dialogue>Houston, Daedalus. We're still standing by.</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Daedalus, this is Houston. You have a go for capture.</dialogue> <character>FRANK</character> <dialogue>Roger, Houston. We copy. Okay, guys, let's grab it and have a look.</dialogue> </scene> <scene> <stage_direction>EXT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Hawk has maneuvered the shuttle to within 10 feet -- the grappling arm extended.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE COCKPIT - THAT MOMENT</stage_direction> <scene_description>Roger turns to Hawk.</scene_description> <character>ROGER</character> <dialogue>Is he as good as you say he is?</dialogue> <character>HAWK</character> <dialogue>Tank? He's da man.</dialogue> <scene_description>Tank is in The Zone. He moves the arm with robotic precision.</scene_description> <character>ETHAN</character> <dialogue>Drifting left, Tank! That's too far!</dialogue> <character>TANK</character> <dialogue>Hail Mary, full of grace, holy shit! I got it!</dialogue> </scene> <scene> <stage_direction>EXT. SATELLITE - THAT MOMENT</stage_direction> <scene_description>The grappling arm contacts the satellite, and locks on.</scene_description> <character>HAWK</character> <dialogue>You da man, Tank.</dialogue> <character>TANK</character> <dialogue>I da man.</dialogue> <scene_description>High fives all around. Even Ethan is impressed.</scene_description> </scene> <scene> <stage_direction>INT. AIRLOCK - LATER</stage_direction> <scene_description>Frank, Ethan and Jerry do a final hook-up in their space suits and MMUs (Manned Maneuvering Units). Roger looks them all over, nods his approval.</scene_description> <character>ROGER</character> <dialogue>Man, you boys look sharp.</dialogue> <scene_description>He exits the airlock. The SEAL on the door HISSES as it opens and they float into --</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - CONTINUOUS ACTION</stage_direction> <character>DAVIS (V.O.)</character> <parenthetical>(over radio)</parenthetical> <dialogue>Welcome to space, Frank. You've waited a while for this.</dialogue> <character>FRANK</character> <dialogue>Only forty years.</dialogue> <scene_description>They rip around like George Jetson.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Everyone watches Frank jet around the satellite in his MMU, laughing.</scene_description> <character>FRANK</character> <dialogue>This feels kinda like that '43 Buick you used to drive, Gene. A little slow around the curves, brakes don't work for shit.</dialogue> <character>JERRY</character> <dialogue>All right, cowboys, let's herd 'em up. We do have a job here, you know.</dialogue> <scene_description>And they approach Satellite Ikon. Jerry latches his MMU to the side of the satellite next to the panel. Ethan hovers nearby.</scene_description> </scene> <scene> <stage_direction>EXT. IKON - LATER</stage_direction> <scene_description>Frank and Ethan float inside a long, narrow cylindrical compartment inside the satellite; they are deep into the repair. Several control panel plates float freely, the circuit patch boards exposed. Frank throws a switch inside a control panel. Pinpoint lights fade on inside the compartment.</scene_description> <character>FRANK</character> <dialogue>Okay, we've got power now. Let's have a look at the brains.</dialogue> <scene_description>Frank goes to open a new access panel with his cordless drill.</scene_description> <character>ETHAN</character> <dialogue>Frank. I don't think that's the panel.</dialogue> <scene_description>Ethan is below Frank, couldn't get to Frank's access panel in the cramped quarters if he wanted to.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Gerson and Vostov watch the goings-on anxiously.</scene_description> </scene> <scene> <stage_direction>EXT. IKON - THAT MOMENT</stage_direction> <scene_description>With the cordless drill Frank unscrews the last sheet metal screw, removing an access panel. In the shadows of the compartment, Frank sees a long cylindrical object. He aims a penlight at it. Its tip is bullet-shaped, the tail disappears into darkness.</scene_description> <character>FRANK</character> <dialogue>Abort activity.</dialogue> <character>JERRY</character> <dialogue>What is it, Frank?</dialogue> <character>ETHAN</character> <dialogue>Frank, listen to me --</dialogue> <character>FRANK</character> <dialogue>I said, abort activity!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE AIR-LOCK - MOMENTS LATER</stage_direction> <scene_description>In decompression. They remove their helmets. Frank is confused, and furious.</scene_description> <character>FRANK</character> <dialogue>Ethan, what the hell is going on here? What is this damn thing?</dialogue> <character>ETHAN</character> <dialogue>A Russian Communications satellite, Colonel.</dialogue> <character>FRANK</character> <dialogue>Bullshit! You think I don't know a nuclear launch platform when I see it?! Why the hell are we helping the Russians put a missile silo back into orbit?</dialogue> <character>ETHAN</character> <dialogue>You're some kind of genius, you figure it out.</dialogue> <scene_description>Frank shoves Ethan in the chest hard. He flies backwards into the bulkhead.</scene_description> <character>ETHAN</character> <dialogue>You're only here as a publicity stunt. You got what you wanted, you're in space. Now finish the mission!</dialogue> <scene_description>Frank looks duped and unhappy about it. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - LATER</stage_direction> <scene_description>Davis, Sara, Gerson and Vostov look up at Frank on the video screen.</scene_description> <character>DAVIS</character> <dialogue>Okay, Frank. This is a secure line.</dialogue> <character>FRANK (V.O.)</character> <dialogue>You have good reason not to want this bird to fall, Gene. It has six armed nuclear warheads onboard.</dialogue> <scene_description>Davis turns to Gerson, incredulous.</scene_description> <character>DAVIS</character> <dialogue>What's he talking about?</dialogue> <scene_description>Gerson looks as incredulous as everyone else.</scene_description> <character>GERSON</character> <dialogue>I have no idea.</dialogue> <parenthetical>(to Vostov)</parenthetical> <dialogue>General, is there something you'd like to tell us?</dialogue> <scene_description>At first Vostov looks betrayed, then faces Sara and Davis.</scene_description> <character>VOSTOV</character> <dialogue>Ikon is a relic from the cold war. It has floated dead in space ever since the Soviet Union fell. There are six missiles onboard targeted at strategic American installations. All, most regretably, in large metropolitan areas. If Ikon goes off-line it will assume that there has been a catastrophe and will initiate launch on its own.</dialogue> <scene_description>The silence is deafening.</scene_description> <character>SARA</character> <dialogue>You picked a helluva time for a confession, General.</dialogue> <character>GERSON</character> <parenthetical>(indignant)</parenthetical> <dialogue>Those are our men up there. This is a treaty violation. A big one.</dialogue> <character>VOSTOV</character> <parenthetical>(under his breath)</parenthetical> <dialogue>You bastard.</dialogue> <character>FRANK (V.O.)</character> <dialogue>You know, it's really touching, Bob -- your concern for our safety and all. While you're at it, maybe you could ask the General how my guidance system for SkyLab ended up on this six-gun.</dialogue> <scene_description>Gerson squirms.</scene_description> <character>VOSTOV</character> <dialogue>It was stolen by the KGB from Mr. Gerson's personal files.</dialogue> <scene_description>Sara and Davis look at Gerson, shocked. Gerson acts aghast.</scene_description> <character>GERSON</character> <dialogue>This is all new to me.</dialogue> <character>FRANK (V.O.)</character> <dialogue>You'd hook us on to this bastard, put it back into orbit fully armed, and keep it a secret just to save your own ass?</dialogue> <character>DAVIS</character> <dialogue>People, we have a real problem to deal with. We don't have time for this now.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank looks morose. Hawk kills the transmit switch.</scene_description> <character>HAWK</character> <dialogue>Huddle. We got a big-ass problem. We're locked into a 20-megaton hydrogen bomb going 17,000 miles an hour.</dialogue> <character>FRANK</character> <dialogue>Jerry, how high can we send this shitheap? Can we get it into deep space?</dialogue> <character>JERRY</character> <dialogue>With three Payload Assist rockets? Just. Maybe. I don't know.</dialogue> <scene_description>The "AIRLOCK OPEN" light blinks, accompanied by a BUZZER.</scene_description> <character>FRANK</character> <dialogue>What the hell's that?</dialogue> <scene_description>Hawk floats to the side window, sees Ethan, in the MMU, floating towards the satellite, towing the Payload Assist Modules (three four-foot-long rockets strapped to an aluminum pallet) with a tether. Frank furiously shouts into the communicator.</scene_description> <character>FRANK</character> <dialogue>Ethan, what are you doing?!</dialogue> <character>ETHAN (V.O.)</character> <dialogue>Your job, Frank. I'm putting Ikon back into geo-sync orbit.</dialogue> <character>FRANK</character> <dialogue>You don't know what you're doing, Ethan! Get back here!</dialogue> <parenthetical>(on no response)</parenthetical> <dialogue>Ethan -- !?</dialogue> </scene> <scene> <stage_direction>EXT. IKON - THAT MOMENT</stage_direction> <scene_description>Ethan, propelling himself towards Ikon, flicks OFF his RADIO, cutting off Frank. He reaches Ikon, latching his MMU to the side of the satellite.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank goes to the airlock door.</scene_description> <character>JERRY</character> <dialogue>Frank, he jammed the airlock door.</dialogue> <character>FRANK</character> <dialogue>Open the panel and override it!</dialogue> </scene> <scene> <stage_direction>EXT. IKON - THAT MOMENT</stage_direction> <scene_description>Ethan unbuckles the rockets and removes one. The other two float freely next to him in space. He starts locking the rocket in place on a circuited bracket on the belly of the satellite.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank talks into the communicator.</scene_description> <character>FRANK</character> <dialogue>Ethan! Do not lock-on the P.A.M. rockets, do you read me!?</dialogue> <parenthetical>(urgent, to Jerry)</parenthetical> <dialogue>How long?</dialogue> <character>JERRY</character> <dialogue>I almost have it, Frank.</dialogue> </scene> <scene> <stage_direction>EXT. IKON - THAT MOMENT</stage_direction> <scene_description>Ethan locks the first P.A.M. rocket in place. As he clamps it down, it suddenly FIRES a SHORT POWERFUL BURST -- The satellite lurches on the shuttle's arm, twisting it, heading right towards the shuttle.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The SATELLITE CRASHES into the BULKHEAD with an ENORMOUS BOOM! The bracing and shelving collapses under the weight and on top of Roger. He is slammed to the floor, head bleeding badly. Pandemonium. Pressure leak starts, oxygen escapes, a fire in the aft crew compartment. Team Daedalus reacts, all their actions drilled, they attack the situation swiftly.</scene_description> <character>TANK</character> <dialogue>Roger's hurt mid-deck! Bleeding bad!</dialogue> <character>FRANK</character> <dialogue>He's yours, Tank!</dialogue> <character>JERRY</character> <dialogue>We got a fire in here!</dialogue> <character>HAWK</character> <dialogue>Coming in!</dialogue> <scene_description>As he floats by the window hatch, fighting the smoke, he glances outside -- and freezes in horror:</scene_description> <character>HAWK</character> <dialogue>Oh shit!!!</dialogue> <parenthetical>(shouting)</parenthetical> <dialogue>We lost Ikon and Ethan!</dialogue> <scene_description>SATELLITE IKON has bounced off the shuttle and is falling towards Earth. It is taking the shuttle's broken retractor arm and Ethan, in MMU, with it. It moves at what looks to be about 2 mph. It jetisons six panels in unison, leaving debris in its wake.</scene_description> <character>ETHAN (V.O.)</character> <parenthetical>(over radio)</parenthetical> <dialogue>Help me!!</dialogue> <scene_description>Hawk flies over to Frank, sucking on an oxygen regulator.</scene_description> <character>FRANK</character> <parenthetical>(as Hawk nods)</parenthetical> <dialogue>Tank! Contain the situation! Hawk and I are going out.</dialogue> <scene_description>Frank and Hawk reach the airlock door. Jerry works frantically on the door's control panel.</scene_description> <character>FRANK</character> <dialogue>Hurry up! We're losing them!</dialogue> <scene_description>The airlock door opens. Hawk and Frank hurry in.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>Pandemonium here, too. Engineers return to their stations. Sara watches in horror as the satellite drifts away from Daedalus.</scene_description> <character>ENGINEER</character> <dialogue>Range 200 meters. It's accelerating, Miss Holland.</dialogue> <character>SARA</character> <dialogue>They're gonna lose it.</dialogue> </scene> <scene> <stage_direction>INT. AIRLOCK - THAT MOMENT</stage_direction> <scene_description>Hawk and Frank finish their suit-up. They fall back into the MMUs and strap them on. Hawk hyperventilates the pure oxygen, trying to replace the nitrogen in his blood with pure O2.</scene_description> <character>FRANK</character> <dialogue>How long till Ikon goes off-line?</dialogue> <character>JERRY</character> <dialogue>Those missiles are heating up right now. You got five minutes, but by that time it'll be out of your range.</dialogue> <character>HAWK</character> <dialogue>Anything else you want to know?</dialogue> <character>FRANK</character> <dialogue>Blow the seal!</dialogue> <scene_description>The AIRLOCK SEAL BLOWS. Hawk and Frank jet out -- INTO SPACE FIRING their MMUs' nitrogen JETS towards the fleeing satellite, side-by-side. Ikon is about two hundred feet away.</scene_description> <character>FRANK</character> <dialogue>Latch-on Starboard. On my signal, fire all jets.</dialogue> <scene_description>They split up. Frank latches his MMU on to one side of the satellite. Hawk latches on to the other.</scene_description> <character>FRANK</character> <dialogue>Fire!</dialogue> <scene_description>The JETS on the two MMU's FIRE in unison, nitrogen vapor spraying out. This is a tough battle, but they're winning, gradually slowing the satellite's fall. Hawk glances at a readout on the MMU: "NITROGEN FUEL AT TEN PERCENT."</scene_description> <character>HAWK</character> <dialogue>I'm at ten percent, Frank.</dialogue> <character>FRANK</character> <dialogue>Don't let it get past five or we're not getting back to the ship.</dialogue> <scene_description>They both release their fingers from the jet triggers. They look up towards the shuttle for a reference. They have stopped the satellite.</scene_description> <character>HAWK</character> <dialogue>She's static.</dialogue> <character>FRANK</character> <dialogue>Houston, we've arrested the fall.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>A collective exhale, a collective cheer.</scene_description> <character>DAVIS</character> <dialogue>Attaboy, Frank.</dialogue> </scene> <scene> <stage_direction>EXT. IKON - THAT MOMENT</stage_direction> <scene_description>Frank hovers over Ethan, still in his MMU, pinned in by the damaged grappling arm. Frank releases the arm, pushes it away and peers inside Ethan's face-plate, sees movement.</scene_description> <character>FRANK</character> <dialogue>He's out.</dialogue> <character>HAWK</character> <dialogue>Throw me the other payload assist modules. I'll hook them up while</dialogue> <dialogue>you bring Johnny Quest back to the ship.</dialogue> <scene_description>Frank looks at the empty pallet... then into space, sees the two PAM rockets floating away, irretrievable.</scene_description> <character>FRANK</character> <dialogue>We got a problem. We only have one rocket.</dialogue> <character>JERRY (V.O.)</character> <dialogue>One P.A.M.'s not gonna get this thing into orbit, Frank! Without active course correction the damn thing'll go in a circle like a boat with one oar in the water!</dialogue> <scene_description>Hawk looks at the satellite, sees that two of the solar panels are crumpled like tin foil.</scene_description> <character>HAWK</character> <parenthetical>(to Frank)</parenthetical> <dialogue>You got another problem.</dialogue> <scene_description>Frank looks over, sees the broken panels.</scene_description> <character>FRANK</character> <dialogue>Shit. Even if we do get her up, she can't power herself with two broken panels.</dialogue> <scene_description>Frank looks down at Earth, sighs, flustered, defeated.</scene_description> <character>HAWK</character> <dialogue>Bring the kid back. Let me take care of this.</dialogue> <character>FRANK</character> <dialogue>And how exactly are you gonna take care of this, professor? You're a pilot.</dialogue> <scene_description>Hawk propels over to a panel on the satellite, pops it open.</scene_description> <character>HAWK</character> <dialogue>Stand back! Blowing solar panels!</dialogue> <character>FRANK</character> <dialogue>Hawk, what are you -- ?!</dialogue> <scene_description>He's interrupted by a MUFFLED EXPLOSION as the giant solar panels blow off. Frank stares at Hawk, dumbfounded, but he knows what Hawk's got planned.</scene_description> <character>HAWK</character> <dialogue>Throw me your auxiliary O2 module.</dialogue> <scene_description>Frank won't. Can't.</scene_description> <character>FRANK</character> <dialogue>No.</dialogue> <character>HAWK</character> <dialogue>I love you, Frank, but why do you always have to be such a killjoy?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You only got one rocket. This damn thing ain't gonna steer itself. You need a pilot.</dialogue> <parenthetical>(as he tilts his head at the moon)</parenthetical> <dialogue>Besides, you ever seen a prettier moon?</dialogue> <scene_description>Frank looks at the moon.</scene_description> <character>JERRY (V.O.)</character> <dialogue>What's he talking about, Frank?</dialogue> <scene_description>They ignore Jerry.</scene_description> <character>FRANK</character> <dialogue>We're a quarter-million miles away. You'll never make it.</dialogue> <character>HAWK</character> <dialogue>Sure I will. It'll be just like hitting a baseball to the moon. All I gotta do is get myself halfway there, the moon's gravity's gonna do the rest. I'll fire these things into deep space and let 'em self-destruct.</dialogue> <scene_description>Frank thinks long and hard. Finally, he detaches his auxiliary O2 tank, tosses it to Hawk. He rips off Ethan's, too, tosses it over. Hawk clips them onto his MMU.</scene_description> <character>HAWK</character> <dialogue>Somebody's gotta be first in every race. Guess it had to be me this time.</dialogue> <character>FRANK</character> <dialogue>Like always, dammit.</dialogue> <scene_description>Frank pulls Ethan out of his MMU.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - MOMENTS LATER</stage_direction> <scene_description>All rapt by the sight on screen -- Hawk setting the payload assist module, talking to Tank.</scene_description> <character>TANK</character> <dialogue>Pitch should be set at 060 degrees.</dialogue> <character>HAWK (V.O.)</character> <dialogue>Roger, 060.</dialogue> </scene> <scene> <stage_direction>INT. CREW CABIN - THAT MOMENT</stage_direction> <scene_description>The airlock door opens. Frank floats into the cabin from the airlock, holding Ethan. Jerry is in Frank's face immediately.</scene_description> <character>JERRY</character> <dialogue>You can't let him do this. There's gotta be another way!</dialogue> <character>FRANK</character> <dialogue>There isn't. I'll explain later.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What's our status here?</dialogue> <character>JERRY</character> <parenthetical>(shocked at Frank)</parenthetical> <dialogue>The orbital maneuvering engines were destroyed in the fire. Computer guidance is gone, and we lost a few heat tiles.</dialogue> <character>FRANK</character> <dialogue>How's Roger?</dialogue> <character>JERRY</character> <dialogue>Concussion.</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>He's out of action, Frank. You're gonna have to pilot this bird in.</dialogue> <scene_description>Frank swallows hard. He looks over at Tank.</scene_description> <character>TANK</character> <dialogue>Don't look at me. I haven't flown anything bigger than a Cessna in thirty years.</dialogue> <scene_description>They hear Hawk's rich LAUGHTER over the RADIO.</scene_description> </scene> <scene> <stage_direction>EXT. SHUTTLE - HAWK</stage_direction> <scene_description>climbs into Ethan's vacant MMU, straps in, still laughing. The moon hangs overhead, feels so close you could reach out and grab it.</scene_description> <character>HAWK</character> <parenthetical>(laughing)</parenthetical> <dialogue>Hey, Frank, it's starting to look</dialogue> <scene_description>like I got the better end of this deal.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Quit laughing, you dummy. You're using up oxygen.</dialogue> <character>HAWK</character> <dialogue>Alright. Let's shoot this baby to the moon!</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - ON FRANK</stage_direction> <scene_description>He flicks up a safety guard on a control panel and hovers his finger over a trigger. A poignant, sardonic grin overcomes him.</scene_description> <character>FRANK</character> <dialogue>I'm gonna countdown to one.</dialogue> <character>FRANK AND HAWK (V.O.)</character> <dialogue>One!</dialogue> <scene_description>Frank hits the button. A bright light -- the P.A.M. IGNITES. The satellite begins to quake, then streaks away.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE</stage_direction> <scene_description>Hawk's head arcs back as he and the satellite accelerate to the moon, which is looming large ahead. Hawk's war whoop can barely be heard over the ROAR of the ENGINE. He makes course corrections with pulses from the nitrogen jets. ON SPACE SHUTTLE - THAT MOMENT Pin-drop silence. Frank watches through the window. Hawk getting smaller, heading right for the moon. The PAM burns out (normal). Quiet.... then --</scene_description> <character>HAWK (V.O.)</character> <parenthetical>(singing, over radio)</parenthetical> <dialogue>Fly me to the moon and let me play among the stars...</dialogue> <scene_description>STATIC CRACKLES as his voice transmission gets weaker. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - AM</stage_direction> <scene_description>Sara watches the trajectory screen at the front of the room. Drained -- exhausted mentally and physically. The situation is serious. Davis comes out of a huddle with flight controllers, and motions Sara to join him at an unoccupied station.</scene_description> <character>DAVIS</character> <dialogue>Ikon has left our gravitational field. Hawk was able to launch the missiles into deep space.</dialogue> <scene_description>She nods slowly, a tear swelling up in her eye.</scene_description> <character>SARA</character> <dialogue>How's Daedalus?</dialogue> <character>DAVIS</character> <dialogue>She's a damaged ship. They're gonna have to reenter the atmosphere, find the correct glide slope, and put her down with no power and no computer.</dialogue> <character>SARA</character> <dialogue>That's impossible.</dialogue> <character>DAVIS</character> <dialogue>Well, it's never been done. The only two pilots alive that could even think about it are Roger and Hawk. Roger's wounded and Hawk's...</dialogue> <scene_description>Sara shuts down emotions and is all business now.</scene_description> <character>SARA</character> <dialogue>Let's get them in as close as we can and abort the landing. They'll have to bail out. What's the survival probability?</dialogue> <character>DAVIS</character> <dialogue>Twenty percent. At best. But it's zero if they try to set her down. The ship's dead. She might not even glide with the structural damage.</dialogue> <character>SARA</character> <dialogue>Twenty's better than zero.</dialogue> <scene_description>She places her headset back on, goes back to work. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE DAEDALUS - LATER</stage_direction> <scene_description>The men go about preparations for reentry in silence. Full pressure suits, attached to their parachutes. Frank eases the injured Roger into his, Tank helps Ethan. Both are helpless, look like children being dressed by a parent. Tank and Jerry retract the drag chute arm that will deploy under the shuttle's wing to release them when they jump.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - COCKPIT</stage_direction> <scene_description>Frank sits at the controls, warning lights blinking everywhere, reading a thick operations manual. Tank makes his way up.</scene_description> <character>TANK</character> <dialogue>You all right?</dialogue> <scene_description>Frank nods. Tank looks compassionate.</scene_description> <character>TANK</character> <dialogue>You gonna be able to do this?</dialogue> <character>FRANK</character> <dialogue>I don't know. I never imagined having to without Hawk.</dialogue> <scene_description>He exhales a big sigh. Tank reaches into his pocket, pulls out... HULA GIRL from the dash of his B-50 in 1958. He sticks it on the instrument display panel, and she starts to dance. Frank looks at Tank like he's crazy.</scene_description> <character>FRANK</character> <dialogue>You saved that thing?</dialogue> <character>CAPCOM (V.O.)</character> <dialogue>Daedalus. Stand by for Eugene Davis.</dialogue> <character>DAVIS (V.O.)</character> <dialogue>Frank, the judgement here is to go for California. We're gonna get you as close as we can to Edwards. Now you're still inverted. And you're flying tail first. Ordinarily, we'd do a de-orbit burn to right her --</dialogue> <character>FRANK</character> <dialogue>-- but we don't have an engine to do that with.</dialogue> <character>DAVIS (V.O.)</character> <dialogue>You're gonna have to jostle her a little -- bringing her around with your speed and a little gravity. Go easy, though. You're still at 17,000 miles per hour.</dialogue> <scene_description>Frank eases the stick over and around. She's not very responsive. He gives it a pull, and the ship snap-rolls, and begins shaking violently.</scene_description> <character>FRANK</character> <dialogue>Whoaaaa, shit!</dialogue> <character>DAVIS (V.O.)</character> <dialogue>Easy, Frank. She's not a fighter jet.</dialogue> <scene_description>Frank taps on the rudder pedals and pulls hard on the stick until the horizon changes. Earth is below him now, instead of over his head. He lets out the breath he's been holding.</scene_description> <character>FRANK</character> <dialogue>Okay, we're righted.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Not a small amount of shock on the faces. Davis lets out the breath he was holding.</scene_description> <character>DAVIS</character> <dialogue>That's a good start.</dialogue> <scene_description>INTERCUT WITH Frank. Frank looks at the altimeter -- 400,000 feet.</scene_description> <character>FRANK</character> <dialogue>Houston, we are at entry interface.</dialogue> <character>DAVIS</character> <dialogue>Roger, Frank. You're gonna punch in here in 15 seconds. I'm gonna lose you till you hit the stratosphere. Frank, you've shed some tiles. She's gonna heat up on you.</dialogue> <character>FRANK</character> <dialogue>Roger, Houston.</dialogue> <character>DAVIS</character> <dialogue>10 seconds. Frank, you've got the procedure. It's not optimum, but I want all you guys home.</dialogue> <dialogue>Understood?</dialogue> <character>FRANK</character> <dialogue>We copy. Daedalus out.</dialogue> <character>DAVIS</character> <dialogue>Good luck, Frank.</dialogue> <parenthetical>(to engineers)</parenthetical> <dialogue>Okay, folks. Here we go.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank grabs the stick, glancing over at Tank.</scene_description> <character>FRANK</character> <dialogue>You wanna pray now, Rev?</dialogue> <character>TANK</character> <dialogue>What the hell you think I've been doing?</dialogue> <scene_description>Tank sees the worry and concentration in Frank's face and smiles.</scene_description> <character>TANK</character> <dialogue>What would Hawk do?</dialogue> <scene_description>Frank shakes his head. He's not Hawk. The shuttle begins to bounce, entering our atmosphere. And heat up. With no orbital maneuvering engines, they're coming in more than 50 percent faster than they should. And the ride is about 100 percent more bumpy. Frank talks into his communicator. His voice shaking from the turbulence... at the very least.</scene_description> <character>FRANK</character> <dialogue>It's gonna be a very steep dive so we don't overshoot. I'm gonna have to pull a couple very tight turns to slow her down -- last one at 13,000. At ten, we'll be over California. I want everybody up and clipped then. I'm blowing the hatch at 5,000 and out we go. Ethan and Roger first, make sure they clear the wing. Everybody got that?</dialogue> <scene_description>They all affirm. And Frank pushes the nose over into a steep dive. DAEDALUS GROANS in response. Her airframe was not designed for this.</scene_description> </scene> <scene> <stage_direction>EXT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Tiles flake away, she's heating up to 2,000 degrees.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Agony in the faces. The ship bounces wildly, anything not locked down in steel flies about the cabin. The hula girl dances madly.</scene_description> <character>FRANK</character> <dialogue>Come on, baby. Hold it together.</dialogue> <scene_description>Frank's knuckles are white, holding the stick, jamming the unresponsive rudders. First turn, over Japan, 50 miles up. She's heating up to 2500 now. And they're feeling it inside, the men sweating like crazy. The AIRFRAME is SCREECHING in protest.</scene_description> <character>ROGER</character> <dialogue>That's too steep, Frank!! She's gonna fall apart on you!!</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>They track the ship, unable to communicate.</scene_description> <character>TRAJECTORY ENGINEER</character> <dialogue>Altitude 30 miles, over Guam.</dialogue> </scene> <scene> <stage_direction>EXT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The skin's over 3000 now, the left wing shaking its rivets.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>It's an oven. Frank has to wipe the sweat away from his eyes to see. He tries to level off, but she won't respond. He fights, and curses it. Nothing. He stops, thinking, what would Hawk do? ... Then throws the stick over -- a major, and unnatural bank. Then banks it right back across, zig-zagging to slow it down. Ethan screams in protest, at the same pitch as the BENDING METAL. But Roger nods. This will work. Frank pulls one last time, and they bank into their turn, heading south, over Hawaii.</scene_description> <character>FRANK</character> <dialogue>That's it, baby. One more turn. Come on, line me up. Line me up...</dialogue> <scene_description>Frank battles with the stick like the Old Man and the Sea fighting the Great Fish. His face shows a warrior's calm. The SHIP levels off at 10 miles, shaking and RATTLING like a '55 Chevy on a dirt road, and turns for home. And Frank's agonized grimace eases.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL - THAT MOMENT</stage_direction> <scene_description>BURSTS of STATIC.</scene_description> <character>CAPCOM</character> <dialogue>He's trying to call, sir.</dialogue> <character>DAVIS</character> <dialogue>He's fried his antenna. Trajectory, where is he?</dialogue> <character>TRAJECTORY</character> <dialogue>He's on final. But he is way too hot. He's gonna overshoot to Colorado at this rate.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The moment of calm is gone.</scene_description> <character>TANK</character> <dialogue>35,000. We're going way too fast.</dialogue> <scene_description>Looking ahead, cloud and marine layer at the California coast.</scene_description> <character>TANK</character> <dialogue>We can't bail out at Mach 2, Frank.</dialogue> <character>FRANK</character> <dialogue>I'm gliding at 22 degrees. We can slow down some, but the most we can hope for is Mach 1. That, or we go in 1,000 miles past.</dialogue> <character>TANK</character> <dialogue>Your call.</dialogue> <scene_description>The decision. The shuttle feels like it could break up at any moment. The cloud cover looms ahead as they drop rapidly.</scene_description> <character>TANK</character> <dialogue>Come up on 10.</dialogue> <character>FRANK</character> <dialogue>Everybody up! Hook on!</dialogue> <scene_description>He begins to weave the shuttle in long back and forth turns -- trying to slow her down. MISSION CONTROL - THAT MOMENT Horror on the faces.</scene_description> <character>DAVIS</character> <dialogue>No, Frank, no...</dialogue> <scene_description>SHUTTLE - THAT MOMENT 7,000 feet. In the clouds. Mach 1.</scene_description> <character>FRANK</character> <dialogue>Stand by. Okay, Tank. Clip on.</dialogue> <character>TANK</character> <dialogue>What about you?</dialogue> <character>FRANK</character> <dialogue>I just need a visual so I can line her up on Death Valley, and I'm out. Blowing the hatch!</dialogue> <scene_description>He throws a switch, the EXPLOSIVE BOLTS BLOW, and the 600 MPH WIND HOWLS through Daedalus. IN CREW CABIN Jerry muscles the drag chute arm into place, and clips Roger in.</scene_description> <character>JERRY</character> <dialogue>You ready?</dialogue> <character>ROGER</character> <dialogue>Yeah.</dialogue> <scene_description>Jerry lifts him up, and shoves him out on the arm, keeping him clear of the wobbling wing.</scene_description> <character>JERRY</character> <dialogue>One gone!</dialogue> <scene_description>Jerry shoves Ethan forward, smiles as he lets him fly.</scene_description> <character>JERRY</character> <dialogue>Two gone!</dialogue> <scene_description>And the clouds dissolve beneath them. Looking back, they can see two chutes opened, floating gently down.</scene_description> <character>FRANK</character> <dialogue>Get out now!</dialogue> <scene_description>Looking ahead, Frank can see they're too high for Edwards, too low to overshoot a desert oasis community of tract homes in the distance. The shuttle is on the line to crash right into it. Frank's decision is instantaneous. He's staying with it. He turns around to see Jerry and Tank, pausing at the hatchway.</scene_description> <character>FRANK</character> <dialogue>What the hell are you waiting for?</dialogue> <scene_description>They unclip simultaneously.</scene_description> <character>JERRY</character> <dialogue>We're a team, Frank.</dialogue> <character>FRANK</character> <dialogue>Go, dammit! That's an order!</dialogue> <character>TANK</character> <dialogue>We're staying.</dialogue> <scene_description>Frank throws the stick over, plunging them down. Whatever momentum he lost, he's got it all back now. A normal 22 degree descent is now 50. They're heading in like a missile.</scene_description> <character>FRANK</character> <dialogue>Airspeed?</dialogue> <character>TANK</character> <dialogue>500! Pull it up!</dialogue> <scene_description>Frank holds the dive, seeing -- TWO FIGHTER ESCORTS on either side.</scene_description> <character>FIGHTER (V.O.)</character> <dialogue>Daedalus, this is Recover Five. You're way too hot. Recommend abort -- Abort now!</dialogue> <scene_description>Frank levels it off.</scene_description> <character>FRANK</character> <dialogue>Negative, Recover. I'm taking her in.</dialogue> <character>TANK</character> <dialogue>410. Here comes the runway.</dialogue> <character>FRANK</character> <dialogue>No problem...</dialogue> <scene_description>Just like Hawk in the simulator, he hums to himself, totally in his element, a look of peace overcomes him.</scene_description> <character>FRANK</character> <dialogue>... you just gotta tap the brakes.</dialogue> </scene> <scene> <stage_direction>INT. AIR FORCE F- - THAT MOMENT</stage_direction> <scene_description>The PILOT watches in disbelief as the shuttle's nose pitches up.</scene_description> <character>PILOT</character> <dialogue>Shit, he's lost it! Mayday, Mayday!!</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>The STALL ALARM is WAILING. The left wing is about to go.</scene_description> <character>FRANK</character> <dialogue>Call my airspeed.</dialogue> <character>TANK</character> <dialogue>350, 310, 280 -- she's stalling, Frank! You're gonna go over! Drop the nose!</dialogue> <character>FRANK</character> <dialogue>Speed!?</dialogue> <character>TANK</character> <dialogue>215! Drop the nose!</dialogue> <character>FRANK</character> <dialogue>Whattaya say we drop the nose?</dialogue> <scene_description>10, 5, 2, 1... touchdown. She's wobbly, bouncing, leaning hard right with the damaged left wing. Frank stamps on the brakes as the drag chute opens -- and she levels off, a landing almost identical to Hawk's in the simulator.</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL (HOUSTON)</stage_direction> <scene_description>Watching the shuttle roll gently to a stop at the far end of the runway. Barbara watches nervously.</scene_description> <character>FRANK (V.O.)</character> <dialogue>Wheels stop. Daedalus is home.</dialogue> <scene_description>They rise as one, cheering wildly. Barbara bursts out crying. Sara grabs the woman and holds her tight. Davis sighs.</scene_description> <character>DAVIS</character> <dialogue>I'm getting too old for this shit.</dialogue> <scene_description>ON GERSON He hesitates for a moment, then forces a smile and claps his hands disingenuously. BACK TO SCENE The media rushes back into the room. Davis makes his way through the room shaking hands. He sees Sara staring at the screen, crying. He heads for her. Sara puts an arm on his shoulder.</scene_description> <character>SARA</character> <dialogue>Gene?</dialogue> <character>DAVIS</character> <dialogue>Yeah?</dialogue> <character>SARA</character> <dialogue>Never mind...</dialogue> <parenthetical>(as Davis looks back at the screen)</parenthetical> <dialogue>You think it's too late for me to re-join the program... as an astronaut?</dialogue> <character>DAVIS</character> <parenthetical>(nodding at the big screen)</parenthetical> <dialogue>That oughtta answer your question.</dialogue> <scene_description>She smiles. Something catches Davis's eye, he turns to see Gerson talking to a news crew.</scene_description> <character>GERSON</character> <dialogue>I never doubted Frank for a minute. I brought Frank on to Project Daedalus forty years ago, and I brought him in for this mission, and I can tell you this...</dialogue> </scene> <scene> <stage_direction>EXT. DESERT - MILES BEHIND</stage_direction> <scene_description>A Navy CH-54 rescue helicopter eases down. Two rescue personnel bound out to assist Ethan and Roger -- shaken, but standing.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE - THAT MOMENT</stage_direction> <scene_description>Frank turns to look at Jerry and Tank.</scene_description> <character>JERRY</character> <dialogue>Just a walk in the park, Frank.</dialogue> <scene_description>FRANK slumps back, closing his eyes. Opening his eyes slowly, he sees the only thing moving in the shuttle -- FRANK'S POV - HULA GIRL Her crazy jig slowly comes to an end. DISSOLVE TO: ANGLE ON FULL MOON - NIGHT The sound of CRICKETS in the night.</scene_description> </scene> <scene> <stage_direction>EXT. FRANK'S HOUSE (YOUNTVILLE, CA) - NIGHT</stage_direction> <scene_description>Frank stares at the moon, deep in thought. He doesn't notice Barbara joining him at his side.</scene_description> <character>BARBARA</character> <dialogue>You think he made it?</dialogue> <scene_description>Frank slowly breaks into a pensive grin as "FLY ME TO THE MOON" FADES SLOWLY UP.</scene_description> <character>FRANK</character> <dialogue>Yeah. I think he made it.</dialogue> <scene_description>His eyes travel back to the moon.</scene_description> </scene> <scene> <stage_direction>EXT. MOON - SEA OF TRANQUILITY - THAT MOMENT</stage_direction> <scene_description>We are MOVING IN TOWARDS the moon, slowly, the shadowed contours of the sand dunes and craters getting sharper. SINATRA'S VOICE KICKS IN. Something PASSES us -- SATELLITE IKON And as it passes, we see Hawk still attached to it in his MMU. The satellite gently hits the edge of a sand dune, the soft surface cushioning the impact. The satellite bounces once, throwing -- HAWK Out of the MMU. SATELLITE spins, topples over and lands back on the moon. HAWK arcs and tumbles through the air until the moon's gravity gently pulls him back down, on to the deep, pillow-soft moon dust, where he bounces once, then lays motionless. TIGHT ON HAWK'S FACEPLATE The Earth is reflected, and we can't see his face, can't tell whether he's alive or dead. Then, in VOICE OVER we hear HAWK'S joyous LAUGHTER. WIDER - HAWK Lying there, flat on his back. There is a deep impression around him in the lunar dust where he fell, especially around his arms and legs. Maybe it was the fall. Or maybe, like a kid at Winter's first snow fall, he was making angels in the virgin snow. FADE OUT.:</scene_description> <character>THE END</character> </scene> </script>

In 1958, two U.S. Air Force pilots and aspiring astronauts William "Hawk" Hawkins and Frank Corvin are testing a modified Bell X-2 when Hawk decides to break speed and altitude records. The plane stalls and they are forced to eject, narrowly missing a Boeing B-50 Superfortress flying with navigator "Tank" Sullivan. On the ground, Frank punches Hawk, but their fight is broken up by flight engineer Jerry O'Neill. Their boss, Bob Gerson chastises Hawk before taking them to a press conference, where he announces that the newly created NASA, rather than the USAF, will be conducting space flight tests. In the present day, NASA is tasked to prevent a Soviet communications satellite, IKON, from decaying out of orbit and crashing to Earth because of the uplink loss. The satellite's archaic electronics are based on those of Skylab that Frank had developed. Bob, now a project manager at NASA, requests Frank's help. Frank still despises Bob, but agrees provided he has the help of "Team Daedalus" including Hawk, Tank, and Jerry. Bob plans to have younger astronauts shadow the four, so as to replace them before launch. When the press learn of Frank's team, the Vice President convinces Bob that they must be part of the mission for publicity. The old and young teams soon work together, with the older astronauts showing off skills learned without the aid of onboard computers. The Space Shuttle Daedalus finds the satellite. It is not a communication satellite but in fact houses six nuclear missiles, relics from the Cold War and a violation of the Outer Space Treaty. Frank discovers that the satellite control system was stolen from Bob's files by the KGB, and without a control signal from the ground via the damaged uplink, the satellite's computers will launch the missiles at predetermined targets. NASA and the crew plan to use the payload-assist rockets to push the satellite into deep space. However, one of the younger astronauts, Ethan Glance, acting under Bob's original orders, tries to put the satellite into stable orbit himself. He sets off a chain reaction: the satellite collides with the shuttle, damaging most of the shuttle's computer systems and engines, destroying the solar panels on the satellite, and sending it into a faster decaying orbit, while Ethan is knocked out and dragged along with the satellite. While Tank and Jerry tend to the other young astronaut Roger Hines, who suffered a concussion on the impact, Frank and Hawk space walk to the satellite in time to activate a booster rocket and slow the orbit's decay. As they see to Ethan, they realize that the only option is to have someone ride on the satellite as they fire the missiles' engines so that it escapes into deep space. Hawk, who was recently widowed and who has eight months to live from pancreatic cancer, sacrifices himself, hoping that he will be able to land on the Moon to fulfill his life's dream. Frank, Tank, and Jerry now plan to bring the shuttle down over water since landing it would be difficult, but the shuttle comes in too fast. After safely bailing out Ethan and Roger, Tank and Jerry stay with Frank regardless of the risk. Frank recalls a maneuver Hawk had used before, purposely increasing the shuttle's angle in the flare to bring the aircraft near a stall, thus allowing the shuttle to drop its speed quickly and allowing him to land the shuttle safely. The film ends with the Frank Sinatra song "Fly Me to the Moon", zooming in on the surface of the Moon showing that Hawk had indeed landed there before he died.

Natural Born Killers_1994

tt0110632

<script> <scene> <stage_direction>EXT. NEW MEXICO DESERT HIGHWAY - DAY (PRESENT)</stage_direction> <scene_description>A black scorpion crawls towards us on hot tarmac . The sound of an approaching PICKUP . A tire crushes the life from the scorpion , CAMERA rising from it to reveal a desolate DINER in the middle of nowhere .</scene_description> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>MICKEY KNOX , his back turned to us , is sitting at the counter finishing his meal . We hear the PING . BANG . of a pinball machine being played OFF SCREEN . MABEL , a waitress , comes over and fills Mickey 's coffee cup .</scene_description> <character>MICKEY</character> <dialogue>What kind of pies do you have?</dialogue> <character>MABEL</character> <dialogue>Apple, pecan, cherry, and key lime.</dialogue> <character>MICKEY</character> <dialogue>Which do you recommend?</dialogue> <character>MABEL</character> <dialogue>Well, the key lime is great, but it's an acquired taste.</dialogue> <character>MICKEY</character> <dialogue>I have n't had a key lime pie in ten years.</dialogue> <character>MABEL</character> <dialogue>When ya had it, did ya like it?</dialogue> <character>MICKEY</character> <dialogue>No, but that do n't mean much. I was a completely different person ten years ago. Let's give key lime a day in court. And a large glass of milk.</dialogue> <scene_description>Mabel turns to her right .</scene_description> <character>MABEL</character> <parenthetical>( to someone O.S . )</parenthetical> <dialogue>Should I make that two pieces?</dialogue> <scene_description>CAMERA PULLS BACK and we see for the first time MALLORY KNOX , Mickey 's wife , sitting on a counter stool next to him . Her back is to the camera as well .</scene_description> <character>MALLORY</character> <dialogue>Nada, Rosey.</dialogue> <character>MABEL</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>My name's not Rosey.</dialogue> <parenthetical>( points at name tag . )</parenthetical> <dialogue>It's Mabel.</dialogue> <scene_description>Mabel exits FRAME .</scene_description> <character>MALLORY</character> <dialogue>Whatever.</dialogue> <scene_description>Mallory hops from the stool , walks over and grabs the JAR next to the cash register , then dumping out the coins on the counter , she selects a quarter .</scene_description> <character>MABEL</character> <dialogue>Hey, what the hell do you think you're doin'?</dialogue> <scene_description>Mallory saunters past the COWBOY playing pinball . As his eyes follow Mallory , he loses his ball . She walks to the jukebox in the back , inserts the quarter , selects a song , punches the buttons , a needle lands on a record , and a hard - hitting rockabilly TUNE cuts through the coffee shop . -LRB- Suggestions : `` Let ` er Roll '' by Sid King or `` Red Hot '' / `` The Way I Walk '' by Robert Gordon -RRB- Mabel brings Mickey his pie and milk .</scene_description> <character>MABEL</character> <parenthetical>( to Mickey . )</parenthetical> <dialogue>She ought not be doing that. That's for Jerry's kids, not rock'n roll.</dialogue> <scene_description>CAMERA moves around to a CU of Mickey . This is the first time we see him . As he takes a bite of green pie :</scene_description> <character>MICKEY</character> <dialogue>I ca n't take her anywhere.</dialogue> <scene_description>Mallory starts doing a slow seductive fandango around the coffee shop . She 's really cooking and smoking . Pinball Cowboy and Mabel are starting to wonder just who the hell these people are .</scene_description> </scene> <scene> <stage_direction>EXT. COFFEE SHOP - DAY</stage_direction> <scene_description>A dirty pickup truck , sporting a Confederate flag decal , pulls up to the coffee shop , a DEAD DEER in the back . SONNY , OTIS , and EARL , three tough - looking rednecks , pile out . Steam rises from beneath the pickup 's hood .</scene_description> <character>EARL</character> <dialogue>Goddamn this sonbitch is runnin' hot. Y' all go inside. I'm gon na check ` er out.</dialogue> </scene> <scene> <stage_direction>INT. COFFEE SHOP - DAY</stage_direction> <scene_description>The LOUDNESS of the Rockabilly song slaps SONNY and OTIS in their faces as they walk inside the door . The sexy sight of MALLORY doing the ubang stomp stops them in their tracks .</scene_description> <character>SONNY</character> <dialogue>Good God almighty. What the hell is that?</dialogue> <character>OTIS</character> <dialogue>That's a bitch outta hell, son.</dialogue> <scene_description>Otis and Sonny exchange looks .</scene_description> <character>OTIS</character> <dialogue>Take a run at ` er, kiddo.</dialogue> <scene_description>Sonny heads toward Mallory . Otis moves over to the counter next to Mickey .</scene_description> <character>OTIS</character> <dialogue>Miller, Mabel.</dialogue> <character>MABEL</character> <dialogue>Comin' up.</dialogue> <scene_description>Sonny stands in front of Mallory , trying to copy what she 's doing . Her eyes are closed at the moment , so she does n't see him . Mabel sets the Miller down in front of Otis . Otis takes a swig , enjoying the floor show .</scene_description> <character>OTIS</character> <parenthetical>( to Mickey . )</parenthetical> <dialogue>That's some sweet piece of meat, ai n't it?</dialogue> <scene_description>Mickey turns from his pie and looks at Otis . His expression betrays nothing .</scene_description> <character>MICKEY</character> <dialogue>Her name's Mallory.</dialogue> <character>OTIS</character> <dialogue>Mallory, whatever - who gives a shit. I call it pussy.</dialogue> <scene_description>The needle lifts off the record . The song ends . Mallory opens her eyes and sees Sonny , grinding up against her , grabbing for her tits .</scene_description> <character>SONNY</character> <dialogue>Hells Bells! Do n't stop now sugar. I'm just getting warmed up.</dialogue> <scene_description>Sonny gives her his best shit - eating grin before turning to Otis . Otis gurgles out a laugh .</scene_description> <character>OTIS</character> <dialogue>Hey, I think she's sweet on you.</dialogue> <scene_description>Sonny turns to Mallory .</scene_description> <character>MALLORY</character> <parenthetical>( sweet . )</parenthetical> <dialogue>Oh, are you flirting with me?</dialogue> <scene_description>She starts to sing `` Shitlist '' by L7 . Sonny does n't understand as she punches him hard in the face , spinning him around . More punches follow as she wallops him all over the diner . A new song automatically drops on - Patti Smith 's `` Rock 'n Roll Nigger '' or L7 's `` Shitlist '' pumping the room to a new peak of murder and insanity . Mallory grabs the back of Sonny 's head and SMASHES it down on the table , cracking the linoleum .</scene_description> <character>MALLORY</character> <dialogue>Do n't fuck with my dance! Goddamnit Mickey, why do they fuck with my dance, goddamn is it be - cause I'm so cute? Why are they fucking with me?</dialogue> <scene_description>Otis jumps off the counter stool , but Mickey 's hand clutches hold of his shoulder . Otis spins around toward Mickey , loaded for bear , and points his finger at him , threateningly . Before any threat can be made , Mickey whips a large buck knife out from its sheath , and in a flash , SLICES off Otis ' finger . Otis ' finger drops on his boot . He grabs his aching hand . Blood flows from the wound .</scene_description> <character>MICKEY</character> <dialogue>Just because my woman's mopping up the floor with your buddy is no reason for you to join in.</dialogue> <scene_description>Mickey makes five lightning quick SLASHING SWINGS . The buck knife slips back into its sheath . At first , there seems to be no difference with Otis . Finally , blood flows from the slices made in his face and chest . Otis collapses . The SHORT - ORDER COOK in a hairnet charges out of the kitchen at Mickey , wielding a meat cleaver and screaming . Mickey whips out a .45 automatic from a shoulder holster inside his jacket and FIRES . BULLET 'S POV : Heading fast toward Short - Order Cook 's face . It HITS . Short - Order Cook puts his hands to his face and falls to the ground , screaming . Mickey spots Earl , who 's standing outside the plate glass window . Earl 's watched the whole shebang . Earl mouths `` Fuck ! '' He turns and runs for it . Mickey hurls the knife through the plate glass window , which SHATTERS . The knife PLUNGES deep into Earls back . He hits the ground dead . Mickey turns to Mallory . She 's sitting on top of Sonny , SLAMMING his head repeatedly on the floor . He 's dead , she 's still singing .</scene_description> <character>MALLORY</character> <dialogue>`` you made my. shitlist!''</dialogue> <character>MICKEY</character> <dialogue>Honey.</dialogue> <scene_description>Mallory looks up at Mickey . She gets off Sonny and moves to Mickey 's side . Mickey trains his .45 on Pinball Cowboy , who 's shaking in his cowboy boots . Mickey aims at Mabel , who 's clutching the coffee pot , crying .</scene_description> <character>MICKEY</character> <parenthetical>( to Mallory . )</parenthetical> <dialogue>Pick one.</dialogue> <scene_description>Mallory does eanie , meanie , minie , moe , pointing back and forth from Mabel to Pinball Cowboy . Twice the jingle lands on the cowboy , but Mallory adds another phrase .</scene_description> <character>MALLORY</character> <dialogue>Eanie, meanie, minie, moe, catch a redneck by the toe. If he hollers, let him go. Eanie, meanie, minie, moe. My mom told me to pick the best one. and you are it.</dialogue> <scene_description>so that she ends on Mabel . Mabel 's dodging around screaming . Mickey FIRES the .45 . The bullet CHINKS through the coffee pot Mabel 's holding and explodes , THUNKING her in the chest . She hits the floor dead . Mickey and Mallory join hands and walk over to the Pinball Cowboy who stands in a pool of his own urine .</scene_description> <character>MALLORY</character> <dialogue>When you tell people what went on here, tell'em Mickey and Mallory Knox was here. Say it.</dialogue> <character>COWBOY</character> <dialogue>Mickey and Mallory Knox.</dialogue> <character>MALLORY</character> <parenthetical>( to Mickey . )</parenthetical> <dialogue>I love you Mickey.</dialogue> <character>MICKEY</character> <dialogue>I love you Mallory.</dialogue> <scene_description>They kiss . Holding hands , Mickey and Mallory walk out of the cafe . TITLE SEQUENCE</scene_description> </scene> <scene> <stage_direction>INT. CONVERTIBLE CAR - MOVING - DAY (PROCESS SHOT)</stage_direction> <scene_description>`` Rock 'n Roll Nigger '' / `` Shitlist '' blends into a PROCESS SHOT of plates of the Southwest USA -LRB- Shiprock , buttes , mesas , Rio Grande , Indian Reservation -RRB- , mixed with the Midwest , Alaska - the country on the move . The Song Track acquires a second and possibly third song , all clashing on the track at the same time -LRB- possibly older fare like Duane Eddy 's `` Rebel Rouser '' or Shangri - La 's `` Leader of the Pack '' with some `` Madame Butterfly '' thrown in -RRB- . The TITLES splash over this with big Rock Hudson / `` Giant '' ' 50 's - style block lettering . In the foreground -LRB- possibly grainy , black - and - white 16 mm , `` Breathless '' style cinema verite -RRB- , MICKEY drives a 70 's type American muscle car fast -LRB- Suggestions : a Plymouth Cuda , Dodge Challenger , Coup de Ville Cadillac -RRB- . Buffalo grass blurs by . White clouds . Then some RAIN . The top is down . They are wet and laughing . A bottle of tequila lays between them . She turns the radio up louder . and louder . Micket drives faster . and faster . The car feels like it 's taking flight . The wind , the music - everything merges . The CAR crashes off the road , through a barbed wire fence , fishtails - races on , mowing through brush . Mickey floors it and howls to get 400 horses under control . MALLORY yells . Can you believe ? Can you see Life in Death ?</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - STARS</stage_direction> <scene_description>A vault of Southwest Stars , clean as milk , pouring down on the TWO LOVERS in the middle of nowhere . Mickey peeing in the dark . Softer Music -LRB- Cowboy Junkies ' `` Sweet Jane '' style -RRB- .</scene_description> <character>MICKEY</character> <dialogue>Goddamn! Looks like the world's comin' to an end, Mall.</dialogue> <scene_description>Mallory is dancing barefoot on the hood of the car . As she sings/talks , the stars become light - moving explosions into the earth .</scene_description> <character>MALLORY</character> <parenthetical>( dreamy , looking up . )</parenthetical> <dialogue>I see angels Mickey. comin' down for us from heaven. I feel their feathered wings. I see you ridin' a red horse, drivin' the horses, whippin''em - they're spittin', frothin' all over the mouth - comin' right at us. I see the future. and there's no death Mickey. cause you and I are angels.</dialogue> <scene_description>She gets out of the car . Mickey , buttoning up , turns to look at her for a moment .</scene_description> <character>MICKEY</character> <dialogue>That's goddamn poetry. damn I love you Mall.</dialogue> <scene_description>In the shadows , we see her little devil grinning back at him , as she pees . Light on her flanks . She 's singing `` Ai n't Nobody 's Business '' by Billy Holiday . TITLES END .</scene_description> </scene> <scene> <stage_direction>EXT. WINSLOW/GALLUP - DAY</stage_direction> <scene_description>MICKEY and MALLORY drive into a quiet one - street town on Rt. 666 .</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - NIGHT</stage_direction> <scene_description>The car is parked outside a cheap MOTEL in the middle of nowhere . The sign reads `` FREE HBO . ''</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>MALLORY is drying her hair , in a slip .</scene_description> <character>MALLORY</character> <dialogue>You wan na go out? Get somethin' to eat?</dialogue> <scene_description>No answer . The TV 's on to `` Thelma and Louise '' blasting it out with the cops . MICKEY has a copy of TV Guide in his hands , worn out .</scene_description> <character>MICKEY</character> <dialogue>Nah, let's stay in.</dialogue> <parenthetical>( he looks off to the corner . )</parenthetical> <dialogue>we got plenty action here.</dialogue> <character>MALLORY</character> <parenthetical>( stepping out of the bathroom . )</parenthetical> <dialogue>You know what I been thinkin' bout?</dialogue> <character>MICKEY</character> <dialogue>Course I know. You been thinkin' bout rollin' round that big sunflower patch outside Tulsa.</dialogue> <scene_description>He flicks the channel . To `` Badlands '' - another shootout .</scene_description> <character>MALLORY</character> <parenthetical>( pleased . )</parenthetical> <dialogue>How'd ya know?</dialogue> <character>MICKEY</character> <dialogue>And you been thinkin' bout cutting your hair short.</dialogue> <scene_description>She steps on the bed and sits on her knees , snuggles . She puts her head on his shoulder and he traces the line from her eyebrows down through her nose and chin . She 's like a cat , purring , nestling for his warmth .</scene_description> <character>MICKEY</character> <dialogue>And you been thinkin' bout us settlin' down - on a boat in the middle of a big lake, with a dog and a juke box.</dialogue> <scene_description>Mallory wraps her arms around his chest , nibbles his neck . What she never felt in her father 's house - a warmth .</scene_description> <character>MALLORY</character> <dialogue>Oh, Mick, I love it when you can read my mind. I bet I know what you been thinkin' bout?</dialogue> <scene_description>Mickey flicks to `` Scarface '' - the chainsaw scene .</scene_description> <character>MICKEY</character> <dialogue>Yeah, why they make all these fuckin' stupid movies. Do n't they believe in kissin' anymore! I tell ya out there in Hollywood somebody's a taco short of a combo plate.</dialogue> <scene_description>He gives her a big kiss . She smiles .</scene_description> <character>MALLORY</character> <dialogue>Oh mercy.</dialogue> <character>MICKEY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>You're so cute. I love you, right down to your.</dialogue> <parenthetical>( notices . )</parenthetical> <dialogue>. where is it?</dialogue> <scene_description>Her wedding ring is missing . He glares at her hard , grabbing her wrist . The CAMERA suddenly hauls ass from the bedroom back through the bathroom door and careens towards the sink . It STOPS at a soap dish . There , bigger than life , is Mallory 's WEDDING RING . A diamond to light up the sky . Her hand comes into FRAME , grabs it and exits FRAME . Mallory jumps back in bed with Mickey , waving her ring .</scene_description> <character>MALLORY</character> <dialogue>Calm down Mickey! I just took it off so it would n't snag when I washed my hair, goddamn.</dialogue> <scene_description>Mickey flicks the remote to a `` Game Show '' - a new refrigerator , a miniature swimming pool , and a new car are given away in a rapid sequence . Mickey throws her perturbed looks inbetween :</scene_description> <character>MICKEY</character> <dialogue>Even if that ring pulls out every hair on your head, it never comes off. If it scratches my face, it never comes off. If it tears out my eyes, it never comes off. Every great thing we do, starts with these.</dialogue> <scene_description>Mickey clicks their wedding rings together . Mallory , excited , kisses him in great slurps of lust as Mickey flicks to a `` Nature Show '' - Insects devour insects . Who eats who , and where .</scene_description> <character>MALLORY</character> <parenthetical>( sexy . )</parenthetical> <dialogue>If you put it that way.</dialogue> <scene_description>She makes love to him under the sheets . On the TV , a praying mantis swallows a bug . Mickey , a love crazed guy , splits his looks between the TV and something in the corner .</scene_description> <character>MICKEY</character> <parenthetical>( to TV . )</parenthetical> <dialogue>`` Jeesus, look at that. my god!''</dialogue> <character>MALLORY</character> <dialogue>Stop lookin'. will you stop lookin' at her!</dialogue> <scene_description>It could be the TV he 's looking at ; we 're not sure . Mallory stops humping him , looks at her ring . He blows some hair out of her eyes . Mallory , frustrated , gets off him , throws a jacket over her slip , adjusts her highheels .</scene_description> <character>MALLORY</character> <parenthetical>( going out . )</parenthetical> <dialogue>I'm goin' for a ride. See ya' later.</dialogue> <character>MICKEY</character> <dialogue>Hold it? Were n't we going to do something with her?</dialogue> <scene_description>CAMERA PANS , with Mallory on the way out to the corner of the motel room . A young GIRL is tied up , her mouth taped shut , her eyes bugging out of their sockets , she 's so scared .</scene_description> <character>MALLORY</character> <parenthetical>( going out . )</parenthetical> <dialogue>Later.</dialogue> <character>MICKEY</character> <dialogue>Prude.</dialogue> <scene_description>Mickey closes his eyes . The TV light washing his face with another trip to Hawaii .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF TOWN - NIGHT</stage_direction> <scene_description>MALLORY drives , top down , through a truckstop town . It 's a hot night .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - NIGHT</stage_direction> <scene_description>COYOTE catch MICE drawn to the street lights . A little outside town , MALLORY 'S pulled into an all - night gas station . Bugs fly around the neon . The radio in the car is on to something like `` Ted Just Admit It '' from Jane 's Addiction . A YOUNG GAS ATTENDANT slides out from under a Corvette he 's working on in the garage . He puts on his greasy cowboy hat and walks up to her car .</scene_description> <character>MALLORY</character> <dialogue>Fill ` er up.</dialogue> <scene_description>He pumps the gas . She walks over to check out the Corvette . As he comes over ,</scene_description> <character>MALLORY</character> <dialogue>Nice ` vette.</dialogue> <character>ATTENDANT</character> <parenthetical>( nods . )</parenthetical> <dialogue>That'll be seventeen bucks lady. Say, do n't I know you?</dialogue> <scene_description>Mallory leans into his face , a yearning . She takes his hand , feels it . He looks , wondering , surprised . There 's something so needy , so desperate in Mallory 's child - like eyes . She takes his hand and runs it up inside her shirt , muttering .</scene_description> <character>MALLORY</character> <dialogue>Why do n't you just feel me. tell me you want me. think I'm sexy?</dialogue> <scene_description>His hands feel her up . She presses her lips to his neck , nibbling . A brief flashing image of MICKEY passes before her eyes . It 's him in front of her .</scene_description> <character>MALLORY</character> <dialogue>come on, say it more.</dialogue> <scene_description>His hands get rough , taking the lead . She does n't want that . She pushes his head down , deflecting his agressivity . -LRB- . `` go down '' -RRB- Camera dwells on her leaning back on the Corvette as he is he is beneath her . But he is rough , and pops his head back up and smothers her on the top of the hood . His blackened hands starting to push and knead her roughly .</scene_description> <character>ATTENDANT</character> <dialogue>Oh baby! You are sexy!</dialogue> <scene_description>She is increasingly agitated , coming out of her reverie . This is obviously not Mickey . He spreads her hard across the hood and spreads her legs in a vee .</scene_description> <character>ATTENDANT</character> <dialogue>Holy shit! I ca n't believe this. can I get ya autograph? You're Mallory Knox ai n't yal</dialogue> <character>MALLORY</character> <dialogue>Yeah. And you're dead.</dialogue> <scene_description>She kicks him hard , freeing her legs . He falls off the hood . She gets the gun from her purse and fires an angry SHOT into him . She is ranting as she kicks him and steps over him .</scene_description> <character>MALLORY</character> <dialogue>Next time do n't be so fuckin' eager. that was the worst fuckin' head I've ever had in my life.</dialogue> <scene_description>She scoops the cash out of the night register at the pump .</scene_description> <character>MALLORY</character> <dialogue>Goddamn! You deserve to fucking die!</dialogue> </scene> <scene> <stage_direction>INT. GAS STATION - DAY</stage_direction> <scene_description>Peering at Mallory 's underwear , JACK SCAGNETTI expresses reverence , moving his attention to the hood of the Corvette , dusted with crime powder . He 's a cop , one of the best . He consults a LOCAL COWBOY SHERIFF .</scene_description> <character>SCAGNETTI</character> <dialogue>Jesus, a perfect ass. you can even see the crack. that's the back. arm. her head. fuckin' dry saliva drops still on the fender.</dialogue> <scene_description>He drops down to examine the DEAD ATTENDANT .</scene_description> <character>SCAGNETTI</character> <dialogue>poor bastard was eatin' her when she did ` im.</dialogue> <scene_description>He looks in the attendant 's mouth , pulling out a small pocket knife . Using the tweezers , he removes a pubic hair from the dead man 's mouth . He holds it to the light , looking at it intensely .</scene_description> <character>SCAGNETTI</character> <dialogue>Mallory Knox. meet Jack Scagnetti.</dialogue> </scene> <scene> <stage_direction>INT. MICKEY CAR - (MOVING) - INDIAN RESERVATION - DAY</stage_direction> <scene_description>CU of a rear view mirror - MALLORY 'S eyes looking .</scene_description> <character>MALLORY</character> <dialogue>Fuck. fuckin' cheese!</dialogue> <scene_description>The camera now revolves in the mirror to rack MICKEY , driving , also peering seriously into the mirror .</scene_description> <character>MICKEY</character> <dialogue>This fuckin' guy's got me worn down to a bare fuckin' nub.</dialogue> <scene_description>The mirror - A NAVAJO PATROL CAR is shadowing them .</scene_description> </scene> <scene> <stage_direction>INT. INDIAN CAR - DAY</stage_direction> <scene_description>Closer - stoic INDIAN EYES under a tribal baseball cap . Just looking , tagging - not on the radio or anything .</scene_description> </scene> <scene> <stage_direction>INT. MICKEY'S CAR - DAY</stage_direction> <scene_description>CU on a state road MAP showing Indian Reservation symbols . Up to MALLORY .</scene_description> <character>MALLORY</character> <dialogue>Be cool - take the next right. Looks like a town out there.</dialogue> <character>MICKEY</character> <dialogue>All I see is desert.</dialogue> <scene_description>MICKEY turns onto a dirt road off the Highway . A cloud of dust . They look back . The Indian slows to a crawl , watching them . then goes past , down the main road .</scene_description> <character>MICKEY</character> <parenthetical>( relieved . )</parenthetical> <dialogue>That's right Cochise, go eat some more fried bread. Gim me some more mushrooms.</dialogue> <scene_description>Mallory reaches for the mushrooms - gives him a couple of dry chewy puips . He gnashes on them . The radio 's been playing something zonal like `` Alive '' by Pearl Jam or `` Dizz Knee Land '' by Dada .</scene_description> </scene> <scene> <stage_direction>EXT. DIRT ROAD - LATER - DAY</stage_direction> <scene_description>They have run out of gas in the middle of nowhere . Red earth . Sky . Clouds . A thrush calls out a song . MICKEY is staggering , besotted with mushroom power . Sticks his gun in his belt , begins walking up the road looking for gas .</scene_description> <character>MICKEY</character> <dialogue>Shit. Right now I'd go down on a lawman for a gallon of gas. do I have something on my nose?</dialogue> <character>MALLORY</character> <parenthetical>( sings it . )</parenthetical> <dialogue>`` Guess it's farther than I thought.''</dialogue> <character>MICKEY</character> <dialogue>Snakes, birds, nothin' out here. `` Turn right?'' Turn right to what? You fuckin' stupid bitch.</dialogue> <scene_description>She punches him right in the face . Then she kicks him to the ground . On the ground he tries a savate kick . She sees it coming , jumps over him and lands right on him , gun in his forehead .</scene_description> <character>MALLORY</character> <parenthetical>( mocking . )</parenthetical> <dialogue>`` You stupid bitch! You stupid bitch! You stupid bitch!'' Do n't call me bitch. My father called me that. Once too much. You're losing it, Mickey.</dialogue> <scene_description>He has a tooth loosened .</scene_description> <character>MICKEY</character> <dialogue>Sure Mall, take it easy. it's me, your lover, not some demon.</dialogue> <character>MALLORY</character> <dialogue>How do I know that? Take off your pants and gim me your money. now. I'm serious.</dialogue> <character>MICKEY</character> <dialogue>Mall! I do n't have to be dictated to by a woman.</dialogue> <character>MALLORY</character> <dialogue>Shoes too.</dialogue> <scene_description>She fires . Into the ground . Right next to him . He hops to comply .</scene_description> <character>MICKEY</character> <dialogue>What are you gon na do? Leave me. Just cause I do n't have the goddamn same puritanical belief systems you do! What the fuck is that gon na.</dialogue> <scene_description>She fires again . Speed it up . He senses she 's really pissed .</scene_description> <character>MALLORY</character> <dialogue>Mickey, you got ta get respect for me. turn around and drop your knickers. I want to see your ass up in the air.</dialogue> <character>MICKEY</character> <dialogue>Mall! What the hell game is this!</dialogue> <scene_description>She fires again . The shots bring the sound of BELLS jingling . They look . On a KNOLL fifty feet away stands a flock of RAMS . Conversely , the Rams ' POV is of a near - naked man and a woman with a gun in the desert . The Chief RAM tears out after Mickey .</scene_description> <character>MICKEY</character> <dialogue>What the fuck!</dialogue> <scene_description>He starts to run .</scene_description> <character>MICKEY</character> <dialogue>Shoot it! Goddamn Mall, shoot the fucker!</dialogue> <scene_description>Mallory laughs as the ram closes on Mickey . But the Ram comes to an abrupt stop as it hears the WHISTLE . A FIGURE now stands at the top of the knoll with the flock of sheep and a YOUNG BOY . The ram trots back towards him . Mickey looking . Mallory puts away the gun . The Figure is an OLD INDIAN . Mickey crossing himself , half joking .</scene_description> <character>MICKEY</character> <dialogue>Rejoice. for he hath found his sheep which were lost in the desert.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Hey, Chief, we ran outta gas. our car's up the road apiece.</dialogue> <scene_description>The Indian knows something . He says nothing , continuing down the hill and across the road with the Young Boy , the ram and about 30 sheep . Mickey , throwing on his clothes , follows with Mallory , their dispute forgotten for now .</scene_description> </scene> <scene> <stage_direction>EXT. DESERT HOGAN - DAY</stage_direction> <scene_description>MICKEY AND MALLORY approach a hogan - a mud and log structure , twenty feet across . A PICKUP is parked nearby . A scruffy DOG alongside a PICKUP barks as they approach ; a DONKEY is tied to a pinon tree and SHEEP wander . The YOUNG BOY stands in the breeze watching them . Mickey knocks at the open door .</scene_description> <character>MICKEY</character> <dialogue>Hi. so look we got tobacco, lots of tobacco. you got any gasoline we can buy?</dialogue> <scene_description>No answer .</scene_description> <character>MICKEY</character> <parenthetical>( looking at the donkeys , to Mallory . )</parenthetical> <dialogue>We can always snatch the donkey and ride outta here.</dialogue> <character>MALLORY</character> <dialogue>Maybe he do n't speak English.</dialogue> <character>INDIAN</character> <dialogue>Come on in.</dialogue> <scene_description>Mallory and Mickey look at each other and step inside .</scene_description> <character>INDIAN</character> <parenthetical>( his only English . )</parenthetical> <dialogue>Come on in.</dialogue> </scene> <scene> <stage_direction>INT. HOGAN - DAY</stage_direction> <scene_description>It 's dim inside but cozy . The old INDIAN sits on a rickety old bed with a horsehair mattress , sheep skins and an Indian blanket . A worn aluminum kitchen table occupies the middle of the room . Bays of dried ears of corn , squash , melon and beans lay on the dirt floor . Chilies and dry mutton hang on wire strung on one side of the room . A pile of cedar wood is stacked by an old franklin stove , a covered pot on top . Scraps of cotton hang over the windows , various photos of family and friends , and feathered Indian gear hang from nails pounded into the wall . It 's very quiet .</scene_description> <character>INDIAN</character> <dialogue>Come on in.</dialogue> <scene_description>He motions for them to sit in an overstuffed chair .</scene_description> <character>MALLORY</character> <dialogue>Thank you.</dialogue> <parenthetical>( pointing to herself . )</parenthetical> <dialogue>I'm Mall - o - ry. That's Mi. ckey.</dialogue> <scene_description>Everyone nods and smiles . MICKEY and MALLORY show another side of sweetness and politeness . The YOUNG KID coming in and sitting down next to the OLD MAN .</scene_description> <character>INDIAN</character> <parenthetical>( in navajo . )</parenthetical> <dialogue>When are you leaving?</dialogue> <scene_description>Mallory signals they do n't understand .</scene_description> <character>INDIAN</character> <parenthetical>( in navajo to the Boy . )</parenthetical> <dialogue>Good looking woman. uh. Man's got things in his head he ca n't get out. demons. Too much TV. Trouble follows that one.</dialogue> <character>MICKEY</character> <parenthetical>( to Mallory . )</parenthetical> <dialogue>This is like the twilight zone or something.</dialogue> <scene_description>The Old Man walks over to some pictures on the walls , hands one to Mallory of a YOUNG COUPLE back in the 1940s or 50s . -LSB- PAGE 17 MISSING -RSB-</scene_description> <character>INDIAN BOY</character> <parenthetical>( navajo . )</parenthetical> <dialogue>Can you help them grandpa?</dialogue> <character>INDIAN</character> <parenthetical>( navajo . )</parenthetical> <dialogue>Maybe they do n't want to be helped. They both fly too close to sun. Now they are falling to earth. That is why they have come here. My prayers would mean nothing in their world.</dialogue> <scene_description>He stokes the fire , feeds the snake again . He studies a crystal in his hand .</scene_description> <character>INDIAN</character> <parenthetical>( navajo . )</parenthetical> <dialogue>Once there was a woman who went out to collect firewood.</dialogue> <scene_description>The snake is crawling over to the Indian who reaches down and picks it up and puts in his lap .</scene_description> <character>INDIAN</character> <parenthetical>( navajo . )</parenthetical> <dialogue>You want to hear the story too do n't you old man. O.K.</dialogue> <parenthetical>( continues . )</parenthetical> <dialogue>She came upon a poisonous snake frozen in the snow. She took the snake home with her. She put the frozen snake on her favorite blanket by the warm fire. She fed it and nursed it back to health. One day she picked the snake up and it bit her on the cheek. As she lay dying she asked the snake, I loved you, why have you done this to me? The snake answered, `` look bitch, you knew I was a snake.''</dialogue> <scene_description>He chuckles , as does the Boy . It 's very quiet . The sound of the fire . Mickey has fallen asleep . The Old Indian begins to SING . Mallory is awake , watching the Indian . The room , shadows dancing . It is the first time she can remember feeling peace , almost like family . She starts to drift off . Mickey is dreaming out loud . The Old Man stands and takes the snake to the door . Opening it , he lets the snake out .</scene_description> <character>INDIAN</character> <parenthetical>( navajo . )</parenthetical> <dialogue>Go be a snake.</dialogue> <scene_description>Mickey 's nightmare is getting heavier . He 's moaning and sweating . The Old Indian takes his feathered hat of f the wall and puts it on . He opens a wooden box and takes out a white eagle feather and a bundle of medicine .</scene_description> </scene> <scene> <stage_direction>EXT. HOGAN - NIGHT</stage_direction> <scene_description>The OLD MAN and the BOY with him now make offerings to the four directions , to the grandfather spirit , the stars , the earth , the mother , praying , singing . His face and hands are marked with white ash and colors so the spirits will recognize him .</scene_description> </scene> <scene> <stage_direction>INT. HOGAN - NIGHT</stage_direction> <scene_description>As we hear the mounting sounds of the prayer , we see MICKEY 'S face dreaming , sweating . The OLD MAN is now leaning over Mickey and MALLORY in half light , shaking the rattle and waving the burning sage over Mickey to chase the demons . We push into Mickey 's eyes . DREAM IMAGERY - death , murder , shit . a WAR FOOTAGE . In Bosnia . a decapitated BODY sitting in the corner of the room , just sitting as if alive , as if about to rise up . A MAN slaps a WOMAN . A BABY cries . shooting . a MURDER VICTIM screaming `` Oh god no ! Please no ! '' BIRDS fly backwards . A MONSTER with a knife in its hand coming at us , the face of the Demon ! Suddenly TWO SHOTS explode off the walls of the hogan . Mickey is awake , stunned , sweating - the gun in his hand . Mallory sitting up . The OLD INDIAN stands still over Mickey . Everything stops . Then staring into the Beyond , he falls to the ground . Mickey is shocked , howls .</scene_description> <character>MICKEY</character> <dialogue>Ahhhhhhhhh!</dialogue> <character>MALLORY</character> <parenthetical>( screaming , feeling the merge . )</parenthetical> <dialogue>Ooohhh my God. Mickey YOU KILLED HIM!</dialogue> <scene_description>They look down at the dying Chief .</scene_description> <character>INDIAN</character> <parenthetical>( quietly , in navajo . )</parenthetical> <dialogue>You thought coming here was an accident. this was no accident. I saw this demon in my dream - 20 years ago. I was waiting. I forgive you.</dialogue> <scene_description>The Old Indian dies .</scene_description> <character>MALLORY</character> <dialogue>This is bad Mickey.</dialogue> <scene_description>Mickey walks outside , in circles , ranting to himself .</scene_description> </scene> <scene> <stage_direction>EXT. HOGAN - NIGHT</stage_direction> <scene_description>The last of the moon is disappearing behind the earth . The lone dog howls . MICKEY with the gun in hand runs to the Indian 's PICKUP truck , jumps in . It wo n't start . He catches a glimpse of something in the rear view mirror . The DEMON FACE over his own .</scene_description> <character>MICKEY</character> <parenthetical>( spooked . )</parenthetical> <dialogue>SHIT!</dialogue> <scene_description>He leaps , scrambles out of the truck , looks in the back for gas . A 5 gallon can . He shakes it . Half full of gas .</scene_description> <character>MICKEY</character> <dialogue>Mallory!</dialogue> </scene> <scene> <stage_direction>INT. HOGAN - NIGHT</stage_direction> <scene_description>MALLORY is covering the dead INDIAN with his blanket .</scene_description> <character>MICKEY</character> <parenthetical>( O.S , desperate . )</parenthetical> <dialogue>Mallory!</dialogue> </scene> <scene> <stage_direction>EXT. HOGAN - NIGHT</stage_direction> <scene_description>On the horizon , we see the YOUNG BOY standing there looking . He runs away . MALLORY walks past MICKEY , heading elsewhere .</scene_description> <character>MICKEY</character> <parenthetical>( carrying the can . )</parenthetical> <dialogue>We got gas, baby.</dialogue> <scene_description>She says nothing , pissed .</scene_description> <character>MICKEY</character> <dialogue>Come on Mall - it was an accident. This whole fucking thing is crazy.</dialogue> <parenthetical>( catches up to her , spins her . )</parenthetical> <dialogue>.</dialogue> <character>MALLORY</character> <dialogue>Do n't you feel anything! Something else has taken over Mickey. I do n't know what's real anymore. I'm scared. That was bad! Maybe we were led into the wilderness by the demon.</dialogue> <character>MICKEY</character> <dialogue>There's no demon - just us.</dialogue> <scene_description>She looks at him .</scene_description> <character>MICKEY</character> <dialogue>I'm sorry bout the old man. I really am. But you got ta be strong Mall. I need ya. Now come on. The car's this way.</dialogue> <scene_description>Mallory walks away .</scene_description> <character>MALLORY</character> <dialogue>I felt at peace last night. It's over Mickey! I'm going any place but with you. You got no real feelings. You're just as dead as all of'em!</dialogue> <scene_description>Mickey follows . A sudden rattle in the night .</scene_description> <character>MICKEY</character> <dialogue>Wait a minute!</dialogue> <scene_description>Mickey flicks a lighter . A big RATTLESNAKE . They walk around it . She wants to get away from him , does n't pay attention . He flicks his lighter again . MORE SNAKES . Mallory keeps walking faster and faster . Mickey tries to grab her . She breaks away .</scene_description> <character>MALLORY</character> <dialogue>Lem me alone! I'm outta here.</dialogue> <scene_description>We hear another RATTLER . Mallory screams out . She 's bit !</scene_description> <character>MICKEY</character> <dialogue>OH GOD NO!</dialogue> <scene_description>He starts shooting into the ground . Mallory lies there stunned , hands to her ears .</scene_description> <character>MALLORY</character> <dialogue>Stop it. STOP IT.</dialogue> <scene_description>Mickey rips off his shirt and wraps it around a stick , soaks it in the gasoline and lights it , making a big torch in the night . There are SNAKES coming at them from all directions .</scene_description> <character>MICKEY</character> <dialogue>Holy Shit! What the fuck have we done!</dialogue> <scene_description>Lighting the way with his torch , he hauls Mallory up and hotfoots it out of there , snakes popping their rattlers everywhere . A huge RATTLER sinks its fangs into Mickey 's leg . They 're both bit . He keeps moving , spitting the torch into the snake 's face .</scene_description> </scene> <scene> <stage_direction>INT. CAR - MOVING - HIGHWAY - NIGHT</stage_direction> <scene_description>Mickey driving past a ROADSIGN saying `` GALLUP . '' MALLORY is delirious .</scene_description> <character>MICKEY</character> <dialogue>You'll make it Mall. Badasses do n't die. Indians got a saying I read. It says you're either stronger than the poison or you die. They get bit, they run. fast as they can. They either drop dead right then and there. or they live. We're gon na live Mall - a long, long time.</dialogue> <scene_description>PAST A CHEAP MOTEL on the outskirts of town - says `` U SLEEP MOTEL . $ 7.50 the night . Free Hot Tubs . Porno Films on Cable . '' The CAMERA stays with the motel , letting the car whip past .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction> <scene_description>JACK SCAGNETTI , in undershorts on the bed , is drunk , sweating , eyeballing a friendly YOUNG WOMAN . She 's awkward , a little nervous but she 's down to her undergarments , looking at the CLIPPINGS of `` Mickey and Mallory '' spread over the table and dresser , pictures of crime scenes and his book - `` Scagnetti on Scagnetti . '' A half empty bottle of vodka . A gun , handcuffs and a police badge .</scene_description> <character>PINKY</character> <parenthetical>( worried . )</parenthetical> <dialogue>my name's Pinky.</dialogue> <parenthetical>( no answer . )</parenthetical> <dialogue>Say are you a real cop? Or are you some kinda freak or something? I do n't want no trouble.</dialogue> <character>SCAGNETTI</character> <parenthetical>( mumbles . )</parenthetical> <dialogue>Ya. I'm a real cop.</dialogue> <scene_description>Pinky smiles . The light from the TV fills the room with a strange aura . The sound is off . We hear MUSIC from the next room . TRUCKS pass by outside .</scene_description> <character>PINKY</character> <dialogue>You're not qonna hurt me are you?</dialogue> <character>SCAGUETTI</character> <dialogue>I never hurt anybody in my whole life. I'm the law. I'm your protector. You do n't ask me any more questions, Pinky. step up on the bed. move slowly.</dialogue> <scene_description>Not sure what he wants , Pinky steps barefoot up onto the bed , standing over him , a foot on either side of his torso . she 's slowly bending , spreading , arching like a young woman remembering childhood ballet dreams , her eyes closed . He moves his hands up her legs and ass , exploring , continuing up across her shoulders . Around her neck , bringing her down . Closer .</scene_description> <character>SCAGNETTI</character> <dialogue>Come here, give big Jack a kiss. just keep lookin' at me now. just keep lookin'. do n't close your eyes. y' ever been strangled?</dialogue> <scene_description>Head LIGHTS wipe across the wall . A TRAIN passes . A different rhythm now . Her eyes . His hands around her neck . Strangling her . She is terrified , struggles . An ankle with a thin gold chain . A flailing arm kicks over the night stand and lamp . Falling , rolling . Stale green motel carpet . she heaves , staring . Slender leg kicking , fists pound at his face as he gets on top of her . Fingers tear flesh . Not a word is spoken . Her eyes never close . Fingers tear at his cheeks . The TRAIN has passed . Silence . The TV blinks . The radio plays softly in the next room -LRB- people partying , laughing -RRB- . His face .</scene_description> </scene> <scene> <stage_direction>EXT. GARBAGE DUMP - EDGE OF TOWN - NIGHT</stage_direction> <scene_description>The HOOKER 'S separated body vanishes in plastic bags in a large dumpster . SCAGNETTI looks around , impeccable in a clean suit , shiny cufflinks . He crosses back to his car , revealing an ancient DRIVE - IN next door .</scene_description> </scene> <scene> <stage_direction>EXT. DRIVE-IN MOVIE - NIGHT</stage_direction> <scene_description>The last show . A Goldie Hawn - Steve Martin picture is playing - giant closeups , a comedy . MICKEY and MALLORY are slumped against the driving wheel , delirious , struggling for breath , sweating heavily .</scene_description> <character>MICKEY</character> <dialogue>When's this over? We got ta get outta here, Mall. we.</dialogue> <character>MALLORY</character> <dialogue>Angels Mickey. I see angels</dialogue> <scene_description>On Goldie Hawn . -LRB- ANIMATION SEQUENCE begins here - TBD -RRB-</scene_description> <character>MICKEY</character> <dialogue>Ya, I see em.</dialogue> <character>MALLORY</character> <dialogue>They're guarding us. Each step we're together. Oh God. it's perfect. We're gon na make it Mickey. we're gon na.</dialogue> <character>MICKEY</character> <dialogue>Goddamn Mall, that's poetry.</dialogue> <scene_description>Mickey slams the car into drive , plowing forward out of the parking spot , smashing the movie meter . He sideswipes into another car , screams , anger . A PERSON stepping out to confront . Mickey slams his car backwards into the angry person , crushing him . Then he zigzags his way through the parking lot past the faces of Goldie and Steve .</scene_description> </scene> <scene> <stage_direction>EXT./INT. "DRUG ZONE" - NIGHT</stage_direction> <scene_description>It towers over the deadbeat western landscape like a vision of the future - gleaming white cube of fluorescent power - sacred Aztec Gods within - offering aisle after aisle of nicely colored packages of American D . R . U . G . S. HIGH ANGLE moving on MICKEY staggering down one aisle . looking -LRB- presumably -RRB- for snake venom . The same goes for MALLORY in her aisle - face now green with the sickness , cotton - mouthed . Time is running out . her breathing labored , short - a sound from hell .</scene_description> <character>MALLORY</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Mickey, I'm so cold. I'm goin' now.</dialogue> <scene_description>Staggering , falling in the aisle .</scene_description> <character>MICKEY</character> <dialogue>No you're not! No you're not! Get angry! Mall -</dialogue> <scene_description>Mickey in his aisle looking through the rubbers , pulling out a handful , staggering down a football - field aisle towards the counter that looks as far as an oasis in the Mojave . At the CONTTROL BOOTH , a nine - inch COLOR TELEVISION plays in CLOSE UP . A pumped up MUSIC CUE peaks as we see : PHOTO : Charles Manson TITLE : `` AMERICAN MANIACS '' PHOTO : Charles Whitman PHOTO : Richard Ramirez PHOTO : Ted Bundy TITLE : HOSTED BY WAYNE GALE PHOTO : David Berkowitz PHOTO : Henry Lee Lucas TITLE : PRODUCED AND DIRECTED BY WAYNE GALE Following a series of shots of WAYNE GALE in the field -LRB- VIDEO SEQUENCE -RRB- , the young commando journalist stands on the yellow line of Highway 58 . His accent AUSTRALIAN STREET :</scene_description> <character>WAYNE TV</character> <dialogue>Welcome to another episode of `` American Maniacs,'' where we chronicle the mayhem, the brutality, and the violence of that peculiarly American creation - the serial killer.</dialogue> <scene_description>PULL BACK to reveal an enormous POLYNESIAN DRUGGIST , 300 pounds , watching a portable TV on the counter of the control booth . He 's behind a hi - strength glass and raised up a couple of steps . His eyes , at this late hour , nervously wander to his SURVEILLANCE SCREEN - revealing : Mickey and Mallory , separate aisles , alone in an enormous sea of fluorescence , foaming .</scene_description> <character>WAYNE TV</character> <dialogue>Tonight I'm standing on Highway 666 - running through towns like Cortez, Colorado, Shiprock, and ending in Gallup, New Mexico. To some it's a beautiful stretch of the American landscape, but to Mickey and Mallory Knox, who are still at large, it is literally a candy lane of murder and mayhem.</dialogue> <scene_description>The moments are expanding in the Pharmacist 's eyes as - not yet , but almost - thoughts begin to cross over into neighboring compartments . HOME MOVIE MONTAGE - TV On the TV - a MONTAGE OF Home Videos . These are films of Mickey and Mallory living a normal life . - MALLORY - very introverted - with her PARENTS who look really weird - doing something weird like feeding the fish . Or all three are smiling , Mallory in the middle . Her father holds a chicken drumstick . Mallory 's taking a bite out of it . - MICKEY in his high school yearbook photograph or elementary school . Very innocent , sweet . Possibly a photo in Santa 's lap .</scene_description> <character>WAYNE TV</character> <dialogue>Once they were average citizens, living drab, nothing - ever - happens lives, but then these sweethearts began a cross - country murder spree that has lasted only three terrifying weeks but has left.</dialogue> <scene_description>- PHOTOS : BLACK &amp; WHITE of bloody VICTIMS - both men and women - PHOTO : BLACK &amp; WHITE of a bloodstained police chalk outline .</scene_description> <character>WAYNE TV</character> <dialogue>forty eight known bodies in its wake. Including.</dialogue> <scene_description>TIGHT over the DRUGGIST in enormous diopter as MICKEY approaches the CONTROL BOOTH , staggering . A PHOTO OF MALLORY 'S PARENTS - MOM and POP .</scene_description> <character>WAYNE TV</character> <dialogue>Mr. and Mrs. Ed Wilson - who are - or rather `` were'' - Mallory's Mom and Dad!</dialogue> <scene_description>The Pharmacist 's terrified eyes carry from the television to Mickey trying to get his attention out the booth . Up close Mickey looks like shit , pale , sweating , waving a handful of rubbers at the Druggist . His mouth voicing words through the ventilated `` bullet - proof '' glass :</scene_description> <character>MICKEY</character> <dialogue>Hey you. ` scuse me? Aloha?</dialogue> <scene_description>The Pharmacist in zombied terror approaches .</scene_description> <character>MICKEY</character> <dialogue>Hey! Chief - this rattlesnake took a chunk out of us a ways back. My lady friend and I are pretty sick. I think we're dyin', but you never can tell these things. so how's ` bout ungluing your fat ass from the boob tube and getting us some snakebite juice, okay?</dialogue> <scene_description>The Pharmacist nods and silently pushes the ELECTRONIC ALARM beneath the counter with his fat finger . In a daze of his own , he complies with Mickey 's request , meandering to the medicine shelves . WAYNE in front of a 7/11 store .</scene_description> <character>WAYNE TV</character> <dialogue>Mickey and Mallory started off as armed robbers, but their idea of robbery is a little different than you or I - in fact it is an assault.</dialogue> <scene_description>ON TV CONT .</scene_description> </scene> <scene> <stage_direction>INT. 7/11 STORE - DAY</stage_direction> <scene_description>This scene is shot through the store 's black and white SURVEILLANCE CAMERA high angle corner . MICKEY and MALLORY are in the 7/11 , cocking their shotguns and shouting things .</scene_description> <character>MICKEY</character> <parenthetical>( on video . )</parenthetical> <dialogue>Money! Money! Money! Fast! Fast! Faster! Faster!</dialogue> <character>MALLORY</character> <dialogue>Mickey!</dialogue> <scene_description>Mickey shoots a CUSTOMER . Mallory blasts the Young CLERK who flies into a comic book rack .</scene_description> <character>MICKEY</character> <parenthetical>( not noticing the TV , impatient . )</parenthetical> <dialogue>You fuckin' find it yet?</dialogue> <scene_description>The Pharmacist , stalling , fiddling with bottles , ultranervous about the naked TV staring at Mickey , trying to distract him .</scene_description> <character>PHARMACIST</character> <dialogue>Have. have you tried the hos. hospit. tal yet.</dialogue> <character>MICKEY</character> <dialogue>What the hell is this?</dialogue> <parenthetical>( sicker . )</parenthetical> <dialogue>You fuckin' find it yet!</dialogue> <character>WAYNE TV</character> <dialogue>They'd storm in with shotguns and kill every customer in the place without hesitation. But they always leave one clerk alive. To tell the tale of.</dialogue> <scene_description>ON TV - The surveillance camera revealing Mickey and Mallory tearing out the 7/11 leaving one OLD INDIAN behind . CUTTING to PHOTOS , BLACK and WHITE , of : MICKEY and MALLORY - high school sweetheart photos Staring right back at him . It finally reaches MICKEY who ca n't help but be flattered .</scene_description> <character>WAYNE TV</character> <dialogue>Mickey and Mallory!</dialogue> <character>MICKEY</character> <dialogue>I'll be damned.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>You piece of shit!</dialogue> <scene_description>He goes for his gun . The Pharmacist , all 300 pounds of him , hits the floor in one giant sumo fireball . Mickey blasting the window with his gun - bullets careening off the hi - strength glass .</scene_description> <character>MICKEY</character> <parenthetical>( come alive . )</parenthetical> <dialogue>MALL! COPS! Get the fucking car out front! I'll get the snakeshit!</dialogue> <scene_description>Mallory , reinvigorated by the mention of `` cops ! '' - gets back to her feet and with pure , groggy will tears herself outside like a cyborg . Mickey with successive gunblasts , shatters the COUNTER GLASS and climbs in . The Pharmacist , hands hitting the ceiling , begs for his life .</scene_description> <character>PHARMACIST</character> <dialogue>Ppppppplllll. eeeezzzee.</dialogue> <character>MICKEY</character> <dialogue>Snake juice!</dialogue> <scene_description>The Pharmacist shits -</scene_description> <character>PHARMACIST</character> <dialogue>We do n't carry. hosppp. ital. I'm the only clerk left. I'm the onnnnlllly clerk left.</dialogue> <scene_description>Mickey trashing the counter in any case , cramming every prescription drug into a shopping bag , comes close .</scene_description> <character>MICKEY</character> <dialogue>Yeah, but you forgot one thing.</dialogue> <character>PHARMACIST</character> <dialogue>Whhhaaaat's th. thhhaaaat?</dialogue> <character>MICKEY</character> <dialogue>If I do n't kill you, there's nothing to talk about, is there?</dialogue> <scene_description>The Pharmacist gets it .</scene_description> <character>MICKEY</character> <dialogue>Fuckin' squid!</dialogue> <scene_description>Blows his 300 pounds through the gut . Octopus flesh flying in gobs in every direction . Mickey tears out of there . FLYING POV CAMERA - ripping down the aisle , Mickey 's POV - there 's a honk from outside . Mickey tearing past vitamin displays , knocking down a rack of stuffed animals . His strength is fading . Snake juice coursing through his veins . FLASH - THE DEAD INDIAN FLASH - THE SUN . BUDDHA . some sign of spiritual hope . He gets to the door , swings out through the glass . Sees it :</scene_description> </scene> <scene> <stage_direction>EXT. PHARMACY AND PARKING LOT - NIGHT</stage_direction> <scene_description>Mallory is slugging it out toe to toe with a COP . Another COP lies on the ground at her feet , dead . TWO COP CARS . THREE MORE COPS in windbreakers are tearing up - simultaneously spot MICKEY in the doorway . They hit the pavement pulling their guns . Mickey is faster . Whipping down , his .45 out , blazing away . Tearing a hole through one COP . Taking out ANOTHER with a headwound . Bullets CRASHING through the pharmacy glass , shattering the frontage of the store .</scene_description> </scene> <scene> <stage_direction>INT./EXT. PHARMACY - NIGHT</stage_direction> <scene_description>MICKEY scrambling back into the aisle , protected . Looks back and sees :</scene_description> <character>COP</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Throw your gun down! And get on the floor! Now!</dialogue> <scene_description>AN EXIT PATH - out the rear of the store . But back to MALLORY as she is engulfed by TWO MORE COPS , altogether beating the shit out of her with guns , fists , nightsticks , and dragging her behind one of their cars . The look on Mickey 's face . Heartbroken . He 's got ta stay . He 's got ta go down with her .</scene_description> <character>MICKEY</character> <dialogue>Awright! Awright! I'm coming! But do n't fucking touch her! You hear me or you got a few more dead pigs on your hands!</dialogue> <scene_description>COPS , crouched behind protection , looking at each other .</scene_description> <character>MALLORY</character> <parenthetical>( yells . )</parenthetical> <dialogue>Mickey! Take off!</dialogue> <character>COP</character> <parenthetical>( O.S. to Mickey . )</parenthetical> <dialogue>Okay! Okay! She's secured!</dialogue> <scene_description>Their POV - Mickey 's TWO GUNS come skittering out from behind the aisle . Mallory , blood pouring out of her , looks , moved by his action -</scene_description> <character>MICKEY</character> <parenthetical>( standing , arms in the air , full exposure . )</parenthetical> <dialogue>So. come'n get the big bad wolf.</dialogue> <scene_description>SCAGNETTI suddenly appears from behind one of the cars - nice suit , a gun in his hand , the `` look . '' Even down to the fingernail scars on his cheek . A LIGHT pops on . A LOCAL NEWSCREW filming as : Three more COP CARS arrive . POLICE are pouring in .</scene_description> <character>SCAGNETTI</character> <parenthetical>( on bull horn . )</parenthetical> <dialogue>Put your hands where I can see them. Step out into the light and lay down on the ground. Now.</dialogue> <scene_description>With Scagnetti in the lead , the video camera tracks behind the THREE COPS in windbreakers crashing towards Mickey , guns drawn , overdoing it a bit for camera in a `` COPS '' TV docudrama style . A `` recreation '' already of an event that is just traspiring . Mickey has a smile on his face as Scagnetti hauls him around and cranks up his arms behind his back , trying to cuff him .</scene_description> <character>SCAGNETTI</character> <dialogue>You're outta business Knox you fuckhead! You're gon na die, you piece of shit!</dialogue> <scene_description>Mickey , never out of surprises , joker smile and all , wrenches one hand free . He whips out his BUCK KNIFE and swings it behind him . He hits COP 1 in the eyes . COP 1 screams and falls on the ground . Blood smears his face and hands .</scene_description> <character>COP 1</character> <dialogue>My eyes! My fuckin' eyes are out!</dialogue> <scene_description>Scagnetti has jumped back , alarmed .</scene_description> <character>SCAGNETTI</character> <dialogue>Do n't kill him! I wan na fuck him! He's mine!</dialogue> <scene_description>Mickey stands there , knife in hand , toying with them . As he drops the knife : The TWO OTHER cops pull out their TASER GUNS and fire lots of volts into Mickey 's torso . It 's an extraordinary sight ! CU on Mickey on fire , electrified , spinning , spinning . till he sees stars , millions of stars . The CAMERA WHIRLING with Mickey as he crashes to earth . Unsatisfied , the Cops pull out their clubs and beat him mercilessly - with all the pent - up righteous rage of so many good men killed in the line of duty against this raging psychopath asshole . Galaxy bandit . Forever outlaw to the race of man . The NEWS CREW films . In the wake of Rodney King , the Cops do n't really pay attention . Mallory , bloodied to her pulp , watches from the ground , on her knees , arms squeeze - cuffed behind her , a nightstick through her elbows . She SINGS to herself . Scagnetti crosses to her , jerks her up by the hair , examines her as coldly as a bug .</scene_description> <character>MALLORY</character> <parenthetical>( sings , ignoring him . )</parenthetical> <dialogue>`` These boots are made for walkin That's just what they're gon na do One of these days these boots are gon na walk over you''</dialogue> <scene_description>She does n't bother to look at him . ACT TWO</scene_description> </scene> <scene> <stage_direction>EXT. BATONGA PRISON - DAY</stage_direction> <scene_description>SUBTITLE : `` A YEAR LATER '' TWO MEN move toward us - SCAGNETTI and a Deputy Warden , WURLITZER , in uniform .</scene_description> <character>WURLITZER</character> <dialogue>always wanted to meet you Scagnetti. I respect you and you know what, I even bought your book and I read the whole goddamn thing!</dialogue> <scene_description>As they walk past us , revealing the medieval - looking prison in background , they come to a standing tower of a man , Warden DWIGHT McCLUSKY - suit and tie , a man of iron from another era - with another Deputy Warden , KAVANAUGH , in uniform .</scene_description> <character>WURLITZER</character> <parenthetical>( introducing . )</parenthetical> <dialogue>Warden. Jack Scagnetti.</dialogue> <scene_description>McClusky giving him an iron handshake .</scene_description> <character>MCCLUSKY</character> <dialogue>Dwight McClusky. Welcome to Hell.</dialogue> <scene_description>Scagnetti playing top dog , supercop cool .</scene_description> <character>SCAGNETTI</character> <dialogue>Good to meet ya Dwight. How the hell are my two favorite assholes?</dialogue> <character>MCCLUSKY</character> <dialogue>We got the two rat fucks back in there. I guess you wan na see em.</dialogue> </scene> <scene> <stage_direction>INT. PRISON CORRIDORS - DAY</stage_direction> <scene_description>A door slams , giant reverb down the halls . Echoes of keys clinking , eyes of GUARDS . McClusky waves his arms as he moves and gates slide . As they move , we sense a tense prison - the nervous demeanors and eyes of GUARDS , silent scary PRISONERS in close proximity . The TWO DEPUTIES , Wurlitzer and Kavanaugh , tag along , wary protection , despising the inmates , ADLIBBING to their many requests .</scene_description> <character>MCCLUSKY</character> <dialogue>I seen you on TV. I even went and read your goddamn book. I'm impressed. That E. Scarwin case was something. You put an end to a nightmare, Scagnetti.</dialogue> <character>SCAGNETTI</character> <dialogue>It was no big deal, Warden, just business as usual.</dialogue> <character>MCCLUSKY</character> <dialogue>I'm surprised Hollywood ai n't found you yet. Your story would make a better movie than that `` Serpico'' shit. But I tell ya Scagnetti, in all my years in the penal business - and I tell ya that's no small number Mickey and Mallory Knox are without doubt the most twisted, depraved group of shitfucks it's ever been my displeasure to lay my eyes on. I mean, these two rat fucks are a walkin' reminder of just how fucked up our system really is.</dialogue> <character>SCAGNETTI</character> <dialogue>Do n't get me started, Warden.</dialogue> <character>MCCLUSKY</character> <dialogue>Dwight, you call me Dwight, Scagnetti. You up to date?</dialogue> <character>SCAGNETTI</character> <dialogue>They been separated since incarceration - couple of places?</dialogue> <character>MCCLUSKY</character> <dialogue>Semanko and Jessup.</dialogue> <character>SCAGNETTI</character> <dialogue>They killed a shitload of inmates and guards?</dialogue> <character>MCCLUSKY</character> <dialogue>Three inmates, five guards and a shrink all in one years' time.</dialogue> <character>SCAGNETTI</character> <dialogue>Psychiatrist?</dialogue> <character>MCCLUSKY</character> <dialogue>Yeah. Mickey's better half - Miss Mallory strangled his ass when he made the dumbass mistake of askin' her what her parents done to her - and she done it all shot up on tranquillizers!</dialogue> <scene_description>FLASHBACK - PRISON CELL - DAY The dead PSYCHIATRIST lying on the floor , tongue sticking out of his face . MALLORY cuffed to a chair , beaten , right into CAAERA at the milling , freaked out COPS :</scene_description> <character>MALLORY</character> <dialogue>You gon na give me some more time? I already got life. What else you got? Death? I'd like to see you fuckin' try! I have n't met one motherfucker here who's shown me shit!</dialogue> <scene_description>They WHACK her good .</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDORS - DAY</stage_direction> <character>SCAGNETTI</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Oh yeah. Her parents. Her father was doin' her. So she drowned him in a fish tank.</dialogue> <scene_description>FLASHBACK - INT . MALLORY LIVING ROOM - NIGHT CLOSE on a home aquarium with fish swimming around . Suddenly Mallory 's FATHER 'S head is shoved into the tank .</scene_description> <character>SCAGNETTI</character> <dialogue>The mom they stuffed a sock in her throat and torched the bitch!</dialogue> <parenthetical>( laughs , cynically . )</parenthetical> <dialogue>Her kid brother they left alive.</dialogue> <scene_description>FLASHBACK - INT . MALLORY 'S PARENTS ' BEDROOM - NIGHT Mallory 's MOTHER mouth is stuffed with a sock , held down . A gas nozzle pouring gasoline all over her .</scene_description> <character>MCCLUSKY</character> <dialogue>Yeah. My old man beat the tar out of me - but I did n't kill him.</dialogue> <character>SCAGNETTI</character> <dialogue>Well, it was because they would n't give'em their blessing to get married.</dialogue> <character>MCCLUSKY</character> <dialogue>You got ta be kidding!</dialogue> <character>SCAGNETTI</character> <dialogue>No. Ai n't love grand?</dialogue> <character>MCCLUSKY</character> <parenthetical>( roars . )</parenthetical> <dialogue>`` Ai n't love grand.'' Ai n't that the truth! It's like that other lie - `` love makes the world go round.''</dialogue> <scene_description>They laugh together as they go past a new door . A nervous GUARD whispers to Deputy Wurlitzer . Suddenly FOUR GUARDS come out of a cell , carrying a badly bloodied PRISONER . He 's been stabbed over and over . They hustle him past McClusky and Scagnetti who keep talking , ignoring the filthy looks thrown at McClusky from every PRISONER in the cell block .</scene_description> <character>MCCLUSKY</character> <dialogue>so how does a guy like you become a specialist in psychos?</dialogue> <character>SCAGNETTI</character> <dialogue>Well, Dwight, for starters I'd recommend having your mother killed by one. After that happened, I developed a rather keen interest in the subject.</dialogue> <character>MCCLUSKY</character> <dialogue>What the hell happened?</dialogue> <character>SCAGNETTI</character> <dialogue>I was born and spent the first part of my life in Texas.</dialogue> <character>MCCLUSKY</character> <dialogue>You do n't have an accent?</dialogue> <character>SCAGNETTI</character> <dialogue>I do n't wan na talk like those assholes.</dialogue> <character>MCCLUSKY</character> <dialogue>My mammy was from Texas.</dialogue> <character>SCAGNETTI</character> <dialogue>I meant y' know, the assholes I grew up with who beat the shit outta me. Anyway, one day when I was five, my mother took me out to play in the park. Well, that just so happened to be the same day that Charles Whitman climbed up to the top of University of Texas tower and started shooting strangers.</dialogue> <character>MCCLUSKY</character> <dialogue>You was with her?</dialogue> <character>SCAGNETTI</character> <dialogue>Sure was. You see, the thing is I did n't hear the shots. I did n't hear any of'em. One minute I'm walking with my mother and then all of a sudden her chest explodes. She hits the ground, right? I'm just lookin' at her. Her forearm flies off. Then her hip explodes. Now, I'm not hearing any of these shots. All I know is my mother is falling apart in front of my eyes.</dialogue> <character>MCCLUSKY</character> <dialogue>What about you, son?</dialogue> <character>SCAGNETTI</character> <dialogue>Some hero grabbed me and threw me behind a bush. It took them all goddamn day to get Charlie. So, that meant I spent all Goddamn day lyin' flat on the grass, being eaten alive by fuckin' ants and thinkin' `` What the fuck happened to my mom?'' Ever since I've had a strong opinion about the psychopathic fringe that thrives today in America's fast food culture. I tend not to exhibit self - discipline becoming of a peace officer.</dialogue> <character>MCCLUSKY</character> <dialogue>You got a right Jack. Say, you do n't mind, d'you, if I call you Jack -?</dialogue> <character>SCAGNETTI</character> <parenthetical>( ignores the question . )</parenthetical> <dialogue>Not at all. But I tell you what it is. These fucks think they're special - Daddy yanked their dicks, Momma never game'em a hug - so they have carte blanche to take innocent life.</dialogue> <parenthetical>( McClusky nods intensely . )</parenthetical> <dialogue>They think they're invincible. I never caught a killer yet who ever dreamed he might get caught. And they all look the same when I catch'em - like little kids with their hands in the cookie jar.</dialogue> <character>MCCLUSKY</character> <dialogue>That's my observation as well. We have an army of shrinks who talk about mania and schizophrenia and multiphrenia and obsessions. But it's all bullshit. It's Pride! Arrogance! Somewhere, somehow they get the idea they're better than everyone else - it makes me sick. And Mickey and Mallory Knox are the sickest I've ever seen.</dialogue> </scene> <scene> <stage_direction>INT. DINING AREA - DAY</stage_direction> <scene_description>They walk through the spotless dining area . The PRISONERS eat silently , each one more uptight than the one before him . The Guards on the catwalks above sense something in the air , nervous , nodding to the Warden who makes AD LIB INQUIRIES as he moves .</scene_description> <character>MCCLUSKY</character> <parenthetical>( to prisoner . )</parenthetical> <dialogue>Y' all right.</dialogue> <character>WURLITZER</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Do n't go down that corridor, chief.</dialogue> <scene_description>McClusky changes direction .</scene_description> <character>KAVANAUGH</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Not there either, boss.</dialogue> <scene_description>MCCLUSKY waits .</scene_description> <character>SCAGNETTI</character> <parenthetical>( shrewd . )</parenthetical> <dialogue>So why me, Dwight? What's this really about?</dialogue> <character>MCCLUSKY</character> <dialogue>You feel the silence, Jack! The silence in the air?</dialogue> <character>SCAGNETTI</character> <dialogue>yeah?</dialogue> <character>MCCLUSKY</character> <dialogue>The one thing you do n't want in prison, Jack, is silence.</dialogue> <scene_description>Camera coming to rest on a huge BLACK INMATE . He 's not eating . He 's not chewing . He 's not blinking . The inmates on either side of him look like they might shit their pants . The MAN he 's looking at is nervous , jacked up on speed .</scene_description> <character>NERVOUS MAN</character> <dialogue>Do n't focuking you look at me, motherfucker!</dialogue> <scene_description>The Black Guy goes for him - lunging across the table with a fork aimed at the jacked up guy 's throat . But McClusky beats him to the punch - twisting a personalized medieval instrument of torture - a thumb cracker or something , over the inmates ' fingers - breaking them backwards . The Black Inmate 's face shows the agony he is feeling . As he finally releases the fork . GUARDS now surround the TWO PRISONERS and cart them away . As McClusky renews his walk with Scagnetti , reinvigorated by the incident .</scene_description> <character>MCCLUSKY</character> <parenthetical>( to Guards . )</parenthetical> <dialogue>Put him in F Block for the month. Then bring him to me.</dialogue> <character>SCAGNETTI</character> <parenthetical>( impressed . )</parenthetical> <dialogue>Jesus Dwight! You should be on `` American Gladiators.''</dialogue> <character>MCCLUSKY</character> <dialogue>30 minutes every day, just shake and roll it.</dialogue> <parenthetical>( shaking his body tai - chi style . )</parenthetical> <dialogue>. does n't take much. someone goes for you, you go right for the throat Jack!</dialogue> <parenthetical>( feints for Scagnetti 's throat with a flat palm . )</parenthetical> <dialogue>. a chop that paralyzes. you know I got an office I'm gon na show ya Jack, it's so good I do n't wan na go home at night. I got a secretary 23 fuckin' years old.</dialogue> <character>WURLITZER</character> <dialogue>Yolanda Bingham.</dialogue> <character>MCCLUSKY</character> <dialogue>Got an ass on her like.</dialogue> <character>KAVANAUGH</character> <dialogue>two perfectly round scoops of vanilla ice cream.</dialogue> <character>MCCLUSKY</character> <dialogue>My coffee cup.</dialogue> <character>WURLITZER</character> <dialogue>which says The Boss on it,</dialogue> <character>MCCLUSKY</character> <dialogue>might as well be a bottomless pit.</dialogue> <character>KAVANAUGH</character> <dialogue>She puts the fuckin' waitresses at Sambo's shame.</dialogue> <character>WURLITZER</character> <dialogue>And we ai n't talkin' lukewarm water poured over old grounds.</dialogue> <character>MCCLUSKY</character> <dialogue>So, tell me why would I want to leave paradise to come down here and breathe this air and smell the smell of a bunch of losers?</dialogue> <parenthetical>( pauses , holds Scagnetti 's eye . )</parenthetical> <dialogue>Cause of you, Jack.</dialogue> <parenthetical>( indicates the prisoners . )</parenthetical> <dialogue>Mickey and Mallory did this to'em. Got my whole prison worked up.</dialogue> <character>WURLITZER</character> <dialogue>Like sharks to chum bait.</dialogue> <character>MCCLUSKY</character> <dialogue>Smell of blood drives'em nuts.</dialogue> <character>WURLITZER</character> <dialogue>80 percent of these assholes are violent offenders.</dialogue> <character>KAVANAUGH</character> <dialogue>We're over 200 percent capacity.</dialogue> <character>MCCLUSKY</character> <dialogue>This ai n't a prison anymore Jack - it's a timebomb.</dialogue> <character>SCAGNETTI</character> <dialogue>So ship'em out.</dialogue> <character>KAVANAUGH</character> <dialogue>Nobody wants'em</dialogue> <character>WURLITZER</character> <dialogue>No state!</dialogue> <character>MCCLUSKY</character> <dialogue>I'm even talkin' hellholes where the warden's hard as a bar of iron. No one wants these assholes behind their walls, dealing with'em</dialogue> <character>WURLITZER</character> <dialogue>Day in</dialogue> <character>MCCLUSKY</character> <dialogue>Day out.</dialogue> <character>SCAGNETTI</character> <dialogue>So fry'em.</dialogue> <character>MCCLUSKY</character> <dialogue>Fuck we tried! And each fuckin' time they kill somebody new we got to start the whole legal process all over again.</dialogue> <character>WURLITZER</character> <dialogue>It eats up two to three years.</dialogue> <character>KAVANAUGH</character> <dialogue>Mickey is fuckin' diabolical.</dialogue> <character>MCCLUSKY</character> <dialogue>He knows.</dialogue> </scene> <scene> <stage_direction>INT. WOMAN'S CELL BLOCK - DAY</stage_direction> <character>MCCLUSKY</character> <dialogue>What's his name?</dialogue> <character>KAVANAUGH</character> <dialogue>Pete.</dialogue> <character>MCCLUSKY</character> <dialogue>Pete, open it up. We got a visitor for the song bird.</dialogue> <scene_description>A BUZZER sounds . A door clanks open . Soon as it does we hear a FEMALE VOICE singing `` Walking after Midnight '' by the Cowboy Junkies .</scene_description> <character>SCAGNETTI</character> <dialogue>So, sounds like a hemorrhoid you ca n't get rid of, Dwight.</dialogue> <character>MCCLUSKY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Even hemorrhoids can be cut out Jack. That's why we're shipping'em for testing to Nystrom with you.</dialogue> <character>SCAGNETTI</character> <dialogue>Nystrom? Lobotomy Bay?</dialogue> <character>MCCLUSKY</character> <dialogue>Vegetable land. Home of the criminally insane.</dialogue> <character>SCAGNETTI</character> <dialogue>That has n't been done in years.</dialogue> <character>MCCLUSKY</character> <dialogue>We got a first stage ruling. It wo n't stick with all these asshole do - good shrinks around, but it gets them under your control for a few hours.</dialogue> <character>SCAGNETTI</character> <dialogue>Yeah? And then?</dialogue> <character>MCCLUSKY</character> <dialogue>The public loves you Jack. youre a celebrated lawman. You busted `` M&amp;M.'' Twenty six years on the force, a bestseller out in paperback.</dialogue> <character>WURLITZER</character> <dialogue>A modern day Pat Garret with a deadly axe to grind with maniacs.</dialogue> <parenthetical>( Scagnetti puffing up . )</parenthetical> <dialogue /> <character>MCCLUSKY</character> <dialogue>You're a livin' breathing icon of justice and that's why you were chosen to deliver Mr. and Mrs. Knox. We - the Prison Board - we know that once you get'em on the road. if anything should happen.</dialogue> <character>WURLITZER</character> <dialogue>an accident</dialogue> <character>MCCLUSKY</character> <dialogue>a fire</dialogue> <character>KAVANAUGH</character> <dialogue>an escape attempt</dialogue> <character>ALL</character> <dialogue>anything.</dialogue> <character>MCCLUSKY</character> <dialogue>Jack `` Supercop'' Scagnetti would be there to look out for his public's best interests.</dialogue> <character>SCAGNETTI</character> <dialogue>I'm getting the picture here.</dialogue> <character>MCCLUSKY</character> <dialogue>and of course nobody in their right mind would cry for those two pigfuckers if they happened to take some lead. A lotta lead.</dialogue> <parenthetical>( Scagnetti thinking . )</parenthetical> <dialogue>You write the script, Jack, call it `` Showdown in Mojave : The Extermination of Mickey and Mallory,'' I do n't give a shit. I'll give you my two best men.</dialogue> <parenthetical>( indicating . )</parenthetical> <dialogue>Kavanaugh and Wurlitzer.</dialogue> <parenthetical>( corrects their names and faces . )</parenthetical> <dialogue>.</dialogue> <character>WURLITZER</character> <dialogue>We got a special dislikin' for these punkolas.</dialogue> <character>MCCLUSKY</character> <dialogue>Have we found our man?</dialogue> <scene_description>Hold on Scagnetti as he walks up to Mallory 's glassed cell - very white , very medical . Inside we hear singing . An old friend . Still fascinating to Jack .</scene_description> <character>MCCLUSKY</character> <dialogue>So here she is. you know her, you love her, you ca n't live without her. Mallory Knox.</dialogue> </scene> <scene> <stage_direction>INT. MALLORY KNOX CELL - DAY</stage_direction> <scene_description>MALLORY -LRB- a year older -RRB- sings .</scene_description> <character>MALLORY</character> <dialogue>`` I go out walkin' after midnight in the moonlight just like we used to do.''</dialogue> <character>MCCLUSKY</character> <dialogue>Hey Knox! Somebody out here wants to meet you.</dialogue> <character>MALLORY</character> <dialogue>`` I'm always walkin' after midnight searchin' for you.''</dialogue> <scene_description>Mallory just keeps on truckin . MALLORY 'S POV : We stare at MCCLUSKY and SCAGNETTI for a second . Then , like a bull , we charge/DOLLY straight at them . Mallory screams O.S. . We SMASH headfirst into the bars . Mallory 's POV flings up , looking at the ceiling , then falls backward . MEDIUM TIGHT SHOT of floor , Mallory falls into FRAME , out cold . CU on Scagnetti through the cell bars .</scene_description> <character>SCAGNETTI</character> <dialogue>Jesus Christ!</dialogue> <scene_description>CAMERA PANS to McClusky smiling .</scene_description> <character>MCCLUSKY</character> <dialogue>Do n't worry about it. She does it all the time.</dialogue> <scene_description>BACK TO : Mallory on the floor , still unconscious with blood trickling out her scalp .</scene_description> <character>MCCLUSKY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Follow me.</dialogue> <character>SCAGNETTI</character> <dialogue>So, uh. where do you keep the other half, Warden?</dialogue> <scene_description>McClusky walking through ANOTHER DOOR .</scene_description> <character>MCCLUSKY</character> <dialogue>We got his stinkin' ass in the deepest, darkest cell in the whole dungeon. But it just so happens we ca n't see him right now. Cause he's got a special visitor.</dialogue> <character>SCAGNETTI</character> <dialogue>Who's that?</dialogue> <character>MCCLUSKY</character> <dialogue>Wayne Gale.</dialogue> <character>SCAGNETTI</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Wayne Gale! That TV scumbag.</dialogue> <character>MCCLUSKY</character> <dialogue>We call'em `` Media,'' Jack. Why, you do n't like the media?</dialogue> <character>SCAGNETTI</character> <dialogue>A worm in my blood stool's got more attraction to me. This guy lives to fuck cops over.</dialogue> <character>MCCLUSKY</character> <dialogue>Ca n't say no to the media. You want the job Jack? Then come say hello.</dialogue> </scene> <scene> <stage_direction>INT. JAIL -- SPECIAL VISITING ROOM - DAY</stage_direction> <scene_description>WAYNE GALE , the young , energetic commando journalist is testing a small tape recorder , accompanied by a FEMALE ASSISTANT , JULIE , and TWO GUARDS . His Australian accent on , he manages to include everyone in his monologue . Including his face - which he likes to bounce off every reflecting surface he sees , continually checking himself . A natural - born narcissist . A BLACK INMATE is working in the room .</scene_description> <character>WAYNE</character> <parenthetical>( sympathetic . )</parenthetical> <dialogue>How ya doin' brother? Doin' some hard time? What you in for?</dialogue> <character>INMATE</character> <dialogue>Murder.</dialogue> <character>WAYNE</character> <dialogue>I'm with you.</dialogue> <parenthetical>( into recorder . )</parenthetical> <dialogue>Testing one. two. three. over. Oh man this place brings back memories. I did my first network interview in this place. Remember Sonny `` The Beast'' Maricopa.</dialogue> <scene_description>They shake their heads .</scene_description> <character>WAYNE</character> <dialogue>Years ago. Great welterweight. But dumb - like all these killers, could n't count the eyes in his head. Beat his bimbo girlfriend to death, then mutilated her. Ever box?</dialogue> <character>DEPUTY WARDEN</character> <dialogue>A little. Back when.</dialogue> <character>WAYNE</character> <dialogue>Yeah. I was nowhere near as good as Sonny but. I could hit. I had some power. Some moves. I was a dancer.</dialogue> <scene_description>FLASHBACK - INT . GYM - DAY A sudden disconnected image of WAYNE beating a bag , lathered up , a real anger expressing itself . BACK TO WAYNE - PRESENT</scene_description> <character>WAYNE</character> <parenthetical>( Cont . )</parenthetical> <dialogue>Anyway there I was just another punk kid from the streets of New York, got a free ride to Columbia, got out of school, kissed some ass over at CBS, and my first pony out the gate I get to interview Sonny Maricopa. That was something.</dialogue> <scene_description>During this , Wayne 's expression tightens as he hears the approaching SLAM of doors and the CLANKING of chains and now the sound of `` his '' FOOTSTEPS :</scene_description> <character>WAYNE</character> <dialogue>Ohhhkkkaaaay. showtime</dialogue> <scene_description>The gate slides open . MICKEY KNOX is led in by TWO DEPUTIES , wearing a blue jumpsuit with a thick and wide leather belt around the waist and metal rings built into each side . Long sturdy chains with handcuffs on each end are wrapped across his body and through the rings , binding his arms to his sides . His hands and feet are double - cuffed . The DEPUTIES have their guns drawn , ready to blow Mickey in half at the slightest provocation . Yet for a man wrapped and bound in . chains , Mickey seems strangely in control of his environment . He is seated roughly on the prisoner 's side of the glass . Wayne starts to smile but something weird happens . The smile gets stuck on his face . He ca n't stop smiling his all - American you - must - love - me smile . It just hangs there , embarrassing and noticeable to everyone in the room . Mickey waits - what 's wrong with this guy ? Finally Wayne gets control of his nerves .</scene_description> <character>WAYNE</character> <dialogue>Hi, Mickey. We've never been introduced, but I'm. I'm Wayne Gale.</dialogue> <parenthetical>( starts to laugh again . )</parenthetical> <dialogue>Oh jeesus! Oh god!</dialogue> <character>MICKEY</character> <parenthetical>( cutting it short . )</parenthetical> <dialogue>Hey. I know who you are. You're famous.</dialogue> <character>WAYNE</character> <dialogue>Hey I could say the same about you.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>I want to thank you for seeing me.</dialogue> <parenthetical>( Mickey waits . )</parenthetical> <dialogue>I have a television show. Every few weeks as part of our look at current America we profile a different serial killer. You do n't mind if I call you a serial killer, do you?</dialogue> <character>MICKEY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Technically, mass murderer.</dialogue> <character>WAYNE</character> <dialogue>Whatever. The episode we did on Mickey and Mallory was one of our most popular ones.</dialogue> <character>MICKEY</character> <dialogue>Y' ever do one on John Wayne Gacy?</dialogue> <character>WAYNE</character> <dialogue>Yes.</dialogue> <character>MICKEY</character> <dialogue>Whose ratings were higher?</dialogue> <character>WAYNE</character> <dialogue>Yours.</dialogue> <character>MICKEY</character> <dialogue>How ` bout Ted Bundy? Ever do one on him?</dialogue> <character>WAYNE</character> <dialogue>Yes. Yours got the larger Nielsen share.</dialogue> <character>MICKEY</character> <dialogue>Good. Yuppie piece of shit.</dialogue> <character>WAYNE</character> <dialogue>What I'd like to do -</dialogue> <character>MICKEY</character> <dialogue>How ` bout Manson?</dialogue> <character>WAYNE</character> <dialogue>Manson beat you.</dialogue> <character>MICKEY</character> <dialogue>Yeah, it's pretty hard to beat the king.</dialogue> <character>WAYNE</character> <parenthetical>( indicating Julie . )</parenthetical> <dialogue>Julie, my producer. and I.</dialogue> <parenthetical>( Julie nods ; she 's mute . )</parenthetical> <dialogue>. we've been waiting to do a follow - up episode on you for a long time. And that time has definitely come.</dialogue> <parenthetical>( encouraged , Julie makes a strange , grunting sound of approval . )</parenthetical> <dialogue>I feel it's apparent to anyone who's hip to what's going on that the Prison Board has thrown the Constitution straight out the fuckin' window. You and Mallory may be killers but nuts, insane? NOT. You're being railroadedinto a hospital for the sole purpose of turning you into a vegetable. Now some people are saying, `` So what.'' I am not one of those people. If we avert our eyes while they do this to you, we give them permission to do it again whenever they see fit. Today, they wipe clean your mind because they feel your actions are dangerous, tomorrow they wipe clean my mind - or dump me in syndication - because they feel what I say is dangerous. Where does it all end? That's my angle.</dialogue> <scene_description>No response from Mickey .</scene_description> <character>WAYNE</character> <parenthetical>( looks at Julie and back to Mickey . )</parenthetical> <dialogue>My problem Mickey, is you do n't exactly inspire empathy. I'm all alone on this. I need your help. I have interviews with the Prison Board, with Warden Dwight McClusky - and I'm telling ya Mickey, they look bad. The two psychologists they used for their kangaroo court wo n't talk to us - which also looks bad. I have an interview with the judge at your trial Bert Steinsma, and the psychologist and famous author Emil Reignold - both of which discount the notion you're insane. What we need now is YOU. You have n't talked to the press since your trial. Now a few days before you get transferred to an asylum, you give an exclusive to Wayne Gale. We're talking a media event here. A 40/50 share. We run this during the Sweeps, the network'll be creaming for it, promos on the Super Bowl -.</dialogue> <parenthetical>( new idea . )</parenthetical> <dialogue>hey, I'll even ask'em to program it same day as the Super Bowl! Right after it! They might go for it. Television history. The first sit down, in - depth interview with the most charismatic serial killer ever, one day before he's being shipped to a mental hospital for the rest of his life. This is Wallace with Noriega, Elton John confessing his bi - sexuality to Rolling Stone, this is the Maysles Brothers at Altamont, this is the Nixon/Frost interviews.</dialogue> </scene> <scene> <stage_direction>INT. OBSERVATION BOOTH - DAY</stage_direction> <scene_description>Watching them through one - way glass are the WARDEN and SCAGNETTI .</scene_description> <character>WAYNE</character> <dialogue>Every sonofabitch out there witha TV's gon na be looking at you Mickey, listening to your words. Sell'em on your sanity. You're composed, you're articulate, you may be a cold - blooded killer but you're obviously not a nut. We'll shame'em into dropping the whole thing. Whattaya say?</dialogue> <character>MICKEY</character> <dialogue>You got any gum?</dialogue> <scene_description>Wayne has a duty free bag filled with items - gum , multi - vitamins , fruit shakes , health food .</scene_description> <character>WAYNE</character> <dialogue>Gum, spearmint, big red? Multi - vitamins? I even got a fruit shake.</dialogue> <character>MICKEY</character> <dialogue>You got a guitar you can give me?</dialogue> <character>WAYNE</character> <parenthetical>( hopeful . )</parenthetical> <dialogue>I'll bring a guitar next time!</dialogue> <character>MICKEY</character> <parenthetical>( pause . )</parenthetical> <dialogue>You talked to Mallory about this?</dialogue> <character>WAYNE</character> <dialogue>She wo n't see me Mickey. Now you're not supposed to know anything about what's going on with her, but since you two been sentenced, Mallory has n't spoken one word. All she does is sing.</dialogue> <character>MICKEY</character> <dialogue>She sings? What does she sing?</dialogue> <character>WAYNE</character> <dialogue>Songs. `` He's a Rebel'' `` Leader of the pack,'' that Dusty Springfield tear - jerker, `` I Only Want To Be With You.'' Her behavior's the main thing the doctors used against you. So even if she'd see me which she wo n't, I ca n't put her on camera anyway. If I ask her, Mallory, are you insane?'' And she starts singing, `` Dead Skunk in the Middle of the Road,'' that blows our whole case.</dialogue> <scene_description>Mickey cracks a smile . The GUARD comes over to take him away .</scene_description> <character>DEPUTY</character> <dialogue>Time, motherfucker!</dialogue> <character>WAYNE</character> <parenthetical>( jumping up . )</parenthetical> <dialogue>Wait a minute! Wait a minute! Civilization rules here, civilization! Let him answer me. Come on Mickey, whaddaya say? Time is running out.</dialogue> <scene_description>Pause . Mickey being pulled up by the Guards , strangely in control . CAMERA suddenly TRUCKING in on him - a bizarre sound as if a plan has now kicked off in his malevolent mind .</scene_description> <character>MICKEY</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I say, go for it.</dialogue> <scene_description>He exits with Guards . Wayne stunned , turns to Julie .</scene_description> <character>WAYNE</character> <dialogue>`` Yes!'' Am I God or what! This saves us, Jules, this saves us. That asshole did n't know it but we were over, we were history, shitcanned. This gives us another whole season! Takes us to the end of the year! I'll renegotiate with network, million dollars more on the contract, maybe Sunday night, maybe you get a little more money. One fucking `` Yes,'' Yes! Yes! Yes!</dialogue> </scene> <scene> <stage_direction>INT. OBSERVATION BOOTH - SIMULTANEOUS DAY</stage_direction> <scene_description>SCAGNETTI has the opposite reaction .</scene_description> <character>SCAGNETTI</character> <dialogue>Why the hell you lettin' that scumbag do this, Dwight?</dialogue> <character>MCCLUSKY</character> <dialogue>Relax. If I do n't, we'll be excoriated in the press. If I do, it'll be weeks before they clear it.</dialogue> <character>WURLITZER</character> <dialogue>Legal, appeals.</dialogue> <character>MCCLUSKY</character> <dialogue>And M &amp; M are gon na be post toasties before that ever happens, right Jack? And no one's gon na give a flying fuck about two dead losers.</dialogue> </scene> <scene> <stage_direction>INT. VISITING ROOM - DAY</stage_direction> <scene_description>The WARDEN , followed by SCAGNETTI , enters the room , smiling .</scene_description> <character>MCCLUSKY</character> <parenthetical>( to Wayne . )</parenthetical> <dialogue>Everything all right Mr. Gale?</dialogue> <scene_description>WAYNE , seeing the Warden , switches character instantly .</scene_description> <character>WAYNE</character> <dialogue>Warden McClusky - a man made for the camera. Too bad James Arness just kicked off. And Ted Danson's busy. He would've been just perfect for your life story.</dialogue> <character>MCCLUSKY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>How ` bout Johnny Cash? Is he available? Maybe you know Jack Scagnetti - he's gon na be helping us with the transfer.</dialogue> <scene_description>Wayne , affable , shakes hands . Scagnetti treats him like vermin .</scene_description> <character>WAYNE</character> <dialogue>Of course. America's favorite cop. `` Scagnetti on Scagnetti'' great book - makes me want to do one of my own. You paved the way Jack.</dialogue> <character>SCAGNETTI</character> <dialogue>And you shit on it you little turkey - neck.</dialogue> <character>WAYNE</character> <dialogue>Turkeyneck, eh? Am I? You better get back on the stairmaster, Scagnetti.</dialogue> <character>MCCLUSKY</character> <dialogue>Boys boys.</dialogue> <character>WAYNE</character> <dialogue>Heh heh Jack is n't too fond of our show ; we sometimes give the B.O.D. to the defendants. You know `` human rights'' -</dialogue> <character>MCCLUSKY</character> <dialogue>B.O.D?</dialogue> <character>WAYNE</character> <dialogue>`` Benefit of the doubt''</dialogue> <character>SCAGNETTI</character> <dialogue>What doubt? Mickey and Mallory are turds, you little sissy. Australia is a penal colony, is n't it. The only doubt I got is you -</dialogue> <character>MCCLUSKY</character> <parenthetical>( contains him . )</parenthetical> <dialogue>Uh Jack! Jack's sort of our avenging angel you might say.</dialogue> <character>WAYNE</character> <dialogue>In any case, he says yes.</dialogue> <character>MCCLUSKY</character> <dialogue>I figured he would. But I want to keep contact with the population to a minimum.</dialogue> </scene> <scene> <stage_direction>EXT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>The WARDEN shuttling the GROUP back out into the CELLBLOCKS , towards the exit .</scene_description> <character>MCCLUSKY</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>They hate Mickey Knox in here. They see him as a publicity hound. It's bound to stir'em up. It's got ta be done my way.</dialogue> <character>WAYNE</character> <dialogue>No problem. Just give me a big room and I'll take it from there. We're `` stealth'' journalists.</dialogue> <scene_description>As they walk off , we hear :</scene_description> <character>WAYNE</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>My crew is the crew that got inside the Shining Path for a face to face with Abimayel Guzman while the BBB was stuck at the airport scratching their nuts. If I were you, chief, I'd worry more about the promos that start hitting the air next week. You're a national face, Warden - a real hero to the American public. You run a damn impressive ship here. And. frankly, who knows? Something like this could launch a new career in public office for you. So I'll have my producer Julie call you in the morning to work out the details. I got a plane to catch right now to New York.</dialogue> </scene> <scene> <stage_direction>INT. MICKEY KNOX CELL - DAY</stage_direction> <scene_description>CAMERA drifting to MICKEY lying on his bunk . A high security single cell . Lawbooks , no pinups , a fax , a telephone , television . He writes Mallory a letter .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Dearest Mallory. You once told me I had no feelings. You were right and you were wrong. I got more feelings now than I ever had before. I never missed someone like I miss you. My cell is so cold. At night I get the chills. pretend you're lying next to me, holding me from behind with your leg draped over mine and your arms wrapped tightly around me. I lie in my cell.</dialogue> <scene_description>WIDE SHOT off the cell .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY'S CELL - DAY</stage_direction> <scene_description>Not knowing where we are , CAMERA moves across a wall into a CU of MALLORY .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>and imagine kissing you. Not making love, just kissing for hours and hours on end. I remember everything about our time. I remember every joke you ever told.</dialogue> </scene> <scene> <stage_direction>INT. MICKEY CELL - DAY</stage_direction> <scene_description>CLOSE UP of the LETTER being written over the WIDE SHOT of the cell .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I remember every secret you ever shared. Shared or revealed? I think shared is proper. I remember every single time you laughed.</dialogue> <scene_description>ECU of Mickey , mouthing the words as he writes . We can hear Mallory 's laugh - a distant haunting echo .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I remember every meal we ever ate. I remember your cooking. I remember watching David Letterman.</dialogue> <scene_description>We hear the echo of television laughter .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I remember driving fast behind the wheel of the Dodge Challenger.</dialogue> <scene_description>The sound of the Dodge Challenger swells as we .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY'S CELL - DAY</stage_direction> <scene_description>MALLORY is moving her body in the middle of the cell to a music only she can hear , then begins to sing `` All of Me '' -LRB- B. Holiday -RRB- in slow acapella , using the cell as the stage and a man who is n't there as her audience .</scene_description> <character>MALLORY</character> <parenthetical>( singing . )</parenthetical> <dialogue>I'm no good without you Take my lips I want to lose them Take my arms I'll never use them You took the part that once was my heart So why not take ALL OF ME.</dialogue> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You, baby, by my side. Your bare feet up on the dash, singing along with the radio, `` He's A Rebel,'' `` Ring of Fire,'' `` Groove Me,''. and your dancing, my God, your dancing. I lie on my bed and go over every day, every minute of our happiness. Every day take a day of our time and go through it hour by hour. I do n't jump ahead either. I take it as it comes, and I live that day again. That way when I get to our first kiss.</dialogue> <scene_description>FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. MALLORY'S PARENTS' LIVING ROOM - NIGHT</stage_direction> <scene_description>The set is sitcom TV format . The lighting is flat , the performances and timing are TV . It is SHOT in three camera SITCOM FORMAT - possibly BLACK and WHITE , harkening back to an earlier era in Mickey 's mind . The time when he first saw TV .</scene_description> <character>MICKEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>they're not just memories. I feel that joy again. And I am no longer in prison. We're together again. And when my head hurts and I can remember no longer, I write you letters and send them telepathically to your heart.</dialogue> <scene_description>MALLORY gets a big handful of AUDIENCE APPLAUSE as she comes down the stairs , dressed to the nines , punky , sexy , ready to trot - yet a sweet girl 's expression , maybe with braces .</scene_description> <character>MALLORY</character> <dialogue>Hello Dad, how was work?</dialogue> <scene_description>DAD is a strange - looking hombre , seated at the table , exhausted and angry in a dirty undershirt .</scene_description> <character>DAD</character> <dialogue>Work? What work! I'm unemployed. Three years. I'm unemployed.</dialogue> <parenthetical>( LAUGHTRACK . )</parenthetical> <dialogue /> <scene_description>MOM is always - smiling with cracked - egg eyes , serving him a large salt cracker with pea soup .</scene_description> <character>MOM</character> <dialogue>You look nice, Mallory.</dialogue> <scene_description>Her younger brother , KEVIN , is doing his homework at the table .</scene_description> <character>KEVIN</character> <dialogue>Yuck. She looks like. uccckkk.</dialogue> <parenthetical>( LAUGHTRACK . )</parenthetical> <dialogue /> <character>MALLORY</character> <parenthetical>( ignoring Kevin . )</parenthetical> <dialogue>Thanks Mom. I'm late. I'll be back by midnight.</dialogue> <character>DAD</character> <dialogue>What are you wearing? A broom stick in a trash bag. A few pounds lighter and you'd be Miss Ethiopia. Where the hell do you think you're going?</dialogue> <character>MALLORY</character> <dialogue>To the John Lee Hooker concert. With Donna. I told you yesterday.</dialogue> <scene_description>Dad rises and tracks her across the living room . She 's evidently not going anywhere tonight in his mind .</scene_description> <character>DAD</character> <dialogue>First off, you do n't tell me anything, you ask my permission. Second, you ca n't go out in that whorehouse dress. Third, you ca n't go out at all. You did n't mow the yard.</dialogue> <scene_description>Mom keeps her smile intact . But Mallory loses her schoolgirl sheen and becomes the Mallory we know and love .</scene_description> <character>MALLORY</character> <dialogue>That piece of shit lawnmower is fucked! How am I supposed to use it?</dialogue> <scene_description>Dad backs her into the wall , puts his hand on her face , his thumb on her lip . She 's scared .</scene_description> <character>DAD</character> <dialogue>You fuckin' little douchebag cunt, you watch your language in front of your mother. I'll kick the shit outta you just like I do her. Just remember you stupid bitch, you shit brown just like me.</dialogue> <scene_description>Mom just shakes her head at Dad 's shenanigans and keeps setting the table .</scene_description> <character>BROTHER KEVIN</character> <dialogue>Mom do we have any croutons?</dialogue> <character>MOM</character> <dialogue>Sure Kevie.</dialogue> <scene_description>At the base of the stairs , Dad feels around Mallory 's ass . She writhes in disgust .</scene_description> <character>DAD</character> <dialogue>This is my house. It does n't matter how much you wag your ass in my face. If it's in my house, it's my ass. Got it? So take it upstairs and take a shower. Make sure it's a good shower. Cause I'm coming up after to see how clean you are.</dialogue> <scene_description>Mallory runs upstairs really upset . Dad reconfigures himself , sits back down at the table .</scene_description> <character>MOM</character> <dialogue>Do n't you think you were a little hard on her, dear?</dialogue> <parenthetical>( LAUGHTER . )</parenthetical> <dialogue /> <character>BROTHER KEVIN</character> <dialogue>Yeah Dad. Mallory ca n't fix a broken bobbypin. How's she gon na fix a lawnmower?</dialogue> <parenthetical>( LAUGHTER . )</parenthetical> <dialogue /> <character>DAD</character> <dialogue>I'll show her a. little `` tenderness'' after I eat.</dialogue> <parenthetical>( wink . )</parenthetical> <dialogue>. When I get up there, she wo n't see my face for an hour.</dialogue> <scene_description>LAUGHTER . The DOORBELL ringing . Dad gets up but Mom stops him .</scene_description> <character>MOM</character> <dialogue>That's probably Donna. I'll break the news to her. Do n't let your macaroni get cold, Ed.</dialogue> <scene_description>But when Mom opens the door , it 's MICKEY who steps in , dressed as a meatman with a big box of beef , blood all over his apron . The APPLAUSE is deafening . GIRLS in the audience SCREAM his name . Mickey hangs five for the recognition as he puts down the beef .</scene_description> <character>MICKEY</character> <dialogue>Delivery for Ed Wilson.</dialogue> <character>MOM</character> <dialogue>What on earth is it?</dialogue> <character>MICKEY</character> <dialogue>It's beef lady. Fifty pounds of beef.</dialogue> <character>MOM</character> <dialogue>Well. wait here. I need to have a word with my husband.</dialogue> <parenthetical>( exiting to kitchen . )</parenthetical> <dialogue>.</dialogue> <scene_description>Mallory stands on the stairs , getting a good look at him . His apron smeared with old blood .</scene_description> <character>MALLORY</character> <dialogue>Who are you?</dialogue> <character>MICKEY</character> <dialogue>I'm Mickey. Who are you?</dialogue> <character>MALLORY</character> <dialogue>I'm Mallory.</dialogue> <character>MICKEY</character> <dialogue>You're `` beautiful.''</dialogue> <parenthetical>( Mallory melts at the appreciation , a look of embarrassment at the camera . )</parenthetical> <dialogue>You a big meat eater, Mallory?</dialogue> <character>MALLORY</character> <dialogue>I can be.</dialogue> <character>MICKEY</character> <dialogue>You always dress like that, or were you waitin' for me?</dialogue> <character>MALLORY</character> <dialogue>Why would I be waitin' for someone I do n't even know?</dialogue> <character>MICKEY</character> <dialogue>Well. maybe something's inside you told you to get ready. ever think about that? Fate. You believe in fate, Mallory?</dialogue> <character>MALLORY</character> <dialogue>Maybe.</dialogue> <character>MICKEY</character> <dialogue>You do n't look too happy. How bout we go for a ride? Talk about it.</dialogue> <scene_description>She smiles .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>MOM is scolding DAD , her hands on her hips .</scene_description> <character>MOM</character> <dialogue>You promised your doctor, Ed - no more meat.</dialogue> <character>DAD</character> <dialogue>I eat what I want! So what! This food here.</dialogue> <parenthetical>( her food . )</parenthetical> <dialogue>you pray after you eat.</dialogue> <scene_description>Mom cries .</scene_description> <character>MOM</character> <dialogue>I just do n't want your arteries to clog up and then you'll keel over at the table.</dialogue> <character>DAD</character> <dialogue>Do n't fuckin' cry. It turns me off!</dialogue> <character>MOM</character> <dialogue>I have n't cried in 20 years and you still have n't touched me.</dialogue> <parenthetical>( big laughter . )</parenthetical> <dialogue /> <character>DAD</character> <parenthetical>( pointing at Kevin . )</parenthetical> <dialogue>What about him?</dialogue> <character>MOM</character> <dialogue>You thought you were in Mallory's room. That's why we have Kevin.</dialogue> <character>KEVIN</character> <dialogue>What?</dialogue> <character>MOM</character> <parenthetical>( going back to the Living Room . )</parenthetical> <dialogue>I'm sending it back. I do n't care what you do to me.</dialogue> <scene_description>The SOUND of BURNING RUBBER .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>MOM and DAD RUN out . The beef remains , with a note which Dad grabs .</scene_description> <character>DAD</character> <dialogue>`` Out with the meat man. Back before dawn. Love Mallory.'' that cunt!</dialogue> <character>MOM</character> <parenthetical>( at the window . )</parenthetical> <dialogue>They stole your car!</dialogue> <character>DAD</character> <dialogue>That meatman cocksucker! I'll get him too. Call the cops!</dialogue> </scene> <scene> <stage_direction>INT. PRISON -- VISITING ROOM - DAY (TWO YEARS LATER)</stage_direction> <scene_description>MALLORY , 2 years older , the braces gone , is visiting her love , MICKEY , who 's taking on convict mannerisms - early stages that are refined into the later , more famous Mickey . He 's doing 2 years for car theft . They are embracing , sitting down , in a room full of reunited FAMILIES . NOTE : The shooting style reverts back to 16 mm black and white - two young lovers .</scene_description> <character>MICKEY</character> <dialogue>Everything I see, I see you Mall.</dialogue> <character>MALLORY</character> <dialogue>I know baby. I'm goin' crazy too.</dialogue> <character>MICKEY</character> <dialogue>Even ugliness looks beautiful cause of you. Even though I'm here, I visit you every night.</dialogue> <character>MALLORY</character> <dialogue>I know Mickey. I ca n't break away from you either, but you got ta listen. My Dad is moving us away so you ca n't never find us. He's insane. He knows you're getting out next month. He got a doctor to say you raped me and he's gon na bring more charges.</dialogue> <character>MICKEY</character> <dialogue>He ca n't keep me away from you.</dialogue> <character>MALLORY</character> <dialogue>He says if you ever show up he'll kill you.</dialogue> <character>MICKEY</character> <dialogue>When's this supposed to happen?</dialogue> <character>MALLORY</character> <dialogue>He wo n't say. Look, I've got ta go. If he finds out I'm gone he'll beat me. I just wanted to see you. I love you Mickey. Please do n't forget me.</dialogue> <character>MICKEY</character> <dialogue>It's cool. It wo n't matter where he takes you, to Timbuktu. I told you we're fate. They ca n't stop fate. Nobody can. it wo n't matter.</dialogue> <scene_description>She looks at him deeply .</scene_description> <character>MALLORY</character> <dialogue>Bye.</dialogue> <character>MICKEY</character> <dialogue>One of these nights, I'll be coming to see ya.</dialogue> <scene_description>On Mickey 's face as she exits .</scene_description> </scene> <scene> <stage_direction>EXT. FARMLAND - DAY</stage_direction> <scene_description>A BLACK CLOUD rolls in . The WIND is blowing . A STORM is brewing . MICKEY is part of a Jail WORKCREW breaking MUSTANGS - guarded by ARMED MEN on horseback -LRB- with shotguns -RRB- Suddenly a large FUNNEL CLOUD touches down . A TORNADO zigzags crazily up the road - more and more immense . The end of the world . The WORKBOSS is yelling for the men to get back to the bus . EVERYONE is running for the road . The TORNADO is moving in fast . But Mickey , lost in all the blowing and confusion , has taken off down the road , heading straight at the tornado . One of the GUARDS takes off after him . fires a shot . Mickey is running his ass off , straight into the twisting devil . obviously a PROCESS SHOT is looming here . The HORSEMAN is gaining on Mickey , fires again . But the horse is spooked by the storm and THROWS the Guard . As the Man hits the ground , he discharges the shotgun right into himself - blowing his chest out . Mickey is last seen as a tiny man disappearing into the TORNADO - arms extended as if he were embracing Death itself .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY'S BEDROOM - NIGHT</stage_direction> <scene_description>She lays in bed , hears a car SCREECH up . Knows it 's him . Runs downstairs . Tonight will be the night !</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>DAD is watching wrestling on TV in his underwear -LRB- `` go on , break his arm ! Do something ! What do we got here . 2 fuckin ' faggots ! Kill each other ! '' -RRB- But it is no longer the sitcom style - we are in 16 mm hard - edged film format .</scene_description> <character>DAD</character> <parenthetical>( to Mallory running to the door . )</parenthetical> <dialogue>Where the fuck do you think you're going! Get back upstairs!</dialogue> <character>MALLORY</character> <dialogue>I'm going OOOUT!</dialogue> <scene_description>The door BLASTS OPEN . MICKEY - all fucked up from the storm , cuts , bruises , is on Dad like lightning struck a demon . Hitting him with a tire iron .</scene_description> <character>MICKEY</character> <dialogue>Hey Jack, Mickey's back.</dialogue> <scene_description>But Dad does n't go down . He fights back . Tipping the scale , Mallory jumps on her dad 's back - liberated at last - kicking him , tearing his eyes out ! It goes round and round . Mickey hits him again . Dad 's dazed . They stuff his head in the fish tank . They hold him down . Dad drowns .</scene_description> <character>MICKEY</character> <dialogue>Where's the old bag?</dialogue> </scene> <scene> <stage_direction>INT. MOTHER'S BEDROOM - NIGHT</stage_direction> <scene_description>MOM comes awake from an open - mouthed snore - terrified eyes as : MICKEY stuffs a sock , soaked in gasoline , into her throat , shutting her up . The rest of her is sprayed with gasoline from the can Mickey is holding . CLOSE UP of a MATCH being lit . MALLORY holds it in front of her face for a moment . MOM begging for her life with her daughter . Her words muffled by the sock :</scene_description> <character>MOM</character> <dialogue>Oh God. Do n't please do n't Mallory!</dialogue> <scene_description>Mallory tosses the match . We hear ignition .</scene_description> </scene> <scene> <stage_direction>INT. STAIRS/HALLWAY - NIGHT</stage_direction> <scene_description>Mickey and Mallory exit the room on the run , freezing as Mallory 's little brother , KEVIN , stares at them in his nightshirt from the hallway . Mallory makes a farewell gesture .</scene_description> <character>MALLORY</character> <dialogue>You're free!</dialogue> <scene_description>They run out .</scene_description> </scene> <scene> <stage_direction>EXT. MOVING CAR - NIGHT (PROCESS SHOT)</stage_direction> <scene_description>MICKEY and MALLORY flying blind to their freedom . Outrageous STARS whirl and collide above them .</scene_description> <character>MALLORY</character> <dialogue>Wherever we go, whatever happens Mickey, when I look up at the stars, I'll know you're looking at the same ones.</dialogue> <character>MICKEY</character> <parenthetical>( sweet . )</parenthetical> <dialogue>The same ones, baby.</dialogue> <character>MALLORY</character> <dialogue>Mickey.</dialogue> <character>MICKEY</character> <dialogue>Yeah.</dialogue> <character>MALLORY</character> <dialogue>You make every day like kindergarten.</dialogue> </scene> <scene> <stage_direction>EXT. RIO GRANDE GORGE - DAY</stage_direction> <scene_description>They 're standing by an old iron BRIDGE looking down into an enormous 100 - foot drop into the feisty waters of the Rio Grande . All their last clothes and possessions sail over . MALLORY even lets her favorite teddy bear go . MICKEY takes both her hands .</scene_description> <character>MICKEY</character> <dialogue>Mall, it's time to grow up, we got the road to hell in front of us. will you marry me?</dialogue> <character>MALLORY</character> <dialogue>Oh Mickey I been ready for so long, but where we gon na have our wedding Mickey?</dialogue> <character>MICKEY</character> <dialogue>Right here. This is our church, Mall.</dialogue> <scene_description>They notice , for the first time , the beauty of the land and water around them . They look at each other .</scene_description> <character>MALLORY</character> <dialogue>Oohh. I'm so excited!</dialogue> <parenthetical>( goes to the car and pulls out a headdress . )</parenthetical> <dialogue>I got the perfect thing.</dialogue> <scene_description>Mickey takes out his knife and slits his left hand . He takes Mall 's right hand and slits it .</scene_description> <character>MALLORY</character> <dialogue>Oh, it's not what I had in mind.</dialogue> <scene_description>They clasp their hands , mixing blood . He hikes Mall and himself up closer to the railing so they are looking directly down into the plummeting gorge . They watch as the blood drips from their hands into the river below -LRB- ANIMATION OPTION -RRB- . Mickey pulls out the two wedding rings he 's been saving .</scene_description> <character>MALLORY</character> <parenthetical>( quietly . )</parenthetical> <dialogue>we'll be livin' in all the oceans now.</dialogue> <character>MICKEY</character> <dialogue>God. before you and this river and all the things we do n't know about. Do you Mickey take Mallory to be your wife, to stay with her and treat her right - till you die?</dialogue> <parenthetical>( answering himself . )</parenthetical> <dialogue>I do.</dialogue> <scene_description>A TRUCKLOAD OF INDIANS drive by looking at these gringos .</scene_description> <character>MICKEY</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>Mallory, do you take Mickey to be your husband, and love him till you die?</dialogue> <character>MALLORY</character> <dialogue>For all eternity until you and I and you die and die and die again. Till death do us part! Yes, yes, yes.</dialogue> <character>MICKEY</character> <dialogue>Then baby. we're man and wife.</dialogue> <scene_description>He puts the rings on their fingers . And they kiss joyfully . INSERT - TELEVISION FILM - `` AMERICAN MANIACS '' WAYNE GALE is once again standing on HIGHWAY 666 right next to a shot - up roadsign .</scene_description> <character>WAYNE TV</character> <dialogue>after that there was no stopping Mickey and Mallory. They tore up the countryside with a vengeance right out of the Bible. In the course of 3 weeks that stretched down this Highway - 666 - to some a beautiful stretch of American landscape, to others the fastest distance between Cortez and Gallup, but to Mickey and Mallory a candy lane of murder and chaos. As they slaughtered 48 people - innocent people, people they never met before, total strangers - all killed to fill the fantasies of these love - crazed narcissist psychopaths.</dialogue> </scene> <scene> <stage_direction>INT. TELEVISION STATION - DAY</stage_direction> <scene_description>WAYNE GALE is looking at himself on tape with his CAMERA and EDITING CREW and JULIE , the assistant . They 're in an editing `` session , '' rolled up sleeves , coffee , cigarettes , donuts , bagels . A mirror is close by .</scene_description> <character>WAYNE</character> <parenthetical>( involved . )</parenthetical> <dialogue>not bad, not bad. Maybe trim that look. and go for the close - up there when I say `` love - crazed - narcissistic etcetera.''</dialogue> <character>DAVID</character> <parenthetical>( bright young editor . )</parenthetical> <dialogue>we really raped and pillaged the first show to do this.</dialogue> <character>ROGER</character> <parenthetical>( cameraman . )</parenthetical> <dialogue>but we changed the order around so it was n't super obvious.</dialogue> <character>DAVID</character> <dialogue>it still needs a new intro in my opinion Wayne, you ca n't cannibalize yourself all the time or.</dialogue> <character>WAYNE</character> <dialogue>Repetition works, David, you think those schmucks out there in zombieland remember anything. It's junkfood for the brains. It's filler, fodder - just build for the interview. Keep using that word - `` Live Interview.'' Anticipation, David - that's all it's about, the next bite of chocolate, the next car, the next vacation, the next life, next - that's all. ` Just do it.'</dialogue> <character>DAVID</character> <parenthetical>( making a tape cut . )</parenthetical> <dialogue>Heil, mein Fuhrer!</dialogue> <scene_description>DEBORAH , another assistant , hands him a cellular phone .</scene_description> <character>DEBORAH</character> <dialogue>Your sensei.</dialogue> <scene_description>ON TV INSERT COLOR POSTCARD OF CHICAGO</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>they began their crime wave in the poorer suburbs of Chicago. and they finally caged here at this All - Nite Pharmacy in the small New Mexico town of Jerome - not far from the Navajo Indian Reservation.</dialogue> </scene> <scene> <stage_direction>EXT. PHARMACY (REPEAT) - NIGHT</stage_direction> <scene_description>Actual NEWS FOOTAGE of the apprehension , repeated . Tracking in wildly behind the THREE WINDBREAKER COPS &amp; SCAGNETTI on MICKEY , clobbering him for camera . PHOTO : Police Academy BLACK and WHITE PHOTO OF OFFICER GERALD NASH .</scene_description> <character>WAYNE TV</character> <dialogue>Patrolman Gerald Nash was just the first of twelve peace officers that Mickey and Mallory murdered during their reign of terror.</dialogue> <scene_description>PHOTO : BLACK and WHITE photo of Gerald Nash and his partner DALE WRIGLEY , dressed in their uniforms , arms around each other .</scene_description> <character>WAYNE TV</character> <dialogue>Gerald and his partner Dale Wrigley were parked at.</dialogue> <scene_description>PHOTO : BLACK &amp; WHITE snapshot of DONUT SHOP .</scene_description> <character>WAYNE TV</character> <dialogue>this donut shop, Dales Donuts. When -</dialogue> </scene> <scene> <stage_direction>INT. DALE WRIGLEY HOME - DAY</stage_direction> <scene_description>Interview with the real DALE WRIGLEY . His name appears below him on the screen .</scene_description> <character>DALE</character> <dialogue>This'68 Cadillac Coupe De Ville.</dialogue> <parenthetical>( or alternative . )</parenthetical> <dialogue>pulled up about three spaces away. Gerald - three weeks out of the Academy came walking out with our coffee and -.</dialogue> <parenthetical>( begins to tear up . )</parenthetical> <dialogue>my bear claw. When the driver of the car asked him something.</dialogue> </scene> <scene> <stage_direction>EXT. DONUT SHOP - DAY</stage_direction> <scene_description>A cinema verite recreation of the crime , a la `` COPS , '' shot in 16 mm color . Moving in fast on TV GERALD , who has little resemblance to the photograph of Real Gerald .</scene_description> <character>DALE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Gerald started giving him what looked like street directions. When he finished, the driver waved him `` thanks,'' brought up a shotgun and -</dialogue> <scene_description>Pandemonium ! The shadowed figures of TV MICKEY and TV MALLORY firing a blast . TV Gerald flying backward with pumped `` sound '' effects . TV DALE , another actor type with little resemblance to the real Dale , is jumping out of his car , gun pulled , in futile anger as : TV Mickey peels his car out - leaving a really bloodied corpse of TV Gerald on the pavement , bear claws and donuts and coffee heaped over him . BLACK &amp; WHITE PHOTO of Alfie 's DONUT SHOP . A white grease pencil circles where REAL GERALD is shot . We hear another shotgun BLAST and a SCREAM over this . BLACK &amp; WHITE PHOTO of MICKEY and MALLORY standing next to each other , guns in hand , smiling into camera . We hear LAUGHTER and a car PEELING OUT over this .</scene_description> </scene> <scene> <stage_direction>INT. COP CAR - MOVING - HIGHWAY - DAY</stage_direction> <scene_description>TV DALE is pursuing MICKEY and MALLORY - FIRING rounds out his side window as he drives .</scene_description> <character>TV DALE</character> <parenthetical>( into radio . )</parenthetical> <dialogue>I am currently in high pursuit! Send back up! Send back up!</dialogue> </scene> <scene> <stage_direction>INT. MICKEY CAR - MOVING - HIGHWAY - DAY</stage_direction> <scene_description>TV MICKEY is weaving back and forth on the road like Steve McQueen in `` Le Mans . '' TV MALLORY is hanging out the window , FIRING her shotgun , laughing her head off . She sees something that gets her attention .</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>in the ensuing chase, they even managed to kill American marathon bicyclist, Bryan Smyj, who was in the wrong place at the wrong time, only because.</dialogue> <scene_description>Mallory passing a BICYCLIST decked out in colors , flying down the road , sucking on a water bottle . Threatened by the vehicles barreling down the road at war , he shoots Mallory the finger . Like a skilled trap - and - skeet shooter , Mallory whips her shotgun left , tracks the fast - moving target , and gleefully BLASTS the Cyclist off the bike , then whips her shotgun back onto the oncoming Cop .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>As the CYCLIST flies off the road , the TWO CARS whip through the FRAME , one at a time , SPITTING gunfire .</scene_description> <character>REAL MALLORY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>well I always wanted to take a shot at one of'em. they're not so easy to hit.</dialogue> <scene_description>ON TV -LRB- CONT 'D -RRB- :</scene_description> </scene> <scene> <stage_direction>EXT. BLEACHERS - DAY</stage_direction> <scene_description>TV WAYNE stares at us a few beats , sitting in some school football bleachers .</scene_description> <character>WAYNE TV</character> <dialogue>Sick, is n't it?</dialogue> <parenthetical>( mournful pause . )</parenthetical> <dialogue>Renaissance psychopaths that they were - and obviously bored with conventional robbery and murder, they would always leave one clerk or one policeman alive. to tell the tale. of Mickey and Mallory.</dialogue> <character>WAYNE</character> <parenthetical>( between dialogue , on the cellular . )</parenthetical> <dialogue>And cut there. Pop to the `` Maniacs'' logo, ding, ding, two commercials, AT &amp; T and Reebok with any fucking luck, and we come back on : da da introducing `` The Schmuck Fans''.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>. sensei. Taru pleeze. How can you even think that? I would never advance to a brown belt without doing the work, I would not! Please let me come in and talk to you, please. I feel like shit. Network just told us we're goin' live next week - Super Bowl Sunday. 80 - 100 million people. I got ta be together for this one, taru. Stress? I invented the word. Please do n't turn me away. sensei? sensei?</dialogue> <parenthetical>( cuts off , to Julie . )</parenthetical> <dialogue>My life's falling apart. I sense it. It's coming to an end.</dialogue> <character>JULIE</character> <parenthetical>( sign language . )</parenthetical> <dialogue>You're so dramatic.</dialogue> <scene_description>ON TV</scene_description> <character>WAYNE TV</character> <dialogue>and famous they became. Worldwide, loved, adored by their fans, driven by the madness of media, the dragon grew more and more heads.</dialogue> </scene> <scene> <stage_direction>EXT. COURTROOM STEPS (MICKEY'S TRIAL) - DAY</stage_direction> <scene_description>In a LARGE CROWD gathered outside Mickey 's and Mallory 's trial , WAYNE interview THREE LONG HAIRED GUYS , cinema verite style , jumpcutting their response time .</scene_description> <character>KID 1</character> <dialogue>Hot.</dialogue> <character>KID 2</character> <dialogue>Hot.</dialogue> <character>KID 3</character> <dialogue>Totally hot.</dialogue> <character>KID 1</character> <dialogue>Mickey and Mallory are the best thing to happen to mass murder since Manson.</dialogue> <character>KID 2</character> <dialogue>But they're way cooler.</dialogue> <character>KID 3</character> <dialogue>They're romantic, I dunno.</dialogue> <character>KID 1</character> <dialogue>I'm not saying y' know I believe in mass murder or that shit, but.</dialogue> <character>KID 2</character> <dialogue>Do n't get us wrong.</dialogue> <character>KID 3</character> <dialogue>We respect human life and all.</dialogue> <character>KID 1</character> <dialogue>Yeah it's a tragedy but. if I was a mass murderer, I'd be Mickey and Mallory.</dialogue> </scene> <scene> <stage_direction>EXT. LONDON STREET - DAY</stage_direction> <scene_description>`` Man in the Street '' interview style . TITLE CARD reads `` LONDON . '' A BOY and a GIRL , dressed like the Knox 's .</scene_description> <character>LONDON BOY</character> <dialogue>You take all the great figures from the States. Elvis, Jack Kerouac, James Dean, Jim Morrison, Jack Nicholson. add a bloody pale of nitro and you got Mickey and Mallory. They're like rebels without a cause, except they have a cause. Only nobody knows what it is.</dialogue> <character>LONDON GIRL</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Their cause is each utter!</dialogue> </scene> <scene> <stage_direction>EXT. TOKYO STREET - DAY</stage_direction> <scene_description>TWO JAPANESE TEENS dressed like the Knox 's speak in Japanese which is translated in English .</scene_description> <character>TRANSLATOR V.O.</character> <dialogue>Keep the faith, Mickey and Mallory, keep the faith.</dialogue> </scene> <scene> <stage_direction>EXT. PARIS STREET - DAY</stage_direction> <scene_description>TWO FRENCH TEENS , also dressed like the Knox 's , speak in English .</scene_description> <character>FRENCH BOY</character> <dialogue>Mickey and Mallory have a love that's L.A.M.F.</dialogue> <character>FRENCH GIRL</character> <parenthetical>( in English . )</parenthetical> <dialogue>They are super cool!</dialogue> </scene> <scene> <stage_direction>INT. PSYCHIATRIST OFFICE - DAY</stage_direction> <scene_description>WAYNE is interviewing Dr. EMIL REINGOLD who talks to us with an impressive manner . His name on a TITLE CARD underneath .</scene_description> <character>DR. REINGOLD</character> <dialogue>Mickey and Mallory's operatic devotion to each other. In a world where people ca n't seem to make the simplest of relationships work and the slightest emotional commitment is considered devastating, Mickey and Mallory have a do or die romance of a Shakespearian magnitude. To the country's youth, 75 percent of whom are coming from broken homes, they have an us - against - the world posture which youth loves. And they've taken that posture 10 steps beyond. Mickey and Mallory have shocked a country ntimb with violence. They've created a world where only two exist and anybody who inadvertently enters that world is murdered.</dialogue> <scene_description>Wayne going at it on a cellular conference call . He knows the footage , bored .</scene_description> <character>WAYNE</character> <parenthetical>( in phone . )</parenthetical> <dialogue>Bill. Bill listen to me. if you advertise that we'll hit a 75 awareness. By Wednesday! By Saturday we'll be 85, 90 climbing. by Sunday morning only homeless morons living in parks wo n't know we're there! We'll eviscerate `` 60 Minutes'' - they'll be a spark in a distant galaxy fart. We're LIVE Don, hello! Anybody in? Right after the Superbowl! We got'em in their houses, angry, the Game's just sucked.</dialogue> <parenthetical>( it always does . )</parenthetical> <dialogue>, and they wan na see this guy Mickey. What makes him tick! Is he like me! The guy wants to tear apart his wife! His best friend he wants to kill. Recent statistics show that more husband - wife beatings take place during and after sports events than at any other. listen, Bill, this is Don King and Muhammed Ali in the Jungle, Michael Jackson at the SuperBowl! The most talked about event in television history. Books will be written. So? Who cares, it's a book for chrisakes, who the fuck reads a book. Don Don listen to Jim, talk to Don - who can stop live TV? Nobody. You blow this and NBC'll be eating your lunch next season, and I'll be there too. With Letterman. And you'll be cleaning out gorilla shit and reptile cages in pet stores, you better fuckin' believe me for once. Cause.'cause I am outta here! I'm out unless. unless yeah. you know. yeah. at least a mill. maybe 2 we're talkin' now. should've signed me a month ago. Peanuts! Fox was offerin' more. Lobotomy Bay. Right. yeah right.</dialogue> <scene_description>ON TV CONT 'D :</scene_description> <character>DR. REINGOLD</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>Insane, no. Psychotic, yes. But to suggest that they're insane gives the impression that they do n't know right from wrong. Mickey and Mallory know the difference between right and wrong. They just do n't give a damn.</dialogue> <character>WAYNE TV</character> <parenthetical>( in front of courthouse . )</parenthetical> <dialogue>It was Dr. Reingold who Mallory Knox strangled six months after this interview.</dialogue> <scene_description>FREEZE FRAME ON REINGOLD</scene_description> <character>WAYNE</character> <parenthetical>( to the editors . )</parenthetical> <dialogue>Rrrrrnnnnggg. Commercial. How to brush your teeth. How to get an enema, how to live longer. Fanfuckingtastic! But less of the shrink. Keep the teens, the long hairs, love the cop at the donut shop, love the Warden, he's so dumb McClusky, he still thinks he's the good guy. Cut in right when he's on that horrific fuckin' laugh. Freeze frame on the laugh.</dialogue> <parenthetical>( the Warden displays a rictus of francis bacon madness on his face . )</parenthetical> <dialogue>. do n't even let him answer. Fuck him. He's such an idiot. Then cut to me talking with the Huns.</dialogue> <character>JULIE</character> <parenthetical>( sign language , subtitled . )</parenthetical> <dialogue>Should we shoot film on Mickey? For posterity? Maybe a PBS ; gives us library value ; give us some respect for a change, maybe an Emmy?</dialogue> <character>DAVID</character> <dialogue>Fat fuckin' chance.</dialogue> <character>WAYNE</character> <dialogue>Yes! Great idea Julie! Same time as the video. I see. high contrast sixteen millimeter black and white. And I mean black and white, where the black's black and the white's white. For history. For prosperity.</dialogue> <character>DAVID</character> <dialogue>Posterity.</dialogue> <character>WAYNE</character> <dialogue>You're right, David. Prosterity. Film!</dialogue> <scene_description>ON TV -LRB- CONT 'D -RRB- :</scene_description> </scene> <scene> <stage_direction>INT. GOLD'S GYM - DAY</stage_direction> <character>WAYNE TV</character> <dialogue>Even their victims fell in love with Mickey and Mallory!</dialogue> <scene_description>WAYNE 'S standing in a GYM . Behind him MUSCLE MEN and WOMEN are working out ; their GRUNTS fill the BG . Wayne turns off camera into an ECU of two heads belonging to the famous bodybuilder twins , SIMON and NORAAN HUN . Their names appear in a subtitle card below screen .</scene_description> <character>WAYNE</character> <dialogue>Simon and Norman Hun, what do you think of Mickey and Mallory?</dialogue> <character>SIMON</character> <dialogue>I admire them.</dialogue> <character>NORMAN</character> <dialogue>I do, too.</dialogue> <character>WAYNE</character> <parenthetical>( confused . )</parenthetical> <dialogue>But how can you say that?</dialogue> <character>SIMON</character> <dialogue>They're mesmerizing.</dialogue> <character>NORMAN</character> <dialogue>Have you seen `` Pumping Iron?''</dialogue> <character>WAYNE</character> <dialogue>Yes.</dialogue> <character>SIMON</character> <dialogue>Then you've seen the scene where Arnold Schwarzenegger is talking to Lou Ferigno.</dialogue> <character>WAYNE</character> <dialogue>Yes.</dialogue> <character>NORMAN</character> <dialogue>Through the power of the simple word -</dialogue> <character>SIMON</character> <dialogue>And a snake - eye glare -</dialogue> <character>NORMAN</character> <dialogue>- and a snake - eye glare, Arnold was able to totally psyche out any confidence Ferigno had.</dialogue> <character>SIMON</character> <dialogue>He squashed him mentally before physically defeating him.</dialogue> <character>NORMAN</character> <dialogue>He had the edge. The mind's edge.</dialogue> <character>SIMON</character> <dialogue>Mickey and Mallory have that edge.</dialogue> <character>NORMAN</character> <dialogue>They've hypnotized the nation.</dialogue> <character>SIMON</character> <dialogue>Schwarzenegger was the king of the edge before they came along</dialogue> <scene_description>ZOOM BACK to WAYNE .</scene_description> <character>WAYNE</character> <dialogue>Yet you two are both victims of Mickey and Mallory?</dialogue> <scene_description>SHOT now ZOOMS back to reveal that both Simon and Norman are in wheelchairs -LRB- their legs maimed or gone -RRB- .</scene_description> <character>SIMON &amp; NORMAN</character> <dialogue>Yes.</dialogue> <character>WAYNE</character> <dialogue>How can you say you `` admire'' them?</dialogue> <character>NORMAN</character> <dialogue>It's like this, Wayne. Two people are standing in a dark room waiting for the other to attack. These two people ca n't see each other, yet they know they're there. Now, they can either stand in that dark room forever waiting until they die of boredom, or one of them can make the first move.</dialogue> <character>WAYNE</character> <dialogue>Why ca n't they just shake hands and be friends?</dialogue> <character>NORMAN</character> <dialogue>They ca n't because neither knows if the other is a deranged senseless killer like the knoxs. So, you may as well make the first move.</dialogue> <character>WAYNE</character> <dialogue>Obviously they made the first move.</dialogue> <character>NORMAN</character> <dialogue>Unfortunately, yes.</dialogue> <character>SIMON</character> <dialogue>But you see, that's okay, Wayne.</dialogue> <character>WAYNE</character> <dialogue>Why?</dialogue> <character>SIMON</character> <dialogue>They passed the ` edge' along to us, Wayne.</dialogue> <character>WAYNE</character> <dialogue>How so?</dialogue> <character>SIMON</character> <dialogue>By taking away our legs. Now we have to fight harder to get ahead than anyone else in the gym. Probably the whole city. They gave us the fighting spirit. Before this happened I was content. Now I'm pissed off. Now I'm half a man and I've got to work like the devil to get whole again.</dialogue> <character>WAYNE</character> <dialogue>But you'll never be whole again.</dialogue> <character>SIMON</character> <dialogue>Never is a very long time, Wayne. A word only the weak use. I'm not a sore loser. Even if I do n't have a leg to stand on, I'm going to get up and fight this world until I'm on top again.</dialogue> <character>NORMAN</character> <dialogue>That's the Mickey and Mallory way.</dialogue> <character>SIMON</character> <dialogue>And that's the way of the world.</dialogue> <character>NORMAN</character> <dialogue>They're just shocking the world into remembering the primal law.</dialogue> <character>SIMON</character> <dialogue>Survival of the fittest.</dialogue> <character>WAYNE</character> <dialogue>One last question, boys. Usually Mickey and Mallory kill all their victims except for the lucky one. How come they let you two survive?</dialogue> <scene_description>The brothers pause , turn to Wayne .</scene_description> <character>NORMAN</character> <dialogue>They had us hogtied down during one of their house - raids, and they were taking chainsaws to our legs before they were gon na kill us.</dialogue> <scene_description>FLASHBACK - INT . HUN BROTHERS ' HOUSE - NIGHT MICKEY and MLLLORY are carving the BROTHERS up with chainsaws - hidden in shadows . A demonic humor to the scene . BACK TO SIMON . The sound of the CHAINSAW echoes over :</scene_description> <character>SIMON</character> <dialogue>Just for fun, I guess.</dialogue> <character>NORMAN</character> <dialogue>And then Mallory stops Mickey and says, `` Hey, these are the Brothers.''</dialogue> <character>SIMON</character> <dialogue>Mickey stops sawin' on my leg and says, `` Oh my God, I'm your biggest fan.''</dialogue> <scene_description>FLASHBACK - Micky 's look of genuine admiration as he stops the sawing .</scene_description> <character>NORMAN</character> <dialogue>Apparently, they've seen all our films.</dialogue> <character>SIMON</character> <dialogue>They were especially influenced by `` Conquering Huns of Neptune.''</dialogue> <character>NORMAN</character> <dialogue>So Mallory calls 911 and they took off.</dialogue> <character>SIMON</character> <dialogue>They actually apologized.</dialogue> <scene_description>ON TV</scene_description> </scene> <scene> <stage_direction>EXT. COURTHOUSE - DAY</stage_direction> <scene_description>WAYNE standing outside the deserted COURTROOM .</scene_description> <character>WAYNE TV</character> <dialogue>The couple proved so popular, a motion picture glamorizing their exploits is now in the works with Bruce Willis and Demi Moore and Brad Pitt starring. and even MTV got into the act with the new hot single, debuting at number 32 in the charts and climbing now to # 3. `` Murder Me!''</dialogue> <scene_description>MUSIC pumps in -LRB- possible L7 's `` Shitlist '' or Pearl Jam 's `` Alive '' -RRB- MTV MONTAGE TO BE DETERMINED , in conjunction with the Clip/Song -LRB- that could be titled `` The Ballad of Mickey and Mallory '' or `` Natural Born Killers . '' -RRB- In this spoof , we see a VIDEO MICKEY and a VIDEO MALLORY - they dance , they kill , they kiss . Moody atmospheric lighting . AD LIBS to be determined . During this , WAYNE is on the phone in a corner with his WIFE .</scene_description> <character>WAYNE</character> <parenthetical>( softly . )</parenthetical> <dialogue>look honey, I do n't know what you think you found. but it is n't what you think it is. There is no Mai Ly - that's a restaurant! What do you mean going through my drawers?</dialogue> <parenthetical>( firmly . )</parenthetical> <dialogue>Look we'll discuss this later. Put Jimmy on. I'll be home late. About ten. I got network to see tonight. I'll tell you later but it means big bucks. Yeah! Put Jimmy on.</dialogue> <parenthetical>( pause , his son comes on . )</parenthetical> <dialogue>. hi Jimmy, it's your Pop! Yeah so, you going to Judo? When. Oh I thought that was today. how was school? Oh next time, you kick his ass. Daddy'll show you. Daddy loves you very much.</dialogue> <parenthetical>( gooing and kissing sounds . )</parenthetical> <dialogue /> <scene_description>WAYNE outside the COURTROOM -LRB- PRESENT -RRB- . The MUSIC gathering like an ominous cloud .</scene_description> <character>WAYNE TV</character> <dialogue>Unfortunately, the story did n't end with their capture. It just became more surreal. Their subsequent trial turned into a sick circus.</dialogue> <scene_description>FILE FOOTAGE -LRB- Mickey 's Trial -RRB- : - grainy large CROWD circling the courthouse , a very mixed bag .</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>As spectators, reporters, law students, tourists, gawkers, the devoted and the demented were drawn to the Illinois courthouse like moths to a flame. The Mickey and Mallory Knox murder trial was such an event that it made the crime spree that preceded it pale by comparison. The nation caught Mickey and Mallory fire.</dialogue> <scene_description>CLOSE UP - an INTENSE COP in the CROWD outside the COURTHOUSE . WAYNE interviewing him live -LRB- FILE FOOTAGE -RRB-</scene_description> <character>INTENSE COP</character> <parenthetical>( referring to crowd behind him . )</parenthetical> <dialogue>And these assholes.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>are making heroes out of this scum sandwich. You wan na know who a hero is? You wan na know? I'll tell ya who a Goddamn hero is. Mike Griffin. Mike fuckin'.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>Griffin is who these misguided assholes.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>should be revering. You know why Mike Jerome Griffin is a hero? I'll tell ya why. Because he was killed in the line of duty. Do you want to know how he died?</dialogue> <character>WAYNE</character> <dialogue>Yes.</dialogue> <character>INTENSE COP</character> <dialogue>I'll tell you. Mike Jerome Griffin was killed in the line of duty by these two scum - sucking.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>degenerate douche bags!</dialogue> <parenthetical>( BLEEP BLEEP . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXTERIOR COURTROOM (PRESENT) - DAY</stage_direction> <scene_description>WAYNE walking , into camera , looking back at the courthouse . The location is desolate .</scene_description> <character>WAYNE TV</character> <dialogue>The very first thing that was strange was the decision of Mickey's to act as his own counsel. Now this in itself is not unheard of ; for instance, Ted Bundy acted as his own counsel as well. What was unexpected was how spectacular Mickey's performance would be.</dialogue> </scene> <scene> <stage_direction>INT. JUDGE'S DEN - DAY</stage_direction> <scene_description>WAYNE interviews JUDGE BERT STEINSMA in his courtroom office .</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We spoke with Burt Steinsma, who was the presiding judge during the Knox trial.</dialogue> <character>JUDGE STEINSMA TV</character> <dialogue>When he said that I got a headache that lasted five days. But I breathed a sigh of relief when Mickey showed up and he was very prepared, and proved to be an excellent amateur lawyer.</dialogue> </scene> <scene> <stage_direction>INT. WANDA BISBING'S OFFICE - DAY</stage_direction> <scene_description>WAYNE interviews state prosecutor WANDA BISBING , a stern woman in her forties .</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>However, this opinion is not shared by the state's prosecutor on the case, Wanda Bisbing.</dialogue> <character>BISBING TV</character> <dialogue>Oh that's rich. Considering that Mickey Knox turned his court into a mockery and personally made him look like a fool, I'd say that's very benevolent of Judge Steinsma. As far as Mickey being an excellent lawyer, maybe I'm old fashioned but when I went to law school, we were taught the object was to win the case, which I did.</dialogue> </scene> <scene> <stage_direction>INT. TELEVISION STATION - DAY</stage_direction> <scene_description>WAYNE is back on the phone , very secretive .</scene_description> <character>WAYNE</character> <dialogue>something wrong? What? she's not onto it, no. You're paranoid. Look. Mai Ly, Mai Ly! Just do n't put anything on paper - ever. I got ta see you. tonight! I got the watch, it's the Ebell. do n't worry - it's got 3 carots. all right 10 o'clock!</dialogue> <scene_description>ON THE TV</scene_description> <character>WAYNE TV</character> <dialogue>but of course the twist to the tale is. Grace Mulbery.</dialogue> <scene_description>FRONT PAGE NEWSPAPER HEADLINES read : `` MICKY AND MALLORY KILL SIX TEENS DURING SLUMBER PARTY ! '' In smaller bolder face under it : `` One Teen Escapes Killer 's Clutches . '' On the front page is a PHOTO of the teen who escaped . It 's seventeen - vear old GRACE MULBERRY . CAMERA moves into a CU of the photo .</scene_description> <character>WAYNE TV</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Of the six teens murdered that night, seventeen - year old Grace Mulberry was the lucky one left to tell the tale. This haunted young lady summoned up the courage to take the stand, and tell what she saw that horrible night - and then allowed herself to be cross - examined by the man who killed her brother and girlfriends.</dialogue> </scene> <scene> <stage_direction>EXT. COURTHOUSE - (MICKEY'S TRIAL) - DAY</stage_direction> <scene_description>As it was then . A circus . GRACE , her FATHER and BISBING emerge from the sedan in front of the COURTHOUSE and start up the steps . Microphones and cameras are thrust in their faces . Grace is afraid to face the crowd . Her head darts in the direction of each question , but she does n't answer .</scene_description> <character>FEMALE ORIENTAL REPORTER</character> <dialogue>Miss Mulberry! How does it feel to be the only survivor of Mickey and Mallory's reign of terror?</dialogue> <character>FAT MALE REPORTER</character> <dialogue>Miss Mulberry! Has the experience marked you!</dialogue> <character>WAYNE</character> <dialogue>How do you feel about Mickey cross - examining you?</dialogue> <scene_description>Grace and her Father shove their way through the crowd . We hear the cry of :</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mickey and Mallory!</dialogue> <scene_description>CAMERA whips towards the bottom the steps as MICKEY and MALLORY step out of the van , in chains . The REPORTERS race down the stairs . The FANS go apeshit . As they are led up the stairs by SHERIFF DEPUTIES .</scene_description> <character>REPORTER 3</character> <dialogue>Mickey, how do you feel about cross - examining Grace Mulberry?</dialogue> <character>MICKEY</character> <dialogue>I'm keen with anticipation.</dialogue> <character>FEMALE ORIENTAL REPORTER</character> <dialogue>What do you think of this turnout Mallory?</dialogue> <character>MALLORY</character> <dialogue>I never had so much fun.</dialogue> <scene_description>WAYNE - a year younger - is there alongside Mickey and Mallory</scene_description> <character>BLACK REPORTER</character> <dialogue>What's your favorite pastime?</dialogue> <character>MICKEY</character> <dialogue>You mean aside from what I'm being tried for?</dialogue> <parenthetical>( Mallory elbows him in the ribs playfully . )</parenthetical> <dialogue>Oh I'd say watching TV.</dialogue> <scene_description>The REPORTERS in unison :</scene_description> <character>REPORTERS</character> <dialogue>What's your favorite show?</dialogue> <character>MICKEY</character> <dialogue>`` Have Gun Will Travel.''</dialogue> <character>WAYNE</character> <dialogue>Do you have any regrets Mickey?</dialogue> <character>MICKEY</character> <dialogue>Yeah, I always regretted we never got around to looking up my old history teacher, Miss Bainbridge. Now there's a big bad bitch not good for herself or nobody else.</dialogue> <character>WAYNE</character> <dialogue>But if you had to do it all over again, would you do anything different?</dialogue> <parenthetical>( swinging the mike to Mallory ; CAMERA following . )</parenthetical> <dialogue /> <character>MALLORY</character> <dialogue>Yeah, I'd kill the jury.</dialogue> <character>CUTE REPORTER 4</character> <dialogue>Do you have anything to say to your fans!</dialogue> <character>MICKEY</character> <parenthetical>( looking into CAMERA ; big smile . )</parenthetical> <dialogue>You ai n't seen nothin' yet.</dialogue> </scene> <scene> <stage_direction>EXT. COURTHOUSE (PRESENT) - DAY</stage_direction> <scene_description>WAYNE by himself on the courthouse steps , to CAMERA :</scene_description> <character>WAYNE TV</character> <dialogue>No, apparently not. Grace Mulberry gave her tearful testimony. Then it came time for Mickey Knox's cross - examination.</dialogue> </scene> <scene> <stage_direction>INT. WANDA BISBING OFFICE - DAY</stage_direction> <character>BISBING TV</character> <dialogue>Grace was terrified of Mickey. You have to understand most of their victims were normal people with normal lives that nothing out of the ordinary ever happens to.</dialogue> <scene_description>INSERTS - COURT SKETCH shows Bisbing standing at the bench in front of Judge Steinsma with Grace on the stand . Mickey sits with Mallory at the defense table .</scene_description> <character>BISBING</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then out of the blue, they're dealing with the devil incarnate. It was extremely difficult for us to find survivors who would take the stand and testify when they knew Mickey would be cross - examining them.</dialogue> <scene_description>INSERT COURT SKETCH of Mickey looking like the devil incarnate , cross - examining Grace . INSERT COURT SKETCH of a terrified Grace . CAMERA closes on her face . The distinct sounds of a court in session can be heard in the BG .</scene_description> <character>BISBING</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Grace was every bit as terrified, every bit as haunted. But she felt her brother Tim and her five girlfriends were counting on her.</dialogue> </scene> <scene> <stage_direction>INT. COURTROOM (MICKEY'S TRIAL) - DAY</stage_direction> <scene_description>The camera cranes up over the sketch to GRACE , in tears .</scene_description> <character>WANDA BISBING</character> <parenthetical>( wrapping up . )</parenthetical> <dialogue>No further questions your Honor.</dialogue> <scene_description>CAMERA dollies towards a MEDIUM OVERHEAD TWO SHOT of MICKEY and MALLORY . Mickey pauses , sketching something on a piece of paper . Mallory looks over at it , still unseen .</scene_description> <character>JUDGE STEINSMA</character> <dialogue>Defense?</dialogue> <character>MICKEY</character> <parenthetical>( extending the moment . )</parenthetical> <dialogue>As a matter of fact, your Honor, I do. have some questions.</dialogue> <scene_description>Holding the pencil to his lips , he stands and leaves the drawing behind , exiting FRAME . Mallory looks at it . A SKETCH of a man stabbing a woman . CLOSE on Mickey as he crosses to GRACE . CLOSE on GRACE 'S eyes as they look downward . CLOSE on JUDGE STEINSMA as he shuffles paper on his bench . CLOSE on BISBING as her eyes follow Mickey across the court . CLOSE again on Mickey studying Grace , the pencil pressed to his lips in thought . CLOSE on Grace as she pulls from a reserve of strength . Clenching her hands , her eyes come up and lock hatefully on Mickey .</scene_description> <character>MICKEY</character> <dialogue>That's one helluva story, Miss Mulberry.</dialogue> <character>GRACE</character> <dialogue>Maybe to you.</dialogue> <scene_description>Mickey paces in front of her , like a caged tiger .</scene_description> <character>MICKEY</character> <dialogue>Grace. I hope you do n't mind if I call you Grace.</dialogue> <scene_description>CAMERA dollies tighter on Grace . Once locked onto her eyes , her head drops forward and we : FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. GRACE'S HOME - NIGHT</stage_direction> <scene_description>ECU of GRACE 'S eyes as her head is yanked back into frame . The CAMERA pulls back to reveal her eyes wide with fear , a gag in her mouth and a knife pressed against her throat . SOUNDS of squealing murder victims in adjacent spaces . The night of the murder . A slaughter - fest of squealing TEENAGERS . MALLORY 'S got the knife to her neck . MICKEY is wandering around , in a daze , in a black leather jacket over a white t - shirt covered with blood . Blood on his face , a knife in his hand . He turns to camera with the same deadcalm :</scene_description> <character>MICKEY</character> <parenthetical>( at the murdersite . )</parenthetical> <dialogue>Grace. I hope you do n't mind if I call you Grace.</dialogue> </scene> <scene> <stage_direction>INT. COURTROOM - DAY</stage_direction> <scene_description>CLOSE on GRACE in a daze . CLOSE on MICKEY smiling at her .</scene_description> <character>MICKEY</character> <dialogue>Grace? Uh. yes.</dialogue> <character>MICKEY</character> <dialogue>I'd like to ask you about your murdered brother. Tim? His martial arts abilities? How long had he been studying?</dialogue> <character>GRACE</character> <dialogue>Uh. he started when he was in the seventh grade, so that would make it nine years.</dialogue> <character>MICKEY</character> <dialogue>And what was the color of Tim's belt?</dialogue> <character>GRACE</character> <dialogue>The style of fighting that Tim studied did n't believe in belts.</dialogue> <scene_description>CLOSE on BISBING listening . Grace is doing better than she thought .</scene_description> <character>MICKEY</character> <dialogue>Is that a fact? Well, then, Grace could you tell us what form of martial arts it was?</dialogue> <character>GRACE</character> <dialogue>It was Jeet Kune Do.</dialogue> <character>MICKEY</character> <dialogue>Jeet Kune Do. Now I did some research on that form of fighting, and I found out that Jeet Kune Do was a style developed ~ by Bruce Lee. Did you know that?</dialogue> <character>GRACE</character> <dialogue>Yes. That why Tim studied it. Because it was Bruce Lee's fighting style.</dialogue> <scene_description>CLOSE on the COURT CLERK 'S HANDS typing .</scene_description> <character>MICKEY</character> <dialogue>Now, I think it would be safe to say that anybody who studied the fighting style that Bruce Lee developed - arguably the greatest fighter in the history of martial arts - anybody who studies that for nine years, that would be a fella who could defend himself. Would you describe Tim that way, Grace?</dialogue> <character>GRACE</character> <dialogue>Yes I would.</dialogue> <scene_description>Mickey points at Grace with the pencil in his hand .</scene_description> <character>MICKEY</character> <dialogue>Point of fact, were n't Tim's hands and feet considered weapons like guns or knives? Am I correct on that point?</dialogue> <scene_description>Grace 's eyes on - a CU of Mickey 's HAND holding the pencil .</scene_description> <character>GRACE</character> <dialogue>Yes, you are.</dialogue> <scene_description>CU of MALLORY listening .</scene_description> <character>MICKEY</character> <dialogue>Yet in your testimony just now, you described that Tim.</dialogue> <scene_description>CAMERA moves into a tight CU of Grace . Her eyes widen .</scene_description> <character>MICKEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>kicked me four times in the head.</dialogue> <scene_description>FLASHBACK - INT . GRACE 'S HOME - NIGHT TIM , in a rage , cuts loose and hammers MICKEY with four punishing kicks in the head ! BACK TO COURTROOM - CLOSE ON MICKEY</scene_description> <character>MICKEY</character> <dialogue>and his trained Bruce Lee kicks had little or no effect.</dialogue> <scene_description>FLASHBACK - INT . GRACE 'S HOME - NIGHT CAMERA is LOW ANGLE as TIM backs up after his attack . We INSERT a High School class RING he wears on his right fist as he steps into a fighting stance , ready for Mickey to drop . MICKEY , however , spits out a stream of blood , and smiles at him . BACK TO COURTROOM CLOSE on GRACE . We move down and see she is twisting the same High School RING nervously in her hand . CLOSE on MICKEY noticing the Ring and her attachinent to it .</scene_description> <character>MICKEY</character> <dialogue>Then, after shrugging off four blows to the head like I was Superman, I lifted Tim - nine - years - of Jeet - Kune - Do Mulberry off the ground and threw him across the room.</dialogue> <scene_description>Mickey , with arms raised over his head , pantomimes throwing Tim 's body . FLASHBACK - INT . GRACE 'S HOME - NIGHT WIDE SHOT as TIM flies into FRAME , CRASHING into the living room wall . BACK TO COURTROOM We quickly PAN down a number of items with white evidence tags on them . We stop at Mickey 's BUCK KNIFE . Mickey 's HAND comes into FRAME and picks up the knife .</scene_description> <character>MICKEY</character> <dialogue>Then I took.</dialogue> <scene_description>CU of MICKEY as he brings the knife into FRAME .</scene_description> <character>MICKEY</character> <dialogue>this knife and proceeded to tear your brother limb from limb. And your brother, whose hands are lethal weapons -</dialogue> <scene_description>CLOSE on WANDA BISBING as she stands .</scene_description> <character>BISBING</character> <dialogue>Objection, defense is intimidating the witness with the murder weapon.</dialogue> <character>JUDGE STEINSMA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sustained. Mr. Knox, put the knife down.</dialogue> <scene_description>Mickey is locked on Grace .</scene_description> <character>MICKEY</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>- had little to no defense.</dialogue> <character>GRACE</character> <parenthetical>( yelling . )</parenthetical> <dialogue>I do n't know how you did it, but you did it!</dialogue> <character>JUDGE STEINSMA</character> <dialogue>Mr. Knox! The knife!</dialogue> <scene_description>Mickey glances to the Judge , then slowly places the knife back on the table .</scene_description> <character>MICKEY</character> <dialogue>How do you think a human being could possibly be capable of doing something like that?</dialogue> <scene_description>CLOSE on MALLORY watching .</scene_description> <character>GRACE</character> <parenthetical>( yelling . )</parenthetical> <dialogue>I do n't know!</dialogue> <scene_description>Mickey locks eyes with Grace , moves very close .</scene_description> <character>MICKEY</character> <dialogue>Now. I do n't believe that Grace. I think you have a definite opinion on how I was able to do those things you described. Now, I'm going to ask you again. And I want you to remember you are under oath.</dialogue> <scene_description>Grace collects herself .</scene_description> <character>MICKEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In your opinion, Miss Mulberry, how was I able to murder your brother Tim Mulberry in the manner described?</dialogue> <scene_description>Bisbing waits for the answer . The Judge looks down at Grace . Grace looks back into her open palm . CU of the ring . Mickey bearing down on her , waiting . We DOLLY tighter on Grace as she looks up at Mickey timidly .</scene_description> <character>GRACE</character> <parenthetical>( softly . )</parenthetical> <dialogue>You're not human.</dialogue> <scene_description>Mickey smiles .</scene_description> <character>GRACE</character> <dialogue>I thought about it a lot. And the only thing I could figger' is you're not human. You're a vampire, or the devil or a cyborg or something like that. But you're not human.</dialogue> <scene_description>Grace breaks down . Putting her hands to her head to stop the pain . Mickey rolls his pencil in his hand , then CAMERA tilts up as he leans down into a CU , smiling at her .</scene_description> <character>MICKEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>Thank you. Grace, there is one other thing.</dialogue> <character>GRACE</character> <parenthetical>( softly , into her lap . )</parenthetical> <dialogue>What!</dialogue> <scene_description>Mickey smiles .</scene_description> <character>MICKEY</character> <dialogue>Do you believe in fate?</dialogue> <character>GRACE</character> <dialogue>What? I do n't know.</dialogue> <character>MICKEY</character> <dialogue>Well do you believe you have any choice when it's time for you to die?</dialogue> <character>BISBING</character> <dialogue>Objection. What does this have to do with Grace Mulberry?</dialogue> <character>MICKEY</character> <dialogue>You know what this has to do with Grace Mulberry? I'll tell ya what it has to do with Grace Mulberry. It's her time!</dialogue> <scene_description>Grace tearfully looks up and meets Mickey 's demonic glare as he plunges his PENCIL deep into her chest . Grace 's eyes go wide as Mickey 's vicious attack continues . CAMERA whips to a CU of Bisbing jumping up screaming as PANDEMONIUM breaks out in the courtroom in SLOW MOTION . CU pencil puncturing Grace 's blood - soaked chest . CU Judge Steinsma slams his gavel , directing the Sheriff DEPUTIES in SLOW MOTION . CU of the DEPUTIES running towards Mickey in SLOW MOTION ECU of Grace . A Tear rolls out of her widened eyes in SLOW MOTION CU of Mickey . His attack is unending . Grace goes limp . As the Deputies reach Mickey from all sides , the pencil breaks off inside Grace in SLOW MOTION . SIDE ANGLE as Grace 's head falls back into a CU . As her mouth plops open and as her eyelids close , they pinch out a tear that rolls down her cheek in SLOW MOTION . CU of Mickey 's torso as the Deputies wrestle him away from Grace . The bloody broken stump of the pencil in his hand . CU of Grace 's hand dropping into frame , and as her fist opens , her brother 's high school ring falls out in SLOW MOTION . CAMERA follows Mickey 's bloody pencil stub falling from his hand . Flitting the floor next to the ring in SLOW MOTION . CU of Mallory jumping up and down on the table like a puppet , singing `` Mickey and Mallory sittin ' in a tree . '' Deputies grabbing her . Mickey turning to the Judge .</scene_description> <character>MICKEY</character> <dialogue>No further questions your Honor.</dialogue> <scene_description>Mickey 's POV of a large DEPUTY stepping in front of him with a riot club .</scene_description> <character>LARGE DEPUTY</character> <dialogue>Lights out prick!</dialogue> <scene_description>Deputy swings the club . ACT THREE</scene_description> </scene> <scene> <stage_direction>EXT. PRISON - DAY</stage_direction> <scene_description>SUBTITLE READS : `` SUPERBOWL SUNDAY '' WAYNE unloads his cameras with CREW and VANS . A major mobile setup , yards of cable , lights .</scene_description> </scene> <scene> <stage_direction>INT. MICKEY'S CELL - DAY</stage_direction> <scene_description>MICKEY 'S pacing back and forth in his cell , talking to himself in the mirrors , over the washbasin .</scene_description> <character>MICKEY</character> <dialogue>You know. ` I'm gon na just rip off your dress and squeeze your titties.' Then Little Red Riding Hood whips out her.357, sticks it in the Big Bad Wolf's face and says, ` No, you're not. You're gon na eat me. just like the story says.'</dialogue> <scene_description>LAUGH SOUNDTRACK - the sitcom running in his head .</scene_description> <character>MICKEY</character> <dialogue>and the Polish guy says, ` That's nothing. When I get through with my Hanna, I get up, wipe my dick on the curtain, and she hits the roof!'</dialogue> <scene_description>LAUGH SOUNDTRACK Mickey 's pretending he 's calming down a hysterical audience .</scene_description> <character>MICKEY</character> <dialogue>No. please. thank you. you're too kind. no. please.</dialogue> <scene_description>KAVANAUGH opens the cell door .</scene_description> <character>MICKEY</character> <parenthetical>( hands in the air . )</parenthetical> <dialogue>How ya doin' today Kavanaugh?</dialogue> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>WARDEN McCLUSKY strides through his kingdom , trailed by SCAGNETTI - in a foul mood of indigestion and nausea . WURLITZER follows .</scene_description> <character>SCAGNETTI</character> <dialogue>How the hell did you let it go `` live'' Dwight - for chrisake!</dialogue> <character>MCCLUSKY</character> <dialogue>I could n't stop it, it just got out of hand. It do n't change a thing Jack! We're gon na move the scumbags tomorrow morning - a little ahead of schedule, that's all.</dialogue> <character>SCAGNETTI</character> <dialogue>You know Dwight - when I do these two ratfucking douchebags, I'm going right up there with Jack Ruby. In the Hall of Fame. I'll be world famous.</dialogue> <character>MCCLUSKY</character> <dialogue>You'll be bigger, Jack - Oswald was a pussy.</dialogue> <parenthetical>( cocking his ear . )</parenthetical> <dialogue>Do you hear it, Jack?</dialogue> <character>SCAGNETTI</character> <dialogue>Oswald might've been a pussy but he was a great shot.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>. yeah, it's.</dialogue> <character>MCCLUSKY</character> <dialogue>dead quiet.</dialogue> <scene_description>Now we notice it . Like the vacuum before the storm .</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - DAY</stage_direction> <scene_description>McCLUSKY and SCAGNETTI enter , past the TECHNICIANS setting up two cameras , lights , cable ; ASSISTANTS , GUARDS all over the room . WAYNE is checking his makeup and stubble in a mirror with a MAKEUP PERSON as he walks and talks with his cameraman , ROGER .</scene_description> <character>WAYNE</character> <dialogue>Then maybe take him to the window, Rog.</dialogue> <parenthetical>( pretending the cameraman is Mickey . )</parenthetical> <dialogue>So, Mickey, ` if you were let outta jail today, what's the first thing you'd do?'.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Little shit like that. I do n't wan na have to feel I got ta stay in the chairs. We're after a cinema verite, anything can happen, truth - twenty - four - times a second kinda feel. Hi Dwight. How goes? Can I just have a little word?</dialogue> <scene_description>He takes the WARDEN aside ; Scagnetti dropping back .</scene_description> <character>SCAGNETTI</character> <dialogue>So Dwight, I'm gon na catch myself a little word With Mallory. The air in here's. y' know, a little phoney for my taste.</dialogue> <scene_description>Scagnetti exits .</scene_description> <character>WAYNE</character> <parenthetical>( to Scagnetti . )</parenthetical> <dialogue>Yeah, you do that Jack. Nice suit.</dialogue> <parenthetical>( to Warden . )</parenthetical> <dialogue>Now Dwight, I do n't know if you've ever been on a set before -</dialogue> <character>MCCLUSKY</character> <parenthetical>( proud . )</parenthetical> <dialogue>Ya know, I was. I was.</dialogue> <character>WAYNE</character> <parenthetical>( acting surprised . )</parenthetical> <dialogue>Really?</dialogue> <character>MCCLUSKY</character> <dialogue>I was on the ` Dukes of Hazzard' set about 8 years ago. I knew this guy who.</dialogue> <character>WAYNE</character> <dialogue>Well. small world. Well then you know how it works. What we're about in this talk business is intimacy, Dwight. We're about two people having a conversation. I want a trust to develop. If you're thinking about all this.</dialogue> <parenthetical>( indicating the bustle of the room . )</parenthetical> <dialogue>you're not going to relax, we'll be talking at each other instead of `` to'' each other.</dialogue> <parenthetical>( pauses , Dwight waits ; Wayne switches gears . )</parenthetical> <dialogue>Which brings me to. what I wanted to talk to you about. I have to get Mickey Knox to relax - to share what he's never shared before. How Dwight can we expect him to do that when we got more deputies per cubic inch looking up his asshole with shotguns than he has photosynthetic spores?</dialogue> <character>MCCLUSKY</character> <parenthetical>( turning on Wayne , short . )</parenthetical> <dialogue>Well, just what the hell do you expect me to do, Wayne?</dialogue> <character>WAYNE</character> <dialogue>Lose'em. Leave'em outside. I'm getting rid of my crew. Just me, the cameraman, the soundman, that's it. Intimate. Dark. Shadows. Truth.</dialogue> <character>MCCLUSKY</character> <dialogue>Wayne, do you have the slightest idea how dangerous Knox is?</dialogue> <character>WAYNE</character> <dialogue>Dwight, I assure you I am very familiar with Mickey's career.</dialogue> <character>MCCLUSKY</character> <dialogue>Since he and his wife have been in custody, they've killed -</dialogue> <character>WAYNE</character> <dialogue>I'm sure I know the facts as well as you do Dwight.</dialogue> <character>MCCLUSKY</character> <dialogue>Well lem me clue you in on one fact you do n't know. If I take my men out, Mickey Knox is gon na snap your pencil fuckin' neck like a fuckin' twig.</dialogue> <character>WAYNE</character> <parenthetical>( sensitive . )</parenthetical> <dialogue>Dwayne. Dwight. One - fuckin' I grew up in a very tough neighborhood in Sydney, and I've handled some pretty rough customers in my day. Mickey Knox do n't scare me.</dialogue> <character>MCCLUSKY</character> <dialogue>You're a dreamer, son. you're a dreamer.</dialogue> <character>WAYNE</character> <dialogue>Two - I'm a journalist, and I'm prepared to take that risk. Grenada, Panama ; I was dodging ` scuds in Baghdad, Dwight. Three - it ai n't gon na happen. Believe me when I tell you, it's in Mickey Knox's best interest to play this game according to Hoyle.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Wait a minute. Wait a minute. We've gotten into an adversary relationship here, which is not what I want.</dialogue> <character>MCCLUSKY</character> <dialogue>No!</dialogue> <character>WAYNE</character> <dialogue>Seriously Dwight, look at this.</dialogue> <parenthetical>( counting the DEPUTIES in the room . )</parenthetical> <dialogue>Six. seven. eight. Jesus Christ Duane, they hate him. He hates them. We got hate in the air. Even you and I feel it. I got ta explore Mickey. Columbus did n't know he was looking for America. He was looking for India. He needed to be left alone, trusted, he.</dialogue> <character>MCCLUSKY</character> <dialogue>What in the goddamn hell are you talking about?</dialogue> <character>WAYNE</character> <dialogue>Two guys?</dialogue> <character>MCCLUSKY</character> <dialogue>Okay. I'll take two guys off.</dialogue> <character>WAYNE</character> <dialogue>No, no, no, no. I mean only two guys.</dialogue> <character>MCCLUSKY</character> <dialogue>I ca n't do that. Five guys.</dialogue> <character>WAYNE</character> <dialogue>Three.</dialogue> <character>MCCLUSKY</character> <dialogue>I'll cut it in half. Four guys, but that's it.</dialogue> </scene> <scene> <stage_direction>INT. RECREATION ROOM - PRISON - DAY</stage_direction> <scene_description>Elsewhere in the prison , the boring SUPERBOWL winds down with the Quarterback dropping to his knees , running out the clock and `` timeouts '' being taken . A LARGE CROWD of silent PRISONERS is gathered as the `` AMERICAN MANIACS '' PROMO comes on : INSERT TELEVISION FOOTAGE - LOGO A SHOTGUN GRAPHIC explodes through the screen and reveals file footage of MICKEY and MALLORY , supering to WAYNE GALE waiting , standby , `` live . ''</scene_description> <character>TV ANNOUNCER</character> <dialogue>Right after the `` Game,'' stay tuned for a special `` American Maniacs'' on W - A - T - C - H. Mickey Knox is the most dangerous man in America, but Wayne Gale is n't afraid to meet him one on one to learn what 48 people died for : is this man insane or does he belong where he sent so many others : in the grave? Be sure to stay tuned for.</dialogue> <scene_description>The SCREEN of the TV EXPLODES as something heavy -LRB- a machine tool wrench -RRB- is thrown through it . We hear an INMATE :</scene_description> <character>INMATE</character> <dialogue>Mother fucker!</dialogue> <scene_description>The INMATES are throwing whatever they can now at the TV as the WHISTLE goes and the GUARDS rush in with sticks .</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - DAY</stage_direction> <scene_description>TV INSERT - LOGO for `` AMERICAN MANIACS '' rolls to loud cue - in MUSIC and ANNOUNCER .</scene_description> <character>TV ANNOUNCER</character> <dialogue>and now Wayne Gale goes one to one with Mickey Knox. Straight from Batongaville Penitentiary - on the eve of Mickey Knox's lobotomy. Is he or is n't he? Let America be the Judge.</dialogue> <scene_description>MICKEY 'S face - in a chair , real calm , no handcuffs , a pleasant smile .</scene_description> <character>MICKEY</character> <parenthetical>( TO THE GUARD . )</parenthetical> <dialogue>How ya doin' today?</dialogue> <scene_description>Across from him is WAYNE , with a serious intensity , half - glasses , consulting his yellow legal pad notes , Mike Wallace - style .</scene_description> <character>WAYNE TV</character> <dialogue>Mickey Knox. Thank you for this time. I have a few questions I'd like to start with, do you mind?</dialogue> <character>MICKEY TV</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Let's roll the fuckin'.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>dice, Wayne.</dialogue> <character>WAYNE TV</character> <dialogue>Mickey Knox, when did you first start thinking about killing?</dialogue> <scene_description>CAMERA now in the room , rolling off Wayne to reveal Mickey and the setup . It 's made to look like a one on one but we now see McClusky 's DEPUTIES , among them WURLITZER and KAVANAUGH , are quite close , just out of camera range . Mickey is cool as a feather .</scene_description> <character>MICKEY</character> <dialogue>Birth. I was thrown into a flaming pit of scum. forgotten by God.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>.</dialogue> <character>WAYNE</character> <dialogue>What do you mean by that?</dialogue> <character>MICKEY</character> <dialogue>What do I mean? I mean I came from violence. it was in my blood. My Dad had it.</dialogue> <parenthetical>( chuckles . )</parenthetical> <dialogue>You know. Eat, Shit, Fuck, Kill, Die. it was all my fate. my fate.</dialogue> <scene_description>INSERT TV MONITOR - the words are BLEEPED immediately . Wayne 's excited , Mickey 's rolling right out the gate .</scene_description> <character>WAYNE</character> <dialogue>No one is born evil Mickey, it's something you learn. Let's talk about your father? How he was murdered? You were 10 years old when he died is that.</dialogue> <scene_description>Mickey 's mood immediately changes , darkens .</scene_description> <character>MICKEY TV</character> <dialogue>I did n't kill my father. and I do n't want to talk about that shit.</dialogue> <scene_description>He throws a box of donuts at the camera . JULIE signals excitedly from the monitor - a head set sending messages to her . More people turning on . Thumbs up to WAYNE , excited .</scene_description> <character>MICKEY</character> <dialogue>Please.</dialogue> <character>WAYNE TV</character> <dialogue>OK OK Mickey, let's go on to something else. I understand Mickey Knox is reading the Bible these days?</dialogue> <character>MICKEY</character> <dialogue>Ya?</dialogue> <character>WAYNE</character> <dialogue>The teachings of the Bible seem inconsistent with your actions - Christian values.</dialogue> <character>MICKEY</character> <dialogue>I do n't know why. The Bible's full of killings.</dialogue> <character>WAYNE</character> <dialogue>But what about God, does he have the right to judge you?</dialogue> <scene_description>Wayne 's eyes scooting everywhere , motioning to McClusky to get his men out of the background when Mickey 's on camera .</scene_description> <character>MICKEY</character> <dialogue>God created me. if what I did was so bad why did n't he stop me. why did n't he protect me when I was a kid. He's doing it, not me.</dialogue> <character>WAYNE</character> <dialogue>Mickey, how can you look at an ordinary innocent person. a guy with kids. and shoot him to death. how can you do that?</dialogue> <character>MICKEY</character> <dialogue>Innocent? Who's innocent Wayne? it's just murder man. Everyone does it, all God's creatures. in one form or another. I know a lotta people deserve to die.</dialogue> <parenthetical>( a look at McClusky who is impervious . )</parenthetical> <dialogue /> <character>WAYNE</character> <dialogue>Why do they deserve to die?</dialogue> <character>MICKEY</character> <dialogue>Everybody got somethin' in their past, some guilt, some sin, some awful secret thing. I think people who deserve to die are those people who are not living in the first place. I think there's a lotta people walkin' round right now who are aiready dead and need to be put outta their misery.</dialogue> <character>WAYNE</character> <dialogue>sort of `` everyone meets their serial killer half way''? Is that what you're saying? The theory that the Jews wanted to be victims walking into the gas chambers at Auschwitz ; that even genocide at some level's agreed upon?</dialogue> <character>MICKEY</character> <dialogue>The wolf do n't know why he's a wolf, and a deer do n't know why he's a deer. God just made it that way.</dialogue> <character>WAYNE</character> <dialogue>You're talking now about `` predators'' Mickey. You're saying the world itself is predatory. When a mountain lion takes down an elk, it's because it's the elk's time to go, and all the b.s. liberal agenda about saving the animal herds only overpopulates the balance of nature? Maybe you're right Mickey Knox, maybe you're right. Corporate predators. Enviromental predators. Nuclear predators. Life is a hunt. I've seen it Mickey. I was there. When the shit.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>hit the fan. At Grenada. I saw it all go down at Grenada.</dialogue> <scene_description>Mickey bored . Julie signalling frantically to Wayne to cut the jab . Wayne sees the signal ,</scene_description> <character>WAYNE</character> <dialogue>so tell me Mickey, any regrets? Three weeks. 47 people, not cool.</dialogue> <character>MICKEY</character> <parenthetical>( corrects . )</parenthetical> <dialogue>48. Ya, I'm sorry I got Mallory into this mess. Prison and all. She does n't really deserve it.</dialogue> <character>WAYNE</character> <dialogue>Anything else?</dialogue> <character>MICKEY</character> <dialogue>I'm sorry the Indian got killed.</dialogue> <character>WAYNE</character> <parenthetical>( consulting his notes . )</parenthetical> <dialogue>The next to last victim. The one whose grandson testified at the trial that his grandfather was trying to help you.</dialogue> <character>MICKEY</character> <dialogue>He saw it.</dialogue> <character>WAYNE</character> <dialogue>He saw what?</dialogue> <character>MICKEY</character> <dialogue>The Demon. He saw the Demon.</dialogue> <scene_description>Mickey is deep into the memory . Wayne 's puzzled .</scene_description> <character>WAYNE</character> <dialogue>So what happened?</dialogue> <character>MICKEY</character> <dialogue>The whole deal was a mistake. I did n't mean to kill him. The old man was trying to help us.</dialogue> <character>WAYNE</character> <dialogue>So what happened?</dialogue> <parenthetical>( fiercely , aside , to McClusky . )</parenthetical> <dialogue>Dwight, will you get those two assholes outta there! It's supposed to look like me and Mickey alone!</dialogue> <character>MCCLUSKY</character> <parenthetical>( aside . )</parenthetical> <dialogue>Do n't call my men assholes.</dialogue> <character>WAYNE</character> <parenthetical>( aside . )</parenthetical> <dialogue>Shhh! I did n't mean they were assholes. I mean `` get'em outta here!''</dialogue> <scene_description>McClusky signalling to Kavanaugh and Wurlitzer to step back . Julie signalling fiercely for quiet .</scene_description> <character>WAYNE</character> <parenthetical>( to himself , re : McClusky . )</parenthetical> <dialogue>Asshole.</dialogue> <character>MICKEY</character> <parenthetical>( meanwhile deep into it . )</parenthetical> <dialogue>there was a fight in my dream, see. it's the same dream I've had since I was a kid. it's hard to move. like I'm made of lead. I taste metal in my mouth. Then. the Demon comes after me.</dialogue> <character>WAYNE</character> <dialogue>What does it want. your soul?</dialogue> <parenthetical>( no answer . )</parenthetical> <dialogue>What does it do?</dialogue> <character>MICKEY</character> <dialogue>It kills in this case something good.</dialogue> <character>WAYNE</character> <dialogue>So as long as you're bad. it wo n't kill you.</dialogue> <character>MICKEY</character> <parenthetical>( somewhere else . )</parenthetical> <dialogue>after the old man, we were gon na stop killin'. The old man took it out of us.</dialogue> <character>WAYNE</character> <dialogue>but you both've killed on the inside?</dialogue> <character>MICKEY</character> <dialogue>The Demon lives in here. Everyone's got the demon. It feeds on their hate, it cuts, rapes, kills. it's the alien man, it uses your weakness, your fear. only the vicious survive.</dialogue> <character>WAYNE</character> <parenthetical>( skeptical . )</parenthetical> <dialogue>So that's why you're reading the Bible, you're looking for help? Hard to believe, Mickey.</dialogue> <character>MICKEY</character> <dialogue>You mean if Jesus could raise Lazarus from the dead maybe he could help me? No dice.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You know the only thing that kills the Demon? Love. That's why I know Mallory is my salvation. She was teaching me how to love. It's like being in the Garden of Eden.</dialogue> <character>WAYNE</character> <dialogue>`` Only love can kill the demon.'' Hold that thought.</dialogue> <scene_description>COMMERCIAL MUSIC cues in . Pause for a BREAK .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY CORRIDOR - DAY</stage_direction> <scene_description>The silence is vast . As SCAGNETTI 'S feet go past , drawn inexorably to her cell . TWO GUARDS accompany him .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY CELL - DAY</stage_direction> <scene_description>DOORS open - SCAGNETTI 'S POV marching in .</scene_description> <character>SCAGNETTI</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Rise and shine Mallory!</dialogue> <scene_description>MALLORY , asleep on the bunk , springs into a fighting stance . If you 've seen a panther in a zoo , you understand the attitude Mallory brings with her everywhere she goes . CAMERA whips back to Scagnetti and the TWO GUARDS - with shotguns trained on her .</scene_description> <character>GUARD</character> <dialogue>Turn around and face the wall!</dialogue> <character>SCAGNETTI</character> <parenthetical>( approaching her . )</parenthetical> <dialogue>That's all right fellows, we want to have a little talk is all.</dialogue> <scene_description>Pulls a chair out , indicates for her to sit . She does n't .</scene_description> <character>GUARD</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Mr. Scagnetti, do n't get close to her. She'll kill you! One way or the other, she'll kill ya!</dialogue> <scene_description>Scagnetti ushers them to the door .</scene_description> <character>SCAGNETTI</character> <dialogue>Relax fellows, read my book. Now I met some women were really crocodiles in my time but this little lady - I think she's got ta sweet streak for me.</dialogue> <scene_description>Scagnetti pulls his gun out and gives it to the Guard , pushing the door closed on him .</scene_description> <character>GUARD</character> <dialogue>Sir, we're not allowed.</dialogue> <scene_description>Scagnetti closes the door on them . Alone with Mallory .</scene_description> <character>SCAGNETTI</character> <dialogue>Smoke?</dialogue> <parenthetical>( she stares . )</parenthetical> <dialogue>I know you smoke.</dialogue> <scene_description>A look of steel . He gets closer , gentle .</scene_description> <character>SCAGNETTI</character> <dialogue>You know I'm not here to hurt you, Mallory. I wan na be your friend. And if I ever met a girl who needs a friend, it's you. You're a very pretty girl. but I'm sure people tell you that all the time.</dialogue> <scene_description>Mallory does n't respond . Scagnetti takes the cigarette from his mouth , puts it between Mallory 's lips . She smokes . Scagnetti relaxes . Step one . Hold on a C.U. of Mallory .</scene_description> <character>SCAGNETTI</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I was reading the file on you. You know what it said? It said during your trial, whenever they put you on the stand, no matter what they asked, your answer was always the same. `` I love Mickey.'' It also says that when they gave you a polygraph `` I love Mickey'' was the only thing you said that registered as the truth.</dialogue> <scene_description>Scagnetti appears at the side of frame next to Mallory .</scene_description> <character>SCAGNETTI</character> <dialogue>Who are you supposed to be? Squeaky Fromme? Is Mickey your Charles Manson? Or does he just got a big dick? That's it, is n't it? Mickey's got a big donkey dick. But you ai n't seen mine. You never been fucked by the real Prince Charming.</dialogue> <scene_description>Scagnetti changes to Mallory 's other ear . He 's playing with a cobra here , and he knows it . It turns him on , deeper into his sexual obsession with murder .</scene_description> <character>SCAGNETTI</character> <parenthetical>( pressing close . )</parenthetical> <dialogue>Can you remember the last time you fucked? Huh? What I want you to do is close your eyes and remember. remember the last time ol' Mickey gave you the high hard one. Are ya thinking about it? Good. Remember it. Do n't ever forget it cause it ai n't never gon na happen again. Cause when they get through with all that electroshock shit they got lined up for you two, Mick's dick ai n't gon na be worth shit. Course you're not gon na give a particular shit either. Cause when the good doctors get through givin' you the zap. you wo n't know where the hell you are. They'll just put you on a window sill and water you every other day.</dialogue> <scene_description>Mallory looks at him with steel , then yawns . Drops the cigarette on the floor CU of cigarette hitting the floor in SLOW MOTION . We can still see the red , burning end . CU of Mallory 's bare foot rising off the floor in SLOW MOTION CU at floor level of Mallory 's foot coming down on top of the cigarette , then grinding it out - SLOW MOTION . Scagnetti watches this , gulps .</scene_description> </scene> <scene> <stage_direction>INT. RECREATION ROOM - DAY</stage_direction> <scene_description>Where the television was first smashed ; the tone has shifted from insurrection to riot Instead of subduing the PRISONERS , the SEVEN GUARDS are now in full retreat , swinging nightsticks over shield . The Prisoners , all desperate angry men , attack them - bring them down .</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - DAY</stage_direction> <scene_description>The RIOT is spreading . The MEN take one of the GUARDS and throw him into a huge spinning WASHING MACHINE and slam the door on him , watching him go round and round .</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - DAY 162</stage_direction> <scene_description>The interview winds down . JULIE very pleased - a big `` thumbs up '' for WAYNE who gleams . Dollar signs all over his brain .</scene_description> <character>WAYNE</character> <dialogue>You have ultravision Mickey. you see things others do n't. You see the shadows. Tell us. Describe Mallory, Wayne. I mean Mickey.</dialogue> <character>MICKEY</character> <dialogue>Describe Mallory? Okay. She's my wife, she's pretty, she's got brown hair, two eyes, two feet.</dialogue> <character>WAYNE</character> <dialogue>Do n't play dumb with me Mickey. You know what I mean. Describe Mallory.</dialogue> <parenthetical>( points to his head . )</parenthetical> <dialogue>What's up there?</dialogue> <parenthetical>( points to his heart . )</parenthetical> <dialogue>What's in here?</dialogue> <character>MICKEY</character> <dialogue>That's indescribable.</dialogue> <character>WAYNE</character> <dialogue>Well, riddle me this Batman. How do you feel about the fact that you're never gon na see Mallory again?</dialogue> <character>MICKEY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Says who?</dialogue> <character>WAYNE</character> <dialogue>Says the United States Government of America.</dialogue> <character>MICKEY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>When have they ever been right?</dialogue> <character>WAYNE</character> <parenthetical>( pressing . )</parenthetical> <dialogue>Then was it really worth it?</dialogue> <character>MICKEY</character> <dialogue>Was what worth it?</dialogue> <character>WAYNE</character> <dialogue>Was massacring all those people worth being separated from your wife for the rest of your life?</dialogue> <character>MICKEY</character> <dialogue>Do you think up all these question or does it come from some central casting for reporters?</dialogue> <character>WAYNE</character> <dialogue>No Mickey, I ca n't let you get away with rhetoric. Answer the question. Was it worth it? You have n't seen, heard, or smelled Mallory in a year? Was it worth it?</dialogue> <character>MICKEY</character> <dialogue>Was an instant of purity worth a lifetime lie? Yeah, it was.</dialogue> <character>WAYNE</character> <dialogue>Excuse me, did you say an ` instant of purity'? What was that instant of purity? The bodies you left behind?</dialogue> <character>MICKEY</character> <dialogue>That's only part of it. I mean, its a big, big part. But it's only the chorus, it's not the whole song.</dialogue> <character>WAYNE</character> <parenthetical>( passionately . )</parenthetical> <dialogue>Please explain to me, Mickey, where's the `` purity'' that you could n't live without in 48 people who are no longer on this planet because they met you and Mallory? What's so fucking.</dialogue> <parenthetical>( BLEEP . )</parenthetical> <dialogue>pure about that? How do you do it!</dialogue> <scene_description>CAMERA ZOOMS in on a pore - catching CU of Mickey . Pause . ECU profile of DEPUTY WURLITZER on the intercom , hearing the news of the riot for the first time . His expression shows . He signals to MCCLUSKY who goes to the phone .</scene_description> <character>MICKEY</character> <parenthetical>( meanwhile . )</parenthetical> <dialogue>You'll never understand. Me and you, Wayne, we're not even the same species. I used to be you. then I evolved. From where you're standing, you're a man. From where I'm standing, you're an ape. I'm here. I'm still evolving. and you, you're stuck somewhere else man. You're presenting a reflection of yourself. You buy and sell the Fear. You say why? I say why not?</dialogue> <character>WAYNE</character> <parenthetical>( with Mike Wallace intensity . )</parenthetical> <dialogue>Awright, Mickey. now let's cut the BS, let's get real. Why? Why this `` purity'' you feel about killing? Why forchrissake, why!</dialogue> <character>MICKEY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I guess. Wayne. you just got ta hold that ol' shotgun in your hand and it all ` comes clear to you like it was for me that first time. That's when I knew my one true calling in life.</dialogue> <character>WAYNE</character> <dialogue>And what's that Mickey?</dialogue> <character>MICKEY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Shit, I'm a natural born killer.</dialogue> <scene_description>COMMERCIAL MUSIC plugs in .</scene_description> <character>WAYNE</character> <parenthetical>( ecstatic , to himself . )</parenthetical> <dialogue>GREAT! Oh fuckin' brilliant! DID YA GET THAT!</dialogue> <character>JULIE</character> <parenthetical>( sign language . )</parenthetical> <dialogue>Through the roof! The whole country was watching. I heard 80, 90 share!</dialogue> <character>WAYNE</character> <dialogue>Oh Jesus, we'll be famous. how can I top this!</dialogue> <scene_description>McClusky freaking out on the phone .</scene_description> <character>MCCLUSKY</character> <dialogue>Where! For the love of Pete! Shitfire Leroy! Okay. Okay. Mobilize the men. I'm on my way.</dialogue> <scene_description>Hangs up , to the room .</scene_description> <character>MCCLUSKY</character> <dialogue>CLOSE DOWN ALL THE CAMERAS! We got a riot going on in the Rec Room in B Wing.</dialogue> <character>WAYNE</character> <dialogue>Is this a joke? Are we finished! We're live for chrisake. We got another 10 minutes! 200 million Americans are!!</dialogue> <scene_description>MICKEY takes it all in .</scene_description> <character>MCCLUSKY</character> <dialogue>You sure as hell are finished! They got guns, hostages, explosives. Close it down now!</dialogue> <character>WAYNE</character> <parenthetical>( disappointed as hell . )</parenthetical> <dialogue>Then could we go with you and film it? Dwight, forchrisake! `` Live!''</dialogue> <character>MCCLUSKY</character> <dialogue>You stay here and you shut up! I got to see what the hell's going on down there before I can let you film anywhere, it all started cause of your goddamn peckerhead show in the first place!</dialogue> <character>WAYNE</character> <parenthetical>( following him out , trying to grab Roger . )</parenthetical> <dialogue>But the world is watching Dwight - you can never get'em back! You'll be famous. It's history! Dwight!</dialogue> <character>MCCLUSKY</character> <parenthetical>( to Kavanaugh and his men . )</parenthetical> <dialogue>This asshole's still tryin' to tell me what I'm gon na do in my jail. Fuck him! This nanderfuck do n't know what he's dealing with here, but we do. And he ai n't gon na be responsible, we are. So keep your shotguns on, your fingers on the triggers, and be ready to fire at a moment's notice! Phil, Frank you come with me! Jim you stay here. Let's go!</dialogue> <scene_description>McClusky , Wurlitzer and DEPUTIES 3 , 4 exit - leaving THREE GUARDS and Kavanaugh with the LIVE CREW . and Mickey who pops gum , smiles .</scene_description> </scene> <scene> <stage_direction>INT. RECREATION ROOM - DAY</stage_direction> <scene_description>Pandemonium . PRISONERS holding GUARDS hostage , working their way out the ROOM , into a CORRIDOR .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - DAY</stage_direction> <scene_description>The PRISONERS storming the GUARD CONTROL CENTER . SHOTGUN blasts from the GUARDS kill SEVERAL MEN but they are so desperate they get into the Tower anyway , piling over the bodies of their dead comrades .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL CENTER - DAY</stage_direction> <scene_description>The MEN ransack the keys , hitting the electric locks and controls - kicking open several NEW CORRIDORS at once . Men running in all directions .</scene_description> </scene> <scene> <stage_direction>INT. MAIN TIER - DAY</stage_direction> <scene_description>TWO INMATES chase a SNITCH - throw him off a railing .</scene_description> </scene> <scene> <stage_direction>INT. MAIN TIER - DAY</stage_direction> <scene_description>The `` telegraph '' hits the 5 - Tier MAIN ROOM . The MEN there start to go crazy , running down from all levels , attacking the GUARD TOWER in the center of the room . SHOTGUN BLASTS are fired . CAMERA TRACKING OUT - the noise of a buffalo stampede grows through the prison . Madness is coming !</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - DAY</stage_direction> <scene_description>Everyone 's nervous , locked in , hearing the noise . WAYNE stares , dying to get out , be part of the action . JULIE nervously eats donuts . The THREE GUARDS shift nervously , shotguns ready , eyes looking out . MICKEY strolls a bit , smoking , in the middle of a stupid joke no one really listens to , stretching .</scene_description> <character>MICKEY</character> <dialogue>so the mother says to the sister ` Okay, you can go to the drive - in movie with Bobby as long as you take Little Johnny.' The sister says okay. They go to the drive - in, they come back. The Mother gets Little Johnny and says, ` Okay, what happened? Where did ya go?' Johnny who ca n't talk, goes.</dialogue> <scene_description>Mickey , as Little Johnny , draws a square in the air , and acts like he 's driving .</scene_description> <character>MICKEY</character> <dialogue>Mother says, ` The drive - in movie. What did they do?'</dialogue> <scene_description>Mickey , as Little Johnny , acts like he 's kissing .</scene_description> <character>MICKEY</character> <dialogue>` They kissed. What else?'</dialogue> <scene_description>Mickey , as Little Johnny , squeezes imaginary breasts . The guards relax , listening . It gets their minds off the outside riot .</scene_description> <character>MICKEY</character> <parenthetical>( surprised . )</parenthetical> <dialogue>` He felt her up? What else?'</dialogue> <scene_description>Mickey , as Little Johnny , acts like he 's undressing .</scene_description> <character>MICKEY</character> <parenthetical>( dumbfounded . )</parenthetical> <dialogue>` They took off their clothes? What else?'</dialogue> <scene_description>Mickey , as little Johnny , pantomimes a fucking motion .</scene_description> <character>MICKEY</character> <parenthetical>( angry . )</parenthetical> <dialogue>` They did that! What were you doing?'</dialogue> <scene_description>Mickey , as Little Johnny , vigorously jacks off .</scene_description> <character>MICKEY</character> <parenthetical>( as Mother . )</parenthetical> <dialogue>` Little Johnny, NO!</dialogue> <scene_description>Everybody in the room breaks up . As Mickey finishes the punchline he steps in front of KAVANAUGH , laughing , and SLAMS his elbow in his face . Kavanaugh staggers . Mickey grabs his shotgun , rips it from his grasp , then bashes him in the face , swivelling to confront : The THREE other GUARDS reacting . Mickey SHOOTS DEPUTY 1 in the chest , blowing him off his feet . He flies across the room and lands in a thudding heap . DEPUTY 2 raises his gun , fires . Mickey fires simultaneously , dropping to a crouch . Deputy 2 crumples into the wall , firing off another blast - SLOW MOTION . The stray blast takes the SOUNDMAN right in the chest , blowing him across his equipment . Mickey takes a hit in the shoulder , spins , pumping the slide . DEPUTY 3 fires , missing - hitting one of the TWO VIDEO CAMERAS . It cracks . Wayne terrified , running for a corner . ANOTHER CREWMEMBER , the boom guy , goes crashing down , hit , screaming CU of ceiling being blasted . Mickey spinning on Deputy 3 .</scene_description> <character>MICKEY</character> <dialogue>Drop it - put the gun down.</dialogue> <scene_description>Deputy 3 -LRB- DUNCAN HOMOLKA -RRB- is a tired and old guard , very scared . He drops it .</scene_description> <character>MICKEY</character> <dialogue>Smart move. open the chamber. Empty the shells! Everyone raise your hands.</dialogue> <scene_description>SEVERAL TECHNICIANS shoot up their hands . HOMOLKA 's shells hit the floor .</scene_description> <character>MICKEY</character> <dialogue>Wayne! Where the fuck are you?</dialogue> <scene_description>Wayne in the corner , cowering , thinks Mickey 's gon na kill him .</scene_description> <character>MICKEY</character> <dialogue>Get up! Get a camera.</dialogue> <character>WAYNE</character> <dialogue>Uh. uh. where's Scotty?</dialogue> <character>ROGER</character> <dialogue>He's dead.</dialogue> <character>MICKEY</character> <dialogue>and unless you wan na play follow the leader, shut up and do as you're told.</dialogue> <parenthetical>( to Homolka . )</parenthetical> <dialogue>You. toss it.</dialogue> <scene_description>Homolka tosses his shotgun over to Mickey .</scene_description> <character>MICKEY</character> <dialogue>Hands behind the head!</dialogue> <scene_description>Mickey grabs the burly Kavanaugh , who 's on his knees , by the collar .</scene_description> <character>MICKEY</character> <dialogue>On your belly, Kavanaugh, the fun's just beginning.</dialogue> <character>KAVANAUGH</character> <dialogue>You'll never get out of here, Knox. You're dreaming - they'll mop you in a bucket.</dialogue> <scene_description>The battered Kavanaugh glares back at him , drops down . Mickey bends over him and takes hold of his right hand .</scene_description> <character>MICKEY</character> <dialogue>I am the most dangerous man in the world, Kavanaugh.</dialogue> <scene_description>Mickey snaps the trigger finger on Kavanaugh 's right hand . Kavanaugh screams .</scene_description> <character>MICKEY</character> <dialogue>And when the most dangerous man in the world tells you to do something, you oughta think twice before refusing.</dialogue> <scene_description>Mickey snaps the trigger finger on Kavanaugh 's left hand . Kavanaugh screams . -LRB- `` Fuck you ! '' -RRB-</scene_description> <character>MICKEY</character> <parenthetical>( points at him . )</parenthetical> <dialogue>You're the law.</dialogue> <parenthetical>( points to himself . )</parenthetical> <dialogue>I'm the law breaker.</dialogue> <scene_description>Kavanaugh shuts up .</scene_description> <character>MICKEY</character> <parenthetical>( to Roger . )</parenthetical> <dialogue>You. you got a camera?</dialogue> <character>ROGER</character> <dialogue>Uh, both cameras are shot to shit!</dialogue> <character>MICKEY</character> <dialogue>Too bad for you.</dialogue> <character>ROGER</character> <parenthetical>( quick change . )</parenthetical> <dialogue>Uh uh we can get an image. Got a video shoulderpack! Remote Beta.</dialogue> <character>MICKEY</character> <dialogue>Good. Put it on your shoulder. We're going out. All of us. One big party. Shoot everything I do.</dialogue> <parenthetical>( pregnantly . )</parenthetical> <dialogue>Got it?</dialogue> <character>ROGER</character> <dialogue>You bet.</dialogue> <character>MICKEY</character> <dialogue>Wayne, tell your station we're going to resume our broadcast `` alive.'' Make it happen Wayne.</dialogue> <character>WAYNE</character> <parenthetical>( with feigned enthusiasm . )</parenthetical> <dialogue>No problem, chiefo, you got it!</dialogue> <scene_description>As Wayne reaches for his cellular phone , Mickey notices something in the back of his belt , under his loosened and frayed shirt . Mickey reaches for it .</scene_description> <character>MICKEY</character> <dialogue>What the hell is this Wayne!</dialogue> <scene_description>It 's a 40 calibre Glock semi - automatic . States of the art . But Wayne will not give it up so easy . Quick as a wink , Wayne goes for Mickey 's wrist - tries to put him into an aikido sweep - down move - accompanied by a fierce SHOUT .</scene_description> <character>WAYNE</character> <dialogue>Eeeeeeyaaahhhhhh!</dialogue> <scene_description>Nothing happens . Mickey just stands there , grins - then smashes Wayne in the face with a straight arm . Wayne hits the floor , in GROANING pain . Mickey brandishes Wayne 's gun .</scene_description> <character>MICKEY</character> <dialogue>You're a naughty boy bringin' this in here, Wayne. What would the lawman say?</dialogue> <scene_description>Turning his attention back to Kavanaugh , Mickey propells him out the door .</scene_description> <character>MICKEY</character> <dialogue>Get me to Mallory - and she better be in one piece.</dialogue> </scene> <scene> <stage_direction>INT. MALLORY'S CELL - DAY</stage_direction> <character>SCAGNETTI</character> <dialogue>OK, spread um! I'll show ya I'm the bad motherfucker here!</dialogue> <scene_description>MALLORY smiles and suddenly starts to dance . Spreading her arms , undulating her belly . She 's a natural born dancer . SCAGNETTI watches her , fascinated , misunderstanding . He peels off his shirt .</scene_description> <character>SCAGNETTI</character> <parenthetical>( changing tone , intimate . )</parenthetical> <dialogue>I know you. I saw what you did to that kid at the gas station. I know what you like.</dialogue> <character>MALLORY</character> <dialogue>Yeah? what do you think about. right now?</dialogue> <scene_description>Mallory is weaving like a cobra around him , getting close but never touching him , making him sweat . Pulling his pants down half way , he takes her seat .</scene_description> <character>MALLORY</character> <dialogue>Tell me what you want.</dialogue> <scene_description>Scagnetti is screaming with lust and murder . His head revolving 360 degrees around the back of the chair to watch her . He ca n't help himself . He 's not thinking straight . He 's lost it . She gets in his face , very close . About to kiss him first with her belly , then with her lips . We even think she might be going along with him . He 's moving his lips closer to hers . She smiles - that long slow orgasm of a smile . Then she nails him . Smashing into his face with a headbutt . Breaking his nose in an explosion of blood and pain . Scagnetti lets out a horrible SCREAM . She tears into him .</scene_description> </scene> <scene> <stage_direction>EXT. MALLORY CELL - DAY</stage_direction> <scene_description>The TWO GUARDS fumble with the keys to open the cell door .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY CELL - DAY</stage_direction> <scene_description>The TWO GUARDS burst through the door to find SCAGNETTI face down on the ground . MALLORY 'S standing , her foot pressed against the middle of Scagnetti 's back , pulling his arms behind him trying to break his back . His body is bending like a branch , and he 's screaming . The TWO GUARDS are on top of her like tornadoes , beating the shit out of her with their shotguns . She slugs it out with them . Is Scagnetti alive . Barely crawling on the floor , a crumpled wormlike moan escapes his lips .</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - DAY</stage_direction> <scene_description>MICKEY at the helm of WAYNE , JULIE , TWO HOSTAGE DEPUTIES and a party of FOUR TECHNICIANS hustles down a corridor of the prison past SCREAMING INMATES flying in all directions .</scene_description> </scene> <scene> <stage_direction>INT. PRISON KITCHEN - DAY</stage_direction> <scene_description>A SHADOW of a PRISON GUARD stumbles into frame , followed by a MOB of other SHADOWS carrying nightsticks and bars . Suddenly we are out of shadows as : The MOB catches the PRISON GUARD and stuffs him , mercilessly into one of the LARGE OVENS , turning up the heat . He SCREAMS horribly , the sound carrying over :</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER CORRIDOR - MAIN TIER - DAY</stage_direction> <scene_description>This SCENE is a TRAVELLING CU that never leaves MCCLUSKY - trailed by WURLITZER and STAFF . We can make out activity on the edges of frame and we can vividly hear the sounds of chaos all through the prison .</scene_description> <character>MCCLUSKY</character> <dialogue>Get two men up on that tier. And I want men with rifles all along the walkway.</dialogue> <character>WURLITZER</character> <dialogue>Capt'n</dialogue> <character>MCCLUSKY</character> <dialogue>Where do the air ducts lead?</dialogue> <character>SMITHY</character> <dialogue>Over there. But they'll hear somebody approaching thru'em.</dialogue> <character>MCCLUSKY</character> <dialogue>Then turn the power back on. The machines supply us with the cover noise we need. Smithy, get on it.</dialogue> <character>SMITHY</character> <dialogue>Right away Capt ` n!</dialogue> <scene_description>McClusky snatches the walkie talkie from him , talks into it .</scene_description> <character>MCCLUSKY</character> <dialogue>Bergman, you in place?</dialogue> <character>BERGMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sure am, Capt ` n. Nothin' clean yet.</dialogue> <character>MCCLUSKY</character> <parenthetical>( into walkie talkie . )</parenthetical> <dialogue>Pass this on to your teams. the second they get a lock on a blue, they're to take the shot. Do you understand?</dialogue> <character>BERGMAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>That's a big ten - four, Capt ` n.</dialogue> <character>MCCLUSKY</character> <dialogue>It's that or death, Bergman! Do it!</dialogue> <scene_description>CAMERA follow MCCLUSKY as he heads in another direction .</scene_description> <character>MCCLUSKY</character> <dialogue>Wurly, are the sharpshooters in place?</dialogue> <character>WURLITZER</character> <dialogue>Yeah.</dialogue> <character>MCCLUSKY</character> <dialogue>You sure?</dialogue> <character>WURLITZER</character> <dialogue>I think -</dialogue> <character>MCCLUSKY</character> <dialogue>Never say you think when you know, or you know when you think. What do you think, Wurly? How many explosives do you think they have in there?</dialogue> <scene_description>McClusky now reveals the MAIN TIER in utter pandemonium . He barks out .</scene_description> <character>WURLITZER</character> <dialogue>It's hard to say Capt ` n.</dialogue> <character>MCCLUSKY</character> <dialogue>Take a wild stab!</dialogue> <character>WURLITZER</character> <dialogue>I'd say enough to destroy this wing.</dialogue> <character>MCCLUSKY</character> <dialogue>The entire wing?</dialogue> <character>WURLITZER</character> <dialogue>That's my opinion.</dialogue> <character>MCCLUSKY</character> <dialogue>Jesus Harold Christ. How'd I let this happen! I was too soft, Wurly. When I get my prison back, there's gon na be hell to pay!</dialogue> <character>WURLITZER</character> <dialogue>There's gon na be hell to pay!</dialogue> <character>MCCLUSKY</character> <dialogue>Pure Hell!</dialogue> <scene_description>SCREEN FILLS WITH STATIC INSERT TITLE CARD : `` SPECIAL REPORT ''</scene_description> <character>TV ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We interrupt this program to bring you a Special Report.</dialogue> </scene> <scene> <stage_direction>INT. NEWS ROOM - DAY</stage_direction> <scene_description>Title Card recedes in frame to expose an active NEWS ROOM in the BG . News Anchor ANTONIA CHAVEZ is lowering herself behind a desk while adjusting her earphones .</scene_description> <character>CHAVEZ TV</character> <dialogue>Good afternoon, I'm Antonia Chavez and this is an W - A - T - C - H Special Report.</dialogue> <parenthetical>( fingering earphone . )</parenthetical> <dialogue>I'm being told that we're taking you right now live to Batonga Penitentiary where Wayne Gale continues his interrupted interview in the middle of a full - scale riot.</dialogue> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - MALLORY WING - DAY</stage_direction> <scene_description>VIDEO FOOTAGE of WAYNE caught in MICKEY 'S HOSTAGE TRAIN ~ - is all handheld and harshly lit . Wayne 's crouched , moving backwards , trying to reassert control over the situation as well as his own terror . The relationship he has to his mike and the camera certainly helps .</scene_description> <character>WAYNE</character> <parenthetical>( into camera . )</parenthetical> <dialogue>This is Wayne Gale reporting live from Batonga where you can tell by the blood and carnage all around me that the final chapter in the book called Mickey and Mallory has not yet been written. An incredible war has broken out here in Batonga, unlike anything I've ever seen! Grenada. The Gulf. Batonga will stand alongside them as.</dialogue> <scene_description>The CAMERA swings wildly on ROGER 's shoulder to catch MICKEY edging up to the exterior of MALLORY 'S CELL - about to break in . CONVICTS screaming continue to run by CAMERA without direction occasionally flitting to a stop to stare or to make a face in the camera , chased off by Mickey 's gun .</scene_description> </scene> <scene> <stage_direction>INT. MALLORY'S CELL - DAY</stage_direction> <scene_description>SCAGNETTI is holding his bloody nose , screaming , blood all over his face .</scene_description> <character>SCAGNETTI</character> <dialogue>She broke my fucking nose! That bitch broke my nose!</dialogue> <scene_description>He glares over at MALLORY who lies with the shit beaten out of her in the corner . GUARD 1 has his shotgun barrel placed in her mouth . CU on Scagnetti . He 's a hand grenade with the pin pulled as he walks over to her .</scene_description> <character>SCAGNETTI</character> <dialogue>Hold her!</dialogue> <scene_description>He grabs a can of MACE from GUARD 2 's belt and brings it up to Mallory 's face , as she 's propped up by the Guards . Mallory and Scagnetti trade looks . Scagnetti gives her an intense blast of mace right in the face , eyes , and all over her body . Mallory crumples to the floor , SCRAAMING in agony . TWO SHOT of the Guards looking down at her . We can hear Scagnetti still SPRAYING her . They ca n't look at this anymore . Mallory wiggles on the floor as Scagnetti keeps spraying her . CU of Scagnetti 's bloody face smiling . The DOOR whips open and MICKEY steps through aiming the shotgun .</scene_description> <character>MICKEY</character> <parenthetical>( to Mallory . )</parenthetical> <dialogue>Honey I'm home!</dialogue> <scene_description>He blows GUARD 1 away . CU of Mallory - she hears it , but ca n't yet see . GUARD 2 is whipping up his gun , FIRES a round as he is hit and BLOWN across the room . Right next to Mickey , TECHNICIAN 4 -LRB- we will work backwards as they are eliminated -RRB- takes a hit in the gut . Mickey spins to confront : The CAMERA dollying down to the `` Scag '' crouched over Mallory , his gun pointed right at Mickey about to fire . Squatting , Mickey has the shotgun trained on Scagnetti . They 're positioned across from each other on opposite sides of the room . Nobody fires . We DOLLY PAST the faces of both WAYNE and ROGER , inside the room now , filming this LIVE . They both hit the deck flat , as do the OTHER HOSTAGES . Just the Two Men . The Showdown . CU on Scagnetti 's face CU on Mickey 's face CU on Scagnetti 's finger putting pressure on the trigger , then CAMERA moves up to a CU profile of his face . OVERHEAD SHOT of Mickey . CAMERA moves down in front of him into a CU of his face .</scene_description> <character>MICKEY</character> <dialogue>Looks like we got a Mexican standoff.</dialogue> <character>SCAGNETTI</character> <parenthetical>( not backing down . )</parenthetical> <dialogue>Slide the shotgun over here, asshole, put your hands behind your head, your forehead on the floor</dialogue> <character>MICKEY</character> <dialogue>Or what? You'll wound me? I can blow you in half Scagnetti an' ya know it.</dialogue> <character>SCAGNETTI</character> <dialogue>I've never wounded anything in my life. I got you locked right between the eyes, Knox. I've had you locked from the `` jump'' you fuckin' phony.</dialogue> <character>MICKEY</character> <dialogue>If you do n't drop that toy, I'm blowin' you in half on three. So, if you got me locked, take the shot. One.</dialogue> <scene_description>DOLLY in on Scagnetti 's gun in FG , past the gun , to his face CU of barrel of shotgun .</scene_description> <character>MICKEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Two.</dialogue> <character>SCAGNETTI</character> <dialogue>Come on! Shoot me! I was just fuckin' your girlfriend. She came so hard she broke my nose.</dialogue> <scene_description>DOLLY continues closing on Scagnetti 's face Wayne watches , beyond himself . Television nirvana . Roger filming ECU on Mickey 's face</scene_description> <character>MICKEY</character> <dialogue>Okay Scagnetti. you win.</dialogue> <scene_description>Scagnetti is in pig heaven as MALLORY , reddened with mace , looms up behind him with a prison fork clasped in her hand . She yanks Scagnetti back by the neck and drives the fork deep into his throat . ECU the back part of his head . We hear the sickening sound of the fork plunging into his throat . His head jerks back violently , farther into frame , still held by Mallory ECU of Scagnetti as his face is racked with pain . He gurgles , eyes bulging . She lets him go , stands . Wayne and his TV audience unbelieving . She looks down at him . Raises her foot and pitches him over onto the floor , trembling , still alive . He tries - through the remainder of the scene - to get back up on his knees , the CAMERA trembling from his POV on : Mallory running into Mickey 's arms , passionately kissing . This kiss has been a year coming . Now they 're doing something everybody told them they would never do again .</scene_description> <character>WAYNE</character> <parenthetical>( on TV , getting into it . )</parenthetical> <dialogue>This kiss has been a year coming. They're doing something everybody told them they would never do again. At this moment they are the only two people on earth.</dialogue> <scene_description>We are enraptured too . Roger 's CAMERA does a 360 around the loving couple .</scene_description> <character>MALLORY</character> <parenthetical>( inbetween kisses . )</parenthetical> <dialogue>It's taken you so long to come to me.</dialogue> <scene_description>Scagnetti from a FRONTAL ANGLE spoils the scene with his GURGLING SOUNDS as he climbs to his knees . The two lovers look down at him . Mickey , distracted , cracks open his shotgun , showing it to be empty as he reloads it .</scene_description> <character>MICKEY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Lost your touch Jack. You had me. Two shells. Two guards.</dialogue> <scene_description>Scagnetti realizing it . His POV : Mallory looms over him .</scene_description> <character>MALLORY</character> <dialogue>Get the picture, ya fuckin' squid?</dialogue> <scene_description>She lifts her foot and sets it down on the CAMERA , covering the FRAME . CU of Scagnetti as his face is shoved down to the floor by Mallory 's foot . She grinds her foot into his face . Scagnetti gives up the ghost in that position .</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR - MAIN ROOM - DAY</stage_direction> <scene_description>CU of MCCLUSKY 'S SHOES cutting a mean path down the hallway . CAMERA rising to his face . A computer printout of several hundred pages in his hands .</scene_description> <character>MCCLUSKY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What's this?</dialogue> <character>WURLITZER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>A list of prisoners.</dialogue> <scene_description>TILT UP to McClusky 's face , exasperated .</scene_description> <character>MCCLUSKY</character> <dialogue>What the fuck do I need this for - I asked for a list of hostages.</dialogue> <character>WURLITZER</character> <dialogue>The hostages? How'm I supposed to know.</dialogue> <character>MCCLUSKY</character> <dialogue>Just get it! What I got ta tell you everything!</dialogue> <character>WURLITZER</character> <dialogue>I'm working on it.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - DAY</stage_direction> <scene_description>MCCLUSKY turning into a GROUP of DEPUTIES clustered around the VIDEO MONITORS</scene_description> <character>MCCLUSKY</character> <parenthetical>( urgent to Deputy . )</parenthetical> <dialogue>What are those, gates? Try closin' 1 - 2 - 3 again.</dialogue> <character>GUARD</character> <parenthetical>( at controls . )</parenthetical> <dialogue>They're still jammed open sir.</dialogue> <parenthetical>( rapid fire . )</parenthetical> <dialogue>We got fires in 5 - 6 north. the Psych unit looks like a zoo. They're slaughtering each other. All our informants are being tortured.</dialogue> <scene_description>MCCLUSKY sees mayhem : Cons fighting cons , fires , yelling , water flowing from broken toilets and sinks . Cons are pounding out steel mesh windows with pipes . Rape and murder . In the Psych Unit : violence , sexual perversion , people dancing , crying , climbing . Everyone feels the demon 's arrival . Even McClusky .</scene_description> <character>NAPALATONI</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Capt ` n!</dialogue> <scene_description>McClusky glances at him , then back at the monitors .</scene_description> <character>MCCLUSKY</character> <dialogue>What is it, Napalatoni?</dialogue> <parenthetical>( mispronounces name . )</parenthetical> <dialogue /> <character>NAPALATONI</character> <parenthetical>( corrects name . )</parenthetical> <dialogue>Mickey and Mallory Knox are loose.</dialogue> <scene_description>McClusky looks , remembers .</scene_description> <character>MCCLUSKY</character> <dialogue>What do you mean they're loose?</dialogue> <character>NAPALATONI</character> <dialogue>They're armed, they got the Wayne Gale crew and Kavanaugh and Homolka. Scagnetti's dead. They got cameras and they're on TV right now!</dialogue> <scene_description>McClusky holds a frozen look , as if a fuse has blown and his mind has shut down .</scene_description> <character>MCCLUSKY</character> <dialogue>Jesus Harold Christ on a fuckin' crutch, is this happening to me?</dialogue> </scene> <scene> <stage_direction>INT. MALLORY CELL - DAY</stage_direction> <scene_description>DIOPTER SHOT - Wayne 's personal phone rings loudly . Everyone looks at it . Wayne slams it to his ear .</scene_description> <character>WAYNE</character> <dialogue>Yeah!</dialogue> <scene_description>MICKEY uses the camera crew 's gaffer tape to tie the HOSTAGES -LRB- 3 TECHNICIANS , WAYNE , JULIE , KAVANAUGH and HOMOLKA -RRB- to each other , in a train pattern . ROGER is given a short leash with camera .</scene_description> <character>MICKEY</character> <dialogue>What's your name?</dialogue> <character>HOMOLKA</character> <dialogue>Duncan. Duncan Homolka.</dialogue> <character>MICKEY</character> <dialogue>Okay, Duncan Homolka, step forward. Keep coming. Put your solar plexus right against Kavanaugh's butt. Grab his arms.</dialogue> <scene_description>They squeeze together . He wraps them .</scene_description> <character>MICKEY</character> <dialogue>We're gon na go through some heavy fire. We're gon na march down the hall and right out the building.</dialogue> <character>KAVANAUGH</character> <dialogue>You do n't have a chance in hell. If they have to kill us all they will.</dialogue> <character>MICKEY</character> <dialogue>Police psychology, Kavanaugh. You know the way I feel about cops, but you do n't know how I feel about my father. So when you sound like him, that makes me feel like hurting you.</dialogue> <scene_description>A tense moment .</scene_description> <character>MALLORY</character> <dialogue>Come on Mickey - we do n't have time for this shit. I wan na get outta here before this place blows up.</dialogue> <scene_description>During this Wayne is pleading on the phone , guietly . Mickey in BG , tying the hostages , casts an amused glance .</scene_description> <character>WAYNE</character> <dialogue>look honey, nothing happened, I swear! I've been faithful. since that incident. I do n't know what you think you found. Look we'll talk about it when I get home. about two hours. is Jimmy okay? Of course I'm not okay. this is worse than Baghdad. listen if I get through this Delores, it's all straight sailing from now on. I love you.</dialogue> <character>MICKEY</character> <parenthetical>( to Wayne . )</parenthetical> <dialogue>Hey Romeo, you say something about a news van.</dialogue> <character>WAYNE</character> <parenthetical>( clicking the phone off . )</parenthetical> <dialogue>Sure Mickey, we have a van.</dialogue> <character>MICKEY</character> <dialogue>Where's it parked?</dialogue> <character>WAYNE</character> <dialogue>Out front.</dialogue> <character>MICKEY</character> <dialogue>Let me have the keys.</dialogue> <scene_description>Wayne point to JULIE , who digs through her pockets and tosses the keys to Mickey .</scene_description> <character>MICKEY</character> <dialogue>How come you never talk?</dialogue> <character>ROGER</character> <parenthetical>( the cameraman . )</parenthetical> <dialogue>She was born without a tongue.</dialogue> <character>MICKEY</character> <parenthetical>( repulsed . )</parenthetical> <dialogue>Oh my God!</dialogue> <parenthetical>( to Julie . )</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Julie shrugs her shoulders like `` what 're ya gon na do '' as Mallory tapes her up . Wayne approaches Mickey like he is insane and has to be handled gently .</scene_description> <character>WAYNE</character> <dialogue>Mickey, can I talk to you alone?</dialogue> <character>MICKEY</character> <parenthetical>( taping a hostage . )</parenthetical> <dialogue>No.</dialogue> <character>WAYNE</character> <dialogue>This is crazy. You ca n't escape like this.</dialogue> <character>MICKEY</character> <dialogue>Probably not, but we're gon na give it the old college try.</dialogue> <character>WAYNE</character> <dialogue>We'll all be killed!</dialogue> <character>MICKEY</character> <dialogue>Exciting, is n't it?</dialogue> <scene_description>Duncan Homolka starts to cry . Wayne 's cellular phone RINGS again in his pocket . Everyone stares .</scene_description> <character>WAYNE</character> <parenthetical>( interrupted . )</parenthetical> <dialogue>SHIT! No one has this number!</dialogue> <parenthetical>( slamming the receiver to his ear . )</parenthetical> <dialogue /> <character>MICKEY</character> <parenthetical>( continuing to the others . )</parenthetical> <dialogue>Now, when we get out there, you do what we say or it's shotgun city. If we say move, you move. If we say left, you move left. If we say right, you move right. If we say mole, you dig a hole. Got it?</dialogue> <scene_description>During this , Wayne pleads on the phone with ` the other one . '</scene_description> <character>WAYNE</character> <dialogue>She called you? Oh shit! She does n't mean that. Mai Ly, it's not `` either - or,'' that's bullshit. It's not evidence. Mai Ly I ca n't talk to you like this. look I'll be there as soon as I can. Two, maybe three hours, we'll settle this, I promise. I promise. what do you mean ` is this real?' Do you think this is a show? They're dead people here, honey. I got ta go!</dialogue> <character>MICKEY</character> <dialogue>Wayne! Wagons, hoooaaa!</dialogue> <scene_description>The hostage train moves out ! Roger hauling the video camera . Mallory grabs Wayne around the neck and jams her pistol up to his head as he pockets the cellular phone .</scene_description> <character>MALLORY</character> <dialogue>Let's go. Tongue in two faces.</dialogue> </scene> <scene> <stage_direction>INT. MAIN TIER - DAY</stage_direction> <scene_description>CAMERA flies down CONVICTS running . They hang a GUARD off the railing by his neck . He dangles there .</scene_description> </scene> <scene> <stage_direction>INT. BARBER SHOP - DAY</stage_direction> <scene_description>CONVICTS are cutting the throats of the SNITCHES in the barber chairs . Smoke is pouring out everywhere .</scene_description> </scene> <scene> <stage_direction>INT. MAIN TIER - DAY</stage_direction> <scene_description>TEARGAS is fired at the CONVICTS as the GUARDS rush the 5 - story MAIN TIER , retaking it . A CONVICT FIRES a teargas grenade right into the head of ANOTHER CONVICT . Out of this morass of smoke and gas , MICKEY and MALLORY lead their CARAVAN , blasting both GUARDS and CONVICTS who try to attack them . CAMERA MOVES with them through smoke , flame , gas , dying bodies - as if it were a process shot behind them . There is no stopping Mickey and Mallory . TECHNICIAN 3 and TECHNICIAN 2 go down , dead , wounded , dropping out of the caravan . KAVANAUGH is wounded JULIE is wounded , but ca n't yell out . It 's sad ROGER 'S VIDEO captures it all . The FOOTAGE we see through his camera is very similar to Vietnam footage . It 's shaky , real harsh , and it captures the pandemonium of battle . The soundtrack is a mad mixture of yelling , crying , laughing and gunfire . MORE DEPUTIES appear , tracking them . The wild CARAVAN runs in the other direction , FIRING behind them . TECHNICIAN 1 goes down and Mickey 's HIT in the leg , but keeps on running and FIRING . Mallory sees this and screams .</scene_description> <character>MALLORY</character> <dialogue>Mickey!</dialogue> <character>MICKEY</character> <dialogue>Do n't stop.</dialogue> <scene_description>Roger 's CAMERA right alongside them .</scene_description> <character>ROGER</character> <dialogue>Man, oh man! this is better than Vietnam!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE MAIN TIER - DAY</stage_direction> <scene_description>MORE DEPUTIES appear at the other end of the HALLWAY , catching Mickey and his crew in a treacherous CROSSFIRE . Mickey and Mallory get back to back with each other , using their SHIELDS firing from the rear and the front .</scene_description> <character>DUNCAN</character> <parenthetical>( hysterical . )</parenthetical> <dialogue>Please do n't kill me! Do n't kill me!</dialogue> <scene_description>Wayne 's hit in the ass and ear . Anger in his face . -LRB- `` Fuck ! Fuck ! '' -RRB- Julie is killed , geysering blood all over Mickey and Mallory . Roger 's camera WHIP PANS from that to catch a DEPUTY hopping around the corner . The SCREEN FLASHES WHITE with a BLAST . Roger 's HIT , and the VIDEO CAMERA goes haywire , reeling out of control , then THUNKING to the ground . Roger screams O.S. CAMERA lies on the floor , video still recording . Roger rolls into FRAME screaming .</scene_description> <character>MICKEY</character> <dialogue>Get the camera! Get the fucking camera!</dialogue> <scene_description>Wayne , angry beyond his character , reaches down inside himself and grabs the gun off a dead Deputy - and fires a blast at an oncoming DEPUTY who drops . He fires at another , and another !</scene_description> <character>WAYNE</character> <dialogue>YOU BASTARDS! YOU FUCKSHITEATIN BLOODY BASTARDS!</dialogue> <scene_description>As Mallory swipes the camera from the dying Roger Mickey firing cover for her , sees Wayne has gone nuts . Kavanaugh is hit again , looks like he 's dying . It looks bad for the hometeam , but suddenly : OWEN is there . A mild looking man in convict 's uniform , calm , emotionless , with his thinning hair he could pass for an accountant . In one arm is a 12 - gauge . On his other arm is a gas grenade launcher . He 's blasting down the approaching DEPUTIES , letting gas grenades blur the corridor . The Deputies scatter . Through the smoke , Owen looks down at Mickey .</scene_description> <character>OWEN</character> <dialogue>Come on. This way!</dialogue> <scene_description>The Knox 's jump up and holding Duncan and propping Kavanaugh , with Wayne tailing , they run down a NEW CORRIDOR that Owen leads them to . Deputies are lying on the ground , wounded and screaming , or dead and silent .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - DAY</stage_direction> <scene_description>On the run :</scene_description> <character>MICKEY</character> <dialogue>Who the fuck are you?</dialogue> <character>OWEN</character> <dialogue>I'm Owen.</dialogue> <character>MICKEY</character> <dialogue>What do you want from us?</dialogue> <character>OWEN</character> <dialogue>I want you to take me with you.</dialogue> <character>MICKEY</character> <dialogue>Right now we're not goin' fuck anywhere.</dialogue> <character>OWEN</character> <parenthetical>( smiles enigmatically . )</parenthetical> <dialogue>Follow me!</dialogue> <scene_description>Turns into a stairwell .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - DAY</stage_direction> <character>MICKEY</character> <dialogue>Where does this go?</dialogue> <character>OWEN</character> <dialogue>To the front entrance. The ground floor.</dialogue> <scene_description>A look between MICKEY and MALLORY . They can smell it - Freedom ! DUNCAN is hyper - ventilating against the wall . KAVANAUGH looks like he 's dead . WAYNE is pumped , yelling .</scene_description> <character>WAYNE</character> <dialogue>It was great! It was fuckin' great!</dialogue> <scene_description>Mickey patches his shoulder up .</scene_description> <character>MICKEY</character> <dialogue>I'm proud of ya!</dialogue> <parenthetical>( gives him a high five . )</parenthetical> <dialogue>got the feeling now?</dialogue> <character>WAYNE</character> <dialogue>I'm alive! For the first fucking time I'm alive! Thank you Mickey. Let's kill all these motherfuckers!</dialogue> <scene_description>Mallory takes the gun away from him , gives him the video .</scene_description> <character>WAYNE</character> <dialogue>No! No!</dialogue> <character>MALLORY</character> <dialogue>Sorry Wayne, you're not centered. You keep shooting with that.</dialogue> <character>MICKEY</character> <parenthetical>( grabbing Kavanaugh . )</parenthetical> <dialogue>Let's go!</dialogue> <scene_description>They tear down the STAIRS . Two flights . Freezing as :</scene_description> </scene> <scene> <stage_direction>INT. LOWER STAIRWELL</stage_direction> <scene_description>MCCLUSKY stands at the bottom of the stairwell , surrounded by a TEAM OF DEPUTIES , their guns pointed right at MICKEY and the Caravan .</scene_description> <character>MCCLUSKY</character> <dialogue>End of the line, Knox. Drop'em!</dialogue> <scene_description>Mickey grabs KAVANAUGH , props him . HOMOLKA tries to make a run for it but MALLORY grabs him . OWEN has suddenly vanished . McClusky 's POV - Kavanaugh dies right then and there .</scene_description> <character>MCCLUSKY</character> <dialogue>He's dead, dickweed! You got shit, asshole! Fire!</dialogue> <scene_description>Several shots are fired . Mickey discards Kavanaugh and grabs for Homolka . But Mallory is faster , grabbing Wayne and propelling herself in front of Mickey on the narrow stairs .</scene_description> <character>MALLORY</character> <dialogue>Back off ya squids or I'll blast him! Back off or I'll blast him!</dialogue> <scene_description>None of the Deputies lower their guns , but they appear less likely to start shooting .</scene_description> <character>WAYNE</character> <parenthetical>( begs . )</parenthetical> <dialogue>Do n't shoot! I beg you, do n't shoot! Please, please, please.</dialogue> <character>MCCLUSKY</character> <parenthetical>( steps forward . )</parenthetical> <dialogue>Shut up Gale! Ya prick! Now Mickey, Mallory, just let me say -</dialogue> <character>MALLORY</character> <dialogue>You shut up! I do n't wan na hear it.</dialogue> <character>MCCLUSKY</character> <dialogue>I'm sure you realize Mallory if you kill this prick, you.</dialogue> <character>MALLORY</character> <parenthetical>( jerks Wayne . )</parenthetical> <dialogue>Put your hand up!</dialogue> <scene_description>Wayne automatically sticks his right hand up Mallory SHOOTS a hole in it . Wayne SCREAMS bloody murder . The deputies jump back .</scene_description> <character>MALLORY</character> <dialogue>I said SHUT UP!</dialogue> <scene_description>McClusky shuts up . There 's a silent standoff . Tears are streaming down Duncan 's face as the Caravan retreats back up the stairs to the next flight . Owen runs up again out of nowhere , mysterious .</scene_description> <character>OWEN</character> <dialogue>I made a path!</dialogue> </scene> <scene> <stage_direction>INT. PRISON SHOWER - DAY</stage_direction> <scene_description>OWEN leads into a SHOWER - dead people everywhere , water gushing from the broken showers . MICKEY wonders , with a look at Owen , who did this . DUNCAN is out and out hysterical , urine stains on the front of his uniform WAYNE furious at MALLORY , staunching the blood from his hand with a piece of his shirt .</scene_description> <character>WAYNE</character> <dialogue>Goddamit what the hell's wrong with you! I was beggin for you guys.</dialogue> <scene_description>Mickey 's pacing , ignoring his wound .</scene_description> <character>MICKEY</character> <dialogue>Think. think. think.</dialogue> <scene_description>Wayne 's cellular phone RINGS once more . Exasperated he grabs it with his bloody hand .</scene_description> <character>WAYNE</character> <dialogue>YEAH.</dialogue> <scene_description>Mallory leans up against the wall , holding her side with her hand . Blood trickles out between her fingers . We now see she 's been shot . Over Duncan 's impassioned clamor they hear McClusky YELLING up the stairwell .</scene_description> <character>MCCLUSKY</character> <dialogue>Sixty seconds and I'm coming up!</dialogue> </scene> <scene> <stage_direction>INT. LOWER STAIRWELL - DAY</stage_direction> <character>WURLITZER</character> <dialogue>Dwight, forchrissake! The fuckin' zoo's explodin' and you're didlin' with these two pukes, we got more imp.</dialogue> <character>MCCLUSKY</character> <parenthetical>( grabs and shakes Wurlitzer . )</parenthetical> <dialogue>These TWO. These are the ones. They are gon na die today! You hear me, Wurly - I'm gon na wipe this scum off the face of the earth if it's the last fucking thing I do.</dialogue> </scene> <scene> <stage_direction>INT. PRISON SHOWER - DAY</stage_direction> <scene_description>MICKEY ties off a tourniquet on his arm , next to MALLORY , totally exhausted . Both of them shot , in pain . He puts his arm around her . WAYNE is yelling over the dying cellular battery :</scene_description> <character>WAYNE</character> <dialogue>Blow it off bitch! You hear me. I ai n't never comin' home. I'm free of you. I'm alive! For the first fucking time I'm ALIVE. So guess what - You Piss Right Off!</dialogue> <scene_description>He cuts off and presses `` recall '' on another number . OWEN sidles up to Wayne .</scene_description> <character>OWEN</character> <dialogue>You're the greatest, Mr. Gale. you've done a lot for people.</dialogue> <character>WAYNE</character> <dialogue>That's okay mate, thanks a lot.</dialogue> <scene_description>`` Mai Ly '' comes on the line .</scene_description> <character>WAYNE</character> <dialogue>I finally done it. I left my wife!</dialogue> <character>MICKEY</character> <parenthetical>( to Mallory . )</parenthetical> <dialogue>You done good Mall! Whatever happens, know I love you. know I loved you more'n I ever loved myself.</dialogue> <character>MALLORY</character> <parenthetical>( tender . )</parenthetical> <dialogue>I know.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>We're not getting outta here, Mick! So, I say the hell with going back to our cells. Let's do a Butch Cassidy and the Sundance Kid. Run down these stairs shootin', go out in a hail of bullets, an' take as many of these motherfuckers with us as we can.</dialogue> <scene_description>Lovey , dovey now , they touch and feel each other . Mickey cries , then laughs .</scene_description> <character>MICKEY</character> <dialogue>That's poetry. but we'll do that when all else fails.</dialogue> <scene_description>He has a plan , his exhaustion lifting . He stands , confronts the hysterical DUNCAN HOMOLKA .</scene_description> <character>MICKEY</character> <dialogue>You married?</dialogue> <character>DUNCAN</character> <dialogue>Oh I do n't wan na die!</dialogue> <character>MICKEY</character> <dialogue>Are you married? Do you have kids?</dialogue> <scene_description>Duncan nods pathetically .</scene_description> <character>MICKEY</character> <dialogue>Good.</dialogue> <scene_description>Mickey squats in front of Wayne who finishes his call .</scene_description> <character>WAYNE</character> <parenthetical>( on phone . )</parenthetical> <dialogue>Mai Ly, we're gon na fuck all night scuba fuckin' doo!</dialogue> <scene_description>Mickey takes a roll of gaffers ' tape from his shirt , sticks strips of them to the wall .</scene_description> <character>MICKEY</character> <parenthetical>( to all . )</parenthetical> <dialogue>the only way we're gon na get all the way to the front door is if they do n't want to kill you two more than they want to kill me.</dialogue> <parenthetical>( to Wayne . )</parenthetical> <dialogue>On your knees, journalist -.</dialogue> <parenthetical>( Wayne complies . )</parenthetical> <dialogue>Now, say I tell those guys down there if they shoot or make a move, I'm killing Wayne Gale. And they shoot or make a move anyway. Now say by some freak accident, you do n't die, you live through it. What would you do?</dialogue> <scene_description>While Wayne speaks , Mickey props his shotgun under Wayne 's chin and wraps the gaffer tape around the barrel of the shotgun . Then he wraps it around Wayne 's neck .</scene_description> <character>WAYNE</character> <parenthetical>( going with it . )</parenthetical> <dialogue>What would I do? Me and my Network would sue the entire Sheriffs Department and Prison Administration for flagrantly disregarding my safety. I would go straight to my buddy, the Governor, I'd go to `` Bill'' himself, I'm a friend of Bill's, I'd go to Mike at 60 Minutes, I'd expose myself, I'd make sure everyone of these sons of bitches down there ends up on the unemployment line. In fact I'd sue every man down there personally.</dialogue> <scene_description>Mickey tosses the tape roll to OWEN and Mallory and gestures to Duncan .</scene_description> <character>WAYNE</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>I would make it my life's ambition to bring Dwight McClusky and the entire prison system to its knees. I would do expose after expose on the brutality and the conditions and the inhumanity that exists here. Just take me with you!</dialogue> <scene_description>Mickey stands with Wayne as he tapes his trigger hand to the stock of the shotgun .</scene_description> <character>MICKEY</character> <dialogue>Calm down Wayne. That's what I thought. And how many people watch `` American Maniacs''?</dialogue> <character>WAYNE</character> <dialogue>On average forty million.</dialogue> <character>MICKEY</character> <dialogue>` Every week by forty million people'! Have you won any awards?</dialogue> <character>WAYNE</character> <dialogue>Are you kidding? The Golden Globe. The Edward R. Murrow Award. Working on a Pulitzer.</dialogue> <scene_description>Owen and Mallory are taping Duncan similarly . Mickey grabs the video camera and lifts it to his shoulder .</scene_description> <character>MICKEY</character> <dialogue>` Respected journalist' - you wanted reality? You got it.</dialogue> <scene_description>He pushes Wayne down the stairwell .</scene_description> </scene> <scene> <stage_direction>INT. PRISON STAIRWELL (GROUND FLOOR) - DAY</stage_direction> <scene_description>MCCLUSKY waits with his DEPUTIES . Empty FRAME on STAIRWELL</scene_description> <character>VOICE OF WAYNE</character> <dialogue>My name is Wayne Gale! I am the star of ` American Maniacs.'</dialogue> <scene_description>WAYNE comes into view , camera in his hands - filming himself . MICKEY 'S right hand is taped to the trigger and stock of the shotgun that 's wrapped firmly to Wayne 's neck .</scene_description> <character>WAYNE</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>watched by 40 million people every week! I am a respected journalist, winner of the Edward R. Murrow Award among others!</dialogue> <scene_description>McClusky freezes , not knowing what to do except throttle Mickey with his bare hands , which he would do if WURLITZER were not holding him back . His Deputies pause , hesitating , as they realize if they take out either MICKEY or MALLORY , that Wayne or DUNCAN would die . NOTE : The scene 's intercut between VIDEO FOOTAGE and color 35 mm .</scene_description> <character>WAYNE</character> <parenthetical>( Cont 'd . )</parenthetical> <dialogue>You are on camera. We are Live.</dialogue> <parenthetical>( the camera barely turning . )</parenthetical> <dialogue>. If anybody puts me in danger, my network will sue Dwight McClusky and the entire Sheriff's Department and the Governor himself. My estate will sue every officer personally who fires. The network's law firm is Sinclair, Marshall, and Milchan.</dialogue> <scene_description>OWEN whips his gun left and right in clownlike loops like Harpo Marx , smiling . DUNCAN HOMOLKA simply cries and begs for his life to be spared .</scene_description> <character>DUNCAN HOMOLKA</character> <parenthetical>( indecipherable . )</parenthetical> <dialogue>PPPleeezzeee dddooonn ` tt killl meeee!</dialogue> <scene_description>But Mickey knows what he 's doing . This has an effect on the Deputies .</scene_description> <character>MALLORY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Make a path!</dialogue> <scene_description>The wall of Deputies starts moving backwards .</scene_description> </scene> <scene> <stage_direction>INT. FINAL CORRIDOR - RECEPTION AREA - DAY</stage_direction> <scene_description>It has become a dance . The CARAVAN on one side taped to the mast of their ship , moving as if under one tent - MICKEY , DUNCAN , MALLORY , WAYNE , OWEN and their guns and eyes . Across from them a PHALANX of GUNS and LAWMEN - moving in syncopated unison , a parallel track out the STAIRWELL into the FINAL CORRIDOR approaching the RECEPTION AREA to the prison . Freedom ! Wayne keeps yelling , Duncan blubbering ; the Deputies keep their guns trained but they give ground - parting like the Red Sea . Mickey 's eyes see ut . So do Mallory 's . They share a look . OUTSIDE . Birds . Trees . No bars . CAMERA moving on it . Coming to MCCLUSKY who stands his ground at the door .</scene_description> <character>MCCLUSKY</character> <dialogue>How far do you think you're gon na get?</dialogue> <character>MICKEY</character> <dialogue>Right out the front door.</dialogue> <character>MCCLUSKY</character> <dialogue>That'll never happen.</dialogue> <character>MICKEY</character> <dialogue>It is happening.</dialogue> <scene_description>The Caravan marches forth . Wayne and Duncan keep shouting their mantras . Nobody dare to move on them . Wayne stops his speech to take a breath .</scene_description> <character>MALLORY</character> <dialogue>Do n't stop!</dialogue> <scene_description>Wayne starts up again . The Deputies are completely frustrated . Mickey and McClusky are nose to nose .</scene_description> <character>MCCLUSKY</character> <parenthetical>( to Mickey . )</parenthetical> <dialogue>I will personally hunt you down, blow the head off your fucking - whore - wife, and plant your sick ass in the ground all by myself.</dialogue> <character>MICKEY</character> <parenthetical>( cool . )</parenthetical> <dialogue>Another day perhaps, but not today, Warden.</dialogue> <scene_description>Mickey leaves FRAME . McClusky looks like he 's going to pop his cerebral cortex . He begins a heart attack . Mickey and all exit the building . The Warden , bucking with pain , looks up the Corridor where Mickey and Mallory have just come from . What he sees is his worst nightmare . Coming right at him are a HUNDRED ANGRY PRISONERS , shotguns , sticks , numbchuks , razors , broken chairs waving , climbing over the corpses of their fallen comrades , withstanding the hail of fire from the Guards - reaching for Dwight McClusky who is lifted over their heads , having his heart attack , moved from hand to hand like at a rock concert , then all we see are the tops of his shoes as he is held upside down and torn to pieces .</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - DAY</stage_direction> <scene_description>A fogged moment of light strikes film and settles into an ECU of WAYNE - gasping a little too dramatically from his wounds . Mallory 's pointing the camera at him ; she 's laughing at what he says . The Scene that follows intercuts a normal format with cinema verite style shot through the video camera . Sometimes the lip sync is off .</scene_description> <character>WAYNE</character> <dialogue>This is Wayne Gale - unfortunately no longer `` live.'' I'm wounded and all my crew is dead.</dialogue> <character>MALLORY</character> <dialogue>Look up, look at me. That is so good.</dialogue> <character>WAYNE</character> <dialogue>Mickey Knox's plan worked. We walked out the front door, into a news van, and made our get - away. When we were followed by patrol cars, Mallory Knox killed Deputy Sheriff Duncan Homolka and tossed his body out the back.</dialogue> <scene_description>The wind is blowing through the pine trees above . Insects buzz . A vee of wild geese fly overhead honking , heading north for the summer .</scene_description> <character>WAYNE</character> <dialogue>Mickey told authorities over my police band that I would surely be next if they did n't give up the pursuit. Why helicopters were n't employed, I do n't know. My only thought is that it all happened too fast for arrangements to be made. We've just pulled off to the side of the road to do this interview. Tensions run high -</dialogue> <scene_description>Mickey screams O.S.</scene_description> <character>MICKEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We ai n't got all fuckin' dayl</dialogue> <character>WAYNE</character> <dialogue>Without any further ado, Mickey and Mallory.</dialogue> <scene_description>Wayne takes the CAMERA from MALLORY , while MICKEY , his wounds like Mallory 's taped , paces in and out of FRAME ; in the BG , gradually leaving frame , is OWEN .</scene_description> <character>WAYNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mallory, what did you think of Mickey's plan? Did you think it would work?</dialogue> <character>MALLORY</character> <dialogue>Well, it was n't'till we got to that ground floor that I totally realized they were n't gon na shoot ` less we shot first. When we got out of the stairwell, I remember thinkin : ` Oh my God. This just might work.' But Mickey knew it would work all along. There was n't any doubt in his mind.</dialogue> <character>WAYNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What did you think then?</dialogue> <character>MALLORY</character> <dialogue>I wondered how long it would be before we'd get to be alone together. And I wondered if I could wait that long.</dialogue> <character>WAYNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Did you have anything to do with the riot?</dialogue> <character>MALLORY</character> <dialogue>We had nothing to do with that riot. That riot was just - whatchamacallit -</dialogue> <scene_description>Mickey can be heard faintly in the BG .</scene_description> <character>MICKEY</character> <dialogue>Fate.</dialogue> <character>MALLORY</character> <dialogue>What he said. We just did n't know jack shit about any riot. How are we supposed to organize a riot when we've been in fuckin' isolation for the past year, Wayne? Just bleep out the fucks and jack shits. Fuck, fuck, shit shit.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>I mean it's not like we care. If they wan na say we masterminded the whole thing, let'em. It wo n't exactly keep us up at night, Wayne. But the truth is. it was fate.</dialogue> <character>WAYNE</character> <dialogue>and Fate it was! and this is `` American Maniacs.''</dialogue> <scene_description>Mickey 's snapping his fingers in the B.G.</scene_description> <character>MICKEY</character> <dialogue>C'mon, c'mon, let's hurry this up.</dialogue> <character>WAYNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>So, what's next?</dialogue> <character>MALLORY</character> <parenthetical>( holding Mickey 's hand . )</parenthetical> <dialogue>Well, now me and Mickey are gon na take it easy. Just enjoy each other's company.</dialogue> <character>MICKEY</character> <dialogue>Got ta go.</dialogue> <character>WAYNE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Wait! But how do you intend to disappear? You're probably the most famous couple in America.</dialogue> <character>MALLORY</character> <dialogue>Well, back in slave times they had a thing called the underground railroad. And we got a whole fan club out there just waitin' to be conductors.</dialogue> <parenthetical>( to the camera . )</parenthetical> <dialogue>So, you kids out there, keep the faith. Cause Mickey and Mallory will be comin' to your town real soon.</dialogue> <character>WAYNE</character> <dialogue>So.</dialogue> <character>MICKEY</character> <dialogue>Okay, end of interview.</dialogue> <scene_description>Mickey approaches Wayne . CAMERA goes a little haywire as Wayne lowers it .</scene_description> <character>WAYNE</character> <dialogue>Okay, just let me swing around and film myself asking the questions. And then I'll do my little wrap up and we're off.</dialogue> <scene_description>Mickey takes the CAMERA from Wayne , and while he speaks , he balances it on a fence post .</scene_description> <character>MICKEY</character> <dialogue>Oh, we're gon na do a little wrap up, all right Wayne. But it wo n't be you starin' in the camera, lookin' dumb, and actin' stupid. Instead, you're gon na be starin' down the barrels of our shotguns and we're gon na be pullin' the triggers.</dialogue> <scene_description>Wayne forces a chuckle . Mickey steps away from the CAMERA and into a THREESHOT . Actually a FOUR SHOT with Owen there at first , but again he slides out . The NEWS VAN is parked in the EG .</scene_description> <character>WAYNE</character> <dialogue>That's a joke right?</dialogue> <scene_description>Mickey pumps the slide on his shotgun . Mallory grabs her shot gun from off the ground .</scene_description> <character>WAYNE</character> <dialogue>Just wait one fucking minute.</dialogue> <character>MICKEY</character> <dialogue>I said I'd give you an interview. Now unless I'm mistaken, we just did an interview.</dialogue> <parenthetical>( to Mallory . )</parenthetical> <dialogue>We did an interview, did n't we?</dialogue> <character>MALLORY</character> <dialogue>Looked like an interview to me.</dialogue> <character>WAYNE</character> <parenthetical>( sincere . )</parenthetical> <dialogue>Wait! I do n't know, but I kinda felt during this. this whole escape that a kind of bond -.</dialogue> <parenthetical>( Wayne is shaking . )</parenthetical> <dialogue>. developed between the three of us. We're kinda in this together, do n't ya think?</dialogue> <character>MICKEY</character> <dialogue>No. Not really. You're scum Wayne. You did it for ratings. You poured gasoline on the fire. You did n't give a shit about us or about anything Wayne except yourself. That's why nobody really gives a shit about you Wayne. That's why they did n't deploy helicoptors!</dialogue> <character>WAYNE</character> <dialogue>Mickey! What about the Indian?</dialogue> <character>MICKEY</character> <dialogue>What about him?</dialogue> <character>WAYNE</character> <dialogue>Did n't you say you were finished with killin'? `` Love beats the demon?''</dialogue> <character>MICKEY</character> <parenthetical>( sharing a look with Mallory . )</parenthetical> <dialogue>I am. And it will.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>It's just that you're the last one, Wayne. You gon na feed on your own misery.</dialogue> <character>WAYNE</character> <parenthetical>( new tone . )</parenthetical> <dialogue>So big fuckin' deal, that's show business. Who cares, so I'm a parasite. it's a `` cruel world'' out there. You were wronged. So what else is new? The day you killed, your ass belonged to us. You did what you had to do. So did I. We're married.</dialogue> <parenthetical>( Mallory laughing . )</parenthetical> <dialogue>Think about it. The point is we can do a Salmon Rushdie thing next, books, talk shows, all remote, we move around, duckin' and bobbin', then we come up for air once in a while. Donahue, Oprah, Playboy. the mystery avengers, do you know how big you could be?</dialogue> <character>MALLORY</character> <dialogue>Does he have an `` off'' button? Can we take out his batteries?</dialogue> <character>MICKEY</character> <dialogue>We got a better idea. How bout we kill you?</dialogue> <character>WAYNE</character> <parenthetical>( incensed . )</parenthetical> <dialogue>Jesus Christ! What are you nitwits? You ca n't kill me! Without television you're nothing, nothing. two kids, I made you Mickey, you owe me. Without me you're on the bus to fuckin' diznee land.</dialogue> <character>MICKEY</character> <parenthetical>( John Wayne voice to Mallory . )</parenthetical> <dialogue>Let's make a little music Colorada.</dialogue> <character>WAYNE</character> <dialogue>Wait! Wait! Do n't Mickey and Mallory always leave somebody alive to tell the tale?</dialogue> <character>MICKEY</character> <dialogue>We are.</dialogue> <parenthetical>( points in camera . )</parenthetical> <dialogue>Your camera.</dialogue> <character>WAYNE</character> <dialogue>NO! You ca n't shoot me. I AM WAYNE GALE. My lawyers.</dialogue> <scene_description>Mickey and Mallory PUMP rounds into Wayne , whose body dances like a puppet before collapsing to the ground . Mickey and Mallory kiss each other passionately . Mickey slips a new WEDDING BAND on her finger - and one for himself . Mallory is really happy . They climb into the News Van . They drive away . Wayne 's body lies peacefully in FRAME as the CAMERA rolls out of film .</scene_description> </scene> <scene> <stage_direction>INT. "AMERICAN MANIACS" NEWSVAN - DAY</stage_direction> <scene_description>MICKEY drives . MALLORY rides shotgun . The CAMERA moves and reveals OWEN in back . Mallory strums Mickey 's guitar .</scene_description> <character>OWEN</character> <dialogue>I liked Wayne.</dialogue> <character>MICKEY</character> <dialogue>He's resting, Owen.</dialogue> <character>OWEN</character> <parenthetical>( cryptic . )</parenthetical> <dialogue>You know he'll never die. This is exciting! How'd I do back there?</dialogue> <character>MICKEY</character> <dialogue>Not bad for a first timer</dialogue> <character>MALLORY</character> <dialogue>You got a real mean streak in ya, Owen. That'll get you where you wan na go.</dialogue> <character>OWEN</character> <dialogue>I never knew I had it in me. Comin' as I do from the fire and all.</dialogue> <parenthetical>( a look . )</parenthetical> <dialogue>What about you folks? You think you'll be able to lie low?</dialogue> <character>MICKEY</character> <dialogue>We're gon na give it a try, we love each other, that's fo' sure.</dialogue> <character>OWEN</character> <dialogue>Love - you ca n't beat that.</dialogue> <character>MALLORY</character> <dialogue>I had a dream last night. We stood on the back porch for a long time.</dialogue> <parenthetical>( looking at Mickey . )</parenthetical> <dialogue>listening to the rain and thunder. the sky lit up. we was feelin' the warm air from Mexico.</dialogue> <character>MICKEY</character> <dialogue>Poetry.</dialogue> <character>OWEN</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Mexico? Never been.</dialogue> <character>MICKEY</character> <dialogue>And you ai n't goin' either, Owen. We promised you a ride out, that's it. We're droppin' you next town.</dialogue> <character>OWEN</character> <dialogue>But you promised you'd take me with you!</dialogue> <character>MICKEY</character> <dialogue>I lied.</dialogue> <character>OWEN</character> <parenthetical>( very disappointed . )</parenthetical> <dialogue>Too bad. I'll tell you what I'd really like, though.</dialogue> <character>MICKEY</character> <dialogue>What's that?</dialogue> <character>OWEN</character> <dialogue>I'd really like a taste of old Mallory over there. I never got with the wild kind before.</dialogue> <scene_description>Mickey turns his head to see if Owen 's joking .</scene_description> <character>MICKEY</character> <dialogue>You ca n't talk like that, Owen. Mean streak or not, I do n't wan na hear that kinda talk.</dialogue> <character>OWEN</character> <dialogue>I'm serious though. I'd love to take her for a test drive. What do you say, Mallory? Are you interested?</dialogue> <scene_description>Mallory turns around with her gun loosely pointed at Owen .</scene_description> <character>MALLORY</character> <parenthetical>( mocking singsong . )</parenthetical> <dialogue>Oh god - can you feel my breasts? Can you spread my ass? How's your pussy looking? Is this for real? I swear I'd love to contain myself but people like you.</dialogue> <scene_description>Owen pulls his own gun up .</scene_description> <character>OWEN</character> <dialogue>Now, there's no reason to talk angry, Mallory. You'll make me think you do n't desire me.</dialogue> <character>MICKEY</character> <dialogue>All right! That's enough bullshit! I do n't like the fact you induced my wife to talk this way. Put the guns down and can it.</dialogue> <scene_description>Mallory puts her gun down . Owen does n't .</scene_description> <character>OWEN</character> <dialogue>Do you do everything he tells you?</dialogue> <character>MALLORY</character> <dialogue>Oh yeah, like a dog on a leash.</dialogue> <parenthetical>( to Mickey . )</parenthetical> <dialogue>Oh my god this is like Murphy's Law. Everywhere we go, there's some weirdo.</dialogue> <character>OWEN</character> <dialogue>Is that what's standing between you and me? Mickey telling you what to do?</dialogue> <character>MALLORY</character> <dialogue>You better pull over and dump this prick before I really get mad, Mickey</dialogue> <scene_description>Mickey pulls to a severe stop , turns .</scene_description> <character>MICKEY</character> <dialogue>All right Owen.</dialogue> <scene_description>He is staring down the barrel of Owen 's gun . Owen has a crazy grin on his face . SPECIAL EFFECT : Owen now has the face of the DEMON ! Mickey understands . He laughs . Owen pulls the trigger , a BLAST fills the screen . Mallory turns in STOP MOTION , looking at Owen with vengeance in her eyes . She SCREAMS at what she sees . ANOTHER BLAST fills the screen . MUSIC UP - Patti Smith . THE END</scene_description> </scene> </script>

Mickey Knox and his wife Mallory stop at a diner in the New Mexico desert. A duo of rednecks arrive and begin sexually harassing Mallory as she dances by a jukebox. She initially encourages it before beating one of the men viciously. Mickey joins her, and the couple murder everyone in the diner, save one staff member, to whom they proudly declare their names before leaving. The couple camp in the desert, and Mallory reminisces about how she met Mickey, a meat deliveryman who serviced her family's household. After a whirlwind romance, the couple murdered Mallory's sexually abusive father and neglectful mother before having an unofficial marriage ceremony on a bridge. Later, Mickey and Mallory hold a woman hostage in their hotel room. Angered by Mickey's desire for a threesome, Mallory leaves, and Mickey rapes the hostage. Mallory drives to a nearby gas station, where she flirts with a mechanic. They begin to have sex on the hood of a car, but Mallory kills him after suffering a flashback of being raped by her father. The pair continue their killing spree, ultimately claiming fifty-two victims in New Mexico, Arizona, and Nevada. Pursuing them is Detective Jack Scagnetti, who became obsessed with mass murderers after witnessing his mother being shot and killed by Charles Whitman when he was eight. Beneath his heroic facade, he is also a violent psychopath and has murdered prostitutes in his past. Following the Knoxes murder spree is a self-serving tabloid journalist, Wayne Gale, who profiles them on his show, American Maniacs, soon elevating them to cult hero status. Mickey and Mallory get lost in the desert after taking psychedelic mushrooms, and stumble upon a ranch owned by Warren Red Cloud, a Navajo man who provides them food and shelter. As Mickey and Mallory sleep, Warren senses evil in the couple and attempts to exorcise the demon he perceives in Mickey, chanting over him as he sleeps. Mickey, who has nightmares recounting his abusive parents, awakens during the exorcism, and shoots Warren to death. As they couple flee, they feel inexplicably guilty, and come across a giant field of rattlesnakes, where they are badly bitten. They reach a drugstore to purchase snakebite antidote, but the store is sold out. A pharmacist recognizes the couple and sets off an alarm before Mickey kills him. Police arrive shortly after and accost the couple, which ends in a shootout followed by police beating the couple while a news crew films the action. One year later, an imprisoned Mickey and Mallory are scheduled to be transferred to psychiatric hospitals. Scagnetti orders Warden Dwight McClusky to kill the Knoxes during their transfer, and claim they tried to escape. Meanwhile, Gale has persuaded Mickey to give a live interview that will air after the Super Bowl. During the interview, Mickey declares himself a "natural born killer," a phrase that inspires other inmates to start a prison riot. After the interview is terminated by McClusky, Mickey is left alone with Gale, the film crew, and several guards; he manages to overpower a guard and kill most of the people in the room, taking Gale and several others hostage. Gale and his crew give a live television report that profiles the riot. Meanwhile, Scagnetti attempts to seduce Mallory in her cell. She responds by beating him viciously, and another guard subdues her with tear gas. Mickey and Gale reach Mallory's cell, where Mickey kills the guards and engages in a standoff with Scagnetti before Mallory murders him. Gale's entire television crew is killed trying to escape the riot, while Gale himself begins indulging in violence, shooting at prison guards. Mickey and Mallory steal a van and escape into the woods with Gale, to whom they give a final interview before declaring that he must die. He attempts various arguments to change their minds, appealing to their trademark practice of leaving one survivor; Mickey informs him they are leaving a witness to tell the tale, his camera. Gale accepts his fate and is shot to death. Unbeknownst to the three, the entire exchange is transmitted to a horrified news anchor through Gale's in-ear microphone. Several years later, Mickey and Mallory, still on the run, travel in an RV, as a pregnant Mallory watches their two children play.

Day of the Dead_1985

tt0088993

<script> <scene> <stage_direction>EXT. THE EMPTY STREET OF A CITY - DAY</stage_direction> <scene_description>No people . A FEW CARS AND TRUCKS are parked at odd angles , abandoned . A TITLE FADES IN , one phrase at a time . FIVE YEARS . SINCE THE DEAD FIRST WALKED .</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY - DAY</stage_direction> <scene_description>We hear THE SOUND OF A STRONG WIND . DEBRIS flutters through the streets . A LARGE ALLIGATOR slithers into frame , stops and looks around . MONTAGE : as MORE GATORS explore the empty streets , knocking over GARBAGE CANS , upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW . A GATOR crawls out through the open doors of AN ABANDONED BANK . LOOSE BILLS are dragged along under the animal 's tail . They flutter away on the WIND .</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY - DAY</stage_direction> <scene_description>GATORS crawl over A '79 CADELLIC . A FEMALE SKELETON sits slumped over the steering wheel . In the back a BABY 'S BONES are strapped into AN INFANT 'S SAFETY SEAT . One of the gators THUMPS its tail maddeningly against the windshield . ANOTHER TITLE APPEAR : FLORIDA - 1987</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY - DAY</stage_direction> <scene_description>CLOSE ON A SECTION OF PAVEMENT as we hear THE SOUND OF SLUGGISH FOOTSTEPS approaching . A SHADOW appears at the bottom of the frame . It gets longer and takes on the shape of a man . TIGHT ON THE AFTERNOON SUN , blinding us . Into the FOREGROUND lurches THE FIGURE which cast the shadow . Glare obscures all facial detail until the head jogs into position directly in front of the fiery ball in the sky . Then we see its hideous , dead eyes , its blue - grey colour , the blackened wound where a large portion of jaw has been ripped away . This is a ZOMBIE ! A MUSIC CHORD SOUNDS and THE MAIN TITLE DAY OF THE DEAD</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY - DAY</stage_direction> <scene_description>HEAD CREDITS ROLL over A MONTAGE : the CITY STREETS are now populated by the WALKING DEAD . In every shape , size and colour they wander , without purpose , up and down the avenues , in and out of buildings . The city is theirs , they have inherited the place . Man , in his human form , seems to be gone . As the CREDITS END , we CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. A MAIN STREET - DAY</stage_direction> <scene_description>We are looking down from a HIGH ANGLE . The corner of A TALL BUILDING is in the FOREGROUND . A CORPSE is dangling from A NOOSE . It 's been dead for some time . It 's mostly bone now , its blackened flesh picked clean by scavenger birds and harbour rats . A SIGN flaps against its chest cavity . Its hurriedly scrawled message reads : TAKE ME , LORD ! I LOVE YOU ! THE ROPE BREAKS suddenly and THE CORPSE FALLS out of frame .</scene_description> </scene> <scene> <stage_direction>EXT. THE STREET - DAY</stage_direction> <scene_description>We 're at GROUND LEVEL now . SMACK ! THE CORPSE HITS THE PAVEMENT and SHATTERS as though made of potter 's clay . BONES bounce over a wide area . THE SIGN is carried off by the WIND .</scene_description> </scene> <scene> <stage_direction>EXT. AN ABANDONED MARINA - DAY</stage_direction> <scene_description>THE SIGN gallops across the grass of A HARBOUR PARK towards the water where A FEW DERELICT BOATS sway in the WIND . Slowly , THE SOUND OF A MOTOR FADES IN .</scene_description> </scene> <scene> <stage_direction>EXT. THE MARINA (CLOSER ANGLE) - DAY</stage_direction> <scene_description>A FISHING BOATS , old and sea - worn , chugs into the harbour .</scene_description> </scene> <scene> <stage_direction>EXT. THE MARINA (CLOSE ON THE FISHING BOAT) - DAY</stage_direction> <scene_description>There are people on board , THREE MEN AND TWO WOMEN . They look like guerilleros from somewhere in Latin America . They 're heavily armed , unshaven , covered with months worth of jungle crud . They are obviously exhausted . They gaze up to the city . Their deep - sunken eyes are too war - weary to show much emotion but we can read their despair .</scene_description> <character>TONY</character> <dialogue>Another dead place. I tol' you. Let's get out to the islands.</dialogue> <character>MIGUEL</character> <dialogue>The radio signals were coming from this area.</dialogue> <character>TONY</character> <dialogue>Not from the city. In every city it's the same. Dead. Let's get out to the barrier islands. If there are survivors sending those signals that's where we'll find them.</dialogue> <character>MIGUEL</character> <dialogue>Plenty of time for the islands. The rest of our. life. on the islands. I think.</dialogue> <scene_description>Miguel is drifting . The sight of the dead city has pushed him a few inches closer to the brink of insanity . He catches himself and comes back toward reality .</scene_description> <character>MIGUEL</character> <dialogue>We got ta see if there are others here. We came all this way. We're gon na check it out.</dialogue> </scene> <scene> <stage_direction>EXT. THE MARINA (AT THE DOCKS) - DAY</stage_direction> <scene_description>CLOSE ON THE OPEN GASOLINE RECEPTACLE in the hull of AN ABANDONED BOAT . A WOMAN 'S HANDS shove a LENGTH OF HOSE down into the hole . The woman , MARIA , puts the other end of the hose to her mouth and sucks the air out . At ANOTHER DERELICT BOAT , TONY sucks on ANOTHER HOSE .</scene_description> <character>TONY</character> <dialogue>Ptoooo! Nothing! Dry as a bone. No gas. Let's get outa here.</dialogue> <character>MIGUEL</character> <dialogue>Check them all. And check the tanks under the pumps.</dialogue> <scene_description>MIGUEL and the other two guerilleros , SARAH AND CHICO , start to walk up the dock towards the harbour park , toward the city . MIGUEL has AN ELECTRONIC BULLHORN in one hand , his AUTOMATIC RIFLE ready in the other .</scene_description> </scene> <scene> <stage_direction>EXT. THE HARBOUR PARK - DAY</stage_direction> <scene_description>THE TRIO of refugees move across the grass . The WIND blows DEBRIS around them as they stare towards the downtown buildings . MIGUEL lifts THE BULLHORN to his mouth .</scene_description> <character>MIGUEL</character> <dialogue>HELLO. IS THERE ANYONE THERE? HELLO. HELLOOOOOOO.</dialogue> </scene> <scene> <stage_direction>EXT. THE CITY - DAY</stage_direction> <scene_description>MONTAGE : as THE WALKING DEAD hear that human VOICE . Throughout the city they turned towards THE SOUND , at once confused and excited . MIGUEL -LRB- o.s. -RRB- HELLOOOOOOOOOOO . THE DEAD start to GROAN hungrily , almost pleadingly . All over the city their VOICES RISE .</scene_description> </scene> <scene> <stage_direction>EXT. THE HARBOUR PARK - DAY</stage_direction> <scene_description>It comes to MIGUEL AND THE OTHERS as A MASSIVE WALL OF NOISE , THE SOUND of hundreds - of - thousands of damned souls moaning on one solid voice . The sound of hell on earth .</scene_description> </scene> <scene> <stage_direction>EXT. THE MARINA (AT THE DOCKS) - DAY</stage_direction> <scene_description>TONY AND MARIA hear it as well and feel the familiar grip of cold fear . Maria makes the sign of the cross .</scene_description> <character>MARIA</character> <dialogue>Dios mia.</dialogue> <character>TONY</character> <dialogue>I tol' him. I tol' him this is a dead place. Like all the others.</dialogue> </scene> <scene> <stage_direction>EXT. THE CITY (FROM THE WATER) - DAY</stage_direction> <scene_description>We see the place FROM A GREAT DISTANCE . In the FOREGROUND THE FISHING BOAT , with all five REFUGEES back on board , chugs into open waters .</scene_description> </scene> <scene> <stage_direction>EXT. A SMALL PRIVATE DOCK - DAY</stage_direction> <scene_description>Away from the city , this dock is wooden , rickety . DERELICT BOATS rust at their moorings . THE FISHING BOAT is tied - on at one end of the pier and THE GUERILLEROS are moving through the area , scavenging . This time CHICO helps MARIA with the SIPHON HOSES . TONY lingers sullenly near the fishing boat which has its motor still idling . MARIA 'S SIPHON HOSE is stuffed into the gas tank of A LARGE TRAWLER . She sucks on the hose and , unexpectedly , foul tasting liquid fills her mouth .</scene_description> <character>MARIA</character> <dialogue>AY! GASOLINA! GASOLINA!</dialogue> <scene_description>Without warning , A FIGURE pops up from behind the side wall of the trawler . He reaches out and grabs the woman , pulling her against the boat , his arm around her neck , a pistol to her head . TONY sees the action . He dives into the fishing boat , crawls over to his RIFLE and scrambles towards the pilot 's controls . With a lightning move , MARIA pulls A KNIFE from her belt . She wrenches around and PLUNGES THE BLADE INTO HER ATTACKER 'S CHEST . The man staggers back , screaming . MARIA breaks away and runs across the dock . THE MAN FIRES HIS PISTOL wildly . MARIA IS HIT IN THE ARM . She tumbles forwards onto the decking . TONY reacts , OPENING FIRE WITH HIS AUTOMATIC . BULLETS RIP INTO THE ATTACKERS CHEST : HE FALLS OUT OF THE TRAWLER onto the dock , but TWO MORE GUNMEN appear behind him , mean - looking desperadoes with RIFLE SPITTING LEAD . TONY ducks as low as he can . He grabs the controls and pilots the fishing boat along the edge of the dock toward the downed woman .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>MIGUEL , SARAH AND CHICO react to the gunfire . They draw their WEAPONS and look for cover . They are at the far end of the dock , their backs to the sea . There is a WORK SHED nearby . BULLETS WHIZ past them as they charge towards the wooden structure . They make it there safely and they begin to RETURN FIRE . A gun battle ensues between the two groups .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>MARIA , her ARM BLEEDING , rolls off the dock and into THE FISHING BOAT . TONY guns the engine and the boat pulls out into open water . THE ATTACKERS try to FIRE AT THE ESCAPING BOAT but they are forced to duck BULLETS which RICOCHET OFF THE TRAWLER pinning them down .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>MIGUEL 'S RIFLE is in his right hand . His left hand clings to the frame of AN OPEN WINDOW on his side of the shed . There 's a SUDDEN , STARTLING MUSIC STING and , with it , A ZOMBIE appears inside the open window . Grotesque and drooling dark SALIVA , its hungry mouth lunges at MIGUEL 'S left arm . ITS TEETH TEAR A LARGE STRIP OF FLESH OUT OF THE ARM six inches above the wrist . MIGUEL screams . He pulls away from the creature , his terrified eyes staring at the BLEEDING WOUND . A zombie bite means infection and almost certain death . THE ZOMBIE leans out through the open window , its hands clawing the air trying to reach MIGUEL . SARAH pulls A GIANT .45 from her holster belt . BULLAMN ! BULLAMN ! BULLAMN ! She FIRES three rapid shots . THE SKULL OF THE ZOMBIE INDENTS IN FRONT like a hard - boiled egg shell that 's been whacked with a spoon bowl . BLACKENED BLOOD AND BRAIN MATTER FLIES OUT OF THE BACK where the bullets exit . The creature falls , destroyed .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>SARAH acts quickly . She lunges towards CHICO and snatches A MACHETE out of his belt . CHICO shows concern but he 's busy RETURNING FIRE at THE ATTACKERS on the trawler .</scene_description> <character>SARAH</character> <dialogue>I have to stop the infection. Querrida.</dialogue> <scene_description>MIGUEL looks into SARAH 'S eyes . He has started to tremble . A cry of primal panic is gurgling up in his throat . With a sudden move , SARAH slams her RIFLE BUTT into the side of his head with all her might . He reels backwards and slams into the boathouse wall . His eyes roll but he stays on his feet , still conscious . CHICO steps away from his post and stands squarely in front of MIGUEL . WHAP ! He slugs him with a powerhouse right - cross . MIGUEL still stands . WHAP ! He slugs him again . WHAP ! Again . Finally , MIGUEL collapses into the man 's arms and CHICO lays the limp body down on the deck . BUDDABLAM ! RATTATATTATATTATATT ! THE ENEMY , sensing an upper hand , starts FIRING WITH MORE INTENSITY . CHICO steps away from MIGUEL and SENDS SOME LEAD BACK their way .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>SARAH is crying . It 's not weakness . She 's crying for MIGUEL , crying for his pain . But she does n't hesitate in what she has to do . She crouches over the BITTEN ARM and raises the MACHETE over her head . THUCK ! SHE CHOPS AT THE ELBOW JOINT with all her strength . THE BLADE BITES DEEP BUT DOES N'T CUT THROUGH . SHE LIFTS IT AND CHOPS AGAIN AND AGAIN . THUCK ! THUCK ! Then SHE DIGS AROUND , searching for the joint the way she might on a turkey drumstick . Finding the spot , SHE PUSHES DOWN WITH BOTH HANDS , leaning all her weight on the top edge of the blade . TEARS are running down her cheeks when THE BIG KNIFE FINALLY . THUMMMPPP ! CUTS THROUGH TO THE DECKING . Repulsed , angry , SARAH SWEEPS THE SEVERED FOREARM AWAY WITH THE BLADE the way a butcher might sweep away unwanted fat . BLOOD IS SPURTING OUT OF THE STUMP at an alarming rate . SARAH has to act quickly again . While CHICO continues to RETURN FIRE at the enemy , SARAH swings herself up onto the sill of the open boathouse window and disappears inside the place .</scene_description> </scene> <scene> <stage_direction>INT. THE BOATHOUSE - DAY</stage_direction> <scene_description>The place is dark and cluttered -LRB- oars , bait buckets , fishing gear , life preservers , tools , paints , varnishes -RRB- . SARAH snatches up AN AXE HANDLE . THE ZOMBIE that bit Miguel lies nearby with its skull laid open . Its hand is jogged , startingly , when SARAH grabs A BOTTLE OF PAINT THINNER from the floor beside the corpse . From out of the shadows . A HAND ! It grabs SARAH 'S ankle . She kicks violently and pulls away . ANOTHER ZOMBIE is crawling across the floor . ONE OF ITS LEGS IS MISSING AND THE OTHER IS BADLY DAMAGED . SARAH draws her .45 and BULLAMM ! BULLAMM ! SHE PUMPS TWO ROUNDS INTO THE CREATURE 'S BRAIN .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>CHICO ducks the enemy 's RICOCHETING BULLETS .</scene_description> <character>CHICO</character> <dialogue>HEY! WHAT ARE WE DOIN' THIS FOR? WE CAN STICK TOGETHER. WE CAN USE EACH OTHER'S GUNS.</dialogue> <scene_description>At THE TRAWLER , ONE OF THE ATTACKERS shouts a response . ATTACKER # 1 You could use our guns , maybe . We ca n't use yours . Unless you can get yer boat back here .</scene_description> <character>CHICO</character> <dialogue>You got a boat.</dialogue> <scene_description>ATTACKER # 1 Shit , man . We can drift this tub into the bay . tow her around with a dinghy . but she ai n't gon na get us nowhere . Ev'ry boat you see here is long dead , soldier . else we 'd be long gone . Can you get your boat back here ?</scene_description> <character>CHICO</character> <dialogue>I do n't know where they went, man. I do n't know. I swear.</dialogue> <scene_description>ATTACKER # 1 Then , like I said . we ca n't use you . We ai n't got the food nor the patience to put up with you . The man FIRES A LONG BURST from his automatic .</scene_description> <character>CHICO</character> <dialogue>YOU. YOU MOTHERFUCKERS!</dialogue> <scene_description>He reaches around the corner of the shed with his own rifle and FIRES blind in return . SARAH clambers out through the shed windows having wrapped A LARGE PIECE OF CLOTH around the end of the AXE HANDLE . She reaches into a shirt pocket and produces A WOODEN MATCH . She strikes the match and touches the flame to the thinner - soaked cloth . PHOOOOOMPH ! The axe handle becomes an angrily flaming torch .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>As the gun battle continues , SARAH crouches over MIGUEL . BLOOD IS STILL FOUNTAINING FROM THE STUMP OF HIS LEFT ARM . The woman slaps THE FLAMING END OF HER TORCH ONTO THE STUMP . There 's A SIZZLING SOUND as the raw flesh there cooks . The pain reaches MIGUEL even though his unconscious state . He starts to breathe heavily . His head shakes from side to side silently pleading `` NO , NO , NO . '' The flames do their job . THE FLESH CRUSTS OVER AND THE BLEEDING STOPS . MIGUEL 'S SHIRT CATCHES . Suddenly his eyes pop open and he screams like the man on fire he is . He lurches away from the flame , his body slamming against the shed wall . SARAH flings the torch into the water and dives on top of the man .</scene_description> <character>SARAH</character> <dialogue>MIGUELITO. MI VIDA. MIGUEL MIO.</dialogue> <scene_description>MIGUEL , trying to scream but needing to vomit , is doing neither . His body is convulsing in the woman 's arms . She rubs the sparks on his shirt until they disappear then she caresses him , holding his head against hers , rocking him back and forth .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>CHICO is still busy RETURNING FIRE . BULLETS WHIZ through the air around his head . ONE KNICKS HIM ON THE SHOULDER , a superficial but painful wound .</scene_description> <character>CHICO</character> <dialogue>JESUS CHRIST! GET UP HERE, WOMAN! GET THE HELL UP HERE!</dialogue> <scene_description>SARAH has no choice but to help in the fight . She lays MIGUEL as gently as she can on his back . He 's gone into deep shock , shivering violently . Rubbing tears away from her eyes , SARAH jumps to her feet , takes up a post and begins to FIRE AT THE ATTACKERS . THE ATTACKERS are grinning like old - fashioned pirates as their GUNS CHEW UP THE DOCK . Suddenly , just behind THE TRAWLER , we see A FLASH OF COLOUR SPEEDING BY . It 's THE FISHING BOAT ! The WOUNDED MARIA is steering . TONY is standing on the prow with his RIFLE FIRING . RATTATATTATATTATATTATATT ! ONE OF THE ATTACKERS IS HIT FROM BEHIND . HIS BACK TURNS SOLID RED and HE PITCHES FORWARDS , FALLING between the boat and the dock into the water below . THE OTHER ATTACKER -LRB- # 1 -RRB- turns and FIRES IN RESPONSE . TONY IS HIT IN THE STOMACH . He falls to his knees and grabs the side of the boat but he KEEPS FIRING . THE ATTACKER pivots against a mast . For a moment he does n't realise that HIS NECK HAS BEEN RIPPED OPEN BY A LINE OF BULLETS . He tries to scream . Ca n't . A PLUME OF RED SHOOT OUT OF HIS MOUTH . Then he realises . He realises that he 's a dead man . He falls .</scene_description> <character>MARIA</character> <dialogue>TONY. TONY.</dialogue> <character>TONY</character> <dialogue>PULL IN! GET THE OTHERS.</dialogue> <scene_description>TONY is clutching at his BLEEDING BELLY as MARIA , in pain from her own wound , circles the boat towards the edge of the dock .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - DAY</stage_direction> <scene_description>Behind the boathouse , SARAH slings her rifle onto her shoulder and she leans over MIGUEL who is now catatonic .</scene_description> <character>SARAH</character> <dialogue>Help me get him to the boat.</dialogue> <character>CHICO</character> <dialogue>Leave him.</dialogue> <scene_description>SARAH calmly raises her .45 and aims it directly at CHICO 's head .</scene_description> <character>SARAH</character> <dialogue>Help me or die.</dialogue> <scene_description>Reluctantly the man moves towards MIGUEL and the two survivors drag his limp body over the decking .</scene_description> </scene> <scene> <stage_direction>EXT. THE PRIVATE DOCK - SUNSET</stage_direction> <scene_description>The fishing boat is gone . Orange light from the western horizon paints the scene . FIGURES are moving about on the dock , slumped , lumbering figures . ZOMBIES . They 're clustering around THE TRAWLER , around THE CORPSES OF THE ATTACKERS . THEY BEGIN PULLING THOSE CORPSES APART AND EATING THEM HUNGRILY . ONE CREATURE has found MIGUEL 'S SEVERED FOREARM . IT PULLS A BIG CHUNK OFF THE THING WITH ITS TEETH . It chews for a time , ITS DROOL TURNING RED . Then it spits out MIGUEL 'S WRISTWATCH as though it was a bothersome bit of bone .</scene_description> </scene> <scene> <stage_direction>EXT. THE FISHING BOAT (IN DEEP WATER) - SUNSET</stage_direction> <scene_description>THE TWO WOMEN hover over their wounded , TONY AND MIGUEL . CHICO steers the boat . Suddenly , TONY arches his back and screams in pain .</scene_description> <character>TONY</character> <dialogue>Aaaaaaah. my God. my God. I am heartily sorry. for having offended Thee. offended Thee.</dialogue> <character>MARIA</character> <dialogue>Shhhhh. Tony. Rest, rest.</dialogue> <character>TONY</character> <dialogue>I detest all my sins. because. because of Thy just punishment. because of Thy. just. punish.</dialogue> <scene_description>A coughing fit interrupts his Act of Contrition . From across the open cabin , from within SARAH 'S arms , MIGUEL stares . His eyes have the glaze of a madman 's eyes . Despite that , and despite the physical trauma he has endured , he seems remarkably in command .</scene_description> <character>MIGUEL</character> <dialogue>He is dying. I will end his pain.</dialogue> <scene_description>MIGUEL draws his PISTOL .</scene_description> <character>MARIA</character> <dialogue>NOOOOOOOOO!</dialogue> <character>TONY</character> <dialogue>but most of all because. they offend Thee, my God. Who art all good. and deserving. deserving of all my love.</dialogue> <character>MIGUEL</character> <dialogue>He is dying. He knows it.</dialogue> <character>MARIA</character> <dialogue>You are dying, too.</dialogue> <character>MIGUEL</character> <dialogue>No. The disease was cut away from me. I will live. I will live.</dialogue> <character>TONY</character> <dialogue>I firmly resolve. with the. with the help. the help of. of Thy grace.</dialogue> <scene_description>TONY collapses . A long , gurgling breath of surrender spills out of him and BLOOD TRICKLES FROM HIS LIFELESS MOUTH .</scene_description> <character>MARIA</character> <dialogue>Tony. TONY!</dialogue> <scene_description>The woman folds TONY 'S corpse into her arms as though trying to give it life from her own wounded body . For a long moment there is only the CHUG - CHUG - CHUG of the tired engine . Then the woman , sensing something , turns back towards MIGUEL . His pistol is raised , aimed at TONY 'S head .</scene_description> <character>MARIA</character> <dialogue>NO! YOU CA N'T!</dialogue> <character>SARAH</character> <dialogue>It must be done. You know this. It must by done to keep him from.</dialogue> <character>MARIA</character> <dialogue>It wo n't happen to him! It wo n't happen to him! You heard his prayer. His prayer will save him. He could never become one of. one of those. devils.</dialogue> <character>MIGUEL</character> <dialogue>Prayers have no power to save. The knife can save. It can cut the disease away. The bullet. It can shatter the brain where the evil takes seed. These are saviours. our new saviours. our only saviours.</dialogue> <character>MARIA</character> <dialogue>We must wait. One day the curse will pass. One day a dead man will. will.</dialogue> <character>MIGUEL</character> <dialogue>One day a dead man will refuse to return, and that man will be a saint. The first saint of our century. That's a prayer, too. A catechism. Something the priests tell us to believe.</dialogue> <character>MARIA</character> <dialogue>You can believe this, Miguel. I'll kill you if you shoot. We must wait. I'll. I'll do it. I'll do it myself. when it needs to be done.</dialogue> <character>MIGUEL</character> <dialogue>No. You wo n't be able to do it. He will rise. He will rise and you. you will die.</dialogue> <scene_description>That madman 's glaze is wet in MIGUEL 'S eyes again . A grin curls his mouth into an odd shape . He freezes , staring , waiting . SARAH shows concern .</scene_description> </scene> <scene> <stage_direction>EXT. DEEP WATER (WITH THE FISHING BOAT) - NIGHT</stage_direction> <scene_description>A CRESCENT MOON lies on its back . Below , on the pitch black water , its reflection , a vertical stripe , breaks open as THE BOAT passes through it . CHUG - CHUG - CHUG .</scene_description> </scene> <scene> <stage_direction>EXT. THE FISHING BOAT (IN DEEP WATER) - NIGHT</stage_direction> <scene_description>CHICO has fallen asleep at the tiller . SARAH is asleep as well , and so is MARIA . A SILENT SHADOW moves over the side rail . HANDS reach out and grip MARIA 'S shoulders , lifting her up , up from sleep . Her eyes flutter open . TONY 'S face is blue - grey in the moonlight . It takes the woman a second or two to recognise that HE IS ONE OF THE LIVING DEAD . His hungry mouth lunges towards her neck . His DROOLING TEETH SINK DEEP . The woman screams . SARAH wakes with a start . MIGUEL is already awake . He 's been watching all along . Now he watches still , his PISTOL idle in his one good hand , his mouth curled in that strange grin , as MARIA 'S screams shatter the quiet night . At the tiller , CHICO sees what 's happening . He fumbles for the AUTOMATIC RIFLE that 's strapped over his shoulder . A PORK - CHOP - SIZE CHUNK COMES OUT OF MARIA 'S NECK IN THE CLENCHED TEETH OF THE TONY - CREATURE . BLOOD SQUIRTS UPWARD IN A FIVE - FOOT ARC . SARAH lifts her RIFLE from her lap . She is the first to FIRE . An instant later , CHICO FIRES as well . THE HEAD ON THE TONY - CREATURE IS HIT BY RAPID - FIRE LOADS from each gun and IT COME APART ABOVE THE EYES . Its body staggers stiffly into MARIA . She tries to stand , tries to pull away , screams still bubbling in her torn throat . She topples backward over the side rail . The corpse , taller and heavier , flips rigidly over , its feet kicking skyward , and splashes in to the deep , black Gulf . MARIA , the small of her back balanced precariously on the side rail , grabs at the air trying to swing her weight back on board . SARAH springs forward . She reaches the other woman a second too late . Their hands brush but do n't catch . MARIA slips over the side . A LOUD SPLASH CUTS OFF HER SCREAMS . CHICO brings the boat about in as tight a circle as possible . He and SARAH stare out over the water . The blackness out there is absolute . Visibility zero . Silence . but for the CHUG - CHUG - CHUG of the boat 's engine . MIGUEL slowly raises his hand and aims his PISTOL at a LARGE , TURTLE - SHAPED SPLOTCH OF BLOOD on the hull across the cabin , the spot where TONY died . With that odd grin still on his lips , HE BEGINS TO FIRE one shot at a time in deliberate , slow rhythm . THE BULLETS PUNCH HOLES through the wooden side - wall , most of them hitting squarely in the blood stain . SARAH looks over toward CHICO who returns her look with frightened eyes .</scene_description> </scene> <scene> <stage_direction>EXT. GASPARILLA'S ISLAND (EST.) - DAY</stage_direction> <scene_description>It looks like a tropical paradise . Greatly separated from the other smaller islands on the horizon , its vegetation is dense and lush . There 's no sign that civilisation ever invaded the place , no power lines , no buildings . What meets the eye is all natural and inviting . THE FISHING BOAT chugs into a tidewater basin on the afternoon side of the island .</scene_description> </scene> <scene> <stage_direction>EXT. THE FISHING BOAT (IN THE BASIN) - DAY</stage_direction> <character>CHICO</character> <dialogue>It looks uninhabited. What do you think?</dialogue> <character>MIGUEL</character> <dialogue>I think we should burn the church. Kill the priest and burn the church. It's the only way. The only way.</dialogue> <scene_description>MIGUEL is sweating profusely yet shivering as though cold . FLIES ARE BUZZING in a cluster around his WRAPPED STUMP . He 's over the edge now , insane . And worse than that , the infection from the original bite is spreading . The amputation was not done quickly enough to prevent the parasites from racing through his veins to the brain and elsewhere . SARAH turns towards the madman once her lover . Her heart is too callused for emotion to reach it . She just stares , her eyes dead cold like the eyes of a shark .</scene_description> <character>CHICO</character> <dialogue>I'm pullin' in.</dialogue> </scene> <scene> <stage_direction>EXT. THE ISLAND (WITH THE FISHING BOAT) - DAY</stage_direction> <scene_description>THE BOAT noses into a swamp water backwash . Tall reeds and cypress moss camouflage it completely . It 's at though the boat is sailing right onto dry land .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE INLET - DAY</stage_direction> <scene_description>THWOCK ! CLOSE ON A MACHETE . The blade chops into the top of a coconut . CHICO drinks the milk . SARAH sits on a nearby rock , her RIFLE AND A BACK - PACK full of supplies strapped over her shoulders . MIGUEL , his madman 's eyes wide with excitement , is trotting urgently from spot to spot where a spectacular specie of sub - tropical plant grows . There are hundreds of them , six - feet tall and flowering . Their red - gold blossoms are shaped like trumpets hanging with their bells down .</scene_description> <character>MIGUEL</character> <dialogue>DATURA! DATURA! MIRA. DATURA!</dialogue> <character>CHICO</character> <dialogue>What's he saying?</dialogue> <scene_description>SARAH shrugs , not knowing . CHICO looks down at her , empathising .</scene_description> <character>CHICO</character> <dialogue>His madness. could be from shock.</dialogue> <character>SARAH</character> <dialogue>No. I did n't stop the infection in time. I know.</dialogue> <parenthetical>( She speaks softly , matter - of - factly . )</parenthetical> <dialogue>Do n't worry. When he dies, I wo n't be like Maria. I'll shoot him.</dialogue> <character>MIGUEL</character> <dialogue>DATURA! DATURA! DATURA METEL!</dialogue> </scene> <scene> <stage_direction>EXT. THE INLAND JUNGLE - DAY</stage_direction> <scene_description>THE GUERILLEROS hack their way through thick undergrowth with MACHETES . MIGUEL is ineffectual . He lags behind the others who are doing trailblazing . THE SOUNDS OF WILDLIFE , excited by the intruders , fill the close , humid air , sometimes beautiful , sometimes grotesque , sometimes startling .</scene_description> </scene> <scene> <stage_direction>EXT. A SWAMPY AREA - DAY</stage_direction> <scene_description>ALLIGATORS lurk and SNAKES slither among the reeds . A FOURTEEN FOOT GATOR opens its jaws wide making a SOUND LIKE ESCAPING STEAM . CHICO draws his PISTOL but SARAH reaches out to grab his hand .</scene_description> <character>SARAH</character> <dialogue>No. No shooting. Not until we're sure we're alone on this island.</dialogue> <character>MIGUEL</character> <dialogue>No. No, thank you. No ice. Straight up, please. No ice. Thank you.</dialogue> <scene_description>MIGUEL 'S eyes roll up into his head . His knees buckle . SARAH grabs him under the arms barely keeping from falling face first into the muddy swamp water . CHICO comes to help .</scene_description> </scene> <scene> <stage_direction>EXT. THE SWAMP - DAY</stage_direction> <scene_description>THE TWO drag MIGUEL to the edge of dry land . They flop him onto his back and SARAH puts her canteen to his lips .</scene_description> <character>MIGUEL</character> <dialogue>NO ICE, I SAID! NOOOOO ICE!</dialogue> <scene_description>He slams his good hand against the canteen , knocking it away . It plops into the marsh water , its contents lost .</scene_description> <character>MIGUEL</character> <dialogue>Burn the church. Kill the priest and burn the church. Burn.</dialogue> <scene_description>His mouth keeps on shaping words but no sound comes out . He squirms for a moment , then he seems to fall asleep . CHICO looks down at him . Unable to help , he moves off towards solid ground and disappears in the thick brush . After a time , SARAH follows after him .</scene_description> </scene> <scene> <stage_direction>EXT. THE CAVE ENTRANCE - DAY</stage_direction> <scene_description>CHICO is at the edge of a clearing when SARAH reaches him . His eyes are wide , frightened by what they see . In the ground before them there 's AN ENORMOUS IRON PLATE , fifty feet by ten , all painted in brown and green camouflage patterns .</scene_description> <character>SARAH</character> <dialogue>What is it?</dialogue> <character>CHICO</character> <dialogue>I dunno. Landing pad for a helicopter? I dunno.</dialogue> <scene_description>Suddenly there 's A GREAT RUMBLING , like the giant gears and pistons of a drawbridge being activated . The iron plate shudders and starts to move , downward , into the earth . SARAH AND CHICO duck into the nearby jungle .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY</stage_direction> <scene_description>They take cover in a thicket , both their GUNS up and ready . OTHER SOUNDS can be heard now , clunking sounds of metal on metal , and a few heavy thuds . There are also VOICES on the wind but their words are indistinguishable .</scene_description> <character>CHICO</character> <dialogue>It's some kind of. elevator. There must be something under the ground here. maybe. military.</dialogue> <character>SARAH</character> <dialogue>Look.</dialogue> </scene> <scene> <stage_direction>EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY</stage_direction> <scene_description>SEVERAL FIGURES are rising up in to view , a dozen , maybe fifteen . Details are obscured by FOREGROUND FOLIAGE but we can read helmets , heavy armaments , packs , utility belts . The impression is of a ghostly cadre of soldiers rising from hell . SARAH -LRB- o.s. -RRB- Jesus Christ ! CHICO -LRB- o.s. -RRB- It is military . I do n't believe it .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY</stage_direction> <character>CHICO</character> <dialogue>What do we do? Let'em know we're here. or what?</dialogue> <character>SARAH</character> <dialogue>Let's just. wait a minute. Get a better look.</dialogue> <scene_description>She moves to another spot a few feet away . CHICO follows .</scene_description> </scene> <scene> <stage_direction>EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY</stage_direction> <scene_description>THE PLATOON OF SOLDIERS , still obscured by foliage , moves off into the jungle carrying A COLLECTION OF PARAPHERNALIA . There are THREE SOLDIERS who do not move off with the others . They are standing still with their shoulders slumped , their heads lolling listlessly from side to side . They have the body attributes of prisoners yet there 's something menacing about them . We HEAR A SERIES OF ELECTRONIC BEEPS , something like computer beeps , and , as though in response to that signal , the three slumped figures start to walk . They move slowly , stiffly , their feet shuffling , their arms dangling lifelessly at their sides . SARAH -LRB- o.s. -RRB- Oh . oh , my God .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY</stage_direction> <scene_description>SARAH 'S eyes are wide in their sockets with disbelief , revulsion , horror . Beside her CHICO , also astonished , makes the sign of the cross .</scene_description> <character>SARAH</character> <dialogue>OH, MY GOD!</dialogue> </scene> <scene> <stage_direction>EXT. THE CAVE ENTRANCE - DAY</stage_direction> <scene_description>As we CUT IN CLOSER we see that the three slumped figures are ZOMBIES . They are wearing khakis and they are armed with RIFLES AND PISTOL BELTS . Their HELMETS have been painted an identifying bright RED and they wear slipover vests dyed the same bright colour . All the others in the platoon are humans . They , too , wear vests but theirs are not red but WHITE , WITH LARGE ORANGE CIRCLES emblazoned front and back . Two of the men wield LONG ELECTRIC CATTLE PRODS for use should the ZOMBIES misbehave , but the creatures , amazingly , are shambling along with the rest of the platoon voluntarily , co - operatively , even somewhat excitedly . the kind of excitement seen in a puppy that 's just learned a new trick .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY</stage_direction> <character>CHICO</character> <dialogue>It ca n't be. Are we truly in hell?</dialogue> <character>SARAH</character> <dialogue>Come on.</dialogue> <scene_description>Stealthily the woman moves along the edge of the thicket , crouching all the while . CHICO hesitantly follows .</scene_description> </scene> <scene> <stage_direction>EXT. A CLEARING - DAY</stage_direction> <scene_description>The mysterious PLATOON begins `` setting up '' their equipment , which includes TRIPOD MACHINE GUNS . TWO MEN don BLACK RUBBER GLOVES AND LONG BLACK LABORATORY APRONS . They strap LARGE REFRIGERATED CARTONS around their necks and open the sealed lids . VAPOUR mushrooms out like dry - ice vapour out of Good Humour wagons on a hot day .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>SARAH AND CHICO watch . Suddenly THE HUGE , FULL - THROATED SOUND OF A SIREN startles them . They look around , up into the trees . SARAH spots something and points . CLOSE ON A SIREN HORN , high in the cypresses , its wires running down to the brush and disappearing under ground .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>First ONE comes . then TWO MORE . THREE MORE . ZOMBIES are shuffling out of the jungle and converging on the platoon . They seem to come from everywhere . Soon there are twenty or more . Most are tattered and ragged but others wear vests , the same type as worn by the platoon . These are solid colours , some white , some blue . None are red and none have orange circles . As THE ZOMBIES push in closer they seem to get agitated . They start growling and reaching out . THE MEN WITH THE CATTLE PRODS poke at the more unruly creatures and ZAPPING SOUNDS can be heard . The creatures form a kind of ragged queue , lining up in front of the `` Good Humour '' men . From inside their freezer cartons those men produce GREAT BLOODY CHUNKS OF RAW MEAT . THE ZOMBIES docilely take the hand - outs and go lurching out of the queue , some starting to eat immediately , others retreating into the cool of the jungle to enjoy a more private supper .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <character>SARAH</character> <dialogue>What is that? Could that be?</dialogue> <scene_description>Behind her , CHICO gets the dry heaves . He slams his hand into his mouth to keep from making noise .</scene_description> <character>SARAH</character> <dialogue>No. They must have gotten them to accept. other things. They would n't be feeding them with. they would n't.</dialogue> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>The man in command of the platoon is obvious , strutting around while others do the dirty work . This is CAPTAIN RHODES . He 's conscienceless , the low of the low , and a weasely - looking guy , to boot . He watches the operation almost hoping for trouble . -LRB- He loves to torture disobedient zombies . -RRB- Behind him , their AUTOMATICS ready , are SEVERAL TROOPERS especially assigned to protect the captain . One of these troopers is TOBY TYLER , a good guy . TOBY is revulsed by the scene in the clearing . He drops his head , almost gagging . RHODES notices .</scene_description> <character>RHODES</character> <dialogue>You'll get used to this, Tyler. It's the only way. They do n't bite the hand that feeds.</dialogue> <scene_description>TOBY looks up . He ca n't conceal his contempt for the captain . RHODES reads it in his eyes and is about to say something when a SOUND distracts him . ONE OF THE RAG - TAG ZOMBIES is running amok . THE ZAPPERS poke at the creature but that just makes it angrier .</scene_description> <character>RHODES</character> <dialogue>GET THAT THING AWAY FROM THE OTHERS! BRING IT HERE!</dialogue> <scene_description>ONE TROOPER has A LONG POLE WITH A WIRE NOOSE ON THE END . He drops the noose over the wild zombie 's head and the wire tightens , biting into the dead flesh on the thing 's neck . The pole is long enough to control the creature while keeping it out of reach .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>SARAH watches , repulsed but fascinated . CHICO is still fighting the heaves . Without warning , A ZOMBIE looms up directly behind CHICO . The man jumps forward , terrified . He crashes into SARAH who spins and sees the danger . TWO MORE ZOMBIES appear . Then A THIRD . These have no vests . They 're rag - tag , bad ass and hungry as hell . ONE OF THEM grabs SARAH . She manages to pull away but behind her CHICO panics . He raises his RIFLE and . RATTATATTATATT !</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>RHODES hears the GUNFIRE . He seems pleased . He grins .</scene_description> <character>RHODES</character> <dialogue>We have visitors. Let's go men.</dialogue> <scene_description>He moves slowly towards the thicket followed by TOBY TYLER AND SEVERAL OTHER SOLDIERS . He reaches down to his belt and pushes one of THREE BUTTONS on A UNIT that resembles a pager . ELECTRONIC BEEPS , like the ones we heard earlier , come from the unit , this time in a different pattern . THE RED COAT ZOMBIES respond quickly . They draw their PISTOLS and go marching off after their leader , grunting and snorting like bull apes . RHODES ' grin breaks into a wide - open laugh .</scene_description> <character>RHODES</character> <dialogue>Hah! If only the rest of you ladies would obey orders the way they do.</dialogue> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>Their cover blown , SARAH now raises her RIFLE . BUDDABUDDA ! THE SECOND ZOMBIE 'S HEAD TURNS TO RED PULP and the thing pitches forward , dead . CHICO FIRES and THE THIRD ZOMBIE IS DESTROYED . Suddenly there is DISTANT FIRE , from the clearing . BULLETS WHIZ through the brush . The guerilleros duck for cover .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>THE RED COAT ZOMBIES , shuffling forward abreast in a line , have OPENED FIRE . It 's a grisly parody of foot - soldiering . The creatures are unsteady on their feet , their hands shake when they squeeze the stiff Army - issue triggers . BULLETS FLY this way and that , most of them grossly off target .</scene_description> <character>RHODES</character> <dialogue>THAT'S IT, YOU WORM - EATEN SLIME! YOU FOUL - SMELLING, PUSS - FACED MAGGOTS! I TOLD YOU I'D FIND YOU REAL ACTION, DID N'T I? YOU CORRUPTION! YOU FILTH! YOU'RE LEARNING! YOU'RE GETTING BETTER. GETTING BETTER. GETTING BETTER, YOU SCUM!</dialogue> <scene_description>The trooper beside TOBY is another young man whose nickname is TRICKS . He and TOBY exchange glances as they trudge along behind the captain and his zombie red coats . Their eyes tell us that they both think Rhodes to be insane , which of course he is .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>SARAH moves to retreat but CHICO lifts his rifle and FIRES wildly into the clearing .</scene_description> <character>CHICO</character> <dialogue>NO! NOOOOO! NOOOOOOOOOOOOOOOO!</dialogue> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>TWO OF THE RED COATS ARE HIT , but not in the head . Their brains keep functioning and they march on .</scene_description> <character>RHODES</character> <dialogue>SPREAD OUT, MEN! OPEN FIRE!</dialogue> <scene_description>Whatever else he is , RHODES seems fearless . He stands in the open as his human soldiers fan out . He notices that the RED COATS are out of ammunition . He pushes another button on his belt unit and MORE BEEPS SOUND . THE RED COATS stop in their tracks . They dump the SPENT SHELLS from their weapons and reload using fresh rounds from their belts . Their fingers are stiff . Three bullets fall to the ground for every one that finds its way into a gun chamber . The SOLDIERS HAVE OPENED FIRE NOW . They are closing in on the thicket .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>CHICO IS HIT high on the right side of his chest . SARAH FIRES A QUICK BURST out into the clearing as she tries to pull the man deeper into the jungle . Suddenly , from right behind SARAH 's back , comes A BLOOD CURDLING SCREAM . A DARK FIGURE LOOMS UP startling us all .</scene_description> <character>MIGUEL</character> <dialogue>BURN THE CHURCH! KILL THE PRIEST!</dialogue> <scene_description>It 's MIGUEL , sweating , his eyes sunken into deep black sockets . He is charging toward the clearing with his AUTOMATIC BLAZING in his one good hand . He thunders right past SARAH almost knocking her down .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>MIGUEL breaks out of the thicket into clear view of the SOLDIERS . RHODES sees the one - armed wild man and his grin dissipated slightly . He draws his own PISTOL , an enormous Magnum , an elephant stopper . SOLDIERS , taken by surprise , scatter , TOBY AND TRICKS among them . MIGUEL 'S BULLETS DRAW A LINE ACROSS ONE SOLDIER 'S CHEST . He dies instantly .</scene_description> <character>MIGUEL</character> <dialogue>KILL THE PRIEST! BURN THE CHURCH! BURN! BURN! BURN! BURN! BURN!</dialogue> <scene_description>NOW MIGUEL IS HIT but he keeps coming , his GUN SPITTING . ANOTHER SOLDIER goes down , HIT IN THE MID SECTION . THE PLATOON RETURNS FIRE . MIGUEL IS HIT SQUARELY IN THE CHEST . He falls to his knees . His RIFLE FIRES A LINE OF BULLETS INTO THE EARTH and the kicking of the gun knocks him back on his ass . He sits there bewildered for a moment , then he looks up to find himself directly facing CAPTAIN RHODES . RHODES lifts his MAGNUM but MIGUEL is faster with his RIFLE . In the next instant the muzzle is aiming straight for the captain 's stomach . RHODES ' smile disappears , re - placed by a sudden flush of fear . He freezes .</scene_description> <character>MIGUEL</character> <dialogue>Kill the priest.</dialogue> <scene_description>MIGUEL squeezes the trigger and his weapon CLICKS sharply . It 's empty . The captain 's smile slowly returns . He pushes the `` Attack '' button on his belt unit . THE RED COATS advance , their PISTOLS reloaded . THEY FIRE , stiff - armed and fumble - fingered , at MIGUEL . He sees them moving towards him . Something in his mind clicks and he recognises the creatures for what they are . walking dead . THE FIRST FEW BULLETS MISS. . Then ONE HITS HIM IN HIS STUMP and reality gets even clearer . He starts to scream . THE READ COATS walk closer , their dead eyes showing enjoyment of the sport . BLAM ! BLAM ! BLAM ! BLAM ! ANOTHER ROUND HITS MIGUEL IN THE STOMACH . ANOTHER CREASES HIS HEAD . He tries to stand up but he 's too weak . A BULLET IN THE NECK stops his screaming . Then HE 'S HIT IN THE HEART . A BALL OF BLOOD PROJECTS OUT OF HIS MOUTH and he plops onto his back , dead . THE READ COATS KEEP FIRING until their guns are empty again . RHODES calmly pushes the `` Reload '' signal and the creatures obey . MIGUEL 'S CORPSE twitches for a short time , then goes rigid .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>SARAH sinks against a cypress when she sees MIGUEL die . CHICO , in a state of blind panic , takes off along the edge of the thicket , his WOUND BLEEDING PROFUSELY .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>CHICO breaks through some brush to find himself face - to - face with TOBY TYLER 'S GROUP OF SOLDIERS . He stops , reverses course , and ducks into a cluster of palms . ONE OF THE SOLDIERS FIRES . RATTATATTATATTATATT ! BULLETS RIP THE PALM FRONDS APART . There 's a scream and CHICO somersaults out into view . NEW WOUNDS BLEEDING ACROSS THE CENTER OF HIS CHEST .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>SARAH realises that this is her last chance to escape . She takes advantage of the confusion and the NOISE and bolts into the jungle at a full run .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>CHICO is still alive . He fumbles for his HOLSTERED PISTOL but before he can draw it THREE TROOPERS are on top of him . TRICKS tromps a boot on his hand . TOBY TYLER aims his RIFLE squarely at his sweating brow .</scene_description> <character>CHICO</character> <dialogue>Yes. yes, do it. please. you ca n't let me die this way. please. Destroy me. A bullet. in the head. I do n't want to become. one of. one of them.</dialogue> <scene_description>TOBY looks down at the man , at his TERRIBLE WOUNDS , clearly fatal ones . TOBY clicks a shell into the firing chamber of his RIFLE . His finger is just sliding under the trigger shield when CAPTAIN RHODES strides up behind him .</scene_description> <character>RHODES</character> <dialogue>Take his weapon, Tyler.</dialogue> <scene_description>TOBY is startled by the voice at his back . He turns towards the captain , then he looks back down at the guerillero , hesitating .</scene_description> <character>RHODES</character> <dialogue>Take his gun, ass hole. He still has the strength to pull a trigger.</dialogue> <scene_description>Reluctantly TOBY obeys , reaches down for CHICO 'S PISTOL .</scene_description> <character>CHICO</character> <dialogue>Please. senor. destroy me. one bullet. please.</dialogue> <character>RHODES</character> <dialogue>Maybe. We'll have a little talk first. Then. maybe. I can help you out. String him up.</dialogue> <scene_description>THE THIRD SOLDIER reaches down and grabs the wounded guerillero under the arms . TRICKS stoops to help . CHICO screams in agony when he is moved . TOBY lunges in to help the others , thinking to ease the man 's pain .</scene_description> <character>RHODES</character> <dialogue>They can handle it, Tyler. You've been buckin' for a shit detail lately so here's one you're gon na love. We've got two dead. Cut the heads off and get the bodies underground to the refrigerators. Fast. It's a hot day.</dialogue> <scene_description>TOBY grimaces but does n't speak . He turns and moves briskly towards the clearing . RHODES watches him go .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>TOBY nears the spot where MIGUEL lies sprawled in A POOL OF BLOOD . RHODES calls from the edge of the thicket .</scene_description> <character>RHODES</character> <dialogue>Tyler. Just our men. Not him.</dialogue> <scene_description>TOBY looks down at the remains of the one - armed guerillero .</scene_description> <character>RHODES</character> <dialogue>His head stays where it is. He and I never really had the chance to get acquainted. When he comes back. I'll get another shot at it. Ha ha ha ha.</dialogue> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>CLOSE ON CHICO . He 's dangling from A ROPE which is tied over a tall tree , his feet ten feet off the ground . ZOMBIES wander here and there . They 've all received their rations . The picnic is breaking up now . Occasionally one of them gets surly but it does n't amount to anything . SOLDIERS stand ready with ELECTRIC PRODS , OTHERS with GUNS . PARAPHERNALIA is being packed away . MEN CARRY EQUIPMENT in the direction of the elevator . RHODES walks up beneath where CHICO is hanging . He 's careful not to step in too close . He does n't want to get any DRIPPING BLOOD on his uniform .</scene_description> <character>CHICO</character> <dialogue>Please. shoot me.</dialogue> <character>RHODES</character> <dialogue>And if I do n't? If I do n't you'll come back after your death. You'll come back and find yourself hanging there. wanting to eat. needing to eat human flesh. You hate that thought, do n't you? That's the ultimate sin for most of you fools, is n't it?</dialogue> <scene_description>CHICO is weeping now . With a found spurt of energy he struggles against the rope . No use . It only brings pain .</scene_description> <character>RHODES</character> <dialogue>After hanging up there a few days you will be mad for food. crazed! You will lust for it! YOU WILL BE WORSE THAN ANY OF THEM!</dialogue> <character>CHICO</character> <dialogue>NO. NOOOOOOO. SHOOT ME! SHOOT ME! SHOOOOOOOOOT MEEEEEEEEE!</dialogue> <character>RHODES</character> <dialogue>I'll bargain with you. How many of you are on the island?</dialogue> <character>CHICO</character> <dialogue>Two of us. only two of us. me. and him.</dialogue> <parenthetical>( He nods towards MIGUEL 'S CORPSE . )</parenthetical> <dialogue /> <character>RHODES</character> <dialogue>I do n't believe you, rebel. Where are your headquarters? On the mainland?</dialogue> <character>CHICO</character> <dialogue>The mainland. is dead. a dead place. nobody there.</dialogue> <character>RHODES</character> <dialogue>Where are your headquarters, rebel? Tell me or I'll let you hang there forever. FOREVER!</dialogue> <character>CHICO</character> <dialogue>There are no. headquarters. There are no. rebels. Only the walking dead. Do n't you see. They have won.</dialogue> <character>RHODES</character> <dialogue>Then why did you come here?</dialogue> <character>CHICO</character> <dialogue>To look. look for a place. a place to live in. an empty place. a. new. place.</dialogue> <character>RHODES</character> <dialogue>How did you know we were on this island? Do others know? Will others come?</dialogue> <character>CHICO</character> <dialogue>Nooooo. Believe me. There are no others. no rebels. nobody. it's over. it's ooooo.</dialogue> <scene_description>The man collapses , unconscious .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>CLOSE ON THE DISEMBODIED HEAD OF ONE OF THE DEAD SOLDIERS . TRICKS is dropping the thing into A LARGE PLASTIC BAG which obviously already contains THE SECOND HEAD . TOBY wraps the mouth of the bag and begins to walk off . RHODES stops him .</scene_description> <character>RHODES</character> <dialogue>Where are you going, Tyler?</dialogue> <character>TOBY</character> <dialogue>My. `` detail'', sir. We're going to bury the heads.</dialogue> <character>RHODES</character> <dialogue>No time for that. I'll take care of them.</dialogue> <character>TOBY</character> <dialogue>Just. following procedure, sir. They're entitled to burial.</dialogue> <character>RHODES</character> <dialogue>I said, I'll take care of them. Just leave them there. Go help with the rest of the gear.</dialogue> <scene_description>RHODES has it in for TOBY -LRB- we 'll find out why later -RRB- , and of course the feeling is mutual . TOBY sets the bag down on the ground and , seething , he trots off towards the rest of the platoon . TRICKS follows . After a moment , RHODES motions with his head . THE SOLDIER WITH THE LONG NOOSE POLE steps into view with the CAPTIVE ZOMBIE , the one that ran amok earlier . The man follows RHODES towards the jungle , dragging the gurgling creature along , the wire noose digging into the thing 's neck .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>CLOSE : as RHODES ' GLOVED HAND jams A HAND GRENADE into THE CAPTIVE ZOMBIE 'S gaping mouth . THE SOLDIER WITH THE POLE releases the noose and the two men take off , running .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>They run to the middle of the clearing where they turn around to watch . RHODES lifts A PAIR OF BINOCULARS that are strapped around his neck . He stares through the lenses , focusing , grinning .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>THROUGH THE BINOCULARS : We see THE ZOMBIE staggering in the bush , clawing desperately at the thing jammed in its mouth .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>TOBY AND TRICKS are the only ones who seem to notice what RHODES has done . TOBY drops THE CRATE he was going to carry off . He stares in disbelief , hatred on his face .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE CLEARING - DAY</stage_direction> <scene_description>WIDE SHOT as THE HEAD OF THE ZOMBIE DISINTEGRATES WHEN THE GRENADE EXPLODES .</scene_description> </scene> <scene> <stage_direction>EXT. THE CLEARING - DAY</stage_direction> <scene_description>RHODES grins as he watches the spectacle . Suddenly , A LOUD GUNSHOT startles the captain . He drops the binoculars and spins around . He sees . CHICO 'S BODY DANGLING ON THE ROPE . CHICO 'S HEAD IS BLOODY . He 's dead . and wo n't come back to life . He 's been shot through the brain .</scene_description> <character>RHODES</character> <dialogue>WHO FIRED THAT SHOT? WHO FIRED THAT SHOT?</dialogue> <scene_description>SOLDIERS stand around dumbly . Those with RIFLES in their hands quickly sling them onto their shoulders . They 're all afraid of the captain 's wrath . RHODES walks towards the line of men with fury in his eyes .</scene_description> <character>RHODES</character> <dialogue>Goddammit, somebody's gon na tell me who fired that shot or I'll have every last one of you chopped up for feed!</dialogue> <scene_description>His eyes spot TOBY , standing behind the crate he dropped earlier , his rifle slung .</scene_description> <character>RHODES</character> <dialogue>Step up here, Tyler.</dialogue> <character>TOBY</character> <dialogue>Sir!</dialogue> <scene_description>TOBY shouts the word like a West Point cadet and he bravely steps forward . RHODES stares him down , his anger turning sinister .</scene_description> <character>RHODES</character> <dialogue>You fired that shot, did n't you?</dialogue> <character>TOBY</character> <dialogue>No, sir.</dialogue> <character>RHODES</character> <dialogue>Let me see your weapon.</dialogue> <scene_description>TOBY hands over his rifle . RHODES feels the barrel , sniffs it .</scene_description> <character>RHODES</character> <dialogue>It's been fired.</dialogue> <character>TOBY</character> <dialogue>In the battle, sir.</dialogue> <scene_description>RHODES is sure he 's found the guilty man and he 's glad it turned out to be his favourite whipping boy . His body relaxes visibly .</scene_description> <character>RHODES</character> <dialogue>It may be that none of these chicken - shits will talk while the whole troop is present. but I know some of these men well. I'm sure that a few private conversations will tell me what I already know. You may have earned yourself some time in the Stalag, Tyler.</dialogue> <parenthetical>( Rhodes glances over at CHICO 'S body . )</parenthetical> <dialogue>Cut him down. That's another head for you to chop off. Leave it with the others. Take the rest of his body down to the freezers. Move it, shit hill.</dialogue> <scene_description>TOBY moves off . RHODES ' grin returns .</scene_description> </scene> <scene> <stage_direction>INT. THE CAVE ENTRANCE - EVENING</stage_direction> <scene_description>There 's that GIANT SOUND again , the RUMBLE OF THE ELEVATOR . We 're inside the place called THE CAVE , in a huge under - ground concrete bunker . TECHNICIANS AND ARMED GUARDS bustle around . Enormous hydraulic pistons are bringing the camouflaged iron plate down from the surface . Riding on board , RHODES AND HIS PLATOON prepare to unload their paraphernalia .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - EVENING</stage_direction> <scene_description>SARAH , sweating , exhausted , BLEEDING FROM CUTS made by jungle branches , wrings out a piece of cloth torn from her sleeve . She has dipped it into a jungle stream . Cautiously she tastes the water , decides to chance it and squeezes the cloth into her mouth . The NIGHT BIRDS suddenly stop their singing and the quiet makes SARAH look up . Standing across the stream , only ten feet away , is A PARTICULARLY GROTESQUE ZOMBIE . VULTURES stand on the marshy ground beside the creature 's legs , THEIR SHARP BEAKS PICKING BLOODY HOLES IN ITS ANKLES AND FEET . SARAH jumps to her feet , fighting back exhaustion one more time . She unslings her RIFLE , aims it , then thinks better of firing . Grabbing up her SUPPLY PACK she runs into the darkening jungle .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - EVENING</stage_direction> <scene_description>WHAM ! TWO BIG HANDS GRAB SARAH by her shoulders . She starts to scream but one of those hands shoots up to cover her mouth .</scene_description> <character>JOHN</character> <dialogue>It's alright. It's alright. Do n't be afraid. We're friends.</dialogue> <scene_description>SARAH looks into the strong , good face of JOHN , a tall muscular man , a Caribbean Islander with shiny black skin and enormous brown eyes that seem instantly trustworthy .</scene_description> <character>JOHN</character> <dialogue>There are soldiers near here. Guards. I'll take my hand away if you wo n't scream.</dialogue> <scene_description>SARAH nods and JOHN lets her go . There are two other humans standing behind the big man . There 's BILL McDERMOTT , wearing the grease - covered jump - suit of a mechanic and swilling generous shots of brandy from a hip flask , and there 's a smallish woman with a sensitive face who , apparently out of character , is armed to the teeth . She 's a deaf mute , nicknamed SPIDER , and she is urgently signing `` Come on ! Let 's get outa here ! '' with her hands .</scene_description> <character>JOHN</character> <dialogue>Right. We better get away from that Bee. He might have friends.</dialogue> <scene_description>THE GROUP starts moving . SARAH follows voluntarily . We notice that all three strangers are wearing the same pullover vests that we saw on the foot soldiers , the ones with big orange circles .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - EVENING</stage_direction> <scene_description>THE GROUP trudges through thick brushland , occasionally needing to chop a path with their blades . JOHN speaks in low tones as they move .</scene_description> <character>JOHN</character> <dialogue>Bees. That's what we call the dead. the walking dead. here on Gasparilla's island.</dialogue> <scene_description>SARAH Gasparilla ?</scene_description> <character>JOHN</character> <dialogue>He was a pirate who sailed these waters long ago. His name is bein' borrowed these days by the long lost Henry Dickerson.</dialogue> <character>SARAH</character> <dialogue>Governor Dickerson? Of Florida?</dialogue> <character>JOHN</character> <dialogue>That's the man. He's been holed up here ever since the shit hit the fan. Him and his family owned these islands ` round here. They was leasin' this one to the Fed. The whole underneath is dug out. There was missiles here and laboratories and bomb proof housing, nuclear power, all o' that. Now this is Dickerson's. Gasparilla's. private fortress. Him and a bunch o' his cronies from all the best golf courses in Tallahassee. and his private army, of course.</dialogue> <character>SARAH</character> <dialogue>We ran up against a platoon of soldiers. There were actually walking dead. in uniform. with guns.</dialogue> <character>JOHN</character> <dialogue>Captain Rhodes and his Red Coat Bees. They could sting, sister. We know you came up against'em. We been watchin' you since you landed. Could n't help. I'm sorry for that. We ai n't supposed to be outside. If we was spotted it could. well, it could be the end of everything.</dialogue> <scene_description>SPIDER is signing for everyone to be quiet . They all stop in their tracks . BILL McDERMOTT swigs some more brandy . With the stealth of a Mohican SPIDER pushes aside the branches of a giant oleander and peers through .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TWO - EVENING</stage_direction> <scene_description>There 's A HATCHWAY in sight built into A CONCRETE , BUNKER LIKE STRUCTURE . FOUR OR FIVE SOLDIERS are coming up out of the ground . They 're armed with PRODS AND RIFLES . Behind the men , lurching on unsteady feet , come A HALF - DOZEN OF THE LIVING DEAD , all wearing vests of white and blue . Behind the lumbering creatures come A WOMAN AND A MAN both wearing white laboratory coats and carrying clipboards . The woman is MARY HENRIED , one of the top behaviouralists in The Cave . -LRB- We 'll learn a lot more about her later . -RRB- THE ZOMBIES are pushing through the undergrowth right in the direction of SARAH and her friends . SARAH shows some alarm at this but JOHN calms her with a strong hand . SPIDER has seen the approaching danger . She silently draws A FARMER 'S SICKLE from her belt . -LRB- With her other hand she draws A PISTOL for good measure . -RRB- BILL McDERMOTT unarmed , nervously takes another swallow from his flask . THE ZOMBIES are getting closer . Too close for comfort . Finally , MARY HENRIED and THE OTHERS turn and disappear into the bunker . The last man down pulls the hatch shut . The moment the coast is clear , SPIDER AND JOHN jump up from cover . THE OTHERS follow their lead . But it 's too late . THE ZOMBIES have spotted them . The creatures begin to growl and make AGITATED , APE - LIKE SOUNDS . SPIDER brings her BLADE up chest - high , ready to repel an attack . SARAH lifts her own MACHETE but JOHN reaches over and takes it away from her .</scene_description> <character>JOHN</character> <dialogue>Give that to me. Get behind me. Stay behind me.</dialogue> <scene_description>-LRB- SARAH resists , not understanding , somewhat insulted . -RRB- You ai n't wearin ' a vest . They been taught not to touch the ones with the circles . There ai n't no hundred percent , all - a - time rules with the Bees , but most - a - time they leave us alone . The colour on their vests tell ya how much schoolin ' they got . It 's the ones without colours you got ta watch out for . SARAH gets behind JOHN , his orange circle acting as her shield . He reaches around with one strong arm and pulls her in tight against his back . THE ZOMBIES , snarling and showing teeth , move through the thicket . ONE shuffles right past SPIDER AND McDERMOTT . It gets stuck in the bramble , changes course and moves on without attacking . ANOTHER ZOMBIE , a `` white '' , trudges within arm 's reach of JOHN , growling all the while . Suddenly it reaches its arms out and takes two angry steps towards the humans who back away . THE ZOMBIES charges . Things happen quickly . JOHN pushes SARAH away and swings the MACHETE . THE BLADE SINKS INTO THE CREATURES SKULL . BLACKENED BLOOD FLIES . An instant later SPIDER 'S SICKLE PUNCHES IN BESIDE THE BIG KNIFE . THE ZOMBIE twitches for a moment , its eyes rolling , then it falls , lifeless , to the ground . McDERMOTT trots up beside SARAH . He takes a huge swallow from his flask then offers some to her . She puts the flask to her lips but nothing comes . She holds it out , neck down , to show that it 's empty . McDERMOTT Sorry . Guess I do n't know my own strength . JOHN wipes SARAH 'S MACHETE on some thick leaves , cleaning off most of the gore , then he returns the weapon to the woman .</scene_description> <character>SARAH</character> <dialogue>Thanks. I can fight my own battles.</dialogue> <character>JOHN</character> <dialogue>I know you can. Like I said, we been watchin' you.</dialogue> <scene_description>McDERMOTT We better get as far away from here as we can . We can work the other side of the island tonight .</scene_description> <character>JOHN</character> <parenthetical>( explaining . )</parenthetical> <dialogue>We found nine entrances to the Cave so far, and we ai n't got the whole thing near charted yet. That's what we was doin' out here today. Huntin' for entrances.</dialogue> <scene_description>McDERMOTT Come on . They find a Bee done like this and they 'll know somebody 's been out walkin ' where they should n't have been . JOHN bows his head over the downed ZOMBIE . He mumbles softly . We ca n't hear the words but we can tell that he 's praying , reciting the good words over the corpse of the `` white - coat '' .</scene_description> <character>SARAH</character> <dialogue>The man I was with. until today. believed that praying was for blind men who could n't see the truth.</dialogue> <character>JOHN</character> <dialogue>How we gon na break the curse without a prayer or two.</dialogue> <character>SARAH</character> <dialogue>Curse?</dialogue> <character>JOHN</character> <dialogue>What is it if it ai n't a curse?</dialogue> <character>SARAH</character> <dialogue>It's a disease. It's a. a bug. a parasite that infects the brain.</dialogue> <character>JOHN</character> <dialogue>That sounds like a curse to me.</dialogue> <character>SARAH</character> <dialogue>We thought we were escaping here. We thought we'd found an uninhabited island. Christ! This place is a worse nightmare than anything I've seen yet!</dialogue> <character>JOHN</character> <dialogue>I'm sure that's true, miss. And that's why we're doin' what we're doin'. What's happenin' underground here is just what Lucifer planned for this sinful race o' man. But we're gon na beat Lucifer. We're gon na put an end to what's happenin' here.</dialogue> <character>SARAH</character> <dialogue>Oh, what did I run into? A bunch o' Jesus nuts? Religiosos? Prayer wo n't stop a bullet from one of those storm troopers and prayer wo n't keep one of those monsters from eatin' your liver for lunch.</dialogue> <character>JOHN</character> <dialogue>That's why we did n't use prayers on this here white coat'til after he was destroyed. We ready to fight when we have to. And we got ta fight now.</dialogue> <character>SARAH</character> <dialogue>Look. I BEEN fightin', mister. I been fightin' for what feels like a hundred years and I'm finished. I do n't need religion. I do n't need prayers. I need a couple guns and a couple hands. We can sail on outa here. Find another island where there ai n't so much. traffic.</dialogue> <character>JOHN</character> <dialogue>You think you can find your boat? There's a thousand little inlets and backwaters all through here. You remember all the ways you turned to get where you are now? You leave yourself a trail?</dialogue> <scene_description>SARAH is stopped by this . She stares at the big man suspiciously , not sure whether to believe him .</scene_description> <character>JOHN</character> <dialogue>We did n't see the exact spot but we know about where you landed. But we ai n't ready to take you there. Not yet. You see. we need guns, too.</dialogue> <scene_description>SARAH looks around her at the unlikely band of guerillas . She thinks for a moment . not very long . then she turns and starts off into the jungle .</scene_description> <character>SARAH</character> <dialogue>I can find it myself. I did n't come that far.</dialogue> <character>JOHN</character> <dialogue>Farther than you think. You'll get lost. You will. And there's Bees all through the jungle. I ai n't lyin' to ya. Religiosos do n't lie.</dialogue> <character>SARAH</character> <dialogue>No. They just try to hold you for ransom. Fuck you, Moses! I'm outa here!</dialogue> <scene_description>SARAH plunges into the brush and without so much as a look back over her shoulder she disappears . McDERMOTT We ca n't let her go , John .</scene_description> <character>JOHN</character> <dialogue>We do n't need her guns that bad. Billy boy.</dialogue> <parenthetical>( He 's joking . )</parenthetical> <dialogue /> <scene_description>McDERMOTT The hell we do n't ! But that 's not what I mean . She 'll be dead in ten minutes out there alone . That or she 'll be firin ' off her automatics and wakin ' up the troops .</scene_description> <character>JOHN</character> <dialogue>We'll split up. Billy, you go with Spider. Just an hour or two tonight, that's all. Rhodes might have extra guards on after all the commotion. We'll meet up at number six and go back home together.</dialogue> <scene_description>McDERMOTT God save us . And me with me flask dry . I 'll never make it . THE GROUP splits up , moving off in two different directions through the darkening underbrush .</scene_description> </scene> <scene> <stage_direction>EXT. SOMEWHERE IN THE JUNGLE - NIGHT</stage_direction> <scene_description>DARKNESS has fallen . The jungle is as black as the background on a velvet painting . SARAH is moving cautiously . She bumps into something , jumps back , her MACHETE high , and freezes . Cautiously she moves ahead . one step . another . another . SPLASH ! She steps down off a hidden ledge into A KNEE - DEEP RIVER . She manages to keep her balance but her MACHETE falls into the water and drops to the bottom invisible in the dark silt . Slowly she bends down and reaches into the water . A SNAKE swims past just inches away . SARAH recoils . Before she can reach down again she hears A LOUD , ANIMAL SNORT followed by A GREAT SPLASHING SOUND . Then ANOTHER . She squints to see . SHAPES approach on the black water . ALLIGATORS , big ones , just their very tops showing as they move on a straight course toward the woman . She backs up feeling for the shore , for the ledge behind her . THE FIRST ZOMBIE GRABS HER SHOULDERS . She spins and sees the thing . It has one eye dangling out of its socket and there 's a broken - off length of wooden pole stuck clean through its torso just under the left breast . SARAH smashes her RIFLE BUTT INTO THE THING 'S HEAD . AGAIN . AGAIN . It keeps coming . -LRB- So do the gators . They 're getting to within a few yards . -RRB- SARAH swings a fourth time . THE ZOMBIE grabs her rifle . She pulls with all her might and the creature , hanging on to the gun , topples off the ledge and into the water . When SARAH starts to climb up on the ledge , ANOTHER ZOMBIE lurches towards her from dry land . She spins around , looking for options . The gators are just about close enough to bite her ass and THE ZOMBIE that fell into the river is rising up again , covered with moss and slime and looking pissed . SARAH faces THE ZOMBIE on the bank . She has no choice . She aims her AUTOMATIC . She 's just about to fire when SOMETHING FLASHES out of the darkness . It 's A MACHETE . IT CLEAVES OPEN THE ZOMBIE 'S SKULL . From out of the night big JOHN appears . He struggles to free his blade from the dead creature 's head . SARAH scrambles up onto the muddy ledge . THE GATORS are still moving in and THE ZOMBIE , its moss - covered arms reaching out rigidly like the arms of Frankenstein 's monster , is growling ferociously -LRB- almost swallowing its own dangling eyeball in the process -RRB- .</scene_description> <character>SARAH</character> <dialogue>Are you gon na pause to say words over the dead this time or can we be on our way?</dialogue> <scene_description>Without answering , JOHN steams off through the bush pulling SARAH along behind him , his big hand tight around her arm .</scene_description> </scene> <scene> <stage_direction>INT. THE CAVE - NIGHT</stage_direction> <scene_description>CLOSE on : A TELEVISION SCREEN . First there is only VIDEO NOISE , then an image blinks onto the screen . MONTAGE : OTHER VIDEO SCREENS on MONITORS in various places throughout the huge underground facility . ZOMBIES watch the screens gathered in groups of four , six and eight , like children in ranked classes . The screens show scenes of ZOMBIES taking FOOD from humans in ORANGE CIRCLE VESTS . GUNS are pointed at ORANGE CIRCLES then lowered harmlessly . GUNS are pointed at HUMANS without orange circles and FIRED . The images repeat and repeat and repeat . THE ZOMBIES watch the scenes with dumb curiosity .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATION CENTER IN THE CAVE - NIGHT</stage_direction> <scene_description>This is the central area for all varieties of communication . There are RADIO CONSOLES , both intercom and outgoing , there are VIDEO CONTROL PANELS and there are LARGE COMPUTER TERMINALS . Reflecting the panic to set up operations back when the disaster first struck , much of the equipment is placed haphazardly and not built in . WIRES run every which way , BARE ANTENNAS AND LOOSE CONNECTORS clutter the place . ENGINEERS scurry with TOOL BOXES constantly repairing , patching , trouble shooting . Most of the personnel are TECHNICIANS but there is a group of SCIENTIFIC TYPES , obvious in their white lab coats . Among these is MARY HENRIED , who we caught a glimpse of outside Entrance Two . At A SECURITY STATION , A GUARD notices something on one of his own VIDEO SCREENS which monitor key locations inside The Cave .</scene_description> <character>GUARD</character> <dialogue>There's activity in the dormitory!</dialogue> <scene_description>MARY and one of her assistants , JULIE GRANT , a younger girl , move over to the video console . ONE SCREEN there shows what looks like a prison corridor . CELLS WITH HEAVILY BARRED DOORS run down both sides . We can see the distinct MOVEMENT OF SHADOWS in the corridor . MARY reacts instantly stepping over to AN INTERCOM and pressing A SEND - BUTTON . VOICE -LRB- o.s. - filter -RRB- Gate twenty - three .</scene_description> <character>MARY</character> <dialogue>This is Mary Henried. Did anyone enter the dormitory?</dialogue> <scene_description>VOICE -LRB- o.s. - filter -RRB- Yes , ma 'm . Captain Rhodes . MARY clicks off , infuriated . She hurries towards AN EXIT followed by JULIE GRANT .</scene_description> </scene> <scene> <stage_direction>INT. THE DORMITORY IN THE CAVE - NIGHT</stage_direction> <scene_description>CLOSE ON : THE MOUTH OF A LARGE PLASTIC BAG . A HAND wearing A BLACK LEATHER GLOVE pulls A HUMAN HEAD out of a bag by its hair . It 's the head of one of the dead soldiers from Rhode 's platoon . The hand belongs to RHODES himself . In the darkness of A CELL , A RED COAT ZOMBIES takes a hesitant step forward . RHODES tries to shove THE HEAD through the bars but IT STICKS . When RHODES lets go it stays there , wedged at shoulder height .</scene_description> <character>RHODES</character> <dialogue>Take it, friend. Take it. It's a present. From me to you.</dialogue> <scene_description>THE RED COAT steps forward and lays its hand on THE HEAD .</scene_description> <character>RHODES</character> <dialogue>Just remember who gives you favours.</dialogue> <scene_description>THE ZOMBIE pulls hard and THE HEAD pops through onto its side of the bars . The creature lurches off towards A COT in the shadows at the rear of the cell where it hunkers down and begins to RAVISH THE HEAD , TEARING FLESH OFF , EATING IT hungrily . On the cell door we notice A PLAQUE with a number -LRB- 5 -RRB- and , written in marker , the Red Coat 's nickname , `` BLUTO '' . RHODES moves past OTHER CELLS , each holding A NICKNAMED RED COAT . GRUMPY stands way back in the shadows . TONTO stands near the bars , growling . FATSO is swaying back and forth like a chubby five year old who needs to pee . RHODES stops at A CELL marked `` BUB ! '' . Inside we see A SILHOUETTE , tall , erect , not moving a muscle . RHODES grins .</scene_description> <character>RHODES</character> <dialogue>Well, Bub. I've heard about you. Miss Henried's pride and joy.</dialogue> <scene_description>RHODES steps closer and BUB snarls warningly .</scene_description> <character>RHODES</character> <dialogue>Surly sonofabitch. I want to make friends, Bub. Friends. I have one more goodie in my sack here.</dialogue> <scene_description>A LOUD , CLANGING SOUND interrupts . RHODES turns to see .</scene_description> </scene> <scene> <stage_direction>INT. THE DORMITORY - NIGHT</stage_direction> <scene_description>MARY HENRIED AND JULIE GRANT have entered through A STEEL DOOR WITH ELECTRONIC LOCKS . THE ZOMBIES send up A CHORUS OF MOANS AND GROWLS . The women start down the corridor checking cells as they pass . Suddenly they stop in their tracks , their horrified eyes staring into A CELL marked `` SAMSON ! '' . SAMSON is nibbling on ANOTHER HEAD . Much of the flesh is already gone , but we can still recognise . CHICO . The zombie turns the thing up - side - down , reaches way inside , through the neck , and pulls out grey matter . JULIE backs away , fighting nausea . A spasm rises in MARY 'S stomach as well and she reels away from the hideous sight .</scene_description> <character>RHODES</character> <dialogue>Come, come, Miss Science. You've seen worse.</dialogue> <character>MARY</character> <dialogue>God. damn you, Rhodes!</dialogue> <character>RHODES</character> <dialogue>God has damned us all. Are my atrocities worse than yours?</dialogue> <character>MARY</character> <dialogue>You have ruined weeks of work here! We've been trying to wean these specimens onto alligator meat!</dialogue> <character>RHODES</character> <dialogue>No wonder they're so. hungry.</dialogue> <scene_description>Suddenly JULIE SCREAMS , her hands flying to her mouth . THE PLASTIC BAG is still dangling from RHODES ' GLOVED HAND . Inside , pressed into the thin plastic , we can see the rough outline of THE FINAL HEAD . THE THING IS SQUIRMING causing the whole bag to wiggle . RHODES drops the bag instantly to the floor . Taking care , he grabs the bottom by a loose corner and pulls up hard . THE HEAD ROLLS OUT AND SETTLES AGAINST A WALL . IT 'S EYES ARE OPEN AND DARTING CRAZILY , ITS MOUTH IS CHEWING , GROTESQUELY , ON THE AIR . MARY stares in shock . JULIE runs towards the exit , trying to scream but gagging on her own acids . She 's hysterical . RHODES calmly draws his PISTOL , cocks , and FIRES . THE SQUIRMING HEAD IS SHATTERED by the powerful bullet .</scene_description> </scene> <scene> <stage_direction>INT. MARY'S OFFICE IN THE CAVE - NIGHT</stage_direction> <scene_description>A 9 BY 12 CUBICLE with A SMALL COMPUTER TERMINAL , A DESK AND THREE CHAIRS . There 's A LIGHTBOX on the wall displaying GROUPS OF CRANIAL X - RAYS . MARY guides JULIE GRANT into a chair . RHODES stands cockily in the open doorway .</scene_description> <character>JULIE</character> <dialogue>I did n't realise! Those were de - caps! I did n't know that. de - caps. revived!</dialogue> <character>RHODES</character> <dialogue>Any dead whose brains are intact will revive.</dialogue> <character>JULIE</character> <dialogue>But. we bury the heads. Oh. God! It must be torture for them!</dialogue> <character>RHODES</character> <dialogue>They are brutes without feeling. Though I admit that I've requested cremation for myself. Burial is an archaic tradition, even more ridiculous now than it ever was. To say nothing of the. spacing problem. on a small island like this.</dialogue> <character>JULIE</character> <dialogue>I thought the purpose of decapitation was to. to.</dialogue> <character>RHODES</character> <dialogue>The purpose of decapitation is to preserve as much. food. as possible. The purpose for feeding is to keep the beasts on our side. The fact that they can be taught to clean up our garbage or to fire a gun is a convenient side benefit, not the primary goal. The primary goal is to keep ourselves from becoming their supper. Keep them fed and they behave. Keep them hungry and they revert back to being the animals that they have always been. You saw them in there.</dialogue> <character>MARY</character> <dialogue>You gave them a fresh taste of blood!</dialogue> <character>RHODES</character> <dialogue>They will never be satisfied with anything else, Miss Henried. They want human flesh. I'm prepared to take whatever steps are necessary to see to it they do n't get mine! Not while I'm still using it!</dialogue> <scene_description>JULIE has calmed herself down . Now she feels angry , betrayed . She looks at MARY accusingly .</scene_description> <character>JULIE</character> <dialogue>Did you know? About the de - caps?</dialogue> <character>MARY</character> <dialogue>I'd never seen it before.</dialogue> <character>JULIE</character> <dialogue>But you knew.</dialogue> <scene_description>MARY nods in the affirmative . Tears form in JULIE 'S eyes .</scene_description> <character>JULIE</character> <dialogue>What else is there, doctor? What else do you people know that the rest of us do n't?</dialogue> <scene_description>They stare at one another . Whatever bond once existed between them has been severed forever .</scene_description> </scene> <scene> <stage_direction>INT. A CONDITIONING ROOM IN THE CAVE - NIGHT</stage_direction> <scene_description>There are CARDIOGRAPHS , E.E.G. MONITORS , AND ALL SORT OF PHYSICAL CONDITIONING DEVICES . On TABLES lie SYMBOLOGY CARDS AND COLOURED BLOCKS for dexterity testing . There are LARGE CUT - OUT SHAPES on the walls , TRIANGLES , SQUARES and familiar ORANGE CIRCLES . MARY storms into the room flinging the door shut behind her . RHODES catches it with his BLACK LEATHER GESTAPO BOOT .</scene_description> <character>RHODES</character> <dialogue>You ca n't run away from the planet, Miss Science. You ca n't even run away from the island, heh heh.</dialogue> <character>MARY</character> <dialogue>Leave me alone, you. COCKSUCKER!</dialogue> <scene_description>RHODES laughs loudly . MARY faces him , hatred boiling away her vocabulary . She ca n't think of word that are adequate .</scene_description> <character>MARY</character> <dialogue>You're. you're disgusting! You're. FILTH!</dialogue> <character>RHODES</character> <dialogue>And you're the one who builds the bomb and they says,' I hope it'll never actually be used'.</dialogue> <scene_description>MARY is stopped . by her own guilt . She turns and busies herself gathering books and papers , then she CLICKS OFF A LIGHT and moves toward the doorway where RHODES stands .</scene_description> <character>MARY</character> <parenthetical>( calmer , with method . )</parenthetical> <dialogue>Julie Grant is a behaviouralist. She's not medical. She has n't been as. exposed to. to things. as some of the rest of us. She'll be alright. I'll talk to her. She'll be alright.</dialogue> <character>RHODES</character> <dialogue>Oh, I have no doubt.</dialogue> <character>MARY</character> <parenthetical>( recognising threat in his voice . )</parenthetical> <dialogue>If you put her on the shit list because of her reaction here tonight I'll go to Dickerson.</dialogue> <character>RHODES</character> <dialogue>Ah, yes, our noble Gasparilla does seem to favour you lately. I understand he assigned you a roommate of your choice. The rest of us have to pick names out of a hat.</dialogue> <character>MARY</character> <parenthetical>( reading his jealousy . )</parenthetical> <dialogue>Rhodes, you and I had a roll in the hay together when I first got here. It was a wholly unsatisfying experience which I do not want to, and which I never will repeat! So give up, mister! I'm going home. to that roommate you mentioned.</dialogue> <scene_description>MARY pushes past RHODES into the hallway .</scene_description> </scene> <scene> <stage_direction>INT. THE HALLWAY OUTSIDE THE CONDITIONING ROOM - NIGHT</stage_direction> <scene_description>MARY starts down the hall but RHODES grabs her from behind . He leans in close , lusting , pressing his lips against the back of her neck .</scene_description> <character>MARY</character> <dialogue>Take your hands off me! Right now!</dialogue> <scene_description>An evil grin returns to RHODES ' flushed face . He stares at the woman for a long moment , then he lets go . MARY walks away , bristling . RHODES calls after her .</scene_description> <character>RHODES</character> <dialogue>Maybe you'll change your mind when it starts getting too lonely for you.</dialogue> <scene_description>MARY stops dead . She turns back to see him gloating .</scene_description> <character>RHODES</character> <dialogue>I'm not entirely without influence myself, Miss Science. I had your roommate assigned. by Gasparilla. to my platoon. What's his name? Tyler? Yes. Toby Tyler.</dialogue> <scene_description>A bubble of fear pushes up in MARY 'S throat but she is only letting her anger show . Her stare is fierce , her eyes daggers .</scene_description> <character>RHODES</character> <dialogue>I had an unfortunate little run - in with him today. In fact. you might say that Mr. Tyler is in big trouble with the. authorities.</dialogue> <character>MARY</character> <dialogue>You better not mess with me, Rhodes. I'd love to serve your balls to those Red Coats for lunch! Think about it!</dialogue> <character>RHODES</character> <dialogue>No, Miss Science. You're the one who needs to do some thinking.</dialogue> <scene_description>He turns and walks away . MARY stands still for a time , THE SOUND OF RHODES ' CLICKING BOOTHEELS surrounding her , swallowing her . In the DEEP BACKGROUND we can HEAR THE MOANS OF THE CAGED DEAD .</scene_description> </scene> <scene> <stage_direction>INT. THE CENTRAL CHAMBERS OF THE CAVE - NIGHT</stage_direction> <scene_description>MONTAGE : as MARY walks through HUGE OPEN AREAS CARVED OUT OF NATURAL ROCK . We are stunned at the enormity of the place . JEEPS AND TRUCKS RUMBLE back and forth . Storage areas hold MOUNTAINS OF CRATES , CARTONS , WATER AND GAS CANISTERS . FORK LIFTS shift loads from here to there . MARY comes to a place where the natural rock surrenders to man - made walls . She enters past TWO SECURITY GUARDS , showing her I.D.</scene_description> </scene> <scene> <stage_direction>INT. THE RESIDENCE - NIGHT</stage_direction> <scene_description>MARY moves down A CORRIDOR with NUMBERED DOORS on both sides . We HEAR THE SOUND OF LIFE , MUSIC BLASTING , VOICES LAUGHING , ARGUING , CRYING . PEOPLE move by . A MAN AND A WOMAN are fighting . She slaps him , he punches her , she kicks him in the balls . THREE HOOKERS pound on a door . The door is opened by A NAKED MAN WEARING A DILDO on his nose . OTHER MEN , behind him , laugh wildly as the hookers enter their smoke - filled room . MARY stops in her tracks when she sees that outside A DOOR NUMBERED 83 -LRB- the door to her quarters -RRB- there are TWO OF RHODES ' SOLDIERS with RIFLES in hand . The door itself is open and SHADOWS move inside . MARY turns quickly , before she is spotted , and starts back through the hallway . As she turns a corner she is grabbed by TOBY TYLER .</scene_description> <character>MARY</character> <dialogue>Toby. thank God. wait here. I got ta find out what's goin' on.</dialogue> <character>TOBY</character> <dialogue>Hey. Slow down. What is it?</dialogue> <character>MARY</character> <dialogue>Some of Rhodes' men. At the door.</dialogue> <character>TOBY</character> <dialogue>That bastard. I did n't think he'd make his move so fast.</dialogue> <character>MARY</character> <dialogue>It's because of me.</dialogue> <character>TOBY</character> <dialogue>Oh, bullshit, Mary. It's because Rhodes is a prick.</dialogue> <character>MARY</character> <dialogue>I want you to leave. Then maybe.</dialogue> <character>TOBY</character> <dialogue>We're both gon na leave. Leave the island. I've been talkin' to Tricks. We think we can smuggle out one of those inflatable rafts. They're crated up real small. They've got air canisters. There's food inside. Even a little motor.</dialogue> <character>MARY</character> <dialogue>I am not. a guerilla fighter, Toby. I'm not a pioneer. I'm not. I'm not strong that way. I need.</dialogue> <character>TOBY</character> <dialogue>Need what? Civilised order like we have down here? Christ!</dialogue> <character>MARY</character> <dialogue>I can work here. Maybe my work can help. help everyone. I can do more good with access to this equipment than I can off in some wasteland.</dialogue> <character>TOBY</character> <dialogue>For the good of mankind. That's what every monster - maker says.</dialogue> <scene_description>MARY looks into TOBY 'S eyes . She 's hurt , yet angry . The kind of anger that comes involuntarily when somebody strikes an already sensitive guilt - nerve .</scene_description> <character>TOBY</character> <dialogue>We're gettin' out. Me and Tricks. I want you to come with us. I want that more than anything. I'll send word. I'll let you know a time and a place to meet. We probably wo n't be able to wait around so if you're not there on the dot. well. if you're not there, I'll know you're not comin'.</dialogue> <scene_description>She grabs him , holding him tightly against her . They kiss , hard and long . TOBY pulls away , looks at her lovingly , then turns and starts toward the guarded apartment . MARY follows .</scene_description> <character>TOBY</character> <parenthetical>( walking . )</parenthetical> <dialogue>I do n't know what they're gon na do to me. I figure they'll just send me out to Stalag Seventeen but if. if it's worse than that. Tricks will know. Stay in touch with Tricks.</dialogue> <scene_description>As they approach the door to number 83 , THE SOLDIERS there raise their RIFLE to ready positions .</scene_description> <character>SOLDIER</character> <dialogue>You Tyler?</dialogue> <character>TOBY</character> <dialogue>Yes.</dialogue> <character>SOLDIER</character> <dialogue>You're under arrest. I'll take your weapon.</dialogue> <scene_description>TOBY hands over his RIFLE and begins to unbuckle his PISTOL BELT . TWO MORE SOLDIERS appear from inside the open apartment .</scene_description> <character>MARY</character> <dialogue>What's he supposed to have done? What are the charges?</dialogue> <character>SOLDIER</character> <dialogue>Dunno, ma'm. We're on orders.</dialogue> <character>MARY</character> <dialogue>Look. I'm Mary Henried. I'm with the special conditioning center. I'm not without influence.</dialogue> <character>TOBY</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Mary.</dialogue> <character>MARY</character> <dialogue>I'll have somebody's ass for this. I'll have your ass, soldier. I'm not gon na stand here and.</dialogue> <character>TOBY</character> <parenthetical>( more insistent . )</parenthetical> <dialogue>MARY!</dialogue> <scene_description>She gives up . She looks into TOBY 'S eyes .</scene_description> <character>TOBY</character> <dialogue>I'll be alright. Just remember the things I said. Take care of yourself.</dialogue> <scene_description>THE SOLDIERS escort TOBY down the hall without force . MARY watches their backs for a time , then she flings her BOOKS AND PAPERS angrily into the open apartment . She begins to cry .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE NUMBER SIX - NIGHT</stage_direction> <scene_description>HATCHWAY NUMBER SIX is surrounded by PROTECTIVE FENCING and , from it , A FENCED ALLEYWAY runs off through the brush toward . we do n't know what yet . THE HATCH OPENS and TOBY , along with TWO OTHER PRISONERS , also disarmed troopers , is led down that alleyway by THREE GUARDS . JOHN , SARAH AND BILL McDERMOTT peer out from nearby foliage . They watch the procession . John whispers .</scene_description> <character>JOHN</character> <dialogue>The fences make a safe pathway to Stalag Seventeen. That's where we live. That's where you gon na live, too. Hell's half acre. It's not a nice place. Them boys there is prisoners. What's their punishment? They sent out to the Stalag for a few weeks. That's punishment enough.</dialogue> <scene_description>SPIDER seems to appear from nowhere . She motions and the others follow her through the thick jungle .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT</stage_direction> <scene_description>THE RUNNING FENCE LEADS TO A GATE IN A BIGGER FENCE . This one is ELECTRIFIED . We know this because we see A COLLECTION OF ZOMBIES , mostly `` civilians '' with no vests , clambering there , HANDS AND FACES SPARKING WHEN THEY TOUCH THE CHAIN LINKS . THE ZOMBIES send up wild MOANS AND GURGLES when TOBY AND THE OTHER PRISONERS are led through the gate . Inside the compound is A SCATTERING OF OPEN - SIDED MILITARY TENT - BUILDINGS , resembling those on M * A * S * H. There 's A DIN coming off the place , a mixture of MUSIC AND VOICES that forms a disturbed blanket of noise . The place seems to seethe like a hornets ' next . THE SOLDIERS head back for The Cave as POSTED GUARDS shut the gate behind THE PRISONERS . TOBY and the other captives move toward the `` village '' .</scene_description> </scene> <scene> <stage_direction>EXT. STALAG SEVENTEEN MAIN STREET - NIGHT</stage_direction> <scene_description>PEOPLE wallow in the mud . ONE MAN has just taken a shit and is wiping his ass . Nearby A DRUNK lies unconscious . SEVERAL MEN are fighting . It 's a brutal fight with BOTTLES AND PIPES AND LENGTHS OF CHAIN . The men are really hurting each other . PEOPLE SMOKE AND SNORT AND SHOOT UP in wide open disarray . A HUGE PREGNANT WOMAN plants herself right in TOBY 'S path .</scene_description> <character>PREGNANT WOMAN</character> <dialogue>How ` bout it, baby. I'm big but I'm beautiful.</dialogue> <scene_description>TOBY pushes past her and bumps into A SURLY DRUNK .</scene_description> <character>DRUNK</character> <dialogue>HEY, YOU FUCK! YOU FUCK!</dialogue> <scene_description>He grabs TOBY and flings him violently against an upright on one of the long huts . THE OTHER TWO PRISONERS move on , abandoning TOBY , disappearing into the crowd . THE DRUNK pulls A RUSTED , HOME - MADE KNIFE .</scene_description> <character>DRUNK</character> <dialogue>I OUGHTA SLICE YOU UP, YOU FUCK! YOU CA N'T PUSH ME AROUND LIKE. PUSH ME AROUND. LIKE.</dialogue> <scene_description>Suddenly VOMIT rises in the man 's throat and he doubles over . TOBY is aware of SOUNDS behind him . At his back , in the hut , A HAIRY FAT MAN , still wearing his boxer shorts and his muddy boots , is wham - bam - bamming A WHORE , who is wearing everything but underwear and boots . There are needle tracks on the woman 's arms and her face looks as though she 's been beaten brutally . She purses her deep red , damaged lips and blows TOBY a kiss that 's meant to be seductive . TOBY moves on down the street . The place is a cesspool full of human dregs , stinking with refuse , filled with the fury and desperation of man in his last days .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT</stage_direction> <scene_description>JOHN leads his followers to within sight of the Stalag gates . ZOMBIES still claw at the ELECTRIFIED FENCE . BLUE - WHITE SPARKS fill the air like flashbulbs .</scene_description> <character>JOHN</character> <dialogue>This is home, darlin'. Home for us that do n't make the grade. Us that ai n't. good enough to live inside The Cave. We grow a little food, do a little light manufacturin'. like these here vests, we make these for the massers. We live in our own filth, with bugs and snakes and disease and jungle fever. all the time waitin' to become breakfast for the Bees.</dialogue> <scene_description>JOHN is doing a sales job on SARAH but everything he says is truth . She hears it all , softening to JOHN 'S cause . SPIDER has silently lifted A LARGE WOODEN ROUND out of the weeds . It 's a camouflaged tunnel entrance .</scene_description> <character>JOHN</character> <dialogue>It's a tunnel. It's a couple hundred yards. Just keep goin''til you reach the end. I'll be right behind you.</dialogue> <scene_description>SARAH starts down into the hole . JOHN and the others prepare to follow . JUNGLE SOUNDS cover the noises they make .</scene_description> </scene> <scene> <stage_direction>INT. THE HOSPITAL IN STALAG SEVENTEEN - NIGHT</stage_direction> <scene_description>We see ROWS OF HOME - MADE COTS , each with A BODY lying on top . What faces we see are gaunt , showing the boils and lesions of consumptive diseases and tropical fever . INSECTS BUZZ and there is THUNDER in the air . An Oriental orderly , LUKEY , moves through the maze of bodies . He lifts the wrist of A WOMAN WHO LOOKS DEAD and he discovers that she is dead indeed . He hurries off .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL OPERATING ROOM - NIGHT</stage_direction> <scene_description>This is a room with walls , an operating room with JURY - RIGGED APPOINTMENTS . On A TABLE , under A HALF - DOZEN LIGHT BULBS , lies A CORPSE . Another orderly , a Nordic type names DIESEL , an enormous man , assists while DOCTOR LOGAN methodically SAWS OFF THE CORPSE 'S HEAD . LUKEY rushes in out of breath .</scene_description> <character>LUKEY</character> <dialogue>Doc Logan! Doc Logan! Dere's a lady dead out dere! Got ta hurry! Got ta hurry! Dunno how long she been dat way! Maybe she gettin' ready to come back.</dialogue> <scene_description>THE CORPSE 'S HEAD ROLLS AWAY FROM ITS BODY . DOC LOGAN picks up AN ELECTRIC DRILL WITH A LONG BIT . WHZZZZZZZZZ ! HE DRIVES THE SPINNING BIT INTO THE DISEMBODIED HEAD , DEEP INTO ITS BRAIN . When he pulls it out , MATTER FLIES as the motor winds down . LOGAN is a middle aged man . He looks exhausted , demoralised , a bit mad . And he looks as ill as some of his patients . There are OPEN SORES on his face and he has n't shaved for days . He 's covered with two week worth of BLOOD STAINS . He starts around the table leaving DIESEL to dispose of the `` DE - CAP '' .</scene_description> <character>LOGAN</character> <dialogue>Bury the head. Call the guard for the rest. Get it off the table for now. We'll bring this new one in.</dialogue> <scene_description>DIESEL does n't respond right away . He 's heard something .</scene_description> <character>LOGAN</character> <dialogue>What is it?</dialogue> <character>DIESEL</character> <dialogue>The tunnel.</dialogue> <scene_description>LOGAN hears it now , A SCRATCHING , SCUFFLING SOUND . He looks at his watch .</scene_description> <character>LOGAN</character> <dialogue>God. It's almost sun - up.</dialogue> <scene_description>LOGAN AND LUKEY move to a spot at the back of the room . They remove SEVERAL OF THE PLANKS in the floor . SARAH 'S head pops out , gasping for air . Logan recoils , his eyes wide and frightened .</scene_description> <character>LOGAN</character> <dialogue>Who are you? Who are you?</dialogue> <scene_description>He stands up too quickly . Dizziness makes him reel . He smashes into AN INSTRUMENT CART , comes up with A LONG - BLADED SCALPEL and holds the thing threateningly aimed at the stranger .</scene_description> <character>JOHN</character> <dialogue>It's OK. It's OK, Doc. She's with us.</dialogue> <scene_description>In the next moment , SARAH and the others climb out of the tunnel .</scene_description> <character>JOHN</character> <dialogue>This here's the hospital. That's Diesel over there, the big guy. This here's Lukey and that's Doc Logan who's about to cut your tonsils out.</dialogue> <scene_description>SPIDER , the last one to climb into the room , quickly begins collecting WEAPONS , what few the rebels have .</scene_description> <character>JOHN</character> <dialogue>This here's all the weapons we got. That's why your fancy automatic looks so good to us. We got ta stick it over here with the others for now. They catch us with any kind o' weapon and its death without even askin' your name.</dialogue> <scene_description>SARAH lets SPIDER take her GUN . The deaf mute signs something which SARAH ca n't decipher .</scene_description> <character>JOHN</character> <dialogue>Ammunition. You got ammunition in your pack there? I hope you do or the gun ai n't worth much.</dialogue> <scene_description>SARAH roots through her SUPPLY PACK and produces THREE LOADED CLIPS AND SEVERAL BOXES OF LOOSE SHELLS . JOHN notices SOME TINS OF FOOD , MEDICINES , A KNIFE , A COMPASS .</scene_description> <character>JOHN</character> <dialogue>We better just hide the whole pack, darlin'. That stuff is just shoutin' out that it come from the mainland. The shit we get is all C.D. rations. Aspirins and crackers from 1958.</dialogue> <scene_description>SPIDER snatches THE PACK away rather roughly . SARAH is a little disturbed by the action . THE MATERIAL is stashed under FLOOR BOARDS beside the tunnel entrance .</scene_description> <character>JOHN</character> <dialogue>Let's go. You look like you could use some shut eye. Me too. We can all get acquainted tomorrow.</dialogue> <scene_description>LUKEY escorts JOHN AND SARAH out of the operating room into the main hospital area . BILL McDERMOTT pulls out his empty flask . McDERMOTT Doc , I need a fill up . I 'll help m ` self if it 's alright with you . LOGAN nods distractedly and BILL moves to A SUPPLY CABINET which contains , among other essentials , SEVERAL BOTTLES OF BRANDY . He fills his flask eagerly .</scene_description> <character>LOGAN</character> <dialogue>How do we know she's alright? How do we know?</dialogue> <scene_description>McDERMOTT She 's alright . Christ , Rhodes and his cossacks wiped out her whole party . Dan near got her . McDERMOTT pockets the refilled flask , takes a long slug from the cabinet bottle before putting it back , and moves out of the room . LOGAN is left alone with DIESEL AND SPIDER .</scene_description> <character>LOGAN</character> <dialogue>How do we know she's alright? How do we know?</dialogue> <scene_description>LOGAN repeats his question , intoned identically as it was before . He 's twitching slightly and sweat is pouring down his face . THE THUNDER suddenly seems LOUDER .</scene_description> <character>DIESEL</character> <dialogue>Are you alright, Doc? You look. you look real bad.</dialogue> <character>LOGAN</character> <dialogue>I have looked bad for four years. Everyone in the world has looked bad for four years. Thank God looks do n't matter as much as they once did.</dialogue> <scene_description>LOGAN , a wild gleam in his eye , moves out of the room , following where the others went , that LONG - BLADED SCALPEL still clutched in his hand . The others follow .</scene_description> </scene> <scene> <stage_direction>INT. THE HOSPITAL - NIGHT</stage_direction> <scene_description>JOHN , SARAH AND LUKEY are facing out across the compound . A TEEMING TROPICAL RAIN has started to fall .</scene_description> <character>JOHN</character> <dialogue>This just ai n't your day, is it, darlin' Sarah.</dialogue> <scene_description>SARAH ca n't help but snicker . Suddenly her head spins exhaustion is conquering her body as last . JOHN puts a big arm around her .</scene_description> <character>JOHN</character> <dialogue>Three more minutes. Then you can sleep. You got ta stay with it for three more minutes.</dialogue> <scene_description>McDERMOTT joins them and the group moves out into the rain . LUKEY waddles back through the maze of cots . LOGAN , SPIDER AND DIESEL have moved to about the center of the big room . The patients around them , their eyes bulging , look like lemurs .</scene_description> <character>LOGAN</character> <dialogue>How do we know she's alright? How do we know?</dialogue> <scene_description>The same intonation again . This guy 's wrapping is definitely coming loose . THE ZOMBIE rises up behind LOGAN 'S back . It 's the woman whose wrist Lukey checked earlier . Its teeth are dripping with drool , its hands reaching out wantingly . LOGAN turns around . Calmly , but with the swiftness of a rattlesnake , he shoots out the hand that 's holding THE SCALPEL . THE BLADE SINKS DEEPLY INTO THE ZOMBIE 'S FOREHEAD . LOGAN pulls it out and strikes again , and again , and again , like a swordsman thrusting , thrusting , thrusting . Finally the creature collapses . LOGAN wipes the scalpel on his already blood - covered apron . RAIN WATER drops onto him from holes in the roof above . He does n't seem to notice .</scene_description> </scene> <scene> <stage_direction>EXT. STALAG SEVENTEEN MAIN STREET (RAIN) - NIGHT</stage_direction> <scene_description>THE STREET SCENE is toned down due to the late hour and the rain , but just as vile , just as vicious . JOHN AND McDERMOTT escort SARAH . JOHN speaks softly , and only when others on the street are far enough away .</scene_description> <character>JOHN</character> <dialogue>They supply us with disinfectant and dope. Sex, drugs and rock - and - roll. What more could anyone ask for? Most around here ai n't interested in changin' their lives. The folks you met. me and them and a couple others is the whole rebel army. Nobody else gives a shit. and they're afraid o' Rhodes.</dialogue> <scene_description>They pass A STRUCTURE WITH AN OVERHEAD SIGN that reads : JOE 'S CORNER TAVERN . If there were walls they 'd be pushed out by the MASS OF HUMANITY inside . MUSIC BLARES and VOICES form a wall of noise louder than the THUNDER . A FIGHT spills out onto the muddy street , PUSHERS selling all sort of delights accost JOHN and his group .</scene_description> <character>SARAH</character> <dialogue>They seem to be havin' a good time. Some punishment.</dialogue> <character>JOHN</character> <dialogue>You disappear in here, darlin'. You get a knife in yer belly or too much shit in yer veins. You get lost out here and nobody's gon na notice. Rhodes, he counts on that. It all makes for food in the freezers.</dialogue> <scene_description>They come to A LONG HUT WITH A SIGN that reads : THE RITZ .</scene_description> <character>JOHN</character> <dialogue>This is your hotel. I'm not gon na stay here with you but I'll always be close. You gon na hafta take care o' yourself like you said you was able to do.</dialogue> <scene_description>SARAH nods . JOHN smiles at her . His warm , trustworthy eyes seem to glow in the dark .</scene_description> <character>JOHN</character> <dialogue>Some may notice that you're new. Just deny it. You'll get away with it. Nobody really looks at each other around here. Go on in. Get some sleep.</dialogue> <scene_description>He squeezes her hand tightly , then he turns away and moves off with McDERMOTT . SARAH moves into THE RITZ .</scene_description> </scene> <scene> <stage_direction>INT. THE RITZ (RAIN) - NIGHT</stage_direction> <scene_description>It resembles the hospital . There are ROWS AND ROWS OF COTS . SOME PEOPLE SLEEP , alone and in pairs . OTHERS are awake , drinking , screwing , shooting up . SARAH finds an empty cot and flops down . Beyond the open walls she can see THE BLUE - WHITE FLASHES coming from the electrified fence . RAIN LEAKS in on her but it does n't keep her from falling asleep .</scene_description> </scene> <scene> <stage_direction>INT. THE CONDITIONING ROOM IN THE CAVE - MORNING</stage_direction> <scene_description>TECHNICIANS are working with ZOMBIES while ARMED GUARDS stand ready . We FOCUS ON A BLUE COAT . Under supervision , the thing is fumbling to tie a shoelace . It 's failing miserably but trying hard . ANOTHER BLUE is busy placing LITTLE WOODEN SHAPES into their proper HOLES IN A BOARD . TWO RED COATS sit at a table attended by HUMAN TECHNICIANS . We 've seen these zombies before , in the dormitory . TONTO , is . or was . a native American , probably Seminole . In front of him is A PLATE containing SEVERAL BITS OF MEAT . He has A FORK in his hand and he is idly stabbing at the meat . The other RED COAT , BLUTO , looks just like Bluto from Popeye , bulky with a thick , black beard . Tired of THE JIG SAW PUZZLE he 's working on , he snarls and suddenly lunges for the meat on TONTO 'S plate . He snatches a handful and stuffs it in his mouth . As soon as he tastes it , however , he pulls it back out , dribbling and spitting disgustedly . FISHER -LRB- a technician -RRB- They wo n't accept a substitute . They want their Alpo . TONTO has succeeded in forking a piece of meat . He moves it to his mouth and pops it in .</scene_description> <character>FISHER</character> <dialogue>Alright! Way ta go, Kemosabe!</dialogue> <scene_description>MARY HENRIED has entered the room . She pulls up and watches TONTO with a kind of dubious interest . TONTO stops chewing . He looks up with exaggerated sadness on his face . Slowly his mouth opens and the chewed piece of meat slides out between his lips . He throws his fork down angrily .</scene_description> <character>MARY</character> <dialogue>They wo n't learn to use forks if they do n't like the breakfast you're serving, Ted.</dialogue> <character>FISHER</character> <dialogue>The fork is like a game to them. If they get into the game maybe they'll learn to like the food.</dialogue> <character>MARY</character> <dialogue>It wo n't work.</dialogue> <scene_description>Suddenly BLUTO jumps up from the table . He flings his chair aside and tromps right over to MARY . His arms are outstretched and he is making a pleading , Karloff - like SOUND . GUARDS come after him but MARY waves them off .</scene_description> <character>MARY</character> <dialogue>It's alright! Leave him alone!</dialogue> <scene_description>MARY extends her right hand to meet BLUTO 'S right and they shake vigorously . Then the dumb creature drops his arms and looks around . His brain sends no signal as to what he should do next . THE GUARDS lead him away .</scene_description> </scene> <scene> <stage_direction>INT. THE FIRING RANGE IN THE CAVE - MORNING</stage_direction> <scene_description>BLAM ! A RED COAT is FIRING A PISTOL right AT THE LENS . CLOSE ON : A TARGET , a flat , cut out silhouette of a man , BLACK TRIANGLES painted on the instant - kill - zones , brain , heart . BULLETS STRIKE the neck , the to torso , SOME RICOCHET off the wall behind . None hit the kill - zones . MARY HENRIED enters . The place resembles a Police Department target range . RED COATS stand in stalls and FIRE down LONG ALLEYS at TARGETS which pop up against the opposite wall . THE NOISE is deafening . TWO TECHNICIANS are watching the shooters and keeping score . MARY walks up to one of them .</scene_description> <character>MARY</character> <dialogue>Have you seen Julie Grant this morning?</dialogue> <character>TECHNICIAN</character> <dialogue>She should be in the behaviour rooms.</dialogue> <character>MARY</character> <dialogue>She's not. Has n't shown up yet.</dialogue> <scene_description>There 's AN OFF - SCREEN GROAN , the sound of a zombie trying to communicate . MARY turns and sees the tall RED COAT names BUB standing in the closest stall trying to attract MARY 'S attention . -LRB- He was the one Rhodes referred to last night as `` Mary 's pride and joy '' . -RRB- He is wearing WESTERN - STYLE GUN BELTS , SIX - SHOOTER hang in HOLSTERS on both his hips . MARY faces BUB full with her body and delivers a military salute .</scene_description> <character>MARY</character> <dialogue>Good morning, Bub.</dialogue> <scene_description>BUB replies with one of those pathetic sounds that obviously mean something to him . Then he , too , salutes . MARY pulls away , heading for AN EXIT , but BUB calls after her . He makes inarticulate sounds but we catch his drift .</scene_description> <character>TECHNICIAN</character> <dialogue>I think he wants you to watch.</dialogue> <character>MARY</character> <dialogue>OK, Bub. Do your stuff.</dialogue> <scene_description>BUB turns towards the target wall looking like a gunfighter on a western street . There 's A HUMMING MECHANICAL SOUND . KATCHUNG ! A SILHOUETTE pops up . BUB slaps leather . fast . lighting fast . BOTH GUN come up . BLAM - KA - BLAM - KA - BLAM - BLAM - BLAM - BLAM ! HOLES APPEARS IN THE TARGET . WOP - WOPPETY - WHUMP ! All in the kill - zones , or damn close . BUB slaps ONE PISTOL back into its HOLSTER . He clicks open the shell - chamber on THE OTHER , dumps the SPENT CARTRIDGES and begins to reload from his belt . MARY stares at the creature 's back , mixed emotions showing on her face . BUB turns to face her . Dropping a bullet , he salutes again . MARY hesitates , then salutes back .</scene_description> <character>MARY</character> <dialogue>Very good, Bub. That's. very good.</dialogue> </scene> <scene> <stage_direction>INT. A LOCKER ROOM IN THE CAVE - MORNING</stage_direction> <scene_description>PEOPLE are changing clothes , going on and off duty . JULIE GRANT rushes in and moves to a locker where she pulls out her LAB COAT . MARY HENRIED enters the room , spots JULIE , and rushes towards her .</scene_description> <character>MARY</character> <dialogue>Where the hell have you been?</dialogue> <scene_description>JULIE does n't respond . She buttons her coat never looking up .</scene_description> <character>MARY</character> <dialogue>Julie. Are you alright?</dialogue> <parenthetical>( still no response . )</parenthetical> <dialogue>You were missed this morning. I need you. I do n't want you getting your ass in hot water. I wo n't be able to help you if.</dialogue> <character>JULIE</character> <dialogue>I do n't need any help from you!</dialogue> <scene_description>JULIE slams the locker door and storms away toward the exit .</scene_description> <character>MARY</character> <dialogue>Julie. JULIE!</dialogue> <scene_description>But she 's gone . The locker door has bounced open . MARY slams it and it bounces again . She pounds it with her fist . Suddenly , A LOUD BELL SOUNDS . MARY looks at her watch then exits . There are TWO WOMEN cleaning the locker room with MOPS AND PAILS . One of them turns to watch MARY HENRIED exit . We recognise her . It 's SPIDER .</scene_description> </scene> <scene> <stage_direction>INT. THE COUNCIL CHAMBER IN THE CAVE - MORNING</stage_direction> <scene_description>This is a large Situations Room that is serving now as GOVERNMENT HEADQUARTERS . In A BIG , STUFFED OFFICE CHAIR behind A DESK FLANKED WITH FLAGS sits GOVERNOR HENRY DICKERSON -LRB- former of Florida , now of the world -RRB- A.K.A . GASPARILLA . At TABLES sit A DOZEN OR SO COUNCILMEN , Dickerson 's cronies from the old Doral Country Club , close friends who were offered asylum in the private underground shelter . Now they sit in council , `` yessing '' everything the boss man says . A STATE PROSECUTOR has a DESPERATE - LOOKING PRISONER on the floor , standing with his hands cuffed .</scene_description> <character>PROSECUTOR</character> <dialogue>He was found with a government - issue short - wave transmitter in his quarters. He's charged with the theft of that equipment from a government installation and with possession of an illegal radio.</dialogue> <scene_description>GASPARILLA munches on SOME FRUIT . He 's a fat man with a handlebar moustache that makes him look like Pancho Villa . As an indication of rank we wears a military jacket but underneath is a Hawaiian shirt with a bold flamingo and palm tree pattern . Around his neck , nestled in the rolls of fat there , is enough gold to stake a small business .</scene_description> <character>PROSECUTOR</character> <dialogue>I can only suggest that the court rule in favour of the ultimate penalty for this traitor.</dialogue> <character>GASPARILLA</character> <dialogue>You always recommend the ultimate penalty, Tommy Lee. You and Rhodes.</dialogue> <scene_description>We now see that RHODES is present , looking on with a smile .</scene_description> <character>GASPARILLA</character> <dialogue>All those. AGAINST. the ultimate penalty raise yer hands.</dialogue> <scene_description>None of THE COUNCILMEN move a muscle . GASPARILLA scans them slowly as he takes a big , wet bite out of a peach .</scene_description> <character>GASPARILLA</character> <dialogue>Ya mean ta say nobody's gon na object to the ultimate penalty in this here case? Well, what if I object? What if I object to the ultimate penalty.</dialogue> <scene_description>THE COUNCILMEN look nervous , apprehensive . GASPARILLA 'S flexing his power - muscles .</scene_description> <character>GASPARILLA</character> <dialogue>There's been a whole lotta swingin' influence and swingin' weight arountyere lately. Does anybody at all give two shits fer what I think any more? Well, I'm a - gon na let this guy off. How d'yall like that? And I want the word ta git out I let ` im off. I let ` im off. Not this council. Maybe I can improve my image rountyere.</dialogue> <scene_description>THE PRISONER looks up at GASPARILLA , hatred boiling inside him . GASPARILLA meets his gaze with a power - mad sneer .</scene_description> <character>GASPARILLA</character> <dialogue>Yer sentenced ta hard labour. Stalag Seventeen. A year.</dialogue> <character>PRISONER</character> <dialogue>WHY DO N'T YOU KILL ME! I PREFER TO DIE! I DO N'T WANT TO LIVE WITH. WITH THIS KIND OF. SIN!</dialogue> <character>GASPARILLA</character> <dialogue>WELL, PISS ON YOU, MISTER! I JUST SAVED YOUR ASS! YOU DAMN WELL BETTER NOT GO HOLLERIN' LIKE THAT IN HERE!</dialogue> <character>PRISONER</character> <dialogue>I SPIT ON YOU! THE ULTIMATE PENALTY FOR YOU! BURN IN HELL. FOR THE ULTIMATE SIN! PIG! ALL OF YOU! PIGS!</dialogue> <scene_description>GUARDS drag the screaming PRISONER from the room . GASPARILLA flops back in his chair , flustered but unscarred . His skin is about a foot thick . He pitches the peach and grabs up a mango . MARY HENRIED enters the chamber and rushes toward an empty chair . GASPARILLA checks THE DOCKET on his desk , smiles , and looks up at MARY .</scene_description> <character>GASPARILLA</character> <dialogue>Well, Miss Henried, what a coincidence. You're just in time fer a case that seems ta concern you. Guess you did n't care about the other proceedin's we been dealin' with here this mornin'.</dialogue> <character>MARY</character> <dialogue>I'm sorry. I was. busy. In the lab.</dialogue> <character>GASPARILLA</character> <dialogue>Well, you managed ta make it here jus' in time fer this case, did n't ya?</dialogue> <scene_description>RHODES replaces THE PROSECUTOR on the floor . He smiles at MARY pointedly as he starts his speech .</scene_description> <character>RHODES</character> <dialogue>Sir. In the matter of the State versus Private Tyler, I do n't want to.</dialogue> <character>MARY</character> <parenthetical>( standing . )</parenthetical> <dialogue>Sir, Tyler is innocent of any crime against the State. Captain Rhodes is.</dialogue> <character>GASPARILLA</character> <parenthetical>( with a mouthful of mango . )</parenthetical> <dialogue>Miss Henried, I think you better.</dialogue> <character>MARY</character> <dialogue>Captain Rhodes is trying to.</dialogue> <character>GASPARILLA</character> <parenthetical>( spitting a wad of chewed pulp into his hand . )</parenthetical> <dialogue>MISS HENRIED, SHUT THE HELL UP!</dialogue> <scene_description>MARY 'S eyes indicate her frustration and anger but she does shut up . GASPARILLA plops the handful of fruit pulp onto the floor wiping his fingers on his military jacket .</scene_description> <character>RHODES</character> <dialogue>I do n't want to take up a lot of time with this. Mr Tyler shot a prisoner against orders. There are eyewitnesses. I've reprimanded Tyler and I've had him sent outside. It's as simple as that.</dialogue> <character>GASPARILLA</character> <dialogue>Ya had ` im sent ta the Stalag? That's all ya did to ` im?</dialogue> <character>RHODES</character> <dialogue>The prisoner was dying, sir. Tyler acted out of a sense of mercy. I do n't believe Tyler to be dangerous, General. He just needs. discipline. Two or three months outside will teach him. discipline.</dialogue> <character>MARY</character> <dialogue>Sir. It's quite clear that.</dialogue> <character>GASPARILLA</character> <dialogue>SHUT UP, MISS HENRIED! I TOL' YA B'FORE!</dialogue> <character>MARY</character> <dialogue>THIS IS A TRAVESTY! CAPTAIN RHODES IS.</dialogue> <character>GASPARILLA</character> <dialogue>SIDDOWN, YOUNG LADY! I DONE YUP A SHIT - LOAD O' FAVOURS AND I AI N'T NEVER YET ASKED FER NOTHIN' IN RETURN! NOW HOW'D YOU LIKE TA</dialogue> <character>SPEND TWO WEEKS UP T'THE VEGETABLE FARM</character> <dialogue>YERSELF? THAT'S WHAT IT'LL BE IF YA DO N'T SIDDOWN AN' SHUT THE HELL UP!</dialogue> <scene_description>MARY checks herself . There 's a perverse air of danger fuming off the fat General . His attitude toward MARY has clearly changed . RHODES has been working on him . MARY seems to have lost this round . She can only hope that 's all she 's going to lose .</scene_description> <character>GASPARILLA</character> <dialogue>Now I think Captain's punishment is fair, considerin'. In fact I think you ai n't got shit ta complain about.</dialogue> <character>MARY</character> <parenthetical>( softly , carefully . )</parenthetical> <dialogue>I'm sorry, General, if I. spoke out of turn. It's just that. Mr Tyler is not here to defend himself. He has no representation. I do n't believe due process is being served by.</dialogue> <character>GASPARILLA</character> <dialogue>Listen, Missy. I am the only due process that has ta be served aroun' tyere and one of the people doin' the servin' from now on is gon na be you. Now you been prancin' aroun' the Cave like yer ass was glass fer long enough! All that's</dialogue> <character>GASPARILLA</character> <dialogue>gon na change, young lady. Now if you still got a statement you'd like ta make, you can jus' hold onto it'til tonight.</dialogue> <character>MARY</character> <dialogue>Tonight?</dialogue> <character>GASPARILLA</character> <dialogue>That's right. ` Bout eight, if that suits. We'll start out in my gymnasium an' progress on from there. to various other forms o' physical therapy.</dialogue> <scene_description>MARY shoots a hate - filled eye full at RHODES . THE CAPTAIN responds with a phoney look of sympathy .</scene_description> </scene> <scene> <stage_direction>INT. GASPARILLA'S GYMNASIUM - NIGHT</stage_direction> <scene_description>The place is full of EXERCISE EQUIPMENT , TREADMILLS , WEIGHTS , A NAUTILUS , ETC. . There are other items which seem contradictory , PLUSH PILLOWS , A HUGE CIRCULAR BED SURROUNDED BY MIRRORS . Delicacies of FOOD AND DRINK lie about on LOW TABLES . The room is a cross between Elaine Powers and a harem chamber . A HUGE COFFIN - SHAPED DEVICE opens and we see that the inside is lined with ULTRAVIOLET TUBES which are covered with plexiglass . GASPARILLA lounges inside the thing , sweating , having just taken a long dose of fake sunshine . All around are THE COUNCILMEN , some with COUNTRY - CLUB TYPE WOMEN , conservatively dressed and wearing suitable jewellery -LRB- obviously wives left over from the good old days -RRB- , and some with SCANTILY CLAD COURTESANS . OTHER SCANTILY CLAD `` BUNNY '' TYPES are serving HORS - D'OEUVRES and pouring WINE , offering SMOKE AND SNORT . MARY HENRIED is sitting on the floor , lost in fluffy pillows , her LAB COAT incongruous . RHODES watches her from nearby .</scene_description> <character>GASPARILLA</character> <dialogue>AWRITE. C'MON LADIES. OFF WITH IT. AND ON WITH IT. HA HA HA.</dialogue> <scene_description>MUSIC BLARES and SEVERAL OF THE COURTESANS spring up , stripping off what few clothes they are wearing . Some strip naked , others down to panties . They hop onto various exercise machines and begin to `` workout '' , tits flopping , thighs pumping . GASPARILLA 'S kind of entertainment .</scene_description> <character>GASPARILLA</character> <dialogue>Oh, Lordy, Lordy. I'm drunk as a skunk. Look at this. will ya jus' loooooook at these lovelies! Say, Henried, you ever try it with another woman?</dialogue> <scene_description>MARY looks up at the General , not knowing whether or not she should answer , afraid of what he might try to make her do .</scene_description> <character>GASPARILLA</character> <dialogue>I've tried it with boys. Too strenuous.</dialogue> <scene_description>FOUR MORE WOMEN have brought in SILVER PLATTERS full of NEW HORS - D'OEUVRES , prepared carefully and laid them out like sushi . They 're distributed and people eat them</scene_description> <character>GASPARILLA</character> <dialogue>Folks. I just could n't resist. How d'yall like those? How do those taste?</dialogue> <scene_description>GUESTS look up , not knowing what to expect . MARY fears the worst . She looks around to see RHODES grinning . A knot comes up into her throat . She tries to swallow it down .</scene_description> <character>GASPARILLA</character> <dialogue>Fresh from the freezers, folks. It's what. THEY. EAT!</dialogue> <scene_description>A FEW OF THE GUESTS are revulsed . ONE MAN starts to vomit and he runs from the room .</scene_description> <character>GASPARILLA</character> <dialogue>Just kiddin' folks. Just kiddin'. Would I do a thing like that? I ask ya now, would I? Hah ha ha ha ha.</dialogue> <scene_description>Relief spreads and the bacchanalian atmosphere restores itself . GASPARILLA spills himself out of the tanning coffin and flops down on some pillows near MARY . He grabs up a goblet and swills red wine which runs down his front .</scene_description> <character>GASPARILLA</character> <dialogue>The great state of Florida. People came here fer years ta die. Retire and expire. The rest o' the country used ta think we was nothin' but a bunch o' farts and fogies. Hah! Now this here's the new Capital o' the World! Hah! They came here. died. went to hell. and the Devil sent'em back as an army. Hah! General Gasparilla's army. MY ARMY!</dialogue> <character>MARY</character> <dialogue>We think there are other cities surviving. We think maybe Detroit. there's some signalling out of Philly.</dialogue> <character>GASPARILLA</character> <dialogue>There's no place like this place. Warm climate. This facility. Christ, there ai n't nothin' like this no - damn - where! Even the Feds knew that. That's why they stored so much o' their shit down here. It's all mine now. All mine. Just let'em try ta come after us down here, which they will some day. take a likin' ta what all we got an' come after us. They'll hafta get past my army! An army that ai n't afraid ta die. ha ha ha.'cause it's awreddy DAID! HA HA HA HA.</dialogue> <character>MARY</character> <dialogue>It's not a very big army. And small as it is you wo n't be able to continue feeding it for very long. We've got to find ways of getting them to respond without relying on.</dialogue> <character>GASPARILLA</character> <dialogue>You'll find the ways, Miss Mary. And when ya do. we'll sail on over to the mainland. or any other damn mainland fer that matter. and start us a recruitin' program. There's millions o' Bees out there jus' waitin' fer' a General ta lead'em on ta vict ` ry!</dialogue> <scene_description>GASPARILLA swallows another huge quantity of wine .</scene_description> </scene> <scene> <stage_direction>INT. THE GYMNASIUM - NIGHT</stage_direction> <scene_description>The room is empty now . Remnants of food and drink clutter the place . THE FAT GENERAL is asleep , snoring loudly , one of his pudgy arms is draped across MARY HENRIED 'S lap . She is trying to move out from under without waking the man . She slides on the floor . a few inches . a few inches more . GASPARILLA snorts and rolls over . His eyes pop open , focus on MARY , and a smile pushes his fat cheeks back .</scene_description> <character>GASPARILLA</character> <dialogue>Well, hi there, y' all.</dialogue> <scene_description>Mary looks down at the man , repulsed and afraid . Suddenly he grabs her LAB COAT . She pulls away and he crawls after her , his belly bouncing along the floor . BUTTONS POP and the coat falls open . He reaches for her blouse . It tears away and for a moment he gets a chubby handful of bare breast . He dives into her but he 's unconscious before his face reaches her chest . MARY pulls herself out from under his dead weight . Shivering , she clutches her blouse together and hurries out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO STALAG SEVENTEEN - DAWN</stage_direction> <scene_description>Light is just breaking through the trees when THE GATES ARE OPENED admitting FIVE UNIFORMED MEN into the compound . Outside the fence ZOMBIES clamber excitedly as always .</scene_description> </scene> <scene> <stage_direction>INT. THE RITZ - DAWN</stage_direction> <scene_description>SARAH jumps , awakened by A VOICE AND THE LOUD POUNDING OF RIFLES against the upright of the sleeping hut .</scene_description> <character>RHODES</character> <dialogue>REVEILLE! REVEILLE! RISE AND SHINE!</dialogue> <scene_description>RHODES is standing near the entrance . FOUR SOLDIERS are doing the pounding . Stunned , disease - ridden faces look up as CITIZENS are awakened from sleep . Fear sweeps through the place like a tropical wind .</scene_description> <character>RHODES</character> <dialogue>We found two white Bees in the jungle with their heads chopped open. I want to know who's going outside the compound. I want to know how they're going out. I want to know why they're going out. Until I get these answers. each morning. some of you will die.</dialogue> <scene_description>Without warning RHODES draws his MAGNUM and . BLAM ! BLAM ! He shoots TWO COT PEOPLE who happen to be at close range . They tumble to the dirt floor , dead before they hit . RHODES scans the rest of the hut . He spots a familiar face , THE PRISONER from the Council Room , the one Gasparilla saved from a death sentence . The man makes the sign of the cross , knowing what 's coming . BLAM ! BLAM ! RHODES FIRES TWO RAPID ROUNDS and THE PRISONER 'S CHEST TURNS RED . He flies off his cot into one adjacent , landing on top of a SCREAMING WOMAN . RHODES AND HIS MEN leave as abruptly as they entered . SARAH is stunned . As PEOPLE around her react with sobs and more screams , she locks her eyes on RHODES . He is moving authoritatively down the street just outside the open - walled structure . He passes within inches of SARAH 'S cot which is right against the outside rail . Her emotions well up inside her . She is about to jump out into the street when A BIG BLACK HAND grabs her arm . It 's JOHN , who has pushed through the gathering crowd outside .</scene_description> <character>SARAH</character> <dialogue>Let me go! I'm the one he wants. This is all happening because of me. If I turn myself in.</dialogue> <character>JOHN</character> <dialogue>He's just finding another reason for bumpin' us off. Do n't ya see. He needs us ta die. He needs our bodies.</dialogue> <scene_description>Behind JOHN on the street TOBY TYLER is looking on . He has heard the conversation . JOHN turns and sees him . His eyes go dark with apprehension .</scene_description> <character>TOBY</character> <dialogue>It's alright. I'm a friend. I need help and so do you. What's a safe place to talk?</dialogue> <character>JOHN</character> <dialogue>Ai n't no place safe.</dialogue> <character>TOBY</character> <dialogue>Look. I know you have no reason to trust me. I've got friends in the Cave. I got some stuff comin' out this mornin'. I'm gon na try to get off the island.</dialogue> <scene_description>PEOPLE are pushing in closer attracted by the commotion inside the Ritz . TOBY has to make it fast . He whispers .</scene_description> <character>TOBY</character> <dialogue>I'm gon na have this stuff sent over to the hospital.</dialogue> <character>JOHN</character> <dialogue>The hospital?</dialogue> <parenthetical>( surprised , worried . )</parenthetical> <dialogue /> <character>TOBY</character> <dialogue>Yeah. My stuff's all marked with red crosses so nobody gets too nosey. Meet me at the hospital after the supplies come in. Maybe we can find a place there to talk.</dialogue> <character>JOHN</character> <dialogue>Maybe.</dialogue> <scene_description>TOBY drifts off into the crowd . JOHN AND SARAH exchange glances .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO STALAG SEVENTEEN - MORNING</stage_direction> <scene_description>SUPPLIES are being brought in through THE MAIN GATES , CRATES , CARTONS , BAGS OF GRAIN , SEED , FERTILISER . TRICKS is in charge of the patrol from the Cave . He 's checking items as they 're picked up by WORKERS from the compound . TOBY TYLER sidles up to his friend .</scene_description> <character>TOBY</character> <dialogue>Hey, Tricks. Some detail they got you on.</dialogue> <character>TRICKS</character> <dialogue>Not as bad as yours, pal.</dialogue> <character>TOBY</character> <parenthetical>( whispering . )</parenthetical> <dialogue>What ` dya get?</dialogue> <character>TRICKS</character> <dialogue>Rafts. Two 38s. A little ammo.</dialogue> <character>TOBY</character> <dialogue>We need fuel, and a couple automatics.</dialogue> <scene_description>LUKEY , the orderly , picks up A DOLLY which is LOADED DOWN WITH CRATES MARKED WITH RED CROSSES .</scene_description> <character>TRICKS</character> <dialogue>Hey, you. Those two on the bottom. Do n't open those yet. They might be from the wrong shipment. Just keep'em around'til I can check.</dialogue> <character>LUKEY</character> <dialogue>Yessir. I never open'em. Nossir. I keep'em innaback for you.</dialogue> </scene> <scene> <stage_direction>EXT. FRONT STREET OF STALAG SEVENTEEN - MORNING</stage_direction> <scene_description>Watching from the shadows of A BUILDING are JOHN , SARAH AND DIESEL .</scene_description> <character>DIESEL</character> <dialogue>He's a spy. A spy for Rhodes.</dialogue> <character>JOHN</character> <dialogue>Give him a chance.</dialogue> <scene_description>They see TOBY pull away from TRICKS and start down the street following LUKEY . They move out and catch up with TOBY , flanking him .</scene_description> <character>JOHN</character> <dialogue>What ` dya tell that soldier, soldier? You tell him we was rebels?</dialogue> <character>TOBY</character> <dialogue>He's my contact for Chrissake! There's two crates. Can you get me into the hospital?</dialogue> </scene> <scene> <stage_direction>INT. STORAGE BAY IN THE HOSPITAL - MORNING</stage_direction> <scene_description>CREAK ! A CROWBAR pries open A CRATE . JOHN AND LUKEY guard the entrance while TOBY AND DIESEL work at opening the `` Red Cross '' boxes . SARAH stands nearby . THE LIDS LIFT and we see TWO ARMY - ISSUE LIFE RAFTS .</scene_description> <character>TOBY</character> <dialogue>There ya go. Complete with air canisters. little motors.</dialogue> <character>JOHN</character> <dialogue>We got a boat.</dialogue> <character>TOBY</character> <dialogue>What?</dialogue> <character>JOHN</character> <dialogue>I say we got a boat. Can you get other stuff?</dialogue> <character>TOBY</character> <dialogue>I got some fuel comin' out and, I hope, some automatic rifles.</dialogue> <character>DIESEL</character> <dialogue>He's just tryin' to win us over. This does n't prove anything.</dialogue> <character>JOHN</character> <dialogue>I'm gon na trust him, Diesel. He already knows who we are and we ai n't got a bunch o' time to mess around with Rhodes shootin' up the joint every mornin'.</dialogue> <scene_description>TOBY , rooting through the open crates , finds THE PISTOLS TRICKS told him about and A FEW BOXES OF AMMO . He tosses one of the guns to JOHN . The big man walks over and puts the weapon back inside the crate .</scene_description> <character>JOHN</character> <dialogue>Ca n't walk around here with these. Let's just leave'em here'til we ready ta use'em.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL OPERATING ROOM - DAY</stage_direction> <scene_description>CLOSE ON : HANDS carefully . very carefully . pouring DROPS OF CLEAR LIQUID INTO A TEST TUBE . The liquid is sweating slowly out of A MILDEWED AND ROTTING STICK OF DYNAMITE which has been softened to near - melting by jungle heat . A DOZEN TEST TUBES stand in a rack , already filled . SPIDER , another woman , SALLY , and a man , JACK , each have their own DYNAMITE STICK . Each is transferring LIQUID SWEAT . which is , of course , nitro glycerine . into A GLASS TUBE . They work in tense silence on the operating table . DOC LOGAN works with them , doing the same delicate procedure . Suddenly his hands starts to tremble .</scene_description> <character>LOGAN</character> <dialogue>Take it away from me. Quickly. Take it! Take it!</dialogue> <scene_description>SPIDER reaches over and , as gently as possible , takes the VIAL and THE DYNAMITE out of the doctor 's hands . She sets the tube in the rack and returns the dynamite to AN OPEN CRATE , years old and crusted with mildew and mud , still half - filled with sticks yet to be drained . The danger passed , they all breathe a sigh of relief . LOGAN wipes the river of sweat from his face . His hands are shaking quite violently now . He pops pills , dry , from his pocket .</scene_description> <character>LOGAN</character> <dialogue>Sorry. I'm sorry. I'll, er. I'll be alright. in a moment.</dialogue> <character>JOHN</character> <dialogue>You're sick, Doc. You been sick for a while now. Too sick to be workin' with us on this raid.</dialogue> <scene_description>JOHN , SARAH AND DIESEL are standing in a corner of the room . TOBY TYLER is with them , sweating and obviously nervous .</scene_description> <character>JOHN</character> <dialogue>You've helped us enough, providin' cover, hidin' us out. Let the rest of us handle the physical stuff. It's too much for you.</dialogue> <character>LOGAN</character> <dialogue>It's my fight as much as yours. The things they made me do. the things they made. me. do. I want so see Rhodes destroyed. I want to see all of them, all of them destroyed. It's my duty. in the eyes of God. In the eyes of God.</dialogue> <scene_description>LOGAN is really flipso now , over the edge into banana - land .</scene_description> <character>TOBY</character> <dialogue>It wo n't work. That's pure nitro you're dealin' with there. That stuff can blow if you look at is funny. What're you gon na do, walk into the Cave carryin' those tubes on feather pillows? You do n't have a complete layout of the place. Even if you manage to avoid a fight you wo n't know where to go.</dialogue> <character>JOHN</character> <dialogue>We're hopin' you can show us where ta go, Toby.</dialogue> <character>TOBY</character> <dialogue>Oh, no. I'm tryin' to get off this island alive. I'll help you all I can but I'm not goin' in there on a suicide mission. What can you hope to accomplish? Some radios maybe? A supply room or two? You'll all be killed and in a few weeks they'll be back to business as usual. That place was built to withstand nuclear attack! What are you gon na do with a half - dozen guns and a few sticks of nitro?</dialogue> <character>JOHN</character> <dialogue>We're gon na blow up the powder magazine.</dialogue> <character>TOBY</character> <dialogue>What?</dialogue> <character>JOHN</character> <dialogue>We know what's down there. We did the loading' and unloadin' when the stuff came ashore in the early days. A direct hit oughta do more than a few weeks worth o' damage.</dialogue> <character>TOBY</character> <dialogue>A direct hit'll blow the top off this whole island! How're you gon na fuse the stuff? How're you gon na leave yourself time to get out?</dialogue> <character>LOGAN</character> <dialogue>If we do n't get out it's a small price to pay.</dialogue> <character>TOBY</character> <dialogue>You're fuckin' out of your minds! There's two hundred people down there. You gon na murder two hundred people?</dialogue> <character>LOGAN</character> <dialogue>Sinners! Animals! Filth! Doing the work of the Devil!</dialogue> <character>TOBY</character> <dialogue>What about the people here in the camp? If they do n't get blown to kingdom come their food'll be destroyed, their water, medical supplies. They wo n't have any more power. This island ca n't support them all, they'll be doomed. Count me out, friends. I'm gon na get my ass outa here. Anybody wants to come along is welcome.</dialogue> <scene_description>Silence falls over the room . Finally JOHN moves towards the door . TOBY follows but before exiting he turns back to face the group once more .</scene_description> <character>TOBY</character> <dialogue>I wan na see Rhodes burn just a much as you do. but all those people. We do n't have the right to be their judges. just like they do n't have the right to be our judges.</dialogue> <scene_description>JOHN opens the door and TOBY exits . SARAH follows . JOHN looks around at the faces in the group , then he leaves , shutting the door behind him . There 's a long silence , then LOGAN speaks .</scene_description> <character>LOGAN</character> <dialogue>We know what we must do. It's written for us in the Bible. `` They shall be driven from the land of the living down to the world of the dead. That is the fate of those who care nothing for God.''</dialogue> </scene> <scene> <stage_direction>INT. STORAGE BAY IN THE HOSPITAL - DAY</stage_direction> <scene_description>LUKEY stands guard . McDERMOTT has joined SARAH AND JOHN in a strategy huddle . TOBY stands nearby , feeling strangely guilty .</scene_description> <character>SARAH</character> <dialogue>Toby's right. They're not gon na sit around with their fingers up their asses while we bust up their toys.</dialogue> <character>JOHN</character> <dialogue>Datura.</dialogue> <character>SARAH</character> <dialogue>What?</dialogue> <character>JOHN</character> <dialogue>Datura Metel. The Devil's Trumpet. Do n't worry. I ai n't goin' religioso again. It's a flower that grows on these islands. Where I come from the voodoo priests used it whenever they needed a Mickey Finn. It's toxic. Ground up you can put it in a drink or inject it. or. in a sealed area it might be introduced through the ventilation system.</dialogue> <character>SARAH</character> <dialogue>Datura! Miguel knew it! Datura, he was shouting! Datura Metel!</dialogue> <character>JOHN</character> <dialogue>We always planned to use it. We got some ground up already. but we could never find enough.</dialogue> <character>SARAH</character> <dialogue>There's hundreds of'em. Right where we landed our boat.</dialogue> <character>TOBY</character> <dialogue>This stuff really works? No shit?</dialogue> <character>JOHN</character> <dialogue>Quicker than gas. And it smells a lot prettier. It usually do n't kill but it puts ya under fer a good night's sleep.</dialogue> <character>TOBY</character> <dialogue>If you could knock out the central communications room you could foul up their whole intercom system. Then, if you move fast enough, stay ahead of'em. without bein' able to signal each other, they might have a hard time catchin' you.</dialogue> <character>JOHN</character> <dialogue>I say it's poetic. Pure calypso, brother. The Devil's Trumpet blowin' the notes o' doom for the Devil's troops. Ha ha ha ha ha.</dialogue> </scene> <scene> <stage_direction>EXT. THE BACKWATER - NIGHT</stage_direction> <scene_description>THE FISHING BOAT that bought SARAH and her friends to the island sits still in the channel . There are SOLDIERS ABOARD , two of Rhodes ' men , pacing the deck , passing a bottle back and forth . JOHN -LRB- o.s. -RRB- Well , we found yer boat , lady , but so did they . JOHN , SARAH AND TOBY are huddled behind green cover peering out at the boat .</scene_description> <character>SARAH</character> <dialogue>Looks like just two. We can take'em when the time comes.</dialogue> <character>JOHN</character> <dialogue>We're only about a quarter - mile from Cave entrance number five.</dialogue> <character>TOBY</character> <dialogue>That entrance is closest to the labs and the Bee cages.</dialogue> <character>JOHN</character> <dialogue>Come on. Let's go.</dialogue> <scene_description>They move off stealthily . They enter the clearing with the spectacular PLANTS that Miguel discovered . Six feet tall , their red - gold blossoms like trumpets with their bells down , these are Daturas , nightshades indigenous to southern Florida and parts of the Caribbean . SALLY AND JACK , who we saw working on the nitro sticks , are chopping off the eighteen - inch blossom and stuffing them into LARGE LEAF BAGS . They 're wearing HOSPITAL MASKS over their mouth and noses . JOHN moves in to help . TOBY AND SARAH follow but JOHN stops them .</scene_description> <character>JOHN</character> <dialogue>Just stand guard for now. Spell us after a while. Ca n't breathe this grass too long or somebody hafta carry you home.</dialogue> <scene_description>Work goes on in silence .</scene_description> </scene> <scene> <stage_direction>EXT. THE STREET OUTSIDE THE RITZ - NIGHT</stage_direction> <scene_description>MUSIC ROCKS AND VOICES SHOUT . The street scene is as wild as ever . HOOKERS , PUSHERS AND DRUNKS pack the hot darkness .</scene_description> </scene> <scene> <stage_direction>INT. THE RITZ - NIGHT</stage_direction> <scene_description>At A COT near the open wall , in DIM LIGHT FROM AN OVERHEAD BULB OUTSIDE , SARAH , JOHN AND TOBY huddle . The DIN from the street makes it impossible for others to hear them . TOBY is drawing A MAP .</scene_description> <character>TOBY</character> <dialogue>Maintenance shafts run behind all the main rooms. Nobody's in those at night. You can use them to get around in. Hit the power governors first. Kick a surge into their computer network and you erase everything stored in the memory. Then. over in here. that's where the cages are.</dialogue> <scene_description>On the street outside , a puffing BILL McDERMOTT pushes through the unruly crowd , his face showing alarm . McDERMOTT The Doc 's gone . Diesel and Jack and Spider with him . They took the guns . and the nitro .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL OPERATING ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON : LUKEY , beside himself , almost to the point of tears .</scene_description> <character>LUKEY</character> <dialogue>I coulden stop'em, boss. No way I coulda stop'em, I sweah. They tie me up and stick dis.</dialogue> <parenthetical>( He 's waving a pillowcase in his hand , the action accentuating his frenzied state . )</parenthetical> <dialogue>. they stick dis in my mouf. You b ` lieve dis?</dialogue> <scene_description>JOHN is in the room with SARAH , TOBY , SALLY AND BILL McDERMOTT . This is now the entire rebel force . THE FLOORBOARDS TO THE TUNNEL have been thrown aside . The weapons are gone . McDERMOTT I was in the Cave yesterday workin ' repairs . Spider was in on clean up . I seen her talkin ' ta some insiders . well , she was scribblin ' , they was talkin ' . mighty palsy . TOBY Jesus ! They 're gon na try to do it ! They 're goin ' in ! They got somebody to help 'em from the inside !</scene_description> <character>LUKEY</character> <dialogue>They din' get da pistols. You know dem pistols you buddy send in widda raffs.</dialogue> <character>TOBY</character> <dialogue>I got ta get Mary out. Tricks. We got ta go now! Tonight! Right away!</dialogue> <scene_description>McDERMOTT Oh , Lord ! -LRB- He polishes of what 's left in his flask and moves to refill it from the bottles in Logan 's cabinet . -RRB-</scene_description> <character>SALLY</character> <dialogue>We're not ready.</dialogue> <character>JOHN</character> <dialogue>Well. if ya think about it. we as ready as we ever gon na be. How was they carryin' the nitro, Lukey?</dialogue> <character>LUKEY</character> <dialogue>Oh, me. You ai n't gon na b ` lieve dis, neider. You ai n't, I sweah. They put it inta Spidah's body.</dialogue> <character>TOBY</character> <dialogue>They what?</dialogue> <character>LUKEY</character> <dialogue>De Doc. He cut up Spidah here and here and here. all ovah. He stick dem tubes in dere, like undah da skin. an' den he sews'em all up. I sweah. I sweah, sweah, sweah!</dialogue> </scene> <scene> <stage_direction>EXT. THE JUNGLE - NIGHT</stage_direction> <scene_description>JACK AND DIESEL are chopping a path through the undergrowth with MACHETES . Behind them DOC LOGAN is walking slowly along with SPIDER , guiding her carefully around obstacles . SPIDER is in major pain . She 's sweating rivers , her fists are clenched , she 's biting her lover lip so that it bleeds .</scene_description> <character>LOGAN</character> <dialogue>I know it hurts. But it wo n't be long. Then all the pain will be over. Oh, I wish you could hear me. GOD, GIVE HER THE EARS TO</dialogue> <character>HEAR ME SO SHE KNOWS I DON'T WANT HER TO</character> <dialogue>HURT SO!</dialogue> <character>DIESEL</character> <dialogue>Quiet!</dialogue> <character>LOGAN</character> <dialogue>Oh, yes. Quiet. Yes. We must be quiet.</dialogue> <scene_description>Suddenly , A ZOMBIE lunges from the underbrush , its FACE BADLY DETERIORATED and one of its hands ; lost during its human life , replaced by A MECHANICAL HOOK . SPIDER stumbles . She holds her breath and stiffens all her muscles . Miraculously the nitro vials inside her do not explode . LOGAN throws himself quixotically in front of THE ZOMBIE .</scene_description> <character>LOGAN</character> <dialogue>FALLEN ANGEL! THIS IS THE JUDGEMENT DAY WHEN YOU WILL BURN FOR YOUR SINS! THE LORD</dialogue> <character>WILL CAST YOU DOWN TO THE LOWER REACHES AND</character> <dialogue>YOU SHALL FOREVER KNOW.</dialogue> <scene_description>THWOK ! THE ZOMBIE 'S STEEL HOOK SINKS DEEPLY INTO LOGAN 'S UPPER CHEST . The man 's eyes reflect no immediate sensation . His speech falters but only slightly .</scene_description> <character>LOGAN</character> <dialogue>YOU SHALL FOREVER KNOW THE PAIN. THE PAIN.</dialogue> <scene_description>THE ZOMBIE pulls LOGAN towards its DROOLING , WIDE OPEN MOUTH . It 's just about to bite when DIESEL CHOPS HIS MACHETE INTO THE CENTER OF THE CREATURE 'S SKULL . The thing falls , pulling LOGAN , still hooked , to the ground with it .</scene_description> <character>LOGAN</character> <dialogue>YOU SHALL FOREVER KNOW THE PAIN OF HELL. THE PAIN OF HELL.</dialogue> <scene_description>DIESEL frees the doctor 's shoulder from the hook . BLOOD FLOWS FREELY . DIESEL grabs a handful of DRESSINGS from LOGAN 'S PACK and goes to work on the wound .</scene_description> <character>LOGAN</character> <dialogue>the pain of Hell. the pain. the pain.</dialogue> </scene> <scene> <stage_direction>EXT. THE JUNGLE NEAR THE VENTS - NIGHT</stage_direction> <scene_description>SARAH , SALLY , LUKEY AND McDERMOTT stand by while JOHN AND TOBY swing open THE RUSTED GRILLWORK OF AN AIR - VENT in the ground . TOBY is able to swing his upper torso completely down inside .</scene_description> </scene> <scene> <stage_direction>INT. THE VENT - NIGHT</stage_direction> <scene_description>TOBY hangs up - side - down in A RUSH OF AIR . He tightens A HOSPITAL MASK over his nose and mouth .</scene_description> <character>TOBY</character> <dialogue>Okay. Lem me have'em.</dialogue> <scene_description>A LEAF BAG is passed in from above . TOBY flags the bag open and BITS OF FLOWER AND POLLEN DUST FLY through the tight space , sucked off into the duct .</scene_description> </scene> <scene> <stage_direction>INT. THE COMMUNICATION ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON : A GRILL NEAR THE CEILING . BITS OF TOXIC POLLEN and AN OCCASIONAL PIECE OF FLOWER blow into the room . There are SIX TECHNICIANS AND TWO SECURITY GUARDS posted at various stations . A RADIO MAN looks up .</scene_description> <character>RADIO MAN</character> <dialogue>What's that? Smell it?</dialogue> <character>TECHNICIAN</character> <dialogue>Dunno. Must be comin' from outside. Kinda nice.</dialogue> </scene> <scene> <stage_direction>INT. ENTRANCE NUMBER SEVEN - NIGHT</stage_direction> <scene_description>There are only TWO GUARDS posted at the sealed entrance . One is eating from A CAN OF SPAM . The other is reading an old , dog - eared PLAYBOY . A RIFLE BARREL jabs suddenly into `` Playboy 's '' back .</scene_description> <character>JULIE</character> <dialogue>Do n't move!</dialogue> <scene_description>It 's JULIE GRANT , Mary 's disgruntled assistant . A YOUNG MAN , another behaviouralist in a WHITE LAB COAT is with her . They both have RIFLES .</scene_description> <character>JULIE</character> <dialogue>Open the outer door. Move it!</dialogue> <scene_description>`` Playboy '' slowly gets up and starts towards A CONTROL PANEL . At the last minute , he spins around , grabbing JULIE 'S GUN BARREL and pushing it away . JULIE 'S YOUNG ACCOMPLICE swings his RIFLE BUTT and knocks `` Playboy '' cold . Then he trains the weapon on `` Spam man '' again . JULIE moves to the controls , examines them , trips A TOGGLE marked `` LOCK '' and pushes A LARGE GREEN BUTTON . THE DOOR TO THE OUTSIDE SWINGS OPEN . Beyond is blackness with an occasional patch of MOONLIGHT ON JUNGLE GROWTH . JULIE walks slowly , carefully toward the opening . Just as she is about to cross the threshold into the night , A HUGE FIGURE leaps at her , grabbing her RIFLE and enclosing her in a strangle hold . It 's DIESEL . Behind him , comes JACK , his RIFLE -LRB- Sarah 's rifle -RRB- levelled off at JULIE 'S YOUNG FRIEND . `` Spam man '' makes a break for it down the hall . Reacting nervously , too quickly , JACK FIRES . `` SPAM MAN '' IS HIT SQUARELY IN THE BACK . He pitches forward , dead . THE YOUNG SCIENTIST raises his gun .</scene_description> <character>YOUNG MAN</character> <dialogue>Hey! What the hell?</dialogue> <scene_description>JACK FIRES ANOTHER BURST and the ORANGE CIRCLE ON THE YOUNG MAN 'S CHEST SHOW A DOTTED LINE OF RED . He flies back , a surprised expression on his face , and he flops , dead , right on top of the `` Playboy '' guard who is lying near the control booth .</scene_description> <character>LOGAN</character> <dialogue>ENOUGH! ENOUGH! ENOUGH! ENOUGH!</dialogue> <scene_description>THE DOC comes slowly out of the night guiding SPIDER over the threshold and into the hall . LOGAN reminds us of a crazy John Houston , floating on air in a madman 's bubble .</scene_description> <character>JULIE</character> <dialogue>What. what is this? Who?</dialogue> <character>LOGAN</character> <dialogue>It's alright, it's alright, my dear. You've simply helped us do the Lord's work.</dialogue> <scene_description>LOGAN 'S SHOULDER WOUND IS BLEEDING THROUGH ITS DRESSINGS but the doctor , on a holy mission , seems to feel no pain . He guides SPIDER into the light and opens her shirt . DIESEL shoves JULIE against a wall . JACK covers her with his AUTOMATIC . LOGAN removes RED - SOAKED DRESSING from SPIDER 'S skin . All over her bare chest and upper belly we see LONG , EIGHT - INCH SCARS , HASTILY STITCHED WITH SUTURE SHOWING . Beneath each is A CIGAR - SHAPED BULGE where a vial of nitro has been implanted . The woman stands on crumbling legs , her arms open outward , a grotesque lampoon of a stigmatic .</scene_description> <character>JULIE</character> <dialogue>What. what have you done to her?</dialogue> <character>LOGAN</character> <dialogue>God forgive us. Forgive us the pain we inflict as surgeons. We'll be in Heaven, child. Soon. We'll be with Him in Heaven.</dialogue> <character>SPIDER</character> <dialogue>Na. na. ak. aaaaaaaaaa.</dialogue> <scene_description>SPIDER is trying to signal something . She has seen that `` PLAYBOY '' is crawling into the control booth . LOGAN follows her alarmed gaze .</scene_description> <character>LOGAN</character> <dialogue>NO YOU DO N'T I CA N'T LET YOU DO THAT! I CA N'T!</dialogue> <scene_description>LOGAN charges toward the booth . THE GUARD is half - in - half - out of the glass chamber , his hands reaching for the control panel inside . LOGAN starts to kick him , again and again .</scene_description> <character>JACK</character> <dialogue>Outa the way, Doc! Outa the way!</dialogue> <scene_description>There 's vengeance on LOGAN 'S face . He 's kicking THE GUARD brutally , but that does n't stop the man from reaching the controls . He hits A RED ALARM BUTTON . THE PANEL BUZZES AND COLOURED LIGHTS BLINK . THE DOOR to the jungle starts to swing closed . DIESEL dives at it but ca n't stop the steel slab . It slams with A LOUD THUNNNNNG ! JACK swings into another position to get a clear shot and he FIRES A LONG BURST into the control booth . `` PLAYBOY '' IS STRUCK BY SEVERAL ROUNDS . He bounces around in the booth and collapses to the floor , dead . LOGAN , his SHOULDER WOUND POURING BLOOD , aggravated by his physical exertion , falls to floor himself , in a faint .</scene_description> <character>JACK</character> <dialogue>Shit!</dialogue> <character>DIESEL</character> <dialogue>Keep the woman covered.</dialogue> <scene_description>JACK levels off on JULIE again . DIESEL moves over to SPIDER . Pulling FRESH DRESSING from LOGAN 'S BAG , the big man begins to pack them onto SPIDER 'S BLEEDING CHEST .</scene_description> </scene> <scene> <stage_direction>INT. THE COMMUNICATION ROOM - NIGHT</stage_direction> <scene_description>CLOSE ON : A BLINKING RECTANGLE OF RED LIGHT . Written on its face is : ALARM - GATE 7 . A BELL RINGS LOUDLY in the room . THE SHOT WIDENS and we see FIVE MEN , all slumped , unconscious , none able to react to the alarm . ONE OF THE SECURITY GUARDS has made it to THE EXIT . He manages to push the door open , but then he falls in a heap . A RADIO MAN staggers into A WEBBING OF WIRES , then he too falls . THE OTHER SECURITY GUARD inches his hand towards A LEVER WITH A PROTECTIVE COVER . He flips the cover up , then collapses . The falling action causes his fingers to trip the lever . A HUGE KLAXON SOUNDS . A BLINKING RECTANGLE , huge over the doors , reads : GENERAL ALERT !</scene_description> </scene> <scene> <stage_direction>INT. GASPARILLA'S GYMNASIUM - NIGHT</stage_direction> <scene_description>The usual scene here , GASPARILLA AND HIS COURTESANS entertaining THE COUNCILMEN AND THEIR LADIES . THE KLAXON SOUNDS over THE LOUD ROCK MUSIC . MARY HENRIED , a prisoner for the evening again , hears THE SOUND . Her eyes widen . She looks over at RHODES , who jumps to his feet . The party gradually goes silent .</scene_description> <character>RHODES</character> <dialogue>Do n't be alarmed. We're impregnable. Stay where you are. Nothing will happen to any of you. You're safe here. Men.</dialogue> <scene_description>This last word to A SMALL UNIT OF FOUR TROOPERS standing guard at THE EXIT . RHODES goes steaming through the doors . TWO OF THE TROOPERS FOLLOW , THE OTHER TWO unsling their RIFLES and take up posts just outside in the corridor . THE STEEL DOOR SLIDES SHUT locking GASPARILLA AND HIS COURT inside the gymnasium . MARY HENRIED with them .</scene_description> <character>GASPARILLA</character> <dialogue>Well, c'mon, ladies and gents. Who says we got ta let our evenin' get spoiled? Simon sez. GET DOWN!</dialogue> <scene_description>MOST OF THE GUESTS are willing to let the party get back to full swing . GASPARILLA grabs A TOPLESS COURTESAN and rocks his fat belly around in an attempted dance . MARY seems to be the only one concerned about the alarm .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - NIGHT</stage_direction> <scene_description>Even outside THE KLAXON CAN BE HEARD . TOBY AND THE REBELS stop in their tracks .</scene_description> <character>TOBY</character> <dialogue>That's the general alarm. Jesus! They musta got in!</dialogue> <character>JOHN</character> <dialogue>What you wan na do?</dialogue> <character>TOBY</character> <dialogue>Come on!</dialogue> <scene_description>THE GROUP moves out urgently .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE NUMBER TWO - NIGHT</stage_direction> <scene_description>A CIRCULAR LIGHT BLINKS GREEN with A BUZZING SOUND . THE TWO INSIDE GUARDS punch up A VIDEO MONITOR . The screen shows TOBY TYLER AND LUKEY holding PISTOLS on SALLY AND BILL McDERMOTT .</scene_description> <character>GUARD</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>What's goin' on?</dialogue> <scene_description>TOBY -LRB- filter -RRB- -LRB- on video -RRB- LET US IN . THERE 'S BEEN A REVOLT . AT STALAG SEVENTEEN . THERE 'S REBELS CRAWLIN ' EVERYWHERE ! GUARD # 2 I know him . That 's Tyler . TOBY -LRB- filter -RRB- -LRB- on video -RRB- FER CHRISSAKE ! LEM ME IN , DAMMIT ! LEM ME IN !</scene_description> <character>THE FIRST GUARD HITS A BUTTON AND THE BIG STEEL ENTRANCE DOOR SWINGS</character> <dialogue>OPEN. THE REBELS storm in like an ocean wave taking the hapless GUARDS completely by surprise. They knock them unconscious and take their WEAPONS. TOBY pushes A BUTTON which causes the outer door to swing shut, then he leads the band down the corridor.</dialogue> <scene_description>They go through A DOOR about a hundred yards from the entrance .</scene_description> </scene> <scene> <stage_direction>INT. MAINTENANCE SHAFT - NIGHT</stage_direction> <scene_description>This is one of the WORK CORRIDORS that TOBY mentioned earlier . THE REBELS run , single - file , deep into the Cave .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE SEVEN - NIGHT</stage_direction> <scene_description>JULIE GRANT has been ROPE - TIED to an eyelet in the wall . DIESEL sets down A PISTOL AND A BOX OF AMMO beside DOC LOGAN who is sitting on the floor beside the control booth . He 's having trouble catching his breath . His WOUND has turned his ENTIRE FRONT RED .</scene_description> <character>DIESEL</character> <dialogue>You'd hold us back. We have to go on.</dialogue> <character>LOGAN</character> <dialogue>Hmmmmmm? Oh, yes. Go on.</dialogue> <scene_description>SPIDER , her shirt buttoned again over her new dressings , is carefully signing something . DIESEL reads her fingers .</scene_description> <character>DIESEL</character> <dialogue>Maps. Yes. She was supposed to bring us maps.</dialogue> <scene_description>JACK steps over to JULIE . He frisks her pockets and finds TWO HAND - DRAWN MAPS showing complete layouts of the Cave .</scene_description> <character>DIESEL</character> <dialogue>Alright. Let's go.</dialogue> <scene_description>They move out , DIESEL supporting SPIDER , JACK with his RIFLE ready .</scene_description> </scene> <scene> <stage_direction>INT. A SUPPLY CLOSET - NIGHT</stage_direction> <scene_description>TOBY breaks open A CARTON and pulls GAS MASKS out . He passes them back to BILL McDERMOTT AND SARAH .</scene_description> </scene> <scene> <stage_direction>INT. THE COMMUNICATIONS ROOM - NIGHT</stage_direction> <scene_description>THE REBELS , all wearing GAS MASKS , burst into the room . TOBY moves right toward AN INTERCOM . He punches in a code and waits while the INTERCOM BUZZES .</scene_description> <character>TOBY</character> <dialogue>Come on, Mary. Answer. ANSWER!</dialogue> <scene_description>Nothing . Toby punches up another code while the others drag THE UNCONSCIOUS GUARD out of the doorway , letting the doors shut behind them . A VOICE comes over the speakers . TRICKS -LRB- o.s. - filter -RRB- Yeah .</scene_description> <character>TOBY</character> <dialogue>Tricks, it's Tyler. We're inside.</dialogue> <scene_description>TRICKS -LRB- o.s. - filter -RRB- What ? Was that you that set off the alarms ?</scene_description> <character>TOBY</character> <dialogue>No. There's some loonies from outside. They're gon na try to blow the powder magazine.</dialogue> <scene_description>TRICKS -LRB- o.s. - filter -RRB- Where are you ? What 's the plan ?</scene_description> <character>TOBY</character> <dialogue>Find Mary. If you can get help do it. We're gon na hit the power station and haul - ass outa here. We'll be at exit five. that's exit five in exactly ten minutes.</dialogue> <scene_description>TRICKS -LRB- o.s. - filter -RRB- I think I can get a couple guys .</scene_description> <character>TOBY</character> <dialogue>And Mary! You got ta find Mary!</dialogue> <scene_description>TRICKS -LRB- o.s. - filter -RRB- I 'll try , Tob . I 'm gone . TRICKS clicks off . TOBY levels his AUTOMATIC at the RADIO CONSOLE and FIRES . SPARKS FLY , CHUNKS OF WOOD AND METAL SHOOT OFF IN EVERY DIRECTION . McDERMOTT HOLD ON ! HOLD ON ! Yer wastin ' yer ammunition . Hit ` er in here . then around back in the circuit boards . TOBY levels off again , this time at the `` kill - zones '' . BULLETS FLY . MORE SPARKS DANCE as THE UNIT BREAKS APART . McDERMOTT -LRB- shouting -RRB- AND OVER HERE . THE ALARM SYSTEMS . THESE CENTRAL PANELS HERE . THESE CIRCUITS . SARAH AND SALLY step up and start BLASTING . A PROFUSION OF SPARKS this time as THE ALARM SYSTEMS SEEM TO EXPLODE . Suddenly A COLLECTION OF RED LIGHTS START BLINKING URGENTLY . A BELL SOUNDS . THE LARGE RECTANGLE OVER THE EXIT IS FLASHING A NEW WORD : EVACUATE ! EVACUATE ! EVACUATE ! McDERMOTT Jesus , Mary and Joseph ! -LRB- he slugs from his flask -RRB- By blowin ' the alarm panels . we signalled an Evac !</scene_description> </scene> <scene> <stage_direction>INT. CORRIDORS IN THE CAVE - NIGHT</stage_direction> <scene_description>MONTAGE : A LOUD BUZZING IS HEARD as DOORS OPEN everywhere , some sliding , some swinging back , some rolling into the walls . TROOPERS caught trotting through halls are taken by surprise . CITIZENS spill out of apartment doors that have opened electronically .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE SEVEN - NIGHT</stage_direction> <scene_description>THE DOOR TO THE JUNGLE SWING OPEN . JULIE GRANT looks over at DOC LOGAN . The madman struggles to his feet . Supporting himself against the wall of the control booth , he reaches inside and starts pushing buttons .</scene_description> <character>JULIE</character> <dialogue>Those buttons wo n't work! The evacuation command overrides them.</dialogue> <scene_description>JULIE looks through the open entranceway . Barely visible in the DIM BLUE MOONLIGHT are the hulking shapes of TWO . NO THREE ZOMBIES , approaching the open hatch .</scene_description> </scene> <scene> <stage_direction>INT. THE COMMUNICATION ROOM - NIGHT</stage_direction> <scene_description>McDERMOTT is explaining to the others . McDERMOTT All the doors in the Cave have been sprung open . all the ones that work on electric . It 's so nobody 'll get trapped anywhere .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE SEVEN - NIGHT</stage_direction> <scene_description>LOGAN stares dumbly , without comprehending , at THE ZOMBIES which are lurching forward out of the night .</scene_description> <character>JULIE</character> <dialogue>CUT ME LOOSE! PLEASE! CUT ME LOOSE!</dialogue> </scene> <scene> <stage_direction>INT. THE DORMITORY - NIGHT</stage_direction> <scene_description>THE LATCHES ON THE CELL DOOR CLICK . With BUZZING , MOTOR NOISES , THE DOORS OPEN OUTWARD . THE ARMY OF RED COATS marches out into the hall . We might recognise TONTO , BLUTO , SAMSON . we certainly recognise big Bub .</scene_description> </scene> <scene> <stage_direction>INT. A HOLDING PEN IN THE CAVE - NIGHT</stage_direction> <scene_description>We see A LARGE PEN , its GATE SWINGING OPEN . From inside , MOANING HUNGRILY , come FORTY OR FIFTY ZOMBIES , BLUE COATS AND WHITE . GUARDS outside the pen start to panic . They OPEN FIRE . A FEW ZOMBIES ARE HIT but there are too many , way too many . THE GUARDS turn tail and retreat off into the Cave . THE ZOMBIES are out ! Free to find their own suppers !</scene_description> </scene> <scene> <stage_direction>INT. THE GYMNASIUM - NIGHT</stage_direction> <scene_description>THE DOORS have opened here , too . THE CROWD , having heard the EVACUATION SIGNAL , is panicking . MANY are running out past THE GUARDS and into the hallway . GASPARILLA is trying to reinstate calm .</scene_description> <character>GASPARILLA</character> <dialogue>STAY HERE! STAY PUT! WE'LL BE ALRIGHT! WE'RE SAFE HERE! JUST AS SAFE AS ANYWHERE'TIL WE FIND OUT WHAT'S GOIN' ON!</dialogue> <scene_description>MARY HENRIED takes advantage of the confusion . She slips out behind TWO COUNCILMEN AND THEIR LADY - FRIENDS .</scene_description> </scene> <scene> <stage_direction>INT. NURSERY CORRIDOR - NIGHT</stage_direction> <scene_description>THE HALLWAY is in chaos . TROOPERS run by , CRAZED CITIZENS flee in both directions . MARY HENRIED is stopped by A NURSE standing in AN OPEN DOORWAY .</scene_description> <character>NURSE</character> <dialogue>What is it? What's happening?</dialogue> <character>MARY</character> <dialogue>It's an evacuation signal. The radios are out. People are panicking.</dialogue> <character>NURSE</character> <dialogue>What should we do?</dialogue> <scene_description>MARY looks past THE NURSE into A ROOM where A GROUP OF CHILDREN , a dozen or so , ranging from twelve - years - old down to infancy , are huddled . Some are crying .</scene_description> <character>MARY</character> <dialogue>God. I, er. I dunno what to say. It could be a real evacuation or it could just be a glitch in the system. Wait here for now. I'll. I'll make sure you get the word what to do, okay?</dialogue> <character>NURSE</character> <dialogue>Please. hurry.</dialogue> <scene_description>MARY takes off down the hall .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE SEVEN - NIGHT</stage_direction> <scene_description>CLOSE ON : JULIE GRANT 'S FACE , screaming , in agony , on the brink of insanity . THE ZOMBIES have reached her . They 're started to pull at her arms , her legs . ONE BITES HER HAND , ANOTHER HER ARM , ANOTHER HER CALF . DOC LOGAN is watching from the control booth , all the while fiddling with BUTTONS , DIALS , LEVERS .</scene_description> <character>LOGAN</character> <dialogue>We'll be in Heaven soon. We'll all be in Heaven soon.</dialogue> <parenthetical>( Julie 's screams penetrate the fog in his brain .</parenthetical> <parenthetical>He frowns . )</parenthetical> <dialogue>Pain. God forgive the pain inflicted by surgeons. We must atone. We must atone for our sins.</dialogue> <scene_description>His eye is attracted to A LARGE LEVER seemingly separate from everything else . It 's marked : SIREN . He pulls it .</scene_description> <character>LOGAN</character> <dialogue>We must. atone. We must.</dialogue> </scene> <scene> <stage_direction>EXT. THE SIREN HORN - NIGHT</stage_direction> <scene_description>Slowly , THE THROATY WAIL RISES and calls out over the jungle . It 's the `` Feeding Signal '' we heard earlier .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - NIGHT</stage_direction> <scene_description>MONTAGE : as everywhere in the jungle ZOMBIES turn toward the call of THE SIREN . They start to walk . toward the SOUND , toward the place where there is food .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE SEVEN - NIGHT</stage_direction> <scene_description>JULIE is still screaming wildly . THE ZOMBIES ARE TEARING HER APART , LITERALLY . DOC LOGAN inadvertently kicks THE PISTOL left by DIESEL and is skitters across the floor . He flops down on his knees .</scene_description> <character>LOGAN</character> <dialogue>WE WILL ATONE. WE WILL BE THE SACRIFICE. THE COMMUNION. WE OFFER OURSELVES UP. OUR SOUL. AND OUR BODIES.</dialogue> <scene_description>JULIE GRANT finally loses consciousness . MANY MORE ZOMBIES are pressing in through the entrance now . They reach LOGAN and start to tear at him . Something clicks in his brain and he realises what 's happening . He starts to scream . His hands find THE PISTOL on the floor . ONE ZOMBIE TAKES A BITE OUT OF HIS LEFT ARM . He shrieks and brings up THE PISTOL , FIRING . THE FIRST SHOT RIPS OPEN THE CREATURE 'S SKULL . The next FIVE SHOTS are wasted , FIRED WILDLY . The GUN CLICKS emptily as THE ZOMBIES engulf him , TEARING , BITING , EATING HIM ALIVE . MORE ZOMBIES come out of the jungle . a lot more . called by the SIREN . In waves they enter the Cave looking for food .</scene_description> </scene> <scene> <stage_direction>INT. A CORRIDOR IN THE CAVE - NIGHT</stage_direction> <scene_description>TRICKS is running through the hall with TWO BUDDIES . MARY HENRIED jumps out of the crowd .</scene_description> <character>MARY</character> <dialogue>Tricks! What's going on?</dialogue> <character>TRICKS</character> <dialogue>Toby's in the Cave. We're gon na make our move. There's rebels out to blow the powder magazine. Come on. Come with us.</dialogue> <character>MARY</character> <dialogue>Where are you goin' out?</dialogue> <character>TRICKS</character> <dialogue>Exit five.</dialogue> <character>MARY</character> <dialogue>See ya there.</dialogue> <scene_description>She turns away and starts back in the direction she came from . TRICKS calls after her .</scene_description> <character>TRICKS</character> <dialogue>SEVEN MINUTES, MARY. EXACTLY SEVEN MINUTES!</dialogue> </scene> <scene> <stage_direction>INT. THE MAIN CHAMBER OF THE CAVE - NIGHT</stage_direction> <scene_description>RHODES AND EIGHT TROOPERS turn a corridor and there , before them , is a sight out of Dracula 's tomb . Moving through the lava - stone arches , between the giant earthen pillars , is THE ARMY OF BLUE AND WHITE ZOMBIES . RHODES and his men ca n't possibly fight them , there are too many . RHODES spots A DOOR WITH A CAGED RED LIGHT OVERHEAD . They can get to it by slicing through only A FEW OF THE ADVANCING GHOULS .</scene_description> <character>RHODES</character> <dialogue>THIS WAY. OVER HERE! SHOOT! SHOOT THEM! SHOOT TO KILL! IN THE HEAD!</dialogue> <scene_description>Their RIFLES BLAZE as they drive through the edge of THE ZOMBIE HORDE . SEVERAL OF THE CREATURES GO DOWN , THEIR HEADS BLASTED OPEN BY RAPID - FIRE ROUNDS . ONE grabs RHODES by the sleeve of his jacket . The captain turns on his heels and stares at the thing with outraged disbelief . He raises his MAGNUM and pumps TWO QUICK SHELLS INTO THE CREATURE 'S BRAIN . THE PLATOON finally reaches the door . RHODES holds it open while his MEN run inside . He holsters his PISTOL and unslings his AUTOMATIC . THE ZOMBIES press towards him . He selects A FEW OF THE CLOSEST ONES , aims , and FIRES , with a look of enjoyment on his face . For a moment he resembles Doc Logan , madness bristling inside him . THE ZOMBIES fall , THEIR HEADS SHATTERED , ONE OF RHODES ' MEN calls from inside the doorway .</scene_description> <character>TROOPER</character> <dialogue>Captain. CAPTAIN!</dialogue> <scene_description>RHODES FIRES ANOTHER QUICK BURST , then he turns and moves through the doorway .</scene_description> </scene> <scene> <stage_direction>INT. A CORRIDOR IN THE CAVE - NIGHT</stage_direction> <scene_description>SPIDER is walking along , careful to avoid jolts , support - under her arms by the giant DIESEL . JACK walks with them , his nervousness irritated by the need to move slowly . CITIZENS run past , none of them paying attention to the desperadoes . Suddenly they encounter A TROOP OF SOLDIER who come trotting around a corner . Nervous JACK OPENS FIRE . TWO SOLDIER GO DOWN . A gunfight erupts as the rest of the TROOPS scatter in the hallway , CIVILIANS are caught in the crossfire . TWO ARE HIT . DIESEL manages to steer SPIDER around a corner to safety . JACK keeps FIRING but he 's trapped in A HAIL OF BULLETS . A RED LINE CUTS ACROSS HIS CHEST and he flies back , dead , his GUN STILL FIRING . Out of the Troopers ' sight , DIESEL checks his map and moves into A DOORWAY , one of several on the area , guiding SPIDER through beside him .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER MAINTENANCE SHAFT - NIGHT</stage_direction> <scene_description>They find themselves in one of those work corridors . The giant man shoulder his RIFLE and gently lifts SPIDER into his arms . He moves , as smoothly as he can , down the shaft and around a bend .</scene_description> </scene> <scene> <stage_direction>INT. A CORRIDOR IN THE CAVE - NIGHT</stage_direction> <scene_description>TOBY leads JOHN AND THE REBELS out into A HALLWAY . They break across to an opposite door . Before they can escape , A TROOP OF SOLDIERS appears . A GUNFIGHT ENSUES . TWO SOLDIERS GO DOWN . JOHN IS WOUNDED IN THE SHOULDER but he stays on his feet . THE SOLDIERS have them divided in the two opposite doorways . Suddenly , TRICKS AND HIS BUDDIES come charging around a corner . THEY OPEN FIRE . THE SOLDIERS RESPOND . TWO MORE SOLDIERS GO DOWN . ONE OF TRICKS ' MEN IS KILLED . TRICKS himself IS WOUNDED BADLY IN THE STOMACH . Caught in a crossfire , THE LAST FOUR TROOPERS throw down their guns . They flee wildly down the corridor . THE REBELS pick up and file through one of the doors . TOBY rushes to aid his BADLY WOUNDED BUDDY .</scene_description> <character>TOBY</character> <dialogue>Tricks. Jesus.</dialogue> <character>TRICKS</character> <dialogue>I'm alright. Let's go.</dialogue> <scene_description>They follow after the others .</scene_description> </scene> <scene> <stage_direction>INT. THE GYMNASIUM - NIGHT</stage_direction> <scene_description>A SCREAM GOES UP ! A WOMAN near the exit has spotted something terrifying in the hallway . THE GUARDS panic . ONE OF THEM OPENS FIRE .</scene_description> </scene> <scene> <stage_direction>INT. THE HALLWAY OUTSIDE THE GYMNASIUM - NIGHT</stage_direction> <scene_description>A MASS OF ZOMBIES COME SHUFFLING DOWN THE CORRIDOR . Their VOICES ECHO IN GROTESQUE HARMONY , the song of the living dead that we 've heard before .</scene_description> </scene> <scene> <stage_direction>INT. THE GYMNASIUM - NIGHT</stage_direction> <scene_description>THE GUARDS are trying to close the entrance doors manually . The big slabs wo n't budge . Suddenly GASPARILLA appears . Drawing A PISTOL from A HOLSTER he wears , without warning he SHOOTS ONE OF THE GUARDS . THE OTHER GUARD flees . GASPARILLA falls onto the dead man and rips off his ORANGE - CIRCLE VEST . THE ZOMBIES are pressing in now , into the gymnasium . GASPARILLA AND SEVERAL REMAINING PARTY - GOERS -LRB- none with vests -RRB- are trapped .</scene_description> </scene> <scene> <stage_direction>INT. A CORRIDOR NEAR THE DORMITORY - NIGHT</stage_direction> <scene_description>MARY is running along with THE NURSE AND THE CHILDREN . Suddenly , from out of a doorway , comes CAPTAIN RHODES WITH HIS STORM TROOPERS .</scene_description> <character>RHODES</character> <dialogue>HENRIED! WHERE ARE YOU GOING?</dialogue> <scene_description>Without answering , MARY leads her band through A MANUAL DOOR that leads to the Dormitory .</scene_description> <character>RHODES</character> <dialogue>STOP THEM! SHOOT!</dialogue> <character>SOLDIER</character> <dialogue>The. the children, sir.</dialogue> <character>RHODES</character> <dialogue>After them then! I want them stopped! That woman is dangerous!</dialogue> </scene> <scene> <stage_direction>INT. THE HALLWAY OUTSIDE THE DORMITORY - NIGHT</stage_direction> <scene_description>MARY AND HER REFUGEES are stopped in their tracks by BUB AND HIS CADRE OF RED COATS . THE NURSE screams and tries to back away . THE CHILDREN cling to her , petrified , shrieking , starting to cry . BUB lumbers up to MARY and . salutes . MARY returns the formality .</scene_description> <character>MARY</character> <dialogue>It's alright. I do n't think they'll hurt us. Try to stay calm.</dialogue> </scene> <scene> <stage_direction>INT. THE OUTER CORRIDOR - NIGHT</stage_direction> <scene_description>THE MANUAL DOOR has been locked from inside .</scene_description> <character>RHODES</character> <dialogue>SHOOT IT OPEN!</dialogue> <scene_description>THE SOLDIERS follow orders , TWO OF THEM FIRING AT THE LOCK .</scene_description> </scene> <scene> <stage_direction>INT. THE FIRING RANGE - NIGHT</stage_direction> <scene_description>MARY is at A CABINET pulling out PISTOLS AND RIFLES , passing the weapons around to TONTO , BLUTO , SAMSON . BUB is strapping on his TWO - GUN HOLSTER SET all by himself , fumbling a little , but succeeding .</scene_description> </scene> <scene> <stage_direction>INT. THE CORRIDOR WITH RHODES - NIGHT</stage_direction> <scene_description>RHODES ' MEN kick open the door and charge into the Dormitory corridor .</scene_description> </scene> <scene> <stage_direction>INT. THE FIRING RANGE - NIGHT</stage_direction> <scene_description>THE NURSE slams ANOTHER MANUAL DOOR , locking and bolting it .</scene_description> <character>NURSE</character> <dialogue>They're coming! They're coming!</dialogue> <scene_description>She hurries along the caged alley behind the firing stalls guiding THE CHILDREN to an opposite exit . BLAM ! BLAM ! MARY IS FIRING at AN ORANGE CIRCLE VEST on one of the cut out target figures in the range . THE RED COATS are watching with curiosity , cocking their heads . MARY moves to fire again but BLUTO grabs her hand .</scene_description> <character>MARY</character> <dialogue>NO. BLUTO. I'M TRYING TO.</dialogue> <scene_description>The dumb creature keeps his grip . MARY has to appease to him . She grasps his hand and shakes vigorously . When he finally lets go , she aims her PISTOL again and FIRES AT THE VEST SEVERAL MORE TIMES .</scene_description> <character>MARY</character> <dialogue>Look. It's good to shoot the circles. Good. Good.</dialogue> <scene_description>THE ZOMBIES are confused . Exasperated , MARY tears off her own vest and tosses it down the alley . THE RED COATS look befuddled , and a little angry . MARY FIRES at the vest she threw down . TWO BULLETS HIT IT before MARY 'S PISTOL CLICKS . empty . There 's A POUNDING AT THE DOOR . It 's RHODES AND HIS TROOP . Suddenly BUB steps into position . WHAP ! One of his famous quick draws ! BLAM ! HE FIRES . THE VEST ON THE FLOOR , MARY 'S VEST , IS HIT . BUB FIRES AGAIN , the other gun this time . THE VEST ON THE TARGET IS HIT squarely in the center of its orange circle . TONTO now turns . He lifts his PISTOL and FIRES . THE VEST ON THE TARGET IS HIT AGAIN , off center , but hit .</scene_description> <character>MARY</character> <dialogue>THAT'S IT! THAT'S IT!</dialogue> <scene_description>Suddenly THE DOOR AT THE END OF THE RANGE FLIES OPEN . THREE OF RHODES ' MEN RUSH IN , wearing , of course , orange circles . THE RED COATS OPEN FIRE . THE TROOPERS ARE CUT TO RIBBONS . Others outside the door duck back behind the walls . THE ZOMBIES lumber toward the open doorway , STILL FIRING AS THEY GO . MARY is backing away through the opposite exit . BUB sees her leaving . He calls to her with a deep , pleading moan . MARY stops and looks at him sadly . He shoots off a military salute . MARY salutes him back . There are tears in her eyes . She turns and hurries off . BUB joins his fellows in pursuit of Rhodes ' and his men .</scene_description> </scene> <scene> <stage_direction>INT. THE GYMNASIUM - NIGHT</stage_direction> <scene_description>A WOMAN 'S FACE IS FULL SCREEN . She is screaming in agony as she is TORN APART BY ZOMBIES . The creatures have invaded the gymnasium . They 're CLAWING AT THE FAT - CAT COUNCILLORS , MAULING THEIR WOMEN . GASPARILLA AND TWO OTHER MEN are rolling around crazily , bumping into exercise machines , knocking over wine bottles and tables full of hors - d'oeuvres . The single vest they are fighting over rips apart into two pieces , its orange circle severed into two useless halves . GASPARILLA backs across the floor , his blubber bouncing . He has a tattered piece of the vest clutched in his hands . He tries to spread it out on his chest but it 's too late . and THE ZOMBIES are too hungry . much too hungry . MONTAGE : as ALL OVER THE ROOM THEY STRIKE . This is it , gore fans . The gross finale . The intestine - tugger . THE ZOMBIES GET THEIR SUPPER . THEY FEAST AMONG THE PILLOWS , like Romans at an orgy . MUSIC still plays over the gymnasium speakers , rock - a - billy in a gleeful tempo . GASPARILLA has retreated into his tanning - coffin but a pudgy arm and a leg are dangling outside . ZOMBIES CHEW HUNGRILY on the juicy morsels . From inside the coffin , where ultraviolet glows brightly , come the piercing , agonised screams of the fat General .</scene_description> </scene> <scene> <stage_direction>INT. THE MAIN CHAMBER OF THE CAVE - NIGHT</stage_direction> <scene_description>DIESEL guides SPIDER through the huge earthen archways . ZOMBIES here are scattered now , but they provide for delays . DIESEL FIRES and ZOMBIES ARE HIT but few are hit fatally . DIESEL 'S free arm ca n't fire accurately while he 's trying to support the walking bomb beside him . DIESEL stops to check his map . A ZOMBIE looms up behind him and takes a HUGE BITE OUT OF HIS SHOULDER . DIESEL screams . He lets go of SPIDER who stumbles away from him , almost falling but saving herself . Her eyes are bugging with pain . DIESEL FIRES POINT BLANK AT THE ZOMBIE , BLOWING ITS HEAD TO BITS . MORE CREATURES are pressing in close . DIESEL bats at one , kicks another , punches a third . Then he rushes to SPIDER 'S side and scoops her into his arms again . Wincing in pain from THE BLEEDING WOUND IN HIS SHOULDER he manages to move out of immediate danger . THE ZOMBIES lumber after the two , groaning in chorus as they walk .</scene_description> </scene> <scene> <stage_direction>INT. THE CORRIDOR AT EXIT FIVE - NIGHT</stage_direction> <scene_description>MARY , THE NURSE AND THE CHILDREN come charging down the hall . TOBY , SARAH , AND JOHN are waiting for them near the open door which leads out into the jungle . TOBY AND MARY rush into each other 's arms and they flee , with the others , out into the night .</scene_description> </scene> <scene> <stage_direction>INT. A CORRIDOR NEAR THE DORMITORY - NIGHT</stage_direction> <scene_description>RHODES AND HIS MEN rush into another corridor where they are met by a crowd of DROOLING ZOMBIES . THE MEN OPEN FIRE but the ZOMBIES are too close in . They get the upper hand . RHODES FIRES HIS MAGNUM , his eyes insane , his face boiling red with disbelief . After TWO SHOTS BLAST OPEN THE HEADS OF THE CLOSEST ZOMBIES , THE MAGNUM just CLICK - CLICK - CLICKS ! RHODES is out of lead . He 's grabbed by ONE ZOMBIE , then ANOTHER . He fights to free himself but HE 'S BITTEN ONCE . TWICE . BLEEDING , he fights on . He struggles to a doorway and pushes through .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER CORRIDOR - NIGHT</stage_direction> <scene_description>RHODES comes face - to - face with . you guessed it . big BUB . THE ZOMBIE faces off , ready to draw those SIX - GUNS that hang at his hips . RHODES turns and runs . WHAP ! BUB slaps leather . BLAM ! BLAM ! BLAM ! RHODES turns a corner but ONE BULLET BITES HIM ON THE BACK OF HIS SHOULDER . Terrified , fighting pain , he staggers on with the gun - totin ' RED COAT following behind .</scene_description> </scene> <scene> <stage_direction>EXT. THE JUNGLE - NIGHT</stage_direction> <scene_description>THE REBELS lead MARY , THE NURSE AND THE CHILDREN through the underneath . TRICKS is bleeding badly . TOBY helps him along . Suddenly , as they break into a clearing , SARAH stops cold . There on the ground , lying where we last saw it , is THE CORPSE OF MIGUEL .</scene_description> <character>JOHN</character> <dialogue>What is it?</dialogue> <character>SARAH</character> <dialogue>It's. he was. one who came to the island with me.</dialogue> <character>TOBY</character> <dialogue>Come on. No time.</dialogue> <character>SARAH</character> <dialogue>He was killed. five days ago.</dialogue> <character>MARY</character> <dialogue>Maybe. maybe he was n't dead. Are you sure he was dead when you left him?</dialogue> <character>SARAH</character> <dialogue>Look at him. A hundred bullets. You tell me. Was he dead?</dialogue> <scene_description>There are tears in SARAH 'S eyes .</scene_description> <character>SARAH</character> <dialogue>Five days. and he has n't. risen. He has n't risen.</dialogue> <character>TOBY</character> <dialogue>Come on. There's no time. There's no time to lose.</dialogue> <scene_description>THE GROUP pushes ahead . SARAH kneels . She blesses herself and makes the sign of the cross over the corpse . Then she stands to see that JOHN is waiting for her . He holds out his hand , she takes it and follows the others .</scene_description> </scene> <scene> <stage_direction>EXT. THE BACKWATER - NIGHT</stage_direction> <scene_description>THE SOLDIERS aboard THE FISHING BOAT hear NOISES coming from the surrounding jungle .</scene_description> <character>SOLDIER</character> <dialogue>WHO IS IT? WHO'S OUT THERE?</dialogue> <scene_description>JOHN -LRB- o.s. -RRB- WE WANT THE BOAT ! DROP YER GUNS OR WE 'LL BLAST YOU ! THE SOLDIERS hesitate , looking around at the dark jungle . TOBY -LRB- o.s. -RRB- WE GOT YOU SURROUNDED ! A SUDDEN BURST OF AUTOMATIC FIRE LIGHTS UP THE BLACK FOLIAGE . THE SOLDIERS react , flinging their WEAPONS over the side into the water . THE REFUGEES spill out of the undergrowth and scramble over to the boat , lifting THE CHILDREN and THE WOUNDED TRICKS on board carefully . JOHN pauses to look back into the jungle .</scene_description> <character>JOHN</character> <dialogue>Damn you, island. Damn you ta Hell and worse!</dialogue> <scene_description>McDERMOTT We ai n't outa here yet . Get yer ass movin ' ya dumb bastard . McDERMOTT tries to slug from his flask , finds it empty . With a shrug he tosses the thing into the backwater . THE ENGINE STARTS as JOHN climbs aboard , SARAH AND TOBY giving him their hands .</scene_description> </scene> <scene> <stage_direction>INT. THE MAIN CHAMBER WITH DIESEL AND SPIDER - NIGHT</stage_direction> </scene> <scene> <stage_direction>INT. THE LABORATORY AREA WITH RHODES AND BUB - NIGHT</stage_direction> <scene_description>-LRB- These two sequences will be intercut for parallel action -RRB- ZOMBIES are crawling all over DIESEL now . He fights them off valiantly but his super strength is waning . HE IS BITTEN AGAIN AND AGAIN but he tries to keep himself between THE CLUTCHING CREATURES AND THE LITTLE DEAF MUTE who is stumbling along ahead . She 's getting very close to a huge SET OF CONCRETE SLABS . THE DOORS TO THE POWDER MAGAZINE . Meanwhile RHODES approaches another corner in the hallway near the Conditioning Room . BUB follows , his boot heels CLICKING the way RHODES ' own heels once clicked . RHODES dives for the corner . BUB slaps leather and FIRES OFF ALL TWELVE . RHODES rolls on the ground crazily . HE 'S HIT SEVERAL TIMES . but he 's still alive . He pulls himself , in agony , out of range . Calmly , BUB dumps out his spent shells and starts to reload . IN THE MAIN CHAMBER , DIESEL IS OVERCOME , DRAGGED DOWN BY A MOB OF ZOMBIES . THEY START TO TEAR HIM APART BIT BY BIT . SPIDER walks on alone . She is just a few feet from the POWDER MAGAZINE now . A ZOMBIE grabs her from behind but just gets a handful of shirt . SPIDER reaches forward but the creature holds her back . Her SHIRT IS RUNNING RIVERS OF BLOOD NOW where the vials are implanted underneath . RHODES crashes through a doorway into THE CONDITIONING ROOM . He realises , too late , that there 's no exit . BUB 'S BOOTHEELS are getting LOUDER . RHODES crawls around behind THE TABLES FULL OF TESTING EQUIPMENT , WOODEN SHAPES , FLASH CARDS SCATTER . Over near the LARGE COLOURED SYMBOLS which are mounted on the wall there 's A WEAPONS CABINET . RHODES grabs a chair and smashes open the glass . BUB steps into the open doorway , still reloading his PISTOLS . He stands there , a golem , his fingers slowly , calmly working . He drops a shell or two but soon the barrels are filled with fresh loads . RHODES reaches in through the broken glass and pulls out AN AUTOMATIC . BUB slaps his PISTOLS back into their HOLSTERS and face off . RHODES lifts the AUTOMATIC . aims . BUB DRAWS ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! BLAM ! EACH ONE OF THE TWELVE BULLETS HITS RHODES SOMEWHERE , many of them in the `` kill - zones '' . He screams when the first few rounds hit , but his screaming stops about halfway through the barrage . That 's when he dies . His leg bones support his corpse long enough for the last six bullets to reach him . Then , as THE SOUND OF BUB 'S GUN ECHOES AWAY down the corridors , RHODES BODY slides down the wall and crumples to the floor in a heap , leaving MUCH OF HIS BLOOD on the ORANGE CIRCLE that 's mounted behind him . IN THE MAIN CHAMBER , A ZOMBIE TAKES A BITE OUT OF SPIDER 'S SHOULDER . IT PULLS OUT A BIG CHUNK OF FLESH , AND WITH IT , STUCK IN THE CREATURE 'S TEETH , COMES ONE OF THE NITRO VIALS . SEVERAL ZOMBIES are pulling at the woman . She is still reaching for the POWDER MAGAZINE DOORS but the ghouls are pulling her away . THE CREATURE WITH THE TEST TUBE IN ITS MOUTH pulls the bothersome thing out from between its teeth . It studies the vial curiously for a moment , then it tosses it angrily towards SPIDER , toward THE MAGAZINE DOOR . KA - BLOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOM !</scene_description> </scene> <scene> <stage_direction>INT. THE MAIN CHAMBER (EFX) - NIGHT</stage_direction> <scene_description>A HALLACIOUS FIREBALL RIPS THROUGH THE CAVE .</scene_description> </scene> <scene> <stage_direction>INT. THE CONDITIONING ROOM - NIGHT</stage_direction> <scene_description>BUB stands in the open doorway staring at RHODES ' still twitching corpse . He slaps his SIX - GUNS back into their leather HOLSTERS , then he shoots off one of those military salutes of his . just as the walls fall in on him .</scene_description> </scene> <scene> <stage_direction>EXT. THE FISHING BOAT - NIGHT</stage_direction> <scene_description>THE REFUGEES stare toward the island as A HUGE BOOOOOM FILLS THE NIGHT . Some of the YOUNGER CHILDREN start to cheer as though watching fireworks on the Fourth of July .</scene_description> </scene> <scene> <stage_direction>EXT. GASPARILLA'S ISLAND (THEIR P.O.V.) - NIGHT</stage_direction> <scene_description>THE TOP BLOWS OFF THE ISLAND , just as TOBY predicted is would . It 's as though an enormous underground volcano is exploding . It 's a frightening . yet beautiful sight .</scene_description> </scene> <scene> <stage_direction>EXT. THE FISHING BOAT - NIGHT</stage_direction> <scene_description>TOBY looks back over his shoulder . THE NURSE is kneeling beside the body of TRICKS . He 's dead . The woman pulls a blanket up over his head . TOBY steps forward , his PISTOL drawn . He pulls the hammer back and aims at TRICKS ' head .</scene_description> <character>SARAH</character> <dialogue>No. Do n't. Wait. Wait to see if. wait until it's necessary.</dialogue> <scene_description>TOBY turns and looks at MARY . She nods . He releases the PISTOL HAMMER without firing .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER ISLAND (WIDE EST.) - MORNING</stage_direction> <scene_description>Gorgeous , a paradise . BIRDSONG fills the air .</scene_description> </scene> <scene> <stage_direction>EXT. A RIVER ON THE ISLAND - MORNING</stage_direction> <scene_description>THE REGUGEES are all gathered . THE CHILDREN walk , one by one , through the shallows as JOHN baptises them . SARAH , MARY AND THE NURSE carry the infants . When the infant in SARAH 'S arms has been touched by JOHN 'S hand , SARAH does n't move on . Instead , she looks up into the big man 's warm eyes .</scene_description> <character>SARAH</character> <dialogue>Me too. please.</dialogue> <scene_description>JOHN gently cups a handful of river water and pours it on the woman 's forehead . THE OTHER ADULTS , led by LUKEY , file into the river , all lining up before the baptist , waiting their turns to be blessed into this tiny new society .</scene_description> </scene> <scene> <stage_direction>EXT. A BEACH ON THE ISLAND - MORNING</stage_direction> <scene_description>TRICKS ' BODY lies covered in the sand . THE REFUGEES are gathered again , heads bowed , while JOHN speaks .</scene_description> <character>JOHN</character> <dialogue>Satan ai n't sent this man back. Not yet, anyway. So we all hopin' that maybe he's up there with you, Lord. This might be the first decent soul we been able ta offer ya in quite a few years. That's a fact. We just gon na. pray, Lord. We gon na pray that what seems ta be happenin' here. is really happenin'. and I'm gon na take the chance and speak these words that I ai n't been able ta speak for so long.</dialogue> <scene_description>May he rest in peace</scene_description> <character>THE OTHERS</character> <dialogue>Amen.</dialogue> </scene> <scene> <stage_direction>EXT. THE BEACH - NIGHT</stage_direction> <scene_description>THE CORPSE lies in the MOONLIGHT . NIGHT CRITTERS SCREECH AND BURBLE in the jungle behind the sand . It 's an eerie scene . SARAH is sitting up , her RIFLE ready in her lap , watching the body . JOHN steps in behind and she startles .</scene_description> <character>JOHN</character> <dialogue>Just me. I'll take the next shift.</dialogue> <scene_description>He settles easily down beside the woman . The two stare together at the shrouded corpse .</scene_description> <character>SARAH</character> <dialogue>How long do we have to watch him?</dialogue> <character>JOHN</character> <dialogue>Forever, darlin'. Forever.'Til he turns ta dust and blows away on the wind.</dialogue> <scene_description>THE BODY lies silent , rigid under the KHAKI ARMY BLANKET that rises and falls , rises and falls with the Gulf breeze . Suddenly . A LOUD MUSIC CHORD ! A SUDDEN MOVEMENT ! It 's the movement of RED LETTERS that spin up off the head of the corpse and settle before our eyes . The letters read : `` THE END -LRB- I PROMISE -RRB- ''</scene_description> </scene> </script>

Zombies have overrun the entire world, outnumbering humans 400,000 to 1. The surviving humans live in barricaded camps and secure underground bunkers. In an underground facility in the Everglades housing scientists and soldiers, the scientists are trying to find a solution to the zombie pandemic; the soldiers have been assigned to protect them. Dr. Sarah Bowman, soldier Private Miguel Salazar, radio operator Bill McDermott, and helicopter pilot John fly from their underground base to Fort Myers, Florida, in an attempt to locate additional survivors. They find only a large horde of the undead, and they return to the base. Dr. Logan, the lead scientist (whom the soldiers nickname "Frankenstein" because of his grisly surgical dissections of zombies), believes that the zombies can be made docile by surgery or by training and conditioning. He keeps a collection of captive zombies for use as test subjects, in a large underground corral in the compound. Captain Rhodes and the soldiers vehemently object to the dangers involved in capturing zombies and keeping them inside the compound. The tension between soldiers and scientists worsens in the face of dwindling supplies, loss of communication with other survivors, and slow, uncertain progress in research. During a meeting between the scientists and the soldiers, Rhodes declares that, following the death of the previous base commander Major Cooper, he is taking command of the base. He also informs the scientists that henceforth they will work under his orders, and anyone who objects will be executed. He also threatens to abandon the scientists and leave the compound, although (as Dr. Logan points out) civilization outside has collapsed, the world is overrun by zombies, and there is nowhere for the soldiers to go. Shaken by Rhodes' threats, Sarah goes to the quarters shared by John and Bill to discuss the situation. John professes his conviction that the zombie-plague is a form of divine punishment against mankind, that the scientific mission is doomed to failure, and that the effort to preserve records of civilization is pointless. He suggests that the three of them should take the helicopter, abandon the soldiers, and fly to a desert island somewhere where they could live off the land and start a family. Sarah replies that they have a duty to continue working on the mission project even in spite of the problems with the soldiers. Dr. Logan hopes to secure Rhodes' goodwill by showing him the results of his research. Logan is especially proud of "Bub", a friendly and docile zombie who remembers some parts of his past life and engages in rudimentary human behavior: listening to music, aiming a pistol, saluting Captain Rhodes, and even repeating a string of garbled words. "Civility must be rewarded," Logan tells Rhodes. "If it's not rewarded, there's no use for it." Rhodes, however, is not impressed. During a zombie roundup mission, two of the soldiers, Miller and Johnson, are killed after a zombie escapes its harness. Miguel attempts to kill the creature, but another zombie bites him on the arm. Sarah amputates the arm and cauterizes it with fire to stop the spreading infection from killing Miguel and re-animating him into a zombie. Rhodes then calls off the experiments and demands that all captive zombies be destroyed, as well as severing any further help from him and his remaining men. Conditions worsen further when Rhodes finds out that Logan has been feeding the flesh of his dead soldiers to Bub as a reward for his docility and positive behavior. Enraged, Rhodes kills Logan and seizes the remaining scientists and non-military personnel, stripping them of their weapons. Rhodes brings his prisoners and attempts to force John to fly him and his few remaining soldiers away from the base, which John refuses to do. In response, Rhodes kills Fisher, locks Sarah and Bill inside the zombie corral with the zombies, and orders Steel to beat John into submission. Back in Dr. Logan's laboratory, Bub manages to escape from his chain, and finds Dr. Logan's corpse. In a display of human emotion, he mourns the loss of his kind instructor in civilized behavior. He then picks up a pistol and goes in search of revenge. Meanwhile, Miguel, who has become suicidal, opens the gate in the surrounding fence, allowing the horde of zombies lurking outside to enter the compound. While he is doing this, John overcomes his captors, steals their weapons and goes into the zombie corral to rescue Sarah and Bill. As the zombies rapidly enter the complex, Rhodes abandons his men and flees on a cart, leaving his subordinates to the zombies. Bub finds Rhodes and shoots him. Rhodes, wounded but still alive, desperately tries to escape. He runs into a horde of zombies, who slowly tear him to pieces. John reunites with Sarah and Bill inside the zombie corral. They manage to get to the surface, and fly in the helicopter to a desert island, as John had earlier suggested.

The Civil Dead_2022

tt16402818

<script> <scene> <character>THE CIVIL DEAD</character> <dialogue>Written by</dialogue> <scene_description>Clay Tatum Whitmer Thomas Shooting Script</scene_description> </scene> <scene> <stage_direction>INT. ROOM - NIGHT</stage_direction> <scene_description>A couple in their 30s sleep in bed. They're awoken by a thumping noise. The girl sits up and quickly turns on the bedside table lamp.</scene_description> <character>GIRL</character> <dialogue>What was that?</dialogue> <character>GUY</character> <dialogue>Babe, please. It's nothing.</dialogue> <scene_description>The guy rolls over onto his side. He keeps his eyes closed</scene_description> <character>GIRL</character> <dialogue>It was really loud. Can you please go check?</dialogue> <scene_description>The guy remains on his side.</scene_description> <character>GUY</character> <dialogue>Houses make noises. We've been through this a million times. It's a rickety old cabin. Just chill.</dialogue> <character>GIRL</character> <dialogue>I don't feel safe here. Something's off. Did we lock the doors?</dialogue> <character>GUY</character> <dialogue>Yes. What do you think is happening right now? We are in the middle of nowhere.</dialogue> <character>GIRL</character> <dialogue>Houses in the middle of nowhere get broken into all the time.</dialogue> <character>GUY</character> <dialogue>If some guy broke into this place in the middle of nowhere in the dead of night during a snow storm and the only noise he made was a little spooky creak, then he deserves all the stuff he wants in this house. Also, this is not our place, he can have whatever he wants, as long as he doesn't wake me up.</dialogue> <scene_description>Beat.</scene_description> <character>GIRL</character> <dialogue>Ok... My iPad is out there.</dialogue> <scene_description>The guy opens his eyes. He knows it's not over.</scene_description> <character>GIRL</character> <dialogue>You're sure we locked-</dialogue> <character>GUY</character> <dialogue>Fine. I'll go check! Fuck!</dialogue> <scene_description>The guy gets out of bed quickly. The girl sits up straight in bed. We hold on the girls face as we hear the guys footsteps walking around the house. The girl notices footsteps coming from above. She looks at the ceiling.</scene_description> <character>GIRL</character> <parenthetical>(shouting)</parenthetical> <dialogue>Anything?</dialogue> <scene_description>The guy returns to the room and gets into bed.</scene_description> <character>GUY</character> <dialogue>We're in the clear.</dialogue> <character>GIRL</character> <dialogue>You went upstairs?</dialogue> <character>GUY</character> <dialogue>The attic? Nope. But I bet that's what's causing the noise. Critters scampering around in the attic.</dialogue> <character>GIRL</character> <dialogue>Big critters. It sounded like heavy footsteps. Should you check?</dialogue> <character>GUY</character> <dialogue>Babe, no. It's probably a raccoon in the attic or something. We solved the mystery. Case closed. Turn off the light.</dialogue> <scene_description>Beat. She turns off the lamp. It's pitch black dark.</scene_description> <character>GIRL</character> <dialogue>Thank you babe. Love you.</dialogue> <character>GUY</character> <dialogue>Love you too.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>TV SCREEN/ DOCUMENTARY: EXT. PARK - DAY</stage_direction> <scene_description>An old man walks down a path.</scene_description> <character>OLD MAN</character> <dialogue>Harry was great guy. He was a family man first and foremost and he was also my best friend. Sadly, March of 1983, he passed away. His head fell off in a fishing accident. I thought would never see him again.</dialogue> <character>NARRATOR</character> <dialogue>But suddenly, that would all change.</dialogue> <character>OLD MAN</character> <dialogue>It was right here when I saw him. I said, "Harry, is that you?"</dialogue> <scene_description>Show photo of Harry.</scene_description> <character>NARRATOR</character> <dialogue>At that point, Harry had been dead for four months.</dialogue> <scene_description>Back to old man in the park.</scene_description> <character>OLD MAN</character> <dialogue>I was never a believer in ghosts, but there he was, in the flesh. I said, "Harry, you got your head back!"</dialogue> </scene> <scene> <stage_direction>INT. CLAY'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Clay, on his phone, lays down with his head on Whitney's lap. Whitney is working on her laptop. The documentary is playing in the background.</scene_description> <character>WHITNEY</character> <dialogue>Are you still watching this?</dialogue> <character>CLAY</character> <dialogue>Watching what?</dialogue> <character>WHITNEY</character> <dialogue>You know, the thing playing on tv.</dialogue> <scene_description>Clay looks over at the tv.</scene_description> <character>CLAY</character> <dialogue>Oh weird, that's on? No, I'm not watching that.</dialogue> <scene_description>Whitney turns of the tv. Clay shows his phone to Whitney.</scene_description> <character>CLAY</character> <dialogue>Could I pull this off?</dialogue> <scene_description>The picture is of a hip looking guy with short bangs.</scene_description> <character>WHITNEY</character> <dialogue>Eww, no. I don't think he pulls it off.</dialogue> <scene_description>Clay looks back at his phone.</scene_description> <character>CLAY</character> <dialogue>Sometimes all it takes to get noticed as an artist is having some fucked up haircut. If I had a bleached mullet, I bet I could make a living as an artist. I'll be known as the photographer with the ugly fucking hair. Or do I just only take pictures of naked people? Maybe a nickname would work too.</dialogue> <character>WHITNEY</character> <dialogue>You can make it without a dumb haircut, Dumbass. Maybe your nickname should be Dumbass?</dialogue> <scene_description>Whitney snorts, delighted with herself for that killer roast.</scene_description> <character>CLAY</character> <dialogue>I would change my name to Dumbass if it meant I could have a damn career. At this point I'd change my name to Dumbass just to get an email.</dialogue> <scene_description>Clay gets a text. He jumps up and walks into the kitchen.</scene_description> <character>WHITNEY</character> <dialogue>Can you send me your half of the rent Dumbass?</dialogue> <character>CLAY</character> <parenthetical>(from the kitchen)</parenthetical> <dialogue>Is it already rent time? Damn. Yeah, just a sec.</dialogue> <character>WHITNEY</character> <dialogue>Where are you going?</dialogue> <character>CLAY</character> <dialogue>Forgot I gotta check something.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay grabs a camera bag out of a cabinet next to his washer and dryer. Clay takes the camera bag and leaves the apartment.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>From far away we see Clay leaning on a car talking to someone. We go closer to see Gary, 30's, sketchy, examines a SLR Camera in his driver seat. His car is filled with crushed cans, cigarette butts and fast food bags. He has his door open while Clay stands and watches him examine the camera.</scene_description> <character>GARY</character> <dialogue>Nice. Does this do depth of field?</dialogue> <scene_description>Clay is confused by this question.</scene_description> <character>CLAY</character> <dialogue>That's more of a lens thing but with this cam...</dialogue> <character>GARY</character> <parenthetical>(interrupts)</parenthetical> <dialogue>Yeah, cool. Got a suicide girls shoot this week so I'll be needing depth of field.</dialogue> <character>CLAY</character> <dialogue>Great.</dialogue> <scene_description>Gary examines the bottom of the camera.</scene_description> <character>GARY</character> <dialogue>Where's the batteries?</dialogue> <character>CLAY</character> <dialogue>So, I'm just selling the camera but theres no batteries for it. That's why I'm only charging $400.</dialogue> <character>CLAY</character> <dialogue>But it definitely works, like I was messing with it earlier and if you have any trouble with it, you can email me.</dialogue> <scene_description>Gary reaches across to his passenger seat. He starts digging under all his fast food bags and trash in his car. He's looking for something.</scene_description> <character>GARY</character> <dialogue>Oh right. Like I'm gonna fall for that. No offense dude, but I've been getting scammed all week with broken cameras, so I got my own batteries.</dialogue> <scene_description>Gary finds the batteries.</scene_description> <character>CLAY</character> <parenthetical>(scared)</parenthetical> <dialogue>Oh...</dialogue> <scene_description>Gary places the batteries into the camera.</scene_description> <character>GARY</character> <dialogue>I actually like getting scammed. It gives me a reason to beat someones ass up.</dialogue> <scene_description>Clay nervously stares at Gary placing the batteries into the camera.</scene_description> </scene> <scene> <stage_direction>EXT. LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Whitney watches a true crime TV show called "Cabin Murders."</scene_description> </scene> <scene> <stage_direction>EXT. STREET - CONTINUOUS</stage_direction> <scene_description>Gary grabs Clay by his jacket, Clay tries to pull away, so Gary pulls Clay so hard that Clay flies into the side of Gary's car. Clay collapses down to the ground in fear while Gary continues to have a hold on Clay jacket.</scene_description> <character>GARY</character> <dialogue>You trying to scam me? You trying to fucking scam me, huh? Didn't think I would have batteries did ya?</dialogue> <scene_description>Gary kicks Clay.</scene_description> <character>CLAY</character> <dialogue>Ow! I'm sorry, I'm sorry, I'm sorry!</dialogue> </scene> <scene> <stage_direction>INT. CLAY'S LIVING ROOM</stage_direction> <scene_description>We hear Clay enter the apartment through the kitchen. Whitney is on the couch.</scene_description> <character>WHITNEY</character> <dialogue>Where did you go?</dialogue> <scene_description>Clay walks into the living room holding mail, red-faced.</scene_description> <character>CLAY</character> <dialogue>I was just checking the mail.</dialogue> <character>WHITNEY</character> <dialogue>Why were you gone so long?</dialogue> <character>CLAY</character> <dialogue>I wasn't gone long.</dialogue> <scene_description>Clay throws the mail on the couch.</scene_description> <character>CLAY</character> <dialogue>Was hoping for my tax return but it's running late. Can I send you the money in a couple days?</dialogue> <character>WHITNEY</character> <dialogue>Wow... What a dumbass.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Clay stares at himself in the mirror. He looks down at the photo from earlier of the man with the weird haircut. He pulls scissors up to his forehead and chops large chunks out of his bangs until it looks sort of like the guy in the band on the poster from earlier. It looks awful. Clay knows.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Clay walks into the bedroom with his new haircut. He doesn't look confident. Whitney sees.</scene_description> <character>CLAY</character> <dialogue>What do you think?</dialogue> <scene_description>Whitney is shocked.</scene_description> <character>WHITNEY</character> <dialogue>Oh no, was that an accident?</dialogue> <character>CLAY</character> <dialogue>My hair? Not really. Why? Does it...</dialogue> <scene_description>Whitney grins. WHAT!?</scene_description> <character>WHITNEY</character> <parenthetical>(reasonable)</parenthetical> <dialogue>It's bad. Really bad. Is this the hair from the picture you showed me?</dialogue> <scene_description>Clay thinks.</scene_description> <character>CLAY</character> <dialogue>No... not exactly. I just... I don't know, I thought...</dialogue> <character>WHITNEY</character> <dialogue>You can fix it.</dialogue> <character>CLAY</character> <dialogue>How?!</dialogue> <character>WHITNEY</character> <dialogue>Cut the rest of your hair the same size.</dialogue> <character>CLAY</character> <dialogue>So, to fix this, I give my entire head a haircut?</dialogue> <character>WHITNEY</character> <dialogue>You could go somewhere.</dialogue> <character>CLAY</character> <dialogue>Looking like this??</dialogue> <scene_description>Clay shuffles out. He's clearly upset.</scene_description> <character>CLAY</character> <dialogue>You're wrong, I look fine, actually.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - LATER</stage_direction> <scene_description>Pitch black. There's a crashing noise in a another room. Whitney turns the bedside table lamp back on.</scene_description> <character>WHITNEY</character> <dialogue>What was that?</dialogue> <scene_description>Clay doesn't move.</scene_description> <character>CLAY</character> <dialogue>It sounded like some crap got knocked over.</dialogue> <character>WHITNEY</character> <dialogue>Will you go check?</dialogue> <character>CLAY</character> <dialogue>Lenny probably just knocked something over. Let's deal with it in the morning.</dialogue> <character>WHITNEY</character> <dialogue>What if it's a murderer?</dialogue> <character>CLAY</character> <dialogue>No offense babe. I don't think we've done anything interesting enough for someone to want to murder us.</dialogue> <character>WHITNEY</character> <dialogue>Fine, I'll go check.</dialogue> <scene_description>Clay quickly gets out of bed, tossing his covers onto Whitney.</scene_description> <character>CLAY</character> <dialogue>NOPE! I'm going.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>A vase lies broken on the floor. Lenny rubs against Clay's leg. Clay picks Lenny up.</scene_description> <character>CLAY</character> <dialogue>Lenny you knuckle head, you're freakin the ball and chain out.</dialogue> </scene> <scene> <stage_direction>EXT. KITCHEN</stage_direction> <scene_description>Note: we hear the sounds of someone humming a unrecognizable lullaby. We see Clay through the kitchen window. His back is turned away but we see Lenny's face. Lenny hisses and jumps out of Clay's arms.</scene_description> <character>CLAY</character> <dialogue>Yikes pal. Be careful. You could cut your paws on the glass.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay covers the glass from the broken vase with a towel.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Clay gets back into bed.</scene_description> <character>CLAY</character> <dialogue>Lenny knocked over a vase.</dialogue> <character>WHITNEY</character> <dialogue>Thanks babe.</dialogue> <scene_description>Clay rolls over and shuts his eyes. Whitney doesn't turn the lamp off. Clay opens his eyes. Something is up.</scene_description> <character>CLAY</character> <dialogue>You okay?</dialogue> <character>WHITNEY</character> <dialogue>Does this place feel weird to you? Something is weird about it right?</dialogue> <character>CLAY</character> <dialogue>I've never noticed anything weird.</dialogue> <character>WHITNEY</character> <dialogue>I wasn't this spooked at my last place.</dialogue> <character>CLAY</character> <dialogue>Maybe you just gotta get used to it. It'll be okay. There's no goobers out there who wanna get us.</dialogue> <scene_description>Clay rolls onto his side and shuts his eyes.</scene_description> <character>CLAY</character> <dialogue>If there was, I'd whoop their ass. This is my damn house. I got the control.</dialogue> <scene_description>Whitney laughs. She turns out the light.</scene_description> <character>WHITNEY</character> <dialogue>Love you.</dialogue> <scene_description>Clay is already snoring.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NEXT MORNING</stage_direction> <scene_description>Clay makes coffee while sweeping up the glass from the vase.</scene_description> </scene> <scene> <stage_direction>EXT. KITCHEN WINDOW</stage_direction> <scene_description>Through the window, we see Clay check out his awful new haircut in his reflection. It looks stupid. He shrugs.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Whitney walks in with her bags. She checks her phone.</scene_description> <character>WHITNEY</character> <dialogue>Says the guy is a few minutes away.</dialogue> <character>CLAY</character> <dialogue>You sure you don't want me to take you?</dialogue> <character>WHITNEY</character> <dialogue>I'm listening to a podcast and don't want to feel like I have to talk to you on the drive.</dialogue> <character>CLAY</character> <dialogue>I appreciate the honesty.</dialogue> <scene_description>Whitney puts her phone in her pocket. She chooses her words carefully.</scene_description> <character>WHITNEY</character> <dialogue>You gonna have some guy time while I'm away?</dialogue> <character>CLAY</character> <parenthetical>(laughing)</parenthetical> <dialogue>Guy time? With who?</dialogue> <scene_description>WHITNEY I dunno. Budd?</scene_description> <character>CLAY</character> <dialogue>Budd is in a dark zone right now. He's fully addicted to gambling. Jane left him because he bet his rent money for three months in a row.</dialogue> <character>WHITNEY</character> <dialogue>Oh.</dialogue> <scene_description>CLAY He's just so impressionable. Probably why he sucks at gambling. WHITNEY What about Andy Samberg? CLAY He's shooting Brooklyn 99. WHITNEY Did you ever reach out to him about that set photographer gig? CLAY No, Andy isn't in charge of that kind of stuff. I don't want to bother him. Maybe if he does another one of those small movies.</scene_description> <character>WHITNEY</character> <dialogue>Gotcha. You know I don't care but I think it might make you feel good to get out and take some photos. You haven't participated in a group show or anything for over three years now.</dialogue> <scene_description>CLAY Once I figure out how to have some money, I can start thinking creatively again. I can't just go out and knock it out. The photos have to come organically. WHITNEY They don't come from inside the house, though. The ball and chain is out of town, go out and get into some trouble. Clay doesn't respond.</scene_description> <character>WHITNEY</character> <dialogue>Just promise me you'll leave the house at least once a day while I'm gone. Don't just move the bed into the living room and eat candy and drink beer all day.</dialogue> <character>CLAY</character> <dialogue>Wow, what kinda guy do you think I am?</dialogue> <scene_description>Whitney stares at Clay. He looks like a child. There's a small brown glop of something on his face.</scene_description> <character>WHITNEY</character> <dialogue>I'm sorry, I can't take you serious with this hair. What is this?</dialogue> <scene_description>Whitney wipes the smudge off Clay's face with her thumb.</scene_description> <character>WHITNEY</character> <dialogue>Peanut butter?</dialogue> <character>CLAY</character> <dialogue>I don't know. Yeah.</dialogue> <character>WHITNEY</character> <dialogue>Did you eat a peanut butter and jelly?</dialogue> <character>CLAY</character> <dialogue>Yeah...</dialogue> <character>WHITNEY</character> <dialogue>It's 7am.</dialogue> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT - LATER</stage_direction> <scene_description>Clay walks Lenny the cat on a leash. He talks to Budd on the phone.</scene_description> <character>BUDD</character> <dialogue>There's a guy in the program who looks just like me named Buster. If anything this whole thing was worth it just to meet an actual guy named Buster.</dialogue> <character>CLAY</character> <dialogue>What did Buster do?</dialogue> <character>BUDD</character> <dialogue>I'm not supposed to say, but he bet his kids dog. But it was one of those dogs with special abilities who wears a vest ya know?</dialogue> <character>CLAY</character> <dialogue>Fuck. That's rock bottom.</dialogue> <character>BUDD</character> <dialogue>Yeah I'm not so bad. I'm getting better. It's been 3 weeks.</dialogue> <character>CLAY</character> <dialogue>Good for you dude. Admitting you got problem takes courage man.</dialogue> <scene_description>Clay notices a flyer on a telephone pole. The flyer is an ad for an apartment thats up for rent in the neighborhood.</scene_description> <character>BUDD</character> <dialogue>I mean yeah but also Jane kicked me out and said I couldn't come back until I started going to meetings. She mentioned it's been a while since you and Whitney and us all hung out together. It could be cool to rent a place in Palm Springs or Big Bear or something?</dialogue> <character>CLAY</character> <dialogue>Oh yeah I don't know if that's in the cards at the moment.</dialogue> <scene_description>Clay examines the flyer. At the bottom of the flyer says there's a $40 Application Fee. This gives Clay an idea.</scene_description> <character>BUDD</character> <dialogue>Is it a money thing? Jane said I could pay her back when I get a job. I bet she'd be down for you too. She's a YouTuber so she's loaded.</dialogue> <character>CLAY</character> <dialogue>No it's not a money thing. I'M FLUSH. I'm just putting together the finishing touches on this photo- book. The publisher is on my ass and I'm in good spot with it creatively. Don't wanna fuck up the flow with a trip.</dialogue> <character>BUDD</character> <dialogue>I feel ya. Well when it's over pal. I gotta get out of LA. Jane says I gotta hang with pals who aren't a bad influence.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Clay takes photos of his apartment with his phone.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S ROOM - LATER</stage_direction> <scene_description>Clay prints off applications.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S LIVING ROOM - LATER</stage_direction> <scene_description>Clay sits on his laptop. He's on Craigslist posting a classified ad. "Hip Silverlake 1br/1bth $1,600"</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN - LATER</stage_direction> <scene_description>Clay takes out a cat carrier out. He lures his cat Lenny in it.</scene_description> <character>CLAY</character> <dialogue>Sorry pal, but this wont be for too long.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVE WAY</stage_direction> <scene_description>Clay walks the cat carrier in his garage. Clay opens the garage and turns on the light.</scene_description> <character>CLAY</character> <dialogue>I got your bed here and some treats and water, be back in a bit dude.</dialogue> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT - LATER</stage_direction> <scene_description>Clay is slobbishly dressed in a suit and tie. He waits for someone. He talks to Karen, a cool artist type in her 20s.</scene_description> <character>KAREN</character> <dialogue>Am I the first to see it?</dialogue> <character>CLAY</character> <dialogue>There's been a few couples before you, but to be honest, I'm looking to rent to a single person. In my experience, couples always break up and move out suddenly, leaving me in a tight spot.</dialogue> <character>KAREN</character> <dialogue>Oh, I have such a good feeling!</dialogue> <character>CLAY</character> <dialogue>So you can just send the 50 dollar processing fee to that email on the bottom and theres instructions.</dialogue> <character>KAREN</character> <dialogue>Great, sending that right now! Here's the application.</dialogue> <scene_description>Karen hands him the application while she types the email into her phone.</scene_description> <character>CLAY</character> <dialogue>Thanks!</dialogue> <character>KAREN</character> <dialogue>Thank you! So excited about this place. Fingers crossed.</dialogue> <scene_description>Karen walks away. His phone goes off. Clay sees an update on his phone from PayPal. "Kara Sent You $50. Your PayPal Balance is now $150" Clay looks up to see Wendy and Cole approaching from the sidewalk.</scene_description> <character>CLAY</character> <dialogue>You must be my 3 o'clock?</dialogue> </scene> <scene> <stage_direction>INT. CLAY'S LIVING ROOM</stage_direction> <scene_description>Clay, Wendy and Cole are standing in the living room.</scene_description> <character>CLAY</character> <dialogue>So the first thing you are gonna notice is that the past tenants still have their stuff here, but they are moving out this week and this place will be repainted and ready to move in on the first of the month.</dialogue> <character>WENDY</character> <dialogue>Oh my god I love it.</dialogue> <character>COLE</character> <parenthetical>(skeptical)</parenthetical> <dialogue>Is this really only 1,600?</dialogue> <character>CLAY</character> <dialogue>That's right.</dialogue> <character>WENDY</character> <dialogue>We've been in a sublet just around the corner for a month now. We really love this area.</dialogue> <character>COLE</character> <dialogue>We just don't see a one bedroom under $2,000 in this neighborhood.</dialogue> <character>WENDY</character> <dialogue>Cole thought this was a scam.</dialogue> <character>CLAY</character> <dialogue>Well, the landlord who owns this is very old and doesn't really care about money.</dialogue> <character>WENDY</character> <dialogue>I saw that woman leaving. Did she like it?</dialogue> <character>CLAY</character> <dialogue>She liked it yes, but to be honest with you, young single people tend to flake. Ideally I could fill it with couple. More reliable. If you guys are serious, there's a good chance, not 100%, but good chance you can get this.</dialogue> <character>WENDY</character> <parenthetical>(bummed)</parenthetical> <dialogue>But someone is ahead of us. Ok.</dialogue> <character>CLAY</character> <dialogue>You guys look around and I'll be in the back if you have any questions. Oh, also the application is in the kitchen, so if you guys are interested you can fill it out here.</dialogue> <character>WENDY</character> <dialogue>Great! Thanks.</dialogue> <scene_description>Clay walks to the end of the hallway. He attempts to look professional by inspecting the fridge of the door. Wendy and Cole whisper out of earshot from Clay as he remains in focus in the background.</scene_description> <character>WENDY</character> <dialogue>This is perfect. This is the exact neighborhood we wanted and it's also the cheapest.</dialogue> <character>COLE</character> <dialogue>Seems too good to be true.</dialogue> <character>WENDY</character> <dialogue>We should offer to double the deposit and give him $300 for the application fee.</dialogue> <character>COLE</character> <dialogue>What??</dialogue> <character>WENDY</character> <dialogue>I really want this place. All the other places we looked at are over $2,000 so spending $300 right now to guarantee we get this is nothing. Jacob and Annie once paid $500 to get their place.</dialogue> <character>COLE</character> <dialogue>None of this seems right. Look at the guys haircut?</dialogue> <scene_description>Clay continues "inspecting" his area. He looks like an ape in a suit.</scene_description> <character>WENDY</character> <dialogue>We are in LA. People just look like that here. You have to do stuff like this these days to guarantee getting a place. If we don't do this, someone else will.</dialogue> <character>COLE</character> <dialogue>But that's not a guarantee.</dialogue> <character>WENDY</character> <dialogue>I trust this guy.</dialogue> <scene_description>Clay walks into the bathroom and flushes the toilet. He walks back out nodding his head as if to say "yep toilet flushes".</scene_description> <character>COLE</character> <dialogue>I don't know. $300 seems like a lot.</dialogue> <character>WENDY</character> <dialogue>Just let me handle it.</dialogue> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT - MINUTES LATER</stage_direction> <scene_description>Clay straightens out a hose next to his back door. Wendy and Cole walk out of the apartment.</scene_description> <character>CLAY</character> <dialogue>You guys like it?</dialogue> <character>WENDY</character> <dialogue>Loved it, we already filled out the application and we just want you to know we really like this place and are very serious.</dialogue> <character>CLAY</character> <dialogue>Great. I'll just need the 50 dollars to process the application, credit check, all that nonsense.</dialogue> <character>WENDY</character> <dialogue>We can pay it right away.</dialogue> <scene_description>Wendy hands Clay the application. Attached to the application is $300.</scene_description> <character>CLAY</character> <dialogue>What's this?</dialogue> <character>WENDY</character> <dialogue>We wanted to give you that to show how serious we are about getting this apartment.</dialogue> <scene_description>Clay is shocked by the $300. He wants it.</scene_description> <character>CLAY</character> <dialogue>You guys are aware we still have to have a background check on file. And I can't legally...</dialogue> <character>WENDY</character> <dialogue>We know, we know. We are also willing to pay a larger deposit. We are serious about this place. Just let us know when we can move in.</dialogue> <scene_description>Wendy winks at Clay. Clay doesn't know what to say.</scene_description> <character>CLAY</character> <dialogue>Oh, well... let me run the background check and...</dialogue> <character>WENDY</character> <dialogue>And you can then, you know, let us know the move in date.</dialogue> <character>CLAY</character> <dialogue>... yes.</dialogue> <character>WENDY</character> <dialogue>Great!</dialogue> <character>CLAY</character> <parenthetical>(confused)</parenthetical> <dialogue>Great.</dialogue> <scene_description>Cole examines Clay's long slacks. He is even more suspicious than before.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN</stage_direction> <scene_description>Clay let's Lenny out of his carrier.</scene_description> <character>CLAY</character> <dialogue>I'm gonna get ya a treat pal.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN</stage_direction> <scene_description>Clay frantically deletes the craigslist ad. He talks to Lenny, who crawls across the counter.</scene_description> <character>CLAY</character> <dialogue>Flying a little too close to the sun.</dialogue> <scene_description>He checks his bank balance on his phone.</scene_description> <character>CLAY</character> <dialogue>Just need a couple hundred bucks more and I got rent. What a breeze.</dialogue> <scene_description>Clay grabs Lenny face.</scene_description> <character>CLAY</character> <dialogue>I'm buzzing.</dialogue> </scene> <scene> <stage_direction>INT. CLAY'S APARTMENT - LATER</stage_direction> <scene_description>Clay plays video games and eats sour patch kids on a mattress in the living room. He looks like a toddler. Clay drunkenly looks at his haircut in the bathroom mirror. Clay sleeps in the living room with the glow of the TV on his face and a beer in his hand. A horror movie plays. A woman screams on TV. Lenny runs across Clay's stomach. He wakes up.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S APARTMENT - NEXT MORNING</stage_direction> <scene_description>Clay wakes up surrounded by candy and beer bottles. The TV is still on. He looks at his dusty skateboard in the corner.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN</stage_direction> <scene_description>Clay grabs his camera from a kitchen drawer.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>Note: through out the montage, we hear the sounds of someone humming a unrecognizable lullaby from earlier. - Clay skates the streets - Clay looks around for photos to take</scene_description> </scene> <scene> <stage_direction>EXT. PARK - LATER</stage_direction> <scene_description>Seen through the viewfinder of Clay's camera. Clay sets up a shot of some trash with "5G killed my dog" written on it. Whit is awkwardly walks into the frame.</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Damn it. Get the fuck outta the frame you simpleton.</dialogue> <scene_description>Whit lingers in the frame unaware.</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Fuck out of the frame my man...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Come on.</dialogue> <scene_description>Whit is clearly staring at Clay.</scene_description> <character>CLAY</character> <parenthetical>(yells)</parenthetical> <dialogue>Hey, excuse me, sorry. Could you move like 2 feet to your right?</dialogue> <scene_description>Whit looks around at who Clay is talking to. Beat</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Does he not hear me?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Jesus.</dialogue> <scene_description>Clay starts walking over to Whit. We stay on the viewfinder. Zoom into the viewfinder. Clay approaches Whit.</scene_description> <character>CLAY</character> <dialogue>Hey dude...</dialogue> <scene_description>Clay notices it's Whit.</scene_description> <character>CLAY</character> <dialogue>Whit?</dialogue> <character>WHIT</character> <dialogue>Oh shit! You can see me?</dialogue> <character>CLAY</character> <dialogue>Yeah, you're in my frame. Dude, Whats up?</dialogue> <scene_description>Whit shakes off the nerves.</scene_description> <character>WHIT</character> <dialogue>Clay! Whoa man. It's so good to see you. Holy shit!</dialogue> <character>CLAY</character> <dialogue>Sorry, hold up, I can't leave my camera by itself.</dialogue> <scene_description>Clay starts walking back. Whit follows.</scene_description> <character>WHIT</character> <parenthetical>(loss for words)</parenthetical> <dialogue>Wow! So you can... it's crazy... uh, I didn't recognize you.</dialogue> <character>CLAY</character> <dialogue>Yeah I gave myself a stupid haircut. Prob makes me look like an unrecognizable goober.</dialogue> <scene_description>Cut out of viewfinder shot.</scene_description> <character>WHIT</character> <dialogue>No it's cool man. You look like a band guy. Like a guy in a band.</dialogue> <character>CLAY</character> <dialogue>Oh really? Thanks man. You waiting for somebody in here? What are you doing down here?</dialogue> <character>WHIT</character> <dialogue>Huh? Oh, I just like to walk around here.</dialogue> <character>CLAY</character> <dialogue>Do you live around here?</dialogue> <scene_description>Whit is flustered.</scene_description> <character>WHIT</character> <dialogue>No, not at all. Well, actually, up the street a little.</dialogue> <character>CLAY</character> <dialogue>Oh... Shit, we're neighbors. It feels like I haven't seen you in years.</dialogue> <scene_description>Clay starts looking into the viewfinder to get the shot. Whit awkwardly stands next to him.</scene_description> <character>WHIT</character> <dialogue>Yeah, uhh. Yeah. I can't believe I'm talking to you, man.</dialogue> <scene_description>Awkward beat as Clay gets the shot. Clay starts packing up. He's sort of no longer showing interest in the conversation.</scene_description> <character>CLAY</character> <dialogue>Well...</dialogue> <scene_description>Whit stares at Clay.</scene_description> <character>CLAY</character> <dialogue>... it was cool running into you. I should text you next time I...</dialogue> <character>WHIT</character> <parenthetical>(interrupts)</parenthetical> <dialogue>I would love to hang out today if you're free.</dialogue> <scene_description>Clay holds for a beat. He sees Whit is very eager to hang out but has the look of being burdened.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - LATER</stage_direction> <scene_description>Clay walks his bike through the park. Whit tags along.</scene_description> <character>WHIT</character> <dialogue>So cool you got married man. You got a cool talented wife and you're like a killer artist and stuff. Power couple. You got your shit together.</dialogue> <scene_description>Clay is flattered.</scene_description> <character>WHIT</character> <dialogue>When you coming out with another photo book? I got that last one... The shopping carts in the river one.</dialogue> <character>CLAY</character> <dialogue>You got that? Thanks pal. I'm figuring the next steps out. I've got a lot of options from different publishers.</dialogue> <character>WHIT</character> <dialogue>I bet man. You ever think about how fucked all the kids who stayed in Fresno are? Like meth and Deftones all day.</dialogue> <character>CLAY</character> <dialogue>Dude Meth. Uggh. The worst.</dialogue> <scene_description>Beat.</scene_description> <character>CLAY</character> <dialogue>Deftones was good though.</dialogue> <character>WHITT</character> <dialogue>Deftones was good though.</dialogue> <scene_description>They both laugh.</scene_description> <character>WHIT</character> <dialogue>You moving out here inspired a lot of us to get out man. If you wouldn't have done it, I'd still be back there. No joke.</dialogue> <character>CLAY</character> <dialogue>Thanks man. I guess I just never saw myself staying there. Always wanted to make it. Whatever that means.</dialogue> <character>WHIT</character> <dialogue>You're making it dude. No doubt in my mind.</dialogue> <scene_description>They reach the sidewalk. Clay puts on his helmet.</scene_description> <character>CLAY</character> <dialogue>Well, It was good seeing you man.</dialogue> <character>WHIT</character> <dialogue>Yeah hey let's keep the party going. Get some beers? I got nothing to do in the morning.</dialogue> <character>CLAY</character> <dialogue>Oh I...</dialogue> <scene_description>Clay looks hesitant.</scene_description> <character>WHIT</character> <dialogue>You gotta be up early?</dialogue> <character>CLAY</character> <dialogue>I mean... No.</dialogue> <character>WHIT</character> <dialogue>Come on dude. I wanna hear about what you been up to. I miss hanging.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Whit looks at photos on the wall that Clay has taken of his life in LA. Mostly random lonely feeling photos of pieces of machinery and trash, some nice pictures of Whitney, and one picture of him with Andy Samberg.</scene_description> <character>CLAY</character> <parenthetical>(from the kitchen)</parenthetical> <dialogue>You want a beer?</dialogue> <character>WHIT</character> <dialogue>Uhhh...</dialogue> <scene_description>Clay throws Whit a beer. Whit doesn't move and the beer hits the ground and explodes.</scene_description> <character>WHIT</character> <dialogue>Sorry, I hurt my hand and can't catch anything! Sorry, I have rigor mortis in my hands. It runs in the family.</dialogue> <scene_description>Clay waits for Whit to pick up the can. Beat.</scene_description> <character>CLAY</character> <dialogue>Actually, I got it. Don't worry.</dialogue> <scene_description>Clay picks up the can.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Whit gets super animated as he tells a story.</scene_description> <character>WHIT</character> <dialogue>I've been filming little random things. Cool parts in indie stuff mostly. Sundance dramas. My hope is that they all come out at the same time and I blow up... That sounds lame but whatever.</dialogue> <scene_description>Clay finishes his beer and puts it down next to a bunch of empty bottles.</scene_description> <character>CLAY</character> <dialogue>No way dude. It's a vicious business. Could never be an actor.</dialogue> <scene_description>Clay is drunk and sleepy.</scene_description> <character>WHIT</character> <dialogue>It's not that crazy man. I just wanna make good shit. I wanna help tell good stories.</dialogue> <character>CLAY</character> <dialogue>It's wild. You were so popular in high school. Always would have thought you'd like own a car dealership or something. Could have never imagined you'd be out here trying to make movies, especially walking around dressed like that... Why are you dressed like that?</dialogue> <character>WHIT</character> <dialogue>Oh haha. Shit I forgot I was wearing this. I was doing a fitting for this new movie and forgot to take it off.</dialogue> <character>CLAY</character> <dialogue>Oh sick. You must be really busy with your acting.</dialogue> <character>WHIT</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Clay sleeps on the mattress with his head sitting up against the couch. Whit watches the movie. He looks really happy. Lenny enters the living room and stares at Whit.</scene_description> <character>WHIT</character> <dialogue>We good?</dialogue> <scene_description>Lenny walks away. Whit gets up.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>Whit creepily walks around Clay's apartment.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MORNING</stage_direction> <scene_description>Whit stares at Clay as Clay sleeps. Clay wakes up slowly. Whit lays down and pretends to sleep. Clay looks like shit. Hungover as all hell. He finds his glasses and puts them on. Through a mound of pillows and sheets, Clay sees Whit sleeping with his clothes on. He's not moving. Clay gets up and walks to the kitchen. Whit pretends to wake up.</scene_description> <character>CLAY</character> <dialogue>Yo.</dialogue> <scene_description>Whit does a big fake yawn.</scene_description> <character>WHIT</character> <dialogue>Morning pal.</dialogue> <character>CLAY</character> <dialogue>You stayed over?</dialogue> <character>WHIT</character> <dialogue>Oh yeah. You drank a bunch and passed out. Wanted to make sure you were all right.</dialogue> <character>CLAY</character> <dialogue>Oh... thanks.</dialogue> <scene_description>Clay looks at the place. It's a mess. He gets up and begins to pick things up around the apartment.</scene_description> <character>CLAY</character> <dialogue>Hey I gotta get my day going so you gotta get out of here. No offense.</dialogue> <character>WHIT</character> <dialogue>What you got going today?</dialogue> <character>CLAY</character> <dialogue>Just like shit. With... the photo book and shit.</dialogue> <character>WHIT</character> <dialogue>You gotta show me some new photos man.</dialogue> <character>CLAY</character> <dialogue>Yeah some other time. I feel like shit. I gotta get some coffee. I'll hit you up.</dialogue> <character>WHIT</character> <dialogue>Dude let's hang. I'll get coffee with you.</dialogue> <character>CLAY</character> <dialogue>Haha no man. I gotta call and check in with my wife.</dialogue> <scene_description>Clay walks Whit to the door. Whit has his back towards the door.</scene_description> <character>CLAY</character> <dialogue>See ya.</dialogue> <scene_description>Whit turns around but doesn't open it.</scene_description> <character>CLAY</character> <dialogue>Oh right, you're hands. Sorry man.</dialogue> <scene_description>Clay opens the door to let him out.</scene_description> <character>WHIT</character> <dialogue>I can't go man.</dialogue> <scene_description>Clay laughs.</scene_description> <character>CLAY</character> <dialogue>Funny.</dialogue> <character>WHIT</character> <dialogue>No like I can't leave man. I think I'm stuck with you.</dialogue> <character>CLAY</character> <dialogue>Are you still fucked up?</dialogue> <character>WHIT</character> <dialogue>No. I didn't drink last night. I can't. I think I'm dead dude.</dialogue> <character>CLAY</character> <dialogue>Okay. I think I'm too hungover. Let's get some coffee.</dialogue> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT</stage_direction> <scene_description>Clay leads Whit out of his apartment.</scene_description> <character>WHIT</character> <dialogue>Thanks man. I don't really know how to explain it. I can't like remember where I was before this.</dialogue> <character>CLAY</character> <dialogue>Are you homeless? You can be honest with me.</dialogue> <character>NEIGHBOR</character> <parenthetical>(off screen)</parenthetical> <dialogue>Excuse me?</dialogue> <scene_description>A NEIGHBOR GUY watering his plants stares at Clay.</scene_description> <character>CLAY</character> <dialogue>Sorry?</dialogue> <character>NEIGHBOR</character> <dialogue>Are you talking to me?</dialogue> <character>CLAY</character> <dialogue>Haha sorry. No.</dialogue> <scene_description>Clay is confused.</scene_description> <character>NEIGHBOR</character> <dialogue>Oh my misunderstanding. You're plants are looking a little dry. Mind if I give them a little sprinkle?</dialogue> <character>WHIT</character> <dialogue>Dude he can't see me man. You look insane.</dialogue> <character>CLAY</character> <dialogue>Shut up.</dialogue> <character>NEIGHBOR</character> <dialogue>What did you say?!</dialogue> <scene_description>Whit makes a bunch of distracting noises and faces in front of the neighbor.</scene_description> <character>CLAY</character> <dialogue>I'm sorry about him dude. I think he's crazy.</dialogue> <character>NEIGHBOR</character> <dialogue>Sorry about who?</dialogue> <scene_description>Whit stops. He walks back to Clay.</scene_description> <character>WHIT</character> <dialogue>See! Just say you're kidding.</dialogue> <scene_description>Clay is stunned.</scene_description> <character>CLAY</character> <dialogue>What are you talking about?</dialogue> <scene_description>The neighbor is confused. Clay is not helping. Whit starts clapping his hands in front of the neighbor.</scene_description> <character>CLAY</character> <parenthetical>(to Whit)</parenthetical> <dialogue>Hey, hey hey!</dialogue> <scene_description>The neighbor stands upright and takes a step back. He looks worried.</scene_description> <character>WHIT</character> <dialogue>HE CAN'T SEE ME! Look, he's not looking at me!</dialogue> <scene_description>Clay is floored. Something is up.</scene_description> <character>CLAY</character> <dialogue>I'm sorry... I was kidding.</dialogue> <scene_description>Clay hurriedly goes back into his apartment. Whit follows behind.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Clay shuts the door. He goes into the kitchen and starts making coffee.</scene_description> <character>WHIT</character> <dialogue>Can I explain?</dialogue> <scene_description>Clay smacks himself in the head.</scene_description> <character>WHIT</character> <dialogue>Dude! Why'd you do that?</dialogue> <character>CLAY</character> <dialogue>I feel crazy.</dialogue> <character>WHIT</character> <dialogue>Dude, I think I'm dead.</dialogue> <character>CLAY</character> <dialogue>Stop saying that. Crazy.</dialogue> <scene_description>Clay puts instant coffee in a cup and stirs. He takes a sip.</scene_description> <character>CLAY</character> <dialogue>Eww this is shit.</dialogue> <character>WHIT</character> <dialogue>You're the only person who can see me.</dialogue> <character>CLAY</character> <dialogue>What do you mean?</dialogue> <character>WHIT</character> <dialogue>I mean like in general. I've been moseying around LA for who knows how long and you're the first person to see me.</dialogue> <character>CLAY</character> <dialogue>Lucky me. Do you not have any other friends you can crash with?</dialogue> <character>WHIT</character> <dialogue>Take a photo of me.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Clay takes a photo of Whit with a polaroid camera. They wait for it to dry. Clay's in denial.</scene_description> <character>CLAY</character> <dialogue>Haha this is so stupid. Who's setting this spoof up? Is it somebody from back home? Is it my Cousin Travis?</dialogue> <character>WHIT</character> <dialogue>It's not a spoof man.</dialogue> <scene_description>Clay looks at the photo. Whit is not in it. Clay slowly raises the photo to Whit and then lowers it.</scene_description> <character>CLAY</character> <dialogue>No!</dialogue> <character>WHIT</character> <dialogue>I'm sorry.</dialogue> <character>CLAY</character> <dialogue>No!</dialogue> <character>WHIT</character> <dialogue>Dude let's figure this out.</dialogue> <character>CLAY</character> <dialogue>No! Stay away.</dialogue> <scene_description>Clay runs to his room and locks the door behind him.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Clay listens to Whit's footsteps approach the other side of the door.</scene_description> <character>WHIT</character> <dialogue>I'm sorry dude. I don't know what's going on either.</dialogue> <scene_description>We stay on Clay's side of the conversation.</scene_description> <character>CLAY</character> <dialogue>You can't come in here?</dialogue> <character>WHIT</character> <dialogue>I can't open doors.</dialogue> <character>CLAY</character> <dialogue>You made all that crap about rigor mortis up?</dialogue> <character>WHIT</character> <dialogue>I'm really sorry man.</dialogue> <character>CLAY</character> <dialogue>Get out of here dude. Please don't haunt me. I don't even really know you anymore.</dialogue> <character>WHIT</character> <dialogue>You don't think I know? You didn't even text me back when I moved here. You were the only guy I knew.</dialogue> <character>WHIT</character> <dialogue>I know you don't want anything to do with me but you're the only one who can see me man. I'm scared.</dialogue> <scene_description>Clay doesn't respond. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Whit waits for Clay respond. He doesn't. FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Whit sits on the couch. He waits. We hear Clay's door open. Whit perks up. Clay enters. He looks miserable. Whit waits for a response.</scene_description> <character>CLAY</character> <dialogue>I'm getting coffee.</dialogue> <scene_description>Whit stands.</scene_description> <character>WHIT</character> <dialogue>I get that this is...</dialogue> <character>CLAY</character> <dialogue>Shut up... for the love of god please shut up.</dialogue> <character>WHIT</character> <dialogue>You got it. Can I ask one thing?</dialogue> <scene_description>Clay stares, showing no emotion.</scene_description> <character>WHIT</character> <dialogue>Can I come? And if so, you might wanna wear headphones so if you talk to me it looks like you are on your phone.</dialogue> <scene_description>Clay still stares. No response.</scene_description> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT</stage_direction> <scene_description>Clay and Whit exit Clay's apartment complex. Cole walks his dog across the street. He watches Clay walk down the hill.</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Clay and Whit silently walk. We track them. Slow zoom onto Clay's face. He's wearing ear buds. He shows no emotion. Music starts: "Portofino 2" by Raymond Scott (or something like it)</scene_description> </scene> <scene> <stage_direction>EXT. CLAY'S DRIVEWAY</stage_direction> <scene_description>Clay sits on a pillar and stares out. Tight on Clay's face. We zoom out. He still has ear buds in and now is holding a cup of coffee. Whit is standing in the middle of the sidewalk, a couple or so feet away from Clay. A man approaches. He is walking his bike. Whit starts walking backwards when man approaches to walk and talk with the man.</scene_description> <character>WHIT</character> <dialogue>Hey that's a nice bike. What type of bike is that?</dialogue> <scene_description>Man continues walking. Man doesn't see or hear Whit. Whit stops walking. A couple walking with their baby stroller approaches. The pass Whit.</scene_description> <character>WHIT</character> <dialogue>Hey you don't mind if I push your stroller over do ya? Don't say anything and I'll do it.</dialogue> <scene_description>No response. Whit looks to Clay and shrugs. Clay notices. MUSIC FADES FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN</stage_direction> <scene_description>Clay sits and Whit stands over him.</scene_description> <character>CLAY</character> <dialogue>So, you're dead.</dialogue> <character>WHIT</character> <dialogue>I think so, yeah.</dialogue> <character>CLAY</character> <dialogue>What do you mean you think so, how did you die?</dialogue> <character>WHIT</character> <dialogue>I don't know.</dialogue> <character>CLAY</character> <dialogue>What's your last memory alive?</dialogue> <character>WHIT</character> <dialogue>It's all fuzzy. I have memories but I have no timeline in my head of when they are. I don't know.</dialogue> <character>CLAY</character> <dialogue>There's gotta be an obituary online or something.</dialogue> <character>WHIT</character> <dialogue>Oh yeah maybe.</dialogue> <character>CLAY</character> <dialogue>Have you looked?</dialogue> <character>WHIT</character> <dialogue>I can't open doors. You think I can click clack on a keyboard?</dialogue> <character>CLAY</character> <dialogue>I thought ghost went through walls.</dialogue> <character>WHIT</character> <dialogue>I can't. I can't even pick up your coffee cup. Everything weighs like 4 billion pounds.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Clay googles "Whit Thomas Death" on google.</scene_description> <character>CLAY</character> <dialogue>I don't see an obituary.</dialogue> <character>WHIT</character> <dialogue>Yeah makes sense I guess.</dialogue> <character>CLAY</character> <dialogue>Oh shit!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Oh no it's an obituary for a lawyer named Whit Thomas. Oh whoa. He was a pedophile. Suicide.</dialogue> <scene_description>Whit leans against the wall defeated.</scene_description> <character>CLAY</character> <dialogue>There's an obituary for a pedophile. There's gotta be one for you? What about your family?</dialogue> <character>WHIT</character> <dialogue>You think my family even knows I'm dead? Just quit searching man.</dialogue> <character>CLAY</character> <dialogue>Oh. Right. Sorry.</dialogue> <scene_description>Whit shrugs. He's trying to act like it doesn't bother him.</scene_description> <character>CLAY</character> <dialogue>I need a drink.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay walks to the fridge and grabs a beer.</scene_description> <character>WHIT</character> <dialogue>Why are you taking this so hard?</dialogue> <scene_description>Clay closes the fridge and walks to the living room.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Clay sits on the couch. Whit walks over.</scene_description> <character>WHIT</character> <dialogue>I'm the one dead, remember? Only thing different with you is that now you find out you have a cool little gift.</dialogue> <character>CLAY</character> <dialogue>What's my cool little gift?</dialogue> <character>WHIT</character> <dialogue>You shine.</dialogue> <character>CLAY</character> <dialogue>Excuse me?</dialogue> <character>WHIT</character> <dialogue>Remember the kid from the shining? "I see dead people". You have that now!</dialogue> <character>CLAY</character> <dialogue>But how are you the only dead person I see?</dialogue> <character>WHIT</character> <dialogue>You probably see dead people all the damn time. You didn't know I was dead until I told you. You ever go outside and see people aimlessly walk around? They're probably dead like me.</dialogue> <character>CLAY</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Well, this is great. I'm so stoked you stopped by and told me this great news, but I think you can leave now.</dialogue> <scene_description>Whit sits down.</scene_description> <character>WHIT</character> <parenthetical>(calm)</parenthetical> <dialogue>Or maybe, I am the only dead person you can see and fate brought us together because I need to fix you and me fixing you, allows me to move on to my next life.</dialogue> <character>CLAY</character> <dialogue>What is there to fix? There's nothing wrong with me. I'm good.</dialogue> <character>WHIT</character> <dialogue>Dude, I've been following you for a week now and you are a loser!</dialogue> <scene_description>Clay doesn't care for that.</scene_description> <character>WHIT</character> <parenthetical>(chipper)</parenthetical> <dialogue>But that's ok! I'm here to help.</dialogue> <character>CLAY</character> <dialogue>Help how?</dialogue> <character>WHIT</character> <dialogue>Well, you need money right.</dialogue> <character>CLAY</character> <dialogue>You can't open a door but you can help me make money. How does that work? What can you do for me?</dialogue> <character>WHIT</character> <dialogue>I don't know!</dialogue> <scene_description>Clay thinks.</scene_description> <character>CLAY</character> <dialogue>...wait. Let me make a phone call.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Clay and Whit wait in a dark alley. Clay is wearing a nice suit and tie. Budd approaches looking dressed up as well. Budd looks worried.</scene_description> <character>BUDD</character> <parenthetical>(somber)</parenthetical> <dialogue>Hey man.</dialogue> <character>CLAY</character> <dialogue>Hey, thanks for getting me in on this game.</dialogue> <character>BUDD</character> <dialogue>What the fuck happened to your hair man?</dialogue> <character>CLAY</character> <dialogue>Oh, this? I fucked up.</dialogue> <character>BUDD</character> <dialogue>You got my buy in?</dialogue> <character>CLAY</character> <dialogue>Yeah, yeah.</dialogue> <scene_description>Clay hands Budd money.</scene_description> <character>BUDD</character> <dialogue>So... thanks for covering me and everything but, why exactly do you wanna play here so badly?</dialogue> <character>CLAY</character> <dialogue>I wanna win some money. Have a little fun. Whitney is away so why not.</dialogue> <character>BUDD</character> <dialogue>Right me too. I just wanna have fun. But I've never seen you play.</dialogue> <character>CLAY</character> <dialogue>I play poker!</dialogue> <character>BUDD</character> <dialogue>This is the first time of me hearing this. The people we are playing with are losers but they don't fuck around.</dialogue> <character>CLAY</character> <dialogue>What? Worst case scenario, I lose early and the winner makes more money. So what?</dialogue> <character>BUDD</character> <dialogue>I've been kicked out of most home games but Arnold here likes me and I don't want you to fuck this up by not knowing how to play.</dialogue> <character>CLAY</character> <dialogue>Right.</dialogue> <scene_description>Whit smirks.</scene_description> <character>BUDD</character> <dialogue>Before we go in. Don't tell Jane. She will leave me.</dialogue> <character>CLAY</character> <dialogue>I won't man.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT</stage_direction> <scene_description>The hostess, Belle, answers the door, revealing Budd, Clay, and Whit. Belle is a young, attractive woman in a cocktail dress. She operates in a calculated professional manner.</scene_description> <character>BELLE</character> <dialogue>Hello, Budd is it? Is this your plus one for the night?</dialogue> <character>BUDD</character> <dialogue>Yes.</dialogue> <scene_description>Arnold stands up from the poker table. He's a middle aged guy. Looks like a hip tv producer.</scene_description> <character>ARNOLD</character> <dialogue>Buddy! I love you!</dialogue> <scene_description>Buddy walks in with Clay. Whit follows but he can't take his eyes off Belle. Arnold runs to Budd.</scene_description> <character>ARNOLD</character> <dialogue>Buddy boy, I'm slaughtering tonight! Hope you're ready to get your ass wiped.</dialogue> <character>BUDD</character> <dialogue>This is Clay.</dialogue> <character>CLAY</character> <dialogue>Hi.</dialogue> <character>ARNOLD</character> <dialogue>Belle, can you offer my friend a drink please?</dialogue> <scene_description>Belle closes door.</scene_description> <character>BELLE</character> <parenthetical>(addressing Budd and Clay)</parenthetical> <dialogue>Drinks?</dialogue> <character>BUDD</character> <dialogue>I'm good.</dialogue> <character>ARNOLD</character> <dialogue>Get Buddy a vodka cran.</dialogue> <parenthetical>(to Clay)</parenthetical> <dialogue>And for you Craig?</dialogue> <character>CLAY</character> <dialogue>Beer please. Any... style.</dialogue> <character>BELLE</character> <dialogue>Be right back.</dialogue> <parenthetical>(to Clay)</parenthetical> <dialogue>Cool hair.</dialogue> <character>WHIT</character> <parenthetical>(instinctively)</parenthetical> <dialogue>Thanks!</dialogue> <scene_description>Clay side eyes Whit.</scene_description> <character>WHIT</character> <parenthetical>(bummed)</parenthetical> <dialogue>Oh right. I'm a literal ghost.</dialogue> <scene_description>Budd sees a guy asleep on the couch. We only see his back. Arnold leans in.</scene_description> <character>ARNOLD</character> <parenthetical>(whispers)</parenthetical> <dialogue>That's Greg Kinnear. He's down 5k.</dialogue> <character>ARNOLD</character> <parenthetical>(big smile)</parenthetical> <dialogue>He's a fucking mess.</dialogue> <scene_description>This peaks Whit's interest.</scene_description> <character>WHIT</character> <dialogue>No way.</dialogue> <character>BUDD</character> <dialogue>How are you doing tonight?</dialogue> <character>ARNOLD</character> <dialogue>I've been wiping ass all night. Feels really good.</dialogue> <parenthetical>(to Clay)</parenthetical> <dialogue>What's your deal?</dialogue> <character>CLAY</character> <dialogue>Uh... what?</dialogue> <character>ARNOLD</character> <dialogue>Here for the free drinks? This is not a casino dude.</dialogue> <character>BUDD</character> <dialogue>Just a friend I play poker with, Clay's cool.</dialogue> <scene_description>Arnold examines Clay's stupid haircut.</scene_description> <character>ARNOLD</character> <dialogue>You think you can rainman this game Budd?</dialogue> <parenthetical>(to Clay)</parenthetical> <dialogue>No offense dude, but you look like a rainman with that haircut.</dialogue> <scene_description>Whit gets a better angle of Greg sleeping.</scene_description> <character>WHIT</character> <dialogue>This is Greg Kinnear! He has a black eye, what the fuck?</dialogue> <character>ARNOLD</character> <parenthetical>(to Clay)</parenthetical> <dialogue>Just fucking with you dude, I get in the head of all the new players I play with.</dialogue> <scene_description>Whit walks over while Budd and Clay take a seat. Chucky, an older guy, and Reagan, a Hollywood type, are at the table. Chucky has his head on the table. Reagan is mysteriously wearing sunglasses. We can't read him.</scene_description> <character>ARNOLD</character> <dialogue>How much today guys?</dialogue> <parenthetical>(noticing Chucky)</parenthetical> <dialogue>Chucky get your head off the table!</dialogue> <scene_description>Chucky jolts up.</scene_description> <character>BUDD</character> <dialogue>300.</dialogue> <character>CLAY</character> <dialogue>Uh... 300.</dialogue> <character>ARNOLD</character> <dialogue>600 for new guy.</dialogue> <character>BUDD</character> <dialogue>What?</dialogue> <character>ARNOLD</character> <dialogue>New guy plays for 600 or he doesn't play at all.</dialogue> <scene_description>Budd is too scared to speak up. He gives Clay the look of "sorry pal".</scene_description> <character>ARNOLD</character> <dialogue>This shouldn't take long boys.</dialogue> <scene_description>Clay reaches into his wallet for more cash. He looks to Whit before taking the cash out. Whit, with a huge grin on his face, gives Clay 2 thumbs up. Clay gives Arnold the money. Arnold hands Budd and Clay a stack of chips.</scene_description> <character>ARNOLD</character> <dialogue>Ok gang, 5/10 no limits. Where's the button?</dialogue> <scene_description>Whit walks to the table and examines the table. Arnold throws in chips. Clay is looking around not knowing what to do.</scene_description> <character>WHIT</character> <dialogue>Clay, throw in 20. You're big blinds.</dialogue> <scene_description>Clay looks up at Whit.</scene_description> <character>WHIT</character> <dialogue>Don't look at me.</dialogue> <scene_description>Clay looks down. Budd looks over to Clay.</scene_description> <character>WHIT</character> <dialogue>It's the green one. Throw that in.</dialogue> <character>ARNOLD</character> <dialogue>You ok there rainman?</dialogue> <scene_description>Clay throws the chip in. The table looks suspiciously at Clay. Cards are dealt. Clay is nervous. Whit gets a good look at Arnold's cards. Everyone antes up except Chucky, who folds.</scene_description> <character>ARNOLD</character> <parenthetical>(to Clay)</parenthetical> <dialogue>You're gonna be glad I made you get more chips. I want you to get your moneys worth. $300? I would've cleaned you out in 10 minutes.</dialogue> <scene_description>Whit walks over to Clay and Budd's side.</scene_description> <character>WHIT</character> <dialogue>Ok, lift up you cards for me.</dialogue> <scene_description>Whit peeks at Clay's cards.</scene_description> <character>WHIT</character> <dialogue>You got a low pair but I still need to see Budd's.</dialogue> <scene_description>Belle drops off Budd and Clay's drink.</scene_description> <character>ARNOLD</character> <dialogue>Get a vodka cran for me as well, sweetheart.</dialogue> <character>BELLE</character> <dialogue>Sure thing.</dialogue> <scene_description>Belle walks off and Arnold leans into Budd.</scene_description> <character>ARNOLD</character> <dialogue>Do you like that I got a hostess for this game? Pretty fucking hot, right? She's a PA on one of my shows.</dialogue> <character>BUDD</character> <parenthetical>(not into it)</parenthetical> <dialogue>Oh cool.</dialogue> <character>ARNOLD</character> <dialogue>I would love to smash her but you know...</dialogue> <scene_description>Arnold shows Budd his wedding ring.</scene_description> <character>ARNOLD</character> <dialogue>I hate it. If I wasn't married, I would cheat on my wife.</dialogue> <character>BUDD</character> <dialogue>What?</dialogue> <scene_description>Arnold smirks and deals the turn.</scene_description> <character>WHIT</character> <dialogue>Clay, check this round after big man here.</dialogue> <scene_description>Arnold checks. Clay checks. Budd folds. Turn card comes. Arnold bets.</scene_description> <character>WHIT</character> <dialogue>Call it. That's 2 blue chips.</dialogue> <scene_description>Clay grabs some chips.</scene_description> <character>ARNOLD</character> <dialogue>You sure you wanna do that little man?</dialogue> <scene_description>Clay is scared of Arnold. Clay calls. River comes and Clay gets 2 pair.</scene_description> <character>WHIT</character> <dialogue>Perfect!</dialogue> <scene_description>Arnold bets $25.</scene_description> <character>WHIT</character> <dialogue>He's doing that to see if you're gonna raise him. Call it!</dialogue> <scene_description>Belle walks by. Chucky tries to get her attention.</scene_description> <character>CHUCKY</character> <dialogue>Excuse me could I...</dialogue> <scene_description>Belle walks off not noticing Chucky. Chucky sinks in his chair. Clay confidently throws in $25. Arnold shows his cards and so does Clay. They both have low 2 pairs but Arnold's is a bit higher.</scene_description> <character>WHIT</character> <dialogue>Ok, the big man won this hand.</dialogue> <character>ARNOLD</character> <dialogue>Maybe I'll wipe your ass faster than I thought.</dialogue> <scene_description>Budd looks at Clay with disappointment. Clay looks up to Whit confused.</scene_description> <character>WHIT</character> <dialogue>Hey! That's good, I need you to at least lose one hand and that's a great one because it's believable for you to think you had a chance.</dialogue> <scene_description>Clay looks like he lost all confidence in Whit.</scene_description> <character>WHIT</character> <dialogue>Chill. Trust me, I got this. Like giving candy to a baby.</dialogue> <scene_description>MUSIC STARTS: "Swingin' Spathiphyllums" by Mort Garson (or something similar) MONTAGE: - Whit circles the table peeking at hands. - Chips are being thrown in. - Whit nods his head at Clay. - Chips are getting pushed to Clay. - Whit still has his eyes on Belle. - Cards are dealt. - Budd loses all of his chips. - Whit circles the table like a snake. - Whit gestures to fold. - Budd sits alone in a chair next to Greg Kinnear sleeping. - Belle drops Clay more drinks. - Chips move to Clay. - Arnold storms out. - Whit smiles. - Arnold hands over money to Clay. - Arnold hugs Clay. Clay is surprised by this. - Arnold and Clay start drinking together. Budd's upset. Clay and Arnold stumble around the house. Whit follows behind. Arnold falls on his couch. He's drunk out of his mind.</scene_description> <character>CLAY</character> <dialogue>You ready Whit?</dialogue> <scene_description>Whit is got off guard. Arnold is confused. He sinks into the couch.</scene_description> <character>ARNOLD</character> <dialogue>Who's Whit?</dialogue> <scene_description>Whit looks at Clay.</scene_description> <character>CLAY</character> <parenthetical>(thinking on his feet)</parenthetical> <dialogue>No. I said what.</dialogue> <character>ARNOLD</character> <dialogue>What?</dialogue> <scene_description>Beat.</scene_description> <character>CLAY</character> <parenthetical>(still thinking on his feet)</parenthetical> <dialogue>What?</dialogue> <scene_description>Arnold is confused. Beat.</scene_description> <character>CLAY</character> <dialogue>Well, I gotta go.</dialogue> <scene_description>Arnold sits up quickly.</scene_description> <character>ARNOLD</character> <dialogue>What?! Where you going?</dialogue> <character>CLAY</character> <dialogue>Arnold, I'm going home.</dialogue> <character>ARNOLD</character> <dialogue>I'm sorry I called you a rainman cuz of your hair.</dialogue> <character>CLAY</character> <parenthetical>(awkward)</parenthetical> <dialogue>Uh, ok, no worries man.</dialogue> <character>ARNOLD</character> <dialogue>Your haircut reminds me of Noel Gallagher and Oasis is my favorite band. I guess... I was jealous.</dialogue> <character>CLAY</character> <dialogue>That's ok.</dialogue> <scene_description>Arnold sinks back into the couch.</scene_description> <character>ARNOLD</character> <dialogue>Can you grab me a blanket?</dialogue> <character>CLAY</character> <dialogue>Oh...</dialogue> <scene_description>Clay grabs a blanket out of a basket near the couch. He gives it to Arnold, who's about to pass out. Arnold covers his body up in the blanket. Only his head is poking out. He looks like a baby.</scene_description> <character>ARNOLD</character> <dialogue>Thanks. I had fun. Goodnight.</dialogue> <scene_description>MUSIC RISES BACK UP - MONTAGE CONTINUES</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET</stage_direction> <scene_description>WIDE SHOT OF CITY STREET. ZOOM IN TO FIND CLAY AND WHIT WALKING THE STREET. - Clay and Whit laugh and jump around.</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE</stage_direction> <scene_description>- Clay stumbles out of the store with a bag. MUSIC AND MONTAGE ENDS</scene_description> </scene> <scene> <stage_direction>INT. COLE'S CAR - NIGHT</stage_direction> <scene_description>Cole is parked outside Clay's apartment. Clay stumbles to his apartment alone from Cole's POV.</scene_description> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT</stage_direction> <scene_description>Clay and Whit approach Clay's door.</scene_description> <character>COLE</character> <dialogue>Hey, where are you going?!</dialogue> <scene_description>Clay turns around to see Cole looking at him.</scene_description> <character>CLAY</character> <dialogue>What?</dialogue> <scene_description>Cole grabs Clay by the collar.</scene_description> <character>COLE</character> <dialogue>I knew this was your fucking place.</dialogue> <character>CLAY</character> <dialogue>Hey hey hey!</dialogue> <character>WHIT</character> <dialogue>What's going on?!</dialogue> <character>COLE</character> <dialogue>You like stealing my girlfriend's money do ya?</dialogue> <scene_description>Clay runs for it.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Cole catches up to Clay and tackles him to the ground. Cole gets on top of Clay and he starts choking him. Whit catches up and watches all of this.</scene_description> <character>COLE</character> <dialogue>I'm going to fucking kill you, you fucking shit.</dialogue> <character>CLAY</character> <dialogue>I'm sorry, I can explain.</dialogue> <scene_description>Clay grabs Cole's arm as Cole chokes him. Cole raises one of his arms to punch Clay. Whit's eyes widen. Cole freezes for a second. Cole's grip on Clay neck weakens. Clay is confused, then all of a sudden. BAM, Cole is pulled back into darkness. Clay gets up confused. He looks and sees no sign of Cole.</scene_description> <character>CLAY</character> <dialogue>What the fuck, where is he?</dialogue> <character>WHIT</character> <dialogue>I think we need to go inside.</dialogue> <character>CLAY</character> <dialogue>Ok.</dialogue> <scene_description>Clay and Whit run off.</scene_description> </scene> <scene> <stage_direction>EXT. SILVER LAKE - MORNING</stage_direction> <scene_description>Wide shot of Clay's neighborhood. The sun is rising.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S APARTMENT</stage_direction> <scene_description>Clay is asleep on the couch. Whit is still watching tv. Clay's phone rings. It wakes Clay up. Clay answers the phone.</scene_description> <character>CLAY</character> <parenthetical>(not all there)</parenthetical> <dialogue>Hello?</dialogue> <scene_description>Clay jostles around to find the remote. Clay turns off the tv.</scene_description> <character>WHITNEY</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Hey boo, my flight is getting delayed but just by 30 mins or so. I'll still text right before we depart.</dialogue> <character>CLAY</character> <parenthetical>(foggy)</parenthetical> <dialogue>Oh right... ok. Sure.</dialogue> <character>WHITNEY</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Jesus you sound tired. Wake up.</dialogue> <character>CLAY</character> <dialogue>Cool, wide awake now, love you.</dialogue> <character>WHITNEY</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Ok, love you too.</dialogue> <scene_description>Clay hangs up and walks to the bathroom.</scene_description> <character>WHIT</character> <dialogue>Who was that?</dialogue> <character>CLAY</character> <parenthetical>(from hallway)</parenthetical> <dialogue>My wife.</dialogue> <scene_description>Whit is stays in the living room. Clay's cat Lenny stares at Whit.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Clay is totally out of it. He's hungover again. Clay starts peeing in the toilet. He puts his hands in his jacket pocket. He pulls out a huge wad of cash. Clay is pleasantly surprised. Clay is still peeing.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay sits down at the coffee table. Whit walks up.</scene_description> <character>WHIT</character> <dialogue>I think you're cat can see and hear me.</dialogue> <scene_description>No response.</scene_description> <character>WHIT</character> <dialogue>Whats the plan today?</dialogue> <scene_description>Clay puts his head down on the table.</scene_description> <character>CLAY</character> <parenthetical>(head down on the table)</parenthetical> <dialogue>Uhhmmm. Gotta uhh... pick up Whitney from the airport and that's it.</dialogue> <character>WHIT</character> <dialogue>Are you gonna tell her about me?</dialogue> <character>CLAY</character> <parenthetical>(head on table)</parenthetical> <dialogue>No of course not.</dialogue> <character>WHIT</character> <dialogue>So I'm just gonna live here in secret?</dialogue> <scene_description>Clay picks up his head.</scene_description> <character>CLAY</character> <dialogue>Yeah, you're not living here. Funs over my man.</dialogue> <scene_description>Clay puts his head back down.</scene_description> <character>WHIT</character> <parenthetical>(angry)</parenthetical> <dialogue>What? No.</dialogue> <character>CLAY</character> <parenthetical>(head down on table)</parenthetical> <dialogue>What do you mean no? You have no choice.</dialogue> <character>WHIT</character> <dialogue>No, you're not just going to throw me away like I'm fucking trash!</dialogue> <scene_description>A glass shatters. Clay looks over and its a glass cup. Clay looks back to Whit.</scene_description> <character>CLAY</character> <dialogue>You do that?</dialogue> <character>WHIT</character> <parenthetical>(confused)</parenthetical> <dialogue>I don't think I did.</dialogue> <scene_description>Clay pauses for a beat.</scene_description> <character>CLAY</character> <dialogue>Listen, I'm not throwing you away. What I meant to say was, and I'm sorry of I wasn't being clear is, I'm not ready to have you be around 24/7 while I'm also trying to live with my wife. We need to slowly work you in on this. But we can only do that if we are both on the same page.</dialogue> <scene_description>Whit is easing up. Whit sits down.</scene_description> <character>WHIT</character> <dialogue>Right, no I see.</dialogue> <character>CLAY</character> <dialogue>So, all I'm asking for is at least a week alone. And after that, we can figure out how to slowly work you back in.</dialogue> <character>WHIT</character> <parenthetical>(unsure)</parenthetical> <dialogue>Ok.</dialogue> <character>CLAY</character> <dialogue>This will be good for you. You always have me to talk to but I wanna make sure you are not solely dependent on me being around for you to be able to enjoy yourself.</dialogue> <character>WHIT</character> <dialogue>You don't understand how hard it is to not have anyone to interact with.</dialogue> <character>CLAY</character> <dialogue>Yeah, I get that this is hard but you need to gain some independence. You need to learn how to enjoy yourself on your own and just know I will be here if you need someone to talk to.</dialogue> <scene_description>Whit is trying to take this in.</scene_description> <character>CLAY</character> <dialogue>Go out there, enjoy yourself. Sneak into a movie. Take a bus to Disneyland, spend a week there. There's so much you can do and experience that normal people can't do, enjoy yourself man.</dialogue> <scene_description>Whit takes this in.</scene_description> <character>CLAY</character> <dialogue>I have business to take care of. My publisher is on my ass about this book. Just give me a week.</dialogue> <character>WHIT</character> <dialogue>That's a long time.</dialogue> <character>CLAY</character> <dialogue>Please.</dialogue> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Clay backs out of driveway, he turns onto the street. Clay looks out the window and sees Whit standing alone. Clay waves to Whit. Whit waves back. Whit looks scared. Clay drives off. We watch Whit get smaller from the view of the back windshield.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>WIDE SHOT We see Whit walk the LA streets alone.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - DAY</stage_direction> <scene_description>Whit sits alone at the park. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN INDUSTRIAL LOS ANGELES - DUSK</stage_direction> <scene_description>Whit walks the dirty lonely streets of downtown LA. It's sad.</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN LOS ANGELES - NIGHT</stage_direction> <scene_description>Whit is walking the streets. He's painfully bored. Across the street Belle (from the poker game) and her date Charlie are walking and talking. Whit remembers her. Belle is wearing normal clothes. We get a better idea of her true casual style and personality outside the confines of a sketchy poker game.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Belle and Charlie laugh, walk and talk. Whit follows close behind them.</scene_description> </scene> <scene> <stage_direction>INT. CLAY'S KITCHEN - NIGHT</stage_direction> <scene_description>Clay hovers over his sink, peeking out the kitchen window. He scans his driveway. No one. Clay looks shook. Whitney quietly enters the room. Clay JUMPS and knocks over plates and glasses. BABE!</scene_description> <character>CLAY</character> <dialogue>Sorry!</dialogue> <scene_description>Beat.</scene_description> <character>WHITNEY</character> <dialogue>You okay?</dialogue> <character>CLAY</character> <dialogue>Yeah, I'm fine. You just spooked my ass.</dialogue> <scene_description>They start picking up the broken glass from the floor.</scene_description> <character>WHITNEY</character> <dialogue>Do we need to start buying plastic cups and plates?</dialogue> <character>CLAY</character> <dialogue>Actually, yes. Yes we do.</dialogue> </scene> <scene> <stage_direction>INT. BELLE'S KITCHEN</stage_direction> <scene_description>Belle pours a glass of wine. Charlie walks into kitchen.</scene_description> <character>CHARLIE</character> <dialogue>Your place has a familiar smell that I can't put my finger on. I really like it.</dialogue> <character>BELLE</character> <dialogue>My roommate makes candles. I'm burning one of them now.</dialogue> <character>CHARLIE</character> <dialogue>Oh cool. Is that her job?</dialogue> <scene_description>Belle pours another glass.</scene_description> <character>BELLE</character> <dialogue>Sort of. Sort of not. She's like me, she has a lot of gigs and none of them seem to pay enough by themselves. You want wine?</dialogue> <scene_description>Belle laughs.</scene_description> <character>BELLE</character> <dialogue>I guess I should of asked before I poured you a glass.</dialogue> <character>CHARLIE</character> <dialogue>I would love wine, thank you.</dialogue> <scene_description>Belle and Charlie walk into the living room. We reveal Whit lurking in the corner.</scene_description> <character>CHARLIE</character> <dialogue>Where's your roommate?</dialogue> <character>BELLE</character> <dialogue>Who knows. She travels for work but I can never keep track where she is.</dialogue> <scene_description>Belle sits on her couch. She takes off a button up shirt she was wearing as a jacket. She is very confident around Charlie. Whit can't take his eyes off of her. Charlie sits close to Belle. Theres a gap in the conversation. Charlie looks at Belle, Belle looks at Charlie and Whit looks at Belle. Charlie puts down his wine and starts making out with Belle. Whit keeps looking. Charlie stops and smiles awkwardly.</scene_description> <character>CHARLIE</character> <dialogue>Ok sorry, I have to use the restroom. Sorry, I started kissing you knowing I had to go.</dialogue> <scene_description>Belle laughs.</scene_description> <character>CHARLIE</character> <dialogue>Let me just get this out of the way first.</dialogue> <scene_description>Charlie gets up.</scene_description> <character>BELLE</character> <dialogue>Down the hallway and to the left.</dialogue> <scene_description>Charlie smiles.</scene_description> <character>CHARLIE</character> <dialogue>Thanks.</dialogue> <scene_description>Charlie walks to the bathroom. Belle sits up. She stays in a similar position. She's comfortable. Whit can't take his eyes off her. Belle starts humming a song. Whit is transfixed on her. Belle sits up and grabs her wine. She walks to the entrance of the hallway and leans on the wall with one hand on the wall. Whit follows her but not too close. Toilet flushed, the sink runs and Charlie exits the bathroom to see Belle at the end of the hallway. Charlie walks down to her and they start making out again.</scene_description> <character>BELLE</character> <dialogue>Wanna see my room?</dialogue> <character>CHARLIE</character> <dialogue>I do.</dialogue> <scene_description>Charlie and Belle walk into their room. Whit stands at the very end of the hallway, standing in the living room. We see him through the barrel of the hallway. He doesn't move right away. We hear Belle and Charlie land on the bed. Whit still stands back for a bit. Whit slowly starts walking to the room. Charlie and Belle are getting more heated.</scene_description> </scene> <scene> <stage_direction>INT. BELLE'S BEDROOM</stage_direction> <scene_description>Whit stands in the doorway. Charlie and Belle's making out has escalated. Charlie starts taking off his clothes and so does Belle. Charlie and Belle are all over each other. We focus on Whit watching. The more this escalates to full on sex, the more Whit seems uneasy. Whit steps out. CAMERA NOTE: Camera is fixed on Whit with Belle and Charlie's body slightly dirty in the frame. All nudity and sex is insinuated through dialogue and sound.</scene_description> </scene> <scene> <stage_direction>INT. BELLE'S HALLWAY</stage_direction> <scene_description>Whit takes a breather. It's a little too intense for him. Whit pauses for a beat. Belle moans a little. Whit looks over. Whit slowly steps back to see if he can stomach watching.</scene_description> </scene> <scene> <stage_direction>INT. BELLE'S BEDROOM</stage_direction> <scene_description>Whit peaks back in. He tries to stay but it proves to be too much for him.</scene_description> </scene> <scene> <stage_direction>INT. BELLE'S LIVING ROOM</stage_direction> <scene_description>Whit walks in and sits on the couch. He looks a little sick. We stay on Whit for a beat as he thinks about the situation his in. The sound of sex slows. CHARLIE:</scene_description> <character>(O.S.)</character> <dialogue>Fuck.</dialogue> <scene_description>They stop.</scene_description> <character>BELLE</character> <parenthetical>(O.S.)</parenthetical> <dialogue>What is it?</dialogue> <character>CHARLIE</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Sorry I just...</dialogue> <character>BELLE</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Trouble getting it up?</dialogue> <character>CHARLIE</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Uhh...</dialogue> <scene_description>Whit acknowledges.</scene_description> <character>WHIT</character> <dialogue>Been there pal.</dialogue> <character>CHARLIE</character> <parenthetical>(O.S.)</parenthetical> <dialogue>Sorry.</dialogue> </scene> <scene> <stage_direction>EXT. BELLE'S APARTMENT - MORNING</stage_direction> <scene_description>Charlie and Whit walk out. Both filled with shame.</scene_description> </scene> <scene> <stage_direction>EXT. CLAY'S APARTMENT - DAY</stage_direction> <scene_description>Clay and Whitney exit from their backdoor of their apartment. Clay locks the door.</scene_description> <character>CLAY</character> <dialogue>Are we driving?</dialogue> <character>WHITNEY</character> <dialogue>I actually wanted to walk there. Normally can't find parking at this farmers market any ways.</dialogue> <character>CLAY</character> <dialogue>Oh, ok, smart.</dialogue> <scene_description>Clay and Whitney start walking. They get on the sidewalk and Clay instantly sees Whit walking up. Clay is shocked. Clay instantly starts looking down.</scene_description> <character>WHIT</character> <dialogue>Clay! Hey man!</dialogue> <scene_description>Whitney and Clay get closer. Whit runs up.</scene_description> <character>WHIT</character> <dialogue>Hey man, I see you're with your wife but man I had a crazy fucking night and I think...</dialogue> <scene_description>Clay turns around, Whitney is confused.</scene_description> <character>CLAY</character> <dialogue>Actually I think I wanna drive.</dialogue> <character>WHITNEY</character> <dialogue>What?</dialogue> <character>WHIT</character> <dialogue>Where are we going?</dialogue> <character>CLAY</character> <dialogue>I forgot to tell you I hurt my leg over the weekend, I'm sorry, we need to drive.</dialogue> <character>WHITNEY</character> <dialogue>Ok.</dialogue> <character>WHIT</character> <dialogue>Shotgun! Ha, I'm joking.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY</stage_direction> <scene_description>Clay, Whitney and Whit walk to the car. Whitney gets to the front passenger side door. Whit walks to the back seat door.</scene_description> <character>WHIT</character> <dialogue>I'm gonna need help getting in.</dialogue> <scene_description>Clay gets into the driver side. Both Clay and Whitney are in the car. Whit looks into Clay's window.</scene_description> <character>WHIT</character> <dialogue>Hey man, I'm locked out.</dialogue> <scene_description>Clay starts the car.</scene_description> <character>WHIT</character> <dialogue>Hey!</dialogue> <scene_description>Clay backs out. Whit jumps out of the way. Clay pulls into the street and drives off. Whit runs out into the street. He's confused. Clay focuses on Whit in the rear view mirror. Clay is super spooked.</scene_description> <character>WHITNEY</character> <dialogue>How did you hurt your leg?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>Clay and Whitney enter their apartment with groceries.</scene_description> <character>WHITNEY</character> <dialogue>What's that smell?</dialogue> <scene_description>From inside the kitchen looking out, we see Whit standing still, looking into the apartment creepily. Clay puts down the groceries and peeks out the window. He sees Whit. Clay is weirded out.</scene_description> <character>WHITNEY</character> <dialogue>Eww!! Babe!</dialogue> <scene_description>Clay looks over and sees Whitney looking at the trash.</scene_description> <character>CLAY</character> <dialogue>What?</dialogue> <character>WHITNEY</character> <dialogue>Can you take out the trash? There's something that spoiled in here. Did you throw away a gallon of milk or something?</dialogue> <scene_description>Clay looks out to Whit and back to Whitney.</scene_description> <character>CLAY</character> <dialogue>Can I do it later?</dialogue> <scene_description>NO!</scene_description> </scene> <scene> <stage_direction>EXT. CLAY'S DRIVEWAY</stage_direction> <scene_description>Clay leaves the apartment with the full bag of trash. He slowly walks to the trash can. Whit perks up and walks with Clay.</scene_description> <character>WHIT</character> <dialogue>Hey dude, sorry, I know you can't talk with me when Whitney is around but we need to talk.</dialogue> <scene_description>Clay continues walking, he ignores Whit.</scene_description> <character>WHIT</character> <dialogue>Hey! You can talk to me now!</dialogue> <scene_description>Clay throws the trash in the bin, turns around and now starts walking back to the apartment. He pays no attention to Whit.</scene_description> <character>WHIT</character> <dialogue>What the fuck dude? HEY!</dialogue> <scene_description>Clay gets to his door, opens it and squeezes in making sure Whit doesn't get in. HEY! HEY!</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay quickly closes the door. He goes to the kitchen window. Whit heads pops up.</scene_description> <character>WHIT</character> <parenthetical>(from other side of the window)</parenthetical> <scene_description>HEY! Clay closes the curtain on him. Whitney is behind him un- bagging the groceries. Clay closes the rest of the curtains in the kitchen.</scene_description> <character>WHITNEY</character> <dialogue>You ok?</dialogue> <character>CLAY</character> <dialogue>I feel sick. I'm going to lay down.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM/ HALLWAY/ LIVING ROOM/ KITCHEN</stage_direction> <scene_description>Clay lays down. He throws a pillow over his head. The camera slowly walks out of the bedroom and into the hallway, then the living room. It's empty. We walk into the kitchen. Whitney is finishing up putting away the groceries. The camera pans over showing Whit's shadow through the curtains peeking into the through window. Pan to Whitney. Whitney walks out of the kitchen. Pan to window. Whit moves. Pan to other kitchen window. We follow Whit's shadow as he goes from window to window.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT</stage_direction> <scene_description>The sun goes down.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>Clay lies in bed with Whitney asleep right next to him. He can't sleep. He gets up out of bed.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Clay peeks out of his bedroom. He's scared. Clay walks out and carefully walks down the hallway.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Clay looks around. No one.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay walks in. No one. Clay slowly walks to the kitchen window. Looking out, we don't see Whit anywhere.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Clay sits in a dark living room lit by one lamp. He sits on the couch. He sighs. He's feeling overwhelmed. Clay grabs his laptop next to him. He opens the laptop and googles, "I see a ghost". He finds clickbait youtube videos of top 10 eeriest ghost. They are clearly fake ghost stories. He tries again. This time he googles "I can talk to the dead". A subreddit comes up the reads "We See Dead People: a community for people burdened with seeing the dead". The first post he sees is a video. Clay clicks play on the video.</scene_description> </scene> <scene> <stage_direction>VIDEO CLIP: INT. BEDROOM/ HALLWAY - NIGHT</stage_direction> <scene_description>A girl is alone in her room. We don't see her. She is holding the camera. All we see his her hand on a door. She is breathing hard.</scene_description> <character>SYDNEY</character> <dialogue>I think he's in the house now.</dialogue> <scene_description>Heavy breathing.</scene_description> <character>SYDNEY</character> <parenthetical>(frightened)</parenthetical> <dialogue>Let me show you.</dialogue> <scene_description>She cautiously opens her door. She steps out and we see a long hallway. She waits at the end of the hallway. The camera is shaking a little but we can clearly see the hallway is empty.</scene_description> <character>SYDNEY</character> <parenthetical>(scared)</parenthetical> <dialogue>Fuck, I think I hear him.</dialogue> <scene_description>Beat. Sydney takes a step down the hallway. She stops and points at the end of the hallway as if she's pointing at something, but there's nothing there.</scene_description> <character>SYDNEY</character> <parenthetical>(frantic)</parenthetical> <scene_description>THERE HE IS! THERE HE IS! Sydney starts to walk backwards. The camera is still pointed forward.</scene_description> <character>SYDNEY</character> <parenthetical>(frantic)</parenthetical> <scene_description>LEAVE ME ALONE! GET OUT OF MY... Sydney bolts back to her room as if the ghost made a move. Sydney enters the bedroom and slams the door. VIDEO ENDS.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Clay is shocked by the video. He clicks on the username who posted it "Spiritualgirl\_ceramics". Her page has her past post which includes the video we just watched and picture of ceramic cups she's posted. Clay finds a website in her bio "spiritualgirlceramics.com" Clay clicks on the site. It's just a page where she sells her ceramics. Clay clicks on the about me page. It has her email and a address, "5102 Stanley Dr."</scene_description> </scene> <scene> <stage_direction>EXT. SYDNEY'S HOUSE - DAY</stage_direction> <scene_description>We see a street curb that reads "5102" Camera zooms out to reveal Clay looking at the number on the curb. He looks up at the house it belongs to. Clay walks to the house. Clay reaches the front door. He knocks. Beat. A middle aged sort of HIPPIE GUY answers the door. She looks through the small crack in the door.</scene_description> <character>HIPPIE</character> <dialogue>Yes?</dialogue> <character>CLAY</character> <dialogue>Hi, my name is Clay and I'm looking for Sydney.</dialogue> <character>HIPPIE</character> <dialogue>What about?</dialogue> <character>CLAY</character> <dialogue>Uhh, I saw her post... online and was wondering...</dialogue> <character>HIPPIE</character> <dialogue>Is this about the ceramics?</dialogue> <scene_description>Clay doesn't know how to respond. He doesn't answer.</scene_description> <character>CLAY</character> <dialogue>Uhhh... No.</dialogue> <character>HIPPIE</character> <dialogue>Sydney died a few months ago.</dialogue> <character>CLAY</character> <dialogue>Oh. I'm sorry.</dialogue> <scene_description>Clay begins to leave. He stops.</scene_description> <character>CLAY</character> <dialogue>Could I ask what happened?</dialogue> <character>HIPPIE</character> <dialogue>She killed herself.</dialogue> <character>CLAY</character> <dialogue>I'm so sorry.</dialogue> <character>HIPPIE</character> <dialogue>It's fine. She had been struggling for about a year. Haunted by hallucinations. That's what the doctors said. Couldn't get away from him. I felt awful for her. She was a good friend.</dialogue> <character>CLAY</character> <dialogue>I see. Well I'm sorry to bother you.</dialogue> <character>HIPPIE</character> <dialogue>Let me help you.</dialogue> <character>CLAY</character> <dialogue>You can help me?</dialogue> <scene_description>He goes inside his place and returns with a card.</scene_description> <character>CLAY</character> <parenthetical>(hopeful)</parenthetical> <dialogue>What's this?</dialogue> <character>HIPPIE</character> <dialogue>It was Sydney's. Not like she could use it now.</dialogue> <scene_description>Clay looks at the card. It's a gift card to Buzz Cut Sam's Haircut Place. On the card shows a bee holding clippers with a speech bubble next to him that reads, "My name is Sam."</scene_description> <character>HIPPIE</character> <dialogue>Expires next month, so you should probably go very soon.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY - DUSK</stage_direction> <scene_description>Clay pulls up. He scans the area for Whit. Whit is nowhere.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay walks into the kitchen. Whitney is cooking. Clay instantly starts scanning the room. No Whit.</scene_description> <character>WHITNEY</character> <dialogue>Where have you been?</dialogue> <scene_description>Clay walks down the kitchen then examines the living room. No Whit.</scene_description> <character>CLAY</character> <dialogue>Uhh, the store.</dialogue> <character>WHITNEY</character> <dialogue>Which one?</dialogue> <scene_description>Clay peeks down the hallway. He's too focused on looking for Whit too give all of his attention to Whitney.</scene_description> <character>CLAY</character> <dialogue>I don't know.</dialogue> <character>WHITNEY</character> <dialogue>Ok? Well, dinners gonna be ready here soon.</dialogue> <character>CLAY</character> <dialogue>Uh, I actually feel... not so good, I'm going to lay down.</dialogue> <character>WHITNEY</character> <dialogue>What's going on? Are you ok?</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>Clay sleeps with his clothes on with a pillow over his head. Clay wakes up. Bang! Clay hears the door being closed. Clay sits up. Whitney walks into the bedroom.</scene_description> <character>CLAY</character> <dialogue>What was that?</dialogue> <character>WHITNEY</character> <dialogue>What was what?</dialogue> <character>CLAY</character> <dialogue>Do you go somewhere?</dialogue> <character>WHITNEY</character> <dialogue>No, I just took out the recycling, that was full too.</dialogue> <character>CLAY</character> <dialogue>Oh.</dialogue> <character>WHITNEY</character> <dialogue>How many beers did you drink while I was gone?</dialogue> <character>CLAY</character> <dialogue>Did you leave the door open when you left?</dialogue> <character>WHITNEY</character> <dialogue>What? No. I'm not dumb, I know how to take out the recycling and not let Lenny out.</dialogue> <scene_description>Clay sighs. He gets up and walks to the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Before entering the bathroom, Clay stares down the hallway. Nothing. It's empty. Camera looks down the hallway at Clay. The camera stays there while Clay walks into the bathroom. Camera stays still. We hear Clay's pee. Beat. A shadow walks past the camera! Toilet flushes. We hear Clay wash his hands and we see him walk to his room.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - LATER</stage_direction> <scene_description>Whitney sleeps. Clay tries to keep his eyes shut but he can't. Finally he closes them as tight as he can.</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Sleep.</dialogue> <scene_description>Pitch black. Clay opens his eyes again to reveal a silhouette of Whit standing in the doorway. Whit is still. Very creepy. Clay tries to ignore it.</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Fuck</dialogue> <scene_description>Clay turns over. He really wants to sleep through this but jumps out of bed.</scene_description> <character>WHITNEY</character> <parenthetical>(tired)</parenthetical> <dialogue>Babe! Easy.</dialogue> <scene_description>Whit is spooked. He runs down the hallway. Clay follows.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Whit is scared, waiting in the living room. Clay approaches. He closes the hallway door.</scene_description> <character>WHITNEY</character> <parenthetical>(from bedroom)</parenthetical> <dialogue>Babe!</dialogue> <character>CLAY</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>Outside! Now!</dialogue> <character>WHIT</character> <dialogue>No I'm not going outside.</dialogue> <character>WHITNEY</character> <parenthetical>(from bedroom)</parenthetical> <dialogue>Everything ok? What's going on?</dialogue> <scene_description>Clay walks into the kitchen and grabs his car keys. Clay stares at Whit.</scene_description> <character>CLAY</character> <parenthetical>(to Whitney)</parenthetical> <dialogue>I forgot something in the car I needed.</dialogue> <character>WHITNEY</character> <parenthetical>(from bedroom)</parenthetical> <dialogue>What??</dialogue> <scene_description>Clay storms out the back door he leaves the door open. Whit slowly walks to the open door and stops. Whit thinks before leaving the apartment.</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY</stage_direction> <scene_description>Clay stands next to his car. Whit walks out of the apartment.</scene_description> <character>CLAY</character> <dialogue>We need to go for a ride, man.</dialogue> <character>WHIT</character> <dialogue>That's my money too ya know?</dialogue> <character>CLAY</character> <dialogue>I'm not talking about that here. We need to go for a ride and talk this out like reasonable adults, ok?</dialogue> <scene_description>Whit thinks.</scene_description> <character>WHIT</character> <dialogue>No.</dialogue> <character>CLAY</character> <dialogue>I'm not debating you on this.</dialogue> <scene_description>Clay opens the passenger side door.</scene_description> <character>CLAY</character> <dialogue>Let's go.</dialogue> <scene_description>Whit thinks for a beat. He gives in.</scene_description> <character>WHIT</character> <dialogue>You need to close your back door first.</dialogue> <scene_description>Clay sighs and walks back to his apartment.</scene_description> <character>CLAY</character> <parenthetical>(to himself)</parenthetical> <dialogue>For the love of god.</dialogue> <scene_description>Clay arrives at the door and closes the door.</scene_description> <character>CLAY</character> <dialogue>We agreed to a week alone.</dialogue> <character>WHIT</character> <dialogue>A week was too long man.</dialogue> <scene_description>Clay and Whit walk to the car.</scene_description> <character>CLAY</character> <dialogue>We need to be reasonable and set up some realistic boundaries.</dialogue> <scene_description>They approach the car.</scene_description> <character>WHIT</character> <dialogue>Where are we going?</dialogue> <character>CLAY</character> <dialogue>You'll see, just get in.</dialogue> <scene_description>Whit pauses. Whit gives in and gets into the car. Clay shuts the door. Clay walks back to the apartment, trapping Whit in the car. Whit slowly realizes whats going on.</scene_description> <character>WHIT</character> <parenthetical>(muffled from inside car)</parenthetical> <dialogue>Clay! Clay!!! You fucking asshole... CLAY!!</dialogue> <scene_description>Clay gets in his apartment and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - LATER</stage_direction> <scene_description>Clay sits in the dark. He googles "Why can't ghosts open doors?". Clay whispers as he skims: "Transference of matter through energy. The amount of energy it takes to harness matter to turn a door knob is nearly impossible, which is why ghosts prefer to walk through walls. It takes years for many spirits to learn to harness their matter through walls."</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NEXT MORNING</stage_direction> <scene_description>Clay places a cup of coffee on Whitney's bed side table. Whitney wakes up.</scene_description> <character>CLAY</character> <dialogue>Morning.</dialogue> <character>WHITNEY</character> <dialogue>You're up early.</dialogue> <character>CLAY</character> <dialogue>You won't believe this. I got a gig working on a production up in Mammoth.</dialogue> <character>WHITNEY</character> <dialogue>Aww that's great. Through Andy?</dialogue> <character>CLAY</character> <dialogue>Yeah a friend of his is directing. It's just a couple days, but it literally starts today.</dialogue> <character>WHITNEY</character> <dialogue>Oh whoa.</dialogue> <character>CLAY</character> <dialogue>Do you mind if I take the car?</dialogue> <character>WHITNEY</character> <dialogue>No not at all. Please.</dialogue> <character>CLAY</character> <dialogue>You're sure?</dialogue> <character>WHITNEY</character> <dialogue>Yes of course. Proud of you babe.</dialogue> <character>CLAY</character> <dialogue>Love you, I'll be back in a couple days.</dialogue> </scene> <scene> <stage_direction>EXT. APARTMENT - MINUTES LATER</stage_direction> <scene_description>Clay approaches the car. Whit is yelling. Clay opens and puts his bag in the back seat and gets in.</scene_description> <character>WHIT</character> <dialogue>Uncool man! Uncool! Unacceptable!</dialogue> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Clay buckles his seat belt and starts the car.</scene_description> <character>WHIT</character> <dialogue>Unacceptable! Absolutely unacceptable what you did to me. What the fuck man?</dialogue> <character>CLAY</character> <dialogue>Listen, you're right. I owe you...</dialogue> <scene_description>Whit face turns. Beat.</scene_description> <character>WHIT</character> <dialogue>Yeah, you do owe me.</dialogue> <character>CLAY</character> <parenthetical>(stressed)</parenthetical> <dialogue>I can't talk to you in front of Whitney and if you were being just even a little considerate and reasonable you would understand that.</dialogue> <scene_description>Whit takes this in.</scene_description> <character>CLAY</character> <dialogue>Listen, this is a lot for me and I know this is a lot for you, but if you wanna have this work out, I can't have you just crash into my life like this. I need to slowly work you in. I need time to adjust.</dialogue> <character>WHIT</character> <dialogue>So what does this mean? I have to be alone in the world longer than I'm with someone I can talk to.</dialogue> <character>CLAY</character> <dialogue>Yes, for just a little longer and I can work you in as something more permanent but it will just take some time.</dialogue> <character>WHIT</character> <dialogue>I don't know man...</dialogue> <character>CLAY</character> <dialogue>I know this would be hard for you so, how about this? You have me for a week. Just me and you and after that we start the process of working you into my home life.</dialogue> <character>WHIT</character> <dialogue>When does the week together start.</dialogue> <character>CLAY</character> <dialogue>Right now. I lied to my wife and I said I have work in Mammoth and I needed the car. We spend the money we made together on a cabin. We get to spend time together and enjoy the money we made together. It's only fair.</dialogue> <character>WHIT</character> <dialogue>I don't know...</dialogue> <character>CLAY</character> <dialogue>What? This is what you wanted.</dialogue> <character>WHIT</character> <dialogue>You locked me in a fucking car all night man.</dialogue> <character>CLAY</character> <dialogue>Can't you just like sleep or some shit?</dialogue> <character>WHIT</character> <dialogue>No! I can't sleep. I can't eat. I can't jack off or any of the other shit I do that makes me feel good.</dialogue> <character>CLAY</character> <dialogue>Ok well...</dialogue> <scene_description>Whit looks at Clay. He raises his eye brows.</scene_description> <character>CLAY</character> <dialogue>I'm sorry.</dialogue> <character>WHIT</character> <dialogue>Cool, that's all I wanted to hear. Let's go pal!</dialogue> </scene> <scene> <stage_direction>INT. CAR - MOUTAIN ROADS</stage_direction> <scene_description>Clay drives. Whit sings a botched version of "Goin Up The Country" in a high pitched voice. This is a lot for Clay to take in but he's being polite. Whit stops singing.</scene_description> <character>CLAY</character> <dialogue>Hey, remember when that guy was beating my ass?</dialogue> <character>WHIT</character> <dialogue>Ha, yeah.</dialogue> <character>CLAY</character> <dialogue>Remember when he was flung off me and flew down the alley?</dialogue> <character>WHIT</character> <dialogue>No.</dialogue> <character>CLAY</character> <dialogue>How do you not remember that?</dialogue> <character>WHIT</character> <dialogue>I don't know.</dialogue> <character>CLAY</character> <dialogue>How do you remember the fight ending?</dialogue> <character>WHIT</character> <dialogue>I don't know. He just stopped.</dialogue> <character>CLAY</character> <dialogue>He was sucked off me.</dialogue> <character>WHIT</character> <dialogue>I didn't suck him off you.</dialogue> <character>CLAY</character> <dialogue>He was sucked off.</dialogue> <character>WHIT</character> <dialogue>I don't know man, when you're in the middle of a fight all you senses are heightened and maybe if felt like he was sucked off.</dialogue> <character>CLAY</character> <dialogue>Ah, ok. Remember the next day I told you you had to leave, you got mad and then a glass flew off my counter and it broke on the ground.</dialogue> <character>WHIT</character> <dialogue>I remember your cat knocked over a glass while I was mad. I'm telling you man, I think you're cat can see and hear me.</dialogue> <character>CLAY</character> <dialogue>No no, my cat didn't do that.</dialogue> <character>WHIT</character> <parenthetical>(confused)</parenthetical> <dialogue>What are you getting at?</dialogue> <scene_description>Clay is silent.</scene_description> <character>WHIT</character> <dialogue>Are you saying I did all that? I can't even take off my pants and you now think I can fling objects across the room with my mind?</dialogue> <character>CLAY</character> <dialogue>You're right, I must be crazy.</dialogue> <character>WHIT</character> <dialogue>Right.</dialogue> <scene_description>They drive in silence for a beat.</scene_description> <character>WHIT</character> <dialogue>I had an idea for you hair.</dialogue> <character>CLAY</character> <dialogue>What? Get a fucking haircut?</dialogue> <character>WHIT</character> <dialogue>No. You should bleach it.</dialogue> <character>CLAY</character> <dialogue>What? You think I should bleach it??</dialogue> <character>WHIT</character> <dialogue>Yeah.</dialogue> <scene_description>Long beat.</scene_description> <character>CLAY</character> <dialogue>That's not a bad idea.</dialogue> <scene_description>We see the first signs of snow. This catches Whit's attention.</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE - DAY</stage_direction> <scene_description>Clay and Whit look out at the snow.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN SIDE</stage_direction> <scene_description>Clay and Whit walk across the snow.</scene_description> <character>WHIT</character> <dialogue>I get why millions of people wanna leave California, but you gotta admit this is beautiful.</dialogue> <character>CLAY</character> <dialogue>Millions are leaving California?</dialogue> <character>WHIT</character> <dialogue>Well, because of taxes or something... that's what I read.</dialogue> <character>CLAY</character> <dialogue>Where did you read that?</dialogue> <character>WHIT</character> <dialogue>I heard Joe Rogan talk about.</dialogue> <character>CLAY</character> <dialogue>Joe Rogan? Did dying give you brain damage?</dialogue> <character>WHIT</character> <dialogue>No.</dialogue> <scene_description>Beat.</scene_description> <character>WHIT</character> <dialogue>I like Joe Rogan.</dialogue> <scene_description>Clay grabs his camera and takes a photo of the view. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>Whit sits alone in the car. He's calm. In the distance, a man walking aimlessly in the parking lot. This grabs Whit's attention. The man is walking like he gave up on life. He looks like a man who lost all hope. Whit looks at the man in an empathetic way. Whit checks his surroundings to see if anyone notices the man. Car door opens. It's Clay putting a 12 pack of beer in the back. Clay also has a plastic bag. Door closes. Driver side door opens, Clay enters. He looks excited.</scene_description> <character>WHIT</character> <dialogue>Can you see that man?</dialogue> <scene_description>Whit points to the man walking in the parking lot.</scene_description> <character>CLAY</character> <dialogue>Yeah I see him. Guess what I got?</dialogue> <character>WHIT</character> <dialogue>What?</dialogue> <scene_description>Clay reaches into the bag and pulls out hair bleach.</scene_description> <character>CLAY</character> <dialogue>I'm gonna do it.</dialogue> <character>WHIT</character> <dialogue>Oh cool.</dialogue> </scene> <scene> <stage_direction>EXT. MOUNTAIN CABIN RENTAL - DUSK</stage_direction> <scene_description>Clay pulls into the driveway. Clay gets out. He walks around and lets Whit out of the car. Clay grabs his beer and bags.</scene_description> </scene> <scene> <stage_direction>INT. CABIN RENTAL</stage_direction> <scene_description>Clay and Whit enter the house. It's small. Clay walks up to the kitchen and notices a binder on the kitchen table. He opens up the binder. It says, "Welcome to our Cabin". Underneath are instructions for the cabin.</scene_description> <character>WHIT</character> <dialogue>What's that?</dialogue> <character>CLAY</character> <dialogue>Instructions for the cabin.</dialogue> <parenthetical>(reads)</parenthetical> <dialogue>Make sure both sets of keys are placed back in the key-box before leaving. First aid, Flashlight and lantern in kitchen drawer... This is normally a family cabin. A lot of whats in the cabin are family heirlooms and are extremely precious to us, so please treat our belongings with the upmost respect.</dialogue> <parenthetical>(done reading)</parenthetical> <dialogue>You hear that Whit?</dialogue> <character>WHIT</character> <dialogue>Why would you leave family heirlooms in your rental cabin?</dialogue> <character>CLAY</character> <dialogue>Dumb.</dialogue> <scene_description>Beat.</scene_description> <character>CLAY</character> <dialogue>They better have a bath.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Clay drinks a beer in the bath. The house is silent. We just hear the light water noises from the bath slushing around in the tub. Clay sips his beer. It's eerie.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Whit walks down the hall into the living room. He sits and puts his head into his hands.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Clay eyes beat around as if he senses something is off in the cabin, but he doesn't quite know what it is. He takes another sip of his beer.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATER</stage_direction> <scene_description>Clay enters the living room with a beer in hand. His hair is wet and he just threw his old clothes back on. Whit is sitting on the couch looking down at the ground. The eerie feeling born from the quietness of this cabin is felt here too.</scene_description> <character>CLAY</character> <dialogue>Hey, pal.</dialogue> <scene_description>Whit looks up to see Clay.</scene_description> <character>WHIT</character> <parenthetical>(somethings off)</parenthetical> <dialogue>Oh hey dude.</dialogue> <scene_description>Beat.</scene_description> <character>CLAY</character> <dialogue>You good?</dialogue> <character>WHIT</character> <dialogue>Sorry, no, I'm good, I'm good. I just... I don't know. I just wanna let you know I appreciate this time we spend together.</dialogue> <scene_description>Clay is unsure of Whit at this moment.</scene_description> <character>CLAY</character> <dialogue>Yeah? ... good.</dialogue> <character>WHIT</character> <dialogue>Yeah, sorry, just a lot is going on right now.</dialogue> <character>CLAY</character> <dialogue>Yeah I get it.</dialogue> <character>WHIT</character> <dialogue>I mean, you don't but...</dialogue> <scene_description>Clay is thrown off by this.</scene_description> <character>CLAY</character> <dialogue>No, I mean, this is a lot to process and all and I think you need to look on the bright side that you at least get someone to talk to... like every now and again, but, you know, I understand.</dialogue> <character>WHIT</character> <parenthetical>(growing anger)</parenthetical> <dialogue>Don't say that.</dialogue> <scene_description>Awkward beat.</scene_description> <character>CLAY</character> <dialogue>Don't say what?</dialogue> <scene_description>Whit is silent. He has his head down. Clay tries again.</scene_description> <character>CLAY</character> <dialogue>Don't say what?</dialogue> <character>WHIT</character> <parenthetical>(fed up)</parenthetical> <dialogue>Don't say that you understand. You don't understand. You have no fucking clue about me and what I'm going through.</dialogue> <parenthetical>(looks Clay in the eyes)</parenthetical> <dialogue>So don't say you understand.</dialogue> <scene_description>POP! A distant metallic pop sound happens in the distance. Clay is frightened by the noise.</scene_description> <character>WHIT</character> <dialogue>What was that?</dialogue> <scene_description>Power goes out! Total darkness. We hear Clay shuffle and run into the kitchen. Bang.</scene_description> <character>CLAY</character> <dialogue>Ouch, damn it. My head</dialogue> <character>WHIT</character> <dialogue>What's going on?</dialogue> <character>CLAY</character> <dialogue>Stay away from me?</dialogue> <scene_description>Clay ruffles through the kitchen drawers.</scene_description> <character>CLAY</character> <dialogue>Where's that fucking lantern?</dialogue> <character>WHIT</character> <dialogue>Dude. Calm down.</dialogue> <scene_description>Clay finds the lantern and turns it on. It's the only light in the cabin. Whit puts his hands up in the air.</scene_description> <character>WHIT</character> <dialogue>Clay, please. I promise you that wasn't me.</dialogue> <scene_description>Clay is unsure. Clay won't take his eyes off Whit. We hold on this for a beat.</scene_description> <character>WHIT</character> <dialogue>You gotta believe me man.</dialogue> <scene_description>We hear someone jiggle the backdoor. Clay and Whit scream and hide behind the kitchen counter.</scene_description> <character>CLAY</character> <dialogue>What the fuck was that?</dialogue> <scene_description>Whit is sitting next to Clay.</scene_description> <character>WHIT</character> <dialogue>There's someone at the door, I think.</dialogue> <scene_description>Clay is confused.</scene_description> <character>CLAY</character> <dialogue>Why are you hiding?</dialogue> <scene_description>Whit thinks.</scene_description> <character>WHIT</character> <dialogue>Oh, right.</dialogue> <character>CLAY</character> <dialogue>Go see who it is.</dialogue> <character>WHIT</character> <dialogue>Smart.</dialogue> <scene_description>Whit gets up and checks. Whit peaks into the back window. Whit sees a man trying to pick the door. The man enters.</scene_description> <character>WHIT</character> <dialogue>A guy is breaking in man! You gotta hide.</dialogue> <scene_description>Clay and Whit run into the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. CABIN BEDROOM</stage_direction> <scene_description>Clay and Whit are freaked.</scene_description> <character>CLAY</character> <parenthetical>(whisper)</parenthetical> <dialogue>What should I do? Can you harness your suck off powers to get him out of here.</dialogue> <character>WHIT</character> <parenthetical>(whispers too for some reason)</parenthetical> <dialogue>Dude I can't suck that guy off! If I could I would but I don't know how I did that?</dialogue> <character>CLAY</character> <dialogue>So you admit it.</dialogue> <character>WHIT</character> <dialogue>No, I mean, okay I remember that one but it's all a blur. I don't know how I did that. You were in trouble. You needed me. I had nothing to do with the vase shit.</dialogue> <character>CLAY</character> <dialogue>I believe you man.</dialogue> <character>WHIT</character> <dialogue>Thanks pal. We gotta think of a way to scare this guy outta here.</dialogue> <scene_description>Clay thinks about that for a second.</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The man walks through the cabin with a flash light. He opens the bedroom door slowly to reveal a GHOST IN A SHEET STANDING ABOVE HIM looking like a nightmare.</scene_description> <character>GHOST</character> <dialogue>Ooga Booga.</dialogue> <scene_description>The man runs out of the bedroom. The front door slams. The ghost pulls the sheet off revealing Clay.</scene_description> <character>CLAY</character> <dialogue>Can't believe it worked.</dialogue> <character>WHIT</character> <dialogue>"Ooga Booga"?</dialogue> <character>CLAY</character> <dialogue>I was thinking on my feet.</dialogue> </scene> <scene> <stage_direction>INT. CABIN LIVING ROOM</stage_direction> <scene_description>Whit and Clay watch the man run off through the window.</scene_description> <character>WHIT</character> <dialogue>I think that worked.</dialogue> <character>CLAY</character> <dialogue>Really?</dialogue> </scene> <scene> <stage_direction>EXT. SIDE OF CABIN - LATER</stage_direction> <scene_description>It's freezing. Clay and Whit walk outside with the lantern. They see the breaker for the house with its cover opened.</scene_description> <character>WHIT</character> <dialogue>I think the guy wanted the power off to turn off the alarm system, maybe?</dialogue> <scene_description>Clay looks down and finds a small broken lock. He picks it up and examines it.</scene_description> <character>WHIT</character> <dialogue>Told ya it wasn't me.</dialogue> <scene_description>Camera holds on the broken lock in Clay's hands.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay is pacing in the kitchen on the phone. Whit watches.</scene_description> <character>CLAY</character> <parenthetical>(on phone)</parenthetical> <dialogue>So, I turn the power back on and was wondering if theres, like... an alarm system I need to reset or something.</dialogue> <character>CABIN OWNER</character> <parenthetical>(O.S.)</parenthetical> <dialogue>WHAT!? The alarm system has a battery back up. DID HE FUCK UP THE DOOR? WHAT WAS HE DOING?!</dialogue> <scene_description>Clay is shocked by the Cabin Owner's response.</scene_description> <character>CLAY</character> <dialogue>Mam, nothing hap... everything is fine. I'm just calling about...</dialogue> <character>CABIN OWNER</character> <parenthetical>(furious)</parenthetical> <character>YOU NEED TO CALL THE COPS! YOU NEED</character> <dialogue>TO FILE A REPORT AND DESCRIBE TO</dialogue> <character>THE OFFICER EXACTLY WHAT YOU SAW.</character> <dialogue>AND WHAT DO YOU MEAN THE LOCK BROKE</dialogue> <character>ON THE BREAKER?! WHAT ELSE DID HE</character> <dialogue>BREAK? DID HE...</dialogue> <scene_description>Clay moves the phone from his ear. She's manic. She won't stop. Whit does the motion with his hand of hanging up the phone.</scene_description> <character>CABIN OWNER</character> <parenthetical>(O.S.)</parenthetical> <character>HAVE THE POLICE CHECK OUT EVERY</character> <dialogue>INCH OF THE...</dialogue> <character>CLAY</character> <dialogue>Mam, I just...</dialogue> <character>CABIN OWNER</character> <parenthetical>(O.S.)</parenthetical> <character>BROKEN WINDOWS, STOLEN ITEMS AND</character> <dialogue>WHEN THE POLICE COME...</dialogue> <scene_description>Whit does the hang up motion again. Clay agrees.</scene_description> <character>CLAY</character> <parenthetical>(quick into the phone)</parenthetical> <dialogue>Sorry, it was all a prank, baba booey baba booey, nice chatting! Bye!</dialogue> <scene_description>Clay hangs. He looks at Whit in shock.</scene_description> <character>CLAY</character> <dialogue>Jesus.</dialogue> <scene_description>Beat.</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>MUSIC STARTS MONTAGE: - Clay bleaches his hair. Whit tells him the spots he's missing. - Clay dances shirtless with hair dye in his hair. He's getting more drunk. - Clay washes his dye out in the bath tub. He looks cooler. Whit approves. - Clay and Whit run outside in the snow. - Clay gets Whit to try and pick things up. - Whit and Clay have a lantern lit dance party in the living room. Clay is almost black out drunk at this point. - Clay starts doing karate during the dancing. - Clay round house kicks a vase off the table. The vase BREAKS and Clay falls back onto his ass.</scene_description> <character>WHIT</character> <dialogue>Oh shit, you ok?</dialogue> <scene_description>Clay stares out into the distances and thinks.</scene_description> <character>CLAY</character> <dialogue>Uh.... yes.</dialogue> <scene_description>Whit looks at the broken vase.</scene_description> <character>WHIT</character> <dialogue>Fuck.</dialogue> <character>CLAY</character> <parenthetical>(not totally there)</parenthetical> <dialogue>What?</dialogue> <character>WHIT</character> <dialogue>You broke the vase.</dialogue> <character>CLAY</character> <dialogue>...oh cool.</dialogue> <scene_description>Clay gets up.</scene_description> <character>CLAY</character> <dialogue>I know how to fix that.</dialogue> <scene_description>Clay stumbles to the bathroom. Whit watches. He's a little worried. Clay comes back with a towel. Clay places the towel over the broken vase.</scene_description> <character>CLAY</character> <dialogue>Problem solved.</dialogue> <character>CLAY</character> <dialogue>I think, I...</dialogue> <scene_description>Pause.</scene_description> <character>WHIT</character> <dialogue>...gonna throw up?</dialogue> <scene_description>Pause.</scene_description> <character>CLAY</character> <dialogue>I think I need to go to sleep.</dialogue> <character>WHIT</character> <dialogue>Yeah, that's a good idea.</dialogue> <character>CLAY</character> <dialogue>Yeah... ok.</dialogue> <scene_description>Clay turns and stumbles a little to his room.</scene_description> <character>CLAY</character> <dialogue>I'm gonna leave the back door open if you get bored in the morning.</dialogue> <character>WHIT</character> <dialogue>You actually don't...</dialogue> <scene_description>Clay opens backdoor.</scene_description> <character>WHIT</character> <dialogue>Ok.</dialogue> </scene> <scene> <stage_direction>INT. CABIN BEDROOM</stage_direction> <scene_description>Clay gets to his room and throws off his pants and climbs into bed. Clay gets under the covers. He takes a deep breath. He starts to acknowledge how drunk he really is. He takes a deep breath. Clay looks over to his door. He sees Whit. Whit is silhouetted in the doorway. Similar to Whit silhouetted from his bedroom back home. Clay takes this in.</scene_description> <character>WHIT</character> <dialogue>Good night.</dialogue> <scene_description>Clay looks scared. We hold on Clay for a beat.</scene_description> <character>CLAY</character> <dialogue>Good night.</dialogue> <scene_description>Clay turns away from Whit and gets ready to sleep.</scene_description> </scene> <scene> <stage_direction>INT. CABIN LIVING ROOM - NIGHT</stage_direction> <scene_description>Shot of the blanket that's covering the vase.</scene_description> </scene> <scene> <stage_direction>INT. CABIN LIVING ROOM - MORNING</stage_direction> <scene_description>Exact same shot of the blanket, but now lit by the morning light. Clay walks out of his bedroom. He is a mess, his newly dyed hair is also a mess. Clay walks out to see the back door is open and Whit is gone. Clay walks over to the blanket he looks at it.</scene_description> </scene> <scene> <stage_direction>EXT. SNOWY NEIGHBORHOOD</stage_direction> <scene_description>Whit walks around a lightly wooden area of the snow filled neighborhood. He takes it all in. Beat. Whit then looks behind him and sees his cabin. The back door is still open. He starts walking to the cabin.</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Whit walks into the cabin. He sees the attic door open. Whit walks past it to see Clay cleaning up the broken vase.</scene_description> <character>WHIT</character> <dialogue>What's going on?</dialogue> <character>CLAY</character> <dialogue>Oh, morning. I wanted to throw this crap I broke away but I feel bad. Last night was wild huh?</dialogue> <character>WHIT</character> <dialogue>Yeah really fun. Your hair looks cool man.</dialogue> <character>CLAY</character> <dialogue>Thanks.</dialogue> <character>WHIT</character> <dialogue>Thanks for this man. You're a good friend. I'm sorry for all the crap I put you through, I really am. I wanted to tell you something. I mean like I gotta get something off my chest.</dialogue> <scene_description>Clay continues sweeping the vase. He listens to Whit but wont look at him.</scene_description> <character>WHIT</character> <dialogue>I know how I died. I'm not a successful actor out here with cool unreleased projects.</dialogue> <scene_description>Clay stops sweeping. He looks at Whit.</scene_description> <character>CLAY</character> <dialogue>What happened man?</dialogue> <character>WHIT</character> <dialogue>I just... shit was good in high school ya know? Like everybody always told me I was gonna do cool shit. I moved out here with some money I saved up. I was so hopeful. I tried getting a gig waiting tables but it's competitive as fuck. I was living in my car. Broke. So I started playing Joker on Hollywood Blvd in front of Grauman's. It was really fun. I was doing Heath Ledger's joker.</dialogue> <character>CLAY</character> <dialogue>Oh man I remember you doing that all the time in high school.</dialogue> <scene_description>Whit gets emotional.</scene_description> <character>WHIT</character> <dialogue>I'm really good at it. I was killing it man. People loved me. Was making good money while doing something I love.</dialogue> <character>CLAY</character> <dialogue>But what happened?</dialogue> <character>WHIT</character> <dialogue>Well the other actors on Hollywood Blvd can be really jealous man. Especially Pennywise and Deadpool. They were always taunting me man. One night, as I was walking back to my car after washing my makeup and shit off, they beat the fuck out of me and robbed my ass.</dialogue> <character>CLAY</character> <dialogue>Pennywise and Deadpool killed you?</dialogue> <character>WHIT</character> <dialogue>The last thing I remember was Pennywise and Deadpool looking over me. I was begging them to stop. Deadpool, sick fuck, pulled a crow bar over his head and-</dialogue> <character>CLAY</character> <dialogue>You don't have to tell me anymore man. I'm so sorry. I should have been there for you. I can't believe you had to live in your car. I feel like such a dick.</dialogue> <character>WHIT</character> <dialogue>I'm not saying any of this so you'll apologize. I'm a grown man. I just feel like I should be honest with the guy I'm gonna be stuck with for who knows how long. I can't live a lie ya know? I appreciate you man. I'm happy to work whatever you want out. I'll be chill. None of that haunting stuff. No tricks or whatever. I don't wanna end up really alone aimlessly walking down the side of the highway. We just gotta communicate and be honest with each other so we know what we want and then we can keep going on like this until I go to heaven or whatever it is that's next... or until you die.</dialogue> <scene_description>Whit chuckles. Clay considers Whit's words carefully.</scene_description> <character>WHIT</character> <dialogue>I'm lucky I get to haunt you and not some tool who's still back in Fresno. I'd rather get stuck in a car for life than have to go back to Fresno.</dialogue> <scene_description>Clay finishes with the vase. He places the broom against the wall.</scene_description> <character>CLAY</character> <dialogue>Thanks Whit. You're a good guy.</dialogue> <scene_description>Whit searches Clay's eyes for something.</scene_description> <character>WHIT</character> <dialogue>Yep... Honesty man. Feels good.</dialogue> <scene_description>Clay looks away.</scene_description> <character>CLAY</character> <dialogue>I bet. Good for you.</dialogue> <character>WHIT</character> <dialogue>Are you gonna tell them you broke the vase?</dialogue> <character>CLAY</character> <dialogue>After talking to that lady last night, absolutely not. But I think you might... maybe be able to fix this, so my plan is, I'm not going to tell them it's broken or have it be somewhere they can find it, but if they ask, I can tell them where I put it, in case they wanna try and fix it.</dialogue> <character>WHIT</character> <dialogue>Oh... Smart.</dialogue> <scene_description>Clay starts climbing the attic ladder.</scene_description> <character>CLAY</character> <dialogue>My real goal is that they never ask and I never have to talk to that lady ever again.</dialogue> <character>WHIT</character> <dialogue>True.</dialogue> <scene_description>Clay goes into the attic. Whit waits in the living room. Whit stands quietly. Beat.</scene_description> <character>WHIT</character> <dialogue>What's it like up there?</dialogue> <character>CLAY</character> <parenthetical>(O.S.)</parenthetical> <dialogue>What?</dialogue> <character>WHIT</character> <dialogue>What's it like up there?</dialogue> <scene_description>Clay climbs down.</scene_description> <character>CLAY</character> <dialogue>Oh, it's just like a normal attic. Bigger than I thought.</dialogue> <character>CLAY</character> <dialogue>You can climb up, I just need to find something big down here to put in front of it.</dialogue> <character>WHIT</character> <dialogue>You're really trying to hide this thing.</dialogue> <scene_description>Whit starts climbing up in the attic.</scene_description> </scene> <scene> <stage_direction>INT. ATTIC</stage_direction> <scene_description>Whit looks and sees an empty attic. He sees the blanket ball tucked into a corner. Whit looks back to the door.</scene_description> <character>WHIT</character> <dialogue>I don't know man. This might be good enough.</dialogue> <scene_description>Nothing.</scene_description> <character>WHIT</character> <dialogue>Clay?</dialogue> <scene_description>Attic door is slammed shut.</scene_description> </scene> <scene> <stage_direction>INT. CABIN LIVING ROOM</stage_direction> <scene_description>Clay just finishes closing the attic door. Clay stares at the attic door and thinks for a second.</scene_description> <character>WHIT</character> <parenthetical>(muffled O.S.)</parenthetical> <character>CLAY! CLAY!</character> <dialogue>Clay takes a nervous deep breath. He walks to his room.</dialogue> </scene> <scene> <stage_direction>INT. CABIN BEDROOM</stage_direction> <scene_description>Clay is packing his bags.</scene_description> <character>WHIT</character> <parenthetical>(muffled O.S.)</parenthetical> <character>CLAY! CLAY! DUDE! WHAT THE FUCK ARE</character> <dialogue>YOU DOING MAN?! CLAY!</dialogue> <scene_description>Clay zips up his bag.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Clay grabs the trash out of the trash can.</scene_description> <character>WHIT</character> <parenthetical>(muffled O.S.)</parenthetical> <character>CLAY! PLEASE! CLAY! LET ME OUT MAN!</character> <dialogue>CLAAAAAY!</dialogue> <scene_description>Clay refills the trash can with a new bag. He walks to the kitchen counter and grabs the 2 keys.</scene_description> <character>WHIT</character> <parenthetical>(muffled O.S.)</parenthetical> <character>I'M FUCKING BEGGING YOU MAN GET ME</character> <dialogue>OUT! CLAY! ... CLAY!</dialogue> <scene_description>Clay walks and closes the backdoor and locks it.</scene_description> </scene> <scene> <stage_direction>EXT. CABIN</stage_direction> <scene_description>Clay walks out of the house with his bags and the trash bag. Whit's screams are now faint. Clay places his 2 keys in a key lock box. Clay walks over and drops the trash in the trash can. Clay walks to his car. Before Clay gets into his car, he looks out at the cabin. He's not fully committed to this and he thinks it over as he stares at the cabin. Clay takes another nervous deep breath. Clay throws his bags into the car and gets in.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Clay sits in the driver seat and thinks. Beat. Clay starts his car and starts pulling away. From the view of the back windshield we see us leaving the drive way. We stay on this shot as Clay drives away. Clay turns out of the drive way and now the cabin is out of view. We still stay on this shot as Clay drives away. Hold for a long beat as Clay drives. CUT TO BLACK.:</scene_description> </scene> </script>

Clay is an unemployed photographer, living in Los Angeles with his wife, Whitney. When she leaves town for a work trip, he promises he'll get out of the house and take some photos. Clay tries a get-rich-quick scheme to pay rent, staging a fake open house in his apartment. While shooting photos of a mattress spray painted with the phrase "5G killed my dog", Clay notices a man in the background and is annoyed that he is ruining the shot. Whit is pleased that Clay sees him and he insists on tagging along. The two are old friends from high school, but Clay had ignored Whit's texts when they separately moved to LA. Whit fills Clay in on his success as an actor in small indie roles. The two spend the night at Clay's house, where Whit feigns drinking alcohol and falling asleep. In the morning, Clay asks Whit to leave, but Whit insists that he cannot: he's dead, unable to open doors or hold anything, and Clay is the only person that has been able to see or hear him since becoming a ghost. Clay takes a Polaroid of Whit and becomes distressed when the photo develops and Whit is not pictured. Clay allows Whit to spend time with him while Whitney is out of town. Clay convinces Budd to bring him to a private poker game hosted by Arnold. Whit looks at everyone's cards undetected and communicates their contents to Clay. As they return home, Clay is attacked in an alley by a man he scammed at the open house. The man disappears into dust. When Whitney returns to LA, Clay asks Whit to give him a week to figure out how to integrate Whit into his life, since Whitney cannot see or hear Whit. Whit reluctantly agrees to give Clay space and follows Belle, who had been the hostess at Arnold's game, home with her date. In the morning, Clay tells Whitney that he got a job through his friend. He drives out of LA with Whit, where the two rent a cabin and attempt to devise a plan for Whit's undetected presence in Clay's life. Clay leaves the cabin door open so Whit can come and go as he pleases. During a power outage, Clay is convinced that Whit has the ability to shut the lights off and accuses him of killing the man in the alley and other poltergeist powers. In the morning, Clay hides a broken statue of the cabin owner's beloved horse in the attic. Whit expresses gratitude for Clay's friendship and confesses that he is not a successful actor: he was a street performer dressed like Heath Ledger's Joker who was beaten to death by fellow performers dressed as Pennywise and Deadpool. Clay and Whit share an awkward apology and Clay encourages Whit to check out the attic. Clay closes the attic ladder behind him. Whit, unable to escape, screams and begs Clay to let him out. Clay collects his things, gets in his car, and drives away.

The Personal History of David Copperfield_2019

tt6439020

<script> <scene> <scene_description>THE PERSONAL HISTORY OF</scene_description> <character>DAVID COPPERFIELD</character> <dialogue>Adapted from the novel by</dialogue> <scene_description>Charles Dickens Written by Simon Blackwell &amp; Armando Iannucci SHOOTING SCRIPT: JUNE - AUGUST 2018: COPYRIGHT COPPERFIELD FILMS LTD.</scene_description> </scene> <scene> <stage_direction>INT. LONDON THEATRE - EARLY EVENING</stage_direction> <scene_description>A buzzing, busy theatre. So busy that some PEOPLE stand in the aisles. DAVID, dressed smartly, walks onto a stage to applause. He goes to a reading desk, carrying a book. On the spine is: "The Personal History of David Copperfield", obscured by DAVID's hands. He's nervous, never done this before. Takes a quick, deep breath, for confidence. Puts the book on the desk. Opens it. The words on the page look fuzzy.</scene_description> <character>DAVID</character> <dialogue>Whether I turn out to be the hero of my own story...</dialogue> <scene_description>The words on the page look clearer now.</scene_description> <character>DAVID</character> <parenthetical>(more confident)</parenthetical> <dialogue>...or whether that station will be held by anybody else...</dialogue> <scene_description>On the backcloth, the outline of some buildings on the horizon: THE ROOKERY and a CHURCH.</scene_description> <character>DAVID</character> <dialogue>...these moments must show.</dialogue> <scene_description>DAVID wipes across screen. SEAMLESS CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - SALTMARSH - EVENING</stage_direction> <scene_description>We are suddenly in the middle of flat, Norfolk countryside. YOUNG HAM runs ahead. Some of the theatre still physically present in the field: lights, the front row of audience, part of the red boxes and seats. DAVID turns and walks towards the horizon. Shape of THE ROOKERY (David's Childhood Home) and a CHURCH in silhouette on the horizon. Loud sea and heavy winds heard in the distance. Swift intercutting, with build-up of music, of the following (with the occasional O.S. YELP of CLARA COPPERFIELD):</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH - KINGS STAITHE LANE - EVENING</stage_direction> <scene_description>A man in his mid-50s - PEGGOTTY's older brother, DANIEL PEGGOTTY, whizzes past on his HORSE-DRAWN CART.</scene_description> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - SALTMASH - EVENING</stage_direction> <scene_description>DR CHILLIP runs across a field.</scene_description> </scene> <scene> <stage_direction>EXT./INT. ROOKERY - EVENING</stage_direction> <scene_description>PEGGOTTY runs out of The Rookery, and then into a back-room.</scene_description> <character>PEGGOTTY</character> <dialogue>I'll be three seconds! Two! Don't fret! Peggotty's still here! One second!</dialogue> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - HORIZON - EVENING</stage_direction> <scene_description>YOUNG HAM, a boy of about nine, running, carrying a bucket.</scene_description> </scene> <scene> <stage_direction>EXT. NORFOLK - COUNTRY ROAD - EVENING</stage_direction> <scene_description>DANIEL PEGGOTTY's carriage riding down a path.</scene_description> <character>DANIEL PEGGOTTY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Keep calm, Daniel. Be quick but keep calm.</dialogue> </scene> <scene> <stage_direction>EXT. ROOKERY - EVENING</stage_direction> <scene_description>DAVID walking into The Rookery gardens, through an open gate.</scene_description> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - EVENING</stage_direction> <scene_description>The figure of BETSEY TROTWOOD appearing over the horizon.</scene_description> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - HORIZON - EVENING</stage_direction> <scene_description>YOUNG HAM now running back followed by a NURSE.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - EVENING</stage_direction> <scene_description>PEGGOTTY running through the house, carrying towels.</scene_description> <character>PEGGOTTY</character> <dialogue>Here come the towels! And here comes the baby! Oh my Lord!</dialogue> </scene> <scene> <stage_direction>EXT. ROOKERY - EVENING</stage_direction> <scene_description>DAVID now nearly at the house. MUSIC increases, a sense of ticking time. INSERTS: Running. Feet. Behind, mid-shots. Close on trundling wheels of DANIEL PEGGOTTY'S carriage.</scene_description> </scene> <scene> <stage_direction>EXT. NORFOLK - COUNTRY ROAD - EVENING</stage_direction> <scene_description>YOUNG HAM and the NURSE running towards DANIEL's carriage, getting on board.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>Up you get. Mind your shins.</dialogue> </scene> <scene> <stage_direction>EXT. ROOKERY - EVENING</stage_direction> <scene_description>BETSEY getting closer to The Rookery, larger in frame. We travel with her, towards the house.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - KITCHEN - EVENING</stage_direction> <scene_description>All intercut with shots of a grandfather clock with pendulum, getting closer to midnight. CLARA, heavily pregnant, doubling up in pain. Camera attached to the clock's pendulum as it moves back and forth, showing the Rookery interior swinging rhythmically.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - FRONT ROOM - EVENING</stage_direction> <scene_description>DAVID steps into the Rookery.</scene_description> <character>DAVID</character> <dialogue>To begin my life.....</dialogue> <scene_description>A yelp of pain from CLARA, DAVID's mother, who is bent over.</scene_description> <character>DAVID</character> <dialogue>...with the beginning of my life.</dialogue> <scene_description>BETSEY framed in the window, approaching fast. Not stopping, she presses her nose to it with a BUMP! Everyone jumps. BETSEY, with flat white nose, slowly looks about. Sees CLARA.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(muffled by the window)</parenthetical> <dialogue>Mrs David Copperfield, I think?</dialogue> <parenthetical>(glass steamed via breath)</parenthetical> <dialogue>Miss Trotwood. You've heard of her?</dialogue> <character>CLARA</character> <dialogue>Yes, I've had that pleasure.</dialogue> <scene_description>PEGGOTTY opens the door. BETSEY steps sideways from the steamed window, into the door frame.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Well now you see her.</dialogue> <scene_description>Flustered, CLARA makes a meaningless half-bow half-curtsey, and sits down. BETSEY enters, hangs up her bonnet. Lopsided. Straightens it. Does it again. As she speaks, she shifts various hats, coats and umbrellas into a more symmetrical position. Notices name-plate by the door: THE ROOKERY.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>In the name of Heaven, why Rookery?</dialogue> <character>CLARA</character> <dialogue>When my husband bought the house, he liked to think there were rooks about it.</dialogue> <scene_description>BETSEY glances about her, as if the rooks might lie in wait.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>And are there?</dialogue> <character>CLARA</character> <parenthetical>(contraction)</parenthetical> <dialogue>...Noooooooooo!</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(constantly moving things)</parenthetical> <dialogue>My brother all over! Calls a house a rookery and takes the rooks on trust! A better name would be "Gullible Manor".</dialogue> <scene_description>BETSEY sits down. PEGGOTTY's had enough. She steps between BETSEY and CLARA.</scene_description> <character>PEGGOTTY</character> <parenthetical>(to CLARA, eye-balling BETSEY)</parenthetical> <dialogue>Will this... person be stopping, Ma'am?</dialogue> <character>CLARA</character> <dialogue>Now, Peggotty...</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(incredulously)</parenthetical> <dialogue>Peggotty? You mean to say a human being has gone into a church and got herself named 'Peggotty'?</dialogue> <scene_description>Moves a china ornament - a fisherman - a fraction of an inch.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Did your mother sneeze your name when you were being christened?</dialogue> <character>PEGGOTTY</character> <dialogue>It's a normal name. And do you not think 'Trotwood' is a big glass house to be chucking stones from?</dialogue> <scene_description>PEGGOTTY moves the ornament a fraction of an inch back.</scene_description> <character>CLARA</character> <parenthetical>(in pain)</parenthetical> <dialogue>Aaargh!</dialogue> <scene_description>PEGGOTTY hurries to CLARA. BETSEY moves the fisherman again.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Aha! The girl! Here comes the girl!</dialogue> <scene_description>PEGGOTTY gets CLARA to her feet.</scene_description> <character>CLARA</character> <dialogue>Or it could be...</dialogue> <parenthetical>(mid-contraction, very low, guttural)</parenthetical> <dialogue>...a boooooooooy...</dialogue> <scene_description>PEGGOTTY and BETSEY taken aback by this noise.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>It's certain to be a girl. And I beg you to call her Betsey Trotwood Copperfield and have me as her godmother.</dialogue> <parenthetical>(gets up, points at CLARA's bump)</parenthetical> <dialogue>There must be no mistakes in life with this Betsey Trotwood. There must be no trifling with her affections, poor dear.</dialogue> <scene_description>CLARA yelps. BETSEY takes a good look at her face, moving CLARA's hair away from her eyes.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Why bless my soul, you're so young.</dialogue> <scene_description>PEGGOTTY can't support CLARA alone.</scene_description> <character>PEGGOTTY</character> <dialogue>Ham!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>'Ham'? No no. Hot water. She's birthing, not dining.</dialogue> <scene_description>YOUNG HAM appears at her elbow.</scene_description> <character>YOUNG HAM</character> <parenthetical>(to BETSEY)</parenthetical> <dialogue>I'm Ham. Ma'am. It's my nam...name.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Lunacy.</dialogue> <character>PEGGOTTY</character> <dialogue>Get the nurse and the doctor!</dialogue> <scene_description>DR CHILLIP and the NURSE arrive.</scene_description> <character>DR CHILLIP</character> <dialogue>We're here!</dialogue> <scene_description>They help CLARA upstairs. Screams.</scene_description> <character>PEGGOTTY (O.S.)</character> <dialogue>Let's get you upstairs. Hurry!</dialogue> <character>CLARA (O.S.)</character> <dialogue>Yeeees! Hurry!</dialogue> <scene_description>BETSEY sits and produces a large package of jeweller's cotton. She inserts a strand in either ear. The chair's between two potted plants, one a big geranium. But not exactly mid-way. BETSEY shifts her chair until it is. A shot of BETSEY from the PENDULUM's POV. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - FOOT OF STAIRS - NIGHT</stage_direction> <scene_description>A beat of BETSEY's POV: ears stuffed, the panic in silence as people run up and down the stairs, fetching water. She fiddles with her BROACH. The clock, approaching midnight. HAM has gone.</scene_description> <character>DAVID</character> <parenthetical>(hidden away in a corner)</parenthetical> <dialogue>...I record that I was born on a Friday, at twelve o'clock at night.</dialogue> <scene_description>PEGGOTTY runs down signalling to BETSEY. BETSEY uncorks her ears. We hear mayhem, shouts, and a BABY. The clock chiming midnight, in perfect rhythm to the BABY DAVID's cries.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(getting up)</parenthetical> <dialogue>How is she?</dialogue> <scene_description>She starts walking towards PEGGOTTY, who legs it back upstairs as DR CHILLIP, flushed, comes down.</scene_description> <character>DR CHILLIP</character> <dialogue>As comfortable as we can expect a young mother to be.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>No - she. How is she? The baby?</dialogue> <character>DR CHILLIP</character> <dialogue>It's a boy, ma'am. I'm happy to congratulate-</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(walking towards CHILLIP)</parenthetical> <dialogue>Why congratulate? Is the boy the first of twins with his sister being born as we speak?</dialogue> <character>DR CHILLIP</character> <dialogue>Er...</dialogue> <scene_description>DR CHILLIP shakes his head. BETSEY grabs her bonnet and looks like she may hit DR CHILLIP hard with it. Thinks better of it off PEGGOTTY's look, exits, still with one long piece of cotton dangling from her ear. PEGGOTTY reappears and, almost in one move, rearranges the coats etc as they were. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRYSIDE - HORIZON - NIGHT</stage_direction> <scene_description>WIDE on BETSEY walking off, at speed.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - BABY DAVID'S POV - DAY</stage_direction> <scene_description>Sounds of the BABY DAVID gurgling. Screen fills with light. Gradually, indistinct shapes appear. Over these, we can, on occasion, vaguely see DAVID and BABY DAVID's hands, and the edge of a crib. Suddenly CLARA's face comes in close, blowing a raspberry.</scene_description> <character>PEGGOTTY</character> <dialogue>Look at you, Baby Davy. Face like a peach. I'm very fond of peaches.</dialogue> <scene_description>She playfully leans in, as if to eat him. We briefly see DAVID:</scene_description> <character>DAVID</character> <dialogue>I remember Peggotty's rough fingers, like a pocket nutmeg- grater...</dialogue> <scene_description>C/U of PEGGOTTY's huge coarse fingers. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ROOKERY - YARD - DAY (CONTINUOUS)</stage_direction> <scene_description>A flow of images from FOUR-YEAR-OLD DAVID's POV; indistinct, fuzzy. Trees, a garden, a box with St Paul's on the lid. FOUR-YEAR-OLD DAVID peeks through the spindly legs of hugely tall hens. A strange hedge. FOUR-YEAR-OLD DAVID fighting it with an oversized toy sword.</scene_description> </scene> <scene> <stage_direction>INT/EXT. ROOKERY - LANDING/CHURCHYARD - DAY</stage_direction> <scene_description>DAVID inside, at the window. From his POV we see the church, and distant gravestones. Trees seem to bend over it, like giants. As he speaks, FOUR-YEAR-OLD DAVID joins him.</scene_description> <character>DAVID (O.S.)</character> <dialogue>I see my father's gravestone, shadowed by trees bending to one another in the wind, like giants whispering secrets...</dialogue> </scene> <scene> <stage_direction>INT. ROOKERY - PARLOUR - DAY (CONTINUOUS)</stage_direction> <scene_description>The lights dim, a winter fire in the parlour. FOUR-YEAR-OLD DAVID, and PEGGOTTY in a corner of the room.</scene_description> <character>FOUR-YEAR-OLD DAVID</character> <parenthetical>(reading to PEGGOTTY)</parenthetical> <dialogue>The crocodile can be found in Africa, the Americas and Australia.</dialogue> <scene_description>A CROCODILE scuttles out the door; stop-frame paper/wooden animation.</scene_description> <character>PEGGOTTY</character> <dialogue>What a remarkable vegetable.</dialogue> <character>FOUR-YEAR-OLD DAVID</character> <parenthetical>(laughing)</parenthetical> <dialogue>Not vegetable! Reptile!</dialogue> <character>PEGGOTTY</character> <dialogue>So I said. One of them. What a world of gammon and spinnage it is!</dialogue> <scene_description>Stood by the window, DAVID looks to CLARA, who sits now with YOUNG DAVID, and PEGGOTTY.</scene_description> <character>YOUNG DAVID</character> <parenthetical>(to CLARA)</parenthetical> <dialogue>A world of gammon and spinnage!</dialogue> <scene_description>CLARA writes it down. YOUNG DAVID copies her.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - PANTRY - DAY (CONTINUOUS)</stage_direction> <scene_description>The figure of MURDSTONE approaches. PEGGOTTY picks up a basket of washing.</scene_description> <character>PEGGOTTY</character> <dialogue>The gentleman is here, ma'am, with the black hair and particular manner, who walked home with you from church last Sunday.</dialogue> <scene_description>MURDSTONE comes through the doorway, a big towering figure, carrying a RIDING CROP. CLARA immediately delighted.</scene_description> <character>MURDSTONE</character> <parenthetical>(re a plant by the door, pulling a bit off)</parenthetical> <dialogue>Now, is this your famous geranium?</dialogue> <parenthetical>(spotting DAVID)</parenthetical> <dialogue>Ah, and you must be the man of the house?</dialogue> <character>YOUNG DAVID</character> <dialogue>I am a boy, sir.</dialogue> <scene_description>YOUNG DAVID holds on to CLARA, with his right hand.</scene_description> <character>MURDSTONE</character> <dialogue>Dear boy. Come! Shake hands!</dialogue> <scene_description>MURDSTONE has thick black hair in his ears. His hand, with signet ring, looms huge. YOUNG DAVID goes to shake it, but with his left hand.</scene_description> <character>MURDSTONE</character> <parenthetical>(loud, mocking)</parenthetical> <dialogue>That's the wrong hand, boy!</dialogue> <scene_description>YOUNG DAVID sticks with his left hand. Extends it even further.</scene_description> <character>MURDSTONE</character> <parenthetical>(drops his hand, with a look to CLARA)</parenthetical> <dialogue>Maybe your way will catch on. You're a brave fellow.</dialogue> <scene_description>YOUNG DAVID stares at MURDSTONE's hand. CLARA gives PEGGOTTY a conspiratorial nod. PEGGOTTY understands. She still holds the washing basket. Putting it down, we now see it's a CRAN full of HERRING. She takes YOUNG DAVID's hand.</scene_description> <character>PEGGOTTY</character> <dialogue>Davy, my sweet little pudden, let me take you to Yarmouth. My brother can drive us...</dialogue> <scene_description>A SAILOR walks by with a LARGE FISH.</scene_description> <character>YOUNG DAVID</character> <dialogue>"Yar-muth?"</dialogue> <scene_description>The walls of the house fall, like tarpaulin, that is picked up by FISHERMEN, establishing Yarmouth Harbour, where we suddenly are:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH HARBOUR SIDE - DAY (CONTINUOUS)</stage_direction> <scene_description>A 16-year-old young woman - EMILY - is among a group of other WOMEN standing at a long workbench, gutting herring. Hard, messy work. EMILY seems broken down by her tough job. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH ROAD - DAY</stage_direction> <scene_description>A cart, driven by DANIEL PEGGOTTY. YOUNG DAVID and PEGGOTTY are beside him surrounded by the flat NORFOLK LANDSCAPE.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>Look at all that sky Davy boy! Too much sky even for a bird.</dialogue> <character>YOUNG DAVID</character> <parenthetical>(wriggling, never still)</parenthetical> <dialogue>If the world is really as round as my geography book says it is, how can this bit of it be so flat?</dialogue> <character>PEGGOTTY</character> <dialogue>It's not to your liking, Davy?</dialogue> <character>YOUNG DAVID</character> <dialogue>I certainly think it might be improved by a small hill.</dialogue> <scene_description>They drive over a small bump.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>That do you?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH HARBOUR SIDE - DAY</stage_direction> <scene_description>We're into town. A busy harbour. As HAM arrives, now a young man in his late teens, EMILY pulls off her apron.</scene_description> <character>EMILY</character> <dialogue>It's 4. I'm done gutting.</dialogue> <scene_description>She walks off. A few moments later, DANIEL PEGGOTTY's cart pulls up beside HAM.</scene_description> <character>PEGGOTTY</character> <parenthetical>(Leaps off, hugs HAM)</parenthetical> <dialogue>My Ham! I turn my back and you sprout like a beanstalk!</dialogue> <character>HAM</character> <dialogue>I'd forgotten how hard you squeeze, Peggotty. You'll have the marrow out my bones.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>She's a human mangle that woman. Master Davy, this is Ham. Ham, Master Davy!</dialogue> <character>YOUNG DAVID</character> <dialogue>Pleased to meet you, Ham.</dialogue> <character>HAM</character> <dialogue>Likewise.</dialogue> <character>PEGGOTTY</character> <dialogue>Is Emily here?</dialogue> <character>HAM</character> <dialogue>No, it's 4-</dialogue> <character>HAM</character> <dialogue>-She's done gutting.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Ah, she's done gutting.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH - DEVIL'S ALLEY - DAY</stage_direction> <scene_description>All smiles - HAM, with YOUNG DAVID on his back, walks PEGGOTTY, DANIEL PEGGOTTY and the luggage under an archway, down a little lane, and onto...</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH CLIFFTOP / BEACH - DAY</stage_direction> <scene_description>Vast blue skies and flat shingle, sharp in the Norfolk light.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>That's where we all live, Davy.</dialogue> <scene_description>DANIEL PEGGOTTY points to an UPTURNED BOAT on the beach. Smoke comes from a funnel in the roof. A couple more BOATHOUSES sit further up the beach.</scene_description> <character>HAM</character> <dialogue>Look at that. It's no mansion.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>It's a downside-upside capsized boat.</dialogue> <scene_description>YOUNG DAVID grins, jumps down.</scene_description> <character>YOUNG DAVID</character> <dialogue>It's Aladdin's Palace! We'll be like spiders trapped under a teacup!</dialogue> <scene_description>He runs towards the boathouse.</scene_description> <character>PEGGOTTY</character> <dialogue>Digs for joy that boy, finds it too.</dialogue> <character>HAM</character> <dialogue>But can he pick crabs out a bucket without losing a finger?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOATHOUSE - DAY</stage_direction> <scene_description>Feels enormous. Table, framed biblical scenes. From a former bench hangs an oil lamp. Boat's wheel is a clothes airer.</scene_description> <character>PEGGOTTY</character> <dialogue>Davy...</dialogue> <scene_description>PEGGOTTY pulls across a curtain and reveals a small whitewashed room with a bed, a little window, a mirror framed with oyster-shells. Clean, bright, perfect.</scene_description> <character>YOUNG DAVID</character> <dialogue>Peggotty! This is the most desirable bedroom I've ever seen!</dialogue> <character>PEGGOTTY</character> <dialogue>Desirable! I love your words Davy.</dialogue> <scene_description>DANIEL PEGGOTTY is behind them with EMILY and HAM.</scene_description> <character>EMILY</character> <parenthetical>(to YOUNG DAVID)</parenthetical> <dialogue>Peggotty says your mother's a lady.</dialogue> <character>PEGGOTTY</character> <dialogue>Emily! Too bold by half.</dialogue> <character>YOUNG DAVID</character> <parenthetical>(aside, to DANIEL PEGGOTTY)</parenthetical> <dialogue>Are Ham and Emily your children?</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Adopted. Both their fathers were drownded.</dialogue> <scene_description>In an armchair in the corner, knitting, sits MRS GUMMIDGE.</scene_description> <character>MRS GUMMIDGE</character> <parenthetical>(re DAVID)</parenthetical> <dialogue>Oh, Ham! Not another mouth to feed! Let me die and be a riddance!</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Come now Mrs G, your funeral would be a far greater nuisance than an extra place at the table!</dialogue> <character>YOUNG DAVID</character> <parenthetical>(to PEGGOTTY, re MRS G)</parenthetical> <dialogue>Is she upset?</dialogue> <character>PEGGOTTY</character> <parenthetical>(quietly)</parenthetical> <dialogue>That's Mrs Gummidge. Her husband was drownded too.</dialogue> <scene_description>PEGGOTTY hands MRS GUMMIDGE fish and potatoes.</scene_description> <character>PEGGOTTY</character> <dialogue>How's that then? You can't complain about a nice bit of kipper.</dialogue> <character>HAM</character> <dialogue>You just watch her.</dialogue> <character>MRS GUMMIDGE</character> <dialogue>The potatoes are burnt like coals...</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Here she goes...</dialogue> <character>MRS GUMMIDGE</character> <dialogue>These taters could be my last.</dialogue> <character>EMILY</character> <dialogue>Can I go out on the beach, uncle?</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>You done your gutting?</dialogue> <character>EMILY</character> <dialogue>Yes, I've done my gutting.</dialogue> <character>HAM</character> <dialogue>There's a lot of gutting to do... Fish go off, you know.</dialogue> <scene_description>EMILY shoots him a 'thanks for nothing' look.</scene_description> <character>EMILY</character> <dialogue>I've been gutting fish since dawn.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Go on then. But take young Davy with ya.</dialogue> <character>HAM</character> <dialogue>Quickly, mind, we should be getting on with the next batch.</dialogue> <character>YOUNG DAVID</character> <parenthetical>(as they leave)</parenthetical> <dialogue>What's gutting?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. FENLAND - DAY.</stage_direction> <scene_description>Wide on YOUNG DAVID and EMILY. YOUNG DAVID picking up bits of ferns/a stick.</scene_description> <character>EMILY</character> <dialogue>Is your mother really a lady?</dialogue> <character>YOUNG DAVID</character> <dialogue>Yeah, I think so.</dialogue> <character>EMILY</character> <dialogue>Does she attend to her correspondence and receive callers in the drawing room?</dialogue> <character>YOUNG DAVID</character> <dialogue>I don't know.. A gentleman with big hands calls to admire our geranium.</dialogue> <character>EMILY</character> <dialogue>I should like to become a lady.</dialogue> <character>YOUNG DAVID</character> <dialogue>He had two eyebrows. I say eyebrows, rather than eyes, because they're much more important in his face.</dialogue> <character>EMILY</character> <parenthetical>(what?)</parenthetical> <dialogue>Yes...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - DAY (CONTINUOUS)</stage_direction> <scene_description>YOUNG DAVID and EMILY leave the boathouse together. Later. EMILY skimming stones across the water's surface, expertly. YOUNG DAVID impressed, excited, nervous.</scene_description> <character>YOUNG DAVID</character> <dialogue>I like the seaside very much.</dialogue> <character>EMILY</character> <dialogue>The sea is cruel and brutish. I've seen it tear a boat as big as our house all to pieces.</dialogue> <scene_description>She skims a stone. YOUNG DAVID, more awkward, carries on.</scene_description> <character>YOUNG DAVID</character> <dialogue>I hope it wasn't the boat that your father was drownded in?</dialogue> <character>EMILY</character> <dialogue>'Drowned'. Uncle says 'drownded' and he's wrong. It's a silly, Yarmouth way of speaking. The word is drowned.</dialogue> <character>YOUNG DAVID</character> <parenthetical>(gabbling now)</parenthetical> <dialogue>I never saw my father. He's... normal dead. My mother and I and Peggotty are by ourselves. But in the happiest state imaginable.</dialogue> <scene_description>Tries to skim a stone. He's rubbish, ends up accidentally flinging it behind him instead of out to sea. He attempts to skim again. Terrible - it hits the shingle, doesn't even make the water. SEAMLESS CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH HARBOUR SIDE - DAY (CONTINUOUS)</stage_direction> <scene_description>A busy harbour, boats creaking in the high wind. MEN unload fish. WOMEN work at the long workbench, gutting herring. YOUNG DAVID and EMILY walk along.</scene_description> <character>YOUNG DAVID</character> <dialogue>Seems a fair life, to work on a boat, or in the harbour.</dialogue> <character>EMILY</character> <dialogue>Your hands get red raw and you can't ever - ever - escape the smell.</dialogue> <character>YOUNG DAVID</character> <parenthetical>(distracted by the boats)</parenthetical> <dialogue>Your hands... have nice skin.</dialogue> <scene_description>Then suddenly...</scene_description> <character>EMILY</character> <dialogue>Look! Look at this, Davy!</dialogue> <scene_description>EMILY is already climbing up a mast, near to the top. If she falls she'll be crushed between boats.</scene_description> <character>EMILY</character> <dialogue>You can see past Yarmouth.</dialogue> <scene_description>From EMILY's height, we see the FLAT NORFOLK COUNTRYSIDE. HAM is below, concerned and angry.</scene_description> <character>HAM</character> <dialogue>Come down! You'll smash in twenty pieces if you slip off there.</dialogue> <character>EMILY</character> <dialogue>I'm not scared!</dialogue> <character>HAM</character> <dialogue>I know. But come down! Uncle and Peggotty are asking for us.</dialogue> </scene> <scene> <stage_direction>EXT. BOATHOUSE - DAY</stage_direction> <scene_description>YOUNG DAVID with HAM and EMILY, crossing the shingle.</scene_description> <character>EMILY</character> <dialogue>You won't mention the mast, will you?</dialogue> <character>HAM</character> <dialogue>No, I won't mention it.</dialogue> <character>YOUNG DAVID</character> <dialogue>It was very high.</dialogue> <character>EMILY</character> <dialogue>It's not high. Nowhere is high around here.</dialogue> </scene> <scene> <stage_direction>INT. BOATHOUSE - DAY (CONTINUOUS)</stage_direction> <scene_description>YOUNG DAVID enters with HAM and EMILY to a cheer. DANIEL and PEGGOTTY grinning. Cakes and beer - a celebration.</scene_description> <character>HAM</character> <parenthetical>(beaming, to EMILY)</parenthetical> <dialogue>I told them. What we decided between us. Our 'news'.</dialogue> <character>EMILY</character> <dialogue>Getting engaged.</dialogue> <character>HAM</character> <dialogue>Getting engaged, yeah.</dialogue> <character>EMILY</character> <dialogue>Just say getting engaged, Ham.</dialogue> <character>HAM</character> <dialogue>We're uh, we're engaged.</dialogue> <character>EMILY</character> <dialogue>Are you happy for us, uncle?</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Happy? I'm happy as a dog with two bones!</dialogue> <scene_description>They think he's finished. PEGGOTTY is about to speak but-</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>-And! And as his owner who discovers the hole the bones were dug from is full of gold watches and money!</dialogue> <scene_description>PEGGOTTY rushes past and hugs HAM.</scene_description> <character>PEGGOTTY</character> <dialogue>You two engaged to be married. Oh Lord, I'm going to cry.</dialogue> <scene_description>She hugs HAM. Then PEGGOTTY starts dancing with YOUNG DAVID, and HAM starts dancing with EMILY.</scene_description> <character>YOUNG DAVID</character> <dialogue>Everybody should get married!</dialogue> <scene_description>C/U on smiling YOUNG DAVID, smiling PEGGOTTY, smiling DANIEL PEGGOTTY, smiling EMILY, smiling HAM. Then, MRS GUMMIDGE:</scene_description> <character>MRS GUMMIDGE</character> <dialogue>Let me die, as a favour to myself.</dialogue> <scene_description>Suddenly: A SHADOW looming, and then RUMBLING from the roof of the boathouse. It begins to shake. Looking up, we see the wood splintering, the boathouse beginning to tear and split. Everyone watches, debris falling on them. DAYLIGHT shines through the hole. Close on YOUNG DAVID. The roof now seems to be made partly of paper. Some MASSIVE FINGERS come in through the hole. The characters now appear to be frozen in happy party-mode as life-sized drawings, but in their clothes. Some bits of paper fall around them. The boathouse is made entirely of paper. The full HAND (with SIGNET RING) of MURDSTONE coming through the roof. The life- size paper people now appear to have been drawn by a child.</scene_description> <character>MURDSTONE (O.S.)</character> <dialogue>Hello, what have you got there?</dialogue> <scene_description>SEAMLESS CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - LANDING / KITCHEN - DAY (CONTINUOUS)</stage_direction> <scene_description>From YOUNG DAVID's POV, MURDSTONE reaches down and picks up the drawing. YOUNG DAVID, on the floor with his toys and books, has been drawing boathouses. On other pieces of paper he's written words and phrases he heard in Yarmouth.</scene_description> <character>MURDSTONE</character> <dialogue>A house made from a boat? Draw a boat, or draw a house, none of this nonsense!</dialogue> <scene_description>CLARA behind MURDSTONE: weaker, sheepish.</scene_description> <character>PEGGOTTY</character> <parenthetical>(to CLARA)</parenthetical> <dialogue>Mrs Copperfield - is it all...? Is that a new ring or your proper one?</dialogue> <character>CLARA</character> <parenthetical>(unconvincing happiness)</parenthetical> <dialogue>Yes! You must congratulate me!</dialogue> <scene_description>PEGGOTTY does not do so.</scene_description> <character>CLARA</character> <dialogue>You've got a Pa, David! A new one.</dialogue> <scene_description>Astonished and upset, YOUNG DAVID glances round for him.</scene_description> <character>YOUNG DAVID</character> <dialogue>A new Pa?</dialogue> <character>MURDSTONE</character> <dialogue>Your mother and I are now married.</dialogue> <character>PEGGOTTY</character> <dialogue>I meant to tell you sooner Davy...</dialogue> <scene_description>YOUNG DAVID glances out the window to the churchyard - his expression changes as, a moment later, the CHURCH and his FATHER'S GRAVESTONE are next to the window, as if looking in. PEGGOTTY goes towards YOUNG DAVID, MURDSTONE blocks.</scene_description> <character>MURDSTONE</character> <parenthetical>(sotto, to PEGGOTTY)</parenthetical> <dialogue>You addressed my wife by a surname that is not hers. She is now Mrs Murdstone. Will you remember that?</dialogue> <scene_description>PEGGOTTY gives a curtsey of loathing as we hear the front door, and they head downstairs: MISS JANE MURDSTONE, Murdstone's sister, has arrived. PEGGOTTY helps a COACHMAN with the luggage: black boxes, with the initials JM on the lids in brass nails. JANE pays out of a hard steel purse that clicks loudly.</scene_description> <character>MURDSTONE</character> <dialogue>My sister, Jane Murdstone. My wife, Clara Murdstone.</dialogue> <scene_description>PEGGOTTY hushes YOUNG DAVID before he speaks out...</scene_description> <character>MISS MURDSTONE</character> <dialogue>A fair choice. I regret I missed the wedding, and the chance to meet you at the peak of your beauty.</dialogue> <scene_description>CLARA curtseys... waits for MURDSTONE to introduce Davy, who watches her from the foot of the stairs. He does not. CLARA pushes DAVID forward.</scene_description> <character>MISS MURDSTONE</character> <dialogue>A boy? I presume it is named?</dialogue> <character>YOUNG DAVID</character> <dialogue>I am David, Miss Murdstone. Pleased to meet you.</dialogue> <character>MISS MURDSTONE</character> <parenthetical>(fake-smile)</parenthetical> <dialogue>My question was not directed at you, child.</dialogue> <parenthetical>(to MURDSTONE, no smile)</parenthetical> <dialogue>Wants manners.</dialogue> <scene_description>She picks up the china fisherman, looks at it, and then to MURDSTONE. Puts it back down. CLARA hovers; a look of "told you so" from PEGGOTTY.</scene_description> <character>PEGGOTTY</character> <dialogue>Can I help you at all, Miss?</dialogue> <character>MISS MURDSTONE</character> <dialogue>No.</dialogue> <parenthetical>(to CLARA)</parenthetical> <dialogue>If you'll be so good as to give me your keys, my dear.</dialogue> <scene_description>CLARA gets them from her purse. Gives them to MISS MURDSTONE, who moves off. PEGGOTTY, aghast, follows. CLARA embraces YOUNG DAVID.</scene_description> <character>CLARA</character> <dialogue>Please, David. Love your new father and be obedient to him.</dialogue> <character>YOUNG DAVID</character> <dialogue>Why are you whispering and saying this so hurriedly and secretly, as if it's wrong?</dialogue> <scene_description>She puts her hand in his, and leads him into the parlour, their hands behind YOUNG DAVID's back so as not to be seen.</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - PARLOUR - DAY (CONTINUOUS)</stage_direction> <scene_description>JANE opens and shuts cupboards, using the keys. Sniffs one. Doesn't like it. PEGGOTTY trailing behind her.</scene_description> <character>MURDSTONE</character> <dialogue>The parlour's rather bright.</dialogue> <character>MISS MURDSTONE</character> <dialogue>I'll take care of it.</dialogue> <parenthetical>(to PEGGOTTY)</parenthetical> <dialogue>You have a man secreted somewhere about the place, do you not?</dialogue> <character>PEGGOTTY</character> <dialogue>No, Madam! Who keeps a man in a cupboard? What's in it for him?</dialogue> <scene_description>JANE makes her way back towards the china fisherman.</scene_description> <character>CLARA</character> <parenthetical>(starts to cry)</parenthetical> <dialogue>Am I not to be consulted on decoration? In my own house...</dialogue> <character>MURDSTONE</character> <dialogue>"My own house"? Clara?</dialogue> <character>CLARA</character> <dialogue>Our own house, I mean...</dialogue> <scene_description>Tense stillness. Then a burst of energy: MISS MURDSTONE picks up her bag, drops the keys on the floor.</scene_description> <character>MISS MURDSTONE</character> <dialogue>It's clear my status in this house is lower than I anticipated. I shall go immediately.</dialogue> <character>MURDSTONE</character> <dialogue>Jane Murdstone, be silent!</dialogue> <scene_description>YOUNG DAVID picks the keys up. MURDSTONE snatches them off him, without even looking down. Gives them to JANE. She puts the keys away, and her bag down.</scene_description> <character>MURDSTONE</character> <parenthetical>(calm, to MISS MURDSTONE)</parenthetical> <dialogue>It is not my fault so unusual an occurrence has taken place tonight.</dialogue> <character>MISS MURDSTONE</character> <dialogue>Let us both try to forget it. Boy, up to bed this instant!</dialogue> <scene_description>YOUNG DAVID, close to tears, is ushered out by PEGGOTTY. The door shuts on us. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - FOOT OF STAIRS / PANTRY - DAY</stage_direction> <scene_description>A rainy morning. YOUNG DAVID and PEGGOTTY watch MISS MURDSTONE through the open door. Dressed in a black velvet gown she's still opening and slamming cupboards.</scene_description> <character>PEGGOTTY</character> <dialogue>She looks like she's made of wax.</dialogue> <character>YOUNG DAVID</character> <dialogue>Or Dutch cheese.</dialogue> <scene_description>Muffled laughter from them.</scene_description> <character>PEGGOTTY</character> <dialogue>Is she searching for somewhere secret to sleep, so she can jump out and terrify us?</dialogue> <character>YOUNG DAVID</character> <dialogue>I reckon she doesn't sleep. She just... hangs. Like a bat.</dialogue> <scene_description>He impersonates Miss Murdstone as a bat, 'wings' folded, teeth biting lower lip. PEGGOTTY stifles a laugh.</scene_description> <character>YOUNG DAVID</character> <parenthetical>(as the "bat")</parenthetical> <dialogue>"I presume it is named?"</dialogue> <scene_description>Suddenly MR MURDSTONE is behind them. CLARA smiling beside him.</scene_description> <character>MURDSTONE</character> <dialogue>Davy, boy. Time for your lesson.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - PARLOUR / STAIRWELL - DAY</stage_direction> <scene_description>CLARA reading at her desk, MURDSTONE in an armchair by the window, MISS MURDSTONE stringing noisy steel beads. They stare at YOUNG DAVID, standing up reciting his lesson.</scene_description> <character>YOUNG DAVID</character> <dialogue>...and verbs have two voices: one, active; two... er...</dialogue> <scene_description>CLARA closes her book, and tries to mouth the word 'passive'. CLARA!:</scene_description> <character>MURDSTONE</character> <parenthetical>(instant)</parenthetical> <dialogue>Jane!</dialogue> <scene_description>YOUNG DAVID focuses on the beads. CLINKING. The CLOCK ticking unbearably loudly.</scene_description> <character>MISS MURDSTONE</character> <dialogue>We should switch to a less enjoyable activity.</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <character>CLARA</character> <dialogue>Oh, Davy, Davy!</dialogue> <character>MURDSTONE</character> <dialogue>Don't say, "Oh, Davy, Davy." He either knows his lesson, or he does not.</dialogue> <character>MISS MURDSTONE</character> <dialogue>He does not.</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <scene_description>MURDSTONE goes to the bookshelf, takes the crocodile book, flings it at YOUNG DAVID's head. Dodges. It hits the floor.</scene_description> <character>MURDSTONE</character> <dialogue>Pick it up. Read it to me.</dialogue> <scene_description>YOUNG DAVID opens it. The words look normal, but each time we see the book they're out of order, gibberish, or only a few on the page, some on the floor. YOUNG DAVID can't speak. Looks at MURDSTONE, who has a stray letter on his face.</scene_description> <character>YOUNG DAVID</character> <dialogue>Sorry, sir. The words have skates on and skim away. I'm very stupid.</dialogue> <scene_description>He looks to CLARA. She shakes her head.</scene_description> <character>MISS MURDSTONE</character> <dialogue>You'd soon as teach the furniture.</dialogue> <character>MURDSTONE</character> <dialogue>Jane Murdstone, silence!</dialogue> <character>CLARA</character> <dialogue>Not 'stupid', perhaps, just-</dialogue> <character>MURDSTONE</character> <dialogue>Clara Murdstone, silence!</dialogue> <character>YOUNG DAVID</character> <parenthetical>(innocent, instinctively)</parenthetical> <dialogue>Clara Copperfield, Sir!</dialogue> <scene_description>A terrible hush. MURDSTONE takes a cane from the bookshelf.</scene_description> <character>CLARA</character> <dialogue>Edward! No, please...</dialogue> <character>MURDSTONE</character> <dialogue>Clara!</dialogue> <scene_description>YOUNG DAVID backs up to a wall, cornered by MURDSTONE. Taking YOUNG DAVID's arm, MURDSTONE leads him towards the door. CLARA runs towards them. MISS MURDSTONE stops her.</scene_description> <character>MISS MURDSTONE</character> <dialogue>Let your husband improve your son!</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <scene_description>CLARA grapples for YOUNG DAVID's hand, blocked by JANE. MURDSTONE pulls back - on YOUNG DAVID's other arm. YOUNG DAVID violently pulled in both directions. CLARA lets go. Murdstone drags YOUNG DAVID upstairs, stepping on and destroying the paper/wooden crocodile we saw earlier.</scene_description> <character>MURDSTONE</character> <dialogue>If I have an obstinate horse or dog to deal with, I beat him.</dialogue> </scene> <scene> <stage_direction>INT. ROOKERY - DAVID'S BEDROOM / STAIRWELL / LANDING - DAY</stage_direction> <character>(CONTINUOUS)</character> <dialogue>MURDSTONE shuts the door, drops his cane and puts YOUNG DAVID in a headlock.</dialogue> <character>MURDSTONE</character> <dialogue>I conquer him, even if it costs him all the blood he has.</dialogue> <character>YOUNG DAVID</character> <dialogue>I've tried to learn sir, but I can't when you and Miss Murdstone watch me.</dialogue> <character>MURDSTONE</character> <dialogue>Can't you indeed?</dialogue> <scene_description>From within the headlock, YOUNG DAVID bites down hard on MURDSTONE's hand/wrist.</scene_description> <character>MURDSTONE</character> <parenthetical>(pathetic yelp)</parenthetical> <dialogue>Aagh!</dialogue> <scene_description>MURDSTONE stumbles back. A pathetic yelp as he hits his head on a cupboard. He pushes YOUNG DAVID, and YOUNG DAVID pushes back. YOUNG DAVID scuttles under the bed. MURDSTONE lunges for his cane and follows YOUNG DAVID, but can't reach. YOUNG DAVID kicks a chamber pot in MURDSTONE's direction. MURDSTONE rears up with the bed on his back. Scrambling out, YOUNG DAVID jumps on the bed. MURDSTONE grabs YOUNG DAVID, throws him to the floor and starts caning him. CLARA, PEGGOTTY and JANE are on the Landing.</scene_description> <character>CLARA</character> <dialogue>Edward! Please stop!</dialogue> <character>MURDSTONE</character> <dialogue>Clara, enough!</dialogue> <character>PEGGOTTY</character> <dialogue>Let me break down the door, Mrs Copperfield!</dialogue> <character>MISS MURDSTONE</character> <dialogue>Mrs Murdstone!</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <character>MISS MURDSTONE</character> <dialogue>Edward is teaching. Let him teach.</dialogue> <scene_description>The beating continues. YOUNG DAVID on the floor, curled up. SEAMLESS CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - DAVID'S BEDROOM - NIGHT</stage_direction> <scene_description>It's dark now, other than a small candle. YOUNG DAVID lies in the same position. He's scribbling on a piece of paper: "Conquer him.' Downstairs, a muffled conversation between the MURDSTONES, with CLARA weeping. Then a nearer voice...</scene_description> <character>PEGGOTTY (O.S.)</character> <parenthetical>(whispered)</parenthetical> <dialogue>Davy.</dialogue> <scene_description>YOUNG DAVID kneels by the keyhole with a candle. Light leaks in beneath the door. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. ROOKERY - LANDING / DAVID'S BEDROOM - NIGHT</stage_direction> <scene_description>PEGGOTTY's side of the door is well-lit. In some shots we see both sides at once, as a WIDE.</scene_description> <character>YOUNG DAVID</character> <dialogue>What's to become of us, Peggotty?</dialogue> <scene_description>YOUNG DAVID has kept his mouth to the hole, not his ear to listen.</scene_description> <character>PEGGOTTY</character> <dialogue>My brother will...</dialogue> <character>YOUNG DAVID</character> <dialogue>Pardon?</dialogue> <scene_description>He puts his ear to the keyhole. But so does Peggotty.</scene_description> <character>PEGGOTTY</character> <dialogue>Say again Davy?</dialogue> <character>YOUNG DAVID</character> <dialogue>What?</dialogue> <scene_description>Then they get back into sync.</scene_description> <character>PEGGOTTY</character> <dialogue>My brother will take me in. I can look after Mrs Gummidge and gut fish. Or the other way round.</dialogue> <character>YOUNG DAVID</character> <dialogue>What's going to be done with me?</dialogue> <scene_description>A CLINK of keys, the light cutting out momentarily, and the door is suddenly open. A BURST of light as MISS MURDSTONE stands in the doorway. The open door lets light into the room, briefly showing that YOUNG DAVID has been writing and drawing over pieces of paper, which entirely cover the floor.</scene_description> <character>MISS MURDSTONE</character> <dialogue>You're to be sent away.</dialogue> <character>YOUNG DAVID</character> <dialogue>To school?</dialogue> <character>MISS MURDSTONE</character> <parenthetical>(laughs bleakly)</parenthetical> <dialogue>'To school!'</dialogue> <scene_description>YOUNG DAVID smiles, until he sees PEGGOTTY, who shakes her head. MR MURDSTONE looms behind her, his hand elaborately bandaged. We're close on him, as he says:</scene_description> <character>MURDSTONE</character> <dialogue>Education, boy, is costly.</dialogue> <scene_description>There's the sound of a distant rumbling. A gust of wind blows out YOUNG DAVID's candle. A wisp of smoke trails in the air as YOUNG DAVID tries to gather his scraps of paper.</scene_description> <character>MURDSTONE</character> <dialogue>What is before you, is a fight with the world.</dialogue> <scene_description>MURDSTONE glances right, and we catch a glimpse of: An open- back cart blitzing towards the room, coming from darkness. An oil lamp burning. The cart barrels through the room. YOUNG DAVID's papers are sent flying.</scene_description> <character>MURDSTONE</character> <parenthetical>(shouting)</parenthetical> <dialogue>The sooner you begin it the better!</dialogue> <scene_description>SEAMLESS CUT TO:</scene_description> </scene> <scene> <stage_direction>INT/EXT. ROOKERY / FLAT NORFOLK LANDSCAPE - NIGHT</stage_direction> <scene_description>We're outside, bits of debris and paper falling as the cart travels over us and rushes into the night. YOUNG DAVID sits beside THE DRIVER. Inside, the MURDSTONES smile from the bedroom window. JANE is playing with her steel beads: clink, clink. The further away, the louder the clinking. Close on her hand, clinking beads. CLINK! CLINK! From the side, we push in CLOSE on beads moving through her hand, on a chain... CROSS DISSOLVE: INTO:</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>A row of bottles, chinking along a production line. MASSIVE NOISE of clinking bottles. A hot, busy warehouse. Filthy BOYS and GIRLS. Hands going in and out of machinery, grabbing hot bottles. A CHILD with one arm. Some boys wash empties at a trough. Others at workbenches pasting labels, fitting seals, packing cases. A huge structure containing countless bottles stands impressive and vulnerable. YOUNG DAVID's with an older boy, MICK WALKER, and MEALY POTATOES, YOUNG DAVID's age.</scene_description> <character>MICK WALKER</character> <parenthetical>(shouting over the noise)</parenthetical> <dialogue>Cork with the hand corker - yeah?</dialogue> <parenthetical>(hands him a bottle)</parenthetical> <dialogue>Pass it to Mealy Potatoes, he seals. Five a minute or old Creakle hangs your guts out for bunting.</dialogue> <scene_description>They look to CREAKLE, sitting at the desk in his office. YOUNG DAVID tries to cork the bottle. Can't pull down the lever. MEALY laughs. As do some other boys.</scene_description> <character>MICK WALKER</character> <dialogue>Where you living?</dialogue> <character>YOUNG DAVID</character> <dialogue>I'm to lodge with the Micawber family, whom I've yet to meet.</dialogue> <character>MEALY POTATOES</character> <dialogue>"Whom I've yet to meet." Where was you brung up, Windsor Castle?</dialogue> <scene_description>MICK/MEALY tosses YOUNG DAVID a bottle. CRASH! A whoop from the boys. A grubby man, TUNGAY, comes out fast.</scene_description> <character>TUNGAY</character> <dialogue>Quiet! Quiet!</dialogue> <scene_description>He grabs YOUNG DAVID, drags him to...</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - CREAKLE'S OFFICE - DAY (CONTINUOUS)</stage_direction> <scene_description>MR CREAKLE stares out the window, his back to YOUNG DAVID. Speaks in a whisper so low some words are repeated by TUNGAY.</scene_description> <character>CREAKLE</character> <dialogue>You know my rules. Half a day's pay per bottle...</dialogue> <character>TUNGAY</character> <parenthetical>(repeating)</parenthetical> <dialogue>...per bottle.</dialogue> <scene_description>CREAKLE turns. He is a stout, balding, red-faced man.</scene_description> <character>CREAKLE</character> <dialogue>Oh! The famous biting boy. Here.</dialogue> <character>TUNGAY</character> <dialogue>...biting boy. Here.</dialogue> <scene_description>YOUNG DAVID walks over to CREAKLE.</scene_description> <character>CREAKLE</character> <dialogue>I have the happiness of knowing your step...</dialogue> <character>TUNGAY</character> <parenthetical>(cuts in)</parenthetical> <dialogue>...step!..</dialogue> <character>CREAKLE</character> <dialogue>...father...</dialogue> <character>TUNGAY</character> <parenthetical>(cuts in)</parenthetical> <dialogue>Father!</dialogue> <character>CREAKLE</character> <dialogue>...A man of a strong character.</dialogue> <character>TUNGAY</character> <dialogue>...aracter.</dialogue> <scene_description>CREAKLE hands to TUNGAY a big piece of card, string attached.</scene_description> <character>CREAKLE</character> <dialogue>Tie it to him Tungay.</dialogue> <character>TUNGAY</character> <dialogue>...to him, Tungay.</dialogue> <parenthetical>(aside)</parenthetical> <dialogue>That's me. Sorry.</dialogue> <scene_description>The placard reads 'HE BITES'. TUNGAY ties it to YOUNG DAVID's shoulders like a knapsack, pushes him into...</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY (CONTINUOUS)</stage_direction> <scene_description>The BOYS see the placard. Start whooping and laughing again.</scene_description> <character>CREAKLE</character> <dialogue>Quiet.</dialogue> <character>TUNGAY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Quiet.</dialogue> <character>CREAKLE</character> <parenthetical>(strains to be louder)</parenthetical> <dialogue>Quiet!</dialogue> <character>TUNGAY</character> <parenthetical>(realisation)</parenthetical> <dialogue>Quiet!!</dialogue> <scene_description>The placard knocks a bottle. YOUNG DAVID catches it, but stands and knocks another: CRASH! Whoops from the WORKERS.</scene_description> <character>MEALY POTATOES</character> <dialogue>Look at the writing on his back! Ha!</dialogue> <parenthetical>(to Mick)</parenthetical> <dialogue>What's it say?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOTTLING WAREHOUSE - DAY - LATE AFTERNOON</stage_direction> <scene_description>YOUNG DAVID, minus placard, drags a trunk printed with "DC".</scene_description> </scene> <scene> <stage_direction>EXT. LONDON COACHING INN - STREET - DAY - LATE AFTERNOON</stage_direction> <scene_description>Busy street. From YOUNG DAVID's height: loud traffic, horse legs, crowds. Carriage wheels whizz past like fast cars. He crosses the dangerous road, pulling his trunk. He has a piece of paper with an address. Looks around. One side of the Athenaeum looks safe; a clean open road. YOUNG DAVID shows a MAN the paper, and is sent towards a dark, scuzzy, scary alleyway (Long Lane). Dodgy-looking MEN lurk around the entrance.</scene_description> </scene> <scene> <stage_direction>EXT. MICAWBER'S HOUSE - DAY (CONTINUOUS).</stage_direction> <scene_description>YOUNG DAVID approaches. A COALMAN and BOOTMAKER bang the door.</scene_description> <character>COALMAN</character> <dialogue>Swindler! Open the door!</dialogue> <character>BOOTMAKER</character> <dialogue>Pay up, you weasel! Pay your debts!</dialogue> <scene_description>Suddenly, a VOICE calls from a dark alleyway next to him:</scene_description> <character>MICAWBER</character> <dialogue>Hsst! Are you Master Copperfield?</dialogue> <character>YOUNG DAVID</character> <dialogue>Er... yes. Is that... Mr Micawber?</dialogue> <scene_description>MR MICAWBER peers out from behind a water butt.</scene_description> <character>MICAWBER</character> <dialogue>Master Copperfield, it would be of material assistance to me if you'd join those gentlemen, echo their slanderous cries, and then enunciate the following: "Ere! Round the back! 'E's flitting!"</dialogue> <character>YOUNG DAVID</character> <parenthetical>(practicing)</parenthetical> <dialogue>'...Here.'</dialogue> <character>MICAWBER</character> <dialogue>''Ere'. As in the aural organ.</dialogue> <character>YOUNG DAVID</character> <dialogue>'Round the back. He's...'</dialogue> <character>MICAWBER</character> <dialogue>Flitting.</dialogue> <character>YOUNG DAVID</character> <dialogue>'Flitting'.</dialogue> <character>MICAWBER</character> <dialogue>Precisely! Splendid. Well, no time like the present!</dialogue> <scene_description>Gives YOUNG DAVID a friendly shove. He approaches the MEN.</scene_description> <character>YOUNG DAVID</character> <dialogue>Yes... pay up please. Pay the money or else...I'll be out of pocket...</dialogue> <scene_description>MICAWBER makes an encouraging gesture: 'Now!'</scene_description> <character>YOUNG DAVID</character> <dialogue>'Ere! Round the back! He's...</dialogue> <scene_description>The word's gone. But the BOOTMAKER is staring at him.</scene_description> <character>BOOTMAKER</character> <dialogue>What, scarpering?</dialogue> <scene_description>The word comes back to him.</scene_description> <character>YOUNG DAVID</character> <dialogue>...Flitting!</dialogue> <scene_description>With a roar they charge down the lane. MICAWBER races out from his hiding place to the front door. But the BOOTMAKER sees MICAWBER and he and the others roar past YOUNG DAVID to thump on the door, which slams shut just in time. Suddenly MICAWBER opens the window, grabs YOUNG DAVID, hoiks him in, slams the shutters closed. After a pause, the shutters are opened again, and MICAWBER and YOUNG DAVID lean over and pull the trunk in too.</scene_description> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - LIVING ROOM - DAY (CONTINUOUS)</stage_direction> <scene_description>YOUNG DAVID a bit shocked at being manhandled.</scene_description> <character>MR MICAWBER</character> <parenthetical>(tense, attempting normal)</parenthetical> <dialogue>A bravura performance Master Copperfield! Welcome to our home!</dialogue> <scene_description>Banging on the window. YOUNG DAVID shakes MICAWBER's hand.</scene_description> <character>YOUNG DAVID</character> <dialogue>Who are...?</dialogue> <character>MR MICAWBER</character> <dialogue>Business acquaintances. Whom I believe may have a disagreement with the previous tenant.</dialogue> <character>CREDITOR (O.S.)</character> <dialogue>Pay up Micawber!</dialogue> <scene_description>MRS MICAWBER emerges. She shakes YOUNG DAVID's hand.</scene_description> <character>MRS MICAWBER</character> <dialogue>Jackals, is what they are! Hyenas! A pleasure to make your acquaintance.</dialogue> <scene_description>A sparsely furnished room. MRS MICAWBER now feeding one of her BABY TWINS. The other is in a cot. There are two other children - a young BOY and a GIRL of three. Throughout the film we're never sure how many CHILDREN the MICAWBERS have.</scene_description> <character>MR MICAWBER</character> <dialogue>This woman is the apple of my eye, Master Copperfield, the lodestar upon whom the sextant of my heart is set... in short, my wife.</dialogue> <scene_description>YOUNG DAVID bows to her.</scene_description> <character>YOUNG DAVID</character> <dialogue>How do you do.</dialogue> <scene_description>A face at the living room window - a new CREDITOR.</scene_description> <character>CREDITOR</character> <dialogue>I'm owed for candles! Pay me!</dialogue> <scene_description>At another window, the COALMAN's hand reaches in for a carriage clock on a table. MICAWBER grabs the clock, puts it on a dresser, struggles with the hand, closes the window. Pull out to see a smaller window near the dresser. A HAND comes in, grabs the clock.</scene_description> <character>MR MICAWBER</character> <dialogue>Right! That's it. This is too much. I shall end it. Where's my razor?!</dialogue> <scene_description>He hands the BABY to MRS MICAWBER.</scene_description> <character>MR MICAWBER</character> <parenthetical>(miming a razor to throat)</parenthetical> <dialogue>Swift! Final! Let them have their blood!</dialogue> <character>MRS MICAWBER</character> <dialogue>Never! If you are to exit, then so am I!</dialogue> <scene_description>She in turn hands the BABY to DAVID. They hug, emotional, dramatic. The TODDLERS run in to join the hug. YOUNG DAVID confused. The BOY takes the BABY off him.</scene_description> <character>YOUNG DAVID</character> <dialogue>If it would help, I have some money from Mr Murdstone for my supper.</dialogue> <scene_description>Half a smile from MICAWBER. They all look starving. Even the BABY seems to look at DAVID with wider eyes in anticipation. HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - LIVING ROOM - EVENING</stage_direction> <scene_description>MR MICAWBER and the CHILDREN are with DAVID, sitting at a table, napkins tucked into their collars.</scene_description> <character>MRS MICAWBER</character> <dialogue>Would you have your concertina about you, Wilkins? He has a gift, Master Copperfield.</dialogue> <scene_description>MR MICAWBER reaches into his bag and produces a concertina, puts his fingers in place, readies himself. A beat. Then produces the worst music anyone has ever made: a nightmarish rendition of Auld Lang Syne.</scene_description> <character>MRS MICAWBER</character> <parenthetical>(heading to the kitchen)</parenthetical> <dialogue>Angels in his fingertips!</dialogue> <scene_description>MRS MICAWBER comes out with a dish of potatoes and chops. She pours beer from a jug into a glass, in front of MR MICAWBER. He stops playing and looks at the beer, frowning.</scene_description> <character>YOUNG DAVID</character> <dialogue>Is something wrong, Mr Micawber?</dialogue> <character>MR MICAWBER</character> <dialogue>Cloudy. Some individuals whose peregrinations in this metropolis have not as yet been extensive - in short, those who are new to London - can find the local ale upsetting to the point of nausea.</dialogue> <parenthetical>(staring at the ale)</parenthetical> <dialogue>I could try it, if you like?</dialogue> <character>YOUNG DAVID</character> <dialogue>Only if it may be consumed safely.</dialogue> <character>MR MICAWBER</character> <dialogue>I don't think it'll hurt me if I throw my head back and take it off quick.</dialogue> <scene_description>He takes a huge gulp. He's fine.</scene_description> <character>MRS MICAWBER</character> <dialogue>There you go.</dialogue> <character>MR MICAWBER</character> <dialogue>I think it's quite safe.</dialogue> <character>YOUNG DAVID</character> <dialogue>I am happy for the remainder to take the same route.</dialogue> <scene_description>MICAWBER nods his thanks, downs the rest. He eyes YOUNG DAVID's plate.</scene_description> <character>MR MICAWBER</character> <dialogue>Ah, Mrs Micawber is renowned for her way with a mutton chop.</dialogue> <character>YOUNG DAVID</character> <dialogue>Would you care for one?</dialogue> <character>MR MICAWBER</character> <dialogue>Oh no no. They are your particular chops and your specific taters. There is nourishment enough for us in honest cabbage leaves.</dialogue> <character>YOUNG DAVID</character> <dialogue>You would be very welcome. This is like a royal banquet.</dialogue> <scene_description>MR MICAWBER takes a chop by the bone and a potato, eats them. The two KIDS spot this, take a chop each and some potatoes, until all that's left is a tiny scrap. YOUNG DAVID eats this.</scene_description> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - A VERY VERY SMALL ROOM - NIGHT</stage_direction> <scene_description>YOUNG DAVID puts his box down on a hard floor. There's a double bed frame, but no mattress.</scene_description> <character>YOUNG DAVID</character> <dialogue>Did you sell the bedding?</dialogue> <scene_description>MR and MRS MICAWBER appear.</scene_description> <character>MR MICAWBER</character> <dialogue>I believe we may have, temporarily, liquidated the capital. In the meantime, you may take the sofa.</dialogue> <character>MRS MICAWBER</character> <dialogue>We exchanged it for some spoons.</dialogue> <character>MR MICAWBER</character> <dialogue>Then you shall spend the night on my bed, our two dining chairs. I have, in any case, very little use for sleep.</dialogue> <character>MRS MICAWBER</character> <dialogue>It's true. He simply can't rest. Mr Micawber's mind is a machine of perpetual motion.</dialogue> <scene_description>MICAWBER gravely acknowledges the truth of this. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - A VERY VERY SMALL ROOM - NIGHT</stage_direction> <scene_description>YOUNG DAVID lies across two tatty dining chairs at the centre of the empty bed frame, covered with an overcoat. He looks at his "He Bites" sign and starts scribbling on the back of it.</scene_description> <character>YOUNG DAVID</character> <parenthetical>(mimicking MICAWBER)</parenthetical> <dialogue>"They are your particular chops and your specific 'taters."</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE MICAWBER'S HOUSE - DAY</stage_direction> <scene_description>MR MICAWBER leads YOUNG DAVID out of an alley, to work. A carriage passes.</scene_description> <character>MR MICAWBER</character> <dialogue>London - fuller of wonders and wickedness than all the cities on earth. And it's ours, to go wherever we choose.</dialogue> <parenthetical>(reads colour-coded map)</parenthetical> <dialogue>But not down there. Creditors make that road impassable. A baker and a cook's shop.</dialogue> <scene_description>They take a different route.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREETS - DAY (CONTINUOUS)</stage_direction> <scene_description>We now see the grand, exciting London David only caught glimpses of before: the city is confident. Cranes and building everywhere. MICAWBER and YOUNG DAVID round a corner, and run towards us. MICAWBER concluding a speech to YOUNG DAVID.</scene_description> <character>MR MICAWBER</character> <dialogue>..annual expenditure twenty pounds nought and six, result - misery! We are still pursued...!</dialogue> <scene_description>Behind them come more CREDITORS. We keep up with MICAWBER and YOUNG DAVID. Then they do an about-turn.</scene_description> <character>MR MICAWBER</character> <dialogue>Two tailors and a most unreasonable muffin man.</dialogue> <scene_description>They cross the road, walking in unison behind carriages and carts to stay hidden from view.</scene_description> <character>MR MICAWBER</character> <dialogue>You find us fallen back financially but something shall turn up.</dialogue> <character>YOUNG DAVID</character> <dialogue>Won't you run out of roads?</dialogue> </scene> <scene> <stage_direction>EXT. LONDON - MARKET - DAY (CONTINUOUS)</stage_direction> <scene_description>One of the market stalls has pig carcasses on hooks. YOUNG DAVID on MICAWBER's shoulders wearing MICAWBER's hat. They duck behind a carcass as it slides along the rack. From one angle they're a mad pig-boy-man hybrid.</scene_description> <character>BUTCHER</character> <dialogue>I know you! You come here!</dialogue> <scene_description>MICAWBER starts to run. As does YOUNG DAVID.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - EXCHANGE ALLEY - DAY (CONTINUOUS)</stage_direction> <scene_description>MICAWBER and YOUNG DAVID chased at full pelt down a narrow alleyway. Hurtling round a corner.</scene_description> <character>MR MICAWBER</character> <dialogue>St Paul's is over there!</dialogue> <scene_description>We can just see the dome peeping out from above the wall.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - BISHOPS LANE - DAY</stage_direction> <scene_description>MICAWBER and YOUNG DAVID reach the end of the alley, now back out onto the street, past MARKET STALLS.</scene_description> <character>MR MICAWBER</character> <dialogue>Factory is that way, hundred yards, right, second left. Work hard!</dialogue> <parenthetical>(running backwards now)</parenthetical> <dialogue>Procrastination is the thief of time, my young friend - collar him!</dialogue> <scene_description>MICAWBER grabs an onion from a stall, spins round the corner.</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>YOUNG DAVID looks into a bottle, at his reflection.</scene_description> <character>YOUNG DAVID</character> <parenthetical>(mimics MICAWBER)</parenthetical> <dialogue>In short, sir, something shall turn up.</dialogue> <scene_description>A vague image of MICAWBER in the bottle, mouthing the words.</scene_description> <character>CREAKLE (O.S.)</character> <dialogue>Cork and cork and cork again!</dialogue> <character>TUNGAY (O.S.)</character> <dialogue>...and cork again!</dialogue> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>Some months have passed. YOUNG DAVID is looking ragged, in the scruffy outfit we later see in scenes 103, 190 &amp; 214. YOUNG DAVID now more sure of himself: He fills two crates with bottles at the same time, one on either side of him. YOUNG DAVID eats a sandwich with one hand while pasting a label on a bottle with the other. YOUNG DAVID carries two or three crates so he can't see where he's going - MEALY calls instructions...</scene_description> <character>MEALY POTATOES</character> <dialogue>Forward, forward, right, stop...</dialogue> <scene_description>YOUNG DAVID climbs on the bench and leaps off, pulling the lever with all his weight. It works. Cork is in. Big reaction from the watching BOYS.</scene_description> <character>MEALY POTATOES</character> <dialogue>He's a corker of a corker!</dialogue> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - EVENING</stage_direction> <scene_description>YOUNG DAVID opens the front door and runs into the house. The MICAWBERS upbeat and happy. The room full of furniture. Brand new, distinctive curtains and a BUST of MICAWBER on a plinth. A big, oval-framed photographic portrait of the family on the wall.</scene_description> <character>MR MICAWBER</character> <dialogue>My friend, something has turned up! Sherry? I've ordered a rosewood chiffonier for the parlour.</dialogue> <character>MRS MICAWBER</character> <dialogue>And we should calculate the cost of putting bow-windows to the house.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - MANORS STREET - DAY</stage_direction> <scene_description>MICAWBER and 14-YEAR-OLD DAVID (played by an S/A) being chased by a MARKET-STALL OWNER.</scene_description> <character>MICAWBER</character> <dialogue>If these persons don't remain in their appointed premises, I'm not sure it's quite playing the game.</dialogue> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>DAVID, now adult, sees a YOUNG GIRL struggling with a lever.</scene_description> <character>DAVID</character> <dialogue>Jump! Imagine you're an acrobat.</dialogue> <scene_description>The GIRL jumps from a bench on to the lever, corks the bottle.</scene_description> <character>DAVID</character> <dialogue>Good. Five a minute.</dialogue> <scene_description>DAVID spots a BOY failing to keep up the pace.</scene_description> <character>DAVID</character> <dialogue>Keep at it Wilson, else I have to cork six to make up for your four.</dialogue> </scene> <scene> <stage_direction>INT. MICAWBER'S HOUSE - HALLWAY / LIVING ROOM - DAY</stage_direction> <scene_description>DAVID comes in through the front door. He looks tired. CUT TO: House looking barren. Hard times. The MICAWBERS and DAVID eating a small chicken.</scene_description> <character>MR MICAWBER</character> <dialogue>I pray your day was more remarkable than mine?</dialogue> <character>DAVID</character> <dialogue>It certainly involved a remarkable number of bottles.</dialogue> <character>MRS MICAWBER</character> <dialogue>If Mr Micawber had but a shilling for each bottle corked in your warehouse today...</dialogue> <character>MR MICAWBER</character> <dialogue>I should still face a disheartening debt.</dialogue> <scene_description>There's a knock at the door.</scene_description> <character>MRS MICAWBER</character> <dialogue>Are we expecting visitors?</dialogue> <scene_description>Suddenly louder banging on the door.</scene_description> <character>MR MICAWBER</character> <dialogue>Bailiffs! Hide the spoons!</dialogue> <scene_description>A BABY is in a cot in the hall. The cot starts to slowly move sideways. MR MICAWBER runs over - the hall carpet is being dragged under the rotting bottom of the front door, the cot riding on it. The BABY has a very large look of surprise on its face. The BABY tries to grab at the THIN PLINTH holding Micawber's BUST. MICAWBER goes to grab both the bust and the BABY: Does he go for baby or bust, baby or bust, baby or... the bust topples and falls as he grabs the BABY. It smashes. The door bursts open and BAILIFFS storm in.</scene_description> <character>MR MICAWBER</character> <dialogue>We are undone! The sun goes down upon us! The debtors' prison awaits!</dialogue> <scene_description>The BAILIFFS start to carry furniture out, loading it onto a hand cart, including the chairs they're sitting on. One CHILD pulls down one of the distinctive curtains and rolls it up under their arm.</scene_description> </scene> <scene> <stage_direction>EXT. MICAWBER'S HOUSE - DAY (CONTINUOUS)</stage_direction> <scene_description>MR MICAWBER is manhandled out by TWO CONSTABLES. DAVID follows.</scene_description> <character>DAVID</character> <dialogue>At least let him finish his meal you malicious apes!</dialogue> <character>MRS MICAWBER</character> <dialogue>Leave him be! Take your hands off that precious man!</dialogue> <scene_description>A roast chicken is brought out. MR MICAWBER grabs a leg.</scene_description> <character>MR MICAWBER</character> <dialogue>This is not your chicken! You are stealing an honest man's chicken!</dialogue> <character>DAVID</character> <dialogue>Have a heart! Are your mothers proud of you?</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE MICAWBER'S HOUSE - DAY (CONTINUOUS)</stage_direction> <scene_description>They spot another CHILD who's clambered onto a Bailiff's cart. They get him/her off in time. DAVID, at the last minute, spots his trunk being driven away on the cart, his jacket sticking out.</scene_description> <character>DAVID</character> <dialogue>Stop! Forgive my earlier comments!</dialogue> <scene_description>He runs and just manages to get his jacket with the St Paul's tin in the pocket. The cart disappears with everything else. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MARSHALSEA DEBTORS' PRISON - EVENING</stage_direction> <scene_description>Establisher of the awful prison. The MICAWBERS are being bundled out of the carriage.</scene_description> <character>MR MICAWBER</character> <dialogue>This is a calumny! This isn't legal!</dialogue> <character>MRS MICAWBER</character> <dialogue>Hands off Micawber! He bruises like a peach!</dialogue> </scene> <scene> <stage_direction>INT. MARSHALSEA DEBTORS' PRISON - EVENING</stage_direction> <scene_description>DAVID with the MICAWBERS. End of a meal. Using the family portrait (now frayed) as a table. DAVID uncomfortable and keen to get out of the cell.</scene_description> <character>MR MICAWBER</character> <dialogue>We've eaten off our own faces. It seems that should be some sort of profound metaphor.</dialogue> <scene_description>DAVID hurriedly seizes the pause to take his leave.</scene_description> <character>DAVID</character> <dialogue>I'll visit again tomorrow.</dialogue> <scene_description>DAVID begins to head off.</scene_description> <character>MRS MICAWBER</character> <dialogue>Now the house is seized, where will you live?</dialogue> <scene_description>DAVID's reaction. This hadn't occurred to him.</scene_description> <character>DAVID</character> <dialogue>Oh. I hadn't thought...</dialogue> <character>MRS MICAWBER</character> <dialogue>Is your gruff auntie whats-her-name still alive?</dialogue> <character>DAVID</character> <dialogue>Betsey. I don't know. I just recall my mother saying she lived at Dover and was...</dialogue> <character>MR MICAWBER</character> <parenthetical>(interrupting)</parenthetical> <dialogue>My dear young friend! You have not been a lodger. To Mrs M and I, you've been a friend.</dialogue> <character>DAVID</character> <dialogue>Thank you.</dialogue> <scene_description>He goes to leave, but MICAWBER keeps hold of his hand.</scene_description> <character>MR MICAWBER</character> <dialogue>It behoves me to do something to help you out of your current difficulty.</dialogue> <scene_description>MICAWBER scribbles and hands a note to DAVID with ceremony.</scene_description> <character>MR MICAWBER</character> <dialogue>A Wilkins Micawber IOU. As good a promissory note as any issued from Threadneedle Street.</dialogue> <character>DAVID</character> <dialogue>I honestly don't know how to thank you for this.</dialogue> <scene_description>DAVID finally walks away.</scene_description> <character>MR MICAWBER</character> <dialogue>Master David!</dialogue> <scene_description>DAVID pauses yet again.</scene_description> <character>MR MICAWBER</character> <dialogue>I only wish it could be more.</dialogue> <character>DAVID</character> <dialogue>Yes.</dialogue> <character>MR MICAWBER</character> <parenthetical>(gives a little wave)</parenthetical> <dialogue>Until something turns up.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MARSHALSEA DEBTORS' PRISON - HALLWAY - EVENING</stage_direction> <scene_description>Someone closes and locks the cell door behind DAVID, who rounds a corner and walks away. We hear concertina 'music' again. DAVID flinches.</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - NIGHT</stage_direction> <scene_description>DAVID beds down among the bottles, using his St Paul's box as a pillow and his jacket as a blanket. CUT TO: Wide TOP SHOT of DAVID: Asleep, surrounded by bottles. He turns, and knocks a bottle which falls and smashes. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>DAVID at work. Gazes up and see the sombre face of MURDSTONE.</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - CREAKLE'S OFFICE - DAY</stage_direction> <scene_description>Both MURDSTONES stand grimly with CREAKLE and TUNGAY. Beside DAVID, MURDSTONE seems shorter now. He carries a walking cane.</scene_description> <character>CREAKLE</character> <dialogue>Your stepfather informs me-</dialogue> <character>TUNGAY</character> <dialogue>Me.</dialogue> <character>CREAKLE</character> <dialogue>-that your mama is ill.</dialogue> <character>TUNGAY</character> <dialogue>Ill.</dialogue> <character>DAVID</character> <dialogue>How ill is she?</dialogue> <character>MISS MURDSTONE</character> <dialogue>Tell him.</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <character>TUNGAY</character> <dialogue>Jane!</dialogue> <character>DAVID</character> <dialogue>Tell me, please.</dialogue> <character>MR CREAKLE</character> <dialogue>I won't deceive you. Very ill.</dialogue> <character>TUNGAY</character> <dialogue>Very ill.</dialogue> <character>DAVID</character> <dialogue>Very ill?</dialogue> <character>TUNGAY</character> <dialogue>Very ill?</dialogue> <character>CREAKLE</character> <dialogue>She's dangerously ill.</dialogue> <character>TUNGAY</character> <dialogue>She's dead.</dialogue> <scene_description>MURDSTONE and CREAKLE both turn admonishingly to TUNGAY, who realises he's made a mistake. DAVID tries not to cry.</scene_description> <character>MURDSTONE</character> <parenthetical>(almost tearful)</parenthetical> <dialogue>I'm very sorry.</dialogue> <character>DAVID</character> <dialogue>And her funeral?</dialogue> <character>MURDSTONE</character> <dialogue>On Saturday.</dialogue> <character>TUNGAY</character> <dialogue>Saturday.</dialogue> <character>DAVID</character> <dialogue>Saturday. Ought I to come back with you now, or take a later coach?</dialogue> <character>MISS MURDSTONE</character> <dialogue>No, it was this Saturday just gone. She's buried.</dialogue> <character>MURDSTONE</character> <dialogue>We didn't want a fuss.</dialogue> <character>TUNGAY</character> <dialogue>Fuss.</dialogue> <scene_description>A terrible beat. DAVID picks up a nearby empty bottle and approaches MURDSTONE, who cowers slightly.</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - STAIRS - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID storms out, lets the bottle drop - SMASH - to the floor. A whoop from the other BOYS. CREAKLE and co rush out to stop him.</scene_description> <character>CREAKLE</character> <dialogue>Copperfield! I will allow you that, you are upset, but do not...</dialogue> <character>TUNGAY</character> <dialogue>Do not..</dialogue> <scene_description>CREAKLE exits the office with TUNGAY. David picks up another.</scene_description> <character>DAVID</character> <dialogue>I've got no-one. I've got nothing! D'you hear me? Nothing!</dialogue> <scene_description>Smash.</scene_description> <character>CREAKLE</character> <dialogue>Right, that's half a day's pay.</dialogue> <character>TUNGAY</character> <dialogue>...pay.</dialogue> <character>DAVID</character> <dialogue>Half of nothing is nothing.</dialogue> <scene_description>DAVID smashes another bottle after pouring the oily contents all over the floor. MURDSTONE and MISS MURDSTONE emerge.</scene_description> <character>MISS MURDSTONE</character> <dialogue>Given the manner of your overreaction, it's a good thing you were not at the funeral.</dialogue> <scene_description>And another bottle - smash!</scene_description> <character>DAVID</character> <dialogue>You can't take something from some one who has nothing.</dialogue> <character>TUNGAY</character> <dialogue>Nothing.</dialogue> <character>MURDSTONE</character> <dialogue>Think about your future.</dialogue> <character>MISS MURDSTONE</character> <dialogue>Apart from your aunt Betsey you are without blood relatives.</dialogue> <scene_description>DAVID smashes another bottle.</scene_description> <character>DAVID</character> <dialogue>I've got you, and you are nothing!</dialogue> <scene_description>DAVID sweeps a whole shelf of bottles onto the floor with an almighty SMASH! The other BOYS yell with delight. It's chaos. DAVID runs out the building, calling out..</scene_description> <character>DAVID</character> <dialogue>I want more! I want more than this! Far more! I deserve something! I will be something!</dialogue> <character>TUNGAY</character> <dialogue>Something.</dialogue> <character>DAVID</character> <dialogue>This is nothing!</dialogue> <parenthetical>(to the MURDSTONES, who cower)</parenthetical> <dialogue>You two are ghosts. You've always been dead!</dialogue> <scene_description>MURDSTONE makes the same undignified noise he made earlier with Young David, as DAVID leaves, taking his St Paul's box.</scene_description> <character>CREAKLE</character> <dialogue>Quiet!</dialogue> <scene_description>QUIET!:</scene_description> </scene> <scene> <stage_direction>EXT. BOTTLING WAREHOUSE - DAY - LATE AFTERNOON</stage_direction> <scene_description>DAVID rushes out of the warehouse, pushing past some BOYS.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - DAY - LATE AFTERNOON</stage_direction> <scene_description>DAVID walks down a narrow London street.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - CROWDED WESTMINSTER BRIDGE - DAY</stage_direction> <scene_description>WIDE as DAVID walks across a busy bridge. No pedestrians, but he threads through horses and carriages in a traffic jam. The PALACE of WESTMINSTER and ELIZABETH TOWER being constructed in the background.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON SUBURB - DAY</stage_direction> <scene_description>DAVID walking through parkland. On the horizon in the distance is London, that DAVID has left behind.</scene_description> </scene> <scene> <stage_direction>EXT. TRACK OUTSIDE FRONT OF HOUSE - DAY</stage_direction> <scene_description>A long well-maintained path stretches into a forest. DAVID large in the foreground, walking away from us.</scene_description> </scene> <scene> <stage_direction>EXT. DRIVEWAY WITH DOVER SIGN - DAY</stage_direction> <scene_description>Sign in foreground. Dover, 23 Miles. The road now poorly maintained. We can just see the small figure of DAVID, walking with his jacket over his shoulder. A quick altercation with a MAN in his 30s who is coming the other way. He runs off, towards us, with DAVID'S jacket.</scene_description> </scene> <scene> <stage_direction>EXT. DOVER DOWNS - NEXT DAY</stage_direction> <scene_description>The bare, wide downs. Vast image of sea and sky. DAVID, a small dot, no shoes, stops, stares to sea. END OF MONTAGE.:</scene_description> </scene> <scene> <stage_direction>EXT. A DOVER STREET - DAY</stage_direction> <scene_description>DAVID, now very dirty, with a STREET SWEEPER, who points.</scene_description> <character>STREET SWEEPER</character> <dialogue>Used to be Mrs Collins, but she's Miss Trotwood again now. Good luck, she's as fierce as a birthing badger.</dialogue> <scene_description>DAVID heads off, apprehensive.</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - DAY</stage_direction> <scene_description>An exhausted DAVID approaches a house on a green. The sea in the distance. He's staggering slightly, his feet bleeding, but still carrying the St Paul's box. A WOMAN RIDER and a CHILD ride donkeys on the green. BETSEY is outside, gardening. Then...</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Janet! Donkeys! DONKEYS!</dialogue> <scene_description>She runs inside as a housemaid, JANET, runs out banging a pan with a ladle.</scene_description> <character>JANET</character> <dialogue>Go on! Go away!</dialogue> <scene_description>Then BETSEY reappears, smashing a dinner gong.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Shooh! Off my green or I'll box your ears!</dialogue> <scene_description>The donkey refuses to move, so BETSEY kicks its front leg. It buckles and the WOMAN RIDER slides off onto BETSEY. A man appears at an upper window - MR DICK.</scene_description> <character>MR DICK</character> <parenthetical>(calls to BETSEY)</parenthetical> <dialogue>Somebody! Quick question. King Charles the First - we're certain that he's dead?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>When last seen in public his head was no longer attached to his body.</dialogue> <character>MR DICK</character> <dialogue>Good. Thank you. Much obliged.</dialogue> <scene_description>He disappears. JANET leads the donkeys away. BETSEY dumps her gong on the floor and gets back to gardening.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(to DAVID, not looking at him)</parenthetical> <dialogue>No young men needed here. Shoo shoo! I've got a garden fork!</dialogue> <character>DAVID</character> <dialogue>I am not just a young man, ma'am...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>I'll summon a constable.</dialogue> <scene_description>DAVID snaps, grabs the pan and ladle. Clangs loudly.</scene_description> <character>DAVID</character> <dialogue>No. Listen! Listen! You're my aunt!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Janet!</dialogue> <character>DAVID</character> <dialogue>I'm your nephew! I'm David Copperfield...</dialogue> <scene_description>BETSEY drops to the ground in astonishment.</scene_description> <character>DAVID</character> <dialogue>Sorry.</dialogue> <parenthetical>(begins helping her up)</parenthetical> <dialogue>I'm David Copperfield. From the Rookery.</dialogue> <scene_description>JANET!:</scene_description> <character>DAVID</character> <dialogue>I've been ill-used and put to work not fit for me and you're the only family I have...</dialogue> <character>BETSEY</character> <dialogue>Mr DICK!</dialogue> <scene_description>She leads DAVID towards the house.</scene_description> <character>DAVID</character> <dialogue>I have walked all the way here from London, and I was robbed, and I've barely eaten, and haven't slept in a bed since I set out...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Come inside. Do not touch anything. Mr Dick! Janet! Mr Dick!</dialogue> </scene> <scene> <stage_direction>INT/EXT. BETSEY TROTWOOD'S HOUSE - PARLOUR - DAY (CONTINUOUS)</stage_direction> <scene_description>BETSEY leads DAVID in through the French doors. The house is bright, fresh.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Stand there, yes.</dialogue> <character>DAVID</character> <parenthetical>(staggering)</parenthetical> <dialogue>I'm sorry... Everything is circular... I'm going to drop...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>He's about to collapse! Janet! Mind the settee, it's Viennese! No - there, there, go there!</dialogue> <scene_description>JANET throws a rug on the sofa where DAVID looks like he'll fall, but, now unconscious, he falls into a very smart armchair, to BETSEY's distress. HARD CUT TO: DAVID briefly fainted. From DAVID'S POV: BETSEY now has some bottles and pours the contents into DAVID's mouth.</scene_description> <character>DAVID</character> <dialogue>What are you doing?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Medicine. Reviving you.</dialogue> <character>DAVID</character> <dialogue>This is salad dressing.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Ah. I thought it was Armagnac. No spectacles on.</dialogue> <character>DAVID</character> <dialogue>Do you have a lettuce somewhere, doused in medicine?</dialogue> <scene_description>MR DICK shouts from the stairs.</scene_description> <character>MR DICK (O.S.)</character> <dialogue>Head entirely removed? We're sure?</dialogue> <scene_description>He appears at the door.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(signalling - 'Not now')</parenthetical> <dialogue>Let's leave Charles's head to one side for now.</dialogue> <character>MR DICK</character> <dialogue>Pick it up later. Understood.</dialogue> <parenthetical>(to DAVID, smiling)</parenthetical> <dialogue>How do you do?</dialogue> <scene_description>BETSEY and MR DICK begin talking over DAVID's head.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(signals for MR DICK to look at her)</parenthetical> <dialogue>Now, Mr Dick, don't be a fool because nobody can be more discerning than you, when you choose.</dialogue> <scene_description>MR DICK is immediately serious and solemn.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(a lacy shawl round DAVID)</parenthetical> <dialogue>You have heard me mention my brother David Copperfield?</dialogue> <scene_description>BETSEY takes DICK aside. JANET back in now. She picks up a plate of cakes.</scene_description> <character>MR DICK</character> <parenthetical>(doesn't remember at all)</parenthetical> <dialogue>Yes, just now. Oh, you mean you mentioned it before this moment? Of course you did, I remember it well. I'm hungry.</dialogue> <character>DAVID</character> <parenthetical>(focusing on cakes)</parenthetical> <dialogue>Cakes. Those are cakes.</dialogue> <scene_description>JANET beside DAVID with the plate, at his head height. Grabs a cake and gives it to MR DICK. DAVID looks on eagerly.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Well, this is his son, who's run away. What shall we do with him?</dialogue> <scene_description>DAVID looks hungrily at the plate of cakes. Almost takes one.</scene_description> <character>DAVID</character> <dialogue>One thing you could do is...</dialogue> <character>MR DICK</character> <dialogue>If I were you - I should wash him!</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(relieved to have an answer)</parenthetical> <dialogue>Janet! Heat the bath!</dialogue> <parenthetical>(she's right behind her)</parenthetical> <dialogue>Oh, you're there.</dialogue> <scene_description>DAVID about to take a cake as JANET moves off. She leaves the cakes on a small table.</scene_description> <character>DAVID</character> <dialogue>The thing is, I haven't eaten since...</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>Mr Dick cracks it every time!</dialogue> <parenthetical>(glancing out the window, hands DICK the salad dressing)</parenthetical> <dialogue>More donkeys! Good Lord, there must be fifty. Janet!!</dialogue> <scene_description>DICK takes a seat, inspecting the salad dressing, as BETSEY runs out with JANET through a side door. Through the French doors we see, played out in silence, BETSEY arrive with a broom and swing it at the riders. DAVID and DICK, each eating a big slice of cake, watch. A TALL TEENAGE BOY leads a donkey.</scene_description> <character>DAVID</character> <dialogue>Is my aunt really going to...</dialogue> <character>MR DICK</character> <dialogue>Visit violence upon the boy? Yes.</dialogue> <character>BETSEY</character> <parenthetical>(faint, through the window)</parenthetical> <dialogue>I've warned you. Don't say you weren't warned...</dialogue> <scene_description>From their POV we see BETSEY grab the TALL TEENAGE BOY with one hand, and slam his head against a signpost which reads "NO DONKEYS!" He runs off, she turns, strolls back towards the house. MR DICK laughs.</scene_description> <character>MR DICK</character> <dialogue>Remarkable woman. Very kind.</dialogue> <scene_description>He turns to DAVID, but he's now sound asleep on the sofa. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - GUEST BEDROOM - DAY</stage_direction> <scene_description>Morning. DAVID dressing in Mr Dick's clothes, in front of a long mirror. Tentatively, he acts out some characters.</scene_description> <character>DAVID</character> <parenthetical>(as MR DICK)</parenthetical> <dialogue>"Head taken off? We're sure?"</dialogue> <parenthetical>(as BETSEY)</parenthetical> <dialogue>"Donkeys. I've got a fork!"</dialogue> <parenthetical>(as Tungey)</parenthetical> <dialogue>"Donkeys..got a fork "</dialogue> <scene_description>Delighted, he gets confident. The mirror seems to contain the actual character, not DAVID. The face of MICAWBER appears.</scene_description> <character>DAVID/MICAWBER</character> <dialogue>You're stealing an honest man's chicken!</dialogue> <scene_description>His sole possession - the St Paul's box - sits on the window ledge.</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - LANDING - DAY (CONTINUOUS)</stage_direction> <scene_description>Through a doorway, MR DICK - dressed almost identically - is writing with a long pen, his head almost laid upon the paper.</scene_description> <character>DAVID</character> <dialogue>Good morning, Mr Dick.</dialogue> <character>MR DICK</character> <dialogue>Ah, young man. Can you form a queue?</dialogue> <scene_description>David unsure of how to do this on his own.</scene_description> <character>MR DICK</character> <dialogue>The capital letter Q. I'm trying different forms.</dialogue> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - MR DICK'S ROOM - DAY</stage_direction> <character>(CONTINUOUS)</character> <dialogue>A cluttered room. Piles of paper, pens, inkpots, pen-knives, paperweights. The bed at a mad angle. A small model of the room made from scavenged items, or straw and string. Donkeys made of straw. One side (with the models) is quite neat, the other a chaos of papers. A big kite prominent in the corner. MR DICK writes, trying different formations of a capital 'Q'.</dialogue> <character>MR DICK</character> <dialogue>I like this: a cigar in an ashtray.</dialogue> <character>DAVID</character> <dialogue>Or a kite with a string.</dialogue> <character>MR DICK</character> <parenthetical>(distracted)</parenthetical> <dialogue>"The executioner's blade is cold and sharp..."</dialogue> <character>DAVID</character> <dialogue>I'm sorry...?</dialogue> <character>MR DICK</character> <parenthetical>(normal, points at kite)</parenthetical> <dialogue>Your aunt me that kite, to get me out the house while she drinks coffee and is quiet.</dialogue> <character>DAVID</character> <dialogue>Are you writing stories, Mr Dick? About King Charles the First?</dialogue> <character>MR DICK</character> <parenthetical>(alarmed, amazed)</parenthetical> <dialogue>Why? What makes you say that?</dialogue> <character>DAVID</character> <parenthetical>(gesturing to papers)</parenthetical> <dialogue>There seems to be the occasional reference to him on...</dialogue> <scene_description>We see MR DICK's papers are full of drawings of Charles, his signature 'CHARLES R', chopped heads, complicated doodles. There are piles of these scraps of paper, looming over MR DICK, close to falling over.</scene_description> <character>MR DICK</character> <parenthetical>(reassured)</parenthetical> <dialogue>Oh yes. King Charles. He does creep in. You see, I'm trying to draft a petition calling for improved housing conditions for the labouring poor. I work hard at it but the thoughts in King Charles' head keep intruding.</dialogue> <character>DAVID</character> <dialogue>I understand.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Sorry, no I don't. King Charles's head?</dialogue> <scene_description>MR DICK nods. Points to his own nodding head.</scene_description> <character>MR DICK</character> <dialogue>I believe, owing to a disagreement, they cut off Charles's head.</dialogue> <character>DAVID</character> <dialogue>In 1649. That's well documented.</dialogue> <character>MR DICK</character> <dialogue>Well, for some reason I don't fully understand, they removed all the troubling thoughts from his head and put them, instead, into mine.</dialogue> <parenthetical>(becoming more agitated)</parenthetical> <dialogue>Look at this...</dialogue> <parenthetical>(shows DAVID)</parenthetical> <dialogue>...I write them down! It's most disruptive.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>"I mount the scaffold, wearing two shirts so shivers aren't mistaken for fear."</dialogue> <scene_description>MR DICK looks away, upset, then into the mirror. Seems to correct himself. DAVID sees, on a table, a vase of flowers with the heads cut off and arranged around the bottom.</scene_description> <character>MR DICK</character> <dialogue>I know it must all sound peculiar?</dialogue> <character>DAVID</character> <dialogue>By no means. Something similar happens to me.</dialogue> <character>MR DICK</character> <parenthetical>(excited / suspicious)</parenthetical> <dialogue>Really? Who do you get? Not Charles?</dialogue> <character>DAVID</character> <dialogue>No, no. But I find when I've been in the company of some person of strong character, their voice becomes... lodged in my head. I often wonder whether I'm...</dialogue> <character>DAVID</character> <dialogue>Different in some way.</dialogue> <character>MR DICK</character> <dialogue>Out of your mind.</dialogue> <scene_description>DAVID jumps up, runs out the room. A beat, then he's back with his St Paul's box. Opens it. Full of scraps of paper.</scene_description> <character>DAVID</character> <dialogue>I too write down the thoughts I have, and the things I observe.</dialogue> <scene_description>MR DICK reads some of DAVID's writing.</scene_description> <character>MR DICK</character> <dialogue>"Miss Murdstone's sleepless eyes, like two red suns." Very good. "The bottles are propelled by iron pistons that nod up and down like melancholy mad elephants."</dialogue> <character>DAVID</character> <dialogue>What d'you think?</dialogue> <character>MR DICK</character> <dialogue>Oh, just right. And excellent calligraphy. Your 'L' here looks like the handle of a butter-churn and the 'K' like a folding chair.</dialogue> <scene_description>The dinner gong is banged downstairs.</scene_description> <character>JANET (O.S.)</character> <dialogue>Breakfast! Breakfast!</dialogue> <character>MR DICK</character> <dialogue>That'll be breakfast.</dialogue> <parenthetical>(he starts to turn away from DAVID, troubled)</parenthetical> <dialogue>"At my final breakfast I hear the mob gather to witness my death..."</dialogue> <character>DAVID</character> <parenthetical>(excited)</parenthetical> <dialogue>We'll banish that mob, Mr Dick!</dialogue> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - PARLOUR - DAY</stage_direction> <scene_description>BETSEY at breakfast, eating boiled eggs. Severing the top of one. DAVID runs down.</scene_description> <character>DAVID</character> <dialogue>Aunt - Mr Dick. Is he at all...?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Did he mention Charles the First?</dialogue> <character>DAVID</character> <dialogue>A little. Actually, quite a lot.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>That's his allegorical way of expressing it. He connects his illness with great disturbance and agitation. But his mind is sharp as a surgeon's lancet, make no mistake.</dialogue> <scene_description>DAVID has a sudden thought.</scene_description> <character>DAVID</character> <dialogue>I think I may be able to help him.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Then go back up, Trotwood. Janet can soft-boil an egg in a flash.</dialogue> <scene_description>DAVID goes to exit, comes back.</scene_description> <character>DAVID</character> <dialogue>...um...sorry, Trotwood?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>I've been thinking that I might call you Trotwood. If I'm to financially support my nephew I want to like his name.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BESTEY TROTWOOD'S HOUSE - MR DICK'S ROOM - DAY</stage_direction> <character>(CONTINUOUS)</character> <dialogue>DAVID comes back in. MR DICK is writing like a demon, piling up scraps of paper. He's upset and agitated.</dialogue> <character>DAVID</character> <parenthetical>(excited)</parenthetical> <dialogue>Mr Dick! The troubling thoughts from King Charles's head - they weigh you down?</dialogue> <character>MR DICK</character> <parenthetical>(looking at the pile)</parenthetical> <dialogue>(to himself)</dialogue> <scene_description>"As I die I go from a corruptible to an incorruptible crown." (holds up his pen) I throw them in there- (nods to overflowing wastepaper basket) But they pile up and oppress me.</scene_description> <character>DAVID</character> <parenthetical>(trying to copy Betsey's gesture to snap Mr Dick out of it)</parenthetical> <dialogue>But we can release them, Mr Dick. We can cast them to the wind.</dialogue> <scene_description>David looks at the kite. MR DICK follows his gaze. HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - PARLOUR - DAY (CONTINUOUS)</stage_direction> <scene_description>BETSEY is reading while having coffee. Wondering what the commotion is upstairs, but smiling.</scene_description> <character>MR DICK (O.S.)</character> <dialogue>Kite time!</dialogue> <scene_description>MR DICK and DAVID power through the room and out into the garden, brushing past a large vase of flowers / greenery on the way.</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY'S HOUSE - DAY - MOMENTS LATER</stage_direction> <scene_description>DAVID is with MR DICK. The kite is now plastered with MR DICK's writing and drawings. Dense text all over it. We go up in the air with it.</scene_description> <character>MR DICK</character> <dialogue>The sky is absorbing the troubling words. And...</dialogue> <character>DAVID</character> <dialogue>The higher the words go...</dialogue> <character>MR DICK</character> <dialogue>The more clear my mind becomes. Oh, the clarity!</dialogue> <scene_description>MR DICK changes, seem to become less tense, less twitchy, warmer, more naturally conversational.</scene_description> <character>MR DICK</character> <dialogue>It's like I'm reading for the bar again, just before it all... and I shared a staircase with Tommy Traddles, who had a comic head of hair and was such a terrific fellow - "un camarade tres formidable," as the French say. There's a thing - I'd completely forgotten I can speak French! This is a remarkable day.</dialogue> <character>DAVID</character> <dialogue>It's a delight to see you so liberated.</dialogue> <character>MR DICK</character> <dialogue>What will you do?</dialogue> <character>DAVID</character> <dialogue>About what?</dialogue> <character>MR DICK</character> <dialogue>Your thoughts? What will you do with them?</dialogue> <character>DAVID</character> <dialogue>Oh, I like my thoughts.</dialogue> <character>MR DICK</character> <dialogue>But the voices. They are real?</dialogue> <character>DAVID</character> <dialogue>Yes. It's as if my head were a room with many visitors. They come and go, like...a breath.</dialogue> <character>MR DICK</character> <dialogue>We're going to be the best of friends.</dialogue> <parenthetical>(looking up, the kite is falling)</parenthetical> <dialogue>Oh dear. Oh dear.</dialogue> <parenthetical>(to himself, reverting to old Mr Dick)</parenthetical> <dialogue>"I can hear them build the scaffold and hone the axe's blade..."</dialogue> <character>DAVID</character> <dialogue>Let's run faster to keep it in the air. Look, it's rising.</dialogue> <scene_description>They run faster.</scene_description> <character>MR DICK</character> <dialogue>Up it goes again. Three hundred hurrahs plus half a dozen imperial woo-hoos! My mind is clear...</dialogue> <character>DAVID</character> <dialogue>...As a soap-bubble!</dialogue> <scene_description>They continue to run in the summer sunshine.</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - PARLOUR - DAY (CONTINUOUS)</stage_direction> <scene_description>They come back in past BETSEY, as she and JANET are putting the greenery/flowers back into a fresh arrangement.</scene_description> <character>MR DICK</character> <dialogue>This boy is terrific. Thank you, erm...</dialogue> <character>BETSEY</character> <dialogue>Trotwood. David's son.</dialogue> <character>MR DICK</character> <dialogue>Thank you, Trotwood Davidson.</dialogue> <character>DAVID</character> <dialogue>A pleasure, sir. Lovely flowers.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - DAY</stage_direction> <scene_description>A set of WIND CHIMES tinkle in the breeze.</scene_description> <character>MR DICK (O.S.)</character> <dialogue>Kite time!</dialogue> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - STAIRWELL - DAY</stage_direction> <scene_description>Passage of time. We watch a military manoeuvre from BETSEY and JANET. The table moved to one side, a HUGE VASE full of ferns held, standard lamp secured. Then MR DICK comes haring down the stairs with his kite, covered in writing and drawings of Charles 1st, and out through to the parlour. DAVID follows.</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - DAY (MID SUMMER)</stage_direction> <scene_description>Passage of time. Outside BETSEY's. A SMALL BOY on a donkey is being led over the green by a BOY.</scene_description> <character>DAVID (O.S.)</character> <dialogue>Donkeys!</dialogue> <scene_description>DAVID comes out, clanging the pan with the ladle. A wild gesture to scare them off. Slightly undignified.</scene_description> <character>DAVID</character> <dialogue>Shoo! I'll tan your hide and put you in a stew! I'm a huge maniac!</dialogue> <scene_description>He clangs, not noticing a white-haired man and his daughter - MR WICKFIELD and AGNES have appeared. DAVID pauses clanging, turns, sees them, is deeply embarrassed. Drops the ladle. A beat.</scene_description> <character>DAVID</character> <dialogue>We suffer from a plague of donkeys. You may think I am exaggerating, which perhaps I am.</dialogue> <scene_description>AGNES smiles.</scene_description> <character>WICKFIELD</character> <dialogue>Very ferocious shoo-ing. You must be Trotwood. I'm Wickfield. I act for your aunt in matters of finance. My daughter Agnes...</dialogue> <scene_description>DAVID goes for a handshake with WICKFIELD, but turns it into a bow to AGNES, quite low.</scene_description> <character>AGNES</character> <dialogue>A bow! I am so rarely bowed to.</dialogue> <character>DAVID</character> <dialogue>I hope I've started a new fashion. Unless you deem it inappropriate?</dialogue> <character>AGNES</character> <dialogue>Not at all Trotwood! I shall demand it at our every meeting from now on, as if I am an Empress. Or mad.</dialogue> <scene_description>BETSEY comes out.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Ah, Mr Wickfield! Please, come in...</dialogue> <character>WICKFIELD</character> <dialogue>That was quite the journey. Is it too early for sherry?</dialogue> <character>AGNES/BETSEY</character> <dialogue>A little early.</dialogue> <character>WICKFIELD</character> <dialogue>Port then? It's seven in the evening in Singapore. I imagine.</dialogue> <character>AGNES</character> <dialogue>But scarcely dawn in Newfoundland...</dialogue> <scene_description>A look between AGNES and BETSEY, which DAVID clocks.</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - PARLOUR - MOMENTS LATER</stage_direction> <scene_description>AGNES and DAVID are sat close to the hallway door. BETSEY rushes past WICKFIELD, picks up a bottle of sherry and hands it to JANET without WICKFIELD seeing. JANET subtly sticks it in a drinks cabinet on wheels, shaped like an antique globe. Closes it. WICKFIELD stands, restless.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(sitting down)</parenthetical> <dialogue>Mr Wickfield owns the freehold of a very good educational establishment in Canterbury.</dialogue> <scene_description>She nods to JANET to start wheeling the Globe off.</scene_description> <character>WICKFIELD</character> <dialogue>It's snapping at the heels of the better known establishments.</dialogue> <character>DAVID</character> <dialogue>I have a thirst for education that sadly has never been quenched.</dialogue> <character>AGNES</character> <dialogue>Really? You give the impression of having a very well watered intellect.</dialogue> <scene_description>There's a CLINK from the Globe. AGNES subtly gestures to JANET to stop.</scene_description> <character>WICKFIELD</character> <dialogue>All this talk of thirst is making me thirsty...</dialogue> <scene_description>The clinking attracts WICKFIELD's attention. BETSEY stands up, to block him.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>How is business, Mr Wickfield?</dialogue> <scene_description>WICKFIELD skirts around her. JANET is forced to move aside.</scene_description> <character>WICKFIELD</character> <parenthetical>(too quick)</parenthetical> <dialogue>All is well.</dialogue> <parenthetical>(a beat of reflection)</parenthetical> <dialogue>There are, of course, challenges - reduced tariffs, the retreat from mercantilism.</dialogue> <character>WICKFIELD</character> <parenthetical>(he's by the globe now)</parenthetical> <dialogue>Here and in Europe, the Americas...</dialogue> <parenthetical>(pokes the globe, hoping to open it)</parenthetical> <dialogue>...Africa. I could go on.</dialogue> <parenthetical>(he does)</parenthetical> <dialogue>India...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>'All is well' would have sufficed.</dialogue> <scene_description>MR DICK appears at the door.</scene_description> <character>MR DICK</character> <parenthetical>(to AGNES)</parenthetical> <dialogue>Good afternoon, I'm Mr Dick. I am very partial to gingerbread.</dialogue> <character>AGNES</character> <dialogue>As am I Mr Dick. I adore the fiery taste. Delighted to meet you.</dialogue> <character>MR DICK</character> <parenthetical>(to DAVID, pleased)</parenthetical> <dialogue>"Delighted."</dialogue> <parenthetical>(to the room)</parenthetical> <dialogue>Could you confirm something for me, if you wouldn't mind?</dialogue> <scene_description>DAVID, JANET and BETSEY do the 'not now' gesture to MR DICK. He doesn't notice.</scene_description> <character>MR DICK</character> <dialogue>My head...</dialogue> <character>AGNES</character> <dialogue>Yes?</dialogue> <character>MR DICK</character> <dialogue>It remains- does it not? - attached to my body?</dialogue> <character>AGNES</character> <parenthetical>(totally unfazed)</parenthetical> <dialogue>I'm looking at you now Mr Dick and I can confirm without any doubt that they are.</dialogue> <character>MR DICK</character> <dialogue>Good to hear. Would you like to see an amazing kite?</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - MR DICK'S ROOM - DAY</stage_direction> <scene_description>The chaos of MR DICK's room. DAVID and AGNES excited and busy on the floor, cutting up bits of manuscript, handing them to MR DICK. DICK pasting by dipping paper into a SAUCER full of glue, and turning to slap it onto the kite. Occasionally pausing to write down a thought.</scene_description> <character>DAVID</character> <dialogue>He believes that when Charles the First was executed, the King's troubles flew from his head to nest in Mr Dick's own.</dialogue> <character>AGNES</character> <dialogue>Is that why you fly them on your kite, Mr Dick, to rid yourself of them?</dialogue> <character>MR DICK</character> <dialogue>Precisely.</dialogue> <character>AGNES</character> <dialogue>Well, it is the obvious course of action.</dialogue> <character>MR DICK</character> <dialogue>Trotwood suggested it. He is a marvel.</dialogue> <scene_description>Watches MR DICK swivel from notes to kite.</scene_description> <character>AGNES</character> <dialogue>Mr Dick, you look like you're playing the kettle-drums.</dialogue> <scene_description>DAVID laughs.</scene_description> <character>DAVID</character> <dialogue>He does, of course!</dialogue> <parenthetical>(to AGNES)</parenthetical> <dialogue>You should write that down.</dialogue> <character>AGNES</character> <dialogue>Yes, ready for the next time I see someone pasting things at speed to a kite.</dialogue> <character>MR DICK</character> <dialogue>Oh - I like you.</dialogue> <character>AGNES</character> <dialogue>What a happy coincidence, because I like you too!</dialogue> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - PARLOUR - DAY</stage_direction> <scene_description>BETSEY and MR WICKFIELD now sitting down. The Globe has been moved over to the French doors.</scene_description> <character>WICKFIELD</character> <parenthetical>(staring at the Globe)</parenthetical> <dialogue>I will arrange for Trotwood to board with Mrs Strong. This possibly calls for a celebration...</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(claps)</parenthetical> <dialogue>Hooray!</dialogue> <character>WICKFIELD</character> <dialogue>I was thinking more along the lines of...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Tea? Janet!</dialogue> <character>WICKFIELD</character> <parenthetical>(resigned)</parenthetical> <dialogue>Tea would be fine.</dialogue> <character>MR DICK (O.S.)</character> <dialogue>Kite time!</dialogue> <scene_description>JANET rushes out. A moment later, MR DICK leads AGNES and DAVID through. DICK steps back in for a moment, and opens the Globe.</scene_description> <character>MR DICK</character> <dialogue>Why not have a big glass of port wine, Mr Wickfield, you do love it so.</dialogue> <character>WICKFIELD</character> <dialogue>I do, Mr Dick. I'm touched that you remember.</dialogue> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - GREEN - DAY (END OF SUMMER)</stage_direction> <scene_description>A picnic, which includes a bowl of soft-boiled eggs. BETSEY, MR DICK (his kite flying), DAVID and AGNES. BETSEY has a letter of admission from the school (or a Good Luck card), signed by Wickfield.</scene_description> <character>MR DICK</character> <dialogue>I shall miss our picnics when you go away to board, and a certain monarch starts to creep into my head.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Trot will visit, and we can visit him...</dialogue> <character>MR DICK</character> <parenthetical>(cuts in)</parenthetical> <dialogue>I meant Charles The First.</dialogue> <character>DAVID/AGNES</character> <dialogue>Yes.</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(ignoring)</parenthetical> <dialogue>..and there will be plenty more picnics. And dinners, and teas, with...</dialogue> <character>AGNES</character> <dialogue>Buttered toast, piled high...in...haystacks.</dialogue> <character>MR DICK</character> <dialogue>Haystacks! Very good.</dialogue> <character>AGNES</character> <dialogue>So huge we'll serve them with pitchforks!</dialogue> <character>DAVID</character> <dialogue>And coffee, tar-black and hissing hot.</dialogue> <scene_description>This is now a game. BETSEY enjoying it.</scene_description> <character>MR DICK</character> <dialogue>Hissing hot. Excellent. Good words. Agnes?</dialogue> <character>AGNES</character> <dialogue>And fine dinners. Pot-bellied baskets of blackened chestnuts and long wreaths of sausages...</dialogue> <scene_description>DAVID's turn - a new sense of focus.</scene_description> <character>DAVID</character> <parenthetical>(cuts in)</parenthetical> <dialogue>Bottles of straw-coloured drinks, ripened long ago in lands where no fogs are, sparkling after their nap and pushing at their corks to help the corkscrew, like prisoners helping rioters force their gates.</dialogue> <scene_description>Everyone goes quiet for a beat: he's won.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Your mind operates at a rolling boil, Trot. You'll enjoy Mrs Strong's establishment - it's not in an ideal condition, but means well.</dialogue> <character>AGNES</character> <parenthetical>(a joke, but meant)</parenthetical> <dialogue>A little like my father.</dialogue> <scene_description>MR DICK laughs. BETSEY frowns.</scene_description> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - FRONT - DAY</stage_direction> <scene_description>A carriage pulls up. DAVID helps AGNES out. Goes to pick up his trunk but URIAH HEEP rushes over to take it.</scene_description> <character>DAVID</character> <dialogue>Don't trouble yourself...</dialogue> <character>URIAH</character> <dialogue>It's not even a bit of trouble to help. It's pure Christian pleasure.</dialogue> <scene_description>MRS STRONG, principal of the establishment, arrives to see MR WICKFIELD unsteadily and inelegantly descend backwards. URIAH helps him, getting very close to AGNES.</scene_description> <character>URIAH</character> <dialogue>This way sir...</dialogue> <character>MR WICKFIELD</character> <dialogue>Steady there, steady! These steps are lethal. Very, very high...</dialogue> <character>AGNES</character> <dialogue>Uriah, please, there's no need...</dialogue> <character>MR WICKFIELD</character> <dialogue>I can't do it. I'll get back in.</dialogue> <character>AGNES</character> <dialogue>You're getting close. Come on - one foot...then...that's it.</dialogue> <scene_description>WICKFIELD lands awkwardly, turns to MRS STRONG.</scene_description> <character>WICKFIELD</character> <dialogue>Mrs Strong. Welcome. No, sorry, I'm welcome aren't I? You're already here. Sorry, my head is muddled...</dialogue> <character>AGNES</character> <dialogue>From the bumpy journey.</dialogue> <character>URIAH</character> <dialogue>Very bumpy, seemingly.</dialogue> <character>WICKFIELD</character> <dialogue>This is Cropwood Trotterfield.</dialogue> <character>DAVID</character> <dialogue>Trotwood Copperfield.</dialogue> <parenthetical>(shakes her hand)</parenthetical> <dialogue>Pleased to meet you, Mrs Strong. What do you have in your hand?</dialogue> <character>AGNES</character> <parenthetical>(quietly, to DAVID)</parenthetical> <dialogue>It's nothing.</dialogue> <character>MRS STRONG</character> <parenthetical>(upbeat)</parenthetical> <dialogue>It's a very small piece of wall. But all is well. Come this way.</dialogue> <scene_description>As she turns away, the smile leaves MRS STRONG's face.</scene_description> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - CORRIDOR - DAY (CONTINUOUS)</stage_direction> <scene_description>MRS STRONG and DAVID walk through a dilapidated wreck of a building. URIAH trails behind them. Several holes in the wall. MRS STRONG straightens a portrait to go over one, moves a bench to hide another. Fits the bit of plaster she's carrying into a third.</scene_description> <character>MRS STRONG</character> <dialogue>The place may need a little decoration, once Mr Wickfield's funds are more fluid.</dialogue> <character>DAVID</character> <dialogue>It's very...</dialogue> <scene_description>He looks up. A BOY peers down through a hole in the ceiling.</scene_description> <character>DAVID</character> <dialogue>...airy.</dialogue> <scene_description>MRS STRONG opens a door by booting the bottom with force. She then swaps a full bucket catching a drip with a BOY, who swaps it for an empty one. She catches DAVID's reaction to this routine.</scene_description> <character>MRS STRONG</character> <dialogue>Like many of the great old establishments, we have our little traditions.</dialogue> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - CLASSROOM - DAY</stage_direction> <scene_description>The class, in long pews facing inwards over a table, chat. Most eyes on an older boy - STEERFORTH - smart, expensively styled hair. He has a cane which is slightly too short. He talks to another boy, MARKHAM, and the class in general.</scene_description> <character>STEERFORTH</character> <dialogue>Happens on this day once a month. Twelve o'clock on the dot, Mr Sharp pretends to visit the barber...</dialogue> <scene_description>MRS STRONG and DAVID enter.</scene_description> <character>STEERFORTH</character> <dialogue>...and then comes back an hour later wearing the shortest of his three wigs!</dialogue> <character>MRS STRONG</character> <dialogue>(to DAVID) We'll wait until Mr Steerforth finishes his funny</dialogue> <scene_description>story about the geography master. MARKHAM and the other BOYS laugh at STEERFORTH's story. STEERFORTH sees MRS STRONG, stands. On his cue, so do the others. DAVID suddenly feels all eyes are on him.</scene_description> <character>MRS STRONG</character> <dialogue>This is Copperfield. He's new.</dialogue> <scene_description>STEERFORTH looks DAVID up and down, inspecting him.</scene_description> <character>STEERFORTH</character> <dialogue>I'd surmised as much, Mrs Strong, but appreciate the confirmation.</dialogue> <character>MRS STRONG</character> <dialogue>Haha. Very good Mr Steerforth.</dialogue> <character>STEERFORTH</character> <parenthetical>(continues to study DAVID)</parenthetical> <dialogue>Good buttons on that jacket...</dialogue> <character>MRS STRONG</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>As you see, we currently aren't at capacity. A variety of things keeping students away - holidays, family events, influenza...</dialogue> <character>STEERFORTH</character> <dialogue>But certainly not a better education elsewhere, eh Mrs Strong?</dialogue> <scene_description>The class laugh. URIAH arrives with DAVID's bags.</scene_description> <character>MRS STRONG</character> <dialogue>Very good. Again. Hahahaha.</dialogue> <character>STEERFORTH</character> <parenthetical>(slightly mocking of MRS STRONG's laugh)</parenthetical> <dialogue>Hahahaha.</dialogue> <character>MARKHAM</character> <dialogue>Haha!</dialogue> <scene_description>URIAH has pushed through to DAVID, shakes his hand.</scene_description> <character>URIAH</character> <dialogue>Thrilled to make your acquaintance, Master Copperfield.</dialogue> <scene_description>MRS STRONG exits.</scene_description> <character>MRS STRONG</character> <parenthetical>(exiting, to URIAH)</parenthetical> <dialogue>Bring those to the dorm please.</dialogue> <character>URIAH</character> <parenthetical>(bowing low to DAVID)</parenthetical> <dialogue>I am in deep humility.</dialogue> <scene_description>He exits, leaving the door open. We occasionally see him pass with bits of luggage.</scene_description> <character>STEERFORTH</character> <dialogue>And with that, Uriah Heep rubbed himself out of the room.</dialogue> <parenthetical>(offers his hand)</parenthetical> <dialogue>Steerforth. James Steerforth.</dialogue> <character>DAVID</character> <parenthetical>(nervous)</parenthetical> <dialogue>Davidson...no, David Copper...no, sorry, Trotwood. Copperfield.</dialogue> <character>STEERFORTH</character> <dialogue>Is that all hyphenated?</dialogue> <scene_description>Laughs from the class. DAVID unsure of how to respond.</scene_description> <character>DAVID</character> <dialogue>You see, my aunt calls me...</dialogue> <character>STEERFORTH</character> <parenthetical>(interrupting)</parenthetical> <dialogue>And what do you make of our friend Heep?</dialogue> <character>DAVID</character> <dialogue>He's perplexing.</dialogue> <character>MARKHAM</character> <dialogue>Perplexing.</dialogue> <character>STEERFORTH</character> <dialogue>An interesting word. Perplexing how?</dialogue> <character>MARKHAM</character> <dialogue>It's difficult to describe.</dialogue> <scene_description>Half a beat, eyes on DAVID, who is unsure of his ground.</scene_description> <character>DAVID</character> <dialogue>He twitches his mouth like a curious lizard.</dialogue> <character>STEERFORTH</character> <parenthetical>(big laugh)</parenthetical> <dialogue>Ha! He does. Tell me another thing.</dialogue> <character>DAVID</character> <dialogue>He stands so close by that he's nearer to you than your own shirt.</dialogue> <character>STEERFORTH</character> <dialogue>Perfect! You're sharp as a whip, I like you. Sit here. Markham, shift over, don't be a lump.</dialogue> <character>DAVID</character> <parenthetical>(to MARKHAM)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>MARKHAM, peeved, shuffles down the bench. The BOY on the end has to get up and go to the other side. DAVID now beside STEERFORTH. A notch more relaxed.</scene_description> <character>STEERFORTH</character> <dialogue>Heep was once a pupil here. Charity case. One feels sorry for boys of such background of course...</dialogue> <character>DAVID</character> <parenthetical>(too quick)</parenthetical> <dialogue>Indeed. I do. Very sorry.</dialogue> <scene_description>A bit of plaster drops from the ceiling.</scene_description> <character>MARKHAM</character> <dialogue>Heads!</dialogue> <character>STEERFORTH</character> <dialogue>Forgive the collapsing. Old Wickfield's funds are drying up.</dialogue> <character>MARKHAM</character> <dialogue>Unlike the man himself.</dialogue> <character>STEERFORTH</character> <dialogue>Loves his drink. Do you know Wickfield?</dialogue> <character>DAVID</character> <parenthetical>(impersonating WICKFIELD)</parenthetical> <dialogue>"Is it too early for a sherry?"</dialogue> <scene_description>DAVID mimes Wickfield drinking. STEERFORTH laughs. DAVID's tension eases further.</scene_description> <character>STEERFORTH</character> <dialogue>Here's Wickfield threading a needle!</dialogue> <scene_description>STEERFORTH mimes Wickfield's hand-shaking. Cruel, but funny. URIAH peers round the door. DAVID half-stands.</scene_description> <character>URIAH</character> <dialogue>Master Copperfield, I have left your bags next to...</dialogue> <character>STEERFORTH</character> <dialogue>Boring. Not interested. Off you creep, Heep!</dialogue> <scene_description>The class laugh. Including, guiltily, DAVID. URIAH is humiliated but angry as hell. Slinks out as MRS STRONG re- enters. DAVID stands; he's the only one.</scene_description> <character>MRS STRONG</character> <dialogue>Isn't Mr Mell supposed to be taking you for Latin?</dialogue> <character>STEERFORTH</character> <parenthetical>(pulling DAVID down)</parenthetical> <dialogue>He's not here, Mrs Strong.</dialogue> <character>MRS STRONG</character> <dialogue>Oh no - not...?</dialogue> <character>STEERFORTH</character> <dialogue>Yes. Last seen halfway to Broadstairs with a barmaid.</dialogue> <scene_description>MRS STRONG closes her eyes briefly. Then re-composes herself.</scene_description> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - DORMITORY - NIGHT</stage_direction> <scene_description>DAVID with STEERFORTH, unpacking. The St Paul's box is in DAVID's new trunk, with the 'HE BITES' placard and a lot of IOUs from Micawber. MARKHAM speaks to another couple of BOYS in the background. As DAVID sits on his bed, it wobbles. STEERFORTH grabs two bricks, smashes one with the other, props it up.</scene_description> <character>STEERFORTH</character> <dialogue>I'm glad you've arrived. I'd become so bored of the same tedious fools spouting their predictable noise.</dialogue> <scene_description>STEERFORTH and DAVID realise MARKHAM has heard this. A beat.</scene_description> <character>DAVID</character> <dialogue>But no offence meant, Markham.</dialogue> <scene_description>Big laugh from STEERFORTH. MARKHAM feigns a laugh.</scene_description> <character>STEERFORTH</character> <dialogue>Nice cut to that waistcoat - who's your tailor?</dialogue> <character>DAVID</character> <dialogue>Just - a man in Dover. My aunt took me...</dialogue> <character>STEERFORTH</character> <dialogue>So your aunt brought you up?</dialogue> <character>DAVID</character> <dialogue>Well, she...um...</dialogue> <parenthetical>(wants to end this...)</parenthetical> <dialogue>...she's certainly brought me up sharp a few times! She's a tartar!</dialogue> <character>STEERFORTH</character> <dialogue>Ha! The very daisy of the field is not fresher than you are. I shall call you Daisy - will you mind?</dialogue> <character>DAVID</character> <parenthetical>(Yes)</parenthetical> <dialogue>Not at all.</dialogue> <character>MARKHAM</character> <dialogue>Why on earth would you...'Daisy'?</dialogue> <character>STEERFORTH</character> <dialogue>I have currant wine here and some almond cakes, if you'd like?</dialogue> <character>DAVID</character> <dialogue>Thank you.</dialogue> <scene_description>DAVID goes over to STEERFORTH's area. It's like a private room, made of scavenged items: a pile of big old books as a wash-stand; a dead grandfather clock, the inside of which is full of waistcoats and shirts, the clock face removed, stood on bricks to act as a bedside table. And where the clock face was, a shaving kit. A smart jacket hangs on a tailor's dummy. STEERFORTH pours some wine.</scene_description> <character>STEERFORTH</character> <dialogue>You haven't got a sister, have you Daisy?</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <character>STEERFORTH</character> <dialogue>Oh. That's a pity.</dialogue> <scene_description>Hands the glass to DAVID. HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - DORM - NIGHT</stage_direction> <scene_description>The dorm is quiet. Most boys asleep, including MARKHAM. Embers glow in the fireplace. DAVID reading by candlelight, his bed near STEERFORTH's.</scene_description> <character>STEERFORTH</character> <parenthetical>(restless)</parenthetical> <dialogue>What are you reading?</dialogue> <character>DAVID</character> <dialogue>Peregrine Pickle. I found it in the library here.</dialogue> <character>STEERFORTH</character> <dialogue>We have a library?</dialogue> <character>DAVID</character> <dialogue>Well, the stack of books propping up the cricket scoreboard.</dialogue> <character>STEERFORTH</character> <dialogue>Ah. Then read to me. I can't sleep.</dialogue> <scene_description>DAVID suddenly nervous. The book's words start to wobble and slide as they did with Murdstone.</scene_description> <character>DAVID</character> <dialogue>This book's quite long. Why don't I tell you a story of mine? Perhaps one about a kindly nurse and her charge...</dialogue> <scene_description>PEGGOTTY and YOUNG DAVID appear.</scene_description> <character>DAVID</character> <dialogue>...who slept in an upturned boat...</dialogue> <character>STEERFORTH</character> <dialogue>No. I don't care for whimsy. Sorry.</dialogue> <scene_description>PEGGOTTY and YOUNG DAVID slope off.</scene_description> <character>STEERFORTH</character> <dialogue>Do you have a scary story?</dialogue> <character>DAVID</character> <dialogue>I have one about...an evil schoolmaster?</dialogue> <character>STEERFORTH</character> <dialogue>Yes! What does he look like?</dialogue> <scene_description>A hideous one-eyed version of MURDSTONE emerges from STEERFORTH's tailor's dummy, wearing a similar jacket.</scene_description> <character>DAVID</character> <dialogue>He has but one eye when the popular prejudice runs in favour of two...</dialogue> <scene_description>MURDSTONE has an eye patch. STEERFORTH laughs.</scene_description> <character>DAVID</character> <dialogue>His hair...</dialogue> <parenthetical>(he thinks)</parenthetical> <dialogue>...he has none at all.</dialogue> <scene_description>MURDSTONE now completely bald. This is DAVID controlling him.</scene_description> <character>STEERFORTH</character> <dialogue>What's the man's name?</dialogue> <character>DAVID</character> <dialogue>It's Murd-i-stone! Oh, he is cruel. He viciously beats any boy who doesn't know his lesson.</dialogue> <character>STEERFORTH</character> <dialogue>The monster! Is there vengeance? Is he himself thrashed and battered?</dialogue> <character>DAVID</character> <dialogue>He has an equally cruel sister.</dialogue> <character>STEERFORTH</character> <dialogue>Ah, you see, he's got a sister!</dialogue> <character>DAVID</character> <dialogue>She hangs a hard steel bag on her arm by a heavy chain, and is a cold and metallic lady...</dialogue> <scene_description>A metal pillar or a water pipe with valve becomes JANE MURDSTONE holding her metallic bag. She looks a complete mess.</scene_description> <character>DAVID</character> <dialogue>She takes no care of her appearance or hygiene and she punches her brother, to goad him on to further savagery!</dialogue> <scene_description>JANE MURDSTONE punches the bald MURDSTONE in the side of his head. He whimpers.</scene_description> <character>MISS MURDSTONE</character> <dialogue>Be a man!</dialogue> <character>MURDISTONE</character> <dialogue>Jane!</dialogue> <scene_description>STEERFORTH hears something outside.</scene_description> <character>STEERFORTH</character> <dialogue>Heep's up. Into bed.</dialogue> <scene_description>DAVID jumps back into bed just before URIAH HEEP silently opens the door and looks in. The MURDSTONES have gone. URIAH creeps around, counts the boys, and then begins opening the odd drawer and trunk, peering in.</scene_description> <character>URIAH</character> <dialogue>Good. Fine. All fine.</dialogue> <scene_description>Then he exits. A beat. MR MICAWBER appears in the shadows.</scene_description> <character>DAVID</character> <dialogue>Shall I tell you the tale of the insolvent but ever-hopeful...</dialogue> <character>STEERFORTH</character> <dialogue>No. No more stories Daisy. Sorry, but I need to sleep.</dialogue> <scene_description>STEERFORTH turns over in bed as MICAWBER scratches his head and wanders off.</scene_description> </scene> <scene> <stage_direction>INT. BOTTLING WAREHOUSE - DAY</stage_direction> <scene_description>DAVID and STEERFORTH stand in the factory, watching the earlier scene of bottle-smashing, but fictionalised and more stylized now by DAVID. Thick shards of light break across the room. MURDSTONE, JANE MURDSTONE, CREAKLE and TUNGAY are all present, but it's YOUNG DAVID who holds a bottle.</scene_description> <character>YOUNG DAVID</character> <dialogue>I shall smash it!</dialogue> <character>MISS MURDSTONE</character> <dialogue>Then I shall smash you!</dialogue> <character>MURDSTONE</character> <dialogue>Jane!</dialogue> <character>TUNGAY</character> <dialogue>Jane!</dialogue> <character>CREAKLE</character> <parenthetical>(quietly)</parenthetical> <dialogue>Be quiet.</dialogue> <character>TUNGAY</character> <dialogue>QUIET!</dialogue> <character>MURDSTONE</character> <dialogue>Tungay!</dialogue> <character>TUNGAY</character> <dialogue>Tungay! Me!</dialogue> <character>CREAKLE</character> <parenthetical>(quietly)</parenthetical> <dialogue>Be quiet.</dialogue> <character>TUNGAY</character> <dialogue>QUIET!</dialogue> <scene_description>YOUNG DAVID smashes the bottle.</scene_description> <character>MISS MURDSTONE</character> <dialogue>Right...</dialogue> <character>MURDSTONE</character> <dialogue>Enough!</dialogue> <character>TUNGAY</character> <dialogue>ENOUGH!</dialogue> <scene_description>MURDSTONE approaches YOUNG DAVID. YOUNG DAVID punches MURDSTONE in the jaw and he falls into a cart full of bottles, taking JANE with him. They both scream. The cart starts to move towards the huge rickety-looking structure of bottles. Instead of crashing into the structure the cart curves away, tips over and bottles fall in two directions. One bottle hits a strut, which props up the huge structure. The strut falls, and the huge structure collapses immediately. A terrible, hilarious CRASH.</scene_description> <character>STEERFORTH</character> <dialogue>And you make these tales of the factory boy up out of thin air?</dialogue> <character>DAVID</character> <dialogue>Invented, yes.</dialogue> <scene_description>The MURDSTONES and a horrified TUNGAY and CREAKLE watch, as YOUNG DAVID escapes. SEAMLESS: TRANSITION TO:</scene_description> </scene> <scene> <stage_direction>EXT. CANTERBURY STREETS - DAY</stage_direction> <scene_description>DAVID and STEERFORTH walk through shelves of bottles and step out into the middle of the street. Rows of bottles can be seen in the foreground, on a MARKET STALL.</scene_description> <character>STEERFORTH</character> <dialogue>I could see the boy like he was actually there, Daisy. You truly are the Eighth Wonder.</dialogue> <character>DAVID</character> <dialogue>Thank you.</dialogue> <character>STEERFORTH</character> <dialogue>You seem to know all the details about the factory - was your father in manufacturing?</dialogue> <character>DAVID</character> <dialogue>My stepfather...</dialogue> <character>STEERFORTH</character> <parenthetical>(suspects something?)</parenthetical> <dialogue>You have a stepfather but were brought up by an aunt...?</dialogue> <character>DAVID</character> <parenthetical>(changes subject, pointing)</parenthetical> <dialogue>Who is that, Steerforth?</dialogue> <scene_description>A young lady, MISS LARKINS, is climbing into a carriage.</scene_description> <character>STEERFORTH</character> <dialogue>Ah - that's the eldest Miss Larkins. Pretty, isn't she?</dialogue> <character>DAVID</character> <dialogue>She is a blaze of beauty.</dialogue> <character>STEERFORTH</character> <dialogue>She's engaged to an army captain.</dialogue> <character>DAVID</character> <dialogue>Only because she has yet to meet me...</dialogue> <scene_description>They laugh, then...</scene_description> <character>BUTCHER'S BOY (O.S.)</character> <dialogue>Look out! Couple of Mrs Strong's prize poodles have got loose!</dialogue> <scene_description>Across the road, behind a MEAT STALL is a BUTCHER'S BOY, DAVID's age, hair greased flat. Looks like a boxer.</scene_description> <character>BUTCHER'S BOY</character> <dialogue>Oi! Ladies! Come here! I'll beat you with one hand tied behind me.</dialogue> <scene_description>DAVID is aware that MISS LARKINS is clocking this.</scene_description> <character>DAVID</character> <parenthetical>(shouts to BUTCHER'S BOY)</parenthetical> <dialogue>You want to fight do you? Then sir - name your time!</dialogue> <character>STEERFORTH</character> <dialogue>Don't fight him. Promise me you won't fight him.</dialogue> </scene> <scene> <stage_direction>EXT. BUTCHER'S SHOP YARD - DAY</stage_direction> <scene_description>DAVID ready to fight. Surrounded by meat detritus, off-cuts, bits of hooves, blood in metal buckets, and PEOPLE.</scene_description> <character>STEERFORTH</character> <dialogue>You can box, I take it Daisy?</dialogue> <character>DAVID</character> <dialogue>After a fashion, certainly...</dialogue> <character>REFEREE BOY</character> <dialogue>Gentlemen! No eyeball-gouging, no...actually everything else is allowed. Get set...fight!!</dialogue> <scene_description>The crowd roars. DAVID starts dancing around, loosening up, raises his fists to...BANG!! BUTCHER'S BOY has run and smashed a fist into his face. DAVID flailing.</scene_description> <character>STEERFORTH</character> <dialogue>Hook, feint, uppercut!</dialogue> <scene_description>DAVID turns, hazy and staggering, towards STEERFORTH.</scene_description> <character>DAVID</character> <dialogue>What?</dialogue> <scene_description>Wallop! The BUTCHER'S BOY slams in for a sudden, crunching punch that knocks DAVID out. Brief blackness. DAVID comes to. He's fallen into a pile of straw and meat off-cuts. He's just missed a SHEEP'S HEAD. STEERFORTH, anxious to avoid the filth, helps him up by offering him his cane. Pulling himself up, DAVID nearly knocks over a sloshing bucket of blood.</scene_description> <character>STEERFORTH</character> <dialogue>You did, in some ways, very well Daisy. But a gentleman shouldn't be beaten by a Butcher's Boy. Presumably we must buy steak for your eye from the self-same fellow.</dialogue> <scene_description>DAVID, covered in mud and some animal blood, looks through the arch into the street. MISS LARKINS is walking by with a FRIEND. She pauses, looks at him, horrified.</scene_description> <character>STEERFORTH</character> <dialogue>Let's get you to Wickfield's house.</dialogue> </scene> <scene> <stage_direction>EXT. WICKFIELD'S HOUSE - DAY</stage_direction> <scene_description>Establisher of Mr Wickfield's townhouse. STEERFORTH brings DAVID inside.</scene_description> <character>STEERFORTH</character> <dialogue>Come on. I'm afraid you've been butchered, dear Daisy.</dialogue> </scene> <scene> <stage_direction>INT. WICKFIELD'S HOUSE - SITTING ROOM - DAY</stage_direction> <scene_description>A SMALL BOY with a bandaged head walks past STEERFORTH. DAVID on a sofa. URIAH, perched on the arm, tends to DAVID's black eye with a piece of steak, his cut lip with hot water and iodine.</scene_description> <character>URIAH</character> <dialogue>There's a degree of animal blood, from the meat-</dialogue> <parenthetical>(to STEERFORTH)</parenthetical> <dialogue>-as well as Master Copperfield's own essence.</dialogue> <character>STEERFORTH</character> <dialogue>Try not to die or anything boring like that Daisy.</dialogue> <character>DAVID</character> <dialogue>I'll try my be-</dialogue> <scene_description>URIAH places a big piece of cotton on DAVID's lip. STEERFORTH exits.</scene_description> <character>URIAH</character> <dialogue>What a confident gentleman he is.</dialogue> <parenthetical>(dabbing the cut lip)</parenthetical> <dialogue>Mother has taught me the medical rudiments. She's the laundress here. Washes your bedsheets.</dialogue> <character>DAVID</character> <dialogue>Always very clean. Relatively.</dialogue> <character>URIAH</character> <dialogue>Oh! She will burst with gratitude that you've acknowledged her spontaneously, Master Copperfield.</dialogue> <parenthetical>(getting closer to DAVID)</parenthetical> <dialogue>Miss Wickfield, she's - she's very...do you not think?</dialogue> <character>DAVID</character> <parenthetical>(taking the meat off)</parenthetical> <dialogue>Very...? What? Tall? Pleasant? Good at backgammon?</dialogue> <scene_description>URIAH gives DAVID a look. Then AGNES enters. URIAH exits.</scene_description> <character>AGNES</character> <dialogue>My dear Trotwood, they told me you were here. Oh dear, look at you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But I imagine the other fellow must be dreadfully injured.</dialogue> <character>DAVID</character> <dialogue>Oh yes - close to death. Measured for his coffin.</dialogue> <scene_description>She sits beside DAVID on the sofa and begins tending to his injuries.</scene_description> <character>AGNES</character> <dialogue>How were Uriah's ministrations?</dialogue> <character>DAVID</character> <dialogue>He's like a human cold in the head! He gets so close...</dialogue> <character>AGNES</character> <dialogue>Yes! It's as if he lives up your nose and is keen to get home.</dialogue> <scene_description>They laugh.</scene_description> <character>AGNES</character> <dialogue>Did he mention his mother?</dialogue> <character>DAVID</character> <dialogue>His mother?! Oh, Agnes! I burst with gratitude that you should ask me such a question spontaneously!</dialogue> <scene_description>They laugh harder.</scene_description> <character>AGNES</character> <dialogue>So is this Steerforth's doing, getting you into fights?</dialogue> <character>DAVID</character> <dialogue>No! He tried to stop me. Doesn't think a gentleman should be seen fighting a butcher's boy.</dialogue> <character>AGNES</character> <dialogue>A gentleman!</dialogue> <character>DAVID</character> <dialogue>Yes. Steerforth thinks of me as a gentleman.</dialogue> <character>AGNES</character> <dialogue>You are.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>So I'm assuming you haven't told him...?</dialogue> <character>DAVID</character> <dialogue>No. I fear he might...This is the first time someone like that has regarded me as an equal. Except you, Agnes. And I think of you as...</dialogue> <character>AGNES</character> <dialogue>Special?</dialogue> <character>DAVID</character> <dialogue>A sister.</dialogue> <character>DAVID</character> <dialogue>A special sister.</dialogue> <scene_description>Micro reaction from AGNES. Suddenly, URIAH has appeared between them, behind the sofa. AGNES gets up, putting space between herself and URIAH.</scene_description> <character>URIAH</character> <dialogue>Might I be bold enough to ask you to come to tea? With me and mother.</dialogue> <character>DAVID</character> <dialogue>What a shame! I fear I have a prior engagement on that date.</dialogue> <character>URIAH</character> <dialogue>On which date? I don't believe I mentioned a date.</dialogue> <character>AGNES</character> <parenthetical>(holding in laughter)</parenthetical> <dialogue>I don't believe you did.</dialogue> <character>URIAH</character> <dialogue>I understand. It's not my place to invite the likes of you to tea.</dialogue> <scene_description>DAVID stands.</scene_description> <character>DAVID</character> <dialogue>No, no! I would...I would be glad to come, Mr Heep.</dialogue> <character>URIAH</character> <dialogue>Uriah, please. Oh, Mother will go off like a rocket! Like a rocket! On the 14th, perhaps, at four?</dialogue> <parenthetical>(laying a hand on AGNES' shoulder)</parenthetical> <dialogue>And if Miss Wickfield would care...?</dialogue> <character>AGNES</character> <dialogue>Sadly...</dialogue> <parenthetical>(teasing DAVID)</parenthetical> <dialogue>On the 14th at four...I have a prior engagement.</dialogue> <character>DAVID</character> <dialogue>Of course! I am meant to join you in that engagement, am I not Agnes?</dialogue> <character>AGNES</character> <dialogue>I don't believe so, no.</dialogue> <character>DAVID</character> <dialogue>Good, then I can definitely come to tea...Uriah!</dialogue> <character>URIAH</character> <dialogue>Oh! I am so proud to be noticed by you! I'm in ecstasy!</dialogue> <scene_description>URIAH does another very low bow.</scene_description> <character>URIAH</character> <dialogue>I will arrange things with mother.</dialogue> <scene_description>AGNES visibly relaxes as URIAH heads for the door. She begins to move back towards the sofa.</scene_description> <character>URIAH</character> <parenthetical>(re steak)</parenthetical> <dialogue>Are you done with that? It's a tolerably nice bit of rump.</dialogue> <parenthetical>(to AGNES)</parenthetical> <dialogue>No offence meant, I'm sure.</dialogue> <scene_description>DAVID nods. URIAH takes the steak, bows low, exits.</scene_description> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - CLASSROOM - DAY</stage_direction> <scene_description>DAVID now much more confident. Lounging around with STEERFORTH on a bench. All the BOYS chatting, relaxed.</scene_description> <character>STEERFORTH</character> <dialogue>Tell me more about the impecunious debtor hiding behind carcasses.</dialogue> <parenthetical>(impression of DAVID)</parenthetical> <dialogue>"There's something on the way!"</dialogue> <character>DAVID</character> <parenthetical>(as MICAWBER)</parenthetical> <dialogue>"Something will turn up!"</dialogue> <character>STEERFORTH</character> <dialogue>That's it!</dialogue> <scene_description>As if by magic, MICAWBER's voice is heard.</scene_description> <character>MICAWBER (O.S.)</character> <dialogue>An excellent precept, young man!</dialogue> <scene_description>A beaming MICAWBER comes through the door. He's wearing a second-hand suit too big for him, a waistcoat made of the distinctive curtains, and a pair of pince-nez. YOUNG DAVID walks to his side, smiling. A story is coming alive again. Then MRS STRONG and URIAH HEEP come in behind him.</scene_description> <character>MRS STRONG</character> <dialogue>We have a new master joining us: Professor Micawber, MA Cantab!</dialogue> <scene_description>YOUNG DAVID disappears. Nod from MICAWBER to an amazed DAVID, who has his head down, avoiding eye contact.</scene_description> <character>MR MICAWBER</character> <parenthetical>(fiddles with glasses)</parenthetical> <dialogue>Good morning boys. Be seated.</dialogue> <character>STEERFORTH</character> <parenthetical>(whispering to David)</parenthetical> <dialogue>Oh dear Lord, this place really must be short of money.</dialogue> <character>MRS STRONG</character> <dialogue>You lived with the Professor when you were in London I believe, Mr Copperfield?</dialogue> <character>DAVID</character> <dialogue>The Professor, yes. Briefly, and at the same time lengthily.</dialogue> <character>URIAH</character> <dialogue>Very nice! Very genteel.</dialogue> <scene_description>URIAH exits. Followed by MRS STRONG.</scene_description> <character>MR MICAWBER</character> <dialogue>Now! Which particular dish from the great feast of knowledge will it be our mutual privilege to partake in at this current juncture?</dialogue> <scene_description>The boys look at him blankly. MR MICAWBER (cont'd) In short... what lesson is it now? The BLACKBOARD behind him contains mathematical sums and equations (but there's enough room for MICAWBER to write).</scene_description> <character>STEERFORTH</character> <parenthetical>(enjoying this)</parenthetical> <dialogue>It's Latin grammar now, sir.</dialogue> <scene_description>A look from DAVID: no it isn't!</scene_description> <character>MR MICAWBER</character> <parenthetical>(oh dear)</parenthetical> <dialogue>Ah! Latin. Good. Conjugations! Active indicatives! Amo, amas, amat. Aquarium, aquarius, gymnasium and omnibus. Etcetera.</dialogue> <character>STEERFORTH</character> <dialogue>And how does that ode continue?</dialogue> <character>MR MICAWBER</character> <dialogue>In much the same vein, before reaching its apposite end. Or Terminus! To use the Latin word.</dialogue> <parenthetical>(hastily)</parenthetical> <dialogue>But we linger too long in the ancient world. Let us diversify. Mathematics!</dialogue> <scene_description>MICAWBER turns to the blackboard, finds a space on which to write, picks up some chalk.</scene_description> <character>MR MICAWBER</character> <dialogue>Behold, the most important numerical lesson a man can learn. Annual income twenty pounds...</dialogue> <scene_description>He chalks '£20' on the board.</scene_description> <character>MR MICAWBER</character> <dialogue>...annual expenditure nineteen nineteen and six...</dialogue> <scene_description>He chalks '£19.19s.6d ='</scene_description> <character>MR MICAWBER</character> <dialogue>...result:</dialogue> <character>MARKHAM</character> <dialogue>Sixpence!</dialogue> <character>MR MICAWBER</character> <dialogue>No, smarty-pantaloons. Result: happiness!</dialogue> <scene_description>STEERFORTH begins grinning widely. The others follow suit. DAVID torn between his two friends.</scene_description> <character>MR MICAWBER</character> <dialogue>But, conversely, annual income twenty pounds...</dialogue> <parenthetical>(chalks '£20')</parenthetical> <dialogue>...annual expenditure twenty pounds nought and six...</dialogue> <parenthetical>(chalks '20.0s.6d =')</parenthetical> <dialogue>...result - misery! Or at least until something turns up.</dialogue> <scene_description>STEERFORTH turns wide-eyed and smiling to DAVID.</scene_description> <character>STEERFORTH</character> <parenthetical>(mouths, points)</parenthetical> <dialogue>It's him!</dialogue> <character>DAVID</character> <parenthetical>(mouths)</parenthetical> <dialogue>Don't say anything...</dialogue> <character>MR MICAWBER</character> <dialogue>Please copy that in your best hand.</dialogue> <scene_description>The boys get to work. Silence. Close on DAVID. We hear the wheeze of a concertina being taken out of a bag. DAVID's eyes widen with horror. Then: terrible music. Everyone looks up. MICAWBER is playing. Nods to DAVID - "Great, isn't it?"</scene_description> <character>MR MICAWBER</character> <parenthetical>(over the music)</parenthetical> <dialogue>There is a belief among a good many medical men that music may help in the absorption of knowledge.</dialogue> <scene_description>MICAWBER plays on. Sniggers begin, then laughing.</scene_description> <character>STEERFORTH</character> <dialogue>Enough! I'm tempted to burst my ear drums with a pair of pencils.</dialogue> <character>MR MICAWBER</character> <dialogue>I beg your pardon, sir?</dialogue> <character>DAVID</character> <dialogue>Steerforth meant that possibly the instrument might have developed a leak, or...</dialogue> <character>STEERFORTH</character> <dialogue>Not at all. I meant he is a dismal musician.</dialogue> <character>MR MICAWBER</character> <dialogue>Be quiet please, Mr Steelforge. Who are you to insult a gentleman...?</dialogue> <character>STEERFORTH</character> <parenthetical>(heads to MICAWBER, looks around the room)</parenthetical> <dialogue>Where is he, this gentleman? I see only an impudent beggar. Put that damned contraption down.</dialogue> <scene_description>He tries to grab the concertina. MICAWBER holds on to it. Tiny squeaks as each refuses to let go. DAVID gets up - unsure of whom to help. Funny, but then STEERFORTH grabs the concertina and throws it violently across the room. MRS STRONG enters, with URIAH.</scene_description> <character>MRS STRONG</character> <dialogue>I heard some manner of mad wheezing Professor. Is there a squirrel trapped in the pipes again?</dialogue> <character>STEERFORTH</character> <dialogue>He's no professor. Ask him about debtors' prison. Ask him about the scores of IOUs in Copperfield's trunk.</dialogue> <scene_description>STEERFORTH looks to URIAH. The smallest of nods from URIAH.</scene_description> <character>DAVID</character> <dialogue>'Scores' is an exaggeration. A few. Five or six...ten at most...</dialogue> <character>STEERFORTH</character> <dialogue>He's extorted money for years and has followed Daisy here to continue his efforts.</dialogue> <character>MICAWBER</character> <dialogue>Mr Steepgorge is correct in that I did, to my shame, reside within prison walls after pecuniary...</dialogue> <character>MRS STRONG</character> <dialogue>Even we draw the line at employing former convicts!</dialogue> <parenthetical>(realises...)</parenthetical> <dialogue>...and indeed, much higher than that is where we actually draw the line. We'll part, if you please. Mr Heep, show him out.</dialogue> <scene_description>URIAH leads out MICAWBER. DAVID goes to object but MICAWBER places a hand on his shoulder.</scene_description> <character>MICAWBER</character> <dialogue>It's no matter, my friend...</dialogue> <scene_description>MICAWBER picks his concertina up, stuffs it, unlocked, in his bag, so it emits a small, muffled tuneless sigh as he walks.</scene_description> </scene> <scene> <stage_direction>EXT. CANTERBURY STREET - NEXT MORNING</stage_direction> <scene_description>DAVID runs through the streets. People boarding the coach, luggage stowed. DAVID sees the MICAWBERS. A pregnant MRS MICAWBER - wearing a cape made from a curtain, the curtain tie with tassels around her neck - sees him, gives him a hug.</scene_description> <character>MRS MICAWBER</character> <dialogue>No sooner are we reunited than we must part again. Like the Bible story. I'm sure there has to be a Bible story where that happens.</dialogue> <character>DAVID</character> <parenthetical>(to MR MICAWBER)</parenthetical> <dialogue>Were you aware I studied at Mrs Strong's before you came here?</dialogue> <character>MR MICAWBER</character> <dialogue>Not as I recall. I had perhaps a dim awareness of the more recent chapters in your odyssey, but...</dialogue> <character>DAVID</character> <dialogue>But your being here as a professor, in the same building as me...?</dialogue> <character>MR MICAWBER</character> <dialogue>Pure kismet and happenstance. "As flies to wanton boys are we to the gods," to quote our ultimate poet.</dialogue> <character>COACH DRIVER</character> <dialogue>All aboard who's going aboard!</dialogue> <scene_description>MRS MICAWBER boards with the CHILDREN. MR MICAWBER puts a hand on DAVID's shoulder. It's fatherly.</scene_description> <character>MR MICAWBER</character> <dialogue>I do wonder... I have found the funds to pay for my family's travel, but my own fare is lacking.</dialogue> <scene_description>Behind MICAWBER is a chalked sign: 'Canterbury to London £1'.</scene_description> <character>MR MICAWBER</character> <dialogue>Might I possibly trouble you...</dialogue> <character>DAVID</character> <dialogue>...no trouble...</dialogue> <character>MR MICAWBER</character> <dialogue>...for the exact sum...</dialogue> <character>DAVID</character> <dialogue>...of course...</dialogue> <scene_description>DAVID takes out a pound note.</scene_description> <character>MR MICAWBER</character> <dialogue>...of four pounds ten and thruppence?</dialogue> <scene_description>MICAWBER clocks the £1 sign, and makes a too-late attempt to cover it. He aborts the mission half way through putting his hand up. A weary beat from DAVID, who hands over the money.</scene_description> <character>DAVID</character> <dialogue>Safe travels.</dialogue> <scene_description>A beat of recognition, they both know what just happened. Then MICAWBER is back to his old self.</scene_description> <character>MICAWBER</character> <parenthetical>(climbing onto the coach, it pulls away)</parenthetical> <dialogue>We are quadrilaterally concluded! In short, square!</dialogue> <character>MRS MICAWBER</character> <parenthetical>(pleased)</parenthetical> <dialogue>Geometry. Goodbye young sir! Until we meet again!</dialogue> <scene_description>As the coach disappears DAVID sees URIAH across the street. Traffic keeps passing so they have to wait to speak.</scene_description> <character>URIAH</character> <dialogue>I imagine you have forgotten!</dialogue> <character>DAVID</character> <dialogue>Tea? No I...</dialogue> <scene_description>Traffic.</scene_description> <character>URIAH</character> <dialogue>Why on earth should you remember people of our station? We have a nerve to expect it.</dialogue> <character>DAVID</character> <dialogue>I haven't forgotten...</dialogue> <scene_description>Traffic. Then when the traffic clears, URIAH is gone. DAVID, depressed, angry. Rips up MICAWBER's IOU. Turns to see the BUTCHER'S BOY and his ASSISTANT delivering meat from a handcart further down the street. DAVID, fired up, goes over. Pulls back his arm to thump the BUTCHER'S BOY, but immediately gets a shoulder of lamb in the face. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE HEEPS' HOUSE - DAY</stage_direction> <scene_description>Establisher of the Heeps' humble home.</scene_description> <character>MRS HEEP (O.S.)</character> <dialogue>You say he hit you with a joint of meat?</dialogue> </scene> <scene> <stage_direction>INT. THE HEEPS' HOUSE - DAY</stage_direction> <scene_description>URIAH and his MOTHER in their sparsely furnished, but neat and clean house, sat on a large round table covered in tea things, including a bottle of milk. A pile of law books. The odd ornament. DAVID has a red mark on one side of his face.</scene_description> <character>DAVID</character> <dialogue>A leg of lamb I believe.</dialogue> <character>MRS HEEP</character> <parenthetical>(checking the mark)</parenthetical> <dialogue>No. That looks more like a half shoulder. Or a big bit of brisket.</dialogue> <parenthetical>(offering cake)</parenthetical> <dialogue>Cake? It's quite heavy.</dialogue> <character>URIAH</character> <dialogue>I like a heavy cake. I like to know I've had a cake.</dialogue> <character>MRS HEEP</character> <dialogue>He can't abide a light sponge.</dialogue> <character>DAVID</character> <dialogue>I see...</dialogue> <parenthetical>(takes a piece, struggles to cut into it)</parenthetical> <dialogue>Well, this looks very...</dialogue> <parenthetical>(eats - Jesus)</parenthetical> <dialogue>...good Lord. That's wonderfully dense.</dialogue> <scene_description>MRS HEEP moves her chair closer to DAVID. A moment later, so does URIAH. DAVID uncomfortable. Looks around...</scene_description> <character>DAVID</character> <dialogue>I see you're studying, Mr Heep?</dialogue> <character>URIAH</character> <dialogue>Uriah, if you can bear to. Yes, improving my legal knowledge. I am hopeful that Mr Wickfield might be willing to take me on as an apprentice at law.</dialogue> <character>DAVID</character> <dialogue>Perhaps you'll become a partner!</dialogue> <character>URIAH</character> <dialogue>Do you mock me?</dialogue> <character>DAVID</character> <dialogue>You seem to search for mockery. That was meant sincerely, Uriah.</dialogue> <character>URIAH</character> <parenthetical>(overexcited)</parenthetical> <dialogue>"Uriah"! Did you hear that? He called me Uriah!</dialogue> <character>MRS HEEP</character> <dialogue>I did!</dialogue> <character>URIAH</character> <dialogue>Spontaneously!</dialogue> <character>MRS HEEP</character> <dialogue>And him a gentleman!</dialogue> <character>URIAH</character> <dialogue>It's like the blowing of old breezes to hear you say Uriah. It thrills me to the very stomach.</dialogue> <character>DAVID</character> <parenthetical>(checking the clock)</parenthetical> <dialogue>I'm happy for you.</dialogue> <character>URIAH</character> <dialogue>Time is a concern? Are you worried humbleness is an infectious disease?</dialogue> <character>DAVID</character> <dialogue>No, no, I just can't stay too long...</dialogue> <character>MRS HEEP</character> <dialogue>You can if I bar the door!</dialogue> <character>URIAH</character> <dialogue>We could keep him as our little pet.</dialogue> <character>DAVID</character> <dialogue>I beg your pardon?</dialogue> <scene_description>URIAH realises he's gone too far.</scene_description> <character>URIAH</character> <dialogue>Sorry, it's a joke! Forgive me, I've been attempting to learn Gentlemen's Humour from a book.</dialogue> <character>MRS HEEP</character> <dialogue>He has! What do you think of Mr Wickfield?</dialogue> <scene_description>Both HEEPS shift chairs in exact unison closer to DAVID.</scene_description> <character>DAVID</character> <dialogue>He is...a good man, I feel.</dialogue> <character>URIAH</character> <dialogue>He takes wine with an enviable degree of enjoyment, don't he?</dialogue> <character>DAVID</character> <dialogue>I've seen him take wine, but...</dialogue> <character>URIAH</character> <dialogue>You've seen him. That's good to know, interesting to know - that you've witnessed the deed.</dialogue> <character>DAVID</character> <dialogue>'Witnessed the deed'?</dialogue> <scene_description>URIAH and MRS HEEP nudge closer. This time they move the place settings they left behind with previous shifts.</scene_description> <character>URIAH</character> <dialogue>Your associate, the Professor. He's a sort, isn't he?</dialogue> <character>DAVID</character> <dialogue>Is he?</dialogue> <character>MRS HEEP</character> <dialogue>Lodging with a beggar, is that a London particular?</dialogue> <character>DAVID</character> <dialogue>Mr Micawber isn't a...</dialogue> <character>MRS HEEP</character> <parenthetical>(off a look from URIAH)</parenthetical> <dialogue>More tea?</dialogue> <scene_description>MRS HEEP exits to the kitchen with the teapot. URIAH nudges even closer. A beat.</scene_description> <character>URIAH</character> <dialogue>I had an interesting talk with Micawber as I was showing him out.</dialogue> <character>DAVID</character> <dialogue>Did you?</dialogue> <character>URIAH</character> <dialogue>Fascinating, your time in London.</dialogue> <parenthetical>(calling, clinking milk)</parenthetical> <dialogue>Mother! Bring another bottle of milk through. This bottle is almost empty and another bottle is needed.</dialogue> <character>DAVID</character> <dialogue>You seem very vexed by this bottle.</dialogue> <character>URIAH</character> <dialogue>Your friend Steerforth is damning of the humbler classes. A veritable factory of damnation. How would you like to help me secure a position with Mr Wickfield?</dialogue> <character>DAVID</character> <parenthetical>(gets close)</parenthetical> <dialogue>I know you told Steerforth about Micawber's IOUs. I've a mind to throw this cake at you and break a rib.</dialogue> <character>URIAH</character> <dialogue>You're very fond of violence, aren't you?</dialogue> <scene_description>DAVID gets up to leave. MRS HEEP comes in with a tray of tea, milk, huge fruitcake.</scene_description> <character>MRS HEEP</character> <dialogue>More heavy cake!</dialogue> <character>URIAH</character> <dialogue>Ahh! Lovely.</dialogue> <character>MRS HEEP</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>You must take some home with you!</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE THE HEEP'S HOUSE - DUSK</stage_direction> <scene_description>DAVID leaves the Heep house, with a large slice of cake. He's angry. Throws the cake into a metal bucket with a massive clang. He strides back towards school with some determination.</scene_description> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - SIDE OF BUILDING - DUSK</stage_direction> <scene_description>A little later. The mark on DAVID's face has gone down. DAVID storms up to STEERFORTH. Some hand-carts taking boys' luggage away. LITTIMER, Steerforth's Butler, carries out some of his bags through a side door.</scene_description> <character>DAVID</character> <dialogue>Steerforth! Micawber's harmless. He cared for my well-being for years.</dialogue> <character>STEERFORTH</character> <dialogue>The rogue was exploiting your charitable nature. You should be thanking me Daisy.</dialogue> <character>DAVID</character> <dialogue>My name is David. Not Daisy, not Trot, my name is David Copperfield.</dialogue> <character>STEERFORTH</character> <dialogue>Then why not go by it? What else are you hiding, David?</dialogue> <character>DAVID</character> <dialogue>Well I can't hide anything when you've got your spindly little spy Heep searching my possessions.</dialogue> <character>STEERFORTH</character> <dialogue>My instinct is to protect you, because you can't protect yourself.</dialogue> <character>DAVID</character> <dialogue>Yes I can!</dialogue> <character>STEERFORTH</character> <dialogue>A malnourished apprentice knocked you out cold!</dialogue> <scene_description>DAVID goes to hit STEERFORTH. BOYS watch from the windows.</scene_description> <character>STEERFORTH</character> <dialogue>What was that? It was like you were reaching for a Chelsea bun.</dialogue> <scene_description>DAVID strikes STEERFORTH again, who instinctively hits DAVID back on the bottom, with his cane. DAVID yelps.</scene_description> <character>DAVID</character> <dialogue>And that was like an ageing dowager poking a fire.</dialogue> <character>STEERFORTH</character> <dialogue>What does that even mean? You're just a bag of words.</dialogue> <character>DAVID</character> <dialogue>What is it? What's in you that makes you like this?</dialogue> <character>STEERFORTH</character> <dialogue>I don't know.</dialogue> <parenthetical>(drops arms to his sides)</parenthetical> <dialogue>Go on. Hit me. I deserve to be hit.</dialogue> <character>DAVID</character> <dialogue>I don't want to hit you.</dialogue> <character>STEERFORTH</character> <dialogue>Hit me. In the face.</dialogue> <character>DAVID</character> <dialogue>No!</dialogue> <character>STEERFORTH</character> <dialogue>I'm sorry. I'm forever doing this - I make a dear friendship and then I tread it into the dirt...</dialogue> <character>DAVID</character> <dialogue>No. We're still dear friends. We always shall be.</dialogue> <scene_description>They sit on a trunk/bench.</scene_description> <character>STEERFORTH</character> <dialogue>Forgive me if I went too far with the Pretend Professor. Truly. It's upset you and I'm sorry.</dialogue> <character>DAVID</character> <dialogue>Thank you.</dialogue> <character>STEERFORTH</character> <dialogue>I'm fretting. And angry. Mother is due and I always get this odd feeling, which...I don't know...</dialogue> <character>DAVID</character> <dialogue>...smoulders within you like smoke from damp logs.</dialogue> <character>STEERFORTH</character> <dialogue>Yes.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - FRONT - DUSK</stage_direction> <scene_description>MRS STEERFORTH - an imperious, well-dressed woman with an old scar on her lip - appears out of a carriage, head first, in SLOW MOTION. The wind catches her shawl.</scene_description> </scene> <scene> <stage_direction>INT. MRS STRONG'S SCHOOL - CORRIDOR - DUSK</stage_direction> <scene_description>SLOW MOTION: MRS STEERFORTH strides through the hallway accompanied by a nervous MRS STRONG. LITTIMER holds an umbrella over MRS STEERFORTH to shield her from drips. She glares at the interior as she goes. They pass holes in the walls. There are BOYS behind sections of the wall holding it up, and covering holes with similarly coloured material. These are removed a moment after MRS STEERFORTH passes - we catch a glimpse of a LITTLE BOY's head through a hole, before it disappears. As they turn the corner, we return to a normal frame rate:</scene_description> <character>MRS STRONG</character> <dialogue>We intend, when further funds clear, to improve the building.</dialogue> <character>MRS STEERFORTH</character> <dialogue>How? By demolishing it?</dialogue> <character>MRS STRONG</character> <dialogue>Haha. Very droll, Mrs Steerforth.</dialogue> <character>MRS STEERFORTH</character> <dialogue>Any wit was unintentional.</dialogue> <parenthetical>(glancing into a room)</parenthetical> <dialogue>Someone has left a clarinet in that pantry.</dialogue> <character>MRS STRONG</character> <dialogue>That's actually the Music Room.</dialogue> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - SIDE OF BUILDING - DUSK</stage_direction> <scene_description>Back with DAVID and STEERFORTH, now sat down.</scene_description> <character>STEERFORTH</character> <dialogue>If Micawber is real, does that mean the others from your stories are too? The factory boy?</dialogue> <character>DAVID</character> <dialogue>Look, I can't do this any more. Now seems as good a time...</dialogue> <character>MRS STEERFORTH (O.S.)</character> <dialogue>James?</dialogue> <scene_description>MRS STEERFORTH and LITTIMER appear in the doorway. MRS STEERFORTH folds her umbrella, hands it to DAVID without looking at him.</scene_description> <character>STEERFORTH</character> <dialogue>Mother! This is-</dialogue> <character>DAVID</character> <dialogue>David Copperfield. My very great pleasure to...</dialogue> <character>MRS STEERFORTH</character> <dialogue>What is your background, Mr Copperfield? Who are your people?</dialogue> <character>DAVID</character> <dialogue>My people?</dialogue> <character>MRS STEERFORTH</character> <dialogue>Your family. Are they anyone?</dialogue> <scene_description>DAVID nervous under this scrutiny.</scene_description> <character>DAVID</character> <dialogue>My parents died when...</dialogue> <character>MRS STEERFORTH</character> <dialogue>Prep school?</dialogue> <character>DAVID</character> <dialogue>Yes. In, um...in London.</dialogue> <character>MRS STEERFORTH</character> <dialogue>I'll probably know it. Which one?</dialogue> <character>DAVID</character> <dialogue>Creakle's?</dialogue> <character>MRS STEERFORTH</character> <dialogue>Creakle? Is that a saint? I don't think so. Who was the headmaster?</dialogue> <character>DAVID</character> <dialogue>Mr Murdstone.</dialogue> <scene_description>Quick look to STEERFORTH to see if he's recognised the name.</scene_description> <character>MRS STEERFORTH</character> <dialogue>What was the uniform?</dialogue> <character>DAVID</character> <dialogue>Uh...trousers, certainly, and...</dialogue> <scene_description>MRS STEERFORTH is bored now...</scene_description> <character>MRS STEERFORTH</character> <parenthetical>(straightening STEERFORTH's collar)</parenthetical> <dialogue>Anyway, James - I'm here. Since you bleated and bleated. I'll see you at Mrs Strong's interminable speech. I've brought a book. And a pillow.</dialogue> <scene_description>She takes the umbrella from DAVID without a thank-you, exits with LITTIMER.</scene_description> <character>STEERFORTH</character> <dialogue>My mother.</dialogue> <character>DAVID</character> <dialogue>I see. Good lord.</dialogue> <character>STEERFORTH</character> <dialogue>Did you notice her scar? As a young boy she once exasperated me. So I threw a hammer at her.</dialogue> <character>DAVID</character> <parenthetical>(thinks he's joking)</parenthetical> <dialogue>Ha ha!</dialogue> <parenthetical>(realises he isn't)</parenthetical> <dialogue>Oh.</dialogue> <character>STEERFORTH</character> <dialogue>So, where did you school? And was Murdstone a master there?</dialogue> <character>DAVID</character> <dialogue>There was no prep school.</dialogue> <character>STEERFORTH</character> <dialogue>Ah.</dialogue> <character>DAVID</character> <dialogue>My classroom was a bottling factory and my bed was two of Micawber's dining chairs. I'm here because my aunt saved me.</dialogue> <character>STEERFORTH</character> <dialogue>Admirable.</dialogue> <character>DAVID</character> <dialogue>Do you mean it?</dialogue> <character>STEERFORTH</character> <dialogue>Of course! Self-made man. Picked life up by the scruff and shook it.</dialogue> <character>DAVID</character> <dialogue>Thank you.</dialogue> <character>STEERFORTH</character> <dialogue>Kicked misfortune in the britches! May I still call you Daisy?</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <character>STEERFORTH</character> <dialogue>Ha.</dialogue> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - SCHOOL FIELD - DAY</stage_direction> <scene_description>The next day. MRS STRONG stands on a log on the lawn. The school is partly hidden behind a thick hedge. The leaving party looks very cheap. Lots of PARENTS and BOYS are heading for their carriages, through a gap in the hedge. WICKFIELD is with AGNES, who looks different, new dress and hairstyle.</scene_description> <character>MRS STRONG</character> <parenthetical>(aware nobody is listening)</parenthetical> <dialogue>...as our reputation strengthens, so our intake of new boys for the coming year will be more select and exclusive than ever before.</dialogue> <scene_description>STEERFORTH nudges DAVID, holds up three fingers. DAVID sniggers.</scene_description> <character>MRS STRONG</character> <dialogue>Thank you all for coming to Leavers' Day!</dialogue> <character>MRS STRONG</character> <dialogue>Do stay for refreshments. We're delighted to-</dialogue> <parenthetical>(as PEOPLE leave)</parenthetical> <dialogue>-oh, good-bye!</dialogue> <scene_description>Loads of PEOPLE continue to exit. MR WICKFIELD approaches URIAH and MRS HEEP, who watch AGNES. URIAH fills his glass.</scene_description> <character>MR WICKFIELD</character> <parenthetical>(proud)</parenthetical> <dialogue>My daughter, Agnes.</dialogue> <character>MRS HEEP</character> <dialogue>She's lovely.</dialogue> <scene_description>MR WICKFIELD raises his glass to AGNES and wanders off.</scene_description> <character>MRS HEEP</character> <dialogue>Very pure. Skin like alabaster.</dialogue> <character>URIAH</character> <dialogue>Mother, am I not growing too old for a bachelor?</dialogue> <scene_description>BETSEY, with MR DICK, leads MR SPENLOW - prosperous, late 40s - towards DAVID, who is distracted by DORA, standing off to one side.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Trotwood! This is Mr Spenlow. Your future employer.</dialogue> <character>DAVID</character> <dialogue>What am I to be?</dialogue> <character>MR DICK</character> <dialogue>A Brazier!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>A proctor. You know this Trot.</dialogue> <character>DAVID</character> <parenthetical>(distracted, pushing past)</parenthetical> <dialogue>Yes. Sorry. Good afternoon, Mr Spenlow.</dialogue> <scene_description>MR DICK was about to say something but DAVID's gone. MRS STRONG approaches with a tray of food.</scene_description> <character>MRS STRONG</character> <dialogue>Would you like a small sausage? Or lots of them? We have so many.</dialogue> <scene_description>As SPENLOW heads off with BETSEY we see what's been distracting DAVID - DORA, the most beautiful woman he's ever seen. She's holding a small dog, JIP.</scene_description> <character>DORA</character> <dialogue>You were staring slightly. Is there something wrong with me?</dialogue> <character>DAVID</character> <dialogue>No. Goodness me no. I apologise for my rudeness.</dialogue> <character>DORA</character> <dialogue>He is apologising Jip. Shall we forgive him?</dialogue> <parenthetical>(nothing from JIP)</parenthetical> <dialogue>He says we shall.</dialogue> <character>DAVID</character> <dialogue>Thank you Jip.</dialogue> <character>DORA</character> <parenthetical>(doing Jip's voice, low)</parenthetical> <dialogue>Think nothing of it, sir.</dialogue> <character>DAVID</character> <dialogue>He speaks very well.</dialogue> <character>DORA</character> <dialogue>It was actually me! I like to pretend he speaks. Some people think it idiotic.</dialogue> <scene_description>They're next to an apple tree.</scene_description> <character>DAVID</character> <dialogue>Oh, I do it myself, all the time. Don't I Mr Apple Tree?</dialogue> <parenthetical>(tree's voice)</parenthetical> <dialogue>Yes-</dialogue> <parenthetical>(loses confidence)</parenthetical> <dialogue>-you do.</dialogue> <scene_description>Awkward beat.</scene_description> <character>DAVID</character> <dialogue>I'm David Copperfield.</dialogue> <character>DORA</character> <dialogue>Are you still being the tree?</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <scene_description>He offers his hand.</scene_description> <character>DORA</character> <dialogue>I'm Dora. Spenlow.</dialogue> <character>DAVID</character> <dialogue>Spenlow! Dora Spenlow!</dialogue> <character>DORA</character> <dialogue>Yes, I don't know why I said it like that. "Dora. Spenlow." I don't usually stop in the middle.</dialogue> <scene_description>They just stop and stare at each other. Then:</scene_description> <character>BETSEY TROTWOOD (O.S.)</character> <dialogue>Trotwood!</dialogue> <scene_description>DAVID heads off.</scene_description> <character>DORA</character> <parenthetical>(as JIP)</parenthetical> <dialogue>Good-bye sir!</dialogue> <character>DAVID</character> <dialogue>Sorry. What was that?</dialogue> <character>DORA</character> <dialogue>Oh, it was...it was Jip.</dialogue> <character>DAVID</character> <dialogue>Ah, yes!</dialogue> <parenthetical>(as the tree)</parenthetical> <dialogue>Good-bye!</dialogue> <parenthetical>(points to the tree)</parenthetical> <dialogue>Tree.</dialogue> <character>DORA</character> <dialogue>I know.</dialogue> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - FRONT - DAY (CONTINUOUS)</stage_direction> <scene_description>STUDENTS are being congratulated by MRS STRONG, and collecting their Leavers Books. DAVID passes MRS STRONG.</scene_description> <character>MRS STRONG</character> <dialogue>Good luck Mr Copperfield. I hope this establishment has lived up to your expectations?</dialogue> <character>DAVID</character> <dialogue>It is, I'm afraid, a crumbling disgrace. But I've been happy.</dialogue> <character>MRS STRONG</character> <dialogue>That's lovely to hear. Thank you.</dialogue> <scene_description>DAVID hurries off. MRS STEERFORTH and STEERFORTH go over to MRS STRONG. She assumes they'll say something.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Don't speak.</dialogue> <scene_description>MRS STEERFORTH shakes MRS STRONG's hand and brushes past. As does STEERFORTH.</scene_description> <character>MRS STRONG</character> <dialogue>It's an emotional time, I understand.</dialogue> </scene> <scene> <stage_direction>EXT. MRS STRONG'S SCHOOL - SCHOOL FIELD - DAY (CONTINUOUS)</stage_direction> <scene_description>WICKFIELD walks with BETSEY. He has an empty wine glass. AGNES is nearby, talking to some TEACHERS, glancing occasionally at her father to make sure he's okay.</scene_description> <character>MR DICK</character> <dialogue>I should like to go home.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Just another two hours.</dialogue> <character>MR DICK</character> <dialogue>What if the donkeys are back?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Forty-five minutes, then.</dialogue> <scene_description>WICKFIELD, a bit drunk, stumbles.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Very uneven ground here. I almost stumbled myself a moment ago.</dialogue> <character>WICKFIELD</character> <dialogue>Very dangerous indeed. There should be signs up.</dialogue> <scene_description>URIAH approaches with a bottle of wine.</scene_description> <character>URIAH</character> <dialogue>Some more wine sir?</dialogue> <character>MR WICKFIELD</character> <dialogue>No. I don't need it.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>He doesn't need it. Thank you.</dialogue> <character>URIAH</character> <dialogue>I see. You want me to take it away, sir? The delicious, tannic, deep- red wine?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Yes please.</dialogue> <character>WICKFIELD</character> <dialogue>Actually - I will have the smallest amount. An ounce. Less.</dialogue> <scene_description>HEEP fills WICKFIELD's glass, exits as MRS STRONG approaches.</scene_description> <character>MRS STRONG</character> <dialogue>Ah, Mr Wickfield, while I've got you cornered - not cornered but 'at bay', may I talk about roofs? And our ever-so-slight lack of them...?</dialogue> <scene_description>BETSEY leaves them to talk as DAVID, excited, approaches with MR DICK.</scene_description> <character>DAVID</character> <parenthetical>(to BETSEY)</parenthetical> <dialogue>Aunt - where's Agnes? I want to tell her something.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>She's just there Trot. Looking very beautiful I think. Go speak to her.</dialogue> <scene_description>DAVID heads off. DICK goes to follow but BETSEY holds him back, and steers him away.</scene_description> <character>MR DICK</character> <parenthetical>(re kite)</parenthetical> <dialogue>Useless. Without a breeze it's just wood and paper. Stupid kite.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>It's not a stupid kite, Mr Dick. It's a splendid kite.</dialogue> <character>MR DICK</character> <parenthetical>(mumbled)</parenthetical> <dialogue>It's quite stupid.</dialogue> <scene_description>DAVID nods an apology to the TEACHERS as he pulls AGNES away from them.</scene_description> <character>DAVID</character> <dialogue>Agnes!</dialogue> <parenthetical>(notices her new look)</parenthetical> <dialogue>You look very striking.</dialogue> <character>AGNES</character> <dialogue>Why thank you...</dialogue> <character>DAVID</character> <dialogue>I am in love!</dialogue> <character>AGNES</character> <parenthetical>(hang on - with me?)</parenthetical> <dialogue>You're in love...?</dialogue> <character>DAVID</character> <dialogue>Utterly. With Dora. Spenlow. I don't know why I said it like that.</dialogue> <character>AGNES</character> <parenthetical>(right)</parenthetical> <dialogue>Ah! The girl with the yapping dog.</dialogue> <character>DAVID</character> <dialogue>What a face.</dialogue> <character>AGNES</character> <dialogue>What a voice that comes out of it.</dialogue> <character>DAVID</character> <dialogue>Do you mock me Agnes?</dialogue> <character>AGNES</character> <dialogue>I do. With affection, but entirely without mercy.</dialogue> <parenthetical>(DAVID now distracted)</parenthetical> <dialogue>Do you know, Papa and I are also moving to London?</dialogue> <character>DAVID</character> <parenthetical>(looks for MR SPENLOW)</parenthetical> <dialogue>I see...</dialogue> <scene_description>He sees DORA showing an ARMY OFFICER JIP's trick.</scene_description> <character>AGNES</character> <dialogue>You'll think I'm following you.</dialogue> <parenthetical>(tickling DAVID)</parenthetical> <dialogue>"Help me! I'm being followed by Agnes!" She's as persistent as a bluebottle in a sash window! Persistent as a...what...?</dialogue> <scene_description>DAVID's gaze still locked on to DORA.</scene_description> <character>DAVID</character> <dialogue>As persistent as...a thing...can't think of the word...</dialogue> <parenthetical>(sees SPENLOW)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Leaving AGNES, he runs over to SPENLOW, BETSEY and MR DICK. Shakes SPENLOW's hand vigorously.</scene_description> <character>DAVID</character> <dialogue>Mr Spenlow! Apologies for my earlier distracted state. I am looking forward tremendously, Mr Spenlow, to joining Spenlow &amp; Jorkins. Mr Spenlow.</dialogue> <character>MR SPENLOW</character> <dialogue>Excellent. Ready to become a proctor?</dialogue> <character>DAVID</character> <dialogue>Eager to become a proctor!</dialogue> <character>MR SPENLOW</character> <parenthetical>(heading off)</parenthetical> <dialogue>That's the attitude!</dialogue> <character>MR DICK</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>What's a proctor?</dialogue> </scene> <scene> <stage_direction>EXT. LONDON COACHING INN - DAY</stage_direction> <scene_description>A busy, hectic coaching inn. Horses, parked coaches, kiosks. DAVID alights off a coach, looking grand: He owns this city.</scene_description> <character>DAVID (V.O.)</character> <dialogue>I haven't the faintest idea....</dialogue> </scene> <scene> <stage_direction>EXT. DAVID'S FIRST LODGINGS - DAY</stage_direction> <scene_description>DAVID arriving outside his first apartment.</scene_description> <character>DAVID (V.O.)</character> <dialogue>But I'll take possession of my own apartments.</dialogue> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - DAY</stage_direction> <scene_description>DAVID looks out the window, sees ST PAUL'S. A modern, rich part of town. A few cranes in the distance.</scene_description> <character>DAVID (V.O.)</character> <dialogue>..and soon I'll find out.</dialogue> <scene_description>MRS CRUPP, his landlady, drags his trunk in. DAVID smiles a thank you. She doesn't move. He reaches into his pocket for some money.</scene_description> <character>DAVID</character> <dialogue>I don't suppose you know what a proctor is?</dialogue> <character>MRS CRUPP</character> <dialogue>Ooh. Now you're asking. Do they make hats?</dialogue> </scene> <scene> <stage_direction>EXT. SPENLOW &amp; JORKINS OFFICES - DAY (CONTINUOUS)</stage_direction> <scene_description>SPENLOW leads DAVID up King's Bench Walk, into No.3 North.</scene_description> <character>SPENLOW</character> <dialogue>A proctor is a sort of monkish attorney. Our existence...</dialogue> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - DAY (CONTINUOUS)</stage_direction> <scene_description>SPENLOW leads DAVID though the silent room. Busy CLERKS.</scene_description> <character>MR SPENLOW</character> <dialogue>...in the natural course of things would have terminated 200 years ago. But there we have it. Mind these floorboards, they squeak.</dialogue> <scene_description>SPENLOW hopscotches a dance over part of the floor. DAVID tries to emulate him, but treads on every squeaky floorboard. The squeaks are very loud and the CLERKS all look up angrily.</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - DAY (A NEW DAY)</stage_direction> <scene_description>DAVID - with a new look to his hair - is listening to DORA's angelic singing (the last few bars of The Madman, 1846) from upstairs.</scene_description> <character>HEAD CLERK</character> <dialogue>Oi - do some work, Romeo.</dialogue> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - STAIRWELL - DAY (LATER)</stage_direction> <scene_description>As DORA leaves, DAVID skips across the creaky floorboards, trying to avoid squeaks, but failing. CLERKS mutter.</scene_description> <character>DAVID</character> <dialogue>Miss Spenlow, I was convinced a famous soprano was practicing upstairs!</dialogue> <character>DORA</character> <parenthetical>(excited)</parenthetical> <dialogue>Oh! Exciting. Who?</dialogue> <character>DAVID</character> <dialogue>No, I mean to say...it turned out to be you!</dialogue> <character>DORA</character> <dialogue>Oh dear. How disappointing for you.</dialogue> <character>DAVID</character> <dialogue>No, I-</dialogue> <character>DORA</character> <dialogue>Oh! No, I see! A compliment! Thank you!</dialogue> <character>DAVID</character> <dialogue>Not at all.</dialogue> <character>DORA</character> <dialogue>I am relieved to hear that my voice is not tiresome.</dialogue> <character>DAVID</character> <dialogue>'Not tiresome' is an understatement. And 'angelic' is not an overstatement.</dialogue> <character>DORA</character> <dialogue>Oh, thank you! Again.</dialogue> <character>DAVID</character> <dialogue>Not at all! Again.</dialogue> <parenthetical>(awkward pause)</parenthetical> <dialogue>You have just come home from Paris, I believe?</dialogue> <character>DORA</character> <dialogue>Yes.</dialogue> <character>DAVID</character> <dialogue>Paris. What a city.</dialogue> <character>DORA</character> <dialogue>Have you ever been there?</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <character>DORA</character> <dialogue>I hope you'll go soon.</dialogue> <scene_description>DAVID laughs. Doesn't know why he laughed.</scene_description> <character>DAVID</character> <dialogue>I won't go to Paris. I won't leave England under any circumstances while you...</dialogue> <character>SPENLOW (O.S.)</character> <dialogue>Copperfield! Please search the birth records of Putney for one Jemima Poole. She was born some time last century.</dialogue> <character>DAVID</character> <dialogue>I have to go.</dialogue> <scene_description>He begins to step back across the squeaky floor.</scene_description> <character>DORA</character> <dialogue>Would you like to come up after my next lesson? I can sing you a piece.</dialogue> <character>DAVID</character> <dialogue>I will bring something to throw at you. As in a bouquet. Of flowers.</dialogue> <scene_description>DORA smiles, exits. DAVID skips back across the floorboards, and makes slightly fewer squeaks. CLERKS still mutter.</scene_description> <character>HEAD CLERK</character> <dialogue>Did you get your shoes fitted at a blacksmith's?</dialogue> </scene> <scene> <stage_direction>INT. TAILOR'S SHOP - DAY</stage_direction> <scene_description>MONTAGE: With DORA singing Woodman Spare That Tree, played on the forte piano. Quick cuts of DAVID choosing, trying on, buying various items of clothing. All are bright, garish, dandyish, colourful. Looking in a mirror, helped by a TAILOR. INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - DAY</stage_direction> <scene_description>DAVID getting better at the floorboards, even while balancing a big pile of ledgers. Just one SQUEAK at the end.</scene_description> <character>HEAD CLERK</character> <dialogue>Fell at the last fence. Sadly going to have to shoot you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICE - UPSTAIRS ROOM - DAY</stage_direction> <scene_description>Intercut with moments of listening to DORA singing. DAVID following every syllable, nodding along, lightly swaying to it, maybe a single tear forming. CUT TO: Her dog, JIP, playing tricks. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICE - DOWNSTAIRS - DAY</stage_direction> <scene_description>DAVID watches DORA leaving from one side of a large central chimney. He hurries to the other side of the chimney to watch the second half of her journey. Avoids all the squeaky boards.</scene_description> <character>HEAD CLERK</character> <dialogue>That's what I want to hear - nothing.</dialogue> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - STAIRWELL - DAY</stage_direction> <scene_description>DAVID presenting DORA with flowers and bows as she comes down the stairs. She makes him a small origami flower in return. INTERCUT WITH: Small vignettes of awkward conversation with DORA, getting slightly more confident:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - CHEQUER SQUARE - DAY</stage_direction> <scene_description>DAVID and DORA walking. Her hat blows off, DAVID leaps and retrieves it, hands it back to her.</scene_description> <character>DAVID</character> <dialogue>Lovers have loved before but no lovers shall ever love as we love.</dialogue> <character>DORA</character> <dialogue>That's very complicated, but thank you.</dialogue> </scene> <scene> <stage_direction>EXT. LONDON STREETS - CHEQUER SQUARE - EVENING</stage_direction> <scene_description>DAVID walks home. The clouds seem to form into DORA's face. All the adverts on the side of an omnibus say 'DORA'. An inn has a painting of DORA on its sign: 'THE DORA'S HEAD'. A CHIMNEY SWEEP bumps into someone, drops his brushes. On the ground, the broken up poles and heads spell 'DORA'. A COACH passes by: the COACH DRIVER has Dora's ribbon and curls.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - NIGHT</stage_direction> <scene_description>DAVID stares at St Paul's dome. It has DORA's curls and ribbon. Behind him, young men shouting, laughing, singing. The moon shines bright. The SONG ends.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - NIGHT - LATER</stage_direction> <scene_description>A roar of laughter. DAVID is having a party with STEERFORTH, MARKHAM, and his Oxford friend GRAINGER. It's smokey, raucous and everyone is tipsy. We're at the start of dinner.</scene_description> <character>DAVID</character> <dialogue>I never saw such curls! How could I, for there never were such curls!</dialogue> <scene_description>MRS CRUPP appears with a large piece of mottled re-formed meat. Plonks it down.</scene_description> <character>DAVID</character> <dialogue>Now I know this thing resembles a slab of marble, but-</dialogue> <parenthetical>(to MRS CRUPP)</parenthetical> <dialogue>-I'm assured it is what they term 'Mock Turtle'?</dialogue> <scene_description>Nothing from MRS CRUPP.</scene_description> <character>STEERFORTH</character> <dialogue>Look at the size of it!</dialogue> <scene_description>DAVID confident, a man about town.</scene_description> <character>DAVID</character> <dialogue>Could you warm the Mock Turtle up please, Mrs Crupp?</dialogue> <character>MRS CRUPP</character> <dialogue>You want me to warm this up?</dialogue> <character>DAVID</character> <dialogue>...yes.</dialogue> <scene_description>She gestures for the meat, and STEERFORTH passes it over. With a huff, MRS CRUPP heaves the meat over her shoulder, grumbling as she staggers into the pantry.</scene_description> <character>STEERFORTH</character> <parenthetical>(re wine)</parenthetical> <dialogue>A rather extensive order, eh Markham?</dialogue> <character>MARKHAM</character> <dialogue>Enough for a decent headache, certainly.</dialogue> <character>DAVID</character> <dialogue>They look so numerous I am almost frightened by them.</dialogue> <parenthetical>(counts the bottles)</parenthetical> <dialogue>Two missing.</dialogue> <scene_description>DAVID sees MRS CRUPP's shadow cast from the pantry onto a wall. The shadow uncorks a bottle, then takes a long swig.</scene_description> <character>GRAINGER</character> <dialogue>What's the grape? And the vintage?</dialogue> <scene_description>DAVID's confidence drains. STEERFORTH spots this. DAVID studies the label. It's in French and the words become jumbled.</scene_description> <character>DAVID</character> <parenthetical>(pouring)</parenthetical> <dialogue>The merest sip should give you these answers.</dialogue> <scene_description>GRAINGER sips. He has no more idea than DAVID.</scene_description> <character>GRAINGER</character> <dialogue>...Ah yes. Unmistakeable.</dialogue> <character>DAVID</character> <parenthetical>(quietly victorious)</parenthetical> <dialogue>Quite so.</dialogue> <character>STEERFORTH</character> <parenthetical>(knocks back a full glass)</parenthetical> <dialogue>It's a red wine. Almost certainly.</dialogue> <scene_description>HARD CUT TO: HUGE LAUGHS. DAVID getting drunk to get his confidence back. Snacking on quails eggs and celery salt.</scene_description> <character>GRAINGER</character> <dialogue>I'm starving.</dialogue> <scene_description>MRS CRUPP reappears, also quite drunk, with a grubby pan containing a liquid slop: the Mock Turtle now a shrunken, bleak nub.</scene_description> <character>MARKHAM</character> <dialogue>Where's the rest of it?</dialogue> <character>GRAINGER</character> <dialogue>You gentlemen tuck in. I'm full.</dialogue> <character>STEERFORTH</character> <dialogue>Is this a burnt offering to the pagan gods, Daisy? Hoist it high!</dialogue> <scene_description>DAVID stabs the meat with a fork, holds it above his head.</scene_description> <character>DAVID</character> <dialogue>I shall have a dinner party like this once a week until I die! Where are the lobsters? I want lobster!</dialogue> <scene_description>CRUPP doesn't move, stands drunk and swaying.</scene_description> <character>MRS CRUPP</character> <dialogue>If you'll just give me two minutes.</dialogue> <character>DAVID</character> <dialogue>I am very familiar with the lobster people of Yarmouth.</dialogue> <character>MARKHAM</character> <dialogue>Do they worship lobsters, or take on their characteristics?</dialogue> <character>DAVID</character> <dialogue>They're hardworking toilers of the sea.</dialogue> <character>GRAINGER</character> <dialogue>The lobsters, or the people?</dialogue> <character>DAVID</character> <dialogue>Both!</dialogue> <scene_description>MRS CRUPP wanders off.</scene_description> <character>STEERFORTH</character> <dialogue>If you're thinking of travelling to Yarmouth soon, might I join you?</dialogue> <character>DAVID</character> <dialogue>Of course.</dialogue> <character>STEERFORTH</character> <dialogue>It would be fun to be part of that world. I love to sail, and fish. In the city I can be prone to a heavy mind.</dialogue> <character>DAVID</character> <parenthetical>(finds this hilarious)</parenthetical> <dialogue>You have a heavy mind?</dialogue> <scene_description>He bangs his head on the table. A big laugh from the others.</scene_description> <character>STEERFORTH</character> <dialogue>Sometimes - yes, like lead. A lead head. I feel my...</dialogue> <scene_description>The moment is interrupted by a CRASH! A bottle has smashed.</scene_description> <character>MRS CRUPP (O.S.)</character> <dialogue>Sorry! My fault! I'll lick the wine up and try to avoid the glass...</dialogue> <scene_description>CUT TO: DAVID looking in the mirror. In the background we see MRS CRUPP is sat with the boys, singing a maudlin song to the tune of 'Old 1812'. MARKHAM is trying to harmonize.</scene_description> <character>MRS CRUPP</character> <dialogue>Westminster is full of wigs, Lawyers heads, and briefs and bags, Lords and Commons, carts and gigs, Silks and satins, rogues and rags, Covent Garden, Drury Lane, Pidcock's show is very grand, Piazzas keep from the rain, The One Bell Inn is in the Strand...</dialogue> <scene_description>STEERFORTH on his own, bored. GRAINGER eating some gravy and potatoes.</scene_description> <character>DAVID</character> <dialogue>I am very ill. And my hair looks drunk.</dialogue> <parenthetical>(calling to the others)</parenthetical> <dialogue>I say! I have drunken hair.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>Drunken hair.</dialogue> <scene_description>DAVID stares. Faints out of shot. STEERFORTH lifts him.</scene_description> <character>STEERFORTH</character> <dialogue>Up! I'm bored up to my eyeballs! Let's give your drunken hair a night to remember. To the theatre!</dialogue> <scene_description>They all get up to go to the theatre. MRS CRUPP thinks she's coming. But the door is closed on her. Then DAVID pops his head back in.</scene_description> <character>DAVID</character> <parenthetical>(v. politely)</parenthetical> <dialogue>Could you tidy up? Thank you.</dialogue> </scene> <scene> <stage_direction>INT. LONDON THEATRE - SECOND TIER BOX - NIGHT</stage_direction> <scene_description>It's dark. A play is on: 'BLACK-EYED SUSAN' (see addendum for content). DAVID and the boys tumble into a box, shushing each other. DAVID peers at his ticket.</scene_description> <character>DAVID</character> <dialogue>Is this Box 12. Or 14? Or - it can't be Box 120 can it? That would make this an enormous theatre.</dialogue> <scene_description>He gets to the front row and peers over the edge. AUDIENCE MEMBERS turn disapprovingly towards them.</scene_description> <character>STEERFORTH</character> <dialogue>I can't hear. Speak up!</dialogue> <parenthetical>(re play dialogue)</parenthetical> <dialogue>Who's Susan? I don't know who this Susan is. Stop saying Susan!</dialogue> <character>AUDIENCE MEMBER 1</character> <dialogue>Silence, please.</dialogue> <character>DAVID</character> <dialogue>He is being silence please, so hold your tongue!</dialogue> <scene_description>DAVID looks down to the first tier. In a corner box, is AGNES. Some other people are with her - we can't see the faces, but a hint it could be MR WICKFIELD, HEEP and MRS HEEP.</scene_description> <character>DAVID</character> <parenthetical>(very loud)</parenthetical> <dialogue>Agnes! Ha haa! Good lord.</dialogue> <character>AGNES</character> <dialogue>Trotwood! Please! Lower your voice.</dialogue> <scene_description>Another AUDIENCE MEMBER looks towards AGNES.</scene_description> <character>AUDIENCE MEMBER 2</character> <dialogue>Hush!</dialogue> <character>AGNES</character> <dialogue>I'll thank you not to hush me, madam! Hush your own loud hushing.</dialogue> <character>DAVID</character> <dialogue>Don't huss Agnesh. She's sort of my kind of sister in a sort of way.</dialogue> <character>STEERFORTH</character> <dialogue>So you do have a sister!</dialogue> <scene_description>MARKHAM and GRAINGER laugh. The whole audience now hate DAVID. AGNES indicates - meet outside. She exits, and so does DAVID, clambering over chairs.</scene_description> </scene> <scene> <stage_direction>INT. LONDON THEATRE - HALLWAY OUTSIDE BOXES - NIGHT</stage_direction> <scene_description>DAVID and AGNES. DAVID trying to appear sober. AGNES has lost a spark, is troubled and tense.</scene_description> <character>AGNES</character> <dialogue>Trotwood...</dialogue> <character>DAVID</character> <dialogue>I'm terribly not drunk.</dialogue> <character>AGNES</character> <dialogue>If I know one thing it's what a drunken man looks like. Did Steerforth get you into this state?</dialogue> <character>DAVID</character> <dialogue>No he didn't. I mean, he was there while it was happening, but...</dialogue> <character>AGNES</character> <dialogue>I fear he's a bad influence.</dialogue> <character>DAVID</character> <dialogue>The only person who suffers from Steerforth's influence is himself...oh hello!</dialogue> <scene_description>Suddenly STEERFORTH, MARKHAM and GRAINGER are there. They head past, towards the bar.</scene_description> <character>STEERFORTH</character> <dialogue>This is a very poor play. I wanted a play about ghosts or a murder.</dialogue> <character>MARKHAM</character> <dialogue>Or a horse.</dialogue> <character>STEERFORTH</character> <parenthetical>(to AGNES)</parenthetical> <dialogue>Hello sis!</dialogue> <scene_description>They go into the bar.</scene_description> <character>AGNES</character> <dialogue>You were saying...?</dialogue> <character>DAVID</character> <dialogue>Please don't lecture me about Steerforth.</dialogue> <character>AGNES</character> <dialogue>A lecture would be futile - in your current state you barely understand English.</dialogue> <character>DAVID</character> <dialogue>Let's not argue, please.</dialogue> <character>AGNES</character> <dialogue>I haven't the energy to argue. I've barely the energy to...</dialogue> <scene_description>WICKFIELD, URIAH - dressed very smartly - and MRS HEEP come out into the hallway.</scene_description> <character>URIAH</character> <dialogue>Mister Copperfield! Look at us - from Canterbury to London, a reverse pilgrimage!</dialogue> <character>MRS HEEP</character> <parenthetical>(finds this hilarious)</parenthetical> <dialogue>Oh very good...</dialogue> <character>DAVID</character> <dialogue>Good evening everyone.</dialogue> <character>WICKFIELD</character> <dialogue>My dear Trotwood! Good evening.</dialogue> <parenthetical>(to MRS HEEP)</parenthetical> <dialogue>Did I fall asleep at one point? Are we all still understanding the play do we think? 'Susan', etcetera?</dialogue> <character>URIAH</character> <dialogue>Agnes, have you told him of my new position?</dialogue> <scene_description>A beat. DAVID looks to AGNES.</scene_description> <character>AGNES</character> <dialogue>Uriah has joined the firm. He has some very promising ideas with regards to our future prosperity...</dialogue> <character>MRS HEEP</character> <dialogue>Ury couldn't be making faster progress if he was steam-powered.</dialogue> <character>URIAH</character> <dialogue>Mother, please - I redden in the face.</dialogue> <scene_description>The HEEPS head to the bar with WICKFIELD. An awkward beat between AGNES and DAVID.</scene_description> <character>AGNES</character> <dialogue>They live with us now. I hear their snores, like... love-lorn toads calling across a swamp.</dialogue> <character>AGNES</character> <parenthetical>(half a beat)</parenthetical> <dialogue>And how's Dora?</dialogue> <character>DAVID</character> <dialogue>Wonderful. Sweet. Curly. In fact, I propose to intend to marriage her in the morning.</dialogue> <character>AGNES</character> <parenthetical>(hides her deflation)</parenthetical> <dialogue>What pleasing news.</dialogue> <character>URIAH</character> <parenthetical>(peering from the bar)</parenthetical> <dialogue>Agnes - a soda water?</dialogue> <scene_description>She nods a thank you as STEERFORTH, MARKHAM and GRAINER head out from the bar, and leave the theatre.</scene_description> <character>DAVID</character> <parenthetical>(to AGNES, but looking at his departing friends)</parenthetical> <dialogue>Be very careful of the Heep and his cake-mother.</dialogue> <character>AGNES</character> <dialogue>They're becoming a fixture. Don't follow your companions Trot, you need to go to bed. Good night.</dialogue> <scene_description>She heads back into the box. The HEEPS and WICKFIELD are returning too - WICKFIELD draining a glass of wine, MRS HEEP replacing it immediately with a full one.</scene_description> <character>MR WICKFIELD</character> <dialogue>Very generous, but I may be nearing the limits of my capacity.</dialogue> <character>MRS HEEP</character> <dialogue>It'll be soaked up by my dense sponge.</dialogue> <character>DAVID</character> <parenthetical>(to URIAH)</parenthetical> <dialogue>Wait...you called her Agnes, just now, not Miss Wickfield...</dialogue> <character>URIAH</character> <dialogue>I must get back to the dramatics.</dialogue> <scene_description>URIAH heads back in. DAVID left standing on his own. He feels very dizzy.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - BEDROOM - NIGHT</stage_direction> <scene_description>Now DAVID is face-down in bed. Drifting in and out of drunken sleep, and dribbling. DAVID'S POV: Suddenly looming over him is URIAH HEEP, between the railings. The moon shines brightly through an open window behind URIAH. The floor is covered in scraps of paper, DAVID's notes and ideas.</scene_description> <character>URIAH</character> <dialogue>Early moon. Peaceful, ain't she?</dialogue> <character>DAVID</character> <parenthetical>(startled awake)</parenthetical> <dialogue>What?</dialogue> <character>URIAH</character> <dialogue>Your landlady let me in. I thought you might need some help. And I love to help.</dialogue> <character>DAVID</character> <dialogue>You called Agnes by her Christian name, not Miss Wickfield...</dialogue> <character>URIAH</character> <dialogue>Did I? Too fast? I can wait.</dialogue> <parenthetical>(leans closer to DAVID, staring through the bars of the bed)</parenthetical> <dialogue>Ever tried to pluck a pear before it was ripe? They all ripen in the end. They only want attending to.</dialogue> <scene_description>DAVID tries to grab URIAH, misses.</scene_description> <character>DAVID</character> <dialogue>You're not worthy of that woman.</dialogue> <parenthetical>(slightly incoherent)</parenthetical> <dialogue>I hold Agnes so far above you and your aspirations as that moon herself.</dialogue> <character>URIAH</character> <dialogue>I have as good a right to her as any other man. Better! I pulled myself up, with no help from you, doing whatever it is...what is it you're being trained to become?</dialogue> <character>DAVID</character> <dialogue>A proctor.</dialogue> <character>URIAH</character> <dialogue>Indeed. Now, I'm hardly whatever one of them is, but I deserve her. I will go to any ends for her!</dialogue> <character>DAVID</character> <parenthetical>(inaudible mumble)</parenthetical> <dialogue>You may go to the devil!</dialogue> <scene_description>He falls on to the bed, passes out. URIAH puts the cushion on his seat, rests.</scene_description> <character>URIAH</character> <dialogue>Don't say that! I know you'll be sorry afterwards!</dialogue> <character>DAVID</character> <parenthetical>(barely audible)</parenthetical> <dialogue>I'm a proctor...</dialogue> <character>URIAH</character> <dialogue>We are like two carved figures in a weather house, Copperfield; as one arrives, the other departs.</dialogue> <scene_description>David is asleep - CUT TO BLACK. Then...</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - BEDROOM - MORNING</stage_direction> <scene_description>DAVID wakes, bleary-eyed, hungover. Hauls himself upright - ouch, he has a headache, falls back on the bed. Gathers himself, staggers up, lunges for some trousers, lies back down on the bed, tries to put on his trousers lying down. Some QUICK CUTS of him dressing - in pain from his headache as he leans down to pull on his socks, having to lie back on the bed and stick his legs in the air to pull them on. Goes to put an engagement ring in his waistcoat pocket. Drops it on the floor. Can't find it. Then can. Bends down to pick it up. Stands up too quickly, staggers and falls back on the bed.</scene_description> </scene> <scene> <stage_direction>EXT. SPENLOW &amp; JORKINS OFFICES - DAY</stage_direction> <scene_description>Establisher. We hear DORA's (very good) singing.</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - UPSTAIRS ROOM - DAY</stage_direction> <scene_description>DAVID, dressed garishly, hungover and looking nauseous, is listening, spellbound, as DORA finishes singing "The Madman", accompanied by a PIANIST. She finishes, and he applauds.</scene_description> <character>DORA</character> <dialogue>Do you like my voice, Doady? I'm going to call you Doady. Do you mind?</dialogue> <character>DAVID</character> <dialogue>I love being called by other names.</dialogue> <scene_description>He takes a breath, hand goes in his waistcoat pocket to grab the ring.</scene_description> <character>DAVID</character> <dialogue>And... in return... I have a new name it is my heart's desire to offer you...</dialogue> <character>DORA</character> <dialogue>Oh, no, I like 'Dora'. It reminds me of doors, and doors are such jolly and useful things! Do you earn a lot of money working for Papa?</dialogue> <scene_description>Takes his hand out his pocket again - not the right moment.</scene_description> <character>DAVID</character> <dialogue>I'm currently articled, training to be a proctor. So I pay him.</dialogue> <character>DORA</character> <dialogue>That doesn't sound right. But I don't fully understand money. It's all nonsense isn't it?</dialogue> <character>DAVID</character> <parenthetical>(not really, no)</parenthetical> <dialogue>Yes.</dialogue> <character>DORA</character> <dialogue>Jip likes you. Don't you, Jip?</dialogue> <parenthetical>(does Jip's voice)</parenthetical> <dialogue>Indeed I do.</dialogue> <parenthetical>(back to normal)</parenthetical> <dialogue>Jip never lies.</dialogue> <character>DAVID</character> <dialogue>Dora, may I be frank?</dialogue> <character>DORA</character> <dialogue>I don't like hearing frank expressions. Say it like Jip.</dialogue> <character>DAVID</character> <dialogue>Really?</dialogue> <scene_description>DORA nods.</scene_description> <character>DAVID</character> <parenthetical>(attempting a Jip voice)</parenthetical> <dialogue>I am intoxicated with joy whenever I see you. I love you.</dialogue> <parenthetical>(own voice)</parenthetical> <dialogue>Can I...?</dialogue> <character>DORA</character> <dialogue>Yes. That just seemed odd.</dialogue> <character>DAVID</character> <dialogue>I idolize and worship you. If you would like me to die for you, say the word, and I am ready.</dialogue> <character>DORA</character> <dialogue>No, don't die. If you were dead you'd miss Jip's new trick. Look.</dialogue> <scene_description>JIP stands for a nano-second/rolls over. DAVID charmed.</scene_description> <character>DAVID</character> <dialogue>Dora, I'd like to ask you, if...</dialogue> <scene_description>SPENLOW approaches, coming up the stairs.</scene_description> <character>MR SPENLOW (O.S.)</character> <dialogue>Message from your landlady: "A man with a kite and a severe lady have arrived and need to see you now."</dialogue> <scene_description>SPENLOW peers in, expecting DAVID to follow. He heads out.</scene_description> <character>DORA</character> <dialogue>You would like to ask me if...</dialogue> <character>DAVID</character> <dialogue>If you would wait for my question later.</dialogue> <scene_description>DAVID reluctantly follows SPENLOW.</scene_description> </scene> <scene> <stage_direction>EXT. SPENLOW &amp; JORKINS OFFICES - DAY</stage_direction> <scene_description>DAVID runs home.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - CHEQUER SQUARE - DAY</stage_direction> <scene_description>DAVID walks briskly through London streets. More squalid than ever. BAILIFFS' carts are being loaded with furniture. More HOMELESS PEOPLE sleeping on the streets.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - LIVING ROOM - DAY</stage_direction> <scene_description>DAVID arrives home, slightly irritated and sweaty. BETSEY and MR DICK are in the living room, surrounded by their luggage. MR DICK clutches his kite to him. There is tea and toast on a table, and BETSEY's huge VASE from earlier. BETSEY is clearing up dozens of bottles and dirty glasses from David's party. DAVID begins to help with the clean-up.</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(avoiding eye-contact)</parenthetical> <dialogue>Trotwood, I am ruined.</dialogue> <character>MR DICK</character> <dialogue>Like a castle.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>So Mr Dick suggested we come here.</dialogue> <character>DAVID</character> <dialogue>Ruined? How can you be ruined?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Because I've lost everything Trot. In the mining way and the banking way. We've had to close up the house, say farewell to lovely Janet and walk away from our beautiful garden.</dialogue> <character>MR DICK</character> <dialogue>The green will become a paradise for donkeys.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>I have now only my clothes, and a picture or two. And Mr Dick.</dialogue> <scene_description>As they speak, we see projected on to the walls: BETSEY's cottage (Sc 131A). MR DICK and BETSEY leave the house with their bags as some PEOPLE on DONKEYS come across the green. BETSEY is unable to do anything about it.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>My shares have plummeted like lead droppings from a stone goose.</dialogue> <character>DAVID</character> <parenthetical>(realising it's serious)</parenthetical> <dialogue>No, no, this can't happen. I won't let all the light and goodness that you've brought me turn to gloom, not like it did before...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>We're not the only ones to suffer. Two bailiffs' carts in this one street alone...</dialogue> <scene_description>She gestures out the window: two hand carts and a horse loaded with possessions, protesting/crying DEBTORS, dismissive BAILIFFS.</scene_description> <character>DAVID</character> <dialogue>Surely Mr Wickfield has been monitoring your affairs?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Mr Wickfield has troubles of his own just now.</dialogue> <character>MR DICK</character> <dialogue>He very often sleeps during the day.</dialogue> <character>DAVID</character> <dialogue>Because of...</dialogue> <parenthetical>(mimes drinking, with a wine bottle, to MR DICK)</parenthetical> <dialogue>BETSEY for once looks at him with disfavour. He has accidentally shown her a version of himself he keeps for Steerforth, and she doesn't like it.</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(very cross)</parenthetical> <dialogue>I've no notion what that spasmodic gesture indicates. But if we're speaking of over-indulgence...</dialogue> <parenthetical>(indicates the sea of empty bottles)</parenthetical> <character>BETSEY TROTWOOD</character> <dialogue>Have you returned to the bottling business of your youth?</dialogue> <character>DAVID</character> <dialogue>I entertained some friends...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>...who seem to number the entire population of the city.</dialogue> <scene_description>BETSEY takes the bottles outside. MR DICK left with DAVID, who paces back and forth, troubled.</scene_description> <character>DAVID</character> <dialogue>Mr Dick, can you cast any more light on what has happened?</dialogue> <character>MR DICK</character> <dialogue>Well, the day before yesterday she said, "Dick, I am ruined." And I said, "Oh, indeed!" And then we travelled here and had bottled porter and sandwiches.</dialogue> <character>DAVID</character> <parenthetical>(frustrated with MR DICK)</parenthetical> <dialogue>That's not a lot of light. Do you understand what ruin means?</dialogue> <scene_description>MR DICK smiles and nods. Then stops smiling, shakes his head.</scene_description> <character>DAVID</character> <dialogue>It means distress, and want. And starvation.</dialogue> <scene_description>DAVID immediately regrets what he said. MR DICK starts taking pieces of buttered toast and putting them in his pockets.</scene_description> <character>MR DICK</character> <dialogue>Oh dear. What can we do, Trotwood?</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>"By what earthly power do you condemn me? By what authority?"</dialogue> <character>DAVID</character> <dialogue>We'll get your kite in the air Mr Dick, and banish any sad thoughts to the skies. Agreed? Now, let's try to keep a cheerful countenance.</dialogue> <character>MR DICK</character> <dialogue>Agreed. Cheerful.</dialogue> <scene_description>BETSEY enters. MR DICK tries a cheerful countenance while putting some sugar cubes in his breast pocket.</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - DAY</stage_direction> <scene_description>\[NOTE: To be projected over a section of the previous scene.\] BETSY's old cottage. MR DICK and BETSEY leave the house with their bags on hand carts as some PEOPLE on DONKEYS come across the green. BETSEY is unable to do anything about it.</scene_description> </scene> <scene> <stage_direction>EXT. WICKFIELD &amp; HEEP OFFICES - DAY</stage_direction> <scene_description>Establisher of the offices. A sign reads 'WICKFIELD &amp; CO'.</scene_description> </scene> <scene> <stage_direction>INT. WICKFIELD &amp; HEEP OFFICES - DAY</stage_direction> <scene_description>DAVID is opposite MR WICKFIELD, who sits behind his desk. A subdued AGNES enters the room carrying a tray covered with a cloth, which she sets down.</scene_description> <character>WICKFIELD</character> <dialogue>We will ensure this cannot happen again. Although that's problematic, given I've no idea how it happened in the first place - I'd never authorise such a reckless document.</dialogue> <character>DAVID</character> <parenthetical>(gently)</parenthetical> <dialogue>And yet...this is your signature.</dialogue> <character>AGNES</character> <dialogue>You did all you could. Currently we all have to do the dutiful thing.</dialogue> <character>DAVID</character> <dialogue>What does that mean? Do you feel some personal duty towards Uriah?</dialogue> <scene_description>No answer from AGNES.</scene_description> <character>WICKFIELD</character> <dialogue>I can offer you a crumb of comfort, Trotwood. In fact more than a crumb, an entire batch loaf - we'll approve a loan to tide you over...</dialogue> <character>DAVID</character> <dialogue>Thank you. And I promise repayment will occur just as soon as...</dialogue> <character>URIAH</character> <dialogue>'Something turns up'?</dialogue> <scene_description>URIAH has entered, holding a square object wrapped in cloth and a DISTINCTIVE BRIEFCASE, which he then locks in a bureau.</scene_description> <character>URIAH</character> <parenthetical>(locking the bureau)</parenthetical> <dialogue>With respect, Mr Wickfield, a more sober judgement is required when considering a loan of this nature.</dialogue> <character>WICKFIELD</character> <dialogue>I am sober.</dialogue> <character>URIAH</character> <dialogue>Mast...Mister Copperfield, a loan is out of the question. Apologies.</dialogue> <character>WICKFIELD</character> <parenthetical>(getting up)</parenthetical> <dialogue>Mr Heep, we should discuss this...</dialogue> <character>DAVID</character> <dialogue>Do you have authority here, Uriah?</dialogue> <character>URIAH</character> <parenthetical>(sits in WICKFIELD's seat)</parenthetical> <dialogue>I do. And it's Mr Heep. As in 'Wickfield &amp; Heep'. I'm a partner!</dialogue> <scene_description>He reveals a new PLAQUE from beneath the cloth: 'WICKFIELD &amp; HEEP'. 'HEEP' is a font-size bigger.</scene_description> <character>URIAH</character> <dialogue>Agnes? Could you...?</dialogue> <scene_description>AGNES uncovers the tray, which has a decanter of sherry and some glasses. WICKFIELD feigns enthusiasm.</scene_description> <character>WICKFIELD</character> <dialogue>We are drinking to the firm hand of Mr Heep grasping - or co-grasping - the tiller.</dialogue> <character>URIAH</character> <dialogue>All of us, man and woman, can benefit from having a partner, do you not agree Agnes?</dialogue> <character>AGNES</character> <dialogue>In times of trouble we must all do...that which we must do.</dialogue> <scene_description>AGNES starts to pour. MRS HEEP enters with a tray of cakes.</scene_description> <character>MRS HEEP</character> <dialogue>Small heavy cakes to go with the sherry! Like tasty billiard balls.</dialogue> <scene_description>MR WICKFIELD goes to take a sherry. A look from URIAH to AGNES and she takes it off him. Takes a sherry to DAVID. URIAH and MRS HEEP drink and celebrate, marveling at the new sign. MR WICKFIELD remains in his seat away from the desk. DAVID whispers to AGNES.</scene_description> <character>DAVID</character> <parenthetical>(re URIAH &amp; MRS HEEP)</parenthetical> <dialogue>Those two are weeds. I've seen their like before. Unchecked, they'll overrun and choke all life and joy from this place. They must be stopped.</dialogue> <character>AGNES</character> <dialogue>I fear the time for that has passed. Now we must all make what shift we can.</dialogue> <scene_description>URIAH proposes a toast.</scene_description> <character>URIAH</character> <dialogue>To partnerships!</dialogue> <scene_description>He crosses to AGNES, gets very close. MRS HEEP gives DAVID her mini cakes.</scene_description> <character>MRS HEEP</character> <dialogue>I've given you two cakes. I know how you love my cake.</dialogue> <character>DAVID</character> <dialogue>Cake.</dialogue> <character>URIAH</character> <dialogue>I'm far too humble to say I've saved this firm, but...</dialogue> <scene_description>A beat.</scene_description> <character>AGNES</character> <dialogue>...Uriah has been very good for our business.</dialogue> <character>WICKFIELD</character> <dialogue>He has been diversifying into smaller rental properties...</dialogue> <character>URIAH</character> <dialogue>...in parts of London that aren't necessarily first choice.</dialogue> <character>DAVID</character> <dialogue>And this is to be my only choice?</dialogue> <character>URIAH</character> <dialogue>There is a category of persons who famously cannot be choosers.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S FIRST LODGINGS - LIVING ROOM - DAY</stage_direction> <scene_description>BETSEY and MR DICK in David's lodgings surrounded by luggage.</scene_description> <character>URIAH (O.S.)</character> <dialogue>It is into this category that your aunt currently falls.</dialogue> <scene_description>They're pushed closer together as the walls close in and the apartment shrinks. BETSEY grabs the huge VASE.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Janet!</dialogue> <character>URIAH (O.S.)</character> <dialogue>And you with her.</dialogue> <scene_description>Quickly packing before they lose their belongings to the walls. Last thing to be grabbed is MR DICK's kite.</scene_description> <character>URIAH (O.S.)</character> <dialogue>Now this property is maybe not the most spacious of city abodes...</dialogue> <scene_description>The room has now turned into...</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - LIVING ROOM - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID and URIAH are with BETSEY and MR DICK in the much smaller, scruffier set of rooms. DAVID's stuff in boxes, piles of his notes everywhere. DICK and BETSEY sit on their luggage, beside the GIANT VASE. BETSEY hangs the WINDCHIMES (from earlier) on a nail.</scene_description> <character>URIAH</character> <dialogue>It will suit someone in your circumstances very well indeed.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>I am not someone in my circumstances.</dialogue> <character>URIAH</character> <dialogue>Of course.</dialogue> <character>DAVID</character> <dialogue>At least we won't get lost in here.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>There isn't room enough to swing a cat.</dialogue> <character>MR DICK</character> <dialogue>Good. I don't want to swing a cat.</dialogue> <scene_description>BETSEY gives DICK a little smile.</scene_description> <character>URIAH</character> <dialogue>You can't fly your kite in here!</dialogue> <character>MR DICK</character> <dialogue>I don't fly it indoors anyway. It can't fly in a house. No breeze.</dialogue> <character>URIAH</character> <dialogue>I bow to your expertise.</dialogue> <character>DAVID</character> <dialogue>He can't fly his kite, but he could swat an irritant.</dialogue> <character>URIAH</character> <dialogue>Well, enjoy your lodgings. If any problems arise, I suggest you tend to them yourselves.</dialogue> <scene_description>He exits. MR DICK tries to stretch, but can't.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>We'll make do. Ale for me now. It's a great deal better than wine anyway. Not half so bilious.</dialogue> <character>MR DICK</character> <dialogue>I wish to make a contribution.</dialogue> <scene_description>MR DICK puts out a handkerchief, dumps it into BETSEY's lap. Some coins, buttons, bits of string, marbles and sweets spill out. BETSEY is moved. DAVID still pacing.</scene_description> <character>MR DICK</character> <dialogue>I'd have been shut up to lead a dismal life these many years, but you took me in, like David's friend took his family in, in Yarmouth...</dialogue> <character>DAVID</character> <dialogue>Wait! Yarmouth? What's today?</dialogue> <character>MR DICK</character> <parenthetical>(confidently)</parenthetical> <dialogue>I know this. It's Wednesday.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>It's Tuesday, Trot.</dialogue> <character>DAVID</character> <dialogue>Tuesday! I should be meeting Steerforth to take him to Yarmouth.</dialogue> <parenthetical>(really wants to get away)</parenthetical> <dialogue>I can postpone. Easily.</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(gently taps DICK's hand)</parenthetical> <dialogue>Go!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Meanwhile Mr Dick and I will try to make this the most desirable mousehole in London.</dialogue> <scene_description>DICK leans over as if to put his hand on hers, but touches the kite instead. Quick JUMP CUTS of DAVID hurriedly packing two bags.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - EXCHANGE ALLEY - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID rushes down an alleyway with two travel bags.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - LONG LANE - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID runs through the lane with two travel bags.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - BISHOPS LANE - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID runs through a market, with two travel bags.</scene_description> <character>BUTCHER</character> <dialogue>Mr Copperfield? I'm your butcher. About our outstanding invoice...</dialogue> <scene_description>But DAVID does the old MICAWBER trick of walking in step with moving coaches to cross the street without being spotted. The BUTCHER looks for him in vain.</scene_description> </scene> <scene> <stage_direction>EXT. BOTTLING WAREHOUSE - DAY (CONTINUOUS)</stage_direction> <scene_description>DAVID passes the entrance to the BOTTLING WAREHOUSE. Some BOYS and GIRLS stare out at him as he hurries past. These include the 4-YEAR-OLD DAVID, but dressed much shabbier than before.</scene_description> </scene> <scene> <stage_direction>EXT. DAVID'S FIRST LODGINGS - DAY (CONTINUOUS)</stage_direction> <scene_description>STEERFORTH checks his watch, waiting. DAVID approaches STEERFORTH from the side without being spotted, hidden behind a horse pulling a cart full of building material and ladders: using the Micawber trick we saw in scene 55.</scene_description> <character>DAVID</character> <dialogue>Apologies for lateness. I've just been in my apartment. In there.</dialogue> <scene_description>STEERFORTH just has the one bag.</scene_description> <character>STEERFORTH</character> <dialogue>Two bags! Such extravagance given how much the coach people charge.</dialogue> <character>DAVID</character> <dialogue>Ah, no - this contains laundry for Mrs Crupp. I said I'd leave it here for her to collect.</dialogue> <scene_description>He puts it on the step.</scene_description> <character>STEERFORTH</character> <dialogue>Curious arrangement. But we should get to the Spread Eagle, our coach is due to leave in 10 minutes.</dialogue> <scene_description>They head off. DAVID looks back as a HOMELESS MAN picks up his bag, walks off with it.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - DUSK</stage_direction> <scene_description>Cold, windy. DAVID and STEERFORTH walk with a lantern.</scene_description> <character>DAVID</character> <dialogue>What might appear as rough charms were magical to me as a child...</dialogue> <character>STEERFORTH</character> <dialogue>What a delightful residence.</dialogue> <character>DAVID</character> <dialogue>In my recollection it was more colourful.</dialogue> <character>STEERFORTH</character> <dialogue>Nonsense! Every colour in the rainbow jostles for our attention.</dialogue> </scene> <scene> <stage_direction>INT. BOATHOUSE - DUSK (CONTINUOUS)</stage_direction> <scene_description>DAVID and STEERFORTH enter. It's small, smelly, dilapidated, cluttered. Low ceiling. DAVID immediately deeply embarrassed. A big cheer from PEGGOTTY, DANIEL PEGGOTTY and HAM.</scene_description> <character>PEGGOTTY</character> <dialogue>Davy!</dialogue> <scene_description>She hugs and kisses him.</scene_description> <character>DANIEL PEGGOTTY</character> <parenthetical>(shaking hands)</parenthetical> <dialogue>Look at you! Growed out of all knowledge! You in good kelter boy?</dialogue> <character>DAVID</character> <parenthetical>(struggling to know which voice to use)</parenthetical> <dialogue>Good kelter. Aye. Arr. Yes.</dialogue> <character>DAVID</character> <dialogue>I'm very well thank you. This is my dear friend James Steerforth.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Ah, right...</dialogue> <character>STEERFORTH</character> <dialogue>This young man's affection for you is such that I feel I know you all.</dialogue> <parenthetical>(shaking hands)</parenthetical> <dialogue>Mr Peggotty, I presume.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Alright then.</dialogue> <character>STEERFORTH</character> <dialogue>And Ham-</dialogue> <character>HAM</character> <dialogue>Yes.</dialogue> <character>STEERFORTH</character> <dialogue>-and Peggotty. An honour to meet you.</dialogue> <character>PEGGOTTY</character> <parenthetical>(charmed)</parenthetical> <dialogue>You have a lovely speaking voice.</dialogue> <character>HAM</character> <dialogue>That's a very bright waistcoat.</dialogue> <character>STEERFORTH</character> <dialogue>It's brocade. Savile Row.</dialogue> <character>PEGGOTTY</character> <parenthetical>(to the others, knowledgable)</parenthetical> <dialogue>That's a street in London.</dialogue> <character>DANIEL PEGGOTTY</character> <parenthetical>(re DAVID)</parenthetical> <dialogue>We mardled plenty with this 'un when he was a nipper and we're uncommon proud of him, thankee.</dialogue> <character>STEERFORTH</character> <dialogue>That's dialect, isn't it? I'm fascinated by how language changes around the country.</dialogue> <character>HAM</character> <dialogue>We can write it down for you if it's too difficult. We can write.</dialogue> <scene_description>An awkward laugh from STEERFORTH. DAVID senses tension from HAM, tries to move things on.</scene_description> <character>DAVID</character> <dialogue>Ham and Mr Peggotty are expert lobster catchers.</dialogue> <character>STEERFORTH</character> <dialogue>Do you trawl or use pots?</dialogue> <character>DAVID</character> <parenthetical>(trying to help)</parenthetical> <dialogue>I think probably...trawling?</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Pots.</dialogue> <character>DAVID</character> <dialogue>Or pots.</dialogue> <character>STEERFORTH</character> <dialogue>Wire and wood, or netting?</dialogue> <character>HAM</character> <dialogue>Bit of net, bit of wood, bit of wire. Old Mr Lobster wanders in to eat in the kitchen, we catch him in the parlour.</dialogue> <character>STEERFORTH</character> <dialogue>Well I'm sure you are very polite to the fellow when both you meet!</dialogue> <scene_description>There are some boiled lobsters in a pot.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>We try to be sir! Save for the boiling, eh!?</dialogue> <parenthetical>(pulls lobster out)</parenthetical> <dialogue>Because we boils 'em, you see!</dialogue> <scene_description>DAVID steps back and BANGS his head.</scene_description> <character>HAM</character> <dialogue>Mind your head!</dialogue> <character>DAVID</character> <dialogue>Steerforth, come and look through here. It's the perfect little bedroom I told you about.</dialogue> <scene_description>DAVID pulls the curtain to what was his whitewashed room. The whitewash is damp and peeling, the room is dirty, and there in the bed is MRS GUMMIDGE, coughing up phlegm into a bowl.</scene_description> <character>DAVID</character> <dialogue>Oh, I'm so sorry.</dialogue> <scene_description>PEGGOTTY arrives.</scene_description> <character>PEGGOTTY</character> <dialogue>Mrs Gummidge ain't well. She brings more up than she eats, these days.</dialogue> <character>MRS GUMMIDGE</character> <dialogue>They say it can't be done. But I does it.</dialogue> <character>DAVID</character> <dialogue>My apologies, Mrs Gummidge.</dialogue> <character>MRS GUMMIDGE</character> <dialogue>Oh, it don't signify. I'll be dead soon, so please the Lord.</dialogue> <scene_description>They head back into the boat. DAVID bangs his head hard.</scene_description> <character>HAM</character> <dialogue>Mind your head!</dialogue> <character>PEGGOTTY</character> <dialogue>Watch your head, Davy!</dialogue> <scene_description>PEGGOTTY, HAM and DANIEL go and deal with MRS GUMMIDGE's sick. EMILY enters. She seems worn out, older than her years. She smiles at DAVID, then STEERFORTH. Embarrassed that she isn't better dressed and that her hands are a bit herring-y. She clasps her hands behind her back.</scene_description> <character>EMILY</character> <dialogue>It's good to see you again Davy. And to meet you, sir.</dialogue> <character>STEERFORTH</character> <dialogue>Ah! Emily?</dialogue> <scene_description>He offers a hand to shake. EMILY keeps her hands behind her back, curtseys instead.</scene_description> <character>STEERFORTH</character> <dialogue>Daisy here tells me you climb the masts of sailing boats.</dialogue> <character>EMILY</character> <dialogue>You can see for miles from up there. You can see all the ladies off to the ball at Browston Manor.</dialogue> <character>HAM</character> <parenthetical>(going over to STEERFORTH)</parenthetical> <dialogue>Did you just call Davy 'Daisy'? Is that dialect?</dialogue> <scene_description>DANIEL PEGGOTTY comes back from MRS GUMMIDGE, who we hear coughing up mucus, then...</scene_description> <character>MRS GUMMIDGE (O.S.)</character> <dialogue>We've no food so don't expect food.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>We do have some food.</dialogue> <character>EMILY</character> <dialogue>Fish.</dialogue> <scene_description>STEERFORTH laughs.</scene_description> <character>DAVID</character> <dialogue>I imagine you and Ham will have been married for some years now.</dialogue> <character>HAM</character> <dialogue>No.</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <character>DAVID</character> <dialogue>Oh.</dialogue> <character>HAM</character> <dialogue>Still engaged. Still not married.</dialogue> <character>EMILY</character> <dialogue>We've been saving up though, haven't we? And deciding where we want to live...</dialogue> <character>HAM</character> <dialogue>We want to live here. Knock up our own boathouse, couple of hundred yards up the coast.</dialogue> <character>EMILY</character> <dialogue>Or...we could go further?</dialogue> <character>HAM</character> <dialogue>Of course we could. Half a mile, three-quarters even.</dialogue> <character>PEGGOTTY</character> <dialogue>Listen to them. Lovebirds.</dialogue> <character>MRS GUMMIDGE (O.S.)</character> <dialogue>Peggotty! I fear I'm going to be sick in a substantial way.</dialogue> <character>PEGGOTTY</character> <dialogue>No matter, our floor is a beach!</dialogue> <scene_description>PEGGOTTY hurries past. DAVID moves aside, bangs his head again. We hear MRS GUMMIDGE heaving. A look between STEERFORTH and EMILY, both as distressed as each other by life in the boat. PEGGOTTY comes back out to get clean linen.</scene_description> <character>DANIEL PEGGOTTY</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>Now, mind your head.</dialogue> <scene_description>DAVID bangs it again.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>You both staying at the Star Hotel?</dialogue> <character>STEERFORTH</character> <dialogue>I am. I hear it is very good.</dialogue> <character>HAM</character> <dialogue>Very grand. But very expensive.</dialogue> <character>DAVID</character> <dialogue>Expensive?</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Of course you're welcome to a hammock here but I imagine you'd...</dialogue> <character>DAVID</character> <dialogue>I'd love a hammock here.</dialogue> <scene_description>PEGGOTTY smiles, hugs DAVID, who steps back and bangs his head again. Then PEGGOTTY heads back to the noisy GUMMIDGE.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH HARBOUR SIDE - DAY</stage_direction> <scene_description>STEERFORTH gutting herring with all the women of the town, including EMILY and PEGGOTTY. Doing brilliantly. He's very quick at it. HAM watches.</scene_description> <character>PEGGOTTY</character> <dialogue>Look at him...</dialogue> <character>EMILY</character> <dialogue>Faster than me!</dialogue> <character>PEGGOTTY</character> <dialogue>That's very good knife work, Mr Steerforth.</dialogue> <character>STEERFORTH</character> <dialogue>Thank you. I could be a murderer!</dialogue> <scene_description>PEGGOTTY and EMILY laugh loudly. STEERFORTH grins.</scene_description> </scene> <scene> <stage_direction>EXT. BOATHOUSE - DAY</stage_direction> <scene_description>STEERFORTH repairing the BOATHOUSE. He's roped in a lot of other BOATMEN to help. DANIEL watches, pleased.</scene_description> <character>STEERFORTH</character> <dialogue>That stern looks like new, my friend. Splendid. Have you made fast the chimney there? Excellent! Good work, mates!</dialogue> </scene> <scene> <stage_direction>INT. YARMOUTH PUB - EVENING</stage_direction> <scene_description>A packed pub. STEERFORTH just finishing a story. DAVID at the bar watching him.</scene_description> <character>STEERFORTH</character> <dialogue>...so the hotel manager turns to me and says...</dialogue> <scene_description>HAM and EMILY join DAVID.</scene_description> <character>STEERFORTH</character> <dialogue>"I've had thirty guests use that towel before you sir, and you're the first one to complain that it's dirty!"</dialogue> <character>HAM</character> <dialogue>Everyone's fond of your friend, eh Davy? Life and soul, isn't he?</dialogue> <scene_description>Massive laugh from the crowd. STEERFORTH grins.</scene_description> <character>DAVID</character> <dialogue>You seem to mean that with sarcasm Ham, but I know it to be true...</dialogue> <character>EMILY</character> <dialogue>Ham, stop snipping and sniping like one of your lobsters. Can we go?</dialogue> <character>STEERFORTH</character> <dialogue>Another round of drinks for my friends!</dialogue> <character>HAM</character> <dialogue>See - what a benevolent gentleman.</dialogue> <character>STEERFORTH</character> <dialogue>Daisy will do the honours - won't you Daisy?</dialogue> <character>DAVID</character> <parenthetical>(oh dear)</parenthetical> <dialogue>Of course.</dialogue> <scene_description>HAM gives him and EMILY a smile.</scene_description> <character>EMILY</character> <dialogue>Why are we always here anyway? What about the Anchor in Gorleston?</dialogue> <character>HAM</character> <dialogue>Who wants to go all the way to Gorleston? What's wrong with here?</dialogue> <scene_description>Everyone is now heading over to get their drinks, crowding round the bar, yelling orders. DAN PEGGOTTY is among them.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>Two pork pies Bob, one for me and then the other one for me after that.</dialogue> <character>DAVID</character> <parenthetical>(to BARMAN)</parenthetical> <dialogue>Would you take an IOU?</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>No, of course not.</dialogue> <scene_description>The BARMAN shakes his head. DAVID gives him the last of his money. Sees STEERFORTH suddenly left alone on the other side of the pub. Leaves the crowd, heads over. Out of the spotlight, STEERFORTH is down and deflated.</scene_description> <character>DAVID</character> <dialogue>Ham and Emily have just been saying the same as me - that everyone loves James Steerforth!</dialogue> <character>STEERFORTH</character> <dialogue>Everyone except James Steerforth, my friend.</dialogue> <parenthetical>(he downs a glass of rum)</parenthetical> <dialogue>Did you have enough cash for the drinks?</dialogue> <character>DAVID</character> <dialogue>Plenty.</dialogue> <character>STEERFORTH</character> <dialogue>Are you sure?</dialogue> <character>DAVID</character> <dialogue>Yes, I...</dialogue> <character>STEERFORTH</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Promise me Daisy, won't you, that you'll think of me at my best?</dialogue> <character>DAVID</character> <dialogue>What do you mean?</dialogue> <character>STEERFORTH</character> <dialogue>Whatever might happen, please promise me that.</dialogue> <character>DAVID</character> <dialogue>Of course. You seem low - where's this sudden cloud come from?</dialogue> <character>STEERFORTH</character> <dialogue>Oh, it hovers over me from time to time, glowering...</dialogue> <parenthetical>(seemingly sincere)</parenthetical> <dialogue>I suppose I'm just, as they say around these parts -</dialogue> <parenthetical>(exaggerated accent)</parenthetical> <dialogue>"All in a jiffle like a spizzard up a crowpipe."</dialogue> <scene_description>Big, big laugh from DAVID.</scene_description> <character>DAVID</character> <parenthetical>(joining in)</parenthetical> <dialogue>"Lolloping down the..."</dialogue> <character>STEERFORTH</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Sorry, I don't mean to insult these people - your people.</dialogue> <character>DAVID</character> <dialogue>They're not necessarily my...</dialogue> <scene_description>But STEERFORTH has jumped up, full of energy again.</scene_description> <character>STEERFORTH</character> <parenthetical>(loud, to the pub)</parenthetical> <dialogue>Who's up for singing a shanty!?</dialogue> <scene_description>Cheer from the crowd at the bar.</scene_description> <character>STEERFORTH</character> <parenthetical>(sings)</parenthetical> <dialogue>One Friday morn when we set sail, Not very far from land, We there did spy a pretty maid...</dialogue> <scene_description>EVERYONE joins in.</scene_description> <character>EVERYONE</character> <parenthetical>(sings)</parenthetical> <dialogue>With a comb and a glass in her hand, hand, hand, A comb and a glass in her hand...</dialogue> </scene> <scene> <stage_direction>INT. BOATHOUSE - DAY - LATE AFTERNOON</stage_direction> <scene_description>DAVID's hammock is rigged. PEGGOTTY is pulling down a gauze.</scene_description> <character>PEGGOTTY</character> <dialogue>There you go. You can have some privacy.</dialogue> <character>DAVID</character> <dialogue>Well, that's all I do have at the moment.</dialogue> <character>PEGGOTTY</character> <dialogue>I know. But you had nothing, then you had something, now you've got nothing again. So stands to reason you'll have something again.</dialogue> <character>DAVID</character> <dialogue>I wish I could be so sure it worked like that.</dialogue> <character>PEGGOTTY</character> <dialogue>I could let you have...</dialogue> <character>DAVID</character> <dialogue>No, no...</dialogue> <character>PEGGOTTY</character> <dialogue>It wouldn't be...</dialogue> <character>DAVID</character> <dialogue>I couldn't possibly...</dialogue> <character>PEGGOTTY</character> <dialogue>You're sure now?</dialogue> <scene_description>Half a beat.</scene_description> <character>DAVID</character> <dialogue>Well, if it was...</dialogue> <scene_description>The moment is interrupted as DANIEL PEGGOTTY enters.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>You seen all that herring out there, with its guts still intact? What's Emily been up to?</dialogue> <scene_description>HAM runs in with an envelope. In the background, we might spot Steerforth's HAT and CANE, left on the side.</scene_description> <character>HAM</character> <dialogue>Emily's written you a note, Uncle. It was in the cart.</dialogue> <scene_description>DANIEL PEGGOTTY takes the envelope, opens it, reads. As he reads, images (scenes 148A &amp; B) play out on the wall behind him, as if projected.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>"When you, who love me better than I deserve, read this, I shall have gone far away, and won't come back unless he brings me back a lady."</dialogue> <character>HAM</character> <dialogue>Emily. And Steerforth. They'll be in the boat he rented!</dialogue> <scene_description>He rushes out. DANIEL PEGGOTTY follows. PEGGOTTY and DAVID follow.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - BOATHOUSE - AFTERNOON</stage_direction> <scene_description>\[NOTE: To be projected on the inner wall of the boathouse, over Daniel Peggotty reading out her letter.\] EMILY and STEERFORTH walk away from the boathouse, with their bags.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH HARBOUR SIDE - SMALL BOAT - AFTERNOON/EVENING</stage_direction> <scene_description>EMILY and STEERFORTH hurry through the quiet, empty harbour side to board the small boat, and begin their journey.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - EVENING</stage_direction> <scene_description>HAM, PEGGOTTY, DANIEL PEGGOTTY. DAVID runs to catch up. In the very far distance at sea is a boat.</scene_description> </scene> <scene> <stage_direction>EXT. SMALL BOAT - EVENING</stage_direction> <scene_description>POV: STEERFORTH and EMILY, from behind, looking to DAVID, PEGGOTTY, HAM and DANIEL PEGGOTTY on the distant beach.</scene_description> <character>EMILY</character> <dialogue>They all look so small.</dialogue> <scene_description>STEERFORTH puts his arm around her.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - EVENING</stage_direction> <scene_description>DANIEL PEGGOTTY in shock. DAVID ashamed, close to tears. PEGGOTTY weeping. HAM furious, trying to contain his rage.</scene_description> <character>HAM</character> <dialogue>Emily! Emily jump! Swim to me!</dialogue> <scene_description>HAM runs to the water, he's about to wade in, but DAVID restrains him.</scene_description> <character>DAVID</character> <dialogue>No!</dialogue> <character>PEGGOTTY</character> <dialogue>Ham, don't - in the dark - these currents - it's not safe...</dialogue> <scene_description>DANIEL PEGGOTTY is mumbling. PEGGOTTY goes to comfort him.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>This won't make you a lady my love.</dialogue> <character>HAM</character> <dialogue>I'll find her. I'll go find her, bring her back.</dialogue> <character>DAVID</character> <dialogue>Where will you search?</dialogue> <character>HAM</character> <dialogue>Ill search everywhere... The world. Wherever she is, I'm going to find her. I'm nothing without her.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>You and me, Ham. You won't go without me.</dialogue> <scene_description>HAM and DANIEL PEGGOTTY start to run over to Daniel's CART.</scene_description> <character>HAM</character> <parenthetical>(calling back to DAVID)</parenthetical> <dialogue>Send word if that louse's mother knows where they've gone.</dialogue> <scene_description>They jump on the cart and set off.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON COACHING INN - DAY</stage_direction> <scene_description>DAVID, soaked, arrives with the tattier coaches. Unties the ropes that held him in place. Climbs down from the roof.</scene_description> <character>COACHMAN</character> <dialogue>Cheap seats in this weather? Did you pull your hat down tight?</dialogue> <character>DAVID</character> <dialogue>Yes. As you can see, it really helped.</dialogue> </scene> <scene> <stage_direction>EXT. MRS STEERFORTH'S HOUSE - DAY</stage_direction> <scene_description>DAVID walks up to the door, and knocks.</scene_description> </scene> <scene> <stage_direction>INT. MRS STEERFORTH'S HOUSE - STAIRCASE - DAY</stage_direction> <scene_description>DAVID and LITTIMER. A silent, long walk up a grand staircase. DAVID tries to make conversation.</scene_description> <character>DAVID</character> <dialogue>Uh... stairs.</dialogue> <scene_description>LITTIMER ignores him.</scene_description> </scene> <scene> <stage_direction>INT. MRS STEERFORTH'S HOUSE - DRAWING ROOM - DAY</stage_direction> <scene_description>DAVID with MRS STEERFORTH, in an armchair reading the letter. LITTIMER lays out a table for tea.</scene_description> <character>MRS STEERFORTH</character> <dialogue>"A lady!" She is far below him. A lady! As if one may become a lady merely by latching on to my poor good-natured son.</dialogue> <scene_description>She shoots DAVID a poisonous look.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Any more than a bottling boy can become a gentleman that way...</dialogue> <scene_description>MRS STEERFORTH gestures LITTIMER over, not really listening to DAVID. She hands LITTIMER the letter.</scene_description> <character>DAVID</character> <dialogue>All I have chosen to ignore in your son of snobbery and an unyielding, wilful spirit, I see in you madam.</dialogue> <scene_description>She's focussed on DAVID again.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Do you see this?</dialogue> <character>DAVID</character> <dialogue>Tea.</dialogue> <character>MRS STEERFORTH</character> <dialogue>Each Wednesday James joins me here for tea, and this tea will not be removed from the table until he returns. That will be his welcome.</dialogue> <scene_description>LITTIMER, off MRS STEERFORTH's signal, stands over DAVID, who gets up.</scene_description> <character>DAVID</character> <dialogue>Well, he will find it stale and cold.</dialogue> <parenthetical>(to LITTIMER)</parenthetical> <dialogue>Door.</dialogue> <scene_description>LITTIMER gives DAVID the letter. He strides off.</scene_description> <character>MRS STEERFORTH</character> <parenthetical>(after him)</parenthetical> <dialogue>But as for her - if there was any word of comfort that would be a solace to her in her dying hour, and only I possessed it...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MRS STEERFORTH'S HOUSE - STAIRCASE - DAY</stage_direction> <scene_description>DAVID comes down the stairs, followed by LITTIMER. He speeds up a bit when he hears:</scene_description> <character>MRS STEERFORTH (O.S.)</character> <parenthetical>(shouting after him)</parenthetical> <dialogue>...I wouldn't part with it for life itself!</dialogue> </scene> <scene> <stage_direction>EXT. LONDON STREETS - DAY.</stage_direction> <scene_description>DAVID walks home. Even more HOMELESS FOLK, more desperate poverty. A COACH passes.</scene_description> <character>COACHMAN</character> <parenthetical>(shouts as he passes)</parenthetical> <dialogue>Looking for a lift, sir?</dialogue> <character>DAVID</character> <parenthetical>(dejected)</parenthetical> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - UPSTAIRS SIDE ROOM - DAY</stage_direction> <scene_description>DORA and DAVID are side by side on a sofa, with JIP.</scene_description> <character>DORA</character> <dialogue>I think I know what you are about to say. Will you pose your question in Jip's voice?</dialogue> <character>DAVID</character> <dialogue>I don't think that's appropriate.</dialogue> <character>DORA</character> <dialogue>You have no reason to worry about my answer.</dialogue> <character>DAVID</character> <dialogue>I need to tell you: I have no money.</dialogue> <character>DORA</character> <dialogue>I don't fully understand.</dialogue> <character>DAVID</character> <dialogue>I'm poor.</dialogue> <character>DORA</character> <dialogue>No matter! What need have we of money when I have my singing, and you have...the tremendous thing you do...</dialogue> <character>DAVID</character> <parenthetical>(cuts in)</parenthetical> <dialogue>Proctor.</dialogue> <character>DORA</character> <dialogue>Although, Jip must have a mutton chop every day at twelve, or he'll die...</dialogue> <character>DAVID</character> <dialogue>Precisely - so how, my love, will we get meat?</dialogue> <character>DORA</character> <dialogue>Silly - I'll ask the butcher. We shall live in a pretty cottage with a lovely cook and be very happy.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - DAY</stage_direction> <scene_description>DORA stands with DAVID. She holds a BABY. Behind them a sour- faced COOK in an apron. JIP barks and barks, the BABY cries.</scene_description> <character>COOK</character> <dialogue>We've no food.</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - UPSTAIRS SIDE ROOM - DAY</stage_direction> <scene_description>Back with DAVID and DORA.</scene_description> <character>DAVID</character> <dialogue>I won't let Jip suffer. Nor us. I'll work extremely hard...</dialogue> <character>DORA</character> <dialogue>Why should you work?</dialogue> <character>DAVID</character> <dialogue>Because...the meat? And so on. How should we live without working?</dialogue> <character>DORA</character> <dialogue>So you are to be a labourer now, you bad boy? Balancing on a plank all day with a wheelbarrow? It's all nonsense!</dialogue> <parenthetical>(kissing DAVID)</parenthetical> <dialogue>So - my answer is yes! I will marry you, Doady. Let us go to find Papa!</dialogue> <character>DAVID</character> <parenthetical>(looking dazed)</parenthetical> <dialogue>Let's do that, for I am so happy!</dialogue> <scene_description>She pulls a confused DAVID out of the room...</scene_description> </scene> <scene> <stage_direction>INT. SPENLOW &amp; JORKINS OFFICES - STAIRWELL - DAY (CONTINUOUS)</stage_direction> <scene_description>...and down the stairs. MR SPENLOW peeks round a door.</scene_description> <character>MR SPENLOW</character> <dialogue>Did he...?</dialogue> <character>DORA</character> <dialogue>YES HE DID!!</dialogue> <scene_description>A massive "HOORAY!" and the room fills with people - DORA's FAMILY, GIRLFRIENDS, SERVANTS, CLERKS, all cheering, shaking a stunned DAVID by the hand.</scene_description> <character>MR SPENLOW</character> <dialogue>Congratulations! Dora and Trotwood!</dialogue> </scene> <scene> <stage_direction>EXT. LONDON STREETS - DAY</stage_direction> <scene_description>DAVID in a busy street with MR DICK and his kite.</scene_description> <character>MR DICK</character> <dialogue>You'll have a happy lifetime together.</dialogue> <character>DAVID</character> <dialogue>Lifetime?</dialogue> <character>MR DICK</character> <dialogue>Sixty years at least! Barring... accidents.</dialogue> <scene_description>He mimes an axe blow to the back of the neck.</scene_description> <character>MR DICK</character> <dialogue>But then of course you're not a king. Are you?</dialogue> <character>DAVID</character> <dialogue>No, I'm not.</dialogue> <character>MR DICK</character> <dialogue>I mean, more particularly, you're not...</dialogue> <character>DAVID</character> <dialogue>King Charles the First.</dialogue> <character>MR DICK</character> <dialogue>So you'll probably be fine.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>The street is too full with people to get a good run with my kite.</dialogue> <scene_description>At a road junction, MR DICK goes to carry straight on.</scene_description> <character>DAVID</character> <dialogue>Ah - can't go that way Mr Dick. The gentleman who makes my waistcoats is up there and I haven't been able to fully clear my debt with him.</dialogue> <scene_description>They turn the corner, and DAVID trips over some feet. It's MR MICAWBER, half asleep in a doorway. He looks awful, malnourished.</scene_description> <character>DAVID</character> <parenthetical>(shaking his hand)</parenthetical> <dialogue>Mr Micawber!</dialogue> <character>MR MICAWBER</character> <parenthetical>(trying to look upbeat)</parenthetical> <dialogue>My dear young friend! And, I believe, Mr Dixon?</dialogue> <character>DAVID</character> <dialogue>Are you...well?</dialogue> <character>MR MICAWBER</character> <dialogue>Never better!</dialogue> <scene_description>He remains on the ground. DAVID notices MICAWBER's pocket square is what remains of the distinctive curtains.</scene_description> <character>MR DICK</character> <dialogue>And Mrs Micawber...?</dialogue> <character>MR MICAWBER</character> <dialogue>In even finer fettle than myself.</dialogue> <parenthetical>(through DICK's legs)</parenthetical> <dialogue>There she is! With our happy tribe of dependents.</dialogue> <scene_description>He points to MRS MICAWBER and their KIDS, who wave from a doorway further down the street, by some fruit boxes. MR MICAWBER pulls himself up slightly, now lounging like a Roman.</scene_description> <character>DAVID</character> <dialogue>Do you live on the streets now?</dialogue> <character>MR MICAWBER</character> <dialogue>We do currently exist primarily al fresco, with all the advantages that entails.</dialogue> <scene_description>MR DICK gets down beside MICAWBER, lounging next to him.</scene_description> <character>MR DICK</character> <dialogue>Outside is so much better than inside. Every meal is a picnic.</dialogue> <scene_description>DAVID notices that the HOMELESS MAN whom we saw take DAVID's bag is now lying in the doorway along from MICAWBER. He is covered in a filthy quilt made of DAVID's fancy waistcoats.</scene_description> <character>MR MICAWBER</character> <dialogue>David. Might you help me?</dialogue> <character>DAVID</character> <parenthetical>(crouches down)</parenthetical> <dialogue>What assistance do you need?</dialogue> <character>MR MICAWBER</character> <dialogue>I popped my concertina with the Floral Street pawnbroker. I'd like it back, but he knows me and he'll charge much more than the six bob it's worth. I require a surrogate.</dialogue> <scene_description>DAVID and MR MICAWBER both turn to MR DICK, who's happily eating a tangerine.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - LIVING ROOM - DAY</stage_direction> <scene_description>BETSEY is with DORA and JIP in David's tiny new flat. It's been subdivided, with cloths and one of BETSEY's dresses hanging for privacy. BETSEY's VASE taking up too much room.</scene_description> <character>DORA</character> <parenthetical>(looking around)</parenthetical> <dialogue>I preferred, I think, the larger apartment.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>We were sadly not able to express a preference.</dialogue> <character>DORA</character> <dialogue>I'm sure it's only so small because Doady is saving for a castle!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Is he really, do you think?</dialogue> <character>DORA</character> <dialogue>When we're married I should like lots of children. Five. Or ten. Or twenty - is that even possible?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>If one is disciplined. Or a frog.</dialogue> <character>DORA</character> <dialogue>Doady likes children.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Doady?</dialogue> <parenthetical>(re JIP)</parenthetical> <dialogue>Is that this little fellow?</dialogue> <character>DORA</character> <dialogue>No, this is Jip.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Chip?</dialogue> <character>DORA</character> <dialogue>Jip.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Chip.</dialogue> <character>DORA</character> <dialogue>Jip.</dialogue> <parenthetical>(doing JIP's voice)</parenthetical> <dialogue>"Doady is my name for David."</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Trotwood.</dialogue> <character>DORA</character> <dialogue>Doady.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Trotwood.</dialogue> <scene_description>A beat of confused silence.</scene_description> <character>DORA</character> <dialogue>Will the lady come in soon with the tea?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>I will make some tea. The lady does not exist.</dialogue> <scene_description>BETSEY gets up to make tea.</scene_description> <character>DORA</character> <dialogue>I'm sorry to hear that. Will she ever?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Bless me, you're very young.</dialogue> <character>DORA</character> <dialogue>I am. Very.</dialogue> <scene_description>BETSEY sits down again. Leans in. Last roll of the dice.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>Dora: when I was your age I married an unsuitable man and lived to bitterly regret it. We were too young, and simply incompatible.</dialogue> <scene_description>Half a beat.</scene_description> <character>DORA</character> <dialogue>I'm so sorry you found the wrong man, but it makes me doubly happy that I've found the right one - dear Doady!</dialogue> <character>BETSEY TROTWOOD</character> <parenthetical>(gives up)</parenthetical> <dialogue>I'm very glad for you both.</dialogue> </scene> <scene> <stage_direction>INT. PAWNBROKER'S - DAY</stage_direction> <scene_description>Betsey's WINDCHIMES are in the window, with the CONCERTINA. DICK is with the PAWNBROKER. He's ready to haggle.</scene_description> <character>MR DICK</character> <dialogue>How much for the concertina?</dialogue> <character>PAWNBROKER</character> <dialogue>Ten bob.</dialogue> <character>MR DICK</character> <dialogue>What if I said six shillings?</dialogue> <character>PAWNBROKER</character> <dialogue>No, but I can let you have a fishing rod for six shillings.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - ALLEY BESIDE PAWNBROKER'S - DAY</stage_direction> <scene_description>MR DICK stands with DAVID and MICAWBER, with a fishing rod.</scene_description> <character>MR MICAWBER</character> <dialogue>No, that's not what we need.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PAWNBROKER'S - DAY (CONTINUOUS)</stage_direction> <scene_description>MR DICK and the PAWNBROKER. MR DICK holds the fishing rod.</scene_description> <character>MR DICK</character> <dialogue>You tricked me!</dialogue> <character>PAWNBROKER</character> <dialogue>Alright, you can have the damned squeezebox. For eleven shillings. Hang on - no - twelve shillings! Haha! Thirteen! A pound!</dialogue> <scene_description>MR DICK grabs the concertina, runs out of the shop.</scene_description> <character>PAWNBROKER</character> <dialogue>Oi!!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - OPPOSITE PAWNBROKER'S - DAY (CONTINUOUS)</stage_direction> <scene_description>MR DICK rushes out, concertina in one hand, kite in the other. As he runs the concertina wheezes chords in and out.</scene_description> <character>MR DICK</character> <dialogue>Run! I am a criminal!</dialogue> <scene_description>Half a beat as DAVID and MICAWBER take it in, then they too run, chased by the PAWNBROKER. Wide as they run, and the kite lifts in the air. DICK grinning.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - DAY</stage_direction> <scene_description>DAVID, MR DICK and MICAWBER sit in the MICAWBER FAMILY's doorway, laughing. MICAWBER has his concertina.</scene_description> <character>MR MICAWBER</character> <dialogue>If anything, it plays sweeter than ever.</dialogue> <character>MR DICK</character> <dialogue>What an adventure! Like something from a book!</dialogue> <scene_description>DAVID spies PEGGOTTY, with a big basket of crabs, lobsters and herring. She looks sadder and wearier. He jumps up.</scene_description> <character>DAVID</character> <dialogue>Peggotty!</dialogue> <scene_description>She looks over, immediately brightens.</scene_description> <character>PEGGOTTY</character> <dialogue>Davy! My precious potato!</dialogue> <scene_description>DAVID runs to meet her and they embrace. PEGGOTTY looks across at MR DICK and MR MICAWBER, sitting on the street.</scene_description> <character>PEGGOTTY</character> <dialogue>Davy, when you said you had to move to smaller premises...?</dialogue> <character>DAVID</character> <dialogue>Don't worry, I don't live on the street. I'm not yet that desperate.</dialogue> <parenthetical>(remembers Micawber)</parenthetical> <dialogue>...or unlucky. What brings you to London?</dialogue> <character>PEGGOTTY</character> <dialogue>Dan and Ham asked me to come...</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction> <scene_description>MONTAGE: HAM and DANIEL PEGGOTTY. Their horse and cart relentlessly travelling, like David's walk to Dover. Travelling along a COUNTRY ROAD.</scene_description> <character>PEGGOTTY (V.O.)</character> <dialogue>They've been searching all this time for Emily.</dialogue> </scene> <scene> <stage_direction>EXT. FLAT NORFOLK COUNTRY SIDE - DAY</stage_direction> <scene_description>Smaller in the frame, against a vast, wide, flat LANDSCAPE.</scene_description> <character>PEGGOTTY (V.O.)</character> <dialogue>Mostly it's been like us playing blind man's buff when you was tiny - darkness and confusion, everything just out of reach. They've been all over the country - I'd tell you the places but I haven't heard of half of them.</dialogue> </scene> <scene> <stage_direction>EXT. LONDON - CROWDED BRIDGE - DAY</stage_direction> <scene_description>With HAM and DANIEL PEGGOTTY as they cross a busy BRIDGE. Then: Tiny in frame crossing the bridge into London. Cranes nod over the city.</scene_description> <character>PEGGOTTY (V.O.)</character> <dialogue>Ham even sailed to France when he heard she and...that man had been seen. But they've narrowed it down now to some streets to the east. Blindfold's coming off, Davy.</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - DAY</stage_direction> <scene_description>PEGGOTTY, DAVID, MR MICAWBER, MR DICK.:</scene_description> <character>MR MICAWBER</character> <dialogue>An arduous expedition. I doff what remains of my hat to them.</dialogue> <character>PEGGOTTY</character> <dialogue>You need to love those folk who help you out, and help out the ones you love. That's a Peggotty Proverb.</dialogue> <character>MR MICAWBER</character> <dialogue>You're a most charitable woman.</dialogue> <scene_description>A pregnant pause. The slightest of looks from MICAWBER to DAVID.</scene_description> <character>DAVID</character> <dialogue>Mr Micawber...</dialogue> <character>MR MICAWBER</character> <dialogue>I'd love to.</dialogue> <character>DAVID</character> <dialogue>Would you - and please don't feel under any obligation to say yes -</dialogue> <character>MR MICAWBER</character> <dialogue>Understood...</dialogue> <character>DAVID</character> <dialogue>...but would you and your family, temporarily, like to stay, for a very short time, with me? You can say no.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - LIVING ROOM - DAY</stage_direction> <scene_description>Later. DAVID, DICK, BETSEY, PEGGOTTY and the MICAWBERS, crammed in. MICAWBER plays his concertina. It's awful.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>And you've never given a professional recital?</dialogue> <character>MR MICAWBER</character> <dialogue>A perceptive question! I have sadly yet to be seriously approached.</dialogue> <scene_description>PEGGOTTY has the basket of seafood open.</scene_description> <character>PEGGOTTY</character> <dialogue>Where shall I put all these?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Thank you, but despite our losses we are all adequately fed.</dialogue> <character>MR DICK</character> <dialogue>Are we?</dialogue> <parenthetical>(off BETSEY's look)</parenthetical> <dialogue>Oh my word we are.</dialogue> <scene_description>The MICAWBER KIDS are running around.</scene_description> <character>MRS MICAWBER</character> <parenthetical>(shouting to the KIDS)</parenthetical> <dialogue>Leave that kite! Right - who needs to answer the call of nature?</dialogue> <scene_description>MR DICK goes to put his hand up, then thinks better of it.</scene_description> <character>MRS MICAWBER</character> <parenthetical>(to the KIDS)</parenthetical> <dialogue>No volunteers? Then I'll take three of you at random...</dialogue> <scene_description>She grabs some KIDS. DAVID looks around at his cramped flat. He's pained by the chaos he sees, and what has happened to his life. BETSEY and MR DICK clock his distress.</scene_description> <character>MR DICK</character> <dialogue>You really should write a story about our adventure at the pawn shop, Trotwood. It would make a cracking tale.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>What adventure at the pawn shop?</dialogue> <character>MR MICAWBER</character> <dialogue>There was no adventure at the pawn shop.</dialogue> <character>DAVID</character> <dialogue>Yes, I should try to write...</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>No - no 'should'. No 'try'. You are a writer Trot.</dialogue> <character>PEGGOTTY</character> <dialogue>You're a great one for surprising words. I understand them of course, but they surprise my brother.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>We unpacked all your slips of paper while you were in Yarmouth. All your ideas and characters...</dialogue> <character>DAVID</character> <dialogue>No - you didn't use them for kindling?</dialogue> <scene_description>MR DICK produces a little kite-shaped BOOK, with DAVID's slips of paper carefully sewn together.</scene_description> <character>MR DICK</character> <dialogue>Never. We made them into a book. You really have a talent to...</dialogue> <scene_description>MR DICK is interrupted by MICAWBER learning a new concertina tune, as MRS MICAWBER yells...</scene_description> <character>MRS MICAWBER</character> <dialogue>Next batch of children for the chamber pot! Come on! Chop-chop!</dialogue> <scene_description>DAVID looks at the book. Incredibly touched by the gesture. HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON - EXCHANGE ALLEY - EVENING</stage_direction> <scene_description>Establisher of David's second lodgings. A few HOMELESS PEOPLE on the street outside.</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - SMALL DRESSING ROOM - EVENING</stage_direction> <scene_description>DAVID has set up a desk. Surrounded by scraps of paper. Outside we hear BETSEY, MR DICK, but mostly the MICAWBERS. We stay on DAVID looking into a mirror. The room is dark behind his reflection. DAVID trying out facial expressions, mouths words, eyes sparkling. He becomes MRS STEERFORTH.</scene_description> <character>DAVID</character> <dialogue>This tea will not be removed from the table until he returns.</dialogue> <scene_description>MRS STEERFORTH herself now appears, beside a tea table covered in cobwebs, wearing a cobwebbed dress. The room now matches the colour of her home. She says the words simultaneously.</scene_description> <character>MRS STEERFORTH</character> <dialogue>This tea will not be removed from the table until he returns.</dialogue> <scene_description>With her now is YOUNG DAVID, scared. MRS STEERFORTH touches her heart.</scene_description> <character>DAVID</character> <dialogue>What do I touch?</dialogue> <character>MRS STEERFORTH</character> <dialogue>What do I touch?</dialogue> <character>DAVID</character> <dialogue>Your heart.</dialogue> <character>YOUNG DAVID</character> <dialogue>Your heart.</dialogue> <character>DAVID</character> <dialogue>Broken! They shall lay me on this table when I am dead!</dialogue> <character>MRS STEERFORTH</character> <dialogue>Broken! They shall lay me on this table when I am dead!</dialogue> <scene_description>A light on his younger self in a partial bottling-factory set, but dirtier and more ragged and begging for food:</scene_description> <character>YOUNG DAVID</character> <dialogue>I'm desperate with hunger. I want more sir! Please, sir...</dialogue> <scene_description>Then STEERFORTH appears, in another area, looking slightly different:</scene_description> <character>STEERFORTH</character> <dialogue>I wish to God I had been guided to a far, far better fate...</dialogue> <scene_description>Then a light on Murdstone, in yet another area:</scene_description> <character>MURDSTONE</character> <dialogue>What I want is Facts. No boathouses! Facts! Facts alone are wanted in life.</dialogue> <scene_description>Then MICAWBER is conjured brandishing an IOU.</scene_description> <character>MR MICAWBER</character> <dialogue>As good a promissory note as any issued from Threadneedle Street!</dialogue> <scene_description>A knock on the door. A head comes round. It's the real MICAWBER. David embarrassed, like he's been caught. Checks that the fictional Micawber isn't still there.</scene_description> <character>MR MICAWBER</character> <dialogue>Cup of tea? Or shall I leave you be with your pen? Any silence after I finish speaking I'll take as a sign to leave you be.</dialogue> <parenthetical>(short silence)</parenthetical> <dialogue>I'll...</dialogue> <scene_description>Suddenly a loud knocking on the front door.</scene_description> <character>MR MICAWBER</character> <dialogue>Bailiffs! Hide the spoons!</dialogue> <character>BETSEY TROTWOOD (O.S.)</character> <dialogue>Trot! It's Agnes.</dialogue> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - LIVING ROOM - (CONTINUOUS)</stage_direction> <scene_description>MICAWBERS, MR DICK, PEGGOTTY, BETSEY. \[MRS MICAWBER sings Little Jimmy Murphy.\] The door opens - AGNES carries Uriah's BRIEFCASE in one arm, a MICAWBER CHILD in the other. She arrives with purpose but is taken aback by the cramped scene.</scene_description> <character>AGNES</character> <dialogue>The door was open - is this...?</dialogue> <character>MRS MICAWBER</character> <parenthetical>(taking the CHILD)</parenthetical> <dialogue>That's one of ours I think, yes.</dialogue> <character>AGNES</character> <dialogue>Goodness - so many people. Will the floor hold up?</dialogue> <scene_description>MR MICAWBER stands, bows. PEGGOTTY stands, curtseys. AGNES smiles back at both but she wants to talk to BETSEY.</scene_description> <character>AGNES</character> <dialogue>Miss Trotwood, do you have...</dialogue> <parenthetical>(sees MR DICK)</parenthetical> <dialogue>Oh! Good morning Mr Dick.</dialogue> <character>MR DICK</character> <dialogue>Good morning Agnes! Please do come in, join the choir.</dialogue> <character>AGNES</character> <dialogue>Miss Trotwood, do you have a letter bearing my father's signature?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Yes, I believe I do.</dialogue> <scene_description>Searches a box/bag as DAVID enters from his writing room.</scene_description> <character>DAVID</character> <dialogue>Agnes! Is something wrong?</dialogue> <character>AGNES</character> <dialogue>Something's about to be made right.</dialogue> <scene_description>DAVID crosses to her, BETSEY's there with the letter, PEGGOTTY, the MICAWBERS, MR DICK all close around Agnes.</scene_description> <character>AGNES</character> <parenthetical>(re briefcase)</parenthetical> <dialogue>Uriah Heep's fate is in here. But I need your help. Gather around.</dialogue> <scene_description>A beat. They're basically already gathered around. A slight shuffle from MR DICK to show willing.</scene_description> </scene> <scene> <stage_direction>EXT. WICKFIELD &amp; HEEP OFFICES - DAY</stage_direction> <scene_description>Establisher of the offices. The sign outside is now the one we saw in scene 133 - it reads 'WICKFIELD &amp; HEEP'.</scene_description> </scene> <scene> <stage_direction>INT. WICKFIELD &amp; HEEP OFFICES - EVENING</stage_direction> <scene_description>URIAH works at his desk. A knock, DAVID and AGNES enter. DAVID has his coat over his arm. A brand new plaque is propped up on the table: 'HEEP &amp; CO'.</scene_description> <character>URIAH</character> <dialogue>Mr Copperfield and Miss Wickfield. Two fields. Neither laying fallow, I hope?</dialogue> <character>AGNES</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>Clever.</dialogue> <character>DAVID</character> <dialogue>Tiresome.</dialogue> <character>AGNES</character> <dialogue>Yes, I was being polite.</dialogue> <character>DAVID</character> <dialogue>You are not busy, Uriah?</dialogue> <character>URIAH</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Mr Heep is very busy. Doing the work of two men-</dialogue> <parenthetical>(pointedly, at AGNES)</parenthetical> <dialogue>-sadly.</dialogue> <character>AGNES</character> <dialogue>Well, we are here, Mr Heeeeep, to speak to you about Miss Trotwood's investments.</dialogue> <scene_description>Through the door now comes BETSEY.</scene_description> <character>URIAH</character> <dialogue>More people - it's a party!</dialogue> <scene_description>WICKFIELD and MR DICK enter.</scene_description> <character>WICKFIELD</character> <dialogue>This doesn't feel like a party.</dialogue> <character>URIAH</character> <dialogue>Should I make us a bowl of punch? We need a lemon - Miss Trotwood, you look like you're sucking one.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>If I had a lemon, Heep, I'd squirt the juice in your eyes. You've embezzled funds from this firm.</dialogue> <character>URIAH</character> <dialogue>Slander! Who else wishes to defame me?</dialogue> <scene_description>MICAWBER enters, with PEGGOTTY.</scene_description> <character>MR MICAWBER</character> <dialogue>I do! I put it to you that - for your own pecuniary aggrandisement - you falsified documents to mystify an individual whom I will designate in code as 'Mr W'.</dialogue> <character>URIAH</character> <dialogue>Wickfield.</dialogue> <character>MR MICAWBER</character> <dialogue>...Maybe.</dialogue> <character>AGNES</character> <dialogue>There's no need for the code, Mr Micawber.</dialogue> <character>URIAH</character> <dialogue>Prove it. You can't.</dialogue> <character>AGNES</character> <dialogue>To prove it we would need access to certain documents...</dialogue> <character>DAVID</character> <dialogue>But Agnes - wherever might we find such documents?</dialogue> <character>AGNES</character> <dialogue>I believe they used to be in that bureau.</dialogue> <character>DAVID</character> <dialogue>Used to be.</dialogue> <scene_description>URIAH gets up and rushes to a bureau in the corner, unlocks it, looks for his briefcase. Roots around, panicky. Nothing.</scene_description> <character>URIAH</character> <parenthetical>(trying to appear calm)</parenthetical> <dialogue>All you've proved is that you're thieves. You stole those documents.</dialogue> <character>DAVID</character> <dialogue>Stole? Can Mr Wickfield's daughter not tidy up her father's papers?</dialogue> <character>URIAH</character> <dialogue>They were in a locked drawer!</dialogue> <character>AGNES</character> <dialogue>I'm a very enthusiastic tidier.</dialogue> <character>PEGGOTTY</character> <parenthetical>(re BETSEY)</parenthetical> <dialogue>You stole this lady's house you greasy stain!</dialogue> <scene_description>From under the coat he is carrying, DAVID produces URIAH'S DISTINCTIVE BRIEFCASE.</scene_description> <character>DAVID</character> <dialogue>Mr Dick, what do you think?</dialogue> <scene_description>DAVID theatrically takes a signature page from the briefcase, hands it to MR DICK. BETSEY does the same with the letter she found. Everyone crowds around DICK. He turns them upside down.</scene_description> <character>MR DICK</character> <dialogue>Swans.</dialogue> <character>URIAH</character> <dialogue>Swans?</dialogue> <character>PEGGOTTY</character> <dialogue>(looking out the window)</dialogue> <scene_description>Where?</scene_description> <character>BETSEY TROTWOOD</character> <parenthetical>(is he going to blow it?)</parenthetical> <dialogue>Swans?</dialogue> <character>MR MICAWBER</character> <parenthetical>(nods sagely, but not a clue)</parenthetical> <dialogue>Swans.</dialogue> <character>MR DICK</character> <dialogue>I was studying these last night.</dialogue> <parenthetical>(pause, as if that was it)</parenthetical> <dialogue>Oh yes. When Mr Wickfield signs his name, the 'W' looks like a swan. But when Mr Heep mimics the signature, his 'W' is more like a church bell. Or an upturned hip bath.</dialogue> <scene_description>A cheer from the room. The attention off him, URIAH moves to AGNES, gradually making his way towards the door.</scene_description> <character>DAVID</character> <dialogue>Well done, Mr Dick!</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>Mr Dick cracks it again!</dialogue> <character>WICKFIELD</character> <dialogue>You are the source of all this calamity, Heep? A thousand curses on you. I take that back. A thousand and four!</dialogue> <scene_description>MRS HEEP comes in.</scene_description> <character>URIAH</character> <parenthetical>(close to AGNES)</parenthetical> <dialogue>Agnes, if you've any love for your babbling father you'd better leave this gang and marry me. I'll ruin him if you don't. The old ass will end his own life, I guarantee it!</dialogue> <character>MRS HEEP</character> <dialogue>Ury, make terms! Be humble, my boy.</dialogue> <character>URIAH</character> <parenthetical>(making for the door)</parenthetical> <dialogue>No. No more pulling off our caps mother, making bows, knowing our place and abasing ourselves before our betters. No more of that.</dialogue> <scene_description>PEGGOTTY and MICAWBER block the door. BETSEY runs over to URIAH, grabs him by the lapels.</scene_description> <character>BETSEY</character> <dialogue>You know what I want?</dialogue> <character>URIAH</character> <dialogue>A strait-jacket? A wig?</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>My property.</dialogue> <character>URIAH</character> <dialogue>I ain't got it. You and your kind have always hated me and mine. Kept us down. And who are you? A fine set of people. You, Copperfield, were pure scum before anyone had charity on you. And you, Miss T: you're a grim old prospect, no wonder your old man abandoned you.</dialogue> <scene_description>BETSEY slaps URIAH. Then URIAH slaps BETSEY. Then BETSEY slaps URIAH. Then URIAH goes to slap BETSEY again but DAVID floors him with a punch.</scene_description> <character>PEGGOTTY</character> <dialogue>Now stove his head in with a cake!</dialogue> <scene_description>MRS HEEP goes to tend to URIAH.</scene_description> <character>MICAWBER</character> <parenthetical>(over unconscious URIAH)</parenthetical> <dialogue>Approach us again and, if your head is human, I'll break it.</dialogue> <character>WICKFIELD</character> <dialogue>And in case it wasn't clear, you're dismissed. With immediate effect!</dialogue> <character>DAVID</character> <dialogue>I expect to hear you went to a dentist on Monday to have a tooth out. And I hope it's a double one.</dialogue> <character>URIAH</character> <parenthetical>(recovering)</parenthetical> <dialogue>You were always a puppy with a proud stomach. Riding on the coat- tails of that vile creature who called you Daisy.</dialogue> <character>BETSEY TROTWOOD</character> <dialogue>His name is Trotwood.</dialogue> <character>PEGGOTTY</character> <dialogue>Davy!</dialogue> <scene_description>At that moment DORA appears from nowhere with JIP.</scene_description> <character>DORA</character> <dialogue>Doady!</dialogue> <character>DAVID</character> <dialogue>I'm David Copperfield. And a constable is already on his way to take you to a magistrate, Heep.</dialogue> <character>MRS HEEP</character> <dialogue>Make sure you get put away in Pentonville, Ury. Not Millbank. You get accountants and doctors in Pentonville, it's a lovely prison.</dialogue> <character>URIAH</character> <dialogue>I forgive you Mr Copperfield. I forgive all of you.</dialogue> <character>DORA</character> <dialogue>It is not for you to forgive anyone, Mr Heep. Isn't that right, Jip?</dialogue> <parenthetical>(Jip voice)</parenthetical> <dialogue>Yes it is.</dialogue> <character>MR DICK</character> <dialogue>Why is she here?</dialogue> <character>DORA (V.O.)</character> <dialogue>There's no reason for me to be there.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S SECOND LODGINGS - SMALL DRESSING ROOM - DAY</stage_direction> <scene_description>David's writing room. DORA standing, reading the early pages of a manuscript by DAVID. No JIP.</scene_description> <character>DORA</character> <dialogue>I wasn't there. This happened yesterday and I was away.</dialogue> <character>DAVID</character> <dialogue>I know, but I'm writing it now and I want you to be in it.</dialogue> <scene_description>DORA sits.</scene_description> <character>DORA</character> <dialogue>I fear I don't properly fit.</dialogue> <scene_description>He offers his hand to DORA, which she takes.</scene_description> <character>DAVID</character> <dialogue>I want you to be in all my stories.</dialogue> <character>DORA</character> <dialogue>No - take me out of it. I don't belong. But I still want to be of some use. May I hold your pens?</dialogue> <character>DAVID</character> <dialogue>Of course.</dialogue> <scene_description>He hands DORA his bundle of pens.</scene_description> <character>DORA</character> <dialogue>Do tell me when you need a new pen.</dialogue> <character>DAVID</character> <parenthetical>(writing)</parenthetical> <dialogue>Mm.</dialogue> <scene_description>They drop hands. DORA looks at the manuscript again. She puts the pens down, moves to the door.</scene_description> <character>DORA</character> <dialogue>I really don't fit. Write me out, Doady.</dialogue> <scene_description>She exits. Hold for a beat on DAVID. He doesn't pause writing, but he has noticed what just happened. He crosses through Dora's name. A beat. Then a knock at the door. DAVID puts his hand over the crossed-out name.</scene_description> <character>DAVID</character> <dialogue>Yes?</dialogue> <scene_description>PEGGOTTY pokes her head round the door.</scene_description> <character>PEGGOTTY</character> <parenthetical>(nervously excited)</parenthetical> <dialogue>Davy - you need to come with me now. I think we've found Emily.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MRS STEERFORTH'S HOUSE - EVENING</stage_direction> <scene_description>MRS STEERFORTH emerges from her house, gets into a carriage. It drives off.</scene_description> </scene> <scene> <stage_direction>INT/EXT. MRS STEERFORTH'S CARRIAGE - EVENING</stage_direction> <scene_description>MRS STEERFORTH taps the top of the carriage with her umbrella.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Quicker! This isn't a funeral cortège.</dialogue> </scene> <scene> <stage_direction>EXT. ROUGH LONDON STREETS - EVENING</stage_direction> <scene_description>DAN's cart and PEGGOTTY/AGNES/DAVID's carriage enter a rough and deprived part of London. Barely lit, people living on the streets, cries and shouts and screams. MRS STEERFORTH's carriage pulls up. She gets out and hurries down an alleyway. Moments later, DAN's cart and DAVID's carriage pull up from the opposite end of the street. Everyone leaps out. DAVID catches a glimpse of MRS STEERFORTH.</scene_description> <character>DAVID</character> <dialogue>That's Mrs Steerforth.</dialogue> <character>HAM</character> <dialogue>Does that mean her son's here?</dialogue> <scene_description>DAVID tries to hide his excitement at this thought.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET - EVENING</stage_direction> <scene_description>Wind howls, stormy. A crowded, slum area. Addicts and prostitutes. The most sordid and terrible part of London. A TOP SHOT of MRS STEERFORTH hurrying past, from through a window... followed moments later by DANIEL PEGGOTTY, DAVID, HAM, AGNES and PEGGOTTY. MRS STEERFORTH heads through a door, followed by DANIEL PEGGOTTY, DAVID, HAM, AGNES and PEGGOTTY. A MAN scurries across a rickety balcony above the entrance.</scene_description> <character>PEGGOTTY</character> <dialogue>Emily's here. I can feel it. It's a Peggotty Premonition.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S BOARDING-HOUSE ROOM - EVENING</stage_direction> <scene_description>A grim room. Heavily subdivided with cloths. A fireplace is split halfway across two 'rooms'. EMILY sits on a grubby bed. MRS STEERFORTH stands over her. Wind rattling outside.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Do you ever think of the home you wrecked?</dialogue> <character>EMILY</character> <dialogue>Of course. Every day. Poor uncle...</dialogue> <character>MRS STEERFORTH</character> <dialogue>Not your home! His. Mine. A veil of shame hangs over me because of what you made my son do. Where is he?</dialogue> <character>EMILY</character> <dialogue>All I know is he's a long way from you and, I believe, happy to be so.</dialogue> <character>MRS STEERFORTH</character> <dialogue>How dare you say that! Where is my James, you worthless creature?!</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S BOARDING HOUSE - STAIRWELL/HALLWAY - EVENING</stage_direction> <scene_description>DAVID, AGNES, PEGGOTTY, DANIEL PEGGOTTY and HAM run up the busy stairwell and through a hallway. Pushing open doors, knocking on others. A succession of sordid vignettes.</scene_description> <character>HAM</character> <dialogue>If Steerforth is there with her, I'll kill him.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>You can't kill him, Ham.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>You can really hurt him though, that's allowed.</dialogue> <scene_description>Then...</scene_description> <character>EMILY (O.S.)</character> <dialogue>I don't know! Leave me alone!</dialogue> <scene_description>They burst through the third door into...</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S BOARDING HOUSE - ROOM - EVENING</stage_direction> <scene_description>DAVID, AGNES, PEGGOTTY, MR PEGGOTTY and HAM run in. A beat. EMILY and HAM stare at each other. Then EMILY runs into PEGGOTTY's arms. Wind louder now. House creaking and straining, rickety, shaking.</scene_description> <character>MRS STEERFORTH</character> <dialogue>I imagine you want this discarded toy? She was just a trifle for the occupation of an idle hour...</dialogue> <character>EMILY</character> <dialogue>No. When James was at his truest he loved me. If he's ruined, it's because you pampered his pride.</dialogue> <character>MRS STEERFORTH</character> <dialogue>Find a doorway girl, and die in it.</dialogue> <character>DAVID</character> <dialogue>No! Enough, madam. That is vile.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>I'd never hit a lady, so you'd best get out this room while you've still got some teeth in your head.</dialogue> <character>MRS STEERFORTH</character> <dialogue>I'll leave when I have news of my son, and not before.</dialogue> <character>HAM</character> <dialogue>Tell her Em, and then let's leave. Please. I'll have you back. We'll build that boathouse.</dialogue> <scene_description>The walls of the rickety building seem now like fragile tarpaulin in the strong wind.</scene_description> <character>PEGGOTTY</character> <dialogue>Let's get going. This house feels like it's going to get blown away.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Big storm on its way. Best leave now.</dialogue> <character>AGNES</character> <dialogue>I've only been in rooms like this in my worst nightmares.</dialogue> <character>MRS STEERFORTH</character> <dialogue>They've kept you in pretty ribbons and gowns though, haven't they?</dialogue> <character>AGNES</character> <dialogue>What do you mean?</dialogue> <character>MRS STEERFORTH</character> <dialogue>You see all of this, all these filthy, partitioned dens...?</dialogue> <character>DAVID</character> <dialogue>Make your point or don't.</dialogue> <character>MRS STEERFORTH</character> <dialogue>Very well - all of these rooms are owned by Wickfield &amp; Heep, or whatever you call yourselves now...</dialogue> <character>AGNES</character> <dialogue>No...</dialogue> <character>MRS STEERFORTH</character> <dialogue>The foulest dregs of London, denied accommodation elsewhere, will find a room here, gladly assisted with a high-interest loan from your firm.</dialogue> <character>AGNES</character> <dialogue>You're lying. I know nothing of this.</dialogue> <character>MRS STEERFORTH</character> <dialogue>Why don't you know? Why?</dialogue> <scene_description>AGNES is silent.</scene_description> <character>MRS STEERFORTH</character> <dialogue>Whatever your knowledge, you and your father have supped very well off the backs of these wretches.</dialogue> <scene_description>DAVID puts an arm around AGNES. For the first time we see her lose her composure.</scene_description> <character>AGNES</character> <dialogue>Dear God. Even in a magistrate's cell Uriah can get to me. Even miles away from me he is breathing in my face.</dialogue> <scene_description>HAM approaches EMILY.</scene_description> <character>HAM</character> <dialogue>At least tell me, Em, if you won't tell her - is that snake with you?</dialogue> <scene_description>EMILY looks to MRS STEERFORTH, who's anxious to hear.</scene_description> <character>EMILY</character> <dialogue>No. Fled from me, in France.</dialogue> <character>DAVID</character> <dialogue>Steerforth abandoned you?</dialogue> <scene_description>One side of the tarpaulin building blows away with a roar. Emily turns and we see:</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - CLIFFTOP - DUSK (CONTINUOUS)</stage_direction> <scene_description>From within the Boarding House, we see STEERFORTH with a HORSE on a gloomy, wet landscape. EMILY, in the foreground, watches.</scene_description> <character>STEERFORTH</character> <parenthetical>(to EMILY)</parenthetical> <dialogue>I'm no good for you. No good for anyone. Think of me at my best.</dialogue> <scene_description>STEERFORTH mounts the HORSE and rides off.</scene_description> <character>HAM (O.S.)</character> <dialogue>How can you do that and still call yourself a man?</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S BOARDING HOUSE - ROOM - EVENING (CONTINUOUS)</stage_direction> <scene_description>It's more dark now, the tarpaulin torn to shreds.</scene_description> <character>EMILY</character> <dialogue>I've been here since, scared I might never be forgiven.</dialogue> <character>PEGGOTTY</character> <dialogue>Oh, you are forgiven my love...</dialogue> <character>DAVID</character> <dialogue>Do you know - does Steerforth plan to return?</dialogue> <scene_description>A beat. MRS STEERFORTH can hardly bear it.</scene_description> <character>EMILY</character> <dialogue>Yes he does. Tomorrow night. He's sailing into Yarmouth.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Tomorrow? That's mad. The storm will be at its peak. It's suicide.</dialogue> <scene_description>Another side of the tarpaulin, with a boarded-up window, howls away in the fierce storm. The window splinters and blows off into the night. When it goes, we're left on a WIDE SHOT from the top of a cliff - looking out onto a beach, with crashing waves. The dying embers of DAY as HAM, DAVID, EMILY, AGNES, PEGGOTTY and DANIEL PEGGOTTY run across the beach below.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - NIGHT (CONTINUOUS)</stage_direction> <scene_description>A raging storm. Thunder, lightening. Lights shine from the boathouse, and lots of burning torches and small fires are dotted across the shingle. Two beacons burn from the top of the cliff. DAVID struggles to move forward against high winds and sea spray. DAVID takes his overcoat off, wraps it around himself and AGNES, hugging her close. A BOATMAN approaches.</scene_description> <character>BOATMAN</character> <dialogue>Wreck close by, sir. Two men saved, one still out there. She'll go to pieces any moment.</dialogue> <scene_description>Lots of people run across the beach. The sea is wild. DAVID spots the wreck, one mast broken, leaning to one side, beaten by waves. ONE SAILOR lies on the beach, half-drowned but alive, being tended to by some BOATMEN. Another SAILOR is dragged out of the sea. One sailor is still on board, clinging to the broken mast as the boat sinks. It's STEERFORTH, who sees DAVID. HAM, DANIEL PEGGOTTY and PEGGOTTY walk through the crowd. HAM approaches the BOATMEN.</scene_description> <character>HAM</character> <dialogue>Mates, make me ready. I'm going in.</dialogue> <character>DAVID</character> <dialogue>You can't. You know who that is?</dialogue> <character>HAM</character> <dialogue>If my time has come, then it's come. I hope it hasn't. But I can't watch a man die, Davy. Not even that man out there.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>It looks like he's taunting us.</dialogue> <character>DAVID</character> <dialogue>No. Not taunting us. Maybe taunting himself.</dialogue> </scene> <scene> <stage_direction>INT. LONDON THEATRE - EARLY EVENING</stage_direction> <scene_description>DAVID is on stage, telling the story of Steerforth's boat being wrecked at sea.</scene_description> <character>DAVID</character> <dialogue>The wind was rising, then with an extraordinary great sound there came a tremendous retiring wave...</dialogue> <scene_description>He continues.</scene_description> <character>DAVID</character> <dialogue>The wild moon seemed to plunge headlong through the clouds, as if she had lost her way and was frightened.</dialogue> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - NIGHT</stage_direction> <scene_description>DAVID watches the BOATMEN tie ropes to HAM, who waits until a wave recedes, then runs in. A BOATMAN gets dragged out with HAM, who is immediately buffeted. The BOATMEN haul him back in. HAM bleeds from a head wound. Runs back in. Fights the waves, swims to the wreck. Climbs aboard. Over these visuals we hear DAVID's reading.</scene_description> <character>DAVID (V.O.)</character> <dialogue>...he was lost beneath the rugged foam.</dialogue> <scene_description>STEERFORTH clings to the mast, terrified. HAM reaches out to him and STEERFORTH flinches, scared of HAM. STEERFORTH mouths something inaudible, maybe 'I'm sorry.' HAM tries to tether his rope to STEERFORTH just as a huge wave swallows them. Screams and cries from the shore. A beat of stillness. The BOATMEN haul HAM in. It takes forever. Then HAM emerges from the waves. DAVID, DANIEL PEGGOTTY and PEGGOTTY run over. One Boatmen checks HAM's pulse, giving him the kiss of life. A beat of DAVID, and the PEGGOTTYS staring, helpless. Then HAM splutters, opens his eyes, gets up and is copiously sick.</scene_description> <character>BOATMAN (O.S.)</character> <dialogue>Sir! Come yonder. He's come ashore!</dialogue> </scene> <scene> <stage_direction>INT. LONDON THEATRE - EARLY EVENING</stage_direction> <scene_description>DAVID reading.</scene_description> <character>DAVID</character> <dialogue>I stood, unable to move a step. "Does he live?" I asked. "Does Steerforth live?" The answer came back:</dialogue> <scene_description>On the page from which DAVID is reading the word "Yes!" is printed, but the word swims and slips.</scene_description> <character>DAVID</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. YARMOUTH BEACH - DAWN</stage_direction> <scene_description>DAVID follows the BOATMAN, with AGNES.</scene_description> <character>BOATMAN</character> <dialogue>I am sorry to say it sir.</dialogue> <scene_description>The BOATMAN leads DAVID to a crowd, surrounding STEERFORTH's body. DAVID crouches, weeps. Tries to revive Steerforth, hopelessly. HAM pushes his way through to DAVID. PEGGOTTY follows.</scene_description> <character>AGNES</character> <dialogue>Stop now Trotwood. He can't be revived...</dialogue> <character>DAVID</character> <dialogue>He isn't dead. This isn't...he can't be...look at him. Look. He isn't dead.</dialogue> <character>PEGGOTTY</character> <dialogue>Agnes is right, Davy, my love. Come away...</dialogue> <character>HAM</character> <dialogue>I tried to save him. Davy, believe me I did. I wanted him to live, whatever he's done...</dialogue> <scene_description>He sees EMILY at a distance, staring at STEERFORTH. DANIEL PEGGOTTY arrives.</scene_description> <character>HAM</character> <dialogue>...but by God, I wish you'd never brought him here. Into our world, to ruin it.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>I brought you here. And Emily here. And Mrs Gummidge. Have a care, Ham, this isn't Davy's fault.</dialogue> <scene_description>HAM stalks off. MRS STEERFORTH looks at her son.</scene_description> <character>MRS STEERFORTH</character> <dialogue>From his cradle he was better than anyone. Better than his father. Better than me. He was everything.</dialogue> <scene_description>She starts to cry. EMILY approaches. Puts her hand on MRS STEERFORTH's shoulder. She doesn't shrug it off.</scene_description> <character>EMILY</character> <dialogue>I'm sorry.</dialogue> <character>MRS STEERFORTH</character> <dialogue>I should curse you...</dialogue> <character>EMILY</character> <dialogue>He did love you. Very much indeed.</dialogue> <scene_description>Half a beat.</scene_description> <character>MRS STEERFORTH</character> <dialogue>I'm dead now. I am dead.</dialogue> <scene_description>MRS STEERFORTH weeps. EMILY's hand stays on her shoulder.</scene_description> </scene> <scene> <stage_direction>EXT. YARMOUTH CLIFF TOP - DAY - MORNING</stage_direction> <scene_description>DAVID walks with AGNES. They hold hands. Then stop.</scene_description> <character>DAVID</character> <parenthetical>(confused, stunned)</parenthetical> <dialogue>Agnes...sometimes in my writing I can say things that I can't ...</dialogue> <character>AGNES</character> <parenthetical>(interrupting, confidant)</parenthetical> <dialogue>I will love you all my life.</dialogue> <scene_description>They touch their heads together and look as if to never let each other go. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LONDON THEATRE - AUDITORIUM - EARLY EVENING</stage_direction> <scene_description>DAVID, on stage, completes his story.</scene_description> <character>DAVID</character> <dialogue>And now, I have nothing left to tell... unless, indeed, I were to confess that this narrative is far more than mere fiction - it is my written memory... The people within it are as real as earth and my truest hope is that I might grow half as strong and wise in the telling of their lives, as they have grown in the living of them.</dialogue> <scene_description>He closes the book, and bows to applause. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LONDON THEATRE - AUDITORIUM - EARLY EVENING (LATER)</stage_direction> <scene_description>On the stage. The painted backdrop from Sc1. The last remaining AUDIENCE are leaving. DAVID steps off stage, to the left hand corner box, where AGNES stands.</scene_description> <character>AGNES</character> <dialogue>Steerforth. You changed the ending. You said what happened.</dialogue> <character>DAVID</character> <dialogue>I know. That's the story I had to tell. Nothing can make it otherwise than as it was.</dialogue> <scene_description>We see AGNES is pregnant. PEGGOTTY is there, with a LITTLE GIRL of two or three. They walk off.</scene_description> <character>AGNES</character> <dialogue>The punching of Heep though...</dialogue> <character>DAVID</character> <dialogue>I wanted it to be me who punched Heep, so...</dialogue> <character>AGNES</character> <dialogue>But the reality was just as good - Betsey...</dialogue> <character>DAVID</character> <dialogue>No, I know, but I really wanted to punch Heep.</dialogue> <scene_description>HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WICKFIELD &amp; HEEP OFFICES - DAY (FLASHBACK)</stage_direction> <scene_description>We're back in the unveiling of HEEP. AGNES, DAVID, PEGGOTTY, WICKFIELD, MICAWBER, MRS HEEP and DICK (but no DORA) watch as URIAH makes a dash for the door but is knocked out cold by BETSEY, with the 'HEEP &amp; CO' plaque. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BETSEY TROTWOOD'S HOUSE - GARDEN - DAY</stage_direction> <scene_description>DARKNESS.:</scene_description> <character>DAVID (O.S.)</character> <dialogue>This is your sister, Betsey Trotwood.</dialogue> <scene_description>Fade up to... A bright sunny day in the garden. DAVID is introducing his new SIX-MONTH-OLD SON to the TODDLER GIRL we saw at the theatre. Shapes and colours, like in the opening scene. They form into a crowd of people eating and drinking - including AGNES, WICKFIELD, the MICAWBERS, BETSEY and MR DICK (with his kite from earlier), and others we don't know played by as many of the cast who can make it. A SMALL BOY hangs a sign on the back of MR DICK. It's DAVID's old 'He Bites' sign, amended to read 'He Kites.'</scene_description> <character>MR DICK</character> <dialogue>Kite as a verb. Splendid.</dialogue> <scene_description>We drift past PEGGOTTY and DANIEL PEGGOTTY eating snacks.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>What are these again?</dialogue> <character>PEGGOTTY</character> <dialogue>Hors d'oeuvres. Davy has them all the time.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Nice. I'll put some in my hat for Mrs G. You don't need teeth for them.</dialogue> <scene_description>With DAVID and WICKFIELD.</scene_description> <character>WICKFIELD</character> <parenthetical>(to DAVID)</parenthetical> <dialogue>Congratulations on the book!</dialogue> <character>DAVID</character> <dialogue>Odd to think my words bought this house.</dialogue> <character>WICKFIELD</character> <dialogue>A fine depiction of that villain Heep. I think we both played a pretty clever game to catch that fellow. Canny minds, you and I.</dialogue> <character>DAVID</character> <dialogue>Well done us.</dialogue> <scene_description>WICKFIELD beams a confident smile. DAVID hands the BABY to PEGGOTTY - now wearing BETSEY's BROACH - who stands with DANIEL PEGGOTTY.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>You could have made me taller and younger, Master Davy.</dialogue> <character>PEGGOTTY</character> <dialogue>He writes you as twenty, in feet and years.</dialogue> <character>DANIEL PEGGOTTY</character> <dialogue>Really?</dialogue> <character>PEGGOTTY</character> <dialogue>He's not read it Davy.</dialogue> <scene_description>BETSEY is there, with the MICAWBERS.</scene_description> <character>BETSEY TROTWOOD</character> <dialogue>You saved my home Trot. I don't think I can ever...DONKEYS!!</dialogue> <scene_description>BETSEY has spotted something: INSERT SHOT: two DONKEYS being ridden over the green. MR DICK makes the 'not now' signal to BETSEY.</scene_description> <character>MRS MICAWBER</character> <dialogue>You also saved myself, Wilkins and our angels from the streets.</dialogue> <character>DAVID</character> <dialogue>Your presence in my writing has repaid me many times over.</dialogue> <character>MR MICAWBER</character> <dialogue>Luckily I'm at present between paid jobs, so that has allowed us the freedom to travel down to your beautiful home. The coach fare...</dialogue> <character>MRS MICAWBER</character> <dialogue>Well, we barely considered the cost.</dialogue> <character>MR MICAWBER</character> <dialogue>Indeed. Barely considered it.</dialogue> <scene_description>DAVID gives a bank note to MICAWBER, who goes to write an IOU. DAVID shakes his head, no need. He heads into the house. In a corner, PEGGOTTY and DANIEL PEGGOTTY survey the crowd.</scene_description> <character>DANIEL PEGGOTTY</character> <parenthetical>(to PEGGOTTY)</parenthetical> <dialogue>Tell you this much, not one of these could gut a herring to save their lives.</dialogue> <scene_description>AGNES crosses, looking efficient. DANIEL PEGGOTTY considers.</scene_description> <character>DANIEL PEGGOTTY</character> <dialogue>...Well, maybe her.</dialogue> </scene> <scene> <stage_direction>INT. BETSEY TROTWOOD'S HOUSE - STUDY - DAY</stage_direction> <scene_description>A light-coloured room, with plenty of natural light. DAVID walks in and sits at his desk. Thinks. Turns. CUT WIDE: There is the 12-YEAR-OLD YOUNG DAVID, looking dirty in his old bottling factory outfit.</scene_description> <character>DAVID</character> <dialogue>Don't worry, you'll make it through. And you'll have quite the ride on the way.</dialogue> <scene_description>DAVID picks up a pen. YOUNG DAVID disappears. DAVID starts to write. We hold on him for ten seconds. END.</scene_description> </scene> </script>

David Copperfield is born to his widowed mother, Clara, and begins saving noteworthy quotes from his life on scraps of paper. As a child, he visits his nanny Peggotty's family in their upturned boathouse in Yarmouth and returns to find Clara has married the strict Mr. Murdstone. Bullied by his new step-aunt and beaten by his stepfather, David is sent to work in Murdstone's bottling factory in London, where he lodges with the Micawber family, who are always cheerful but pursued by their creditors. As a young man, David still works at the factory, while the Micawbers are evicted by bailiffs and sent to debtors' prison. Informed of his mother's death only after her funeral, David wreaks havoc in the factory and departs for Dover to find his wealthy aunt Betsey Trotwood, his only living relative. Her lodger, the eccentric Mr. Dick, believes himself to be burdened with the late King Charles I’s thoughts and, like David, jots them down. David attaches these notes to a kite for Mr. Dick to fly, helping clear his mind, and meets Betsey's accountant Mr. Wickfield (who likes his wine) and his daughter Agnes. Admitted to a school for boys, David is befriended by classmate James Steerforth, who calls him Daisy and believes him to be a gentleman. Later, a butcher's lad mocks the two friends and David challenges him to a fight - David gets knocked out. Agnes tends to his wounds but David disappoints her by saying he thinks of her as a sister. Mr. Micawber briefly joins the school as a teacher, but is exposed by Steerforth as a former convict and fired. Mr. Wickfield's clerk Uriah Heep, who has previously been mocked by the boys, tries to blackmail David with knowledge of his past. At a farewell party at school, David meets Steerforth's mother, ignores his future employer, and falls in love with a somewhat ditsy girl named Dora Spenlow. He is hired as a trainee lawyer with Dora's father's firm in London, where he lives the life of a "young gentleman" and courts Dora. Betsey arrives in London with Mr. Dick, having lost her fortune and home, and David is forced to decamp with them to a slum dwelling offered by Uriah, who has been keeping Mr. Wickfield drunk and persuaded him to make him a partner. Uriah is also courting Agnes. David visits Pegotty's family in their boat-house with Steerforth, who runs away with Pegotty's adopted daughter Emily, leaving her longtime fiancé Ham. Mr. Micawber now lives on the streets with his family and has pawned his beloved concertina, which he asks Mr. Dick to buy back. Instead, Mr. Dick steals it for him, and David invites the Micawbers to move in with him, Betsey, and Mr. Dick. David begins to write the story of his life as a book, using the fragments he has saved since childhood. Agnes asks David, Micawber, Betsey, and Mr. Dick for a letter written by Mr. Wickfield as evidence of Uriah’s misdeeds. They confront Uriah, who has been embezzling funds — including Betsey’s missing fortune — by forging Mr. Wickfield's signature, presenting the letter as proof. David punches Uriah after the villainous clerk strikes Betsey, and dismisses him. Recognising that she no longer fits in David's "story", Dora calls off their engagement, asking him to write her out of his book. Emily is spotted in London and confronted by Steerforth’s mother, but rescued by David and Pegotty’s family. She reveals that Steerforth abandoned her in France, but he will return the following day to Yarmouth. When a storm wrecks Steerforth’s boat off the Yarmouth beach, Ham swims out on a line, but Steerforth refuses to be rescued and is drowned. Mourning his feckless friend’s death, David realises he is in love with Agnes, who reciprocates. He publishes his book to great success, performing public readings of his story. His new career as a writer allows him to buy back Betsey’s home for her and Mr. Dick and continue to support the Micawbers, and he and Agnes marry and have a daughter.